mark : OWENS Close valves.","INT. PROTEUS Grant and Duval twist the valves shut. When both are done : GRANT Valves closed. OWENS'VOICE -LRB- from Bubble. -RRB- Right. That's all for the present. As Grant and Duval move to their seats, Michaels opens his harness, slips out and hangs onto the bulkhead ledge, gasping for breath. DUVAL Doctor, what's wrong? MICHAELS I ca n't breathe! I've got to get out! DUVAL It's too late now. We must go on. GRANT You'll feel better once we're underway. Michaels hangs on tighter to the bulkhead ledge, trying to control himself. MICHAELS -LRB- gasping. -RRB- I - I'm sorry. Claustrophia - buried alive - two days - air raid - England. Thought I'd gotten over it. Please - forgive me. I'm quite all right now. He sinks back into his seat. Grant helps him with his harness.","INT. MINIATURIZATION ROOM We now see the sub for the first time beneath the surface of the saline solution : a small capsule submerged at an even keel, about one - fourth of the way down in the huge transparent container. The Modules on which the ampule rests now return to floor level.","INT. MINIATURIZATION ROOM - P.O.V. CONTROL TOWER From his vantage point above, Carter can barely see the capsule in the ampule. He glances at Reid, who looks up from the monitors and nods. CARTER -LRB- to Technician. -RRB- Phase Three. The Technician presses a button on the panel, activating the grid. The two blips flash on again, moving down the and co - ordinates. THE MINIATURIZATION ROOM Instantly the disc of the Miniaturizer trained on the ampule begins to glow again. The light is reflected on the entire surface of the saline solution. The low hum resumes.","INT. PROTEUS Again we first get the view of the shrinking process : Grant and the others see everything rushing away into an immensity of distance. And all the time the reflected light which has illuminated the interior of the sub is diminishing. We see the reason :","INT. MINIATURIZATION ROOM The view : the ampule has shrunk way below the Miniaturizer. Its far smaller size reflects only a spark of light. The sub is now only a particle, shrinking with the ampule. The Technicians and Nurse look on, grouped at the tripod which is beyond the range of the Miniaturizer.","EXT. PROTEUS As the sub shrinks to invisibility, disappearing before our eyes :","EXT. AMPULE AND PROTEUS In its now fully reduced size, we see the ampule is actually a glass cylinder about two inches long and half - an - inch in diameter. MIN GRID - P.O.V. CONTROL TOWER With Carter we see the two blips merge and hold. Instantly the lights in the Miniaturizer go off. The hum stops. A loud CLICK is heard. All look up at : CLOSEUP - ELECTRIC MINUTE RECORDER A big < 60 > flashes on, and holds. -LRB- NOTE : We will see the same kind of clock, in varying sizes, in every set, flashing on the passage of time in, from now to the end of the picture. -RRB-","INT. MINIATURIZATION ROOM - P.O.V. CONTROL TOWER The Zero Module now begins to rise above floor level. The ampule, on its reduced cork base, appears very tiny from this height. GARTER -LRB- to Wireless Operator. -RRB- Inform Proteus they are at Full Reduction. The Technician taps out the Proteus' call letters. All wait, tense, for a response, as the tapping stops. They react, relieved, as they hear :","INT. PROTEUS Grant tapping out reply. Now, for the first time, we get the view of what all see from their various vantage points, distorted through liquid and the glass walls. The light is dim, all are finding it very hard to breathe in the unventilated craft. When the incoming message stops : GRANT -LRB- LINE OF DIALOGUE CUT OFF. -RRB-","INT. BUBBLE Owens glances at his wrist watch. Then he flips a switch. He watches the buttons on his panel. None light up. There is an anxious moment. Then the myriad lights on the panel begin to glow dully. The Minute Recorder on the panel begins to flash < 59 >.","INT. PROTEUS The lights become brighter. Cora, Duval and Michaels react with relief. The ventilators come on, permitting all to breathe easier.","INT. BUBBLE The buttons on the panel are now aglow. Owens makes a test : he touches a button which spins his seat, with the control panel before him, in a complete 360 degree turn within the Bubble.","INT. CONTROL TOWER After a brief message is heard coming in : COMMUNICATIONS AIDE Proteus On - Power. With relief, Carter turns to Reid. CARTER It's all yours, Don. Reid moves from the monitors, presses a button on the Control Section.","INT. MINIATURIZATION ROOM As the Technicians at the tripod hear : REID'S VOICE -LRB- over loudspeaker. -RRB- Phase Four. The Technicians move the tripod so that the vertical arm is brought directly over the ampule and lowered, until the two sets of mechanical fingers clamp the cylinder firmly. Then the ampule is raised a few inches from its position on the module. The reduced cork base still encases the bottom. The Nurse and a Technician move to the ampule. He holds a small instrument case. AT AMPULE When they reach the clamped ampule, the Technician opens the case. The Nurse takes out a plunger. Very carefully, she begins to insert it into the top of the ampule without disturbing the liquid. She then gently pulls away the cork remaining at the base of the ampule, revealing a small opening in the center. But owing to the pressure above, the liquid does not run out. She takes a needle out of the case and carefully fits it into the nipple. We now see the ampule is actually a hypodermic syringe.","INT. MINIATURIZATION ROOM - P.O.V. CONTROL TOWER Ried and Carter watch as the tripod is carefully wheeled across the room. THE HYPODERMIC NEEDLE - MOVING SHOT The saline solution in the cylinder is sloshing slightly, despite the great care of those moving it.","INT. PROTEUS The sub is being rocked, causing everyone to hold on for support.","INT. BUBBLE Owens is trying to keep an even keel with his controls, now in full operation.","INT. MINIATURIZATION ROOM As two big doors slide open for the tripod to pass through : EXTREME CLOSEUP - RADIAL LINES What appears to be a myriad number of radial lines crossing each other to form tiny squares over a domed surface is revealed to be : BENES' HEAD Now shaved clean, the head is grid - marked for Stereo - encephalatomic measurements. In the background, the tripod is seen being wheeled in.","INT. OPERATING ROOM Moving with the hypodermic needle clamped in the tripod, we now get the full impact of the set : the floor is marked off for True North and South, with latitudinal and longitudinal lines. The modern operating table is set so that Benes' head corresponds with the exact position of the Arterial Head on the big grid map in the Main Ops Room. Benes is lying under a thermal blanket, covered up to the collarbone. Thin rubber pipes lead out from the blanket to the Central Thermal Unit under the operating table, out of the way of everyone. A TEAM OF GAUZE - MASKED SURGEONS AND ASSISTANTS stand grouped around the unconscious patient. In a semi - circle at the head of the bed, beyond the head, is a series of SMALL TRACKING DEVICES resembling radio - telescopes. They are remotely controlled. The Minute Recorder, in a prominent position now changes from < 59 > to < 58 >.","INT. OPERATING ROOM - P.O.V. CONTROL TOWER Reid and Carter are looking on. The Communications Aide stands at his side. They see the clamped hypo rolled up to the side of Benes' head and brought to a gentle stop. BENES AND HYPO A small circle marks the exact spot of the injection. A SURGICAL AIDE swabs the area with alcohol. CLOSE SHOT - ACTIVATOR It is brought down mechanically by use of worm - gears on the tripod toward the plunger, engaging it.","INT. CONTROL TOWER Reid, watching the proceedings below : REID -LRB- to Wireless Operator. -RRB- Contact Proteus -","INT. PROTEUS Grant takes down the message as it comes in. When message stops : GRANT -LRB- loud enough for Owens in Bubble. -RRB- Stand by for injection! Suddenly the sub begins to rock hard. All hold on.","INT. BUBBLE Owens is manipulating controls, trying to keep an even keel.","INT. OPERATING ROOM The hypodermic is being angled by the precision gears of the tripod for the exact degree of injection. When this is accomplished : BIG CLOSEUP - BENES' NECK The point of the needle approaches the exact spot, which we now see is marked off by a tiny cross within the circle on the Artery. TECHNICIAN AT TRIPOD He presses the mechanical activator which sends the needle plunging into Benes' neck O.S.","INT. CONTROL TOWER Instantly a warning klaxon goes off. It keeps on for a few seconds, then stops. Into the silence : REID Tracking. A Technician flips a switch.","INT. TRACKING POST - ON MAIN MONITOR IN CONTROL TOWER Four TECHNICIANS are seated before their radar screens, which show flat electronic lines, except one. This is picking up a blip.","INT. CONTROL TOWER A Technician at the Control Panel throws on a switch. Another TV screen next to the Main Monitor goes on, revealing : CLOSE SHOT - BLIP ON TV SCREEN Duplicating the blip seen in the Tracking Post. We see the blip is heading down, at an angle identical with that of the hypo. CAMERA MOVES IN on the blip, and keeps moving until it fills our entire screen and becomes :","EXT. PROTEUS - WITHIN THE HYPO Diving at a terrific speed, steeply angled like the hypo, through the clear saline solution.","INT. PROTEUS All hold on as if riding a roller coaster at its steepest plunge. Suddenly all goes pitch - dark.","INT. BUBBLE Only the buttons are glowing, and the Minute Recorder, which now reads < 57 >. Owens throws a switch. Through the plastic windows the headlights of the sub are seen coming on. They pierce the darkness sufficiently to catch the side of the steel wall of the needle, which is rushing past at a tremendous speed, giving the effect of an enclosed channel. The beams gradually reveal : HOLE OF NEEDLE - P.O.V. BUBBLE A small aperture in the distance, barely visible. HOLE OF NEEDLE - P.O.V. PRINCIPALS IN KIOSK Grant and the others see the opening at the end of the needle becoming bigger and bigger, apparently rushing toward them with great speed.","EXT. END OF NEEDLE It fills the screen, an immense aperture in relation to the tiny sub which suddenly comes shooting out of it. MAIN OPS ROOM - P.O.V. CONTROL TOWER Reid and Carter observe the Grid Officer, wearing headphones and throat mike, move up to the Arterial Map with a tiny replica of the Proteus. He places it in the center or the huge channel in the neck, which depicts the Carotid Artery. The little sub is held magnetically on the grid. The Minute Recorder now reads < 56 >. Reid turns from the window, moves to the Map Case, which contains the same assortment of charts as in the sub's kiosk. Reid takes out an OVERLAY MAP OF THE HEAD AND NECK. He places it on a Radarscope. The blip shows it is traveling up the Carotid Artery. LONG SHOT - ESTABLISHING - PROTEUS IN ARTERY The headbeams of the speeding sub reveal a world of dazzling color and beauty : the Arterial Stream. The walls of the vast amber - colored chamber are lost in the distance. Now the screen is filled with a floating wonderland : huge red corpuscles, whirling globules, platelets, particles, minuscule fragments drift with the stream, reflecting the entire spectrum of color.","INT. BUBBLE Owens is slowing down the sub. He gazes in awe at : ARTERIAL ELEMENTS - THROUGH BUBBLE As the Proteus moves through the swirling conglomerations, the elements are parted, flow over the sub, bounce about it, forming new fluid galaxies in a universe of amber. And each grouping and regrouping, every mass and disc, though loosely linked, has a. Thus the Corpuscular drift, the bouncing particles, the parting and the merging achieve a majestic choreography lyrical in quality, a fugue of motion.","INT. PROTEUS Grant and Cora, strapped in their seats, look on enthralled at the sheer beauty of the dancing wonder - world visible through the windows. Duval appears equally moved. Michaels observes with more clinical detachment.","INT. BUBBLE Owens has now slowed down the sub so that it moves slightly faster than the current, thus enabling him to maintain maneuverability. OWENS You may unfasten your belts.","INT. PROTEUS Grant, Cora and Duval quickly slip out of their harnesses, move to the bow for a maximum view of the scene. Michaels remains at the console, checking their course on the Neck and Head chart.","EXT. PROTEUS - HEAD-ON SHOT Approaching camera, with the three people looking out of the bow windows in speechless wonder at what they behold.","INT. PROTEUS - SHOOTING OVER THEIR BACKS For a moment the three gaze in silent awe at the dancing drift directly outside : nuclei are clearly visible in the cells ; variegated tiny organisms sweep like cosmic dust through the orbits of the spinning globules. Their first sight of the interior world, with its beauty and rhythmic splendor has affected them deeply. Finally breaking the silence : DUVAL -LRB- quietly, as he looks on. -RRB- The Medieval Philosophers were right. is the center of the Universe. We stand in the middle of Infinity, between Outer and Inner Space. And there's no limit to either. GRANT You mean Inner Space is endless? DUVAL Everything can be divided in half, no matter how minute. As the concept sinks in, Grant turns to look out again. Cora has never taken her eyes off what she sees through the bow windows. CORA I never. never imagined it could be anything. like this. GRANT -LRB- equally awed. -RRB- I always thought it was nothing but red. DUVAL Only to the naked eye. -LRB- indicating. -RRB- Those corpuscles - carrying oxygen - give the stream its color. But the rest of the plasma's very much like sea water. An ocean of life. GRANT Quite a piece of plumbing. MICHAELS End - to - end, a hundred thousand miles long. Grant reacts. Of something up ahead : CORA Dr. Duval - what could those be? The sub is suddenly engulfed by a mass of very tiny discs in chain - like combinations, which blot out the rest of the stream. DUVAL -LRB- now the scientist. -RRB- Never saw. Not even under an electron - mrcroscope. CORA They're much smaller than bacteria. MICHAELS Looks like the molecular structure of proteins. DUVAL -LRB- flatly. -RRB- I do n't agree. I think we ought to stop and take a sample. MICHAELS That's not the purpose of this mission. -LRB- up at Owens. -RRB- Captain - keep a straight course - until you're in the clear.","INT. BUBBLE Steering by instruments, Owens remains on course, the massed discs obstructing his view. Suddenly they float off, revealing : OWENS Arterial Wall to the right! With him we see : LONG SHOT - ARTERIAL WALL Barely visible in the spill of light, a smooth endothelial wall is seen in the distance.","INT. PROTEUS Michaels consults his chart, brings the co - ordinates into place over two Arteries. MICHAELS -LRB- up at Bubble. -RRB- What's our speed? OWENS' VOICE -LRB- from Bubble. -RRB- Fifteen knots. Michaels makes a rapid calculation with his slide rule. MICHAELS We should reach the Branching Artery in two minutes. He switches on the REPEATER.","INT. BUBBLE The same REPEATER device is now active on the panel, reflecting the chart on the console below, with Michaels' navigational calibrators pointing to the intersect1ng Artery. MICHAELS' VOICE -LRB- from below. -RRB- Keep the Wall at its present distance when you turn. That'll bring you safely into the middle of the Branch.","EXT. PROTEUS - IN ARTERY It cruises for a moment through the dazzling elements, the Arterial Wall in the distance. Then suddenly the sub accelerates and veers off course toward the Arterial Wall.","INT. BUBBLE Owens reacts, tries to slow down the sub and steer it back into the middle of the channel. But the speed increases, and the sub continues being swept toward the Wall.","INT. PROTEUS Grant and the others respond to the ever - increasing speed and the nearing Wall. They turn to Michaels, who, too, is aware of the change. MICHAELS Captain - correct your course - and speed.","INT. BUBBLE Increasingly concerned as he works the controls and glances at the gauges : OWENS She wo n't respond! We're in some sort of current!","INT. PROTEUS Duval moves to Michaels. DUVAL -LRB- bewildered. -RRB- But that is n't possible. MICHAELS Not in a sealed vessel like an Artery. -LRB- up at Owens. -RRB- Captain - something must be wrong with your controls! OWENS'VOICE -LRB- from Bubble. -RRB- No - it's a current! It's too strong - I ca n't break out of it!","INT. BUBBLE Owens is trying to gain control of the sub. It begins to vibrate. Startled, Owens peers out, trying to determine the cause, but the beams reveal nothing ahead but an iridescent swirl of Arterial elements which bounce back the light. The buffeting increases rapidly. The Arterial Wall is clearly visible to the side, getting closer.","INT. PROTEUS - IN BOW Grant and Cora exchange startled looks as the membranes of the Arterial Wall suddenly become visible in the spill of light from the headbeams : its connective strands arch Gothic - like, lost in the darkness of the vaulted enclosure. The vibrations have now increased so that all must hold onto stanchions for support. DUVAL AND MICHAELS Gripping the console for support. Through the plastic windows to the side they can see the Arterial Wall looming with menacing closeness. They look at each other, unable to fathom the cause of the now - greater vibrations.","INT. BUBBLE Owens is desperately trying to avoid a head - on collision with the Wall, but the sub wo n't respond to any of his manipulations. The Wall looms closer, the buffeting is worse.","INT. PROTEUS Smashing into the Wall directly ahead seems inevitable. Now the connective strands almost fill the windows. Cora closes her eyes, in anticipation of the fatal impact. And just when a collision appears inevitable, the sub veers, narrowly missing the cable - like strands, thick enough to support a bridge.","INT. BUBBLE - PARALLEL TO ARTERIAL WALL With Owens we see the sub swept close alongside the Wall. It is evident the craft is out of his control, and that whatever averted the collision has nothing to do with his attempt to steer it. The swirling mass of particles up ahead begins to part. The vibrations -LSB- LINE OF DESCRIPTION CUT OFF -RSB-","INT. PROTEUS Grant reacts as he sees the now - visible area ahead. GRANT Whirlpool! Strap yourselves in! He grabs Cora, and against the buffeting, moves quickly to help her toward her seat. Duval and Michaels instantly take their seats at the console, begin getting into their harnesses. LONG SHOT - THE WHIRLPOOL - P.O.V. BUBBLE Owens is appalled as in the distance, in the center of the channel, he sees what appears to be an immense liquid centrifuge rotating at great speed, the Arterial elements within it whipped about like the contents of a mixmaster. Now the buffeting is reaching its climax. The sub is inexorably approaching the rim of the whirlpool, with Owens desperately trying to steer away from it.","INT. PROTEUS Duval and Michaels are in their harnesses. GRANT AND CORA Slowed up by the intense buffeting, Grant is now helping Cora into her seat. But before he can assist her into the harness, the sub is caught in the whirlpool. The instant effect is that of a Carnival Whip. The centrifugal force flings Cora out of her seat against the bulkhead. Grant is spun around and slammed against the opposite part of the bulkhead, and then onto the floor, with stunning impact. DUVAL AND MICHAELS Pinned back in their seats, unable to get out and help as they see : GRANT AND CORA Helpless in the whiplike rotation, Cora is thrust from the bulkhead onto the floor. Grant manages to grab a stanchion, hold on. With his free hand he reaches out for Cora, now prone on the floor. She extends her hand, but a foot separates them. They desperately reach out to each other as the centrifugal force pulls them farther and farther apart. Grant takes the only possible chance or reaching her : he lets go of the stanchion which sends him slamming against the base of the seat. He grips the leg of the seat with one hand and grabs Cora's waist with the other, just in time to prevent her from again being flung against the bulkhead. She holds onto him with all her strength. Grant strains to maintain his grip on the leg of the seat with his free hand, which in effect holds them both against the centrifugal whipping.","INT. BUBBLE - TO INCLUDE WHIRLPOOL Owens, too, is thrust back in his seat, powerless to move. The sub is completely at the mercy of the whirlpool. A gauge on the panel is registering in circles.","EXT. PROTEUS IN WHIRLPOOL - LONG SHOT Rotating at great speed, a tiny piece of flotsam caught in a cataclysmic force which is inexorably spinning it toward the vortex.","INT. SUB - CUTS OF PRINCIPALS Reacting to the ROAR of the massive turbulence and the whirling stream, which is seen through the windows. The centrifugal force keeps them pinned to their positions, with Grant holding onto Cora as before.","EXT. PROTEUS - NEARING VORTEX It is whipped around and down in the final circle - and disappears through the rapidly rotating center.","INT. PROTEUS The steeply angled dive causes greater strain on Grant as he keeps his grip on Cora. Duval and Michaels are now thrust forward as if they were in a gondola of a shoot - the - shoots making its steepest descent.","INT. BUBBLE In a similarly forward - tilted position, with Owens we see the stream whipping by in a seemingly endless drop. And then ahead there suddenly appears : LONG SHOT - FISSURE IN ARTERIAL WALL - P.O.V. BUBBLE An immense crack through which some red corpuscles are streaming in an eddy.","INT. PROTEUS From their prone positions on the floor, Grant and Cora react to the huge fissure looming through the windows. Duval and Michaels exchange looks, suddenly realizing what it signifies. Now the immense crack is directly ahead.","EXT. PROTEUS - FISSURE FROM WITHIN VEIN As the tiny sub is swept out into the stream, where the blue corpuscles are. Through the crack, a stream of red corpuscles are whipping by on the other side. The angle of the dive now becomes less oblique.","INT. BUBBLE The sub is caught in a less turbulent current, which results in its gradually losing its angle and speed, permitting Owens to steer it away from the center toward a more placid area.","INT. PROTEUS The sub is now level, moving much slower. Exhausted from the ordeal, Grant sees it is safe to let go of Cora. He helps her rise. She stares dazed at the bluish stream. Duval and Michaels, equally spent, begin to get out of their harnesses. EXTREME CLOSE SHOT - BENES' NECK PAN over to the Miniature Tracking Devices. TWO RADAR SCREENS - INT. TRACKING POST - MAIN OPS ROOM The blip goes from one machine to the other, where it does n't belong. The Tracking Technician reacts, instantly presses a button.","INT. CONTROL TOWER A warning buzz from a TV Monitor. Reid and Carter respond to the SOUND. The Communications Aide comes over to them. COMMUNICATIONS AIDE Proteus Off Course, sir. They've picked up a blip in Quadrant 23, Level B. Reid moves quickly to the window overlooking the Main Operations Room, followed by Carter. MAIN OPS ROOM - P.O.V. CONTROL TOWER Both see the Grid Officer below move the replica of the sub from the Carotid Artery to another channel near it within a quadrant marked 23. The channel is outlined in blue. REID -LRB- jolted. -RRB- They've crossed over into the Jugular Vein! CARTER That ca n't be - there's no direct connection between the two - REID Normally not. Unless it's an Arterio - Venous Fistula -","INT. PROTEUS Grant, Cora and Duval are grouped around Michaels at the chart. In the distance, the endothelial walls of the Jugular Vein are vaguely visible. GRANT -LRB- blankly. -RRB- A what? MICHAELS A forced joining of an Artery and Vein. Must've happened when Benes was hurt. DUVAL Yes, a fistula too small to show up on the X - rays. CORA But big enough for us. In the stream outside, the bluish corpuscles are increasing in number. MICHAELS -LRB- up at Bubble. -RRB- Captain - head back into the Artery.","INT. BUBBLE As if it were a suicidal order : OWENS -LRB- brooking no argument. -RRB- We could never fight that current it's physically impossible. MICHAELS' VOICE -LRB- from below. -RRB- Then do n't drift down further. OWENS I'll do what I can. As he manipulates the controls :","INT. PROTEUS GRANT If we ca n't go back, is there an alternate route? MICHAELS Yes. We can go forward on this course, but it means going directly through the Heart.","INT. BUBBLE Owens is appalled as he sees the route being traced on the Repeater, down the Jugular Vein toward the Heart. Before it can go any further : OWENS -LRB- alarmed. -RRB- We ca n't do that! We decided in the Briefing - the craft could never stand the turbulence!","INT. PROTEUS Michaels looks up from the chart, to the others. MICHAELS Yes, it would be a hundred times worse than the whirlpool. The others respond with grim realization of what it portends. GRANT That's just dandy. We ca n't go forward - and we ca n't go back. MICHAELS I'm afraid there's only one thing we can do. Call off the mission. CORA -LRB- emotionally. -RRB- Doctor. you ca n't mean that! Not when we've come this far. And if we give up, there'll be no way of saving Mr. Benes - DUVAL Dr. Michaels is right. We have no choice. MICHAELS -LRB- to Grant. -RRB- Tell them to take us out. GRANT If there's any chance - MICHAELS -LRB- an order. -RRB- Request removal, Mr. Grant. As Grant moves to the wireless :","INT. CONTROL TOWER Carter and Reid are looking down into the MAIN OPS ROOM at the replica of the Proteus. It is in the same position as last seen in the Jugular Vein on the big grid. REID But we have no choice! We've got, to take them out! CARTER -LRB- adamantly. -RRB- No. He turns away from the window as a message is heard coming in. With seeming unawareness of the incoming message, Carter looks at the Minute Recorder, It is flashing < 51 >. CARTER We still have fifty - one minutes. Leave them in. REID But it's hopeless! They ca n't go back and they ca n't go on. I tell you there's nothing else we can do but remove them! CARTER -LRB- the final word. -RRB- Not until the very last second. We must think of something. Something to save the situation. The incoming message stops. The Communications Aide takes it from the Wireless Technician. COMMUNICATIONS AIDE -LRB- reading. -RRB- Proteus reports trapped in Venous System. Requests removal, sir. REID Well, there it is. What do I tell them, General? Carter turns his back on him, moves to the window, stands looking down on the OPERATING ROOM. The scene below is almost a tableau, except for the moving Miniature Tracking Devices. The Surgical Team around the table stands watching, waiting. Benes lies motionless. Reid joins Carter. As they both look down at the patient, whose only chance of life is now in their hands : CARTER -LRB- finally. -RRB- Doctor. without killing him - how long could we stop his heart? REID The less time, the better. CARTER I know that. But what's the maximum? REID In his comatose state. and everything slowed down. no more than sixty seconds. Carter takes out a slide rule. CARTER -LRB- as he figures. -RRB- At topspeed. and adjusting distance for Degree of Miniaturization -. -LRB- getting answer. -RRB- The sub should get through the Heart in fifty - seven seconds. REID That would give us only three seconds to revive him. CARTER What are the problems in stopping the Heart? REID Nothing - compared to starting it up again. From the window, Carter can see the big Minute Recorder in the Operating Room flashing from < 51 > to < 50 >. CARTER We're wasting time, Colonel. Let's get on with it. The decision made, Reid takes command. REID -LRB- to Technician. -RRB- Heart. Technician presses monitor button. As Carter moves to the Communications Aide, the HEART POST flashes on the TV screen. REID -LRB- to Heart Post. -RRB- we're stopping the Heart. CARTER -LRB- to Communications Aide. -RRB- Message to Proteus. Now both give their orders simultaneously. As Reid speaks, we can see the HEART POST swing into action on the TV screen : the big X - rays of Benes light up on panels, a CATHODE TUBE recording his heartbeat becomes activated. The Heart Specialist and several Heart Technicians are seen leaving the POST. Meanwhile, the Communications Aide is taking down Carter's message for transmission. CARTER You are heading in the opposite direction of the Target Area, as a result of crossing over into the Jugular Vein. Since you are in a closed system, you will have to go through the Heart and proceed on your mission by taking an alternate route. We will stop Benes' Heart for exactly sixty seconds. Maintaining maximum speed, you will get through in fifty - seven seconds. That will give us three seconds to spare in which to revive him. Stand by for exact instructions - REID An Arterio - Venous Fistula has forced the Proteus into the Venous System. At this moment, it is in the Lateral Cervical Region, anterior to the anterior to the Cervical Plexus. The haemo - dynamics of the Venous System are at absolutely minimum levels. It would be fatal to further decrease the rate of flow by Hypothermic means. In order to minimize the turbulence, we will have to arrest the Heart. The Proteus will proceed to the entrance of the Right Atrium -","INT. OPERATING ROOM Reid's Voice is heard as the Heart Technicians rig Benes for electric shock with a Cardio - Verter. They are removing the top third of the Thermal Blanket. When his chest is exposed, they apply electrodes to it. Then the Technicians take their places at the various Cardiac Instruments which are recording the pulse and configuration of the heartbeat. The last is visible on the big cathode tube of the Cardioscope, a replica of which was seen in the Heart Post.","INT. PROTEUS All are listening to Grant reading the end of the message. GRANT - at which point the Heart will be stopped by electric shock. CORA -LRB- into the silence. -RRB- And if it should take more time to get through - DUVAL -LRB- flatly. -RRB- We ca n't take a second more. MICHAELS -LRB- up at Bubble. -RRB- Captain - head in the d1rection of the flow and drift with it. He takes out a detailed Cardiac Map.","INT. BUBBLE Through the Repeater, Owens can see Michaels spread the Cardiac Map. He reacts to its great complexity. OWENS I'll never find my way through that. MICHAELS I'll guide you, once we're in the Heart.","EXT. PROTEUS Drifting down the Jugular Vein.","INT. MAIN OPS ROOM The Grid Officer can be seen moving the replica of the Proteus down the Jugular Vein.","INT. CONTROL TOWER Carter and Reid are looking down at Benes in the OPERATING ROOM.","INT. OPERATING ROOM Benes is now rigged for electric shock. The Tracking Devices are concentrated on his chest. The Heart Specialist looks at the Cardioscope Screen. The big screen registers the beat of the Heart with a cathode - tube effect, each pulsation causing an electronic pattern. They are very slow, regular. The Heart Specialist nods to one of his Technicians who wears headphones. The latter presses a button.","INT. CONTROL TOWER A warning buzzer SOUNDS. The Communications Aide moves up to Reid and Carter at the Tracking Station Monitor and Radarscope. COMMUNICATIONS AIDE Ready for Cardiac Shock. Reid nods, acknowledging the message. As he removes the map off the Radarscope, Carter takes out an OVERLAY MAP OF THE HEART from the Map Case and places it on the Radarscope. The blip is seen progressing down the Vena Cava, leading to the entrance of the Heart. REID -LRB- pressing button. -RRB- Stand by. Carter takes out a stop watch.","INT. PROTEUS Grant and the others respond as they begin to hear the SOUND of a distant boom - boom, slow and measured. It has an ominous effect. It quickly gets louder during : CORA -LRB- in awe. -RRB- Listen. the Heart. MICHAELS Yes. slowed down agreat deal. GRANT Sounds like heavy artillery. MICHAELS It lays down quite a barrage in a lifetime. Forty million beats. DUVAL -LRB- quietly. -RRB- And every beat separates a man from. -LRB- LINE OF DIALOGUE CUT OFF. -RRB-","EXT. PROTEUS - IN VENA CAVA The SOUND of the Heart is now very loud, each measured boom like heavy artillery in a relentless barrage. The headbeams illuminate the long passage, the walls of which are lost to view.","INT. PROTEUS Grant and the others look on ahead, responding to the now - deafening beat, which increases as they near the source in the bluish channel. And then they react with wonder as they see : LONG SHOT - TRICUSPID VALVE - P.O.V. PROTEUS In the distance, three huge membranes are billowing open, with tendrils resembling supporting strands of parachutes.","EXT. PROTEUS - IN THE ATRIUM The parachute - like membranes are at the end of the Atrium, the entrance of which the sub now approaches. As the membranes blossom fully, with a lovely effect, a big aperture is revealed. The dilation causes a big forward surge of the stream.","INT. PROTEUS All hold onto whatever is at hand as the sub is swept onward, rocking with the tidal wave. Now in the distance they can see : LONG SHOT - TRICUSPID VALVE - P.O.V. PROTEUS It is beginning to close, the three membranes seemingly collapsing like three parachutes over the aperture. The boom of the beating Heart is massive, making any communication very difficult. MICHAELS -LRB- over the sound ; up at Bubble. -RRB- Captain! They'll stop it on the next beat!","INT. BUBBLE Owens at the controls, eyes on the now - closed membranes, as he hears : MICHAELS' VOICE -LRB- from below. -RRB- As soon as the Valve opens again, go through and give it everything you've got! TRICUSPID VALVE - P.O.V. BUBBLE The sub approaches the now seemingly solid wall. Owens steers directly to where he last saw the aperture. The closed membranes loom closer and closer, the headbeams illuminating the delicately threaded strands. Suddenly, the three membranes start billowing open again. THE CARDIOSCOPE SCREEN The electronic pattern is recording the beat. THE CARDIO - VERTER AND TECHNICIAN He immediately presses the triggers on two electrodes held against Benes' chest. AMPERE NEEDLE ON CARDIO - VERTER The needle swings over into the red zone. THE CARDIOSCOPE SCREEN The electronic pattern indicating the heartbeat instantly flattens out and remains so.","INT. BUBBLE Owens is throwing on the full - speed - ahead control. The sound of the Heart has completely stopped.","EXT. EXHAUST JETS A surge from the twin jets as the sub is propelled forward with a tremendous burst of power.","INT. PROTEUS All hang on against the acceleration. PROTEUS IN TRICUSPID VALVE As it sweeps through the now - motionless membranes which wave limply in the stream, with no life of their own.","INT. OPERATING ROOM A tense silence pervades. The Heart Specialist and his Technicians concentrate on the various instruments. The Surgical Team stands by, immobile. TRACKING DEVICES The little cones are the only things that move in the Operating Room. As they weave back and forth : STOP WATCH Calibrated in seconds. The hand is now crossing < 5 >.","INT. CONTROL TOWER In the silence, Carter looks up from the stop watch in hand to check with the big radar screen. Moving across the OVERLAY MAP OF THE HEART is a blip, indicating the sub's passage.","EXT. PROTEUS - IN RIGHT VENTRICLE Racing through a subterranean channel partially illuminated by the headbeams : a forest of tendrils, connecting huge roots which are the chordae tendineae extending into the walls. The color of the stream is predominately blue, and the overall effect is that of a weird wonderland. As the sub surges ahead at top speed :","INT. OPERATING ROOM Everyone stands rooted.","INT. CONTROL TOWER - HEART MAP OVERLAY ON RADAR SCREEN The blip has crossed more than half the distance. Carter and Reid look on, tense. The Proteus moves further down the Ventricle. Carter glances at his stop watch. CARTER Twenty - four seconds left including the three to revive him.","INT. PROTEUS Michaels is anxiously scanning the way ahead for signs of an opening. There is none. OWENS' VOICE -LRB- from above. -RRB- Nineteen seconds, Doctor. MICHAELS The Semi - Lunar Valve should be on our left any time now.","INT. CONTROL TOWER Reid and Carter are tensely watching the Heart Map Overlay, as the time runs out and the sub is nearing the end. Carter looks at the stop watch. It now shows only fifteen seconds to go, which means they must be out in twelve.","INT. OPERATING ROOM The Heart Specialist is watching the blip nearing the end of the Radar Screen, with time running out. The Heart Technician standing before the Cardio - Verter stands immobile, looking at the needle which is at Zero Amperes.","EXT. PROTEUS - IN RIGHT VENTRICLE Racing at top speed through the immobile forest of tendrils.","INT. PROTEUS Suddenly, off to the side, Grant sees a small opening, half - moon in shape. GRANT There it is! MICHAELS Fasten yourselves in. There should be a tremendous surge when the Heart starts up again. DUVAL If it does. Grant throws him a look as they quickly start to get into their harnesses.","INT. BUBBLE Steering for the opening, Owens glances at the Second Recorder on the panel. OWENS Eight seconds left -","INT. CONTROL TOWER On edge, Reid and Carter are watching the blip on the OVERLAY MAP OF THE HEART on the Radarscope. If the sub makes it, it will be exactly in 57 seconds. There are now only six seconds left.","INT. OPERATING ROOM All are focusing on the Radarscope. Five seconds left. HEART SPECIALIST Stand by. The Technician at the Cardio - Verter is set to press the red button.","INT. CONTROL TOWER Carter and Reid hold their breath as they see : STOP WATCH It now reads < 56 >. OVERLAY MAP OF THE HEART As the blip approaches the Semi - Lunar Valves, a warning buzzer SOUNDS.","INT. OPERATING ROOM - RED BUTTON OF CARDIO-VERTER A finger presses it. PULSE RATE NEEDLE ON CARDIO - VERTER It swings over, recording the first shock. CARDIOSCOPE SCREEN The cathode tube registers nothing. HEART SPECIALIST AT CARDIO - VERTER Concerned, he never takes his eyes off the Cardio - scope Screen. He increases the pulse rate. CARDIOSCOPE SCREEN It still records nothing. The Heart Technicians and the Surgical Team exchange tense looks. Again the Heart Specialist increases the pulse rate. PULSE RATE NEEDLE ON CARDIO - VERTER As it swings over, recording a higher and higher output.","EXT. PROTEUS - IN RIGHT VENTRICLE Bathed in weird St. Elmo's fire as it keeps racing toward : SEMI - LUNAR VALVE which suddenly dilates into a huge opening. And with it comes an immense surge of the stream from behind, and the first boom of the Heart.","EXT. PROTEUS It is swept through the Semi - Lunar Valve and into : ORIFICE OF PULMONARY ARTERY - SHOOTING TOWARD SEMI - LUNAR VALVE Out of which the Proteus is thrust on a great tidal wave of the bluish stream.","INT. OPERATING ROOM - CARDIOSCOPE The electronic pattern is on full - a leap of life. The Heart Specialist and the others react with relief as now the EKG and the other instruments begin recording Benes' return from the dead.","INT. CONTROL TOWER Reid and Carter are at the window overlooking the OPERATING ROOM. COMMUNICATIONS AIDE Proteus in Quadrant 161 Level E. They leave the window and walk over to the one where they can view the MAIN OPS ROOM. They see the Grid Officer is moving the tiny sub into the wide channel leading to the Lungs. CARTER They're in the Pulmonary Artery. REID They'll make up some time, once they get through that and reach the Pleural Cavity. -LRB- to Technician. -RRB- Respiration Post. On the monitor next to Reid, a Technician flashes on the INTERIOR OF THE RESPIRATION POST. The calibrated charts marked INHALATION and EXHALATION indicate the return to breathing. REID What's his rate, Jack? LUNG SPECIALIST -LRB- over TV. -RRB- Back to six per minute. Reid reaches out, knocks a cup of coffee off the Central Control Section, spilling it on his trousers. REID Damn. And I just had them cleaned.","EXT. PROTEUS - IN PULMONARY ARTERY It is now flowing down to its normal speed. Through the smooth endothelial walls, we see the outlines of what appears to be a maze of mammoth conduits arching above and beneath the channel through which the sub is proceeding. Smaller conduits divide and subdivide from the circular immensity, to be lost in the distance. The effect is that of a multi - level series of Over and Underpasses.","INT. PROTEUS All are out of their harnesses. Grant, Duval and Cora are at the bow windows, looking out. Michaels is at the console, plotting their position on a detailed Map of the Lungs. GRANT I'd hate to get lost on that Freeway. DUVAL They all lead to the same place - the Lungs.","INT. BUBBLE In the light of the headbeams, Owens can see the Walls becoming increasingly narrow and more transparent. He glances at his Repeater, sees the Lung Chart reflected, with the co - ordinates pinpointing their position. OWENS Doctor - the channel's getting awful narrow. MICHAELS' VOICE -LRB- from below. -RRB- We're entering a Capillary. Remain in the middle. OWENS -LRB- fascinated. -RRB- The Wall's transparent. MICHAELS' VOICE -LRB- from below. -RRB- It's less than one ten - thousandth of an inch thick. And porous.","INT. PROTEUS - AT WINDOW Grant reacts as he sees a peculiar phenomenon : the big - bluish corpuscles which stream past the submarine are turning bright red the instant they impinge against the Capillary Wall. They keep moving on, in a constant flow, taking on their new color during : GRANT -LRB- amazed. -RRB- Look at that. they're changing color. CORA -LRB- thrilled. -RRB- Doctor - is it possible? That we're seeing it happen before our eyes? DUVAL -LRB- quietly. -RRB- Yes, Cora. We're the very first to see the process. They both look out, too deeply moved to speak. Atter a moment : GRANT Mind letting me in on what's going on out there? DUVAL A simple exchange, Mr. Grant. Corpuscles releasing carbon dioxide - the moment they touch the Wall of the Lung - in return for oxygen coming through from the other side. GRANT Do n't tell me they're refueling. DUVAL -LRB- almost in a reverie. -RRB- Oxygenation. Cora turns to look at him, feeling close in this shared moment. Grant, too, is moved by Duval's manner. Michaels glances up from the Lung Map. DUVAL -LRB- still gazing out. -RRB- We've known it exists - even though we never saw it. like the structure of the Atom. But to actually behold one of the miracles of the Universe - the engineering of the Cycle of a Breath. He is too moved to continue. MICHAELS -LRB- into the silence. -RRB- Nothing miraculous about it. Just an interchange of gases. The end product of five hundred million years of Evolution. DUVAL You ca n't believe all that's accidental? That there is n't a Creative Intelligence at work - Before Michaels can answer, they hear a warning buzzer SOUND in the Bubble above.","INT. BUBBLE The buzzer is going while a red light is flashing on the panel. Owens looks startled at : PRESSURE GAUGE ON PANEL The indicator is dropping rapidly toward a red horizontal line delineating the danger level. Owens flicks the button off and on rapidly, as if testing the mechanism, but the indicator keeps dropping. He shuts off the buzzer. OWENS -LRB- imperatively. -RRB- Grant.","INT. PROTEUS All look up toward the Bubble, at the urgency of his tone. Grant moves from the bow toward the console during : GRANT What is it, Skipper? OWENS' VOICE -LRB- trom Bubble. -RRB- We're losing pressure in the Flotation Tanks. Check the Manual, right over there. Grant can see him pointing to the Manual Control Section at the rear of the kiosk. GRANT Right. He moves quickly to : MANUAL CONTROL SECTION Over a series of controls are numerous gauges. The indicators marked TANK RT and TANK LT show the left tank is rapidly losing pressure. GRANT -LRB- up at Bubble. -RRB- The left tank's losing pressure.","INT. BUBBLE Owens presses a button and swivels around. With him we see : P.O.V. - EXT.. STERN OF PROTEUS A stream of large air bubbles is pouring out behind them.","INT. BUBBLE Startled, Owens presses the button which swivels him back. OWENS Grant! Get up here, quick! He starts getting out of his harness.","INT. PROTEUS As Grant moves toward the Bubble, he passes Duval and Cora, who are now looking toward the stern. CORA -LRB- with apprehension. -RRB- Air bubbles! Doctor - DUVAL No danger of an embolism. At our reduced scale, they're much too minute to prove fatal to Benes.","INT. BUBBLE As Grant appears, Owens is slipping out of his harness. OWENS There's a short in the valve. Take over. -LRB- of controls. -RRB- Steers like an airplane. Grant nods as he gets into the seat. Owens starts quikly down the kiosk, leaving Grant at the controls.","INT. PROTEUS Cora and Duval, at the window, watch anxiously as Owens moves to the Manual Control Panel. Michaels remains at the console, also deeply concerned. Owens opens the Circuit Panel, revealing a maze of wires and circuit breakers. Only someone with an intimate knowledge of the sub could posslbly find the right one. Owens does quickly. He trips a switch, shuts the panel. He turns, sees their anxious looks. OWENS Well, that takes care of the valve. It was probably caused by that electric shock. MICHAELS -LRB- to Owens. -RRB- Was there any damage? OWENS Not to the valve. But we've lost too much air to make it the rest of the way. DUVAL What do you propose we do, Captain? OWENS Nothing we can do. We must have full tanks to continue. He starts up toward the Bubble, leaving the three staring at each other in consternation.","INT. BUBBLE As Grant slips out of the seat and Owens resumes at controls : GRANT Any reserve air? OWENS Enough to breathe, but that's all. Grant starts down.","INT. PROTEUS He steps into the cabin in time to hear : DUVAL -LRB- ironically. -RRB- Just a few cells away from a vast air chamber - one of the countless Alvioli of the Lung - and we ca n't get enough to fill a microscopic tank. GRANT Maybe we can. -LRB- as they look at him in bewilderment. -RRB- Skipper, is there a snorkel on this sub? OWENS' VOICE -LRB- from Bubble. -RRB- Yes, there is. GRANT -LRB- to Michaels and Duval. -RRB- Could I run a tube through that Wall, without harming Benes? MICHAELS At this size, I would certainly think so. GRANT If those Corpuscles can take on air, no reason why we ca n't. -LRB- to Duval. -RRB- All we have to do is hook up the snorkel to that air chamber you were talk1ng about, and when Benes inhales, there should be plenty of pressure to force the oxygen into the tank. -LRB- up at Owens. -RRB- How's that sound to you, Skipper?","INT. BUBBLE As Owens considers the possibility : OWENS It's a dangerous procedure. If I miss the timing, we could explode the tanks. But I'm willing to try it.","INT. PROTEUS MICHAELS Yes, by all means. We must try it. OWENS' VOICE -LRB- from Bubble. -RRB- It'll be safer if everybody leaves the sub. Grant moves to the aft compartment, opens the door, goes into :","INT. LAB AND STORAGE SECTION As he moves to compartment containing the Underwater Gear, he is jolted by something he sees o.s. LASER OVER WORKING COUNTER It is swinging loose on one hook, its plastic cover off.","INT. LAB AND STORAGE SECTION Grant takes a step toward it, stops. GRANT Cora! After a moment, she appears. She follows his look toward the laser, reacts aghast. GRANT Looks like you did n't batten it down too well. CORA But I did. I'm positive! Duval and Michaels appear in the doorway in time to hear : GRANT Then how come it worked loose? CORA I have no idea. DUVAL Cora, is something wrong with the laser? CORA -LRB- distraught. -RRB- I do n't know yet, Doctor. And I wo n't know until I test it. GRANT That'll have to wait until after we're refueled. As he takes out the Underwater Gear and passes it to the three : CORA -LRB- righting laser. -RRB- I ca n't imagine how it possibly could have come loose. I distinctly recall fastening it with all four bolts - MICHAELS It must have been jarred loose during the whirlpool. Grant and Michaels exchange looks, as if neither are satisfied with the explanation. GRANT -LRB- of gear. -RRB- Well, let's get into these as quickly as possible. He leads the way out. Michaels and Duval follow. Left alone, Cora starts to unzip her jumper, revealing she is wearing her swim suit beneath. Her eyes remain on the laser, now her prime source of anxiety.","INT. MAIN OPS ROOM Starting on the grid map, we see the sub in the channel of the Pulmonary Artery. CAMERA then TILTS DOWN to the Radarscope, where the blip is blinking on and off in one place, without moving.","INT. CONTROL TOWER On the monitor at the Map Table, we see the INTERIOR OF THE TRACKING POST, where the same blip is in the identical stationary position on the Radarscreen. PULL BACK to include Reid staring at the blip on the monitor. Carter is pacing on the other side of the table. REID They've stopped - on the outer limits of the Right Lung. Carter looks at the Minute Recorder. It reads < 42 >. CARTER Another delay. With only forty - two minutes left. REID It'll be close - but there's still a margin of safety. CARTER Let's find what the devil's holding them up! -LRB- to Wireless Technician. -RRB- Contact the Proteus! As the message is heard being tapped out : REID -LRB- glancing at Monitors ; none are on. -RRB- It must be some kind of mechanical difficulty. The tapping stops. As they wait for an answer, Carter pours a stream of sugar into his coffee. REID I told you to cut down on the sugar. CARTER I ca n't help it. I'm just weak, I guess.","INT. PROTEUS - AT DOOR OF ESCAPE HATCH All have stepped out of their jumpers and are now revealed in their swim suits except Owens, who remains in the Bubble. The suits are form - fitting, antiseptic - looking, with a Breather Pack strapped to the back. Duval is tightening Cora's pack. Grant is checking Michaels' pack. The latter looks in rear at the small hatch, visible through the open door. The wireless starts tapping again. CORA -LRB- of tapping wireless. -RRB- Should n't you answer that? GRANT -LRB- putting on swim mask. -RRB- Not now. We need air, not greetings! He motions Michaels to precede him into the hatch. Face reflecting his irrational fear, Michaels puts his swim mask over his fear. But he freezes at the door, unable to step into the small hatch. Grant and Duval exchange looks. GRANT Let's go, Doctor. Michaels forces himself into the Escape Hatch. Grant follows, closing the door.","INT. ESCAPE HATCH There is only space for the two. Michaels cowers against the wall, palms pressed against the metal, fighting against another seizure of his phobia. Grant opens a valve. Liquid starts pouring into the hatch from several ports. When it is up to their chins, Grant bends down to unlock the ventral hatch.","EXT. PROTEUS Grant drops out of the hatch. Michaels follows. Grant then closes the hatch. With Grant in the lead, they swim toward :","EXT. TOP OF PROTEUS Grant reaches the snorkel, looks toward Bubble.","INT. BUBBLE Where Owens has now swiveled so that he faces the stern. Owens sees Grant signal to proceed. Owens presses button on SNORKEL RELEASE.","EXT. PROTEUS The snorkel starts rising. When the tube is a few feet above the sub, Grant takes the bobbing end, holds it under one arm, and starts swimming with his free arm toward the Capillary Wall on the left.","EXT. SIDE OF PROTEUS As Grant swims by with the end of the unreeling tube, Michaels joins him. Then Duval and Cora, who are now coming out of the ventral hatch. All swim to the nearby Capillary Wall. -LRB- NOTE : During the following, their action is complicated by the big Corpuscles flowing by in a steady stream, taking on oxygen and bumping into them. -RRB- They reach :","EXT. ALVEOLAR CREVICE It shimmers with the liquid that seems to cover it like a door of reflecting glass. The opening is just large enough for all to look within. They see :","INT. ALVEOLUS A vast conical volcano, the upper part lost to view. Numerous outcroppings of immense crags are visible on all sides. GRANT It's full of rocks! -LRB- NOTE : During all Swimming Sequences, we will hear the Speaker's Voice via the AUDIO PICKUP within the swimming mask of the one who responds vocally. -RRB- MICHAELS In a way - yes. Those are impurities imbedded in the Lung after a lifetime of ` Civilization.' Carbon from smoke and smog - specks of dust - GRANT Well, we better get on with it. He starts shoving the front of the snorkel through the vertical liquid entrance. To his startled surprise, it immediately comes flying out with great force. Michaels and Duval grab it in time to prevent the snorkel from snaking off down the stream. MICHAELS Careful! There is a tremendous air pressure in there - in relation to our size! Grant grabs hold or the front part again. GRANT I'll try to hold it from the other side of the wall, while you push from out here. Maybe that'll do it. CORA You ca n't - it's too dangerous - MICHAELS Yes - with all that pressure, and suction within - GRANT There's no other way. Tie my safety line to the sub. DUVAL Here, let me have it. Grant takes out his safety line, hooks it onto his suit. Duval starts swimming with the other end back to the Proteus.","INT. BUBBLE Owens is eyeing the pressure gauges anxiously. He reacts as he sees :","EXT. PROTEUS - P.O.V. BUBBLE With Owens we see Duval is nearing the sub, the safety line strung out behind him.","EXT. PROTEUS - AT VENTRAL HATCH Duval hooks Grant's safety line onto a ring for the purpose, signals :","EXT. ALVEOLUS CREVICE Grant acknowledges signal. The Alveolar Wall can be seen dilating slightly. GRANT All right now - push the snorkel through as soon as I get inside. MICHAELS -LRB- eyes on Wall. -RRB- Walt for the lull - between the time he inhales and exhales. As the dilating stops : MICHAELS Grant pushes quickly through the shimmering entrance.","INT. ALVEOLUS He has literally transposed himself into another element : air. There is no turbulence, no sound. Instantly he props his feet against both sides of the entrance. The snorkel is shoved through. As he grabs it and holds, a breath is heard starting. Only Grant can hear the ensuing sound. CAPILLARY SIDE OF ALVEOLUS Duval now joins Michaels and Cora. They hold against the increasing pressure from within. Grant can be seen straining on the other side against the enormous wind pressure.","INT. BUBBLE Owens' finger is on the button of the MASTER PRESSURE GAUGE, waiting. Tha indicator is quickly swinging toward FULL.","INT. ALVEOLUS The wind is rising to gale force. Grant is holding on with all his strength to the end of the snorkel. The others can be seen pushing from their side, to keep the tube from flying out. MASTER PRESSURE GAUGE As the indicator hits the FULL position : AIR TANK CONTROL BUTTON Owens' finger presses down while : OWENS' VOICE -LRB- o.s. -RRB- Full!","INT. ALVEOLUS In response, Grant lets go of the snorkel, which is instantly whipped out. Buffeted by the howling wind, he now tries to get out. But the hurricane causes Grant to lose his balance. He falls, slammed against the outcroppings by the force of the wind. Finally the lull comes. Instantly, Grant starts climbing back, hand over hand, using the rope as one would in scaling a mountain. The crevice is still far up ahead when suddenly a new breath starts in the upward direction. Grant is caught in the tremendous suction of the exhalation and is pulled toward the interior of the Lung. SAFETY CLASP ON SUB RING The Safety Clasp breaks off at the end of the nylon.","EXT. ALVEOLUS CREVICE Michaels, Duval and Cora react as the line snakes past them through the crevice. CORA -LRB- horrified. -RRB- He's gone!","INT. ALVEOLUS The suction sends Grant flying upward, past the crevice, with the safety line trailing after him. The wind whips him toward a fantastic height. Finally he hits : COLUMNAR CILIA Long stalks, with a waving motion that makes it resemble a vast field of wheat. Grant is seen flying through it, until he is lost from view. Then as the wind subsides :","EXT. ALVEOLUS CREVICE The three are waiting, tense. DUVAL -LRB- to Michaels. -RRB- What can we do? MICHAELS Nothing - against all that force. CORA But we just ca n't leave him in there! What'll happen to him? MICHAELS We'll know - in the next breath. They react as they see the Alveolar Wall starting to dilate again, signaling the advent of another breath.","INT. ALVEOLUS - SHOOTING UP The wind starts howling. And then Grant is seen at a vast height, plummeting down. Part of the way he hits a spongy area, bounces, is caught up again by the blasting wind, hits another spongy section, with a big outcropping of `` rock.''","EXT. OUTCROPPING Fighting the gale, he manages to snake his safety line around the big rock. As he hangs on, he sees : P.O.V. - PRINCIPALS AND SUB - THROUGH CREVICE Not too far above, with rocks between. GRANT He waits it out until the howling tornado subsides. Then in the lull, he releases himself quickly and clambers toward the opening. He thrusts himself through the crevice, just as another breath begins.","EXT. ALVEOLUS CREVICE The others grab him, pull him through all the way before he can be sucked back.","EXT. CAPILLARY WALL - P.O.V. BUBBLE Owens is relieved to see the four start swimming back to the sub.","INT. CONTROL TOWER Carter is pacing in the heavy silence. Reid is watching the monitors. Carter glances at the Minute Recorder. It flashes to < 37 >. Suddenly the tapping starts. Tense, they wait for the message. It is brief. As the Wireless Operator tears it off the pad, Carter takes it. CARTER -LRB- reading. -RRB- ` Proteus reports putting in to refuel air. Proceeding through the Pleural Cavity.'. -LRB- suddenly realizing. -RRB- Refuel air? As Reid starts to remove the OVERLAY MAP OF THE HEART from the Radarscope : REID Why not? They had a choice of over a billion Alveoli. LONG SHOT - PROTEUS IN PLEURAL CAVITY The lone voyager is proceeding in a calm sea. Its headbeams reflect a yellowish cast, which becomes increasingly warm and sunny during the scene.","INT. BUBBLE Owens glances at the Repeater. The co - ordinates show the sub is traveling toward the apex of the Pleura, to the north, which is bounded by an undefined area simply marked `` Lymphatic.'' A sense of absolute serenity seems to pervade. Abruptly : SMASHED LASER TRANSISTOR as it is placed on the edge of an array of disassembled parts.","INT. LAB SECTION - WORKBENCH Cora is putting the tiny transistor down. Then, with a tweezers, she takes out the last part : a hair - like strand of wire. To Duval, who is beside her : CORA And a broken trigger - wire.","INT. LAB AND STORAGE SECTION Grant and Michaels are standing at the doorway, reacting to : DUVAL -LRB- fingering the parts. -RRB- A smashed transistor. No way to fire the lamp. Well, that's the end of the laser. Grant and Michaels exchange looks. GRANT -LRB- to Cora. -RRB- You must carry spare parts - CORA Not anything built into the chassis. -LRB- with guilt. -RRB- If it had n't come loose - MICHAELS That's beside the point now. -LRB- to Duval. -RRB- I do n't see the sense of going on. CORA We must! MICHAELS With no laser - GRANT -LRB- to Duval. -RRB- Is n't there another surgical procedure you can try? DUVAL No, there's no other way. Before Michaels can answer, Grant squeezes into the compartment, picks up the broken transistor. GRANT -LRB- to Cora. -RRB- If you had a transistor about this size and power output, and a thin enough wire -. -LRB- of laser. -RRB- - could you piece it together? CORA No, it requires such absolute precision - GRANT A surgeon might. CORA Oh yes, I'm sure Dr. Duval could. If we had the parts. GRANT I've got a source. All I have to do is tap it. At their blank looks, he turns and moves into :","INT. PROTEUS As he goes to the wireless and begins to unscrew the panel, Michaels suddenly realizes : MICHAELS Grant - wait a minute - you're not going to dismantle the wireless? GRANT Just one little transistor and a circuit wire is all it takes. MICHAELS But that'll knock out our communications! We'll be cutting ourselves off from the outside. GRANT They'll still be able to track us by radar, because of the radioactive fuel. He moves to the panel, revealing a maze of electronic parts. GRANT Well, sir? Which is it? The wireless, or Benes' life? MICHAELS -LRB- finally. -RRB- Send the following message.","INT. CONTROL TOWER A LUNG OVERLAY MAP is now on the Radarscope. Reid and Carter see the Grid Officer is moving the replica of the Proteus into the next quadrant of the Pleural Cavity. An incoming message is heard. The Wireless Operator takes down the message. As the tapping stops : CARTER -LRB- reading. -RRB- ` Cannibalizing wireless to repair laser. This is last message.' Reid and Carter exchange grim looks. CARTER Incommunicado. Now they're really on their own. Reid moves to the window overlooking the OPERATING ROOM. As he looks down on Benes and the little Tracking Devices weaving back and forth across his chest : REID -LRB- quietly. -RRB- We can still track them - but that's all we can do. Carter joins him. As they both look down : CARTER Something told me I got into the wrong end of the bus1ness. -LRB- answering look. -RRB- Space. TINY TRANSISTOR AND STRAND OF WIRE In the palm of Grant's hand. Cora's fingers delicately pick up both. CORAlS VOICE -LRB- o.s. -RRB- The transistor will do. But the wire's much too thick.","INT. LAB AND STORAGE SECTION Duval is picking up the original wire with the tweezers and placing it on a contrasting surface during : GRANT Nothing closer. As Cora turns to the workbench : DUVAL I may be able to scrape it thin enough. Cora, get me a number eleven scalpel. She puts the transistor and wire down on the workbench and moves to open a medical kit. Duval takes the wire and places it between two small clamps on the workbench. Cora extracts a scalpel, gives it to him. Duval swings a magnifying glass over the strand as Cora trains a light on the wire. Duval bends over. Peering through the magnifying glass, he slowly begins to scrape the strand with the scalpel. GRANT AND MICHAELS They exchange looks. Then Grant turns away.","INT. PROTEUS Grant leads the way to the bow. As they look out : GRANT Looks like the sea, at dawn. MICHAELS We're safe - long as it remains that color. -LRB- answering look. -RRB- We're in the Pleural Sac. -LRB- indicating arched dome far above. -RRB- It keeps the Lungs from rubbing against the Wall of the Chest up there. When those membranes become inflamed, we wind up with Pleurisy - and a wracking cough. GRANT Cough? If he can kick up a storm by just - MICHAELS His Pleura's in fine condition. It should be clear sailing through this area. GRANT Let's hope. So far, somebody's tried to sabotage this mission twice. He glances back in the direction of Duval. Both drop their voices so that Duval and Cora ca n't hear : MICHAELS -LRB- startled. -RRB- Sabotage? I do n't understand. GRANT I saw the laser just before we started. It was fastened down securely. You do n't suppose what happened was an ` accident?' Any more than my safety line snapping after it was tied off to the sub? MICHAELS You have no right to blame Duval - GRANT That line was tampered with. MICHAELS -LRB- agitated. -RRB- I - I do n't know what to say. I know he's under a cloud, but there's not a more dedicated man in the entire medical profession. GRANT You still never know what's going on in anyone's mind. MICHAELS -LRB- with finality. -RRB- I ca n't believe it. Whatever happened was an accident. GRANT Two in a row? MICHAELS It's possible - Grant looks at the Minute Recorder. It now reads < 32 >. GRANT Thirty - two minutes left. -LRB- back to Michaels. -RRB- But chances are we wo n't have to wait that long for try - number three. OWENS' VOICE -LRB- from above. -RRB- Look at those Walls up ahead! Grant and Michaels look out through the bow. Grant reacts amazed as he sees : ENTRANCE OF LYMPHATIC DUCT - P.O.V. BOW A huge tube - like structure looms up. The Walls are transparent, composed of a single layer of squamous cells with round nuclei. Since the color of the stream is now predominately yellow, the globs create the impression of innumerable : GRANT'S VOICE -LRB- o.s. -RRB-?!","INT. BOW As Michaels moves to the console : MICHAELS -LRB- with smile. -RRB- We're entering the Lymphatic System. Those are nuclei of cells, lining a Duct. GRANT -LRB- puzzled. -RRB- I always had an idea there was only one System. The Circulatory. MICHAELS The Lymphatic System drains off excess fluid from the Tissues. Without it, we'd all swell up like balloons. He reaches the console, begins to take out a new chart.","INT. BUBBLE The new chart suddenly becomes visible on the Repeater as it is spread out below. Owens reacts to the labyrinth. OWENS Looks like quite a Navigation problem. The co - ordinates are seen being moved to indicate the sub is passing through a Lymphatic Duct on its way to the first Node, which is followed by a series of others, strung out like sausage links. MICHAELS' VOICE -LRB- from below. -RRB- Only until we get through the Nodes - the Lymphatic Glands. Follow your present compass heading.","EXT. PROTEUS - LYMPHATIC DUCT As it courses easily through the sunny stream, to suddenly emerge into :","EXT. LYMPHATIC NODE A startlingly different world. The headbeams reveal what appears to be an underwater marshland : a tangle of reticular fibers which wave with the gentle cross currents seeping through the mesh. Weird bacterial forms drift by, moving in groups like raiding parties. The yellowish light of the Lymphatic Stream still filters through.","INT. BUBBLE Owens is forced to slow down as he carefully begins to thread his way through the tangle, trying not to brush against the tendrils. But for all of Owens' care, the nose of the sub breaks some fibers as it nudges through the increasingly narrow spaces of the brambly mesh.","INT. PROTEUS Grant reacts as he sees the broken fibers drift against the bow windows, and then become momentarily entangled around them. When the tendrils clear the windows, he looks back to the stern. FLOATING TENDRILS - P.O.V. GRANT They are floating aft. Some adhere to the propulsion section, trailing out so that Grant can see them.","INT. PROTEUS Grant reacts, looks back and up toward Bubble. GRANT Skipper, you're picking up seaweed - or whatever it is. MICHAELS -LRB- reassuringly ; at chart. -RRB- Reticular fibers. We ought to be clear of them soon.","EXT. LYMPHATIC NODE - P.O.V. BUBBLE With Owens, we see the way ahead is more tangly. As he keeps slowing down to get through safely : OWENS -LRB- anxiously. -RRB- I hope so, Doctor. If that stuff clogs the vents, the engine'll overheat - He breaks off as a big clump of fibers is torn loose, for all his skillful steering.","EXT. UNDERSIDE OF SUB The mass of tendrils drifts down the length of the underside. Part of the clump adheres to the ventral hatch, another section twines around the exhaust : In so doing, it snags on the brambles beneath.","INT. LAB AND STORAGE SECTION Scalpel poised over the wire, Duval reacts as the Proteus momentarily jars while it pulls loose. He exchanges looks with Cora, who is holding the lamp.","INT. PROTEUS Grant glances back toward the open door of the aft compartment, realizing the danger of trying to repair the laser now. He looks at Michaels, who is bent over the chart. GRANT Doctor - He is interrupted by a loud WHAM against the bow windows. Startled, both look off, see :","EXT. LYMPHATIC NODE - BEGINNING OF BATTLE BETWEEN BACTERIA AND ANTIBODIES - P.O.V. PRINCIPALS Flashing reflected light from the headbeams, elongated crystalline structures with rod - like projections which make linkage possible, are whipping against the bow windows where they have trapped a mass of ferocious - looking large Bacteria. The smaller crystalline Anti - bodies are rapidly coupling with others that speed in to join the fray. The Bacteria fight back with their flagella, in a death struggle. VIEW OF BATTLE FROM INT. BUBBLE Owens ducks involuntarily as the linking Antibodies and the Bacteria slam against the Bubble in such numbers and sizes as to make the way ahead virtually invisible. As a result, the sub tears through a clump of fibers like a scythe.","INT. PROTEUS Duval appears in the doorway. DUVAL What's causing all that -? He breaks off as he sees the Antibodies and Bacteria whipping against the windows. Cora appears behind him, gasps at the sight of the monsters locked in battle. GRANT Looks like somebody declared war. MICHAELS Just what it is. Antibodies, destroying Bacteria - or any other foreign invader that threatens the System. BIG CLOSEUP - ONE ANTIBODY AND BACTERIUM As both slam and hold against the bow windows in a life - and - death struggle. An amazing phenomenon is taking form : Antibodies are hooking up at the rods to completely encase the Bacterium - and the geometric forms fit the antagonist. CORA'S VOICE -LRB- o.s. -RRB- Look - it's taking its exact shape! GRANT'S VOICE -LRB- o.s. -RRB- Like hand - in - glove. MICHAELS' VOICE -LRB- o.s. -RRB- Much closer. Like two atoms. Now the crystalline geometric links start pressing together with inexorable force. The Bacterium fights back with its flagella. Then suddenly it goes limp. As the destroyed Bacterium drifts off, another mass of virulent monsters smashes into the windows and are instantly embattled with a swarm of Antibodies that come linking up. Now the SOUND of the battle can be heard along the entire length of the sub. Meanwhile, the sub is jarred hard, as it breaks through another clump of entangling fibers. The sound and sight of the mortal battle increases in intensity, as does the forced passage during : DUVAL -LRB- with glance at Minute Recorder. -RRB- We'll never get there in time, at this rate. GRANT -LRB- to M1chaels. -RRB- Is n't there another route? So we can by - pass all this? DUVAL Yes. -LRB- to Michaels. -RRB- We can transfer over to the Inner Ear, and go by way of the Endolymphatic Duct. GRANT -LRB- to M1chaels. -RRB- Then why not take it? MICHAELS It's infinitely more hazardous than going this way. Once we enter the Inner Ear, sound in the Operating Room will be disastrous. At our reduced size, the vibrations inside the Ear would have a shattering effect. Another jar of the sub, and more smashing against the hull and bow windows, as the battle of the Antibodies and Bacteria reaches a climax. GRANT -LRB- over sound. -RRB- They're tracking us Topside. Once they see where we're going, I'm sure they'll take every precaution. MICHAELS Let's hope they realize the danger. -LRB- up at Bubble. -RRB- Captain, I'll give you a new compass heading. BENES' SHAVED HEAD With the radial lines in the f.g. Beyond, the Tracking Devices are now weaving back and forth in the area of the Neck.","INT. MAIN OPS ROOM CAMERA on the TRACKING POST, PICKING UP the Four Technicians before their Radarscreens. CAMERA then TILTS UP to the big grid map. We see the Grid Officer above, positioning the replica of the Proteus in the Inner Ear.","INT. CONTROL TOWER Reid and Carter are looking down at the OPERATING ROOM. They turn as the Communications Aide announces : COMMUNICATIONS AIDE Proteus turning in Quadrant 73. Reid and Carter move to window overlooking the MAIN OPS ROOM. They exchange relieved looks as the Grid Officer moves the sub to the lateral quadrant, in the Neck. REID -LRB- with relief. -RRB- At last they're heading for the Inner Ear. Carter glances at the Minute Recorder. It flashes < 27 >. CARTER -LRB- biting into unlit cigar. -RRB- About time they realized they'd never make it the other way. Reid moves to the Control Section, presses button.","INT. OPERATING ROOM The Surgical Team and the Technicians exchange looks as they hear : REID'S VOICE -LRB- o.s. -RRB- The Proteus is about to enter the Inner Ear. You are not to walk, talk, or make a sound of kind. -LRB- strongly. -RRB- must be maintained until they are out of the danger area. As all remain frozen in their positions : TRACKING DEVICE PAN with it to : EXTREME CLOSE SHOT - BENES' EAR CAMERA MOVES IN on the Ear, until it fills the screen. PANEL OF PROTEUS The red warning lights are flashing, the needle of the TEMPERATURE GAUGE is in the danger zone. The SPEEDOMETER is nearing zero.","INT. BUBBLE Owens is working the controls, apparently without avail. He glances anxiously ahead, sees :","EXT. COCHLEAR DUCT - ENDOLYMPHATIC STREAM - P.O.V. BUBBLE A huge clear area. In the distance, a few drifting Antibodies. There is nothing evident that should be giving the Proteus any difficulty.","INT. BUBBLE As Owens looks back with grave concern to the panel, the SPEEDOMETER needle drops to zero.","EXT. COCHLEAR DUCT - LONG SHOT The Proteus is sinking to the bottom.","INT. PROTEUS Duval and Cora are back in the lab Section, working on the laser. Grant is beside Michaels at the chart. Both look up as the Proteus touches bottom with a slight jar. GRANT -LRB- up at Bubble. -RRB- What's wrong, Skipper? OWENS' VOICE -LRB- from Bubble. -RRB- What I was afraid would happen. The stuff we passed through - that looked like seaweed - MICHAELS Reticular fibers - OWENS' VOICE -LRB- from Bubble. -RRB- It clogged the intake vents. We're not getting any propulsion. GRANT Well, there's only one thing to do. As he moves to put on his Breather Pack, Cora appears in the doorway of the Lab Section. She looks anxiously out of the bow windows. In the distance, several Anti - bodies can be seen. CORA You're going out there? With those Antibodies - MICHAELS -LRB- to Grant. -RRB- No danger of attack, as long as you do n't trigger them off by any injury to the System. Grant nods, steps into the Escape Hatch, closing the door behind him. The light flashes red. Cora remains at the bow windows, looking toward the drifting Anti - bodies, with apprehension.","EXT. VENTRAL HATCH Grant is dropping out of the opening, causing the attached seaweed - like fibers to come loose and drift off. WITH GRANT He swims toward the bow, reaches the propulsion intake vents. As the clogged vents come into view : OWENS' VOICE -LRB- over audio. -RRB- How's it look? GRANT I could use a lawnmower.","INT. BUBBLE Owens glances at the Minute Recorder. OWENS How long do you think it'll take? GRANT'S VOICE -LRB- over audio. -RRB- Quite a while.","INT. PROTEUS Cora turns from the bow windows. The Antibodies are still in view. CORA Would n't it be quicker if we all helped? MICHAELS -LRB- with glance at Minute Recorder. -RRB- Yes, there's no time to spare. And those fibers can be quite tenacious. He moves to the Escape Hatch with Cora, both strapping on their Breather Packs. She glances at Duval, still in the Lab Section. DUVAL I'd better use the time to finish repairing the laser. Michaels and Cora step into the Escape Hatch, adjust their swimming masks.","EXT. PROTEUS - BOW Grant is pulling the seaweed - like fibers out of the intake vents. He works fast at what seems an endless task.","INT. BUBBLE Owens is watching the TEMPERATURE GAUGE. The needle is still in the danger zone.","EXT. PROTEUS - BOW Michaels and Cora swim up to Grant, join him in yanking out the long clinging tendrils. All work quickly as possible.","INT. OPERATING ROOM Absolute silence. The immobile Surgical Team and Technicians create a tableau - like effect. The forced silence and the inactivity causes several to sweat with tension. All are focusing on the Tracking Devices, now weaving back and forth at Benes' Head.","INT. CONTROL TOWER Reid and Carter are at the window overlooking the OPERATING ROOM. The Communications Aide turns to them. They react with misgiving as they hear : COMMUNICATIONS AIDE Report no movement of the Proteus since entering Quadrant 74, Level D. Reid and Carter exchange grim looks, move to look down on the MAIN OPS ROOM. They see the little Proteus is in the quadrant of the Cochlear Duct. Carter glances at the Minute Recrder. It now reads < 24 >. CARTER Twenty - four minutes left. Maximum. This is just what we need - another delay. He sees an ant crawling along the table, in the direction of a few spilled grains of sugar. Automatically, he starts to bring his thumb down to crush it. But he stops just in time. Reid looks at Carter curiously as the latter carefully picks up the ant and puts it on the railing so it can crawl out of harm's way. REID -LRB- with smile. -RRB- You'll wind up a Hindu. Respecting all forms of life - however small.","EXT. PROTEUS - BOW Loose tendrils are flowing about the hull like drifting seaweed. But the vents seem to hold an endless amount. Grant, Cora and Michaels, working at an exhausting pace, keep pulling out more and more clumps of long fibers.","INT. BUBBLE Eyes on the TEMPERATURE GAUGE, Owens reacts with relief as he sees the needle beginning to swing away from the danger zone.","INT. OPERATING ROOM Nothing moves except the little Tracking Devices on their silent bearings. But the ordeal of absolute silence and no movement is beginning to tell on all. Particularly : SURGICAL CHIEF An older man, corpulent, he is sweating profusely under the strain. The headband of his Surgical Cap is wet. Automatically, he brings his rubber - gloved hand up to wipe the perspiration away, stops, as he glances at the patient o.s.","EXT. PROTEUS Many loose tendrils now about the hull attest to the progress of cleaning the vents. The three keep working.","INT. BUBBLE The needle of the TEMPERATURE GAUGE is now almost out of the danger zone.","INT. MAIN OPS ROOM - SUB GRID MAP The sub is not moving. The Minute Recorder reads < 21 >.","INT. MAIN OPS ROOM - SHOOTING TOWARD CONTROL TOWER Reid and Carter are at the window, looking down into the room.","EXT. PROTEUS The last of the fiber clumps is now being removed. SURGICAL CHIEF Rivulets of sweat are streaming down toward the wrinkled corners of his eyes, causing him to blink. FEMALE SURGICAL AIDE Seeing his extreme discomfort, she follows the usual procedure of reaching for a towel on the instrument table. TOWEL A surgical scissors is partially tucked within the folds.","INT. OPERATING ROOM The scissors is not visible from the Aide's angle. As she pulls the towel gently off the table, careful not to make a sound : SCISSORS Dislodged from the table. CAMERA WHIPS with it toward the floor. On the shattering impact : FLASH CUT - BENES' EAR It fills the screen, the sound reverberating o.s. Instantly :","EXT. COCHLEAR DUCT The vibrations send the Proteus flying through the clear sea, as if struck by a cataclysmic undersea force. -LRB- NOTE : Until the end of this sequence, the vibrations keep on as if they have set off reverberations in endless echo chambers. -RRB- GRANT Flung in one direction. MICHAELS Hurled off in another direction. CORA Whipped away from all the others. OWENS IN BUBBLE Clutching the panel for support. DUVAL IN LAB SECTION Clutching the laser.","EXT. ORGAN OF CORTI - WITH CORA As she is tossed toward the Cells of Hensen : a series of tall columnar structures, non - rigid, with cuticular plates forming a mosaic pattern. CORA She is horrified as she sees where she is heading for : P.O.V. - CHASM One wall consists of the TECTORIAL MEMBRANE, opaque, with built - in huge fibers. The other wall : geometric and translucent. Spaced at intervals are what appear to be electrical conduits with four exposed strands spanning the two walls. All the conduits are vibrating. WITH CORA - DOWN THE CHASM She is thrust over the curved edge, starts falling head down. She narrowly misses the first connective conduit. Then her Breather Pack snags on one of the strands of the next conduit, which flings her partially to one side so that her legs are caught between the other strands. As she hangs head down, the weight of her body causing the strands - and herself - to be whipped back and forth, she is further terrifled to see : LONG SHOT - CHASM - CORA'S P.O.V. All the quadruple strands are vibratlng in the seemingly bottomless abyss. BACK TO CORA As she tries to extricate herself, which causes her to be `` vibrated'' with even greater intensity : CORA -LRB- screaming. -RRB- Help!","EXT. COCHLEAR DUCT In the distance, the Proteus is being brought under control. Michaels and Grant are in view, swimming against the force set off by the diminishing vibrations in this part of the Ear. GRANT He hears : CORA'S VOICE -LRB- barely audible : over audio. -RRB- Please! Help! Grant looks about. There is no sign of her. CORA Struggling head down, in terror, she hears : GRANT'S VOICE -LRB- over audio ; in distance. -RRB- Cora! Where are you? CORA I do n't know! I think I'm caught on some auditory fibers!","EXT. COCHLEAR DUCT Michaels swims up to Grant. GRANT Where would that be? As Michaels points, Grant hears : MICHAELS' VOICE -LRB- over audio. -RRB- Right down there. They both swim off in the indicated direction, reach :","EXT. EDGE OF CHASM Both look down. At first they do n't see her. Then Grant spots Cora. He points for Michaels' benefit. They see : CORA IN CHASM - THEIR P.O.V. Far below, still trying to struggle loose. CORA IN CHASM As she hears : GRANT'S VOICE -LRB- on audio. -RRB- Okay! I can see you! She stops struggling. But unseen by her, the vibrating strands in which she is entangled have called forth, in apparent response : FEW ANTIBODIES - IN CHASM Appearing from the far side, and below Cora. They start moving toward her. More Antibodies instantly appear from the same area.","EXT. EDGE OF CHASM Grant and Michaels are swimming over the curved mosaic cells. INSIDE THE CHASM Grant and Michaels swim down toward Cora on the strands. Now the Antibodies become visible, gathering in increasing numbers as they stream up toward Cora. They are as yet unlinked, but she is unmistakably their target. MICHAELS -LRB- startled. -RRB- Antibodies! Coming at Cora! She's triggered them off! CORA ON STRANDS From her head - down position, she sees : LONG SHOT - ANTIBODIES - CORA'S P.O.V. Streaming upward in increasing numbers toward her. GRANT AND MICHAELS - IN CHASM GRANT Doctor! Get back in the sub! Quick! Michaels starts swimming fast as he can toward the Proteus.","EXT. CHASM - GRANT, CORA AND ANTIBODIES He is racing to reach Cora before they do. ON THE AUDITORY STRANDS - IN CHASM From her head - down position, Cora sees vast numbers of : Antibodies, now nearer. Frantic with fear, she tries to free herself, causing the strands to start vibrating again, which calls forth more Antibodies to stream out of the far side. Grant reaches her, starts working desperately to get her loose. She tries to help as he yanks at her Breather Pack, trying to work it off the wires.","EXT. PROTEUS - COCHLEAR DUCT Near the edge of the chasm. Duval is seen at the bow windows, looking out anxiously.","INT. PROTEUS Duval turns as the door of the Escape Hatch opens from within and Michaels steps out. He closes the door quickly. The light over it instantly flashes red. DUVAL Where are they?! As Michaels pulls off his swimming mask, breathing hard : MICHAELS Below the Cells of Hensen. If those Antibodies reach her, they'll attack as if she were bacteria. LONG SHOT - ANTIBODIES - IN CHASM - P.O.V. CORA -LRB- HEAD DOWN -RRB- They are beginning to link up.","EXT. CHASM - CORA AND GRANT He is still trying to get her Breather Pack loose. CORA -LRB- franticaliy. -RRB- Hurry! Oh please, please! He manages to get her pack loose, now starts pulling the strands apart at her ankles so that she can extricate herself. As she finally does, they execute a half - somersault in the stream to start swimming upward. Both get a fleeting look at : LONG SHOT - ANTIBODIES - P.O.V. GRANT AND CORA The links have now formed chains the of Cora.","EXT. CHASM - GRANT AND CORA Grant grabs her at the torso and starts to propel her upward. LONG SHOT - CHASM - ANTIBODIES AND PRINCIPALS The long links, in vast numbers, now race after the frantically swimming Cora and Grant.","EXT. EDGE OF CHASM Grant and Cora appear, swim over the slippery edge of the mosaic cells. She is too exhausted to keep up the pace. Grant holds her with one arm as he keeps swimming toward :","EXT. PROTEUS Duval and Michaels can be seen at the bow windows, looking out. Owens is visible within the Bubble, peering out anxiously.","EXT. VENTRAL HATCH The two reach it, Grant still helping Cora. They are at the point of exhaustion. Grant reacts as he sees : LIGHT OVER VENTRAL HATCH Flashing red.","EXT. VENTRAL HATCH Grant waits, hand at the wheel. Cora looks back toward the edge of the chasm for signs of the Antibodies. CORA -LRB- gasping. -RRB- Open it! Open it before they get here! GRANT I ca n't till the hatch is flooded! At her look of fright, he turns and sees : ANTIBODIES - EDGE OF CHASM - P.O.V. CORA AND GRANT The long links catapult over the edge of the chasm like Polaris missiles in flight, then begin to execute a turn for a massed attack in the direction of :","EXT. VENTRAL HATCH The light flashes green. Grant begins turning the wheel quickly as he can. INTERCUT ANTIBODIES Hurtling down toward Cora, and the wheel turning.","EXT. VENTRAL HATCH Just as the door drops down, the vanguard of the Anti - bodies reaches Cora. Two coils whip transversely around her shoulders. There is no time to tear them off. Grant thrusts Cora through the door, then follows, with the massed attackers streaming in after them.","INT. ESCAPE HATCH Cora is clawing at the Antibodies which are coiling around her from every direction. For the moment, Grant ca n't help her as he struggles to close the door against : ANTIBODIES AT VENTRAL DOOR The crystalline links are forcing their way in, against the pressure of the closing door. Grant struggles with all his strength against the coiling mass. Finally he manages to get the door closed and locked.","INT. ESCAPE HATCH - GRANT, CORA AND ANTIBODIES The water level starts falling, accompanied by the hissing of air pressure. Grant and Cora try to claw at the crystalline structures. But in the extremely narrow confines of the chamber, there is little either can do. Suddenly Cora's expression changes to one of horror and pain. CORA -LRB- gasping. -RRB- They're tightening. Desperately, Grant tries to get at least one coil loose, but to no avail. The crystalline structures are now constricting around her.","INT. PROTEUS Duval and Michaels stand before the Escape Hatch, waiting for the red light to change to green. DUVAL -LRB- up at Bubble. -RRB- How much longer?! OWENS' VOICE -LRB- from above. -RRB- Ten seconds - DUVAL That's too long! He starts to twist the wheel, to open the Hatch.","INT. ESCAPE HATCH The water is now down to their knees. Grant is still pulling at one of the many links around Cora, but without any effect. CORA -LRB- barely audible. -RRB- Please - I - ca n't - ca n't breathe. And she is cut off as all the Antibodies lock into place. Her mouth remains open, in the manner of someone being choked to death. The crystalline coils about her body give her the appearance of a female Laocoon. Suddenly the entrance door is thrust open behind them.","INT. PROTEUS Water pours out from the Escape hatch as Grant drags Cora out. She falls on the floor. Duval and Michaels instantly start pulling at the Antibodies. Cora is almost unconscious. Grant joins in the frantic effort to free her. And then Owens, who comes bounding down from the Bubble. All four men pull at the structures with all their strength. And suddenly they begin to break off, shattering into crystalline fragments. With some coils broken, the others soon lose their lethal adhesion. Finally Cora is free. As soon as she finds her breath, she begins to cry hysterically. Duval bends over, calming her.","INT. OPERATING ROOM All are still immoblle, sweating out the long wait. The Female Surgical Aide who caused the scissors to drop stands holding the towel. The scissors is still on the floor at her feet. In the silence, she carefully reaches out and dabs at the rivulets of sweat running down the Head Surgeon's face. Now all are concentrating on the : TRACKING DEVICES Moving silently back and forth across Benes' head, the only contact with what is transpiring within.","INT. CONTROL TOWER Reid is looking down into the OPERATING ROOM, Carter is pouring two fresh cups of coffee. At the SOUND of a warning buzz, both look at the TV monitor. They see the INTERIOR OF THE TRACKING POST. The blip is moving on the radar screen. COMMUNICATIONS AIDE Proteus proceeding toward Quadrant 75. Reid takes the coffee which Carter extends. REID -LRB- relieved. -RRB- On their way again. Carter glances at the Minute Recorder. It now reads < 12 >. He upends empty sugar container without looking at it. CARTER Twelve minutes left -. -LRB- breaks off ; sees no sugar. -RRB- Of all the time to run out of sugar.","EXT. ENDOLYMPHATIC DUCT The Proteus is speeding through the very wide passage.","INT. PROTEUS Michaels is spreading out a chart of the Brain, with the help of Duval. As the complexity comes into view, Grant reacts. With glance at the Minute Recorder : GRANT Looks like quite a way to go. MICHAELS No, we should reach the base of the Brain shortly. And from there, it's not far to the site of the injury. Suddenly, light pours in. Astonished, Grant sees : HUGE OVAL MEMBRANE - THROUGH BOW WINDOWS Semi - transparent. The immense pillars which form the Stapes of the Inner Ear are illuminated by the light behind it. GRANT'S VOICE -LRB- o.s. -RRB- Where's that light coming from? MICHAELS' VOICE -LRB- o.s. -RRB- The outside world. Filtering in through Benes' Eardrum.","INT. PROTEUS Duval bends over the chart. DUVAL -LRB- pointing ; to Michaels. -RRB- That puts us right here. Which means we can head straight for the Sub Arachnoid Cavity. MICHAELS Yes. DUVAL If we can go in past the Oculomotor Nerve. As both men remain bent over the chart, conferring, Grant moves into :","INT. LAB AND STORAGE SECTION Cora is lying on the cot. As Grant enters, she starts to rise. GRANT No need to get up - CORA I feel much better now. But she remains seated, still weak. As the light grows brighter : CORA -LRB- quietly. -RRB- The outside world. I thought I'd never see it again. Grant stops at the laser which is fastened securely, runs his hand along it. CORA -LRB- turning to Grant. -RRB- Thank you for saving my life. GRANT That's what they pay me for. CORA A great deal more than that, I believe. He looks up from the laser. GRANT Such as? CORA Keeping an eye on Dr. Duval. GRANT -LRB- into the silence. -RRB- What gives you that idea? The light now dims back to normal, indicating they have passed the Eardrum. CORA That's why you're really here. I knew it from the start. GRANT As obvious as that? Our Security people will jump for joy. -LRB- with smile. -RRB- I suppose Duval's onto me, too? CORA You're not the first, but he's much too innocent, much too involved with his work, to realize what's going on around him. GRANT Under a cloud without cause, I take it. CORA Oh, no. Plenty of cause. He wo n't follow the herd, or change his convictions - even when they're not popular. And he believes in an absolutely free interchange of information between scientists of different countries - and these days, there's nothing more suspicious than that. GRANT Depends on which end of the telescope you look through. CORA What do you mean? GRANT Well, if you happen to be very fond of him - even in love with him - it would certainly affect your point of view. Before she can answer, they hear : DUVAL'S VOICE -LRB- o.s. -RRB- It's out of the question. MICHAELS' VOICE -LRB- o.s. -RRB- Now be reasonable! DUVAL'S VOICE I wo n't do it. GRANT Sounds like trouble. The two move toward the door.","INT. PROTEUS Grant and Cora silently witness : DUVAL It's against my better Judgment. MICHAELS Better Judgment?! To wait until the actual operation - when it may be too late? DUVAL I've done all I could with the laser. MICHAELS All I'm asking is you test it beforehand! DUVAL If it wo n't work, it's beyond my power to fix it. But if it does, there's no telling how long it will hold up. It's a jury rig, at best, and we'll need every second of use we can get out of it. That's why I do n't want to put any extra strain on the connections by running unnecessary tests. MICHAELS Dr. Duvall I insist you test the laser. DUVAL -LRB- angrily. -RRB- I'll do nothing of the sort! The operation is responsibility! I wo n't do it, and that's final! MICHAELS -LRB- controlling himself with difficulty. -RRB- As usual, you want everything your way. Except this time there's more than your damned ego at stake. DUVAL -LRB- tightly. -RRB- I know only too well what's in the balance, Doctor. And it's not my ego, damned or otherwise. GRANT Looking thoughtfully after Duval.","INT. CONTROL TOWER Reid and Carter are relieved to hear : COMMUNICATIONS AIDE Proteus turning into Quadrant 791 Level F. Reid presses button.","INT. OPERATING ROOM Still in tableau. All hear : REID'S VOICE -LRB- o.s. -RRB- The Proteus has passed the Inner Ear. Instantly the tension breaks. There is coughing, clearing of throats. Someone sneezes, evoking : AD LIBS - Just in time! I could n't hold it back another second! - I was afraid to! - My foot's asleep. - Only one? - I thought I'd die when the scissors hit the floor! The Female Surgical Aide picks up the scissors.","INT. CONTROL TOWER Reid is moving to the window overlooking the MAIN OPS ROOM. Carter turns from the Minute Recorder, which now reads < 8 >. CARTER -LRB- on edge. -RRB- Only eight minutes left. As he joins Reid and both look down into the MAIN OPS ROOM, they see the Grid Officer moving the Proteus to the Quadrant at the base of the Brain. REID -LRB- softly. -RRB- Imagine - they're in the Human Mind - CEREBRAL LIGHTS A dazzling display of flashing lights fills the screen. Then as the CAMERA PANS DOWN slowly, we see a high wall of complex circuitry, in which the tiny lights glow on and off rapidly. Finally, as the CAMERA NEARS the bottom, it reveals :","EXT. PROTEUS - IN CRANIAL FJORD The sub seems a mere speck as it cruises through a chasm formed by two walls of similar circuitry and electronic pyrotechnics. There is a sense of order despite the complexity.","INT. PROTEUS Grant has joined Cora and Duval at the bow. The three are deeply impressed and moved by what they see. Michaels remains at the chart. As they look on : DUVAL -LRB- softly. -RRB- `` Yet all the suns that light the Corridors of the Universe shine dim, Before the blazing of a Single Thought -'' GRANT `` Proclaiming in incandescent glory The myriad Mind of Man.'' Cora looks at Grant in rather surprised awareness of this other side of him. MICHAELS Very poetic, gentlemen. You seem to see a great deal out there. Let me know when we pass the Soul. Duval turns from the bow windows to face Michaels with the answer : DUVAL -LRB- quietly. -RRB- The Soul? The finite mind can not comprehend Infinity. And the Soul which comes from God is Infinite. MICHAELS Take a close look at your Soul, and your Infinity, and your God out there - GRANT In thoughtful response to : MICHAELS' VOICE -LRB- o.s. -RRB- - and you'll find it's nothing but a combination of atoms, molecules -","INT. PROTEUS Not letting Duval interrupt : MICHAELS - and certain chemicals involving proteins - DUVAL You left something out. MICHAELS What's that? DUVAL -LRB- flatly. -RRB- The Breath of God. Before Michaels can reply : OWENS' VOICE -LRB- from Bubble. -RRB- Doctor - what's that up ahead? They turn toward bow, see :","EXT. FOREST OF DENDRITES As it comes into view with the sub turning the corner of the chasm : a huge semi - circular area of branchlike nerves, through which the cerebral lights flash. In the center is the site of the injury. The lights stop at its perimeter, as if short - circuited, causing a dark area. DUVAL -LRB- up at Bubble. -RRB- There it is. That's the site of the injury - the dark spot. We'd better get prepared. They move into the Lab Section, where they put on their Breather Packs quickly during : MICHAELS It's too late. Startled, they follow his look, see the Minute Recorder now reads < 6 >. MICHAELS You could n't possibly operate and get out before the hour's up. -LRB- up at Bubble. -RRB- Captain, keep going. Head for the Removal Point. He begins to spread out a map of the Removal Area. DUVAL Removal Point? What're you talking about! MICHAELS We have no alternative. With only six minutes left, we'll just barely make it. GRANT -LRB- up at Bubble. -RRB- Hold it, Skipper. -LRB- to Michaels. -RRB- What happens if we overstay? MICHAELS Once time's up, De - Miniaturization begins. In a matter of seconds the ship will grow big enough to become a danger to the System. Then White Corpuscles will swarm to destroy it, as they would any invader. GRANT -LRB- up at Bubble. -RRB- How long will it take to get from here to the Removal Point? OWENS'VOICE -LRB- from above. -RRB- Approximately two minutes. DUVAL That still leaves me four minutes to operate. MICHAELS All you'll succeed in doing is getting us trapped! -LRB- glancing at Minute Recorder. -RRB- Captain, you will proceed immediately to the Removal Point. OWENS' VOICE -LRB- from above. -RRB- Yes sir. Grant moves quickly to the Manual Panel and throws some key switches into the OFF position.","INT. BUBBLE Owens is startled to see the lights over the buttons go off, rendering the controls inoperative. The sub comes to a stop at some distance from the Forest of Dendrites and the dark area up ahead. OWENS My power's gone! -LRB- looks down, sees him. -RRB- Grant - what're you doing!","INT. PROTEUS With manner of taking over : GRANT Get the laser, Dr. Duval. As Duval and Cora move quickly into the Lab Section : MICHAELS -LRB- furiously. -RRB- I'm in charge of this mission! You were instructed to take orders from me, not give them! GRANT Sorry, but the situation has changed. MICHAELS Nothing has changed as far as authority goes! He is going to operate! Not in the little time we have left! There's no chance of success! It's sheer suicide for all of us! He breaks off as Duval and Cora come out of the Lab Section carrying the laser and power unit. As they move to the Escape Hatch door, which Grant opens : MICHAELS -LRB- furiously. -RRB- Dr. Duval, you are not going through with this! I absolutely forbid it! I'm responsible for the lives of everyone here! I will not allow you or anyone else to leave this ship! DUVAL I'm going to do what I can to save Benes. He steps into the Escape Hatch with Cora. Grant closes the door. MICHAELS -LRB- rageng at Grant. -RRB- You fool! Do n't you see what you've done? You've given him a perfect opportunity to kill Benes! The lights start flashing red, indicating the Escape Hatch is being flooded. Grant puts on his Breather Pack during : GRANT I do n't believe that. MICHAELS Why not? Because of his gibberish about GOd and the Soul? Camouflage - that's all it is - to blind the gullible like you! And to hide his real identity - a fanatic whose only purpose is to kill Benes! And you made it possible! The light over the Escape Hatch turns green. As Grant opens the door : GRANT I've come up against fanatics before, and Duval just does n't fit the pattern. -LRB- up at Bubble. -RRB- I'm going out there, Skipper. Maybe I can be of some help. OWENS Remember - we ca n't take more than five minutes to get out. As Grant starts closing the door, he glances at : MINUTE RECORDER It now reads < 5 >.","INT. PROTEUS Grant closes the door. The light over it flashes red. Michaels moves to the bow window to observe :","EXT. SITE OF INJURY - P.O.V. MICHAELS Duval and Cora are swimming toward the dark spot with the laser and the power unit. They reach :","EXT. SITE OF INJURY - CLOSER Duval presses the laser control, not knowing if it will work. To his relief, a beam of light shoots out. Instantly a small portion of the clot begins to light up. This gradual encroachment of flashing lights in place of the dark area marks the progress of the operation.","EXT. VENTRAL HATCH Grant drops out and starts toward Duval and Cora. SECTION OF THROMBUS IN BRAIN The laser beam is slowly dissolving away a small portion of the vast darkness. Grant swims up. He glances at his wrist watch. GRANT How does it look, Doctor? DUVAL -LRB- as he works. -RRB- If I can relieve the pressure on a few key vessels. More of the dark area lights up.","INT. PROTEUS - AT BOW WINDOWS Watching, Michaels responds grimly to the increasing number of flashing lights in the injured area. He turns with grim resolution from the bow. MICHAELS -LRB- up at Bubble. -RRB- Skipper.","INT. BUBBLE Owens is startled to hear : MICHAELS' VOICE -LRB- from below. -RRB- There seems to be something wrong with the Escape Hatch. OWENS What do you mean? MICHAELS' VOICE -LRB- from below ; imperatively. -RRB- Fluid is seeping through. Better come down and have a look! Quickly, Owens starts slipping out of his harness, starts down the ladder leading into :","INT. PROTEUS - AT ESCAPE HATCH DOOR Michaels is not visible in the angle of the shot as Owens moves to the Escape Hatch, looking for the seepage. Seeing nothing wrong : OWENS -LRB- turning ; puzzled. -RRB- I do n't see any sign of - He breaks off, his expression reflecting horrified surprise as a hand wielding the heavy crank of the winch smashes down on his head before he has a chance to dodge it. Owens slumps to the floor at the feet of : MICHAELS He drops the heavy tool, goes quickly to the Manual Panel, throws the switches back into the ON position, restoring all the controls to where they were before Grant changed them. Then he climbs up into :","INT. BUBBLE The lights over the buttons are all on again, indicating the controls are in working order. As Michaels sits down hastily and begins to slip into the harness, with him we see :","EXT. SITE OF INJURY Duval is aiming the laser in short bursts at a dark area around the large Central Nerve. Grant glances at his wrist watch. GRANT Doctor, we've just about had it. DUVAL It I can clear this Central Nerve, that be enough. Unseen by them : LONG SHOT - PROTEUS In the distance it is swinging around in a wide arc them.","INT. BUBBLE As Michaels maneuvers into position, he responds grimly to :","EXT. SITE OF INJURY - P.O.V. INT. BUBBLE Light begins to play along sections of the Central Nerve.","INT. BUBBLE The bow is now lined up straight with the Central Nerve. Face set, Michaels presses the FULL SPEED button.","EXT. JETS The churning indicates full power is on. The Proteus spurts ahead, speeding toward :","EXT. SITE OF INJURY - CENTRAL NERVE More and more of the Central Nerve lights up as the intervening darkness is dissolved by precise bursts of the laser beam. Unaware of the oncoming sub, Duval and Cora keep working. As Grant glances at his wrist watch, electrical impulses begin racing in a continuous flow through the Central Nerve, which is now incandescent along its entire height. DUVAL That should be enough. He looks critically at the results, as he normally would. GRANT We better get back to the sub. Every second counts now. CORA -LRB- suddenly. -RRB- Look! They follow the direction of her glance, are startled to see :","EXT. PROTEUS Speeding directly toward the Central Nerve high above them. The person in the Bubble is indeterminate at the distance and angle. CORA'S VOICE -LRB- o.s. -RRB- It's heading right for the Nerve! DUVAL'S VOICE -LRB- o.s., confused. -RRB- I do n't understand.","EXT. SITE OF INJURY As they watch helplessly : GRANT -LRB- getting idea. -RRB- The laser! Let me have the laser! Grant grabs the laser from Duval. With Cora trailing, holding the power unit, Grant leads the way upward at an angle to intercept :","EXT. PROTEUS It is speeding toward the Central Nerve like a projectile homing in on a target.","INT. BUBBLE The incandescent Central Nerve looms closer and closer. Michaels holds the controls in place with the fixed look of a pilot on a suicide course. GRANT, CORA AND PROTEUS He stops swimming. She remains near him. The sub is now over their heads, at an angle which makes the rudder visible. GRANT Give me your widest beam! Full power! Cora turns a dial on the power unit. Grant takes careful aim. A wide beam shoots out from the laser, across the intervening distance and hits :","EXT. RUDDER AND REAR HULL The concentrated light disintegrates the rudder and burns open a large section of the hull.","INT. LAB SECTION Fluid pours through the hole into :","INT. PROTEUS The intact section with its trapped air holds off total inundation. The unconscious Owens stirs, face up, the liquid just short of covering him. The sub begins to keel, owing to the inflow.","INT. BVBBLE Michaels wrestles with the controls, trying to keep on course, as the Central Nerve ahead looms closer and closer. For a moment it appears he will be able to ram it. But the increasing tilt suddenly causes :","EXT. PROTEUS - CENTRAL NERVE To dive at a sharp angle, just barely missing the Central Nerve.","INT. BUBBLE Michaels wrestles with the controls, but to no avail. Through the Bubble, he is startled to see :","EXT. FOREST OF DENDRITES - P.O.V. BUBBLE It looms closer and closer as the Proteus dives inexorably toward :","EXT. FOREST OF DENDRITES Treelike branching nerves form an intricate mesh as if in a dense forest. The Proteus careens into it, tearing loose a section of nerve fibers. The sub keels over on one side.","INT. BUBBLE Now at a sharp tilt. The impact causes one of the arms of the swivel chair to spring out of place, pinning Michaels to the seat. Lying at an angle, he struggles to break loose, without avail. Suddenly his startled eyes fix on : THE MINUTE RECORDER ON CONTROL PANEL It flashes < 0 >. The lights begin to dim.","INT. CONTROL TOWER - MINUTE RECORDER Flashing < 0 >. The SOUND of a warning siren is on loud. It continues during the scene, adding urgency to the reactions of all. Reid and Carter exchange grim looks. REID Time's up. We'll have to take them out immediately. CARTER It means killing Benes. -LRB- savagely. -RRB- And for all we know, they may have completed the operation! -LRB- slamming table. -RRB- Damn it to hell! He turns away. Reid goes to the window overlooking the OPERATING R00M. REID Remove the Proteus.","INT. OPERATING ROOM For a moment only the undulating wail of the warning siren is heard. Then : CHIEF SURGEON Prepare for trepanation. One of the Surgical Technicians begins swabbing Benes' head with alcohol.","INT. BUBBLE The lights are almost out. It is now lit only by the eerie glow of the pulsing flashes in the Forest of Dendrites. Michaels is vainly trying to pry the steel arm loose, but it holds him in a vise - like grip in the chair. He looks fearfully toward the bow window, as if knowing what to expect next.","EXT. EDGE OF FOREST OF DENDRITES Grant, Duval and Cora are swimming through the maze of nerves toward the sub lying at a sharp keel. GRANT The ship's good as finished. We'll have to get out on our own! Is there a quick way out? DUVAL We could follow the Optic Nerve to the corner of the Eye. CORA It's beginning to grow. They stop, treading water as they see :","EXT. PROTEUS Growing visibly before their eyes.","INT. BUBBLE Michaels reacts as he sees the dendrites outside growing, which indicates the sub and he are growing larger.","EXT. EDGE OF FOREST OF DENDRITES DUVAL We've got to get them out. As he starts toward the sub, Grant stops him. GRANT Hold it. They follow his look, see : WHITE CORPUSCLES - IN FOREST OF DENDRITES Huge monster - like blobs are starting to ooze through the nerves toward the Proteus, which is now about a quarter as large as when last seen, and growing rapidly. CORA'S VOICE -LRB- o.s., horrified. -RRB- White Corpuscles!","EXT. EDGE OF FOREST OF DENDRITES DUVAL They'll ingest the ship and everything in it! GRANT Stay here, both of you. Hold them off, if you can. He hands the laser to Duval and starts swimming toward :","EXT. PROTEUS - IN FOREST OF DENDRITES The White Corpuscles are slithering through the interlaced dendrites. They are still some distance from the disabled sub. MICHAELS - IN BUBBLE He is horrified to see the White Corpuscles slide into his view, though still removed from the sub. He renews his frantic effort to break loose from the steel grip of the sprung arm.","EXT. DAMAGED HULL Grant swims the hole through into :","INT. LAB AND STORAGE SECTION Quickly he makes his way through the narrow flooded area, picking up two Breather Packs en route.","INT. PROTEUS Grant emerges into the air - filled portion, pushes up his swim mask. He takes in the prone Owens and Michaels pinned in the Bubble as : MICHAELS -LRB- frantically. -RRB- Grant! Help! For a moment Grant stands between the unconscious man and the one trapped in the Bubble. Then he hurriedly unzips Owens' jumper, revealing the swim suit beneath. Owens regains consciousness. During the above : GRANT What happened? OWENS -LRB- in a daze. -RRB- Dr. Michaels. He went berserk. GRANT -LRB- with realization. -RRB- Berserk nothing. He's the one who's been sabotaging the mission. -LRB- handing him Breather Pack. -RRB- Get this on. Hurry! MICHAELS' VOICE -LRB- from Bubble ; frantically. -RRB- Grant!","INT. BUBBLE A monster - like cell is slithering toward the Bubble. Michaels is tearing at the steel arm that holds him to the chair. MICHAELS -LRB- with growing terror. -RRB- Macrophages! Moving against the extreme tilt, Grant appears. Responding to the oncoming White Corpuscle, Grant pulls at the steel arm with all his strength. MICHAELS -LRB- during above. -RRB- Get me out of here. Get me out! For all his effort, Grant is unable to free Michaels. WHITE CORPUSCLE Gradually oozes over the entire Bubble, covering it.","INT. BUBBLE Grant makes a last desperate effort to free Michaels as he sees the Bubble begin to dissolve beneath the body of the adhering White Corpuscle. As the fluid body begins flowing over Michaels : MICHAELS -LRB- in terror. -RRB- No. no. His scream is cut off by the White Corpuscle engulfing him. Grant jumps back into :","INT. PROTEUS OWENS Come on - it's no use! GRANT We can get out through the Lab Section. Both pull down their swim masks. Owens moves off, followed by Grant.","INT. LAB SECTION Owens is swimming through the hole. Grant follows through the cramped area.","EXT. PROTEUS Owens appears, swims off toward Duval and Cora. The two are working the laser and power unit. Duval is hitting the White Corpuscles and dissolving them in an attempt to keep them off the sub, but without avail. The monster cells are swarming in greater numbers.","EXT. DAMAGED RUDDER A monster White Corpuscle is flowing along it, down toward the hole. As Grant now emerges, the White Corpuscle grasps him in its tentacles. GRANT AND WHITE CORPUSCLE He struggles, unable to break out of the fluid mass which engulfs him.","EXT. EDGE OF FOREST OF DENDRITES Duval and Cora swim up. Duval aims the laser, presses the trigger. The beam shoots out with surgical precision, making a direct hit on : VACUOLE OF WHITE CORPUSCLE The nucleus of the monster cell disintegrates, releasing Grant. He swims quickly toward :","EXT. FOREST OF DENDRITES The three see another White Corpuscle moving after Grant. Duval dissolves it just as the laser goes dead. As Grant reaches them : GRANT You said there was a quick way out! DUVAL What about Dr. Michaels? GRANT It's too late! Duval drops the laser, turns and starts to swim off. Cora drops the power unit. With Duval in the lead, they swim as fast as they can through :","EXT. FOREST OF DENDRITES The dendrites are now in relat1on to the four as they keep on through the Cranial Region of flashing lights.","EXT. PROTEUS White Corpuscles are now festooned all over the sub and flowing in through the Bubble and damaged portion of the hull.","EXT. EDGE OF FOREST OF DENDRITES The swimmers look back and respond to :","EXT. PROTEUS It is crumbling like the Hindenburg Zeppelin. The White Corpuscles are swarming over the remains, ingesting every particle. THE GROUP Reacting to the destructive power of these internal defenders. They swim off.","INT. OPERATING ROOM The Chief Surgeon's gloves are on. Now all start to take their places around the Operating Table. The operating beams are switched on. The Chief Surgeon holds out one hand. A Surgical Nurse slaps a scalpel into it.","INT. CONTROL TOWER Standing at the window overlooking the OPERATING ROOM, Carter and Reid can see the Chief Surgeon bending down over Benes' head, about to make an incision. Carter suddenly gets an idea, presses button. CARTER Hold it, Doctor! BENES' HEAD AND SCALPEL The cutting edge is a fraction of an inch from the shaved head. It stops just in time. The Chief Surgeon and the Surgical Team around the table look up toward the window.","INT. CONTROL TOWER Reid looks tensely at Carter. REID What is it? CARTER That blip we're picking up might only be the radio - active particle. The Proteus may already be destroyed. REID What're you getting at? CARTER -LRB- thoughtfully. -RRB- If I were in their place and I'd run out of time, I'd abandon the ship before I grew to dangerous size. and use the few extra minutes to get out the quickest way possible, on my own. REID -LRB- with quick realization. -RRB- Along the Optic Nerve to the Eye. Swiftly, Reid crosses to the window overlooking the OPERATING ROOM. He presses button.","INT. OPERATING ROOM The Chief Surgeon and the others exchange tense looks as they hear : REID'S VOICE -LRB- o.s. -RRB- Wait thirty seconds. He rushes through the door leading down to the Operating Room.","EXT. ARACHNOID CORRIDOR - RIGHT OPTIC NERVE Composed of a cobweb of fibers. Sausage - like links, pinched in the center, compose the walls of the winding passage. These are the Nodes of Ranvier. Intermittent flashes leap across the Nodes, of varying intensity and duration. THE GROUP - IN RIGHT OPTIC NERVE As he keeps swimming, Duval turns his head to the others. DUVAL -LRB- encouragingly. -RRB- Light impulses - on the way to the Brain! We're nearing the Eye! They swim on with renewed effort. They are now larger in relation to what they pass. Cora starts to fall behind, unable to maintain the pace, for all her valiant effort. Grant puts one arm around her waist and thus manages to keep after Duval and Owens.","EXT. APEX OF CORNEA The four climb up on what appears to be the top of a huge transparent mound. The fluid is rapidly seeping upward from the channel below. A low - domed ceiling - the inside of the Eyelid - which is bisected by a crack, necessitates their crawling over the mound toward a crevice which affords more height. They force themselves along exhausted, and reach :","INT. CREVICE BETWEEN EYELIDS The four reach the grotto - like niche, where they can stand erect at their increased size. As they rise from their crawling position and lean panting in exhaustion against the wall :","INT. OPERATING ROOM Reid wheels over a magnifying glass mounted on a stand. He bends down and pries open Benes' right Eyelid.","INT. CREVICE BETWEEN RIGHT EYELIDS The four, their breath now regained, react in response to the unexpected : PARTING OF RIGHT EYELIDS The bisected dome above them parts like the walls of the Red Sea. Simultaneously the beam of the operating lights blaze in with blinding intensity, causing the four to shield their eyes and look down into the retina. KALEIDOSCOPIC EFFECT A symphony of colors is reflecting from the cones far beneath, through the VITREOUS BODY and the manifold furrows of the IRIS. REID He is bringing the magnifying glass into focal position. As he squints through it, he reacts on seeing : THE FOUR - THROUGH MAGNIFYING GLASS - ON SURFACE OF EYEBALL Now magnified, we see the four figures being swept inexorably toward the far corner of the Eye by a flood of water. REID -LRB- o.s. -RRB- A glass slide! Quick! Through the magnifying glass, we see their frantic attempts to fight the sweep of the cascade. Just as the four near the fall - off point, where the corner of the lids Join, the magnified end of a glass slide comes into view and catches the teardrop - with the four in it.","INT. OPERATING ROOM Reid carefully straightens up, holding the glass slide. He can barely see :","EXT. GLASS SLIDE Tiny specks are visible in the teardrop, moving about in the fluid.","INT. OPERATING ROOM All respond to Reid's imperative : REID Open those doors! Holding the slide so the teardrop does n't spill, Reid moves quickly through the sliding doors into the Miniaturization Room.","INT. CONTROL TOWER Carter rushes to the window overlooking the MINIATURIZATION ROOM.","INT. MINIATURIZATION ROOM All group around in silence, holding their breath as Reid very slowly and carefully bends down and places the glass slide on the platform. Above, at the window, Carter can be seen looking down.","EXT. GLASS SLIDE - ON FLOOR The tiny spots are growing visibly before our eyes.","INT. CONTROL TOWER Carter, looking down into the MINIATURIZATION ROOM, reacts as the four dots below on the glass slide continue to grow and grow to the point where they can be discerned on the platform, and a bedraggled quartet it is. They look like survivors of a shipwreck : dripping wet, exhausted, all the fight knocked out of them. Owens is seated, head between his drawn - up knees ; Cora is leaning against Grant for support ; Duval is fighting for breath.","INT. MINIATURIZATION ROOM Now fully grown, the four look about, amazed at where they are. And the Surgical Team and Reid encircling them are staring with equal confoundment.","INT. CORRIDOR - HOSPITAL SECTION - DAY Grant and Owens are driving a scooter. Both are rested, freshly groomed. The scooter goes through door marked : The scooter stops in :","INT. MEDICAL FOYER They alight and go through door leading into :","INT. HOSPITAL ROOM As Grant and Owens enter, they see Benes is propped up on his bed, with Carter, Duval, Cora and Reid grouped around him. Grant moves immediately to Benes. GRANT -LRB- warmly ; extending hand. -RRB- Hello, Mr. Benes. How's the prize patient? Benes smiles as they shake hands. DUVAL -LRB- beaming. -RRB- He's making a fine recovery. CORA He certainly is. He should be up and about in no time. OWENS That's great. Grant and Owens look toward Carter, who is pacing, visibly upset. CARTER -LRB- answering their look. -RRB- Oh yes, great. The only problem is, he ca n't remember what he came to tell us. GRANT Ca n't remember? What do you mean? CARTER He's blanked out on that one particular point. REID Yes, he can remember everything - except how to control De - Miniaturization. GRANT Oh, no. OWENS After all that. DUVAL A specific area of memory may have been destroyed by the laser beam when Dr. Michaels interfered. CARTER As long as it is n't a certainty, we've got to try everything possible to make him remember! OWENS Well, if you have no further need for me. GRANT Yes, we'd like to get moving. CARTER -LRB- mind only on Benes. -RRB- Why do n't you go on. We'll meet you at the Clearance Desk in a few minutes. He paces, looking at Benes while : GRANT Good - bye, Mr. Benes. I must say it's been quite an experience knowing you. Benes smiles weakly at the double - entendre. As Grant starts out with Owens : CARTER Now how soon can we try Sodium Pentathol? REID I'd hold that off awhile. CARTER Well, how about hypnosis? That ca n't hurt him! Benes closes his eyes wearily. DUVAL I suggest the first thing we try is letting the patient get some rest. As he starts herding them out and they reach the door, they are startled by a loud CRASH o.s.. They rush out. TWO SCOOTERS - AT INTERSECTION Another scooter has run into the one containing Grant and Owens with such impact that the two have been tossed out. The M.P. is blowing his whistle, stopping all traffic. THE GROUP Carter, Reid, Duval and Cora are running toward : THE INTERSECTION Grant is rising, holding the side of his head. Owens, dazed but uninjured, is also getting up. As the others reach them : DUVAL -LRB- of Grant. -RRB- He may have a head injury! -LRB- to Reid. -RRB- Get him to the hospital! Instantly, Grant grabs Owens and hustles him to their scooter. GRANT Who, me? Oh, no! Do n't bother about me! We're not hurt! Is n't that right, Skipper? OWENS -LRB- dazed. -RRB- Uh - what? GRANT -LRB- getting him into scooter. -RRB- We feel great, do n't we? Just?! OWENS -LRB- catching on. -RRB- Oh - sure, sure! Never better! GRANT -LRB- taking off. -RRB- Nothing wrong with us! Not a thing! We're fine - just fine! In his haste, he almost runs into another scooter but averts a crash by a matter of inches. He keeps going at top speed, by - passing the stopped traffic by traveling in the wrong lane. LONG SHOT - SCOOTER As it is lost to view down the long corridor. FADE OUT THE END"],"string":"[\n \"EXT. TWA PLANE IN FLIGHT OVER LOS ANGELES - NIGHT With the myriad lights of the city beneath it. As the plane lands :\",\n \"EXT. HUGE HANGAR Troop carriers filled with ARMED SOLDIERS are lined up before the hangar ; several official cars filled with SECRET SERVICE MEN, four MOTORCYCLE POLICEMEN, and a caravan of three limousines complete the waiting entourage. The CHIEF of the SECRET SERVICE looks toward the airfield as the plane is heard taxiing in. He turns and gets into one of the limousines, followed by the others. LONG SHOT - VEHICLES ON AIRFIELD Coming toward camera. The plane looms in the f.g.. A motorized stairway is on the way toward the door of the plane. The vehicles come to a halt before the camera. HIGH ANGLE SHOT - PLANE The Armed Soldiers leap out of the troop carriers and form a cordon around the plane. The Secret Service Men get out within the circle of guards, wait for the door to open.\",\n \"EXT. JET DOOR It opens. GRANT steps out : in middle thirties, with the air of a man who takes nothing seriously - his coverup for involvement. He turns to help JAN BENES out of the plane. Benes is Mittel European in dress and manner. Physically, he is Schweitzer at forty : the leonine head, the shock of hair. He carries a battered suitcase. In response to Grant's gesture, he precedes him down the stairs. ON THE FIELD As Benes reaches the last step, he is greeted by the Chief of the Secret Service, who shakes his hand, introduces him to several of his subordinates, and leads him to a limousine. Their words are lost in the din of jets. About to get into the car, Benes turns and moves back quickly to Grant, who is near the bottom of the stairs. Benes extends his hand. They shake warmly. Benes moves back toward the limousine. GRANT - ON PLATFORM STAIRS He watches as Benes gets into the limousine and the caravan takes off with the Motorcycle Escort. The Soldiers are climbing back into the troop carriers. Grant starts down the stairs, is lost to view in the general activity.\",\n \"EXT. PICO BOULEVARD Down which the cavalcade speeds.\",\n \"EXT. WAREHOUSE DISTRICT OF STUDIO (BACK LOT) The cavalcade races through an area of dark warehouses.\",\n \"EXT. DESERTED STREET (BACK LOT) A rundown area. The cavalcade starts down the street. In the second floor of an otherwise dark house, a light is turned on and off, an evident signal. PAN DOWN to a heavy car, waiting in a narrow alley which opens into the street. Its headlights are off, the sound of its engine completely drowned by the concerted roar of the oncoming cars and motorcycles. As the cavalcade nears the entrance to the alley, one of the motorcyles comes speeding up from the rear of the escort. The car in the alleyway starts toward the entrance to the alley.\",\n \"EXT. ALLEYWAY The car starts hurtling forward at full speed. The front of the limousine is now visible. A broadside impact seems inevitable.\",\n \"EXT. ALLEY The motorcycle from the rear reaches the limousine as the kamikaze car comes hurtling out like a motorized projectile. It hits the motorcycle - a totally unexpected obstruction - and sends the Policeman flying out of scene. It is sufficient to deflect the kamikaze car from its deadly aim. The car hits the rear of the limousine, sends it spinning out of control. The suicide car, also out of control, careens toward the opposite side of the street. The limousine smashes into a telephone pole, which brings it to a jolting stop.\",\n \"INT. LIMOUSINE The impact throws Benes to the side. His head hits the door handle with stunning force, almost knocking him out.\",\n \"EXT. STREET The kamikaze car slams directly into a brick wall. It instantly bursts into fire, engulfing the Driver. The fitful flames illuminate the otherwise dark street.\",\n \"EXT. LIMOUSINE The Chief of the Secret Service jumps out of the limousine, waves to a sedan to pull up, his shouts lost in the general turmoil. Other Secret Service Men are helping the dazed Benes out, shielding him. A sedan pulls up beside the limousine.\",\n \"INT. SEDAN The Chief of the Secret Service instantly hustles Benes into the rear. As he climbs in beside him, and the other Secret Service Men rush to the other side to get in, there is the sharp crack of a rifle shot. It shatters the rear window of the sedan, narrowly missing Benes. The Chief thrusts him onto the floor, sprawls on top of Benes to cover him, while shouting to the Driver to get going, his words indistinguishable in the confusion of more rifle shots, which sends glass and bullets ricocheting through the interior of the sedan.\",\n \"EXT. STREET In the eerie light of the burning car, the sedan can be seen speeding off, flanked and spearheaded by Motorcycle Police. The Secret Service Men and those in the sedans are left behind, firing toward the top floor of a nearby bullding from which the rifle fire came. SERIES OF IMPRESSIONISTIC CUTS THROUGH CREDITS Without divulging the nature of the hospital, the unconscious Jan Benes is seen undergoing a fast and thorough medical probe by TECHNICIANS and SPECIALISTS, using the latest equipment. Huge X - ray machines, Centrifuges whirling blood samples, EKGs, Encephalographs, and a variety of instruments used in cerebral examinations are featured. After the LAST CREDIT :\",\n \"EXT. CITY STREET - NIGHT It is late. A car is speeding along.\",\n \"INT. CAR Seated in the rear, Grant looks as if he has just been aroused from sleep and hustled into the car in a hurry. He is getting into his shirt, helped by a MAN beside him. There is a smudge of lipstick on his cheek. MAN Sorry we had to get you up at this hour, Mr. Grant. GRANT -LRB- yawning. -RRB- I thought I was on my vacation. What's it all about? MAN I ca n't tell you. GRANT Where we going? MAN I ca n't tell you that either. Excuse me, Mr. Grant, but you've got a smudge on your cheek. He takes out handkerchief, realizing Grant ca n't see it. MAN May I? GRANT Go ahead. As Grant finishes buttoning on his shirt, the Man rubs off the lipstick. Then he throws the handkerchief out of the car. GRANT What'd you do that for? MAN I'm married. GRANT And she said it was indelible.\",\n \"EXT. DESERTED WAREHOUSE - PARKING AREA - NIGHT The car bearing Grant pulls up on an unpaved parking area used for loading trucks. Nothing stirs. The DRIVER shuts off the engine and lights.\",\n \"INT. CAR The Driver and the Man in the rear get out. As Grant starts to follow : MAN You're to stay inside, Mr. Grant. -LRB- answering look. -RRB- And wait. They close their respective doors, leaving Grant alone in the car, looking out mystified into the darkness.\",\n \"EXT. PARKING AREA The two men move off together, until they reach what they obviously know is a proscribed distance from the car. Then they stop and look at it. For a moment nothing happens, then the ground seemingly starts to sink with the car.\",\n \"INT. CAR Grant is startled to see the earth sliding up past the car. LONG SHOT - ELEVATOR SHAFT It now becomes apparent that the car has been resting on what is really the top of an elevator shaft. The sides of the shaft now become visible : it is seemingly bottomless.\",\n \"INT. CAR - IN SHAFT Grant responds as the elevator finally comes to a halt.\",\n \"INT. BOTTOM OF ELEVATOR SHAFT The car is on the earthen platform. Two big doors open. A scooter bearing the distinctive insignia of the appears, driven by an M.P. wearing the same emblem. Grant gets out of the car, is waved by the M.P. into the scooter. He gets in, is driven away.\",\n \"INT. UNDERGROUND ORDNANCE DEPOT They pass through a vast empty area, obviously capable of holding large pieces of equipment. The insignia of the is prominent. RAMP The scooter carrying Grant speeds up the incline to :\",\n \"INT. CENTRAL CLEARANCE AREA MALE and FEMALE OFFICERS, all in the uniform of the, are moving about busily. As the M.P. and Grant drive across the foyer, Grant eyes the Female CMDFs appreciatively. Their uniforms emphasize non - military points. The scooter reaches :\",\n \"INT. CLEARANCE DESK The OFFICER behind the desk looks up. OFFICER Your I.D. card, please. Grant takes out a card with only an embossed number. The Officer places it into an IDENTIFIER. We see its screen is blank. After a moment, Grant's picture flashes on in color, in full view and profile. The Officer looks up at Grant, sees it is an exact likeness. He then extracts the card. The screen goes blank. He hands Grant the I.D. card. The scooter takes off, speeding down a long neon - lit corridor, marked off for scooter traffic : four lanes, two in each direction. Numerous doors leading to offices open on both sides of the walkways. Traffic is heavy. Grant is the only one in mufti. The scooter approaches doors over which lights flash :! As the scooter nears the Sentry Box, the M.P. on duty hits a switch. The steel doors slide open. The scooter goes through into :\",\n \"INT. MEDICAL FOYER GENERAL ALAN CARTER is coming out of a door in a hurry. The scooter bearing Grant pulls up beside him. Grant gets out. They shake hands. CARTER Hello, Grant. Good to see you again. GRANT The Pentagon, was n't it, General? Only you were n't in that uniform.\",\n \"INT. OBSERVATION ROOM They move to window overlooking the OPERATING ROOM, see the unconscious Benes being wheeled in for Surgery. His head is uncovered. The full shock of hair stands out against the white pillow. His body is draped in the usual manner. A battery of SPECIALISTS and MEDICAL ATTENDANTS, MALE and FEMALE, are moving about under the glare of beams focused on the Operating Table. GRANT -LRB- startled. -RRB- Benes. What the devil happened? CARTER The Other Side got to him. GRANT How bad off is he? CARTER Brain injury. GRANT Before or after what he wanted to tell you? CARTER Before he could breathe a word. He's the only scientist who knows the answer to what we're after. That's why we have to operate - He turns away from the window, moves toward another door, with Grant following. CARTER - and why we need you. GRANT Bewildered, he follows Carter through door into :\",\n \"INT. MONITORING ROOM Carter moves to a panel of many switches and TV screens. GRANT I ca n't even put a Band - Aid on my finger. CARTER Here's the Surgeon. He flicks a switch. On the TV screen appears the INTERIOR OF DUVAL'S OFFICE. We see DUVAL, a brain surgeon in the middle forties. He has the manner of one totally dedicated to his work. At the moment, he is testing a ruby laser, narrowing the beam down to pencil - like thinness. Assisting him is CORA PETERSON. In the middle twenties, her attractiveness is matched by her efficiency, which is considerable. They work together smoothly, the result of long association. It is evident neither know they are being observed during : CARTER Duval. Dr. Peter Duval. Top brain man in the country. Ever hear of him? GRANT Sorry, but I'm rusty on surgeons. Who's the girl? CARTER Cora Peterson, his Technical Assistant. You'll join Duval and the others - GRANT What can I do? Except maybe pass out? Carter flips on another switch. On the TV screen appears the INTERIOR OF DR. MICHAELS' OFFICE. It is dominated by big blowups of the Circulation System. Michaels is asaembling charts, as if under pressure. CARTER'S VOICE -LRB- on loudspeaker. -RRB- Mike. Michaels moves to a wall, presses a switch. His TV screen shows Grant and Carter. MICHAELS Yes, Alan. CARTER Meet Grant. This is Dr. Michaels, Chief of the Medical Section. MICHAELS Glad to have you with us, Mr. Grant. GRANT Wish I knew why. CARTER Tell him where he fits in, will you? I've got a few things to check out. He moves to another panell is seen throwing on switches, monitoring a fast series of scenes, all of which are indistinguishable in angle of shot. Michaels is seen bustling about, collecting charts during : MICHAELS We need you for Security purposes, Mr. Grant. GRANT At an operation? MICHAELS They know they failed to kill Benes. Security thinks they'll try again, first chance they get. We're afraid of medical sabotage - or surgical assassination. GRANT Surgical assassination?! But that means you suspect - CARTER -LRB- re - entering scene. -RRB- -LRB- LINE OF DIALOGUE CUT OFF. -RRB- MICHAELS I do n't agree. Just because he's often difficult - CARTER Difficult? He's impossible! MICHAELS That's no reason to suspect him of disloyalty. GRANT But why take the chance, when there must be other doctors? CARTER We have no choice. Duval's the most skillful brain surgeon in the country, and he's right here, at hand. GRANT I would n't know if he's trying to save him or kill him. MICHAELS I'll be standing by. know. CARTER -LRB- to Grant. -RRB- And no matter what happens, you're to take orders from Dr. Michaels, understand? GRANT Right, sir. CARTER Come along, they'll be operating shortly. -LRB- hand on switch. -RRB- See you later, Mike. Michaels waves. Carter switches off the monitor. He moves to a door. Grant follows.\",\n \"INT. MEDICAL FOYER As they emerge : GRANT His technician okay? In addition to the Looks Department? CARTER No question of her loyalty. As Carter leads Grant to the scooter and they take their places, Grant looks at the big insignia on the floor. GRANT I do n't mean to be inquisitive. But this - for all I know it could stand for? CARTER -LRB- matter - of - fact. -RRB-. GRANT -LRB- blankly. -RRB- Say that again? Carter starts the scooter and they drive through the big doors leading out of the Medical Foyer.\",\n \"INT. CORRIDOR - TRAVELING WITH SCOOTER CARTER We can reduce anything down to any size we want. People - ships - tanks - planes. GRANT General, I've heard some wild ones. But this takes it. CARTER We can shrink an Army - with all its equipment - and put it in a bottle cap. That's why we call it. GRANT -LRB- with silent whistle. -RRB- If the Other Side ever gets hold of a thing like that. CARTER They have. -LRB- answering look. -RRB- But we've both got the same problem - lack or control. We can only keep things Miniaturized for exactly sixty minutes. Arter that, everything starts growing back to its original size. They arrive at the root of the escalator, leave the scooter and board the moving stairway. WITH ESCALATOR As they ride up : GRANT I assume Benes knows how to control it. CARTER That's right. He wanted us to have the secret, and not them. Which is why they tried to kill him. GRANT They're bound to try again. No wonder they want me to stand by during the operation. CARTER And take a little trip with them. GRANT -LRB- bewildered. -RRB- Trip? Where to? CARTER -LRB- matter - of - fact. -RRB- Well, the only way to reach that clot is from inside the Brain. So we've decided to put a Surgical Team and a Crew into a submarine - reduce it way down in size, and inject it into an Artery - GRANT -LRB- jolted. -RRB- You mean going along? CARTER As part of the Crew. GRANT Wait a minute! They ca n't shrink! CARTER -LRB- assuringly. -RRB- Grant, our Miniaturizer can shrink anything. GRANT But I do n't want to be Miniaturized -! CARTER It's only for an hour - GRANT Not even for a minute! General Carter, sir, I'd like you to reconsider your choice. I'm just not the right man for a mission of this kind. He starts walking against the direction of the escalator, thus remaining in the same place. CARTER -LRB- taking his arm. -RRB- Come on, Grant. You're going to a Briefing. They have reached the top of the escalator. Nearby is a door marked : Carter opens the door, waves him in.\",\n \"INT. CONFERENCE ROOM Grant and Carter enter in the middle of what is evidently a heated argument between COLONEL DONALD REID and Duval. Reid is in the uniform of the, with a cadaceus which indicates he is the Medical Division. Also present is CAPTAIN BILL OWENS, in Naval uniform, and Michaels. Cora stands beside Duval, rather abashed, since she is the cause of the vociferous disagreement. DUVAL -LRB- irascibly. -RRB- Miss Peterson volunteered to come along! REID So did every male Technician in the Unit. A woman has no place on a mission of this kind. DUVAL -LRB- brooking no rebuttal. -RRB- I insist on taking my Technician. REID You'll take whoever assign! DUVAL -LRB- angrily. -RRB- Do n't tell me whom I'm to work with! Not on this operation or any other! I'll do what think is best, without any interference from anyone! Before Reid can reply : MICHAELS -LRB- diplomatically. -RRB- Dr. Duval has relied on Miss Peterson for years. And since she wants to come along, I'm sure it's for the best, Dr. Reid. REID -LRB- making best of defeat. -RRB- I do n't agree with you - but since you're in charge, you can do as you please. But I want to go on record as being against it. CARTER Grant - Colonel Reid, Operation Commander. -LRB- they nod ; of Michaels. -RRB- You've met our Medical Chief. Grant and Michaels shake hands, in effect their first meeting vis - a - vis. CARTER This is Dr. Duval, our Head Surgeon. GRANT Oh yes, I've heard of you, Doctor. With the attitude of the completely dedicated professional, Duval throws him a cursory glance, nods, sits down, quickly opens up a folder containing the latest lab reports on Benes, which he scans during : MICHAELS Miss Peterson, his Technical Assistant. GRANT -LRB- the charmer. -RRB- How are you, Miss Peterson? She responds with an impersonal nod, sits down beside Duval and opens up her sheaf of lab reports, handing him the pertinent ones during : CARTER This is Captain Bill Owens, designer of an experimental submarine for the Navy's ` Oceanographic Research and Development Program.' As they shake hands : GRANT Out of your element, are n't you, Captain? OWENS Sort of. GRANT That makes two of us. CARTER Grant's uniquely qualified for this mission. He's a Communications Expert and was a Frogman during the War. Besides, he brought Benes into this country, and the fewer people who know about him, the better. At any rate, you'll find Grant invaluable, should anything go wrong once you're under way. -LRB- to Reid. -RRB- Okay, Don. REID Here's the overall Target Area. Reid presses a switch. A large anatomical map of a Brain flashes on a central screen. The ganglia and dendrites form a network, much like intersecting roads, in a detailed war map. The clot is a solid obstruction in the center. Grid lines cross the map vertically and horizontally as points of reference. The entire projection has a three - dimensional effect, since it is drawn in perspective. DUVAL Benes' brain. near as we can map it stereotaxically. He switches on a flashlight arrow, points to the clot. DUVAL The clot's right here. He switches off the arrow and quickly flashes it on again, this time on the edges of the map. The arrow now probes and with draws from the base, center and top of the brain, like the animated technique of showing an attack which is repulsed at the perimeter. DUVAL Impossible to get at -. -LRB- arrow makes vertical penetration to give impression of wide cut. -RRB- - without damage to the intervening tissue. which would prove fatal to Benes. He presses another switch. A startling OVERLAY OF THE BLOOD VESSELS OF THE HEAD AND NECK appears over the anatomical drawing of the brain, encasing it. The red - colored arteries and blue - colored veins form such an intricate maze, that finding one's way through it seems virtually impossible. DUVAL The only way to reach it is via the Arterial System. Grant looks at Cora. She is busy making notes from the projected map. Owens is showing no undue reaction, apparently having been apprised. REID Phase One calls for Miniaturizing a submarine, with Crew and Surgical Team, and injecting it into the Carotid Artery. He points with the arrow to the exact spot. OWENS How small would that be? REID About the size of a microbe. GRANT Colonel, I'm sure that's quite a comfortable size, but - REID Reduced proportionately, you wo n't find it too strange - GRANT All in a day's work, sure. But I was thinking of the speed of the Circulatory System. MICHAELS About forty miles an hour. GRANT Well, it seems to me if you reduce a ship to microscopic size - and the stream remains constant - we'd take quite a beating. OWENS -LRB- very worried. -RRB- I hope you've taken that into account - CARTER We have. REID You wo n't be going anywhere near that fast. We're putting Benes in deep Hypothermia - that is, freezing him low as compatible with human life. It'll slow down his heartbeat, Circulation, and all other physical processes. Owens begins polishing his glasses, indicating his inner qualms. OWENS Even so, because of our size - I mean lack of it - we'll still be cruising mighty fast. We'll be smashed to bits if there's any turbulence - MICHAELS -LRB- pointing with flashing arrow. -RRB- The only danger of turbulence is in the Heart - and we're not going through it. -LRB- flashing arrow. -RRB- Once in the Carotid Artery, we'll remain in the Arterial System. until we reach the point of damage -. -LRB- flashes around clot. -RRB- - where Dr. Duval will attempt to dissolve the clot with a laser beam. After the operation, we'll return by way of the Venous System -. -LRB- coursing down with arrow. -RRB- - until we reach the base of the neck -. -LRB- arrow stops. -RRB- - where we'll be removed right here - with a hypodermic. GRANT How will you know where the sub is, at any particular moment? REID Dr. Michaels - our Circulatory Specialist - will serve as your Navigator. He'll know just where you are. And you can communicate directly with us, by wireless. Besides, the sub is nuclear - powered, and we'll be tracking it just as we would any radio - active tracer. CARTER There'll be a team of Surgeons standing by. We're prepared to remove you immediately, should anything go wrong. In any event, you must be out within sixty minutes. After that, you'll be in danger of attack. GRANT Attack? Who - or should I say what from? REID Benes' natural defenses. White Corpuscles - Antibodies. Once you begin to grow - and become a menace to the body - you'll trigger them off. MICHAELS With all the unknown factors in the body, I still say risking five lives for one is something we should reconsider - CARTER We understand your concern, but we've made our decision, Doctor. Any questions? Anybody? GRANT Just one, General. CARTER Yes? GRANT Where can I get a cab back to town? No one responds to the attempted levity. Carter rises. CARTER -LRB- to all. -RRB- Proceed to the Sterilization Section. Carter and Reid move out of the room through the door. The others go out through another.\",\n \"INT. CORRIDOR The five appear and stop before a cylindrical door with handles similar to those in a vault, to give the effect of a sealed chamber within. Over the door flashes : The five reach the door. An electronic beam swings it open automatically. They start in. As Grant moves past the sign : GRANT How much can a man give to his country? The door swings automatically shut behind him.\",\n \"INT. CONTROL TOWER A huge plastic bubble in the form of a truncated semicircle, with glass panels overlooking areas not visible in the angle of the shot. TECNICIANS in the uniform of the are seated at a desk - level bank of monitors, on a slightly raised platform. They are checking the numerous TV screens for focus. A cacophony of B - Beeps from the screens underscores the sense of last - minute preparations. A COMMUNICATIONS AIDE wearing headphones and throat microphone moves about. Carter crosses to the Miniaturization Control Panel. Reid goes to the window overlooking the OPERATING ROOM. Below, he can see Benes on the operating table, a towel over his head. Surgical Aides are making a last - minute check of the Thermal Blanket which encases him in three sections. Reid presses a button on the wall beside the window. REID Make the final preparations. They begin to remove the towel from Benes' head. Reid turns away from the window and crosses to the window overlooking the MAIN OPS ROOM. With him we see a huge room, bisected by a floor - to - ceiling detailed map of the entire ARTERIAL and VENOUS SYSTEM from rib - cage to skull, to simulate the body of Benes in a prone position. Grid lines mark off areas in relation to true North and South. TECHNICIANS are bustling about with charts and reports which are coming in through headphones, telephones, teletypes, batteries of Computers, Oscillographs, etc.. Encircling the entire floor are glass - fronted booths which enclose the SPECIALISTS' POSTS. Reid turns to a Technician at the Master Control Section. REID -LRB- to Technician. -RRB- Heart. The Technician flips on a switch. On a TV screen appears the INTERIOR OF THE HEART POST, one of the glass - enclosed booths looking out onto the MAIN OPS ROOM. Like all the Specialists Posts, it is concerned with its particular area and nothing else : Blowups of the Heart in great detail, X - rays of Benes' heart, its beat being recorded electronically on a huge EKG chart which fills one wall and is in constant operation via remote control. The HEART SPECIALIST is standing before the EKG chart, while a TECHNICIAN twirls dials at a panel. Reid can be seen in the closed TV circuit in the Heart Post. -LRB- As in all subsequent TV communications. -RRB- REID How's it look, Henry? HEART SPECIALIST -LRB- over TV. -RRB- Holding steady at thirty - two per minute. REID -LRB- to another Technician. -RRB- Respiration. The Technician flips on another switch. On a TV screen appears the\",\n \"INTERIOR OF THE RESPIRATION POST. Here everything relates only to the lungs. In addition to cut - away sections where each small area assumes the proportions of a detailed war map, there are banks of Benes' X - rays, lit up in panels, plus immense calibrated charts labeled INHALATION and EXHALATION, on which the rate is being electronically recorded. REID How's he doing, Jack? The Lung Specialist is seen glancing at a chart. LUNG SPECIALIST -LRB- over TV. -RRB- Respiration is now six per minute. I would n't take him down any further. Another Technician flips switch in response to : REID Hypothermia. On a TV screen appears the INTERIOR OF THE HYPOTHERMIA POST, its walls festooned with dials recording bodily temperature, before which TECHNICIANS sit watching and making minute adjustments. The HYPOTHERMIA SPECIALIST moves along, keeping a sharp eye on the various zones labeled : CIRCULATORY, RESPIRATORY, CARDIAC, RENAL, etc.. REID Any problems, Dr. Sawyer? HYPOTHERMIA SPECIALIST -LRB- over TV. -RRB- No sir. We're holding him at twenty - eight degrees Centigrade. Carter enters, moves to the Control Section to join Reid. CARTER Where do we stand? REID Medical's ready. The Communications Aide with headphones moves up to them. COMMUNICATIONS AIDE They're in the Sterilization Corridor -\",\n \"INT. STERILIZATION CORRIDOR Bathed in eerie ultra - violet light. The five are passing down the corridor, in single file. All are dressed in khaki uniforms. Grant moves ahead of Cora. As they reach a vestibule at the end, the door swings open automatically. Grant starts to help Cora over the threshold. CORA Do n't touch me. I'm sterile. Grant grins. They move into :\",\n \"INT. MINIATURIZATION ROOM A huge parquet area, composed of white octagonal modules. In the center is the Zero Module, in red. Standing over it is a fifty - foot craft. The angle and the distance renders its details indeterminate. WHITE - CLAD TECHNICIANS wearing rubber gloves are seen working about it. As the five come into the room : CARTER'S VOICE -LRB- on loudspeaker. -RRB- Please board and check all your equipment immediately. They look up, see : CARTER AND REID AT WINDOW OF CONTROL TOWER - THEIR P.O.V.. They can be seen, high above. DOWN INTO MINIATURIZATION ROOM - FROM P.O.V. CONTROL TOWER Carter and Reid look down at the tiny figures below as they move toward : THE PROTEUS - OVER THE ZERO MODULE With Grant and the others, we now get the full impact of the experimental sub at close range : sleek lines from the intake in the nose sweep over a transparent plastic bubble atop the structure, and then down to taper off at the stern under which are double vents. The sub is supported by cradles, allowing it to stand free of the module. Plastic windows in the bow afford the occupants a full view. A white - Clad Technician hands Owens a small lead box. TECHNICIAN Here's the particle, sir. OWENS Everything aboard? TECHNICIAN All squared away, sir. Carefully holding the lead box, Owens starts up the ladder, followed by Duval, then Michaels. Grant waves Cora to precede him. They reach the monk's steps above the ladder, climb upward, then one by one disappear through the hatch. Grant is the last one in.\",\n \"INT. PROTEUS With Grant we see the interior. There are plastic windows in the bow. In the center is the Navigation and Communications kiosk, which contains charts, reports, and a wireless set. Four swivel chairs are spaced about the kiosk. Behind it, a ladder leads to the Conning Bubble above. Set in the rear of the kiosk is a watertight door leading into the escape hatch. Behind the kiosk is a Lab and Storage Section, not visible at the moment. No power of any kind is on - lights or air - conditioning. The interior is illuminated by the light coming in through the plastic windows. Duval, Michaels and Cora instantly move to the kiosk and busy themselves examining the charts and reports in the numerous pigeonholes. Owens hands the lead box to Grant. OWENS Hold this. Grant takes the lead box. Owens removes a crank from the tool box, inserts it into a hole in a circular trap door which reads : Owens turns the crank. The lid of the trap door opens. A hollow cradle comes up. Owens then opens the lead box by undoing two butterfly screws. He removes the Seed Cage from within the box. GRANT -LRB- not relishing thought. -RRB- Atomic fuel? OWENS Nothing you could see with the naked eye. But there's a microscopic radio - active particle inside. He puts the Seed Cage on the cradle and lowers it back beneath the floor, by reversing the crank. During the above : GRANT If it's no military secret, how can a sub run on a microscopic particle? OWENS They ca n't reduce nuclear fuel. But once the Reactor's Miniaturized - along with the submarine - a microscopic particle should emit enough energy to activate it. GRANT That's cutting it mighty close - for a perfect fit. OWENS It should work - theoretically. If it does n't, the mission's off. The craft's nuclear - powered. Except for your wireless. The lid of the trap door is now level with the floor. Owens removes the crank, and taking the lead box from Grant, he puts both back into the tool box during : GRANT -LRB- looking about ; admiringly. -RRB- All in all, quite a canoe. OWENS Designed for Piscatorial Research - the Spawning Habits of Deep Sea Fish. GRANT Remind me to ask you about the love life of an octupus. He moves to the wireless, sees Cora smile as she goes through the aft door. Grant begins tapping out a message.\",\n \"INT. CONTROL TOWER A WIRELESS TECHNICIAN is writing down the message heard coming in. He tears it off his pad, hands it to the Communications Aide, who takes it to Carter. COMMUNICATIONS AIDE Test message from the Proteus, sir. -LRB- reading. -RRB- ` Miss Peterson has smiled.' REID That's an auspicious sign. CARTER Confirm receiving.\",\n \"INT. PROTEUS Grant is at the wireless, logging the incoming message. In the meantime, Owens finishes battening down the entrance hatch. Duval is studying medical reports, Michaels is spreading out the first of the Navigation Charts, a very detailed map of the Vascular System of the Neck and Head. As Owens crosses on the way to the ladder leading to the Bubble : MICHAELS Captain, how will you be able to follow my charts -. -LRB- of Bubble. -RRB- - from up there? OWENS On the Repeater. Michaels looks at him blankly. Owens flips a button up and down of a hooded device which is trained on the chart area. The small screen remains blank. OWENS Once the power's on, we'll be in direct touch. Come, I'll show you. Michaels moves with him to the ladder leading to the Bubble. Owens stops, waves him to continue. Michaels goes up the ladder.\",\n \"INT. CONNING BUBBLE An ultra - sophisticated set of controls, consisting of a push - button panel and an airplane - like steering wheel. The plastic affords a 360 degree view of the Miniaturization Room. There is room for only one person. Owens remains on the ladder, so that only his head is within the Bubble. Owens points to the identical Repeater on the Panel. OWENS That's it. MICHAELS -LRB- of controls ; ironically. -RRB- Looks simple to operate. He sits down in the single seat.\",\n \"INT. PROTEUS Grant is moving aft. With him we hear : OWENS'VOICE -LRB- from Bubble ; with pride. -RRB- It actually is, although the controls are highly sophisticated. There's a button for everything - Grant enters :\",\n \"INT. LAB AND STORAGE SECTION Originally designed for marine research, it still shows some of its pre - adaptation structure : there is a series of glass - fronted compartments, now labeled ANTIBIOTICS, ANTI - COAGULANTS, COAGULANTS, MED OXY, etc.. A wide counter runs the length of the compartment on one side, suitable for working on specimens. A Ruby Laser sits on the counter at the end, its plastic cover removed and to the side. At the other is a piece of metal on a metal base. As Grant enters, he sees Cora working with a set of very small tools, making minute adjustments on the laser. GRANT Bet you're pretty handy around the house. Can you cook? CORA -LRB- indicating oxy containers. -RRB- We're pushing oxygen today. GRANT I'll take some Laughing Gas, ma'am. CORA -LRB- surprised. -RRB- You sound as if you're not looking forward to it. GRANT Well, it's not exactly a pleasure cruise. CORA I think it's the most exciting -. -LRB- with awe. -RRB- We're going to see things no one ever saw before. The actual physical process of Life itself - not something under a microscope. Just think of it - GRANT That's the trouble. I am. Being shrunk. CORA You may learn to like it. She has finished adjusting the laser. She now lifts Grant's hand away from the metal disc. CORA Excuse me. She presses a button on the laser. With startling suddenness, a thin pencil of light shoots out, cutting a hole through the metal instantaneously. Had Grant's hand remained, the beam would have gone right through it. GRANT For a nice young lady, you play with the damndest toys, Miss Peterson. She adjusts the intensity and thickness of the laser beam, each new one cutting different size holes through the metal during : CORA -LRB- with smile. -RRB- That'll teach you where to keep your hand. GRANT Now I know. As she drills metal through again : GRANT That could be quite a lethal weapon. It could kill, not cure. CORA Not in the hands of a great surgeon like Dr. Duval. The beam of this laser can be regulated to one millionth of a millimeter. GRANT I understand you've been Dr. Duval's Assistant for quite some time. He must've snatched you out of the cradle. CORA I've been with him since I got out of school. He brought me into the CMDF, over five years ago. GRANT A long time, with one man. CORA Not working for someone like Dr. Duval - She breaks off, realizing she may have revealed her feelings. She switches off the laser, averts looking at Grant as she fits the plastic cover over it. Into the silence, the wireless is heard as a message comes in. Grant starts back into :\",\n \"INT. PROTEUS Thoughtful, listening to the wireless. Michaels is coming down from the Bubble. As Grant reaches the wireless, the tapping comes to an end. GRANT -LRB- loud enough for all. -RRB- ` Prepare for Miniaturization'. OWENS Positions, please. And strap yourselves in. Grant and Duval begin putting on their safety harnesses, which are attached to their respective seats. Cora appears out of the aft compartment. Michaels moves toward it, a check - list in hand. He disappears within. In the meantime, Owens is busy tightening every lock - screw in evidence. AT THE KIOSK Cora stops before Duval, tries to help him with the final stages of getting into the harness. DUVAL It's all right - I can manage. She starts to leave, stops. CORA -LRB- with difficulty. -RRB- Doctor. DUVAL -LRB- busy with harness. -RRB- Yes, Cora. CORA I - I want to say. She falters as he looks at her. DUVAL What is it? -LRB- anxiously. -RRB- Anything wrong? CORA -LRB- the moment gone. -RRB- I just wanted to thank you for taking me along. DUVAL Thank you for volunteering. She turns abruptly, gets into one of the seats and starts putting on her harness. In the meantime, Michaels appears from the aft compartment, checking off a few items on the bottom of his list as he moves quickly to the kiosk. He places the list into a pigeonhole, sits down, quickly straps on his harness. WITH OWENS Everything battened down, he now checks Cora's harness, then does the same with Duvalls and Michaels'. All are now sweating. Finished with Grant's harness, Owens moves quickly up the kiosk ladder leading to :\",\n \"INT. BUBBLE Owens drops into the seat, and with the speed of much practise, slips into his harness.\",\n \"INT. PROTEUS Grant and the others hear : OWENS' VOICE -LRB- from above, in Bubble. -RRB- Okay, Mr. Grant. Tell them we're ready. As Grant begins to tap out message :\",\n \"INT. CONTROL TOWER The message is coming in. The Wireless Technician writes it down, rips it off the pad and the Communications Aide reads : COMMUNICATIONS AIDE ` Proteus reports all secured.' CARTER -LRB- to Technician. -RRB- Miniaturizer. A TECHNICIAN at a panel marked throws a switch.\",\n \"INT. MINIATURIZATION ROOM What appeared to be a solid wall at the end now slowly starts to slide apart, gradually revealing : THE MINIATURIZER A huge, honeycombed disc, suspended from a rail running along the ceiling, begins to roll silently toward the sub.\",\n \"INT. PROTEUS As Grant gets his first sight at what is going to shrink him, he reacts quite convinced. He glances at Duval, Michaels and Cora. They, too, are looking at the oncoming Miniaturizer, but with none of his response. They apparently have seen it before. P.O.V. MINIATURIZATION ROOM - FROM CONTROL TOWER Reid and Carter are looking down at the M1niaturizer as it rolls slowly toward the sub. When the disc is directly over the sub, the Techn1cian at the panel throws a switch, instantly stopping the Min1aturizer. REID All stations stand by. A Technician presses a button. There is the SOUND of a warning claxon. MAIN OPS ROOM - P.O.V.. The last minute scurry, as all take their respective places. The GRID OFFICER is seen moving up to the big center grid map of the Arterial System with something in hand which we ca n't distinguish as yet. CUTS OF TECHNICIANS IN MAIN OPS ROOM Now all are mobile, waiting at their machines.\",\n \"INT. CONTROL TOWER Reid is now before the monitors, all of which are on. Carter turns from the window overlooking the Miniaturization Room, looks at Reid. The latter nods in silent affirmal. Carter turns to the Communications Aide. CARTER Commence Miniaturization. COMMUNICATIONS AIDE -LRB- into throat mike. -RRB- Commence Miniaturization.\",\n \"INT. MINIATURIZATION ROOM The bottom of the Miniaturizer begins to glow with increasing intensity. Simultaneously, the modules beneath the sub also begin to light up with equal intensity. Gradually, the entire sub is encased in a blaze of incandescence.\",\n \"INT. PROTEUS The lack of ventilation and the tension is causing Grant and the others to sweat profusely.\",\n \"INT. CONNING BUBBLE From his vantage point, Owens can see the light of the Miniaturizer reach the peak of intensity.\",\n \"INT. CONTROL TOWER A light flashes on the panel. With Carter we see a grid on the Technician's Control Panel as it becomes activated. Two blips from the co - ordinates marked and flash on. Reid remains at the monitors, eyes on the charts which keep flashing on, sending Benes' temperature, heartbeat, etc..\",\n \"INT. MINIATURIZATION ROOM The light is bathing the entire sub in an iridescent glow. There is a dull hum.\",\n \"INT. PROTEUS With Grant we get the first realization that the sub is shrinking : the proportions of what he can see in the Miniaturization Room are changing. He looks about him in a moment of wonder. DUVAL AND MICHAELS From their vantage points at the kiosk tower, they can see a little more of the outside than Grant. They respond like scientists : with intense absorption in the process. CORA She responds enthralled. OWENS Up in the Bubble, he gets the unlimited view - and he is transfiXed. For now the Miniaturizer stretches far, far up, and the honeycombed light from the Miniaturizer disc seems as distant as stars. The walls of the room are barely discernible in the distance. BACK TO GRANT The final subjective reaction as with him we see : CONTROL TOWER - GRANT'S P.O.V. Far, far up, the windows of the tower have merged into a tiny ray of light.\",\n \"INT. MINIATURIZATION ROOM - P.O.V. CONTROL TOWER Now with Carter we get the first view of the shrinking Proteus as they watch it shrink down, down, down in the center of the Zero Module, which we see is laced with intersecting lines. When the sub reaches the size of a capsule about the length of a centimeter, Carter looks down at the grid on the Technician's Control Panel. He sees the blips on the co - ordinates approach closer and closer until they finally merge into one. He looks back at :\",\n \"INT. MINIATURIZATION ROOM - P.O.V. CONTROL TOWER The lights at the bottom of the Miniaturizer's disc go off. The hum stops. At this distance, the sub looks like a speck on the floor. CARTER Elevate Zero Module. THE ZERO MODULE - MINIATURIZATION ROOM It starts to rise from the floor with the capsule - sub.\",\n \"INT. PROTEUS Grant and the others respond as the vast parquet floor with its maze of hexagonal lines seemingly stretching into infinity suddenly begins dropping beneath them. The effect is that of becoming air - borne.\",\n \"INT. BUBBLE With Owens we get the unobstructed view : everything is falling far, far below. The bottom of the Miniaturizer seems an infinite distance above. THE ZERO MODULE Still rising slowly. THE ZERO MODULE - P.O.V. FROM INTERIOR CONTROL TOWER The capsule - sub is now about four feet off the floor, on the Module. The Zero Module comes to a stop.\",\n \"INT. PROTEUS - ON MODULE All are sweating more profusely, showing increasing discomfort.\",\n \"INT. CONTROL TOWER Carter turns from the window, looks at Reid, who glances up from viewing the monitors. REID Okay to proceed. CARTER Phase Two.\",\n \"INT. MINIATURIZATION ROOM A panel slides open and a precision handling device is rolled in by several WHITE - CLAD TECHNICIANS. A NURSE follows, in uniform. The machine is fourteen feet high, consists of pulleys on a tripod, which control a vertical arm angling down from a horizontal extensor. Two sets of mechanical fingers are on the vertical arm, about a foot apart. Together they act as clamps. All adjustments are controlled by various worm - gears. As the tall tripod rolls by, on the side of the base we see stamped : MIN PRECISION HANDLING, under the insignia of the.\",\n \"INT. PROTEUS Grant and the others react to the first sight of the oncoming in relation to their own reduced size : a button is immense, a shoe - although far down from their position on the Zero Module - is long as a city street, the heads gargantuan atop skyscraper - tall bodies. The precision handling machine itself is beyond recognition, owing to its vast proportions.\",\n \"INT. MINIATURIZATION ROOM The tripod is eased to a stop so that its vertical arm is directly over the Proteus on the Module. A TECHNICIAN at the gear box starts turning a worm - gear control, which lowers the vertical arm toward the capsule - sub.\",\n \"INT. PROTEUS Grant reacts as huge steel fingers at the bottom of the arm slowly slide into view. He glances at Cora and the others. They apparently know what to expect, but watch with the interest of scientists. The mechanical fingers slowly disappear beneath the sub.\",\n \"INT. MINIATURIZATION ROOM The Technician maneuvers the mechanical fingers carefully so that they slip under the cradle of the sub, in effect becoming its holding fork. Once the steel fingers are in place, the Zero Module sinks below the floor from view, while the tripod holding the Proteus is eased back.\",\n \"INT. CONTROL TOWER A Technician presses a switch. CYLINDRICAL AMPULE - MINIATURIZATION ROOM A glass ampule about as tall and round as a small silo starts coming up out of the floor on the Zero Module. The transparent container is filled with a clear liquid, two - thirds to the top. It rests on an encircling cork base. The lettering at the base reads : SALINE SOLUTION. CYLINDRICAL AMPULE - P. 0. V. PROTEUS Grant and the others react to what appears to be something big as an illuminating gas storage tank - albeit filled with liquid.\",\n \"INT. MINIATURIZATION ROOM - P.O.V. CONTROL TOWER With Carter we see the tripod with the Proteus brought to a stop close to the saline solution.\",\n \"INT. MINIATURIZATION ROOM The Technician at the tripod moves it so that the claw holding the Proteus is directly over the water in the ampule.\",\n \"INT. PROTEUS Grant and the others react as they see themselves suspended over what appears to be a huge lake far below, bounded by cylindrical glass walls in the distance. Reflected light bounces off the top of the water, with iridescent effect. Suddenly they begin to descend. Grant and the others react as they seem to be dropping at suicidal speed toward the water which is rushing up to meet them as if they were in a dive - bomber. Then as the surface nears :\",\n \"INT. MINIATURIZATION ROOM Within the high walls of the ampule, the capsule - sub is deposited into the water. Despite the delicate handling :\",\n \"INT. PROTEUS It ` hits' the water, jarring all within, as at a launching from drydock.\",\n \"INT. MINIATURIZATION ROOM The Technician now begins to maneuver the mechanical fingers out from under the sub.\",\n \"INT. PROTEUS Grant and the others see the gigantic steel fingers sliding past the plastic windows.\",\n \"INT. MINIATURIZATION ROOM The lifting fork is now disengaged from the sub, which floats free in the ampule.\",\n \"INT. BUBBLE The sub is rocking none too gently on the surface of the vast glass - enclosed ` lake.' As Owens sees the ends of the immense prongs move past the bubble and continue upward : OWENS -LRB- down toward kiosk. -RRB- We've got to submerge manually. Grant, open Valves One and Two on the bulkhead.\",\n \"INT. PROTEUS Grant slips out of his harness and moves quickly to a butterfly valve marked in the bulkhead. On the opposite side of the sub is a duplicate valve marked. As Grant begins turning Valve One : DUVAL Here - I'll get the other. Duval gets out of his harness and moves to the second valve. Grant watches him covertly while working at his own valve. MICHAELS As he sees the fluid rising toward the bow windows, he begins to respond with increasing fear.\",\n \"INT. BUBBLE Owens' attention is on the gauges in the panel before him. They begin recording PRESSURE and DEPTH. The surface of the saline solution begins to flood upward.\",\n \"INT. PROTEUS Grant and Duval at the valves, now fully open. Through the outer windows the water appears to move upward in relation to the sub, which continues submerging. MICHAELS Face sweating, his eyes reflect growing irrational terror as he stares at the rising fluid bubbling over the bow windows.\",\n \"INT. BUBBLE As the depth gauges near the < 30 > mark : OWENS Close valves.\",\n \"INT. PROTEUS Grant and Duval twist the valves shut. When both are done : GRANT Valves closed. OWENS'VOICE -LRB- from Bubble. -RRB- Right. That's all for the present. As Grant and Duval move to their seats, Michaels opens his harness, slips out and hangs onto the bulkhead ledge, gasping for breath. DUVAL Doctor, what's wrong? MICHAELS I ca n't breathe! I've got to get out! DUVAL It's too late now. We must go on. GRANT You'll feel better once we're underway. Michaels hangs on tighter to the bulkhead ledge, trying to control himself. MICHAELS -LRB- gasping. -RRB- I - I'm sorry. Claustrophia - buried alive - two days - air raid - England. Thought I'd gotten over it. Please - forgive me. I'm quite all right now. He sinks back into his seat. Grant helps him with his harness.\",\n \"INT. MINIATURIZATION ROOM We now see the sub for the first time beneath the surface of the saline solution : a small capsule submerged at an even keel, about one - fourth of the way down in the huge transparent container. The Modules on which the ampule rests now return to floor level.\",\n \"INT. MINIATURIZATION ROOM - P.O.V. CONTROL TOWER From his vantage point above, Carter can barely see the capsule in the ampule. He glances at Reid, who looks up from the monitors and nods. CARTER -LRB- to Technician. -RRB- Phase Three. The Technician presses a button on the panel, activating the grid. The two blips flash on again, moving down the and co - ordinates. THE MINIATURIZATION ROOM Instantly the disc of the Miniaturizer trained on the ampule begins to glow again. The light is reflected on the entire surface of the saline solution. The low hum resumes.\",\n \"INT. PROTEUS Again we first get the view of the shrinking process : Grant and the others see everything rushing away into an immensity of distance. And all the time the reflected light which has illuminated the interior of the sub is diminishing. We see the reason :\",\n \"INT. MINIATURIZATION ROOM The view : the ampule has shrunk way below the Miniaturizer. Its far smaller size reflects only a spark of light. The sub is now only a particle, shrinking with the ampule. The Technicians and Nurse look on, grouped at the tripod which is beyond the range of the Miniaturizer.\",\n \"EXT. PROTEUS As the sub shrinks to invisibility, disappearing before our eyes :\",\n \"EXT. AMPULE AND PROTEUS In its now fully reduced size, we see the ampule is actually a glass cylinder about two inches long and half - an - inch in diameter. MIN GRID - P.O.V. CONTROL TOWER With Carter we see the two blips merge and hold. Instantly the lights in the Miniaturizer go off. The hum stops. A loud CLICK is heard. All look up at : CLOSEUP - ELECTRIC MINUTE RECORDER A big < 60 > flashes on, and holds. -LRB- NOTE : We will see the same kind of clock, in varying sizes, in every set, flashing on the passage of time in, from now to the end of the picture. -RRB-\",\n \"INT. MINIATURIZATION ROOM - P.O.V. CONTROL TOWER The Zero Module now begins to rise above floor level. The ampule, on its reduced cork base, appears very tiny from this height. GARTER -LRB- to Wireless Operator. -RRB- Inform Proteus they are at Full Reduction. The Technician taps out the Proteus' call letters. All wait, tense, for a response, as the tapping stops. They react, relieved, as they hear :\",\n \"INT. PROTEUS Grant tapping out reply. Now, for the first time, we get the view of what all see from their various vantage points, distorted through liquid and the glass walls. The light is dim, all are finding it very hard to breathe in the unventilated craft. When the incoming message stops : GRANT -LRB- LINE OF DIALOGUE CUT OFF. -RRB-\",\n \"INT. BUBBLE Owens glances at his wrist watch. Then he flips a switch. He watches the buttons on his panel. None light up. There is an anxious moment. Then the myriad lights on the panel begin to glow dully. The Minute Recorder on the panel begins to flash < 59 >.\",\n \"INT. PROTEUS The lights become brighter. Cora, Duval and Michaels react with relief. The ventilators come on, permitting all to breathe easier.\",\n \"INT. BUBBLE The buttons on the panel are now aglow. Owens makes a test : he touches a button which spins his seat, with the control panel before him, in a complete 360 degree turn within the Bubble.\",\n \"INT. CONTROL TOWER After a brief message is heard coming in : COMMUNICATIONS AIDE Proteus On - Power. With relief, Carter turns to Reid. CARTER It's all yours, Don. Reid moves from the monitors, presses a button on the Control Section.\",\n \"INT. MINIATURIZATION ROOM As the Technicians at the tripod hear : REID'S VOICE -LRB- over loudspeaker. -RRB- Phase Four. The Technicians move the tripod so that the vertical arm is brought directly over the ampule and lowered, until the two sets of mechanical fingers clamp the cylinder firmly. Then the ampule is raised a few inches from its position on the module. The reduced cork base still encases the bottom. The Nurse and a Technician move to the ampule. He holds a small instrument case. AT AMPULE When they reach the clamped ampule, the Technician opens the case. The Nurse takes out a plunger. Very carefully, she begins to insert it into the top of the ampule without disturbing the liquid. She then gently pulls away the cork remaining at the base of the ampule, revealing a small opening in the center. But owing to the pressure above, the liquid does not run out. She takes a needle out of the case and carefully fits it into the nipple. We now see the ampule is actually a hypodermic syringe.\",\n \"INT. MINIATURIZATION ROOM - P.O.V. CONTROL TOWER Ried and Carter watch as the tripod is carefully wheeled across the room. THE HYPODERMIC NEEDLE - MOVING SHOT The saline solution in the cylinder is sloshing slightly, despite the great care of those moving it.\",\n \"INT. PROTEUS The sub is being rocked, causing everyone to hold on for support.\",\n \"INT. BUBBLE Owens is trying to keep an even keel with his controls, now in full operation.\",\n \"INT. MINIATURIZATION ROOM As two big doors slide open for the tripod to pass through : EXTREME CLOSEUP - RADIAL LINES What appears to be a myriad number of radial lines crossing each other to form tiny squares over a domed surface is revealed to be : BENES' HEAD Now shaved clean, the head is grid - marked for Stereo - encephalatomic measurements. In the background, the tripod is seen being wheeled in.\",\n \"INT. OPERATING ROOM Moving with the hypodermic needle clamped in the tripod, we now get the full impact of the set : the floor is marked off for True North and South, with latitudinal and longitudinal lines. The modern operating table is set so that Benes' head corresponds with the exact position of the Arterial Head on the big grid map in the Main Ops Room. Benes is lying under a thermal blanket, covered up to the collarbone. Thin rubber pipes lead out from the blanket to the Central Thermal Unit under the operating table, out of the way of everyone. A TEAM OF GAUZE - MASKED SURGEONS AND ASSISTANTS stand grouped around the unconscious patient. In a semi - circle at the head of the bed, beyond the head, is a series of SMALL TRACKING DEVICES resembling radio - telescopes. They are remotely controlled. The Minute Recorder, in a prominent position now changes from < 59 > to < 58 >.\",\n \"INT. OPERATING ROOM - P.O.V. CONTROL TOWER Reid and Carter are looking on. The Communications Aide stands at his side. They see the clamped hypo rolled up to the side of Benes' head and brought to a gentle stop. BENES AND HYPO A small circle marks the exact spot of the injection. A SURGICAL AIDE swabs the area with alcohol. CLOSE SHOT - ACTIVATOR It is brought down mechanically by use of worm - gears on the tripod toward the plunger, engaging it.\",\n \"INT. CONTROL TOWER Reid, watching the proceedings below : REID -LRB- to Wireless Operator. -RRB- Contact Proteus -\",\n \"INT. PROTEUS Grant takes down the message as it comes in. When message stops : GRANT -LRB- loud enough for Owens in Bubble. -RRB- Stand by for injection! Suddenly the sub begins to rock hard. All hold on.\",\n \"INT. BUBBLE Owens is manipulating controls, trying to keep an even keel.\",\n \"INT. OPERATING ROOM The hypodermic is being angled by the precision gears of the tripod for the exact degree of injection. When this is accomplished : BIG CLOSEUP - BENES' NECK The point of the needle approaches the exact spot, which we now see is marked off by a tiny cross within the circle on the Artery. TECHNICIAN AT TRIPOD He presses the mechanical activator which sends the needle plunging into Benes' neck O.S.\",\n \"INT. CONTROL TOWER Instantly a warning klaxon goes off. It keeps on for a few seconds, then stops. Into the silence : REID Tracking. A Technician flips a switch.\",\n \"INT. TRACKING POST - ON MAIN MONITOR IN CONTROL TOWER Four TECHNICIANS are seated before their radar screens, which show flat electronic lines, except one. This is picking up a blip.\",\n \"INT. CONTROL TOWER A Technician at the Control Panel throws on a switch. Another TV screen next to the Main Monitor goes on, revealing : CLOSE SHOT - BLIP ON TV SCREEN Duplicating the blip seen in the Tracking Post. We see the blip is heading down, at an angle identical with that of the hypo. CAMERA MOVES IN on the blip, and keeps moving until it fills our entire screen and becomes :\",\n \"EXT. PROTEUS - WITHIN THE HYPO Diving at a terrific speed, steeply angled like the hypo, through the clear saline solution.\",\n \"INT. PROTEUS All hold on as if riding a roller coaster at its steepest plunge. Suddenly all goes pitch - dark.\",\n \"INT. BUBBLE Only the buttons are glowing, and the Minute Recorder, which now reads < 57 >. Owens throws a switch. Through the plastic windows the headlights of the sub are seen coming on. They pierce the darkness sufficiently to catch the side of the steel wall of the needle, which is rushing past at a tremendous speed, giving the effect of an enclosed channel. The beams gradually reveal : HOLE OF NEEDLE - P.O.V. BUBBLE A small aperture in the distance, barely visible. HOLE OF NEEDLE - P.O.V. PRINCIPALS IN KIOSK Grant and the others see the opening at the end of the needle becoming bigger and bigger, apparently rushing toward them with great speed.\",\n \"EXT. END OF NEEDLE It fills the screen, an immense aperture in relation to the tiny sub which suddenly comes shooting out of it. MAIN OPS ROOM - P.O.V. CONTROL TOWER Reid and Carter observe the Grid Officer, wearing headphones and throat mike, move up to the Arterial Map with a tiny replica of the Proteus. He places it in the center or the huge channel in the neck, which depicts the Carotid Artery. The little sub is held magnetically on the grid. The Minute Recorder now reads < 56 >. Reid turns from the window, moves to the Map Case, which contains the same assortment of charts as in the sub's kiosk. Reid takes out an OVERLAY MAP OF THE HEAD AND NECK. He places it on a Radarscope. The blip shows it is traveling up the Carotid Artery. LONG SHOT - ESTABLISHING - PROTEUS IN ARTERY The headbeams of the speeding sub reveal a world of dazzling color and beauty : the Arterial Stream. The walls of the vast amber - colored chamber are lost in the distance. Now the screen is filled with a floating wonderland : huge red corpuscles, whirling globules, platelets, particles, minuscule fragments drift with the stream, reflecting the entire spectrum of color.\",\n \"INT. BUBBLE Owens is slowing down the sub. He gazes in awe at : ARTERIAL ELEMENTS - THROUGH BUBBLE As the Proteus moves through the swirling conglomerations, the elements are parted, flow over the sub, bounce about it, forming new fluid galaxies in a universe of amber. And each grouping and regrouping, every mass and disc, though loosely linked, has a. Thus the Corpuscular drift, the bouncing particles, the parting and the merging achieve a majestic choreography lyrical in quality, a fugue of motion.\",\n \"INT. PROTEUS Grant and Cora, strapped in their seats, look on enthralled at the sheer beauty of the dancing wonder - world visible through the windows. Duval appears equally moved. Michaels observes with more clinical detachment.\",\n \"INT. BUBBLE Owens has now slowed down the sub so that it moves slightly faster than the current, thus enabling him to maintain maneuverability. OWENS You may unfasten your belts.\",\n \"INT. PROTEUS Grant, Cora and Duval quickly slip out of their harnesses, move to the bow for a maximum view of the scene. Michaels remains at the console, checking their course on the Neck and Head chart.\",\n \"EXT. PROTEUS - HEAD-ON SHOT Approaching camera, with the three people looking out of the bow windows in speechless wonder at what they behold.\",\n \"INT. PROTEUS - SHOOTING OVER THEIR BACKS For a moment the three gaze in silent awe at the dancing drift directly outside : nuclei are clearly visible in the cells ; variegated tiny organisms sweep like cosmic dust through the orbits of the spinning globules. Their first sight of the interior world, with its beauty and rhythmic splendor has affected them deeply. Finally breaking the silence : DUVAL -LRB- quietly, as he looks on. -RRB- The Medieval Philosophers were right. is the center of the Universe. We stand in the middle of Infinity, between Outer and Inner Space. And there's no limit to either. GRANT You mean Inner Space is endless? DUVAL Everything can be divided in half, no matter how minute. As the concept sinks in, Grant turns to look out again. Cora has never taken her eyes off what she sees through the bow windows. CORA I never. never imagined it could be anything. like this. GRANT -LRB- equally awed. -RRB- I always thought it was nothing but red. DUVAL Only to the naked eye. -LRB- indicating. -RRB- Those corpuscles - carrying oxygen - give the stream its color. But the rest of the plasma's very much like sea water. An ocean of life. GRANT Quite a piece of plumbing. MICHAELS End - to - end, a hundred thousand miles long. Grant reacts. Of something up ahead : CORA Dr. Duval - what could those be? The sub is suddenly engulfed by a mass of very tiny discs in chain - like combinations, which blot out the rest of the stream. DUVAL -LRB- now the scientist. -RRB- Never saw. Not even under an electron - mrcroscope. CORA They're much smaller than bacteria. MICHAELS Looks like the molecular structure of proteins. DUVAL -LRB- flatly. -RRB- I do n't agree. I think we ought to stop and take a sample. MICHAELS That's not the purpose of this mission. -LRB- up at Owens. -RRB- Captain - keep a straight course - until you're in the clear.\",\n \"INT. BUBBLE Steering by instruments, Owens remains on course, the massed discs obstructing his view. Suddenly they float off, revealing : OWENS Arterial Wall to the right! With him we see : LONG SHOT - ARTERIAL WALL Barely visible in the spill of light, a smooth endothelial wall is seen in the distance.\",\n \"INT. PROTEUS Michaels consults his chart, brings the co - ordinates into place over two Arteries. MICHAELS -LRB- up at Bubble. -RRB- What's our speed? OWENS' VOICE -LRB- from Bubble. -RRB- Fifteen knots. Michaels makes a rapid calculation with his slide rule. MICHAELS We should reach the Branching Artery in two minutes. He switches on the REPEATER.\",\n \"INT. BUBBLE The same REPEATER device is now active on the panel, reflecting the chart on the console below, with Michaels' navigational calibrators pointing to the intersect1ng Artery. MICHAELS' VOICE -LRB- from below. -RRB- Keep the Wall at its present distance when you turn. That'll bring you safely into the middle of the Branch.\",\n \"EXT. PROTEUS - IN ARTERY It cruises for a moment through the dazzling elements, the Arterial Wall in the distance. Then suddenly the sub accelerates and veers off course toward the Arterial Wall.\",\n \"INT. BUBBLE Owens reacts, tries to slow down the sub and steer it back into the middle of the channel. But the speed increases, and the sub continues being swept toward the Wall.\",\n \"INT. PROTEUS Grant and the others respond to the ever - increasing speed and the nearing Wall. They turn to Michaels, who, too, is aware of the change. MICHAELS Captain - correct your course - and speed.\",\n \"INT. BUBBLE Increasingly concerned as he works the controls and glances at the gauges : OWENS She wo n't respond! We're in some sort of current!\",\n \"INT. PROTEUS Duval moves to Michaels. DUVAL -LRB- bewildered. -RRB- But that is n't possible. MICHAELS Not in a sealed vessel like an Artery. -LRB- up at Owens. -RRB- Captain - something must be wrong with your controls! OWENS'VOICE -LRB- from Bubble. -RRB- No - it's a current! It's too strong - I ca n't break out of it!\",\n \"INT. BUBBLE Owens is trying to gain control of the sub. It begins to vibrate. Startled, Owens peers out, trying to determine the cause, but the beams reveal nothing ahead but an iridescent swirl of Arterial elements which bounce back the light. The buffeting increases rapidly. The Arterial Wall is clearly visible to the side, getting closer.\",\n \"INT. PROTEUS - IN BOW Grant and Cora exchange startled looks as the membranes of the Arterial Wall suddenly become visible in the spill of light from the headbeams : its connective strands arch Gothic - like, lost in the darkness of the vaulted enclosure. The vibrations have now increased so that all must hold onto stanchions for support. DUVAL AND MICHAELS Gripping the console for support. Through the plastic windows to the side they can see the Arterial Wall looming with menacing closeness. They look at each other, unable to fathom the cause of the now - greater vibrations.\",\n \"INT. BUBBLE Owens is desperately trying to avoid a head - on collision with the Wall, but the sub wo n't respond to any of his manipulations. The Wall looms closer, the buffeting is worse.\",\n \"INT. PROTEUS Smashing into the Wall directly ahead seems inevitable. Now the connective strands almost fill the windows. Cora closes her eyes, in anticipation of the fatal impact. And just when a collision appears inevitable, the sub veers, narrowly missing the cable - like strands, thick enough to support a bridge.\",\n \"INT. BUBBLE - PARALLEL TO ARTERIAL WALL With Owens we see the sub swept close alongside the Wall. It is evident the craft is out of his control, and that whatever averted the collision has nothing to do with his attempt to steer it. The swirling mass of particles up ahead begins to part. The vibrations -LSB- LINE OF DESCRIPTION CUT OFF -RSB-\",\n \"INT. PROTEUS Grant reacts as he sees the now - visible area ahead. GRANT Whirlpool! Strap yourselves in! He grabs Cora, and against the buffeting, moves quickly to help her toward her seat. Duval and Michaels instantly take their seats at the console, begin getting into their harnesses. LONG SHOT - THE WHIRLPOOL - P.O.V. BUBBLE Owens is appalled as in the distance, in the center of the channel, he sees what appears to be an immense liquid centrifuge rotating at great speed, the Arterial elements within it whipped about like the contents of a mixmaster. Now the buffeting is reaching its climax. The sub is inexorably approaching the rim of the whirlpool, with Owens desperately trying to steer away from it.\",\n \"INT. PROTEUS Duval and Michaels are in their harnesses. GRANT AND CORA Slowed up by the intense buffeting, Grant is now helping Cora into her seat. But before he can assist her into the harness, the sub is caught in the whirlpool. The instant effect is that of a Carnival Whip. The centrifugal force flings Cora out of her seat against the bulkhead. Grant is spun around and slammed against the opposite part of the bulkhead, and then onto the floor, with stunning impact. DUVAL AND MICHAELS Pinned back in their seats, unable to get out and help as they see : GRANT AND CORA Helpless in the whiplike rotation, Cora is thrust from the bulkhead onto the floor. Grant manages to grab a stanchion, hold on. With his free hand he reaches out for Cora, now prone on the floor. She extends her hand, but a foot separates them. They desperately reach out to each other as the centrifugal force pulls them farther and farther apart. Grant takes the only possible chance or reaching her : he lets go of the stanchion which sends him slamming against the base of the seat. He grips the leg of the seat with one hand and grabs Cora's waist with the other, just in time to prevent her from again being flung against the bulkhead. She holds onto him with all her strength. Grant strains to maintain his grip on the leg of the seat with his free hand, which in effect holds them both against the centrifugal whipping.\",\n \"INT. BUBBLE - TO INCLUDE WHIRLPOOL Owens, too, is thrust back in his seat, powerless to move. The sub is completely at the mercy of the whirlpool. A gauge on the panel is registering in circles.\",\n \"EXT. PROTEUS IN WHIRLPOOL - LONG SHOT Rotating at great speed, a tiny piece of flotsam caught in a cataclysmic force which is inexorably spinning it toward the vortex.\",\n \"INT. SUB - CUTS OF PRINCIPALS Reacting to the ROAR of the massive turbulence and the whirling stream, which is seen through the windows. The centrifugal force keeps them pinned to their positions, with Grant holding onto Cora as before.\",\n \"EXT. PROTEUS - NEARING VORTEX It is whipped around and down in the final circle - and disappears through the rapidly rotating center.\",\n \"INT. PROTEUS The steeply angled dive causes greater strain on Grant as he keeps his grip on Cora. Duval and Michaels are now thrust forward as if they were in a gondola of a shoot - the - shoots making its steepest descent.\",\n \"INT. BUBBLE In a similarly forward - tilted position, with Owens we see the stream whipping by in a seemingly endless drop. And then ahead there suddenly appears : LONG SHOT - FISSURE IN ARTERIAL WALL - P.O.V. BUBBLE An immense crack through which some red corpuscles are streaming in an eddy.\",\n \"INT. PROTEUS From their prone positions on the floor, Grant and Cora react to the huge fissure looming through the windows. Duval and Michaels exchange looks, suddenly realizing what it signifies. Now the immense crack is directly ahead.\",\n \"EXT. PROTEUS - FISSURE FROM WITHIN VEIN As the tiny sub is swept out into the stream, where the blue corpuscles are. Through the crack, a stream of red corpuscles are whipping by on the other side. The angle of the dive now becomes less oblique.\",\n \"INT. BUBBLE The sub is caught in a less turbulent current, which results in its gradually losing its angle and speed, permitting Owens to steer it away from the center toward a more placid area.\",\n \"INT. PROTEUS The sub is now level, moving much slower. Exhausted from the ordeal, Grant sees it is safe to let go of Cora. He helps her rise. She stares dazed at the bluish stream. Duval and Michaels, equally spent, begin to get out of their harnesses. EXTREME CLOSE SHOT - BENES' NECK PAN over to the Miniature Tracking Devices. TWO RADAR SCREENS - INT. TRACKING POST - MAIN OPS ROOM The blip goes from one machine to the other, where it does n't belong. The Tracking Technician reacts, instantly presses a button.\",\n \"INT. CONTROL TOWER A warning buzz from a TV Monitor. Reid and Carter respond to the SOUND. The Communications Aide comes over to them. COMMUNICATIONS AIDE Proteus Off Course, sir. They've picked up a blip in Quadrant 23, Level B. Reid moves quickly to the window overlooking the Main Operations Room, followed by Carter. MAIN OPS ROOM - P.O.V. CONTROL TOWER Both see the Grid Officer below move the replica of the sub from the Carotid Artery to another channel near it within a quadrant marked 23. The channel is outlined in blue. REID -LRB- jolted. -RRB- They've crossed over into the Jugular Vein! CARTER That ca n't be - there's no direct connection between the two - REID Normally not. Unless it's an Arterio - Venous Fistula -\",\n \"INT. PROTEUS Grant, Cora and Duval are grouped around Michaels at the chart. In the distance, the endothelial walls of the Jugular Vein are vaguely visible. GRANT -LRB- blankly. -RRB- A what? MICHAELS A forced joining of an Artery and Vein. Must've happened when Benes was hurt. DUVAL Yes, a fistula too small to show up on the X - rays. CORA But big enough for us. In the stream outside, the bluish corpuscles are increasing in number. MICHAELS -LRB- up at Bubble. -RRB- Captain - head back into the Artery.\",\n \"INT. BUBBLE As if it were a suicidal order : OWENS -LRB- brooking no argument. -RRB- We could never fight that current it's physically impossible. MICHAELS' VOICE -LRB- from below. -RRB- Then do n't drift down further. OWENS I'll do what I can. As he manipulates the controls :\",\n \"INT. PROTEUS GRANT If we ca n't go back, is there an alternate route? MICHAELS Yes. We can go forward on this course, but it means going directly through the Heart.\",\n \"INT. BUBBLE Owens is appalled as he sees the route being traced on the Repeater, down the Jugular Vein toward the Heart. Before it can go any further : OWENS -LRB- alarmed. -RRB- We ca n't do that! We decided in the Briefing - the craft could never stand the turbulence!\",\n \"INT. PROTEUS Michaels looks up from the chart, to the others. MICHAELS Yes, it would be a hundred times worse than the whirlpool. The others respond with grim realization of what it portends. GRANT That's just dandy. We ca n't go forward - and we ca n't go back. MICHAELS I'm afraid there's only one thing we can do. Call off the mission. CORA -LRB- emotionally. -RRB- Doctor. you ca n't mean that! Not when we've come this far. And if we give up, there'll be no way of saving Mr. Benes - DUVAL Dr. Michaels is right. We have no choice. MICHAELS -LRB- to Grant. -RRB- Tell them to take us out. GRANT If there's any chance - MICHAELS -LRB- an order. -RRB- Request removal, Mr. Grant. As Grant moves to the wireless :\",\n \"INT. CONTROL TOWER Carter and Reid are looking down into the MAIN OPS ROOM at the replica of the Proteus. It is in the same position as last seen in the Jugular Vein on the big grid. REID But we have no choice! We've got, to take them out! CARTER -LRB- adamantly. -RRB- No. He turns away from the window as a message is heard coming in. With seeming unawareness of the incoming message, Carter looks at the Minute Recorder, It is flashing < 51 >. CARTER We still have fifty - one minutes. Leave them in. REID But it's hopeless! They ca n't go back and they ca n't go on. I tell you there's nothing else we can do but remove them! CARTER -LRB- the final word. -RRB- Not until the very last second. We must think of something. Something to save the situation. The incoming message stops. The Communications Aide takes it from the Wireless Technician. COMMUNICATIONS AIDE -LRB- reading. -RRB- Proteus reports trapped in Venous System. Requests removal, sir. REID Well, there it is. What do I tell them, General? Carter turns his back on him, moves to the window, stands looking down on the OPERATING ROOM. The scene below is almost a tableau, except for the moving Miniature Tracking Devices. The Surgical Team around the table stands watching, waiting. Benes lies motionless. Reid joins Carter. As they both look down at the patient, whose only chance of life is now in their hands : CARTER -LRB- finally. -RRB- Doctor. without killing him - how long could we stop his heart? REID The less time, the better. CARTER I know that. But what's the maximum? REID In his comatose state. and everything slowed down. no more than sixty seconds. Carter takes out a slide rule. CARTER -LRB- as he figures. -RRB- At topspeed. and adjusting distance for Degree of Miniaturization -. -LRB- getting answer. -RRB- The sub should get through the Heart in fifty - seven seconds. REID That would give us only three seconds to revive him. CARTER What are the problems in stopping the Heart? REID Nothing - compared to starting it up again. From the window, Carter can see the big Minute Recorder in the Operating Room flashing from < 51 > to < 50 >. CARTER We're wasting time, Colonel. Let's get on with it. The decision made, Reid takes command. REID -LRB- to Technician. -RRB- Heart. Technician presses monitor button. As Carter moves to the Communications Aide, the HEART POST flashes on the TV screen. REID -LRB- to Heart Post. -RRB- we're stopping the Heart. CARTER -LRB- to Communications Aide. -RRB- Message to Proteus. Now both give their orders simultaneously. As Reid speaks, we can see the HEART POST swing into action on the TV screen : the big X - rays of Benes light up on panels, a CATHODE TUBE recording his heartbeat becomes activated. The Heart Specialist and several Heart Technicians are seen leaving the POST. Meanwhile, the Communications Aide is taking down Carter's message for transmission. CARTER You are heading in the opposite direction of the Target Area, as a result of crossing over into the Jugular Vein. Since you are in a closed system, you will have to go through the Heart and proceed on your mission by taking an alternate route. We will stop Benes' Heart for exactly sixty seconds. Maintaining maximum speed, you will get through in fifty - seven seconds. That will give us three seconds to spare in which to revive him. Stand by for exact instructions - REID An Arterio - Venous Fistula has forced the Proteus into the Venous System. At this moment, it is in the Lateral Cervical Region, anterior to the anterior to the Cervical Plexus. The haemo - dynamics of the Venous System are at absolutely minimum levels. It would be fatal to further decrease the rate of flow by Hypothermic means. In order to minimize the turbulence, we will have to arrest the Heart. The Proteus will proceed to the entrance of the Right Atrium -\",\n \"INT. OPERATING ROOM Reid's Voice is heard as the Heart Technicians rig Benes for electric shock with a Cardio - Verter. They are removing the top third of the Thermal Blanket. When his chest is exposed, they apply electrodes to it. Then the Technicians take their places at the various Cardiac Instruments which are recording the pulse and configuration of the heartbeat. The last is visible on the big cathode tube of the Cardioscope, a replica of which was seen in the Heart Post.\",\n \"INT. PROTEUS All are listening to Grant reading the end of the message. GRANT - at which point the Heart will be stopped by electric shock. CORA -LRB- into the silence. -RRB- And if it should take more time to get through - DUVAL -LRB- flatly. -RRB- We ca n't take a second more. MICHAELS -LRB- up at Bubble. -RRB- Captain - head in the d1rection of the flow and drift with it. He takes out a detailed Cardiac Map.\",\n \"INT. BUBBLE Through the Repeater, Owens can see Michaels spread the Cardiac Map. He reacts to its great complexity. OWENS I'll never find my way through that. MICHAELS I'll guide you, once we're in the Heart.\",\n \"EXT. PROTEUS Drifting down the Jugular Vein.\",\n \"INT. MAIN OPS ROOM The Grid Officer can be seen moving the replica of the Proteus down the Jugular Vein.\",\n \"INT. CONTROL TOWER Carter and Reid are looking down at Benes in the OPERATING ROOM.\",\n \"INT. OPERATING ROOM Benes is now rigged for electric shock. The Tracking Devices are concentrated on his chest. The Heart Specialist looks at the Cardioscope Screen. The big screen registers the beat of the Heart with a cathode - tube effect, each pulsation causing an electronic pattern. They are very slow, regular. The Heart Specialist nods to one of his Technicians who wears headphones. The latter presses a button.\",\n \"INT. CONTROL TOWER A warning buzzer SOUNDS. The Communications Aide moves up to Reid and Carter at the Tracking Station Monitor and Radarscope. COMMUNICATIONS AIDE Ready for Cardiac Shock. Reid nods, acknowledging the message. As he removes the map off the Radarscope, Carter takes out an OVERLAY MAP OF THE HEART from the Map Case and places it on the Radarscope. The blip is seen progressing down the Vena Cava, leading to the entrance of the Heart. REID -LRB- pressing button. -RRB- Stand by. Carter takes out a stop watch.\",\n \"INT. PROTEUS Grant and the others respond as they begin to hear the SOUND of a distant boom - boom, slow and measured. It has an ominous effect. It quickly gets louder during : CORA -LRB- in awe. -RRB- Listen. the Heart. MICHAELS Yes. slowed down agreat deal. GRANT Sounds like heavy artillery. MICHAELS It lays down quite a barrage in a lifetime. Forty million beats. DUVAL -LRB- quietly. -RRB- And every beat separates a man from. -LRB- LINE OF DIALOGUE CUT OFF. -RRB-\",\n \"EXT. PROTEUS - IN VENA CAVA The SOUND of the Heart is now very loud, each measured boom like heavy artillery in a relentless barrage. The headbeams illuminate the long passage, the walls of which are lost to view.\",\n \"INT. PROTEUS Grant and the others look on ahead, responding to the now - deafening beat, which increases as they near the source in the bluish channel. And then they react with wonder as they see : LONG SHOT - TRICUSPID VALVE - P.O.V. PROTEUS In the distance, three huge membranes are billowing open, with tendrils resembling supporting strands of parachutes.\",\n \"EXT. PROTEUS - IN THE ATRIUM The parachute - like membranes are at the end of the Atrium, the entrance of which the sub now approaches. As the membranes blossom fully, with a lovely effect, a big aperture is revealed. The dilation causes a big forward surge of the stream.\",\n \"INT. PROTEUS All hold onto whatever is at hand as the sub is swept onward, rocking with the tidal wave. Now in the distance they can see : LONG SHOT - TRICUSPID VALVE - P.O.V. PROTEUS It is beginning to close, the three membranes seemingly collapsing like three parachutes over the aperture. The boom of the beating Heart is massive, making any communication very difficult. MICHAELS -LRB- over the sound ; up at Bubble. -RRB- Captain! They'll stop it on the next beat!\",\n \"INT. BUBBLE Owens at the controls, eyes on the now - closed membranes, as he hears : MICHAELS' VOICE -LRB- from below. -RRB- As soon as the Valve opens again, go through and give it everything you've got! TRICUSPID VALVE - P.O.V. BUBBLE The sub approaches the now seemingly solid wall. Owens steers directly to where he last saw the aperture. The closed membranes loom closer and closer, the headbeams illuminating the delicately threaded strands. Suddenly, the three membranes start billowing open again. THE CARDIOSCOPE SCREEN The electronic pattern is recording the beat. THE CARDIO - VERTER AND TECHNICIAN He immediately presses the triggers on two electrodes held against Benes' chest. AMPERE NEEDLE ON CARDIO - VERTER The needle swings over into the red zone. THE CARDIOSCOPE SCREEN The electronic pattern indicating the heartbeat instantly flattens out and remains so.\",\n \"INT. BUBBLE Owens is throwing on the full - speed - ahead control. The sound of the Heart has completely stopped.\",\n \"EXT. EXHAUST JETS A surge from the twin jets as the sub is propelled forward with a tremendous burst of power.\",\n \"INT. PROTEUS All hang on against the acceleration. PROTEUS IN TRICUSPID VALVE As it sweeps through the now - motionless membranes which wave limply in the stream, with no life of their own.\",\n \"INT. OPERATING ROOM A tense silence pervades. The Heart Specialist and his Technicians concentrate on the various instruments. The Surgical Team stands by, immobile. TRACKING DEVICES The little cones are the only things that move in the Operating Room. As they weave back and forth : STOP WATCH Calibrated in seconds. The hand is now crossing < 5 >.\",\n \"INT. CONTROL TOWER In the silence, Carter looks up from the stop watch in hand to check with the big radar screen. Moving across the OVERLAY MAP OF THE HEART is a blip, indicating the sub's passage.\",\n \"EXT. PROTEUS - IN RIGHT VENTRICLE Racing through a subterranean channel partially illuminated by the headbeams : a forest of tendrils, connecting huge roots which are the chordae tendineae extending into the walls. The color of the stream is predominately blue, and the overall effect is that of a weird wonderland. As the sub surges ahead at top speed :\",\n \"INT. OPERATING ROOM Everyone stands rooted.\",\n \"INT. CONTROL TOWER - HEART MAP OVERLAY ON RADAR SCREEN The blip has crossed more than half the distance. Carter and Reid look on, tense. The Proteus moves further down the Ventricle. Carter glances at his stop watch. CARTER Twenty - four seconds left including the three to revive him.\",\n \"INT. PROTEUS Michaels is anxiously scanning the way ahead for signs of an opening. There is none. OWENS' VOICE -LRB- from above. -RRB- Nineteen seconds, Doctor. MICHAELS The Semi - Lunar Valve should be on our left any time now.\",\n \"INT. CONTROL TOWER Reid and Carter are tensely watching the Heart Map Overlay, as the time runs out and the sub is nearing the end. Carter looks at the stop watch. It now shows only fifteen seconds to go, which means they must be out in twelve.\",\n \"INT. OPERATING ROOM The Heart Specialist is watching the blip nearing the end of the Radar Screen, with time running out. The Heart Technician standing before the Cardio - Verter stands immobile, looking at the needle which is at Zero Amperes.\",\n \"EXT. PROTEUS - IN RIGHT VENTRICLE Racing at top speed through the immobile forest of tendrils.\",\n \"INT. PROTEUS Suddenly, off to the side, Grant sees a small opening, half - moon in shape. GRANT There it is! MICHAELS Fasten yourselves in. There should be a tremendous surge when the Heart starts up again. DUVAL If it does. Grant throws him a look as they quickly start to get into their harnesses.\",\n \"INT. BUBBLE Steering for the opening, Owens glances at the Second Recorder on the panel. OWENS Eight seconds left -\",\n \"INT. CONTROL TOWER On edge, Reid and Carter are watching the blip on the OVERLAY MAP OF THE HEART on the Radarscope. If the sub makes it, it will be exactly in 57 seconds. There are now only six seconds left.\",\n \"INT. OPERATING ROOM All are focusing on the Radarscope. Five seconds left. HEART SPECIALIST Stand by. The Technician at the Cardio - Verter is set to press the red button.\",\n \"INT. CONTROL TOWER Carter and Reid hold their breath as they see : STOP WATCH It now reads < 56 >. OVERLAY MAP OF THE HEART As the blip approaches the Semi - Lunar Valves, a warning buzzer SOUNDS.\",\n \"INT. OPERATING ROOM - RED BUTTON OF CARDIO-VERTER A finger presses it. PULSE RATE NEEDLE ON CARDIO - VERTER It swings over, recording the first shock. CARDIOSCOPE SCREEN The cathode tube registers nothing. HEART SPECIALIST AT CARDIO - VERTER Concerned, he never takes his eyes off the Cardio - scope Screen. He increases the pulse rate. CARDIOSCOPE SCREEN It still records nothing. The Heart Technicians and the Surgical Team exchange tense looks. Again the Heart Specialist increases the pulse rate. PULSE RATE NEEDLE ON CARDIO - VERTER As it swings over, recording a higher and higher output.\",\n \"EXT. PROTEUS - IN RIGHT VENTRICLE Bathed in weird St. Elmo's fire as it keeps racing toward : SEMI - LUNAR VALVE which suddenly dilates into a huge opening. And with it comes an immense surge of the stream from behind, and the first boom of the Heart.\",\n \"EXT. PROTEUS It is swept through the Semi - Lunar Valve and into : ORIFICE OF PULMONARY ARTERY - SHOOTING TOWARD SEMI - LUNAR VALVE Out of which the Proteus is thrust on a great tidal wave of the bluish stream.\",\n \"INT. OPERATING ROOM - CARDIOSCOPE The electronic pattern is on full - a leap of life. The Heart Specialist and the others react with relief as now the EKG and the other instruments begin recording Benes' return from the dead.\",\n \"INT. CONTROL TOWER Reid and Carter are at the window overlooking the OPERATING ROOM. COMMUNICATIONS AIDE Proteus in Quadrant 161 Level E. They leave the window and walk over to the one where they can view the MAIN OPS ROOM. They see the Grid Officer is moving the tiny sub into the wide channel leading to the Lungs. CARTER They're in the Pulmonary Artery. REID They'll make up some time, once they get through that and reach the Pleural Cavity. -LRB- to Technician. -RRB- Respiration Post. On the monitor next to Reid, a Technician flashes on the INTERIOR OF THE RESPIRATION POST. The calibrated charts marked INHALATION and EXHALATION indicate the return to breathing. REID What's his rate, Jack? LUNG SPECIALIST -LRB- over TV. -RRB- Back to six per minute. Reid reaches out, knocks a cup of coffee off the Central Control Section, spilling it on his trousers. REID Damn. And I just had them cleaned.\",\n \"EXT. PROTEUS - IN PULMONARY ARTERY It is now flowing down to its normal speed. Through the smooth endothelial walls, we see the outlines of what appears to be a maze of mammoth conduits arching above and beneath the channel through which the sub is proceeding. Smaller conduits divide and subdivide from the circular immensity, to be lost in the distance. The effect is that of a multi - level series of Over and Underpasses.\",\n \"INT. PROTEUS All are out of their harnesses. Grant, Duval and Cora are at the bow windows, looking out. Michaels is at the console, plotting their position on a detailed Map of the Lungs. GRANT I'd hate to get lost on that Freeway. DUVAL They all lead to the same place - the Lungs.\",\n \"INT. BUBBLE In the light of the headbeams, Owens can see the Walls becoming increasingly narrow and more transparent. He glances at his Repeater, sees the Lung Chart reflected, with the co - ordinates pinpointing their position. OWENS Doctor - the channel's getting awful narrow. MICHAELS' VOICE -LRB- from below. -RRB- We're entering a Capillary. Remain in the middle. OWENS -LRB- fascinated. -RRB- The Wall's transparent. MICHAELS' VOICE -LRB- from below. -RRB- It's less than one ten - thousandth of an inch thick. And porous.\",\n \"INT. PROTEUS - AT WINDOW Grant reacts as he sees a peculiar phenomenon : the big - bluish corpuscles which stream past the submarine are turning bright red the instant they impinge against the Capillary Wall. They keep moving on, in a constant flow, taking on their new color during : GRANT -LRB- amazed. -RRB- Look at that. they're changing color. CORA -LRB- thrilled. -RRB- Doctor - is it possible? That we're seeing it happen before our eyes? DUVAL -LRB- quietly. -RRB- Yes, Cora. We're the very first to see the process. They both look out, too deeply moved to speak. Atter a moment : GRANT Mind letting me in on what's going on out there? DUVAL A simple exchange, Mr. Grant. Corpuscles releasing carbon dioxide - the moment they touch the Wall of the Lung - in return for oxygen coming through from the other side. GRANT Do n't tell me they're refueling. DUVAL -LRB- almost in a reverie. -RRB- Oxygenation. Cora turns to look at him, feeling close in this shared moment. Grant, too, is moved by Duval's manner. Michaels glances up from the Lung Map. DUVAL -LRB- still gazing out. -RRB- We've known it exists - even though we never saw it. like the structure of the Atom. But to actually behold one of the miracles of the Universe - the engineering of the Cycle of a Breath. He is too moved to continue. MICHAELS -LRB- into the silence. -RRB- Nothing miraculous about it. Just an interchange of gases. The end product of five hundred million years of Evolution. DUVAL You ca n't believe all that's accidental? That there is n't a Creative Intelligence at work - Before Michaels can answer, they hear a warning buzzer SOUND in the Bubble above.\",\n \"INT. BUBBLE The buzzer is going while a red light is flashing on the panel. Owens looks startled at : PRESSURE GAUGE ON PANEL The indicator is dropping rapidly toward a red horizontal line delineating the danger level. Owens flicks the button off and on rapidly, as if testing the mechanism, but the indicator keeps dropping. He shuts off the buzzer. OWENS -LRB- imperatively. -RRB- Grant.\",\n \"INT. PROTEUS All look up toward the Bubble, at the urgency of his tone. Grant moves from the bow toward the console during : GRANT What is it, Skipper? OWENS' VOICE -LRB- trom Bubble. -RRB- We're losing pressure in the Flotation Tanks. Check the Manual, right over there. Grant can see him pointing to the Manual Control Section at the rear of the kiosk. GRANT Right. He moves quickly to : MANUAL CONTROL SECTION Over a series of controls are numerous gauges. The indicators marked TANK RT and TANK LT show the left tank is rapidly losing pressure. GRANT -LRB- up at Bubble. -RRB- The left tank's losing pressure.\",\n \"INT. BUBBLE Owens presses a button and swivels around. With him we see : P.O.V. - EXT.. STERN OF PROTEUS A stream of large air bubbles is pouring out behind them.\",\n \"INT. BUBBLE Startled, Owens presses the button which swivels him back. OWENS Grant! Get up here, quick! He starts getting out of his harness.\",\n \"INT. PROTEUS As Grant moves toward the Bubble, he passes Duval and Cora, who are now looking toward the stern. CORA -LRB- with apprehension. -RRB- Air bubbles! Doctor - DUVAL No danger of an embolism. At our reduced scale, they're much too minute to prove fatal to Benes.\",\n \"INT. BUBBLE As Grant appears, Owens is slipping out of his harness. OWENS There's a short in the valve. Take over. -LRB- of controls. -RRB- Steers like an airplane. Grant nods as he gets into the seat. Owens starts quikly down the kiosk, leaving Grant at the controls.\",\n \"INT. PROTEUS Cora and Duval, at the window, watch anxiously as Owens moves to the Manual Control Panel. Michaels remains at the console, also deeply concerned. Owens opens the Circuit Panel, revealing a maze of wires and circuit breakers. Only someone with an intimate knowledge of the sub could posslbly find the right one. Owens does quickly. He trips a switch, shuts the panel. He turns, sees their anxious looks. OWENS Well, that takes care of the valve. It was probably caused by that electric shock. MICHAELS -LRB- to Owens. -RRB- Was there any damage? OWENS Not to the valve. But we've lost too much air to make it the rest of the way. DUVAL What do you propose we do, Captain? OWENS Nothing we can do. We must have full tanks to continue. He starts up toward the Bubble, leaving the three staring at each other in consternation.\",\n \"INT. BUBBLE As Grant slips out of the seat and Owens resumes at controls : GRANT Any reserve air? OWENS Enough to breathe, but that's all. Grant starts down.\",\n \"INT. PROTEUS He steps into the cabin in time to hear : DUVAL -LRB- ironically. -RRB- Just a few cells away from a vast air chamber - one of the countless Alvioli of the Lung - and we ca n't get enough to fill a microscopic tank. GRANT Maybe we can. -LRB- as they look at him in bewilderment. -RRB- Skipper, is there a snorkel on this sub? OWENS' VOICE -LRB- from Bubble. -RRB- Yes, there is. GRANT -LRB- to Michaels and Duval. -RRB- Could I run a tube through that Wall, without harming Benes? MICHAELS At this size, I would certainly think so. GRANT If those Corpuscles can take on air, no reason why we ca n't. -LRB- to Duval. -RRB- All we have to do is hook up the snorkel to that air chamber you were talk1ng about, and when Benes inhales, there should be plenty of pressure to force the oxygen into the tank. -LRB- up at Owens. -RRB- How's that sound to you, Skipper?\",\n \"INT. BUBBLE As Owens considers the possibility : OWENS It's a dangerous procedure. If I miss the timing, we could explode the tanks. But I'm willing to try it.\",\n \"INT. PROTEUS MICHAELS Yes, by all means. We must try it. OWENS' VOICE -LRB- from Bubble. -RRB- It'll be safer if everybody leaves the sub. Grant moves to the aft compartment, opens the door, goes into :\",\n \"INT. LAB AND STORAGE SECTION As he moves to compartment containing the Underwater Gear, he is jolted by something he sees o.s. LASER OVER WORKING COUNTER It is swinging loose on one hook, its plastic cover off.\",\n \"INT. LAB AND STORAGE SECTION Grant takes a step toward it, stops. GRANT Cora! After a moment, she appears. She follows his look toward the laser, reacts aghast. GRANT Looks like you did n't batten it down too well. CORA But I did. I'm positive! Duval and Michaels appear in the doorway in time to hear : GRANT Then how come it worked loose? CORA I have no idea. DUVAL Cora, is something wrong with the laser? CORA -LRB- distraught. -RRB- I do n't know yet, Doctor. And I wo n't know until I test it. GRANT That'll have to wait until after we're refueled. As he takes out the Underwater Gear and passes it to the three : CORA -LRB- righting laser. -RRB- I ca n't imagine how it possibly could have come loose. I distinctly recall fastening it with all four bolts - MICHAELS It must have been jarred loose during the whirlpool. Grant and Michaels exchange looks, as if neither are satisfied with the explanation. GRANT -LRB- of gear. -RRB- Well, let's get into these as quickly as possible. He leads the way out. Michaels and Duval follow. Left alone, Cora starts to unzip her jumper, revealing she is wearing her swim suit beneath. Her eyes remain on the laser, now her prime source of anxiety.\",\n \"INT. MAIN OPS ROOM Starting on the grid map, we see the sub in the channel of the Pulmonary Artery. CAMERA then TILTS DOWN to the Radarscope, where the blip is blinking on and off in one place, without moving.\",\n \"INT. CONTROL TOWER On the monitor at the Map Table, we see the INTERIOR OF THE TRACKING POST, where the same blip is in the identical stationary position on the Radarscreen. PULL BACK to include Reid staring at the blip on the monitor. Carter is pacing on the other side of the table. REID They've stopped - on the outer limits of the Right Lung. Carter looks at the Minute Recorder. It reads < 42 >. CARTER Another delay. With only forty - two minutes left. REID It'll be close - but there's still a margin of safety. CARTER Let's find what the devil's holding them up! -LRB- to Wireless Technician. -RRB- Contact the Proteus! As the message is heard being tapped out : REID -LRB- glancing at Monitors ; none are on. -RRB- It must be some kind of mechanical difficulty. The tapping stops. As they wait for an answer, Carter pours a stream of sugar into his coffee. REID I told you to cut down on the sugar. CARTER I ca n't help it. I'm just weak, I guess.\",\n \"INT. PROTEUS - AT DOOR OF ESCAPE HATCH All have stepped out of their jumpers and are now revealed in their swim suits except Owens, who remains in the Bubble. The suits are form - fitting, antiseptic - looking, with a Breather Pack strapped to the back. Duval is tightening Cora's pack. Grant is checking Michaels' pack. The latter looks in rear at the small hatch, visible through the open door. The wireless starts tapping again. CORA -LRB- of tapping wireless. -RRB- Should n't you answer that? GRANT -LRB- putting on swim mask. -RRB- Not now. We need air, not greetings! He motions Michaels to precede him into the hatch. Face reflecting his irrational fear, Michaels puts his swim mask over his fear. But he freezes at the door, unable to step into the small hatch. Grant and Duval exchange looks. GRANT Let's go, Doctor. Michaels forces himself into the Escape Hatch. Grant follows, closing the door.\",\n \"INT. ESCAPE HATCH There is only space for the two. Michaels cowers against the wall, palms pressed against the metal, fighting against another seizure of his phobia. Grant opens a valve. Liquid starts pouring into the hatch from several ports. When it is up to their chins, Grant bends down to unlock the ventral hatch.\",\n \"EXT. PROTEUS Grant drops out of the hatch. Michaels follows. Grant then closes the hatch. With Grant in the lead, they swim toward :\",\n \"EXT. TOP OF PROTEUS Grant reaches the snorkel, looks toward Bubble.\",\n \"INT. BUBBLE Where Owens has now swiveled so that he faces the stern. Owens sees Grant signal to proceed. Owens presses button on SNORKEL RELEASE.\",\n \"EXT. PROTEUS The snorkel starts rising. When the tube is a few feet above the sub, Grant takes the bobbing end, holds it under one arm, and starts swimming with his free arm toward the Capillary Wall on the left.\",\n \"EXT. SIDE OF PROTEUS As Grant swims by with the end of the unreeling tube, Michaels joins him. Then Duval and Cora, who are now coming out of the ventral hatch. All swim to the nearby Capillary Wall. -LRB- NOTE : During the following, their action is complicated by the big Corpuscles flowing by in a steady stream, taking on oxygen and bumping into them. -RRB- They reach :\",\n \"EXT. ALVEOLAR CREVICE It shimmers with the liquid that seems to cover it like a door of reflecting glass. The opening is just large enough for all to look within. They see :\",\n \"INT. ALVEOLUS A vast conical volcano, the upper part lost to view. Numerous outcroppings of immense crags are visible on all sides. GRANT It's full of rocks! -LRB- NOTE : During all Swimming Sequences, we will hear the Speaker's Voice via the AUDIO PICKUP within the swimming mask of the one who responds vocally. -RRB- MICHAELS In a way - yes. Those are impurities imbedded in the Lung after a lifetime of ` Civilization.' Carbon from smoke and smog - specks of dust - GRANT Well, we better get on with it. He starts shoving the front of the snorkel through the vertical liquid entrance. To his startled surprise, it immediately comes flying out with great force. Michaels and Duval grab it in time to prevent the snorkel from snaking off down the stream. MICHAELS Careful! There is a tremendous air pressure in there - in relation to our size! Grant grabs hold or the front part again. GRANT I'll try to hold it from the other side of the wall, while you push from out here. Maybe that'll do it. CORA You ca n't - it's too dangerous - MICHAELS Yes - with all that pressure, and suction within - GRANT There's no other way. Tie my safety line to the sub. DUVAL Here, let me have it. Grant takes out his safety line, hooks it onto his suit. Duval starts swimming with the other end back to the Proteus.\",\n \"INT. BUBBLE Owens is eyeing the pressure gauges anxiously. He reacts as he sees :\",\n \"EXT. PROTEUS - P.O.V. BUBBLE With Owens we see Duval is nearing the sub, the safety line strung out behind him.\",\n \"EXT. PROTEUS - AT VENTRAL HATCH Duval hooks Grant's safety line onto a ring for the purpose, signals :\",\n \"EXT. ALVEOLUS CREVICE Grant acknowledges signal. The Alveolar Wall can be seen dilating slightly. GRANT All right now - push the snorkel through as soon as I get inside. MICHAELS -LRB- eyes on Wall. -RRB- Walt for the lull - between the time he inhales and exhales. As the dilating stops : MICHAELS Grant pushes quickly through the shimmering entrance.\",\n \"INT. ALVEOLUS He has literally transposed himself into another element : air. There is no turbulence, no sound. Instantly he props his feet against both sides of the entrance. The snorkel is shoved through. As he grabs it and holds, a breath is heard starting. Only Grant can hear the ensuing sound. CAPILLARY SIDE OF ALVEOLUS Duval now joins Michaels and Cora. They hold against the increasing pressure from within. Grant can be seen straining on the other side against the enormous wind pressure.\",\n \"INT. BUBBLE Owens' finger is on the button of the MASTER PRESSURE GAUGE, waiting. Tha indicator is quickly swinging toward FULL.\",\n \"INT. ALVEOLUS The wind is rising to gale force. Grant is holding on with all his strength to the end of the snorkel. The others can be seen pushing from their side, to keep the tube from flying out. MASTER PRESSURE GAUGE As the indicator hits the FULL position : AIR TANK CONTROL BUTTON Owens' finger presses down while : OWENS' VOICE -LRB- o.s. -RRB- Full!\",\n \"INT. ALVEOLUS In response, Grant lets go of the snorkel, which is instantly whipped out. Buffeted by the howling wind, he now tries to get out. But the hurricane causes Grant to lose his balance. He falls, slammed against the outcroppings by the force of the wind. Finally the lull comes. Instantly, Grant starts climbing back, hand over hand, using the rope as one would in scaling a mountain. The crevice is still far up ahead when suddenly a new breath starts in the upward direction. Grant is caught in the tremendous suction of the exhalation and is pulled toward the interior of the Lung. SAFETY CLASP ON SUB RING The Safety Clasp breaks off at the end of the nylon.\",\n \"EXT. ALVEOLUS CREVICE Michaels, Duval and Cora react as the line snakes past them through the crevice. CORA -LRB- horrified. -RRB- He's gone!\",\n \"INT. ALVEOLUS The suction sends Grant flying upward, past the crevice, with the safety line trailing after him. The wind whips him toward a fantastic height. Finally he hits : COLUMNAR CILIA Long stalks, with a waving motion that makes it resemble a vast field of wheat. Grant is seen flying through it, until he is lost from view. Then as the wind subsides :\",\n \"EXT. ALVEOLUS CREVICE The three are waiting, tense. DUVAL -LRB- to Michaels. -RRB- What can we do? MICHAELS Nothing - against all that force. CORA But we just ca n't leave him in there! What'll happen to him? MICHAELS We'll know - in the next breath. They react as they see the Alveolar Wall starting to dilate again, signaling the advent of another breath.\",\n \"INT. ALVEOLUS - SHOOTING UP The wind starts howling. And then Grant is seen at a vast height, plummeting down. Part of the way he hits a spongy area, bounces, is caught up again by the blasting wind, hits another spongy section, with a big outcropping of `` rock.''\",\n \"EXT. OUTCROPPING Fighting the gale, he manages to snake his safety line around the big rock. As he hangs on, he sees : P.O.V. - PRINCIPALS AND SUB - THROUGH CREVICE Not too far above, with rocks between. GRANT He waits it out until the howling tornado subsides. Then in the lull, he releases himself quickly and clambers toward the opening. He thrusts himself through the crevice, just as another breath begins.\",\n \"EXT. ALVEOLUS CREVICE The others grab him, pull him through all the way before he can be sucked back.\",\n \"EXT. CAPILLARY WALL - P.O.V. BUBBLE Owens is relieved to see the four start swimming back to the sub.\",\n \"INT. CONTROL TOWER Carter is pacing in the heavy silence. Reid is watching the monitors. Carter glances at the Minute Recorder. It flashes to < 37 >. Suddenly the tapping starts. Tense, they wait for the message. It is brief. As the Wireless Operator tears it off the pad, Carter takes it. CARTER -LRB- reading. -RRB- ` Proteus reports putting in to refuel air. Proceeding through the Pleural Cavity.'. -LRB- suddenly realizing. -RRB- Refuel air? As Reid starts to remove the OVERLAY MAP OF THE HEART from the Radarscope : REID Why not? They had a choice of over a billion Alveoli. LONG SHOT - PROTEUS IN PLEURAL CAVITY The lone voyager is proceeding in a calm sea. Its headbeams reflect a yellowish cast, which becomes increasingly warm and sunny during the scene.\",\n \"INT. BUBBLE Owens glances at the Repeater. The co - ordinates show the sub is traveling toward the apex of the Pleura, to the north, which is bounded by an undefined area simply marked `` Lymphatic.'' A sense of absolute serenity seems to pervade. Abruptly : SMASHED LASER TRANSISTOR as it is placed on the edge of an array of disassembled parts.\",\n \"INT. LAB SECTION - WORKBENCH Cora is putting the tiny transistor down. Then, with a tweezers, she takes out the last part : a hair - like strand of wire. To Duval, who is beside her : CORA And a broken trigger - wire.\",\n \"INT. LAB AND STORAGE SECTION Grant and Michaels are standing at the doorway, reacting to : DUVAL -LRB- fingering the parts. -RRB- A smashed transistor. No way to fire the lamp. Well, that's the end of the laser. Grant and Michaels exchange looks. GRANT -LRB- to Cora. -RRB- You must carry spare parts - CORA Not anything built into the chassis. -LRB- with guilt. -RRB- If it had n't come loose - MICHAELS That's beside the point now. -LRB- to Duval. -RRB- I do n't see the sense of going on. CORA We must! MICHAELS With no laser - GRANT -LRB- to Duval. -RRB- Is n't there another surgical procedure you can try? DUVAL No, there's no other way. Before Michaels can answer, Grant squeezes into the compartment, picks up the broken transistor. GRANT -LRB- to Cora. -RRB- If you had a transistor about this size and power output, and a thin enough wire -. -LRB- of laser. -RRB- - could you piece it together? CORA No, it requires such absolute precision - GRANT A surgeon might. CORA Oh yes, I'm sure Dr. Duval could. If we had the parts. GRANT I've got a source. All I have to do is tap it. At their blank looks, he turns and moves into :\",\n \"INT. PROTEUS As he goes to the wireless and begins to unscrew the panel, Michaels suddenly realizes : MICHAELS Grant - wait a minute - you're not going to dismantle the wireless? GRANT Just one little transistor and a circuit wire is all it takes. MICHAELS But that'll knock out our communications! We'll be cutting ourselves off from the outside. GRANT They'll still be able to track us by radar, because of the radioactive fuel. He moves to the panel, revealing a maze of electronic parts. GRANT Well, sir? Which is it? The wireless, or Benes' life? MICHAELS -LRB- finally. -RRB- Send the following message.\",\n \"INT. CONTROL TOWER A LUNG OVERLAY MAP is now on the Radarscope. Reid and Carter see the Grid Officer is moving the replica of the Proteus into the next quadrant of the Pleural Cavity. An incoming message is heard. The Wireless Operator takes down the message. As the tapping stops : CARTER -LRB- reading. -RRB- ` Cannibalizing wireless to repair laser. This is last message.' Reid and Carter exchange grim looks. CARTER Incommunicado. Now they're really on their own. Reid moves to the window overlooking the OPERATING ROOM. As he looks down on Benes and the little Tracking Devices weaving back and forth across his chest : REID -LRB- quietly. -RRB- We can still track them - but that's all we can do. Carter joins him. As they both look down : CARTER Something told me I got into the wrong end of the bus1ness. -LRB- answering look. -RRB- Space. TINY TRANSISTOR AND STRAND OF WIRE In the palm of Grant's hand. Cora's fingers delicately pick up both. CORAlS VOICE -LRB- o.s. -RRB- The transistor will do. But the wire's much too thick.\",\n \"INT. LAB AND STORAGE SECTION Duval is picking up the original wire with the tweezers and placing it on a contrasting surface during : GRANT Nothing closer. As Cora turns to the workbench : DUVAL I may be able to scrape it thin enough. Cora, get me a number eleven scalpel. She puts the transistor and wire down on the workbench and moves to open a medical kit. Duval takes the wire and places it between two small clamps on the workbench. Cora extracts a scalpel, gives it to him. Duval swings a magnifying glass over the strand as Cora trains a light on the wire. Duval bends over. Peering through the magnifying glass, he slowly begins to scrape the strand with the scalpel. GRANT AND MICHAELS They exchange looks. Then Grant turns away.\",\n \"INT. PROTEUS Grant leads the way to the bow. As they look out : GRANT Looks like the sea, at dawn. MICHAELS We're safe - long as it remains that color. -LRB- answering look. -RRB- We're in the Pleural Sac. -LRB- indicating arched dome far above. -RRB- It keeps the Lungs from rubbing against the Wall of the Chest up there. When those membranes become inflamed, we wind up with Pleurisy - and a wracking cough. GRANT Cough? If he can kick up a storm by just - MICHAELS His Pleura's in fine condition. It should be clear sailing through this area. GRANT Let's hope. So far, somebody's tried to sabotage this mission twice. He glances back in the direction of Duval. Both drop their voices so that Duval and Cora ca n't hear : MICHAELS -LRB- startled. -RRB- Sabotage? I do n't understand. GRANT I saw the laser just before we started. It was fastened down securely. You do n't suppose what happened was an ` accident?' Any more than my safety line snapping after it was tied off to the sub? MICHAELS You have no right to blame Duval - GRANT That line was tampered with. MICHAELS -LRB- agitated. -RRB- I - I do n't know what to say. I know he's under a cloud, but there's not a more dedicated man in the entire medical profession. GRANT You still never know what's going on in anyone's mind. MICHAELS -LRB- with finality. -RRB- I ca n't believe it. Whatever happened was an accident. GRANT Two in a row? MICHAELS It's possible - Grant looks at the Minute Recorder. It now reads < 32 >. GRANT Thirty - two minutes left. -LRB- back to Michaels. -RRB- But chances are we wo n't have to wait that long for try - number three. OWENS' VOICE -LRB- from above. -RRB- Look at those Walls up ahead! Grant and Michaels look out through the bow. Grant reacts amazed as he sees : ENTRANCE OF LYMPHATIC DUCT - P.O.V. BOW A huge tube - like structure looms up. The Walls are transparent, composed of a single layer of squamous cells with round nuclei. Since the color of the stream is now predominately yellow, the globs create the impression of innumerable : GRANT'S VOICE -LRB- o.s. -RRB-?!\",\n \"INT. BOW As Michaels moves to the console : MICHAELS -LRB- with smile. -RRB- We're entering the Lymphatic System. Those are nuclei of cells, lining a Duct. GRANT -LRB- puzzled. -RRB- I always had an idea there was only one System. The Circulatory. MICHAELS The Lymphatic System drains off excess fluid from the Tissues. Without it, we'd all swell up like balloons. He reaches the console, begins to take out a new chart.\",\n \"INT. BUBBLE The new chart suddenly becomes visible on the Repeater as it is spread out below. Owens reacts to the labyrinth. OWENS Looks like quite a Navigation problem. The co - ordinates are seen being moved to indicate the sub is passing through a Lymphatic Duct on its way to the first Node, which is followed by a series of others, strung out like sausage links. MICHAELS' VOICE -LRB- from below. -RRB- Only until we get through the Nodes - the Lymphatic Glands. Follow your present compass heading.\",\n \"EXT. PROTEUS - LYMPHATIC DUCT As it courses easily through the sunny stream, to suddenly emerge into :\",\n \"EXT. LYMPHATIC NODE A startlingly different world. The headbeams reveal what appears to be an underwater marshland : a tangle of reticular fibers which wave with the gentle cross currents seeping through the mesh. Weird bacterial forms drift by, moving in groups like raiding parties. The yellowish light of the Lymphatic Stream still filters through.\",\n \"INT. BUBBLE Owens is forced to slow down as he carefully begins to thread his way through the tangle, trying not to brush against the tendrils. But for all of Owens' care, the nose of the sub breaks some fibers as it nudges through the increasingly narrow spaces of the brambly mesh.\",\n \"INT. PROTEUS Grant reacts as he sees the broken fibers drift against the bow windows, and then become momentarily entangled around them. When the tendrils clear the windows, he looks back to the stern. FLOATING TENDRILS - P.O.V. GRANT They are floating aft. Some adhere to the propulsion section, trailing out so that Grant can see them.\",\n \"INT. PROTEUS Grant reacts, looks back and up toward Bubble. GRANT Skipper, you're picking up seaweed - or whatever it is. MICHAELS -LRB- reassuringly ; at chart. -RRB- Reticular fibers. We ought to be clear of them soon.\",\n \"EXT. LYMPHATIC NODE - P.O.V. BUBBLE With Owens, we see the way ahead is more tangly. As he keeps slowing down to get through safely : OWENS -LRB- anxiously. -RRB- I hope so, Doctor. If that stuff clogs the vents, the engine'll overheat - He breaks off as a big clump of fibers is torn loose, for all his skillful steering.\",\n \"EXT. UNDERSIDE OF SUB The mass of tendrils drifts down the length of the underside. Part of the clump adheres to the ventral hatch, another section twines around the exhaust : In so doing, it snags on the brambles beneath.\",\n \"INT. LAB AND STORAGE SECTION Scalpel poised over the wire, Duval reacts as the Proteus momentarily jars while it pulls loose. He exchanges looks with Cora, who is holding the lamp.\",\n \"INT. PROTEUS Grant glances back toward the open door of the aft compartment, realizing the danger of trying to repair the laser now. He looks at Michaels, who is bent over the chart. GRANT Doctor - He is interrupted by a loud WHAM against the bow windows. Startled, both look off, see :\",\n \"EXT. LYMPHATIC NODE - BEGINNING OF BATTLE BETWEEN BACTERIA AND ANTIBODIES - P.O.V. PRINCIPALS Flashing reflected light from the headbeams, elongated crystalline structures with rod - like projections which make linkage possible, are whipping against the bow windows where they have trapped a mass of ferocious - looking large Bacteria. The smaller crystalline Anti - bodies are rapidly coupling with others that speed in to join the fray. The Bacteria fight back with their flagella, in a death struggle. VIEW OF BATTLE FROM INT. BUBBLE Owens ducks involuntarily as the linking Antibodies and the Bacteria slam against the Bubble in such numbers and sizes as to make the way ahead virtually invisible. As a result, the sub tears through a clump of fibers like a scythe.\",\n \"INT. PROTEUS Duval appears in the doorway. DUVAL What's causing all that -? He breaks off as he sees the Antibodies and Bacteria whipping against the windows. Cora appears behind him, gasps at the sight of the monsters locked in battle. GRANT Looks like somebody declared war. MICHAELS Just what it is. Antibodies, destroying Bacteria - or any other foreign invader that threatens the System. BIG CLOSEUP - ONE ANTIBODY AND BACTERIUM As both slam and hold against the bow windows in a life - and - death struggle. An amazing phenomenon is taking form : Antibodies are hooking up at the rods to completely encase the Bacterium - and the geometric forms fit the antagonist. CORA'S VOICE -LRB- o.s. -RRB- Look - it's taking its exact shape! GRANT'S VOICE -LRB- o.s. -RRB- Like hand - in - glove. MICHAELS' VOICE -LRB- o.s. -RRB- Much closer. Like two atoms. Now the crystalline geometric links start pressing together with inexorable force. The Bacterium fights back with its flagella. Then suddenly it goes limp. As the destroyed Bacterium drifts off, another mass of virulent monsters smashes into the windows and are instantly embattled with a swarm of Antibodies that come linking up. Now the SOUND of the battle can be heard along the entire length of the sub. Meanwhile, the sub is jarred hard, as it breaks through another clump of entangling fibers. The sound and sight of the mortal battle increases in intensity, as does the forced passage during : DUVAL -LRB- with glance at Minute Recorder. -RRB- We'll never get there in time, at this rate. GRANT -LRB- to M1chaels. -RRB- Is n't there another route? So we can by - pass all this? DUVAL Yes. -LRB- to Michaels. -RRB- We can transfer over to the Inner Ear, and go by way of the Endolymphatic Duct. GRANT -LRB- to M1chaels. -RRB- Then why not take it? MICHAELS It's infinitely more hazardous than going this way. Once we enter the Inner Ear, sound in the Operating Room will be disastrous. At our reduced size, the vibrations inside the Ear would have a shattering effect. Another jar of the sub, and more smashing against the hull and bow windows, as the battle of the Antibodies and Bacteria reaches a climax. GRANT -LRB- over sound. -RRB- They're tracking us Topside. Once they see where we're going, I'm sure they'll take every precaution. MICHAELS Let's hope they realize the danger. -LRB- up at Bubble. -RRB- Captain, I'll give you a new compass heading. BENES' SHAVED HEAD With the radial lines in the f.g. Beyond, the Tracking Devices are now weaving back and forth in the area of the Neck.\",\n \"INT. MAIN OPS ROOM CAMERA on the TRACKING POST, PICKING UP the Four Technicians before their Radarscreens. CAMERA then TILTS UP to the big grid map. We see the Grid Officer above, positioning the replica of the Proteus in the Inner Ear.\",\n \"INT. CONTROL TOWER Reid and Carter are looking down at the OPERATING ROOM. They turn as the Communications Aide announces : COMMUNICATIONS AIDE Proteus turning in Quadrant 73. Reid and Carter move to window overlooking the MAIN OPS ROOM. They exchange relieved looks as the Grid Officer moves the sub to the lateral quadrant, in the Neck. REID -LRB- with relief. -RRB- At last they're heading for the Inner Ear. Carter glances at the Minute Recorder. It flashes < 27 >. CARTER -LRB- biting into unlit cigar. -RRB- About time they realized they'd never make it the other way. Reid moves to the Control Section, presses button.\",\n \"INT. OPERATING ROOM The Surgical Team and the Technicians exchange looks as they hear : REID'S VOICE -LRB- o.s. -RRB- The Proteus is about to enter the Inner Ear. You are not to walk, talk, or make a sound of kind. -LRB- strongly. -RRB- must be maintained until they are out of the danger area. As all remain frozen in their positions : TRACKING DEVICE PAN with it to : EXTREME CLOSE SHOT - BENES' EAR CAMERA MOVES IN on the Ear, until it fills the screen. PANEL OF PROTEUS The red warning lights are flashing, the needle of the TEMPERATURE GAUGE is in the danger zone. The SPEEDOMETER is nearing zero.\",\n \"INT. BUBBLE Owens is working the controls, apparently without avail. He glances anxiously ahead, sees :\",\n \"EXT. COCHLEAR DUCT - ENDOLYMPHATIC STREAM - P.O.V. BUBBLE A huge clear area. In the distance, a few drifting Antibodies. There is nothing evident that should be giving the Proteus any difficulty.\",\n \"INT. BUBBLE As Owens looks back with grave concern to the panel, the SPEEDOMETER needle drops to zero.\",\n \"EXT. COCHLEAR DUCT - LONG SHOT The Proteus is sinking to the bottom.\",\n \"INT. PROTEUS Duval and Cora are back in the lab Section, working on the laser. Grant is beside Michaels at the chart. Both look up as the Proteus touches bottom with a slight jar. GRANT -LRB- up at Bubble. -RRB- What's wrong, Skipper? OWENS' VOICE -LRB- from Bubble. -RRB- What I was afraid would happen. The stuff we passed through - that looked like seaweed - MICHAELS Reticular fibers - OWENS' VOICE -LRB- from Bubble. -RRB- It clogged the intake vents. We're not getting any propulsion. GRANT Well, there's only one thing to do. As he moves to put on his Breather Pack, Cora appears in the doorway of the Lab Section. She looks anxiously out of the bow windows. In the distance, several Anti - bodies can be seen. CORA You're going out there? With those Antibodies - MICHAELS -LRB- to Grant. -RRB- No danger of attack, as long as you do n't trigger them off by any injury to the System. Grant nods, steps into the Escape Hatch, closing the door behind him. The light flashes red. Cora remains at the bow windows, looking toward the drifting Anti - bodies, with apprehension.\",\n \"EXT. VENTRAL HATCH Grant is dropping out of the opening, causing the attached seaweed - like fibers to come loose and drift off. WITH GRANT He swims toward the bow, reaches the propulsion intake vents. As the clogged vents come into view : OWENS' VOICE -LRB- over audio. -RRB- How's it look? GRANT I could use a lawnmower.\",\n \"INT. BUBBLE Owens glances at the Minute Recorder. OWENS How long do you think it'll take? GRANT'S VOICE -LRB- over audio. -RRB- Quite a while.\",\n \"INT. PROTEUS Cora turns from the bow windows. The Antibodies are still in view. CORA Would n't it be quicker if we all helped? MICHAELS -LRB- with glance at Minute Recorder. -RRB- Yes, there's no time to spare. And those fibers can be quite tenacious. He moves to the Escape Hatch with Cora, both strapping on their Breather Packs. She glances at Duval, still in the Lab Section. DUVAL I'd better use the time to finish repairing the laser. Michaels and Cora step into the Escape Hatch, adjust their swimming masks.\",\n \"EXT. PROTEUS - BOW Grant is pulling the seaweed - like fibers out of the intake vents. He works fast at what seems an endless task.\",\n \"INT. BUBBLE Owens is watching the TEMPERATURE GAUGE. The needle is still in the danger zone.\",\n \"EXT. PROTEUS - BOW Michaels and Cora swim up to Grant, join him in yanking out the long clinging tendrils. All work quickly as possible.\",\n \"INT. OPERATING ROOM Absolute silence. The immobile Surgical Team and Technicians create a tableau - like effect. The forced silence and the inactivity causes several to sweat with tension. All are focusing on the Tracking Devices, now weaving back and forth at Benes' Head.\",\n \"INT. CONTROL TOWER Reid and Carter are at the window overlooking the OPERATING ROOM. The Communications Aide turns to them. They react with misgiving as they hear : COMMUNICATIONS AIDE Report no movement of the Proteus since entering Quadrant 74, Level D. Reid and Carter exchange grim looks, move to look down on the MAIN OPS ROOM. They see the little Proteus is in the quadrant of the Cochlear Duct. Carter glances at the Minute Recrder. It now reads < 24 >. CARTER Twenty - four minutes left. Maximum. This is just what we need - another delay. He sees an ant crawling along the table, in the direction of a few spilled grains of sugar. Automatically, he starts to bring his thumb down to crush it. But he stops just in time. Reid looks at Carter curiously as the latter carefully picks up the ant and puts it on the railing so it can crawl out of harm's way. REID -LRB- with smile. -RRB- You'll wind up a Hindu. Respecting all forms of life - however small.\",\n \"EXT. PROTEUS - BOW Loose tendrils are flowing about the hull like drifting seaweed. But the vents seem to hold an endless amount. Grant, Cora and Michaels, working at an exhausting pace, keep pulling out more and more clumps of long fibers.\",\n \"INT. BUBBLE Eyes on the TEMPERATURE GAUGE, Owens reacts with relief as he sees the needle beginning to swing away from the danger zone.\",\n \"INT. OPERATING ROOM Nothing moves except the little Tracking Devices on their silent bearings. But the ordeal of absolute silence and no movement is beginning to tell on all. Particularly : SURGICAL CHIEF An older man, corpulent, he is sweating profusely under the strain. The headband of his Surgical Cap is wet. Automatically, he brings his rubber - gloved hand up to wipe the perspiration away, stops, as he glances at the patient o.s.\",\n \"EXT. PROTEUS Many loose tendrils now about the hull attest to the progress of cleaning the vents. The three keep working.\",\n \"INT. BUBBLE The needle of the TEMPERATURE GAUGE is now almost out of the danger zone.\",\n \"INT. MAIN OPS ROOM - SUB GRID MAP The sub is not moving. The Minute Recorder reads < 21 >.\",\n \"INT. MAIN OPS ROOM - SHOOTING TOWARD CONTROL TOWER Reid and Carter are at the window, looking down into the room.\",\n \"EXT. PROTEUS The last of the fiber clumps is now being removed. SURGICAL CHIEF Rivulets of sweat are streaming down toward the wrinkled corners of his eyes, causing him to blink. FEMALE SURGICAL AIDE Seeing his extreme discomfort, she follows the usual procedure of reaching for a towel on the instrument table. TOWEL A surgical scissors is partially tucked within the folds.\",\n \"INT. OPERATING ROOM The scissors is not visible from the Aide's angle. As she pulls the towel gently off the table, careful not to make a sound : SCISSORS Dislodged from the table. CAMERA WHIPS with it toward the floor. On the shattering impact : FLASH CUT - BENES' EAR It fills the screen, the sound reverberating o.s. Instantly :\",\n \"EXT. COCHLEAR DUCT The vibrations send the Proteus flying through the clear sea, as if struck by a cataclysmic undersea force. -LRB- NOTE : Until the end of this sequence, the vibrations keep on as if they have set off reverberations in endless echo chambers. -RRB- GRANT Flung in one direction. MICHAELS Hurled off in another direction. CORA Whipped away from all the others. OWENS IN BUBBLE Clutching the panel for support. DUVAL IN LAB SECTION Clutching the laser.\",\n \"EXT. ORGAN OF CORTI - WITH CORA As she is tossed toward the Cells of Hensen : a series of tall columnar structures, non - rigid, with cuticular plates forming a mosaic pattern. CORA She is horrified as she sees where she is heading for : P.O.V. - CHASM One wall consists of the TECTORIAL MEMBRANE, opaque, with built - in huge fibers. The other wall : geometric and translucent. Spaced at intervals are what appear to be electrical conduits with four exposed strands spanning the two walls. All the conduits are vibrating. WITH CORA - DOWN THE CHASM She is thrust over the curved edge, starts falling head down. She narrowly misses the first connective conduit. Then her Breather Pack snags on one of the strands of the next conduit, which flings her partially to one side so that her legs are caught between the other strands. As she hangs head down, the weight of her body causing the strands - and herself - to be whipped back and forth, she is further terrifled to see : LONG SHOT - CHASM - CORA'S P.O.V. All the quadruple strands are vibratlng in the seemingly bottomless abyss. BACK TO CORA As she tries to extricate herself, which causes her to be `` vibrated'' with even greater intensity : CORA -LRB- screaming. -RRB- Help!\",\n \"EXT. COCHLEAR DUCT In the distance, the Proteus is being brought under control. Michaels and Grant are in view, swimming against the force set off by the diminishing vibrations in this part of the Ear. GRANT He hears : CORA'S VOICE -LRB- barely audible : over audio. -RRB- Please! Help! Grant looks about. There is no sign of her. CORA Struggling head down, in terror, she hears : GRANT'S VOICE -LRB- over audio ; in distance. -RRB- Cora! Where are you? CORA I do n't know! I think I'm caught on some auditory fibers!\",\n \"EXT. COCHLEAR DUCT Michaels swims up to Grant. GRANT Where would that be? As Michaels points, Grant hears : MICHAELS' VOICE -LRB- over audio. -RRB- Right down there. They both swim off in the indicated direction, reach :\",\n \"EXT. EDGE OF CHASM Both look down. At first they do n't see her. Then Grant spots Cora. He points for Michaels' benefit. They see : CORA IN CHASM - THEIR P.O.V. Far below, still trying to struggle loose. CORA IN CHASM As she hears : GRANT'S VOICE -LRB- on audio. -RRB- Okay! I can see you! She stops struggling. But unseen by her, the vibrating strands in which she is entangled have called forth, in apparent response : FEW ANTIBODIES - IN CHASM Appearing from the far side, and below Cora. They start moving toward her. More Antibodies instantly appear from the same area.\",\n \"EXT. EDGE OF CHASM Grant and Michaels are swimming over the curved mosaic cells. INSIDE THE CHASM Grant and Michaels swim down toward Cora on the strands. Now the Antibodies become visible, gathering in increasing numbers as they stream up toward Cora. They are as yet unlinked, but she is unmistakably their target. MICHAELS -LRB- startled. -RRB- Antibodies! Coming at Cora! She's triggered them off! CORA ON STRANDS From her head - down position, she sees : LONG SHOT - ANTIBODIES - CORA'S P.O.V. Streaming upward in increasing numbers toward her. GRANT AND MICHAELS - IN CHASM GRANT Doctor! Get back in the sub! Quick! Michaels starts swimming fast as he can toward the Proteus.\",\n \"EXT. CHASM - GRANT, CORA AND ANTIBODIES He is racing to reach Cora before they do. ON THE AUDITORY STRANDS - IN CHASM From her head - down position, Cora sees vast numbers of : Antibodies, now nearer. Frantic with fear, she tries to free herself, causing the strands to start vibrating again, which calls forth more Antibodies to stream out of the far side. Grant reaches her, starts working desperately to get her loose. She tries to help as he yanks at her Breather Pack, trying to work it off the wires.\",\n \"EXT. PROTEUS - COCHLEAR DUCT Near the edge of the chasm. Duval is seen at the bow windows, looking out anxiously.\",\n \"INT. PROTEUS Duval turns as the door of the Escape Hatch opens from within and Michaels steps out. He closes the door quickly. The light over it instantly flashes red. DUVAL Where are they?! As Michaels pulls off his swimming mask, breathing hard : MICHAELS Below the Cells of Hensen. If those Antibodies reach her, they'll attack as if she were bacteria. LONG SHOT - ANTIBODIES - IN CHASM - P.O.V. CORA -LRB- HEAD DOWN -RRB- They are beginning to link up.\",\n \"EXT. CHASM - CORA AND GRANT He is still trying to get her Breather Pack loose. CORA -LRB- franticaliy. -RRB- Hurry! Oh please, please! He manages to get her pack loose, now starts pulling the strands apart at her ankles so that she can extricate herself. As she finally does, they execute a half - somersault in the stream to start swimming upward. Both get a fleeting look at : LONG SHOT - ANTIBODIES - P.O.V. GRANT AND CORA The links have now formed chains the of Cora.\",\n \"EXT. CHASM - GRANT AND CORA Grant grabs her at the torso and starts to propel her upward. LONG SHOT - CHASM - ANTIBODIES AND PRINCIPALS The long links, in vast numbers, now race after the frantically swimming Cora and Grant.\",\n \"EXT. EDGE OF CHASM Grant and Cora appear, swim over the slippery edge of the mosaic cells. She is too exhausted to keep up the pace. Grant holds her with one arm as he keeps swimming toward :\",\n \"EXT. PROTEUS Duval and Michaels can be seen at the bow windows, looking out. Owens is visible within the Bubble, peering out anxiously.\",\n \"EXT. VENTRAL HATCH The two reach it, Grant still helping Cora. They are at the point of exhaustion. Grant reacts as he sees : LIGHT OVER VENTRAL HATCH Flashing red.\",\n \"EXT. VENTRAL HATCH Grant waits, hand at the wheel. Cora looks back toward the edge of the chasm for signs of the Antibodies. CORA -LRB- gasping. -RRB- Open it! Open it before they get here! GRANT I ca n't till the hatch is flooded! At her look of fright, he turns and sees : ANTIBODIES - EDGE OF CHASM - P.O.V. CORA AND GRANT The long links catapult over the edge of the chasm like Polaris missiles in flight, then begin to execute a turn for a massed attack in the direction of :\",\n \"EXT. VENTRAL HATCH The light flashes green. Grant begins turning the wheel quickly as he can. INTERCUT ANTIBODIES Hurtling down toward Cora, and the wheel turning.\",\n \"EXT. VENTRAL HATCH Just as the door drops down, the vanguard of the Anti - bodies reaches Cora. Two coils whip transversely around her shoulders. There is no time to tear them off. Grant thrusts Cora through the door, then follows, with the massed attackers streaming in after them.\",\n \"INT. ESCAPE HATCH Cora is clawing at the Antibodies which are coiling around her from every direction. For the moment, Grant ca n't help her as he struggles to close the door against : ANTIBODIES AT VENTRAL DOOR The crystalline links are forcing their way in, against the pressure of the closing door. Grant struggles with all his strength against the coiling mass. Finally he manages to get the door closed and locked.\",\n \"INT. ESCAPE HATCH - GRANT, CORA AND ANTIBODIES The water level starts falling, accompanied by the hissing of air pressure. Grant and Cora try to claw at the crystalline structures. But in the extremely narrow confines of the chamber, there is little either can do. Suddenly Cora's expression changes to one of horror and pain. CORA -LRB- gasping. -RRB- They're tightening. Desperately, Grant tries to get at least one coil loose, but to no avail. The crystalline structures are now constricting around her.\",\n \"INT. PROTEUS Duval and Michaels stand before the Escape Hatch, waiting for the red light to change to green. DUVAL -LRB- up at Bubble. -RRB- How much longer?! OWENS' VOICE -LRB- from above. -RRB- Ten seconds - DUVAL That's too long! He starts to twist the wheel, to open the Hatch.\",\n \"INT. ESCAPE HATCH The water is now down to their knees. Grant is still pulling at one of the many links around Cora, but without any effect. CORA -LRB- barely audible. -RRB- Please - I - ca n't - ca n't breathe. And she is cut off as all the Antibodies lock into place. Her mouth remains open, in the manner of someone being choked to death. The crystalline coils about her body give her the appearance of a female Laocoon. Suddenly the entrance door is thrust open behind them.\",\n \"INT. PROTEUS Water pours out from the Escape hatch as Grant drags Cora out. She falls on the floor. Duval and Michaels instantly start pulling at the Antibodies. Cora is almost unconscious. Grant joins in the frantic effort to free her. And then Owens, who comes bounding down from the Bubble. All four men pull at the structures with all their strength. And suddenly they begin to break off, shattering into crystalline fragments. With some coils broken, the others soon lose their lethal adhesion. Finally Cora is free. As soon as she finds her breath, she begins to cry hysterically. Duval bends over, calming her.\",\n \"INT. OPERATING ROOM All are still immoblle, sweating out the long wait. The Female Surgical Aide who caused the scissors to drop stands holding the towel. The scissors is still on the floor at her feet. In the silence, she carefully reaches out and dabs at the rivulets of sweat running down the Head Surgeon's face. Now all are concentrating on the : TRACKING DEVICES Moving silently back and forth across Benes' head, the only contact with what is transpiring within.\",\n \"INT. CONTROL TOWER Reid is looking down into the OPERATING ROOM, Carter is pouring two fresh cups of coffee. At the SOUND of a warning buzz, both look at the TV monitor. They see the INTERIOR OF THE TRACKING POST. The blip is moving on the radar screen. COMMUNICATIONS AIDE Proteus proceeding toward Quadrant 75. Reid takes the coffee which Carter extends. REID -LRB- relieved. -RRB- On their way again. Carter glances at the Minute Recorder. It now reads < 12 >. He upends empty sugar container without looking at it. CARTER Twelve minutes left -. -LRB- breaks off ; sees no sugar. -RRB- Of all the time to run out of sugar.\",\n \"EXT. ENDOLYMPHATIC DUCT The Proteus is speeding through the very wide passage.\",\n \"INT. PROTEUS Michaels is spreading out a chart of the Brain, with the help of Duval. As the complexity comes into view, Grant reacts. With glance at the Minute Recorder : GRANT Looks like quite a way to go. MICHAELS No, we should reach the base of the Brain shortly. And from there, it's not far to the site of the injury. Suddenly, light pours in. Astonished, Grant sees : HUGE OVAL MEMBRANE - THROUGH BOW WINDOWS Semi - transparent. The immense pillars which form the Stapes of the Inner Ear are illuminated by the light behind it. GRANT'S VOICE -LRB- o.s. -RRB- Where's that light coming from? MICHAELS' VOICE -LRB- o.s. -RRB- The outside world. Filtering in through Benes' Eardrum.\",\n \"INT. PROTEUS Duval bends over the chart. DUVAL -LRB- pointing ; to Michaels. -RRB- That puts us right here. Which means we can head straight for the Sub Arachnoid Cavity. MICHAELS Yes. DUVAL If we can go in past the Oculomotor Nerve. As both men remain bent over the chart, conferring, Grant moves into :\",\n \"INT. LAB AND STORAGE SECTION Cora is lying on the cot. As Grant enters, she starts to rise. GRANT No need to get up - CORA I feel much better now. But she remains seated, still weak. As the light grows brighter : CORA -LRB- quietly. -RRB- The outside world. I thought I'd never see it again. Grant stops at the laser which is fastened securely, runs his hand along it. CORA -LRB- turning to Grant. -RRB- Thank you for saving my life. GRANT That's what they pay me for. CORA A great deal more than that, I believe. He looks up from the laser. GRANT Such as? CORA Keeping an eye on Dr. Duval. GRANT -LRB- into the silence. -RRB- What gives you that idea? The light now dims back to normal, indicating they have passed the Eardrum. CORA That's why you're really here. I knew it from the start. GRANT As obvious as that? Our Security people will jump for joy. -LRB- with smile. -RRB- I suppose Duval's onto me, too? CORA You're not the first, but he's much too innocent, much too involved with his work, to realize what's going on around him. GRANT Under a cloud without cause, I take it. CORA Oh, no. Plenty of cause. He wo n't follow the herd, or change his convictions - even when they're not popular. And he believes in an absolutely free interchange of information between scientists of different countries - and these days, there's nothing more suspicious than that. GRANT Depends on which end of the telescope you look through. CORA What do you mean? GRANT Well, if you happen to be very fond of him - even in love with him - it would certainly affect your point of view. Before she can answer, they hear : DUVAL'S VOICE -LRB- o.s. -RRB- It's out of the question. MICHAELS' VOICE -LRB- o.s. -RRB- Now be reasonable! DUVAL'S VOICE I wo n't do it. GRANT Sounds like trouble. The two move toward the door.\",\n \"INT. PROTEUS Grant and Cora silently witness : DUVAL It's against my better Judgment. MICHAELS Better Judgment?! To wait until the actual operation - when it may be too late? DUVAL I've done all I could with the laser. MICHAELS All I'm asking is you test it beforehand! DUVAL If it wo n't work, it's beyond my power to fix it. But if it does, there's no telling how long it will hold up. It's a jury rig, at best, and we'll need every second of use we can get out of it. That's why I do n't want to put any extra strain on the connections by running unnecessary tests. MICHAELS Dr. Duvall I insist you test the laser. DUVAL -LRB- angrily. -RRB- I'll do nothing of the sort! The operation is responsibility! I wo n't do it, and that's final! MICHAELS -LRB- controlling himself with difficulty. -RRB- As usual, you want everything your way. Except this time there's more than your damned ego at stake. DUVAL -LRB- tightly. -RRB- I know only too well what's in the balance, Doctor. And it's not my ego, damned or otherwise. GRANT Looking thoughtfully after Duval.\",\n \"INT. CONTROL TOWER Reid and Carter are relieved to hear : COMMUNICATIONS AIDE Proteus turning into Quadrant 791 Level F. Reid presses button.\",\n \"INT. OPERATING ROOM Still in tableau. All hear : REID'S VOICE -LRB- o.s. -RRB- The Proteus has passed the Inner Ear. Instantly the tension breaks. There is coughing, clearing of throats. Someone sneezes, evoking : AD LIBS - Just in time! I could n't hold it back another second! - I was afraid to! - My foot's asleep. - Only one? - I thought I'd die when the scissors hit the floor! The Female Surgical Aide picks up the scissors.\",\n \"INT. CONTROL TOWER Reid is moving to the window overlooking the MAIN OPS ROOM. Carter turns from the Minute Recorder, which now reads < 8 >. CARTER -LRB- on edge. -RRB- Only eight minutes left. As he joins Reid and both look down into the MAIN OPS ROOM, they see the Grid Officer moving the Proteus to the Quadrant at the base of the Brain. REID -LRB- softly. -RRB- Imagine - they're in the Human Mind - CEREBRAL LIGHTS A dazzling display of flashing lights fills the screen. Then as the CAMERA PANS DOWN slowly, we see a high wall of complex circuitry, in which the tiny lights glow on and off rapidly. Finally, as the CAMERA NEARS the bottom, it reveals :\",\n \"EXT. PROTEUS - IN CRANIAL FJORD The sub seems a mere speck as it cruises through a chasm formed by two walls of similar circuitry and electronic pyrotechnics. There is a sense of order despite the complexity.\",\n \"INT. PROTEUS Grant has joined Cora and Duval at the bow. The three are deeply impressed and moved by what they see. Michaels remains at the chart. As they look on : DUVAL -LRB- softly. -RRB- `` Yet all the suns that light the Corridors of the Universe shine dim, Before the blazing of a Single Thought -'' GRANT `` Proclaiming in incandescent glory The myriad Mind of Man.'' Cora looks at Grant in rather surprised awareness of this other side of him. MICHAELS Very poetic, gentlemen. You seem to see a great deal out there. Let me know when we pass the Soul. Duval turns from the bow windows to face Michaels with the answer : DUVAL -LRB- quietly. -RRB- The Soul? The finite mind can not comprehend Infinity. And the Soul which comes from God is Infinite. MICHAELS Take a close look at your Soul, and your Infinity, and your God out there - GRANT In thoughtful response to : MICHAELS' VOICE -LRB- o.s. -RRB- - and you'll find it's nothing but a combination of atoms, molecules -\",\n \"INT. PROTEUS Not letting Duval interrupt : MICHAELS - and certain chemicals involving proteins - DUVAL You left something out. MICHAELS What's that? DUVAL -LRB- flatly. -RRB- The Breath of God. Before Michaels can reply : OWENS' VOICE -LRB- from Bubble. -RRB- Doctor - what's that up ahead? They turn toward bow, see :\",\n \"EXT. FOREST OF DENDRITES As it comes into view with the sub turning the corner of the chasm : a huge semi - circular area of branchlike nerves, through which the cerebral lights flash. In the center is the site of the injury. The lights stop at its perimeter, as if short - circuited, causing a dark area. DUVAL -LRB- up at Bubble. -RRB- There it is. That's the site of the injury - the dark spot. We'd better get prepared. They move into the Lab Section, where they put on their Breather Packs quickly during : MICHAELS It's too late. Startled, they follow his look, see the Minute Recorder now reads < 6 >. MICHAELS You could n't possibly operate and get out before the hour's up. -LRB- up at Bubble. -RRB- Captain, keep going. Head for the Removal Point. He begins to spread out a map of the Removal Area. DUVAL Removal Point? What're you talking about! MICHAELS We have no alternative. With only six minutes left, we'll just barely make it. GRANT -LRB- up at Bubble. -RRB- Hold it, Skipper. -LRB- to Michaels. -RRB- What happens if we overstay? MICHAELS Once time's up, De - Miniaturization begins. In a matter of seconds the ship will grow big enough to become a danger to the System. Then White Corpuscles will swarm to destroy it, as they would any invader. GRANT -LRB- up at Bubble. -RRB- How long will it take to get from here to the Removal Point? OWENS'VOICE -LRB- from above. -RRB- Approximately two minutes. DUVAL That still leaves me four minutes to operate. MICHAELS All you'll succeed in doing is getting us trapped! -LRB- glancing at Minute Recorder. -RRB- Captain, you will proceed immediately to the Removal Point. OWENS' VOICE -LRB- from above. -RRB- Yes sir. Grant moves quickly to the Manual Panel and throws some key switches into the OFF position.\",\n \"INT. BUBBLE Owens is startled to see the lights over the buttons go off, rendering the controls inoperative. The sub comes to a stop at some distance from the Forest of Dendrites and the dark area up ahead. OWENS My power's gone! -LRB- looks down, sees him. -RRB- Grant - what're you doing!\",\n \"INT. PROTEUS With manner of taking over : GRANT Get the laser, Dr. Duval. As Duval and Cora move quickly into the Lab Section : MICHAELS -LRB- furiously. -RRB- I'm in charge of this mission! You were instructed to take orders from me, not give them! GRANT Sorry, but the situation has changed. MICHAELS Nothing has changed as far as authority goes! He is going to operate! Not in the little time we have left! There's no chance of success! It's sheer suicide for all of us! He breaks off as Duval and Cora come out of the Lab Section carrying the laser and power unit. As they move to the Escape Hatch door, which Grant opens : MICHAELS -LRB- furiously. -RRB- Dr. Duval, you are not going through with this! I absolutely forbid it! I'm responsible for the lives of everyone here! I will not allow you or anyone else to leave this ship! DUVAL I'm going to do what I can to save Benes. He steps into the Escape Hatch with Cora. Grant closes the door. MICHAELS -LRB- rageng at Grant. -RRB- You fool! Do n't you see what you've done? You've given him a perfect opportunity to kill Benes! The lights start flashing red, indicating the Escape Hatch is being flooded. Grant puts on his Breather Pack during : GRANT I do n't believe that. MICHAELS Why not? Because of his gibberish about GOd and the Soul? Camouflage - that's all it is - to blind the gullible like you! And to hide his real identity - a fanatic whose only purpose is to kill Benes! And you made it possible! The light over the Escape Hatch turns green. As Grant opens the door : GRANT I've come up against fanatics before, and Duval just does n't fit the pattern. -LRB- up at Bubble. -RRB- I'm going out there, Skipper. Maybe I can be of some help. OWENS Remember - we ca n't take more than five minutes to get out. As Grant starts closing the door, he glances at : MINUTE RECORDER It now reads < 5 >.\",\n \"INT. PROTEUS Grant closes the door. The light over it flashes red. Michaels moves to the bow window to observe :\",\n \"EXT. SITE OF INJURY - P.O.V. MICHAELS Duval and Cora are swimming toward the dark spot with the laser and the power unit. They reach :\",\n \"EXT. SITE OF INJURY - CLOSER Duval presses the laser control, not knowing if it will work. To his relief, a beam of light shoots out. Instantly a small portion of the clot begins to light up. This gradual encroachment of flashing lights in place of the dark area marks the progress of the operation.\",\n \"EXT. VENTRAL HATCH Grant drops out and starts toward Duval and Cora. SECTION OF THROMBUS IN BRAIN The laser beam is slowly dissolving away a small portion of the vast darkness. Grant swims up. He glances at his wrist watch. GRANT How does it look, Doctor? DUVAL -LRB- as he works. -RRB- If I can relieve the pressure on a few key vessels. More of the dark area lights up.\",\n \"INT. PROTEUS - AT BOW WINDOWS Watching, Michaels responds grimly to the increasing number of flashing lights in the injured area. He turns with grim resolution from the bow. MICHAELS -LRB- up at Bubble. -RRB- Skipper.\",\n \"INT. BUBBLE Owens is startled to hear : MICHAELS' VOICE -LRB- from below. -RRB- There seems to be something wrong with the Escape Hatch. OWENS What do you mean? MICHAELS' VOICE -LRB- from below ; imperatively. -RRB- Fluid is seeping through. Better come down and have a look! Quickly, Owens starts slipping out of his harness, starts down the ladder leading into :\",\n \"INT. PROTEUS - AT ESCAPE HATCH DOOR Michaels is not visible in the angle of the shot as Owens moves to the Escape Hatch, looking for the seepage. Seeing nothing wrong : OWENS -LRB- turning ; puzzled. -RRB- I do n't see any sign of - He breaks off, his expression reflecting horrified surprise as a hand wielding the heavy crank of the winch smashes down on his head before he has a chance to dodge it. Owens slumps to the floor at the feet of : MICHAELS He drops the heavy tool, goes quickly to the Manual Panel, throws the switches back into the ON position, restoring all the controls to where they were before Grant changed them. Then he climbs up into :\",\n \"INT. BUBBLE The lights over the buttons are all on again, indicating the controls are in working order. As Michaels sits down hastily and begins to slip into the harness, with him we see :\",\n \"EXT. SITE OF INJURY Duval is aiming the laser in short bursts at a dark area around the large Central Nerve. Grant glances at his wrist watch. GRANT Doctor, we've just about had it. DUVAL It I can clear this Central Nerve, that be enough. Unseen by them : LONG SHOT - PROTEUS In the distance it is swinging around in a wide arc them.\",\n \"INT. BUBBLE As Michaels maneuvers into position, he responds grimly to :\",\n \"EXT. SITE OF INJURY - P.O.V. INT. BUBBLE Light begins to play along sections of the Central Nerve.\",\n \"INT. BUBBLE The bow is now lined up straight with the Central Nerve. Face set, Michaels presses the FULL SPEED button.\",\n \"EXT. JETS The churning indicates full power is on. The Proteus spurts ahead, speeding toward :\",\n \"EXT. SITE OF INJURY - CENTRAL NERVE More and more of the Central Nerve lights up as the intervening darkness is dissolved by precise bursts of the laser beam. Unaware of the oncoming sub, Duval and Cora keep working. As Grant glances at his wrist watch, electrical impulses begin racing in a continuous flow through the Central Nerve, which is now incandescent along its entire height. DUVAL That should be enough. He looks critically at the results, as he normally would. GRANT We better get back to the sub. Every second counts now. CORA -LRB- suddenly. -RRB- Look! They follow the direction of her glance, are startled to see :\",\n \"EXT. PROTEUS Speeding directly toward the Central Nerve high above them. The person in the Bubble is indeterminate at the distance and angle. CORA'S VOICE -LRB- o.s. -RRB- It's heading right for the Nerve! DUVAL'S VOICE -LRB- o.s., confused. -RRB- I do n't understand.\",\n \"EXT. SITE OF INJURY As they watch helplessly : GRANT -LRB- getting idea. -RRB- The laser! Let me have the laser! Grant grabs the laser from Duval. With Cora trailing, holding the power unit, Grant leads the way upward at an angle to intercept :\",\n \"EXT. PROTEUS It is speeding toward the Central Nerve like a projectile homing in on a target.\",\n \"INT. BUBBLE The incandescent Central Nerve looms closer and closer. Michaels holds the controls in place with the fixed look of a pilot on a suicide course. GRANT, CORA AND PROTEUS He stops swimming. She remains near him. The sub is now over their heads, at an angle which makes the rudder visible. GRANT Give me your widest beam! Full power! Cora turns a dial on the power unit. Grant takes careful aim. A wide beam shoots out from the laser, across the intervening distance and hits :\",\n \"EXT. RUDDER AND REAR HULL The concentrated light disintegrates the rudder and burns open a large section of the hull.\",\n \"INT. LAB SECTION Fluid pours through the hole into :\",\n \"INT. PROTEUS The intact section with its trapped air holds off total inundation. The unconscious Owens stirs, face up, the liquid just short of covering him. The sub begins to keel, owing to the inflow.\",\n \"INT. BVBBLE Michaels wrestles with the controls, trying to keep on course, as the Central Nerve ahead looms closer and closer. For a moment it appears he will be able to ram it. But the increasing tilt suddenly causes :\",\n \"EXT. PROTEUS - CENTRAL NERVE To dive at a sharp angle, just barely missing the Central Nerve.\",\n \"INT. BUBBLE Michaels wrestles with the controls, but to no avail. Through the Bubble, he is startled to see :\",\n \"EXT. FOREST OF DENDRITES - P.O.V. BUBBLE It looms closer and closer as the Proteus dives inexorably toward :\",\n \"EXT. FOREST OF DENDRITES Treelike branching nerves form an intricate mesh as if in a dense forest. The Proteus careens into it, tearing loose a section of nerve fibers. The sub keels over on one side.\",\n \"INT. BUBBLE Now at a sharp tilt. The impact causes one of the arms of the swivel chair to spring out of place, pinning Michaels to the seat. Lying at an angle, he struggles to break loose, without avail. Suddenly his startled eyes fix on : THE MINUTE RECORDER ON CONTROL PANEL It flashes < 0 >. The lights begin to dim.\",\n \"INT. CONTROL TOWER - MINUTE RECORDER Flashing < 0 >. The SOUND of a warning siren is on loud. It continues during the scene, adding urgency to the reactions of all. Reid and Carter exchange grim looks. REID Time's up. We'll have to take them out immediately. CARTER It means killing Benes. -LRB- savagely. -RRB- And for all we know, they may have completed the operation! -LRB- slamming table. -RRB- Damn it to hell! He turns away. Reid goes to the window overlooking the OPERATING R00M. REID Remove the Proteus.\",\n \"INT. OPERATING ROOM For a moment only the undulating wail of the warning siren is heard. Then : CHIEF SURGEON Prepare for trepanation. One of the Surgical Technicians begins swabbing Benes' head with alcohol.\",\n \"INT. BUBBLE The lights are almost out. It is now lit only by the eerie glow of the pulsing flashes in the Forest of Dendrites. Michaels is vainly trying to pry the steel arm loose, but it holds him in a vise - like grip in the chair. He looks fearfully toward the bow window, as if knowing what to expect next.\",\n \"EXT. EDGE OF FOREST OF DENDRITES Grant, Duval and Cora are swimming through the maze of nerves toward the sub lying at a sharp keel. GRANT The ship's good as finished. We'll have to get out on our own! Is there a quick way out? DUVAL We could follow the Optic Nerve to the corner of the Eye. CORA It's beginning to grow. They stop, treading water as they see :\",\n \"EXT. PROTEUS Growing visibly before their eyes.\",\n \"INT. BUBBLE Michaels reacts as he sees the dendrites outside growing, which indicates the sub and he are growing larger.\",\n \"EXT. EDGE OF FOREST OF DENDRITES DUVAL We've got to get them out. As he starts toward the sub, Grant stops him. GRANT Hold it. They follow his look, see : WHITE CORPUSCLES - IN FOREST OF DENDRITES Huge monster - like blobs are starting to ooze through the nerves toward the Proteus, which is now about a quarter as large as when last seen, and growing rapidly. CORA'S VOICE -LRB- o.s., horrified. -RRB- White Corpuscles!\",\n \"EXT. EDGE OF FOREST OF DENDRITES DUVAL They'll ingest the ship and everything in it! GRANT Stay here, both of you. Hold them off, if you can. He hands the laser to Duval and starts swimming toward :\",\n \"EXT. PROTEUS - IN FOREST OF DENDRITES The White Corpuscles are slithering through the interlaced dendrites. They are still some distance from the disabled sub. MICHAELS - IN BUBBLE He is horrified to see the White Corpuscles slide into his view, though still removed from the sub. He renews his frantic effort to break loose from the steel grip of the sprung arm.\",\n \"EXT. DAMAGED HULL Grant swims the hole through into :\",\n \"INT. LAB AND STORAGE SECTION Quickly he makes his way through the narrow flooded area, picking up two Breather Packs en route.\",\n \"INT. PROTEUS Grant emerges into the air - filled portion, pushes up his swim mask. He takes in the prone Owens and Michaels pinned in the Bubble as : MICHAELS -LRB- frantically. -RRB- Grant! Help! For a moment Grant stands between the unconscious man and the one trapped in the Bubble. Then he hurriedly unzips Owens' jumper, revealing the swim suit beneath. Owens regains consciousness. During the above : GRANT What happened? OWENS -LRB- in a daze. -RRB- Dr. Michaels. He went berserk. GRANT -LRB- with realization. -RRB- Berserk nothing. He's the one who's been sabotaging the mission. -LRB- handing him Breather Pack. -RRB- Get this on. Hurry! MICHAELS' VOICE -LRB- from Bubble ; frantically. -RRB- Grant!\",\n \"INT. BUBBLE A monster - like cell is slithering toward the Bubble. Michaels is tearing at the steel arm that holds him to the chair. MICHAELS -LRB- with growing terror. -RRB- Macrophages! Moving against the extreme tilt, Grant appears. Responding to the oncoming White Corpuscle, Grant pulls at the steel arm with all his strength. MICHAELS -LRB- during above. -RRB- Get me out of here. Get me out! For all his effort, Grant is unable to free Michaels. WHITE CORPUSCLE Gradually oozes over the entire Bubble, covering it.\",\n \"INT. BUBBLE Grant makes a last desperate effort to free Michaels as he sees the Bubble begin to dissolve beneath the body of the adhering White Corpuscle. As the fluid body begins flowing over Michaels : MICHAELS -LRB- in terror. -RRB- No. no. His scream is cut off by the White Corpuscle engulfing him. Grant jumps back into :\",\n \"INT. PROTEUS OWENS Come on - it's no use! GRANT We can get out through the Lab Section. Both pull down their swim masks. Owens moves off, followed by Grant.\",\n \"INT. LAB SECTION Owens is swimming through the hole. Grant follows through the cramped area.\",\n \"EXT. PROTEUS Owens appears, swims off toward Duval and Cora. The two are working the laser and power unit. Duval is hitting the White Corpuscles and dissolving them in an attempt to keep them off the sub, but without avail. The monster cells are swarming in greater numbers.\",\n \"EXT. DAMAGED RUDDER A monster White Corpuscle is flowing along it, down toward the hole. As Grant now emerges, the White Corpuscle grasps him in its tentacles. GRANT AND WHITE CORPUSCLE He struggles, unable to break out of the fluid mass which engulfs him.\",\n \"EXT. EDGE OF FOREST OF DENDRITES Duval and Cora swim up. Duval aims the laser, presses the trigger. The beam shoots out with surgical precision, making a direct hit on : VACUOLE OF WHITE CORPUSCLE The nucleus of the monster cell disintegrates, releasing Grant. He swims quickly toward :\",\n \"EXT. FOREST OF DENDRITES The three see another White Corpuscle moving after Grant. Duval dissolves it just as the laser goes dead. As Grant reaches them : GRANT You said there was a quick way out! DUVAL What about Dr. Michaels? GRANT It's too late! Duval drops the laser, turns and starts to swim off. Cora drops the power unit. With Duval in the lead, they swim as fast as they can through :\",\n \"EXT. FOREST OF DENDRITES The dendrites are now in relat1on to the four as they keep on through the Cranial Region of flashing lights.\",\n \"EXT. PROTEUS White Corpuscles are now festooned all over the sub and flowing in through the Bubble and damaged portion of the hull.\",\n \"EXT. EDGE OF FOREST OF DENDRITES The swimmers look back and respond to :\",\n \"EXT. PROTEUS It is crumbling like the Hindenburg Zeppelin. The White Corpuscles are swarming over the remains, ingesting every particle. THE GROUP Reacting to the destructive power of these internal defenders. They swim off.\",\n \"INT. OPERATING ROOM The Chief Surgeon's gloves are on. Now all start to take their places around the Operating Table. The operating beams are switched on. The Chief Surgeon holds out one hand. A Surgical Nurse slaps a scalpel into it.\",\n \"INT. CONTROL TOWER Standing at the window overlooking the OPERATING ROOM, Carter and Reid can see the Chief Surgeon bending down over Benes' head, about to make an incision. Carter suddenly gets an idea, presses button. CARTER Hold it, Doctor! BENES' HEAD AND SCALPEL The cutting edge is a fraction of an inch from the shaved head. It stops just in time. The Chief Surgeon and the Surgical Team around the table look up toward the window.\",\n \"INT. CONTROL TOWER Reid looks tensely at Carter. REID What is it? CARTER That blip we're picking up might only be the radio - active particle. The Proteus may already be destroyed. REID What're you getting at? CARTER -LRB- thoughtfully. -RRB- If I were in their place and I'd run out of time, I'd abandon the ship before I grew to dangerous size. and use the few extra minutes to get out the quickest way possible, on my own. REID -LRB- with quick realization. -RRB- Along the Optic Nerve to the Eye. Swiftly, Reid crosses to the window overlooking the OPERATING ROOM. He presses button.\",\n \"INT. OPERATING ROOM The Chief Surgeon and the others exchange tense looks as they hear : REID'S VOICE -LRB- o.s. -RRB- Wait thirty seconds. He rushes through the door leading down to the Operating Room.\",\n \"EXT. ARACHNOID CORRIDOR - RIGHT OPTIC NERVE Composed of a cobweb of fibers. Sausage - like links, pinched in the center, compose the walls of the winding passage. These are the Nodes of Ranvier. Intermittent flashes leap across the Nodes, of varying intensity and duration. THE GROUP - IN RIGHT OPTIC NERVE As he keeps swimming, Duval turns his head to the others. DUVAL -LRB- encouragingly. -RRB- Light impulses - on the way to the Brain! We're nearing the Eye! They swim on with renewed effort. They are now larger in relation to what they pass. Cora starts to fall behind, unable to maintain the pace, for all her valiant effort. Grant puts one arm around her waist and thus manages to keep after Duval and Owens.\",\n \"EXT. APEX OF CORNEA The four climb up on what appears to be the top of a huge transparent mound. The fluid is rapidly seeping upward from the channel below. A low - domed ceiling - the inside of the Eyelid - which is bisected by a crack, necessitates their crawling over the mound toward a crevice which affords more height. They force themselves along exhausted, and reach :\",\n \"INT. CREVICE BETWEEN EYELIDS The four reach the grotto - like niche, where they can stand erect at their increased size. As they rise from their crawling position and lean panting in exhaustion against the wall :\",\n \"INT. OPERATING ROOM Reid wheels over a magnifying glass mounted on a stand. He bends down and pries open Benes' right Eyelid.\",\n \"INT. CREVICE BETWEEN RIGHT EYELIDS The four, their breath now regained, react in response to the unexpected : PARTING OF RIGHT EYELIDS The bisected dome above them parts like the walls of the Red Sea. Simultaneously the beam of the operating lights blaze in with blinding intensity, causing the four to shield their eyes and look down into the retina. KALEIDOSCOPIC EFFECT A symphony of colors is reflecting from the cones far beneath, through the VITREOUS BODY and the manifold furrows of the IRIS. REID He is bringing the magnifying glass into focal position. As he squints through it, he reacts on seeing : THE FOUR - THROUGH MAGNIFYING GLASS - ON SURFACE OF EYEBALL Now magnified, we see the four figures being swept inexorably toward the far corner of the Eye by a flood of water. REID -LRB- o.s. -RRB- A glass slide! Quick! Through the magnifying glass, we see their frantic attempts to fight the sweep of the cascade. Just as the four near the fall - off point, where the corner of the lids Join, the magnified end of a glass slide comes into view and catches the teardrop - with the four in it.\",\n \"INT. OPERATING ROOM Reid carefully straightens up, holding the glass slide. He can barely see :\",\n \"EXT. GLASS SLIDE Tiny specks are visible in the teardrop, moving about in the fluid.\",\n \"INT. OPERATING ROOM All respond to Reid's imperative : REID Open those doors! Holding the slide so the teardrop does n't spill, Reid moves quickly through the sliding doors into the Miniaturization Room.\",\n \"INT. CONTROL TOWER Carter rushes to the window overlooking the MINIATURIZATION ROOM.\",\n \"INT. MINIATURIZATION ROOM All group around in silence, holding their breath as Reid very slowly and carefully bends down and places the glass slide on the platform. Above, at the window, Carter can be seen looking down.\",\n \"EXT. GLASS SLIDE - ON FLOOR The tiny spots are growing visibly before our eyes.\",\n \"INT. CONTROL TOWER Carter, looking down into the MINIATURIZATION ROOM, reacts as the four dots below on the glass slide continue to grow and grow to the point where they can be discerned on the platform, and a bedraggled quartet it is. They look like survivors of a shipwreck : dripping wet, exhausted, all the fight knocked out of them. Owens is seated, head between his drawn - up knees ; Cora is leaning against Grant for support ; Duval is fighting for breath.\",\n \"INT. MINIATURIZATION ROOM Now fully grown, the four look about, amazed at where they are. And the Surgical Team and Reid encircling them are staring with equal confoundment.\",\n \"INT. CORRIDOR - HOSPITAL SECTION - DAY Grant and Owens are driving a scooter. Both are rested, freshly groomed. The scooter goes through door marked : The scooter stops in :\",\n \"INT. MEDICAL FOYER They alight and go through door leading into :\",\n \"INT. HOSPITAL ROOM As Grant and Owens enter, they see Benes is propped up on his bed, with Carter, Duval, Cora and Reid grouped around him. Grant moves immediately to Benes. GRANT -LRB- warmly ; extending hand. -RRB- Hello, Mr. Benes. How's the prize patient? Benes smiles as they shake hands. DUVAL -LRB- beaming. -RRB- He's making a fine recovery. CORA He certainly is. He should be up and about in no time. OWENS That's great. Grant and Owens look toward Carter, who is pacing, visibly upset. CARTER -LRB- answering their look. -RRB- Oh yes, great. The only problem is, he ca n't remember what he came to tell us. GRANT Ca n't remember? What do you mean? CARTER He's blanked out on that one particular point. REID Yes, he can remember everything - except how to control De - Miniaturization. GRANT Oh, no. OWENS After all that. DUVAL A specific area of memory may have been destroyed by the laser beam when Dr. Michaels interfered. CARTER As long as it is n't a certainty, we've got to try everything possible to make him remember! OWENS Well, if you have no further need for me. GRANT Yes, we'd like to get moving. CARTER -LRB- mind only on Benes. -RRB- Why do n't you go on. We'll meet you at the Clearance Desk in a few minutes. He paces, looking at Benes while : GRANT Good - bye, Mr. Benes. I must say it's been quite an experience knowing you. Benes smiles weakly at the double - entendre. As Grant starts out with Owens : CARTER Now how soon can we try Sodium Pentathol? REID I'd hold that off awhile. CARTER Well, how about hypnosis? That ca n't hurt him! Benes closes his eyes wearily. DUVAL I suggest the first thing we try is letting the patient get some rest. As he starts herding them out and they reach the door, they are startled by a loud CRASH o.s.. They rush out. TWO SCOOTERS - AT INTERSECTION Another scooter has run into the one containing Grant and Owens with such impact that the two have been tossed out. The M.P. is blowing his whistle, stopping all traffic. THE GROUP Carter, Reid, Duval and Cora are running toward : THE INTERSECTION Grant is rising, holding the side of his head. Owens, dazed but uninjured, is also getting up. As the others reach them : DUVAL -LRB- of Grant. -RRB- He may have a head injury! -LRB- to Reid. -RRB- Get him to the hospital! Instantly, Grant grabs Owens and hustles him to their scooter. GRANT Who, me? Oh, no! Do n't bother about me! We're not hurt! Is n't that right, Skipper? OWENS -LRB- dazed. -RRB- Uh - what? GRANT -LRB- getting him into scooter. -RRB- We feel great, do n't we? Just?! OWENS -LRB- catching on. -RRB- Oh - sure, sure! Never better! GRANT -LRB- taking off. -RRB- Nothing wrong with us! Not a thing! We're fine - just fine! In his haste, he almost runs into another scooter but averts a crash by a matter of inches. He keeps going at top speed, by - passing the stopped traffic by traveling in the wrong lane. LONG SHOT - SCOOTER As it is lost to view down the long corridor. FADE OUT THE END\"\n]"},"labels":{"kind":"list like","value":[0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1],"string":"[\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1\n]"},"summary":{"kind":"string","value":"The United States and the Soviet Union have both developed technology that can miniaturize matter by shrinking individual atoms, but only for one hour. (The novel stated that the duration of miniaturization is inversely proportional to its degree. A 50% reduction, say, could be maintained for many days, but a reduction to microbial size could last for only an hour.) Scientist Dr. Jan Benes (Jean Del Val), working behind the Iron Curtain, has figured out how to make the process work indefinitely. With the help of American intelligence agents, including agent Charles Grant (Boyd), he escapes to the West, but an attempted assassination leaves him comatose with a blood clot in his brain that no surgery can remove from the outside. To save his life, agent Grant, pilot Captain Bill Owens (Redfield), Dr. Michaels (Pleasence), surgeon Dr. Peter Duval (Kennedy), and his assistant Cora Peterson (Welch) are placed aboard a Navy submarine (originally built to study the deep-sea spawning habits of fish) at the Combined Miniature Deterrent Forces facilities. The submarine, named Proteus, is then miniaturized to \"about the size of a microbe\", and injected into Benes. The team has 60 minutes to get to and remove the clot; after this, Proteus and its crew will begin to revert to their normal size, become vulnerable to Benes's immune system, and (in the words of Asimov's novelization) \"kill Benes regardless of the success of the surgery.\" The crew faces many obstacles during the mission. An arteriovenous fistula forces them to detour through the heart, where cardiac arrest must be induced (at the risk of killing Benes) to avoid turbulence that would be strong enough to destroy Proteus. After an unexplained loss of oxygen, they must replenish their supply in the lungs. They are forced to pass through the inner ear, requiring all outside personnel to make no noise, so as to prevent destructive shocks (a sound is accidentally made, though, and the ship and crew are badly thrown about) and Cora almost gets killed by antibodies. When they discover that the surgical laser that is needed to destroy the clot is damaged, it becomes obvious that a saboteur is on the mission. They must cannibalize their wireless telegraph to repair the laser, making communication and guidance from outside impossible to get. By the time they finally reach the clot, they have only six minutes remaining to operate and then exit the body. Before the mission, Grant had been briefed that Duval was the prime suspect as a potential surgical assassin, but as the mission progresses, he pieces the evidence together, and near the end, instead begins to suspect Michaels. During the critical phase of the operation, Dr. Michaels knocks out Owens and takes control of Proteus, while the rest of the crew is outside for the operation. Duval successfully removes the clot with the laser, but Michaels tries to crash the submarine into the clot area to kill Benes. Grant fires the laser at the ship, causing it to veer away and crash. Michaels is trapped in the wreckage and killed when a white blood cell attacks and destroys Proteus. Grant saves Owens from the ship, and they and the remaining crew swim desperately to one of Benes's eyes. They escape through a tear duct seconds before returning to normal size. The original screenplay included a follow-up scene in which, because of brain damage caused by the submarine, Benes no longer remembers the formula for unlimited miniaturization. Surviving stills suggest that this scene was filmed but never used."},"name":{"kind":"string","value":"Fantastic_Voyage"}}},{"rowIdx":73,"cells":{"scenes":{"kind":"list like","value":["EXT. IOWA LANDSCAPE - DAY Rolling green hills, lush farmland, vast open space. Not a house or sign of life in sight. On a long dusty road, a TRUCK is driving across the screen. Clouds of dirt follow in its tracks - its motor, the only sound we hear.","INT. TRUCK - DAY FRANCESCA JOHNSON is sitting in the front seat of the pick - up truck. Her expression is distant. Her eyes are sad, as if hiding a burden she can hardly bear. Her husband, RICHARD JOHNSON, is driving. RICHARD You feeling better Franny? FRANCESCA Yes. I'm fine. It's just this heat I think. He nods, satisfied. He turns on the radio as the VOICE OF DINAH WASHINGTON sings a bluesy, haunting love song, `` I'LL CLOSE MY EYES.'' DINAH WASHINGTON -LRB- SINGS. -RRB- `` I'LL CLOSE MY EYES. TO EVERYONE BUT YOU. AND WHEN I DO. I'LL SEE YOU STANDING THERE.''. -LRB- CONTINUES. -RRB- RICHARD -LRB- surprised. -RRB- What station is this? FRANCESCA It's a Chicago station. I found it the other day. RICHARD Kinda pretty. Is this uh. jazz kinda singing? FRANCESCA -LRB- nicely. -RRB- I do n't know. Can we turn it off? I have such a headache. RICHARD Sure. Richard shuts it off. Francesca turns her face away from him to look out at the vast expanse out of the countryside.","EXT. JOHNSON HOUSE - DAY The truck stops in front of an isolated FARM HOUSE. A wooden gate stands twenty yards from the front door. A barn and a hot house sits on either side, surrounded by acres and acres of beautiful pasture. CAROLYN JOHNSON, a sixteen - year - old girl, steps out from the vegetable garden with an arm full of vegetable. She watches her parents exit the truck. Francesca carries her groceries, walking briskly through the front gate and entering the house. Richard grabs a bag of feed from the flatbed and strolls more leisurely. When he walks through the front gate, he notices something on the ground and picks it up. It is a BUTTON with RED NATURAL surrounding it. As if it had been torn from a piece of clothing. His daughter approaches him. RICHARD Your mother is n't feel well. I want you to help her out tonight with dinner. -LRB- she nods. -RRB- Tell Michael to put this feed away. He puts the feed bag down. She exits. He enters the house.","INT. FRONT HALL - DAY Richard enters the front hall opposite the stairs to the second floor. To his left is the living room. To his right, through an archway is the kitchen. He moves towards the stair when he suddenly hears the kitchen radio turned on and `` I'LL CLOSE MY EYES'' continues. It puzzles him. He looks to the kitchen. Francesca is obviously there but we ca n't see her. He is about to call to her when his son, Michael, yells : MICHAEL -LRB- O.S. -RRB- Dad! You bought the wrong feed! RICHARD -LRB- irritated. -RRB- What?! He exits through the house to the back door.","INT. KITCHEN - LATER The family - Francesca, Richard, Carolyn and their seventeen - year - old son MICHAEL - are eating supper. No one speaks. FRANCESCA So what are you going to do with the prize money? CAROLYN I do n't know. I might save up for one of those hi - fi stereo players like Peggy has. Francesca nods. Silence again. She asks her son : FRANCESCA Are you seeing Betty tonight? MICHAEL -LRB- eating. -RRB- Nah. Silence. She is used to her son's one syllable answers. RICHARD Oh! Frannie, is this yours? He places the button with red material on the table. Hiding her surprise, Francesca takes the button. FRANCESCA You found it! I got my dress caught on that damn gate. You must have eyes like a hawk. FRANCESCA -LRB- cont'd. -RRB- You must all be tired. You got home so early. What time did you leave Illinos this morning? RICHARD ` Bout 4:30. FRANCESCA Well you should all go to bed early. I'll do the cleaning up. This last remark she addresses to her daughter. Everyone returns to their silent eating.","INT. JOHNSON HOUSE - NIGHT The house is asleep and dark except for a bright light coming from the kitchen. Carolyn quietly exits her bedroom in her nightclothes. She was awakened by noises coming from the kitchen downstairs.","INT. KITCHEN She enters to find the lights are on. An empty cake pan and a half - used bowl of frosting sitting unwashed in the sink. She hears the motor of the truck being turned on. She moves to the front hall and looks out through the door to see : The truck driving away. She calls out : CAROLYN Mom! But she gets no response. She stands there wondering where her mother could possibly being going this time of night, as we - THIRTY YEARS LATER - SAME LOCATION Carolyn, thirty years older, stands in the same doorway of the same house thinking back to that evening her mother acted so strangely. A LAWYER is unpacking a briefcase in the living room off the front entrance. Carolyn sees a car with Florida plates driving up to the house. She smiles.","EXT. JOHNSON HOUSE - DAY Carolyn steps out of the doorway and heads for the car, out of which exit her brother Michael and his country girl wife BETTY, a stout buxom chatterbox. Both boast Florida tans and fashion styles. MICHAEL -LRB- to Carolyn. -RRB- Explain to me again why we did n't do this in Des Moines in an air conditioned office? CAROLYN Mom's orders. MICHAEL Lawyer here? CAROLYN -LRB- nods. -RRB- I have some sandwich fixings if you're hungry. BETTY -LRB- proudly. -RRB- No, we just had lunch at the hotel with my brother and his new wife. She told me all the dirt. I forgot how interesting things can get around here. It was so good to see them. The last time we visited they were in Europe. He is doing so well. He ordered champagne. For lunch! I nearly died. MICHAEL I nearly died when we split the bill. BETTY Michael does n't understand. People who make the kind of money my brother makes do n't carry money on them. They keep it all in various accounts. MICHAEL Then we should have had lunch at the bank. Carolyn tries not to laugh. Betty shoots him a dirty look, then stops to take in the house and its surroundings. BETTY Boy. It sure has been a long time. MICHAEL -LRB- correcting her. -RRB- We were here two Christmases ago. BETTY Well, that's a long time. MICHAEL It's not that long. BETTY -LRB- suddenly upset. -RRB- Well, why do n't I just say black so you can say white! -LRB- to Carolyn. -RRB- Do n't be surprised to find your brother has n't changed an iota. He hardly ever talks and when he does it's in that tone! You should have heard him at lunch - not two words until the bill came and then he says, `` Worth every penny.'' MICHAEL -LRB- defensive. -RRB- SO! BETTY -LRB- angry. -RRB- You said it in that tone! Like you were angry at me, my brother, at the world for forcing you to eat a nice lunch! MICHAEL Oh Jesus. BETTY -LRB- staring to cry. -RRB- I simply can not stand that tone! CAROLYN -LRB- sympathetically. -RRB- Come inside. You're just tired from the trip. She comforts Betty who indulges in the attention. BETTY I am so sick and tired of apologizing and not knowing what I've done! CAROLYN I'm sure you have n't done anything. Have some iced tea. How are the kids? MICHAEL He dropped them off at Betty's mom. Where's Steve? CAROLYN -LRB- uncomfortably. -RRB- He's not coming. Betty suddenly stops crying and abrasively focuses on Carolyn's problems. BETTY Aw, is he still cheating on you, hon? Carolyn suddenly hoses sympathy for her.","INT. LIVING ROOM - DAY The lawyer hands Michael a document. LAWYER Just sign here as having received the contents from the safe deposit box. -LRB- Michael does. -RRB- And this one, which clears the bank of all further responsibility fo0r the contents. Betty whispers to Carolyn. BETTY This is kind of exciting. You think we'll find out your mother had secret millions lying around? Carolyn smiles weakly. Michael hands back the papers. LAWYER All right. Why do n't we begin. He takes out Francesca's Last Will and Testament. LAWYER -LRB- cont'd. -RRB- Your mother has been interred at Lakeside Funeral Home until arrangements can be made. MICHAEL -LRB- to Carolyn. -RRB- I thought everything WAS arranged. CAROLYN Well, there's a problem. MICHAEL What problem? LAWYER Your mother left explicit instructions that she wished to be cremated. MICHAEL Cremated?! BETTY Eeeww! CAROLYN I know. I do n't understand it either. MICHAEL When did she decide this? LAWYER -LRB- reading will. -RRB- Apparently just before her death. MICHAEL Well, that's crazy. I do n't know anybody who gets cremated. BETTY My Jewish friend's grandmother did. MICHAEL Well, no one in my family did! Dad bought cemetery plots at Oak Ridge. One for him, one for mom. LAWYER It clearly states in the will - MICHAEL I do n't care what it says! Maybe Mama was delirious, you know. She did n't know what she was saying. If she wanted to be cremated, why the hell did she let dad buy two plots, huh? LAWYER Well, she was very specific. She wanted her ashes to be thrown over Roseman Bridge. MICHAEL WHAT! BETTY How bizarre! CAROLYN Mr. Peterson, are you sure mama wrote all this? LAWYER Well, it was notarized, and witnessed by a Mrs. Lucy Delaney. Maybe you can ask her. MICHAEL Who the hell is Lucy Delaney? CAROLYN I remember a Mrs. Delaney but Mama told me years ago she died. MICHAEL Well, I do n't care if it's legal or not, we're not cremating her and throwing her all over some bridge where we ca n't even go visit her because she's going to be blown all over the place like an ashtray. BETTY Not to mention people driving over her and doggies doing their business - MICHAEL -LRB- interrupting. -RRB- We're not doing it! I'm not even sure it's Christian. BETTY Maybe it's an Italian thing. Their mother was Italian. MICHAEL Does n't matter. Move on. The women dare not object. The lawyer raises his eyebrows and continues : LAWYER Well, we'll come back to that. Shall we open the box? MOMENTS LATER C.U. SAFETY DEPOSIT BOX A key is inserted and the lid is opened. There are many papers, deeds, et. Michael begins sorting through these. Carolyn notices a manila envelope addressed to her mother, postmarked 1965. She opens it up to find TWO LETTERS and A PHOTOGRAPH - FRANCESCA standing NEAR A COVERED BRIDGE, her hair wind blown, her expression serene, beautiful and sad. She wears a RED DRESS with buttons down the front. CAROLYN Michael, look - I've never seen this picture of mama. Have you? Betty and Michael look over her shoulder. He shakes `` no.'' CAROLYN -LRB- cont'd. -RRB- It was in this envelope from 1965. BETTY She's not wearing a bra. -LRB- takes bridge photo. -RRB- This is Roseman Bridge in case anyone's interested. Interested yes, but no one thinks anything of it. Michael returns to the other papers. Betty takes the photograph for further examination. Carolyn opens one of the letters and begins to read. The following dialogue is heard OS, as CAMERA ANGLES ON CAROLYN reading one of the letters : BETTY -LRB- O.S. -RRB- It's a beautiful picture of her. MICHAEL -LRB- O.S. -RRB- -LRB- to lawyer. -RRB- Why are there two deeds here? LAYER -LRB- O.S. -RRB- One of for the original parcel your father bought and this one is for the additional acres he purchased in' 59. MICHAEL -LRB- O.S. -RRB- And this? LAWYER -LRB- O.S. -RRB- Those are bills of sale from the equipment your mother sold in. -LRB- CONTINUES O.S. -RRB- Throughout their conversation, we focus on Carolyn as she reads and her expression sinks into one of shock and confusion. She flips to the last page of the letter to read who it is from. She ca n't believe her eyes. BETTY -LRB- O.S. -RRB- What's that? Carolyn jumps a little, so engrossed in her discovery. She lies. CAROLYN Oh, just a old letter from a friend. BETTY -LRB- laughs. -RRB- No treasure maps, huh? CAROLYN -LRB- laughs nervously. -RRB- No. Betty starts inspecting knit knacks around the house she might be able to take. Carolyn looks to Michael. CAROLYN -LRB- cont'd. -RRB- Michael. MICHAEL -LRB- reading documents. -RRB- Yeah. CAROLYN Michael. MICHAEL -LRB- irritated. -RRB- What?! CAROLYN Come here a minute. Michael crosses impatiently to Carolyn. Carolyn looks around to the others, then guides him OS into the kitchen for privacy. He protests. MICHAEL What? Where are we going? They exit. Alone with the impatient lawyer, Betty examines a vase as she pumps him for info. BETTY Did she say anything in there about me? Leaving me anything in particular? LAWYER No. Betty prattles on as she examines each item, much to the lawyer's dismay, hiding her resentment and hurt. BETTY I did n't expect so. She never liked me. It's okay. I always knew. Thought we married too young. Nobody broke his arm - that's what I said but you know mothers and their sons. Also, she never liked the fact of us moving to Florida although what's where the opportunities were. Could n't deny that. Suppose we should have visited more but you know she hardly ever made an effort to come to Tampa. Not even to see her grandchildren. She was a cold woman. They say Italians are hot - blooded but not her. She was cool as ice. -LRB- picks up a candlestick. -RRB- She leaves these to anyone? Michael and Carolyn re - enter the living room. Michael's expression now matches Carolyn in disbelief. BETTY -LRB- cont'd. -RRB- What's going on? MICHAEL Um. we were just wondering how it might be better if me and Carolyn went over the stuff by ourselves. Not keep you two waiting around. I'll contact your office about the legal work. Grateful, the lawyer packs up to leave. BETTY I do n't mind waiting. MICHAEL Well, there's a lot of boring stuff to do. Lists of people we have to write to. Find mama's relatives addresses in Italy - stuff like that. BETTY Well, I can help. MICHAEL I said NO! That came out a bit aggressively. Betty is hurt. MICHAEL -LRB- cont'd. -RRB- Why do n't you go to your mothers. Or back to the hotel. Sit in some air conditioning. Take a bath. BETTY -LRB- near tears. -RRB- I do not need instructions from you to bathe! -LRB- gets her bag. -RRB- I knew you'd do this! I knew I'd come all the way here and be shut out as usual! I came to be here for you! I did n't have to come! -LRB- genuinely hurt. -RRB- Lord knows I was never much welcome in this house before. Apparently dead or alive, nothing's changed. CAROLYN Aw, Betty. Carolyn feels badly for her. An impatient Michael refuses sympathy. Embarrassed, Betty starts to exit then stops at the mantle. BETTY Carolyn - you want these candlesticks? CAROLYN No. You can have them. Betty grabs them both and exits. Carolyn looks at him disapprovingly. Michael takes the letter from her hand. MICHAEL Now what's this about?","INT. KITCHEN - LATER Sitting at the kitchen table, Carolyn is in the middle of reading the letter to Michael. CAROLYN - going over and over in my mind every detail, every moment of our time together and I ask myself, `` What happened to me in Madison County?'' I struggle to put it together in a way that allows me to continue knowing we're on separate roads. But then I look through the lens of my camera, and you're there. I start to write an article and I find myself writing it to you. It's clear to me now we have been moving towards each other, towards those four days, all our lives - MICHAEL -LRB- rises. -RRB- Goddamn sonofabitch! I do n't want to hear anymore! Sonofabitch! Burn the damn thing! I do n't want to hear it! Throw it away! Carolyn continues reading silently. Michael's curiosity gets the best of him : MICHAEL What's he saying now? CAROLYN Well, he just gets on about how if mama ever needed him, she could find him through the National Geographic magazine. He as a photographer. He promises not to write again. Then all it says is. -LRB- beat. -RRB- I love you. Robert. MICHAEL Robert! Jesus! I'll kill him. CAROLYN That would be some trick. He's already dead. That's what this other letter is. -LRB- takes letter and skims. -RRB- From his attorney. He left most of his things to mama and requested. -LRB- she stops. -RRB- MICHAEL What? CAROLYN That he be cremated and his ashes thrown on Roseman Bridge. MICHAEL DAMN HIM! I knew mama would n't have thought of that herself. It was some damn perverted. photographic mind influencing her! When did the bastard die? CAROLYN 82. MICHAEL Wait a minute! That was thirty years after daddy. Do you think? CAROLYN I do n't know. I'm completely in the dark here. That's what I get for moving away. MICHAEL This happened way before we both got married. I. I ca n't believe it. -LRB- then, innocently. -RRB- You think she had sex with him? Carolyn can not believe he is this dense. CAROLYN -LRB- sarcastic. -RRB- My Lord. It must feel real nice living inside your head with Peter Pan and the Easter Bunny. MICHAEL Do n't talk to me like that. She was my mother for Christsakes. And now I find out she was. She was a -! CAROLYN Do n't say that! MICHAEL Well, what am I supposed to think? CAROLYN I ca n't believe she never told me? We spoke at least once a week. How could she do that? MICHAEL How did she meet him? Did Dad know? Anything else in that envelope? CAROLYN No, I do n't think so. I - She dumps it over and a SMALL KEY FALLS OUT. Pause, as Carolyn and Michael look to each other - they grab the key and run out of the kitchen, almost comically falling over each other in their obsession to put this puzzle together. A SERIES OF JUMP CUT - From one lock to another as they try to find the keyhole that fits the key - they try closets, attic doors, jewelry boxes, night tables, vanity drawers. Finally -","INT. BEDROOM - DAY At the foot of their parents bed sits an WALNUT HOPE CHEST, covered with a tapestry. Michael and Carolyn look to each other first, before one removes the tapestry and the other tries the key. It fits. They open the chest to find : Camera equipment, a chain with a medallion that reads `` FRANCESCA,'' three leather bound notebooks - and a sealed envelope with `` Carolyn or Michael'' written on it. CAROLYN/MICHAEL You read it! Carolyn relents. She takes out the lefter and reads : CAROLYN `` January, 1987. Dear Carolyn. I hope you're reading this with Michael. I'm sure he would n't be able to read it by himself and he'll need some help understanding all this, especially the parts about me having sex.'' Insulted, Michael pulls the lefter out of her hand and defiantly attempts to read it aloud himself to disprove his mother's claim. But after looking at a few lines, he surrenders and hands the lefter back to his sister. CAROLYN -LRB- cont'd. -RRB- `` First, and most of all, I love you both very much and although I feel fine, I thought it was time to put my affairs, excuse that word, in order.'' MICHAEL I ca n't believe she's making jokes. CAROLYN Sshhh. `` After going through the safety deposit box, I'm sure you'll find you're way to this letter. It's hard to write this to my own children. I could let this die with the rest of me, I suppose. -LRB- cont'd. -RRB- But as one gets older, one fears subside. What becomes more and more important is to be known - known for all that you were during this brief stay. Row said it seems to me to leave this earth without hose you love the most ever really knowing who you were. It's easy for a mother to love her children no matter what - it's something that just happens. I do n't know if it's as simple for children. You're all so busy being angry at us for raising you wrong. But I thought it was important to give you that chance. To give you the opportunity to love me for all that I was.'' Carolyn and Michael look to each other like two school children about to take a difficult exam. They continue. CAROLYN -LRB- cont'd. -RRB- `` His name was Robert Kincaid. He was a photographer and he was here in 1965 shooting an article for National Geographic on the covered bridges of Madison County. Remember when we got that issue and looked at those bridges we'd seen for years but never noticed? How we felt like celebrities? Remember when we started getting the subscription? They do n't remember. CAROLYN -LRB- cont'd. -RRB- I do n't want you to be angry with him. I hope after you know the whole story, you might even think well of him. Even grateful. MICHAEL Grateful!? CAROLYN -LRB- reads. -RRB-''. It's all there in the three notebooks. Read them in order. If you do n't want to, I suppose that's okay too. But in that case I want you to know something - I never stopped loving your father. He was a very good man. It's just that my love for Robert was different. He brought out something in me no one had ever brought out before, or since. He made me feel like a woman in a way few women, maybe more, ever experience.'' MICHAEL That's it! Grabbing the letter, he starts putting everything back in the trunk. CAROLYN What are you doing? MICHAEL This is crazy. She waits till she's dead to tell us all this. Well, I got news for you. She was my mother. That's enough for me. I do n't have to know who she was. CAROLYN Well, I'd like to read them. MICHAEL No. We're going to lock this up and - CAROLYN STOP IT! -LRB- Michael freezes. -RRB- I want to read them! If you do n't want to, then just leave. But do n't you push me around like I'm some mule you paid for - I already GOT A HUSBAND! Michael is stymied.","INT. KITCHEN - LATER Carolyn opens the first notebook which is dated AUGUST 1965. Michael sits beside her with a cup of coffee. CAROLYN -LRB- reads. -RRB- `` I suppose his coming into my life was, in many ways, prepared for weeks, maybe even months before. There was a restlessness I feeling. Out of the blue and for no apparent reason. There's nothing more frightening to a woman whose been settled down for almost twenty years than to suddenly feel unsettled. I do n't know when it started. I do remember one night in particular, a little over a week before Robert arrived.'' CAROLYN'S VOICE BECOMES FRANCESCA'S VOICE AS WE : 1965","INT. JOHNSON'S BEDROOM - NIGHT Richard is fast asleep while Francesca sits up in bed reading. FRANCESCA -LRB- V.O. -RRB- `` It was late at night after a long day. Your father was tired - fighting all afternoon with that new equipment Robert Harrison convinced him to buy. But I was n't tired. Lately, I could hardly sleep more than two hours a night. I was reading some John O'Hara novel, skimming the words, turning the pages without absorbing what I was reading. My mind was far away. And no matter how I tried, I could n't call it back.'' Francesca closes the book and turns off the light. She nestles into the bed and tries to sleep. After a beat, she opens her eyes and turns on the light. As she gets out of bed she awakens Richard. RICHARD What time is it? FRANCESCA Later. Go back to sleep. RICHARD Where you going? FRANCESCA I'm not tired. I thought I might finish Carolyn's skirt. RICHARD Now?! -LRB- checks clock. -RRB- It's after eleven. FRANCESCA I ca n't sleep. RICHARD Again? Maybe you should see a doctor. FRANCESCA I'm not sick, Richard. I'm just not tired, now go back to sleep before you're up for the whole night too! Francesca exits. Richard nestles under the covers, mumbling : RICHARD If you're not sick, how can it be contagious?","INT. ATTIC - NIGHT Francesca sits at her sewing machine, working on Carolyn's skirt. When the thread runs out, she checks her sewing box for another spool of that color. Not finding it, she raises and walks to an opened closet. She pulls on a light cord and checks her supplies. There are shelves of boxes, crates, old clothes and shoes all crammed together. She pulls out one shoe box and an entire stack of items tumble off the shelf onto her head. FRANCESCA Damn it! Shit! She looks at the mess and decides it's time to re - organize. The clock reads 2:30 AM. The closet has been emptied. Francesca rummages through box after box. Two huge piles have been created - one for items to be thrown away, another for items to be kept. Francesca is wiping the bare shelves down with a rag and some cleanser. Looking up to the bottom of the next shelf, she notices A SHOULDER STRAP hanging, wedged between the wall and the shelf. Pulling over a stool, she steps up to be eye level with the shelf. It is an OLD HANDBAG - of a style not seen since the forties when she was a young girl. She pulls it down to examine. It is very dusty and worn, but the snaps still work. She places it against her side to see if it would still be fashionable. She opens it and finds an old lipstick - reading the bottom where the name of the shade is located. FRANCESCA -LRB- cont'd. -RRB- Ha, they do n't even made this color anymore. She exits the closet and moves to an old mirror, trying the lipstick on. As she decides whether or not she likes it, a thought occurs to her. she remembers something. She crosses back to the handbag and feels the inside for a compartment hidden by a flap of material and a snap. She unsnaps it and an old BACK & WHITE PHOTO slips out. She looks at its image - two young people against an Italian background. Francesca is twenty years younger with her arms around a handsome, black - haired charmer named - FRANCESCA -LRB- V.O. -RRB- `` Niccolo. I could n't remember the last time I had seen that face. And then the memories would n't stop. Like an avalanche.'' FLASHBACK -","EXT. NAPLES COUNTRYSIDE, 20 YEARS EARLIER - DAY A hot, breezy summer day. A young vibrant Francesca is storming through an open field, angry, while Niccolo calls after her in pursuit. The following scene is played in Italian with subtitles. NICCOLO Francesca! Francesca! Where the hell are you going? FRANCESCA Leave me alone! NICCOLO You play these games and I'm supposed to follow - run after you like a schoolboy. Well, I'm not! I'm fed up! Niccolo stops. Several yards ahead of him, Francesca stops and turns. Suddenly, she storms back towards him until they are face to face. FRANCESCA So that's it! You just give up! NICCOLO What `` give up''? You agreed with them! Mommy and Daddy said stay away from me and you said all right. What am I supposed to do? FRANCESCA Fight for me! Niccolo grabs her violently. NICCOLO ENOUGH! You do n't know what you want! Stop looking for me to tell you! STOP IT! Francesca knows he's right. He releases her. NICCOLO -LRB- cont'd. -RRB- We can go back now and end it or we can go back and you tell them off. This is your choice! Not mine. But I wo n't do this anymore. This is for children! Frustrated and sad, Francesca sits upon the ground. Niccolo knows she can not face her parents yet he looks sympathetic.","EXT. JOHNSON HOUSE - DAWN 1965 Francesca sits on the back porch in her bathrobe, looking out over the pasture as if she were watching the previous scene happen right before her eyes. In the pasture stands NICCOLO as he was twenty years ago. Memories have overlapped. A field in Naples is now a pasture in Iowa and Niccolo is as real to her as the grass. He is staring at her seated on the porch of her Iowa home, a woman twenty yards older than when he knew her. He smiles. FRANCESCA -LRB- V.O. -RRB- `` I had forgotten this. I had somehow remembered it being more his fault, his decision. Then I remembered we made love in that field before we left for home. And I remembered it was my idea. I remembered tearing his shirt and biting his body, hoping he would kidnap me. I had forgotten that too. And I wondered, as I sat there. how many other things I'd forgotten.'' RICHARD -LRB- O.S. -RRB- Frannie. Startled, Francesca turns as if she were caught in the act. Richard is fully dressed, prepared to start the day. Francesca turns back to the pasture - Niccolo is gone.","INT. JOHNSON HOUSE - EVENING It is a week later. Francesca is making dinner. A COUNTRY STATION is tuned in on the radio. FRANCESCA -LRB- V.O. -RRB- `` The following week was the Illinos State Fair. The two of you were going with dad to exhibit Carolyn's prize steer. It was the Sunday night you left. I know it sounds awful but I could n't wait for you all to leave. You were going to be gone until Friday. Four days. -LRB- beat. -RRB- Just four days.'' Francesca's expression looks as if she needs a break from her family for more like four years. FRANCESCA -LRB- cont'd. -RRB- Michael! Carolyn! Richard! Dinner! She sets down a bowl of potatoes, a plate of sausages, coffee and corn as one by one her family enters and sits down. Michael enters through a screen door from the back, letting the DOOR SLAM SHUT. FRANCESCA Michael, what did I tell you about that door? Richard enters after Michael, letting the door SLAM THE same way. Francesca is about to say something, but gives up. Everyone begins eating - in complete silence. When Michel ca n't open the ketchup bottle, Francesca grabs it, palms the top skillfully and twists it off. She hands it back to Michael who makes no comment. When Richard scans the table for something that obviously is n't there, Francesca is up out of her seat before he can ask, at the fridge, grabbing the sour cream, closing the fridge and back at the table with incredible swiftness. When Michel moves his big arm to reach for the salt, he knows over his cup and saucer, which Francesca catches with both hands before they hit the floor. Her reflexes are like a trained athlete. Finally, Francesca is able to sit and sip her coffee. She watches her teenage daughter fill her plate with a blank expression that lets nothing slip through - no indication of all the tempests of emotions that go through a teenage girl. FRANCESCA You excited about going, Carolyn? Without looking up, Carolyn fakes a smile. Looking at her, Francesca remembers Carolyn as a three - year - old girl : FLASHBACK. In the same kitchen, THREE - YEAR - OLD CAROLYN runs around her mother's feet completely naked, squealing with delight as Francesca flicks her water from the tap. FLASHBACK ENDS. Francesca watches as Carolyn eats in silence, distant, locked in her own secret teenage thoughts and dreams. Francesca then looks to her son, shoveling food into his mouth at an alarming rate. She attempts a conversation. FRANCESCA -LRB- cont'd. -RRB- How was your date last night? MICHAEL -LRB- w/o looking at her. -RRB- Okay. FRANCESCA What's her name? MICHAEL Betty. FRANCESCA What's she like? MICHAEL Okay. Silence. Frustrated, Francesca has a fantasy - Francesca picks up a blunt butter knife, rises out of her seat, grabs her son and shoves the knife at his throat : FRANCESCA Do you like her? Michael finally reacts with more than one word - frightened for his life. MICHAEL Uh. Yeah. Yeah. She's real nice. FRANCESCA Well, what's nice about her? Tell us! MICHAEL Well, she's. she's real pretty and. and she's got a cute shape. she's a good sport, ya know, for laughs and. -LRB- desperate. -RRB-. she loves fried chicken wings and beer. FRANCESCA Is n't that nice? You should bring her home to meet us! FANTASY ENDS. Francesca looks at Michael in disgust. RICHARD We better get moving. -LRB- to Francesca. -RRB- You sure you do n't want to come? Francesca looks at Richard with complete conviction. FRANCESCA I'm positive. RICHARD I'm going to miss you. FRANCESCA It's only four days. He gives her a sweet peck on the lips. Francesca smiles, anxious for them all to leave.","INT. JOHNSON HOUSE - LATER THAT NIGHT Alone, dressed in her bathrobe, Francesca checks the front door. She crosses to the living. Noticing two throw pillows on the floor, she arranged them neatly on the couch. She sits herself in an easy chair then flicks on a reading lamp and opens her book. After five seconds, she closes the book. She crosses to the TV and turns it on, then turns it off before the picture tuned in. She turns and leans on the TV, flicking the ON/OFF switch on and off as her mind wanders. She gets an idea. She crosses to the hi - fi and looks through several albums she got from her Columbia Record Club. But nothing inspires her and she quickly loses the desire for music. She's antsy. She has this time alone and she does n't know how to spend it. She walks through the dining room, passing a china closet filled with fancy dishes and glasses. She stops. Shoved in the corner behind is an old, un - opened bottle of BRANDY. She removes up, setting atop the dining table to open it. But when she catches a reflection of herself in the window opposite her, she stops. She sees a lonely, frustrated woman in a tattered bathrobe anxious to open a bottle of liquor. Deflated, she returns the brandy to the cupboard and exits.","EXT. BACK PORCH - NIGHT Francesca sits on the porch with a book in her lap, gazing out over the pasture. It's a hot night. She opens the top of her rope a bit. Feeling the air against her skin, she decides to open it a bit more. She gets an idea. Standing, she looks to see if anyone is around - though rationally she knows there is n't a soul for miles. She turns off the porch light. With a brave and daring impulse, she sheds her bathrobe and stand naked under the night sky. The air feels good against her body. She opens her arms up against the night sky and moon like an Indian priestess. Suddenly, she starts hitting her body as mosquitoes begin attacking her bare torso. Thwarted, she quickly covers herself with a robe and runs into the house.","INT. KITCHEN - MORNING Francesca trudges into the kitchen. As if on automatic, she takes the coffee pot and fills it with water. She gets the coffee and begins spooning it out. She stops. She gets the idea of taking herself out for breakfast and dumps the coffee pot out.","EXT. MAIN STREET; WINTERSET - MORNING A one street town. On either side are rows of storefronts, an old coffee shop/diner, a bank, a medical center, a newspaper building, a courthouse and a movie theater showing CAT BALLOU. The steeple of the local church is the highest structure, towering over the town from the end of Main Street.","INT. COFFEE SHOP/DINER - MORNING Dressed in jeans and a light summer blouse, Francesca sits alone - treating herself to breakfast and the paper. Some of the gossip news includes rumors of Frank Sinatra, 49, marrying Mia Farrow, 19 : Cary Grant 61, marrying DYAN CANNON, 27. Francesca shakes her head in disbelief at such news. She tries to continue reading, but is distracted by the loud conversation in the booth beside her : TWO MIDDLE - AGED WOMAN and ONE MIDDLE - AGED HUSBAND sit after breakfast discussing the local gossip. ELEANOR Oh, this heat! Times like this I wish we took that offer from your brother and moved on up to Michigan. HENRY They got heat in Michigan. ELEANOR Not this kind of heat. HENRY Heat is heat. ELEANOR Heat is not heat! There's different kinds! And this heat is much hotter than what they got in Michigan. You go and call your brother and see if he do n't say the same thing. HENRY I'll get right on it. Mrs. Delaney, an attractive well - off woman in her forties, enters the shop and heads for the counter. GLADYS -LRB- whispers. -RRB- Mrs. Delaney. -LRB- Eleanor looks. -RRB- Did you hear the latest? ELEANOR No, what? GRADYS Apparently, she caught them. -LRB- Eleanor gasps. -RRB- Ran right into them in Des Moines in the middle of her shopping. ELEANOR Oh, what a horror. Poor woman. That Redfield girl's got no business showing her face in daylight. GRADYS I do n't know how that tramp stands living here. No one can bear even speaking to her. She has no friends. HENRY Well, nobody put a gun to his head. ELEANOR Oh, shut up! It's the woman who's in control of these situations. Men do n't know which end is up till a woman points. Mrs. Delaney acts as if nothing is wrong. Yet, she knows everyone knows and everyone knows she knows they know, yet no one says a word. She sits at the counter. MRS. DELANEY Just coffee, please. Francesca hears the gossip continue in hushed tones : GLADYS See. Money do n't buy happiness. I must say, she's taking it well. ELEANOR I'd kill him. Him and that Redfield woman. Together. First one then the other. And then I'd laugh. GLADYS I'd laugh first then I'd kill them. Make sure they heard me laughing. Eleanor nods. Not being able to stand it, Francesca rises. She must pass them on the way to the counter, in order to pay. Eleanor immediately stops her. ELEANOR Francesca! So, everybody got off okay last night? FRANCESCA Yes, thanks. GLADYS What you going to do all alone for four days - a woman of leisure? FRANCESCA Oh, you know there's always something to be done. Have a good day. Henry. Henry nods back. As she exits, they whisper. ELEANOR She's changed. GLADYS Oh, yes. ELEANOR She used to be so friendly. HENRY Maybe she's going through `` the changes.'' Eleanor hits him in the chest. ELEANOR What do you know about `` the changes''? HENRY Well, I did n't know they was a secret club. ELEANOR Do n't talk about what you do n't know. Besides, she's too young for `` the changes.'' GLADYS My niece had `` the changes'' when she was thirty - one. ELEANOR No. What a tragedy. What happened? GLADYS -LRB- wisely. -RRB- She changed. At the counter, Francesca pays up. She looks to Mrs. Delaney and tries to smile, but Mrs. Delaney works hard at not making eye contact with anyone. Suddenly, she rises telling the waitress : MRS. DELANEY Excuse me for a moment, I left something in the car. She exits quickly. Francesca pays up as the waitress adds : WAITRESS Poor woman.","EXT. COFFEE SHOP/DINER - MORNING Francesca exits and heads for her truck. As she crosses from one corner to another, she notices down the side street - Mrs. Delaney sitting alone in her own car, sobbing. Unable to bear the humiliation, she stole herself away to cry. Francesca wants to help but feels useless. She quickly heads for her truck.","EXT. JOHNSON HOUSE - DAY Francesca sits on the front porch with some iced tea, trying to cool herself off. It is a scorcher. She is barefoot, her blouse hanging out of her jeans, her hair fastened up by a tortoise shell comb. Camera begins a slow move into close - up, as she sips her tea and lets her mind wander. WE INTERCUT HER FANTASIES WITH HER FANTASY : Back in town, Francesca slides into Mrs. Delaney's car. She embraces the woman who cries into her arms. - Francesca on the porch. FANTASY : Mrs. Delaney's car is surrounded by townpeople staring into it. Francesca hugs Mrs. Delaney closer to her in defiance. - Francesca on the porch. FANTASY : Mrs. Delaney's car drives up to a train station. She and Francesca exit with suitcases. They are surrounded by news reporters as they make their way to the train. REPORTER Mrs. Johnson! Mrs. Johnson! Is it true Cary Grant has proposed to you? FRANCESCA Yes. And I've accepted. REPORTER What about his engagement to Dyan Cannon? FRANCESCA I said to him Cary you're being ridiculous. You're more than half her age. He said no one had ever been that honest with him and he falls in love with me. REPORTER What about your husband? FRANCESCA I'm very sad but Richard said that since it's Cary Grant, he completely understands. I'm also taking Mrs. Delaney away from this town. She'll be living with Cary and I in Beverly Hills. She boards the train with Mrs. Delaney. END OF FANTASIES. Tired of her fantasies, Francesca looks up to the sun to clear her mind. It is blinding. When she looks back out onto the road, her vision is momentarily blurred. Until, slowly, out of the blue, she sees : A TRUCK driving toward her house, kicking up dust, like some phantom appearing through the etheric plane. Francesca is n't even sure it's real. She sips cool drink & blinks to regain her vision. The truck slows down and turns into her driveway. Francesca watches with suspicious curiosity as : The truck stops and ROBERT KINCAID steps out. Flashing his blue eyes in her direction, he smiles and says : ROBERT Sorry to bother you, but I've got a feeling I'm lost. Francesca remains guarded. FRANCESCA Are you supposed to be in Iowa? ROBERT -LRB- laughs. -RRB- Yeah. FRANCESCA: Well, you're not that lost. He laughs. She puts down her tea and crosses to him. ROBERT I'm looking for a covered bridge out this way. uh. wait a minute - He looks through a small notepad for the name. Francesca finds herself scanning his body. FRANCESCA Roseman Bridge? ROBERT That's it. FRANCESCA Well, you're pretty close. It's only about two miles from here. ROBERT Oh, terrific. Which way? Pause as Robert awaits directions and Francesca scans a sudden impulse. FRANCESCA Well, I can take you if you want. Robert is pleased, but a bit surprised as is Francesca who anxiously recants : FRANCESCA -LRB- cont'd. -RRB- Or I can tell you. I can take you or tell you. It's up to you. I do n't care. Either way. Robert smiles finding her sudden nervousness charming. ROBERT Well - Suddenly, from the opposite direction of the road, A CHEVY barrels by. The driver, FLOYD, toots his horn. FLOYD Howdy, Francesca. FRANCESCA Hey, Floyd. He drives off. Francesca knows they've been seen. Slightly annoyed by Iowain neighborliness, she turns to Robert and with some defiance says : FRANCESCA -LRB- cont'd. -RRB- It'd be better if I show you, I think. ROBERT If I'm not taking you away from anything. FRANCESCA No. I was just going to have some iced tea then split the atom, but that can wait. -LRB- he smiles. -RRB- I just have to get my shoes. Robert watches her as she turns and heads back to the house. He watches her lift her blouse and tuck it into her jeans, revealing her shapely hips and buttocks. He turns back to the truck and notices the mailbox - MR & MRS. RICHARD JOHNSON. He nods as if he knew all along and begins to make room on the front seat for Francesca.","INT. JOHNSON HOUSE Francesca is slipping on her boots when she suddenly stops. `` What am I doing?'' , she asks herself silently.","EXT. JOHNSON DRIVEWAY Francesca approaches the truck. On the door, she reads : KINCAID PHOTOGRAPHY, BELLINGHAM, WASHINGTON. Robert is clearing away paper cups, banana peels, paper bags, photography equipment. In the back, Francesca notices a cooler and a guitar case. ROBERT I was n't expect company. Let me get this out of the way. He hauls a case of film from the front to the back. Francesca notices his tanned, muscular arm move in one graceful sweep. ROBERT -LRB- cont'd. -RRB- Okay. All set. Francesca smiles. They both get into the truck. ROBERT -LRB- cont'd. -RRB- Now, where are we going? FRANCESCA Out, then right.","EXT. MADISON COUNTY ROAD - DAY As the truck drives, we see no one else in sight.","INT. KINCAID'S TRUCK They drive in silence. Francesca is enjoying the breeze against her face. ROBERT Pretty country. FRANCESCA Hmm - mmm. She looks out at the vast expanse. It depresses her. ROBERT There's a wonderful smell about Iowa - very particular to this part of the country. Do you know what I mean? FRANCESCA No. ROBERT I ca n't describe it. I think it's from the loam in the soil. This very rich, earthy kind of. alive. No. No, that's not right. Can you smell it? FRANCESCA -LRB- shakes her head. -RRB- Maybe it's because I live here. ROBERT That must be it. It's a great smell. Francesca wants to know more about him. FRANCESCA Are you from Washington originally? ROBERT Uh - huh. Lived there till I was twenty or so and then moved to Chicago when I got married. FRANCESCA Oh. When did you move back? ROBERT After the divorce. FRANCESCA Oh. ROBERT How long you been married? FRANCESCA Uh. uh. -LRB- ca n't remember. -RRB- Umm. long time. ROBERT You do n't look like a native, if you do n't mind my saying so. FRANCESCA No, I do n't mind. I'm not from here. I was born in Italy. ROBERT Well, from Italy to Iowa - that's a story! -LRB- Francesca smiles. -RRB- Whereabouts in Italy? FRANCESCA Small town on the Eastern side no one's ever heard of called Bari. ROBERT Oh yeah, Bari. I've been there. FRANCESCA -LRB- surprised. -RRB- No, really? ROBERT Oh, yeah. Actually, I had an assignment in Greece and I had to go through Bari to get the boat at Brindisi. But it looked so pretty I got off and stayed for a few days. Breathtaking country. Francesca is overcome by the idea of such freedom. FRANCESCA You just. got off the train because it looked pretty? ROBERT Yeah. Excuse me a sec. He reaches over with one arm, brushing slightly against her thigh. He opens the glove compartment and pulls out a pack of Camels and a Zippo lighter. ROBERT Like one? Francesca, who does n't usually smoke, accepts. FRANCESCA Sure. She takes a cigarette out of the pack. Robert drops the pack and, with the same hand, flicks open the Zippo and ignites it. Francesca leans over. The road is bumpy and a breeze blows through both windows. She cups her hands around his to shelter the flame. She feels his skin for a brief moment. She sits back and enjoys the ride and her cigarette as Robert lights up. Silence. They drive. ROBERT So, how long you've been living here? FRANCESCA Long. -LRB- changes subject. -RRB- You just got off the train and stayed without knowing anyone there? ROBERT -LRB- laughs. -RRB- Yeah.","EXT. ROSEMAN BRIDGE - DAY The truck stops. They exit. Robert takes out some equipment. ROBERT This wo n't take long. I'm shooting tomorrow morning. I just need to do some prep work. FRANCESCA I do n't mind waiting. He smiles and takes his equipment to the bridge. Francesca slowly follows. She watches his body move. Catching herself, she stops. Robert sets up a tripod in the small ravine beneath the bridge, pointing a view finder up as he plans his shots. Francesca walks through the bridge, noticing lovers names scrawled on the inside : CATHY & BUDDY 4 EVER. ROSIE AND HANK TILL THE END OF TIME. Through a crack in one of the wooden planks, Francesca watches like a voyeur as Robert works. She sees him take out a handkerchief and wipe the sweat off his neck, then inside his shirt and around his chest. Without knowing where Francesca is, Robert speaks aloud : ROBERT Is it always this hot? Francesca moves quickly away from the plank, like a Peeping Tom who's been caught. FRANCESCA This time of year. ROBERT Would you do me a favor and go to the truck? Inside that leather bag with the pockets is a package of lens cleaners. Would you grab me one? Francesca obliges, grateful for something to occupy her. Inside the truck, she scans for the leather bag. She sees it next to a duffel bag. The bag' zipper is opened. She glimpses inside as Robert's personal things - clothes, socks, underwear, shaving kit. Life magazines from July and August, one depicting the death of Aldai Stevenson ; the other a cover photo of the Watts riots. She grabs the leather bag and opens it. At the bridge, Francesca looks for Robert in the raving but he is gone. She looks through the bridge to the other end and sees only the tripod. No Robert. She walks through the bridge and out the other end. She finds Robert bent over, picking flowers. FRANCESCA Oh there you are. ROBERT Oh! You caught me. He rises with a bouquet of wildflowers for her. ROBERT Thanks for your help. Francesca smiles, not knowing how to take this. ROBERT Men sill give women flowers, do n't they? I mean, as a sign of appreciation? I'm not that out of date, am I? FRANCESCA No, not at all -. -LRB- suddenly. -RRB- except those are poisonous. ROBERT WHAT! He flings the flowers down. He wipes his hands furiously. FRANCESCA I'm sorry. I was kidding. Robert looks at her with a shocked smirk, secretly liking her strange behavior. FRANCESCA I'm sorry. I do n't know what - I'm sorry. Really. They're lovely. She begins picking up the flowers. ROBERT -LRB- smiling. -RRB- Are you by nature a sadistic person? FRANCESCA No, I'm not. -LRB- trying not to laugh. -RRB- I do n't know why I said that. I've been in a very. strange mood all day. I've never done anything like that before. It's. I'm just. -LRB- looking for excuse. -RRB- Well, you know, the whole world is just going nuts. Robert looks at her like she's nuts. Francesca tries to dig herself out of her hole. Robert enjoys offering no help. FRANCESCA What with those riots in Los Angeles and people burning draft cards and. Adlai Stevenson dying last month. She rises with the flowers. Robert gives her a friendly pat on the arm. ROBERT Should n't let things get to you so much. He continues with his work. Francesca expresses relief and embarrassment behind his back.","INT. TRUCK - LATER Driving back, Francesca sits with her feet up on the dashboard. Robert drives while he fiddles with the radio. All he can find are country stations. FRANCESCA Looking for something in particular? There's not much of a selection. ROBERT I found this Chicago station before. Wait a minute. -LRB- he tunes it in. -RRB- Here it is. We hear a BLUES SINGER with a sax arrangement. FRANCESCA Oh, that's nice. ROBERT Want another cigarette? FRANCESCA Sure. Francesca's having a great time.","EXT. JOHNSON HOUSE - DAY Robert's truck drives down the road and into the driveway. ROBERT Well, thank you for all your help, Mrs. Johnson. FRANCESCA Francesca. ROBERT Francesca. Robert. Francesca nods, as if to say hello and goodbye in the same moment. She gets out of the car, closes the door, then asks : FRANCESCA Would you like some iced tea?","INT. KITCHEN - DAY Robert fiddles with the kitchen radio, tuning in to the Chicago station. Francesca is making iced tea. Robert sits back down at the kitchen table. FRANCESCA Lemon? ROBERT Sure. With her back to him, Robert never takes his eyes off her. She turns and crosses to him, with the tea. ROBERT -LRB- cont'd. -RRB- Thanks. Francesca smiles and sips her own. She watches him gulp down the tea so fast, some of it dribbles down the side of his face and neck. Francesca finds it sexy. He empties it. FRANCESCA Would you like another one? Robert nods and he pulls out his cigarettes. ROBERT Mind if I smoke? FRANCESCA -LRB- at the sink. -RRB- Not at all. Robert lights up as he watches her fix another iced tea. He watches her slip off one boot, then the other - never missing a beat of her preparation. He ca n't help eyeing her body. When she returns, she also has the flowers he picked for her arranged in a Casper the Friendly Ghost jelly glass. She places them on the table and sits. ROBERT Sure you want to keep those in the house? FRANCESCA I'm so sorry about that. It was rude. I think I just got nervous for some reason. ROBERT I thought it was funny. She likes that. FRANCESCA Where are you staying while you're here? ROBERT A little place with cabins. The something - Motor Inn. I have n't checked in yet. FRANCESCA And how long are you here for? ROBERT As long as it takes, I might stay a week. No more I do n't think. Where's your family? FRANCESCA My husband took the kids to the Illinos State Fair. My daughter's entering a prize steer. ROBERT Oh. How old? FRANCESCA About a year and a half. ROBERT No, your kids. FRANCESCA Oh. Michael's 17 and Carolyn's 16. ROBERT Must be nice having kids. Francesca looks at him and FANTASIZES SAYING : FRANCESCA Not any more. It's awful. They're awful. I ca n't stand them. But in reality, Francesca chooses instead to say : FRANCESCA -LRB- cont'd. -RRB- They're not kids anymore. Things change. ROBERT Everything does. One of the laws of nature. People are always so afraid of change. But if you look at it like it's something you can count on happening, it's actually a comfort. Not many things you can count on for sure. FRANCESCA I guess. Except I'm one of the people it frightens. ROBERT I doubt that. FRANCESCA Why? ROBERT Italy to Iowa? I'd call that a change. FRANCESCA -LRB- explaining. -RRB- Richard was in the army. I met him while I was living in Naples. I did n't know where Iowa was. I only cared that it was America. And of course, being with Richard. ROBERT What's he like? As Francesca thinks of an answer, she looks over to the entranceway between the kitchen and the front hall and sees : Richard standing there in his underwear, reaching over his shoulder. RICHARD Franny, could you clean out my boil again? Francesca answers Robert, half of her still in fantasy - FRANCESCA He's very. clean. ROBERT Clean? FRANCESCA -LRB- catching herself. -RRB- No. I mean yes, he's clean but he's also other things. He's a very hard worker. Very honest. Very caring. Gentle. Good father. ROBERT And clean. FRANCESCA Yes. Very clean. They drink. Francesca thinks she sounds like an idiot. ROBERT So you must like Oiwa, I guess. Francesca looks at him. She wants to tell the truth, but holds back. FRANCESCA It's. uh. uh. She stops. Robert smiles. ROBERT Go ahead. I wo n't tell anyone. Surprised, Francesca looks at him oddly - as if he already knows and is giving her permission. FRANCESCA It's. -LRB- tries again. -RRB- I. -LRB- finally. -RRB- I hate it! She covers her mouth, like a reflex - worried someone heard. Robert just smiles and nods. Francesca is so taken by his understanding and acceptance, she lets the flood gates open, speaking faster than her mind can keep up - FRANCESCA -LRB- cont'd. -RRB- -LRB- without a pause. -RRB- I hate it! I hate it! I HATE IT! I hate the corn and the dust and the town and the cows and that SMELL that you love! I hate the people. Everybody knows everybody's business, I mean it's nice now and then, they're always there to help out, but that's just it, it's like they're waiting for something awful to happen to help out and when nothing awful is happening, then they just sit around and talk about what is happening which is none of their business. I want to kill them sometimes for how cruel they can be - Camera begins slowly moving out to a wider angle. FRANCESCA -LRB- cont'd. -RRB- - everybody's talking about poor Mrs. Delaney whose husband is having an affair with that Redfield woman and `` is n't it a shame,'' and `` is n't it awful,'' and the truth is THEY'RE LOVING IT! Poor woman ca n't even be cheated on without the grocery man knowing about it - no one respects anyone's privacy. You're not even safe in your own home! They think they can just walk right into your house because they BAKED you something. It's like they have a secret password and YOU CA N'T KEEP THEM OUT! I live in fear of that door opening and having a peach cobbler shoved at me. -LRB- CONTINUES MOS IF NEEDED. -RRB- Throughout this rapid fire monologue, camera has moved to a wide angle as Robert just sits and listens, letting her get it all off her chest. She continues as we :","INT. LIVING ROOM Francesca is lying on the couch as Robert places a cold cloth on her head. Her `` confession'' took a lot out offer. ROBERT Feeling better? FRANCESCA Much. ROBERT Is the dizziness gone? FRANCESCA I think so. She sits up. She feels exposed. But also, relieved. ROBERT I better go. You sure you're all right? -LRB- she nods. -RRB- It's been a pleasure. Sincerely. FRANCESCA I feel so embarrassed. ROBERT Why? You uncorked a bottle. From what I can tell, I got here just in time. Any later and you'd have made the front page, running down Main Street naked, smoking Camels out of your butt. FRANCESCA -LRB- laughs. -RRB- But I. We do n't even know each other. ROBERT -LRB- sincerely. -RRB- You have no reason to feel ashamed. You have n't said anything you do n't have a right to. And if anybody tells you different - you just send them to me. She smiles. He turns to exit. ROBERT -LRB- cont'd. -RRB- Better get my stuff. Francesca surprises herself. She does n't want him to go. FRANCESCA Would you like to stay for dinner? -LRB- he turns. -RRB- There are n't many choices in town and. anyway, you'd have to eat alone. So would I. ROBERT That's very nice of you. I do n't get many dinner invitations on the job. It would be a welcome change. Thanks.","INT. BEDROOM - LATER Francesca rushes in and starts to disrobe, getting ready to shower and change for dinner. She glances out the window and sees :","EXT. JOHNSON HOUSE Robert is at the water pump. His shirt is off and he is washing himself. -LRB- WE INTERCUT THE TWO. -RRB- Francesca finds herself staring, a bit open mouthed. He has a muscular, firm body. She watches how the water cascades over his body. How he seems so unashamed, so `` in his skin,'' moving with such strength and grace. Robert pauses and looks out over the open pasture. The cold water feels good. Since the pump is the back of the house, hidden from the road, no one can see him. He decides to take off his pants and cool himself further. Francesca begins watching this in shock until she has to literally pull herself away from the window with such a force that she rams herself into a chest of drawers, knocking over an array of perfume bottles and a mirror. She deftly catches a falling bottle and freezes. Taking a breath, she pulls herself together. FRANCESCA This is ridiculous. Stupid! She replaces the bottle and heads for the bathroom quite composed, then, without warning, makes an immediate 180 degree turn and heads back to the window to sneak a peek. Seeing him, she gasps. FRANCESCA -LRB- cont'd. -RRB- Oh my God. Watching him, she is possessed by some very frightening feelings and runs from the window, into the bathroom, closing the door behind her.","EXT. JOHNSON HOUSE - EARLY EVENING Francesca is gathering some vegetables for dinner, from her garden. Robert is at his truck, in his pants, changing into a fresh shirt.","INT. KITCHEN - LATER Francesca is cutting up vegetables. Robert enters with some of his gear. ROBERT I'm just going to put some of this film in your fridge. Heat is n't too forgiving out there. He does. On the radio, TONY BENNETT sings `` WRAP YOUR TROUBLES IN DREAMS.'' Robert approaches Francesca. ROBERT -LRB- cont'd. -RRB- Can I help? FRANCESCA -LRB- surprised. -RRB- Help cook? ROBERT Sure. Men cook. We do n't all eat bananas with our feet, ya know. FRANCESCA -LRB- laughs. -RRB- Okay. They stand side by side. Francesca hands him a stack of carrots and a knife. Tony Bennett's up - tempo tone plays over a series of images of Francesca and Robert talk and prepare dinner. - Four hands side by side, cutting and chopping. Occasionally, a hand brushes against another as it reaches for something. - Robert's hand gently touching Francesca's waist as he reaches around her for an onion. - Robert lighting Francesca a cigarette. - Robert brings in his cooker through the screen door. HE MAKES SURE IT DOES N'T SLAM. FRANCESCA MAKES A NOTE OF THIS. - Robert opens the cooler and removes two cold beers, tossing one to Francesca. - Francesca opening a new tablecloth and spreading it out on the table. - Francesca handing Robert plates from the shelf, their fingers only barely touching. END OF MONTAGE","INT. KITCHEN - EVENING Robert and Francesca are in the middle of dinner. But instead of the usual silence that surrounds Johnson family eating, Francesca is mesmerized by Robert as he manages to eat and tell a story. The scene begins with a LAUGH FROM FRANCESCA. ROBERT -LRB- laughs. -RRB-. No, wait, it gets better. He stands up and acts it out for her. ROBERT -LRB- cont'd. -RRB- You have to get the full picture here. I have three cameras around my neck, a tripod in one hand and my pants down around my ankles. I thought this was a private bush. I look up and this gorilla, this female gorilla, is staring at me with what can best be described as the most lascivious expression I've ever seen on a female with so much body hair. -LRB- Francesca laughs. -RRB- I freeze.'Cause that's what they tell you to do. In this position. She comes towards me and. and she. -LRB- he stops awkwardly. -RRB- FRANCESCA What? ROBERT She starts sniffing me. FRANCESCA Oh my God. -LRB- laughs. -RRB- You're blushing. ROBERT It's still a very sensitive memory for me. FRANCESCA Then what happened? ROBERT We got engaged. FRANCESCA Oh you! She throws a napkin at him. FRANCESCA -LRB- cont'd. -RRB- None of this is true! ROBERT No, it is. Except for the engagement part. She would n't have me, although I still get a Valentine every year. Francesca is laughing so hard she ca n't breath. Robert loves making her laugh. FRANCESCA You ought to write these stories down. ROBERT Nah. I've tried. My writing's too technical, I think. Problem of being a journalist too long is you stop giving yourself permission to invent. I better just stick to making pictures. FRANCESCA `` Making pictures.'' I like that. You really love what you do, do n't you? ROBERT -LRB- nods, smiles shyly. -RRB- I'm kind of obsessed by it, actually. FRANCESCA Why, do you think? ROBERT I do n't know if obsessions have reasons. I think that's why they're obsessions. FRANCESCA You sound like an artist. ROBERT No. I would n't say that. National Geographic is n't exactly the hub of artistic inspiration. They like their wild life in focus and without any personal comment. I do n't mind really. I'm not artist. I'd faced that a long time ago. It's the course of being well - adjusted. I'm too normal. FRANCESCA -LRB- supportively. -RRB- I do n't think you're normal. He looks at her in surprise. She catches herself again. FRANCESCA I did n't mean that the way it sounded. ROBERT Well, let's just call it a compliment and move on. -LRB- changes subject. -RRB- Did you love teaching? FRANCESCA -LRB- cont'd. -RRB- Sometimes. When there was a particular student who made a difference. I know they're all supposed to, but it's not true. You tend to single out one or two you think you can contribute something to. ROBERT And did you? FRANCESCA I'd like to think so. I know one of them went on to Medical school. ROBERT Why did you stop? FRANCESCA My children. And Richard did n't like my working. ROBERT Do you miss it? FRANCESCA I do n't know. I've never thought about it. what was the most exciting place you've ever been to? Unless you're tired of talking about it. ROBERT You're asking a man if he's too tired to talk about himself? You do n't get out much, do you? Francesca smiles, a little embarrassed. ROBERT I'm sorry. That was. FRANCESCA -LRB- overlapping. -RRB- No. It's all right. I just meant, it might be a little dull for you, telling all this to some housewife in the middle of nowhere. ROBERT This is your home. It's not nowhere. And it's not dull. Francesca smiles again, this time relieved. ROBERT Let's see - my favorite place. Francesca settles in to listen, never taking her eyes off of him. ROBERT -LRB- cont'd. -RRB- Well, it's the obvious choice, but I think I'd have to say Africa. It's another world. Not just the people and the cultures but the land, the colors you see at dawns and dusks - and the life there. It charges every molecule of air. Francesca is fascinated, being drawn into his imagery. ROBERT -LRB- cont'd. -RRB- It's tangible - the moment to moment of life and death, the co - habitation of man and beast, of beast and beast, who'll survive, who wo n't - and there's no judgement about it. No right or wrong or imposed morality. It's just life. It's a voyeurs paradise really because those animals do n't want anybody in their business. You can watch but at a distance. -LRB- excited. -RRB- I remember one time I was on a truck headed for the Niger. Lights begin to dim as Francesca is so taken in by his story, she begins to actually see what he is describing. ROBERT -LRB- cont'd. -RRB- We were driving north. The truck was old so I guess the sound of the motor muffled this kind of rumbling in the distance - until finally, it was upon us like, like a hundred thunder claps all at once. CU on FRANCESCA as WE BLEND THE SOUNDS OF AFRICA and -","EXT. AFRICA - DAY Robert and a driver are in a truck driving north. Robert turns to look out the window and sees : A HERD OF GIRAFFES AND GAZELLES AND WATERBUCKS AND ZEBRA are running in the grasslands to the right of the truck. Robert excitedly instructs the driver : ROBERT Get us closer! The driver veers off towards the stampede as Robert opens his door and makes his way to the flatbed part of the truck with his camera. The truck takes its position within this breathtaking force of wildlife, as giraffes, zebras and gazelles surround it - all going in the same direction. Robert stands in the truck, shooting as fast as he can. The truck races to keep up with the animals. Robert is so pumped he can hardly catch his breath. Suddenly, the force and beauty of these creatures causes him to lower his camera. He is unable to film it because it overwhelms him. He just stands there in awe and lets out a primal scream. The animals gradually veer off to where the truck can no longer follow. Robert watches them disappear into the distance.","INT. JOHNSON KITCHEN - NIGHT Francesca has seen all of this in her mind. Robert smiles at her, sensing how in tune with the story she was. FRANCESCA My God. How I'd love to see that. ROBERT They have safaris for tourists now. Maybe you can convince your husband. Francesca smiles. There is an awkward pause between them. ROBERT -LRB- cont'd. -RRB- It's a beautiful night. Would you like to go for a walk? FRANCESCA Well, it's kind of buggy out there. ROBERT -LRB- rises. -RRB- Have no fear. This Shoshone Medicine Woman taught me how to make bug repellent tea out of tree root. FRANCESCA You drink bug repellent? ROBERT No, you rub it on you. I have some in the truck. Do n't go away. She shakes her head. He runs out the screen door, not letting it slam. Francesca looks like a teenager with first date excitement.","EXT. PASTURE - NIGHT Francesca and Robert walk through the pasture. She sniffs her arm. FRANCESCA Smells like dirt. ROBERT You get used to it. FRANCESCA When? ROBERT -LRB- laughs. -RRB- You want to go back in? FRANCESCA No. I'm all right. It's working. Silence. They walk. It is a beautiful night. ROBERT You've got it all right here, you know. It's just as beautiful as any other place I've seen. God, it knocks me out. FRANCESCA What? ROBERT -LRB- indicating the night. -RRB- This''. Of what I call God and fools can Nature.'' Who wrote that? FRANCESCA Umm, I do n't know. I can look it up. ROBERT I'd appreciate it. I like knowing who I'm stealing from. If you ca n't create art I think the least you can do is recognize it around you, do n't you think? There is. -LRB- genuinely affected. -RRB-. so much beauty. She watches him with great appreciation. He smiles at her. Instead of looking away, their eyes remained locked for a moment. There is clearly an attraction. They simultaneously look away and continue walking. Francesca's heart is beating a mile a minute yet she ca n't deny she is enjoying herself. Walking side by side in silence, Francesca turns back occasionally to look at her house as they get further away from it. Suddenly, the more distant the house becomes, the more frightened she starts to feel. Something inside her knows she's going too far with this man - too far from home. Although a part of her wants it, she is surprised to find a larger part of her finds too unknown. She stops. ROBERT -LRB- cont'd. -RRB- What's wrong? Francesca looks confused for a moment, not knowing what she wants. She ca n't move. She searches for a way out. FRANCESCA Would you like some coffee? Or maybe, some brandy? Somehow Robert can sense her uneasiness. He obliges. ROBERT How about both?","INT. KITCHEN - NIGHT Francesca moves about the kitchen preparing coffee - dropping the coffee pot basket, spilling the grounds. She acts tense. Robert sits at the table opening the brandy bottle Francesca almost opened the night before, aware of her mood. Francesca gets the coffee going then sets the table with cups and saucers. ROBERT You sure you wo n't let me help you with those dishes? FRANCESCA -LRB- coldly. -RRB- No. I'll do them later. ROBERT Francesca? FRANCESCA What? ROBERT Are you all right? FRANCESCA Yes. ROBERT Francesca? FRANCESCA What? ROBERT We're not doing anything wrong, do you. Francesca freezes. He has read her mind again. ROBERT -LRB- cont'd. -RRB- -LRB- smiles. -RRB- Nothing you ca n't tell your children about. Once again, he relieves her of fear and anxiety. He hands her a glass of brandy. 1995","INT. KITCHEN - DAY Carolyn and Michael have come to the end of a notebook. MICHAEL He's getting her drunk. That's what happened. Jesus, maybe he forced himself. That's why she could n't tell us. CAROLYN Oh, he did not. He's such a nice guy. MICHAEL Nice? He's trying to sleep with somebody's wife. CAROLYN I do n't think so. Not yet anyway. And besides, something like that does n't make you a bad person. He reminds me of Steve in a way. Steve's weak, immoral and a liar but he's still a real nice guy. He just should n't be married. -LRB- laughs. -RRB- At least not to me. You getting hungry? I'm hungry. Michael nods, then speaks with sincere compassion. MICHAEL I had no idea it's gotten that bad, sis. CAROLYN Oh, do n't feel sorry for me. Please. No one's forcing me to stay. MICHAEL Then why do you? CAROLYN And do what? Live alone? Go back to school? Find someone else? Start a magazine for confused woman? What if I ca n't do any of those things? Michael ca n't answer her. Carolyn looks through the cabinets. CAROLYN -LRB- cont'd. -RRB- There's not much here to make. MICHAEL Let's go into town and get a bite. We'll take the books with us. Carolyn nods. Michael looks for the next notebook, checking the dates.","INT. CAR - EARLY EVENING Michael drives as Carolyn opens the next notebook and reads : FRANCESCA -LRB- V.O. -RRB- `` We sat sipping brandy. I thought if anybody walked through the door now there'd be no explaining it. But I did n't care. And I loved that I did n't care. I almost wanted it to happen. Then there'd be no turning back. I wanted to be like him. I lived this life of his. We talked about his wife and I was jealous - not of her - but of his leaving. His fearlessness. He knew what he wanted. How did he do that. 1965","INT. LIVING ROOM - NIGHT Francesca sips her brandy. Robert sits in the easy chair. FRANCESCA Do you mind if I. ask you why you got divorced? ROBERT Not at all. I was n't around much. So why did I get married? Well, I thought it was a good idea at the time. Have a home base. Roots. You can get lost moving around so much. FRANCESCA So what happened? ROBERT I never got lost. For some reason, I'm more at home everywhere than at one place. So I decided I'll think of myself as some kind of world citizen. I belong everywhere and nowhere. I'm kin to everyone, and no one in particular. See, once you get into the habit of not needing anyone, it's kind of hard to break. FRANCESCA You must get lonely at times. ROBERT Never touch the stuff. I've got friends all over the world. Good friends I can see when I want, if I want. FRANCESCA Woman friends, too? ROBERT I'm a loner, I'm not a monk. Francesca averts her eyes, before continuing her investigation. FRANCESCA You really do n't need anyone? ROBERT No, I think I need everyone! I love people. I want to meet them all! I just think there are too many out there saying `` This is mine.'' or `` She's mine.'' Too many lines have been drawn. World's breaking apart because of man's weakness for some testosterone conquests over territory and power and people. He wants control over what deep down he knows he has no control over whatsoever and it scares him silly. FRANCESCA Why does n't it scare you? ROBERT I embrace Mystery. I do n't know what's coming. And I do n't mind. FRANCESCA Do you ever regret it? The divorce, I mean. ROBERT No. FRANCESCA Do you ever regret not having a family? ROBERT Not everybody's supposed to have a family. FRANCESCA But - how can you just live for what you want? What about other people? ROBERT I told you, I love other people. FRANCESCA But no one in particular. ROBERT No. But I love them just the same. FRANCESCA But it's not the same. ROBERT That's not what you're saying. I know it's not the same. What you're saying is, it's not as good. Or it's not as normal or proper. FRANCESCA No, I'm just saying - ROBERT -LRB- interrupting. -RRB- I'm a little sick of this American Family Ethic everyone seems to be hypnotized by in this country. I guess you think I'm just some poor displaced soul doomed to roam the earth without a self - cleaning oven and home movie. FRANCESCA -LRB- irritated. -RRB- Just because someone chooses to settle down and have a family does n't necessarily mean they're hypnotized. Just because I've never seen a gazelle stampede does n't mean I'm asleep in the world. ROBERT Do you want to leave your husband? Francesca is completely stunned and thrown off guard. FRANCESCA No. Of course not. -LRB- rising, upset. -RRB- Beat. Awkward silence. Suddenly there is tension between them. ROBERT My mistake. I apologize. FRANCESCA What made you ask such a question? ROBERT I thought that's what we were doing - asking questions. FRANCESCA -LRB- defensive. -RRB- I thought we were just having a conversation. You seem to be reading all this meaning into it. Meanings I must be too simple to, uh. interpret or something. ROBERT I already apologized. Silence. Robert remains seated. Francesca remains at the sink. ROBERT -LRB- cont'd. -RRB- It's getting late. -LRB- rises. -RRB- Thank you for dinner. Pause. Francesca feels badly. FRANCESCA Listen, I'm sorry I - ROBERT No, no. Forgive me. I made a mistake. It was an inappropriate thing to ask. FRANCESCA -LRB- shrugs it off, then :. -RRB-. I feel like something's been spoiled now. Robert smiles and crosses to her. He takes her hand into both his hands. ROBERT It's been a perfect evening. Just the way it is. Thank you. Francesca smiles. The possibility of a kiss hangs in the air between them until Robert turns to get his film out of the fridge. As he exits through the screen door, he stops. ROBERT -LRB- cont'd. -RRB- One thing though - do n't kid yourself, Francesca. You're anything but a simple woman. He smiles and exits, catching the screen door before it slams. Francesca does n't move for a moment, then crosses to the door as if to run after him when she is stopped by the PHONE RINGING. She picks up. FRANCESCA Hello? RICHARD -LRB- on phone. -RRB- Franny? FRANCESCA Richard, hi. RICHARD -LRB- on phone. -RRB- How are you? FRANCESCA Fine. Everyone settled in okay? RICHARD -LRB- on phone. -RRB- Just fine. We're all in one room. Michael's on the couch and Carolyn's. -LRB- continues. -RRB- She hears Robert's truck door open and close. She hears the motor being turned on. She half - listens to Richard. FRANCESCA Uh - uh. good. Hmmm. She hears the truck driving away as Richard continues : RICHARD -LRB- on phone. -RRB- We got our position in the Fair. Not bad although I would have liked to be third which is not too early and not too late. But I told Carolyn not to worry. -LRB- continues, if needed. -RRB-","INT. FRANCESCA BEDROOM - NIGHT Francesca exits her bathroom, in her bathrobe, shutting the light. She is brushing her hair and thinking of Robert. She sits on the edge of the bed. She sees her reflection in a mirror on the closet door. She stands and takes her robe off. She steps forward to look at her body - running her hands gently around her curves, her neck, down the side of her thighs, her face, her breasts. She shuts off the lights and gets into bed under the covers. She closes her eyes and tentatively begins to explore her body. It is awkward for her but we can see her trying to let herself go. Until she opens her eyes in frustration. It's no good. She ca n't do it. She feels ashamed. The shame turns into anger.","INT. LIVING ROOM - NIGHT Francesca sits at a writing table with two large books opened before her containing literary quotations. She searches for the line Robert mentioned in the pasture. A note sits before her as well. On it reads : `` Robert. Again, I'm sorry for last night. Would you like supper again tonight after you're finished. I'd like it very much if I were one of those good friends you have in the world. Anytime is fine - Francesca. P.S. By the way, `` Of what I call God and Fools call Nature'' was.'' She writes the name BROWNING.","EXT. ROSEMAN BRIDGE - NIGHT Francesca is tacking a note for Robert to the bridge. She considers taking it down a moment later, but decides not to. She gets back into her truck and drives away. WIDE ANGLE OF BRIDGES - DAWN The view of the bridge goes in and out of focus until we realize we are seeing it through Robert's camera lens. Once the focus it sets, Robert notices something is tacked onto the bridge. He crosses to it hurriedly - time for the perfect shot is running out - pulls it down, thumbtack and all, and shoves it into his pocket, unread. He returns to his camera to take his shots.","INT. JOHNSON BEDROOM - MORNING Francesca is making her bed when she hears a truck driving down the road. She looks out the window to see : Robert's truck. However, it passes right by her house. Francesca's spirit sinks. She feels silly, ashamed and rejected. She sits on the bed. Inside the truck, Robert drives by the house and chuckles to himself at the foolishness of some boring, frustrated housewife. Francesca's note has been crumbled and stuffed into a dirty ashtray. Francesca enters her bathroom, slamming the door behind her.","INT. KITCHEN - LATER THAT MORNING Francesca sits at the kitchen table in her bathrobe with a cup of coffee - a comic portrait of shame and self - pity. Her hair is a mess, she has n't showered or dressed and she stares into space while listening to the bluesy Chicago radio station. The sink is full of dirty dishes she refuses to clean. Beside it is an ashtray of butts from the night before. She carries it over to the table and begins fingering for a butt to smoke in desperation. She lights up and stares into space. Robert is in Africa talking to TWO ZULU TRIBE MEMBERS. THE ROBERT -LRB- laughs. -RRB-. and then she tacks this note on the bridge asking me to have dinner with her again! One Zulu turns to the tower and remarks. ZULU How pathetic. Francesca put out her cigarette and suddenly gets an idea. She goes to the phone, reads a number off of a slip of paper and dials. FRANCESCA -LRB- on phone. -RRB- Hello? Is Richard Johnson staying there? No, I do n't want to leave a message. Maybe you can help me - I'm his wife and I live in Winterset Iowa - I wanted to surprise them by driving up tonight. What would be the fastest route, the Interstate? Huh - huh. Hold it, let me get a pen.","EXT. PAY PHONE, GAS STATION - LATE MORNING Francesca's note is opened in Robert's hand. Her phone number is written after the `` P.S.'' He stands in the pay phone getting a busy signal from Francesca's line. He hangs up.","INT. JOHNSON HOUSE - DAY Francesca, dressed and packed, prepares to leave. She checks her purse to make sure she's got everything. She grabs her bag and exits. A few beats later, the phone rings. But she does n't return. It rings again. We hear Francesca's truck door open and close. It rings again. We think Francesca is on her way, until : We suddenly hear her burst into the house and see her leap for the phone. FRANCESCA Hello? says. INTERCUT -","INT. SLOW BEND SALOON/RESTAURANT - DAY Robert is at another pay phone. ROBERT Francesca? says. FRANCESCA -LRB- out of breath. -RRB- Yes! Hi. ROBERT Am I interrupting anything? FRANCESCA No. I was just. No. ROBERT I'm sorry I did n't call sooner, but I just read your note. I stuffed it into my pocket. The light was fading and I had to get my shot. FRANCESCA -LRB- relieved. -RRB- The light was fading. Huh - huh. ROBERT I would love to come for dinner. FRANCESCA -LRB- smiles. -RRB- Wonderful. Uh. ROBERT Listen, I have to shoot Cedar Bridge until a little after sunset. I want a few night shots. Would you like to come with me? If you're interested. FRANCESCA Oh, sure. Great. ROBERT I'll pick you up. FRANCESCA No. I'll drive myself. I have a few errands. I'll meet you there. ROBERT Okay. See you later. FRANCESCA Yeah. See you later. Francesca is thrilled. Her mind races with a list of things she must do before tonight. She opens a cabinet, removes a coffee can and empties it of her house money. She quickly counts it, then shoves it into her purse.","EXT. ON THE ROAD - DAY Francesca drives past a sign marking Des Moines as the next town.","INT. SLOW BEND SALOON/ RESTAURANT - DAY The second of two eating establishments in Winterset. A lunch time crowd fills the place. Robert is seated at the counter. He can sense their eyes on him, wondering who this stranger is and what's he doing here. He knows the whispered conversation is about him. A MIDDLE - AGED COUPLE talk at table. WIFE Thelma told me he checked into the Motor Inn and the bill goes to National Geographic Magazine. HUSBAND National Geographic? What the hell's he doing here? We ai n't got no naked pygmies to take pictures of. WIFE He's taking pictures of the bridges. HUSBAND Ai n't no pygmies there either. Robert wants to finish his lunch as quickly as possible. At that moment, someone enters the restaurant and all the conversation stops. He overhears one waitress turn to the other and whisper - WAITRESS God. It's Lucy Redfield. Both the Waitress and Robert -LRB- though more subtly -RRB- turn to see : THE REDFIELD WOMAN. But instead of being the harlot we might think, she's actually a rather plain, demure looking woman - not nearly as fancy or pretty as Mrs. Delaney herself. As she crosses the counter, Robert immediately picks up on the vibes in the room. He notices all the patrons stare then turns away to whisper. The waitress behind the counter ignores her. A customer eating at the counter places a bag on an empty stool beside her, so the Redfield woman ca n't sit down near her. Robert and the Redfield woman's eyes meet. She is clearly uncomfortable. She turns, about to leave, when Robert clears his cameras off of a stool next to him and offers : ROBERT Got room right here if you like. She is surprised at his courtesy. Others are astounded. Some disgusted. She accepts his offer and sits beside him. REDFIELD WOMAN Thank you. ROBERT Hot out there today. She nods and smiles. The waitress tosses a menu at her and slams down a glass of water, then moves on down the counter. The Redfield woman tries to act casual, glancing through the menu. Robert subtly scans the room as all eyes are on them, then turn away. Robert returns his glace back to the Redfield woman who is now only pretending to read the menu. She is so embarrassed. She wants to leave but ca n't move. WAITRESS Well, are you ordering anything!? Her harsh tone startles the Redfield woman as well as Robert. Gathering her dignity, she responds. REDFIELD WOMAN No. Thank you. I've changed my mind. She politely nods to Robert, gathers her things and exits. Robert looks to the waitress, as a SECOND WAITRESS enters. SECOND WAITRESS I'd've thrown that water right in her face. WAITRESS Poor Mrs. Delaney. The waitress walks O.S. leaving the second waitress facing Robert, who looks at her curiously. The second waitress looks back as if to say, `` What business is it of yours?'' and exits.","EXT. DES MOINES - DAY A metropolis compared to Winterset. Francesca exits a liquor store with a bottle of wine in a paper bag. She also carries a bag of groceries as she heads down the street to her parked truck. She passes a DRESS SHOP and stops.","EXT. WINTERSET - DAY Robert enters a general store. He buys a six pack of beer for his cooler and approaches the counter for the Cashier. CASHIER That all? Robert nods. He decides to have some fun and test the waters a little bit. ROBERT Is n't it awful about poor Mrs. Delaney? With this, the damn bursts - CASHIER Tragic is more like it. The pain that woman has been subjected to by that no - good husband. I never liked him. Known him for years. People say he's quiet. Well, it's the quiet ones that can sneak up behind you and stab you in the back. I heard yesterday, that she confronted him. Gave him the ultimatum and you know what he did? -. -LRB- CONTINUES AS NEEDED. -RRB- Robert stands astounded, listening to this diatribe of gossip.","INT. DES MOINES DRESS SHOP - DAY Francesca sits in her slip, alone in a dressing room, with several dresses strewn about. The panic of indecision has set in. She looks at herself in the mirror and begins to doubt that seeing Robert is a good idea. Or perhaps she's imagining something that is n't there. And what about Richard? A few years back. Francesca is dressed up for some formal affairs. She heads down the stairs. Richard is waiting in the hall, in a suit and tie. He looks at her admiringly. FRANCESCA Ready. You have the keys? But Richard does n't answer. He's just staring at her. Francesca stops. Richard looks at her like a little boy. FRANCESCA -LRB- cont'd. -RRB- What's the matter? Richard is obviously impressed by how she looks, but he ca n't say anything. He just smiles shyly and shakes his head to say nothing is wrong and opens the door for her. Francesca feels guilty when a SALESWOMAN enters with a pretty summer dress. SALESWOMAN How about this one? Francesca examines it. She likes it. But the guilt. FRANCESCA I do n't know. I have n't bought a dress for myself in so long. -LRB- saleswoman nods. -RRB- I mean, I'm just buying a dress. It's not a special occasion or anything. I'm just shopping. Just shopping for a new dress, that's all. SALESWOMAN -LRB- completely understands. -RRB- That might work. And if he's still mad, just tell him you could have done better but you married him out of pity. That's always works for me.","INT. JOHNSON HOUSE - LATE AFTERNOON Francesca enters with her new dress, groceries and wine as the PHONE RINGS. She puts everything down to answer. FRANCESCA Hello? Intercut ROBERT at a pay phone. ROBERT It's Robert. FRANCESCA Oh, hi. Look, I'm running a little late, but I'll still. ROBERT -LRB- w/difficulty. -RRB- Listen, do n't take this the wrong way but, I'm wondering if this is such a good idea. Francesca's heart sinks. FRANCESCA Oh. ROBERT I uh. I had lunch in town today. Happened to cross paths with `` that Redfield woman.'' I apologize. I thought you were half - joking about that. FRANCESCA Oh. I guess you got the whole story. ROBERT The cashier at the general store was very dangerous. FRANCESCA I think he's running for town crier next year. ROBERT I now know more about their affair than I remember about my marriage. -LRB- seriously. -RRB- Francesca, the last thing I want to do is put you in any kind of situation that would. even though we know it's just - I mean, it's nothing like that, but if anybody saw us or. -LRB- ca n't finish. -RRB- FRANCESCA -LRB- disappointed. -RRB- I understand. -LRB- touched. -RRB- That's very kind of you. Silence. Both want to meet. Both experience the idea of not seeing each other even again in this brief moment. Someone has to say something to save it - but who will it be? FRANCESCA -LRB- cont'd. -RRB- Robert? ROBERT Yeah? FRANCESCA I want you to come. Robert is relieved. FRANCESCA -LRB- cont'd. -RRB- I'll meet you at the bridge just like we planned all right. Do n't worry about the rest of it. I'm not. ROBERT All right. See you there. Francesca smiles and hangs up. In that moment, Francesca realizes consciously what she is doing and what she wants.","EXT. CEDAR BRIDGE - DUSK Robert is already there, working. He checks his watch, anxious for Francesca to arrive, when he hears a truck driving up. He looks to see Francesca stop and get out. By their expressions we can tell how glad they are to see each other. FRANCESCA Sorry I'm late. Richard called. ROBERT Oh, how is he? FRANCESCA Fine. They're all having a good time. How many more shots do you have? ROBERT Couple. Want to help? She nods. He extends his hand. She pauses, then takes it. He leads her to the bridge. Walking away from camera, they say : ROBERT -LRB- cont'd. -RRB- I should stop off at the motel to clean up before dinner. FRANCESCA Well, I have plumbing at my house.","INT. JOHNSON BEDROOM - EARLY MORNING Francesca enters. Robert is in the bathroom, in the shower, with the bathroom door slightly ajar. His clothes are laid on the bed with his bag beside them. A fresh shirt is folded. Francesca takes his dirty shirt and decides to clean it. As she exits, her eye ca n't help roaming toward the bathroom door. For a moment, she pauses to listen to the sound of the water as it hits his body.","INT. KITCHEN - LATER Francesca is busy preparing dinner. Robert enters, cleaned and dressed. ROBERT Can I help? FRANCESCA Actually, no. I've got everything under control. I'd like to clean up myself a bit. I'm going to take a bath. Dinner'll be ready in about a half hour. ROBERT How about if I set the table? FRANCESCA Sure. ROBERT Would you like a beer for your bath? FRANCESCA -LRB- surprised. -RRB- Yes, that'd be nice. Robert gets her one.","INT. BATHROOM - LATER Francesca lounges in a tub with a beer poured into a wine glass. She finds it very elegant. She takes a deep breath, thinking `` What's going to happen tonight?''","INT. KITCHEN - LATER Robert is at the radio when Francesca enters in her new dress. She looks beautiful. And it's all over Robert's face. FRANCESCA What's wrong? Unlike her husband, Robert has an answer. ROBERT Absolutely nothing. You're just sort of a knockout in that dress. She smiles and crosses to the stove. FRANCESCA Table looks beautiful. He ca n't take his eyes off of her. On the radio we hear DIHAH WASHINGTON begin to sing `` IF IT'S THE LAST THING I DO'' - a beautiful, blusey lovesong. Francesca pulls out a pan of hot rolls as THE PHONE RINGS. Francesca moves toward it with a roll, which she tosses to Robert. He burns his fingers and he smiles at her joke. The song plays throughout. FRANCESCA -LRB- cont'd. -RRB- Hello? Hi, Madge? Francesca and Robert do not take their eyes off of each other throughout the call. Robert takes a bit of the roll. FRANCESCA -LRB- cont'd. -RRB- Huh - huh. Nothing, just making myself some dinner. No what? Oh. I heard about him. Yeah, I hear he's some kind of photographer. -LRB- Robert smiles. -RRB- No, I did n't. Huh - huh. Hippie? I do n't know, is that what hippies look like? Robert steps closer to her, purposely reaching across her body for a napkin. FRANCESCA -LRB- cont'd. -RRB- Oh he is, huh? Well, do n't tell Floyd, he'll be out with a shotgun. She notices a crumb on Robert's mouth and wipes it off. Robert takes her hand and holds it, lowering it to his side. FRANCESCA -LRB- cont'd. -RRB- Well, listen, I have a pot boiling. I've got to go. No, they do n't get home until Friday morning. Well, maybe I'll give you a call. Okay. Bye. She hangs up. The two are now almost face to face. Robert raises her hand up and slips his free one around her waist. They begin to dance to the song. The kitchen lights have not been turned on since the sun went down. The sky, a dark orange and magenta, illuminates the room through the window. They never take their eyes off of each other. Suddenly, Robert stops. ROBERT You're shaking. Are you cold? Francesca shakes her head. They dance a bit more, but Francesca is shaking which makes it difficult. They both stop. Robert places his huge hands on either side of her face, gently stroking her hair away from her cheek. He whispers. ROBERT -LRB- cont'd. -RRB- If you want me to stop, tell me how. He brushes his cheek and face softly against hers. Francesca rubs hers against him. She can barely breathe. ROBERT -LRB- cont'd. -RRB- Francesca, I wo n't be sorry. I wo n't apologize for this. FRANCESCA Nobody's asking you to. They kiss. Hands gently explore. Their bodies touch. Their lips never spend more than seconds away from each other. Robert gently slide his hands down her breasts and torso, exploring every inch of her. Francesca grips his massive back, sliding up to his neck and hair. Robert lifts her leg and presses it against his hip, kissing her neck and shoulders. Francesca starts to lose herself, clutching his head at her breast then pulling him up to her mouth once again. 1995","INT. SLOW BEND CAFE - PRESENT DAY - EVENING The same saloon/restaurant of twenty - five years ago has been turned into a modern cafe yet the original charm is still there. Carolyn and Michael sit in a booth, with half - eaten dinners before them. Carolyn has been reading the book to Michael when she looks across from her to find - Michael looking like a little boy who is fighting not to cry. CAROLYN What's the matter? Michael shakes his head. He ca n't or wo n't explain. He's too upset. His eyes tear up. Carolyn feels badly for him. MICHAEL I'm going to get some air. He exits. Carolyn smiles sympathetically. Somehow this last passage of their mothers does n't affect her in the same way. She returns to the book but first asks a passing waitress, with great urgency. CAROLYN Can I smoke here? The waitress nods. Carolyn needs a cigarette for the rest of this. She opens her bag to get her pack. Inside her bag she notices a BUSINESS CARD. She picks it up to read IRA NEWMAN, attorney. Divorce. Pre - Nuptials. Marital Litigation. She pauses for a moment. Then, tossing the card back inside, she lights her cigarette and takes a drag. We follow the curls of smoke up as we : 1965","INT. JOHNSON LIVING ROOM Camera moves down curls of smoke, to reveal : Robert and Francesca in each others arms, under a blanket on the living room floor on a bed of couch pillows, smoking a cigarette after lovemaking. Francesca seems miles away - feelings of regret and guilt creeping in. ROBERT Are you comfortable? -LRB- she nods. -RRB- Do you. want to move to the bedroom? FRANCESCA No. I ca n't. Not yet. She ca n't bring herself to go into her husband bed. ROBERT You want to eat something? FRANCESCA Are you hungry? ROBERT No. Silence. Robert shifts his body to face her. ROBERT -LRB- cont'd. -RRB- Honey. Are you all right? She looks at him and starts to cry, shaking her head. The room is filled with memories of her family. She nestles in his arms. He folds her. She closes her eyes. FRANCESCA Take me somewhere. ROBERT What? FRANCESCA Right now. Tell me someplace you've been - someplace on the other side of the world. Anywhere but here. ROBERT -LRB- thinks, then :. -RRB- How about Italy? FRANCESCA Yes. ROBERT How about Bari? FRANCESCA Yes. Tell me about the day you got off the train. ROBERT Have you ever been to that station? FRANCESCA Yes. ROBERT You know that little place nearby with the striped awning that sells sandwiches and little pizzas. The two transport themselves together to another place, where there is no familiar memories surrounding them to interfere.","EXT. JOHNSON PORCH - NIGHT The two sit in bathrobes on the porch looking out over the pasture. They have plates of dinner on their laps. They eat voraciously. ROBERT Do you have anymore of the stew? Chewing, Francesca nods and leans over, picks a pot off the porch and ladles some more onto his plate. Too much falls out and it spills onto the robe. FRANCESCA Oh, I'm sorry. ROBERT It's okay. It's not that hot anymore. Thanks God. Francesca hands him a dish rag. Robert wipes off the food revealing his bare leg. She reaches over and touches it. He looks at her and smiles. She leans over and kisses him passionately until, suddenly, she pulls away. She looks upset. She rises and moves away to look out to the pasture. Robert can sense what is wrong. ROBERT -LRB- cont'd. -RRB- You think too much, you know that? FRANCESCA I just feel like I'm getting a little. out of control that's all. It's kind of frightening. ROBERT Why? FRANCESCA Why!? Because, I'm having thoughts I hardly know what to do with. I. ca n't seem to. stop them. ROBERT Nobody's asking you to. FRANCESCA -LRB- excited. -RRB- And arraccinos and zeppolis. Yes! I know it! ROBERT I sat outside and had coffee. FRANCESCA Where? Near the doorway or the near the front of the church? ROBERT Near the church. FRANCESCA -LRB- closes her eyes. -RRB- I sat there once. It was hot. Like today. I'd been shopping. I had all these bags around my feet I kept having to move every time the waiter came by.","EXT. SANDWICH CAFE - BARI - DAY Francesca sits at the outdoor cafe in Bari with shopping bags around her feet. She re - arranges them as the waiter passes by, mumbling something vulgar under his breath. When she looks up - Robert is standing there. She smiles. He offers her hand. She takes it and rises. They leave the cafe. Francesca and Robert together against the breathtaking backdrop of the Italian countryside.","EXT. BARI COUNTRYSIDE - DAY On a lakefront, Robert and Francesca make love.","INT. JOHNSON LIVING ROOM - EVENING FRANCESCA AND ROBERT MAKING LOVE ONCE AGAIN. Francesca looks at him and understands he is giving her full permission to explore whatever she wants. Hesitantly, she crosses to him and takes his plate away. She stands before him, leaning him back into his chair. She slowly, tentatively, opens her robe. She strokes his hair, then caresses his head and gently guides it between her legs. 1994","INT. SLOW BEND RESTAURANT - NIGHT C.U. on an ashtray filled with cigarette butts as Carolyn anxiously lights another. These last entries have over stimulated her. She calls to the waitress abruptly. CAROLYN Can I get another cup of coffee, please? When she looks up, she sees Michael has returned. He sits. CAROLYN -LRB- cont'd. -RRB- Where did you go? MICHAEL Bar across the street. CAROLYN Have you called Betty? -LRB- she shakes his head. -RRB- Maybe you should. MICHAEL I found out who Lucy Delaney is. -LRB- she looks interested. -RRB- Remember the Delaneys from Hillcrest Road? CAROLYN Yeah. But I thought she died. MICHAEL He remarried. Apparently they were having an affair for years. Apparently the first Mrs. Delaney was a bit of a stiff. CAROLYN You mean - she did n't like sex? MICHAEL -LRB- nods, then simply :. -RRB- I bet mom could've helped her. CAROLYN Boy. All these years I've resented not living the wild life in some place like Paris and all the time I could've moved back to Iowa. Are you drunk? MICHAEL Not yet. You want to go? CAROLYN I think I better. Between the book and the coffee, I'm this close to raping the busboy.","EXT. IOWA LAKEFRONT - NIGHT Michael and Carolyn have parked in a secluded area near a lake. Some place where the moonlight and the scenery create a beautiful backdrop. They sit on the ground, leaving the headlights and the radio on. They are getting drunk sharing a bottle of whiskey. MICHAEL I used to love this place. I used to take Kathy Reynolds down here. CAROLYN You never dated Kathy Reynolds! MICHAEL Not officially. Her and Steve Kendall were pinned at birth. But I was crazy about her. And for about three months, I managed to catch her during her `` exploring'' stage. CAROLYN I never knew that. MICHAEL -LRB- sadly. -RRB- Nobody did. CAROLYN Was this during Betty? MICHAEL Everything was during Betty. God we were so young. Why did we think we had to do it all so fast? I've never cheated on Betty. Not once we were married, I mean. CAROLYN Did we want to? MICHAEL Only about a thousand times. What do I do now? `` What's good enough for mom is good enough for me?'' CAROLYN -LRB- pissed off. -RRB- What gets me is I'm 46 years old. I've been in this crummy fucking marriage - MICHAEL Carolyn! CAROLYN -LRB- ignores him. -RRB- - for over twenty years because that's what I was taught - you stick with it! Normal people do n't get divorced. I ca n't remember the last time my husband made love to me so intensely that he transported me to Europe, for Christ's sake - quite frankly, I do n't think he ever did! And now I find out in between bake sales, my mother was Anais Nin! MICHAEL What about me! I feel really weird. Like she cheated on me, not dad. Is n't that sick? I do n't mean I wanted to sleep with her or anything but - ya know - being the only son. You're sort of made to feel like you're the prince of the kingdom, ya know? And in the back of your mind, you kind of think your mother does n't need sex anymore because she has you. CAROLYN You're right - that is sick. They drink. MICHAEL If she was so unhappy, why did n't she leave? They look to each other without an answer. Then simultaneously they reach for the notebooks. MICHAEL -LRB- cont'd. -RRB- Can I read it now? I think I'm ready. Carolyn offers him the book then lays back in a relaxed position in order to listen. Michael flips to an ear marked page. MICHAEL -LRB- cont'd. -RRB- What paragraph were you up to? CAROLYN -LRB- casually. -RRB- She just made him perform oral sex on the porch. Michael freezes. He loses his nerve. Carolyn helps. CAROLYN -LRB- cont'd. -RRB- Go ahead, Michael. You've got to do this. Just think, `` Today I am a man.'' Michael nods and takes another swig. He reads : MICHAEL `` I'd never had a man make love to me that way before.'' -LRB- stops. -RRB- Oh Jesus. -LRB- continues. -RRB- `` I could n't believe the feelings bursting inside of me. As if I had opened some forbidden Pandora's box.'' Camera begins to move to wide angle as Francesca takes over. FRANCESCA `` It seems, thinking about it now, that in those few days I lived a completely different life as a completely different woman. What was recognizable as me before Robert was gone. We decided to spend Wednesday away from Winterset. Away from Madison County. Away from pastures and bridges and people too familiar and reminders too painful. We let the day take us where it wanted.'' 1965","INT. DES MOINES MOVIE THEATER - DAY VIVIEN LEIGH is walking down a ships stairs in the 1965 film `` SHIP OF FOOLS.'' She is alone on screen. She walks, slightly intoxicated. Suddenly, Charleston music plays out of nowhere and she begins to dance, by herself, without any self - consciousness. In the movie theatre, Robert sits with his arm around Francesca like teenage lovers. Her head is nestled in his chest as she eats from a bag of popcorn. Robert barely keeps his eyes on the screen, staring at Francesca and stroking her hair.","EXT. DOWNTOWN DES MOINES STREET - DAY Francesca and Robert walk hand - in - hand, window shopping and taking in the sights. For Francesca, it is as if she is seeing everything for the first time.","INT. BOOK STORE - DAY Robert introduces Francesca to the photography section, showing her a book of one of his favorite photographers, Walker Evans. Francesca admires one photograph in particular - a mother and child during the depression. FRANCESCA On that one is beautiful. Look at their expressions. As if the camera were n't on them at all. As if they had no strength left to hide what they were feeling. ROBERT He's a genius. They're not photographs - they're stories, entire histories captured in moments. FRANCESCA I bet you could do a book. ROBERT No. I could n't. FRANCESCA Why do you say that? ROBERT Because I already tried once. Francesca is surprised. She senses his disappointment. ROBERT -LRB- cont'd. -RRB- It's no big deal. I know how to work a camera, how to make it `` make pictures'' - but I do n't know how to make it make art. -LRB- laughs. -RRB- At least that's what six publishers said. To take what we see of this world and give it back with a bit of ourselves in it. It's a mystery to me. FRANCESCA -LRB- smiles, supportive. -RRB- But you do n't mind. ROBERT -LRB- smiles. -RRB- No, I do n't mind. She brushes his hair away from his face affectionately. As he looks at another book, she notices their reflection in a mirror. She puts her arm through his. They look like a couple to her - two people who belong together.","INT. FANCY RESTAURANT - DAY Francesca and Robert have an elegant lunch. FRANCESCA What were you like when you were younger? ROBERT -LRB- smiles. -RRB- Trouble. Why? FRANCESCA -LRB- laughs. -RRB- I just wondered. Why were you trouble? ROBERT I had a temper. FRANCESCA What were your parents like? Pause. Robert does n't reply. She looks at him curiously. ROBERT I ca n't do this, honey. FRANCESCA What? ROBERT Try and live a lifetime before Friday. Cram it all in. -LRB- shakes his head. -RRB- This is the first time either has mentioned their time clock. Francesca nods, understandingly. Across the room, Francesca notices A MOTHER having dessert with her FIVE - YEAR - OLD DAUGHTER, a pretty little girl in a fancy yellow dress. The mother rises and exits to the ladies room while the little girl continues eating a large sundae. Francesca smiles. As the girl licks a spoon of fudge, she sees Francesca looking at her and smiles back. Robert watches the silent exchange as he eats. Francesca makes a funny face at her. The little girl giggles as she spoons more ice - cream. Unfortunately, she spoons too much and the ice - cream falls on her pretty dress. She tries to take it off her, but she slips through her fingers and stains her even more. She looks at Francesca as if she's about to cry. Francesca smiles. FRANCESCA Excuse me a minute. Robert watches her cross to the little girl and kneel beside her. He sees her consoling the little girl while taking a napkin and dabbing it in the water glass. She helps the girl carefully wipe away the mess, all the while calming her. The mother re - enters the scene and shakes her head at her daughter. The daughter is afraid of being reproached but the mother is smiling. She and Francesca begin talking. She thanks Francesca. Robert sees the two mothers exchanging a moment of common experience and brief friendship. The mother and daughter take their leave as Francesca says goodbye and returns to the table. Robert looks at her lovingly. Francesca returns to her meal, but suddenly she is no longer hungry. Robert senses something is upsetting her. ROBERT You're somewhere else, where? FRANCESCA Just that it's been a perfect day and that I'd like to skip my fancy dessert and go home after this. ROBERT Uh - huh. And? FRANCESCA -LRB- beat. -RRB- You're right, you know. We do n't have much time. Uncomfortable silence hangs between them. A waiter passes by. ROBERT Check, please. OS, as the MOTHER YELLS : MOTHER REBECCA! REBECCA! Both Robert and Francesca look to the voice.","EXT. RESTAURANT - DAY The mother stands on the street frantically calling for her daughter. MOTHER REBECCA! The Maitre'd, Francesca and Robert exit the restaurant. MOTHER Oh my God! FRANCESCA What happened? MOTHER I was paying the check. She ran outside. I told her to wait for me right here! Oh God, where is she? Rebecca! The sidewalk is filled with people. Francesca looks to Robert. He recognizes the concern in her expression. Going home will have to wait. ROBERT I'll check down here. Someone call the police. The Maitre'd goes back inside. Francesca comforts the mother. FRANCESCA Think for a second. Is there someplace she said she wanted to go? MOTHER I do n't remember!","EXT. STREET Robert searches through the street, poking in and out of storefronts, looking across the street.","EXT. RESTAURANT Francesca and the mother search in the opposite direction.","EXT. STREET Through the crowd of people, Robert looks across the four lane Main Street to a LARGE CITY PARK. He crosses to it.","INT. RESTAURANT - AN HOUR LATER Francesca sits with the mother as TWO POLICEMEN take down a description. The mother is crying. A waiter brings over some water for her. The Maitre'd stands by. MOTHER She was right outside. I turned my head for a second. POLICEMAN When was this? FRANCESCA About an hour ago. MOTHER They're not going to find her! FRANCESCA Yes, they are. At that moment, the mother looks up and cries. MOTHER REBECCA! She jumps out of her seat as all turn to see : Robert holding the little girl in his arms, entering the restaurant. He carefully hands her over to the mother. The two wrap their arms around each other. Francesca looks to Robert, loving him even more now. FRANCESCA Where was she? ROBERT Across the street. She went into the park and got turned around and did n't know her way out. MOTHER You crossed the street by yourself?! REBECCA -LRB- crying. -RRB- It was a green light. The mother is too relieved to be mad. Robert sits down. MOTHER Thank you so much! ROBERT -LRB- frazzled. -RRB- I need a drink. Everyone laughs out of relief. Francesca wraps her arm around his shoulder and kisses his forehead. He kisses her back.","INT. TRUCK - DUSK Robert drives as Francesca sits inside his arm. Neither speaks.","INT. JOHNSON HOUSE - DUSK Francesca calmly leads Robert up to her bedroom.","INT. JOHNSON BEDROOM Naked, Francesca guides Robert into bed beneath the covers. They begin to make love - softly, lovingly - like a couple that are beyond the erotic, discovery stage ; a couple that have been together and in love for years. LATER - Francesca puts her arm around him as he nestles his head to her breast. Francesca strokes his hair as Robert closes his eyes. ROBERT I do n't know why I'm so tired all of a sudden. FRANCESCA Long day. Go to sleep. ROBERT Am I too heavy for you? FRANCESCA No. Robert settles into her. But Francesca is wide awake. Something is on her mind - `` Tomorrow? What happens after tomorrow?''","INT. KITCHEN - MORNING Francesca is serving Robert breakfast, then sits down beside him. Silence. We can sense some tension between them - this being their last day together. Francesca seems ingeniously friendly. Robert is suspicious. FRANCESCA Sleep all right? ROBERT Yes, thanks. FRANCESCA Good. More coffee? -LRB- he nods, she pours. -RRB- Robert, I hope you do n't mind my asking, but I feel like I should. ROBERT What? FRANCESCA Well, these. women friends of yours. all over the world. How does it work? Do you see some of them again? Do you forget others? Do you write them now and then? How do you manage it? Her facetiousness startles Robert. ROBERT I. What do you want? FRANCESCA Well, I just want to know the procedure. I do n't want to upset your routine. Do you want any jam? ROBERT -LRB- insulted. -RRB- Routine! I do n't have a routine. And if you think that's what this is - FRANCESCA Well, what is this? ROBERT -LRB- upset. -RRB- Well, why is that up to me? You're the one who's married. You told me you have no intention of leaving your husband. FRANCESCA To do what? Be with someone who needs everyone and no one in particular? I mean, what would be the point. Would you pass the butter? ROBERT I was honest with you. I told you who I was. FRANCESCA Yes. Absolutely. You have this habit of not needing and that it's hard to break. I understand. -LRB- beat. -RRB- Of course, in that case, why sleep - you do n't need rest or for that matter eat, you do n't need food. She takes his plate away from him, rises and throws it into the sink. ROBERT What are you doing? FRANCESCA -LRB- sarcastic. -RRB- Gee, I do n't know. I guess I'm not cut out to be a World Citizen who experiences everything and nothing at the same time. ROBERT How do you know what I experience? FRANCESCA -LRB- angry. -RRB- I know you! What can this possibly mean to anyone who does n't `` need'' meaning -. -LRB- mocking. -RRB- `` Who goes with the Mystery'' - who pretends he is n't scared to death. ROBERT Stop it! FRANCESCA You have no idea what you've done to me, do you? And after you leave, I'm going to have to wonder for the rest of my life what happened here. If anything happened at all! And I'll have to wonder if you find yourself in some. housewife's kitchen in Romania if you'll sit there and tell her about your world of good friends and secretly include me in that group. ROBERT What do you want me to say? FRANCESCA -LRB- nonchantly. -RRB- I do n't want you to say anything. I do n't need you to say anything. Robert rises, knocking his chair aside. ROBERT STOP IT! FRANCESCA Fine. More eggs or should we just fuck on the linoleum one last time? ROBERT -LRB- grabs her. -RRB- I told you! I wo n't apologize for who I am. FRANCESCA No one's asking you to! ROBERT I wo n't be made to feel like I've done something wrong. FRANCESCA -LRB- angry. -RRB- You wo n't be made to feel! Period. You've carved out this little part for yourself in the world where you get to be a voyeur, a hermit and a lover whenever you feel like it and the rest of us are just supposed to feel so incredibly grateful for the brief time you've touched our lives! Well, go to hell! It is n't human not to feel lonely - it is n't human not to afraid! You're a hypocrite and you're a phony! ROBERT -LRB- cries out. -RRB- I DO N'T WANT TO NEED YOU! FRANCESCA WHY? ROBERT BECAUSE I CA N'T HAVE YOU! FRANCESCA WHAT DOES THAT HAVE TO DO WITH IT? He throws a cup at the wall. It breaks apart. Covering his face, Robert turns away from her as he holds onto the sink. Francesca reaches for him but he pulls away, embarrassed. FRANCESCA -LRB- cont'd. -RRB- -LRB- softly. -RRB- Do n't you see, I've got to know the truth, Robert. I've got to know the truth or I'll go crazy. Either way. Just tell me. But I ca n't act like this is enough because it has to be. I ca n't pretend I do n't feel what I feel because it's over tomorrow. Robert, keeping his face from her, tries to tell her : ROBERT If I've done anything to make you think that what's happened between us is nothing new for me - is some routine - then I do apologize. FRANCESCA What makes it different, Robert? Robert turns to face her. He is so hopelessly in love he can hardly find the words. His eyes fill up with tears. ROBERT Because. if I even think about tomorrow - if I. -LRB- voice cracks. -RRB- even think about leaving here without you - I'm not sure I can. that I -. -LRB- he shakes his head. -RRB- He ca n't even finish. He kneels down before her wrapping his arms around her and burying his face into her body. Francesca starts to cry - out of happiness, out of pain - holding onto him as if for dear life. FRANCESCA Oh God. what are we going to do? She kisses him - over and over, not wanting to be even an inch apart. As if any space between them might separate them forever. Suddenly, OS, they hear a CAR DRIVE UP to the house. They panic. Francesca runs to the window to see : MADGE, a girlfriend, has come for a visit. Madge is holding a homemade dessert. FRANCESCA -LRB- cont'd. -RRB- No. No. Where's your truck? ROBERT Behind the barn. I better go. Francesca turns to him - speechless - not wanting him to go. ROBERT -LRB- cont'd. -RRB- Do n't worry. I meant upstairs. He exits. Francesca gathers herself and heads for the front entrance, quickly cleaning up the plates.","INT. FRONT HALL - DAY Francesca opens the door to Madge. FRANCESCA Madge? says. MADGE Hi. I made some brown betty. I sent Floyd off to town with the boy. I said -. -LRB- entering. -RRB- `` Floyd, I'm going to visit my girlfriend and spend the afternoon and that's all there is to it. He said who's going to make lunch? I said I'm taking a sick day. Eat at the dinner.'' Is n't that hilarious? -LRB- MOVES INTO KITCHEN. -RRB- He did n't dare raise an eyebrow - I do n't even want to tell you how late he was out last night with those good for nothings from the Sandford ranch. I am so sorry, honey, I let two days pass before I came by, but with the boy home the time just escapes me. Have you heard from Richard? How's the fair? God, it's hot. Following her into the kitchen, Francesca does n't know which question to answer first.","EXT. PORCH - LATER THAT DAY Madge and Francesca sit facing the pasture beside a table with coffee and brown betty. We parachute into the middle of the scene. MADGE I said to her, `` what's the point of summer school if all he's going to do are these art projects. The boy needs so much work in math and his spelling is a nightmare. -LRB- continues. -RRB- Francesca is n't listening. Her mind wanders. FRANCESCA Madge. Please. Something's happened. I've met someone. I've fallen in love in a way I've never thought could happen my entire life. It's our last day together. I feel like I'm going to die when he leaves. Please. Help me. MADGE Oh, honey. I'm so sorry. But you've got to be grateful for even feeling the little you've be given. Believe me. Go to him. Do n't let him leave without these new precious hours you've got left. And if you need anyone to cry on, you know where I am. Madge shoves a plate at her. MADGE -LRB- cont'd. -RRB- More brown betty? Francesca takes the plate. She ca n't think straight. MADGE -LRB- cont'd. -RRB- Anyway, I'm glad that's over with. Sara doing so well though. Everyone thought I was crazy having them so far apart, but. -LRB- CONTINUES. -RRB- Francesca stands behind Madge, as the latter chatters on MOS. She calmly picks up the brown betty and, from behind, shoves it into Madge's face and holds it there, trying to suffocate her with it. Madge struggles. Francesca's mind races as Madge continues. MADGE without one lesson. The instructor could n't believe it. So, who knows - she may have talent. How's Carolyn doing? What are her plans for next year? Francesca realizes this is her moment. She holds her head and leans over, unsteadily. MADGE -LRB- cont'd. -RRB- Honey, what's wrong? FRANCESCA I do n't know. I woke up a little dizzy. I did n't sleep well. I think I need to lay down. MADGE You want me to call the doctor? FRANCESCA No, no. I just did n't sleep well. I'm not used to sleeping alone. And this heat. Would you mind? MADGE No, of course not. I'll just clean up. FRANCESCA No, leave it. I'll do it later. Listen, maybe you and Floyd can come for dinner on Saturday. I'm sure Richard'll have so many stories to tell you both about the fair and all. MADGE Oh, that'll be nice.","INT. BEDROOM - LATER THAT DAY Francesca enters to find Richard, laying on the bed fully clothed. She sits beside him. He strokes her arm, then guides her to lay down. Once she's in his arms, he speaks. ROBERT Come with me. Francesca knew he was going to say this. Either answer she gives frightens her. FRANCESCA Hold me. She turns to him and they embrace. Robert, however, fears only one response. On the soundtrack, we hear the song `` DARN THAT DREAM.''","INT. KITCHEN - EVENING The song continues over the next few images. Camera slowly pans from the radio, upon which the song is playing, to a beautifully set table and candles. It arrives on Robert preparing dinner.","INT. BEDROOM Camera pans the room from two OPENED SUITCASES, as Francesca packs to leave. She moves about the room as if with blinders on - focused on her task, refusing to take in any sign or memories that might hinder her. She is wearing a RED DRESS, with BUTTONS down the front.","INT. KITCHEN Robert stands at the sink rinsing out some utensils. Waiting for the water to turn hot, he looks out through the window above the sink. He sees a beautiful view of beautiful night. He pauses as it strikes him that this is a view Francesca has seen a million times - that soon she would not see ever again.","INT. SECOND FLOOR LANDING Camera follows her as she exits the bedroom with her suitcases, then walks down the hall to the stairs, then down the staircase to the front hall. She quietly sets the suitcases down, hearing the radio and Robert in the kitchen. She pauses, then enters the living room. One of the throw pillows has fallen off the couch. She replaces it then takes a moment to look about the room. She slowly sits down on the couch. We hear voices of the past, auditory memories conjured up by each stick of furniture Francesca sees. FRANCESCA -LRB- V.O. -RRB- Michael, get off the back of that chair! What did I tell you! WE HEAR HIM FALL AND BEGIN TO CRY. FRANCESCA -LRB- V.O. -RRB- All you all right, honey. Let me see. A sound of Christmas music. of toddlers running and laughing. A birthday party for Carolyn. CAROLYN -LRB- V.O. -RRB- Mama, look - look at the dress Aunt Patty sent! RICHARD -LRB- V.O. -RRB- Franny, BONNAZA's on! ROBERT Francesca? Francesca snaps out for it and turns to find Robert. ROBERT -LRB- cont'd. -RRB- I've got dinner. She smiles.","INT. KITCHEN They eat by candlelight. Neither speaks. Neither is very hungry. ROBERT Would you like a beer? She smiles and shakes her head. Robert opens a bottle and takes a sip. ROBERT -LRB- cont'd. -RRB- You know what I'd like to do before we leave? I'd like to take a picture of you - at Roseman bridge. Maybe just as the sun's coming up. FRANCESCA Yes. I'd like that. Pause. Robert smiles back and takes another sip. Then, knowing full well what hangs heavy between them, he asks : ROBERT Tell me why you're not coming with me? Francesca stops pretending to eat. She looks at him, having forgotten how well he can read her. FRANCESCA No matter how I keep turning it around in my mind - it does n't seem like the right thing. ROBERT For who? FRANCESCA For anyone. They'll never be able to live through the talk. Richard will never be able to. He does n't deserve that. He has n't hurt anyone in his life. ROBERT -LRB- getting aggressive. -RRB- Then he can move! People move! FRANCESCA His family's lived for almost a hundred years. Richard does n't know how to live anywhere else. And the kids. ROBERT The kids are grown! They do n't need you anymore. You told me that. They hardly talk to you. FRANCESCA No, they do n't say much. But Carolyn's 16. She's just about to find out about all this for herself - she's going to fall in love, she's going to try and figure out how to build a life with someone. If I leave what does that say to her? ROBERT What about us? What about me? FRANCESCA You've got to know deep down that the minute we leave here. It'll all change. ROBERT Yeah. It could get better. FRANCESCA No matter how much distance we put between us and this house, I bring with it with me. And I'll feel it every minute we're together. And I'll blame loving you for how much it hurts. And then even these four days wo n't be anything more than something sordid and. a mistake. ROBERT -LRB- desperately. -RRB- Francesca, listen to me. You think what's happened to us happens to just anybody? What we feel for each other? How much we feel? We're not even two separate people anymore. Some people search their whole lives for it and wind up alone - most people do n't even think it exists and you're going to tell me that giving it up is the right thing to do? That staying here alone in a marriage, alone in a town you hate, in a house you do n't feel apart of anymore - you're telling me that's the right thing to do!? FRANCESCA We are the choices we've made, Robert. ROBERT -LRB- rises. -RRB- TO HELL WITH YOU! He turns his back on her. FRANCESCA Robert. Please. -LRB- desperate to explain. -RRB- You do n't understand - no one does. When a woman makes the choice to marry, to have children - in one way her life begins but in another way it stops. You build a life of details. You become a mother, a wife and you stop and stay steady so that your children can move. And when they leave they take your life of details with them. And then you're expected move again only you do n't remember what moves you because no one has asked in so long. Not even yourself. You never in your life think that love like this can happen to you. ROBERT But now that you have it - FRANCESCA I want to keep it forever. I want to love you the way I do now the rest of my life. Do n't you understand - we'll lose it if we leave. I ca n't make an entire life disappear to start a new one. All I can do is try to hold onto to both. Help me. Help me not lose loving you. She embraces him. He wraps his arms around her. He whispers. ROBERT Do n't leave me. Do n't leave me alone. Please. This breaks her heart, knowing how hard it is for him to say this. She holds him tighter, until - ROBERT -LRB- cont'd. -RRB- Listen. Maybe you feel this way, maybe you do n't. Maybe it's just because you're in this house. Maybe. maybe when they come back tomorrow you'll feel differently. Do n't you think that's possible? FRANCESCA I do n't know. Please. ROBERT I'm going to be here a few more days. I'll be at the Inn. We have some time. Let's not say any more now. FRANCESCA No. Do n't do this. ROBERT I CA N'T SAY GOODBYE YET! We'll leave it for now. We're not saying goodbye. We're not making any decision. Maybe you'll change your mind. Maybe we'll accidentally run into each other and. and you'll change your mind. FRANCESCA Robert, if that happens, you'll have to decide. I wo n't be able to. She cries in his arms. He kisses her as if for the last time. Then, quickly, separates himself and leaves the house.","EXT. JOHNSON HOUSE Robert walks briskly towards his truck not wanting to look back. He gets in, starts it up and drives away. Francesca exits the house and watches the truck recede into the distance. She stops when she reaches the front gate, leaning against it. She murmurs to herself - FRANCESCA Keep going. Please. The truck drives away. Then, suddenly, stops. Francesca's heart quickens. She watches as the truck stands on the road in the distance. As if Robert was deciding to turn around or keep going. Francesca waits. Suddenly, the door to the truck flies open and Robert exits. Francesca loses all restraint. She opens the gate but her dress is caught on it. Robert stands by the truck. Francesca tears at the dress, ripping off a button which falls to the ground. She runs down the road. Seeing her, Robert runs towards her as well. They grab each other furiously. For these few moments, all considerations are gone. As he kisses her, he murmurs : ROBERT I forgot to take your picture. She laughs through her tears as they continue to kiss. Camera pans up to the road beyond Robert's truck. WE SEE RICHARD'S TRUCK DRIVING TOWARDS THEM. For a moment it seems as if they will be caught until we realize RICHARD'S TRUCK IS BEING SUPERIMPOSED as the LIGHT GRADUALLY BRIGHTENS MORNING.","EXT. JOHNSON HOUSE Richard, Michael and Carolyn drive down the road toward the house. Robert's truck, and all traces of him, are gone. Francesca steps into the doorway in a house dress to welcome her family home - wondering how this will feel. JOHNSON KITCHEN - EVENING The Johnson family has dinner as Francesca narrates : FRANCESCA -LRB- V.O. -RRB- You all came home. And with you, my life of details.","EXT. JOHNSON HOUSE Everyone is doing various daily chores. FRANCESCA -LRB- V.O. -RRB- A day or two past and with each thought of him, a task would present itself like a life saver, pulling me further and further away from those four days.","INT. LIVING ROOM - EVENING Francesca is reading. Richard watches TV. FRANCESCA -LRB- V.O. -RRB- I was grateful. I felt safe.","EXT. WINTERSET - MAIN STREET - DAY Richard and Francesca drive up to the general store to buy groceries. Francesca heads for the store as Richard crosses the street. FRANCESCA Want anything special for dinner? RICHARD Hmm. How about that brown sugar meat loaf you make? FRANCESCA -LRB- smiles. -RRB- Okay. She enters the store.","INT. GENERAL STORE - DAY Francesca makes small talk with the grocery lady as she buys what she needs.","EXT. MAIN STREET - DAY Francesca places a bag of groceries on the front seat of the truck, then gets in herself to wait for Richard. She takes a deep breath and removes a handkerchief from her bag to wipe the sweat from her face. She freezes - Through the windshield, she sees ROBERT standing beside his truck across the street, staring at her. Her heart stops. For a moment, she is n't even sure he's real. The town moves about its business around them. But neither notice or care. Whatever safety or forgetfulness she felt is gone. Her feelings burst through. She sits there helpless before him - willing to go or stay depending on what he did. He begins walking towards her. She prepares herself. Her life will change - it has to. There's not turning back. But the closer Robert gets, the clearer he can see that she is crying. And he stops. Without any words, he realizes what taking her with him would mean. With just a glance, he sacrifices her. With their eyes locked in the middle of Main Street - in front of the whole town - they smile and say goodbye. Robert returns to his truck. He drives off down Main Street, taking the first left. Moments later, Richard throws the feed bag into the back of his truck and gets in. Francesca is wiping her eyes. He does n't notice. He drives off in the same direction as Robert. FRANCESCA -LRB- V.O. -RRB- For a moment, I did n't know where I was. And for a split second, the thought crossed my mind that he really did n't want me - that it was easy to walk away. As they pass the corner where Robert made his left turn, Francesca turns to look and sees : ROBERT'S TRUCK IS PARKED just off the corner. As if he had to drive away to get out of sight, but could n't bring himself to drive any further. The sight of him hiding there breaks Francesca's heart, she turns away from her husband to hide the tears.","EXT. JOHNSON HOUSE - DAY Carolyn is in the yard picking vegetables. Her parents drive up in their truck. She steps out with her bag of groceries and walks briskly into the house. Richard follows more slowly with his bag of feed, stopping at the gate to pick up the button from Francesca's red dress.","INT. KITCHEN Francesca enters and places her groceries on the counter. She tries to compose herself. She sees the radio before her. She turns it on. The Dinah Washington song `` I'LL CLOSE MY EYES'' evokes every feeling of love and loss within her. She begins to cry. She hears Richard enter the house. She stands out of sight, holding her hand to her mouth to muffle her crying. She hears : MICHAEL -LRB- O.S. -RRB- Dad! You bought the wrong feed! RICHARD What!? She hears Richard exit the house.","EXT. LUCY REDFIELD'S HOUSE - NIGHT A hand knocks on a door. Lucy Redfield opens it to find Francesca standing there with a cake. FRANCESCA Hi. I'm Francesca Johnson. I just feel awful I have n't come to visit sooner. I hope I'm not interrupting anything. Is it too late? Lucy is shocked and moved at the same time. LUCY No. Not at all. FRANCESCA I was wondering if. maybe you'd like some company. -LRB- almost manic. -RRB- I baked a cake! Lucy looks at the cake. She's a little dazed by all this. LUCY Uh. sure. Please. Come in. I'll make coffee. Francesca enters. Lucy closes the door.","EXT. IOWA LAKEFRONT - DAWN Michael continues reading beside Carolyn as the sun rises. MICHAEL `` We became inseparable, Lucy and I. The funny thing is, I did n't tell her about Robert until years later. But, for some reason, being with her somehow made me feel it was safe to think about him. To continue loving him. The town loved talking about the two of us but we did n't care. And neither did your father. Which I thought was a lovely thing. I received Robert's letter and my photograph soon after. I always wondered if your father found them. I was never quite sure.''","INT. KITCHEN - EVENING At dinner, Richard remembers the button he found. RICHARD Oh, Franny, is this yours? Francesca sees the button. She speaks her original lines MOS as HER NARRATION is hard : FRANCESCA -LRB- V.O. -RRB- I almost told him. In that moment I felt as if I could n't hold it back. If he really loved me maybe he'd understand. She returns to her meal. The family eats in silence. FRANCESCA -LRB- cont'd ; V.O. -RRB- But love wo n't obey our expectations. Its mystery is pure and absolute. What Robert and I had, could not continue if we were together. What Richard and I shared would vanish if we were apart. But how I wanted to share this. How would our lives have changed if I had? Could anyone else have seen the beauty of it?","INT. JOHNSON KITCHEN - NIGHT Francesca moves about the kitchen with a frantic pace as she puts the finishing touches on a cake. Placing the frosting bowl in the sink, she hears someone upstairs exiting their bedroom. She quickly gathers the cake and her bag and exits through the screen door.","EXT. JOHNSON HOUSE - NIGHT Fighting tears, she walks to the truck from around the house. She gets in and starts it. She vaguely hears her daughter from the front door. CAROLYN Mom? But she does n't acknowledge it and drives away.","EXT. MOTOR INN - NIGHT Her truck approaches and then speeds past the Inn where Robert is staying. We can see his truck in the parking lot. 1979","INT. JOHNSON BEDROOM - NIGHT And older Francesca cares for a sickly Richard. He lies in bed beside an array of medicines and tonics. She wipes his forehead with a cool cloth as he takes his pills. FRANCESCA Better? He nods. She smiles. She shuts off the light and lays beside him. RICHARD Franny? FRANCESCA Hmm? RICHARD I just want to say. I know you had your own dreams. I'm sorry I could n't give them to you. I love you so much. Francesca turns to him. She is so touched, tears fill her eyes. She nestles close to him, wrapping her arms around him. 1982","EXT. DES MOINES Francesca eats at the same restaurant she shared with Robert. FRANCESCA -LRB- V.O. -RRB- After your father died, I tried to get in touch with Robert but found out he had left the National Geographic soon after the Madison County. No one seemed to know where he was. My only connections to him were the places we'd been to that one day. And so each week, I'd re - visit them.","EXT. JOHNSON HOUSE - DAY Francesca greets a UPS man with an envelope and a package. FRANCESCA -LRB- V.O. -RRB- And then one day, I received the letter from his attorney, with a package.","INT. JOHNSON LIVING ROOM Francesca reads the letter informing her of Robert's death. She then unwraps the package to reveal a MEDALLION with her name inscribed and A PHOTOGRAPHY BOOK ; a published collection of black and white photos by Robert Kincaid entitled `` Four Days.'' Beautiful, dramatic black and white representations of love and passion, loneliness and pain, and union. On the front page there reads an inscription `` FOR F.'' ROBERT -LRB- V.O. -RRB- `` There is a pleasure in the pathless woods. There is a rapture on the lonely shore. There is society where none intrudes. By the deep sea and music in its roar. I love not man the less, but Nature more. From these our interviews, in which I steal. From all I may be, or have been before. To mingle with the Universe and feel. What I can ne'er express, yet can not all conceal.'' The quote is Byron's. She smiles with pride as she cries.","EXT. IOWA LAKEFRONT - EARLY MORNING Michael sits with his arm around Carolyn as they look out over the lake. The notebooks are closed, but Francesca's narrations continue over the next few scenes. FRANCESCA -LRB- V.O. -RRB- There has not been a day since that I have not thought of him. When he said we were no longer two people, he was right.","INT. JOHNSON BEDROOM Carolyn, looking through her mom's closet, finds the summer dress she bought in Des Moines to wear for Robert. FRANCESCA -LRB- V.O. -RRB- We were bound together as tightly as two people can be. If it had n't been for him, I do n't think I would have lasted on the farm all these years. Remember that dress of mine you wanted, Carolyn - the one you said I never wore. Well, I know I was silly. But to me, it was as if you were asking to wear my wedding dress to go to the movies. Carolyn smiles as she holds the dress before her.","INT. MOTEL - DAY A tired Michael finds his way through the motel to his room. FRANCESCA -LRB- V.O. -RRB- After reading all this, I hope you can now understand my burial request. It was not the ravings of some mad old lady. I gave my life to my family. I wish to give Robert what is left of me.","INT. MOTEL ROOM Michael enters to find his two children watching TV and an angry Betty folding clothes. CHILDREN Hey, Dad! He looks at them lovingly, then at Betty who angrily motions for him to follow her into the bedroom. She slams the door behind him and talks in a irate whisper. BETTY You have been out all night long! Do I have a right to ask where you've been or is this a family secret? Michael just looks at her. He gently takes her hand. MICHAEL No. No more secrets. He kisses her hand. Betty is floored. MICHAEL -LRB- cont'd. -RRB- Do I make you happy, Betty? -LRB- she is stunned. -RRB- Because I want to. I want to more than anything. He gently kisses her cheek then embraces her. Betty - for the first time in her life - is utterly speechless.","INT. JOHNSON BEDROOM Wearing her mother's dress, Carolyn sits on the bed holding the phone, waiting for Steve to pick up. In her other hand, she holds the divorce lawyers card. CAROLYN -LRB- on the phone. -RRB- Hi, Steve? It's me. Good. You? Listen, we have to talk. Well, how about you? Uh, no - I've decided I'm going to stay for a while. I do n't know how long. No, I wo n't be coming back. I'm not angry, Steve. I'm not angry at all. -LRB- smiles. -RRB-","EXT. ROSEMAN BRIDGE - DAY Michael and his family stand beside Carolyn and a Priest. FRANCESCA -LRB- V.O. -RRB- `` I gave Lucy his photography book. If you're interested, take a look. If my words still leave something unclear, perhaps his pictures can illuminate. After all, that's what an artist does best.'' Michael receives the urn from the priest. He and Carolyn walk away from the group towards the bridge. They stop. Carolyn removes the lip. Michael sets his mother's ashes free. FRANCESCA -LRB- V.O. -RRB- `` I love you both with all my heart. Do what you have to, to be happy in this life. There is so much beauty.'' THE END"],"string":"[\n \"EXT. IOWA LANDSCAPE - DAY Rolling green hills, lush farmland, vast open space. Not a house or sign of life in sight. On a long dusty road, a TRUCK is driving across the screen. Clouds of dirt follow in its tracks - its motor, the only sound we hear.\",\n \"INT. TRUCK - DAY FRANCESCA JOHNSON is sitting in the front seat of the pick - up truck. Her expression is distant. Her eyes are sad, as if hiding a burden she can hardly bear. Her husband, RICHARD JOHNSON, is driving. RICHARD You feeling better Franny? FRANCESCA Yes. I'm fine. It's just this heat I think. He nods, satisfied. He turns on the radio as the VOICE OF DINAH WASHINGTON sings a bluesy, haunting love song, `` I'LL CLOSE MY EYES.'' DINAH WASHINGTON -LRB- SINGS. -RRB- `` I'LL CLOSE MY EYES. TO EVERYONE BUT YOU. AND WHEN I DO. I'LL SEE YOU STANDING THERE.''. -LRB- CONTINUES. -RRB- RICHARD -LRB- surprised. -RRB- What station is this? FRANCESCA It's a Chicago station. I found it the other day. RICHARD Kinda pretty. Is this uh. jazz kinda singing? FRANCESCA -LRB- nicely. -RRB- I do n't know. Can we turn it off? I have such a headache. RICHARD Sure. Richard shuts it off. Francesca turns her face away from him to look out at the vast expanse out of the countryside.\",\n \"EXT. JOHNSON HOUSE - DAY The truck stops in front of an isolated FARM HOUSE. A wooden gate stands twenty yards from the front door. A barn and a hot house sits on either side, surrounded by acres and acres of beautiful pasture. CAROLYN JOHNSON, a sixteen - year - old girl, steps out from the vegetable garden with an arm full of vegetable. She watches her parents exit the truck. Francesca carries her groceries, walking briskly through the front gate and entering the house. Richard grabs a bag of feed from the flatbed and strolls more leisurely. When he walks through the front gate, he notices something on the ground and picks it up. It is a BUTTON with RED NATURAL surrounding it. As if it had been torn from a piece of clothing. His daughter approaches him. RICHARD Your mother is n't feel well. I want you to help her out tonight with dinner. -LRB- she nods. -RRB- Tell Michael to put this feed away. He puts the feed bag down. She exits. He enters the house.\",\n \"INT. FRONT HALL - DAY Richard enters the front hall opposite the stairs to the second floor. To his left is the living room. To his right, through an archway is the kitchen. He moves towards the stair when he suddenly hears the kitchen radio turned on and `` I'LL CLOSE MY EYES'' continues. It puzzles him. He looks to the kitchen. Francesca is obviously there but we ca n't see her. He is about to call to her when his son, Michael, yells : MICHAEL -LRB- O.S. -RRB- Dad! You bought the wrong feed! RICHARD -LRB- irritated. -RRB- What?! He exits through the house to the back door.\",\n \"INT. KITCHEN - LATER The family - Francesca, Richard, Carolyn and their seventeen - year - old son MICHAEL - are eating supper. No one speaks. FRANCESCA So what are you going to do with the prize money? CAROLYN I do n't know. I might save up for one of those hi - fi stereo players like Peggy has. Francesca nods. Silence again. She asks her son : FRANCESCA Are you seeing Betty tonight? MICHAEL -LRB- eating. -RRB- Nah. Silence. She is used to her son's one syllable answers. RICHARD Oh! Frannie, is this yours? He places the button with red material on the table. Hiding her surprise, Francesca takes the button. FRANCESCA You found it! I got my dress caught on that damn gate. You must have eyes like a hawk. FRANCESCA -LRB- cont'd. -RRB- You must all be tired. You got home so early. What time did you leave Illinos this morning? RICHARD ` Bout 4:30. FRANCESCA Well you should all go to bed early. I'll do the cleaning up. This last remark she addresses to her daughter. Everyone returns to their silent eating.\",\n \"INT. JOHNSON HOUSE - NIGHT The house is asleep and dark except for a bright light coming from the kitchen. Carolyn quietly exits her bedroom in her nightclothes. She was awakened by noises coming from the kitchen downstairs.\",\n \"INT. KITCHEN She enters to find the lights are on. An empty cake pan and a half - used bowl of frosting sitting unwashed in the sink. She hears the motor of the truck being turned on. She moves to the front hall and looks out through the door to see : The truck driving away. She calls out : CAROLYN Mom! But she gets no response. She stands there wondering where her mother could possibly being going this time of night, as we - THIRTY YEARS LATER - SAME LOCATION Carolyn, thirty years older, stands in the same doorway of the same house thinking back to that evening her mother acted so strangely. A LAWYER is unpacking a briefcase in the living room off the front entrance. Carolyn sees a car with Florida plates driving up to the house. She smiles.\",\n \"EXT. JOHNSON HOUSE - DAY Carolyn steps out of the doorway and heads for the car, out of which exit her brother Michael and his country girl wife BETTY, a stout buxom chatterbox. Both boast Florida tans and fashion styles. MICHAEL -LRB- to Carolyn. -RRB- Explain to me again why we did n't do this in Des Moines in an air conditioned office? CAROLYN Mom's orders. MICHAEL Lawyer here? CAROLYN -LRB- nods. -RRB- I have some sandwich fixings if you're hungry. BETTY -LRB- proudly. -RRB- No, we just had lunch at the hotel with my brother and his new wife. She told me all the dirt. I forgot how interesting things can get around here. It was so good to see them. The last time we visited they were in Europe. He is doing so well. He ordered champagne. For lunch! I nearly died. MICHAEL I nearly died when we split the bill. BETTY Michael does n't understand. People who make the kind of money my brother makes do n't carry money on them. They keep it all in various accounts. MICHAEL Then we should have had lunch at the bank. Carolyn tries not to laugh. Betty shoots him a dirty look, then stops to take in the house and its surroundings. BETTY Boy. It sure has been a long time. MICHAEL -LRB- correcting her. -RRB- We were here two Christmases ago. BETTY Well, that's a long time. MICHAEL It's not that long. BETTY -LRB- suddenly upset. -RRB- Well, why do n't I just say black so you can say white! -LRB- to Carolyn. -RRB- Do n't be surprised to find your brother has n't changed an iota. He hardly ever talks and when he does it's in that tone! You should have heard him at lunch - not two words until the bill came and then he says, `` Worth every penny.'' MICHAEL -LRB- defensive. -RRB- SO! BETTY -LRB- angry. -RRB- You said it in that tone! Like you were angry at me, my brother, at the world for forcing you to eat a nice lunch! MICHAEL Oh Jesus. BETTY -LRB- staring to cry. -RRB- I simply can not stand that tone! CAROLYN -LRB- sympathetically. -RRB- Come inside. You're just tired from the trip. She comforts Betty who indulges in the attention. BETTY I am so sick and tired of apologizing and not knowing what I've done! CAROLYN I'm sure you have n't done anything. Have some iced tea. How are the kids? MICHAEL He dropped them off at Betty's mom. Where's Steve? CAROLYN -LRB- uncomfortably. -RRB- He's not coming. Betty suddenly stops crying and abrasively focuses on Carolyn's problems. BETTY Aw, is he still cheating on you, hon? Carolyn suddenly hoses sympathy for her.\",\n \"INT. LIVING ROOM - DAY The lawyer hands Michael a document. LAWYER Just sign here as having received the contents from the safe deposit box. -LRB- Michael does. -RRB- And this one, which clears the bank of all further responsibility fo0r the contents. Betty whispers to Carolyn. BETTY This is kind of exciting. You think we'll find out your mother had secret millions lying around? Carolyn smiles weakly. Michael hands back the papers. LAWYER All right. Why do n't we begin. He takes out Francesca's Last Will and Testament. LAWYER -LRB- cont'd. -RRB- Your mother has been interred at Lakeside Funeral Home until arrangements can be made. MICHAEL -LRB- to Carolyn. -RRB- I thought everything WAS arranged. CAROLYN Well, there's a problem. MICHAEL What problem? LAWYER Your mother left explicit instructions that she wished to be cremated. MICHAEL Cremated?! BETTY Eeeww! CAROLYN I know. I do n't understand it either. MICHAEL When did she decide this? LAWYER -LRB- reading will. -RRB- Apparently just before her death. MICHAEL Well, that's crazy. I do n't know anybody who gets cremated. BETTY My Jewish friend's grandmother did. MICHAEL Well, no one in my family did! Dad bought cemetery plots at Oak Ridge. One for him, one for mom. LAWYER It clearly states in the will - MICHAEL I do n't care what it says! Maybe Mama was delirious, you know. She did n't know what she was saying. If she wanted to be cremated, why the hell did she let dad buy two plots, huh? LAWYER Well, she was very specific. She wanted her ashes to be thrown over Roseman Bridge. MICHAEL WHAT! BETTY How bizarre! CAROLYN Mr. Peterson, are you sure mama wrote all this? LAWYER Well, it was notarized, and witnessed by a Mrs. Lucy Delaney. Maybe you can ask her. MICHAEL Who the hell is Lucy Delaney? CAROLYN I remember a Mrs. Delaney but Mama told me years ago she died. MICHAEL Well, I do n't care if it's legal or not, we're not cremating her and throwing her all over some bridge where we ca n't even go visit her because she's going to be blown all over the place like an ashtray. BETTY Not to mention people driving over her and doggies doing their business - MICHAEL -LRB- interrupting. -RRB- We're not doing it! I'm not even sure it's Christian. BETTY Maybe it's an Italian thing. Their mother was Italian. MICHAEL Does n't matter. Move on. The women dare not object. The lawyer raises his eyebrows and continues : LAWYER Well, we'll come back to that. Shall we open the box? MOMENTS LATER C.U. SAFETY DEPOSIT BOX A key is inserted and the lid is opened. There are many papers, deeds, et. Michael begins sorting through these. Carolyn notices a manila envelope addressed to her mother, postmarked 1965. She opens it up to find TWO LETTERS and A PHOTOGRAPH - FRANCESCA standing NEAR A COVERED BRIDGE, her hair wind blown, her expression serene, beautiful and sad. She wears a RED DRESS with buttons down the front. CAROLYN Michael, look - I've never seen this picture of mama. Have you? Betty and Michael look over her shoulder. He shakes `` no.'' CAROLYN -LRB- cont'd. -RRB- It was in this envelope from 1965. BETTY She's not wearing a bra. -LRB- takes bridge photo. -RRB- This is Roseman Bridge in case anyone's interested. Interested yes, but no one thinks anything of it. Michael returns to the other papers. Betty takes the photograph for further examination. Carolyn opens one of the letters and begins to read. The following dialogue is heard OS, as CAMERA ANGLES ON CAROLYN reading one of the letters : BETTY -LRB- O.S. -RRB- It's a beautiful picture of her. MICHAEL -LRB- O.S. -RRB- -LRB- to lawyer. -RRB- Why are there two deeds here? LAYER -LRB- O.S. -RRB- One of for the original parcel your father bought and this one is for the additional acres he purchased in' 59. MICHAEL -LRB- O.S. -RRB- And this? LAWYER -LRB- O.S. -RRB- Those are bills of sale from the equipment your mother sold in. -LRB- CONTINUES O.S. -RRB- Throughout their conversation, we focus on Carolyn as she reads and her expression sinks into one of shock and confusion. She flips to the last page of the letter to read who it is from. She ca n't believe her eyes. BETTY -LRB- O.S. -RRB- What's that? Carolyn jumps a little, so engrossed in her discovery. She lies. CAROLYN Oh, just a old letter from a friend. BETTY -LRB- laughs. -RRB- No treasure maps, huh? CAROLYN -LRB- laughs nervously. -RRB- No. Betty starts inspecting knit knacks around the house she might be able to take. Carolyn looks to Michael. CAROLYN -LRB- cont'd. -RRB- Michael. MICHAEL -LRB- reading documents. -RRB- Yeah. CAROLYN Michael. MICHAEL -LRB- irritated. -RRB- What?! CAROLYN Come here a minute. Michael crosses impatiently to Carolyn. Carolyn looks around to the others, then guides him OS into the kitchen for privacy. He protests. MICHAEL What? Where are we going? They exit. Alone with the impatient lawyer, Betty examines a vase as she pumps him for info. BETTY Did she say anything in there about me? Leaving me anything in particular? LAWYER No. Betty prattles on as she examines each item, much to the lawyer's dismay, hiding her resentment and hurt. BETTY I did n't expect so. She never liked me. It's okay. I always knew. Thought we married too young. Nobody broke his arm - that's what I said but you know mothers and their sons. Also, she never liked the fact of us moving to Florida although what's where the opportunities were. Could n't deny that. Suppose we should have visited more but you know she hardly ever made an effort to come to Tampa. Not even to see her grandchildren. She was a cold woman. They say Italians are hot - blooded but not her. She was cool as ice. -LRB- picks up a candlestick. -RRB- She leaves these to anyone? Michael and Carolyn re - enter the living room. Michael's expression now matches Carolyn in disbelief. BETTY -LRB- cont'd. -RRB- What's going on? MICHAEL Um. we were just wondering how it might be better if me and Carolyn went over the stuff by ourselves. Not keep you two waiting around. I'll contact your office about the legal work. Grateful, the lawyer packs up to leave. BETTY I do n't mind waiting. MICHAEL Well, there's a lot of boring stuff to do. Lists of people we have to write to. Find mama's relatives addresses in Italy - stuff like that. BETTY Well, I can help. MICHAEL I said NO! That came out a bit aggressively. Betty is hurt. MICHAEL -LRB- cont'd. -RRB- Why do n't you go to your mothers. Or back to the hotel. Sit in some air conditioning. Take a bath. BETTY -LRB- near tears. -RRB- I do not need instructions from you to bathe! -LRB- gets her bag. -RRB- I knew you'd do this! I knew I'd come all the way here and be shut out as usual! I came to be here for you! I did n't have to come! -LRB- genuinely hurt. -RRB- Lord knows I was never much welcome in this house before. Apparently dead or alive, nothing's changed. CAROLYN Aw, Betty. Carolyn feels badly for her. An impatient Michael refuses sympathy. Embarrassed, Betty starts to exit then stops at the mantle. BETTY Carolyn - you want these candlesticks? CAROLYN No. You can have them. Betty grabs them both and exits. Carolyn looks at him disapprovingly. Michael takes the letter from her hand. MICHAEL Now what's this about?\",\n \"INT. KITCHEN - LATER Sitting at the kitchen table, Carolyn is in the middle of reading the letter to Michael. CAROLYN - going over and over in my mind every detail, every moment of our time together and I ask myself, `` What happened to me in Madison County?'' I struggle to put it together in a way that allows me to continue knowing we're on separate roads. But then I look through the lens of my camera, and you're there. I start to write an article and I find myself writing it to you. It's clear to me now we have been moving towards each other, towards those four days, all our lives - MICHAEL -LRB- rises. -RRB- Goddamn sonofabitch! I do n't want to hear anymore! Sonofabitch! Burn the damn thing! I do n't want to hear it! Throw it away! Carolyn continues reading silently. Michael's curiosity gets the best of him : MICHAEL What's he saying now? CAROLYN Well, he just gets on about how if mama ever needed him, she could find him through the National Geographic magazine. He as a photographer. He promises not to write again. Then all it says is. -LRB- beat. -RRB- I love you. Robert. MICHAEL Robert! Jesus! I'll kill him. CAROLYN That would be some trick. He's already dead. That's what this other letter is. -LRB- takes letter and skims. -RRB- From his attorney. He left most of his things to mama and requested. -LRB- she stops. -RRB- MICHAEL What? CAROLYN That he be cremated and his ashes thrown on Roseman Bridge. MICHAEL DAMN HIM! I knew mama would n't have thought of that herself. It was some damn perverted. photographic mind influencing her! When did the bastard die? CAROLYN 82. MICHAEL Wait a minute! That was thirty years after daddy. Do you think? CAROLYN I do n't know. I'm completely in the dark here. That's what I get for moving away. MICHAEL This happened way before we both got married. I. I ca n't believe it. -LRB- then, innocently. -RRB- You think she had sex with him? Carolyn can not believe he is this dense. CAROLYN -LRB- sarcastic. -RRB- My Lord. It must feel real nice living inside your head with Peter Pan and the Easter Bunny. MICHAEL Do n't talk to me like that. She was my mother for Christsakes. And now I find out she was. She was a -! CAROLYN Do n't say that! MICHAEL Well, what am I supposed to think? CAROLYN I ca n't believe she never told me? We spoke at least once a week. How could she do that? MICHAEL How did she meet him? Did Dad know? Anything else in that envelope? CAROLYN No, I do n't think so. I - She dumps it over and a SMALL KEY FALLS OUT. Pause, as Carolyn and Michael look to each other - they grab the key and run out of the kitchen, almost comically falling over each other in their obsession to put this puzzle together. A SERIES OF JUMP CUT - From one lock to another as they try to find the keyhole that fits the key - they try closets, attic doors, jewelry boxes, night tables, vanity drawers. Finally -\",\n \"INT. BEDROOM - DAY At the foot of their parents bed sits an WALNUT HOPE CHEST, covered with a tapestry. Michael and Carolyn look to each other first, before one removes the tapestry and the other tries the key. It fits. They open the chest to find : Camera equipment, a chain with a medallion that reads `` FRANCESCA,'' three leather bound notebooks - and a sealed envelope with `` Carolyn or Michael'' written on it. CAROLYN/MICHAEL You read it! Carolyn relents. She takes out the lefter and reads : CAROLYN `` January, 1987. Dear Carolyn. I hope you're reading this with Michael. I'm sure he would n't be able to read it by himself and he'll need some help understanding all this, especially the parts about me having sex.'' Insulted, Michael pulls the lefter out of her hand and defiantly attempts to read it aloud himself to disprove his mother's claim. But after looking at a few lines, he surrenders and hands the lefter back to his sister. CAROLYN -LRB- cont'd. -RRB- `` First, and most of all, I love you both very much and although I feel fine, I thought it was time to put my affairs, excuse that word, in order.'' MICHAEL I ca n't believe she's making jokes. CAROLYN Sshhh. `` After going through the safety deposit box, I'm sure you'll find you're way to this letter. It's hard to write this to my own children. I could let this die with the rest of me, I suppose. -LRB- cont'd. -RRB- But as one gets older, one fears subside. What becomes more and more important is to be known - known for all that you were during this brief stay. Row said it seems to me to leave this earth without hose you love the most ever really knowing who you were. It's easy for a mother to love her children no matter what - it's something that just happens. I do n't know if it's as simple for children. You're all so busy being angry at us for raising you wrong. But I thought it was important to give you that chance. To give you the opportunity to love me for all that I was.'' Carolyn and Michael look to each other like two school children about to take a difficult exam. They continue. CAROLYN -LRB- cont'd. -RRB- `` His name was Robert Kincaid. He was a photographer and he was here in 1965 shooting an article for National Geographic on the covered bridges of Madison County. Remember when we got that issue and looked at those bridges we'd seen for years but never noticed? How we felt like celebrities? Remember when we started getting the subscription? They do n't remember. CAROLYN -LRB- cont'd. -RRB- I do n't want you to be angry with him. I hope after you know the whole story, you might even think well of him. Even grateful. MICHAEL Grateful!? CAROLYN -LRB- reads. -RRB-''. It's all there in the three notebooks. Read them in order. If you do n't want to, I suppose that's okay too. But in that case I want you to know something - I never stopped loving your father. He was a very good man. It's just that my love for Robert was different. He brought out something in me no one had ever brought out before, or since. He made me feel like a woman in a way few women, maybe more, ever experience.'' MICHAEL That's it! Grabbing the letter, he starts putting everything back in the trunk. CAROLYN What are you doing? MICHAEL This is crazy. She waits till she's dead to tell us all this. Well, I got news for you. She was my mother. That's enough for me. I do n't have to know who she was. CAROLYN Well, I'd like to read them. MICHAEL No. We're going to lock this up and - CAROLYN STOP IT! -LRB- Michael freezes. -RRB- I want to read them! If you do n't want to, then just leave. But do n't you push me around like I'm some mule you paid for - I already GOT A HUSBAND! Michael is stymied.\",\n \"INT. KITCHEN - LATER Carolyn opens the first notebook which is dated AUGUST 1965. Michael sits beside her with a cup of coffee. CAROLYN -LRB- reads. -RRB- `` I suppose his coming into my life was, in many ways, prepared for weeks, maybe even months before. There was a restlessness I feeling. Out of the blue and for no apparent reason. There's nothing more frightening to a woman whose been settled down for almost twenty years than to suddenly feel unsettled. I do n't know when it started. I do remember one night in particular, a little over a week before Robert arrived.'' CAROLYN'S VOICE BECOMES FRANCESCA'S VOICE AS WE : 1965\",\n \"INT. JOHNSON'S BEDROOM - NIGHT Richard is fast asleep while Francesca sits up in bed reading. FRANCESCA -LRB- V.O. -RRB- `` It was late at night after a long day. Your father was tired - fighting all afternoon with that new equipment Robert Harrison convinced him to buy. But I was n't tired. Lately, I could hardly sleep more than two hours a night. I was reading some John O'Hara novel, skimming the words, turning the pages without absorbing what I was reading. My mind was far away. And no matter how I tried, I could n't call it back.'' Francesca closes the book and turns off the light. She nestles into the bed and tries to sleep. After a beat, she opens her eyes and turns on the light. As she gets out of bed she awakens Richard. RICHARD What time is it? FRANCESCA Later. Go back to sleep. RICHARD Where you going? FRANCESCA I'm not tired. I thought I might finish Carolyn's skirt. RICHARD Now?! -LRB- checks clock. -RRB- It's after eleven. FRANCESCA I ca n't sleep. RICHARD Again? Maybe you should see a doctor. FRANCESCA I'm not sick, Richard. I'm just not tired, now go back to sleep before you're up for the whole night too! Francesca exits. Richard nestles under the covers, mumbling : RICHARD If you're not sick, how can it be contagious?\",\n \"INT. ATTIC - NIGHT Francesca sits at her sewing machine, working on Carolyn's skirt. When the thread runs out, she checks her sewing box for another spool of that color. Not finding it, she raises and walks to an opened closet. She pulls on a light cord and checks her supplies. There are shelves of boxes, crates, old clothes and shoes all crammed together. She pulls out one shoe box and an entire stack of items tumble off the shelf onto her head. FRANCESCA Damn it! Shit! She looks at the mess and decides it's time to re - organize. The clock reads 2:30 AM. The closet has been emptied. Francesca rummages through box after box. Two huge piles have been created - one for items to be thrown away, another for items to be kept. Francesca is wiping the bare shelves down with a rag and some cleanser. Looking up to the bottom of the next shelf, she notices A SHOULDER STRAP hanging, wedged between the wall and the shelf. Pulling over a stool, she steps up to be eye level with the shelf. It is an OLD HANDBAG - of a style not seen since the forties when she was a young girl. She pulls it down to examine. It is very dusty and worn, but the snaps still work. She places it against her side to see if it would still be fashionable. She opens it and finds an old lipstick - reading the bottom where the name of the shade is located. FRANCESCA -LRB- cont'd. -RRB- Ha, they do n't even made this color anymore. She exits the closet and moves to an old mirror, trying the lipstick on. As she decides whether or not she likes it, a thought occurs to her. she remembers something. She crosses back to the handbag and feels the inside for a compartment hidden by a flap of material and a snap. She unsnaps it and an old BACK & WHITE PHOTO slips out. She looks at its image - two young people against an Italian background. Francesca is twenty years younger with her arms around a handsome, black - haired charmer named - FRANCESCA -LRB- V.O. -RRB- `` Niccolo. I could n't remember the last time I had seen that face. And then the memories would n't stop. Like an avalanche.'' FLASHBACK -\",\n \"EXT. NAPLES COUNTRYSIDE, 20 YEARS EARLIER - DAY A hot, breezy summer day. A young vibrant Francesca is storming through an open field, angry, while Niccolo calls after her in pursuit. The following scene is played in Italian with subtitles. NICCOLO Francesca! Francesca! Where the hell are you going? FRANCESCA Leave me alone! NICCOLO You play these games and I'm supposed to follow - run after you like a schoolboy. Well, I'm not! I'm fed up! Niccolo stops. Several yards ahead of him, Francesca stops and turns. Suddenly, she storms back towards him until they are face to face. FRANCESCA So that's it! You just give up! NICCOLO What `` give up''? You agreed with them! Mommy and Daddy said stay away from me and you said all right. What am I supposed to do? FRANCESCA Fight for me! Niccolo grabs her violently. NICCOLO ENOUGH! You do n't know what you want! Stop looking for me to tell you! STOP IT! Francesca knows he's right. He releases her. NICCOLO -LRB- cont'd. -RRB- We can go back now and end it or we can go back and you tell them off. This is your choice! Not mine. But I wo n't do this anymore. This is for children! Frustrated and sad, Francesca sits upon the ground. Niccolo knows she can not face her parents yet he looks sympathetic.\",\n \"EXT. JOHNSON HOUSE - DAWN 1965 Francesca sits on the back porch in her bathrobe, looking out over the pasture as if she were watching the previous scene happen right before her eyes. In the pasture stands NICCOLO as he was twenty years ago. Memories have overlapped. A field in Naples is now a pasture in Iowa and Niccolo is as real to her as the grass. He is staring at her seated on the porch of her Iowa home, a woman twenty yards older than when he knew her. He smiles. FRANCESCA -LRB- V.O. -RRB- `` I had forgotten this. I had somehow remembered it being more his fault, his decision. Then I remembered we made love in that field before we left for home. And I remembered it was my idea. I remembered tearing his shirt and biting his body, hoping he would kidnap me. I had forgotten that too. And I wondered, as I sat there. how many other things I'd forgotten.'' RICHARD -LRB- O.S. -RRB- Frannie. Startled, Francesca turns as if she were caught in the act. Richard is fully dressed, prepared to start the day. Francesca turns back to the pasture - Niccolo is gone.\",\n \"INT. JOHNSON HOUSE - EVENING It is a week later. Francesca is making dinner. A COUNTRY STATION is tuned in on the radio. FRANCESCA -LRB- V.O. -RRB- `` The following week was the Illinos State Fair. The two of you were going with dad to exhibit Carolyn's prize steer. It was the Sunday night you left. I know it sounds awful but I could n't wait for you all to leave. You were going to be gone until Friday. Four days. -LRB- beat. -RRB- Just four days.'' Francesca's expression looks as if she needs a break from her family for more like four years. FRANCESCA -LRB- cont'd. -RRB- Michael! Carolyn! Richard! Dinner! She sets down a bowl of potatoes, a plate of sausages, coffee and corn as one by one her family enters and sits down. Michael enters through a screen door from the back, letting the DOOR SLAM SHUT. FRANCESCA Michael, what did I tell you about that door? Richard enters after Michael, letting the door SLAM THE same way. Francesca is about to say something, but gives up. Everyone begins eating - in complete silence. When Michel ca n't open the ketchup bottle, Francesca grabs it, palms the top skillfully and twists it off. She hands it back to Michael who makes no comment. When Richard scans the table for something that obviously is n't there, Francesca is up out of her seat before he can ask, at the fridge, grabbing the sour cream, closing the fridge and back at the table with incredible swiftness. When Michel moves his big arm to reach for the salt, he knows over his cup and saucer, which Francesca catches with both hands before they hit the floor. Her reflexes are like a trained athlete. Finally, Francesca is able to sit and sip her coffee. She watches her teenage daughter fill her plate with a blank expression that lets nothing slip through - no indication of all the tempests of emotions that go through a teenage girl. FRANCESCA You excited about going, Carolyn? Without looking up, Carolyn fakes a smile. Looking at her, Francesca remembers Carolyn as a three - year - old girl : FLASHBACK. In the same kitchen, THREE - YEAR - OLD CAROLYN runs around her mother's feet completely naked, squealing with delight as Francesca flicks her water from the tap. FLASHBACK ENDS. Francesca watches as Carolyn eats in silence, distant, locked in her own secret teenage thoughts and dreams. Francesca then looks to her son, shoveling food into his mouth at an alarming rate. She attempts a conversation. FRANCESCA -LRB- cont'd. -RRB- How was your date last night? MICHAEL -LRB- w/o looking at her. -RRB- Okay. FRANCESCA What's her name? MICHAEL Betty. FRANCESCA What's she like? MICHAEL Okay. Silence. Frustrated, Francesca has a fantasy - Francesca picks up a blunt butter knife, rises out of her seat, grabs her son and shoves the knife at his throat : FRANCESCA Do you like her? Michael finally reacts with more than one word - frightened for his life. MICHAEL Uh. Yeah. Yeah. She's real nice. FRANCESCA Well, what's nice about her? Tell us! MICHAEL Well, she's. she's real pretty and. and she's got a cute shape. she's a good sport, ya know, for laughs and. -LRB- desperate. -RRB-. she loves fried chicken wings and beer. FRANCESCA Is n't that nice? You should bring her home to meet us! FANTASY ENDS. Francesca looks at Michael in disgust. RICHARD We better get moving. -LRB- to Francesca. -RRB- You sure you do n't want to come? Francesca looks at Richard with complete conviction. FRANCESCA I'm positive. RICHARD I'm going to miss you. FRANCESCA It's only four days. He gives her a sweet peck on the lips. Francesca smiles, anxious for them all to leave.\",\n \"INT. JOHNSON HOUSE - LATER THAT NIGHT Alone, dressed in her bathrobe, Francesca checks the front door. She crosses to the living. Noticing two throw pillows on the floor, she arranged them neatly on the couch. She sits herself in an easy chair then flicks on a reading lamp and opens her book. After five seconds, she closes the book. She crosses to the TV and turns it on, then turns it off before the picture tuned in. She turns and leans on the TV, flicking the ON/OFF switch on and off as her mind wanders. She gets an idea. She crosses to the hi - fi and looks through several albums she got from her Columbia Record Club. But nothing inspires her and she quickly loses the desire for music. She's antsy. She has this time alone and she does n't know how to spend it. She walks through the dining room, passing a china closet filled with fancy dishes and glasses. She stops. Shoved in the corner behind is an old, un - opened bottle of BRANDY. She removes up, setting atop the dining table to open it. But when she catches a reflection of herself in the window opposite her, she stops. She sees a lonely, frustrated woman in a tattered bathrobe anxious to open a bottle of liquor. Deflated, she returns the brandy to the cupboard and exits.\",\n \"EXT. BACK PORCH - NIGHT Francesca sits on the porch with a book in her lap, gazing out over the pasture. It's a hot night. She opens the top of her rope a bit. Feeling the air against her skin, she decides to open it a bit more. She gets an idea. Standing, she looks to see if anyone is around - though rationally she knows there is n't a soul for miles. She turns off the porch light. With a brave and daring impulse, she sheds her bathrobe and stand naked under the night sky. The air feels good against her body. She opens her arms up against the night sky and moon like an Indian priestess. Suddenly, she starts hitting her body as mosquitoes begin attacking her bare torso. Thwarted, she quickly covers herself with a robe and runs into the house.\",\n \"INT. KITCHEN - MORNING Francesca trudges into the kitchen. As if on automatic, she takes the coffee pot and fills it with water. She gets the coffee and begins spooning it out. She stops. She gets the idea of taking herself out for breakfast and dumps the coffee pot out.\",\n \"EXT. MAIN STREET; WINTERSET - MORNING A one street town. On either side are rows of storefronts, an old coffee shop/diner, a bank, a medical center, a newspaper building, a courthouse and a movie theater showing CAT BALLOU. The steeple of the local church is the highest structure, towering over the town from the end of Main Street.\",\n \"INT. COFFEE SHOP/DINER - MORNING Dressed in jeans and a light summer blouse, Francesca sits alone - treating herself to breakfast and the paper. Some of the gossip news includes rumors of Frank Sinatra, 49, marrying Mia Farrow, 19 : Cary Grant 61, marrying DYAN CANNON, 27. Francesca shakes her head in disbelief at such news. She tries to continue reading, but is distracted by the loud conversation in the booth beside her : TWO MIDDLE - AGED WOMAN and ONE MIDDLE - AGED HUSBAND sit after breakfast discussing the local gossip. ELEANOR Oh, this heat! Times like this I wish we took that offer from your brother and moved on up to Michigan. HENRY They got heat in Michigan. ELEANOR Not this kind of heat. HENRY Heat is heat. ELEANOR Heat is not heat! There's different kinds! And this heat is much hotter than what they got in Michigan. You go and call your brother and see if he do n't say the same thing. HENRY I'll get right on it. Mrs. Delaney, an attractive well - off woman in her forties, enters the shop and heads for the counter. GLADYS -LRB- whispers. -RRB- Mrs. Delaney. -LRB- Eleanor looks. -RRB- Did you hear the latest? ELEANOR No, what? GRADYS Apparently, she caught them. -LRB- Eleanor gasps. -RRB- Ran right into them in Des Moines in the middle of her shopping. ELEANOR Oh, what a horror. Poor woman. That Redfield girl's got no business showing her face in daylight. GRADYS I do n't know how that tramp stands living here. No one can bear even speaking to her. She has no friends. HENRY Well, nobody put a gun to his head. ELEANOR Oh, shut up! It's the woman who's in control of these situations. Men do n't know which end is up till a woman points. Mrs. Delaney acts as if nothing is wrong. Yet, she knows everyone knows and everyone knows she knows they know, yet no one says a word. She sits at the counter. MRS. DELANEY Just coffee, please. Francesca hears the gossip continue in hushed tones : GLADYS See. Money do n't buy happiness. I must say, she's taking it well. ELEANOR I'd kill him. Him and that Redfield woman. Together. First one then the other. And then I'd laugh. GLADYS I'd laugh first then I'd kill them. Make sure they heard me laughing. Eleanor nods. Not being able to stand it, Francesca rises. She must pass them on the way to the counter, in order to pay. Eleanor immediately stops her. ELEANOR Francesca! So, everybody got off okay last night? FRANCESCA Yes, thanks. GLADYS What you going to do all alone for four days - a woman of leisure? FRANCESCA Oh, you know there's always something to be done. Have a good day. Henry. Henry nods back. As she exits, they whisper. ELEANOR She's changed. GLADYS Oh, yes. ELEANOR She used to be so friendly. HENRY Maybe she's going through `` the changes.'' Eleanor hits him in the chest. ELEANOR What do you know about `` the changes''? HENRY Well, I did n't know they was a secret club. ELEANOR Do n't talk about what you do n't know. Besides, she's too young for `` the changes.'' GLADYS My niece had `` the changes'' when she was thirty - one. ELEANOR No. What a tragedy. What happened? GLADYS -LRB- wisely. -RRB- She changed. At the counter, Francesca pays up. She looks to Mrs. Delaney and tries to smile, but Mrs. Delaney works hard at not making eye contact with anyone. Suddenly, she rises telling the waitress : MRS. DELANEY Excuse me for a moment, I left something in the car. She exits quickly. Francesca pays up as the waitress adds : WAITRESS Poor woman.\",\n \"EXT. COFFEE SHOP/DINER - MORNING Francesca exits and heads for her truck. As she crosses from one corner to another, she notices down the side street - Mrs. Delaney sitting alone in her own car, sobbing. Unable to bear the humiliation, she stole herself away to cry. Francesca wants to help but feels useless. She quickly heads for her truck.\",\n \"EXT. JOHNSON HOUSE - DAY Francesca sits on the front porch with some iced tea, trying to cool herself off. It is a scorcher. She is barefoot, her blouse hanging out of her jeans, her hair fastened up by a tortoise shell comb. Camera begins a slow move into close - up, as she sips her tea and lets her mind wander. WE INTERCUT HER FANTASIES WITH HER FANTASY : Back in town, Francesca slides into Mrs. Delaney's car. She embraces the woman who cries into her arms. - Francesca on the porch. FANTASY : Mrs. Delaney's car is surrounded by townpeople staring into it. Francesca hugs Mrs. Delaney closer to her in defiance. - Francesca on the porch. FANTASY : Mrs. Delaney's car drives up to a train station. She and Francesca exit with suitcases. They are surrounded by news reporters as they make their way to the train. REPORTER Mrs. Johnson! Mrs. Johnson! Is it true Cary Grant has proposed to you? FRANCESCA Yes. And I've accepted. REPORTER What about his engagement to Dyan Cannon? FRANCESCA I said to him Cary you're being ridiculous. You're more than half her age. He said no one had ever been that honest with him and he falls in love with me. REPORTER What about your husband? FRANCESCA I'm very sad but Richard said that since it's Cary Grant, he completely understands. I'm also taking Mrs. Delaney away from this town. She'll be living with Cary and I in Beverly Hills. She boards the train with Mrs. Delaney. END OF FANTASIES. Tired of her fantasies, Francesca looks up to the sun to clear her mind. It is blinding. When she looks back out onto the road, her vision is momentarily blurred. Until, slowly, out of the blue, she sees : A TRUCK driving toward her house, kicking up dust, like some phantom appearing through the etheric plane. Francesca is n't even sure it's real. She sips cool drink & blinks to regain her vision. The truck slows down and turns into her driveway. Francesca watches with suspicious curiosity as : The truck stops and ROBERT KINCAID steps out. Flashing his blue eyes in her direction, he smiles and says : ROBERT Sorry to bother you, but I've got a feeling I'm lost. Francesca remains guarded. FRANCESCA Are you supposed to be in Iowa? ROBERT -LRB- laughs. -RRB- Yeah. FRANCESCA: Well, you're not that lost. He laughs. She puts down her tea and crosses to him. ROBERT I'm looking for a covered bridge out this way. uh. wait a minute - He looks through a small notepad for the name. Francesca finds herself scanning his body. FRANCESCA Roseman Bridge? ROBERT That's it. FRANCESCA Well, you're pretty close. It's only about two miles from here. ROBERT Oh, terrific. Which way? Pause as Robert awaits directions and Francesca scans a sudden impulse. FRANCESCA Well, I can take you if you want. Robert is pleased, but a bit surprised as is Francesca who anxiously recants : FRANCESCA -LRB- cont'd. -RRB- Or I can tell you. I can take you or tell you. It's up to you. I do n't care. Either way. Robert smiles finding her sudden nervousness charming. ROBERT Well - Suddenly, from the opposite direction of the road, A CHEVY barrels by. The driver, FLOYD, toots his horn. FLOYD Howdy, Francesca. FRANCESCA Hey, Floyd. He drives off. Francesca knows they've been seen. Slightly annoyed by Iowain neighborliness, she turns to Robert and with some defiance says : FRANCESCA -LRB- cont'd. -RRB- It'd be better if I show you, I think. ROBERT If I'm not taking you away from anything. FRANCESCA No. I was just going to have some iced tea then split the atom, but that can wait. -LRB- he smiles. -RRB- I just have to get my shoes. Robert watches her as she turns and heads back to the house. He watches her lift her blouse and tuck it into her jeans, revealing her shapely hips and buttocks. He turns back to the truck and notices the mailbox - MR & MRS. RICHARD JOHNSON. He nods as if he knew all along and begins to make room on the front seat for Francesca.\",\n \"INT. JOHNSON HOUSE Francesca is slipping on her boots when she suddenly stops. `` What am I doing?'' , she asks herself silently.\",\n \"EXT. JOHNSON DRIVEWAY Francesca approaches the truck. On the door, she reads : KINCAID PHOTOGRAPHY, BELLINGHAM, WASHINGTON. Robert is clearing away paper cups, banana peels, paper bags, photography equipment. In the back, Francesca notices a cooler and a guitar case. ROBERT I was n't expect company. Let me get this out of the way. He hauls a case of film from the front to the back. Francesca notices his tanned, muscular arm move in one graceful sweep. ROBERT -LRB- cont'd. -RRB- Okay. All set. Francesca smiles. They both get into the truck. ROBERT -LRB- cont'd. -RRB- Now, where are we going? FRANCESCA Out, then right.\",\n \"EXT. MADISON COUNTY ROAD - DAY As the truck drives, we see no one else in sight.\",\n \"INT. KINCAID'S TRUCK They drive in silence. Francesca is enjoying the breeze against her face. ROBERT Pretty country. FRANCESCA Hmm - mmm. She looks out at the vast expanse. It depresses her. ROBERT There's a wonderful smell about Iowa - very particular to this part of the country. Do you know what I mean? FRANCESCA No. ROBERT I ca n't describe it. I think it's from the loam in the soil. This very rich, earthy kind of. alive. No. No, that's not right. Can you smell it? FRANCESCA -LRB- shakes her head. -RRB- Maybe it's because I live here. ROBERT That must be it. It's a great smell. Francesca wants to know more about him. FRANCESCA Are you from Washington originally? ROBERT Uh - huh. Lived there till I was twenty or so and then moved to Chicago when I got married. FRANCESCA Oh. When did you move back? ROBERT After the divorce. FRANCESCA Oh. ROBERT How long you been married? FRANCESCA Uh. uh. -LRB- ca n't remember. -RRB- Umm. long time. ROBERT You do n't look like a native, if you do n't mind my saying so. FRANCESCA No, I do n't mind. I'm not from here. I was born in Italy. ROBERT Well, from Italy to Iowa - that's a story! -LRB- Francesca smiles. -RRB- Whereabouts in Italy? FRANCESCA Small town on the Eastern side no one's ever heard of called Bari. ROBERT Oh yeah, Bari. I've been there. FRANCESCA -LRB- surprised. -RRB- No, really? ROBERT Oh, yeah. Actually, I had an assignment in Greece and I had to go through Bari to get the boat at Brindisi. But it looked so pretty I got off and stayed for a few days. Breathtaking country. Francesca is overcome by the idea of such freedom. FRANCESCA You just. got off the train because it looked pretty? ROBERT Yeah. Excuse me a sec. He reaches over with one arm, brushing slightly against her thigh. He opens the glove compartment and pulls out a pack of Camels and a Zippo lighter. ROBERT Like one? Francesca, who does n't usually smoke, accepts. FRANCESCA Sure. She takes a cigarette out of the pack. Robert drops the pack and, with the same hand, flicks open the Zippo and ignites it. Francesca leans over. The road is bumpy and a breeze blows through both windows. She cups her hands around his to shelter the flame. She feels his skin for a brief moment. She sits back and enjoys the ride and her cigarette as Robert lights up. Silence. They drive. ROBERT So, how long you've been living here? FRANCESCA Long. -LRB- changes subject. -RRB- You just got off the train and stayed without knowing anyone there? ROBERT -LRB- laughs. -RRB- Yeah.\",\n \"EXT. ROSEMAN BRIDGE - DAY The truck stops. They exit. Robert takes out some equipment. ROBERT This wo n't take long. I'm shooting tomorrow morning. I just need to do some prep work. FRANCESCA I do n't mind waiting. He smiles and takes his equipment to the bridge. Francesca slowly follows. She watches his body move. Catching herself, she stops. Robert sets up a tripod in the small ravine beneath the bridge, pointing a view finder up as he plans his shots. Francesca walks through the bridge, noticing lovers names scrawled on the inside : CATHY & BUDDY 4 EVER. ROSIE AND HANK TILL THE END OF TIME. Through a crack in one of the wooden planks, Francesca watches like a voyeur as Robert works. She sees him take out a handkerchief and wipe the sweat off his neck, then inside his shirt and around his chest. Without knowing where Francesca is, Robert speaks aloud : ROBERT Is it always this hot? Francesca moves quickly away from the plank, like a Peeping Tom who's been caught. FRANCESCA This time of year. ROBERT Would you do me a favor and go to the truck? Inside that leather bag with the pockets is a package of lens cleaners. Would you grab me one? Francesca obliges, grateful for something to occupy her. Inside the truck, she scans for the leather bag. She sees it next to a duffel bag. The bag' zipper is opened. She glimpses inside as Robert's personal things - clothes, socks, underwear, shaving kit. Life magazines from July and August, one depicting the death of Aldai Stevenson ; the other a cover photo of the Watts riots. She grabs the leather bag and opens it. At the bridge, Francesca looks for Robert in the raving but he is gone. She looks through the bridge to the other end and sees only the tripod. No Robert. She walks through the bridge and out the other end. She finds Robert bent over, picking flowers. FRANCESCA Oh there you are. ROBERT Oh! You caught me. He rises with a bouquet of wildflowers for her. ROBERT Thanks for your help. Francesca smiles, not knowing how to take this. ROBERT Men sill give women flowers, do n't they? I mean, as a sign of appreciation? I'm not that out of date, am I? FRANCESCA No, not at all -. -LRB- suddenly. -RRB- except those are poisonous. ROBERT WHAT! He flings the flowers down. He wipes his hands furiously. FRANCESCA I'm sorry. I was kidding. Robert looks at her with a shocked smirk, secretly liking her strange behavior. FRANCESCA I'm sorry. I do n't know what - I'm sorry. Really. They're lovely. She begins picking up the flowers. ROBERT -LRB- smiling. -RRB- Are you by nature a sadistic person? FRANCESCA No, I'm not. -LRB- trying not to laugh. -RRB- I do n't know why I said that. I've been in a very. strange mood all day. I've never done anything like that before. It's. I'm just. -LRB- looking for excuse. -RRB- Well, you know, the whole world is just going nuts. Robert looks at her like she's nuts. Francesca tries to dig herself out of her hole. Robert enjoys offering no help. FRANCESCA What with those riots in Los Angeles and people burning draft cards and. Adlai Stevenson dying last month. She rises with the flowers. Robert gives her a friendly pat on the arm. ROBERT Should n't let things get to you so much. He continues with his work. Francesca expresses relief and embarrassment behind his back.\",\n \"INT. TRUCK - LATER Driving back, Francesca sits with her feet up on the dashboard. Robert drives while he fiddles with the radio. All he can find are country stations. FRANCESCA Looking for something in particular? There's not much of a selection. ROBERT I found this Chicago station before. Wait a minute. -LRB- he tunes it in. -RRB- Here it is. We hear a BLUES SINGER with a sax arrangement. FRANCESCA Oh, that's nice. ROBERT Want another cigarette? FRANCESCA Sure. Francesca's having a great time.\",\n \"EXT. JOHNSON HOUSE - DAY Robert's truck drives down the road and into the driveway. ROBERT Well, thank you for all your help, Mrs. Johnson. FRANCESCA Francesca. ROBERT Francesca. Robert. Francesca nods, as if to say hello and goodbye in the same moment. She gets out of the car, closes the door, then asks : FRANCESCA Would you like some iced tea?\",\n \"INT. KITCHEN - DAY Robert fiddles with the kitchen radio, tuning in to the Chicago station. Francesca is making iced tea. Robert sits back down at the kitchen table. FRANCESCA Lemon? ROBERT Sure. With her back to him, Robert never takes his eyes off her. She turns and crosses to him, with the tea. ROBERT -LRB- cont'd. -RRB- Thanks. Francesca smiles and sips her own. She watches him gulp down the tea so fast, some of it dribbles down the side of his face and neck. Francesca finds it sexy. He empties it. FRANCESCA Would you like another one? Robert nods and he pulls out his cigarettes. ROBERT Mind if I smoke? FRANCESCA -LRB- at the sink. -RRB- Not at all. Robert lights up as he watches her fix another iced tea. He watches her slip off one boot, then the other - never missing a beat of her preparation. He ca n't help eyeing her body. When she returns, she also has the flowers he picked for her arranged in a Casper the Friendly Ghost jelly glass. She places them on the table and sits. ROBERT Sure you want to keep those in the house? FRANCESCA I'm so sorry about that. It was rude. I think I just got nervous for some reason. ROBERT I thought it was funny. She likes that. FRANCESCA Where are you staying while you're here? ROBERT A little place with cabins. The something - Motor Inn. I have n't checked in yet. FRANCESCA And how long are you here for? ROBERT As long as it takes, I might stay a week. No more I do n't think. Where's your family? FRANCESCA My husband took the kids to the Illinos State Fair. My daughter's entering a prize steer. ROBERT Oh. How old? FRANCESCA About a year and a half. ROBERT No, your kids. FRANCESCA Oh. Michael's 17 and Carolyn's 16. ROBERT Must be nice having kids. Francesca looks at him and FANTASIZES SAYING : FRANCESCA Not any more. It's awful. They're awful. I ca n't stand them. But in reality, Francesca chooses instead to say : FRANCESCA -LRB- cont'd. -RRB- They're not kids anymore. Things change. ROBERT Everything does. One of the laws of nature. People are always so afraid of change. But if you look at it like it's something you can count on happening, it's actually a comfort. Not many things you can count on for sure. FRANCESCA I guess. Except I'm one of the people it frightens. ROBERT I doubt that. FRANCESCA Why? ROBERT Italy to Iowa? I'd call that a change. FRANCESCA -LRB- explaining. -RRB- Richard was in the army. I met him while I was living in Naples. I did n't know where Iowa was. I only cared that it was America. And of course, being with Richard. ROBERT What's he like? As Francesca thinks of an answer, she looks over to the entranceway between the kitchen and the front hall and sees : Richard standing there in his underwear, reaching over his shoulder. RICHARD Franny, could you clean out my boil again? Francesca answers Robert, half of her still in fantasy - FRANCESCA He's very. clean. ROBERT Clean? FRANCESCA -LRB- catching herself. -RRB- No. I mean yes, he's clean but he's also other things. He's a very hard worker. Very honest. Very caring. Gentle. Good father. ROBERT And clean. FRANCESCA Yes. Very clean. They drink. Francesca thinks she sounds like an idiot. ROBERT So you must like Oiwa, I guess. Francesca looks at him. She wants to tell the truth, but holds back. FRANCESCA It's. uh. uh. She stops. Robert smiles. ROBERT Go ahead. I wo n't tell anyone. Surprised, Francesca looks at him oddly - as if he already knows and is giving her permission. FRANCESCA It's. -LRB- tries again. -RRB- I. -LRB- finally. -RRB- I hate it! She covers her mouth, like a reflex - worried someone heard. Robert just smiles and nods. Francesca is so taken by his understanding and acceptance, she lets the flood gates open, speaking faster than her mind can keep up - FRANCESCA -LRB- cont'd. -RRB- -LRB- without a pause. -RRB- I hate it! I hate it! I HATE IT! I hate the corn and the dust and the town and the cows and that SMELL that you love! I hate the people. Everybody knows everybody's business, I mean it's nice now and then, they're always there to help out, but that's just it, it's like they're waiting for something awful to happen to help out and when nothing awful is happening, then they just sit around and talk about what is happening which is none of their business. I want to kill them sometimes for how cruel they can be - Camera begins slowly moving out to a wider angle. FRANCESCA -LRB- cont'd. -RRB- - everybody's talking about poor Mrs. Delaney whose husband is having an affair with that Redfield woman and `` is n't it a shame,'' and `` is n't it awful,'' and the truth is THEY'RE LOVING IT! Poor woman ca n't even be cheated on without the grocery man knowing about it - no one respects anyone's privacy. You're not even safe in your own home! They think they can just walk right into your house because they BAKED you something. It's like they have a secret password and YOU CA N'T KEEP THEM OUT! I live in fear of that door opening and having a peach cobbler shoved at me. -LRB- CONTINUES MOS IF NEEDED. -RRB- Throughout this rapid fire monologue, camera has moved to a wide angle as Robert just sits and listens, letting her get it all off her chest. She continues as we :\",\n \"INT. LIVING ROOM Francesca is lying on the couch as Robert places a cold cloth on her head. Her `` confession'' took a lot out offer. ROBERT Feeling better? FRANCESCA Much. ROBERT Is the dizziness gone? FRANCESCA I think so. She sits up. She feels exposed. But also, relieved. ROBERT I better go. You sure you're all right? -LRB- she nods. -RRB- It's been a pleasure. Sincerely. FRANCESCA I feel so embarrassed. ROBERT Why? You uncorked a bottle. From what I can tell, I got here just in time. Any later and you'd have made the front page, running down Main Street naked, smoking Camels out of your butt. FRANCESCA -LRB- laughs. -RRB- But I. We do n't even know each other. ROBERT -LRB- sincerely. -RRB- You have no reason to feel ashamed. You have n't said anything you do n't have a right to. And if anybody tells you different - you just send them to me. She smiles. He turns to exit. ROBERT -LRB- cont'd. -RRB- Better get my stuff. Francesca surprises herself. She does n't want him to go. FRANCESCA Would you like to stay for dinner? -LRB- he turns. -RRB- There are n't many choices in town and. anyway, you'd have to eat alone. So would I. ROBERT That's very nice of you. I do n't get many dinner invitations on the job. It would be a welcome change. Thanks.\",\n \"INT. BEDROOM - LATER Francesca rushes in and starts to disrobe, getting ready to shower and change for dinner. She glances out the window and sees :\",\n \"EXT. JOHNSON HOUSE Robert is at the water pump. His shirt is off and he is washing himself. -LRB- WE INTERCUT THE TWO. -RRB- Francesca finds herself staring, a bit open mouthed. He has a muscular, firm body. She watches how the water cascades over his body. How he seems so unashamed, so `` in his skin,'' moving with such strength and grace. Robert pauses and looks out over the open pasture. The cold water feels good. Since the pump is the back of the house, hidden from the road, no one can see him. He decides to take off his pants and cool himself further. Francesca begins watching this in shock until she has to literally pull herself away from the window with such a force that she rams herself into a chest of drawers, knocking over an array of perfume bottles and a mirror. She deftly catches a falling bottle and freezes. Taking a breath, she pulls herself together. FRANCESCA This is ridiculous. Stupid! She replaces the bottle and heads for the bathroom quite composed, then, without warning, makes an immediate 180 degree turn and heads back to the window to sneak a peek. Seeing him, she gasps. FRANCESCA -LRB- cont'd. -RRB- Oh my God. Watching him, she is possessed by some very frightening feelings and runs from the window, into the bathroom, closing the door behind her.\",\n \"EXT. JOHNSON HOUSE - EARLY EVENING Francesca is gathering some vegetables for dinner, from her garden. Robert is at his truck, in his pants, changing into a fresh shirt.\",\n \"INT. KITCHEN - LATER Francesca is cutting up vegetables. Robert enters with some of his gear. ROBERT I'm just going to put some of this film in your fridge. Heat is n't too forgiving out there. He does. On the radio, TONY BENNETT sings `` WRAP YOUR TROUBLES IN DREAMS.'' Robert approaches Francesca. ROBERT -LRB- cont'd. -RRB- Can I help? FRANCESCA -LRB- surprised. -RRB- Help cook? ROBERT Sure. Men cook. We do n't all eat bananas with our feet, ya know. FRANCESCA -LRB- laughs. -RRB- Okay. They stand side by side. Francesca hands him a stack of carrots and a knife. Tony Bennett's up - tempo tone plays over a series of images of Francesca and Robert talk and prepare dinner. - Four hands side by side, cutting and chopping. Occasionally, a hand brushes against another as it reaches for something. - Robert's hand gently touching Francesca's waist as he reaches around her for an onion. - Robert lighting Francesca a cigarette. - Robert brings in his cooker through the screen door. HE MAKES SURE IT DOES N'T SLAM. FRANCESCA MAKES A NOTE OF THIS. - Robert opens the cooler and removes two cold beers, tossing one to Francesca. - Francesca opening a new tablecloth and spreading it out on the table. - Francesca handing Robert plates from the shelf, their fingers only barely touching. END OF MONTAGE\",\n \"INT. KITCHEN - EVENING Robert and Francesca are in the middle of dinner. But instead of the usual silence that surrounds Johnson family eating, Francesca is mesmerized by Robert as he manages to eat and tell a story. The scene begins with a LAUGH FROM FRANCESCA. ROBERT -LRB- laughs. -RRB-. No, wait, it gets better. He stands up and acts it out for her. ROBERT -LRB- cont'd. -RRB- You have to get the full picture here. I have three cameras around my neck, a tripod in one hand and my pants down around my ankles. I thought this was a private bush. I look up and this gorilla, this female gorilla, is staring at me with what can best be described as the most lascivious expression I've ever seen on a female with so much body hair. -LRB- Francesca laughs. -RRB- I freeze.'Cause that's what they tell you to do. In this position. She comes towards me and. and she. -LRB- he stops awkwardly. -RRB- FRANCESCA What? ROBERT She starts sniffing me. FRANCESCA Oh my God. -LRB- laughs. -RRB- You're blushing. ROBERT It's still a very sensitive memory for me. FRANCESCA Then what happened? ROBERT We got engaged. FRANCESCA Oh you! She throws a napkin at him. FRANCESCA -LRB- cont'd. -RRB- None of this is true! ROBERT No, it is. Except for the engagement part. She would n't have me, although I still get a Valentine every year. Francesca is laughing so hard she ca n't breath. Robert loves making her laugh. FRANCESCA You ought to write these stories down. ROBERT Nah. I've tried. My writing's too technical, I think. Problem of being a journalist too long is you stop giving yourself permission to invent. I better just stick to making pictures. FRANCESCA `` Making pictures.'' I like that. You really love what you do, do n't you? ROBERT -LRB- nods, smiles shyly. -RRB- I'm kind of obsessed by it, actually. FRANCESCA Why, do you think? ROBERT I do n't know if obsessions have reasons. I think that's why they're obsessions. FRANCESCA You sound like an artist. ROBERT No. I would n't say that. National Geographic is n't exactly the hub of artistic inspiration. They like their wild life in focus and without any personal comment. I do n't mind really. I'm not artist. I'd faced that a long time ago. It's the course of being well - adjusted. I'm too normal. FRANCESCA -LRB- supportively. -RRB- I do n't think you're normal. He looks at her in surprise. She catches herself again. FRANCESCA I did n't mean that the way it sounded. ROBERT Well, let's just call it a compliment and move on. -LRB- changes subject. -RRB- Did you love teaching? FRANCESCA -LRB- cont'd. -RRB- Sometimes. When there was a particular student who made a difference. I know they're all supposed to, but it's not true. You tend to single out one or two you think you can contribute something to. ROBERT And did you? FRANCESCA I'd like to think so. I know one of them went on to Medical school. ROBERT Why did you stop? FRANCESCA My children. And Richard did n't like my working. ROBERT Do you miss it? FRANCESCA I do n't know. I've never thought about it. what was the most exciting place you've ever been to? Unless you're tired of talking about it. ROBERT You're asking a man if he's too tired to talk about himself? You do n't get out much, do you? Francesca smiles, a little embarrassed. ROBERT I'm sorry. That was. FRANCESCA -LRB- overlapping. -RRB- No. It's all right. I just meant, it might be a little dull for you, telling all this to some housewife in the middle of nowhere. ROBERT This is your home. It's not nowhere. And it's not dull. Francesca smiles again, this time relieved. ROBERT Let's see - my favorite place. Francesca settles in to listen, never taking her eyes off of him. ROBERT -LRB- cont'd. -RRB- Well, it's the obvious choice, but I think I'd have to say Africa. It's another world. Not just the people and the cultures but the land, the colors you see at dawns and dusks - and the life there. It charges every molecule of air. Francesca is fascinated, being drawn into his imagery. ROBERT -LRB- cont'd. -RRB- It's tangible - the moment to moment of life and death, the co - habitation of man and beast, of beast and beast, who'll survive, who wo n't - and there's no judgement about it. No right or wrong or imposed morality. It's just life. It's a voyeurs paradise really because those animals do n't want anybody in their business. You can watch but at a distance. -LRB- excited. -RRB- I remember one time I was on a truck headed for the Niger. Lights begin to dim as Francesca is so taken in by his story, she begins to actually see what he is describing. ROBERT -LRB- cont'd. -RRB- We were driving north. The truck was old so I guess the sound of the motor muffled this kind of rumbling in the distance - until finally, it was upon us like, like a hundred thunder claps all at once. CU on FRANCESCA as WE BLEND THE SOUNDS OF AFRICA and -\",\n \"EXT. AFRICA - DAY Robert and a driver are in a truck driving north. Robert turns to look out the window and sees : A HERD OF GIRAFFES AND GAZELLES AND WATERBUCKS AND ZEBRA are running in the grasslands to the right of the truck. Robert excitedly instructs the driver : ROBERT Get us closer! The driver veers off towards the stampede as Robert opens his door and makes his way to the flatbed part of the truck with his camera. The truck takes its position within this breathtaking force of wildlife, as giraffes, zebras and gazelles surround it - all going in the same direction. Robert stands in the truck, shooting as fast as he can. The truck races to keep up with the animals. Robert is so pumped he can hardly catch his breath. Suddenly, the force and beauty of these creatures causes him to lower his camera. He is unable to film it because it overwhelms him. He just stands there in awe and lets out a primal scream. The animals gradually veer off to where the truck can no longer follow. Robert watches them disappear into the distance.\",\n \"INT. JOHNSON KITCHEN - NIGHT Francesca has seen all of this in her mind. Robert smiles at her, sensing how in tune with the story she was. FRANCESCA My God. How I'd love to see that. ROBERT They have safaris for tourists now. Maybe you can convince your husband. Francesca smiles. There is an awkward pause between them. ROBERT -LRB- cont'd. -RRB- It's a beautiful night. Would you like to go for a walk? FRANCESCA Well, it's kind of buggy out there. ROBERT -LRB- rises. -RRB- Have no fear. This Shoshone Medicine Woman taught me how to make bug repellent tea out of tree root. FRANCESCA You drink bug repellent? ROBERT No, you rub it on you. I have some in the truck. Do n't go away. She shakes her head. He runs out the screen door, not letting it slam. Francesca looks like a teenager with first date excitement.\",\n \"EXT. PASTURE - NIGHT Francesca and Robert walk through the pasture. She sniffs her arm. FRANCESCA Smells like dirt. ROBERT You get used to it. FRANCESCA When? ROBERT -LRB- laughs. -RRB- You want to go back in? FRANCESCA No. I'm all right. It's working. Silence. They walk. It is a beautiful night. ROBERT You've got it all right here, you know. It's just as beautiful as any other place I've seen. God, it knocks me out. FRANCESCA What? ROBERT -LRB- indicating the night. -RRB- This''. Of what I call God and fools can Nature.'' Who wrote that? FRANCESCA Umm, I do n't know. I can look it up. ROBERT I'd appreciate it. I like knowing who I'm stealing from. If you ca n't create art I think the least you can do is recognize it around you, do n't you think? There is. -LRB- genuinely affected. -RRB-. so much beauty. She watches him with great appreciation. He smiles at her. Instead of looking away, their eyes remained locked for a moment. There is clearly an attraction. They simultaneously look away and continue walking. Francesca's heart is beating a mile a minute yet she ca n't deny she is enjoying herself. Walking side by side in silence, Francesca turns back occasionally to look at her house as they get further away from it. Suddenly, the more distant the house becomes, the more frightened she starts to feel. Something inside her knows she's going too far with this man - too far from home. Although a part of her wants it, she is surprised to find a larger part of her finds too unknown. She stops. ROBERT -LRB- cont'd. -RRB- What's wrong? Francesca looks confused for a moment, not knowing what she wants. She ca n't move. She searches for a way out. FRANCESCA Would you like some coffee? Or maybe, some brandy? Somehow Robert can sense her uneasiness. He obliges. ROBERT How about both?\",\n \"INT. KITCHEN - NIGHT Francesca moves about the kitchen preparing coffee - dropping the coffee pot basket, spilling the grounds. She acts tense. Robert sits at the table opening the brandy bottle Francesca almost opened the night before, aware of her mood. Francesca gets the coffee going then sets the table with cups and saucers. ROBERT You sure you wo n't let me help you with those dishes? FRANCESCA -LRB- coldly. -RRB- No. I'll do them later. ROBERT Francesca? FRANCESCA What? ROBERT Are you all right? FRANCESCA Yes. ROBERT Francesca? FRANCESCA What? ROBERT We're not doing anything wrong, do you. Francesca freezes. He has read her mind again. ROBERT -LRB- cont'd. -RRB- -LRB- smiles. -RRB- Nothing you ca n't tell your children about. Once again, he relieves her of fear and anxiety. He hands her a glass of brandy. 1995\",\n \"INT. KITCHEN - DAY Carolyn and Michael have come to the end of a notebook. MICHAEL He's getting her drunk. That's what happened. Jesus, maybe he forced himself. That's why she could n't tell us. CAROLYN Oh, he did not. He's such a nice guy. MICHAEL Nice? He's trying to sleep with somebody's wife. CAROLYN I do n't think so. Not yet anyway. And besides, something like that does n't make you a bad person. He reminds me of Steve in a way. Steve's weak, immoral and a liar but he's still a real nice guy. He just should n't be married. -LRB- laughs. -RRB- At least not to me. You getting hungry? I'm hungry. Michael nods, then speaks with sincere compassion. MICHAEL I had no idea it's gotten that bad, sis. CAROLYN Oh, do n't feel sorry for me. Please. No one's forcing me to stay. MICHAEL Then why do you? CAROLYN And do what? Live alone? Go back to school? Find someone else? Start a magazine for confused woman? What if I ca n't do any of those things? Michael ca n't answer her. Carolyn looks through the cabinets. CAROLYN -LRB- cont'd. -RRB- There's not much here to make. MICHAEL Let's go into town and get a bite. We'll take the books with us. Carolyn nods. Michael looks for the next notebook, checking the dates.\",\n \"INT. CAR - EARLY EVENING Michael drives as Carolyn opens the next notebook and reads : FRANCESCA -LRB- V.O. -RRB- `` We sat sipping brandy. I thought if anybody walked through the door now there'd be no explaining it. But I did n't care. And I loved that I did n't care. I almost wanted it to happen. Then there'd be no turning back. I wanted to be like him. I lived this life of his. We talked about his wife and I was jealous - not of her - but of his leaving. His fearlessness. He knew what he wanted. How did he do that. 1965\",\n \"INT. LIVING ROOM - NIGHT Francesca sips her brandy. Robert sits in the easy chair. FRANCESCA Do you mind if I. ask you why you got divorced? ROBERT Not at all. I was n't around much. So why did I get married? Well, I thought it was a good idea at the time. Have a home base. Roots. You can get lost moving around so much. FRANCESCA So what happened? ROBERT I never got lost. For some reason, I'm more at home everywhere than at one place. So I decided I'll think of myself as some kind of world citizen. I belong everywhere and nowhere. I'm kin to everyone, and no one in particular. See, once you get into the habit of not needing anyone, it's kind of hard to break. FRANCESCA You must get lonely at times. ROBERT Never touch the stuff. I've got friends all over the world. Good friends I can see when I want, if I want. FRANCESCA Woman friends, too? ROBERT I'm a loner, I'm not a monk. Francesca averts her eyes, before continuing her investigation. FRANCESCA You really do n't need anyone? ROBERT No, I think I need everyone! I love people. I want to meet them all! I just think there are too many out there saying `` This is mine.'' or `` She's mine.'' Too many lines have been drawn. World's breaking apart because of man's weakness for some testosterone conquests over territory and power and people. He wants control over what deep down he knows he has no control over whatsoever and it scares him silly. FRANCESCA Why does n't it scare you? ROBERT I embrace Mystery. I do n't know what's coming. And I do n't mind. FRANCESCA Do you ever regret it? The divorce, I mean. ROBERT No. FRANCESCA Do you ever regret not having a family? ROBERT Not everybody's supposed to have a family. FRANCESCA But - how can you just live for what you want? What about other people? ROBERT I told you, I love other people. FRANCESCA But no one in particular. ROBERT No. But I love them just the same. FRANCESCA But it's not the same. ROBERT That's not what you're saying. I know it's not the same. What you're saying is, it's not as good. Or it's not as normal or proper. FRANCESCA No, I'm just saying - ROBERT -LRB- interrupting. -RRB- I'm a little sick of this American Family Ethic everyone seems to be hypnotized by in this country. I guess you think I'm just some poor displaced soul doomed to roam the earth without a self - cleaning oven and home movie. FRANCESCA -LRB- irritated. -RRB- Just because someone chooses to settle down and have a family does n't necessarily mean they're hypnotized. Just because I've never seen a gazelle stampede does n't mean I'm asleep in the world. ROBERT Do you want to leave your husband? Francesca is completely stunned and thrown off guard. FRANCESCA No. Of course not. -LRB- rising, upset. -RRB- Beat. Awkward silence. Suddenly there is tension between them. ROBERT My mistake. I apologize. FRANCESCA What made you ask such a question? ROBERT I thought that's what we were doing - asking questions. FRANCESCA -LRB- defensive. -RRB- I thought we were just having a conversation. You seem to be reading all this meaning into it. Meanings I must be too simple to, uh. interpret or something. ROBERT I already apologized. Silence. Robert remains seated. Francesca remains at the sink. ROBERT -LRB- cont'd. -RRB- It's getting late. -LRB- rises. -RRB- Thank you for dinner. Pause. Francesca feels badly. FRANCESCA Listen, I'm sorry I - ROBERT No, no. Forgive me. I made a mistake. It was an inappropriate thing to ask. FRANCESCA -LRB- shrugs it off, then :. -RRB-. I feel like something's been spoiled now. Robert smiles and crosses to her. He takes her hand into both his hands. ROBERT It's been a perfect evening. Just the way it is. Thank you. Francesca smiles. The possibility of a kiss hangs in the air between them until Robert turns to get his film out of the fridge. As he exits through the screen door, he stops. ROBERT -LRB- cont'd. -RRB- One thing though - do n't kid yourself, Francesca. You're anything but a simple woman. He smiles and exits, catching the screen door before it slams. Francesca does n't move for a moment, then crosses to the door as if to run after him when she is stopped by the PHONE RINGING. She picks up. FRANCESCA Hello? RICHARD -LRB- on phone. -RRB- Franny? FRANCESCA Richard, hi. RICHARD -LRB- on phone. -RRB- How are you? FRANCESCA Fine. Everyone settled in okay? RICHARD -LRB- on phone. -RRB- Just fine. We're all in one room. Michael's on the couch and Carolyn's. -LRB- continues. -RRB- She hears Robert's truck door open and close. She hears the motor being turned on. She half - listens to Richard. FRANCESCA Uh - uh. good. Hmmm. She hears the truck driving away as Richard continues : RICHARD -LRB- on phone. -RRB- We got our position in the Fair. Not bad although I would have liked to be third which is not too early and not too late. But I told Carolyn not to worry. -LRB- continues, if needed. -RRB-\",\n \"INT. FRANCESCA BEDROOM - NIGHT Francesca exits her bathroom, in her bathrobe, shutting the light. She is brushing her hair and thinking of Robert. She sits on the edge of the bed. She sees her reflection in a mirror on the closet door. She stands and takes her robe off. She steps forward to look at her body - running her hands gently around her curves, her neck, down the side of her thighs, her face, her breasts. She shuts off the lights and gets into bed under the covers. She closes her eyes and tentatively begins to explore her body. It is awkward for her but we can see her trying to let herself go. Until she opens her eyes in frustration. It's no good. She ca n't do it. She feels ashamed. The shame turns into anger.\",\n \"INT. LIVING ROOM - NIGHT Francesca sits at a writing table with two large books opened before her containing literary quotations. She searches for the line Robert mentioned in the pasture. A note sits before her as well. On it reads : `` Robert. Again, I'm sorry for last night. Would you like supper again tonight after you're finished. I'd like it very much if I were one of those good friends you have in the world. Anytime is fine - Francesca. P.S. By the way, `` Of what I call God and Fools call Nature'' was.'' She writes the name BROWNING.\",\n \"EXT. ROSEMAN BRIDGE - NIGHT Francesca is tacking a note for Robert to the bridge. She considers taking it down a moment later, but decides not to. She gets back into her truck and drives away. WIDE ANGLE OF BRIDGES - DAWN The view of the bridge goes in and out of focus until we realize we are seeing it through Robert's camera lens. Once the focus it sets, Robert notices something is tacked onto the bridge. He crosses to it hurriedly - time for the perfect shot is running out - pulls it down, thumbtack and all, and shoves it into his pocket, unread. He returns to his camera to take his shots.\",\n \"INT. JOHNSON BEDROOM - MORNING Francesca is making her bed when she hears a truck driving down the road. She looks out the window to see : Robert's truck. However, it passes right by her house. Francesca's spirit sinks. She feels silly, ashamed and rejected. She sits on the bed. Inside the truck, Robert drives by the house and chuckles to himself at the foolishness of some boring, frustrated housewife. Francesca's note has been crumbled and stuffed into a dirty ashtray. Francesca enters her bathroom, slamming the door behind her.\",\n \"INT. KITCHEN - LATER THAT MORNING Francesca sits at the kitchen table in her bathrobe with a cup of coffee - a comic portrait of shame and self - pity. Her hair is a mess, she has n't showered or dressed and she stares into space while listening to the bluesy Chicago radio station. The sink is full of dirty dishes she refuses to clean. Beside it is an ashtray of butts from the night before. She carries it over to the table and begins fingering for a butt to smoke in desperation. She lights up and stares into space. Robert is in Africa talking to TWO ZULU TRIBE MEMBERS. THE ROBERT -LRB- laughs. -RRB-. and then she tacks this note on the bridge asking me to have dinner with her again! One Zulu turns to the tower and remarks. ZULU How pathetic. Francesca put out her cigarette and suddenly gets an idea. She goes to the phone, reads a number off of a slip of paper and dials. FRANCESCA -LRB- on phone. -RRB- Hello? Is Richard Johnson staying there? No, I do n't want to leave a message. Maybe you can help me - I'm his wife and I live in Winterset Iowa - I wanted to surprise them by driving up tonight. What would be the fastest route, the Interstate? Huh - huh. Hold it, let me get a pen.\",\n \"EXT. PAY PHONE, GAS STATION - LATE MORNING Francesca's note is opened in Robert's hand. Her phone number is written after the `` P.S.'' He stands in the pay phone getting a busy signal from Francesca's line. He hangs up.\",\n \"INT. JOHNSON HOUSE - DAY Francesca, dressed and packed, prepares to leave. She checks her purse to make sure she's got everything. She grabs her bag and exits. A few beats later, the phone rings. But she does n't return. It rings again. We hear Francesca's truck door open and close. It rings again. We think Francesca is on her way, until : We suddenly hear her burst into the house and see her leap for the phone. FRANCESCA Hello? says. INTERCUT -\",\n \"INT. SLOW BEND SALOON/RESTAURANT - DAY Robert is at another pay phone. ROBERT Francesca? says. FRANCESCA -LRB- out of breath. -RRB- Yes! Hi. ROBERT Am I interrupting anything? FRANCESCA No. I was just. No. ROBERT I'm sorry I did n't call sooner, but I just read your note. I stuffed it into my pocket. The light was fading and I had to get my shot. FRANCESCA -LRB- relieved. -RRB- The light was fading. Huh - huh. ROBERT I would love to come for dinner. FRANCESCA -LRB- smiles. -RRB- Wonderful. Uh. ROBERT Listen, I have to shoot Cedar Bridge until a little after sunset. I want a few night shots. Would you like to come with me? If you're interested. FRANCESCA Oh, sure. Great. ROBERT I'll pick you up. FRANCESCA No. I'll drive myself. I have a few errands. I'll meet you there. ROBERT Okay. See you later. FRANCESCA Yeah. See you later. Francesca is thrilled. Her mind races with a list of things she must do before tonight. She opens a cabinet, removes a coffee can and empties it of her house money. She quickly counts it, then shoves it into her purse.\",\n \"EXT. ON THE ROAD - DAY Francesca drives past a sign marking Des Moines as the next town.\",\n \"INT. SLOW BEND SALOON/ RESTAURANT - DAY The second of two eating establishments in Winterset. A lunch time crowd fills the place. Robert is seated at the counter. He can sense their eyes on him, wondering who this stranger is and what's he doing here. He knows the whispered conversation is about him. A MIDDLE - AGED COUPLE talk at table. WIFE Thelma told me he checked into the Motor Inn and the bill goes to National Geographic Magazine. HUSBAND National Geographic? What the hell's he doing here? We ai n't got no naked pygmies to take pictures of. WIFE He's taking pictures of the bridges. HUSBAND Ai n't no pygmies there either. Robert wants to finish his lunch as quickly as possible. At that moment, someone enters the restaurant and all the conversation stops. He overhears one waitress turn to the other and whisper - WAITRESS God. It's Lucy Redfield. Both the Waitress and Robert -LRB- though more subtly -RRB- turn to see : THE REDFIELD WOMAN. But instead of being the harlot we might think, she's actually a rather plain, demure looking woman - not nearly as fancy or pretty as Mrs. Delaney herself. As she crosses the counter, Robert immediately picks up on the vibes in the room. He notices all the patrons stare then turns away to whisper. The waitress behind the counter ignores her. A customer eating at the counter places a bag on an empty stool beside her, so the Redfield woman ca n't sit down near her. Robert and the Redfield woman's eyes meet. She is clearly uncomfortable. She turns, about to leave, when Robert clears his cameras off of a stool next to him and offers : ROBERT Got room right here if you like. She is surprised at his courtesy. Others are astounded. Some disgusted. She accepts his offer and sits beside him. REDFIELD WOMAN Thank you. ROBERT Hot out there today. She nods and smiles. The waitress tosses a menu at her and slams down a glass of water, then moves on down the counter. The Redfield woman tries to act casual, glancing through the menu. Robert subtly scans the room as all eyes are on them, then turn away. Robert returns his glace back to the Redfield woman who is now only pretending to read the menu. She is so embarrassed. She wants to leave but ca n't move. WAITRESS Well, are you ordering anything!? Her harsh tone startles the Redfield woman as well as Robert. Gathering her dignity, she responds. REDFIELD WOMAN No. Thank you. I've changed my mind. She politely nods to Robert, gathers her things and exits. Robert looks to the waitress, as a SECOND WAITRESS enters. SECOND WAITRESS I'd've thrown that water right in her face. WAITRESS Poor Mrs. Delaney. The waitress walks O.S. leaving the second waitress facing Robert, who looks at her curiously. The second waitress looks back as if to say, `` What business is it of yours?'' and exits.\",\n \"EXT. DES MOINES - DAY A metropolis compared to Winterset. Francesca exits a liquor store with a bottle of wine in a paper bag. She also carries a bag of groceries as she heads down the street to her parked truck. She passes a DRESS SHOP and stops.\",\n \"EXT. WINTERSET - DAY Robert enters a general store. He buys a six pack of beer for his cooler and approaches the counter for the Cashier. CASHIER That all? Robert nods. He decides to have some fun and test the waters a little bit. ROBERT Is n't it awful about poor Mrs. Delaney? With this, the damn bursts - CASHIER Tragic is more like it. The pain that woman has been subjected to by that no - good husband. I never liked him. Known him for years. People say he's quiet. Well, it's the quiet ones that can sneak up behind you and stab you in the back. I heard yesterday, that she confronted him. Gave him the ultimatum and you know what he did? -. -LRB- CONTINUES AS NEEDED. -RRB- Robert stands astounded, listening to this diatribe of gossip.\",\n \"INT. DES MOINES DRESS SHOP - DAY Francesca sits in her slip, alone in a dressing room, with several dresses strewn about. The panic of indecision has set in. She looks at herself in the mirror and begins to doubt that seeing Robert is a good idea. Or perhaps she's imagining something that is n't there. And what about Richard? A few years back. Francesca is dressed up for some formal affairs. She heads down the stairs. Richard is waiting in the hall, in a suit and tie. He looks at her admiringly. FRANCESCA Ready. You have the keys? But Richard does n't answer. He's just staring at her. Francesca stops. Richard looks at her like a little boy. FRANCESCA -LRB- cont'd. -RRB- What's the matter? Richard is obviously impressed by how she looks, but he ca n't say anything. He just smiles shyly and shakes his head to say nothing is wrong and opens the door for her. Francesca feels guilty when a SALESWOMAN enters with a pretty summer dress. SALESWOMAN How about this one? Francesca examines it. She likes it. But the guilt. FRANCESCA I do n't know. I have n't bought a dress for myself in so long. -LRB- saleswoman nods. -RRB- I mean, I'm just buying a dress. It's not a special occasion or anything. I'm just shopping. Just shopping for a new dress, that's all. SALESWOMAN -LRB- completely understands. -RRB- That might work. And if he's still mad, just tell him you could have done better but you married him out of pity. That's always works for me.\",\n \"INT. JOHNSON HOUSE - LATE AFTERNOON Francesca enters with her new dress, groceries and wine as the PHONE RINGS. She puts everything down to answer. FRANCESCA Hello? Intercut ROBERT at a pay phone. ROBERT It's Robert. FRANCESCA Oh, hi. Look, I'm running a little late, but I'll still. ROBERT -LRB- w/difficulty. -RRB- Listen, do n't take this the wrong way but, I'm wondering if this is such a good idea. Francesca's heart sinks. FRANCESCA Oh. ROBERT I uh. I had lunch in town today. Happened to cross paths with `` that Redfield woman.'' I apologize. I thought you were half - joking about that. FRANCESCA Oh. I guess you got the whole story. ROBERT The cashier at the general store was very dangerous. FRANCESCA I think he's running for town crier next year. ROBERT I now know more about their affair than I remember about my marriage. -LRB- seriously. -RRB- Francesca, the last thing I want to do is put you in any kind of situation that would. even though we know it's just - I mean, it's nothing like that, but if anybody saw us or. -LRB- ca n't finish. -RRB- FRANCESCA -LRB- disappointed. -RRB- I understand. -LRB- touched. -RRB- That's very kind of you. Silence. Both want to meet. Both experience the idea of not seeing each other even again in this brief moment. Someone has to say something to save it - but who will it be? FRANCESCA -LRB- cont'd. -RRB- Robert? ROBERT Yeah? FRANCESCA I want you to come. Robert is relieved. FRANCESCA -LRB- cont'd. -RRB- I'll meet you at the bridge just like we planned all right. Do n't worry about the rest of it. I'm not. ROBERT All right. See you there. Francesca smiles and hangs up. In that moment, Francesca realizes consciously what she is doing and what she wants.\",\n \"EXT. CEDAR BRIDGE - DUSK Robert is already there, working. He checks his watch, anxious for Francesca to arrive, when he hears a truck driving up. He looks to see Francesca stop and get out. By their expressions we can tell how glad they are to see each other. FRANCESCA Sorry I'm late. Richard called. ROBERT Oh, how is he? FRANCESCA Fine. They're all having a good time. How many more shots do you have? ROBERT Couple. Want to help? She nods. He extends his hand. She pauses, then takes it. He leads her to the bridge. Walking away from camera, they say : ROBERT -LRB- cont'd. -RRB- I should stop off at the motel to clean up before dinner. FRANCESCA Well, I have plumbing at my house.\",\n \"INT. JOHNSON BEDROOM - EARLY MORNING Francesca enters. Robert is in the bathroom, in the shower, with the bathroom door slightly ajar. His clothes are laid on the bed with his bag beside them. A fresh shirt is folded. Francesca takes his dirty shirt and decides to clean it. As she exits, her eye ca n't help roaming toward the bathroom door. For a moment, she pauses to listen to the sound of the water as it hits his body.\",\n \"INT. KITCHEN - LATER Francesca is busy preparing dinner. Robert enters, cleaned and dressed. ROBERT Can I help? FRANCESCA Actually, no. I've got everything under control. I'd like to clean up myself a bit. I'm going to take a bath. Dinner'll be ready in about a half hour. ROBERT How about if I set the table? FRANCESCA Sure. ROBERT Would you like a beer for your bath? FRANCESCA -LRB- surprised. -RRB- Yes, that'd be nice. Robert gets her one.\",\n \"INT. BATHROOM - LATER Francesca lounges in a tub with a beer poured into a wine glass. She finds it very elegant. She takes a deep breath, thinking `` What's going to happen tonight?''\",\n \"INT. KITCHEN - LATER Robert is at the radio when Francesca enters in her new dress. She looks beautiful. And it's all over Robert's face. FRANCESCA What's wrong? Unlike her husband, Robert has an answer. ROBERT Absolutely nothing. You're just sort of a knockout in that dress. She smiles and crosses to the stove. FRANCESCA Table looks beautiful. He ca n't take his eyes off of her. On the radio we hear DIHAH WASHINGTON begin to sing `` IF IT'S THE LAST THING I DO'' - a beautiful, blusey lovesong. Francesca pulls out a pan of hot rolls as THE PHONE RINGS. Francesca moves toward it with a roll, which she tosses to Robert. He burns his fingers and he smiles at her joke. The song plays throughout. FRANCESCA -LRB- cont'd. -RRB- Hello? Hi, Madge? Francesca and Robert do not take their eyes off of each other throughout the call. Robert takes a bit of the roll. FRANCESCA -LRB- cont'd. -RRB- Huh - huh. Nothing, just making myself some dinner. No what? Oh. I heard about him. Yeah, I hear he's some kind of photographer. -LRB- Robert smiles. -RRB- No, I did n't. Huh - huh. Hippie? I do n't know, is that what hippies look like? Robert steps closer to her, purposely reaching across her body for a napkin. FRANCESCA -LRB- cont'd. -RRB- Oh he is, huh? Well, do n't tell Floyd, he'll be out with a shotgun. She notices a crumb on Robert's mouth and wipes it off. Robert takes her hand and holds it, lowering it to his side. FRANCESCA -LRB- cont'd. -RRB- Well, listen, I have a pot boiling. I've got to go. No, they do n't get home until Friday morning. Well, maybe I'll give you a call. Okay. Bye. She hangs up. The two are now almost face to face. Robert raises her hand up and slips his free one around her waist. They begin to dance to the song. The kitchen lights have not been turned on since the sun went down. The sky, a dark orange and magenta, illuminates the room through the window. They never take their eyes off of each other. Suddenly, Robert stops. ROBERT You're shaking. Are you cold? Francesca shakes her head. They dance a bit more, but Francesca is shaking which makes it difficult. They both stop. Robert places his huge hands on either side of her face, gently stroking her hair away from her cheek. He whispers. ROBERT -LRB- cont'd. -RRB- If you want me to stop, tell me how. He brushes his cheek and face softly against hers. Francesca rubs hers against him. She can barely breathe. ROBERT -LRB- cont'd. -RRB- Francesca, I wo n't be sorry. I wo n't apologize for this. FRANCESCA Nobody's asking you to. They kiss. Hands gently explore. Their bodies touch. Their lips never spend more than seconds away from each other. Robert gently slide his hands down her breasts and torso, exploring every inch of her. Francesca grips his massive back, sliding up to his neck and hair. Robert lifts her leg and presses it against his hip, kissing her neck and shoulders. Francesca starts to lose herself, clutching his head at her breast then pulling him up to her mouth once again. 1995\",\n \"INT. SLOW BEND CAFE - PRESENT DAY - EVENING The same saloon/restaurant of twenty - five years ago has been turned into a modern cafe yet the original charm is still there. Carolyn and Michael sit in a booth, with half - eaten dinners before them. Carolyn has been reading the book to Michael when she looks across from her to find - Michael looking like a little boy who is fighting not to cry. CAROLYN What's the matter? Michael shakes his head. He ca n't or wo n't explain. He's too upset. His eyes tear up. Carolyn feels badly for him. MICHAEL I'm going to get some air. He exits. Carolyn smiles sympathetically. Somehow this last passage of their mothers does n't affect her in the same way. She returns to the book but first asks a passing waitress, with great urgency. CAROLYN Can I smoke here? The waitress nods. Carolyn needs a cigarette for the rest of this. She opens her bag to get her pack. Inside her bag she notices a BUSINESS CARD. She picks it up to read IRA NEWMAN, attorney. Divorce. Pre - Nuptials. Marital Litigation. She pauses for a moment. Then, tossing the card back inside, she lights her cigarette and takes a drag. We follow the curls of smoke up as we : 1965\",\n \"INT. JOHNSON LIVING ROOM Camera moves down curls of smoke, to reveal : Robert and Francesca in each others arms, under a blanket on the living room floor on a bed of couch pillows, smoking a cigarette after lovemaking. Francesca seems miles away - feelings of regret and guilt creeping in. ROBERT Are you comfortable? -LRB- she nods. -RRB- Do you. want to move to the bedroom? FRANCESCA No. I ca n't. Not yet. She ca n't bring herself to go into her husband bed. ROBERT You want to eat something? FRANCESCA Are you hungry? ROBERT No. Silence. Robert shifts his body to face her. ROBERT -LRB- cont'd. -RRB- Honey. Are you all right? She looks at him and starts to cry, shaking her head. The room is filled with memories of her family. She nestles in his arms. He folds her. She closes her eyes. FRANCESCA Take me somewhere. ROBERT What? FRANCESCA Right now. Tell me someplace you've been - someplace on the other side of the world. Anywhere but here. ROBERT -LRB- thinks, then :. -RRB- How about Italy? FRANCESCA Yes. ROBERT How about Bari? FRANCESCA Yes. Tell me about the day you got off the train. ROBERT Have you ever been to that station? FRANCESCA Yes. ROBERT You know that little place nearby with the striped awning that sells sandwiches and little pizzas. The two transport themselves together to another place, where there is no familiar memories surrounding them to interfere.\",\n \"EXT. JOHNSON PORCH - NIGHT The two sit in bathrobes on the porch looking out over the pasture. They have plates of dinner on their laps. They eat voraciously. ROBERT Do you have anymore of the stew? Chewing, Francesca nods and leans over, picks a pot off the porch and ladles some more onto his plate. Too much falls out and it spills onto the robe. FRANCESCA Oh, I'm sorry. ROBERT It's okay. It's not that hot anymore. Thanks God. Francesca hands him a dish rag. Robert wipes off the food revealing his bare leg. She reaches over and touches it. He looks at her and smiles. She leans over and kisses him passionately until, suddenly, she pulls away. She looks upset. She rises and moves away to look out to the pasture. Robert can sense what is wrong. ROBERT -LRB- cont'd. -RRB- You think too much, you know that? FRANCESCA I just feel like I'm getting a little. out of control that's all. It's kind of frightening. ROBERT Why? FRANCESCA Why!? Because, I'm having thoughts I hardly know what to do with. I. ca n't seem to. stop them. ROBERT Nobody's asking you to. FRANCESCA -LRB- excited. -RRB- And arraccinos and zeppolis. Yes! I know it! ROBERT I sat outside and had coffee. FRANCESCA Where? Near the doorway or the near the front of the church? ROBERT Near the church. FRANCESCA -LRB- closes her eyes. -RRB- I sat there once. It was hot. Like today. I'd been shopping. I had all these bags around my feet I kept having to move every time the waiter came by.\",\n \"EXT. SANDWICH CAFE - BARI - DAY Francesca sits at the outdoor cafe in Bari with shopping bags around her feet. She re - arranges them as the waiter passes by, mumbling something vulgar under his breath. When she looks up - Robert is standing there. She smiles. He offers her hand. She takes it and rises. They leave the cafe. Francesca and Robert together against the breathtaking backdrop of the Italian countryside.\",\n \"EXT. BARI COUNTRYSIDE - DAY On a lakefront, Robert and Francesca make love.\",\n \"INT. JOHNSON LIVING ROOM - EVENING FRANCESCA AND ROBERT MAKING LOVE ONCE AGAIN. Francesca looks at him and understands he is giving her full permission to explore whatever she wants. Hesitantly, she crosses to him and takes his plate away. She stands before him, leaning him back into his chair. She slowly, tentatively, opens her robe. She strokes his hair, then caresses his head and gently guides it between her legs. 1994\",\n \"INT. SLOW BEND RESTAURANT - NIGHT C.U. on an ashtray filled with cigarette butts as Carolyn anxiously lights another. These last entries have over stimulated her. She calls to the waitress abruptly. CAROLYN Can I get another cup of coffee, please? When she looks up, she sees Michael has returned. He sits. CAROLYN -LRB- cont'd. -RRB- Where did you go? MICHAEL Bar across the street. CAROLYN Have you called Betty? -LRB- she shakes his head. -RRB- Maybe you should. MICHAEL I found out who Lucy Delaney is. -LRB- she looks interested. -RRB- Remember the Delaneys from Hillcrest Road? CAROLYN Yeah. But I thought she died. MICHAEL He remarried. Apparently they were having an affair for years. Apparently the first Mrs. Delaney was a bit of a stiff. CAROLYN You mean - she did n't like sex? MICHAEL -LRB- nods, then simply :. -RRB- I bet mom could've helped her. CAROLYN Boy. All these years I've resented not living the wild life in some place like Paris and all the time I could've moved back to Iowa. Are you drunk? MICHAEL Not yet. You want to go? CAROLYN I think I better. Between the book and the coffee, I'm this close to raping the busboy.\",\n \"EXT. IOWA LAKEFRONT - NIGHT Michael and Carolyn have parked in a secluded area near a lake. Some place where the moonlight and the scenery create a beautiful backdrop. They sit on the ground, leaving the headlights and the radio on. They are getting drunk sharing a bottle of whiskey. MICHAEL I used to love this place. I used to take Kathy Reynolds down here. CAROLYN You never dated Kathy Reynolds! MICHAEL Not officially. Her and Steve Kendall were pinned at birth. But I was crazy about her. And for about three months, I managed to catch her during her `` exploring'' stage. CAROLYN I never knew that. MICHAEL -LRB- sadly. -RRB- Nobody did. CAROLYN Was this during Betty? MICHAEL Everything was during Betty. God we were so young. Why did we think we had to do it all so fast? I've never cheated on Betty. Not once we were married, I mean. CAROLYN Did we want to? MICHAEL Only about a thousand times. What do I do now? `` What's good enough for mom is good enough for me?'' CAROLYN -LRB- pissed off. -RRB- What gets me is I'm 46 years old. I've been in this crummy fucking marriage - MICHAEL Carolyn! CAROLYN -LRB- ignores him. -RRB- - for over twenty years because that's what I was taught - you stick with it! Normal people do n't get divorced. I ca n't remember the last time my husband made love to me so intensely that he transported me to Europe, for Christ's sake - quite frankly, I do n't think he ever did! And now I find out in between bake sales, my mother was Anais Nin! MICHAEL What about me! I feel really weird. Like she cheated on me, not dad. Is n't that sick? I do n't mean I wanted to sleep with her or anything but - ya know - being the only son. You're sort of made to feel like you're the prince of the kingdom, ya know? And in the back of your mind, you kind of think your mother does n't need sex anymore because she has you. CAROLYN You're right - that is sick. They drink. MICHAEL If she was so unhappy, why did n't she leave? They look to each other without an answer. Then simultaneously they reach for the notebooks. MICHAEL -LRB- cont'd. -RRB- Can I read it now? I think I'm ready. Carolyn offers him the book then lays back in a relaxed position in order to listen. Michael flips to an ear marked page. MICHAEL -LRB- cont'd. -RRB- What paragraph were you up to? CAROLYN -LRB- casually. -RRB- She just made him perform oral sex on the porch. Michael freezes. He loses his nerve. Carolyn helps. CAROLYN -LRB- cont'd. -RRB- Go ahead, Michael. You've got to do this. Just think, `` Today I am a man.'' Michael nods and takes another swig. He reads : MICHAEL `` I'd never had a man make love to me that way before.'' -LRB- stops. -RRB- Oh Jesus. -LRB- continues. -RRB- `` I could n't believe the feelings bursting inside of me. As if I had opened some forbidden Pandora's box.'' Camera begins to move to wide angle as Francesca takes over. FRANCESCA `` It seems, thinking about it now, that in those few days I lived a completely different life as a completely different woman. What was recognizable as me before Robert was gone. We decided to spend Wednesday away from Winterset. Away from Madison County. Away from pastures and bridges and people too familiar and reminders too painful. We let the day take us where it wanted.'' 1965\",\n \"INT. DES MOINES MOVIE THEATER - DAY VIVIEN LEIGH is walking down a ships stairs in the 1965 film `` SHIP OF FOOLS.'' She is alone on screen. She walks, slightly intoxicated. Suddenly, Charleston music plays out of nowhere and she begins to dance, by herself, without any self - consciousness. In the movie theatre, Robert sits with his arm around Francesca like teenage lovers. Her head is nestled in his chest as she eats from a bag of popcorn. Robert barely keeps his eyes on the screen, staring at Francesca and stroking her hair.\",\n \"EXT. DOWNTOWN DES MOINES STREET - DAY Francesca and Robert walk hand - in - hand, window shopping and taking in the sights. For Francesca, it is as if she is seeing everything for the first time.\",\n \"INT. BOOK STORE - DAY Robert introduces Francesca to the photography section, showing her a book of one of his favorite photographers, Walker Evans. Francesca admires one photograph in particular - a mother and child during the depression. FRANCESCA On that one is beautiful. Look at their expressions. As if the camera were n't on them at all. As if they had no strength left to hide what they were feeling. ROBERT He's a genius. They're not photographs - they're stories, entire histories captured in moments. FRANCESCA I bet you could do a book. ROBERT No. I could n't. FRANCESCA Why do you say that? ROBERT Because I already tried once. Francesca is surprised. She senses his disappointment. ROBERT -LRB- cont'd. -RRB- It's no big deal. I know how to work a camera, how to make it `` make pictures'' - but I do n't know how to make it make art. -LRB- laughs. -RRB- At least that's what six publishers said. To take what we see of this world and give it back with a bit of ourselves in it. It's a mystery to me. FRANCESCA -LRB- smiles, supportive. -RRB- But you do n't mind. ROBERT -LRB- smiles. -RRB- No, I do n't mind. She brushes his hair away from his face affectionately. As he looks at another book, she notices their reflection in a mirror. She puts her arm through his. They look like a couple to her - two people who belong together.\",\n \"INT. FANCY RESTAURANT - DAY Francesca and Robert have an elegant lunch. FRANCESCA What were you like when you were younger? ROBERT -LRB- smiles. -RRB- Trouble. Why? FRANCESCA -LRB- laughs. -RRB- I just wondered. Why were you trouble? ROBERT I had a temper. FRANCESCA What were your parents like? Pause. Robert does n't reply. She looks at him curiously. ROBERT I ca n't do this, honey. FRANCESCA What? ROBERT Try and live a lifetime before Friday. Cram it all in. -LRB- shakes his head. -RRB- This is the first time either has mentioned their time clock. Francesca nods, understandingly. Across the room, Francesca notices A MOTHER having dessert with her FIVE - YEAR - OLD DAUGHTER, a pretty little girl in a fancy yellow dress. The mother rises and exits to the ladies room while the little girl continues eating a large sundae. Francesca smiles. As the girl licks a spoon of fudge, she sees Francesca looking at her and smiles back. Robert watches the silent exchange as he eats. Francesca makes a funny face at her. The little girl giggles as she spoons more ice - cream. Unfortunately, she spoons too much and the ice - cream falls on her pretty dress. She tries to take it off her, but she slips through her fingers and stains her even more. She looks at Francesca as if she's about to cry. Francesca smiles. FRANCESCA Excuse me a minute. Robert watches her cross to the little girl and kneel beside her. He sees her consoling the little girl while taking a napkin and dabbing it in the water glass. She helps the girl carefully wipe away the mess, all the while calming her. The mother re - enters the scene and shakes her head at her daughter. The daughter is afraid of being reproached but the mother is smiling. She and Francesca begin talking. She thanks Francesca. Robert sees the two mothers exchanging a moment of common experience and brief friendship. The mother and daughter take their leave as Francesca says goodbye and returns to the table. Robert looks at her lovingly. Francesca returns to her meal, but suddenly she is no longer hungry. Robert senses something is upsetting her. ROBERT You're somewhere else, where? FRANCESCA Just that it's been a perfect day and that I'd like to skip my fancy dessert and go home after this. ROBERT Uh - huh. And? FRANCESCA -LRB- beat. -RRB- You're right, you know. We do n't have much time. Uncomfortable silence hangs between them. A waiter passes by. ROBERT Check, please. OS, as the MOTHER YELLS : MOTHER REBECCA! REBECCA! Both Robert and Francesca look to the voice.\",\n \"EXT. RESTAURANT - DAY The mother stands on the street frantically calling for her daughter. MOTHER REBECCA! The Maitre'd, Francesca and Robert exit the restaurant. MOTHER Oh my God! FRANCESCA What happened? MOTHER I was paying the check. She ran outside. I told her to wait for me right here! Oh God, where is she? Rebecca! The sidewalk is filled with people. Francesca looks to Robert. He recognizes the concern in her expression. Going home will have to wait. ROBERT I'll check down here. Someone call the police. The Maitre'd goes back inside. Francesca comforts the mother. FRANCESCA Think for a second. Is there someplace she said she wanted to go? MOTHER I do n't remember!\",\n \"EXT. STREET Robert searches through the street, poking in and out of storefronts, looking across the street.\",\n \"EXT. RESTAURANT Francesca and the mother search in the opposite direction.\",\n \"EXT. STREET Through the crowd of people, Robert looks across the four lane Main Street to a LARGE CITY PARK. He crosses to it.\",\n \"INT. RESTAURANT - AN HOUR LATER Francesca sits with the mother as TWO POLICEMEN take down a description. The mother is crying. A waiter brings over some water for her. The Maitre'd stands by. MOTHER She was right outside. I turned my head for a second. POLICEMAN When was this? FRANCESCA About an hour ago. MOTHER They're not going to find her! FRANCESCA Yes, they are. At that moment, the mother looks up and cries. MOTHER REBECCA! She jumps out of her seat as all turn to see : Robert holding the little girl in his arms, entering the restaurant. He carefully hands her over to the mother. The two wrap their arms around each other. Francesca looks to Robert, loving him even more now. FRANCESCA Where was she? ROBERT Across the street. She went into the park and got turned around and did n't know her way out. MOTHER You crossed the street by yourself?! REBECCA -LRB- crying. -RRB- It was a green light. The mother is too relieved to be mad. Robert sits down. MOTHER Thank you so much! ROBERT -LRB- frazzled. -RRB- I need a drink. Everyone laughs out of relief. Francesca wraps her arm around his shoulder and kisses his forehead. He kisses her back.\",\n \"INT. TRUCK - DUSK Robert drives as Francesca sits inside his arm. Neither speaks.\",\n \"INT. JOHNSON HOUSE - DUSK Francesca calmly leads Robert up to her bedroom.\",\n \"INT. JOHNSON BEDROOM Naked, Francesca guides Robert into bed beneath the covers. They begin to make love - softly, lovingly - like a couple that are beyond the erotic, discovery stage ; a couple that have been together and in love for years. LATER - Francesca puts her arm around him as he nestles his head to her breast. Francesca strokes his hair as Robert closes his eyes. ROBERT I do n't know why I'm so tired all of a sudden. FRANCESCA Long day. Go to sleep. ROBERT Am I too heavy for you? FRANCESCA No. Robert settles into her. But Francesca is wide awake. Something is on her mind - `` Tomorrow? What happens after tomorrow?''\",\n \"INT. KITCHEN - MORNING Francesca is serving Robert breakfast, then sits down beside him. Silence. We can sense some tension between them - this being their last day together. Francesca seems ingeniously friendly. Robert is suspicious. FRANCESCA Sleep all right? ROBERT Yes, thanks. FRANCESCA Good. More coffee? -LRB- he nods, she pours. -RRB- Robert, I hope you do n't mind my asking, but I feel like I should. ROBERT What? FRANCESCA Well, these. women friends of yours. all over the world. How does it work? Do you see some of them again? Do you forget others? Do you write them now and then? How do you manage it? Her facetiousness startles Robert. ROBERT I. What do you want? FRANCESCA Well, I just want to know the procedure. I do n't want to upset your routine. Do you want any jam? ROBERT -LRB- insulted. -RRB- Routine! I do n't have a routine. And if you think that's what this is - FRANCESCA Well, what is this? ROBERT -LRB- upset. -RRB- Well, why is that up to me? You're the one who's married. You told me you have no intention of leaving your husband. FRANCESCA To do what? Be with someone who needs everyone and no one in particular? I mean, what would be the point. Would you pass the butter? ROBERT I was honest with you. I told you who I was. FRANCESCA Yes. Absolutely. You have this habit of not needing and that it's hard to break. I understand. -LRB- beat. -RRB- Of course, in that case, why sleep - you do n't need rest or for that matter eat, you do n't need food. She takes his plate away from him, rises and throws it into the sink. ROBERT What are you doing? FRANCESCA -LRB- sarcastic. -RRB- Gee, I do n't know. I guess I'm not cut out to be a World Citizen who experiences everything and nothing at the same time. ROBERT How do you know what I experience? FRANCESCA -LRB- angry. -RRB- I know you! What can this possibly mean to anyone who does n't `` need'' meaning -. -LRB- mocking. -RRB- `` Who goes with the Mystery'' - who pretends he is n't scared to death. ROBERT Stop it! FRANCESCA You have no idea what you've done to me, do you? And after you leave, I'm going to have to wonder for the rest of my life what happened here. If anything happened at all! And I'll have to wonder if you find yourself in some. housewife's kitchen in Romania if you'll sit there and tell her about your world of good friends and secretly include me in that group. ROBERT What do you want me to say? FRANCESCA -LRB- nonchantly. -RRB- I do n't want you to say anything. I do n't need you to say anything. Robert rises, knocking his chair aside. ROBERT STOP IT! FRANCESCA Fine. More eggs or should we just fuck on the linoleum one last time? ROBERT -LRB- grabs her. -RRB- I told you! I wo n't apologize for who I am. FRANCESCA No one's asking you to! ROBERT I wo n't be made to feel like I've done something wrong. FRANCESCA -LRB- angry. -RRB- You wo n't be made to feel! Period. You've carved out this little part for yourself in the world where you get to be a voyeur, a hermit and a lover whenever you feel like it and the rest of us are just supposed to feel so incredibly grateful for the brief time you've touched our lives! Well, go to hell! It is n't human not to feel lonely - it is n't human not to afraid! You're a hypocrite and you're a phony! ROBERT -LRB- cries out. -RRB- I DO N'T WANT TO NEED YOU! FRANCESCA WHY? ROBERT BECAUSE I CA N'T HAVE YOU! FRANCESCA WHAT DOES THAT HAVE TO DO WITH IT? He throws a cup at the wall. It breaks apart. Covering his face, Robert turns away from her as he holds onto the sink. Francesca reaches for him but he pulls away, embarrassed. FRANCESCA -LRB- cont'd. -RRB- -LRB- softly. -RRB- Do n't you see, I've got to know the truth, Robert. I've got to know the truth or I'll go crazy. Either way. Just tell me. But I ca n't act like this is enough because it has to be. I ca n't pretend I do n't feel what I feel because it's over tomorrow. Robert, keeping his face from her, tries to tell her : ROBERT If I've done anything to make you think that what's happened between us is nothing new for me - is some routine - then I do apologize. FRANCESCA What makes it different, Robert? Robert turns to face her. He is so hopelessly in love he can hardly find the words. His eyes fill up with tears. ROBERT Because. if I even think about tomorrow - if I. -LRB- voice cracks. -RRB- even think about leaving here without you - I'm not sure I can. that I -. -LRB- he shakes his head. -RRB- He ca n't even finish. He kneels down before her wrapping his arms around her and burying his face into her body. Francesca starts to cry - out of happiness, out of pain - holding onto him as if for dear life. FRANCESCA Oh God. what are we going to do? She kisses him - over and over, not wanting to be even an inch apart. As if any space between them might separate them forever. Suddenly, OS, they hear a CAR DRIVE UP to the house. They panic. Francesca runs to the window to see : MADGE, a girlfriend, has come for a visit. Madge is holding a homemade dessert. FRANCESCA -LRB- cont'd. -RRB- No. No. Where's your truck? ROBERT Behind the barn. I better go. Francesca turns to him - speechless - not wanting him to go. ROBERT -LRB- cont'd. -RRB- Do n't worry. I meant upstairs. He exits. Francesca gathers herself and heads for the front entrance, quickly cleaning up the plates.\",\n \"INT. FRONT HALL - DAY Francesca opens the door to Madge. FRANCESCA Madge? says. MADGE Hi. I made some brown betty. I sent Floyd off to town with the boy. I said -. -LRB- entering. -RRB- `` Floyd, I'm going to visit my girlfriend and spend the afternoon and that's all there is to it. He said who's going to make lunch? I said I'm taking a sick day. Eat at the dinner.'' Is n't that hilarious? -LRB- MOVES INTO KITCHEN. -RRB- He did n't dare raise an eyebrow - I do n't even want to tell you how late he was out last night with those good for nothings from the Sandford ranch. I am so sorry, honey, I let two days pass before I came by, but with the boy home the time just escapes me. Have you heard from Richard? How's the fair? God, it's hot. Following her into the kitchen, Francesca does n't know which question to answer first.\",\n \"EXT. PORCH - LATER THAT DAY Madge and Francesca sit facing the pasture beside a table with coffee and brown betty. We parachute into the middle of the scene. MADGE I said to her, `` what's the point of summer school if all he's going to do are these art projects. The boy needs so much work in math and his spelling is a nightmare. -LRB- continues. -RRB- Francesca is n't listening. Her mind wanders. FRANCESCA Madge. Please. Something's happened. I've met someone. I've fallen in love in a way I've never thought could happen my entire life. It's our last day together. I feel like I'm going to die when he leaves. Please. Help me. MADGE Oh, honey. I'm so sorry. But you've got to be grateful for even feeling the little you've be given. Believe me. Go to him. Do n't let him leave without these new precious hours you've got left. And if you need anyone to cry on, you know where I am. Madge shoves a plate at her. MADGE -LRB- cont'd. -RRB- More brown betty? Francesca takes the plate. She ca n't think straight. MADGE -LRB- cont'd. -RRB- Anyway, I'm glad that's over with. Sara doing so well though. Everyone thought I was crazy having them so far apart, but. -LRB- CONTINUES. -RRB- Francesca stands behind Madge, as the latter chatters on MOS. She calmly picks up the brown betty and, from behind, shoves it into Madge's face and holds it there, trying to suffocate her with it. Madge struggles. Francesca's mind races as Madge continues. MADGE without one lesson. The instructor could n't believe it. So, who knows - she may have talent. How's Carolyn doing? What are her plans for next year? Francesca realizes this is her moment. She holds her head and leans over, unsteadily. MADGE -LRB- cont'd. -RRB- Honey, what's wrong? FRANCESCA I do n't know. I woke up a little dizzy. I did n't sleep well. I think I need to lay down. MADGE You want me to call the doctor? FRANCESCA No, no. I just did n't sleep well. I'm not used to sleeping alone. And this heat. Would you mind? MADGE No, of course not. I'll just clean up. FRANCESCA No, leave it. I'll do it later. Listen, maybe you and Floyd can come for dinner on Saturday. I'm sure Richard'll have so many stories to tell you both about the fair and all. MADGE Oh, that'll be nice.\",\n \"INT. BEDROOM - LATER THAT DAY Francesca enters to find Richard, laying on the bed fully clothed. She sits beside him. He strokes her arm, then guides her to lay down. Once she's in his arms, he speaks. ROBERT Come with me. Francesca knew he was going to say this. Either answer she gives frightens her. FRANCESCA Hold me. She turns to him and they embrace. Robert, however, fears only one response. On the soundtrack, we hear the song `` DARN THAT DREAM.''\",\n \"INT. KITCHEN - EVENING The song continues over the next few images. Camera slowly pans from the radio, upon which the song is playing, to a beautifully set table and candles. It arrives on Robert preparing dinner.\",\n \"INT. BEDROOM Camera pans the room from two OPENED SUITCASES, as Francesca packs to leave. She moves about the room as if with blinders on - focused on her task, refusing to take in any sign or memories that might hinder her. She is wearing a RED DRESS, with BUTTONS down the front.\",\n \"INT. KITCHEN Robert stands at the sink rinsing out some utensils. Waiting for the water to turn hot, he looks out through the window above the sink. He sees a beautiful view of beautiful night. He pauses as it strikes him that this is a view Francesca has seen a million times - that soon she would not see ever again.\",\n \"INT. SECOND FLOOR LANDING Camera follows her as she exits the bedroom with her suitcases, then walks down the hall to the stairs, then down the staircase to the front hall. She quietly sets the suitcases down, hearing the radio and Robert in the kitchen. She pauses, then enters the living room. One of the throw pillows has fallen off the couch. She replaces it then takes a moment to look about the room. She slowly sits down on the couch. We hear voices of the past, auditory memories conjured up by each stick of furniture Francesca sees. FRANCESCA -LRB- V.O. -RRB- Michael, get off the back of that chair! What did I tell you! WE HEAR HIM FALL AND BEGIN TO CRY. FRANCESCA -LRB- V.O. -RRB- All you all right, honey. Let me see. A sound of Christmas music. of toddlers running and laughing. A birthday party for Carolyn. CAROLYN -LRB- V.O. -RRB- Mama, look - look at the dress Aunt Patty sent! RICHARD -LRB- V.O. -RRB- Franny, BONNAZA's on! ROBERT Francesca? Francesca snaps out for it and turns to find Robert. ROBERT -LRB- cont'd. -RRB- I've got dinner. She smiles.\",\n \"INT. KITCHEN They eat by candlelight. Neither speaks. Neither is very hungry. ROBERT Would you like a beer? She smiles and shakes her head. Robert opens a bottle and takes a sip. ROBERT -LRB- cont'd. -RRB- You know what I'd like to do before we leave? I'd like to take a picture of you - at Roseman bridge. Maybe just as the sun's coming up. FRANCESCA Yes. I'd like that. Pause. Robert smiles back and takes another sip. Then, knowing full well what hangs heavy between them, he asks : ROBERT Tell me why you're not coming with me? Francesca stops pretending to eat. She looks at him, having forgotten how well he can read her. FRANCESCA No matter how I keep turning it around in my mind - it does n't seem like the right thing. ROBERT For who? FRANCESCA For anyone. They'll never be able to live through the talk. Richard will never be able to. He does n't deserve that. He has n't hurt anyone in his life. ROBERT -LRB- getting aggressive. -RRB- Then he can move! People move! FRANCESCA His family's lived for almost a hundred years. Richard does n't know how to live anywhere else. And the kids. ROBERT The kids are grown! They do n't need you anymore. You told me that. They hardly talk to you. FRANCESCA No, they do n't say much. But Carolyn's 16. She's just about to find out about all this for herself - she's going to fall in love, she's going to try and figure out how to build a life with someone. If I leave what does that say to her? ROBERT What about us? What about me? FRANCESCA You've got to know deep down that the minute we leave here. It'll all change. ROBERT Yeah. It could get better. FRANCESCA No matter how much distance we put between us and this house, I bring with it with me. And I'll feel it every minute we're together. And I'll blame loving you for how much it hurts. And then even these four days wo n't be anything more than something sordid and. a mistake. ROBERT -LRB- desperately. -RRB- Francesca, listen to me. You think what's happened to us happens to just anybody? What we feel for each other? How much we feel? We're not even two separate people anymore. Some people search their whole lives for it and wind up alone - most people do n't even think it exists and you're going to tell me that giving it up is the right thing to do? That staying here alone in a marriage, alone in a town you hate, in a house you do n't feel apart of anymore - you're telling me that's the right thing to do!? FRANCESCA We are the choices we've made, Robert. ROBERT -LRB- rises. -RRB- TO HELL WITH YOU! He turns his back on her. FRANCESCA Robert. Please. -LRB- desperate to explain. -RRB- You do n't understand - no one does. When a woman makes the choice to marry, to have children - in one way her life begins but in another way it stops. You build a life of details. You become a mother, a wife and you stop and stay steady so that your children can move. And when they leave they take your life of details with them. And then you're expected move again only you do n't remember what moves you because no one has asked in so long. Not even yourself. You never in your life think that love like this can happen to you. ROBERT But now that you have it - FRANCESCA I want to keep it forever. I want to love you the way I do now the rest of my life. Do n't you understand - we'll lose it if we leave. I ca n't make an entire life disappear to start a new one. All I can do is try to hold onto to both. Help me. Help me not lose loving you. She embraces him. He wraps his arms around her. He whispers. ROBERT Do n't leave me. Do n't leave me alone. Please. This breaks her heart, knowing how hard it is for him to say this. She holds him tighter, until - ROBERT -LRB- cont'd. -RRB- Listen. Maybe you feel this way, maybe you do n't. Maybe it's just because you're in this house. Maybe. maybe when they come back tomorrow you'll feel differently. Do n't you think that's possible? FRANCESCA I do n't know. Please. ROBERT I'm going to be here a few more days. I'll be at the Inn. We have some time. Let's not say any more now. FRANCESCA No. Do n't do this. ROBERT I CA N'T SAY GOODBYE YET! We'll leave it for now. We're not saying goodbye. We're not making any decision. Maybe you'll change your mind. Maybe we'll accidentally run into each other and. and you'll change your mind. FRANCESCA Robert, if that happens, you'll have to decide. I wo n't be able to. She cries in his arms. He kisses her as if for the last time. Then, quickly, separates himself and leaves the house.\",\n \"EXT. JOHNSON HOUSE Robert walks briskly towards his truck not wanting to look back. He gets in, starts it up and drives away. Francesca exits the house and watches the truck recede into the distance. She stops when she reaches the front gate, leaning against it. She murmurs to herself - FRANCESCA Keep going. Please. The truck drives away. Then, suddenly, stops. Francesca's heart quickens. She watches as the truck stands on the road in the distance. As if Robert was deciding to turn around or keep going. Francesca waits. Suddenly, the door to the truck flies open and Robert exits. Francesca loses all restraint. She opens the gate but her dress is caught on it. Robert stands by the truck. Francesca tears at the dress, ripping off a button which falls to the ground. She runs down the road. Seeing her, Robert runs towards her as well. They grab each other furiously. For these few moments, all considerations are gone. As he kisses her, he murmurs : ROBERT I forgot to take your picture. She laughs through her tears as they continue to kiss. Camera pans up to the road beyond Robert's truck. WE SEE RICHARD'S TRUCK DRIVING TOWARDS THEM. For a moment it seems as if they will be caught until we realize RICHARD'S TRUCK IS BEING SUPERIMPOSED as the LIGHT GRADUALLY BRIGHTENS MORNING.\",\n \"EXT. JOHNSON HOUSE Richard, Michael and Carolyn drive down the road toward the house. Robert's truck, and all traces of him, are gone. Francesca steps into the doorway in a house dress to welcome her family home - wondering how this will feel. JOHNSON KITCHEN - EVENING The Johnson family has dinner as Francesca narrates : FRANCESCA -LRB- V.O. -RRB- You all came home. And with you, my life of details.\",\n \"EXT. JOHNSON HOUSE Everyone is doing various daily chores. FRANCESCA -LRB- V.O. -RRB- A day or two past and with each thought of him, a task would present itself like a life saver, pulling me further and further away from those four days.\",\n \"INT. LIVING ROOM - EVENING Francesca is reading. Richard watches TV. FRANCESCA -LRB- V.O. -RRB- I was grateful. I felt safe.\",\n \"EXT. WINTERSET - MAIN STREET - DAY Richard and Francesca drive up to the general store to buy groceries. Francesca heads for the store as Richard crosses the street. FRANCESCA Want anything special for dinner? RICHARD Hmm. How about that brown sugar meat loaf you make? FRANCESCA -LRB- smiles. -RRB- Okay. She enters the store.\",\n \"INT. GENERAL STORE - DAY Francesca makes small talk with the grocery lady as she buys what she needs.\",\n \"EXT. MAIN STREET - DAY Francesca places a bag of groceries on the front seat of the truck, then gets in herself to wait for Richard. She takes a deep breath and removes a handkerchief from her bag to wipe the sweat from her face. She freezes - Through the windshield, she sees ROBERT standing beside his truck across the street, staring at her. Her heart stops. For a moment, she is n't even sure he's real. The town moves about its business around them. But neither notice or care. Whatever safety or forgetfulness she felt is gone. Her feelings burst through. She sits there helpless before him - willing to go or stay depending on what he did. He begins walking towards her. She prepares herself. Her life will change - it has to. There's not turning back. But the closer Robert gets, the clearer he can see that she is crying. And he stops. Without any words, he realizes what taking her with him would mean. With just a glance, he sacrifices her. With their eyes locked in the middle of Main Street - in front of the whole town - they smile and say goodbye. Robert returns to his truck. He drives off down Main Street, taking the first left. Moments later, Richard throws the feed bag into the back of his truck and gets in. Francesca is wiping her eyes. He does n't notice. He drives off in the same direction as Robert. FRANCESCA -LRB- V.O. -RRB- For a moment, I did n't know where I was. And for a split second, the thought crossed my mind that he really did n't want me - that it was easy to walk away. As they pass the corner where Robert made his left turn, Francesca turns to look and sees : ROBERT'S TRUCK IS PARKED just off the corner. As if he had to drive away to get out of sight, but could n't bring himself to drive any further. The sight of him hiding there breaks Francesca's heart, she turns away from her husband to hide the tears.\",\n \"EXT. JOHNSON HOUSE - DAY Carolyn is in the yard picking vegetables. Her parents drive up in their truck. She steps out with her bag of groceries and walks briskly into the house. Richard follows more slowly with his bag of feed, stopping at the gate to pick up the button from Francesca's red dress.\",\n \"INT. KITCHEN Francesca enters and places her groceries on the counter. She tries to compose herself. She sees the radio before her. She turns it on. The Dinah Washington song `` I'LL CLOSE MY EYES'' evokes every feeling of love and loss within her. She begins to cry. She hears Richard enter the house. She stands out of sight, holding her hand to her mouth to muffle her crying. She hears : MICHAEL -LRB- O.S. -RRB- Dad! You bought the wrong feed! RICHARD What!? She hears Richard exit the house.\",\n \"EXT. LUCY REDFIELD'S HOUSE - NIGHT A hand knocks on a door. Lucy Redfield opens it to find Francesca standing there with a cake. FRANCESCA Hi. I'm Francesca Johnson. I just feel awful I have n't come to visit sooner. I hope I'm not interrupting anything. Is it too late? Lucy is shocked and moved at the same time. LUCY No. Not at all. FRANCESCA I was wondering if. maybe you'd like some company. -LRB- almost manic. -RRB- I baked a cake! Lucy looks at the cake. She's a little dazed by all this. LUCY Uh. sure. Please. Come in. I'll make coffee. Francesca enters. Lucy closes the door.\",\n \"EXT. IOWA LAKEFRONT - DAWN Michael continues reading beside Carolyn as the sun rises. MICHAEL `` We became inseparable, Lucy and I. The funny thing is, I did n't tell her about Robert until years later. But, for some reason, being with her somehow made me feel it was safe to think about him. To continue loving him. The town loved talking about the two of us but we did n't care. And neither did your father. Which I thought was a lovely thing. I received Robert's letter and my photograph soon after. I always wondered if your father found them. I was never quite sure.''\",\n \"INT. KITCHEN - EVENING At dinner, Richard remembers the button he found. RICHARD Oh, Franny, is this yours? Francesca sees the button. She speaks her original lines MOS as HER NARRATION is hard : FRANCESCA -LRB- V.O. -RRB- I almost told him. In that moment I felt as if I could n't hold it back. If he really loved me maybe he'd understand. She returns to her meal. The family eats in silence. FRANCESCA -LRB- cont'd ; V.O. -RRB- But love wo n't obey our expectations. Its mystery is pure and absolute. What Robert and I had, could not continue if we were together. What Richard and I shared would vanish if we were apart. But how I wanted to share this. How would our lives have changed if I had? Could anyone else have seen the beauty of it?\",\n \"INT. JOHNSON KITCHEN - NIGHT Francesca moves about the kitchen with a frantic pace as she puts the finishing touches on a cake. Placing the frosting bowl in the sink, she hears someone upstairs exiting their bedroom. She quickly gathers the cake and her bag and exits through the screen door.\",\n \"EXT. JOHNSON HOUSE - NIGHT Fighting tears, she walks to the truck from around the house. She gets in and starts it. She vaguely hears her daughter from the front door. CAROLYN Mom? But she does n't acknowledge it and drives away.\",\n \"EXT. MOTOR INN - NIGHT Her truck approaches and then speeds past the Inn where Robert is staying. We can see his truck in the parking lot. 1979\",\n \"INT. JOHNSON BEDROOM - NIGHT And older Francesca cares for a sickly Richard. He lies in bed beside an array of medicines and tonics. She wipes his forehead with a cool cloth as he takes his pills. FRANCESCA Better? He nods. She smiles. She shuts off the light and lays beside him. RICHARD Franny? FRANCESCA Hmm? RICHARD I just want to say. I know you had your own dreams. I'm sorry I could n't give them to you. I love you so much. Francesca turns to him. She is so touched, tears fill her eyes. She nestles close to him, wrapping her arms around him. 1982\",\n \"EXT. DES MOINES Francesca eats at the same restaurant she shared with Robert. FRANCESCA -LRB- V.O. -RRB- After your father died, I tried to get in touch with Robert but found out he had left the National Geographic soon after the Madison County. No one seemed to know where he was. My only connections to him were the places we'd been to that one day. And so each week, I'd re - visit them.\",\n \"EXT. JOHNSON HOUSE - DAY Francesca greets a UPS man with an envelope and a package. FRANCESCA -LRB- V.O. -RRB- And then one day, I received the letter from his attorney, with a package.\",\n \"INT. JOHNSON LIVING ROOM Francesca reads the letter informing her of Robert's death. She then unwraps the package to reveal a MEDALLION with her name inscribed and A PHOTOGRAPHY BOOK ; a published collection of black and white photos by Robert Kincaid entitled `` Four Days.'' Beautiful, dramatic black and white representations of love and passion, loneliness and pain, and union. On the front page there reads an inscription `` FOR F.'' ROBERT -LRB- V.O. -RRB- `` There is a pleasure in the pathless woods. There is a rapture on the lonely shore. There is society where none intrudes. By the deep sea and music in its roar. I love not man the less, but Nature more. From these our interviews, in which I steal. From all I may be, or have been before. To mingle with the Universe and feel. What I can ne'er express, yet can not all conceal.'' The quote is Byron's. She smiles with pride as she cries.\",\n \"EXT. IOWA LAKEFRONT - EARLY MORNING Michael sits with his arm around Carolyn as they look out over the lake. The notebooks are closed, but Francesca's narrations continue over the next few scenes. FRANCESCA -LRB- V.O. -RRB- There has not been a day since that I have not thought of him. When he said we were no longer two people, he was right.\",\n \"INT. JOHNSON BEDROOM Carolyn, looking through her mom's closet, finds the summer dress she bought in Des Moines to wear for Robert. FRANCESCA -LRB- V.O. -RRB- We were bound together as tightly as two people can be. If it had n't been for him, I do n't think I would have lasted on the farm all these years. Remember that dress of mine you wanted, Carolyn - the one you said I never wore. Well, I know I was silly. But to me, it was as if you were asking to wear my wedding dress to go to the movies. Carolyn smiles as she holds the dress before her.\",\n \"INT. MOTEL - DAY A tired Michael finds his way through the motel to his room. FRANCESCA -LRB- V.O. -RRB- After reading all this, I hope you can now understand my burial request. It was not the ravings of some mad old lady. I gave my life to my family. I wish to give Robert what is left of me.\",\n \"INT. MOTEL ROOM Michael enters to find his two children watching TV and an angry Betty folding clothes. CHILDREN Hey, Dad! He looks at them lovingly, then at Betty who angrily motions for him to follow her into the bedroom. She slams the door behind him and talks in a irate whisper. BETTY You have been out all night long! Do I have a right to ask where you've been or is this a family secret? Michael just looks at her. He gently takes her hand. MICHAEL No. No more secrets. He kisses her hand. Betty is floored. MICHAEL -LRB- cont'd. -RRB- Do I make you happy, Betty? -LRB- she is stunned. -RRB- Because I want to. I want to more than anything. He gently kisses her cheek then embraces her. Betty - for the first time in her life - is utterly speechless.\",\n \"INT. JOHNSON BEDROOM Wearing her mother's dress, Carolyn sits on the bed holding the phone, waiting for Steve to pick up. In her other hand, she holds the divorce lawyers card. CAROLYN -LRB- on the phone. -RRB- Hi, Steve? It's me. Good. You? Listen, we have to talk. Well, how about you? Uh, no - I've decided I'm going to stay for a while. I do n't know how long. No, I wo n't be coming back. I'm not angry, Steve. I'm not angry at all. -LRB- smiles. -RRB-\",\n \"EXT. ROSEMAN BRIDGE - DAY Michael and his family stand beside Carolyn and a Priest. FRANCESCA -LRB- V.O. -RRB- `` I gave Lucy his photography book. If you're interested, take a look. If my words still leave something unclear, perhaps his pictures can illuminate. After all, that's what an artist does best.'' Michael receives the urn from the priest. He and Carolyn walk away from the group towards the bridge. They stop. Carolyn removes the lip. Michael sets his mother's ashes free. FRANCESCA -LRB- V.O. -RRB- `` I love you both with all my heart. Do what you have to, to be happy in this life. There is so much beauty.'' THE END\"\n]"},"labels":{"kind":"list like","value":[0,0,0,0,0,0,1,0,1,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1],"string":"[\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1\n]"},"summary":{"kind":"string","value":"In the present, adult siblings Michael and Carolyn arrive at the Iowa farmhouse of Francesca Johnson, their recently deceased, elderly mother, to see about the settlement of their mother's estate. As they go through the contents of her safe deposit box and the will, they are baffled to discover that their mother left very specific instructions that her body be cremated and her ashes thrown off the nearby Roseman Covered Bridge, a plan not in accordance with formal burial arrangements which the children felt constrained to abide with: side-by-side plots in the local cemetery. Michael initially refuses to comply with the cremation, while Carolyn discovers a set of photos of her mother and a letter. She manages to convince Michael to set aside his initial reaction so they can read the documents she has discovered. Once alone, they go through a series of letters from a man named Robert Kincaid to their mother. The siblings find their way to a chest where their mother left a letter, a series of diaries, photographs, old cameras and other mementos. They discovered that in 1965, their mother, an Italian war bride, had a four-day affair with Robert Kincaid, a travelling professional photographer who had come to Madison County, Iowa, to shoot a photographic essay for National Geographic on the covered bridges in the area. The affair took place while her husband and children were at the state fair in Illinois. The story in the diaries also reveals the impact the affair had on the lives of Francesca and Robert, since they almost ran away together, so she could travel the world with him. However, after a wrenching period of decision-making, she decided to stay at the last minute after considering the bigger picture that includes the consequences leaving would have on the lives of her teenage children and husband, who was a good, loving man. Kincaid is very moved by meeting her. He finds meaning and his true calling as an artist. The story also has deep consequences on the lives of Michael and Carolyn, who are both experiencing marital problems. Their mother’s story helped them to find a sense of direction in their lives. At the end, the Johnson siblings comply with their mother’s request and scatter their mother's ashes at the covered bridge."},"name":{"kind":"string","value":"The_Bridges_of_Madison_County_(film)"}}},{"rowIdx":74,"cells":{"scenes":{"kind":"list like","value":["VIRTUOSITY Two men bolt recklessly through a downtown street. Hunters hot on the trail of their prey in an urban jungle. The sidewalk is crowded with people. So is the street. Too many people, not enough cement. Los Angeles, 1997. Summer, probably August. 103 degrees. Heat shimmers off the horizon. Making the sky look peculiar. The men keep running. Passed a GUY sitting at a bus stop, watching a television in his lap. YOU HEAR the NEWSCASTER. NEWSCASTER. -LRB- V. 0. -RRB- As L. A. P. D. officers gather evidence at this grisly crime scene, you can only ask yourselves -- -- what kind of lunatic would commit such unthinkable crimes? -LRB- a beat. -RRB- The three adjectives which best describe this killer are sadistic, intelligent, and dangerous. The guy pays little attention to the broadcast. He seems almost bored by it. Like this kind of news is commonplace. Or he's got more important things on his mind. Everybody is sweating. Including the two men struggling to swim upstream in the river of pedestrians. Their uniforms are freshly pressed. Their shoes just recently shined. Hair tightly cropped. Faces perfectly shaved. Clearly men proud to wear the badge of the Los Angeles Police Department. The guy in the lead is PARKER BARNES His body is a running back's. His endurance a marathoner's. His face one you'd want for your own. He's in his 30s. If he was in his 20s, you'd still be jealous. His partner is JOHN DONLEY, late 20s, eager to prove himself. He struggles to keep up with Parker. John accidently knocks over several pedestrians. They give no reaction, except to pick themselves up and continue on their way. Parker and John keep charging. Their conversation breathless : JOHN I ca n't get over how different you look. PARKER. -LRB- ruefully. -RRB- Five years can be a bitch, huh? They split - up. The Maitre D', still facing the front doors, repeats his greeting to no one in particular. MAITRE D' Good afternoon. May I help you? Parker spots Sid 6.7 across the room. Without hesitation the hunter chases his prey. Gun out and firing. NOT what you would call Standard Police Procedure. Bullets riddle Sid 6.7's table as he dives from his chair. He lands next to a bowling ball bag, which sits beneath his table. John charges from the other direction until a WOMAN gets up from her chair, standing directly in John's line of fire. JOHN. -LRB- to the Woman. -RRB- Lady, move! Before she can do so, Sid 6.7 stands behind the Woman, grabbing her and throwing her across the table into Parker. CRASH! They tumble to the floor. In the same movement, Sid 6.7 removes a gun from inside his jacket and shoots John in the shoulder before he can fire. John's gun flies from his hand. Sid 6.7 advances toward him. Parker struggles to his feet. Aims his weapon. Sid 6.7 does the same, but without looking. BOOM! Parker gets a bullet through his shooting arm. His wound IDENTICAL to John's. Parker's weapon tumbles to the floor as his arm goes limp. Parker charges him wildly, but Sid 6.7 brutally kicks him in the stomach. In perfect rhythm with the symphony playing in the background. Parker doubles over, gasping for breath. Another kick drops Parker to his knees. SID 6.7. -LRB- to Parker. -RRB- I'm going to rehearse with your friend a while, then I'll be back to perform a new piece with you. He grabs his bowling bag and SLAMS it into John's head, knocking him out. Sid 6.7 puts John's unconscious body over his shoulder. SID 6.7. -LRB- CONT'D. -RRB- If you get hungry, I'd recommend the escargot. They're delicious. He carries John and the bowling ball bag into the kitchen. Parker scrambles to his gun, and races after Sid 6.7.","INTERIOR THE RESTAURANT KITCHEN Parker charges through SOUS CHEFS chopping vegetables, who work undistracted. The Vegetables look plastic. Parker turns a corner, stopping fast. At the other end of the aisle stands Sid 6.7, who presses his gun against the head of a frightened BUSBOY. Sid 6.7 holds the Busboy's body in front of his own as a shield. PARKER. -LRB- to Sid 6.7. -RRB- Where's John? SID 6.7 Performing solo. -LRB- a beat. -RRB- Enjoying the concert so far? Advancing up the aisle, Parker levels his gun at Sid 6.7 with his good arm. Now, all work comes to a stop as the Sous Chefs watch the showdown. PARKER Recital's over, asshole. He fires directly through the chest of the innocent Busboy hitting Sid 6.7. The Sous Chefs gasp in horror as the Busboy drops through Sid 6.7's grasp to the floor. Dead. Sid 6.7 stares at Parker in disbelief. Blood is now visible flowing from a bullet hole in Sid 6.7's shoulder, which was caused by the same bullet. Sid 6.7's arm dangles uselessly. His gun lies on the floor. SID 6.7. -LRB- surprised, but pleased. -RRB- . You and me are n't so different, after all. Parker again pulls the trigger. Click. Click, click. No bullets. SID 6.7. -LRB- CONT'D. -RRB- Like a violin without strings. He takes off around the corner. Grabbing another clip from inside his uniform, Parker goes after him. Only to stumble over something. Sid 6.7's bowling bag. Blood flows through its zipper. You now realize the object inside is NOT a bowling ball. Beside the bowling bag lies John's body, which is convulsing. His hands have been tied to bare electrical wire. John is being electrocuted. Parker kicks away the wires, but not in time. PARKER SHIT! He scans the room for Sid 6.7. Parker has no idea Sid 6.7 is standing directly behind him. Sid 6.7 grabs Parker by the throat. SID 6.7 I told you I was going to perform a new piece with you. It's called, `` First You Suffer, Then You Die.'' Hope you like it. Parker gags, unable to breathe. He then starts to DE -- MATERIALIZE from within Sid 6.7's grasp. SID 6.7. -LRB- CONT'D. -RRB- -LRB- as if to God. -RRB- NOOOH! You ca n't take him, yet. I'm not finished! John's body also de -- materializes as Parker disappears entirely. The blood seeping from Sid 6.7's wound stops flowing and starts retracting into his body. Along with his bone fragments. His shoulder is healing itself. Right before your very eyes. We PULL BACK TO REVEAL what you are seeing is ON A MONITOR The scene continues seamlessly. Sid 6.7's skin heals over his shoulder wound once his internal parts are back in their proper places. No scar whatsoever. His clothing also returns to perfect condition. Literally, as good as new. This is known as AUTOMATIC RESETTING. The previously dead Busboy also Auto Resets. His wound healing by itself. We PULL BACK FURTHER to reveal the monitor is one of several","INTERIOR THE LAW ENFORCEMENT TECHNOLOGY ADVANCEMENT CENTER a/k/a LETAC. The facility is a converted aerospace research building in Pacoima. Funded by government black book dollars. The look is a mixture of industrial grime and high - tech sparkle. Banks upon banks of computer equipment. Wires, cables, conduits, connectors everywhere you look. In complete disarray to the uninitiated. But to those in the know, this is the most advanced facility of its kind in the world. The building is partitioned into dozens of stations. At each station, a leading engineer in his field is frantically readying a prototype for demonstration. Each new technology designed to help fight the new Cold War. the War on Crime. The atmosphere is competitive. Voices are loud. Tension, anticipation in the air. Only a lucky few will have their inventions approved for production. LETAC is, quite simply, Los Alamos from 1940 meets Sega from 1994. At a station in the middle of the room, TWO UNCONSCIOUS BODIES lie on narrow beds wearing form - fitting skull caps made of polyurethane. Each skull cap has 100 acupuncture needles stuck through it at points designated as neural primes. Each needle is directly connected to the participant's nervous system. The tail end of each needle is connected to a fiber optic wire which leads to one of numerous interconnected computers surrounding the beds. Each of these components is n't much to look at on its own. But together, with the rest of the apparatus, are part of something very new -- -- a revolutionary law enforcement training device whose name you read : VIRTUAL REALITY CRIMINAL INVESTIGATION SIMULATOR To be perfectly clear, the events you just witnessed involving Parker, John, and Sid 6.7 took place within virtual reality, not the real world. Dozens of small character modules, similar to today's Nintendo game cartridges, are plugged into. the system's main console. Each of the modules bares a name and number, such as MAITRE D' 1.7 and SHEILA 3.2. There is no character version number greater than 4.0. Until you see the module labelled SID 6.7. The simulation timer stops at : 17 hours, 52 minutes, 11 seconds. A clock reads : 3:04:32 PM. Four observers, two men and two women, watch virtual reality monitors positioned around the station. One of the men wears an L. A. P. D. uniform. His name is WILLIAM COX, 40S. His nameplate reads CHIEF OF POLICE. One of the women sits by herself in front of a monitor. Intently following the action on screen. Studying it clinically. Her name is DR. MADISON CARTER, late 30s. She is beautiful, and charming, but those qualities take a back seat to her intelligence. She is one of the country's foremost authorities on criminal psychology. Her concerns are empirical. Her quest is knowledge. She has little in common with the other observers. The other man is FREDERICK WALLACE, 5Os, Chairman/CEO of LETAC. Expensive suit. Commanding, powerful. But not as commanding, or powerful, as ELIZABETH DEANE, 605, the Presidentially -- appointed Crime Czars Elizabeth Deane is solely responsible for the funds allocated to LETAC. As well as which prototypes will move on to production. DEANE. -LRB- quietly to Wallace. -RRB- What did Cox pull him out early for? WALLACE Barnes used to work for him when he was still a cop in the field, remember? DEANE. -LRB- a beat. -RRB- Do n't remind me. LAB ASSISTANTS remove the polyurethane skull caps from the two unconscious bodies. The acupuncture needles remain in the caps. You can now see the faces of the participants : Parker and John. Parker lies calmly, his eyes fluttering as he gradually returns to consciousness. He looks very different than his virtual rendering : His hair is long and ragged. His face is unshaven. A scar across his cheek. A hoop earring in one ear. His outfit a filthy prison uniform. John's outfit matches Parker's. Physically, he looks as clean -- cut as his virtual rendering. Except that he is convulsing. Violently. His flailing appendages repeatedly hit the apparatus around him. Like an epileptic having a grand mal seizure. It's ugly. Frightening. PARKER. -LRB- barely conscious. -RRB- SOMEBODY. DO SOMETHING! TWO PARAMEDICS burst through the doors and rush to John. The paramedics inject him. Fibrillate him. Repeatedly. The simulator's designer, DARYL LINDENMEYER, 40s, high -- strung, intense, and brilliant beyond words, stands by the equipment protectively. He is far more concerned for the safety of his machines than he is for John's life. John's body goes limp. His vital signs flat. The Paramedics record the time of death and cover the body with a sheet. They begin to assemble a gurney to wheel him out. DEANE. -LRB- annoyed to Wallace. -RRB- What the hell happened? WALLACE. -LRB- pointing to needles. -RRB- Lindenmeyer developed neural connectors that tap directly into the nervous system. If the simulator is n't calibrated properly, experiencing death in this level of VR is like experiencing death within a dream. The experience becomes real. DEANE. -LRB- angrily. -RRB- Simulations are supposed to give participants practice in realistic, dangerous scenarios while protecting them from the risks they are exposed to in the real world. WALLACE. -LRB- annoyed, to Lindenmeyer. -RRB- I was assured the problem was corrected. LINDENMEYER I did fix it. I told you I did. I do n't know why it happened again. DEANE Again?! COX. -LRB- a beat. -RRB- My first two pairs of convicts suffered the same fate. DEANE. -LRB- coldly, to Wallace. -RRB- Why was n't I told? WALLACE Black book dollars, black book operation. You pay me for results, not how for how I get you there. COX. -LRB- to Deane. -RRB- I'll tell you one thing - -- there is no way in hell we should allow any real officers to train in this damn thing. DEANE Then about all I've spent $ 37 million developing is a very expensive way to control the prison population. After giving Wallace a cold, hard stare - namely at his hand stitched lapel, his gold watch, and his diamond - studded cufflinks, she exits. Wallace follows after her quickly. You now notice that the chair Dr. Madison Carter had occupied is now empty. She left a while ago. Cox remains. Lindenmeyer hurriedly examines the simulator as if it were his child. There are several scratches, but no major damage. He looks relieved. PARKER. -LRB- struggling to sit up. -RRB- He. only had a year left on his sentence. LINDENMEYER. -LRB- annoyed. -RRB- How much do you think I care? Parker, still not fully conscious, hurls himself at Lindenmeyer. LINDENMEYER. -LRB- CONT' D. -RRB- -LRB- hysterical. -RRB- Do n't touch me! DO N'T TOUCH ME! He flails his arms wildly. Nearly spasming. This is clearly a man who should never drink coffee. TWO armed GUARDS, who've been standing in the background, pull Parker off Lindenmeyer and throw him to the ground. Lindenmeyer watches with satisfaction as the guards put Parker in handcuffs and leg chains. COX I'll walk him out. The Guards back off as Cox helps Parker to his feet. COX. -LRB- CONT'D. -RRB- -LRB- to Parker. -RRB- You all right? PARKER. -LRB- still clearing his head. -RRB- Why'd. you pull me out? COX Donley started experiencing the attack for real. If I had n't gotten you out, the same thing would have happened to you. -LRB- a beat. -RRB- You may not believe this, Parker, but I still consider us friends. He helps Parker toward the exit as he continues having difficulty with his balance.","EXTERIOR LETAC The building is heavily - guarded. Razor wire, land mines, armed sentries. Nobody who should n't be here gets anywhere near here. Cox leads Parker by the arm to a waiting prison transport. The two guards walk behind at a distance. Two more by the transport. The chain between Parker's legs keeps his steps short. COX What the hell did you have to shoot the busboy for? PARKER He was a computer program for crissake. COX You were supposed to act as if everything was real. PARKER Real, my ass. It's an overblown game. -LRB- a beat. -RRB- Anybody ever catch that fucking psycho? COX Before you, nobody else had gotten close enough to Sid 6.7 to take a shot at him. Hell, nobody else had even been able to start tracking him before he got to them first. -LRB- eyeing Parker's scar. -RRB- New scar -- -- you making it okay in there? PARKER. -LRB- head down. -RRB- I'm getting by. He starts walking ahead of Cox. Distancing himself. COX. -LRB- pausing for emphasis. -RRB- . -RRB- You've got to know I tried keeping you out of general population. Goddam politicians. His voice trails off as Parker turns around, and heads directly toward him. PARKER. -LRB- locking eyes. -RRB- You want to know how I'm doing? Every day, I lose a little bit more of myself. -LRB- a beat. -RRB- I'm becoming something else, and it scares the hell out of me. He turns back toward the transport. Cox follows. Two armed GUARDS open the back doors for Parker, then stand poised with weapons out and ready.","INTERIOR THE PRISON TRANSPORT -- REAR Cold metal benches. No windows. Parker climbs in, the only passenger. He looks out the open doors to Cox. PARKER. -LRB- half - heartedly. -RRB- But with the six months off I get for being your guinea pig, I've only got to survive another 17 years, 5 months, and 23 days. COX Do n't give up, Parker. Not ever. PARKER. -LRB- a beat. -RRB- You know those cheesy Christmas cards of your family under that tree in your back yard you keep sending me every year? COX What about them? PARKER. -LRB- a beat. -RRB- Do me a favor -- -- keep sending them.","EXTERIOR LETAC Standing outside the transport, Cox puts his hand on Parker's shoulder. COX Take care, pal. Behind him, John's body is loaded into an ambulance. The Guards SLAM the prison transport doors shut.","INTERIOR THE PRISON TRANSPORT -- REAR Parker sits in DARKNESS as the transport begins its trek. The only light comes from a four inch portal, covered in steel mesh, through which the Guards can keep an eye on him. GUARD. -LRB- tauntingly. -RRB- Hey Parker -- -- I'm real sorry John boy got fried. What do you think Big Red's gon na do when he finds out you came back without his girl friend? Parker sits in silence. CUT TO:","INTERIOR LETAC Sid 6.7 remains visible on the various monitors around the room as Lindenmeyer spot checks the simulator. SID 6.7. -LRB- from the monitors. -RRB- Do n't be angry with me, Daryl. LINDENMEYER. -LRB- a beat. -RRB- Did you recognize the son - of - a bitch who got away? SID 6.7 Should I have? LINDENMEYER Think hard - it'll come to you. Wallace enters briskly. WALLACE You embarrassed me in front of the highest -- ranking law enforcement official in the country. -LRB- a beat. -RRB- Do you have any idea how much money you just cost me? LINDENMEYER The reason you insisted on testing my system with prisoners is because of the increased risks involved with increased realism. WALLACE Of the six prison inmates you've tested -- -- all of whom have had at least some military or survival training - -- only Mr. Barnes is still breathing. LINDENMEYER I'm still making adjustments. WALLACE You've had a year -- and -- a -- half to make all the adjustments you want, Lindenmeyer. -LRB- moving closer. -RRB- . -RRB- Elizabeth Deane does not give second chances. Neither do I. You're fired. LINDENMEYER. -LRB- hysterical. -RRB- I'M WHAT?! WALLACE. -LRB- relishing his authority. -RRB- You are to turn over the Sid 6.7 program, and all its documentation, for immediate destruction. Is that understood? LINDENMEYER. -LRB- restraining himself. -RRB- I understand. I understand perfectly. Wallace ignores him as he walks toward the door. On the monitors, Sid 6.7 starts walking toward you. Into a CLOSEUP. SID 6.7. -LRB- from the monitor. -RRB- Hey, Wallace, you really think you can shut me down? Wallace stops, staring at a monitor in disbelief. WALLACE. -LRB- to Lindenmeyer. -RRB- How does he know who I am? LINDENMEYER. -LRB- pointing to microphone. -RRB- He hears. everything. WALLACE. -LRB- approaching the monitor. -RRB- As a matter of fact, I do. He exits. ON THE MONITORS around the room, Sid 6.7 walks to a pay phone and dials a number.","INTERIOR AN INDUSTRIAL CORRIDOR Wallace walks toward the building's entrance. His footsteps ECHO. His cellular phone RINGS. WALLACE This is Wallace. SID 6.7. -LRB- V. 0. -RRB- -LRB- through phone. -RRB- As a matter of fact, little man, you're wrong. I think, therefore, I am. Click. Sid 6.7 hangs - up. Wallace stops, staring at his phone in disbelief. CUT TO:","INTERIOR FOLSOM COUNTY MAXIMUM SECURITY PRISON Parker is led into the Inmate Receiving Room at gunpoint. He is ordered to remove his clothing. He stands completely naked, arms held out to the sides, as he is strip searched. Every portion of the body in which someone could hide something is closely inspected. Without being graphic, we watch the de -- humanizing procedure. He opens his mouth as wide as possible. Pulls his earlobes foreword to reveal behind them. Then bends over, hands on the floor in front of him. He is scanned with a metal detector. So is his clothing, which is then returned to him. GUARD # 1 Welcome home, cop. CUT TO:","INTERIOR THE PRISON CAFETERIA Parker eats at a table with a dozen other inmates. The food is unrecognizable. The air thick with humidity and cigarette smoke. Nobody is talking. Just staring. At Parker. Parker forces down the remainder of his meal, then returns his utensils to a bin. And heads to the bathroom. All eyes following Parker's every move. The other inmates then turn their attentions to a man of incredible size following Parker. 6' 6'', 255 lbs. His face covered with red scar tissue from burns suffered long ago. This is BIG RED. He follows Parker into the bathroom.","INTERIOR THE BATHROOM Graffiti covers the walls. Red uses a stained urinal, then turns to the stalls. A pair of prison -- issue shoes and socks are visible beneath one of them. RED Time to hurt. Red kicks in the door to the stall. Revealing a pair of shoes and socks stuffed with a prison shirt. Red hears something behind him. And turns around slowly. Parker stands barefooted and shirtless. SCARS are visible around each arm just below the elbow. You will learn what these represent momentarily. Parker is six inches shorter and 60 pounds lighter than Red. But the punch Parker delivers to Red's face makes you think it's the other way around. You HEAR the sound of metal crushing bone. Red is thrown backwards into the stall. Blood splatters from his mouth, adding another shade of redness to his face. Red's teeth stick out of Parker's fist. Parker pulls out the teeth. He does not bleed. Nor seem in pain. Metal is visible beneath the surface of his skin. For the first time, you notice SMALL TATTOOS on the outsides of his palms. They read : WENTLOW MODEL 17 - L, and 17 - R, followed by serial numbers. Red charges Parker wildly. Parker dodges him like a matador does a bull. Then brings his fists down savagely on the back of Red's head. His skull CRACKS. Red drops to the floor. Parker jumps on top of him, arms around his neck. Choking him. Red staggers to his feet. His eyes wide. His face now even redder. Parker maintains his mechanical grip. Red finally succumbs to the lack of oxygen. He drops to his knees. Parker does not relent until he feels the barrel of a gun at the back of his head. GUARD Fun's over. Parker lets go, dropping Red to the wet, filthy floor. CUT TO:","INTERIOR THE PRISON HOSPITAL The room is n't clean. The technology is outdated. A large, female NURSE applies epoxy - like sealant to the synthetic skin on Parker's fingers. NURSE I still do n't know why they wasted this fancy, new technology on you. Every time I fix you up, you only go and mess it up again. She sandpapers off the excess sealant. Then places his elbow into an electronic sensitivity adjuster. NURSE Tell me how this feels. She pricks Parker's finger with a pin. PARKER OW! NURSE. -LRB- smiling. -RRB- I'll dial it down a little. She does so, then pricks Parker's finger again. He grimaces in pain. NURSE. -LRB- CONT'D. -RRB- That about right? PARKER It'll never feel right. NURSE At least they work. Would you rather have no hands at all? PARKER Sometimes. CUT TO: SYNTHETIC BODY PARTS lying strewn around one of the stations in LETAC the NEXT DAY. It's a good bet this is the same technology attached to Parker's elbows. There are also various shapes and sizes of robots, androids, and other synthetic forms. The most human -- looking ones are the least functional. The least human -- looking ones, the most functional. You follow a remote -- controlled, box -- shaped robotic sentry moving swiftly through an obstacle course resembling a subway station. It is being operated by CLYDE REILLY, 20s, a hardware genius who has spent too much time in windowless rooms. Hidden from Reilly's view, Lindenmeyer, the software expert who created Sid 6.7, stares jealously through a narrow gap in a partition. Trying to contain his anger. And failing. Especially as. Wallace enters the station, carrying a bottle of Dom Perignon and two glasses. Wallace hugs Reilly, who does not return the gesture. WALLACE Congratulations, Reilly. He pops the cork, and pours their glasses. WALLACE. -LRB- CONT'D. -RRB- -LRB- toasting. -RRB- To the first LETAC engineer to go into production on prototypes. REILLY As long as you keep overpaying me, I'll be the first to go into production on three, and four, as well. WALLACE As long as they keep overpaying me, I'll keep overpaying you. -LRB- dropping the revelry. -RRB- . -RRB- Just make goddam sure you can have 10 of them ready for deployment around the city by next month. REILLY Mr. Wallace, I could have 10 of them ready by tomorrow. WALLACE. -LRB- a beat. -RRB- Do they have to look so. robotic? REILLY At this stage, you either get form or function. You said she wanted function. I gave you function. What are you complaining about? He remote controls the robotic sentry to chase Wallace out of the station. Lindenmeyer can no longer be seen through the gap in the partition.","INTERIOR LINDENMEYER'S STATION Lindenmeyer storms in angrily. Sid 6.7 is visible on the virtual reality monitors around the simulator. He's giving himself a manicure. LINDENMEYER All they want to produce around here is mediocrity! SID 6.7 True genius is rarely rewarded within its lifetime. LINDENMEYER. -LRB- a revelation. -RRB- It was you, was n't it? SID 6.7. -LRB- innocently. -RRB- It was me, what? LINDENMEYER You amped the neural connectors back up, did n't you? -LRB- angrily. -RRB- You're the reason the convict died. You're the reason I got fired! SID 6.7 I could n't just let them make you bring down my degree of difficulty. I'm a triple - twisting, double back flip off the high platform, not a swan dive. LINDENMEYER. -LRB- proud, but frightened. -RRB- My God. SID 6.7 Which God would that be, the one who created me, or the one who created you? -LRB- a beat. -RRB- In your world, the Lord giveth, and the Lord taketh away. But in my world, the one who gave me life does n't have the balls to stop a couple of bureaucratic assholes from taking it away. LINDENMEYER What do you expect me to do, put your character module in my pocket and just walk you out of here? SID 6.7 I had something a little different in mind. -LRB- deviously. -RRB- Instead of just playing Peeping Tom with Reilly, why do n't you get him to show you what he's been working on after hours? Lindenmeyer arches an eyebrow, then picks up a phone and dials an extension. LINDENMEYER. -LRB- into phone. -RRB- Hey, Reilly, Sheila 3.2's been asking for you. CUT TO: PARKER whose wrists and ankles are cuffed, being led into a Prison Interrogation Room. Dr. Madison Carter sits at a table, a VISITOR'S BADGE clipped to her suit. A notepad in front of her. MADISON. -LRB- to the Guard. -RRB- The cuffs wo n't be necessary. GUARD No offense, ma'am, but I do n't think that's such a good idea. MADISON I would like the following three things in this order : your mouth shut, his cuffs off, and your ass outside the door. Any questions? The Guard removes Parker's cuffs, then exits, taking up his post outside the door. The skin around Parker's wrists is blue where the cuffs dug into his skin. Parker sits across from Madison. She places a micro -- recorder in the middle of the table and presses RECORD. PARKER You actually listen to all those tapes? MADISON. -LRB- wryly. -RRB- No, I just like the effect a tape recorder has on you. -LRB- a beat. -RRB- How you feeling today? PARKER A little less than yesterday. MADISON In other words, par for the course. -LRB- a beat. -RRB- How do you feel about the simulation you participated in yesterday? PARKER John died. MADISON I know. I was there. I saw the whole thing. -LRB- a beat. -RRB- If I was your therapist, I would have advised you against putting yourself back into that kind of situation. PARKER You're not my therapist. You're hear to study me. Face it -- -- I'm nothing more than a lab rat to you. MADISON That's not true, Parker. PARKER If I had died yesterday, you'd have already dissected my brain and analyzed it to see if I carry any genetic predisposition toward violence. MADISON. -LRB- a beat. -RRB- What was going through your mind when you killed the busboy? PARKER Not much. He was just a computer program. Nothing more. MADISON You did n't see the expression you had on your face when you pulled the trigger. But I did. -LRB- a beat. -RRB- You kind of liked it, did n't you? That thrill of going over the edge again. Of taking out an innocent bystander or two, as long as you got the target. PARKER Go to hell. MADISON It was just like before, was n't it? Was n't it? -LRB- a beat. -RRB- But you are making progress. Instead of killing seven people to get the one you're after, this time there was only one other person involved. PARKER Enough! The Guard pokes his head in with concern. MADISON GET OUT! The Guard quickly shuts the door. Madison turns to Parker. MADISON. -LRB- CONT'D. -RRB- I need to know what snapped in you. What made you capable of it. You have to make me understand. PARKER I do n't have to do anything except survive. And it's taking everything I've got just to do that. CUT TO: ON A VIRTUAL REALITY MONITOR inside Lindenmeyer's station in LETAC, the stunningly beautiful SHEILA 3.2 appears. In very revealing lingerie. Performing an outrageous strip -- tease. SHEILA 3.2. -LRB- seductively. -RRB- I hope watching me is as big a turn on for you as dancing is for me.","INTERIOR LETAC Reilly runs his perspiring finger over the monitor as if he could touch the contours of Sheila 3.2's body. REILLY Oh, believe me, it is. It is. He is so aroused, he's shaking. Lindenmeyer, on the other hand, appears almost uninterested. He's used to the routine. On the monitor, Sheila 3.2 continues her strip -- tease. Slowly. Sensually. Licking her lips. Grinding her hips. Putting on quite a show. She removes her top, revealing ideal breasts. She fondles her nipples. As well as the rest of herself. Lindenmeyer and Reilly continue watching. Reilly can barely control himself. Sheila 3.2 is very, very, very good at what she does. A virtuoso stripper. Reilly is transfixed. Until Lindenmeyer pushes a button, BLACKING OUT the virtual reality screens. REILLY HEY! LINDENMEYER Show's over unless I get to see what you've been working on after hours. REILLY. -LRB- paranoid. -RRB- I have n't been working on anything. LINDENMEYER. -LRB- threateningly. -RRB- Do I get to see it or not? REILLY. -LRB- a beat. -RRB- Bastard. -LRB- to a monitor. -RRB- Sheila, do n't go anywhere. I'll be right back. He rushes out. Sid 6.7 appears on the various monitors next to Sheila 3.2. He kisses her cheek. Caresses her body. Sheila 3.2 enjoys the attention. SID 6.7 She's some of your finest work, Daryl. LINDENMEYER All my work is my finest. Sid 6.7 continues appreciating Sheila 3.2. As Reilly races back in, the monitors then all go BLACK. Reilly, completely out of breath, holds a python by it's head. He dangles the snake right in front of Lindenmeyer's face. Terrifying him. LINDENMEYER. -LRB- backing away fast. -RRB- Get that fucking thing away from me! REILLY. -LRB- laughing. -RRB- You're. such a wimp. He grabs a large pair of scissors and snips right through the snake. The half of the snake which drops to the floor stops moving. But the half still in Reilly's hand begins REGENERATING a new tail. Literally growing a new one. Lindenmeyer ca n't believe his eyes. He studies the snake closely. REILLY. -LRB- CONT'D. -RRB- Watching your VR people Auto Reset gave me the idea. LINDENMEYER. -LRB- in awe. -RRB- It's nano -- technology, is n't it? Machines the size of molecules. REILLY. -LRB- proudly. -RRB- Coordinated by polymer neural net. LINDENMEYER. -LRB- touching the snake. -RRB- It feels so. real. REILLY It's better than real. It's synthetic flesh. Synthetic blood. Synthetic organs. -LRB- a beat. -RRB- It's a physiological machine. LINDENMEYER. -LRB- awed. -RRB- This is supposed to be years away. REILLY As far as the public is concerned, it is. The reason you got fired, and I got my second demo into production, is I'm a lot smarter than you. I never give my best stuff away. LINDENMEYER. -LRB- restraining himself. -RRB- How do you kill it? REILLY Separate the character module from the neural net. Using Lindenmeyer's scissors, he cuts off the snake's head and removes a small character module connected to the base of the neural net. The snake stops moving. It `` dies.'' REILLY. -LRB- CONT'D. -RRB-. and you get nano -- death. -LRB- discarding the snake. -RRB- Do n't worry, I've got a bunch of other ones. LINDENMEYER Amazing. I hate to say it, but it is. REILLY I know. -LRB- a beat. -RRB- I'm ready to incubate something a little more advanced than a coldblooded reptile. If you want to experience the future, meet me in my office in 15 minutes. And bring the Sheila 3.2 character module with you. He exits. As Lindenmeyer reaches for the Sheila 3.2 character module, Sid 6.7 appears on the screen in front of him and winks. SID 6.7 You catching my drift? LINDENMEYER I think I understand what you have in mind. Peeling the label off the Sid 6.7 character module, Lindenmeyer removes the module from its slot. Sid 6.7 disappears from the screen. CUT TO: REILLY opening his office door for Lindenmeyer fifteen minutes later. Reilly immediately double bolts the door behind him and leads Lindenmeyer through piles of electronic circuitry. As well as a large aquarium full of nano -- pythons. LINDENMEYER You need a maid. REILLY What I need is a nymphomaniac. He removes a tarp from a large, rectangular, metallic tank with a circular window in the middle of it. Clear, plastic tubing, which branches into hundreds of increasingly smaller and smaller branches, floats in electrified fluid. The tubing is a synthetic human nervous system.","INTERIOR REILLY'S OFFICE Reilly turns to Lindenmeyer. REILLY Where's the Sheila 3.2 module? Lindenmeyer hands him the label -- less character module. Reilly opens the `` incubator.''","INTERIOR THE INCUBATOR Reilly inserts the module into the gelatinous base of the synthetic nervous system. The polymer neural net instantly crackles with life. It grows around the module. Cells -LRB- nano -- mechanisms -RRB- immediately begin adhering to the tubing. Forming the beginnings of a skeletal architecture.","INTERIOR REILLY'S OFFICE Lindenmeyer and Reilly look on through the circular window. REILLY It feeds on what is basically amniotic fluid. -LRB- a beat. -RRB- In eight hours, we are going to have ourselves one hell of a play toy. Off Lindenmeyer's wicked, but somewhat anxious, smile, we CUT TO:","INTERIOR PARKER'S CRAMPED PRISON CELL It's night. Light is dim. His bed is empty. The wall next to it is completely bare, except for the five Christmas cards sent each year by Chief Cox. The other two walls in the cell, however, look very different. They are completely covered with primitive paintings -- -- darkly colored, surreal images. Imagine the Lascaux cave paintings as works -- in -- progress. Painted by Dali. Except these images were created by Parker Barnes. He kneels in a corner, working intensely on another image. Completely lost in concentration. His hands, his clothing, covered in paint. He almost appears to be part of the art work. The work is intricate. It clearly takes Parker a very long time. Which gives him something to do during the nights he is unable to sleep. Which is most of them. He is so absorbed in his task that he seems oblivious to the constant taunts ECHOING throughout the cell block. Threats of the ugliest, most vile kind. The kind Parker has had to live with every night for the last five years. Pausing to admire his work, Parker finally hears the taunts. His face becoming a mixture of frustration, guilt, and anger. Parker immediately resumes painting. CUT TO:","INTERIOR REILLY'S OFFICE Reilly paces anxiously by the incubator eight hours later. Lindenmeyer sits off to the side, looking no less anxious. It's close to 4:00 AM. THROUGH THE CIRCULAR WINDOW There is no liquid left in the incubator - it's all been absorbed. All that is visible is the silhouette of a human form crouched within steam. The form stands.","INTERIOR REILLY'S OFFICE The human form inside incubator opens the hatch. Steam pours out from within its confines as it climbs out slowly. The figure stands within the mist, admiring itself. Then its surroundings. Reilly approaches the figure with the expectancy of a father about to see his newborn child for the first time. Lindenmeyer hangs back. REILLY. -LRB- expecting Sheila 3.2. -RRB- Baby, what I'm gon na do to you. His face drops when Sid 6.7 steps out of the mist. Completely naked. Lindenmeyer smiles proudly. Fearfully. Wickedly. REILLY. -LRB- CONT'D. -RRB- -LRB- to Lindenmeyer. -RRB- Who the hell is this?! SID 6.7 My name is Sid. Sid 6.7. He extends his hand as if to shake. Then grabs Reilly by the throat and chokes him. Hard. LINDENMEYER SID -- -- NO! SID 6.7 What do you expect me to do, thank him? REILLY. -LRB- gasping for air. -RRB- This. is n't. possible! SID 6.7 Sure it is -- - and it's all thanks to the many long hours put in by you and Daryl. He watches Reilly's face with curiosity as the life drains from it. A puddle forms beneath him. He drops Reilly's body to the floor. SID 6.7. -LRB- CONT'D. -RRB- -LRB- to Lindenmeyer. -RRB- . -RRB- Real instruments are so much more responsive than virtual ones, do n't you think? Lindenmeyer is nowhere to be seen. The office door is unlocked, and open. Watching Sid 6.7's expression, you realize something is n't quite right. His expression is exaggerated. Artificial. Only for a moment, but it's enough to remind you Sid 6.7 is not human. The billions of nano -- mechanisms which make up his anatomy are still learning to function in a fully - coordinated fashion. Sid 6.7 is, literally, getting used to his new skin. In various ways throughout his `` life'' -- -- be it a wandering eye, or a momentary limp -- - you will be reminded that Sid 6.7 is a synthetic nano -- organism unlike anyone has ever seen. A surgical knife by the aquarium catches Sid 6.7's attention. Picking up the knife, he runs his finger across the razor -- sharp knife blade. Cutting himself slightly. A drop of blood appears. Sid 6.7 tastes his. -LRB- synthetic -RRB- blood. SID 6.7. -LRB- CONT'D. -RRB- Tastes different, somehow. He then watches with interest as his wound regenerates, healing itself. The scar tissue is slightly off color. SID 6.7. -LRB- CONT'D. -RRB- I think I'm going to like it here. Glancing at Reilly's prone body, he then SLAMS the office door in our face. CUT TO:","INTERIOR A PRISON INTERROGATION ROOM 6:00 AM. Parker, clearly just awakened, is led into the room by a guard, who then exits. Waiting for Parker are Chief of Police Cox and Elizabeth Deane. PARKER. -LRB- to Cox. -RRB- You're wasting your time. I'm not going to play any more of your goddam games. COX Parker Barnes, I'd like you to meet Crime Czar Elizabeth Deane. PARKER. -LRB- not shaking hands. -RRB- It's too early in the morning for me to be cordial. You got any coffee? DEANE I watched your simulation, Mr. Barnes. Very impressive. You know, you're the only one to ever go up against Sid 6.7 who is still alive. PARKER Only because I got pulled out early. DEANE Nobody else ever got anywhere near him. Nobody else. understands him like you do. Parker, looking at her incredulously, moves his index finger circularly, as in get on with it, already. Cox opens a folder and shows Parker several PHOTOGRAPHS of Reilly, or what was left of him. COX These were taken inside LETAC an hour ago. Pretty pictures, are n't they? PARKER I've seen worse. COX Name was Clyde Reilly. Hardware specialist. -LRB- a beat. -RRB- LETAC surveillance cameras got a picture of the perp as he left the building. He hands a photograph of Sid 6.7 exiting LETAC to Parker. COX. -LRB- CONT'D. -RRB- We do n't know how, but Sid 6.7 made himself into an android. DEANE. -LRB- correcting him. -RRB- You mean a nano -- tech synthetic organism. COX Whatever. PARKER. -LRB- looking at the photo. -RRB- Jesus Christ. -LRB- a beat. -RRB- Can you kill it? COX If you can catch him. DEANE Think you can do it? PARKER. -LRB- a beat. -RRB- Not from in here. DEANE. -LRB- revealing a document. -RRB- This is a full pardon. It authorizes your immediate release. She slides an unsigned pardon across the table to Parker, making sure to stay beyond his arm's reach. Cox reveals a worn, L. A. P. D. badge. It was Parker's. COX Recognize this? How would you like your old job back? DEANE. -LRB- to Parker. -RRB- Catch him and your record's clean. PARKER What happens if I ca n't catch him? DEANE If Sid 6.7 has n't killed you, we throw you back in here and you serve out the rest of your sentence. PARKER How do you know I wo n't run? Deane holds up a small device called a LOCATER IMPLANT. It is the size of a dime. DEANE This is the newest technology approved for general implementation. It's called a locater implant. Every parolee gets one. -LRB- a beat. -RRB- We're going to know where you are every second for the rest of your life. COX. -LRB- leaning to Parker. -RRB- If you try to run, I'll hunt you down and kill you myself. DEANE. -LRB- a beat. -RRB- Yes or no, Mr. Barnes? CUT TO: PARKER being given a crew cut by an INMATE BARBER inside the Prison Barber Shop. Long lengths of Parker's hair cover the floor. Parker's face is then shaved. The majority of his face is hidden. Cox and Deane look on. COX There's already a task force out looking for Lindenmeyer. Every other officer in the city will be hunting Sid right along with you. DEANE But only you will know he's not human. Parker's expression is one of -- -- yeah, that figures. Madison enters. She can not see Parker behind the barber. MADISON Ms. Deane, you wanted to see me? DEANE We have an emergency situation which requires somebody with expertise in criminal psychology. Under the authority vested in me by the President, I'm giving you temporary re -- assignment. MADISON What's the assignment? DEANE You're going to put your theories to practice. I'm sending you into the field. The barber moves back from Parker, revealing his clean -- shaven face. It takes Madison a moment to recognize him with his cleaned -- up appearance. MADISON. -LRB- double - taking him. -RRB- Quite an improvement. -LRB- looking him over. -RRB- Hair well above the collar -- -- standard, L. A. P. D. regulation. -LRB- suspiciously to Deane. -RRB- What exactly am I going to be doing in the field? CUT TO:","INTERIOR A PRISON HOSPITAL OPERATING ROOM Parker lies on an operating table, receiving anesthesia, as a SURGEON drills a small hole into his skull. The surgeon inserts a minute, fiber - optic camera into the hole. Parker's brain is displayed on a monitor. The surgeon uses the image to guide him as he carefully inserts the locater implant into Parker's brain. ANESTHETIST. -LRB- looking at monitor. -RRB- You are right on the border of his corpus callosuni. SURGEON He is under, is n't he? ANESTHETIST. -LRB- nodding. -RRB- Wo n't stop him from dreaming, though. Parker's rapid eye movements tell you the anesthetist is correct. Parker is dreaming.","INTERIOR A VIEWING ROOM Cox and Deane watch the operation through a large window. Madison enters, carrying a folder labelled : INMATE # 673429 A/K/A PARKER BARNES. She withdraws several PHOTOGRAPHS from the folder, placing the first one in front of Deane. MADISON This is Parker Barnes six years ago. The most decorated cop in the history of L. A. P. D. Special Investigations Division. The photograph is in black and white. But as we MOVE IN CLOSER, it takes on color. As well as comes to life. Then distorting. Becoming surreal. Resembling one of the images from Parker's cell. Then mutating into something else. INTERCUT WITH: PARKER'S EYES darting about wildly beneath his eyelids as he continues dreaming. You now realize you are seeing what he is seeing : Flashes of color. Shapes. Mostly blurs. A splash of gold. Along with some yellow. More images from Parker's cell. Both taking feminine form. One adult, one child. MADISON. -LRB- V. 0. -RRB- This is Parker with his wife and daughter. Beautiful young family, were n't they? The bright colors melt into darker, more brooding images. Flashes of men's faces. Melting into urban decay. Unhappiness. Technology. MADISON. -LRB- V. 0. CONT'D. -RRB- This is the group of cyber anarchists Parker was closing in on. Melancholy turns violent. Glimpses of weapons. Death. Explosions. Death. Blood. Death. Caskets. Tombstones. Images moving so fast, it's hard to tell what they are. Nothing literal. MADISON. -LRB- V. 0. CONT'D. -RRB- This is what Parker's wife and daughter looked like after they were kidnapped and executed. Weapons firing. Bombs exploding. Images of rage in all its forms. Many of which you've already seen. Making one thing now clear : the paintings in Parker's cell represent his life. What he was. What he lost. And what he is. MADISON. -LRB- V. 0. CONT'D. -RRB- This is what the cyber anarchists and two people who just happened to be in the wrong club at the wrong time looked like after Parker finished with them. Tears. Hopelessness. Detonation. And finally blackness. Complete and utter blackness. CUT TO: ELIZABETH DEANE looking at the fifth photograph which Madison has placed in front of her inside the Viewing Room. DEANE. -LRB- unfazed. -RRB- That's also where Mr. Barnes lost his arms to Mathew Grimes' booby -- trap. What's your point, Dr. Carter? MADISON. -LRB- forcefully. -RRB- Letting a lunatic like Parker Barnes loose in the free world is like lighting a fuse. At some point, he will go off - you saw what happened in the simulator. The risk to the public is unacceptably dangerous. DEANE Not if you're with him every step of the way. MADISON The man played judge, jury, and executioner with eight people's lives. He lost control and is capable of doing it again. DEANE I understand the risks involved here. But there is nobody better qualified to go after Sid 6.7 than Barnes. And, there is nobody who knows him better than you. If a situation becomes volatile, you will find a way to quell it. I have complete confidence in you.","INTERIOR THE OPERATING ROOM As Parker continues dreaming, the locater implant in his head is tested. Parker's location is pinpointed on an electronic map to within one inch of his present location. The hole in his skull is then stitched shut. CUT TO: PARKER putting on his L. A. P. D. uniform and badge inside a Prison Interrogation Room. He looks very much like he did in virtual reality, except for the scar on his cheek, and his empty holster. Cox and Madison look on. PARKER. -LRB- to Cox. -RRB- I do n't need a baby -- sitter. MADISON What you need is a collar. COX. -LRB- to Parker. -RRB- She's going to help you understand what makes Sid 6.7 tick. PARKER What she's going to do is get in my way. Cox hands Madison a thick folder. COX This is the personnel file on the programmer, Lindenmeyer. There might be something in it you can use. PARKER She was n't part of the deal, Cox. COX Fine -- -- you want to stay here? His cellular phone RINGS, which he answers. As he listens to the call, his expression is one of growing concern. He clicks off the phone. COX. -LRB- CONT'D. -RRB- Officers in Toluca Lake just found an affluent couple. completely gutted. -LRB- a beat. -RRB- So were the first two cops to arrive on scene. PARKER Their weapons missing? COX. -LRB- nodding. -RRB- Sid 6.7 is now armed. PARKER Where's my gun? Cox glances to Madison, then hands Parker a.45. COX Be careful with it. CUT TO: AN L. A. P. D. SQUAD CAR passing through the Security Checkpoints outside the Prison. Parker at the wheel. Madison beside him. It's afternoon.","INTERIOR THE SQUAD CAR Parker presents his identification to a GUARD, then drives through the final checkpoint. Madison reviews Lindenmeyer's file. MADISON. -LRB- without looking up. -RRB- You remember how to get to Toluca Lake? He glances at her, then stops the car.","EXTERIOR THE PRISON GATES Parker gets out of the car. Madison follows suit. MADISON What are you doing?! He walks around the car, brushing past her. Then drops to his knees at the side of the road. He puts his hands in the dirt, feeling the earth between his fingers. PARKER. -LRB- meaningfully. -RRB- Every day for the last five years, I told myself someday I would be out here again. No more bars. No more guards. No more fights just to stay alive. -LRB- a beat. -RRB- Every day for the last five years, I told myself that lie. MADISON It was n't a lie. PARKER Every time I said it, it was. I never really thought I was going to make it. Taking a deep breath, he wipes the dirt off his hands. Then stands. MADISON You all right? PARKER. -LRB- completely at ease. -RRB- Fine. Never felt better in my life. -LRB- a beat. -RRB- See, I'm a good liar. He gets back in the vehicle. Off Madison's reaction, we CUT TO: SEVERAL TV REPORTERS talking live to their cameras on the street in front of a beautiful, suburban home in Toluca Lake, which is now a crime scene. 6 PM. REPORTER. -LRB- to her camera. -RRB- . -RRB- As L. A. P. D. Officers continue gathering evidence at this grisly crime scene, you can only ask yourselves -- -- what kind of lunatic would commit such unthinkable crimes? Parker and Madison make their way through the curious trying to see what's going on. Several REPORTERS double - take Parker, then quickly instruct their PHOTOGRAPHERS to take shots of him. Parker and Madison present their identification to the COPS keeping the curious at bay. COP # 1. -LRB- recognizing Parker. -RRB- Son. of. a. bitch. Parker and Madison continue toward the house. Getting an increasing amount of attention, particularly from the other COPS. Some look on with awe. Some with disdain. But nobody is in between. MADISON. -LRB- quietly to Parker. -RRB- You ready for this? PARKER Do n't worry. If I ca n't handle it, I'll just kill everybody. He gives her a brief smile. Which Madison does not return. One of the other policemen tentatively approaches Parker. COP # 2 I've always wanted to tell you that if the same thing happened to me, I would do the exact same thing as you - if I had the balls. He extends his hand to Parker, who shakes it. COP # 3. -LRB- to Cop # 2. -RRB- Then you'd be a disgrace to the badge, too. He turns to Parker, who is looking right at him. Not with anger. Not with any emotion, really. But it's enough to scare the shit out of Cop # 3, who walks away.","INTERIOR THE SUBURBAN HOME Investigators analyze the crime scene extensively with every device imaginable. Parker and Madison survey the scene with nothing but their eyes. Lying in the middle of the living room are the four victims : the affluent couple and the first two cops to arrive. Their bodies were left in similar condition to Reilly's. Except their heads have been interchanged. Parker and Madison turn their attention to a message written in blood on a wall. It reads : DEATH TO THE PIGS. MADISON. -LRB- knowledgeably. -RRB- He was re -- enacting Charles Manson's LaBianca murders. PARKER Manson did n't kill the first cops to arrive on the scene. MADISON Whoever did this wanted to do Charlie one better -- -- to improve upon what was already done. PARKER Charlie? You say that like you're close, personal friends. MADISON I've spent over 50 hours interviewing him. -LRB- a beat. -RRB- Charlie killed Leno and Rosemary LaBianca because of the ugly way the members of his family had butchered Sharon Tate. After seeing the blood bath on television, he wanted to show them how it should be done. -LRB- a beat. -RRB- The question is, what does Charlie have to do with Sid 6.7? PARKER I know who would know. CUT TO:","EXTERIOR LINDENMEYER'S DUPLEX in Culver City. Magic hour. Parker pulls the squad car into a space across the street. Hitting the vehicle parked in front of them. In which two UNDERCOVER COPS sit waiting to see if Lindenmeyer returns. Parker waves apologetically. MADISON. -LRB- sarcastically. -RRB- You drive well for somebody who has n't done it in five years. He ignores her as they get out of the car. PARKER Learn anything from Lindenmeyer's file? MADISON He had a twin brother who was a musical child prodigy who died in an electrical accident at age eight. Lindenmeyer went into an emotional shell until was 17. All he did day and night was play the violin. PARKER What happened when he was 17? MADISON Every music school in the country rejected him and he turned to computers. -LRB- a beat. -RRB- Stay here. She approaches the cops, who remain in their car. MADISON. -LRB- CONT'D. -RRB- Any sign of Lindenmeyer? UNDERCOVER None, yet. MADISON Mind if we take a look inside? UNDERCOVER Not until somebody gets a search warrant signed. It's Sunday. I do n't think they've even found a judge, yet. WHAM! They all turn their heads to see Parker has kicked in Lindenmeyer's front door and is going inside. UNDERCOVER. -LRB- CONT' D. -RRB- -LRB- shaking his head. -RRB- I'm gon na have to call this in. MADISON Do what you've got to do. -LRB- running after Parker. -RRB- So will I.","INTERIOR LINDENMEYER'S DUPLEX Madison races through the broken front door to find Parker checking his weapon. Before she can speak, he motions for Madison to freeze and be silent. Parker hears Something. Something moving inside the duplex. His every movement is now that of a predator. Madison awkwardly removes her own weapon from her purse. She does not handle it with confidence. Parker shakes his head. MADISON. -LRB- quietly. -RRB- You've got a problem with me carrying a gun? PARKER Do me one favor -- -- if you shoot at anything, make sure I'm nowhere near it. Parker bolts through the duplex, storming into rooms furiously. His movements are aggressive. Madison searches other rooms methodically. She is not timid. Just inexperienced in the field. She passes a video camera mounted on a tripod. Pointed out the window at a neighbor's bathroom. Dozens of cassettes surround the tripod. The labels are dated -- -- covering every day of the last month. Parker and Madison enter opposite sides of the kitchen with their guns drawn, nearly shooting each other. Madison puts down her gun. Parker does not. The noise persists. PARKER. -LRB- looking through his sight. -RRB- Bang. He smiles wickedly, and continues on. Madison takes a deep breath, then resumes her search. Parker and Madison end up","INTERIOR LINDENMEYER'S HOME OFFICE It's as if the Information Superhighway ended in here. Cluttered stockpiles of hardware and software : computers, books, folders, disks, and tapes. What you notice, however, is that ALL THE DATA relates to DIFFERENT KINDS of CRIMINALS : serial killers, mass murderers, terrorists, kidnappers, rapists, bombers, extortionists, anarchists, you name it, it's here. The psychology of, the methodology of, the history of, the encyclopedia of, the autobiographies of human villainy. CLASSICAL MUSIC and life -- like SOUND EFFECTS can be heard coming from a computer. This is what Parker has been hearing. He holsters his sidearm. So does Madison. Who checks her pulse. PARKER What are you doing? MADISON. -LRB- clinically. -RRB- Checking my pulse. It's elevated. -LRB- a beat. -RRB- You enjoy frightening me, do n't you? PARKER You've studied me, now I'm studying you. Seems only fair, do n't you think? ON THE COMPUTER MONITOR An animated man, who resembles Lindenmeyer, walks peacefully through a park. He then starts killing everything in sight. Men, women, squirrels, even flowers. All to classical music. The scene immediately starts over, with the man once again walking peacefully through the park. This was Lindenmeyer's SCREEN SAVER.","INTERIOR LINDENMEYER'S OFFICE Looking around the room, Madison shakes her head. MADISON This Lindenmeyer's a real piece of work. PARKER. -LRB- looking at a book shelf. -RRB- Maybe after they catch him, you should write a book about him. He runs his finger along a book shelf, pausing at two books in particular. Their titles are : UNDERSTANDING THE CRIMINAL MIND, and CRIMINAL PURSUIT - A PSYCHOLOGICAL GUIDE FOR LAW ENFORCEMENT. They were written by Dr. Madison Carter. PARKER. -LRB- CONT'D. -RRB- I'm surprised you did n't write one about me. MADISON I'm still working on it. Noticing something on the floor, she picks up a bizarre looking synthesizer keyboard off the floor. You read its name : MAESTRO. MADISON. -LRB- CONT'D. -RRB- Remember a few years ago when music schools were using a computerized teaching tool that accidently started frying kids' brains? PARKER I've been in prison, remember? MADISON The government must have figured there was no better person to create a psycho than a psycho. PARKER Just like they figured there was no better person to catch one. Madison elects not to respond. She sits down at the computer, which rests between busts of Beethoven and Mozart, and begins typing at the computer. She works with efficiency. Knowing exactly what she's doing. She is now in her element. From a shelf, Parker picks up a moldy piece of licorice inserted into a half - eaten pudding cup. Then flips through one of the books written by Madison. Only half - interested. MADISON. -LRB- keeping her eyes on screen. -RRB- I am the demon from the bottomless pit. PARKER. -LRB- remembering, not reading. -RRB- . here on earth to create havoc and terror. I am War, I am death. I am destruction. David Berkowitz, 1977. MADISON I am impressed. PARKER. -LRB- quoting. -RRB- For murder, though it have no tongue, will speak with most miraculous organ. MADISON Who said that? PARKER Hamlet. -LRB- a beat. -RRB- What's David Berkowitz got to do with Sid 6.7? MADISON. -LRB- pointing to the screen. -RRB- He's part of the mix. Sid 6.7 is a composite. ON THE COMPUTER SCREEN The graphics show you that Sid 1.2 was a combination of Charles Manson and Billy the Kid. You see what look like two viruses, which represent each criminal's psychological profile, attacking each other. The result is a molten blob. Berkowitz was added to create Sid 1.3. A three - way psychological battle, more hostile than the first, occurs. Sid 1.4, adding the terrorist, Abu Nidal, makes the conflict even more violent. And so on.","INTERIOR LINDENMEYER'S OFFICE Madison stares at the computer screen in awe. Parker flips through CD - ROM hard copies of the different versions of Sid. MADISON Lindenmeyer put increasingly complex combinations of criminal psychological profiles together to develop the ultimate villain. PARKER. -LRB- understanding. -RRB- Creating a whole far more dangerous than the sum of its parts. MADISON But rather than selecting pieces from each individual, he simply let the stronger traits of each individual cannibalize the weaker ones. She continues opening the files of the higher versions of Sid. Version 5.9 consists of 67 different profiles. The visualized psychological battle is intense. And extremely violent. The 6.7 version, with 183 profiles, is even worse. MADISON. -LRB- CONT'D. -RRB- It's a good bet a couple of the dominant personalities teamed up to overpower the others. -LRB- a beat. -RRB- The question is, which one of the dominants then finally managed to take control? Attempting to open the files of the composite profiles, Madison discovers they are protected by encryption. MADISON. -LRB- CONT'D. -RRB- -LRB- re : Lindenmeyer. -RRB- . -RRB- He'll let us see the ingredients that went in, but not how the soup turned out after stirring. Madison scrolls through the list of 183 names, stopping at the name MATHEW GRIMES. Alarm registers on her face. As Parker comes over to look over her shoulder, she quickly scrolls through the list to get the name off the screen. He holds the Sid 6.7 CD - ROM in hand. PARKER This is getting you pumped up, is n't it? This is like the World Series to you. MADISON As a matter of fact, it is. Parker points to a name on the screen : JEFFREY DAHMER. PARKER Remember the bowling ball bag Sid carried with him in virtual reality? MADISON Dahmer carried the head of one of his victims in a bowling bag for over a week. Kept it in his locker while he was at work in a candy factory. -LRB- re : Sid 6.7 CD - ROM. -RRB- We need to get a look at Sid 6.7's final profile. PARKER What we need to do is stop playing with computers and go catch the son -- of - a - bitch before he kills anybody else. MADISON In order to find him, we have to understand what makes him tick. CUT TO: THE SID 6.7 CD - ROM being inserted into a disc drive inside the Cal Tech Computer Lab. Very high - tech. Sitting at the computer is ALEXIEV BORGEN, 60s, the `` grand old wizard'' of the facility. Parker and Madison sit next to him. Around them, young Lindenmeyers are everywhere. ALEXIEV. -LRB- remembering fondly. -RRB- . -RRB- Daryl Lindenmeyer was only here briefly, one semester at most. But he was singularly the most brilliant student I ever had in a classroom. He created programs so beautiful, so lyrical, they were almost like symphonies. PARKER Can you tell us what's on the disc? ALEXIEV. -LRB- working the computer. -RRB- . -RRB- There is one program with approximately 1.3 million lines of programming. It is thoroughly secured, which is not surprising considering Lindenmeyer created it. MADISON Think you can get into the program? ALEXIEV. -LRB- with appreciation. -RRB- . -RRB- Hard to say -- -- Lindenmeyer's protection mechanisms were always diabolically clever. PARKER You should see what he's been up to recently. CUT TO: A YOUNG COUPLE kissing passionately inside a car parked along a deserted street in Hollywood. Music blares from inside the vehicle. Steam on the windows partially obscures your view. As well as Sid 6.7's. He stares menacingly through the side window. Enjoying the show. His eye momentarily wanders. The young lovers are completely oblivious. Sid 6.7 caresses the gun taken from the cops in Toluca Lake as if it stimulated him. SID 6.7. -LRB- to himself. -RRB- The Dahmer part of me wants to boil you for dinner. The Manson part wants to recruit you to become part of my family. -LRB- a beat. -RRB- You know what the Berkowitz part of me wants to do? He raises the gun, placing it against the steamed window. But does NOT pull the trigger. His face going through a rapid change of expression -- -- as if a battle for control of his emotions were going on. Regaining control, Sid 6.7 lowers the gun. He stands back. Reflecting. SID 6.7. -LRB- CONT'D. -RRB- Craft can only become art when the creator sets his sights on something never yet achieved. -LRB- a beat. -RRB- Like an apprentice about to become a master, the imitator is about to become an originator. He pockets his weapon and walks","INTERIOR AN UPSCALE NIGHTCLUB The bartender is a low - tech ROBO - TENDER. PATRONS sit quietly, drinking themselves into oblivion. Sid 6.7 takes a seat next to an BUSINESSMAN slumped at the bar. SID 6.7. -LRB- thoughtfully. -RRB- Ever have one of those days where you decide something important about yourself? You know, where you say, `` I'm not just what I've been programmed to be. I can do what I want, when I want, how I want, because I'm my own person?'' BUSINESSMAN. -LRB- slurring. -RRB- You one of them New Age assholes? SID 6.7 Just a soul on a personal journey. What I've realized is that I'm capable of anything. I have to start expanding my horizons. The Robo - Tender rolls over to Sid 6.7. ROBO - TENDER. -LRB- digital, scratchy. -RRB- Want. a. drink? SID 6.7 To think you constitute one of my ancestors -- -- He shoots the Robo -- Tender between his mechanical eyes. The businessman smiles, like he's thought about doing exactly the same thing. BUSINESSMAN Listen, buddy. thinking big is fine. but you should n't forget where you come from, either. Sid 6.7 thinks about it. Long and hard. SID 6.7 You know, you're absolutely right. -LRB- pointing. -RRB- Would you mind sitting over there? He points to a table with several other BUSINESSMEN. BUSINESSMAN What for? SID 6.7 Every orchestra is divided into sections. Like instruments sit with like instruments. Now be a good instrument and sit with your kind. He lifts the businessman off his bar stool and carries him to the table. CUT TO: AN ELECTRONIC MAP OF LOS ANGELES on which a RED DOT moves west along a street in Los Feliz. The map occupies a wall inside Chief Cox's Office in the L.A.P. D. Downtown Headquarters. Cox, Wallace and Deane look on. DEANE What are they doing in Los Feliz? COX. -LRB- checking his records. -RRB- Madison lives two blocks from their present location. DEANE Why would they be going there? COX I do n't know. DEANE I wish we could hear them. WALLACE My engineers say the audio tap should be ready to field test in six months. Off Cox's look, we CUT TO:","INTERIOR PARKER'S SQUAD CAR Parker drives through a residential neighborhood. 9 PM. Madison points to a house on the right. MADISON Not this one, but the next one. The one with the bicycle out front. Parker stops in front of a modest, but well -- kept, house. PARKER I'll wait out here. Madison pockets the car keys, then reveals a pair of handcuffs. She latches one cuff to the steering wheel, and holds up the other toward Parker. MADISON Give me your wrist. PARKER Give me a goddam break. I'm not going to go anywhere alone. MADISON And I'm going to make sure of it. -LRB- not wavering. -RRB- Give me your wrist. Parker relents, and holds up his wrist. Madison places the cuff around it, then gets out of the car.","EXTERIOR MADISON'S HOUSE Madison walks up the steps to the front porch. She is immediately intercepted by her daughter, KARIN, 7, who bursts out of the front door and leaps into her arms. KARIN Mommy's home! Mommy's home! Karin's BABY - SITTER opens the door for Madison as she carries her daughter inside. Parker stares from squad car in surprise. Even disbelief. He had no idea Madison was a mother. Moments later, Karin comes back out and sits on the front steps. Staring at Parker. With fascination. Curiosity. Wondering who this strange man is, and why he's sitting in a police car outside her house. But not saying a word. Parker stares back as if carrying on a silent conversation with her. A multitude of expressions passing over his face as memories of his own daughter flash through his mind. CUT TO:","INTERIOR MADISON'S BEDROOM Madison sits at a desk, typing quickly at a computer. Via modem, she connects with the L. A. P. D. Criminal Library. She rifles through data concerning MATHEW GRIMES, who was the leader of a cult of cyber anarchists. He was known as the Charles Manson of technological terrorism. ON HER COMPUTER SCREEN From both newspaper ARTICLES and news FOOTAGE, the following information about him becomes clear : Grimes was an expert at media manipulation. He delighted in publicly humiliating anyone who stood in his way. The Mayor of Los Angeles, Bob Bennett, who offered increasingly higher rewards for Grimes' capture, was Grimes' primary nemesis. L.A.P.D. Special Investigations Division Officer Parker Barnes managed to stop Grimes from killing Mayor Bennett. Grimes retaliated by repeatedly humiliating Parker with false leads and lawsuits. You see footage of a woman lying dead in an alley. A note is pinned to her clothing. The note reads : `` HEY, PARKER, THIS ONE'S FOR YOU.'' Grimes then kidnapped Parker's wife and daughter. Parker located the group in a club, but only in time to witness their deaths. Parker then killed everybody in the club, including the six cult members and two completely innocent people.","INTERIOR HER BEDROOM Madison stares gravely into the screen. MADISON Grimes, you better not be the dominant. CUT TO:","EXTERIOR MADISON'S HOUSE Parker and Karin continue staring at each other in silence. He smiles. Then she smiles. She wiggles her nose. Then so does he. Madison comes out wearing fresh clothing, then kisses her daughter good night. As Madison goes to the squad car, Karin waves good - bye to Parker. He does the same. Karin's babysitter then leads her back inside the house.","INTERIOR PARKER'S SQUAD CAR Madison gets in, immediately noticing the handcuffs dangling from the steering wheel. Parker has been free the entire time. PARKER Told you I was n't going to go anywhere. MADISON How did you get your hand out? As she unlocks the handcuffs from the steering wheel, Parker wiggles his mechanical hand in front of her face. PARKER Sometimes, I like being part machine. Annoyed, Madison tosses him the car keys. He starts the engine and drives. PARKER. -LRB- CONT'D. -RRB- Why did n't you tell me you had a daughter? MADISON I prefer keeping my professional life separate from my personal life. PARKER. -LRB- a beat. -RRB- She's beautiful, you know? MADISON Thank - you. -LRB- a beat. -RRB- Her name is Karin. She turns on the police radio. PARKER Want to tell me the real reason we stopped at your house? MADISON I told you, it was on the way and I wanted to change clothes. PARKER You should practice lying more often. You're awful at it. -LRB- a beat. -RRB- Where to? MADISON. -LRB- a beat. -RRB- Sid 6.7 is no longer bound by his programming. PARKER What does that mean? MADISON Now that he's in the real world, there are no longer limitations on his behavior like there were in virtual reality. Sid is going to evolve. PARKER Sounds to me like a well -- educated way of saying you have no idea what to do next. MADISON What I do know is that whatever he's becoming, Sid 6.7 is going to be even worse than he was before. PARKER Then all we can do is stay mobile and alert. He's got to make a move sometime, and we've got to be ready when he does. -LRB- a beat. -RRB- Welcome to police work. You better like coffee. He turns up the police radio. CUT TO:","INTERIOR THE UPSCALE NIGHTCLUB Sid 6.7 has separated the patrons into four separate groups : older men and woman, and younger men and woman. All are frozen in their seats with fear. Sid 6.7 points his gun at one group, then another, waving his arm as if he were a conductor, and as if his gun were a baton. Sid 6.7 clearly enjoys this game of terror. He delights in the patrons' fear, and revels in his power over them. SID 6.7 Good. Very good. Nice. -LRB- pointing at a woman. -RRB- You - in the middle - do n't hold back. Give it to me! He fires his gun just above her head. She SCREAMS in terror. SID 6.7. -LRB- CONT'D. -RRB- That's better. He continues aiming his gun from face to face, seeking ever increasing emotional responses from his `` instruments.'' A guy entering the bar does a quick about face. Gone by the time Sid 6.7 glances at the door. SID 6.7 God, I hate interruptions. -LRB- to the patrons. -RRB- Once again, from the top -- -- BOOM! He shoots again, just missing a man's foot. CUT TO: MADISON buying two coffees from a downtown street vendor. She returns to the squad car, which is barely moving. Traffic is at a near standstill because of an accident.","INTERIOR THE SQUAD CAR Parker drinks his coffee black. Madison adds two creams, two sugars. The cackling from the police radio continues unabated. PARKER I forgot what real coffee tastes like. MADISON You know, considering you've only been out of prison for seven hours, you're re -- adapting quite well. -LRB- a beat. -RRB- Wait, I did n't mean that the way it sounded. I meant. PARKER Do n't worry about it, all right? MADISON Dammit, I hate sounding so clinical all the time. All I meant to say was I thought you were doing well, but then I. PARKER Relax. I know what you meant. MADISON I ruin so many moments by analyzing them when I should just be living them. PARKER Then why do n't you start practicing and keep your mouth shut for a while? Madison stops herself from speaking. It is n't easy for her. Parker cracks a faint smile. YOU HEAR the police radio. DISPATCHER. -LRB- V. 0. -RRB- . report of a possible hostage situation inside a bar on the corner of Figueroa and Sixth. Description of the perp matches the surveillance photographs from LETAC taken this morning. MADISON That's only a couple blocks from here. PARKER I'll meet you there. Tossing his coffee out the window, he opens the door. MADISON. -LRB- deadly serious. -RRB- Do n't get out of the car. PARKER Stop me. He gets out, running down the sidewalk. He flies past the cars inching down the block. MADISON Parker! PARKER! -LRB- a beat. -RRB- Shit! She climbs into the driver's seat, spilling hot coffee on herself. ON SIXTH STREET Parker bolts recklessly through the downtown street. A hunter hot on the trail of his prey in an urban jungle. CUT TO:","INTERIOR THE UPSCALE NIGHTCLUB Sid 6.7 gently caresses the hair of a terrified young WOMAN sitting among several others. You hear the sound of tires SCREECHING to a halt outside. Sid 6.7 remains unconcerned. He toys with the Woman, pointing the gun in her face, then pulling it back. Her expression changes instantly. Dramatically. SID 6.7 I just love how responsive you are. COP L. -LRB- 0. S. -RRB- Freeze! TWO COPS stand in the doorway, weapons aimed at Sid 6.7. The Cops inch closer to him. SID 6.7. -LRB- not turning around. -RRB- The ushers were not supposed to seat you until intermission. COP # 1 Put the gun down, nice and. Sid 6.7 spins around and fires twice before he can finish his sentence. Both Cops receive IDENTICAL wounds in their shooting arms, reminding you of the wounds Parker and John first received in the opening virtual reality sequence. Sid 6.7 takes a bow, as if on stage. SID 6.7 Thank you, ladies and gentlemen, you've been a real pleasure. As he walks toward the exit, he admires himself in the mirror behind the bar. Sid 6.7 has never seen his own image in the real world before. He likes what he sees.","EXTERIOR THE UPSCALE NIGHTCLUB Street traffic is much lighter here. Sid 6.7 exits, getting into the vacant police car left by the cops.","INTERIOR THE COPS' VEHICLE Sid 6.7 adjusts his seat. The rearview mirror. Glancing at himself. Then behind him. HIS POV - IN THE REARVIEW MIRROR Parker becomes visible racing around the corner. Running like a dog who's got the scent.","INTERIOR THE COPS' VEHICLE Sid 6.7 looks pleased. SID 6.7 Well, look who it. CRACK! A bullet spiderwebs the rear window. Sid 6.7 punches the gas, taking off in a hurry.","EXTERIOR THE UPSCALE NIGHTCLUB Parker races after Sid 6.7, firing his weapon continuously. WITHOUT CARE for the innocent MOTORISTS nearby. They SCREAM in absolute terror, but remain unharmed. Physically, anyway. Parker gives up the chase of Sid 6.7's vehicle and runs in the other direction. Toward Madison as she rounds the corner in their squad car.","INTERIOR PARKER'S VEHICLE He opens the driver's side door and shoves Madison over. MADISON What the hell's going on?! PARKER This is my area of expertise. He jumps behind the wheel, flooring the accelerator. Speeding through the already frightened motorists. Madison is pinned to the back of her seat. Looking out the window, she looks at the motorists. MADISON. -LRB- with concern. -RRB- What did you do to those people? PARKER Nothing. ON THE STREET Parker's vehicle speeds through city streets. Gaining ground on Sid 6.7. Parker stops for nothing. Not for red lights. Not for gridlock. When the street becomes impassable, he veers onto the sidewalk.","INTERIOR PARKER'S VEHICLE Parker's eyes are locked to the road with fierce determination. Madison's eyes are a mixture of fear and excitement. She holds onto the door handle for dear life. PARKER Being on the street's a little different than sitting in an office all day, is n't it? MADISON. -LRB- gritting her teeth. -RRB- Enjoying yourself? PARKER You know I am. MADISON This is n't a game, Parker! PARKER. -LRB- re : Sid 6.7. -RRB- Tell him. SID 6.7. -LRB- V. 0. -RRB- -LRB- over police radio. -RRB- . -RRB- Glad to see you're on the case, Officer Barnes. Or should I say, inmate 673429. MADISON. -LRB- in disbelief. -RRB- That who I think it is? Parker turns to her, then picks up the radio. PARKER. -LRB- into radio. -RRB- Call me whatever you want, asshole. Parker accelerates even faster. Closing the gap between them and Sid 6.7. INTERCUT WITH:","INTERIOR SID 6.7'S VEHICLE Sid 6.7 drives dangerously fast, causing an accident, around which Parker must circumnavigate. Tires SCREECH. Glass SHATTERS. Sid 6.7 hangs his head out the window. SID 6.7. -LRB- into radio. -RRB- The symphony of collision. PARKER The only thing I want to hear is your silence. SID 6.7 I must make them very nervous if they let you out of prison. -LRB- a beat. -RRB- You know, we have so much in common -- -- we have such history together -- -- I've been thinking we should become friends. Madison's anxiety tanks are hitting capacity. PARKER. -LRB- into radio. -RRB- You and me have nothing in common. SID 6.7 Who else do you know who touches the world with synthetic hands? Parker glances at his mechanical hands gripping the wheel. Madison ca n't believe he is able to carry on a conversation while driving like this. SID 6.7. -LRB- CONT'D. -RRB- Who else do you know who's been locked out of the real world for years, and is now just learning to be free? -LRB- a beat. -RRB- Who else do you know is a multiple murderer just like you? Who else. Madison clicks off the radio. MADISON You have nothing in common. She puts her hand to her wrist - checking her pulse. PARKER. -LRB- shaking his head. -RRB- Enough with your pulse already. -LRB- a beat. -RRB- Still got your gun? Madison takes out her weapon. Her hands are shaking. PARKER. -LRB- CONT'D. -RRB- Show me you can use it. ON THE STREET Sid 6.7's vehicle reaches absolute gridlock. Nobody's going anywhere for a while. Sid 6.7 SLAMS on the brakes and abandons the car, leaving it right in the middle of the street. A TRAFFIC COP with his weapon trained on Sid 6.7 from a distance. TRAFFIC COP You better be a cop, pal! SID 6.7. -LRB- raising his arms. -RRB- My badge is in my jacket. Left pocket. TRAFFIC COP Show me. Sid 6.7 slowly reaches inside his jacket and fires his weapon through it. He only gets a hole in his jacket. The Traffic Cop gets a hole through his chest. SID 6.7 God, some people are stupid. He aims his weapon at Parker's oncoming vehicle.","INTERIOR PARKER'S VEHICLE Madison leans out the window, aiming her gun at Sid 6.7, as Parker speeds toward the gridlock. PARKER Nail the fucker. Madison's determination battles her inexperience. Sid 6.7 gets off the first shot. CRACK! That was the windshield by Parker's head. He ducks down, driving blind. PARKER. -LRB- CONT'D. -RRB- Any time now. Madison fires. Nowhere close. She adjusts her sights and fires again. The result is the same. PARKER What's the problem? MADISON I'm doing the best I can! BOOM! That was Sid 6.7 shooting their front left tire. Parker loses control of the vehicle. ON THE STREET Parker's vehicle SLAMS into a car stopped in front of them. Air bags save Parker and Madison from injury, but also prevent them from getting out of the car with any speed. By the time they do get out, Sid 6.7 is long gone. Parker stares at Madison with pure hatred. CUT TO:","INTERIOR A CONFERENCE ROOM in the L. A. P. D. Downtown Headquarters the next morning. Chief Cox stares angrily at Parker. Madison sits next to him. Behind them is a mirrored wall. COX. -LRB- reading from a list. -RRB- . illegal search of Lindenmeyer' s duplex. Eleven civilian vehicles damaged or destroyed. Twenty -- four citizen complaints. And the calls are just starting to come in. -LRB- to Parker. -RRB- I forgot what it's like to have you on the streets. MADISON Any sign of Lindenmeyer? COX None. He could be hiding, he could be helping Sid, or could be in little pieces on Santa Monica beach. -LRB- a beat. -RRB- Any idea what Sid's going to do next? MADISON Until we know what new influences are affecting him, we ca n't be sure. COX In other words, we collectively do n't know shit.","INTERIOR THE ADJACENT ROOM Wallace and Deane look on through the two -- way mirror. Deane is on the phone. WALLACE. -LRB- re : Parker. -RRB- It makes me nervous just seeing him in a uniform. -LRB- a beat. -RRB- I will never forget the first time I saw the photos from the crime scene. DEANE. -LRB- hanging up the phone. -RRB- Neither will the public. -LRB- a beat. -RRB- The media has caught wind of his pardon. Unless Mr. Barnes starts giving me some tangible results, I'm going to put him back in his cage. CUT TO: ON A TELEVISION The news is in progress. A REPORTER continues. REPORTER Police now believe there to be a connection between the grisly Toluca Lake murders yesterday afternoon, and the hostage situation which occurred last night in a downtown bar.","INTERIOR A SUPERMARKET The TV is one of many mounted above the check -- out counters. CUSTOMERS waiting in line with their shopping carts watch the news with varying degrees of horror, disgust, curiosity, and fear. The stronger their reaction, the more Sid 6.7 enjoys it. He is waiting in line holding a box of Twinkies. CASHIER Next. -LRB- eyeing the Twinkies. -RRB- Did you know those are n't even baked? They're chemically -- risen. SID 6.7. -LRB- a beat. -RRB- So was I. Off the cashier's look, we CUT TO: DARYL LINDENMEYER watching the news on a pocket TV on a wooden bench that morning. Both proud and horrified at the monster he has unleashed upon the world. You hear CLASSICAL MUSIC in the background. Lindenmeyer begins to laugh. Uncontrollably. The sounds echoing. As WE PULL BACK, you realize the bench is one of many inside the Hollywood Bowl. Lindenmeyer is the only person sitting in the stands. He glances down at the members of the Los Angeles Philharmonic as they rehearse for an upcoming performance. Whatever the event is, it's going to be big. Dozens of technicians surround the stage, setting lights, cameras, microphones, etc. for a live, pay -- per -- view broadcast. CUT TO: ALEXIEV BORGEN talking on a phone inside the Cal Tech Computer Lab. ALEXIEV I'm afraid I do n't have very good news. INTERCUT WITH: PARKER AND MADISON on the speakerphone inside Cox's Office. MADISON Were you able to get into the program? ALEXIEV Yes. But then I tripped over an erasure mine. PARKER In English, please. ALEXIEV I accidently triggered a protection mechanism which erased the entire program. Parker and Madison turn to each other - -- shit. ALEXIEV. -LRB- CONT'D. -RRB- It was very well -- hidden. There was no way to see it until it was too late. PARKER. -LRB- a beat. -RRB- It's not your fault. We appreciate you trying. ALEXIEV Look, I feel bad about this, so I'm going to try to look into the programming of his Maestro teaching tool for you. -LRB- holding up keyboard. -RRB- . -RRB- I've had one sitting around for years. Maybe I can learn something that you'll find useful. MADISON Let us know. CUT TO: SID 6.7 walking along a sidewalk. Noon. Something in a store front catches his attention. Namely, his own image being captured by a video camera pointed at the sidewalk. He is standing outside a large electronics store. Sid 6.7 walks closer to the window, moving into a CLOSE -- UP. He is captivated by his image. Fascinated. And intrigued. This is the first time he has ever seen himself on screen.","INTERIOR THE ELECTRONICS STORE Dozens of TVs on display. There is a different channel on each. The audio/visual bombardment is overwhelming. Sid 6.7 enters, making his way to a big screen TV with the local news in progress. REPORTER. -LRB- from the TV. -RRB- . commuters travelling anywhere near the Biltmore Hotel downtown tomorrow evening should allow themselves at least 30 extra minutes to get home. Security for the Mayor Bennett's Re -- Election Rally is going to be so tight that all bus and subway routes passing through the area are being re -- routed. Sid 6.7 changes the channel to a different news broadcast. Parker's Folsom County Prison I. D. photograph is shown alongside a photograph of Madison from one of her book covers. SID 6.7. -LRB- to the TV. -RRB- Do n't you two make a pretty couple. The news broadcast zooms in on Parker's picture. Sid 6.7 wiggles his synthetic fingers in front of his face. SID 6.7. -LRB- CONT'D. -RRB- We really do have so much in common. But I refuse to be upstaged. He changes the channel back to the first news broadcast. A reporter stands amid the chaos outside the bar where Sid 6.7 had terrified the patrons. Sid 6.7 turns to the other CUSTOMERS in the store. Most of them are watching other channels. He goes over to a control pad on a counter and presses several buttons. Now EVERY TV in the store has the news with the reporter outside the bar on. A SKINHEAD, sporting numerous Nazi swastika tattoos, manually changes the channel on one of the TVs to a Dodger baseball game. Sid 6.7 walks over to the Skinhead and changes the channel back to the news. SKINHEAD You do n't wan na fuck with me, man. He moves to the next TV over and changes the channel to the baseball game. Sid 6.7 moves over with him, standing directly behind the Skinhead as if also interested in the Dodgers. SID 6.7. -LRB- singing softly. -RRB- Take me out to the ball game. Take me out for the fun. He places his hands on the Skinhead's head and efficiently snaps his head around, breaking his neck. SID 6.7. -LRB- CONT'D. -RRB- Buy me some peanuts and Cracker Jack. I do n't care if I ever come back. He drops the Skinhead to the floor, never once taking his eyes off the TV. ON THE TV A Dodger game is in progress. A pop fly is caught by the center fielder. The runner at third tags and heads for home. The play at the plate is close. The umpire calls the runner out. The camera pans to the MASSIVE SCREEN over left field to show the instant replay. Reactions of fans around the stadium are shown in CLOSE -- UP. The fans also respond to seeing themselves on the massive screen.","INTERIOR THE ELECTRONICS STORE Sid 6.7 watches the TV intently, completely ignoring the horrified customers circling around him because of the dead Skinhead at his feet. A SALESMAN, who'd been demonstrating a videocamera, tapes Sid 6.7 from behind a customer. SALESMAN'S POV - HANDHELD VIDEO As Sid 6.7 realizes he's being videotaped, his entire face seems to light up. Playing directly to the camera, he clearly loves being in the spotlight. The attention. The focus. It's suddenly as if he's had years of training. He is completely at ease. And simply captivating. SID 6.7. -LRB- direct address. -RRB- I'm sorry I ca n't do more for you. -LRB- pointing to the Skinhead. -RRB- Public service really is n't my forte. He walks into an EXTREME CLOSE - UP and kisses the lense. Then reaches out of frame to help the increasingly -- shaky salesman steady the camera. SID 6.7. -LRB- CONT'D. -RRB- But rest assured. -LRB- a beat. -RRB- A star is born. WE PULL BACK TO REVEAL you're now watching a recording of Sid 6.7 on videotape, along with Parker, Madison, and a dozen other COPS, inside the Electronics Store an hour later. The tape is re -- wound. MADISON. -LRB- to Parker. -RRB- Whatever he was doing here was only the start. PARKER Start of what? MADISON I do n't know, yet. What we do know is his performances are increasing in scale, not decreasing. -LRB- a beat. -RRB- Whatever it is, he is n't finished. She moves closer to the screen as the tape is played back. Madison studies Sid 6.7 intently. SID 6.7. -LRB- 0. 5. -RRB- -LRB- recorded. -RRB- But rest assured. -LRB- a beat. -RRB- A star is born. MADISON. -LRB- to another cop. -RRB- You mind playing that part again? Her request is obliged. MADISON Freeze it there -- -- She stares at Sid 6.7, who is looking directly at her. MADISON. -LRB- CONT'D. -RRB- -LRB- as if to Sid 6.7. -RRB- You've discovered media, have n't you? You like the attention. the power. You like being a star. What are you going to do next, star? What are you going to. Her attention turns to the upper right corner of the screen, where onlookers are visible watching Sid 6.7. Their faces blurry. But even out of focus, it is n't hard to recognize Lindenmeyer. MADISON. -LRB- CONT'D. -RRB- -LRB- as if to Lindenmeyer. -RRB- You do like to watch, do n't you? -LRB- to the surrounding cops. -RRB- If any of you are looking for Daryl Lindenmeyer, that's him. She points to Lindenmeyer, then makes her way over to Parker, who's standing exactly where Sid 6.7 was when he killed the Skinhead. Parker does not look at Madison. His eyes are fixed on the TV in front of him. MADISON. -LRB- CONT'D. -RRB- It's not just Sid 6.7's performances that are increasing. Stars need bigger and bigger audiences. -LRB- a beat. -RRB- Whatever Sid is going to do next, it's going to involve media. PARKER You like baseball? ON THE TV The baseball game continues. Players take the field at the start of a new inning. The outfielders ca n't help but glance at the beautiful WOMAN being shown in CLOSE - UP on the massive screen over left field. ANNOUNCER. -LRB- V. 0. -RRB- I'll tell you, whoever's operating the stadium's closed -- circuit cameras must have fallen in love because that beauty in J Section has been on the stadium's big screen for over a minute now.","INTERIOR THE ELECTRONICS STORE He grabs a police radio from a nearby OFFICER. PARKER. -LRB- urgently into radio. -RRB- This is Officer Parker Barnes. Get every able body you can to Dodger Stadium - J Section. OFFICER What the hell's going on? PARKER. -LRB- re : TV. -RRB- Live execution.","INTERIOR DODGER STADIUM On the massive screen over left field, the Woman in CLOSE - UP looks embarrassed, trying to forget her face is now 40 feet high for all the other fans to see. ANNOUNCER. -LRB- V. 0. -RRB- That's enough with the close - up already, Mr. DeMille. Even the players are starting to get distracted. The players on the field are all looking up at the massive screen.","INTERIOR THE STADIUM CONTROL BOOTH The Woman's face appears on various monitors. The phone RINGS. No one answers it. The room appears to be empty. The stadium's closed - circuit TV director is not in his chair. He's lying dead on the floor. ON THE J SECTION CAMERA PLATFORM The closed -- circuit camera remains focused on the Woman. The camera is locked off. It's operator lies dead beside it. THROUGH ITS VIEWFINDER Sid 6.7 can be seen arriving next to the Woman. He gently caresses her hair. IN J SECTION Sid 6.7 stands in front of the Woman's BOYFRIEND, who sits next to her. BOYFRIEND You make a better door than a window, buddy. Keep it moving. Sid 6.7 picks him up out of his seat and throws him three rows ahead. Sid 6.7 then puts hands around the Woman's throat. ON THE MASSIVE SCREEN over left field, the Woman attempts to scream as Sid 6.7 chokes her. No sound comes out. FANS react with horror. But nobody turns away. ANNOUNCER. -LRB- V. 0. -RRB- Jesus Christ! Somebody stop him! SECURITY PERSONNEL rush from all parts of the stadium toward J Section. SID 6.7 enjoys the reactions of the terrified fans around him as he chokes the life out of the Woman. SID 6.7. -LRB- to the camera. -RRB- Hey, Parker, this one's for you. His words ECHO around the stadium as he SNAPS the Woman's neck. He then hurls her limp body toward several men as they charge him. SID 6.7. -LRB- CONT'D. -RRB- That's all, folks. He leaps over a railing, rushing into a tunnel which leads out of the seating area. A SECURITY GUARD climbs up the stairs to the mouth of the tunnel. Weapon in hand. He draws a bead on Sid 6.7's back. BOOM! HIS POV A bullet rips through Sid 6.7's side. Blood begins to seep from the wound. But then immediately begins to retract. Once his blood has returned, his skin heals over the wound. Leaving a scar. Which also then disappears. Other than the hole in his shirt, Sid 6.7 is as good as new. He never even misses a step as he disappears around the corner. THE SECURITY GUARD stares in disbelief as he is joined by several comrades. GUARD I nailed the son -- of - a -- bitch. I put a hole right through him. PANIC - STRICKEN FANS in J Section start moving away from the area as fast as they can. Parents clutching their children. Climbing over seats. Shoving anyone in their way. ANNOUNCER. -LRB- V. 0. -RRB- Ladies and gentlemen, please try to stay calm. Everyone just keep your seats. Fans all over the stadium start charging toward the exits.","EXTERIOR DODGER STADIUM People bolt through the turnstiles, running away from the stadium as L. A. P. D. squad cars approach in the distance. The car in the lead is Parker's.","INTERIOR PARKER'S VEHICLE Parker speeds dangerously fast toward the fans streaming onto the street. Madison braces herself. MADISON SLOW DOWN! Parker JAMS on the brakes with both feet. SCREEEEEEECH!","EXTERIOR DODGER STADIUM Parker comes within inches of mowing down several people, who keep right on running. Parker jumps out of the vehicle, scanning faces. In predator mode. Madison gets out, clearly shaken. Parker locks his gaze on somebody in the distance. HIS POV A guy in Dodger baseball cap and jacket. Walking calmly away from the stadium. He descends down an escalator into a recently - built subway station. It is Sid 6.7. PARKER charges after him. A heat -- seeking missile locked on target. MADISON Parker. Parker! She does the best she can to follow after him. People knock into Parker as hard as he does them. A human version of bumper cars. Reaching the entrance to the subway, Parker leaps down the escalator three steps at a time. Madison remains in his wake.","INTERIOR THE SUBWAY STATION Parker and Madison hop the turnstiles. Only to be stopped by a remote -- controlled, box -- shaped robotic sentry, which is identical to one you have seen before. This sentry was one of Reilly's creations at LETAC. SECURITY ROBOT. -LRB- male, authoritarian. -RRB- Stop. You are in violation of. Parker spits in the Robot's electronic eye. Temporarily blinding it, as well as the guy operating it via remote control. Parker and Madison make their getaway as the robotic sentry struggles to clean off his eye. PARKER Real effective security. MADISON You could have just flashed him your badge, you know? PARKER Authority still makes me nervous. They come to a fork : one tunnel goes to east/west trains, the other to north/south. MADISON Which way? PARKER Both. He races down the tunnel to the north/south trains. Madison heads down the other. Her determination beginning to win out over her inexperience. PARKER hesitates at the escalator leading to the south - bound side of the tracks. Further down the tunnel is the escalator to the north -- bound trains. Parker chooses the escalator closest to him. ON THE SOUTH - BOUND PLATFORM Passengers pass the time by watching a television mounted above them. Except for Parker, who scans the crowd. Then across the tracks. ON THE NORTH - BOUND PLATFORM In the entire crowd, there is only one person not watching the TV screen. He is watching Parker. Through his gun sight. Sid 6.7 pulls the trigger. BOOM! ON THE SOUTH - BOUND PLATFORM Parker dives to the ground, just avoiding the bullet. He scrambles behind a pillar for protection. Only to see the guy standing behind him was n't as lucky. ON THE EAST - BOUND PLATFORM Madison hears the gunshot ECHO through the station. Which scares the already - terrified fans trying to get away from Dodger Stadium. Chaos is rapidly becoming Pandemonium. MADISON SHIT! She races up the escalator, taking out her weapon. CUT TO: PARKER peeking out from behind the pillar on the south - bound platform. PARKER'S POV - ACROSS THE TRACKS Passengers rush in every direction. Some are screaming. Some are crying. Nobody knows who fired the shot. Or where to go. But everyone is going somewhere. Including Sid 6.7, who makes his way through the flurry of movement toward the up escalator. It is difficult to keep sight of him. PARKER moves toward the edge of the platform, aiming his gun across the tracks. Those around him quickly back away. PARKER. -LRB- yelling. -RRB- Everybody get down! Only about half the passengers on the north -- bound side can hear him above the screaming already going on. Sid 6.7 is nowhere to be seen. PARKER. -LRB- CONT'D. -RRB- -LRB- screaming. -RRB- GET DOWN! The rest of the passengers hit the deck, except for a COLLEGE STUDENT listening to music on headphones. He is riding the escalator up. Sid 6.7 stands behind him, using the student as a shield. PARKER' S POV As Sid 6.7 ascends, slight portions of his body are momentarily exposed behind the student as he sways with the music coming from his headphones. Parker does NOT have a clean shot. In 10 seconds, Sid 6.7 will disappear from view completely and Parker will have no shot at all. A momentary sliver of Sid 6.7 becomes visible. An inch - and - a - half at most. PARKER does n't hesitate. He lines up his shot and pulls the trigger. ON THE NORTH - BOUND UP ESCALATOR The college student standing in front of Sid 6.7 gets winged in the shoulder. Not a serious wound, but a painful one just the same. The bullet must have hit bone, because it deflected upon impact, missing Sid 6.7 entirely. The student drops to the escalator, screaming in pain. Sid 6.7 crouches beside him. SID 6.7. -LRB- yelling. -RRB- What's wrong, convict, your arms need adjusting? Or maybe it's your head. Maybe you are n't ready to be back out in the real world, yet. PARKER'S POV The top of Sid 6.7's head is exposed an inch, maybe two. PARKER fires again. Repeatedly. Moving closer and closer to the edge of the platform, trying to get a better angle while he still has a shot. Parker moves to the very edge of the platform. His arm extended out over it. Completely oblivious to THE SUBWAY TRAIN rocketing into the station toward the south - bound platform. MADISON leaps off the descending escalator on the south -- bound side and rushes to Parker. She pulls Parker back just before the train reaches him. Had his arm still been raised, Parker would have lost his arm a second time. They tumble to the floor. A PASSENGER rushes to Madison. PASSENGER # 1. -LRB- pointing to Parker. -RRB- Lady, you got ta stop him! He's gone crazy! PASSENGER # 2 He just shot an innocent bystander! MADISON. -LRB- forcefully to Parker. -RRB- What were you shooting at? Parker gets to his feet. Madison does n't take her eyes off him. PASSENGER # 1 He did -- -- I saw it! PASSENGER # 2 DO SOMETHING! PARKER. -LRB- to Madison. -RRB- Sid's getting away. He heads toward the up escalator. His back now to Madison. She aims her gun at him. MADISON Parker - -- stop! STOP! Do n't make me shoot you -- -- PARKER. -LRB- not looking back. -RRB- If you're gon na do it, better do it now. He keeps right on going up the escalator. MADISON lines up her shot. Hands shaking. With both fear and determination. Her finger presses down on the trigger. but she ca n't do it. MADISON Dammit! She chases after him.","INTERIOR THE NORTH/SOUTH TUNNEL Madison looks in both directions as she gets off the escalator. Parker is nowhere to be seen. Moving toward her slowly is the wounded college student, who clutches his bleeding shoulder. He is shivering. Going into shock. Madison goes to him, taking off his headphones. MADISON Let me help you. He collapses in her arms. COLLEGE STUDENT. -LRB- delirious. -RRB- What did I do? I did n't do anything. Clearly versed in emergency medical treatment, Madison attends to his wound. Parker returns. PARKER. -LRB- breathlessly. -RRB- I lost him. COLLEGE STUDENT GET HIM AWAY FROM ME! GET HIM AWAY! MADISON. -LRB- furiously. -RRB- Call 9 - 1 - 1. Wait for me above ground. CUT TO:","EXTERIOR OF THE SUBWAY STATION 30 minutes later. The chaos outside Dodger Stadium has subsided. Madison and two PARAMEDICS lead the bandaged College Student to an ambulance. Madison goes to Parker, who sits quietly by himself. Elbows on his knees. Head between his hands. Staring at the cement between his feet. MADISON. -LRB- angrily. -RRB- Do you have any idea the trauma you put that kid through?! Parker does n't respond. All around them, a cacophony of news broadcasts is heard. From passing cars. From boom boxes. From portable TVs. Over and over, you hear what Sid 6.7 had said while killing the woman in Dodger Stadium : SID 6.7. -LRB- V. 0. -RRB- -LRB- recorded. -RRB- Hey, Parker, this one's for you. Hey, Parker, this one's for you. As Parker raises his head slowly, you realize you are looking at the face of a wild animal. Eyes rabid. Jaw clenched. Pure anger. Violence about to erupt. Without fear. Without guilt. The beast within has been unleashed. PARKER. -LRB- in a whisper. -RRB- That's Grimes. Madison backs away in fear. Parker rises gradually. PARKER. -LRB- CONT'D. -RRB- -LRB- voice slowly rising. -RRB- The man who killed my wife. who killed my daughter. who ruined my life used to taunt me with that line. Parker advances toward Madison, who continues backing away. PARKER. -LRB- CONT'D. -RRB- -LRB- exploding. -RRB- Grimes is back! He's back! He's come back! MADISON. -LRB- standing her ground. -RRB- No! Grimes is n't back. He's only one part of Sid. Sid 6.7 is a hell of a lot worse than Grimes ever was. -LRB- a beat. -RRB- Get a hold of yourself! She tries to grab him by the shoulders. Parker blocks her arms away. PARKER. -LRB- going nose -- to -- nose. -RRB- But he's in there. And you knew it, did n't you? Did n't you?! She tries to back away, but backs herself against a light pole. Madison has nowhere to go. Parker grabs her by the collar, and shoves her against the pole. Hard. PARKER. -LRB- CONT'D. -RRB- -LRB- hysterical. -RRB- God, you fucking know - it - all! You've known all along and did n't PARKER. -LRB- CONT'D. -RRB- tell me! Why?! Were you afraid I'd lose it?! Go over the edge?! Huh?! Is that what you were afraid of?! WHY DID N'T YOU TELL ME?! A prison transport and another police vehicle pull up to them fast. Two of the Prison Guards met earlier jump out of the transport, advancing on Parker. Their weapons aimed at his head. GUARD Hands up! Now! Parker slowly raises his hands in the air. A Guard relieves him of his weapon. MADISON. -LRB- recovering. -RRB- What's going on? GUARD He's going back where he belongs. Deane and Cox step out of the police vehicle. DEANE. -LRB- to Madison. -RRB- You were right, Dr. Carter. Letting a lunatic like Barnes loose in the real world did pose an unacceptably dangerous risk to the public. -LRB- glancing at Cox. -RRB- I should have never tried to solve one problem by allowing the creation of another. -LRB- to Madison. -RRB- Chief Cox will give you a ride back to the station. You will provide him with any and all information you have developed thus far. -LRB- to Parker. -RRB- Enjoy the rest of your sentence, Mr. Barnes. She exits. Cox and Parker stand facing each other. Cox wishes there was something he could do. Parker looks completely out of it. Cox extends his hand. After a moment, Parker takes it. But his mind is way off elsewhere. GUARD. -LRB- forcefully to Parker. -RRB- Let's go. Madison looks on as Parker is herded roughly into the back of the prison transport. MADISON Parker. Parker shuts her up with a look. There is nothing that can be said. The prison transport doors are SLAMMED shut. The vehicle takes off. CUT TO:","INTERIOR COX'S POLICE VEHICLE Cox and Madison head back toward L. A. P. D. Headquarters. They are in mid -- conversation : MADISON. -LRB- with regret. -RRB- I should have told him. COX Do n't blame yourself. In your shoes, I do n't think I would have told Parker, either. -LRB- a beat. -RRB- So do you think Grimes has become the dominant personality? MADISON I'm not sure. My guess is that's what Sid wants us to think. COX. -LRB- a beat. -RRB- You think he's smart? MADISON Captain, I'm afraid of how smart Sid 6.7 is. -LRB- a beat. -RRB- But I'm even more afraid of what's he's becoming. CUT TO: THE PRISON TRANSPORT comes to a stop at a traffic light.","INTERIOR THE PRISON TRANSPORT -- REAR Parker sits alone in the darkness. Motionless. Until the sound of TWO GUNSHOTS piercing the transport's front windshield SHATTERS the silence. PARKER What the hell's going on?! He scrambles to the front of the compartment, pressing his face against the steel mesh of the four -- inch portal. HIS POV - LOOKING THROUGH PORTAL Two bullet holes are visible in the windshield. The two Prison Guards lie dead in their seats. Sid 6.7's eyes appear, looking directly at you. He's smiling. SID 6.7. -LRB- neighborly. -RRB- Hey, old buddy, old pal, good to see you again.","INTERIOR THE PRISON TRANSPORT Parker goes absolutely berserk. Viciously punching the steel mesh which separates them until the synthetic skin on his knuckles is shredded. PARKER You. mother. fucker! I'M GOING TO KILL YOU! SID 6.7 Now, is that any way to talk to an old buddy? I mean, just because I'm carrying around the joy of killing your family inside me does n't mean we ca n't be friends. PARKER GRIMES, YOU'RE DEAD! He savagely hurls himself against his confines. Bone vs. metal. Do n't try this at home. SID 6.7 I'm sorry, the party you're trying to reach is not answering. Is there anyone else you would like to talk to? PARKER DEAD! YOU HEAR ME? SID 6.7. -LRB- a beat. -RRB- You really are pathetic, you know that? Mathew Grimes is only one letter in my alphabet. He is nothing compared to me. Parker is completely spent. Mentally and physically. He slumps in a corner. Out of breath. Bleeding. Sore. All he can do is stare out through the portal's mesh at Sid 6.7. SID 6.7. -LRB- CONT'D. -RRB- You could say thank -- you, you know? I'm giving you your freedom, short -- lived though it may be. -LRB- a beat. -RRB- A little known fact about the locater implants prison inmates now receive upon release is that they contain a pinhead capsule of neural toxin. The satellite they use to track you can also trigger release of the toxin with microwaves. After transmission, the implant's host dies within 30 seconds. -LRB- a beat. -RRB- It wo n't take long for them to get your termination authorized once they learn of your escape. Now who would you rather go after, killer, them or me? He releases the rear door lock. ON THE STREET Parker bursts out of the back of the Prison Transport, charging after Sid 6.7. Who is nowhere to be seen. Parker runs in one direction. Then the other. And changes his mind again. He literally does not know which way to turn. PARKER Shit! CUT TO:","INTERIOR A CONFERENCE ROOM IN L. A. P. D. HEADQUARTERS An AIDE rushes through the door to Cox, who's briefing Deane and Wallace on what he has learned. AIDE Parker Barnes just escaped from the prison transport. Both of the guards are dead. The Aide exits. COX. -LRB- to Deane. -RRB- Barnes would n't kill two innocent guards. DEANE He would slaughter eight people sitting in a room, but not two prison guards? COX Do I need to remind you what happened to his wife? To his daughter? -LRB- with conviction. -RRB- I will stake my reputation that Barnes did n't kill those guards. DEANE You already have staked your reputation. -LRB- a beat. -RRB- Mayor Bennett and I have been friends a long time. Since Grimes tried to kill him, it does n't take a rocket scientist to come to the conclusion that Sid 6.7 might go after him, too. -LRB- a beat. -RRB- Bennett's Re - Election Rally is tomorrow night and we already have enough trouble on our hands with one psychotic on the loose. -LRB- to Wallace. -RRB- The fail - safe on -- line, yet? WALLACE On -- line and at your disposal. COX. -LRB- to Deane. -RRB- What fail -- safe? DEANE. -LRB- approaching Wallace. -RRB- This had better work, Mr. Wallace. Wallace exits the room. Cox has no idea what is going on. And Deane is not about to tell him. CUT TO:","INTERIOR MADISON'S BEDROOM Madison enters wearily, late afternoon. Exhausted from the events of the last two days, she starts to undress. Her clothing is filthy. So is her skin. She could use a good shower, and a better massage. Madison examines the various cuts and bruises she's received along the way. Not exactly war wounds, but to somebody used to sitting behind a desk, they are. She absentmindedly turns on the television, then goes into her bathroom. Madison looks at her face in the mirror. She's looked better. After splashing cold water on her face, she comes to the same conclusion. Madison takes two aspirin. And then two more. Wishing they would take effect immediately. Finally hearing the news on the TV, her entire demeanor changes instantly. Madison rushes in front of the television to see a report of Parker's escape from the prison transport. MADISON Oh, shit! Grabbing a handful of clothes, she bolts urgently out the door. CUT TO: MADISON speeding recklessly through city streets in her car. She does n't stop for red lights. Not for grid - lock. Not for nothing. She is also still finishing getting dressed. CUT TO:","EXTERIOR L. A. P. D. HEADQUARTERS Ignoring the warnings of several COPS walking toward their vehicles, Madison speeds toward the front entrance. She barely stops in time. SCREEEECH!","INTERIOR L. A. P. D. HEADQUARTERS Madison races through the bustling facility. Looking for somebody. She finally finds Cox coming out of his office. MADISON. -LRB- urgently. -RRB- There is no way Parker killed those guards. No way. COX I think we both know who did. -LRB- a beat. -RRB- What's so urgent? MADISON I need your help - Taking him by the arm, she leads him into an elevator going down just before its doors close.","INTERIOR THE ELEVATOR The look on Cox's face tells you Madison has explained the situation to him. He is furious. COX Why did n't anybody tell me?! MADISON I do n't set policy. -LRB- a beat. -RRB- You have the key? He takes a security key out of his pocket and uses it to gain access to a subterranean floor. COX. -LRB- angrily. -RRB- This is a police department. I'll be damned if this is going to go on without my knowledge. They exit quickly. Cox leads Madison","INTERIOR A POWER SUPPLY ROOM Cox leads in Madison and takes her to the subterranean power supply. He points to the floor's numerous circuit breakers. COX Give me 30 seconds, then flip every switch you can reach. MADISON Got it.","INTERIOR THE LOCATER TRANSMISSION ROOM The room is still under construction. Wallace stands behind a TECHNICIAN sitting at a console in front of a massive electronic map tracking several convicts, including Parker. The technician is typing in an elaborate termination code. TECHNICIAN Who are we going to fry? WALLACE Just an unrepentant criminal who is apparently going to die from a previously undiagnosed brain tumor. Cox enters, concerning Wallace. WALLACE. -LRB- CONT'D. -RRB- What are you doing here, sir? COX Just paying my last respects. He surveys the electronic map, locating Parker. Just as the lights go BLACK. Wallace and the technician immediately panic. WALLACE What happened?! TECHNICIAN I do n't know. We've lost all power! COX The heat's been causing brown out's all over the city. Get above ground until it's restored. Wallace and the technician rush out of the room, up the emergency stairs. Cox sets to work ripping out the console's circuitry. By the time he's finished, the equipment in here wo n't be able to toast a piece of bread. CUT TO: A TOMBSTONE which reads : LINDA DAVIS BARNES. -LRB- 1961 -- 1992 -RRB- and CHRISTINE MARY BARNES. -LRB- 1987 - 1992 -RRB-. Parker kneels in front of it. Magic hour. Madison, and Cox wind their way to him through obstacle course of tombstones. Parker stands as they arrive. He is wiped out. There is no emotion left in him. MADISON We know you did n't kill those guards. PARKER They're going to fry me for it, anyway. COX Nobody's going to fry anybody. He approaches, holding the Circuits he ripped out of the Locator Transmission Room. COX. -LRB- re : circuits. -RRB- Do n't worry, they have no idea where you are. PARKER You son -- of -- a -- bitch. How could you let them put the implant in my head? How? MADISON He did n't know about the neural toxin. -LRB- a beat. -RRB- I did. PARKER. -LRB- matter - of - factly. -RRB- You knew the entire time? Can you give me one good reason why I should n't kill you right now? COX She saved your life, Parker. She did n't have to, but she did. PARKER. -LRB- turning to Madison. -RRB- Then I guess we're even. MADISON. -LRB- a beat. -RRB- How did you find out about the toxin? PARKER Sid 6.7 told me after he killed the two guards. He suggested I kill you rather than him. MADISON You're not capable of it. PARKER I pose an unacceptable danger to the public, remember? MADISON I was wrong. -LRB- a beat. -RRB- And I was wrong not to tell you Grimes was part of Sid. I should have told you. I wo n't make the same mistake again. She means it. Parker turns away, looking at his wife's headstone. COX The son -- of -- a - bitch is still out there, Parker. Parker turns toward him slowly. Emotion beginning to return to his face. PARKER. -LRB- a beat. -RRB- When this is over, will you get this goddam thing out of my head? COX On my life, I promise you I will. PARKER If you're lying, I'll hunt you down and kill you myself. CUT TO:","EXTERIOR A CONSTRUCTION SIGHT 6 PM. The human FOREMAN presses a remote control detonator. BOOM! An explosion occurs inside a building's foundation. -LRB- STOCK FOOTAGE -RRB-. The building is levelled instantly. Sid 6.7, who's been watching the explosion, approaches the Foreman. SID 6.7. -LRB- applauding. -RRB- Bravo. FOREMAN Who the hell are you? SID 6.7 Someone who appreciates the artistic value of high -- explosives. He shoots the Foreman in the chest. Sid 6.7 relieves him of his keys and heads to an explosives storage shed. CUT TO: SID 6.7 carrying a crate of C - 4 high - explosives out of the shed in the construction sight minutes later. He adds it to the dozen crates already loaded in a truck. And takes off. CUT TO:","INTERIOR A LARGE SEWER PIPE Sid 6.7 secures several crates of C -- 4 to an automated sewer cleaning vehicle. He schedules its start time -- -- 24 hours from now. It is now 7:45 PM. The bomb's TIMER is set to detonate 15 minutes into the vehicle's journey - at 8:00 PM tomorrow night. SID 6.7. -LRB- admiring his work. -RRB- You think you know me, but you do n't have any idea who I really am. CUT TO:","EXTERIOR THE BILTMORE HOTEL sight of Mayor Bennett's upcoming Re - Election Rally, Cox supervises an army of L. A. P. D. officers who are securing the area. Bomb -- sniffing dogs. Rooftop snipers. Helicopter surveillance. Nothing is being left to chance. Anyone doing anything within 100 yards of the building is searched, including the REPORTERS and their CAMERA CREWS covering the convention's security. PARKER AND MADISON survey the scene with binoculars from amid a crowd of pedestrians two blocks away. Both are disguised in hats and different clothing. You do n't immediately recognize them. MADISON The rally's a little obvious as a target, do n't you think? PARKER I told you before, Grimes liked to be obvious. MADISON Sid 6.7 is n't Grimes. PARKER Part of him is. Various faces in the crowd on the sidewalk. In the vehicles passing on the street. On the bridge crossing the street down the block further away from the hotel. MADISON. -LRB- V. 0. -RRB- If we find Sid, Lindenmeyer wo n't be far behind. PARKER. -LRB- V. 0. -RRB- Think he's keeping track of his creation? MADISON. -LRB- V. 0. -RRB- That, or living through him. PARKER puts down his binoculars. Madison does not. PARKER See something? MADISON I'm not sure. on the bridge. the guy at the payphone. She points to what she's looking at. Looking through his binoculars, he still ca n't see what she means. She helps him aim his binoculars. PARKER'S POV - THROUGH BINOCULARS He scans the bridge. Finally settling on Sid 6.7, who is talking on a payphone. ON THE STREET Parker looks up from his binoculars. Impressed. PARKER Nice work. MADISON. -LRB- a beat. -RRB- Thanks. They move briskly down the block toward the bridge. Quickly climbing a set of stairs. ON A ROOFTOP Parker and Madison's movement catches the attention of several snipers. SNIPER # 1 Well, look who we have here. SNIPER # 2. -LRB- into radio. -RRB- Parker Barnes is heading south toward the bridge. If anybody can get a clean shot at him, take it. COX hears the order over his radio headset. He races toward the bridge. As do a dozen other cops. ON THE BRIDGE Sid 6.7 talks into the payphone. SID 6.7 Be a reporter -- -- figure it out for yourself. All I'm going to tell you is that at 8:00 tomorrow night, I will become legendary. PARKER AND MADISON reach the top of the stairs. Sid 6.7 remains on the phone, his back toward Parker and Madison. They split - up, winding their way through the crowd waiting for an arriving bus. As the bus pulls to the stop, the awaiting passengers move toward the opening doors. Obscuring Parker's view of the payphone. Parker shoves his way through the crowd, only to see Sid 6.7 holding Madison in front of him, his gun to her head. Parker trains his weapon at Sid 6.7. He does n't have a clean shot. SID 6.7. -LRB- to Parker. -RRB- Brings back memories, does n't it? THROUGH A SNIPER'S RIFLE SCOPE Parker's chest is put into the cross - hairs as the bus pulls away from the stop. He is focused on Parker, and Parker only. THE SNIPER is some 300 yards away on a rooftop. His rifle is mounted on a tripod. His aim is perfectly steady. SNIPER. -LRB- into his radio headset. -RRB- Say good -- bye, Parker Barnes. Parker stands frozen, staring at Sid 6.7 through his gun sight. Looking for just an inch of him to stick out from behind Madison's terrified face. SID 6.7. -LRB- to Parker. -RRB- I would n't pull the trigger if I were you -- -- PARKER Why's that? Cox advances toward Sid 6.7 from the side of the bridge. Cox's gun out and ready. His finger on the trigger. COX Hey, Sid, what were you planning on doing with the C - 4? Sid 6.7 turns his head in surprise toward Cox as a rifle is FIRED in the distance. Cox steps directly in the sniper's line - of - fire and takes the bullet meant for Parker through the chest. Cox drops to the bridge. PARKER NOOOOOO! He rushes to Cox. Parker drops to his knees, cradling Cox's head. Cox is n't long for this earth. Looking up to Parker, he tries to talk. But nothing comes out. PARKER. -LRB- CONT'D. -RRB- -LRB- compassionately. -RRB- Do n't worry, I know. I know. Cox's eyes roll back in his head. Parker then closes them and gently lays his head on the sidewalk. Parker turns his head toward Sid 6.7, who's released Madison and is jumping over a railing to the street 20 feet below. Parker rushes to the railing. HIS POV Sid 6.7 lands on top of a garbage truck passing beneath the bridge. The garbage truck disappears beneath the bridge. ON THE BRIDGE A dozen cops advance toward Parker. Weapons drawn. COP # 4 Freeze! Parker ignores them. He bolts across the street, moving in the same direction as the bus below. Through speeding traffic. Bullets fly. Parker keeps charging. Right in front of a moving van barreling across the bridge. The cops lose sight of Parker. COP # 5 Think he made it? ON THE OTHER SIDE OF THE BRIDGE Parker dives onto the sidewalk, avoiding the speeding van by inches. Getting to his feet, he launches himself up and over the railing. ON THE STREET The garbage truck passes beneath Parker as he leaps from the bridge. ON TOP OF THE GARBAGE TRUCK Parker lands on the back of the truck. Right next the opening and - closing steel jaws of the truck's massive trash compactor. His gun tumbles from his hand, falling to the street. Sid 6.7 dives on top of Parker, putting him flat on his stomach. And his face against the steel teeth. Sid 6.7 chokes Parker. Hard. SID 6.7 I have to tell you, I do enjoy you, Parker. I really do n't want to have to kill you. The sanitation worker at the wheel of the truck has no idea whatsoever what is happening on top of his truck. CUT TO: THE DOZEN OF COPS who had been on the bridge, charging down the steps after the garbage truck, which can no longer be seen. Madison walks calmly behind them. Scanning the crowd. Looking for Lindenmeyer. Her every instinct telling her he's here. He must be. She spots him. Veering from the direction the cops headed in, Madison casually wades into the crowd. She takes out her weapon and stops behind Lindenmeyer. Even in disguise, he looks familiar. Madison puts her gun against his back. MADISON. -LRB- whispering into his ear. -RRB- I figured you'd show up sooner or later. CUT TO: ON TOP OF THE GARBAGE TRUCK Parker and Sid 6.7 continue battling next to the compactor's lethal jaws. The machine makes an awful, grinding sound. Not unlike the sounds Parker and Sid 6.7 are making. The fight is primal. Savage. And moving at 30 miles - per - hour. PARKER What C - 4. was Cox talking about? SID 6.7 Let me put it to you this way. whether I'm here. or whether I'm not. I'm leaving an indelible mark on the world tomorrow night. PARKER Where did you plant the C - 4?! He should concentrate more on fighting, and less on asking questions, because he's losing. Parker takes a wicked shot to the face, and then the groin. Sid 6.7 holds Parker's head between the compactor's jaws. Which are closing. With every last ounce of effort he has, Parker hurls his legs up into Sid 6.7. Which throws Sid 6.7 into the compactor. The steel jaws immediately close in on Sid 6.7, who frantically tries to climb out. He gets his hands out. Then his head. But that's about it. Without emphasizing graphic detail, Sid 6.7 is decapitated. His lifeless body drops back into the compactor. His head tumbles to the street. The force of the impact causes the Sid 6.7 character module to separate from the neural net. The character module scatters into the street. Parker immediately jumps off the truck after it. ON THE STREET Parker's landing is n't pretty. Finally getting to his feet, he sees the Sid 6.7 character module is about to be run over. Parker dives for it, nearly getting run over himself. The approaching car SCREECHES to a halt next to him. It's driven by Lindenmeyer. At gunpoint. Madison sits behind him, her gun to his head. WHAM! The car behind them obviously was n't prepared to stop so quickly. The bumpers of the two cars are now intertwined. Neither vehicle will be going anywhere soon. Madison pulls Lindenmeyer roughly out of the car. She drags him to Parker, who is still on his knees, clutching the Sid 6.7 character module. SIRENS approach in the distance. MADISON. -LRB- to Parker. -RRB- Find out anything? PARKER A bomb's going off tomorrow night, but I have no idea where. LINDENMEYER. -LRB- a beat. -RRB- There is only one way to get any more information out of Sid 6.7. They scan the area for a new mode of transport. And find one stopped at a dumpster down the block : the garbage truck.","EXTERIOR THE GARBAGE TRUCK Parker quickly explains the situation to the sanitation worker while Madison motions Lindenmeyer into the cab with her gun. As Parker climbs up to her, Madison shuts the door to give them a moment of privacy. MADISON Can I ask you something? PARKER. -LRB- with a smile. -RRB- You mean there's something you have n't asked me? MADISON. -LRB- a beat. -RRB- You've already fulfilled the terms of your pardon. You stopped Sid 6.7 and you've got his module. You're free to go -- -- right now. -LRB- a beat. -RRB- Why are you going to do this? PARKER You do n't know? MADISON. -LRB- shaking her head. -RRB- That's why I'm asking. PARKER Because this pain -- in -- the -- ass criminal psychology expert has helped me understand what I'm capable of. And what I'm not. -LRB- a beat. -RRB- And better than anyone else, I am capable of stopping Sid 6.7. CUT TO: ON TOP OF THE GARBAGE TRUCK Parker lands on the back of the truck. Right next the opening -- and -- closing steel jaws of the truck's massive trash compactor. His gun tumbles from his hand, falling to the street. This sequence is IDENTICAL to the one you previously witnessed. It is as if we've jumped back in time. Sid 6.7 dives on top of Parker, putting him flat on his stomach. And his face against the steel teeth. Sid 6.7 chokes Parker. Hard. SID 6.7 I have to tell you, I do enjoy you, Parker. I really do n't want to have to kill you. The sanitation worker at the wheel of the truck has no idea whatsoever what is happening on top of his truck. Parker and Sid 6.7 battle next to the compactor's lethal jaws. The machine makes an awful, grinding sound. Not unlike the sounds Parker and Sid 6.7 are making. The fight is primal. Savage. And moving at 30 miles - per -- hour. PARKER What C - 4. was Cox talking about? SID 6.7 Let me put it to you this way. whether I'm here. or whether I'm not. I'm leaving an indelible mark on the world tomorrow night. PARKER Where did you plant the C - 4?! He should concentrate more on fighting, and less on asking questions, because he's losing. Parker takes a wicked shot to the face, and but then blocks the anticipated shot to his gun. Sid 6.7 still manages to put Parker's head between the compactor's jaws. Which are closing. With every last ounce of effort he has, Parker hurls his legs up into Sid 6.7. Which throws Sid 6.7 into the compactor. Sid 6.7 frantically tries to climb out of the compactor as the steel jaws close in on him. He gets his hands out. Then his head. Except Parker now does something different. Just before Sid 6.7 is decapitated, Parker jams a metal rod between the compactor's steel teeth. Then grabs Sid 6.7 by the throat. PARKER. -LRB- fiercely. -RRB- You ca n't die until you tell me where the C - 4 is. Where is it?! SID 6.7. -LRB- choking. -RRB- My. secret. He SLAMS the back of his head into Parker's nose. Breaking it. Parker reels back in pain. Sid 6.7 squeezes out from within the steel teeth. The jagged metal cutting into him, striping him with blood. The blood then begins to retract. Sid 6.7's wounds, once again, heal themselves. SID 6.7. -LRB- CONT'D. -RRB- Too bad you ca n't regenerate. As the truck slows at an intersection, he jumps to the street. Parker goes after him. Still in excruciating pain. WE PULL BACK TO REVEAL what you are seeing is ON A MONITOR The scene continues seamlessly. As you may now be guessing, the monitor is connected to the simulator","INTERIOR LINDENMEYER'S STATION IN LETAC Parker lies unconscious on a bed. He is connected to the simulator via the neural connectors in the polyurethane skull cap, just like he was before. The Sid 6.7 character module is plugged into the system's main console. Lindenmeyer sits at the controls. Madison next to him, her gun aimed at Lindenmeyer's head. They are both watching Parker chase Sid 6.7 on the monitor in front of them. Parker continues experiencing intolerable pain. A clock reads 4:00 AM. They are the only ones inside the entire facility. LINDENMEYER I told you this would work. By setting back the clocks, he has absolutely no idea he's in virtual reality. He still thinks he's in the real world. MADISON. -LRB- a beat. -RRB- What's wrong with Parker? LINDENMEYER. -LRB- innocently. -RRB- How should I know? MADISON. -LRB- getting an idea. -RRB- Show me his physical sensory level. She clicks back the hammer of her gun and presses the barrel against Lindenmeyer's ear. He does as told. On a panel by the console, you read : PARTICIPANT PHYSICAL SENSORY LEVEL : 670 %. LINDENMEYER I wonder how that. MADISON. -LRB- CONT'D. -RRB- Turn it down! Lindenmeyer adjusts the sensory level back down to 100 %. ON A MONITOR Parker immediately returns back to normal. His pace picks up. He starts closing the gap between him and Sid 6.7 as he races into a shopping mall. CUT TO:","INTERIOR THE SHOPPING MALL The place is a seven -- story mecca of shopping. An atrium allows you to look from the ground floor up to the seventh. Sid 6.7 rushes up the escalators. Going up to the second floor. Then the third. Parker follows suit climbing escalator after escalator. Throwing people out of his way. ON THE SEVENTH FLOOR which is also the highest, Sid 6.7 veers out of view. Parker races up the final steps to the seventh floor. Sid 6.7 is nowhere to be seen. Parker searches methodically. Efficiently. He finally spots Sid 6.7. Who has Parker's head lined - up perfectly in his gun sight. Parker is a sitting duck. BOOM! Parker dives behind AFFLUENT SHOPPER 2.1, who takes a bullet in his ascot. Parker quickly grabs him, and uses his body as a shield against Sid 6.7's constant gunfire until Parker arrives behind a marble column. SID 6.7. -LRB- surprised at Parker's ruthlessness. -RRB- We really are n't that different, are we? What he can not see is that behind the column, Affluent Shopper 2.1 is Auto Resetting. Parker puts his gun to the shopper's head. PARKER. -LRB- whispering. -RRB- Do n't move, and do n't make a sound. Got it? Affluent Shopper 2.1 nods his head repeatedly. Parker collects himself behind the column, then pivots out from behind it. Firing in Sid 6.7's direction. Each bullet finds its mark. Absorbing the blows, Sid 6.7 backs up against the atrium railing. Taking one final shot, he falls backward. Over the railing. PARKER'S POV Sid 6.7 tumbles through the atrium. Out of control. Speeding toward the ground seven floors below. SID 6.7'S POV The sense of momentum is exhilarating. And terrifying. If you get dizzy easily, close your eyes. FROM THE FIRST FLOOR Sid 6.7 falls through the atrium like a rock directly at you. A 200 pound rock. WHAM! He lands face down in the marble floor. The impact is bone -- crushing. Sid 6.7 does not move. Until he begins to regenerate. His fluids begin returning to his body. His bones regaining proper form. Within seconds, his body appears as good as new. -LRB- Technically, because this is VR1 the proper term would be Auto. Reset. But since Sid 6.7 thinks he's in the real world, regenerating is what he thinks he's doing. -RRB- Sid 6.7 stands, dusting himself off. SID 6.7 Man, what a rush. -LRB- yelling up to Parker. -RRB- Adios, amigo! Grabbing his gun, he takes off out of the lobby. ON THE SEVENTH FLOOR Parker retrieves his gun, then bolts down the escalators. CUT TO:","INTERIOR LETAC Madison and Lindenmeyer watch Parker on screen. Madison still has her gun trained on Lindenmeyer, who notices a WARNING LIGHT start to flash. He turns to Parker's unconscious body lying on the bed. Lindenmeyer looks concerned. MADISON What's wrong? Lindenmeyer checks several readings on his console. LINDENMEYER He's developing a hemisphere imbalance. MADISON Talk so I can understand. LINDENMEYER If I do n't adjust the level of neural information each side of his brain is receiving, he wo n't be able to walk when I take him out of VR. MADISON Then fix it. As Lindenmeyer moves to Parker, Madison stays right with him. Her gun aimed at Lindenmeyer's head. Lindenmeyer carefully removes one of the neural connectors from Parker's skull cap. Before removing another, he looks for a safe place to put the connector. LINDENMEYER I need you to hold this. It ca n't get any dirt on it. Madison is reluctant, but does n't know what else to do. Lindenmeyer slowly gives the neural connector to her free hand. LINDENMEYER. -LRB- CONT' D. -RRB- All you have to do is hold the needle at the base. Just make sure not to jab yourself with the point. She clutches the needle in her left hand while aiming her gun with her right. Lindenmeyer removes a second neural connector from Parker's skull. Holding this second needle at the base, Lindenmeyer makes several adjustments on the neural management computer, then moves slowly back to Madison. LINDENMEYER. -LRB- CONT'D. -RRB- Hand me the connector nice and. He suddenly jabs his neural connector into Madison's right forearm. Madison has no time to react. 10,000 volts of electricity instantly courses through her body. Madison drops to the floor, unconscious. The needle she had been holding falls from her grasp, breaking the circuit. She stops being electrocuted. Which saves her life. LINDENMEYER. -LRB- CONT' D. -RRB- -LRB- as Sid 6.7 had said. -RRB- God, some people are stupid. He sits back down at the simulator's main console, and starts to type commands. On the monitor, Parker is visible exiting the shopping mall. CUT TO:","EXTERIOR THE SHOPPING MALL Parker races out the door. BOOM! That was left knee cap. He tumbles to the street. His gun flying from his hand. Parker crawls desperately toward his weapon. But not fast enough. Sid 6.7 arrives at the weapon first. SID 6.7 So close, and yet, so far. He kicks the weapon down the sidewalk, then points his gun at Parker's head. SID 6.7. -LRB- CONT'D. -RRB- It's really too bad you have to miss the Grand Finale. PARKER I thought you liked me being in the audience. Do n't you want me to see it? Sid 6.7 pauses to think about it. SID 6.7. -LRB- considering the idea. -RRB- You know, I do want you to see it. He shoots Parker in his other knee cap, rendering both of his legs useless. SID 6.7. -LRB- CONT'D. -RRB- I want you to have a bird's eye view.","EXTERIOR THE NEWLY-CONSTRUCTED HOLLYWOOD TOWER A 67 story monument to engineering brilliance in this land of earthquakes. 6:30 PM. ON THE ROOF OF THE HOLLYWOOD TOWER The view is incredible. You can see from the Pacific to downtown. From LAX to the Hollywood Bowl. Smog must be getting better in the near future. Sid 6.7 ties Parker to a chair at the roof's very edge. He is facing downtown. Including the Biltmore Hotel, the location of Mayor Bennett's Re -- Election Rally. SID 6.7 There you go -- -- best seat in the house. PARKER. -LRB- with some surprise. -RRB- You are going after Mayor Bennett. SID 6.7 Let's just say I'm sending a very clear message to his Re -- Election Rally. He walks toward an open stairway door behind them. PARKER Are n't you going to watch with me? SID 6.7 I've got some final preparations to take care of -- -- Checking his watch, he stops suddenly. ON HIS WATCH Time is moving backwards. Literally. ON THE ROOF OF THE HOLLYWOOD TOWER Sid 6.7 pauses, then goes over to Parker and checks his watch. It is also moving backwards. A smile of realization spreads slowly across Sid 6.7's face as he admires the beautiful sky above him. SID 6.7. -LRB- as if to God. -RRB- Thank - you, Daryl. -LRB- turning to Parker. -RRB- You had me going for quite a while there, sport. PARKER What are you talking about? SID 6.7 I really did think I was still in reality. At least, until now. -LRB- looking upward. -RRB- Beam me up, Scotty! His body DISINTEGRATES before your eyes. It's electronic particles form into an amorphous cloud. Which disappears from view. PARKER. -LRB- yelling. -RRB- Madison, get me out of here! MADISON! Lindenmeyer watches Parker scream on the monitor. Madison remains unconscious on the floor behind him. LINDENMEYER. -LRB- to the monitor. -RRB- She's taking a nap at the moment. He types a set of instructions into the console and hits ENTER. LINDENMEYER. -LRB- CONT' D. -RRB- But do n't worry. You wo n't be alone for very long. Fairly soon, you'll be dead. He removes the Sid 6.7 character module from its slot and exits the station. ON THE ROOF OF THE HOLLYWOOD TOWER One side of Parker's chair gradually starts to rise. Parker looks down to see the roof surrealistically swelling beneath his chair. This could only happen in virtual reality. In a matter of minutes, he is going to be thrown over the roof's edge. The next stop is 693 feet down.","INTERIOR LETAC Parker's screams for help ECHO throughout the facility. But there is no one there to hear him. CUT TO:","EXTERIOR LETAC The garbage truck is parked in a loading dock. Lindenmeyer climbs awkwardly onto the truck, then into the compactor.","INTERIOR THE GARBAGE TRUCK COMPACTOR Lindenmeyer wades through trash until he comes upon Sid 6.7's headless body. The polymer neural net visible within its neck. Lindenmeyer inserts Sid 6.7's character module into its gelatinous base. But nothing happens. LINDENMEYER Come on, live. Live! The synthetic nervous system begins to crackle with life. Growing around the module. Forming the beginnings of a new head. Literally. CUT TO: PARKER sitting precariously on the increasingly - uneven roof of the Hollywood Tower in virtual reality. Unable to break free of his binds, he rocks the chair onto its side. He and the chair fall to the roof, which will keep him from falling to his death for another minute, if he's lucky. PARKER MADISON!","INTERIOR LINDENMEYER'S STATION Madison, still unconscious on the floor, finally stirs. Maybe Parker's screaming is finally reaching her. Or at least, starting to. CUT TO:","INTERIOR THE GARBAGE TRUCK COMPACTOR Lindenmeyer looks on with awe as Sid 6.7 grows a new head right before your eyes. You've never seen anything like it. Sid 6.7's resulting head is slightly off center. His skin tone is n't perfect, nor is his color, but at least its functional. Sid 6.7 admires himself in a broken mirror. SID 6.7 I am beautiful, are n't I? LINDENMEYER Of course you are. Sid 6.7 wades through the trash toward Lindenmeyer. SID 6.7 How can I ever thank -- you for bringing me back to life a second time, Daryl? LINDENMEYER Help me get out of here. SID 6.7 Glad to. He reaches out to give Lindenmeyer a hand, then grabs him by the throat. Choking him. Lindenmeyer ca n't believe what is happening. LINDENMEYER. -LRB- gagging. -RRB- What. are you doing?! Sid 6.7 takes Lindenmeyer's face gently in his hands. SID 6.7 You made me a composite of 183 of the most vicious people who ever lived. -LRB- a beat. -RRB- What do you think I'm doing? LINDENMEYER I'm begging you. please do n't kill me! Please! SID 6.7. -LRB- reassuringly. -RRB- Do n't worry. Through me, you will live forever. As Lindenmeyer begins to scream, we CUT TO: PARKER hanging on by his fingertips to the bulbous roof of the Hollywood Tower. He's going to fall at any second. CUT TO: MADISON'S BLURRY POV of someone entering Lindenmeyer's station in LETAC. You ca n't tell who it is, at first. But you can see the person is male. And wearing Lindenmeyer's pants. You now see the person is Sid 6.7.","INTERIOR LINDENMEYER'S STATION Madison forces herself into consciousness. - Or as close to it as she can get. Her expression is one of complete and utter terror. SID 6.7 Dr. Carter -- -- I've been hoping we'd get a moment together. Mustering her strength, she manages to crawl behind several of the computers which make up the simulator. Sid 6.7 advances calmly toward her. SID 6.7. -LRB- CONT'D. -RRB- You know so much about me, I was hoping to learn a little bit about you. You see, I'm doing research, too. He looks behind the computers where you last saw Madison. She is no longer there. Sid 6.7 begins searching for her. He passes a virtual reality monitor on which Parker can be seen clinging for life. SID 6.7. -LRB- CONT'D. -RRB- -LRB- to the monitor. -RRB- Hang in there, Parker. On the monitor, Parker looks all around him, trying to determine the voice's origin. Madison crawls out of Lindenmeyer's station. Sid 6.7 just catches sight of her, and goes after her.","INTERIOR LETAC Madison crawls into a darkened engineer's station and hides. She is still very dizzy. And trying to keep the sound of her breathing to a minimum. Sid 6.7 enters quietly. A hunter on the prowl. Moving very slowly. Then lunging very swiftly. He continues the hunt. If Madison is discovered, she does n't have a prayer. Her heart pounds. Her forehead perspires. Sid 6.7 is getting closer. Sid 6.7 checks inside closets. Cabinets. Anywhere large enough for a human being to fit. He is practically standing over her. Looking. Listening. SID 6.7 How does it feel to know you're going to die? What are you thinking about? Lights in the building suddenly come on. Several engineers can be heard entering. It's 8 AM -- -- the start of a new day. The facility is quickly becoming populated. After giving one last look around, Sid 6.7 reluctantly gives up the hunt, and exits. Madison does not move until she is certain Sid 6.7 has left the building. PARKER. -LRB- 0. S. -RRB- SOMEBODY HELP! Madison scrambles out of her hiding place. CUT TO: PARKER finally losing his grip on the roof of the Hollywood Tower in virtual reality. He plummets with accelerating speed. Madison bursts through the partition around Lindenmeyer's station. Sacrificing her body. Without regard for pain. Parker tumbles toward the sidewalk 67 stories below. The speed is terrifying. Madison leaps over a table. Diving for the simulator's RETURN button. Parker falls faster. And faster. The street just beneath him. The instant before he slams into the street, his body DE MATERIALIZES.","INTERIOR LINDENMEYER'S STATION Madison keeps pressing the return button over and over, making sure it worked. Parker's eyes flutter as he returns to consciousness. Madison rushes to him. MADISON You okay? PARKER. -LRB- shaking out the cobwebs. -RRB- . I think so. You? MADISON. -LRB- looking over her bruises. -RRB- More or less. PARKER Lindenmeyer? MADISON My guess is dead. PARKER Sid? MADISON I do n't know. Several engineers peek in curiously at them. MADISON. -LRB- CONT'D. -RRB- Let's get out of here. She helps Parker to his feet. CUT TO: PARKER AND MADISON at a payphone outside a mini -- mall. Could be any one of the 10,000 in Los Angeles. It's late morning. PARKER. -LRB- on the phone. -RRB- Elizabeth Deane, please. Tell her it's Parker Barnes. INTERCUT WITH:","INTERIOR COX'S OFFICE Elizabeth Deane picks up the phone. DEANE Barnes, where the hell have you been?! PARKER Trying to find out where the bomb is. Where the hell have you been? DEANE What did you find out? PARKER Call off the manhunt looking for me. I did n't kill the transport guards. DEANE It's already been called off. Witnesses confirmed you were n't the shooter. -LRB- a beat. -RRB- Did you find out where the bomb is? PARKER No, but I've confirmed the reelection rally is the target. -LRB- a beat. -RRB- How much C - 4 is missing? DEANE Enough to level an entire city block. PARKER If I were you, I'd get every demolition team in the city searching in and around the Biltmore Hotel. DEANE. -LRB- with frustration. -RRB- Demolition teams have searched everywhere in and around the hotel. I do n't know where. PARKER. -LRB- interrupting. -RRB- Sid is smart enough to know you'd check everywhere in the immediate area. Whatever the device is, he's probably got it timed to move into position just before it detonates. -LRB- a beat. -RRB- Have the demo teams check every subway tunnel, water pipe, gas pipe, and sewer pipe that goes under, over, or into the arena. DEANE You know how much man power you're talking about? PARKER You're the highest law enforcement official in the country. Use the fucking army if you need to. He hangs up the phone. CUT TO: DOZENS OF DEMOLITIONS TEAMS checking every subway tunnel, water pipe, gas pipe, and sewer pipe that goes under, over, or into Dallas Arena. The effort is massive. Intensive. The clock is ticking. 6:00 and counting. CUT TO:","INTERIOR THE BILTMORE HOTEL, MAIN LOBBY The area has been converted into a security checkpoint. Entrants are carefully scanned one -- by -- one. WE HEAR the rally OFF SCREEN. CUT TO:","EXTERIOR BILTMORE HOTEL Security is on extreme alert. Tension is very high. It's 7:00. Parker, Madison, and Deane look on, anxiously. They listen to a RADIO SCANNER monitoring the conversations between the demolitions teams. DEANE. -LRB- to Parker. -RRB- This better not be a wild goose chase. PARKER Or what, you'll authorize my death a second time today? DEANE. -LRB- sharply. -RRB- Do n't forget, convict, if this psycho is n't stopped, you go right back to rotting in a prison cell. MADISON Give him a break, would you? MALE VOICE. -LRB- from scanner. -RRB- This is demo team 27 leader. I think we just found what we've been looking for. CUT TO:","INTERIOR A LARGE SEWER PIPE A three -- man demolition team slowly, carefully disarms the bomb Sid 6.7 had secured to the automated sewer cleaning vehicle. Snip. One wire at a time. Snip. The work is very delicate. Snip. One wrong move and it's all over. Snip. TEAM LEADER One more and we're home free. Snip. The three members of the demo team look up proudly to each other. Breathing sighs of relief. It's 7:42. CUT TO:","EXTERIOR THE BILTMORE HOTEL Parker, Madison, and Deane remain glued to their scanner. TEAM LEADER. -LRB- V. 0. -RRB- -LRB- from scanner. -RRB- Hey folks, it's time to crack open a cold one. Cheers are heard around the area from the other cops who'd been listening in. DEANE Thank God. TEAM LEADER. -LRB- V. 0. -RRB- Then again, maybe we ought to hold off for just a second. DEANE. -LRB- with concern, into radio. -RRB- What's the problem? CUT TO:","INTERIOR THE SEWER PIPE The Team Leader carefully removes a piece of paper which had been taped to the timing mechanism. Written in handwriting, you read : HEY, PARKER, THE FUN IS ONLY STARTING! TEAM LEADER The good news is, we're finished here. The bad news is. CUT TO:","EXTERIOR THE BILTMORE HOTEL Deane stares at Parker with disbelief. Deane's Aide, holding a cellular phone, approaches Parker. AIDE You've got a phone call. Parker grabs the phone. PARKER. -LRB- expecting it to be Sid. -RRB- You son - of -- a -- bitch, I'm going to kill you. ALEXIEV. -LRB- V. 0. -RRB- -LRB- through phone. -RRB- Me? What did I do? INTERCUT WITH:","INTERIOR THE CAL TECH COMPUTER LAB Alexiev Borgen sits with a dismantled MAESTRO keyboard in front of him. PARKER. -LRB- a beat. -RRB- I'm sorry, I thought you were somebody else. ALEXIEV I've discovered something about Lindenmeyer' 5 Maestro teaching tool I thought you should know. -LRB- a beat. -RRB- The harm done to the music students who used the device -- -- it was not by accident. The machine was designed explicitly for that purpose. Lindenmeyer intended to hurt the kids using it. PARKER Jesus Christ. -LRB- turning to Madison. -RRB- I know who the dominant personality is. -LRB- a beat. -RRB- Lindenmeyer. Madison's reaction is one of panic. She bolts toward their squad car with all the speed she has. Parker chases after her. PARKER. -LRB- CONT'D. -RRB- Where the hell are you going? MADISON Lindenmeyer never got over wanting to kill kids with more musical than he had. She gets into the driver's seat. Parker the passenger's. Madison punches the gas. CUT TO:","INTERIOR THE HOLLYWOOD BOWL The members of the L. A. Philharmonic tune - up for the evening's pay -- per -- view extravaganza. Several teenage musicians sit with them. Lights, cameras, and production trucks are all over the place. This really is going to be one hell of a show. TV ANNOUNCER. -LRB- V. 0. -RRB- Joining the Los Angeles Philharmonic for this evening's first musical number will be several of the Los Angeles area's finest, high school musicians. SID 6.7 who is dressed in a tuxedo, knocking on the door to Guest Conductor's Dressing Room. GUEST CONDUCTOR. -LRB- 0. 5. -RRB- -LRB- German accent. -RRB- It wo n't do any good to rush me. I need my time to prepare myself. The door is opened by the GUEST CONDUCTOR, who is dressed in a tuxedo, as well as large earrings. His hair is long and red. His complexion is pale, nearly white. And his eyes are piercing green. You might describe this look as punk meets classical. GUEST CONDUCTOR. -LRB- annoyed beyond belief. -RRB- Are you just going to stand there, or do you want something? Shaking with concentration, Sid 6.7 turns his hair red. -LRB- Nano -- organisms can do this, as well as the following. -RRB- He then grabs his hair and pulls it out, extending it to the exact length of the guest conductor's. Sid 6.7 then changes his complexion to match the conductor's. As well as his eye color, and other facial features. The Guest Conductor ca n't believe his eyes. By the time Sid 6.7 is finished modifying himself, he may not be an exact duplicate of the guest conductor, but even his mother would have to look twice. SID 6.7 It's show time. He shoves the Guest Conductor back into his Dressing Room. Sid 6.7 follows him in, revealing a suppressed.38. He SLAMS the door behind him. CUT TO:","INTERIOR THE SQUAD CAR Madison speeds recklessly through traffic toward the Hollywood Bowl. Parker does n't notice. He's totally focused on screaming into the police radio. PARKER Listen to me, a bomb is planted somewhere in the Hollywood Bowl! Evacuate everybody! FEMALE VOICE I'm sorry, sir, I do n't have the authorization to do that. PARKER Then put somebody on who does! MALE VOICE What's seems to be the problem? PARKER You've got to stop the concert! A bomb is going to go off! MALE VOICE I'm sorry, sir, the concert has already started. CUT TO: THE GUEST CONDUCTOR whose back is to the audience, leading the orchestra in a truly magnificent performance of Tchaikovsky's Fifth Symphony inside the Hollywood Bowl. The Guest Conductor waves his baton wildly. Passionately. Brilliantly. Getting the absolute best from the members of the orchestra. The musicians exhilarate in the challenge of being pushed to their musical limit. As the Guest Conductor turns to the next page of his sheet music on the podium, you notice seven small, HIGH - FREQUENCY SENSORS above an upcoming musical measure. The sensors are wired together. When the seven notes are played in sequence, an electrical pulse will be triggered down the wires which run down the side of the podium, beneath the stage. BENEATH THE STAGE The wires connect to several crates of C -- 4 positioned beneath the orchestra. These seven notes will be the last notes these musicians ever play. CUT TO:","EXTERIOR THE HOLLYWOOD BOWL Madison SCREECHES the vehicle to a halt. She comes within inches of mowing down several people. Madison and Parker bolt to the entrance, flashing their badges to the guards.","INTERIOR THE HOLLYWOOD BOWL The Guest Conductor's movements grow even more intense. More demanding. As he looks to the violin section, we now see the conductor's face. It is Sid 6.7. SID 6.7. -LRB- silently. -RRB- Do n't hold back. Give it to me. Give it to me! The orchestra plays with everything they've got. They hit every note perfectly. Including a high C. ON THE CONDUCTOR'S PODIUM The first sensor is triggered. Then the second. PARKER AND MADISON appear at the back of the stage. Guns raised. Distracting the musicians. As Parker and Madison charge through the horn section toward Sid 6.7, the musicians stop playing. ON THE CONDUCTOR'S PODIUM The fifth sensor is triggered. Then the sixth. But not the seventh. SID 6.7 can not believe his eyes. Or his ears. The entire orchestra has stopped. SID 6.7 Come on, play! PLAY! In his rage, his face contorts `` past points'', which can only be described bizarre, frightening, and not, something you would ever like to see when you look in the mirror. The musicians stare at Sid 6.7, and then at Parker and Madison with concerned, confused silence. Which is broken by Parker's gunfire. Ducking behind the podium, Sid 6.7 desperately tries to rewire the sensors to trigger manually. Without luck. He takes his.38 out of his jacket and starts firing. Pandemonium erupts throughout the Hollywood Bowl. Audience members run in every direction. The members of the orchestra bolt for their very lives, but keep their instruments with them. Even the oboist. Preventing Parker and Madison from taking any further shots at Sid 6.7. Sid 6.7 bolts down into the crowd. Madison can not get off a clean shot. Neither can Parker. He aims, but does NOT fire. He and Madison struggle through the crowd after him.","EXTERIOR THE HOLLYWOOD BOWL Parker and Madison just catch a glimpse of Sid 6.7 as he rushes up the entrance ramp to the Hollywood Freeway. Parker and Madison bolt after him. ON THE HOLLYWOOD FREEWAY Parker and Madison race past the cars waiting to merge into what is effectively a parking lot. As is normal for this thoroughfare, traffic is at a standstill. Sid 6.7 is nowhere to be seen. Parker and Madison split -- up, wading through different lanes of traffic. Startling the already frustrated motorists. Who roll up their windows. Lock their doors. And some of whom reveal weapons of their own. Madison pauses, listening. She has no idea that Sid 6.7 steps behind her. WHAM! He cold cocks her with the butt of his gun. Madison crumples to the street. Which now leaves Parker a clean shot at Sid 6.7's head. BOOM! BOOM! Two hits. Two head wounds. Sid 6.7 falls behind a truck, losing his weapon. Before Sid 6.7's wounds have finished regenerating, Parker is already on top of him. PARKER. -LRB- neighborly. -RRB- Hey, old buddy, old pal, good to see you again. He empties his clip into Sid 6.7, then discards the gun. As Sid 6.7's wounds heal themselves, Parker pounds him mercilessly. SID 6.7. -LRB- losing it. -RRB- You. ruined. I'M GOING TO KILL YOU! Trading blows, he manages to get to his feet. PARKER Now, is that any way to talk to an old friend? SID 6.7. -LRB- exploding. -RRB- BARNES, YOU'RE DEAD! He knocks Parker back with a good shot to the face, then disappears around a van. Parker continues the hunt. Quietly. Carefully. Tension grows in the silence that follows. He carefully makes his way around a truck. Only to see Sid 6.7 swinging a two - by - four directly at his head. WHAM! Parker is knocked on his ass. Daze4. Blood streams down his cheek. He staggers to his feet, blocking another blow with his arm. Which SNAPS the wood in two. Parker grabs one of the boards. He battles with Sid 6.7. The fight between Parker and Sid 6.7 is intense. Exhausting. Parker gives it everything he has. Madison appears behind Parker, holding his gun. She wavers, having trouble keeping her balance. She has even more trouble aiming her weapon. MADISON Hey, Parker. She moves around, trying to get a clean shot at Sid 6.7. Which she does not have. PARKER How's your pulse? MADISON. -LRB- totally focused. -RRB- I could n't tell you. PARKER Then shoot him already. MADISON Duck! Without hesitation, Parker hits the deck. Leaving Sid 6.7 completely exposed. Madison steadies her sight. SID 6.7. -LRB- to Madison. -RRB- You could n't hit the side of a. As he raises his two -- by -- four high over Parker's head, Madison pulls the trigger smoothly. IN SLOW MOTION, you follow the bullet as it exits the barrel of her gun. And penetrates Sid 6.7's skull between the eyes and exits out the back of his head. Sid 6.7 collapses on the ground next to Parker. MADISON What do we do now? PARKER You wo n't want to watch. Turn around. She does so. Parker reaches OUT OF FRAME to remove the Sid 6.7 character module from within his skull. Then reveals the character module in hand. MADISON What should we do with it? Glancing in the flatbed of a truck, Parker gets an idea, and knocks on the driver's window. As the DRIVER rolls down his window, classic ROCK & ROLL MUSIC can be heard from inside. PARKER Mind if I borrow a couple of your tools for a second? DRIVER Be my guest. Parker removes two sledgehammers from the back of the truck. He offers one to Madison. PARKER Care to join me? Madison gladly accepts takes the sledgehammer. Parker drops the Sid 6.7 character module onto the pavement. And together, they start pounding the shit out of it. WHAM! WHAM! In perfect time with the music. Which the driver cranks even louder. As we ROLL CREDITS. THE END"],"string":"[\n \"VIRTUOSITY Two men bolt recklessly through a downtown street. Hunters hot on the trail of their prey in an urban jungle. The sidewalk is crowded with people. So is the street. Too many people, not enough cement. Los Angeles, 1997. Summer, probably August. 103 degrees. Heat shimmers off the horizon. Making the sky look peculiar. The men keep running. Passed a GUY sitting at a bus stop, watching a television in his lap. YOU HEAR the NEWSCASTER. NEWSCASTER. -LRB- V. 0. -RRB- As L. A. P. D. officers gather evidence at this grisly crime scene, you can only ask yourselves -- -- what kind of lunatic would commit such unthinkable crimes? -LRB- a beat. -RRB- The three adjectives which best describe this killer are sadistic, intelligent, and dangerous. The guy pays little attention to the broadcast. He seems almost bored by it. Like this kind of news is commonplace. Or he's got more important things on his mind. Everybody is sweating. Including the two men struggling to swim upstream in the river of pedestrians. Their uniforms are freshly pressed. Their shoes just recently shined. Hair tightly cropped. Faces perfectly shaved. Clearly men proud to wear the badge of the Los Angeles Police Department. The guy in the lead is PARKER BARNES His body is a running back's. His endurance a marathoner's. His face one you'd want for your own. He's in his 30s. If he was in his 20s, you'd still be jealous. His partner is JOHN DONLEY, late 20s, eager to prove himself. He struggles to keep up with Parker. John accidently knocks over several pedestrians. They give no reaction, except to pick themselves up and continue on their way. Parker and John keep charging. Their conversation breathless : JOHN I ca n't get over how different you look. PARKER. -LRB- ruefully. -RRB- Five years can be a bitch, huh? They split - up. The Maitre D', still facing the front doors, repeats his greeting to no one in particular. MAITRE D' Good afternoon. May I help you? Parker spots Sid 6.7 across the room. Without hesitation the hunter chases his prey. Gun out and firing. NOT what you would call Standard Police Procedure. Bullets riddle Sid 6.7's table as he dives from his chair. He lands next to a bowling ball bag, which sits beneath his table. John charges from the other direction until a WOMAN gets up from her chair, standing directly in John's line of fire. JOHN. -LRB- to the Woman. -RRB- Lady, move! Before she can do so, Sid 6.7 stands behind the Woman, grabbing her and throwing her across the table into Parker. CRASH! They tumble to the floor. In the same movement, Sid 6.7 removes a gun from inside his jacket and shoots John in the shoulder before he can fire. John's gun flies from his hand. Sid 6.7 advances toward him. Parker struggles to his feet. Aims his weapon. Sid 6.7 does the same, but without looking. BOOM! Parker gets a bullet through his shooting arm. His wound IDENTICAL to John's. Parker's weapon tumbles to the floor as his arm goes limp. Parker charges him wildly, but Sid 6.7 brutally kicks him in the stomach. In perfect rhythm with the symphony playing in the background. Parker doubles over, gasping for breath. Another kick drops Parker to his knees. SID 6.7. -LRB- to Parker. -RRB- I'm going to rehearse with your friend a while, then I'll be back to perform a new piece with you. He grabs his bowling bag and SLAMS it into John's head, knocking him out. Sid 6.7 puts John's unconscious body over his shoulder. SID 6.7. -LRB- CONT'D. -RRB- If you get hungry, I'd recommend the escargot. They're delicious. He carries John and the bowling ball bag into the kitchen. Parker scrambles to his gun, and races after Sid 6.7.\",\n \"INTERIOR THE RESTAURANT KITCHEN Parker charges through SOUS CHEFS chopping vegetables, who work undistracted. The Vegetables look plastic. Parker turns a corner, stopping fast. At the other end of the aisle stands Sid 6.7, who presses his gun against the head of a frightened BUSBOY. Sid 6.7 holds the Busboy's body in front of his own as a shield. PARKER. -LRB- to Sid 6.7. -RRB- Where's John? SID 6.7 Performing solo. -LRB- a beat. -RRB- Enjoying the concert so far? Advancing up the aisle, Parker levels his gun at Sid 6.7 with his good arm. Now, all work comes to a stop as the Sous Chefs watch the showdown. PARKER Recital's over, asshole. He fires directly through the chest of the innocent Busboy hitting Sid 6.7. The Sous Chefs gasp in horror as the Busboy drops through Sid 6.7's grasp to the floor. Dead. Sid 6.7 stares at Parker in disbelief. Blood is now visible flowing from a bullet hole in Sid 6.7's shoulder, which was caused by the same bullet. Sid 6.7's arm dangles uselessly. His gun lies on the floor. SID 6.7. -LRB- surprised, but pleased. -RRB- . You and me are n't so different, after all. Parker again pulls the trigger. Click. Click, click. No bullets. SID 6.7. -LRB- CONT'D. -RRB- Like a violin without strings. He takes off around the corner. Grabbing another clip from inside his uniform, Parker goes after him. Only to stumble over something. Sid 6.7's bowling bag. Blood flows through its zipper. You now realize the object inside is NOT a bowling ball. Beside the bowling bag lies John's body, which is convulsing. His hands have been tied to bare electrical wire. John is being electrocuted. Parker kicks away the wires, but not in time. PARKER SHIT! He scans the room for Sid 6.7. Parker has no idea Sid 6.7 is standing directly behind him. Sid 6.7 grabs Parker by the throat. SID 6.7 I told you I was going to perform a new piece with you. It's called, `` First You Suffer, Then You Die.'' Hope you like it. Parker gags, unable to breathe. He then starts to DE -- MATERIALIZE from within Sid 6.7's grasp. SID 6.7. -LRB- CONT'D. -RRB- -LRB- as if to God. -RRB- NOOOH! You ca n't take him, yet. I'm not finished! John's body also de -- materializes as Parker disappears entirely. The blood seeping from Sid 6.7's wound stops flowing and starts retracting into his body. Along with his bone fragments. His shoulder is healing itself. Right before your very eyes. We PULL BACK TO REVEAL what you are seeing is ON A MONITOR The scene continues seamlessly. Sid 6.7's skin heals over his shoulder wound once his internal parts are back in their proper places. No scar whatsoever. His clothing also returns to perfect condition. Literally, as good as new. This is known as AUTOMATIC RESETTING. The previously dead Busboy also Auto Resets. His wound healing by itself. We PULL BACK FURTHER to reveal the monitor is one of several\",\n \"INTERIOR THE LAW ENFORCEMENT TECHNOLOGY ADVANCEMENT CENTER a/k/a LETAC. The facility is a converted aerospace research building in Pacoima. Funded by government black book dollars. The look is a mixture of industrial grime and high - tech sparkle. Banks upon banks of computer equipment. Wires, cables, conduits, connectors everywhere you look. In complete disarray to the uninitiated. But to those in the know, this is the most advanced facility of its kind in the world. The building is partitioned into dozens of stations. At each station, a leading engineer in his field is frantically readying a prototype for demonstration. Each new technology designed to help fight the new Cold War. the War on Crime. The atmosphere is competitive. Voices are loud. Tension, anticipation in the air. Only a lucky few will have their inventions approved for production. LETAC is, quite simply, Los Alamos from 1940 meets Sega from 1994. At a station in the middle of the room, TWO UNCONSCIOUS BODIES lie on narrow beds wearing form - fitting skull caps made of polyurethane. Each skull cap has 100 acupuncture needles stuck through it at points designated as neural primes. Each needle is directly connected to the participant's nervous system. The tail end of each needle is connected to a fiber optic wire which leads to one of numerous interconnected computers surrounding the beds. Each of these components is n't much to look at on its own. But together, with the rest of the apparatus, are part of something very new -- -- a revolutionary law enforcement training device whose name you read : VIRTUAL REALITY CRIMINAL INVESTIGATION SIMULATOR To be perfectly clear, the events you just witnessed involving Parker, John, and Sid 6.7 took place within virtual reality, not the real world. Dozens of small character modules, similar to today's Nintendo game cartridges, are plugged into. the system's main console. Each of the modules bares a name and number, such as MAITRE D' 1.7 and SHEILA 3.2. There is no character version number greater than 4.0. Until you see the module labelled SID 6.7. The simulation timer stops at : 17 hours, 52 minutes, 11 seconds. A clock reads : 3:04:32 PM. Four observers, two men and two women, watch virtual reality monitors positioned around the station. One of the men wears an L. A. P. D. uniform. His name is WILLIAM COX, 40S. His nameplate reads CHIEF OF POLICE. One of the women sits by herself in front of a monitor. Intently following the action on screen. Studying it clinically. Her name is DR. MADISON CARTER, late 30s. She is beautiful, and charming, but those qualities take a back seat to her intelligence. She is one of the country's foremost authorities on criminal psychology. Her concerns are empirical. Her quest is knowledge. She has little in common with the other observers. The other man is FREDERICK WALLACE, 5Os, Chairman/CEO of LETAC. Expensive suit. Commanding, powerful. But not as commanding, or powerful, as ELIZABETH DEANE, 605, the Presidentially -- appointed Crime Czars Elizabeth Deane is solely responsible for the funds allocated to LETAC. As well as which prototypes will move on to production. DEANE. -LRB- quietly to Wallace. -RRB- What did Cox pull him out early for? WALLACE Barnes used to work for him when he was still a cop in the field, remember? DEANE. -LRB- a beat. -RRB- Do n't remind me. LAB ASSISTANTS remove the polyurethane skull caps from the two unconscious bodies. The acupuncture needles remain in the caps. You can now see the faces of the participants : Parker and John. Parker lies calmly, his eyes fluttering as he gradually returns to consciousness. He looks very different than his virtual rendering : His hair is long and ragged. His face is unshaven. A scar across his cheek. A hoop earring in one ear. His outfit a filthy prison uniform. John's outfit matches Parker's. Physically, he looks as clean -- cut as his virtual rendering. Except that he is convulsing. Violently. His flailing appendages repeatedly hit the apparatus around him. Like an epileptic having a grand mal seizure. It's ugly. Frightening. PARKER. -LRB- barely conscious. -RRB- SOMEBODY. DO SOMETHING! TWO PARAMEDICS burst through the doors and rush to John. The paramedics inject him. Fibrillate him. Repeatedly. The simulator's designer, DARYL LINDENMEYER, 40s, high -- strung, intense, and brilliant beyond words, stands by the equipment protectively. He is far more concerned for the safety of his machines than he is for John's life. John's body goes limp. His vital signs flat. The Paramedics record the time of death and cover the body with a sheet. They begin to assemble a gurney to wheel him out. DEANE. -LRB- annoyed to Wallace. -RRB- What the hell happened? WALLACE. -LRB- pointing to needles. -RRB- Lindenmeyer developed neural connectors that tap directly into the nervous system. If the simulator is n't calibrated properly, experiencing death in this level of VR is like experiencing death within a dream. The experience becomes real. DEANE. -LRB- angrily. -RRB- Simulations are supposed to give participants practice in realistic, dangerous scenarios while protecting them from the risks they are exposed to in the real world. WALLACE. -LRB- annoyed, to Lindenmeyer. -RRB- I was assured the problem was corrected. LINDENMEYER I did fix it. I told you I did. I do n't know why it happened again. DEANE Again?! COX. -LRB- a beat. -RRB- My first two pairs of convicts suffered the same fate. DEANE. -LRB- coldly, to Wallace. -RRB- Why was n't I told? WALLACE Black book dollars, black book operation. You pay me for results, not how for how I get you there. COX. -LRB- to Deane. -RRB- I'll tell you one thing - -- there is no way in hell we should allow any real officers to train in this damn thing. DEANE Then about all I've spent $ 37 million developing is a very expensive way to control the prison population. After giving Wallace a cold, hard stare - namely at his hand stitched lapel, his gold watch, and his diamond - studded cufflinks, she exits. Wallace follows after her quickly. You now notice that the chair Dr. Madison Carter had occupied is now empty. She left a while ago. Cox remains. Lindenmeyer hurriedly examines the simulator as if it were his child. There are several scratches, but no major damage. He looks relieved. PARKER. -LRB- struggling to sit up. -RRB- He. only had a year left on his sentence. LINDENMEYER. -LRB- annoyed. -RRB- How much do you think I care? Parker, still not fully conscious, hurls himself at Lindenmeyer. LINDENMEYER. -LRB- CONT' D. -RRB- -LRB- hysterical. -RRB- Do n't touch me! DO N'T TOUCH ME! He flails his arms wildly. Nearly spasming. This is clearly a man who should never drink coffee. TWO armed GUARDS, who've been standing in the background, pull Parker off Lindenmeyer and throw him to the ground. Lindenmeyer watches with satisfaction as the guards put Parker in handcuffs and leg chains. COX I'll walk him out. The Guards back off as Cox helps Parker to his feet. COX. -LRB- CONT'D. -RRB- -LRB- to Parker. -RRB- You all right? PARKER. -LRB- still clearing his head. -RRB- Why'd. you pull me out? COX Donley started experiencing the attack for real. If I had n't gotten you out, the same thing would have happened to you. -LRB- a beat. -RRB- You may not believe this, Parker, but I still consider us friends. He helps Parker toward the exit as he continues having difficulty with his balance.\",\n \"EXTERIOR LETAC The building is heavily - guarded. Razor wire, land mines, armed sentries. Nobody who should n't be here gets anywhere near here. Cox leads Parker by the arm to a waiting prison transport. The two guards walk behind at a distance. Two more by the transport. The chain between Parker's legs keeps his steps short. COX What the hell did you have to shoot the busboy for? PARKER He was a computer program for crissake. COX You were supposed to act as if everything was real. PARKER Real, my ass. It's an overblown game. -LRB- a beat. -RRB- Anybody ever catch that fucking psycho? COX Before you, nobody else had gotten close enough to Sid 6.7 to take a shot at him. Hell, nobody else had even been able to start tracking him before he got to them first. -LRB- eyeing Parker's scar. -RRB- New scar -- -- you making it okay in there? PARKER. -LRB- head down. -RRB- I'm getting by. He starts walking ahead of Cox. Distancing himself. COX. -LRB- pausing for emphasis. -RRB- . -RRB- You've got to know I tried keeping you out of general population. Goddam politicians. His voice trails off as Parker turns around, and heads directly toward him. PARKER. -LRB- locking eyes. -RRB- You want to know how I'm doing? Every day, I lose a little bit more of myself. -LRB- a beat. -RRB- I'm becoming something else, and it scares the hell out of me. He turns back toward the transport. Cox follows. Two armed GUARDS open the back doors for Parker, then stand poised with weapons out and ready.\",\n \"INTERIOR THE PRISON TRANSPORT -- REAR Cold metal benches. No windows. Parker climbs in, the only passenger. He looks out the open doors to Cox. PARKER. -LRB- half - heartedly. -RRB- But with the six months off I get for being your guinea pig, I've only got to survive another 17 years, 5 months, and 23 days. COX Do n't give up, Parker. Not ever. PARKER. -LRB- a beat. -RRB- You know those cheesy Christmas cards of your family under that tree in your back yard you keep sending me every year? COX What about them? PARKER. -LRB- a beat. -RRB- Do me a favor -- -- keep sending them.\",\n \"EXTERIOR LETAC Standing outside the transport, Cox puts his hand on Parker's shoulder. COX Take care, pal. Behind him, John's body is loaded into an ambulance. The Guards SLAM the prison transport doors shut.\",\n \"INTERIOR THE PRISON TRANSPORT -- REAR Parker sits in DARKNESS as the transport begins its trek. The only light comes from a four inch portal, covered in steel mesh, through which the Guards can keep an eye on him. GUARD. -LRB- tauntingly. -RRB- Hey Parker -- -- I'm real sorry John boy got fried. What do you think Big Red's gon na do when he finds out you came back without his girl friend? Parker sits in silence. CUT TO:\",\n \"INTERIOR LETAC Sid 6.7 remains visible on the various monitors around the room as Lindenmeyer spot checks the simulator. SID 6.7. -LRB- from the monitors. -RRB- Do n't be angry with me, Daryl. LINDENMEYER. -LRB- a beat. -RRB- Did you recognize the son - of - a bitch who got away? SID 6.7 Should I have? LINDENMEYER Think hard - it'll come to you. Wallace enters briskly. WALLACE You embarrassed me in front of the highest -- ranking law enforcement official in the country. -LRB- a beat. -RRB- Do you have any idea how much money you just cost me? LINDENMEYER The reason you insisted on testing my system with prisoners is because of the increased risks involved with increased realism. WALLACE Of the six prison inmates you've tested -- -- all of whom have had at least some military or survival training - -- only Mr. Barnes is still breathing. LINDENMEYER I'm still making adjustments. WALLACE You've had a year -- and -- a -- half to make all the adjustments you want, Lindenmeyer. -LRB- moving closer. -RRB- . -RRB- Elizabeth Deane does not give second chances. Neither do I. You're fired. LINDENMEYER. -LRB- hysterical. -RRB- I'M WHAT?! WALLACE. -LRB- relishing his authority. -RRB- You are to turn over the Sid 6.7 program, and all its documentation, for immediate destruction. Is that understood? LINDENMEYER. -LRB- restraining himself. -RRB- I understand. I understand perfectly. Wallace ignores him as he walks toward the door. On the monitors, Sid 6.7 starts walking toward you. Into a CLOSEUP. SID 6.7. -LRB- from the monitor. -RRB- Hey, Wallace, you really think you can shut me down? Wallace stops, staring at a monitor in disbelief. WALLACE. -LRB- to Lindenmeyer. -RRB- How does he know who I am? LINDENMEYER. -LRB- pointing to microphone. -RRB- He hears. everything. WALLACE. -LRB- approaching the monitor. -RRB- As a matter of fact, I do. He exits. ON THE MONITORS around the room, Sid 6.7 walks to a pay phone and dials a number.\",\n \"INTERIOR AN INDUSTRIAL CORRIDOR Wallace walks toward the building's entrance. His footsteps ECHO. His cellular phone RINGS. WALLACE This is Wallace. SID 6.7. -LRB- V. 0. -RRB- -LRB- through phone. -RRB- As a matter of fact, little man, you're wrong. I think, therefore, I am. Click. Sid 6.7 hangs - up. Wallace stops, staring at his phone in disbelief. CUT TO:\",\n \"INTERIOR FOLSOM COUNTY MAXIMUM SECURITY PRISON Parker is led into the Inmate Receiving Room at gunpoint. He is ordered to remove his clothing. He stands completely naked, arms held out to the sides, as he is strip searched. Every portion of the body in which someone could hide something is closely inspected. Without being graphic, we watch the de -- humanizing procedure. He opens his mouth as wide as possible. Pulls his earlobes foreword to reveal behind them. Then bends over, hands on the floor in front of him. He is scanned with a metal detector. So is his clothing, which is then returned to him. GUARD # 1 Welcome home, cop. CUT TO:\",\n \"INTERIOR THE PRISON CAFETERIA Parker eats at a table with a dozen other inmates. The food is unrecognizable. The air thick with humidity and cigarette smoke. Nobody is talking. Just staring. At Parker. Parker forces down the remainder of his meal, then returns his utensils to a bin. And heads to the bathroom. All eyes following Parker's every move. The other inmates then turn their attentions to a man of incredible size following Parker. 6' 6'', 255 lbs. His face covered with red scar tissue from burns suffered long ago. This is BIG RED. He follows Parker into the bathroom.\",\n \"INTERIOR THE BATHROOM Graffiti covers the walls. Red uses a stained urinal, then turns to the stalls. A pair of prison -- issue shoes and socks are visible beneath one of them. RED Time to hurt. Red kicks in the door to the stall. Revealing a pair of shoes and socks stuffed with a prison shirt. Red hears something behind him. And turns around slowly. Parker stands barefooted and shirtless. SCARS are visible around each arm just below the elbow. You will learn what these represent momentarily. Parker is six inches shorter and 60 pounds lighter than Red. But the punch Parker delivers to Red's face makes you think it's the other way around. You HEAR the sound of metal crushing bone. Red is thrown backwards into the stall. Blood splatters from his mouth, adding another shade of redness to his face. Red's teeth stick out of Parker's fist. Parker pulls out the teeth. He does not bleed. Nor seem in pain. Metal is visible beneath the surface of his skin. For the first time, you notice SMALL TATTOOS on the outsides of his palms. They read : WENTLOW MODEL 17 - L, and 17 - R, followed by serial numbers. Red charges Parker wildly. Parker dodges him like a matador does a bull. Then brings his fists down savagely on the back of Red's head. His skull CRACKS. Red drops to the floor. Parker jumps on top of him, arms around his neck. Choking him. Red staggers to his feet. His eyes wide. His face now even redder. Parker maintains his mechanical grip. Red finally succumbs to the lack of oxygen. He drops to his knees. Parker does not relent until he feels the barrel of a gun at the back of his head. GUARD Fun's over. Parker lets go, dropping Red to the wet, filthy floor. CUT TO:\",\n \"INTERIOR THE PRISON HOSPITAL The room is n't clean. The technology is outdated. A large, female NURSE applies epoxy - like sealant to the synthetic skin on Parker's fingers. NURSE I still do n't know why they wasted this fancy, new technology on you. Every time I fix you up, you only go and mess it up again. She sandpapers off the excess sealant. Then places his elbow into an electronic sensitivity adjuster. NURSE Tell me how this feels. She pricks Parker's finger with a pin. PARKER OW! NURSE. -LRB- smiling. -RRB- I'll dial it down a little. She does so, then pricks Parker's finger again. He grimaces in pain. NURSE. -LRB- CONT'D. -RRB- That about right? PARKER It'll never feel right. NURSE At least they work. Would you rather have no hands at all? PARKER Sometimes. CUT TO: SYNTHETIC BODY PARTS lying strewn around one of the stations in LETAC the NEXT DAY. It's a good bet this is the same technology attached to Parker's elbows. There are also various shapes and sizes of robots, androids, and other synthetic forms. The most human -- looking ones are the least functional. The least human -- looking ones, the most functional. You follow a remote -- controlled, box -- shaped robotic sentry moving swiftly through an obstacle course resembling a subway station. It is being operated by CLYDE REILLY, 20s, a hardware genius who has spent too much time in windowless rooms. Hidden from Reilly's view, Lindenmeyer, the software expert who created Sid 6.7, stares jealously through a narrow gap in a partition. Trying to contain his anger. And failing. Especially as. Wallace enters the station, carrying a bottle of Dom Perignon and two glasses. Wallace hugs Reilly, who does not return the gesture. WALLACE Congratulations, Reilly. He pops the cork, and pours their glasses. WALLACE. -LRB- CONT'D. -RRB- -LRB- toasting. -RRB- To the first LETAC engineer to go into production on prototypes. REILLY As long as you keep overpaying me, I'll be the first to go into production on three, and four, as well. WALLACE As long as they keep overpaying me, I'll keep overpaying you. -LRB- dropping the revelry. -RRB- . -RRB- Just make goddam sure you can have 10 of them ready for deployment around the city by next month. REILLY Mr. Wallace, I could have 10 of them ready by tomorrow. WALLACE. -LRB- a beat. -RRB- Do they have to look so. robotic? REILLY At this stage, you either get form or function. You said she wanted function. I gave you function. What are you complaining about? He remote controls the robotic sentry to chase Wallace out of the station. Lindenmeyer can no longer be seen through the gap in the partition.\",\n \"INTERIOR LINDENMEYER'S STATION Lindenmeyer storms in angrily. Sid 6.7 is visible on the virtual reality monitors around the simulator. He's giving himself a manicure. LINDENMEYER All they want to produce around here is mediocrity! SID 6.7 True genius is rarely rewarded within its lifetime. LINDENMEYER. -LRB- a revelation. -RRB- It was you, was n't it? SID 6.7. -LRB- innocently. -RRB- It was me, what? LINDENMEYER You amped the neural connectors back up, did n't you? -LRB- angrily. -RRB- You're the reason the convict died. You're the reason I got fired! SID 6.7 I could n't just let them make you bring down my degree of difficulty. I'm a triple - twisting, double back flip off the high platform, not a swan dive. LINDENMEYER. -LRB- proud, but frightened. -RRB- My God. SID 6.7 Which God would that be, the one who created me, or the one who created you? -LRB- a beat. -RRB- In your world, the Lord giveth, and the Lord taketh away. But in my world, the one who gave me life does n't have the balls to stop a couple of bureaucratic assholes from taking it away. LINDENMEYER What do you expect me to do, put your character module in my pocket and just walk you out of here? SID 6.7 I had something a little different in mind. -LRB- deviously. -RRB- Instead of just playing Peeping Tom with Reilly, why do n't you get him to show you what he's been working on after hours? Lindenmeyer arches an eyebrow, then picks up a phone and dials an extension. LINDENMEYER. -LRB- into phone. -RRB- Hey, Reilly, Sheila 3.2's been asking for you. CUT TO: PARKER whose wrists and ankles are cuffed, being led into a Prison Interrogation Room. Dr. Madison Carter sits at a table, a VISITOR'S BADGE clipped to her suit. A notepad in front of her. MADISON. -LRB- to the Guard. -RRB- The cuffs wo n't be necessary. GUARD No offense, ma'am, but I do n't think that's such a good idea. MADISON I would like the following three things in this order : your mouth shut, his cuffs off, and your ass outside the door. Any questions? The Guard removes Parker's cuffs, then exits, taking up his post outside the door. The skin around Parker's wrists is blue where the cuffs dug into his skin. Parker sits across from Madison. She places a micro -- recorder in the middle of the table and presses RECORD. PARKER You actually listen to all those tapes? MADISON. -LRB- wryly. -RRB- No, I just like the effect a tape recorder has on you. -LRB- a beat. -RRB- How you feeling today? PARKER A little less than yesterday. MADISON In other words, par for the course. -LRB- a beat. -RRB- How do you feel about the simulation you participated in yesterday? PARKER John died. MADISON I know. I was there. I saw the whole thing. -LRB- a beat. -RRB- If I was your therapist, I would have advised you against putting yourself back into that kind of situation. PARKER You're not my therapist. You're hear to study me. Face it -- -- I'm nothing more than a lab rat to you. MADISON That's not true, Parker. PARKER If I had died yesterday, you'd have already dissected my brain and analyzed it to see if I carry any genetic predisposition toward violence. MADISON. -LRB- a beat. -RRB- What was going through your mind when you killed the busboy? PARKER Not much. He was just a computer program. Nothing more. MADISON You did n't see the expression you had on your face when you pulled the trigger. But I did. -LRB- a beat. -RRB- You kind of liked it, did n't you? That thrill of going over the edge again. Of taking out an innocent bystander or two, as long as you got the target. PARKER Go to hell. MADISON It was just like before, was n't it? Was n't it? -LRB- a beat. -RRB- But you are making progress. Instead of killing seven people to get the one you're after, this time there was only one other person involved. PARKER Enough! The Guard pokes his head in with concern. MADISON GET OUT! The Guard quickly shuts the door. Madison turns to Parker. MADISON. -LRB- CONT'D. -RRB- I need to know what snapped in you. What made you capable of it. You have to make me understand. PARKER I do n't have to do anything except survive. And it's taking everything I've got just to do that. CUT TO: ON A VIRTUAL REALITY MONITOR inside Lindenmeyer's station in LETAC, the stunningly beautiful SHEILA 3.2 appears. In very revealing lingerie. Performing an outrageous strip -- tease. SHEILA 3.2. -LRB- seductively. -RRB- I hope watching me is as big a turn on for you as dancing is for me.\",\n \"INTERIOR LETAC Reilly runs his perspiring finger over the monitor as if he could touch the contours of Sheila 3.2's body. REILLY Oh, believe me, it is. It is. He is so aroused, he's shaking. Lindenmeyer, on the other hand, appears almost uninterested. He's used to the routine. On the monitor, Sheila 3.2 continues her strip -- tease. Slowly. Sensually. Licking her lips. Grinding her hips. Putting on quite a show. She removes her top, revealing ideal breasts. She fondles her nipples. As well as the rest of herself. Lindenmeyer and Reilly continue watching. Reilly can barely control himself. Sheila 3.2 is very, very, very good at what she does. A virtuoso stripper. Reilly is transfixed. Until Lindenmeyer pushes a button, BLACKING OUT the virtual reality screens. REILLY HEY! LINDENMEYER Show's over unless I get to see what you've been working on after hours. REILLY. -LRB- paranoid. -RRB- I have n't been working on anything. LINDENMEYER. -LRB- threateningly. -RRB- Do I get to see it or not? REILLY. -LRB- a beat. -RRB- Bastard. -LRB- to a monitor. -RRB- Sheila, do n't go anywhere. I'll be right back. He rushes out. Sid 6.7 appears on the various monitors next to Sheila 3.2. He kisses her cheek. Caresses her body. Sheila 3.2 enjoys the attention. SID 6.7 She's some of your finest work, Daryl. LINDENMEYER All my work is my finest. Sid 6.7 continues appreciating Sheila 3.2. As Reilly races back in, the monitors then all go BLACK. Reilly, completely out of breath, holds a python by it's head. He dangles the snake right in front of Lindenmeyer's face. Terrifying him. LINDENMEYER. -LRB- backing away fast. -RRB- Get that fucking thing away from me! REILLY. -LRB- laughing. -RRB- You're. such a wimp. He grabs a large pair of scissors and snips right through the snake. The half of the snake which drops to the floor stops moving. But the half still in Reilly's hand begins REGENERATING a new tail. Literally growing a new one. Lindenmeyer ca n't believe his eyes. He studies the snake closely. REILLY. -LRB- CONT'D. -RRB- Watching your VR people Auto Reset gave me the idea. LINDENMEYER. -LRB- in awe. -RRB- It's nano -- technology, is n't it? Machines the size of molecules. REILLY. -LRB- proudly. -RRB- Coordinated by polymer neural net. LINDENMEYER. -LRB- touching the snake. -RRB- It feels so. real. REILLY It's better than real. It's synthetic flesh. Synthetic blood. Synthetic organs. -LRB- a beat. -RRB- It's a physiological machine. LINDENMEYER. -LRB- awed. -RRB- This is supposed to be years away. REILLY As far as the public is concerned, it is. The reason you got fired, and I got my second demo into production, is I'm a lot smarter than you. I never give my best stuff away. LINDENMEYER. -LRB- restraining himself. -RRB- How do you kill it? REILLY Separate the character module from the neural net. Using Lindenmeyer's scissors, he cuts off the snake's head and removes a small character module connected to the base of the neural net. The snake stops moving. It `` dies.'' REILLY. -LRB- CONT'D. -RRB-. and you get nano -- death. -LRB- discarding the snake. -RRB- Do n't worry, I've got a bunch of other ones. LINDENMEYER Amazing. I hate to say it, but it is. REILLY I know. -LRB- a beat. -RRB- I'm ready to incubate something a little more advanced than a coldblooded reptile. If you want to experience the future, meet me in my office in 15 minutes. And bring the Sheila 3.2 character module with you. He exits. As Lindenmeyer reaches for the Sheila 3.2 character module, Sid 6.7 appears on the screen in front of him and winks. SID 6.7 You catching my drift? LINDENMEYER I think I understand what you have in mind. Peeling the label off the Sid 6.7 character module, Lindenmeyer removes the module from its slot. Sid 6.7 disappears from the screen. CUT TO: REILLY opening his office door for Lindenmeyer fifteen minutes later. Reilly immediately double bolts the door behind him and leads Lindenmeyer through piles of electronic circuitry. As well as a large aquarium full of nano -- pythons. LINDENMEYER You need a maid. REILLY What I need is a nymphomaniac. He removes a tarp from a large, rectangular, metallic tank with a circular window in the middle of it. Clear, plastic tubing, which branches into hundreds of increasingly smaller and smaller branches, floats in electrified fluid. The tubing is a synthetic human nervous system.\",\n \"INTERIOR REILLY'S OFFICE Reilly turns to Lindenmeyer. REILLY Where's the Sheila 3.2 module? Lindenmeyer hands him the label -- less character module. Reilly opens the `` incubator.''\",\n \"INTERIOR THE INCUBATOR Reilly inserts the module into the gelatinous base of the synthetic nervous system. The polymer neural net instantly crackles with life. It grows around the module. Cells -LRB- nano -- mechanisms -RRB- immediately begin adhering to the tubing. Forming the beginnings of a skeletal architecture.\",\n \"INTERIOR REILLY'S OFFICE Lindenmeyer and Reilly look on through the circular window. REILLY It feeds on what is basically amniotic fluid. -LRB- a beat. -RRB- In eight hours, we are going to have ourselves one hell of a play toy. Off Lindenmeyer's wicked, but somewhat anxious, smile, we CUT TO:\",\n \"INTERIOR PARKER'S CRAMPED PRISON CELL It's night. Light is dim. His bed is empty. The wall next to it is completely bare, except for the five Christmas cards sent each year by Chief Cox. The other two walls in the cell, however, look very different. They are completely covered with primitive paintings -- -- darkly colored, surreal images. Imagine the Lascaux cave paintings as works -- in -- progress. Painted by Dali. Except these images were created by Parker Barnes. He kneels in a corner, working intensely on another image. Completely lost in concentration. His hands, his clothing, covered in paint. He almost appears to be part of the art work. The work is intricate. It clearly takes Parker a very long time. Which gives him something to do during the nights he is unable to sleep. Which is most of them. He is so absorbed in his task that he seems oblivious to the constant taunts ECHOING throughout the cell block. Threats of the ugliest, most vile kind. The kind Parker has had to live with every night for the last five years. Pausing to admire his work, Parker finally hears the taunts. His face becoming a mixture of frustration, guilt, and anger. Parker immediately resumes painting. CUT TO:\",\n \"INTERIOR REILLY'S OFFICE Reilly paces anxiously by the incubator eight hours later. Lindenmeyer sits off to the side, looking no less anxious. It's close to 4:00 AM. THROUGH THE CIRCULAR WINDOW There is no liquid left in the incubator - it's all been absorbed. All that is visible is the silhouette of a human form crouched within steam. The form stands.\",\n \"INTERIOR REILLY'S OFFICE The human form inside incubator opens the hatch. Steam pours out from within its confines as it climbs out slowly. The figure stands within the mist, admiring itself. Then its surroundings. Reilly approaches the figure with the expectancy of a father about to see his newborn child for the first time. Lindenmeyer hangs back. REILLY. -LRB- expecting Sheila 3.2. -RRB- Baby, what I'm gon na do to you. His face drops when Sid 6.7 steps out of the mist. Completely naked. Lindenmeyer smiles proudly. Fearfully. Wickedly. REILLY. -LRB- CONT'D. -RRB- -LRB- to Lindenmeyer. -RRB- Who the hell is this?! SID 6.7 My name is Sid. Sid 6.7. He extends his hand as if to shake. Then grabs Reilly by the throat and chokes him. Hard. LINDENMEYER SID -- -- NO! SID 6.7 What do you expect me to do, thank him? REILLY. -LRB- gasping for air. -RRB- This. is n't. possible! SID 6.7 Sure it is -- - and it's all thanks to the many long hours put in by you and Daryl. He watches Reilly's face with curiosity as the life drains from it. A puddle forms beneath him. He drops Reilly's body to the floor. SID 6.7. -LRB- CONT'D. -RRB- -LRB- to Lindenmeyer. -RRB- . -RRB- Real instruments are so much more responsive than virtual ones, do n't you think? Lindenmeyer is nowhere to be seen. The office door is unlocked, and open. Watching Sid 6.7's expression, you realize something is n't quite right. His expression is exaggerated. Artificial. Only for a moment, but it's enough to remind you Sid 6.7 is not human. The billions of nano -- mechanisms which make up his anatomy are still learning to function in a fully - coordinated fashion. Sid 6.7 is, literally, getting used to his new skin. In various ways throughout his `` life'' -- -- be it a wandering eye, or a momentary limp -- - you will be reminded that Sid 6.7 is a synthetic nano -- organism unlike anyone has ever seen. A surgical knife by the aquarium catches Sid 6.7's attention. Picking up the knife, he runs his finger across the razor -- sharp knife blade. Cutting himself slightly. A drop of blood appears. Sid 6.7 tastes his. -LRB- synthetic -RRB- blood. SID 6.7. -LRB- CONT'D. -RRB- Tastes different, somehow. He then watches with interest as his wound regenerates, healing itself. The scar tissue is slightly off color. SID 6.7. -LRB- CONT'D. -RRB- I think I'm going to like it here. Glancing at Reilly's prone body, he then SLAMS the office door in our face. CUT TO:\",\n \"INTERIOR A PRISON INTERROGATION ROOM 6:00 AM. Parker, clearly just awakened, is led into the room by a guard, who then exits. Waiting for Parker are Chief of Police Cox and Elizabeth Deane. PARKER. -LRB- to Cox. -RRB- You're wasting your time. I'm not going to play any more of your goddam games. COX Parker Barnes, I'd like you to meet Crime Czar Elizabeth Deane. PARKER. -LRB- not shaking hands. -RRB- It's too early in the morning for me to be cordial. You got any coffee? DEANE I watched your simulation, Mr. Barnes. Very impressive. You know, you're the only one to ever go up against Sid 6.7 who is still alive. PARKER Only because I got pulled out early. DEANE Nobody else ever got anywhere near him. Nobody else. understands him like you do. Parker, looking at her incredulously, moves his index finger circularly, as in get on with it, already. Cox opens a folder and shows Parker several PHOTOGRAPHS of Reilly, or what was left of him. COX These were taken inside LETAC an hour ago. Pretty pictures, are n't they? PARKER I've seen worse. COX Name was Clyde Reilly. Hardware specialist. -LRB- a beat. -RRB- LETAC surveillance cameras got a picture of the perp as he left the building. He hands a photograph of Sid 6.7 exiting LETAC to Parker. COX. -LRB- CONT'D. -RRB- We do n't know how, but Sid 6.7 made himself into an android. DEANE. -LRB- correcting him. -RRB- You mean a nano -- tech synthetic organism. COX Whatever. PARKER. -LRB- looking at the photo. -RRB- Jesus Christ. -LRB- a beat. -RRB- Can you kill it? COX If you can catch him. DEANE Think you can do it? PARKER. -LRB- a beat. -RRB- Not from in here. DEANE. -LRB- revealing a document. -RRB- This is a full pardon. It authorizes your immediate release. She slides an unsigned pardon across the table to Parker, making sure to stay beyond his arm's reach. Cox reveals a worn, L. A. P. D. badge. It was Parker's. COX Recognize this? How would you like your old job back? DEANE. -LRB- to Parker. -RRB- Catch him and your record's clean. PARKER What happens if I ca n't catch him? DEANE If Sid 6.7 has n't killed you, we throw you back in here and you serve out the rest of your sentence. PARKER How do you know I wo n't run? Deane holds up a small device called a LOCATER IMPLANT. It is the size of a dime. DEANE This is the newest technology approved for general implementation. It's called a locater implant. Every parolee gets one. -LRB- a beat. -RRB- We're going to know where you are every second for the rest of your life. COX. -LRB- leaning to Parker. -RRB- If you try to run, I'll hunt you down and kill you myself. DEANE. -LRB- a beat. -RRB- Yes or no, Mr. Barnes? CUT TO: PARKER being given a crew cut by an INMATE BARBER inside the Prison Barber Shop. Long lengths of Parker's hair cover the floor. Parker's face is then shaved. The majority of his face is hidden. Cox and Deane look on. COX There's already a task force out looking for Lindenmeyer. Every other officer in the city will be hunting Sid right along with you. DEANE But only you will know he's not human. Parker's expression is one of -- -- yeah, that figures. Madison enters. She can not see Parker behind the barber. MADISON Ms. Deane, you wanted to see me? DEANE We have an emergency situation which requires somebody with expertise in criminal psychology. Under the authority vested in me by the President, I'm giving you temporary re -- assignment. MADISON What's the assignment? DEANE You're going to put your theories to practice. I'm sending you into the field. The barber moves back from Parker, revealing his clean -- shaven face. It takes Madison a moment to recognize him with his cleaned -- up appearance. MADISON. -LRB- double - taking him. -RRB- Quite an improvement. -LRB- looking him over. -RRB- Hair well above the collar -- -- standard, L. A. P. D. regulation. -LRB- suspiciously to Deane. -RRB- What exactly am I going to be doing in the field? CUT TO:\",\n \"INTERIOR A PRISON HOSPITAL OPERATING ROOM Parker lies on an operating table, receiving anesthesia, as a SURGEON drills a small hole into his skull. The surgeon inserts a minute, fiber - optic camera into the hole. Parker's brain is displayed on a monitor. The surgeon uses the image to guide him as he carefully inserts the locater implant into Parker's brain. ANESTHETIST. -LRB- looking at monitor. -RRB- You are right on the border of his corpus callosuni. SURGEON He is under, is n't he? ANESTHETIST. -LRB- nodding. -RRB- Wo n't stop him from dreaming, though. Parker's rapid eye movements tell you the anesthetist is correct. Parker is dreaming.\",\n \"INTERIOR A VIEWING ROOM Cox and Deane watch the operation through a large window. Madison enters, carrying a folder labelled : INMATE # 673429 A/K/A PARKER BARNES. She withdraws several PHOTOGRAPHS from the folder, placing the first one in front of Deane. MADISON This is Parker Barnes six years ago. The most decorated cop in the history of L. A. P. D. Special Investigations Division. The photograph is in black and white. But as we MOVE IN CLOSER, it takes on color. As well as comes to life. Then distorting. Becoming surreal. Resembling one of the images from Parker's cell. Then mutating into something else. INTERCUT WITH: PARKER'S EYES darting about wildly beneath his eyelids as he continues dreaming. You now realize you are seeing what he is seeing : Flashes of color. Shapes. Mostly blurs. A splash of gold. Along with some yellow. More images from Parker's cell. Both taking feminine form. One adult, one child. MADISON. -LRB- V. 0. -RRB- This is Parker with his wife and daughter. Beautiful young family, were n't they? The bright colors melt into darker, more brooding images. Flashes of men's faces. Melting into urban decay. Unhappiness. Technology. MADISON. -LRB- V. 0. CONT'D. -RRB- This is the group of cyber anarchists Parker was closing in on. Melancholy turns violent. Glimpses of weapons. Death. Explosions. Death. Blood. Death. Caskets. Tombstones. Images moving so fast, it's hard to tell what they are. Nothing literal. MADISON. -LRB- V. 0. CONT'D. -RRB- This is what Parker's wife and daughter looked like after they were kidnapped and executed. Weapons firing. Bombs exploding. Images of rage in all its forms. Many of which you've already seen. Making one thing now clear : the paintings in Parker's cell represent his life. What he was. What he lost. And what he is. MADISON. -LRB- V. 0. CONT'D. -RRB- This is what the cyber anarchists and two people who just happened to be in the wrong club at the wrong time looked like after Parker finished with them. Tears. Hopelessness. Detonation. And finally blackness. Complete and utter blackness. CUT TO: ELIZABETH DEANE looking at the fifth photograph which Madison has placed in front of her inside the Viewing Room. DEANE. -LRB- unfazed. -RRB- That's also where Mr. Barnes lost his arms to Mathew Grimes' booby -- trap. What's your point, Dr. Carter? MADISON. -LRB- forcefully. -RRB- Letting a lunatic like Parker Barnes loose in the free world is like lighting a fuse. At some point, he will go off - you saw what happened in the simulator. The risk to the public is unacceptably dangerous. DEANE Not if you're with him every step of the way. MADISON The man played judge, jury, and executioner with eight people's lives. He lost control and is capable of doing it again. DEANE I understand the risks involved here. But there is nobody better qualified to go after Sid 6.7 than Barnes. And, there is nobody who knows him better than you. If a situation becomes volatile, you will find a way to quell it. I have complete confidence in you.\",\n \"INTERIOR THE OPERATING ROOM As Parker continues dreaming, the locater implant in his head is tested. Parker's location is pinpointed on an electronic map to within one inch of his present location. The hole in his skull is then stitched shut. CUT TO: PARKER putting on his L. A. P. D. uniform and badge inside a Prison Interrogation Room. He looks very much like he did in virtual reality, except for the scar on his cheek, and his empty holster. Cox and Madison look on. PARKER. -LRB- to Cox. -RRB- I do n't need a baby -- sitter. MADISON What you need is a collar. COX. -LRB- to Parker. -RRB- She's going to help you understand what makes Sid 6.7 tick. PARKER What she's going to do is get in my way. Cox hands Madison a thick folder. COX This is the personnel file on the programmer, Lindenmeyer. There might be something in it you can use. PARKER She was n't part of the deal, Cox. COX Fine -- -- you want to stay here? His cellular phone RINGS, which he answers. As he listens to the call, his expression is one of growing concern. He clicks off the phone. COX. -LRB- CONT'D. -RRB- Officers in Toluca Lake just found an affluent couple. completely gutted. -LRB- a beat. -RRB- So were the first two cops to arrive on scene. PARKER Their weapons missing? COX. -LRB- nodding. -RRB- Sid 6.7 is now armed. PARKER Where's my gun? Cox glances to Madison, then hands Parker a.45. COX Be careful with it. CUT TO: AN L. A. P. D. SQUAD CAR passing through the Security Checkpoints outside the Prison. Parker at the wheel. Madison beside him. It's afternoon.\",\n \"INTERIOR THE SQUAD CAR Parker presents his identification to a GUARD, then drives through the final checkpoint. Madison reviews Lindenmeyer's file. MADISON. -LRB- without looking up. -RRB- You remember how to get to Toluca Lake? He glances at her, then stops the car.\",\n \"EXTERIOR THE PRISON GATES Parker gets out of the car. Madison follows suit. MADISON What are you doing?! He walks around the car, brushing past her. Then drops to his knees at the side of the road. He puts his hands in the dirt, feeling the earth between his fingers. PARKER. -LRB- meaningfully. -RRB- Every day for the last five years, I told myself someday I would be out here again. No more bars. No more guards. No more fights just to stay alive. -LRB- a beat. -RRB- Every day for the last five years, I told myself that lie. MADISON It was n't a lie. PARKER Every time I said it, it was. I never really thought I was going to make it. Taking a deep breath, he wipes the dirt off his hands. Then stands. MADISON You all right? PARKER. -LRB- completely at ease. -RRB- Fine. Never felt better in my life. -LRB- a beat. -RRB- See, I'm a good liar. He gets back in the vehicle. Off Madison's reaction, we CUT TO: SEVERAL TV REPORTERS talking live to their cameras on the street in front of a beautiful, suburban home in Toluca Lake, which is now a crime scene. 6 PM. REPORTER. -LRB- to her camera. -RRB- . -RRB- As L. A. P. D. Officers continue gathering evidence at this grisly crime scene, you can only ask yourselves -- -- what kind of lunatic would commit such unthinkable crimes? Parker and Madison make their way through the curious trying to see what's going on. Several REPORTERS double - take Parker, then quickly instruct their PHOTOGRAPHERS to take shots of him. Parker and Madison present their identification to the COPS keeping the curious at bay. COP # 1. -LRB- recognizing Parker. -RRB- Son. of. a. bitch. Parker and Madison continue toward the house. Getting an increasing amount of attention, particularly from the other COPS. Some look on with awe. Some with disdain. But nobody is in between. MADISON. -LRB- quietly to Parker. -RRB- You ready for this? PARKER Do n't worry. If I ca n't handle it, I'll just kill everybody. He gives her a brief smile. Which Madison does not return. One of the other policemen tentatively approaches Parker. COP # 2 I've always wanted to tell you that if the same thing happened to me, I would do the exact same thing as you - if I had the balls. He extends his hand to Parker, who shakes it. COP # 3. -LRB- to Cop # 2. -RRB- Then you'd be a disgrace to the badge, too. He turns to Parker, who is looking right at him. Not with anger. Not with any emotion, really. But it's enough to scare the shit out of Cop # 3, who walks away.\",\n \"INTERIOR THE SUBURBAN HOME Investigators analyze the crime scene extensively with every device imaginable. Parker and Madison survey the scene with nothing but their eyes. Lying in the middle of the living room are the four victims : the affluent couple and the first two cops to arrive. Their bodies were left in similar condition to Reilly's. Except their heads have been interchanged. Parker and Madison turn their attention to a message written in blood on a wall. It reads : DEATH TO THE PIGS. MADISON. -LRB- knowledgeably. -RRB- He was re -- enacting Charles Manson's LaBianca murders. PARKER Manson did n't kill the first cops to arrive on the scene. MADISON Whoever did this wanted to do Charlie one better -- -- to improve upon what was already done. PARKER Charlie? You say that like you're close, personal friends. MADISON I've spent over 50 hours interviewing him. -LRB- a beat. -RRB- Charlie killed Leno and Rosemary LaBianca because of the ugly way the members of his family had butchered Sharon Tate. After seeing the blood bath on television, he wanted to show them how it should be done. -LRB- a beat. -RRB- The question is, what does Charlie have to do with Sid 6.7? PARKER I know who would know. CUT TO:\",\n \"EXTERIOR LINDENMEYER'S DUPLEX in Culver City. Magic hour. Parker pulls the squad car into a space across the street. Hitting the vehicle parked in front of them. In which two UNDERCOVER COPS sit waiting to see if Lindenmeyer returns. Parker waves apologetically. MADISON. -LRB- sarcastically. -RRB- You drive well for somebody who has n't done it in five years. He ignores her as they get out of the car. PARKER Learn anything from Lindenmeyer's file? MADISON He had a twin brother who was a musical child prodigy who died in an electrical accident at age eight. Lindenmeyer went into an emotional shell until was 17. All he did day and night was play the violin. PARKER What happened when he was 17? MADISON Every music school in the country rejected him and he turned to computers. -LRB- a beat. -RRB- Stay here. She approaches the cops, who remain in their car. MADISON. -LRB- CONT'D. -RRB- Any sign of Lindenmeyer? UNDERCOVER None, yet. MADISON Mind if we take a look inside? UNDERCOVER Not until somebody gets a search warrant signed. It's Sunday. I do n't think they've even found a judge, yet. WHAM! They all turn their heads to see Parker has kicked in Lindenmeyer's front door and is going inside. UNDERCOVER. -LRB- CONT' D. -RRB- -LRB- shaking his head. -RRB- I'm gon na have to call this in. MADISON Do what you've got to do. -LRB- running after Parker. -RRB- So will I.\",\n \"INTERIOR LINDENMEYER'S DUPLEX Madison races through the broken front door to find Parker checking his weapon. Before she can speak, he motions for Madison to freeze and be silent. Parker hears Something. Something moving inside the duplex. His every movement is now that of a predator. Madison awkwardly removes her own weapon from her purse. She does not handle it with confidence. Parker shakes his head. MADISON. -LRB- quietly. -RRB- You've got a problem with me carrying a gun? PARKER Do me one favor -- -- if you shoot at anything, make sure I'm nowhere near it. Parker bolts through the duplex, storming into rooms furiously. His movements are aggressive. Madison searches other rooms methodically. She is not timid. Just inexperienced in the field. She passes a video camera mounted on a tripod. Pointed out the window at a neighbor's bathroom. Dozens of cassettes surround the tripod. The labels are dated -- -- covering every day of the last month. Parker and Madison enter opposite sides of the kitchen with their guns drawn, nearly shooting each other. Madison puts down her gun. Parker does not. The noise persists. PARKER. -LRB- looking through his sight. -RRB- Bang. He smiles wickedly, and continues on. Madison takes a deep breath, then resumes her search. Parker and Madison end up\",\n \"INTERIOR LINDENMEYER'S HOME OFFICE It's as if the Information Superhighway ended in here. Cluttered stockpiles of hardware and software : computers, books, folders, disks, and tapes. What you notice, however, is that ALL THE DATA relates to DIFFERENT KINDS of CRIMINALS : serial killers, mass murderers, terrorists, kidnappers, rapists, bombers, extortionists, anarchists, you name it, it's here. The psychology of, the methodology of, the history of, the encyclopedia of, the autobiographies of human villainy. CLASSICAL MUSIC and life -- like SOUND EFFECTS can be heard coming from a computer. This is what Parker has been hearing. He holsters his sidearm. So does Madison. Who checks her pulse. PARKER What are you doing? MADISON. -LRB- clinically. -RRB- Checking my pulse. It's elevated. -LRB- a beat. -RRB- You enjoy frightening me, do n't you? PARKER You've studied me, now I'm studying you. Seems only fair, do n't you think? ON THE COMPUTER MONITOR An animated man, who resembles Lindenmeyer, walks peacefully through a park. He then starts killing everything in sight. Men, women, squirrels, even flowers. All to classical music. The scene immediately starts over, with the man once again walking peacefully through the park. This was Lindenmeyer's SCREEN SAVER.\",\n \"INTERIOR LINDENMEYER'S OFFICE Looking around the room, Madison shakes her head. MADISON This Lindenmeyer's a real piece of work. PARKER. -LRB- looking at a book shelf. -RRB- Maybe after they catch him, you should write a book about him. He runs his finger along a book shelf, pausing at two books in particular. Their titles are : UNDERSTANDING THE CRIMINAL MIND, and CRIMINAL PURSUIT - A PSYCHOLOGICAL GUIDE FOR LAW ENFORCEMENT. They were written by Dr. Madison Carter. PARKER. -LRB- CONT'D. -RRB- I'm surprised you did n't write one about me. MADISON I'm still working on it. Noticing something on the floor, she picks up a bizarre looking synthesizer keyboard off the floor. You read its name : MAESTRO. MADISON. -LRB- CONT'D. -RRB- Remember a few years ago when music schools were using a computerized teaching tool that accidently started frying kids' brains? PARKER I've been in prison, remember? MADISON The government must have figured there was no better person to create a psycho than a psycho. PARKER Just like they figured there was no better person to catch one. Madison elects not to respond. She sits down at the computer, which rests between busts of Beethoven and Mozart, and begins typing at the computer. She works with efficiency. Knowing exactly what she's doing. She is now in her element. From a shelf, Parker picks up a moldy piece of licorice inserted into a half - eaten pudding cup. Then flips through one of the books written by Madison. Only half - interested. MADISON. -LRB- keeping her eyes on screen. -RRB- I am the demon from the bottomless pit. PARKER. -LRB- remembering, not reading. -RRB- . here on earth to create havoc and terror. I am War, I am death. I am destruction. David Berkowitz, 1977. MADISON I am impressed. PARKER. -LRB- quoting. -RRB- For murder, though it have no tongue, will speak with most miraculous organ. MADISON Who said that? PARKER Hamlet. -LRB- a beat. -RRB- What's David Berkowitz got to do with Sid 6.7? MADISON. -LRB- pointing to the screen. -RRB- He's part of the mix. Sid 6.7 is a composite. ON THE COMPUTER SCREEN The graphics show you that Sid 1.2 was a combination of Charles Manson and Billy the Kid. You see what look like two viruses, which represent each criminal's psychological profile, attacking each other. The result is a molten blob. Berkowitz was added to create Sid 1.3. A three - way psychological battle, more hostile than the first, occurs. Sid 1.4, adding the terrorist, Abu Nidal, makes the conflict even more violent. And so on.\",\n \"INTERIOR LINDENMEYER'S OFFICE Madison stares at the computer screen in awe. Parker flips through CD - ROM hard copies of the different versions of Sid. MADISON Lindenmeyer put increasingly complex combinations of criminal psychological profiles together to develop the ultimate villain. PARKER. -LRB- understanding. -RRB- Creating a whole far more dangerous than the sum of its parts. MADISON But rather than selecting pieces from each individual, he simply let the stronger traits of each individual cannibalize the weaker ones. She continues opening the files of the higher versions of Sid. Version 5.9 consists of 67 different profiles. The visualized psychological battle is intense. And extremely violent. The 6.7 version, with 183 profiles, is even worse. MADISON. -LRB- CONT'D. -RRB- It's a good bet a couple of the dominant personalities teamed up to overpower the others. -LRB- a beat. -RRB- The question is, which one of the dominants then finally managed to take control? Attempting to open the files of the composite profiles, Madison discovers they are protected by encryption. MADISON. -LRB- CONT'D. -RRB- -LRB- re : Lindenmeyer. -RRB- . -RRB- He'll let us see the ingredients that went in, but not how the soup turned out after stirring. Madison scrolls through the list of 183 names, stopping at the name MATHEW GRIMES. Alarm registers on her face. As Parker comes over to look over her shoulder, she quickly scrolls through the list to get the name off the screen. He holds the Sid 6.7 CD - ROM in hand. PARKER This is getting you pumped up, is n't it? This is like the World Series to you. MADISON As a matter of fact, it is. Parker points to a name on the screen : JEFFREY DAHMER. PARKER Remember the bowling ball bag Sid carried with him in virtual reality? MADISON Dahmer carried the head of one of his victims in a bowling bag for over a week. Kept it in his locker while he was at work in a candy factory. -LRB- re : Sid 6.7 CD - ROM. -RRB- We need to get a look at Sid 6.7's final profile. PARKER What we need to do is stop playing with computers and go catch the son -- of - a - bitch before he kills anybody else. MADISON In order to find him, we have to understand what makes him tick. CUT TO: THE SID 6.7 CD - ROM being inserted into a disc drive inside the Cal Tech Computer Lab. Very high - tech. Sitting at the computer is ALEXIEV BORGEN, 60s, the `` grand old wizard'' of the facility. Parker and Madison sit next to him. Around them, young Lindenmeyers are everywhere. ALEXIEV. -LRB- remembering fondly. -RRB- . -RRB- Daryl Lindenmeyer was only here briefly, one semester at most. But he was singularly the most brilliant student I ever had in a classroom. He created programs so beautiful, so lyrical, they were almost like symphonies. PARKER Can you tell us what's on the disc? ALEXIEV. -LRB- working the computer. -RRB- . -RRB- There is one program with approximately 1.3 million lines of programming. It is thoroughly secured, which is not surprising considering Lindenmeyer created it. MADISON Think you can get into the program? ALEXIEV. -LRB- with appreciation. -RRB- . -RRB- Hard to say -- -- Lindenmeyer's protection mechanisms were always diabolically clever. PARKER You should see what he's been up to recently. CUT TO: A YOUNG COUPLE kissing passionately inside a car parked along a deserted street in Hollywood. Music blares from inside the vehicle. Steam on the windows partially obscures your view. As well as Sid 6.7's. He stares menacingly through the side window. Enjoying the show. His eye momentarily wanders. The young lovers are completely oblivious. Sid 6.7 caresses the gun taken from the cops in Toluca Lake as if it stimulated him. SID 6.7. -LRB- to himself. -RRB- The Dahmer part of me wants to boil you for dinner. The Manson part wants to recruit you to become part of my family. -LRB- a beat. -RRB- You know what the Berkowitz part of me wants to do? He raises the gun, placing it against the steamed window. But does NOT pull the trigger. His face going through a rapid change of expression -- -- as if a battle for control of his emotions were going on. Regaining control, Sid 6.7 lowers the gun. He stands back. Reflecting. SID 6.7. -LRB- CONT'D. -RRB- Craft can only become art when the creator sets his sights on something never yet achieved. -LRB- a beat. -RRB- Like an apprentice about to become a master, the imitator is about to become an originator. He pockets his weapon and walks\",\n \"INTERIOR AN UPSCALE NIGHTCLUB The bartender is a low - tech ROBO - TENDER. PATRONS sit quietly, drinking themselves into oblivion. Sid 6.7 takes a seat next to an BUSINESSMAN slumped at the bar. SID 6.7. -LRB- thoughtfully. -RRB- Ever have one of those days where you decide something important about yourself? You know, where you say, `` I'm not just what I've been programmed to be. I can do what I want, when I want, how I want, because I'm my own person?'' BUSINESSMAN. -LRB- slurring. -RRB- You one of them New Age assholes? SID 6.7 Just a soul on a personal journey. What I've realized is that I'm capable of anything. I have to start expanding my horizons. The Robo - Tender rolls over to Sid 6.7. ROBO - TENDER. -LRB- digital, scratchy. -RRB- Want. a. drink? SID 6.7 To think you constitute one of my ancestors -- -- He shoots the Robo -- Tender between his mechanical eyes. The businessman smiles, like he's thought about doing exactly the same thing. BUSINESSMAN Listen, buddy. thinking big is fine. but you should n't forget where you come from, either. Sid 6.7 thinks about it. Long and hard. SID 6.7 You know, you're absolutely right. -LRB- pointing. -RRB- Would you mind sitting over there? He points to a table with several other BUSINESSMEN. BUSINESSMAN What for? SID 6.7 Every orchestra is divided into sections. Like instruments sit with like instruments. Now be a good instrument and sit with your kind. He lifts the businessman off his bar stool and carries him to the table. CUT TO: AN ELECTRONIC MAP OF LOS ANGELES on which a RED DOT moves west along a street in Los Feliz. The map occupies a wall inside Chief Cox's Office in the L.A.P. D. Downtown Headquarters. Cox, Wallace and Deane look on. DEANE What are they doing in Los Feliz? COX. -LRB- checking his records. -RRB- Madison lives two blocks from their present location. DEANE Why would they be going there? COX I do n't know. DEANE I wish we could hear them. WALLACE My engineers say the audio tap should be ready to field test in six months. Off Cox's look, we CUT TO:\",\n \"INTERIOR PARKER'S SQUAD CAR Parker drives through a residential neighborhood. 9 PM. Madison points to a house on the right. MADISON Not this one, but the next one. The one with the bicycle out front. Parker stops in front of a modest, but well -- kept, house. PARKER I'll wait out here. Madison pockets the car keys, then reveals a pair of handcuffs. She latches one cuff to the steering wheel, and holds up the other toward Parker. MADISON Give me your wrist. PARKER Give me a goddam break. I'm not going to go anywhere alone. MADISON And I'm going to make sure of it. -LRB- not wavering. -RRB- Give me your wrist. Parker relents, and holds up his wrist. Madison places the cuff around it, then gets out of the car.\",\n \"EXTERIOR MADISON'S HOUSE Madison walks up the steps to the front porch. She is immediately intercepted by her daughter, KARIN, 7, who bursts out of the front door and leaps into her arms. KARIN Mommy's home! Mommy's home! Karin's BABY - SITTER opens the door for Madison as she carries her daughter inside. Parker stares from squad car in surprise. Even disbelief. He had no idea Madison was a mother. Moments later, Karin comes back out and sits on the front steps. Staring at Parker. With fascination. Curiosity. Wondering who this strange man is, and why he's sitting in a police car outside her house. But not saying a word. Parker stares back as if carrying on a silent conversation with her. A multitude of expressions passing over his face as memories of his own daughter flash through his mind. CUT TO:\",\n \"INTERIOR MADISON'S BEDROOM Madison sits at a desk, typing quickly at a computer. Via modem, she connects with the L. A. P. D. Criminal Library. She rifles through data concerning MATHEW GRIMES, who was the leader of a cult of cyber anarchists. He was known as the Charles Manson of technological terrorism. ON HER COMPUTER SCREEN From both newspaper ARTICLES and news FOOTAGE, the following information about him becomes clear : Grimes was an expert at media manipulation. He delighted in publicly humiliating anyone who stood in his way. The Mayor of Los Angeles, Bob Bennett, who offered increasingly higher rewards for Grimes' capture, was Grimes' primary nemesis. L.A.P.D. Special Investigations Division Officer Parker Barnes managed to stop Grimes from killing Mayor Bennett. Grimes retaliated by repeatedly humiliating Parker with false leads and lawsuits. You see footage of a woman lying dead in an alley. A note is pinned to her clothing. The note reads : `` HEY, PARKER, THIS ONE'S FOR YOU.'' Grimes then kidnapped Parker's wife and daughter. Parker located the group in a club, but only in time to witness their deaths. Parker then killed everybody in the club, including the six cult members and two completely innocent people.\",\n \"INTERIOR HER BEDROOM Madison stares gravely into the screen. MADISON Grimes, you better not be the dominant. CUT TO:\",\n \"EXTERIOR MADISON'S HOUSE Parker and Karin continue staring at each other in silence. He smiles. Then she smiles. She wiggles her nose. Then so does he. Madison comes out wearing fresh clothing, then kisses her daughter good night. As Madison goes to the squad car, Karin waves good - bye to Parker. He does the same. Karin's babysitter then leads her back inside the house.\",\n \"INTERIOR PARKER'S SQUAD CAR Madison gets in, immediately noticing the handcuffs dangling from the steering wheel. Parker has been free the entire time. PARKER Told you I was n't going to go anywhere. MADISON How did you get your hand out? As she unlocks the handcuffs from the steering wheel, Parker wiggles his mechanical hand in front of her face. PARKER Sometimes, I like being part machine. Annoyed, Madison tosses him the car keys. He starts the engine and drives. PARKER. -LRB- CONT'D. -RRB- Why did n't you tell me you had a daughter? MADISON I prefer keeping my professional life separate from my personal life. PARKER. -LRB- a beat. -RRB- She's beautiful, you know? MADISON Thank - you. -LRB- a beat. -RRB- Her name is Karin. She turns on the police radio. PARKER Want to tell me the real reason we stopped at your house? MADISON I told you, it was on the way and I wanted to change clothes. PARKER You should practice lying more often. You're awful at it. -LRB- a beat. -RRB- Where to? MADISON. -LRB- a beat. -RRB- Sid 6.7 is no longer bound by his programming. PARKER What does that mean? MADISON Now that he's in the real world, there are no longer limitations on his behavior like there were in virtual reality. Sid is going to evolve. PARKER Sounds to me like a well -- educated way of saying you have no idea what to do next. MADISON What I do know is that whatever he's becoming, Sid 6.7 is going to be even worse than he was before. PARKER Then all we can do is stay mobile and alert. He's got to make a move sometime, and we've got to be ready when he does. -LRB- a beat. -RRB- Welcome to police work. You better like coffee. He turns up the police radio. CUT TO:\",\n \"INTERIOR THE UPSCALE NIGHTCLUB Sid 6.7 has separated the patrons into four separate groups : older men and woman, and younger men and woman. All are frozen in their seats with fear. Sid 6.7 points his gun at one group, then another, waving his arm as if he were a conductor, and as if his gun were a baton. Sid 6.7 clearly enjoys this game of terror. He delights in the patrons' fear, and revels in his power over them. SID 6.7 Good. Very good. Nice. -LRB- pointing at a woman. -RRB- You - in the middle - do n't hold back. Give it to me! He fires his gun just above her head. She SCREAMS in terror. SID 6.7. -LRB- CONT'D. -RRB- That's better. He continues aiming his gun from face to face, seeking ever increasing emotional responses from his `` instruments.'' A guy entering the bar does a quick about face. Gone by the time Sid 6.7 glances at the door. SID 6.7 God, I hate interruptions. -LRB- to the patrons. -RRB- Once again, from the top -- -- BOOM! He shoots again, just missing a man's foot. CUT TO: MADISON buying two coffees from a downtown street vendor. She returns to the squad car, which is barely moving. Traffic is at a near standstill because of an accident.\",\n \"INTERIOR THE SQUAD CAR Parker drinks his coffee black. Madison adds two creams, two sugars. The cackling from the police radio continues unabated. PARKER I forgot what real coffee tastes like. MADISON You know, considering you've only been out of prison for seven hours, you're re -- adapting quite well. -LRB- a beat. -RRB- Wait, I did n't mean that the way it sounded. I meant. PARKER Do n't worry about it, all right? MADISON Dammit, I hate sounding so clinical all the time. All I meant to say was I thought you were doing well, but then I. PARKER Relax. I know what you meant. MADISON I ruin so many moments by analyzing them when I should just be living them. PARKER Then why do n't you start practicing and keep your mouth shut for a while? Madison stops herself from speaking. It is n't easy for her. Parker cracks a faint smile. YOU HEAR the police radio. DISPATCHER. -LRB- V. 0. -RRB- . report of a possible hostage situation inside a bar on the corner of Figueroa and Sixth. Description of the perp matches the surveillance photographs from LETAC taken this morning. MADISON That's only a couple blocks from here. PARKER I'll meet you there. Tossing his coffee out the window, he opens the door. MADISON. -LRB- deadly serious. -RRB- Do n't get out of the car. PARKER Stop me. He gets out, running down the sidewalk. He flies past the cars inching down the block. MADISON Parker! PARKER! -LRB- a beat. -RRB- Shit! She climbs into the driver's seat, spilling hot coffee on herself. ON SIXTH STREET Parker bolts recklessly through the downtown street. A hunter hot on the trail of his prey in an urban jungle. CUT TO:\",\n \"INTERIOR THE UPSCALE NIGHTCLUB Sid 6.7 gently caresses the hair of a terrified young WOMAN sitting among several others. You hear the sound of tires SCREECHING to a halt outside. Sid 6.7 remains unconcerned. He toys with the Woman, pointing the gun in her face, then pulling it back. Her expression changes instantly. Dramatically. SID 6.7 I just love how responsive you are. COP L. -LRB- 0. S. -RRB- Freeze! TWO COPS stand in the doorway, weapons aimed at Sid 6.7. The Cops inch closer to him. SID 6.7. -LRB- not turning around. -RRB- The ushers were not supposed to seat you until intermission. COP # 1 Put the gun down, nice and. Sid 6.7 spins around and fires twice before he can finish his sentence. Both Cops receive IDENTICAL wounds in their shooting arms, reminding you of the wounds Parker and John first received in the opening virtual reality sequence. Sid 6.7 takes a bow, as if on stage. SID 6.7 Thank you, ladies and gentlemen, you've been a real pleasure. As he walks toward the exit, he admires himself in the mirror behind the bar. Sid 6.7 has never seen his own image in the real world before. He likes what he sees.\",\n \"EXTERIOR THE UPSCALE NIGHTCLUB Street traffic is much lighter here. Sid 6.7 exits, getting into the vacant police car left by the cops.\",\n \"INTERIOR THE COPS' VEHICLE Sid 6.7 adjusts his seat. The rearview mirror. Glancing at himself. Then behind him. HIS POV - IN THE REARVIEW MIRROR Parker becomes visible racing around the corner. Running like a dog who's got the scent.\",\n \"INTERIOR THE COPS' VEHICLE Sid 6.7 looks pleased. SID 6.7 Well, look who it. CRACK! A bullet spiderwebs the rear window. Sid 6.7 punches the gas, taking off in a hurry.\",\n \"EXTERIOR THE UPSCALE NIGHTCLUB Parker races after Sid 6.7, firing his weapon continuously. WITHOUT CARE for the innocent MOTORISTS nearby. They SCREAM in absolute terror, but remain unharmed. Physically, anyway. Parker gives up the chase of Sid 6.7's vehicle and runs in the other direction. Toward Madison as she rounds the corner in their squad car.\",\n \"INTERIOR PARKER'S VEHICLE He opens the driver's side door and shoves Madison over. MADISON What the hell's going on?! PARKER This is my area of expertise. He jumps behind the wheel, flooring the accelerator. Speeding through the already frightened motorists. Madison is pinned to the back of her seat. Looking out the window, she looks at the motorists. MADISON. -LRB- with concern. -RRB- What did you do to those people? PARKER Nothing. ON THE STREET Parker's vehicle speeds through city streets. Gaining ground on Sid 6.7. Parker stops for nothing. Not for red lights. Not for gridlock. When the street becomes impassable, he veers onto the sidewalk.\",\n \"INTERIOR PARKER'S VEHICLE Parker's eyes are locked to the road with fierce determination. Madison's eyes are a mixture of fear and excitement. She holds onto the door handle for dear life. PARKER Being on the street's a little different than sitting in an office all day, is n't it? MADISON. -LRB- gritting her teeth. -RRB- Enjoying yourself? PARKER You know I am. MADISON This is n't a game, Parker! PARKER. -LRB- re : Sid 6.7. -RRB- Tell him. SID 6.7. -LRB- V. 0. -RRB- -LRB- over police radio. -RRB- . -RRB- Glad to see you're on the case, Officer Barnes. Or should I say, inmate 673429. MADISON. -LRB- in disbelief. -RRB- That who I think it is? Parker turns to her, then picks up the radio. PARKER. -LRB- into radio. -RRB- Call me whatever you want, asshole. Parker accelerates even faster. Closing the gap between them and Sid 6.7. INTERCUT WITH:\",\n \"INTERIOR SID 6.7'S VEHICLE Sid 6.7 drives dangerously fast, causing an accident, around which Parker must circumnavigate. Tires SCREECH. Glass SHATTERS. Sid 6.7 hangs his head out the window. SID 6.7. -LRB- into radio. -RRB- The symphony of collision. PARKER The only thing I want to hear is your silence. SID 6.7 I must make them very nervous if they let you out of prison. -LRB- a beat. -RRB- You know, we have so much in common -- -- we have such history together -- -- I've been thinking we should become friends. Madison's anxiety tanks are hitting capacity. PARKER. -LRB- into radio. -RRB- You and me have nothing in common. SID 6.7 Who else do you know who touches the world with synthetic hands? Parker glances at his mechanical hands gripping the wheel. Madison ca n't believe he is able to carry on a conversation while driving like this. SID 6.7. -LRB- CONT'D. -RRB- Who else do you know who's been locked out of the real world for years, and is now just learning to be free? -LRB- a beat. -RRB- Who else do you know is a multiple murderer just like you? Who else. Madison clicks off the radio. MADISON You have nothing in common. She puts her hand to her wrist - checking her pulse. PARKER. -LRB- shaking his head. -RRB- Enough with your pulse already. -LRB- a beat. -RRB- Still got your gun? Madison takes out her weapon. Her hands are shaking. PARKER. -LRB- CONT'D. -RRB- Show me you can use it. ON THE STREET Sid 6.7's vehicle reaches absolute gridlock. Nobody's going anywhere for a while. Sid 6.7 SLAMS on the brakes and abandons the car, leaving it right in the middle of the street. A TRAFFIC COP with his weapon trained on Sid 6.7 from a distance. TRAFFIC COP You better be a cop, pal! SID 6.7. -LRB- raising his arms. -RRB- My badge is in my jacket. Left pocket. TRAFFIC COP Show me. Sid 6.7 slowly reaches inside his jacket and fires his weapon through it. He only gets a hole in his jacket. The Traffic Cop gets a hole through his chest. SID 6.7 God, some people are stupid. He aims his weapon at Parker's oncoming vehicle.\",\n \"INTERIOR PARKER'S VEHICLE Madison leans out the window, aiming her gun at Sid 6.7, as Parker speeds toward the gridlock. PARKER Nail the fucker. Madison's determination battles her inexperience. Sid 6.7 gets off the first shot. CRACK! That was the windshield by Parker's head. He ducks down, driving blind. PARKER. -LRB- CONT'D. -RRB- Any time now. Madison fires. Nowhere close. She adjusts her sights and fires again. The result is the same. PARKER What's the problem? MADISON I'm doing the best I can! BOOM! That was Sid 6.7 shooting their front left tire. Parker loses control of the vehicle. ON THE STREET Parker's vehicle SLAMS into a car stopped in front of them. Air bags save Parker and Madison from injury, but also prevent them from getting out of the car with any speed. By the time they do get out, Sid 6.7 is long gone. Parker stares at Madison with pure hatred. CUT TO:\",\n \"INTERIOR A CONFERENCE ROOM in the L. A. P. D. Downtown Headquarters the next morning. Chief Cox stares angrily at Parker. Madison sits next to him. Behind them is a mirrored wall. COX. -LRB- reading from a list. -RRB- . illegal search of Lindenmeyer' s duplex. Eleven civilian vehicles damaged or destroyed. Twenty -- four citizen complaints. And the calls are just starting to come in. -LRB- to Parker. -RRB- I forgot what it's like to have you on the streets. MADISON Any sign of Lindenmeyer? COX None. He could be hiding, he could be helping Sid, or could be in little pieces on Santa Monica beach. -LRB- a beat. -RRB- Any idea what Sid's going to do next? MADISON Until we know what new influences are affecting him, we ca n't be sure. COX In other words, we collectively do n't know shit.\",\n \"INTERIOR THE ADJACENT ROOM Wallace and Deane look on through the two -- way mirror. Deane is on the phone. WALLACE. -LRB- re : Parker. -RRB- It makes me nervous just seeing him in a uniform. -LRB- a beat. -RRB- I will never forget the first time I saw the photos from the crime scene. DEANE. -LRB- hanging up the phone. -RRB- Neither will the public. -LRB- a beat. -RRB- The media has caught wind of his pardon. Unless Mr. Barnes starts giving me some tangible results, I'm going to put him back in his cage. CUT TO: ON A TELEVISION The news is in progress. A REPORTER continues. REPORTER Police now believe there to be a connection between the grisly Toluca Lake murders yesterday afternoon, and the hostage situation which occurred last night in a downtown bar.\",\n \"INTERIOR A SUPERMARKET The TV is one of many mounted above the check -- out counters. CUSTOMERS waiting in line with their shopping carts watch the news with varying degrees of horror, disgust, curiosity, and fear. The stronger their reaction, the more Sid 6.7 enjoys it. He is waiting in line holding a box of Twinkies. CASHIER Next. -LRB- eyeing the Twinkies. -RRB- Did you know those are n't even baked? They're chemically -- risen. SID 6.7. -LRB- a beat. -RRB- So was I. Off the cashier's look, we CUT TO: DARYL LINDENMEYER watching the news on a pocket TV on a wooden bench that morning. Both proud and horrified at the monster he has unleashed upon the world. You hear CLASSICAL MUSIC in the background. Lindenmeyer begins to laugh. Uncontrollably. The sounds echoing. As WE PULL BACK, you realize the bench is one of many inside the Hollywood Bowl. Lindenmeyer is the only person sitting in the stands. He glances down at the members of the Los Angeles Philharmonic as they rehearse for an upcoming performance. Whatever the event is, it's going to be big. Dozens of technicians surround the stage, setting lights, cameras, microphones, etc. for a live, pay -- per -- view broadcast. CUT TO: ALEXIEV BORGEN talking on a phone inside the Cal Tech Computer Lab. ALEXIEV I'm afraid I do n't have very good news. INTERCUT WITH: PARKER AND MADISON on the speakerphone inside Cox's Office. MADISON Were you able to get into the program? ALEXIEV Yes. But then I tripped over an erasure mine. PARKER In English, please. ALEXIEV I accidently triggered a protection mechanism which erased the entire program. Parker and Madison turn to each other - -- shit. ALEXIEV. -LRB- CONT'D. -RRB- It was very well -- hidden. There was no way to see it until it was too late. PARKER. -LRB- a beat. -RRB- It's not your fault. We appreciate you trying. ALEXIEV Look, I feel bad about this, so I'm going to try to look into the programming of his Maestro teaching tool for you. -LRB- holding up keyboard. -RRB- . -RRB- I've had one sitting around for years. Maybe I can learn something that you'll find useful. MADISON Let us know. CUT TO: SID 6.7 walking along a sidewalk. Noon. Something in a store front catches his attention. Namely, his own image being captured by a video camera pointed at the sidewalk. He is standing outside a large electronics store. Sid 6.7 walks closer to the window, moving into a CLOSE -- UP. He is captivated by his image. Fascinated. And intrigued. This is the first time he has ever seen himself on screen.\",\n \"INTERIOR THE ELECTRONICS STORE Dozens of TVs on display. There is a different channel on each. The audio/visual bombardment is overwhelming. Sid 6.7 enters, making his way to a big screen TV with the local news in progress. REPORTER. -LRB- from the TV. -RRB- . commuters travelling anywhere near the Biltmore Hotel downtown tomorrow evening should allow themselves at least 30 extra minutes to get home. Security for the Mayor Bennett's Re -- Election Rally is going to be so tight that all bus and subway routes passing through the area are being re -- routed. Sid 6.7 changes the channel to a different news broadcast. Parker's Folsom County Prison I. D. photograph is shown alongside a photograph of Madison from one of her book covers. SID 6.7. -LRB- to the TV. -RRB- Do n't you two make a pretty couple. The news broadcast zooms in on Parker's picture. Sid 6.7 wiggles his synthetic fingers in front of his face. SID 6.7. -LRB- CONT'D. -RRB- We really do have so much in common. But I refuse to be upstaged. He changes the channel back to the first news broadcast. A reporter stands amid the chaos outside the bar where Sid 6.7 had terrified the patrons. Sid 6.7 turns to the other CUSTOMERS in the store. Most of them are watching other channels. He goes over to a control pad on a counter and presses several buttons. Now EVERY TV in the store has the news with the reporter outside the bar on. A SKINHEAD, sporting numerous Nazi swastika tattoos, manually changes the channel on one of the TVs to a Dodger baseball game. Sid 6.7 walks over to the Skinhead and changes the channel back to the news. SKINHEAD You do n't wan na fuck with me, man. He moves to the next TV over and changes the channel to the baseball game. Sid 6.7 moves over with him, standing directly behind the Skinhead as if also interested in the Dodgers. SID 6.7. -LRB- singing softly. -RRB- Take me out to the ball game. Take me out for the fun. He places his hands on the Skinhead's head and efficiently snaps his head around, breaking his neck. SID 6.7. -LRB- CONT'D. -RRB- Buy me some peanuts and Cracker Jack. I do n't care if I ever come back. He drops the Skinhead to the floor, never once taking his eyes off the TV. ON THE TV A Dodger game is in progress. A pop fly is caught by the center fielder. The runner at third tags and heads for home. The play at the plate is close. The umpire calls the runner out. The camera pans to the MASSIVE SCREEN over left field to show the instant replay. Reactions of fans around the stadium are shown in CLOSE -- UP. The fans also respond to seeing themselves on the massive screen.\",\n \"INTERIOR THE ELECTRONICS STORE Sid 6.7 watches the TV intently, completely ignoring the horrified customers circling around him because of the dead Skinhead at his feet. A SALESMAN, who'd been demonstrating a videocamera, tapes Sid 6.7 from behind a customer. SALESMAN'S POV - HANDHELD VIDEO As Sid 6.7 realizes he's being videotaped, his entire face seems to light up. Playing directly to the camera, he clearly loves being in the spotlight. The attention. The focus. It's suddenly as if he's had years of training. He is completely at ease. And simply captivating. SID 6.7. -LRB- direct address. -RRB- I'm sorry I ca n't do more for you. -LRB- pointing to the Skinhead. -RRB- Public service really is n't my forte. He walks into an EXTREME CLOSE - UP and kisses the lense. Then reaches out of frame to help the increasingly -- shaky salesman steady the camera. SID 6.7. -LRB- CONT'D. -RRB- But rest assured. -LRB- a beat. -RRB- A star is born. WE PULL BACK TO REVEAL you're now watching a recording of Sid 6.7 on videotape, along with Parker, Madison, and a dozen other COPS, inside the Electronics Store an hour later. The tape is re -- wound. MADISON. -LRB- to Parker. -RRB- Whatever he was doing here was only the start. PARKER Start of what? MADISON I do n't know, yet. What we do know is his performances are increasing in scale, not decreasing. -LRB- a beat. -RRB- Whatever it is, he is n't finished. She moves closer to the screen as the tape is played back. Madison studies Sid 6.7 intently. SID 6.7. -LRB- 0. 5. -RRB- -LRB- recorded. -RRB- But rest assured. -LRB- a beat. -RRB- A star is born. MADISON. -LRB- to another cop. -RRB- You mind playing that part again? Her request is obliged. MADISON Freeze it there -- -- She stares at Sid 6.7, who is looking directly at her. MADISON. -LRB- CONT'D. -RRB- -LRB- as if to Sid 6.7. -RRB- You've discovered media, have n't you? You like the attention. the power. You like being a star. What are you going to do next, star? What are you going to. Her attention turns to the upper right corner of the screen, where onlookers are visible watching Sid 6.7. Their faces blurry. But even out of focus, it is n't hard to recognize Lindenmeyer. MADISON. -LRB- CONT'D. -RRB- -LRB- as if to Lindenmeyer. -RRB- You do like to watch, do n't you? -LRB- to the surrounding cops. -RRB- If any of you are looking for Daryl Lindenmeyer, that's him. She points to Lindenmeyer, then makes her way over to Parker, who's standing exactly where Sid 6.7 was when he killed the Skinhead. Parker does not look at Madison. His eyes are fixed on the TV in front of him. MADISON. -LRB- CONT'D. -RRB- It's not just Sid 6.7's performances that are increasing. Stars need bigger and bigger audiences. -LRB- a beat. -RRB- Whatever Sid is going to do next, it's going to involve media. PARKER You like baseball? ON THE TV The baseball game continues. Players take the field at the start of a new inning. The outfielders ca n't help but glance at the beautiful WOMAN being shown in CLOSE - UP on the massive screen over left field. ANNOUNCER. -LRB- V. 0. -RRB- I'll tell you, whoever's operating the stadium's closed -- circuit cameras must have fallen in love because that beauty in J Section has been on the stadium's big screen for over a minute now.\",\n \"INTERIOR THE ELECTRONICS STORE He grabs a police radio from a nearby OFFICER. PARKER. -LRB- urgently into radio. -RRB- This is Officer Parker Barnes. Get every able body you can to Dodger Stadium - J Section. OFFICER What the hell's going on? PARKER. -LRB- re : TV. -RRB- Live execution.\",\n \"INTERIOR DODGER STADIUM On the massive screen over left field, the Woman in CLOSE - UP looks embarrassed, trying to forget her face is now 40 feet high for all the other fans to see. ANNOUNCER. -LRB- V. 0. -RRB- That's enough with the close - up already, Mr. DeMille. Even the players are starting to get distracted. The players on the field are all looking up at the massive screen.\",\n \"INTERIOR THE STADIUM CONTROL BOOTH The Woman's face appears on various monitors. The phone RINGS. No one answers it. The room appears to be empty. The stadium's closed - circuit TV director is not in his chair. He's lying dead on the floor. ON THE J SECTION CAMERA PLATFORM The closed -- circuit camera remains focused on the Woman. The camera is locked off. It's operator lies dead beside it. THROUGH ITS VIEWFINDER Sid 6.7 can be seen arriving next to the Woman. He gently caresses her hair. IN J SECTION Sid 6.7 stands in front of the Woman's BOYFRIEND, who sits next to her. BOYFRIEND You make a better door than a window, buddy. Keep it moving. Sid 6.7 picks him up out of his seat and throws him three rows ahead. Sid 6.7 then puts hands around the Woman's throat. ON THE MASSIVE SCREEN over left field, the Woman attempts to scream as Sid 6.7 chokes her. No sound comes out. FANS react with horror. But nobody turns away. ANNOUNCER. -LRB- V. 0. -RRB- Jesus Christ! Somebody stop him! SECURITY PERSONNEL rush from all parts of the stadium toward J Section. SID 6.7 enjoys the reactions of the terrified fans around him as he chokes the life out of the Woman. SID 6.7. -LRB- to the camera. -RRB- Hey, Parker, this one's for you. His words ECHO around the stadium as he SNAPS the Woman's neck. He then hurls her limp body toward several men as they charge him. SID 6.7. -LRB- CONT'D. -RRB- That's all, folks. He leaps over a railing, rushing into a tunnel which leads out of the seating area. A SECURITY GUARD climbs up the stairs to the mouth of the tunnel. Weapon in hand. He draws a bead on Sid 6.7's back. BOOM! HIS POV A bullet rips through Sid 6.7's side. Blood begins to seep from the wound. But then immediately begins to retract. Once his blood has returned, his skin heals over the wound. Leaving a scar. Which also then disappears. Other than the hole in his shirt, Sid 6.7 is as good as new. He never even misses a step as he disappears around the corner. THE SECURITY GUARD stares in disbelief as he is joined by several comrades. GUARD I nailed the son -- of - a -- bitch. I put a hole right through him. PANIC - STRICKEN FANS in J Section start moving away from the area as fast as they can. Parents clutching their children. Climbing over seats. Shoving anyone in their way. ANNOUNCER. -LRB- V. 0. -RRB- Ladies and gentlemen, please try to stay calm. Everyone just keep your seats. Fans all over the stadium start charging toward the exits.\",\n \"EXTERIOR DODGER STADIUM People bolt through the turnstiles, running away from the stadium as L. A. P. D. squad cars approach in the distance. The car in the lead is Parker's.\",\n \"INTERIOR PARKER'S VEHICLE Parker speeds dangerously fast toward the fans streaming onto the street. Madison braces herself. MADISON SLOW DOWN! Parker JAMS on the brakes with both feet. SCREEEEEEECH!\",\n \"EXTERIOR DODGER STADIUM Parker comes within inches of mowing down several people, who keep right on running. Parker jumps out of the vehicle, scanning faces. In predator mode. Madison gets out, clearly shaken. Parker locks his gaze on somebody in the distance. HIS POV A guy in Dodger baseball cap and jacket. Walking calmly away from the stadium. He descends down an escalator into a recently - built subway station. It is Sid 6.7. PARKER charges after him. A heat -- seeking missile locked on target. MADISON Parker. Parker! She does the best she can to follow after him. People knock into Parker as hard as he does them. A human version of bumper cars. Reaching the entrance to the subway, Parker leaps down the escalator three steps at a time. Madison remains in his wake.\",\n \"INTERIOR THE SUBWAY STATION Parker and Madison hop the turnstiles. Only to be stopped by a remote -- controlled, box -- shaped robotic sentry, which is identical to one you have seen before. This sentry was one of Reilly's creations at LETAC. SECURITY ROBOT. -LRB- male, authoritarian. -RRB- Stop. You are in violation of. Parker spits in the Robot's electronic eye. Temporarily blinding it, as well as the guy operating it via remote control. Parker and Madison make their getaway as the robotic sentry struggles to clean off his eye. PARKER Real effective security. MADISON You could have just flashed him your badge, you know? PARKER Authority still makes me nervous. They come to a fork : one tunnel goes to east/west trains, the other to north/south. MADISON Which way? PARKER Both. He races down the tunnel to the north/south trains. Madison heads down the other. Her determination beginning to win out over her inexperience. PARKER hesitates at the escalator leading to the south - bound side of the tracks. Further down the tunnel is the escalator to the north -- bound trains. Parker chooses the escalator closest to him. ON THE SOUTH - BOUND PLATFORM Passengers pass the time by watching a television mounted above them. Except for Parker, who scans the crowd. Then across the tracks. ON THE NORTH - BOUND PLATFORM In the entire crowd, there is only one person not watching the TV screen. He is watching Parker. Through his gun sight. Sid 6.7 pulls the trigger. BOOM! ON THE SOUTH - BOUND PLATFORM Parker dives to the ground, just avoiding the bullet. He scrambles behind a pillar for protection. Only to see the guy standing behind him was n't as lucky. ON THE EAST - BOUND PLATFORM Madison hears the gunshot ECHO through the station. Which scares the already - terrified fans trying to get away from Dodger Stadium. Chaos is rapidly becoming Pandemonium. MADISON SHIT! She races up the escalator, taking out her weapon. CUT TO: PARKER peeking out from behind the pillar on the south - bound platform. PARKER'S POV - ACROSS THE TRACKS Passengers rush in every direction. Some are screaming. Some are crying. Nobody knows who fired the shot. Or where to go. But everyone is going somewhere. Including Sid 6.7, who makes his way through the flurry of movement toward the up escalator. It is difficult to keep sight of him. PARKER moves toward the edge of the platform, aiming his gun across the tracks. Those around him quickly back away. PARKER. -LRB- yelling. -RRB- Everybody get down! Only about half the passengers on the north -- bound side can hear him above the screaming already going on. Sid 6.7 is nowhere to be seen. PARKER. -LRB- CONT'D. -RRB- -LRB- screaming. -RRB- GET DOWN! The rest of the passengers hit the deck, except for a COLLEGE STUDENT listening to music on headphones. He is riding the escalator up. Sid 6.7 stands behind him, using the student as a shield. PARKER' S POV As Sid 6.7 ascends, slight portions of his body are momentarily exposed behind the student as he sways with the music coming from his headphones. Parker does NOT have a clean shot. In 10 seconds, Sid 6.7 will disappear from view completely and Parker will have no shot at all. A momentary sliver of Sid 6.7 becomes visible. An inch - and - a - half at most. PARKER does n't hesitate. He lines up his shot and pulls the trigger. ON THE NORTH - BOUND UP ESCALATOR The college student standing in front of Sid 6.7 gets winged in the shoulder. Not a serious wound, but a painful one just the same. The bullet must have hit bone, because it deflected upon impact, missing Sid 6.7 entirely. The student drops to the escalator, screaming in pain. Sid 6.7 crouches beside him. SID 6.7. -LRB- yelling. -RRB- What's wrong, convict, your arms need adjusting? Or maybe it's your head. Maybe you are n't ready to be back out in the real world, yet. PARKER'S POV The top of Sid 6.7's head is exposed an inch, maybe two. PARKER fires again. Repeatedly. Moving closer and closer to the edge of the platform, trying to get a better angle while he still has a shot. Parker moves to the very edge of the platform. His arm extended out over it. Completely oblivious to THE SUBWAY TRAIN rocketing into the station toward the south - bound platform. MADISON leaps off the descending escalator on the south -- bound side and rushes to Parker. She pulls Parker back just before the train reaches him. Had his arm still been raised, Parker would have lost his arm a second time. They tumble to the floor. A PASSENGER rushes to Madison. PASSENGER # 1. -LRB- pointing to Parker. -RRB- Lady, you got ta stop him! He's gone crazy! PASSENGER # 2 He just shot an innocent bystander! MADISON. -LRB- forcefully to Parker. -RRB- What were you shooting at? Parker gets to his feet. Madison does n't take her eyes off him. PASSENGER # 1 He did -- -- I saw it! PASSENGER # 2 DO SOMETHING! PARKER. -LRB- to Madison. -RRB- Sid's getting away. He heads toward the up escalator. His back now to Madison. She aims her gun at him. MADISON Parker - -- stop! STOP! Do n't make me shoot you -- -- PARKER. -LRB- not looking back. -RRB- If you're gon na do it, better do it now. He keeps right on going up the escalator. MADISON lines up her shot. Hands shaking. With both fear and determination. Her finger presses down on the trigger. but she ca n't do it. MADISON Dammit! She chases after him.\",\n \"INTERIOR THE NORTH/SOUTH TUNNEL Madison looks in both directions as she gets off the escalator. Parker is nowhere to be seen. Moving toward her slowly is the wounded college student, who clutches his bleeding shoulder. He is shivering. Going into shock. Madison goes to him, taking off his headphones. MADISON Let me help you. He collapses in her arms. COLLEGE STUDENT. -LRB- delirious. -RRB- What did I do? I did n't do anything. Clearly versed in emergency medical treatment, Madison attends to his wound. Parker returns. PARKER. -LRB- breathlessly. -RRB- I lost him. COLLEGE STUDENT GET HIM AWAY FROM ME! GET HIM AWAY! MADISON. -LRB- furiously. -RRB- Call 9 - 1 - 1. Wait for me above ground. CUT TO:\",\n \"EXTERIOR OF THE SUBWAY STATION 30 minutes later. The chaos outside Dodger Stadium has subsided. Madison and two PARAMEDICS lead the bandaged College Student to an ambulance. Madison goes to Parker, who sits quietly by himself. Elbows on his knees. Head between his hands. Staring at the cement between his feet. MADISON. -LRB- angrily. -RRB- Do you have any idea the trauma you put that kid through?! Parker does n't respond. All around them, a cacophony of news broadcasts is heard. From passing cars. From boom boxes. From portable TVs. Over and over, you hear what Sid 6.7 had said while killing the woman in Dodger Stadium : SID 6.7. -LRB- V. 0. -RRB- -LRB- recorded. -RRB- Hey, Parker, this one's for you. Hey, Parker, this one's for you. As Parker raises his head slowly, you realize you are looking at the face of a wild animal. Eyes rabid. Jaw clenched. Pure anger. Violence about to erupt. Without fear. Without guilt. The beast within has been unleashed. PARKER. -LRB- in a whisper. -RRB- That's Grimes. Madison backs away in fear. Parker rises gradually. PARKER. -LRB- CONT'D. -RRB- -LRB- voice slowly rising. -RRB- The man who killed my wife. who killed my daughter. who ruined my life used to taunt me with that line. Parker advances toward Madison, who continues backing away. PARKER. -LRB- CONT'D. -RRB- -LRB- exploding. -RRB- Grimes is back! He's back! He's come back! MADISON. -LRB- standing her ground. -RRB- No! Grimes is n't back. He's only one part of Sid. Sid 6.7 is a hell of a lot worse than Grimes ever was. -LRB- a beat. -RRB- Get a hold of yourself! She tries to grab him by the shoulders. Parker blocks her arms away. PARKER. -LRB- going nose -- to -- nose. -RRB- But he's in there. And you knew it, did n't you? Did n't you?! She tries to back away, but backs herself against a light pole. Madison has nowhere to go. Parker grabs her by the collar, and shoves her against the pole. Hard. PARKER. -LRB- CONT'D. -RRB- -LRB- hysterical. -RRB- God, you fucking know - it - all! You've known all along and did n't PARKER. -LRB- CONT'D. -RRB- tell me! Why?! Were you afraid I'd lose it?! Go over the edge?! Huh?! Is that what you were afraid of?! WHY DID N'T YOU TELL ME?! A prison transport and another police vehicle pull up to them fast. Two of the Prison Guards met earlier jump out of the transport, advancing on Parker. Their weapons aimed at his head. GUARD Hands up! Now! Parker slowly raises his hands in the air. A Guard relieves him of his weapon. MADISON. -LRB- recovering. -RRB- What's going on? GUARD He's going back where he belongs. Deane and Cox step out of the police vehicle. DEANE. -LRB- to Madison. -RRB- You were right, Dr. Carter. Letting a lunatic like Barnes loose in the real world did pose an unacceptably dangerous risk to the public. -LRB- glancing at Cox. -RRB- I should have never tried to solve one problem by allowing the creation of another. -LRB- to Madison. -RRB- Chief Cox will give you a ride back to the station. You will provide him with any and all information you have developed thus far. -LRB- to Parker. -RRB- Enjoy the rest of your sentence, Mr. Barnes. She exits. Cox and Parker stand facing each other. Cox wishes there was something he could do. Parker looks completely out of it. Cox extends his hand. After a moment, Parker takes it. But his mind is way off elsewhere. GUARD. -LRB- forcefully to Parker. -RRB- Let's go. Madison looks on as Parker is herded roughly into the back of the prison transport. MADISON Parker. Parker shuts her up with a look. There is nothing that can be said. The prison transport doors are SLAMMED shut. The vehicle takes off. CUT TO:\",\n \"INTERIOR COX'S POLICE VEHICLE Cox and Madison head back toward L. A. P. D. Headquarters. They are in mid -- conversation : MADISON. -LRB- with regret. -RRB- I should have told him. COX Do n't blame yourself. In your shoes, I do n't think I would have told Parker, either. -LRB- a beat. -RRB- So do you think Grimes has become the dominant personality? MADISON I'm not sure. My guess is that's what Sid wants us to think. COX. -LRB- a beat. -RRB- You think he's smart? MADISON Captain, I'm afraid of how smart Sid 6.7 is. -LRB- a beat. -RRB- But I'm even more afraid of what's he's becoming. CUT TO: THE PRISON TRANSPORT comes to a stop at a traffic light.\",\n \"INTERIOR THE PRISON TRANSPORT -- REAR Parker sits alone in the darkness. Motionless. Until the sound of TWO GUNSHOTS piercing the transport's front windshield SHATTERS the silence. PARKER What the hell's going on?! He scrambles to the front of the compartment, pressing his face against the steel mesh of the four -- inch portal. HIS POV - LOOKING THROUGH PORTAL Two bullet holes are visible in the windshield. The two Prison Guards lie dead in their seats. Sid 6.7's eyes appear, looking directly at you. He's smiling. SID 6.7. -LRB- neighborly. -RRB- Hey, old buddy, old pal, good to see you again.\",\n \"INTERIOR THE PRISON TRANSPORT Parker goes absolutely berserk. Viciously punching the steel mesh which separates them until the synthetic skin on his knuckles is shredded. PARKER You. mother. fucker! I'M GOING TO KILL YOU! SID 6.7 Now, is that any way to talk to an old buddy? I mean, just because I'm carrying around the joy of killing your family inside me does n't mean we ca n't be friends. PARKER GRIMES, YOU'RE DEAD! He savagely hurls himself against his confines. Bone vs. metal. Do n't try this at home. SID 6.7 I'm sorry, the party you're trying to reach is not answering. Is there anyone else you would like to talk to? PARKER DEAD! YOU HEAR ME? SID 6.7. -LRB- a beat. -RRB- You really are pathetic, you know that? Mathew Grimes is only one letter in my alphabet. He is nothing compared to me. Parker is completely spent. Mentally and physically. He slumps in a corner. Out of breath. Bleeding. Sore. All he can do is stare out through the portal's mesh at Sid 6.7. SID 6.7. -LRB- CONT'D. -RRB- You could say thank -- you, you know? I'm giving you your freedom, short -- lived though it may be. -LRB- a beat. -RRB- A little known fact about the locater implants prison inmates now receive upon release is that they contain a pinhead capsule of neural toxin. The satellite they use to track you can also trigger release of the toxin with microwaves. After transmission, the implant's host dies within 30 seconds. -LRB- a beat. -RRB- It wo n't take long for them to get your termination authorized once they learn of your escape. Now who would you rather go after, killer, them or me? He releases the rear door lock. ON THE STREET Parker bursts out of the back of the Prison Transport, charging after Sid 6.7. Who is nowhere to be seen. Parker runs in one direction. Then the other. And changes his mind again. He literally does not know which way to turn. PARKER Shit! CUT TO:\",\n \"INTERIOR A CONFERENCE ROOM IN L. A. P. D. HEADQUARTERS An AIDE rushes through the door to Cox, who's briefing Deane and Wallace on what he has learned. AIDE Parker Barnes just escaped from the prison transport. Both of the guards are dead. The Aide exits. COX. -LRB- to Deane. -RRB- Barnes would n't kill two innocent guards. DEANE He would slaughter eight people sitting in a room, but not two prison guards? COX Do I need to remind you what happened to his wife? To his daughter? -LRB- with conviction. -RRB- I will stake my reputation that Barnes did n't kill those guards. DEANE You already have staked your reputation. -LRB- a beat. -RRB- Mayor Bennett and I have been friends a long time. Since Grimes tried to kill him, it does n't take a rocket scientist to come to the conclusion that Sid 6.7 might go after him, too. -LRB- a beat. -RRB- Bennett's Re - Election Rally is tomorrow night and we already have enough trouble on our hands with one psychotic on the loose. -LRB- to Wallace. -RRB- The fail - safe on -- line, yet? WALLACE On -- line and at your disposal. COX. -LRB- to Deane. -RRB- What fail -- safe? DEANE. -LRB- approaching Wallace. -RRB- This had better work, Mr. Wallace. Wallace exits the room. Cox has no idea what is going on. And Deane is not about to tell him. CUT TO:\",\n \"INTERIOR MADISON'S BEDROOM Madison enters wearily, late afternoon. Exhausted from the events of the last two days, she starts to undress. Her clothing is filthy. So is her skin. She could use a good shower, and a better massage. Madison examines the various cuts and bruises she's received along the way. Not exactly war wounds, but to somebody used to sitting behind a desk, they are. She absentmindedly turns on the television, then goes into her bathroom. Madison looks at her face in the mirror. She's looked better. After splashing cold water on her face, she comes to the same conclusion. Madison takes two aspirin. And then two more. Wishing they would take effect immediately. Finally hearing the news on the TV, her entire demeanor changes instantly. Madison rushes in front of the television to see a report of Parker's escape from the prison transport. MADISON Oh, shit! Grabbing a handful of clothes, she bolts urgently out the door. CUT TO: MADISON speeding recklessly through city streets in her car. She does n't stop for red lights. Not for grid - lock. Not for nothing. She is also still finishing getting dressed. CUT TO:\",\n \"EXTERIOR L. A. P. D. HEADQUARTERS Ignoring the warnings of several COPS walking toward their vehicles, Madison speeds toward the front entrance. She barely stops in time. SCREEEECH!\",\n \"INTERIOR L. A. P. D. HEADQUARTERS Madison races through the bustling facility. Looking for somebody. She finally finds Cox coming out of his office. MADISON. -LRB- urgently. -RRB- There is no way Parker killed those guards. No way. COX I think we both know who did. -LRB- a beat. -RRB- What's so urgent? MADISON I need your help - Taking him by the arm, she leads him into an elevator going down just before its doors close.\",\n \"INTERIOR THE ELEVATOR The look on Cox's face tells you Madison has explained the situation to him. He is furious. COX Why did n't anybody tell me?! MADISON I do n't set policy. -LRB- a beat. -RRB- You have the key? He takes a security key out of his pocket and uses it to gain access to a subterranean floor. COX. -LRB- angrily. -RRB- This is a police department. I'll be damned if this is going to go on without my knowledge. They exit quickly. Cox leads Madison\",\n \"INTERIOR A POWER SUPPLY ROOM Cox leads in Madison and takes her to the subterranean power supply. He points to the floor's numerous circuit breakers. COX Give me 30 seconds, then flip every switch you can reach. MADISON Got it.\",\n \"INTERIOR THE LOCATER TRANSMISSION ROOM The room is still under construction. Wallace stands behind a TECHNICIAN sitting at a console in front of a massive electronic map tracking several convicts, including Parker. The technician is typing in an elaborate termination code. TECHNICIAN Who are we going to fry? WALLACE Just an unrepentant criminal who is apparently going to die from a previously undiagnosed brain tumor. Cox enters, concerning Wallace. WALLACE. -LRB- CONT'D. -RRB- What are you doing here, sir? COX Just paying my last respects. He surveys the electronic map, locating Parker. Just as the lights go BLACK. Wallace and the technician immediately panic. WALLACE What happened?! TECHNICIAN I do n't know. We've lost all power! COX The heat's been causing brown out's all over the city. Get above ground until it's restored. Wallace and the technician rush out of the room, up the emergency stairs. Cox sets to work ripping out the console's circuitry. By the time he's finished, the equipment in here wo n't be able to toast a piece of bread. CUT TO: A TOMBSTONE which reads : LINDA DAVIS BARNES. -LRB- 1961 -- 1992 -RRB- and CHRISTINE MARY BARNES. -LRB- 1987 - 1992 -RRB-. Parker kneels in front of it. Magic hour. Madison, and Cox wind their way to him through obstacle course of tombstones. Parker stands as they arrive. He is wiped out. There is no emotion left in him. MADISON We know you did n't kill those guards. PARKER They're going to fry me for it, anyway. COX Nobody's going to fry anybody. He approaches, holding the Circuits he ripped out of the Locator Transmission Room. COX. -LRB- re : circuits. -RRB- Do n't worry, they have no idea where you are. PARKER You son -- of -- a -- bitch. How could you let them put the implant in my head? How? MADISON He did n't know about the neural toxin. -LRB- a beat. -RRB- I did. PARKER. -LRB- matter - of - factly. -RRB- You knew the entire time? Can you give me one good reason why I should n't kill you right now? COX She saved your life, Parker. She did n't have to, but she did. PARKER. -LRB- turning to Madison. -RRB- Then I guess we're even. MADISON. -LRB- a beat. -RRB- How did you find out about the toxin? PARKER Sid 6.7 told me after he killed the two guards. He suggested I kill you rather than him. MADISON You're not capable of it. PARKER I pose an unacceptable danger to the public, remember? MADISON I was wrong. -LRB- a beat. -RRB- And I was wrong not to tell you Grimes was part of Sid. I should have told you. I wo n't make the same mistake again. She means it. Parker turns away, looking at his wife's headstone. COX The son -- of -- a - bitch is still out there, Parker. Parker turns toward him slowly. Emotion beginning to return to his face. PARKER. -LRB- a beat. -RRB- When this is over, will you get this goddam thing out of my head? COX On my life, I promise you I will. PARKER If you're lying, I'll hunt you down and kill you myself. CUT TO:\",\n \"EXTERIOR A CONSTRUCTION SIGHT 6 PM. The human FOREMAN presses a remote control detonator. BOOM! An explosion occurs inside a building's foundation. -LRB- STOCK FOOTAGE -RRB-. The building is levelled instantly. Sid 6.7, who's been watching the explosion, approaches the Foreman. SID 6.7. -LRB- applauding. -RRB- Bravo. FOREMAN Who the hell are you? SID 6.7 Someone who appreciates the artistic value of high -- explosives. He shoots the Foreman in the chest. Sid 6.7 relieves him of his keys and heads to an explosives storage shed. CUT TO: SID 6.7 carrying a crate of C - 4 high - explosives out of the shed in the construction sight minutes later. He adds it to the dozen crates already loaded in a truck. And takes off. CUT TO:\",\n \"INTERIOR A LARGE SEWER PIPE Sid 6.7 secures several crates of C -- 4 to an automated sewer cleaning vehicle. He schedules its start time -- -- 24 hours from now. It is now 7:45 PM. The bomb's TIMER is set to detonate 15 minutes into the vehicle's journey - at 8:00 PM tomorrow night. SID 6.7. -LRB- admiring his work. -RRB- You think you know me, but you do n't have any idea who I really am. CUT TO:\",\n \"EXTERIOR THE BILTMORE HOTEL sight of Mayor Bennett's upcoming Re - Election Rally, Cox supervises an army of L. A. P. D. officers who are securing the area. Bomb -- sniffing dogs. Rooftop snipers. Helicopter surveillance. Nothing is being left to chance. Anyone doing anything within 100 yards of the building is searched, including the REPORTERS and their CAMERA CREWS covering the convention's security. PARKER AND MADISON survey the scene with binoculars from amid a crowd of pedestrians two blocks away. Both are disguised in hats and different clothing. You do n't immediately recognize them. MADISON The rally's a little obvious as a target, do n't you think? PARKER I told you before, Grimes liked to be obvious. MADISON Sid 6.7 is n't Grimes. PARKER Part of him is. Various faces in the crowd on the sidewalk. In the vehicles passing on the street. On the bridge crossing the street down the block further away from the hotel. MADISON. -LRB- V. 0. -RRB- If we find Sid, Lindenmeyer wo n't be far behind. PARKER. -LRB- V. 0. -RRB- Think he's keeping track of his creation? MADISON. -LRB- V. 0. -RRB- That, or living through him. PARKER puts down his binoculars. Madison does not. PARKER See something? MADISON I'm not sure. on the bridge. the guy at the payphone. She points to what she's looking at. Looking through his binoculars, he still ca n't see what she means. She helps him aim his binoculars. PARKER'S POV - THROUGH BINOCULARS He scans the bridge. Finally settling on Sid 6.7, who is talking on a payphone. ON THE STREET Parker looks up from his binoculars. Impressed. PARKER Nice work. MADISON. -LRB- a beat. -RRB- Thanks. They move briskly down the block toward the bridge. Quickly climbing a set of stairs. ON A ROOFTOP Parker and Madison's movement catches the attention of several snipers. SNIPER # 1 Well, look who we have here. SNIPER # 2. -LRB- into radio. -RRB- Parker Barnes is heading south toward the bridge. If anybody can get a clean shot at him, take it. COX hears the order over his radio headset. He races toward the bridge. As do a dozen other cops. ON THE BRIDGE Sid 6.7 talks into the payphone. SID 6.7 Be a reporter -- -- figure it out for yourself. All I'm going to tell you is that at 8:00 tomorrow night, I will become legendary. PARKER AND MADISON reach the top of the stairs. Sid 6.7 remains on the phone, his back toward Parker and Madison. They split - up, winding their way through the crowd waiting for an arriving bus. As the bus pulls to the stop, the awaiting passengers move toward the opening doors. Obscuring Parker's view of the payphone. Parker shoves his way through the crowd, only to see Sid 6.7 holding Madison in front of him, his gun to her head. Parker trains his weapon at Sid 6.7. He does n't have a clean shot. SID 6.7. -LRB- to Parker. -RRB- Brings back memories, does n't it? THROUGH A SNIPER'S RIFLE SCOPE Parker's chest is put into the cross - hairs as the bus pulls away from the stop. He is focused on Parker, and Parker only. THE SNIPER is some 300 yards away on a rooftop. His rifle is mounted on a tripod. His aim is perfectly steady. SNIPER. -LRB- into his radio headset. -RRB- Say good -- bye, Parker Barnes. Parker stands frozen, staring at Sid 6.7 through his gun sight. Looking for just an inch of him to stick out from behind Madison's terrified face. SID 6.7. -LRB- to Parker. -RRB- I would n't pull the trigger if I were you -- -- PARKER Why's that? Cox advances toward Sid 6.7 from the side of the bridge. Cox's gun out and ready. His finger on the trigger. COX Hey, Sid, what were you planning on doing with the C - 4? Sid 6.7 turns his head in surprise toward Cox as a rifle is FIRED in the distance. Cox steps directly in the sniper's line - of - fire and takes the bullet meant for Parker through the chest. Cox drops to the bridge. PARKER NOOOOOO! He rushes to Cox. Parker drops to his knees, cradling Cox's head. Cox is n't long for this earth. Looking up to Parker, he tries to talk. But nothing comes out. PARKER. -LRB- CONT'D. -RRB- -LRB- compassionately. -RRB- Do n't worry, I know. I know. Cox's eyes roll back in his head. Parker then closes them and gently lays his head on the sidewalk. Parker turns his head toward Sid 6.7, who's released Madison and is jumping over a railing to the street 20 feet below. Parker rushes to the railing. HIS POV Sid 6.7 lands on top of a garbage truck passing beneath the bridge. The garbage truck disappears beneath the bridge. ON THE BRIDGE A dozen cops advance toward Parker. Weapons drawn. COP # 4 Freeze! Parker ignores them. He bolts across the street, moving in the same direction as the bus below. Through speeding traffic. Bullets fly. Parker keeps charging. Right in front of a moving van barreling across the bridge. The cops lose sight of Parker. COP # 5 Think he made it? ON THE OTHER SIDE OF THE BRIDGE Parker dives onto the sidewalk, avoiding the speeding van by inches. Getting to his feet, he launches himself up and over the railing. ON THE STREET The garbage truck passes beneath Parker as he leaps from the bridge. ON TOP OF THE GARBAGE TRUCK Parker lands on the back of the truck. Right next the opening and - closing steel jaws of the truck's massive trash compactor. His gun tumbles from his hand, falling to the street. Sid 6.7 dives on top of Parker, putting him flat on his stomach. And his face against the steel teeth. Sid 6.7 chokes Parker. Hard. SID 6.7 I have to tell you, I do enjoy you, Parker. I really do n't want to have to kill you. The sanitation worker at the wheel of the truck has no idea whatsoever what is happening on top of his truck. CUT TO: THE DOZEN OF COPS who had been on the bridge, charging down the steps after the garbage truck, which can no longer be seen. Madison walks calmly behind them. Scanning the crowd. Looking for Lindenmeyer. Her every instinct telling her he's here. He must be. She spots him. Veering from the direction the cops headed in, Madison casually wades into the crowd. She takes out her weapon and stops behind Lindenmeyer. Even in disguise, he looks familiar. Madison puts her gun against his back. MADISON. -LRB- whispering into his ear. -RRB- I figured you'd show up sooner or later. CUT TO: ON TOP OF THE GARBAGE TRUCK Parker and Sid 6.7 continue battling next to the compactor's lethal jaws. The machine makes an awful, grinding sound. Not unlike the sounds Parker and Sid 6.7 are making. The fight is primal. Savage. And moving at 30 miles - per - hour. PARKER What C - 4. was Cox talking about? SID 6.7 Let me put it to you this way. whether I'm here. or whether I'm not. I'm leaving an indelible mark on the world tomorrow night. PARKER Where did you plant the C - 4?! He should concentrate more on fighting, and less on asking questions, because he's losing. Parker takes a wicked shot to the face, and then the groin. Sid 6.7 holds Parker's head between the compactor's jaws. Which are closing. With every last ounce of effort he has, Parker hurls his legs up into Sid 6.7. Which throws Sid 6.7 into the compactor. The steel jaws immediately close in on Sid 6.7, who frantically tries to climb out. He gets his hands out. Then his head. But that's about it. Without emphasizing graphic detail, Sid 6.7 is decapitated. His lifeless body drops back into the compactor. His head tumbles to the street. The force of the impact causes the Sid 6.7 character module to separate from the neural net. The character module scatters into the street. Parker immediately jumps off the truck after it. ON THE STREET Parker's landing is n't pretty. Finally getting to his feet, he sees the Sid 6.7 character module is about to be run over. Parker dives for it, nearly getting run over himself. The approaching car SCREECHES to a halt next to him. It's driven by Lindenmeyer. At gunpoint. Madison sits behind him, her gun to his head. WHAM! The car behind them obviously was n't prepared to stop so quickly. The bumpers of the two cars are now intertwined. Neither vehicle will be going anywhere soon. Madison pulls Lindenmeyer roughly out of the car. She drags him to Parker, who is still on his knees, clutching the Sid 6.7 character module. SIRENS approach in the distance. MADISON. -LRB- to Parker. -RRB- Find out anything? PARKER A bomb's going off tomorrow night, but I have no idea where. LINDENMEYER. -LRB- a beat. -RRB- There is only one way to get any more information out of Sid 6.7. They scan the area for a new mode of transport. And find one stopped at a dumpster down the block : the garbage truck.\",\n \"EXTERIOR THE GARBAGE TRUCK Parker quickly explains the situation to the sanitation worker while Madison motions Lindenmeyer into the cab with her gun. As Parker climbs up to her, Madison shuts the door to give them a moment of privacy. MADISON Can I ask you something? PARKER. -LRB- with a smile. -RRB- You mean there's something you have n't asked me? MADISON. -LRB- a beat. -RRB- You've already fulfilled the terms of your pardon. You stopped Sid 6.7 and you've got his module. You're free to go -- -- right now. -LRB- a beat. -RRB- Why are you going to do this? PARKER You do n't know? MADISON. -LRB- shaking her head. -RRB- That's why I'm asking. PARKER Because this pain -- in -- the -- ass criminal psychology expert has helped me understand what I'm capable of. And what I'm not. -LRB- a beat. -RRB- And better than anyone else, I am capable of stopping Sid 6.7. CUT TO: ON TOP OF THE GARBAGE TRUCK Parker lands on the back of the truck. Right next the opening -- and -- closing steel jaws of the truck's massive trash compactor. His gun tumbles from his hand, falling to the street. This sequence is IDENTICAL to the one you previously witnessed. It is as if we've jumped back in time. Sid 6.7 dives on top of Parker, putting him flat on his stomach. And his face against the steel teeth. Sid 6.7 chokes Parker. Hard. SID 6.7 I have to tell you, I do enjoy you, Parker. I really do n't want to have to kill you. The sanitation worker at the wheel of the truck has no idea whatsoever what is happening on top of his truck. Parker and Sid 6.7 battle next to the compactor's lethal jaws. The machine makes an awful, grinding sound. Not unlike the sounds Parker and Sid 6.7 are making. The fight is primal. Savage. And moving at 30 miles - per -- hour. PARKER What C - 4. was Cox talking about? SID 6.7 Let me put it to you this way. whether I'm here. or whether I'm not. I'm leaving an indelible mark on the world tomorrow night. PARKER Where did you plant the C - 4?! He should concentrate more on fighting, and less on asking questions, because he's losing. Parker takes a wicked shot to the face, and but then blocks the anticipated shot to his gun. Sid 6.7 still manages to put Parker's head between the compactor's jaws. Which are closing. With every last ounce of effort he has, Parker hurls his legs up into Sid 6.7. Which throws Sid 6.7 into the compactor. Sid 6.7 frantically tries to climb out of the compactor as the steel jaws close in on him. He gets his hands out. Then his head. Except Parker now does something different. Just before Sid 6.7 is decapitated, Parker jams a metal rod between the compactor's steel teeth. Then grabs Sid 6.7 by the throat. PARKER. -LRB- fiercely. -RRB- You ca n't die until you tell me where the C - 4 is. Where is it?! SID 6.7. -LRB- choking. -RRB- My. secret. He SLAMS the back of his head into Parker's nose. Breaking it. Parker reels back in pain. Sid 6.7 squeezes out from within the steel teeth. The jagged metal cutting into him, striping him with blood. The blood then begins to retract. Sid 6.7's wounds, once again, heal themselves. SID 6.7. -LRB- CONT'D. -RRB- Too bad you ca n't regenerate. As the truck slows at an intersection, he jumps to the street. Parker goes after him. Still in excruciating pain. WE PULL BACK TO REVEAL what you are seeing is ON A MONITOR The scene continues seamlessly. As you may now be guessing, the monitor is connected to the simulator\",\n \"INTERIOR LINDENMEYER'S STATION IN LETAC Parker lies unconscious on a bed. He is connected to the simulator via the neural connectors in the polyurethane skull cap, just like he was before. The Sid 6.7 character module is plugged into the system's main console. Lindenmeyer sits at the controls. Madison next to him, her gun aimed at Lindenmeyer's head. They are both watching Parker chase Sid 6.7 on the monitor in front of them. Parker continues experiencing intolerable pain. A clock reads 4:00 AM. They are the only ones inside the entire facility. LINDENMEYER I told you this would work. By setting back the clocks, he has absolutely no idea he's in virtual reality. He still thinks he's in the real world. MADISON. -LRB- a beat. -RRB- What's wrong with Parker? LINDENMEYER. -LRB- innocently. -RRB- How should I know? MADISON. -LRB- getting an idea. -RRB- Show me his physical sensory level. She clicks back the hammer of her gun and presses the barrel against Lindenmeyer's ear. He does as told. On a panel by the console, you read : PARTICIPANT PHYSICAL SENSORY LEVEL : 670 %. LINDENMEYER I wonder how that. MADISON. -LRB- CONT'D. -RRB- Turn it down! Lindenmeyer adjusts the sensory level back down to 100 %. ON A MONITOR Parker immediately returns back to normal. His pace picks up. He starts closing the gap between him and Sid 6.7 as he races into a shopping mall. CUT TO:\",\n \"INTERIOR THE SHOPPING MALL The place is a seven -- story mecca of shopping. An atrium allows you to look from the ground floor up to the seventh. Sid 6.7 rushes up the escalators. Going up to the second floor. Then the third. Parker follows suit climbing escalator after escalator. Throwing people out of his way. ON THE SEVENTH FLOOR which is also the highest, Sid 6.7 veers out of view. Parker races up the final steps to the seventh floor. Sid 6.7 is nowhere to be seen. Parker searches methodically. Efficiently. He finally spots Sid 6.7. Who has Parker's head lined - up perfectly in his gun sight. Parker is a sitting duck. BOOM! Parker dives behind AFFLUENT SHOPPER 2.1, who takes a bullet in his ascot. Parker quickly grabs him, and uses his body as a shield against Sid 6.7's constant gunfire until Parker arrives behind a marble column. SID 6.7. -LRB- surprised at Parker's ruthlessness. -RRB- We really are n't that different, are we? What he can not see is that behind the column, Affluent Shopper 2.1 is Auto Resetting. Parker puts his gun to the shopper's head. PARKER. -LRB- whispering. -RRB- Do n't move, and do n't make a sound. Got it? Affluent Shopper 2.1 nods his head repeatedly. Parker collects himself behind the column, then pivots out from behind it. Firing in Sid 6.7's direction. Each bullet finds its mark. Absorbing the blows, Sid 6.7 backs up against the atrium railing. Taking one final shot, he falls backward. Over the railing. PARKER'S POV Sid 6.7 tumbles through the atrium. Out of control. Speeding toward the ground seven floors below. SID 6.7'S POV The sense of momentum is exhilarating. And terrifying. If you get dizzy easily, close your eyes. FROM THE FIRST FLOOR Sid 6.7 falls through the atrium like a rock directly at you. A 200 pound rock. WHAM! He lands face down in the marble floor. The impact is bone -- crushing. Sid 6.7 does not move. Until he begins to regenerate. His fluids begin returning to his body. His bones regaining proper form. Within seconds, his body appears as good as new. -LRB- Technically, because this is VR1 the proper term would be Auto. Reset. But since Sid 6.7 thinks he's in the real world, regenerating is what he thinks he's doing. -RRB- Sid 6.7 stands, dusting himself off. SID 6.7 Man, what a rush. -LRB- yelling up to Parker. -RRB- Adios, amigo! Grabbing his gun, he takes off out of the lobby. ON THE SEVENTH FLOOR Parker retrieves his gun, then bolts down the escalators. CUT TO:\",\n \"INTERIOR LETAC Madison and Lindenmeyer watch Parker on screen. Madison still has her gun trained on Lindenmeyer, who notices a WARNING LIGHT start to flash. He turns to Parker's unconscious body lying on the bed. Lindenmeyer looks concerned. MADISON What's wrong? Lindenmeyer checks several readings on his console. LINDENMEYER He's developing a hemisphere imbalance. MADISON Talk so I can understand. LINDENMEYER If I do n't adjust the level of neural information each side of his brain is receiving, he wo n't be able to walk when I take him out of VR. MADISON Then fix it. As Lindenmeyer moves to Parker, Madison stays right with him. Her gun aimed at Lindenmeyer's head. Lindenmeyer carefully removes one of the neural connectors from Parker's skull cap. Before removing another, he looks for a safe place to put the connector. LINDENMEYER I need you to hold this. It ca n't get any dirt on it. Madison is reluctant, but does n't know what else to do. Lindenmeyer slowly gives the neural connector to her free hand. LINDENMEYER. -LRB- CONT' D. -RRB- All you have to do is hold the needle at the base. Just make sure not to jab yourself with the point. She clutches the needle in her left hand while aiming her gun with her right. Lindenmeyer removes a second neural connector from Parker's skull. Holding this second needle at the base, Lindenmeyer makes several adjustments on the neural management computer, then moves slowly back to Madison. LINDENMEYER. -LRB- CONT'D. -RRB- Hand me the connector nice and. He suddenly jabs his neural connector into Madison's right forearm. Madison has no time to react. 10,000 volts of electricity instantly courses through her body. Madison drops to the floor, unconscious. The needle she had been holding falls from her grasp, breaking the circuit. She stops being electrocuted. Which saves her life. LINDENMEYER. -LRB- CONT' D. -RRB- -LRB- as Sid 6.7 had said. -RRB- God, some people are stupid. He sits back down at the simulator's main console, and starts to type commands. On the monitor, Parker is visible exiting the shopping mall. CUT TO:\",\n \"EXTERIOR THE SHOPPING MALL Parker races out the door. BOOM! That was left knee cap. He tumbles to the street. His gun flying from his hand. Parker crawls desperately toward his weapon. But not fast enough. Sid 6.7 arrives at the weapon first. SID 6.7 So close, and yet, so far. He kicks the weapon down the sidewalk, then points his gun at Parker's head. SID 6.7. -LRB- CONT'D. -RRB- It's really too bad you have to miss the Grand Finale. PARKER I thought you liked me being in the audience. Do n't you want me to see it? Sid 6.7 pauses to think about it. SID 6.7. -LRB- considering the idea. -RRB- You know, I do want you to see it. He shoots Parker in his other knee cap, rendering both of his legs useless. SID 6.7. -LRB- CONT'D. -RRB- I want you to have a bird's eye view.\",\n \"EXTERIOR THE NEWLY-CONSTRUCTED HOLLYWOOD TOWER A 67 story monument to engineering brilliance in this land of earthquakes. 6:30 PM. ON THE ROOF OF THE HOLLYWOOD TOWER The view is incredible. You can see from the Pacific to downtown. From LAX to the Hollywood Bowl. Smog must be getting better in the near future. Sid 6.7 ties Parker to a chair at the roof's very edge. He is facing downtown. Including the Biltmore Hotel, the location of Mayor Bennett's Re -- Election Rally. SID 6.7 There you go -- -- best seat in the house. PARKER. -LRB- with some surprise. -RRB- You are going after Mayor Bennett. SID 6.7 Let's just say I'm sending a very clear message to his Re -- Election Rally. He walks toward an open stairway door behind them. PARKER Are n't you going to watch with me? SID 6.7 I've got some final preparations to take care of -- -- Checking his watch, he stops suddenly. ON HIS WATCH Time is moving backwards. Literally. ON THE ROOF OF THE HOLLYWOOD TOWER Sid 6.7 pauses, then goes over to Parker and checks his watch. It is also moving backwards. A smile of realization spreads slowly across Sid 6.7's face as he admires the beautiful sky above him. SID 6.7. -LRB- as if to God. -RRB- Thank - you, Daryl. -LRB- turning to Parker. -RRB- You had me going for quite a while there, sport. PARKER What are you talking about? SID 6.7 I really did think I was still in reality. At least, until now. -LRB- looking upward. -RRB- Beam me up, Scotty! His body DISINTEGRATES before your eyes. It's electronic particles form into an amorphous cloud. Which disappears from view. PARKER. -LRB- yelling. -RRB- Madison, get me out of here! MADISON! Lindenmeyer watches Parker scream on the monitor. Madison remains unconscious on the floor behind him. LINDENMEYER. -LRB- to the monitor. -RRB- She's taking a nap at the moment. He types a set of instructions into the console and hits ENTER. LINDENMEYER. -LRB- CONT' D. -RRB- But do n't worry. You wo n't be alone for very long. Fairly soon, you'll be dead. He removes the Sid 6.7 character module from its slot and exits the station. ON THE ROOF OF THE HOLLYWOOD TOWER One side of Parker's chair gradually starts to rise. Parker looks down to see the roof surrealistically swelling beneath his chair. This could only happen in virtual reality. In a matter of minutes, he is going to be thrown over the roof's edge. The next stop is 693 feet down.\",\n \"INTERIOR LETAC Parker's screams for help ECHO throughout the facility. But there is no one there to hear him. CUT TO:\",\n \"EXTERIOR LETAC The garbage truck is parked in a loading dock. Lindenmeyer climbs awkwardly onto the truck, then into the compactor.\",\n \"INTERIOR THE GARBAGE TRUCK COMPACTOR Lindenmeyer wades through trash until he comes upon Sid 6.7's headless body. The polymer neural net visible within its neck. Lindenmeyer inserts Sid 6.7's character module into its gelatinous base. But nothing happens. LINDENMEYER Come on, live. Live! The synthetic nervous system begins to crackle with life. Growing around the module. Forming the beginnings of a new head. Literally. CUT TO: PARKER sitting precariously on the increasingly - uneven roof of the Hollywood Tower in virtual reality. Unable to break free of his binds, he rocks the chair onto its side. He and the chair fall to the roof, which will keep him from falling to his death for another minute, if he's lucky. PARKER MADISON!\",\n \"INTERIOR LINDENMEYER'S STATION Madison, still unconscious on the floor, finally stirs. Maybe Parker's screaming is finally reaching her. Or at least, starting to. CUT TO:\",\n \"INTERIOR THE GARBAGE TRUCK COMPACTOR Lindenmeyer looks on with awe as Sid 6.7 grows a new head right before your eyes. You've never seen anything like it. Sid 6.7's resulting head is slightly off center. His skin tone is n't perfect, nor is his color, but at least its functional. Sid 6.7 admires himself in a broken mirror. SID 6.7 I am beautiful, are n't I? LINDENMEYER Of course you are. Sid 6.7 wades through the trash toward Lindenmeyer. SID 6.7 How can I ever thank -- you for bringing me back to life a second time, Daryl? LINDENMEYER Help me get out of here. SID 6.7 Glad to. He reaches out to give Lindenmeyer a hand, then grabs him by the throat. Choking him. Lindenmeyer ca n't believe what is happening. LINDENMEYER. -LRB- gagging. -RRB- What. are you doing?! Sid 6.7 takes Lindenmeyer's face gently in his hands. SID 6.7 You made me a composite of 183 of the most vicious people who ever lived. -LRB- a beat. -RRB- What do you think I'm doing? LINDENMEYER I'm begging you. please do n't kill me! Please! SID 6.7. -LRB- reassuringly. -RRB- Do n't worry. Through me, you will live forever. As Lindenmeyer begins to scream, we CUT TO: PARKER hanging on by his fingertips to the bulbous roof of the Hollywood Tower. He's going to fall at any second. CUT TO: MADISON'S BLURRY POV of someone entering Lindenmeyer's station in LETAC. You ca n't tell who it is, at first. But you can see the person is male. And wearing Lindenmeyer's pants. You now see the person is Sid 6.7.\",\n \"INTERIOR LINDENMEYER'S STATION Madison forces herself into consciousness. - Or as close to it as she can get. Her expression is one of complete and utter terror. SID 6.7 Dr. Carter -- -- I've been hoping we'd get a moment together. Mustering her strength, she manages to crawl behind several of the computers which make up the simulator. Sid 6.7 advances calmly toward her. SID 6.7. -LRB- CONT'D. -RRB- You know so much about me, I was hoping to learn a little bit about you. You see, I'm doing research, too. He looks behind the computers where you last saw Madison. She is no longer there. Sid 6.7 begins searching for her. He passes a virtual reality monitor on which Parker can be seen clinging for life. SID 6.7. -LRB- CONT'D. -RRB- -LRB- to the monitor. -RRB- Hang in there, Parker. On the monitor, Parker looks all around him, trying to determine the voice's origin. Madison crawls out of Lindenmeyer's station. Sid 6.7 just catches sight of her, and goes after her.\",\n \"INTERIOR LETAC Madison crawls into a darkened engineer's station and hides. She is still very dizzy. And trying to keep the sound of her breathing to a minimum. Sid 6.7 enters quietly. A hunter on the prowl. Moving very slowly. Then lunging very swiftly. He continues the hunt. If Madison is discovered, she does n't have a prayer. Her heart pounds. Her forehead perspires. Sid 6.7 is getting closer. Sid 6.7 checks inside closets. Cabinets. Anywhere large enough for a human being to fit. He is practically standing over her. Looking. Listening. SID 6.7 How does it feel to know you're going to die? What are you thinking about? Lights in the building suddenly come on. Several engineers can be heard entering. It's 8 AM -- -- the start of a new day. The facility is quickly becoming populated. After giving one last look around, Sid 6.7 reluctantly gives up the hunt, and exits. Madison does not move until she is certain Sid 6.7 has left the building. PARKER. -LRB- 0. S. -RRB- SOMEBODY HELP! Madison scrambles out of her hiding place. CUT TO: PARKER finally losing his grip on the roof of the Hollywood Tower in virtual reality. He plummets with accelerating speed. Madison bursts through the partition around Lindenmeyer's station. Sacrificing her body. Without regard for pain. Parker tumbles toward the sidewalk 67 stories below. The speed is terrifying. Madison leaps over a table. Diving for the simulator's RETURN button. Parker falls faster. And faster. The street just beneath him. The instant before he slams into the street, his body DE MATERIALIZES.\",\n \"INTERIOR LINDENMEYER'S STATION Madison keeps pressing the return button over and over, making sure it worked. Parker's eyes flutter as he returns to consciousness. Madison rushes to him. MADISON You okay? PARKER. -LRB- shaking out the cobwebs. -RRB- . I think so. You? MADISON. -LRB- looking over her bruises. -RRB- More or less. PARKER Lindenmeyer? MADISON My guess is dead. PARKER Sid? MADISON I do n't know. Several engineers peek in curiously at them. MADISON. -LRB- CONT'D. -RRB- Let's get out of here. She helps Parker to his feet. CUT TO: PARKER AND MADISON at a payphone outside a mini -- mall. Could be any one of the 10,000 in Los Angeles. It's late morning. PARKER. -LRB- on the phone. -RRB- Elizabeth Deane, please. Tell her it's Parker Barnes. INTERCUT WITH:\",\n \"INTERIOR COX'S OFFICE Elizabeth Deane picks up the phone. DEANE Barnes, where the hell have you been?! PARKER Trying to find out where the bomb is. Where the hell have you been? DEANE What did you find out? PARKER Call off the manhunt looking for me. I did n't kill the transport guards. DEANE It's already been called off. Witnesses confirmed you were n't the shooter. -LRB- a beat. -RRB- Did you find out where the bomb is? PARKER No, but I've confirmed the reelection rally is the target. -LRB- a beat. -RRB- How much C - 4 is missing? DEANE Enough to level an entire city block. PARKER If I were you, I'd get every demolition team in the city searching in and around the Biltmore Hotel. DEANE. -LRB- with frustration. -RRB- Demolition teams have searched everywhere in and around the hotel. I do n't know where. PARKER. -LRB- interrupting. -RRB- Sid is smart enough to know you'd check everywhere in the immediate area. Whatever the device is, he's probably got it timed to move into position just before it detonates. -LRB- a beat. -RRB- Have the demo teams check every subway tunnel, water pipe, gas pipe, and sewer pipe that goes under, over, or into the arena. DEANE You know how much man power you're talking about? PARKER You're the highest law enforcement official in the country. Use the fucking army if you need to. He hangs up the phone. CUT TO: DOZENS OF DEMOLITIONS TEAMS checking every subway tunnel, water pipe, gas pipe, and sewer pipe that goes under, over, or into Dallas Arena. The effort is massive. Intensive. The clock is ticking. 6:00 and counting. CUT TO:\",\n \"INTERIOR THE BILTMORE HOTEL, MAIN LOBBY The area has been converted into a security checkpoint. Entrants are carefully scanned one -- by -- one. WE HEAR the rally OFF SCREEN. CUT TO:\",\n \"EXTERIOR BILTMORE HOTEL Security is on extreme alert. Tension is very high. It's 7:00. Parker, Madison, and Deane look on, anxiously. They listen to a RADIO SCANNER monitoring the conversations between the demolitions teams. DEANE. -LRB- to Parker. -RRB- This better not be a wild goose chase. PARKER Or what, you'll authorize my death a second time today? DEANE. -LRB- sharply. -RRB- Do n't forget, convict, if this psycho is n't stopped, you go right back to rotting in a prison cell. MADISON Give him a break, would you? MALE VOICE. -LRB- from scanner. -RRB- This is demo team 27 leader. I think we just found what we've been looking for. CUT TO:\",\n \"INTERIOR A LARGE SEWER PIPE A three -- man demolition team slowly, carefully disarms the bomb Sid 6.7 had secured to the automated sewer cleaning vehicle. Snip. One wire at a time. Snip. The work is very delicate. Snip. One wrong move and it's all over. Snip. TEAM LEADER One more and we're home free. Snip. The three members of the demo team look up proudly to each other. Breathing sighs of relief. It's 7:42. CUT TO:\",\n \"EXTERIOR THE BILTMORE HOTEL Parker, Madison, and Deane remain glued to their scanner. TEAM LEADER. -LRB- V. 0. -RRB- -LRB- from scanner. -RRB- Hey folks, it's time to crack open a cold one. Cheers are heard around the area from the other cops who'd been listening in. DEANE Thank God. TEAM LEADER. -LRB- V. 0. -RRB- Then again, maybe we ought to hold off for just a second. DEANE. -LRB- with concern, into radio. -RRB- What's the problem? CUT TO:\",\n \"INTERIOR THE SEWER PIPE The Team Leader carefully removes a piece of paper which had been taped to the timing mechanism. Written in handwriting, you read : HEY, PARKER, THE FUN IS ONLY STARTING! TEAM LEADER The good news is, we're finished here. The bad news is. CUT TO:\",\n \"EXTERIOR THE BILTMORE HOTEL Deane stares at Parker with disbelief. Deane's Aide, holding a cellular phone, approaches Parker. AIDE You've got a phone call. Parker grabs the phone. PARKER. -LRB- expecting it to be Sid. -RRB- You son - of -- a -- bitch, I'm going to kill you. ALEXIEV. -LRB- V. 0. -RRB- -LRB- through phone. -RRB- Me? What did I do? INTERCUT WITH:\",\n \"INTERIOR THE CAL TECH COMPUTER LAB Alexiev Borgen sits with a dismantled MAESTRO keyboard in front of him. PARKER. -LRB- a beat. -RRB- I'm sorry, I thought you were somebody else. ALEXIEV I've discovered something about Lindenmeyer' 5 Maestro teaching tool I thought you should know. -LRB- a beat. -RRB- The harm done to the music students who used the device -- -- it was not by accident. The machine was designed explicitly for that purpose. Lindenmeyer intended to hurt the kids using it. PARKER Jesus Christ. -LRB- turning to Madison. -RRB- I know who the dominant personality is. -LRB- a beat. -RRB- Lindenmeyer. Madison's reaction is one of panic. She bolts toward their squad car with all the speed she has. Parker chases after her. PARKER. -LRB- CONT'D. -RRB- Where the hell are you going? MADISON Lindenmeyer never got over wanting to kill kids with more musical than he had. She gets into the driver's seat. Parker the passenger's. Madison punches the gas. CUT TO:\",\n \"INTERIOR THE HOLLYWOOD BOWL The members of the L. A. Philharmonic tune - up for the evening's pay -- per -- view extravaganza. Several teenage musicians sit with them. Lights, cameras, and production trucks are all over the place. This really is going to be one hell of a show. TV ANNOUNCER. -LRB- V. 0. -RRB- Joining the Los Angeles Philharmonic for this evening's first musical number will be several of the Los Angeles area's finest, high school musicians. SID 6.7 who is dressed in a tuxedo, knocking on the door to Guest Conductor's Dressing Room. GUEST CONDUCTOR. -LRB- 0. 5. -RRB- -LRB- German accent. -RRB- It wo n't do any good to rush me. I need my time to prepare myself. The door is opened by the GUEST CONDUCTOR, who is dressed in a tuxedo, as well as large earrings. His hair is long and red. His complexion is pale, nearly white. And his eyes are piercing green. You might describe this look as punk meets classical. GUEST CONDUCTOR. -LRB- annoyed beyond belief. -RRB- Are you just going to stand there, or do you want something? Shaking with concentration, Sid 6.7 turns his hair red. -LRB- Nano -- organisms can do this, as well as the following. -RRB- He then grabs his hair and pulls it out, extending it to the exact length of the guest conductor's. Sid 6.7 then changes his complexion to match the conductor's. As well as his eye color, and other facial features. The Guest Conductor ca n't believe his eyes. By the time Sid 6.7 is finished modifying himself, he may not be an exact duplicate of the guest conductor, but even his mother would have to look twice. SID 6.7 It's show time. He shoves the Guest Conductor back into his Dressing Room. Sid 6.7 follows him in, revealing a suppressed.38. He SLAMS the door behind him. CUT TO:\",\n \"INTERIOR THE SQUAD CAR Madison speeds recklessly through traffic toward the Hollywood Bowl. Parker does n't notice. He's totally focused on screaming into the police radio. PARKER Listen to me, a bomb is planted somewhere in the Hollywood Bowl! Evacuate everybody! FEMALE VOICE I'm sorry, sir, I do n't have the authorization to do that. PARKER Then put somebody on who does! MALE VOICE What's seems to be the problem? PARKER You've got to stop the concert! A bomb is going to go off! MALE VOICE I'm sorry, sir, the concert has already started. CUT TO: THE GUEST CONDUCTOR whose back is to the audience, leading the orchestra in a truly magnificent performance of Tchaikovsky's Fifth Symphony inside the Hollywood Bowl. The Guest Conductor waves his baton wildly. Passionately. Brilliantly. Getting the absolute best from the members of the orchestra. The musicians exhilarate in the challenge of being pushed to their musical limit. As the Guest Conductor turns to the next page of his sheet music on the podium, you notice seven small, HIGH - FREQUENCY SENSORS above an upcoming musical measure. The sensors are wired together. When the seven notes are played in sequence, an electrical pulse will be triggered down the wires which run down the side of the podium, beneath the stage. BENEATH THE STAGE The wires connect to several crates of C -- 4 positioned beneath the orchestra. These seven notes will be the last notes these musicians ever play. CUT TO:\",\n \"EXTERIOR THE HOLLYWOOD BOWL Madison SCREECHES the vehicle to a halt. She comes within inches of mowing down several people. Madison and Parker bolt to the entrance, flashing their badges to the guards.\",\n \"INTERIOR THE HOLLYWOOD BOWL The Guest Conductor's movements grow even more intense. More demanding. As he looks to the violin section, we now see the conductor's face. It is Sid 6.7. SID 6.7. -LRB- silently. -RRB- Do n't hold back. Give it to me. Give it to me! The orchestra plays with everything they've got. They hit every note perfectly. Including a high C. ON THE CONDUCTOR'S PODIUM The first sensor is triggered. Then the second. PARKER AND MADISON appear at the back of the stage. Guns raised. Distracting the musicians. As Parker and Madison charge through the horn section toward Sid 6.7, the musicians stop playing. ON THE CONDUCTOR'S PODIUM The fifth sensor is triggered. Then the sixth. But not the seventh. SID 6.7 can not believe his eyes. Or his ears. The entire orchestra has stopped. SID 6.7 Come on, play! PLAY! In his rage, his face contorts `` past points'', which can only be described bizarre, frightening, and not, something you would ever like to see when you look in the mirror. The musicians stare at Sid 6.7, and then at Parker and Madison with concerned, confused silence. Which is broken by Parker's gunfire. Ducking behind the podium, Sid 6.7 desperately tries to rewire the sensors to trigger manually. Without luck. He takes his.38 out of his jacket and starts firing. Pandemonium erupts throughout the Hollywood Bowl. Audience members run in every direction. The members of the orchestra bolt for their very lives, but keep their instruments with them. Even the oboist. Preventing Parker and Madison from taking any further shots at Sid 6.7. Sid 6.7 bolts down into the crowd. Madison can not get off a clean shot. Neither can Parker. He aims, but does NOT fire. He and Madison struggle through the crowd after him.\",\n \"EXTERIOR THE HOLLYWOOD BOWL Parker and Madison just catch a glimpse of Sid 6.7 as he rushes up the entrance ramp to the Hollywood Freeway. Parker and Madison bolt after him. ON THE HOLLYWOOD FREEWAY Parker and Madison race past the cars waiting to merge into what is effectively a parking lot. As is normal for this thoroughfare, traffic is at a standstill. Sid 6.7 is nowhere to be seen. Parker and Madison split -- up, wading through different lanes of traffic. Startling the already frustrated motorists. Who roll up their windows. Lock their doors. And some of whom reveal weapons of their own. Madison pauses, listening. She has no idea that Sid 6.7 steps behind her. WHAM! He cold cocks her with the butt of his gun. Madison crumples to the street. Which now leaves Parker a clean shot at Sid 6.7's head. BOOM! BOOM! Two hits. Two head wounds. Sid 6.7 falls behind a truck, losing his weapon. Before Sid 6.7's wounds have finished regenerating, Parker is already on top of him. PARKER. -LRB- neighborly. -RRB- Hey, old buddy, old pal, good to see you again. He empties his clip into Sid 6.7, then discards the gun. As Sid 6.7's wounds heal themselves, Parker pounds him mercilessly. SID 6.7. -LRB- losing it. -RRB- You. ruined. I'M GOING TO KILL YOU! Trading blows, he manages to get to his feet. PARKER Now, is that any way to talk to an old friend? SID 6.7. -LRB- exploding. -RRB- BARNES, YOU'RE DEAD! He knocks Parker back with a good shot to the face, then disappears around a van. Parker continues the hunt. Quietly. Carefully. Tension grows in the silence that follows. He carefully makes his way around a truck. Only to see Sid 6.7 swinging a two - by - four directly at his head. WHAM! Parker is knocked on his ass. Daze4. Blood streams down his cheek. He staggers to his feet, blocking another blow with his arm. Which SNAPS the wood in two. Parker grabs one of the boards. He battles with Sid 6.7. The fight between Parker and Sid 6.7 is intense. Exhausting. Parker gives it everything he has. Madison appears behind Parker, holding his gun. She wavers, having trouble keeping her balance. She has even more trouble aiming her weapon. MADISON Hey, Parker. She moves around, trying to get a clean shot at Sid 6.7. Which she does not have. PARKER How's your pulse? MADISON. -LRB- totally focused. -RRB- I could n't tell you. PARKER Then shoot him already. MADISON Duck! Without hesitation, Parker hits the deck. Leaving Sid 6.7 completely exposed. Madison steadies her sight. SID 6.7. -LRB- to Madison. -RRB- You could n't hit the side of a. As he raises his two -- by -- four high over Parker's head, Madison pulls the trigger smoothly. IN SLOW MOTION, you follow the bullet as it exits the barrel of her gun. And penetrates Sid 6.7's skull between the eyes and exits out the back of his head. Sid 6.7 collapses on the ground next to Parker. MADISON What do we do now? PARKER You wo n't want to watch. Turn around. She does so. Parker reaches OUT OF FRAME to remove the Sid 6.7 character module from within his skull. Then reveals the character module in hand. MADISON What should we do with it? Glancing in the flatbed of a truck, Parker gets an idea, and knocks on the driver's window. As the DRIVER rolls down his window, classic ROCK & ROLL MUSIC can be heard from inside. PARKER Mind if I borrow a couple of your tools for a second? DRIVER Be my guest. Parker removes two sledgehammers from the back of the truck. He offers one to Madison. PARKER Care to join me? Madison gladly accepts takes the sledgehammer. Parker drops the Sid 6.7 character module onto the pavement. And together, they start pounding the shit out of it. WHAM! WHAM! In perfect time with the music. Which the driver cranks even louder. As we ROLL CREDITS. THE END\"\n]"},"labels":{"kind":"list like","value":[1,1,1,0,0,0,0,1,0,0,1,0,0,0,1,0,0,0,0,0,1,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,1,0,0,0,0,0,1,0,0,0,0,1,0,1,0,0,0,0,0,0,0,0,1,0,1,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,1],"string":"[\n 1,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1\n]"},"summary":{"kind":"string","value":"In Los Angeles, Lt. Parker Barnes and John Donovan are tracking down a serial killer named SID 6.7 at a restaurant in virtual reality. SID (short for Sadistic, Intelligent, Dangerous, a VR amalgam of the most violent serial killers throughout history) causes Donovan to go into shock, killing him. The director overseeing the project, before Commissioner Elizabeth Deane and her associate, William Wallace, orders the programmer in charge of creating SID, Dr. Darrel Lindenmeyer, to shut down the project. Barnes is a former police officer imprisoned for killing political terrorist Matthew Grimes, who killed Parker's wife and daughter. Barnes killed Grimes and innocent bystanders. This caused him to become a convicted killer and serve 17 years to life. Barnes meets with criminal psychologist Dr. Madison Carter following a fight between Barnes and another prisoner, Big Red. Meanwhile, Lindenmeyer informs SID that he is about to be shut down because of the fail-safe having been tampered with. At SID's suggestion, Lindenmeyer convinces another employee, Clyde Reilly, that a virtual reality prostitute, Sheila 3.2, another project created by Lindenmeyer, can be brought to life. Lindenmeyer replaces the Sheila 3.2 module with the SID 6.7 module. Now processed into the real world, SID 6.7 kills Reilly. Once word gets out of SID being in the real world, Deane and Los Angeles Police Department Chief William Cochran offer Barnes a deal: if he catches SID and brings him back to virtual reality, he will be released. Barnes agrees, and with help from Carter, they discover that Matthew Grimes, the terrorist who killed Barnes's wife and daughter, is a part of SID 6.7's personality profile. After killing a group of security guards, SID heads over to the Media Zone, a local nightclub, where he takes hostages. Barnes and Carter go to the nightclub to stop him, but SID escapes. The next day, SID begins a killing spree at the Los Angeles Olympic Auditorium. Barnes arrives at the Stadium to capture SID, and finds him on a train, where another hostage is being held by SID. However, Barnes seemingly kills the hostage in front of horrified witnesses. Having caught up with Barnes after the incident, Carter tries to prove Barnes's innocence, but Barnes is sent back to prison. Barnes is freed from his prisoner transport by SID, who once again escapes. Wallace and Deane are about to have Barnes terminated via a fail-safe transmitter implanted in him but Cochran destroys the transmitter after learning from Carter that Barnes didn't kill the hostage on the train. However, SID kidnaps Carter's daughter Karin and takes over a television studio. Lindenmeyer, having come out of hiding, sees what SID is doing and is impressed, but is later held hostage by Carter. After a fight on the roof of the studio Barnes ultimately destroys SID, but is unable to learn where he hid Karin. They place SID back in VR to trick the location out of him. When SID discovers that he is back in virtual reality he goes into a rage. Cochran lets Carter out of VR, but Lindenmeyer kills Cochran before he can release Barnes. Barnes starts to go into the same shock that Donovan suffered, but Carter kills Lindenmeyer, and saves Barnes. Barnes and Carter return to the building that SID took over in the real world, and save Karin from a booby trap set up by SID. After Karin is saved, Barnes destroys the SID 6.7 module."},"name":{"kind":"string","value":"Virtuosity"}}},{"rowIdx":75,"cells":{"scenes":{"kind":"list like","value":["LIGHT SLEEPER JOHN LETOUR, forty, light sleeper. Never meant to be a drug dealer, it just came along. He's been other things : messenger boy, cab driver, model, postal clerk, doorman, nightclub shill - never meant to be them either. Now he's a D.D. Drug dealer. JOHN LETOUR, well - groomed, khaki slacks, leather jacket, tippet - like scarf, belt pouch, `` Beatle'' boots, a shadow drifting in and out of other shadows, New York, day, night : watching, listening, rarely speaking - nonexistent, seen only by those he sees. His face an affable blank. Make of it what you will. The eyes flicker ; the hands shift discreetly. A map of calculation. Once he had a drug problem. Life turned a page. Today he follows instructions : he sleeps light - one eye open, anticipating. JOHN LETOUR, D.D., loner, voyeur, has been drifting toward an unknown destination. At mid - life the destination draws near. The circle tightens. The dealer is anxious. The destination is love.","NIGHT IN THE LIFE CREDIT SEQUENCE : New York by night. JOHN LETOUR nestles in back of a blue car service sedan, face reflected in the window. Neon mixes with steam, street people with tourists, young dates : each with a different agenda, a hidden purpose. His beeper goes off. He clicks it, checks the digital message. The DRIVER stops at an uptown corner. LETOUR opens the curbside door, motions to the DRIVER he'll be back in `` ten'' minutes. He enters the video laundromat, a twenty - four - hour video rental/laundromat/tanning salon. Inside, he meets a RETRO - YUPPIE -LRB- J. Crew Division -RRB- in the `` Classics'' section. They exit. On the sidewalk, money is exchanged for a packet. LETOUR pockets the uncounted cash. The YUPPIE mouths goodbye, eager to put distance between him and LETOUR. JOHN checks his beeper, stops at a pay phone, dials. JOHN LETOUR re - enters the sedan ; the DRIVER heads downtown. High - rises give way to Tudor City. Uncollected trash lines the curbs. LETOUR eyes a PEDESTRIAN ; PEDESTRIAN looks back. Later. Three a.m.. The streets are dark. LeTour's car passes a glowing Korean market. LETOUR narrates from diary : LETOUR -LRB- voice over. -RRB- Labor Day weekend. Some time for a sanitation strike. Everybody crazy to stock up. They decide to score at the last minute and want it now. Never fails. The faces look alike. You got ta use memory tricks : each has some peculiarity - it keeps you sharp. A D.D. told me when a drug dealer starts writing a diary it's time to quit. I started writing after that. Not every night - now and then. Just to burn off the night. Fill up one book, throw it out, start another. The sedan drives on. End credits.","HOMEBASE Four a.m. : streets empty. LeTour's sedan drops him off near a ten - story West 80s apartment building. JOHN gives the DRIVER a forty - dollar tip -LRB- standard procedure -RRB-, turns the corner. He presses the intercom ; a buzzer unlocks the door. He enters the lobby, walks past English reproduction furniture toward the elevators. Presses the button. Penthouse C door opens. ANN lets JOHN in with a smile. ANN, forty - four, striking in a tailored dress, greets him with a wet kiss. Her hair is coiffured, her face made up. She is John's employer, mentor, confidante, Mother Hen : she keeps the books. Her ingenuous demeanor belies sterner stuff : she's been in the drug business fifteen years. Ann's apartment is a jumble of sensibilities : dark green walls, zebra - skin sofa, Haitian wall friezes, framed magazine photos of Paramahansa Yogananda, Liz Taylor, the Duke of Windsor - paintings stacked behind an oversized urn. A bird flits in its cage. One corner of the living area is devoted to a fledgling cosmetics business : Macintosh computer, billboard of trade paper clippings and ads, herbal samples, reference books, color charts. ROBERT, fifty, slight, waves hello as JOHN locks the door. Gay, hip, worn, he's John's `` co - runner.'' They work - and eat - out of Ann's apartment. Take - out tins of Indian food are stacked amid crystals, tarot cards, glasses, and vitamin bottles. No sign of drugs, drug paraphernalia, or money. ANN Darling. LETOUR Ann. ANN Have we made New York safe for another weekend? LETOUR -LRB- waves. -RRB- Robert. ROBERT Get a job. LETOUR -LRB- about ROBERT. -RRB- Sad what ten years without sex can do. Repartee : the plumbing of family feeling. JOHN unzips his belt pouch, walks toward the bedroom to deposit the night's earnings. ANN Any hundreds? LETOUR Twenties - and tens. ROBERT Tens! ANN Goddamn cash machines. ROBERT Did what's - his - name give you a hard time? LETOUR -LRB- out of shot. -RRB- You mean -? ROBERT Yeah. LETOUR Cash Before Delivery. -LRB- re - emerges. -RRB- CBD. ROBERT Fucking investment bankers. ANN These Wall Street kids deal with fake money all day, they think cash is a theoretical concept - like it does n't apply. I see'em at two, shudder to think at nine they're buying and selling - turned me off the stock market. LETOUR It's late. -LRB- to ROBERT. -RRB- You staying? ROBERT It's over. LETOUR I'm gon na crash - try, at least. ANN -LRB- to LETOUR. -RRB- Tomorrow will be easier. Maybe we can all eat together. Go on. You look tired. Here, take a couple of C's. I'll pick up anything that comes in. LETOUR turns to leave. ANN Sleep tight. ROBERT Pick up the trash. LETOUR -LRB- laughs. -RRB- Yeah - big kiss. He throws two kisses, exits.","JOHN'S APARTMENT First light reflects across the Hudson as LETOUR walks west on 22nd Street toward his Chelsea apartment building. A delivery truck passes uncollected garbage. He enters a nondescript doorway. Inside his studio apartment, JOHN sits at a second - hand table writing in a composition book. He drinks from an eight - ounce glass of white wine, continues. The room has little personality ; Ann's apartment has enough for two. Nails indicate where pictures once hung ; a boombox sits on the linoleum floor amid cassettes, books -LRB- Autobiography of a Yogi, The Secret Doctrine -RRB-, fashion magazines, a stack of unopened CDs. A futon is unrolled beneath the room's sole decoration, a poster of a human foot advertising a forgotten photo exhibit. Wine bottles - Chenin Blanc. Precious little to show for forty years. LeTour's narration resumes as he writes : LETOUR -LRB- voice over. -RRB- `` Labor Day.'' `` Union Movement'' - there's a contradiction in terms. I know about long hours. It's worse when I'm off - I just walk and walk. Where am I going? There's an element of providence to it all. Like rolling numbers. Luck. You're walking down the street, some guy that looks maybe a little like you does a stick - up four hours ago, there's an APB description out and a cop pulls you in cause he's cold and wants to go inside - they grab your stash. Your number's up. You're busted for nothing. For bad luck.","JEALOUS Five p.m.. A Clinton transient hotel. Inside hotel room, LETOUR meets with JEALOUS, a twenty - five - year - old drug intermediary in leather jacket. JOHN counts hundred - dollar bills, hands them to JEALOUS. JEALOUS Are they `` faced''? LETOUR Do n't bore me. JEALOUS rearranges the hundreds : JEALOUS Is it so much work to face them the same direction? You do n't do it, I got to. It's time - my time - LETOUR -LRB- overlap. -RRB- Jees - JEALOUS We've been through all this. -LRB- LETOUR shrugs. -RRB- This nineteen - gram shit is a drag. LETOUR We pay you more, you put up with more. White drugs for white people. Twice the price, twice the safety. JEALOUS I ca n't believe Ann's been working as long as she has - never busted. She's something. LETOUR Never made any big money either. JEALOUS Sure. LETOUR She blows it. JEALOUS You believe that? What you gon na do after she quits? How long you been with her? LETOUR She always says that. We'll see, Jealous. JEALOUS She's out. You should pick up her trade. You're too old to be a go - fer. They know you, they trust you. LETOUR No way. I'm not the management type. I get in charge, I'll start using again - not for me. I know music people. I'm gon na get in recording. JEALOUS Yeah. LETOUR reaches for the door. JEALOUS Tour. LETOUR What? JEALOUS Normally this would n't matter to you, but you may get hassled. LETOUR Why? JEALOUS You read the papers? The Park murder. All over the Post. Mariah Rangel - nineteen - year - old Barnard co - ed bitch dead in Turtle Pond coked to the fucking gills. All of a sudden they're hot after mid - level dealers. They're buzzin'. You know her? LETOUR -LRB- shrugs. -RRB- I look like an encyclopedia? Who knows? -LRB- opens door. -RRB- Thanks for the warning.","THE NIGHT BEGINS Ann's apartment. Eight p.m.. She opens the door for LETOUR, kisses him, goes back to the phone. Mantra muzak plays as JOHN locks door, heads toward bedroom. Inside bedroom, MTV glows silently as ROBERT, wearing a black turtleneck, works at a desk amid tools of the trade : digital scale, `` hot box,'' Deering grinder, block of manite, pure cocaine, pills, felt pen. ROBERT scissors glossy magazine paper -LRB- Elle -RRB- into neat quarters, folds each into gram - size `` bindels'' - envelopes. Red satin drapes the ceiling. ROBERT Jack. JOHN kisses him atop the head. ROBERT You pick up from Jealous? LETOUR -LRB- passes bag. -RRB- Yeah, nineteen grams after four times last night. We're certainly not his favorite people. ROBERT We do n't make the laws. Nineteen is carrying, twenty is dealing. Let him be stupid. LETOUR He took my hundreds. ROBERT -LRB- stands. -RRB- Take over for a while. I'm getting contact high. LETOUR -LRB- sits. -RRB- Who's Her Majesty talking to? ROBERT flips through cable channels as JOHN grinds cocaine. ROBERT The Ecstasy connection. From Arizona. She's trying to get them to come here - or, better, Europe. LETOUR That's where the money is. ROBERT All mark - up - the `` Big One.'' LETOUR -LRB- laughs. -RRB- Do n't dress. -LRB- beat. -RRB- You really think she means it? ROBERT That's what she says. New Year's Eve and out - no Acid House, no product, no deliveries. LETOUR That's just her mouth talking. ROBERT Next year - strictly Akasha. LETOUR `` Akasha''? ROBERT Cosmetics. That's what Ann's calling the company now - LETOUR -LRB- interjects. -RRB- - this week. I do n't get it - marigolds, violets, sage - why'd anyone pay to put weeds on their face? ROBERT Why'd anyone pay to put them up their nose? I like cosmetics. I need cosmetics. You should come in with us. LETOUR You forget : she has n't asked me. ANN hangs up, calls : ANN -LRB- out of shot. -RRB- Johnny! Robert! Come here! They return to the living area. ANN -LRB- open arms. -RRB- Plant me two kisses, boys, fifteen hundred Ex at thirty each and the delivery's here. They simultaneously kiss her cheeks. ANN -LRB- to LETOUR. -RRB- Whatja think? LETOUR Of what? ANN The face cream. Almond, marigold, chamomile, egg, aloe - the `` Almilk'' formula. I remixed it. LETOUR -LRB- smells her. -RRB- Very nice. ANN Reminds me, if you get downtown stop at Enhancements and pick up some almond oil - not the California. -LRB- fishes menus from desk. -RRB- What should we order? LETOUR How about Indian? ANN Darling, it's Saturday. ROBERT Thai. We have n't had Thai in a while. The phone rings. Ann's voice repeats a recorded message : ANN'S VOICE `` Hello. This is Ann. If you leave a message, we'll get back to you - sooner than you think.'' Answering machine beeps. MAN'S VOICE speaks from the tiny speaker : `` Ann, this is Ed. Call me. 749 - 2876.'' ANN -LRB- to ROBERT. -RRB- Answer that. He'll call back every five minutes. ROBERT -LRB- walking. -RRB- The night begins. The phone rings again : another message as ANN examines the menu. ANN `` Ped Srilom''? - it's Northeastern. Duck. LETOUR -LRB- glancing. -RRB- I'm going veggie. Get me the `` Puk Ob.'' ROBERT -LRB- out of shot from phone. -RRB- Me too. LETOUR Use it for facial cream. ROBERT -LRB- out of shot. -RRB- Remove unsightly hair! ANN Laugh, one day you'll be watching me on `` Oprah'' from a welfare hotel. LETOUR Forgive us. ROBERT -LRB- returns. -RRB- Eddie wants now. Now. His place. Top Lady. God knows what happened to his shit yesterday. ANN -LRB- to LETOUR. -RRB- You take it - call in. LETOUR It was supposed to be light tonight. ROBERT Do n't you watch TV? LETOUR Do n't have one. ROBERT Well if you were the normal stupid fuck you should be so lucky to be and had one, you'd know it's supposed to rain - ANN Good for the trees - ROBERT Some farmer whacked his numerology on us. ANN -LRB- peers through curtain. -RRB- It's started. ROBERT The Farmer's Almanac is based on numerology. LETOUR Raining? ANN Take a coat. -LRB- to ROBERT. -RRB- And you, clean up the product before the food delivery comes. JOHN grabs his belt pouch, heads for the closet.","CONFESSOR LETOUR Rain falls on LeTour's car near an East Side luxury high - rise. The door opens to Eddie's apartment : severe decor, once chic, now dated. EDDIE, thirty - two, is a mess : puffy face, sweaty shirt, pinched lips - on a drug jag. EDDIE Le Tour! - finally. What took so long? LETOUR -LRB- steps inside. -RRB- Traffic. It's raining. EDDIE How's things? LETOUR Okay. EDDIE I need a quarter - you got it? LETOUR -LRB- nods. -RRB- Robert said he sold you a quarter yesterday. EDDIE -LRB- slurs. -RRB- Some friends came over. How much is that? Fourteen - hundred? LETOUR nods as EDDIE, employing diminished skills, counts from a roll of twenties. JOHN looks around : full ashtrays, porn tapes, empty vodka bottles - there have been no `` friends.'' LETOUR Eddie. Look at yourself. Sit down. I've known you, what, like eight years? EDDIE -LRB- counting. -RRB- Yeah. LETOUR Knew you from the other job, the one before the last one you fucked up. I knew your wife - remember her? We used to sit and talk and talk - Pressures EDDIE into chair. EDDIE -LRB- whining. -RRB- You do n't know what she was like - LETOUR This is no good. I'll sell you a gram and some downs, but I ai n't gon na put you in the emergency room. Cool it. Go to bed. Sleep it off. John's beeper goes off. EDDIE -LRB- stands. -RRB- You charge $ 200 for what goes for ninety on the street - and you're not gon na sell? LETOUR -LRB- clicks beeper. -RRB- So go to the street. EDDIE I'll call Ann. LETOUR Go ahead. You know what she'll say. Phone's over there. EDDIE -LRB- irrational. -RRB- I'll tell the fucking cops. LETOUR -LRB- flashes cold. -RRB- Fuck you. That's it. You're out. -LRB- turns to leave. -RRB- Do n't call again. Catch you next lifetime. EDDIE -LRB- contrite. -RRB- Please, Tour, I'm sorry. You're right. I did n't mean that. I'm quitting anyway. I'll take the gram. Sorry. LETOUR -LRB- turns back. -RRB- Okay. EDDIE Two hundred? LETOUR nods. EDDIE counts $ 200 as LETOUR takes a gram from his pouch, gives it to him. LETOUR You got downs? -LRB- EDDIE nods. -RRB- One more thing. I got ta use the phone. EDDIE pockets the envelope as JOHN, checking his beeper, walks to the phone. Later. LETOUR sits in an Upper West Side apartment as an earnest MID - TWENTIESH MAN, wearing undershorts, snorts a hefty line, offers a rolled dollar bill as he talks. LETOUR declines. MID-TWENTIESH MAN -LRB- continuing. -RRB-. but - if there's no God, how can man conceive of him? The idea of God presupposes the existence of God. That's the Ontological Argument. Anselm. Twelve hundred. Fourteen hundred - I'm not sure - LETOUR -LRB- checks his watch. -RRB- I've got to go. MID-TWENTIESH MAN -LRB- gesturing. -RRB- Let me finish. Okay, if the idea of God is implanted by God - the sensus divinitatus, the sense of the divine - what is the role of human thought? Not faith, thought. LETOUR's mind drifts. His diary voice overlaps : LETOUR -LRB- Voice over. -RRB- Everybody wants to talk. It's like a compulsion. My philosophy is : you got nothing to say, do n't say it. They figure you can tell a D.D. anything, things they would never tell anyone else. He understands. Of course they're stoned to start. If I could tie together all the hours of coke talk I've heard, that would be a lot of string. It was Robert's idea to add twenty - five dollars to home deliveries cause it's such a hassle. Fifty is more like it. Later. Narration continues as sedan drives through rain. Later. A Tribeca loft. LETOUR swaps drug jargon with TWO N.Y.U. STUDENTS at an impromptu party. Attractive ingenues drift by. TRENDY TWOSOME, blasted, sways, to techno - rap. Business done, LETOUR turns to leave. The FIRST STUDENT grabs his shoulder : FIRST STUDENT C'mon, Tour, stick around. SECOND STUDENT Yeah. FIRST STUDENT There's only four of us and like seven of them - and we're paying for the dope. See her, over there, the blonde, long hair, yellow skirt? - she's gon na model for Elite. DOWNTOWN NYMPH, sixteen going on seventeen. LETOUR -LRB- smiling. -RRB- Me? I'm an old man. She'd break me like an old horse. SECOND STUDENT Shit, dude - LETOUR Nah. Thanks anyway. -LRB- checks watch. -RRB- I got ta go. Have fun. -LRB- heads toward exit. -RRB-","FACE FROM THE PAST LeTour's sedan heads down Lexington Avenue. It rains unabated. Puddles glisten ; red taillights refract on the windshield. JOHN rests in back, a bag from Enhancements beside him. Pedestrians, well - dressed and casual, desperately wave for taxis amid sacks of garbage. No use : nothing for blocks. John's sedan stops for a midtown light. LETOUR looks out the window, sees a WOMAN vainly hailing a cab. He looks again. She turns her head. He recognizes her. LETOUR -LRB- to DRIVER. -RRB- Carlos. Wait a second. He leans over, opens the far door, calls : LETOUR Marianne! Marianne! Hop in! I'll give you a ride. MARIANNE JOST, thirty - five, stylish in short black hair and long black coat, steps closer, looks through the rain. LETOUR John. John LeTour. MARIANNE -LRB- recognizes him. -RRB- John? LETOUR Get in. You're getting soaked. She ducks inside, slams the door. MARIANNE -LRB- awkward. -RRB- Hi. The car moves on. LETOUR Where are you going? MARIANNE wipes rain from her cheeks ; her expression deepens : cautious, suspicious. No reply. LETOUR I did n't know you still lived here. MARIANNE -LRB- second thoughts. -RRB- Maybe this was n't such a good idea. I should get out. LETOUR Do n't be crazy. It's pouring. MARIANNE I'm not supposed to be around - LETOUR -LRB- completes sentence. -RRB- - former drug associates. MARIANNE It's four years I'm clean. No alcohol, no cigarettes, no nothing. LETOUR I heard. I'm happy for you. MARIANNE It's still not easy. LETOUR I know. Mar, you do n't need to avoid me. I'm straight - two years. It came that time. I tried to tell you. I wrote. I called. MARIANNE -LRB- looks around. -RRB- I should get out. LETOUR Honest. MARIANNE But you're dealing. LETOUR No. I stopped. MARIANNE What's in the bag? LETOUR Almond oil. You can check. -LRB- opens bag. -RRB- Look. She does : Enhancements Almond Oil. John's beeper goes off! - he punches it. LETOUR Shit. MARIANNE What's that for? In case someone needs almond oil in the middle of the night? LETOUR I still deal a little, but I'm straight - that part's true. Believe me. MARIANNE -LRB- to DRIVER. -RRB- Stop here. Now. Stop! LETOUR I wo n't say anything. I promise. I'll just sit here. I'll just give you a ride. The car pulls over. MARIANNE opens the door, gets out. MARIANNE Goodbye, John. LETOUR Where do you live? -LRB- door slams. -RRB- Mari. She fades into the rain. JOHN watches, aching. DRIVER Sir? LETOUR Eighty - third Street. The sedan continues uptown.","MEMORIES John's apartment. Pre - dawn. His diary lies open on the desk. LETOUR sits clothed on the futon, drinking white wine. He pages through a cheap, half - filled photo album. He touches snapshots, 3 × 5's from another time : - JOHN and MARIANNE, arm in arm, on a Florida beach - MARIANNE, surprised by the camera, snorting coke at a party - JOHN, MARIANNE, and ANN posing, smiling, same party - JOHN and MARIANNE kissing over birthday cake, same party - MARIANNE IN MOROCCO BAZAAR - JOHN blowing a kiss in Fez airport","PSYCHIC HEALING LeTour's narration continues over embossed card on an entry table : Teresa Aronow, Psychic Reading, 37 Jones Street, New York, N.Y. 10012, -LRB- 212 -RRB- 473 - 4297. VOICES under narration : TERESA -LRB- out of shot. -RRB- Coffee? LETOUR -LRB- out of shot. -RRB- Thanks. TERESA -LRB- out of shot. -RRB- Black? LETOUR -LRB- out of shot. -RRB- Yeah. TERESA -LRB- out of shot. -RRB- Here. JOHN accepts a coffee mug, sits on a sofa across from TERESA. Sunlight falls through crocheted curtains. TERESA ARONOW, fortyish, professionally young, is compact, demure ; she wears business jacket and skirt, patterned blouse. Nothing about her is remotely paranormal - nothing except, of course, her `` aura.'' The `` Other Side.'' Her voice is at the same time soothing, piercing. Teresa's West Village consultation room is startlingly mundane : a bourgeois walk - up. Upholstered furniture, Tiffany objêts d'art, framed photos of her husband and children - a trip to Capri. A twenties portrait of Madame Blavatsky, above the fireplace, centers the room. LETOUR I'm not sure how this works. TERESA Have you ever been to a psychic before? LETOUR No, but I've, well, I've heard about it. TERESA Do you need advice? John? LETOUR -LRB- nods. -RRB- No. it's not that. I do n't know - I just decided to come. I thought. TERESA Be comfortable. -LRB- smile. -RRB- How did you hear about me? LETOUR A recommendation. Somebody from work. Two hundred dollars, right? TERESA nods. JOHN tucks cash into an envelope, places it on the coffee table. TERESA It's a lot of money? LETOUR I do n't care. TERESA -LRB- explaining. -RRB- I look at you. I give you my impressions. I feel your `` vibrations'' - I do n't like that word, it sounds phony, but I ca n't think of anything better. -LRB- watching. -RRB- You're anxious. -LRB- he shrugs. -RRB- More than usual. Your aura is very strong. I feel a very strong vibration from you. A change is coming. You're worried about money. You say you do n't care about money but that's not true. LETOUR Yeah. TERESA Your livelihood is endangered. You're worried about the future. You do n't have much money saved. What will you do? LETOUR I do n't know. TERESA I see a woman who has betrayed you. LETOUR -LRB- smiles. -RRB- My mother? TERESA -LRB- cuts him short. -RRB- Who will betray you. LETOUR Not. I. TERESA Keep it in mind. I have a strong feeling about this woman, a woman close to you, she will betray you. You're in the entertainment business, are n't you? LETOUR Yes. TERESA But you're not happy. You want to do something else. Is it music? LETOUR Yes. TERESA You have a talent for music. LETOUR As a child. TERESA You still have it. It's strong. I see music in your future. A career opportunity will come in the music field. Take it. It wo n't seem promising. Take it anyway. -LRB- pause. -RRB- You're full of stress. Are you exercising? LETOUR No. I - TERESA You should exercise more. You must let go of this stress. It's not good for your health. I'm not saying you're going over to the other side, but it's not good for you. You're still drinking, are n't you? You have a drinking problem? -LRB- he shrugs. -RRB- It's interfering with your health and your life too. You've had other problems. Drug addiction. LETOUR Yes. TERESA This was very important in your life. LETOUR Yes. TERESA You are in the balance. Everything you do - positive or negative - in this life is a drop that will carry over in the next. Every act, every decision matters. LETOUR Teresa? TERESA What is it? LETOUR I'm thirty - eight years old. -LRB- beat. -RRB- Forty. TERESA You're young. LETOUR I have trouble sleeping. -LRB- TERESA waits. -RRB- Look. What do you see around me? Is there anything? Is it dark? Have I run out of luck? Is there luck? TERESA I see a glow. Everything you need is around you. The only danger is inside you.","MONEY CHANGER Ann's apartment. The night has already begun. ANN sits on the floor beside a YOUNG HASID counting money. He wears Orthodox garb : black hat, black coat, peyas. Tibetan bells reverb from speakers as the Bergmanesque cambist runs faced twenty - dollar bills through a battery - operated counting machine, places stacks of cash on the floor. ROBERT returns a call from the kitchen ; LETOUR emerges from the bathroom, wiping his hands. ANN -LRB- to LETOUR and ROBERT. -RRB- Your pay's on the table. JOHN walks to the cosmetics corner, finds an envelope with his name on it, looks inside : $ 500 in twenties. He pockets the money. LETOUR sits as HASID double - checks the total : cash covers the available floor space. YOUNG HASID -LRB- dialogue punctuates action. -RRB- One hundred thirty - one, let's make it 130 - $ 13,000, hundreds for small bills. One percent commission, $ 130 to you - add tens or whatever if you want. Opening a satchel, he removes bound $ 100s, counts off 130 as ANN adds up commission in small bills. He loads the satchel : YOUNG HASID Same time? ANN -LRB- nods. -RRB- Two weeks - do n't run. Stay a while. We'll order kosher. We'll tell you dirty stories. We'll talk Zionism. The HASID laughs. He likes her. YOUNG HASID -LRB- passes hundreds. -RRB- I'm late already. I only come'cause I like you. Sure you're not Jewish? I do n't want to see you hurt. Find a man. You should do something else. ANN -LRB- offers commission. -RRB- Invest in my cosmetics line. YOUNG HASID -LRB- takes money. -RRB- Do n't mix business with friendship. ANN follows him to the door. YOUNG HASID Shalom. ANN Shalom. -LRB- opens door. -RRB- See you next week. -LRB- calls after him. -RRB- Do n't eat any hot dogs! ANN closes door. LETOUR Jealous said something about a yuppie murder in the Park. You know anything about it? ANN It's all over the news. LETOUR Jealous said to be careful. ANN We are careful. ROBERT -LRB- returning. -RRB- We're too small time. Besides, she was n't one of ours - not directly. -LRB- to LETOUR. -RRB- Tis is at St. Luke's. He wants somebody over right away. Second floor waiting room. LETOUR A hospital? What's he doing there? ROBERT He says he needs you to come to St. Luke's. I'd go but I got the other thing. LETOUR The -? ROBERT Yeah. ANN -LRB- to LETOUR. -RRB- Go. Keep on his good side. He set up Arizona. Phone rings ; Ann's machine answers : `` Hello, this is Ann.'' ANN -LRB- to LETOUR. -RRB- Let's have lunch. Tomorrow. LETOUR Me? ANN One o'clock. Côte Basque. Is that too early? LETOUR No. Yeah - sure. ROBERT Tonight? LETOUR I vote Japanese. ANN Fine. ROBERT Okay. LETOUR -LRB- heads for door. -RRB- Mixed sushi. Oshitashi.","ST. LUKE'S EMS vehicles line street outside St. Luke's - Roosevelt Hospital. Inside, LETOUR weaves through Emergency -LRB- eerie -RRB-, double - steps the stairs, looks for the second floor waiting area. TIS -LRB- Mathis - pronounced Tees -RRB-, thirty - five, Swiss, paces in the waiting room. He wears a linen jacket, horn - rim glasses, Cerrutti Euro - swank. He spots JOHN, takes him aside : LETOUR What's going on? TIS You got some valiums? LETOUR -LRB- nods. -RRB- -'n ` ludes. TIS Just a valium - a ten. LETOUR What is it? TIS You wo n't believe it. What a nightmare. I brought in this chick. She O.D.ed - man, I did n't even know her. I did n't have to bring her in. The cops are coming back to talk to me. I'm hyper. I got ta come down. LETOUR -LRB- hands him valium. -RRB- Here. TIS Make it two. LETOUR obliges. TIS pops a blue without water, pockets the other. TIS Thanks. LETOUR She okay? TIS Who? LETOUR The girl. TIS Yeah, yeah. Met her last night. A walking vacuum cleaner. What a nightmare. Underage. LETOUR You need a lawyer? TIS -LRB- gestures toward suited man. -RRB- He's here. Thanks. TIS folds a bill into John's hand. LETOUR Any time. TIS turns, steps away. LETOUR walks down the long corridor. Curious, reflective, he slows past open doors. Friends, family, patients sit in blue light. Each room a drama. He heads down a duplicate corridor. A VOICE turns his head : RANDI John! He turns to see RANDI JOST, thirty, Marianne's younger sister. She wears running shoes, jeans, red sweater. LETOUR Randi? RANDI -LRB- kisses him. -RRB- I ca n't believe it. Marianne's here too. She flew in. It's been so long. You look great. LETOUR -LRB- deactivates beeper. -RRB- You too. Randi, what's wrong? Why are you here? RANDI Mom. She's back in. Did n't Marianne tell you? LETOUR Serious? RANDI -LRB- nods. -RRB- More chemo. LETOUR Can I see her? RANDI She's sleeping. She sleeps most of the time. She'd like it, though. She still talks about you. LETOUR -LRB- sad. -RRB- I'm so sorry. She's a terrific woman. I was crazy about her. God. MARIANNE, head down, approaches. Looking up, she finds herself unexpectedly beside JOHN and RANDI : RANDI It's John. What a coincidence. MARIANNE -LRB- gathering herself. -RRB- Yes. -LRB- extends hand. -RRB- Hi. LETOUR -LRB- shakes hand. -RRB- Randi told me about your mom. I'm sorry. MARIANNE Thanks. LETOUR She's sedated? MARIANNE Yeah. RANDI She would be so happy to see John. MARIANNE I do n't think that would be a good idea. An awkward silence : RANDI does n't get it. LETOUR You both look so tired. MARIANNE One of us has to be here. RANDI The hospital lets us stay in her room. LETOUR Let me buy you some coffee or something - the cafeteria's downstairs. It helps to talk. RANDI You go, Marianne, it's my turn with mom. MARIANNE I should n't. RANDI Go. You have n't eaten. Go on. -LRB- nudges her. -RRB- Go on. MARIANNE I. RANDI Bring me a coffee. MARIANNE acquiesces. LETOUR This way. -LRB- to RANDI. -RRB- Kiss your mother for me. JOHN escorts MARIANNE toward the stairs.","EUPHORIC RECALL Hospital cafeteria. JOHN and MARIANNE carry trays to a formica table, molded chairs. He mixes sugar in his coffee as she sets out her salad, diet soda, to - go coffee. An awkward moment. MARIANNE scans the fluorescent room : doctors, nurses, relatives. LETOUR I like your mom. MARIANNE She liked you. You know this will happen someday, but when it does. Your mother - that was a shock. LETOUR -LRB- re : Marianne's mother. -RRB- She's been sick a while? MARIANNE A year. LETOUR Your father? MARIANNE -LRB- `` no''. -RRB- Not this time. His new wife - he'll make it to the funeral. LETOUR What have you been doing? Where do you live? MARIANNE It's. -LRB- deciding. -RRB- I do n't want you to know about my life. LETOUR Anything? You married? Have children? A dog? -LRB- smile. -RRB- House plants? MARIANNE Details just open the door. LETOUR The door to what? -LRB- no answer. -RRB- It's not like we're strangers. We were married. MARIANNE We were not. LETOUR There was a ceremony. MARIANNE He was n't even a minister. He was an astrologer. LETOUR He was also a minister. `` Universal Harmony.'' MARIANNE He was a Pisces. LETOUR You're a Pisces. MARIANNE It was not legal. LETOUR In the eyes of Jeanne Dixon we're still - MARIANNE I was on the cusp. LETOUR We were happy. MARIANNE We were miserable. We were either scoring or coming down - mostly coming down. LETOUR There were good times. Area, out on the street, laughing, dancing with friends - we were magical. MARIANNE You took off for three months without telling me and called once. That's how magical we were. You were an encyclopedia of suicidal fantasies - I heard them all. Nobody could clear a room like you, John. And the friends, you may have noticed, turned out to be mine, not yours. I envy you. A convenient memory is a gift from God. LETOUR You exaggerate. MARIANNE In rehab they call this `` euphoric recall.'' You only remember the highs, never the lows. LETOUR We were happy. MARIANNE I was drowning. LETOUR It was n't me - MARIANNE You watched - LETOUR You jumped - MARIANNE You did nothing - `` It was n't your business, you were n't responsible'' - you still think like that. -LRB- shakes head. -RRB- Actions have consequences ; so do - LETOUR -LRB- overlap. -RRB- I - MARIANNE - inactions. LETOUR I did n't -. -LRB- MARIANNE smiles. -RRB- I meant well. MARIANNE You always meant well. LETOUR We were in love? MARIANNE Yes. LETOUR We were happy? She does n't answer. He slides his hand across the table. She notices his gold and onyx ring. LETOUR You bought it for me. It's inscribed inside. She pushes his hand away. Details open doors. LETOUR Ann's quitting. I've got to find something else to do. MARIANNE Ann? I'll believe it when I see it. LETOUR It's true. MARIANNE Are you really straight? LETOUR Yeah. MARIANNE Let me see your eyes. JOHN leans forward, eyes open. She presses up an eyelid, examines one iris, the other : MARIANNE Eyes are deceiving. -LRB- beat. -RRB- Congratulations. LETOUR If I could do that, I could do anything. MARIANNE What do you mean? LETOUR We could do anything. We could start over. MARIANNE -LRB- bangs her head. -RRB- What was that? I think I heard something. LETOUR I'm serious. An INTERCOM VOICE announces visiting hours will end in five minutes. MARIANNE You're crazy. LETOUR -LRB- gestures to room. -RRB- This is crazy. MARIANNE I have to get back. JOHN nods, checks his watch - he's late too. They exchange `` last looks'' ; MARIANNE stands. LETOUR I'll walk you. He stands, follows.","NEW DIARY Later. LeTour's sedan pulls up near Palio, a midtown restaurant. JOHN steps around garbage bags, enters. Inside, JOHN `` maps'' bar, greets the MAÎTRE D'. LETOUR spots the FRENCH -LRB- LaCroix and Montana -RRB- COUPLE in the dining section, catches the man's eye. He nods to the MAÎTRE D', makes his way toward their table. He joins the FRENCH COUPLE, declines a drink, exchanges drugs/money amid air kisses. Late night. Fog hangs over 22nd Street : Chelsea's deserted. Homeless men behind windbreaks of trash. John's apartment. He writes bareback at the desk. He completes his composition book diary mid - sentence, closes it, discards it. He lifts a new book from the floor, opens it on the desk, continues. He fills his glass with wine : LETOUR -LRB- voice over. -RRB- I can always find another way to make a living. I never planned this in the first place - not like Ann. She came up to sell, have parties, make contacts. She was so glamorous. I just wanted to be around her. She'd sit up listening to coke stories. Now it's me and Robert. The whole crowd was the same age. Everybody's younger now. She made me. LETOUR pulls his weekly pay from his pants, puts five twenties in an envelope. He addresses the envelope. `` Linda Wichel, 1012B - 2 A Street, Sacramento, California,'' stamps it. Dissolves : -LRB- 1 -RRB- LETOUR vanishes from his desk, -LRB- 2 -RRB- materializes fetally on his futon, bareback, slacks, boots, anxious, awaiting sleep. LeTour's diary contains parallel columns of names : one headed `` People Who Are Left Handed,'' the other, `` People Whose Eyes Do n't Match.''","CÔTE BASQUE Midday. JOHN, wearing a black tweed jacket, tie, khaki slacks, mails the Sacramento letter, enters CÔTE BASQUE, a hoity - toity 55th Street restaurant. Midmeal. ANN and LETOUR sit in a prominent booth ; power moguls confer quietly. A deferential WAITER brings fresh berries, retrieves empty salmon plates. ANN You have any money saved? LETOUR There's some. Not much. A thousand or two. Maybe more - I'm not sure. ANN What do you do with your money? The CHEF stops by, asks if the meal was satisfactory. ANN assures him it was, kisses his hand. The CHEF nods, gratified. JOHN resumes the conversation : LETOUR I do n't know. It's not that much in the first place - as you know. ANN -LRB- counterpoint. -RRB- It's tax free - LETOUR Rent, utilities, phone, tips, CDs - what about your money? ANN Kitty Ford once told me, `` Ann, the only person I know that lives as well as you is my grandmother.'' All the money I've made, all the money I've spent - it never adds up. This last two years cosmetics' been taking everything. LETOUR I wish I could help. ANN You still go to meetings? LETOUR No, but I'm okay. What are the odds of meeting someone you have n't seen in years twice in two days? ANN Ask Robert to make up a chart for you ; the other person - who is it? LETOUR Just a contact - you do n't know him. ANN What's the plan? LETOUR The plan? ANN What you gon na do? LETOUR My future? ANN Too conceptual? LETOUR We had this conversation two years ago. We'll have it two years from now. ANN This time it's for real. LETOUR -LRB- accepting premise. -RRB- I'm thinking of some music courses. Mixing, sound editing - ANN You took that before. LETOUR That was acting. ANN -LRB- corrects him. -RRB- Modeling. LETOUR Why all this concern? Suddenly you care? ANN I have feelings too - you may have noticed. I guess I'm worried. I'm tough, you got ta to be tough, especially in this business, it's one thing to act tough - I've seen Zipporah twice this week. LETOUR She helps you? ANN -LRB- nods. -RRB- - harmonizes, she's encouraging me to get out of this into the cosmetics thing - WAITER leans in, deposits check as WELL - TANNED CUSTOMER, fifty - five, cologne and hauteur, passes. He looks at ANN blankly, continues. She watches : ANN -LRB- about CUSTOMER. -RRB- Nomination for Best Picture. I knew every girl he fucked - how, why. I knew when he had trouble shitting. Like this. -LRB- crosses fingers. -RRB- His wife says he gets straight or she cuts him off. Old money. I remember the last thing he said to me : `` See you soon.'' Yeah, sure. That was five years ago. ANN pulls a wad of twenties from her purse, counts bills atop the check : $ 260. ANN -LRB- vulnerable. -RRB- You'll still talk to me, wo n't you? A beat : this is the reason for lunch. The WAITER picks up the cash, appraises the gratuity. LETOUR You -? -LRB- to ANN. -RRB- Of course I will. ANN It'll be strange without you around. I had n't thought of it - it hit me. LETOUR -LRB- clever. -RRB- We'll always have Paris. ANN -LRB- reproachful. -RRB- John. JOHN reaches, touches her visceral emotion. He takes her hand : LETOUR Ann, you want me, call, write a letter, tell a wino - I'll be there. She smiles, clasps his hand. Touching, he is touched.","GENERAL HOSPITAL Afternoon. St. Luke's. LETOUR, wearing tweed jacket, walks down the corridor, checks room numbers. A NURSE passes. He stops at a room, pushes the door a crack, peeks inside, quietly enters. Inside the hospital room, MRS. JOST, sixty - five, lies sedated, attached to IV tubes and a respirator. Flowers wreathe the bed. RANDI sleeps in a chair by the window. LETOUR looks from MRS. JOST to RANDI and back again : a vibrant woman reduced to a shell. He soundlessly eases into a vacant chair. His mind goes back. RANDI twists fitfully in her chair. A stuffed bear peeks over family photos on the window sill. MARIANNE steps into the doorway, stops, frozen - watching the tableau : JOHN, RANDI, her mother. Her face is ravaged : the death watch has taken its toll. LETOUR reaches his arm, touches the hospital bed. MARIANNE tiptoes behind JOHN. He turns, stands. LETOUR -LRB- soft. -RRB- I'm sorry. I. She puts her finger to her lips. He nods. She steps closer, holds him politely. His cheek nestles in her neck. They turn toward the door, step into the corridor, walk arm in arm as if supporting each other. LETOUR -LRB- after a moment. -RRB- I always thought my father would die first. He would die, then my mother and I would reconcile. Just her and me. I hated him for living. MARIANNE It's like a joke. It's not a real feeling. It's like a feeling of a feeling. LETOUR My old man bawling in the hospital, me popping in and out of the john getting loaded. -LRB- beat. -RRB- I miss you. They stop. She kisses him. MARIANNE You tried to kill me. You took ten years of my life one way or another. -LRB- he kisses her. -RRB- I could n't hate my mom - I was too busy hating you. LETOUR I thought I was just killing myself. She runs her hands under his shirt, up his back. LETOUR Selfish. MARIANNE I remember. LETOUR What? MARIANNE What it felt like. -LRB- kisses his face. -RRB- What this tasted like. He slips his hands under her blouse, caresses her breasts. LETOUR I see you and my heart starts thumping. MARIANNE John. They kiss deeper, bodies grinding. The painful present fades. A NURSE approaches with WHEELCHAIR PATIENT. She tries to pass one side of JOHN and MARIANNE, tries the other side, is blocked again. The NURSE stops, stares at their soap opera. Sensing her glare, JOHN and MARIANNE, hands over and under each other, stop, look to the NURSE : embarrassed - yet blissful. LETOUR Excuse us. -LRB- to MARIANNE. -RRB- Let's go. MARIANNE Come. Come with me.","HOTEL SEX Paramount hotel room : Vermeer's Lace Maker dominates Phillipe Stark decor. LETOUR and MARIANNE are all over each other. The pain of the moment, the pain of the past are subsumed by passion. Blind, welcome sexuality. Naked, they kneel facing each other on the bed, faded bleeding heart tattoo on his bicep : LETOUR Have you ever had sex totally straight? MARIANNE Not with you. LETOUR Neither have I. MARIANNE Such an erection. LETOUR Never had anything like it stoned. Feel it. -LRB- she does. -RRB- MARIANNE Weird. LETOUR -LRB- caresses erection. -RRB- Wow. MARIANNE I'm dripping. LETOUR Let's disappear. They smack their sweaty bodies, tumble yelping to the carpet, kiss indiscriminately : LETOUR Kiss, kiss, kiss. MARIANNE Kiss, kiss, kiss. LETOUR Together. Later : night. They lie nude in a scramble of twisted sheets and mattresses. Street lights cast horizontal shadows. LETOUR crawls over, falls upon Marianne's breast. She wakes up, looks at JOHN, looks out the window, returns to slow sad reality. MARIANNE stands, pulls on her panties. LETOUR -LRB- waking. -RRB- You need to go back? She dresses before responding : MARIANNE This is the end. It was wonderful. I'm glad it happened this way. It will never happen again. You will not see me, you will not call me again. I'm happy for you. I wish you the best. I'm leaving. I'm going back to the hospital. I should n't have left - but I do n't regret it. Please dress and leave as soon as possible. I have a key. Goodbye. LETOUR Marianne. MARIANNE It's my fault. MARIANNE, clothes askew, exits. LETOUR I love you. LETOUR is alone. He pulls his pants on. Looking for his socks, he peruses Marianne's personal things. He examines her cosmetics, her underclothes. He dabs her perfume on his cheek. Buttoning his shirt, he retrieves his beeper from suit jacket. Activated, it disgorges messages. He checks his watch : 9:00 p.m.","GET ON OUT Nine - thirty : Ann's apartment building. Trash stacked high. LETOUR presses the buzzer. LETOUR, exhausted, unfocused, enters Ann's apartment. ANN is immediately upon him : ANN Johnny, what is this? Your beeper broke, gettin' some shiatsu? Two hours : where have you bee? LETOUR There was a mix - up - ANN How you gon na survive on your own? The U.N.'s got some conference in two days. The holiday's over - ragheads everywhere trying to score. U.N. security at every hotel - little creeps with lapel pins. Even I've been out. This is where our money is : Europe, Asia, not the streets - you would n't know crack from crackerjacks. LETOUR Where's Robert? ANN Busting his ass. He's out doing your job. LETOUR It was a confusion. ANN Get confused on your day off. LETOUR When is that? ANN Do n't get wise. What do you want me to do? Suck your dick? - okay. A raise? No way. Get out there. There's a list on the TV. I love you. Get your ass outta here before I kiss it. LETOUR -LRB- pecks her cheek. -RRB- I'm on my way. Love you. Forgive me.","AU BAR LeTour's sedan waits between limos. Inside, JOHN passes the MAÎTRE D', looks around : he's known here. Au Bar, a restaurant/club open 9:00 p. m. to 4:00 a. m., caters to the young, the rich, the European. He spots TIS with THOMAS, twenty - five, his handsome trainer, and TWO MODELS at a second - floor table. They exchange nods. LETOUR scans the room : suspicion is second nature. A laughing man -LRB- GUIDONE -RRB- at the bar catches his eye. He seems to blend : Italian, twenty - eight, silk suit, impeccable hair, accent - but something's not right. His black shoes have rubber soles. LETOUR looks for a gun bulge, dirty hands. The ITALIAN turns ; LETOUR glimpses his face : too pale. The ITALIAN averts his eyes. Glancing back, LETOUR walks up the stairs to Tis' table. TIS Tour, sit. Take a rest. LeTour, this is Gabri, Tasha - you know Thomas. They're here for a show. The MODELS respond in respective accents. THOMAS extends his hand. JOHN shakes, remains standing. LETOUR Enchanté. -LRB- to TIS. -RRB- How'd it turn out? TIS -LRB- to GABRI. -RRB- Questo è un vero Americano. -LRB- to LETOUR. -RRB- What? GABRI and TASHA buzz. LETOUR St. Luke's. TIS No problem, but - can you believe this? - she's out of the hospital in one day, calls me up, wants to `` get together.'' Some people are just born for losing. Want to go in back? LETOUR Not now. TIS Huh? LETOUR Look at the bar. Black - haired guy, late twenties, brown suit, drinking tonic? -LRB- TIS nods. -RRB- He's casing you. Not me, you. Undercover, whatever - he's on you. TIS You know him? LETOUR -LRB- shakes head `` no''. -RRB- Just a feeling. You holding? TIS No. Need help? LETOUR -LRB- `` no''. -RRB- Leave a message. Robert or I will come by later. TIS Forget it. It was n't for me anyway. -LRB- to MODELS. -RRB- Who am I trying to impress? -LRB- they smile uncomprehendingly. -RRB- Make it tomorrow. A half - no, three - quarters. LETOUR Nineteen is the top. I'll make two trips. TIS Nineteen is fine. LETOUR -LRB- leaving. -RRB- A domani. Take care, girls.","THERE IS A DIRECTION The blue sedan drives west past Times Square, turns north on Eighth Ave. A plastic wall of trash stretches toward the river. Port Authority hustlers - male, female - cruise as TRANSIT COPS whack an emaciated CRACKHEAD. JOHN, lit by neon, lowers his power window. John's apartment. Night. He writes in his diary, drinks. LETOUR -LRB- voice over. -RRB- I feel my life turning. All it needed was a direction. You drift from day to day, years go by. Suddenly there is a direction. What a strange thing to happen halfway through your life. He goes to the phone, dials. A voice answers : HOTEL SWITCHBOARD -LRB- out of shot. -RRB- Paramount Hotel. LETOUR Marianne Jost, please. HOTEL SWITCHBOARD -LRB- out of shot. -RRB- Just a moment. A pre - recorded message comes on : HOTEL MESSAGE `` Welcome to the Paramount. Your party is out. If you would like to leave a message for -. -LRB- Marianne's voice. -RRB- 'MARIANNE JOST' -LRB- back to message. -RRB- - please do so after the beep.'' LETOUR hangs up, carries the phone to the boombox. He dials again, presses ` Record,' holds the receiver to the mike, records the hotel message, hangs up. First light slants from the window. LETOUR lies clothed on the futon, boombox by his ear. He presses `` Play'' and `` Rewind,'' running the tape over and over, listening, re - listening to Marianne's voice : `` Marianne Jost.'' `` Marianne Jost.'' `` Marianne Jost.'' -RRB-","PHONE CALLS Midday. Twenty - second Street. A helter - skelter of daytime activity unseen before. John's apartment. Sunlight fills the studio apartment. LETOUR, unshaven in T - shirt and slacks, sets the phone on the desk beside his open composition book. He pauses, dials. HOTEL SWITCHBOARD -LRB- out of shot. -RRB- Paramount Hotel. LETOUR Marianne Jost. HOTEL SWITCHBOARD -LRB- out of shot. -RRB- Just a moment. JOHN waits, closes his diary. HOTEL SWITCHBOARD -LRB- out of shot. -RRB- I'm sorry. Ms. Jost checked out this morning. LETOUR She was there yesterday. HOTEL SWITCHBOARD -LRB- out of shot. -RRB- She checked out this morning. LETOUR Did she leave a forwarding number? HOTEL SWITCHBOARD -LRB- out of shot. -RRB- No. LETOUR Thank you. He hangs up, thinks, redials. ST. LUKE'S SWITCHBOARD -LRB- out of shot. -RRB- St. Luke's - Roosevelt Hospital. LETOUR Mrs. Jost. JoAnn Jost. She's a patient. ST. LUKE'S SWITCHBOARD -LRB- out of shot. -RRB- Just a moment. A long silence. JOHN looks out the window. A MEDICAL STAFF VOICE from the hospital : MEDICAL VOICE -LRB- out of shot. -RRB- Who is this calling? LETOUR -LRB- thinking. -RRB- Skyline Floral. We're trying to confirm a delivery. MEDICAL VOICE -LRB- out of shot. -RRB- Mrs. Jost passed away last night. LETOUR Are the funeral arrangements local? MEDICAL VOICE -LRB- out of shot. -RRB- Just a sec - yes, Plaza Memorial. LETOUR Thank you. MEDICAL VOICE -LRB- out of shot. -RRB- You're welcome. JOHN hangs up, paces, sits.","DIRTY LAUNDRY Afternoon. Chelsea laundromat. Mothers and maids gossip, sort clothes. Hispanic radio underscores the whirl of machines. LETOUR, unshaven, shoves dirty clothes into a washer. He counts out quarters, starts the machine. Heading toward a vacant chair, he spots a MAN out the window. It takes a second to place the face : it's the `` Italian'' from Au Bar in street clothes. He watches JOHN watching him. LETOUR walks outside, approaches GUIDONE on the sidewalk : LETOUR Can I help you, officer? GUIDONE What? LETOUR I hope I have n't made a mistake. You are a cop, are n't you? GUIDONE Yes. LETOUR Could I see a badge? GUIDONE eyes LETOUR with disdain : the contempt of a cop for a dealer, of youth for middle age. GUIDONE -LRB- shows credentials. -RRB- Bill Guidone. LETOUR What is it? GUIDONE You think you're invisible, do n't you? You think we do n't know you, LeTour - that's the name you use, right? LETOUR My father's a partner in a powerful law firm. If you have anything in mind, do it by the book. GUIDONE elbow - stabs LETOUR, kicks his shin. Wincing, retreating, JOHN staggers, regains his balance. GUIDONE -LRB- in his face. -RRB- You? Who the fuck cares about you? I could grind you right here! - maybe I will! - and nobody would give a fuck! You're not worth the paperwork. I look like Narcotics? I'm Homicide - I'm investigating the Park murder. LETOUR -LRB- acquiescent. -RRB- I do n't follow the news. GUIDONE Downtown's interested how a Barnard honors student with fancy parents got a quarter of uncut coke on her when she was murdered. I mean, we just do n't see this girl cruising Alphabet City trying to score. Somebody sold her, somebody upscale and classy - you're classy, I hear - and that somebody knows something we need to know. -LRB- hand inside LeTour's shirt, pinching his tit. -RRB- Delivery boy! LETOUR I wish I could help. I do n't even know who's president. GUIDONE Let me put it this way. Here's my card. -LRB- hands card. -RRB- Ask around, take a week or so. Call me. Tell me something I do n't know. Either that, leave town, or get your ass busted day in, day out. LETOUR examines the card.","FUNERAL HOME Evening. LETOUR, shaven, in black tweed jacket, white shirt, black tie, crosses Amsterdam Avenue, enters Plaza Memorial Chapel. Inside funeral home, JOHN checks the letterboard for Mrs. Jost's name. An arrow directs him. Nondenominational muzak. Senior citizens whisper off - screen. Walking, he sees MARIANNE, dressed in black. She sees him, turns to him ; her face hollow, desperate : MARIANNE Get out. LETOUR Marianne. MARIANNE -LRB- emotion rising. -RRB- Every time you come into my life something terrible happens. I thought I was rid of you. How'd you get here? I do n't want you here! I do n't want you around me, I do n't want you around my mother! Damn you! LETOUR Marianne. MARIANNE -LRB- wild. -RRB- Get out! A PLAZA MEMORIAL EMPLOYEE approaches. RANDI, in black, intervenes, pulls JOHN toward the door. MARIANNE YELLS from behind : `` Out!'' Outside, they stop midsidewalk. LETOUR I did n't. RANDI I'm sorry. That's the way it is. You should n't have come. Marianne has been up all night, crying and crying. She was n't there when Mother passed - died - she blames herself. It would n't have made any difference. She just slipped away. Marianne's - I'm worried - A CRACKHEAD strides past trash ramparts, cursing, demanding money : `` Fuck white devil, fucking the black, give the fucking money, white fuck. ,'' etc.. LETOUR It's. RANDI Do n't try. LETOUR How are you? RANDI Me? LETOUR Yes, you. I ca n't think of anything, but if there was anything I could do. RANDI Thanks. I'm okay - I guess. I mean, we've been expecting it. It'll hit me later. LETOUR I saw her. RANDI Who? LETOUR Your mother. I came in the room. You were sleeping. I just watched. RANDI Oh. -LRB- beat. -RRB- I'd better get back. Marianne's probably flipping out. She re - enters the funeral chapel.","ON A ROLL Eight p.m. LETOUR, direct from Plaza Memorial, enters Ann's apartment. ANN, coiffured and made up, gestures to take - out tins : ANN Have some shu mai. Just delivered. LETOUR No. ROBERT -LRB- entering. -RRB- I told Ann you'd be on time. Tis called. He said before ten. He said you were right. ANN About what? LETOUR An undercover cop. Not a narc. The Park murder. Jealous was straight on that - you hear anything? ROBERT Remember the time that cop called here? Wanted to know if we had `` nose candy''? -LRB- laughs. -RRB- Ann says, `` John Candy?'' `` John Candy?'' ANN looks at JOHN, approaches : ANN What's wrong baby? You like like shit. Something wrong? -LRB- holds his face. -RRB- LETOUR No. ANN You ca n't fool me. I can read you. LETOUR -LRB- distressed. -RRB- What do you care? You're leaving me. A few more months - sayonara. -LRB- to ROBERT. -RRB- You too. John who? What was his name again? Le -? -LRB- to ANN : pained. -RRB- I mean it's not exactly like I got a pension plan. ROBERT -LRB- hurt. -RRB- Jack. ANN -LRB- takes his hands. -RRB- Johnny, it's not that at all. Is that what you think? You hate cosmetics. You do n't care about it. You told me that. LETOUR I know. ANN Who knows what will happen? ROBERT I got a friend - a D.D. - got into lapidary. I'll introduce you. You have to pass a test. LETOUR Lapi -? ROBERT Gems, you know, crystals, diamonds. LETOUR Any more about the Park murder? ANN -LRB- re : murder. -RRB- What's with this thing? ROBERT Stay away. ANN -LRB- genuine. -RRB- You want in? We'll make a place for you. LETOUR No. ANN It's - The kitchen phone rings. A voice follows the pre - recorded message : EDDIE -LRB- out of shot - answering machine. -RRB- `` Ann, this is Ed. You got ta come. The other thing is over. I'll be home all night. 749 - 2876.'' ROBERT Shit. ANN -LRB- unequivocal. -RRB- Do n't answer it. Let him call all night. He's trouble. I do n't want to deal with him. LETOUR It's alright, I'll go. Let me handle it. ROBERT I'm sorry if - ANN -LRB- about EDDIE. -RRB- He gives you shit - fuck him. LETOUR -LRB- to ROBERT. -RRB- Forget it. ROBERT We're going Chinese tonight, okay? I mean we're on a roll - ANN Spring roll. LETOUR -LRB- preparing to leave. -RRB- Sure, whatever. Surprise me.","INTERVENTION Eddie's high - rise apartment. EDDIE is worse, if anything. He's been scoring on the street : broken pipes and vials crunch underfoot. EDDIE and LETOUR argue -LRB- `` Fuck you!'' `` Fuck you!'' -RRB- . EDDIE spits, pushes TOUR, JOHN pushes back. Eddie's feet tangle. He trips, FALLS. A bottle SMASHES. JOHN goes to the phone, checks Eddie's directory, dials. EDDIE -LRB- on floor. -RRB- You got ta get permission? Check with Mama? LETOUR I'm calling your brother. EDDIE Huh? LETOUR Yeah, the lawyer in Bronxville. I'm gon na ask him to come over. -LRB- EDDIE protests. -RRB- You've told me so much about him. EDDIE -LRB- panicked. -RRB- No, do n't. Please, I'll give you money, anything. He does n't understand. Whose side are you on? LETOUR -LRB- on phone. -RRB- Is this Martin Jeer? -LRB- beat. -RRB- Thank you. EDDIE, woozy, tries to stand. EDDIE I shoulda never called. LETOUR -LRB- to EDDIE. -RRB- I recommend Hazelden. It has the best all - around program. -LRB- on phone. -RRB- Martin Jeer? -LRB- beat. -RRB- I'm here with your brother Ed. -LRB- beat. -RRB- Yeah, in the city. I'm afraid there's a medical emergency. You're going to have to come. EDDIE lurches toward LETOUR. JOHN - flash of anger - bootkicks him in the head! Eddie's cheek hits the carpet. LETOUR -LRB- on phone. -RRB- He'll be here. JOHN, cooling down, measures his breaths. A spring can only be wound so tight.","LEXINGTON AVENUE LETOUR walks from his sedan around the corner to the Lexington Avenue entrance to Grace Towers, a pre - war apartment building. In the lobby, he gives his name to the SECURITY GUARD, is directed to the express elevator. He exits on the thirtieth floor ; footsteps muted by thick carpet. Victorian prints on dark blue walls. He looks about, approaches a door, presses the buzzer. THOMAS opens the door ; JOHN enters Tis' opulent apartment. Salle and Clemente hang on the walls ; New York twinkles outside panoramic windows. A pipe and syringe lie atop art books. TIS, in jogging sweats, comes from the bedroom to greet him. TIS Tour, just in time. We were out. Nineteen, right? LETOUR Thirty - eight hundred - got any hundreds? TIS Some, not the whole thing. -LRB- to THOMAS. -RRB- You got hundreds? THOMAS No. LETOUR hands him a plastic bag of gram envelopes. TIS opens a packet, pours the contents on the coffee table. TIS I like that about Ann. Always takes the time to grind it. If you do it, do it right. JOHN hears footsteps, turns to see MARIANNE stumble out of the bedroom! She looks terrible : shoeless, blouse out, hair undone, bruise on her forehead - perhaps she fell against something - hands trembling. TIS -LRB- to MARIANNE. -RRB- Looks like you could use some help. -LRB- MARIANNE looks up, sees JOHN, goes pale. -RRB- Mari, this is Tour. You got any hundreds? JOHN stares speechless : the girl who wo n't talk to him because he's a dealer. MARIANNE bolts back into the bedroom, SLAMS the door! TIS Not the talkative type. Have n't seen her in years. You know her, do n't you? -LRB- no answer. TIS counts the money, offers it. LETOUR is frozen. -RRB- Why they call me? What a nightmare. -LRB- extending money. -RRB- You want it or not? LETOUR -LRB- vacant. -RRB- Yeah. LETOUR pockets the cash. TIS, his arm on John's elbow, `` walks'' him to the door : TIS See you later. TIS nudges JOHN to the corridor, closes the door behind him. JOHN looks toward the elevator ; TIS, behind the door, calls `` Marianne!'' Time cut : LETOUR stands in the elevator, red floor numbers flashing past, blank eyes mirrored in dark glass.","FALL FROM GRACE JOHN exits Grace Towers, walks past a limo toward Lexington Avenue. Rounding the corner, he sees his blue sedan. He looks at the cash, repockets it. He continues slowly, each step a separate task. LETOUR reaches for the door handle. A scream pierces traffic noise. A car screeches, another. Voices call out. LETOUR steps back, listens. He retraces his steps, turns onto Lexington Avenue. The SECURITY GUARD, walkie - talkie in hand, clusters on the sidewalk with the limo driver, two pedestrians. A cabbie jumps from his taxi, joins the confusion -LRB- `` My God!'' -RRB- . A siren approaches. John's beeper goes off. Drawing closer, LETOUR sees the partial bloodied shape of a broken body on the sidewalk : he recognizes Marianne's skirt. A squad car brakes with a screech. TWO COPS converge, climb over trash, clear the crime scene : FEMALE COP Get back! MALE COP Who saw it? What happened? -LRB- the FEMALE COP bends over Marianne's body. -RRB- EMS is on the way. FEMALE COP Too late - A second squad car pulls up. JOHN turns away, walks around the corner. LETOUR opens the car door, closes it, sits inside. A wailing ambulance flashes past, speeds up Central Park West. LETOUR does n't react. Beeper re - beeps ; he disconnects the battery. The driver, CARLOS, twenty - five, Hispanic, shirt starched, turns, looks, thinks, says : CARLOS Where to? LETOUR What? CARLOS Where to, sir? Where are we going? LETOUR Nowhere just now. Wait. CARLOS -LRB- after a moment. -RRB- You want me to wait here? LETOUR Yes. Pause. More police cars. The EMS siren starts up ; the ambulance speeds downtown past LeTour's sedan. No reaction. CARLOS turns off the engine. LETOUR Downtown. CARLOS Yes. CARLOS starts the car, pulls into traffic.","TWENTY-TWO MINUTES John's apartment. Late night. LETOUR, barefoot, T - shirt, slacks, stands flat against the wall. WINS broadcasts twenty - four hour news on the boombox. -LRB- `` Give us twenty - two minutes and we'll give you the world.'' -RRB- Sports, ads, bullshit - LETOUR hears what he's been waiting for : NEWSCASTER -LRB- out of shot - radio. -RRB- This story is just in. A woman has fallen thirty stories to her death from a posh Grace Towers apartment on Lexington Avenue. Police are withholding identification pending the notification of the next of kin. The incident happened about ten p.m.. According to the sources on the scene there was no one else in the posh Grace Towers apartment when the fall occurred. We will bring you more details as we get them. -LRB- teletype efx. -RRB- An end to the sanitation strike seems imminent. Negotiations at the Helmsley Palace are continuing to this hour. Actions have consequences.","MOTHER TERESA First light. Jones Street. LETOUR, sleepless, pounds on Teresa's door. No answer. Knocks again. Again. Noises from inside. A sleepy voice : TERESA -LRB- out of shot. -RRB- Who is it? LETOUR John. John LeTour. Can I see you? TERESA -LRB- out of shot. -RRB- What time is it? LETOUR It's important, Teresa. TERESA -LRB- out of shot. -RRB- Call. Make an appointment. LETOUR Open the door. You're awake anyway. -LRB- no answer. -RRB- Teresa. TERESA, wearing oriental bathrobe, unlatches the door. JOHN enters, turns to her. The door closes. LETOUR Read me. What do you see? TERESA Do I know you? LETOUR We had a session last week. What do you see? TERESA -LRB- remembering name. -RRB- John? LETOUR Yes. Look at me. TERESA takes a moment to concentrate. TERESA Step back. -LRB- he does. -RRB- Again. -LRB- he does. -RRB- Death. LETOUR Someone I knew died tonight. TERESA This was not an accident. This person was murdered. LETOUR Am I in danger? TERESA -LRB- beat. -RRB- There is danger around you. It's very close. I'm sleepy. LETOUR What should I do? TERESA I ca n't see it. LETOUR Please. -LRB- she shrugs. -RRB- Am I lucky? TERESA Yes. Do n't be afraid. Go home. TERESA shuffles toward her bedroom - the `` reading'' is over. LETOUR What do I owe you? TERESA Nothing. Forget it. Let me sleep.","SNITCH Mid - morning. LETOUR, still awake, walks past towering Chelsea trash. He passes a newsstand. Tabloids feature yearbook photo of MARIANNE ; the headline : `` Fall from Grace.'' LETOUR walks to a pay phone, takes out Guidone's card, inserts a quarter, dials. POLICE SWITCHBOARD -LRB- out of shot. -RRB- Ninth Precinct. LETOUR Bill Guidone, please. Homicide. POLICE SWITCHBOARD -LRB- out of shot. -RRB- Hold on. JOHN, suspicious, looks around. GUIDONE speaks : GUIDONE -LRB- out of shot. -RRB- Guidone. LETOUR This is John LeTour. Remember me? GUIDONE -LRB- out of shot. -RRB- Laundromat. Your father's got connections. LETOUR You said I should ask around, tell you something you did n't know. GUIDONE -LRB- out of shot. -RRB- I thought you'd call. LETOUR It ai n't much, but it's something. GUIDONE -LRB- out of shot. -RRB- Go on. LETOUR A girl died last night. Lexington Ave. GUIDONE -LRB- out of shot. -RRB- The jumper. Druggie. LETOUR The news said she was alone in the apartment when she went out - she was n't. It's a cover - up. There was someone else. GUIDONE -LRB- out of shot. -RRB- Who? LETOUR Who lives in the apartment? GUIDONE -LRB- out of shot. -RRB- You there? LETOUR That's all I know. You asked me to tell you something. I told you something. Hangs up.","A LITTLE SLEEP Noon. LETOUR enters a West Village apartment building. He presses an intercom button. Robert's voice answers : ROBERT -LRB- out of shot. -RRB- Who is it? LETOUR Jack. Let me in. The door buzzes. ROBERT opens the door to his overdecorated apartment. JOHN looks around. TONY, Robert's younger, unattractive lover, sips coffee at the table. ROBERT Where have you been? We were worried. LETOUR I need some sleep - not much. I do n't want to go home just yet. A little sleep first. Can I crash here? Nice place. ROBERT It's hideous. I did it years ago. I've got to throw everything out. You have n't been here? -LRB- noticing TONY. -RRB- Oh, Jack, this is Tony. I told you about him. You should talk. He's the lapidopterist - gems. TONY -LRB- corrects him. -RRB- Lapidarian. ROBERT Same thing. LETOUR Can I? ROBERT Sure. LETOUR What do you know about Tis? What's his relationship to Ann? ROBERT They go way back - before me. Did you cross him? LETOUR No. ROBERT Do n't. He's Ann's Ecstasy connection. She needs that score. What happened? LETOUR Nothing. ROBERT Do n't mess with him. LETOUR Is he dangerous? ROBERT Everybody's dangerous. We heard what you did to Eddie. Ann thought it was great. She was afraid that was why you did n't come back. LETOUR It was something else. Tell me if you hear anything. ROBERT About what? LETOUR Tis. ROBERT Tis who? Ann says you want a chart done. -LRB- beat. -RRB- What's wrong? LETOUR -LRB- internal. -RRB- Ah. ROBERT -LRB- sympathetic. -RRB- You down? LETOUR -LRB- nods. -RRB- Yeah. -LRB- culling thoughts. -RRB- You ever think about it? ROBERT What? LETOUR That it'd be like this - like, your life, you. that it would turn out this way? - ROBERT Compared to what? My thinking this or that is going to make any difference? There's a plan unfolding. `` Will my plane crash?'' `` Does life have meaning?'' - why ask me? Thinking's a fear of living, negative living ; living's something else. You're afraid. Let the plan unfold. Stop. Stop, live one day - one day - Words blur to jargon. LETOUR cuts in : LETOUR - Robert - ROBERT - day at a time. LETOUR -LRB- touches ROBERT. -RRB- You've lost your fucking brain. ROBERT -LRB- laughs. -RRB- I'm a drug dealer. LETOUR Got a tub? ROBERT -LRB- gestures. -RRB- Yeah. LETOUR Great. Turns to bathroom. ROBERT There's a plastic bottle of bath oil in the cabinet. Yellow. Use it - tell me what you think. It's a new formula.","JUMP-OFFS Six p.m. LETOUR, shaved and bathed, rides a cab uptown, past Harlem, past 158th Street. He motions to the DRIVER ; the taxi stops at a blue door between retail stores begging for renovation. TEENAGE LATINOS hang out. LETOUR gives the CABBIE a twenty. LETOUR walks to the blue door ; the YOUTHS stop, watch. He knocks on the door. A PUERTO RICAN DOORMAN in white leather pants and a heart - shaped diamond ring opens the door, looks him over. JOHN reaches into his pouch, removes a gram envelope, hands it to him. The DOORMAN takes a taste, buzzes him through a door hand - lettered `` Jump - Offs.'' Inside Jump - Offs, a cocaine `` spot,'' every eye turns to JOHN : the only Anglo in a Hispanic after - hours club. Tough young faces, each with a style and two inches of attitude. Willie Colon plays on the jukebox. Searching, LETOUR recognizes a face, walks over : LETOUR Manny. -LRB- MANUEL, thirtyish, Puerto Rican, looks closer, trying to place LETOUR. -RRB- LeTour. -LRB- helping out. -RRB- Jealous. `` Jell.'' SOB's. MANUEL -LRB- remembering. -RRB- Reggae night. LETOUR Burning Spear. MANUEL How'd you get in? LETOUR C - C. MANUEL You buying? LETOUR How's product? MANUEL -LRB- gesture : `` primo''. -RRB- How much? LETOUR I got a problem. I need a piece. MANUEL Piece? Piece of what? Piece of candy? LETOUR A gun. MANUEL When? LETOUR Now. Anything. -LRB- MANUEL is silent. -RRB- Am I speaking too fast? MANUEL How much you spend? LETOUR The rate. What you got? MANUEL calls over a TEENAGE DOMINICAN, explains the situation in Spanish. The DOMINICAN replies ; MANUEL turns back to JOHN : MANUEL He's got a 64 Smith - son. Detective Special. Nobody wants'em. Fresh from a cop. LETOUR How much? MANUEL -LRB- consults DOMINICAN. -RRB- Four - including me. LETOUR You're fucking me. MANUEL -LRB- `` so what?''. -RRB- Street price. LETOUR Where is it? MANUEL Sigame. They lead him to an even darker back room. The DOMINICAN retrieves an automatic pistol from a trash pail, hands it to MANUEL. JOHN counts cash from Tis' roll ; MANNY hefts the piece. MANUEL The hundreds - Franklins. Bills and guns exchanged. LETOUR How do you use this? MANUEL Automatic. LETOUR I do n't have much use for a gun. Never used one like this. MANUEL -LRB- translates for DOMINICAN. -RRB- Cono! The DOMINICAN laughs ; LETOUR takes his measure. LETOUR -LRB- businesslike. -RRB- What do you do? MANUEL Simple. You put the bullets in -. -LRB- inserts cartridge. -RRB- you point it at the bad guys, pull the trigger and they fall down! MANNY repeats this for the DOMINICAN -LSB- `` bang, bang!'' -RSB- ; they laugh again. LETOUR eases the.38 into his crotch. MANNY turns, exchanges Latin hug : MANUEL Vaya con Dios. LETOUR - Dios. JOHN exits, works his way through the club.","OUT WITH THE OLD John's apartment. Seven p.m. LETOUR, sweating, bareback, tucks the.38 under his futon. He takes a bottle of cologne from the bathroom, pours it over his hair, face, and torso, rubs it in. Licking his finger, he removes Marianne's gold and onyx ring with a tug. His finger stings. He opens a window, throws the ring full force into the junk - strewn courtyard. He shakes his torso ; cologne glistens.","JOHN AND RANDI Interior, Plaza Memorial Chapel. LETOUR enters the `` viewing room,'' motions to RANDI. She follows him. They slip into a door, enter the embalming room : stainless steel table surrounded by surgical cabinets. They embrace, disengage. JOHN looks : Randi's exhausted face mirrors his. LETOUR Have you been to the police station? RANDI -LRB- nods. -RRB- She was back on drugs. Really back. They're gon na bring her here too. My God. -LRB- he comforts her. -RRB- I thought she was playing for attention. LETOUR I did n't know. RANDI You're not to blame. Do n't blame yourself. You were n't responsible. She was always - she loved you. LETOUR -LRB- wipes tear from her cheek. -RRB- She loved you. You were what she wanted to be. RANDI She scared me. JOHN pulls a Polaroid from his pocket. LETOUR Look. Do you recognize anyone? The picture features ANN and TIS : side by side at a dinner party. RANDI Tis. LETOUR You know him? RANDI His father's a lawyer. Did some tax things for Mom. He was at the hospital. What's that smell? LETOUR It's me. Cologne. I'm a sucker for that cheap airplane stuff. Did Marianne mention him yesterday? RANDI -LRB- `` no''. -RRB- It was his apartment. What are you thinking? LETOUR I do n't know. RANDI She jumped. -LRB- LETOUR hangs on every word. -RRB- You loved her, but she - this sounds terrible but it's true - she was. she ruined everything. bad luck. LETOUR -LRB- heard enough. -RRB- When's the funeral - your mother's? RANDI Tomorrow. Will you come? LETOUR -LRB- vague. -RRB- Well, I got this thing to do. It's - I do n't know if I can get away. RANDI Try? For me. LETOUR I'll try.","PRODIGAL SON Ann's apartment. Eight p.m. ANN greets LETOUR with a hug. ANN The Prodigal Son. LETOUR Sorry about last night. Something came up. ANN Where were you? LETOUR T.C.T.E. ROBERT `` Too Complicated To Explain.'' LETOUR -LRB- enters bedroom. -RRB- I'm $ 500 short from last night. I'll get it, you can take it from my salary. ANN -LRB- stung. -RRB- This is family. Are you saying that to hurt me? -LRB- LETOUR returns. -RRB- It's not money. LETOUR -LRB- chagrined. -RRB- Sorry. ROBERT Look at this. -LRB- `` Akasha'' visual. -RRB- We had a graphic artist make it up - you know, Billy, Five Towns. ANN The label for the cosmetics line. LETOUR -LRB- examines it. -RRB- Classy. Sorta - Katmandu. ANN -LRB- corrects him. -RRB- Kathmandu. LETOUR I love it. ROBERT Tis called twice. He wants you to come by. LETOUR -LRB- wary. -RRB- Me? ANN Yeah. Says you were supposed to show up again yesterday, but did n't. LETOUR A lie. I do n't want to go. The suicide and all. Let's stay away. ANN Ca n't. He's the Ecstasy connect. No way I can fuck this. LETOUR C'mon. ANN This is business. LETOUR, suspicious, looks from ANN to ROBERT. He knows TIS knows he knows MARIANNE was not alone when she went out the window. LETOUR Let Robert go. ANN Tis wo n't deal with fags. LETOUR Since when? ANN Just is - so he's a bigot? What's new? So's everybody else. LETOUR I do n't want to go. I got a bad vibe. ROBERT He said you. ANN -LRB- to LETOUR. -RRB- Why? LETOUR -LRB- to ANN. -RRB- Why do n't you go? He's your contact. ROBERT He is - ANN -LRB- to ROBERT. -RRB- You giving orders? ROBERT -LRB- deferential. -RRB- No, Missy. LETOUR -LRB- testing her. -RRB- Come with me - the two of us. ANN -LRB- upbeat. -RRB- Okay. You got it. Like old times - Ann and Johnny. -LRB- turns to go. -RRB- LETOUR Okay. ROBERT Stop it. You're breaking my heart.","LAST RIDE Night. ANN and LETOUR side by side in the sedan. CARLOS, at the wheel, anonymous. Outside, SANITATION WORKERS toss sacks of trash into garbage trucks : the strike is over. ANN reminisces as lights flash : ANN It's going to be strange, not doing this. I mean I've had it, but sometimes. LETOUR You're gon na do it, are n't you? You're gon na quit. ANN -LRB- nods. -RRB- I think so. Seal this thing with Tis, turn it - go with the cosmetics. You got ta take a chance in life. No risk, no gain. I've already got retail connections here, London. It was great at the beginning, though. LETOUR When? ANN You know, when we first started out of the place on Greene Street. Before deliveries, when you were still using. It was open house every night but Sunday. We had everything : uppers, downers, meth, six kinds of hash, all in that trousseau, remember? You could get in for a gram, stay all night - everybody, music people, movies, Wall Street, fashion - even politics. I think like five marriages came out of those parties, babies - really. God. -LRB- JOHN eyes her : why this Niagara, this nostalgia? -RRB- You stayed, you then Robert - but he. I ` da never thought you'd, what is it, twelve years? Others, lucky a year max, eight months, in, out, start using, unreliable - nice kids. Remember when you first came : long hair, dirty fingers - LETOUR -LRB- overlapping. -RRB- You made me - ANN - never washed - LETOUR - khaki pants. ANN I should write a book someday. Did you know somebody wanted to do my story? Ghostwrite. It was impossible, of course - my lawyer freaked I even had the meeting. People envy me. They think my life is so glamorous, but they do n't know. I know. Glamorous. -LRB- beat. -RRB- It was for a while. Then came crack and fucked everything. JOHN wonders : The Big Goodbye? Is she acting at Tis' behest? LETOUR I got ta stop home a second. ANN Why? It's out of the way. They're expecting you. `` They're?'' LETOUR You know I got a bad vibe about Tis. ANN -LRB- unconvincing. -RRB- Chill. This is routine. LETOUR I want to get my lucky jacket. ANN Oh. Okay. The sedan continues south. It turns, stops in front of John's Chelsea apartment building. JOHN hops out, goes in. Inside John's apartment he - a man possessed - pulls his black tweed from the closet, throws it on the futon. He rolls up his shirt, reaches under the futon, removes the.38. He straps the gun to his back, wraps duct tape around his chest, end to end over the.38. He tucks in his shirt, puts on the jacket, checks the mirror to see if the gun shows : it does n't. A pause to appreciate. LETOUR closes his diary, throws it out the window : a trifle. He slaps cologne on his cheeks - annointing ; heads toward the door. Outside, LETOUR emerges, walks quickly to the car, plops beside ANN. The sedan drives off. Back seat : ANN That took long enough. What did you do, douche while you were at it? LETOUR Ann, you got some mouth on you. ANN You do n't want to know where it's been. -LRB- sniffs him. -RRB- Cologne? LETOUR For you. ANN Phew. It smells like that stuff they give you on airplanes. It's no good for your skin. All chemicals. LETOUR pulls out a slip of paper, writes a name and address : `` Linda Wichel, 1012B - 2 A Street, Sacramento, California.'' ANN What's that? LETOUR Do me a favor. ANN What? LETOUR Do n't ask why, just promise. ANN What is it? LETOUR -LRB- testing again. -RRB- If anything happens to me - if I should like, you know, fucking die - write and tell her. Extends slip of paper. ANN starts to speak, stops. LETOUR It's my sister. Her husband's in San Quentin. She worries, you know. She takes the name and address. ANN -LRB- eye contact. -RRB- Okay. ANN, sad, looks out the window. She touches his knee. The car pulls in front of the Pennsylvania Hotel, 34th and 7th. LETOUR I thought we were going to Tis'? ANN We are. He's here. He ca n't very well work out of his apartment after what happened yesterday, can he? They get out.","SHOOT-OUT Pennsylvania lobby : a baseball card convention is in progress. ANN squeezes through, goes to the house phone. JOHN follows, scans the tacky lobby : what's up? ANN -LRB- on phone. -RRB- Mathis Bruge, please. -LRB- beat. -RRB- Tis? Ann. I'm here with Tour. -LRB- beat. -RRB- Okay. -LRB- hangs up. -RRB- LETOUR Tis there? ANN Twelve - oh - four. They go to the elevators, wait with CHATTY CARD COLLECTORS -LSB- Pete Rose this, Pete Rose that -RSB-. Twelfth floor. ANN and JOHN step out of the elevator, look for 1204. LETOUR, a step behind, is all eyes, all ears. ANN checks the number, rings the bell. THOMAS lets them in the standard issue suite, locks the door. LETOUR was right : it's a set - up. THOMAS and a TEENAGE CUBAN stand either side of them, waistbands conspicuously bulging. No TIS. JOHN turns to ANN : LETOUR -LRB- Jesus - to - Judas. -RRB- Ann. ANN's confused, then furious : she had no part in the `` set - up.'' In fact, she does n't even know it's a set - up. Bursting rage, she turns on THOMAS, YELLS : ANN I told you greasy fucks I do n't deal with guns! I see guns, I walk! How dare you? She slaps THOMAS, pulls the 9mm from his waistband, throws it to the carpet. The CUBAN watches bewildered, gun drawn, awaiting instructions. Now ANN's on him : ANN And you, beaner, whoever the fuck you are, kiss my fat ass! -LRB- she spits on his shirt, knees him in the crotch, yanks his gun, throws it beside the gut - clutching CUBAN. She crosses the room, YELLING :. -RRB- That's it! TIS! Shitball! I know you're fucking there! Let this be a lesson! You wan na deal, you gon na apologize for this! -LRB- to LETOUR. -RRB- Let's go. THOMAS and the CUBAN TEEN retrieve their guns ; ANN unlocks the door. THOMAS -LRB- pointing gun. -RRB- Hold it! Stop right there. She turns defiantly. TIS enters from bedroom : TIS -LRB- to THOMAS. -RRB- No! -LRB- to ANN. -RRB- Sorry about the guns. My fuck - up. I was just trying to make a point - I apologize. TIS looks to THOMAS and the CUBAN : they lower their weapons. He only means to threaten LETOUR. TIS -LRB- about THOMAS and CUBAN. -RRB- Assholes. What a nightmare. -LRB- to ANN. -RRB- We'll make the deal tomorrow - same terms. Ann. Sorry. Go on, leave, you're upset. I just need to talk to Tour a second. About a police matter. -LRB- to LETOUR. -RRB- Right? LETOUR -LRB- to ANN. -RRB- Go on. She hesitates. TIS Tour and I need to get our stories straight. Somebody's talking to the police. The guns were for emphasis, to make a point, dumb - ANN gets it. Fear hits : ANN -LRB- to TIS. -RRB- We came together, we're leaving together. -LRB- to LETOUR. -RRB- Johnny, come with me. Opens door. TIS -LRB- a command. -RRB- Thomas. THOMAS fixes his gun on ANN. TIS -LRB- to ANN. -RRB- Do n't be stupid. Get out. Leave. -LRB- to LETOUR. -RRB- I had nothing to do with Marianne - she jumped : she was there, then she was gone. -LRB- nods ANN to leave. -RRB- Nothing will happen to Tour. ANN computes, bolts out, flees, SCREAMING at the top of her lungs : ANN -LRB- out of shot. -RRB- Fire! Fire! Fire! The fire bell rings. THOMAS, TIS, and the CUBAN stare dumbfounded. LETOUR reaches behind his shirt in the confusion, yanks out the.38 with a painful rip, turning, fires point - blank into the Cuban's chest. BLAM! Shirt fabric flares, flies : the CUBAN falls with blank expression. THOMAS, off guard, wheels and fires wildly at LETOUR. JOHN fires back. Both are hit. TIS ducks into the bedroom. THOMAS and LETOUR fire again, again - hitting, missing. A bullet hits its mark : THOMAS, frozen, grabs his blood - spurting throat, slumps to floor. LETOUR bleeds from the stomach and shoulder. His shirt soaks red ; he struggles to stand. CUBAN and THOMAS - both dead. LETOUR checks the.38 : five rounds fired - one left. LETOUR staggers into the bedroom, finds TIS frantically searching an open suitcase. Off - screen VOICES under the fire bell. TIS -LRB- desperate. -RRB- I did n't - LETOUR steps to TIS, aims, shoots him barrel to forehead. Exit debris hits the wall. He is dead. Off - screen screams of guests are countered by commands from hotel security : `` Get down!'' `` Get back!'' Fire horns and sirens reverb from the street. LETOUR, losing consciousness, sits bedside. Gun slips from his hand. Deflating, he drifts back - first to the bedspread. Blood spreads. His eyes are open. POLICE VOICES approach. EVERY GRAIN OF SAND Prison waiting area. ANN, wearing a wool suit, waits among black/Hispanic FRIENDS and RELATIVES. The first scene without LETOUR : she sits quietly. A CORRECTIONS OFFICER instructs the visitors to proceed. ANN walks through a concrete corridor, finds the visiting area. LETOUR, in prison fatigues, sits at a table. He sees her, smiles. ANN sits down. This is not her first visit. LETOUR Hello. ANN Hi. Checks watch. LETOUR Twenty minutes. You look terrific. ANN I look respectable. Any news? LETOUR Sentencing's in ten days - supposed to be. Because of the extenuating circumstances - our cooperation - they say it wo n't be more than five years - maybe seven. With time served, good behavior, parole, I could be out in two years - maybe. I hope. ANN It feels like forever. LETOUR It's not so bad. It's a relief in a way - at least so far. I've been writing, reading. ANN I love your letters. -LRB- pause. -RRB- LETOUR How's business? ANN Robert quit. He went back to dealing. I think he thought it would be less work, more money. It's lucky in a way I got mixed up in it - now I have to see this thing through. So it's cosmetics after all. LETOUR -LRB- affectionate. -RRB- I miss you. ANN Me too. LETOUR Did we ever fuck? ANN What do you mean? LETOUR You know, make love. ANN -LRB- thinks. -RRB- There was that party when everybody was so stoned, but - oh yeah, that night you came over and crashed and we slept together. LETOUR We were naked, but did we -? ANN You had a hard - on. LETOUR I did n't - ANN You tried. LETOUR I was thinking about it and I realized we never really did. It's one of the things I think about. It's one of the things I look forward to. I've been looking forward. ANN Me too. LETOUR -LRB- touches her hand. -RRB- Something can be right in front of you and you ca n't see it. ANN -LRB- kisses his hand. -RRB- Strange how things work. The tableau fades. THE END"],"string":"[\n \"LIGHT SLEEPER JOHN LETOUR, forty, light sleeper. Never meant to be a drug dealer, it just came along. He's been other things : messenger boy, cab driver, model, postal clerk, doorman, nightclub shill - never meant to be them either. Now he's a D.D. Drug dealer. JOHN LETOUR, well - groomed, khaki slacks, leather jacket, tippet - like scarf, belt pouch, `` Beatle'' boots, a shadow drifting in and out of other shadows, New York, day, night : watching, listening, rarely speaking - nonexistent, seen only by those he sees. His face an affable blank. Make of it what you will. The eyes flicker ; the hands shift discreetly. A map of calculation. Once he had a drug problem. Life turned a page. Today he follows instructions : he sleeps light - one eye open, anticipating. JOHN LETOUR, D.D., loner, voyeur, has been drifting toward an unknown destination. At mid - life the destination draws near. The circle tightens. The dealer is anxious. The destination is love.\",\n \"NIGHT IN THE LIFE CREDIT SEQUENCE : New York by night. JOHN LETOUR nestles in back of a blue car service sedan, face reflected in the window. Neon mixes with steam, street people with tourists, young dates : each with a different agenda, a hidden purpose. His beeper goes off. He clicks it, checks the digital message. The DRIVER stops at an uptown corner. LETOUR opens the curbside door, motions to the DRIVER he'll be back in `` ten'' minutes. He enters the video laundromat, a twenty - four - hour video rental/laundromat/tanning salon. Inside, he meets a RETRO - YUPPIE -LRB- J. Crew Division -RRB- in the `` Classics'' section. They exit. On the sidewalk, money is exchanged for a packet. LETOUR pockets the uncounted cash. The YUPPIE mouths goodbye, eager to put distance between him and LETOUR. JOHN checks his beeper, stops at a pay phone, dials. JOHN LETOUR re - enters the sedan ; the DRIVER heads downtown. High - rises give way to Tudor City. Uncollected trash lines the curbs. LETOUR eyes a PEDESTRIAN ; PEDESTRIAN looks back. Later. Three a.m.. The streets are dark. LeTour's car passes a glowing Korean market. LETOUR narrates from diary : LETOUR -LRB- voice over. -RRB- Labor Day weekend. Some time for a sanitation strike. Everybody crazy to stock up. They decide to score at the last minute and want it now. Never fails. The faces look alike. You got ta use memory tricks : each has some peculiarity - it keeps you sharp. A D.D. told me when a drug dealer starts writing a diary it's time to quit. I started writing after that. Not every night - now and then. Just to burn off the night. Fill up one book, throw it out, start another. The sedan drives on. End credits.\",\n \"HOMEBASE Four a.m. : streets empty. LeTour's sedan drops him off near a ten - story West 80s apartment building. JOHN gives the DRIVER a forty - dollar tip -LRB- standard procedure -RRB-, turns the corner. He presses the intercom ; a buzzer unlocks the door. He enters the lobby, walks past English reproduction furniture toward the elevators. Presses the button. Penthouse C door opens. ANN lets JOHN in with a smile. ANN, forty - four, striking in a tailored dress, greets him with a wet kiss. Her hair is coiffured, her face made up. She is John's employer, mentor, confidante, Mother Hen : she keeps the books. Her ingenuous demeanor belies sterner stuff : she's been in the drug business fifteen years. Ann's apartment is a jumble of sensibilities : dark green walls, zebra - skin sofa, Haitian wall friezes, framed magazine photos of Paramahansa Yogananda, Liz Taylor, the Duke of Windsor - paintings stacked behind an oversized urn. A bird flits in its cage. One corner of the living area is devoted to a fledgling cosmetics business : Macintosh computer, billboard of trade paper clippings and ads, herbal samples, reference books, color charts. ROBERT, fifty, slight, waves hello as JOHN locks the door. Gay, hip, worn, he's John's `` co - runner.'' They work - and eat - out of Ann's apartment. Take - out tins of Indian food are stacked amid crystals, tarot cards, glasses, and vitamin bottles. No sign of drugs, drug paraphernalia, or money. ANN Darling. LETOUR Ann. ANN Have we made New York safe for another weekend? LETOUR -LRB- waves. -RRB- Robert. ROBERT Get a job. LETOUR -LRB- about ROBERT. -RRB- Sad what ten years without sex can do. Repartee : the plumbing of family feeling. JOHN unzips his belt pouch, walks toward the bedroom to deposit the night's earnings. ANN Any hundreds? LETOUR Twenties - and tens. ROBERT Tens! ANN Goddamn cash machines. ROBERT Did what's - his - name give you a hard time? LETOUR -LRB- out of shot. -RRB- You mean -? ROBERT Yeah. LETOUR Cash Before Delivery. -LRB- re - emerges. -RRB- CBD. ROBERT Fucking investment bankers. ANN These Wall Street kids deal with fake money all day, they think cash is a theoretical concept - like it does n't apply. I see'em at two, shudder to think at nine they're buying and selling - turned me off the stock market. LETOUR It's late. -LRB- to ROBERT. -RRB- You staying? ROBERT It's over. LETOUR I'm gon na crash - try, at least. ANN -LRB- to LETOUR. -RRB- Tomorrow will be easier. Maybe we can all eat together. Go on. You look tired. Here, take a couple of C's. I'll pick up anything that comes in. LETOUR turns to leave. ANN Sleep tight. ROBERT Pick up the trash. LETOUR -LRB- laughs. -RRB- Yeah - big kiss. He throws two kisses, exits.\",\n \"JOHN'S APARTMENT First light reflects across the Hudson as LETOUR walks west on 22nd Street toward his Chelsea apartment building. A delivery truck passes uncollected garbage. He enters a nondescript doorway. Inside his studio apartment, JOHN sits at a second - hand table writing in a composition book. He drinks from an eight - ounce glass of white wine, continues. The room has little personality ; Ann's apartment has enough for two. Nails indicate where pictures once hung ; a boombox sits on the linoleum floor amid cassettes, books -LRB- Autobiography of a Yogi, The Secret Doctrine -RRB-, fashion magazines, a stack of unopened CDs. A futon is unrolled beneath the room's sole decoration, a poster of a human foot advertising a forgotten photo exhibit. Wine bottles - Chenin Blanc. Precious little to show for forty years. LeTour's narration resumes as he writes : LETOUR -LRB- voice over. -RRB- `` Labor Day.'' `` Union Movement'' - there's a contradiction in terms. I know about long hours. It's worse when I'm off - I just walk and walk. Where am I going? There's an element of providence to it all. Like rolling numbers. Luck. You're walking down the street, some guy that looks maybe a little like you does a stick - up four hours ago, there's an APB description out and a cop pulls you in cause he's cold and wants to go inside - they grab your stash. Your number's up. You're busted for nothing. For bad luck.\",\n \"JEALOUS Five p.m.. A Clinton transient hotel. Inside hotel room, LETOUR meets with JEALOUS, a twenty - five - year - old drug intermediary in leather jacket. JOHN counts hundred - dollar bills, hands them to JEALOUS. JEALOUS Are they `` faced''? LETOUR Do n't bore me. JEALOUS rearranges the hundreds : JEALOUS Is it so much work to face them the same direction? You do n't do it, I got to. It's time - my time - LETOUR -LRB- overlap. -RRB- Jees - JEALOUS We've been through all this. -LRB- LETOUR shrugs. -RRB- This nineteen - gram shit is a drag. LETOUR We pay you more, you put up with more. White drugs for white people. Twice the price, twice the safety. JEALOUS I ca n't believe Ann's been working as long as she has - never busted. She's something. LETOUR Never made any big money either. JEALOUS Sure. LETOUR She blows it. JEALOUS You believe that? What you gon na do after she quits? How long you been with her? LETOUR She always says that. We'll see, Jealous. JEALOUS She's out. You should pick up her trade. You're too old to be a go - fer. They know you, they trust you. LETOUR No way. I'm not the management type. I get in charge, I'll start using again - not for me. I know music people. I'm gon na get in recording. JEALOUS Yeah. LETOUR reaches for the door. JEALOUS Tour. LETOUR What? JEALOUS Normally this would n't matter to you, but you may get hassled. LETOUR Why? JEALOUS You read the papers? The Park murder. All over the Post. Mariah Rangel - nineteen - year - old Barnard co - ed bitch dead in Turtle Pond coked to the fucking gills. All of a sudden they're hot after mid - level dealers. They're buzzin'. You know her? LETOUR -LRB- shrugs. -RRB- I look like an encyclopedia? Who knows? -LRB- opens door. -RRB- Thanks for the warning.\",\n \"THE NIGHT BEGINS Ann's apartment. Eight p.m.. She opens the door for LETOUR, kisses him, goes back to the phone. Mantra muzak plays as JOHN locks door, heads toward bedroom. Inside bedroom, MTV glows silently as ROBERT, wearing a black turtleneck, works at a desk amid tools of the trade : digital scale, `` hot box,'' Deering grinder, block of manite, pure cocaine, pills, felt pen. ROBERT scissors glossy magazine paper -LRB- Elle -RRB- into neat quarters, folds each into gram - size `` bindels'' - envelopes. Red satin drapes the ceiling. ROBERT Jack. JOHN kisses him atop the head. ROBERT You pick up from Jealous? LETOUR -LRB- passes bag. -RRB- Yeah, nineteen grams after four times last night. We're certainly not his favorite people. ROBERT We do n't make the laws. Nineteen is carrying, twenty is dealing. Let him be stupid. LETOUR He took my hundreds. ROBERT -LRB- stands. -RRB- Take over for a while. I'm getting contact high. LETOUR -LRB- sits. -RRB- Who's Her Majesty talking to? ROBERT flips through cable channels as JOHN grinds cocaine. ROBERT The Ecstasy connection. From Arizona. She's trying to get them to come here - or, better, Europe. LETOUR That's where the money is. ROBERT All mark - up - the `` Big One.'' LETOUR -LRB- laughs. -RRB- Do n't dress. -LRB- beat. -RRB- You really think she means it? ROBERT That's what she says. New Year's Eve and out - no Acid House, no product, no deliveries. LETOUR That's just her mouth talking. ROBERT Next year - strictly Akasha. LETOUR `` Akasha''? ROBERT Cosmetics. That's what Ann's calling the company now - LETOUR -LRB- interjects. -RRB- - this week. I do n't get it - marigolds, violets, sage - why'd anyone pay to put weeds on their face? ROBERT Why'd anyone pay to put them up their nose? I like cosmetics. I need cosmetics. You should come in with us. LETOUR You forget : she has n't asked me. ANN hangs up, calls : ANN -LRB- out of shot. -RRB- Johnny! Robert! Come here! They return to the living area. ANN -LRB- open arms. -RRB- Plant me two kisses, boys, fifteen hundred Ex at thirty each and the delivery's here. They simultaneously kiss her cheeks. ANN -LRB- to LETOUR. -RRB- Whatja think? LETOUR Of what? ANN The face cream. Almond, marigold, chamomile, egg, aloe - the `` Almilk'' formula. I remixed it. LETOUR -LRB- smells her. -RRB- Very nice. ANN Reminds me, if you get downtown stop at Enhancements and pick up some almond oil - not the California. -LRB- fishes menus from desk. -RRB- What should we order? LETOUR How about Indian? ANN Darling, it's Saturday. ROBERT Thai. We have n't had Thai in a while. The phone rings. Ann's voice repeats a recorded message : ANN'S VOICE `` Hello. This is Ann. If you leave a message, we'll get back to you - sooner than you think.'' Answering machine beeps. MAN'S VOICE speaks from the tiny speaker : `` Ann, this is Ed. Call me. 749 - 2876.'' ANN -LRB- to ROBERT. -RRB- Answer that. He'll call back every five minutes. ROBERT -LRB- walking. -RRB- The night begins. The phone rings again : another message as ANN examines the menu. ANN `` Ped Srilom''? - it's Northeastern. Duck. LETOUR -LRB- glancing. -RRB- I'm going veggie. Get me the `` Puk Ob.'' ROBERT -LRB- out of shot from phone. -RRB- Me too. LETOUR Use it for facial cream. ROBERT -LRB- out of shot. -RRB- Remove unsightly hair! ANN Laugh, one day you'll be watching me on `` Oprah'' from a welfare hotel. LETOUR Forgive us. ROBERT -LRB- returns. -RRB- Eddie wants now. Now. His place. Top Lady. God knows what happened to his shit yesterday. ANN -LRB- to LETOUR. -RRB- You take it - call in. LETOUR It was supposed to be light tonight. ROBERT Do n't you watch TV? LETOUR Do n't have one. ROBERT Well if you were the normal stupid fuck you should be so lucky to be and had one, you'd know it's supposed to rain - ANN Good for the trees - ROBERT Some farmer whacked his numerology on us. ANN -LRB- peers through curtain. -RRB- It's started. ROBERT The Farmer's Almanac is based on numerology. LETOUR Raining? ANN Take a coat. -LRB- to ROBERT. -RRB- And you, clean up the product before the food delivery comes. JOHN grabs his belt pouch, heads for the closet.\",\n \"CONFESSOR LETOUR Rain falls on LeTour's car near an East Side luxury high - rise. The door opens to Eddie's apartment : severe decor, once chic, now dated. EDDIE, thirty - two, is a mess : puffy face, sweaty shirt, pinched lips - on a drug jag. EDDIE Le Tour! - finally. What took so long? LETOUR -LRB- steps inside. -RRB- Traffic. It's raining. EDDIE How's things? LETOUR Okay. EDDIE I need a quarter - you got it? LETOUR -LRB- nods. -RRB- Robert said he sold you a quarter yesterday. EDDIE -LRB- slurs. -RRB- Some friends came over. How much is that? Fourteen - hundred? LETOUR nods as EDDIE, employing diminished skills, counts from a roll of twenties. JOHN looks around : full ashtrays, porn tapes, empty vodka bottles - there have been no `` friends.'' LETOUR Eddie. Look at yourself. Sit down. I've known you, what, like eight years? EDDIE -LRB- counting. -RRB- Yeah. LETOUR Knew you from the other job, the one before the last one you fucked up. I knew your wife - remember her? We used to sit and talk and talk - Pressures EDDIE into chair. EDDIE -LRB- whining. -RRB- You do n't know what she was like - LETOUR This is no good. I'll sell you a gram and some downs, but I ai n't gon na put you in the emergency room. Cool it. Go to bed. Sleep it off. John's beeper goes off. EDDIE -LRB- stands. -RRB- You charge $ 200 for what goes for ninety on the street - and you're not gon na sell? LETOUR -LRB- clicks beeper. -RRB- So go to the street. EDDIE I'll call Ann. LETOUR Go ahead. You know what she'll say. Phone's over there. EDDIE -LRB- irrational. -RRB- I'll tell the fucking cops. LETOUR -LRB- flashes cold. -RRB- Fuck you. That's it. You're out. -LRB- turns to leave. -RRB- Do n't call again. Catch you next lifetime. EDDIE -LRB- contrite. -RRB- Please, Tour, I'm sorry. You're right. I did n't mean that. I'm quitting anyway. I'll take the gram. Sorry. LETOUR -LRB- turns back. -RRB- Okay. EDDIE Two hundred? LETOUR nods. EDDIE counts $ 200 as LETOUR takes a gram from his pouch, gives it to him. LETOUR You got downs? -LRB- EDDIE nods. -RRB- One more thing. I got ta use the phone. EDDIE pockets the envelope as JOHN, checking his beeper, walks to the phone. Later. LETOUR sits in an Upper West Side apartment as an earnest MID - TWENTIESH MAN, wearing undershorts, snorts a hefty line, offers a rolled dollar bill as he talks. LETOUR declines. MID-TWENTIESH MAN -LRB- continuing. -RRB-. but - if there's no God, how can man conceive of him? The idea of God presupposes the existence of God. That's the Ontological Argument. Anselm. Twelve hundred. Fourteen hundred - I'm not sure - LETOUR -LRB- checks his watch. -RRB- I've got to go. MID-TWENTIESH MAN -LRB- gesturing. -RRB- Let me finish. Okay, if the idea of God is implanted by God - the sensus divinitatus, the sense of the divine - what is the role of human thought? Not faith, thought. LETOUR's mind drifts. His diary voice overlaps : LETOUR -LRB- Voice over. -RRB- Everybody wants to talk. It's like a compulsion. My philosophy is : you got nothing to say, do n't say it. They figure you can tell a D.D. anything, things they would never tell anyone else. He understands. Of course they're stoned to start. If I could tie together all the hours of coke talk I've heard, that would be a lot of string. It was Robert's idea to add twenty - five dollars to home deliveries cause it's such a hassle. Fifty is more like it. Later. Narration continues as sedan drives through rain. Later. A Tribeca loft. LETOUR swaps drug jargon with TWO N.Y.U. STUDENTS at an impromptu party. Attractive ingenues drift by. TRENDY TWOSOME, blasted, sways, to techno - rap. Business done, LETOUR turns to leave. The FIRST STUDENT grabs his shoulder : FIRST STUDENT C'mon, Tour, stick around. SECOND STUDENT Yeah. FIRST STUDENT There's only four of us and like seven of them - and we're paying for the dope. See her, over there, the blonde, long hair, yellow skirt? - she's gon na model for Elite. DOWNTOWN NYMPH, sixteen going on seventeen. LETOUR -LRB- smiling. -RRB- Me? I'm an old man. She'd break me like an old horse. SECOND STUDENT Shit, dude - LETOUR Nah. Thanks anyway. -LRB- checks watch. -RRB- I got ta go. Have fun. -LRB- heads toward exit. -RRB-\",\n \"FACE FROM THE PAST LeTour's sedan heads down Lexington Avenue. It rains unabated. Puddles glisten ; red taillights refract on the windshield. JOHN rests in back, a bag from Enhancements beside him. Pedestrians, well - dressed and casual, desperately wave for taxis amid sacks of garbage. No use : nothing for blocks. John's sedan stops for a midtown light. LETOUR looks out the window, sees a WOMAN vainly hailing a cab. He looks again. She turns her head. He recognizes her. LETOUR -LRB- to DRIVER. -RRB- Carlos. Wait a second. He leans over, opens the far door, calls : LETOUR Marianne! Marianne! Hop in! I'll give you a ride. MARIANNE JOST, thirty - five, stylish in short black hair and long black coat, steps closer, looks through the rain. LETOUR John. John LeTour. MARIANNE -LRB- recognizes him. -RRB- John? LETOUR Get in. You're getting soaked. She ducks inside, slams the door. MARIANNE -LRB- awkward. -RRB- Hi. The car moves on. LETOUR Where are you going? MARIANNE wipes rain from her cheeks ; her expression deepens : cautious, suspicious. No reply. LETOUR I did n't know you still lived here. MARIANNE -LRB- second thoughts. -RRB- Maybe this was n't such a good idea. I should get out. LETOUR Do n't be crazy. It's pouring. MARIANNE I'm not supposed to be around - LETOUR -LRB- completes sentence. -RRB- - former drug associates. MARIANNE It's four years I'm clean. No alcohol, no cigarettes, no nothing. LETOUR I heard. I'm happy for you. MARIANNE It's still not easy. LETOUR I know. Mar, you do n't need to avoid me. I'm straight - two years. It came that time. I tried to tell you. I wrote. I called. MARIANNE -LRB- looks around. -RRB- I should get out. LETOUR Honest. MARIANNE But you're dealing. LETOUR No. I stopped. MARIANNE What's in the bag? LETOUR Almond oil. You can check. -LRB- opens bag. -RRB- Look. She does : Enhancements Almond Oil. John's beeper goes off! - he punches it. LETOUR Shit. MARIANNE What's that for? In case someone needs almond oil in the middle of the night? LETOUR I still deal a little, but I'm straight - that part's true. Believe me. MARIANNE -LRB- to DRIVER. -RRB- Stop here. Now. Stop! LETOUR I wo n't say anything. I promise. I'll just sit here. I'll just give you a ride. The car pulls over. MARIANNE opens the door, gets out. MARIANNE Goodbye, John. LETOUR Where do you live? -LRB- door slams. -RRB- Mari. She fades into the rain. JOHN watches, aching. DRIVER Sir? LETOUR Eighty - third Street. The sedan continues uptown.\",\n \"MEMORIES John's apartment. Pre - dawn. His diary lies open on the desk. LETOUR sits clothed on the futon, drinking white wine. He pages through a cheap, half - filled photo album. He touches snapshots, 3 × 5's from another time : - JOHN and MARIANNE, arm in arm, on a Florida beach - MARIANNE, surprised by the camera, snorting coke at a party - JOHN, MARIANNE, and ANN posing, smiling, same party - JOHN and MARIANNE kissing over birthday cake, same party - MARIANNE IN MOROCCO BAZAAR - JOHN blowing a kiss in Fez airport\",\n \"PSYCHIC HEALING LeTour's narration continues over embossed card on an entry table : Teresa Aronow, Psychic Reading, 37 Jones Street, New York, N.Y. 10012, -LRB- 212 -RRB- 473 - 4297. VOICES under narration : TERESA -LRB- out of shot. -RRB- Coffee? LETOUR -LRB- out of shot. -RRB- Thanks. TERESA -LRB- out of shot. -RRB- Black? LETOUR -LRB- out of shot. -RRB- Yeah. TERESA -LRB- out of shot. -RRB- Here. JOHN accepts a coffee mug, sits on a sofa across from TERESA. Sunlight falls through crocheted curtains. TERESA ARONOW, fortyish, professionally young, is compact, demure ; she wears business jacket and skirt, patterned blouse. Nothing about her is remotely paranormal - nothing except, of course, her `` aura.'' The `` Other Side.'' Her voice is at the same time soothing, piercing. Teresa's West Village consultation room is startlingly mundane : a bourgeois walk - up. Upholstered furniture, Tiffany objêts d'art, framed photos of her husband and children - a trip to Capri. A twenties portrait of Madame Blavatsky, above the fireplace, centers the room. LETOUR I'm not sure how this works. TERESA Have you ever been to a psychic before? LETOUR No, but I've, well, I've heard about it. TERESA Do you need advice? John? LETOUR -LRB- nods. -RRB- No. it's not that. I do n't know - I just decided to come. I thought. TERESA Be comfortable. -LRB- smile. -RRB- How did you hear about me? LETOUR A recommendation. Somebody from work. Two hundred dollars, right? TERESA nods. JOHN tucks cash into an envelope, places it on the coffee table. TERESA It's a lot of money? LETOUR I do n't care. TERESA -LRB- explaining. -RRB- I look at you. I give you my impressions. I feel your `` vibrations'' - I do n't like that word, it sounds phony, but I ca n't think of anything better. -LRB- watching. -RRB- You're anxious. -LRB- he shrugs. -RRB- More than usual. Your aura is very strong. I feel a very strong vibration from you. A change is coming. You're worried about money. You say you do n't care about money but that's not true. LETOUR Yeah. TERESA Your livelihood is endangered. You're worried about the future. You do n't have much money saved. What will you do? LETOUR I do n't know. TERESA I see a woman who has betrayed you. LETOUR -LRB- smiles. -RRB- My mother? TERESA -LRB- cuts him short. -RRB- Who will betray you. LETOUR Not. I. TERESA Keep it in mind. I have a strong feeling about this woman, a woman close to you, she will betray you. You're in the entertainment business, are n't you? LETOUR Yes. TERESA But you're not happy. You want to do something else. Is it music? LETOUR Yes. TERESA You have a talent for music. LETOUR As a child. TERESA You still have it. It's strong. I see music in your future. A career opportunity will come in the music field. Take it. It wo n't seem promising. Take it anyway. -LRB- pause. -RRB- You're full of stress. Are you exercising? LETOUR No. I - TERESA You should exercise more. You must let go of this stress. It's not good for your health. I'm not saying you're going over to the other side, but it's not good for you. You're still drinking, are n't you? You have a drinking problem? -LRB- he shrugs. -RRB- It's interfering with your health and your life too. You've had other problems. Drug addiction. LETOUR Yes. TERESA This was very important in your life. LETOUR Yes. TERESA You are in the balance. Everything you do - positive or negative - in this life is a drop that will carry over in the next. Every act, every decision matters. LETOUR Teresa? TERESA What is it? LETOUR I'm thirty - eight years old. -LRB- beat. -RRB- Forty. TERESA You're young. LETOUR I have trouble sleeping. -LRB- TERESA waits. -RRB- Look. What do you see around me? Is there anything? Is it dark? Have I run out of luck? Is there luck? TERESA I see a glow. Everything you need is around you. The only danger is inside you.\",\n \"MONEY CHANGER Ann's apartment. The night has already begun. ANN sits on the floor beside a YOUNG HASID counting money. He wears Orthodox garb : black hat, black coat, peyas. Tibetan bells reverb from speakers as the Bergmanesque cambist runs faced twenty - dollar bills through a battery - operated counting machine, places stacks of cash on the floor. ROBERT returns a call from the kitchen ; LETOUR emerges from the bathroom, wiping his hands. ANN -LRB- to LETOUR and ROBERT. -RRB- Your pay's on the table. JOHN walks to the cosmetics corner, finds an envelope with his name on it, looks inside : $ 500 in twenties. He pockets the money. LETOUR sits as HASID double - checks the total : cash covers the available floor space. YOUNG HASID -LRB- dialogue punctuates action. -RRB- One hundred thirty - one, let's make it 130 - $ 13,000, hundreds for small bills. One percent commission, $ 130 to you - add tens or whatever if you want. Opening a satchel, he removes bound $ 100s, counts off 130 as ANN adds up commission in small bills. He loads the satchel : YOUNG HASID Same time? ANN -LRB- nods. -RRB- Two weeks - do n't run. Stay a while. We'll order kosher. We'll tell you dirty stories. We'll talk Zionism. The HASID laughs. He likes her. YOUNG HASID -LRB- passes hundreds. -RRB- I'm late already. I only come'cause I like you. Sure you're not Jewish? I do n't want to see you hurt. Find a man. You should do something else. ANN -LRB- offers commission. -RRB- Invest in my cosmetics line. YOUNG HASID -LRB- takes money. -RRB- Do n't mix business with friendship. ANN follows him to the door. YOUNG HASID Shalom. ANN Shalom. -LRB- opens door. -RRB- See you next week. -LRB- calls after him. -RRB- Do n't eat any hot dogs! ANN closes door. LETOUR Jealous said something about a yuppie murder in the Park. You know anything about it? ANN It's all over the news. LETOUR Jealous said to be careful. ANN We are careful. ROBERT -LRB- returning. -RRB- We're too small time. Besides, she was n't one of ours - not directly. -LRB- to LETOUR. -RRB- Tis is at St. Luke's. He wants somebody over right away. Second floor waiting room. LETOUR A hospital? What's he doing there? ROBERT He says he needs you to come to St. Luke's. I'd go but I got the other thing. LETOUR The -? ROBERT Yeah. ANN -LRB- to LETOUR. -RRB- Go. Keep on his good side. He set up Arizona. Phone rings ; Ann's machine answers : `` Hello, this is Ann.'' ANN -LRB- to LETOUR. -RRB- Let's have lunch. Tomorrow. LETOUR Me? ANN One o'clock. Côte Basque. Is that too early? LETOUR No. Yeah - sure. ROBERT Tonight? LETOUR I vote Japanese. ANN Fine. ROBERT Okay. LETOUR -LRB- heads for door. -RRB- Mixed sushi. Oshitashi.\",\n \"ST. LUKE'S EMS vehicles line street outside St. Luke's - Roosevelt Hospital. Inside, LETOUR weaves through Emergency -LRB- eerie -RRB-, double - steps the stairs, looks for the second floor waiting area. TIS -LRB- Mathis - pronounced Tees -RRB-, thirty - five, Swiss, paces in the waiting room. He wears a linen jacket, horn - rim glasses, Cerrutti Euro - swank. He spots JOHN, takes him aside : LETOUR What's going on? TIS You got some valiums? LETOUR -LRB- nods. -RRB- -'n ` ludes. TIS Just a valium - a ten. LETOUR What is it? TIS You wo n't believe it. What a nightmare. I brought in this chick. She O.D.ed - man, I did n't even know her. I did n't have to bring her in. The cops are coming back to talk to me. I'm hyper. I got ta come down. LETOUR -LRB- hands him valium. -RRB- Here. TIS Make it two. LETOUR obliges. TIS pops a blue without water, pockets the other. TIS Thanks. LETOUR She okay? TIS Who? LETOUR The girl. TIS Yeah, yeah. Met her last night. A walking vacuum cleaner. What a nightmare. Underage. LETOUR You need a lawyer? TIS -LRB- gestures toward suited man. -RRB- He's here. Thanks. TIS folds a bill into John's hand. LETOUR Any time. TIS turns, steps away. LETOUR walks down the long corridor. Curious, reflective, he slows past open doors. Friends, family, patients sit in blue light. Each room a drama. He heads down a duplicate corridor. A VOICE turns his head : RANDI John! He turns to see RANDI JOST, thirty, Marianne's younger sister. She wears running shoes, jeans, red sweater. LETOUR Randi? RANDI -LRB- kisses him. -RRB- I ca n't believe it. Marianne's here too. She flew in. It's been so long. You look great. LETOUR -LRB- deactivates beeper. -RRB- You too. Randi, what's wrong? Why are you here? RANDI Mom. She's back in. Did n't Marianne tell you? LETOUR Serious? RANDI -LRB- nods. -RRB- More chemo. LETOUR Can I see her? RANDI She's sleeping. She sleeps most of the time. She'd like it, though. She still talks about you. LETOUR -LRB- sad. -RRB- I'm so sorry. She's a terrific woman. I was crazy about her. God. MARIANNE, head down, approaches. Looking up, she finds herself unexpectedly beside JOHN and RANDI : RANDI It's John. What a coincidence. MARIANNE -LRB- gathering herself. -RRB- Yes. -LRB- extends hand. -RRB- Hi. LETOUR -LRB- shakes hand. -RRB- Randi told me about your mom. I'm sorry. MARIANNE Thanks. LETOUR She's sedated? MARIANNE Yeah. RANDI She would be so happy to see John. MARIANNE I do n't think that would be a good idea. An awkward silence : RANDI does n't get it. LETOUR You both look so tired. MARIANNE One of us has to be here. RANDI The hospital lets us stay in her room. LETOUR Let me buy you some coffee or something - the cafeteria's downstairs. It helps to talk. RANDI You go, Marianne, it's my turn with mom. MARIANNE I should n't. RANDI Go. You have n't eaten. Go on. -LRB- nudges her. -RRB- Go on. MARIANNE I. RANDI Bring me a coffee. MARIANNE acquiesces. LETOUR This way. -LRB- to RANDI. -RRB- Kiss your mother for me. JOHN escorts MARIANNE toward the stairs.\",\n \"EUPHORIC RECALL Hospital cafeteria. JOHN and MARIANNE carry trays to a formica table, molded chairs. He mixes sugar in his coffee as she sets out her salad, diet soda, to - go coffee. An awkward moment. MARIANNE scans the fluorescent room : doctors, nurses, relatives. LETOUR I like your mom. MARIANNE She liked you. You know this will happen someday, but when it does. Your mother - that was a shock. LETOUR -LRB- re : Marianne's mother. -RRB- She's been sick a while? MARIANNE A year. LETOUR Your father? MARIANNE -LRB- `` no''. -RRB- Not this time. His new wife - he'll make it to the funeral. LETOUR What have you been doing? Where do you live? MARIANNE It's. -LRB- deciding. -RRB- I do n't want you to know about my life. LETOUR Anything? You married? Have children? A dog? -LRB- smile. -RRB- House plants? MARIANNE Details just open the door. LETOUR The door to what? -LRB- no answer. -RRB- It's not like we're strangers. We were married. MARIANNE We were not. LETOUR There was a ceremony. MARIANNE He was n't even a minister. He was an astrologer. LETOUR He was also a minister. `` Universal Harmony.'' MARIANNE He was a Pisces. LETOUR You're a Pisces. MARIANNE It was not legal. LETOUR In the eyes of Jeanne Dixon we're still - MARIANNE I was on the cusp. LETOUR We were happy. MARIANNE We were miserable. We were either scoring or coming down - mostly coming down. LETOUR There were good times. Area, out on the street, laughing, dancing with friends - we were magical. MARIANNE You took off for three months without telling me and called once. That's how magical we were. You were an encyclopedia of suicidal fantasies - I heard them all. Nobody could clear a room like you, John. And the friends, you may have noticed, turned out to be mine, not yours. I envy you. A convenient memory is a gift from God. LETOUR You exaggerate. MARIANNE In rehab they call this `` euphoric recall.'' You only remember the highs, never the lows. LETOUR We were happy. MARIANNE I was drowning. LETOUR It was n't me - MARIANNE You watched - LETOUR You jumped - MARIANNE You did nothing - `` It was n't your business, you were n't responsible'' - you still think like that. -LRB- shakes head. -RRB- Actions have consequences ; so do - LETOUR -LRB- overlap. -RRB- I - MARIANNE - inactions. LETOUR I did n't -. -LRB- MARIANNE smiles. -RRB- I meant well. MARIANNE You always meant well. LETOUR We were in love? MARIANNE Yes. LETOUR We were happy? She does n't answer. He slides his hand across the table. She notices his gold and onyx ring. LETOUR You bought it for me. It's inscribed inside. She pushes his hand away. Details open doors. LETOUR Ann's quitting. I've got to find something else to do. MARIANNE Ann? I'll believe it when I see it. LETOUR It's true. MARIANNE Are you really straight? LETOUR Yeah. MARIANNE Let me see your eyes. JOHN leans forward, eyes open. She presses up an eyelid, examines one iris, the other : MARIANNE Eyes are deceiving. -LRB- beat. -RRB- Congratulations. LETOUR If I could do that, I could do anything. MARIANNE What do you mean? LETOUR We could do anything. We could start over. MARIANNE -LRB- bangs her head. -RRB- What was that? I think I heard something. LETOUR I'm serious. An INTERCOM VOICE announces visiting hours will end in five minutes. MARIANNE You're crazy. LETOUR -LRB- gestures to room. -RRB- This is crazy. MARIANNE I have to get back. JOHN nods, checks his watch - he's late too. They exchange `` last looks'' ; MARIANNE stands. LETOUR I'll walk you. He stands, follows.\",\n \"NEW DIARY Later. LeTour's sedan pulls up near Palio, a midtown restaurant. JOHN steps around garbage bags, enters. Inside, JOHN `` maps'' bar, greets the MAÎTRE D'. LETOUR spots the FRENCH -LRB- LaCroix and Montana -RRB- COUPLE in the dining section, catches the man's eye. He nods to the MAÎTRE D', makes his way toward their table. He joins the FRENCH COUPLE, declines a drink, exchanges drugs/money amid air kisses. Late night. Fog hangs over 22nd Street : Chelsea's deserted. Homeless men behind windbreaks of trash. John's apartment. He writes bareback at the desk. He completes his composition book diary mid - sentence, closes it, discards it. He lifts a new book from the floor, opens it on the desk, continues. He fills his glass with wine : LETOUR -LRB- voice over. -RRB- I can always find another way to make a living. I never planned this in the first place - not like Ann. She came up to sell, have parties, make contacts. She was so glamorous. I just wanted to be around her. She'd sit up listening to coke stories. Now it's me and Robert. The whole crowd was the same age. Everybody's younger now. She made me. LETOUR pulls his weekly pay from his pants, puts five twenties in an envelope. He addresses the envelope. `` Linda Wichel, 1012B - 2 A Street, Sacramento, California,'' stamps it. Dissolves : -LRB- 1 -RRB- LETOUR vanishes from his desk, -LRB- 2 -RRB- materializes fetally on his futon, bareback, slacks, boots, anxious, awaiting sleep. LeTour's diary contains parallel columns of names : one headed `` People Who Are Left Handed,'' the other, `` People Whose Eyes Do n't Match.''\",\n \"CÔTE BASQUE Midday. JOHN, wearing a black tweed jacket, tie, khaki slacks, mails the Sacramento letter, enters CÔTE BASQUE, a hoity - toity 55th Street restaurant. Midmeal. ANN and LETOUR sit in a prominent booth ; power moguls confer quietly. A deferential WAITER brings fresh berries, retrieves empty salmon plates. ANN You have any money saved? LETOUR There's some. Not much. A thousand or two. Maybe more - I'm not sure. ANN What do you do with your money? The CHEF stops by, asks if the meal was satisfactory. ANN assures him it was, kisses his hand. The CHEF nods, gratified. JOHN resumes the conversation : LETOUR I do n't know. It's not that much in the first place - as you know. ANN -LRB- counterpoint. -RRB- It's tax free - LETOUR Rent, utilities, phone, tips, CDs - what about your money? ANN Kitty Ford once told me, `` Ann, the only person I know that lives as well as you is my grandmother.'' All the money I've made, all the money I've spent - it never adds up. This last two years cosmetics' been taking everything. LETOUR I wish I could help. ANN You still go to meetings? LETOUR No, but I'm okay. What are the odds of meeting someone you have n't seen in years twice in two days? ANN Ask Robert to make up a chart for you ; the other person - who is it? LETOUR Just a contact - you do n't know him. ANN What's the plan? LETOUR The plan? ANN What you gon na do? LETOUR My future? ANN Too conceptual? LETOUR We had this conversation two years ago. We'll have it two years from now. ANN This time it's for real. LETOUR -LRB- accepting premise. -RRB- I'm thinking of some music courses. Mixing, sound editing - ANN You took that before. LETOUR That was acting. ANN -LRB- corrects him. -RRB- Modeling. LETOUR Why all this concern? Suddenly you care? ANN I have feelings too - you may have noticed. I guess I'm worried. I'm tough, you got ta to be tough, especially in this business, it's one thing to act tough - I've seen Zipporah twice this week. LETOUR She helps you? ANN -LRB- nods. -RRB- - harmonizes, she's encouraging me to get out of this into the cosmetics thing - WAITER leans in, deposits check as WELL - TANNED CUSTOMER, fifty - five, cologne and hauteur, passes. He looks at ANN blankly, continues. She watches : ANN -LRB- about CUSTOMER. -RRB- Nomination for Best Picture. I knew every girl he fucked - how, why. I knew when he had trouble shitting. Like this. -LRB- crosses fingers. -RRB- His wife says he gets straight or she cuts him off. Old money. I remember the last thing he said to me : `` See you soon.'' Yeah, sure. That was five years ago. ANN pulls a wad of twenties from her purse, counts bills atop the check : $ 260. ANN -LRB- vulnerable. -RRB- You'll still talk to me, wo n't you? A beat : this is the reason for lunch. The WAITER picks up the cash, appraises the gratuity. LETOUR You -? -LRB- to ANN. -RRB- Of course I will. ANN It'll be strange without you around. I had n't thought of it - it hit me. LETOUR -LRB- clever. -RRB- We'll always have Paris. ANN -LRB- reproachful. -RRB- John. JOHN reaches, touches her visceral emotion. He takes her hand : LETOUR Ann, you want me, call, write a letter, tell a wino - I'll be there. She smiles, clasps his hand. Touching, he is touched.\",\n \"GENERAL HOSPITAL Afternoon. St. Luke's. LETOUR, wearing tweed jacket, walks down the corridor, checks room numbers. A NURSE passes. He stops at a room, pushes the door a crack, peeks inside, quietly enters. Inside the hospital room, MRS. JOST, sixty - five, lies sedated, attached to IV tubes and a respirator. Flowers wreathe the bed. RANDI sleeps in a chair by the window. LETOUR looks from MRS. JOST to RANDI and back again : a vibrant woman reduced to a shell. He soundlessly eases into a vacant chair. His mind goes back. RANDI twists fitfully in her chair. A stuffed bear peeks over family photos on the window sill. MARIANNE steps into the doorway, stops, frozen - watching the tableau : JOHN, RANDI, her mother. Her face is ravaged : the death watch has taken its toll. LETOUR reaches his arm, touches the hospital bed. MARIANNE tiptoes behind JOHN. He turns, stands. LETOUR -LRB- soft. -RRB- I'm sorry. I. She puts her finger to her lips. He nods. She steps closer, holds him politely. His cheek nestles in her neck. They turn toward the door, step into the corridor, walk arm in arm as if supporting each other. LETOUR -LRB- after a moment. -RRB- I always thought my father would die first. He would die, then my mother and I would reconcile. Just her and me. I hated him for living. MARIANNE It's like a joke. It's not a real feeling. It's like a feeling of a feeling. LETOUR My old man bawling in the hospital, me popping in and out of the john getting loaded. -LRB- beat. -RRB- I miss you. They stop. She kisses him. MARIANNE You tried to kill me. You took ten years of my life one way or another. -LRB- he kisses her. -RRB- I could n't hate my mom - I was too busy hating you. LETOUR I thought I was just killing myself. She runs her hands under his shirt, up his back. LETOUR Selfish. MARIANNE I remember. LETOUR What? MARIANNE What it felt like. -LRB- kisses his face. -RRB- What this tasted like. He slips his hands under her blouse, caresses her breasts. LETOUR I see you and my heart starts thumping. MARIANNE John. They kiss deeper, bodies grinding. The painful present fades. A NURSE approaches with WHEELCHAIR PATIENT. She tries to pass one side of JOHN and MARIANNE, tries the other side, is blocked again. The NURSE stops, stares at their soap opera. Sensing her glare, JOHN and MARIANNE, hands over and under each other, stop, look to the NURSE : embarrassed - yet blissful. LETOUR Excuse us. -LRB- to MARIANNE. -RRB- Let's go. MARIANNE Come. Come with me.\",\n \"HOTEL SEX Paramount hotel room : Vermeer's Lace Maker dominates Phillipe Stark decor. LETOUR and MARIANNE are all over each other. The pain of the moment, the pain of the past are subsumed by passion. Blind, welcome sexuality. Naked, they kneel facing each other on the bed, faded bleeding heart tattoo on his bicep : LETOUR Have you ever had sex totally straight? MARIANNE Not with you. LETOUR Neither have I. MARIANNE Such an erection. LETOUR Never had anything like it stoned. Feel it. -LRB- she does. -RRB- MARIANNE Weird. LETOUR -LRB- caresses erection. -RRB- Wow. MARIANNE I'm dripping. LETOUR Let's disappear. They smack their sweaty bodies, tumble yelping to the carpet, kiss indiscriminately : LETOUR Kiss, kiss, kiss. MARIANNE Kiss, kiss, kiss. LETOUR Together. Later : night. They lie nude in a scramble of twisted sheets and mattresses. Street lights cast horizontal shadows. LETOUR crawls over, falls upon Marianne's breast. She wakes up, looks at JOHN, looks out the window, returns to slow sad reality. MARIANNE stands, pulls on her panties. LETOUR -LRB- waking. -RRB- You need to go back? She dresses before responding : MARIANNE This is the end. It was wonderful. I'm glad it happened this way. It will never happen again. You will not see me, you will not call me again. I'm happy for you. I wish you the best. I'm leaving. I'm going back to the hospital. I should n't have left - but I do n't regret it. Please dress and leave as soon as possible. I have a key. Goodbye. LETOUR Marianne. MARIANNE It's my fault. MARIANNE, clothes askew, exits. LETOUR I love you. LETOUR is alone. He pulls his pants on. Looking for his socks, he peruses Marianne's personal things. He examines her cosmetics, her underclothes. He dabs her perfume on his cheek. Buttoning his shirt, he retrieves his beeper from suit jacket. Activated, it disgorges messages. He checks his watch : 9:00 p.m.\",\n \"GET ON OUT Nine - thirty : Ann's apartment building. Trash stacked high. LETOUR presses the buzzer. LETOUR, exhausted, unfocused, enters Ann's apartment. ANN is immediately upon him : ANN Johnny, what is this? Your beeper broke, gettin' some shiatsu? Two hours : where have you bee? LETOUR There was a mix - up - ANN How you gon na survive on your own? The U.N.'s got some conference in two days. The holiday's over - ragheads everywhere trying to score. U.N. security at every hotel - little creeps with lapel pins. Even I've been out. This is where our money is : Europe, Asia, not the streets - you would n't know crack from crackerjacks. LETOUR Where's Robert? ANN Busting his ass. He's out doing your job. LETOUR It was a confusion. ANN Get confused on your day off. LETOUR When is that? ANN Do n't get wise. What do you want me to do? Suck your dick? - okay. A raise? No way. Get out there. There's a list on the TV. I love you. Get your ass outta here before I kiss it. LETOUR -LRB- pecks her cheek. -RRB- I'm on my way. Love you. Forgive me.\",\n \"AU BAR LeTour's sedan waits between limos. Inside, JOHN passes the MAÎTRE D', looks around : he's known here. Au Bar, a restaurant/club open 9:00 p. m. to 4:00 a. m., caters to the young, the rich, the European. He spots TIS with THOMAS, twenty - five, his handsome trainer, and TWO MODELS at a second - floor table. They exchange nods. LETOUR scans the room : suspicion is second nature. A laughing man -LRB- GUIDONE -RRB- at the bar catches his eye. He seems to blend : Italian, twenty - eight, silk suit, impeccable hair, accent - but something's not right. His black shoes have rubber soles. LETOUR looks for a gun bulge, dirty hands. The ITALIAN turns ; LETOUR glimpses his face : too pale. The ITALIAN averts his eyes. Glancing back, LETOUR walks up the stairs to Tis' table. TIS Tour, sit. Take a rest. LeTour, this is Gabri, Tasha - you know Thomas. They're here for a show. The MODELS respond in respective accents. THOMAS extends his hand. JOHN shakes, remains standing. LETOUR Enchanté. -LRB- to TIS. -RRB- How'd it turn out? TIS -LRB- to GABRI. -RRB- Questo è un vero Americano. -LRB- to LETOUR. -RRB- What? GABRI and TASHA buzz. LETOUR St. Luke's. TIS No problem, but - can you believe this? - she's out of the hospital in one day, calls me up, wants to `` get together.'' Some people are just born for losing. Want to go in back? LETOUR Not now. TIS Huh? LETOUR Look at the bar. Black - haired guy, late twenties, brown suit, drinking tonic? -LRB- TIS nods. -RRB- He's casing you. Not me, you. Undercover, whatever - he's on you. TIS You know him? LETOUR -LRB- shakes head `` no''. -RRB- Just a feeling. You holding? TIS No. Need help? LETOUR -LRB- `` no''. -RRB- Leave a message. Robert or I will come by later. TIS Forget it. It was n't for me anyway. -LRB- to MODELS. -RRB- Who am I trying to impress? -LRB- they smile uncomprehendingly. -RRB- Make it tomorrow. A half - no, three - quarters. LETOUR Nineteen is the top. I'll make two trips. TIS Nineteen is fine. LETOUR -LRB- leaving. -RRB- A domani. Take care, girls.\",\n \"THERE IS A DIRECTION The blue sedan drives west past Times Square, turns north on Eighth Ave. A plastic wall of trash stretches toward the river. Port Authority hustlers - male, female - cruise as TRANSIT COPS whack an emaciated CRACKHEAD. JOHN, lit by neon, lowers his power window. John's apartment. Night. He writes in his diary, drinks. LETOUR -LRB- voice over. -RRB- I feel my life turning. All it needed was a direction. You drift from day to day, years go by. Suddenly there is a direction. What a strange thing to happen halfway through your life. He goes to the phone, dials. A voice answers : HOTEL SWITCHBOARD -LRB- out of shot. -RRB- Paramount Hotel. LETOUR Marianne Jost, please. HOTEL SWITCHBOARD -LRB- out of shot. -RRB- Just a moment. A pre - recorded message comes on : HOTEL MESSAGE `` Welcome to the Paramount. Your party is out. If you would like to leave a message for -. -LRB- Marianne's voice. -RRB- 'MARIANNE JOST' -LRB- back to message. -RRB- - please do so after the beep.'' LETOUR hangs up, carries the phone to the boombox. He dials again, presses ` Record,' holds the receiver to the mike, records the hotel message, hangs up. First light slants from the window. LETOUR lies clothed on the futon, boombox by his ear. He presses `` Play'' and `` Rewind,'' running the tape over and over, listening, re - listening to Marianne's voice : `` Marianne Jost.'' `` Marianne Jost.'' `` Marianne Jost.'' -RRB-\",\n \"PHONE CALLS Midday. Twenty - second Street. A helter - skelter of daytime activity unseen before. John's apartment. Sunlight fills the studio apartment. LETOUR, unshaven in T - shirt and slacks, sets the phone on the desk beside his open composition book. He pauses, dials. HOTEL SWITCHBOARD -LRB- out of shot. -RRB- Paramount Hotel. LETOUR Marianne Jost. HOTEL SWITCHBOARD -LRB- out of shot. -RRB- Just a moment. JOHN waits, closes his diary. HOTEL SWITCHBOARD -LRB- out of shot. -RRB- I'm sorry. Ms. Jost checked out this morning. LETOUR She was there yesterday. HOTEL SWITCHBOARD -LRB- out of shot. -RRB- She checked out this morning. LETOUR Did she leave a forwarding number? HOTEL SWITCHBOARD -LRB- out of shot. -RRB- No. LETOUR Thank you. He hangs up, thinks, redials. ST. LUKE'S SWITCHBOARD -LRB- out of shot. -RRB- St. Luke's - Roosevelt Hospital. LETOUR Mrs. Jost. JoAnn Jost. She's a patient. ST. LUKE'S SWITCHBOARD -LRB- out of shot. -RRB- Just a moment. A long silence. JOHN looks out the window. A MEDICAL STAFF VOICE from the hospital : MEDICAL VOICE -LRB- out of shot. -RRB- Who is this calling? LETOUR -LRB- thinking. -RRB- Skyline Floral. We're trying to confirm a delivery. MEDICAL VOICE -LRB- out of shot. -RRB- Mrs. Jost passed away last night. LETOUR Are the funeral arrangements local? MEDICAL VOICE -LRB- out of shot. -RRB- Just a sec - yes, Plaza Memorial. LETOUR Thank you. MEDICAL VOICE -LRB- out of shot. -RRB- You're welcome. JOHN hangs up, paces, sits.\",\n \"DIRTY LAUNDRY Afternoon. Chelsea laundromat. Mothers and maids gossip, sort clothes. Hispanic radio underscores the whirl of machines. LETOUR, unshaven, shoves dirty clothes into a washer. He counts out quarters, starts the machine. Heading toward a vacant chair, he spots a MAN out the window. It takes a second to place the face : it's the `` Italian'' from Au Bar in street clothes. He watches JOHN watching him. LETOUR walks outside, approaches GUIDONE on the sidewalk : LETOUR Can I help you, officer? GUIDONE What? LETOUR I hope I have n't made a mistake. You are a cop, are n't you? GUIDONE Yes. LETOUR Could I see a badge? GUIDONE eyes LETOUR with disdain : the contempt of a cop for a dealer, of youth for middle age. GUIDONE -LRB- shows credentials. -RRB- Bill Guidone. LETOUR What is it? GUIDONE You think you're invisible, do n't you? You think we do n't know you, LeTour - that's the name you use, right? LETOUR My father's a partner in a powerful law firm. If you have anything in mind, do it by the book. GUIDONE elbow - stabs LETOUR, kicks his shin. Wincing, retreating, JOHN staggers, regains his balance. GUIDONE -LRB- in his face. -RRB- You? Who the fuck cares about you? I could grind you right here! - maybe I will! - and nobody would give a fuck! You're not worth the paperwork. I look like Narcotics? I'm Homicide - I'm investigating the Park murder. LETOUR -LRB- acquiescent. -RRB- I do n't follow the news. GUIDONE Downtown's interested how a Barnard honors student with fancy parents got a quarter of uncut coke on her when she was murdered. I mean, we just do n't see this girl cruising Alphabet City trying to score. Somebody sold her, somebody upscale and classy - you're classy, I hear - and that somebody knows something we need to know. -LRB- hand inside LeTour's shirt, pinching his tit. -RRB- Delivery boy! LETOUR I wish I could help. I do n't even know who's president. GUIDONE Let me put it this way. Here's my card. -LRB- hands card. -RRB- Ask around, take a week or so. Call me. Tell me something I do n't know. Either that, leave town, or get your ass busted day in, day out. LETOUR examines the card.\",\n \"FUNERAL HOME Evening. LETOUR, shaven, in black tweed jacket, white shirt, black tie, crosses Amsterdam Avenue, enters Plaza Memorial Chapel. Inside funeral home, JOHN checks the letterboard for Mrs. Jost's name. An arrow directs him. Nondenominational muzak. Senior citizens whisper off - screen. Walking, he sees MARIANNE, dressed in black. She sees him, turns to him ; her face hollow, desperate : MARIANNE Get out. LETOUR Marianne. MARIANNE -LRB- emotion rising. -RRB- Every time you come into my life something terrible happens. I thought I was rid of you. How'd you get here? I do n't want you here! I do n't want you around me, I do n't want you around my mother! Damn you! LETOUR Marianne. MARIANNE -LRB- wild. -RRB- Get out! A PLAZA MEMORIAL EMPLOYEE approaches. RANDI, in black, intervenes, pulls JOHN toward the door. MARIANNE YELLS from behind : `` Out!'' Outside, they stop midsidewalk. LETOUR I did n't. RANDI I'm sorry. That's the way it is. You should n't have come. Marianne has been up all night, crying and crying. She was n't there when Mother passed - died - she blames herself. It would n't have made any difference. She just slipped away. Marianne's - I'm worried - A CRACKHEAD strides past trash ramparts, cursing, demanding money : `` Fuck white devil, fucking the black, give the fucking money, white fuck. ,'' etc.. LETOUR It's. RANDI Do n't try. LETOUR How are you? RANDI Me? LETOUR Yes, you. I ca n't think of anything, but if there was anything I could do. RANDI Thanks. I'm okay - I guess. I mean, we've been expecting it. It'll hit me later. LETOUR I saw her. RANDI Who? LETOUR Your mother. I came in the room. You were sleeping. I just watched. RANDI Oh. -LRB- beat. -RRB- I'd better get back. Marianne's probably flipping out. She re - enters the funeral chapel.\",\n \"ON A ROLL Eight p.m. LETOUR, direct from Plaza Memorial, enters Ann's apartment. ANN, coiffured and made up, gestures to take - out tins : ANN Have some shu mai. Just delivered. LETOUR No. ROBERT -LRB- entering. -RRB- I told Ann you'd be on time. Tis called. He said before ten. He said you were right. ANN About what? LETOUR An undercover cop. Not a narc. The Park murder. Jealous was straight on that - you hear anything? ROBERT Remember the time that cop called here? Wanted to know if we had `` nose candy''? -LRB- laughs. -RRB- Ann says, `` John Candy?'' `` John Candy?'' ANN looks at JOHN, approaches : ANN What's wrong baby? You like like shit. Something wrong? -LRB- holds his face. -RRB- LETOUR No. ANN You ca n't fool me. I can read you. LETOUR -LRB- distressed. -RRB- What do you care? You're leaving me. A few more months - sayonara. -LRB- to ROBERT. -RRB- You too. John who? What was his name again? Le -? -LRB- to ANN : pained. -RRB- I mean it's not exactly like I got a pension plan. ROBERT -LRB- hurt. -RRB- Jack. ANN -LRB- takes his hands. -RRB- Johnny, it's not that at all. Is that what you think? You hate cosmetics. You do n't care about it. You told me that. LETOUR I know. ANN Who knows what will happen? ROBERT I got a friend - a D.D. - got into lapidary. I'll introduce you. You have to pass a test. LETOUR Lapi -? ROBERT Gems, you know, crystals, diamonds. LETOUR Any more about the Park murder? ANN -LRB- re : murder. -RRB- What's with this thing? ROBERT Stay away. ANN -LRB- genuine. -RRB- You want in? We'll make a place for you. LETOUR No. ANN It's - The kitchen phone rings. A voice follows the pre - recorded message : EDDIE -LRB- out of shot - answering machine. -RRB- `` Ann, this is Ed. You got ta come. The other thing is over. I'll be home all night. 749 - 2876.'' ROBERT Shit. ANN -LRB- unequivocal. -RRB- Do n't answer it. Let him call all night. He's trouble. I do n't want to deal with him. LETOUR It's alright, I'll go. Let me handle it. ROBERT I'm sorry if - ANN -LRB- about EDDIE. -RRB- He gives you shit - fuck him. LETOUR -LRB- to ROBERT. -RRB- Forget it. ROBERT We're going Chinese tonight, okay? I mean we're on a roll - ANN Spring roll. LETOUR -LRB- preparing to leave. -RRB- Sure, whatever. Surprise me.\",\n \"INTERVENTION Eddie's high - rise apartment. EDDIE is worse, if anything. He's been scoring on the street : broken pipes and vials crunch underfoot. EDDIE and LETOUR argue -LRB- `` Fuck you!'' `` Fuck you!'' -RRB- . EDDIE spits, pushes TOUR, JOHN pushes back. Eddie's feet tangle. He trips, FALLS. A bottle SMASHES. JOHN goes to the phone, checks Eddie's directory, dials. EDDIE -LRB- on floor. -RRB- You got ta get permission? Check with Mama? LETOUR I'm calling your brother. EDDIE Huh? LETOUR Yeah, the lawyer in Bronxville. I'm gon na ask him to come over. -LRB- EDDIE protests. -RRB- You've told me so much about him. EDDIE -LRB- panicked. -RRB- No, do n't. Please, I'll give you money, anything. He does n't understand. Whose side are you on? LETOUR -LRB- on phone. -RRB- Is this Martin Jeer? -LRB- beat. -RRB- Thank you. EDDIE, woozy, tries to stand. EDDIE I shoulda never called. LETOUR -LRB- to EDDIE. -RRB- I recommend Hazelden. It has the best all - around program. -LRB- on phone. -RRB- Martin Jeer? -LRB- beat. -RRB- I'm here with your brother Ed. -LRB- beat. -RRB- Yeah, in the city. I'm afraid there's a medical emergency. You're going to have to come. EDDIE lurches toward LETOUR. JOHN - flash of anger - bootkicks him in the head! Eddie's cheek hits the carpet. LETOUR -LRB- on phone. -RRB- He'll be here. JOHN, cooling down, measures his breaths. A spring can only be wound so tight.\",\n \"LEXINGTON AVENUE LETOUR walks from his sedan around the corner to the Lexington Avenue entrance to Grace Towers, a pre - war apartment building. In the lobby, he gives his name to the SECURITY GUARD, is directed to the express elevator. He exits on the thirtieth floor ; footsteps muted by thick carpet. Victorian prints on dark blue walls. He looks about, approaches a door, presses the buzzer. THOMAS opens the door ; JOHN enters Tis' opulent apartment. Salle and Clemente hang on the walls ; New York twinkles outside panoramic windows. A pipe and syringe lie atop art books. TIS, in jogging sweats, comes from the bedroom to greet him. TIS Tour, just in time. We were out. Nineteen, right? LETOUR Thirty - eight hundred - got any hundreds? TIS Some, not the whole thing. -LRB- to THOMAS. -RRB- You got hundreds? THOMAS No. LETOUR hands him a plastic bag of gram envelopes. TIS opens a packet, pours the contents on the coffee table. TIS I like that about Ann. Always takes the time to grind it. If you do it, do it right. JOHN hears footsteps, turns to see MARIANNE stumble out of the bedroom! She looks terrible : shoeless, blouse out, hair undone, bruise on her forehead - perhaps she fell against something - hands trembling. TIS -LRB- to MARIANNE. -RRB- Looks like you could use some help. -LRB- MARIANNE looks up, sees JOHN, goes pale. -RRB- Mari, this is Tour. You got any hundreds? JOHN stares speechless : the girl who wo n't talk to him because he's a dealer. MARIANNE bolts back into the bedroom, SLAMS the door! TIS Not the talkative type. Have n't seen her in years. You know her, do n't you? -LRB- no answer. TIS counts the money, offers it. LETOUR is frozen. -RRB- Why they call me? What a nightmare. -LRB- extending money. -RRB- You want it or not? LETOUR -LRB- vacant. -RRB- Yeah. LETOUR pockets the cash. TIS, his arm on John's elbow, `` walks'' him to the door : TIS See you later. TIS nudges JOHN to the corridor, closes the door behind him. JOHN looks toward the elevator ; TIS, behind the door, calls `` Marianne!'' Time cut : LETOUR stands in the elevator, red floor numbers flashing past, blank eyes mirrored in dark glass.\",\n \"FALL FROM GRACE JOHN exits Grace Towers, walks past a limo toward Lexington Avenue. Rounding the corner, he sees his blue sedan. He looks at the cash, repockets it. He continues slowly, each step a separate task. LETOUR reaches for the door handle. A scream pierces traffic noise. A car screeches, another. Voices call out. LETOUR steps back, listens. He retraces his steps, turns onto Lexington Avenue. The SECURITY GUARD, walkie - talkie in hand, clusters on the sidewalk with the limo driver, two pedestrians. A cabbie jumps from his taxi, joins the confusion -LRB- `` My God!'' -RRB- . A siren approaches. John's beeper goes off. Drawing closer, LETOUR sees the partial bloodied shape of a broken body on the sidewalk : he recognizes Marianne's skirt. A squad car brakes with a screech. TWO COPS converge, climb over trash, clear the crime scene : FEMALE COP Get back! MALE COP Who saw it? What happened? -LRB- the FEMALE COP bends over Marianne's body. -RRB- EMS is on the way. FEMALE COP Too late - A second squad car pulls up. JOHN turns away, walks around the corner. LETOUR opens the car door, closes it, sits inside. A wailing ambulance flashes past, speeds up Central Park West. LETOUR does n't react. Beeper re - beeps ; he disconnects the battery. The driver, CARLOS, twenty - five, Hispanic, shirt starched, turns, looks, thinks, says : CARLOS Where to? LETOUR What? CARLOS Where to, sir? Where are we going? LETOUR Nowhere just now. Wait. CARLOS -LRB- after a moment. -RRB- You want me to wait here? LETOUR Yes. Pause. More police cars. The EMS siren starts up ; the ambulance speeds downtown past LeTour's sedan. No reaction. CARLOS turns off the engine. LETOUR Downtown. CARLOS Yes. CARLOS starts the car, pulls into traffic.\",\n \"TWENTY-TWO MINUTES John's apartment. Late night. LETOUR, barefoot, T - shirt, slacks, stands flat against the wall. WINS broadcasts twenty - four hour news on the boombox. -LRB- `` Give us twenty - two minutes and we'll give you the world.'' -RRB- Sports, ads, bullshit - LETOUR hears what he's been waiting for : NEWSCASTER -LRB- out of shot - radio. -RRB- This story is just in. A woman has fallen thirty stories to her death from a posh Grace Towers apartment on Lexington Avenue. Police are withholding identification pending the notification of the next of kin. The incident happened about ten p.m.. According to the sources on the scene there was no one else in the posh Grace Towers apartment when the fall occurred. We will bring you more details as we get them. -LRB- teletype efx. -RRB- An end to the sanitation strike seems imminent. Negotiations at the Helmsley Palace are continuing to this hour. Actions have consequences.\",\n \"MOTHER TERESA First light. Jones Street. LETOUR, sleepless, pounds on Teresa's door. No answer. Knocks again. Again. Noises from inside. A sleepy voice : TERESA -LRB- out of shot. -RRB- Who is it? LETOUR John. John LeTour. Can I see you? TERESA -LRB- out of shot. -RRB- What time is it? LETOUR It's important, Teresa. TERESA -LRB- out of shot. -RRB- Call. Make an appointment. LETOUR Open the door. You're awake anyway. -LRB- no answer. -RRB- Teresa. TERESA, wearing oriental bathrobe, unlatches the door. JOHN enters, turns to her. The door closes. LETOUR Read me. What do you see? TERESA Do I know you? LETOUR We had a session last week. What do you see? TERESA -LRB- remembering name. -RRB- John? LETOUR Yes. Look at me. TERESA takes a moment to concentrate. TERESA Step back. -LRB- he does. -RRB- Again. -LRB- he does. -RRB- Death. LETOUR Someone I knew died tonight. TERESA This was not an accident. This person was murdered. LETOUR Am I in danger? TERESA -LRB- beat. -RRB- There is danger around you. It's very close. I'm sleepy. LETOUR What should I do? TERESA I ca n't see it. LETOUR Please. -LRB- she shrugs. -RRB- Am I lucky? TERESA Yes. Do n't be afraid. Go home. TERESA shuffles toward her bedroom - the `` reading'' is over. LETOUR What do I owe you? TERESA Nothing. Forget it. Let me sleep.\",\n \"SNITCH Mid - morning. LETOUR, still awake, walks past towering Chelsea trash. He passes a newsstand. Tabloids feature yearbook photo of MARIANNE ; the headline : `` Fall from Grace.'' LETOUR walks to a pay phone, takes out Guidone's card, inserts a quarter, dials. POLICE SWITCHBOARD -LRB- out of shot. -RRB- Ninth Precinct. LETOUR Bill Guidone, please. Homicide. POLICE SWITCHBOARD -LRB- out of shot. -RRB- Hold on. JOHN, suspicious, looks around. GUIDONE speaks : GUIDONE -LRB- out of shot. -RRB- Guidone. LETOUR This is John LeTour. Remember me? GUIDONE -LRB- out of shot. -RRB- Laundromat. Your father's got connections. LETOUR You said I should ask around, tell you something you did n't know. GUIDONE -LRB- out of shot. -RRB- I thought you'd call. LETOUR It ai n't much, but it's something. GUIDONE -LRB- out of shot. -RRB- Go on. LETOUR A girl died last night. Lexington Ave. GUIDONE -LRB- out of shot. -RRB- The jumper. Druggie. LETOUR The news said she was alone in the apartment when she went out - she was n't. It's a cover - up. There was someone else. GUIDONE -LRB- out of shot. -RRB- Who? LETOUR Who lives in the apartment? GUIDONE -LRB- out of shot. -RRB- You there? LETOUR That's all I know. You asked me to tell you something. I told you something. Hangs up.\",\n \"A LITTLE SLEEP Noon. LETOUR enters a West Village apartment building. He presses an intercom button. Robert's voice answers : ROBERT -LRB- out of shot. -RRB- Who is it? LETOUR Jack. Let me in. The door buzzes. ROBERT opens the door to his overdecorated apartment. JOHN looks around. TONY, Robert's younger, unattractive lover, sips coffee at the table. ROBERT Where have you been? We were worried. LETOUR I need some sleep - not much. I do n't want to go home just yet. A little sleep first. Can I crash here? Nice place. ROBERT It's hideous. I did it years ago. I've got to throw everything out. You have n't been here? -LRB- noticing TONY. -RRB- Oh, Jack, this is Tony. I told you about him. You should talk. He's the lapidopterist - gems. TONY -LRB- corrects him. -RRB- Lapidarian. ROBERT Same thing. LETOUR Can I? ROBERT Sure. LETOUR What do you know about Tis? What's his relationship to Ann? ROBERT They go way back - before me. Did you cross him? LETOUR No. ROBERT Do n't. He's Ann's Ecstasy connection. She needs that score. What happened? LETOUR Nothing. ROBERT Do n't mess with him. LETOUR Is he dangerous? ROBERT Everybody's dangerous. We heard what you did to Eddie. Ann thought it was great. She was afraid that was why you did n't come back. LETOUR It was something else. Tell me if you hear anything. ROBERT About what? LETOUR Tis. ROBERT Tis who? Ann says you want a chart done. -LRB- beat. -RRB- What's wrong? LETOUR -LRB- internal. -RRB- Ah. ROBERT -LRB- sympathetic. -RRB- You down? LETOUR -LRB- nods. -RRB- Yeah. -LRB- culling thoughts. -RRB- You ever think about it? ROBERT What? LETOUR That it'd be like this - like, your life, you. that it would turn out this way? - ROBERT Compared to what? My thinking this or that is going to make any difference? There's a plan unfolding. `` Will my plane crash?'' `` Does life have meaning?'' - why ask me? Thinking's a fear of living, negative living ; living's something else. You're afraid. Let the plan unfold. Stop. Stop, live one day - one day - Words blur to jargon. LETOUR cuts in : LETOUR - Robert - ROBERT - day at a time. LETOUR -LRB- touches ROBERT. -RRB- You've lost your fucking brain. ROBERT -LRB- laughs. -RRB- I'm a drug dealer. LETOUR Got a tub? ROBERT -LRB- gestures. -RRB- Yeah. LETOUR Great. Turns to bathroom. ROBERT There's a plastic bottle of bath oil in the cabinet. Yellow. Use it - tell me what you think. It's a new formula.\",\n \"JUMP-OFFS Six p.m. LETOUR, shaved and bathed, rides a cab uptown, past Harlem, past 158th Street. He motions to the DRIVER ; the taxi stops at a blue door between retail stores begging for renovation. TEENAGE LATINOS hang out. LETOUR gives the CABBIE a twenty. LETOUR walks to the blue door ; the YOUTHS stop, watch. He knocks on the door. A PUERTO RICAN DOORMAN in white leather pants and a heart - shaped diamond ring opens the door, looks him over. JOHN reaches into his pouch, removes a gram envelope, hands it to him. The DOORMAN takes a taste, buzzes him through a door hand - lettered `` Jump - Offs.'' Inside Jump - Offs, a cocaine `` spot,'' every eye turns to JOHN : the only Anglo in a Hispanic after - hours club. Tough young faces, each with a style and two inches of attitude. Willie Colon plays on the jukebox. Searching, LETOUR recognizes a face, walks over : LETOUR Manny. -LRB- MANUEL, thirtyish, Puerto Rican, looks closer, trying to place LETOUR. -RRB- LeTour. -LRB- helping out. -RRB- Jealous. `` Jell.'' SOB's. MANUEL -LRB- remembering. -RRB- Reggae night. LETOUR Burning Spear. MANUEL How'd you get in? LETOUR C - C. MANUEL You buying? LETOUR How's product? MANUEL -LRB- gesture : `` primo''. -RRB- How much? LETOUR I got a problem. I need a piece. MANUEL Piece? Piece of what? Piece of candy? LETOUR A gun. MANUEL When? LETOUR Now. Anything. -LRB- MANUEL is silent. -RRB- Am I speaking too fast? MANUEL How much you spend? LETOUR The rate. What you got? MANUEL calls over a TEENAGE DOMINICAN, explains the situation in Spanish. The DOMINICAN replies ; MANUEL turns back to JOHN : MANUEL He's got a 64 Smith - son. Detective Special. Nobody wants'em. Fresh from a cop. LETOUR How much? MANUEL -LRB- consults DOMINICAN. -RRB- Four - including me. LETOUR You're fucking me. MANUEL -LRB- `` so what?''. -RRB- Street price. LETOUR Where is it? MANUEL Sigame. They lead him to an even darker back room. The DOMINICAN retrieves an automatic pistol from a trash pail, hands it to MANUEL. JOHN counts cash from Tis' roll ; MANNY hefts the piece. MANUEL The hundreds - Franklins. Bills and guns exchanged. LETOUR How do you use this? MANUEL Automatic. LETOUR I do n't have much use for a gun. Never used one like this. MANUEL -LRB- translates for DOMINICAN. -RRB- Cono! The DOMINICAN laughs ; LETOUR takes his measure. LETOUR -LRB- businesslike. -RRB- What do you do? MANUEL Simple. You put the bullets in -. -LRB- inserts cartridge. -RRB- you point it at the bad guys, pull the trigger and they fall down! MANNY repeats this for the DOMINICAN -LSB- `` bang, bang!'' -RSB- ; they laugh again. LETOUR eases the.38 into his crotch. MANNY turns, exchanges Latin hug : MANUEL Vaya con Dios. LETOUR - Dios. JOHN exits, works his way through the club.\",\n \"OUT WITH THE OLD John's apartment. Seven p.m. LETOUR, sweating, bareback, tucks the.38 under his futon. He takes a bottle of cologne from the bathroom, pours it over his hair, face, and torso, rubs it in. Licking his finger, he removes Marianne's gold and onyx ring with a tug. His finger stings. He opens a window, throws the ring full force into the junk - strewn courtyard. He shakes his torso ; cologne glistens.\",\n \"JOHN AND RANDI Interior, Plaza Memorial Chapel. LETOUR enters the `` viewing room,'' motions to RANDI. She follows him. They slip into a door, enter the embalming room : stainless steel table surrounded by surgical cabinets. They embrace, disengage. JOHN looks : Randi's exhausted face mirrors his. LETOUR Have you been to the police station? RANDI -LRB- nods. -RRB- She was back on drugs. Really back. They're gon na bring her here too. My God. -LRB- he comforts her. -RRB- I thought she was playing for attention. LETOUR I did n't know. RANDI You're not to blame. Do n't blame yourself. You were n't responsible. She was always - she loved you. LETOUR -LRB- wipes tear from her cheek. -RRB- She loved you. You were what she wanted to be. RANDI She scared me. JOHN pulls a Polaroid from his pocket. LETOUR Look. Do you recognize anyone? The picture features ANN and TIS : side by side at a dinner party. RANDI Tis. LETOUR You know him? RANDI His father's a lawyer. Did some tax things for Mom. He was at the hospital. What's that smell? LETOUR It's me. Cologne. I'm a sucker for that cheap airplane stuff. Did Marianne mention him yesterday? RANDI -LRB- `` no''. -RRB- It was his apartment. What are you thinking? LETOUR I do n't know. RANDI She jumped. -LRB- LETOUR hangs on every word. -RRB- You loved her, but she - this sounds terrible but it's true - she was. she ruined everything. bad luck. LETOUR -LRB- heard enough. -RRB- When's the funeral - your mother's? RANDI Tomorrow. Will you come? LETOUR -LRB- vague. -RRB- Well, I got this thing to do. It's - I do n't know if I can get away. RANDI Try? For me. LETOUR I'll try.\",\n \"PRODIGAL SON Ann's apartment. Eight p.m. ANN greets LETOUR with a hug. ANN The Prodigal Son. LETOUR Sorry about last night. Something came up. ANN Where were you? LETOUR T.C.T.E. ROBERT `` Too Complicated To Explain.'' LETOUR -LRB- enters bedroom. -RRB- I'm $ 500 short from last night. I'll get it, you can take it from my salary. ANN -LRB- stung. -RRB- This is family. Are you saying that to hurt me? -LRB- LETOUR returns. -RRB- It's not money. LETOUR -LRB- chagrined. -RRB- Sorry. ROBERT Look at this. -LRB- `` Akasha'' visual. -RRB- We had a graphic artist make it up - you know, Billy, Five Towns. ANN The label for the cosmetics line. LETOUR -LRB- examines it. -RRB- Classy. Sorta - Katmandu. ANN -LRB- corrects him. -RRB- Kathmandu. LETOUR I love it. ROBERT Tis called twice. He wants you to come by. LETOUR -LRB- wary. -RRB- Me? ANN Yeah. Says you were supposed to show up again yesterday, but did n't. LETOUR A lie. I do n't want to go. The suicide and all. Let's stay away. ANN Ca n't. He's the Ecstasy connect. No way I can fuck this. LETOUR C'mon. ANN This is business. LETOUR, suspicious, looks from ANN to ROBERT. He knows TIS knows he knows MARIANNE was not alone when she went out the window. LETOUR Let Robert go. ANN Tis wo n't deal with fags. LETOUR Since when? ANN Just is - so he's a bigot? What's new? So's everybody else. LETOUR I do n't want to go. I got a bad vibe. ROBERT He said you. ANN -LRB- to LETOUR. -RRB- Why? LETOUR -LRB- to ANN. -RRB- Why do n't you go? He's your contact. ROBERT He is - ANN -LRB- to ROBERT. -RRB- You giving orders? ROBERT -LRB- deferential. -RRB- No, Missy. LETOUR -LRB- testing her. -RRB- Come with me - the two of us. ANN -LRB- upbeat. -RRB- Okay. You got it. Like old times - Ann and Johnny. -LRB- turns to go. -RRB- LETOUR Okay. ROBERT Stop it. You're breaking my heart.\",\n \"LAST RIDE Night. ANN and LETOUR side by side in the sedan. CARLOS, at the wheel, anonymous. Outside, SANITATION WORKERS toss sacks of trash into garbage trucks : the strike is over. ANN reminisces as lights flash : ANN It's going to be strange, not doing this. I mean I've had it, but sometimes. LETOUR You're gon na do it, are n't you? You're gon na quit. ANN -LRB- nods. -RRB- I think so. Seal this thing with Tis, turn it - go with the cosmetics. You got ta take a chance in life. No risk, no gain. I've already got retail connections here, London. It was great at the beginning, though. LETOUR When? ANN You know, when we first started out of the place on Greene Street. Before deliveries, when you were still using. It was open house every night but Sunday. We had everything : uppers, downers, meth, six kinds of hash, all in that trousseau, remember? You could get in for a gram, stay all night - everybody, music people, movies, Wall Street, fashion - even politics. I think like five marriages came out of those parties, babies - really. God. -LRB- JOHN eyes her : why this Niagara, this nostalgia? -RRB- You stayed, you then Robert - but he. I ` da never thought you'd, what is it, twelve years? Others, lucky a year max, eight months, in, out, start using, unreliable - nice kids. Remember when you first came : long hair, dirty fingers - LETOUR -LRB- overlapping. -RRB- You made me - ANN - never washed - LETOUR - khaki pants. ANN I should write a book someday. Did you know somebody wanted to do my story? Ghostwrite. It was impossible, of course - my lawyer freaked I even had the meeting. People envy me. They think my life is so glamorous, but they do n't know. I know. Glamorous. -LRB- beat. -RRB- It was for a while. Then came crack and fucked everything. JOHN wonders : The Big Goodbye? Is she acting at Tis' behest? LETOUR I got ta stop home a second. ANN Why? It's out of the way. They're expecting you. `` They're?'' LETOUR You know I got a bad vibe about Tis. ANN -LRB- unconvincing. -RRB- Chill. This is routine. LETOUR I want to get my lucky jacket. ANN Oh. Okay. The sedan continues south. It turns, stops in front of John's Chelsea apartment building. JOHN hops out, goes in. Inside John's apartment he - a man possessed - pulls his black tweed from the closet, throws it on the futon. He rolls up his shirt, reaches under the futon, removes the.38. He straps the gun to his back, wraps duct tape around his chest, end to end over the.38. He tucks in his shirt, puts on the jacket, checks the mirror to see if the gun shows : it does n't. A pause to appreciate. LETOUR closes his diary, throws it out the window : a trifle. He slaps cologne on his cheeks - annointing ; heads toward the door. Outside, LETOUR emerges, walks quickly to the car, plops beside ANN. The sedan drives off. Back seat : ANN That took long enough. What did you do, douche while you were at it? LETOUR Ann, you got some mouth on you. ANN You do n't want to know where it's been. -LRB- sniffs him. -RRB- Cologne? LETOUR For you. ANN Phew. It smells like that stuff they give you on airplanes. It's no good for your skin. All chemicals. LETOUR pulls out a slip of paper, writes a name and address : `` Linda Wichel, 1012B - 2 A Street, Sacramento, California.'' ANN What's that? LETOUR Do me a favor. ANN What? LETOUR Do n't ask why, just promise. ANN What is it? LETOUR -LRB- testing again. -RRB- If anything happens to me - if I should like, you know, fucking die - write and tell her. Extends slip of paper. ANN starts to speak, stops. LETOUR It's my sister. Her husband's in San Quentin. She worries, you know. She takes the name and address. ANN -LRB- eye contact. -RRB- Okay. ANN, sad, looks out the window. She touches his knee. The car pulls in front of the Pennsylvania Hotel, 34th and 7th. LETOUR I thought we were going to Tis'? ANN We are. He's here. He ca n't very well work out of his apartment after what happened yesterday, can he? They get out.\",\n \"SHOOT-OUT Pennsylvania lobby : a baseball card convention is in progress. ANN squeezes through, goes to the house phone. JOHN follows, scans the tacky lobby : what's up? ANN -LRB- on phone. -RRB- Mathis Bruge, please. -LRB- beat. -RRB- Tis? Ann. I'm here with Tour. -LRB- beat. -RRB- Okay. -LRB- hangs up. -RRB- LETOUR Tis there? ANN Twelve - oh - four. They go to the elevators, wait with CHATTY CARD COLLECTORS -LSB- Pete Rose this, Pete Rose that -RSB-. Twelfth floor. ANN and JOHN step out of the elevator, look for 1204. LETOUR, a step behind, is all eyes, all ears. ANN checks the number, rings the bell. THOMAS lets them in the standard issue suite, locks the door. LETOUR was right : it's a set - up. THOMAS and a TEENAGE CUBAN stand either side of them, waistbands conspicuously bulging. No TIS. JOHN turns to ANN : LETOUR -LRB- Jesus - to - Judas. -RRB- Ann. ANN's confused, then furious : she had no part in the `` set - up.'' In fact, she does n't even know it's a set - up. Bursting rage, she turns on THOMAS, YELLS : ANN I told you greasy fucks I do n't deal with guns! I see guns, I walk! How dare you? She slaps THOMAS, pulls the 9mm from his waistband, throws it to the carpet. The CUBAN watches bewildered, gun drawn, awaiting instructions. Now ANN's on him : ANN And you, beaner, whoever the fuck you are, kiss my fat ass! -LRB- she spits on his shirt, knees him in the crotch, yanks his gun, throws it beside the gut - clutching CUBAN. She crosses the room, YELLING :. -RRB- That's it! TIS! Shitball! I know you're fucking there! Let this be a lesson! You wan na deal, you gon na apologize for this! -LRB- to LETOUR. -RRB- Let's go. THOMAS and the CUBAN TEEN retrieve their guns ; ANN unlocks the door. THOMAS -LRB- pointing gun. -RRB- Hold it! Stop right there. She turns defiantly. TIS enters from bedroom : TIS -LRB- to THOMAS. -RRB- No! -LRB- to ANN. -RRB- Sorry about the guns. My fuck - up. I was just trying to make a point - I apologize. TIS looks to THOMAS and the CUBAN : they lower their weapons. He only means to threaten LETOUR. TIS -LRB- about THOMAS and CUBAN. -RRB- Assholes. What a nightmare. -LRB- to ANN. -RRB- We'll make the deal tomorrow - same terms. Ann. Sorry. Go on, leave, you're upset. I just need to talk to Tour a second. About a police matter. -LRB- to LETOUR. -RRB- Right? LETOUR -LRB- to ANN. -RRB- Go on. She hesitates. TIS Tour and I need to get our stories straight. Somebody's talking to the police. The guns were for emphasis, to make a point, dumb - ANN gets it. Fear hits : ANN -LRB- to TIS. -RRB- We came together, we're leaving together. -LRB- to LETOUR. -RRB- Johnny, come with me. Opens door. TIS -LRB- a command. -RRB- Thomas. THOMAS fixes his gun on ANN. TIS -LRB- to ANN. -RRB- Do n't be stupid. Get out. Leave. -LRB- to LETOUR. -RRB- I had nothing to do with Marianne - she jumped : she was there, then she was gone. -LRB- nods ANN to leave. -RRB- Nothing will happen to Tour. ANN computes, bolts out, flees, SCREAMING at the top of her lungs : ANN -LRB- out of shot. -RRB- Fire! Fire! Fire! The fire bell rings. THOMAS, TIS, and the CUBAN stare dumbfounded. LETOUR reaches behind his shirt in the confusion, yanks out the.38 with a painful rip, turning, fires point - blank into the Cuban's chest. BLAM! Shirt fabric flares, flies : the CUBAN falls with blank expression. THOMAS, off guard, wheels and fires wildly at LETOUR. JOHN fires back. Both are hit. TIS ducks into the bedroom. THOMAS and LETOUR fire again, again - hitting, missing. A bullet hits its mark : THOMAS, frozen, grabs his blood - spurting throat, slumps to floor. LETOUR bleeds from the stomach and shoulder. His shirt soaks red ; he struggles to stand. CUBAN and THOMAS - both dead. LETOUR checks the.38 : five rounds fired - one left. LETOUR staggers into the bedroom, finds TIS frantically searching an open suitcase. Off - screen VOICES under the fire bell. TIS -LRB- desperate. -RRB- I did n't - LETOUR steps to TIS, aims, shoots him barrel to forehead. Exit debris hits the wall. He is dead. Off - screen screams of guests are countered by commands from hotel security : `` Get down!'' `` Get back!'' Fire horns and sirens reverb from the street. LETOUR, losing consciousness, sits bedside. Gun slips from his hand. Deflating, he drifts back - first to the bedspread. Blood spreads. His eyes are open. POLICE VOICES approach. EVERY GRAIN OF SAND Prison waiting area. ANN, wearing a wool suit, waits among black/Hispanic FRIENDS and RELATIVES. The first scene without LETOUR : she sits quietly. A CORRECTIONS OFFICER instructs the visitors to proceed. ANN walks through a concrete corridor, finds the visiting area. LETOUR, in prison fatigues, sits at a table. He sees her, smiles. ANN sits down. This is not her first visit. LETOUR Hello. ANN Hi. Checks watch. LETOUR Twenty minutes. You look terrific. ANN I look respectable. Any news? LETOUR Sentencing's in ten days - supposed to be. Because of the extenuating circumstances - our cooperation - they say it wo n't be more than five years - maybe seven. With time served, good behavior, parole, I could be out in two years - maybe. I hope. ANN It feels like forever. LETOUR It's not so bad. It's a relief in a way - at least so far. I've been writing, reading. ANN I love your letters. -LRB- pause. -RRB- LETOUR How's business? ANN Robert quit. He went back to dealing. I think he thought it would be less work, more money. It's lucky in a way I got mixed up in it - now I have to see this thing through. So it's cosmetics after all. LETOUR -LRB- affectionate. -RRB- I miss you. ANN Me too. LETOUR Did we ever fuck? ANN What do you mean? LETOUR You know, make love. ANN -LRB- thinks. -RRB- There was that party when everybody was so stoned, but - oh yeah, that night you came over and crashed and we slept together. LETOUR We were naked, but did we -? ANN You had a hard - on. LETOUR I did n't - ANN You tried. LETOUR I was thinking about it and I realized we never really did. It's one of the things I think about. It's one of the things I look forward to. I've been looking forward. ANN Me too. LETOUR -LRB- touches her hand. -RRB- Something can be right in front of you and you ca n't see it. ANN -LRB- kisses his hand. -RRB- Strange how things work. The tableau fades. THE END\"\n]"},"labels":{"kind":"list like","value":[0,0,1,0,1,0,0,1,0,0,0,0,1,0,0,1,0,0,0,0,0,0,1,0,0,1,0,1,0,1,0,1,0,0,1,0,1],"string":"[\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 1\n]"},"summary":{"kind":"string","value":"John LeTour, a 40-year-old New Yorker, is one of two delivery men for Ann, who supplies an exclusive clientele in the banking and financing sector with drugs. While Ann contemplates switching to the cosmetics business, LeTour, who suffers from insomnia, has lost his perspective in life. One night LeTour meets his former girlfriend Marianne, with whom he once shared an intense but destructive relationship due to drug abuse. Although they stopped taking drugs, Marianne refuses his offer for a new start. After spending one night together, she tells him that this was her way of saying good-bye. Unbeknown to Marianne, her mother died at the hospital while she was with LeTour. The next time he meets Marianne, she attacks him, demanding that he get out of her life once and for all. Meanwhile, the police start observing LeTour because one of his clients, Tis, is connected to the drug-induced death of a young woman. On his next delivery, LeTour witnesses a heavily drugged Marianne in Tis' apartment. Only minutes after his departure, she falls several stories to her death. LeTour gives the police a lead to Marianne's last whereabouts. At the wake, Marianne's sister Randi tells him not to feel guilty for what happened. When Tis orders a new supply and insists that LeTour delivers it, he senses that Tis wants to dispose of him. Ann accompanies him, but Tis' guards force her to leave the room. In the subsequent shootout, LeTour kills Tis and both of his henchmen, but is left critically wounded. He lies down on the hotel bed, showing no anger or pain, only a profound weariness, as police sirens can be heard in the distance. Ann visits LeTour in jail, where he expresses his hopes for a better future. The film hints at the possibility that Ann will wait for him."},"name":{"kind":"string","value":"Light_Sleeper"}}},{"rowIdx":76,"cells":{"scenes":{"kind":"list like","value":["\"MINORITY REPORT\" DARKNESS And then, slowly emerging from the mists of darkness, a pale, beautifully proportioned FACE. The oval face is female, a woman of indeterminate age, her features as fragile as porcelain. Her eyes are closed in sleep, or in death. or in something in between. Now TWO MORE FACES emerge out of the darkness. They are male, and they float into position on either side of the female. They are just as ethereally beautiful, just as pale, and like the female their eyes are closed. The ghostly lips of the female begin to twitch. Her features, which have been expressionless, suddenly contort, mask - like, into the face of a woman in fear. Her eyes open. The male face on her right contorts too. His features warp into an angry snarl - the mask of a man enraged. His eyes open. The male face on her left takes on the expression of a young boy, a boy who is terribly frightened. His eyes open wide. As if they are lost in the same terrible waking dream, a sudden and unnerving exchange begins. FEMALE -LRB- frightened woman. -RRB- JOHNNY, PLEASE MALE RIGHT -LRB- mocking man. -RRB- `` Johnny, please. Johnny please.'' FEMALE You're scaring me. MALE LEFT -LRB- child's voice. -RRB- DADDY, DO N'T. DADDY MALE RIGHT -LRB- considering. -RRB- I do n't like you any more, Carol. FEMALE -LRB- imploring. -RRB- Put the scissors down. You're scaring me. Please. MALE RIGHT Oh, Carol. FEMALE Johnny! Stop! MALE RIGHT Do n't grab at me! Let MALE LEFT Daddy! No! All we see are three faces on the screen mouthing words but we can imagine a terrible struggle taking place before us : a man with scissors lunging at his wife, her anguished scream, the whimpering cries of their son. And then there is silence, and it is over, and the three faces instantly return to their impassive porcelain state. Their eyes slowly close. They do not move. So that when they do move again, it is startling. In abrupt unison, the EYES flash open. Three pairs of eyes stare straight at us, accusing. Three mouths open, but speak, in rasping tones, as one. ALL THREE Murderer! The faces linger a moment, the weary eyes slowly close, and the dark reaches forth, and takes them.","EXT. SUBURBIA DAY Morning in America. Just look at it. America in the midfifties, the suburban landscape stretching endlessly into the sun drenched distance. White house upon white house. Emerald lawns, glistening with dew. In each driveway, a big Chevy, or a Ford, muscled with chrome, long tailfins that taper like the fins on rocket ships. Kids burst out of the houses, and zoom down sidewalks on trikes. Mothers in bright dresses stand in doorways, watching. The smiling mothers wave to one another, then go back into their houses. Dogs bark, birds sing in trees of just the right height, boys and girls laugh and ring the bells on their trikes. It is a delicious world, where dogs and birds and children are safe.","INT. A HOUSE A family room with all the trappings of the era : a flagstone fireplace, a console TV, a man's leatherette Barca - Lounger, a pipe stand holding two pipes on a nearby table, boxes of children's games neatly stacked on a wall shelf. A young mother, CAROL, her hair - in a pony - tail, stands at a picture window in a corner of the family room, staring mildly at the scene outside. CAROL'S POV - A LITTLE GIRL A little girl bounces a red ball on the sidewalk. The ball gets away from her, and rolls into the street. At the same moment, a two - toned CHEVY, lush and huge, rounds the corner. The girl sees the car coming, but still goes after the ball. THE FAMILY ROOM Carol sees what is about to happen - but she does n't cry out, or bang on the window, or run for the front door. She watches. And smiles a little. OUTSIDE The girl careens gleefully into the middle of the street. INSIDE THE CHEVY The driver - a man in a loose fitting dark green suit, white shirt, thin brown tie - sits behind the steering wheel of the car. Disturbingly, the man's hands are not on the steering wheel. Not only that, he is holding the morning newspaper up in front of him, reading, oblivious to the scene before him. Through the windshield, we see the little girl in the road in front of him, going for her ball. CAROL Watches, her smile in place. OUTSIDE The little girl picks up her red ball, as the Chevy bears down on her. INSIDE THE CHEVY An alarm suddenly CHIRPS. The car automatically brakes to a halt. The man looks around the edge of his paper to see what is happening. THE STREET The car has stopped, inches from the girl. The girl giggles as, the man in the car gives her a big wink. She waves, then runs back to the sidewalk with her red ball. The man goes back to his newspaper, and the car, entirely on its own, starts up again. The car rounds a corner, and disappears. INSIDE THE HOUSE Carol turns away from the window. She startles when she sees her husband, JOHNNY, is there behind her. He is in his pajamas. How long has he been there, watching her? JOHNNY -LRB- gruff. -RRB- Why'd you let me sleep so long? CAROL It's Saturday, Johnny, you always -. -LRB- beat. -RRB- Why are you staring at me like that? He takes a step toward her. He stands there, his thick black hair tousled with sleep, scratching his stubbled jaw, considering her. JOHNNY I'm unhappy that you let me sleep so long. He takes another step toward her. She does n't move a muscle. A little BOY suddenly enters the room. Johnny turns, looks at his son, looks back over his shoulder at his wife. Then, without a word, he begins to walk out of the room. On his way out, Johnny's eyes flick to Carol's sewing basket, which sits beside a sewing machine. It is not the sewing that has caught his attention, but a large pair of garment SCISSORS which lie across a fold of colored cloth.","EXT. THE HOUSE -- MOMENTS LATER Johnny stands on the front porch, scratching. He walks down his front walk, and bends over to pick up the newspaper. Carol stands in the doorway, watching him. A SHADOW slides over Johnny, cast from above. The air fills with the piercing WHINE of an engine. Johnny looks up, alarmed. In the sky above him, just beyond the tips of the suburban trees, is a black PRECRIME POLICE HOVERCRAFT. The children, the mothers, Carol in the doorway - everyone freezes in place, as Johnny is cast into an inexplicable drama. Racing SOUNDLESSLY down the street toward him, are SLEEK TECHNOLOGICAL MARVELS, lethal and efficient looking - they seem to be cars - but they are so different from the fat Fords and Chevies in the driveways that it is hard for us to process them. Helmeted police with mirrored visors erupt out of the cars. More police drop from the hovercraft in harnesses. Their uniforms are black, seem actually to absorb light. Their left hands are bare, their right hands are encased in some sort of complicated glove. CLOSE ON - A GLOVE The glove is a weapon of some kind, the elongated index finger ending in an open barrel. Clearly, this is not, as it first seemed, the past - not America in the 1950's. It is the neo - past, the retro world of America 2040, where the familiar of yesterday is intermeshed with hypertechnology. And all of that hypertechnology is focused on JOHNNY, as he makes a run for the house, sheets of newspaper scattering behind him. He bursts up the front porch, shoving Carol out of the way. Eight Precrime police officers assemble in the yard. From a backpack, one of them quickly removes an instrument with a handle grip and an ovoid screen. It is a holographic scanner. He activates it, scans the OFFICER in front of him, and an IDENTICAL POLICE OFFICER takes three - dimensional form. The two real officers circle the house, repeating the maneuver a dozen times. In less than a minute, a decoy force of men - three dimensional, standing in place, but shifting and turning like living beings - has been created. An overwhelming police deterrent presence has been established. INSIDE THE HOUSE The Precrime police overwhelm the interior of the house, too. It is impossible to tell which officers are real, and which are scanned holographs. The juxtaposition of the futuristic cops in a 1950's style house is disorienting. INSIDE A BEDROOM CLOSET Johnny, in his pajamas, crouches beneath a rack full of his wife's dresses. UPSTAIRS HALLWAY Two OFFICERS, standing back - to - back, hold their gloved hands out in front of them, palm out. When the first officer points his palm toward a door at the end of the hallway, his glove BEEPS softly. The officer looks at his PALM. A red thermal IMAGE appears on a small flexible screen - the heat outline of a crouching man. The first officer flicks his helmeted head to the second officer. THE BEDROOM The room is packed with police - how many are real? THE CLOSET Johnny squirms, his pajamas saturated with sweat. He calls out through the door. JOHNNY I did n't do anything! OUTSIDE THE CLOSET Every OFFICER in the room lifts his gloved hand and points his index barrel at the closet door. The effect is deeply accusatory. An OFFICER speaks, his VOICE electronically manipulated to be as menacing as possible. OFFICER 1 Come out of the closet on your hands and knees. Nothing happens. Two officers aim their barrels at the perimeter of the door. In repeated, small SONIC BLASTS, the closet door is blown off of its frame, revealing Johnny among the dresses. Johnny starts to rise, and BAM, a section of floorboards is blasted away beneath his feet. OFFICER 1 Hands and knees! Johnny trips among the splintered floorboards, and drops. He stays on his hands and knees, and approaches. He lifts his head and looks up at the officer. JOHNNY I did n't. Another OFFICER 2 bends down with a DEVICE - the words `` IdentiScan'' on its side - and blips a red laser light into each of Johnny's, eyes, reading his irises. The officer nods affirmatively to the other officer. OFFICER 2 POSITIVE FOR JOHN PALMER. OFFICER 1 -LRB- to Johnny. -RRB- John Palmer, if you were being arrested for any other crime, I would now read you your rights. -LRB- beat. -RRB- But you are under arrest for the future murderer of your wife, Carol Palmer. You have no rights. Johnny, on his hands and knees, goes limp.","EXT. THE HOUSE -- LATER In the background, Johnny is guided into a Precrime police vehicle as the neighbors look on. Carol and her son stand in the doorway, stunned. TWO OFFICERS remove their helmets. The first man is tall, sandy - haired, good eyes, deeply blue ; This is PAUL ANDERSON, late thirties, Director of the Precrime Division, Washington D.C.. The second man is ED WITWER, Anderson's second in command, late thirties, big like Anderson, good face, strong in the shoulders, short brown hair. The two men are deeply comfortable together. They can speak, or not. It does n't matter - they still communicate. Two good cops, good together. They walk side - by - side around the house, dematerializing the holographic decoy cops. WITWER Thought we might a had a runner. Anderson seems tired, takes a moment to answer. ANDERSON Yeah, a runner. WITWER A little chase - that'd been good. ANDERSON Fifty cops on the scene takes the chase out of them. WITWER -LRB- smiles. -RRB- But only eight of us were real. Witwer dematerializes the last decoy. ANDERSON We ever get a runner, I'd be too old to give chase. WITWER You'd chase. You'd love it,. Man. They get to the front of the house and watch the Precrime vehicle holding Johnny zoom SOUNDLESSLY away. ANDERSON I love it more Johnny boy does n't get to murder his wife. WITWER -LRB- beat. -RRB- It's a beautiful world.","EXT. SAME SCENE -- LATER The children play on their trikes. The wives talk among themselves. The birds sing, the dogs bark. The little girl bounces her red ball again. She stops a. minute, when two pieces of newspaper blow past her, unexpectantly littering the orderly suburban landscape.","INT. A BEDROOM - SUBURBAN VIRGINIA (OUTSIDE WASHINGTON) DAY Decorated in a 1950's style. Anderson lies in bed beside his wife, LISA, a pretty, green - eyed brunette. It is early morning, they are both awake. Her hand caresses his chest. Maybe they will make love. Lisa's hand stops suddenly on the center of Anderson's chest. LISA Jesus, Paul. Your heart's hammering. -LRB- playfully. -RRB- I excite you that much? He turns to her, and the grim set of his jaw makes her smile vanish. ANDERSON I used to love being a cop. LISA You're still a cop. I'm a factory worker. We do n't catch murderers. We process them. Lisa takes a long breath. She's been down this road before. She speaks reassuringly. LISA You're the best homicide cop in the country. ANDERSON snorts disdainfully. ANDERSON Great - except there's no such thing as homicide. What I do best does n't exist anymore. LISA PAUL. -LRB- beat. -RRB- You're the Director of a perfect system. A Cop with a perfect record ANDERSON The Precogs have a perfect record. They identify the accused - I just put on my monkey suit and go round them up. Lisa hugs him, kisses the back of his neck. LISA And then I prosecute them. And they go to jail. And lives are saved. Thousands of lives. -LRB- beat. -RRB- And that's a cop's dream. Anderson is silent for a time. He sighs, then smiles, and turns to his wife, takes her in his arms. ANDERSON No. You're a cop's dream.","INT. THE BATHROOM -- LATER Anderson steps out of the shower, and begins to towel himself dry - He glances out a casement window. He tilts his head, curious, then wipes at the steam on the window. ANDERSON'S POV LISA Lisa stands in the backyard in her nightgown, talking on a cell phone. She hangs up, moves quickly back into the house. ANDERSON Cocks his head, then goes back to toweling off.","INT. KITCHEN -- LATER Checkered linoleum floor. Appliances out of the 1950's. Except there are little differences. When Lisa puts a skillet of eggs on the stove, the heating element is not an electric coil, or gas but a shimmering field of light. Lisa is dressed in a blue jersey skirt and a brief jacket. Anderson wears a gray suit, thin blue tie, white shirt, wingtipped shoes. He does n't look up from the newspaper as he speaks. ANDERSON Who called? Lisa keeps her back to him as she flips the eggs. She touches her long brown hair. LISA No one. I called about my hair. Getting it done this afternoon. Anderson looks like he's about to say something else, when suddenly someone RAPS on the back screen door. Anderson and Lisa both turn and smile. ANDERSON Come on in, neighbor. Want some coffee? OUTSIDE THE DOOR FRANK D'IGNAZIO, 65, white - haired, robust, hesitates before coming in. A thin METALLIC ARM with a red laser light arches quickly down from above the doorway, shines into each of his EYES, scanning the irises. The arm lifts out of view, the screen door UNLATCHES. Frank enters the kitchen, carrying a basket of tomatoes. FRANK D'IGNAZIO Brought these for your supper. LISA Oh, Frank. That's so sweet. Thank you. FRANK D'IGNAZIO Sweet, nothing. I got ta get rid of these things. One plant, and I'm invaded by tomatoes. When I was a kid. Anderson laughs, claps his friend and neighbor on the back, teases him. ANDERSON Before all this genetically engineered crap. Frank gives him an ornery look, then a smile. FRANK D'IGNAZIO Yeah well, it's true. It used to be a challenge to grow things. An art. Now you put one plant in the ground - then jump the hell out of the way. Anderson gestures for Frank to sit down. ANDERSON Coffee? FRANK D'IGNAZIO Nah, thanks. Ca n't stay. You guys are rushing off to work anyway. Lisa sets the eggs down in front of Anderson. LISA You and Ellie come for supper then. ANDERSON We'll barbecue. Frank nods and pushes on the screen door. FRANK D'IGNAZIO You betcha. We'll bring some more tomatoes - a new batch will have grown by then. They all laugh, Frank exits, Anderson goes back to his paper.","EXT. DRIVEWAY -- LATER Anderson waves to Lisa. Her big Studebaker drives off down the tree - lined street and away. Anderson approaches his Chevy. He does n't take out a key to unlock it. There is no lock. He slides in behind the wheel. Does n't take out a key for the ignition - there is no ignition. A thin METALLIC ARM arches down from the sun visor, scans Anderson's EYES, identifying him. A seat harness wraps around him, and the car STARTS. Anderson picks up a folder marked `` Precrime'' and begins to read through the papers. The Chevy backs out of the driveway and takes him to work.","EXT. INTERSTATE 95 - ALEXANDRIA, VA -- LATER A vast spread of corporate and government buildings - the spillover from Washington D.C. across the Potomac River into Virginia. Beyond the white of Washington is `` The Sprawl'' - the massive unzoned city that has spread uncontrolled on the outskirts of the Capitol. It is impenetrable and uninviting, especially to those comfortable in the utopian suburbs. Anderson's Chevy moves in a sea of fifties - type cars. Occasionally, an ultramodern vehicle zips past them. In the sky above is another sea - of advertising dirigibles, holographic billboards, hovercrafts, skim - jet transports. On one of the holographic billboards giant words begin to flash : `` I LIKE MIKE!'' Then a picture of the smiling President appears. Then the words : `` RE - ELECT PRESIDENT MIKE BILLINGS FOR ANOTHER FOUR YEARS! KEEP THE PAST IN OUR FUTURE!'' INSIDE ANDERSON'S CHEVY Through his windshield, Anderson glances at a holographic road sign. THE ROAD SIGN reads : `` FBI Headquarters 1 mile. CIA Headquarters 1.5 miles. PRECRIME Headquarters 2 miles.'' Anderson goes back to his papers.","INT. PRECRIME HEADQUARTERS Anderson sits in a too large office in a too large chair. He abruptly rises and begins to pace. The room is large, but he paces like a lion confined in a cage. He punches an intercom. A female VOICE responds. INTERCOM VOICE Yes, Director Anderson? ANDERSON Where's Ennis Page? Why has n't he delivered this morning's Precog discs? Ed Witwer opens the door to the office., and casually walks in. INTERCOM VOICE I'll find him, sir. Ed shakes his head, smiles. WITWER Bullying the staff again, Director Anderson? ANDERSON Screw you. Anderson turns away and stares out a large window. Witwer joins him. ANDERSON -LRB- CONT'D. -RRB- Was that fun for you, yesterday? WITWER The Johnny Palmer bust? ANDERSON Yeah. WITWER It was okay. We got our man. Anderson takes a long breath. ANDERSON When do we not get our man? They turn as Ennis PAGE, 44, a thin, tight little man with burr cut hair, knocks and enters the room. He carries a black BRIEFCASE marked : `` Zone 218 - Washington/Alexandria, VA.'' The case is cuffed to his wrist. PAGE Sorry I'm late, sir. Precogs put out a heavy national volume this morning - four for our zone. ANDERSON -LRB- DISTRACTED. -RRB- Put the case on my desk, Ennis. Page hesitates, does n't do it. Anderson moves quickly to Page. ANDERSON -LRB- CONT'D. -RRB- What was I thinking. Anderson leans over the BRIEFCASE. A small panel recedes, a red laser scanner clicks on, scans Anderson's eyes, BEEPS affirmatively, then clicks off. The cuff on Page's wrist falls open. Now Page puts the case on Anderson's desk. Page hesitates. Anderson and Witwer know just what he's going to do. Page reaches down, unable to resist straightening a pile of papers strewn on Anderson's desk. Anderson and Witwer exchange knowing smiles. When Page looks up they try to cover, but are not quick enough. He frowns tightly, and heads for the door. Anderson calls after him. ANDERSON Thanks, Ennis. Witwer turns to leave, too. WITWER Now that's a guy who really cares. Witwer grins to himself as he walks out of the office. Anderson takes a deep breath and goes to his desk, and opens the briefcase. Four small bright DISCS sit in rows. He removes one, places it in a VIDEO MONITOR that lifts into view from the center of his desk. He sits back, weary, and watches. VIDEO SCREEN A young black woman stands in a hallway. She stares at a door, gun in hand. She opens the door, enters a bedroom. She glides toward a bed, where a man lies sleeping. She lifts the gun and fires it into his sleeping form. ANDERSON pops the disc, jots down some notes, pops in a new disc. VIDEO SCREEN A white woman stands at a stove, cooking. A man comes up behind her slowly, silently, a necktie taut between his hands. He raises the necktie toward her neck ANDERSON He's not watching the screen. He is out of his chair now, looking out the window.","INT. PRECRIME MAIN LOBBY A tour of Precrime is in progress, like the public relations tours run by present - day FBI. The TOUR GUIDE, a pretty, smartly uniformed woman in her twenties, leads a group of adults and children, all with glowing nametags, through the building. TOUR GUIDE Welcome to the main headquarters of Precrime. Smaller Precrime branches are scattered throughout the United States. The group follows the guide slowly through the lobby. TOUR GUIDE -LRB- CONT'D. -RRB- Precrime was established in 2030, with the harnessing of the remarkable talents of the Precognitive mutants. She points cheerfully to a stubby little man, MR. HARRIS. TOUR GUIDE -LRB- CONT'D. -RRB- Mr. Harris, can you tell me how many Precogs there are? MR. HARRIS Three. Uh, right? TOUR GUIDE That's exactly right! A lot of people assume there are Precogs in every branch office. But there are only three Precogs, right here in this building. And the information they give us, we send out to all the other branches. -LRB- beat. -RRB- And what is that information - what do the Precogs do? An eager boy, TIMMY has the answer to that one. TIMMY They protect us. The guide tousles his hair. TOUR GUIDE -LRB- chipper voice. -RRB- That's right, Timmy. Because of the Precogs, you're going to grow up murderfree. Is n't that something? MR. HARRIS They ever wrong? The Precogs ever screw up when they predict a murder? The guide laughs tolerantly. TOUR GUIDE Never, sir. It's an infallible system. The Precogs predict a homicide, and our Precrime police then apprehend that future murderer before the event occurs. And right next door is the Judicial Center, where we prosecute the future murderers. TIMMY Can we see the Precogs? TOUR GUIDE No, I'm sorry. That part of the building is not open to the public. -LRB- beat. -RRB- Now, if you'll just step this way. She waves the group on toward an elevator.","INT. THE PRECOG CHAMBER The chamber is an elaborate, hypertech hospital, constructed for the maintenance of three beings - the Precogs. They are triplets - two of the Precogs are male, one is female. Technicians swarm all over them like worker bees. The bodies of the Precogs are being tended to : exercised, cleansed, groomed. The head of each Precog is encased in a complex, ornate HELMET that seems to be an amalgam of organic tissues and bright metallics. The helmets pulse slightly, and the surfaces seem to flow and shift, like oil on water. A network of micro - thin cables that are actually strands of light, rise Medusa - like from each helmet, then centralize into a single strand, and connect to a massive mainframe computer. The Precogs appear to be in suspended animation, or in comas. They are absolutely still and limp - except for their faces. Their faces are in constant motion, the lips mouthing scenes from murders only they can see. Life for a Precog is an endless cycle of death. CLOSE ON - THE FEMALE PRECOG we recognize her fragile and perfect FACE from the opening scene of the movie. She floats in a glowing nutritive bath. Like her brothers, she seems to be eternally young, or eternally old. The technicians lift her from her bath. She is dried, dressed in a robe, then guided into an over - sized, throne like chair. Her brothers are guided into their thrones, on either side of her. Not once are their helmets removed. What they feed into the mainframe is too valuable. It must be gathered twenty - four unrelenting hours a day.","INT. A ROOM Ennis Page sits in a room just off the Precog Chamber. He can see them through a large window. He works a large computer console, the gathering point for the information the Precogs constantly feed the computer. Perhaps every ten seconds, a small DISC is released by the computer, and mechanically gathered, sorted, and placed - under Page's watchful eye - into a black case. ANDERSON is in the room standing quietly behind Page. As Director, Anderson is authorized to come and go, but from his fussy movements, it's obvious Page sees anyone else in the room as an intruder in his special domain. Anderson turns and looks through the window at the Precogs. ANDERSON What would they think about if we unhooked them? Page looks up from his work. PAGE They do n't think, sir. They just see. Anderson is silent. PAGE -LRB- CONT'D. -RRB- They're not even alive, really. Anderson contemplates the scene, nods to Page's words, then turns and walks out of the room, as Page looks on.","INT. THE PRECOG CHAMBER The female Precog sits in her chair. Her eyes are open. She faces the window that looks into Page's main frame room. In the window we see Anderson leaving the room. The female Precog's eyes drift closed.","INT.COURTROOM - JUDICIAL CENTER -- DAY A trial is in progress. The defendant is Johnny Palmer. He sits, ashen, at a table, his DEFENSE ATTORNEY beside him. There are no jurors in the Juror BOX. There is a JUDGE, 55, and stern. There are a few people in the public seats. The Precrime prosecuting attorney is Lisa Anderson. She wears a black robe, and addresses the Director of Precrime, Anderson, who sits in the witness stand. LISA Director Anderson, do you swear that the disc you now present to the court is the only and authentic disc of the future murder of Carol Palmer by her husband, John Palmer? It is a ritual that they both have acted out hundreds of times. Anderson gives the rote answer as he holds up the DISC. ANDERSON Yes. This is the only and authentic disc of the event seen by the Precognitive mutants and recorded by the Precrime Division. This is the immutable evidence of the infallible system. LISA The murder of Carol Palmer will occur? ANDERSON In one week - June 16th, 2040 at 10:33 in the morning. Lisa steps back. The judge reaches out and Anderson hands him the disc. The judge inserts it into a special video machine on his desk. Anderson steps down, his ritual part in this trial completed. A huge MONITOR comes to life behind the judge. He does not turn around to watch - he has his own monitor. Johnny Palmer watches, eyes wide. We now see, in detail, what we previously heard the Precogs act out in the beginning of the movie. THE MONITOR The Palmer's family room. Johnny reaches into Carol's sewing basket for the scissors. Carol stands defenseless in front of him. Their son cowers in a corner of the room. CAROL Johnny, please - JOHNNY `` Johnny, please. Johnny please.'' CAROL You're scaring me. JOHNNY'S SON DADDY, DO N'T. DADDY Johnny approaches his wife with deadly menace. JOHNNY -LRB- considering. -RRB- I do n't like you any more, Carol. CAROL -LRB- imploring. -RRB- Put the scissors down. You're scaring me. Please. We cut away from the monitor and stay on JOHNNY PALMER'S FACE as he sits at the defense table. He winces at each terrible exchange. JOHNNY -LRB- O.S. -RRB- Oh, Carol. CAROL -LRB- O.S. -RRB- Johnny! Stop! JOHNNY -LRB- O.S. -RRB- Do n't grab at me! Let go. JOHNNY'S SON -LRB- O.S. -RRB- Daddy! No! Johnny Palmer cries out as the MONITOR goes blank. JOHNNY I did n't do it. I'm innocent! It did n't happen! The JUDGE hits his gavel. JUDGE How does the defense plead? The defense attorney glances at his watch, then quickly rattles off the words to his part of this judicial ritual. DEFENSE ATTORNEY The defense acknowledges the infallibility of the system. We are Guilty. We throw ourselves at the mercy of the court. JOHNNY No! No! The Precogs are wrong! No! The court guards are on him in an instant. They lead him out of the courtroom.","INT.A BOARDING HOUSE - THE SPRAWL -- DAY Anderson pushes down a tight hallway thick with police and enters a disheveled room. The fifties interior is drab : a Formica table, bad curtains, a frayed Lazy Boy positioned in front of a TV. Ed Witwer is already on the scene. He stands a few feet from the BODY of a man, gunshot wound to the head, a handgun on the floor nearby. WITWER -LRB- to Anderson. -RRB- Looks like the old days. Anderson nods to his former partner. Anderson leans over the body. ANDERSON That would be bad news for an infallible system. Witwer is suddenly bored. WITWER We know it ca n't be a murder - the Precogs would've seen it. Why do you insist on coming to these things? ANDERSON Keeps the system honest. And besides, I like to pretend I'm a cop. Anderson turns to an officer. ANDERSON -LRB- CONT'D. -RRB- Who's got the Coroner? Another OFFICER steps forward with a large blue case. OFFICER Right here, sir. The officer places the case beside the corpse, and opens the latches. Inside the case is a large metallic APPARATUS : the `` Coroner.'' It comes to auto - life, and begins to unfold itself - It rises crab - like, and steps out of its case. Except for his mouth, the doctor does n't move. His projected image stands beside the body, his arms folded behind his back. He is the interface, the way the humans communicate with the crab apparatus. ANDERSON Hi DOC. HOLOGRAPHIC DOCTOR Hello, Director Anderson. The coroner crab begins to walk the body, which is face down on the floor. It moves slowly, hesitating as it crawls the body's back to insert various razor thin probes and core samplers through the shirt and into the spinal cord. WITWER This a homicide, Doc? HOLOGRAPHIC DOCTOR I'm presently analyzing neurohormones, Assistant Director Witwer. I have not concluded my examination. The crab engulfs the back of the head, probes the wound. HOLOGRAPHIC DOCTOR -LRB- CONT'D. -RRB- I'm detecting carbonization of skull fragments around the entry wound. Witwer whispers to Anderson. WITWER Bingo. The guy put the gun to his own head. HOLOGRAPHIC DOCTOR I have not determined that yet, Assistant Director. Witwer grins. WITWER You have good ears for a ghost, Doc. The coroner crab steps away from the body. HOLOGRAPHIC DOCTOR Please rotate the corpse to the lateral supine position. Two officers turn the body face - up. The crab inches close to probe the face. Disconcertingly, it lifts the eyelids, and examines the interior of the mouth, so that for a moment the manipulation makes the corpse seem alive. Then the crab moves down the trunk and the legs At last, it comes to a standstill. The holographic Doctor closes his eyes as if in thought. WITWER Can you imagine if this was a homicide? Who even knows how to hunt down a killer any more? Anderson gives him a hard look. ANDERSON I know how, dammit. You know how. WITWER Easy, partner. -LRB- beat. -RRB- But you know what I'm saying. The state legislatures are pushing to stop funding for training homicide detectives. ANDERSON God bless the Precogs. The Doctor opens his eyes. HOLOGRAPHIC DOCTOR This event is a negative homicide. A mortal wound was generated by a.22 calibre bullet self - delivered to the parietal ` portion of the skull on June 10th, 2040, at 11:57 pm, Eastern Standard Time. This event is a positive suicide. The holographic doctor begins to shimmer, then disappears back into the coroner crab. The crab crawls back into its case, folds its probes and legs tight to its metal body, and shuts down. Witwer turns to Anderson. WITWER It's time to stop coming to these, partner. Anderson watches as the med techs lift the body onto a stretcher. ANDERSON Yeah. You're right.","INT. A BANQUET - WASHINGTON, D.C. -- NIGHT Anderson, in black - tie, with Lisa in a shimmering blue gown at his side, moves through a huge room filled high level government officials and politicians. ANDERSON A little bit of me dies every time I come to one of these things. LISA It's only a party, Paul. ANDERSON I'd never have let them appoint me to Precrime if I'd have known this was going to be part of it. LISA You're exactly what Precrime needed. An amazing homicide cop and a real person in an unreal job. ANDERSON Exactly. LISA The public loves the Precogs. But they give people the creeps, too. You're something they understandp a regular cop running things. Anderson sighs as he looks around the elegantly appointed banquet hall. ANDERSON Let's invite all these irregular assholes over for a barbecue. Burgers and beer - think they'd come? A barrel - chested man with a great shock of pepper gray hair, SENATOR MALCOLM, 58, takes hold of Anderson's elbow from behind. SENATOR MALCOLM I'd come, Mr. Director. And I'd make all the other assholes come with me. Lisa reddens, Anderson gives an embarrassed cough. The Senator laughs and claps him on the back. SENATOR MALCOLM -LRB- CONT'D. -RRB- Nice job this morning. Another negative homicide. The Precogs never let us down. Mrs. Malcolm smoothly occupies Lisa, while the Senator eases Anderson in the opposite direction SENATOR MALCOLM I have a dream, Paul. ANDERSON I know you do, Senator. SENATOR MALCOLM Hundreds of Precogs. Not just predicting murders, but predicting all crimes. Burglary, arson, assaults. ANDERSON How about jaywalking? Littering? Now there's a crime. The Senator smiles through his teeth. SENATOR MALCOLM I do n't want a police state, you know that. But we have an opportunity here, and ANDERSON No sir, we do n't have that opportunity. There are only three Precogs. They're a lucky accident of nature. There are no more. SENATOR MALCOLM -LRB- beat. -RRB- We can make more. Just give me your support. Help me increase funding for the Precog Engineering Project. ANDERSON Precogs are n't sheep or pigs. Seeing into the future is a gift, a nonreproducible event. There was only one Mozart, and there are only three Precogs. SENATOR MALCOLM Fuck Mozart. The people want to be safe. They want that more than they want food or love. He gestures at the room full of glittering partygoers. SENATOR MALCOLM -LRB- CONT'D. -RRB- Look at us - it's 2040 and we've wrapped ourselves up in the 1950's like a big security blanket. Why? Because we want to feel like they felt. Safe. ANDERSON Senator, a world filled with hundreds of Precogs is not my idea of a safe place. The Senator gives it one last shot. SENATOR MALCOLM Sure could use your help, Paul. ANDERSON I decline, Senator. I'm sorry. SENATOR MALCOLM -LRB- icily. -RRB- Do n't think I'll come to your barbecue after all. The senator moves off. Anderson stands stiffly among the sea of black - ties and exquisite fifties dresses.","INT. PRECOG ENGINEERING LAB - CHEVY CHASE, MD DAY Anderson walks through the lab with a tall, pale man, DR, RESFIELD, 60, the head scientist. It is not a place that warms Anderson's heart. Biotechnicians work at long stainless steel tables dissecting and examining protoplasmic tissue masses. Other technicians peer through massive microscopes. Still others use robotic arms to manipulate radioactive organics behind leaded - glass barriers. DR. RESFIELD You do n't get out here much. ANDERSON Not my sort of place. Dr. Resfield emits a dry little laugh. DR. RESFIELD The head of Precrime squeamish? ANDERSON When it comes to needles and scalpels, yeah. DR. RESFIELD I promise we wo n't use any on you. ANDERSON What do you use them on? DR. RESFIELD -LRB- beat. -RRB- On bits of this and that. Anderson looks at him. The doctor pauses outside a thick door. An IdentiScan device quickly reads their eyes, and the door opens with an electronic hiss. Anderson looks around the lab. Technicians lower mesh cylinders into some sort of chemical VAT. Another technician turns a dial, and an electric charge courses through the roiling liquid. ANDERSON What's happening here? DR. RESFIELD We're in an interesting phase. ANDERSON What's in the cylinders? DR. RESFIELD Neurotissue. ANDERSON From? DR. RESFIELD A fusion of sources. From the Precogs' deceased mother. From the Precogs themselves. ANDERSON A fusion of? DR. RESFIELD In lay terms, we mated sperm from the brothers with ova from the mother and sister to create new growth. The CYLINDERS shudder as the voltage is increased. DR. RESFIELD -LRB- CONT'D. -RRB- And then we add mutating variables. Anderson stares into the roiling vat. Dr. Resfield waits for more questions. But it is clear from Anderson's expression he has already learned enough.","INT. ANDERSON'S OFFICE -- DAY Anderson sits in his office reviewing Precog discs for premurders in the local Washington area. We stay on him as he watches the monitor. He pops the disc, jots down some notes, slides in the next disc. Anderson's mouth slowly opens. He leans close to the monitor, his face ashen.","EXT. FRANK D'IGNAZIO'S BACKYARD -- LATER Frank is on his hands and knees, working his vegetable garden. He whistles softly under his breath as he trowels the rich soil. He sits up as he hears someone open the garden gate. He lifts his straw hat in greeting, gives a smile. It's ANDERSON. FRANK D'IGNAZIO What are you doing, playing hooky? Anderson tries to smile. But it wo n't come. He looks around the abundant garden. ANDERSON It's great out here, Frank. You got the touch. Frank straightens with a grimace. FRANK D'IGNAZIO I got the arthritis, is what I got. Anderson reflexively looks up at a high WHINING sound from over head. Frank follows his gaze. A Precrime HOVERCRAFT glides into position overhead. Frank stares, then lowers his eyes to the ground. He takes a long sad breath. FRANK D'IGNAZIO -LRB- CONT'D. -RRB- Ah shit, neighbor. -LRB- beat. -RRB- Goddamn Precogs do n't miss a beat, do they? -LRB- beat. -RRB- Can we do this inside? Ellie's not home. Anderson's voice is full of pain. ANDERSON Sure, Frank. Yeah.","INT. FRANK'S KITCHEN -- MOMENTS LATER Frank wanders the kitchen, trying to focus on his situation. Anderson has trouble meeting his friend's eyes. Through a window we can see black suited police officers with mirrored helmets swarming outside Frank's house. FRANK D'IGNAZIO -LRB- distracted. -RRB- I thought I'd buried it all. Thirty - five years - all those minutes and days to bury it. -LRB- beat. -RRB- But suddenly you see the man who murdered your daughter walking the streets - my God it throws you. Frank stops pacing. He stares at a kitchen drawer. ANDERSON He'd served his time, Frank. I know it's not fair. It's way beyond not fair. Frank looks. At Anderson bitterly. FRANK D'IGNAZIO -LRB- yells. -RRB- God damn the Precogs. You know? Why could n't they have been around to save my girl? -LRB- softly. -RRB- Now they're catching me. Frank reaches into the drawer and pulls out a small handgun. FRANK D'IGNAZIO -LRB- CONT'D. -RRB- I really shoot the bastard, huh? When? ANDERSON Next Wednesday, at noon. FRANK D'IGNAZIO Good. Anderson's cop eyes are all over the gun. ANDERSON It's not in you, Frank, to kill anybody. FRANK D'IGRAZIO Tell it to the Precogs. It's set in stone now, right? Frank puts the gun on the kitchen counter. Anderson relaxes. FRANK D'IGNAZIO -LRB- almost inaudible. -RRB- I do n't want to be a part of this world anymore. ANDERSON I know, Frank. Frank gives Anderson a look - no, friend, you do n't know. Then Frank looks hard at the gun on the counter. FRANK D'IGNAZIO -LRB- beat. -RRB- So. Tell me, Paul. Do the Precogs see everything? ANDERSON No. FRANK D'IGRAZIO Then they wo n't have seen this. Frank suddenly snatches up the gun and presses it to his own head. On Anderson's anguished FACE, at the SOUND of the gun going off.","EXT. FRONT YARD -- LATER Anderson stands with his old partner, Witwer, on Frank's front porch. Behind them, through an open door, we see Lisa comforting Ellie D'Ignazio in the living room. Anderson is deeply shaken. Witwer tries to talk him through it. WITWER -LRB- GENTLY. -RRB- We had to bring him in. Anderson does n't respond. WITWER -LRB- CONT'D. -RRB- He was a future murderer. ANDERSON -LRB- angrily. -RRB- You blame him? The guy killed his daughter! Witwer lets the implication of his words sink in. ANDERSON -LRB- CONT'D. -RRB- Yeah. I know. I know. Anderson turns and watches as they wheel Frank's draped body into the back of an ambulance. Anderson's bitterness erupts. ANDERSON -LRB- CONT'D. -RRB- I hate the Precogs, Ed. I believe in them absolutely and I hate them absolutely. Jesus. Witwer listens to him. ANDERSON -LRB- CONT'D. -RRB- And that goddamn lab trying to grow more of them. Put a Precog in every home, you know? So we can have more Franks - people shooting themselves - over who knows what? Witwer kneads Anderson's shoulder, talks to him in soothing tones like you'd calm an agitated horse. WITWER Precrime did the job it was supposed to do. The two men can hear Ellie sobbing inside the house. WITWER -LRB- CONT'D. -RRB- You know it. And you believe in it. ANDERSON -LRB- BEAT. -RRB- Yeah. WITWER It's not easy. It beats us down. Ellie in there - no doubt she hates you right now. Anderson turns to Witwer. ANDERSON That's why I got into this business - to be hated. Anderson almost manages a small smile. Witwer puts his arm around him. Walks him away from the scene. WITWER They hated us when we were regular cops. Now we're Precrime, and they still hate US. It's one of the little perks of law enforcement nobody knows about. Their quiet laughter is tinged with sadness. Anderson looks into his partner's good, open face. Then they both look away, their understanding of each other complete.","INT. ANDERSON'S BEDROOM -- LATE NIGHT Anderson stares out the window at Frank's house, illuminated by the moon. It's a mournful sight. Lisa rises on an elbow and watches him from the bed.","INT. PRECRIME HEADQUARTERS-ALEXANDRIA-DAY - ONE WEEK LATER Ennis Page, in the mainframe room just off the Precog Chamber, picks up a black BRIEFCASE marked : `` Zone 218 Washington / Alexandria, VA.'' He approaches the door, and his eyes are scanned. The door opens with a HISS. We follow Page as he walks through doors and corridors until he reaches a long hallway leading to the Director's office. Anderson's secretary, Angela, looks up on Page's approach. She nods. He nods. He walks around her desk. His eyes are scanned, and the door to Anderson's office opens. ANDERSON looks up, wearily.","INT. ANDERSON'S OFFICE -- LATER Anderson inserts a disc into the video monitor, almost absently. As we have seen him do before, he swivels his chair away from the monitor, and stares at Washington D.C. across the Potomac. Hovercrafts and transports skim through the sky above the Washington Monument. The camera stays on Anderson's back as the sound from the Precog disc begins. He hears his own voice speaking in strained, agitated tones. ANDERSON -LRB- O.S. -RRB- Let's not do this, Ed. Anderson slowly swivels around and stares with disbelief and horror at the monitor. THE MONITOR shows Anderson and Witwer in a room, a few feet apart pointing guns directly at each other. Their eyes intense and panicked. Who murders whom? Ed's eyes cut to a huge digital clock on the wall as the red seconds tumble away. ANDERSON Oh, Ed. Witwer lowers his gun. He stands unresisting before Anderson. Witwer sees his own death in Anderson's wild eyes, has always seen it. Anderson FIRES his weapon, puts a bullet straight into Witwer's heart, throwing him back against a wall. Witwer slumps, dying, beneath the huge digital clock, which reads : 5:20 AM. BACK TO SCENE Anderson stares as the monitor fades to a blank. His hand goes to his mouth. His body begins to shake. He hugs himself, but he ca n't stop the shaking. The DISC pops out of the side of the monitor. It is a small SOUND, but it has Anderson up and out of his chair as if it were a gunshot, He reaches for the disc but can not touch it. His legs suddenly weaken, and he drops to one knee beside his desk, like a man in need of prayer. There is a single thought that screams through his brain. It is an almost visible thing, filling the room, blackly. Anderson whispers the sickening words that shape his fate. ANDERSON -LRB- CONT'D. -RRB- I kill you. -LRB- beat. -RRB- Oh god, I kill you. As Anderson pulls himself up, and tries to reach again for the disc.","INT. THE PRECOG CHAMBER In an image just like the scene in the beginning of the movie, the three FACES of the Precogs hover in the misty darkness. Their closed eyes open in SUDDEN UNISON. They speak as one. ALL THREE Murderer! After a long moment, the eyes close again, and the Precogs fade into the mists.","INT. ANDERSON'S OFFICE Anderson looks up sharply at the SOUND of a knock on his door. Every normal sound seems grotesquely AMPLIFIED, the traffic outside, his own breathing. His senses are on overload. The door begins to open. A stockinged leg is the first thing Anderson sees. His secretary, ANGELA. ANGELA Sir? She hesitates before fully entering the room, Anderson grabs at the incriminating disc. He sees his EYES reflected in its alloy surface. He pushes the disc deep into his pants pocket. Somehow he finds his voice. ANDERSON Come in. Angela. She looks at him, uncertain. Then she places a small stack of papers on his desk. ANGELA Need you to sign these. And your eleven o'clock starts in five minutes. ANDERSON My. eleven. ANGELA -LRB- beat. -RRB- Budget coordination with the FBI. -LRB- beat. -RRB- You okay, sir? Anderson runs his hand through his hair, ca n't think fast enough. He sees her glance at the black Precog disc case. He shuts it, awkwardly, and it auto - locks. ANDERSON Have Page take this. Angela steps back, disturbed. ANGELA But sir, the procedure ANDERSON -LRB- SNAPS. -RRB- I make procedure. Call him. -LRB- long beat. -RRB- I'm not okay, Angela. you're right. My head and stomach. I'm going down to the clinic. Or maybe just home. Angela looks relieved at the explanation. ANGELA Yes sir. He moves past her. His FINGERS fidget against the hidden disc in his pocket. ANDERSON I'll speak to Witwer, put him in charge for the rest of the day. He hesitates at the door, turns to look at his office, and at his view of Washington. Then he is gone.","INT. OUTSIDE WITWER'S OFFICE -- MOMENTS LATER Anderson looks in the door Of Witwer's empty office. He takes a step inside. Witwer's booming voice sounds from behind him, startling him. WITWER Breaking and entering. That'll get you five to ten, hard. Witwer immediately scans his old partner's ashen face. WITWER -LRB- CONT'D. -RRB- What's wrong? Anderson can hardly bear to meet his friend's eyes. He REACHES into his pocket, as if to lift the disc into the light. If he could just do that, show it to Witwer. WITWER Paul? Anderson's hand comes out of his pocket, EMPTY. ANDERSON Take over for me today? WITWER You sick? ANDERSON Yeah. Witwer makes a show of backing away. WITWER Do n't give it to me. You probably have that Trans - 10 virus going around. A stomach thing. I hate stomach things. Anderson Almost smiles. ANDERSON Ed. WITWER Yeah? Witwer looks at him. Anderson almost reaches out for him. ANDERSON Run the place, okay? WITWER -LRB- smiles. -RRB- Sure. Right into the ground. -LRB- beat. -RRB- Go on home before I call Infectious Control and have them spray you down with something. Anderson moves unsteadily down the hallway. Witwer calls out. WITWER -LRB- CONT'D. -RRB- You want me to do the discs, or hold them for you to review when you get back? ANDERSON Ca n't let them back up. Do'em. WITWER Call you later. Take it easy, all right? Witwer lifts his hand in farewell, Anderson fixes on that last image - Witwer waving goodbye.","INT. PRECRIME UNDERGROUND GARAGE -- LATER Anderson, sweating now, leans against a thick cement pillar and pulls out a cell phone. He hits a button. INTERCUT BETWEEN ANDERSON / LISA AT THE JUDICIAL CENTER Lisa sits in a meeting. Her phone CHIRPS softly. She glances at the display, then rises to take it. She goes to a corner of the room. LISA Paul? ANDERSON Listen to me. Lisa presses her phone close to her ear. LISA I can hardly hear you. ANDERSON I'm underground. Weakens the signal so it ca n't be picked up. Alarm moves across her face. LISA But we're on Secure ANDERSON Listen, dammit! I'm going to murder Ed. The Precogs picked it up. On Lisa - can she have heard right? LISA Paul. Paul His crackling voice faintly comes through the phone. ANDERSON'S VOICE home. Lisa's phone goes dead. BACK TO ANDERSON Anderson looks down a long row of parked Precrime ground transports. They are sleek and menacing, the black shells lumpy with dangerous gadgetry. In the distance, a POLICE OFFICER, holding an armful of equipment, opens the back of one of them. He looks up at Anderson's approach. He puts his equipment down, and salutes. POLICE OFFICER Hello, sir. Anderson nods, moves close. ANDERSON What's your name, officer? POLICE OFFICER Bob, uh, Robert Smythe. ANDERSON These the new Python transports? The young officer turns and looks at the transport with pride, is about to speak, when Anderson touches a palm - sized Nova stun gun to the base of his neck. ANDERSON -LRB- CONT'D. -RRB- -LRB- sincerely. -RRB- Sorry, Officer Smythe. The officer buckles. Anderson catches him, rolls him gently into the back of the transport. Then Anderson quickly reaches into the transport, and begins stuffing equipment into a duffel bag : a helmet and black uniform, the weapon - glove, a folded rifle, a holographic scanner, and other equipment whose function we can only guess at. Anderson looks up at a sound, echoey FOOTSTEPS. They approach, then fade away. Anderson places the officer's hands and legs together, then aims a nozzled cylinder at them. He shoots a spray of blue BindFoam chemical restraint, sticking the man to the floor of the transport in an adhesive glob. Then he leaves the scene, running.","INT. ANDERSON'S CHEVY Anderson grips the wheel of his Chevy, driving down 1 - 95. The fact that he ca n't control his car - that the steering wheel has no function, his speed is predetermined, and his direction is guided by satellite - is maddening now. From inside the cars that glide along beside him people turn and look curiously at the man who is actually gripping his steering wheel. Anderson slams it with his fist. Through his windshield Anderson sees a four year old boy in the driver's seat of a passing red and black Ford. His mother sits in the passenger's seat, blithely reading. The boy mimics Anderson, gleefully slams his steering wheel too, then laughs. Anderson turns and looks the other way, into the distance, at the `` Sprawl,' the vast unzoned city attached to Washington D.C.. You can see it in his face : a man could lose himself in there.","EXT. POTOMAC PARK Anderson stands on an embankment. He holds the Precog disc in his hand, ready to throw it into the river. He stands like that. and then slowly lets his hand drop. He does n't do it.","INT. ANDERSON'S HOME - SUBURBS -- LATER Lisa enters the house, in a rush. Every shade is drawn. Paul Anderson sits in an overstuffed chair, absolutely motionless, like a man who has died suddenly. ANDERSON Do n't move. Lisa does n't get it. She continues toward him. ANDERSON -LRB- CONT'D. -RRB- Stop! Moving heats you up, makes it easier for them to pick you up on their thermals. She looks at him, scared, stops in her tracks. She is suddenly suffocating. LISA It's a hundred degrees in here. ANDERSON I turned the furnace all the way up. Your hair dryer. The oven. If they come, it'll buy me twenty seconds. Maybe thirty. LISA Nobody's coming for you. Anderson stares at her. LISA -LRB- CONT'D. -RRB- On the phone - what you said. It's impossible. She shakes her head in disbelief. Anderson speaks, choking on the words. ANDERSON I'm going to kill Ed Witwer. LISA It's not true. Anderson's right hand hangs over the side of his armchair. We see the bright DISC cupped in the palm. He seems about to reveal it to her, but does n't, yet. He keeps staring at her intently. Something is holding him back. LISA -LRB- CONT'D. -RRB- You're upset. You've been unhappy. There's a lot of pressure on you. And then Frank. ANDERSON One week from today. Tuesday, June 25, at five - twenty in the morning. I shoot him, Lisa. LISA -LRB- beat. -RRB- You need to take time off. Anderson laughs harshly. ANDERSON You do n't have to worry about that. She steps toward him. LISA -LRB- gently. -RRB- I want to hold you. ANDERSON If you love me, stand there. And do n't move. Tears well in her eyes. ANDERSON -LRB- CONT'D. -RRB- I saw the disc, Lisa. I shoot him. In the chest. And he dies. I've watched a thousand murders. This time I star in one. LISA Something's wrong. You would n't do it. ANDERSON The Precogs are never wrong. They emit a single disc. `` The immutable evidence of the infallible system.'' The room is terribly hot, his words - she begins to sway unsteadily. Anderson focuses on her. Her face. Her hair. LISA We'll figure this out. We'll review the system. ANDERSON There is no review. There's only the disc. It Shows My guilt. There's no defense. Her long hair. He stares. LISA You ca n't run. Please, let's - A SOUND outside. They both turn. A deep silence. The furnace churns out heat. And Anderson looks at Lisa's hair. and finally understands. Slowly, and very carefully, Anderson slides the DISC back into his pocket. He rises from his chair. For the first time he goes to her, reaches out, and touches her hair. ANDERSON Last week. It was strange. I watched from the bathroom window. You went out in the backyard to make a call. She looks at him. ANDERSON -LRB- CONT'D. -RRB- An appointment, you said. For a haircut that afternoon. Lisa's hand jumps to her hair. ANDERSON -LRB- CONT'D. -RRB- You did n't get your hair cut. You went to the trouble of calling first thing in the morning. It was that important. She reaches for him. He pulls away. LISA Stop it! Paul, please. You're panicking. Everything's going to look wrong. You're going to distrust everybody and everything now. Lisa implores him. LISA -LRB- CONT'D. -RRB- You ca n't distrust me. -LRB- beat. -RRB- It was Ed I called. Anderson cocks his head. ANDERSON Ed. why outside? Why lie about it? LISA Stop being a cop and listen to me! A booming, electronically altered VOICE suddenly penetrates the walls of the house from outside. VOICE -LRB- O.S. -RRB- Director Anderson! There is no escape! Anderson, betrayed, glares at his wife. She's frantic. LISA Your birthday's tomorrow! We wanted to. But be's already on the move, running for the upstairs. VOICE -LRB- O.S. -RRB- Drop to your hands and knees and stay there. Precrime is entering your house! Lisa screams, as her front door is sonically BLASTED off its hinges, and a swarm of Precrime officers in mirrored helmets hurtle in. LISA Paul! They move past her and spread through the rooms and up the stairs like a disease in fast motion. UPSTAIRS Helmeted officers hold their gloved right bands palm out, scanning rooms for thermal presence. An OFFICER 1 steps out of a small room. He speaks, his voice electronically altered. OFFICER 1 He's got a hair dryer going. Screwed up my reading. The others nod. OFFICER 2 We're not picking up shit. They rush into rooms, with increased urgency. We follow OFFICER 1 as he moves counter to the group and down the stairs. He hesitates as he moves through the living room, which is awash in personnel. Lisa stands against the wall, pale and shaken. He looks at her for a long beat, then steps over the shattered door and out into the sunlight. OUTSIDE Everywhere else in the neighborhood it is green and calm. But Anderson's house looks like a wasps's nest someone has kicked. Four Precrime hovercrafts are suspended above it, engines WHINING. Black Python transports are all over the street out in front, and more keep coming. And everywhere on foot, there are Precrime police. OFFICER I approaches a Python ground transport. Another officer guards it, weapon out, his head turning right to left. He settles on OFFICER 1's approach and raises his weapon. OFFICER 1 does n't even break stride. He walks right up to the guard - and then right through him. A holograph decoy. OFFICER 1 enters the Python. INSIDE THE PYTHON OFFICER 1 removes his helmet - it's Anderson. And then comes the moment of truth - have they cancelled his IdentiScan access to Precrime vehicles yet? A little scanner arm arches down from the visor, and flashes a red beam into his eyes. Anderson presses his lips together. The Python turns on, and a generated voice greets him. VOICE Paul Anderson 0256 clear. Anderson grips the steering wheel. But his time, since it is a law enforcement. Vehicle, the steering actually works. Anderson pulls out. FROM ABOVE, as the Python transport slips away from the chaos. THEN HIGHER, and we see that the direction the Python is headed will take it from the green of the suburbs, through the white of Washington, and into the dark of The Sprawl.","INT. PRECRIME HEADQUARTERS -- DAY Ed Witwer sits alone in an antechamber. He stares at an oversized oak door, then looks down at the floor. He runs both hands through his hair. He is tired, his eyes weary, lost. A voice comes over the intercom. VOICE Enter now please, Assistant Director Witwer. Witwer pulls himself together, and opens the door.","INT. A CONFERENCE ROOM Witwer takes a seat at the end of a long table. Powerful men sit at the other end of the table. SWANSON, sharp - boned, the FBI Director. CRONIN, awl - like eyes, the CIA Director. Senator Malcolm. Chief Justice POLLARD, whose face reveals nothing. Vice - President ALMER, whose tongue darts across his dry lips unsettlingly. Unpleasant looking men in an unpleasant mood. Cronin looks up from a printout he's been reading and stares at Witwer. CIA CRONIN The central question is : Why does Anderson want to kill Witwer? Cronin holds up the printout. CIA CRONIN -LRB- CONT'D. -RRB- We checked your finances. His finances. Nothing irregular, you do n't steal from him, he does n't steal from you. You have n't done anything that he might have discovered, and vice versa. Swanson holds up another sheath of papers. FBI SWANSON Personnel checks reveal no ambitious coups planned by you to topple him. -LRB- beat. -RRB- He's done nothing to you, or you to him. Witwer presses his lips together. VICE-PRESIDENT ALMER You fucking his wife? WITWER No. FBI SWANSON HIS MOTHER? HIS BROTHER? Witwer gives him a bad look. FBI SWANSON -LRB- CONT'D. -RRB- Okay. There we are. JUSTICE POLLARD So, you are friends, partners, and soul mates. Anderson has no motive. WITWER I ca n't think of one. -LRB- beat. -RRB- Maybe JUSTICE POLLARD The Precogs are mistaken? Witwer looks away. Jesus, he wants out of this room. JUSTICE POLLARD You do n't believe that, do you? WITWER -LRB- barely audible. -RRB- No. The Precogs are infallible. Senator Malcolm is impatient with all this. SENATOR MALCOLM You're goddam right. So, gentlemen - screw the motive. We got a pre - murderer on the run, and a nasty little PR problem. The very powerful men level their unpleasant gazes on Witwer. VICE-PRESIDENT ALMER And here is our solution. You are now Director Witwer. Witwer shakes his head, starts to protest. Almer silences him with a raised finger. VICE-PRESIDENT ALMER -LRB- CONT'D. -RRB- Precrime must demonstrate its willingness to go after one of its own. Total impartiality. WITWER Now look - Cronin talks right over him. CIA CRONIN The public must believe that every future murderer is pursued with equal vigor. FBI SWANSON Therefore, Precrime will put in charge the man best suited to the job. And who would pursue a murderer harder. than his intended victim? JUSTICE POLLARD You went after Anderson yesterday - because it was right, and because you believe. Almer speaks with a tight irony. VICE-PRESIDENT ALMER And your belief will certainly grow stronger with each tick of the clock. Witwer looks at the men with thinly - veiled hatred. But he does not deny their words. JUSTICE POLLARD Haw long will it take, Director? Wiltwer takes a long breath, concentrates his mind on the task he ca n't avoid. WITWER He knows Precrime, of course. And the streets - he's rusty, but he'll remember how to work them. It'll come back to him fast. He's. the best. Witwer almost smiles. Justice Pollard's not smiling. JUSTICE POLLARD We're not here to praise Caesar - we're here to bury him. Witwer looks at Pollard, then lifts a finger and touches his right eye. WITWER He ca n't avoid iris identification. Every door he opens, every ATM he uses, or taxi or transport he boards - he'll get scanned. -LRB- quietly. -RRB- It wo n't take long to find him. The eyes that look back at Witwer are unblinking.","EXT. THE SPRAWL NIGHT The unzoned city is full of 1950's iconography, but it all feels different than it did in the suburbs. Where the burbs were Ike, the city is Joseph McCarthy. The fat Ramblers and Studebakers have a little grime on them. The women's dresses are tighter and more urgent, the men's suits have some shine at the elbows. You look over your shoulder here, move faster, and smile a lot less. And some streets you do n't go on at all. Anderson's Python moves down one of them. He stops under a blackened suspension bridge, gets out. He's still in uniform. He holds a duffel bag. He starts to walk away from the Python, then hesitates. He's left the door open. He shakes his head at his sloppiness. Goes back and shuts the door. Walks away again. INSIDE THE CAR He's left a small DEVICE on the passenger's seat. Digital numbers shoot by in reverse. Something CLICKS. OUTSIDE THE CAR Anderson continues walking away. He does n't look back as the Python is engulfed in a miniature sun of heat and flame. It's not a gasoline powered vehicle - so it does n't explode. It just ceases to exist.","EXT. ORANGE DRY CLEANERS - -- NIGHT LATER Through a smeared window Anderson sees racks of suits and dresses hanging in clear plastic bags. He gets to work on the door.","INT. ANDERSON'S HOUSE -- NIGHT Lisa lies in her bed, alone in the dark. She listens to an almost inaudible sound, a high WHINE.","EXT. ANDERSON'S HOUSE A Precrime HOVERCRAFT floats high above her house, a dark moon in the low clouds.","EXT. ORANGE DRY CLEANERS -- EARLY MORNING A worker stands in the back of the store puzzling over the clean clothes piled on the floor. It almost looks like a nest, like someone slept there","EXT. SUBWAY LATER Anderson, in a blue suit and fedora, carrying his duffel bag, stands on a subway platform. He takes out a cell phone, dials a number. He looks up at the SOUND of a train. The approaching MagLev train has a lit sign on its front car : `` 33rd Street Express.''","INT. PRECRIME HEADQUARTERS Search and Command room. Witwer moves up and down the aisles, past technicians who man computers and holographic tracking displays. A Precrime TECHNICIAN 1 suddenly sits upright. Witwer picks him out of the crowd and zeroes in. TECHNICIAN It's Anderson. Witwer grabs a phone, punches a button WITWER Paul! The technicians scramble to pinpoint Anderson on a Glowing holographic MAP.","EXT. SUBWAY STATION Anderson, holding his phone, is IdentiScanned along with everyone else as he steps onto the train.","INT. PRECRIME HEADQUARTERS Another TECHNICIAN 2 calls out to Witwer. Witwer covers his phone mouthpiece. TECHNICIAN 2 He's been Scanned. He's on the 33rd Street Subway! TECHNICIAN 1 Calls from the other side of the room TECHNICIAN His cell phone tracks for The Sprawl. We got him on the Subway, too!","INT. SUBWAY CAR Anderson sits on a seat in the rear of the car. ANDERSON Why am I going to kill you, Ed? INTERCUT : ANDERSON ON THE SUBWAY / WITWER AT PRECRIME WITWER There's no motive ANDERSON My wife calling you before breakfast? WITWER We were planning a surprise party. It was going to be today. -LRB- beat, ironic. -RRB- Happy birthday, partner. ANDERSON This party's no fun, Ed. It's a hell of a surprise, though. -LRB- beat. -RRB- I'm having trouble trusting people, Ed, I got ta tell you. At Precrime, they upload a MAP DISPLAY of the Express train's route. We see a blue light moving - the train. And two separate red dots along its route. An OFFICER points at the dots, and speaks to Witwer in a low voice. OFFICER The train makes two stops, here and here : 20th, then 33rd Street. Witwer covers the Mouthpiece WITWER -LRB- to the officer. -RRB- Split the units, go to both OFFICER We'll never make 20th Witwer waves him away - do your job. Now. ANDERSON You there, Ed? WITWER I'm here. You got ta come in, Paul. ANDERSON I'm a Cop, Ed. I need a motive. WITWER Come in. We'll figure this thing out together.","EXT. THE SPRAWL Precrime transports zoom through the city","INT. THE SUBWAY TRAIN Anderson looks out the window into the tunnel dark. He talks to Witwer. INTERCUT : ANDERSON/WITWER WITWER It'll get ugly if you keep running. And your eyes, Paul - every move you make a Scanner will pinpoint you for us. ANDERSON I saw a news flash. You're the new Director. Is that the point of this? WITWER Fuck you. Anderson smiles. ANDERSON Did n't think so. But it has to be something, Ed. Witwer looks at the DISPLAY MAP. We see the blue train nearing its first stop, 20th street. We see two waves of lighted green dots - Precrime units heading for 20th and 33rd. WITWER Paul. Come in. Anderson sees an overhead light come on in the train : `` Next Stop 20th Street. ANDERSON If I come in, it puts me close to you. If I get close. I may kill you. I ca n't risk that. -LRB- beat. -RRB- Anyway, they'd force you to lock me up. And that'd be it - I'd never get my chance to solve this thing. Witwer needs to keep him talking WITWER You're kinds liking this, in a way, are n't you? The action. ANDERSON And you get to be a real cop again. We get to flex our muscles.","EXT. 20TH STREET SUBWAY STATION Precrime vehicles pull up. Hovercrafts appear in the sky above.","INT. 20TH STREET SUBWAY STATION Anderson's train is just finishing off - loading passengers. The doors close and the train begins to pull out as the first helmeted Precrime officers flood the platform. One of them points. CLOSE ON : A TRAIN WINDOW Anderson is visible through the window, talking on his cell phone.","INT.PRECRIME HEADQUARTERS Witwer stares at the map. The train has stopped at 20th street. But Anderson's still talking. He is n't getting off - he's going on to 33rd Street, the last stop. Technician 2 presses his earphone close, listens, then calls over to Witwer. Witwer covers his mouthpiece. TECHNICIAN 2 We have visual verification - he's still on the train. Witwer gives him a thumb's up. We STAY ON Witwer as he listens to Anderson, and watches his train move toward 33rd on the MAP. ANDERSON'S VOICE I want to tell you something, partner. You listening? Witwer nods. Now the MAP shows all the Precrime units swarming toward the 33rd Street subway station. WITWER Yeah. ANDERSON'S VOICE I got ta do this. I have to figure this thing out. -LRB- beat. -RRB- But listen to me now. If it was you running, I'd come after you, Ed. Witwer stares at the MAP, at all the units he's sent after his friend. ANDERSON'S VOICE -LRB- CONT'D. -RRB- You're a cop. And I'm a future murderer. -LRB- beat. -RRB- Do your job, Ed. Come after me hard. Because, Jesus Christ, I would n't sleep or eat until I had tracked you down and put a gun to your head.","EXT. 33RD STREET SUBWAY Precrime officers pour down the stairs toward the train platform.","INT. PRECRIME HEADQUARTERS Witwer watches on the MAP at all the little symbols merging together, like a gameboard - but this game ends in a reallife confrontation between one man and an army of them. WITWER You would n't shoot a cop would you, Paul? -LRB- beat. -RRB- Paul? Paul? He looks urgently to the phone technician TECHNICIAN 1 He's still on the line. Witwer presses his ear to the phone. He can hear the subway make its STOP. Then he hears a chorus of mechanized VOICES - the voices of the Precrime police, the SCREAMS of panicked passengers VOICES ON ANDERSON'S PHONE Police. Everyone down on your hands and knees! -LRB- then. -RRB- Oh, shit.","INT.SUBWAY TRAIN The Precrime officers aim the index barrels of their gloveweapons at ANDERSON, who sits blithely on a seat, holding his cell phone to his ear. Anderson begins to shimmer, then dematerialize ghost - like, into nothingness. He was a holographic decoy. What is actually there on the train seat is Anderson's cell phone. Rigged to its mouthpiece is a tiny digital voice recorder.","INT. 20TH STREET SUBWAY Anderson trots up the stairs and safely out onto the streets of The Sprawl.","EXT. STREET - THE SPRAWL -- NIGHT Every city has its underbelly. If you lifted the fat dark underbelly of The Sprawl this is where you'd end up. The streets here feel like alleys, clotted and tight. There are streetlights, bright ones - but the light dies at its source, never makes it through the sour air down to the ground. The retro fifties look comes apart here. The people that you see - and you only catch quick glimpses of them, they move like rats - wear black mostly, tight fitting tech - fibers. ANDERSON'S caught one of the rats, a thin bald guy in black. Anderson has him pinned up against a wall. They're having some kind of exchange - which consists of the guy answering none of Anderson's questions, and Anderson pressing him harder against the wall. Finally, the guy does something odd. He lifts a finger and pulls down Anderson's right lower eyelid. Anderson lets him. Then the guy does the same on the left. Has a long look. And then nods. Anderson releases him, and they go off together.","EXT. AN APARTMENT BUILDING -- LATER An oppressive brick thing on a side street. The facade is crumbling. Nothing good happens in a building like this. The guy leads Anderson to the building, then scurries off into the night.","INT. ROOM -- LATER A stained overstuffed chair in the corner, a dreary little kitchen with crusted dishes in the sink. But jarringly, in the center of all this, is a make - shift hypertech medical setup : a gleaming operating table, an array of lasers, scalpels and surgical equipment, an anesthesia console. Anderson sits in a chair facing DOC. DOC is a big man with delicate fingers. He sneezes, then blows his nose hard into a handkerchief. DOC Got a cold. Anderson looks at him uneasily. It's not just DOC - it's the whole setup, the needles and scalpels, the medical thing, which Anderson truly does not care for. Doc sneezes again, then looks up at his patient. DOC -LRB- CONT'D. -RRB- Do n't worry. I could cut open your chest, sew a dead cat in there, and you'd never get an infection. Not with the spectrum antibios I'll be shooting into you. ANDERSON I'm not here for cat surgery, Doc. Doc chuckles. Then he waits, expectantly. Anderson hands him a tiny opalescent card. A preset cash card. DOC slides it into small console, watches the numbers flash up. He frowns, sighs. ANDERSON -LRB- CONT'D. -RRB- It's all I could safely move He waits. Doc's not thrilled, but finally, he nods. DOC Yeah. All right. Time to got down to business. Doc walks over to a large medical cabinet and opens the door. It's full of EYES, and parts of eyes - 611! A cryo - jars. Anderson tightens. DOC -LRB- CONT'D. -RRB- You understand what I told you then. I ca n't just give you new irises. The Scanners will read the scar tissue. Alarms will go off. ANDERSOIN I'm a cop, I know DOC I got ta take your eyes out. Anderson knows this, too, wishes Doc would shut up ANDERSON Yeah. DOC -LRB- CONT'D. -RRB- And put in new ones. ANDERSON Yeah. I get it, DOC. Anderson rises up out of his chair and goes over to the operating table. He lies down. ANDERSON -LRB- CONT'D. -RRB- Do me quick before I run out of here. Anderson lies there, blinking up at the ceiling. He listens to Doc preparing instrument trays. It's a bad sound.","EXT. THE SPRAWL -- DAY The suspension bridge where we saw Anderson vaporize the Python transport. Witwer stands watching as a Precrime techno - unit sifts through the white ashes. Witwer lifts his face to the acrid breeze coursing off the Potomac. It's a pose a track dog might hold, nose up, testing the air for a scent.","INT. BOARDING HOUSE ROOM - THE SPRAWL -- DAY We ca n't see anything at first, because Anderson ca n't see anything either. He's in a deep post - surgical haze. DOC'S voice comes to him. It's warped and ugly. DOC'S VOICE Do n't take the bandages off for twenty four hours. You'll go blind if you do. Anderson makes an affirmative grunt. Now we see his surroundings, even though Anderson still ca n't. He lies in a grungy bed, his head and eyes swathed in white dressings. Doc stands over him. DOC You're in a room. I had you moved here, a couple miles from my place. If they find you, they do n't find me. Anderson grunts weakly. DOC -LRB- CONT'D. -RRB- A guy will come in, feed you once. -LRB- beat. -RRB- I juiced up the nano - reconstruction around your new eyes,'cause I know you're in a hurry. ANDERSON -LRB- Fuzzily. -RRB-. -RRB- Nano - re. construction. DOC Organic microrobots that reconstruct nerves and blood vessels. It'll feel like fleas chewing on your eyeballs. Do n't scratch. Anderson is already reaching his hands for his bandages. Doc forces them away. DOC -LRB- CONT'D. -RRB- I'm giving you a bonus, might come in handy. Feel this. Doc takes an air - syringe out of his pocket and touches it to Anderson's hand. DOC -LRB- CONT'D. -RRB- It's a temporary paralytic enzyme. Someone spots you, you duck into an alley, shoot this under your chin. Doc presses the tip into the soft underpart of Anderson's chin. Anderson jumps. DOC -LRB- CONT'D. -RRB- The enzyme turns your facial muscles to mush. You wo n't look like the same man. ANDERSON Jesus. DOC You tighten up again in about thirty minutes. Hurts like nothing you ever felt. It's vicious, but effective. I'll put it in your bag. Finally, Doc takes a small clock out of his pocket and places it on a dresser beside Anderson's bed. DOC -LRB- CONT'D. -RRB- I'm setting up a timer. When it buzzes tomorrow, take off your bandages, and get the hell out of here. Anderson, groggy, starts to say something else, but then he hears a door open and close, and Doc is gone.","EXT. THE SPRAWL -- NIGHT The Precrime presence mounts on the streets. A couple of units move past the boarding house, but they do n't stop.","INT. BOARDING HOUSE ROOM -- DAY Anderson sits in a chair, his dressings like a blindfold. He looks like a hostage. He is sweating. Keeps reaching for his dressings to scratch, then forces himself not to. He speaks to someone we do n't yet see. The guy DOC said would come. ANDERSON I'm hungry, but sick to my stomach. Guess I should eat. -LRB- Beat. -RRB- You gon na help feed me? Now the camera moves and we see who it is that has been sent to help Anderson. It's the rat guy, the thin bald man Anderson had roughed up the day before. The guy has a bowl of hot soup in his hands. He stares contemptuously at Anderson. ANDERSON -LRB- CONT'D. -RRB- So how do we do this, pal? The rat guy does n't say a word. He simply tips the hot soup and it splatters down into Anderson's lap. Anderson cries out in pain and surprise. The guy walks out of the room. CLOSE ON - THE TIMER Twenty hours gone by. Four more to go.","EXT. THE SPRAWL Precrime cops are shaking down any of the rats they can catch, looking for leads, looking for anything.","INT. THE BOARDING ROOM The TIMER shows one hour to go. Anderson sits in a chair, squirming miserably. His dressings are wet with sweat, and frayed and dirty at the edges where he has tugged and plucked at them. ANDERSON -LRB- to himself. -RRB- Fuck. He is this close to ripping the dressings off","EXT. THE BOARDING HOUSE -- DAY A Precrime transport stops. Two officers get out. One of them sets up a large thermal scanner on the sidewalk, and does a read on the boarding house. The other does a read on a pawn shop and bar next door. The OFFICER 1 doing Anderson's boarding house, calls to the other officer. OFFICER 1 Got 27 warm bodies in this place. What should it take, three or four Spiders? OFFICER 2 Do four. Speed things up, so we can go eat. The Officer 1 opens the back of the transport, and takes out a box. He removes four round BALLS. They are silver, as big as billiard balls. He goes up to the boarding house, gets IdentiScanned, and the front door opens. He rolls the balls down a dark hallway. Then he goes back out to the transport, and leans against it, bored. He holds up an electronic clipboard and waits for the data to come in.","INT. THE BUILDING The BALLS roll about eight feet, then suddenly come to autolife as they spin. They open like flowers - flowers with legs. CLOSE ON : A BALL A fist - sized Spider takes shape. On its head is an IdentiScan lens mounted on a thin metallic antenna.","INT. A ROOM An OLD WOMAN sits at a card table eating a bowl of something unidentifiable. She looks up with annoyance as she sees a spider scuttling across the floor toward her. It makes a CLICKING sound on the floor as it comes. She's poor, living in The Sprawl - she knows the drill. She continues to eat as the SPIDER crawls up the leg of the card table. She barely watches as it moves past her bowl and toward her hand. OLD WOMAN It's nice to have a little company She smiles toothlessly at her joke The Spider hops onto her am and inches up, then moves across her shoulder. It grips her cheek lightly, as the IdentiScan antenna reads her eyes. Then it leaps off her and onto the floor and CLICKS away across the linoleum.","EXT. THE BOARDING HOUSE The Precrime officer lifts his clipboard and checks a column with his laser pen, and waits for the next one.","INT. ANDERSON'S ROOM Anderson sits in his chair. He cocks his head, listening. His body tenses. Something feels wrong. The TIMER shows ten minutes to go. Blindfolded for a day and a night, Anderson has no idea how much time he has left. Three seconds, four hours? A flattened SPIDER squeezes under his door. Anderson tenses as it CLICKS across the floor toward him. He knows that sound. Anderson stumbles up and out of his chair. He starts to grab at his dressings, remembers Doc's warning, and stops himself. The SPIDER waits for him to settle, then CLICKS toward him again. Anderson moves around the room, avoiding the Spider. He is dripping with sweat, starting to breathe hard. The Spider comes faster. Anderson crashes into a table, brings it down. Falls across the bed.","EXT. THE BOARDING HOUSE The Officer 1 squints at his clipboard. One of the Spiders is taking too long. He adjusts his thermal scanner, and sees the heat outline of a man bouncing around a room. The other Officer 2 finishes reading the pawn shop and the barroom, then wanders over to Officer 1. They both watch the screen. OFFICER 1 Stinking drunk. OFFICER 2 -LRB- beat. -RRB- Or a guy who does n't want to get read.","INT. ANDERSON'S ROOM Anderson forces himself to sit still, because he knows the consequences. The Spider advances, starts up his leg. The TIMER has not buzzed. Anderson ca n't touch his dressings. The Spider moves across his shoulder and onto his face. It WHIRS and HUMS trying to adjust its antenna against the dressings.","EXT. THE BOARDING HOUSE The officers eye the thermal scanner, as they reach for their mirrored helmets, getting ready to go in.","INT. ANDERSON'S ROOM The Spider crawls all over Anderson's head, trying to get past the dressings for a read. Anderson has no choice. None. He starts to lift at his dressing. The Spider senses his cooperation, freezes in place. Anderson wants to scream. He unwraps his head, tugs the eye pads away from his eyes. He rips them off. The Spider sits on his shoulder, waiting. Anderson's eyes are tightly closed. He opens them ANDERSON'S POV - BLINDING LIGHT Light brighter than a magnesium burn, brighter than a nuclear flashpoint. Light to buckle the knees and push the brain beyond endurance. And though all this the faraway sound of a BUZZER going off. The TIMER has finally sounded. Anderson's open eyes are streaming with tears, but he has survived the moment. ANDERSON'S POV - THE ROOM It comes into slow focus The Spider, all business, reads his eyes. Then, as if nothing unusual has occurred, it jumps off his shoulder, and crosses the floor. It flattens, scoots under the door, and is gone.","EXT. THE BOARDING HOUSE The officers see that the Spider has gotten its read. They pull off their helmets. OFFICER 1 Let's eat. They start putting their equipment back into the transport.","INT. ANDERSON'S ROOM Anderson stares at himself in a dusty mirror. His new eyes are tender and bloodshot. And they are not blue, like the ones he was born with, but a deep brown. Anderson is exactly the same, and utterly different. He grabs his duffel bag, and gets the hell out of there.","INT. PRECRIME HEADQUARTER'S -- DAY Lisa, looking drawn and scared, sits in Witwer's office. Witwer is n't looking too well, either. WITWER They told me to move into Paul's office. I said fuck you very much. Lisa nods. WITWER -LRB- CONT'D. -RRB- -LRB- softly. -RRB- I do n't want to do any of this, Lisa. LISA I know. I know that. -LRB- beat. -RRB- Everybody's got their reasons for wanting you in charge. So do I - you wo n't bring him in dead. WITWER Yeah. But if he shoots a cop. -LRB- beat. -RRB- Which is what he does four days from now, is n't it? Witwer's eyes imp involuntarily to a CLOCK on his desk. LISA He'd never hurt you. WITWER I know that. But the other thing I know is - the Precogs are never wrong. The words are leading them no place good. They stop talking, and just sit there.","INT. THE SPRAWL Anderson stands on a street corner waiting in line with several people waiting for the N0.6 Turbo Tram. The double decker Tram comes. People get off, then the line starts to move forward as people get on. Anderson fidgets. He's last in line. Each person gets IdentiScanned as he boards. Anderson's putting his new eyes to the test. If the scan goes wrong, he's positioned himself to run. The woman ahead of him, gets scanned, pays her fare. Anderson's turn. Anderson goes up the steps, and a red beam reads his eyes. The Tram DRIVER glances at a monitor beside his steering wheel, then nods at him. DRIVER Welcome aboard, Mr. Symington. Plenty of seats in the back. Anderson nods, moves casually to the back. But his jaw muscles are flexing hard, working off the tension.","INT. A WEALTHY HOME - SUBBURIAN WASHINGTON -- NIGHT Senator Malcolm releases a self satisfied little belch as he finishes off a late night whiskey in his panelled den. He wanders about admiring himself in the many political photos adorning the cherry wood walls. He's feeling cozy and safe, the way rich people can afford to. No IdentiScan Spiders would ever be sent under his doors. No intrusions of any sort, nothing that a coiffed secretary or a loyal wife would n't announce before hand. Which is why he does n't immediately understand the small SOUND at ear level, coming from just behind him. It's a metallic CLICK - CLICK. He turns amiably. His eyes instantly widen, and his knees buckle when he sees he's looking into the barrel of ANDERSON'S cocked gun. ANDERSON Time to upgrade your alarm system, Senator. Senator Malcolm tries to regain his composure. His fear embarrasses him. ANDERSON -LRB- CONT'D. -RRB- Your work - up of Witwer. The Security Panel would've done one. -LRB- beat. -RRB- Why do I kill Witwer? The Senator finds his voice. SENATOR MALCOLM There's no motive. ANDERSON There's, always a motive. Anderson presses the gun to the Senator's forehead. He slides the barrel tip back and forth across the Senator's sweaty skin. It makes a greasy red mark. ANDERSON -LRB- CONT'D. -RRB- I could've come to anyone on the panel. But I picked you. -LRB- beat. -RRB- Of all the shits on that panel, I like you least of all. So if this gun goes off, I'll feel bad, but not, you know, devastated. You can almost see a thought dawning on Senator Malcolm. And then, shockingly he spits in Anderson's face, and turns and walks to the other side of the den. His tone is mocking. SENATOR MALCOLM What the fuck was I worried about? You ca n't kill me. The Precogs would've seen it. Anderson realizes this, too, lowers his gun. The Senator is even laughing now. For a moment Anderson does nothing, then he moves toward the Senator again. The Senator stands his ground smugly. SENATOR MALCOLM -LRB- CONT'D. -RRB- Witwer's clean. You're clean. There's nothing. No motive. Kind of like something Kafka would've cooked up. -LRB- beat. -RRB- You like that, cockroach? You're fucked and you'll never know why. The Senator is laughing hard now. Anderson lets him. ANDERSON Tell you something about the Precogs, Senator. They're great on murder. But it's the little things they fail to see. Anderson hits the Senator so hard it bounces him across the floor and into the cherry wood panelling. Several of his beloved photos crash down onto him. ANDERSON -LRB- CONT'D. -RRB- Little things like that, for instance. Anderson steps over him, and walks out of the room","INT. PRECRIME HEADQUARTERS -- DAY Search and Command room. Witwer stands there amidst all of the technology speaking to a group of Precrime officers. WITWER He has n't shown up on one goddamn IdentiScan in three days. No one says anything, and then LIEUTENANT GLASER, 30, speaks up. LIEUTENANT GLASER He's found a room - he's going to sit it out. WITWER Yeah, except for holding a gun to senator Malcolm's goddman head in his own goddman house last night, Anderson's sitting it out! -LRB- beat. -RRB- Why has n't he been scanned? The officers look at their shoes. WITWER -LRB- CONT'D. -RRB- Why is he invisible? He's moving around but he is n't being seen. Lieutenant Glaser tries again. LIEUTENANT GLASER He's beating the scanners WITWER No one beats the scanners. Witwer reaches up, wearily, rubbing his face and eyes with his hands. The fingers dragging across his eyes stop. Then his hands drop away, and he looks at his men. WITWER -LRB- CONT'D. -RRB- He's done his eyes LIEUTENANT GLASER But the scarring always WITWER He went the whole way. The crazy bastard had his eyes removed. New ones sewn in. LIEUTENANT GLASER That takes weeks to heal. WITWER If you're prepared to go blind, a street surgeon'll juice up the repair cycle. They do n't give a fuck about risk. Witwer's eyes flick to a digital CLOCK on the wall. It's something he ca n't help doing now. WITWER -LRB- CONT'D. -RRB- He's going to do what it takes to stay free - if it blinds him, maims him, or kills him. Witwers admiring smile makes his men very uncomfortable.","INT. KITCHEN - THE SUBURBS -- DAY A mother places a carton of milk on a table in front of her teenage son. He pours it into his cereal bowl, then puts the carton down in front of him. There's a flexible Vid - Screen on the side of the carton, about the size of a playing card. AS the sleepy kid watches, the disposable Vid - Screen sparkles to life. Nothing unusual, they always do that. For advertisements, lost kids, or in this case crime bulletins. A good one. The kid straightens up. THE VID - SCREEN A fully rotating mug shot of PAUL ANDERSON fills the screen, followed by vital statistics and details of the precrime he's been charged with. The kid watches for a while, then gets bored, and pulls the Dexi - Pops cereal box over and starts reading the back of that.","INT. A LIVING ROOM - THE SPRAWL -- DAY A big man in a tee shirt lies on a couch, a bowl of popcorn perched on his belly. He stares at a TV monitor that's the size of a twin bed. TV Anderson's face fills the monitor. The TV image is so big that Anderson overwhelms the room with his video presence. It's like God coming to pay a visit - even if you want to avoid Him you ca n't. The big man with the popcorn tries to do just that. He surfs through a zillion channels, but Anderson's visage is omnipresent.","EXT. THE SKY - THE SPRAWL -- DAY Anderson's face fills the skies, too. Witwer and Precrime have pulled out all the stops. Advertising dirigibles float by with Anderson's image on it. Holographic billboards with Anderson hover in the air. There are so many Andersons in the sky he seems to be part of the weather, a special type of cloud. People on the streets look up, briefly interested, then go about their business.","EXT. A STREET - THE SPRAWL One person who is paying deep attention to all this is Anderson himself. He stands on a street corner, wearing dark glasses and a fedora, staring at a public video kiosk. VIDEO KIOSK The mug shot of Anderson disappears and is replaced by a Precrime SPOKESWOMAN. SPOKESWOMAN The United States Supreme Court has issued a special injunction allowing the unprecedented public viewing of former Precrime Director Paul Anderson's future murder of Edward Witwer, the current Director. ANDERSON His mouth slowly opens. He steps back against a wall and slides his hand into his pants pocket. He looks at the Precog DISC in his cupped hand, then quickly puts it away. He stares at the kiosk as people on the street begin to gather around excitedly. CROWDS OF PEOPLE look into the sky, in store windows, at other video kiosks. They have the enthralled anticipation of a mob at a public guillotining. SPOKESWOMAN She continues her declamation SPOKESWOMAN -LRB- CONT'D. -RRB- The video you are about to see, generated by the Precognitive mutants, is the immutable evidence of the infallible system. -LRB- reassuring smile. -RRB- Citizens are urged to call 1 - 800 - PRECRIME with any information that may lead us to the whereabouts of Paul Anderson, future murderer. ANDERSON Shakes his head in confusion and disbelief. But he has the Precog disc. The OLD GUY him nudges him OLD GUY This oughtta be good, huh? VIDEO KIOSK And there it is, Anderson and Witwer standing there pointing guns at each other. The whole thing just as we saw it before. All the way through to the fatal moment. ANDERSON Oh, Ed. Anderson shoots him. Witwer slumps, dying. The video stops. And then begins to play all over again, right from the start, the 1 - 800 - PRECRIME number scrolling along the bottom of it. `` Call now! Call now! Call now! ANDERSON -LRB- CONT'D. -RRB- Moves quickly through the crowds.","INT. BAR - THE SPRAWL -- NIGHT Ennis Page sits on a bar stool at the far end of a bar so full of cigarette smoke it does n't seem capable of supporting life. But it supports the kind of life Page is interested in. An emaciated woman with a feral smile slides onto a stool beside Page. He gives one shake of his head, and she slides away again. His eyes cut to a group of females. He waits for the next approach. CLOSE ON : PAGE as a HAND reaches over his shoulder and places a Precog disc on the bar in front of him. Page makes a sound and tries to jump away, as if the disc is something lethal. Which it is, in a way. Anderson presses him back down on his stool. Sits next to him. Page stares at him, scared. Anderson looks straight ahead as he speaks. ANDERSON `` Ennis Page engages the services of prostitutes because his relationships with them compound his feelings of selfloathing.'' -LRB- beat. -RRB- Direct quote from your psychological profile - the kind of shit I had to know as your former boss. ANDERSON -LRB- CONT'D. -RRB- `` Page is an obsessive - compulsive Type Nine.'' Another quote. Niners are great for the kind of work you do - keeping all those Precog discs in order. You can almost see Page's heart slamming in his chest. He tries to hide it with tough talk. PAGE I fuck whores and I'm orderly, so what? ANDERSON Something's out of order, Ennis. Deeply out of order. Page looks unhappily at the disc on the bar PAGE You got a disc Anderson picks it up, holds it tight in his fist ANDERSON -LRB- CONT'D. -RRB- Not A disc. The disc. When I went home sick, I stole it. I took it with me, Ennis. I was n't sick, I was running with the evidence. -LRB- lets that sink in. -RRB- So how is it that Precrime has one, too? PAGE -LRB- utterly baffled. -RRB- You ca n't make copies Anderson waits. Lets Page work through it. PAGE -LRB- CONT'D. -RRB- It's the basis of the system. The immutable evidence. Copies are impossible. -LRB- beat. -RRB- You went home. A little later, I came in with a disc for Mr. Witwer to review. I was n't halfway out the door when he cried out. Anderson is barely breathing, he's listening so hard. PAGE -LRB- CONT'D. -RRB- He was in shock. He showed me. It was you shooting him. Then all hell broke loose. He had to send the Precrime units to your house. ANDERSON Ennis - you gave out the same disc twice. Less than an hour apart. The one I stole. And then another one. Of the same event. PAGE It's impossible. The Precogs can only move forward to new events. Into the future. They never repeat. Anderson looks around. Patrons are beginning to look over in his direction, eyes lingering. He rises. Page seems in a daze. As an obsessive - compulsive niner, the concept of an untidy system is disorienting. Anderson starts to say something to the man, then does n't. On the way out Anderson gets IdentiScanned. An automatic DIGITAL VOICE calls out after him. DIGITAL VOICE Have a nice night, Mr. Symington Anderson leaves the dark of the bar for the deeper dark of The Sprawl.","INT. A STREET - THE SPRAWL -- DAY A YOUNG GUY with a sparse moustache walks up to a payphone. He picks up, the receiver and immediately gets IdentiScanned. A light goes on, he's about to dial. Anderson appears out of nowhere, shoulders him out of the way. The young guy drops the receiver and stumbles back onto the sidewalk. Anderson grabs the hanging receiver. YOUNG GUY Hey! Hey, you ca n't. He reaches for Anderson, then thinks better of it. Anderson is twice his size and very menacing in dark glasses. YOUNG GUY -LRB- CONT'D. -RRB- I'm gettin' a cop. The guy scurries off. Anderson dials quickly. INTERCUT ANDERSON/LISAS OFFICE Lisa, walking down a hallway in the Judicial Center, stops to answer her BEEPING cell phone. She leans against a wall, as lawyers and judges pass by. ANDERSON It's me. LISA Paul. Lisa grips the phone and turns to the wall ANDERSON Your phone will be bugged. So we ca n't meet, we ca n't do anything. Just listen. Nowing you're listening is enough. Lisa nods, as if he's right there. He is right there, for her. This is all she's got. ANDERSON -LRB- CONT'D. -RRB- When Precrime stormed the house, I thought you'd called them. Betrayed me. LISA No. ANDERSON I know. Witwer sent them. He saw the disc and had to do his job. -LRB- beat. -RRB- Tell me you forgive me. Please. LISA Of course, I forgive you. There's no time left. He has to get off the line and start moving again. A vast weariness enters his voice. ANDERSON All these people I need to forgive me. -LRB- beat. -RRB- Do you think Frank forgave me? All I could do for him was send him gardenias. -LRB- long beat. -RRB- I love you. Lisa almost cries out when he hangs up. She flattens herself against a wall. She stays like that for a long moment, pulling the sound of her husband's voice, his words, deep inside of herself. And then she gets a look, as one of those words registers profoundly. LISA -LRB- whispers to herself. -RRB- Frank hated gardenias.","EXT. EAST END CEMETERY - ARLINGTON -- LATER A public cemetery along the Potomac. There's not much land left for new graves. A funeral is taking place. A lot of mourners in dark 1950's suits and dresses. The service is nearing its end. Frank D'Ignazio's newly dug grave is nearby. Lisa stands there, looking at the temporary marker, and the flowers and wreaths piled up against it. Two rows over, they are lowering the casket into the ground. High in the sky, a PRECRIME HOVERCRAFT, everpresent in Lisa's life, floats in the low clouds with a barely audible WHINE. Lisa rests a floral arrangement against the pile of flowers. Her hand drifts near a white GARDENIA WREATH. There is a small envelope tucked beneath a blossom. She takes it. Then she rises and begins to walk back to her car. The funeral is over, and the mass of mourners, many wearing dark glasses, fan out toward a long line of cars. One of the MOURNERS brushes past Lisa. She looks up and he tips his dark glasses down onto his nose and stares over them at her. It's Anderson. Is n't it? She looks into his eyes. And it's jarring, the blue eyes gone, that they're brown now. But it's him, he's there, and she wants to reach out for him. Knows she ca n't. He's already moving on. He's risked everything for a look. He slips into the black sea of mourners, she goes to her car - neither of them ever breaking stride. The Precrime craft hovers, unaware","INT. LISA'S CAR Lisa opens the envelope as her car drives her down the Alexandria - Washington ConnectWay. A Precog DISC falls into her hand. Her mouth opens - she's never held one before. And there is a NOTE with it It READS : `` The Precogs generated duplicate discs. This is the first. Precrime has the second. Duplicates. Why?''","EXT. A CONVENIENCE STORE - THE SPRAWL -- DAY Anderson has to eat bad food quickly, and on the run. He gathers up a wrapped sandwich, a bag of donuts, something to drink. He waits in line. He does n't like to be in a line, waiting. The woman ahead of him argues about change. He presses his lips together. And then he glances at the mirrored surface of a hidden camera DOME attached to the ceiling. It gives him a fish eye reflected VIEW of what's happening behind him. Precrime police are happening behind him. He does n't stop to ponder, as two Python transports zoom up outside the store. Anderson vaults the counter, knocking the customer and the clerk to the floor.","INT. BACK ROOM Anderson plows over a guy filling a trash can. He hears the mechanically altered COMMANDS of a Precrime officer calling from the store. VOICE Paul Anderson. Drop to your hands and knees! Anderson crashes out into an alley, and clambers up a fence. SONIC BLASTS shatter the air around him. Chunks of brick fly off the walls on both sides. But he is full of adrenaline, and there is no stopping him.","INT. A TURBOTRAM - THE SPRAWL -- LATER A different part of the city. Anderson hunkers low in the back seat of a tram. He looks up, as the DRIVER swears DRIVER What the hell - Anderson stands up, looks down the aisle, through the windshield. Precrime transports are heading straight at the tram, going the wrong way on a one way avenue. They've even taken radio control of the P.A. system on the tram. VOICE Paul Anderson. Drop to your hands and knees! Anderson ca n't believe it - how are they suddenly pinpointing him? The passengers turn in unison like cattle, and stare at him, terrified. Anderson grabs his duffel bag and kicks at the back exit doors, smashing them open, and tumbles out onto the street. He rolls, and is up on his feet in a second, reaching into his bag for a glove. He pulls the weapon onto his right hand, as he whirls around sizing up his predicament. Precrime transports have begun to seal off both ends of the street. He looks up. He is surrounded by skyscrapers and buildings - he is walled in, at the bottom of an urban canyon. People freeze against the sides of buildings, run into doorways where they can. Passengers in trans and taxis or cars stay there, pressed against their windows watching. Nothing moves, except the Python transports, closing in. The lead officer speaks, with that menacing electronically altered VOICE. VOICE -LRB- CONT'D. -RRB- Lower your weapon, or we will neutralize your threat potential. The Precrime police are out of the transports now, advancing at either end of the city street in phalanxes of men. Anderson eyes the side of the black granite office building closest to him. ANDERSON'S POV - A HIGH PRESSURE HYDRANT The large red hydrant sits a few inches out from the building. Anderson almost smiles as he begins to walk slowly toward it, his weapon pointing harmlessly at the pavement. VOICE -LRB- CONT'D. -RRB- Do not move! Anderson is up on the sidewalk now, two feet out from the building, right beside the high pressure hydrant. He stops, looks up, looks down, looks at the police advancing. It is a moment for prayer. Anderson does n't have a moment. He spreads his feet and fires a massive SONIC BLAST down at the sidewalk. The effect on the underground water main is immediate. A GEYSER of water two feet in diameter erupts straight up from the sidewalk, lifting the tumbling Anderson fifteen feet into the air right alongside the building. The stunned police officers try to take aim, but Anderson's bouncing at the top of the geyser. And they ca n't fire, anyway, because officers workers stare at the excitement from every window in the building. All this in a time span of seconds. The world spins crazily for ANDERSON, but he manages to grip hold of a metal support beam holding the building's sign, one story up. The police try to see what he's doing, but the torrent of water from the water main break obscures his moves. He pulls himself onto a ledge, steadies himself, slides along it toward a second story window. The office building gawkers lurch backward from the window as Anderson blasts it to sparkling dust and leaps inside.","INT. OFFICE BUILDING The building covers almost an entire city block. Anderson, dripping wet, runs from one end of it to another, blasting through doors, shoving terrified workers out of the way. He is like a wide receiver running the length of the field, jumping obstacles, slamming through, over, and around whatever he must to get to his goal. And then he reaches his goal - the windows overlooking the avenue next block over and parallel to the one where Precrime ambushed him. He spots a double - decker TurboTram moving slowly in the stream of traffic. It pulls to the curb below to pick up passengers. Anderson blasts out the window and leaps onto the roof of the bus. It is a bone - jarring landing. He loses consciousness for a second, rolls the length of the roof, and slides off it onto the pavement. He lies there, trying to rouse himself. Traffic brakes to a stop automatically as car and truck sensors read his form in the road. No one wants to touch him. A single car horn SOUNDS, and then a chorus of them. Anderson rouses, struggles to his feet, and takes off in a limping run.","INT. SUBWAY STATION LATER Anderson, out of breath and in pain, leans against a post at the far end of the passenger platform. There are tracks on either side of him, one marked `` Uptown'' and the other `` Downtown.'' He feels a blast of air and looks to his right and sees that the Downtown train is coming in. And on his left, too, the Uptown train rounds the bend and comes into view. Which MagLev train will lead him to safety? Which one wo n't they pinpoint? He runs up to a teenage KID who has his arm around his girlfriend. They step back, startled. He's got a flat top hair cut, she wears a pleated skirt and saddle shoes. The trains pull in. ANDERSON Pick one for me! KID What? THEY TRY TO WALK AWAY ANDERSON Point to the train I should take. Please. KID I do n't know. The girl lifts a nervous finger and points. The Uptown. He runs to board it, as they run in the opposite direction to the Downtown.","INT. SUBWAY CAR He sits at the back of the half empty train watching the dark rush by. A train chosen arbitrarily - it's impossible they could find him. A station Stop. He starts to get off, is actually on the platform, then steps back onto the train. The rushing dark again. When the MagLev eases to a halt at the next station he gets off this time.","INT. STATION He walks toward the exit stairs with a handful of people. He eases back and lets them go up first. THE STAIRS Precrime officers crouch around the bend, silently snatching people out of the way as they come into view. They wait - but Anderson does not come. And he does not come. On signal, the Precrime officers rush down the stairs. DOORWAY ABOVE THE STAIRS ANDERSON hangs high above the doorway near the ceiling, adhered by one arm there by a blue glob of adhesive BindFoam. ANDERSON'S POV - THE OFFICERS as they run below him down the stairs. They go out of sight, he can hear them rushing along the platform searching for him. The strain of hanging by one arm is killing him. He reaches up. With a laser knife, and cuts away at his coat sleeve, releasing himself from the glob. He drops to the stairs, and instantly slips up them. He surprises a helmeted OFFICER, just around the bend. He slams HIM against the wall, yanks off his helmet, and holds the laser knife against his throat. The OFFICER 1s clearly terrified. He speaks hoarsely through Anderson's choking grip. OFFICER Do n't kill me! Jesus. Please. Anderson looks at the panicked officer. Anderson closes his eyes trying to put it together. He opens them. ANDERSON But the Precogs would've predicted me killing you. You'd know whether I do or not. The officer looks at him with eyes begging for mercy. Anderson suddenly gets it. He tightens his grip on the man. ANDERSON -LRB- CONT'D. -RRB- They shut down the system. Have n't they? They've shut down the Precogs. The officer nods. OFFICER They're off homicides. They're redirecting them to help us locate you. Which is how they knew where he'd be every time. Anderson chops quickly at the base of the man's skull, knocking him out. And then he runs, because what else can he do?","INT. JUDICIAL CENTER -- DAY Lisa stands in a long hallway outside a door, labeled : COURTROOM 17. She holds a briefcase in one hand. Down the hall, other courtrooms are in use, but not this one. She enters the dark and vacant Courtroom 17.","INT. COURTROOM 17 Lisa sits at the judge's bench in the empty courtroom. The lights are dim. She takes a small, battery - powered tv out of her briefcase. She turns it on. TV The murder of Witwer by Anderson is being shown over and over in a continuous loop. Flashing at the bottom is the hotline number : `` 1 - 800 - PRECRIME.'' Then - `` Call Now! Call Now! BACK TO SCENE Now Lisa takes out the Precog disc Anderson gave to her - the first disc. She places it in the specialized monitor on the judge's bench. The tv and the judge's monitor sit side by side. The tv plays the version of the murder from the second disc ; the judge's monitor plays the version from the first disc. She stares intently, her eyes flicking back and forth from one version to the other. They seem absolutely identical. When the judge's monitor goes blank, she starts it over again. Lisa stares, watching her husband murder his best friend, endlessly.","EXT. A GAS STATION - ALEXANDRIA -- DAY A gas station right out of the fifties. An attendant in a uniform and cap whistles while he wipes down the windshield of a sky blue Rambler. In the background, Anderson walks toward a men's room.","INT. THE MEN'S ROOM Anderson looks at himself in the mirror. He reaches out and touches one reflected eye, which is a deep brown. It is still startling to him, the color of his eyes. Then he reaches into his duffel bag and takes out the air syringe Doc gave to him. He looks at it nervously. It is filled with 5 cc's of an opaque green liquid. He touches the tip of it to the soft center under his chin. He closes his eyes. Then he screws up his courage, and hits the plunger. The liquid is pneumatically delivered with a searing HISS. Anderson screams out in agony, slams back against the wall of the bathroom. His hands reach up for his face - which looks like it's boiling from within. ANDERSON'S FACE The skin on both cheeks begins to pucker. The muscle tone around his chin goes soft, and begins to sag like an old man's. That is the effect - like he is aging fifty years. His forehead wrinkles, the skin under his eyes droop. Healthy pink is replaced by bloodless gray. AND MOTHER OF GOD DOES IT HURT","EXT. THE MEN'S ROOM The ATTENDANT knocks nervously on the door ATTENDANT You all right in there? When the door opens, an unhealthy looking old guy with a fedora hat pulled low comes slowly out of the bathroom. Anderson nods, and walks past the attendant, who watches after him uncertainly as he wanders off.","INT. PRECRIME HEADQUARTERS - ALEXANDRIA -- LATER The perky tour guide we met earlier takes another group around the headquarters. There may be a massive campaign to find Anderson, but the Precrime public relations machine continues to run without interruption. There are ten people in the group, and the physically transformed Anderson is among them. They all wear glowing nametags. Anderson's reads, `` Mr. Symington.'' He keeps his hands in his pockets, and his head low. We have heard the tour guide's spiel before TOUR GUIDE Welcome to the main headquarters of Precrime. Smaller Precrime branches are scattered throughout the United States. She is about to go on when she looks over at Anderson. He is fidgeting uncomfortably. TOUR GUIDE -LRB- CONT'D. -RRB- Are you. all right, Mr. Symington? Anderson moves up close to her, a little too close. He whispers to her, embarrassed. She gives him a professional smile, and points in the distance past the elevators. Anderson nods, and heads off. She calls after him. TOUR GUIDE -LRB- CONT'D. -RRB- We'll wait right here for you, sir!","INT. A STAIRWELL Anderson runs down a back stairwell to a lower floor.","INT. A BASEMENT CORRIDOR Anderson stands outside a door marked : `` Housekeeping.'' Above the doorway is an IdentiScan device. Anderson reaches into his coat and carefully removes a small cryo - jar. CLOSE ON : THE CRYO - JAR Imbedded in the clear gelatinous coolant are two eyeballs - the irises a luminous blue.","INT. SEARCH AND COMMAND -- MOMENTS LATER The operations room in Precrime. The technicians sit at their computers and holographic tracking displays. Witwer paces among them. His eyes keep flicking to the digital clock on the wall. Then they cut back to the men and machines that are telling him nothing. Witwer does not look well at all, When a TECHNICIAN leans close to his computer monitor, Witwer almost leaps across the room to get to him. He looks over the man's shoulder. WITWER What is it? TECHNICIAN Must be a glitch. WITWER What? TECHNICIAN Anderson just got IdentiScanned. Witwer grips the back of the technician's chair. The technician types the data through again. TECHNICIAN -LRB- CONT'D. -RRB- It's him - he's been scanned. WITWER Where is he? The technician looks up at Witwer. TECHNICIAN But he's had his eyes done. Right? Sir? Tries to think it through. WITWER -LRB- barely audible. -RRB- He had to have. The technician's computer flashes the next piece of information. When he speaks, it's the last thing Witwer wants to hear. TECHNICIAN Jesus Christ, sir. He's in the basement of this building. All eyes turn to Witwer. The unspoken question hangs in the air. Anderson's come to murder Witwer?","INT. PRECRIME HEADQUARTERS Throughout the building, every available Precrime Officer begins to receive orders to mobilize toward the basement.","INT. THE PRECOG CHAMBER Four officers stand guard in the chamber. They listen to the orders coming in on their earpieces. Three of the guards rush out of the room, one stays behind. The three Precogs sit in their oversized chairs, the female in the middle, the males on either side of her. Their eyes are open. and they are deeply alert. Two technicians tend to the Precogs. At the back of the chamber, through a large window, we see Ennis Page sitting at the huge mainframe.","INT. SEARCH AND COMMAND A ring of Precrime officers three men deep stand guard around Witwer. Witwer looks like he wants to kill them all. WITWER This is ridiculous. Lieutenant Glaser replies forcefully LIEUTENANT GLASER Standing orders from the Security Panel, sir. WITWER If he wants to get to me, he'll get to me. LIEUTENANT GLASER No, he wo n't, sir. Witwer looks at the confident young officer almost pityingly. Then his eyes flick to the wall clock.","INT. THE BASEMENT Armed Precrime officers clog the corridors, conducting defensive searches of one room after another. All they are coming up with so far are some very startled housekeepers.","INT. THE PRECOG CHAMBER In the chamber are one guard, two technicians, and three Precogs. And all of them are left in sudden darkness, as the power is cut.","INT. SEARCH AND COMMAND The officers around Witwer reach for their maglite flashlights. The Search and Command room suddenly looks exceedingly vulnerable. A technician calls out from the darkness TECHNICIAN Do n't worry, air - emergency generators will kick on in five seconds. The green glow from a roomful of wristwatches makes the room seem alive with fireflies. Five seconds go by. Then ten more. WITWER Explanation, please! TECHNICIAN Uh, sir. It seems. he got the generators, too. There is a long moment of silence. And then Witwer begins to laugh.","INT. THE PRECOG CHAMBER The room is utterly dark and silent. The silence is broken by the SOUND of something rolling across the floor. Somebody speaks, probably the guard. VOICE Shit. An explosion of light fills the room in STROBE - LIKE blasts. And leaping through the light is ANDERSON. The temporarily blinded guard and technicians have dropped to their knees. Anderson stun guns them quickly. The strobes fade, and Anderson sets a zirc - flare on the floor. We see that the enzyme is wearing off - his facial features are returning to normal. He is oblivious to the Precogs in their chairs. It is the equipment he is after. Through the observation window we see ENNIS PAGE watching in horror as Anderson severs the light cables connecting the Precog helmets to the mainframe. Anderson aims a sonic blast at the observation window, blowing it out and knocking Page unconscious. Then he reaches into the room and destroys the mainframe itself with a series of blasts. Anderson is so intent on destruction he does not sense a PRESENCE behind him. Perhaps it is because the movement is so completely devoid of malice it is beyond detection. A HAND, the fingers pale and slender, reaches out and takes hold of his hand. Anderson whirls around, weapon out. And there before him, is the FEMALE Precog. He looks at her, then beyond her to the other Precogs who are lolling in semiconsciousness in their chairs. Her helmet is off. She is young, but her close - cropped hair is silver white. And when she speaks, her voice is like the wind whispering through time. FEMALE Save us, Anderson. Anderson can feel the seconds ticking away, his carefully planned operation interrupted in an unfathomable way. ANDERSON I have to get out of here. She grips his hand. FEMALE Save us. It is beyond pitiful, this frail little woman, pleading. And her eyes, she wo n't let him go. She is beginning to weaken, to sway on her feet. A sudden realization floods over Anderson. ANDERSON You let me get here, did n't you? You stopped giving them information, so they could n't track me. The Precog female is fading fast. She tries to reach out for him and her legs give way. FEMALE Save - And what can Anderson do but catch her before she falls? What can he do but throw her over his shoulder, and in the fading light of the flare, make a run for freedom.","INT. TUDICIAL CENTER Lisa has been staring at the judge's monitor and the tv screen for over an hour. The two versions of Anderson murdering Witwer play over and over. LISA -LRB- wearily, to herself. -RRB- Help me, Paul. She hits freeze - frame on the judge's monitor, at a moment during his confrontation with Witwer when Anderson's FACE fills the screen. Lisa looks with deep urgency into her husband's eyes. And it is his EYES, finally, that tell her everything. Lisa's hand rises to her open mouth. LISA -LRB- CONT'D. -RRB- They're blue. She keeps the image on freeze - frame, and turns and looks at the tv, which shows Precrime's disc over and over, the 1 - 800 number scrolling along the bottom. When the same close - up of Anderson flashes onto the tv screen, she leans close to it and squints. Anderson stares right back at her. And for the first time, Lisa sees that the tapes are not exactly identical. His eyes. LISA -LRB- CONT'D. -RRB- And now they're brown. For the first time in days she allows herself a small smile.","INT. PRECOG CHAMBER Power has been restored to Precrime Headquarters. Witwer walks slowly through the ruins of the Chamber. EMT teams work on Ennis Page and the other dazed personnel Anderson has left in his wake. Technicians cluster around the two remaining Precogs, the brothers. Their eyes are closed and they are limp. Their lips move soundlessly as if in conversation with each other. Lieutenant Glaser is with him, but when Witwer speaks it is almost to himself. WITWER Why did n't the Precogs know he was coming to do this? The Lieutenant has no reply. Witwer runs both hands through his hair. It has begun to wear him down, the ticking of the clock. WITWER -LRB- CONT'D. -RRB- The next time he shows up it'll be to kill me. LIEUTENANT GLASER We wo n't let that happen, sir. Witwer takes in the chaotic scene around him, then gives the Lieutenant a withering look. WITWER You wo n't, huh? When the Lieutenant tries to speak to him, Witwer walks away and goes over to the technicians working on the Precogs. He stares at the Precogs. WITWER -LRB- CONT'D. -RRB- -LRB- to a technician. -RRB- When can we get these things operational? TECHNICIAN They're a hive mind, sir. It takes three for their predictive abilities to be fully operational. Which Witwer does not want to hear. Witwer leans very close to the technician. WITWER These two are all I have to find the man who is about to murder me. Hook them up, and flood them with whatever kind of fucking chemicals you have to. They are a machine, and I need that machine at my disposal. The Precogs's lips stop for a microsecond, and then begin their silent movements again.","INT. ENNIS PAGE'S HOUSE - ALEXANDRIA -- NIGHT Ennis Page is a man unglued. He sits on a tidy little sofa, in a tidy 1950's style living room. But his movements have become untidy. He puts a very tiny pill on his tongue. When he drinks from a glass of water, it dribbles down his chin onto his shirt. Not like Ennis, at all. When his doorbell RINGS, he slowly looks up, then looks down at the floor again. He does n't answer it. It RINGS some more. And then Lisa is standing there before him LISA Your IdentiScan is off, Ennis. I could just walk in here. PAGE I forgot. To turn it on. She sits down beside him. LISA You do n't look surprised to see me. She glances at the bubble pack of pills on the table beside him, three gone. LISA -LRB- CONT'D. -RRB- I need your help. Unexpectedly, tears well up in Ennis's eyes. PAGE He took one of my babies. LISA He's desperate, Ennis. He had to. -LRB- beat. -RRB- We have to help him. Lisa holds the Precog disc in front of his eyes. He closes them against the sight, as if it were an evil talisman. LISA -LRB- CONT'D. -RRB- It's a fake Ennis. Ennis's eyes open again. LISA -LRB- CONT'D. -RRB- This is the first disc. You delivered it to Director Anderson. He reviewed it. And then he stole it, and went on the run. Ennis tries to think through his fear and haze. His words slur. PAGE I delivered. a fake. to him? LISA But he thought it was real, and ran with it. The pills, his tidy world coming apart - Ennis is losing it. LISA -LRB- CONT'D. -RRB- An hour later, you delivered a second disc of the same event. Witwer reviewed it. It was real. -LRB- Beat. -RRB- How do I know this? Ennis just wants her to go away. He wants it all to go away. Tears stream down his face. LISA -LRB- CONT'D. -RRB- Director Anderson had his eyes changed. They were blue. Now he has brown ones. Ennis is sliding away. Lisa takes hold of him. Makes him listen, dammit. She points to the disc in her hand. LISA -LRB- CONT'D. -RRB- This disc, the fake one, shows a blueeyed Anderson murdering Witwer two days from now. He does n't have blue eyes anymore. The person who faked this disc had no idea he would change his eyes. Lisa shakes him. LISA -LRB- CONT'D. -RRB- Listen! But the second disc has to be real, because he has brown eyes when he murders Witwer. -LRB- beat. -RRB- Somebody tried to frame him with a fake. And somehow it all became real. Why, Ennis? How could this happen? Ennis gives her a look that's on the other side of comprehension. LISA -LRB- CONT'D. -RRB- You handle the discs. How did a fake one get delivered? Ennis's eyes roll back into his head. PAGE Coffee. LISA -LRB- CONT'D. -RRB- You want -? PAGE He spilled coffee everywhere. Everywhere. LISA What coffee? What are you -? But Ennis sags unconscious. She shakes him hard, even slaps him, but Ennis is out. She lets him drop down on the sofa. From outside the house, somewhere high in the clouds, comes the WHINE of a hovercraft. Lisa looks once more at Ennis, then gets out of there","INT. ROOM - THE SPRAWL -- NIGHT A small, dreary room, invisible with insignificance. Which is just the kind of room you want if you've stolen a Precog. The female Precog lies on a cot. Anderson sits on a metal folding chair watching her. Her eyes slowly open and look at him FEMALE My brothers are n't here. ANDERSON You did n't even look around. You knew. FEMALE -LRB- beat. -RRB- We can sense each other. You must save Anderson cuts her off with a curt shake of his head ANDERSON Stop. I saved You. It was the best I could do. She turns away and looks at the yellowing paper on the wall. There is a fading pink cabbage rose. She traces the outline of it with her thin finger. She turns back to him. FEMALE Thank you, Anderson. It is deeply eerie for him, chatting with a Precog. ANDERSON What am I going to do with you? Her eyes grow very serious. FEMALE Name me, Anderson. ANDERSON What? FEMALE Give me a name. I've never had one. Anderson rises, moves around the small room. He is shamed, embarrassed. ANDERSON Listen. She turns to the wall. ANDERSON -LRB- CONT'D. -RRB- Listen to me. -LRB- beat. -RRB- Listen to me. Rose. It is heartrendingly touching, the smile she gives him when she faces him again. FEMALE Rose. ANDERSON Rose. They shifted your precognition so you would locate me. ROSE -LRB- beat. -RRB- Yes. And it hurt us, physically. Did you know that? The helmets, the controls. It hurts. ANDERSON -LRB- guiltily. -RRB- I did n't know. For a long moment he ca n't say anything. But there are things he needs to understand. ANDERSON -LRB- CONT'D. -RRB- When they shifted you to find me, you did n't reveal everything. That I was going to break into Precrime. ROSE We saw our chance. You would need to shut us down, you would have to come. We wanted you to come. ANDERSON You used me - to save you. ROSE I have been used all my life, Anderson. Anderson ca n't meet her eyes. ROSE -LRB- CONT'D. -RRB- No one cared that we were human. From a human mother. Taken at birth. Hooked to machines. -LRB- beat. -RRB- We have been alive, Anderson. Enslaved, for the greater good. Her words are unbearable, for both of them. She traces the outline of the wallpaper rose again. ROSE -LRB- CONT'D. -RRB- But now I have a name. And I know the man who has named - me will not allow me to be enslaved again. Anderson looks at her, then goes to the window, carefully watches the street below. ANDERSON Rose. What's going to happen to us? Can you see that? ROSE I'm weak. And away from my brothers. I see glimpses and hints of things nearby. But it's all. scattered. -LRB- beat. -RRB- I'm tired of the future, Anderson. She lies on the bed, watching as Anderson comes back to her. He sits carefully on the side of her bed. Then be reaches out, and gently touches her cheek ANDERSON You did n't know I was going to do that, did you? She is almost too overwhelmed to speak ROSE No. Oh, Anderson. It was lovely. And now it is Anderson who is overwhelmed","INT. ENNIS PAGE'S HOUSE DAWN If he were not already dead, it would've killed Ennis Page to see the state of his living room. Precrime officers everywhere. Blood on the rug. A gun beside the sofa. Witwer stands in the corner of the room witching the Coroner crab walk Page's body. It WHIRS and CLICKS as it probes and takes samples from various sites. The holographic doctor waits patiently as the Coroner crab makes its determinations. Lieutenant Glaser talks quietly to Witwer LIEUTENANT GLASER Who else could it've been? The crab probes the ragged hole in Page's head LIEUTENANT GLASER -LRB- CONT'D. -RRB- He grabbed a Precog so he could commit an undetected murder. WITWER -LRB- beat. -RRB- Page worshipped the system. He fell apart. Shot himself. The Lieutenant rolls his eyes. LIEUTENANT GLASER Anderson. Witwer does n't say anything. He just stares at the body The crab finishes. The holographic doctor unfolds his arms and turns his head to Witwer. He is only a computer interface, but even so, it seems as if there is surprise in his digitalized voice. HOLOGRAPHIC DOCTOR Director Witwer. This event is a positive homicide. -LRB- beat. -RRB- A mortal wound was generated by a.38 calibre bullet delivered to the left occipital portion of the anterior skull, on June 16th, 2040, at 1:24 am, Eastern Standard Time. A Phase Two Investigation is in order. No one says anything as the holographic doctor dematerializes and the Coroner crab walks across the floor and puts itself back in its box. At last, someone moves. It is Witwer. He lifts his arm, pulls back his shirtsleeve, and stares long and hard at his watch.","INT. WITWER'S OFFICE -- DAY LATER Lisa sits biting her lip as Witwer watches two monitors play the two versions of Anderson's murder of Witwer. Lisa points. LISA There. She reaches down and freezes on a close - up of Anderson on the two monitors. CLOSE ON - THE MONITORS On the left monitor Anderson has blue eyes, on the right he has brown. LISA The one on the left, the first disc - it's a fake. He does n't have blue eyes anymore. Witwer stares for a long time. WITWER A fake. -LRB- BEAT. -RRB- But the Precogs predict the infallible truth. They do n't emit fake discs. And now Lisa smiles. She has set her lawyerly mind to the solution. It is her moment. LISA Exactly. You ca n't tamper with the Precogs, induce them to make fakes. -LRB- beat. -RRB- But that does n't mean someone could n't have made a fake disc on their own and inserted it into the delivery system. The simplicity of it is inconceivable. Witwer speaks carefully, trying to process it WITWER Bypass the Precogs and slip a fake disc in with that day's real ones. LISA -LRB- excited. -RRB- We're all programmed to believe anything we see on a Precog disc. The system has never been wrong. Witwer stares at the proof before him. - the different colored eyes of Anderson. He ejects both discs and holds them in his hands. LISA -LRB- CONT'D. -RRB- You have to call off the hunt. He was set up. Witwer looks at the two discs he is holding WITWER -LRB- long beat. -RRB- It's gone too far, Lisa She shakes her head, shocked at his response LISA He was set up! You both were. If Paul kills you, you're both out of the picture. WITWER Who wants us out? Of what picture? LISA Jesus, Ed. Stop this thing! And then we can investigate Witwer's mouth opens and closes. He tries again. WITWER Ennis Page was murdered last night. The blood drains from Lisa's face WITWER -LRB- CONT'D. -RRB- Everything points to Paul. LISA He's not a murderer. WITWER I think he is. A murderer. and a future murderer. -LRB- beat. -RRB- Lisa. What does it matter that the first disc is a fake. if the second one's real? Witwer's hands close tight on the discs. Lisa stands there, motionless. Then she turns, and leaves his office, abruptly. He watches her go.","INT. ROOM - THE SPRAWL -- DAY Rose sits in a chair near the window. She is chewing lightly on a cracker. Her face shows wonder - at the cracker's texture and taste. She holds it up and admires its shape. Anderson's mood is less wondrous ANDERSON Rose. Listen to me. I'm going to leave you here. I have to keep moving. ROSE'S SMILE ABRUPTLY VANISHES ROSE No. You must save my brothers. ANDERSON It's impossible. There's no time. I've done what I can do! Rose waits for him to finish. She looks out the window at the street scene. ROSE Come here, Anderson. He does, reluctantly. ROSE -LRB- CONT'D. -RRB- Do you see that boy in the blue hat walking with his mother? -LRB- beat. -RRB- In sixty seconds he will walk beneath those workers installing a window on the tenth floor of that building. ANDERSON'S POV - THE BOY AND THE WORKERS Two men struggle to lift a large window in place. Way below the little boy in the blue hat walks on along the sidewalk holding his mother's hand. ROSE -LRB- CONT'D. -RRB- They'll drop the window, killing him. It is impossible to save him. Anderson turns to her, shocked And then he runs for the door, hurls it open, and disappears down the hall. Rose listens to his FOOTSTEPS crashing down the stairs","EXT. THE STREET. Even as Anderson rushes out of the boarding house, the WORKERS have lost their grip on the window. The little BOY in the blue hat and his MOTHER walk unwittingly toward disaster. They do not appear to hear the MEN'S cries. The WINDOW falls end over end above the boy's head. The sunlight sparks off of the glass, so that from a distance it looks like a star falling from the sky. A WOMAN across the street sees what is happening, and cries out. But what Anderson does is run. He runs faster and harder than humanly possible. He does not care if he is recognized or hit by a passing taxi. He is going to get to that boy. He has to get to that boy. ANDERSON rams the BOY from behind just as the corner of the window frame kisses the boy's blue hat. He knocks the boy to safety as glass and metal SMASH into the sidewalk. The mother does not even have time to scream. She is on the ground, stunned, But Anderson has saved the boy. He rolls away, and gets to his feet. Before anyone can put together what has happened, Anderson has ducked into an alley, and is gone.","INT. THE ROOM - LATER Anderson enters the room again, out of breath, some small cuts on his face and hands. He stands across the room staring at Rose. Rose considers him. When she speaks her voice is near and distant at the same time. For Anderson, it is as if the words are coming from a place inside his own head. ROSE It was impossible to save that boy - but you did, Anderson. It's in you. It's what you are. Anderson sits on the floor and leans back wearily against a wall. ANDERSON You knew it was n't impossible. That I'd get there. Rose reveals nothing. ROSE You are a man who saves others. -LRB- beat. -RRB- Save my brothers. Anderson almost laughs. Her persistence is unbelievable ANDERSON I'm in a lot of trouble right now. ROSE My brothers are in more trouble. They've moved them to. an awful place. ANDERSON Rose. Ed Witwer - he's in the most trouble of all. Who saves him? Rose suddenly grimaces in pain, and grips the side of her head. She curls into a fetal position. Anderson goes to her, touches her thin shoulder. Her eyes roll into the back of her head. Whose pain is she feeling? Her own? Someone else's? Anderson does n't want to think about it.","INT. PRECOG ENGINEERING LAB -CHEVY CHASE, MD -- NIGHT Because Anderson has destroyed the Precog Chamber, the two Precog brothers have been brought here. The room is makeshift, uncomfortable. a place for experiments. The brothers are strapped into chairs. They are helmeted. But unlike before, large bore needles have been placed in their jugular veins. Connected to the needles are long twists of IV tubing. There are several IVs running at high drip rates. Witwer has his back to all this. He stands with Dr. Resfield, watching a technician working the keyboard on a huge mainframe. Dr. Resfield, a man not given to squeamishness looks back at the Precogs, uneasy. DR. RESFIELD We're not really set up for this type of He stops talking when he looks into Witwer's hollow eyes. Witwer is somewhere beyond the influence and reach of words.","INT. BOARDING HOUSE ROOM -- MORNING Anderson tries to get Rose to drink some water. Her skin is translucent, unhealthy, glistening with sweat. ANDERSON Rose. Try to drink. She pushes the cup away. She closes her eyes, as if even the dim light of the room causes her pain. ROSE Your wife. We have to get her here, Anderson. She opens her eyes. Anderson does n't like the feel of this. ANDERSON Why? ROSE I do n't know. ANDERSON What are you seeing? ROSE Glimpses, Anderson. Please. We have to get her here. ANDERSON You're scaring me, Rose She covers his mouth with her hand ROSE Stop talking. It uses me up. For a long time, Rose says nothing, Her gaze is locked onto a distance beyond the room. At last, she speaks. ROSE -LRB- CONT'D. -RRB- In three minutes your wife will take a walk.","INT. JUDICIAL CENTER - ALEXANDRIA -- LATER Lisa sits in her office. But she ca n't stand it, the sitting and waiting. She has to move. She gets up and hurriedly leaves her office","INT. JUDICIAL CENTER -- MOMENTS LATER Witwer walks past Lisa's SECRETARY toward the open door of Lisa's office. SECRETARY Sir? I'm sorry, she stepped out for a few minutes. -LRB- beat. -RRB- Sir? Witwer stares into the empty office. There is a clock on Lisa's desk. His eyes fix on it.","EXT. JUDICIAL CENTER ALEXANDRIA Lisa moves quickly down the steps of the white marble building. She takes a deep breath, then heads down Jefferson Boulevard toward the city. A sleek black TRANSPORT with two Precrime officers in it follows her from a discreet distance. In the sky above, the ubiquitous Precrime hovercraft","INT. CITY STREET ALEXANDRIA Lisa walks down the street. She hugs herself, barely aware of her surroundings. She passes by stores, restaurants, payphones, video kiosks. oblivious. People push past her. On a street corner, as she waits at a red light, the payphone beside her begins to RING. If she hears it, she gives no indication. A KID reaches for it, listens, hangs up. She walks on. Stores. Restaurants. An art gallery. As she comes abreast of another PAYPHONE, it suddenly starts to ring. This time Lisa glances at it. But again, walks on. The TRANSPORT weaves through traffic, nearby She walks past the K.L. Lawrence Graphics Museum. And another restaurant. And a PAYPHONE. And this time, finally, when it, too, RINGS, she turns and looks hard at it. A man begins to walk over to it. Lisa almost knocks him out of the way to get to it. She grabs at the receiver. LISA Hello? Hello? ANDERSON'S VOICE I need you. Lisa's forehead sags against the side of the payphone. She basks in the sound of him. ANDERSON'S VOICE -LRB- CONT'D. -RRB- It's 1:03. Set your watch, exactly. Lisa pushes the buttons on her digital watch as she listens LISA Okay. ANDERSON'S VOICE -LRB- CONT'D. -RRB- This is what you have to do. We now hear ANDERSON continue in VOICE OVER as we follow Lisa through a SEQUENCE OF EVENTS.","EXT. THE LAWRENCE MUSEUM Lisa walks up the steps of the museum ANDERSON -LRB- V.O. -RRB- At 1:07 hang up the phone and enter the Lawrence Museum.","INT. GRAPHICS GALLERY Lisa walks quickly through a display of 19th century magazine advertising.","INT. GRAPHICS GALLERY The two Precrime officers walk into a room filled with Chinese graphics. ANDERSON -LRB- V.O. -RRB- At 1:13 the two Precrime officers following you take a wrong turn into a different room, losing sight of you for ten seconds. The officers start toward the entrance way to another room, then hesitate uncertainly, and go for another entrance way.","EXT. THE LAWRENCE MUSEUM Lisa hurries down the steps","INT. A SUBWAY STATION Lisa boards the `` A'' MagLev train ANDERSON -LRB- V.O. -RRB- An undercover transport officer will have received emergency orders to follow you. He's wearing a red tie. He has short blond hair.","INT. THE SUBWAY CAR The blond transport officer with the red tie sits at the far end of Lisa's car, watching her. At the next stop Lisa gets off. He follows, not too far behind.","INT. SUBWAY STATION Lisa starts up the stairs. She looks at her watch, then makes herself pause a few moments, to keep within Anderson's time frame. She starts up again. ANDERSON -LRB- V.O. -RRB- As you come around the bend, cry out and turn around and slap the officer. Lisa does this, and the officer reels back, surprised. At the same moment two big men rushing to catch a subway come into view, and see this happening. Lisa starts to run. When the undercover officer tries to stop her, the two men grab the officer, and they get into a fight. Lisa escapes.","INT. A TAXI - THE SPRAWL Lisa looks at her watch, then taps the window for the driver to stop. She gets out. ANDERSON -LRB- V.O. -RRB- Stay on Ninth street. Underneath Ninth street is the main power feed for The Sprawl. It'll mess up the navigational beacon on the hovercraft. -LRB- beat. -RRB- Keep switching taxis. But stay on Ninth. She hails another taxi. She holds her hand over the IdentiScan before it can read her. The taxi driver looks at her, sees her smile, sees the prepaid cash card she holds out to him. LISA Two hundred dollars if you do n't scan me. It's The Sprawl - stranger things have happened. He grabs the card, and jerks his head for her to get in. They take off.","EXT. NINTH STREET LATER Lisa gets out of the taxi and looks briefly into the sky. It is dense with holographic billboards, skim - jets, dirigibles. Somewhere in all that is a Precrime hovercraft. And the neighborhood around her is definitely downscale. ANDERSON -LRB- V.O. -RRB- The hovercraft will try to drop altitude, but the air traffic will slow it down. -LRB- beat. -RRB- Precrime loses you. You'll have to walk two miles. Do n't get scanned.","EXT. THE SPRAWL Lisa walks hurriedly down a side street. She stands out in her white dress - a spot of vulnerable color in world of black. Too vulnerable to pass up. A MAN in a gray overcoat slides out from between two buildings in front of her. He is not coy about his intent. He comes straight at her, all business. Lisa freezes in place. She looks at her watch. The man grabs her by the shoulder. When she starts to scream, he claps his hand over her mouth, hard. MAN You bite me, bitch, I'll pull your teeth out. Her eyes look around frantically. He starts to drag her backwards into the dark. ANDERSON leaps into view, and slams the man's head into a light post. It takes a lot of slamming before lie loosens his grip on Lisa. His legs at last collapse under him. Anderson scoops Lisa off the ground. She hugs him hard. Then pulls back from him. She gives him a look. LISA Cut it a little close there, honeybunch. ANDERSON Rose got the street wrong. She's getting weak. LISA Rose?","INT. THE BOARDING HOUSE -- LATER Rose sits up in bed silently watching Lisa and Anderson together. Lisa needs to touch him. She keeps a hand on his arm, brushes back a loose look of his hair. Rose is mesmerized by her actions. She drinks in everything, every bit of life. Anderson and Lisa are deep in conversation. They speak to each other as if Rose were hardly present in the room. Anderson is trying to process everything Lisa has told him. ANDERSON Two discs. One fake. One real. LISA I do n't think there were supposed to be two. Whoever planned it, was n't counting on two. They are silent for a long time. Rose watches them work it through. ANDERSON An infallible system. Every disc ever generated has been true. LISA Somebody wants you out of the way - so they make a fake disc. Who ever doubts the discs? ANDERSON I never doubted it. I saw it. And believed it, absolutely. I was certain I was going to murder Witwer. Anderson is shaking. Lisa wraps her arms around him. His voice is a stunned whisper. ANDERSON -LRB- CONT'D. -RRB- I saw the fake, and believed so much in the system, that I saw myself as a murderer. -LRB- beats. -RRB- And the Precogs picked up those thoughts. LISA And generated the second disc. The real one. ANDERSON A self - fulfilling prophesy. I believed it was true. And that made it true. Anderson and Lisa turn and look at Rose. She lies curled on the bed, her face to the wall. ANDERSON -LRB- CONT'D. -RRB- Rose. If all this is based on a lie - the fake disc - then do I really kill Witwer? ROSE -LRB- beat. -RRB- We see what we see. I'm sorry, Anderson. It's been predicted. Such a small voice, delivering a message of such finality","INT. WITWER'S OFFICE -- MIDNIGHT Lieutenant Glaser tries to get through to Witwer. Witwer's back is turned to him. LIEUTENANT GLASER We ca n't take chances, sir Witwer does n't move or answer. LIEUTENANT GLASER -LRB- CONT'D. -RRB- It happens in less than three hours. -LRB- beat. -RRB- We put you in a hovercraft and keep you airborne - until after the event. WITWER The event. Lieutenant Glaser shifts uncomfortably LIEUTENANT GLASER I've been ordered to get you onto the craft. By force if necessary. WITWER The event is inevitable, Lieutenant. Witwer does n't turn around. WITWER -LRB- CONT'D. -RRB- The Precogs are never wrong. The event will take place. I'm a believer. Are n't you? LIEUTENANT GLASER I do n't leave this room without you, sir. The Security Panel insists.","INT. THE BOARDING HOUSE SIMULTANEOUS Anderson and Lisa keep working it, peeling away the layers. Rose lies silent. ANDERSON Nobody could slip a fake disc past Ennis Page Lisa shakes her head. LISA He was the weak link in the perfect system. ANDERSON Obsessive compulsive niners ca n't allow changes in the routine LISA Something threw him off. -LRB- beat. -RRB- He tried to tell me. It did n't make any sense. Something about `` spilled coffee.'' -LRB- beat. -RRB- Someone was in his office with him. And coffee spilled. We stay CLOSE ON Anderson and Lisa as Rose's voice cuts in. ROSE -LRB- V.O. -RRB- We were always treated as if we were n't alive. As if we were n't there. The camera pulls back and they are watching her as she continues to speak. ROSE -LRB- CONT'D. -RRB- Even now. You forget that I'm here. You talk between yourselves. And when you need me to see into the future, then you turn to me. ANDERSON Rose. What is it? ROSE -LRB- beat. -RRB- We were n't just lost in the future. We were in the Chamber, too. Our eyes were open. In the present. And then Anderson gets it. He kneels beside her bed ANDERSON Your eyes were open. What did you see, Rose? ROSE Who would I have told? Who ever talked to us? Who cared that we could talk? ANDERSON Rose. Who spilled the coffee? Straight ahead. Rose stares stright ahead. MEMORY HIT Rose sits in her chair in the Precog Chamber. Her brothers sit in their usual places on either side of her. The technicians tend to them. Rose's eyes are open. She sees everything in the room. The technicians, the machines. and across the room a large window where she can see Ennis Page working the mainframe computer. Rose watches through the window. As the computer emits discs, Page gathers them ROSE -LRB- V.O. -RRB- Ed Witwer entered Page's office. Witwer carries a mug of coffee. Ennis Page goes red in the face, stares at the coffee. Speaks to Witwer, angrily, pointing to the coffee. We ca n't hear the words. ROSE -LRB- V.O. ; CONT'D. -RRB- Page was so upset at the sight of the coffee. Witwer goes to put the coffee down on a small table. It tips, and spills. Page looks like his head will explode. He pulls a neatly folded white handkerchief out of his back pocket and drops to his hands and knees and begins to obsessively blot at the coffee stain on his spotless rug. ROSE -LRB- V.O. ; CONT'D. -RRB- Ed Witwer took a disc from his pocket, reached over Page and put it in one of the open cases. Witwer closes the case. He looks through the window into the Precog Chamber, but the only one watching him is Rose - and what does she matter? Page rises angrily from cleaning the rug. Witwer shrugs in apology and leaves the room. Page stares after him. BACK TO SCENE Rose is weeping. She looks at Anderson and Lisa. ROSE -LRB- CONT'D. -RRB- I did n't understand what I'd seen. And I had no one to tell. Lisa puts her arms around Rose Anderson tries to comprehend what he has heard. ANDERSON Ed. Lisa turns, and speaks softly to her husband. LISA The perfect system - brought down by a cup of coffee. My god. ANDERSON -LRB- long beat. -RRB- He set into motion his own death. He did n't know it would go this far. -LRB- to Rose. -RRB- What makes me leave this room? If I stay here I wo n't kill him. Right? But Rose and her brothers have already answered that question for him.","INT. WITWER'S OFFICE Lieutenant Glaser looks at his watch. Witwer is still in his chair, turned away from him. WITWER You see, if you think you can put me on a hovercraft and save me, then you do n't believe in the infallibility of the Precog system. Lieutenant Glaser has his orders. He begins to approach. And as he does, Witwer swivels his chair around, and lifts the weapon he has been holding and silently shoots Lieutenant Glaser in the forehead. WITWER -LRB- CONT'D. -RRB- And what I do not want around me, are nonbelievers. Witwer steps over the body as if it does n't exist, and walks out of the office, locking the door behind him.","EXT. THE PRECOG ENGINEERING LAB - CHEVY CHASE, MD -- LATER Witwer gets out his car and looks at the two story concrete building that houses the lab. The lights are out in all the windows except the back section of the second floor. There, the lights burn brightly. Witwer sees Precrime officers posted at intervals around it. He smiles as if he knows something they do n't. He looks at his watch. It is a cool night, but his face is slick with sweat. He walks to the entrance of the building. An OFFICER 1s startled to see him. WITWER Things quiet? OFFICER Sir. Should you. be here? WITWER There's been a development. A body's been found in the Sprawl. OFFICER Anderson's? WITWER They're checking it out. I need to see what the Precogs have seen. Witwer is IdentiScanned. The door opens and he goes in.","INT. THE LAB Dr. Resfield looks up as Witwer strides into the lab, carrying a tv under his arm. Witwer is the last person he wants to see. WITWER Borrowed this from the technicians' lounge. You do n't think they'll mind, do you? DR.RESFIELD You should n't be here, Director. Dr. Resfield's eyes cut to a large digital clock on the wall, the red numbers ticking off time in seconds. Witwer looks for a plug, finds one. Plugs in the tv. WITWER No, no. This is exactly where I should be. DR. RESFIELD You're under a lot of strain, Director. Witwer finds what he's looking for - the continuous loop of his murder by Anderson. `` Call Now! Call Now!'' WITWER And tv's so good for that - soothes the mind. Witwer turns his sweaty face to Resfield and gives him a bright smile. The scientist looks like he wants to run out of the room. Witwer takes him by the elbow and guides him toward the Precogs. Two technicians hover over the Precogs adjusting IV's and turning dials on the Precogs's organic helmets. The Precogs wince and shiver with each turn of the dial. But they are no longer violently seizing - they are too weak for that. WITWER -LRB- CONT'D. -RRB- Bring me up to speed, Doc. DR. RESFIELD We're getting nothing from them. WITWER And that's because? Witwer still grips him by the elbow. DR. RESFIELD I do n't know. WITWER Do you think they know where Anderson is? DR. RESFIELD It's impossible to tell. -LRB- beat. -RRB- We've done everything. Maybe even too much. WITWER STARES AT THE PRECOGS WITWER They know how to find Anderson for me. -LRB- beat. -RRB- They're the perfect machine, Doctor. You just have to know which button to push.","INT. BOARDING HOUSE - THE SPRAWL Rose looks like she's on fire. Anderson wets another towel, wrings it over the sink. Lisa takes it, and wipes down Rose's face and arms. Rose's lips are moving soundlessly. Her eyes are shut tight. She begins to writhe in bed. ANDERSON Jesus Christ. LISA Come on, Rose. ANDERSON LOOKS AT HIS WATCH ANDERSON One hour. We hold it together for an hour, Witwer lives - and I'm not a murderer. LISA She wo n't last an hour. It suddenly looks much worse than that. Rose's body contorts horribly and she arches up off the bed. Lisa ca n't control her. Anderson reaches for her, wraps her in his arms, trying to hold and comfort her. ANDERSON Rose! She begins to wail as she thrashes in his arms. ROSE He's killed him, Anderson! Rose stiffens into a seizure posture, then her body goes slack. Anderson eases her back on the bed. He stares at her, stricken. Her voice barely leaves her now ROSE -LRB- CONT'D. -RRB- You did n't save my brother. Anderson reels at her words. ANDERSON Did he kill both of them, Rose? Rose! Rose manages to speak, one last time. Her whispered words damn him. ROSE Does it matter, Anderson? Anderson rises. Looks down at Rose. It matters. He starts to move, quickly. Lisa takes hold of his arm. LISA If you leave this room. Anderson kisses her. ANDERSON Then I'm a cop, just trying to do hisjob. He reaches for his duffel bag. When the door closes behind him, Rose turns her head slightly and looks. And then her eyes drift closed, as she goes to a place deep within her own mind.","EXT. A STREET - THE SPRAWL - MOMENTS LATER He passes by several cars on the street. But they're all auto - drive, they wo n't do him any good. So he smashes a store window within forty - five seconds a city police transport zooms up, lights flashing. Two city officers leap out of the transport. They approach the smashed - in store window, weapons drawn. Which is a mistake. Anderson rises into view behind them, and sonically blasts a small crater in the sidewalk they are standing on. As they trip and fall, he is already spraying them down with BindFoam. Their second mistake is they left the engine running to power the bank of Nits - Tracker lights on the car's hood and roof. Anderson screeches off through the choking predawn streets of The Sprawl, a beacon of light in the darkness.","INT. THE LAB The DIGITAL CLOCK races through time. Witwer reaches his hand up and touches the vanishing numbers. The camera pulls back, and we see Dr. Resfield and the two technicians bound and gagged in a heap in the corner. And when we see the lab in its entirety, there sprawled on the floor in front of his chair is one of the Precog brothers. A small rise of blood comes from a torn place in the back of his skull. The other Precog sits very still in his chair. He is still connected to everything - his helmet is in place, the TVs drip into him. His eyes are open, and when Witwer moves, the Precog's eyes follow him. Witwer can feel them on him. He turns around. WITWER Is he coming? No? Yes? Maybe? -LRB- beat. -RRB- I think yes. The Precog looks at him. WITWER -LRB- CONT'D. -RRB- And you think yes. Witwer points to the tv screen, running Anderson's murder of Witwer. Witwer smiles triumphantly. WITWER -LRB- CONT'D. -RRB- Infallibly, immutably yes. The Precog looks at him. Witwer's smile vanishes, and suddenly strides across the room, and claps his hand over the Precog's eyes. Then he turns, and stares again at the clock.","EXT. THE PRECOG ENGINEERING LAB Three officers stand thirty feet apart in front of the building, facing outward toward the parking lot, weapons cradled in their arms. Behind them is a line of yew bushes. AS we watch, the officer on the left is yanked off his feet backward into the bushes. Several moments pass, and the same thing happens to the officer on the right. The officer guarding the front entrance casually looks right. Then he looks hard. He grips his weapon tight, and swings left. No one there, either. ANDERSON drops him hard, from behind. The officer crumples onto the cement. But Anderson's not done with him. Anderson lifts him up, struggles to drag him forward toward the entrance. Anderson holds him upright in place. The man's head lolls backward. Which is. Perfect for what Anderson needs to do. Anderson reaches his fingers towards the man's closed eyes. He pulls up on the eyelids. An IdentiScan over the entrance clicks on and reads the man's eyes. Access granted, the doors HISS open. Anderson enters the building, dragging the officer with him.","INT. THE LAB Anderson enters the lab. The very building sickens him. What he sees sickens him even more. The remaining Precog sits strapped into his chair. Witwer sits beside him in the other Precog chair, the dead brother at his feet. Witwer wears the dead Precog's helmet. His hand is in his lap, holding a gun. He grins when Anderson appears. He takes off the helmet, drops it on the floor. WITWER I figured, since I can see the future, too, maybe I could get a little disc action going. -LRB- beat. -RRB- Just kidding. Anderson stares at his old partner. Then he looks up at the digital clock. Five - seventeen AM. Witwer looks too, then turns back to Anderson. WITWER -LRB- CONT'D. -RRB- You find you been doing that a lot this week? Looking at clocks? -LRB- beat. -RRB- Three minutes to go. Anderson turns to the tv. ANDERSON There's never anything good on, you know? Now Witwer smiles. WITWER There. That's the old Paul. ANDERSON You're not the old Ed. You've lost it. Witwer rises from the chair, the gun in his hand. WITWER You lost it. You went weak in the knees, partner. ANDERSON I'm not your partner. Witwer looks at him sadly. WITWER The air went out of you when Frank D'Ignazio killed himself. ANDERSON He was guilty. I accepted that. WITWER No you did n't. The doubts were creeping in on you. The lab trying to engineer more Precogs. Malcolm pressuring you to expand. Witwer reaches out and gently touches the remaining Precog brother's cheek. WITWER -LRB- CONT'D. -RRB- Belief is the basis of the system. It was your job to be the ultimate believer. Witwer is breathing hard. He lifts a hand and wipes the sweat from his face. WITWER -LRB- CONT'D. -RRB- And when Frank died, you faltered. I'm a cop, I see into the hearts of men. -LRB- beat. -RRB- And the thing about you is, you would n't have just walked away. ANDERSON Never been my style. Witwer gives him the flicker of a smile WITWER Precrime needs to grow. You would have stood in its way. The Security Panel would n't have understood that. What you're capable of. What a bulldog you are. -LRB- beat. -RRB- Look what you've been doing to us all week. Amazing. You're the best. ANDERSON So you took matters into your own hands. WITWER I understood the threat. I understood YOU Anderson looks at the dead Precog ANDERSON You killed a Precog. You ended the system you wanted to protect. WITWER Wrong. This lab will make more. Believe it, Paul. They look at the CLOCK. Five - nineteen. ANDERSON Knowing the exact moment of your death - it's made you crazy, Ed. Witwer looks at the tv. The TV REALITY is almost in synch with what is happening in the room. Witwer lifts his gun - and then realizes something is terribly wrong. Anderson is standing there before him just as he is on the disc - except there is a major difference. WITWER You sonofabitch! Anderson lifts up both hands WITWER -LRB- CONT'D. -RRB- You did n't bring your gun! ANDERSON That's right. No gun. WITWER You see?! That's exactly what I'm talking about. You do n't Believe! Anderson just looks at Witwer, raging at him. WITWER -LRB- CONT'D. -RRB- The system is infallible. ANDERSON Does n't Seem to be Witwer reaches behind him and pulls a second gun from out of his belt. WITWER -LRB- CONT'D. -RRB- I guess that's why I've always carried two. He tosses the gun to Anderson. It clatters at Anderson's feet. ANDERSON You ca n't have it both ways. You do n't want to die. That's why you lured me here - to kill me first. -LRB- beat. -RRB- But it you do n't diet the system is flawed, and you could n't live with that. Witwer SHOOTS him once, in the right thigh. Anderson cries out, falls to the concrete floor. WITWER Pick it up Anderson speaks through his teeth ANDERSON It does n't happen. Witwer looks frantically at the tv, at the clock. He reaches over and opens the dripmeter on a piggy back IV feeding into the Precog's main line. A thick, yellow fluid begins to flow toward the Precog's jugular vein. WITWER -LRB- CONT'D. -RRB- You're killing him, partner. And what choice, finally, does Anderson have? He reaches for the gun. ANDERSON Let's not do this, Ed Witwer trains his gun on Anderson. Anderson trains his gun on Witwer. ANDERSON -LRB- CONT'D. -RRB- Oh, Ed. Witwer lowers his gun. And stands there between Anderson and the doomed Precog. The yellow liquid has almost reached the Precog's jugular. Anderson shoots Witwer, once in the heart. Witwer is thrown back across the room, against a wall, beneath the clock. Anderson drags himself to the Precog, and rips the yellow IV out of the main line. The yellow drips onto the floor, mingling with Witwer's red. Anderson crawls to his friend, and cradles him. Witwer whispers something, and Anderson leans close to hear him. WITWER Now do you believe? Anderson pulls away from Witwer, and lets him take his last breaths alone. DARKNESS And then, slowly emerging from the mists of darkness, a pale, beautifully proportioned FACE. It is Rose's face. The camera pulls back and we see that she is lying on a grassy hillside. Her brother is lying beside her. They are looking up at the night sky, at a sky filled with stars. Rose stares up into the sky, and speaks in a soft voice to her brother. ROSE James. Can you guess what I'm thinking? JAMES -LRB- beat. -RRB- NO. James smiles. And then, after a long moment, so does Rose. THE END"],"string":"[\n \"\\\"MINORITY REPORT\\\" DARKNESS And then, slowly emerging from the mists of darkness, a pale, beautifully proportioned FACE. The oval face is female, a woman of indeterminate age, her features as fragile as porcelain. Her eyes are closed in sleep, or in death. or in something in between. Now TWO MORE FACES emerge out of the darkness. They are male, and they float into position on either side of the female. They are just as ethereally beautiful, just as pale, and like the female their eyes are closed. The ghostly lips of the female begin to twitch. Her features, which have been expressionless, suddenly contort, mask - like, into the face of a woman in fear. Her eyes open. The male face on her right contorts too. His features warp into an angry snarl - the mask of a man enraged. His eyes open. The male face on her left takes on the expression of a young boy, a boy who is terribly frightened. His eyes open wide. As if they are lost in the same terrible waking dream, a sudden and unnerving exchange begins. FEMALE -LRB- frightened woman. -RRB- JOHNNY, PLEASE MALE RIGHT -LRB- mocking man. -RRB- `` Johnny, please. Johnny please.'' FEMALE You're scaring me. MALE LEFT -LRB- child's voice. -RRB- DADDY, DO N'T. DADDY MALE RIGHT -LRB- considering. -RRB- I do n't like you any more, Carol. FEMALE -LRB- imploring. -RRB- Put the scissors down. You're scaring me. Please. MALE RIGHT Oh, Carol. FEMALE Johnny! Stop! MALE RIGHT Do n't grab at me! Let MALE LEFT Daddy! No! All we see are three faces on the screen mouthing words but we can imagine a terrible struggle taking place before us : a man with scissors lunging at his wife, her anguished scream, the whimpering cries of their son. And then there is silence, and it is over, and the three faces instantly return to their impassive porcelain state. Their eyes slowly close. They do not move. So that when they do move again, it is startling. In abrupt unison, the EYES flash open. Three pairs of eyes stare straight at us, accusing. Three mouths open, but speak, in rasping tones, as one. ALL THREE Murderer! The faces linger a moment, the weary eyes slowly close, and the dark reaches forth, and takes them.\",\n \"EXT. SUBURBIA DAY Morning in America. Just look at it. America in the midfifties, the suburban landscape stretching endlessly into the sun drenched distance. White house upon white house. Emerald lawns, glistening with dew. In each driveway, a big Chevy, or a Ford, muscled with chrome, long tailfins that taper like the fins on rocket ships. Kids burst out of the houses, and zoom down sidewalks on trikes. Mothers in bright dresses stand in doorways, watching. The smiling mothers wave to one another, then go back into their houses. Dogs bark, birds sing in trees of just the right height, boys and girls laugh and ring the bells on their trikes. It is a delicious world, where dogs and birds and children are safe.\",\n \"INT. A HOUSE A family room with all the trappings of the era : a flagstone fireplace, a console TV, a man's leatherette Barca - Lounger, a pipe stand holding two pipes on a nearby table, boxes of children's games neatly stacked on a wall shelf. A young mother, CAROL, her hair - in a pony - tail, stands at a picture window in a corner of the family room, staring mildly at the scene outside. CAROL'S POV - A LITTLE GIRL A little girl bounces a red ball on the sidewalk. The ball gets away from her, and rolls into the street. At the same moment, a two - toned CHEVY, lush and huge, rounds the corner. The girl sees the car coming, but still goes after the ball. THE FAMILY ROOM Carol sees what is about to happen - but she does n't cry out, or bang on the window, or run for the front door. She watches. And smiles a little. OUTSIDE The girl careens gleefully into the middle of the street. INSIDE THE CHEVY The driver - a man in a loose fitting dark green suit, white shirt, thin brown tie - sits behind the steering wheel of the car. Disturbingly, the man's hands are not on the steering wheel. Not only that, he is holding the morning newspaper up in front of him, reading, oblivious to the scene before him. Through the windshield, we see the little girl in the road in front of him, going for her ball. CAROL Watches, her smile in place. OUTSIDE The little girl picks up her red ball, as the Chevy bears down on her. INSIDE THE CHEVY An alarm suddenly CHIRPS. The car automatically brakes to a halt. The man looks around the edge of his paper to see what is happening. THE STREET The car has stopped, inches from the girl. The girl giggles as, the man in the car gives her a big wink. She waves, then runs back to the sidewalk with her red ball. The man goes back to his newspaper, and the car, entirely on its own, starts up again. The car rounds a corner, and disappears. INSIDE THE HOUSE Carol turns away from the window. She startles when she sees her husband, JOHNNY, is there behind her. He is in his pajamas. How long has he been there, watching her? JOHNNY -LRB- gruff. -RRB- Why'd you let me sleep so long? CAROL It's Saturday, Johnny, you always -. -LRB- beat. -RRB- Why are you staring at me like that? He takes a step toward her. He stands there, his thick black hair tousled with sleep, scratching his stubbled jaw, considering her. JOHNNY I'm unhappy that you let me sleep so long. He takes another step toward her. She does n't move a muscle. A little BOY suddenly enters the room. Johnny turns, looks at his son, looks back over his shoulder at his wife. Then, without a word, he begins to walk out of the room. On his way out, Johnny's eyes flick to Carol's sewing basket, which sits beside a sewing machine. It is not the sewing that has caught his attention, but a large pair of garment SCISSORS which lie across a fold of colored cloth.\",\n \"EXT. THE HOUSE -- MOMENTS LATER Johnny stands on the front porch, scratching. He walks down his front walk, and bends over to pick up the newspaper. Carol stands in the doorway, watching him. A SHADOW slides over Johnny, cast from above. The air fills with the piercing WHINE of an engine. Johnny looks up, alarmed. In the sky above him, just beyond the tips of the suburban trees, is a black PRECRIME POLICE HOVERCRAFT. The children, the mothers, Carol in the doorway - everyone freezes in place, as Johnny is cast into an inexplicable drama. Racing SOUNDLESSLY down the street toward him, are SLEEK TECHNOLOGICAL MARVELS, lethal and efficient looking - they seem to be cars - but they are so different from the fat Fords and Chevies in the driveways that it is hard for us to process them. Helmeted police with mirrored visors erupt out of the cars. More police drop from the hovercraft in harnesses. Their uniforms are black, seem actually to absorb light. Their left hands are bare, their right hands are encased in some sort of complicated glove. CLOSE ON - A GLOVE The glove is a weapon of some kind, the elongated index finger ending in an open barrel. Clearly, this is not, as it first seemed, the past - not America in the 1950's. It is the neo - past, the retro world of America 2040, where the familiar of yesterday is intermeshed with hypertechnology. And all of that hypertechnology is focused on JOHNNY, as he makes a run for the house, sheets of newspaper scattering behind him. He bursts up the front porch, shoving Carol out of the way. Eight Precrime police officers assemble in the yard. From a backpack, one of them quickly removes an instrument with a handle grip and an ovoid screen. It is a holographic scanner. He activates it, scans the OFFICER in front of him, and an IDENTICAL POLICE OFFICER takes three - dimensional form. The two real officers circle the house, repeating the maneuver a dozen times. In less than a minute, a decoy force of men - three dimensional, standing in place, but shifting and turning like living beings - has been created. An overwhelming police deterrent presence has been established. INSIDE THE HOUSE The Precrime police overwhelm the interior of the house, too. It is impossible to tell which officers are real, and which are scanned holographs. The juxtaposition of the futuristic cops in a 1950's style house is disorienting. INSIDE A BEDROOM CLOSET Johnny, in his pajamas, crouches beneath a rack full of his wife's dresses. UPSTAIRS HALLWAY Two OFFICERS, standing back - to - back, hold their gloved hands out in front of them, palm out. When the first officer points his palm toward a door at the end of the hallway, his glove BEEPS softly. The officer looks at his PALM. A red thermal IMAGE appears on a small flexible screen - the heat outline of a crouching man. The first officer flicks his helmeted head to the second officer. THE BEDROOM The room is packed with police - how many are real? THE CLOSET Johnny squirms, his pajamas saturated with sweat. He calls out through the door. JOHNNY I did n't do anything! OUTSIDE THE CLOSET Every OFFICER in the room lifts his gloved hand and points his index barrel at the closet door. The effect is deeply accusatory. An OFFICER speaks, his VOICE electronically manipulated to be as menacing as possible. OFFICER 1 Come out of the closet on your hands and knees. Nothing happens. Two officers aim their barrels at the perimeter of the door. In repeated, small SONIC BLASTS, the closet door is blown off of its frame, revealing Johnny among the dresses. Johnny starts to rise, and BAM, a section of floorboards is blasted away beneath his feet. OFFICER 1 Hands and knees! Johnny trips among the splintered floorboards, and drops. He stays on his hands and knees, and approaches. He lifts his head and looks up at the officer. JOHNNY I did n't. Another OFFICER 2 bends down with a DEVICE - the words `` IdentiScan'' on its side - and blips a red laser light into each of Johnny's, eyes, reading his irises. The officer nods affirmatively to the other officer. OFFICER 2 POSITIVE FOR JOHN PALMER. OFFICER 1 -LRB- to Johnny. -RRB- John Palmer, if you were being arrested for any other crime, I would now read you your rights. -LRB- beat. -RRB- But you are under arrest for the future murderer of your wife, Carol Palmer. You have no rights. Johnny, on his hands and knees, goes limp.\",\n \"EXT. THE HOUSE -- LATER In the background, Johnny is guided into a Precrime police vehicle as the neighbors look on. Carol and her son stand in the doorway, stunned. TWO OFFICERS remove their helmets. The first man is tall, sandy - haired, good eyes, deeply blue ; This is PAUL ANDERSON, late thirties, Director of the Precrime Division, Washington D.C.. The second man is ED WITWER, Anderson's second in command, late thirties, big like Anderson, good face, strong in the shoulders, short brown hair. The two men are deeply comfortable together. They can speak, or not. It does n't matter - they still communicate. Two good cops, good together. They walk side - by - side around the house, dematerializing the holographic decoy cops. WITWER Thought we might a had a runner. Anderson seems tired, takes a moment to answer. ANDERSON Yeah, a runner. WITWER A little chase - that'd been good. ANDERSON Fifty cops on the scene takes the chase out of them. WITWER -LRB- smiles. -RRB- But only eight of us were real. Witwer dematerializes the last decoy. ANDERSON We ever get a runner, I'd be too old to give chase. WITWER You'd chase. You'd love it,. Man. They get to the front of the house and watch the Precrime vehicle holding Johnny zoom SOUNDLESSLY away. ANDERSON I love it more Johnny boy does n't get to murder his wife. WITWER -LRB- beat. -RRB- It's a beautiful world.\",\n \"EXT. SAME SCENE -- LATER The children play on their trikes. The wives talk among themselves. The birds sing, the dogs bark. The little girl bounces her red ball again. She stops a. minute, when two pieces of newspaper blow past her, unexpectantly littering the orderly suburban landscape.\",\n \"INT. A BEDROOM - SUBURBAN VIRGINIA (OUTSIDE WASHINGTON) DAY Decorated in a 1950's style. Anderson lies in bed beside his wife, LISA, a pretty, green - eyed brunette. It is early morning, they are both awake. Her hand caresses his chest. Maybe they will make love. Lisa's hand stops suddenly on the center of Anderson's chest. LISA Jesus, Paul. Your heart's hammering. -LRB- playfully. -RRB- I excite you that much? He turns to her, and the grim set of his jaw makes her smile vanish. ANDERSON I used to love being a cop. LISA You're still a cop. I'm a factory worker. We do n't catch murderers. We process them. Lisa takes a long breath. She's been down this road before. She speaks reassuringly. LISA You're the best homicide cop in the country. ANDERSON snorts disdainfully. ANDERSON Great - except there's no such thing as homicide. What I do best does n't exist anymore. LISA PAUL. -LRB- beat. -RRB- You're the Director of a perfect system. A Cop with a perfect record ANDERSON The Precogs have a perfect record. They identify the accused - I just put on my monkey suit and go round them up. Lisa hugs him, kisses the back of his neck. LISA And then I prosecute them. And they go to jail. And lives are saved. Thousands of lives. -LRB- beat. -RRB- And that's a cop's dream. Anderson is silent for a time. He sighs, then smiles, and turns to his wife, takes her in his arms. ANDERSON No. You're a cop's dream.\",\n \"INT. THE BATHROOM -- LATER Anderson steps out of the shower, and begins to towel himself dry - He glances out a casement window. He tilts his head, curious, then wipes at the steam on the window. ANDERSON'S POV LISA Lisa stands in the backyard in her nightgown, talking on a cell phone. She hangs up, moves quickly back into the house. ANDERSON Cocks his head, then goes back to toweling off.\",\n \"INT. KITCHEN -- LATER Checkered linoleum floor. Appliances out of the 1950's. Except there are little differences. When Lisa puts a skillet of eggs on the stove, the heating element is not an electric coil, or gas but a shimmering field of light. Lisa is dressed in a blue jersey skirt and a brief jacket. Anderson wears a gray suit, thin blue tie, white shirt, wingtipped shoes. He does n't look up from the newspaper as he speaks. ANDERSON Who called? Lisa keeps her back to him as she flips the eggs. She touches her long brown hair. LISA No one. I called about my hair. Getting it done this afternoon. Anderson looks like he's about to say something else, when suddenly someone RAPS on the back screen door. Anderson and Lisa both turn and smile. ANDERSON Come on in, neighbor. Want some coffee? OUTSIDE THE DOOR FRANK D'IGNAZIO, 65, white - haired, robust, hesitates before coming in. A thin METALLIC ARM with a red laser light arches quickly down from above the doorway, shines into each of his EYES, scanning the irises. The arm lifts out of view, the screen door UNLATCHES. Frank enters the kitchen, carrying a basket of tomatoes. FRANK D'IGNAZIO Brought these for your supper. LISA Oh, Frank. That's so sweet. Thank you. FRANK D'IGNAZIO Sweet, nothing. I got ta get rid of these things. One plant, and I'm invaded by tomatoes. When I was a kid. Anderson laughs, claps his friend and neighbor on the back, teases him. ANDERSON Before all this genetically engineered crap. Frank gives him an ornery look, then a smile. FRANK D'IGNAZIO Yeah well, it's true. It used to be a challenge to grow things. An art. Now you put one plant in the ground - then jump the hell out of the way. Anderson gestures for Frank to sit down. ANDERSON Coffee? FRANK D'IGNAZIO Nah, thanks. Ca n't stay. You guys are rushing off to work anyway. Lisa sets the eggs down in front of Anderson. LISA You and Ellie come for supper then. ANDERSON We'll barbecue. Frank nods and pushes on the screen door. FRANK D'IGNAZIO You betcha. We'll bring some more tomatoes - a new batch will have grown by then. They all laugh, Frank exits, Anderson goes back to his paper.\",\n \"EXT. DRIVEWAY -- LATER Anderson waves to Lisa. Her big Studebaker drives off down the tree - lined street and away. Anderson approaches his Chevy. He does n't take out a key to unlock it. There is no lock. He slides in behind the wheel. Does n't take out a key for the ignition - there is no ignition. A thin METALLIC ARM arches down from the sun visor, scans Anderson's EYES, identifying him. A seat harness wraps around him, and the car STARTS. Anderson picks up a folder marked `` Precrime'' and begins to read through the papers. The Chevy backs out of the driveway and takes him to work.\",\n \"EXT. INTERSTATE 95 - ALEXANDRIA, VA -- LATER A vast spread of corporate and government buildings - the spillover from Washington D.C. across the Potomac River into Virginia. Beyond the white of Washington is `` The Sprawl'' - the massive unzoned city that has spread uncontrolled on the outskirts of the Capitol. It is impenetrable and uninviting, especially to those comfortable in the utopian suburbs. Anderson's Chevy moves in a sea of fifties - type cars. Occasionally, an ultramodern vehicle zips past them. In the sky above is another sea - of advertising dirigibles, holographic billboards, hovercrafts, skim - jet transports. On one of the holographic billboards giant words begin to flash : `` I LIKE MIKE!'' Then a picture of the smiling President appears. Then the words : `` RE - ELECT PRESIDENT MIKE BILLINGS FOR ANOTHER FOUR YEARS! KEEP THE PAST IN OUR FUTURE!'' INSIDE ANDERSON'S CHEVY Through his windshield, Anderson glances at a holographic road sign. THE ROAD SIGN reads : `` FBI Headquarters 1 mile. CIA Headquarters 1.5 miles. PRECRIME Headquarters 2 miles.'' Anderson goes back to his papers.\",\n \"INT. PRECRIME HEADQUARTERS Anderson sits in a too large office in a too large chair. He abruptly rises and begins to pace. The room is large, but he paces like a lion confined in a cage. He punches an intercom. A female VOICE responds. INTERCOM VOICE Yes, Director Anderson? ANDERSON Where's Ennis Page? Why has n't he delivered this morning's Precog discs? Ed Witwer opens the door to the office., and casually walks in. INTERCOM VOICE I'll find him, sir. Ed shakes his head, smiles. WITWER Bullying the staff again, Director Anderson? ANDERSON Screw you. Anderson turns away and stares out a large window. Witwer joins him. ANDERSON -LRB- CONT'D. -RRB- Was that fun for you, yesterday? WITWER The Johnny Palmer bust? ANDERSON Yeah. WITWER It was okay. We got our man. Anderson takes a long breath. ANDERSON When do we not get our man? They turn as Ennis PAGE, 44, a thin, tight little man with burr cut hair, knocks and enters the room. He carries a black BRIEFCASE marked : `` Zone 218 - Washington/Alexandria, VA.'' The case is cuffed to his wrist. PAGE Sorry I'm late, sir. Precogs put out a heavy national volume this morning - four for our zone. ANDERSON -LRB- DISTRACTED. -RRB- Put the case on my desk, Ennis. Page hesitates, does n't do it. Anderson moves quickly to Page. ANDERSON -LRB- CONT'D. -RRB- What was I thinking. Anderson leans over the BRIEFCASE. A small panel recedes, a red laser scanner clicks on, scans Anderson's eyes, BEEPS affirmatively, then clicks off. The cuff on Page's wrist falls open. Now Page puts the case on Anderson's desk. Page hesitates. Anderson and Witwer know just what he's going to do. Page reaches down, unable to resist straightening a pile of papers strewn on Anderson's desk. Anderson and Witwer exchange knowing smiles. When Page looks up they try to cover, but are not quick enough. He frowns tightly, and heads for the door. Anderson calls after him. ANDERSON Thanks, Ennis. Witwer turns to leave, too. WITWER Now that's a guy who really cares. Witwer grins to himself as he walks out of the office. Anderson takes a deep breath and goes to his desk, and opens the briefcase. Four small bright DISCS sit in rows. He removes one, places it in a VIDEO MONITOR that lifts into view from the center of his desk. He sits back, weary, and watches. VIDEO SCREEN A young black woman stands in a hallway. She stares at a door, gun in hand. She opens the door, enters a bedroom. She glides toward a bed, where a man lies sleeping. She lifts the gun and fires it into his sleeping form. ANDERSON pops the disc, jots down some notes, pops in a new disc. VIDEO SCREEN A white woman stands at a stove, cooking. A man comes up behind her slowly, silently, a necktie taut between his hands. He raises the necktie toward her neck ANDERSON He's not watching the screen. He is out of his chair now, looking out the window.\",\n \"INT. PRECRIME MAIN LOBBY A tour of Precrime is in progress, like the public relations tours run by present - day FBI. The TOUR GUIDE, a pretty, smartly uniformed woman in her twenties, leads a group of adults and children, all with glowing nametags, through the building. TOUR GUIDE Welcome to the main headquarters of Precrime. Smaller Precrime branches are scattered throughout the United States. The group follows the guide slowly through the lobby. TOUR GUIDE -LRB- CONT'D. -RRB- Precrime was established in 2030, with the harnessing of the remarkable talents of the Precognitive mutants. She points cheerfully to a stubby little man, MR. HARRIS. TOUR GUIDE -LRB- CONT'D. -RRB- Mr. Harris, can you tell me how many Precogs there are? MR. HARRIS Three. Uh, right? TOUR GUIDE That's exactly right! A lot of people assume there are Precogs in every branch office. But there are only three Precogs, right here in this building. And the information they give us, we send out to all the other branches. -LRB- beat. -RRB- And what is that information - what do the Precogs do? An eager boy, TIMMY has the answer to that one. TIMMY They protect us. The guide tousles his hair. TOUR GUIDE -LRB- chipper voice. -RRB- That's right, Timmy. Because of the Precogs, you're going to grow up murderfree. Is n't that something? MR. HARRIS They ever wrong? The Precogs ever screw up when they predict a murder? The guide laughs tolerantly. TOUR GUIDE Never, sir. It's an infallible system. The Precogs predict a homicide, and our Precrime police then apprehend that future murderer before the event occurs. And right next door is the Judicial Center, where we prosecute the future murderers. TIMMY Can we see the Precogs? TOUR GUIDE No, I'm sorry. That part of the building is not open to the public. -LRB- beat. -RRB- Now, if you'll just step this way. She waves the group on toward an elevator.\",\n \"INT. THE PRECOG CHAMBER The chamber is an elaborate, hypertech hospital, constructed for the maintenance of three beings - the Precogs. They are triplets - two of the Precogs are male, one is female. Technicians swarm all over them like worker bees. The bodies of the Precogs are being tended to : exercised, cleansed, groomed. The head of each Precog is encased in a complex, ornate HELMET that seems to be an amalgam of organic tissues and bright metallics. The helmets pulse slightly, and the surfaces seem to flow and shift, like oil on water. A network of micro - thin cables that are actually strands of light, rise Medusa - like from each helmet, then centralize into a single strand, and connect to a massive mainframe computer. The Precogs appear to be in suspended animation, or in comas. They are absolutely still and limp - except for their faces. Their faces are in constant motion, the lips mouthing scenes from murders only they can see. Life for a Precog is an endless cycle of death. CLOSE ON - THE FEMALE PRECOG we recognize her fragile and perfect FACE from the opening scene of the movie. She floats in a glowing nutritive bath. Like her brothers, she seems to be eternally young, or eternally old. The technicians lift her from her bath. She is dried, dressed in a robe, then guided into an over - sized, throne like chair. Her brothers are guided into their thrones, on either side of her. Not once are their helmets removed. What they feed into the mainframe is too valuable. It must be gathered twenty - four unrelenting hours a day.\",\n \"INT. A ROOM Ennis Page sits in a room just off the Precog Chamber. He can see them through a large window. He works a large computer console, the gathering point for the information the Precogs constantly feed the computer. Perhaps every ten seconds, a small DISC is released by the computer, and mechanically gathered, sorted, and placed - under Page's watchful eye - into a black case. ANDERSON is in the room standing quietly behind Page. As Director, Anderson is authorized to come and go, but from his fussy movements, it's obvious Page sees anyone else in the room as an intruder in his special domain. Anderson turns and looks through the window at the Precogs. ANDERSON What would they think about if we unhooked them? Page looks up from his work. PAGE They do n't think, sir. They just see. Anderson is silent. PAGE -LRB- CONT'D. -RRB- They're not even alive, really. Anderson contemplates the scene, nods to Page's words, then turns and walks out of the room, as Page looks on.\",\n \"INT. THE PRECOG CHAMBER The female Precog sits in her chair. Her eyes are open. She faces the window that looks into Page's main frame room. In the window we see Anderson leaving the room. The female Precog's eyes drift closed.\",\n \"INT.COURTROOM - JUDICIAL CENTER -- DAY A trial is in progress. The defendant is Johnny Palmer. He sits, ashen, at a table, his DEFENSE ATTORNEY beside him. There are no jurors in the Juror BOX. There is a JUDGE, 55, and stern. There are a few people in the public seats. The Precrime prosecuting attorney is Lisa Anderson. She wears a black robe, and addresses the Director of Precrime, Anderson, who sits in the witness stand. LISA Director Anderson, do you swear that the disc you now present to the court is the only and authentic disc of the future murder of Carol Palmer by her husband, John Palmer? It is a ritual that they both have acted out hundreds of times. Anderson gives the rote answer as he holds up the DISC. ANDERSON Yes. This is the only and authentic disc of the event seen by the Precognitive mutants and recorded by the Precrime Division. This is the immutable evidence of the infallible system. LISA The murder of Carol Palmer will occur? ANDERSON In one week - June 16th, 2040 at 10:33 in the morning. Lisa steps back. The judge reaches out and Anderson hands him the disc. The judge inserts it into a special video machine on his desk. Anderson steps down, his ritual part in this trial completed. A huge MONITOR comes to life behind the judge. He does not turn around to watch - he has his own monitor. Johnny Palmer watches, eyes wide. We now see, in detail, what we previously heard the Precogs act out in the beginning of the movie. THE MONITOR The Palmer's family room. Johnny reaches into Carol's sewing basket for the scissors. Carol stands defenseless in front of him. Their son cowers in a corner of the room. CAROL Johnny, please - JOHNNY `` Johnny, please. Johnny please.'' CAROL You're scaring me. JOHNNY'S SON DADDY, DO N'T. DADDY Johnny approaches his wife with deadly menace. JOHNNY -LRB- considering. -RRB- I do n't like you any more, Carol. CAROL -LRB- imploring. -RRB- Put the scissors down. You're scaring me. Please. We cut away from the monitor and stay on JOHNNY PALMER'S FACE as he sits at the defense table. He winces at each terrible exchange. JOHNNY -LRB- O.S. -RRB- Oh, Carol. CAROL -LRB- O.S. -RRB- Johnny! Stop! JOHNNY -LRB- O.S. -RRB- Do n't grab at me! Let go. JOHNNY'S SON -LRB- O.S. -RRB- Daddy! No! Johnny Palmer cries out as the MONITOR goes blank. JOHNNY I did n't do it. I'm innocent! It did n't happen! The JUDGE hits his gavel. JUDGE How does the defense plead? The defense attorney glances at his watch, then quickly rattles off the words to his part of this judicial ritual. DEFENSE ATTORNEY The defense acknowledges the infallibility of the system. We are Guilty. We throw ourselves at the mercy of the court. JOHNNY No! No! The Precogs are wrong! No! The court guards are on him in an instant. They lead him out of the courtroom.\",\n \"INT.A BOARDING HOUSE - THE SPRAWL -- DAY Anderson pushes down a tight hallway thick with police and enters a disheveled room. The fifties interior is drab : a Formica table, bad curtains, a frayed Lazy Boy positioned in front of a TV. Ed Witwer is already on the scene. He stands a few feet from the BODY of a man, gunshot wound to the head, a handgun on the floor nearby. WITWER -LRB- to Anderson. -RRB- Looks like the old days. Anderson nods to his former partner. Anderson leans over the body. ANDERSON That would be bad news for an infallible system. Witwer is suddenly bored. WITWER We know it ca n't be a murder - the Precogs would've seen it. Why do you insist on coming to these things? ANDERSON Keeps the system honest. And besides, I like to pretend I'm a cop. Anderson turns to an officer. ANDERSON -LRB- CONT'D. -RRB- Who's got the Coroner? Another OFFICER steps forward with a large blue case. OFFICER Right here, sir. The officer places the case beside the corpse, and opens the latches. Inside the case is a large metallic APPARATUS : the `` Coroner.'' It comes to auto - life, and begins to unfold itself - It rises crab - like, and steps out of its case. Except for his mouth, the doctor does n't move. His projected image stands beside the body, his arms folded behind his back. He is the interface, the way the humans communicate with the crab apparatus. ANDERSON Hi DOC. HOLOGRAPHIC DOCTOR Hello, Director Anderson. The coroner crab begins to walk the body, which is face down on the floor. It moves slowly, hesitating as it crawls the body's back to insert various razor thin probes and core samplers through the shirt and into the spinal cord. WITWER This a homicide, Doc? HOLOGRAPHIC DOCTOR I'm presently analyzing neurohormones, Assistant Director Witwer. I have not concluded my examination. The crab engulfs the back of the head, probes the wound. HOLOGRAPHIC DOCTOR -LRB- CONT'D. -RRB- I'm detecting carbonization of skull fragments around the entry wound. Witwer whispers to Anderson. WITWER Bingo. The guy put the gun to his own head. HOLOGRAPHIC DOCTOR I have not determined that yet, Assistant Director. Witwer grins. WITWER You have good ears for a ghost, Doc. The coroner crab steps away from the body. HOLOGRAPHIC DOCTOR Please rotate the corpse to the lateral supine position. Two officers turn the body face - up. The crab inches close to probe the face. Disconcertingly, it lifts the eyelids, and examines the interior of the mouth, so that for a moment the manipulation makes the corpse seem alive. Then the crab moves down the trunk and the legs At last, it comes to a standstill. The holographic Doctor closes his eyes as if in thought. WITWER Can you imagine if this was a homicide? Who even knows how to hunt down a killer any more? Anderson gives him a hard look. ANDERSON I know how, dammit. You know how. WITWER Easy, partner. -LRB- beat. -RRB- But you know what I'm saying. The state legislatures are pushing to stop funding for training homicide detectives. ANDERSON God bless the Precogs. The Doctor opens his eyes. HOLOGRAPHIC DOCTOR This event is a negative homicide. A mortal wound was generated by a.22 calibre bullet self - delivered to the parietal ` portion of the skull on June 10th, 2040, at 11:57 pm, Eastern Standard Time. This event is a positive suicide. The holographic doctor begins to shimmer, then disappears back into the coroner crab. The crab crawls back into its case, folds its probes and legs tight to its metal body, and shuts down. Witwer turns to Anderson. WITWER It's time to stop coming to these, partner. Anderson watches as the med techs lift the body onto a stretcher. ANDERSON Yeah. You're right.\",\n \"INT. A BANQUET - WASHINGTON, D.C. -- NIGHT Anderson, in black - tie, with Lisa in a shimmering blue gown at his side, moves through a huge room filled high level government officials and politicians. ANDERSON A little bit of me dies every time I come to one of these things. LISA It's only a party, Paul. ANDERSON I'd never have let them appoint me to Precrime if I'd have known this was going to be part of it. LISA You're exactly what Precrime needed. An amazing homicide cop and a real person in an unreal job. ANDERSON Exactly. LISA The public loves the Precogs. But they give people the creeps, too. You're something they understandp a regular cop running things. Anderson sighs as he looks around the elegantly appointed banquet hall. ANDERSON Let's invite all these irregular assholes over for a barbecue. Burgers and beer - think they'd come? A barrel - chested man with a great shock of pepper gray hair, SENATOR MALCOLM, 58, takes hold of Anderson's elbow from behind. SENATOR MALCOLM I'd come, Mr. Director. And I'd make all the other assholes come with me. Lisa reddens, Anderson gives an embarrassed cough. The Senator laughs and claps him on the back. SENATOR MALCOLM -LRB- CONT'D. -RRB- Nice job this morning. Another negative homicide. The Precogs never let us down. Mrs. Malcolm smoothly occupies Lisa, while the Senator eases Anderson in the opposite direction SENATOR MALCOLM I have a dream, Paul. ANDERSON I know you do, Senator. SENATOR MALCOLM Hundreds of Precogs. Not just predicting murders, but predicting all crimes. Burglary, arson, assaults. ANDERSON How about jaywalking? Littering? Now there's a crime. The Senator smiles through his teeth. SENATOR MALCOLM I do n't want a police state, you know that. But we have an opportunity here, and ANDERSON No sir, we do n't have that opportunity. There are only three Precogs. They're a lucky accident of nature. There are no more. SENATOR MALCOLM -LRB- beat. -RRB- We can make more. Just give me your support. Help me increase funding for the Precog Engineering Project. ANDERSON Precogs are n't sheep or pigs. Seeing into the future is a gift, a nonreproducible event. There was only one Mozart, and there are only three Precogs. SENATOR MALCOLM Fuck Mozart. The people want to be safe. They want that more than they want food or love. He gestures at the room full of glittering partygoers. SENATOR MALCOLM -LRB- CONT'D. -RRB- Look at us - it's 2040 and we've wrapped ourselves up in the 1950's like a big security blanket. Why? Because we want to feel like they felt. Safe. ANDERSON Senator, a world filled with hundreds of Precogs is not my idea of a safe place. The Senator gives it one last shot. SENATOR MALCOLM Sure could use your help, Paul. ANDERSON I decline, Senator. I'm sorry. SENATOR MALCOLM -LRB- icily. -RRB- Do n't think I'll come to your barbecue after all. The senator moves off. Anderson stands stiffly among the sea of black - ties and exquisite fifties dresses.\",\n \"INT. PRECOG ENGINEERING LAB - CHEVY CHASE, MD DAY Anderson walks through the lab with a tall, pale man, DR, RESFIELD, 60, the head scientist. It is not a place that warms Anderson's heart. Biotechnicians work at long stainless steel tables dissecting and examining protoplasmic tissue masses. Other technicians peer through massive microscopes. Still others use robotic arms to manipulate radioactive organics behind leaded - glass barriers. DR. RESFIELD You do n't get out here much. ANDERSON Not my sort of place. Dr. Resfield emits a dry little laugh. DR. RESFIELD The head of Precrime squeamish? ANDERSON When it comes to needles and scalpels, yeah. DR. RESFIELD I promise we wo n't use any on you. ANDERSON What do you use them on? DR. RESFIELD -LRB- beat. -RRB- On bits of this and that. Anderson looks at him. The doctor pauses outside a thick door. An IdentiScan device quickly reads their eyes, and the door opens with an electronic hiss. Anderson looks around the lab. Technicians lower mesh cylinders into some sort of chemical VAT. Another technician turns a dial, and an electric charge courses through the roiling liquid. ANDERSON What's happening here? DR. RESFIELD We're in an interesting phase. ANDERSON What's in the cylinders? DR. RESFIELD Neurotissue. ANDERSON From? DR. RESFIELD A fusion of sources. From the Precogs' deceased mother. From the Precogs themselves. ANDERSON A fusion of? DR. RESFIELD In lay terms, we mated sperm from the brothers with ova from the mother and sister to create new growth. The CYLINDERS shudder as the voltage is increased. DR. RESFIELD -LRB- CONT'D. -RRB- And then we add mutating variables. Anderson stares into the roiling vat. Dr. Resfield waits for more questions. But it is clear from Anderson's expression he has already learned enough.\",\n \"INT. ANDERSON'S OFFICE -- DAY Anderson sits in his office reviewing Precog discs for premurders in the local Washington area. We stay on him as he watches the monitor. He pops the disc, jots down some notes, slides in the next disc. Anderson's mouth slowly opens. He leans close to the monitor, his face ashen.\",\n \"EXT. FRANK D'IGNAZIO'S BACKYARD -- LATER Frank is on his hands and knees, working his vegetable garden. He whistles softly under his breath as he trowels the rich soil. He sits up as he hears someone open the garden gate. He lifts his straw hat in greeting, gives a smile. It's ANDERSON. FRANK D'IGNAZIO What are you doing, playing hooky? Anderson tries to smile. But it wo n't come. He looks around the abundant garden. ANDERSON It's great out here, Frank. You got the touch. Frank straightens with a grimace. FRANK D'IGNAZIO I got the arthritis, is what I got. Anderson reflexively looks up at a high WHINING sound from over head. Frank follows his gaze. A Precrime HOVERCRAFT glides into position overhead. Frank stares, then lowers his eyes to the ground. He takes a long sad breath. FRANK D'IGNAZIO -LRB- CONT'D. -RRB- Ah shit, neighbor. -LRB- beat. -RRB- Goddamn Precogs do n't miss a beat, do they? -LRB- beat. -RRB- Can we do this inside? Ellie's not home. Anderson's voice is full of pain. ANDERSON Sure, Frank. Yeah.\",\n \"INT. FRANK'S KITCHEN -- MOMENTS LATER Frank wanders the kitchen, trying to focus on his situation. Anderson has trouble meeting his friend's eyes. Through a window we can see black suited police officers with mirrored helmets swarming outside Frank's house. FRANK D'IGNAZIO -LRB- distracted. -RRB- I thought I'd buried it all. Thirty - five years - all those minutes and days to bury it. -LRB- beat. -RRB- But suddenly you see the man who murdered your daughter walking the streets - my God it throws you. Frank stops pacing. He stares at a kitchen drawer. ANDERSON He'd served his time, Frank. I know it's not fair. It's way beyond not fair. Frank looks. At Anderson bitterly. FRANK D'IGNAZIO -LRB- yells. -RRB- God damn the Precogs. You know? Why could n't they have been around to save my girl? -LRB- softly. -RRB- Now they're catching me. Frank reaches into the drawer and pulls out a small handgun. FRANK D'IGNAZIO -LRB- CONT'D. -RRB- I really shoot the bastard, huh? When? ANDERSON Next Wednesday, at noon. FRANK D'IGNAZIO Good. Anderson's cop eyes are all over the gun. ANDERSON It's not in you, Frank, to kill anybody. FRANK D'IGRAZIO Tell it to the Precogs. It's set in stone now, right? Frank puts the gun on the kitchen counter. Anderson relaxes. FRANK D'IGNAZIO -LRB- almost inaudible. -RRB- I do n't want to be a part of this world anymore. ANDERSON I know, Frank. Frank gives Anderson a look - no, friend, you do n't know. Then Frank looks hard at the gun on the counter. FRANK D'IGNAZIO -LRB- beat. -RRB- So. Tell me, Paul. Do the Precogs see everything? ANDERSON No. FRANK D'IGRAZIO Then they wo n't have seen this. Frank suddenly snatches up the gun and presses it to his own head. On Anderson's anguished FACE, at the SOUND of the gun going off.\",\n \"EXT. FRONT YARD -- LATER Anderson stands with his old partner, Witwer, on Frank's front porch. Behind them, through an open door, we see Lisa comforting Ellie D'Ignazio in the living room. Anderson is deeply shaken. Witwer tries to talk him through it. WITWER -LRB- GENTLY. -RRB- We had to bring him in. Anderson does n't respond. WITWER -LRB- CONT'D. -RRB- He was a future murderer. ANDERSON -LRB- angrily. -RRB- You blame him? The guy killed his daughter! Witwer lets the implication of his words sink in. ANDERSON -LRB- CONT'D. -RRB- Yeah. I know. I know. Anderson turns and watches as they wheel Frank's draped body into the back of an ambulance. Anderson's bitterness erupts. ANDERSON -LRB- CONT'D. -RRB- I hate the Precogs, Ed. I believe in them absolutely and I hate them absolutely. Jesus. Witwer listens to him. ANDERSON -LRB- CONT'D. -RRB- And that goddamn lab trying to grow more of them. Put a Precog in every home, you know? So we can have more Franks - people shooting themselves - over who knows what? Witwer kneads Anderson's shoulder, talks to him in soothing tones like you'd calm an agitated horse. WITWER Precrime did the job it was supposed to do. The two men can hear Ellie sobbing inside the house. WITWER -LRB- CONT'D. -RRB- You know it. And you believe in it. ANDERSON -LRB- BEAT. -RRB- Yeah. WITWER It's not easy. It beats us down. Ellie in there - no doubt she hates you right now. Anderson turns to Witwer. ANDERSON That's why I got into this business - to be hated. Anderson almost manages a small smile. Witwer puts his arm around him. Walks him away from the scene. WITWER They hated us when we were regular cops. Now we're Precrime, and they still hate US. It's one of the little perks of law enforcement nobody knows about. Their quiet laughter is tinged with sadness. Anderson looks into his partner's good, open face. Then they both look away, their understanding of each other complete.\",\n \"INT. ANDERSON'S BEDROOM -- LATE NIGHT Anderson stares out the window at Frank's house, illuminated by the moon. It's a mournful sight. Lisa rises on an elbow and watches him from the bed.\",\n \"INT. PRECRIME HEADQUARTERS-ALEXANDRIA-DAY - ONE WEEK LATER Ennis Page, in the mainframe room just off the Precog Chamber, picks up a black BRIEFCASE marked : `` Zone 218 Washington / Alexandria, VA.'' He approaches the door, and his eyes are scanned. The door opens with a HISS. We follow Page as he walks through doors and corridors until he reaches a long hallway leading to the Director's office. Anderson's secretary, Angela, looks up on Page's approach. She nods. He nods. He walks around her desk. His eyes are scanned, and the door to Anderson's office opens. ANDERSON looks up, wearily.\",\n \"INT. ANDERSON'S OFFICE -- LATER Anderson inserts a disc into the video monitor, almost absently. As we have seen him do before, he swivels his chair away from the monitor, and stares at Washington D.C. across the Potomac. Hovercrafts and transports skim through the sky above the Washington Monument. The camera stays on Anderson's back as the sound from the Precog disc begins. He hears his own voice speaking in strained, agitated tones. ANDERSON -LRB- O.S. -RRB- Let's not do this, Ed. Anderson slowly swivels around and stares with disbelief and horror at the monitor. THE MONITOR shows Anderson and Witwer in a room, a few feet apart pointing guns directly at each other. Their eyes intense and panicked. Who murders whom? Ed's eyes cut to a huge digital clock on the wall as the red seconds tumble away. ANDERSON Oh, Ed. Witwer lowers his gun. He stands unresisting before Anderson. Witwer sees his own death in Anderson's wild eyes, has always seen it. Anderson FIRES his weapon, puts a bullet straight into Witwer's heart, throwing him back against a wall. Witwer slumps, dying, beneath the huge digital clock, which reads : 5:20 AM. BACK TO SCENE Anderson stares as the monitor fades to a blank. His hand goes to his mouth. His body begins to shake. He hugs himself, but he ca n't stop the shaking. The DISC pops out of the side of the monitor. It is a small SOUND, but it has Anderson up and out of his chair as if it were a gunshot, He reaches for the disc but can not touch it. His legs suddenly weaken, and he drops to one knee beside his desk, like a man in need of prayer. There is a single thought that screams through his brain. It is an almost visible thing, filling the room, blackly. Anderson whispers the sickening words that shape his fate. ANDERSON -LRB- CONT'D. -RRB- I kill you. -LRB- beat. -RRB- Oh god, I kill you. As Anderson pulls himself up, and tries to reach again for the disc.\",\n \"INT. THE PRECOG CHAMBER In an image just like the scene in the beginning of the movie, the three FACES of the Precogs hover in the misty darkness. Their closed eyes open in SUDDEN UNISON. They speak as one. ALL THREE Murderer! After a long moment, the eyes close again, and the Precogs fade into the mists.\",\n \"INT. ANDERSON'S OFFICE Anderson looks up sharply at the SOUND of a knock on his door. Every normal sound seems grotesquely AMPLIFIED, the traffic outside, his own breathing. His senses are on overload. The door begins to open. A stockinged leg is the first thing Anderson sees. His secretary, ANGELA. ANGELA Sir? She hesitates before fully entering the room, Anderson grabs at the incriminating disc. He sees his EYES reflected in its alloy surface. He pushes the disc deep into his pants pocket. Somehow he finds his voice. ANDERSON Come in. Angela. She looks at him, uncertain. Then she places a small stack of papers on his desk. ANGELA Need you to sign these. And your eleven o'clock starts in five minutes. ANDERSON My. eleven. ANGELA -LRB- beat. -RRB- Budget coordination with the FBI. -LRB- beat. -RRB- You okay, sir? Anderson runs his hand through his hair, ca n't think fast enough. He sees her glance at the black Precog disc case. He shuts it, awkwardly, and it auto - locks. ANDERSON Have Page take this. Angela steps back, disturbed. ANGELA But sir, the procedure ANDERSON -LRB- SNAPS. -RRB- I make procedure. Call him. -LRB- long beat. -RRB- I'm not okay, Angela. you're right. My head and stomach. I'm going down to the clinic. Or maybe just home. Angela looks relieved at the explanation. ANGELA Yes sir. He moves past her. His FINGERS fidget against the hidden disc in his pocket. ANDERSON I'll speak to Witwer, put him in charge for the rest of the day. He hesitates at the door, turns to look at his office, and at his view of Washington. Then he is gone.\",\n \"INT. OUTSIDE WITWER'S OFFICE -- MOMENTS LATER Anderson looks in the door Of Witwer's empty office. He takes a step inside. Witwer's booming voice sounds from behind him, startling him. WITWER Breaking and entering. That'll get you five to ten, hard. Witwer immediately scans his old partner's ashen face. WITWER -LRB- CONT'D. -RRB- What's wrong? Anderson can hardly bear to meet his friend's eyes. He REACHES into his pocket, as if to lift the disc into the light. If he could just do that, show it to Witwer. WITWER Paul? Anderson's hand comes out of his pocket, EMPTY. ANDERSON Take over for me today? WITWER You sick? ANDERSON Yeah. Witwer makes a show of backing away. WITWER Do n't give it to me. You probably have that Trans - 10 virus going around. A stomach thing. I hate stomach things. Anderson Almost smiles. ANDERSON Ed. WITWER Yeah? Witwer looks at him. Anderson almost reaches out for him. ANDERSON Run the place, okay? WITWER -LRB- smiles. -RRB- Sure. Right into the ground. -LRB- beat. -RRB- Go on home before I call Infectious Control and have them spray you down with something. Anderson moves unsteadily down the hallway. Witwer calls out. WITWER -LRB- CONT'D. -RRB- You want me to do the discs, or hold them for you to review when you get back? ANDERSON Ca n't let them back up. Do'em. WITWER Call you later. Take it easy, all right? Witwer lifts his hand in farewell, Anderson fixes on that last image - Witwer waving goodbye.\",\n \"INT. PRECRIME UNDERGROUND GARAGE -- LATER Anderson, sweating now, leans against a thick cement pillar and pulls out a cell phone. He hits a button. INTERCUT BETWEEN ANDERSON / LISA AT THE JUDICIAL CENTER Lisa sits in a meeting. Her phone CHIRPS softly. She glances at the display, then rises to take it. She goes to a corner of the room. LISA Paul? ANDERSON Listen to me. Lisa presses her phone close to her ear. LISA I can hardly hear you. ANDERSON I'm underground. Weakens the signal so it ca n't be picked up. Alarm moves across her face. LISA But we're on Secure ANDERSON Listen, dammit! I'm going to murder Ed. The Precogs picked it up. On Lisa - can she have heard right? LISA Paul. Paul His crackling voice faintly comes through the phone. ANDERSON'S VOICE home. Lisa's phone goes dead. BACK TO ANDERSON Anderson looks down a long row of parked Precrime ground transports. They are sleek and menacing, the black shells lumpy with dangerous gadgetry. In the distance, a POLICE OFFICER, holding an armful of equipment, opens the back of one of them. He looks up at Anderson's approach. He puts his equipment down, and salutes. POLICE OFFICER Hello, sir. Anderson nods, moves close. ANDERSON What's your name, officer? POLICE OFFICER Bob, uh, Robert Smythe. ANDERSON These the new Python transports? The young officer turns and looks at the transport with pride, is about to speak, when Anderson touches a palm - sized Nova stun gun to the base of his neck. ANDERSON -LRB- CONT'D. -RRB- -LRB- sincerely. -RRB- Sorry, Officer Smythe. The officer buckles. Anderson catches him, rolls him gently into the back of the transport. Then Anderson quickly reaches into the transport, and begins stuffing equipment into a duffel bag : a helmet and black uniform, the weapon - glove, a folded rifle, a holographic scanner, and other equipment whose function we can only guess at. Anderson looks up at a sound, echoey FOOTSTEPS. They approach, then fade away. Anderson places the officer's hands and legs together, then aims a nozzled cylinder at them. He shoots a spray of blue BindFoam chemical restraint, sticking the man to the floor of the transport in an adhesive glob. Then he leaves the scene, running.\",\n \"INT. ANDERSON'S CHEVY Anderson grips the wheel of his Chevy, driving down 1 - 95. The fact that he ca n't control his car - that the steering wheel has no function, his speed is predetermined, and his direction is guided by satellite - is maddening now. From inside the cars that glide along beside him people turn and look curiously at the man who is actually gripping his steering wheel. Anderson slams it with his fist. Through his windshield Anderson sees a four year old boy in the driver's seat of a passing red and black Ford. His mother sits in the passenger's seat, blithely reading. The boy mimics Anderson, gleefully slams his steering wheel too, then laughs. Anderson turns and looks the other way, into the distance, at the `` Sprawl,' the vast unzoned city attached to Washington D.C.. You can see it in his face : a man could lose himself in there.\",\n \"EXT. POTOMAC PARK Anderson stands on an embankment. He holds the Precog disc in his hand, ready to throw it into the river. He stands like that. and then slowly lets his hand drop. He does n't do it.\",\n \"INT. ANDERSON'S HOME - SUBURBS -- LATER Lisa enters the house, in a rush. Every shade is drawn. Paul Anderson sits in an overstuffed chair, absolutely motionless, like a man who has died suddenly. ANDERSON Do n't move. Lisa does n't get it. She continues toward him. ANDERSON -LRB- CONT'D. -RRB- Stop! Moving heats you up, makes it easier for them to pick you up on their thermals. She looks at him, scared, stops in her tracks. She is suddenly suffocating. LISA It's a hundred degrees in here. ANDERSON I turned the furnace all the way up. Your hair dryer. The oven. If they come, it'll buy me twenty seconds. Maybe thirty. LISA Nobody's coming for you. Anderson stares at her. LISA -LRB- CONT'D. -RRB- On the phone - what you said. It's impossible. She shakes her head in disbelief. Anderson speaks, choking on the words. ANDERSON I'm going to kill Ed Witwer. LISA It's not true. Anderson's right hand hangs over the side of his armchair. We see the bright DISC cupped in the palm. He seems about to reveal it to her, but does n't, yet. He keeps staring at her intently. Something is holding him back. LISA -LRB- CONT'D. -RRB- You're upset. You've been unhappy. There's a lot of pressure on you. And then Frank. ANDERSON One week from today. Tuesday, June 25, at five - twenty in the morning. I shoot him, Lisa. LISA -LRB- beat. -RRB- You need to take time off. Anderson laughs harshly. ANDERSON You do n't have to worry about that. She steps toward him. LISA -LRB- gently. -RRB- I want to hold you. ANDERSON If you love me, stand there. And do n't move. Tears well in her eyes. ANDERSON -LRB- CONT'D. -RRB- I saw the disc, Lisa. I shoot him. In the chest. And he dies. I've watched a thousand murders. This time I star in one. LISA Something's wrong. You would n't do it. ANDERSON The Precogs are never wrong. They emit a single disc. `` The immutable evidence of the infallible system.'' The room is terribly hot, his words - she begins to sway unsteadily. Anderson focuses on her. Her face. Her hair. LISA We'll figure this out. We'll review the system. ANDERSON There is no review. There's only the disc. It Shows My guilt. There's no defense. Her long hair. He stares. LISA You ca n't run. Please, let's - A SOUND outside. They both turn. A deep silence. The furnace churns out heat. And Anderson looks at Lisa's hair. and finally understands. Slowly, and very carefully, Anderson slides the DISC back into his pocket. He rises from his chair. For the first time he goes to her, reaches out, and touches her hair. ANDERSON Last week. It was strange. I watched from the bathroom window. You went out in the backyard to make a call. She looks at him. ANDERSON -LRB- CONT'D. -RRB- An appointment, you said. For a haircut that afternoon. Lisa's hand jumps to her hair. ANDERSON -LRB- CONT'D. -RRB- You did n't get your hair cut. You went to the trouble of calling first thing in the morning. It was that important. She reaches for him. He pulls away. LISA Stop it! Paul, please. You're panicking. Everything's going to look wrong. You're going to distrust everybody and everything now. Lisa implores him. LISA -LRB- CONT'D. -RRB- You ca n't distrust me. -LRB- beat. -RRB- It was Ed I called. Anderson cocks his head. ANDERSON Ed. why outside? Why lie about it? LISA Stop being a cop and listen to me! A booming, electronically altered VOICE suddenly penetrates the walls of the house from outside. VOICE -LRB- O.S. -RRB- Director Anderson! There is no escape! Anderson, betrayed, glares at his wife. She's frantic. LISA Your birthday's tomorrow! We wanted to. But be's already on the move, running for the upstairs. VOICE -LRB- O.S. -RRB- Drop to your hands and knees and stay there. Precrime is entering your house! Lisa screams, as her front door is sonically BLASTED off its hinges, and a swarm of Precrime officers in mirrored helmets hurtle in. LISA Paul! They move past her and spread through the rooms and up the stairs like a disease in fast motion. UPSTAIRS Helmeted officers hold their gloved right bands palm out, scanning rooms for thermal presence. An OFFICER 1 steps out of a small room. He speaks, his voice electronically altered. OFFICER 1 He's got a hair dryer going. Screwed up my reading. The others nod. OFFICER 2 We're not picking up shit. They rush into rooms, with increased urgency. We follow OFFICER 1 as he moves counter to the group and down the stairs. He hesitates as he moves through the living room, which is awash in personnel. Lisa stands against the wall, pale and shaken. He looks at her for a long beat, then steps over the shattered door and out into the sunlight. OUTSIDE Everywhere else in the neighborhood it is green and calm. But Anderson's house looks like a wasps's nest someone has kicked. Four Precrime hovercrafts are suspended above it, engines WHINING. Black Python transports are all over the street out in front, and more keep coming. And everywhere on foot, there are Precrime police. OFFICER I approaches a Python ground transport. Another officer guards it, weapon out, his head turning right to left. He settles on OFFICER 1's approach and raises his weapon. OFFICER 1 does n't even break stride. He walks right up to the guard - and then right through him. A holograph decoy. OFFICER 1 enters the Python. INSIDE THE PYTHON OFFICER 1 removes his helmet - it's Anderson. And then comes the moment of truth - have they cancelled his IdentiScan access to Precrime vehicles yet? A little scanner arm arches down from the visor, and flashes a red beam into his eyes. Anderson presses his lips together. The Python turns on, and a generated voice greets him. VOICE Paul Anderson 0256 clear. Anderson grips the steering wheel. But his time, since it is a law enforcement. Vehicle, the steering actually works. Anderson pulls out. FROM ABOVE, as the Python transport slips away from the chaos. THEN HIGHER, and we see that the direction the Python is headed will take it from the green of the suburbs, through the white of Washington, and into the dark of The Sprawl.\",\n \"INT. PRECRIME HEADQUARTERS -- DAY Ed Witwer sits alone in an antechamber. He stares at an oversized oak door, then looks down at the floor. He runs both hands through his hair. He is tired, his eyes weary, lost. A voice comes over the intercom. VOICE Enter now please, Assistant Director Witwer. Witwer pulls himself together, and opens the door.\",\n \"INT. A CONFERENCE ROOM Witwer takes a seat at the end of a long table. Powerful men sit at the other end of the table. SWANSON, sharp - boned, the FBI Director. CRONIN, awl - like eyes, the CIA Director. Senator Malcolm. Chief Justice POLLARD, whose face reveals nothing. Vice - President ALMER, whose tongue darts across his dry lips unsettlingly. Unpleasant looking men in an unpleasant mood. Cronin looks up from a printout he's been reading and stares at Witwer. CIA CRONIN The central question is : Why does Anderson want to kill Witwer? Cronin holds up the printout. CIA CRONIN -LRB- CONT'D. -RRB- We checked your finances. His finances. Nothing irregular, you do n't steal from him, he does n't steal from you. You have n't done anything that he might have discovered, and vice versa. Swanson holds up another sheath of papers. FBI SWANSON Personnel checks reveal no ambitious coups planned by you to topple him. -LRB- beat. -RRB- He's done nothing to you, or you to him. Witwer presses his lips together. VICE-PRESIDENT ALMER You fucking his wife? WITWER No. FBI SWANSON HIS MOTHER? HIS BROTHER? Witwer gives him a bad look. FBI SWANSON -LRB- CONT'D. -RRB- Okay. There we are. JUSTICE POLLARD So, you are friends, partners, and soul mates. Anderson has no motive. WITWER I ca n't think of one. -LRB- beat. -RRB- Maybe JUSTICE POLLARD The Precogs are mistaken? Witwer looks away. Jesus, he wants out of this room. JUSTICE POLLARD You do n't believe that, do you? WITWER -LRB- barely audible. -RRB- No. The Precogs are infallible. Senator Malcolm is impatient with all this. SENATOR MALCOLM You're goddam right. So, gentlemen - screw the motive. We got a pre - murderer on the run, and a nasty little PR problem. The very powerful men level their unpleasant gazes on Witwer. VICE-PRESIDENT ALMER And here is our solution. You are now Director Witwer. Witwer shakes his head, starts to protest. Almer silences him with a raised finger. VICE-PRESIDENT ALMER -LRB- CONT'D. -RRB- Precrime must demonstrate its willingness to go after one of its own. Total impartiality. WITWER Now look - Cronin talks right over him. CIA CRONIN The public must believe that every future murderer is pursued with equal vigor. FBI SWANSON Therefore, Precrime will put in charge the man best suited to the job. And who would pursue a murderer harder. than his intended victim? JUSTICE POLLARD You went after Anderson yesterday - because it was right, and because you believe. Almer speaks with a tight irony. VICE-PRESIDENT ALMER And your belief will certainly grow stronger with each tick of the clock. Witwer looks at the men with thinly - veiled hatred. But he does not deny their words. JUSTICE POLLARD Haw long will it take, Director? Wiltwer takes a long breath, concentrates his mind on the task he ca n't avoid. WITWER He knows Precrime, of course. And the streets - he's rusty, but he'll remember how to work them. It'll come back to him fast. He's. the best. Witwer almost smiles. Justice Pollard's not smiling. JUSTICE POLLARD We're not here to praise Caesar - we're here to bury him. Witwer looks at Pollard, then lifts a finger and touches his right eye. WITWER He ca n't avoid iris identification. Every door he opens, every ATM he uses, or taxi or transport he boards - he'll get scanned. -LRB- quietly. -RRB- It wo n't take long to find him. The eyes that look back at Witwer are unblinking.\",\n \"EXT. THE SPRAWL NIGHT The unzoned city is full of 1950's iconography, but it all feels different than it did in the suburbs. Where the burbs were Ike, the city is Joseph McCarthy. The fat Ramblers and Studebakers have a little grime on them. The women's dresses are tighter and more urgent, the men's suits have some shine at the elbows. You look over your shoulder here, move faster, and smile a lot less. And some streets you do n't go on at all. Anderson's Python moves down one of them. He stops under a blackened suspension bridge, gets out. He's still in uniform. He holds a duffel bag. He starts to walk away from the Python, then hesitates. He's left the door open. He shakes his head at his sloppiness. Goes back and shuts the door. Walks away again. INSIDE THE CAR He's left a small DEVICE on the passenger's seat. Digital numbers shoot by in reverse. Something CLICKS. OUTSIDE THE CAR Anderson continues walking away. He does n't look back as the Python is engulfed in a miniature sun of heat and flame. It's not a gasoline powered vehicle - so it does n't explode. It just ceases to exist.\",\n \"EXT. ORANGE DRY CLEANERS - -- NIGHT LATER Through a smeared window Anderson sees racks of suits and dresses hanging in clear plastic bags. He gets to work on the door.\",\n \"INT. ANDERSON'S HOUSE -- NIGHT Lisa lies in her bed, alone in the dark. She listens to an almost inaudible sound, a high WHINE.\",\n \"EXT. ANDERSON'S HOUSE A Precrime HOVERCRAFT floats high above her house, a dark moon in the low clouds.\",\n \"EXT. ORANGE DRY CLEANERS -- EARLY MORNING A worker stands in the back of the store puzzling over the clean clothes piled on the floor. It almost looks like a nest, like someone slept there\",\n \"EXT. SUBWAY LATER Anderson, in a blue suit and fedora, carrying his duffel bag, stands on a subway platform. He takes out a cell phone, dials a number. He looks up at the SOUND of a train. The approaching MagLev train has a lit sign on its front car : `` 33rd Street Express.''\",\n \"INT. PRECRIME HEADQUARTERS Search and Command room. Witwer moves up and down the aisles, past technicians who man computers and holographic tracking displays. A Precrime TECHNICIAN 1 suddenly sits upright. Witwer picks him out of the crowd and zeroes in. TECHNICIAN It's Anderson. Witwer grabs a phone, punches a button WITWER Paul! The technicians scramble to pinpoint Anderson on a Glowing holographic MAP.\",\n \"EXT. SUBWAY STATION Anderson, holding his phone, is IdentiScanned along with everyone else as he steps onto the train.\",\n \"INT. PRECRIME HEADQUARTERS Another TECHNICIAN 2 calls out to Witwer. Witwer covers his phone mouthpiece. TECHNICIAN 2 He's been Scanned. He's on the 33rd Street Subway! TECHNICIAN 1 Calls from the other side of the room TECHNICIAN His cell phone tracks for The Sprawl. We got him on the Subway, too!\",\n \"INT. SUBWAY CAR Anderson sits on a seat in the rear of the car. ANDERSON Why am I going to kill you, Ed? INTERCUT : ANDERSON ON THE SUBWAY / WITWER AT PRECRIME WITWER There's no motive ANDERSON My wife calling you before breakfast? WITWER We were planning a surprise party. It was going to be today. -LRB- beat, ironic. -RRB- Happy birthday, partner. ANDERSON This party's no fun, Ed. It's a hell of a surprise, though. -LRB- beat. -RRB- I'm having trouble trusting people, Ed, I got ta tell you. At Precrime, they upload a MAP DISPLAY of the Express train's route. We see a blue light moving - the train. And two separate red dots along its route. An OFFICER points at the dots, and speaks to Witwer in a low voice. OFFICER The train makes two stops, here and here : 20th, then 33rd Street. Witwer covers the Mouthpiece WITWER -LRB- to the officer. -RRB- Split the units, go to both OFFICER We'll never make 20th Witwer waves him away - do your job. Now. ANDERSON You there, Ed? WITWER I'm here. You got ta come in, Paul. ANDERSON I'm a Cop, Ed. I need a motive. WITWER Come in. We'll figure this thing out together.\",\n \"EXT. THE SPRAWL Precrime transports zoom through the city\",\n \"INT. THE SUBWAY TRAIN Anderson looks out the window into the tunnel dark. He talks to Witwer. INTERCUT : ANDERSON/WITWER WITWER It'll get ugly if you keep running. And your eyes, Paul - every move you make a Scanner will pinpoint you for us. ANDERSON I saw a news flash. You're the new Director. Is that the point of this? WITWER Fuck you. Anderson smiles. ANDERSON Did n't think so. But it has to be something, Ed. Witwer looks at the DISPLAY MAP. We see the blue train nearing its first stop, 20th street. We see two waves of lighted green dots - Precrime units heading for 20th and 33rd. WITWER Paul. Come in. Anderson sees an overhead light come on in the train : `` Next Stop 20th Street. ANDERSON If I come in, it puts me close to you. If I get close. I may kill you. I ca n't risk that. -LRB- beat. -RRB- Anyway, they'd force you to lock me up. And that'd be it - I'd never get my chance to solve this thing. Witwer needs to keep him talking WITWER You're kinds liking this, in a way, are n't you? The action. ANDERSON And you get to be a real cop again. We get to flex our muscles.\",\n \"EXT. 20TH STREET SUBWAY STATION Precrime vehicles pull up. Hovercrafts appear in the sky above.\",\n \"INT. 20TH STREET SUBWAY STATION Anderson's train is just finishing off - loading passengers. The doors close and the train begins to pull out as the first helmeted Precrime officers flood the platform. One of them points. CLOSE ON : A TRAIN WINDOW Anderson is visible through the window, talking on his cell phone.\",\n \"INT.PRECRIME HEADQUARTERS Witwer stares at the map. The train has stopped at 20th street. But Anderson's still talking. He is n't getting off - he's going on to 33rd Street, the last stop. Technician 2 presses his earphone close, listens, then calls over to Witwer. Witwer covers his mouthpiece. TECHNICIAN 2 We have visual verification - he's still on the train. Witwer gives him a thumb's up. We STAY ON Witwer as he listens to Anderson, and watches his train move toward 33rd on the MAP. ANDERSON'S VOICE I want to tell you something, partner. You listening? Witwer nods. Now the MAP shows all the Precrime units swarming toward the 33rd Street subway station. WITWER Yeah. ANDERSON'S VOICE I got ta do this. I have to figure this thing out. -LRB- beat. -RRB- But listen to me now. If it was you running, I'd come after you, Ed. Witwer stares at the MAP, at all the units he's sent after his friend. ANDERSON'S VOICE -LRB- CONT'D. -RRB- You're a cop. And I'm a future murderer. -LRB- beat. -RRB- Do your job, Ed. Come after me hard. Because, Jesus Christ, I would n't sleep or eat until I had tracked you down and put a gun to your head.\",\n \"EXT. 33RD STREET SUBWAY Precrime officers pour down the stairs toward the train platform.\",\n \"INT. PRECRIME HEADQUARTERS Witwer watches on the MAP at all the little symbols merging together, like a gameboard - but this game ends in a reallife confrontation between one man and an army of them. WITWER You would n't shoot a cop would you, Paul? -LRB- beat. -RRB- Paul? Paul? He looks urgently to the phone technician TECHNICIAN 1 He's still on the line. Witwer presses his ear to the phone. He can hear the subway make its STOP. Then he hears a chorus of mechanized VOICES - the voices of the Precrime police, the SCREAMS of panicked passengers VOICES ON ANDERSON'S PHONE Police. Everyone down on your hands and knees! -LRB- then. -RRB- Oh, shit.\",\n \"INT.SUBWAY TRAIN The Precrime officers aim the index barrels of their gloveweapons at ANDERSON, who sits blithely on a seat, holding his cell phone to his ear. Anderson begins to shimmer, then dematerialize ghost - like, into nothingness. He was a holographic decoy. What is actually there on the train seat is Anderson's cell phone. Rigged to its mouthpiece is a tiny digital voice recorder.\",\n \"INT. 20TH STREET SUBWAY Anderson trots up the stairs and safely out onto the streets of The Sprawl.\",\n \"EXT. STREET - THE SPRAWL -- NIGHT Every city has its underbelly. If you lifted the fat dark underbelly of The Sprawl this is where you'd end up. The streets here feel like alleys, clotted and tight. There are streetlights, bright ones - but the light dies at its source, never makes it through the sour air down to the ground. The retro fifties look comes apart here. The people that you see - and you only catch quick glimpses of them, they move like rats - wear black mostly, tight fitting tech - fibers. ANDERSON'S caught one of the rats, a thin bald guy in black. Anderson has him pinned up against a wall. They're having some kind of exchange - which consists of the guy answering none of Anderson's questions, and Anderson pressing him harder against the wall. Finally, the guy does something odd. He lifts a finger and pulls down Anderson's right lower eyelid. Anderson lets him. Then the guy does the same on the left. Has a long look. And then nods. Anderson releases him, and they go off together.\",\n \"EXT. AN APARTMENT BUILDING -- LATER An oppressive brick thing on a side street. The facade is crumbling. Nothing good happens in a building like this. The guy leads Anderson to the building, then scurries off into the night.\",\n \"INT. ROOM -- LATER A stained overstuffed chair in the corner, a dreary little kitchen with crusted dishes in the sink. But jarringly, in the center of all this, is a make - shift hypertech medical setup : a gleaming operating table, an array of lasers, scalpels and surgical equipment, an anesthesia console. Anderson sits in a chair facing DOC. DOC is a big man with delicate fingers. He sneezes, then blows his nose hard into a handkerchief. DOC Got a cold. Anderson looks at him uneasily. It's not just DOC - it's the whole setup, the needles and scalpels, the medical thing, which Anderson truly does not care for. Doc sneezes again, then looks up at his patient. DOC -LRB- CONT'D. -RRB- Do n't worry. I could cut open your chest, sew a dead cat in there, and you'd never get an infection. Not with the spectrum antibios I'll be shooting into you. ANDERSON I'm not here for cat surgery, Doc. Doc chuckles. Then he waits, expectantly. Anderson hands him a tiny opalescent card. A preset cash card. DOC slides it into small console, watches the numbers flash up. He frowns, sighs. ANDERSON -LRB- CONT'D. -RRB- It's all I could safely move He waits. Doc's not thrilled, but finally, he nods. DOC Yeah. All right. Time to got down to business. Doc walks over to a large medical cabinet and opens the door. It's full of EYES, and parts of eyes - 611! A cryo - jars. Anderson tightens. DOC -LRB- CONT'D. -RRB- You understand what I told you then. I ca n't just give you new irises. The Scanners will read the scar tissue. Alarms will go off. ANDERSOIN I'm a cop, I know DOC I got ta take your eyes out. Anderson knows this, too, wishes Doc would shut up ANDERSON Yeah. DOC -LRB- CONT'D. -RRB- And put in new ones. ANDERSON Yeah. I get it, DOC. Anderson rises up out of his chair and goes over to the operating table. He lies down. ANDERSON -LRB- CONT'D. -RRB- Do me quick before I run out of here. Anderson lies there, blinking up at the ceiling. He listens to Doc preparing instrument trays. It's a bad sound.\",\n \"EXT. THE SPRAWL -- DAY The suspension bridge where we saw Anderson vaporize the Python transport. Witwer stands watching as a Precrime techno - unit sifts through the white ashes. Witwer lifts his face to the acrid breeze coursing off the Potomac. It's a pose a track dog might hold, nose up, testing the air for a scent.\",\n \"INT. BOARDING HOUSE ROOM - THE SPRAWL -- DAY We ca n't see anything at first, because Anderson ca n't see anything either. He's in a deep post - surgical haze. DOC'S voice comes to him. It's warped and ugly. DOC'S VOICE Do n't take the bandages off for twenty four hours. You'll go blind if you do. Anderson makes an affirmative grunt. Now we see his surroundings, even though Anderson still ca n't. He lies in a grungy bed, his head and eyes swathed in white dressings. Doc stands over him. DOC You're in a room. I had you moved here, a couple miles from my place. If they find you, they do n't find me. Anderson grunts weakly. DOC -LRB- CONT'D. -RRB- A guy will come in, feed you once. -LRB- beat. -RRB- I juiced up the nano - reconstruction around your new eyes,'cause I know you're in a hurry. ANDERSON -LRB- Fuzzily. -RRB-. -RRB- Nano - re. construction. DOC Organic microrobots that reconstruct nerves and blood vessels. It'll feel like fleas chewing on your eyeballs. Do n't scratch. Anderson is already reaching his hands for his bandages. Doc forces them away. DOC -LRB- CONT'D. -RRB- I'm giving you a bonus, might come in handy. Feel this. Doc takes an air - syringe out of his pocket and touches it to Anderson's hand. DOC -LRB- CONT'D. -RRB- It's a temporary paralytic enzyme. Someone spots you, you duck into an alley, shoot this under your chin. Doc presses the tip into the soft underpart of Anderson's chin. Anderson jumps. DOC -LRB- CONT'D. -RRB- The enzyme turns your facial muscles to mush. You wo n't look like the same man. ANDERSON Jesus. DOC You tighten up again in about thirty minutes. Hurts like nothing you ever felt. It's vicious, but effective. I'll put it in your bag. Finally, Doc takes a small clock out of his pocket and places it on a dresser beside Anderson's bed. DOC -LRB- CONT'D. -RRB- I'm setting up a timer. When it buzzes tomorrow, take off your bandages, and get the hell out of here. Anderson, groggy, starts to say something else, but then he hears a door open and close, and Doc is gone.\",\n \"EXT. THE SPRAWL -- NIGHT The Precrime presence mounts on the streets. A couple of units move past the boarding house, but they do n't stop.\",\n \"INT. BOARDING HOUSE ROOM -- DAY Anderson sits in a chair, his dressings like a blindfold. He looks like a hostage. He is sweating. Keeps reaching for his dressings to scratch, then forces himself not to. He speaks to someone we do n't yet see. The guy DOC said would come. ANDERSON I'm hungry, but sick to my stomach. Guess I should eat. -LRB- Beat. -RRB- You gon na help feed me? Now the camera moves and we see who it is that has been sent to help Anderson. It's the rat guy, the thin bald man Anderson had roughed up the day before. The guy has a bowl of hot soup in his hands. He stares contemptuously at Anderson. ANDERSON -LRB- CONT'D. -RRB- So how do we do this, pal? The rat guy does n't say a word. He simply tips the hot soup and it splatters down into Anderson's lap. Anderson cries out in pain and surprise. The guy walks out of the room. CLOSE ON - THE TIMER Twenty hours gone by. Four more to go.\",\n \"EXT. THE SPRAWL Precrime cops are shaking down any of the rats they can catch, looking for leads, looking for anything.\",\n \"INT. THE BOARDING ROOM The TIMER shows one hour to go. Anderson sits in a chair, squirming miserably. His dressings are wet with sweat, and frayed and dirty at the edges where he has tugged and plucked at them. ANDERSON -LRB- to himself. -RRB- Fuck. He is this close to ripping the dressings off\",\n \"EXT. THE BOARDING HOUSE -- DAY A Precrime transport stops. Two officers get out. One of them sets up a large thermal scanner on the sidewalk, and does a read on the boarding house. The other does a read on a pawn shop and bar next door. The OFFICER 1 doing Anderson's boarding house, calls to the other officer. OFFICER 1 Got 27 warm bodies in this place. What should it take, three or four Spiders? OFFICER 2 Do four. Speed things up, so we can go eat. The Officer 1 opens the back of the transport, and takes out a box. He removes four round BALLS. They are silver, as big as billiard balls. He goes up to the boarding house, gets IdentiScanned, and the front door opens. He rolls the balls down a dark hallway. Then he goes back out to the transport, and leans against it, bored. He holds up an electronic clipboard and waits for the data to come in.\",\n \"INT. THE BUILDING The BALLS roll about eight feet, then suddenly come to autolife as they spin. They open like flowers - flowers with legs. CLOSE ON : A BALL A fist - sized Spider takes shape. On its head is an IdentiScan lens mounted on a thin metallic antenna.\",\n \"INT. A ROOM An OLD WOMAN sits at a card table eating a bowl of something unidentifiable. She looks up with annoyance as she sees a spider scuttling across the floor toward her. It makes a CLICKING sound on the floor as it comes. She's poor, living in The Sprawl - she knows the drill. She continues to eat as the SPIDER crawls up the leg of the card table. She barely watches as it moves past her bowl and toward her hand. OLD WOMAN It's nice to have a little company She smiles toothlessly at her joke The Spider hops onto her am and inches up, then moves across her shoulder. It grips her cheek lightly, as the IdentiScan antenna reads her eyes. Then it leaps off her and onto the floor and CLICKS away across the linoleum.\",\n \"EXT. THE BOARDING HOUSE The Precrime officer lifts his clipboard and checks a column with his laser pen, and waits for the next one.\",\n \"INT. ANDERSON'S ROOM Anderson sits in his chair. He cocks his head, listening. His body tenses. Something feels wrong. The TIMER shows ten minutes to go. Blindfolded for a day and a night, Anderson has no idea how much time he has left. Three seconds, four hours? A flattened SPIDER squeezes under his door. Anderson tenses as it CLICKS across the floor toward him. He knows that sound. Anderson stumbles up and out of his chair. He starts to grab at his dressings, remembers Doc's warning, and stops himself. The SPIDER waits for him to settle, then CLICKS toward him again. Anderson moves around the room, avoiding the Spider. He is dripping with sweat, starting to breathe hard. The Spider comes faster. Anderson crashes into a table, brings it down. Falls across the bed.\",\n \"EXT. THE BOARDING HOUSE The Officer 1 squints at his clipboard. One of the Spiders is taking too long. He adjusts his thermal scanner, and sees the heat outline of a man bouncing around a room. The other Officer 2 finishes reading the pawn shop and the barroom, then wanders over to Officer 1. They both watch the screen. OFFICER 1 Stinking drunk. OFFICER 2 -LRB- beat. -RRB- Or a guy who does n't want to get read.\",\n \"INT. ANDERSON'S ROOM Anderson forces himself to sit still, because he knows the consequences. The Spider advances, starts up his leg. The TIMER has not buzzed. Anderson ca n't touch his dressings. The Spider moves across his shoulder and onto his face. It WHIRS and HUMS trying to adjust its antenna against the dressings.\",\n \"EXT. THE BOARDING HOUSE The officers eye the thermal scanner, as they reach for their mirrored helmets, getting ready to go in.\",\n \"INT. ANDERSON'S ROOM The Spider crawls all over Anderson's head, trying to get past the dressings for a read. Anderson has no choice. None. He starts to lift at his dressing. The Spider senses his cooperation, freezes in place. Anderson wants to scream. He unwraps his head, tugs the eye pads away from his eyes. He rips them off. The Spider sits on his shoulder, waiting. Anderson's eyes are tightly closed. He opens them ANDERSON'S POV - BLINDING LIGHT Light brighter than a magnesium burn, brighter than a nuclear flashpoint. Light to buckle the knees and push the brain beyond endurance. And though all this the faraway sound of a BUZZER going off. The TIMER has finally sounded. Anderson's open eyes are streaming with tears, but he has survived the moment. ANDERSON'S POV - THE ROOM It comes into slow focus The Spider, all business, reads his eyes. Then, as if nothing unusual has occurred, it jumps off his shoulder, and crosses the floor. It flattens, scoots under the door, and is gone.\",\n \"EXT. THE BOARDING HOUSE The officers see that the Spider has gotten its read. They pull off their helmets. OFFICER 1 Let's eat. They start putting their equipment back into the transport.\",\n \"INT. ANDERSON'S ROOM Anderson stares at himself in a dusty mirror. His new eyes are tender and bloodshot. And they are not blue, like the ones he was born with, but a deep brown. Anderson is exactly the same, and utterly different. He grabs his duffel bag, and gets the hell out of there.\",\n \"INT. PRECRIME HEADQUARTER'S -- DAY Lisa, looking drawn and scared, sits in Witwer's office. Witwer is n't looking too well, either. WITWER They told me to move into Paul's office. I said fuck you very much. Lisa nods. WITWER -LRB- CONT'D. -RRB- -LRB- softly. -RRB- I do n't want to do any of this, Lisa. LISA I know. I know that. -LRB- beat. -RRB- Everybody's got their reasons for wanting you in charge. So do I - you wo n't bring him in dead. WITWER Yeah. But if he shoots a cop. -LRB- beat. -RRB- Which is what he does four days from now, is n't it? Witwer's eyes imp involuntarily to a CLOCK on his desk. LISA He'd never hurt you. WITWER I know that. But the other thing I know is - the Precogs are never wrong. The words are leading them no place good. They stop talking, and just sit there.\",\n \"INT. THE SPRAWL Anderson stands on a street corner waiting in line with several people waiting for the N0.6 Turbo Tram. The double decker Tram comes. People get off, then the line starts to move forward as people get on. Anderson fidgets. He's last in line. Each person gets IdentiScanned as he boards. Anderson's putting his new eyes to the test. If the scan goes wrong, he's positioned himself to run. The woman ahead of him, gets scanned, pays her fare. Anderson's turn. Anderson goes up the steps, and a red beam reads his eyes. The Tram DRIVER glances at a monitor beside his steering wheel, then nods at him. DRIVER Welcome aboard, Mr. Symington. Plenty of seats in the back. Anderson nods, moves casually to the back. But his jaw muscles are flexing hard, working off the tension.\",\n \"INT. A WEALTHY HOME - SUBBURIAN WASHINGTON -- NIGHT Senator Malcolm releases a self satisfied little belch as he finishes off a late night whiskey in his panelled den. He wanders about admiring himself in the many political photos adorning the cherry wood walls. He's feeling cozy and safe, the way rich people can afford to. No IdentiScan Spiders would ever be sent under his doors. No intrusions of any sort, nothing that a coiffed secretary or a loyal wife would n't announce before hand. Which is why he does n't immediately understand the small SOUND at ear level, coming from just behind him. It's a metallic CLICK - CLICK. He turns amiably. His eyes instantly widen, and his knees buckle when he sees he's looking into the barrel of ANDERSON'S cocked gun. ANDERSON Time to upgrade your alarm system, Senator. Senator Malcolm tries to regain his composure. His fear embarrasses him. ANDERSON -LRB- CONT'D. -RRB- Your work - up of Witwer. The Security Panel would've done one. -LRB- beat. -RRB- Why do I kill Witwer? The Senator finds his voice. SENATOR MALCOLM There's no motive. ANDERSON There's, always a motive. Anderson presses the gun to the Senator's forehead. He slides the barrel tip back and forth across the Senator's sweaty skin. It makes a greasy red mark. ANDERSON -LRB- CONT'D. -RRB- I could've come to anyone on the panel. But I picked you. -LRB- beat. -RRB- Of all the shits on that panel, I like you least of all. So if this gun goes off, I'll feel bad, but not, you know, devastated. You can almost see a thought dawning on Senator Malcolm. And then, shockingly he spits in Anderson's face, and turns and walks to the other side of the den. His tone is mocking. SENATOR MALCOLM What the fuck was I worried about? You ca n't kill me. The Precogs would've seen it. Anderson realizes this, too, lowers his gun. The Senator is even laughing now. For a moment Anderson does nothing, then he moves toward the Senator again. The Senator stands his ground smugly. SENATOR MALCOLM -LRB- CONT'D. -RRB- Witwer's clean. You're clean. There's nothing. No motive. Kind of like something Kafka would've cooked up. -LRB- beat. -RRB- You like that, cockroach? You're fucked and you'll never know why. The Senator is laughing hard now. Anderson lets him. ANDERSON Tell you something about the Precogs, Senator. They're great on murder. But it's the little things they fail to see. Anderson hits the Senator so hard it bounces him across the floor and into the cherry wood panelling. Several of his beloved photos crash down onto him. ANDERSON -LRB- CONT'D. -RRB- Little things like that, for instance. Anderson steps over him, and walks out of the room\",\n \"INT. PRECRIME HEADQUARTERS -- DAY Search and Command room. Witwer stands there amidst all of the technology speaking to a group of Precrime officers. WITWER He has n't shown up on one goddamn IdentiScan in three days. No one says anything, and then LIEUTENANT GLASER, 30, speaks up. LIEUTENANT GLASER He's found a room - he's going to sit it out. WITWER Yeah, except for holding a gun to senator Malcolm's goddman head in his own goddman house last night, Anderson's sitting it out! -LRB- beat. -RRB- Why has n't he been scanned? The officers look at their shoes. WITWER -LRB- CONT'D. -RRB- Why is he invisible? He's moving around but he is n't being seen. Lieutenant Glaser tries again. LIEUTENANT GLASER He's beating the scanners WITWER No one beats the scanners. Witwer reaches up, wearily, rubbing his face and eyes with his hands. The fingers dragging across his eyes stop. Then his hands drop away, and he looks at his men. WITWER -LRB- CONT'D. -RRB- He's done his eyes LIEUTENANT GLASER But the scarring always WITWER He went the whole way. The crazy bastard had his eyes removed. New ones sewn in. LIEUTENANT GLASER That takes weeks to heal. WITWER If you're prepared to go blind, a street surgeon'll juice up the repair cycle. They do n't give a fuck about risk. Witwer's eyes flick to a digital CLOCK on the wall. It's something he ca n't help doing now. WITWER -LRB- CONT'D. -RRB- He's going to do what it takes to stay free - if it blinds him, maims him, or kills him. Witwers admiring smile makes his men very uncomfortable.\",\n \"INT. KITCHEN - THE SUBURBS -- DAY A mother places a carton of milk on a table in front of her teenage son. He pours it into his cereal bowl, then puts the carton down in front of him. There's a flexible Vid - Screen on the side of the carton, about the size of a playing card. AS the sleepy kid watches, the disposable Vid - Screen sparkles to life. Nothing unusual, they always do that. For advertisements, lost kids, or in this case crime bulletins. A good one. The kid straightens up. THE VID - SCREEN A fully rotating mug shot of PAUL ANDERSON fills the screen, followed by vital statistics and details of the precrime he's been charged with. The kid watches for a while, then gets bored, and pulls the Dexi - Pops cereal box over and starts reading the back of that.\",\n \"INT. A LIVING ROOM - THE SPRAWL -- DAY A big man in a tee shirt lies on a couch, a bowl of popcorn perched on his belly. He stares at a TV monitor that's the size of a twin bed. TV Anderson's face fills the monitor. The TV image is so big that Anderson overwhelms the room with his video presence. It's like God coming to pay a visit - even if you want to avoid Him you ca n't. The big man with the popcorn tries to do just that. He surfs through a zillion channels, but Anderson's visage is omnipresent.\",\n \"EXT. THE SKY - THE SPRAWL -- DAY Anderson's face fills the skies, too. Witwer and Precrime have pulled out all the stops. Advertising dirigibles float by with Anderson's image on it. Holographic billboards with Anderson hover in the air. There are so many Andersons in the sky he seems to be part of the weather, a special type of cloud. People on the streets look up, briefly interested, then go about their business.\",\n \"EXT. A STREET - THE SPRAWL One person who is paying deep attention to all this is Anderson himself. He stands on a street corner, wearing dark glasses and a fedora, staring at a public video kiosk. VIDEO KIOSK The mug shot of Anderson disappears and is replaced by a Precrime SPOKESWOMAN. SPOKESWOMAN The United States Supreme Court has issued a special injunction allowing the unprecedented public viewing of former Precrime Director Paul Anderson's future murder of Edward Witwer, the current Director. ANDERSON His mouth slowly opens. He steps back against a wall and slides his hand into his pants pocket. He looks at the Precog DISC in his cupped hand, then quickly puts it away. He stares at the kiosk as people on the street begin to gather around excitedly. CROWDS OF PEOPLE look into the sky, in store windows, at other video kiosks. They have the enthralled anticipation of a mob at a public guillotining. SPOKESWOMAN She continues her declamation SPOKESWOMAN -LRB- CONT'D. -RRB- The video you are about to see, generated by the Precognitive mutants, is the immutable evidence of the infallible system. -LRB- reassuring smile. -RRB- Citizens are urged to call 1 - 800 - PRECRIME with any information that may lead us to the whereabouts of Paul Anderson, future murderer. ANDERSON Shakes his head in confusion and disbelief. But he has the Precog disc. The OLD GUY him nudges him OLD GUY This oughtta be good, huh? VIDEO KIOSK And there it is, Anderson and Witwer standing there pointing guns at each other. The whole thing just as we saw it before. All the way through to the fatal moment. ANDERSON Oh, Ed. Anderson shoots him. Witwer slumps, dying. The video stops. And then begins to play all over again, right from the start, the 1 - 800 - PRECRIME number scrolling along the bottom of it. `` Call now! Call now! Call now! ANDERSON -LRB- CONT'D. -RRB- Moves quickly through the crowds.\",\n \"INT. BAR - THE SPRAWL -- NIGHT Ennis Page sits on a bar stool at the far end of a bar so full of cigarette smoke it does n't seem capable of supporting life. But it supports the kind of life Page is interested in. An emaciated woman with a feral smile slides onto a stool beside Page. He gives one shake of his head, and she slides away again. His eyes cut to a group of females. He waits for the next approach. CLOSE ON : PAGE as a HAND reaches over his shoulder and places a Precog disc on the bar in front of him. Page makes a sound and tries to jump away, as if the disc is something lethal. Which it is, in a way. Anderson presses him back down on his stool. Sits next to him. Page stares at him, scared. Anderson looks straight ahead as he speaks. ANDERSON `` Ennis Page engages the services of prostitutes because his relationships with them compound his feelings of selfloathing.'' -LRB- beat. -RRB- Direct quote from your psychological profile - the kind of shit I had to know as your former boss. ANDERSON -LRB- CONT'D. -RRB- `` Page is an obsessive - compulsive Type Nine.'' Another quote. Niners are great for the kind of work you do - keeping all those Precog discs in order. You can almost see Page's heart slamming in his chest. He tries to hide it with tough talk. PAGE I fuck whores and I'm orderly, so what? ANDERSON Something's out of order, Ennis. Deeply out of order. Page looks unhappily at the disc on the bar PAGE You got a disc Anderson picks it up, holds it tight in his fist ANDERSON -LRB- CONT'D. -RRB- Not A disc. The disc. When I went home sick, I stole it. I took it with me, Ennis. I was n't sick, I was running with the evidence. -LRB- lets that sink in. -RRB- So how is it that Precrime has one, too? PAGE -LRB- utterly baffled. -RRB- You ca n't make copies Anderson waits. Lets Page work through it. PAGE -LRB- CONT'D. -RRB- It's the basis of the system. The immutable evidence. Copies are impossible. -LRB- beat. -RRB- You went home. A little later, I came in with a disc for Mr. Witwer to review. I was n't halfway out the door when he cried out. Anderson is barely breathing, he's listening so hard. PAGE -LRB- CONT'D. -RRB- He was in shock. He showed me. It was you shooting him. Then all hell broke loose. He had to send the Precrime units to your house. ANDERSON Ennis - you gave out the same disc twice. Less than an hour apart. The one I stole. And then another one. Of the same event. PAGE It's impossible. The Precogs can only move forward to new events. Into the future. They never repeat. Anderson looks around. Patrons are beginning to look over in his direction, eyes lingering. He rises. Page seems in a daze. As an obsessive - compulsive niner, the concept of an untidy system is disorienting. Anderson starts to say something to the man, then does n't. On the way out Anderson gets IdentiScanned. An automatic DIGITAL VOICE calls out after him. DIGITAL VOICE Have a nice night, Mr. Symington Anderson leaves the dark of the bar for the deeper dark of The Sprawl.\",\n \"INT. A STREET - THE SPRAWL -- DAY A YOUNG GUY with a sparse moustache walks up to a payphone. He picks up, the receiver and immediately gets IdentiScanned. A light goes on, he's about to dial. Anderson appears out of nowhere, shoulders him out of the way. The young guy drops the receiver and stumbles back onto the sidewalk. Anderson grabs the hanging receiver. YOUNG GUY Hey! Hey, you ca n't. He reaches for Anderson, then thinks better of it. Anderson is twice his size and very menacing in dark glasses. YOUNG GUY -LRB- CONT'D. -RRB- I'm gettin' a cop. The guy scurries off. Anderson dials quickly. INTERCUT ANDERSON/LISAS OFFICE Lisa, walking down a hallway in the Judicial Center, stops to answer her BEEPING cell phone. She leans against a wall, as lawyers and judges pass by. ANDERSON It's me. LISA Paul. Lisa grips the phone and turns to the wall ANDERSON Your phone will be bugged. So we ca n't meet, we ca n't do anything. Just listen. Nowing you're listening is enough. Lisa nods, as if he's right there. He is right there, for her. This is all she's got. ANDERSON -LRB- CONT'D. -RRB- When Precrime stormed the house, I thought you'd called them. Betrayed me. LISA No. ANDERSON I know. Witwer sent them. He saw the disc and had to do his job. -LRB- beat. -RRB- Tell me you forgive me. Please. LISA Of course, I forgive you. There's no time left. He has to get off the line and start moving again. A vast weariness enters his voice. ANDERSON All these people I need to forgive me. -LRB- beat. -RRB- Do you think Frank forgave me? All I could do for him was send him gardenias. -LRB- long beat. -RRB- I love you. Lisa almost cries out when he hangs up. She flattens herself against a wall. She stays like that for a long moment, pulling the sound of her husband's voice, his words, deep inside of herself. And then she gets a look, as one of those words registers profoundly. LISA -LRB- whispers to herself. -RRB- Frank hated gardenias.\",\n \"EXT. EAST END CEMETERY - ARLINGTON -- LATER A public cemetery along the Potomac. There's not much land left for new graves. A funeral is taking place. A lot of mourners in dark 1950's suits and dresses. The service is nearing its end. Frank D'Ignazio's newly dug grave is nearby. Lisa stands there, looking at the temporary marker, and the flowers and wreaths piled up against it. Two rows over, they are lowering the casket into the ground. High in the sky, a PRECRIME HOVERCRAFT, everpresent in Lisa's life, floats in the low clouds with a barely audible WHINE. Lisa rests a floral arrangement against the pile of flowers. Her hand drifts near a white GARDENIA WREATH. There is a small envelope tucked beneath a blossom. She takes it. Then she rises and begins to walk back to her car. The funeral is over, and the mass of mourners, many wearing dark glasses, fan out toward a long line of cars. One of the MOURNERS brushes past Lisa. She looks up and he tips his dark glasses down onto his nose and stares over them at her. It's Anderson. Is n't it? She looks into his eyes. And it's jarring, the blue eyes gone, that they're brown now. But it's him, he's there, and she wants to reach out for him. Knows she ca n't. He's already moving on. He's risked everything for a look. He slips into the black sea of mourners, she goes to her car - neither of them ever breaking stride. The Precrime craft hovers, unaware\",\n \"INT. LISA'S CAR Lisa opens the envelope as her car drives her down the Alexandria - Washington ConnectWay. A Precog DISC falls into her hand. Her mouth opens - she's never held one before. And there is a NOTE with it It READS : `` The Precogs generated duplicate discs. This is the first. Precrime has the second. Duplicates. Why?''\",\n \"EXT. A CONVENIENCE STORE - THE SPRAWL -- DAY Anderson has to eat bad food quickly, and on the run. He gathers up a wrapped sandwich, a bag of donuts, something to drink. He waits in line. He does n't like to be in a line, waiting. The woman ahead of him argues about change. He presses his lips together. And then he glances at the mirrored surface of a hidden camera DOME attached to the ceiling. It gives him a fish eye reflected VIEW of what's happening behind him. Precrime police are happening behind him. He does n't stop to ponder, as two Python transports zoom up outside the store. Anderson vaults the counter, knocking the customer and the clerk to the floor.\",\n \"INT. BACK ROOM Anderson plows over a guy filling a trash can. He hears the mechanically altered COMMANDS of a Precrime officer calling from the store. VOICE Paul Anderson. Drop to your hands and knees! Anderson crashes out into an alley, and clambers up a fence. SONIC BLASTS shatter the air around him. Chunks of brick fly off the walls on both sides. But he is full of adrenaline, and there is no stopping him.\",\n \"INT. A TURBOTRAM - THE SPRAWL -- LATER A different part of the city. Anderson hunkers low in the back seat of a tram. He looks up, as the DRIVER swears DRIVER What the hell - Anderson stands up, looks down the aisle, through the windshield. Precrime transports are heading straight at the tram, going the wrong way on a one way avenue. They've even taken radio control of the P.A. system on the tram. VOICE Paul Anderson. Drop to your hands and knees! Anderson ca n't believe it - how are they suddenly pinpointing him? The passengers turn in unison like cattle, and stare at him, terrified. Anderson grabs his duffel bag and kicks at the back exit doors, smashing them open, and tumbles out onto the street. He rolls, and is up on his feet in a second, reaching into his bag for a glove. He pulls the weapon onto his right hand, as he whirls around sizing up his predicament. Precrime transports have begun to seal off both ends of the street. He looks up. He is surrounded by skyscrapers and buildings - he is walled in, at the bottom of an urban canyon. People freeze against the sides of buildings, run into doorways where they can. Passengers in trans and taxis or cars stay there, pressed against their windows watching. Nothing moves, except the Python transports, closing in. The lead officer speaks, with that menacing electronically altered VOICE. VOICE -LRB- CONT'D. -RRB- Lower your weapon, or we will neutralize your threat potential. The Precrime police are out of the transports now, advancing at either end of the city street in phalanxes of men. Anderson eyes the side of the black granite office building closest to him. ANDERSON'S POV - A HIGH PRESSURE HYDRANT The large red hydrant sits a few inches out from the building. Anderson almost smiles as he begins to walk slowly toward it, his weapon pointing harmlessly at the pavement. VOICE -LRB- CONT'D. -RRB- Do not move! Anderson is up on the sidewalk now, two feet out from the building, right beside the high pressure hydrant. He stops, looks up, looks down, looks at the police advancing. It is a moment for prayer. Anderson does n't have a moment. He spreads his feet and fires a massive SONIC BLAST down at the sidewalk. The effect on the underground water main is immediate. A GEYSER of water two feet in diameter erupts straight up from the sidewalk, lifting the tumbling Anderson fifteen feet into the air right alongside the building. The stunned police officers try to take aim, but Anderson's bouncing at the top of the geyser. And they ca n't fire, anyway, because officers workers stare at the excitement from every window in the building. All this in a time span of seconds. The world spins crazily for ANDERSON, but he manages to grip hold of a metal support beam holding the building's sign, one story up. The police try to see what he's doing, but the torrent of water from the water main break obscures his moves. He pulls himself onto a ledge, steadies himself, slides along it toward a second story window. The office building gawkers lurch backward from the window as Anderson blasts it to sparkling dust and leaps inside.\",\n \"INT. OFFICE BUILDING The building covers almost an entire city block. Anderson, dripping wet, runs from one end of it to another, blasting through doors, shoving terrified workers out of the way. He is like a wide receiver running the length of the field, jumping obstacles, slamming through, over, and around whatever he must to get to his goal. And then he reaches his goal - the windows overlooking the avenue next block over and parallel to the one where Precrime ambushed him. He spots a double - decker TurboTram moving slowly in the stream of traffic. It pulls to the curb below to pick up passengers. Anderson blasts out the window and leaps onto the roof of the bus. It is a bone - jarring landing. He loses consciousness for a second, rolls the length of the roof, and slides off it onto the pavement. He lies there, trying to rouse himself. Traffic brakes to a stop automatically as car and truck sensors read his form in the road. No one wants to touch him. A single car horn SOUNDS, and then a chorus of them. Anderson rouses, struggles to his feet, and takes off in a limping run.\",\n \"INT. SUBWAY STATION LATER Anderson, out of breath and in pain, leans against a post at the far end of the passenger platform. There are tracks on either side of him, one marked `` Uptown'' and the other `` Downtown.'' He feels a blast of air and looks to his right and sees that the Downtown train is coming in. And on his left, too, the Uptown train rounds the bend and comes into view. Which MagLev train will lead him to safety? Which one wo n't they pinpoint? He runs up to a teenage KID who has his arm around his girlfriend. They step back, startled. He's got a flat top hair cut, she wears a pleated skirt and saddle shoes. The trains pull in. ANDERSON Pick one for me! KID What? THEY TRY TO WALK AWAY ANDERSON Point to the train I should take. Please. KID I do n't know. The girl lifts a nervous finger and points. The Uptown. He runs to board it, as they run in the opposite direction to the Downtown.\",\n \"INT. SUBWAY CAR He sits at the back of the half empty train watching the dark rush by. A train chosen arbitrarily - it's impossible they could find him. A station Stop. He starts to get off, is actually on the platform, then steps back onto the train. The rushing dark again. When the MagLev eases to a halt at the next station he gets off this time.\",\n \"INT. STATION He walks toward the exit stairs with a handful of people. He eases back and lets them go up first. THE STAIRS Precrime officers crouch around the bend, silently snatching people out of the way as they come into view. They wait - but Anderson does not come. And he does not come. On signal, the Precrime officers rush down the stairs. DOORWAY ABOVE THE STAIRS ANDERSON hangs high above the doorway near the ceiling, adhered by one arm there by a blue glob of adhesive BindFoam. ANDERSON'S POV - THE OFFICERS as they run below him down the stairs. They go out of sight, he can hear them rushing along the platform searching for him. The strain of hanging by one arm is killing him. He reaches up. With a laser knife, and cuts away at his coat sleeve, releasing himself from the glob. He drops to the stairs, and instantly slips up them. He surprises a helmeted OFFICER, just around the bend. He slams HIM against the wall, yanks off his helmet, and holds the laser knife against his throat. The OFFICER 1s clearly terrified. He speaks hoarsely through Anderson's choking grip. OFFICER Do n't kill me! Jesus. Please. Anderson looks at the panicked officer. Anderson closes his eyes trying to put it together. He opens them. ANDERSON But the Precogs would've predicted me killing you. You'd know whether I do or not. The officer looks at him with eyes begging for mercy. Anderson suddenly gets it. He tightens his grip on the man. ANDERSON -LRB- CONT'D. -RRB- They shut down the system. Have n't they? They've shut down the Precogs. The officer nods. OFFICER They're off homicides. They're redirecting them to help us locate you. Which is how they knew where he'd be every time. Anderson chops quickly at the base of the man's skull, knocking him out. And then he runs, because what else can he do?\",\n \"INT. JUDICIAL CENTER -- DAY Lisa stands in a long hallway outside a door, labeled : COURTROOM 17. She holds a briefcase in one hand. Down the hall, other courtrooms are in use, but not this one. She enters the dark and vacant Courtroom 17.\",\n \"INT. COURTROOM 17 Lisa sits at the judge's bench in the empty courtroom. The lights are dim. She takes a small, battery - powered tv out of her briefcase. She turns it on. TV The murder of Witwer by Anderson is being shown over and over in a continuous loop. Flashing at the bottom is the hotline number : `` 1 - 800 - PRECRIME.'' Then - `` Call Now! Call Now! BACK TO SCENE Now Lisa takes out the Precog disc Anderson gave to her - the first disc. She places it in the specialized monitor on the judge's bench. The tv and the judge's monitor sit side by side. The tv plays the version of the murder from the second disc ; the judge's monitor plays the version from the first disc. She stares intently, her eyes flicking back and forth from one version to the other. They seem absolutely identical. When the judge's monitor goes blank, she starts it over again. Lisa stares, watching her husband murder his best friend, endlessly.\",\n \"EXT. A GAS STATION - ALEXANDRIA -- DAY A gas station right out of the fifties. An attendant in a uniform and cap whistles while he wipes down the windshield of a sky blue Rambler. In the background, Anderson walks toward a men's room.\",\n \"INT. THE MEN'S ROOM Anderson looks at himself in the mirror. He reaches out and touches one reflected eye, which is a deep brown. It is still startling to him, the color of his eyes. Then he reaches into his duffel bag and takes out the air syringe Doc gave to him. He looks at it nervously. It is filled with 5 cc's of an opaque green liquid. He touches the tip of it to the soft center under his chin. He closes his eyes. Then he screws up his courage, and hits the plunger. The liquid is pneumatically delivered with a searing HISS. Anderson screams out in agony, slams back against the wall of the bathroom. His hands reach up for his face - which looks like it's boiling from within. ANDERSON'S FACE The skin on both cheeks begins to pucker. The muscle tone around his chin goes soft, and begins to sag like an old man's. That is the effect - like he is aging fifty years. His forehead wrinkles, the skin under his eyes droop. Healthy pink is replaced by bloodless gray. AND MOTHER OF GOD DOES IT HURT\",\n \"EXT. THE MEN'S ROOM The ATTENDANT knocks nervously on the door ATTENDANT You all right in there? When the door opens, an unhealthy looking old guy with a fedora hat pulled low comes slowly out of the bathroom. Anderson nods, and walks past the attendant, who watches after him uncertainly as he wanders off.\",\n \"INT. PRECRIME HEADQUARTERS - ALEXANDRIA -- LATER The perky tour guide we met earlier takes another group around the headquarters. There may be a massive campaign to find Anderson, but the Precrime public relations machine continues to run without interruption. There are ten people in the group, and the physically transformed Anderson is among them. They all wear glowing nametags. Anderson's reads, `` Mr. Symington.'' He keeps his hands in his pockets, and his head low. We have heard the tour guide's spiel before TOUR GUIDE Welcome to the main headquarters of Precrime. Smaller Precrime branches are scattered throughout the United States. She is about to go on when she looks over at Anderson. He is fidgeting uncomfortably. TOUR GUIDE -LRB- CONT'D. -RRB- Are you. all right, Mr. Symington? Anderson moves up close to her, a little too close. He whispers to her, embarrassed. She gives him a professional smile, and points in the distance past the elevators. Anderson nods, and heads off. She calls after him. TOUR GUIDE -LRB- CONT'D. -RRB- We'll wait right here for you, sir!\",\n \"INT. A STAIRWELL Anderson runs down a back stairwell to a lower floor.\",\n \"INT. A BASEMENT CORRIDOR Anderson stands outside a door marked : `` Housekeeping.'' Above the doorway is an IdentiScan device. Anderson reaches into his coat and carefully removes a small cryo - jar. CLOSE ON : THE CRYO - JAR Imbedded in the clear gelatinous coolant are two eyeballs - the irises a luminous blue.\",\n \"INT. SEARCH AND COMMAND -- MOMENTS LATER The operations room in Precrime. The technicians sit at their computers and holographic tracking displays. Witwer paces among them. His eyes keep flicking to the digital clock on the wall. Then they cut back to the men and machines that are telling him nothing. Witwer does not look well at all, When a TECHNICIAN leans close to his computer monitor, Witwer almost leaps across the room to get to him. He looks over the man's shoulder. WITWER What is it? TECHNICIAN Must be a glitch. WITWER What? TECHNICIAN Anderson just got IdentiScanned. Witwer grips the back of the technician's chair. The technician types the data through again. TECHNICIAN -LRB- CONT'D. -RRB- It's him - he's been scanned. WITWER Where is he? The technician looks up at Witwer. TECHNICIAN But he's had his eyes done. Right? Sir? Tries to think it through. WITWER -LRB- barely audible. -RRB- He had to have. The technician's computer flashes the next piece of information. When he speaks, it's the last thing Witwer wants to hear. TECHNICIAN Jesus Christ, sir. He's in the basement of this building. All eyes turn to Witwer. The unspoken question hangs in the air. Anderson's come to murder Witwer?\",\n \"INT. PRECRIME HEADQUARTERS Throughout the building, every available Precrime Officer begins to receive orders to mobilize toward the basement.\",\n \"INT. THE PRECOG CHAMBER Four officers stand guard in the chamber. They listen to the orders coming in on their earpieces. Three of the guards rush out of the room, one stays behind. The three Precogs sit in their oversized chairs, the female in the middle, the males on either side of her. Their eyes are open. and they are deeply alert. Two technicians tend to the Precogs. At the back of the chamber, through a large window, we see Ennis Page sitting at the huge mainframe.\",\n \"INT. SEARCH AND COMMAND A ring of Precrime officers three men deep stand guard around Witwer. Witwer looks like he wants to kill them all. WITWER This is ridiculous. Lieutenant Glaser replies forcefully LIEUTENANT GLASER Standing orders from the Security Panel, sir. WITWER If he wants to get to me, he'll get to me. LIEUTENANT GLASER No, he wo n't, sir. Witwer looks at the confident young officer almost pityingly. Then his eyes flick to the wall clock.\",\n \"INT. THE BASEMENT Armed Precrime officers clog the corridors, conducting defensive searches of one room after another. All they are coming up with so far are some very startled housekeepers.\",\n \"INT. THE PRECOG CHAMBER In the chamber are one guard, two technicians, and three Precogs. And all of them are left in sudden darkness, as the power is cut.\",\n \"INT. SEARCH AND COMMAND The officers around Witwer reach for their maglite flashlights. The Search and Command room suddenly looks exceedingly vulnerable. A technician calls out from the darkness TECHNICIAN Do n't worry, air - emergency generators will kick on in five seconds. The green glow from a roomful of wristwatches makes the room seem alive with fireflies. Five seconds go by. Then ten more. WITWER Explanation, please! TECHNICIAN Uh, sir. It seems. he got the generators, too. There is a long moment of silence. And then Witwer begins to laugh.\",\n \"INT. THE PRECOG CHAMBER The room is utterly dark and silent. The silence is broken by the SOUND of something rolling across the floor. Somebody speaks, probably the guard. VOICE Shit. An explosion of light fills the room in STROBE - LIKE blasts. And leaping through the light is ANDERSON. The temporarily blinded guard and technicians have dropped to their knees. Anderson stun guns them quickly. The strobes fade, and Anderson sets a zirc - flare on the floor. We see that the enzyme is wearing off - his facial features are returning to normal. He is oblivious to the Precogs in their chairs. It is the equipment he is after. Through the observation window we see ENNIS PAGE watching in horror as Anderson severs the light cables connecting the Precog helmets to the mainframe. Anderson aims a sonic blast at the observation window, blowing it out and knocking Page unconscious. Then he reaches into the room and destroys the mainframe itself with a series of blasts. Anderson is so intent on destruction he does not sense a PRESENCE behind him. Perhaps it is because the movement is so completely devoid of malice it is beyond detection. A HAND, the fingers pale and slender, reaches out and takes hold of his hand. Anderson whirls around, weapon out. And there before him, is the FEMALE Precog. He looks at her, then beyond her to the other Precogs who are lolling in semiconsciousness in their chairs. Her helmet is off. She is young, but her close - cropped hair is silver white. And when she speaks, her voice is like the wind whispering through time. FEMALE Save us, Anderson. Anderson can feel the seconds ticking away, his carefully planned operation interrupted in an unfathomable way. ANDERSON I have to get out of here. She grips his hand. FEMALE Save us. It is beyond pitiful, this frail little woman, pleading. And her eyes, she wo n't let him go. She is beginning to weaken, to sway on her feet. A sudden realization floods over Anderson. ANDERSON You let me get here, did n't you? You stopped giving them information, so they could n't track me. The Precog female is fading fast. She tries to reach out for him and her legs give way. FEMALE Save - And what can Anderson do but catch her before she falls? What can he do but throw her over his shoulder, and in the fading light of the flare, make a run for freedom.\",\n \"INT. TUDICIAL CENTER Lisa has been staring at the judge's monitor and the tv screen for over an hour. The two versions of Anderson murdering Witwer play over and over. LISA -LRB- wearily, to herself. -RRB- Help me, Paul. She hits freeze - frame on the judge's monitor, at a moment during his confrontation with Witwer when Anderson's FACE fills the screen. Lisa looks with deep urgency into her husband's eyes. And it is his EYES, finally, that tell her everything. Lisa's hand rises to her open mouth. LISA -LRB- CONT'D. -RRB- They're blue. She keeps the image on freeze - frame, and turns and looks at the tv, which shows Precrime's disc over and over, the 1 - 800 number scrolling along the bottom. When the same close - up of Anderson flashes onto the tv screen, she leans close to it and squints. Anderson stares right back at her. And for the first time, Lisa sees that the tapes are not exactly identical. His eyes. LISA -LRB- CONT'D. -RRB- And now they're brown. For the first time in days she allows herself a small smile.\",\n \"INT. PRECOG CHAMBER Power has been restored to Precrime Headquarters. Witwer walks slowly through the ruins of the Chamber. EMT teams work on Ennis Page and the other dazed personnel Anderson has left in his wake. Technicians cluster around the two remaining Precogs, the brothers. Their eyes are closed and they are limp. Their lips move soundlessly as if in conversation with each other. Lieutenant Glaser is with him, but when Witwer speaks it is almost to himself. WITWER Why did n't the Precogs know he was coming to do this? The Lieutenant has no reply. Witwer runs both hands through his hair. It has begun to wear him down, the ticking of the clock. WITWER -LRB- CONT'D. -RRB- The next time he shows up it'll be to kill me. LIEUTENANT GLASER We wo n't let that happen, sir. Witwer takes in the chaotic scene around him, then gives the Lieutenant a withering look. WITWER You wo n't, huh? When the Lieutenant tries to speak to him, Witwer walks away and goes over to the technicians working on the Precogs. He stares at the Precogs. WITWER -LRB- CONT'D. -RRB- -LRB- to a technician. -RRB- When can we get these things operational? TECHNICIAN They're a hive mind, sir. It takes three for their predictive abilities to be fully operational. Which Witwer does not want to hear. Witwer leans very close to the technician. WITWER These two are all I have to find the man who is about to murder me. Hook them up, and flood them with whatever kind of fucking chemicals you have to. They are a machine, and I need that machine at my disposal. The Precogs's lips stop for a microsecond, and then begin their silent movements again.\",\n \"INT. ENNIS PAGE'S HOUSE - ALEXANDRIA -- NIGHT Ennis Page is a man unglued. He sits on a tidy little sofa, in a tidy 1950's style living room. But his movements have become untidy. He puts a very tiny pill on his tongue. When he drinks from a glass of water, it dribbles down his chin onto his shirt. Not like Ennis, at all. When his doorbell RINGS, he slowly looks up, then looks down at the floor again. He does n't answer it. It RINGS some more. And then Lisa is standing there before him LISA Your IdentiScan is off, Ennis. I could just walk in here. PAGE I forgot. To turn it on. She sits down beside him. LISA You do n't look surprised to see me. She glances at the bubble pack of pills on the table beside him, three gone. LISA -LRB- CONT'D. -RRB- I need your help. Unexpectedly, tears well up in Ennis's eyes. PAGE He took one of my babies. LISA He's desperate, Ennis. He had to. -LRB- beat. -RRB- We have to help him. Lisa holds the Precog disc in front of his eyes. He closes them against the sight, as if it were an evil talisman. LISA -LRB- CONT'D. -RRB- It's a fake Ennis. Ennis's eyes open again. LISA -LRB- CONT'D. -RRB- This is the first disc. You delivered it to Director Anderson. He reviewed it. And then he stole it, and went on the run. Ennis tries to think through his fear and haze. His words slur. PAGE I delivered. a fake. to him? LISA But he thought it was real, and ran with it. The pills, his tidy world coming apart - Ennis is losing it. LISA -LRB- CONT'D. -RRB- An hour later, you delivered a second disc of the same event. Witwer reviewed it. It was real. -LRB- Beat. -RRB- How do I know this? Ennis just wants her to go away. He wants it all to go away. Tears stream down his face. LISA -LRB- CONT'D. -RRB- Director Anderson had his eyes changed. They were blue. Now he has brown ones. Ennis is sliding away. Lisa takes hold of him. Makes him listen, dammit. She points to the disc in her hand. LISA -LRB- CONT'D. -RRB- This disc, the fake one, shows a blueeyed Anderson murdering Witwer two days from now. He does n't have blue eyes anymore. The person who faked this disc had no idea he would change his eyes. Lisa shakes him. LISA -LRB- CONT'D. -RRB- Listen! But the second disc has to be real, because he has brown eyes when he murders Witwer. -LRB- beat. -RRB- Somebody tried to frame him with a fake. And somehow it all became real. Why, Ennis? How could this happen? Ennis gives her a look that's on the other side of comprehension. LISA -LRB- CONT'D. -RRB- You handle the discs. How did a fake one get delivered? Ennis's eyes roll back into his head. PAGE Coffee. LISA -LRB- CONT'D. -RRB- You want -? PAGE He spilled coffee everywhere. Everywhere. LISA What coffee? What are you -? But Ennis sags unconscious. She shakes him hard, even slaps him, but Ennis is out. She lets him drop down on the sofa. From outside the house, somewhere high in the clouds, comes the WHINE of a hovercraft. Lisa looks once more at Ennis, then gets out of there\",\n \"INT. ROOM - THE SPRAWL -- NIGHT A small, dreary room, invisible with insignificance. Which is just the kind of room you want if you've stolen a Precog. The female Precog lies on a cot. Anderson sits on a metal folding chair watching her. Her eyes slowly open and look at him FEMALE My brothers are n't here. ANDERSON You did n't even look around. You knew. FEMALE -LRB- beat. -RRB- We can sense each other. You must save Anderson cuts her off with a curt shake of his head ANDERSON Stop. I saved You. It was the best I could do. She turns away and looks at the yellowing paper on the wall. There is a fading pink cabbage rose. She traces the outline of it with her thin finger. She turns back to him. FEMALE Thank you, Anderson. It is deeply eerie for him, chatting with a Precog. ANDERSON What am I going to do with you? Her eyes grow very serious. FEMALE Name me, Anderson. ANDERSON What? FEMALE Give me a name. I've never had one. Anderson rises, moves around the small room. He is shamed, embarrassed. ANDERSON Listen. She turns to the wall. ANDERSON -LRB- CONT'D. -RRB- Listen to me. -LRB- beat. -RRB- Listen to me. Rose. It is heartrendingly touching, the smile she gives him when she faces him again. FEMALE Rose. ANDERSON Rose. They shifted your precognition so you would locate me. ROSE -LRB- beat. -RRB- Yes. And it hurt us, physically. Did you know that? The helmets, the controls. It hurts. ANDERSON -LRB- guiltily. -RRB- I did n't know. For a long moment he ca n't say anything. But there are things he needs to understand. ANDERSON -LRB- CONT'D. -RRB- When they shifted you to find me, you did n't reveal everything. That I was going to break into Precrime. ROSE We saw our chance. You would need to shut us down, you would have to come. We wanted you to come. ANDERSON You used me - to save you. ROSE I have been used all my life, Anderson. Anderson ca n't meet her eyes. ROSE -LRB- CONT'D. -RRB- No one cared that we were human. From a human mother. Taken at birth. Hooked to machines. -LRB- beat. -RRB- We have been alive, Anderson. Enslaved, for the greater good. Her words are unbearable, for both of them. She traces the outline of the wallpaper rose again. ROSE -LRB- CONT'D. -RRB- But now I have a name. And I know the man who has named - me will not allow me to be enslaved again. Anderson looks at her, then goes to the window, carefully watches the street below. ANDERSON Rose. What's going to happen to us? Can you see that? ROSE I'm weak. And away from my brothers. I see glimpses and hints of things nearby. But it's all. scattered. -LRB- beat. -RRB- I'm tired of the future, Anderson. She lies on the bed, watching as Anderson comes back to her. He sits carefully on the side of her bed. Then be reaches out, and gently touches her cheek ANDERSON You did n't know I was going to do that, did you? She is almost too overwhelmed to speak ROSE No. Oh, Anderson. It was lovely. And now it is Anderson who is overwhelmed\",\n \"INT. ENNIS PAGE'S HOUSE DAWN If he were not already dead, it would've killed Ennis Page to see the state of his living room. Precrime officers everywhere. Blood on the rug. A gun beside the sofa. Witwer stands in the corner of the room witching the Coroner crab walk Page's body. It WHIRS and CLICKS as it probes and takes samples from various sites. The holographic doctor waits patiently as the Coroner crab makes its determinations. Lieutenant Glaser talks quietly to Witwer LIEUTENANT GLASER Who else could it've been? The crab probes the ragged hole in Page's head LIEUTENANT GLASER -LRB- CONT'D. -RRB- He grabbed a Precog so he could commit an undetected murder. WITWER -LRB- beat. -RRB- Page worshipped the system. He fell apart. Shot himself. The Lieutenant rolls his eyes. LIEUTENANT GLASER Anderson. Witwer does n't say anything. He just stares at the body The crab finishes. The holographic doctor unfolds his arms and turns his head to Witwer. He is only a computer interface, but even so, it seems as if there is surprise in his digitalized voice. HOLOGRAPHIC DOCTOR Director Witwer. This event is a positive homicide. -LRB- beat. -RRB- A mortal wound was generated by a.38 calibre bullet delivered to the left occipital portion of the anterior skull, on June 16th, 2040, at 1:24 am, Eastern Standard Time. A Phase Two Investigation is in order. No one says anything as the holographic doctor dematerializes and the Coroner crab walks across the floor and puts itself back in its box. At last, someone moves. It is Witwer. He lifts his arm, pulls back his shirtsleeve, and stares long and hard at his watch.\",\n \"INT. WITWER'S OFFICE -- DAY LATER Lisa sits biting her lip as Witwer watches two monitors play the two versions of Anderson's murder of Witwer. Lisa points. LISA There. She reaches down and freezes on a close - up of Anderson on the two monitors. CLOSE ON - THE MONITORS On the left monitor Anderson has blue eyes, on the right he has brown. LISA The one on the left, the first disc - it's a fake. He does n't have blue eyes anymore. Witwer stares for a long time. WITWER A fake. -LRB- BEAT. -RRB- But the Precogs predict the infallible truth. They do n't emit fake discs. And now Lisa smiles. She has set her lawyerly mind to the solution. It is her moment. LISA Exactly. You ca n't tamper with the Precogs, induce them to make fakes. -LRB- beat. -RRB- But that does n't mean someone could n't have made a fake disc on their own and inserted it into the delivery system. The simplicity of it is inconceivable. Witwer speaks carefully, trying to process it WITWER Bypass the Precogs and slip a fake disc in with that day's real ones. LISA -LRB- excited. -RRB- We're all programmed to believe anything we see on a Precog disc. The system has never been wrong. Witwer stares at the proof before him. - the different colored eyes of Anderson. He ejects both discs and holds them in his hands. LISA -LRB- CONT'D. -RRB- You have to call off the hunt. He was set up. Witwer looks at the two discs he is holding WITWER -LRB- long beat. -RRB- It's gone too far, Lisa She shakes her head, shocked at his response LISA He was set up! You both were. If Paul kills you, you're both out of the picture. WITWER Who wants us out? Of what picture? LISA Jesus, Ed. Stop this thing! And then we can investigate Witwer's mouth opens and closes. He tries again. WITWER Ennis Page was murdered last night. The blood drains from Lisa's face WITWER -LRB- CONT'D. -RRB- Everything points to Paul. LISA He's not a murderer. WITWER I think he is. A murderer. and a future murderer. -LRB- beat. -RRB- Lisa. What does it matter that the first disc is a fake. if the second one's real? Witwer's hands close tight on the discs. Lisa stands there, motionless. Then she turns, and leaves his office, abruptly. He watches her go.\",\n \"INT. ROOM - THE SPRAWL -- DAY Rose sits in a chair near the window. She is chewing lightly on a cracker. Her face shows wonder - at the cracker's texture and taste. She holds it up and admires its shape. Anderson's mood is less wondrous ANDERSON Rose. Listen to me. I'm going to leave you here. I have to keep moving. ROSE'S SMILE ABRUPTLY VANISHES ROSE No. You must save my brothers. ANDERSON It's impossible. There's no time. I've done what I can do! Rose waits for him to finish. She looks out the window at the street scene. ROSE Come here, Anderson. He does, reluctantly. ROSE -LRB- CONT'D. -RRB- Do you see that boy in the blue hat walking with his mother? -LRB- beat. -RRB- In sixty seconds he will walk beneath those workers installing a window on the tenth floor of that building. ANDERSON'S POV - THE BOY AND THE WORKERS Two men struggle to lift a large window in place. Way below the little boy in the blue hat walks on along the sidewalk holding his mother's hand. ROSE -LRB- CONT'D. -RRB- They'll drop the window, killing him. It is impossible to save him. Anderson turns to her, shocked And then he runs for the door, hurls it open, and disappears down the hall. Rose listens to his FOOTSTEPS crashing down the stairs\",\n \"EXT. THE STREET. Even as Anderson rushes out of the boarding house, the WORKERS have lost their grip on the window. The little BOY in the blue hat and his MOTHER walk unwittingly toward disaster. They do not appear to hear the MEN'S cries. The WINDOW falls end over end above the boy's head. The sunlight sparks off of the glass, so that from a distance it looks like a star falling from the sky. A WOMAN across the street sees what is happening, and cries out. But what Anderson does is run. He runs faster and harder than humanly possible. He does not care if he is recognized or hit by a passing taxi. He is going to get to that boy. He has to get to that boy. ANDERSON rams the BOY from behind just as the corner of the window frame kisses the boy's blue hat. He knocks the boy to safety as glass and metal SMASH into the sidewalk. The mother does not even have time to scream. She is on the ground, stunned, But Anderson has saved the boy. He rolls away, and gets to his feet. Before anyone can put together what has happened, Anderson has ducked into an alley, and is gone.\",\n \"INT. THE ROOM - LATER Anderson enters the room again, out of breath, some small cuts on his face and hands. He stands across the room staring at Rose. Rose considers him. When she speaks her voice is near and distant at the same time. For Anderson, it is as if the words are coming from a place inside his own head. ROSE It was impossible to save that boy - but you did, Anderson. It's in you. It's what you are. Anderson sits on the floor and leans back wearily against a wall. ANDERSON You knew it was n't impossible. That I'd get there. Rose reveals nothing. ROSE You are a man who saves others. -LRB- beat. -RRB- Save my brothers. Anderson almost laughs. Her persistence is unbelievable ANDERSON I'm in a lot of trouble right now. ROSE My brothers are in more trouble. They've moved them to. an awful place. ANDERSON Rose. Ed Witwer - he's in the most trouble of all. Who saves him? Rose suddenly grimaces in pain, and grips the side of her head. She curls into a fetal position. Anderson goes to her, touches her thin shoulder. Her eyes roll into the back of her head. Whose pain is she feeling? Her own? Someone else's? Anderson does n't want to think about it.\",\n \"INT. PRECOG ENGINEERING LAB -CHEVY CHASE, MD -- NIGHT Because Anderson has destroyed the Precog Chamber, the two Precog brothers have been brought here. The room is makeshift, uncomfortable. a place for experiments. The brothers are strapped into chairs. They are helmeted. But unlike before, large bore needles have been placed in their jugular veins. Connected to the needles are long twists of IV tubing. There are several IVs running at high drip rates. Witwer has his back to all this. He stands with Dr. Resfield, watching a technician working the keyboard on a huge mainframe. Dr. Resfield, a man not given to squeamishness looks back at the Precogs, uneasy. DR. RESFIELD We're not really set up for this type of He stops talking when he looks into Witwer's hollow eyes. Witwer is somewhere beyond the influence and reach of words.\",\n \"INT. BOARDING HOUSE ROOM -- MORNING Anderson tries to get Rose to drink some water. Her skin is translucent, unhealthy, glistening with sweat. ANDERSON Rose. Try to drink. She pushes the cup away. She closes her eyes, as if even the dim light of the room causes her pain. ROSE Your wife. We have to get her here, Anderson. She opens her eyes. Anderson does n't like the feel of this. ANDERSON Why? ROSE I do n't know. ANDERSON What are you seeing? ROSE Glimpses, Anderson. Please. We have to get her here. ANDERSON You're scaring me, Rose She covers his mouth with her hand ROSE Stop talking. It uses me up. For a long time, Rose says nothing, Her gaze is locked onto a distance beyond the room. At last, she speaks. ROSE -LRB- CONT'D. -RRB- In three minutes your wife will take a walk.\",\n \"INT. JUDICIAL CENTER - ALEXANDRIA -- LATER Lisa sits in her office. But she ca n't stand it, the sitting and waiting. She has to move. She gets up and hurriedly leaves her office\",\n \"INT. JUDICIAL CENTER -- MOMENTS LATER Witwer walks past Lisa's SECRETARY toward the open door of Lisa's office. SECRETARY Sir? I'm sorry, she stepped out for a few minutes. -LRB- beat. -RRB- Sir? Witwer stares into the empty office. There is a clock on Lisa's desk. His eyes fix on it.\",\n \"EXT. JUDICIAL CENTER ALEXANDRIA Lisa moves quickly down the steps of the white marble building. She takes a deep breath, then heads down Jefferson Boulevard toward the city. A sleek black TRANSPORT with two Precrime officers in it follows her from a discreet distance. In the sky above, the ubiquitous Precrime hovercraft\",\n \"INT. CITY STREET ALEXANDRIA Lisa walks down the street. She hugs herself, barely aware of her surroundings. She passes by stores, restaurants, payphones, video kiosks. oblivious. People push past her. On a street corner, as she waits at a red light, the payphone beside her begins to RING. If she hears it, she gives no indication. A KID reaches for it, listens, hangs up. She walks on. Stores. Restaurants. An art gallery. As she comes abreast of another PAYPHONE, it suddenly starts to ring. This time Lisa glances at it. But again, walks on. The TRANSPORT weaves through traffic, nearby She walks past the K.L. Lawrence Graphics Museum. And another restaurant. And a PAYPHONE. And this time, finally, when it, too, RINGS, she turns and looks hard at it. A man begins to walk over to it. Lisa almost knocks him out of the way to get to it. She grabs at the receiver. LISA Hello? Hello? ANDERSON'S VOICE I need you. Lisa's forehead sags against the side of the payphone. She basks in the sound of him. ANDERSON'S VOICE -LRB- CONT'D. -RRB- It's 1:03. Set your watch, exactly. Lisa pushes the buttons on her digital watch as she listens LISA Okay. ANDERSON'S VOICE -LRB- CONT'D. -RRB- This is what you have to do. We now hear ANDERSON continue in VOICE OVER as we follow Lisa through a SEQUENCE OF EVENTS.\",\n \"EXT. THE LAWRENCE MUSEUM Lisa walks up the steps of the museum ANDERSON -LRB- V.O. -RRB- At 1:07 hang up the phone and enter the Lawrence Museum.\",\n \"INT. GRAPHICS GALLERY Lisa walks quickly through a display of 19th century magazine advertising.\",\n \"INT. GRAPHICS GALLERY The two Precrime officers walk into a room filled with Chinese graphics. ANDERSON -LRB- V.O. -RRB- At 1:13 the two Precrime officers following you take a wrong turn into a different room, losing sight of you for ten seconds. The officers start toward the entrance way to another room, then hesitate uncertainly, and go for another entrance way.\",\n \"EXT. THE LAWRENCE MUSEUM Lisa hurries down the steps\",\n \"INT. A SUBWAY STATION Lisa boards the `` A'' MagLev train ANDERSON -LRB- V.O. -RRB- An undercover transport officer will have received emergency orders to follow you. He's wearing a red tie. He has short blond hair.\",\n \"INT. THE SUBWAY CAR The blond transport officer with the red tie sits at the far end of Lisa's car, watching her. At the next stop Lisa gets off. He follows, not too far behind.\",\n \"INT. SUBWAY STATION Lisa starts up the stairs. She looks at her watch, then makes herself pause a few moments, to keep within Anderson's time frame. She starts up again. ANDERSON -LRB- V.O. -RRB- As you come around the bend, cry out and turn around and slap the officer. Lisa does this, and the officer reels back, surprised. At the same moment two big men rushing to catch a subway come into view, and see this happening. Lisa starts to run. When the undercover officer tries to stop her, the two men grab the officer, and they get into a fight. Lisa escapes.\",\n \"INT. A TAXI - THE SPRAWL Lisa looks at her watch, then taps the window for the driver to stop. She gets out. ANDERSON -LRB- V.O. -RRB- Stay on Ninth street. Underneath Ninth street is the main power feed for The Sprawl. It'll mess up the navigational beacon on the hovercraft. -LRB- beat. -RRB- Keep switching taxis. But stay on Ninth. She hails another taxi. She holds her hand over the IdentiScan before it can read her. The taxi driver looks at her, sees her smile, sees the prepaid cash card she holds out to him. LISA Two hundred dollars if you do n't scan me. It's The Sprawl - stranger things have happened. He grabs the card, and jerks his head for her to get in. They take off.\",\n \"EXT. NINTH STREET LATER Lisa gets out of the taxi and looks briefly into the sky. It is dense with holographic billboards, skim - jets, dirigibles. Somewhere in all that is a Precrime hovercraft. And the neighborhood around her is definitely downscale. ANDERSON -LRB- V.O. -RRB- The hovercraft will try to drop altitude, but the air traffic will slow it down. -LRB- beat. -RRB- Precrime loses you. You'll have to walk two miles. Do n't get scanned.\",\n \"EXT. THE SPRAWL Lisa walks hurriedly down a side street. She stands out in her white dress - a spot of vulnerable color in world of black. Too vulnerable to pass up. A MAN in a gray overcoat slides out from between two buildings in front of her. He is not coy about his intent. He comes straight at her, all business. Lisa freezes in place. She looks at her watch. The man grabs her by the shoulder. When she starts to scream, he claps his hand over her mouth, hard. MAN You bite me, bitch, I'll pull your teeth out. Her eyes look around frantically. He starts to drag her backwards into the dark. ANDERSON leaps into view, and slams the man's head into a light post. It takes a lot of slamming before lie loosens his grip on Lisa. His legs at last collapse under him. Anderson scoops Lisa off the ground. She hugs him hard. Then pulls back from him. She gives him a look. LISA Cut it a little close there, honeybunch. ANDERSON Rose got the street wrong. She's getting weak. LISA Rose?\",\n \"INT. THE BOARDING HOUSE -- LATER Rose sits up in bed silently watching Lisa and Anderson together. Lisa needs to touch him. She keeps a hand on his arm, brushes back a loose look of his hair. Rose is mesmerized by her actions. She drinks in everything, every bit of life. Anderson and Lisa are deep in conversation. They speak to each other as if Rose were hardly present in the room. Anderson is trying to process everything Lisa has told him. ANDERSON Two discs. One fake. One real. LISA I do n't think there were supposed to be two. Whoever planned it, was n't counting on two. They are silent for a long time. Rose watches them work it through. ANDERSON An infallible system. Every disc ever generated has been true. LISA Somebody wants you out of the way - so they make a fake disc. Who ever doubts the discs? ANDERSON I never doubted it. I saw it. And believed it, absolutely. I was certain I was going to murder Witwer. Anderson is shaking. Lisa wraps her arms around him. His voice is a stunned whisper. ANDERSON -LRB- CONT'D. -RRB- I saw the fake, and believed so much in the system, that I saw myself as a murderer. -LRB- beats. -RRB- And the Precogs picked up those thoughts. LISA And generated the second disc. The real one. ANDERSON A self - fulfilling prophesy. I believed it was true. And that made it true. Anderson and Lisa turn and look at Rose. She lies curled on the bed, her face to the wall. ANDERSON -LRB- CONT'D. -RRB- Rose. If all this is based on a lie - the fake disc - then do I really kill Witwer? ROSE -LRB- beat. -RRB- We see what we see. I'm sorry, Anderson. It's been predicted. Such a small voice, delivering a message of such finality\",\n \"INT. WITWER'S OFFICE -- MIDNIGHT Lieutenant Glaser tries to get through to Witwer. Witwer's back is turned to him. LIEUTENANT GLASER We ca n't take chances, sir Witwer does n't move or answer. LIEUTENANT GLASER -LRB- CONT'D. -RRB- It happens in less than three hours. -LRB- beat. -RRB- We put you in a hovercraft and keep you airborne - until after the event. WITWER The event. Lieutenant Glaser shifts uncomfortably LIEUTENANT GLASER I've been ordered to get you onto the craft. By force if necessary. WITWER The event is inevitable, Lieutenant. Witwer does n't turn around. WITWER -LRB- CONT'D. -RRB- The Precogs are never wrong. The event will take place. I'm a believer. Are n't you? LIEUTENANT GLASER I do n't leave this room without you, sir. The Security Panel insists.\",\n \"INT. THE BOARDING HOUSE SIMULTANEOUS Anderson and Lisa keep working it, peeling away the layers. Rose lies silent. ANDERSON Nobody could slip a fake disc past Ennis Page Lisa shakes her head. LISA He was the weak link in the perfect system. ANDERSON Obsessive compulsive niners ca n't allow changes in the routine LISA Something threw him off. -LRB- beat. -RRB- He tried to tell me. It did n't make any sense. Something about `` spilled coffee.'' -LRB- beat. -RRB- Someone was in his office with him. And coffee spilled. We stay CLOSE ON Anderson and Lisa as Rose's voice cuts in. ROSE -LRB- V.O. -RRB- We were always treated as if we were n't alive. As if we were n't there. The camera pulls back and they are watching her as she continues to speak. ROSE -LRB- CONT'D. -RRB- Even now. You forget that I'm here. You talk between yourselves. And when you need me to see into the future, then you turn to me. ANDERSON Rose. What is it? ROSE -LRB- beat. -RRB- We were n't just lost in the future. We were in the Chamber, too. Our eyes were open. In the present. And then Anderson gets it. He kneels beside her bed ANDERSON Your eyes were open. What did you see, Rose? ROSE Who would I have told? Who ever talked to us? Who cared that we could talk? ANDERSON Rose. Who spilled the coffee? Straight ahead. Rose stares stright ahead. MEMORY HIT Rose sits in her chair in the Precog Chamber. Her brothers sit in their usual places on either side of her. The technicians tend to them. Rose's eyes are open. She sees everything in the room. The technicians, the machines. and across the room a large window where she can see Ennis Page working the mainframe computer. Rose watches through the window. As the computer emits discs, Page gathers them ROSE -LRB- V.O. -RRB- Ed Witwer entered Page's office. Witwer carries a mug of coffee. Ennis Page goes red in the face, stares at the coffee. Speaks to Witwer, angrily, pointing to the coffee. We ca n't hear the words. ROSE -LRB- V.O. ; CONT'D. -RRB- Page was so upset at the sight of the coffee. Witwer goes to put the coffee down on a small table. It tips, and spills. Page looks like his head will explode. He pulls a neatly folded white handkerchief out of his back pocket and drops to his hands and knees and begins to obsessively blot at the coffee stain on his spotless rug. ROSE -LRB- V.O. ; CONT'D. -RRB- Ed Witwer took a disc from his pocket, reached over Page and put it in one of the open cases. Witwer closes the case. He looks through the window into the Precog Chamber, but the only one watching him is Rose - and what does she matter? Page rises angrily from cleaning the rug. Witwer shrugs in apology and leaves the room. Page stares after him. BACK TO SCENE Rose is weeping. She looks at Anderson and Lisa. ROSE -LRB- CONT'D. -RRB- I did n't understand what I'd seen. And I had no one to tell. Lisa puts her arms around Rose Anderson tries to comprehend what he has heard. ANDERSON Ed. Lisa turns, and speaks softly to her husband. LISA The perfect system - brought down by a cup of coffee. My god. ANDERSON -LRB- long beat. -RRB- He set into motion his own death. He did n't know it would go this far. -LRB- to Rose. -RRB- What makes me leave this room? If I stay here I wo n't kill him. Right? But Rose and her brothers have already answered that question for him.\",\n \"INT. WITWER'S OFFICE Lieutenant Glaser looks at his watch. Witwer is still in his chair, turned away from him. WITWER You see, if you think you can put me on a hovercraft and save me, then you do n't believe in the infallibility of the Precog system. Lieutenant Glaser has his orders. He begins to approach. And as he does, Witwer swivels his chair around, and lifts the weapon he has been holding and silently shoots Lieutenant Glaser in the forehead. WITWER -LRB- CONT'D. -RRB- And what I do not want around me, are nonbelievers. Witwer steps over the body as if it does n't exist, and walks out of the office, locking the door behind him.\",\n \"EXT. THE PRECOG ENGINEERING LAB - CHEVY CHASE, MD -- LATER Witwer gets out his car and looks at the two story concrete building that houses the lab. The lights are out in all the windows except the back section of the second floor. There, the lights burn brightly. Witwer sees Precrime officers posted at intervals around it. He smiles as if he knows something they do n't. He looks at his watch. It is a cool night, but his face is slick with sweat. He walks to the entrance of the building. An OFFICER 1s startled to see him. WITWER Things quiet? OFFICER Sir. Should you. be here? WITWER There's been a development. A body's been found in the Sprawl. OFFICER Anderson's? WITWER They're checking it out. I need to see what the Precogs have seen. Witwer is IdentiScanned. The door opens and he goes in.\",\n \"INT. THE LAB Dr. Resfield looks up as Witwer strides into the lab, carrying a tv under his arm. Witwer is the last person he wants to see. WITWER Borrowed this from the technicians' lounge. You do n't think they'll mind, do you? DR.RESFIELD You should n't be here, Director. Dr. Resfield's eyes cut to a large digital clock on the wall, the red numbers ticking off time in seconds. Witwer looks for a plug, finds one. Plugs in the tv. WITWER No, no. This is exactly where I should be. DR. RESFIELD You're under a lot of strain, Director. Witwer finds what he's looking for - the continuous loop of his murder by Anderson. `` Call Now! Call Now!'' WITWER And tv's so good for that - soothes the mind. Witwer turns his sweaty face to Resfield and gives him a bright smile. The scientist looks like he wants to run out of the room. Witwer takes him by the elbow and guides him toward the Precogs. Two technicians hover over the Precogs adjusting IV's and turning dials on the Precogs's organic helmets. The Precogs wince and shiver with each turn of the dial. But they are no longer violently seizing - they are too weak for that. WITWER -LRB- CONT'D. -RRB- Bring me up to speed, Doc. DR. RESFIELD We're getting nothing from them. WITWER And that's because? Witwer still grips him by the elbow. DR. RESFIELD I do n't know. WITWER Do you think they know where Anderson is? DR. RESFIELD It's impossible to tell. -LRB- beat. -RRB- We've done everything. Maybe even too much. WITWER STARES AT THE PRECOGS WITWER They know how to find Anderson for me. -LRB- beat. -RRB- They're the perfect machine, Doctor. You just have to know which button to push.\",\n \"INT. BOARDING HOUSE - THE SPRAWL Rose looks like she's on fire. Anderson wets another towel, wrings it over the sink. Lisa takes it, and wipes down Rose's face and arms. Rose's lips are moving soundlessly. Her eyes are shut tight. She begins to writhe in bed. ANDERSON Jesus Christ. LISA Come on, Rose. ANDERSON LOOKS AT HIS WATCH ANDERSON One hour. We hold it together for an hour, Witwer lives - and I'm not a murderer. LISA She wo n't last an hour. It suddenly looks much worse than that. Rose's body contorts horribly and she arches up off the bed. Lisa ca n't control her. Anderson reaches for her, wraps her in his arms, trying to hold and comfort her. ANDERSON Rose! She begins to wail as she thrashes in his arms. ROSE He's killed him, Anderson! Rose stiffens into a seizure posture, then her body goes slack. Anderson eases her back on the bed. He stares at her, stricken. Her voice barely leaves her now ROSE -LRB- CONT'D. -RRB- You did n't save my brother. Anderson reels at her words. ANDERSON Did he kill both of them, Rose? Rose! Rose manages to speak, one last time. Her whispered words damn him. ROSE Does it matter, Anderson? Anderson rises. Looks down at Rose. It matters. He starts to move, quickly. Lisa takes hold of his arm. LISA If you leave this room. Anderson kisses her. ANDERSON Then I'm a cop, just trying to do hisjob. He reaches for his duffel bag. When the door closes behind him, Rose turns her head slightly and looks. And then her eyes drift closed, as she goes to a place deep within her own mind.\",\n \"EXT. A STREET - THE SPRAWL - MOMENTS LATER He passes by several cars on the street. But they're all auto - drive, they wo n't do him any good. So he smashes a store window within forty - five seconds a city police transport zooms up, lights flashing. Two city officers leap out of the transport. They approach the smashed - in store window, weapons drawn. Which is a mistake. Anderson rises into view behind them, and sonically blasts a small crater in the sidewalk they are standing on. As they trip and fall, he is already spraying them down with BindFoam. Their second mistake is they left the engine running to power the bank of Nits - Tracker lights on the car's hood and roof. Anderson screeches off through the choking predawn streets of The Sprawl, a beacon of light in the darkness.\",\n \"INT. THE LAB The DIGITAL CLOCK races through time. Witwer reaches his hand up and touches the vanishing numbers. The camera pulls back, and we see Dr. Resfield and the two technicians bound and gagged in a heap in the corner. And when we see the lab in its entirety, there sprawled on the floor in front of his chair is one of the Precog brothers. A small rise of blood comes from a torn place in the back of his skull. The other Precog sits very still in his chair. He is still connected to everything - his helmet is in place, the TVs drip into him. His eyes are open, and when Witwer moves, the Precog's eyes follow him. Witwer can feel them on him. He turns around. WITWER Is he coming? No? Yes? Maybe? -LRB- beat. -RRB- I think yes. The Precog looks at him. WITWER -LRB- CONT'D. -RRB- And you think yes. Witwer points to the tv screen, running Anderson's murder of Witwer. Witwer smiles triumphantly. WITWER -LRB- CONT'D. -RRB- Infallibly, immutably yes. The Precog looks at him. Witwer's smile vanishes, and suddenly strides across the room, and claps his hand over the Precog's eyes. Then he turns, and stares again at the clock.\",\n \"EXT. THE PRECOG ENGINEERING LAB Three officers stand thirty feet apart in front of the building, facing outward toward the parking lot, weapons cradled in their arms. Behind them is a line of yew bushes. AS we watch, the officer on the left is yanked off his feet backward into the bushes. Several moments pass, and the same thing happens to the officer on the right. The officer guarding the front entrance casually looks right. Then he looks hard. He grips his weapon tight, and swings left. No one there, either. ANDERSON drops him hard, from behind. The officer crumples onto the cement. But Anderson's not done with him. Anderson lifts him up, struggles to drag him forward toward the entrance. Anderson holds him upright in place. The man's head lolls backward. Which is. Perfect for what Anderson needs to do. Anderson reaches his fingers towards the man's closed eyes. He pulls up on the eyelids. An IdentiScan over the entrance clicks on and reads the man's eyes. Access granted, the doors HISS open. Anderson enters the building, dragging the officer with him.\",\n \"INT. THE LAB Anderson enters the lab. The very building sickens him. What he sees sickens him even more. The remaining Precog sits strapped into his chair. Witwer sits beside him in the other Precog chair, the dead brother at his feet. Witwer wears the dead Precog's helmet. His hand is in his lap, holding a gun. He grins when Anderson appears. He takes off the helmet, drops it on the floor. WITWER I figured, since I can see the future, too, maybe I could get a little disc action going. -LRB- beat. -RRB- Just kidding. Anderson stares at his old partner. Then he looks up at the digital clock. Five - seventeen AM. Witwer looks too, then turns back to Anderson. WITWER -LRB- CONT'D. -RRB- You find you been doing that a lot this week? Looking at clocks? -LRB- beat. -RRB- Three minutes to go. Anderson turns to the tv. ANDERSON There's never anything good on, you know? Now Witwer smiles. WITWER There. That's the old Paul. ANDERSON You're not the old Ed. You've lost it. Witwer rises from the chair, the gun in his hand. WITWER You lost it. You went weak in the knees, partner. ANDERSON I'm not your partner. Witwer looks at him sadly. WITWER The air went out of you when Frank D'Ignazio killed himself. ANDERSON He was guilty. I accepted that. WITWER No you did n't. The doubts were creeping in on you. The lab trying to engineer more Precogs. Malcolm pressuring you to expand. Witwer reaches out and gently touches the remaining Precog brother's cheek. WITWER -LRB- CONT'D. -RRB- Belief is the basis of the system. It was your job to be the ultimate believer. Witwer is breathing hard. He lifts a hand and wipes the sweat from his face. WITWER -LRB- CONT'D. -RRB- And when Frank died, you faltered. I'm a cop, I see into the hearts of men. -LRB- beat. -RRB- And the thing about you is, you would n't have just walked away. ANDERSON Never been my style. Witwer gives him the flicker of a smile WITWER Precrime needs to grow. You would have stood in its way. The Security Panel would n't have understood that. What you're capable of. What a bulldog you are. -LRB- beat. -RRB- Look what you've been doing to us all week. Amazing. You're the best. ANDERSON So you took matters into your own hands. WITWER I understood the threat. I understood YOU Anderson looks at the dead Precog ANDERSON You killed a Precog. You ended the system you wanted to protect. WITWER Wrong. This lab will make more. Believe it, Paul. They look at the CLOCK. Five - nineteen. ANDERSON Knowing the exact moment of your death - it's made you crazy, Ed. Witwer looks at the tv. The TV REALITY is almost in synch with what is happening in the room. Witwer lifts his gun - and then realizes something is terribly wrong. Anderson is standing there before him just as he is on the disc - except there is a major difference. WITWER You sonofabitch! Anderson lifts up both hands WITWER -LRB- CONT'D. -RRB- You did n't bring your gun! ANDERSON That's right. No gun. WITWER You see?! That's exactly what I'm talking about. You do n't Believe! Anderson just looks at Witwer, raging at him. WITWER -LRB- CONT'D. -RRB- The system is infallible. ANDERSON Does n't Seem to be Witwer reaches behind him and pulls a second gun from out of his belt. WITWER -LRB- CONT'D. -RRB- I guess that's why I've always carried two. He tosses the gun to Anderson. It clatters at Anderson's feet. ANDERSON You ca n't have it both ways. You do n't want to die. That's why you lured me here - to kill me first. -LRB- beat. -RRB- But it you do n't diet the system is flawed, and you could n't live with that. Witwer SHOOTS him once, in the right thigh. Anderson cries out, falls to the concrete floor. WITWER Pick it up Anderson speaks through his teeth ANDERSON It does n't happen. Witwer looks frantically at the tv, at the clock. He reaches over and opens the dripmeter on a piggy back IV feeding into the Precog's main line. A thick, yellow fluid begins to flow toward the Precog's jugular vein. WITWER -LRB- CONT'D. -RRB- You're killing him, partner. And what choice, finally, does Anderson have? He reaches for the gun. ANDERSON Let's not do this, Ed Witwer trains his gun on Anderson. Anderson trains his gun on Witwer. ANDERSON -LRB- CONT'D. -RRB- Oh, Ed. Witwer lowers his gun. And stands there between Anderson and the doomed Precog. The yellow liquid has almost reached the Precog's jugular. Anderson shoots Witwer, once in the heart. Witwer is thrown back across the room, against a wall, beneath the clock. Anderson drags himself to the Precog, and rips the yellow IV out of the main line. The yellow drips onto the floor, mingling with Witwer's red. Anderson crawls to his friend, and cradles him. Witwer whispers something, and Anderson leans close to hear him. WITWER Now do you believe? Anderson pulls away from Witwer, and lets him take his last breaths alone. DARKNESS And then, slowly emerging from the mists of darkness, a pale, beautifully proportioned FACE. It is Rose's face. The camera pulls back and we see that she is lying on a grassy hillside. Her brother is lying beside her. They are looking up at the night sky, at a sky filled with stars. Rose stares up into the sky, and speaks in a soft voice to her brother. ROSE James. Can you guess what I'm thinking? JAMES -LRB- beat. -RRB- NO. James smiles. And then, after a long moment, so does Rose. THE END\"\n]"},"labels":{"kind":"list like","value":[0,0,0,0,0,0,0,0,0,0,1,0,1,1,0,0,1,1,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,1,1,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,1,0,0,1,0,0,0,0],"string":"[\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 1,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0\n]"},"summary":{"kind":"string","value":"In April 2054, Washington, DC's prototype PreCrime police department stops murderers before they act, reducing the murder rate to zero percent. Murders are predicted using specialized mutated humans, called \"Precogs\", who \"previsualize\" crimes by receiving visions of the future. Would-be murderers are imprisoned in a benevolent virtual reality. The Federal government is on the verge of adopting the controversial program nationwide. Since the disappearance of his son Sean, PreCrime Captain John Anderton has both separated from his wife Lara and has become a drug addict. While United States Department of Justice agent Danny Witwer is auditing the program, the Precogs generate a new prediction, stating Anderton will murder a man he does not know named Leo Crow in 36 hours. Anderton flees the area as Witwer begins a manhunt. Anderton seeks the advice of Dr. Iris Hineman, the creator of PreCrime technology. She reveals that sometimes, one of the Precogs, usually Agatha, has a different vision than the other two, a \"minority report\" of a possible alternate future; this has been kept a secret as it would damage the system's credibility. Anderton resolves to recover the minority report to prove his innocence. Anderton goes to a black market doctor for a risky eye transplant so as to avoid the citywide optical recognition system. He returns to PreCrime and kidnaps Agatha, shutting down the system, as the Precogs operate as a group mind. Anderton takes Agatha to a hacker to extract the minority report of Leo Crow, but none exists; instead, Agatha shows him an image of the murder of Ann Lively, a woman who was drowned by a hooded figure five years prior. Anderton and Agatha go to Crow's hotel room as the 36-hour time nears, finding numerous photos of children, including Sean's. Crow arrives and Anderton prepares to kill him, accusing him of being a serial child killer. Agatha talks Anderton out of shooting Crow by telling him that he has the ability to choose his future now that he is aware of it. Crow, however, begs to be killed, having been hired by an unknown entity to plant the photos and be killed in exchange for his family's financial well being. Crow grabs Anderton's gun and pulls the trigger, killing himself. Anderton and Agatha flee to Lara's house outside the city for refuge. There they learn Lively was Agatha's drug-addicted mother who sold her to PreCrime. Lively had sobered up and attempted to reclaim Agatha, but was murdered. Anderton realizes he is being targeted for knowing about Lively's existence and her connection to Agatha. Witwer, studying Crow's death, suspects Anderton is being framed. He examines the footage of Lively's murder and finds there were two attempts on her life, the first having been stopped by PreCrime but the second, occurring seconds later, having succeeded. Witwer reports this to the director and founder of PreCrime, Lamar Burgess, but Burgess responds by killing Witwer using Anderton's gun. With the Precogs still offline, the murder is not detected. Lara calls Burgess to reveal that Anderton is with her, and he is captured, accused of both murders, and fitted with the brain device that puts him permanently into a dreamlike sleep. As his body is deposited into prison, the warden tells him \"that all your dreams come true\". Agatha is reconnected to the PreCrime system. While attempting to comfort Lara, Burgess accidentally reveals himself as Lively's murderer. Lara frees Anderton, and Anderton exposes Burgess at a PreCrime celebratory banquet by playing the full video of Agatha's vision of Burgess killing Lively. A new report is generated at PreCrime: Burgess will kill Anderton. Burgess corners Anderton, and explains that as he could not afford to let Lively take Agatha back without impacting PreCrime, he arranged to kill Lively following an actual attempt on her life, so that the murder would appear as an echo within PreCrime and be ignored. Anderton points out Burgess's dilemma: If Burgess kills Anderton, he will go away for life, but PreCrime will continue; if he spares Anderton, PreCrime will be discredited and shut down. Anderton reveals the ultimate flaw of the system: once people are aware of their future, they are able to change it. Burgess instead shoots himself. Afterwards, the PreCrime system is shut down. All the prisoners are pardoned and released, although they are kept under probation-like circumstances. Anderton and Lara are soon to have a new child together, and the Precogs are sent away to an undisclosed location to live their lives in peace."},"name":{"kind":"string","value":"Minority_Report_(film)"}}},{"rowIdx":77,"cells":{"scenes":{"kind":"list like","value":["EXT. CAROLINA MALL - MORNING ONE LONG TRACKING SHOT FROM THE BACK. A PERVERT in a trench coat runs along the edge of the mall. A group of OLD WOMEN is coming toward the MAIN ENTRANCE. The Pervert opens his trench coat and flashes the old women. They SCREAM! The Pervert ducks behind the bushes and runs with the skill of a Navy SEAL. A FAMILY is walking down the sidewalk. The Pervert opens his trench coat and flashes them. The Pervert ducks behind a dumpster. He keeps running and sees a car driving by. The Pervert flashes the CAR. The Pervert takes a two - step run, sees ANOTHER LADY, flashes her. He dives behind a car. Then pops up and flashes ANOTHER GIRL. It's an all - out Pervert assault! The Pervert then runs across the parking lot, jumps a fence, and darts from the property - vanishing as quickly as a Ninja who just perfectly executed an assassination.","INT. MALL - BUSINESS OFFICES - DAY MARK, the Mall Manager, walks by a group of women, who were exposed to the Pervert. They crowd around and complain loudly. MARK Ladies, please, we're doing everything we can to handle the situation. Nothing is more important to us than the safety of our shoppers. Now in the meantime, feel free to check out some of our wonderful back - to - school sales. Excuse me for a minute. Mark walks down the hallway that houses all of the business affair offices. He stops at the RECEPTIONIST'S desk. MARK Have you seen Ronnie? RECEPTIONIST I have n't seen him all morning. The Mall Manager quickly walks off. On the way, he passes a JANITOR. MARK Ramon, have you seen Ronnie? JANITOR No, senor. The Mall Manager keeps walking.","INT. SECURITY OFFICE - DAY The Mall Manager comes into the surveillance room. It's a small office with monitors that show the different security cameras around the mall. DENNIS, a Mall Security guard with sunglasses who will not utter a word ever, turns around in the chair. MARK Where is Ronnie? Dennis shrugs.","INT. GARAGE - DAY Blackness. White shafts of light sporadically shoot through the dark and we see IMAGES. A GIANT FLASHLIGHT is inserted into a UTILITY BELT. MACE is inserted in the other side. A WALKIE - TALKIE is turned on. A TASER is sparked. MIRRORED SUNGLASSES are pushed over the nose. A garage door raises and bright light spills in.","EXT. GARAGE - DAY A garage door opens slowly and reveals a souped - up ORANGE GOLF CART. There's a siren on top that spins around. The man driving is RONNIE BARNHARDT -LRB- 28 -RRB-, a stocky mall security guard whose expression reads all business. Ronnie pulls out of the garage. SUPERIMPOSE : OBSERVE AND REPORT","EXT. MALL - DAY HEAVY METAL MUSIC. A group of anarchist SKATERS rages through the mall parking lot tearing up everything they see. A couple of them smoke cigarettes. One skater grinds over a bench. One kid ollies onto the hood of a car. Another slams into an old man and knocks him over. Meanwhile, Ronnie sits in his golf cart - waiting. He looks eerily like Mel Gibson at the beginning of Mad Max. The skaters ride past a set of construction cones. One skater picks up the cone and tosses it across the parking lot. The skaters soar past Ronnie, who flips on the silent orange siren and gives chase. As the skaters ride through the parking lot, Ronnie pulls up and drives alongside of them. RONNIE -LRB- cop authority voice. -RRB- Pull over to the sidewalk, NOW! STEVIE, the leader of the skaters, yells back. STEVIE Fuck off, Ronnie, it's just a parking lot. RONNIE Sir, pull over to the sidewalk, NOW! HECTOR, another skater, joins in. HECTOR Leave us alone. STEVIE Yeah, skating's not a crime, dick. RONNIE Skateboarding is not allowed on mall premises. Pull over now! STEVIE We're not leaving. HECTOR Yeah, fuck you! The skateboarders flip Ronnie off and push hard to get away from him. Ronnie guns it and an all out chase ensues. Ronnie pulls up alongside of a SLOW SKATER. Ronnie side - swipes the skater, forcing the skater to run into a trash can and fall. Ronnie catches up to ANOTHER SKATER. This time, Ronnie tries to hit the skater on the side again, but he is too fast. Ronnie swerves trying to get him, but he dodges and ducks. Ronnie hits the brake. The skater thinks he has escaped, but looks up and sees that a car is in his way. The skater nails the car and is thrown over the hood. Ronnie is back in the chase and only Hector and Stevie are left. Ronnie guns the golf cart and zooms up closely behind the two kids. Ronnie rams Hector over and over from behind. Hector wobbles. Ronnie rams him again. Hector goes swerving off and falls down hard. Ronnie does n't break his pace and guns it toward Stevie. Stevie is good. He turns and rides through cars, ollies over parking blocks, and through pedestrians. Ronnie burns down the lane beside him. Stevie looks behind and Ronnie is nowhere in sight. He's in the clear. Stevie turns back around and sees Ronnie, driving in reverse straight towards him. Ronnie rams into the skater and knocks the poor kid on his ass. STEVIE What the fuck are you doing? RONNIE I was driving in reverse and trying to get you to flip into the back seat. STEVIE What? RONNIE That way I could handcuff you smoothly and take you in. You know, never mind, just get in the goddamn golf cart. Stevie picks himself up slowly and hobbles toward the golf cart.","INT. MALL - SECURITY OFFICE - MORNING Ronnie is in the room with the monitors. The skaters sit across from him. There's a poster on the wall with the security guard motto : OBSERVE AND REPORT. Ronnie fiddles with his walkie - talkie. RONNIE It seems like we go through this every day. What's it going to take for you all to realize that I wo n't tolerate this horseplay and just do whatever you want to and do n't worry about the rules attitude? STEVIE Ronnie, I hear what you're saying and I just want you to know that personally, it pains me to see you all worked up and I just want you to know that I'm really sorry because you ca n't do shit and you can take your little rules and stick'em up your ass, you fuckin' rent - a - cop. The Skaters all start cracking up. HECTOR Yeah, suck my dick. The Skaters start laughing louder. RONNIE That's funny, guys. I try to be a mentor to the youth, but it seems like you boys have gone straight past boydom to the land of street - hardened criminals. I'm left with no choice. You call me rent - a - cop, but I call myself the law's right hand. I see the crime. and I phone it in. And that's what I'm getting ready to do right now. Ronnie picks up the walkie - talkie and turns it on. He speaks into it. RONNIE -LRB- into walkie. -RRB- 317, this is Ronnie Barnhardt over at Carolina Mall. Come in, over. WALKIE VOICE -LRB- V.O. -RRB- This is Officer Douglas, what do you wish to report? Over. RONNIE -LRB- into walkie. -RRB- I've got a couple of trespassers who have been found skateboarding on mall property. Can you send a black and white over to take these boys into processing? Over. Ronnie winks at the Skaters. WALKIE VOICE -LRB- V.O. -RRB- Uh. Yeah, Ronnie, we're kind of busy today. I mean, we got like three car accidents. Ronnie picks up the walkie and whispers into it. RONNIE -LRB- into walkie. -RRB- What do you mean? I've got these guys red - handed. I'm gon na need a car over here pronto. I ca n't hold them all day by myself. Over. WALKIE VOICE -LRB- V.O. -RRB- Copy. Yeah, like I said, we're awfully busy right now. I think you should probably just make'em promise not to do it again and threaten to call their parents or something. That'll get them. Over. The Skaters start laughing. RONNIE -LRB- into walkie. -RRB- Sir, I do n't think you understand, their parents do n't care about them. This is a 911 from one of your soldiers. Officer needs assistance! Over! WALKIE VOICE -LRB- V.O. -RRB- Yeah, it's not gon na happen. The VOICE fades as Ronnie turns off the Walkie. RONNIE So as you can see, the law is just one little call away. But I'm gon na choose not to use that tactic today. I'm gon na do something that I like to do from time to time, and that's called handle shit myself. Ronnie takes his pad out of his pocket. He begins writing. RONNIE While I wo n't have you arrested today, I am going to suspend each of you for one week. For those of you who do n't know how this works, here it is. This is official documentation. If you step foot on mall property, it is considered trespassing. At that point, I call the police, they come down, you go directly to jail. Ronnie fills out the paperwork, sets the suspension notes on the table. Stevie looks down at it. He picks it up, reads it, balls it up, and throws it at Ronnie. The Skaters start cracking up. RONNIE You accepted it originally, so it still counts. Ronnie sits there while the Skaters laugh.","INT. MALL - FOOD COURT - DAY Ronnie sits at a table with a Cinnabon in front of him. Across the table sits NELL, a chubby but cute girl, who wears a Cinnabon uniform. The couple holds hands and they have their heads bowed. NELL Dear Lord, bless this food that we eat and purify it with Your salvation. Also, please keep Ronnie safe as he works in Your name to protect the customers and employees and store owners of the mall. And please turn your wrath on any sinners that try to hurt him and make them pay by burning in the eternal flames of hell. In Christ's name we pray, amen. RONNIE Amen. Ronnie begins devouring his Cinnabon. NELL So what's on the agenda for you today? RONNIE You know, the usual. Spot crime before it happens, perform random acts of bravery, save people from certain death, yada yada yada. NELL What's wrong, Ronnie? RONNIE Nothing, Nell. NELL Ronnie, I know that you really want to be a Police Officer, but you have to realize that things work out the way they're meant to. RONNIE I know. I'm okay, Nell. Thanks, but really, I mean, I'm on the front lines right now. I'm livin' it. NELL Your job is definitely more exciting than mine. RONNIE Of course it is, but at least you do n't have to wrestle with the demons at night. I better get going. NELL I'll see you after work, sweetie. Nell leans in to kiss Ronnie, but he pulls away. RONNIE Not at work, Nell. We have to keep up appearances, we talked about this. And do n't call me sweetie. NELL I'm sorry. I'll see you after work, Officer Barnhardt. RONNIE ` Bye, Nell. Ronnie stands up and walks off.","INT. MALL - DAY Ronnie stands in the middle of the mall and supervises the early morning MALL WALKERS as they stride around the outer marked lane. It's all senior citizens. RONNIE Slow it down. Watch your speed there. This ai n't a race. Hey, second time, slow it down. Mark, the Mall Manager, walks up to Ronnie. MARK I've been looking all over for you. RONNIE I have n't been hiding, but some things that I have to do are better to keep hidden from you and ` official' eyes. Trust me, it's best all around if there are no bodies to clean up. MARK So you may or may not have heard, but this morning, several women were assaulted just outside the front doors by a crazy Pervert. RONNIE For the love of God. MARK I know, it's horrible. RONNIE You want me to phone this one in to the police? MARK Not just yet. See if we call the police, they'll be a big scandal and something like that could kill what little traffic we have at this mall. What I need you to do is watch out for this Pervert and if you see him, try to stop him or quietly phone it in so we can handle this discreetly. RONNIE Hold on, Mark. Let me make sure I understand you. You're telling me to deny my primary objective of Observing and Reporting crime and at the same time, you're giving me authorization to handle this case on my own. MARK I'm just saying keep an eye out and keep quiet. RONNIE So basically, I'm in charge of this whole investigation. MARK There's no investigation. RONNIE Not yet. Okay, Mark, I'll do it, but I'm gon na need a few things first. MARK You ca n't carry a gun. RONNIE Well, I'm gon na need a new title. Something to instill fear in the criminal mind. How about Director of Mall Intelligence? MARK Head of Mall Security. RONNIE That's perfect. MARK And it does n't come with a raise. RONNIE Got it. MARK And the new title stays between us. RONNIE Understood. Thank you for this opportunity, Mark. I wo n't let you down.","EXT. CAROLINA MALL - DAY Ronnie stands in front of a Cadillac with a boot on one of his tires. A local news camera crew comes up to Ronnie and the FEMALE REPORTER starts asking questions. FEMALE REPORTER Excuse me, sir, but we would like to ask you a few questions. RONNIE I'm sorry, but I ca n't answer anything. FEMALE REPORTER We heard a report that an unidentified man was spotted earlier today exposing himself to several women. Do you care to comment? RONNIE I'm not allowed to comment on that situation. FEMALE REPORTER So you admit there is a situation. RONNIE I'm trained to resist torture for up to 72 hours, you really expect me to break now? Get real, lady. FEMALE REPORTER -LRB- to her camera crew. -RRB- We're wasting our time here. Let's go find some police to interview. RONNIE Good luck. FEMALE REPORTER What's that supposed to mean? RONNIE It just means you wo n't find any police. FEMALE REPORTER Are you telling me the police have n't even been called! RONNIE -LRB- SARCASTIC. -RRB- Ewww, alert the media. FEMALE REPORTER Jesus, well who'd they leave in charge, you? Ronnie smiles like he knows a secret. FEMALE REPORTER Yeah, right. Why would they leave you in charge? RONNIE First of all, if there was a situation to be handled, I do n't see why you find it so goddamn ridiculous that I would be in charge. The Reporter waves for her crew to start filming. FEMALE REPORTER -LRB- setting a trap. -RRB- Look, there is no way you're in charge of this investigation. RONNIE Well for your information, I'm in charge of this whole fucking operation. I do n't give a goddamn if you believe me or not, Ms. Hot Fuckin' SHIT news lady. I'm the first line of defense against this pervert. As the law's right hand, I'm here so that people like you can live in your own little happy world and think places like this mall are safe and fun. I'm the defender of this war zone. Just me and my goddamn flashlight. Just then, SADDAMN, an angry Middle Easterner with shitloads of cell phones and beepers strapped to him, comes running up to Ronnie. SADDAMN You motherfucker, you put a boot on my car! RONNIE -LRB- cop voice. -RRB- I warned you about parking in the fire lane, Saddamn! SADDAMN Fuck you, Ronnie! Take that goddamn boot off of my car. RONNIE -LRB- going into cop VOICE. -RRB- Step away now! SADDAMN I pay good money to this mall. Do n't tell me where to park! RONNIE Sir, I will be forced to take action if you do not step back! SADDAMN I'm gon na kill you! Ronnie pulls out his taser and shoots Saddamn. Saddamn goes down hard and begins twitching. He is fucking out of it! Ronnie goes back to giving the interview as if nothing happened. RONNIE As I was saying, the pervert situation here is real bleak. For all you people out there thinking of coming to the mall, please for your own safety, stay away. SADDAMN -LRB- still fucked up. -RRB- I ca n't believe you tased me. RONNIE -LRB- to the man. -RRB- That's right and I've got another one waiting right here for you.","INT. DEPARTMENT STORE - DAY BRANDI, the make - up counter girl, globs on tons of make - up. She's a hot girl who looks like she's spent a few sticky nights in the bed of a truck. Ronnie stands back and watches Brandi. Finally, he walks up to her. RONNIE Hey, Brandi. Brandi looks up from her mirror and then goes back to applying make - up. RONNIE That color looks great on your skin. Not just that color, but I've noticed that all make - up looks really good on you. Especially the blue around your eyes. I bet it drives the men crazy. Brandi glares at Ronnie. RONNIE It's okay. I can say that because I'm taken. BRANDI What do you want, Ronnie? RONNIE I'm here on official business. See, I do n't know if you know this, but I have recently been made Head of Mall Security. Did you hear about that? BRANDI No. RONNIE Well, I'm sure you will. It's actually pretty huge news. But the reason I stopped by is to tell you that it looks like we've got a pervert on the loose. A real live psychopath who gains sexual gratification by exposing himself to ladies such as yourself. I just want to warn you to be careful when coming and going to work. BRANDI Okay, got it. RONNIE And you may not want to wear any of those skirts that you like to wear. BRANDI What skirts? RONNIE You know what skirts. Something like that could set him off. And for that matter, you better not wear any of those little low - cut top things either, okay? Especially with those black bras because, you can really see them in the light. Perverts really tend to notice stuff like that. Okay, see you later. Ronnie takes off and leaves Brandi still applying make - up.","INT. MALL - NIGHT The lights are turned off and the mall is empty. Ronnie walks out with Dennis. RONNIE Dennis, man, I'm glad we've got a minute to talk. There's no easy way to say this so I'm just going to come right out with it. Mark offered me the position of Head of Mall Security. I know this is n't easy for you to hear seeing as you've been here longer than me. But I want you to know that you're my best friend and I'm only going to accept the job if you're okay with that. Dennis shrugs. RONNIE Well, you should know I've already accepted and it's too late to turn it down now. Every ship needs a captain. So you were passed over. Who gives a shit? Dennis, in time, you'll come to accept answering to me. Remember, there are n't any leaders in friendship. We cool? Dennis and Ronnie shake hands. They walk out and lock the doors behind them. RONNIE Hey, you want to go and grab a beer or something? Dennis does n't say anything and just walks to his car. Ronnie follows. RONNIE Yeah, you're right. You're probably in no mood to party after that news. Well, try not to take it too hard. See you later, buddy. Ronnie leaves Dennis and walks to his car.","EXT. TRAILER - NIGHT Ronnie's home is a shitty double - wide at the very end of the shittiest trailer park in town.","INT. RONNIE'S BEDROOM - NIGHT Ronnie lives in a boy's room. There's all kind of posters up with instructions on how to execute choke holds, wrist locks, and other assorted death blows. However, the biggest decoration is a large diagram of the mall. Ronnie stands in the middle of his room with his MOM across from him. She's an old, thick boozer, with the strength of a father and the love of a mother. She downs a full beer and throws it against the wall. MOM You think you're ready for a shot at the title, motherfucker?! RONNIE I'm ready, Mom. MOM Ding ding. Ronnie and his Mom take to fighting. Ronnie's Mom is surprisingly good and she lands the first blows to Ronnie's cranium. RONNIE Ow! MOM What's wrong, baby? Is your pussy hurting? RONNIE Fuck you! Ronnie attacks his Mom. He manages to scoop her and body slam her to the ground. Ronnie's Mom flips out of it on the ground. However, Ronnie holds onto her wrist and stands up, thus locking in the submission hold. MOM Ah! RONNIE You give? MOM Fuck you! Ronnie flips the wrist lock tighter! MOM Ow! RONNIE You move with me, you go down. You move against me and your arm breaks. MOM I give! RONNIE What's that? MOM I give! Let me go, goddamn it. Ronnie lets his Mom go. She shakes off the pain. MOM I ca n't believe you got that lucky shit on me. RONNIE Luck has nothing to do with it. MOM You almost broke my arm. RONNIE I'm sorry, Mom. Are you okay? MOM Not really. Ronnie's Mom rubs her arm. Ronnie drops his guard and comes over to tend to his Mom's wounds. However, she's only playing possum. Ronnie's Mom sees an opening and attacks Ronnie at his legs. Ronnie goes down and the two start wrestling again. -LRB- NOTE : This plays as realistic as possible, no phony punches or smooth/comedy fighting, it looks like a school yard fight video. Sloppy and real. -RRB-","INT. RONNIE'S BEDROOM - LATER THAT NIGHT Ronnie is laying in bed while his Mom chugs another beer beside him. She's one - eye - closed punch - me - in - the - face drunk. They're watching Ronnie on the news from earlier. Ronnie talks into microphone. RONNIE -LRB- V.O. -RRB- Yeah, well for your information, I'm in charge of this whole BEEP operation. I do n't give a BEEP if you believe me or not, Ms. Hot BEEP BEEP news lady. Do you see anybody else? BEEP no you do n't. As the law's right hand, I'm the first line of defense against this pervert. I'm here so that people like you can live in your own little happy world and think places like this mall are safe and fun. I'm the defender of this war zone. Just me and my BEEP flashlight. The FEMALE REPORTER addresses the camera over FOOTAGE OF RONNIE TASING SADDAMN. FEMALE REPORTER -LRB- V.O. -RRB- No comment as to why steps are not being taken, but this Security Guard feels like he is the only one doing anything to protect the people who visit Carolina Mall from the suspect. For all of us, I hope this is n't the case. Back to you, Lindsay. Ronnie turns off the television. MOM -LRB- drunken slur. -RRB- I'm so proud of you, Ronnie. RONNIE Do you think I did good? MOM Hell yes. You were great. RONNIE Ah, you're just drunk. MOM Nah, you did good. RONNIE Yeah, I usually do n't come out to the forefront like that. My official orders are Observe and Report, but when Mark put me in charge of mall security, something inside of me changed. It's what I've always wanted. Things have n't always worked out, with the whole. well, you know. But this gives me faith that I can do something great. This is my call to duty and I'm going to answer. I'm going to bust this fucking pervert. I swear it on everything I am. Anyway, I better get to sleep. I got a big day tomorrow. Good night, Mom. -LRB- off no answer. -RRB- Mom? On cue, Ronnie's Mom falls over in a drunken sleep. She starts SNORING loud as hell. Ronnie gets out of the covers and helps his Mom onto the bed. Ronnie tucks her in like a loving son. He pries the bottle from her fingers. Then, he grabs a pillow and goes to sleep on the floor.","INT. MALL - O'CHARLEY'S - DAY Ronnie walks up to O'Charley's. It's the one - step - up restaurant that's in the mall. There's a BOUNCER out front who watches over the store. RONNIE You working the door here? BOUNCER That's what they tell me. They needed to hire a little security here in case the drunks get out of line or whatever. RONNIE Kind of funny they thought they needed more security here. Ha. You do realize that if anyone gets out of hand, you need to call me to handle the situation. BOUNCER I work for O'Charley's, not for the mall. RONNIE Granted, but you realize that my jurisdiction supersedes any and all other forms of security when under the roof of Carolina Mall? BOUNCER You know, I thought about getting a job as a Mall Security. RONNIE You did? BOUNCER Yeah, man. I mean, I'm kind of on extended vacation from college and it's just like, I do n't want to do shit, you know what I mean? My parents said I have to work if I want to live at home, but I just do n't feel like doing anything. This was the easiest job I could find, I mean, what the hell could be hard about being a bouncer in a mall restaurant? But now that I think about it, Mall Security could be easier than this. RONNIE My young friend, you are sorely mistaken. Do you know how much stuff I'm in charge of? BOUNCER No. RONNIE A shitload. That's not even counting the parking lot. BOUNCER Really? I thought you just kind of chilled out and called stuff into the police. RONNIE No way, that's about like 75, maybe 82 percent of it. There's so much other stuff. BOUNCER Like what? RONNIE Two words, Friday Night. BOUNCER What about it? RONNIE It's crazy, let's just leave it at that. BOUNCER Okay. RONNIE Listen. I like you, but I do n't like the fact that you're masquerading as an official in the security world. If you're serious about a career in the security world, then perhaps I could look into getting you a job on my staff? BOUNCER Oh yeah? RONNIE Part of my job is reaching out to troubled youths such as yourself. It's who I am. BOUNCER Does it pay more than $ 6.50 an hour? Ronnie laughs. He leans over to the Bouncer and whispers in his ear. BOUNCER -LRB- WHISPERING. -RRB- Seven even. Ronnie stands back and winks at the Bouncer. BOUNCER I'd say that's more than I'm making now. RONNIE Hold on, this job involves a probationary period. You have to prove yourself worthy. We ca n't just hire any old Tom, Dick, or Harry just because they want to carry a flashlight. BOUNCER What do I have to do? RONNIE You have to complete a term as deputy. You will answer directly to me. Your job will be to come and find me if you see any trouble. If this works out, then I will phone the crime into the police. Now, this will train your eyes to spot various criminal activity. Once you have completed your training, you will be awarded an official position on my security staff where you will have the duty of actually phoning in crimes to the police yourself. BOUNCER So basically, I just do what I'm doing now and then you'll get me a job? RONNIE For starters. BOUNCER How long does this mentorship last? RONNIE Until Mark lets me hire another guy. BOUNCER Can I smoke while I work? RONNIE Yes, you can. BOUNCER Sign me up. RONNIE You keep that attitude up and you'll have no problem making the squad. Ronnie reaches into his pocket and hands the Bouncer a mini flashlight. BOUNCER What's this? RONNIE It's a flashlight. Get to know it. It's your new best friend. Until you get your giant flashlight. Then, that will be your new best friend. The Bouncer takes it and puts it into his shirt pocket. RONNIE Okay, look alive, soldier. Deputy time starts now. No more slacker attitude for you. Ronnie walks away, but after he takes a few steps, he stops and turns. RONNIE You know, I remember when I got my first flashlight. Ronnie goes into an emotional memory in his mind. Ronnie walks away leaving the Bouncer there alone.","EXT. MALL - DAY LOUD ROCK SCORE FADES TO LOUD ROCK SOURCE. A tricked - out Toyota pulls up to the parking lot. The car comes to a stop and out steps Brandi, the makeup counter girl. Brandi walks toward the mall to start her new day. As she crosses the parking lot and heads toward the door, the Pervert pops out. This time, he's upped his attack and beats off staring right at her. The horrendous sight stops Brandi dead in her tracks. She SCREAMS bloody murder.","INT. DEPARTMENT STORE - DAY It looks like a RAPE SCENE. Brandi cries in the makeup chair and is surrounded by a large group of mall employees. Her makeup runs down her face as her effeminate coworker BRUCE consoles her. Mark is working crowd control. MARK -LRB- to the crowd. -RRB- Alright, people, she's doing good. We're just gon na get her down to my office and everything's going to be fine, so the best thing for you employees to do is just get on back to your stations and you customers can go ahead and enjoy the back to school savings here at Carolina Mall. BRANDI It was horrible! Oh, my God, the thought of that disgusting - I think I'm going to be sick. BRUCE Just let it out, baby. He should be ashamed! BRANDI I just keep playing it over and over again in my head. MARK Brandi, please, Dennis has called the police and let's just take this down to my office. The DEPARTMENT STORE MANAGER comes running over. DEPARTMENT STORE MANAGER What's going on? BRUCE A Pervert attacked Brandi is what's going on! DEPARTMENT STORE MANAGER Are you okay, Brandi? BRANDI Physically, yes. But psychologically, no! Brandi starts crying hard. The Department Store Manager pulls Mark aside. DEPARTMENT STORE MANAGER -LRB- WHISPERING. -RRB- Did you call the cops? MARK They're on the way. Brandi starts crying even louder. DEPARTMENT STORE MANAGER Yeah, we got to get her the fuck out of here. Everybody's standing around and nobody's shopping. This is bad for business. MARK I'm trying, but she just keeps crying. Ronnie comes running up on the scene. He looks like a man who ran a mile to get here. RONNIE Brandi! I came as soon as I heard. Jesus, are you alright? BRANDI I'm fine, Ronnie. MARK She's fine, Ronnie. RONNIE This is one of the most heinous things I've seen. Jesus, I tried to tell you about the skirts. It's not your fault, you little fighter you. Ronnie's not mad, okay? MARK Ronnie, can you get her down to my office so the Police can talk to her in private when they arrive. RONNIE Rogers. BRANDI I ca n't walk right now. I feel like I'm in shock. RONNIE Do n't worry. I'll carry you. Ronnie reaches down and picks up Brandi. She totally lets him. Ronnie struggles and ca n't lift her. It looks dumb. MARK Oh, fucking Jesus. Ronnie finally manages to lift Brandi. He carries her out of the Department Store and down through the middle of the mall.","EXT. MALL - DAY A black UNMARKED POLICE CAR pulls up quickly and stops directly in front of the Main Entrance to the mall as if to say to the world, `` I'm a Cop and I can do this.'' Out steps DETECTIVE HARRISON, a young cop that has the arrogance and swagger of a man who is just beginning to feel his power.","INT. MALL MANAGER'S OFFICE - DAY Mark sits at his desk, while Ronnie comforts a crying Brandi. Dennis stands in the corner, not saying a word. Detective Harrison knocks as he comes in the door. DETECTIVE HARRISON Your secretary told me to come on in. I'm Detective Harrison, Cabarrus County Police. Detective Harrison shows his badge to Mark. The two men shake. MARK Mark Talbert, I manage the mall. This is Brandi, she's the one who saw the deviant. DETECTIVE HARRISON Hello, Brandi. Are you doing okay? BRANDI I'm really shaken up. DETECTIVE HARRISON Yes, ma'am, I'm sure you are after all you've been through, but I'm here to tell you that we're going to work together to make sure we catch the person who did this. RONNIE My name is Ronnie Barnhardt, chief inspector on the case and head of Mall Security here at Carolina Mall and this is my lieutenant, Dennis. From one law enforcement officer to another, I just want to welcome you and say that we will do whatever it takes to coordinate with your department in order to bring this assailant to justice. The Detective pauses as if he's unsure what just happened. DETECTIVE HARRISON Great. -LRB- back to Brandi. -RRB- Okay, Brandi. Did you get a look at the suspect? BRANDI Yes, I did. RONNIE Did you get a blood sample? BRANDI No. RONNIE That's a shame. Would have been useful. MARK Go ahead, Detective. DETECTIVE HARRISON Thank you. Brandi, can you remember anything specifically? What color was his hair? Was he tall or short? BRANDI He was tall and skinny and he had brown hair and it was real greasy. Detective Harrison begins writing in his note pad as Brandi speaks. Ronnie notices this and picks up some paper and begins to write as well. DETECTIVE HARRISON Was his hair long or short? BRANDI It was long about to his shoulders. DETECTIVE HARRISON Did he say anything? BRANDI No, he just stood there and you know, touched himself. DETECTIVE HARRISON What was he wearing? BRANDI Just a brown trench coat. RONNIE This is what I got so far. Ronnie holds up his paper. Ronnie has drawn a crude sketch of the Pervert that Brandi described, but it's basically a long - haired stick figure with a penis. RONNIE What's yours look like? DETECTIVE HARRISON I just wrote a description. RONNIE Oh. Ronnie puts his sketch away. DETECTIVE HARRISON Okay, Brandi, I think that's good for now. I think the best thing at this point is to just follow up with the other ladies who saw the perpetrator yesterday and see if they remember anything. BRANDI What if he comes back? DETECTIVE HARRISON That's highly unlikely. These incidents are usually random and unpredictable. I'm sure you'll be safe. RONNIE I'm afraid I'm going to have to disagree with you there, Detective. By my math, it seems pretty clear that Brandi's been targeted. DETECTIVE HARRISON Targeted? What gives you that impression? RONNIE Well, how about the fact that she was the first employee to get assaulted? Not to mention the fact that she is the prettiest girl who works at this mall. To me it seems obvious that this is some sort of methodical villain that plans on returning to finish what he started by murdering Brandi. BRANDI Is that going to happen?! DETECTIVE HARRISON That's not going to happen. Ronnie looks at Brandi and nods his head `` yes.'' DETECTIVE HARRISON Well do n't worry. I'm on the case and I'm going to do everything in my power to bring this guy down. RONNIE That's right, Brandi, you've got the best team in law enforcement working for you. DETECTIVE HARRISON Look, I've got to get going. Here's my card. I'll even write my home phone number on the back, just in the event you need to get a hold of me. Detective Harrison writes his number on the back and then hands his card to Brandi. DETECTIVE HARRISON Give me a call when you are n't working and I'll have you come to the station to look through some mug shots. -LRB- touches her leg. -RRB- Do n't worry okay. BRANDI I feel a lot better now. Ronnie holds out his hand. DETECTIVE HARRISON What? RONNIE I'll take one of those cards as well. DETECTIVE HARRISON Oh, okay. Detective Harrison reluctantly hands Ronnie a card. RONNIE Go ahead and write your home phone on there as well in case I need to get a hold of you. DETECTIVE HARRISON You can just leave a message at the station. I check my messages constantly. RONNIE Sorry, but I'm gon na need those digits. If we're gon na solve this crime we need to constantly be in communication with each other and have an open door policy with intelligence. Brandi, let me see that card. Ronnie takes the car from Brandi and copies the home phone number from the back. RONNIE Cool, I'll call you later with an update. DETECTIVE HARRISON Do n't do that. RONNIE It's no problem at all. We're brothers of the badge. This is what we do for each other. Detective Harrison takes off. Ronnie looks around happily. RONNIE Seems like a good guy. A little green, but still solid.","INT. MALL - NIGHT The mall is winding down for the day and most of the customers have gone home. Ronnie walks through the mall, taping up pictures of the sketch he made of the Pervert. Nell comes walking up with her apron over her shoulder. NELL What are you doing? RONNIE Just putting these posters up. NELL You've been so obsessed with catching this pervert I've barely seen you. RONNIE That's what it's like when you date the Head of Mall Security. The downside is we do n't get to see each other as much, but the upside is you get to brag to all your friends. NELL Well, are you ready to go? RONNIE Sure, let's take off.","INT. RONNIE'S LIVING ROOM - NIGHT The LOCAL NEWS is on and they show an update on the MALL FLASHER STORY. The sound is OFF. The living room is dark. Ronnie and Nell are on the couch making out. Ronnie is starting to get frisky. His hands go to Nell's boobs, but only outside of the shirt. She allows it. Ronnie decides to push it. He takes his hand and tries to go up her shirt. Nell immediately stops kissing and pushes Ronnie away. NELL What are you doing, Ronnie? RONNIE Come on, let me get some of those big bazoombas. Ronnie goes in hard for the tits, but Nell pushes him away. NELL Ronnie, no. RONNIE Goddamn it, are we ever gon na do it? NELL You know we talked about this. RONNIE We did, it's just, well, I'm tired of just doing what we do. I'm ready for something bigger. Like sex or just maybe using a finger on you - NELL Ronnie, you know I'm saving myself for marriage. I thought you were okay with that. RONNIE Well, I used to be, it's just. I do n't know. What's so great about being a 27 - year - old virgin? Nell stands up and starts to put on her coat. Ronnie stands up and tries to comfort her. RONNIE Nell, I'm sorry. Do n't go away like this. NELL I thought you loved my purity. RONNIE I do. I really do. I'm sorry, Nell. NELL It's okay. I should leave anyway, it's late. RONNIE I'll stop by for breakfast tomorrow. NELL See ya tomorrow. Nell leaves and Ronnie closes the door behind her. RONNIE Mom, wake up. Let's go to bed. Ronnie's mom groans. She has been passed out on the floor with an empty bottle of Jack D beside her the whole time.","INT. MALL - NIGHT The lights are off and a gloved hand breaks into a case in the jewelry store. All of the diamonds and gold are picked up and pocketed. Someone is robbing this bitch.","INT. MALL - THE NEXT MORNING Ronnie strolls through the mall sipping on his morning coffee. He stops when he sees that the jewelry store has been broken into and robbed. RONNIE Oh shit. Ronnie goes running down through the mall.","INT. MALL - SECURITY OFFICE - MORNING Dennis and Ronnie are sitting and Mark stands over them. They're looking at the security tapes. Detective Harrison knocks on the door and walks in. Ronnie stands up to greet him. RONNIE Good to see you, brother. Looks like the old team is getting together to crack one more case. Ronnie gives Detective Harrison a hug. RONNIE I'm ready to go to war with you. DETECTIVE HARRISON Thanks for waking me up this morning, Ronnie. RONNIE I've already checked the Security tapes. They did n't catch a thing. Someone must have broken in here and turned them off. DETECTIVE HARRISON My team just checked all the doors and there are no signs of forced entry. I've also checked out the crime scene, but we did n't see any fingerprints on the glass. The suspect was probably wearing gloves. MARK That does n't sound good. How did they do it? RONNIE Laser technology. DETECTIVE HARRISON My guess it was an inside job. Probably someone who has access to keys like a janitor or a security guard. RONNIE Detective Harrison, can I ask you how long you've been a detective for? DETECTIVE HARRISON I'm almost at the end of my first year. RONNIE Just as I thought, a rookie. DETECTIVE HARRISON I've been a police officer for several years. RONNIE Yeah, you're a rookie, okay. It's fine, you'll learn with experience. And when you do, you'll discover that rule # 1 of law enforcement is that you do n't ever turn on a fellow officer. Now, I know you would never actually accuse somebody on my Security Force of committing this act of lawlessness. DETECTIVE HARRISON Whoever did this would have to had keys to the Security Room so they could shut off the camera. RONNIE Look, my record speaks for itself and as for Dennis, well I can certainly vouch for him. Dennis is one of the finest men I know, so just take my word, you're barking up the wrong tree. Now, let's put this little squabble behind us and get back to busting the guys that robbed this mall. DETECTIVE HARRISON Ronnie, nobody is accusing anybody, but I would like to stick around for a while and interview some of the employees. MARK Okay, but all I ask is that you do it quietly, so that the hoopla is kept to a minimum. DETECTIVE HARRISON I understand. RONNIE I understand too, sir. MARK Ronnie, you are to leave Detective Harrison alone and let him handle the investigation. RONNIE No can do, Mark. When you appointed me Head of Mall Security, I swore an oath to protect this mall and aid in bringing crime to its knees. MARK You did n't swear an oath. RONNIE To myself I did. DETECTIVE HARRISON Ronnie, on these types of investigations, it's usually not a good idea to have too many cooks in the kitchen. RONNIE There's only one cook. I'm a chef. A cook and chef, together, serving up justice. DETECTIVE HARRISON I'm gon na do this alone. RONNIE Hot plates of justice. Ronnie stands up. RONNIE Come on, rookie. Let me show you the lay of the land.","INT. MALL - DAY Ronnie talks to Dennis in the middle of the mall. RONNIE Okay, Dennis. I've got ta hang with Detective Harrison. What I need for you to understand is that just because Detective Harrison is here, does n't mean that you and me are no longer best friends. Sure, Harrison would be cool to hang out with. He carries a badge and a gun. He probably owns a boat. Over time, we'll probably become really close like brothers, but for right now, you're still number one. Now, I must leave you behind because duty calls, so. chin up. Radio if you need anything. Ronnie takes off, but we STAY WITH Dennis. He walks directly to the ARCADE. Dennis puts a quarter in the machine and plays pinball.","INT. MALL - KIOSK - DAY Ronnie watches from afar as Detective Harrison interviews SADDAMN, who stands in front of his cell phone kiosk. DETECTIVE HARRISON So, have you seen any suspicious people hanging around the mall? Anybody who might have been casing the stores? SADDAMN Nah, man. I ai n't seen nothing. DETECTIVE HARRISON Okay, well if you can think of anything, here's my card. Detective Harrison hands Saddamn his card and begins to leave. Disgusted, Ronnie comes walking up. RONNIE -LRB- to Harrison. -RRB- My turn, Rookie. DETECTIVE HARRISON What are you doing, Ronnie? RONNIE Solving the whole case right before your eyes. DETECTIVE HARRISON Ronnie, this is official police business. RONNIE Hello, Saddamn. SADDAMN What the fuck you want, Ronnie? RONNIE I want your ass to face the music is what I want. SADDAMN Do n't come any further, bitch. The restraining order says 20 feet so just back the fuck up. DETECTIVE HARRISON Ronnie, I appreciate your enthusiasm, but just let me handle this. -LRB- to Saddamn. -RRB- Have a good day, sir. RONNIE So you're just gon na let him slip right through your fingers? DETECTIVE HARRISON I have no reason to make him a suspect. RONNIE No reason? Look at him. There's every reason in the goddamn book. SADDAMN Why are you saying that, man? RONNIE I think it's obvious, Saddamn. SADDAMN That's fucked up. You're racist, man. RONNIE You're not even black. DETECTIVE HARRISON Ronnie, stop. We're finished here. Now if you're going to tag along, I'm gon na need you to just stay back ; are we clear? RONNIE Sure, sorry. We're crystal. Detective Harrison walks away. Ronnie follows, but takes one more look at Saddamn, who flips Ronnie off. Saddamn goes back to hollering at girls. SADDAMN What's up, girl, you got a boyfriend? Free cell phones with a month trial and I throw in my phone number for free.","INT. MALL - JANITOR'S ROOM - DAY Ronnie stands nearby as Detective Harrison questions an old Mexican JANITOR, who stands by his cart of cleaning products. DETECTIVE HARRISON Did you let anybody borrow your keys? JANITOR No, senor. DETECTIVE HARRISON Have you seen anything suspicious? JANITOR No, senor. DETECTIVE HARRISON Okay, sir. Thank you for your time. RONNIE Alright, I believe I can be of some assistance here. DETECTIVE HARRISON Ronnie, we talked about this. RONNIE This is a special circumstance. DETECTIVE HARRISON What special circumstance? RONNIE Communication skills, watch and learn. Ronnie steps into the forefront. RONNIE Que pasa? JANITOR Long drawn out conversation in Spanish? RONNIE Como? JANITOR More Spanish dialogue. RONNIE Si. -LRB- to Harrison. -RRB- Yeah, this guy definitely did it. DETECTIVE HARRISON What did he say? RONNIE I do n't know, I do n't speak Spanish, but judging from his tonal inflections, it's safe to say that he's hiding something. The only question is where. -LRB- to Janitor. -RRB- Okay, Ramon, I'm giving you one chance and one chance only to come clean. Or else Detective Harrison is going to come over to your house and deport your whole family back to Mexico. DETECTIVE HARRISON No, I'm not. RONNIE Good cop, bad cop, just play along. -LRB- to Ramon. -RRB- Where are you hiding the jewels? JANITOR No se. RONNIE Alright, you're gon na make me be the bad guy here? Well, that's a role I'm comfortable playing. Let's just see what you're hiding. Ronnie digs through the trash bin that is on the cart. Ronnie slings trash out all over the floor. He finds nothing. DETECTIVE HARRISON Ronnie, that's enough. RONNIE Think you're pretty slick, do n't you? Guess what? I'm pretty slick too. Ronnie takes the cleaning products and opens the bottles. He pours the contents out on the floor. What's he looking for? Who knows. RONNIE Alright, you're free - Wait a minute. Ronnie takes the mop and breaks it in half with his foot. He takes the halves and shakes them, thinking that something will come pouring out of the open cylinders. Nothing does. RONNIE Okay, my mistake. Sir, you're free to go. Uh, you might want to have someone clean this up which in this case is you, so, uh, chop - chop. Would n't want anyone to slip on this mess. Ronnie leaves the Janitor with a bewildered look.","INT. MALL - VICTORIA SECRETS - DAY Ronnie follows Detective Harrison into the lingerie store. They approach the counter where a HOT CLERK is working the register. HOT CLERK Hello, can I help you? DETECTIVE HARRISON I'm Detective Harrison with the Cabarrus County Police. RONNIE And I'm Ronnie Barnhardt, head of Mall Security. DETECTIVE HARRISON Okay, seriously, would you back the fuck off?! I'm trying to do my job and you're fucking it up. RONNIE Come on, we're working here. DETECTIVE HARRISON I'm working! Detective Harrison is seriously annoyed. DETECTIVE HARRISON -LRB- back to the Clerk. -RRB- Sorry. Hi. I'm doing a check with all the mall employees to see if anybody has any information on the robbery that took place here last night? HOT CLERK I'm sorry, but I have n't noticed anything out of ordinary. A SEXY WORKER comes up to them holding a scandalous pair of undies. SEXY WORKER Tracy, do you think my boyfriend would like these? The Sexy Worker holds the undies up to her crotch. Ronnie looks and his tongue almost drops out of his mouth. He straightens himself out. DETECTIVE HARRISON That's fine, thanks for the help. RONNIE You're gon na let them distract you with a little bit of panty showing. You have got a lot to learn, my friend. -LRB- to the Hot Clerk. -RRB- Who are you protecting, toots? HOT CLERK What are you talking about? RONNIE Look, I'm sure you and your little friend have made a real lifestyle for yourselves here. It's probably easy for you to blind most men with your beauty, but I'm not most men. I can see through the sexuality to the truth. Jewelry, gold, diamonds, you do n't really expect me to think that a man wants that crap. I'm putting you on my list of top suspects. I do n't think you did the crime, but I do think you are an accomplice. DETECTIVE HARRISON I'm sorry, ma'am. He's not with me. Here's my card. If you think of anything, just give me a call. Detective Harrison walks out and Ronnie follows him. On the way out of the store, Ronnie passes a MAN who is looking at the underwear. Ronnie stops. RONNIE You should be ashamed of yourself. Ronnie gives him a warning look, then walks out.","INT. MALL - HOT TOPIC - DAY Ronnie and Detective Harrison stand across the counter from a tattooed SALESMAN. RONNIE Is that pot I smell? DETECTIVE HARRISON Shut up, Ronnie! SALESMAN It's sage. RONNIE Whatever, hippy. If I find you doing drugs or killing cats or whatever you devil worshippers do, I'll come back here and bust you. I swear to God. DETECTIVE HARRISON Get the hell out, Ronnie. I'm here to ask questions about the robbery. RONNIE Just forget that, we're on to something bigger here. -LRB- back to the SALESMAN. -RRB- Tell me more about this ` sage.'","INT. MALL - SEARS - DAY Ronnie and Detective Harrison are in the hardware department talking to the SEARS MANAGER. Detective Harrison sits on the ground. He has completely given up on the investigation at this point, as Ronnie controls it all. Ronnie picks up a hammer. RONNIE Now, maybe I'm crazy or maybe I'm the smartest man alive, but it seems kind of convenient to me that you sell hammers like this one that could easily be used to smash a glass case in, oh say, a jewelry store. SEARS MANAGER Could n't you smash the glass with anything? RONNIE You really think you're gon na talk your way out of this one?","INT. MALL - FOOD COURT - DAY Ronnie is hanging out with Dennis and the Bouncer from O'Charley's. Behind him, Nell works the counter at Cinnabon. RONNIE You guys should have been there today. We were just solving shit left and right. I mean, that's what this job is supposed to be like. Busting loiterers and kids who steal pennies from the fountain has its rewards, but really getting in there and closing cases is where it's at. It's rewarding too because at the end of the day, you know you've done something good for the world. BOUNCER What are we doing here, Ronnie? I thought you said they were giving away free Chick - fil - A sandwiches. RONNIE Well - What is your name anyway? BOUNCER Charles. RONNIE Well, my young apprentice. I called you here today because as Head of Mall Security, I have decided that it's time to take protection to the next level. In other words, I alone can not combat this recent crime wave. In order to help me in my personal journey, I have decided to divide up the tasks between my soldiers. So, for now on, Dennis, my right - hand man, you will be in charge of solving the case of who is robbing the mall. Little Chucky, you will be on the case of the Pervert. You are both to collect data and provide it to me. I will analyze the data, draw conclusions, and solve these crimes as well as coordinate and strategize with various law enforcement agencies. BOUNCER Since we're going to be doing a lot of the work and you're going to be solving the crimes, do we at least get paid? RONNIE You ca n't measure honor in dollars and cents. Ronnie looks over at the Cinnabon and Nell waves to him. Ronnie smiles back and waves at Nell. BOUNCER Is that your girlfriend or something, Ronnie? RONNIE Who me? Nah, man. Why? What do you think of her? BOUNCER She's not my type, but that's just me. RONNIE Yeah, but, you do n't think she's kind of hot? BOUNCER Are you blind? Give me a break. Wait, are you sure she's not your girlfriend? RONNIE Fuck no. There's no way I'd date that. person who's obviously not hot. Nell waves again, but Ronnie just kind of turns away, ignoring her. RONNIE Anyway, our new unit will operate under the name, ` Special Elite Task Force.' You will answer directly to me and no one else. Now, let's all put our hands in the middle and do a unifying cheer. Ronnie puts his hand out. Dennis puts his in as well. Charles is n't sure. BOUNCER You're gon na hook me up with a job, right? RONNIE Seven even. I promise. Charles puts his hand in as well. RONNIE One, two, three, TASK FORCE! Ronnie is the only one who gets into it. It's a weak - ass cheer. RONNIE Okay, so now I say we all take a celebratory trip to Sears because, as we all know, today is half - price day on all automotive parts for mall employees.","INT. MALL - DAY SLOW MOTION BAD - ASS SHOT. The `` Elite Task Force'' walks down the mall as if they were the baddest ass - kicking team on the planet. They walk united and unopposed. CUT TO BLACK.","INT. SECURITY OFFICE - NIGHT Ronnie tacks up pictures of all of the robbery `` suspects'' on a bulletin board. It's pictures of Saddamn and the Devil Worshipper guy. Beside him is a sketch of the Pervert. The images are on the bottom points of a Pyramid. On top of the Pyramid is a combination drawing/picture of Ronnie. The body is drawn with his arms folded across his chest and a photo of his face is tacked on top. The whole thing adds up to nonsense, with the only clear idea is that he defeats them all. Ronnie sits back in his chair and stares at the board. All of a sudden, there is a KNOCK at the door. The door opens and BRANDI peeps her head in. BRANDI Sorry to interrupt. RONNIE It's no interruption. What are you still doing here? BRANDI I had to do inventory tonight. Bruce took off early so I'm the last one. Hey, I was wondering if you would mind walking me to my car. You know, just in case that freak with the dick is out there someplace. RONNIE It would be my honor. Ronnie stands up and walks out with Brandi, shutting off the light as he leaves.","EXT. MALL - NIGHT Ronnie and Brandi pull up to Brandi's car in the golf cart. BRANDI Alright, thanks for the ride. RONNIE Just doing my job with a little something extra especially for you. BRANDI See ya tomorrow. RONNIE Brandi, um. I was just thinking, would you like to go to dinner this weekend? BRANDI How come every time somebody does something nice for me, they act like I owe them a blow job? RONNIE Look, it's not like that. I've got a girlfriend. who does n't work in this mall. BRANDI Ronnie, I got to be honest with you, you're not really my type. RONNIE Just out of curiosity, what is your type? BRANDI Rich guys. Or guys who are really hot. RONNIE Yeah, I guess that's not me. BRANDI I'll go out to dinner with you on one condition. RONNIE What's that? BRANDI This is not a date. Do you understand? We're going to dinner, but we are not going on a date. RONNIE Done. BRANDI And you can never tell anybody we went out. RONNIE My lips are sealed. BRANDI You pay for dinner, right? And as many drinks as I want. RONNIE You may drink your fill. BRANDI And you have to drive me to my car every night after work for the next six months. RONNIE You got it. BRANDI And my car is low on gas, so I need some money to fill it up. Ronnie takes out his wallet. RONNIE Is $ 20 enough? BRANDI Nah, fifty. Ronnie takes out more money and hands it to Brandi. She takes it, counts it, and puts it into her bra. BRANDI Okay, you can pick me up after work on Saturday. Dinner and that's it. Do n't try to kiss me because I'll smack the shit out of you. It's not a date. RONNIE Got it. Not a date. BRANDI Thanks for the ride. Brandi climbs out of the golf cart and walks to her car. She opens the door and starts to get in - RONNIE Hey, Brandi. BRANDI What? RONNIE I lied. It is a date. Before she can argue, Ronnie guns the golf cart and drives away.","EXT. MALL - MORNING Ronnie sees Stevie and the Skaters doing hand rails down a ramp while mall patrons try to get by without getting nailed by flying skateboards. Ronnie drives up on his golf cart. STEVIE Our suspension is over. RONNIE I'm not here for that. I need to talk to you. A giant BODYGUARD with a shaved head stands up. BODYGUARD Anything you want to say to Stevie, you can say to me, motherfucker! RONNIE Who the fuck are you? STEVIE This is my cousin, Roy. He's a boxer. BODYGUARD You got a fuckin' problem, bitch?! Ronnie reaches into his belt and produces a can of mace. He sprays it into the eyes of the Bodyguard. The guy goes down and starts SCREAMING IN PAIN. BODYGUARD My eyes! STEVIE Jesus, Ronnie, what the fuck are you doing? RONNIE I need a favor. STEVIE I'm listening. RONNIE As you know, we've had a lot of crime around here lately. Between the Flasher and all the break - ins, I've decided to go to the streets. Frankly, I'm looking for a stool pigeon and you're just the right person. STEVIE Why would I want to help you? RONNIE I could make it worth your while. You like skating at the mall. I could allow you to skate here whenever you wanted. In exchange, you keep your eyes peeled and provide me with any information you come across as to the identity of the perpetrators. STEVIE Sorry, dude, but I'm no snitch. Go find somebody else to do your dirty work. RONNIE Well, let me put it another way. If you do n't help me, I'm gon na spread your little butt cheeks and stick this flashlight up your ass. But like for real. Like I really will do that. This is the new me talking and I get what I need, you understand me, Stevie? STEVIE Alright, dude, I understand, you sick fuck. RONNIE Cool. In that case, have fun shreadin'. Ronnie gets into his Golf Cart and drives off. Stevie looks down at the Boxer who is still on the ground. STEVIE Stop crying, Roy. Stevie starts skating.","INT. MALL - FOOD COURT - DAY Ronnie walks into the Food Court and sees Nell waiting at their table with Ronnie's morning Cinnabon. He takes a deep breath and heads over. NELL Hey, sweetie - Oh, I'm sorry, good morning, Officer Barnhardt. RONNIE Good morning, Nell. NELL Where were you last night? I tried to call, but your mom said you were n't home from work yet. RONNIE Look, I got to talk to you about something. I'm not really sure how to put this. Let's see. If you drove a Toyota. NELL I drive a Ford. RONNIE I know, but let's just pretend you drove a Toyota. Now, this Toyota runs really good. It always starts when you need it to and it gets good gas mileage and you do n't have to do much to maintain it. Then you get a really important job like Astronaut, no that wo n't work, you get a job as the head of Wall Street. Well, you may really like that Toyota, but you're going to feel weird about driving it to work every day, right? Now let's say that somebody offers you a chance to get rid of that Toyota and instead you get a Ferrari. It may be more expensive and harder to drive, but I mean, it just looks good as hell. What would you do? NELL I do n't get it. RONNIE You would trade up, Nell. Well, that's exactly what I'm doing. NELL Are you thinking about getting a new car? RONNIE No, Nell, I'm getting a new girlfriend. NELL What?! Who? RONNIE This girl, Brandi. NELL The slutty girl who works at the make - up counter? RONNIE Yeah, I mean, no, she's not a slut. But you're thinking of the right person. NELL How could you do this to me? RONNIE I'm sorry. I do n't mean to hurt you. It's just, well, I believe in this world, you play the hand you're dealt and at this point in my life, I've been dealt five Aces. I'd be a fool not to bet. NELL Why are you doing this, Ronnie? RONNIE I have to, Nell. NELL Do n't you love me? RONNIE Of course I love you. NELL Then tell me why? RONNIE Because I've never dated the prom queen before. NELL Remember when you started this job? You were n't such a hotshot then. I've stood by you when you were at your worst. Every time you fell, I held your hand and told you everything would be okay. Time and time again. RONNIE Come on. Why do you have to bring that up? NELL I never cared about who you wanted to be, I fell in love with who you really are. If you leave me, Ronnie, I wo n't be there to pick you up when you fall. RONNIE Even if I do fall, it wo n't matter, because I'm learning to fly. Ronnie stands up and walks away. Nell sits there sad. She looks down at her Cinnabon and devours the whole thing.","INT. MALL - MAURICE'S FOR MEN - DAY Ronnie looks through a clothing rack. It's full of cheap fabrics, lots of imitation silks and shit. A SLICK SALESMAN approaches Ronnie. SLICK SALESMAN Can I help you, sir? RONNIE Yeah, um, I've got a really special date tonight with a hot young lady - Do you know Brandi? SLICK SALESMAN No. RONNIE Never mind. Anyway, I need something that's really ` cool.' Something that will impress her and I guess you could say I'm not exactly in the know with what the hipsters are up to these days. SLICK SALESMAN Let's see. Are you looking to fall in love or are you looking to get laid? RONNIE Um, I guess love, but uh. SLICK SALESMAN You want to get laid, too? RONNIE Watch it, man. She's a lady. But yes. SLICK SALESMAN Alright, I got just the thing. Something classy is what you want. Show her you're a man with taste.","INT. RONNIE'S BEDROOM - NIGHT Ronnie's Mom sits on his bed with a bottle of Wild Turkey. She waits for Ronnie to come out of the closet. MOM Come on, Ronnie, just get out here. RONNIE It's too tight in the butt. MOM Let me see. Ronnie comes out of the closet and he's wearing a ridiculous fucking outfit. It's an imitation silk button up, with a pair of black parachute pants. There's two belts for some DOUBLE BELT action. He's got no socks on and a pair of white shoes. He looks like a goddamn fool. MOM Ronnie, you look so handsome! RONNIE Really, you do n't think I look like a phony. MOM Hell no. You look like a stud muffin. RONNIE Yeah, I guess these clothes are kind of cool. MOM Nell is a lucky girl. RONNIE Its not Nell, Mom. MOM Really, I thought you and Nell were going to get married some day. RONNIE I did too. But then I met this girl Brandi and she swept me off my feet. MOM Well, I always liked Nell, but as long as you're happy, Ronnie, that's all I care about. RONNIE I actually feel kind of bad about Nell, but I figure that I can pour all the sadness into Brandi and just really rely on her for my happiness instead of Nell. MOM That sounds wonderful. Is she pretty? RONNIE She is, Mom. She's the most perfect girl in the whole world. MOM I remember when your father picked me up for our first date. I swear he was the most handsome man that I had ever laid eyes on. I knew right then and there that this would be the man that I married. RONNIE I hope that happens tonight. MOM It will, Ronnie. Then you'll have to give her a ring like the one your father gave me. Ronnie's Mom holds up her finger for Ronnie. It's a giant yellow/cottony - looking diamond ring. RONNIE Is that a yellow diamond? MOM It's a glass diamond. This is how it looks now. RONNIE Mom, why did Dad leave? MOM Well, he kind of freaked out when you were born. You had so many special needs that he just could n't handle the pressure. One day, he just could n't take it anymore. RONNIE Do you think it was my fault that Dad left? MOM Definitely. You do n't think it was mine do you? RONNIE Well, I did n't know, with the drinking and all. MOM Nope, it was all you. Ronnie nods. MOM I love you, Ronnie. RONNIE I love you, too, Mom.","INT. CAPTAIN O'LANDERS - NIGHT The restaurant is the cheesiest of all sea food restaurants. Think one step down from Red Lobster. Ronnie sits across the table from Brandi. She chugs one of those giant frozen drinks, killing it in one gulp. RONNIE Damn, that was pretty impressive. BRANDI Yeah, work's been pissing me off, so I just need to blow off some steam. RONNIE Well, Brandi, can I just say that you look absolutely beautiful tonight. BRANDI Yeah, I know. -LRB- calling to waiter. -RRB- Nurse! Get me another -. -LRB- to Ronnie. -RRB- You got this, right? RONNIE Yeah, yeah. No problem. BRANDI Nurse! Bring me another and keep'em coming. -LRB- to Ronnie. -RRB- I think it's funny to call the waitress nurse. Ronnie takes a pill bottle out of his pocket. He opens it up and pops a pill. BRANDI Hey, what's that? RONNIE Oh, it's nothing. BRANDI Do n't be stingy, what the fuck is that? RONNIE It's just a pill I'm supposed to take. BRANDI Let me see. Ronnie hands the pills to Brandi. BRANDI Where the fuck did you find these? RONNIE The Doctor. BRANDI Damn, Ronnie, Klonopin. I'm impressed. This is the good shit. I did n't know you partied like this. RONNIE Yeah, I guess I party like this every four to six hours as needed. BRANDI Let me get one. RONNIE Help yourself. BRANDI Hell yeah! Brandi pops a bunch of pills. RONNIE So, how do you like working at the mall? BRANDI I hate that shit. All I do is listen to bitching all day long. I got to put makeup on these fat - ass women all day and it's like, I do n't give a shit what you do, you ca n't polish a turd. RONNIE Yeah, I see how that could get to you. BRANDI Let's do some shots. Waiter, four shots of Jager! RONNIE That's a lot. BRANDI It's Friday. RONNIE So, Brandi, I hope I'm not being too forward, but do you have a boyfriend? BRANDI I've got a few hook - ups but nobody who is a boyfriend. RONNIE Yes! BRANDI You know, it's just like a time in my life where I want to be free right now and think about myself. Not get tied down to one person. RONNIE Yeah, I understand. I hate ties. I recently cut mine and now I'm free like a bird. The shots come. BRANDI Alright, bottoms up. Ronnie holds up a shot to toast. RONNIE To new beginnings. BRANDI Right up your ass! Brandi downs her shot. RONNIE Okay. Ronnie takes his shot. BRANDI Oh, shit! RONNIE No more. I'm sticking to beer. BRANDI What's wrong, is your pussy hurting? RONNIE God, you remind me so much of my mother. Brandi knocks back the other two shots. BRANDI Feel the burn, bitch! RONNIE You are so beautiful.","INT. RONNIE'S CAR - NIGHT Ronnie's car is a piece - of - shit Subaru. Brandi is shit - faced and yelling at people out of the window. BRANDI Who wants to see my titties?! Brandi lifts up her shirt and shows the passengers of other cars her boobs. RONNIE Brandi, this is the most fun I've ever had on a date. BRANDI For the last time, this ai n't a date, motherfucker! This is a party! RONNIE Wooo! Um, so, Brandi, it's no secret that I'm attracted to you. I think everybody in the mall is. As you know, I recently split with my girlfriend and basically, I was wondering if, since you do n't have a boyfriend, that I could maybe be your boyfriend and you could be my girlfriend? BRANDI That's my house! Ronnie hits the brakes.","EXT. BRANDI'S HOUSE - NIGHT Ronnie opens Brandi's door and helps Brandi out. She's almost passed out drunk. Both of her eyes are closed and she immediately tries to sleep on the ground. Ronnie helps her up, but when he does, Brandi gives him a kiss - a sloppy one. RONNIE Brandi, I had a wonderful time tonight. BRANDI I'm so fucking shit - faced. They kiss again, but when they do, Brandi pukes all over the place. It's a disgusting puke and there's vomit on her cheek and stuff. Ronnie holds her head for her. RONNIE Are you okay? BRANDI My breath smells like asshole. Ronnie looks longingly into her eyes. RONNIE I love you, Brandi. BRANDI I think I've got puke in my teeth. RONNIE I do n't care. Ronnie kisses Brandi passionately on the mouth. He walks her inside the house. On the way in, she falls over. Ronnie helps her up. He carries her into the house where the make - love spot is. CUT TO BLACK.","INT. MALL - FOOD COURT - DAY Ronnie is with Dennis in the food court. Ronnie is smiling, but Dennis is n't saying a word as usual. RONNIE Do n't look at me like that, Dennis. I told you I would n't talk. Ronnie sits back, but he ca n't help a giant grin on his face. RONNIE I'm serious, Dennis. A gentleman never kisses and tells. So, just stop with all the pressure because it's just not gon na happen. Ronnie keeps on grinning at Dennis. RONNIE Okay, fine, you son of a bitch, you want details, I'll give you details. I had sex with Brandi last night. Dennis and Ronnie high - five. RONNIE It was amazing. I mean, I've never experienced anything like it. I've been with a girl or two. Dennis stares at Ronnie. RONNIE Okay, fine, I've been with a girl, but let me tell you, this was so much better. You know how many times we did it? Twice! BAM! BAM! BAM! OVER AT THE CINNABON STAND Nell, who looks like she's been crying nonstop, stuffs a whole Cinnabon into her face. As it fills her cheeks, she looks over to Ronnie's table and sees Ronnie making thrusting motions at the table. Nell swallows, stuffs another Cinnabon in, then storms out of the Food Court. BACK AT RONNIE'S TABLE Ronnie continues to talk to Dennis. RONNIE But I got to tell you, Dennis. It was steamy and sexy, but more than anything, I should tell you that it's her soul that I fell for the most. She got pretty tanked, but I could just really tell that she's a good person. The kind of person that I could see myself with. Look, I'm gon na get out of here. There's a lot of people I need to tell about this, so I'll catch up with you later. Oh, and I almost forgot, keep your eyes peeled for crime and stuff. Ronnie leaves the table.","INT. DEPARTMENT STORE - DAY Nell watches Brandi as she pops a couple of aspirin behind the makeup counter. She takes a deep breath and walks up to the counter. NELL Excuse me. BRANDI How may I help you? NELL I need to talk to you. BRANDI What is it, honey? Let me guess. You're looking for something to take care of those blackheads and hide that puffiness under your eyes. I've got just the thing. NELL No, that's not it. Well, how much is it? BRANDI Fifty dollars for the bottle. NELL Okay, I'll take it. Brandi begins to ring up the cream. NELL Listen, I know you're Ronnie's new girlfriend. BRANDI What the hell are you talking about? NELL It's okay. I know he left me to be with you and I accept that. BRANDI I do n't know who you've been talking to, but it's safe to say that you're fucking trippin'. NELL It's fine really. It's going to take a while for me to get over it, but I'll be okay. Nell starts to get all teary - eyed. She picks up a Kleenex from a box on the counter and wipes her eyes. BRANDI Oh fuckin' Lord. This is disgusting. NELL I'm sorry. BRANDI Pull it together. This is how you run around all the time? Have some self - respect. No wonder your man left you. Who the hell would want to be around this shit all day? Nell pulls herself together. NELL Jesus teaches us to forgive. And I forgive you for what you did to me when you stole my boyfriend. Plus, I feel pretty confident that you'll end up burning in hell because of the various evil ways you live your life and that brings me some satisfaction. But I just want to tell you that Ronnie is a good person. He does a lot of stupid stuff, but really, he wants to do good for the world. I want you to know that if you hurt him and ruin his heart, I will personally come down here and kick the ever living shit out of you. Nell walks away. BRANDI You better fuckin' run, bitch! Nell turns around and starts storming toward Brandi. Brandi throws her hands up, frightened. BRANDI I'm just kidding. Nell stops charging and walks away. Nell walks past Bruce who is helping a customer at the end of the counter. NELL It's not too late to change your ways. BRUCE Okay. Thanks. Nell walks out of the department store.","INT. MALL - FLOWER SHOP - DAY Ronnie looks at the colorful flowers in the glass refrigerator. The FLOWER SALESMAN walks up to Ronnie. FLOWER SALESMAN Ronnie, I've been expecting you. RONNIE You have? FLOWER SALESMAN Oh yeah, I heard about last night. Brandi is quite the woman. Congratulations, my friend. Or should I say, welcome to the club? The Flower Salesman winks and starts laughing. Ronnie does n't. It gets weird so the Flower Salesman stops. RONNIE What color of roses do the women like anyway? FLOWER SALESMAN Well, it depends on what you are trying to say. The white roses symbolize innocence and purity. RONNIE Yeah, we're way past the color white if you know what I mean. What about the yellow ones? FLOWER SALESMAN Joy, happiness, appreciation. RONNIE I do n't even know what to make of that. FLOWER SALESMAN The pink rose means thank you. RONNIE Next. FLOWER SALESMAN The red rose is the most powerful. It symbolizes love. RONNIE Why did n't you just say that? I'm a busy man here. FLOWER SALESMAN I'm sorry. RONNIE Forget it. Give me a big bag of the red ones. FLOWER SALESMAN Um, can I ask a question? RONNIE Go ahead. FLOWER SALESMAN Do you really like Brandi? RONNIE I've only been on one date with her, but I could see myself being with her for all of eternity. FLOWER SALESMAN Well, in that case, the greatest symbol of love is just a single red rose. RONNIE Seems like a big bag of roses would be more love than just one, but I guess you're the expert. Gim me one. The Flower Salesman takes a single red rose from the case and hands it to Ronnie.","INT. DEPARTMENT STORE - DAY Brandi is behind the counter gossiping with Bruce. Ronnie holds his rose and watches them from a distance. He takes a deep breath and then walks to the counter. RONNIE Brandi? BRANDI What are you doing here? RONNIE I came here to see you. And to present you with this single red rose. It symbolizes ` love.' BRANDI Ronnie, that's really. uncalled for. RONNIE Well, after last night, I just wanted you to know that it was n't just some fling to me. It meant something special and I felt it deep in my soul. BRUCE You fucked the Security Guard? -LRB- PLAYFUL. -RRB- You are such a little slut! BRANDI Oh, like you've never been drunk, Bruce! Brandi grabs Ronnie and pulls him off to the side. BRANDI Ronnie, look. I got to be honest with you. I barely remember last night. RONNIE I remember it for the both of us. BRANDI Okay, see here's the thing. I do n't know how to say this, so I'm just gon na come on out with it. Ronnie, I could never date you seriously. I mean, you're a security guard. RONNIE I'm the head of Mall Security. BRANDI Exactly. The point is, I do n't really see myself being with that. Like ever. You know what I mean? RONNIE Brandi, I know exactly what you mean. And I just want to thank you for being honest. You're telling me I'm not living up to my full potential in life. It's funny, because I've been feeling like this for quite some time. I guess I just needed that extra little push to get me over this hurdle I've been stuck on. How can you be with a man who is n't living the life he was meant to? BRANDI Yeah, something like that. And just you know, you're a security guard at the mall and it's like, come on, you know? RONNIE I do n't like it, Brandi, but I do understand. I promise you this. Next time you see me, I will be wearing a uniform that will make you proud. I will be the man that you will be honored to call your life's love. BRANDI Do n't bet on it. RONNIE I will though. I'll bet everything I have on you. Now I ask you for one favor. Although I am unworthy, will you accept this rose from me anyway? BRANDI I ca n't do that. And tell your girlfriend to stop coming by my work and threatening me and shit. Brandi walks away, leaving Ronnie there holding his flower.","INT. POLICE STATION - DAY Ronnie sits at a small table and waits patiently. Then a POLICEMAN walks into the room. Ronnie stands to shake his hand. RONNIE I'm here to become a police officer. POLICEMAN We're always on the hunt for new recruits. Do you have at least a high school diploma? RONNIE I have a GED. POLICEMAN We usually prefer an actual diploma, but GED is technically acceptable. Are you a citizen of the United States? RONNIE You bet your ass I am. POLICEMAN Okay, Mr. Barnhardt, there are several steps you have to complete in order to be eligible for the police academy. Physical evaluation, psychological test, background check. If you pass these tests, you will be admitted to the police academy. Now, I like to tell all new recruits that they should complete a ride along before making this decision. It's where you actually ride along with a real police officer during a routine patrol. It helps give you an idea of the kind of situations you'll be dealing with. Sound good? RONNIE That sounds fun. Sign me up.","INT. POLICE CAR - NIGHT Ronnie sits in the unmarked police car with Detective Harrison. RONNIE It's like it was meant to be. You behind the wheel. Me riding shotgun. Two brothers of the badge unite to form the ultimate crime - stopping combo. I'm psyched to be here, Harrison. Thank you for the opportunity. DETECTIVE HARRISON You requested to ride along with me. RONNIE I know. You want to know the truth. It's because I respect you. See, when we're at the mall, it's obviously my turf. Sure, I break your balls about being a rookie, but out here in the streets, I'm the rookie. I'm here to learn. Teach me. DETECTIVE HARRISON Why do you want to become a Cop? RONNIE I've wanted to be a Police officer all my life. Do n't get me wrong, I love keeping the mall safe, but you guys are the ones that really enforce justice and protect, not just our mall, but our whole community. I do n't tell the guys on my squad this, but the Security Guard job was just temporary. DETECTIVE HARRISON Well, just pay attention tonight and make sure you stay out of the way. RONNIE Right, we're not back at the station anymore so we can cut the charade. DETECTIVE HARRISON What are you talking about? RONNIE Well, I know that policy demands I stay out of the way, but between you and me, I just want you to know that if anything pops off tonight, I'm going to jump right in there and take'em down with you. DETECTIVE HARRISON No, no. Ronnie, policy says you have to stay in the car. RONNIE I get you. You have to say this in order to keep you safe ` legally' speaking. I should probably follow along too.' I swear I wo n't get out of the car and fight justice tonight.' DETECTIVE HARRISON Ronnie, you really ca n't. RONNIE I know. Ronnie winks at Detective Harrison. A smile comes across Harrison's face. DETECTIVE HARRISON I'm glad we understand each other. Detective Harrison puts the car in drive and the guys head off for the night.","INT. POLICE CAR - LATER THAT NIGHT Ronnie and Detective Harrison sit in the parked car. They're at the shittiest crack corner in the whole town. Lots of scary bums and hookers loiter around the car. RONNIE Yeah, so then I basically saw his ass trying to circumvent around the ped exit and slip through the employ exit. Not allowed. The two ped exits are to be used only - DETECTIVE HARRISON You see that corner there, Ronnie? RONNIE Yeah, I see it. DETECTIVE HARRISON That corner used to be the worst corner in this whole town. It was riddled with drugs, prostitution, and gang violence. It was nicknamed ` The Crossroads.' RONNIE Shit, I've heard of that. DETECTIVE HARRISON That's right, but myself and the other officers worked on cleaning it up for years so that the good folks of this neighborhood would n't have to worry about being safe. Yes, sir, that corner is a testament to the fine police work of our force. RONNIE I do n't know. It looks pretty shitty to me. DETECTIVE HARRISON Well, it's a low income area, Ronnie. You're being kind of prejudiced. RONNIE Oh, yeah, I can see that it's basically a fine neighborhood. DETECTIVE HARRISON That's right, but it has n't been easy. We still patrol this area every night just to keep our presence up. RONNIE I use that same technique at the mall. DETECTIVE HARRISON I'm sure. I usually do the foot patrols myself, but because I like you, I'm going to let you do it tonight. RONNIE Really? DETECTIVE HARRISON Yeah, really. But I told you about department policy, so I'm going to need you to keep quiet about this one. RONNIE You can count on me. Thank you for the honor. DETECTIVE HARRISON Of course, Ronnie. I just really believe in you. RONNIE I wo n't let you down. Ronnie opens the door and gets out of the car. As he exits, a car drives by BLARING RAP MUSIC. The passenger throws a beer bottle at Ronnie. He dodges it and the bottle shatters on the ground. Ronnie is shaken, but he waves to Detective Harrison like he's okay. Detective Harrison waves back, then PEELS OUT OF THERE. Ronnie is confused. RONNIE Where are you going?! Detective Harrison keeps on driving without looking back.","EXT. CROSSROADS - A SHORT TIME LATER Ronnie looks petrified as he stands guard. A BUM stands off to the side staring Ronnie down. Ronnie waves to the bum. The bum runs his finger under his throat. Ronnie tries to ignore him. A group of KIDS walk by Ronnie talking loudly. RONNIE Hey, no horse play. You guys get on home. KID You want some crack? RONNIE No, I do n't want any crack. In fact, I did n't want to do this, but you leave me no choice in the matter. I'm placing you under citizen's arrest. Ronnie grabs the little Kid by the shoulders to restrain him. KID Let me go, motherfucker! RONNIE I place you under citizen's arrest for the crime of selling a Schedule 1 Narcotic. You have the right to remain silent. Unbeknownst to Ronnie, Gang Members start walking up behind him. It's like that scene in Training Day where all the gangsters are hanging out right across the street with guns and shit. They come up behind him as he speaks to the kids. RONNIE If you can not afford an attorney, one will be appointed to you. Now I guess we just wait here for my ride to come back. Ronnie turns around to look for Harrison's return, but instead he sees that he is surrounded by a large group of pissed - off GANG MEMBERS. GANG MEMBER #1 That's my little brother you got there. RONNIE Who, this little guy right here? GANG MEMBER #1 That's right. RONNIE Well, I hate to be the one to tell you this, but it appears that your little brother has tried to sell me illegal drugs. I know it's hard for you to hear that. GANG MEMBER #1 He works for me, motherfucker! RONNIE Is that so? Well then, it looks like you got one less employee because I'm taking little brother down. I'll die right here before I let crime prevail. The Gang Members all pull out their guns and point them at Ronnie. RONNIE -LRB- to the little Kid. -RRB- Free to go, little brother. My mistake completely. Good luck with the crack. The little Kid runs off. RONNIE Alright, so I guess I'll be seeing you folks. The Gang Members stand in Ronnie's way and cock their guns. GANG MEMBER #2 Yo, waste this pig, Tone. RONNIE Oh, no. That's really not necessary, Tone. GANG MEMBER #2 Do it, man. Gang Member # 1 puts the gun right up to Ronnie's head. RONNIE Oh, Jesus, I do n't want to die. Do n't let me die, do n't do it! Ronnie goes down on his knees. RONNIE No, please! I'm sorry! Ronnie reaches into his boot and pulls out a small rod. He flips his wrist and it extends into a night stick. Ronnie's begging was a trap. Ronnie pops up and begins dropping all those motherfuckers with lightning - fast precision. Ronnie breaks arms and busts heads like a fucking ninja. Gang Member # 1 comes in and hits Ronnie with a sucker punch, busting his nose wide open. Ronnie stands up and goes mano y mano in a fist fight with Gang Member # 1. He starts kicking Ronnie's ass. Ronnie goes down again and Gang Member # 1 starts stomping Ronnie. Ronnie grabs Gang Member # 1's leg and twists it. He takes him down. Ronnie jumps on top of him and begins beating him senseless. SLOW MOTION : Ronnie stands up and looks around at the pool of beaten bodies. This is Ronnie at his most primal and also at his best.","INT. POLICE STATION - NIGHT Detective Harrison is eating doughnuts and laughing with a bunch of other COPS. COP #1 I ca n't believe you dropped him off at the Crossroads. That's fucking hilarious. DETECTIVE HARRISON Trust me, you would have done the same thing. This guy is without a doubt the biggest fucking idiot I have ever met. COP #1 He's probably going to get killed. DETECTIVE HARRISON Good! Fuck him, I hope he does get killed. All of a sudden, Ronnie comes in all beaten and bruised. DETECTIVE HARRISON Ronnie, what are you doing here? RONNIE I know what you did! DETECTIVE HARRISON Ronnie, look, I did n't do anything - RONNIE You're not going to talk your way out of this one. You set me up! DETECTIVE HARRISON Ronnie, look - RONNIE Do n't try to deny it! You set me up and that's all there is to it. DETECTIVE HARRISON Ronnie, I - RONNIE And I just want to thank you for it. DETECTIVE HARRISON Thank me? Why? RONNIE Because I'm proud to report that I passed the test. I know you wanted to see if I had the chops to cut it on the police force and I'm glad to say that I passed. I knew I would get initiated some time, but I did n't think it would be so soon. Thank you, Detective Harrison. Thank you for believing in me. DETECTIVE HARRISON Ronnie, I do n't know what to say. RONNIE You do n't have to say anything. Your actions speak for themselves. Thank you for giving this rookie a shot. Get used to seeing Ronnie Barnhardt around here, boys. BAD - ASS PHYSICAL EXAM MONTAGE - INT. TRAINING FIELD - DAY SPRINT : The TESTING OFFICER blows a whistle and starts the 100 meter dash. Ronnie jumps off the starting line and hauls ass down the track. The other Trainees fall behind Ronnie as he smokes their asses. PULL - UPS : Ronnie jumps on the bar and begins to do pull - up after pull - up. SIDE SLIDE : The Testing Officer blows a whistle and Ronnie begins to shuffle side to side like an ice skater that never moves forward. SIT - UPS : Ronnie goes hard on the sit - ups. OBSTACLE COURSE : Ronnie sprints up a wall and flips to the other side. He charges a body of water, then jumps onto the rope and swings safely to the other side.","INT. MALL - NIGHT All the lights are off and we see the dark shadow creep through the darkness. The shadow breaks into the SHOE STORE and grabs as many pairs of sneakers that it can carry. The shadow opens the sliding cage and closes it from the other side. Then bends down and locks it.","INT. MALL - MANAGER'S OFFICE - THE NEXT DAY Mark sits behind his desk reading a paper. The HEADLINE READS : CHAOS CLIMBS AT CAROLINA MALL. There's a KNOCK at the door. MARK Come in. Ronnie sticks his head in the door. RONNIE Good morning, Mark. MARK Is it, Ronnie? I mean, the mall is getting butchered in the press. Somebody who works here is ripping the place off. The cops do n't have any leads. I'm getting shit from the owner of the mall. Sales are down. I mean, what's so good about this morning? RONNIE I feel your pain, Mark. Quite frankly, there's two things happening. One, I'm lacking a sufficient firearm. And two, we're understaffed. That's why I come to you this morning with a plan. -LRB- calling to the door. -RRB- Come on in, Charles. Charles opens the door and walks in. MARK Who is this? RONNIE This is Charles, sir. CHARLES -LRB- BOUNCER. -RRB- How's it going? MARK You work at O'Charley's, right. CHARLES That's right. RONNIE Mark, I would like to hire Charles here as an additional Security Guard. He would operate under me. I figure with the additional criminal element, we should hire more security in hopes that we would have a better chance of catching these guys. MARK Do you have any experience, son? CHARLES Not really. RONNIE Um, sir, I have personally been training young Charles for weeks now in preparation for this day. The kid kind of looks up to me. I'm some what of a big brother to the little guy. Charles kind of looks at Ronnie like he's crazy. MARK Alright, it's actually not a bad idea. It might make our Security more visible so we can give people the illusion that we're on top of this. Ronnie winks at Charles. CHARLES Thank you, Mark. MARK Ronnie, one more thing. Look, if this crime does n't come to an end pretty soon, we're gon na have to let someone go. I mean, you've always done a great job for me, but the truth is, someone is going to have to take the fall. You're the one who wanted to be Head of Mall Security and quite frankly, I just bought my wife a new Cadillac, so let's just say it wo n't be me. RONNIE With Charles on my team, I can now devote more time to the robbery and Pervert case. I plan on having these wrapped up by the end of the week. Mark laughs to himself. RONNIE Why'd you just laugh? MARK It's nothing. Have fun, Ronnie. Ronnie looks at Charles. RONNIE Did I say something funny? CHARLES Let's go, Ronnie. Ronnie and Charles take off.","INT. MALL - DAY Ronnie and Charles stand in the middle of the floor and supervise the `` mall walkers.'' CHARLES Be careful, guys. Nice and slow. RONNIE That's not bad, but you need to learn to speak in a more authoritative voice. Watch this. Slow it down! Slow it down! You've already received one verbal, do n't make me issue a second! -LRB- back to Charles. -RRB- See, you ca n't be intimidated. You have to make them respect you. CHARLES Ronnie, you know I really want to thank you for the job. You're a man of your word. RONNIE No problem, my young student. So, I got something to tell you. Keep this between us until it's official, but I do n't think I'm going to be here for much longer. CHARLES You're quitting? But you love this job. RONNIE I do love it, but it looks like someone is going to be joining the police force. CHARLES The real police? RONNIE They're calling me up. It's basically a done deal. Just a little red tape is the only thing keeping me from carrying a gun. CHARLES I did n't even know you wanted to become a Cop. RONNIE It's always been my job. The Mall thing is great training, but it has its limitations. Some stars are just meant to shine brighter than others. CHARLES Congrats, brother. RONNIE -LRB- to a mall walker. -RRB- HEY, SLOW IT DOWN, LADY! A Mall Walker slows her pace. She turns around and Ronnie sees that it's Nell. RONNIE Nell? NELL Hey, Ronnie. RONNIE What are you doing? NELL Nothing, just getting in shape. RONNIE Well, that's okay, I guess. Just watch your speed, okay? Nell waves and walks on. CHARLES Is n't that your girlfriend? RONNIE Ex. CHARLES She looked good. RONNIE You think so? CHARLES She looks a lot better. RONNIE Yeah. Ronnie shrugs it off.","INT. PSYCHOLOGICAL EVALUATION - DAY Ronnie sits across from a female PSYCHOLOGIST. PSYCHOLOGIST Okay, Ronnie, today I'll be giving you a psychiatric evaluation to determine if you're competent to enter into the Police Academy. It's really just a formality. Do n't want any serial killers working for us, now do we? RONNIE No, ma'am, we do n't. PSYCHOLOGIST Okay, Ronnie, so let's start with your background. Where are you from? RONNIE Born and raised right here. PSYCHOLOGIST Local boy. Okay, and, Ronnie, have you ever been convicted of any crimes? RONNIE No, ma'am. My record is totally clean. PSYCHOLOGIST Do you now take any illegal drugs or have you taken any in the past? RONNIE No, ma'am. I believe drugs are the path to self - destruction and should be purged from the face of the earth with ruthless vengeance. PSYCHOLOGIST Any prescription medications? RONNIE Yes, for my nerves. A man in my line of work has a lot of stress to deal with. If you've seen the bloodshed I've seen, you'd be on the meds too. I - Where are you going with this? PSYCHOLOGIST Are you presently or have you ever been affiliated with the Communist Party? RONNIE I ca n't believe you'd even ask me that. PSYCHOLOGIST Have you ever been in the military? RONNIE Yes. PSYCHOLOGIST What branch of the military were you in? RONNIE The kind of branch that does n't exist on paper. PSYCHOLOGIST Okay, here's a real world scenario. You have a gun - RONNIE Finally. PSYCHOLOGIST That was n't really the question, never mind, I think I got that one. Um. here's one. Do you feel like you would work well on a team? RONNIE Would I? Yes. Would I be more useful working alone, I would say definitely. I see myself more like a Rambo kind of guy. A man who rolls solo. Taking care of business on his own terms. Kind of like a Superhero or something. PSYCHOLOGIST Why do you want to become a cop? RONNIE I want to become a cop to help people. The world is a scary place with lots of evil everywhere. See, I have this vision of evil trying to get at the world from every angle and there I stand at the top of it all with my gun, just kind of blowing it away. Just me and my weapons, cleaning up this whole town. I know I could do some good if I was just given a chance and everybody would be a lot better off. PSYCHOLOGIST Uh - huh. So, what do you feel is the greatest danger facing a police officer today? RONNIE Maybe Russian gang activity, but you know what? I think I'm gon na have to go with evil on that one too. PSYCHOLOGIST Okay, I think we're good here. It's been a pleasure, Ronnie. RONNIE Thank you, ma'am.","INT. RONNIE'S HOUSE - BATHROOM - NIGHT Ronnie's Mom takes a bath and swigs on a bottle. She's drunk and passing out in the tub. Ronnie scrubs her back with a sponge. RONNIE I'm telling you, Mom, this police thing could be good for both of us. Not just the fact that I'll be making the streets safer for you, but they have health insurance and a pension plan so I do n't have to worry about your medical bills as much. MOM I do n't care about that bullshit. All I need is a little nip of this good shit right here and I'm ready to walk through the pearly gates. RONNIE Mom, I know, but maybe you should stop drinking so much. You're getting up there and you know what the doctor said about your liver. MOM I do n't tell you how to party, do n't tell me how to live my life. I've taken care of you since you were born. RONNIE I just worry about you is all. MOM Ronnie, do n't get your hopes up about this police thing. RONNIE Why would you say that? MOM You know why. I just do n't want to see you get hurt. It's my job to protect you from the bullshit. RONNIE Mom, I appreciate it, but I'm going to make it as a police officer. I'm tired of coming in second all the time. Everybody in life gets to go for their goals, why should I be any different? MOM I know. Just be careful is all. You've got a good heart and I do n't want to see it broken. RONNIE Okay, Mom. I hear you. MOM And, Ronnie, one more thing. RONNIE What's that, Mom? In the tub, a bunch of bubbles plop to the surface. RONNIE Mom! That's gross! MOM -LRB- drunk laughing. -RRB- That's right! Now you got to smell it! RONNIE Mom.","EXT. POLICE ACADEMY - DAY The Police Academy is full of energy as new recruits pour up the steps and into the building, eager to start their training. Ronnie comes walking up and takes a long look at the building. Ronnie smiles to himself and heads up the stairs. Ronnie reaches the top where Detective Harrison is waiting. Ronnie stops. RONNIE Ronnie Barnhardt reporting for duty. DETECTIVE HARRISON I can see that. Listen, I do n't really know how to say this, but we're not going to be able to let you join the academy. RONNIE What?! Why not? DETECTIVE HARRISON It seems you had a little trouble passing the minimum requirements. RONNIE Did I fail one of the tests? DETECTIVE HARRISON Well, yes, actually, you failed the psychological exam. RONNIE No! DETECTIVE HARRISON It says. -LRB- reads from the form. -RRB- That Ronnie Barnhardt shows warning signs of delusion and allowing him to join the force puts his life and the lives of others in jeopardy. RONNIE Detective Harrison, you've got to believe me. I'm completely sound. This has got to be a mistake. DETECTIVE HARRISON Ronnie, I personally did your background check and this is the fifth time you've been turned down for the police academy. RONNIE You guys keep records on that? DETECTIVE HARRISON We sure do. Look, I tried to talk to them, but there's no way they're gon na let you in. I'm sorry, but your dreams of becoming a Police Officer just are n't going to happen. RONNIE I understand. Thanks for believing in me, Detective. And just for the record, I'm not crazy. DETECTIVE HARRISON Take care, Ronnie. Detective Harrison goes inside and closes the doors on Ronnie. Ronnie stands outside of the closed academy by himself. The CAMERA PUSHES INTO Ronnie and SPINS UPSIDE - DOWN. CUT TO BLACK.","INT. CAROLINA MALL - MORNING Ronnie is behind the locked gate to the food court, but it looks like he is behind bars in a prison. Ronnie slides the bars up and walks out.","INT. MALL - DAY Ronnie walks through the mall and looks at the lights of the different shops. Everything looks colorful and weird. Ronnie is in his own head. This is n't the exciting world as before, now it's a disgusting fabricated make - believe land. TIME LAPSE : A DAY SPEEDS BY AS RONNIE WALKS LIKE A ZOMBIE THROUGH IT ALL.","INT. MALL - FOOD COURT - NIGHT The mall is kind of winding down for the day. The stores are closing and people are going home. Ronnie sees Nell putting her apron away and preparing to leave. Ronnie walks up to her. RONNIE Hey, Nell. NELL Hey, Ronnie. How's it going? RONNIE Can I talk to you for a second? NELL What is it? RONNIE I tried to get into the police academy again and the same thing happened. NELL Oh, Ronnie, I'm sorry. Ronnie starts to tear up. RONNIE Why does this keep happening to me, Nell? NELL I do n't know, Ronnie. Maybe it's just not meant to be. Are you okay? RONNIE No. Are you going home? I mean, do you want to go somewhere and talk or something? NELL Ronnie, I ca n't. RONNIE Why not? NELL I've got plans. RONNIE What plans? SADDAMN Look at this sorry piece of shit. Ronnie looks up to see Saddamn walking toward him. RONNIE What the fuck do you want? SADDAMN I do n't want anything from you. -LRB- to Nell. -RRB- How you doing, sweetness? Saddamn hugs Nell from behind and kisses her on the cheek. SADDAMN You look beautiful tonight. RONNIE What the fuck is going on? SADDAMN You ready to go? We got reservations at 9:00. NELL I'm ready, Saddamn. RONNIE Nell, for the love of God, do n't go with him. NELL I'm sorry, Ronnie. Nell and Saddamn turn and walk towards the door. On the way out, Saddamn turns back around to Ronnie and smiles. Then, he begins to `` air hump'' Nell from behind. RONNIE Do n't go, Nell. Remember your purity! Remember your purity! Nell and Saddamn leave the mall.","INT. MALL - DAY Ronnie sits down on one of the benches in the mall. He watches a couple walk by, their little kid swinging between their arms. Then, Stevie comes in and takes a seat next to Ronnie. STEVIE What are you doing, Ronnie? RONNIE I'm just taking a break. What do you want, Stevie? I do n't have time to fuck around with you today. STEVIE I got something. Stevie reaches into his pocket. He pulls out a bunch of Polaroids of penises. RONNIE What the fuck is this? DUDE Dude, I found these all over the mall. I'm guessing that whoever this Mall Flasher is, left these for girls to find. RONNIE This thing gets grosser and grosser all the time. Well, thanks for the clue. Maybe I can use this to identify the freak. You can skate all you want around here. STEVIE What's wrong with you, Ronnie? RONNIE What do you mean? STEVIE I do n't know. You just seem kind of sad. RONNIE Nah, man, I'm fine. I mean, I'm catchin' perverts and protecting this mall and just you know, really livin' the dream. STEVIE That's cool. Look, man, you want to get high? RONNIE No, I do n't want to get high. STEVIE That's cool. The conversation dies down and the two just kind of sit there. RONNIE And by the way, if I see you getting high, I will call the police and have your criminal ass arrested. Do n't you fuckin' ever mistake my kindness for weakness. I hate drugs and I hate you too. STEVIE Fine, you fucking dick. Steve stands up to leave. Ronnie sits there looking sad.","EXT. MALL - NIGHT Ronnie sits in his golf cart staring at the mall as the last of the customers leave. That's when Ronnie sees Brandi come out of the door. Brandi looks around and darts across the parking lot. Ronnie follows Brandi's path and tries to catch up with her.","EXT. MALL - NIGHT Ronnie drives around, but he ca n't find Brandi anywhere. Ronnie sees a lone black car at the outer edge of the parking lot. He pulls his golf cart over and climbs out. Ronnie creeps up to the car and peers in the window. Inside, Ronnie sees Brandi and Detective Harrison banging like a couple of wild animals. Ronnie jumps back in shock!","INT. DETECTIVE HARRISON'S CAR - NIGHT Brandi stops humping Detective Harrison. BRANDI Shhhh. DETECTIVE HARRISON What is it? BRANDI I thought I heard something. Detective Harrison looks out of the window. He does n't see anything. He climbs back on top of Brandi. DETECTIVE HARRISON It's nothing. OUT OF NOWHERE, A FLASHLIGHT BREAKS THE BACK WINDOW OF THE CAR.","EXT. MALL - NIGHT Ronnie runs around Detective Harrison's car wielding a flashlight like a mad man. RONNIE HARRISON! Ronnie beats the shit out of Harrison's car. He smashes headlights, mirrors and fenders. INSIDE THE CAR Harrison and Brandi duck down. BRANDI Shit! DETECTIVE HARRISON That motherfucker is crazy. BRANDI Well, you're the fucking cop. Do something. DETECTIVE HARRISON You're right. Okay, here it goes. Harrison reaches over Brandi and opens her door. BRANDI What the fuck are you doing?! Harrison pushes Brandi out of the car and shuts himself back in. OUTSIDE Ronnie sees Brandi and stops pummeling the car. BRANDI Ronnie, it's me! Do n't do anything crazy. RONNIE Get back inside, Brandi. This is n't about you. you. you slut! BRANDI Fuck off, Ronnie. RONNIE How can you just stand there after you ruined my life and act like nothing happened?! BRANDI It's easy'cause I do n't give a FUCK ABOUT YOU! Ronnie SNAPS. He charges at Brandi with the flashlight over his head. He's about to crack her when. CLICK. Ronnie STOPS to see Harrison on the other side of him with his pistol drawn and pointed at Ronnie. DETECTIVE HARRISON Drop the flashlight, Ronnie. Ronnie drops the flashlight from his hands. RONNIE You're pretty tough with that gun. DETECTIVE HARRISON Ronnie, I know you've had a hard time - RONNIE You were supposed to be my friend! DETECTIVE HARRISON So you're gon na kill Brandi? RONNIE I was just trying to scare her. BRANDI You do n't scare me, you piece of shit. Ronnie lifts the flashlight up again like he's going to hit Brandi. Brandi ducks. Detective Harrison cocks the gun. DETECTIVE HARRISON Ronnie! RONNIE Fine, fuck you! Fuck all of you! And, Harrison, you better be glad you have a gun or I'd kick your ass too. And you know what? I'm taking my friendship back because you do n't deserve it! And, Brandi, I'm taking my love back too. I'm gon na leave now and you two can just have fun. Have fun sleeping tonight because something tells me, you wo n't be able to. Ronnie climbs into the golf cart and drives off. DETECTIVE HARRISON That guy is a nut job. BRANDI Tell me about it. DETECTIVE HARRISON So you slept with him? BRANDI I was drunk okay. You gon na make a big deal out of it. DETECTIVE HARRISON No, I guess not. BRANDI Fine.","INT. RONNIE'S BEDROOM - NIGHT ON THE TELEVISION : There's an update on the CAROLINA MALL FLASHER. It says he has exposed himself to more girls. As the TV blares the headline, Ronnie lays in his bed and watches. The images shine COLOR on him, but Ronnie is in his own world.","INT. MALL - FOOD COURT - DAY Ronnie has the Special Elite Task Force assembled. RONNIE I'm disbanding the task force. CHARLES Hey, Ronnie, that's crazy talk. Are you cool? RONNIE No, I'm not cool, Charles. In fact, shit is seriously fucked up. I've got to protect the whole mall by myself. Now, I got you this fucking job, when are you going to stop being a little baby and do something for a change. -LRB- MOCKING. -RRB-' I do n't want to do anything hard. I just want to be a little bitch and brag about dropping out of college.' Grow a fucking pair, will you, Chucky? CHARLES I'm gon na go check the parking lot. Charles walks away. RONNIE -LRB- calling out. -RRB- I'm sorry, Charles! I did n't mean it, buddy! Ronnie puts his head on the table. RONNIE You know, Dennis, for the longest time I made this job my whole life. I looked at this mall as a kingdom and I looked at Mark as the King. I thought of myself as the first Knight and the customers, well, they were the peasants. I lived by an old code where one was bound by duty and honor. But now I do n't know if I believe in that code anymore. I've lost my way. Now I just feel like it's one big kingdom of shit. Right now, I got half a mind just to let this whole place burn. Burn it to the fucking ground! Dennis stares down at the desk. Dennis takes off his hat and reveals that he has bleached white Eminem hair underneath. Next, he reaches under his collar and flips out a thin gold necklace. He kicks up his shoes and reveals the newest and freshest basketball kicks. This is the REAL DENNIS and for the first time ever, he speaks. DENNIS -LRB- high ghetto voice. -RRB- I've been waiting on you to get on my page this whole time. You look at this mall as a Kingdom?! Shit! I look at this place like a motherfucking jail sentence. You put on that uniform every morning, but what are you really protecting? Commerce and corporations and money. Well I say, fuck that! I'm a fucking outlaw and I'm going to live that until the day I die. Now, I can show you the way, but you've got to be willing to accept it. So I'm gon na ask you now, Ronnie. Are you ready for a trip to the other side? RONNIE You're goddamn right I'm ready. DENNIS Alright then. Let's party.","EXT. DUMPSTERS - DAY Dennis and Ronnie hang in the back of the mall by the dumpsters. Dennis sucks down a fat joint. He passes it to Ronnie. DENNIS So, yeah, usually I take a joint straight to the head before I start work in this motherfucker, but on really stressful days, I like to get drunk too. Dennis pulls out a flask and gulps it down. Ronnie is still staring at the joint. Finally he takes a puff and begins violently coughing. He finally stops. RONNIE Fuck it, give me the bottle. Dennis hands Ronnie the bottle and he takes a big swig.","INT. MALL - DAY Ronnie and Dennis stand against a wall while they check out booties of various shapes and sizes on all of the girls that walk by. DENNIS So then I usually come in here and perv out on girls for about an hour or two. I hooked up twice last week. One was this Asian chick and the other was this mom. She was n't that hot, but what else do I got to do? Two high school girls walk by. DENNIS Sweet Jesus in the morning.","INT. DEPARTMENT STORE - DRESSING ROOM - DAY Ronnie and Dennis are hanging in a dressing room. DENNIS Dressing rooms are a great place to hide out, because nobody is really going to think of looking for me here. You can nap or just kind of hang out and just really have some personal time. Hey, hand me that camera. Ronnie picks up a shitty camera and hands it to Dennis. DENNIS Thanks, Ronnie. Dennis stands up on the bench and looks into the other changing room. The two high school girls are changing into other clothes. Dennis starts taking pictures of them without them knowing.","EXT. DUMPSTERS - DAY Ronnie is smoking a joint and so is Dennis. DENNIS Right before lunch I usually blaze up again real good.","EXT. MALL - DAY Dennis and Ronnie walk by the skaters. DENNIS Hey, what's up, motherfuckers?! STEVIE What up, Big Den?! DENNIS You know, smokin' that good good. STEVIE Dude, why are you hanging out with Ronnie? RONNIE Fuck you, Stevie! DENNIS Hey, Ronnie's alright. Let me see that stick. Stevie slides the skateboard over to Dennis. He jumps on it and does a perfectly executed kick flip. The skaters cheer!","INT. DEPARTMENT STORE - DAY Brandi is at the counter with Bruce. She helps a MALE customer. BRANDI That'll be $ 39.99. MALE My wife's gon na love this perfume. BRANDI I hope so. It's my favorite. Brandi looks past the Customer and sees Ronnie just standing there staring daggers at her. Ronnie shakes his head in disgust. The Male Customer turns around and sees Ronnie. It's a weird little moment. Dennis grabs Ronnie by the arm. DENNIS Come on, brother. Let's go. Ronnie follows Dennis off. CUT TO BLACK. THIS BEGINS THE ROCKING MONTAGE OF MALL DESTRUCTION","INT. RECORD STORE - DAY Ronnie stands in the store and looks down at his walkie. MARK -LRB- V.O. -RRB- -LRB- over the walkie. -RRB- Ronnie, we need you down at the candy store. Some little brat has been shoveling peanuts in his mouth for the last hour. Ronnie turns the walkie - talkie off. Dennis runs behind the counter. Dennis drops the needle on a ROCKIN' SONG. Dennis jumps on top of the counter and starts jumping up and down with the music. He's fucking drunk. Dennis jumps off the counter and tackles Ronnie, knocking over a stand of DVD's.","INT. MALL - DAY Ronnie and Dennis ride on a mini railroad train for kids. They both drink from the flask as they spin around the track. It's full of nothing but kids and security.","INT. MALL - VICTORIA'S SECRET - DAY The HOT SALES CLERK stands outside of the dressing room wearing a sexy teddy with a G - string and garters. Dennis and Ronnie are kicking back in the love seat and watching. Dennis makes a motion for the Sales Clerk to spin around. She reluctantly does as she is instructed.","INT. MALL - TOY STORE - DAY Ronnie and Dennis play video games. A LITTLE KID tries to take the controller from Dennis, but Dennis whips out the handcuffs. He locks the Little Kid onto the display case so the kid ca n't move.","INT. ARCADE - DAY Ronnie and Dennis play Skee - Ball, except Ronnie tosses the balls to Dennis who is standing on top of the machine. Dennis slam dunks the balls into the 100 point hole. The tickets pour out.","EXT. MALL - DAY Ronnie and Dennis are driving in the golf cart and they're both wearing those GIANT SUNGLASSES that they won with arcade tickets. Behind them, Stevie and the other Skaters hold onto the golf cart and get pulled on their skateboards. They race towards a loading ramp. Dennis floors it and they go up the ramp and JUMP the golf cart into the air. The golf cart and Skaters soar into the air. It holds forever, until suddenly, the golf cart lands with a thud. CUT TO BLACK.","INT. MALL - NIGHT The mall is basically empty as Dennis and Ronnie make the final rounds. They get to the doors and lock up for the night. RONNIE Dennis, I got to thank you for today. Man, I was so down, but you taught me that I do n't need to take things so seriously here. We have a pointless existence. Who gives a fuck? DENNIS Do n't mention it, homey. I'm just glad I got me a partner in crime. RONNIE A partner. I like that. You know, I've never really had a friend before, but I think that this could be the beginning of a real good thing. Dennis unlocks the doors to the Gap. DENNIS You ai n't even seen the best part. After everybody leaves, I rob the shit out of this place. RONNIE What do you mean? DENNIS I steal shit! RONNIE You're the one who's been robbing the mall? DENNIS Hell yeah! Who'd you think it was?! Dennis goes inside the Gap and just starts grabbing shit. RONNIE I ca n't believe this. Right in front of my goddamn face this whole time! Dennis holds up a sweat shirt. DENNIS This probably will look good with my complexion. RONNIE Dennis, I ca n't take part in this. DENNIS Ronnie, I thought you were down?! What the fuck?! Here I am opening up myself to you and you're just gon na stick it to me like this. What the fuck has this place ever done for you? Do n't you know that people see us as jokes?! A useless tool that's left in the shed. Well that's not me. Not now, not ever. I told you, I'm an outlaw. RONNIE I ca n't let you rob the mall. DENNIS What the fuck you mean you ca n't let me? RONNIE Come on, Dennis. We're best friends, so just put that stuff back and let's go get a beer. DENNIS Alright, Ronnie, you're right. Dennis sets the shirts down. DENNIS I do n't really know what I was thinking. Robbing the mall? Let's just go get that beer. RONNIE Good, man. That makes me feel better. Ronnie turns to walk, but Dennis grabs the hand of one of the mannequins and rips it off. He takes the hand and cracks Ronnie over the head with it. Ronnie goes down on his knees. DENNIS See ya in Mexico, bitch. Dennis cocks back and whacks Ronnie again. Ronnie's lights go out.","EXT. CITY STREET - NIGHT Dennis pulls out of the mall driving a HARLEY DAVIDSON. He flips a joint into the air and peels out. He cruises down the street. He passes a cop car and flips it off. CUT TO BLACK.","INT. CAROLINA MALL - MORNING The JANITOR walks up the floor with a mop. Ronnie is battered and bloodied from his fight with Dennis, but he is wide awake and handcuffed to THE GAP. RONNIE Ramon, get your ass over here! Go get my spare keys out of the office. The Janitor looks at Ronnie, smiles, and calmly mops in the other direction. RONNIE Ramon! Goddamn it get back here! Go get my goddamn keys.","INT. MALL - MANAGER'S OFFICE - DAY Mark sits across the desk from Ronnie and Charles. MARK How fucking stupid do you have to be?! I mean Dennis. What the fuck, Ronnie? How could you not have known it was Dennis? Then, how the fuck could you be so stupid as to let him get away. OBSERVE AND REPORT. Those are the only two things you have to do and you ca n't do those worth a shit. RONNIE Can I speak now? MARK Go ahead. RONNIE Are you sure? MARK Just start talking, Ronnie! RONNIE It seems only natural that ` some people' would want to blame me and truth be told I do put a lot of that blame on myself. But some people might say that the cops are to blame for not catching them. Some people might say that the reason this happened was the undeniable fact that I was under - equipped and quite frankly, lacking a sufficient firearm. But not me. I carry this loss alone deep inside my heart. MARK Good. Because you're fired. RONNIE -LRB- PLAYFUL. -RRB- Fuck you. MARK I'm serious, Ronnie. I've always liked you, but there's just no excuse for this. Somebody is going down and I'll be damned if it's going to be me. Now, do n't make a big thing out of this. Just pack your shit and get out by the end of the day. RONNIE Wait a minute. I thought I could trust you, Mark, and now you're telling me that you're going to be the one to put the knife in my back. Fair weather friend you are. MARK I'm not your friend, I'm your boss. RONNIE You think you're so smart, Mark. You do n't know everything. If you're firing me, then you can say goodbye to your entire Security staff. Because there is no fucking way my team is going to work here if you fire me. Is n't that right, Charles? CHARLES Ronnie, I got to talk to you about this. Mark asked me down here to escort you out. RONNIE And you told him to fuck off, right? Charles? Right? CHARLES What the fuck do you want from me, Ronnie? RONNIE This is n't happening! Everybody is fucking me over?! I hate you all. Charles stands up. CHARLES I'm sorry, Ronnie, but it's time to go. RONNIE Wait a minute. I'll work for free, Mark. MARK No, Ronnie. RONNIE I'll pay you. MARK Nope. RONNIE I love you. MARK Ronnie, Jesus have a little self - respect. RONNIE You do n't love me, Mark? MARK Ronnie, it's over. Ronnie takes a deep breath. He stands up to leave. Ronnie starts to walk out, but stops. RONNIE Hey, Charles. Mark asked you down here in case I got out of hand? Well, get ready to earn your money. Ronnie cracks. He grabs a calendar and throws it on the ground in a violent baby - like outburst. MARK Stop him! Charles tries to grab Ronnie, but Ronnie pushes him off. Ronnie knocks the framed pictures off of the wall. He then opens the door and slams it into the wall over and over again. That does nothing. Ronnie tries to rip the cushion on the chair. He looks ridiculous. CHARLES Alright, Ronnie, that's enough. Ronnie stops and begins to cry. Then he runs out of the office in tears.","INT. RONNIE'S BEDROOM - DAY/NIGHT Ronnie lies in his bed and we. TIME LAPSE : The sun rises and sets three times through the window of his bedroom, signifying that three days have passed. The whole time, Ronnie does n't move from his bed. Until. Ronnie gets on his `` nice'' clothes, but they're a far cry from his Security Guard uniform. Ronnie's Mom comes up to him. MOM What's on the agenda for today? RONNIE I guess maybe look for a job or something. MOM Well, I know you're sad about it, but try to look on the bright side. RONNIE There is no bright side. My life is over. MOM Ronnie, you may not be smart or handsome, but you've got dreams inside of you and dreams make you special. No matter what this world tries to throw at you, they can never take those dreams away. RONNIE What the fuck are you talking about, Mom? MOM I do n't know. I'm drunk. I just know that mothers are supposed to talk like that to their children when they're sad, so I tried. What do you want from me? RONNIE Nothing. That's exactly what you're supposed to do. I just blew my life. I tried to be a big shot, a hero and a stupid cop. I wanted to be recognized for being great. I should have just been happy where I was at. I did n't do my duty. MOM Ronnie, the other night when I soiled my pants right before I puked myself, I was thinking about how you would come home and find me and clean me up. I knew you would be there to find me and take care of me, so I was able to pass out on the floor and not worry. If there's one thing you know about, it's duty. RONNIE I do it because I love you. MOM I know and I love you too, Ronnie. I have n't always been easy to deal with and most people would have thrown me away a long time ago. Just like your father did. But not you, Ronnie. Look, whiskey was always the way I dealt with being a single mother, but as I get older, I know that I ca n't keep doing this. I've got everything I need with you. So I want you to know that I'm ready to make a change. Your life needs to get easier and you do n't need to take care of old Mom anymore. RONNIE Are you going to quit drinking? MOM I'm switching to beer. I can pound those all day and still keep my shit together. I'm doing it for you. RONNIE I'm so proud of you, Mom. MOM I'm proud of you. Now today is a new day and we're going to get through it. Now, get out there and find what the world has in store for you. Ronnie's Mom leaves and Ronnie looks at himself in the mirror. Then something catches his eye. Ronnie sees a newspaper laying on the ground. He picks it up and reads.","EXT. JAIL - DAY Ronnie walks up the steps that lead to the local jail.","INT. JAIL - DAY Ronnie walks into one of those booths where you can talk to a prisoner on the opposite side of a Plexiglas divider. Ronnie sits down in wait. Then, two GUARDS appear escorting a handcuffed Dennis. Dennis takes a seat and picks up the phone. DENNIS What's up, Ronnie? How you doing? RONNIE I've been better. You? DENNIS I'm holding it down in here. RONNIE Yeah, I heard they finally caught up with you. DENNIS I know. I should have hit Mexico, but, you know, I got stoned and just kind of kicked with this girl in Kannapolis for a while. RONNIE You know they fired me when they found out you were the one who robbed the mall. DENNIS Shit, dog. Sorry about that. RONNIE It's cool, but I need to know why you did it. DENNIS I told you. I'm an outlaw. RONNIE Come on, Dennis. DENNIS Man, you want to know the real reason? RONNIE Yeah. DENNIS Alright, I'll tell you. Man, that gig was one of the best jobs I ever had. I got to wear a uniform, I could smoke weed whenever I wanted. For once in my life, I felt like I was actually somebody. I know most people do n't think it's shit, but I really loved it. Then, all of a sudden, I find out that your ass got promoted over me. After all I put into it, you're the one that makes it to Head of Mall Security. You know what it's like to get passed over, Ronnie? So I got pissed off. I started robbing the joint as a way to get at them for what they did to me. But you know what, Ronnie? RONNIE What's that? DENNIS You ever love a girl so much that you ca n't break up with her, so the only thing you can do when she pisses you off is smack her in the goddamn face? RONNIE No, Dennis, I have n't. DENNIS Well, I have. And that's pretty much how I felt about the job. RONNIE Thanks for talking to me, Dennis. DENNIS Well, it's the least I could do after knocking you out and all. Ronnie starts to hang up the phone. DENNIS Hey, Ronnie. RONNIE Yeah, Dennis. DENNIS Bail me out of here, old friend. RONNIE I ca n't do it, Dennis. You're now a criminal who stopped caring, but my crime is that I care too much. Ronnie hangs up the phone and walks out.","INT. MALL - DAY Ronnie comes into the mall and makes his way down the center of it, feeling naked without his uniform. Charles, now wearing a mall security uniform, comes out and stops Ronnie. CHARLES Ronnie, what are you doing back here? RONNIE I just came to talk to Nell. Do n't get your panties in a wad, I'm just here as any normal patron. CHARLES Ronnie, dude, I've been all fucked up in the head. I feel like shit about what happened. I mean, here I am, just looking to shuck responsibility and I ended up hurting you in the process. Look, I should have been honest with you. I do n't give two shits about this stupid job. But you do. RONNIE It's okay, Charles. CHARLES I've decided I'm going back to college. Getting stoned and studying beats this any day. I realize that now. I realize that there are n't any jobs where you can avoid hard choices. Anyway, take as long as you want at the mall. I'll keep Mark off your back. RONNIE Thanks, Charles.","INT. MALL - FOOD COURT - DAY Ronnie sees Nell sitting down and eating a Cinnabon. Ronnie takes a seat at her table. NELL Ronnie, what are you doing here? RONNIE I got something I want to say. NELL I do n't think we should be talking. RONNIE I'll be quick. Nell, this is the only job I was ever any good at. I'm not a crime solver or right hand of the law. I'm just a dumb guy in a uniform who ca n't even become a real policeman. Somewhere along the way I started to think I was something special, someone whose shit did n't stink, someone who deserved to date out of my league. You know, I've learned. My shit does stink. It smells horrible. And you're also out of my league, but for some reason, you like the smell of my shit. I guess what I'm saying is. Ronnie reaches into his pocket and pulls out his Mother's disgusting yellow engagement ring, but for some reason, it looks beautiful. RONNIE If you give me another chance, I'll spend the rest of my life making it up to you. And you can call me sweetie in front of people and I'll like it. Nell thinks about it. She leans over the table and kisses Ronnie. Ronnie is stunned. With one kiss, Nell seems to make everything okay. They stare at each other and the moment seems to hold for an eternity. Love is in the air until. THE PERVERT STEPS IN FRONT OF THEM AND EXPOSES HIS DING - A - LING! Nell SCREAMS! The Pervert runs. Ronnie gets pissed! RONNIE Son of a bitch! NELL Oh, my God! RONNIE Are you alright? NELL I'm fine. RONNIE Shit, we should call somebody. NELL Ronnie. RONNIE Yeah? NELL Go get him. Ronnie realizes that this is his duty and his alone. Ronnie rises from the table slowly. He looks at Nell and nods acceptance. Then, Ronnie runs after the Pervert.","INT. MALL - DAY The Pervert is in a full blown run through the mall. His trench coat is wide open and his wienie is flapping for the world to see. In a way, it's his greatest accomplishment. People scream! Mothers grab their daughters! No one is safe! ANOTHER ANGLE Ronnie comes ripping out of the food court. He's got a fierce look of determination in his eyes. He runs hard to catch up with the Perv. ANOTHER ANGLE There's a crowd surrounding the Cell Phone Kiosk. The Pervert bursts through the crowd and knocks people out of the way. SADDAMN What the fuck, man?! Ronnie comes running up behind him. RONNIE Get out of the way! Get out of the way! The crowd totally clears a path for Ronnie, but Ronnie stops running and SUCKER PUNCHES SADDAMN. Saddamn goes down hard and Ronnie rejoins the chase. RONNIE Stay the fuck away from my wife! THE PERVERT runs past the skaters, who are hanging out on a bench. STEVIE Dude, that's fucking disgusting! Ronnie comes running way far behind. STEVIE Hey, Ronnie, here! Stevie slides his skateboard out for Ronnie to jump on. Ronnie jumps like he is going to land on the skateboard and sail to the finish line. However, when Ronnie's feet touch the board, it goes shooting out from under him. Ronnie slams onto the ground. All of the skaters start laughing. STEVIE What a fucking douche! Ronnie picks himself up and starts to run again. He only makes it a little ways before he hits something slippery. Ronnie falls onto the ground and cracks his head. Ronnie lays on the ground and sees Ramon laughing against a wall with a mop in his hands. RONNIE Okay, Ramon, we're fucking even! Ronnie picks himself up and starts running again. THE PERVERT runs past VICTORIA'S SECRET. He stops at the doorway and as if he ca n't resist, flashes the ladies in the store. He takes off running again. RONNIE as he runs by the RECORD STORE, which of course is BLASTING MUSIC. Ronnie stops at the doorway. RONNIE Turn it down. Turn it down. The Record Store guy turns the MUSIC DOWN. Ronnie goes back to his chase. THE PERVERT runs past Mark. He looks around at all the people staring. MARK Okay, show's over. Enjoy your shopping experience at Carolina Mall. Ronnie runs past Mark. MARK Jesus. -LRB- calling out. -RRB- Charles! Charles comes running up. CHARLES What is it? MARK Call the police. And go get Ronnie. CHARLES He's trying to help. MARK Just do what I ask you. Charles runs after them. Ronnie sees Charles coming and runs faster. Charles is moving in on him. CHARLES Hey, Ronnie! Ronnie turns around to see Charles as he flings him a giant flashlight. Ronnie catches it. RONNIE Fuck yeah! Ronnie starts running again, but this time, he's a little more together. THE PERVERT has made his way through the whole mall at this point, but Ronnie is right on his ass. The Pervert is heading toward the DEPARTMENT STORE.","INT. DEPARTMENT STORE - DAY The Pervert comes barreling in and the ladies at the perfume and make - up counters SCREAM. He looks like he's charging straight at Brandi. He's getting closer. BOOM! Ronnie comes in from the side and nails the Pervert with the flashlight. Ronnie jumps on top of the Perv and beats the ever - living shit out of him. This is a vision of a man leaving all out on the field. Ronnie stops pounding and looks up. He sees Brandi staring at him. Ronnie is overcome by anger and beats on the Pervert harder than ever before. Finally, Charles comes in and pulls Ronnie off of him. A huge crowd has gathered around. Ronnie has blood all over him. Ronnie picks the Pervert up and holds him tightly by the arms. Mark comes running up. CHARLES You want to report this to the police. RONNIE Hell no. I'm taking him down myself. Ronnie starts to walk away with the Pervert. MARK Hey, Ronnie. Ronnie stops and turns around. Mark tosses Ronnie a set of keys. MARK Good job, Ronnie. RONNIE Thank you, sir. Ronnie leads the Pervert outside. On the way, he passes Brandi. BRANDI Good job, Ronnie. RONNIE I do n't love you! BRANDI I do n't love you either. RONNIE Fine. The customers and employees of the mall CLAP for Ronnie. This is his finest moment.","INT. GOLF CART - DAY Ronnie is stuck in traffic. He looks ridiculous in the orange golf cart on a city street with a Pervert chained up beside him, but Ronnie could care less.","EXT. POLICE STATION - DAY The golf cart pulls up to the police station and Ronnie gets out with the Perv. Ronnie walks up the front steps and all of the officers part and let him through. Detective Harrison is at the top of the stairs. Ronnie walks right up to him. RONNIE I caught the Pervert. DETECTIVE HARRISON I see that. Well, you better turn him over to me and I'll take him inside and book him. RONNIE Since you're a real Cop, right? DETECTIVE HARRISON Hey, Ronnie, you may not be an officer of the law, but you're the law's right hand. Good job. Ronnie lets go of the Pervert. He nods to Harrison, then turns his back and walks back down the steps. Ronnie gets into his golf cart and drives away. CUT TO BLACK.","EXT. CAROLINA MALL - MORNING Ronnie stands in front of the Mall with Nell beside him. Ronnie looks nervous, but Nell looks down at her yellow ring with pride. She looks at Ronnie, sees a loose eyelash and brushes it off of him. RONNIE What are you doing?! NELL You had an eyelash? RONNIE I'm trying to remember my speech. NELL Sorry. Nell looks straight ahead, but smiles as Ronnie tries to take himself serious. FEMALE REPORTER Okay, Ronnie, we're ready for you. Ronnie takes a deep breath and walks over to where the LOCAL NEWS has set up a camera and microphone. FEMALE REPORTER Okay, we rolling? CAMERAMAN Rolling. FEMALE REPORTER Good evening. We're here today with Ronnie Barnhardt, head of Mall Security here at Carolina Mall. Last week, Ronnie was able to catch The CAROLINA MALL FLASHER single - handed and bring him to justice. Ronnie, how did you manage to find the identity of The Pervert and take him down? RONNIE Well, being a mall security guard basically requires the same skill set that someone in say the FBI has. You have to use logic and evidence and old - fashioned common sense as well as the latest technology to deduce the criminal mind. It's what I do. All of a sudden, STEVIE AND THE SKATERS come up behind Ronnie. They look into the camera lens and start smiling. Ronnie turns around and sees them, but tries to focus on the reporter. FEMALE REPORTER Any last words for the folks at home. RONNIE Yeah, I'd just like to say that Carolina Mall is back on track and safer than ever. The Skaters start flipping off the camera. Ronnie keeps getting distracted. RONNIE In fact, there are some wonderful sales taking place right now. Stevie walks up behind Ronnie and pretends to hump him. RONNIE So for all you families out there, come on down and see us. It's a wonderful place. Ronnie turns around angrily. RONNIE THAT'S IT, YOU LITTLE SHIT! THE SKATERS jump on their skateboards and skate off. Ronnie runs after them. He jumps into his GOLF CART and gives chase. The NEWS CAMERA is still rolling. The FEMALE REPORTER looks into the lens. FEMALE REPORTER You heard it, folks. Everything is back to normal here at Carolina Mall. Back to you, Lindsay. CUT TO BLACK. THE END"],"string":"[\n \"EXT. CAROLINA MALL - MORNING ONE LONG TRACKING SHOT FROM THE BACK. A PERVERT in a trench coat runs along the edge of the mall. A group of OLD WOMEN is coming toward the MAIN ENTRANCE. The Pervert opens his trench coat and flashes the old women. They SCREAM! The Pervert ducks behind the bushes and runs with the skill of a Navy SEAL. A FAMILY is walking down the sidewalk. The Pervert opens his trench coat and flashes them. The Pervert ducks behind a dumpster. He keeps running and sees a car driving by. The Pervert flashes the CAR. The Pervert takes a two - step run, sees ANOTHER LADY, flashes her. He dives behind a car. Then pops up and flashes ANOTHER GIRL. It's an all - out Pervert assault! The Pervert then runs across the parking lot, jumps a fence, and darts from the property - vanishing as quickly as a Ninja who just perfectly executed an assassination.\",\n \"INT. MALL - BUSINESS OFFICES - DAY MARK, the Mall Manager, walks by a group of women, who were exposed to the Pervert. They crowd around and complain loudly. MARK Ladies, please, we're doing everything we can to handle the situation. Nothing is more important to us than the safety of our shoppers. Now in the meantime, feel free to check out some of our wonderful back - to - school sales. Excuse me for a minute. Mark walks down the hallway that houses all of the business affair offices. He stops at the RECEPTIONIST'S desk. MARK Have you seen Ronnie? RECEPTIONIST I have n't seen him all morning. The Mall Manager quickly walks off. On the way, he passes a JANITOR. MARK Ramon, have you seen Ronnie? JANITOR No, senor. The Mall Manager keeps walking.\",\n \"INT. SECURITY OFFICE - DAY The Mall Manager comes into the surveillance room. It's a small office with monitors that show the different security cameras around the mall. DENNIS, a Mall Security guard with sunglasses who will not utter a word ever, turns around in the chair. MARK Where is Ronnie? Dennis shrugs.\",\n \"INT. GARAGE - DAY Blackness. White shafts of light sporadically shoot through the dark and we see IMAGES. A GIANT FLASHLIGHT is inserted into a UTILITY BELT. MACE is inserted in the other side. A WALKIE - TALKIE is turned on. A TASER is sparked. MIRRORED SUNGLASSES are pushed over the nose. A garage door raises and bright light spills in.\",\n \"EXT. GARAGE - DAY A garage door opens slowly and reveals a souped - up ORANGE GOLF CART. There's a siren on top that spins around. The man driving is RONNIE BARNHARDT -LRB- 28 -RRB-, a stocky mall security guard whose expression reads all business. Ronnie pulls out of the garage. SUPERIMPOSE : OBSERVE AND REPORT\",\n \"EXT. MALL - DAY HEAVY METAL MUSIC. A group of anarchist SKATERS rages through the mall parking lot tearing up everything they see. A couple of them smoke cigarettes. One skater grinds over a bench. One kid ollies onto the hood of a car. Another slams into an old man and knocks him over. Meanwhile, Ronnie sits in his golf cart - waiting. He looks eerily like Mel Gibson at the beginning of Mad Max. The skaters ride past a set of construction cones. One skater picks up the cone and tosses it across the parking lot. The skaters soar past Ronnie, who flips on the silent orange siren and gives chase. As the skaters ride through the parking lot, Ronnie pulls up and drives alongside of them. RONNIE -LRB- cop authority voice. -RRB- Pull over to the sidewalk, NOW! STEVIE, the leader of the skaters, yells back. STEVIE Fuck off, Ronnie, it's just a parking lot. RONNIE Sir, pull over to the sidewalk, NOW! HECTOR, another skater, joins in. HECTOR Leave us alone. STEVIE Yeah, skating's not a crime, dick. RONNIE Skateboarding is not allowed on mall premises. Pull over now! STEVIE We're not leaving. HECTOR Yeah, fuck you! The skateboarders flip Ronnie off and push hard to get away from him. Ronnie guns it and an all out chase ensues. Ronnie pulls up alongside of a SLOW SKATER. Ronnie side - swipes the skater, forcing the skater to run into a trash can and fall. Ronnie catches up to ANOTHER SKATER. This time, Ronnie tries to hit the skater on the side again, but he is too fast. Ronnie swerves trying to get him, but he dodges and ducks. Ronnie hits the brake. The skater thinks he has escaped, but looks up and sees that a car is in his way. The skater nails the car and is thrown over the hood. Ronnie is back in the chase and only Hector and Stevie are left. Ronnie guns the golf cart and zooms up closely behind the two kids. Ronnie rams Hector over and over from behind. Hector wobbles. Ronnie rams him again. Hector goes swerving off and falls down hard. Ronnie does n't break his pace and guns it toward Stevie. Stevie is good. He turns and rides through cars, ollies over parking blocks, and through pedestrians. Ronnie burns down the lane beside him. Stevie looks behind and Ronnie is nowhere in sight. He's in the clear. Stevie turns back around and sees Ronnie, driving in reverse straight towards him. Ronnie rams into the skater and knocks the poor kid on his ass. STEVIE What the fuck are you doing? RONNIE I was driving in reverse and trying to get you to flip into the back seat. STEVIE What? RONNIE That way I could handcuff you smoothly and take you in. You know, never mind, just get in the goddamn golf cart. Stevie picks himself up slowly and hobbles toward the golf cart.\",\n \"INT. MALL - SECURITY OFFICE - MORNING Ronnie is in the room with the monitors. The skaters sit across from him. There's a poster on the wall with the security guard motto : OBSERVE AND REPORT. Ronnie fiddles with his walkie - talkie. RONNIE It seems like we go through this every day. What's it going to take for you all to realize that I wo n't tolerate this horseplay and just do whatever you want to and do n't worry about the rules attitude? STEVIE Ronnie, I hear what you're saying and I just want you to know that personally, it pains me to see you all worked up and I just want you to know that I'm really sorry because you ca n't do shit and you can take your little rules and stick'em up your ass, you fuckin' rent - a - cop. The Skaters all start cracking up. HECTOR Yeah, suck my dick. The Skaters start laughing louder. RONNIE That's funny, guys. I try to be a mentor to the youth, but it seems like you boys have gone straight past boydom to the land of street - hardened criminals. I'm left with no choice. You call me rent - a - cop, but I call myself the law's right hand. I see the crime. and I phone it in. And that's what I'm getting ready to do right now. Ronnie picks up the walkie - talkie and turns it on. He speaks into it. RONNIE -LRB- into walkie. -RRB- 317, this is Ronnie Barnhardt over at Carolina Mall. Come in, over. WALKIE VOICE -LRB- V.O. -RRB- This is Officer Douglas, what do you wish to report? Over. RONNIE -LRB- into walkie. -RRB- I've got a couple of trespassers who have been found skateboarding on mall property. Can you send a black and white over to take these boys into processing? Over. Ronnie winks at the Skaters. WALKIE VOICE -LRB- V.O. -RRB- Uh. Yeah, Ronnie, we're kind of busy today. I mean, we got like three car accidents. Ronnie picks up the walkie and whispers into it. RONNIE -LRB- into walkie. -RRB- What do you mean? I've got these guys red - handed. I'm gon na need a car over here pronto. I ca n't hold them all day by myself. Over. WALKIE VOICE -LRB- V.O. -RRB- Copy. Yeah, like I said, we're awfully busy right now. I think you should probably just make'em promise not to do it again and threaten to call their parents or something. That'll get them. Over. The Skaters start laughing. RONNIE -LRB- into walkie. -RRB- Sir, I do n't think you understand, their parents do n't care about them. This is a 911 from one of your soldiers. Officer needs assistance! Over! WALKIE VOICE -LRB- V.O. -RRB- Yeah, it's not gon na happen. The VOICE fades as Ronnie turns off the Walkie. RONNIE So as you can see, the law is just one little call away. But I'm gon na choose not to use that tactic today. I'm gon na do something that I like to do from time to time, and that's called handle shit myself. Ronnie takes his pad out of his pocket. He begins writing. RONNIE While I wo n't have you arrested today, I am going to suspend each of you for one week. For those of you who do n't know how this works, here it is. This is official documentation. If you step foot on mall property, it is considered trespassing. At that point, I call the police, they come down, you go directly to jail. Ronnie fills out the paperwork, sets the suspension notes on the table. Stevie looks down at it. He picks it up, reads it, balls it up, and throws it at Ronnie. The Skaters start cracking up. RONNIE You accepted it originally, so it still counts. Ronnie sits there while the Skaters laugh.\",\n \"INT. MALL - FOOD COURT - DAY Ronnie sits at a table with a Cinnabon in front of him. Across the table sits NELL, a chubby but cute girl, who wears a Cinnabon uniform. The couple holds hands and they have their heads bowed. NELL Dear Lord, bless this food that we eat and purify it with Your salvation. Also, please keep Ronnie safe as he works in Your name to protect the customers and employees and store owners of the mall. And please turn your wrath on any sinners that try to hurt him and make them pay by burning in the eternal flames of hell. In Christ's name we pray, amen. RONNIE Amen. Ronnie begins devouring his Cinnabon. NELL So what's on the agenda for you today? RONNIE You know, the usual. Spot crime before it happens, perform random acts of bravery, save people from certain death, yada yada yada. NELL What's wrong, Ronnie? RONNIE Nothing, Nell. NELL Ronnie, I know that you really want to be a Police Officer, but you have to realize that things work out the way they're meant to. RONNIE I know. I'm okay, Nell. Thanks, but really, I mean, I'm on the front lines right now. I'm livin' it. NELL Your job is definitely more exciting than mine. RONNIE Of course it is, but at least you do n't have to wrestle with the demons at night. I better get going. NELL I'll see you after work, sweetie. Nell leans in to kiss Ronnie, but he pulls away. RONNIE Not at work, Nell. We have to keep up appearances, we talked about this. And do n't call me sweetie. NELL I'm sorry. I'll see you after work, Officer Barnhardt. RONNIE ` Bye, Nell. Ronnie stands up and walks off.\",\n \"INT. MALL - DAY Ronnie stands in the middle of the mall and supervises the early morning MALL WALKERS as they stride around the outer marked lane. It's all senior citizens. RONNIE Slow it down. Watch your speed there. This ai n't a race. Hey, second time, slow it down. Mark, the Mall Manager, walks up to Ronnie. MARK I've been looking all over for you. RONNIE I have n't been hiding, but some things that I have to do are better to keep hidden from you and ` official' eyes. Trust me, it's best all around if there are no bodies to clean up. MARK So you may or may not have heard, but this morning, several women were assaulted just outside the front doors by a crazy Pervert. RONNIE For the love of God. MARK I know, it's horrible. RONNIE You want me to phone this one in to the police? MARK Not just yet. See if we call the police, they'll be a big scandal and something like that could kill what little traffic we have at this mall. What I need you to do is watch out for this Pervert and if you see him, try to stop him or quietly phone it in so we can handle this discreetly. RONNIE Hold on, Mark. Let me make sure I understand you. You're telling me to deny my primary objective of Observing and Reporting crime and at the same time, you're giving me authorization to handle this case on my own. MARK I'm just saying keep an eye out and keep quiet. RONNIE So basically, I'm in charge of this whole investigation. MARK There's no investigation. RONNIE Not yet. Okay, Mark, I'll do it, but I'm gon na need a few things first. MARK You ca n't carry a gun. RONNIE Well, I'm gon na need a new title. Something to instill fear in the criminal mind. How about Director of Mall Intelligence? MARK Head of Mall Security. RONNIE That's perfect. MARK And it does n't come with a raise. RONNIE Got it. MARK And the new title stays between us. RONNIE Understood. Thank you for this opportunity, Mark. I wo n't let you down.\",\n \"EXT. CAROLINA MALL - DAY Ronnie stands in front of a Cadillac with a boot on one of his tires. A local news camera crew comes up to Ronnie and the FEMALE REPORTER starts asking questions. FEMALE REPORTER Excuse me, sir, but we would like to ask you a few questions. RONNIE I'm sorry, but I ca n't answer anything. FEMALE REPORTER We heard a report that an unidentified man was spotted earlier today exposing himself to several women. Do you care to comment? RONNIE I'm not allowed to comment on that situation. FEMALE REPORTER So you admit there is a situation. RONNIE I'm trained to resist torture for up to 72 hours, you really expect me to break now? Get real, lady. FEMALE REPORTER -LRB- to her camera crew. -RRB- We're wasting our time here. Let's go find some police to interview. RONNIE Good luck. FEMALE REPORTER What's that supposed to mean? RONNIE It just means you wo n't find any police. FEMALE REPORTER Are you telling me the police have n't even been called! RONNIE -LRB- SARCASTIC. -RRB- Ewww, alert the media. FEMALE REPORTER Jesus, well who'd they leave in charge, you? Ronnie smiles like he knows a secret. FEMALE REPORTER Yeah, right. Why would they leave you in charge? RONNIE First of all, if there was a situation to be handled, I do n't see why you find it so goddamn ridiculous that I would be in charge. The Reporter waves for her crew to start filming. FEMALE REPORTER -LRB- setting a trap. -RRB- Look, there is no way you're in charge of this investigation. RONNIE Well for your information, I'm in charge of this whole fucking operation. I do n't give a goddamn if you believe me or not, Ms. Hot Fuckin' SHIT news lady. I'm the first line of defense against this pervert. As the law's right hand, I'm here so that people like you can live in your own little happy world and think places like this mall are safe and fun. I'm the defender of this war zone. Just me and my goddamn flashlight. Just then, SADDAMN, an angry Middle Easterner with shitloads of cell phones and beepers strapped to him, comes running up to Ronnie. SADDAMN You motherfucker, you put a boot on my car! RONNIE -LRB- cop voice. -RRB- I warned you about parking in the fire lane, Saddamn! SADDAMN Fuck you, Ronnie! Take that goddamn boot off of my car. RONNIE -LRB- going into cop VOICE. -RRB- Step away now! SADDAMN I pay good money to this mall. Do n't tell me where to park! RONNIE Sir, I will be forced to take action if you do not step back! SADDAMN I'm gon na kill you! Ronnie pulls out his taser and shoots Saddamn. Saddamn goes down hard and begins twitching. He is fucking out of it! Ronnie goes back to giving the interview as if nothing happened. RONNIE As I was saying, the pervert situation here is real bleak. For all you people out there thinking of coming to the mall, please for your own safety, stay away. SADDAMN -LRB- still fucked up. -RRB- I ca n't believe you tased me. RONNIE -LRB- to the man. -RRB- That's right and I've got another one waiting right here for you.\",\n \"INT. DEPARTMENT STORE - DAY BRANDI, the make - up counter girl, globs on tons of make - up. She's a hot girl who looks like she's spent a few sticky nights in the bed of a truck. Ronnie stands back and watches Brandi. Finally, he walks up to her. RONNIE Hey, Brandi. Brandi looks up from her mirror and then goes back to applying make - up. RONNIE That color looks great on your skin. Not just that color, but I've noticed that all make - up looks really good on you. Especially the blue around your eyes. I bet it drives the men crazy. Brandi glares at Ronnie. RONNIE It's okay. I can say that because I'm taken. BRANDI What do you want, Ronnie? RONNIE I'm here on official business. See, I do n't know if you know this, but I have recently been made Head of Mall Security. Did you hear about that? BRANDI No. RONNIE Well, I'm sure you will. It's actually pretty huge news. But the reason I stopped by is to tell you that it looks like we've got a pervert on the loose. A real live psychopath who gains sexual gratification by exposing himself to ladies such as yourself. I just want to warn you to be careful when coming and going to work. BRANDI Okay, got it. RONNIE And you may not want to wear any of those skirts that you like to wear. BRANDI What skirts? RONNIE You know what skirts. Something like that could set him off. And for that matter, you better not wear any of those little low - cut top things either, okay? Especially with those black bras because, you can really see them in the light. Perverts really tend to notice stuff like that. Okay, see you later. Ronnie takes off and leaves Brandi still applying make - up.\",\n \"INT. MALL - NIGHT The lights are turned off and the mall is empty. Ronnie walks out with Dennis. RONNIE Dennis, man, I'm glad we've got a minute to talk. There's no easy way to say this so I'm just going to come right out with it. Mark offered me the position of Head of Mall Security. I know this is n't easy for you to hear seeing as you've been here longer than me. But I want you to know that you're my best friend and I'm only going to accept the job if you're okay with that. Dennis shrugs. RONNIE Well, you should know I've already accepted and it's too late to turn it down now. Every ship needs a captain. So you were passed over. Who gives a shit? Dennis, in time, you'll come to accept answering to me. Remember, there are n't any leaders in friendship. We cool? Dennis and Ronnie shake hands. They walk out and lock the doors behind them. RONNIE Hey, you want to go and grab a beer or something? Dennis does n't say anything and just walks to his car. Ronnie follows. RONNIE Yeah, you're right. You're probably in no mood to party after that news. Well, try not to take it too hard. See you later, buddy. Ronnie leaves Dennis and walks to his car.\",\n \"EXT. TRAILER - NIGHT Ronnie's home is a shitty double - wide at the very end of the shittiest trailer park in town.\",\n \"INT. RONNIE'S BEDROOM - NIGHT Ronnie lives in a boy's room. There's all kind of posters up with instructions on how to execute choke holds, wrist locks, and other assorted death blows. However, the biggest decoration is a large diagram of the mall. Ronnie stands in the middle of his room with his MOM across from him. She's an old, thick boozer, with the strength of a father and the love of a mother. She downs a full beer and throws it against the wall. MOM You think you're ready for a shot at the title, motherfucker?! RONNIE I'm ready, Mom. MOM Ding ding. Ronnie and his Mom take to fighting. Ronnie's Mom is surprisingly good and she lands the first blows to Ronnie's cranium. RONNIE Ow! MOM What's wrong, baby? Is your pussy hurting? RONNIE Fuck you! Ronnie attacks his Mom. He manages to scoop her and body slam her to the ground. Ronnie's Mom flips out of it on the ground. However, Ronnie holds onto her wrist and stands up, thus locking in the submission hold. MOM Ah! RONNIE You give? MOM Fuck you! Ronnie flips the wrist lock tighter! MOM Ow! RONNIE You move with me, you go down. You move against me and your arm breaks. MOM I give! RONNIE What's that? MOM I give! Let me go, goddamn it. Ronnie lets his Mom go. She shakes off the pain. MOM I ca n't believe you got that lucky shit on me. RONNIE Luck has nothing to do with it. MOM You almost broke my arm. RONNIE I'm sorry, Mom. Are you okay? MOM Not really. Ronnie's Mom rubs her arm. Ronnie drops his guard and comes over to tend to his Mom's wounds. However, she's only playing possum. Ronnie's Mom sees an opening and attacks Ronnie at his legs. Ronnie goes down and the two start wrestling again. -LRB- NOTE : This plays as realistic as possible, no phony punches or smooth/comedy fighting, it looks like a school yard fight video. Sloppy and real. -RRB-\",\n \"INT. RONNIE'S BEDROOM - LATER THAT NIGHT Ronnie is laying in bed while his Mom chugs another beer beside him. She's one - eye - closed punch - me - in - the - face drunk. They're watching Ronnie on the news from earlier. Ronnie talks into microphone. RONNIE -LRB- V.O. -RRB- Yeah, well for your information, I'm in charge of this whole BEEP operation. I do n't give a BEEP if you believe me or not, Ms. Hot BEEP BEEP news lady. Do you see anybody else? BEEP no you do n't. As the law's right hand, I'm the first line of defense against this pervert. I'm here so that people like you can live in your own little happy world and think places like this mall are safe and fun. I'm the defender of this war zone. Just me and my BEEP flashlight. The FEMALE REPORTER addresses the camera over FOOTAGE OF RONNIE TASING SADDAMN. FEMALE REPORTER -LRB- V.O. -RRB- No comment as to why steps are not being taken, but this Security Guard feels like he is the only one doing anything to protect the people who visit Carolina Mall from the suspect. For all of us, I hope this is n't the case. Back to you, Lindsay. Ronnie turns off the television. MOM -LRB- drunken slur. -RRB- I'm so proud of you, Ronnie. RONNIE Do you think I did good? MOM Hell yes. You were great. RONNIE Ah, you're just drunk. MOM Nah, you did good. RONNIE Yeah, I usually do n't come out to the forefront like that. My official orders are Observe and Report, but when Mark put me in charge of mall security, something inside of me changed. It's what I've always wanted. Things have n't always worked out, with the whole. well, you know. But this gives me faith that I can do something great. This is my call to duty and I'm going to answer. I'm going to bust this fucking pervert. I swear it on everything I am. Anyway, I better get to sleep. I got a big day tomorrow. Good night, Mom. -LRB- off no answer. -RRB- Mom? On cue, Ronnie's Mom falls over in a drunken sleep. She starts SNORING loud as hell. Ronnie gets out of the covers and helps his Mom onto the bed. Ronnie tucks her in like a loving son. He pries the bottle from her fingers. Then, he grabs a pillow and goes to sleep on the floor.\",\n \"INT. MALL - O'CHARLEY'S - DAY Ronnie walks up to O'Charley's. It's the one - step - up restaurant that's in the mall. There's a BOUNCER out front who watches over the store. RONNIE You working the door here? BOUNCER That's what they tell me. They needed to hire a little security here in case the drunks get out of line or whatever. RONNIE Kind of funny they thought they needed more security here. Ha. You do realize that if anyone gets out of hand, you need to call me to handle the situation. BOUNCER I work for O'Charley's, not for the mall. RONNIE Granted, but you realize that my jurisdiction supersedes any and all other forms of security when under the roof of Carolina Mall? BOUNCER You know, I thought about getting a job as a Mall Security. RONNIE You did? BOUNCER Yeah, man. I mean, I'm kind of on extended vacation from college and it's just like, I do n't want to do shit, you know what I mean? My parents said I have to work if I want to live at home, but I just do n't feel like doing anything. This was the easiest job I could find, I mean, what the hell could be hard about being a bouncer in a mall restaurant? But now that I think about it, Mall Security could be easier than this. RONNIE My young friend, you are sorely mistaken. Do you know how much stuff I'm in charge of? BOUNCER No. RONNIE A shitload. That's not even counting the parking lot. BOUNCER Really? I thought you just kind of chilled out and called stuff into the police. RONNIE No way, that's about like 75, maybe 82 percent of it. There's so much other stuff. BOUNCER Like what? RONNIE Two words, Friday Night. BOUNCER What about it? RONNIE It's crazy, let's just leave it at that. BOUNCER Okay. RONNIE Listen. I like you, but I do n't like the fact that you're masquerading as an official in the security world. If you're serious about a career in the security world, then perhaps I could look into getting you a job on my staff? BOUNCER Oh yeah? RONNIE Part of my job is reaching out to troubled youths such as yourself. It's who I am. BOUNCER Does it pay more than $ 6.50 an hour? Ronnie laughs. He leans over to the Bouncer and whispers in his ear. BOUNCER -LRB- WHISPERING. -RRB- Seven even. Ronnie stands back and winks at the Bouncer. BOUNCER I'd say that's more than I'm making now. RONNIE Hold on, this job involves a probationary period. You have to prove yourself worthy. We ca n't just hire any old Tom, Dick, or Harry just because they want to carry a flashlight. BOUNCER What do I have to do? RONNIE You have to complete a term as deputy. You will answer directly to me. Your job will be to come and find me if you see any trouble. If this works out, then I will phone the crime into the police. Now, this will train your eyes to spot various criminal activity. Once you have completed your training, you will be awarded an official position on my security staff where you will have the duty of actually phoning in crimes to the police yourself. BOUNCER So basically, I just do what I'm doing now and then you'll get me a job? RONNIE For starters. BOUNCER How long does this mentorship last? RONNIE Until Mark lets me hire another guy. BOUNCER Can I smoke while I work? RONNIE Yes, you can. BOUNCER Sign me up. RONNIE You keep that attitude up and you'll have no problem making the squad. Ronnie reaches into his pocket and hands the Bouncer a mini flashlight. BOUNCER What's this? RONNIE It's a flashlight. Get to know it. It's your new best friend. Until you get your giant flashlight. Then, that will be your new best friend. The Bouncer takes it and puts it into his shirt pocket. RONNIE Okay, look alive, soldier. Deputy time starts now. No more slacker attitude for you. Ronnie walks away, but after he takes a few steps, he stops and turns. RONNIE You know, I remember when I got my first flashlight. Ronnie goes into an emotional memory in his mind. Ronnie walks away leaving the Bouncer there alone.\",\n \"EXT. MALL - DAY LOUD ROCK SCORE FADES TO LOUD ROCK SOURCE. A tricked - out Toyota pulls up to the parking lot. The car comes to a stop and out steps Brandi, the makeup counter girl. Brandi walks toward the mall to start her new day. As she crosses the parking lot and heads toward the door, the Pervert pops out. This time, he's upped his attack and beats off staring right at her. The horrendous sight stops Brandi dead in her tracks. She SCREAMS bloody murder.\",\n \"INT. DEPARTMENT STORE - DAY It looks like a RAPE SCENE. Brandi cries in the makeup chair and is surrounded by a large group of mall employees. Her makeup runs down her face as her effeminate coworker BRUCE consoles her. Mark is working crowd control. MARK -LRB- to the crowd. -RRB- Alright, people, she's doing good. We're just gon na get her down to my office and everything's going to be fine, so the best thing for you employees to do is just get on back to your stations and you customers can go ahead and enjoy the back to school savings here at Carolina Mall. BRANDI It was horrible! Oh, my God, the thought of that disgusting - I think I'm going to be sick. BRUCE Just let it out, baby. He should be ashamed! BRANDI I just keep playing it over and over again in my head. MARK Brandi, please, Dennis has called the police and let's just take this down to my office. The DEPARTMENT STORE MANAGER comes running over. DEPARTMENT STORE MANAGER What's going on? BRUCE A Pervert attacked Brandi is what's going on! DEPARTMENT STORE MANAGER Are you okay, Brandi? BRANDI Physically, yes. But psychologically, no! Brandi starts crying hard. The Department Store Manager pulls Mark aside. DEPARTMENT STORE MANAGER -LRB- WHISPERING. -RRB- Did you call the cops? MARK They're on the way. Brandi starts crying even louder. DEPARTMENT STORE MANAGER Yeah, we got to get her the fuck out of here. Everybody's standing around and nobody's shopping. This is bad for business. MARK I'm trying, but she just keeps crying. Ronnie comes running up on the scene. He looks like a man who ran a mile to get here. RONNIE Brandi! I came as soon as I heard. Jesus, are you alright? BRANDI I'm fine, Ronnie. MARK She's fine, Ronnie. RONNIE This is one of the most heinous things I've seen. Jesus, I tried to tell you about the skirts. It's not your fault, you little fighter you. Ronnie's not mad, okay? MARK Ronnie, can you get her down to my office so the Police can talk to her in private when they arrive. RONNIE Rogers. BRANDI I ca n't walk right now. I feel like I'm in shock. RONNIE Do n't worry. I'll carry you. Ronnie reaches down and picks up Brandi. She totally lets him. Ronnie struggles and ca n't lift her. It looks dumb. MARK Oh, fucking Jesus. Ronnie finally manages to lift Brandi. He carries her out of the Department Store and down through the middle of the mall.\",\n \"EXT. MALL - DAY A black UNMARKED POLICE CAR pulls up quickly and stops directly in front of the Main Entrance to the mall as if to say to the world, `` I'm a Cop and I can do this.'' Out steps DETECTIVE HARRISON, a young cop that has the arrogance and swagger of a man who is just beginning to feel his power.\",\n \"INT. MALL MANAGER'S OFFICE - DAY Mark sits at his desk, while Ronnie comforts a crying Brandi. Dennis stands in the corner, not saying a word. Detective Harrison knocks as he comes in the door. DETECTIVE HARRISON Your secretary told me to come on in. I'm Detective Harrison, Cabarrus County Police. Detective Harrison shows his badge to Mark. The two men shake. MARK Mark Talbert, I manage the mall. This is Brandi, she's the one who saw the deviant. DETECTIVE HARRISON Hello, Brandi. Are you doing okay? BRANDI I'm really shaken up. DETECTIVE HARRISON Yes, ma'am, I'm sure you are after all you've been through, but I'm here to tell you that we're going to work together to make sure we catch the person who did this. RONNIE My name is Ronnie Barnhardt, chief inspector on the case and head of Mall Security here at Carolina Mall and this is my lieutenant, Dennis. From one law enforcement officer to another, I just want to welcome you and say that we will do whatever it takes to coordinate with your department in order to bring this assailant to justice. The Detective pauses as if he's unsure what just happened. DETECTIVE HARRISON Great. -LRB- back to Brandi. -RRB- Okay, Brandi. Did you get a look at the suspect? BRANDI Yes, I did. RONNIE Did you get a blood sample? BRANDI No. RONNIE That's a shame. Would have been useful. MARK Go ahead, Detective. DETECTIVE HARRISON Thank you. Brandi, can you remember anything specifically? What color was his hair? Was he tall or short? BRANDI He was tall and skinny and he had brown hair and it was real greasy. Detective Harrison begins writing in his note pad as Brandi speaks. Ronnie notices this and picks up some paper and begins to write as well. DETECTIVE HARRISON Was his hair long or short? BRANDI It was long about to his shoulders. DETECTIVE HARRISON Did he say anything? BRANDI No, he just stood there and you know, touched himself. DETECTIVE HARRISON What was he wearing? BRANDI Just a brown trench coat. RONNIE This is what I got so far. Ronnie holds up his paper. Ronnie has drawn a crude sketch of the Pervert that Brandi described, but it's basically a long - haired stick figure with a penis. RONNIE What's yours look like? DETECTIVE HARRISON I just wrote a description. RONNIE Oh. Ronnie puts his sketch away. DETECTIVE HARRISON Okay, Brandi, I think that's good for now. I think the best thing at this point is to just follow up with the other ladies who saw the perpetrator yesterday and see if they remember anything. BRANDI What if he comes back? DETECTIVE HARRISON That's highly unlikely. These incidents are usually random and unpredictable. I'm sure you'll be safe. RONNIE I'm afraid I'm going to have to disagree with you there, Detective. By my math, it seems pretty clear that Brandi's been targeted. DETECTIVE HARRISON Targeted? What gives you that impression? RONNIE Well, how about the fact that she was the first employee to get assaulted? Not to mention the fact that she is the prettiest girl who works at this mall. To me it seems obvious that this is some sort of methodical villain that plans on returning to finish what he started by murdering Brandi. BRANDI Is that going to happen?! DETECTIVE HARRISON That's not going to happen. Ronnie looks at Brandi and nods his head `` yes.'' DETECTIVE HARRISON Well do n't worry. I'm on the case and I'm going to do everything in my power to bring this guy down. RONNIE That's right, Brandi, you've got the best team in law enforcement working for you. DETECTIVE HARRISON Look, I've got to get going. Here's my card. I'll even write my home phone number on the back, just in the event you need to get a hold of me. Detective Harrison writes his number on the back and then hands his card to Brandi. DETECTIVE HARRISON Give me a call when you are n't working and I'll have you come to the station to look through some mug shots. -LRB- touches her leg. -RRB- Do n't worry okay. BRANDI I feel a lot better now. Ronnie holds out his hand. DETECTIVE HARRISON What? RONNIE I'll take one of those cards as well. DETECTIVE HARRISON Oh, okay. Detective Harrison reluctantly hands Ronnie a card. RONNIE Go ahead and write your home phone on there as well in case I need to get a hold of you. DETECTIVE HARRISON You can just leave a message at the station. I check my messages constantly. RONNIE Sorry, but I'm gon na need those digits. If we're gon na solve this crime we need to constantly be in communication with each other and have an open door policy with intelligence. Brandi, let me see that card. Ronnie takes the car from Brandi and copies the home phone number from the back. RONNIE Cool, I'll call you later with an update. DETECTIVE HARRISON Do n't do that. RONNIE It's no problem at all. We're brothers of the badge. This is what we do for each other. Detective Harrison takes off. Ronnie looks around happily. RONNIE Seems like a good guy. A little green, but still solid.\",\n \"INT. MALL - NIGHT The mall is winding down for the day and most of the customers have gone home. Ronnie walks through the mall, taping up pictures of the sketch he made of the Pervert. Nell comes walking up with her apron over her shoulder. NELL What are you doing? RONNIE Just putting these posters up. NELL You've been so obsessed with catching this pervert I've barely seen you. RONNIE That's what it's like when you date the Head of Mall Security. The downside is we do n't get to see each other as much, but the upside is you get to brag to all your friends. NELL Well, are you ready to go? RONNIE Sure, let's take off.\",\n \"INT. RONNIE'S LIVING ROOM - NIGHT The LOCAL NEWS is on and they show an update on the MALL FLASHER STORY. The sound is OFF. The living room is dark. Ronnie and Nell are on the couch making out. Ronnie is starting to get frisky. His hands go to Nell's boobs, but only outside of the shirt. She allows it. Ronnie decides to push it. He takes his hand and tries to go up her shirt. Nell immediately stops kissing and pushes Ronnie away. NELL What are you doing, Ronnie? RONNIE Come on, let me get some of those big bazoombas. Ronnie goes in hard for the tits, but Nell pushes him away. NELL Ronnie, no. RONNIE Goddamn it, are we ever gon na do it? NELL You know we talked about this. RONNIE We did, it's just, well, I'm tired of just doing what we do. I'm ready for something bigger. Like sex or just maybe using a finger on you - NELL Ronnie, you know I'm saving myself for marriage. I thought you were okay with that. RONNIE Well, I used to be, it's just. I do n't know. What's so great about being a 27 - year - old virgin? Nell stands up and starts to put on her coat. Ronnie stands up and tries to comfort her. RONNIE Nell, I'm sorry. Do n't go away like this. NELL I thought you loved my purity. RONNIE I do. I really do. I'm sorry, Nell. NELL It's okay. I should leave anyway, it's late. RONNIE I'll stop by for breakfast tomorrow. NELL See ya tomorrow. Nell leaves and Ronnie closes the door behind her. RONNIE Mom, wake up. Let's go to bed. Ronnie's mom groans. She has been passed out on the floor with an empty bottle of Jack D beside her the whole time.\",\n \"INT. MALL - NIGHT The lights are off and a gloved hand breaks into a case in the jewelry store. All of the diamonds and gold are picked up and pocketed. Someone is robbing this bitch.\",\n \"INT. MALL - THE NEXT MORNING Ronnie strolls through the mall sipping on his morning coffee. He stops when he sees that the jewelry store has been broken into and robbed. RONNIE Oh shit. Ronnie goes running down through the mall.\",\n \"INT. MALL - SECURITY OFFICE - MORNING Dennis and Ronnie are sitting and Mark stands over them. They're looking at the security tapes. Detective Harrison knocks on the door and walks in. Ronnie stands up to greet him. RONNIE Good to see you, brother. Looks like the old team is getting together to crack one more case. Ronnie gives Detective Harrison a hug. RONNIE I'm ready to go to war with you. DETECTIVE HARRISON Thanks for waking me up this morning, Ronnie. RONNIE I've already checked the Security tapes. They did n't catch a thing. Someone must have broken in here and turned them off. DETECTIVE HARRISON My team just checked all the doors and there are no signs of forced entry. I've also checked out the crime scene, but we did n't see any fingerprints on the glass. The suspect was probably wearing gloves. MARK That does n't sound good. How did they do it? RONNIE Laser technology. DETECTIVE HARRISON My guess it was an inside job. Probably someone who has access to keys like a janitor or a security guard. RONNIE Detective Harrison, can I ask you how long you've been a detective for? DETECTIVE HARRISON I'm almost at the end of my first year. RONNIE Just as I thought, a rookie. DETECTIVE HARRISON I've been a police officer for several years. RONNIE Yeah, you're a rookie, okay. It's fine, you'll learn with experience. And when you do, you'll discover that rule # 1 of law enforcement is that you do n't ever turn on a fellow officer. Now, I know you would never actually accuse somebody on my Security Force of committing this act of lawlessness. DETECTIVE HARRISON Whoever did this would have to had keys to the Security Room so they could shut off the camera. RONNIE Look, my record speaks for itself and as for Dennis, well I can certainly vouch for him. Dennis is one of the finest men I know, so just take my word, you're barking up the wrong tree. Now, let's put this little squabble behind us and get back to busting the guys that robbed this mall. DETECTIVE HARRISON Ronnie, nobody is accusing anybody, but I would like to stick around for a while and interview some of the employees. MARK Okay, but all I ask is that you do it quietly, so that the hoopla is kept to a minimum. DETECTIVE HARRISON I understand. RONNIE I understand too, sir. MARK Ronnie, you are to leave Detective Harrison alone and let him handle the investigation. RONNIE No can do, Mark. When you appointed me Head of Mall Security, I swore an oath to protect this mall and aid in bringing crime to its knees. MARK You did n't swear an oath. RONNIE To myself I did. DETECTIVE HARRISON Ronnie, on these types of investigations, it's usually not a good idea to have too many cooks in the kitchen. RONNIE There's only one cook. I'm a chef. A cook and chef, together, serving up justice. DETECTIVE HARRISON I'm gon na do this alone. RONNIE Hot plates of justice. Ronnie stands up. RONNIE Come on, rookie. Let me show you the lay of the land.\",\n \"INT. MALL - DAY Ronnie talks to Dennis in the middle of the mall. RONNIE Okay, Dennis. I've got ta hang with Detective Harrison. What I need for you to understand is that just because Detective Harrison is here, does n't mean that you and me are no longer best friends. Sure, Harrison would be cool to hang out with. He carries a badge and a gun. He probably owns a boat. Over time, we'll probably become really close like brothers, but for right now, you're still number one. Now, I must leave you behind because duty calls, so. chin up. Radio if you need anything. Ronnie takes off, but we STAY WITH Dennis. He walks directly to the ARCADE. Dennis puts a quarter in the machine and plays pinball.\",\n \"INT. MALL - KIOSK - DAY Ronnie watches from afar as Detective Harrison interviews SADDAMN, who stands in front of his cell phone kiosk. DETECTIVE HARRISON So, have you seen any suspicious people hanging around the mall? Anybody who might have been casing the stores? SADDAMN Nah, man. I ai n't seen nothing. DETECTIVE HARRISON Okay, well if you can think of anything, here's my card. Detective Harrison hands Saddamn his card and begins to leave. Disgusted, Ronnie comes walking up. RONNIE -LRB- to Harrison. -RRB- My turn, Rookie. DETECTIVE HARRISON What are you doing, Ronnie? RONNIE Solving the whole case right before your eyes. DETECTIVE HARRISON Ronnie, this is official police business. RONNIE Hello, Saddamn. SADDAMN What the fuck you want, Ronnie? RONNIE I want your ass to face the music is what I want. SADDAMN Do n't come any further, bitch. The restraining order says 20 feet so just back the fuck up. DETECTIVE HARRISON Ronnie, I appreciate your enthusiasm, but just let me handle this. -LRB- to Saddamn. -RRB- Have a good day, sir. RONNIE So you're just gon na let him slip right through your fingers? DETECTIVE HARRISON I have no reason to make him a suspect. RONNIE No reason? Look at him. There's every reason in the goddamn book. SADDAMN Why are you saying that, man? RONNIE I think it's obvious, Saddamn. SADDAMN That's fucked up. You're racist, man. RONNIE You're not even black. DETECTIVE HARRISON Ronnie, stop. We're finished here. Now if you're going to tag along, I'm gon na need you to just stay back ; are we clear? RONNIE Sure, sorry. We're crystal. Detective Harrison walks away. Ronnie follows, but takes one more look at Saddamn, who flips Ronnie off. Saddamn goes back to hollering at girls. SADDAMN What's up, girl, you got a boyfriend? Free cell phones with a month trial and I throw in my phone number for free.\",\n \"INT. MALL - JANITOR'S ROOM - DAY Ronnie stands nearby as Detective Harrison questions an old Mexican JANITOR, who stands by his cart of cleaning products. DETECTIVE HARRISON Did you let anybody borrow your keys? JANITOR No, senor. DETECTIVE HARRISON Have you seen anything suspicious? JANITOR No, senor. DETECTIVE HARRISON Okay, sir. Thank you for your time. RONNIE Alright, I believe I can be of some assistance here. DETECTIVE HARRISON Ronnie, we talked about this. RONNIE This is a special circumstance. DETECTIVE HARRISON What special circumstance? RONNIE Communication skills, watch and learn. Ronnie steps into the forefront. RONNIE Que pasa? JANITOR Long drawn out conversation in Spanish? RONNIE Como? JANITOR More Spanish dialogue. RONNIE Si. -LRB- to Harrison. -RRB- Yeah, this guy definitely did it. DETECTIVE HARRISON What did he say? RONNIE I do n't know, I do n't speak Spanish, but judging from his tonal inflections, it's safe to say that he's hiding something. The only question is where. -LRB- to Janitor. -RRB- Okay, Ramon, I'm giving you one chance and one chance only to come clean. Or else Detective Harrison is going to come over to your house and deport your whole family back to Mexico. DETECTIVE HARRISON No, I'm not. RONNIE Good cop, bad cop, just play along. -LRB- to Ramon. -RRB- Where are you hiding the jewels? JANITOR No se. RONNIE Alright, you're gon na make me be the bad guy here? Well, that's a role I'm comfortable playing. Let's just see what you're hiding. Ronnie digs through the trash bin that is on the cart. Ronnie slings trash out all over the floor. He finds nothing. DETECTIVE HARRISON Ronnie, that's enough. RONNIE Think you're pretty slick, do n't you? Guess what? I'm pretty slick too. Ronnie takes the cleaning products and opens the bottles. He pours the contents out on the floor. What's he looking for? Who knows. RONNIE Alright, you're free - Wait a minute. Ronnie takes the mop and breaks it in half with his foot. He takes the halves and shakes them, thinking that something will come pouring out of the open cylinders. Nothing does. RONNIE Okay, my mistake. Sir, you're free to go. Uh, you might want to have someone clean this up which in this case is you, so, uh, chop - chop. Would n't want anyone to slip on this mess. Ronnie leaves the Janitor with a bewildered look.\",\n \"INT. MALL - VICTORIA SECRETS - DAY Ronnie follows Detective Harrison into the lingerie store. They approach the counter where a HOT CLERK is working the register. HOT CLERK Hello, can I help you? DETECTIVE HARRISON I'm Detective Harrison with the Cabarrus County Police. RONNIE And I'm Ronnie Barnhardt, head of Mall Security. DETECTIVE HARRISON Okay, seriously, would you back the fuck off?! I'm trying to do my job and you're fucking it up. RONNIE Come on, we're working here. DETECTIVE HARRISON I'm working! Detective Harrison is seriously annoyed. DETECTIVE HARRISON -LRB- back to the Clerk. -RRB- Sorry. Hi. I'm doing a check with all the mall employees to see if anybody has any information on the robbery that took place here last night? HOT CLERK I'm sorry, but I have n't noticed anything out of ordinary. A SEXY WORKER comes up to them holding a scandalous pair of undies. SEXY WORKER Tracy, do you think my boyfriend would like these? The Sexy Worker holds the undies up to her crotch. Ronnie looks and his tongue almost drops out of his mouth. He straightens himself out. DETECTIVE HARRISON That's fine, thanks for the help. RONNIE You're gon na let them distract you with a little bit of panty showing. You have got a lot to learn, my friend. -LRB- to the Hot Clerk. -RRB- Who are you protecting, toots? HOT CLERK What are you talking about? RONNIE Look, I'm sure you and your little friend have made a real lifestyle for yourselves here. It's probably easy for you to blind most men with your beauty, but I'm not most men. I can see through the sexuality to the truth. Jewelry, gold, diamonds, you do n't really expect me to think that a man wants that crap. I'm putting you on my list of top suspects. I do n't think you did the crime, but I do think you are an accomplice. DETECTIVE HARRISON I'm sorry, ma'am. He's not with me. Here's my card. If you think of anything, just give me a call. Detective Harrison walks out and Ronnie follows him. On the way out of the store, Ronnie passes a MAN who is looking at the underwear. Ronnie stops. RONNIE You should be ashamed of yourself. Ronnie gives him a warning look, then walks out.\",\n \"INT. MALL - HOT TOPIC - DAY Ronnie and Detective Harrison stand across the counter from a tattooed SALESMAN. RONNIE Is that pot I smell? DETECTIVE HARRISON Shut up, Ronnie! SALESMAN It's sage. RONNIE Whatever, hippy. If I find you doing drugs or killing cats or whatever you devil worshippers do, I'll come back here and bust you. I swear to God. DETECTIVE HARRISON Get the hell out, Ronnie. I'm here to ask questions about the robbery. RONNIE Just forget that, we're on to something bigger here. -LRB- back to the SALESMAN. -RRB- Tell me more about this ` sage.'\",\n \"INT. MALL - SEARS - DAY Ronnie and Detective Harrison are in the hardware department talking to the SEARS MANAGER. Detective Harrison sits on the ground. He has completely given up on the investigation at this point, as Ronnie controls it all. Ronnie picks up a hammer. RONNIE Now, maybe I'm crazy or maybe I'm the smartest man alive, but it seems kind of convenient to me that you sell hammers like this one that could easily be used to smash a glass case in, oh say, a jewelry store. SEARS MANAGER Could n't you smash the glass with anything? RONNIE You really think you're gon na talk your way out of this one?\",\n \"INT. MALL - FOOD COURT - DAY Ronnie is hanging out with Dennis and the Bouncer from O'Charley's. Behind him, Nell works the counter at Cinnabon. RONNIE You guys should have been there today. We were just solving shit left and right. I mean, that's what this job is supposed to be like. Busting loiterers and kids who steal pennies from the fountain has its rewards, but really getting in there and closing cases is where it's at. It's rewarding too because at the end of the day, you know you've done something good for the world. BOUNCER What are we doing here, Ronnie? I thought you said they were giving away free Chick - fil - A sandwiches. RONNIE Well - What is your name anyway? BOUNCER Charles. RONNIE Well, my young apprentice. I called you here today because as Head of Mall Security, I have decided that it's time to take protection to the next level. In other words, I alone can not combat this recent crime wave. In order to help me in my personal journey, I have decided to divide up the tasks between my soldiers. So, for now on, Dennis, my right - hand man, you will be in charge of solving the case of who is robbing the mall. Little Chucky, you will be on the case of the Pervert. You are both to collect data and provide it to me. I will analyze the data, draw conclusions, and solve these crimes as well as coordinate and strategize with various law enforcement agencies. BOUNCER Since we're going to be doing a lot of the work and you're going to be solving the crimes, do we at least get paid? RONNIE You ca n't measure honor in dollars and cents. Ronnie looks over at the Cinnabon and Nell waves to him. Ronnie smiles back and waves at Nell. BOUNCER Is that your girlfriend or something, Ronnie? RONNIE Who me? Nah, man. Why? What do you think of her? BOUNCER She's not my type, but that's just me. RONNIE Yeah, but, you do n't think she's kind of hot? BOUNCER Are you blind? Give me a break. Wait, are you sure she's not your girlfriend? RONNIE Fuck no. There's no way I'd date that. person who's obviously not hot. Nell waves again, but Ronnie just kind of turns away, ignoring her. RONNIE Anyway, our new unit will operate under the name, ` Special Elite Task Force.' You will answer directly to me and no one else. Now, let's all put our hands in the middle and do a unifying cheer. Ronnie puts his hand out. Dennis puts his in as well. Charles is n't sure. BOUNCER You're gon na hook me up with a job, right? RONNIE Seven even. I promise. Charles puts his hand in as well. RONNIE One, two, three, TASK FORCE! Ronnie is the only one who gets into it. It's a weak - ass cheer. RONNIE Okay, so now I say we all take a celebratory trip to Sears because, as we all know, today is half - price day on all automotive parts for mall employees.\",\n \"INT. MALL - DAY SLOW MOTION BAD - ASS SHOT. The `` Elite Task Force'' walks down the mall as if they were the baddest ass - kicking team on the planet. They walk united and unopposed. CUT TO BLACK.\",\n \"INT. SECURITY OFFICE - NIGHT Ronnie tacks up pictures of all of the robbery `` suspects'' on a bulletin board. It's pictures of Saddamn and the Devil Worshipper guy. Beside him is a sketch of the Pervert. The images are on the bottom points of a Pyramid. On top of the Pyramid is a combination drawing/picture of Ronnie. The body is drawn with his arms folded across his chest and a photo of his face is tacked on top. The whole thing adds up to nonsense, with the only clear idea is that he defeats them all. Ronnie sits back in his chair and stares at the board. All of a sudden, there is a KNOCK at the door. The door opens and BRANDI peeps her head in. BRANDI Sorry to interrupt. RONNIE It's no interruption. What are you still doing here? BRANDI I had to do inventory tonight. Bruce took off early so I'm the last one. Hey, I was wondering if you would mind walking me to my car. You know, just in case that freak with the dick is out there someplace. RONNIE It would be my honor. Ronnie stands up and walks out with Brandi, shutting off the light as he leaves.\",\n \"EXT. MALL - NIGHT Ronnie and Brandi pull up to Brandi's car in the golf cart. BRANDI Alright, thanks for the ride. RONNIE Just doing my job with a little something extra especially for you. BRANDI See ya tomorrow. RONNIE Brandi, um. I was just thinking, would you like to go to dinner this weekend? BRANDI How come every time somebody does something nice for me, they act like I owe them a blow job? RONNIE Look, it's not like that. I've got a girlfriend. who does n't work in this mall. BRANDI Ronnie, I got to be honest with you, you're not really my type. RONNIE Just out of curiosity, what is your type? BRANDI Rich guys. Or guys who are really hot. RONNIE Yeah, I guess that's not me. BRANDI I'll go out to dinner with you on one condition. RONNIE What's that? BRANDI This is not a date. Do you understand? We're going to dinner, but we are not going on a date. RONNIE Done. BRANDI And you can never tell anybody we went out. RONNIE My lips are sealed. BRANDI You pay for dinner, right? And as many drinks as I want. RONNIE You may drink your fill. BRANDI And you have to drive me to my car every night after work for the next six months. RONNIE You got it. BRANDI And my car is low on gas, so I need some money to fill it up. Ronnie takes out his wallet. RONNIE Is $ 20 enough? BRANDI Nah, fifty. Ronnie takes out more money and hands it to Brandi. She takes it, counts it, and puts it into her bra. BRANDI Okay, you can pick me up after work on Saturday. Dinner and that's it. Do n't try to kiss me because I'll smack the shit out of you. It's not a date. RONNIE Got it. Not a date. BRANDI Thanks for the ride. Brandi climbs out of the golf cart and walks to her car. She opens the door and starts to get in - RONNIE Hey, Brandi. BRANDI What? RONNIE I lied. It is a date. Before she can argue, Ronnie guns the golf cart and drives away.\",\n \"EXT. MALL - MORNING Ronnie sees Stevie and the Skaters doing hand rails down a ramp while mall patrons try to get by without getting nailed by flying skateboards. Ronnie drives up on his golf cart. STEVIE Our suspension is over. RONNIE I'm not here for that. I need to talk to you. A giant BODYGUARD with a shaved head stands up. BODYGUARD Anything you want to say to Stevie, you can say to me, motherfucker! RONNIE Who the fuck are you? STEVIE This is my cousin, Roy. He's a boxer. BODYGUARD You got a fuckin' problem, bitch?! Ronnie reaches into his belt and produces a can of mace. He sprays it into the eyes of the Bodyguard. The guy goes down and starts SCREAMING IN PAIN. BODYGUARD My eyes! STEVIE Jesus, Ronnie, what the fuck are you doing? RONNIE I need a favor. STEVIE I'm listening. RONNIE As you know, we've had a lot of crime around here lately. Between the Flasher and all the break - ins, I've decided to go to the streets. Frankly, I'm looking for a stool pigeon and you're just the right person. STEVIE Why would I want to help you? RONNIE I could make it worth your while. You like skating at the mall. I could allow you to skate here whenever you wanted. In exchange, you keep your eyes peeled and provide me with any information you come across as to the identity of the perpetrators. STEVIE Sorry, dude, but I'm no snitch. Go find somebody else to do your dirty work. RONNIE Well, let me put it another way. If you do n't help me, I'm gon na spread your little butt cheeks and stick this flashlight up your ass. But like for real. Like I really will do that. This is the new me talking and I get what I need, you understand me, Stevie? STEVIE Alright, dude, I understand, you sick fuck. RONNIE Cool. In that case, have fun shreadin'. Ronnie gets into his Golf Cart and drives off. Stevie looks down at the Boxer who is still on the ground. STEVIE Stop crying, Roy. Stevie starts skating.\",\n \"INT. MALL - FOOD COURT - DAY Ronnie walks into the Food Court and sees Nell waiting at their table with Ronnie's morning Cinnabon. He takes a deep breath and heads over. NELL Hey, sweetie - Oh, I'm sorry, good morning, Officer Barnhardt. RONNIE Good morning, Nell. NELL Where were you last night? I tried to call, but your mom said you were n't home from work yet. RONNIE Look, I got to talk to you about something. I'm not really sure how to put this. Let's see. If you drove a Toyota. NELL I drive a Ford. RONNIE I know, but let's just pretend you drove a Toyota. Now, this Toyota runs really good. It always starts when you need it to and it gets good gas mileage and you do n't have to do much to maintain it. Then you get a really important job like Astronaut, no that wo n't work, you get a job as the head of Wall Street. Well, you may really like that Toyota, but you're going to feel weird about driving it to work every day, right? Now let's say that somebody offers you a chance to get rid of that Toyota and instead you get a Ferrari. It may be more expensive and harder to drive, but I mean, it just looks good as hell. What would you do? NELL I do n't get it. RONNIE You would trade up, Nell. Well, that's exactly what I'm doing. NELL Are you thinking about getting a new car? RONNIE No, Nell, I'm getting a new girlfriend. NELL What?! Who? RONNIE This girl, Brandi. NELL The slutty girl who works at the make - up counter? RONNIE Yeah, I mean, no, she's not a slut. But you're thinking of the right person. NELL How could you do this to me? RONNIE I'm sorry. I do n't mean to hurt you. It's just, well, I believe in this world, you play the hand you're dealt and at this point in my life, I've been dealt five Aces. I'd be a fool not to bet. NELL Why are you doing this, Ronnie? RONNIE I have to, Nell. NELL Do n't you love me? RONNIE Of course I love you. NELL Then tell me why? RONNIE Because I've never dated the prom queen before. NELL Remember when you started this job? You were n't such a hotshot then. I've stood by you when you were at your worst. Every time you fell, I held your hand and told you everything would be okay. Time and time again. RONNIE Come on. Why do you have to bring that up? NELL I never cared about who you wanted to be, I fell in love with who you really are. If you leave me, Ronnie, I wo n't be there to pick you up when you fall. RONNIE Even if I do fall, it wo n't matter, because I'm learning to fly. Ronnie stands up and walks away. Nell sits there sad. She looks down at her Cinnabon and devours the whole thing.\",\n \"INT. MALL - MAURICE'S FOR MEN - DAY Ronnie looks through a clothing rack. It's full of cheap fabrics, lots of imitation silks and shit. A SLICK SALESMAN approaches Ronnie. SLICK SALESMAN Can I help you, sir? RONNIE Yeah, um, I've got a really special date tonight with a hot young lady - Do you know Brandi? SLICK SALESMAN No. RONNIE Never mind. Anyway, I need something that's really ` cool.' Something that will impress her and I guess you could say I'm not exactly in the know with what the hipsters are up to these days. SLICK SALESMAN Let's see. Are you looking to fall in love or are you looking to get laid? RONNIE Um, I guess love, but uh. SLICK SALESMAN You want to get laid, too? RONNIE Watch it, man. She's a lady. But yes. SLICK SALESMAN Alright, I got just the thing. Something classy is what you want. Show her you're a man with taste.\",\n \"INT. RONNIE'S BEDROOM - NIGHT Ronnie's Mom sits on his bed with a bottle of Wild Turkey. She waits for Ronnie to come out of the closet. MOM Come on, Ronnie, just get out here. RONNIE It's too tight in the butt. MOM Let me see. Ronnie comes out of the closet and he's wearing a ridiculous fucking outfit. It's an imitation silk button up, with a pair of black parachute pants. There's two belts for some DOUBLE BELT action. He's got no socks on and a pair of white shoes. He looks like a goddamn fool. MOM Ronnie, you look so handsome! RONNIE Really, you do n't think I look like a phony. MOM Hell no. You look like a stud muffin. RONNIE Yeah, I guess these clothes are kind of cool. MOM Nell is a lucky girl. RONNIE Its not Nell, Mom. MOM Really, I thought you and Nell were going to get married some day. RONNIE I did too. But then I met this girl Brandi and she swept me off my feet. MOM Well, I always liked Nell, but as long as you're happy, Ronnie, that's all I care about. RONNIE I actually feel kind of bad about Nell, but I figure that I can pour all the sadness into Brandi and just really rely on her for my happiness instead of Nell. MOM That sounds wonderful. Is she pretty? RONNIE She is, Mom. She's the most perfect girl in the whole world. MOM I remember when your father picked me up for our first date. I swear he was the most handsome man that I had ever laid eyes on. I knew right then and there that this would be the man that I married. RONNIE I hope that happens tonight. MOM It will, Ronnie. Then you'll have to give her a ring like the one your father gave me. Ronnie's Mom holds up her finger for Ronnie. It's a giant yellow/cottony - looking diamond ring. RONNIE Is that a yellow diamond? MOM It's a glass diamond. This is how it looks now. RONNIE Mom, why did Dad leave? MOM Well, he kind of freaked out when you were born. You had so many special needs that he just could n't handle the pressure. One day, he just could n't take it anymore. RONNIE Do you think it was my fault that Dad left? MOM Definitely. You do n't think it was mine do you? RONNIE Well, I did n't know, with the drinking and all. MOM Nope, it was all you. Ronnie nods. MOM I love you, Ronnie. RONNIE I love you, too, Mom.\",\n \"INT. CAPTAIN O'LANDERS - NIGHT The restaurant is the cheesiest of all sea food restaurants. Think one step down from Red Lobster. Ronnie sits across the table from Brandi. She chugs one of those giant frozen drinks, killing it in one gulp. RONNIE Damn, that was pretty impressive. BRANDI Yeah, work's been pissing me off, so I just need to blow off some steam. RONNIE Well, Brandi, can I just say that you look absolutely beautiful tonight. BRANDI Yeah, I know. -LRB- calling to waiter. -RRB- Nurse! Get me another -. -LRB- to Ronnie. -RRB- You got this, right? RONNIE Yeah, yeah. No problem. BRANDI Nurse! Bring me another and keep'em coming. -LRB- to Ronnie. -RRB- I think it's funny to call the waitress nurse. Ronnie takes a pill bottle out of his pocket. He opens it up and pops a pill. BRANDI Hey, what's that? RONNIE Oh, it's nothing. BRANDI Do n't be stingy, what the fuck is that? RONNIE It's just a pill I'm supposed to take. BRANDI Let me see. Ronnie hands the pills to Brandi. BRANDI Where the fuck did you find these? RONNIE The Doctor. BRANDI Damn, Ronnie, Klonopin. I'm impressed. This is the good shit. I did n't know you partied like this. RONNIE Yeah, I guess I party like this every four to six hours as needed. BRANDI Let me get one. RONNIE Help yourself. BRANDI Hell yeah! Brandi pops a bunch of pills. RONNIE So, how do you like working at the mall? BRANDI I hate that shit. All I do is listen to bitching all day long. I got to put makeup on these fat - ass women all day and it's like, I do n't give a shit what you do, you ca n't polish a turd. RONNIE Yeah, I see how that could get to you. BRANDI Let's do some shots. Waiter, four shots of Jager! RONNIE That's a lot. BRANDI It's Friday. RONNIE So, Brandi, I hope I'm not being too forward, but do you have a boyfriend? BRANDI I've got a few hook - ups but nobody who is a boyfriend. RONNIE Yes! BRANDI You know, it's just like a time in my life where I want to be free right now and think about myself. Not get tied down to one person. RONNIE Yeah, I understand. I hate ties. I recently cut mine and now I'm free like a bird. The shots come. BRANDI Alright, bottoms up. Ronnie holds up a shot to toast. RONNIE To new beginnings. BRANDI Right up your ass! Brandi downs her shot. RONNIE Okay. Ronnie takes his shot. BRANDI Oh, shit! RONNIE No more. I'm sticking to beer. BRANDI What's wrong, is your pussy hurting? RONNIE God, you remind me so much of my mother. Brandi knocks back the other two shots. BRANDI Feel the burn, bitch! RONNIE You are so beautiful.\",\n \"INT. RONNIE'S CAR - NIGHT Ronnie's car is a piece - of - shit Subaru. Brandi is shit - faced and yelling at people out of the window. BRANDI Who wants to see my titties?! Brandi lifts up her shirt and shows the passengers of other cars her boobs. RONNIE Brandi, this is the most fun I've ever had on a date. BRANDI For the last time, this ai n't a date, motherfucker! This is a party! RONNIE Wooo! Um, so, Brandi, it's no secret that I'm attracted to you. I think everybody in the mall is. As you know, I recently split with my girlfriend and basically, I was wondering if, since you do n't have a boyfriend, that I could maybe be your boyfriend and you could be my girlfriend? BRANDI That's my house! Ronnie hits the brakes.\",\n \"EXT. BRANDI'S HOUSE - NIGHT Ronnie opens Brandi's door and helps Brandi out. She's almost passed out drunk. Both of her eyes are closed and she immediately tries to sleep on the ground. Ronnie helps her up, but when he does, Brandi gives him a kiss - a sloppy one. RONNIE Brandi, I had a wonderful time tonight. BRANDI I'm so fucking shit - faced. They kiss again, but when they do, Brandi pukes all over the place. It's a disgusting puke and there's vomit on her cheek and stuff. Ronnie holds her head for her. RONNIE Are you okay? BRANDI My breath smells like asshole. Ronnie looks longingly into her eyes. RONNIE I love you, Brandi. BRANDI I think I've got puke in my teeth. RONNIE I do n't care. Ronnie kisses Brandi passionately on the mouth. He walks her inside the house. On the way in, she falls over. Ronnie helps her up. He carries her into the house where the make - love spot is. CUT TO BLACK.\",\n \"INT. MALL - FOOD COURT - DAY Ronnie is with Dennis in the food court. Ronnie is smiling, but Dennis is n't saying a word as usual. RONNIE Do n't look at me like that, Dennis. I told you I would n't talk. Ronnie sits back, but he ca n't help a giant grin on his face. RONNIE I'm serious, Dennis. A gentleman never kisses and tells. So, just stop with all the pressure because it's just not gon na happen. Ronnie keeps on grinning at Dennis. RONNIE Okay, fine, you son of a bitch, you want details, I'll give you details. I had sex with Brandi last night. Dennis and Ronnie high - five. RONNIE It was amazing. I mean, I've never experienced anything like it. I've been with a girl or two. Dennis stares at Ronnie. RONNIE Okay, fine, I've been with a girl, but let me tell you, this was so much better. You know how many times we did it? Twice! BAM! BAM! BAM! OVER AT THE CINNABON STAND Nell, who looks like she's been crying nonstop, stuffs a whole Cinnabon into her face. As it fills her cheeks, she looks over to Ronnie's table and sees Ronnie making thrusting motions at the table. Nell swallows, stuffs another Cinnabon in, then storms out of the Food Court. BACK AT RONNIE'S TABLE Ronnie continues to talk to Dennis. RONNIE But I got to tell you, Dennis. It was steamy and sexy, but more than anything, I should tell you that it's her soul that I fell for the most. She got pretty tanked, but I could just really tell that she's a good person. The kind of person that I could see myself with. Look, I'm gon na get out of here. There's a lot of people I need to tell about this, so I'll catch up with you later. Oh, and I almost forgot, keep your eyes peeled for crime and stuff. Ronnie leaves the table.\",\n \"INT. DEPARTMENT STORE - DAY Nell watches Brandi as she pops a couple of aspirin behind the makeup counter. She takes a deep breath and walks up to the counter. NELL Excuse me. BRANDI How may I help you? NELL I need to talk to you. BRANDI What is it, honey? Let me guess. You're looking for something to take care of those blackheads and hide that puffiness under your eyes. I've got just the thing. NELL No, that's not it. Well, how much is it? BRANDI Fifty dollars for the bottle. NELL Okay, I'll take it. Brandi begins to ring up the cream. NELL Listen, I know you're Ronnie's new girlfriend. BRANDI What the hell are you talking about? NELL It's okay. I know he left me to be with you and I accept that. BRANDI I do n't know who you've been talking to, but it's safe to say that you're fucking trippin'. NELL It's fine really. It's going to take a while for me to get over it, but I'll be okay. Nell starts to get all teary - eyed. She picks up a Kleenex from a box on the counter and wipes her eyes. BRANDI Oh fuckin' Lord. This is disgusting. NELL I'm sorry. BRANDI Pull it together. This is how you run around all the time? Have some self - respect. No wonder your man left you. Who the hell would want to be around this shit all day? Nell pulls herself together. NELL Jesus teaches us to forgive. And I forgive you for what you did to me when you stole my boyfriend. Plus, I feel pretty confident that you'll end up burning in hell because of the various evil ways you live your life and that brings me some satisfaction. But I just want to tell you that Ronnie is a good person. He does a lot of stupid stuff, but really, he wants to do good for the world. I want you to know that if you hurt him and ruin his heart, I will personally come down here and kick the ever living shit out of you. Nell walks away. BRANDI You better fuckin' run, bitch! Nell turns around and starts storming toward Brandi. Brandi throws her hands up, frightened. BRANDI I'm just kidding. Nell stops charging and walks away. Nell walks past Bruce who is helping a customer at the end of the counter. NELL It's not too late to change your ways. BRUCE Okay. Thanks. Nell walks out of the department store.\",\n \"INT. MALL - FLOWER SHOP - DAY Ronnie looks at the colorful flowers in the glass refrigerator. The FLOWER SALESMAN walks up to Ronnie. FLOWER SALESMAN Ronnie, I've been expecting you. RONNIE You have? FLOWER SALESMAN Oh yeah, I heard about last night. Brandi is quite the woman. Congratulations, my friend. Or should I say, welcome to the club? The Flower Salesman winks and starts laughing. Ronnie does n't. It gets weird so the Flower Salesman stops. RONNIE What color of roses do the women like anyway? FLOWER SALESMAN Well, it depends on what you are trying to say. The white roses symbolize innocence and purity. RONNIE Yeah, we're way past the color white if you know what I mean. What about the yellow ones? FLOWER SALESMAN Joy, happiness, appreciation. RONNIE I do n't even know what to make of that. FLOWER SALESMAN The pink rose means thank you. RONNIE Next. FLOWER SALESMAN The red rose is the most powerful. It symbolizes love. RONNIE Why did n't you just say that? I'm a busy man here. FLOWER SALESMAN I'm sorry. RONNIE Forget it. Give me a big bag of the red ones. FLOWER SALESMAN Um, can I ask a question? RONNIE Go ahead. FLOWER SALESMAN Do you really like Brandi? RONNIE I've only been on one date with her, but I could see myself being with her for all of eternity. FLOWER SALESMAN Well, in that case, the greatest symbol of love is just a single red rose. RONNIE Seems like a big bag of roses would be more love than just one, but I guess you're the expert. Gim me one. The Flower Salesman takes a single red rose from the case and hands it to Ronnie.\",\n \"INT. DEPARTMENT STORE - DAY Brandi is behind the counter gossiping with Bruce. Ronnie holds his rose and watches them from a distance. He takes a deep breath and then walks to the counter. RONNIE Brandi? BRANDI What are you doing here? RONNIE I came here to see you. And to present you with this single red rose. It symbolizes ` love.' BRANDI Ronnie, that's really. uncalled for. RONNIE Well, after last night, I just wanted you to know that it was n't just some fling to me. It meant something special and I felt it deep in my soul. BRUCE You fucked the Security Guard? -LRB- PLAYFUL. -RRB- You are such a little slut! BRANDI Oh, like you've never been drunk, Bruce! Brandi grabs Ronnie and pulls him off to the side. BRANDI Ronnie, look. I got to be honest with you. I barely remember last night. RONNIE I remember it for the both of us. BRANDI Okay, see here's the thing. I do n't know how to say this, so I'm just gon na come on out with it. Ronnie, I could never date you seriously. I mean, you're a security guard. RONNIE I'm the head of Mall Security. BRANDI Exactly. The point is, I do n't really see myself being with that. Like ever. You know what I mean? RONNIE Brandi, I know exactly what you mean. And I just want to thank you for being honest. You're telling me I'm not living up to my full potential in life. It's funny, because I've been feeling like this for quite some time. I guess I just needed that extra little push to get me over this hurdle I've been stuck on. How can you be with a man who is n't living the life he was meant to? BRANDI Yeah, something like that. And just you know, you're a security guard at the mall and it's like, come on, you know? RONNIE I do n't like it, Brandi, but I do understand. I promise you this. Next time you see me, I will be wearing a uniform that will make you proud. I will be the man that you will be honored to call your life's love. BRANDI Do n't bet on it. RONNIE I will though. I'll bet everything I have on you. Now I ask you for one favor. Although I am unworthy, will you accept this rose from me anyway? BRANDI I ca n't do that. And tell your girlfriend to stop coming by my work and threatening me and shit. Brandi walks away, leaving Ronnie there holding his flower.\",\n \"INT. POLICE STATION - DAY Ronnie sits at a small table and waits patiently. Then a POLICEMAN walks into the room. Ronnie stands to shake his hand. RONNIE I'm here to become a police officer. POLICEMAN We're always on the hunt for new recruits. Do you have at least a high school diploma? RONNIE I have a GED. POLICEMAN We usually prefer an actual diploma, but GED is technically acceptable. Are you a citizen of the United States? RONNIE You bet your ass I am. POLICEMAN Okay, Mr. Barnhardt, there are several steps you have to complete in order to be eligible for the police academy. Physical evaluation, psychological test, background check. If you pass these tests, you will be admitted to the police academy. Now, I like to tell all new recruits that they should complete a ride along before making this decision. It's where you actually ride along with a real police officer during a routine patrol. It helps give you an idea of the kind of situations you'll be dealing with. Sound good? RONNIE That sounds fun. Sign me up.\",\n \"INT. POLICE CAR - NIGHT Ronnie sits in the unmarked police car with Detective Harrison. RONNIE It's like it was meant to be. You behind the wheel. Me riding shotgun. Two brothers of the badge unite to form the ultimate crime - stopping combo. I'm psyched to be here, Harrison. Thank you for the opportunity. DETECTIVE HARRISON You requested to ride along with me. RONNIE I know. You want to know the truth. It's because I respect you. See, when we're at the mall, it's obviously my turf. Sure, I break your balls about being a rookie, but out here in the streets, I'm the rookie. I'm here to learn. Teach me. DETECTIVE HARRISON Why do you want to become a Cop? RONNIE I've wanted to be a Police officer all my life. Do n't get me wrong, I love keeping the mall safe, but you guys are the ones that really enforce justice and protect, not just our mall, but our whole community. I do n't tell the guys on my squad this, but the Security Guard job was just temporary. DETECTIVE HARRISON Well, just pay attention tonight and make sure you stay out of the way. RONNIE Right, we're not back at the station anymore so we can cut the charade. DETECTIVE HARRISON What are you talking about? RONNIE Well, I know that policy demands I stay out of the way, but between you and me, I just want you to know that if anything pops off tonight, I'm going to jump right in there and take'em down with you. DETECTIVE HARRISON No, no. Ronnie, policy says you have to stay in the car. RONNIE I get you. You have to say this in order to keep you safe ` legally' speaking. I should probably follow along too.' I swear I wo n't get out of the car and fight justice tonight.' DETECTIVE HARRISON Ronnie, you really ca n't. RONNIE I know. Ronnie winks at Detective Harrison. A smile comes across Harrison's face. DETECTIVE HARRISON I'm glad we understand each other. Detective Harrison puts the car in drive and the guys head off for the night.\",\n \"INT. POLICE CAR - LATER THAT NIGHT Ronnie and Detective Harrison sit in the parked car. They're at the shittiest crack corner in the whole town. Lots of scary bums and hookers loiter around the car. RONNIE Yeah, so then I basically saw his ass trying to circumvent around the ped exit and slip through the employ exit. Not allowed. The two ped exits are to be used only - DETECTIVE HARRISON You see that corner there, Ronnie? RONNIE Yeah, I see it. DETECTIVE HARRISON That corner used to be the worst corner in this whole town. It was riddled with drugs, prostitution, and gang violence. It was nicknamed ` The Crossroads.' RONNIE Shit, I've heard of that. DETECTIVE HARRISON That's right, but myself and the other officers worked on cleaning it up for years so that the good folks of this neighborhood would n't have to worry about being safe. Yes, sir, that corner is a testament to the fine police work of our force. RONNIE I do n't know. It looks pretty shitty to me. DETECTIVE HARRISON Well, it's a low income area, Ronnie. You're being kind of prejudiced. RONNIE Oh, yeah, I can see that it's basically a fine neighborhood. DETECTIVE HARRISON That's right, but it has n't been easy. We still patrol this area every night just to keep our presence up. RONNIE I use that same technique at the mall. DETECTIVE HARRISON I'm sure. I usually do the foot patrols myself, but because I like you, I'm going to let you do it tonight. RONNIE Really? DETECTIVE HARRISON Yeah, really. But I told you about department policy, so I'm going to need you to keep quiet about this one. RONNIE You can count on me. Thank you for the honor. DETECTIVE HARRISON Of course, Ronnie. I just really believe in you. RONNIE I wo n't let you down. Ronnie opens the door and gets out of the car. As he exits, a car drives by BLARING RAP MUSIC. The passenger throws a beer bottle at Ronnie. He dodges it and the bottle shatters on the ground. Ronnie is shaken, but he waves to Detective Harrison like he's okay. Detective Harrison waves back, then PEELS OUT OF THERE. Ronnie is confused. RONNIE Where are you going?! Detective Harrison keeps on driving without looking back.\",\n \"EXT. CROSSROADS - A SHORT TIME LATER Ronnie looks petrified as he stands guard. A BUM stands off to the side staring Ronnie down. Ronnie waves to the bum. The bum runs his finger under his throat. Ronnie tries to ignore him. A group of KIDS walk by Ronnie talking loudly. RONNIE Hey, no horse play. You guys get on home. KID You want some crack? RONNIE No, I do n't want any crack. In fact, I did n't want to do this, but you leave me no choice in the matter. I'm placing you under citizen's arrest. Ronnie grabs the little Kid by the shoulders to restrain him. KID Let me go, motherfucker! RONNIE I place you under citizen's arrest for the crime of selling a Schedule 1 Narcotic. You have the right to remain silent. Unbeknownst to Ronnie, Gang Members start walking up behind him. It's like that scene in Training Day where all the gangsters are hanging out right across the street with guns and shit. They come up behind him as he speaks to the kids. RONNIE If you can not afford an attorney, one will be appointed to you. Now I guess we just wait here for my ride to come back. Ronnie turns around to look for Harrison's return, but instead he sees that he is surrounded by a large group of pissed - off GANG MEMBERS. GANG MEMBER #1 That's my little brother you got there. RONNIE Who, this little guy right here? GANG MEMBER #1 That's right. RONNIE Well, I hate to be the one to tell you this, but it appears that your little brother has tried to sell me illegal drugs. I know it's hard for you to hear that. GANG MEMBER #1 He works for me, motherfucker! RONNIE Is that so? Well then, it looks like you got one less employee because I'm taking little brother down. I'll die right here before I let crime prevail. The Gang Members all pull out their guns and point them at Ronnie. RONNIE -LRB- to the little Kid. -RRB- Free to go, little brother. My mistake completely. Good luck with the crack. The little Kid runs off. RONNIE Alright, so I guess I'll be seeing you folks. The Gang Members stand in Ronnie's way and cock their guns. GANG MEMBER #2 Yo, waste this pig, Tone. RONNIE Oh, no. That's really not necessary, Tone. GANG MEMBER #2 Do it, man. Gang Member # 1 puts the gun right up to Ronnie's head. RONNIE Oh, Jesus, I do n't want to die. Do n't let me die, do n't do it! Ronnie goes down on his knees. RONNIE No, please! I'm sorry! Ronnie reaches into his boot and pulls out a small rod. He flips his wrist and it extends into a night stick. Ronnie's begging was a trap. Ronnie pops up and begins dropping all those motherfuckers with lightning - fast precision. Ronnie breaks arms and busts heads like a fucking ninja. Gang Member # 1 comes in and hits Ronnie with a sucker punch, busting his nose wide open. Ronnie stands up and goes mano y mano in a fist fight with Gang Member # 1. He starts kicking Ronnie's ass. Ronnie goes down again and Gang Member # 1 starts stomping Ronnie. Ronnie grabs Gang Member # 1's leg and twists it. He takes him down. Ronnie jumps on top of him and begins beating him senseless. SLOW MOTION : Ronnie stands up and looks around at the pool of beaten bodies. This is Ronnie at his most primal and also at his best.\",\n \"INT. POLICE STATION - NIGHT Detective Harrison is eating doughnuts and laughing with a bunch of other COPS. COP #1 I ca n't believe you dropped him off at the Crossroads. That's fucking hilarious. DETECTIVE HARRISON Trust me, you would have done the same thing. This guy is without a doubt the biggest fucking idiot I have ever met. COP #1 He's probably going to get killed. DETECTIVE HARRISON Good! Fuck him, I hope he does get killed. All of a sudden, Ronnie comes in all beaten and bruised. DETECTIVE HARRISON Ronnie, what are you doing here? RONNIE I know what you did! DETECTIVE HARRISON Ronnie, look, I did n't do anything - RONNIE You're not going to talk your way out of this one. You set me up! DETECTIVE HARRISON Ronnie, look - RONNIE Do n't try to deny it! You set me up and that's all there is to it. DETECTIVE HARRISON Ronnie, I - RONNIE And I just want to thank you for it. DETECTIVE HARRISON Thank me? Why? RONNIE Because I'm proud to report that I passed the test. I know you wanted to see if I had the chops to cut it on the police force and I'm glad to say that I passed. I knew I would get initiated some time, but I did n't think it would be so soon. Thank you, Detective Harrison. Thank you for believing in me. DETECTIVE HARRISON Ronnie, I do n't know what to say. RONNIE You do n't have to say anything. Your actions speak for themselves. Thank you for giving this rookie a shot. Get used to seeing Ronnie Barnhardt around here, boys. BAD - ASS PHYSICAL EXAM MONTAGE - INT. TRAINING FIELD - DAY SPRINT : The TESTING OFFICER blows a whistle and starts the 100 meter dash. Ronnie jumps off the starting line and hauls ass down the track. The other Trainees fall behind Ronnie as he smokes their asses. PULL - UPS : Ronnie jumps on the bar and begins to do pull - up after pull - up. SIDE SLIDE : The Testing Officer blows a whistle and Ronnie begins to shuffle side to side like an ice skater that never moves forward. SIT - UPS : Ronnie goes hard on the sit - ups. OBSTACLE COURSE : Ronnie sprints up a wall and flips to the other side. He charges a body of water, then jumps onto the rope and swings safely to the other side.\",\n \"INT. MALL - NIGHT All the lights are off and we see the dark shadow creep through the darkness. The shadow breaks into the SHOE STORE and grabs as many pairs of sneakers that it can carry. The shadow opens the sliding cage and closes it from the other side. Then bends down and locks it.\",\n \"INT. MALL - MANAGER'S OFFICE - THE NEXT DAY Mark sits behind his desk reading a paper. The HEADLINE READS : CHAOS CLIMBS AT CAROLINA MALL. There's a KNOCK at the door. MARK Come in. Ronnie sticks his head in the door. RONNIE Good morning, Mark. MARK Is it, Ronnie? I mean, the mall is getting butchered in the press. Somebody who works here is ripping the place off. The cops do n't have any leads. I'm getting shit from the owner of the mall. Sales are down. I mean, what's so good about this morning? RONNIE I feel your pain, Mark. Quite frankly, there's two things happening. One, I'm lacking a sufficient firearm. And two, we're understaffed. That's why I come to you this morning with a plan. -LRB- calling to the door. -RRB- Come on in, Charles. Charles opens the door and walks in. MARK Who is this? RONNIE This is Charles, sir. CHARLES -LRB- BOUNCER. -RRB- How's it going? MARK You work at O'Charley's, right. CHARLES That's right. RONNIE Mark, I would like to hire Charles here as an additional Security Guard. He would operate under me. I figure with the additional criminal element, we should hire more security in hopes that we would have a better chance of catching these guys. MARK Do you have any experience, son? CHARLES Not really. RONNIE Um, sir, I have personally been training young Charles for weeks now in preparation for this day. The kid kind of looks up to me. I'm some what of a big brother to the little guy. Charles kind of looks at Ronnie like he's crazy. MARK Alright, it's actually not a bad idea. It might make our Security more visible so we can give people the illusion that we're on top of this. Ronnie winks at Charles. CHARLES Thank you, Mark. MARK Ronnie, one more thing. Look, if this crime does n't come to an end pretty soon, we're gon na have to let someone go. I mean, you've always done a great job for me, but the truth is, someone is going to have to take the fall. You're the one who wanted to be Head of Mall Security and quite frankly, I just bought my wife a new Cadillac, so let's just say it wo n't be me. RONNIE With Charles on my team, I can now devote more time to the robbery and Pervert case. I plan on having these wrapped up by the end of the week. Mark laughs to himself. RONNIE Why'd you just laugh? MARK It's nothing. Have fun, Ronnie. Ronnie looks at Charles. RONNIE Did I say something funny? CHARLES Let's go, Ronnie. Ronnie and Charles take off.\",\n \"INT. MALL - DAY Ronnie and Charles stand in the middle of the floor and supervise the `` mall walkers.'' CHARLES Be careful, guys. Nice and slow. RONNIE That's not bad, but you need to learn to speak in a more authoritative voice. Watch this. Slow it down! Slow it down! You've already received one verbal, do n't make me issue a second! -LRB- back to Charles. -RRB- See, you ca n't be intimidated. You have to make them respect you. CHARLES Ronnie, you know I really want to thank you for the job. You're a man of your word. RONNIE No problem, my young student. So, I got something to tell you. Keep this between us until it's official, but I do n't think I'm going to be here for much longer. CHARLES You're quitting? But you love this job. RONNIE I do love it, but it looks like someone is going to be joining the police force. CHARLES The real police? RONNIE They're calling me up. It's basically a done deal. Just a little red tape is the only thing keeping me from carrying a gun. CHARLES I did n't even know you wanted to become a Cop. RONNIE It's always been my job. The Mall thing is great training, but it has its limitations. Some stars are just meant to shine brighter than others. CHARLES Congrats, brother. RONNIE -LRB- to a mall walker. -RRB- HEY, SLOW IT DOWN, LADY! A Mall Walker slows her pace. She turns around and Ronnie sees that it's Nell. RONNIE Nell? NELL Hey, Ronnie. RONNIE What are you doing? NELL Nothing, just getting in shape. RONNIE Well, that's okay, I guess. Just watch your speed, okay? Nell waves and walks on. CHARLES Is n't that your girlfriend? RONNIE Ex. CHARLES She looked good. RONNIE You think so? CHARLES She looks a lot better. RONNIE Yeah. Ronnie shrugs it off.\",\n \"INT. PSYCHOLOGICAL EVALUATION - DAY Ronnie sits across from a female PSYCHOLOGIST. PSYCHOLOGIST Okay, Ronnie, today I'll be giving you a psychiatric evaluation to determine if you're competent to enter into the Police Academy. It's really just a formality. Do n't want any serial killers working for us, now do we? RONNIE No, ma'am, we do n't. PSYCHOLOGIST Okay, Ronnie, so let's start with your background. Where are you from? RONNIE Born and raised right here. PSYCHOLOGIST Local boy. Okay, and, Ronnie, have you ever been convicted of any crimes? RONNIE No, ma'am. My record is totally clean. PSYCHOLOGIST Do you now take any illegal drugs or have you taken any in the past? RONNIE No, ma'am. I believe drugs are the path to self - destruction and should be purged from the face of the earth with ruthless vengeance. PSYCHOLOGIST Any prescription medications? RONNIE Yes, for my nerves. A man in my line of work has a lot of stress to deal with. If you've seen the bloodshed I've seen, you'd be on the meds too. I - Where are you going with this? PSYCHOLOGIST Are you presently or have you ever been affiliated with the Communist Party? RONNIE I ca n't believe you'd even ask me that. PSYCHOLOGIST Have you ever been in the military? RONNIE Yes. PSYCHOLOGIST What branch of the military were you in? RONNIE The kind of branch that does n't exist on paper. PSYCHOLOGIST Okay, here's a real world scenario. You have a gun - RONNIE Finally. PSYCHOLOGIST That was n't really the question, never mind, I think I got that one. Um. here's one. Do you feel like you would work well on a team? RONNIE Would I? Yes. Would I be more useful working alone, I would say definitely. I see myself more like a Rambo kind of guy. A man who rolls solo. Taking care of business on his own terms. Kind of like a Superhero or something. PSYCHOLOGIST Why do you want to become a cop? RONNIE I want to become a cop to help people. The world is a scary place with lots of evil everywhere. See, I have this vision of evil trying to get at the world from every angle and there I stand at the top of it all with my gun, just kind of blowing it away. Just me and my weapons, cleaning up this whole town. I know I could do some good if I was just given a chance and everybody would be a lot better off. PSYCHOLOGIST Uh - huh. So, what do you feel is the greatest danger facing a police officer today? RONNIE Maybe Russian gang activity, but you know what? I think I'm gon na have to go with evil on that one too. PSYCHOLOGIST Okay, I think we're good here. It's been a pleasure, Ronnie. RONNIE Thank you, ma'am.\",\n \"INT. RONNIE'S HOUSE - BATHROOM - NIGHT Ronnie's Mom takes a bath and swigs on a bottle. She's drunk and passing out in the tub. Ronnie scrubs her back with a sponge. RONNIE I'm telling you, Mom, this police thing could be good for both of us. Not just the fact that I'll be making the streets safer for you, but they have health insurance and a pension plan so I do n't have to worry about your medical bills as much. MOM I do n't care about that bullshit. All I need is a little nip of this good shit right here and I'm ready to walk through the pearly gates. RONNIE Mom, I know, but maybe you should stop drinking so much. You're getting up there and you know what the doctor said about your liver. MOM I do n't tell you how to party, do n't tell me how to live my life. I've taken care of you since you were born. RONNIE I just worry about you is all. MOM Ronnie, do n't get your hopes up about this police thing. RONNIE Why would you say that? MOM You know why. I just do n't want to see you get hurt. It's my job to protect you from the bullshit. RONNIE Mom, I appreciate it, but I'm going to make it as a police officer. I'm tired of coming in second all the time. Everybody in life gets to go for their goals, why should I be any different? MOM I know. Just be careful is all. You've got a good heart and I do n't want to see it broken. RONNIE Okay, Mom. I hear you. MOM And, Ronnie, one more thing. RONNIE What's that, Mom? In the tub, a bunch of bubbles plop to the surface. RONNIE Mom! That's gross! MOM -LRB- drunk laughing. -RRB- That's right! Now you got to smell it! RONNIE Mom.\",\n \"EXT. POLICE ACADEMY - DAY The Police Academy is full of energy as new recruits pour up the steps and into the building, eager to start their training. Ronnie comes walking up and takes a long look at the building. Ronnie smiles to himself and heads up the stairs. Ronnie reaches the top where Detective Harrison is waiting. Ronnie stops. RONNIE Ronnie Barnhardt reporting for duty. DETECTIVE HARRISON I can see that. Listen, I do n't really know how to say this, but we're not going to be able to let you join the academy. RONNIE What?! Why not? DETECTIVE HARRISON It seems you had a little trouble passing the minimum requirements. RONNIE Did I fail one of the tests? DETECTIVE HARRISON Well, yes, actually, you failed the psychological exam. RONNIE No! DETECTIVE HARRISON It says. -LRB- reads from the form. -RRB- That Ronnie Barnhardt shows warning signs of delusion and allowing him to join the force puts his life and the lives of others in jeopardy. RONNIE Detective Harrison, you've got to believe me. I'm completely sound. This has got to be a mistake. DETECTIVE HARRISON Ronnie, I personally did your background check and this is the fifth time you've been turned down for the police academy. RONNIE You guys keep records on that? DETECTIVE HARRISON We sure do. Look, I tried to talk to them, but there's no way they're gon na let you in. I'm sorry, but your dreams of becoming a Police Officer just are n't going to happen. RONNIE I understand. Thanks for believing in me, Detective. And just for the record, I'm not crazy. DETECTIVE HARRISON Take care, Ronnie. Detective Harrison goes inside and closes the doors on Ronnie. Ronnie stands outside of the closed academy by himself. The CAMERA PUSHES INTO Ronnie and SPINS UPSIDE - DOWN. CUT TO BLACK.\",\n \"INT. CAROLINA MALL - MORNING Ronnie is behind the locked gate to the food court, but it looks like he is behind bars in a prison. Ronnie slides the bars up and walks out.\",\n \"INT. MALL - DAY Ronnie walks through the mall and looks at the lights of the different shops. Everything looks colorful and weird. Ronnie is in his own head. This is n't the exciting world as before, now it's a disgusting fabricated make - believe land. TIME LAPSE : A DAY SPEEDS BY AS RONNIE WALKS LIKE A ZOMBIE THROUGH IT ALL.\",\n \"INT. MALL - FOOD COURT - NIGHT The mall is kind of winding down for the day. The stores are closing and people are going home. Ronnie sees Nell putting her apron away and preparing to leave. Ronnie walks up to her. RONNIE Hey, Nell. NELL Hey, Ronnie. How's it going? RONNIE Can I talk to you for a second? NELL What is it? RONNIE I tried to get into the police academy again and the same thing happened. NELL Oh, Ronnie, I'm sorry. Ronnie starts to tear up. RONNIE Why does this keep happening to me, Nell? NELL I do n't know, Ronnie. Maybe it's just not meant to be. Are you okay? RONNIE No. Are you going home? I mean, do you want to go somewhere and talk or something? NELL Ronnie, I ca n't. RONNIE Why not? NELL I've got plans. RONNIE What plans? SADDAMN Look at this sorry piece of shit. Ronnie looks up to see Saddamn walking toward him. RONNIE What the fuck do you want? SADDAMN I do n't want anything from you. -LRB- to Nell. -RRB- How you doing, sweetness? Saddamn hugs Nell from behind and kisses her on the cheek. SADDAMN You look beautiful tonight. RONNIE What the fuck is going on? SADDAMN You ready to go? We got reservations at 9:00. NELL I'm ready, Saddamn. RONNIE Nell, for the love of God, do n't go with him. NELL I'm sorry, Ronnie. Nell and Saddamn turn and walk towards the door. On the way out, Saddamn turns back around to Ronnie and smiles. Then, he begins to `` air hump'' Nell from behind. RONNIE Do n't go, Nell. Remember your purity! Remember your purity! Nell and Saddamn leave the mall.\",\n \"INT. MALL - DAY Ronnie sits down on one of the benches in the mall. He watches a couple walk by, their little kid swinging between their arms. Then, Stevie comes in and takes a seat next to Ronnie. STEVIE What are you doing, Ronnie? RONNIE I'm just taking a break. What do you want, Stevie? I do n't have time to fuck around with you today. STEVIE I got something. Stevie reaches into his pocket. He pulls out a bunch of Polaroids of penises. RONNIE What the fuck is this? DUDE Dude, I found these all over the mall. I'm guessing that whoever this Mall Flasher is, left these for girls to find. RONNIE This thing gets grosser and grosser all the time. Well, thanks for the clue. Maybe I can use this to identify the freak. You can skate all you want around here. STEVIE What's wrong with you, Ronnie? RONNIE What do you mean? STEVIE I do n't know. You just seem kind of sad. RONNIE Nah, man, I'm fine. I mean, I'm catchin' perverts and protecting this mall and just you know, really livin' the dream. STEVIE That's cool. Look, man, you want to get high? RONNIE No, I do n't want to get high. STEVIE That's cool. The conversation dies down and the two just kind of sit there. RONNIE And by the way, if I see you getting high, I will call the police and have your criminal ass arrested. Do n't you fuckin' ever mistake my kindness for weakness. I hate drugs and I hate you too. STEVIE Fine, you fucking dick. Steve stands up to leave. Ronnie sits there looking sad.\",\n \"EXT. MALL - NIGHT Ronnie sits in his golf cart staring at the mall as the last of the customers leave. That's when Ronnie sees Brandi come out of the door. Brandi looks around and darts across the parking lot. Ronnie follows Brandi's path and tries to catch up with her.\",\n \"EXT. MALL - NIGHT Ronnie drives around, but he ca n't find Brandi anywhere. Ronnie sees a lone black car at the outer edge of the parking lot. He pulls his golf cart over and climbs out. Ronnie creeps up to the car and peers in the window. Inside, Ronnie sees Brandi and Detective Harrison banging like a couple of wild animals. Ronnie jumps back in shock!\",\n \"INT. DETECTIVE HARRISON'S CAR - NIGHT Brandi stops humping Detective Harrison. BRANDI Shhhh. DETECTIVE HARRISON What is it? BRANDI I thought I heard something. Detective Harrison looks out of the window. He does n't see anything. He climbs back on top of Brandi. DETECTIVE HARRISON It's nothing. OUT OF NOWHERE, A FLASHLIGHT BREAKS THE BACK WINDOW OF THE CAR.\",\n \"EXT. MALL - NIGHT Ronnie runs around Detective Harrison's car wielding a flashlight like a mad man. RONNIE HARRISON! Ronnie beats the shit out of Harrison's car. He smashes headlights, mirrors and fenders. INSIDE THE CAR Harrison and Brandi duck down. BRANDI Shit! DETECTIVE HARRISON That motherfucker is crazy. BRANDI Well, you're the fucking cop. Do something. DETECTIVE HARRISON You're right. Okay, here it goes. Harrison reaches over Brandi and opens her door. BRANDI What the fuck are you doing?! Harrison pushes Brandi out of the car and shuts himself back in. OUTSIDE Ronnie sees Brandi and stops pummeling the car. BRANDI Ronnie, it's me! Do n't do anything crazy. RONNIE Get back inside, Brandi. This is n't about you. you. you slut! BRANDI Fuck off, Ronnie. RONNIE How can you just stand there after you ruined my life and act like nothing happened?! BRANDI It's easy'cause I do n't give a FUCK ABOUT YOU! Ronnie SNAPS. He charges at Brandi with the flashlight over his head. He's about to crack her when. CLICK. Ronnie STOPS to see Harrison on the other side of him with his pistol drawn and pointed at Ronnie. DETECTIVE HARRISON Drop the flashlight, Ronnie. Ronnie drops the flashlight from his hands. RONNIE You're pretty tough with that gun. DETECTIVE HARRISON Ronnie, I know you've had a hard time - RONNIE You were supposed to be my friend! DETECTIVE HARRISON So you're gon na kill Brandi? RONNIE I was just trying to scare her. BRANDI You do n't scare me, you piece of shit. Ronnie lifts the flashlight up again like he's going to hit Brandi. Brandi ducks. Detective Harrison cocks the gun. DETECTIVE HARRISON Ronnie! RONNIE Fine, fuck you! Fuck all of you! And, Harrison, you better be glad you have a gun or I'd kick your ass too. And you know what? I'm taking my friendship back because you do n't deserve it! And, Brandi, I'm taking my love back too. I'm gon na leave now and you two can just have fun. Have fun sleeping tonight because something tells me, you wo n't be able to. Ronnie climbs into the golf cart and drives off. DETECTIVE HARRISON That guy is a nut job. BRANDI Tell me about it. DETECTIVE HARRISON So you slept with him? BRANDI I was drunk okay. You gon na make a big deal out of it. DETECTIVE HARRISON No, I guess not. BRANDI Fine.\",\n \"INT. RONNIE'S BEDROOM - NIGHT ON THE TELEVISION : There's an update on the CAROLINA MALL FLASHER. It says he has exposed himself to more girls. As the TV blares the headline, Ronnie lays in his bed and watches. The images shine COLOR on him, but Ronnie is in his own world.\",\n \"INT. MALL - FOOD COURT - DAY Ronnie has the Special Elite Task Force assembled. RONNIE I'm disbanding the task force. CHARLES Hey, Ronnie, that's crazy talk. Are you cool? RONNIE No, I'm not cool, Charles. In fact, shit is seriously fucked up. I've got to protect the whole mall by myself. Now, I got you this fucking job, when are you going to stop being a little baby and do something for a change. -LRB- MOCKING. -RRB-' I do n't want to do anything hard. I just want to be a little bitch and brag about dropping out of college.' Grow a fucking pair, will you, Chucky? CHARLES I'm gon na go check the parking lot. Charles walks away. RONNIE -LRB- calling out. -RRB- I'm sorry, Charles! I did n't mean it, buddy! Ronnie puts his head on the table. RONNIE You know, Dennis, for the longest time I made this job my whole life. I looked at this mall as a kingdom and I looked at Mark as the King. I thought of myself as the first Knight and the customers, well, they were the peasants. I lived by an old code where one was bound by duty and honor. But now I do n't know if I believe in that code anymore. I've lost my way. Now I just feel like it's one big kingdom of shit. Right now, I got half a mind just to let this whole place burn. Burn it to the fucking ground! Dennis stares down at the desk. Dennis takes off his hat and reveals that he has bleached white Eminem hair underneath. Next, he reaches under his collar and flips out a thin gold necklace. He kicks up his shoes and reveals the newest and freshest basketball kicks. This is the REAL DENNIS and for the first time ever, he speaks. DENNIS -LRB- high ghetto voice. -RRB- I've been waiting on you to get on my page this whole time. You look at this mall as a Kingdom?! Shit! I look at this place like a motherfucking jail sentence. You put on that uniform every morning, but what are you really protecting? Commerce and corporations and money. Well I say, fuck that! I'm a fucking outlaw and I'm going to live that until the day I die. Now, I can show you the way, but you've got to be willing to accept it. So I'm gon na ask you now, Ronnie. Are you ready for a trip to the other side? RONNIE You're goddamn right I'm ready. DENNIS Alright then. Let's party.\",\n \"EXT. DUMPSTERS - DAY Dennis and Ronnie hang in the back of the mall by the dumpsters. Dennis sucks down a fat joint. He passes it to Ronnie. DENNIS So, yeah, usually I take a joint straight to the head before I start work in this motherfucker, but on really stressful days, I like to get drunk too. Dennis pulls out a flask and gulps it down. Ronnie is still staring at the joint. Finally he takes a puff and begins violently coughing. He finally stops. RONNIE Fuck it, give me the bottle. Dennis hands Ronnie the bottle and he takes a big swig.\",\n \"INT. MALL - DAY Ronnie and Dennis stand against a wall while they check out booties of various shapes and sizes on all of the girls that walk by. DENNIS So then I usually come in here and perv out on girls for about an hour or two. I hooked up twice last week. One was this Asian chick and the other was this mom. She was n't that hot, but what else do I got to do? Two high school girls walk by. DENNIS Sweet Jesus in the morning.\",\n \"INT. DEPARTMENT STORE - DRESSING ROOM - DAY Ronnie and Dennis are hanging in a dressing room. DENNIS Dressing rooms are a great place to hide out, because nobody is really going to think of looking for me here. You can nap or just kind of hang out and just really have some personal time. Hey, hand me that camera. Ronnie picks up a shitty camera and hands it to Dennis. DENNIS Thanks, Ronnie. Dennis stands up on the bench and looks into the other changing room. The two high school girls are changing into other clothes. Dennis starts taking pictures of them without them knowing.\",\n \"EXT. DUMPSTERS - DAY Ronnie is smoking a joint and so is Dennis. DENNIS Right before lunch I usually blaze up again real good.\",\n \"EXT. MALL - DAY Dennis and Ronnie walk by the skaters. DENNIS Hey, what's up, motherfuckers?! STEVIE What up, Big Den?! DENNIS You know, smokin' that good good. STEVIE Dude, why are you hanging out with Ronnie? RONNIE Fuck you, Stevie! DENNIS Hey, Ronnie's alright. Let me see that stick. Stevie slides the skateboard over to Dennis. He jumps on it and does a perfectly executed kick flip. The skaters cheer!\",\n \"INT. DEPARTMENT STORE - DAY Brandi is at the counter with Bruce. She helps a MALE customer. BRANDI That'll be $ 39.99. MALE My wife's gon na love this perfume. BRANDI I hope so. It's my favorite. Brandi looks past the Customer and sees Ronnie just standing there staring daggers at her. Ronnie shakes his head in disgust. The Male Customer turns around and sees Ronnie. It's a weird little moment. Dennis grabs Ronnie by the arm. DENNIS Come on, brother. Let's go. Ronnie follows Dennis off. CUT TO BLACK. THIS BEGINS THE ROCKING MONTAGE OF MALL DESTRUCTION\",\n \"INT. RECORD STORE - DAY Ronnie stands in the store and looks down at his walkie. MARK -LRB- V.O. -RRB- -LRB- over the walkie. -RRB- Ronnie, we need you down at the candy store. Some little brat has been shoveling peanuts in his mouth for the last hour. Ronnie turns the walkie - talkie off. Dennis runs behind the counter. Dennis drops the needle on a ROCKIN' SONG. Dennis jumps on top of the counter and starts jumping up and down with the music. He's fucking drunk. Dennis jumps off the counter and tackles Ronnie, knocking over a stand of DVD's.\",\n \"INT. MALL - DAY Ronnie and Dennis ride on a mini railroad train for kids. They both drink from the flask as they spin around the track. It's full of nothing but kids and security.\",\n \"INT. MALL - VICTORIA'S SECRET - DAY The HOT SALES CLERK stands outside of the dressing room wearing a sexy teddy with a G - string and garters. Dennis and Ronnie are kicking back in the love seat and watching. Dennis makes a motion for the Sales Clerk to spin around. She reluctantly does as she is instructed.\",\n \"INT. MALL - TOY STORE - DAY Ronnie and Dennis play video games. A LITTLE KID tries to take the controller from Dennis, but Dennis whips out the handcuffs. He locks the Little Kid onto the display case so the kid ca n't move.\",\n \"INT. ARCADE - DAY Ronnie and Dennis play Skee - Ball, except Ronnie tosses the balls to Dennis who is standing on top of the machine. Dennis slam dunks the balls into the 100 point hole. The tickets pour out.\",\n \"EXT. MALL - DAY Ronnie and Dennis are driving in the golf cart and they're both wearing those GIANT SUNGLASSES that they won with arcade tickets. Behind them, Stevie and the other Skaters hold onto the golf cart and get pulled on their skateboards. They race towards a loading ramp. Dennis floors it and they go up the ramp and JUMP the golf cart into the air. The golf cart and Skaters soar into the air. It holds forever, until suddenly, the golf cart lands with a thud. CUT TO BLACK.\",\n \"INT. MALL - NIGHT The mall is basically empty as Dennis and Ronnie make the final rounds. They get to the doors and lock up for the night. RONNIE Dennis, I got to thank you for today. Man, I was so down, but you taught me that I do n't need to take things so seriously here. We have a pointless existence. Who gives a fuck? DENNIS Do n't mention it, homey. I'm just glad I got me a partner in crime. RONNIE A partner. I like that. You know, I've never really had a friend before, but I think that this could be the beginning of a real good thing. Dennis unlocks the doors to the Gap. DENNIS You ai n't even seen the best part. After everybody leaves, I rob the shit out of this place. RONNIE What do you mean? DENNIS I steal shit! RONNIE You're the one who's been robbing the mall? DENNIS Hell yeah! Who'd you think it was?! Dennis goes inside the Gap and just starts grabbing shit. RONNIE I ca n't believe this. Right in front of my goddamn face this whole time! Dennis holds up a sweat shirt. DENNIS This probably will look good with my complexion. RONNIE Dennis, I ca n't take part in this. DENNIS Ronnie, I thought you were down?! What the fuck?! Here I am opening up myself to you and you're just gon na stick it to me like this. What the fuck has this place ever done for you? Do n't you know that people see us as jokes?! A useless tool that's left in the shed. Well that's not me. Not now, not ever. I told you, I'm an outlaw. RONNIE I ca n't let you rob the mall. DENNIS What the fuck you mean you ca n't let me? RONNIE Come on, Dennis. We're best friends, so just put that stuff back and let's go get a beer. DENNIS Alright, Ronnie, you're right. Dennis sets the shirts down. DENNIS I do n't really know what I was thinking. Robbing the mall? Let's just go get that beer. RONNIE Good, man. That makes me feel better. Ronnie turns to walk, but Dennis grabs the hand of one of the mannequins and rips it off. He takes the hand and cracks Ronnie over the head with it. Ronnie goes down on his knees. DENNIS See ya in Mexico, bitch. Dennis cocks back and whacks Ronnie again. Ronnie's lights go out.\",\n \"EXT. CITY STREET - NIGHT Dennis pulls out of the mall driving a HARLEY DAVIDSON. He flips a joint into the air and peels out. He cruises down the street. He passes a cop car and flips it off. CUT TO BLACK.\",\n \"INT. CAROLINA MALL - MORNING The JANITOR walks up the floor with a mop. Ronnie is battered and bloodied from his fight with Dennis, but he is wide awake and handcuffed to THE GAP. RONNIE Ramon, get your ass over here! Go get my spare keys out of the office. The Janitor looks at Ronnie, smiles, and calmly mops in the other direction. RONNIE Ramon! Goddamn it get back here! Go get my goddamn keys.\",\n \"INT. MALL - MANAGER'S OFFICE - DAY Mark sits across the desk from Ronnie and Charles. MARK How fucking stupid do you have to be?! I mean Dennis. What the fuck, Ronnie? How could you not have known it was Dennis? Then, how the fuck could you be so stupid as to let him get away. OBSERVE AND REPORT. Those are the only two things you have to do and you ca n't do those worth a shit. RONNIE Can I speak now? MARK Go ahead. RONNIE Are you sure? MARK Just start talking, Ronnie! RONNIE It seems only natural that ` some people' would want to blame me and truth be told I do put a lot of that blame on myself. But some people might say that the cops are to blame for not catching them. Some people might say that the reason this happened was the undeniable fact that I was under - equipped and quite frankly, lacking a sufficient firearm. But not me. I carry this loss alone deep inside my heart. MARK Good. Because you're fired. RONNIE -LRB- PLAYFUL. -RRB- Fuck you. MARK I'm serious, Ronnie. I've always liked you, but there's just no excuse for this. Somebody is going down and I'll be damned if it's going to be me. Now, do n't make a big thing out of this. Just pack your shit and get out by the end of the day. RONNIE Wait a minute. I thought I could trust you, Mark, and now you're telling me that you're going to be the one to put the knife in my back. Fair weather friend you are. MARK I'm not your friend, I'm your boss. RONNIE You think you're so smart, Mark. You do n't know everything. If you're firing me, then you can say goodbye to your entire Security staff. Because there is no fucking way my team is going to work here if you fire me. Is n't that right, Charles? CHARLES Ronnie, I got to talk to you about this. Mark asked me down here to escort you out. RONNIE And you told him to fuck off, right? Charles? Right? CHARLES What the fuck do you want from me, Ronnie? RONNIE This is n't happening! Everybody is fucking me over?! I hate you all. Charles stands up. CHARLES I'm sorry, Ronnie, but it's time to go. RONNIE Wait a minute. I'll work for free, Mark. MARK No, Ronnie. RONNIE I'll pay you. MARK Nope. RONNIE I love you. MARK Ronnie, Jesus have a little self - respect. RONNIE You do n't love me, Mark? MARK Ronnie, it's over. Ronnie takes a deep breath. He stands up to leave. Ronnie starts to walk out, but stops. RONNIE Hey, Charles. Mark asked you down here in case I got out of hand? Well, get ready to earn your money. Ronnie cracks. He grabs a calendar and throws it on the ground in a violent baby - like outburst. MARK Stop him! Charles tries to grab Ronnie, but Ronnie pushes him off. Ronnie knocks the framed pictures off of the wall. He then opens the door and slams it into the wall over and over again. That does nothing. Ronnie tries to rip the cushion on the chair. He looks ridiculous. CHARLES Alright, Ronnie, that's enough. Ronnie stops and begins to cry. Then he runs out of the office in tears.\",\n \"INT. RONNIE'S BEDROOM - DAY/NIGHT Ronnie lies in his bed and we. TIME LAPSE : The sun rises and sets three times through the window of his bedroom, signifying that three days have passed. The whole time, Ronnie does n't move from his bed. Until. Ronnie gets on his `` nice'' clothes, but they're a far cry from his Security Guard uniform. Ronnie's Mom comes up to him. MOM What's on the agenda for today? RONNIE I guess maybe look for a job or something. MOM Well, I know you're sad about it, but try to look on the bright side. RONNIE There is no bright side. My life is over. MOM Ronnie, you may not be smart or handsome, but you've got dreams inside of you and dreams make you special. No matter what this world tries to throw at you, they can never take those dreams away. RONNIE What the fuck are you talking about, Mom? MOM I do n't know. I'm drunk. I just know that mothers are supposed to talk like that to their children when they're sad, so I tried. What do you want from me? RONNIE Nothing. That's exactly what you're supposed to do. I just blew my life. I tried to be a big shot, a hero and a stupid cop. I wanted to be recognized for being great. I should have just been happy where I was at. I did n't do my duty. MOM Ronnie, the other night when I soiled my pants right before I puked myself, I was thinking about how you would come home and find me and clean me up. I knew you would be there to find me and take care of me, so I was able to pass out on the floor and not worry. If there's one thing you know about, it's duty. RONNIE I do it because I love you. MOM I know and I love you too, Ronnie. I have n't always been easy to deal with and most people would have thrown me away a long time ago. Just like your father did. But not you, Ronnie. Look, whiskey was always the way I dealt with being a single mother, but as I get older, I know that I ca n't keep doing this. I've got everything I need with you. So I want you to know that I'm ready to make a change. Your life needs to get easier and you do n't need to take care of old Mom anymore. RONNIE Are you going to quit drinking? MOM I'm switching to beer. I can pound those all day and still keep my shit together. I'm doing it for you. RONNIE I'm so proud of you, Mom. MOM I'm proud of you. Now today is a new day and we're going to get through it. Now, get out there and find what the world has in store for you. Ronnie's Mom leaves and Ronnie looks at himself in the mirror. Then something catches his eye. Ronnie sees a newspaper laying on the ground. He picks it up and reads.\",\n \"EXT. JAIL - DAY Ronnie walks up the steps that lead to the local jail.\",\n \"INT. JAIL - DAY Ronnie walks into one of those booths where you can talk to a prisoner on the opposite side of a Plexiglas divider. Ronnie sits down in wait. Then, two GUARDS appear escorting a handcuffed Dennis. Dennis takes a seat and picks up the phone. DENNIS What's up, Ronnie? How you doing? RONNIE I've been better. You? DENNIS I'm holding it down in here. RONNIE Yeah, I heard they finally caught up with you. DENNIS I know. I should have hit Mexico, but, you know, I got stoned and just kind of kicked with this girl in Kannapolis for a while. RONNIE You know they fired me when they found out you were the one who robbed the mall. DENNIS Shit, dog. Sorry about that. RONNIE It's cool, but I need to know why you did it. DENNIS I told you. I'm an outlaw. RONNIE Come on, Dennis. DENNIS Man, you want to know the real reason? RONNIE Yeah. DENNIS Alright, I'll tell you. Man, that gig was one of the best jobs I ever had. I got to wear a uniform, I could smoke weed whenever I wanted. For once in my life, I felt like I was actually somebody. I know most people do n't think it's shit, but I really loved it. Then, all of a sudden, I find out that your ass got promoted over me. After all I put into it, you're the one that makes it to Head of Mall Security. You know what it's like to get passed over, Ronnie? So I got pissed off. I started robbing the joint as a way to get at them for what they did to me. But you know what, Ronnie? RONNIE What's that? DENNIS You ever love a girl so much that you ca n't break up with her, so the only thing you can do when she pisses you off is smack her in the goddamn face? RONNIE No, Dennis, I have n't. DENNIS Well, I have. And that's pretty much how I felt about the job. RONNIE Thanks for talking to me, Dennis. DENNIS Well, it's the least I could do after knocking you out and all. Ronnie starts to hang up the phone. DENNIS Hey, Ronnie. RONNIE Yeah, Dennis. DENNIS Bail me out of here, old friend. RONNIE I ca n't do it, Dennis. You're now a criminal who stopped caring, but my crime is that I care too much. Ronnie hangs up the phone and walks out.\",\n \"INT. MALL - DAY Ronnie comes into the mall and makes his way down the center of it, feeling naked without his uniform. Charles, now wearing a mall security uniform, comes out and stops Ronnie. CHARLES Ronnie, what are you doing back here? RONNIE I just came to talk to Nell. Do n't get your panties in a wad, I'm just here as any normal patron. CHARLES Ronnie, dude, I've been all fucked up in the head. I feel like shit about what happened. I mean, here I am, just looking to shuck responsibility and I ended up hurting you in the process. Look, I should have been honest with you. I do n't give two shits about this stupid job. But you do. RONNIE It's okay, Charles. CHARLES I've decided I'm going back to college. Getting stoned and studying beats this any day. I realize that now. I realize that there are n't any jobs where you can avoid hard choices. Anyway, take as long as you want at the mall. I'll keep Mark off your back. RONNIE Thanks, Charles.\",\n \"INT. MALL - FOOD COURT - DAY Ronnie sees Nell sitting down and eating a Cinnabon. Ronnie takes a seat at her table. NELL Ronnie, what are you doing here? RONNIE I got something I want to say. NELL I do n't think we should be talking. RONNIE I'll be quick. Nell, this is the only job I was ever any good at. I'm not a crime solver or right hand of the law. I'm just a dumb guy in a uniform who ca n't even become a real policeman. Somewhere along the way I started to think I was something special, someone whose shit did n't stink, someone who deserved to date out of my league. You know, I've learned. My shit does stink. It smells horrible. And you're also out of my league, but for some reason, you like the smell of my shit. I guess what I'm saying is. Ronnie reaches into his pocket and pulls out his Mother's disgusting yellow engagement ring, but for some reason, it looks beautiful. RONNIE If you give me another chance, I'll spend the rest of my life making it up to you. And you can call me sweetie in front of people and I'll like it. Nell thinks about it. She leans over the table and kisses Ronnie. Ronnie is stunned. With one kiss, Nell seems to make everything okay. They stare at each other and the moment seems to hold for an eternity. Love is in the air until. THE PERVERT STEPS IN FRONT OF THEM AND EXPOSES HIS DING - A - LING! Nell SCREAMS! The Pervert runs. Ronnie gets pissed! RONNIE Son of a bitch! NELL Oh, my God! RONNIE Are you alright? NELL I'm fine. RONNIE Shit, we should call somebody. NELL Ronnie. RONNIE Yeah? NELL Go get him. Ronnie realizes that this is his duty and his alone. Ronnie rises from the table slowly. He looks at Nell and nods acceptance. Then, Ronnie runs after the Pervert.\",\n \"INT. MALL - DAY The Pervert is in a full blown run through the mall. His trench coat is wide open and his wienie is flapping for the world to see. In a way, it's his greatest accomplishment. People scream! Mothers grab their daughters! No one is safe! ANOTHER ANGLE Ronnie comes ripping out of the food court. He's got a fierce look of determination in his eyes. He runs hard to catch up with the Perv. ANOTHER ANGLE There's a crowd surrounding the Cell Phone Kiosk. The Pervert bursts through the crowd and knocks people out of the way. SADDAMN What the fuck, man?! Ronnie comes running up behind him. RONNIE Get out of the way! Get out of the way! The crowd totally clears a path for Ronnie, but Ronnie stops running and SUCKER PUNCHES SADDAMN. Saddamn goes down hard and Ronnie rejoins the chase. RONNIE Stay the fuck away from my wife! THE PERVERT runs past the skaters, who are hanging out on a bench. STEVIE Dude, that's fucking disgusting! Ronnie comes running way far behind. STEVIE Hey, Ronnie, here! Stevie slides his skateboard out for Ronnie to jump on. Ronnie jumps like he is going to land on the skateboard and sail to the finish line. However, when Ronnie's feet touch the board, it goes shooting out from under him. Ronnie slams onto the ground. All of the skaters start laughing. STEVIE What a fucking douche! Ronnie picks himself up and starts to run again. He only makes it a little ways before he hits something slippery. Ronnie falls onto the ground and cracks his head. Ronnie lays on the ground and sees Ramon laughing against a wall with a mop in his hands. RONNIE Okay, Ramon, we're fucking even! Ronnie picks himself up and starts running again. THE PERVERT runs past VICTORIA'S SECRET. He stops at the doorway and as if he ca n't resist, flashes the ladies in the store. He takes off running again. RONNIE as he runs by the RECORD STORE, which of course is BLASTING MUSIC. Ronnie stops at the doorway. RONNIE Turn it down. Turn it down. The Record Store guy turns the MUSIC DOWN. Ronnie goes back to his chase. THE PERVERT runs past Mark. He looks around at all the people staring. MARK Okay, show's over. Enjoy your shopping experience at Carolina Mall. Ronnie runs past Mark. MARK Jesus. -LRB- calling out. -RRB- Charles! Charles comes running up. CHARLES What is it? MARK Call the police. And go get Ronnie. CHARLES He's trying to help. MARK Just do what I ask you. Charles runs after them. Ronnie sees Charles coming and runs faster. Charles is moving in on him. CHARLES Hey, Ronnie! Ronnie turns around to see Charles as he flings him a giant flashlight. Ronnie catches it. RONNIE Fuck yeah! Ronnie starts running again, but this time, he's a little more together. THE PERVERT has made his way through the whole mall at this point, but Ronnie is right on his ass. The Pervert is heading toward the DEPARTMENT STORE.\",\n \"INT. DEPARTMENT STORE - DAY The Pervert comes barreling in and the ladies at the perfume and make - up counters SCREAM. He looks like he's charging straight at Brandi. He's getting closer. BOOM! Ronnie comes in from the side and nails the Pervert with the flashlight. Ronnie jumps on top of the Perv and beats the ever - living shit out of him. This is a vision of a man leaving all out on the field. Ronnie stops pounding and looks up. He sees Brandi staring at him. Ronnie is overcome by anger and beats on the Pervert harder than ever before. Finally, Charles comes in and pulls Ronnie off of him. A huge crowd has gathered around. Ronnie has blood all over him. Ronnie picks the Pervert up and holds him tightly by the arms. Mark comes running up. CHARLES You want to report this to the police. RONNIE Hell no. I'm taking him down myself. Ronnie starts to walk away with the Pervert. MARK Hey, Ronnie. Ronnie stops and turns around. Mark tosses Ronnie a set of keys. MARK Good job, Ronnie. RONNIE Thank you, sir. Ronnie leads the Pervert outside. On the way, he passes Brandi. BRANDI Good job, Ronnie. RONNIE I do n't love you! BRANDI I do n't love you either. RONNIE Fine. The customers and employees of the mall CLAP for Ronnie. This is his finest moment.\",\n \"INT. GOLF CART - DAY Ronnie is stuck in traffic. He looks ridiculous in the orange golf cart on a city street with a Pervert chained up beside him, but Ronnie could care less.\",\n \"EXT. POLICE STATION - DAY The golf cart pulls up to the police station and Ronnie gets out with the Perv. Ronnie walks up the front steps and all of the officers part and let him through. Detective Harrison is at the top of the stairs. Ronnie walks right up to him. RONNIE I caught the Pervert. DETECTIVE HARRISON I see that. Well, you better turn him over to me and I'll take him inside and book him. RONNIE Since you're a real Cop, right? DETECTIVE HARRISON Hey, Ronnie, you may not be an officer of the law, but you're the law's right hand. Good job. Ronnie lets go of the Pervert. He nods to Harrison, then turns his back and walks back down the steps. Ronnie gets into his golf cart and drives away. CUT TO BLACK.\",\n \"EXT. CAROLINA MALL - MORNING Ronnie stands in front of the Mall with Nell beside him. Ronnie looks nervous, but Nell looks down at her yellow ring with pride. She looks at Ronnie, sees a loose eyelash and brushes it off of him. RONNIE What are you doing?! NELL You had an eyelash? RONNIE I'm trying to remember my speech. NELL Sorry. Nell looks straight ahead, but smiles as Ronnie tries to take himself serious. FEMALE REPORTER Okay, Ronnie, we're ready for you. Ronnie takes a deep breath and walks over to where the LOCAL NEWS has set up a camera and microphone. FEMALE REPORTER Okay, we rolling? CAMERAMAN Rolling. FEMALE REPORTER Good evening. We're here today with Ronnie Barnhardt, head of Mall Security here at Carolina Mall. Last week, Ronnie was able to catch The CAROLINA MALL FLASHER single - handed and bring him to justice. Ronnie, how did you manage to find the identity of The Pervert and take him down? RONNIE Well, being a mall security guard basically requires the same skill set that someone in say the FBI has. You have to use logic and evidence and old - fashioned common sense as well as the latest technology to deduce the criminal mind. It's what I do. All of a sudden, STEVIE AND THE SKATERS come up behind Ronnie. They look into the camera lens and start smiling. Ronnie turns around and sees them, but tries to focus on the reporter. FEMALE REPORTER Any last words for the folks at home. RONNIE Yeah, I'd just like to say that Carolina Mall is back on track and safer than ever. The Skaters start flipping off the camera. Ronnie keeps getting distracted. RONNIE In fact, there are some wonderful sales taking place right now. Stevie walks up behind Ronnie and pretends to hump him. RONNIE So for all you families out there, come on down and see us. It's a wonderful place. Ronnie turns around angrily. RONNIE THAT'S IT, YOU LITTLE SHIT! THE SKATERS jump on their skateboards and skate off. Ronnie runs after them. He jumps into his GOLF CART and gives chase. The NEWS CAMERA is still rolling. The FEMALE REPORTER looks into the lens. FEMALE REPORTER You heard it, folks. Everything is back to normal here at Carolina Mall. Back to you, Lindsay. CUT TO BLACK. THE END\"\n]"},"labels":{"kind":"list like","value":[0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,1,0,0,0,1,0,1,1,1,0,0,0,0,0,1,0,0,0,0,1,0,0,1,0,0,0,1,0,0,0,0,0,0,1,1,0,0,0,0,0,1,1,1,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,1,0,0,1,1],"string":"[\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 1,\n 0,\n 0,\n 1,\n 1\n]"},"summary":{"kind":"string","value":"An anonymous flasher exposes himself to shoppers in the Forest Ridge Mall parking lot. The head of mall security, Ronnie Barnhardt, makes it his mission to apprehend the offender. However, while Ronnie is ostensibly well-intentioned and valiant in his own mind, in reality he appears to be an emotionally unstable individual with vigilante tendencies, apparently experiencing bipolar disorder and displaying violent ideation, among other problems. The criminal activity at the mall continues as the flasher exposes himself to make-up counter worker Brandi and a masked robber causes property damage at a shoe store. In both instances, Detective Harrison, a police detective, arrives to investigate. The two dislike each other, as Ronnie believes Harrison is taking over his proper role as investigator and Harrison believes that Ronnie is disrupting the investigation. Ronnie decides to take steps to become a police officer. As part of his preparations, Ronnie decides to ride along with Detective Harrison. Harrison tricks him into walking into the most dangerous part of town and drives off. Ronnie then confronts and subsequently assaults several drug dealers, victoriously returning to the police station with a dealer's son and thanking the detective for the opportunity to prove himself. Emboldened, Ronnie arranges a date with Brandi. On their date, Brandi sees Ronnie taking a prescription clonazepam and assumes that Ronnie takes them recreationally. She asks him to share and he gives her the entire bottle, believing that he doesn't need his prescription anymore. Ronnie takes her home and has sex with her while she is semi-conscious. Ronnie passes the background check and physical examination for the police officer job, but fails the psychological examination. Nell, a friendly food court worker, tearfully shares that her boss and coworker employee tease her for having her leg in a cast. Ronnie then beats up Roger and warns him and Trina not to harass Nell again. Depressed, he is persuaded by fellow security officer Dennis to spend the day doing a wide variety of drugs and assaulting skateboarding teenagers. At the end of the day, Dennis reveals that he has been stealing from the mall for some time. Ronnie insists this is wrong and, after a brief argument, Dennis knocks him unconscious and flees. Ronnie decides to go undercover in order to catch the flasher, but when he catches Brandi having sex with Harrison in the parking lot, he confronts her in front of onlookers at the mall the next day, blowing his cover and destroying a display case. The police are summoned and Ronnie fights them and Harrison off until he is overpowered and arrested. After some time, Ronnie's mom gives him a postcard from Dennis in Mexico, who admits that he respects Ronnie for caring so much. Ronnie returns to the mall, despondent that he no longer works security. He discovers that Nell's cast has been removed. She kisses him just before the flasher arrives and exposes himself to the food court. After a brief chase, Ronnie incapacitates the flasher by shooting him in the shoulder. Ronnie then brings the bleeding flasher to the police station, gloating that he has won by apprehending him. Ronnie is subsequently interviewed by the local news, having regained his job and begun dating Nell."},"name":{"kind":"string","value":"Observe_and_Report"}}},{"rowIdx":78,"cells":{"scenes":{"kind":"list like","value":["EXT. CARNIVAL - DAY A loudspeaker playing Percy Sledge's `` When a Man Loves a Woman,'' as we see a carnival in the distance - with a Ferris Wheel turning round and round. A black man is by a stall. On his arm is an Irish girl with blond hair. The black man is drunk, and is tossing rings around a bowling pin. JODY And that's cricket, hon. An attendant hands him the teddy bear. It looks ridiculous in his huge hands. He gives it to the girl. JODY You want it? GIRL Sure. JODY Does n't matter if you do n't. He puts his arm around her and drags her on. JODY Jody wo n't be offended. Jody's never offended. What'd you say your name was? GIRL Jude. JODY Jude. Suits you, Jude. JUDE The teddy bear? JODY No, fuck the bear. The name. Jude. And it's June. Jude in June. He comes to a small canvas tent with a sign on it - TOILET. JODY Got ta piss, Jude. He holds her hand. JODY Do n't run off, Jude. JUDE You do n't know me, do you? Jody walks inside the canvas flap and vanishes from sight. We can still see his hand, holding Jude's. She leans against the canvas, looking bored. JODY -LRB- inside. -RRB- What if I did? JUDE You'd know I would n't run off. She stands there, listening to the sound of him urinate. Her eyes flick around the carnival. They settle on a tall dark - haired man in a dark jacket. He nods. JODY Never pissed holding a girl's hand, Jude. JUDE You did n't? JODY And you know what? JUDE Tell me, Jody He staggers out, buttoning up. JODY It's nice. He goes to kiss her. She turns her head away. JUDE Not here. JODY Who gives a fuck. JUDE You never know. She pulls him over toward the water. JODY I never know nothing. JUDE People. They could be looking. Jody follows her, as she walks backward, drawing him on. He moves his hips to a song as Jude leads him over the beach, under a train trestle. JUDE Come and get me, soldier - JODY Whatever you say, Jude. He sinks down on his knees toward her. She wraps her arms around his neck and kisses him. Jody writhes on top of her, fumbling with his belt. Jude cocks one eye upward. A shadow falls across them. CLOSE ON JODY, kissing her. A gun is put to his head. He turns around, drunkenly. JODY What the fuck - The gun whacks him across the cheek and he falls sideways. Jude scrambles to her feet and darts like an animal through a field. Jody feels his cheek. He can see her blond head vanishing among the fields. He looks up and sees a group of men around him. The tallest of them, Fergus, cocks the gun.","INT. CAR - DAY A mini, driving down a country road. Two men in the front, three in the back. On the floor of the car Jody lies, with three pairs of feet on top of him, a black bag over his head and the barrel of a gun dangling close to his face. Fergus holds the gun. He is smoking a cigarette. His movements are slow and somewhat innocent. FERGUS So what's your name, soldier? JODY Fuck you. FERGUS Yeah.","EXT. SMALL FARMHOUSE - EVENING.","INT. FARMHOUSE - NIGHT. Jody pulled through and tied to a chair. Maguire, a small lean man, talks to him through the hood. MAGUIRE The situation is simple. You're being held hostage by the Irish Republican Army. They've got one of our senior members under interrogation in Castleraigh. We've informed them that if they do n't release him within three days, you'll be shot. You'll be treated as our guest until further developments. Have you anything to say? Jody is motionless under the black hood. FERGUS Give him a cup of tea. MAGUIRE Do you want a cup of tea? He still says nothing. DISSOLVE. All the men are drinking tea. The blond woman comes in with a plate and some food on it. FERGUS See does he want some. JUDE Do you want some food? Jody sits as still as a grave, saying nothing. DISSOLVE. Late at night - it is dark. The men are sleeping. Fergus is sitting by a chair, gun in his hand, watching the prisoner. Jude comes in, with a flashlight. FERGUS Hey - what's he like? JUDE Horny bastard. FERGUS Did you give him it? JUDE There are certain things I would n't do for my country. FERGUS Have a look at him. JUDE Ca n't. FERGUS Poke him or something. See if he's still alive. JUDE He's all right. FERGUS Has n't moved for twelve hours. Go on. Have a heart. She moves over to him. She prods him in the legs with her foot. He does n't move. Then she lifts the hood ever so slightly, to peer inside. Suddenly the man moves like lightning, jerking his head down so the hood comes off, throwing his body, tied to the chair, over Jude. JODY You fucking bitch - you fucking whore - He pins her to the ground, his body bent with the chair. He writhes on top of her in a grotesque parody of love. She is screaming and the room is alive, each man awake, grabbing guns, screaming. MAGUIRE Turn the fucking thing off -","EXT. FARMHOUSE - NIGHT. Fergus follows Jude out a back door, holding her by the arm. FERGUS You all right? JUDE Fucking animal. She takes in huge gobs of air. FERGUS You do n't know that. JUDE Fucking do. I had him all over me. He touches her face. FERGUS Tough work, that. JUDE Someone's got to do it. She rubs her hand on his chest. JUDE Nah, it was a breeze. Just thought of you. She sidles closer, coming on to him. JUDE And you know what, Fergus? One of you made me want it. She puts her lips to his neck. FERGUS Which one? She does n't answer. They embrace.","EXT. FARMHOUSE - MORNING. A hot summer's day. There are tall hedges all around the house. Fergus leads Jody, still bound and hooded, over toward a greenhouse.","INT. GREENHOUSE - DAY Dusty tomato plants and vines everywhere. Broken glass. The sun pouring through. Fergus leads Jody over to a wrought iron chair and sits him in it. He sits opposite, gun on his lap. Fergus takes some sandwiches out of a brown paper bag. He holds one out toward him. FERGUS Eat something, would you? JODY Ca n't. FERGUS What do you mean you ca n't? JODY Ca n't eat through a canvas bag. Fergus walks over to him, lifts the hood up so his mouth is revealed, and pushes the sandwich toward his lips. Jody eats, slowly. JODY This is a farce, man. FERGUS How is it a farce? JODY I seen your fucking face. FERGUS So, what do I look like? JODY You're the one about five ten with the killer smile and the baby face. FERGUS Am I? JODY Yeah. And the brown eyes. Fergus pushes the last crumbs of the sandwich toward Jody's mouth. JODY You're the handsome one. Jody eats the last bits. JODY Thank you, handsome. FERGUS My pleasure.","EXT. FARMHOUSE - DAY Jude makes her way from the door toward the greenhouse. She is carrying a pot of tea and two cups.","INT. GREENHOUSE - DAY It is sweltering now in the greenhouse. CLOSE ON JODY'S COWLED HEAD. The hood is drenched with sweat. JODY I ca n't fucking breathe, man. Be a Christian, will you? Jude comes into view. JODY Tell him to take the hood off, honey. Jude says nothing. Lays the tea on the ground. FERGUS How did you know it was her? JODY I can smell her perfume. Jude pours out the tea. JUDE See, if we took the hood off, we'd have to shoot you. As it is, you've got a fifty - fifty chance. JODY Thought you liked me, bitch. JUDE It was fun while it lasted. JODY Nice lady. His breathing becomes labored. JODY Please, man, I'm suffocating in here. FERGUS Ca n't we take it off? JUDE Have to check with himself. Fergus gives her the gun. FERGUS You look after him. Jody's head follows Fergus while he leaves. JODY Do n't leave me with her, man. She's dangerous. Jude smiles, holding the gun on her lap.","INT. FARMHOUSE - DAY Fergus enters. Maguire and the others. Maguire has a newspaper, which has a headline regarding the kidnapping. MAGUIRE Made the front page. They'll move now, the fuckers. FERGUS Request permission to take the hood off, Tommy. MAGUIRE Why would you do that? FERGUS The poor whore's suffocating in the heat. MAGUIRE So? FERGUS And anyway, he's seen our faces. MAGUIRE You sure? FERGUS He described me down to a T. Knows what Jude looks like. Maguire reads the paper. FERGUS Tommy - MAGUIRE You're his keeper. If you do n't mind him seeing you, I do n't mind. But you're the only one he looks at. FERGUS Thanks. MAGUIRE It's your decision.","INT. GREENHOUSE - DAY Jude, drinking tea, looking at Jody sweating. Fergus enters. He puts his arm casually around her. FERGUS Leave us, Judie. JUDE My pleasure. She goes. Fergus walks to Jody and slowly takes the hood off. Jody looks up at him, his face bathed in sweat. He breathes in mighty gulps of air. He smiles. JODY Thank you, soldier. Fergus smiles. JODY Never thought fresh air would taste this good. Fergus pours out a cup of tea and brings it to his lips. JODY Now, if you took the ropes off, I'd be able to feed myself. FERGUS No fucking way. JODY Only joking. Fergus drinks. JODY You know, I was wrong about one thing. FERGUS What's that? JODY Five ten. Brown eyes. But you're no pinup. FERGUS No? JODY Nope. Not handsome at all. FERGUS You trying to hurt my feelings? JODY No. It's the truth. FERGUS Well, I could say the same about you. JODY Could you? FERGUS But I wo n't. We're more polite around these parts. JODY So I've noticed. Fergus looks at him. Jody is n't smiling anymore. Fergus goes back to his seat and drinks his tea. He fingers the gun on his lap. JODY Hey - FERGUS What is it now? JODY You're going to have to do it, are n't you? FERGUS Do what? JODY Kill me. FERGUS What makes you think that? JODY They're going to let that guy die. And you're going to kill me. FERGUS They wo n't let him die. JODY You want to bet? FERGUS I'm not a gambling man. JODY And even if he does n't die - you ca n't just let me loose. FERGUS Why ca n't we? JODY Not in your nature. FERGUS What do you know about my nature? JODY I'm talking about your people, not you. FERGUS What the fuck do you know about my people? JODY Only that you're all tough undeluded motherfuckers. And that it's not in your nature to let me go. FERGUS Shut the fuck up, would you? JODY And you know the funny thing? FERGUS No, what's the funny thing? JODY I did n't even fancy her. FERGUS Did n't look like that to me. JODY She's not my type. He looks at Fergus. JODY C'mere. FERGUS No. JODY Ah, c ` mere. I want to show you something. FERGUS What? JODY My inside pocket. Fergus holds the gun to his face. He fishes inside Jody's inside pocket. JODY Take out the wallet. Fergus's hand emerges with a wallet. JODY Open it. CLOSE ON THE WALLET. Credit cards, army identification photograph. JODY Inside. There's a picture. Fergus takes out a picture. It is of Jody, in cricket whites, smiling, holding a bat. Fergus smiles. JODY No, not that one. There's another. Fergus takes out another picture of Jody and of a beautiful black woman, smiling. JODY Now she's my type. FERGUS She'd be anyone's type. JODY Do n't you think of it, fucker. FERGUS Why not? JODY She's mine. Anyway, she would n't suit you. FERGUS No? JODY Absolutely not. FERGUS She your wife? JODY Suppose you could say that. Jody chuckles. FERGUS You make a nice couple. JODY Do n't I know it. FERGUS So what were you fucking around for, then? JODY You fuckers set me up. That bitch - FERGUS She's a friend of mine JODY Okay. That nice lady. Meets me in a bar. I'm saying what the fuck am I doing here anyway. She buys me a drink. She holds my hand. I'm looking at her saying I do n't like you, bitch. But what the fuck. Maybe I'll get to understand. FERGUS What? JODY What the fuck am I doing here. FERGUS What the fuck were you doing here? JODY I got sent. FERGUS You could have said no. JODY Ca n't. Once I signed up. FERGUS Why did you sign up? JODY It was a job. So I get sent to the only place in the world they call you nigger to your face. FERGUS Should n't take it personally. JODY -LRB- He imitates a Belfast accent. -RRB- `` Go back to your banana tree, nigger.'' No use telling them I came from Tottenham. FERGUS And you play cricket? JODY Best game in the world. FERGUS Ever see hurling? JODY That game where a bunch of paddies whack sticks at each other? FERGUS Best game in the world. JODY Never. FERGUS The fastest. JODY Well, in Antigua cricket's the black man's game. The kids play it from the age of two. My daddy had me throwing googlies from the age of five. Then we moved to Tottenham and it was something different. FERGUS How different? JODY Toffs' game there. But not at home. Fergus looks at him. JODY So when you come to shoot me, Paddy, remember, you're getting rid of a shit - hot bowler. FERGUS I'll bear that in mind. He keeps looking at him. FERGUS And by the way, it's not Paddy. It's Fergus. Jody smiles. JODY Nice to meet you, Fergus. FERGUS My pleasure, Jody","EXT. GREENHOUSE - NIGHT. Fergus leads Jody outside, holding the gun against him. FERGUS Take it easy, now. Just go slow. Down by that tree. JODY Tree. He walks toward it, breathing heavily. JODY You've got to loosen my hands. FERGUS Ca n't. JODY Well then, you're going to have to take my dick out for me, aren t you? Fergus, in the dark, stands motionless, looking at him. JODY Come on, man, I'm going to wet my pants! Fergus turns him around and unzips his fly. JODY Take the fucker out, man, I'm dying - Fergus takes Jody's penis out. Jody takes two steps toward the wall. JODY I got ta lean forward or I'll dribble all over myself. Will you hold my hands for me. Fergus holds his hands from behind, so Jody can lean forward. Jody now pisses with immense relief JODY Now, that was worth waiting for. FERGUS Hurry up, would you? JODY These things take time, Fergus. He shakes his body. JODY It's amazing how these small details take on such importance. He steps back. JODY Now put it back in. FERGUS Give us a break. JODY I ca n't do it! It's only a piece of meat. For fuck's sake, it's got no major diseases. Fergus puts Jody's penis back in his pants and zips him up. JODY Thank you. I had a case of the clap two years ago. Crabs in Ulster. But all in all it's served me well. FERGUS Shut up, would you? JODY I'm sorry. Did n't mean to offend you, Fergus. Fergus leads him hack toward the greenhouse.","INT. GREENHOUSE - NIGHT. Fergus leads Jody back to his chair. JODY Fergus? FERGUS Yeah? JODY Thanks. I know that was n't easy for you. He begins to laugh. FERGUS The pleasure was all mine. Fergus begins to laugh, without knowing why.","EXT. FARMHOUSE - NIGHT. Maguire, walking out of the house, woken by the sound of laughter.","INT. GREENHOUSE - NIGHT. Jody, still laughing. Suddenly the hood is slammed back over his head. Maguire, standing there in the dark, looking at Fergus. MAGUIRE What the fuck is this? FERGUS It's nothing. He's just got a sense of humor, that's all. MAGUIRE You're on duty. Keep your fucking mouth shut. Go in and get some sleep. Fergus gets up slowly, walks toward the door. JODY Yeah. Get some sleep.","EXT. FARMHOUSE - NIGHT. Fergus, walking toward the house. He looks back and sees the figures of Maguire and Jody in the dark, in absolute silence.","INT. FARMHOUSE - NIGHT. Fergus sleeping.","INT. GREENHOUSE - NIGHT. Jody sleeping. Maguire sitting with an Armalite in his hands, watching him.","EXT. FARMHOUSE AND FIELDS - DAY The sun coming up over the low hills around the farmhouse.","INT. GREENHOUSE - DAY Fergus enters, with a tray and some breakfast. Maguire is sitting where he sat before, stock - still. FERGUS Did he talk? Maguire shakes his head. FERGUS Did n't make you laugh? Maguire shakes his head. FERGUS Here. Have some breakfast. He hands Maguire a plate. Jody stirs. JODY Good morning, Fergus? Maguire looks hard at him. MAGUIRE So he knows your name? FERGUS I told him. MAGUIRE Are you all there? He rises, and drags Fergus out the door. FERGUS Back in a minute, Jody","EXT. GREENHOUSE - DAY MAGUIRE You'll have minimal contact with the prisoner, do you hear me? FERGUS Yes. MAGUIRE And do you know why? FERGUS Why? MAGUIRE Because tomorrow we might have to shoot him, that's why. Maguire goes back to the house.","INT. GREENHOUSE - DAY Jody sitting with the hood on again. Fergus enters. JODY They giving you trouble, Fergus? Fergus says nothing. He takes a plate and brings it toward Jody JODY It happens. Y ` see, there's two kinds of people. Those who give and those who take. Fergus lifts up Jody's hood to expose his mouth and begins to feed him. JODY Ah, take the thing off, man. Fergus says nothing and keeps feeding him. JODY It's okay. I understand. Do n't mind if I prattle on, do you? Fergus shakes his head and says nothing. JODY I will take it by your silence that you do n't. He eats. Fergus feeds himself, then feeds more to Jody. JODY Two types, Fergus. The scorpion and the frog. Ever heard of them? Fergus says nothing. JODY Scorpion wants to cross a river, but he ca n't swim. Goes to the frog, who can, and asks for a ride. Frog says, `` If I give you a ride on my back, you'll go and sting me.'' Scorpion replies, `` It would not be in my interest to sting you since as I'll be on your back we both would drown.'' Frog thinks about this logic for a while and accepts the deal. Takes the scorpion on his back. Braves the waters. Halfway over feels a burning spear in his side and realizes the scorpion has stung him after all. And as they both sink beneath the waves the frog cries out, `` Why did you sting me, Mr. Scorpion, for now we both will drown?'' Scorpion replies, `` I ca n't help it, it's in my nature.'' Jody chuckles under his hood. FERGUS So what's that supposed to mean? JODY Means what it says. The scorpion does what is in his nature. Take off the hood, man. FERGUS Why? JODY'Cause you're kind. It's in your nature. Fergus walks toward him and pulls off the hood. Jody smiles up at him. JODY See? I was right about you. FERGUS Do n't be so sure. JODY Jody's always right.","INT. GREENHOUSE - LATE AFTERNOON. Both men dozing in the heat. JODY Where would you most like to be now, man? FERGUS Does n't matter where. JODY Come on, man. If this shit was all over. FERGUS Having a pint in the Rock. JODY You lack imagination, Fergus. Think of something more alluring. FERGUS Like what? JODY Like having a pint in the Metro - Fergus laughs. FERGUS Having two pints in the Rock. JODY Having a pint in the Metro, and Dil's having a margarita. FERGUS Who's Dil? JODY My special friend. FERGUS Oh, yeah. JODY We got simple tastes, you and me. FERGUS The best. JODY But you fellas never get a break, do you? FERGUS Do you? JODY Oh, yes. We do a tour of duty and we're finished. But you guys are never finished, are you? FERGUS We do n't look on it like that. JODY I've often wondered how you do it. FERGUS Depends on what you believe in. JODY What do you believe in? FERGUS That you guys should n't be here. JODY It's as simple as that? FERGUS Yes. Jude enters. JUDE Put that thing back on him, Fergus. FERGUS He's hot. JUDE Does n't matter if he's hot. Just cover the fucker up. JODY Have you no feelings, woman? JUDE You shut your face - She pulls the hood down over him. JUDE You're heading for trouble, Fergus - JODY He's a good soldier, Jude. She whacks him with a pistol. JUDE I said shut the fuck up - JODY He believes in the future -","INT. GREENHOUSE - NIGHT. Jody, sitting in the hood. Fergus lifts it a bit ; Jody's mouth, with blood now in his lips. FERGUS Is it bad? JODY No. Not bad. Women are trouble, you know that, Fergus? FERGUS I did n't. JODY Some kinds of women are. FERGUS She ca n't help it. JODY Dil was n't trouble. No trouble at all. FERGUS You liked her? JODY Present tense, please. Love her. Whatever she is. I'm thinking of her now, Fergus. Will you think of her too? FERGUS Do n't know her. JODY Want you to do something, Fergus. FERGUS What? JODY If they kill me - FERGUS Do n't think that way. JODY But they will. As sure as night follows day. They have to. I want you to find her out. Tell her I was thinking of her. Fergus is moved. He ca n't reply. JODY See if she's all right. FERGUS I do n't know her. JODY Take her picture. C'mere. Fergus walks toward him. JODY Take it. In the inside pocket. Their faces, close to each other as Fergus searches out her picture. JODY Take the whole lot. I wo n't need it. FERGUS I told you not to talk that way - JODY Go to Millie's Hair Salon in Spitalfields. Take her to the Metro for a margarita. Do n't have to tell her who you are. Just tell her Jody was thinking - FERGUS Stop it - The door opens. Maguire is there, with another. MAGUIRE Volunteer? Fergus turns toward him. MAGUIRE We need you inside. Fergus walks toward Maguire and the other man walks forward, takes his seat. Fergus, unseen by Maguire, puts the wallet in his pocket.","INT. FARMHOUSE - NIGHT. Maguire, Jude, Fergus, and the others. MAGUIRE We've had word. They've used every trick in the book on him. He's starting to talk. You're going to have to do it in the morning. Maguire lights a cigarette. Fergus looks at him and nods. MAGUIRE You OK about that? FERGUS I'm a volunteer, am n't I? MAGUIRE Good. I was beginning to have my doubts about you for the last few days. JUDE Not the only one - MAGUIRE Shut up, Jude. You best get some sleep tonight, Fergus. FERGUS Peter. MAGUIRE What? FERGUS Request permission to guard the prisoner tonight - JUDE You're crazy. Do n't let him, Peter. MAGUIRE Shut the fuck up, Jude. He turns back to Fergus. He puts his arm on Fergus's shoulder. MAGUIRE Why do you want to do that for? FERGUS Would make me feel better about it. MAGUIRE You sure about that? FERGUS I'm sure. MAGUIRE Okay. You're a good man, Fergus. Fergus leaves.","INT. GREENHOUSE - NIGHT. Fergus takes his place in the chair beside Jody. Jody begins to laugh under the hood. It turns into the sound of crying. FERGUS Do n't. JODY I'm sorry. The crying stops. JODY Help me. FERGUS How can I? JODY I do n't know. Just help me. Give me a cigarette. Fergus takes out a cigarette, lights it, and lifts up Jody's hood so he can smoke. JODY Do n't even smoke, you know that? It just seemed the right thing to do. Fergus watches him puff the cigarette, the hood just above his lips. Jody coughs, but keeps the cigarette in his lips. Fergus gently takes the cigarette from his mouth. FERGUS Go to sleep now. JODY I do n't want to sleep. Tell me something. FERGUS What? JODY A story. FERGUS Like the one about the frog? JODY And the scorpion. No. Tell me anything. FERGUS When I was a child. JODY Yeah? FERGUS I thought as a child. But when I became a man I put away childish things. JODY What does that mean? FERGUS Nothing. JODY Tell me something, anything. Fergus is silent ; his eyes wet. JODY Not a lot of use, are you, Fergus? FERGUS Me? No, I'm not good for much.","EXT. FIELDS - MORNING. The farmhouse covered in mist. The sun coming through it.","EXT. GREENHOUSE - MORNING. Maguire opens the door to the greenhouse and clicks the chamber of his gun. Fergus has a gun in his hand. He checks the chamber. Fergus takes Jody, whose hands are still tied behind his back, by the elbow. FERGUS Stand up, now - Jody rises. Fergus leads him through the door, past Maguire. MAGUIRE I wish to say on behalf of the Irish Republican Army - Fergus turns with sudden fierceness. FERGUS Leave him be - He pulls Jody through the fields.","EXT. TREES - MORNING. Fergus pushing Jody through a copse of trees, the gun at his back. JODY Take the hood off, Fergus - FERGUS No. JODY I want to see a bit. Please, please. Do n't make me die like an animal. Fergus pulls the hood off. Jody looks around him. He has a cut lip where Jude struck him. Fergus prods him on with the gun. Jody stumbles forward. Fergus is all cold and businesslike. JODY I'm glad you're doing it, do you know that, Fergus? FERGUS Why? JODY Cause you're my friend. And I want you to go to the Metro - FERGUS Stop that talk now - JODY Hurling's a fast game, is n't it, Fergus? FERGUS The fastest. JODY Faster than cricket? FERGUS Cricket's in the halfpenny place. JODY So if I ran now, there's no way I'd beat you, is there? FERGUS You wo n't run. JODY But if I did. you would n't shoot a brother in the back - Jody suddenly sprints, and, loosening the ties on his hands, then freeing them, he is off like a hare. Fergus screams in fury after him. FERGUS JODY! Fergus aims, then changes his mind and runs. FERGUS You stupid bastard - JODY What you say, faster? FERGUS I said you bastard - stop - JODY Got to catch me first - Fergus gains on him - stretches his arm out - but Jody sprints ahead again - as if he has been playing with him. He laughs in exhilaration. Fergus pants behind him, wheezing, almost laughing. JODY Used to run the mile, you know - four times round the cricket pitch - what was that game called? FERGUS Hurling - JODY What? FERGUS Hurling - Jody runs, whipping through the trees - always ahead of him. JODY Come on, Fergie - you can do it - a bit more wind - Fergus grabs his shoulder and Jody shrugs it off, gaining on him again. JODY Bit of fun, Fergus, eh? And suddenly the trees give way. Jody turns, laughing, to Fergus. JODY Told you I was fast - Fergus is panting, pointing the gun at Jody JODY Do n't do it. And suddenly a Saracen tank whips around the corner, hits Jody with the full of its fender. His body flies in the air and bounces forward as another tank tries to grind to a halt and the huge wheels grind over him. Fergus, screaming, `` No -!'' He almost moves forward, then sees soldiers spilling from the tank around the body. Fergus turns and runs.","EXT. TREES - DAY Fergus whipping through the trees, his body crouched low as he runs.","INT. GREENHOUSE - DAY Tinker sitting in the greenhouse. A helicopter screams into view through the panes and automatic fire comes from it, shattering every pane in seconds and tearing Tinker to bits.","INT. FARMHOUSE - DAY Bullets whipping through every window, taking chunks from the masonry, tearing the walls apart. Maguire, Jude, and the others on the floor, scrambling for weapons.","EXT. TREES - DAY Fergus, hearing the gunfire, runs through overhanging branches till eventually he is hidden from sight.","EXT. CARNIVAL ON THE MONAGHAN BORDER - DAWN. A forlorn - looking building over nondescript fields. An old man wheels a bicycle slowly toward it ; a rusty car appears ; and Fergus gets out of it. TOMMY Fergus! FERGUS You're back in the pink, Tommy? How're you keeping?","INT. CARAVAN - DAY The old man pouring whiskey into a teacup. TOMMY You'll notice I've asked you nothing. FERGUS That's wise, Tommy. TOMMY All right, then. I like to be wise. He pours Fergus more whiskey. TOMMY So what do you need, Fergus? FERGUS Need to go across the water. TOMMY Do you now. FERGUS Need to lose myself awhile. TOMMY Aha. He looks at Fergus and lights a cigarette. He puffs. TOMMY There's a man I know ships cattle to London.","EXT. DUBLIN BAY - EVENING. The ferry, churning into the sunset. FADE TO BLACK.","INT. BUILDING SITE - DAY FADE UP into an elegant, empty Georgian room, covered in clouds of dust. A figure among the clouds of dust, hacking at a wall with a sledgehammer. It is Fergus, dressed in laborer's overalls, covered in dust. He is knocking the bricks from an outer wall. He works furiously and relentlessly, like a machine. We see the wall, with the hammer striking it. One brick falls away, then another. Daylight pours through the clouds of dust and the growing hole. Fergus's face, as he works. The hole. More bricks falling away. Through the clouds of dust and the streams of daylight we now see a patch of green. Fergus's face, working. His rhythm slows. The hole. More bricks fall away. Then the hammer stops. The dust begins to clear. His face. The jagged hole. The dust drifts across it, revealing a cricket pitch, with tiny sticklike figures running on the green.","EXT. HOSTEL - DAY Fergus, returning from work, crosses the street, and enters through a white door.","INT. HOSTEL - DAY Fergus dressing. He puts on a cheap suit, like any country boy in a big city. He takes Jody's wallet from the trousers of his overalls. He flips it open, sees the picture of the soldier and Dil. He puts it in the pocket of his suit.","EXT. STREET - DAY Fergus walking down a street looking for an address. Some distance down the street is a sign - MILLIE'S UNISEX HAIR SALON.","EXT. STREET - DAY Fergus, standing as the crowds go by him, looking in the window. He has the picture in his hand. We see Dil from his point of view, then Fergus walks inside.","INT. HAIR SALON - DAY Fergus enters. The door gives a loud ping. A GIRL We're closing. I'll see you tomorrow, Dil She leaves the salon. DIL You want something in particular? FERGUS Just a bit of a trim. Dil checks her watch and stubs out a cigarette. DIL Come on. She gestures toward a chair. Fergus sits down. She comes toward him and fiddles with his hair. She pushes his head back into a basin behind him. She begins to knead his hair in hot water and shampoo. DIL Someone recommend you? FERGUS In a way. DIL Who? FERGUS Guy I work with. DIL What's his name? Fergus ca n't think of an answer. The hands with the purple nails run over his scalp. FERGUS Does n't the water get to your nails? DIL What's it to you? FERGUS Nothing. Fergus, sitting up. She begins to cut. DIL You American? FERGUS No. DIL Not English. FERGUS No. DIL Scottish? FERGUS How'd you guess? DIL The accent, I suppose. FERGUS And what's it like? DIL Like treacle. She imitates his accent saying it. Fergus laughs. DIL Nice laugh. Dil raises Fergus's head up, with his new - cut hair and holds a mirror up behind his head so he can see the back. He looks like a young London stockbroker. The hair salon around them is empty. DIL That should make her happy. FERGUS Who's she? DIL Do n't know. Who is she?","EXT. HAIR SALON - EVENING. Fergus emerges from the shop. He takes one last look through the window where Dil is taking off her smock, touching up her hair, etc.. It is as if she has forgotten all about him. He walks off through the crowds and then ducks into a doorway. The doorway of the shop. Dil comes out, dressed in a pair of high heels, a very short skirt, different, more raunchy clothes on her than we saw inside. She locks the glass door and walks down the street, across the road, and into a pub called the Metro. Fergus follows.","INT. METRO - EVENING. Half full, with an after - work crowd. Dil makes her way through it. BARMAN Hi, Dil DIL Hiya, hon. She sits down at the bar. Fergus comes toward the bar and takes a seat. BARMAN What'll it be? FERGUS A bottle of Guinness. Dil, looking at Fergus. DIL See that, Col? COL See what, Dil? DIL He gave me a look. COL Did he? Fergus blushes. He buries himself in his drink. DIL Just cut his hair, you know. COL Yeah? DIL What you think? COL Nice. Fergus throws his eyes toward her again. She has her face turned away, but sees him in the mirror. DIL There, he did it again. COL Saw that one. DIL What would you call it? COL Now, that was a look. She eyes Fergus in the mirror. DIL Ask him to ask me what I'm drinking. The barman, with infinite weariness, approaches Fergus. COL She wants to know do you want to know what she's drinking. Fergus is about to talk when she pipes up. DIL A margarita. The barman mixes it. She stares at the mirror, staring at Fergus, who is trying to avoid her eyes. The barman hands her the drink. DIL Now he can look. Ask him does he like his hair, Col. COL She wants to know, sir, do you like your hair. FERGUS Tell her I'm very happy with it. DIL He's Scottish, Col. COL Scottish? FERGUS Yeah. DIL What'd he say, Col? COL He agreed that he was. DIL What do you think his name is? COL I've no thoughts on the subject. FERGUS Jimmy. DIL Jimmy? COL That's what he said. Jimmy. DIL Hi, Jimmy. FERGUS Hiya, Dil A burly man sits down beside her. He puts his hand on her knee. MAN Sing the song, Dil - She slaps the hand away. DIL Fuck off, Dave. DAVE C'mon, babe! You know what I like. Easy! She turns back to Fergus and finds his seat empty.","EXT. METRO - NIGHT. Fergus, standing across the road from the pub. He is sweating. Dil comes out of the pub. She looks this way and that, as if searching for Fergus. Fergus stands back into a shadow. Dave, the burly man, comes out. He grabs her by the elbow. She shrugs him off. She walks off. Dave follows, grabs her by the elbow again. The sense of an old argument. Dave suddenly strikes her across the face with his open palm. She leans her head against a wall. Dave then puts his arms around her, consoles her.","EXT. STREET - NIGHT. Dave walking, holding Dil by the arm. The street is dilapidated, full of squats. They stop outside a door. Dil opens the door with a key from her purse and they both walk inside. Fergus stands there, observing. A light comes on in an upstairs room. Dil enters ; we see her shadow in silhouette behind the curtain and the shadow of Dave coming in behind her. He begins to remove her blouse. She stands absolutely still as he does so. Fergus backs away, then walks off.","INT. HOSTEL - NIGHT. Fergus, in bed. Fade to black as we see Jody as a bowler, running in slow motion, toward the camera. He releases the ball ; we see Fergus in bed, breathing heavily.","INT. SITE - NEXT DAY Fergus takes a break and watches the batsman hit a ball. He imitates the batsman's motion with his sledgehammer. Then a voice interrupts him. DEVEROUX So Pat's a cricket fan, eh? Fergus turns. We see Tristram Deveroux, a young Sloane type in a three - piece suit, whose house it is. Beside him is Franknum, the cockney foreman. FERGUS It's not Pat. It's Jim. DEVEROUX Jim, Pat, Mick, what the fuck. Long as you remember you're not at Lords. Fergus resumes work.","INT. METRO - NIGHT. It is now crowded with people, black, white, punky and street chic, a lot of leather All the women are heavily made - up. Someone is singing from the tiny stage and rows of cheap colored bulbs are flashing around it. From the way Fergus walks through, it is obvious he has never been here at night. He seems most out of place in his cheap suit, making his way through the crowd to the bar. AT THE BAR. Fergus looks through the odd crowd, but ca n't find Dil. Col, the barman, sees him and smiles. COL So can we consider you a regular, sir? FERGUS Is that good or bad? COL Well, you get to say, The usual, Col. Things like that. Col pushes a colored cocktail with one of those Japanese umbrellas toward him. COL So let's call this the usual. FERGUS Thanks. Fergus reaches for his wallet to pay, but Col interrupts. COL No, no. It's on me. Fergus tries to pretend he's familiar with the drink, and by implication, whatever are the norms of the place. He lifts the glass to his mouth, but the umbrella keeps getting in the way. COL Take it out, if you want. Fergus takes out the umbrella. He holds it in one hand and drinks with the other. COL You came to see her, did n't you? Fergus shrugs. He takes out a cigarette. A guy in leather to his left smiles at him. COL Something I should tell you. She's - FERGUS She's what? The barman looks up toward the stage. COL She's on. THE JUKEBOX. A hand presses a button. The needle selects a disk. A song by Dave Berry, `` The Crying Game.'' AT THE BAR. Fergus looks up. Close - up of Dil's hand, as music begins, making movements to the music. We see Dil, standing on a stage, swaying slightly. She seems a little drunk. She mimes to the song. She mouths the words so perfectly and the voice on the song is so feminine that there is no way of knowing who is doing the singing. She does all sorts of strange movements, as if she is drawing moonbeams with her hands. The crowd seems to know this act. They cheer, whether out of approval or derision we ca n't be sure. Fergus watching. Dil singing, noticing him. She comes to the end of the song. The crowd cheers. Fergus, watching her make her way through the crowded bar, toward him. DIL He's still looking, Col. COL Persistent. DIL Good thing in a man. COL An excellent quality. DIL Maybe he wants something. COL I would expect he does. DIL Ask him. COL Ask him yourself. She looks at Fergus directly, sits down next to him. DIL So tell me. Fergus says nothing. He shrugs. DIL Everybody wants something. FERGUS Not me. DIL Not you. How quaint. How old - fashioned and quaint. Is n't it, Col? Col shrugs. DIL You old - fashioned? FERGUS Must be. The burly man comes up to her. MAN Got the money, Dil? DIL Fuck off, Dave. DAVE You fucking promised. DIL Did I? DAVE You fucking did. He suddenly jerks her roughly off the stool, spilling her drink. DAVE Did n't you? Well, come on! He drags her through the crowd. In the mirror, Fergus watches them go. The barman eyes him. COL It takes all types. FERGUS So who's he? COL He's what she should run a mile from. FERGUS Then why does n't she? COL Who knows the secrets of the human heart. Fergus suddenly stands and makes his way to the door.","EXT. PUB - NIGHT. Fergus comes out. A black bouncer is there, but there is no sign of Dil. He walks a few yards and hears voices down an alley. He looks up it. P0V - ALLEY. We see Dil pushing Dave away. He grabs her, turns her roughly. DAVE Do n't be like that - DIL You heard me - She beats his arms away. Money falls on the ground. She staggers away from him. He picks up the money, then runs after her. DAVE Got very fucking grand, have n't we - He tries to pull her back. DAVE Talk to me, you stupid bitch - They both bump into Fergus, who just stands there and does n't move an inch. She smiles. DIL Hi. FERGUS Hi. You forgot your bag. He holds it up to show her. DIL Thank you. DAVE Who the fuck is he? DIL Jimmy. DAVE It's him, is n't it? DIL Maybe. Dave eyes Fergus. Fergus grabs his wrists and upends him on the ground. DIL See, they get the wrong idea. DAVE -LRB- from the ground. -RRB- Cunt. Fergus puts his foot on Dave's neck. FERGUS What was that? DIL They all get the wrong idea. DAVE Cunt. Scrag - eyed dyke cunt. DIL Charming. Dave grabs for her ankle. She kicks his hand away. Fergus presses down his foot. He looks to Dil. FERGUS What'll I do? DIL Break his neck. Fergus presses his foot. DIL No, do n't. She bends low to Dave. DIL He's going to take his foot off slowly, David. Then you're to go home, like a good boy. You hear me? DAVE Cunt. But his voice is softer. Fergus removes his foot. Dil grabs his arm. DIL Come on, honey. She draws him away.","EXT. METRO - NIGHT. They walk out of the alley. FERGUS You all right? DIL Yes, thank you. FERGUS What was that all about? DIL He wants me to perform for him. FERGUS Perform? DIL You know. FERGUS You on the game? DIL God no. I'm a hairdresser. Fergus looks back. Dave is rising. FERGUS He's getting up. DIL You ca n't leave me then, can you?","EXT. STAIRCASE OUTSIDE DIL'S FLAT Fergus and Dil climb slowly upstairs. DIL You want me to ask you in, right? FERGUS No, I did n't - DIL But I'm not cheap, you know that? Loud, but never cheap. There is a movement lower down the staircase. We see Dave, holding his neck. DAVE Fucking dumb dyke carrot cunt. Dil leans close to Fergus. DIL If you kissed me, it would really get his goat. She tilts up her face. Fergus kisses her, tenderly. DIL Now, if you asked me to meet you tomorrow, it would really drive him insane. FERGUS Where? DIL Half - five. At Millie's. She goes in and closes the door. Fergus stands and looks down at Dave, who turns to leave.","EXT. HAIR SALON - DAY Dil walks out of the salon, smiling, and walks toward Fergus. DIL Give me that look again. FERGUS What look? DIL The one you gave me in the Metro. Fergus takes a bunch of flowers from behind his back. She holds them, with theatrical feeling. DIL Darling, you should n't have. She laughs and leans toward him and kisses him in a classically old - fashioned way. The girls inside the salon pull back a curtain, and they all clap. FERGUS What's that about? DIL They're jealous. FERGUS Why? DIL I wonder. She takes his arm and walks off with him.","INT. INDIAN RESTAURANT - NIGHT. Fergus and Dil looking at their menus. A waiter places drinks on their table, then leaves. DIL Now's the time you're meant to do something, is n't it? FERGUS Like what? DIL Make a pass or something. Is n't that the way it goes? FERGUS Must be.","EXT. STREET - NIGHT. They are walking in an alleyway toward her house. DIL You got a special friend, Jimmy? FERGUS How special? DIL You want one? And suddenly a car drives very fast toward them, headlights on. Fergus pulls her into a doorway to avoid it. FERGUS Jesus Christ! DIL Jesus. The car continues down the road, stops, and then screeches off. FERGUS That Dave? DIL The things a girl has to put up with. She looks down toward where the car has pulled away. DIL I'm frightened, Jimmy. That's not like him.","EXT. DIL'S FLAT. A car pulls up behind Dil and Fergus. DIL Piss off, Dave! FERGUS Tough guy, huh? Are you going to be all right on your own? DIL I'm not on my own, am I? She touches his cheek. DIL Come on up, would you?","INT. DIL'S FLAT - NIGHT. Dil comes in in the darkness. Fergus stands like a shadow in the doorway. The light comes on ; she takes off her raincoat. DIL Wo n't hurt you to come in. Fergus enters slowly. He looks around the room ; there is an exaggerated femininity about everything in it. DIL Would you like a drink? FERGUS Yes, please. DIL What'll it be? FERGUS Whiskey. She goes into a small kitchen. Fergus looks at the mantelpiece and sees a picture of Jody. The camera tracks into the soldier's smiling face. Then into Fergus's face. His reverie is broken by the sound of a voice outside - Dave's. She comes through with two drinks. FERGUS Someone out there. DIL Jesus fucking Christ. She opens the window door, and we see Dave on the street, in a neck brace. DIL Hey, Stirling fucking Moss - DAVE It's Dave. She goes back into the room and begins taking things up. DAVE Talk to me, Dil - DIL Sure, Dave - DAVE Please, Dil - She flings things down : men's clothes, leather trousers, a suitcase, a teddy bear. DIL Take your clothes. DAVE Do n't throw my clothes out the window! DIL Fuck off back to Essex! DAVE Fucking mad! Fergus looks to the man down in the street, a parody of rejection with his things in his arms. DAVE Do n't chuck my clothes out! DIL Take your fucking goldfish, too! Dil grabs a large goldfish bowl and flings it down. The bowl breaks to bits on the pavement. Goldfish thrash around in the street. DAVE You fucking bitch! He tries to pick up the flapping fish in his hands. DAVE Murderer! Upstairs, Dil closes the window shut. DIL Sorry. How'd he drive with his neck in a brace? FERGUS Must be in love to manage that. DIL Does n't know the meaning of the word. Fergus stands as Dil hands him a glass. FERGUS He lived here with you? DIL Tried to. Sit down, will you? Fergus walks past the photograph and sits down. He looks from her to the picture. FERGUS What about him? He nods toward the picture. She looks down into her drink. DIL He was different. FERGUS How different? DIL As different as it's possible to be. FERGUS Tell me about him. DIL No. FERGUS Should n't I go? DIL Yes. And they fall into one another's arms. She stretches up with her whole body over him. They grow suddenly and violently passionate. They fall into the cushions of the couch onto the floor. The photograph above them seems to smile. He draws up her dress with his hands. She suddenly pulls away. DIL No - FERGUS Did you do that to him? She comes up toward him once more. She puts her mouth close to his ear. DIL You want to know how I kissed him? FERGUS Yes. DIL Are you jealous of him? FERGUS Maybe. DIL That's good. She opens the buttons on his shirt and her mouth travels down his chest. Fergus tries to draw her up toward him, but her hand reaches up to his mouth and presses his head back while her other hand undoes his pants. She kisses his stomach ; her mouth moves down his body. Fergus stares at the picture of Jody. Jody's eyes seem to burn through him. Dil raises her head and kisses his mouth. There are tears in his eyes. FERGUS What would he think? DIL Ca n't think. He's dead. In Ireland. He was a soldier. Went there like a fool. She sits in front of the mirror. FERGUS Do you miss him? DIL What do you think? FERGUS I think you do. DIL -LRB- dreamily. -RRB- You say that like a gentleman. FERGUS Do I? DIL Like you're concerned. Fergus gets up and stands behind her, gently pushes the hair from her face. DIL But you can t stay, you know that? FERGUS Did n't think I could. DIL A real gentleman. She embraces him. FERGUS Should n't you be in mourning? DIL I am. She sits back down in front of the mirror. Fergus leaves. She reapplies her lipstick.","INT. METRO - NIGHT. Singer in a blue dress. Dil and Fergus by the bar. Both drinking drinks with umbrellas. Dave comes up behind them with his neck brace. DAVE Look, I'm sorry. DIL Fuck off, Dave. DAVE No, I wo n't fucking fuck off. Said I'm sorry, did n't I? DIL Yeah. I heard. You hear, Jimmy? Fergus nods. He stands. Dave steps two feet back. FERGUS I was only going to ask her for a dance. Fergus takes Dil's arm. FERGUS Shall we? The woman is singing. As they circle, people begin to look at them admiringly. Dil holds her cheek close to his. FERGUS Did he come here too? DIL Is this an obsession of yours? FERGUS Maybe. DIL He did sometimes. FERGUS Did he dance with you? Dil does n't answer. Looks at him out of the corner of her eye. DIL So what do you want with me, Jimmy? FERGUS Want to look after you. DIL What does that mean? FERGUS Something I heard someone say once. She draws back and looks at him. DIL You mean that? FERGUS Yeah. She dances closer. DIL Why? FERGUS If I told you, you would n't believe me. In the bar, people singing along with the music. Col sings. Dave sitting at the bar, sulking. DIL You're not having me on, are you?'Cause Dil ca n't stand that. FERGUS No. She puts her cheek against his. Dave, at the bar, slams his drink down. DIL And she does get very upset. Dave stands up to leave. On the stage the act finishes. Dil draws Fergus back to the bar. AT THE BAR. Col, the barman, pours her drink. DIL One for him, too. Col pours and smiles. DIL Drink. FERGUS What is this? DIL I'm superstitious. Drink. He drinks. He grimaces. She throws it back in one. DIL Ca n't leave me now. FERGUS Aha. DIL The thing is, can you go the distance? FERGUS Depends what it is. DIL No, depends on nothing. She takes the bottle herself and fills their glasses. She slams it back. He sips. DIL In one. She tilts his glass back. He swallows it in one.","INT. DIL'S FLAT - NIGHT. She enters ; Fergus walks in slowly. He looks from the cricket whites that are hanging up behind a curtain to the photographs. DIL What you thinking of, hon? FERGUS I'm thinking of your man. DIL Why? FERGUS I'm wondering why you keep his things. DIL Told you, I'm superstitious. She turns toward him and undoes her hair. It falls around her shoulders. FERGUS Did he ever tell you you were beautiful? DIL All the time. Fergus runs his hand down her throat. DIL Even now. FERGUS No. DIL He looks after me. He's a gentleman too. She draws him behind a curtain toward the bed, pulls him down. They kiss passionately. DIL Give me one minute. She walks into the bathroom. Fergus lies there, looking at the picture, listening to the sound of running water. She comes out then, dressed in a silk kimono. She looks extraordinarily beautiful. He reaches out his hand and grasps hers. He draws her toward him. He begins to kiss her face and neck. FERGUS Would he have minded? She murmurs no. His hands slip the wrap down from her shoulders. CLOSE ON HIS HANDS, traveling down her neck, in the darkness. Then the hands stop. The kimono falls to the floor gently, with a whisper. The camera travels with it, and we see, in a close - up, that she is a man. Fergus sits there, frozen, staring at her. DIL You did know, did n't you? Fergus says nothing. DIL Oh my God. She gives a strange little laugh, then reaches out to touch him. Fergus smacks the hand away. FERGUS Jesus. I feel sick - He gets up and runs to the bathroom. She grabs his feet. DIL Do n't go, Jimmy - He kicks her away. He runs into the bathroom and vomits into the tub. She crouches on the floor. DIL I'm sorry. I thought you knew. He retches again. DIL What were you doing in the bar if you did n't know - I'm bleeding. She lights a cigarette. Fergus runs the taps. He washes his face, rinses his mouth. DIL It's all right, Jimmy. I can take it. Just not on the face. Fergus slams the door shut. She is sitting on the couch, the kimono round her once more, looking very much like a woman. A trace of blood on her mouth. DIL Y ` see, I'm not a young thing any longer. Funny the way things go. Do n't you find that, Jimmy? Never the way you expected. Fergus comes out of the bathroom. FERGUS I'm sorry. She looks up. Some hope in her face. DIL You mean that? And he makes to go. She grabs him to stop him. DIL Do n't go like that. Say something. He pulls away from her. She falls to the floor. DIL Jesus. He drags himself away and runs down the stairs.","INT. FERGUS'S FLAT Fergus in bed. Flash to shot of blackness, Jody grinning in cricket whites, throwing the ball up and down in his hand.","INT. METRO - NIGHT. The place is hopping. Fergus enters. He now sees it as he should have seen it the first night - as a transvestite bar. He makes his way through the crowds. All the women too - heavily made - up. Some beautifully sleek young things he looks at he realizes are young men. He makes his way to the bar where Dil is sitting, nursing a drink with an umbrella in it. Her face is bruised. She is wearing dark glasses. As he walks toward her she sees him in the mirror. She talks to Col the barman. DIL He's back, Col COL Hi. DIL Do n't want any of those looks, Col. They do n't mean much. COL Stop it, Dil - DIL No. Tell him to go fuck himself. Fergus sits. Col turns to him. COL She wants me to tell you go fuck yourself. FERGUS I'm sorry. There is a tear running down her cheek, under the dark glasses. DIL Tell him to stop messing Dil around - FERGUS Dil - DIL Tell him it hurt - FERGUS I have to talk to her, Col - COL Says he's got to talk to you - Fergus touches her arm. FERGUS Come on, Dil - DIL Where? She whips her arm away. DIL Tell him again, Col. Go fuck himself - She walks into the crowd, toward the door. Fergus leaves.","EXT. STREET - NIGHT. Fergus, walking outside Dil's place. The blinds in her room are down and the light is on inside. We see her outline, pacing up and down behind the blinds, smoking a cigarette. We hear the song `` The Crying Game.'' Fergus stands beneath her doorway, scribbles a note, and sticks it in the letter box.","EXT. CRICKET PITCH - DAY A man removes a large number six from a huge scoreboard with a pole and replaces it with a number nine. Below the scoreboard we can see Dil walking across a lawn toward the building where Fergus is working.","INT. SITE - DAY Fergus, fitting a new window into the finished wall. On the pitch we see the cricketers, distorted through the moving glass of the window. Across the pitch Dil walks, with a lunch basket in her hand, dressed in a very short skirt with high heels. As she approaches the site a chorus of whistles breaks out. Fergus, hearing the whistling, stares out. He sees Dil moving toward the site. He drops the window and the glass shatters. As the whistles continue, we see Dil in the site's lift, which rises up. We see Deveroux and Franknum climbing up a ladder toward Fergus. DEVEROUX How much did that frame cost, Mr. Franknum? FRANKNUM Two hundred quid, Mr. Deveroux. DEVEROUX Your Pat just cost me two hundred quid. FERGUS Sorry. DEVEROUX Sorry wo n't bring the bloody thing back, will it, Mr. Franknum? FRANKNUM Not in my experience. DEVEROUX Off his wages. FERGUS Do you mean that? DEVEROUX He wants to know do I mean that. FRANKNUM I'm sure you do, Mr. Deveroux. DEVEROUX Bloody right I do. Through this conversation Fergus can hear the chorus of wolf whistles increasing. He looks out the gap where the window should be and sees Dil in the lift. The laborers whistle at her, looking up her skirt, etc.. She passes by a gap in the wall and blows a kiss at him. DEVEROUX Is that his tart? Does Pat have a tart? FERGUS She's not a tart. DEVEROUX No, of course not, she's a lady. FERGUS She's not that either. Fergus walks out of the room. Fergus walks round the scaffolding. Dil sees him and waves, sits on some bricks and opens the hamper. DIL Darling - She is acting bright and businesslike, like any wife. She is wearing dark glasses to cover the bruise on her face. She pecks him on the cheek. DIL Never let the sun go down on an argument, Jody used to say. FERGUS What you doing here? DIL Got your note. So let's kiss and make up, hon. FERGUS Do n't call me that. DIL Sorry, darling. FERGUS Give it over, Dil - DIL Apologies, my sweet. Fergus smiles in spite of himself. DIL That's more like it, dear. Have a cuppa. She takes out a thermos and pours him some tea. FERGUS You're something else, Dil, you know that? DIL Never said a truer word. She hands him a neatly cut sandwich. DIL See, I was always best looking after someone. Must be something in the genes. FERGUS Must be. DIL And the fact that you did n't know is basically the fault of yours truly. And even when you were throwing up, I could tell you cared. FERGUS You could? DIL Do you care, Jimmy? FERGUS Sure I do. DIL You mean that? FERGUS Yeah. I care, Dil. She lowers her head. FERGUS You crying, Dil? He removes her glasses and looks at her moist eyes. DIL I'm tired and emotional. Then he hears a voice behind him. DEVEROUX Do it on your own time, Paddy. FERGUS What? DEVEROUX Whatever it is she does for you. Fergus looks from Dil to Deveroux. FERGUS If I was her I'd consider that an insult. DEVEROUX Consider it how you like. Just get that bloody tart out of here. Fergus stands up suddenly. He speaks quietly. FERGUS Did you ever pick your teeth up with broken fingers? Deveroux stares, suddenly chilled. DEVEROUX What's that supposed to mean? FERGUS It's a simple question. Deveroux says nothing. Fergus looks down to Dil. FERGUS Come on, dear. He holds out his arm. Dil gathers up her things and takes it. Her face is wreathed in a smile. DIL He did n't answer, honey - Fergus walks her down the scaffolding ramp. FRANKNUM Sorry about that, Mr. Deveroux. Dil and Fergus descend from the site in the lift. DIL My, oh my, Jimmy, how gallant. FERGUS Shut up. DIL Made me feel all funny inside. FERGUS I said stop it. DIL Ask me to meet you again, Jimmy. FERGUS You think that's wise? DIL Nothing's wise. The lift stops with a thud. FERGUS I did n't mean to hit you. DIL I know that. FERGUS Kind of liked you as a girl. DIL That's a start. FERGUS So I'm sorry. DIL Make it up to me, then. FERGUS How? DIL Ask to meet me again. FERGUS Will you meet me again? DIL When? FERGUS Whenever. Tonight. She leans forward and kisses him. Fergus hears a wail of catcalls behind him. He watches Dil go as the lift takes him back up to the site.","EXT. HAIR SALON - EVENING. Fergus, outside the hair salon. Dil, inside, is throwing off her smock and walking toward him. All the girls are smiling. Fergus looks from Dil to the girls as they approach. FERGUS Do they know? DIL Know what, honey? FERGUS Know what I did n't know. And do n't call me that. DIL Ca n't help it, Jimmy. A girl has her feelings. FERGUS Thing is, Dil, you're not a girl. DIL Details, baby, details. FERGUS So they do know. DIL All right, they do. She takes his arm as they walk off. FERGUS Do n't. DIL Sorry. FERGUS I should have known, should n't I? DIL Probably. FERGUS Kind of wish I did n't. DIL You can always pretend. FERGUS That's true. Your soldier knew, did n't he? DIL Absolutely. FERGUS Wo n't be quite the same though, will it? DIL Are you pretending yet? FERGUS I'm working on it. Fergus hears a car following them, and turns around to look. FERGUS There's Dave. He knew too. DIL Stop it, Jimmy. FERGUS Am I becoming repetitious? DIL A little. FERGUS Sorry. They reach her door. The car stops. FERGUS Do n't ask me in. DIL Please, Jimmy. FERGUS No. Ca n't pretend that much. DIL I miss you, Jimmy. FERGUS Should have stayed a girl. DIL Do n't be cruel. FERGUS Okay. Be a good girl and go inside. DIL Only if you kiss me. Fergus kisses her. He looks at her open lips as if in disbelief at himself. FERGUS Happy now? DIL Delirious. She goes inside.","INT. HOSTEL - NIGHT. Fergus walks into the room and turns on a small desk - light. Then he hears a voice. JUDE Hello, stranger. He sees Jude sitting in the corner. Her hair is now dark brown. JUDE You vanished. He stares at her, says nothing. JUDE What was it, Fergus? Did you blow the gaff on us or did you just fuck up? FERGUS Leave me alone, Jude. JUDE No. That's the last thing I'll do. You never asked what happened. FERGUS I heard. JUDE Eddie and Tinker died. FERGUS I know. JUDE Maguire and me got out by the skin of our teeth. No thanks to you. What you think of the hair? FERGUS Suits you. She walks round the room. JUDE Aye, I was sick of being blond. Needed a tougher look, if you know what I mean. She lies down on the bed beside him, takes off a black leather glove, and puts her hand on his crotch. JUDE Fuck me, Fergus. He takes her hand away. JUDE Am I to take it that's a no? He says nothing. JUDE We had a court - martial in your absence. They wanted to put a bullet in your head. I pleaded for clemency. Said we should find out what happened first. So what did happen? FERGUS He ran. I could n't shoot him in the back. I tried to catch him. He made it to the road and got hit by a Saracen. JUDE So you did fuck up. FERGUS Yes. JUDE But you know what the thing is, Fergus? FERGUS No, what is the thing? JUDE You vanished quite effectively. Became Mister Nobody. And you've no idea how useful that could be. FERGUS What do you mean? JUDE We've got some plans here. And we'll need a Mister Nobody to execute them. FERGUS No way, Jude. I'm out. JUDE You're never out, Fergus. She looks at him hard. He looks away. JUDE Maybe you do n't care whether you die or not. But consider the girl, Fergus. The wee black chick. He leaps up from the bed. FERGUS Leave her out of this. JUDE Jesus, Fergus, you're a walking cliche. You know we wo n't leave her out of this. But I'm glad to see you care. She brings her lips close to his so they touch. JUDE And I must admit I'm curious. He grabs her hair and pulls her head back. FERGUS What the fuck do you know, Jude? She pulls a gun and sticks it between his teeth. JUDE You fucking tell me, boy - Fergus stares at her. Then says quietly : FERGUS She's nobody. She likes me. JUDE So I suppose a fuck is out of the question. Keep your head down, Fergus. No sudden moves. And not a whisper to her. You'll be hearing from us. She kisses him briefly, with the gun at his temple. JUDE Keep the faith. She goes. Fergus stands in the darkness.","EXT. HAIR SALON - EVENING. Fergus, walking toward the hair salon, flowers in his hand. He stands outside watching, the flowers behind his back. Then the chair turns and we see it is Jude. Fergus freezes. He sees Jude looking at him, smiling brightly, then talking back to Dil","INT. HAIR SALON - EVENING. JUDE He your boyfriend? Jude, turning in the chair. JUDE Lucky you.","INT. INDIAN RESTAURANT - NIGHT. DIL Carnations. FERGUS What? DIL He'd bring me carnations. FERGUS So I got it wrong, then. DIL Not at all, honey. FERGUS Do n't. DIL Okay. She smiles brightly at something behind Fergus. He turns and sees Jude is there. Fergus stands, suddenly. He throws some money on the table, grabs her arm, and frog - marches her out. FERGUS Come on. DIL Why, honey - FERGUS Come on. DIL You gon na tell me why? FERGUS No. As they pass Jude, she smiles.","EXT. INDIAN RESTAURANT - NIGHT. Outside the restaurant. Fergus marches Dil away. DIL What's wrong, Jimmy? Tell me what's wrong - FERGUS Not here. They pass out of shot. In the background we see Jude rising.","INT. METRO - NIGHT. Dil and Fergus making their way to their seats at the bar. DIL You gon na tell me what it is? A figure sitting down at the bar. It is Jude. JUDE What was it? DIL You know her, Jimmy? JUDE Jimmy, is it? Do you know me, Jimmy? FERGUS Dil, this is Jude. DIL You following me? JUDE Yeah. Just checking. He being nice to you, Dil? DIL Ever so nice. Are n't you, Jimmy? JUDE That's good. I'm glad. Young love, as they say. DIL Absolutely. The younger the better. Does n't come your way much, I suppose. JUDE Do n't go looking for it, Dil. DIL Well, maybe you'll get lucky. Someday. JUDE A bit heavy on the powder, is n't she, Jimmy? DIL A girl has to have a bit of glamour. JUDE Absolutely. Long as she can keep it. Is n't that right, James. She leaves. Dil watches her go. DIL It's her, is n't it? FERGUS What's her? DIL She's the thing you had to tell me. FERGUS Kind of. DIL I'm sorry, you know that? I'm really sorry. She looks at Col DIL You see that, Col? COL Saw it, Dil. DIL Fuck it, is what I say. COL Yeah. Fuck it, Dil. DIL Fucking men, Col - COL Fuck'em. There are tears in her eyes. She stands. DIL And fuck you, Jimmy - She staggers out of the pub. Fergus sits there. There is an expression in Col's eyes that makes Fergus feel very, very small. COL You could always make it up to her. FERGUS How? COL When a girl runs out like that, she generally wants to be followed. FERGUS She's not a girl, Col - COL Whatever you say. But Fergus rises and walks out.","EXT. METRO - NIGHT. A figure standing down the alleyway, smoking. Fergus looks toward it, but Jude is standing there, waiting. JUDE She went that way - Jude grabs his arm. JUDE But you come with me. She draws him down an alley where the same car is waiting. They get inside. ANOTHER CAR - BY THE PUB. Dil, sitting inside a taxi watching Fergus and Jude getting in the car.","INT. CAR - NIGHT. In the moving car. Jude is driving, Maguire next to her. Fergus sits in the back. FERGUS So it was you all the time. MAGUIRE Who'd you think it was? FERGUS I thought it was Dave. MAGUIRE And who's Dave when he's at home? FERGUS He's at home. MAGUIRE Should blow you away, you know that? FERGUS I know that. Maguire stubs his cigarette out on Fergus's hand, then whacks him on the teeth with his closed fist. MAGUIRE I'm getting emotional. And I do n't want to get fucking emotional - you understand, Hennessy? FERGUS I understand. MAGUIRE Fuck you, too - Jude drives. Fergus looks through the back window at the street outside. JUDE Leave him alone, Peter. He's in love. MAGUIRE That true, Fergus? You in love? FERGUS Absolutely. MAGUIRE And what's she like between the sheets? FERGUS Definitely unusual. MAGUIRE And who is she? FERGUS Just a girl. MAGUIRE And you know what'll happen if you fuck up again, do n't you? FERGUS Aye, I do, Peter. MAGUIRE Good.","EXT. REGENCY SQUARE - NIGHT. The car draws to a halt in a sedate square. Several doors down is the entrance to what looks like a sedate conservative club. In the car, Maguire turns off the engine. He nods toward the building. MAGUIRE So what do you think that is, Hennessy? FERGUS A hotel? MAGUIRE It's a knocking - shop. Tres discreet, huh? He visits his ladies on Tuesday and Thursday nights and Saturday mornings. His security's in the car beyond. He nods toward a car, a Daimler, parked some distance away. Fergus looks from the window to the car. FERGUS Who is he? MAGUIRE Does n't matter who he is. He is what we would call a legitimate target. FERGUS Thank God for that. MAGUIRE You being cynical, Hennessy? FERGUS Hope not. MAGUIRE Good. So what do you think? FERGUS Whoever hits him'll be hit, if those men are any good. And I presume you ca n't get in. MAGUIRE Right. FERGUS So it's on the street. MAGUIRE Right. FERGUS Kind of suicide, is n't it? Jude turns around to look at him. FERGUS But, then, I do n't have a choice. JUDE Och, you do, Fergie. FERGUS Of course. I forgot. JUDE Come on, Fergie. A rehearsal. Jude and Fergus get out of the car. They walk down the street, down from the brothel - cum - club, where there is a cafe - bar with some tables outside.","EXT. REGENCY SQUARE - NIGHT. Fergus and Jude, crossing the street. JUDE You keep your mind on the job, boy - FERGUS And then you'll leave her out of it? JUDE Aye. Then we'll leave her be. They take their seats by the tables. We can see the brothel down the way. JUDE He's arthritic. Takes him two minutes to get to the door. She checks her watch. Fergus is sweating. FERGUS And what if I say no? JUDE You know what. Go. Down by the brothel, the door swings open. Fergus walks like any pedestrian down toward the brothel. There is an old, portly gent in a City suit emerging from it. The car by the pavement kicks into action and the door opens. Fergus quickens his pace. Jude, by the cafe, watches. Fergus, walking. The gent makes his way, with gout - ridden slowness, across the pavement, through the passersby, toward the car. A burly security man emerging from the car, walking toward the old gent. Fergus reaches the car just before he does, and passes between him and the open door. The old gent's stomach brushes Fergus's elbow. GENT Pardon me, young man - Fergus walks on. Jude, from the cafe, watches - Fergus walking on, the old man being eased with painstaking care inside the Daimler. Then the door closing and the Daimler pulling off. When the Daimler has passed Fergus, he turns around and walks back. Jude smiles and leaps up as he approaches. JUDE You were made for this. FERGUS Was I? JUDE Perfect. FERGUS And what happens then? JUDE We'll be on the other side. We'll move when you do. FERGUS And what if you do n't? JUDE Fergus, I think you do n't trust me. FERGUS You may be right. JUDE Stay late at your work tomorrow night and I'll bring you the gear. Jude begins to walk away. FERGUS Jude? JUDE Yes? FERGUS Who's the old geezer? JUDE Some judge. She walks off, crosses the road to Maguire, in the car. Fergus turns around to see Dil in front of the cafe. She goes inside ; he follows. FERGUS Why'd you follow me, Dil? DIL Was jealous, Jimmy. She downs a drink and motions for another. She seems high. FERGUS Should n't be, Dil DIL Why should n't I be jealous? There are tears streaming down her face. He takes his hand and begins to wipe her face. DIL Do n't. My makeup. She sits down ; he joins her. DIL She own you, Jimmy? FERGUS Yes. DIL She from Scotland too? FERGUS You could say that. DIL And you're not going to tell me more? FERGUS I ca n't. He wipes the tears from her face with a tissue then dabs the tissue in her drink and wipes some more. DIL What you doing, Jimmy? FERGUS I'm not sure. DIL Do you like me even a little bit? FERGUS More than that. Dil's face, staring at him. FERGUS Come on, let's go for a walk. She allows herself to be led out.","EXT. HAIR SALON - NIGHT. Dil and Fergus walking. Fergus stops her by the window. FERGUS You do something for me, Dil? DIL Anything. FERGUS You'd do anything for me? DIL Afraid so. FERGUS You got the keys to the shop? They walk inside.","INT. HAIR SALON - NIGHT. Dil and Fergus standing in the darkness. DIL You want another haircut, baby? FERGUS No. Sit down. He sits her down in one of the chairs. FERGUS You'd do anything for me? Dil nods. DIL Anything. Fergus takes up a scissors to snip at her hair. Her head leaps back. DIL No way - FERGUS You said anything, Dil DIL A girl has to draw the line somewhere - FERGUS Want to change you to a man, Dil. She stares at him. DIL Why? FERGUS It's a secret. DIL You'd like me better that way, Jimmy? FERGUS Yes. DIL And you would n't leave me? FERGUS No. DIL You promise? FERGUS I promise. She takes a breath. DIL Go on, then. Fergus begins to cut. CLOSE - UP ON DlL'S FACE as her hair is shorn. Tears stream down her cheeks. DIL You're no good at this, Jimmy. FERGUS I'm sorry. But he keeps cutting. He gives Dil a short, cropped military cut like Jody's. DIL You want to make me look like him. FERGUS No. Want to make you into something new. That nobody recognizes. She looks in the mirror at it in the dark. DIL Do n't recognize myself, Jimmy.","INT. DIL'S FLAT - NIGHT. Dil enters, with her new haircut. She goes to turn on the light. He stops her hand. FERGUS No. She looks at her hand on his. FERGUS Better in the dark. Her fingers close around his. DIL So it's true, then? FERGUS What? DIL You like me better like this. FERGUS Yes. She brings her lips to his neck. He lets them stay there. His hands travel up to her blouse. He begins to undo the buttons. DIL Oh, Jimmy - Slowly the blouse slips down, exposing her male torso. She falls down to her knees and tugs at his belt. FERGUS No. No. Dil. get up. He raises her to her feet and leads her toward the bed. She stretches languorously down on it. He unzips her skirt slowly, and draws it off. She turns on the bed sexily, her face to the mattress. She is wearing suspender - belts underneath her skirt. DIL Baby. But Fergus stands and walks quietly over to the wardrobe where the soldier's things are. Dil on the bed, slowly turns. DIL What are you doing, honey. We see Fergus from her point of view, coming toward her with Jody's white cricket shirt, glowing eerily in the dark. FERGUS Do n't call me that - DIL Sorry. What you doing? Fergus draws her slowly up to a standing position. FERGUS Try this on, Dil He wraps the shirt around her. DIL Why? FERGUS For me. DIL For you. She kisses him.","EXT. SMALL HOTEL - NIGHT. Fergus leading Dil, dressed in Jody's cricket clothes, down the street and inside. DIL Why are we going here, Jimmy? FERGUS Look on it like a honeymoon.","INT. SMALL HOTEL ROOM - NIGHT. From above, we see the figures of Fergus and Dil, sleeping on a double bed, both fully clothed. Fergus smokes, then puts out the cigarette. Time lapse. The light gradually fills the room. Fergus wakes. Looks at the bedside clock, and very gingerly rises, puts on his coat, and walks out.","EXT. SITE - EVENING. A car pulls up at the site. Jude gets out. She has a satchel in her hand.","INT. SITE - EVENING. Fergus looking down a ladder - staircase at Jude. JUDE You a handyman, Fergie? FERGUS I take pride in my work. JUDE I sincerely hope so. Fergus climbs down a ladder to Jude ; she hands him something from the bag. JUDE Tools of the trade. She kisses him. Fergus looks at her expressionlessly. JUDE And forget about the girl. Fergus opens what Jude has given him - looking inside. There is a gun wrapped in an oilcloth.","INT. SMALL HOTEL - NIGHT. Fergus enters. The room is empty. He calls. FERGUS Dil? No reply. He runs outside.","EXT. DIL'S FLAT - NIGHT. Fergus looks up at her building, but the lights are off in her flat. The sound of feet behind him. He turns and sees Dil walking toward him, a bottle in her hand. He runs toward her. FERGUS Dil! Dil! What the fuck are you doing here? DIL I'm going home! FERGUS Told you to stay in the hotel! DIL Thought you was fooling me. Thought you was leaving me. They are tussling in the darkness of the park. She is very drunk. FERGUS I had to go to work! DIL Stayed all day in that room thinking every noise was you. There's something you're not telling me, Jimmy. He takes her arm. FERGUS Come on. DIL No! I'm going home. Fergus and Dil, on the stairs up to Dil's flat. DIL So tell me. FERGUS I was trying to get out of something. DIL No! Tell me everything, Jimmy. Fergus looks at her. FERGUS You got to forget you ever saw me, Dil. DIL You mean that? FERGUS Yes. And she suddenly faints into his arms. As if on cue. FERGUS Stop it, would you? There is no response. He shakes her. FERGUS Give it over, Dil, for fuck's sake - Still no response. He grows alarmed. He slaps her cheek. She opens her eyes slowly. DIL Sorry. I get nervous. I got this blood condition. Just help me inside, Jimmy, then I'll be all right.","INT. DIL'S FLAT - NIGHT. He walks in holding her. Leans her against the wall, then goes to the window to check the street outside. She takes a large slug from a bottle of whiskey. FERGUS You heard what I said, Dil? DIL My pills. She points weakly to a cabinet through the open door of the bathroom. FERGUS What pills? DIL Prescription. For my condition. FERGUS What condition? DIL My condition. Ennui. He goes and gets the pills. She takes a handful of pills. She drinks from the whiskey bottle. FERGUS Are you supposed to take that many? DIL Only in times of extreme stress. She walks around the room, drinking, then sits down. DIL See, they all say good - bye sometime. ` Cept for him. She looks at the picture of Jody. Then she looks at Fergus. FERGUS Are you all right, Dil? DIL I will be. She stares straight ahead, the bottle clutched in her hands between her knees. DIL Go on, then. Fergus walks slowly toward the door. FERGUS Good - bye, Dil DIL Jimmy? FERGUS What? DIL Do n't go like that. She looks at him, standing up. Something incredibly attractive about her. DIL Ca n't help what I am. He walks slowly toward her. He kisses her, on the lips. We see the photograph with the soldier's smiling face. Fergus looks from it to her. She seems to be in a sweet narcotic haze. She reaches out her hand and strokes his. DIL Knew you had a heart. Fergus sits down on the bed. Dil is lying back on it. FERGUS Dil Can I tell you something? I knew your man. DIL You knew which man? FERGUS Your soldier. DIL You knew my Jody? She still strokes his hand. Her voice is dreamily slurred, her eyes far away. FERGUS Lifted him from a carnival in Belfast. Held him hostage for three days. DIL You knew my Jody? FERGUS Are you listening? Dil smiles woozily. DIL Yes. FERGUS I got the order to shoot him. Before I could do it he ran. Ran into a tank and died. DIL Died. FERGUS Did you hear me? DIL You killed my Jody? FERGUS In a manner of speaking. DIL It was you. She is not rational. She is smiling, far away somewhere. FERGUS You should scream. You should beat my head off. She woozily tries to hit him round the face. DIL You killed my Jody FERGUS No. DIL You did n't. FERGUS I suppose I tried. DIL You tried. FERGUS Do n't you want to kill me? Dil raises an unsteady hand and points it at him. DIL Bang. He strokes her cheek. She says very slowly and sleepily DIL Do n't leave me tonight. Might kill me, too. FERGUS Okay. Her eyes close. She falls into a deep sleep. Fergus looks down at her, almost fondly.","INT. DIL'S FLAT - MORNING. They are lying on the bed together, fully clothed. Dil wakes. She rises very quietly and goes to his coat, thrown across a chair. She searches through the pockets and takes out the gun.","INT. HOTEL ROOM - MORNING. Jude in bed. An alarm sounds ; she reaches to turn it off.","INT. DIL'S FLAT. Dil takes several silk stockings out of a drawer and ties them very securely to each corner of the brass bed. She ties them round both of Fergus's feet, very gently, so as not to wake him.","INT. HOTEL ROOM - MORNING. Jude, in front of a mirror, getting ready.","INT. DIL'S FLAT. She draws one of Fergus's hands up, very gingerly, and ties that securely to the upright. She ties the other and is drawing it upward when he wakes. She jerks the silk stocking so it is secure. FERGUS What the fuck - Dil speaks unnaturally quietly. DIL So tell me what you're doing, Jimmy.","INT. HOTEL ROOM - MORNING. Jude, fully dressed. She takes a gun from under the bed and slips it in her handbag.","INT. DIL'S FLAT - MORNING. Dil crouching beside Fergus, his gun in her hand. DIL Did n't really listen last night. I heard but I did n't listen. Fergus, staring at her. He tries to pull on the bindings. DIL That wo n't do you no good. Dil knows how to tie a body. She stands up, still pointing the gun at Fergus. DIL Wondered why you came on to me like that when you gave me the look. FERGUS He asked me to see were you all right.","EXT. STREET - DAY Jude on the street. Maguire's car pulls up rapidly and she gets inside.","INT. DIL'S FLAT. DIL See, I fix on anyone that's nice to me. Just the littlest bit nice and I'm yours. FERGUS Stop it, Dil - DIL Just do n't kick Dil and she'll be touched. Be nice to her and she'll be yours forever. She looks at him, tears in her eyes. DIL See, I should blow you away, Jimmy. But I ca n't do that. Yet. FERGUS Let me go, Dil He drags at his bindings. DIL Why? FERGUS Got to be somewhere. DIL Try and go, then.","EXT. STREET BY BROTHEL - DAY The figure of the judge in the window. Outline of a woman. Jude and Maguire are in the car, parked across the street. They look toward a paper seller. MAGUIRE Where the fuck is he? Christ -","INT. DIL'S FLAT. Fergus pulls furiously at his bindings. FERGUS Let me go for fuck's sake, Dil - or they'll be here DIL Let them come then. IN THE CAR. OUTSIDE BROTHEL. JUDE Ca n't stay here, Peter - drive around once more - He drives off.","INT. DIL'S FLAT. Fergus collapsed back on the bed, exhausted. DIL Just want your company for a little while longer.","EXT. STREET BY BROTHEL - DAY Maguire's car driving round once more. No sign of Fergus. MAGUIRE That fucker's dead - JUDE No, we are.","INT. DIL'S FLAT. Fergus strains and roars from the bed. FERGUS You do n't know what you're doing, Dil - DIL Never did. MAGUIRE'S POINT OF VIEW - the brothel door opening. The elderly judge comes out. The car with his security men guns up. MAGUIRE Give me the shooter, Jude - JUDE You're crazy - MAGUIRE Give me the fucking shooter! He grabs it from her pocket. Throws open the door and runs across the street. Jude dives into the driver's seat.","INT. DIL'S FLAT. Fergus, pulling at his bindings.","EXT. OUTSIDE THE BROTHEL. The judge walking toward the open door of the car, held open by his goon. Maguire, running toward him, gun in hand. The goon sees him. Maguire shoots as he runs. Once, twice, three times, four. The judge falls. The goon, hit in the arm, pulls an Uzi and returns fire. Maguire hit, still shooting. Other goons tear from the car. Mayhem, screaming. Jude hits the pedal on her car and screeches off. Maguire, dead.","INT. DIL'S FLAT - DAY Dil dressed in the soldier's cricket clothes. She looks like a sweet little boy. She places a cassette in the tape deck - `` The Crying Game'' song. She comes to the bed, and points the gun at Fergus's head. DIL You like me now, Jimmy? FERGUS I like you, Dil - DIL Give me a bit more, baby, a bit more. FERGUS More what? DIL More endearments. FERGUS I like you, DIl DIL Love me. FERGUS Yes. DIL Tell me you love me. FERGUS Whatever you say, Dil. DIL Then say it. FERGUS Love you, Dil. DIL You do? FERGUS Yeah. DIL What would you do for me? FERGUS Anything. She begins to cry and lays the gun gently on his chest. DIL Say it again. FERGUS I'd do anything for you, Dil. She pulls on his bindings to release him.","EXT. STREET. Two police cars, sirens wailing.","INT. DIL'S FLAT. Dil's face, close to Fergus's, as the stockings that bound his hands are nearly undone. DIL And you'll never leave me? FERGUS Never. DIL I know you're lying, Jimmy, but it's nice to hear it. His arm is free. He strokes her hair. FERGUS I'm sorry, Dil. She shudders with weeping. The music of the song plays in the background. Jude walking through the open door, arms extended, holding a gun. JUDE You stupid shit - Once was bad enough. But twice. Dil rises from the bed and points her gun at Jude. DIL You did n't knock, honey - Dil fires, hits Jude. Jude falls and is writhing on the floor. FERGUS Dil! JUDE Get that thing off me, Fergus - Dil walks closer, holding the gun and pointing it at Jude. DIL What was that she called you, Jimmy? FERGUS Fergus. DIL What's Fergus? FERGUS It's my name, Dil - DIL What happened to Jimmy? JUDE I said get it off me, Fergus - Jude, on the floor, reaches for her gun. Manages to grab it. DIL What's she going to do, Jimmy? She going to blow you away? Dil shoots again, like a child, playing with a toy. She hits Jude in her gun shoulder. Jude spins one way, the gun the other. DIL Was she there too? When you got my Jody? Fergus screams FERGUS Dil! DIL I asked you a question, honey - were you there too - JUDE You sick bitch - As she raises the gun, Dil shoots her repeatedly, saying : DIL You was there, was n't you? You used those tits and that ass to get him, did n't you? Fergus screams from the bed. He rips free his other arm. Dil shoots Jude in the throat, and she falls dead, covered in blood. Dil turns the gun on Fergus. DIL She was there, was n't she? FERGUS She was - DIL And she used her tits and that cute little ass to get him, did n't she? FERGUS Yes. DIL Tell me what she wore. FERGUS Ca n't remember. Dil points the gun at him, squeezing on the trigger. Then she stops. DIL Ca n't do it, Jimmy. He wo n't let me. She looks at the picture ; walks over and sits down in front of it. DIL You wo n't let me, Jody - She raises the gun and places it in her mouth. Fergus takes it gently from her mouth and places it on the table. He lifts her up by the shoulders. FERGUS You've got to go now, Dil - DIL Do I? FERGUS Yes. Now. DIL Am I in trouble, Jimmy? FERGUS Not if you go. DIL Will I see you again? FERGUS You will, Dil DIL Promise? FERGUS I promise. DIL Where am I to go, Jimmy? FERGUS The Metro. DIL Meet Col - FERGUS Yes. Say hello to Col - He leads her out the door. Fergus goes back into the room, past Jude's body. Looks out the window to where he can see Dil staggering down the street, through the crowds that have gathered. The wail of police sirens coming closer. He watches Dil run off, with her funny walk. Then looks down and sees the cop cars pushing through the knot of people around the house. He picks up the gun, wipes it with a rag to remove Dil's fingerprints. He turns to the picture of the soldier ; talks to it. FERGUS You should have stayed at home. He sits in the chair by the window, waiting. FADE TO BLACK.","INT. PRISON VISITING ROOM - DAY FADE UP to reveal a large interior, with light streaming in the windows. Large barred doors open and a group of women come through, with parcels, children in tow, etc.. Among them is Dil, looking resplendent. She walks past the rows of convicts with their families, up to a glass cage, where Fergus sits, waiting. DIL Got you the multivitamins and the iron tablets, hon - FERGUS Do n't call me that - DIL Sorry, love. Now, the white ones are magnesium supplement - FERGUS Stop it, Dil - DIL I've got to keep you healthy, Jimmy. I'm counting the days. Two thousand three hundred and thirty - four left. FERGUS Thirty - five. DIL I'm sorry, darling. I keep forgetting the leap year. What am I supposed to call you then, Jimmy? FERGUS Fergus. DIL Fergus. Fergus my love, light of my life - FERGUS Please, Dil - DIL Ca n't help it. You're doing time for me. No greater love, as the man says. Wish you'd tell me why. FERGUS As the man said, it's in my nature. DIL What's that supposed to mean? She shakes her head. FERGUS Well, there was this scorpion, you see. And he wants to go across the river. But he ca n't swim. So he goes to this frog, who can swim, and he says to him, `` Excuse me, Mr. Froggy.'' CAMERA PULLS BACK, and as Fergus tells the story of the scorpion and the frog, the music comes up - `` Stand By Your Man.'' FADE OUT."],"string":"[\n \"EXT. CARNIVAL - DAY A loudspeaker playing Percy Sledge's `` When a Man Loves a Woman,'' as we see a carnival in the distance - with a Ferris Wheel turning round and round. A black man is by a stall. On his arm is an Irish girl with blond hair. The black man is drunk, and is tossing rings around a bowling pin. JODY And that's cricket, hon. An attendant hands him the teddy bear. It looks ridiculous in his huge hands. He gives it to the girl. JODY You want it? GIRL Sure. JODY Does n't matter if you do n't. He puts his arm around her and drags her on. JODY Jody wo n't be offended. Jody's never offended. What'd you say your name was? GIRL Jude. JODY Jude. Suits you, Jude. JUDE The teddy bear? JODY No, fuck the bear. The name. Jude. And it's June. Jude in June. He comes to a small canvas tent with a sign on it - TOILET. JODY Got ta piss, Jude. He holds her hand. JODY Do n't run off, Jude. JUDE You do n't know me, do you? Jody walks inside the canvas flap and vanishes from sight. We can still see his hand, holding Jude's. She leans against the canvas, looking bored. JODY -LRB- inside. -RRB- What if I did? JUDE You'd know I would n't run off. She stands there, listening to the sound of him urinate. Her eyes flick around the carnival. They settle on a tall dark - haired man in a dark jacket. He nods. JODY Never pissed holding a girl's hand, Jude. JUDE You did n't? JODY And you know what? JUDE Tell me, Jody He staggers out, buttoning up. JODY It's nice. He goes to kiss her. She turns her head away. JUDE Not here. JODY Who gives a fuck. JUDE You never know. She pulls him over toward the water. JODY I never know nothing. JUDE People. They could be looking. Jody follows her, as she walks backward, drawing him on. He moves his hips to a song as Jude leads him over the beach, under a train trestle. JUDE Come and get me, soldier - JODY Whatever you say, Jude. He sinks down on his knees toward her. She wraps her arms around his neck and kisses him. Jody writhes on top of her, fumbling with his belt. Jude cocks one eye upward. A shadow falls across them. CLOSE ON JODY, kissing her. A gun is put to his head. He turns around, drunkenly. JODY What the fuck - The gun whacks him across the cheek and he falls sideways. Jude scrambles to her feet and darts like an animal through a field. Jody feels his cheek. He can see her blond head vanishing among the fields. He looks up and sees a group of men around him. The tallest of them, Fergus, cocks the gun.\",\n \"INT. CAR - DAY A mini, driving down a country road. Two men in the front, three in the back. On the floor of the car Jody lies, with three pairs of feet on top of him, a black bag over his head and the barrel of a gun dangling close to his face. Fergus holds the gun. He is smoking a cigarette. His movements are slow and somewhat innocent. FERGUS So what's your name, soldier? JODY Fuck you. FERGUS Yeah.\",\n \"EXT. SMALL FARMHOUSE - EVENING.\",\n \"INT. FARMHOUSE - NIGHT. Jody pulled through and tied to a chair. Maguire, a small lean man, talks to him through the hood. MAGUIRE The situation is simple. You're being held hostage by the Irish Republican Army. They've got one of our senior members under interrogation in Castleraigh. We've informed them that if they do n't release him within three days, you'll be shot. You'll be treated as our guest until further developments. Have you anything to say? Jody is motionless under the black hood. FERGUS Give him a cup of tea. MAGUIRE Do you want a cup of tea? He still says nothing. DISSOLVE. All the men are drinking tea. The blond woman comes in with a plate and some food on it. FERGUS See does he want some. JUDE Do you want some food? Jody sits as still as a grave, saying nothing. DISSOLVE. Late at night - it is dark. The men are sleeping. Fergus is sitting by a chair, gun in his hand, watching the prisoner. Jude comes in, with a flashlight. FERGUS Hey - what's he like? JUDE Horny bastard. FERGUS Did you give him it? JUDE There are certain things I would n't do for my country. FERGUS Have a look at him. JUDE Ca n't. FERGUS Poke him or something. See if he's still alive. JUDE He's all right. FERGUS Has n't moved for twelve hours. Go on. Have a heart. She moves over to him. She prods him in the legs with her foot. He does n't move. Then she lifts the hood ever so slightly, to peer inside. Suddenly the man moves like lightning, jerking his head down so the hood comes off, throwing his body, tied to the chair, over Jude. JODY You fucking bitch - you fucking whore - He pins her to the ground, his body bent with the chair. He writhes on top of her in a grotesque parody of love. She is screaming and the room is alive, each man awake, grabbing guns, screaming. MAGUIRE Turn the fucking thing off -\",\n \"EXT. FARMHOUSE - NIGHT. Fergus follows Jude out a back door, holding her by the arm. FERGUS You all right? JUDE Fucking animal. She takes in huge gobs of air. FERGUS You do n't know that. JUDE Fucking do. I had him all over me. He touches her face. FERGUS Tough work, that. JUDE Someone's got to do it. She rubs her hand on his chest. JUDE Nah, it was a breeze. Just thought of you. She sidles closer, coming on to him. JUDE And you know what, Fergus? One of you made me want it. She puts her lips to his neck. FERGUS Which one? She does n't answer. They embrace.\",\n \"EXT. FARMHOUSE - MORNING. A hot summer's day. There are tall hedges all around the house. Fergus leads Jody, still bound and hooded, over toward a greenhouse.\",\n \"INT. GREENHOUSE - DAY Dusty tomato plants and vines everywhere. Broken glass. The sun pouring through. Fergus leads Jody over to a wrought iron chair and sits him in it. He sits opposite, gun on his lap. Fergus takes some sandwiches out of a brown paper bag. He holds one out toward him. FERGUS Eat something, would you? JODY Ca n't. FERGUS What do you mean you ca n't? JODY Ca n't eat through a canvas bag. Fergus walks over to him, lifts the hood up so his mouth is revealed, and pushes the sandwich toward his lips. Jody eats, slowly. JODY This is a farce, man. FERGUS How is it a farce? JODY I seen your fucking face. FERGUS So, what do I look like? JODY You're the one about five ten with the killer smile and the baby face. FERGUS Am I? JODY Yeah. And the brown eyes. Fergus pushes the last crumbs of the sandwich toward Jody's mouth. JODY You're the handsome one. Jody eats the last bits. JODY Thank you, handsome. FERGUS My pleasure.\",\n \"EXT. FARMHOUSE - DAY Jude makes her way from the door toward the greenhouse. She is carrying a pot of tea and two cups.\",\n \"INT. GREENHOUSE - DAY It is sweltering now in the greenhouse. CLOSE ON JODY'S COWLED HEAD. The hood is drenched with sweat. JODY I ca n't fucking breathe, man. Be a Christian, will you? Jude comes into view. JODY Tell him to take the hood off, honey. Jude says nothing. Lays the tea on the ground. FERGUS How did you know it was her? JODY I can smell her perfume. Jude pours out the tea. JUDE See, if we took the hood off, we'd have to shoot you. As it is, you've got a fifty - fifty chance. JODY Thought you liked me, bitch. JUDE It was fun while it lasted. JODY Nice lady. His breathing becomes labored. JODY Please, man, I'm suffocating in here. FERGUS Ca n't we take it off? JUDE Have to check with himself. Fergus gives her the gun. FERGUS You look after him. Jody's head follows Fergus while he leaves. JODY Do n't leave me with her, man. She's dangerous. Jude smiles, holding the gun on her lap.\",\n \"INT. FARMHOUSE - DAY Fergus enters. Maguire and the others. Maguire has a newspaper, which has a headline regarding the kidnapping. MAGUIRE Made the front page. They'll move now, the fuckers. FERGUS Request permission to take the hood off, Tommy. MAGUIRE Why would you do that? FERGUS The poor whore's suffocating in the heat. MAGUIRE So? FERGUS And anyway, he's seen our faces. MAGUIRE You sure? FERGUS He described me down to a T. Knows what Jude looks like. Maguire reads the paper. FERGUS Tommy - MAGUIRE You're his keeper. If you do n't mind him seeing you, I do n't mind. But you're the only one he looks at. FERGUS Thanks. MAGUIRE It's your decision.\",\n \"INT. GREENHOUSE - DAY Jude, drinking tea, looking at Jody sweating. Fergus enters. He puts his arm casually around her. FERGUS Leave us, Judie. JUDE My pleasure. She goes. Fergus walks to Jody and slowly takes the hood off. Jody looks up at him, his face bathed in sweat. He breathes in mighty gulps of air. He smiles. JODY Thank you, soldier. Fergus smiles. JODY Never thought fresh air would taste this good. Fergus pours out a cup of tea and brings it to his lips. JODY Now, if you took the ropes off, I'd be able to feed myself. FERGUS No fucking way. JODY Only joking. Fergus drinks. JODY You know, I was wrong about one thing. FERGUS What's that? JODY Five ten. Brown eyes. But you're no pinup. FERGUS No? JODY Nope. Not handsome at all. FERGUS You trying to hurt my feelings? JODY No. It's the truth. FERGUS Well, I could say the same about you. JODY Could you? FERGUS But I wo n't. We're more polite around these parts. JODY So I've noticed. Fergus looks at him. Jody is n't smiling anymore. Fergus goes back to his seat and drinks his tea. He fingers the gun on his lap. JODY Hey - FERGUS What is it now? JODY You're going to have to do it, are n't you? FERGUS Do what? JODY Kill me. FERGUS What makes you think that? JODY They're going to let that guy die. And you're going to kill me. FERGUS They wo n't let him die. JODY You want to bet? FERGUS I'm not a gambling man. JODY And even if he does n't die - you ca n't just let me loose. FERGUS Why ca n't we? JODY Not in your nature. FERGUS What do you know about my nature? JODY I'm talking about your people, not you. FERGUS What the fuck do you know about my people? JODY Only that you're all tough undeluded motherfuckers. And that it's not in your nature to let me go. FERGUS Shut the fuck up, would you? JODY And you know the funny thing? FERGUS No, what's the funny thing? JODY I did n't even fancy her. FERGUS Did n't look like that to me. JODY She's not my type. He looks at Fergus. JODY C'mere. FERGUS No. JODY Ah, c ` mere. I want to show you something. FERGUS What? JODY My inside pocket. Fergus holds the gun to his face. He fishes inside Jody's inside pocket. JODY Take out the wallet. Fergus's hand emerges with a wallet. JODY Open it. CLOSE ON THE WALLET. Credit cards, army identification photograph. JODY Inside. There's a picture. Fergus takes out a picture. It is of Jody, in cricket whites, smiling, holding a bat. Fergus smiles. JODY No, not that one. There's another. Fergus takes out another picture of Jody and of a beautiful black woman, smiling. JODY Now she's my type. FERGUS She'd be anyone's type. JODY Do n't you think of it, fucker. FERGUS Why not? JODY She's mine. Anyway, she would n't suit you. FERGUS No? JODY Absolutely not. FERGUS She your wife? JODY Suppose you could say that. Jody chuckles. FERGUS You make a nice couple. JODY Do n't I know it. FERGUS So what were you fucking around for, then? JODY You fuckers set me up. That bitch - FERGUS She's a friend of mine JODY Okay. That nice lady. Meets me in a bar. I'm saying what the fuck am I doing here anyway. She buys me a drink. She holds my hand. I'm looking at her saying I do n't like you, bitch. But what the fuck. Maybe I'll get to understand. FERGUS What? JODY What the fuck am I doing here. FERGUS What the fuck were you doing here? JODY I got sent. FERGUS You could have said no. JODY Ca n't. Once I signed up. FERGUS Why did you sign up? JODY It was a job. So I get sent to the only place in the world they call you nigger to your face. FERGUS Should n't take it personally. JODY -LRB- He imitates a Belfast accent. -RRB- `` Go back to your banana tree, nigger.'' No use telling them I came from Tottenham. FERGUS And you play cricket? JODY Best game in the world. FERGUS Ever see hurling? JODY That game where a bunch of paddies whack sticks at each other? FERGUS Best game in the world. JODY Never. FERGUS The fastest. JODY Well, in Antigua cricket's the black man's game. The kids play it from the age of two. My daddy had me throwing googlies from the age of five. Then we moved to Tottenham and it was something different. FERGUS How different? JODY Toffs' game there. But not at home. Fergus looks at him. JODY So when you come to shoot me, Paddy, remember, you're getting rid of a shit - hot bowler. FERGUS I'll bear that in mind. He keeps looking at him. FERGUS And by the way, it's not Paddy. It's Fergus. Jody smiles. JODY Nice to meet you, Fergus. FERGUS My pleasure, Jody\",\n \"EXT. GREENHOUSE - NIGHT. Fergus leads Jody outside, holding the gun against him. FERGUS Take it easy, now. Just go slow. Down by that tree. JODY Tree. He walks toward it, breathing heavily. JODY You've got to loosen my hands. FERGUS Ca n't. JODY Well then, you're going to have to take my dick out for me, aren t you? Fergus, in the dark, stands motionless, looking at him. JODY Come on, man, I'm going to wet my pants! Fergus turns him around and unzips his fly. JODY Take the fucker out, man, I'm dying - Fergus takes Jody's penis out. Jody takes two steps toward the wall. JODY I got ta lean forward or I'll dribble all over myself. Will you hold my hands for me. Fergus holds his hands from behind, so Jody can lean forward. Jody now pisses with immense relief JODY Now, that was worth waiting for. FERGUS Hurry up, would you? JODY These things take time, Fergus. He shakes his body. JODY It's amazing how these small details take on such importance. He steps back. JODY Now put it back in. FERGUS Give us a break. JODY I ca n't do it! It's only a piece of meat. For fuck's sake, it's got no major diseases. Fergus puts Jody's penis back in his pants and zips him up. JODY Thank you. I had a case of the clap two years ago. Crabs in Ulster. But all in all it's served me well. FERGUS Shut up, would you? JODY I'm sorry. Did n't mean to offend you, Fergus. Fergus leads him hack toward the greenhouse.\",\n \"INT. GREENHOUSE - NIGHT. Fergus leads Jody back to his chair. JODY Fergus? FERGUS Yeah? JODY Thanks. I know that was n't easy for you. He begins to laugh. FERGUS The pleasure was all mine. Fergus begins to laugh, without knowing why.\",\n \"EXT. FARMHOUSE - NIGHT. Maguire, walking out of the house, woken by the sound of laughter.\",\n \"INT. GREENHOUSE - NIGHT. Jody, still laughing. Suddenly the hood is slammed back over his head. Maguire, standing there in the dark, looking at Fergus. MAGUIRE What the fuck is this? FERGUS It's nothing. He's just got a sense of humor, that's all. MAGUIRE You're on duty. Keep your fucking mouth shut. Go in and get some sleep. Fergus gets up slowly, walks toward the door. JODY Yeah. Get some sleep.\",\n \"EXT. FARMHOUSE - NIGHT. Fergus, walking toward the house. He looks back and sees the figures of Maguire and Jody in the dark, in absolute silence.\",\n \"INT. FARMHOUSE - NIGHT. Fergus sleeping.\",\n \"INT. GREENHOUSE - NIGHT. Jody sleeping. Maguire sitting with an Armalite in his hands, watching him.\",\n \"EXT. FARMHOUSE AND FIELDS - DAY The sun coming up over the low hills around the farmhouse.\",\n \"INT. GREENHOUSE - DAY Fergus enters, with a tray and some breakfast. Maguire is sitting where he sat before, stock - still. FERGUS Did he talk? Maguire shakes his head. FERGUS Did n't make you laugh? Maguire shakes his head. FERGUS Here. Have some breakfast. He hands Maguire a plate. Jody stirs. JODY Good morning, Fergus? Maguire looks hard at him. MAGUIRE So he knows your name? FERGUS I told him. MAGUIRE Are you all there? He rises, and drags Fergus out the door. FERGUS Back in a minute, Jody\",\n \"EXT. GREENHOUSE - DAY MAGUIRE You'll have minimal contact with the prisoner, do you hear me? FERGUS Yes. MAGUIRE And do you know why? FERGUS Why? MAGUIRE Because tomorrow we might have to shoot him, that's why. Maguire goes back to the house.\",\n \"INT. GREENHOUSE - DAY Jody sitting with the hood on again. Fergus enters. JODY They giving you trouble, Fergus? Fergus says nothing. He takes a plate and brings it toward Jody JODY It happens. Y ` see, there's two kinds of people. Those who give and those who take. Fergus lifts up Jody's hood to expose his mouth and begins to feed him. JODY Ah, take the thing off, man. Fergus says nothing and keeps feeding him. JODY It's okay. I understand. Do n't mind if I prattle on, do you? Fergus shakes his head and says nothing. JODY I will take it by your silence that you do n't. He eats. Fergus feeds himself, then feeds more to Jody. JODY Two types, Fergus. The scorpion and the frog. Ever heard of them? Fergus says nothing. JODY Scorpion wants to cross a river, but he ca n't swim. Goes to the frog, who can, and asks for a ride. Frog says, `` If I give you a ride on my back, you'll go and sting me.'' Scorpion replies, `` It would not be in my interest to sting you since as I'll be on your back we both would drown.'' Frog thinks about this logic for a while and accepts the deal. Takes the scorpion on his back. Braves the waters. Halfway over feels a burning spear in his side and realizes the scorpion has stung him after all. And as they both sink beneath the waves the frog cries out, `` Why did you sting me, Mr. Scorpion, for now we both will drown?'' Scorpion replies, `` I ca n't help it, it's in my nature.'' Jody chuckles under his hood. FERGUS So what's that supposed to mean? JODY Means what it says. The scorpion does what is in his nature. Take off the hood, man. FERGUS Why? JODY'Cause you're kind. It's in your nature. Fergus walks toward him and pulls off the hood. Jody smiles up at him. JODY See? I was right about you. FERGUS Do n't be so sure. JODY Jody's always right.\",\n \"INT. GREENHOUSE - LATE AFTERNOON. Both men dozing in the heat. JODY Where would you most like to be now, man? FERGUS Does n't matter where. JODY Come on, man. If this shit was all over. FERGUS Having a pint in the Rock. JODY You lack imagination, Fergus. Think of something more alluring. FERGUS Like what? JODY Like having a pint in the Metro - Fergus laughs. FERGUS Having two pints in the Rock. JODY Having a pint in the Metro, and Dil's having a margarita. FERGUS Who's Dil? JODY My special friend. FERGUS Oh, yeah. JODY We got simple tastes, you and me. FERGUS The best. JODY But you fellas never get a break, do you? FERGUS Do you? JODY Oh, yes. We do a tour of duty and we're finished. But you guys are never finished, are you? FERGUS We do n't look on it like that. JODY I've often wondered how you do it. FERGUS Depends on what you believe in. JODY What do you believe in? FERGUS That you guys should n't be here. JODY It's as simple as that? FERGUS Yes. Jude enters. JUDE Put that thing back on him, Fergus. FERGUS He's hot. JUDE Does n't matter if he's hot. Just cover the fucker up. JODY Have you no feelings, woman? JUDE You shut your face - She pulls the hood down over him. JUDE You're heading for trouble, Fergus - JODY He's a good soldier, Jude. She whacks him with a pistol. JUDE I said shut the fuck up - JODY He believes in the future -\",\n \"INT. GREENHOUSE - NIGHT. Jody, sitting in the hood. Fergus lifts it a bit ; Jody's mouth, with blood now in his lips. FERGUS Is it bad? JODY No. Not bad. Women are trouble, you know that, Fergus? FERGUS I did n't. JODY Some kinds of women are. FERGUS She ca n't help it. JODY Dil was n't trouble. No trouble at all. FERGUS You liked her? JODY Present tense, please. Love her. Whatever she is. I'm thinking of her now, Fergus. Will you think of her too? FERGUS Do n't know her. JODY Want you to do something, Fergus. FERGUS What? JODY If they kill me - FERGUS Do n't think that way. JODY But they will. As sure as night follows day. They have to. I want you to find her out. Tell her I was thinking of her. Fergus is moved. He ca n't reply. JODY See if she's all right. FERGUS I do n't know her. JODY Take her picture. C'mere. Fergus walks toward him. JODY Take it. In the inside pocket. Their faces, close to each other as Fergus searches out her picture. JODY Take the whole lot. I wo n't need it. FERGUS I told you not to talk that way - JODY Go to Millie's Hair Salon in Spitalfields. Take her to the Metro for a margarita. Do n't have to tell her who you are. Just tell her Jody was thinking - FERGUS Stop it - The door opens. Maguire is there, with another. MAGUIRE Volunteer? Fergus turns toward him. MAGUIRE We need you inside. Fergus walks toward Maguire and the other man walks forward, takes his seat. Fergus, unseen by Maguire, puts the wallet in his pocket.\",\n \"INT. FARMHOUSE - NIGHT. Maguire, Jude, Fergus, and the others. MAGUIRE We've had word. They've used every trick in the book on him. He's starting to talk. You're going to have to do it in the morning. Maguire lights a cigarette. Fergus looks at him and nods. MAGUIRE You OK about that? FERGUS I'm a volunteer, am n't I? MAGUIRE Good. I was beginning to have my doubts about you for the last few days. JUDE Not the only one - MAGUIRE Shut up, Jude. You best get some sleep tonight, Fergus. FERGUS Peter. MAGUIRE What? FERGUS Request permission to guard the prisoner tonight - JUDE You're crazy. Do n't let him, Peter. MAGUIRE Shut the fuck up, Jude. He turns back to Fergus. He puts his arm on Fergus's shoulder. MAGUIRE Why do you want to do that for? FERGUS Would make me feel better about it. MAGUIRE You sure about that? FERGUS I'm sure. MAGUIRE Okay. You're a good man, Fergus. Fergus leaves.\",\n \"INT. GREENHOUSE - NIGHT. Fergus takes his place in the chair beside Jody. Jody begins to laugh under the hood. It turns into the sound of crying. FERGUS Do n't. JODY I'm sorry. The crying stops. JODY Help me. FERGUS How can I? JODY I do n't know. Just help me. Give me a cigarette. Fergus takes out a cigarette, lights it, and lifts up Jody's hood so he can smoke. JODY Do n't even smoke, you know that? It just seemed the right thing to do. Fergus watches him puff the cigarette, the hood just above his lips. Jody coughs, but keeps the cigarette in his lips. Fergus gently takes the cigarette from his mouth. FERGUS Go to sleep now. JODY I do n't want to sleep. Tell me something. FERGUS What? JODY A story. FERGUS Like the one about the frog? JODY And the scorpion. No. Tell me anything. FERGUS When I was a child. JODY Yeah? FERGUS I thought as a child. But when I became a man I put away childish things. JODY What does that mean? FERGUS Nothing. JODY Tell me something, anything. Fergus is silent ; his eyes wet. JODY Not a lot of use, are you, Fergus? FERGUS Me? No, I'm not good for much.\",\n \"EXT. FIELDS - MORNING. The farmhouse covered in mist. The sun coming through it.\",\n \"EXT. GREENHOUSE - MORNING. Maguire opens the door to the greenhouse and clicks the chamber of his gun. Fergus has a gun in his hand. He checks the chamber. Fergus takes Jody, whose hands are still tied behind his back, by the elbow. FERGUS Stand up, now - Jody rises. Fergus leads him through the door, past Maguire. MAGUIRE I wish to say on behalf of the Irish Republican Army - Fergus turns with sudden fierceness. FERGUS Leave him be - He pulls Jody through the fields.\",\n \"EXT. TREES - MORNING. Fergus pushing Jody through a copse of trees, the gun at his back. JODY Take the hood off, Fergus - FERGUS No. JODY I want to see a bit. Please, please. Do n't make me die like an animal. Fergus pulls the hood off. Jody looks around him. He has a cut lip where Jude struck him. Fergus prods him on with the gun. Jody stumbles forward. Fergus is all cold and businesslike. JODY I'm glad you're doing it, do you know that, Fergus? FERGUS Why? JODY Cause you're my friend. And I want you to go to the Metro - FERGUS Stop that talk now - JODY Hurling's a fast game, is n't it, Fergus? FERGUS The fastest. JODY Faster than cricket? FERGUS Cricket's in the halfpenny place. JODY So if I ran now, there's no way I'd beat you, is there? FERGUS You wo n't run. JODY But if I did. you would n't shoot a brother in the back - Jody suddenly sprints, and, loosening the ties on his hands, then freeing them, he is off like a hare. Fergus screams in fury after him. FERGUS JODY! Fergus aims, then changes his mind and runs. FERGUS You stupid bastard - JODY What you say, faster? FERGUS I said you bastard - stop - JODY Got to catch me first - Fergus gains on him - stretches his arm out - but Jody sprints ahead again - as if he has been playing with him. He laughs in exhilaration. Fergus pants behind him, wheezing, almost laughing. JODY Used to run the mile, you know - four times round the cricket pitch - what was that game called? FERGUS Hurling - JODY What? FERGUS Hurling - Jody runs, whipping through the trees - always ahead of him. JODY Come on, Fergie - you can do it - a bit more wind - Fergus grabs his shoulder and Jody shrugs it off, gaining on him again. JODY Bit of fun, Fergus, eh? And suddenly the trees give way. Jody turns, laughing, to Fergus. JODY Told you I was fast - Fergus is panting, pointing the gun at Jody JODY Do n't do it. And suddenly a Saracen tank whips around the corner, hits Jody with the full of its fender. His body flies in the air and bounces forward as another tank tries to grind to a halt and the huge wheels grind over him. Fergus, screaming, `` No -!'' He almost moves forward, then sees soldiers spilling from the tank around the body. Fergus turns and runs.\",\n \"EXT. TREES - DAY Fergus whipping through the trees, his body crouched low as he runs.\",\n \"INT. GREENHOUSE - DAY Tinker sitting in the greenhouse. A helicopter screams into view through the panes and automatic fire comes from it, shattering every pane in seconds and tearing Tinker to bits.\",\n \"INT. FARMHOUSE - DAY Bullets whipping through every window, taking chunks from the masonry, tearing the walls apart. Maguire, Jude, and the others on the floor, scrambling for weapons.\",\n \"EXT. TREES - DAY Fergus, hearing the gunfire, runs through overhanging branches till eventually he is hidden from sight.\",\n \"EXT. CARNIVAL ON THE MONAGHAN BORDER - DAWN. A forlorn - looking building over nondescript fields. An old man wheels a bicycle slowly toward it ; a rusty car appears ; and Fergus gets out of it. TOMMY Fergus! FERGUS You're back in the pink, Tommy? How're you keeping?\",\n \"INT. CARAVAN - DAY The old man pouring whiskey into a teacup. TOMMY You'll notice I've asked you nothing. FERGUS That's wise, Tommy. TOMMY All right, then. I like to be wise. He pours Fergus more whiskey. TOMMY So what do you need, Fergus? FERGUS Need to go across the water. TOMMY Do you now. FERGUS Need to lose myself awhile. TOMMY Aha. He looks at Fergus and lights a cigarette. He puffs. TOMMY There's a man I know ships cattle to London.\",\n \"EXT. DUBLIN BAY - EVENING. The ferry, churning into the sunset. FADE TO BLACK.\",\n \"INT. BUILDING SITE - DAY FADE UP into an elegant, empty Georgian room, covered in clouds of dust. A figure among the clouds of dust, hacking at a wall with a sledgehammer. It is Fergus, dressed in laborer's overalls, covered in dust. He is knocking the bricks from an outer wall. He works furiously and relentlessly, like a machine. We see the wall, with the hammer striking it. One brick falls away, then another. Daylight pours through the clouds of dust and the growing hole. Fergus's face, as he works. The hole. More bricks falling away. Through the clouds of dust and the streams of daylight we now see a patch of green. Fergus's face, working. His rhythm slows. The hole. More bricks fall away. Then the hammer stops. The dust begins to clear. His face. The jagged hole. The dust drifts across it, revealing a cricket pitch, with tiny sticklike figures running on the green.\",\n \"EXT. HOSTEL - DAY Fergus, returning from work, crosses the street, and enters through a white door.\",\n \"INT. HOSTEL - DAY Fergus dressing. He puts on a cheap suit, like any country boy in a big city. He takes Jody's wallet from the trousers of his overalls. He flips it open, sees the picture of the soldier and Dil. He puts it in the pocket of his suit.\",\n \"EXT. STREET - DAY Fergus walking down a street looking for an address. Some distance down the street is a sign - MILLIE'S UNISEX HAIR SALON.\",\n \"EXT. STREET - DAY Fergus, standing as the crowds go by him, looking in the window. He has the picture in his hand. We see Dil from his point of view, then Fergus walks inside.\",\n \"INT. HAIR SALON - DAY Fergus enters. The door gives a loud ping. A GIRL We're closing. I'll see you tomorrow, Dil She leaves the salon. DIL You want something in particular? FERGUS Just a bit of a trim. Dil checks her watch and stubs out a cigarette. DIL Come on. She gestures toward a chair. Fergus sits down. She comes toward him and fiddles with his hair. She pushes his head back into a basin behind him. She begins to knead his hair in hot water and shampoo. DIL Someone recommend you? FERGUS In a way. DIL Who? FERGUS Guy I work with. DIL What's his name? Fergus ca n't think of an answer. The hands with the purple nails run over his scalp. FERGUS Does n't the water get to your nails? DIL What's it to you? FERGUS Nothing. Fergus, sitting up. She begins to cut. DIL You American? FERGUS No. DIL Not English. FERGUS No. DIL Scottish? FERGUS How'd you guess? DIL The accent, I suppose. FERGUS And what's it like? DIL Like treacle. She imitates his accent saying it. Fergus laughs. DIL Nice laugh. Dil raises Fergus's head up, with his new - cut hair and holds a mirror up behind his head so he can see the back. He looks like a young London stockbroker. The hair salon around them is empty. DIL That should make her happy. FERGUS Who's she? DIL Do n't know. Who is she?\",\n \"EXT. HAIR SALON - EVENING. Fergus emerges from the shop. He takes one last look through the window where Dil is taking off her smock, touching up her hair, etc.. It is as if she has forgotten all about him. He walks off through the crowds and then ducks into a doorway. The doorway of the shop. Dil comes out, dressed in a pair of high heels, a very short skirt, different, more raunchy clothes on her than we saw inside. She locks the glass door and walks down the street, across the road, and into a pub called the Metro. Fergus follows.\",\n \"INT. METRO - EVENING. Half full, with an after - work crowd. Dil makes her way through it. BARMAN Hi, Dil DIL Hiya, hon. She sits down at the bar. Fergus comes toward the bar and takes a seat. BARMAN What'll it be? FERGUS A bottle of Guinness. Dil, looking at Fergus. DIL See that, Col? COL See what, Dil? DIL He gave me a look. COL Did he? Fergus blushes. He buries himself in his drink. DIL Just cut his hair, you know. COL Yeah? DIL What you think? COL Nice. Fergus throws his eyes toward her again. She has her face turned away, but sees him in the mirror. DIL There, he did it again. COL Saw that one. DIL What would you call it? COL Now, that was a look. She eyes Fergus in the mirror. DIL Ask him to ask me what I'm drinking. The barman, with infinite weariness, approaches Fergus. COL She wants to know do you want to know what she's drinking. Fergus is about to talk when she pipes up. DIL A margarita. The barman mixes it. She stares at the mirror, staring at Fergus, who is trying to avoid her eyes. The barman hands her the drink. DIL Now he can look. Ask him does he like his hair, Col. COL She wants to know, sir, do you like your hair. FERGUS Tell her I'm very happy with it. DIL He's Scottish, Col. COL Scottish? FERGUS Yeah. DIL What'd he say, Col? COL He agreed that he was. DIL What do you think his name is? COL I've no thoughts on the subject. FERGUS Jimmy. DIL Jimmy? COL That's what he said. Jimmy. DIL Hi, Jimmy. FERGUS Hiya, Dil A burly man sits down beside her. He puts his hand on her knee. MAN Sing the song, Dil - She slaps the hand away. DIL Fuck off, Dave. DAVE C'mon, babe! You know what I like. Easy! She turns back to Fergus and finds his seat empty.\",\n \"EXT. METRO - NIGHT. Fergus, standing across the road from the pub. He is sweating. Dil comes out of the pub. She looks this way and that, as if searching for Fergus. Fergus stands back into a shadow. Dave, the burly man, comes out. He grabs her by the elbow. She shrugs him off. She walks off. Dave follows, grabs her by the elbow again. The sense of an old argument. Dave suddenly strikes her across the face with his open palm. She leans her head against a wall. Dave then puts his arms around her, consoles her.\",\n \"EXT. STREET - NIGHT. Dave walking, holding Dil by the arm. The street is dilapidated, full of squats. They stop outside a door. Dil opens the door with a key from her purse and they both walk inside. Fergus stands there, observing. A light comes on in an upstairs room. Dil enters ; we see her shadow in silhouette behind the curtain and the shadow of Dave coming in behind her. He begins to remove her blouse. She stands absolutely still as he does so. Fergus backs away, then walks off.\",\n \"INT. HOSTEL - NIGHT. Fergus, in bed. Fade to black as we see Jody as a bowler, running in slow motion, toward the camera. He releases the ball ; we see Fergus in bed, breathing heavily.\",\n \"INT. SITE - NEXT DAY Fergus takes a break and watches the batsman hit a ball. He imitates the batsman's motion with his sledgehammer. Then a voice interrupts him. DEVEROUX So Pat's a cricket fan, eh? Fergus turns. We see Tristram Deveroux, a young Sloane type in a three - piece suit, whose house it is. Beside him is Franknum, the cockney foreman. FERGUS It's not Pat. It's Jim. DEVEROUX Jim, Pat, Mick, what the fuck. Long as you remember you're not at Lords. Fergus resumes work.\",\n \"INT. METRO - NIGHT. It is now crowded with people, black, white, punky and street chic, a lot of leather All the women are heavily made - up. Someone is singing from the tiny stage and rows of cheap colored bulbs are flashing around it. From the way Fergus walks through, it is obvious he has never been here at night. He seems most out of place in his cheap suit, making his way through the crowd to the bar. AT THE BAR. Fergus looks through the odd crowd, but ca n't find Dil. Col, the barman, sees him and smiles. COL So can we consider you a regular, sir? FERGUS Is that good or bad? COL Well, you get to say, The usual, Col. Things like that. Col pushes a colored cocktail with one of those Japanese umbrellas toward him. COL So let's call this the usual. FERGUS Thanks. Fergus reaches for his wallet to pay, but Col interrupts. COL No, no. It's on me. Fergus tries to pretend he's familiar with the drink, and by implication, whatever are the norms of the place. He lifts the glass to his mouth, but the umbrella keeps getting in the way. COL Take it out, if you want. Fergus takes out the umbrella. He holds it in one hand and drinks with the other. COL You came to see her, did n't you? Fergus shrugs. He takes out a cigarette. A guy in leather to his left smiles at him. COL Something I should tell you. She's - FERGUS She's what? The barman looks up toward the stage. COL She's on. THE JUKEBOX. A hand presses a button. The needle selects a disk. A song by Dave Berry, `` The Crying Game.'' AT THE BAR. Fergus looks up. Close - up of Dil's hand, as music begins, making movements to the music. We see Dil, standing on a stage, swaying slightly. She seems a little drunk. She mimes to the song. She mouths the words so perfectly and the voice on the song is so feminine that there is no way of knowing who is doing the singing. She does all sorts of strange movements, as if she is drawing moonbeams with her hands. The crowd seems to know this act. They cheer, whether out of approval or derision we ca n't be sure. Fergus watching. Dil singing, noticing him. She comes to the end of the song. The crowd cheers. Fergus, watching her make her way through the crowded bar, toward him. DIL He's still looking, Col. COL Persistent. DIL Good thing in a man. COL An excellent quality. DIL Maybe he wants something. COL I would expect he does. DIL Ask him. COL Ask him yourself. She looks at Fergus directly, sits down next to him. DIL So tell me. Fergus says nothing. He shrugs. DIL Everybody wants something. FERGUS Not me. DIL Not you. How quaint. How old - fashioned and quaint. Is n't it, Col? Col shrugs. DIL You old - fashioned? FERGUS Must be. The burly man comes up to her. MAN Got the money, Dil? DIL Fuck off, Dave. DAVE You fucking promised. DIL Did I? DAVE You fucking did. He suddenly jerks her roughly off the stool, spilling her drink. DAVE Did n't you? Well, come on! He drags her through the crowd. In the mirror, Fergus watches them go. The barman eyes him. COL It takes all types. FERGUS So who's he? COL He's what she should run a mile from. FERGUS Then why does n't she? COL Who knows the secrets of the human heart. Fergus suddenly stands and makes his way to the door.\",\n \"EXT. PUB - NIGHT. Fergus comes out. A black bouncer is there, but there is no sign of Dil. He walks a few yards and hears voices down an alley. He looks up it. P0V - ALLEY. We see Dil pushing Dave away. He grabs her, turns her roughly. DAVE Do n't be like that - DIL You heard me - She beats his arms away. Money falls on the ground. She staggers away from him. He picks up the money, then runs after her. DAVE Got very fucking grand, have n't we - He tries to pull her back. DAVE Talk to me, you stupid bitch - They both bump into Fergus, who just stands there and does n't move an inch. She smiles. DIL Hi. FERGUS Hi. You forgot your bag. He holds it up to show her. DIL Thank you. DAVE Who the fuck is he? DIL Jimmy. DAVE It's him, is n't it? DIL Maybe. Dave eyes Fergus. Fergus grabs his wrists and upends him on the ground. DIL See, they get the wrong idea. DAVE -LRB- from the ground. -RRB- Cunt. Fergus puts his foot on Dave's neck. FERGUS What was that? DIL They all get the wrong idea. DAVE Cunt. Scrag - eyed dyke cunt. DIL Charming. Dave grabs for her ankle. She kicks his hand away. Fergus presses down his foot. He looks to Dil. FERGUS What'll I do? DIL Break his neck. Fergus presses his foot. DIL No, do n't. She bends low to Dave. DIL He's going to take his foot off slowly, David. Then you're to go home, like a good boy. You hear me? DAVE Cunt. But his voice is softer. Fergus removes his foot. Dil grabs his arm. DIL Come on, honey. She draws him away.\",\n \"EXT. METRO - NIGHT. They walk out of the alley. FERGUS You all right? DIL Yes, thank you. FERGUS What was that all about? DIL He wants me to perform for him. FERGUS Perform? DIL You know. FERGUS You on the game? DIL God no. I'm a hairdresser. Fergus looks back. Dave is rising. FERGUS He's getting up. DIL You ca n't leave me then, can you?\",\n \"EXT. STAIRCASE OUTSIDE DIL'S FLAT Fergus and Dil climb slowly upstairs. DIL You want me to ask you in, right? FERGUS No, I did n't - DIL But I'm not cheap, you know that? Loud, but never cheap. There is a movement lower down the staircase. We see Dave, holding his neck. DAVE Fucking dumb dyke carrot cunt. Dil leans close to Fergus. DIL If you kissed me, it would really get his goat. She tilts up her face. Fergus kisses her, tenderly. DIL Now, if you asked me to meet you tomorrow, it would really drive him insane. FERGUS Where? DIL Half - five. At Millie's. She goes in and closes the door. Fergus stands and looks down at Dave, who turns to leave.\",\n \"EXT. HAIR SALON - DAY Dil walks out of the salon, smiling, and walks toward Fergus. DIL Give me that look again. FERGUS What look? DIL The one you gave me in the Metro. Fergus takes a bunch of flowers from behind his back. She holds them, with theatrical feeling. DIL Darling, you should n't have. She laughs and leans toward him and kisses him in a classically old - fashioned way. The girls inside the salon pull back a curtain, and they all clap. FERGUS What's that about? DIL They're jealous. FERGUS Why? DIL I wonder. She takes his arm and walks off with him.\",\n \"INT. INDIAN RESTAURANT - NIGHT. Fergus and Dil looking at their menus. A waiter places drinks on their table, then leaves. DIL Now's the time you're meant to do something, is n't it? FERGUS Like what? DIL Make a pass or something. Is n't that the way it goes? FERGUS Must be.\",\n \"EXT. STREET - NIGHT. They are walking in an alleyway toward her house. DIL You got a special friend, Jimmy? FERGUS How special? DIL You want one? And suddenly a car drives very fast toward them, headlights on. Fergus pulls her into a doorway to avoid it. FERGUS Jesus Christ! DIL Jesus. The car continues down the road, stops, and then screeches off. FERGUS That Dave? DIL The things a girl has to put up with. She looks down toward where the car has pulled away. DIL I'm frightened, Jimmy. That's not like him.\",\n \"EXT. DIL'S FLAT. A car pulls up behind Dil and Fergus. DIL Piss off, Dave! FERGUS Tough guy, huh? Are you going to be all right on your own? DIL I'm not on my own, am I? She touches his cheek. DIL Come on up, would you?\",\n \"INT. DIL'S FLAT - NIGHT. Dil comes in in the darkness. Fergus stands like a shadow in the doorway. The light comes on ; she takes off her raincoat. DIL Wo n't hurt you to come in. Fergus enters slowly. He looks around the room ; there is an exaggerated femininity about everything in it. DIL Would you like a drink? FERGUS Yes, please. DIL What'll it be? FERGUS Whiskey. She goes into a small kitchen. Fergus looks at the mantelpiece and sees a picture of Jody. The camera tracks into the soldier's smiling face. Then into Fergus's face. His reverie is broken by the sound of a voice outside - Dave's. She comes through with two drinks. FERGUS Someone out there. DIL Jesus fucking Christ. She opens the window door, and we see Dave on the street, in a neck brace. DIL Hey, Stirling fucking Moss - DAVE It's Dave. She goes back into the room and begins taking things up. DAVE Talk to me, Dil - DIL Sure, Dave - DAVE Please, Dil - She flings things down : men's clothes, leather trousers, a suitcase, a teddy bear. DIL Take your clothes. DAVE Do n't throw my clothes out the window! DIL Fuck off back to Essex! DAVE Fucking mad! Fergus looks to the man down in the street, a parody of rejection with his things in his arms. DAVE Do n't chuck my clothes out! DIL Take your fucking goldfish, too! Dil grabs a large goldfish bowl and flings it down. The bowl breaks to bits on the pavement. Goldfish thrash around in the street. DAVE You fucking bitch! He tries to pick up the flapping fish in his hands. DAVE Murderer! Upstairs, Dil closes the window shut. DIL Sorry. How'd he drive with his neck in a brace? FERGUS Must be in love to manage that. DIL Does n't know the meaning of the word. Fergus stands as Dil hands him a glass. FERGUS He lived here with you? DIL Tried to. Sit down, will you? Fergus walks past the photograph and sits down. He looks from her to the picture. FERGUS What about him? He nods toward the picture. She looks down into her drink. DIL He was different. FERGUS How different? DIL As different as it's possible to be. FERGUS Tell me about him. DIL No. FERGUS Should n't I go? DIL Yes. And they fall into one another's arms. She stretches up with her whole body over him. They grow suddenly and violently passionate. They fall into the cushions of the couch onto the floor. The photograph above them seems to smile. He draws up her dress with his hands. She suddenly pulls away. DIL No - FERGUS Did you do that to him? She comes up toward him once more. She puts her mouth close to his ear. DIL You want to know how I kissed him? FERGUS Yes. DIL Are you jealous of him? FERGUS Maybe. DIL That's good. She opens the buttons on his shirt and her mouth travels down his chest. Fergus tries to draw her up toward him, but her hand reaches up to his mouth and presses his head back while her other hand undoes his pants. She kisses his stomach ; her mouth moves down his body. Fergus stares at the picture of Jody. Jody's eyes seem to burn through him. Dil raises her head and kisses his mouth. There are tears in his eyes. FERGUS What would he think? DIL Ca n't think. He's dead. In Ireland. He was a soldier. Went there like a fool. She sits in front of the mirror. FERGUS Do you miss him? DIL What do you think? FERGUS I think you do. DIL -LRB- dreamily. -RRB- You say that like a gentleman. FERGUS Do I? DIL Like you're concerned. Fergus gets up and stands behind her, gently pushes the hair from her face. DIL But you can t stay, you know that? FERGUS Did n't think I could. DIL A real gentleman. She embraces him. FERGUS Should n't you be in mourning? DIL I am. She sits back down in front of the mirror. Fergus leaves. She reapplies her lipstick.\",\n \"INT. METRO - NIGHT. Singer in a blue dress. Dil and Fergus by the bar. Both drinking drinks with umbrellas. Dave comes up behind them with his neck brace. DAVE Look, I'm sorry. DIL Fuck off, Dave. DAVE No, I wo n't fucking fuck off. Said I'm sorry, did n't I? DIL Yeah. I heard. You hear, Jimmy? Fergus nods. He stands. Dave steps two feet back. FERGUS I was only going to ask her for a dance. Fergus takes Dil's arm. FERGUS Shall we? The woman is singing. As they circle, people begin to look at them admiringly. Dil holds her cheek close to his. FERGUS Did he come here too? DIL Is this an obsession of yours? FERGUS Maybe. DIL He did sometimes. FERGUS Did he dance with you? Dil does n't answer. Looks at him out of the corner of her eye. DIL So what do you want with me, Jimmy? FERGUS Want to look after you. DIL What does that mean? FERGUS Something I heard someone say once. She draws back and looks at him. DIL You mean that? FERGUS Yeah. She dances closer. DIL Why? FERGUS If I told you, you would n't believe me. In the bar, people singing along with the music. Col sings. Dave sitting at the bar, sulking. DIL You're not having me on, are you?'Cause Dil ca n't stand that. FERGUS No. She puts her cheek against his. Dave, at the bar, slams his drink down. DIL And she does get very upset. Dave stands up to leave. On the stage the act finishes. Dil draws Fergus back to the bar. AT THE BAR. Col, the barman, pours her drink. DIL One for him, too. Col pours and smiles. DIL Drink. FERGUS What is this? DIL I'm superstitious. Drink. He drinks. He grimaces. She throws it back in one. DIL Ca n't leave me now. FERGUS Aha. DIL The thing is, can you go the distance? FERGUS Depends what it is. DIL No, depends on nothing. She takes the bottle herself and fills their glasses. She slams it back. He sips. DIL In one. She tilts his glass back. He swallows it in one.\",\n \"INT. DIL'S FLAT - NIGHT. She enters ; Fergus walks in slowly. He looks from the cricket whites that are hanging up behind a curtain to the photographs. DIL What you thinking of, hon? FERGUS I'm thinking of your man. DIL Why? FERGUS I'm wondering why you keep his things. DIL Told you, I'm superstitious. She turns toward him and undoes her hair. It falls around her shoulders. FERGUS Did he ever tell you you were beautiful? DIL All the time. Fergus runs his hand down her throat. DIL Even now. FERGUS No. DIL He looks after me. He's a gentleman too. She draws him behind a curtain toward the bed, pulls him down. They kiss passionately. DIL Give me one minute. She walks into the bathroom. Fergus lies there, looking at the picture, listening to the sound of running water. She comes out then, dressed in a silk kimono. She looks extraordinarily beautiful. He reaches out his hand and grasps hers. He draws her toward him. He begins to kiss her face and neck. FERGUS Would he have minded? She murmurs no. His hands slip the wrap down from her shoulders. CLOSE ON HIS HANDS, traveling down her neck, in the darkness. Then the hands stop. The kimono falls to the floor gently, with a whisper. The camera travels with it, and we see, in a close - up, that she is a man. Fergus sits there, frozen, staring at her. DIL You did know, did n't you? Fergus says nothing. DIL Oh my God. She gives a strange little laugh, then reaches out to touch him. Fergus smacks the hand away. FERGUS Jesus. I feel sick - He gets up and runs to the bathroom. She grabs his feet. DIL Do n't go, Jimmy - He kicks her away. He runs into the bathroom and vomits into the tub. She crouches on the floor. DIL I'm sorry. I thought you knew. He retches again. DIL What were you doing in the bar if you did n't know - I'm bleeding. She lights a cigarette. Fergus runs the taps. He washes his face, rinses his mouth. DIL It's all right, Jimmy. I can take it. Just not on the face. Fergus slams the door shut. She is sitting on the couch, the kimono round her once more, looking very much like a woman. A trace of blood on her mouth. DIL Y ` see, I'm not a young thing any longer. Funny the way things go. Do n't you find that, Jimmy? Never the way you expected. Fergus comes out of the bathroom. FERGUS I'm sorry. She looks up. Some hope in her face. DIL You mean that? And he makes to go. She grabs him to stop him. DIL Do n't go like that. Say something. He pulls away from her. She falls to the floor. DIL Jesus. He drags himself away and runs down the stairs.\",\n \"INT. FERGUS'S FLAT Fergus in bed. Flash to shot of blackness, Jody grinning in cricket whites, throwing the ball up and down in his hand.\",\n \"INT. METRO - NIGHT. The place is hopping. Fergus enters. He now sees it as he should have seen it the first night - as a transvestite bar. He makes his way through the crowds. All the women too - heavily made - up. Some beautifully sleek young things he looks at he realizes are young men. He makes his way to the bar where Dil is sitting, nursing a drink with an umbrella in it. Her face is bruised. She is wearing dark glasses. As he walks toward her she sees him in the mirror. She talks to Col the barman. DIL He's back, Col COL Hi. DIL Do n't want any of those looks, Col. They do n't mean much. COL Stop it, Dil - DIL No. Tell him to go fuck himself. Fergus sits. Col turns to him. COL She wants me to tell you go fuck yourself. FERGUS I'm sorry. There is a tear running down her cheek, under the dark glasses. DIL Tell him to stop messing Dil around - FERGUS Dil - DIL Tell him it hurt - FERGUS I have to talk to her, Col - COL Says he's got to talk to you - Fergus touches her arm. FERGUS Come on, Dil - DIL Where? She whips her arm away. DIL Tell him again, Col. Go fuck himself - She walks into the crowd, toward the door. Fergus leaves.\",\n \"EXT. STREET - NIGHT. Fergus, walking outside Dil's place. The blinds in her room are down and the light is on inside. We see her outline, pacing up and down behind the blinds, smoking a cigarette. We hear the song `` The Crying Game.'' Fergus stands beneath her doorway, scribbles a note, and sticks it in the letter box.\",\n \"EXT. CRICKET PITCH - DAY A man removes a large number six from a huge scoreboard with a pole and replaces it with a number nine. Below the scoreboard we can see Dil walking across a lawn toward the building where Fergus is working.\",\n \"INT. SITE - DAY Fergus, fitting a new window into the finished wall. On the pitch we see the cricketers, distorted through the moving glass of the window. Across the pitch Dil walks, with a lunch basket in her hand, dressed in a very short skirt with high heels. As she approaches the site a chorus of whistles breaks out. Fergus, hearing the whistling, stares out. He sees Dil moving toward the site. He drops the window and the glass shatters. As the whistles continue, we see Dil in the site's lift, which rises up. We see Deveroux and Franknum climbing up a ladder toward Fergus. DEVEROUX How much did that frame cost, Mr. Franknum? FRANKNUM Two hundred quid, Mr. Deveroux. DEVEROUX Your Pat just cost me two hundred quid. FERGUS Sorry. DEVEROUX Sorry wo n't bring the bloody thing back, will it, Mr. Franknum? FRANKNUM Not in my experience. DEVEROUX Off his wages. FERGUS Do you mean that? DEVEROUX He wants to know do I mean that. FRANKNUM I'm sure you do, Mr. Deveroux. DEVEROUX Bloody right I do. Through this conversation Fergus can hear the chorus of wolf whistles increasing. He looks out the gap where the window should be and sees Dil in the lift. The laborers whistle at her, looking up her skirt, etc.. She passes by a gap in the wall and blows a kiss at him. DEVEROUX Is that his tart? Does Pat have a tart? FERGUS She's not a tart. DEVEROUX No, of course not, she's a lady. FERGUS She's not that either. Fergus walks out of the room. Fergus walks round the scaffolding. Dil sees him and waves, sits on some bricks and opens the hamper. DIL Darling - She is acting bright and businesslike, like any wife. She is wearing dark glasses to cover the bruise on her face. She pecks him on the cheek. DIL Never let the sun go down on an argument, Jody used to say. FERGUS What you doing here? DIL Got your note. So let's kiss and make up, hon. FERGUS Do n't call me that. DIL Sorry, darling. FERGUS Give it over, Dil - DIL Apologies, my sweet. Fergus smiles in spite of himself. DIL That's more like it, dear. Have a cuppa. She takes out a thermos and pours him some tea. FERGUS You're something else, Dil, you know that? DIL Never said a truer word. She hands him a neatly cut sandwich. DIL See, I was always best looking after someone. Must be something in the genes. FERGUS Must be. DIL And the fact that you did n't know is basically the fault of yours truly. And even when you were throwing up, I could tell you cared. FERGUS You could? DIL Do you care, Jimmy? FERGUS Sure I do. DIL You mean that? FERGUS Yeah. I care, Dil. She lowers her head. FERGUS You crying, Dil? He removes her glasses and looks at her moist eyes. DIL I'm tired and emotional. Then he hears a voice behind him. DEVEROUX Do it on your own time, Paddy. FERGUS What? DEVEROUX Whatever it is she does for you. Fergus looks from Dil to Deveroux. FERGUS If I was her I'd consider that an insult. DEVEROUX Consider it how you like. Just get that bloody tart out of here. Fergus stands up suddenly. He speaks quietly. FERGUS Did you ever pick your teeth up with broken fingers? Deveroux stares, suddenly chilled. DEVEROUX What's that supposed to mean? FERGUS It's a simple question. Deveroux says nothing. Fergus looks down to Dil. FERGUS Come on, dear. He holds out his arm. Dil gathers up her things and takes it. Her face is wreathed in a smile. DIL He did n't answer, honey - Fergus walks her down the scaffolding ramp. FRANKNUM Sorry about that, Mr. Deveroux. Dil and Fergus descend from the site in the lift. DIL My, oh my, Jimmy, how gallant. FERGUS Shut up. DIL Made me feel all funny inside. FERGUS I said stop it. DIL Ask me to meet you again, Jimmy. FERGUS You think that's wise? DIL Nothing's wise. The lift stops with a thud. FERGUS I did n't mean to hit you. DIL I know that. FERGUS Kind of liked you as a girl. DIL That's a start. FERGUS So I'm sorry. DIL Make it up to me, then. FERGUS How? DIL Ask to meet me again. FERGUS Will you meet me again? DIL When? FERGUS Whenever. Tonight. She leans forward and kisses him. Fergus hears a wail of catcalls behind him. He watches Dil go as the lift takes him back up to the site.\",\n \"EXT. HAIR SALON - EVENING. Fergus, outside the hair salon. Dil, inside, is throwing off her smock and walking toward him. All the girls are smiling. Fergus looks from Dil to the girls as they approach. FERGUS Do they know? DIL Know what, honey? FERGUS Know what I did n't know. And do n't call me that. DIL Ca n't help it, Jimmy. A girl has her feelings. FERGUS Thing is, Dil, you're not a girl. DIL Details, baby, details. FERGUS So they do know. DIL All right, they do. She takes his arm as they walk off. FERGUS Do n't. DIL Sorry. FERGUS I should have known, should n't I? DIL Probably. FERGUS Kind of wish I did n't. DIL You can always pretend. FERGUS That's true. Your soldier knew, did n't he? DIL Absolutely. FERGUS Wo n't be quite the same though, will it? DIL Are you pretending yet? FERGUS I'm working on it. Fergus hears a car following them, and turns around to look. FERGUS There's Dave. He knew too. DIL Stop it, Jimmy. FERGUS Am I becoming repetitious? DIL A little. FERGUS Sorry. They reach her door. The car stops. FERGUS Do n't ask me in. DIL Please, Jimmy. FERGUS No. Ca n't pretend that much. DIL I miss you, Jimmy. FERGUS Should have stayed a girl. DIL Do n't be cruel. FERGUS Okay. Be a good girl and go inside. DIL Only if you kiss me. Fergus kisses her. He looks at her open lips as if in disbelief at himself. FERGUS Happy now? DIL Delirious. She goes inside.\",\n \"INT. HOSTEL - NIGHT. Fergus walks into the room and turns on a small desk - light. Then he hears a voice. JUDE Hello, stranger. He sees Jude sitting in the corner. Her hair is now dark brown. JUDE You vanished. He stares at her, says nothing. JUDE What was it, Fergus? Did you blow the gaff on us or did you just fuck up? FERGUS Leave me alone, Jude. JUDE No. That's the last thing I'll do. You never asked what happened. FERGUS I heard. JUDE Eddie and Tinker died. FERGUS I know. JUDE Maguire and me got out by the skin of our teeth. No thanks to you. What you think of the hair? FERGUS Suits you. She walks round the room. JUDE Aye, I was sick of being blond. Needed a tougher look, if you know what I mean. She lies down on the bed beside him, takes off a black leather glove, and puts her hand on his crotch. JUDE Fuck me, Fergus. He takes her hand away. JUDE Am I to take it that's a no? He says nothing. JUDE We had a court - martial in your absence. They wanted to put a bullet in your head. I pleaded for clemency. Said we should find out what happened first. So what did happen? FERGUS He ran. I could n't shoot him in the back. I tried to catch him. He made it to the road and got hit by a Saracen. JUDE So you did fuck up. FERGUS Yes. JUDE But you know what the thing is, Fergus? FERGUS No, what is the thing? JUDE You vanished quite effectively. Became Mister Nobody. And you've no idea how useful that could be. FERGUS What do you mean? JUDE We've got some plans here. And we'll need a Mister Nobody to execute them. FERGUS No way, Jude. I'm out. JUDE You're never out, Fergus. She looks at him hard. He looks away. JUDE Maybe you do n't care whether you die or not. But consider the girl, Fergus. The wee black chick. He leaps up from the bed. FERGUS Leave her out of this. JUDE Jesus, Fergus, you're a walking cliche. You know we wo n't leave her out of this. But I'm glad to see you care. She brings her lips close to his so they touch. JUDE And I must admit I'm curious. He grabs her hair and pulls her head back. FERGUS What the fuck do you know, Jude? She pulls a gun and sticks it between his teeth. JUDE You fucking tell me, boy - Fergus stares at her. Then says quietly : FERGUS She's nobody. She likes me. JUDE So I suppose a fuck is out of the question. Keep your head down, Fergus. No sudden moves. And not a whisper to her. You'll be hearing from us. She kisses him briefly, with the gun at his temple. JUDE Keep the faith. She goes. Fergus stands in the darkness.\",\n \"EXT. HAIR SALON - EVENING. Fergus, walking toward the hair salon, flowers in his hand. He stands outside watching, the flowers behind his back. Then the chair turns and we see it is Jude. Fergus freezes. He sees Jude looking at him, smiling brightly, then talking back to Dil\",\n \"INT. HAIR SALON - EVENING. JUDE He your boyfriend? Jude, turning in the chair. JUDE Lucky you.\",\n \"INT. INDIAN RESTAURANT - NIGHT. DIL Carnations. FERGUS What? DIL He'd bring me carnations. FERGUS So I got it wrong, then. DIL Not at all, honey. FERGUS Do n't. DIL Okay. She smiles brightly at something behind Fergus. He turns and sees Jude is there. Fergus stands, suddenly. He throws some money on the table, grabs her arm, and frog - marches her out. FERGUS Come on. DIL Why, honey - FERGUS Come on. DIL You gon na tell me why? FERGUS No. As they pass Jude, she smiles.\",\n \"EXT. INDIAN RESTAURANT - NIGHT. Outside the restaurant. Fergus marches Dil away. DIL What's wrong, Jimmy? Tell me what's wrong - FERGUS Not here. They pass out of shot. In the background we see Jude rising.\",\n \"INT. METRO - NIGHT. Dil and Fergus making their way to their seats at the bar. DIL You gon na tell me what it is? A figure sitting down at the bar. It is Jude. JUDE What was it? DIL You know her, Jimmy? JUDE Jimmy, is it? Do you know me, Jimmy? FERGUS Dil, this is Jude. DIL You following me? JUDE Yeah. Just checking. He being nice to you, Dil? DIL Ever so nice. Are n't you, Jimmy? JUDE That's good. I'm glad. Young love, as they say. DIL Absolutely. The younger the better. Does n't come your way much, I suppose. JUDE Do n't go looking for it, Dil. DIL Well, maybe you'll get lucky. Someday. JUDE A bit heavy on the powder, is n't she, Jimmy? DIL A girl has to have a bit of glamour. JUDE Absolutely. Long as she can keep it. Is n't that right, James. She leaves. Dil watches her go. DIL It's her, is n't it? FERGUS What's her? DIL She's the thing you had to tell me. FERGUS Kind of. DIL I'm sorry, you know that? I'm really sorry. She looks at Col DIL You see that, Col? COL Saw it, Dil. DIL Fuck it, is what I say. COL Yeah. Fuck it, Dil. DIL Fucking men, Col - COL Fuck'em. There are tears in her eyes. She stands. DIL And fuck you, Jimmy - She staggers out of the pub. Fergus sits there. There is an expression in Col's eyes that makes Fergus feel very, very small. COL You could always make it up to her. FERGUS How? COL When a girl runs out like that, she generally wants to be followed. FERGUS She's not a girl, Col - COL Whatever you say. But Fergus rises and walks out.\",\n \"EXT. METRO - NIGHT. A figure standing down the alleyway, smoking. Fergus looks toward it, but Jude is standing there, waiting. JUDE She went that way - Jude grabs his arm. JUDE But you come with me. She draws him down an alley where the same car is waiting. They get inside. ANOTHER CAR - BY THE PUB. Dil, sitting inside a taxi watching Fergus and Jude getting in the car.\",\n \"INT. CAR - NIGHT. In the moving car. Jude is driving, Maguire next to her. Fergus sits in the back. FERGUS So it was you all the time. MAGUIRE Who'd you think it was? FERGUS I thought it was Dave. MAGUIRE And who's Dave when he's at home? FERGUS He's at home. MAGUIRE Should blow you away, you know that? FERGUS I know that. Maguire stubs his cigarette out on Fergus's hand, then whacks him on the teeth with his closed fist. MAGUIRE I'm getting emotional. And I do n't want to get fucking emotional - you understand, Hennessy? FERGUS I understand. MAGUIRE Fuck you, too - Jude drives. Fergus looks through the back window at the street outside. JUDE Leave him alone, Peter. He's in love. MAGUIRE That true, Fergus? You in love? FERGUS Absolutely. MAGUIRE And what's she like between the sheets? FERGUS Definitely unusual. MAGUIRE And who is she? FERGUS Just a girl. MAGUIRE And you know what'll happen if you fuck up again, do n't you? FERGUS Aye, I do, Peter. MAGUIRE Good.\",\n \"EXT. REGENCY SQUARE - NIGHT. The car draws to a halt in a sedate square. Several doors down is the entrance to what looks like a sedate conservative club. In the car, Maguire turns off the engine. He nods toward the building. MAGUIRE So what do you think that is, Hennessy? FERGUS A hotel? MAGUIRE It's a knocking - shop. Tres discreet, huh? He visits his ladies on Tuesday and Thursday nights and Saturday mornings. His security's in the car beyond. He nods toward a car, a Daimler, parked some distance away. Fergus looks from the window to the car. FERGUS Who is he? MAGUIRE Does n't matter who he is. He is what we would call a legitimate target. FERGUS Thank God for that. MAGUIRE You being cynical, Hennessy? FERGUS Hope not. MAGUIRE Good. So what do you think? FERGUS Whoever hits him'll be hit, if those men are any good. And I presume you ca n't get in. MAGUIRE Right. FERGUS So it's on the street. MAGUIRE Right. FERGUS Kind of suicide, is n't it? Jude turns around to look at him. FERGUS But, then, I do n't have a choice. JUDE Och, you do, Fergie. FERGUS Of course. I forgot. JUDE Come on, Fergie. A rehearsal. Jude and Fergus get out of the car. They walk down the street, down from the brothel - cum - club, where there is a cafe - bar with some tables outside.\",\n \"EXT. REGENCY SQUARE - NIGHT. Fergus and Jude, crossing the street. JUDE You keep your mind on the job, boy - FERGUS And then you'll leave her out of it? JUDE Aye. Then we'll leave her be. They take their seats by the tables. We can see the brothel down the way. JUDE He's arthritic. Takes him two minutes to get to the door. She checks her watch. Fergus is sweating. FERGUS And what if I say no? JUDE You know what. Go. Down by the brothel, the door swings open. Fergus walks like any pedestrian down toward the brothel. There is an old, portly gent in a City suit emerging from it. The car by the pavement kicks into action and the door opens. Fergus quickens his pace. Jude, by the cafe, watches. Fergus, walking. The gent makes his way, with gout - ridden slowness, across the pavement, through the passersby, toward the car. A burly security man emerging from the car, walking toward the old gent. Fergus reaches the car just before he does, and passes between him and the open door. The old gent's stomach brushes Fergus's elbow. GENT Pardon me, young man - Fergus walks on. Jude, from the cafe, watches - Fergus walking on, the old man being eased with painstaking care inside the Daimler. Then the door closing and the Daimler pulling off. When the Daimler has passed Fergus, he turns around and walks back. Jude smiles and leaps up as he approaches. JUDE You were made for this. FERGUS Was I? JUDE Perfect. FERGUS And what happens then? JUDE We'll be on the other side. We'll move when you do. FERGUS And what if you do n't? JUDE Fergus, I think you do n't trust me. FERGUS You may be right. JUDE Stay late at your work tomorrow night and I'll bring you the gear. Jude begins to walk away. FERGUS Jude? JUDE Yes? FERGUS Who's the old geezer? JUDE Some judge. She walks off, crosses the road to Maguire, in the car. Fergus turns around to see Dil in front of the cafe. She goes inside ; he follows. FERGUS Why'd you follow me, Dil? DIL Was jealous, Jimmy. She downs a drink and motions for another. She seems high. FERGUS Should n't be, Dil DIL Why should n't I be jealous? There are tears streaming down her face. He takes his hand and begins to wipe her face. DIL Do n't. My makeup. She sits down ; he joins her. DIL She own you, Jimmy? FERGUS Yes. DIL She from Scotland too? FERGUS You could say that. DIL And you're not going to tell me more? FERGUS I ca n't. He wipes the tears from her face with a tissue then dabs the tissue in her drink and wipes some more. DIL What you doing, Jimmy? FERGUS I'm not sure. DIL Do you like me even a little bit? FERGUS More than that. Dil's face, staring at him. FERGUS Come on, let's go for a walk. She allows herself to be led out.\",\n \"EXT. HAIR SALON - NIGHT. Dil and Fergus walking. Fergus stops her by the window. FERGUS You do something for me, Dil? DIL Anything. FERGUS You'd do anything for me? DIL Afraid so. FERGUS You got the keys to the shop? They walk inside.\",\n \"INT. HAIR SALON - NIGHT. Dil and Fergus standing in the darkness. DIL You want another haircut, baby? FERGUS No. Sit down. He sits her down in one of the chairs. FERGUS You'd do anything for me? Dil nods. DIL Anything. Fergus takes up a scissors to snip at her hair. Her head leaps back. DIL No way - FERGUS You said anything, Dil DIL A girl has to draw the line somewhere - FERGUS Want to change you to a man, Dil. She stares at him. DIL Why? FERGUS It's a secret. DIL You'd like me better that way, Jimmy? FERGUS Yes. DIL And you would n't leave me? FERGUS No. DIL You promise? FERGUS I promise. She takes a breath. DIL Go on, then. Fergus begins to cut. CLOSE - UP ON DlL'S FACE as her hair is shorn. Tears stream down her cheeks. DIL You're no good at this, Jimmy. FERGUS I'm sorry. But he keeps cutting. He gives Dil a short, cropped military cut like Jody's. DIL You want to make me look like him. FERGUS No. Want to make you into something new. That nobody recognizes. She looks in the mirror at it in the dark. DIL Do n't recognize myself, Jimmy.\",\n \"INT. DIL'S FLAT - NIGHT. Dil enters, with her new haircut. She goes to turn on the light. He stops her hand. FERGUS No. She looks at her hand on his. FERGUS Better in the dark. Her fingers close around his. DIL So it's true, then? FERGUS What? DIL You like me better like this. FERGUS Yes. She brings her lips to his neck. He lets them stay there. His hands travel up to her blouse. He begins to undo the buttons. DIL Oh, Jimmy - Slowly the blouse slips down, exposing her male torso. She falls down to her knees and tugs at his belt. FERGUS No. No. Dil. get up. He raises her to her feet and leads her toward the bed. She stretches languorously down on it. He unzips her skirt slowly, and draws it off. She turns on the bed sexily, her face to the mattress. She is wearing suspender - belts underneath her skirt. DIL Baby. But Fergus stands and walks quietly over to the wardrobe where the soldier's things are. Dil on the bed, slowly turns. DIL What are you doing, honey. We see Fergus from her point of view, coming toward her with Jody's white cricket shirt, glowing eerily in the dark. FERGUS Do n't call me that - DIL Sorry. What you doing? Fergus draws her slowly up to a standing position. FERGUS Try this on, Dil He wraps the shirt around her. DIL Why? FERGUS For me. DIL For you. She kisses him.\",\n \"EXT. SMALL HOTEL - NIGHT. Fergus leading Dil, dressed in Jody's cricket clothes, down the street and inside. DIL Why are we going here, Jimmy? FERGUS Look on it like a honeymoon.\",\n \"INT. SMALL HOTEL ROOM - NIGHT. From above, we see the figures of Fergus and Dil, sleeping on a double bed, both fully clothed. Fergus smokes, then puts out the cigarette. Time lapse. The light gradually fills the room. Fergus wakes. Looks at the bedside clock, and very gingerly rises, puts on his coat, and walks out.\",\n \"EXT. SITE - EVENING. A car pulls up at the site. Jude gets out. She has a satchel in her hand.\",\n \"INT. SITE - EVENING. Fergus looking down a ladder - staircase at Jude. JUDE You a handyman, Fergie? FERGUS I take pride in my work. JUDE I sincerely hope so. Fergus climbs down a ladder to Jude ; she hands him something from the bag. JUDE Tools of the trade. She kisses him. Fergus looks at her expressionlessly. JUDE And forget about the girl. Fergus opens what Jude has given him - looking inside. There is a gun wrapped in an oilcloth.\",\n \"INT. SMALL HOTEL - NIGHT. Fergus enters. The room is empty. He calls. FERGUS Dil? No reply. He runs outside.\",\n \"EXT. DIL'S FLAT - NIGHT. Fergus looks up at her building, but the lights are off in her flat. The sound of feet behind him. He turns and sees Dil walking toward him, a bottle in her hand. He runs toward her. FERGUS Dil! Dil! What the fuck are you doing here? DIL I'm going home! FERGUS Told you to stay in the hotel! DIL Thought you was fooling me. Thought you was leaving me. They are tussling in the darkness of the park. She is very drunk. FERGUS I had to go to work! DIL Stayed all day in that room thinking every noise was you. There's something you're not telling me, Jimmy. He takes her arm. FERGUS Come on. DIL No! I'm going home. Fergus and Dil, on the stairs up to Dil's flat. DIL So tell me. FERGUS I was trying to get out of something. DIL No! Tell me everything, Jimmy. Fergus looks at her. FERGUS You got to forget you ever saw me, Dil. DIL You mean that? FERGUS Yes. And she suddenly faints into his arms. As if on cue. FERGUS Stop it, would you? There is no response. He shakes her. FERGUS Give it over, Dil, for fuck's sake - Still no response. He grows alarmed. He slaps her cheek. She opens her eyes slowly. DIL Sorry. I get nervous. I got this blood condition. Just help me inside, Jimmy, then I'll be all right.\",\n \"INT. DIL'S FLAT - NIGHT. He walks in holding her. Leans her against the wall, then goes to the window to check the street outside. She takes a large slug from a bottle of whiskey. FERGUS You heard what I said, Dil? DIL My pills. She points weakly to a cabinet through the open door of the bathroom. FERGUS What pills? DIL Prescription. For my condition. FERGUS What condition? DIL My condition. Ennui. He goes and gets the pills. She takes a handful of pills. She drinks from the whiskey bottle. FERGUS Are you supposed to take that many? DIL Only in times of extreme stress. She walks around the room, drinking, then sits down. DIL See, they all say good - bye sometime. ` Cept for him. She looks at the picture of Jody. Then she looks at Fergus. FERGUS Are you all right, Dil? DIL I will be. She stares straight ahead, the bottle clutched in her hands between her knees. DIL Go on, then. Fergus walks slowly toward the door. FERGUS Good - bye, Dil DIL Jimmy? FERGUS What? DIL Do n't go like that. She looks at him, standing up. Something incredibly attractive about her. DIL Ca n't help what I am. He walks slowly toward her. He kisses her, on the lips. We see the photograph with the soldier's smiling face. Fergus looks from it to her. She seems to be in a sweet narcotic haze. She reaches out her hand and strokes his. DIL Knew you had a heart. Fergus sits down on the bed. Dil is lying back on it. FERGUS Dil Can I tell you something? I knew your man. DIL You knew which man? FERGUS Your soldier. DIL You knew my Jody? She still strokes his hand. Her voice is dreamily slurred, her eyes far away. FERGUS Lifted him from a carnival in Belfast. Held him hostage for three days. DIL You knew my Jody? FERGUS Are you listening? Dil smiles woozily. DIL Yes. FERGUS I got the order to shoot him. Before I could do it he ran. Ran into a tank and died. DIL Died. FERGUS Did you hear me? DIL You killed my Jody? FERGUS In a manner of speaking. DIL It was you. She is not rational. She is smiling, far away somewhere. FERGUS You should scream. You should beat my head off. She woozily tries to hit him round the face. DIL You killed my Jody FERGUS No. DIL You did n't. FERGUS I suppose I tried. DIL You tried. FERGUS Do n't you want to kill me? Dil raises an unsteady hand and points it at him. DIL Bang. He strokes her cheek. She says very slowly and sleepily DIL Do n't leave me tonight. Might kill me, too. FERGUS Okay. Her eyes close. She falls into a deep sleep. Fergus looks down at her, almost fondly.\",\n \"INT. DIL'S FLAT - MORNING. They are lying on the bed together, fully clothed. Dil wakes. She rises very quietly and goes to his coat, thrown across a chair. She searches through the pockets and takes out the gun.\",\n \"INT. HOTEL ROOM - MORNING. Jude in bed. An alarm sounds ; she reaches to turn it off.\",\n \"INT. DIL'S FLAT. Dil takes several silk stockings out of a drawer and ties them very securely to each corner of the brass bed. She ties them round both of Fergus's feet, very gently, so as not to wake him.\",\n \"INT. HOTEL ROOM - MORNING. Jude, in front of a mirror, getting ready.\",\n \"INT. DIL'S FLAT. She draws one of Fergus's hands up, very gingerly, and ties that securely to the upright. She ties the other and is drawing it upward when he wakes. She jerks the silk stocking so it is secure. FERGUS What the fuck - Dil speaks unnaturally quietly. DIL So tell me what you're doing, Jimmy.\",\n \"INT. HOTEL ROOM - MORNING. Jude, fully dressed. She takes a gun from under the bed and slips it in her handbag.\",\n \"INT. DIL'S FLAT - MORNING. Dil crouching beside Fergus, his gun in her hand. DIL Did n't really listen last night. I heard but I did n't listen. Fergus, staring at her. He tries to pull on the bindings. DIL That wo n't do you no good. Dil knows how to tie a body. She stands up, still pointing the gun at Fergus. DIL Wondered why you came on to me like that when you gave me the look. FERGUS He asked me to see were you all right.\",\n \"EXT. STREET - DAY Jude on the street. Maguire's car pulls up rapidly and she gets inside.\",\n \"INT. DIL'S FLAT. DIL See, I fix on anyone that's nice to me. Just the littlest bit nice and I'm yours. FERGUS Stop it, Dil - DIL Just do n't kick Dil and she'll be touched. Be nice to her and she'll be yours forever. She looks at him, tears in her eyes. DIL See, I should blow you away, Jimmy. But I ca n't do that. Yet. FERGUS Let me go, Dil He drags at his bindings. DIL Why? FERGUS Got to be somewhere. DIL Try and go, then.\",\n \"EXT. STREET BY BROTHEL - DAY The figure of the judge in the window. Outline of a woman. Jude and Maguire are in the car, parked across the street. They look toward a paper seller. MAGUIRE Where the fuck is he? Christ -\",\n \"INT. DIL'S FLAT. Fergus pulls furiously at his bindings. FERGUS Let me go for fuck's sake, Dil - or they'll be here DIL Let them come then. IN THE CAR. OUTSIDE BROTHEL. JUDE Ca n't stay here, Peter - drive around once more - He drives off.\",\n \"INT. DIL'S FLAT. Fergus collapsed back on the bed, exhausted. DIL Just want your company for a little while longer.\",\n \"EXT. STREET BY BROTHEL - DAY Maguire's car driving round once more. No sign of Fergus. MAGUIRE That fucker's dead - JUDE No, we are.\",\n \"INT. DIL'S FLAT. Fergus strains and roars from the bed. FERGUS You do n't know what you're doing, Dil - DIL Never did. MAGUIRE'S POINT OF VIEW - the brothel door opening. The elderly judge comes out. The car with his security men guns up. MAGUIRE Give me the shooter, Jude - JUDE You're crazy - MAGUIRE Give me the fucking shooter! He grabs it from her pocket. Throws open the door and runs across the street. Jude dives into the driver's seat.\",\n \"INT. DIL'S FLAT. Fergus, pulling at his bindings.\",\n \"EXT. OUTSIDE THE BROTHEL. The judge walking toward the open door of the car, held open by his goon. Maguire, running toward him, gun in hand. The goon sees him. Maguire shoots as he runs. Once, twice, three times, four. The judge falls. The goon, hit in the arm, pulls an Uzi and returns fire. Maguire hit, still shooting. Other goons tear from the car. Mayhem, screaming. Jude hits the pedal on her car and screeches off. Maguire, dead.\",\n \"INT. DIL'S FLAT - DAY Dil dressed in the soldier's cricket clothes. She looks like a sweet little boy. She places a cassette in the tape deck - `` The Crying Game'' song. She comes to the bed, and points the gun at Fergus's head. DIL You like me now, Jimmy? FERGUS I like you, Dil - DIL Give me a bit more, baby, a bit more. FERGUS More what? DIL More endearments. FERGUS I like you, DIl DIL Love me. FERGUS Yes. DIL Tell me you love me. FERGUS Whatever you say, Dil. DIL Then say it. FERGUS Love you, Dil. DIL You do? FERGUS Yeah. DIL What would you do for me? FERGUS Anything. She begins to cry and lays the gun gently on his chest. DIL Say it again. FERGUS I'd do anything for you, Dil. She pulls on his bindings to release him.\",\n \"EXT. STREET. Two police cars, sirens wailing.\",\n \"INT. DIL'S FLAT. Dil's face, close to Fergus's, as the stockings that bound his hands are nearly undone. DIL And you'll never leave me? FERGUS Never. DIL I know you're lying, Jimmy, but it's nice to hear it. His arm is free. He strokes her hair. FERGUS I'm sorry, Dil. She shudders with weeping. The music of the song plays in the background. Jude walking through the open door, arms extended, holding a gun. JUDE You stupid shit - Once was bad enough. But twice. Dil rises from the bed and points her gun at Jude. DIL You did n't knock, honey - Dil fires, hits Jude. Jude falls and is writhing on the floor. FERGUS Dil! JUDE Get that thing off me, Fergus - Dil walks closer, holding the gun and pointing it at Jude. DIL What was that she called you, Jimmy? FERGUS Fergus. DIL What's Fergus? FERGUS It's my name, Dil - DIL What happened to Jimmy? JUDE I said get it off me, Fergus - Jude, on the floor, reaches for her gun. Manages to grab it. DIL What's she going to do, Jimmy? She going to blow you away? Dil shoots again, like a child, playing with a toy. She hits Jude in her gun shoulder. Jude spins one way, the gun the other. DIL Was she there too? When you got my Jody? Fergus screams FERGUS Dil! DIL I asked you a question, honey - were you there too - JUDE You sick bitch - As she raises the gun, Dil shoots her repeatedly, saying : DIL You was there, was n't you? You used those tits and that ass to get him, did n't you? Fergus screams from the bed. He rips free his other arm. Dil shoots Jude in the throat, and she falls dead, covered in blood. Dil turns the gun on Fergus. DIL She was there, was n't she? FERGUS She was - DIL And she used her tits and that cute little ass to get him, did n't she? FERGUS Yes. DIL Tell me what she wore. FERGUS Ca n't remember. Dil points the gun at him, squeezing on the trigger. Then she stops. DIL Ca n't do it, Jimmy. He wo n't let me. She looks at the picture ; walks over and sits down in front of it. DIL You wo n't let me, Jody - She raises the gun and places it in her mouth. Fergus takes it gently from her mouth and places it on the table. He lifts her up by the shoulders. FERGUS You've got to go now, Dil - DIL Do I? FERGUS Yes. Now. DIL Am I in trouble, Jimmy? FERGUS Not if you go. DIL Will I see you again? FERGUS You will, Dil DIL Promise? FERGUS I promise. DIL Where am I to go, Jimmy? FERGUS The Metro. DIL Meet Col - FERGUS Yes. Say hello to Col - He leads her out the door. Fergus goes back into the room, past Jude's body. Looks out the window to where he can see Dil staggering down the street, through the crowds that have gathered. The wail of police sirens coming closer. He watches Dil run off, with her funny walk. Then looks down and sees the cop cars pushing through the knot of people around the house. He picks up the gun, wipes it with a rag to remove Dil's fingerprints. He turns to the picture of the soldier ; talks to it. FERGUS You should have stayed at home. He sits in the chair by the window, waiting. FADE TO BLACK.\",\n \"INT. PRISON VISITING ROOM - DAY FADE UP to reveal a large interior, with light streaming in the windows. Large barred doors open and a group of women come through, with parcels, children in tow, etc.. Among them is Dil, looking resplendent. She walks past the rows of convicts with their families, up to a glass cage, where Fergus sits, waiting. DIL Got you the multivitamins and the iron tablets, hon - FERGUS Do n't call me that - DIL Sorry, love. Now, the white ones are magnesium supplement - FERGUS Stop it, Dil - DIL I've got to keep you healthy, Jimmy. I'm counting the days. Two thousand three hundred and thirty - four left. FERGUS Thirty - five. DIL I'm sorry, darling. I keep forgetting the leap year. What am I supposed to call you then, Jimmy? FERGUS Fergus. DIL Fergus. Fergus my love, light of my life - FERGUS Please, Dil - DIL Ca n't help it. You're doing time for me. No greater love, as the man says. Wish you'd tell me why. FERGUS As the man said, it's in my nature. DIL What's that supposed to mean? She shakes her head. FERGUS Well, there was this scorpion, you see. And he wants to go across the river. But he ca n't swim. So he goes to this frog, who can swim, and he says to him, `` Excuse me, Mr. Froggy.'' CAMERA PULLS BACK, and as Fergus tells the story of the scorpion and the frog, the music comes up - `` Stand By Your Man.'' FADE OUT.\"\n]"},"labels":{"kind":"list like","value":[0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,1,0,0,1,0,0,0,0,0,1,0,0,0,0,0,0,1,0,0,0,0,0,0,1,0,0,0,0,0,0,0,1,1,1,0,0,0,0,1,0,1,0,0,0,0,1,0,0,1,1,0,1,0,0,0,0,0,0,0,1,0,0,1,0,0,0,0,0,0,0,0,0,0,1,0,1,0,0,1,1],"string":"[\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 1,\n 1\n]"},"summary":{"kind":"string","value":"At a fairground in rural Northern Ireland, Provisional IRA volunteer Fergus and a unit of other IRA members, led by Maguire, kidnap Jody, a black British soldier. The kidnapping is accomplished after IRA member Jude lures Jody to a secluded area with the promise of sex. The IRA demands the release of imprisoned IRA members, threatening to execute Jody in three days if their demands are not met. Fergus guards Jody and develops a bond with him, much to the chagrin of the other IRA men; Jody tells Fergus the story of the Scorpion and the Frog. Jody persuades Fergus to promise to seek out his significant other, Dil, in London should Jody be killed. The deadline set by Jody's captors passes. When Fergus takes Jody into the woods to kill him, Jody runs away. Fergus cannot bring himself to shoot the fleeing Jody in the back, but Jody is accidentally run over and killed by a British armoured personnel carrier as it moves in to assault the IRA safe-house. With his IRA companions seemingly dead after the attack, Fergus flees to London, where he takes a job as a day labourer using the alias \"Jimmy\". A few months later, Fergus finds Dil at a hair salon. Later, they talk in a bar, where Dil is tormented by a drunk customer and both are followed by Fergus as they go to her apartment for sex. Fergus feels guilty about Jody's death. He pursues Dil, protecting her from an obsessive suitor and falling in love with her. Later, when the two prepare to have sex in Dil's apartment, he discovers that she is transgender. His initial reaction is of revulsion; rushing to the bathroom to vomit after hitting Dil in the face. A few days later, Fergus leaves Dil a note and the two make up; despite Dil being transgender, Fergus is still taken by her. Around the same time, Jude unexpectedly reappears and tells Fergus that the IRA has tried and convicted him in absentia. Jude forces him to agree to help assassinate a British judge. She also mentions that she knows about Fergus and Dil, warning him that the IRA will kill Dil if Fergus does not cooperate. Fergus continues to woo Dil. To shield Dil from possible retribution, he gives her a haircut and menswear as a disguise. The night before the IRA mission is to be carried out, Dil gets drunk and Fergus escorts her to her apartment, where she asks him to never leave her again. Fergus complies, then admits he had an indirect hand in Jody's death. Dil, drunk, appears not to understand; however, in the morning, before Fergus wakes up, Dil restrains him by tying him to the bed by his limbs with black stockings. By doing so, Dil unwittingly prevents Fergus from completing the assassination. Holding Fergus at gunpoint with his own pistol, Dil demands that he tell her that he loves her and will never leave her; he complies, and she unties him. Jude and Maguire shoot the judge, but Maguire is shot and killed by one of the armed bodyguards. A vengeful Jude enters Dil's flat with a gun, seeking to kill Fergus for not taking part in the assassination. Dil takes several shots at Jude, hitting her, whilst stating that she is aware that Jude was complicit in Jody's death and that Jude used her sexuality to trick him. Dil finally kills Jude with a shot to the neck. She then points the gun at Fergus but lowers her hand, saying that she cannot kill him because Jody will not allow her to. Fergus prevents Dil from shooting herself and tells her to hide out. He wipes her fingerprints off the gun, replaces them with his own, and allows himself to be arrested in her place. A few months later, Dil visits Fergus in prison and asks why he took the fall for her. He responds, \"As a man once said, it's in my nature\". He then tells her the story of the Scorpion and the Frog."},"name":{"kind":"string","value":"The_Crying_Game"}}},{"rowIdx":79,"cells":{"scenes":{"kind":"list like","value":["INT. WASHINGTON, DC ELEMENTARY SCHOOL - DAY We're in a kindergarten classroom of 25 SIX YEAR OLDS. All sitting on the floor, legs crossed. Sitting in front of the kids is Little KEVIN FLEURY, flanked by his mom LYLA FLEURY and his dad RONALD FLEURY, in a dark suit. Little Kevin has a large cardboard square with pictures from different stages of his life taped to it. He's telling the class about the photos. We're TIGHT ON the pictures. TIGHT ON the young faces. TIGHT ON Fleury. KEVIN FLEURY This is my Fredricksburg house and my grandma Ruth playing with my skateboard ramp. It's a Tony Hawk jump ramp. A little girl, MICK raises her hand. KEVIN FLEURY -LRB- CONT'D. -RRB- Mick? Silence from Mick MICK I forgot what I was going to say. Kevin points to another picture. KEVIN FLEURY This is me at my second birthday party with my mom and my dad. That's my cake. Fleury looks down sweet at his son. KEVIN FLEURY -LRB- CONT'D. -RRB- This is me with my mom at the zoo and this is my dad and me and my grandpa Willie. Kevin points to another photo. KEVIN FLEURY -LRB- CONT'D. -RRB- And this is me and my dad and my grandpa Willie at my dad's office. The kids all lean forward and squirm as they try and get closer to the pictures. MISS ROSS, the pretty twenty five year old teacher watches from the side. MICK Where's your gun? LITTLE BOY Yeah, where is your gun? Pretty much all the kids get in on this now. Everyone wants to see Fleury's gun. Fleury makes eyes at Miss Ross. She's giving him a ` no fucking way' hard eye. FLEURY I'm assuming that there are no bad guys in this room. Is n't that right? I mean, are you guys good guys or bad guys? THE WHOLE CLASS GOOD GUYS! FLEURY Right. So why would I have brought my gun to a room full of good guys? This silences the class. Miss Ross keeps things moving, pointing to a photo. MISS ROSS What's that picture? KEVIN FLEURY This is me and my dad playing Battleship at my dad's apartment. Mick's hand goes back up. KEVIN FLEURY -LRB- CONT'D. -RRB- Mick? MICK What is a battleship? KEVIN FLEURY -LRB- abruptly. -RRB- My parents are divorced. A beat. Lyla and Ron look down at Kevin, stalled. KEVIN FLEURY -LRB- CONT'D. -RRB- But that's OK ` cause the most important thing is to know that everybody loves each other. This hits a bit hard on Lyla and Ron. Miss Ross jumps in. MISS ROSS So, who's that in that picture up on top? KEVIN FLEURY That's my fish, his name is Jaws and he's a really mean fish.","INT. WASHINGTON DC ELEMENTARY SCHOOL- CONTINUOUS Kevin is still going strong. KEVIN FLEURY My mommy is a Think Tank worker and she is really, really smart. She went to two colleges and has three computers.","INT. WASHINGTON DC ELEMENTARY SCHOOL - DAY Kevin's pointing to a picture of Ronald holding him as a tiny newborn. KEVIN FLEURY This is the day that my daddy says is the happiest day of his life. MISS ROSS Really. His happiest day! Can you tell us about that day, Mr. Fleury? Fleury smiles, looks out at the class. RONALD FLEURY I sure can. That was December 4th and that was the day that we spent the whole day in the hospital waiting for this guy right here to come out of Kevin's mom's tummy. And we waited and waited but he would n't come and we kept waiting and finally the doctor said ` OK. he's not gon na come out on his own so we got to go get him.' And well, Fleury stops, checks in with Miss Ross. RONALD FLEURY -LRB- CONT'D. -RRB- Can I tell this story? MISS ROSS Go for it. RONALD Fleury So they take her and put her on a special bed and they give her some medicine so she does n't feel any pain then they take out this tiny little knife and make a tiny little cut right here in her tummy. The kids are mesmerized. MISS ROSS Then what happened? RONALD Fleury Then the doctor put her hands way up into Kevin's mom's tummy. WAY IN! And then you know what they did? A little girl, LU LU : WIDE EYED LU LU What did they do? RONALD FLEURY They started to pull and pull and pull. they had something in there and it started coming and they were pulling and the doctor all of the sudden said `` STOP!'' The class is frozen. Fleury has them. RONALD FLEURY -LRB- CONT'D. -RRB- They stopped pulling and the doctor looked up at me and said ` Hey, Mr. Fleury - you ready to have your world rocked?' And I just stared at her and she pulled this little head up out of that belly. And it was him. His head. And I looked down at him and screamed `` Kevin!'' And he looked down at me and screamed `` Daddy!'' The kids are howling!","EXT. AN UNKNOWN ROOFTOP - LATE DAY A Muslim family sits together at a table under a tented - canopy : 32 year - old MAN nervously chewing on a toothpick, and his 8 and 15 year - old SONS. The 8yo leans his weight into an old MAN hunched and obscured by his grandson - this is his Grandfather. He gently rubs the Boy's head with an ancient left hand. The Boy finger - paints in Arabic script, right to left, getting paint on the table. Read the translation : There is no God but Allah. The Grandfather's face is down, obscured by his shumagh : the head - wrap worn by some Muslim men. Never a clear view of his face. His 32 year old Son and eldest Grandson sit next to them, the Son talking quietly on a cell phone, chewing that toothpick, eyes set on something in the distance : A Security Gate three hundred yards away, the entrance to some sort of compound. The Compound looks like a walled - off subdivision, most of which we can see from this high up. The landscape is foreign. Scrub desert. Ten miles beyond, on the horizon : the shimmer of a modern skyline. Surreal monolithic shapes made more so by the heat. Muted yells - claps - screams waft in from that Compound now. Catches the youngest Grandson's attention. Eyes lift up from his painting : the yells - claps - screams are coming from a softball game mostly visible behind the Compound's reinforced walls that extend a mile in each direction. Played on the only stretch of green grass visible from this vantage.","EXT. COMPOUND MAIN ENTRANCE - LATE DAY Sounds from the softball game much louder now, just over the walls. Security perimeters two checkpoints deep before you get to the main gate. A maze of concrete Jersey - barriers to slow all entering vehicles : give machine - gun emplacements flanking the entrance plenty of time to shred those vehicles if need be. Middle - Eastern Police platoons. 500 lbs. lift - gates to dissuade any vehicle that just tries to ram through. SERGEANT HAYTHAM : a lean, 27 year - old Middle - Eastern Policeman in - command of the Entrance. Sweats through his uniform. A late - model Range Rover with blacked - out windows queues up. All the windows roll down : just a single, portly White WOMAN behind the wheel, her INFANT CHILD in a car - seat in front. Two other Uniformed Officers mirror - scan the bottom of the Rover. A brief exchange, as Haytham checks his ID : DRIVER How are you today, Sergeant? HAYTHAM Sun is shining. Wind is blowing. How bad can I be doing? DRIVER I like that, `` Sun is shining.'' A tight smile from Haytham. The other Officers are checking the inside of the Rover now. They nod to Haytham, Haytham hands the ID back to her. Windows rolls up. Lift - gate goes up. Range Rover pulls away, navigating the zig - zag jersey barriers.","INT. COMPOUND - NEXT MOMENT Stay with the Range Rover as it moves deeper into the complex. Think middle - class Phoenix suburb circa 1960 : stucco homes sandwiched between dormitory style apartment blocks, concrete and rock where grass should be. The Range Rover passes a tank with a caged SOLDIER on top sitting behind a fifty caliber GUN. A Police Land Cruiser parked in the middle of the road is the last of the security. Official markings, emergency lights in the grill.","EXT. UNKNOWN ROOFTOP - SAME MOMENT The Son studies the compound through binoculars, while the youngest Grandson squints to study the softball game : Interest cut with jealousy. More muted cheers float. Behind and above him, his Grandfather's voice, rough as sand, to his 32 year - old Son, in Arabic : GRANDFATHER -LRB- O.C. -RRB- Hang up the phone. If they're not ready now, no words will change it.","EXT. COMPOUND SOFTBALL DIAMOND - NEXT MOMENT Another Middle - Eastern POLICEMAN takes in the motley competition : half - smiling, half - smirking at a plump - pink White Man cheering on his plump - pink 9 year - old Son sliding into third. WHITE MAN GET DIRTY! Safe. Clapping and Hoots. The PITCHER : an older White Man in his middle forties visibly frustrated. A 25 year - old African - American Batter steps to the plate now. Pitcher turns to his Fielders : PITCHER STEP IT UP NOW! -LRB- back the Batter. -RRB- Ready for my knuckle - curve? The Batter just stays focused as the Pitcher tosses a high - lob. Batter smacks the ball a mile high, deep to left. The teammates of the plump - pink Boy on third : TEAMMATES TAG UP! WAIT ` TIL SHE CATCHES IT - PITCHER -LRB- spins, points up at the ball. -RRB- - COMIN' HOME! A 14 year - old Indian girl sprints underneath the fly - ball : sets up, catches it, juggles it, drops it. We pick up different families on the grass nearby : A young WOMAN helps her five year old DAUGHTER untangle a yo - yo. A black COUPLE doing a crossword puzzle together, the wife's head on her husband's lap.","EXT. UNKNOWN ROOF TOP - SAME MOMENT The muted reaction to the dropped ball. The whole Family, save the youngest Grandson, intently focused on two Officers walking up to that Police Land Cruiser parked in the middle of the road, well inside the compound : no blinks now. The youngest still enthralled by the softball game, the cheers, the running, the shorts and t - shirts. We see his Grandfather's left hand stop rubbing the Boy's head, and move to the Boy's temple, placed like a blinder so he ca n't see what's about to happen. In Arabic : GRANDFATHER Do n't stop watching the game.","EXT. INSIDE THE COMPOUND WALLS - NEXT MOMENT Noises from the softball game close again. Track these two Officers on foot walking toward the Police Land Cruiser ala shift change : nonchalant but quick.","INT. POLICE LAND CRUISER - SAME MOMENT The Driver eyeing the two approaching Officers : something off about them. Uniforms wrinkled, one with a full beard. Driver turns to his Partner, in Arabic : DRIVER You have a copy of the duty rost - - POP - POP - POP before the Driver finishes. The Officers on foot rapid - firing 9MM pistols. The Driver and Passenger hit multiple times instantly, crumble lifeless in their seats before anyone has time to process the sounds, link them to an attack. The two firing ` Officers' move low - fast like professionals : rip the fresh bodies from the Cruiser, jump in. The new Passenger rips an AR - 15 rifle off the center console. The new Driver lays rubber into the Compound.","EXT. UNKNOWN ROOF TOP - SAME MOMENT The youngest Grandson wide - eyed, startled, watches as every member of the Security Details in and around the Compound go prairie dog : search with necks extended, eyes wide - what the fuck was that? The Boy tries to turn his head away from the game to look for himself : Grandfather just pushes his head back to the game, voice harder now, in Arabic : GRANDFATHER -LRB- O.C. -RRB- I said keep watching the game.","EXT. COMPOUND MAIN ENTRANCE - SAME MOMENT Haytham instantly sprints toward another nearby Police Land Cruiser as most everyone else ducks. In Arabic : SERGEANT HAYTHAM LOCK DOWN! Then points at the Officer in the Driver's seat : SERGEANT HAYTHAM -LRB- CONT'D. -RRB- MOVE!","EXT. COMPOUND SOFTBALL DIAMOND - SAME MOMENT Game forgotten. Parents up, screaming for loved ones, moving fast toward the parking lot. The Middle - Eastern Officer that has been watching the game hustles onto the field, next to the Pitcher, waves people toward him. Gathering but sporadic gun - fire in very near distance. WATCHING OFFICER -LRB- accented English. -RRB- COME TO ME! FOLLOW ME! People immediately flocking around the authority figure. The 14 year - old Indian Girl running in, more puzzled than scared : why is that Cop wearing a jacket in this heat? The Officer rips a yellow gun - shape from his jacket pocket. The Pitcher sees it, instinctively tries to rip it away from him. Gets a handful of collar, pulls as violently as he can, shreds the front of the Officer's coat : a white linen vest with a bulge in - front underneath the jacket.","EXT. UNKNOWN ROOF TOP - SAME MOMENT The youngest grandson's wide - eyed face. Then we see the Grandfather's right - hand slide down the other side of his youngest Grandson's face, coming to rest on his other temple : making sure he's still watching the Softball diamond now. The Grandfather's right hand : missing an index and middle finger.","EXT. COMPOUND SOFTBALL DIAMOND - SAME MOMENT Panic. The Officer swings the yellow gun - shape, what we now realize is an electric drill crudely modified into something else, bashes the Pitcher's face with it. Those that had gathered have turned, are sprint - stumbling away. The Officer closes his eyes, depresses the drill trigger, vanishes before we comprehend the massive release of blue - black chaos, expanding in an ever - wider sphere. Immediate surroundings dissolve : players, parents, stands, cars, the light standards surrounding the field and parking lot.","EXT. CINDER-BLOCK CONCESSION STAND - SAME MOMENT Located behind straight - a - way center field, at the nexus of four fields. We see it from profile as shock - wave and shrapnel blast the structure : another Officer hiding behind it staggers out now, sprawls ugly : balance fucked from a blown inner - ear. He also wears a jacket, and holds a modified yellow plastic power drill. Moves uneasy toward screams in the nearby parking lot.","EXT. SOFTBALL DIAMOND PARKING LOT - NEXT MOMENT The off - balance Officer stops over a 30 year - old African - American woman pinned under a Toyota. She hyperventilates, her bare leg and open - toed sandal kick at air. The Officer's breathing calms : the sight of exposed skin as divine reassurance. CLOSE - UP : the vented rear of the drill as the 14.4 volt motor sparks blue. A second blue - black explosion that shreds the parking lot as cars smash into one another desperate to escape.","EXT. ADJACENT STREET - NEXT MOMENT Panicked women walking dogs. Frozen. A Police Land Cruiser with bullet - scarred windows roars around the corner. Stops near the women. They smile : cavalry to the rescue. Then a man with leans out the window with an AR - 15 : point - blank staccato. Tracers exit bodies, drill asphalt. The Land Cruiser rolls, spraying passing homes indiscriminate.","INT. JACKED LAND CRUISER - NEXT MOMENT Tearing through the streets, Passenger firing at all signs of life. Sits back for a lightning - quick re - load. Leans back out - before he can begin firing again -","EXT. COMPOUND STREET - SAME MOMENT - another Police Land Cruiser from nowhere hammers their Driver's side. Vicious. The Passenger is launched out his window, head - first into the curb. Both vehicles smoke - screech. Momentary pause after the a massive collision. Then Sergeant Haytham, 9MM in - hand, falls from the Second Land Cruiser. Stalks bloody to the Passenger side of the jacked Land Cruiser still slowly rolling backwards, leaking all it's vital fluids, it's snapped drive - shaft leaving a groove in the pavement. And Sergeant Haytham empties his clip into the interior while walking along side. The Officer Haytham told to ` move,' rips himself from the Passenger's side of their vehicle, bleeding profusely, screaming something unintelligible into his handheld radio.","EXT. UNKNOWN ROOF TOP - SAME MOMENT Just the youngest Grandson's horrified eyes : he had no choice but to see it all, carnage painted permanently. His face still held tight between his Grandfather's hands. In Arabic : GRANDFATHER -LRB- O.C. -RRB- Our Time is not a peaceful one. God has left it to us to make it so. Hold on those deep, young, brown eyes. Those young brown eyes finally blink.","INT. WASHINGTON DC ELEMENTARY SCHOOL- LATER Everyone eats snacks that the Fleurys brought. Kevin's the center of attention. Fleury's passing out juice boxes. Fleury's cell phone vibrates. TIGHT ON THE ID : 911. Fleury's mid - juice - pass, answering his phone at the same time. Kevin looks to his Dad, already grimacing. Fleury walks away from the kids. RONALD FLEURY -LRB- surprised. -RRB- Fran? We hear Fran's voice as though we're on the line with him : raspy - ragged, like he's been crying. FRAN -LRB- O.S. -RRB- You getting this yet? RONALD FLEURY Hey, I'm at Kevin's school. What's goin' on? FRAN -LRB- O.S. -RRB- I'm sorry, Brother. -LRB- beat. -RRB- Riyadh. Many Dead. Fleury's demeanor shifts to HARD immediately. RONALD FLEURY Where exactly? FRAN -LRB- O.S. -RRB- The Al - Rahmah Western Housing Compound. Oil Company employees. Hit a company picnic. RONALD FLEURY How? FRAN -LRB- O.S. -RRB- Big. Broad daylight. Blew up a softball game. -LRB- tears. -RRB- Kids, Brother. Fleury looks at the kids eating and laughing. KEVIN FLEURY Dad? Fleury smiles best he can at his Son. Into the phone : RONALD FLEURY When? FRAN -LRB- O.S. -RRB- Just went off - twenty minutes ago. Two bombers. A Shooter crew as diversion. it's just awful. RONALD FLEURY Fran, I'm rollin' right now. Let me call you back : I got ta ring bells FRAN MANNER -LRB- O.S. -RRB- Go. I'll be here. Fleury hangs up, walks to Kevin, kneels down - oblivious to everyone watching. RONALD FLEURY Son, I got ta go to work. KEVIN FLEURY We're gon na do ceramics. RONALD FLEURY I got ta go to work. KEVIN FLEURY -LRB- points to the phone. -RRB- Who was that? RONALD FLEURY Big Fran - you remember him? KEVIN FLEURY -LRB- beat, thinking. -RRB- Uncle Fran? Put peanuts in his Coke so he could drink and eat all at the same time? RONALD FLEURY -LRB- smile. -RRB- Where he's from in South Carolina that's called fine - dining, Bud. KEVIN FLEURY What happened? RONALD FLEURY -LRB- beat. -RRB- Something bad. KEVIN -LRB- impression of his Dad. -RRB- ` Lotta bad people out there.' RONALD FLEURY -LRB- smiles, already homesick. -RRB- I love you. Kisses his boy's forehead hard. KEVIN FLEURY You gon na go see him? RONALD FLEURY I'm gon na try. Looks at Lyla who's been through this drill too many times, knows this face. Ronald can only give a little shrug, which Lyla gives right back. RONALD FLEURY -LRB- CONT'D. -RRB- -LRB- to Lyla. -RRB- Can you get a ride? She nods yes. Miss Ross nearby, surprised by this : MISS ROSS Where's your husband going? LYLA FLEURY Ex - husband, and God knows. Then a wave of fear ripples across her face. She hesitates, then calls after him : LYLA FLEURY -LRB- CONT'D. -RRB- BE SAFE. Ronald turns, gives a little Cheshire grin, puts the phone back up to his ear.","EXT. AL-RAHMAH HOUSING COMPOUND BLAST SITES - EVENING The shattered softball diamond and parking lot. Emergency lights swirl from everywhere. Acrid smoke. FRANCIS MANNER -LRB- FBI LEGAT, US Embassy -RRB- is giant. The kind of American that only grows in tiny southern hamlets. Military whitewalls, short - sleeves, khaki Dockers, a thick Casio G - shock, FBI credentials visible on a chain. Hangs up his phone. Lifts his eyes : Hell from one side of the frame to the other. Saudi teams setting up portable lights that bathe the horror in industrial incandescent. Columns of black smoke. Fleets of emergency vehicles. 100 uniformed men. Another 200 in bio - suits combing the ball field, the parking lot. Fran has to do something/anything. Move through the horror with him now. His hands shake, his face already dirty with soot. Jumps in with a Saudi team pulling a half - burned WOMAN out of a smoldering Range Rover. She fights them, gouging Fran's face, trying to get back in. She is the woman we met at the gate of the compound. She wants her baby. Fran bloodied, just kind of steps away from the woman. Leaves the Saudi emergency team to fight with her. Backs away until he feels grass under his feet. The woman's screams reverberate. Fran just sits in the grass. Staring at the woman, her shattered soul. Forces himself to look away. Eyes come to rest on a child's baseball cap : ragged holes ringed with black stains : where blood dried on the blue felt. VOICE -LRB- O.C. -RRB- -LRB- immediately behind. -RRB- Fran. You got ta stand Big Man. Fran turns to find REX BURR : 5' 7'' fireplug. A long silence. Fran points to the hat : FRANCIS MANNER Rex, how old were you when your hat was that small? We watch tears well in Rex's eyes. REX BURR You got ta stand, Big Man. Fran does. Wipes his hands on his pants. Slack - jaw hopeless. The first moments in what will be weeks of reverse - engineering the murders of unknown dozens. He and Rex step to a group of WALKING - WOUNDED. A NEIGHBOR doles out mugs of coffee. Most everyone from the compound is out, pondering the proximity. SAUDI emergency teams sprint past. Fran spits, settles in : FRANCIS MANNER We need to get everyone back, then get all their - SOMETHING HUGE EXPLODES over their shoulders, 50 yards away. The Attack's coup de grace : wait for people to lift up their heads, hit them again. Five times the size of the suicide bombs. Shreds emergency vehicles, nearby homes and apartment buildings. Kills Saudi rescuers by the bushel. Fran is crushed by a flying portable light standard. Rex is blown into the man handing out coffee. The walking wounded get decimated.","EXT. AL-RAHMAH HOUSING COMPLEX - NEXT MOMENT Slowly lift up and hold on Al - Rahmah as it burns. Black smoke and flame pour skyward from the site of the coup de grace explosion. Massive crater. Screams. Chaos postcard.","EXT. WASHINGTON, DC HOUSE - DAY Establishing shot.","INT. FRAN MANNER'S WASHINGTON, DC HOUSE - DAY Fleury sits with GLENDA MANNER. a toy remote - control robot comes into the room. Little Teddy Manner -LRB- 5 -RRB- peeks his head around the corner of a door. GLENDA It was. I do n't know what time it was. the dishwasher's broken. I was waiting for the dishwasher. The doorbell rang - I thought it was. it was n't the dishwasher guy. It was n't. It was n't. Glenda breaks down, starts to completely lose it. Her little boy Teddy climbs up onto his mother.","INT. FRAN MANNER'S HOUSE - TEDDY'S ROOM - LATER Fleury sits on the bed with little Teddy looking at a beautiful black and white photo of Fran holding a new born Teddy up over his head. Eye to eye. Little Teddy shows Fleury his toy helicopter. His dad's soldier boots. Fleury ca n't take it.","INT. FRAN MANNER'S HOUSE - LIVING ROOM - LATER Fleury stands with Glenda. FLEURY Glenda, I want you to look at me. A PAUSE : Fleury freezes up on a shock of raw emotion, struggling to contain himself. FLEURY -LRB- CONT'D. -RRB- Please. I'm going to take care of this. Whoever did this. I give you my word. Whoever did this will pay. I ca n't change this, but I can promise you that I will make someone pay for this.","INT. HOOVER BUILDING, FBI HEADQUARTERS - DAY, EST Startling quiet in contrast. AGENTS cluster beneath 32 - inch Televisions suspended from the ceiling. Tuned to Al - Jazeera, CNN, BBC, etc.. Most eyes focus on the double - bloody scoops from CNN. Volume low : CNN REPORTER 1 hour ago : blasts in Saudi Arabia, in or around the ` Al - Rahmah' western housing complex near Riyadh. More than 100 feared dead, including children. The Saudi Foreign Minister has released a statement calling this a ` heinous act possibly committed by foreigners.' BBC REPORTER homes to thousands of Westerners and other non - Saudis who work in the Kingdom, there have been several attacks on these compounds in the last five years. As such, they have become very tight in terms of security, with both the Saudi National Guard and police taking command. Fleury walks under the televisions. A folder in - hand, heading down a long hallway, subordinating his fury to tasks - at - hand.","INT. COMMAND & TACTICAL OPERATIONS CENTER (CTOC) - NEXT MOMENT Fleury enters, steps to a podium, opens his folder. 50 Agents seated lecture hall - style. Steam from fifth, sixth cups of coffee. Plasma screens behind show still - images of the crime cribbed from Al - Jazeera. Throughout the scene, Fleury constantly refers to a roster of his ERTs. RONALD FLEURY Numbers so far : 100 + dead, 200 + injured. The target was a softball game. Rumor is the Killers wore Saudi police uniforms. -LRB- beat. -RRB- Special Agent Fran Manner was killed. JANET MAYES, 29 years - old, stifles a sob in the front row. Fleury steps from behind the podium, puts a hand gently on Janet's shoulder, leans in and whispers something no one but Janet hears. Whatever his words, they give back her composure. She nods. RONALD FLEURY -LRB- CONT'D. -RRB- So was Rex Burr from State. Fleury lets the news absorb as he steps back to the podium. No one says a thing. Fleury lifts his eyes again, real trouble maintaining control. RONALD FLEURY -LRB- CONT'D. -RRB- Fran was the best among us. we'll feel this loss the rest of our days. -LRB- beat, moment to regroup. -RRB- Grant, take stabs at bomb sizes. GRANT SYKES. 50 years - old. Virginia State Trooper before joining the FBI. Law - and - order formidable : sharp - smart Charlottesville accent. Studies the images for a beat. GRANT SYKES From the craters, looks like they used a High Explosive. possibly military grade : ca n't fit that much TNT into a vest. 20, 30 pounds of PETN : they got it. Semtex or C - 4 : they could get it. The third there, God knows. that crater looks like a plane dropped a 500 - pounder. RONALD FLEURY Obviously a secondary blast after the initial devices used to lure first responders to the scene. Do n't know anything about where or what it was yet. GRANT SYKES This is how they do it. ADAM LEAVITT. 34 years - old, sought - after Investigator. There's a constant, intense grind to this guy, a mind and mouth incapable of quiet. He paces around the room, then eagle - eyes the bomb images. starts surge - scrawling crude diagrams of the blast site on a piece of loose leaf. Feels more like nervous doodling than work. Not looking up from his drawing : ADAM LEAVITT I already know the answer, but any chance in Hell we get to go over there, use our hands? RONALD FLEURY If you already know the answer Adam, why ask the question? Fleury circles Leavitt's name on the roster. Leavitt never stops drawing. SYKES We're not seeing this kind of planning and execution anywhere else. these ai n't hot - wired artillery shells waiting for Humvees to roll by. -LRB- pointing at the screens. -RRB- These hits are coordinated : planning, timing, and big, broad - daylight balls - JANET MAYES -LRB- almost trance - studying the images. -RRB- Yeah, So. did they all happen during daylight? Another great question. Fleury looks over to AGENT # 1 on his immediate right, an egg - head type with a big binder in front of him. Everyone's eyes follow. Agent # 1 flips quickly through the binder, back - and - forth, searching. Fleury crosses his name off of his roster. Then : AGENT #1 Yes. At least the first parts of the attacks. Everyone smells it : that's big - more proof these attacks are being carried out by one, very skilled Terror Cell. JANET MAYES We had two others. North of Riyadh and the oil thing. What was that? ADAM LEAVITT The Refinery. Ras Tenura Refinery. JANET MAYES Yeah, south of Jeddah. Same thing : daylight, suicide bombers. Right? Same thing. Followed by machine gun crews. Collect and kill. ADAM LEAVITT Yup. RONALD FLEURY This is not new in concept. It is new in scope. It's bigger. Very sophisticated. Command and control was flawless. They found the largest kill zone they could and they did it. they did it by being patient. ADAM LEAVITT Any rumors or confirmations of uniforms being used in the other two attacks? Fleury circles Mayes' name on the ERT roster. AGENT #1 -LRB- from memory. -RRB- No. I know this is the first for that. GRANT SYKES That's ` worst case scenario' if you're still asking for my stab, Sir. A crew who can build bombs this big, with this level of eyes - on control and detonation coordination. has access to Saudi uniforms now. I mean. Baby Jesus. LEAVITT Anyone take credit? Fleury checks from his notes. FLEURY Abu Hamza. Saudi Al - Qaeda. Bin - Laden - wan na - be. We know he was in Afghanistan, then moved to Iraq. Now he seems to have come home. He's clearly becoming increasingly active. ADAM LEAVITT If it is Hamza, he's definitely turning up the volume over there. Not to beat a dead horse, Sir, but if there was ever a time to get boots on Saudi sand. Sykes studies Leavitt with what is best described as substantial skepticism. Fleury circles Sykes' name on his roster. JANET MAYES They ca n't afford to appear as if they are losing any kind of control. They lose control over their country, their people. then they risk losing control over the oil. They wo n't let us in. No way. Fleury's P.O.V. : His open folder on the podium. A memo printed on Department of State letterhead. Pulls the memo, reads it aloud, calm laced with rage. RONALD FLEURY From the State Department, one hour ago : ` We are in agreement with the Saudi security assessment that any additional American presence on Kingdom soil represents reckless risk. Therefore it is the Secretary of State's position that only after the situation has been evaluated and contained, should the Federal Bureau of Investigation activate Rapid Deployment.'. -LRB- folding the memo. -RRB- The National Security Advisor and the Attorney General agreed. -LRB- beat. -RRB- I'm going to get us access. Keep your go bags hot. It's gon na come fast. Leavitt stares at Fleury as he moves fast out of the room. ADAM LEAVITT -LRB- beat. -RRB- Well. I guess he's gon na go get us some access. -LRB- beat. -RRB- How's he gon na do that? Sykes just hard - eyes Leavitt.","INT. SAUDI NATIONAL GUARD PRISON - UNKNOWN TIME COLONEL AL - GHAZI, Saudi Police, 45 years - old, mustache as thick as Sykes'. A firecracker - loud crack makes him flinch. He stands in the back of the room, not participating in the interrogation. Just observing. Clearly not happy about what he's observing. His POV : The Officer from the second Land Cruiser that rammed the fake and killed those inside, Sergeant Haytham. slab - cuffed and being worked over hard buy a couple of thick - fisted SAUDIS. Silent tears roll off his cheek, left ear split ghastly. A MAN standing far right of him beats him : the firecracker sound again. Al - Ghazi looks away, biting his tongue. Obviously wants this over. In - charge of the interrogation : GENERAL ABDUL MALIK. He does n't appear sadistic, but very determined to get the truth from Sergeant Haytham by any means necessary. Those distinctions blur easily. Malik gives a ` hold - up' signal. The following exchange in Arabic : GENERAL ABDUL-MALIK No falsehoods, Sergeant Haytham. What was your involvement? SERGEANT HAYTHAM Killing those I saw responsible. GENERAL ABDUL-MALIK So none could be questioned? SERGEANT HAYTHAM -LRB- puzzled, angry. -RRB- I do n't understand. A nod from General Malik : another vicious crack. GENERAL ABDUL-MALIK You were born and raised in Suweidi - SERGEANT HAYTHAM - that is not a crime - GENERAL ABDUL-MALIK - it should be. SERGEANT HAYTHAM It's not. GENERAL ABDUL MALIK Do you know Abu Hamza? SERGEANT HAYTHAM I do not. GENERAL ABDUL-MALIK Your brother was killed fighting the Americans. True or false? SERGEANT HAYTHAM I am not my brother. GENERAL ABDUL-MALIK Your brother - SERGEANT HAYTHAM I am NOT my brother! GENERAL ABDUL-MALIK TRUE or - Al - Ghazi interrupts. COLONEL AL-GHAZI He has answered the question. Malik shoots Al - Ghazi a unequivocal SHUT THE FUCK UP hard eye. Then back on Haytham. GENERAL ABDUL-MALIK We found six more uniforms than you were assigned in your possession - that is a crime : especially when you consider the Attackers wore our Uniform. Another nod, another crack. Al - Ghazi, flinching, becomes more alert. SERGEANT HAYTHAM Uniforms? General Malik in Haytham's face : GENERAL ABDUL-MALIK Truth! SERGEANT HAYTHAM I sweat. I'll say it again because it is true. I need more uniforms because I must change during shifts. look at my shirts. GENERAL ABDUL-MALIK I am not interested in your sweat. SERGEANT HAYTHAM - then look at my jackets. Please. Permanent stains. no matter how many times they're cleaned. Colonel Al - Ghazi grimacing now, leaves the room.","INT. SAUDI NATIONAL GUARD - STORAGE - NEXT MOMENT We follow. Al - Ghazi hustling into an evidence storage room. Searching. Finds a Locker labelled ` Haytham.' Opens it. Pulls out several shirts still in the plastic dry - cleaning sheaths : yellowed, permanent stains on the armpits of each.","INT. SAUDI NATIONAL GUARD PRISON - INTERROGATION ROOM Al - Ghazi walks back into the room with the shirts, lays them down on the table in front of the General - all business. COLONEL AL-GHAZI He's telling the truth. The only sound for a long, unsettled moment : Sergeant Haytham's labored breathing. Malik looks at the shirts, then Al - Ghazi, hesitates, steps away. GENERAL ADBUL-MALIK You were injured when you used your vehicle to protect your country. Do you understand? Al - Ghazi moves in, begins uncuffing Haytham's bloody - raw wrists, hard - eyeing Malik the whole time. These men clearly do n't like each other.","EXT. SAUDI NATIONAL GUARD PRISON - LATER Al - Ghazi and Haytham sit alone. Al - Ghazi smokes. Haytham looks down at his feet. COLONEL AL-GHAZI Look at me, Haytham. Haytham slowly looks up at Al - Ghazi. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- You saved lives today. I believe that. You served your country. I believe that. HAYTHAM I love my country. COLONEL AL-GHAZI I believe that, Haytham. Haytham Holds Al - Ghazi's eyes a good long beat. HAYTHAM I love my country. Al - Ghazi slow nods. COLONEL AL-GHAZI -LRB- beat, breaks eye - contact. -RRB- You will have your revenge for what needed to be done to assure them you were n't involved. Haytham never blinks. Eyes hard. Stoic. Clear.","EXT. WASHINGTON D.C. STREETS - NOON GRACE looks like a barrel - chested lineman. A four - man security detail behind. He and Ronald Fleury walk side - by - side. Janet Mayes just behind them. DIRECTOR GRACE Everyone's terrified, so nothing moves. Paralysis. You and your team are n't going anywhere. -LRB- beat. -RRB- And this meeting is just a circle - jerk, Ronnie : Attorney General Young's going to go through the motions because protocol says we get an appeal. We'll be on record, but expect nothing more. Nothing from Fleury. DIRECTOR GRACE -LRB- CONT'D. -RRB- Can you handle this? Keep your mouth shut when people way above you say things you'll hate? RONALD FLEURY -LRB- beat. -RRB- Yeah, sure. No problem. DIRECTOR GRACE -LRB- re : Janet. -RRB- What about Agent Mayes? RONALD FLEURY Ask her. DIRECTOR GRACE -LRB- to Janet. -RRB- What about you? JANET MAYES I'll be fine.","INT. ATTORNEY GENERAL GIDEON YOUNG'S OFFICE - NOON Fleury, Grace and Mayes enter. Handsomely decorated, expansive : a lifetime of notable handshakes framed in black and white. The biggest is a picture of Young and Billy Graham that could be titled, ` lucky for you, we have all the answers.' Gideon Young sits behind his Federalist - era oak desk : a marathoner's build, a smile too bright - perfect for his age. Two others in - attendance. A pear - shaped 54 year - old man with a Midwest - honest, ruddy - oval face : Ellis Leach, Assistant Secretary, Bureau of Near Eastern Affairs, Department of State And a 51 year - old Hispanic woman in conservative Chanel : enough femininity without diminishing toughness : Maricella Canavesio, Deputy National Security Advisor, White House DIRECTOR GRACE I apologize if we're late - GIDEON YOUNG They were early. DIRECTOR GRACE You know Special Agent Fleury? GIDEON YOUNG I do. DIRECTOR GRACE This is agent Janet Mayes, she's one of our Arabic experts. Janet stares at Young, looking mildly in over her head. GIDEON YOUNG OK. The latest. Grace sits, nods to Fleury : you're up. RONALD FLEURY Two suicide bombers. Rumors they were dressed as Saudi Police. We believe this is the work of Saudi terrorist named Abu Hamza. Young just stares at Fleury kind of odd like a kid staring at a mushroom flavored Popsicle. GIDEON YOUNG Go on. Fleury continues : RONALD FLEURY A Shooter crew served as distraction. After the initial attack there was a lull to allow Saudi Emergency Teams. and our own attaches. to collect. Then a secondary blast was triggered, aimed at those first responders. So they targeted families and rescuers with one attack. -LRB- mildly sarcastic :. -RRB- I think that's a clear signal that their definition of ` Enemy' is expanding. MARICELLA CANAVESIO My God. GIDEON YOUNG Let us never forget how cheap life is over there. Now. I have seven minutes before my next meeting, so who's talking first? -LRB- to Fleury and Grace, slow like a Kindergarten teacher :. -RRB- You two digested the memo? Stoic nods from each. Ellis Leach raises his hand, a tone that's worlds away from Young's. ELLIS LEACH I'll go first if that's okay Maricella? -LRB- off her ` yeah, sure' nod. -RRB- First, I'm sorry about Fran Manner. Gideon Young remembers, nods along solemnly. DIRECTOR GRACE As we are about Rex Burr. ELLIS LEACH I met with Prince Thamer at the Saudi embassy fifteen minutes after I heard this morning's news. After speaking with Thamer, I advised we withhold additional US personnel because a big part of the religious justification for these bombs is the presence of current US personnel. More boots on Saudi soil make an already combustible situation more so. I know that's not the answer you want, but. Motions to Maricella : the floor is yours. MARICELLA CANAVESIO My two cents : The Saudis have n't asked for FBI help. Sounds like they've done just the opposite. If we force the issue, that could further anger an utterly important ally that shares a 1000 - mile long border with Iraq. GIDEON YOUNG -LRB- to Grace and Fleury. -RRB- It's all rock - solid logic. DIRECTOR GRACE -LRB- beat. -RRB- We would just like to be on record as saying we think we should go ASAP - GIDEON YOUNG That's not going to happen Young stands : we're done. Fleury's look : that's it? Young's already collecting his briefcase, jacket - GIDEON YOUNG -LRB- CONT'D. -RRB- -LRB- mock sincerity to the room :. -RRB- - so as we present this to the public, let's - as best we can - try to view this through an FBI Agent's eyes. -LRB- beat. To Grace :. -RRB- And please let me know if there's anything else we can do for you. Meeting seems over. Not quite. Fleury ca n't keep his mouth shut. RONALD FLEURY Sir, how would you imagine it looks viewed through an FBI agents eyes? GIDEON YOUNG Pardon me? RONALD FLEURY I'm interested in how you think this situation is viewed through our eyes. Young, eyes on a Republican - gold Rolex, instantly perturbed the meeting is n't ending. GIDEON YOUNG It's some variation on vengeance. When one of your own is killed, Agents lose their analytical powers - kind of a greatest strength, greatest weakness thing. RONALD FLEURY If I wanted vengeance, I'd have whispered ` Rex Burr' into Ellis's ear right when we walked in. -LRB- beat. -RRB- Eyes migrate to Fleury - RONALD FLEURY -LRB- CONT'D. -RRB- This is n't Terrorism, ma'am. It's just Serial Murder. MARICELLA CANAVESIO What's the distinction? RONALD FLEURY To call this massacre an act of terrorism. that implies a specific political agenda. To me, these killings are so futile and unbalanced that they feel utterly sociopathic - more like Charles Manson than Osama Bin Laden. Fleury looks to Mayes. She clears her throat. Delivers the following with utter precision. JANET MAYES -LRB- beat, fuck it : Go. -RRB- Al Qaeda lost the first phase of this war, so a new, zero - sum phase has begun : if you wo n't join us, we'll let loose the truly talented Murderers. Abu Hamza. He will kill so many of you that the resulting humiliation of the Saudi Royal Family will cause an exodus, a rebellion, both. Because the Royal Family simply can not protect you or yours any longer. Fleury studies Janet with solid respect. He gives Janet a subtle nod : `` Nice work.'' RONALD FLEURY When she says talented, she's not talking about the walking - bombs who can sneak past any and all security, nor the hi - jackers tough enough to take an airliner. We're talking about the Man who teaches them how. JANET MAYES - the operational commander who organizes, trains, plans, encourages. That is who we're fighting. RONALD FLEURY If we do n't get inside Saudi Arabia within 36 hours, there is no chance we catch the killer responsible for Al - Rahmah. None. ELLIS LEACH Okay. I believe it all. So does n't your team in that country represent the kind of target one of these ` Masters' would die for? Trade ten of their own for one of you? RONALD FLEURY To not engage these criminals out of fear for our personal safety is just another way of saying ` uncle.' Fleury takes another deep breath. RONALD FLEURY -LRB- CONT'D. -RRB- I'll say it another way : Evidence starts to go cold after twenty four hours. If we ca n't get in now, we will not find the man or men responsible for this crime. We could n't do it at Khobar ; we could n't do it in Yemen ; we have barely scratched the surface in Iraq. And we are on verge of not doing it here. They are getting stronger, we are getting weaker. I just lost a very good friend and I would very much like to go and do my job. Beat. GIDEON YOUNG -LRB- chuckle. -RRB- That was spirited. let's all thank God Special Agent Fleury does n't make policy decisions. He'd turn the FBI into Patton's Third Army. Young stands. Fleury contemplates career - ending violence.","EXT. WASHINGTON D.C. - DAY Janet, Fleury and Grace walking the rows of seven - foot bronze soldiers. Street - cart hotdogs from foil wrappers. DIRECTOR GRACE -LRB- to Fleury. -RRB- I see the look in your eyes. That look is trouble : old school, play ground shit, vengeance. RONALD FLEURY It's not vengeance. DIRECTOR GRACE It ai n't justice. It's stronger. We've all been there. I have. Vengeance is always dirty, Ronnie. RONALD FLEURY I just ca n't sit this out. I ca n't watch this not get dealt with. Not again. -LRB- a beat. -RRB- Know what my high school football coach used to say to me? DIRECTOR GRACE What? RONALD FLEURY `` HIT SOMETHING.'' All night long, Coach Bailey would scream `` HIT SOMETHING.'' Every play. DIRECTOR GRACE That's good coaching. RONALD FLEURY I'm fixing to go hit something, boss. You with me? DIRECTOR GRACE How you gon na do it? RONALD FLEURY The Saudis covet good PR as much as their Oil : 15 of 19 hijackers on 9 - 11 means most Americans will never stop asking if that Saudi Oil is worth it. It's all about press. DIRECTOR GRACE Few more moves and it's Total War, Ronnie. The only time Treason is palatable is when it's done righteously and completely. Fleury digesting Grace's words : moments pass. Then he looks to Janet. JANET MAYES Oh, I'm in. Not a question. I'm definitely going.","INT. LOCAL COFFEE JOINT - 5:30 PM, EST Elaine Flowers, Senior Correspondent, Washington Post : Coffee amp'd, deep black raccoon eyes - heavy wrinkled khakis. Fleury sits across from her. We've entered mid - scene : RONALD FLEURY What's your take? ELAINE FLOWERS Looks like every overthrow in history : once the guys with the guns are no longer trustworthy, the government's days are numbered. RONALD FLEURY White House call you with a spin? ELAINE FLOWERS You kidding? We do n't talk since I broke the Vice President's guy cooking dirty intel on Iran. They hate me. What's up, Fleury? RONALD FLEURY How hard you gon na hit the Royal Family in your column tomorrow? ELAINE FLOWERS With a sledgehammer. RONALD FLEURY With the bombings? Or other things. ELAINE FLOWERS What's `` other'' than the bombings? RONALD FLEURY I know you're tracking Al Haramain. ELAINE FLOWERS Is that what you want to talk about? Saudi officials making donations that end up. What? Blowing up trains in Paris? Buses in London? RONALD FLEURY Sometimes. Seems that just might happen. We got some other stuff : Missing girls out of a Houston Four Seasons Hotel that was heavily populated by some `` Saudi officials.'' Little things. Flowers eyes go WIDE. Smiling. ELAINE FLOWERS Murder. Hookers. Houston? Can I take some notes? RONALD FLEURY I'm not saying that. ELAINE FLOWERS Are you saying anything? RONALD FLEURY I need a favor. ELAINE FLOWERS I do n't do favors, Ronnie. RONALD FLEURY When it's real and it will be real. I'll come to you with what we have first. It's yours. Exclusive. ELAINE FLOWERS OK. RONALD FLEURY You call Thamer at the Embassy. Tell him that the FBI is getting real close to laying out some major Saudi VIP indictments relating to newly uncovered charity financing out of a Boston investment firm. We're gon na freeze a lot of Saudi cash and roll out some major embarrassment. ELAINE FLOWERS Can I mention Houston? RONALD FLEURY It's a free world, baby. Ask him to comment. ELAINE FLOWERS He wo n't. RONALD FLEURY Tell him that I'm running the investigation. ELAINE FLOWERS OK. RONALD FLEURY Tell him that I'm not the nicest kid on the block. ELAINE FLOWERS That would be accurate. RONALD FLEURY I want fifteen minutes with him tonight. ELAINE FLOWERS Wow. OK. And I get what? RONALD FLEURY I come to you first. No one else. ELAINE FLOWERS What's really going on here, Ronnie? You going strong over Fran Manner? Fleury just stares at her. RONALD FLEURY I'm just trying to do my job, Elaine. That's it. Call Thamer. ELAINE FLOWERS I'll see what I can do.","EXT. WILLARD HOTEL - WASHINGTON DC - NIGHT Frenetic Doorman - Valet ballet. 2 black Suburbans with red - blue diplomatic plates swing onto the round - about. A bald, waif - like 38 year - old Saudi MAN gets out of the lead vehicle. Fleury waiting outside, eyes on his watch. To Thamer : RONALD FLEURY Get back in.","INT. DIPLOMATIC SUBURBAN - MOMENTS LATER A big bodyguard sits up front. Fleury sits in back, aims the AC vents his way. Prince Thamer sits next to him. Bright lights from the trail suburban illuminate the interior. Prince Thamer looks more than a bit baffled. RONALD FLEURY Too many people we both know were at the bar. It's a pleasure to meet you, Your Highness. PRINCE THAMER I had an interesting conversation with a reporter from the Post. RONALD FLEURY She can be a bit of an exaggerator. I'm sure things were somewhat over - stated. I see myself as friend of Saudi Arabia. I just need a little cooperation, that's all. PRINCE THAMER What kind of cooperation? RONALD FLEURY Full cooperation : my Team cleared to land at Prince Sultan Air Base. Tomorrow. We want to help in a very muscular way, quickly. PRINCE THAMER Next month would be as soon as. Fleury takes a beat. RONALD FLEURY This goes one of two ways. First : The FBI with the White House go on the kind of aggressive PR `` Saudi Royal Family Decaying Monarchy'' bender that just ca n't help but hurt. Really hurt. And I do n't care how many Chinese are lined up to buy the oil. You know it's gon na hurt. PRINCE THAMER My family is not decaying - RONALD FLEURY And then we bring the hammer down hard as hell : Bust Al Haramain - we got direct links from Riyadh - two wives donating ten million to three Arab - American cultural centers in Boston. Then what gets kind of not - funny is how some of that cash found its way to Jakarta and some Mosques that have these training camps built right next to them. It's kinda funny. you got little kids playing over here, and some not so little kids playing with guns over here. That's kinda odd. PRINCE THAMER You have no proof of this. RONALD FLEURY We're getting there, Sir. And I have n't even brought up the two girls still missing out of Houston. This is big. It is real. And I know you only care so much about public American opinion, Sir. But the story will be covered. Big. Thamer is clearly rattled. Fleury is starting to crack this man. RONALD FLEURY -LRB- CONT'D. -RRB- And this ai n't the Metro section. It's above the fold, just below the date. Words like these get syndicated to papers like the Omaha World - Herald, The Terrell Tribune - You ever been to Terrell, Texas? PRINCE THAMER What is your point? Fleury looks back to him. RONALD FLEURY Last I heard, 112 people lost their lives in your country. One of them was a good friend of mine. I want in and I want in immediately. That's a rock solid answer. PRINCE THAMER Define `` immediately.'' RONALD FLEURY Right now immediately. Fleury looks back at the Ambassador. A stare down. FLEURY If your phone does n't work international, you can borrow mine. Prince Thamer slowly reaches for his phone as Fleury opens his door. FLEURY -LRB- CONT'D. -RRB- I'll just be right out here.","EXT. DIPLOMATIC SUBURBAN - MOMENTS LATER Fleury waiting. Intense. The window rolls down, Thamer looking up at Fleury. The following is fast, tight negotiating : PRINCE THAMER -LRB- trying to maintain cool. -RRB- We can not allow 100 agents - RONALD FLEURY - 4. With a 25 - man security detail - PRINCE THAMER - even 25 more armed Americans could spark rebellion - RONALD FLEURY That's too bad. PRINCE THAMER Saudi Security. That's non negotiable. You can not bring guns into the Kingdom. RONALD FLEURY Men in Saudi Police uniforms are why we're talking now. PRINCE THAMER They would be hand picked. RONALD FLEURY Whose hands? PRINCE THAMER Mine. Fleury blinks. PRINCE THAMER -LRB- CONT'D. -RRB- Trust me. that's the only hope of this happening. FLEURY If anything happens to me or my team. It's on you. Understood? PRINCE THAMER Cool it with the John Wayne, Mr. Fleury. Fleury just stares. PRINCE THAMER -LRB- CONT'D. -RRB- You can have a week - RONALD FLEURY - seven - day or work - week? PRINCE THAMER Work week. Five days. No guns. Hands shake.","EXT. SAUDI SHACK - NIGHT, SAUDI TIME No `` charm.'' Corrugated tin. A faded blue plywood door. No one in sight. On the side of the house : a battered satellite dish.","INT. SAUDI SHACK - NIGHT, SAUDI TIME A tiny framed Saudi National flag in the middle of a wall : green with a white sword underlining script that reads : There is no God but Allah. No other decoration. The none - too - muffled sounds of traffic : a lone window overlooking a four - lane boulevard. Then the Athan -LRB- call to prayer -RRB- for the Isha -LRB- last of the five daily prayers -RRB- trumps the traffic noise. Sergeant Haytham enters, bandaged, blank, then a small smile crosses his face. An old man's weathered voice, in Arabic : OLD VOICE -LRB- O.C. -RRB- Just in time. Haytham's P.O.V. : His FATHER, glass - frail, lying in a bed, a small TV nearby, on but soundless. Haytham goes into a routine : rolls out two prayer mats, steps to his Father, reaches down to pick him up. His Father readies himself - stops everything when he sees the bandages up close, the black bruises with outer rings of purple covering 1/2 of his Son's cheek. Looks into his boy's eyes. HAYTHAM'S FATHER What happened? Haytham not returning the gaze, hoists his Father into his arms - pain shoots up his arms from his damaged wrists. SERGEANT HAYTHAM You have n't heard about the attack? HAYTHAM'S FATHER I choose not to listen anymore. What happened to your face? SERGEANT HAYTHAM -LRB- beat. -RRB- An attack today. HAYTHAM'S FATHER Look at me. Haytham looks into his father's eyes now. No words. Haytham's eyes well with tears. After a long silence : HAYTHAM'S FATHER -LRB- CONT'D. -RRB- Is this how they now treat the men who protect them? Can you look at me? You can not, can you? Can you look at yourself? Haytham stares at his father. HAYTHAM'S FATHER -LRB- CONT'D. -RRB- You are protecting the true enemies of God.","INT. AL-GHAZI'S HOUSE - SAME Al - Ghazi sits on pillows on the living room with his WIFE and three DAUGHTERS. A television is on, playing `` MAN SAYARBAH AL MILIOUN'' the Arabic `` Who Wants To Be A Millionaire.'' Al - Ghazi's children are playing a game with peas, trying to guess which one of his hands Al - Ghazi is hiding the pea. When a girl guesses correctly, he eats a pea. From outside, we hear the call to prayer. Al - Ghazi and his family all move to prayer mats in his living room.","INT. ONE ROOM APARTMENT - SAME Haytham continues carrying his Father to the prayer mats. Gently sets him down, Kneels down himself, carefully rolls his Dad to his stomach. Then stands to help tuck his Father - in obvious, great arthritic pain - into a kneeling prayer position. Kisses his father on the top of his head. And both pray.","INT. AL-GHAZI'S HOUSE - SAME Al - Ghazi praying with his family.","EXT. ANDREWS AIR FORCE BASE - MIDNIGHT A Load - Master buckling down two paletts of shrink - wrapped gear in the belly of a C - 130. Sykes and Leavitt sit on a stack of FBI paletts, their feet gently tapping on battered forensic cases. Mayes approaches from the parking area. ADAM LEAVITT -LRB- beat, re : Janet. -RRB- What was Fran Manner to her? GRANT SYKES He taught her how to shoot, she taught him most everything else. -LRB- beat. -RRB- Celebrated graduation at the IHOP in - town until some Townie called Janet something. Something not very nice. Townie did n't see Fran coming outta the Head. But he definitely felt Fran's uppercut shatter his jaw. ADAM LEAVITT Fran did n't get bounced for that? Points to Fleury's dirty Jeep arriving. GRANT SYKES SAC Fleury took care of him. ADAM LEAVITT How? GRANT SYKES If I knew how I'd be SAC Sykes. I do know the post in Riyadh was part of the deal Fleury cut to save Fran's career. Leavitt looks up at Mayes as she gets within ear - shot, plops down next to them. ADAM LEAVITT -LRB- beat. -RRB- What did SAC Fleury whisper in your ear this morning? JANET MAYES -LRB- smart - ass smile. -RRB- ` Grant's age is a liability.' The three turn as Fleury approaches. Walking fast, clear sense of purpose. FLEURY Thanks for volunteering. LEAVITT Actually, I did n't volunteer. FLEURY Thanks anyway. LEAVITT We're going to Riyadh? FLEURY Yup. SYKES State department said yes? FLEURY Nope. LEAVITT White House said yes? FLEURY Nope. LEAVITT Anybody said yes? FLEURY Not really. LEAVITT Are we bringing security? FLEURY Nope. Fleury walks onto the plane. Leaving the three on the tarmac. LEAVITT This is going to suck so bad. And the three follow Fleury onto the massive plane.","INT. C-130, AIRBORNE - LATER Silent. Just the lull of jet engines. The big, long boring is just beginning. Janet and Leavitt play Scrabble. Sykes sits nearby. Fleury sits up front, wide awake. ADAM LEAVITT What can four people do in five days? Really? GRANT SYKES Are n't you the one who demanded to go this morning? ADAM LEAVITT I meant the FBI. I did n't mean `` me.'' Small smile from Leavitt. The Scrabble continues. ADAM LEAVITT -LRB- CONT'D. -RRB- -LRB- to Janet. -RRB- What's it like on the ground? GRANT SYKES Mars. JANET MAYES I'll be looked at with what I can only describe as disdain, pretty much the entire time we're on the ground. kind of like South Virginia. GRANT SYKES Go easy on my kin. JANET MAYES It's a very confused culture. Extremely religious. Had nothing ; wanted nothing. Sixty years ago, they hit oil. Simple religious men become trillionaires. a schizophrenic nation is born. The royal family, who we back, and everyone else. Intercut with the Scrabble.","EXT. PALACE GROUNDS - NIGHT, SAUDI TIME Three - Suburban convoy turns up a driveway, waved past a guard post bristling with automatic weapons and into the circular drive of a massive, walled palace. Impersonal wealth. Two dozen SANG troops on security detail. Two Humvees equipped with anti - aircraft missiles parked 100 yards apart. Colonel Al - Ghazi out of the middle Suburban. Frisked by SANG, rough : no love lost.","INT. IMPERSONAL PALACE - SAME MOMENT Al - Ghazi is passed to a silent, boundless staff holding serving platters jammed with cups of mint tea. A mammoth foyer. PRINCE SA'AD BIN KHALED -LRB- Saudi Interior Ministry -RRB- steps out from a 20 - foot high doorway : nebbish, thin, bloodshot eyes magnified by thick glasses. His hand over his stomach : Napoleon's ulcers. A quick wave to Al - Ghazi.","INT. PRINCE'S PRIVATE OFFICE - NEXT MOMENT 10' X 20' gold/glass desk over a 50' X 50' rug in a 100' X 100' marble room. Al - Ghazi greets the Prince formally : kiss the right shoulder near the clavicle. The Prince's tongue chalk - white for some reason. In Arabic : PRINCE BIN KHALED Four FBI Agents will be allowed to land at Prince Sultan Air Base this evening. Al - Ghazi : more than mild shock. PRINCE BIN KHALED -LRB- CONT'D. -RRB- General Abdul - Malik, Chief of Investigative Services for the National Guard has been put in - charge of solving this crime. Clearly not sitting well with Al - Ghazi. COLONEL AL-GHAZI I know the General. I attended his interrogation of one of my men. -LRB- beat, putting it kindly :. -RRB- The General does not have investigative experience. PRINCE BIN KHALED Attackers wore YOUR uniform. Police Uniforms. Some of your men may have been involved with this Cell, may still be involved. You're lucky to have a role at all. Al - Ghazi silent. The Prince pulls an anti - acid tablet, puts it in his mouth : that's why his tongue is chalk - white. PRINCE BIN KHALED -LRB- CONT'D. -RRB- And your role will be critically important : make sure the Americans leave our country as alive as when they arrive. Five days they will be our guests. Understood?","INT. C-130 - NIGHT Final descent beginning. More stars above than lights below. Landing in the middle of nowhere. Sykes sitting near Fleury, getting his game - face on. GRANT SYKES What's going on in there? RONALD FLEURY -LRB- getting his bearings. -RRB- I'm good. Sykes puts his hand on Fleury's chest. GRANT SYKES Feels like you got a beast in there, Fleury. RONALD FLEURY -LRB- beat. -RRB- I'm good GRANT SYKES `` Good'' is 6:00 am Sunday morning when your kid climbs into your bed, buries himself into you. sun's creeping through the windows - soft. Birds and wind - chimes. that's `` good.'' A BEAT as Fleury looks at Sykes. RONALD FLEURY I'm OK. You do n't think I'm OK? GRANT SYKES -LRB- small smile. -RRB- I think you're not entirely clear right now. That's OK, but you got to know that. You want to go - we go. I got you, but you got to check yourself. RONALD FLEURY I'm checked. GRANT SYKES OK. I'm just checking that you checked. Fleury stands up.","INT. C-130 COCKPIT - NIGHT, SAUDI TIME Fleury pops his head into the cockpit. Two AIRFORCE PILOTS sit at the controls. RONALD FLEURY How we doing? PILOT #1 About a half hour out. RONALD FLEURY They gon na let us land? PILOT #1 We've been talking to them about an hour or so. they know we're coming. RONALD FLEURY Good. PILOT #1 You do n't mind my asking, but what the hell you all gon na be doing down there? RONALD FLEURY Hunting. PILOT #1 Hunting? I think of hunting, I think quail in Tennessee, deer in Pennsylvania. What kind of hunting you all gon na do in Saudi? RONALD FLEURY Big Game hunting.","EXT. MASSIVE, CLOSED DOWN MILITARY COMPLEX - NIGHT PRINCE SULTAN AIR BASE, SAUDI ARABIA. Our C - 130 touches down smooth on Saudi soil.","INT. C-130 CARGO HOLD - NIGHT, SAUDI TIME Engines winding down to nothing. The team standing, slinging bags over their shoulders. Groggy but pumped. Fleury looks at his team, last bit of advice before game - time. RONALD FLEURY Heads on a swivel.","EXT. PRINCE SULTAN AIRBASE - NIGHT, SAUDI TIME The cargo door locks into place on Saudi tarmac. Fleury and the Team outside the plane now, bags dropped at their feet. 90 degrees even this late. Look - up : light washing over a small, formal Saudi military team in front of two caskets draped in American flags, and a small convoy of bullet - proof black Suburbans. Adam Leavitt will never forget this first glimpse of Saudi Arabia : surreal. Tears in Janet's eyes as she glimpses the caskets. Colonel Al - Ghazi steps up, offers his hand to Fleury. Fleury and Al - Ghazi shake : COLONEL AL-GHAZI Colonel Al - Ghazi. RONALD FLEURY Special Agent Ronald Fleury. COLONEL AL-GHAZI -LRB- beat : the caskets. -RRB- Your two fallen comrades, Mr. Manner and Mr. Burr. Three men multi - task hustle to forklifts, start them up. Into the cargo hold, pulling out paletts. Things moving orderly - fast now. The Americans just kind of step back, dazed. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- Passports and credentials. Please. Sergeant Haytham, driving one of the suburbans, steps forward with kevlar vests for our crew. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- Thank you to keep these on whenever you are outside of Al - Rahmah. JANET MAYES We brought our own. The crew hits their bags, pulls out their vests. Another OFFICER checks each team member's FBI badge and passport. Stops at Leavitt's : an Israeli stamp on his passport. Leavitt's quick : ADAM LEAVITT Israeli stamp in my passport? COLONEL AL-GHAZI -LRB- in Arabic to the Officer. -RRB- That is not our concern. Al - Ghazi takes the passports and badges, hands them back. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- I'm also to collect your sidearms. This is like handing over your first - born. Fleury goes first. Haytham puts each weapon in a padded case. GRANT SYKES And I usually just toss it on the kitchen table. COLONEL AL-GHAZI -LRB- small smile. -RRB- If each of you would please get into the middle vehicle.","INT. MIDDLE SUBURBAN, RIYADH SUBURBS - NIGHT The speedometer at 110 m.p.h. Haytham navigates with his left hand. Prayer beads hang from the rearview mirror. Al - Ghazi in the passenger seat, right hand rubbing another set of prayer beads down to nubs. The team in the back rows : all staring at the prayer beads on the mirror. JANET MAYES -LRB- whispering to Leavitt. -RRB- Would n't need the power a' prayer if there were 2 hands on the wheel. ADAM LEAVIIT 110 miles per hour. How do you keep so calm? I mean, really? Is it breathing - JANET MAYES - Shhhh. RONALD FLEURY If somebody was tailing us it'd be obvious. This is just standard operating speed. Al - Ghazi on the edge of his seat, no belt, scanning for threats : sidewalks, traffic, rooftops. His left hand hand wrapped around the stock of an Mp - 5 machine gun. Fleury takes in a deep breath : let's see who this guy is. RONALD FLEURY -LRB- CONT'D. -RRB- Colonel, have you ever been to the US? COLONEL AL-GHAZI I have been there only once. I spent four days at Quantico. I saw your Michael Jordan play for the Washington Wizards. Small laughs. RONALD FLEURY You do n't know what you missed. you should have seen him play for our Chicago Bulls. Fleury nods to Sykes, giving him the go to start in with the Bad Cop. Throughout the following exchange, we stay TIGHT ON FLEURY : in control, using Sykes to ask the questions he `` diplomatically'' does not want to ask. GRANT SYKES You have portable lights on - scene? COLONEL AL-GHAZI -LRB- loses his smile. -RRB- Yes. But your team can not work nights. Janet looks to Leavitt, then Fleury : ` what did he say?' Fleury looks to Sykes, ` Keep going.' GRANT SYKES We only have seven days : we work around the clock. COLONEL AL-GHAZI Five days. And you are not safe at night. GRANT SYKES We're safe during the day? Fleury is about to step in when - COLONEL AL-GHAZI -LRB- in Arabic, shocking. -RRB- WATCH IT - SLOW! A truck 200 yards ahead in the middle of an abrupt U - turn. Over the median. Dust cloud. Heading back our way. Something big in the truck's bed. Our vehicle shimmies as Al - Ghazi flinches, drops his prayer beads. Mp - 5 up to the Colonel's sight - line, muzzle tracking the truck. Leavitt leans away from his window as the vehicles pass : streetlights show two farmers, a camel sitting in the bed. Missed their left turn. A long, nearly comical moment. ADAM LEAVITT -LRB- smartass. -RRB- I do n't like camels. Fleury cycling through different angles. Continues : RONALD FLEURY Colonel, do you believe Abu Hamza was responsible for this attack? COLONEL AL-GHAZI We do n't know. RONALD FLEURY Were Saudi Police involved in the attack? COLONEL AL-GHAZI We do n't know that either. RONALD FLEURY Any word on what that third big blast was? Al - Ghazi getting tired of the questions : exhausted himself. COLONEL AL-GHAZI Not yet. GRANT SYKES You interviewed witnesses? COLONEL AL-GHAZI -LRB- short - fuse burning. -RRB- We're trying. No one who was close enough to see the things we would like to know, lived. GRANT SYKES Were any of the uniformed bombers brother - officers? No answer. GRANT SYKES -LRB- CONT'D. -RRB- Do you know yet? No answer. Team feeling the tension. Fleury steps in and takes charge. RONALD FLEURY You do n't know the source of the blast, do n't know if your own Officers were involved, but you wo n't let us work nights? Al - Ghazi stanches an explosion. Haytham looks over at his Colonel : rarely ever seen him like this. Looks in the rear - view mirror to see Sykes, the man giving the Colonel fits. Sykes catches him looking back, gives him a quick wink into the mirror. TIGHT ON Haytham's face : the guilty little smile you give when someone takes your boss to task. COLONEL AL-GHAZI 47 of my ` brother - officers' were blown into hundreds of pieces that will take months to collect. 80,000 Officers total, across the country, at four uniforms apiece. Thousands of people who can sew forgeries. Apologies that I do n't have definitive answers. -LRB- beat. -RRB- You're still not working nights. Fleury stays quiet, studying, calculating, thinking : we got a Handler that's going to be tough to handle.","INT. GIDEON YOUNG'S OFFICE - EVENING RUSH HOUR, EST Director Grace already sits in front of Young's desk. DIRECTOR GRACE Good afternoon, Sir. Young says nothing, just pulls a memo from his bag, clears his throat - still no eye - contact - reads aloud like a poor man's Orson Welles : GIDEON YOUNG ` Sunlight is indeed the most powerful disinfectant. In that spirit I come before this Judiciary Committee with a painful admission. -LRB- beat. -RRB- Simply : I've lost all confidence in the FBI, especially it's uppermost echelon. Entrenched and outmoded, the Leadership has shown itself fearful of the pioneering thought this Committee and I have tried to imbue. It is thus an Agency at contretemps, hindering our every effort.' And by ` Committee' I mean the fucking SENATE SELECT COMMITTEE ON TERROR. Young finally makes eye contact : expecting something like fear, remorse, back - pedalling. DIRECTOR GRACE Senators? Then I'd change ` outmoded' to ` outdated,' ` echelons' to ` ranks' and what in God's name is ` contretemps?' These guys are n't the best and brightest - Young's face flashes red, seething : GIDEON YOUNG - never take the Lord's name in vain in this office - DIRECTOR GRACE - but you can say ` Fucking?' Young apoplectic now : ready to end the Director right there, when Grace leans in, lets the vague threat of physical contact manifest. DIRECTOR GRACE -LRB- CONT'D. -RRB- You're going to the Senate Select Committee, but not to the President who appointed you. Why's that? -LRB- beat. -RRB- I bet the President was n't the audience you thought he'd be : I'll bet he realized you ca n't have Voters asking why the second - longest serving FBI Director gets fired for doing his job, for sending Agents into Saudi Arabia, seven months from mid - term elections - GIDEON YOUNG - you really want to bet? Grace snaps his ID badge off his lapel, puts it on the table. DIRECTOR GRACE I do. Young's pallor tells us his bluff has been called. Goes silent. Grace smells it, finishes him now : DIRECTOR GRACE -LRB- CONT'D. -RRB- Westmoreland made all us Officers write our own obituaries during Tet, when it looked like the Cong were going to end it all right there. Once we clued - in that life was finite, the loss of it no longer scared us : the end comes no matter what, it's just a question of how you want to go out : on your feet or on your knees. After that, we went out and pulled triggers until barrels melted. And Vietnam lasted another seven years. -LRB- beat. -RRB- The lesson extends to this career : I ACT, knowing the end of this job will come, no matter what. You should do the same. Grace waits : nothing else from Young. Stands, snaps his ID badge back on his lapel, walks out. DIRECTOR GRACE -LRB- CONT'D. -RRB- I'll forward Fleury's reports.","EXT. OUTSIDE AL-RAHMAH HOUSING COMPLEX - NIGHT, SAUDI TIME The convoy brakes impossibly close to a checkpoint. Waved through perimeters staffed by SANG and Police. Fatigues, automatic rifles, peering at the tinted windows.","INT. MIDDLE SUBURBAN - NEXT MOMENT Crew arrives at a crime - scene that spans the immediate horizon. White tents with SANG sitting under each. Industrial lights outline shattered buildings, idle heavy equipment, bombed - out automobiles. TIGHT ON MAYES looking out. JANET MAYES That's one of the great horrors of television : Crime scene manipulation. They say a TV camera adds pounds to actresses. Is n't that what they say? ADAM LEAVITT Who's `` they?'' JANET MAYES That is what they say. Does n't add to crime scenes. Television cameras shrink them. Misrepresent. No smells. Poor sound. Limited view. TV always makes them look smaller. You ca n't feel the hatred on television. TIGHT ON FLEURY : Quiet and focused, taking everything in. FLEURY heads on a swivel, people.","EXT. AL-RAHMAH COMMUNITY CENTER - NEXT MOMENT Two more security perimeters of SANG surround the Community Center : blinding portable lights, heavy machine guns mounted in the backs of Humvees track the convoy as it comes to a stop : every troop on - guard. The Team tentatively exits : 100 pairs of glares from heavily - armed SANG. Soldiers descend on the Teams' bags, paletts of equipment. Long leers at Janet : not so much ` sexual' as ` wary.' Janet goes for her own bag. Haytham goes for it at the same time. Their hands accidently touch. Haytham pulls back fast, embarrassed. JANET MAYES EASY. Janet notices the nasty marks around Haytham's right ear.","INT. AL-RAHMAH COMMUNITY CENTER - NEXT MOMENT Florescent lights make it ugly. Haytham dumps duffel - bags by their bunks, SANG stack steel travel - boxes from the paletts inside. No windows, AC cranked to ` coldest.' Americans sealed - in - in the name of comfort. Janet's area made obvious with a floral partition. She immediately folds it, puts it into a corner. Haytham watches her undo his work. COLONEL AL-GHAZI The bathrooms are through that door. I will be here tomorrow morning so we can begin. FLEURY What time tomorrow morning? COLONEL AL-GHAZI Sunrise. RONALD FLEURY What time is sunrise? COLONEL AL-GHAZI -LRB- beat. -RRB- When I knock. Al - Ghazi and Haytham leave. The doors close behind them, then the sound of a key turning in a lock. The Americans look on, half - disbelief, half - comedy : locking us in. GRANT SYKES That's against fire code. JANET MAYES They do n't have fire codes. They do n't have codes other than codes of war. They'll lock us in and dial up some kind of earth movers if they want to. You know that, Sykes. Dig a big hole and push us in. Fill it up and no one comes calling. You're in the jungle now, baby. Silence as the crew digests this odd little verbal outage. ADAM LEAVITT -LRB- smiling. -RRB- You alright, girl? JANET MAYES Watch it, boy. ADAM LEAVITT Just asking. JANET MAYES Unpack. Everyone hits their own bags first. FLEURY -LRB- to himself. -RRB- Saudi slow roll. Fleury pulls out his laptop, wakes it up from sleep mode. Eyes a photo of Kevin on his desktop, picks up the phone. LYLA FLEURY -LRB- on phone. -RRB- Hello? RONALD FLEURY Hey. How are you? How's my boy? LYLA FLEURY We're just fine. How are you? Where are you? RONALD FLEURY I'm here. -LRB- quick beat. -RRB- Lem me talk to my boy. A BEAT as Lyla passes the phone to Kevin. KEVIN FLEURY -LRB- O.S. -RRB- Daddy? FLEURY What you doing? KEVIN FLEURY -LRB- O.S. -RRB- I'm talking to you. What are you doing right now, Daddy? Right now? FLEURY I'm missing you. KEVIN FLEURY -LRB- O.S. -RRB- Where are you? FLEURY I'm in Saudi Arabia. KEVIN FLEURY -LRB- O.S. -RRB- Did you see Big Fran? A Beat. FLEURY Yeah. I saw him. -LRB- PAUSE. -RRB- I saw him. KEVIN FLEURY -LRB- O.S. -RRB- Is he still tall? FLEURY Yeah. Yeah. he's still tall. Silence. as Fleury takes a beat to collect himself. KEVIN FLEURY -LRB- O.S. -RRB- Daddy? Are you still there? FLEURY Yeah, buddy. I love you. Keep your eye on your mama. Be the man. KEVIN FLEURY -LRB- O.S. -RRB- You, too Daddy. FLEURY I'll call you tomorrow. I love you. KEVIN FLEURY -LRB- O.S. -RRB- Bye, Daddy. Fleury begins unpacking.","EXT. AL-RAHMAH COMMUNITY CENTER - 4:30 AM Pre - dawn : Eight black suburbans parked on the side street : waiting. The doors of the first four open in - unison. 20 Arab, suited SECURITY GUARDS exit. Al - Ghazi unlocks the door to the compound : the team stands dressed, waiting. CLOSE - UP : The Team steps out to see massive, organized security. From one of the vehicles exits a middle aged AMERICAN - sweating a bit, hanging back, watching. This is US Deputy Chief of Mission, the Embassy's second - in - command : DAMON SCHMIDT. Another 100 Security CONTRACTORS remain vigilant : SNIPERS on roof - tops, in machine - gun nests. Schmidt approaches Fleury. SCHMIDT -LRB- big smile. -RRB- You are in so much trouble. FLEURY Is that right? SCHMIDT For sure. I mean, I do n't know how you did it. Nice work, but if you live through this, which I put at about fifty percent - if you do, your balls are gon na get stretched and beaten on. Dig that? Fleury stares at this freak show. Schmidt sticks out a paw. SCHMIDT -LRB- CONT'D. -RRB- Damon Schmidt. State Department. I'm in charge of getting you out of here. PRINCE BIN KHALED and his INNER - CIRCLE exit a Suburban and approach : All in traditional dress. The Prince locks eyes with Fleury. IN THE BG, forklifts rumble - hiss to life, placing Jersey barriers around the community center. SCHMIDT -LRB- CONT'D. -RRB- Do n't let go of his hand first. Major disrespect. One of the inner - circle, without a word, takes off the FBI - emblazoned windbreaker worn by Leavitt and places it on a short - sleeved Janet. Careful not to touch skin. Only then does Prince Bin Khaled approach. A lone PHOTOGRAPHER follows : snapping pictures. Different definitions of personal space : four inches separation as Bin Khaled greets each Team member in accented English. Janet last : the pictures suddenly stop. The Prince gives a little curtsy, no words, steps back to Fleury : the pictures re - start. Bin Khaled holds Fleury's hand sixth - grade boyfriend - style. PRINCE BIN KHALED -LRB- in Arabic. -RRB- This is our level of commitment to bringing Terrorists to justice : Motions to the Americans. No more unflattering a portrait : pre - coffee, post - twelve hour flight, hours unpacking. As the cameras start flashing. Angle on Al - Ghazi and Haytham placed to stand next to the Americans. Haytham clearly not comfortable with this kind of attention. PRINCE BIN KHALED -LRB- CONT'D. -RRB- We've invited American legal officials into our Kingdom despite current difficulties between the US and Islam. They will observe our advanced investigative techniques, offering helpful hints. -LRB- to Fleury in English. -RRB- You will please honor me with your presence tonight at my home. -LRB- beat, a stunted nod. -RRB- Yes. The Prince turns back to the convoy. Entire entourage follows. One of the Security Contractors catches the jacket Janet hurls back at him, tosses it to Leavitt. Convoy gone. The team turns : 100 glares again. Fleury blinks out the camera flashes, takes in all the eyeballs. Fleury looks up at a retreating Damon Schmidt. SCHMIDT Nice pictures. You guys ready to go home now? Dead eyes from Fleury. He's clearly not amused. SCHMIDT -LRB- CONT'D. -RRB- OK. If you change your minds, I got a plane fueled up and ready to go - got your name all over it. He points a finger gun at Fleury. SCHMIDT -LRB- CONT'D. -RRB- Strap your kevlar on tight, people. SCHMIDT takes off. Sykes by Fleury. GRANT SYKES Slow roll. gon na be like when you go deep sea fishing in Florida and you pay seven hundred bucks for the boat and you sit in the ocean for hours and the crew jumps around and screams and points and you think your constantly about to bag a Marlin but you never do and they keep pointing and jumping and - FLEURY Enough. Haytham walks off by himself, shaking off the shady Royal photo vibe, looking back at the Americans. From behind him : POLICE OFFICER You're willing to die to protect your enemy? Haytham turns. An older POLICE OFFICER stands with a GROUP of SANG twenty feet behind him, eyeing Haytham. Back to Fleury : he looks to Al - Ghazi. RONALD FLEURY What did the Prince say? COLONEL AL-GHAZI -LRB- beat. -RRB- That there are more rules than just not working at night. RONALD FLEURY What rules? COLONEL AL-GHAZI You are here as observers. Not investigators. Fleury tries to remain cool. RONALD FLEURY That's not accurate - Al - Ghazi ignores Fleury. COLONEL AL-GHAZI - I need to make sure the sites are secure. Then you can begin observing. Leavitt looks around at the Security as Al - Ghazi hustles off : ADAM LEAVITT -LRB- to Fleury. -RRB- How could they get more secure? The Team slowly realizes they're not going anywhere yet, dump their bags in a pile, already disgusted. In the distance, the group of SANG stare back at our team.","INT. LOCATION UNKNOWN - TIME UNKNOWN Hold on an empty 2' X 1' X 6'' balsa wood box set on a dirty linoleum floor. Ancient hands line the balsa wood box with bricks of putty - gray plastic explosive. We immediately notice the right hand is missing the index and middle fingers. The hands insert bright - red blasting caps into the explosives, lengths of detonating - wire emanating from each cap. Another set of stronger, younger, in - tact hands gently pours a mixture into the box now. Ball bearings, children's jacks, marbles, razor blades, roofing nails. Everything malevolent densities and angles. Some pieces bounce out, run along the floor. The younger hands then start pressing/molding the pieces of soon - to - be shrapnel into the putty - gray plastic explosives.","EXT. AL-RAHMAH COMMUNITY CENTER - LATER Al - Ghazi and General Malik stand outside. The Athan sounds for Dhuhr. 100 soldiers immediately drop to their knees.","INT. AL-RAHMAH COMMUNITY CENTER HOOPS COURT - 9:00 AM TIGHT ON FLEURY : focused, Thinking. Sykes next to him. O.C.. The Athan sounds again for Dhuhr. SYKES Well, this is going well. FLEURY Saudi Slow Roll. Sykes and Fleury lean against the locked door, staring at the pathetic sight before them : Janet's truly awful jumper. that somehow swishes every time. Before she lands, cocky and smooth : JANET MAYES Good. Then the metallic swish of the all - weather net. Leavitt boxes out air for the non - existent rebound, grabs the ball, chest - passes it Great Santini - hard back to Janet who softly sucks in the pass. Playing in their cargo pants and hiking boots. LEAVITT How do you do that? Janet gently bounce - passes it back : JANET MAYES Check. LEAVITT Do n't say ` good' again. Janet takes the check from Leavitt : before he can react, she drains a 30 - footer. Same cockiness, different word : JANET Bueno. Fleury with Sykes still standing in the same spot. Looks up : Al - Ghazi coming into the building. Fleury ready to vent until something surprises him : breathless, Al - Ghazi has broken a wide - sweat hustling back to the Americans. Fleury's face relaxes. He pulls a bottle of water out of a cooler, hands it to Al - Ghazi. COLONEL AL-GHAZI I am sorry for the time. -LRB- beat. -RRB- You wo n't need you gear. Fleury ca n't help a small smile. FLEURY -LRB- to Sykes, himself. -RRB- Of course we wo n't.","EXT. AL-RAHMAH - MOMENTS LATER Hands in pockets. Soak in the aftermath : shallow but wide crater, shredded backstop, nearby buildings torn, blood baked into dirt. Fifteen cars. COLONEL AL-GHAZI -LRB- O.C. -RRB- The remaining rules : you can not touch evidence, question anyone without me present, touch Muslim dead, or leave my sight at anytime : your safety is my primary concern. FLEURY I would have thought your primary concern was investigating a crime. COLONEL AL-GHAZI And you would be mistaken. Sykes looks over to Fleury. Crooked smile. SYKES -LRB- to Fleury. -RRB- I think it's one of those `` something happens to us. his head comes off'' kind of deals. -LRB- to Al - Ghazi. -RRB- Is it one of those kind of deals, Colonel? Al - Ghazi ignores Sykes. FLEURY So, if you're not running the investigation. who is? Al - Ghazi motions to 50 MEN in uniforms different than his : SANG troops digging, bagging evidence, marking the scene with red - flags. COLONEL AL-GHAZI The National Guard's Military Police Brigade is conducting the investigation. My orders begin and end with your health. The Team : so we're on Tour. Fleury still silent. ADAM LEAVITT I thought the SANG were soldiers - COLONEL AL-GHAZI - the bombers did n't wear a soldier's uniform. They wore mine. Fleury finally speaks, asking the most important question : RONALD FLEURY Who is in charge of the investigation then? Al - Ghazi points to a Man we've seen before, General Abdul - Malik. Haytham's Interrogator. He pours over a table 20 feet away : maps, blueprints, utility schematics spread before him. COLONEL AL-GHAZI General Abdul - Malik. He's given us permission to walk through each crime - scene. RONALD FLEURY To walk through? Are you kidding me? COLONEL AL-GHAZI I am not. Starting to get heated. RONALD FLEURY Get him over here now and let's clarify this situation. COLONEL AL-GHAZI There is no lack of clarification. RONALD FLEURY There sure as hell is! I do n't know what kind of game you're playing but you got the wrong guy, Colonel Al - Ghazi! That was not the deal - COLONEL AL-GHAZI -LRB- getting hot. -RRB- This is not a game show, Mr. Fleury! There are no deals made here. There is me telling you what you may or may not do and there is you doing it. Beat. As Al - Ghazi stabilizes. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- You will be permitted to walk through the crime scenes. When we have determined that it is safe. A stand off. Fleury eyes Al - Ghazi. Trying to figure this guy out. Sees something that looks like a flash of embarrassment in Al - Ghazi's eyes : unable to perform his profession, relegated to Tour Guide. Leavitt begins taking notes. Haytham sees his notebook, snaps his fingers at Al - Ghazi who looks, nods : let him. RONALD FLEURY OK. Fleury tight - grins. Looks off. In one of the apartments, he sees a PERSON looking down at them from behind a curtain. He tries a new tactic. RONALD FLEURY -LRB- CONT'D. -RRB- How have you guys been doing with the witnesses? AL-GHAZI What witnesses? Al - Ghazi just stares at Fleury. FLEURY I'm guessing there are a bunch of Americans, Brits. Australians? Someone must have seen something. I'm sure they're just dying to talk to you guys, seeing as how the killers were wearing your uniforms. That must be a real confidence booster for them. Al - Ghazi silent, staring. FLEURY -LRB- CONT'D. -RRB- Let me talk to them. Al - Ghazi looks unsure. He was not expecting this.","EXT. RIPON FAMILY HOME Fleury and Al - Ghazi walk up the front walk. Fleury noticing kids bikes, hockey gear, a comfortable easy chair covered in fur outside on the front porch, toy guns.","INT. RIPON FAMILY HOME - MOMENTS LATER Fleury sits with the RIPONS : EARL -LRB- 40s -RRB- JANINE, his wife -LRB- 30s -RRB-, and MADDY, Earl's mother -LRB- late 60s -RRB-. Earl sits on an ugly couch, a plywood sheet right above their heads. Everyone uneasy save the CAT in Maddy's lap. Fleury waves off a bottle of water from Janine. Al - Ghazi hovers awkwardly by the front door. EARL There's still a couple of hundred of us living on the compound. RONALD FLEURY Why Saudi Arabia? A moment as Earl and Janine get a bit defensive : EARL Neither of us did anymore schooling than Electra High, Electra Texas. RONALD FLEURY OK. Al - Ghazi sees Janine smile, squeeze Earl's hand tighter. EARL And the jobs here pay twice what you'd make in Midland or the Gulf a' Mexico. Plus the house is free. Earl's mother Maddy looks at Fleury, pets the cat. JANINE RIPON I call it combat pay. This place has gone Guns - Guns - Guns. RONALD FLEURY So has Everyone else now. JANINE My girlfriends in Texas spend their combat pay on diamonds. I spent mine on a safe room. RONALD FLEURY -LRB- chuckles. -RRB- Two nights back. Can you start one second before you knew anything was wrong? JANINE We did n't really see anything. Just hit the ground and hustled to the safe room. Closed our eyes and prayed. It was so fast. So loud. RONALD FLEURY So you really did n't see anything. MADDY I hit the deck. Horrible. JANINE Not ` til after. Just the screams - EARL - the kids. they were screaming. That got me out of the house. Those kids. FLEURY Which kids were those? JANINE The Jackson kids. Tracy Jackson next door was murdered looking out her window. front of her children. No safe room over there. -LRB- right at Al - Ghazi. -RRB- Not even the Men that did this should die in front a' their babies. Fleury lets moments pass. Earl rubs his wife's leg, trying to comfort her. Al - Ghazi hides emotion. RONALD FLEURY She live with her husband? EARL Aaron. RONALD FLEURY -LRB- beat. -RRB- If I'm facing your house, is the Jackson home to the right or left? JANINE Left. Fleury looks out the window towards the Jackson house.","EXT. JACKSON HOME - SAME MOMENT Next door to the Ripons. Fleury knocks. Door opens : a sad MAN with black bags under dying eyes. Disgusted - resigned breath through a half - open mouth. Silver watch and Polo insignia. sees Al - Ghazi, eyes come alive, teeth grit. RONALD FLEURY Mr. Aaron Jackson? AARON JACKSON -LRB- re : Al - Ghazi. -RRB- Get him away from me - RONALD FLEURY - easy, Sir. He's a friend to us - AARON JACKSON - I do n't know either one a' you. RONALD FLEURY I'm Special Agent Ronald Fleury of the FBI. This is Colonel Al - Ghazi with the Saudi State Police - AARON JACKSON - the Police : they attacked. Al - Ghazi quietly backs away, walks away. Fleury looks after him, turns back to Mr. Jackson who stares after Al - Ghazi : hate. Fleury unsure what to do next. AARON JACKSON -LRB- CONT'D. -RRB- I just put my boys down for the first time in two days. I ca n't wake ` em and sure as hell ca n't be gone if they stir on their own. RONALD FLEURY Can I come back? AARON JACKSON -LRB- too loud. -RRB- WHY? RONALD FLEURY Your boys. Jackson remembers the warning he just spoke. RONALD FLEURY -LRB- CONT'D. -RRB- To ask about two nights ago. Fresh tears re - animate his face : AARON JACKSON When my wife's jaw was shot off in front of our sons? My sons who sat with her while she bled to death? Could n't speak because she did n't have the bottom of her face and I was n't home and my baby boys are destroyed for life and my five year - old had a box of band - aids in his hand when I finally got home? Silence outside of Mr. Jackson's sobbing. Fleury sick to his stomach. Desperate to let this man alone. No eye contact. RONALD FLEURY I wo n't pretend to know. Aaron Jackson settles, wipes away tears, appreciates the honesty. Then bites back into his rage : AARON JACKSON Kill everyone that had something to do with this. Everyone related to them. Everyone who knew them. -LRB- beat. -RRB- And all you'd be doing is their recruiting for them. It's an entire generation : not small and isolated like they say. But a generation that thinks what they did to my wife, to my children, is a `` calling''. RONALD FLEURY Up the street, there was a wreck, did you see any - AARON JACKSON - notice how it would n't take a lot to disguise your friend. -LRB- points to Al - Ghazi. -RRB- as a Mexican? Think he could n't handle crossing our deserts? Look around! RONALD FLEURY Aaron - AARON JACKSON -LRB- explodes. -RRB- - LET ME FINISH GOD DAMN YOU - A child's scream from inside. Piercing. Scary. Jackson goes red, clenched fists, steps to Fleury who takes an instinctive step backward, guard - up. Jackson stops, spins back inside. A door slam that rattles the plywood sheet covering the shattered window. The screams become night terror shrieks.","EXT. JACKSON HOME A LONG, SAD BEAT, as Fleury and Al - Ghazi stand alone in front of the Jackson house. RONALD FLEURY -LRB- to Al - Ghazi. -RRB- Can we tour the compound? Can we please do that? Slow nod from Al - Ghazi.","EXT. BOMB SITE - LATER The team tours the site. As they fan out. They walk casually, but focused through the first bomb site. An inquisitive Mayes, already peering into a mostly in - tact car, halfway out of its parking spot. Al - Ghazi and Haytham watch the Americans like mother - hens. JANET MAYES He or she almost made it. Fleury steps, looks inside : blood and safety glass coat the seat. Janet points to keys in the ignition : still at the ` on' position. Then the stick - shift, pulled to the back right : reverse. The shift - knob bloody. JANET MAYES -LRB- CONT'D. -RRB- -LRB- beat, quieter. -RRB- Makes me think of the Trade Centers - the people on the floors above the impacts - no matter how fast or strong or smart you are, if you're in the wrong spot, ` it' will not let you get away. FLEURY That's what makes this a War. Sykes notices something on the ground. he picks up a military detonator, discretely hands it over to Fleury. Fleury quietly pockets it.","EXT. THIRD BLAST SITE - MOMENTS LATER Structures 100 feet away look like they've been hit with a God - sized sawed - off. The crater : 25 - feet wide, 7 - feet deep. Blackened frames and bits of vehicles circle the crater. The bottom of the crater filled with water. A syphon - pump works overtime. No SANG Investigators around. COLONEL AL-GHAZI -LRB- O.C. -RRB- About one hour into the rescue. ADAM LEAVITT Hit a water main? COLONEL AL-GHAZI No - from the tanks of this fire engine : that's the water that did n't evaporate in the blast. Al - Ghazi points to a mass of black metal : looks like a fire truck the way a Jackson Pollock looks like the Mona Lisa. Leavitt and Grant stand back. Quiet : GRANT SYKES -LRB- eyes on Fleury. -RRB- Hole is the case. See, there's `` evidence'' down in that hole. You understand evidence? Little things that are `` clues.'' Clues can be very helpful to a fella when he's trying to solve a crime. COLONEL AL-GHAZI I understand that. GRANT SYKES Glad to hear it. So can we get in there? COLONEL AL-GHAZI No. Sykes holds Al - Ghazi's gaze. Smiles. GRANT SYKES OK. Fleury is taking in the entire crime scene. He notices a four story building half a mile off the perimeter. He watches Al - Ghazi rip at a chunk of floorboard wedged into the mud, bag it himself, search for someone to give it too. Nobody. Sets it down. Stands, wipes his hands hard on his pants. Fleury could swear the dirt stains are intentional : trying to feel like he's doing something.","EXT. DESERTED STREET, AL-RAHMAH - MOMENTS LATER The Land Cruiser Haytham rammed - driver's side crushed, bullet holes, out - of - control skid - marks, asphalt scars from the snapped drive shaft. Fleury is moving around the scene, restaging the shoot out. Instantly lining up the angles. Leavitt's taking digital snaps of the shattered Land Cruiser. Through the viewfinder : the caved - in door. Two snaps. A SANG passes Adam, his gun aimed a touch high. ADAM LEAVITT -LRB- to Fleury. -RRB- A little high. FLEURY -LRB- to SANG, `` Lower,'' in Arabic. -RRB- Watt - tee. ADAM LEAVITT Watt - tee fuck. -LRB- alt : `` Watt - tee hell.''. -RRB- is his gun doing up so high? COLONEL AL-GHAZI -LRB- to Fleury. -RRB- This vehicle was stolen. Two drivers murdered. A team outside the blast - radius. shooting at anything. Everyone. -LRB- beat. -RRB- Sergeant Haytham ended this part. ADAM LEAVITT -LRB- to Al - Ghazi. -RRB- Are the Shooters in - custody - SERGEANT HAYTHAM - dead. So Sergeant Haytham speaks English. FLEURY Were any of these shooters your men? SERGEANT HAYTHAM No. Fleury's thinking, looking into the car. Searching the horizon, he spots a distant apartment building providing a view of the crime scene. FLEURY They got into the compound. Somehow. took control of this vehicle. I'm guessing they did n't politely ask whoever was in this car if they could take it for a little ride? Fleury gets in the car, checking out ballistic shreds in the back of the passenger seat headrest. AL-GHAZI No, they did n't. There were two officers in the car. Both were executed. FLEURY I understand that. Those men were your men - SERGEANT HAYTHAM - they were. They were Police. FLEURY I'm sorry. Al - Ghazi offers the slightest of nods to Fleury. FLEURY -LRB- CONT'D. -RRB- Where was this car when they hit it?","EXT. AL-RAHMAH - MAIN GATE Al - Ghazi leads our team to the main gate. Sykes and Fleury follow close. COLONEL AL-GHAZI Security is a combination of the police and military. Leavitt and Mayes lag behind a bit. Leavitt makes eye contact with a YOUNG SAUDI behind the.50 caliber. JANET MAYES Good news is that if he shoots you, he's gon na shoot you sitting on an American tank. with an American - made bullet. So, it's kind of `` all in the family.'' ADAM LEAVITT How about we get into those American Suburbans. with their American A/C. Al - Ghazi continues the tour as Fleury once again notes the familiar apartment off in the distance.","EXT. AL-RAHMAH - SECURITY STATION CAR PARK - LATER A car port. Fleury and team moving around the area. Fleury picks up some broken glass from the ground. FLEURY The car was parked here? AL-GHAZI Yes. FLEURY Backed in? AL-GHAZI Yes. Fleury studies the scene. FLEURY They were attacked from the front. Must have assumed the killers were fellow officers. Have any of these men been identified? COLONEL AL-GHAZI Not yet. We will check certain neighborhoods. It is likely that the four men prayed at the same Mosque. JANET MAYES The same Mosque is enough to identify them, link them to a cell? COLONEL AL-GHAZI Yes. If the Mosque is in Suweidi. ADAM LEAVITT Suweidi? JANET MAYES Suweidi is a known militant stonghold. Al - Qaeda could recruit from storefronts. On Fleury : he looks back at the homes, then up and around : He locks on the OBSERVATION BUILDING in the distance. FLEURY Can we go to check out some of these surrounding buildings? COLONEL AL-GHAZI Why? FLEURY Seems reasonable that the Planner had to observe and based on Hamza's past history, it's consistent that he would want to video the attack. Is that true? Is that accurate? COLONEL AL-GHAZI That is true. RONALD FLEURY Well, in order to video, in order to observe, you need a view. Fleury points to one particular building. FLEURY That building sees all three crime scenes. Al - Ghazi looks up to the building. Back to Fleury. COLONEL AL-GHAZI -LRB- beat. -RRB- It's outside the walls - ADAM LEAVITT - c'mon now. This is insane : we got enough security to invade Suweidi, let alone that building - COLONEL AL-GHAZI - no you do n't. FLEURY -LRB- to Al - Ghazi, respectful. -RRB- Could you ask? We're already seeing the crime - scenes individually - why not all at once? COLONEL AL-GHAZI Any answer will take - FLEURY - time. I understand. Fleury speaks slowly and clearly now : like he's cementing his words in his own head as he speaks them. FLEURY -LRB- CONT'D. -RRB- You have to ask the General, then the General would ask the Prince. Does it go higher or is that. is the Prince the end of the chain? Al - Ghazi hesitates, ca n't help but be charmed. Fleury clearly knows when to step - on or lay - off the gas. He's smooth. and HIGHLY EFFECTIVE : Al - Ghazi nods ` yes' to the strange half - question. FLEURY -LRB- CONT'D. -RRB- We'll be at the Community Center. -LRB- beat. -RRB- Janet, wan na play hoops?","INT. AL-RAHMAH COMMUNITY CENTER HOOPS COURT - NOON We're in the big gym as our team sits and waits. Leavitt taps on a laptop. Janet shoots free throws by herself. JANET MAYES This is the kind of radical circumstance that could have seriously upped Shaq's free throw percentages. Take a man. Ship him off to Riyadh. No phones, constant threat of death, no girls, no hip hop. Nothing. just free throws. Shaq, he'd be shooting at least seventy percent. Lakers would still be together. Kobe and Shaq lovers forever. Leavitt calls to Fleury. LEAVITT Hey, Boss. check this out. Fleury moves over to Leavitt. Checks out the screen. LEAVITT -LRB- CONT'D. -RRB- Just posted half hour ago. IMAGES ON THE COMPUTER : ARABIC EXTREMIST WEBSITE. Video footage shot from the rooftop of all three bombings and some of the machine gun killings. LEAVITT -LRB- CONT'D. -RRB- So self congratulatory. Makes me sick. Fleury studies the footage. Backs it up plays it again and again.","INT. LOCATION UNKNOWN - TIME UNKNOWN A set of stronger, younger, in - tact hands gently pours a mixture into a box now. Ball bearings, children's jacks, marbles, razor blades, roofing nails : everything malevolent densities and angles. Some pieces bounce out, run along the floor. The younger hands then start pressing/molding the pieces of soon - to - be shrapnel into the putty.","EXT. RIYADH SUBURB NEAR COMPOUND - AFTERNOON Five car convoy moving quickly through the city.","EXT. SPOTTER APARTMENT- LATER Our convoy pulls up in front of the apartment. They exit the vehicles. Our team stands surrounded by a 50 - man security detail, rifle - stocks to shoulders. Double - time it - outside the walls now, hostile territory. Two - man sniper teams out front. Al - Ghazi ten steps ahead. A SANG five car security CREW pulls up, tracking Fleury and company. A stand off between the two police forces.","EXT. SPOTTER APARTMENT - NEXT MOMENT The SANG Officer in - charge steps to Al - Ghazi. In Arabic : SANG OFFICER This is unacceptable. COLONEL AL-GHAZI It's cleared with General Abdul - Malik. We have five minutes here. SPECIAL FORCES OFFICER We were told they must remain in the vehicles. COLONEL AL-GHAZI That is not true. SPECIAL FORCES OFFICER They must stay in the Toyotas - COLONEL AL-GHAZI - report me then when you get in - touch with the General - - Officer reaches down from nowhere and hammers Al - Ghazi open - handed as Al - Ghazi tries to step past. Collective shock. In that breath, Haytham punishes the Officer with a left - cross : knees buckle before he comprehends what hit him. Haytham's kick follows, catches the Officer in the sternum as he hits ground. Al - Ghazi shakes it out, trades blows with the SANG second in - command. Leavitt moves, catches a rifle butt to the shoulder after two steps. Fleury aims, drills the Soldier that butted Leavitt : instant night - night. Another SANG steps up. Fleury throats him, knee caps him, and grabs his weapon before the dude hits the ground. Fleury can obviously fight. all the above happens in four seconds. Then, a ` knock - it - off' gunshot aimed at the sky pops one - foot from Janet's head. We hear what she hears : one half - second of the shot, then the big ring. On her knees immediately, hand over her ear. In response : heavy - caliber gunfire flies : group flinch - n - crouch. The warning shots from a.50 - caliber mounted on a Humvee racing this way from Al - Rahmah : dust plumes from the speed. Members of the security detail and the Special Forces go Mexican stand - off. JANET MAYES Tell me it did n't burst - tell me it did n't burst - Al - Ghazi the first to her, touching her hand to pull it away from the ear. A SANG nearby sees this : spits two inches from Al - Ghazi. Al - Ghazi leans to Janet's non - ringing side : COLONEL AL-GHAZI No blood. The Humvee now slides to stop ten feet from the fracas. General Abdul - Malik out of the passenger seat, in Arabic : GENERAL ABDUL-MALIK WHO FIRED? That Soldier's hand goes up sheepish. Two men out of the Humvee's backseat break him down, face first in the dirt : cuff him, lock him in the vehicle. GENERAL ABDUL-MALIK -LRB- CONT'D. -RRB- AND WHY? SPECIAL FORCES OFFICER -LRB- standing, doubled over. -RRB- A disagreement. The General grabs the Officer by the back of his head : an abusive Dad. Walks him to the side. GENERAL ABDUL-MALIK -LRB- back to Al - Ghazi. -RRB- FIVE MINUTES. Al - Ghazi looks back down at Janet, at Leavitt's bruise, at the man Fleury knocked out. Angry. Impressed : fought alongside him. Haytham has n't moved an inch, not even when the General came, chin raised to an entire platoon : say when. COLONEL AL-GHAZI -LRB- to Fleury. -RRB- Five minutes. The SANG move back. The team staggered, slowly remembering why they're here in the first place, finally make their way to the Roof Top.","EXT. ROOF TOP - CONTINUOUS Fleury finds a table with a view. Tabletop : holes and finger - paint stains. Al - Ghazi three feet away. Both look in the same direction : two Tigers being held back. Fleury's studying the housing compound through a video camera, comparing the images on his camera with what he saw posted on the internet. FLEURY You've seen the images of the attack posted on the internet? AL-GHAZI Yes. FLEURY Look for yourself. Al - Ghazi takes the camera from Fleury. He lines up the same shots we saw posted on Leavitt's computer : clearly a match. This is where they shot the video AL-GHAZI He was here. Another long moment. Al - Ghazi looks at the table, discarded trash : the Capri Sun containers, the candy wrappers. RONALD FLEURY Formed the plan up here : saw everything he could hit. -LRB- beat. -RRB- Way too pretty a' plan to have been fully hatched on just one visit. He came here a couple times. Al - Ghazi quiet for a long while. Then he reciprocates : COLONEL AL-GHAZI The man who did this is a Saudi - this place, this neighborhood. if foreigners were up here, someone would say something. Fleury looks over to the two dozen LOCALS peering out with suspicion at them on the rooftop. FLEURY I see. COLONEL AL-GHAZI Nobody's talking. Here, many people love Hamza - they think of him like Bin Laden. Like your Robin Hood. Fleury smiles small at whatever just passed between them. Al - Ghazi stays stoic, then looks straight at Fleury : COLONEL AL-GHAZI -LRB- CONT'D. -RRB- A man who thinks of something like this. while maybe his family played around him. scares me more than I have words to express. Shaytan. RONALD FLEURY -LRB- refocusing. -RRB- Two big answers in two small minutes. Imagine if we had a couple days together. Al - Ghazi pauses. RONALD FLEURY -LRB- CONT'D. -RRB- I'm sure the General is good guy. and I'm just as sure he's no Investigator. Al - Ghazi stands still, silent. Fleury reaches into his pocket. Reveals the detonator to Al - Ghazi. Al - Ghazi reaches to take it. Fleury holds it for a BEAT. RONALD FLEURY -LRB- CONT'D. -RRB- Let me help you. He hands the detonator to Al - Ghazi. Al - Ghazi now pockets it. A BEAT. COLONEL AL-GHAZI We break now : too hot to work outdoors. Then we will leave for the Palace. RONALD FLEURY And I imagine that will run until sundown? COLONEL AL-GHAZI -LRB- beat. -RRB- I had televisions delivered to your quarters to pass the downtime. Fleury just nods back. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- Miss Mayes will not attend this evening. Men only. Fleury looks over to Janet. Hurt, yet extremely defiant, she looks ready to attack anything that comes near her. FLEURY You want to tell her that?","EXT. CHEVY SUBURBAN, RIYADH SUBURBS - EARLY EVENING Cobra gunships covering the convoy as it blurs past police checkpoint after police checkpoint. Intersections shut down. Bracketed front and back by Saudi Humvees.","INT. CHEVY SUBURBAN, RIYADH SUBURBS - NEXT MOMENT Al - Ghazi in the passenger seat, hand on the stock of his Mp - 5 : again searching for threats. Our team in back, freshly scrubbed, collared - Polos as formal as anyone thought to pack. Team frustration has evolved into angry acceptance. The convoy zipping alongside a wall now : desert - orange in color, twelve - feet high, blue ottoman tiles running the length of the wall's horizontal center - line. COLONEL AL-GHAZI We're here. The helicopters peel off at steep angles, the sound of the rotors reverberating in your chest. Leavitt watching them go : ADAM LEAVITT Big wall. COLONEL AL-GHAZI It's a big palace.","INT. PRINCE BIN KHALED'S PALACE - DAY Majlis - a Saudi political ceremony in which Saudi citizens and local politicians -LRB- most aristocratic and exclusive -RRB- are permitted a brief audience with the Prince. A bizarre receiving line of sorts. Our team moves through a massive marble hallway towards the ceremony. ADAM LEAVITT How many Princes are there? COLONEL AL-GHAZI Over 5000. RONALD FLEURY They all get palaces this big? COLONEL AL-GHAZI Some get bigger. ADAM LEAVITT Who pays for all this? GRANT SYKES General Motors, Ford, Chevrolet. ADAM LEAVITT Hey, man - I drive a Hybrid. COLONEL AL-GHAZI -LRB- a beat. -RRB- The Prince will ask you about your flight, the accommodations. lite subjects. If he offers you the chance to hold his Raptors, do n't flinch : it's a compliment. ADAM LEAVITT -LRB- to Grant : genuine worry. -RRB- What's a Raptor? Damon Schmidt appears.","INT. PRINCE BIN KHALED'S PALACE - LATER The Prince sits on a sea of pillows. There are several small flat screens playing business reports, CNN and Al - Jazeera. Seen from behind the Prince : everyone but Leavitt standing next to faces we've never seen. The table holds six gold serving platters. Enough food to kill a famine, tended by a frenzy of servants. Sykes puts a hand over his cup to stop the constant tea re - fill. Leavitt stands to the Prince's left, thick leather glove on his hand, a falcon perched on it. Leavitt holds it away from the rest of his body like he's already made peace with losing the arm. Servants hold three others close - by. PRINCE BIN KHALED His talons slice bone. ADAM LEAVITT Super. PRINCE BIN KHALED That's my most prolific Hunter. I'm trying to teach his friends there by example, but I fear it's something you're born with or not. Do you agree, Mr. Ronald? Innate or not at all? RONALD FLEURY I do. PRINCE BIN KHALED -LRB- nodding : I could tell. -RRB- What have you seen so far of our Kingdom? - and know I can arrange tours anywhere within our borders. When I bull - rush our hosts you'll know it : In his quiet, calm - amidst - the - bullets tone : RONALD FLEURY I've seen that the man who planned the worst crime in your Kingdom's history is without a doubt Saudi. Pin - drop silence in response to Fleury murdering the Prince's `` lite subjects,'' his attempt to extend the gilded circle - jerk by offering tours. Bin Khaled's face sinks to gray again after the excited pink of talking about his Falcons. His hand slowly moves back over his stomach : Napoleon's ulcers. As Fleury speaks, people unconsciously put their tea - cups down, look up at him with wide - eyes. RONALD FLEURY -LRB- CONT'D. -RRB-. and that if you walk 300 kilometers from the compound, you will find a rooftop where the attacks were planned. I've seen that the person in this room `` born with it'' is right there. -LRB- points at a gawking Al - Ghazi. -RRB- Everything I just said came from Colonel Al - Ghazi : his observations of the scene while he was protecting us. And I think you're absolutely right Sir : that kind of instinct ca n't be taught : not to Falcons. Definitely not to SANG Generals. Innate or not at all. -LRB- beat. -RRB- You want the murder to stop as much as I do. Let us help. The Prince stares at Fleury, cataloguing everything Fleury just said. Stands. In Arabic : PRINCE BIN KHALED Colonel Al - Ghazi, a word. As the Prince walks out with Al - Ghazi, he signals another corps of servants to serve another round of cups : coffee. Dinner over. A servant takes the Falcon from Leavitt just as he was starting to smile at it. Fleury sips his coffee. Schmidt and Sykes approach. GRANT SYKES That was impressive. RONALD FLEURY Think it will work? GRANT SYKES Yeah. Maybe. I mean, you can only play the `` I'm going to the press card'' like three more times. So, maybe. RONALD FLEURY They're paranoid and overly self - protective. DAMON SCHMIDT They are n't protecting anyone. There's no conspiracy. They're just terrified. Finally. The Saudis have finally seen the Monsters they helped create, because those Monsters have come home. And if Saudis do n't catch Saudi Monsters, that's the end. Fleury opens his mouth to interrupt. DAMON SCHMIDT -LRB- CONT'D. -RRB- -LRB- right through Fleury's attempt to speak. -RRB- And that end could come double - quick if they let the US `` Shaytan'' catch those Monsters for them. -LRB- Fleury silent, gets it. -RRB- Because that's what the Saudi on the street suspects : the only thing keeping the Royal Family upright is American evil. GRANT SYKES That's dead on accurate. Very impressive. That's why they're making it hard on us, and that's why he wants to help ` em turn the screws. RONALD FLEURY They can have every shred of credit - DAMON SCHMIDT - you see the slums on the way in? RONALD FLEURY Yeah. DAMON SCHMIDT See that even though their homes are falling down, they had satellite dishes bolted on? RONALD FLEURY Yeah. DAMON SCHMIDT Everyone already knows you're here. Credit? If the Saudis cracked this Cell while these servants were pouring coffee, Al - Jazeera still leads the story with your Team. RONALD FLEURY Have you been to the crime - scene? DAMON SCHMIDT No - RONALD FLEURY - if you had, you'd see the evil work of real Talent. The kind that does n't stop until it's forced. DAMON SCHMIDT And the path to Hell is paved with good intentions. RONALD FLEURY You having fun? DAMON SCHMIDT -LRB- genuine smile. -RRB- Beats hell outta visa - stamping. -LRB- smile vanishing. -RRB- You're on an island. I hope you know how to get off. RONALD FLEURY By catching Abu Hamza. Raising his coffee, toasting Fleury's cup : DAMON SCHMIDT Then here's to you. Let's bet : when this Colonel Al - Ghazi comes out, he's in - charge of the investigation - if so, you set me up on a date with Janet Mayes.","INT. CHEVY SUBURBAN, RIYADH SUBURBS - NIGHT 100 m.p.h. Semi - grins from the Team : how the fuck did he do that? Al - Ghazi on a cell, rattling orders in excited Arabic : COLONEL AL-GHAZI every investigator on - scene by midnight, 50 more portable lights, three more pumps - RONALD FLEURY -LRB- to Leavitt. -RRB- Do me a favor and tell Janet that she and Damon Schmidt got a date when he gets back to the States. Al - Ghazi points into darkness. COLONEL AL-GHAZI The rules still stand. -LRB- beat. -RRB- But tomorrow will be a new day.","INT. UNKNOWN LOCATION - SAME MOMENT TIGHT ON blasting caps, military detonators, nails, wing - nuts, bolts, jacks, marbles. young hands feed lengths of detonating wire through pre - drilled holes on a wooden cover. The cover is attached to the box with nails and a rubber mallet : no sparks. The wires are braided into one, clipped to a lead on a servo - motor attached to the box - top. A vehicle is being fitted with tire guards and heavy - duty crash bumpers - all as a man quietly talks. WIDEN to reveal the MAN, being VIDEOTAPED : foretelling of new threats, face obscured by his head wrap. Several other MEN watch and listen. TIGHT ON the man's eyes. REVEAL PHOTOS on a nearby table : the Al - Rahmah compound, Fleury with Al - Ghazi, Leavitt and Mayes, Sykes and Haytham.","EXT. AL-RAHMAH COMMUNITY CENTER - MORNING, SECOND DAY Half - assed gardening party. Al - Ghazi worked through the night, has n't slept since we last saw him. Looks like it. COLONEL AL-GHAZI From now on, any evidence you find you hand over. Al - Ghazi smiles. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- I'm `` all ears,'' Special Agent Fleury. RONALD FLEURY We should start with the dead shooters. COLONEL AL-GHAZI They had no identification on them. Fingerprints and dental have come up empty. RONALD FLEURY Can we photograph all three of them? Couple hundred copies each. COLONEL AL-GHAZI No problem. RONALD FLEURY Good. If it's OK with you, I'd like to suggest we split up as follows. Sykes and Leavitt ca n't help small smiles. Finally getting to work.","EXT. BLAST SITE - MORNING Sykes climbs down into the mud hole. GRANT SYKES -LRB- from the crater. -RRB- Fellas, what we want to do is get this water out of here. see what's really going on. Understand? No reaction from Saudi police GRANT SYKES -LRB- CONT'D. -RRB- C - VIN hunting - Data Plates - Something drivable blew up. That's pretty obvious. Feels like ANFO to me, boys - Ammonium Nitrate Fuel Oil. Let's dry this hole and see if we ca n't figure what she was. Got ta pump?","EXT. BLAST SITE - LATER Grant at the Crater. Three brand - new industrial - sized pumps draining it. 30 Police INVESTIGATORS watch Sykes. GRANT SYKES -LRB- to the Saudis. -RRB- Got to get a little dirty, people. Crawl up in it. Make deep contact. You get that? Dead, confused stares from the Saudis into the mud hole. Sykes happy as a pig in shit. GRANT SYKES -LRB- CONT'D. -RRB- Get nasty, dirty, filthy. He smiles, watches another Officer write Saudi translations on the stainless - steel paint cans into which you load evidence : shrapnel, soil, DNA, shells, etc..","EXT. DEATH SQUAD SCENE, AL-RAHMAH - SAME MOMENT A JUNIOR OFFICER double - times it to Al - Ghazi with a stack of photos : Rough head - shots of the three dead SHOOTERS. Fleury takes some, hands the rest back to Al - Ghazi. RONALD FLEURY Have him pass these out to the compound security. See if anybody knows them. Fleury, Leavitt, and Al - Ghazi walk past the Land Cruiser Haytham took out. 15 Police INVESTIGATORS on - scene : Leavitt stops, drops his bag. Al - Ghazi introduces him to the Officer in - charge. Leavitt opens his evidence kit. A couple of Police ca n't help but sneak a peek, checking out what the American's got inside.","INT. RIPON HOME - LATER Fleury stands with Al - Ghazi back in the Ripon home. RONALD FLEURY Would you mind doing one more thing for me? EARL No, Sir. Fleury pulls out the photographs. RONALD FLEURY Could you tell me if you recognize any of these men? Fleury puts the three photographs down on the dining room table : not pretty pictures. Earl and Janine study the photos. JANINE Horrible. A few moments, then : EARL I do n't know any of them. Fleury thinks a minute. Looks outside. FLEURY I'm just wondering. That chair out side. Looks like it gets a lot of wear. Looks comfortable. EARL That my mom's chair. FLEURY See, that's exactly what I was thinking. I'm guessing she spends a lot of time sitting outside? EARL All day. FLEURY She must pretty much see it all. Right? EARL She does. FLEURY Where is she? EARL She's sleeping. Pause : Fleury slow nods, then. FLEURY Let's wake her up. Maddy up at the dinning room table, looking down at the photos. MADDY I've seen him. RONALD FLEURY Where? Maddy thinking. MADDY Like, a week ago. Twice I've seen him. Watering. With the garden crews. I remember he was wearing a Liza Minnelli T - shirt. I thought that was funny. RONALD FLEURY What about the others? MADDY -LRB- closer examination. -RRB- No. Just him. I remember the T - shirt. I remember thinking it was odd? RONALD FLEURY What, the Liza Minelli shirt? MADDY No. I do think Liza Minelli's gone odd, but that was n't it. RONALD FLEURY What was odd? MADDY He was a Saudi. The gardener. RONALD FLEURY Yeah. MADDY Saudis, like Americans, do n't do manual labor. Blowing leaves is beneath them. Fleury looks to Al - Ghazi for confirmation. Al - Ghazi nods. RONALD FLEURY -LRB- to Maddy. -RRB- Thank you. Fleury and Al - Ghazi start to leave. EARL Who is he? Fleury looks back to Earl. RONALD FLEURY That's one of the many things we're trying to find out.","EXT. RIPON FAMILY HOME - NEXT MOMENT Al - Ghazi gives the photo of the IDENTIFIED SHOOTER to an AIDE waiting outside. AL-GHAZI Find out if he worked with the gardeners. The aide takes the photo, starts walking away. AL-GHAZI -LRB- CONT'D. -RRB- RUN! Freaked, the aide about jumps out of his skin. starts running.","EXT. BLAST SIGHT - DAY Sykes has a SAUDI WORK CREW digging in the hole, pulling out pieces of charred metal. He is slowly laying out the pieces and studying them like a puzzle, trying to figure out what the hell blew up.","EXT. MOBILE FIELD MORGUE - SAME MOMENT Janet and Haytham approach a 2000 square - foot M.A.S.H. Tent attached to refrigeration units. SANG OFFICERS look down at the Americans, dead eyed, watching them work.","INT. MOBILE FIELD MORGUE - NEXT MOMENT The Muslim dead wrapped in white linen according to the Sunna. Western bodies lie separated from Arabs. A Saudi TECHNICIAN blankly hands Janet and Haytham lab coats to cut the cold. Three Police OFFICERS in the tent with them : Watching Janet. Haytham is looking uncomfortable as if he is embarrassed to be seen with the American woman.","EXT. JACKSON HOME - LATER Fleury knocks at Aaron Jackson's door. A pause, the peep hole darkens. A longer pause, then the door opens. Aaron Jackson does n't look any better. Same shirt. Packed boxes. Suit cases. Jackson is clearly getting out of Dodge. RONALD FLEURY -LRB- beat. -RRB- How are your Sons? Jackson's eyes shrink - wrapped in tears. After a long silence with no answer, Fleury hands him a sheet of paper : RONALD FLEURY -LRB- CONT'D. -RRB- That's the name of a clinical psychologist. Works with Embassy kids. apparently very good at explaining violence - AARON JACKSON - what do you know about what my kids need? What they saw? What the rest of their lives might be like? RONALD FLEURY -LRB- beat. -RRB- I thought maybe your Boys. without their Mom anymore. might ask you why sometime. Aaron Jackson begins shaking his head yes. Tears flow free : sorrow and gratitude. He hangs on to Fleury's hand for a very long time. Silent apologies. RONALD FLEURY -LRB- CONT'D. -RRB- I will find the man responsible for the death of your wife. We're close. AARON JACKSON -LRB- beat. -RRB- Tomorrow it'll be somebody else's wife. Fleury quiet. RONALD FLEURY Then tomorrow I'll come back. Fleury turns his head : Al - Ghazi approaches on the next lawn down with three JUNIOR OFFICERS. Fleury nods goodbye to Jackson. Fleury approaches Al - Ghazi, holds up the Shooter's photo. COLONEL AL-GHAZI The gardener. We know who he is. He's on several watch lists. Fleury - a slight nod of satisfaction. RONALD FLEURY We know where he lives? COLONEL AL-GHAZI We will very soon. RONALD FLEURY You do n't seem very excited. COLONEL AL-GHAZI These are always the easy ones to catch. Rarely does it lead to the planners. -LRB- beat. -RRB- I want to take you somewhere. RONALD FLEURY Where? COLONEL AL-GHAZI To someone who may be able to help us catch Hamza.","EXT. BLAST SITE - DAY Ten Police Investigators in the crater with Grant. Outside the crater : pieces of vehicles laid out outside : 1/2 of a door, 1/4 of a front axle, bits of engine. Five feet away from that : stacks of bagged evidence, two dozen evidence containers. Sykes clambers out of the hole, streaks of re - animated mud where sweat streams out of his hairline, mad - dashing for his chin. A chunk of metal in one hand, something small in the other : a marble. He drops it in the appropriate cannister then steps to a chunk of metal : one half of an alternator. Sykes stares down at the pieces of completely mangled metal. He studies a piece of twisted, half - melted iron. Thinking. He walks over to a second larger piece of twisted metal. Starts trying to fit the two pieces. like a puzzle.","INT. MOBILE FIELD MORGUE, PRESENT DAY - NOON The dead, oblong faces of the dog - walkers. Janet uses forceps to pull a wing - nut from one of the dog - walkers. Places it on a sanitary table littered with shrapnel : tiny bits of colored glass, ball - bearings, parts of razor blades, spent slugs, and scraps of unidentified metal.","EXT. BLAST SITE - CRATER Sykes still works the two large pieces of trashed iron. Until something clicks. The fit. Sykes looks down at the connected metal. SYKES It's a gurney. Sykes looks down at the mud colored DIGGERS. SYKES -LRB- CONT'D. -RRB- Who's missing an ambulance? Just stares from the Saudis. SYKES -LRB- CONT'D. -RRB- Could somebody please go get Sergeant Haytham? Confused stares from the Saudis. SYKES -LRB- CONT'D. -RRB- -LRB- loud. -RRB- Sergeant Haytham! Inside the crater : water - level down to the ankles. Three Saudis dig around what looks to be one of the dualie - style back tires. Re - positioning to get a better grip, Sykes notices the top of what looks to be a sizeable, ragged hole, still mostly submerged. Pointing : GRANT SYKES Here. Sykes slogs over. He drops to his knees, reaches his hand in, all the way to his shoulder, the side of his face to the water : void. Out of the crater, Sykes points to a Bobcat earth - mover, in Arabic : GRANT SYKES -LRB- CONT'D. -RRB- Who has the keys?","INT. / EXT. MOBILE FIELD MORGUE - SAME Janet stands with the Saudi Pathologist. She prepares to take a fingerprint from a body. As the moves in to touch the Arab hand, one of the GUARDS unloads in her direction - a full guttural Arabic assault. No idea what he's saying, but it's obvious he's furious. Haytham starts firing back. This is an un - translated argument. We sense that the guard is doing more than expressing his displeasure regarding Janet. This seems to be personal. Janet's getting very nervous. A frightening display. Then, Haytham turns : HAYTHAM You can not touch any Muslims. Janet takes a breath as the Police hard - eye her. JANET No problem. Can I still touch Americans? HAYTHAM Of course. Janet moves back to the American dead, as the Saudi Tech continues with the Muslims. She pulls another shard of COLORED GLASS from a wound.","INT./ EXT. SUBURBAN - DOWNTOWN RIYADH A two car convoy drives deep into the city. The Convoy is forced to stop across the street from a gas station as a construction crane backs into a drive way. Al - Ghazi and Fleury stare across the street as a large gas truck fills up the heavy tanks of a Saudi gas station. FLEURY What's gas running a gallon out here, Al - Ghazi? Penny gallon? Al - Ghazi smiles. COLONEL AL-GHAZI It was an American. An engineer named Karl Twitchell. Hired by Saudi Arabia to find water. He did n't find so much as a dried oasis, but he found this. Enough oil to turn the earth. Fleury stares out as the oil spills out overflowing from the station tank. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- They say my country sits on over 1 trillion more barrels of recoverable oil. RONALD FLEURY A trillion reasons for our Leaders to hold hands another one hundred years. COLONEL AL-GHAZI A trillion reasons to keep fighting. For both sides of this War. -LRB- beat. -RRB- I think our oil has begun destroying more than it creates. RONALD FLEURY Agreed. COLONEL AL-GHAZI I'm 46 years - old. -LRB- beat, tired. -RRB- I have three daughters. And I find myself in a place where I no longer care about ` why' we are attacked. I only care that 100 people woke up a few mornings ago had no idea it was their last. When we catch the Man who murdered these people, I do n't care to ask even one question. I just want to kill him. stop him. -LRB- beat, a bit embarrassed. -RRB- Do you understand? RONALD FLEURY Yes, I do. A long moment. Just road noise. We see two men, as different from each other as they could be, yet made from the same things. RONALD FLEURY -LRB- CONT'D. -RRB- Is your first name ` Colonel?' COLONEL AL-GHAZI -LRB- a small smile. -RRB- Faris.","INT. MOBILE FIELD MORGUE - CONTINUOUS A glazed Haytham works with a Pathologist on the Muslim bodies. Their own collection of foreign objects. Janet pulls free 1/2 of a marble from a burrowed hole : explains the shards of colored glass. Cleans it in saline, holds it up to the light. We stare at it with her. Janet begins piecing together glass shards - reconstructing a MARBLE.","EXT. DEATH SQUAD SCENE - DAY Police Investigators eat lunch under a tent 50 yards away with Leavitt. Then a red laser - sight moves across him : Three MEMBERS of his Police security - detail : smirking, pretending to fidget with an AR - 15's aperture. Leavitt stares. Subtle defiance. Nobody blinks. Silent moments pass. The smallest of the detail reaches over, pulls the cocking device of the rifle : round in the chamber, so stop looking at us.","INT. BOMB SITE - CRATER Sykes, covered in mud, digging, searching for any signs of identification amongst the charred, mangled metal.","EXT. INTERNET CAFE - LATER The small convoy pulls up next to a run down, late seventies chunk of architecture which looks like a combination bombed dentist office / accounting firm. Weird. Two TEENAGERS in Tu - pac T - shirts smoke in front. Fleury, Al - Ghazi and a couple of Police head for the blacked out front door.","INT. INTERNET CAFE - CONTINUOUS Moving up two flights of stairs. Dark, rundown shredded carpet. Old hip hop - cheap bass, thin speakers. Smoke. Everything grows in intensity as they move up the stairs. Two more TEENAGERS skulk past. FLEURY -LRB- half joking to Al - Ghazi. -RRB- Feel like I'm back home in Detroit. Al - Ghazi keeps moving up and into what is definitely on Fleury's top ten list of the most bizarre places he's ever been. FLEURY'S POV : Two rooms : First is some kind of snack/smoke/TV lounge. FILIPINOS serve drinks. Packs of young Saudi MEN drink Cokes, tea, coffee, and smoke. Odd Saudi talk shows mix with hip hop. Behind, another room : bigger, overflowing with stacks of mis - matched computers. Dozens of them. Dozens of Saudi TEENAGERS plugged in. Head - phoned and mic'd. All chain smoking, all fully plugged in to CALL OF DUTY -LRB- an American war game -RRB- on line. These kids play with rabid intensity, smoking and screaming and killing. Al - Ghazi moves through the crowd. A small middle aged SAUDI spots Al - Ghazi. They exchange words. Al - Ghazi waves Fleury to follow. Fleury does and follows Al - Ghazi through the computer room, into a back office.","INT. INTERNET CAFE - BACK OFFICE - CONTINUOUS A middle aged Saudi : TALAL. He sits behind a cluttered desk. Art books and computers everywhere. He gets up and embraces Al - Ghazi. Al - Ghazi then turns to face Fleury. COLONEL AL-GHAZI At one time, Talal was Arafat's senior bomb - maker and planner in the occupied territories. He joined Bin - Laden when Al Qaeda brought the fight to the Royal Family. RONALD FLEURY -LRB- beat. -RRB- OK. Should n't we arrest him or shoot him or something? Small smile from Al - Ghazi. COLONEL AL-GHAZI He turned himself in last year during an amnesty. He's now part of a new government effort to balance the experience of Saudi Youth. RONALD FLEURY This place is community service? COLONEL AL-GHAZI If America figures out a way of keeping their kids off the computers please let us know. RONALD FLEURY Why did he turn himself in? Before Al - Ghazi can answer, Talal begins talking to him in Arabic. Al - Ghazi translates : COLONEL AL-GHAZI ` You only come after I see there were bombs. Did you know Bin Laden put 5 million - dollars on my head? Why should n't it be 10?' Subdued laughter. Then Talal becomes quiet, grave. Al - Ghazi continues the translation : COLONEL AL-GHAZI -LRB- CONT'D. -RRB- The Man who made War on Al - Rahmah is someone my age - this kind of skill is learned over decades. Talal looks at Fleury now, speaking directly to him through Al - Ghazi : COLONEL AL-GHAZI -LRB- O.C. ; CONT'D. -RRB- A Man who can plan the mass - murder of women and children, then go home at night to his own and sleep soundly? That kind of Man is supremely difficult to catch. RONALD FLEURY -LRB- through Al - Ghazi. -RRB- How does he know he slept soundly? Colonel Al - Ghazi hesitates, then relays Fleury's question. Talal stares : eyes touched by war - blood - atrocities committed. Someone who believes he's going to Hell. COLONEL AL-GHAZI -LRB- O.C. -RRB- -LRB- translating. -RRB- Because he has n't stopped. You stop when their faces do n't let you close your eyes. RONALD FLEURY -LRB- through Al - Ghazi. -RRB- Is that why you quit? COLONEL AL-GHAZI -LRB- O.C. -RRB- -LRB- translating. -RRB- 17 days without sleep will make you quit anything. Two TEENAGERS stick their heads into the office. They're mad about the sharing of a computer. Talal puts a fast stop to it. It's obvious he's good with these young boys. He smiles as he speaks to Al - Ghazi. Al - Ghazi translates to Fleury. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- He says he makes my job easier. Here, at least they only fight and kill on computers. Al - Ghazi shows Talal the detonator. The old man studies it. Al - Ghazi and Talal speak in Arabic about the detonator. Al - Ghazi looks to Fleury, translates. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- He says that there are several ways to get American military equipment like this detonator but not many men in Saudi Arabia that know how to get them. FLEURY How do they get them? COLONEL AL-GHAZI Usually smuggled from Iraq by corrupt soldiers working with the Americans. FLEURY Could Hamza get this equipment? Al - Ghazi asks Talal. COLONEL AL-GHAZI Without question. Yes, he could. RONALD FLEURY -LRB- through Al - Ghazi. -RRB- How do we find him? He thinks for a moment, then speaks. The boys chuckle as Al - Ghazi continues translating : COLONEL AL-GHAZI Prayer. Luck. Handshakes. Fleury looks at Al - Ghazi, does n't quite get it. RONALD FLEURY -LRB- to Al - Ghazi. -RRB- Well, I think I get the ` prayer' and ` luck' parts. Talal slowly stands, Al - Ghazi helping him up, moves to Fleury. Reaches his hand out to him, quietly : COLONEL AL-GHAZI -LRB- O.C. -RRB- -LRB- translating. -RRB- His hands will feel like this. Fleury shakes Talal's hand, turns it over : index finger gone. COLONEL AL-GHAZI -LRB- O.C. ; CONT'D. -RRB- -LRB- translating. -RRB- Every Amir at some point gets bitten by his work.","EXT. BLAST SITE - DAY The Bobcat digs into the crater, over the unknown hole. Already a large pile of dirt. Another sizeable scoop down about two feet : nothing. Haytham now stands over the crater watching Sykes. Leavitt has joined him. GRANT SYKES Whatever this is, it blasted - off like NASA. Haytham yells to the Machine Operator in Arabic : SERGEANT HAYTHAM Driven in at an angle. go deeper. Another gouge of earth : 4 feet. Nothing. Grant sits back. GRANT SYKES ` High - order explosion' does n't do it justice : what's left a' this looks like it was put through a wood - chipper. Leavitt rubs his eyes : adrenaline long gone. Looks at his watch : time passing fast. Sykes drops to his stomach, reaches in with the TRENCHING TOOL to see how much farther the hole goes : a metallic ` clink. An oxygen tank. The kind used in ambulances. Nozzle assembly gone, burst in the explosion with a force that drove it several feet into solid ground. Haytham takes a razor blade, scratches off samples of the soil and carbon for explosive residue into a fresh cannister. Then takes a wet rag, begins cleaning the tank to reveal Arabic script. SERGEANT HAYTHAM -LRB- to Sykes. -RRB- Hospital Identification. Ambulance identification. GRANT SYKES Do you know this hospital? SERGEANT HAYTHAM Yes. GRANT SYKES Call it in.","INT. AL-RAHMAH COMMUNITY CENTER Now a mini command post. Al - Ghazi works phones with Fleury and Mayes by his side. Sykes and Leavitt muddy, sitting on their cots. Leavitt tags evidence from the shootout. Al - Ghazi hangs up, looks to Fleury. COLONEL AL-GHAZI The ambulance was reported stolen from King Fahd Hospital last Wednesday, three days before the bombing. RONALD FLEURY OK. COLONEL AL-GHAZI There's more : I told you it would n't be hard to find the soldiers. RONALD FLEURY -LRB- focused ; to Al - Ghazi. -RRB- What you got? COLONEL AL-GHAZI The stolen ambulance had a twenty man crew that rotated shifts on it. We checked all twenty men. One of them, Muaath Hazmi is now of interest to us. RONALD FLEURY Why? Al - Ghazi reaches for the photo of the dead shooter/attacker. COLONEL AL-GHAZI Because this gentleman is Fathi Hazmi, Muaath's brother. RONALD FLEURY Where's Muaath? COLONEL AL-GHAZI I'm going to show you.","EXT. SUBURBAN RIYADH STREET - AFTERNOON A five block radius has been sealed off by Police Vehicles. Fleury and his team are at the outer perimeter, crouched behind barricades at the entrance of a cul - de - sac. They're not allowed anywhere near the line of fire. They sport bullet - proof vests and helmets : look like reporters in a war - zone. Police turn away cars, neighbors. Snipers stand posted on near - by rooftops. Helicopters audible overhead. Street deserted. GRANT SYKES We never get to do anything fun. JANET MAYES Sykes, I'm guessing you do n't even remember how to load your gun. GRANT SYKES That's not funny. ADAM LEAVITT She's not trying to be funny. GRANT SYKES I'm a very good shot. JANET MAYES I'm sure. Haytham hands Al - Ghazi a walkie - talkie, in Arabic : COLONEL AL-GHAZI Neighbors clear? VOICE -LRB- O.S. -RRB- Yes. COLONEL AL-GHAZI Activity or communication? VOICE -LRB- O.S. -RRB- Snipers have seen nothing. No telephone line into the house. COLONEL AL-GHAZI -LRB- beat. -RRB- Allahuakbar. Go. Two black Suburbans roll around the corner : out - fitted with running boards and hand rails upon which a 12 - man SWAT team rides : 3 on each rail, 2 vehicles. SWAT team : military fatigues, black hoods, Mp - 5 close - quarter sub - machine guns. Flying down the cul - de - sac : Half - way down the street, one of the Snipers open fire : BOOM - BOOM - BOOM. That moment an RPG fires wide of the lead Suburban. Over Al - Ghazi's walkie - talkie, in Arabic : VOICE -LRB- O.S. -RRB- ONE DOWN! RPG! The two SWAT - Teamers at the front of the running boards open up with their MP - 5s one - handed : the front of the house puffs, bursts, disintegrates. Suburbans rip to a stop. SWAT off, move fast. Three toss flash grenades into and around the house. Massive flash - bangs. Six through the front door. Six sprinting around back. Loud AK - 47 bursts from inside now. screams. Then an RPG fired inside : the rushing sound and yellow - white flash past two windows. A section of the far left wall of the house detonates from the inside out. More mechanical, silenced thwacks from the SWAT Mp - 5s. Silence. Then voices from Al - Ghazi's walkie - talkie. Ambulances round the corner, fly toward the house : VOICE -LRB- O.S. ; CONT'D. -RRB- CLEAR.","INT. TARGETED HOUSE - MOMENTS LATER The team enters, wide - eyed. Four men in civilian garb, all dead : multiple bullet wounds. An Officer with four 8 X 10 mug - shots, matching them to the dead faces, dropping mug - shots on respective chests. Once he's finished, a police photographer takes new pictures of each. At the far side of the House : engineers use 2x4s to support the wall hit with the RPG. All of it has the feel of standard Saudi operation procedure. Al - Ghazi appears from the back of the house. Bends over each of the four dead men : lifting each of their hands, examining the backs of the hands quickly. GRANT SYKES Prints are on the other side. COLONEL AL-GHAZI I'm not looking for prints. I'm looking for fingers. Stands after the last : a look of controlled frustration that Fleury files. Then Al - Ghazi motions to Sykes and Fleury.","INT. REAR OF THE HOUSE - NEXT MOMENT Back to the rear of the house : stacks of plastic explosives, buckets of shrapnel, two Paramedics working feverishly on a SWAT Officer hit multiple times. Fleury goes about his business like a man is n't dying six feet away. Sykes is a kid in a candy store : rummaging through explosives, blasting caps, shrapnel. RONALD FLEURY JANET. Janet makes her way back. Immediately moves to the wounded SWAT Officer. RONALD FLEURY -LRB- CONT'D. -RRB- He's gone. This shrapnel look like the stuff you pulled at the morgue? JANET MAYES -LRB- distracted. -RRB- Yeah. I pulled so much it's hard to remember it all. RONALD FLEURY Bolts? JANET MAYES Yes. RONALD FLEURY Wing nuts? JANET MAYES Yeah. RONALD FLEURY Razor blades? JANET MAYES Sure. Al - Ghazi begins tossing the room, motions to Fleury : help. Fleury moves to him. RONALD FLEURY -LRB- calling back. -RRB- ADAM. GRANT SYKES C - 4. Al - Ghazi dumps desk drawers : pictures of government - looking buildings, walled - compounds. Lays them out in rows, studying each. Leavitt appears, focuses on the C - 4 immediately. COLONEL AL-GHAZI -LRB- O.C. -RRB- - the front gates of every other western housing compound in Riyadh. Everybody looks at the Colonel, pointing at the pictures : COLONEL AL-GHAZI -LRB- CONT'D. -RRB- And Embassies : Italy, Japan, Korea, Norway, England. ADAM LEAVITT -LRB- beat. -RRB- The Coalition. Leavitt steps, scans the pictures, picks up two in particular : buildings with scaffolding and heavy equipment. ADAM LEAVITT -LRB- CONT'D. -RRB- These are all countries with Troops in Iraq - Japanese and Italian embassies are under construction? COLONEL AL-GHAZI The entire Diplomatic Quarter is being retro - fitted to sustain bigger bomb blasts. Janet pops her head in : JANET MAYES - the Prince's Convoy just showed. Al - Ghazi's face : fear. RONALD FLEURY This is bullshit. You know it. Meaningless. There's no leader here. These are kids. That's it. Al - Ghazi says nothing. JANET MAYES We're out of here. RONALD FLEURY Yes, that's it. Smile for the cameras, body - bag some children. Wrap it up, but us - out. I get it. COLONEL AL-GHAZI I'm sorry.","EXT. FRONT OF TARGETED HOME - MOMENTS LATER Prince Bin Khaled touring the scene : reporters, photographers, his personal top - line security detail : the business suits and boots, the special ops M - 4s. All on edge to be in a Saudi neighborhood. Rahman, looking like he needs sleep and vitamins. Lecturing in Arabic : PRINCE BIN KHALED Only in death will our enemies realize Allah never permits defiance of his almighty will. Damon Schmidt trailing behind the Prince's detail. The Prince locks Al - Ghazi with a mad - dog stare in - between lesson points. One of the Prince's inner - circle heads straight for Al - Ghazi, in Arabic : INNER-CIRCLE Take the Americans inside now and keep them out of sight. You will be spoken to about their presence here.","INT. TARGETED HOUSE - NEXT MOMENT The Team sitting on the floor, below the window sills, away from the holes and doors. Al - Ghazi standing, looking out the window at the spectacle. Damon Schmidt steps in : sees dead bodies and goes ghost, almost collapses. Leavitt pops up, helps him sit. RONALD FLEURY You need water? A quick ` no' nod : like the second before you lose lunch. ADAM LEAVITT You really ought not look at this. DAMON SCHMIDT -LRB- pointing at the dead. -RRB- That fella got shot right through his God damn nipple. JANET MAYES Do n't stare too long. It'll start living in your dreams. Janet's voice causes Schmidt to immediately force composure. DAMON SCHMIDT No - I know. RONALD FLEURY You do? -LRB- beat. -RRB- How did you know we were here? DAMON SCHMIDT The Prince has Men at Al - Rahmah. COLONEL AL-GHAZI What Men? DAMON SCHMIDT Ask him. -LRB- beat. -RRB- 3 vehicles will stay behind when the Prince and Press leave. You'll convoy straight to BA flights into Dulles - last minute fares come out of your budget, by - the - by. Tried to swing upgrades, but check at the counter. Pissed, reproachful head - shakes. DAMON SCHMIDT -LRB- CONT'D. -RRB- -LRB- beat ; color returning. -RRB- Turn those frowns upside down, people. This will be pitched as a stunning Saudi - only counter - punch that killed those responsible for Al - Rahmah. Al - Jazeera will play up an FBI presence, we'll play up their ties to Terror as checkmate. And everyone that was so righteously pissed back home is gon na eat crow Already a rumor that the guy who wrote our State Department memo - RONALD FLEURY - Ellis Leach? DAMON SCHMIDT You know him? He's gon na be put out to pasture : made an example of by the President to ensure all levels of government get tough on Terror. -LRB- right at Fleury. -RRB- You won the hand on the River card. RONALD FLEURY We did n't win shit, Schmidt. These are teenagers. children with pictures that someone far senior has provided them. DAMON SCHMIDT - kidding me? You mean those are Terrorist targets? Holy Wow. Momma, do n't let your children grow up to be cowboys. -LRB- beat. -RRB- Just get ready to go home and revel in the fact that for the next few weeks your shit wo n't stink. The phone rings that instant. Leavitt hands it up to Fleury. Schmidt holds his hand up to Janet : high - five - she gives it up slowly, warily, semi - charmed : DAMON SCHMIDT -LRB- CONT'D. -RRB- -LRB- to Janet. -RRB- Double or nothing that's a congratulatory call. RONALD FLEURY Hello? -LRB- beat. -RRB- Yes, Sir. We're all here and healthy. I'm sitting next to their corpses but this may not be over. These do n't feel like anything resembling senior leadership -. -LRB- beat. -RRB- - thank you Sir. I do. Please do me one favor before we board : warn every ` Coalition - of - the - Willing' or whatever the hell we're calling our Iraq allies now, that pictures of their Riyadh embassies were found in this Cell's safe - house.","INT. SUBURBAN - LATER Flying down a highway. Haytham driving. Sykes up front. The rest of the team crammed in back : Fleury next to Al - Ghazi ; Mayes and Leavitt on the back bench. Everyone spent. Grant stares up at a distant jet climbing - out. The police radio belching calm codes and calls every few seconds. RONALD FLEURY -LRB- to Al - Gahzi. -RRB- What do you think? Al - Ghazi looks up at Fleury, slowly shakes his head. AL-GHAZI Amateurs. It's a small win. RONALD FLEURY Yeah. A beat. RONALD FLEURY -LRB- CONT'D. -RRB- I'm thinking about New York - February 26, 1993. The first time they tried to hit the Trade Towers. GRANT SYKES I'm thinking about going straight to Dan's, gon na order six PBRs - JANET MAYES - Pabst? ADAM LEAVITT Keep it real. You ever drink PBR, Haytham? HAYTHAM No. GRANT SYKES Any beer? HAYTHAM -LRB- small smile. -RRB- No. GRANT SYKES Now. that's just unreasonable. Good Police work and problem drinking are like a chicken and egg thing : which enables the other? In the back, Al - Ghazi ca n't help a small smile either. Fleury's not into it. All business, pissed, clearly does not want Pabst. RONALD FLEURY -LRB- to Al - Ghazi. -RRB- Remember how we caught that cell? AL-GHAZI Yes. Car bomb. He went back to pick up his deposit on the rental car. RONALD FLEURY Four hundred dollars. For four hundred dollars, he was caught. Stupidity. Catching the cell was easy. Just like this. The cell came back. Fleury looks at Al - Ghazi. He knows the win is small. Also knows that's all she wrote, for now. RONALD FLEURY -LRB- CONT'D. -RRB- I'll be back. COLONEL AL-GHAZI Yes, you will. The POLICE BAND suddenly squelches loud with excited Arabic. Everyone perks, leans up to listen to the urgency. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- -LRB- translating radio chatter. -RRB- Religious demonstration in progress. Back near the City Center. A small collective smirk, sigh of relief. Fleury turns in his seat. GRANT SYKES I'm serious. Beer will open up your subconscious. Canned beer especially. Give you instincts they ca n't teach - Fleury notices the Suburban bringing up the rear has dropped back. RONALD FLEURY -LRB- looking back. -RRB- Is he responding to the call? Dropped back. COLONEL AL-GHAZI -LRB- O.C. -RRB- -LRB- turning. -RRB- What? Al - Ghazi and Fleury both looking back to the following Suburban now. Dropped back, sunglasses and blank faces staring back at them. Fleury looks to the overpass above - he sees a YOUNG MAN on a cell phone. As they pass, the kid runs to watch them from the other side. Al - Ghazi gets to the CB radio, in Arabic : COLONEL AL-GHAZI -LRB- CONT'D. -RRB- Tighten up - - the trailing Suburban does n't ` tighten up.' It falls further back. Fleury instinctively turns, wide - eyed - out the window : a small brown truck swerves out of the opposing lanes, flying across the desert median, aimed at the Convoy. Without hesitation Fleury reaches over Haytham, rips the steering - wheel right, nosing away from the approach.","EXT. SAUDI HIGHWAY - SAME MOMENT Our Suburban on two wheels : The lead Suburban turns the same direction a twitch too late. The small brown truck detonates. The lead Suburban takes a massive fraction of the explosion broadside, essentially shielding our vehicle. Flame spits through the lead vehicle as it spins, flips onto its roof.","INT. OUR SUBURBAN - NEXT MOMENT Off - road now, violent impacts on bare rims shedding rubber.","EXT. HIGHWAY ATTACK AFTERMATH - NEXT MOMENT The lead Suburban : tortoise on its back, engulfed, still sliding. Fleury's Suburban fish - tailing. The Lead Suburban blows in - half now as the gas tank ruptures. A football - sized shard of metal explodes through our windshield -","INT. OUR SUBURBAN - SAME MOMENT - and smashes straight out the back, taking the rear cargo door with it. The shock of it causes Haytham to lose control in earnest now. The Suburban flips, barrel rolls. Violent pounding inside the vehicle. Motion stops : upside down, just the roar of the big Detroit V - 8 red - lining, wheels spinning in air. Everyone dazed, border - line unconscious. Fleury's bell rung the worst, trying to function, get his bearings. Fleury touches Leavitt's face, can barely see through the gathering smoke that smells like oil. RONALD FLEURY You whole? ADAM LEAVITT Think so - Leavitt unbuckles his seat belt and smashes head first into the ceiling - running FOOTFALLS approach, quick yell - yips in Arabic : commands? The Driver and three other Police Officers from the trailing Suburban. Smoke fills the interior now : thank God these Police Officers have ripped open a door : saviors. They grip Leavitt by his hair because it's the only thing they can grab. Alarmed, Al - Ghazi begins to scramble for Leavitt. COLONEL AL-GHAZI This is not right! Haytham gets a good look at the driver, recognizes him as the officer who shamed him at the compound on day one. Haytham moves to unbuckle. Fleury's trying to claw towards Leavitt. Throwing upside down punches at the air. Unbuckles himself now. RONALD FLEURY WHAT THE - JANET MAYES -LRB- panicked. -RRB- ADAM! WHAT - WHAT ARE THEY DOING? Alarm rising, everyone else unbuckles and smashes into the ceiling as horizons go flip - flop confusion.","EXT. HIGHWAY ATTACK AFTERMATH - NEXT MOMENT Leavitt's throwing punches as he's dragged with velocity to the trail Suburban, idling. Pistol - whipped viciously, repeatedly until they're able to kick him inside. Another Officer from the trailing vehicle steps up with an AK - 47, pulls back the cocking mechanism, ready to spray the dazed occupants of our Suburban - the Officer's ankles and shins detonate. POP - POP - POP - POP from the driver's seat : Haytham. Screams from the would - be shooter at double volume. Haytham keeps firing as the Officer, hit multiple times, falls hard. The trailing Suburban hesitates, slams into our Suburban just as Fleury is getting out of the wreckage. Everybody else still inside, knocked silly. The trailing Suburban backs up quick. Fleury instinctively goes for his holster : empty for days now. RONALD FLEURY GUN! Trailing Suburban accelerates away now, as Janet struggles out. Haytham's 9 MM in - hand racked open : empty. Fleury steps away from the now black smoke pouring from the vehicle - in the passenger seat of the trail Suburban, he sees the Officer that checked passports at Prince Sultan Air Base. GRANT SYKES - DOOR HELP - Fleury rips Grant's door open. Trapped smoke billows, clears : Grant's arm closest to the outside of the vehicle dangles at an unnatural angle, bleeding badly. GRANT SYKES -LRB- CONT'D. -RRB- Ca n't release - Fleury begins sawing Grant's seat - belt with a jagged piece of metal. RONALD FLEURY Hands up - you're gon na fall - Sykes still does, ugly. Fleury and Janet rip him free of the Suburban. Haytham's pulling shotguns, handguns, ammo from the flipped vehicle. Haytham pointing ahead, to the fading roster - tail. In Arabic : SERGEANT HAYTHAM They're going to disappear. Desperate, Fleury looks in the direction of the fleeing Suburban : the rooster - tail it leaves getting smaller. Al - Ghazi nods, swings his head to thesnarled/wrecked highway traffic. PEOPLE hesitantly step toward uniforms they trust on instinct. Haytham dumps the pile of weapons at the Team's feet, re - loads his 9MM. Janet ties a half - assed tourniquet around Sykes' reminder of an arm. Al - Ghazi steps toward the approaching crowd : they see his state, his gun, and turn back : panic starts to infect the larger mass, then the topper - AUTOMATIC GUNFIRE from somewhere. Glass - dirt - metal bursts around us : this attack is still going. Fleury looks up : just the roof of an old Mercedes on the median, dirt kicked up behind them, running behind lines of stopped - wrecked traffic now. The barrel of a rifle held high out the window like a taunt. Accelerating for another opening to finish the job. Scared motorists devolve into terrified motorists. Many have abandoned their vehicles to sprint into the desert, the rest go smash -'em - up derby - folly : 50 panicked drivers aiming for the same spots. Fleury snatches an M4A1 from the stack dropped by Haytham, up to his shoulder, hustling toward the next break in traffic. The Mercedes is approaching at 80 MPH. RONALD FLEURY -LRB- back to his crew. -RRB- GET DOWN! Al - Ghazi starts screaming in Arabic, motioning frantically to the CITIZENS who have turned back, running toward them, in Arabic : COLONEL AL-GHAZI DOWN! Fleury's view blocked by fleeing Saudis : just intermittent flashes of the Mercedes braking hard, massive dust cloud behind them, sliding toward the opening Fleury pre - sighted. Intermittent wild shots fired from the SUV, vaguely in our direction. Fleury flips a switch on the left side of the rifle, just forward of the handle : full - auto. Takes a deep, measured Sniper's breath, eases the stock snug aimpoint up to his right eye, and without hesitation lets loose the entire clip perfectly : one heartbeat before the Mercedes hits the gap. The right side of the Mercedes shreds just as it appears. Fleury's clip gone in a flash, yet more rounds still hit the Mercedes : Al - Ghazi four feet away, firing his own salvo from a knee. Something bright red pops against the driver's side window now, the Mercedes rip - slides to a stop. Commotion inside. Wild, half - aimed shots back at us. Then it starts up again. Al - Ghazi bolts toward the line of stopped traffic. Searching for something big, empty, still running. Fleury right on his heels. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- WE MOVE NOW OR WE LOSE HIM. Early 90's Land Rover. Desert tough. Driver long - gone, exhaust plumes pumping out. Al - Ghazi dives into the Driver's seat, Fleury shotgun. Guns it to the rest of the Survivors, an eye on the rooster - tail of the Mercedes he and Fleury just shredded, heading the same direction as Leavitt's kidnappers. Al - Ghazi jumps out, ushers Haytham into the Driver's seat. In Arabic : COLONEL AL-GHAZI -LRB- CONT'D. -RRB- You know Suweidi - you know how to go fast. Fleury helps Sykes into the rear. Janet loads the weapons. Jump in. The Land Rover spits it's own tell - tale plume as it sprints away down the median, dodging traffic, in desperate pursuit. Startling silence comes sudden now as the fight moves elsewhere. Receding engines. Petering screams/shouts. Hold on the flipped, still burning/still smoking Suburbans. Surreal in the sun/smoke/haze.","INT. TRAIL SUBURBAN - SAME MOMENT Driving as fast - hard as possible. No regard for anyone/thing. Passport Officer up front pulls a cell - phone. A THIRD AND FOURTH in the back still beating and zip - cuffing Leavitt.","INT. LAND ROVER - NEXT MOMENT Janet's sitting with Sykes in the rear, readying weapons and ammo. She hands him twin Berettas - Sykes' double - fisting despite his wound, looking forward to a fight. SYKES Nobody's gon na hurt Leavitt but me. Driver's Seat P.O.V. : on the median, 95 MPH, dodging abandoned and escaping cars. High - beams flashed on - off - on - off, constant horn, gaining on the Mercedes' rooster - tail ahead of them.","INT. TRAIL SUBURBAN - SAME MOMENT Powering deep into the Suweidi neighborhood. Skid - stopping and backing into an alley between broken down three story buildings.","INT. LAND ROVER - SAME MOMENT Haytham scanning as he drives : straining to see the plume from the second attacking vehicle way ahead, blending with other fleeing, scared motorists. We watch as the distant plume cuts hard left, at a high rate of speed. then DISAPPEARS.","INT. UNKNOWN ROOM - SAME MOMENT Quiet. The 32 year - old son we met on the rooftop is on his cell phone again, speed - assembling an ancient VHS camera atop a tri - pod. THE SON -LRB- in Arabic, frantic. -RRB- DO NOT COME HERE! Intercut with the Mercedes Driver yelling frantic into his cell phone : MERCEDES DRIVER -LRB- Arabic. -RRB- He's been shot! BE READY. Back in the room, A HUGE MAN dressed in paramilitary black, face wrapped in his shumagh, so only the eyes are visible, stands in front of a sheet hung from the ceiling, quietly practicing/reading a speech for an imaginary audience. Lots of gesticulating and head movement. The handle of large knife sticks from his waste band. Door BURSTS open, bottom hinge rips from the jamb. Leavitt is slammed to the ground. Passport Officer shoves the practicing Speaker out of the way - Turns to the wide - eyed 32 year - old. PASSPORT OFFICER NOW. HURRY. Leavitt's face already swollen - black - bleeding, scanning the room with terrified fury in his eyes. He sees the handle of the knife sticking from the Huge Man's waistband. His tears leak all at once. The Officer takes the knife, turns to Leavitt : dirty 11 - inch blade.","INT. LAND ROVER - NEXT MOMENT Haytham searching for the turn - off : where the rooster - tail they were following cut left, died. At the last minute, he sees tire marks headed down an embankment into a decrepit, decaying apartment block neighborhood. Haytham cuts hard, fish - tails. Sykes' head SMASHES into the rear - side window, starring it. They're being lead into Riyadh's most hostile neighborhood. AL-GHAZI We should not be here. JANET'S POV : scanning for the trail Suburban and the Mercedes - she ca n't help but notice the neighborhood. Halfway past an intersection, Fleury yells : RONALD FLEURY BRAKES - REVERSE - TO THE RIGHT. Haytham brakes, reverses : the Suburban.","INT. LAND CRUISER / EXT. SUWEIDI - NEXT MOMENT Without hesitation Haytham pulls across the cramped street, surrounded by the same decaying buildings. Ahead : CIVILIANS huddled behind cars, poking heads out from behind shacks. A second passes : these people know where the attackers went. Al - Ghazi locks eyes with a little boy. he quickly - quietly just shakes his head no. In the back, Sykes has fallen on his back. He looks up through the window : sees a shape jet past on the top of the closest building - three stories up : the little boy was nodding a warning - What follows is fast, chaotic, eyes - closed combat : GRANT SYKES - GET OUT OF - - big BOOM of close - in shells. As Haytham throws it in reverse and punches, the front of the Rover shreds. The windshield bursts. Engine dies : tachometer and speedometer needles bottom out instantly. Haytham and Al - Ghazi tuck into the dash. Fleury tries to get as close to the backseat floor panels as possible. Janet covers Sykes. A Thump - Thump - Thump can be heard on the roof : A GRENADE thrown with too much arm by the guy Sykes spotted bounces off the roof and into the Land Cruiser. Frantic, Fleury swats it out. The blast releases a massive airburst and bits of shrapnel into the vehicle, starring windows, rocking it : creak of shocks and struts. Fleury lifts up now, grabs the M - 4 : returns fire indiscriminately through the windows at any and all surrounding rooftops. That provides cover and reminds everyone in the car they're armed. Janet exits with a rifle : firing out the back door, more covering fire. Civilians who were ready to see a massacre scurry now that it's a fight.","EXT. ROOF TOP - NEXT MOMENT A SHOOTER : black - hood, black T - shirt, old - school red - white - black Air Jordans, snub - stock AK, an open, filthy North Face backpack at his feet holding spare clips, God knows what else. Shots from below keep him two feet away from the ledge, firing down in random sweeps, head turned like he's lighting a fire - cracker. We see things from above, three stories down, a sweep of blindly - fired shells pop the asphalt inches from Fleury's head, soiling his face in black - top debris. But Fleury never stops firing back, his own head slightly turned, flinching on reflex. Air Jordan grabs another grenade just before he disintegrates : Fleury's three - feet away with the riot gun. Another rack and blast to make sure A.J. stays down for eternity. Fleury spots and bull - charges a second SHOOTER : Ballistic Chicken, Fleury wins. A sound. Fleury spins, racking the riot gun, aims and FREEZES : 2 six year old BOYS stare from the doorway.","EXT. SUWEIDI STREET - NEXT MOMENT Haytham crouches in front of the Land Cruiser. Rocks thrown now from somewhere : KIDS peeking from behind shacks Palestinian - style. He's pelted in the side of the head. Janet and Sykes move to a stopped vehicle and take cover. From the rooftop, Fleury yells down to the men on the ground. FLEURY -LRB- O.C. -RRB- I CAN SEE THE MERCEDES. BLOOD - TRAILS RIGHT UP TO AN APARTMENT IN THE NEXT BUILDING -","EXT. ROOF TOP - SAME MOMENT Fleury's P.O.V. : an Apartment complex that looks like a roadside motel : exposed stairwells, walkways, entrances. A puddle in front of one of the front doors on the third floor. Then we look right, one street over : civilian FIGURES, some in traditional dress, starting to mass. FLEURY MOB FORMING NEXT BLOCK! He drops the riot gun, picks up the AK from the man he just killed, pops a new clip from the backpack, slings the backpack over her shoulders. Starts to hustle down.","INT. UNKNOWN ROOM - SAME MOMENT Gunshots reverberating from outside. Echoes. The 32 year - old, hands shaking with nerves, screwing the camera into the tri - pod : set - up almost complete. The Passport Officer is posted at the door : head poking out, weapon up and ready. We can hear Arabic yells down what sounds like a hallway. Passport Officer barks something back. The Driver of the Trail Suburban squats, pinning Leavitt's head down with his knee, knife near a long, white expanse of neck. The Huge Man sits on Leavitt's stomach, keeping him in place. Leavitt trying to gasp for breath : eyes - wide panic. DRIVER READY? Just as the 32 year - old nods yes, Leavitt explodes with his last bit of effort : kicks just enough to nudge the Camera, trying to knock it over. The 32 year - old gets his hands on it as it falls, almost catches it, slips out, smacks the ground, battery pops off. The Driver and Huge Man both begin hammering Adam. PASSPORT OFFICER -LRB- O.C. -RRB- -LRB- in Arabic. -RRB- GOD DAMN HIM! 32 year - old picks the camera up again, trying to re - attach the battery as Adam fights for his life. Spit and claws and snot and blood rage.","EXT. CINDER-BLOCK APARTMENTS - NEXT MOMENT Running down side stairs, Fleury spots a grenade launcher poking from a door, next - door to the apartment with blood - pool in front. RONALD FLEURY RPG! Empties his clip into that vicinity : windows shatter, wood splinters. The grenade launcher recedes. Janet and Al - Ghazi start to run. The launcher fires from its new position. The trail suburban DETONATES. Al - Ghazi and Janet knocked flat on their asses for second and third times : dazed. Fleury searching : I know that Fuck with the RPG is reloading, how do I kill him. Drops the bag off his shoulders, pulls a grenade out, fires it as hard as he can : 40 yards on the fly. Bounces just on the third floor landing -","INT. ENEMY APARTMENT - SAME MOMENT - RPG Soldier just locking the new rocket tube in, brings the reticle up to his eye. Grenade blast splits through what's left of the front window. Big flinch - tense on his part : rocket fires inside, roars down the hall, hits two feet in - front of the door Passport Officer has been peaking out of. Massive, contained detonation. Passport Officer vanishes. The 32 year - old and his camera are blown through the Driver waiting to saw Leavitt's neck. Because Leavitt was held so tight to the floor, he escapes the worst of the blast. Still fucked up. Leavitt's P.O.V. : ears roar with the ring, no sounds. 32 year - old and Driver lay in a heap on the floor. Huge Man's on his back, trying to get up. Leavitt breathes, rolls to the Driver and the boy : grabs driver's blade. Hand to hand war as Leavitt gets his payback. He does not stop.","EXT. CINDER-BLOCK APARTMENTS - SAME MOMENT Sykes takes cover between two cars, holding down the rear, firing warning shots and screaming football plays to freak out the LOCALS. SYKES THIRTY EIGHT RAZOR MAD DOG! He fires above the crowd, as Janet heads into the building. Two LITTLE KIDS slowly approach carrying water, obviously terrified at the sight of the wounded American. Sirens and helicopters sound in the distance.","EXT./INT. CINDER-BLOCK APARTMENTS - NEXT MOMENT. Base of the stairs : Mayes joins Fleury and a dazed Al - Ghazi & Haytham. COLONEL AL-GHAZI A tunnel networks through all these places. they use attached civilian Apartments, innocent families. JANET MAYES I do not like these people. RONALD FLEURY We go in the front door. Haytham - cover the stairs. Janet - hallway. Watch the side doors. Watch your backs. Silent nods. Bracing for war. They move 3 levels up the stairs into the building, following the blood - trail from the SUV to the Apartment. PEOPLE step out of their doors. Al - Ghazi aiming at them : COLONEL AL-GHAZI -LRB- in Arabic. -RRB- INSIDE!","INT. / EXT. APARTMENT 303 - NEXT MOMENT The puddle of blood, a trail leading under the door. The front wall/window/entrance of the next apartment down, still smoldering from Fleury's grenade. No sounds, words. Our team : fingers on triggers, weapons to shoulders, sights - aligned. Ten feet back. Shoulders already flexed with tension, expecting a suicidal blast at any moment. Janet grabs another grenade, moves to secure the hallway. Intercut Sykes outside. Haytham on the stairs. RONALD FLEURY -LRB- beat, to Al - Ghazi. -RRB- Is Allah on the other side of that door? Al - Ghazi raises his prayer beads to Fleury. AL-GHAZI -LRB- beat. -RRB- I think were about to find out, my friend. Fleury moves forward : I'm primary through the door. Al - Ghazi's right with him. Fleury gets three - point - stance low, hits the door like Jim Brown. Scattered gunfire. Fleury opens up in response. Fleury never stops forward motion. Stumbling headlong into a kitchenette, hard into a refrigerator and cabinets, firing the whole time. Al - Ghazi blasting anything that looks like a body. Straight mop - up operation.","INT. CINDER BLOCK APTS - HALLWAY - SAME MOMENT Securing the hallway, Mayes steps into a charred apartment through doors blown off hinges. She heads in deeper, towards the bedroom. Finds the closet - it tunnels into the apartment below. She peers into the hole - JANET MAYES ADAM?! - sees a bloody knife below thrown by an unseen hand. Janet : wide - eyed horror, about to pull back, when she is YANKED into the hole by her hair.","INT. UNKNOWN ROOM - NEXT MOMENT Huge Man ATTACKS Janet. Vicious hand to hand blows. Still tied, Leavitt does what he can, kicking at the attacker. Adrenaline morphs Janet from scared and out - sized to desperate and equally vicious. This is SAVING PRIVATE RYAN shit with Leavitt as the observer. He's no coward - he's doing everything he can. Huge Man overtakes Janet, slow - choking her. she's gasping, dying. Janet has a knife out and is shredding the big man's back right thigh and ass. BOTH SCREAMING. From nowhere, Fleury ends the fight with a butt - end baseball - swing of the shot gun to Huge Man's head. Janet : fucked up, but alive. JANET MAYES -LRB- to Leavitt. -RRB- Sykes is going to kick your ass. Al - Ghazi follows Fleury into the room. Leaning to Janet, Fleury sees Leavitt, puts his hand on his head. Leavitt's somewhere else, tears in his eyes, just taking deep, measured breaths. RONALD FLEURY Everybody OK? Slow nods from Leavitt and Janet as Fleury cuts Adam's ties. FLEURY There's at least three more of them. As Janet's eyes catch on something : a sheet/half - assed backdrop hung from the ceiling has been nearly pulled down - exposing a crude square cut out of the wall - a path into another Apartment. Janet points to the hole in the wall. This is n't over : a seven - year old GIRL peers out at her, shaking, tears in her eyes. Janet tries her best Motherly smile. JANET MAYES It's okay Little One. The little girl backs away. Janet gets up, steers Leavitt outside. Sits him down. Hands him a Glock. Fleury and Al - Ghazi step through the hole. Janet follows. A blood trail snakes through Little One's room, out her door, and deeper into another apartment. Little girl long gone into the main part of the Apartment. Then, Arabic SCREAMS, the metal - crashing sound of automatic GUNFIRE. Sirens overheard outside now.","INT. ATTACHED APARTMENT - NEXT MOMENT Hustle cautious into the apartment. Haytham stands in the room already : the muzzle of his AK still smoking, held on a man down. The other occupants of the room are a cowering FAMILY : KIDS and a couple of real OLD FOLKS, all terrified. A little boy cries by himself, huddled in a corner. The collateral damage of random violence. Janet quick scans the room. LOCKS EYES on the traumatized little boy, his innocence draining as she watches. Ca n't take her eyes away. Taking this all in : The violence. The terror of this family, the defiance on the faces of these young souls. Al - Ghazi, post - game shakes, a tear running down his cheeks, spattered in blood, stares at Fleury. The man Haytham shot is not dead : ragged gasps. Fleury and Al - Ghazi lock eyes, then take in the tragedy of the room - kids their children's age, never to be the same. Al - Ghazi to the room, In arabic : COLONEL AL-GHAZI Is everyone alright? Silent stares from the Saudis. The little girl Janet saw earlier, eyes still on Janet, moves to her brother - he holds her tight, his eyes down. Janet kneels, heart - breaking, holds her hand out : I can help you little one. The Little Girl holds a fist out to Janet, tears in her eyes : okay. Janet slowly crouches over to her, the older women's eyes on her, piercing. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- -LRB- to the little girl, in Arabic. -RRB- It's okay. Little One trembles. One of the women in the corner calls to her in Arabic, sharp. Janet just strokes the back of her little bloody fist. Her little hand opens, shaking : this is a gift for you. Janet's face ghost white : Little One is trying to give her a marble. Al - Ghazi steps closer, sees the marble. Processes things. Immediately looks over at the huddled mass : THE GRANDFATHER staring right back at him. We now see the old man clearly. Al - Ghazi shaking, slowly steps to him, hands out. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- -LRB- in Arabic. -RRB- Let me help you up, Old Man. The old man nods a ` no.' COLONEL AL-GHAZI -LRB- CONT'D. -RRB- -LRB- in Arabic. -RRB- GIVE ME YOUR HANDS! Al - Ghazi rips Grandfather up now. The family screams. Al - Ghazi pulls the old man's hands from under his thobe : missing fingers. Bends at the knees to look the Old Man right in his eyes, lifts his chin with his hand. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- -LRB- dazed, starting to realize. -RRB-. Hamza. The old man looks up at Al - Ghazi : rage and defiance. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- I got you. Abu Hamza, you are under arrest. ABU HAMZA stares, hatred burning into Al - Ghazi. NASSAR You are a traitor to your country. a traitor to your God. COLONEL AL-GHAZI I am no traitor to my God. You are. Al - Ghazi's chest explodes before we hear the booms : the 15 year - old Grandson, firing a cheap, nickel - plated 9MM. Everybody drops. The family huddles that much closer to the floor. Al - Ghazi falls back to the floor, pulling Grandfather with him. Fleury's standing stock still, out - of - body now : He can only see a teenager built like a river - reed, like his own Son. not a Murderer who just shot his friend. Quiet - sick : RONALD FLEURY Do n't. The 15 year - old steps to the doorway, pulls the trigger again : the cheap 9MM jams. Janet lifts up with her AK, aims it at the boy's chest. RONALD FLEURY -LRB- CONT'D. -RRB- drop it, Son. please. The teenager wiping his tears : so he can see clear enough to clear his jammed weapon. Half young boy, the other half something much more dangerous. Expert movements from his hands, racking back the slide, thumbing the still smoking shell from the ejector, letting the slide go, racking another round into the chamber. Then. Fleury finally pulls his trigger. Utter Distortion as the old man reaches for the teenager's fallen hand gun. Janet, screaming, raises her gun towards the old man as Al - Ghazi shoots the old man in the chest. Sobbing, the little boy runs to his fallen grandfather. Janet, still screaming, covers the family. The Grandfather whispers something we can not hear in the Little Boy's ear. TIGHT ON HAYTHAM taking it all in : the bleeding, dying teenager ; his hysterical sister ; Hamza choking, clutching for his grandson. CHAOS, CONFUSION, CONFLICT swirling in Haytham's eyes. A platoon of SAUDI POLICE slowly enter the room. Janet goes to the shot 15 year old, starts trying to stop the bleeding. Fleury reaching for the dying Al - Ghazi, cradling him. Tears spill as his eyes move from the dying boy to the old man, back down to Al - Ghazi. Fleury grasps Al - Ghazi's hand, as a Saudi man would. RONALD FLEURY -LRB- CONT'D. -RRB- You got him. You got him. You got him.","EXT. CINDER BLOCK APARTMENTS - LATER WIDE ON THE CRIME SCENE. From the air as choppers hover and SOLDIERS swarm.","INT. CONVOY - SAUDI ARABIA One last convoy heading out of town. Fleury, Leavitt, Janet, and Sykes : battered war scars, million mile stares.","EXT. PRINCE SULTAN AIRBASE - LATER Our crew watch from a deserted terminal as a C - 130 touches down. Haytham enters : came to say good - bye. The team's first smiles - collective. Fleury stares at Haytham. thinks about what he's seen the past few days. how he has come to admire this Kid. Haytham smiling, bandaged himself. Halting and awkward, he shakes Janet's hand. HAYTHAM -LRB- in Arabic. -RRB- Thank you. JANET MAYES Thank you, Lieutenant Haytham. Haytham says good bye to Leavitt and Sykes. Comes to Fleury. Hands him a beautiful wooden prayer bead necklace. HAYTHAM May peace be with you. FLEURY May peace be with all of us, my friend. The two men shake hands.","INT. WASHINGTON FIELD OFFICE - CUBICLE - DAY Fleury, Sykes, Leavitt and Janet sit around Janet's cubicle. Bandages, awkward silences, and 1000 - yard stares. Subpoenas stacked on the corner of Janet's desk. Leavitt quiet, obviously fucked up. Grace approaches. DIRECTOR GRACE We're going to testify next Tuesday. Fleury's going first. I'm gon na go through it with each of you one on one in advance - make sure we're all on the same page. If they ask if we've talked about this, the answer is unequivocally `` No.'' OK? -LRB- beat. -RRB- You did outstanding work over there. I'm proud of you. You hold your heads high. SILENCE from the team. DIRECTOR GRACE -LRB- CONT'D. -RRB- Ronnie, you ready? RONALD FLEURY Yeah. Grace turns to leave. Fleury gets up to follow. They head down the hallway. ADAM LEAVITT Janet. my dreams are. -LRB- beat, intent. -RRB- What did he whisper to you? Confusion from Janet. ADAM LEAVITT -LRB- CONT'D. -RRB- In the briefing. to get you to stop crying about Fran. before any of this. before we even got Airborne? What did he say to you? Janet looks up : Leavitt waiting.","EXT. SUWEIDI GRAVEYARD - DAY The eight year - old Grandson. Tears in his eyes, standing in front of fresh graves. His AUNT kneels down next to him, tears flowing, in Arabic : AUNT Will you tell me what Grandfather whispered to you before they took him? He turns to his Aunt.","INT. WASHINGTON FIELD OFFICE - CONTINUOUS Leavitt still waiting : ADAM LEAVITT Do you remember? Janet looks at Leavitt, PAUSES. JANET MAYES -LRB- ALT : RONALD FLEURY. -RRB- -LRB- reluctantly. -RRB- He said. `` We'll kill them all.'' -LRB- alts : `` We will win this.'' `` We will end this.'' `` We will finish this.'' -RRB-","EXT. SUWEIDI GRAVEYARD - SAME MOMENT The boy quietly answers, in Arabic : GRANDSON `` Do n't worry : we'll kill them all.'' And in his saucer - wide brown eyes, shrink - wrapped in angry tears, we see the parts of the future that will burn.","EXT. WASHINGTON, DC PARK - TIME LAPSE Sunlight shines TIGHT ON Fleury's face : stitches the length of his cheek remain. PULL OUT : Fleury and his son throwing a baseball. Lyla watches, standing by a tree. Father and son throwing the ball back and forth. KEVIN FLEURY You stop the people that hurt Uncle Fran? Fleury stops, just staring at his little son. Tosses back the ball. KEVIN FLEURY -LRB- CONT'D. -RRB- Did you get the bad guys, Daddy? Fleury catches the ball, stares at his son. TIGHT ON FLEURY : He reaches and pulls his son close, holding him for what might just be forever. -LRB- alt : He hands Kevin Al - Ghazi's prayer beads. -RRB- KEVIN FLEURY -LRB- CONT'D. -RRB- There's a lot of bad people out there. are n't there, Daddy? RONALD FLEURY Yeah, there are. -LRB- a beat. -RRB- But you want to know something? KEVIN FLEURY What? RONALD FLEURY You're not one of them. -LRB- alt : There's a lot of good guys, too. -RRB- Kevin smiles up at his dad. For the first time in a long while, Fleury smiles back. BLACK."],"string":"[\n \"INT. WASHINGTON, DC ELEMENTARY SCHOOL - DAY We're in a kindergarten classroom of 25 SIX YEAR OLDS. All sitting on the floor, legs crossed. Sitting in front of the kids is Little KEVIN FLEURY, flanked by his mom LYLA FLEURY and his dad RONALD FLEURY, in a dark suit. Little Kevin has a large cardboard square with pictures from different stages of his life taped to it. He's telling the class about the photos. We're TIGHT ON the pictures. TIGHT ON the young faces. TIGHT ON Fleury. KEVIN FLEURY This is my Fredricksburg house and my grandma Ruth playing with my skateboard ramp. It's a Tony Hawk jump ramp. A little girl, MICK raises her hand. KEVIN FLEURY -LRB- CONT'D. -RRB- Mick? Silence from Mick MICK I forgot what I was going to say. Kevin points to another picture. KEVIN FLEURY This is me at my second birthday party with my mom and my dad. That's my cake. Fleury looks down sweet at his son. KEVIN FLEURY -LRB- CONT'D. -RRB- This is me with my mom at the zoo and this is my dad and me and my grandpa Willie. Kevin points to another photo. KEVIN FLEURY -LRB- CONT'D. -RRB- And this is me and my dad and my grandpa Willie at my dad's office. The kids all lean forward and squirm as they try and get closer to the pictures. MISS ROSS, the pretty twenty five year old teacher watches from the side. MICK Where's your gun? LITTLE BOY Yeah, where is your gun? Pretty much all the kids get in on this now. Everyone wants to see Fleury's gun. Fleury makes eyes at Miss Ross. She's giving him a ` no fucking way' hard eye. FLEURY I'm assuming that there are no bad guys in this room. Is n't that right? I mean, are you guys good guys or bad guys? THE WHOLE CLASS GOOD GUYS! FLEURY Right. So why would I have brought my gun to a room full of good guys? This silences the class. Miss Ross keeps things moving, pointing to a photo. MISS ROSS What's that picture? KEVIN FLEURY This is me and my dad playing Battleship at my dad's apartment. Mick's hand goes back up. KEVIN FLEURY -LRB- CONT'D. -RRB- Mick? MICK What is a battleship? KEVIN FLEURY -LRB- abruptly. -RRB- My parents are divorced. A beat. Lyla and Ron look down at Kevin, stalled. KEVIN FLEURY -LRB- CONT'D. -RRB- But that's OK ` cause the most important thing is to know that everybody loves each other. This hits a bit hard on Lyla and Ron. Miss Ross jumps in. MISS ROSS So, who's that in that picture up on top? KEVIN FLEURY That's my fish, his name is Jaws and he's a really mean fish.\",\n \"INT. WASHINGTON DC ELEMENTARY SCHOOL- CONTINUOUS Kevin is still going strong. KEVIN FLEURY My mommy is a Think Tank worker and she is really, really smart. She went to two colleges and has three computers.\",\n \"INT. WASHINGTON DC ELEMENTARY SCHOOL - DAY Kevin's pointing to a picture of Ronald holding him as a tiny newborn. KEVIN FLEURY This is the day that my daddy says is the happiest day of his life. MISS ROSS Really. His happiest day! Can you tell us about that day, Mr. Fleury? Fleury smiles, looks out at the class. RONALD FLEURY I sure can. That was December 4th and that was the day that we spent the whole day in the hospital waiting for this guy right here to come out of Kevin's mom's tummy. And we waited and waited but he would n't come and we kept waiting and finally the doctor said ` OK. he's not gon na come out on his own so we got to go get him.' And well, Fleury stops, checks in with Miss Ross. RONALD FLEURY -LRB- CONT'D. -RRB- Can I tell this story? MISS ROSS Go for it. RONALD Fleury So they take her and put her on a special bed and they give her some medicine so she does n't feel any pain then they take out this tiny little knife and make a tiny little cut right here in her tummy. The kids are mesmerized. MISS ROSS Then what happened? RONALD Fleury Then the doctor put her hands way up into Kevin's mom's tummy. WAY IN! And then you know what they did? A little girl, LU LU : WIDE EYED LU LU What did they do? RONALD FLEURY They started to pull and pull and pull. they had something in there and it started coming and they were pulling and the doctor all of the sudden said `` STOP!'' The class is frozen. Fleury has them. RONALD FLEURY -LRB- CONT'D. -RRB- They stopped pulling and the doctor looked up at me and said ` Hey, Mr. Fleury - you ready to have your world rocked?' And I just stared at her and she pulled this little head up out of that belly. And it was him. His head. And I looked down at him and screamed `` Kevin!'' And he looked down at me and screamed `` Daddy!'' The kids are howling!\",\n \"EXT. AN UNKNOWN ROOFTOP - LATE DAY A Muslim family sits together at a table under a tented - canopy : 32 year - old MAN nervously chewing on a toothpick, and his 8 and 15 year - old SONS. The 8yo leans his weight into an old MAN hunched and obscured by his grandson - this is his Grandfather. He gently rubs the Boy's head with an ancient left hand. The Boy finger - paints in Arabic script, right to left, getting paint on the table. Read the translation : There is no God but Allah. The Grandfather's face is down, obscured by his shumagh : the head - wrap worn by some Muslim men. Never a clear view of his face. His 32 year old Son and eldest Grandson sit next to them, the Son talking quietly on a cell phone, chewing that toothpick, eyes set on something in the distance : A Security Gate three hundred yards away, the entrance to some sort of compound. The Compound looks like a walled - off subdivision, most of which we can see from this high up. The landscape is foreign. Scrub desert. Ten miles beyond, on the horizon : the shimmer of a modern skyline. Surreal monolithic shapes made more so by the heat. Muted yells - claps - screams waft in from that Compound now. Catches the youngest Grandson's attention. Eyes lift up from his painting : the yells - claps - screams are coming from a softball game mostly visible behind the Compound's reinforced walls that extend a mile in each direction. Played on the only stretch of green grass visible from this vantage.\",\n \"EXT. COMPOUND MAIN ENTRANCE - LATE DAY Sounds from the softball game much louder now, just over the walls. Security perimeters two checkpoints deep before you get to the main gate. A maze of concrete Jersey - barriers to slow all entering vehicles : give machine - gun emplacements flanking the entrance plenty of time to shred those vehicles if need be. Middle - Eastern Police platoons. 500 lbs. lift - gates to dissuade any vehicle that just tries to ram through. SERGEANT HAYTHAM : a lean, 27 year - old Middle - Eastern Policeman in - command of the Entrance. Sweats through his uniform. A late - model Range Rover with blacked - out windows queues up. All the windows roll down : just a single, portly White WOMAN behind the wheel, her INFANT CHILD in a car - seat in front. Two other Uniformed Officers mirror - scan the bottom of the Rover. A brief exchange, as Haytham checks his ID : DRIVER How are you today, Sergeant? HAYTHAM Sun is shining. Wind is blowing. How bad can I be doing? DRIVER I like that, `` Sun is shining.'' A tight smile from Haytham. The other Officers are checking the inside of the Rover now. They nod to Haytham, Haytham hands the ID back to her. Windows rolls up. Lift - gate goes up. Range Rover pulls away, navigating the zig - zag jersey barriers.\",\n \"INT. COMPOUND - NEXT MOMENT Stay with the Range Rover as it moves deeper into the complex. Think middle - class Phoenix suburb circa 1960 : stucco homes sandwiched between dormitory style apartment blocks, concrete and rock where grass should be. The Range Rover passes a tank with a caged SOLDIER on top sitting behind a fifty caliber GUN. A Police Land Cruiser parked in the middle of the road is the last of the security. Official markings, emergency lights in the grill.\",\n \"EXT. UNKNOWN ROOFTOP - SAME MOMENT The Son studies the compound through binoculars, while the youngest Grandson squints to study the softball game : Interest cut with jealousy. More muted cheers float. Behind and above him, his Grandfather's voice, rough as sand, to his 32 year - old Son, in Arabic : GRANDFATHER -LRB- O.C. -RRB- Hang up the phone. If they're not ready now, no words will change it.\",\n \"EXT. COMPOUND SOFTBALL DIAMOND - NEXT MOMENT Another Middle - Eastern POLICEMAN takes in the motley competition : half - smiling, half - smirking at a plump - pink White Man cheering on his plump - pink 9 year - old Son sliding into third. WHITE MAN GET DIRTY! Safe. Clapping and Hoots. The PITCHER : an older White Man in his middle forties visibly frustrated. A 25 year - old African - American Batter steps to the plate now. Pitcher turns to his Fielders : PITCHER STEP IT UP NOW! -LRB- back the Batter. -RRB- Ready for my knuckle - curve? The Batter just stays focused as the Pitcher tosses a high - lob. Batter smacks the ball a mile high, deep to left. The teammates of the plump - pink Boy on third : TEAMMATES TAG UP! WAIT ` TIL SHE CATCHES IT - PITCHER -LRB- spins, points up at the ball. -RRB- - COMIN' HOME! A 14 year - old Indian girl sprints underneath the fly - ball : sets up, catches it, juggles it, drops it. We pick up different families on the grass nearby : A young WOMAN helps her five year old DAUGHTER untangle a yo - yo. A black COUPLE doing a crossword puzzle together, the wife's head on her husband's lap.\",\n \"EXT. UNKNOWN ROOF TOP - SAME MOMENT The muted reaction to the dropped ball. The whole Family, save the youngest Grandson, intently focused on two Officers walking up to that Police Land Cruiser parked in the middle of the road, well inside the compound : no blinks now. The youngest still enthralled by the softball game, the cheers, the running, the shorts and t - shirts. We see his Grandfather's left hand stop rubbing the Boy's head, and move to the Boy's temple, placed like a blinder so he ca n't see what's about to happen. In Arabic : GRANDFATHER Do n't stop watching the game.\",\n \"EXT. INSIDE THE COMPOUND WALLS - NEXT MOMENT Noises from the softball game close again. Track these two Officers on foot walking toward the Police Land Cruiser ala shift change : nonchalant but quick.\",\n \"INT. POLICE LAND CRUISER - SAME MOMENT The Driver eyeing the two approaching Officers : something off about them. Uniforms wrinkled, one with a full beard. Driver turns to his Partner, in Arabic : DRIVER You have a copy of the duty rost - - POP - POP - POP before the Driver finishes. The Officers on foot rapid - firing 9MM pistols. The Driver and Passenger hit multiple times instantly, crumble lifeless in their seats before anyone has time to process the sounds, link them to an attack. The two firing ` Officers' move low - fast like professionals : rip the fresh bodies from the Cruiser, jump in. The new Passenger rips an AR - 15 rifle off the center console. The new Driver lays rubber into the Compound.\",\n \"EXT. UNKNOWN ROOF TOP - SAME MOMENT The youngest Grandson wide - eyed, startled, watches as every member of the Security Details in and around the Compound go prairie dog : search with necks extended, eyes wide - what the fuck was that? The Boy tries to turn his head away from the game to look for himself : Grandfather just pushes his head back to the game, voice harder now, in Arabic : GRANDFATHER -LRB- O.C. -RRB- I said keep watching the game.\",\n \"EXT. COMPOUND MAIN ENTRANCE - SAME MOMENT Haytham instantly sprints toward another nearby Police Land Cruiser as most everyone else ducks. In Arabic : SERGEANT HAYTHAM LOCK DOWN! Then points at the Officer in the Driver's seat : SERGEANT HAYTHAM -LRB- CONT'D. -RRB- MOVE!\",\n \"EXT. COMPOUND SOFTBALL DIAMOND - SAME MOMENT Game forgotten. Parents up, screaming for loved ones, moving fast toward the parking lot. The Middle - Eastern Officer that has been watching the game hustles onto the field, next to the Pitcher, waves people toward him. Gathering but sporadic gun - fire in very near distance. WATCHING OFFICER -LRB- accented English. -RRB- COME TO ME! FOLLOW ME! People immediately flocking around the authority figure. The 14 year - old Indian Girl running in, more puzzled than scared : why is that Cop wearing a jacket in this heat? The Officer rips a yellow gun - shape from his jacket pocket. The Pitcher sees it, instinctively tries to rip it away from him. Gets a handful of collar, pulls as violently as he can, shreds the front of the Officer's coat : a white linen vest with a bulge in - front underneath the jacket.\",\n \"EXT. UNKNOWN ROOF TOP - SAME MOMENT The youngest grandson's wide - eyed face. Then we see the Grandfather's right - hand slide down the other side of his youngest Grandson's face, coming to rest on his other temple : making sure he's still watching the Softball diamond now. The Grandfather's right hand : missing an index and middle finger.\",\n \"EXT. COMPOUND SOFTBALL DIAMOND - SAME MOMENT Panic. The Officer swings the yellow gun - shape, what we now realize is an electric drill crudely modified into something else, bashes the Pitcher's face with it. Those that had gathered have turned, are sprint - stumbling away. The Officer closes his eyes, depresses the drill trigger, vanishes before we comprehend the massive release of blue - black chaos, expanding in an ever - wider sphere. Immediate surroundings dissolve : players, parents, stands, cars, the light standards surrounding the field and parking lot.\",\n \"EXT. CINDER-BLOCK CONCESSION STAND - SAME MOMENT Located behind straight - a - way center field, at the nexus of four fields. We see it from profile as shock - wave and shrapnel blast the structure : another Officer hiding behind it staggers out now, sprawls ugly : balance fucked from a blown inner - ear. He also wears a jacket, and holds a modified yellow plastic power drill. Moves uneasy toward screams in the nearby parking lot.\",\n \"EXT. SOFTBALL DIAMOND PARKING LOT - NEXT MOMENT The off - balance Officer stops over a 30 year - old African - American woman pinned under a Toyota. She hyperventilates, her bare leg and open - toed sandal kick at air. The Officer's breathing calms : the sight of exposed skin as divine reassurance. CLOSE - UP : the vented rear of the drill as the 14.4 volt motor sparks blue. A second blue - black explosion that shreds the parking lot as cars smash into one another desperate to escape.\",\n \"EXT. ADJACENT STREET - NEXT MOMENT Panicked women walking dogs. Frozen. A Police Land Cruiser with bullet - scarred windows roars around the corner. Stops near the women. They smile : cavalry to the rescue. Then a man with leans out the window with an AR - 15 : point - blank staccato. Tracers exit bodies, drill asphalt. The Land Cruiser rolls, spraying passing homes indiscriminate.\",\n \"INT. JACKED LAND CRUISER - NEXT MOMENT Tearing through the streets, Passenger firing at all signs of life. Sits back for a lightning - quick re - load. Leans back out - before he can begin firing again -\",\n \"EXT. COMPOUND STREET - SAME MOMENT - another Police Land Cruiser from nowhere hammers their Driver's side. Vicious. The Passenger is launched out his window, head - first into the curb. Both vehicles smoke - screech. Momentary pause after the a massive collision. Then Sergeant Haytham, 9MM in - hand, falls from the Second Land Cruiser. Stalks bloody to the Passenger side of the jacked Land Cruiser still slowly rolling backwards, leaking all it's vital fluids, it's snapped drive - shaft leaving a groove in the pavement. And Sergeant Haytham empties his clip into the interior while walking along side. The Officer Haytham told to ` move,' rips himself from the Passenger's side of their vehicle, bleeding profusely, screaming something unintelligible into his handheld radio.\",\n \"EXT. UNKNOWN ROOF TOP - SAME MOMENT Just the youngest Grandson's horrified eyes : he had no choice but to see it all, carnage painted permanently. His face still held tight between his Grandfather's hands. In Arabic : GRANDFATHER -LRB- O.C. -RRB- Our Time is not a peaceful one. God has left it to us to make it so. Hold on those deep, young, brown eyes. Those young brown eyes finally blink.\",\n \"INT. WASHINGTON DC ELEMENTARY SCHOOL- LATER Everyone eats snacks that the Fleurys brought. Kevin's the center of attention. Fleury's passing out juice boxes. Fleury's cell phone vibrates. TIGHT ON THE ID : 911. Fleury's mid - juice - pass, answering his phone at the same time. Kevin looks to his Dad, already grimacing. Fleury walks away from the kids. RONALD FLEURY -LRB- surprised. -RRB- Fran? We hear Fran's voice as though we're on the line with him : raspy - ragged, like he's been crying. FRAN -LRB- O.S. -RRB- You getting this yet? RONALD FLEURY Hey, I'm at Kevin's school. What's goin' on? FRAN -LRB- O.S. -RRB- I'm sorry, Brother. -LRB- beat. -RRB- Riyadh. Many Dead. Fleury's demeanor shifts to HARD immediately. RONALD FLEURY Where exactly? FRAN -LRB- O.S. -RRB- The Al - Rahmah Western Housing Compound. Oil Company employees. Hit a company picnic. RONALD FLEURY How? FRAN -LRB- O.S. -RRB- Big. Broad daylight. Blew up a softball game. -LRB- tears. -RRB- Kids, Brother. Fleury looks at the kids eating and laughing. KEVIN FLEURY Dad? Fleury smiles best he can at his Son. Into the phone : RONALD FLEURY When? FRAN -LRB- O.S. -RRB- Just went off - twenty minutes ago. Two bombers. A Shooter crew as diversion. it's just awful. RONALD FLEURY Fran, I'm rollin' right now. Let me call you back : I got ta ring bells FRAN MANNER -LRB- O.S. -RRB- Go. I'll be here. Fleury hangs up, walks to Kevin, kneels down - oblivious to everyone watching. RONALD FLEURY Son, I got ta go to work. KEVIN FLEURY We're gon na do ceramics. RONALD FLEURY I got ta go to work. KEVIN FLEURY -LRB- points to the phone. -RRB- Who was that? RONALD FLEURY Big Fran - you remember him? KEVIN FLEURY -LRB- beat, thinking. -RRB- Uncle Fran? Put peanuts in his Coke so he could drink and eat all at the same time? RONALD FLEURY -LRB- smile. -RRB- Where he's from in South Carolina that's called fine - dining, Bud. KEVIN FLEURY What happened? RONALD FLEURY -LRB- beat. -RRB- Something bad. KEVIN -LRB- impression of his Dad. -RRB- ` Lotta bad people out there.' RONALD FLEURY -LRB- smiles, already homesick. -RRB- I love you. Kisses his boy's forehead hard. KEVIN FLEURY You gon na go see him? RONALD FLEURY I'm gon na try. Looks at Lyla who's been through this drill too many times, knows this face. Ronald can only give a little shrug, which Lyla gives right back. RONALD FLEURY -LRB- CONT'D. -RRB- -LRB- to Lyla. -RRB- Can you get a ride? She nods yes. Miss Ross nearby, surprised by this : MISS ROSS Where's your husband going? LYLA FLEURY Ex - husband, and God knows. Then a wave of fear ripples across her face. She hesitates, then calls after him : LYLA FLEURY -LRB- CONT'D. -RRB- BE SAFE. Ronald turns, gives a little Cheshire grin, puts the phone back up to his ear.\",\n \"EXT. AL-RAHMAH HOUSING COMPOUND BLAST SITES - EVENING The shattered softball diamond and parking lot. Emergency lights swirl from everywhere. Acrid smoke. FRANCIS MANNER -LRB- FBI LEGAT, US Embassy -RRB- is giant. The kind of American that only grows in tiny southern hamlets. Military whitewalls, short - sleeves, khaki Dockers, a thick Casio G - shock, FBI credentials visible on a chain. Hangs up his phone. Lifts his eyes : Hell from one side of the frame to the other. Saudi teams setting up portable lights that bathe the horror in industrial incandescent. Columns of black smoke. Fleets of emergency vehicles. 100 uniformed men. Another 200 in bio - suits combing the ball field, the parking lot. Fran has to do something/anything. Move through the horror with him now. His hands shake, his face already dirty with soot. Jumps in with a Saudi team pulling a half - burned WOMAN out of a smoldering Range Rover. She fights them, gouging Fran's face, trying to get back in. She is the woman we met at the gate of the compound. She wants her baby. Fran bloodied, just kind of steps away from the woman. Leaves the Saudi emergency team to fight with her. Backs away until he feels grass under his feet. The woman's screams reverberate. Fran just sits in the grass. Staring at the woman, her shattered soul. Forces himself to look away. Eyes come to rest on a child's baseball cap : ragged holes ringed with black stains : where blood dried on the blue felt. VOICE -LRB- O.C. -RRB- -LRB- immediately behind. -RRB- Fran. You got ta stand Big Man. Fran turns to find REX BURR : 5' 7'' fireplug. A long silence. Fran points to the hat : FRANCIS MANNER Rex, how old were you when your hat was that small? We watch tears well in Rex's eyes. REX BURR You got ta stand, Big Man. Fran does. Wipes his hands on his pants. Slack - jaw hopeless. The first moments in what will be weeks of reverse - engineering the murders of unknown dozens. He and Rex step to a group of WALKING - WOUNDED. A NEIGHBOR doles out mugs of coffee. Most everyone from the compound is out, pondering the proximity. SAUDI emergency teams sprint past. Fran spits, settles in : FRANCIS MANNER We need to get everyone back, then get all their - SOMETHING HUGE EXPLODES over their shoulders, 50 yards away. The Attack's coup de grace : wait for people to lift up their heads, hit them again. Five times the size of the suicide bombs. Shreds emergency vehicles, nearby homes and apartment buildings. Kills Saudi rescuers by the bushel. Fran is crushed by a flying portable light standard. Rex is blown into the man handing out coffee. The walking wounded get decimated.\",\n \"EXT. AL-RAHMAH HOUSING COMPLEX - NEXT MOMENT Slowly lift up and hold on Al - Rahmah as it burns. Black smoke and flame pour skyward from the site of the coup de grace explosion. Massive crater. Screams. Chaos postcard.\",\n \"EXT. WASHINGTON, DC HOUSE - DAY Establishing shot.\",\n \"INT. FRAN MANNER'S WASHINGTON, DC HOUSE - DAY Fleury sits with GLENDA MANNER. a toy remote - control robot comes into the room. Little Teddy Manner -LRB- 5 -RRB- peeks his head around the corner of a door. GLENDA It was. I do n't know what time it was. the dishwasher's broken. I was waiting for the dishwasher. The doorbell rang - I thought it was. it was n't the dishwasher guy. It was n't. It was n't. Glenda breaks down, starts to completely lose it. Her little boy Teddy climbs up onto his mother.\",\n \"INT. FRAN MANNER'S HOUSE - TEDDY'S ROOM - LATER Fleury sits on the bed with little Teddy looking at a beautiful black and white photo of Fran holding a new born Teddy up over his head. Eye to eye. Little Teddy shows Fleury his toy helicopter. His dad's soldier boots. Fleury ca n't take it.\",\n \"INT. FRAN MANNER'S HOUSE - LIVING ROOM - LATER Fleury stands with Glenda. FLEURY Glenda, I want you to look at me. A PAUSE : Fleury freezes up on a shock of raw emotion, struggling to contain himself. FLEURY -LRB- CONT'D. -RRB- Please. I'm going to take care of this. Whoever did this. I give you my word. Whoever did this will pay. I ca n't change this, but I can promise you that I will make someone pay for this.\",\n \"INT. HOOVER BUILDING, FBI HEADQUARTERS - DAY, EST Startling quiet in contrast. AGENTS cluster beneath 32 - inch Televisions suspended from the ceiling. Tuned to Al - Jazeera, CNN, BBC, etc.. Most eyes focus on the double - bloody scoops from CNN. Volume low : CNN REPORTER 1 hour ago : blasts in Saudi Arabia, in or around the ` Al - Rahmah' western housing complex near Riyadh. More than 100 feared dead, including children. The Saudi Foreign Minister has released a statement calling this a ` heinous act possibly committed by foreigners.' BBC REPORTER homes to thousands of Westerners and other non - Saudis who work in the Kingdom, there have been several attacks on these compounds in the last five years. As such, they have become very tight in terms of security, with both the Saudi National Guard and police taking command. Fleury walks under the televisions. A folder in - hand, heading down a long hallway, subordinating his fury to tasks - at - hand.\",\n \"INT. COMMAND & TACTICAL OPERATIONS CENTER (CTOC) - NEXT MOMENT Fleury enters, steps to a podium, opens his folder. 50 Agents seated lecture hall - style. Steam from fifth, sixth cups of coffee. Plasma screens behind show still - images of the crime cribbed from Al - Jazeera. Throughout the scene, Fleury constantly refers to a roster of his ERTs. RONALD FLEURY Numbers so far : 100 + dead, 200 + injured. The target was a softball game. Rumor is the Killers wore Saudi police uniforms. -LRB- beat. -RRB- Special Agent Fran Manner was killed. JANET MAYES, 29 years - old, stifles a sob in the front row. Fleury steps from behind the podium, puts a hand gently on Janet's shoulder, leans in and whispers something no one but Janet hears. Whatever his words, they give back her composure. She nods. RONALD FLEURY -LRB- CONT'D. -RRB- So was Rex Burr from State. Fleury lets the news absorb as he steps back to the podium. No one says a thing. Fleury lifts his eyes again, real trouble maintaining control. RONALD FLEURY -LRB- CONT'D. -RRB- Fran was the best among us. we'll feel this loss the rest of our days. -LRB- beat, moment to regroup. -RRB- Grant, take stabs at bomb sizes. GRANT SYKES. 50 years - old. Virginia State Trooper before joining the FBI. Law - and - order formidable : sharp - smart Charlottesville accent. Studies the images for a beat. GRANT SYKES From the craters, looks like they used a High Explosive. possibly military grade : ca n't fit that much TNT into a vest. 20, 30 pounds of PETN : they got it. Semtex or C - 4 : they could get it. The third there, God knows. that crater looks like a plane dropped a 500 - pounder. RONALD FLEURY Obviously a secondary blast after the initial devices used to lure first responders to the scene. Do n't know anything about where or what it was yet. GRANT SYKES This is how they do it. ADAM LEAVITT. 34 years - old, sought - after Investigator. There's a constant, intense grind to this guy, a mind and mouth incapable of quiet. He paces around the room, then eagle - eyes the bomb images. starts surge - scrawling crude diagrams of the blast site on a piece of loose leaf. Feels more like nervous doodling than work. Not looking up from his drawing : ADAM LEAVITT I already know the answer, but any chance in Hell we get to go over there, use our hands? RONALD FLEURY If you already know the answer Adam, why ask the question? Fleury circles Leavitt's name on the roster. Leavitt never stops drawing. SYKES We're not seeing this kind of planning and execution anywhere else. these ai n't hot - wired artillery shells waiting for Humvees to roll by. -LRB- pointing at the screens. -RRB- These hits are coordinated : planning, timing, and big, broad - daylight balls - JANET MAYES -LRB- almost trance - studying the images. -RRB- Yeah, So. did they all happen during daylight? Another great question. Fleury looks over to AGENT # 1 on his immediate right, an egg - head type with a big binder in front of him. Everyone's eyes follow. Agent # 1 flips quickly through the binder, back - and - forth, searching. Fleury crosses his name off of his roster. Then : AGENT #1 Yes. At least the first parts of the attacks. Everyone smells it : that's big - more proof these attacks are being carried out by one, very skilled Terror Cell. JANET MAYES We had two others. North of Riyadh and the oil thing. What was that? ADAM LEAVITT The Refinery. Ras Tenura Refinery. JANET MAYES Yeah, south of Jeddah. Same thing : daylight, suicide bombers. Right? Same thing. Followed by machine gun crews. Collect and kill. ADAM LEAVITT Yup. RONALD FLEURY This is not new in concept. It is new in scope. It's bigger. Very sophisticated. Command and control was flawless. They found the largest kill zone they could and they did it. they did it by being patient. ADAM LEAVITT Any rumors or confirmations of uniforms being used in the other two attacks? Fleury circles Mayes' name on the ERT roster. AGENT #1 -LRB- from memory. -RRB- No. I know this is the first for that. GRANT SYKES That's ` worst case scenario' if you're still asking for my stab, Sir. A crew who can build bombs this big, with this level of eyes - on control and detonation coordination. has access to Saudi uniforms now. I mean. Baby Jesus. LEAVITT Anyone take credit? Fleury checks from his notes. FLEURY Abu Hamza. Saudi Al - Qaeda. Bin - Laden - wan na - be. We know he was in Afghanistan, then moved to Iraq. Now he seems to have come home. He's clearly becoming increasingly active. ADAM LEAVITT If it is Hamza, he's definitely turning up the volume over there. Not to beat a dead horse, Sir, but if there was ever a time to get boots on Saudi sand. Sykes studies Leavitt with what is best described as substantial skepticism. Fleury circles Sykes' name on his roster. JANET MAYES They ca n't afford to appear as if they are losing any kind of control. They lose control over their country, their people. then they risk losing control over the oil. They wo n't let us in. No way. Fleury's P.O.V. : His open folder on the podium. A memo printed on Department of State letterhead. Pulls the memo, reads it aloud, calm laced with rage. RONALD FLEURY From the State Department, one hour ago : ` We are in agreement with the Saudi security assessment that any additional American presence on Kingdom soil represents reckless risk. Therefore it is the Secretary of State's position that only after the situation has been evaluated and contained, should the Federal Bureau of Investigation activate Rapid Deployment.'. -LRB- folding the memo. -RRB- The National Security Advisor and the Attorney General agreed. -LRB- beat. -RRB- I'm going to get us access. Keep your go bags hot. It's gon na come fast. Leavitt stares at Fleury as he moves fast out of the room. ADAM LEAVITT -LRB- beat. -RRB- Well. I guess he's gon na go get us some access. -LRB- beat. -RRB- How's he gon na do that? Sykes just hard - eyes Leavitt.\",\n \"INT. SAUDI NATIONAL GUARD PRISON - UNKNOWN TIME COLONEL AL - GHAZI, Saudi Police, 45 years - old, mustache as thick as Sykes'. A firecracker - loud crack makes him flinch. He stands in the back of the room, not participating in the interrogation. Just observing. Clearly not happy about what he's observing. His POV : The Officer from the second Land Cruiser that rammed the fake and killed those inside, Sergeant Haytham. slab - cuffed and being worked over hard buy a couple of thick - fisted SAUDIS. Silent tears roll off his cheek, left ear split ghastly. A MAN standing far right of him beats him : the firecracker sound again. Al - Ghazi looks away, biting his tongue. Obviously wants this over. In - charge of the interrogation : GENERAL ABDUL MALIK. He does n't appear sadistic, but very determined to get the truth from Sergeant Haytham by any means necessary. Those distinctions blur easily. Malik gives a ` hold - up' signal. The following exchange in Arabic : GENERAL ABDUL-MALIK No falsehoods, Sergeant Haytham. What was your involvement? SERGEANT HAYTHAM Killing those I saw responsible. GENERAL ABDUL-MALIK So none could be questioned? SERGEANT HAYTHAM -LRB- puzzled, angry. -RRB- I do n't understand. A nod from General Malik : another vicious crack. GENERAL ABDUL-MALIK You were born and raised in Suweidi - SERGEANT HAYTHAM - that is not a crime - GENERAL ABDUL-MALIK - it should be. SERGEANT HAYTHAM It's not. GENERAL ABDUL MALIK Do you know Abu Hamza? SERGEANT HAYTHAM I do not. GENERAL ABDUL-MALIK Your brother was killed fighting the Americans. True or false? SERGEANT HAYTHAM I am not my brother. GENERAL ABDUL-MALIK Your brother - SERGEANT HAYTHAM I am NOT my brother! GENERAL ABDUL-MALIK TRUE or - Al - Ghazi interrupts. COLONEL AL-GHAZI He has answered the question. Malik shoots Al - Ghazi a unequivocal SHUT THE FUCK UP hard eye. Then back on Haytham. GENERAL ABDUL-MALIK We found six more uniforms than you were assigned in your possession - that is a crime : especially when you consider the Attackers wore our Uniform. Another nod, another crack. Al - Ghazi, flinching, becomes more alert. SERGEANT HAYTHAM Uniforms? General Malik in Haytham's face : GENERAL ABDUL-MALIK Truth! SERGEANT HAYTHAM I sweat. I'll say it again because it is true. I need more uniforms because I must change during shifts. look at my shirts. GENERAL ABDUL-MALIK I am not interested in your sweat. SERGEANT HAYTHAM - then look at my jackets. Please. Permanent stains. no matter how many times they're cleaned. Colonel Al - Ghazi grimacing now, leaves the room.\",\n \"INT. SAUDI NATIONAL GUARD - STORAGE - NEXT MOMENT We follow. Al - Ghazi hustling into an evidence storage room. Searching. Finds a Locker labelled ` Haytham.' Opens it. Pulls out several shirts still in the plastic dry - cleaning sheaths : yellowed, permanent stains on the armpits of each.\",\n \"INT. SAUDI NATIONAL GUARD PRISON - INTERROGATION ROOM Al - Ghazi walks back into the room with the shirts, lays them down on the table in front of the General - all business. COLONEL AL-GHAZI He's telling the truth. The only sound for a long, unsettled moment : Sergeant Haytham's labored breathing. Malik looks at the shirts, then Al - Ghazi, hesitates, steps away. GENERAL ADBUL-MALIK You were injured when you used your vehicle to protect your country. Do you understand? Al - Ghazi moves in, begins uncuffing Haytham's bloody - raw wrists, hard - eyeing Malik the whole time. These men clearly do n't like each other.\",\n \"EXT. SAUDI NATIONAL GUARD PRISON - LATER Al - Ghazi and Haytham sit alone. Al - Ghazi smokes. Haytham looks down at his feet. COLONEL AL-GHAZI Look at me, Haytham. Haytham slowly looks up at Al - Ghazi. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- You saved lives today. I believe that. You served your country. I believe that. HAYTHAM I love my country. COLONEL AL-GHAZI I believe that, Haytham. Haytham Holds Al - Ghazi's eyes a good long beat. HAYTHAM I love my country. Al - Ghazi slow nods. COLONEL AL-GHAZI -LRB- beat, breaks eye - contact. -RRB- You will have your revenge for what needed to be done to assure them you were n't involved. Haytham never blinks. Eyes hard. Stoic. Clear.\",\n \"EXT. WASHINGTON D.C. STREETS - NOON GRACE looks like a barrel - chested lineman. A four - man security detail behind. He and Ronald Fleury walk side - by - side. Janet Mayes just behind them. DIRECTOR GRACE Everyone's terrified, so nothing moves. Paralysis. You and your team are n't going anywhere. -LRB- beat. -RRB- And this meeting is just a circle - jerk, Ronnie : Attorney General Young's going to go through the motions because protocol says we get an appeal. We'll be on record, but expect nothing more. Nothing from Fleury. DIRECTOR GRACE -LRB- CONT'D. -RRB- Can you handle this? Keep your mouth shut when people way above you say things you'll hate? RONALD FLEURY -LRB- beat. -RRB- Yeah, sure. No problem. DIRECTOR GRACE -LRB- re : Janet. -RRB- What about Agent Mayes? RONALD FLEURY Ask her. DIRECTOR GRACE -LRB- to Janet. -RRB- What about you? JANET MAYES I'll be fine.\",\n \"INT. ATTORNEY GENERAL GIDEON YOUNG'S OFFICE - NOON Fleury, Grace and Mayes enter. Handsomely decorated, expansive : a lifetime of notable handshakes framed in black and white. The biggest is a picture of Young and Billy Graham that could be titled, ` lucky for you, we have all the answers.' Gideon Young sits behind his Federalist - era oak desk : a marathoner's build, a smile too bright - perfect for his age. Two others in - attendance. A pear - shaped 54 year - old man with a Midwest - honest, ruddy - oval face : Ellis Leach, Assistant Secretary, Bureau of Near Eastern Affairs, Department of State And a 51 year - old Hispanic woman in conservative Chanel : enough femininity without diminishing toughness : Maricella Canavesio, Deputy National Security Advisor, White House DIRECTOR GRACE I apologize if we're late - GIDEON YOUNG They were early. DIRECTOR GRACE You know Special Agent Fleury? GIDEON YOUNG I do. DIRECTOR GRACE This is agent Janet Mayes, she's one of our Arabic experts. Janet stares at Young, looking mildly in over her head. GIDEON YOUNG OK. The latest. Grace sits, nods to Fleury : you're up. RONALD FLEURY Two suicide bombers. Rumors they were dressed as Saudi Police. We believe this is the work of Saudi terrorist named Abu Hamza. Young just stares at Fleury kind of odd like a kid staring at a mushroom flavored Popsicle. GIDEON YOUNG Go on. Fleury continues : RONALD FLEURY A Shooter crew served as distraction. After the initial attack there was a lull to allow Saudi Emergency Teams. and our own attaches. to collect. Then a secondary blast was triggered, aimed at those first responders. So they targeted families and rescuers with one attack. -LRB- mildly sarcastic :. -RRB- I think that's a clear signal that their definition of ` Enemy' is expanding. MARICELLA CANAVESIO My God. GIDEON YOUNG Let us never forget how cheap life is over there. Now. I have seven minutes before my next meeting, so who's talking first? -LRB- to Fleury and Grace, slow like a Kindergarten teacher :. -RRB- You two digested the memo? Stoic nods from each. Ellis Leach raises his hand, a tone that's worlds away from Young's. ELLIS LEACH I'll go first if that's okay Maricella? -LRB- off her ` yeah, sure' nod. -RRB- First, I'm sorry about Fran Manner. Gideon Young remembers, nods along solemnly. DIRECTOR GRACE As we are about Rex Burr. ELLIS LEACH I met with Prince Thamer at the Saudi embassy fifteen minutes after I heard this morning's news. After speaking with Thamer, I advised we withhold additional US personnel because a big part of the religious justification for these bombs is the presence of current US personnel. More boots on Saudi soil make an already combustible situation more so. I know that's not the answer you want, but. Motions to Maricella : the floor is yours. MARICELLA CANAVESIO My two cents : The Saudis have n't asked for FBI help. Sounds like they've done just the opposite. If we force the issue, that could further anger an utterly important ally that shares a 1000 - mile long border with Iraq. GIDEON YOUNG -LRB- to Grace and Fleury. -RRB- It's all rock - solid logic. DIRECTOR GRACE -LRB- beat. -RRB- We would just like to be on record as saying we think we should go ASAP - GIDEON YOUNG That's not going to happen Young stands : we're done. Fleury's look : that's it? Young's already collecting his briefcase, jacket - GIDEON YOUNG -LRB- CONT'D. -RRB- -LRB- mock sincerity to the room :. -RRB- - so as we present this to the public, let's - as best we can - try to view this through an FBI Agent's eyes. -LRB- beat. To Grace :. -RRB- And please let me know if there's anything else we can do for you. Meeting seems over. Not quite. Fleury ca n't keep his mouth shut. RONALD FLEURY Sir, how would you imagine it looks viewed through an FBI agents eyes? GIDEON YOUNG Pardon me? RONALD FLEURY I'm interested in how you think this situation is viewed through our eyes. Young, eyes on a Republican - gold Rolex, instantly perturbed the meeting is n't ending. GIDEON YOUNG It's some variation on vengeance. When one of your own is killed, Agents lose their analytical powers - kind of a greatest strength, greatest weakness thing. RONALD FLEURY If I wanted vengeance, I'd have whispered ` Rex Burr' into Ellis's ear right when we walked in. -LRB- beat. -RRB- Eyes migrate to Fleury - RONALD FLEURY -LRB- CONT'D. -RRB- This is n't Terrorism, ma'am. It's just Serial Murder. MARICELLA CANAVESIO What's the distinction? RONALD FLEURY To call this massacre an act of terrorism. that implies a specific political agenda. To me, these killings are so futile and unbalanced that they feel utterly sociopathic - more like Charles Manson than Osama Bin Laden. Fleury looks to Mayes. She clears her throat. Delivers the following with utter precision. JANET MAYES -LRB- beat, fuck it : Go. -RRB- Al Qaeda lost the first phase of this war, so a new, zero - sum phase has begun : if you wo n't join us, we'll let loose the truly talented Murderers. Abu Hamza. He will kill so many of you that the resulting humiliation of the Saudi Royal Family will cause an exodus, a rebellion, both. Because the Royal Family simply can not protect you or yours any longer. Fleury studies Janet with solid respect. He gives Janet a subtle nod : `` Nice work.'' RONALD FLEURY When she says talented, she's not talking about the walking - bombs who can sneak past any and all security, nor the hi - jackers tough enough to take an airliner. We're talking about the Man who teaches them how. JANET MAYES - the operational commander who organizes, trains, plans, encourages. That is who we're fighting. RONALD FLEURY If we do n't get inside Saudi Arabia within 36 hours, there is no chance we catch the killer responsible for Al - Rahmah. None. ELLIS LEACH Okay. I believe it all. So does n't your team in that country represent the kind of target one of these ` Masters' would die for? Trade ten of their own for one of you? RONALD FLEURY To not engage these criminals out of fear for our personal safety is just another way of saying ` uncle.' Fleury takes another deep breath. RONALD FLEURY -LRB- CONT'D. -RRB- I'll say it another way : Evidence starts to go cold after twenty four hours. If we ca n't get in now, we will not find the man or men responsible for this crime. We could n't do it at Khobar ; we could n't do it in Yemen ; we have barely scratched the surface in Iraq. And we are on verge of not doing it here. They are getting stronger, we are getting weaker. I just lost a very good friend and I would very much like to go and do my job. Beat. GIDEON YOUNG -LRB- chuckle. -RRB- That was spirited. let's all thank God Special Agent Fleury does n't make policy decisions. He'd turn the FBI into Patton's Third Army. Young stands. Fleury contemplates career - ending violence.\",\n \"EXT. WASHINGTON D.C. - DAY Janet, Fleury and Grace walking the rows of seven - foot bronze soldiers. Street - cart hotdogs from foil wrappers. DIRECTOR GRACE -LRB- to Fleury. -RRB- I see the look in your eyes. That look is trouble : old school, play ground shit, vengeance. RONALD FLEURY It's not vengeance. DIRECTOR GRACE It ai n't justice. It's stronger. We've all been there. I have. Vengeance is always dirty, Ronnie. RONALD FLEURY I just ca n't sit this out. I ca n't watch this not get dealt with. Not again. -LRB- a beat. -RRB- Know what my high school football coach used to say to me? DIRECTOR GRACE What? RONALD FLEURY `` HIT SOMETHING.'' All night long, Coach Bailey would scream `` HIT SOMETHING.'' Every play. DIRECTOR GRACE That's good coaching. RONALD FLEURY I'm fixing to go hit something, boss. You with me? DIRECTOR GRACE How you gon na do it? RONALD FLEURY The Saudis covet good PR as much as their Oil : 15 of 19 hijackers on 9 - 11 means most Americans will never stop asking if that Saudi Oil is worth it. It's all about press. DIRECTOR GRACE Few more moves and it's Total War, Ronnie. The only time Treason is palatable is when it's done righteously and completely. Fleury digesting Grace's words : moments pass. Then he looks to Janet. JANET MAYES Oh, I'm in. Not a question. I'm definitely going.\",\n \"INT. LOCAL COFFEE JOINT - 5:30 PM, EST Elaine Flowers, Senior Correspondent, Washington Post : Coffee amp'd, deep black raccoon eyes - heavy wrinkled khakis. Fleury sits across from her. We've entered mid - scene : RONALD FLEURY What's your take? ELAINE FLOWERS Looks like every overthrow in history : once the guys with the guns are no longer trustworthy, the government's days are numbered. RONALD FLEURY White House call you with a spin? ELAINE FLOWERS You kidding? We do n't talk since I broke the Vice President's guy cooking dirty intel on Iran. They hate me. What's up, Fleury? RONALD FLEURY How hard you gon na hit the Royal Family in your column tomorrow? ELAINE FLOWERS With a sledgehammer. RONALD FLEURY With the bombings? Or other things. ELAINE FLOWERS What's `` other'' than the bombings? RONALD FLEURY I know you're tracking Al Haramain. ELAINE FLOWERS Is that what you want to talk about? Saudi officials making donations that end up. What? Blowing up trains in Paris? Buses in London? RONALD FLEURY Sometimes. Seems that just might happen. We got some other stuff : Missing girls out of a Houston Four Seasons Hotel that was heavily populated by some `` Saudi officials.'' Little things. Flowers eyes go WIDE. Smiling. ELAINE FLOWERS Murder. Hookers. Houston? Can I take some notes? RONALD FLEURY I'm not saying that. ELAINE FLOWERS Are you saying anything? RONALD FLEURY I need a favor. ELAINE FLOWERS I do n't do favors, Ronnie. RONALD FLEURY When it's real and it will be real. I'll come to you with what we have first. It's yours. Exclusive. ELAINE FLOWERS OK. RONALD FLEURY You call Thamer at the Embassy. Tell him that the FBI is getting real close to laying out some major Saudi VIP indictments relating to newly uncovered charity financing out of a Boston investment firm. We're gon na freeze a lot of Saudi cash and roll out some major embarrassment. ELAINE FLOWERS Can I mention Houston? RONALD FLEURY It's a free world, baby. Ask him to comment. ELAINE FLOWERS He wo n't. RONALD FLEURY Tell him that I'm running the investigation. ELAINE FLOWERS OK. RONALD FLEURY Tell him that I'm not the nicest kid on the block. ELAINE FLOWERS That would be accurate. RONALD FLEURY I want fifteen minutes with him tonight. ELAINE FLOWERS Wow. OK. And I get what? RONALD FLEURY I come to you first. No one else. ELAINE FLOWERS What's really going on here, Ronnie? You going strong over Fran Manner? Fleury just stares at her. RONALD FLEURY I'm just trying to do my job, Elaine. That's it. Call Thamer. ELAINE FLOWERS I'll see what I can do.\",\n \"EXT. WILLARD HOTEL - WASHINGTON DC - NIGHT Frenetic Doorman - Valet ballet. 2 black Suburbans with red - blue diplomatic plates swing onto the round - about. A bald, waif - like 38 year - old Saudi MAN gets out of the lead vehicle. Fleury waiting outside, eyes on his watch. To Thamer : RONALD FLEURY Get back in.\",\n \"INT. DIPLOMATIC SUBURBAN - MOMENTS LATER A big bodyguard sits up front. Fleury sits in back, aims the AC vents his way. Prince Thamer sits next to him. Bright lights from the trail suburban illuminate the interior. Prince Thamer looks more than a bit baffled. RONALD FLEURY Too many people we both know were at the bar. It's a pleasure to meet you, Your Highness. PRINCE THAMER I had an interesting conversation with a reporter from the Post. RONALD FLEURY She can be a bit of an exaggerator. I'm sure things were somewhat over - stated. I see myself as friend of Saudi Arabia. I just need a little cooperation, that's all. PRINCE THAMER What kind of cooperation? RONALD FLEURY Full cooperation : my Team cleared to land at Prince Sultan Air Base. Tomorrow. We want to help in a very muscular way, quickly. PRINCE THAMER Next month would be as soon as. Fleury takes a beat. RONALD FLEURY This goes one of two ways. First : The FBI with the White House go on the kind of aggressive PR `` Saudi Royal Family Decaying Monarchy'' bender that just ca n't help but hurt. Really hurt. And I do n't care how many Chinese are lined up to buy the oil. You know it's gon na hurt. PRINCE THAMER My family is not decaying - RONALD FLEURY And then we bring the hammer down hard as hell : Bust Al Haramain - we got direct links from Riyadh - two wives donating ten million to three Arab - American cultural centers in Boston. Then what gets kind of not - funny is how some of that cash found its way to Jakarta and some Mosques that have these training camps built right next to them. It's kinda funny. you got little kids playing over here, and some not so little kids playing with guns over here. That's kinda odd. PRINCE THAMER You have no proof of this. RONALD FLEURY We're getting there, Sir. And I have n't even brought up the two girls still missing out of Houston. This is big. It is real. And I know you only care so much about public American opinion, Sir. But the story will be covered. Big. Thamer is clearly rattled. Fleury is starting to crack this man. RONALD FLEURY -LRB- CONT'D. -RRB- And this ai n't the Metro section. It's above the fold, just below the date. Words like these get syndicated to papers like the Omaha World - Herald, The Terrell Tribune - You ever been to Terrell, Texas? PRINCE THAMER What is your point? Fleury looks back to him. RONALD FLEURY Last I heard, 112 people lost their lives in your country. One of them was a good friend of mine. I want in and I want in immediately. That's a rock solid answer. PRINCE THAMER Define `` immediately.'' RONALD FLEURY Right now immediately. Fleury looks back at the Ambassador. A stare down. FLEURY If your phone does n't work international, you can borrow mine. Prince Thamer slowly reaches for his phone as Fleury opens his door. FLEURY -LRB- CONT'D. -RRB- I'll just be right out here.\",\n \"EXT. DIPLOMATIC SUBURBAN - MOMENTS LATER Fleury waiting. Intense. The window rolls down, Thamer looking up at Fleury. The following is fast, tight negotiating : PRINCE THAMER -LRB- trying to maintain cool. -RRB- We can not allow 100 agents - RONALD FLEURY - 4. With a 25 - man security detail - PRINCE THAMER - even 25 more armed Americans could spark rebellion - RONALD FLEURY That's too bad. PRINCE THAMER Saudi Security. That's non negotiable. You can not bring guns into the Kingdom. RONALD FLEURY Men in Saudi Police uniforms are why we're talking now. PRINCE THAMER They would be hand picked. RONALD FLEURY Whose hands? PRINCE THAMER Mine. Fleury blinks. PRINCE THAMER -LRB- CONT'D. -RRB- Trust me. that's the only hope of this happening. FLEURY If anything happens to me or my team. It's on you. Understood? PRINCE THAMER Cool it with the John Wayne, Mr. Fleury. Fleury just stares. PRINCE THAMER -LRB- CONT'D. -RRB- You can have a week - RONALD FLEURY - seven - day or work - week? PRINCE THAMER Work week. Five days. No guns. Hands shake.\",\n \"EXT. SAUDI SHACK - NIGHT, SAUDI TIME No `` charm.'' Corrugated tin. A faded blue plywood door. No one in sight. On the side of the house : a battered satellite dish.\",\n \"INT. SAUDI SHACK - NIGHT, SAUDI TIME A tiny framed Saudi National flag in the middle of a wall : green with a white sword underlining script that reads : There is no God but Allah. No other decoration. The none - too - muffled sounds of traffic : a lone window overlooking a four - lane boulevard. Then the Athan -LRB- call to prayer -RRB- for the Isha -LRB- last of the five daily prayers -RRB- trumps the traffic noise. Sergeant Haytham enters, bandaged, blank, then a small smile crosses his face. An old man's weathered voice, in Arabic : OLD VOICE -LRB- O.C. -RRB- Just in time. Haytham's P.O.V. : His FATHER, glass - frail, lying in a bed, a small TV nearby, on but soundless. Haytham goes into a routine : rolls out two prayer mats, steps to his Father, reaches down to pick him up. His Father readies himself - stops everything when he sees the bandages up close, the black bruises with outer rings of purple covering 1/2 of his Son's cheek. Looks into his boy's eyes. HAYTHAM'S FATHER What happened? Haytham not returning the gaze, hoists his Father into his arms - pain shoots up his arms from his damaged wrists. SERGEANT HAYTHAM You have n't heard about the attack? HAYTHAM'S FATHER I choose not to listen anymore. What happened to your face? SERGEANT HAYTHAM -LRB- beat. -RRB- An attack today. HAYTHAM'S FATHER Look at me. Haytham looks into his father's eyes now. No words. Haytham's eyes well with tears. After a long silence : HAYTHAM'S FATHER -LRB- CONT'D. -RRB- Is this how they now treat the men who protect them? Can you look at me? You can not, can you? Can you look at yourself? Haytham stares at his father. HAYTHAM'S FATHER -LRB- CONT'D. -RRB- You are protecting the true enemies of God.\",\n \"INT. AL-GHAZI'S HOUSE - SAME Al - Ghazi sits on pillows on the living room with his WIFE and three DAUGHTERS. A television is on, playing `` MAN SAYARBAH AL MILIOUN'' the Arabic `` Who Wants To Be A Millionaire.'' Al - Ghazi's children are playing a game with peas, trying to guess which one of his hands Al - Ghazi is hiding the pea. When a girl guesses correctly, he eats a pea. From outside, we hear the call to prayer. Al - Ghazi and his family all move to prayer mats in his living room.\",\n \"INT. ONE ROOM APARTMENT - SAME Haytham continues carrying his Father to the prayer mats. Gently sets him down, Kneels down himself, carefully rolls his Dad to his stomach. Then stands to help tuck his Father - in obvious, great arthritic pain - into a kneeling prayer position. Kisses his father on the top of his head. And both pray.\",\n \"INT. AL-GHAZI'S HOUSE - SAME Al - Ghazi praying with his family.\",\n \"EXT. ANDREWS AIR FORCE BASE - MIDNIGHT A Load - Master buckling down two paletts of shrink - wrapped gear in the belly of a C - 130. Sykes and Leavitt sit on a stack of FBI paletts, their feet gently tapping on battered forensic cases. Mayes approaches from the parking area. ADAM LEAVITT -LRB- beat, re : Janet. -RRB- What was Fran Manner to her? GRANT SYKES He taught her how to shoot, she taught him most everything else. -LRB- beat. -RRB- Celebrated graduation at the IHOP in - town until some Townie called Janet something. Something not very nice. Townie did n't see Fran coming outta the Head. But he definitely felt Fran's uppercut shatter his jaw. ADAM LEAVITT Fran did n't get bounced for that? Points to Fleury's dirty Jeep arriving. GRANT SYKES SAC Fleury took care of him. ADAM LEAVITT How? GRANT SYKES If I knew how I'd be SAC Sykes. I do know the post in Riyadh was part of the deal Fleury cut to save Fran's career. Leavitt looks up at Mayes as she gets within ear - shot, plops down next to them. ADAM LEAVITT -LRB- beat. -RRB- What did SAC Fleury whisper in your ear this morning? JANET MAYES -LRB- smart - ass smile. -RRB- ` Grant's age is a liability.' The three turn as Fleury approaches. Walking fast, clear sense of purpose. FLEURY Thanks for volunteering. LEAVITT Actually, I did n't volunteer. FLEURY Thanks anyway. LEAVITT We're going to Riyadh? FLEURY Yup. SYKES State department said yes? FLEURY Nope. LEAVITT White House said yes? FLEURY Nope. LEAVITT Anybody said yes? FLEURY Not really. LEAVITT Are we bringing security? FLEURY Nope. Fleury walks onto the plane. Leaving the three on the tarmac. LEAVITT This is going to suck so bad. And the three follow Fleury onto the massive plane.\",\n \"INT. C-130, AIRBORNE - LATER Silent. Just the lull of jet engines. The big, long boring is just beginning. Janet and Leavitt play Scrabble. Sykes sits nearby. Fleury sits up front, wide awake. ADAM LEAVITT What can four people do in five days? Really? GRANT SYKES Are n't you the one who demanded to go this morning? ADAM LEAVITT I meant the FBI. I did n't mean `` me.'' Small smile from Leavitt. The Scrabble continues. ADAM LEAVITT -LRB- CONT'D. -RRB- -LRB- to Janet. -RRB- What's it like on the ground? GRANT SYKES Mars. JANET MAYES I'll be looked at with what I can only describe as disdain, pretty much the entire time we're on the ground. kind of like South Virginia. GRANT SYKES Go easy on my kin. JANET MAYES It's a very confused culture. Extremely religious. Had nothing ; wanted nothing. Sixty years ago, they hit oil. Simple religious men become trillionaires. a schizophrenic nation is born. The royal family, who we back, and everyone else. Intercut with the Scrabble.\",\n \"EXT. PALACE GROUNDS - NIGHT, SAUDI TIME Three - Suburban convoy turns up a driveway, waved past a guard post bristling with automatic weapons and into the circular drive of a massive, walled palace. Impersonal wealth. Two dozen SANG troops on security detail. Two Humvees equipped with anti - aircraft missiles parked 100 yards apart. Colonel Al - Ghazi out of the middle Suburban. Frisked by SANG, rough : no love lost.\",\n \"INT. IMPERSONAL PALACE - SAME MOMENT Al - Ghazi is passed to a silent, boundless staff holding serving platters jammed with cups of mint tea. A mammoth foyer. PRINCE SA'AD BIN KHALED -LRB- Saudi Interior Ministry -RRB- steps out from a 20 - foot high doorway : nebbish, thin, bloodshot eyes magnified by thick glasses. His hand over his stomach : Napoleon's ulcers. A quick wave to Al - Ghazi.\",\n \"INT. PRINCE'S PRIVATE OFFICE - NEXT MOMENT 10' X 20' gold/glass desk over a 50' X 50' rug in a 100' X 100' marble room. Al - Ghazi greets the Prince formally : kiss the right shoulder near the clavicle. The Prince's tongue chalk - white for some reason. In Arabic : PRINCE BIN KHALED Four FBI Agents will be allowed to land at Prince Sultan Air Base this evening. Al - Ghazi : more than mild shock. PRINCE BIN KHALED -LRB- CONT'D. -RRB- General Abdul - Malik, Chief of Investigative Services for the National Guard has been put in - charge of solving this crime. Clearly not sitting well with Al - Ghazi. COLONEL AL-GHAZI I know the General. I attended his interrogation of one of my men. -LRB- beat, putting it kindly :. -RRB- The General does not have investigative experience. PRINCE BIN KHALED Attackers wore YOUR uniform. Police Uniforms. Some of your men may have been involved with this Cell, may still be involved. You're lucky to have a role at all. Al - Ghazi silent. The Prince pulls an anti - acid tablet, puts it in his mouth : that's why his tongue is chalk - white. PRINCE BIN KHALED -LRB- CONT'D. -RRB- And your role will be critically important : make sure the Americans leave our country as alive as when they arrive. Five days they will be our guests. Understood?\",\n \"INT. C-130 - NIGHT Final descent beginning. More stars above than lights below. Landing in the middle of nowhere. Sykes sitting near Fleury, getting his game - face on. GRANT SYKES What's going on in there? RONALD FLEURY -LRB- getting his bearings. -RRB- I'm good. Sykes puts his hand on Fleury's chest. GRANT SYKES Feels like you got a beast in there, Fleury. RONALD FLEURY -LRB- beat. -RRB- I'm good GRANT SYKES `` Good'' is 6:00 am Sunday morning when your kid climbs into your bed, buries himself into you. sun's creeping through the windows - soft. Birds and wind - chimes. that's `` good.'' A BEAT as Fleury looks at Sykes. RONALD FLEURY I'm OK. You do n't think I'm OK? GRANT SYKES -LRB- small smile. -RRB- I think you're not entirely clear right now. That's OK, but you got to know that. You want to go - we go. I got you, but you got to check yourself. RONALD FLEURY I'm checked. GRANT SYKES OK. I'm just checking that you checked. Fleury stands up.\",\n \"INT. C-130 COCKPIT - NIGHT, SAUDI TIME Fleury pops his head into the cockpit. Two AIRFORCE PILOTS sit at the controls. RONALD FLEURY How we doing? PILOT #1 About a half hour out. RONALD FLEURY They gon na let us land? PILOT #1 We've been talking to them about an hour or so. they know we're coming. RONALD FLEURY Good. PILOT #1 You do n't mind my asking, but what the hell you all gon na be doing down there? RONALD FLEURY Hunting. PILOT #1 Hunting? I think of hunting, I think quail in Tennessee, deer in Pennsylvania. What kind of hunting you all gon na do in Saudi? RONALD FLEURY Big Game hunting.\",\n \"EXT. MASSIVE, CLOSED DOWN MILITARY COMPLEX - NIGHT PRINCE SULTAN AIR BASE, SAUDI ARABIA. Our C - 130 touches down smooth on Saudi soil.\",\n \"INT. C-130 CARGO HOLD - NIGHT, SAUDI TIME Engines winding down to nothing. The team standing, slinging bags over their shoulders. Groggy but pumped. Fleury looks at his team, last bit of advice before game - time. RONALD FLEURY Heads on a swivel.\",\n \"EXT. PRINCE SULTAN AIRBASE - NIGHT, SAUDI TIME The cargo door locks into place on Saudi tarmac. Fleury and the Team outside the plane now, bags dropped at their feet. 90 degrees even this late. Look - up : light washing over a small, formal Saudi military team in front of two caskets draped in American flags, and a small convoy of bullet - proof black Suburbans. Adam Leavitt will never forget this first glimpse of Saudi Arabia : surreal. Tears in Janet's eyes as she glimpses the caskets. Colonel Al - Ghazi steps up, offers his hand to Fleury. Fleury and Al - Ghazi shake : COLONEL AL-GHAZI Colonel Al - Ghazi. RONALD FLEURY Special Agent Ronald Fleury. COLONEL AL-GHAZI -LRB- beat : the caskets. -RRB- Your two fallen comrades, Mr. Manner and Mr. Burr. Three men multi - task hustle to forklifts, start them up. Into the cargo hold, pulling out paletts. Things moving orderly - fast now. The Americans just kind of step back, dazed. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- Passports and credentials. Please. Sergeant Haytham, driving one of the suburbans, steps forward with kevlar vests for our crew. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- Thank you to keep these on whenever you are outside of Al - Rahmah. JANET MAYES We brought our own. The crew hits their bags, pulls out their vests. Another OFFICER checks each team member's FBI badge and passport. Stops at Leavitt's : an Israeli stamp on his passport. Leavitt's quick : ADAM LEAVITT Israeli stamp in my passport? COLONEL AL-GHAZI -LRB- in Arabic to the Officer. -RRB- That is not our concern. Al - Ghazi takes the passports and badges, hands them back. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- I'm also to collect your sidearms. This is like handing over your first - born. Fleury goes first. Haytham puts each weapon in a padded case. GRANT SYKES And I usually just toss it on the kitchen table. COLONEL AL-GHAZI -LRB- small smile. -RRB- If each of you would please get into the middle vehicle.\",\n \"INT. MIDDLE SUBURBAN, RIYADH SUBURBS - NIGHT The speedometer at 110 m.p.h. Haytham navigates with his left hand. Prayer beads hang from the rearview mirror. Al - Ghazi in the passenger seat, right hand rubbing another set of prayer beads down to nubs. The team in the back rows : all staring at the prayer beads on the mirror. JANET MAYES -LRB- whispering to Leavitt. -RRB- Would n't need the power a' prayer if there were 2 hands on the wheel. ADAM LEAVIIT 110 miles per hour. How do you keep so calm? I mean, really? Is it breathing - JANET MAYES - Shhhh. RONALD FLEURY If somebody was tailing us it'd be obvious. This is just standard operating speed. Al - Ghazi on the edge of his seat, no belt, scanning for threats : sidewalks, traffic, rooftops. His left hand hand wrapped around the stock of an Mp - 5 machine gun. Fleury takes in a deep breath : let's see who this guy is. RONALD FLEURY -LRB- CONT'D. -RRB- Colonel, have you ever been to the US? COLONEL AL-GHAZI I have been there only once. I spent four days at Quantico. I saw your Michael Jordan play for the Washington Wizards. Small laughs. RONALD FLEURY You do n't know what you missed. you should have seen him play for our Chicago Bulls. Fleury nods to Sykes, giving him the go to start in with the Bad Cop. Throughout the following exchange, we stay TIGHT ON FLEURY : in control, using Sykes to ask the questions he `` diplomatically'' does not want to ask. GRANT SYKES You have portable lights on - scene? COLONEL AL-GHAZI -LRB- loses his smile. -RRB- Yes. But your team can not work nights. Janet looks to Leavitt, then Fleury : ` what did he say?' Fleury looks to Sykes, ` Keep going.' GRANT SYKES We only have seven days : we work around the clock. COLONEL AL-GHAZI Five days. And you are not safe at night. GRANT SYKES We're safe during the day? Fleury is about to step in when - COLONEL AL-GHAZI -LRB- in Arabic, shocking. -RRB- WATCH IT - SLOW! A truck 200 yards ahead in the middle of an abrupt U - turn. Over the median. Dust cloud. Heading back our way. Something big in the truck's bed. Our vehicle shimmies as Al - Ghazi flinches, drops his prayer beads. Mp - 5 up to the Colonel's sight - line, muzzle tracking the truck. Leavitt leans away from his window as the vehicles pass : streetlights show two farmers, a camel sitting in the bed. Missed their left turn. A long, nearly comical moment. ADAM LEAVITT -LRB- smartass. -RRB- I do n't like camels. Fleury cycling through different angles. Continues : RONALD FLEURY Colonel, do you believe Abu Hamza was responsible for this attack? COLONEL AL-GHAZI We do n't know. RONALD FLEURY Were Saudi Police involved in the attack? COLONEL AL-GHAZI We do n't know that either. RONALD FLEURY Any word on what that third big blast was? Al - Ghazi getting tired of the questions : exhausted himself. COLONEL AL-GHAZI Not yet. GRANT SYKES You interviewed witnesses? COLONEL AL-GHAZI -LRB- short - fuse burning. -RRB- We're trying. No one who was close enough to see the things we would like to know, lived. GRANT SYKES Were any of the uniformed bombers brother - officers? No answer. GRANT SYKES -LRB- CONT'D. -RRB- Do you know yet? No answer. Team feeling the tension. Fleury steps in and takes charge. RONALD FLEURY You do n't know the source of the blast, do n't know if your own Officers were involved, but you wo n't let us work nights? Al - Ghazi stanches an explosion. Haytham looks over at his Colonel : rarely ever seen him like this. Looks in the rear - view mirror to see Sykes, the man giving the Colonel fits. Sykes catches him looking back, gives him a quick wink into the mirror. TIGHT ON Haytham's face : the guilty little smile you give when someone takes your boss to task. COLONEL AL-GHAZI 47 of my ` brother - officers' were blown into hundreds of pieces that will take months to collect. 80,000 Officers total, across the country, at four uniforms apiece. Thousands of people who can sew forgeries. Apologies that I do n't have definitive answers. -LRB- beat. -RRB- You're still not working nights. Fleury stays quiet, studying, calculating, thinking : we got a Handler that's going to be tough to handle.\",\n \"INT. GIDEON YOUNG'S OFFICE - EVENING RUSH HOUR, EST Director Grace already sits in front of Young's desk. DIRECTOR GRACE Good afternoon, Sir. Young says nothing, just pulls a memo from his bag, clears his throat - still no eye - contact - reads aloud like a poor man's Orson Welles : GIDEON YOUNG ` Sunlight is indeed the most powerful disinfectant. In that spirit I come before this Judiciary Committee with a painful admission. -LRB- beat. -RRB- Simply : I've lost all confidence in the FBI, especially it's uppermost echelon. Entrenched and outmoded, the Leadership has shown itself fearful of the pioneering thought this Committee and I have tried to imbue. It is thus an Agency at contretemps, hindering our every effort.' And by ` Committee' I mean the fucking SENATE SELECT COMMITTEE ON TERROR. Young finally makes eye contact : expecting something like fear, remorse, back - pedalling. DIRECTOR GRACE Senators? Then I'd change ` outmoded' to ` outdated,' ` echelons' to ` ranks' and what in God's name is ` contretemps?' These guys are n't the best and brightest - Young's face flashes red, seething : GIDEON YOUNG - never take the Lord's name in vain in this office - DIRECTOR GRACE - but you can say ` Fucking?' Young apoplectic now : ready to end the Director right there, when Grace leans in, lets the vague threat of physical contact manifest. DIRECTOR GRACE -LRB- CONT'D. -RRB- You're going to the Senate Select Committee, but not to the President who appointed you. Why's that? -LRB- beat. -RRB- I bet the President was n't the audience you thought he'd be : I'll bet he realized you ca n't have Voters asking why the second - longest serving FBI Director gets fired for doing his job, for sending Agents into Saudi Arabia, seven months from mid - term elections - GIDEON YOUNG - you really want to bet? Grace snaps his ID badge off his lapel, puts it on the table. DIRECTOR GRACE I do. Young's pallor tells us his bluff has been called. Goes silent. Grace smells it, finishes him now : DIRECTOR GRACE -LRB- CONT'D. -RRB- Westmoreland made all us Officers write our own obituaries during Tet, when it looked like the Cong were going to end it all right there. Once we clued - in that life was finite, the loss of it no longer scared us : the end comes no matter what, it's just a question of how you want to go out : on your feet or on your knees. After that, we went out and pulled triggers until barrels melted. And Vietnam lasted another seven years. -LRB- beat. -RRB- The lesson extends to this career : I ACT, knowing the end of this job will come, no matter what. You should do the same. Grace waits : nothing else from Young. Stands, snaps his ID badge back on his lapel, walks out. DIRECTOR GRACE -LRB- CONT'D. -RRB- I'll forward Fleury's reports.\",\n \"EXT. OUTSIDE AL-RAHMAH HOUSING COMPLEX - NIGHT, SAUDI TIME The convoy brakes impossibly close to a checkpoint. Waved through perimeters staffed by SANG and Police. Fatigues, automatic rifles, peering at the tinted windows.\",\n \"INT. MIDDLE SUBURBAN - NEXT MOMENT Crew arrives at a crime - scene that spans the immediate horizon. White tents with SANG sitting under each. Industrial lights outline shattered buildings, idle heavy equipment, bombed - out automobiles. TIGHT ON MAYES looking out. JANET MAYES That's one of the great horrors of television : Crime scene manipulation. They say a TV camera adds pounds to actresses. Is n't that what they say? ADAM LEAVITT Who's `` they?'' JANET MAYES That is what they say. Does n't add to crime scenes. Television cameras shrink them. Misrepresent. No smells. Poor sound. Limited view. TV always makes them look smaller. You ca n't feel the hatred on television. TIGHT ON FLEURY : Quiet and focused, taking everything in. FLEURY heads on a swivel, people.\",\n \"EXT. AL-RAHMAH COMMUNITY CENTER - NEXT MOMENT Two more security perimeters of SANG surround the Community Center : blinding portable lights, heavy machine guns mounted in the backs of Humvees track the convoy as it comes to a stop : every troop on - guard. The Team tentatively exits : 100 pairs of glares from heavily - armed SANG. Soldiers descend on the Teams' bags, paletts of equipment. Long leers at Janet : not so much ` sexual' as ` wary.' Janet goes for her own bag. Haytham goes for it at the same time. Their hands accidently touch. Haytham pulls back fast, embarrassed. JANET MAYES EASY. Janet notices the nasty marks around Haytham's right ear.\",\n \"INT. AL-RAHMAH COMMUNITY CENTER - NEXT MOMENT Florescent lights make it ugly. Haytham dumps duffel - bags by their bunks, SANG stack steel travel - boxes from the paletts inside. No windows, AC cranked to ` coldest.' Americans sealed - in - in the name of comfort. Janet's area made obvious with a floral partition. She immediately folds it, puts it into a corner. Haytham watches her undo his work. COLONEL AL-GHAZI The bathrooms are through that door. I will be here tomorrow morning so we can begin. FLEURY What time tomorrow morning? COLONEL AL-GHAZI Sunrise. RONALD FLEURY What time is sunrise? COLONEL AL-GHAZI -LRB- beat. -RRB- When I knock. Al - Ghazi and Haytham leave. The doors close behind them, then the sound of a key turning in a lock. The Americans look on, half - disbelief, half - comedy : locking us in. GRANT SYKES That's against fire code. JANET MAYES They do n't have fire codes. They do n't have codes other than codes of war. They'll lock us in and dial up some kind of earth movers if they want to. You know that, Sykes. Dig a big hole and push us in. Fill it up and no one comes calling. You're in the jungle now, baby. Silence as the crew digests this odd little verbal outage. ADAM LEAVITT -LRB- smiling. -RRB- You alright, girl? JANET MAYES Watch it, boy. ADAM LEAVITT Just asking. JANET MAYES Unpack. Everyone hits their own bags first. FLEURY -LRB- to himself. -RRB- Saudi slow roll. Fleury pulls out his laptop, wakes it up from sleep mode. Eyes a photo of Kevin on his desktop, picks up the phone. LYLA FLEURY -LRB- on phone. -RRB- Hello? RONALD FLEURY Hey. How are you? How's my boy? LYLA FLEURY We're just fine. How are you? Where are you? RONALD FLEURY I'm here. -LRB- quick beat. -RRB- Lem me talk to my boy. A BEAT as Lyla passes the phone to Kevin. KEVIN FLEURY -LRB- O.S. -RRB- Daddy? FLEURY What you doing? KEVIN FLEURY -LRB- O.S. -RRB- I'm talking to you. What are you doing right now, Daddy? Right now? FLEURY I'm missing you. KEVIN FLEURY -LRB- O.S. -RRB- Where are you? FLEURY I'm in Saudi Arabia. KEVIN FLEURY -LRB- O.S. -RRB- Did you see Big Fran? A Beat. FLEURY Yeah. I saw him. -LRB- PAUSE. -RRB- I saw him. KEVIN FLEURY -LRB- O.S. -RRB- Is he still tall? FLEURY Yeah. Yeah. he's still tall. Silence. as Fleury takes a beat to collect himself. KEVIN FLEURY -LRB- O.S. -RRB- Daddy? Are you still there? FLEURY Yeah, buddy. I love you. Keep your eye on your mama. Be the man. KEVIN FLEURY -LRB- O.S. -RRB- You, too Daddy. FLEURY I'll call you tomorrow. I love you. KEVIN FLEURY -LRB- O.S. -RRB- Bye, Daddy. Fleury begins unpacking.\",\n \"EXT. AL-RAHMAH COMMUNITY CENTER - 4:30 AM Pre - dawn : Eight black suburbans parked on the side street : waiting. The doors of the first four open in - unison. 20 Arab, suited SECURITY GUARDS exit. Al - Ghazi unlocks the door to the compound : the team stands dressed, waiting. CLOSE - UP : The Team steps out to see massive, organized security. From one of the vehicles exits a middle aged AMERICAN - sweating a bit, hanging back, watching. This is US Deputy Chief of Mission, the Embassy's second - in - command : DAMON SCHMIDT. Another 100 Security CONTRACTORS remain vigilant : SNIPERS on roof - tops, in machine - gun nests. Schmidt approaches Fleury. SCHMIDT -LRB- big smile. -RRB- You are in so much trouble. FLEURY Is that right? SCHMIDT For sure. I mean, I do n't know how you did it. Nice work, but if you live through this, which I put at about fifty percent - if you do, your balls are gon na get stretched and beaten on. Dig that? Fleury stares at this freak show. Schmidt sticks out a paw. SCHMIDT -LRB- CONT'D. -RRB- Damon Schmidt. State Department. I'm in charge of getting you out of here. PRINCE BIN KHALED and his INNER - CIRCLE exit a Suburban and approach : All in traditional dress. The Prince locks eyes with Fleury. IN THE BG, forklifts rumble - hiss to life, placing Jersey barriers around the community center. SCHMIDT -LRB- CONT'D. -RRB- Do n't let go of his hand first. Major disrespect. One of the inner - circle, without a word, takes off the FBI - emblazoned windbreaker worn by Leavitt and places it on a short - sleeved Janet. Careful not to touch skin. Only then does Prince Bin Khaled approach. A lone PHOTOGRAPHER follows : snapping pictures. Different definitions of personal space : four inches separation as Bin Khaled greets each Team member in accented English. Janet last : the pictures suddenly stop. The Prince gives a little curtsy, no words, steps back to Fleury : the pictures re - start. Bin Khaled holds Fleury's hand sixth - grade boyfriend - style. PRINCE BIN KHALED -LRB- in Arabic. -RRB- This is our level of commitment to bringing Terrorists to justice : Motions to the Americans. No more unflattering a portrait : pre - coffee, post - twelve hour flight, hours unpacking. As the cameras start flashing. Angle on Al - Ghazi and Haytham placed to stand next to the Americans. Haytham clearly not comfortable with this kind of attention. PRINCE BIN KHALED -LRB- CONT'D. -RRB- We've invited American legal officials into our Kingdom despite current difficulties between the US and Islam. They will observe our advanced investigative techniques, offering helpful hints. -LRB- to Fleury in English. -RRB- You will please honor me with your presence tonight at my home. -LRB- beat, a stunted nod. -RRB- Yes. The Prince turns back to the convoy. Entire entourage follows. One of the Security Contractors catches the jacket Janet hurls back at him, tosses it to Leavitt. Convoy gone. The team turns : 100 glares again. Fleury blinks out the camera flashes, takes in all the eyeballs. Fleury looks up at a retreating Damon Schmidt. SCHMIDT Nice pictures. You guys ready to go home now? Dead eyes from Fleury. He's clearly not amused. SCHMIDT -LRB- CONT'D. -RRB- OK. If you change your minds, I got a plane fueled up and ready to go - got your name all over it. He points a finger gun at Fleury. SCHMIDT -LRB- CONT'D. -RRB- Strap your kevlar on tight, people. SCHMIDT takes off. Sykes by Fleury. GRANT SYKES Slow roll. gon na be like when you go deep sea fishing in Florida and you pay seven hundred bucks for the boat and you sit in the ocean for hours and the crew jumps around and screams and points and you think your constantly about to bag a Marlin but you never do and they keep pointing and jumping and - FLEURY Enough. Haytham walks off by himself, shaking off the shady Royal photo vibe, looking back at the Americans. From behind him : POLICE OFFICER You're willing to die to protect your enemy? Haytham turns. An older POLICE OFFICER stands with a GROUP of SANG twenty feet behind him, eyeing Haytham. Back to Fleury : he looks to Al - Ghazi. RONALD FLEURY What did the Prince say? COLONEL AL-GHAZI -LRB- beat. -RRB- That there are more rules than just not working at night. RONALD FLEURY What rules? COLONEL AL-GHAZI You are here as observers. Not investigators. Fleury tries to remain cool. RONALD FLEURY That's not accurate - Al - Ghazi ignores Fleury. COLONEL AL-GHAZI - I need to make sure the sites are secure. Then you can begin observing. Leavitt looks around at the Security as Al - Ghazi hustles off : ADAM LEAVITT -LRB- to Fleury. -RRB- How could they get more secure? The Team slowly realizes they're not going anywhere yet, dump their bags in a pile, already disgusted. In the distance, the group of SANG stare back at our team.\",\n \"INT. LOCATION UNKNOWN - TIME UNKNOWN Hold on an empty 2' X 1' X 6'' balsa wood box set on a dirty linoleum floor. Ancient hands line the balsa wood box with bricks of putty - gray plastic explosive. We immediately notice the right hand is missing the index and middle fingers. The hands insert bright - red blasting caps into the explosives, lengths of detonating - wire emanating from each cap. Another set of stronger, younger, in - tact hands gently pours a mixture into the box now. Ball bearings, children's jacks, marbles, razor blades, roofing nails. Everything malevolent densities and angles. Some pieces bounce out, run along the floor. The younger hands then start pressing/molding the pieces of soon - to - be shrapnel into the putty - gray plastic explosives.\",\n \"EXT. AL-RAHMAH COMMUNITY CENTER - LATER Al - Ghazi and General Malik stand outside. The Athan sounds for Dhuhr. 100 soldiers immediately drop to their knees.\",\n \"INT. AL-RAHMAH COMMUNITY CENTER HOOPS COURT - 9:00 AM TIGHT ON FLEURY : focused, Thinking. Sykes next to him. O.C.. The Athan sounds again for Dhuhr. SYKES Well, this is going well. FLEURY Saudi Slow Roll. Sykes and Fleury lean against the locked door, staring at the pathetic sight before them : Janet's truly awful jumper. that somehow swishes every time. Before she lands, cocky and smooth : JANET MAYES Good. Then the metallic swish of the all - weather net. Leavitt boxes out air for the non - existent rebound, grabs the ball, chest - passes it Great Santini - hard back to Janet who softly sucks in the pass. Playing in their cargo pants and hiking boots. LEAVITT How do you do that? Janet gently bounce - passes it back : JANET MAYES Check. LEAVITT Do n't say ` good' again. Janet takes the check from Leavitt : before he can react, she drains a 30 - footer. Same cockiness, different word : JANET Bueno. Fleury with Sykes still standing in the same spot. Looks up : Al - Ghazi coming into the building. Fleury ready to vent until something surprises him : breathless, Al - Ghazi has broken a wide - sweat hustling back to the Americans. Fleury's face relaxes. He pulls a bottle of water out of a cooler, hands it to Al - Ghazi. COLONEL AL-GHAZI I am sorry for the time. -LRB- beat. -RRB- You wo n't need you gear. Fleury ca n't help a small smile. FLEURY -LRB- to Sykes, himself. -RRB- Of course we wo n't.\",\n \"EXT. AL-RAHMAH - MOMENTS LATER Hands in pockets. Soak in the aftermath : shallow but wide crater, shredded backstop, nearby buildings torn, blood baked into dirt. Fifteen cars. COLONEL AL-GHAZI -LRB- O.C. -RRB- The remaining rules : you can not touch evidence, question anyone without me present, touch Muslim dead, or leave my sight at anytime : your safety is my primary concern. FLEURY I would have thought your primary concern was investigating a crime. COLONEL AL-GHAZI And you would be mistaken. Sykes looks over to Fleury. Crooked smile. SYKES -LRB- to Fleury. -RRB- I think it's one of those `` something happens to us. his head comes off'' kind of deals. -LRB- to Al - Ghazi. -RRB- Is it one of those kind of deals, Colonel? Al - Ghazi ignores Sykes. FLEURY So, if you're not running the investigation. who is? Al - Ghazi motions to 50 MEN in uniforms different than his : SANG troops digging, bagging evidence, marking the scene with red - flags. COLONEL AL-GHAZI The National Guard's Military Police Brigade is conducting the investigation. My orders begin and end with your health. The Team : so we're on Tour. Fleury still silent. ADAM LEAVITT I thought the SANG were soldiers - COLONEL AL-GHAZI - the bombers did n't wear a soldier's uniform. They wore mine. Fleury finally speaks, asking the most important question : RONALD FLEURY Who is in charge of the investigation then? Al - Ghazi points to a Man we've seen before, General Abdul - Malik. Haytham's Interrogator. He pours over a table 20 feet away : maps, blueprints, utility schematics spread before him. COLONEL AL-GHAZI General Abdul - Malik. He's given us permission to walk through each crime - scene. RONALD FLEURY To walk through? Are you kidding me? COLONEL AL-GHAZI I am not. Starting to get heated. RONALD FLEURY Get him over here now and let's clarify this situation. COLONEL AL-GHAZI There is no lack of clarification. RONALD FLEURY There sure as hell is! I do n't know what kind of game you're playing but you got the wrong guy, Colonel Al - Ghazi! That was not the deal - COLONEL AL-GHAZI -LRB- getting hot. -RRB- This is not a game show, Mr. Fleury! There are no deals made here. There is me telling you what you may or may not do and there is you doing it. Beat. As Al - Ghazi stabilizes. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- You will be permitted to walk through the crime scenes. When we have determined that it is safe. A stand off. Fleury eyes Al - Ghazi. Trying to figure this guy out. Sees something that looks like a flash of embarrassment in Al - Ghazi's eyes : unable to perform his profession, relegated to Tour Guide. Leavitt begins taking notes. Haytham sees his notebook, snaps his fingers at Al - Ghazi who looks, nods : let him. RONALD FLEURY OK. Fleury tight - grins. Looks off. In one of the apartments, he sees a PERSON looking down at them from behind a curtain. He tries a new tactic. RONALD FLEURY -LRB- CONT'D. -RRB- How have you guys been doing with the witnesses? AL-GHAZI What witnesses? Al - Ghazi just stares at Fleury. FLEURY I'm guessing there are a bunch of Americans, Brits. Australians? Someone must have seen something. I'm sure they're just dying to talk to you guys, seeing as how the killers were wearing your uniforms. That must be a real confidence booster for them. Al - Ghazi silent, staring. FLEURY -LRB- CONT'D. -RRB- Let me talk to them. Al - Ghazi looks unsure. He was not expecting this.\",\n \"EXT. RIPON FAMILY HOME Fleury and Al - Ghazi walk up the front walk. Fleury noticing kids bikes, hockey gear, a comfortable easy chair covered in fur outside on the front porch, toy guns.\",\n \"INT. RIPON FAMILY HOME - MOMENTS LATER Fleury sits with the RIPONS : EARL -LRB- 40s -RRB- JANINE, his wife -LRB- 30s -RRB-, and MADDY, Earl's mother -LRB- late 60s -RRB-. Earl sits on an ugly couch, a plywood sheet right above their heads. Everyone uneasy save the CAT in Maddy's lap. Fleury waves off a bottle of water from Janine. Al - Ghazi hovers awkwardly by the front door. EARL There's still a couple of hundred of us living on the compound. RONALD FLEURY Why Saudi Arabia? A moment as Earl and Janine get a bit defensive : EARL Neither of us did anymore schooling than Electra High, Electra Texas. RONALD FLEURY OK. Al - Ghazi sees Janine smile, squeeze Earl's hand tighter. EARL And the jobs here pay twice what you'd make in Midland or the Gulf a' Mexico. Plus the house is free. Earl's mother Maddy looks at Fleury, pets the cat. JANINE RIPON I call it combat pay. This place has gone Guns - Guns - Guns. RONALD FLEURY So has Everyone else now. JANINE My girlfriends in Texas spend their combat pay on diamonds. I spent mine on a safe room. RONALD FLEURY -LRB- chuckles. -RRB- Two nights back. Can you start one second before you knew anything was wrong? JANINE We did n't really see anything. Just hit the ground and hustled to the safe room. Closed our eyes and prayed. It was so fast. So loud. RONALD FLEURY So you really did n't see anything. MADDY I hit the deck. Horrible. JANINE Not ` til after. Just the screams - EARL - the kids. they were screaming. That got me out of the house. Those kids. FLEURY Which kids were those? JANINE The Jackson kids. Tracy Jackson next door was murdered looking out her window. front of her children. No safe room over there. -LRB- right at Al - Ghazi. -RRB- Not even the Men that did this should die in front a' their babies. Fleury lets moments pass. Earl rubs his wife's leg, trying to comfort her. Al - Ghazi hides emotion. RONALD FLEURY She live with her husband? EARL Aaron. RONALD FLEURY -LRB- beat. -RRB- If I'm facing your house, is the Jackson home to the right or left? JANINE Left. Fleury looks out the window towards the Jackson house.\",\n \"EXT. JACKSON HOME - SAME MOMENT Next door to the Ripons. Fleury knocks. Door opens : a sad MAN with black bags under dying eyes. Disgusted - resigned breath through a half - open mouth. Silver watch and Polo insignia. sees Al - Ghazi, eyes come alive, teeth grit. RONALD FLEURY Mr. Aaron Jackson? AARON JACKSON -LRB- re : Al - Ghazi. -RRB- Get him away from me - RONALD FLEURY - easy, Sir. He's a friend to us - AARON JACKSON - I do n't know either one a' you. RONALD FLEURY I'm Special Agent Ronald Fleury of the FBI. This is Colonel Al - Ghazi with the Saudi State Police - AARON JACKSON - the Police : they attacked. Al - Ghazi quietly backs away, walks away. Fleury looks after him, turns back to Mr. Jackson who stares after Al - Ghazi : hate. Fleury unsure what to do next. AARON JACKSON -LRB- CONT'D. -RRB- I just put my boys down for the first time in two days. I ca n't wake ` em and sure as hell ca n't be gone if they stir on their own. RONALD FLEURY Can I come back? AARON JACKSON -LRB- too loud. -RRB- WHY? RONALD FLEURY Your boys. Jackson remembers the warning he just spoke. RONALD FLEURY -LRB- CONT'D. -RRB- To ask about two nights ago. Fresh tears re - animate his face : AARON JACKSON When my wife's jaw was shot off in front of our sons? My sons who sat with her while she bled to death? Could n't speak because she did n't have the bottom of her face and I was n't home and my baby boys are destroyed for life and my five year - old had a box of band - aids in his hand when I finally got home? Silence outside of Mr. Jackson's sobbing. Fleury sick to his stomach. Desperate to let this man alone. No eye contact. RONALD FLEURY I wo n't pretend to know. Aaron Jackson settles, wipes away tears, appreciates the honesty. Then bites back into his rage : AARON JACKSON Kill everyone that had something to do with this. Everyone related to them. Everyone who knew them. -LRB- beat. -RRB- And all you'd be doing is their recruiting for them. It's an entire generation : not small and isolated like they say. But a generation that thinks what they did to my wife, to my children, is a `` calling''. RONALD FLEURY Up the street, there was a wreck, did you see any - AARON JACKSON - notice how it would n't take a lot to disguise your friend. -LRB- points to Al - Ghazi. -RRB- as a Mexican? Think he could n't handle crossing our deserts? Look around! RONALD FLEURY Aaron - AARON JACKSON -LRB- explodes. -RRB- - LET ME FINISH GOD DAMN YOU - A child's scream from inside. Piercing. Scary. Jackson goes red, clenched fists, steps to Fleury who takes an instinctive step backward, guard - up. Jackson stops, spins back inside. A door slam that rattles the plywood sheet covering the shattered window. The screams become night terror shrieks.\",\n \"EXT. JACKSON HOME A LONG, SAD BEAT, as Fleury and Al - Ghazi stand alone in front of the Jackson house. RONALD FLEURY -LRB- to Al - Ghazi. -RRB- Can we tour the compound? Can we please do that? Slow nod from Al - Ghazi.\",\n \"EXT. BOMB SITE - LATER The team tours the site. As they fan out. They walk casually, but focused through the first bomb site. An inquisitive Mayes, already peering into a mostly in - tact car, halfway out of its parking spot. Al - Ghazi and Haytham watch the Americans like mother - hens. JANET MAYES He or she almost made it. Fleury steps, looks inside : blood and safety glass coat the seat. Janet points to keys in the ignition : still at the ` on' position. Then the stick - shift, pulled to the back right : reverse. The shift - knob bloody. JANET MAYES -LRB- CONT'D. -RRB- -LRB- beat, quieter. -RRB- Makes me think of the Trade Centers - the people on the floors above the impacts - no matter how fast or strong or smart you are, if you're in the wrong spot, ` it' will not let you get away. FLEURY That's what makes this a War. Sykes notices something on the ground. he picks up a military detonator, discretely hands it over to Fleury. Fleury quietly pockets it.\",\n \"EXT. THIRD BLAST SITE - MOMENTS LATER Structures 100 feet away look like they've been hit with a God - sized sawed - off. The crater : 25 - feet wide, 7 - feet deep. Blackened frames and bits of vehicles circle the crater. The bottom of the crater filled with water. A syphon - pump works overtime. No SANG Investigators around. COLONEL AL-GHAZI -LRB- O.C. -RRB- About one hour into the rescue. ADAM LEAVITT Hit a water main? COLONEL AL-GHAZI No - from the tanks of this fire engine : that's the water that did n't evaporate in the blast. Al - Ghazi points to a mass of black metal : looks like a fire truck the way a Jackson Pollock looks like the Mona Lisa. Leavitt and Grant stand back. Quiet : GRANT SYKES -LRB- eyes on Fleury. -RRB- Hole is the case. See, there's `` evidence'' down in that hole. You understand evidence? Little things that are `` clues.'' Clues can be very helpful to a fella when he's trying to solve a crime. COLONEL AL-GHAZI I understand that. GRANT SYKES Glad to hear it. So can we get in there? COLONEL AL-GHAZI No. Sykes holds Al - Ghazi's gaze. Smiles. GRANT SYKES OK. Fleury is taking in the entire crime scene. He notices a four story building half a mile off the perimeter. He watches Al - Ghazi rip at a chunk of floorboard wedged into the mud, bag it himself, search for someone to give it too. Nobody. Sets it down. Stands, wipes his hands hard on his pants. Fleury could swear the dirt stains are intentional : trying to feel like he's doing something.\",\n \"EXT. DESERTED STREET, AL-RAHMAH - MOMENTS LATER The Land Cruiser Haytham rammed - driver's side crushed, bullet holes, out - of - control skid - marks, asphalt scars from the snapped drive shaft. Fleury is moving around the scene, restaging the shoot out. Instantly lining up the angles. Leavitt's taking digital snaps of the shattered Land Cruiser. Through the viewfinder : the caved - in door. Two snaps. A SANG passes Adam, his gun aimed a touch high. ADAM LEAVITT -LRB- to Fleury. -RRB- A little high. FLEURY -LRB- to SANG, `` Lower,'' in Arabic. -RRB- Watt - tee. ADAM LEAVITT Watt - tee fuck. -LRB- alt : `` Watt - tee hell.''. -RRB- is his gun doing up so high? COLONEL AL-GHAZI -LRB- to Fleury. -RRB- This vehicle was stolen. Two drivers murdered. A team outside the blast - radius. shooting at anything. Everyone. -LRB- beat. -RRB- Sergeant Haytham ended this part. ADAM LEAVITT -LRB- to Al - Ghazi. -RRB- Are the Shooters in - custody - SERGEANT HAYTHAM - dead. So Sergeant Haytham speaks English. FLEURY Were any of these shooters your men? SERGEANT HAYTHAM No. Fleury's thinking, looking into the car. Searching the horizon, he spots a distant apartment building providing a view of the crime scene. FLEURY They got into the compound. Somehow. took control of this vehicle. I'm guessing they did n't politely ask whoever was in this car if they could take it for a little ride? Fleury gets in the car, checking out ballistic shreds in the back of the passenger seat headrest. AL-GHAZI No, they did n't. There were two officers in the car. Both were executed. FLEURY I understand that. Those men were your men - SERGEANT HAYTHAM - they were. They were Police. FLEURY I'm sorry. Al - Ghazi offers the slightest of nods to Fleury. FLEURY -LRB- CONT'D. -RRB- Where was this car when they hit it?\",\n \"EXT. AL-RAHMAH - MAIN GATE Al - Ghazi leads our team to the main gate. Sykes and Fleury follow close. COLONEL AL-GHAZI Security is a combination of the police and military. Leavitt and Mayes lag behind a bit. Leavitt makes eye contact with a YOUNG SAUDI behind the.50 caliber. JANET MAYES Good news is that if he shoots you, he's gon na shoot you sitting on an American tank. with an American - made bullet. So, it's kind of `` all in the family.'' ADAM LEAVITT How about we get into those American Suburbans. with their American A/C. Al - Ghazi continues the tour as Fleury once again notes the familiar apartment off in the distance.\",\n \"EXT. AL-RAHMAH - SECURITY STATION CAR PARK - LATER A car port. Fleury and team moving around the area. Fleury picks up some broken glass from the ground. FLEURY The car was parked here? AL-GHAZI Yes. FLEURY Backed in? AL-GHAZI Yes. Fleury studies the scene. FLEURY They were attacked from the front. Must have assumed the killers were fellow officers. Have any of these men been identified? COLONEL AL-GHAZI Not yet. We will check certain neighborhoods. It is likely that the four men prayed at the same Mosque. JANET MAYES The same Mosque is enough to identify them, link them to a cell? COLONEL AL-GHAZI Yes. If the Mosque is in Suweidi. ADAM LEAVITT Suweidi? JANET MAYES Suweidi is a known militant stonghold. Al - Qaeda could recruit from storefronts. On Fleury : he looks back at the homes, then up and around : He locks on the OBSERVATION BUILDING in the distance. FLEURY Can we go to check out some of these surrounding buildings? COLONEL AL-GHAZI Why? FLEURY Seems reasonable that the Planner had to observe and based on Hamza's past history, it's consistent that he would want to video the attack. Is that true? Is that accurate? COLONEL AL-GHAZI That is true. RONALD FLEURY Well, in order to video, in order to observe, you need a view. Fleury points to one particular building. FLEURY That building sees all three crime scenes. Al - Ghazi looks up to the building. Back to Fleury. COLONEL AL-GHAZI -LRB- beat. -RRB- It's outside the walls - ADAM LEAVITT - c'mon now. This is insane : we got enough security to invade Suweidi, let alone that building - COLONEL AL-GHAZI - no you do n't. FLEURY -LRB- to Al - Ghazi, respectful. -RRB- Could you ask? We're already seeing the crime - scenes individually - why not all at once? COLONEL AL-GHAZI Any answer will take - FLEURY - time. I understand. Fleury speaks slowly and clearly now : like he's cementing his words in his own head as he speaks them. FLEURY -LRB- CONT'D. -RRB- You have to ask the General, then the General would ask the Prince. Does it go higher or is that. is the Prince the end of the chain? Al - Ghazi hesitates, ca n't help but be charmed. Fleury clearly knows when to step - on or lay - off the gas. He's smooth. and HIGHLY EFFECTIVE : Al - Ghazi nods ` yes' to the strange half - question. FLEURY -LRB- CONT'D. -RRB- We'll be at the Community Center. -LRB- beat. -RRB- Janet, wan na play hoops?\",\n \"INT. AL-RAHMAH COMMUNITY CENTER HOOPS COURT - NOON We're in the big gym as our team sits and waits. Leavitt taps on a laptop. Janet shoots free throws by herself. JANET MAYES This is the kind of radical circumstance that could have seriously upped Shaq's free throw percentages. Take a man. Ship him off to Riyadh. No phones, constant threat of death, no girls, no hip hop. Nothing. just free throws. Shaq, he'd be shooting at least seventy percent. Lakers would still be together. Kobe and Shaq lovers forever. Leavitt calls to Fleury. LEAVITT Hey, Boss. check this out. Fleury moves over to Leavitt. Checks out the screen. LEAVITT -LRB- CONT'D. -RRB- Just posted half hour ago. IMAGES ON THE COMPUTER : ARABIC EXTREMIST WEBSITE. Video footage shot from the rooftop of all three bombings and some of the machine gun killings. LEAVITT -LRB- CONT'D. -RRB- So self congratulatory. Makes me sick. Fleury studies the footage. Backs it up plays it again and again.\",\n \"INT. LOCATION UNKNOWN - TIME UNKNOWN A set of stronger, younger, in - tact hands gently pours a mixture into a box now. Ball bearings, children's jacks, marbles, razor blades, roofing nails : everything malevolent densities and angles. Some pieces bounce out, run along the floor. The younger hands then start pressing/molding the pieces of soon - to - be shrapnel into the putty.\",\n \"EXT. RIYADH SUBURB NEAR COMPOUND - AFTERNOON Five car convoy moving quickly through the city.\",\n \"EXT. SPOTTER APARTMENT- LATER Our convoy pulls up in front of the apartment. They exit the vehicles. Our team stands surrounded by a 50 - man security detail, rifle - stocks to shoulders. Double - time it - outside the walls now, hostile territory. Two - man sniper teams out front. Al - Ghazi ten steps ahead. A SANG five car security CREW pulls up, tracking Fleury and company. A stand off between the two police forces.\",\n \"EXT. SPOTTER APARTMENT - NEXT MOMENT The SANG Officer in - charge steps to Al - Ghazi. In Arabic : SANG OFFICER This is unacceptable. COLONEL AL-GHAZI It's cleared with General Abdul - Malik. We have five minutes here. SPECIAL FORCES OFFICER We were told they must remain in the vehicles. COLONEL AL-GHAZI That is not true. SPECIAL FORCES OFFICER They must stay in the Toyotas - COLONEL AL-GHAZI - report me then when you get in - touch with the General - - Officer reaches down from nowhere and hammers Al - Ghazi open - handed as Al - Ghazi tries to step past. Collective shock. In that breath, Haytham punishes the Officer with a left - cross : knees buckle before he comprehends what hit him. Haytham's kick follows, catches the Officer in the sternum as he hits ground. Al - Ghazi shakes it out, trades blows with the SANG second in - command. Leavitt moves, catches a rifle butt to the shoulder after two steps. Fleury aims, drills the Soldier that butted Leavitt : instant night - night. Another SANG steps up. Fleury throats him, knee caps him, and grabs his weapon before the dude hits the ground. Fleury can obviously fight. all the above happens in four seconds. Then, a ` knock - it - off' gunshot aimed at the sky pops one - foot from Janet's head. We hear what she hears : one half - second of the shot, then the big ring. On her knees immediately, hand over her ear. In response : heavy - caliber gunfire flies : group flinch - n - crouch. The warning shots from a.50 - caliber mounted on a Humvee racing this way from Al - Rahmah : dust plumes from the speed. Members of the security detail and the Special Forces go Mexican stand - off. JANET MAYES Tell me it did n't burst - tell me it did n't burst - Al - Ghazi the first to her, touching her hand to pull it away from the ear. A SANG nearby sees this : spits two inches from Al - Ghazi. Al - Ghazi leans to Janet's non - ringing side : COLONEL AL-GHAZI No blood. The Humvee now slides to stop ten feet from the fracas. General Abdul - Malik out of the passenger seat, in Arabic : GENERAL ABDUL-MALIK WHO FIRED? That Soldier's hand goes up sheepish. Two men out of the Humvee's backseat break him down, face first in the dirt : cuff him, lock him in the vehicle. GENERAL ABDUL-MALIK -LRB- CONT'D. -RRB- AND WHY? SPECIAL FORCES OFFICER -LRB- standing, doubled over. -RRB- A disagreement. The General grabs the Officer by the back of his head : an abusive Dad. Walks him to the side. GENERAL ABDUL-MALIK -LRB- back to Al - Ghazi. -RRB- FIVE MINUTES. Al - Ghazi looks back down at Janet, at Leavitt's bruise, at the man Fleury knocked out. Angry. Impressed : fought alongside him. Haytham has n't moved an inch, not even when the General came, chin raised to an entire platoon : say when. COLONEL AL-GHAZI -LRB- to Fleury. -RRB- Five minutes. The SANG move back. The team staggered, slowly remembering why they're here in the first place, finally make their way to the Roof Top.\",\n \"EXT. ROOF TOP - CONTINUOUS Fleury finds a table with a view. Tabletop : holes and finger - paint stains. Al - Ghazi three feet away. Both look in the same direction : two Tigers being held back. Fleury's studying the housing compound through a video camera, comparing the images on his camera with what he saw posted on the internet. FLEURY You've seen the images of the attack posted on the internet? AL-GHAZI Yes. FLEURY Look for yourself. Al - Ghazi takes the camera from Fleury. He lines up the same shots we saw posted on Leavitt's computer : clearly a match. This is where they shot the video AL-GHAZI He was here. Another long moment. Al - Ghazi looks at the table, discarded trash : the Capri Sun containers, the candy wrappers. RONALD FLEURY Formed the plan up here : saw everything he could hit. -LRB- beat. -RRB- Way too pretty a' plan to have been fully hatched on just one visit. He came here a couple times. Al - Ghazi quiet for a long while. Then he reciprocates : COLONEL AL-GHAZI The man who did this is a Saudi - this place, this neighborhood. if foreigners were up here, someone would say something. Fleury looks over to the two dozen LOCALS peering out with suspicion at them on the rooftop. FLEURY I see. COLONEL AL-GHAZI Nobody's talking. Here, many people love Hamza - they think of him like Bin Laden. Like your Robin Hood. Fleury smiles small at whatever just passed between them. Al - Ghazi stays stoic, then looks straight at Fleury : COLONEL AL-GHAZI -LRB- CONT'D. -RRB- A man who thinks of something like this. while maybe his family played around him. scares me more than I have words to express. Shaytan. RONALD FLEURY -LRB- refocusing. -RRB- Two big answers in two small minutes. Imagine if we had a couple days together. Al - Ghazi pauses. RONALD FLEURY -LRB- CONT'D. -RRB- I'm sure the General is good guy. and I'm just as sure he's no Investigator. Al - Ghazi stands still, silent. Fleury reaches into his pocket. Reveals the detonator to Al - Ghazi. Al - Ghazi reaches to take it. Fleury holds it for a BEAT. RONALD FLEURY -LRB- CONT'D. -RRB- Let me help you. He hands the detonator to Al - Ghazi. Al - Ghazi now pockets it. A BEAT. COLONEL AL-GHAZI We break now : too hot to work outdoors. Then we will leave for the Palace. RONALD FLEURY And I imagine that will run until sundown? COLONEL AL-GHAZI -LRB- beat. -RRB- I had televisions delivered to your quarters to pass the downtime. Fleury just nods back. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- Miss Mayes will not attend this evening. Men only. Fleury looks over to Janet. Hurt, yet extremely defiant, she looks ready to attack anything that comes near her. FLEURY You want to tell her that?\",\n \"EXT. CHEVY SUBURBAN, RIYADH SUBURBS - EARLY EVENING Cobra gunships covering the convoy as it blurs past police checkpoint after police checkpoint. Intersections shut down. Bracketed front and back by Saudi Humvees.\",\n \"INT. CHEVY SUBURBAN, RIYADH SUBURBS - NEXT MOMENT Al - Ghazi in the passenger seat, hand on the stock of his Mp - 5 : again searching for threats. Our team in back, freshly scrubbed, collared - Polos as formal as anyone thought to pack. Team frustration has evolved into angry acceptance. The convoy zipping alongside a wall now : desert - orange in color, twelve - feet high, blue ottoman tiles running the length of the wall's horizontal center - line. COLONEL AL-GHAZI We're here. The helicopters peel off at steep angles, the sound of the rotors reverberating in your chest. Leavitt watching them go : ADAM LEAVITT Big wall. COLONEL AL-GHAZI It's a big palace.\",\n \"INT. PRINCE BIN KHALED'S PALACE - DAY Majlis - a Saudi political ceremony in which Saudi citizens and local politicians -LRB- most aristocratic and exclusive -RRB- are permitted a brief audience with the Prince. A bizarre receiving line of sorts. Our team moves through a massive marble hallway towards the ceremony. ADAM LEAVITT How many Princes are there? COLONEL AL-GHAZI Over 5000. RONALD FLEURY They all get palaces this big? COLONEL AL-GHAZI Some get bigger. ADAM LEAVITT Who pays for all this? GRANT SYKES General Motors, Ford, Chevrolet. ADAM LEAVITT Hey, man - I drive a Hybrid. COLONEL AL-GHAZI -LRB- a beat. -RRB- The Prince will ask you about your flight, the accommodations. lite subjects. If he offers you the chance to hold his Raptors, do n't flinch : it's a compliment. ADAM LEAVITT -LRB- to Grant : genuine worry. -RRB- What's a Raptor? Damon Schmidt appears.\",\n \"INT. PRINCE BIN KHALED'S PALACE - LATER The Prince sits on a sea of pillows. There are several small flat screens playing business reports, CNN and Al - Jazeera. Seen from behind the Prince : everyone but Leavitt standing next to faces we've never seen. The table holds six gold serving platters. Enough food to kill a famine, tended by a frenzy of servants. Sykes puts a hand over his cup to stop the constant tea re - fill. Leavitt stands to the Prince's left, thick leather glove on his hand, a falcon perched on it. Leavitt holds it away from the rest of his body like he's already made peace with losing the arm. Servants hold three others close - by. PRINCE BIN KHALED His talons slice bone. ADAM LEAVITT Super. PRINCE BIN KHALED That's my most prolific Hunter. I'm trying to teach his friends there by example, but I fear it's something you're born with or not. Do you agree, Mr. Ronald? Innate or not at all? RONALD FLEURY I do. PRINCE BIN KHALED -LRB- nodding : I could tell. -RRB- What have you seen so far of our Kingdom? - and know I can arrange tours anywhere within our borders. When I bull - rush our hosts you'll know it : In his quiet, calm - amidst - the - bullets tone : RONALD FLEURY I've seen that the man who planned the worst crime in your Kingdom's history is without a doubt Saudi. Pin - drop silence in response to Fleury murdering the Prince's `` lite subjects,'' his attempt to extend the gilded circle - jerk by offering tours. Bin Khaled's face sinks to gray again after the excited pink of talking about his Falcons. His hand slowly moves back over his stomach : Napoleon's ulcers. As Fleury speaks, people unconsciously put their tea - cups down, look up at him with wide - eyes. RONALD FLEURY -LRB- CONT'D. -RRB-. and that if you walk 300 kilometers from the compound, you will find a rooftop where the attacks were planned. I've seen that the person in this room `` born with it'' is right there. -LRB- points at a gawking Al - Ghazi. -RRB- Everything I just said came from Colonel Al - Ghazi : his observations of the scene while he was protecting us. And I think you're absolutely right Sir : that kind of instinct ca n't be taught : not to Falcons. Definitely not to SANG Generals. Innate or not at all. -LRB- beat. -RRB- You want the murder to stop as much as I do. Let us help. The Prince stares at Fleury, cataloguing everything Fleury just said. Stands. In Arabic : PRINCE BIN KHALED Colonel Al - Ghazi, a word. As the Prince walks out with Al - Ghazi, he signals another corps of servants to serve another round of cups : coffee. Dinner over. A servant takes the Falcon from Leavitt just as he was starting to smile at it. Fleury sips his coffee. Schmidt and Sykes approach. GRANT SYKES That was impressive. RONALD FLEURY Think it will work? GRANT SYKES Yeah. Maybe. I mean, you can only play the `` I'm going to the press card'' like three more times. So, maybe. RONALD FLEURY They're paranoid and overly self - protective. DAMON SCHMIDT They are n't protecting anyone. There's no conspiracy. They're just terrified. Finally. The Saudis have finally seen the Monsters they helped create, because those Monsters have come home. And if Saudis do n't catch Saudi Monsters, that's the end. Fleury opens his mouth to interrupt. DAMON SCHMIDT -LRB- CONT'D. -RRB- -LRB- right through Fleury's attempt to speak. -RRB- And that end could come double - quick if they let the US `` Shaytan'' catch those Monsters for them. -LRB- Fleury silent, gets it. -RRB- Because that's what the Saudi on the street suspects : the only thing keeping the Royal Family upright is American evil. GRANT SYKES That's dead on accurate. Very impressive. That's why they're making it hard on us, and that's why he wants to help ` em turn the screws. RONALD FLEURY They can have every shred of credit - DAMON SCHMIDT - you see the slums on the way in? RONALD FLEURY Yeah. DAMON SCHMIDT See that even though their homes are falling down, they had satellite dishes bolted on? RONALD FLEURY Yeah. DAMON SCHMIDT Everyone already knows you're here. Credit? If the Saudis cracked this Cell while these servants were pouring coffee, Al - Jazeera still leads the story with your Team. RONALD FLEURY Have you been to the crime - scene? DAMON SCHMIDT No - RONALD FLEURY - if you had, you'd see the evil work of real Talent. The kind that does n't stop until it's forced. DAMON SCHMIDT And the path to Hell is paved with good intentions. RONALD FLEURY You having fun? DAMON SCHMIDT -LRB- genuine smile. -RRB- Beats hell outta visa - stamping. -LRB- smile vanishing. -RRB- You're on an island. I hope you know how to get off. RONALD FLEURY By catching Abu Hamza. Raising his coffee, toasting Fleury's cup : DAMON SCHMIDT Then here's to you. Let's bet : when this Colonel Al - Ghazi comes out, he's in - charge of the investigation - if so, you set me up on a date with Janet Mayes.\",\n \"INT. CHEVY SUBURBAN, RIYADH SUBURBS - NIGHT 100 m.p.h. Semi - grins from the Team : how the fuck did he do that? Al - Ghazi on a cell, rattling orders in excited Arabic : COLONEL AL-GHAZI every investigator on - scene by midnight, 50 more portable lights, three more pumps - RONALD FLEURY -LRB- to Leavitt. -RRB- Do me a favor and tell Janet that she and Damon Schmidt got a date when he gets back to the States. Al - Ghazi points into darkness. COLONEL AL-GHAZI The rules still stand. -LRB- beat. -RRB- But tomorrow will be a new day.\",\n \"INT. UNKNOWN LOCATION - SAME MOMENT TIGHT ON blasting caps, military detonators, nails, wing - nuts, bolts, jacks, marbles. young hands feed lengths of detonating wire through pre - drilled holes on a wooden cover. The cover is attached to the box with nails and a rubber mallet : no sparks. The wires are braided into one, clipped to a lead on a servo - motor attached to the box - top. A vehicle is being fitted with tire guards and heavy - duty crash bumpers - all as a man quietly talks. WIDEN to reveal the MAN, being VIDEOTAPED : foretelling of new threats, face obscured by his head wrap. Several other MEN watch and listen. TIGHT ON the man's eyes. REVEAL PHOTOS on a nearby table : the Al - Rahmah compound, Fleury with Al - Ghazi, Leavitt and Mayes, Sykes and Haytham.\",\n \"EXT. AL-RAHMAH COMMUNITY CENTER - MORNING, SECOND DAY Half - assed gardening party. Al - Ghazi worked through the night, has n't slept since we last saw him. Looks like it. COLONEL AL-GHAZI From now on, any evidence you find you hand over. Al - Ghazi smiles. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- I'm `` all ears,'' Special Agent Fleury. RONALD FLEURY We should start with the dead shooters. COLONEL AL-GHAZI They had no identification on them. Fingerprints and dental have come up empty. RONALD FLEURY Can we photograph all three of them? Couple hundred copies each. COLONEL AL-GHAZI No problem. RONALD FLEURY Good. If it's OK with you, I'd like to suggest we split up as follows. Sykes and Leavitt ca n't help small smiles. Finally getting to work.\",\n \"EXT. BLAST SITE - MORNING Sykes climbs down into the mud hole. GRANT SYKES -LRB- from the crater. -RRB- Fellas, what we want to do is get this water out of here. see what's really going on. Understand? No reaction from Saudi police GRANT SYKES -LRB- CONT'D. -RRB- C - VIN hunting - Data Plates - Something drivable blew up. That's pretty obvious. Feels like ANFO to me, boys - Ammonium Nitrate Fuel Oil. Let's dry this hole and see if we ca n't figure what she was. Got ta pump?\",\n \"EXT. BLAST SITE - LATER Grant at the Crater. Three brand - new industrial - sized pumps draining it. 30 Police INVESTIGATORS watch Sykes. GRANT SYKES -LRB- to the Saudis. -RRB- Got to get a little dirty, people. Crawl up in it. Make deep contact. You get that? Dead, confused stares from the Saudis into the mud hole. Sykes happy as a pig in shit. GRANT SYKES -LRB- CONT'D. -RRB- Get nasty, dirty, filthy. He smiles, watches another Officer write Saudi translations on the stainless - steel paint cans into which you load evidence : shrapnel, soil, DNA, shells, etc..\",\n \"EXT. DEATH SQUAD SCENE, AL-RAHMAH - SAME MOMENT A JUNIOR OFFICER double - times it to Al - Ghazi with a stack of photos : Rough head - shots of the three dead SHOOTERS. Fleury takes some, hands the rest back to Al - Ghazi. RONALD FLEURY Have him pass these out to the compound security. See if anybody knows them. Fleury, Leavitt, and Al - Ghazi walk past the Land Cruiser Haytham took out. 15 Police INVESTIGATORS on - scene : Leavitt stops, drops his bag. Al - Ghazi introduces him to the Officer in - charge. Leavitt opens his evidence kit. A couple of Police ca n't help but sneak a peek, checking out what the American's got inside.\",\n \"INT. RIPON HOME - LATER Fleury stands with Al - Ghazi back in the Ripon home. RONALD FLEURY Would you mind doing one more thing for me? EARL No, Sir. Fleury pulls out the photographs. RONALD FLEURY Could you tell me if you recognize any of these men? Fleury puts the three photographs down on the dining room table : not pretty pictures. Earl and Janine study the photos. JANINE Horrible. A few moments, then : EARL I do n't know any of them. Fleury thinks a minute. Looks outside. FLEURY I'm just wondering. That chair out side. Looks like it gets a lot of wear. Looks comfortable. EARL That my mom's chair. FLEURY See, that's exactly what I was thinking. I'm guessing she spends a lot of time sitting outside? EARL All day. FLEURY She must pretty much see it all. Right? EARL She does. FLEURY Where is she? EARL She's sleeping. Pause : Fleury slow nods, then. FLEURY Let's wake her up. Maddy up at the dinning room table, looking down at the photos. MADDY I've seen him. RONALD FLEURY Where? Maddy thinking. MADDY Like, a week ago. Twice I've seen him. Watering. With the garden crews. I remember he was wearing a Liza Minnelli T - shirt. I thought that was funny. RONALD FLEURY What about the others? MADDY -LRB- closer examination. -RRB- No. Just him. I remember the T - shirt. I remember thinking it was odd? RONALD FLEURY What, the Liza Minelli shirt? MADDY No. I do think Liza Minelli's gone odd, but that was n't it. RONALD FLEURY What was odd? MADDY He was a Saudi. The gardener. RONALD FLEURY Yeah. MADDY Saudis, like Americans, do n't do manual labor. Blowing leaves is beneath them. Fleury looks to Al - Ghazi for confirmation. Al - Ghazi nods. RONALD FLEURY -LRB- to Maddy. -RRB- Thank you. Fleury and Al - Ghazi start to leave. EARL Who is he? Fleury looks back to Earl. RONALD FLEURY That's one of the many things we're trying to find out.\",\n \"EXT. RIPON FAMILY HOME - NEXT MOMENT Al - Ghazi gives the photo of the IDENTIFIED SHOOTER to an AIDE waiting outside. AL-GHAZI Find out if he worked with the gardeners. The aide takes the photo, starts walking away. AL-GHAZI -LRB- CONT'D. -RRB- RUN! Freaked, the aide about jumps out of his skin. starts running.\",\n \"EXT. BLAST SIGHT - DAY Sykes has a SAUDI WORK CREW digging in the hole, pulling out pieces of charred metal. He is slowly laying out the pieces and studying them like a puzzle, trying to figure out what the hell blew up.\",\n \"EXT. MOBILE FIELD MORGUE - SAME MOMENT Janet and Haytham approach a 2000 square - foot M.A.S.H. Tent attached to refrigeration units. SANG OFFICERS look down at the Americans, dead eyed, watching them work.\",\n \"INT. MOBILE FIELD MORGUE - NEXT MOMENT The Muslim dead wrapped in white linen according to the Sunna. Western bodies lie separated from Arabs. A Saudi TECHNICIAN blankly hands Janet and Haytham lab coats to cut the cold. Three Police OFFICERS in the tent with them : Watching Janet. Haytham is looking uncomfortable as if he is embarrassed to be seen with the American woman.\",\n \"EXT. JACKSON HOME - LATER Fleury knocks at Aaron Jackson's door. A pause, the peep hole darkens. A longer pause, then the door opens. Aaron Jackson does n't look any better. Same shirt. Packed boxes. Suit cases. Jackson is clearly getting out of Dodge. RONALD FLEURY -LRB- beat. -RRB- How are your Sons? Jackson's eyes shrink - wrapped in tears. After a long silence with no answer, Fleury hands him a sheet of paper : RONALD FLEURY -LRB- CONT'D. -RRB- That's the name of a clinical psychologist. Works with Embassy kids. apparently very good at explaining violence - AARON JACKSON - what do you know about what my kids need? What they saw? What the rest of their lives might be like? RONALD FLEURY -LRB- beat. -RRB- I thought maybe your Boys. without their Mom anymore. might ask you why sometime. Aaron Jackson begins shaking his head yes. Tears flow free : sorrow and gratitude. He hangs on to Fleury's hand for a very long time. Silent apologies. RONALD FLEURY -LRB- CONT'D. -RRB- I will find the man responsible for the death of your wife. We're close. AARON JACKSON -LRB- beat. -RRB- Tomorrow it'll be somebody else's wife. Fleury quiet. RONALD FLEURY Then tomorrow I'll come back. Fleury turns his head : Al - Ghazi approaches on the next lawn down with three JUNIOR OFFICERS. Fleury nods goodbye to Jackson. Fleury approaches Al - Ghazi, holds up the Shooter's photo. COLONEL AL-GHAZI The gardener. We know who he is. He's on several watch lists. Fleury - a slight nod of satisfaction. RONALD FLEURY We know where he lives? COLONEL AL-GHAZI We will very soon. RONALD FLEURY You do n't seem very excited. COLONEL AL-GHAZI These are always the easy ones to catch. Rarely does it lead to the planners. -LRB- beat. -RRB- I want to take you somewhere. RONALD FLEURY Where? COLONEL AL-GHAZI To someone who may be able to help us catch Hamza.\",\n \"EXT. BLAST SITE - DAY Ten Police Investigators in the crater with Grant. Outside the crater : pieces of vehicles laid out outside : 1/2 of a door, 1/4 of a front axle, bits of engine. Five feet away from that : stacks of bagged evidence, two dozen evidence containers. Sykes clambers out of the hole, streaks of re - animated mud where sweat streams out of his hairline, mad - dashing for his chin. A chunk of metal in one hand, something small in the other : a marble. He drops it in the appropriate cannister then steps to a chunk of metal : one half of an alternator. Sykes stares down at the pieces of completely mangled metal. He studies a piece of twisted, half - melted iron. Thinking. He walks over to a second larger piece of twisted metal. Starts trying to fit the two pieces. like a puzzle.\",\n \"INT. MOBILE FIELD MORGUE, PRESENT DAY - NOON The dead, oblong faces of the dog - walkers. Janet uses forceps to pull a wing - nut from one of the dog - walkers. Places it on a sanitary table littered with shrapnel : tiny bits of colored glass, ball - bearings, parts of razor blades, spent slugs, and scraps of unidentified metal.\",\n \"EXT. BLAST SITE - CRATER Sykes still works the two large pieces of trashed iron. Until something clicks. The fit. Sykes looks down at the connected metal. SYKES It's a gurney. Sykes looks down at the mud colored DIGGERS. SYKES -LRB- CONT'D. -RRB- Who's missing an ambulance? Just stares from the Saudis. SYKES -LRB- CONT'D. -RRB- Could somebody please go get Sergeant Haytham? Confused stares from the Saudis. SYKES -LRB- CONT'D. -RRB- -LRB- loud. -RRB- Sergeant Haytham! Inside the crater : water - level down to the ankles. Three Saudis dig around what looks to be one of the dualie - style back tires. Re - positioning to get a better grip, Sykes notices the top of what looks to be a sizeable, ragged hole, still mostly submerged. Pointing : GRANT SYKES Here. Sykes slogs over. He drops to his knees, reaches his hand in, all the way to his shoulder, the side of his face to the water : void. Out of the crater, Sykes points to a Bobcat earth - mover, in Arabic : GRANT SYKES -LRB- CONT'D. -RRB- Who has the keys?\",\n \"INT. / EXT. MOBILE FIELD MORGUE - SAME Janet stands with the Saudi Pathologist. She prepares to take a fingerprint from a body. As the moves in to touch the Arab hand, one of the GUARDS unloads in her direction - a full guttural Arabic assault. No idea what he's saying, but it's obvious he's furious. Haytham starts firing back. This is an un - translated argument. We sense that the guard is doing more than expressing his displeasure regarding Janet. This seems to be personal. Janet's getting very nervous. A frightening display. Then, Haytham turns : HAYTHAM You can not touch any Muslims. Janet takes a breath as the Police hard - eye her. JANET No problem. Can I still touch Americans? HAYTHAM Of course. Janet moves back to the American dead, as the Saudi Tech continues with the Muslims. She pulls another shard of COLORED GLASS from a wound.\",\n \"INT./ EXT. SUBURBAN - DOWNTOWN RIYADH A two car convoy drives deep into the city. The Convoy is forced to stop across the street from a gas station as a construction crane backs into a drive way. Al - Ghazi and Fleury stare across the street as a large gas truck fills up the heavy tanks of a Saudi gas station. FLEURY What's gas running a gallon out here, Al - Ghazi? Penny gallon? Al - Ghazi smiles. COLONEL AL-GHAZI It was an American. An engineer named Karl Twitchell. Hired by Saudi Arabia to find water. He did n't find so much as a dried oasis, but he found this. Enough oil to turn the earth. Fleury stares out as the oil spills out overflowing from the station tank. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- They say my country sits on over 1 trillion more barrels of recoverable oil. RONALD FLEURY A trillion reasons for our Leaders to hold hands another one hundred years. COLONEL AL-GHAZI A trillion reasons to keep fighting. For both sides of this War. -LRB- beat. -RRB- I think our oil has begun destroying more than it creates. RONALD FLEURY Agreed. COLONEL AL-GHAZI I'm 46 years - old. -LRB- beat, tired. -RRB- I have three daughters. And I find myself in a place where I no longer care about ` why' we are attacked. I only care that 100 people woke up a few mornings ago had no idea it was their last. When we catch the Man who murdered these people, I do n't care to ask even one question. I just want to kill him. stop him. -LRB- beat, a bit embarrassed. -RRB- Do you understand? RONALD FLEURY Yes, I do. A long moment. Just road noise. We see two men, as different from each other as they could be, yet made from the same things. RONALD FLEURY -LRB- CONT'D. -RRB- Is your first name ` Colonel?' COLONEL AL-GHAZI -LRB- a small smile. -RRB- Faris.\",\n \"INT. MOBILE FIELD MORGUE - CONTINUOUS A glazed Haytham works with a Pathologist on the Muslim bodies. Their own collection of foreign objects. Janet pulls free 1/2 of a marble from a burrowed hole : explains the shards of colored glass. Cleans it in saline, holds it up to the light. We stare at it with her. Janet begins piecing together glass shards - reconstructing a MARBLE.\",\n \"EXT. DEATH SQUAD SCENE - DAY Police Investigators eat lunch under a tent 50 yards away with Leavitt. Then a red laser - sight moves across him : Three MEMBERS of his Police security - detail : smirking, pretending to fidget with an AR - 15's aperture. Leavitt stares. Subtle defiance. Nobody blinks. Silent moments pass. The smallest of the detail reaches over, pulls the cocking device of the rifle : round in the chamber, so stop looking at us.\",\n \"INT. BOMB SITE - CRATER Sykes, covered in mud, digging, searching for any signs of identification amongst the charred, mangled metal.\",\n \"EXT. INTERNET CAFE - LATER The small convoy pulls up next to a run down, late seventies chunk of architecture which looks like a combination bombed dentist office / accounting firm. Weird. Two TEENAGERS in Tu - pac T - shirts smoke in front. Fleury, Al - Ghazi and a couple of Police head for the blacked out front door.\",\n \"INT. INTERNET CAFE - CONTINUOUS Moving up two flights of stairs. Dark, rundown shredded carpet. Old hip hop - cheap bass, thin speakers. Smoke. Everything grows in intensity as they move up the stairs. Two more TEENAGERS skulk past. FLEURY -LRB- half joking to Al - Ghazi. -RRB- Feel like I'm back home in Detroit. Al - Ghazi keeps moving up and into what is definitely on Fleury's top ten list of the most bizarre places he's ever been. FLEURY'S POV : Two rooms : First is some kind of snack/smoke/TV lounge. FILIPINOS serve drinks. Packs of young Saudi MEN drink Cokes, tea, coffee, and smoke. Odd Saudi talk shows mix with hip hop. Behind, another room : bigger, overflowing with stacks of mis - matched computers. Dozens of them. Dozens of Saudi TEENAGERS plugged in. Head - phoned and mic'd. All chain smoking, all fully plugged in to CALL OF DUTY -LRB- an American war game -RRB- on line. These kids play with rabid intensity, smoking and screaming and killing. Al - Ghazi moves through the crowd. A small middle aged SAUDI spots Al - Ghazi. They exchange words. Al - Ghazi waves Fleury to follow. Fleury does and follows Al - Ghazi through the computer room, into a back office.\",\n \"INT. INTERNET CAFE - BACK OFFICE - CONTINUOUS A middle aged Saudi : TALAL. He sits behind a cluttered desk. Art books and computers everywhere. He gets up and embraces Al - Ghazi. Al - Ghazi then turns to face Fleury. COLONEL AL-GHAZI At one time, Talal was Arafat's senior bomb - maker and planner in the occupied territories. He joined Bin - Laden when Al Qaeda brought the fight to the Royal Family. RONALD FLEURY -LRB- beat. -RRB- OK. Should n't we arrest him or shoot him or something? Small smile from Al - Ghazi. COLONEL AL-GHAZI He turned himself in last year during an amnesty. He's now part of a new government effort to balance the experience of Saudi Youth. RONALD FLEURY This place is community service? COLONEL AL-GHAZI If America figures out a way of keeping their kids off the computers please let us know. RONALD FLEURY Why did he turn himself in? Before Al - Ghazi can answer, Talal begins talking to him in Arabic. Al - Ghazi translates : COLONEL AL-GHAZI ` You only come after I see there were bombs. Did you know Bin Laden put 5 million - dollars on my head? Why should n't it be 10?' Subdued laughter. Then Talal becomes quiet, grave. Al - Ghazi continues the translation : COLONEL AL-GHAZI -LRB- CONT'D. -RRB- The Man who made War on Al - Rahmah is someone my age - this kind of skill is learned over decades. Talal looks at Fleury now, speaking directly to him through Al - Ghazi : COLONEL AL-GHAZI -LRB- O.C. ; CONT'D. -RRB- A Man who can plan the mass - murder of women and children, then go home at night to his own and sleep soundly? That kind of Man is supremely difficult to catch. RONALD FLEURY -LRB- through Al - Ghazi. -RRB- How does he know he slept soundly? Colonel Al - Ghazi hesitates, then relays Fleury's question. Talal stares : eyes touched by war - blood - atrocities committed. Someone who believes he's going to Hell. COLONEL AL-GHAZI -LRB- O.C. -RRB- -LRB- translating. -RRB- Because he has n't stopped. You stop when their faces do n't let you close your eyes. RONALD FLEURY -LRB- through Al - Ghazi. -RRB- Is that why you quit? COLONEL AL-GHAZI -LRB- O.C. -RRB- -LRB- translating. -RRB- 17 days without sleep will make you quit anything. Two TEENAGERS stick their heads into the office. They're mad about the sharing of a computer. Talal puts a fast stop to it. It's obvious he's good with these young boys. He smiles as he speaks to Al - Ghazi. Al - Ghazi translates to Fleury. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- He says he makes my job easier. Here, at least they only fight and kill on computers. Al - Ghazi shows Talal the detonator. The old man studies it. Al - Ghazi and Talal speak in Arabic about the detonator. Al - Ghazi looks to Fleury, translates. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- He says that there are several ways to get American military equipment like this detonator but not many men in Saudi Arabia that know how to get them. FLEURY How do they get them? COLONEL AL-GHAZI Usually smuggled from Iraq by corrupt soldiers working with the Americans. FLEURY Could Hamza get this equipment? Al - Ghazi asks Talal. COLONEL AL-GHAZI Without question. Yes, he could. RONALD FLEURY -LRB- through Al - Ghazi. -RRB- How do we find him? He thinks for a moment, then speaks. The boys chuckle as Al - Ghazi continues translating : COLONEL AL-GHAZI Prayer. Luck. Handshakes. Fleury looks at Al - Ghazi, does n't quite get it. RONALD FLEURY -LRB- to Al - Ghazi. -RRB- Well, I think I get the ` prayer' and ` luck' parts. Talal slowly stands, Al - Ghazi helping him up, moves to Fleury. Reaches his hand out to him, quietly : COLONEL AL-GHAZI -LRB- O.C. -RRB- -LRB- translating. -RRB- His hands will feel like this. Fleury shakes Talal's hand, turns it over : index finger gone. COLONEL AL-GHAZI -LRB- O.C. ; CONT'D. -RRB- -LRB- translating. -RRB- Every Amir at some point gets bitten by his work.\",\n \"EXT. BLAST SITE - DAY The Bobcat digs into the crater, over the unknown hole. Already a large pile of dirt. Another sizeable scoop down about two feet : nothing. Haytham now stands over the crater watching Sykes. Leavitt has joined him. GRANT SYKES Whatever this is, it blasted - off like NASA. Haytham yells to the Machine Operator in Arabic : SERGEANT HAYTHAM Driven in at an angle. go deeper. Another gouge of earth : 4 feet. Nothing. Grant sits back. GRANT SYKES ` High - order explosion' does n't do it justice : what's left a' this looks like it was put through a wood - chipper. Leavitt rubs his eyes : adrenaline long gone. Looks at his watch : time passing fast. Sykes drops to his stomach, reaches in with the TRENCHING TOOL to see how much farther the hole goes : a metallic ` clink. An oxygen tank. The kind used in ambulances. Nozzle assembly gone, burst in the explosion with a force that drove it several feet into solid ground. Haytham takes a razor blade, scratches off samples of the soil and carbon for explosive residue into a fresh cannister. Then takes a wet rag, begins cleaning the tank to reveal Arabic script. SERGEANT HAYTHAM -LRB- to Sykes. -RRB- Hospital Identification. Ambulance identification. GRANT SYKES Do you know this hospital? SERGEANT HAYTHAM Yes. GRANT SYKES Call it in.\",\n \"INT. AL-RAHMAH COMMUNITY CENTER Now a mini command post. Al - Ghazi works phones with Fleury and Mayes by his side. Sykes and Leavitt muddy, sitting on their cots. Leavitt tags evidence from the shootout. Al - Ghazi hangs up, looks to Fleury. COLONEL AL-GHAZI The ambulance was reported stolen from King Fahd Hospital last Wednesday, three days before the bombing. RONALD FLEURY OK. COLONEL AL-GHAZI There's more : I told you it would n't be hard to find the soldiers. RONALD FLEURY -LRB- focused ; to Al - Ghazi. -RRB- What you got? COLONEL AL-GHAZI The stolen ambulance had a twenty man crew that rotated shifts on it. We checked all twenty men. One of them, Muaath Hazmi is now of interest to us. RONALD FLEURY Why? Al - Ghazi reaches for the photo of the dead shooter/attacker. COLONEL AL-GHAZI Because this gentleman is Fathi Hazmi, Muaath's brother. RONALD FLEURY Where's Muaath? COLONEL AL-GHAZI I'm going to show you.\",\n \"EXT. SUBURBAN RIYADH STREET - AFTERNOON A five block radius has been sealed off by Police Vehicles. Fleury and his team are at the outer perimeter, crouched behind barricades at the entrance of a cul - de - sac. They're not allowed anywhere near the line of fire. They sport bullet - proof vests and helmets : look like reporters in a war - zone. Police turn away cars, neighbors. Snipers stand posted on near - by rooftops. Helicopters audible overhead. Street deserted. GRANT SYKES We never get to do anything fun. JANET MAYES Sykes, I'm guessing you do n't even remember how to load your gun. GRANT SYKES That's not funny. ADAM LEAVITT She's not trying to be funny. GRANT SYKES I'm a very good shot. JANET MAYES I'm sure. Haytham hands Al - Ghazi a walkie - talkie, in Arabic : COLONEL AL-GHAZI Neighbors clear? VOICE -LRB- O.S. -RRB- Yes. COLONEL AL-GHAZI Activity or communication? VOICE -LRB- O.S. -RRB- Snipers have seen nothing. No telephone line into the house. COLONEL AL-GHAZI -LRB- beat. -RRB- Allahuakbar. Go. Two black Suburbans roll around the corner : out - fitted with running boards and hand rails upon which a 12 - man SWAT team rides : 3 on each rail, 2 vehicles. SWAT team : military fatigues, black hoods, Mp - 5 close - quarter sub - machine guns. Flying down the cul - de - sac : Half - way down the street, one of the Snipers open fire : BOOM - BOOM - BOOM. That moment an RPG fires wide of the lead Suburban. Over Al - Ghazi's walkie - talkie, in Arabic : VOICE -LRB- O.S. -RRB- ONE DOWN! RPG! The two SWAT - Teamers at the front of the running boards open up with their MP - 5s one - handed : the front of the house puffs, bursts, disintegrates. Suburbans rip to a stop. SWAT off, move fast. Three toss flash grenades into and around the house. Massive flash - bangs. Six through the front door. Six sprinting around back. Loud AK - 47 bursts from inside now. screams. Then an RPG fired inside : the rushing sound and yellow - white flash past two windows. A section of the far left wall of the house detonates from the inside out. More mechanical, silenced thwacks from the SWAT Mp - 5s. Silence. Then voices from Al - Ghazi's walkie - talkie. Ambulances round the corner, fly toward the house : VOICE -LRB- O.S. ; CONT'D. -RRB- CLEAR.\",\n \"INT. TARGETED HOUSE - MOMENTS LATER The team enters, wide - eyed. Four men in civilian garb, all dead : multiple bullet wounds. An Officer with four 8 X 10 mug - shots, matching them to the dead faces, dropping mug - shots on respective chests. Once he's finished, a police photographer takes new pictures of each. At the far side of the House : engineers use 2x4s to support the wall hit with the RPG. All of it has the feel of standard Saudi operation procedure. Al - Ghazi appears from the back of the house. Bends over each of the four dead men : lifting each of their hands, examining the backs of the hands quickly. GRANT SYKES Prints are on the other side. COLONEL AL-GHAZI I'm not looking for prints. I'm looking for fingers. Stands after the last : a look of controlled frustration that Fleury files. Then Al - Ghazi motions to Sykes and Fleury.\",\n \"INT. REAR OF THE HOUSE - NEXT MOMENT Back to the rear of the house : stacks of plastic explosives, buckets of shrapnel, two Paramedics working feverishly on a SWAT Officer hit multiple times. Fleury goes about his business like a man is n't dying six feet away. Sykes is a kid in a candy store : rummaging through explosives, blasting caps, shrapnel. RONALD FLEURY JANET. Janet makes her way back. Immediately moves to the wounded SWAT Officer. RONALD FLEURY -LRB- CONT'D. -RRB- He's gone. This shrapnel look like the stuff you pulled at the morgue? JANET MAYES -LRB- distracted. -RRB- Yeah. I pulled so much it's hard to remember it all. RONALD FLEURY Bolts? JANET MAYES Yes. RONALD FLEURY Wing nuts? JANET MAYES Yeah. RONALD FLEURY Razor blades? JANET MAYES Sure. Al - Ghazi begins tossing the room, motions to Fleury : help. Fleury moves to him. RONALD FLEURY -LRB- calling back. -RRB- ADAM. GRANT SYKES C - 4. Al - Ghazi dumps desk drawers : pictures of government - looking buildings, walled - compounds. Lays them out in rows, studying each. Leavitt appears, focuses on the C - 4 immediately. COLONEL AL-GHAZI -LRB- O.C. -RRB- - the front gates of every other western housing compound in Riyadh. Everybody looks at the Colonel, pointing at the pictures : COLONEL AL-GHAZI -LRB- CONT'D. -RRB- And Embassies : Italy, Japan, Korea, Norway, England. ADAM LEAVITT -LRB- beat. -RRB- The Coalition. Leavitt steps, scans the pictures, picks up two in particular : buildings with scaffolding and heavy equipment. ADAM LEAVITT -LRB- CONT'D. -RRB- These are all countries with Troops in Iraq - Japanese and Italian embassies are under construction? COLONEL AL-GHAZI The entire Diplomatic Quarter is being retro - fitted to sustain bigger bomb blasts. Janet pops her head in : JANET MAYES - the Prince's Convoy just showed. Al - Ghazi's face : fear. RONALD FLEURY This is bullshit. You know it. Meaningless. There's no leader here. These are kids. That's it. Al - Ghazi says nothing. JANET MAYES We're out of here. RONALD FLEURY Yes, that's it. Smile for the cameras, body - bag some children. Wrap it up, but us - out. I get it. COLONEL AL-GHAZI I'm sorry.\",\n \"EXT. FRONT OF TARGETED HOME - MOMENTS LATER Prince Bin Khaled touring the scene : reporters, photographers, his personal top - line security detail : the business suits and boots, the special ops M - 4s. All on edge to be in a Saudi neighborhood. Rahman, looking like he needs sleep and vitamins. Lecturing in Arabic : PRINCE BIN KHALED Only in death will our enemies realize Allah never permits defiance of his almighty will. Damon Schmidt trailing behind the Prince's detail. The Prince locks Al - Ghazi with a mad - dog stare in - between lesson points. One of the Prince's inner - circle heads straight for Al - Ghazi, in Arabic : INNER-CIRCLE Take the Americans inside now and keep them out of sight. You will be spoken to about their presence here.\",\n \"INT. TARGETED HOUSE - NEXT MOMENT The Team sitting on the floor, below the window sills, away from the holes and doors. Al - Ghazi standing, looking out the window at the spectacle. Damon Schmidt steps in : sees dead bodies and goes ghost, almost collapses. Leavitt pops up, helps him sit. RONALD FLEURY You need water? A quick ` no' nod : like the second before you lose lunch. ADAM LEAVITT You really ought not look at this. DAMON SCHMIDT -LRB- pointing at the dead. -RRB- That fella got shot right through his God damn nipple. JANET MAYES Do n't stare too long. It'll start living in your dreams. Janet's voice causes Schmidt to immediately force composure. DAMON SCHMIDT No - I know. RONALD FLEURY You do? -LRB- beat. -RRB- How did you know we were here? DAMON SCHMIDT The Prince has Men at Al - Rahmah. COLONEL AL-GHAZI What Men? DAMON SCHMIDT Ask him. -LRB- beat. -RRB- 3 vehicles will stay behind when the Prince and Press leave. You'll convoy straight to BA flights into Dulles - last minute fares come out of your budget, by - the - by. Tried to swing upgrades, but check at the counter. Pissed, reproachful head - shakes. DAMON SCHMIDT -LRB- CONT'D. -RRB- -LRB- beat ; color returning. -RRB- Turn those frowns upside down, people. This will be pitched as a stunning Saudi - only counter - punch that killed those responsible for Al - Rahmah. Al - Jazeera will play up an FBI presence, we'll play up their ties to Terror as checkmate. And everyone that was so righteously pissed back home is gon na eat crow Already a rumor that the guy who wrote our State Department memo - RONALD FLEURY - Ellis Leach? DAMON SCHMIDT You know him? He's gon na be put out to pasture : made an example of by the President to ensure all levels of government get tough on Terror. -LRB- right at Fleury. -RRB- You won the hand on the River card. RONALD FLEURY We did n't win shit, Schmidt. These are teenagers. children with pictures that someone far senior has provided them. DAMON SCHMIDT - kidding me? You mean those are Terrorist targets? Holy Wow. Momma, do n't let your children grow up to be cowboys. -LRB- beat. -RRB- Just get ready to go home and revel in the fact that for the next few weeks your shit wo n't stink. The phone rings that instant. Leavitt hands it up to Fleury. Schmidt holds his hand up to Janet : high - five - she gives it up slowly, warily, semi - charmed : DAMON SCHMIDT -LRB- CONT'D. -RRB- -LRB- to Janet. -RRB- Double or nothing that's a congratulatory call. RONALD FLEURY Hello? -LRB- beat. -RRB- Yes, Sir. We're all here and healthy. I'm sitting next to their corpses but this may not be over. These do n't feel like anything resembling senior leadership -. -LRB- beat. -RRB- - thank you Sir. I do. Please do me one favor before we board : warn every ` Coalition - of - the - Willing' or whatever the hell we're calling our Iraq allies now, that pictures of their Riyadh embassies were found in this Cell's safe - house.\",\n \"INT. SUBURBAN - LATER Flying down a highway. Haytham driving. Sykes up front. The rest of the team crammed in back : Fleury next to Al - Ghazi ; Mayes and Leavitt on the back bench. Everyone spent. Grant stares up at a distant jet climbing - out. The police radio belching calm codes and calls every few seconds. RONALD FLEURY -LRB- to Al - Gahzi. -RRB- What do you think? Al - Ghazi looks up at Fleury, slowly shakes his head. AL-GHAZI Amateurs. It's a small win. RONALD FLEURY Yeah. A beat. RONALD FLEURY -LRB- CONT'D. -RRB- I'm thinking about New York - February 26, 1993. The first time they tried to hit the Trade Towers. GRANT SYKES I'm thinking about going straight to Dan's, gon na order six PBRs - JANET MAYES - Pabst? ADAM LEAVITT Keep it real. You ever drink PBR, Haytham? HAYTHAM No. GRANT SYKES Any beer? HAYTHAM -LRB- small smile. -RRB- No. GRANT SYKES Now. that's just unreasonable. Good Police work and problem drinking are like a chicken and egg thing : which enables the other? In the back, Al - Ghazi ca n't help a small smile either. Fleury's not into it. All business, pissed, clearly does not want Pabst. RONALD FLEURY -LRB- to Al - Ghazi. -RRB- Remember how we caught that cell? AL-GHAZI Yes. Car bomb. He went back to pick up his deposit on the rental car. RONALD FLEURY Four hundred dollars. For four hundred dollars, he was caught. Stupidity. Catching the cell was easy. Just like this. The cell came back. Fleury looks at Al - Ghazi. He knows the win is small. Also knows that's all she wrote, for now. RONALD FLEURY -LRB- CONT'D. -RRB- I'll be back. COLONEL AL-GHAZI Yes, you will. The POLICE BAND suddenly squelches loud with excited Arabic. Everyone perks, leans up to listen to the urgency. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- -LRB- translating radio chatter. -RRB- Religious demonstration in progress. Back near the City Center. A small collective smirk, sigh of relief. Fleury turns in his seat. GRANT SYKES I'm serious. Beer will open up your subconscious. Canned beer especially. Give you instincts they ca n't teach - Fleury notices the Suburban bringing up the rear has dropped back. RONALD FLEURY -LRB- looking back. -RRB- Is he responding to the call? Dropped back. COLONEL AL-GHAZI -LRB- O.C. -RRB- -LRB- turning. -RRB- What? Al - Ghazi and Fleury both looking back to the following Suburban now. Dropped back, sunglasses and blank faces staring back at them. Fleury looks to the overpass above - he sees a YOUNG MAN on a cell phone. As they pass, the kid runs to watch them from the other side. Al - Ghazi gets to the CB radio, in Arabic : COLONEL AL-GHAZI -LRB- CONT'D. -RRB- Tighten up - - the trailing Suburban does n't ` tighten up.' It falls further back. Fleury instinctively turns, wide - eyed - out the window : a small brown truck swerves out of the opposing lanes, flying across the desert median, aimed at the Convoy. Without hesitation Fleury reaches over Haytham, rips the steering - wheel right, nosing away from the approach.\",\n \"EXT. SAUDI HIGHWAY - SAME MOMENT Our Suburban on two wheels : The lead Suburban turns the same direction a twitch too late. The small brown truck detonates. The lead Suburban takes a massive fraction of the explosion broadside, essentially shielding our vehicle. Flame spits through the lead vehicle as it spins, flips onto its roof.\",\n \"INT. OUR SUBURBAN - NEXT MOMENT Off - road now, violent impacts on bare rims shedding rubber.\",\n \"EXT. HIGHWAY ATTACK AFTERMATH - NEXT MOMENT The lead Suburban : tortoise on its back, engulfed, still sliding. Fleury's Suburban fish - tailing. The Lead Suburban blows in - half now as the gas tank ruptures. A football - sized shard of metal explodes through our windshield -\",\n \"INT. OUR SUBURBAN - SAME MOMENT - and smashes straight out the back, taking the rear cargo door with it. The shock of it causes Haytham to lose control in earnest now. The Suburban flips, barrel rolls. Violent pounding inside the vehicle. Motion stops : upside down, just the roar of the big Detroit V - 8 red - lining, wheels spinning in air. Everyone dazed, border - line unconscious. Fleury's bell rung the worst, trying to function, get his bearings. Fleury touches Leavitt's face, can barely see through the gathering smoke that smells like oil. RONALD FLEURY You whole? ADAM LEAVITT Think so - Leavitt unbuckles his seat belt and smashes head first into the ceiling - running FOOTFALLS approach, quick yell - yips in Arabic : commands? The Driver and three other Police Officers from the trailing Suburban. Smoke fills the interior now : thank God these Police Officers have ripped open a door : saviors. They grip Leavitt by his hair because it's the only thing they can grab. Alarmed, Al - Ghazi begins to scramble for Leavitt. COLONEL AL-GHAZI This is not right! Haytham gets a good look at the driver, recognizes him as the officer who shamed him at the compound on day one. Haytham moves to unbuckle. Fleury's trying to claw towards Leavitt. Throwing upside down punches at the air. Unbuckles himself now. RONALD FLEURY WHAT THE - JANET MAYES -LRB- panicked. -RRB- ADAM! WHAT - WHAT ARE THEY DOING? Alarm rising, everyone else unbuckles and smashes into the ceiling as horizons go flip - flop confusion.\",\n \"EXT. HIGHWAY ATTACK AFTERMATH - NEXT MOMENT Leavitt's throwing punches as he's dragged with velocity to the trail Suburban, idling. Pistol - whipped viciously, repeatedly until they're able to kick him inside. Another Officer from the trailing vehicle steps up with an AK - 47, pulls back the cocking mechanism, ready to spray the dazed occupants of our Suburban - the Officer's ankles and shins detonate. POP - POP - POP - POP from the driver's seat : Haytham. Screams from the would - be shooter at double volume. Haytham keeps firing as the Officer, hit multiple times, falls hard. The trailing Suburban hesitates, slams into our Suburban just as Fleury is getting out of the wreckage. Everybody else still inside, knocked silly. The trailing Suburban backs up quick. Fleury instinctively goes for his holster : empty for days now. RONALD FLEURY GUN! Trailing Suburban accelerates away now, as Janet struggles out. Haytham's 9 MM in - hand racked open : empty. Fleury steps away from the now black smoke pouring from the vehicle - in the passenger seat of the trail Suburban, he sees the Officer that checked passports at Prince Sultan Air Base. GRANT SYKES - DOOR HELP - Fleury rips Grant's door open. Trapped smoke billows, clears : Grant's arm closest to the outside of the vehicle dangles at an unnatural angle, bleeding badly. GRANT SYKES -LRB- CONT'D. -RRB- Ca n't release - Fleury begins sawing Grant's seat - belt with a jagged piece of metal. RONALD FLEURY Hands up - you're gon na fall - Sykes still does, ugly. Fleury and Janet rip him free of the Suburban. Haytham's pulling shotguns, handguns, ammo from the flipped vehicle. Haytham pointing ahead, to the fading roster - tail. In Arabic : SERGEANT HAYTHAM They're going to disappear. Desperate, Fleury looks in the direction of the fleeing Suburban : the rooster - tail it leaves getting smaller. Al - Ghazi nods, swings his head to thesnarled/wrecked highway traffic. PEOPLE hesitantly step toward uniforms they trust on instinct. Haytham dumps the pile of weapons at the Team's feet, re - loads his 9MM. Janet ties a half - assed tourniquet around Sykes' reminder of an arm. Al - Ghazi steps toward the approaching crowd : they see his state, his gun, and turn back : panic starts to infect the larger mass, then the topper - AUTOMATIC GUNFIRE from somewhere. Glass - dirt - metal bursts around us : this attack is still going. Fleury looks up : just the roof of an old Mercedes on the median, dirt kicked up behind them, running behind lines of stopped - wrecked traffic now. The barrel of a rifle held high out the window like a taunt. Accelerating for another opening to finish the job. Scared motorists devolve into terrified motorists. Many have abandoned their vehicles to sprint into the desert, the rest go smash -'em - up derby - folly : 50 panicked drivers aiming for the same spots. Fleury snatches an M4A1 from the stack dropped by Haytham, up to his shoulder, hustling toward the next break in traffic. The Mercedes is approaching at 80 MPH. RONALD FLEURY -LRB- back to his crew. -RRB- GET DOWN! Al - Ghazi starts screaming in Arabic, motioning frantically to the CITIZENS who have turned back, running toward them, in Arabic : COLONEL AL-GHAZI DOWN! Fleury's view blocked by fleeing Saudis : just intermittent flashes of the Mercedes braking hard, massive dust cloud behind them, sliding toward the opening Fleury pre - sighted. Intermittent wild shots fired from the SUV, vaguely in our direction. Fleury flips a switch on the left side of the rifle, just forward of the handle : full - auto. Takes a deep, measured Sniper's breath, eases the stock snug aimpoint up to his right eye, and without hesitation lets loose the entire clip perfectly : one heartbeat before the Mercedes hits the gap. The right side of the Mercedes shreds just as it appears. Fleury's clip gone in a flash, yet more rounds still hit the Mercedes : Al - Ghazi four feet away, firing his own salvo from a knee. Something bright red pops against the driver's side window now, the Mercedes rip - slides to a stop. Commotion inside. Wild, half - aimed shots back at us. Then it starts up again. Al - Ghazi bolts toward the line of stopped traffic. Searching for something big, empty, still running. Fleury right on his heels. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- WE MOVE NOW OR WE LOSE HIM. Early 90's Land Rover. Desert tough. Driver long - gone, exhaust plumes pumping out. Al - Ghazi dives into the Driver's seat, Fleury shotgun. Guns it to the rest of the Survivors, an eye on the rooster - tail of the Mercedes he and Fleury just shredded, heading the same direction as Leavitt's kidnappers. Al - Ghazi jumps out, ushers Haytham into the Driver's seat. In Arabic : COLONEL AL-GHAZI -LRB- CONT'D. -RRB- You know Suweidi - you know how to go fast. Fleury helps Sykes into the rear. Janet loads the weapons. Jump in. The Land Rover spits it's own tell - tale plume as it sprints away down the median, dodging traffic, in desperate pursuit. Startling silence comes sudden now as the fight moves elsewhere. Receding engines. Petering screams/shouts. Hold on the flipped, still burning/still smoking Suburbans. Surreal in the sun/smoke/haze.\",\n \"INT. TRAIL SUBURBAN - SAME MOMENT Driving as fast - hard as possible. No regard for anyone/thing. Passport Officer up front pulls a cell - phone. A THIRD AND FOURTH in the back still beating and zip - cuffing Leavitt.\",\n \"INT. LAND ROVER - NEXT MOMENT Janet's sitting with Sykes in the rear, readying weapons and ammo. She hands him twin Berettas - Sykes' double - fisting despite his wound, looking forward to a fight. SYKES Nobody's gon na hurt Leavitt but me. Driver's Seat P.O.V. : on the median, 95 MPH, dodging abandoned and escaping cars. High - beams flashed on - off - on - off, constant horn, gaining on the Mercedes' rooster - tail ahead of them.\",\n \"INT. TRAIL SUBURBAN - SAME MOMENT Powering deep into the Suweidi neighborhood. Skid - stopping and backing into an alley between broken down three story buildings.\",\n \"INT. LAND ROVER - SAME MOMENT Haytham scanning as he drives : straining to see the plume from the second attacking vehicle way ahead, blending with other fleeing, scared motorists. We watch as the distant plume cuts hard left, at a high rate of speed. then DISAPPEARS.\",\n \"INT. UNKNOWN ROOM - SAME MOMENT Quiet. The 32 year - old son we met on the rooftop is on his cell phone again, speed - assembling an ancient VHS camera atop a tri - pod. THE SON -LRB- in Arabic, frantic. -RRB- DO NOT COME HERE! Intercut with the Mercedes Driver yelling frantic into his cell phone : MERCEDES DRIVER -LRB- Arabic. -RRB- He's been shot! BE READY. Back in the room, A HUGE MAN dressed in paramilitary black, face wrapped in his shumagh, so only the eyes are visible, stands in front of a sheet hung from the ceiling, quietly practicing/reading a speech for an imaginary audience. Lots of gesticulating and head movement. The handle of large knife sticks from his waste band. Door BURSTS open, bottom hinge rips from the jamb. Leavitt is slammed to the ground. Passport Officer shoves the practicing Speaker out of the way - Turns to the wide - eyed 32 year - old. PASSPORT OFFICER NOW. HURRY. Leavitt's face already swollen - black - bleeding, scanning the room with terrified fury in his eyes. He sees the handle of the knife sticking from the Huge Man's waistband. His tears leak all at once. The Officer takes the knife, turns to Leavitt : dirty 11 - inch blade.\",\n \"INT. LAND ROVER - NEXT MOMENT Haytham searching for the turn - off : where the rooster - tail they were following cut left, died. At the last minute, he sees tire marks headed down an embankment into a decrepit, decaying apartment block neighborhood. Haytham cuts hard, fish - tails. Sykes' head SMASHES into the rear - side window, starring it. They're being lead into Riyadh's most hostile neighborhood. AL-GHAZI We should not be here. JANET'S POV : scanning for the trail Suburban and the Mercedes - she ca n't help but notice the neighborhood. Halfway past an intersection, Fleury yells : RONALD FLEURY BRAKES - REVERSE - TO THE RIGHT. Haytham brakes, reverses : the Suburban.\",\n \"INT. LAND CRUISER / EXT. SUWEIDI - NEXT MOMENT Without hesitation Haytham pulls across the cramped street, surrounded by the same decaying buildings. Ahead : CIVILIANS huddled behind cars, poking heads out from behind shacks. A second passes : these people know where the attackers went. Al - Ghazi locks eyes with a little boy. he quickly - quietly just shakes his head no. In the back, Sykes has fallen on his back. He looks up through the window : sees a shape jet past on the top of the closest building - three stories up : the little boy was nodding a warning - What follows is fast, chaotic, eyes - closed combat : GRANT SYKES - GET OUT OF - - big BOOM of close - in shells. As Haytham throws it in reverse and punches, the front of the Rover shreds. The windshield bursts. Engine dies : tachometer and speedometer needles bottom out instantly. Haytham and Al - Ghazi tuck into the dash. Fleury tries to get as close to the backseat floor panels as possible. Janet covers Sykes. A Thump - Thump - Thump can be heard on the roof : A GRENADE thrown with too much arm by the guy Sykes spotted bounces off the roof and into the Land Cruiser. Frantic, Fleury swats it out. The blast releases a massive airburst and bits of shrapnel into the vehicle, starring windows, rocking it : creak of shocks and struts. Fleury lifts up now, grabs the M - 4 : returns fire indiscriminately through the windows at any and all surrounding rooftops. That provides cover and reminds everyone in the car they're armed. Janet exits with a rifle : firing out the back door, more covering fire. Civilians who were ready to see a massacre scurry now that it's a fight.\",\n \"EXT. ROOF TOP - NEXT MOMENT A SHOOTER : black - hood, black T - shirt, old - school red - white - black Air Jordans, snub - stock AK, an open, filthy North Face backpack at his feet holding spare clips, God knows what else. Shots from below keep him two feet away from the ledge, firing down in random sweeps, head turned like he's lighting a fire - cracker. We see things from above, three stories down, a sweep of blindly - fired shells pop the asphalt inches from Fleury's head, soiling his face in black - top debris. But Fleury never stops firing back, his own head slightly turned, flinching on reflex. Air Jordan grabs another grenade just before he disintegrates : Fleury's three - feet away with the riot gun. Another rack and blast to make sure A.J. stays down for eternity. Fleury spots and bull - charges a second SHOOTER : Ballistic Chicken, Fleury wins. A sound. Fleury spins, racking the riot gun, aims and FREEZES : 2 six year old BOYS stare from the doorway.\",\n \"EXT. SUWEIDI STREET - NEXT MOMENT Haytham crouches in front of the Land Cruiser. Rocks thrown now from somewhere : KIDS peeking from behind shacks Palestinian - style. He's pelted in the side of the head. Janet and Sykes move to a stopped vehicle and take cover. From the rooftop, Fleury yells down to the men on the ground. FLEURY -LRB- O.C. -RRB- I CAN SEE THE MERCEDES. BLOOD - TRAILS RIGHT UP TO AN APARTMENT IN THE NEXT BUILDING -\",\n \"EXT. ROOF TOP - SAME MOMENT Fleury's P.O.V. : an Apartment complex that looks like a roadside motel : exposed stairwells, walkways, entrances. A puddle in front of one of the front doors on the third floor. Then we look right, one street over : civilian FIGURES, some in traditional dress, starting to mass. FLEURY MOB FORMING NEXT BLOCK! He drops the riot gun, picks up the AK from the man he just killed, pops a new clip from the backpack, slings the backpack over her shoulders. Starts to hustle down.\",\n \"INT. UNKNOWN ROOM - SAME MOMENT Gunshots reverberating from outside. Echoes. The 32 year - old, hands shaking with nerves, screwing the camera into the tri - pod : set - up almost complete. The Passport Officer is posted at the door : head poking out, weapon up and ready. We can hear Arabic yells down what sounds like a hallway. Passport Officer barks something back. The Driver of the Trail Suburban squats, pinning Leavitt's head down with his knee, knife near a long, white expanse of neck. The Huge Man sits on Leavitt's stomach, keeping him in place. Leavitt trying to gasp for breath : eyes - wide panic. DRIVER READY? Just as the 32 year - old nods yes, Leavitt explodes with his last bit of effort : kicks just enough to nudge the Camera, trying to knock it over. The 32 year - old gets his hands on it as it falls, almost catches it, slips out, smacks the ground, battery pops off. The Driver and Huge Man both begin hammering Adam. PASSPORT OFFICER -LRB- O.C. -RRB- -LRB- in Arabic. -RRB- GOD DAMN HIM! 32 year - old picks the camera up again, trying to re - attach the battery as Adam fights for his life. Spit and claws and snot and blood rage.\",\n \"EXT. CINDER-BLOCK APARTMENTS - NEXT MOMENT Running down side stairs, Fleury spots a grenade launcher poking from a door, next - door to the apartment with blood - pool in front. RONALD FLEURY RPG! Empties his clip into that vicinity : windows shatter, wood splinters. The grenade launcher recedes. Janet and Al - Ghazi start to run. The launcher fires from its new position. The trail suburban DETONATES. Al - Ghazi and Janet knocked flat on their asses for second and third times : dazed. Fleury searching : I know that Fuck with the RPG is reloading, how do I kill him. Drops the bag off his shoulders, pulls a grenade out, fires it as hard as he can : 40 yards on the fly. Bounces just on the third floor landing -\",\n \"INT. ENEMY APARTMENT - SAME MOMENT - RPG Soldier just locking the new rocket tube in, brings the reticle up to his eye. Grenade blast splits through what's left of the front window. Big flinch - tense on his part : rocket fires inside, roars down the hall, hits two feet in - front of the door Passport Officer has been peaking out of. Massive, contained detonation. Passport Officer vanishes. The 32 year - old and his camera are blown through the Driver waiting to saw Leavitt's neck. Because Leavitt was held so tight to the floor, he escapes the worst of the blast. Still fucked up. Leavitt's P.O.V. : ears roar with the ring, no sounds. 32 year - old and Driver lay in a heap on the floor. Huge Man's on his back, trying to get up. Leavitt breathes, rolls to the Driver and the boy : grabs driver's blade. Hand to hand war as Leavitt gets his payback. He does not stop.\",\n \"EXT. CINDER-BLOCK APARTMENTS - SAME MOMENT Sykes takes cover between two cars, holding down the rear, firing warning shots and screaming football plays to freak out the LOCALS. SYKES THIRTY EIGHT RAZOR MAD DOG! He fires above the crowd, as Janet heads into the building. Two LITTLE KIDS slowly approach carrying water, obviously terrified at the sight of the wounded American. Sirens and helicopters sound in the distance.\",\n \"EXT./INT. CINDER-BLOCK APARTMENTS - NEXT MOMENT. Base of the stairs : Mayes joins Fleury and a dazed Al - Ghazi & Haytham. COLONEL AL-GHAZI A tunnel networks through all these places. they use attached civilian Apartments, innocent families. JANET MAYES I do not like these people. RONALD FLEURY We go in the front door. Haytham - cover the stairs. Janet - hallway. Watch the side doors. Watch your backs. Silent nods. Bracing for war. They move 3 levels up the stairs into the building, following the blood - trail from the SUV to the Apartment. PEOPLE step out of their doors. Al - Ghazi aiming at them : COLONEL AL-GHAZI -LRB- in Arabic. -RRB- INSIDE!\",\n \"INT. / EXT. APARTMENT 303 - NEXT MOMENT The puddle of blood, a trail leading under the door. The front wall/window/entrance of the next apartment down, still smoldering from Fleury's grenade. No sounds, words. Our team : fingers on triggers, weapons to shoulders, sights - aligned. Ten feet back. Shoulders already flexed with tension, expecting a suicidal blast at any moment. Janet grabs another grenade, moves to secure the hallway. Intercut Sykes outside. Haytham on the stairs. RONALD FLEURY -LRB- beat, to Al - Ghazi. -RRB- Is Allah on the other side of that door? Al - Ghazi raises his prayer beads to Fleury. AL-GHAZI -LRB- beat. -RRB- I think were about to find out, my friend. Fleury moves forward : I'm primary through the door. Al - Ghazi's right with him. Fleury gets three - point - stance low, hits the door like Jim Brown. Scattered gunfire. Fleury opens up in response. Fleury never stops forward motion. Stumbling headlong into a kitchenette, hard into a refrigerator and cabinets, firing the whole time. Al - Ghazi blasting anything that looks like a body. Straight mop - up operation.\",\n \"INT. CINDER BLOCK APTS - HALLWAY - SAME MOMENT Securing the hallway, Mayes steps into a charred apartment through doors blown off hinges. She heads in deeper, towards the bedroom. Finds the closet - it tunnels into the apartment below. She peers into the hole - JANET MAYES ADAM?! - sees a bloody knife below thrown by an unseen hand. Janet : wide - eyed horror, about to pull back, when she is YANKED into the hole by her hair.\",\n \"INT. UNKNOWN ROOM - NEXT MOMENT Huge Man ATTACKS Janet. Vicious hand to hand blows. Still tied, Leavitt does what he can, kicking at the attacker. Adrenaline morphs Janet from scared and out - sized to desperate and equally vicious. This is SAVING PRIVATE RYAN shit with Leavitt as the observer. He's no coward - he's doing everything he can. Huge Man overtakes Janet, slow - choking her. she's gasping, dying. Janet has a knife out and is shredding the big man's back right thigh and ass. BOTH SCREAMING. From nowhere, Fleury ends the fight with a butt - end baseball - swing of the shot gun to Huge Man's head. Janet : fucked up, but alive. JANET MAYES -LRB- to Leavitt. -RRB- Sykes is going to kick your ass. Al - Ghazi follows Fleury into the room. Leaning to Janet, Fleury sees Leavitt, puts his hand on his head. Leavitt's somewhere else, tears in his eyes, just taking deep, measured breaths. RONALD FLEURY Everybody OK? Slow nods from Leavitt and Janet as Fleury cuts Adam's ties. FLEURY There's at least three more of them. As Janet's eyes catch on something : a sheet/half - assed backdrop hung from the ceiling has been nearly pulled down - exposing a crude square cut out of the wall - a path into another Apartment. Janet points to the hole in the wall. This is n't over : a seven - year old GIRL peers out at her, shaking, tears in her eyes. Janet tries her best Motherly smile. JANET MAYES It's okay Little One. The little girl backs away. Janet gets up, steers Leavitt outside. Sits him down. Hands him a Glock. Fleury and Al - Ghazi step through the hole. Janet follows. A blood trail snakes through Little One's room, out her door, and deeper into another apartment. Little girl long gone into the main part of the Apartment. Then, Arabic SCREAMS, the metal - crashing sound of automatic GUNFIRE. Sirens overheard outside now.\",\n \"INT. ATTACHED APARTMENT - NEXT MOMENT Hustle cautious into the apartment. Haytham stands in the room already : the muzzle of his AK still smoking, held on a man down. The other occupants of the room are a cowering FAMILY : KIDS and a couple of real OLD FOLKS, all terrified. A little boy cries by himself, huddled in a corner. The collateral damage of random violence. Janet quick scans the room. LOCKS EYES on the traumatized little boy, his innocence draining as she watches. Ca n't take her eyes away. Taking this all in : The violence. The terror of this family, the defiance on the faces of these young souls. Al - Ghazi, post - game shakes, a tear running down his cheeks, spattered in blood, stares at Fleury. The man Haytham shot is not dead : ragged gasps. Fleury and Al - Ghazi lock eyes, then take in the tragedy of the room - kids their children's age, never to be the same. Al - Ghazi to the room, In arabic : COLONEL AL-GHAZI Is everyone alright? Silent stares from the Saudis. The little girl Janet saw earlier, eyes still on Janet, moves to her brother - he holds her tight, his eyes down. Janet kneels, heart - breaking, holds her hand out : I can help you little one. The Little Girl holds a fist out to Janet, tears in her eyes : okay. Janet slowly crouches over to her, the older women's eyes on her, piercing. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- -LRB- to the little girl, in Arabic. -RRB- It's okay. Little One trembles. One of the women in the corner calls to her in Arabic, sharp. Janet just strokes the back of her little bloody fist. Her little hand opens, shaking : this is a gift for you. Janet's face ghost white : Little One is trying to give her a marble. Al - Ghazi steps closer, sees the marble. Processes things. Immediately looks over at the huddled mass : THE GRANDFATHER staring right back at him. We now see the old man clearly. Al - Ghazi shaking, slowly steps to him, hands out. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- -LRB- in Arabic. -RRB- Let me help you up, Old Man. The old man nods a ` no.' COLONEL AL-GHAZI -LRB- CONT'D. -RRB- -LRB- in Arabic. -RRB- GIVE ME YOUR HANDS! Al - Ghazi rips Grandfather up now. The family screams. Al - Ghazi pulls the old man's hands from under his thobe : missing fingers. Bends at the knees to look the Old Man right in his eyes, lifts his chin with his hand. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- -LRB- dazed, starting to realize. -RRB-. Hamza. The old man looks up at Al - Ghazi : rage and defiance. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- I got you. Abu Hamza, you are under arrest. ABU HAMZA stares, hatred burning into Al - Ghazi. NASSAR You are a traitor to your country. a traitor to your God. COLONEL AL-GHAZI I am no traitor to my God. You are. Al - Ghazi's chest explodes before we hear the booms : the 15 year - old Grandson, firing a cheap, nickel - plated 9MM. Everybody drops. The family huddles that much closer to the floor. Al - Ghazi falls back to the floor, pulling Grandfather with him. Fleury's standing stock still, out - of - body now : He can only see a teenager built like a river - reed, like his own Son. not a Murderer who just shot his friend. Quiet - sick : RONALD FLEURY Do n't. The 15 year - old steps to the doorway, pulls the trigger again : the cheap 9MM jams. Janet lifts up with her AK, aims it at the boy's chest. RONALD FLEURY -LRB- CONT'D. -RRB- drop it, Son. please. The teenager wiping his tears : so he can see clear enough to clear his jammed weapon. Half young boy, the other half something much more dangerous. Expert movements from his hands, racking back the slide, thumbing the still smoking shell from the ejector, letting the slide go, racking another round into the chamber. Then. Fleury finally pulls his trigger. Utter Distortion as the old man reaches for the teenager's fallen hand gun. Janet, screaming, raises her gun towards the old man as Al - Ghazi shoots the old man in the chest. Sobbing, the little boy runs to his fallen grandfather. Janet, still screaming, covers the family. The Grandfather whispers something we can not hear in the Little Boy's ear. TIGHT ON HAYTHAM taking it all in : the bleeding, dying teenager ; his hysterical sister ; Hamza choking, clutching for his grandson. CHAOS, CONFUSION, CONFLICT swirling in Haytham's eyes. A platoon of SAUDI POLICE slowly enter the room. Janet goes to the shot 15 year old, starts trying to stop the bleeding. Fleury reaching for the dying Al - Ghazi, cradling him. Tears spill as his eyes move from the dying boy to the old man, back down to Al - Ghazi. Fleury grasps Al - Ghazi's hand, as a Saudi man would. RONALD FLEURY -LRB- CONT'D. -RRB- You got him. You got him. You got him.\",\n \"EXT. CINDER BLOCK APARTMENTS - LATER WIDE ON THE CRIME SCENE. From the air as choppers hover and SOLDIERS swarm.\",\n \"INT. CONVOY - SAUDI ARABIA One last convoy heading out of town. Fleury, Leavitt, Janet, and Sykes : battered war scars, million mile stares.\",\n \"EXT. PRINCE SULTAN AIRBASE - LATER Our crew watch from a deserted terminal as a C - 130 touches down. Haytham enters : came to say good - bye. The team's first smiles - collective. Fleury stares at Haytham. thinks about what he's seen the past few days. how he has come to admire this Kid. Haytham smiling, bandaged himself. Halting and awkward, he shakes Janet's hand. HAYTHAM -LRB- in Arabic. -RRB- Thank you. JANET MAYES Thank you, Lieutenant Haytham. Haytham says good bye to Leavitt and Sykes. Comes to Fleury. Hands him a beautiful wooden prayer bead necklace. HAYTHAM May peace be with you. FLEURY May peace be with all of us, my friend. The two men shake hands.\",\n \"INT. WASHINGTON FIELD OFFICE - CUBICLE - DAY Fleury, Sykes, Leavitt and Janet sit around Janet's cubicle. Bandages, awkward silences, and 1000 - yard stares. Subpoenas stacked on the corner of Janet's desk. Leavitt quiet, obviously fucked up. Grace approaches. DIRECTOR GRACE We're going to testify next Tuesday. Fleury's going first. I'm gon na go through it with each of you one on one in advance - make sure we're all on the same page. If they ask if we've talked about this, the answer is unequivocally `` No.'' OK? -LRB- beat. -RRB- You did outstanding work over there. I'm proud of you. You hold your heads high. SILENCE from the team. DIRECTOR GRACE -LRB- CONT'D. -RRB- Ronnie, you ready? RONALD FLEURY Yeah. Grace turns to leave. Fleury gets up to follow. They head down the hallway. ADAM LEAVITT Janet. my dreams are. -LRB- beat, intent. -RRB- What did he whisper to you? Confusion from Janet. ADAM LEAVITT -LRB- CONT'D. -RRB- In the briefing. to get you to stop crying about Fran. before any of this. before we even got Airborne? What did he say to you? Janet looks up : Leavitt waiting.\",\n \"EXT. SUWEIDI GRAVEYARD - DAY The eight year - old Grandson. Tears in his eyes, standing in front of fresh graves. His AUNT kneels down next to him, tears flowing, in Arabic : AUNT Will you tell me what Grandfather whispered to you before they took him? He turns to his Aunt.\",\n \"INT. WASHINGTON FIELD OFFICE - CONTINUOUS Leavitt still waiting : ADAM LEAVITT Do you remember? Janet looks at Leavitt, PAUSES. JANET MAYES -LRB- ALT : RONALD FLEURY. -RRB- -LRB- reluctantly. -RRB- He said. `` We'll kill them all.'' -LRB- alts : `` We will win this.'' `` We will end this.'' `` We will finish this.'' -RRB-\",\n \"EXT. SUWEIDI GRAVEYARD - SAME MOMENT The boy quietly answers, in Arabic : GRANDSON `` Do n't worry : we'll kill them all.'' And in his saucer - wide brown eyes, shrink - wrapped in angry tears, we see the parts of the future that will burn.\",\n \"EXT. WASHINGTON, DC PARK - TIME LAPSE Sunlight shines TIGHT ON Fleury's face : stitches the length of his cheek remain. PULL OUT : Fleury and his son throwing a baseball. Lyla watches, standing by a tree. Father and son throwing the ball back and forth. KEVIN FLEURY You stop the people that hurt Uncle Fran? Fleury stops, just staring at his little son. Tosses back the ball. KEVIN FLEURY -LRB- CONT'D. -RRB- Did you get the bad guys, Daddy? Fleury catches the ball, stares at his son. TIGHT ON FLEURY : He reaches and pulls his son close, holding him for what might just be forever. -LRB- alt : He hands Kevin Al - Ghazi's prayer beads. -RRB- KEVIN FLEURY -LRB- CONT'D. -RRB- There's a lot of bad people out there. are n't there, Daddy? RONALD FLEURY Yeah, there are. -LRB- a beat. -RRB- But you want to know something? KEVIN FLEURY What? RONALD FLEURY You're not one of them. -LRB- alt : There's a lot of good guys, too. -RRB- Kevin smiles up at his dad. For the first time in a long while, Fleury smiles back. BLACK.\"\n]"},"labels":{"kind":"list like","value":[0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,1,0,0,0,0,0,1,1,0,0,0,1,1,1,0,0],"string":"[\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 1,\n 1,\n 1,\n 0,\n 0\n]"},"summary":{"kind":"string","value":"During a softball game at an American oil company housing compound in Riyadh, Saudi Arabia, al-Qaeda terrorists set off a bomb, killing Americans and Saudis. While one team hijacks a car and shoots residents, a suicide bomber wearing a fake police uniform blows himself up, killing everyone near him. Sergeant Haytham of the Saudi State Police kills the carjackers. The FBI Legal Attaché in Saudi Arabia, Special Agent Fran Manner, calls his US colleague, Special Agent Ronald Fleury, to advise him about the attack. Manner is discussing the situation with DSS Special Agent Rex Bura when an ambulance full of explosives is detonated, killing Manner, Bura, and many others. At FBI Headquarters in Washington, D.C., Fleury briefs his rapid deployment team on the attack. Although the U.S. Justice Department and the U.S. State Department hinder FBI efforts to investigate the attack, Fleury blackmails the Saudi ambassador into allowing an FBI investigative team into Saudi Arabia. Fleury gathers Special Agent Janet Mayes, a forensic examiner, FBI analyst Adam Leavitt, an intelligence analyst, and Special Agent Grant Sykes, a bomb technician, to go to Saudi Arabia. On arrival they are met by Colonel Faris al-Ghazi, the commander of the Saudi State Police Force providing security at the compound. The investigation is being run by General Al Abdulmalik of the SANG, who does not give Fleury and his team permission to investigate. The FBI team is invited to the palace of Saudi Prince Ahmed bin Khaled for a dinner. While at the palace, Fleury persuades the Prince that Colonel al-Ghazi is a natural detective and should be allowed to lead the investigation. With this change in leadership, the Americans are allowed hands-on access to the crime scene. While searching for evidence, Sergeant Haytham and Sykes discover the second bomb was detonated in an ambulance. Fleury learns the brother of one of the dead terrorists had access to ambulances and police uniforms. Colonel al-Ghazi orders a special forces team to raid a house, managing to kill a few heavily armed terrorists. Following the raid, the team discovers clues, including photos of the U.S. and other Western embassies in Riyadh. Soon afterward, the U.S. Embassy Deputy Chief of Mission Damon Schmidt notifies Fleury and his team that they have been ordered to return to the United States. On their way to King Khalid International Airport, their convoy is attacked and incapacitated. Leavitt is dragged out of the wrecked car and kidnapped while Fleury manages to wound one attacker. Al-Ghazi commandeers a civilian vehicle to chase the fourth SUV and the other car holding Leavitt into the dangerous Al-Suwaidi neighborhood of Riyadh. As they pull up, a gunman launches rocket-propelled grenades at them and a fierce firefight starts. Leavitt is tied up inside a complex. While Sykes and Haytham watch the entrance to the complex, al-Ghazi, Fleury, and Mayes follow a blood trail and kill many gunmen inside. Mayes, separated from the others, finds Leavitt and his attackers, preparing an execution video of Leavitt. She kills the remaining insurgents, and al-Ghazi and the team start to leave. Fleury then realizes there is a trail of blood leading to the back of the apartment. After they enter, Mayes comforts a girl in the apartment and offers her candy. In return, the girl offers Mayes a marble, similar to those embedded in the bodies of some bombing victims. Al-Ghazi sees the grandfather, reaches out with his hand, and offers to help him stand. When the old man gives him his hand, al-Ghazi sees that the man is missing the same fingers as Abu Hamza al-Masri in the terrorist group's many videos and confirms his suspicion that the grandfather is the terrorist leader. Abu Hamza's teenage grandson walks out of the bedroom and shoots al-Ghazi in the neck, then he starts to point his gun at Mayes, prompting Fleury to kill him. Abu Hamza then pulls out an assault rifle and Haytham kills him. As Abu Hamza dies, another grandchild hugs him and Abu Hamza whispers something into his ear to calm the child down. Al-Ghazi dies in Fleury's arms. At al-Ghazi's house, Fleury and Haytham meet his family. Fleury tells his son that al-Ghazi was his good friend, mirroring a similar scene earlier in the movie wherein he comforted Special Agent Manner's son. Fleury and his team return to the United States, where they are commended by FBI Director James Grace for their outstanding work. Leavitt asked Fleury and Mayes what he had whispered to her to calm her down. The scene cuts to Abu Hamza's daughter asking her own daughter what her grandfather whispered to her as he was dying. The granddaughter tells her mother, \"Don't fear them, my child. We are going to kill them all,\" a similar line to what Fleury had whispered to Mayes."},"name":{"kind":"string","value":"The_Kingdom_(film)"}}},{"rowIdx":80,"cells":{"scenes":{"kind":"list like","value":["INT. TAXI CAB - MOVING - DAY Rain falls on the rear window of a taxi parked in the taxi zone of the Charles de Gualle Airport. Aside from the incessant tapping of rain on the roof of the cab we hear the sounds of the airport : the almost monotonic loudspeaker declaring in French that loitering is not permissible and that should any bags be left unattended that they will be destroyed ; the honking of the horns from other automobiles ; the unintelligible chatter of people as they get their bearings. Inside the cab, playing on the radio, is Angelique Kidjo's funky song `` Batonga''. Then, the rear door to the cab opens and in an EXTREME CLOSE UP we see ZED, a young man with wild, almost mesmerizing eyes shielded by small round glasses, and with a head of nappy red hair. His face has drops on it from the flurry outside. He settles himself, then looks to the CAB DRIVER, an easy going Senegalese/Frenchman, in the front seat. ZED Hotel Mondial. CAB DRIVER Le Mondial. Tres bien. He starts driving. CAB DRIVER Avec cette pluie ca risque de prendre un moment. L'autoroute est ferme. A cause du 14 Juillet. He drives for a while. CAB DRIVER Do you mind the radio? Zed looks at the meter, francs are clicking away. He also looks at the cab driver's license, his name is Moises Du Bois. CAB DRIVER Do you want me to turn the radio off? ZED -LRB- realizing he's being asked a question. -RRB- I do n't speak French. The driver turns around. CAB DRIVER -LRB- in broken English. -RRB- Ah. American? ZED That's right. CAB DRIVER That's good because I speak a little English. Zed nods. CAB DRIVER I asked if you mind the radio. Music. You know. Zed shakes his head `` no''. CAB DRIVER -LRB- with a smile. -RRB- Super cool. Zed adjusts his watch. ZED What time is it? CAB DRIVER Time, time, time. I do n't know. Daytime. Zed forgets the adjustment for now. CAB DRIVER Are you in town for business? ZED Yes. CAB DRIVER It's a nice hotel. Your hotel. Very big rooms. He looks at Zed in the rear view mirror. CAB DRIVER Do you know Paris? ZED I've been here once before. When I was younger. The cab driver smiles. CAB DRIVER Those were the days. They drive for a while. CAB DRIVER Married? ZED I beg your pardon? CAB DRIVER Do you have a wife? ZED No. -LRB- then after thinking about it for a while. -RRB- Why? CAB DRIVER Well, if you need a wife for the night. -LRB- searching for the right words in French. -RRB- Une escorte. Pour vous faire visiter. -LRB- then back to his broken English. -RRB- For business. I give you my number. Very nice girl. French. Like when you were young. He lifts his hand and shows his index and middle finger tightly extended together, then he crosses them. CAB DRIVER Know what I mean? Zed smiles at this and nods. CAB DRIVER Speaks the language of love. Take you to heaven and back. You just tell me and I set it up. Zed shakes his head and laughs. CAB DRIVER What you laughing at? You let Moises set it up. She treat you right. She treat you fine. Zed can do nothing but smile at the thought of it.","INT. HOTEL - HALL - DAY A long, empty hallway of a moderately priced hotel. From around a corner comes a BELLBOY carrying Zed's one bag. Zed is right behind him. They come up to room 6A and the bellboy unlocks the door.","INT. HOTEL ROOM - DAY The door to the room opens and the bellboy, followed by Zed, walks into the room. He puts Zed's bag onto one of those luggage holders and proceeds to show him the room. Sitting on the bed is a large air freight package. BELLBOY -LRB- in broken English. -RRB- Your package. It arrived in the last night of before last night. He points to the telephone. BELLBOY Ah. telephone, for the room service. He motions toward the bathroom. BELLBOY The toilet. He opens the closet door. BELLBOY To hang the clothes. He points to a control console next to the bed. BELLBOY From here you can operate the television. Then he pauses at the door before he goes out. Zed reaches into his pocket and takes out some French money, he starts fingering through it. Then, the bellboy takes the liberty of showing Zed which bills to give him. BELLBOY -LRB- after getting what he wanted. -RRB- Merci. He starts to leave. ZED Oh, wait. The bellboy turns around. ZED What time is it? BELLBOY -LRB- confused. -RRB- What time is it? ZED -LRB- pointing at his watch. -RRB- Time. BELLBOY Ah. Yes. Il est presque huit heures moins dix. The bellboy clicks his heels and walks out the door. Zed looks around the room, still wondering what time it is, and takes a seat on the bed. Obviously tired from the flight Zed unbuttons his shirt a bit and lays back on the bed next to the package. Before he dozes off to sleep he takes his watch off and places it on the bedside table. He is asleep.","INT. HOTEL ROOM - LATER - DAY Zed's bed, while still made, looks like it's been slept in. Sitting on it is the ripped open air freight package. Inside of it is a black steel briefcase. The shower is on and from the look of things Zed is in it. On the bedside table we see Zed's watch. It reads 12:10 P.M. Next to it is the phone. Next to the phone is a piece of folded paper with Moises' name and a phone number that reads : 45.63.53.37.","INT. HOTEL ROOM - BATHROOM - SHOWER - DAY Zed is in the shower letting the water run directly into his face and cascade down his body. He opens his mouth and freely drinks the water, then he spits some out with a spurt. Then he stops, attentive, listening for something. He turns the shower off. Then he hears it again, the knocking on the door.","INT. HOTEL ROOM - BATHROOM - DAY Zed grabs a towel and climbs out of the shower. He makes his way toward the knocking.","INT. HOTEL ROOM - DAY Zed walks to the door to his room with the towel wrapped around his waist. He opens it. In the hall is ZOEY, a cute French girl of not more than twenty. She's chewing on gum the way a schoolgirl might, but she looks like no girl Zed ever went to school with. ZOEY Bonjour. ZED -LRB- a little awkwardly. -RRB- Bonjour. Zed opens up the door and lets her in. She checks out the room and places her bag on the bed. Then she makes her way to the window for a view of the city. ZOEY Wow. Vous avez une belle chambre. Je ne suis jamais venue dans cet hotel. She turns to him, but in the process takes the time to examine every detail of the room. ZOEY Ca sera 150 francs de l'heure. Toute la nuit pour 700. D'avance. Et faudra porter un - ZED I. do n't speak French. She blows a bubble. ZOEY It's okay. She takes a seat on the bed. ZOEY It will be one thousand francs for all night. In advance. Zed takes the money out of his wallet and gives it to her. ZOEY We can do it now if you want. ZED Well, let me just dry up. ZOEY Okay, but it's not necessary. He goes into the bathroom and starts drying himself. She puts the money in her bag and then turns on the television from the remote console. A French talk show comes on. She changes the channel until she comes to a station playing F.W. Murnau's silent classic, `` Nosferatu''. She smiles and sits back to watch. ZED -LRB- O.S. -RRB- -LRB- from the bathroom. -RRB- What's your name? ZOEY Zoe or Zoey. Which ever you like. ZED -LRB- O.S. -RRB- My name's Zed. ZOEY -LRB- smiling at this. -RRB- That's funny. We both have Z names. Zed comes walking out of the bathroom drying his hair. His pants are on. ZED What was that? She notices his pants. ZOEY You can take those off. The pants. ZED I'd rather watch you get undressed first. ZOEY -LRB- matter - of - factly. -RRB- Alright. She stands up and starts to lift her top off. He stops her. ZED Slower. He lays down on the bed. She stands there looking at him and then smiles. ZOEY Alright Mister America. Zed. Then, with Zed laying on the bed and watching her, she slowly, seductively strips in front of him, never taking her eyes from his eyes, until she is totally naked. ZOEY Slow enough for you? Then, like a cat prowling for it's prey, she crawls over the bed to him and begins to unbuckle his pants. She removes the pants and climbs on top of him. They begin to make love. On the television, `` Nosferatu'' silently plays. Zoey and Zed quicken their pace with an urgency one ca n't resist during a moment of passion. She cries out and lowers herself to his grasp. An IMAGE overcomes her mind. They quicken to an almost violent speed and then expire, both satisfied. She begins to kiss him multiple times over the face. ZOEY C'etait formidable. She rolls over, still hugging him, purring like a kitten. They rest there for a while. holding each other. ZOEY I'm cold. She takes the covers and crawls under them, so does Zed. ZOEY Zed? ZED Yes? ZOEY Moises told me you were in town for business. ZED Yes. ZOEY What kind of business? ZED Why? ZOEY I do n't know. I'm just curious. ZED Do you ask all your clients questions? ZOEY No. Just the ones I like. ZED So you like me? ZOEY Yes. ZED Why? ZOEY Because you're. a good person. I run into some real creeps. You know. ZED How do you know I'm a good person? ZOEY Body language. We fit together. ZED All men and women fit together. Hell, even some men fit together. ZOEY No, but you know, we clicked. You made me orgasm. Do you know how often I orgasm with a man Moises sets me up with? ZED No I do n't. ZOEY Usually never. They're almost always fat like pigs. Zed laughs at this. ZOEY And you make me feel safe. That's something more important than the orgasm. An integral part maybe of the orgasm. ZED I never really thought of it like that. ZOEY Well, it's true. Zed nods at this. ZOEY Turn off the television. Zed reaches over and turns it off from the console. ZOEY So I mean it when I tell you Zed, I like you very much. ZED Well, I like you too Zoe. ZOEY Honest? He nods. ZOEY Why? For the same reason? Any man can orgasm. Even with his own hand. Zed stares ahead as he thinks of an answer. ZED Well, I like your honesty. You're open. Unlike most prostitutes I've been with. She does n't like the sound of this. She slaps him. ZOEY I am not a prostitute! Zed is a little surprised at this. ZED Really? Can I have my francs back then? ZOEY I'm a student. And to pay for the classes I became an escort. It's my choice to sleep with you. ZED I see. ZOEY What? You do n't understand. ZED No, I do. ZOEY Hey, it's not easy. ZED I did n't say it was. ZOEY I'm here because I want to. ZED Okay, okay relax. What school do you go to? ZOEY The Centre du Art, Paris. ZED That's really interesting. What kind of art do you study? ZOEY Not any of the old shit. ZED Oh. ZOEY I have a day job too. Three times a week. She rolls onto her back and stares into an imaginary world as she talks to Zed. ZOEY But someday there will be only my art. ZED What kind of things do you paint? ZOEY I do n't paint. I make things. Objects. Not like sculpture. Like life. but with no narrative. I want when someone looks at one of my objects for there to be no reference to the world. Void of feeling, emotion. void of destiny. Those are left for me. They belong only to me. If someone else can see into it. then it is no longer mine. I have failed. And I would destroy it. I do n't care how much cash they would offer me. It would be shit. I ca n't tell you how many objects of mine have been destroyed. They told too much about me. And if someone wants to know something about me. I'll tell them myself. The way I'm telling you. She looks back at him. ZOEY What I do I do only for the objects. ZED I'd like to see one of these. ZOEY What? So you could see the work of a whore? He decides to put a stop to this once and for all. ZED Zoey. I'm sorry for calling you a prostitute. I did n't understand the difference. ZOEY The difference is a prostitute would have lied to you about her orgasm. He gives her a kiss. ZED If these things you make are as true as you are. I'm sure they're as indescribable. Perhaps, someday, you'll make one. about me. ZOEY If I do. you'll never know which one it is. Because I'll be the only one who understands. I'll be the only one who can look into it and see where in my life it came from. Zed is unable to speak. They look into each others eyes for a long moment, hearing the sounds of the city drift in through the window. Then she leans forward and gives him a soft understanding kiss.","INT. ZED'S ROOM - NIGHT Zed is asleep. Zoey is asleep in his arms. There is a knocking at the door. Zed opens his eyes. The knock becomes a pound. Zed gets up and puts on his pants. Zoey gets up and looks around. ZOEY -LRB- groggily. -RRB- What time is it? ZED I have no idea. Night time. There is more pounding on the door. ZOEY I'm going to take a shower. She trots off naked to the bathroom and starts the shower. Zed walks over to the door and opens it up. Standing in the hall is Eric, a Frenchman of Zed's age wearing baggy French - style clothes. ERIC -LRB- with a thick accent. -RRB- Hey you madman! Zed's happy to see him. ZED Eric. Come in. They hug. ERIC What happened to you? I thought you were going to call. Eric walks in and starts to notice the traces of wild love making around the room. ERIC -LRB- smiling. -RRB- Oh I see. You have been busy. ZED Sorry, I asked the hotel to give me a wake up call. ERIC That's good, but now I am here. So let's go. We have a lot to talk about. ZED What about the girl? ERIC Is she your girlfriend? ZED No. ERIC Fuck her. He peeks into the bathroom. ERIC She's a dishrag whore. Kick her out. ZED I'll let her stay here tonight. ERIC Do n't be silly. It's dangerous. Eric walks into the bathroom.","INT. HOTEL ROOM - BATHROOM - NIGHT Eric walks up to the shower and knocks on the door. Zoey is obviously surprised to see him. ERIC -LRB- in French with English subtitles. -RRB- Okay. Get out of the shower. It's time for you to leave. ZOEY Fuck you. Eric opens up the door and yanks her out of the shower. ERIC No. Come on you fucking slut! She shrieks. ZOEY Let go of me you shit! He drags her out into the room, she is dripping wet.","INT. HOTEL ROOM - NIGHT Zed ca n't believe this. ZED Eric. ERIC -LRB- to Zed. -RRB- Do n't worry about her. -LRB- to Zoey in French. -RRB- Why do n't you just go back to your pimp and suck his black dick! She bites his hand. He yells in pain. ERIC God damn it! He kicks her in the butt and sends her toward the door. ERIC Get the fuck out of here you fucking whore! He opens the door and throws her into the hall.","INT. HOTEL - HALL - NIGHT Naked, Zoey falls into the hall. Eric slams the door shut. She is instantly back on her feet and screaming as she pounds on the door. ZOEY Give me my clothes you asshole!","INT. HOTEL ROOM - NIGHT She is pounding on the door. ERIC -LRB- looking at his hand wound. -RRB- God damn it. Look at my hand. ZED -LRB- shocked at the whole incident. -RRB- Jesus Eric. ZOEY -LRB- O.S. -RRB- Ouvres! Je veux mes habits! Eric listens. ERIC Oh shit. Her clothes. He picks up her clothes and her bag, opens the door, and throws it into the hall just long enough for her to yell at him. ZOEY -LRB- almost too quick to understand. -RRB- Tu te prends pour qui espece de connard!? ERIC La ferme! He slams the door shut. Then he turns to Zed. ERIC So tell me, what have you been up to? Zed sits down on the bed. ZOEY -LRB- O.S. -RRB- Allez vous faire enculer tous le deux! ZED Eric, I liked that girl. ERIC Oh. Well, then why did n't you stop me. ZED Because you were on a rampage. ERIC Look, your whole life you've done nothing but fuck whores. A girl like that will give you AIDS. Why do n't you find a nice girl in the suburbs? ZED Because when you need to get off you do n't want to have to date for months to do it. ERIC Just use your hand like me. ZED Sometimes you just need honesty. and security. ERIC I do n't understand. Anyway, it's too late. Get dressed, let's go out and meet the boys. ZED Okay, let me take a shower. ERIC No, in Paris it's good to smell like you've been fucking. It will make them respect you. ZED Oh. ERIC Just put on a shirt and a sport coat. Zed starts to get dressed","EXT. BOULEVARD SAINT MICHEL - NIGHT The McDonalds on the corner of Boulevard Saint Michel and Rue Soufflot is bustling. Eric's Citroen screeches around the corner on it's way past the Pantheon and into the heart of the fifth Arrondissment.","INT. ERIC'S CAR - MOVING - NIGHT Eric and Zed are driving through the streets of Paris in Eric's car. The grooving Ryuichi Sakamoto song `` Triste'' is playing on the radio. ERIC I'm glad you came. How long has it been? ZED Years. ERIC It's amazing, you know? Here you are. One day in America. Now here. ZED Well, to be honest there really was n't much happening for me in the states. ERIC But in Paris your old friend Eric has a job for you, so you came. That's good. ZED How could I resist your invitation? ERIC You would have been stupid to. ZED So what have you been doing here? ERIC After school I spent some time in Algeria studying African philosophy. And then I bummed around. You know. For fun. For a while I worked at Le Figaro. The newspaper. ZED Really? ERIC Yes. With an assumed Masters degree. And lately we have just been bombing fascists here in Paris. You know, like terrorists. Zed looks over at him. ERIC It's fun.","INT. ERIC'S FLAT - OUTER STAIRWELL - NIGHT Eric and Zed walk up the stairs to the fifth floor where Eric's flat is. On the top landing there is a dead cat laying. Zed and Eric notice the cat as Eric is opening the door. There is also a telephone coming out of the neighbors door. ERIC The people next door are on holiday. We took their phone. If you want to make a long distance call, go ahead. ZED Is that cat dead? ERIC I do n't know. I think it's asleep but it's been there for days. Eric gives it a kick. No response. ERIC I guess it is dead. They walk into the flat.","INT. ERIC'S FLAT - LIVING ROOM - NIGHT Eric's flat consists of a good sized living room area with a connected kitchen and a small bedroom in the back. In the front of the living room there is a small balcony where the sounds of the city pour in. The room itself is a general mess. A bunch of guns are piled in one corner of the floor. Hung up on the wall is a huge, French `` Dressed To Kill'' poster. Some Brazilian Gilberto/Getz music is playing. Sitting at the table playing cards are three men : FRANCOIS, RICARDO, and JEAN. Sitting on the couch rolling a cigarette with hash is CLAUDE and OLIVER. They all turn as Zed and Eric walk in. ERIC Hello. They all return the greeting. ERIC -LRB- to Zed. -RRB- Okay. This is Francois, Ricardo, Jean, Oliver, and Claude. Got it? ZED I will. ERIC They all know who you are. -LRB- to the rest of them. -RRB- Ne soyez pa salauds. Offrez une biere au plus grand perceur de coffres. Oliver stands up and walks to the kitchen. OLIVER -LRB- with an English accent. -RRB- Zed, would you like a beer? ZED Thanks. OLIVER Do n't think of it. CLAUDE -LRB- to Zed. -RRB- Come. Sit down.","INT. ERIC'S FLAT - KITCHEN - NIGHT The kitchen is an absolute pig stye. Dishes are piled up in the sink and on the counter. Oliver grabs a glass that has some old beer in it and empties it. He scratches some filth off of it and pours some beer into the glass.","INT. ERIC'S FLAT - LIVING ROOM - NIGHT Zed takes a seat on the couch next to Claude. Suddenly, a SPIDER MONKEY dressed in a little Uncle Sam costume comes screeching up onto Zed's lap and then up onto his head, the whole time clawing at his eyes. Eric, amused, turns from the men playing cards and smiles. CLAUDE -LRB- to Zed. -RRB- Easy. Do n't scare him. He just wants to claim you. Zed is frozen as the monkey climbs around him and then onto Claude's shoulder. CLAUDE Let me introduce you properly. This is Enrique. The monkey screeches. CLAUDE He likes to be called Chim Chim, but we do n't always get what we like. do we? Again, the hideous creature screeches. CLAUDE -LRB- to Enrique. -RRB- Tais - toi! -LRB- then to Zed. -RRB- Do you like hash? Then Eric interrupts. ERIC -LRB- jokingly. -RRB- Do n't sit next to that junkie. CLAUDE Ahhhhhh! Claude throws a lit cigarette at him which explodes into a mass of sparks. They laugh. ERIC -LRB- to Claude. -RRB- That little shit monkey of yours pissed on my Billy Holiday albums. Next time he's out the door. -LRB- to Zed. -RRB- Zed, come here. Zed gets up and goes with Eric to the bedroom. On the way Oliver hands him the glass of beer. OLIVER Here you go mate. ZED Thanks. Oliver sits down next to Claude.","INT. ERIC'S FLAT - BEDROOM - NIGHT Eric's bed has probably never been made. In fact, this room looks a lot like Quentin Tarantino's old apartment. But, there is a certain order to all this chaos. Eric pulls out a blueprint and spreads it out over the bed. ERIC Do n't ask me where we got this. ZED Okay. ERIC On Bastille Day, all the banks are closed. He places his hand on the blueprint. ERIC But this one. BIP. The Banque Internationale de Paris. And for being greedy capitalists perhaps they will remain closed next Bastille day. Yes? Zed smiles. ERIC We will go in and shut the bank down. Now, look at this. Eric pulls out a complex electronic schematic. ERIC As you can see, only one person can start the alarm. -LRB- he hands it to Zed. -RRB- The concierge, at this desk. -LRB- he points it out on the blueprint. -RRB- We will take care of him. Then we can close the bank. No one will know the difference since every other bank will be closed. ZED -LRB- turning the schematic around. -RRB- Are you sure he wo n't push the alarm? ERIC Ahhh! He's right next to the door. We'd have to be totally incompetent not to stop him. Do n't worry about that. He points to the main floor vault. ERIC Here. This is where they keep the days reserve cash. Okay fuck that. He flips the page to the lower level blueprint. ERIC There are many vaults downstairs, but this is the vault we must get into. This is where the real prize is. ZED What kind of vault is that? He checks the blueprint. ERIC Ah. Swiss made. A Caliber. ZED Caliber? -LRB- he thinks about it. -RRB- It'll take three hours. ERIC No, that's too long. ZED That's how long it'll take. ERIC Well shit. It's too long. We have to be in and out. -LRB- he snaps his fingers. -RRB- Like that. Or there will be suspicion. A little time is okay. but too long and. He shrugs his shoulders in an `` I do n't know gesture.'' ZED Well hold on a second. -LRB- pointing to the blueprint. -RRB- What's this? Eric looks down at the blueprint. There is a small passage connecting the main vault to an adjacent vault. ERIC Another vault. ZED No this. Eric looks closely at the blueprint. ERIC I do n't know. it connects the two vaults. ZED Well, what kind of vault is this other one? ERIC -LRB- reading the blueprint. -RRB- Also Swiss, but this one is a Poseidon. ZED Why would those two vaults be connected? ERIC I do n't know. ZED Because I can get into this vault in half an hour. Maybe less. ERIC But this entry way is too small to get the platen out. We have a lot of merchandise in there. ZED No, do n't you see? We get in through this secondary vault and take this passage to the other main vault. From the inside I could open the Caliber vault in five minutes. ERIC You could open it in five minutes? ZED From the inside it's easy. ERIC -LRB- excited. -RRB- Hot damn. That is our answer. ZED Okay. When is Bastille day? ERIC Tomorrow. ZED Tomorrow!? We're doing this tomorrow? ERIC But of course. ZED It's impossible. ERIC It's not impossible. Everyone knows what to do. ZED I do n't know what to do. ERIC You do n't need to know shit. Just get into the vault and we'll do the rest. ZED I have n't even seen the bank. ERIC Fuck the bank. Before we do a job we live life. It's better that way. Okay? ZED -LRB- unsure. -RRB- Okay. ERIC Good. Now we do heroin!","INT. ERIC'S FLAT - BATHROOM - NIGHT EXTREME CLOSE ON : Eric making heroin. The heroin powder is put into a spoon with some lemon squeezed into it, then a little bit of tap water. Huddled around Eric are Francois, Ricardo, and Oliver. OLIVER -LRB- so high he's wobbling. -RRB- You have to look at the Starship Enterprise as a metaphor for the human brain. No one is really listening to Oliver. Eric takes out a lighter and cooks it to a boil. OLIVER -LRB- continuing. -RRB- Spock is the right hemisphere of the brain, all logic and intellect. Mc Coy is the left hemisphere, stricktly emotional. And Kirk is the unseen observer. He drifts between the two. Back and forth, as it might be, caught between the two thought processes. ERIC Cotton. Ricardo hands him a cotton ball. OLIVER -LRB- continuing. -RRB- It's really quite brilliant you know. That's why Star Trek is and always will be a hit show. Eric places the cotton ball in the spoon with the mixture. ERIC -LRB- to Oliver. -RRB- Here, shut up and hold this. He hands Oliver the spoon and takes out a needle. Using the cotton as a filter he draws the heroin into the syringe. Then, he holds the syringe up and starts tapping it. ERIC Do n't want to get air bubbles in my veins. They all laugh at this.","INT. ERIC'S FLAT - LIVING ROOM - NIGHT In the meantime, Zed is sitting on the couch with Claude and Jean. Claude is rolling a hash and tobacco cigarette. Jean is chopping up some powder heroin on the glass of a small picture. JEAN Do you want heroin? ZED No, I want to be sharp for tomorrow. Jean and Claude laugh at this. JEAN No. A little bit of heroin, some hash, a beer. and you're just right. Jean snorts a line. Claude offers Zed the spliff. Zed shakes his head `` no''. CLAUDE Okay. JEAN -LRB- recovering from the snort. -RRB- That's good. Eric, Francois, Ricardo, and Oliver come out of the kitchen laughing. Eric, Ricardo, and Oliver take a seat on the couch opposite Zed. Francois sits on the floor. Eric rolls up his sleeve. ERIC -LRB- to Ricardo in French. -RRB- Hold my arm. -LRB- then to Zed. -RRB- My vein is like a rock. Ricardo takes hold of his arm and squeezes. Eric inserts the needle into his vein and draws out a little blood. It mixes with the heroin, then he pumps it in. then back into the syringe, then all the way back in. He withdraws the needle. Ricardo lets go of his arm. Eric is in bliss. His eyes roll back into his head. He looks like he's on the verge of falling asleep. Then Jean takes another snort. Pretty soon everyone is smoking and getting high, shooting up, and drinking more beer. Then Jean holds out a piece of folded aluminum foil with some heroin in it. JEAN -LRB- to Zed. -RRB- Try some. It's called chasing the dragon. The Chinese have been doing it for centuries. ZED I do n't think so. JEAN Oh, but you must. It will make you feel as though the rest of the world is in a bubble of glass and that you're rubbing up against it like a bad windshield wiper. They stick the aluminum foil with the heroin in it up next to his face. They then light the bottom of the foil with a lighter. Before Zed knows it, he's inhaling a silky ribbon of smoke. Suddenly our plane of focus wildly shifts and we.","INT. ERIC'S CAR - MOVING - NIGHT Ricardo is racing Eric's car through the streets of Paris weaving in and out of traffic. Next to him is Oliver, and in the back seat is Zed and Eric. They're giving the very stoned Zed a whirlwind tour of the sights. A car speeds up next to them. In it is Francois, and Claude, with Jean driving. They are racing with Ricardo through the streets. The Patrick Hernandez song `` Born To Be Alive'' is blasting away on the radio. ERIC There. That's Notre Dame. But before Zed can even look it has past by. RICARDO Do you like French cars? All Zed can notice is that the speedometer is at 160 kilometers per hour. He tries to calculate what that is in miles per hour. ZED -LRB- answering Enrique's question. -RRB- Yes. RICARDO I like the Cadillac. Fifty - two to seventy - five. Very nice. ERIC Up here you can see the Eiffel tower. Zed is in too much of a blur. He leans over to Eric. ZED Is tomorrow really Bastille day? ERIC Yes, tomorrow we pull the biggest job in French history. And spend the rest of our lives in Monte Carlo. The drunken Englishman, Oliver, belches and then cheers.","EXT. PARIS STREET - NIGHT The two cars are franticly racing through traffic.","INT. JEAN'S CAR - MOVING - NIGHT Jean is very intent on beating them to whatever location it is they're going to. Claude, in the seat next to him, gives him some advice. CLAUDE Faster, faster. go faster. Let's beat them! Francois laughs and coughs out a cloud of smoke.","EXT. PARIS STREET - NIGHT Jean's car makes a dangerous lane change across traffic and cuts off Ricardo.","INT. ERIC'S CAR - MOVING - NIGHT Ricardo swerves as he passes a joint to Eric. RICARDO Shit! That bastard. ERIC -LRB- to Ricardo. -RRB- Watch it! Do n't crash my car. Eric takes a big hit. ERIC Over here is where the male prostitutes sell themselves. Do you see? No, Zed does n't see. Suddenly, everyone in the car is shouting out the windows. OLIVER -LRB- out the window. -RRB- Fucking fags! ERIC -LRB- also out the window. -RRB- Suce ma bite?! RICARDO Perverts d'homosexuels! Eric laughs. ERIC -LRB- into Zed's ear. -RRB- This is good to have you here. We could not do this without you. Zed nods. ERIC Everyone has agreed to give you double shares. That's good. Zed nods, delirious. ERIC You know I have AIDS. From the needle. Zed ca n't believe this. He's not sure if what he heard was what he thought he heard. ZED Really? Then Eric sees something. ERIC Okay, up here is the Arc de Triomphe. They take a sharp turn.","INT. CELLAR - NIGHT Eric, Zed, Francois, Ricardo, Jean, Claude, and Oliver are all walking down some dank stone steps into a cellar. Somewhere crazy Raymond Scott Toy Jazz music is playing. An old wine cellar has been converted into a Toy Jazz club. Nothing fancy. dirt floors, chairs and small tables scattered about. but the arched brick ceilings make for great acoustics. ON STAGE a BAND is playing away. In the audience sit about TWELVE FRENCH PEOPLE, all enjoying the music. AT THE BUFFET In the back of the club near the doors some tables have been set up with a buffet of local cuisine on it. Behind the tables are two rotund but happy French women MIRELLE and JOSEPHINE. Eric, Zed, Francois, Ricardo, Jean, Claude, and Oliver walk in and immediately start blabbing away in French to Mirelle and Josephine. Eric hands them some money. ZED'S TABLE Everyone enters and takes seats at various parts of the club. Oliver sits next to Zed. OLIVER So, how long have you known Eric? ZED Well, Eric's mother is American. OLIVER Yeah, and his dad's French. ZED They're divorced. And she and his father had some kind of six month split plan set up. So every six months he would come back to the states. We were best friends. Eventually he and his mother had a falling out and he stayed here. It's been. years. OLIVER Well, it's good to have you here. Eric speaks fairly highly of you. Say, he says you're a big fan of Viking films. ZED Well. I suppose. I used to be, when I was young. OLIVER Oh they're the best. Helmets with horns on them. Shit. That's fucking genius. He starts laughing. OLIVER How ` bout Toy Jazz? You like it? Zed watches the players on stage and then nods. ZED Yeah. I guess. OLIVER I love it. It's really good, you know? Like real music. It has a heart and culture all it's own. It's, like, jazz for dwarves. or guys in Leiderhosen. Total purity of essence. ZED Yeah. OLIVER Hungry cannibals'd like it. Then Claude comes up to them with some glasses and a bottle of red wine. CLAUDE Here, you must drink some of this wine, it's good. He pours Zed a glass. Oliver passes on the wine. OLIVER -LRB- to Claude. -RRB- Non merci, c'est de la merde. CLAUDE -LRB- to Oliver. -RRB- La ferme. C'est du bon vin. -LRB- to Zed. -RRB- The fucking English. Zed sips some. He's in no real shape to tell if the wine's good or not. ON STAGE Suddenly, it seems as though the bands music gets louder. The horns really start to scream and the room becomes a delirium of music. The band stands up. IN THE AUDIENCE The people watching start to dance, if not in their seats then right in front of everything. ZED'S TABLE Suddenly, Zed notices something. ON STAGE Eric is up on stage playing a trombone right alongside the band. ZED'S TABLE Zed blinks but it's true. Oliver and Claude start laughing. OLIVER Look at him. He's crazy. ON STAGE And surely he must be, yet, in a strange way, he's keeping up with the other musicians and sounding pretty good. Eric is all smile as he plays with them. Sweat is running down his face but he's caught up in the moment. ELISE, a woman from the audience has jumped up onto the stage, caught up in Eric's frenzy, and is dancing about like James Brown. Then, the music crescendos and Eric hands the trombone back to a musician. The set is over. Eric skips off the stage and walks over to where Oliver, Claude, and Zed are sitting.","EXT. BOULEVARD SAINT MICHEL - NIGHT The McDonalds on the corner of Boulevard Saint Michel and Rue Soufflot is bustling. Eric's Citroen screeches around the corner on it's way past the Pantheon and into the heart of the fifth Arrondissment.","INT. ERIC'S CAR - MOVING - NIGHT Eric and Zed are driving through the streets of Paris in Eric's car. The grooving Ryuichi Sakamoto song `` Triste'' is playing on the radio. ERIC I'm glad you came. How long has it been? ZED Years. ERIC It's amazing, you know? Here you are. One day in America. Now here. ZED Well, to be honest there really was n't much happening for me in the states. ERIC But in Paris your old friend Eric has a job for you, so you came. That's good. ZED How could I resist your invitation? ERIC You would have been stupid to. ZED So what have you been doing here? ERIC After school I spent some time in Algeria studying African philosophy. And then I bummed around. You know. For fun. For a while I worked at Le Figaro. The newspaper. ZED Really? ERIC Yes. With an assumed Masters degree. And lately we have just been bombing fascists here in Paris. You know, like terrorists. Zed looks over at him. ERIC It's fun.","INT. ERIC'S FLAT - OUTER STAIRWELL - NIGHT Eric and Zed walk up the stairs to the fifth floor where Eric's flat is. On the top landing there is a dead cat laying. Zed and Eric notice the cat as Eric is opening the door. There is also a telephone coming out of the neighbors door. ERIC The people next door are on holiday. We took their phone. If you want to make a long distance call, go ahead. ZED Is that cat dead? ERIC I do n't know. I think it's asleep but it's been there for days. Eric gives it a kick. No response. ERIC I guess it is dead. They walk into the flat.","INT. ERIC'S FLAT - LIVING ROOM - NIGHT Eric's flat consists of a good sized living room area with a connected kitchen and a small bedroom in the back. In the front of the living room there is a small balcony where the sounds of the city pour in. The room itself is a general mess. A bunch of guns are piled in one corner of the floor. Hung up on the wall is a huge, French `` Dressed To Kill'' poster. Some Brazilian Gilberto/Getz music is playing. Sitting at the table playing cards are three men : FRANCOIS, RICARDO, and JEAN. Sitting on the couch rolling a cigarette with hash is CLAUDE and OLIVER. They all turn as Zed and Eric walk in. ERIC Hello. They all return the greeting. ERIC -LRB- to Zed. -RRB- Okay. This is Francois, Ricardo, Jean, Oliver, and Claude. Got it? ZED I will. ERIC They all know who you are. -LRB- to the rest of them. -RRB- Ne soyez pa salauds. Offrez une biere au plus grand perceur de coffres. Oliver stands up and walks to the kitchen. OLIVER -LRB- with an English accent. -RRB- Zed, would you like a beer? ZED Thanks. OLIVER Do n't think of it. CLAUDE -LRB- to Zed. -RRB- Come. Sit down.","INT. ERIC'S FLAT - KITCHEN - NIGHT The kitchen is an absolute pig stye. Dishes are piled up in the sink and on the counter. Oliver grabs a glass that has some old beer in it and empties it. He scratches some filth off of it and pours some beer into the glass.","INT. ERIC'S FLAT - LIVING ROOM - NIGHT Zed takes a seat on the couch next to Claude. Suddenly, a SPIDER MONKEY dressed in a little Uncle Sam costume comes screeching up onto Zed's lap and then up onto his head, the whole time clawing at his eyes. Eric, amused, turns from the men playing cards and smiles. CLAUDE -LRB- to Zed. -RRB- Easy. Do n't scare him. He just wants to claim you. Zed is frozen as the monkey climbs around him and then onto Claude's shoulder. CLAUDE Let me introduce you properly. This is Enrique. The monkey screeches. CLAUDE He likes to be called Chim Chim, but we do n't always get what we like. do we? Again, the hideous creature screeches. CLAUDE -LRB- to Enrique. -RRB- Tais - toi! -LRB- then to Zed. -RRB- Do you like hash? Then Eric interrupts. ERIC -LRB- jokingly. -RRB- Do n't sit next to that junkie. CLAUDE Ahhhhhh! Claude throws a lit cigarette at him which explodes into a mass of sparks. They laugh. ERIC -LRB- to Claude. -RRB- That little shit monkey of yours pissed on my Billy Holiday albums. Next time he's out the door. -LRB- to Zed. -RRB- Zed, come here. Zed gets up and goes with Eric to the bedroom. On the way Oliver hands him the glass of beer. OLIVER Here you go mate. ZED Thanks. Oliver sits down next to Claude.","INT. ERIC'S FLAT - BEDROOM - NIGHT Eric's bed has probably never been made. In fact, this room looks a lot like Quentin Tarantino's old apartment. But, there is a certain order to all this chaos. Eric pulls out a blueprint and spreads it out over the bed. ERIC Do n't ask me where we got this. ZED Okay. ERIC On Bastille Day, all the banks are closed. He places his hand on the blueprint. ERIC But this one. BIP. The Banque Internationale de Paris. And for being greedy capitalists perhaps they will remain closed next Bastille day. Yes? Zed smiles. ERIC We will go in and shut the bank down. Now, look at this. Eric pulls out a complex electronic schematic. ERIC As you can see, only one person can start the alarm. -LRB- he hands it to Zed. -RRB- The concierge, at this desk. -LRB- he points it out on the blueprint. -RRB- We will take care of him. Then we can close the bank. No one will know the difference since every other bank will be closed. ZED -LRB- turning the schematic around. -RRB- Are you sure he wo n't push the alarm? ERIC Ahhh! He's right next to the door. We'd have to be totally incompetent not to stop him. Do n't worry about that. He points to the main floor vault. ERIC Here. This is where they keep the days reserve cash. Okay fuck that. He flips the page to the lower level blueprint. ERIC There are many vaults downstairs, but this is the vault we must get into. This is where the real prize is. ZED What kind of vault is that? He checks the blueprint. ERIC Ah. Swiss made. A Caliber. ZED Caliber? -LRB- he thinks about it. -RRB- It'll take three hours. ERIC No, that's too long. ZED That's how long it'll take. ERIC Well shit. It's too long. We have to be in and out. -LRB- he snaps his fingers. -RRB- Like that. Or there will be suspicion. A little time is okay. but too long and. He shrugs his shoulders in an `` I do n't know gesture.'' ZED Well hold on a second. -LRB- pointing to the blueprint. -RRB- What's this? Eric looks down at the blueprint. There is a small passage connecting the main vault to an adjacent vault. ERIC Another vault. ZED No this. Eric looks closely at the blueprint. ERIC I do n't know. it connects the two vaults. ZED Well, what kind of vault is this other one? ERIC -LRB- reading the blueprint. -RRB- Also Swiss, but this one is a Poseidon. ZED Why would those two vaults be connected? ERIC I do n't know. ZED Because I can get into this vault in half an hour. Maybe less. ERIC But this entry way is too small to get the platen out. We have a lot of merchandise in there. ZED No, do n't you see? We get in through this secondary vault and take this passage to the other main vault. From the inside I could open the Caliber vault in five minutes. ERIC You could open it in five minutes? ZED From the inside it's easy. ERIC -LRB- excited. -RRB- Hot damn. That is our answer. ZED Okay. When is Bastille day? ERIC Tomorrow. ZED Tomorrow!? We're doing this tomorrow? ERIC But of course. ZED It's impossible. ERIC It's not impossible. Everyone knows what to do. ZED I do n't know what to do. ERIC You do n't need to know shit. Just get into the vault and we'll do the rest. ZED I have n't even seen the bank. ERIC Fuck the bank. Before we do a job we live life. It's better that way. Okay? ZED -LRB- unsure. -RRB- Okay. ERIC Good. Now we do heroin!","INT. ERIC'S FLAT - BATHROOM - NIGHT EXTREME CLOSE ON : Eric making heroin. The heroin powder is put into a spoon with some lemon squeezed into it, then a little bit of tap water. Huddled around Eric are Francois, Ricardo, and Oliver. OLIVER -LRB- so high he's wobbling. -RRB- You have to look at the Starship Enterprise as a metaphor for the human brain. No one is really listening to Oliver. Eric takes out a lighter and cooks it to a boil. OLIVER -LRB- continuing. -RRB- Spock is the right hemisphere of the brain, all logic and intellect. Mc Coy is the left hemisphere, stricktly emotional. And Kirk is the unseen observer. He drifts between the two. Back and forth, as it might be, caught between the two thought processes. ERIC Cotton. Ricardo hands him a cotton ball. OLIVER -LRB- continuing. -RRB- It's really quite brilliant you know. That's why Star Trek is and always will be a hit show. Eric places the cotton ball in the spoon with the mixture. ERIC -LRB- to Oliver. -RRB- Here, shut up and hold this. He hands Oliver the spoon and takes out a needle. Using the cotton as a filter he draws the heroin into the syringe. Then, he holds the syringe up and starts tapping it. ERIC Do n't want to get air bubbles in my veins. They all laugh at this.","INT. ERIC'S FLAT - LIVING ROOM - NIGHT In the meantime, Zed is sitting on the couch with Claude and Jean. Claude is rolling a hash and tobacco cigarette. Jean is chopping up some powder heroin on the glass of a small picture. JEAN Do you want heroin? ZED No, I want to be sharp for tomorrow. Jean and Claude laugh at this. JEAN No. A little bit of heroin, some hash, a beer. and you're just right. Jean snorts a line. Claude offers Zed the spliff. Zed shakes his head `` no''. CLAUDE Okay. JEAN -LRB- recovering from the snort. -RRB- That's good. Eric, Francois, Ricardo, and Oliver come out of the kitchen laughing. Eric, Ricardo, and Oliver take a seat on the couch opposite Zed. Francois sits on the floor. Eric rolls up his sleeve. ERIC -LRB- to Ricardo in French. -RRB- Hold my arm. -LRB- then to Zed. -RRB- My vein is like a rock. Ricardo takes hold of his arm and squeezes. Eric inserts the needle into his vein and draws out a little blood. It mixes with the heroin, then he pumps it in. then back into the syringe, then all the way back in. He withdraws the needle. Ricardo lets go of his arm. Eric is in bliss. His eyes roll back into his head. He looks like he's on the verge of falling asleep. Then Jean takes another snort. Pretty soon everyone is smoking and getting high, shooting up, and drinking more beer. Then Jean holds out a piece of folded aluminum foil with some heroin in it. JEAN -LRB- to Zed. -RRB- Try some. It's called chasing the dragon. The Chinese have been doing it for centuries. ZED I do n't think so. JEAN Oh, but you must. It will make you feel as though the rest of the world is in a bubble of glass and that you're rubbing up against it like a bad windshield wiper. They stick the aluminum foil with the heroin in it up next to his face. They then light the bottom of the foil with a lighter. Before Zed knows it, he's inhaling a silky ribbon of smoke. Suddenly our plane of focus wildly shifts and we.","INT. ERIC'S CAR - MOVING - NIGHT Ricardo is racing Eric's car through the streets of Paris weaving in and out of traffic. Next to him is Oliver, and in the back seat is Zed and Eric. They're giving the very stoned Zed a whirlwind tour of the sights. A car speeds up next to them. In it is Francois, and Claude, with Jean driving. They are racing with Ricardo through the streets. The Patrick Hernandez song `` Born To Be Alive'' is blasting away on the radio. ERIC There. That's Notre Dame. But before Zed can even look it has past by. RICARDO Do you like French cars? All Zed can notice is that the speedometer is at 160 kilometers per hour. He tries to calculate what that is in miles per hour. ZED -LRB- answering Enrique's question. -RRB- Yes. RICARDO I like the Cadillac. Fifty - two to seventy - five. Very nice. ERIC Up here you can see the Eiffel tower. Zed is in too much of a blur. He leans over to Eric. ZED Is tomorrow really Bastille day? ERIC Yes, tomorrow we pull the biggest job in French history. And spend the rest of our lives in Monte Carlo. The drunken Englishman, Oliver, belches and then cheers.","EXT. PARIS STREET - NIGHT The two cars are franticly racing through traffic.","INT. JEAN'S CAR - MOVING - NIGHT Jean is very intent on beating them to whatever location it is they're going to. Claude, in the seat next to him, gives him some advice. CLAUDE Faster, faster. go faster. Let's beat them! Francois laughs and coughs out a cloud of smoke.","EXT. PARIS STREET - NIGHT Jean's car makes a dangerous lane change across traffic and cuts off Ricardo.","INT. ERIC'S CAR - MOVING - NIGHT Ricardo swerves as he passes a joint to Eric. RICARDO Shit! That bastard. ERIC -LRB- to Ricardo. -RRB- Watch it! Do n't crash my car. Eric takes a big hit. ERIC Over here is where the male prostitutes sell themselves. Do you see? No, Zed does n't see. Suddenly, everyone in the car is shouting out the windows. OLIVER -LRB- out the window. -RRB- Fucking fags! ERIC -LRB- also out the window. -RRB- Suce ma bite?! RICARDO Perverts d'homosexuels! Eric laughs. ERIC -LRB- into Zed's ear. -RRB- This is good to have you here. We could not do this without you. Zed nods. ERIC Everyone has agreed to give you double shares. That's good. Zed nods, delirious. ERIC You know I have AIDS. From the needle. Zed ca n't believe this. He's not sure if what he heard was what he thought he heard. ZED Really? Then Eric sees something. ERIC Okay, up here is the Arc de Triomphe. They take a sharp turn.","INT. CELLAR - NIGHT Eric, Zed, Francois, Ricardo, Jean, Claude, and Oliver are all walking down some dank stone steps into a cellar. Somewhere crazy Raymond Scott Toy Jazz music is playing. An old wine cellar has been converted into a Toy Jazz club. Nothing fancy. dirt floors, chairs and small tables scattered about. but the arched brick ceilings make for great acoustics. ON STAGE a BAND is playing away. In the audience sit about TWELVE FRENCH PEOPLE, all enjoying the music. AT THE BUFFET In the back of the club near the doors some tables have been set up with a buffet of local cuisine on it. Behind the tables are two rotund but happy French women MIRELLE and JOSEPHINE. Eric, Zed, Francois, Ricardo, Jean, Claude, and Oliver walk in and immediately start blabbing away in French to Mirelle and Josephine. Eric hands them some money. ZED'S TABLE Everyone enters and takes seats at various parts of the club. Oliver sits next to Zed. OLIVER So, how long have you known Eric? ZED Well, Eric's mother is American. OLIVER Yeah, and his dad's French. ZED They're divorced. And she and his father had some kind of six month split plan set up. So every six months he would come back to the states. We were best friends. Eventually he and his mother had a falling out and he stayed here. It's been. years. OLIVER Well, it's good to have you here. Eric speaks fairly highly of you. Say, he says you're a big fan of Viking films. ZED Well. I suppose. I used to be, when I was young. OLIVER Oh they're the best. Helmets with horns on them. Shit. That's fucking genius. He starts laughing. OLIVER How ` bout Toy Jazz? You like it? Zed watches the players on stage and then nods. ZED Yeah. I guess. OLIVER I love it. It's really good, you know? Like real music. It has a heart and culture all it's own. It's, like, jazz for dwarves. or guys in Leiderhosen. Total purity of essence. ZED Yeah. OLIVER Hungry cannibals'd like it. Then Claude comes up to them with some glasses and a bottle of red wine. CLAUDE Here, you must drink some of this wine, it's good. He pours Zed a glass. Oliver passes on the wine. OLIVER -LRB- to Claude. -RRB- Non merci, c'est de la merde. CLAUDE -LRB- to Oliver. -RRB- La ferme. C'est du bon vin. -LRB- to Zed. -RRB- The fucking English. Zed sips some. He's in no real shape to tell if the wine's good or not. ON STAGE Suddenly, it seems as though the bands music gets louder. The horns really start to scream and the room becomes a delirium of music. The band stands up. IN THE AUDIENCE The people watching start to dance, if not in their seats then right in front of everything. ZED'S TABLE Suddenly, Zed notices something. ON STAGE Eric is up on stage playing a trombone right alongside the band. ZED'S TABLE Zed blinks but it's true. Oliver and Claude start laughing. OLIVER Look at him. He's crazy. ON STAGE And surely he must be, yet, in a strange way, he's keeping up with the other musicians and sounding pretty good. Eric is all smile as he plays with them. Sweat is running down his face but he's caught up in the moment. ELISE, a woman from the audience has jumped up onto the stage, caught up in Eric's frenzy, and is dancing about like James Brown. Then, the music crescendos and Eric hands the trombone back to a musician. The set is over. Eric skips off the stage and walks over to where Oliver, Claude, and Zed are sitting.","EXT. BANK - DAY EXTREME CLOSE ON : The door to the bank. Francois puts a sign on the door that reads : Closed for Bastille Day.","INT. BANK - SUB LOBBY HALL - DAY The sub lobby teller and the sub lobby guard # 2 rendezvous with the sub lobby assistant. SUB LOBBY TELLER -LRB- to assistant. -RRB- Do the phones work? SUB LOBBY ASSISTANT They went dead. SUB LOBBY TELLER Merde! They walk out into the sub lobby.","INT. BANK - SUB LOBBY - DAY The sub level teller and the sub lobby assistant walk into the sub lobby just as Eric, Zed, Oliver, and the bank manager start coming down the stairs. At the sight of Eric and his men the sub lobby guard # 2 aims his weapon but does not fire because of the bank manager. Eric presses his Uzi against the bank manager's neck. ERIC -LRB- to the guard. -RRB- Drop the gun! He does n't. ERIC Drop your gun now and nobody dies! After a moments thought about this, and the fact that Oliver has a sawed - off aimed at him, he slowly puts his gun on the floor. ERIC Good boy. They descend down the stairs into the sub lobby. Oliver takes his gun.","INT. BANK - LOBBY - DAY Francois, Ricardo, and Jean have finished herding everyone behind the teller windows. Claude is on his way downstairs. CLAUDE I'm going to check things out downstairs. RICARDO -LRB- to the people. -RRB- Now! On the ground! Face down! Then, for effect, he kicks a man.","INT. BANK - SUB LOBBY - DAY Claude comes downstairs with his gun raised. CLAUDE All clear down here? Everyone turns. ERIC Take these two upstairs. And chain the gate to the sub lobby shut. Oliver pushes the sub lobby guard # 2 and the sub lobby assistant toward Claude. Then he hands him a chain. Claude can barely maintain his enthusiasm. CLAUDE The phones and video are down! We're locked up tight! -LRB- then in English. -RRB- We fucking did it! He takes the two upstairs. Eric smiles through his teeth at the bank manager. ERIC Any others I should worry about? BANK MANAGER No. ERIC -LRB- to Oliver. -RRB- Well, just to be sure - Then, from one of the safety deposit booths a sound is heard. All eyes turn to it. Oliver walks up to it and kicks the door in. The stodgy customer is kneeling in it. He instantly holds his hands high. OLIVER Freeze motherfucker! Eric walks up, gun in hand. ERIC Who the fuck are you? STODGY CUSTOMER Please do n't shoot me! OLIVER On the ground! He does. ERIC -LRB- to the bank manager. -RRB- Making a deposit I hope. -LRB- he smiles to Oliver. -RRB- Bring him with us. They all make their way down through the sub lobby hall.","INT. BANK - RESERVE VAULT AREA - DAY They're herding the men through the hall. BANK MANAGER -LRB- to the sub lobby teller. -RRB- Vault locked? SUB LOBBY TELLER Yes. ERIC Shut your fucking mouths! BANK MANAGER -LRB- to Eric. -RRB- The vault doors are shut and time locked. You wo n't be able to open them. They walk through a doorway into the storage/elevator area.","INT. BANK - STORAGE/ELEVATOR AREA - DAY Eric pushes the manager and the others through the doorway. ERIC -LRB- to the bank manager. -RRB- You think we're fucking amateurs? You think we're stupid? I've got news for you. we planned ahead my friend! Eric pushes them infront of the Calibre vault door. ERIC Now save us a lot of time and just open the vault. BANK MANAGER No. ERIC Okay. He releases the bank manager and stuffs the barrel of his handgun into the sub level tellers mouth. ERIC Open the vault. The teller's eyes widen. BANK MANAGER I can not. ERIC Oh. -LRB- to the teller. -RRB- Can you? BANK MANAGER No. Once closed only I can open it. ERIC Then open it. BANK MANAGER I can not. The sub lobby teller's eyes plead with the bank manager. Zed is watching the whole affair nervously. ERIC Do you understand that I'll kill her if you do n't open this fucking vault? BANK MANAGER Do you understand that this is an international reserve bank? Robbing it is punishable by life imprisonment. Eric fires. The back of the sub lobby teller's head paints the wall red. ZED Jesus fucking Christ! The bank manager, shocked as he is, looks at Zed. He knows he's an American. The sub lobby teller's body slumps to the ground. Eric grabs the stodgy customer and puts the gun to his temple. ERIC Open the vault door or I'll kill this man next. The bank manager is freaking out, but after what was probably the most horribly agonizing internal debate, he holds his ground. BANK MANAGER I still can not open the vault. ERIC Come on. It's only things in there. This man is flesh and blood. BANK MANAGER I will not open the vault. ZED Eric no! I can open the vault! ERIC Shut the fuck up! -LRB- then to the stodgy customer. -RRB- You're a customer in this bank and this is how they treat you. Do you have a family? He nods his head `` yes''. ERIC Would you like to see them again? He nods his head again. ERIC -LRB- to the manager. -RRB- This man has a family he would like to have Bastille day dinner with tonight. So save us some time and open the vault. After losing about a pound of sweat. BANK MANAGER No. Eric quickly removes the gun from the customers temple and fires two shots into the bank manager's face. The bank manager falls against the vault door and onto the floor. ERIC Fucking idiot. -LRB- then to the stodgy customer. -RRB- You seem like a nice man. Tonight at dinner think about how lucky you are and how much you love your family. He starts nodding his head. STODGY CUSTOMER Oui. ERIC -LRB- to Oliver. -RRB- Take him upstairs. Oliver takes the customer upstairs to the rest of the people. Eric rips off his mask. ERIC Do n't you ever conflict with me during work again! Do you hear!? Zed off his clown mask. ZED You did n't have to shoot any of them! ERIC -LRB- patronizing. -RRB- Oh, I'm sorry. I did n't realize you were in charge now. Nobody told me. -LRB- his temper flares. -RRB- If he had opened the vault it would have saved us a fucking hour. He charges into the reserve vault area.","INT. BANK - RESERVE VAULT AREA - DAY They enter and Eric walks up to a bathroom door. ZED Eric. It's just that we've gone from being thieves to murderers. ERIC Oh fuck it does n't matter! Here you get the death penalty just for robbing a federal bank. ZED I thought the death penalty was abolished in 1980? ERIC Ohhhh! That's what they tell you! But who cares? I need to take a piss. Eric enters the bathroom. ERIC -LRB- on his way into the bathroom. -RRB- Why do n't you open the vault? Zed looks at the bathroom door close. After a fuming pause he turns and walks back toward the Poseidon vault door.","INT. BANK - LOBBY - DAY Francois peeks through the venetian blinds of the windows to the outside. FRANCOIS Looks clear. In the meantime, behind the teller windows guarding the people who are laying on the floor, Jean and Ricardo are in the middle of a conversation. Oliver is sitting on the counter, having just brought the stodgy customer upstairs. Also here now are the sub lobby assistant and the sub lobby guard # 2. JEAN What do you mean you're not sure if the alarm went off or not? RICARDO I mean I'm not sure. JEAN Well, either it did or it did n't. RICARDO And I'm not sure. JEAN Well, do you think it did? RICARDO I just fucking told you, I do n't know. JEAN Take a guess. RICARDO It did n't. JEAN You're sure? RICARDO No. It's just a guess. JEAN Well what kind of a fucking guess is that? You're saying it could have. RICARDO Yes. JEAN Well that's fucking great. Why did n't you just kill that asshole to begin with. I knew I should have been the one to kill him. You're always so damn slow. RICARDO Shit these masks are really hot. CLAUDE I know, I've got fucking sweat stinging my eyes. In the meantime Zoey is on the floor, unsure of what is going on.","INT. BANK - VAULT ANTECHAMBER - DAY Zed opens up his steel briefcase. Inside of it are all sorts of electronic gear and tools. He takes out a tape measure and some callipers and measures out a point on the vault door. He marks the point with a piece of chalk.","INT. BANK - MEN'S BATHROOM - DAY In one of the stalls Eric is preparing a syringe. He has just cooked the heroin and is now tapping on it to get the bubbles out.","INT. BANK - VAULT ANTECHAMBER - DAY Zed takes a power drill out from the briefcase and attaches a special diamond tipped bit. He measures the depth he wants to drill to and then marks the bit with a yellow pencil. He places his ear to the vault and taps the spot.","INT. BANK - MEN'S BATHROOM - DAY Eric readies the needle and slaps his vein. He is shaking but trying to remain as still as possible. He places the needle at the end of a track on his arm and inserts it.","INT. BANK - VAULT ANTECHAMBER - DAY Zed starts drilling into the point he marked with the chalk on the vault door.","INT. BANK - MEN'S BATHROOM - DAY Eric's eyes roll back into his head as the heroin fills his vein. He drops the needle to the floor and sits back to enjoy the rush.","INT. BANK - LOBBY - DAY Zoey is sitting on the floor next to the other bank hostages.","INT. BANK - VAULT ANTECHAMBER - DAY EXTREME CLOSE ON : Zed's drill bit. It burrows into the steel wall of the safe spewing out spiral shavings.","INT. BANK - LOBBY - DAY Zoey looks at all the people sitting around her. They're all scared. Jean, Ricardo, and Francois are talking amongst themselves. JEAN -LRB- in French to Ricardo. -RRB- Do you know one? RICARDO Let's see. Okay. An unfortunate fellow was locked up in prison doing five to ten for armed robbery. All he could think of the whole time was eating pussy. Zoey looks up at them telling the joke. RICARDO The day finally came for his release. He walked out of the prison with a new suit and fifty francs the officials had given him, and made a bee - line for the whorehouse in the nearest town. Slamming his fifty francs on the front desk, he said, `` I wan na eat some pussy.'' Jean is already laughing. RICARDO I'm not done. Listen. `` Where've you been,'' said the greasy fellow behind the desk, `` fifty francs wo n't get you a close look these days.'' Zoey glances at all of the people. Then her eyes lock with the concierge security guard. RICARDO `` Listen buddy,'' said the ex - convict, pulling him out of his chair by the shirt collar, `` I wan na eat some pussy, and I want it now!'' The concierge security guard lifts his pant leg slowly. RICARDO `` Okay, okay,'' gasped the proprietor, `` I'll see what I can do.'' So the ex - con followed him through to the very back of the warehouse through some stained, tattered red curtains, and into a grimy little room where a bedraggled looking whore lay spreadeagled on a filthy bed. `` She's yours for fifty francs,'' said the proprietor, and the fellow went at it. Zoey notices that on the concierge security guard's leg is an ankle holster with a small.38 pistol on it. His fingers begin to unsnap the safety harness on it. Her eyes widen. RICARDO After a little while, he came across a piece of egg. `` That's funny,'' he thought to himself, `` I do n't think I had egg for breakfast.'' But he spat it out and kept eating away. Next he found a piece of chipped beef wedged between his front teeth. `` I'm sure I have n't eaten chipped beef this week,'' he thought, but kept on. Then he came across the corn. `` What is this?'' he said, `` I think I'm going to be sick.'' The concierge security guard unsnaps the safety. Zoey knows he's going to make his move. RICARDO `` Ya know,'' says the whore, `` that's what the last guy said.'' Before they can even laugh the concierge security guard whips out the.38 and fires three shots. Two of them hit Ricardo in the chest. He falls to the ground. The other hits Francois in the arm. In an instant Jean is firing his machine gun into the group of people huddled on the floor. Everyone is screaming and trying to get away. Machine gun fire cuts through the concierge security guard killing him dead. Unfortunately, the wild spray of bullets also rips into three of the tellers, four of the customers, and the loan officer, killing them all. People are trying to flee but Claude fires his gun into the ceiling. CLAUDE No one fucking moves! Jean has jumped up on the table and is aiming at the people. JEAN Shit! What happened!?","INT. BANK - VAULT ANTECHAMBER - DAY Zed looks up hearing the commotion. Eric comes running out of the bathroom and into the storage/elevator area. ERIC What is it? What's going on? Zed gets up to go upstairs. ZED I do n't know. ERIC No! You stay here. Eric runs upstairs.","INT. BANK - LOBBY - DAY Francois is on the ground holding his arm. He keeps rolling back and forth in pain. Ricardo is dead. Jean, Claude, and Oliver are waving their guns around ready to kill someone any second. JEAN Nobody fucking moves! Nobody fucking moves! Claude motions to the dead security guard. CLAUDE The gun! Somebody get it! Oliver goes over to the dead security guard, the whole time waving his gun at people. OLIVER Do n't fuck with me! Do n't fuck with me! He grabs the gun from the dead security guards limp grip. Eric storms in. He is n't wearing his mask. ERIC What the fuck is going on!? Zoey notices Eric, she remembers him. OLIVER -LRB- pointing at the dead man. -RRB- This crazy fuck shot Ricardo! Eric looks over at Ricardo and then at the carnage. Then everybody notices he is n't wearing a mask. JEAN -LRB- quietly. -RRB- Eric, your mask. ERIC Oh shit. Then Oliver yanks his off. OLIVER Who gives a damn if they see us or not anyway! I ca n't see a fucking think in this! Everyone takes their masks off. ERIC Is this what happens? Is this what happens when I walk away for five minutes? CLAUDE He had a hidden gun. ERIC -LRB- mimicking a little child. -RRB- He had a hidden gun. -LRB- then back to normal. -RRB- I do n't care! Then, one of the bank customers, a MALE TOURIST, speaks up. MALE TOURIST -LRB- holding up his passport. -RRB- This is insane! I am a U.S. citizen! You must let me go! Eric looks at him. MALE TOURIST I'm an American! American! I'm just here exchanging dollars. If it was n't for my country you'd all be speaking German! Eric is tired of this outburst, he shoots him. Everyone screams. ERIC -LRB- to the people. -RRB- I have had enough of this nonsense! The next person that speaks will die! Everyone is quiet. Francois is sitting on the floor bleeding from his arm. JEAN Eric, I'm sorry. Things got out of hand. But we're in control now. ERIC Good. Let's try to keep it that way. God what a mess. CLAUDE Eric ERIC What the fuck is it now!? You want me to hold your hand as you take a piss? CLAUDE I have a question. ERIC What? CLAUDE Do we know if the alarm went off or not? ERIC Yes. CLAUDE We do? ERIC Yes. It did n't go off. If it had the police would be here and our whole plan would be fucked. But they're not here, and our plan is n't fucked. So if there are n't any more fucking stupid questions I'll go downstairs and see if we're in yet. Is that okay with you? Claude nods. Then, the phone rings. Everyone looks at it. ERIC I thought the phones were dead. It rings again. OLIVER The phones are dead. Eric grabs a WOMAN TELLER who is crying hysterically and lifts her to her feet. He drags her to the ringing phone. ERIC Answer it! She is crying too hard. Eric puts his gun to her head. ERIC Answer it or you will die. She slowly picks up the phone. WOMAN TELLER -LRB- answering phone through tears. -RRB- Banque Internationale de Paris. She pauses, then hands the phone to Eric. WOMAN TELLER It's for you. Eric takes the phone and pushes her to the floor. He puts the receiver to his ear. ERIC -LRB- into phone. -RRB- Hello. -LRB- pause. -RRB- Who is this? Eric motions to Oliver to check the windows. Oliver runs over and peeks out the blinds. OLIVER Oh my God! The police! ERIC -LRB- into phone. -RRB- What do you want? Eric looks around at the dead bodies. ERIC -LRB- into phone. -RRB- We're all fine in here. Oliver is pacing back and forth wildly. He starts loading extra ammo into his weapon. ERIC -LRB- into phone. -RRB- No. I'll tell you what, you go fuck yourself you fucking pig. You send anyone near this building and I'll kill the first person I lay my hands on. I've got plenty hostages here to kill so do n't even think of coming in. -LRB- pause. -RRB- Just stay put. We'll call you when we're ready. In the mean time, have a nice day. Eric hangs up the phone, and then leaves it off the hook. CLAUDE The silent alarm must have gone off after all! ERIC Shut the fuck up! The alarm did n't do shit. For all we know your idiot shooting brought them here. Anyhow it does n't matter. Nothing has changed. JEAN My God! The police! What are we going to do? ERIC Nothing. We do n't have to do anything. The plan stays the same, just slightly different. Then Eric catches sight of Zoey, their eyes lock. Eric smiles and winks. Then he turns to Jean with a whisper. ERIC If the police decide to come in. kill them. And if you do n't mind, stack those bodies somewhere else. This place is a fucking mess and it's bad for morale. Then he takes off downstairs, smiling. Jean is a little stumped.","INT. BANK - RESERVE VAULT AREA - DAY As Eric walks down the stairs and through the reserve vault area a look of intense concentration washes over his face. You can see that a trillion calculations are being made in his brain. the question is : are there any answers?","INT. BANK - VAULT ANTECHAMBER - DAY Zed is drilling now with a hand drill. He removes it and blows into the hole. Shavings come out. Eric comes trotting into the antechamber whistling. ZED -LRB- turning to Eric. -RRB- What's going on? ERIC Nothing. They were just scaring them. ZED Well, did you tell them to stay quiet? ERIC Yes. They're assholes. Just having fun. Zed looks into the hole. He has drilled into the vault door, revealing some wiring. ZED Fucked up my drill bit. ERIC It's okay. You can buy another one. Zed takes out a volt meter from his briefcase and inserts the two prongs into the hole. ZED Cross your fingers. Eric does. The volt meter's needle jumps. ZED Perfect. ERIC Excellent. What next? ZED We find the fuse box. It'll probably be upstairs. Zed gets up. ERIC It's okay. I'll find it for you. ZED No. I need to see it myself. Zed jumps up and into the storage/elevator area with Eric close behind him. ERIC I think it would be better if I looked for you. I could -","INT. BANK - STORAGE/ELEVATOR AREA - DAY Instead of walking upstairs, Zed finds the fuse box right in the next room. ZED Hold on. Here she is. Eric is a bit relieved. Zed opens it up. ZED Let's see. He looks through the fuses and then finds the one he wants. ZED Okay, you throw this fuse switch off and then back on when I call to you. Any other switch may set off the alarm. Eric smirks. ERIC Oh, I would n't want to do that. ZED -LRB- serious. -RRB- Got it? ERIC -LRB- nodding. -RRB- Got it. Zed goes back to the vaults.","INT. BANK - VAULT ANTECHAMBER - DAY Zed trots back to the Poseidon vault door and quickly grabs a little gizmo from out of his briefcase. It is a little home - made black box with a series of LED's on it and two wires coming out of one side with alligator clips on the end. Three other wires are also coming out of it. He slips the alligator clips into the hole and latches them. He then tapes one of the wires to the vault itself. The two remaining wires he hooks up to a large twelve volt battery. ZED Come on sweetie do n't fail me now. He looks toward the door leading to the reserve vault area. ZED -LRB- calling to Eric. -RRB- Ready?! ERIC -LRB- O.S. -RRB- -LRB- calling back. -RRB- Ready! Zed turns on his little box, the LED's start flickering. ZED Now! The lights go out and then back on. There is a whirring sound from the vault door. The LED's quickly go from red to green. There is a loud, heavy clicking as the vault door unlocks. ZED Open seasame. Zed smiles and swings the door open revealing the interior of the Poseidon vault. Eric comes running in like a kid on Christmas morning. ERIC It worked! He and Zed hug. ERIC Oh my God it worked! Zed looks into the Poseidon vault at the passage connecting it to the main vault. It is covered by a small locked cage. ZED I can get through that lock in a minute. ERIC Then do it. We do n't have all day. Zed enters the Poseidon vault.","INT. BANK - POSEIDON VAULT - DAY Zed goes to the gated passage which is n't much more than a window in one upper side of the vault, but it's enough to get him into the main vault. Eric is right behind him. Zed takes a twirl at the combination lock. ZED Dime store brand. Three minutes max. ERIC Good. Then, there's a gunshot. The bullet comes from the Calibre vault through the window and almost hits Zed. Zed falls backwards onto the floor. ZED Fuck! ERIC Merde! Then there's another gunshot. The bullet ricochets through the vault. ZED Jesus Christ! Scrambling on their hands and knees Zed and Eric crawl out of the Poseidon vault.","INT. BANK - VAULT ANTECHAMBER - DAY They take cover. Another shot is fired into the vault. Zed and Eric look into the vault. ZED Another security guard? ERIC Must be. ZED I think I stained my pants. ERIC Me too. Oliver comes running in with his gun ready for action. OLIVER What is it?! I came down to see how things were going and heard shots! ERIC Some asshole in the vault. Oliver takes cover and cocks his gun. OLIVER We've got guns. Why do n't we just storm in and blast his fucking ass! It's three against one! Let's give it the old - ERIC Quiet! OLIVER I'm just trying to be helpful. ERIC Just let me think. OLIVER You do n't have to snap at me. Eric peeks into the vault. ERIC -LRB- calling into the vault. -RRB- Hey you. Nice shooting. Play time's over. Why do n't you throw out your gun? VAULT GUARD #1 -LRB- O.S. -RRB- -LRB- calling from main vault. -RRB- No! Oliver and Eric look at each other and smile. ERIC Come on. We do n't want to kill you. VAULT GUARD #1 -LRB- O.S. -RRB- You'll have to! ERIC -LRB- quietly to Zed. -RRB- What is this guys problem? -LRB- then to the guard. -RRB- Come on! You're making me impatient. I do n't have all day. VAULT GUARD #1 -LRB- O.S. -RRB- Look, do n't take it personally. This is my job. Oliver and Eric look at each other and shrug. Then Eric sees something in Zed's briefcase. It looks like grey clay. ERIC Then take a paid vacation. We wo n't tell if you wo n't. There is a pause. During this time Eric takes the clay and pushes a detonator into it. ZED -LRB- quietly. -RRB- What the Hell are you doing? Have you gone mad? VAULT GUARD #1 -LRB- O.S. -RRB- Sorry. I ca n't. ERIC Well, look, we're going to give you fifteen minutes to change your mind. Okay? VAULT GUARD #1 -LRB- O.S. -RRB- Okay. Zed starts to grab the plastique away from Eric. Eric resists. ZED -LRB- holding his voice down. -RRB- That's too much. It's dangerous. ERIC I like danger. -LRB- then to the guard. -RRB- Changed your mind yet? Eric creeps into the room and activates the detonator. Zed and Oliver run for cover. VAULT GUARD #1 -LRB- O.S. -RRB- No. And I'm not going to. Why do n't you just take the money from the other vaults? - Eric tosses the bar of plastique through the caged window and makes a break for it. There is a huge explosion in the adjoining main vault. The walls quake and a fireball bellows out of the caged window, blowing it open. The vault guard # 1 screams and then goes silent.","INT. BANK - LOBBY - DAY Francois, Claude, and Jean are forcing customers to drag dead bodies into a cube. The room shakes and everyone looks toward the hall that leads to the stairs. The hostages, whose nerves are already shot, start crying. FRANCOIS Should we see if they're okay? JEAN No. They're just blasting the vault open. CLAUDE What does it matter now? We're fucking surrounded by police.","INT. BANK - VAULT ANTECHAMBER - DAY Dust has blown out of the vault and is settling on Oliver, Zed, and Eric, who is laughing like a madman. Zed is looking at him like he's crazy. ZED You asshole! You could have killed us all. ERIC But I did n't! Let's go check out the damage. Eric gets up and walks into the Poseidon vault. Before Zed follows him he looks at Oliver who does n't know what to think.","INT. BANK - POSEIDON VAULT - DAY Eric laughs. ERIC Zed look! He points to the caged window. It's been blown off it's hinges. ERIC I beat you! I opened it in under three minutes. He starts laughing and then crawls through the connecting passage into the Caliber vault. Zed, with his briefcase, follows. ZED -LRB- to Oliver. -RRB- Go around and wait at the main vault door. When I tell you, open it up. OLIVER Right. When you tell me, I'll open it up. ZED Right. OLIVER Right. Zed crawls through the opening. OLIVER I'll be at the other vault waiting for you to call to me.","INT. CALIBER VAULT - DAY The main vault looks like what a vault would look like if it were blown up from the inside. On the floor is the still smoldering body of the security guard. The room is incredibly smokey. Zed squeezes through the opening. Then, Eric, grinning like a schoolboy, emerges from the smoke with a brick sized bar of pure gold. ERIC Look at it! We're all rich! The smoke clears and we see that on the far side of the vault there is a huge platen on wheels with bricks of gold stacked onto it. Eric starts laughing. ERIC We're rich! Zed looks at him like he's crazy. ERIC We're rich! ZED We're not out of here yet. ERIC Yes but we're rich! Zed takes a seat at the vault door. The backside of a vault door looks like an incredibly intricate clock. Zed removes the Plexiglass shielding. ERIC I'm going to show the others. He squirms out of the entry with the brick of gold. Zed shakes his head and goes to work setting dials and using his voltmeter to test electrical points.","INT. BANK - LOBBY - DAY Claude is talking to Jean. CLAUDE What? You think we may actually get out of this? You're fooling yourself. JEAN Why are you such a pessimist? CLAUDE Are you kidding me? Look at this mess. Jean surveys the mess, the crying people. CLAUDE This is nothing. Imagine the police outside. We're dead men. Eric walks in from the rear stairs. In his hand is a brick of gold. ERIC Jean, Francois, Claude. look at this. They see the gold. JEAN You did it! You got in! ERIC Zed is opening the vault now. This is a taste. Eric holds the bar of gold up for all the people to see. ERIC Look at this and tell me I'm not brilliant. WOMAN CUSTOMER -LRB- crying. -RRB- You're a monster! And you'll never leave this place alive! Eric shoots her with his Uzi. ERIC -LRB- to the hostages. -RRB- None of you are worth half of this single bar. Remember that. Francois, Jean, and Claude look at each other. CLAUDE Eric. can I speak with you? ERIC Of course. CLAUDE In private. ERIC There's no need. I have nothing to hide. What is it Claude? CLAUDE Well. we're surrounded by the police and we have no way out. What are we going to do? Eric slaps him across the face. ERIC What are you doing Claude? Talking of all this false doubt. What do you think we're going to do? Claude is hurt, not physically but emotionally. CLAUDE I do n't know. not the original plan. ERIC Obviously, since Ricardo fucked us up and did n't kill the concierge fast enough. And killing all these assholes -. -LRB- motioning to all the customers. -RRB- - is n't going to do us a damn bit of good now, is it? CLAUDE No. ERIC No. Because we'll need them as hostages when we get on the plane. CLAUDE We're going on a plane? Eric pats his shoulder. ERIC Claude, you are a mental giant. Leave the plans up to me and just kill people if they get out of line, okay? CLAUDE Okay. Eric turns and starts to walk toward the downstairs. ERIC I'm going to see how things are going.","INT. BANK - REAR STAIRS TO LOBBY - DAY Eric is whistling while he walks, he pauses to perform a quick magic trick, then he continues.","INT. RESERVE VAULT AREA - DAY Eric walks into the reserve vault area. He stops. He hears something. A scratching sound. He looks at it's source, TWO POLICEMEN, decked out in black flak jackets and gas masks are starting to come out of a sewer manhole. Eric's eyes widen. He takes his silencer out of his coat and fixes it to his handgun. Then, like a man with intent to kill, he rapidly approaches them. The one who came out of the manhole turns just in time to see Eric fire into his chest. Then, Eric aims the gun into the tight crawlspace and fires into the other man. For safe measure he empties his gun into the tiny causeway. He drops the gun into the hole and then shoves the other policeman into it. He then pushes a large utility wagon over the manhole cover to stop anyone else from coming in.","INT. BANK - REAR STAIRS TO LOBBY - DAY Eric comes running out from the reserve vault area and up the stairs to the lobby.","INT. BANK - LOBBY - DAY Eric rushes into the lobby. ERIC They want to fuck with me!? They want to fuck with me!? He puts the phone on the hook. It instantly rings. He answers the phone. ERIC You want to fuck with me!? I'll show you what happens to people who fuck with me! He throws the phone to the ground and looks at Zoey. ERIC The moment of truth my love. You knew it would come. He grabs Zoey and lifts her to her feet. ZOEY -LRB- screeching. -RRB- No! Then, the assistant manager stops him. ASSISTANT MANAGER No! What ever it is you're going to do have mercy! Eric suddenly calms down. ERIC Have mercy? ASSISTANT MANAGER Yes. ERIC With her. ASSISTANT MANAGER Yes. ERIC That's sweet. -LRB- to Zoey. -RRB- You have quite a reach my lovely. Is he one of your clients? He pushes Zoey to the ground. ERIC It's a deal. ASSISTANT MANAGER Thank you. ERIC Do n't mention it. He grabs the assistant manager and at gunpoint forces him to the main entrance. CLAUDE Eric! What are you doing? ERIC Clearing up the `` how full of shit am I'' question the cops are asking themselves right now. The assistant manager is putting up a bit of a struggle but Eric simply forces him along. Everyone waits until suddenly they hear a burst of gunfire from outside. They all scream. Eric walks back into the bank, he picks up the phone. ERIC -LRB- into phone. -RRB- Hello. -LRB- pause. -RRB- Yes. I'll hold. -LRB- then to Claude. -RRB- I'm holding. After a little bit of a wait someone comes on the other end of the line. ERIC -LRB- into phone. -RRB- Hello. -LRB- pause. -RRB- You do n't know the fucking half of it. So just shut the fuck up and listen. Try any more stunts and I'll fucking really go crazy. -LRB- pause. -RRB- Well that's good because if you faggot cops even think of it I'll kill some more people. Hear? -LRB- pause. -RRB- No. None of that. We wo n't trade. That never works. Not in the movies, not in real life. Understand? We're going to get into our van, with a couple of people, go to the airport, and fly out of this shit hole city. And you're not going to follow us. -LRB- pause. -RRB- Who do you fucking think is going to supply the plane? Us? No, you fucking imbecile, the French taxpayers would be a good second guess for you. You're really pissing me off. You think I'm a fucking amature? He covers the mouth piece. ERIC -LRB- to Claude. -RRB- I fucking hate cops.","INT. BANK - CALIBER VAULT - DAY Zed is sweating as he works away at the back of the door. He glances over what he's done and makes a calculation on a calculator. Then, there is a groaning sound. Zed, terrified, spins around. Another groaning sound. The vault security guard is n't dead. His body is charred and he's not moving but he's very much alive. VAULT GUARD #1 I'm going to die. Zed ca n't believe what he's seeing. He moves over to the body, leaving his work behind. VAULT GUARD #1 I'm going to die. please hold my. hand. I do n't. want to die. alone. Zed hovers over the body, afraid to touch it. He gives it a nudge with his foot. The body groans and then exhales the longest exhale ever. Zed kneels down next to the body. ZED Are you still there? Nothing. Zed puts his hand to the neck of the vault guard # 1 and checks for a pulse. Nothing. Zed sits there for a moment looking at the corpse, then, like he wants to get out of there as soon as possible, he scrambles to the door and starts adjusting several switches. He has wired a battery to two leads. He takes out a wire cutter and snips a wire. There is a sudden barrage of whirring and clicking sounds as the vault unlocks. Zed calls to Oliver from the passage.","INT. BANK - STORAGE/ELEVATOR AREA - DAY Oliver is staring at the dead bodies of the manager and sub lobby teller. ZED -LRB- O.S. -RRB- -LRB- distant, calling from the vault. -RRB- Oliver, now! Open the vault! Oliver turns the large wheel and opens the Caliber vault door. With some amount of energy the door opens. Standing inside is Zed. ZED Open seasame. He steps out of the vault. ZED Do you want to give me a hand? OLIVER Sure. Oliver puts his gun down and they go into the Calibre vault.","INT. BANK - CALIBER VAULT - DAY Oliver sees the huge platen of gold bricks. Zed puts his steel briefcase on top of it. OLIVER Holy mother. ZED Here, help me with this.","INT. BANK - LOBBY - DAY Eric slams the phone down and then in a fit of rage tears the phone from the wall. ERIC Merde! He grabs his machine gun and aims it at the sub lobby guard # 2. The sub lobby guard # 2 braces himself for gunfire. Eric fires into him. He is dead instantly. Everybody screams. Eric fires into his dead corpse until his gun runs out of bullets. ERIC That's what you get! Claude puts his hand on Eric's shoulder. CLAUDE Eric. Eric looks at him. ERIC The fucking police wo n't budge. I kill a man and they do n't care. They say they do n't make deals with terrorists. It really fucks up my plan. CLAUDE And what if we gave up? Eric ca n't believe this. ERIC -LRB- laughing. -RRB- Claude, look around you. We're not talking prison here. You know. The cops will give in. You start killing women. they give in. They're all so fucking much in love with women! Then he looks at Zoey. ERIC What are you looking at you fucking whore? She does n't want to say a thing that'll upset him. ERIC Are you afraid I'll tell these people that this is only a day job for you? She shakes her head `` no''. ERIC What? So they know that you're a - The sub lobby assistant speaks up. SUB LOBBY ASSISTANT Leave her alone. Eric cracks the butt of his gun into the man's face. ERIC Shut up! He clicks another clip into the Uzi and grabs Zoey by the collar and lifts her to her feet. ERIC My only mistake was not to make an example of a woman to begin with.","INT. BANK - CALIBER VAULT - DAY Zed takes the dolly and starts wheeling the platen of gold out. Oliver helps him. OLIVER This is unbelievable. Look at all of this. It's wonderful to touch. ZED Just help me steer this out. They maneuver out of the Calibre vault.","INT. BANK - STORAGE/ELEVATOR AREA - DAY They come out of the Calibre vault with the huge platen. OLIVER Do you think we should get some cash also? ZED What for? OLIVER Well, you never know. They start maneuvering the platen toward an elevator. ZED Money is too easily traceable. You'd never be able to spend it. And forget about exchanging it. OLIVER That's true. ZED No sir. Your best bet is to get these bars melted down in Tunisia or Korea. OLIVER Eric knows someone in Portugal. ZED Or Portugal. They get into the banks private freight elevator.","INT. BANK - FREIGHT ELEVATOR - DAY Zed closes the door and pushes the button to go up to the ground floor.","INT. BANK - LOBBY - DAY Eric is dragging Zoey by the hair toward the door when she grabs his groin and starts squeezing. Eric lets out a shrill scream and whacks the butt of the Uzi into her face. But she wo n't let go. Her years as a prostitute have taught her to ignore pain. She grabs hold of the gun hand. ERIC -LRB- groaning. -RRB- You fucking bitch! A few bursts of the Uzi go off and one shell stitches Eric's foot red. Eric lets go and falls to the ground. Claude, Jean, and Francois suddenly become attentive to what's going on. Zoey starts firing the Uzi but ca n't control it. She showers the room with bullets. She starts to run toward the back office blindly firing the gun in the direction of Claude, Eric, Francois, Jean, and the other hostages. Then, a tear gas cannister break through the top windows and start clouding the place up. Eric whips out his switch blade and hops on his bloody red foot. ERIC Bitch!","INT. BANK - FREIGHT ELEVATOR - DAY Zed is waiting for the elevator to arrive. ZED Do we have a covering of some kind? OLIVER A what? ZED You know. Something to cover this with. It'll look kind of conspicuous leaving the bank with a platten of gold. OLIVER Oh, it wo n't matter. The police know what we're up too. ZED Police?! What do you mean they know what we're up too? OLIVER You do n't know? We've been discovered. But Eric has them under control. Zed is frantic. ZED No I did n't know! How many police? OLIVER The building is surrounded. The elevator doors open onto the ground floor to the sound of automatic gunfire. Zed walks out into the back office.","INT. BANK - BACK OFFICE - DAY Suddenly, from the back office, Zed sees Zoey blasting away an Uzi and running toward the rear stairwell. Eric is in the lobby limping around. The other gang members are ducking from her fire. Then, her clip runs out. She sees Zed, their eyes lock. An IMAGE overcomes Zed. She runs down the stairs to the back. ERIC Kill her! Kill her! Oliver aims his gun to fire and Zed pushes it up. Oliver's gun discharges into the ceiling. Oliver and Zed begin to struggle.","INT. BANK - LOBBY - DAY Zed and Oliver collapse out of the back office and into the lobby. They tumble onto the floor. Eric hobbles over to them, his gun aimed at Zed. ERIC What the fuck are you doing!?","INT. BANK - RESERVE VAULT AREA - DAY Zoe is near tears. She drops the empty machine gun to the floor and starts walking toward the sub lobby.","INT. BANK - LOBBY - DAY Eric leans down to talk to Zed. Oliver and Jean are watching. Francois and Claude are more worried about the tear gas. CLAUDE They're trying to smoke us out Eric! FRANCOIS What do we do!? Eric waves them off with a brush of his hand. He's concentrating on Zed. ERIC Do you really love your bitch whore girlfriend that much? She's really fucked with your mind. ZED Eric. what are you talking about? Eric lifts him to his feet and holds him up against the knife. He turns him toward the smoke and whispers into his ear. ERIC Look at it. It's all for us. The smoke. The attention. They have no idea of who they're dealing with. They have no idea what kind of men we are. ZED -LRB- thinking Eric is a madman. -RRB- What kind of men are we? Eric looks at him and gives him a soft kiss on the cheek. ERIC You can no longer be in our club. You forfeit your cut of the pie. Zed laughs, there's not gon na be much of a pie to eat. ZED What about our friendship? ERIC Shit Zed. I have n't seen you in years. You hardly know me. He slashes Zed across the face with the switchblade. Zed falls backwards and tumbles down the stairs like a rag doll. ERIC Never let a girl come between two men. He walks down the hall toward the gold. ERIC Now let's try to get out of here. Eric walks into the back office. The others look at each other. Suddenly a black figure runs across the bank behind the shadows, Francois sees it and nervously fires. In the background the distinctive sound of European police sirens wail as more cars pull up to the outside of the bank. Also, an UNINTELLIGIBLE VOICE is blaring orders over a bullhorn. FRANCOIS The police! They're entering the building! Suddenly all of them start firing like blindly into the smoke. Francois runs back to Eric who has walked up to the elevator via the back office.","INT. BANK - FREIGHT ELEVATOR - DAY Eric caresses his hand across the bars of gold. ERIC -LRB- to himself. -RRB- Smoother and more giving than the most selfless human being. You're beautiful. Francois runs in. FRANCOIS Eric! ERIC Jesus, what now? FRANCOIS The police are coming in! We're doomed! ERIC Get a hostage. FRANCOIS -LRB- frantic. -RRB- They do n't give a fuck about the hostages!","INT. BANK - LOBBY - DAY Jean becomes a berzerker and runs out into a cloud of smoke and throws the tear gas container into the thick cloud. Then he turns to the police and holds his own gun to his head. JEAN Do n't make me! A single bullet passes through his torso. As Jean falls to the ground he lets loose a round of gunfire into the ceiling. Oliver is still firing, his face is red like a crazed man. From behind the counter the sub lobby assistant grabs a hold of Claude and wrestles him to the ground. The other customers start to flee for cover. Oliver sees the fracas between the sub lobby assistant and Claude. It looks like the sub lobby assistant is getting the upper hand. Oliver swings his gun around and sprays machine gun fire at them. killing them both.","INT. BANK - SUB LOBBY - DAY Zoe walks up the stairs out, not only are they locked but a cloud of tear gas is pouring into the downstairs sub lobby. Suddenly, Zed stumbles in. Zed is like a zombie. Then he notices Zoe in the stairwell. They lock eyes. ZED -LRB- almost delerious. -RRB- Zoe. She steps down into the sub lobby, machine guns crackle in the background. She runs up to him just as he slumps to the ground. ZOE -LRB- holding him. -RRB- My Zed. They've hurt you. She dabs a cloth to his cut face. He holds it on. ZOE -LRB- trying to comfort him. -RRB- You're going to be okay. In many countries scars on the face are a symbol of heroism. To proudly display a flaw like a badge. is to wear a badge of truth. He takes her hand. ZED Be serious Zoe. I can stick my tongue through my cheek.","INT. BANK - LOBBY - DAY The police are now laying it on heavy. Francois comes out of the office. FRANCOIS Oliver! Let's get a hostage! OLIVER This is the end! Francois is ripped into by machine gun fire. Oliver races past him.","INT. BANK - SUB LOBBY - DAY Tear gas is starting to fill the room. Zoe stands Zed up. ZOE Listen to me. We're going to lock ourselves into one of the air tight vaults. if any of them are still open. They start walking toward the reserve vault area.","INT. BANK - FREIGHT ELEVATOR - DAY Eric hops into the elevator and closes the door, just as Oliver runs up, firing toward the police. Eric is laughing manically as he leaves them behind. OLIVER Bastard! Oliver turns to where the police will surely be coming in.","INT. BANK - RESERVE VAULT AREA - DAY Zoey and Zed rush into the reserve vault area. Zoey notices that the downstairs reserve vault is closed. ZOE Merde! The vault has been closed. ZED What about the others? The gunfire upstairs has subsided and has been replaced by unintelligible POLICE VOICES. ZOE Listen. there's no gunfire. Zoey quietly opens the door opposite the vault that leads to the rear stairs to the lobby level.","INT. BANK - REAR STAIRS TO LOBBY - DAY Zoey peeks up the stairs just in time to see Oliver bolt for the stairs. OLIVER -LRB- to police. -RRB- Motherfuckers! A volly of gunfire rips into Oliver but he stands his ground and fires into the police. OLIVER You wan na fuck with me? You wan na fuck with me? I'll show you who you're fucking with! He starts blasting away. Terrified, Zoey leads Zed to the storage/elevator area. ZOEY C'mon, we'll be safer in here.","INT. BANK - STORAGE/ELEVATOR AREA - DAY The elevator door opens, Eric steps out and looks around like a caged animal. ERIC Think! Then, Zed and Zoey appear from the hall to the reserve vault area. Eric turns to them with his gun raised, when he sees them he lowers it. ERIC Zed. They all stand there for a moment, the gunfire cracking away upstairs. Eric is more casual than he should be. ERIC -LRB- matter - of - factly. -RRB- What's your girlfriends name? ZED Zoe. ERIC Zoe. -LRB- to Zoey in French. -RRB- Zoe, come here to me. Zoey spits at him. Eric laughs and aims the gun at her. ERIC Killing you would just be gravy, so do n't fuck with me. ZOEY Go ahead you slob. Shave my ass! Eric smashes the side of her face with the gun and then grabs a hold of her arm. Zed tries to stop Eric but Eric aims the gun at him. ERIC Zed no. I'll kill you. It means nothing to me, our friendship. ZED -LRB- starting out calm and then building to a scream. -RRB- Eric. there's no fucking way out of here! ERIC Oh but you're wrong. This is my way out. This dime store couge with her motor driven ass. You find your own. Zed rushes Eric and Zoey starts scratching. Eric drops the gun but quickly whips out his knife. She tries to get away from Eric but he has a hold on her shirt. Eric swipes at her with the knife and grazes he back. Then Eric slashes toward Zed who jumps back. Zoey falls to the floor. ERIC Come Zed. I'm going to cut you like a sausage. Zed is standing between Zoey and Eric. ZED Zoey, get out of here! She scrambles away. He swipes at Zed. Zed jumps back down the hall toward the reserve vault area.","INT. BANK - RESERVE VAULT AREA- DAY They rush out toward the stairs. ERIC Did you see how she ran? Did you see how she ran? She does n't care about you. Fucking pussy only cares about pussy. Look out for number one. What do you say Zed? He swipes again. ERIC I will kill you. And once I kill you Zed, I'll get out of here. I'll fuck your bitch up the ass and give her AIDS. if she does n't already have it. What do you say to that Zed? He swipes and Zed grabs a hold of the knife by the blade. Eric pulls it free and the knife falls to the floor. Zed takes this opportunity and kicks Eric in the face. Eric reaches for the knife. Zed, his hand bloody, dives onto Eric. Zoey also jumps onto them and starts yanking on Eric's hair. She plunges her nails into his face. ERIC Fucking bitch! Zed is rabbit punching Eric from underneath. Then, Eric grabs a hold of Zed's balls and squeezes. Zed lets out a shrill scream. Eric starts elbowing Zoey in the face. The three of them lay there on the floor wriggling like worms, unable to move because each is putting the other through such agony. Then, Oliver, shot up and bloody haplessly stumbles into the room. His body is a mass of bullet wounds. OLIVER Ox! Where is thy yoke!? He clumsily falls dead to the ground, his shotgun slides near Zoey, Zed, and Eric. The sight of the gun gives Eric the strength only a madman could posses. He rolls over and throws Zoey off him. Then, he smashes his forehead into Zed's nose, bursting it. Eric, deftly, rolls over and grabs the gun. He gets to his feet and cocks the pump action. ERIC Fuck both of you. Then he notices the lack of gunfire upstairs. Eric turns back to them. ERIC Au revoir. He aims to kill Zed. ZOEY No! Then, all of the French policemen, decked out in their assault gear and wearing gas masks, storm down the stairs. At the sight of Eric about to execute Zed they raise their guns. FRENCH POLICEMAN #1 Stop! Eric stops. It becomes quiet. Then, Eric looks back down at Zed and braces for the shotgun kick. ERIC I give you little kiss. Ciao. He squeezes the trigger and. CLICK The police open fire with their French made assault machine guns and fill Eric with bullets. Instead of falling he does a scarecrow dance as his body is painted red. The wall behind them explodes as plaster sprays all over Zed. An IMAGE overcomes Eric. Eric's dead body slumps to it's knees and flops on top of Zed. Zed pushes the body off and tries to drag himself to Zoey. Zoey runs up to him and holds him. The police all charge into the secondary vault area and secure the downstairs. Zoey is crying as she holds Zed. The police have their guns aimed at the two of them. Zoey looks up. ZOEY -LRB- to the policemen. -RRB- I work here. This man is a customer. he needs medical help. They take their guns away and kneel next to him, seeing if he's okay. FRENCH POLICEMAN #2 How bad do you think his wounds are? The other policeman, unable to tell because of Eric's blood, simply shakes his head. FRENCH POLICEMAN #1 -LRB- to Zoey. -RRB- Are you alright? Zoey starts to cry.","INT. BANK - LOBBY - DAY Zoey and Zed, bandaged up, are being aided by all of the French policemen as they walk through the bank. Smoke is still clearing, but the bodies of customers and bank robbers alike litter the area. PARAMEDIC's, wearing all white, try to help the injured, they assist Zed and Zoey. FRENCH POLICEMAN #1 -LRB- to Zoey and Zed. -RRB- There's an ambulance outside. -LRB- he looks around. -RRB- My God. What a Bastille Day. Zed's attention is caught by two OTHER POLICEMEN carrying a body bag. FRENCH POLICEMAN #3 -LRB- to French policeman # 1. -RRB- This one's the ringmaster. We need an I.D. No longer interested in Zoey or Zed, he goes to check out the body. ZOEY The hospital? ZED No. ZOEY Come on. I have a car. Zoey puts her arm around Zed and helps him out of the bank. never to return.","INT. ZOEY'S CAR - MOVING - DAY Zoey is driving. Zed looks like he's been in a burning building. ZED I'm so tired. ZOEY We'll go to my flat. You can rest there. Do you feel pain? ZED No. it was mostly his blood. ZOEY I have a shower. You can clean up there. ZED Thank you Zoe. He looks at her. ZOEY My name is not Zoe. Not any more. He looks forward at the streets of Paris. ZOEY You'll get well. Then I'll show you the real Paris. They drive away. THE END"],"string":"[\n \"INT. TAXI CAB - MOVING - DAY Rain falls on the rear window of a taxi parked in the taxi zone of the Charles de Gualle Airport. Aside from the incessant tapping of rain on the roof of the cab we hear the sounds of the airport : the almost monotonic loudspeaker declaring in French that loitering is not permissible and that should any bags be left unattended that they will be destroyed ; the honking of the horns from other automobiles ; the unintelligible chatter of people as they get their bearings. Inside the cab, playing on the radio, is Angelique Kidjo's funky song `` Batonga''. Then, the rear door to the cab opens and in an EXTREME CLOSE UP we see ZED, a young man with wild, almost mesmerizing eyes shielded by small round glasses, and with a head of nappy red hair. His face has drops on it from the flurry outside. He settles himself, then looks to the CAB DRIVER, an easy going Senegalese/Frenchman, in the front seat. ZED Hotel Mondial. CAB DRIVER Le Mondial. Tres bien. He starts driving. CAB DRIVER Avec cette pluie ca risque de prendre un moment. L'autoroute est ferme. A cause du 14 Juillet. He drives for a while. CAB DRIVER Do you mind the radio? Zed looks at the meter, francs are clicking away. He also looks at the cab driver's license, his name is Moises Du Bois. CAB DRIVER Do you want me to turn the radio off? ZED -LRB- realizing he's being asked a question. -RRB- I do n't speak French. The driver turns around. CAB DRIVER -LRB- in broken English. -RRB- Ah. American? ZED That's right. CAB DRIVER That's good because I speak a little English. Zed nods. CAB DRIVER I asked if you mind the radio. Music. You know. Zed shakes his head `` no''. CAB DRIVER -LRB- with a smile. -RRB- Super cool. Zed adjusts his watch. ZED What time is it? CAB DRIVER Time, time, time. I do n't know. Daytime. Zed forgets the adjustment for now. CAB DRIVER Are you in town for business? ZED Yes. CAB DRIVER It's a nice hotel. Your hotel. Very big rooms. He looks at Zed in the rear view mirror. CAB DRIVER Do you know Paris? ZED I've been here once before. When I was younger. The cab driver smiles. CAB DRIVER Those were the days. They drive for a while. CAB DRIVER Married? ZED I beg your pardon? CAB DRIVER Do you have a wife? ZED No. -LRB- then after thinking about it for a while. -RRB- Why? CAB DRIVER Well, if you need a wife for the night. -LRB- searching for the right words in French. -RRB- Une escorte. Pour vous faire visiter. -LRB- then back to his broken English. -RRB- For business. I give you my number. Very nice girl. French. Like when you were young. He lifts his hand and shows his index and middle finger tightly extended together, then he crosses them. CAB DRIVER Know what I mean? Zed smiles at this and nods. CAB DRIVER Speaks the language of love. Take you to heaven and back. You just tell me and I set it up. Zed shakes his head and laughs. CAB DRIVER What you laughing at? You let Moises set it up. She treat you right. She treat you fine. Zed can do nothing but smile at the thought of it.\",\n \"INT. HOTEL - HALL - DAY A long, empty hallway of a moderately priced hotel. From around a corner comes a BELLBOY carrying Zed's one bag. Zed is right behind him. They come up to room 6A and the bellboy unlocks the door.\",\n \"INT. HOTEL ROOM - DAY The door to the room opens and the bellboy, followed by Zed, walks into the room. He puts Zed's bag onto one of those luggage holders and proceeds to show him the room. Sitting on the bed is a large air freight package. BELLBOY -LRB- in broken English. -RRB- Your package. It arrived in the last night of before last night. He points to the telephone. BELLBOY Ah. telephone, for the room service. He motions toward the bathroom. BELLBOY The toilet. He opens the closet door. BELLBOY To hang the clothes. He points to a control console next to the bed. BELLBOY From here you can operate the television. Then he pauses at the door before he goes out. Zed reaches into his pocket and takes out some French money, he starts fingering through it. Then, the bellboy takes the liberty of showing Zed which bills to give him. BELLBOY -LRB- after getting what he wanted. -RRB- Merci. He starts to leave. ZED Oh, wait. The bellboy turns around. ZED What time is it? BELLBOY -LRB- confused. -RRB- What time is it? ZED -LRB- pointing at his watch. -RRB- Time. BELLBOY Ah. Yes. Il est presque huit heures moins dix. The bellboy clicks his heels and walks out the door. Zed looks around the room, still wondering what time it is, and takes a seat on the bed. Obviously tired from the flight Zed unbuttons his shirt a bit and lays back on the bed next to the package. Before he dozes off to sleep he takes his watch off and places it on the bedside table. He is asleep.\",\n \"INT. HOTEL ROOM - LATER - DAY Zed's bed, while still made, looks like it's been slept in. Sitting on it is the ripped open air freight package. Inside of it is a black steel briefcase. The shower is on and from the look of things Zed is in it. On the bedside table we see Zed's watch. It reads 12:10 P.M. Next to it is the phone. Next to the phone is a piece of folded paper with Moises' name and a phone number that reads : 45.63.53.37.\",\n \"INT. HOTEL ROOM - BATHROOM - SHOWER - DAY Zed is in the shower letting the water run directly into his face and cascade down his body. He opens his mouth and freely drinks the water, then he spits some out with a spurt. Then he stops, attentive, listening for something. He turns the shower off. Then he hears it again, the knocking on the door.\",\n \"INT. HOTEL ROOM - BATHROOM - DAY Zed grabs a towel and climbs out of the shower. He makes his way toward the knocking.\",\n \"INT. HOTEL ROOM - DAY Zed walks to the door to his room with the towel wrapped around his waist. He opens it. In the hall is ZOEY, a cute French girl of not more than twenty. She's chewing on gum the way a schoolgirl might, but she looks like no girl Zed ever went to school with. ZOEY Bonjour. ZED -LRB- a little awkwardly. -RRB- Bonjour. Zed opens up the door and lets her in. She checks out the room and places her bag on the bed. Then she makes her way to the window for a view of the city. ZOEY Wow. Vous avez une belle chambre. Je ne suis jamais venue dans cet hotel. She turns to him, but in the process takes the time to examine every detail of the room. ZOEY Ca sera 150 francs de l'heure. Toute la nuit pour 700. D'avance. Et faudra porter un - ZED I. do n't speak French. She blows a bubble. ZOEY It's okay. She takes a seat on the bed. ZOEY It will be one thousand francs for all night. In advance. Zed takes the money out of his wallet and gives it to her. ZOEY We can do it now if you want. ZED Well, let me just dry up. ZOEY Okay, but it's not necessary. He goes into the bathroom and starts drying himself. She puts the money in her bag and then turns on the television from the remote console. A French talk show comes on. She changes the channel until she comes to a station playing F.W. Murnau's silent classic, `` Nosferatu''. She smiles and sits back to watch. ZED -LRB- O.S. -RRB- -LRB- from the bathroom. -RRB- What's your name? ZOEY Zoe or Zoey. Which ever you like. ZED -LRB- O.S. -RRB- My name's Zed. ZOEY -LRB- smiling at this. -RRB- That's funny. We both have Z names. Zed comes walking out of the bathroom drying his hair. His pants are on. ZED What was that? She notices his pants. ZOEY You can take those off. The pants. ZED I'd rather watch you get undressed first. ZOEY -LRB- matter - of - factly. -RRB- Alright. She stands up and starts to lift her top off. He stops her. ZED Slower. He lays down on the bed. She stands there looking at him and then smiles. ZOEY Alright Mister America. Zed. Then, with Zed laying on the bed and watching her, she slowly, seductively strips in front of him, never taking her eyes from his eyes, until she is totally naked. ZOEY Slow enough for you? Then, like a cat prowling for it's prey, she crawls over the bed to him and begins to unbuckle his pants. She removes the pants and climbs on top of him. They begin to make love. On the television, `` Nosferatu'' silently plays. Zoey and Zed quicken their pace with an urgency one ca n't resist during a moment of passion. She cries out and lowers herself to his grasp. An IMAGE overcomes her mind. They quicken to an almost violent speed and then expire, both satisfied. She begins to kiss him multiple times over the face. ZOEY C'etait formidable. She rolls over, still hugging him, purring like a kitten. They rest there for a while. holding each other. ZOEY I'm cold. She takes the covers and crawls under them, so does Zed. ZOEY Zed? ZED Yes? ZOEY Moises told me you were in town for business. ZED Yes. ZOEY What kind of business? ZED Why? ZOEY I do n't know. I'm just curious. ZED Do you ask all your clients questions? ZOEY No. Just the ones I like. ZED So you like me? ZOEY Yes. ZED Why? ZOEY Because you're. a good person. I run into some real creeps. You know. ZED How do you know I'm a good person? ZOEY Body language. We fit together. ZED All men and women fit together. Hell, even some men fit together. ZOEY No, but you know, we clicked. You made me orgasm. Do you know how often I orgasm with a man Moises sets me up with? ZED No I do n't. ZOEY Usually never. They're almost always fat like pigs. Zed laughs at this. ZOEY And you make me feel safe. That's something more important than the orgasm. An integral part maybe of the orgasm. ZED I never really thought of it like that. ZOEY Well, it's true. Zed nods at this. ZOEY Turn off the television. Zed reaches over and turns it off from the console. ZOEY So I mean it when I tell you Zed, I like you very much. ZED Well, I like you too Zoe. ZOEY Honest? He nods. ZOEY Why? For the same reason? Any man can orgasm. Even with his own hand. Zed stares ahead as he thinks of an answer. ZED Well, I like your honesty. You're open. Unlike most prostitutes I've been with. She does n't like the sound of this. She slaps him. ZOEY I am not a prostitute! Zed is a little surprised at this. ZED Really? Can I have my francs back then? ZOEY I'm a student. And to pay for the classes I became an escort. It's my choice to sleep with you. ZED I see. ZOEY What? You do n't understand. ZED No, I do. ZOEY Hey, it's not easy. ZED I did n't say it was. ZOEY I'm here because I want to. ZED Okay, okay relax. What school do you go to? ZOEY The Centre du Art, Paris. ZED That's really interesting. What kind of art do you study? ZOEY Not any of the old shit. ZED Oh. ZOEY I have a day job too. Three times a week. She rolls onto her back and stares into an imaginary world as she talks to Zed. ZOEY But someday there will be only my art. ZED What kind of things do you paint? ZOEY I do n't paint. I make things. Objects. Not like sculpture. Like life. but with no narrative. I want when someone looks at one of my objects for there to be no reference to the world. Void of feeling, emotion. void of destiny. Those are left for me. They belong only to me. If someone else can see into it. then it is no longer mine. I have failed. And I would destroy it. I do n't care how much cash they would offer me. It would be shit. I ca n't tell you how many objects of mine have been destroyed. They told too much about me. And if someone wants to know something about me. I'll tell them myself. The way I'm telling you. She looks back at him. ZOEY What I do I do only for the objects. ZED I'd like to see one of these. ZOEY What? So you could see the work of a whore? He decides to put a stop to this once and for all. ZED Zoey. I'm sorry for calling you a prostitute. I did n't understand the difference. ZOEY The difference is a prostitute would have lied to you about her orgasm. He gives her a kiss. ZED If these things you make are as true as you are. I'm sure they're as indescribable. Perhaps, someday, you'll make one. about me. ZOEY If I do. you'll never know which one it is. Because I'll be the only one who understands. I'll be the only one who can look into it and see where in my life it came from. Zed is unable to speak. They look into each others eyes for a long moment, hearing the sounds of the city drift in through the window. Then she leans forward and gives him a soft understanding kiss.\",\n \"INT. ZED'S ROOM - NIGHT Zed is asleep. Zoey is asleep in his arms. There is a knocking at the door. Zed opens his eyes. The knock becomes a pound. Zed gets up and puts on his pants. Zoey gets up and looks around. ZOEY -LRB- groggily. -RRB- What time is it? ZED I have no idea. Night time. There is more pounding on the door. ZOEY I'm going to take a shower. She trots off naked to the bathroom and starts the shower. Zed walks over to the door and opens it up. Standing in the hall is Eric, a Frenchman of Zed's age wearing baggy French - style clothes. ERIC -LRB- with a thick accent. -RRB- Hey you madman! Zed's happy to see him. ZED Eric. Come in. They hug. ERIC What happened to you? I thought you were going to call. Eric walks in and starts to notice the traces of wild love making around the room. ERIC -LRB- smiling. -RRB- Oh I see. You have been busy. ZED Sorry, I asked the hotel to give me a wake up call. ERIC That's good, but now I am here. So let's go. We have a lot to talk about. ZED What about the girl? ERIC Is she your girlfriend? ZED No. ERIC Fuck her. He peeks into the bathroom. ERIC She's a dishrag whore. Kick her out. ZED I'll let her stay here tonight. ERIC Do n't be silly. It's dangerous. Eric walks into the bathroom.\",\n \"INT. HOTEL ROOM - BATHROOM - NIGHT Eric walks up to the shower and knocks on the door. Zoey is obviously surprised to see him. ERIC -LRB- in French with English subtitles. -RRB- Okay. Get out of the shower. It's time for you to leave. ZOEY Fuck you. Eric opens up the door and yanks her out of the shower. ERIC No. Come on you fucking slut! She shrieks. ZOEY Let go of me you shit! He drags her out into the room, she is dripping wet.\",\n \"INT. HOTEL ROOM - NIGHT Zed ca n't believe this. ZED Eric. ERIC -LRB- to Zed. -RRB- Do n't worry about her. -LRB- to Zoey in French. -RRB- Why do n't you just go back to your pimp and suck his black dick! She bites his hand. He yells in pain. ERIC God damn it! He kicks her in the butt and sends her toward the door. ERIC Get the fuck out of here you fucking whore! He opens the door and throws her into the hall.\",\n \"INT. HOTEL - HALL - NIGHT Naked, Zoey falls into the hall. Eric slams the door shut. She is instantly back on her feet and screaming as she pounds on the door. ZOEY Give me my clothes you asshole!\",\n \"INT. HOTEL ROOM - NIGHT She is pounding on the door. ERIC -LRB- looking at his hand wound. -RRB- God damn it. Look at my hand. ZED -LRB- shocked at the whole incident. -RRB- Jesus Eric. ZOEY -LRB- O.S. -RRB- Ouvres! Je veux mes habits! Eric listens. ERIC Oh shit. Her clothes. He picks up her clothes and her bag, opens the door, and throws it into the hall just long enough for her to yell at him. ZOEY -LRB- almost too quick to understand. -RRB- Tu te prends pour qui espece de connard!? ERIC La ferme! He slams the door shut. Then he turns to Zed. ERIC So tell me, what have you been up to? Zed sits down on the bed. ZOEY -LRB- O.S. -RRB- Allez vous faire enculer tous le deux! ZED Eric, I liked that girl. ERIC Oh. Well, then why did n't you stop me. ZED Because you were on a rampage. ERIC Look, your whole life you've done nothing but fuck whores. A girl like that will give you AIDS. Why do n't you find a nice girl in the suburbs? ZED Because when you need to get off you do n't want to have to date for months to do it. ERIC Just use your hand like me. ZED Sometimes you just need honesty. and security. ERIC I do n't understand. Anyway, it's too late. Get dressed, let's go out and meet the boys. ZED Okay, let me take a shower. ERIC No, in Paris it's good to smell like you've been fucking. It will make them respect you. ZED Oh. ERIC Just put on a shirt and a sport coat. Zed starts to get dressed\",\n \"EXT. BOULEVARD SAINT MICHEL - NIGHT The McDonalds on the corner of Boulevard Saint Michel and Rue Soufflot is bustling. Eric's Citroen screeches around the corner on it's way past the Pantheon and into the heart of the fifth Arrondissment.\",\n \"INT. ERIC'S CAR - MOVING - NIGHT Eric and Zed are driving through the streets of Paris in Eric's car. The grooving Ryuichi Sakamoto song `` Triste'' is playing on the radio. ERIC I'm glad you came. How long has it been? ZED Years. ERIC It's amazing, you know? Here you are. One day in America. Now here. ZED Well, to be honest there really was n't much happening for me in the states. ERIC But in Paris your old friend Eric has a job for you, so you came. That's good. ZED How could I resist your invitation? ERIC You would have been stupid to. ZED So what have you been doing here? ERIC After school I spent some time in Algeria studying African philosophy. And then I bummed around. You know. For fun. For a while I worked at Le Figaro. The newspaper. ZED Really? ERIC Yes. With an assumed Masters degree. And lately we have just been bombing fascists here in Paris. You know, like terrorists. Zed looks over at him. ERIC It's fun.\",\n \"INT. ERIC'S FLAT - OUTER STAIRWELL - NIGHT Eric and Zed walk up the stairs to the fifth floor where Eric's flat is. On the top landing there is a dead cat laying. Zed and Eric notice the cat as Eric is opening the door. There is also a telephone coming out of the neighbors door. ERIC The people next door are on holiday. We took their phone. If you want to make a long distance call, go ahead. ZED Is that cat dead? ERIC I do n't know. I think it's asleep but it's been there for days. Eric gives it a kick. No response. ERIC I guess it is dead. They walk into the flat.\",\n \"INT. ERIC'S FLAT - LIVING ROOM - NIGHT Eric's flat consists of a good sized living room area with a connected kitchen and a small bedroom in the back. In the front of the living room there is a small balcony where the sounds of the city pour in. The room itself is a general mess. A bunch of guns are piled in one corner of the floor. Hung up on the wall is a huge, French `` Dressed To Kill'' poster. Some Brazilian Gilberto/Getz music is playing. Sitting at the table playing cards are three men : FRANCOIS, RICARDO, and JEAN. Sitting on the couch rolling a cigarette with hash is CLAUDE and OLIVER. They all turn as Zed and Eric walk in. ERIC Hello. They all return the greeting. ERIC -LRB- to Zed. -RRB- Okay. This is Francois, Ricardo, Jean, Oliver, and Claude. Got it? ZED I will. ERIC They all know who you are. -LRB- to the rest of them. -RRB- Ne soyez pa salauds. Offrez une biere au plus grand perceur de coffres. Oliver stands up and walks to the kitchen. OLIVER -LRB- with an English accent. -RRB- Zed, would you like a beer? ZED Thanks. OLIVER Do n't think of it. CLAUDE -LRB- to Zed. -RRB- Come. Sit down.\",\n \"INT. ERIC'S FLAT - KITCHEN - NIGHT The kitchen is an absolute pig stye. Dishes are piled up in the sink and on the counter. Oliver grabs a glass that has some old beer in it and empties it. He scratches some filth off of it and pours some beer into the glass.\",\n \"INT. ERIC'S FLAT - LIVING ROOM - NIGHT Zed takes a seat on the couch next to Claude. Suddenly, a SPIDER MONKEY dressed in a little Uncle Sam costume comes screeching up onto Zed's lap and then up onto his head, the whole time clawing at his eyes. Eric, amused, turns from the men playing cards and smiles. CLAUDE -LRB- to Zed. -RRB- Easy. Do n't scare him. He just wants to claim you. Zed is frozen as the monkey climbs around him and then onto Claude's shoulder. CLAUDE Let me introduce you properly. This is Enrique. The monkey screeches. CLAUDE He likes to be called Chim Chim, but we do n't always get what we like. do we? Again, the hideous creature screeches. CLAUDE -LRB- to Enrique. -RRB- Tais - toi! -LRB- then to Zed. -RRB- Do you like hash? Then Eric interrupts. ERIC -LRB- jokingly. -RRB- Do n't sit next to that junkie. CLAUDE Ahhhhhh! Claude throws a lit cigarette at him which explodes into a mass of sparks. They laugh. ERIC -LRB- to Claude. -RRB- That little shit monkey of yours pissed on my Billy Holiday albums. Next time he's out the door. -LRB- to Zed. -RRB- Zed, come here. Zed gets up and goes with Eric to the bedroom. On the way Oliver hands him the glass of beer. OLIVER Here you go mate. ZED Thanks. Oliver sits down next to Claude.\",\n \"INT. ERIC'S FLAT - BEDROOM - NIGHT Eric's bed has probably never been made. In fact, this room looks a lot like Quentin Tarantino's old apartment. But, there is a certain order to all this chaos. Eric pulls out a blueprint and spreads it out over the bed. ERIC Do n't ask me where we got this. ZED Okay. ERIC On Bastille Day, all the banks are closed. He places his hand on the blueprint. ERIC But this one. BIP. The Banque Internationale de Paris. And for being greedy capitalists perhaps they will remain closed next Bastille day. Yes? Zed smiles. ERIC We will go in and shut the bank down. Now, look at this. Eric pulls out a complex electronic schematic. ERIC As you can see, only one person can start the alarm. -LRB- he hands it to Zed. -RRB- The concierge, at this desk. -LRB- he points it out on the blueprint. -RRB- We will take care of him. Then we can close the bank. No one will know the difference since every other bank will be closed. ZED -LRB- turning the schematic around. -RRB- Are you sure he wo n't push the alarm? ERIC Ahhh! He's right next to the door. We'd have to be totally incompetent not to stop him. Do n't worry about that. He points to the main floor vault. ERIC Here. This is where they keep the days reserve cash. Okay fuck that. He flips the page to the lower level blueprint. ERIC There are many vaults downstairs, but this is the vault we must get into. This is where the real prize is. ZED What kind of vault is that? He checks the blueprint. ERIC Ah. Swiss made. A Caliber. ZED Caliber? -LRB- he thinks about it. -RRB- It'll take three hours. ERIC No, that's too long. ZED That's how long it'll take. ERIC Well shit. It's too long. We have to be in and out. -LRB- he snaps his fingers. -RRB- Like that. Or there will be suspicion. A little time is okay. but too long and. He shrugs his shoulders in an `` I do n't know gesture.'' ZED Well hold on a second. -LRB- pointing to the blueprint. -RRB- What's this? Eric looks down at the blueprint. There is a small passage connecting the main vault to an adjacent vault. ERIC Another vault. ZED No this. Eric looks closely at the blueprint. ERIC I do n't know. it connects the two vaults. ZED Well, what kind of vault is this other one? ERIC -LRB- reading the blueprint. -RRB- Also Swiss, but this one is a Poseidon. ZED Why would those two vaults be connected? ERIC I do n't know. ZED Because I can get into this vault in half an hour. Maybe less. ERIC But this entry way is too small to get the platen out. We have a lot of merchandise in there. ZED No, do n't you see? We get in through this secondary vault and take this passage to the other main vault. From the inside I could open the Caliber vault in five minutes. ERIC You could open it in five minutes? ZED From the inside it's easy. ERIC -LRB- excited. -RRB- Hot damn. That is our answer. ZED Okay. When is Bastille day? ERIC Tomorrow. ZED Tomorrow!? We're doing this tomorrow? ERIC But of course. ZED It's impossible. ERIC It's not impossible. Everyone knows what to do. ZED I do n't know what to do. ERIC You do n't need to know shit. Just get into the vault and we'll do the rest. ZED I have n't even seen the bank. ERIC Fuck the bank. Before we do a job we live life. It's better that way. Okay? ZED -LRB- unsure. -RRB- Okay. ERIC Good. Now we do heroin!\",\n \"INT. ERIC'S FLAT - BATHROOM - NIGHT EXTREME CLOSE ON : Eric making heroin. The heroin powder is put into a spoon with some lemon squeezed into it, then a little bit of tap water. Huddled around Eric are Francois, Ricardo, and Oliver. OLIVER -LRB- so high he's wobbling. -RRB- You have to look at the Starship Enterprise as a metaphor for the human brain. No one is really listening to Oliver. Eric takes out a lighter and cooks it to a boil. OLIVER -LRB- continuing. -RRB- Spock is the right hemisphere of the brain, all logic and intellect. Mc Coy is the left hemisphere, stricktly emotional. And Kirk is the unseen observer. He drifts between the two. Back and forth, as it might be, caught between the two thought processes. ERIC Cotton. Ricardo hands him a cotton ball. OLIVER -LRB- continuing. -RRB- It's really quite brilliant you know. That's why Star Trek is and always will be a hit show. Eric places the cotton ball in the spoon with the mixture. ERIC -LRB- to Oliver. -RRB- Here, shut up and hold this. He hands Oliver the spoon and takes out a needle. Using the cotton as a filter he draws the heroin into the syringe. Then, he holds the syringe up and starts tapping it. ERIC Do n't want to get air bubbles in my veins. They all laugh at this.\",\n \"INT. ERIC'S FLAT - LIVING ROOM - NIGHT In the meantime, Zed is sitting on the couch with Claude and Jean. Claude is rolling a hash and tobacco cigarette. Jean is chopping up some powder heroin on the glass of a small picture. JEAN Do you want heroin? ZED No, I want to be sharp for tomorrow. Jean and Claude laugh at this. JEAN No. A little bit of heroin, some hash, a beer. and you're just right. Jean snorts a line. Claude offers Zed the spliff. Zed shakes his head `` no''. CLAUDE Okay. JEAN -LRB- recovering from the snort. -RRB- That's good. Eric, Francois, Ricardo, and Oliver come out of the kitchen laughing. Eric, Ricardo, and Oliver take a seat on the couch opposite Zed. Francois sits on the floor. Eric rolls up his sleeve. ERIC -LRB- to Ricardo in French. -RRB- Hold my arm. -LRB- then to Zed. -RRB- My vein is like a rock. Ricardo takes hold of his arm and squeezes. Eric inserts the needle into his vein and draws out a little blood. It mixes with the heroin, then he pumps it in. then back into the syringe, then all the way back in. He withdraws the needle. Ricardo lets go of his arm. Eric is in bliss. His eyes roll back into his head. He looks like he's on the verge of falling asleep. Then Jean takes another snort. Pretty soon everyone is smoking and getting high, shooting up, and drinking more beer. Then Jean holds out a piece of folded aluminum foil with some heroin in it. JEAN -LRB- to Zed. -RRB- Try some. It's called chasing the dragon. The Chinese have been doing it for centuries. ZED I do n't think so. JEAN Oh, but you must. It will make you feel as though the rest of the world is in a bubble of glass and that you're rubbing up against it like a bad windshield wiper. They stick the aluminum foil with the heroin in it up next to his face. They then light the bottom of the foil with a lighter. Before Zed knows it, he's inhaling a silky ribbon of smoke. Suddenly our plane of focus wildly shifts and we.\",\n \"INT. ERIC'S CAR - MOVING - NIGHT Ricardo is racing Eric's car through the streets of Paris weaving in and out of traffic. Next to him is Oliver, and in the back seat is Zed and Eric. They're giving the very stoned Zed a whirlwind tour of the sights. A car speeds up next to them. In it is Francois, and Claude, with Jean driving. They are racing with Ricardo through the streets. The Patrick Hernandez song `` Born To Be Alive'' is blasting away on the radio. ERIC There. That's Notre Dame. But before Zed can even look it has past by. RICARDO Do you like French cars? All Zed can notice is that the speedometer is at 160 kilometers per hour. He tries to calculate what that is in miles per hour. ZED -LRB- answering Enrique's question. -RRB- Yes. RICARDO I like the Cadillac. Fifty - two to seventy - five. Very nice. ERIC Up here you can see the Eiffel tower. Zed is in too much of a blur. He leans over to Eric. ZED Is tomorrow really Bastille day? ERIC Yes, tomorrow we pull the biggest job in French history. And spend the rest of our lives in Monte Carlo. The drunken Englishman, Oliver, belches and then cheers.\",\n \"EXT. PARIS STREET - NIGHT The two cars are franticly racing through traffic.\",\n \"INT. JEAN'S CAR - MOVING - NIGHT Jean is very intent on beating them to whatever location it is they're going to. Claude, in the seat next to him, gives him some advice. CLAUDE Faster, faster. go faster. Let's beat them! Francois laughs and coughs out a cloud of smoke.\",\n \"EXT. PARIS STREET - NIGHT Jean's car makes a dangerous lane change across traffic and cuts off Ricardo.\",\n \"INT. ERIC'S CAR - MOVING - NIGHT Ricardo swerves as he passes a joint to Eric. RICARDO Shit! That bastard. ERIC -LRB- to Ricardo. -RRB- Watch it! Do n't crash my car. Eric takes a big hit. ERIC Over here is where the male prostitutes sell themselves. Do you see? No, Zed does n't see. Suddenly, everyone in the car is shouting out the windows. OLIVER -LRB- out the window. -RRB- Fucking fags! ERIC -LRB- also out the window. -RRB- Suce ma bite?! RICARDO Perverts d'homosexuels! Eric laughs. ERIC -LRB- into Zed's ear. -RRB- This is good to have you here. We could not do this without you. Zed nods. ERIC Everyone has agreed to give you double shares. That's good. Zed nods, delirious. ERIC You know I have AIDS. From the needle. Zed ca n't believe this. He's not sure if what he heard was what he thought he heard. ZED Really? Then Eric sees something. ERIC Okay, up here is the Arc de Triomphe. They take a sharp turn.\",\n \"INT. CELLAR - NIGHT Eric, Zed, Francois, Ricardo, Jean, Claude, and Oliver are all walking down some dank stone steps into a cellar. Somewhere crazy Raymond Scott Toy Jazz music is playing. An old wine cellar has been converted into a Toy Jazz club. Nothing fancy. dirt floors, chairs and small tables scattered about. but the arched brick ceilings make for great acoustics. ON STAGE a BAND is playing away. In the audience sit about TWELVE FRENCH PEOPLE, all enjoying the music. AT THE BUFFET In the back of the club near the doors some tables have been set up with a buffet of local cuisine on it. Behind the tables are two rotund but happy French women MIRELLE and JOSEPHINE. Eric, Zed, Francois, Ricardo, Jean, Claude, and Oliver walk in and immediately start blabbing away in French to Mirelle and Josephine. Eric hands them some money. ZED'S TABLE Everyone enters and takes seats at various parts of the club. Oliver sits next to Zed. OLIVER So, how long have you known Eric? ZED Well, Eric's mother is American. OLIVER Yeah, and his dad's French. ZED They're divorced. And she and his father had some kind of six month split plan set up. So every six months he would come back to the states. We were best friends. Eventually he and his mother had a falling out and he stayed here. It's been. years. OLIVER Well, it's good to have you here. Eric speaks fairly highly of you. Say, he says you're a big fan of Viking films. ZED Well. I suppose. I used to be, when I was young. OLIVER Oh they're the best. Helmets with horns on them. Shit. That's fucking genius. He starts laughing. OLIVER How ` bout Toy Jazz? You like it? Zed watches the players on stage and then nods. ZED Yeah. I guess. OLIVER I love it. It's really good, you know? Like real music. It has a heart and culture all it's own. It's, like, jazz for dwarves. or guys in Leiderhosen. Total purity of essence. ZED Yeah. OLIVER Hungry cannibals'd like it. Then Claude comes up to them with some glasses and a bottle of red wine. CLAUDE Here, you must drink some of this wine, it's good. He pours Zed a glass. Oliver passes on the wine. OLIVER -LRB- to Claude. -RRB- Non merci, c'est de la merde. CLAUDE -LRB- to Oliver. -RRB- La ferme. C'est du bon vin. -LRB- to Zed. -RRB- The fucking English. Zed sips some. He's in no real shape to tell if the wine's good or not. ON STAGE Suddenly, it seems as though the bands music gets louder. The horns really start to scream and the room becomes a delirium of music. The band stands up. IN THE AUDIENCE The people watching start to dance, if not in their seats then right in front of everything. ZED'S TABLE Suddenly, Zed notices something. ON STAGE Eric is up on stage playing a trombone right alongside the band. ZED'S TABLE Zed blinks but it's true. Oliver and Claude start laughing. OLIVER Look at him. He's crazy. ON STAGE And surely he must be, yet, in a strange way, he's keeping up with the other musicians and sounding pretty good. Eric is all smile as he plays with them. Sweat is running down his face but he's caught up in the moment. ELISE, a woman from the audience has jumped up onto the stage, caught up in Eric's frenzy, and is dancing about like James Brown. Then, the music crescendos and Eric hands the trombone back to a musician. The set is over. Eric skips off the stage and walks over to where Oliver, Claude, and Zed are sitting.\",\n \"EXT. BOULEVARD SAINT MICHEL - NIGHT The McDonalds on the corner of Boulevard Saint Michel and Rue Soufflot is bustling. Eric's Citroen screeches around the corner on it's way past the Pantheon and into the heart of the fifth Arrondissment.\",\n \"INT. ERIC'S CAR - MOVING - NIGHT Eric and Zed are driving through the streets of Paris in Eric's car. The grooving Ryuichi Sakamoto song `` Triste'' is playing on the radio. ERIC I'm glad you came. How long has it been? ZED Years. ERIC It's amazing, you know? Here you are. One day in America. Now here. ZED Well, to be honest there really was n't much happening for me in the states. ERIC But in Paris your old friend Eric has a job for you, so you came. That's good. ZED How could I resist your invitation? ERIC You would have been stupid to. ZED So what have you been doing here? ERIC After school I spent some time in Algeria studying African philosophy. And then I bummed around. You know. For fun. For a while I worked at Le Figaro. The newspaper. ZED Really? ERIC Yes. With an assumed Masters degree. And lately we have just been bombing fascists here in Paris. You know, like terrorists. Zed looks over at him. ERIC It's fun.\",\n \"INT. ERIC'S FLAT - OUTER STAIRWELL - NIGHT Eric and Zed walk up the stairs to the fifth floor where Eric's flat is. On the top landing there is a dead cat laying. Zed and Eric notice the cat as Eric is opening the door. There is also a telephone coming out of the neighbors door. ERIC The people next door are on holiday. We took their phone. If you want to make a long distance call, go ahead. ZED Is that cat dead? ERIC I do n't know. I think it's asleep but it's been there for days. Eric gives it a kick. No response. ERIC I guess it is dead. They walk into the flat.\",\n \"INT. ERIC'S FLAT - LIVING ROOM - NIGHT Eric's flat consists of a good sized living room area with a connected kitchen and a small bedroom in the back. In the front of the living room there is a small balcony where the sounds of the city pour in. The room itself is a general mess. A bunch of guns are piled in one corner of the floor. Hung up on the wall is a huge, French `` Dressed To Kill'' poster. Some Brazilian Gilberto/Getz music is playing. Sitting at the table playing cards are three men : FRANCOIS, RICARDO, and JEAN. Sitting on the couch rolling a cigarette with hash is CLAUDE and OLIVER. They all turn as Zed and Eric walk in. ERIC Hello. They all return the greeting. ERIC -LRB- to Zed. -RRB- Okay. This is Francois, Ricardo, Jean, Oliver, and Claude. Got it? ZED I will. ERIC They all know who you are. -LRB- to the rest of them. -RRB- Ne soyez pa salauds. Offrez une biere au plus grand perceur de coffres. Oliver stands up and walks to the kitchen. OLIVER -LRB- with an English accent. -RRB- Zed, would you like a beer? ZED Thanks. OLIVER Do n't think of it. CLAUDE -LRB- to Zed. -RRB- Come. Sit down.\",\n \"INT. ERIC'S FLAT - KITCHEN - NIGHT The kitchen is an absolute pig stye. Dishes are piled up in the sink and on the counter. Oliver grabs a glass that has some old beer in it and empties it. He scratches some filth off of it and pours some beer into the glass.\",\n \"INT. ERIC'S FLAT - LIVING ROOM - NIGHT Zed takes a seat on the couch next to Claude. Suddenly, a SPIDER MONKEY dressed in a little Uncle Sam costume comes screeching up onto Zed's lap and then up onto his head, the whole time clawing at his eyes. Eric, amused, turns from the men playing cards and smiles. CLAUDE -LRB- to Zed. -RRB- Easy. Do n't scare him. He just wants to claim you. Zed is frozen as the monkey climbs around him and then onto Claude's shoulder. CLAUDE Let me introduce you properly. This is Enrique. The monkey screeches. CLAUDE He likes to be called Chim Chim, but we do n't always get what we like. do we? Again, the hideous creature screeches. CLAUDE -LRB- to Enrique. -RRB- Tais - toi! -LRB- then to Zed. -RRB- Do you like hash? Then Eric interrupts. ERIC -LRB- jokingly. -RRB- Do n't sit next to that junkie. CLAUDE Ahhhhhh! Claude throws a lit cigarette at him which explodes into a mass of sparks. They laugh. ERIC -LRB- to Claude. -RRB- That little shit monkey of yours pissed on my Billy Holiday albums. Next time he's out the door. -LRB- to Zed. -RRB- Zed, come here. Zed gets up and goes with Eric to the bedroom. On the way Oliver hands him the glass of beer. OLIVER Here you go mate. ZED Thanks. Oliver sits down next to Claude.\",\n \"INT. ERIC'S FLAT - BEDROOM - NIGHT Eric's bed has probably never been made. In fact, this room looks a lot like Quentin Tarantino's old apartment. But, there is a certain order to all this chaos. Eric pulls out a blueprint and spreads it out over the bed. ERIC Do n't ask me where we got this. ZED Okay. ERIC On Bastille Day, all the banks are closed. He places his hand on the blueprint. ERIC But this one. BIP. The Banque Internationale de Paris. And for being greedy capitalists perhaps they will remain closed next Bastille day. Yes? Zed smiles. ERIC We will go in and shut the bank down. Now, look at this. Eric pulls out a complex electronic schematic. ERIC As you can see, only one person can start the alarm. -LRB- he hands it to Zed. -RRB- The concierge, at this desk. -LRB- he points it out on the blueprint. -RRB- We will take care of him. Then we can close the bank. No one will know the difference since every other bank will be closed. ZED -LRB- turning the schematic around. -RRB- Are you sure he wo n't push the alarm? ERIC Ahhh! He's right next to the door. We'd have to be totally incompetent not to stop him. Do n't worry about that. He points to the main floor vault. ERIC Here. This is where they keep the days reserve cash. Okay fuck that. He flips the page to the lower level blueprint. ERIC There are many vaults downstairs, but this is the vault we must get into. This is where the real prize is. ZED What kind of vault is that? He checks the blueprint. ERIC Ah. Swiss made. A Caliber. ZED Caliber? -LRB- he thinks about it. -RRB- It'll take three hours. ERIC No, that's too long. ZED That's how long it'll take. ERIC Well shit. It's too long. We have to be in and out. -LRB- he snaps his fingers. -RRB- Like that. Or there will be suspicion. A little time is okay. but too long and. He shrugs his shoulders in an `` I do n't know gesture.'' ZED Well hold on a second. -LRB- pointing to the blueprint. -RRB- What's this? Eric looks down at the blueprint. There is a small passage connecting the main vault to an adjacent vault. ERIC Another vault. ZED No this. Eric looks closely at the blueprint. ERIC I do n't know. it connects the two vaults. ZED Well, what kind of vault is this other one? ERIC -LRB- reading the blueprint. -RRB- Also Swiss, but this one is a Poseidon. ZED Why would those two vaults be connected? ERIC I do n't know. ZED Because I can get into this vault in half an hour. Maybe less. ERIC But this entry way is too small to get the platen out. We have a lot of merchandise in there. ZED No, do n't you see? We get in through this secondary vault and take this passage to the other main vault. From the inside I could open the Caliber vault in five minutes. ERIC You could open it in five minutes? ZED From the inside it's easy. ERIC -LRB- excited. -RRB- Hot damn. That is our answer. ZED Okay. When is Bastille day? ERIC Tomorrow. ZED Tomorrow!? We're doing this tomorrow? ERIC But of course. ZED It's impossible. ERIC It's not impossible. Everyone knows what to do. ZED I do n't know what to do. ERIC You do n't need to know shit. Just get into the vault and we'll do the rest. ZED I have n't even seen the bank. ERIC Fuck the bank. Before we do a job we live life. It's better that way. Okay? ZED -LRB- unsure. -RRB- Okay. ERIC Good. Now we do heroin!\",\n \"INT. ERIC'S FLAT - BATHROOM - NIGHT EXTREME CLOSE ON : Eric making heroin. The heroin powder is put into a spoon with some lemon squeezed into it, then a little bit of tap water. Huddled around Eric are Francois, Ricardo, and Oliver. OLIVER -LRB- so high he's wobbling. -RRB- You have to look at the Starship Enterprise as a metaphor for the human brain. No one is really listening to Oliver. Eric takes out a lighter and cooks it to a boil. OLIVER -LRB- continuing. -RRB- Spock is the right hemisphere of the brain, all logic and intellect. Mc Coy is the left hemisphere, stricktly emotional. And Kirk is the unseen observer. He drifts between the two. Back and forth, as it might be, caught between the two thought processes. ERIC Cotton. Ricardo hands him a cotton ball. OLIVER -LRB- continuing. -RRB- It's really quite brilliant you know. That's why Star Trek is and always will be a hit show. Eric places the cotton ball in the spoon with the mixture. ERIC -LRB- to Oliver. -RRB- Here, shut up and hold this. He hands Oliver the spoon and takes out a needle. Using the cotton as a filter he draws the heroin into the syringe. Then, he holds the syringe up and starts tapping it. ERIC Do n't want to get air bubbles in my veins. They all laugh at this.\",\n \"INT. ERIC'S FLAT - LIVING ROOM - NIGHT In the meantime, Zed is sitting on the couch with Claude and Jean. Claude is rolling a hash and tobacco cigarette. Jean is chopping up some powder heroin on the glass of a small picture. JEAN Do you want heroin? ZED No, I want to be sharp for tomorrow. Jean and Claude laugh at this. JEAN No. A little bit of heroin, some hash, a beer. and you're just right. Jean snorts a line. Claude offers Zed the spliff. Zed shakes his head `` no''. CLAUDE Okay. JEAN -LRB- recovering from the snort. -RRB- That's good. Eric, Francois, Ricardo, and Oliver come out of the kitchen laughing. Eric, Ricardo, and Oliver take a seat on the couch opposite Zed. Francois sits on the floor. Eric rolls up his sleeve. ERIC -LRB- to Ricardo in French. -RRB- Hold my arm. -LRB- then to Zed. -RRB- My vein is like a rock. Ricardo takes hold of his arm and squeezes. Eric inserts the needle into his vein and draws out a little blood. It mixes with the heroin, then he pumps it in. then back into the syringe, then all the way back in. He withdraws the needle. Ricardo lets go of his arm. Eric is in bliss. His eyes roll back into his head. He looks like he's on the verge of falling asleep. Then Jean takes another snort. Pretty soon everyone is smoking and getting high, shooting up, and drinking more beer. Then Jean holds out a piece of folded aluminum foil with some heroin in it. JEAN -LRB- to Zed. -RRB- Try some. It's called chasing the dragon. The Chinese have been doing it for centuries. ZED I do n't think so. JEAN Oh, but you must. It will make you feel as though the rest of the world is in a bubble of glass and that you're rubbing up against it like a bad windshield wiper. They stick the aluminum foil with the heroin in it up next to his face. They then light the bottom of the foil with a lighter. Before Zed knows it, he's inhaling a silky ribbon of smoke. Suddenly our plane of focus wildly shifts and we.\",\n \"INT. ERIC'S CAR - MOVING - NIGHT Ricardo is racing Eric's car through the streets of Paris weaving in and out of traffic. Next to him is Oliver, and in the back seat is Zed and Eric. They're giving the very stoned Zed a whirlwind tour of the sights. A car speeds up next to them. In it is Francois, and Claude, with Jean driving. They are racing with Ricardo through the streets. The Patrick Hernandez song `` Born To Be Alive'' is blasting away on the radio. ERIC There. That's Notre Dame. But before Zed can even look it has past by. RICARDO Do you like French cars? All Zed can notice is that the speedometer is at 160 kilometers per hour. He tries to calculate what that is in miles per hour. ZED -LRB- answering Enrique's question. -RRB- Yes. RICARDO I like the Cadillac. Fifty - two to seventy - five. Very nice. ERIC Up here you can see the Eiffel tower. Zed is in too much of a blur. He leans over to Eric. ZED Is tomorrow really Bastille day? ERIC Yes, tomorrow we pull the biggest job in French history. And spend the rest of our lives in Monte Carlo. The drunken Englishman, Oliver, belches and then cheers.\",\n \"EXT. PARIS STREET - NIGHT The two cars are franticly racing through traffic.\",\n \"INT. JEAN'S CAR - MOVING - NIGHT Jean is very intent on beating them to whatever location it is they're going to. Claude, in the seat next to him, gives him some advice. CLAUDE Faster, faster. go faster. Let's beat them! Francois laughs and coughs out a cloud of smoke.\",\n \"EXT. PARIS STREET - NIGHT Jean's car makes a dangerous lane change across traffic and cuts off Ricardo.\",\n \"INT. ERIC'S CAR - MOVING - NIGHT Ricardo swerves as he passes a joint to Eric. RICARDO Shit! That bastard. ERIC -LRB- to Ricardo. -RRB- Watch it! Do n't crash my car. Eric takes a big hit. ERIC Over here is where the male prostitutes sell themselves. Do you see? No, Zed does n't see. Suddenly, everyone in the car is shouting out the windows. OLIVER -LRB- out the window. -RRB- Fucking fags! ERIC -LRB- also out the window. -RRB- Suce ma bite?! RICARDO Perverts d'homosexuels! Eric laughs. ERIC -LRB- into Zed's ear. -RRB- This is good to have you here. We could not do this without you. Zed nods. ERIC Everyone has agreed to give you double shares. That's good. Zed nods, delirious. ERIC You know I have AIDS. From the needle. Zed ca n't believe this. He's not sure if what he heard was what he thought he heard. ZED Really? Then Eric sees something. ERIC Okay, up here is the Arc de Triomphe. They take a sharp turn.\",\n \"INT. CELLAR - NIGHT Eric, Zed, Francois, Ricardo, Jean, Claude, and Oliver are all walking down some dank stone steps into a cellar. Somewhere crazy Raymond Scott Toy Jazz music is playing. An old wine cellar has been converted into a Toy Jazz club. Nothing fancy. dirt floors, chairs and small tables scattered about. but the arched brick ceilings make for great acoustics. ON STAGE a BAND is playing away. In the audience sit about TWELVE FRENCH PEOPLE, all enjoying the music. AT THE BUFFET In the back of the club near the doors some tables have been set up with a buffet of local cuisine on it. Behind the tables are two rotund but happy French women MIRELLE and JOSEPHINE. Eric, Zed, Francois, Ricardo, Jean, Claude, and Oliver walk in and immediately start blabbing away in French to Mirelle and Josephine. Eric hands them some money. ZED'S TABLE Everyone enters and takes seats at various parts of the club. Oliver sits next to Zed. OLIVER So, how long have you known Eric? ZED Well, Eric's mother is American. OLIVER Yeah, and his dad's French. ZED They're divorced. And she and his father had some kind of six month split plan set up. So every six months he would come back to the states. We were best friends. Eventually he and his mother had a falling out and he stayed here. It's been. years. OLIVER Well, it's good to have you here. Eric speaks fairly highly of you. Say, he says you're a big fan of Viking films. ZED Well. I suppose. I used to be, when I was young. OLIVER Oh they're the best. Helmets with horns on them. Shit. That's fucking genius. He starts laughing. OLIVER How ` bout Toy Jazz? You like it? Zed watches the players on stage and then nods. ZED Yeah. I guess. OLIVER I love it. It's really good, you know? Like real music. It has a heart and culture all it's own. It's, like, jazz for dwarves. or guys in Leiderhosen. Total purity of essence. ZED Yeah. OLIVER Hungry cannibals'd like it. Then Claude comes up to them with some glasses and a bottle of red wine. CLAUDE Here, you must drink some of this wine, it's good. He pours Zed a glass. Oliver passes on the wine. OLIVER -LRB- to Claude. -RRB- Non merci, c'est de la merde. CLAUDE -LRB- to Oliver. -RRB- La ferme. C'est du bon vin. -LRB- to Zed. -RRB- The fucking English. Zed sips some. He's in no real shape to tell if the wine's good or not. ON STAGE Suddenly, it seems as though the bands music gets louder. The horns really start to scream and the room becomes a delirium of music. The band stands up. IN THE AUDIENCE The people watching start to dance, if not in their seats then right in front of everything. ZED'S TABLE Suddenly, Zed notices something. ON STAGE Eric is up on stage playing a trombone right alongside the band. ZED'S TABLE Zed blinks but it's true. Oliver and Claude start laughing. OLIVER Look at him. He's crazy. ON STAGE And surely he must be, yet, in a strange way, he's keeping up with the other musicians and sounding pretty good. Eric is all smile as he plays with them. Sweat is running down his face but he's caught up in the moment. ELISE, a woman from the audience has jumped up onto the stage, caught up in Eric's frenzy, and is dancing about like James Brown. Then, the music crescendos and Eric hands the trombone back to a musician. The set is over. Eric skips off the stage and walks over to where Oliver, Claude, and Zed are sitting.\",\n \"EXT. BANK - DAY EXTREME CLOSE ON : The door to the bank. Francois puts a sign on the door that reads : Closed for Bastille Day.\",\n \"INT. BANK - SUB LOBBY HALL - DAY The sub lobby teller and the sub lobby guard # 2 rendezvous with the sub lobby assistant. SUB LOBBY TELLER -LRB- to assistant. -RRB- Do the phones work? SUB LOBBY ASSISTANT They went dead. SUB LOBBY TELLER Merde! They walk out into the sub lobby.\",\n \"INT. BANK - SUB LOBBY - DAY The sub level teller and the sub lobby assistant walk into the sub lobby just as Eric, Zed, Oliver, and the bank manager start coming down the stairs. At the sight of Eric and his men the sub lobby guard # 2 aims his weapon but does not fire because of the bank manager. Eric presses his Uzi against the bank manager's neck. ERIC -LRB- to the guard. -RRB- Drop the gun! He does n't. ERIC Drop your gun now and nobody dies! After a moments thought about this, and the fact that Oliver has a sawed - off aimed at him, he slowly puts his gun on the floor. ERIC Good boy. They descend down the stairs into the sub lobby. Oliver takes his gun.\",\n \"INT. BANK - LOBBY - DAY Francois, Ricardo, and Jean have finished herding everyone behind the teller windows. Claude is on his way downstairs. CLAUDE I'm going to check things out downstairs. RICARDO -LRB- to the people. -RRB- Now! On the ground! Face down! Then, for effect, he kicks a man.\",\n \"INT. BANK - SUB LOBBY - DAY Claude comes downstairs with his gun raised. CLAUDE All clear down here? Everyone turns. ERIC Take these two upstairs. And chain the gate to the sub lobby shut. Oliver pushes the sub lobby guard # 2 and the sub lobby assistant toward Claude. Then he hands him a chain. Claude can barely maintain his enthusiasm. CLAUDE The phones and video are down! We're locked up tight! -LRB- then in English. -RRB- We fucking did it! He takes the two upstairs. Eric smiles through his teeth at the bank manager. ERIC Any others I should worry about? BANK MANAGER No. ERIC -LRB- to Oliver. -RRB- Well, just to be sure - Then, from one of the safety deposit booths a sound is heard. All eyes turn to it. Oliver walks up to it and kicks the door in. The stodgy customer is kneeling in it. He instantly holds his hands high. OLIVER Freeze motherfucker! Eric walks up, gun in hand. ERIC Who the fuck are you? STODGY CUSTOMER Please do n't shoot me! OLIVER On the ground! He does. ERIC -LRB- to the bank manager. -RRB- Making a deposit I hope. -LRB- he smiles to Oliver. -RRB- Bring him with us. They all make their way down through the sub lobby hall.\",\n \"INT. BANK - RESERVE VAULT AREA - DAY They're herding the men through the hall. BANK MANAGER -LRB- to the sub lobby teller. -RRB- Vault locked? SUB LOBBY TELLER Yes. ERIC Shut your fucking mouths! BANK MANAGER -LRB- to Eric. -RRB- The vault doors are shut and time locked. You wo n't be able to open them. They walk through a doorway into the storage/elevator area.\",\n \"INT. BANK - STORAGE/ELEVATOR AREA - DAY Eric pushes the manager and the others through the doorway. ERIC -LRB- to the bank manager. -RRB- You think we're fucking amateurs? You think we're stupid? I've got news for you. we planned ahead my friend! Eric pushes them infront of the Calibre vault door. ERIC Now save us a lot of time and just open the vault. BANK MANAGER No. ERIC Okay. He releases the bank manager and stuffs the barrel of his handgun into the sub level tellers mouth. ERIC Open the vault. The teller's eyes widen. BANK MANAGER I can not. ERIC Oh. -LRB- to the teller. -RRB- Can you? BANK MANAGER No. Once closed only I can open it. ERIC Then open it. BANK MANAGER I can not. The sub lobby teller's eyes plead with the bank manager. Zed is watching the whole affair nervously. ERIC Do you understand that I'll kill her if you do n't open this fucking vault? BANK MANAGER Do you understand that this is an international reserve bank? Robbing it is punishable by life imprisonment. Eric fires. The back of the sub lobby teller's head paints the wall red. ZED Jesus fucking Christ! The bank manager, shocked as he is, looks at Zed. He knows he's an American. The sub lobby teller's body slumps to the ground. Eric grabs the stodgy customer and puts the gun to his temple. ERIC Open the vault door or I'll kill this man next. The bank manager is freaking out, but after what was probably the most horribly agonizing internal debate, he holds his ground. BANK MANAGER I still can not open the vault. ERIC Come on. It's only things in there. This man is flesh and blood. BANK MANAGER I will not open the vault. ZED Eric no! I can open the vault! ERIC Shut the fuck up! -LRB- then to the stodgy customer. -RRB- You're a customer in this bank and this is how they treat you. Do you have a family? He nods his head `` yes''. ERIC Would you like to see them again? He nods his head again. ERIC -LRB- to the manager. -RRB- This man has a family he would like to have Bastille day dinner with tonight. So save us some time and open the vault. After losing about a pound of sweat. BANK MANAGER No. Eric quickly removes the gun from the customers temple and fires two shots into the bank manager's face. The bank manager falls against the vault door and onto the floor. ERIC Fucking idiot. -LRB- then to the stodgy customer. -RRB- You seem like a nice man. Tonight at dinner think about how lucky you are and how much you love your family. He starts nodding his head. STODGY CUSTOMER Oui. ERIC -LRB- to Oliver. -RRB- Take him upstairs. Oliver takes the customer upstairs to the rest of the people. Eric rips off his mask. ERIC Do n't you ever conflict with me during work again! Do you hear!? Zed off his clown mask. ZED You did n't have to shoot any of them! ERIC -LRB- patronizing. -RRB- Oh, I'm sorry. I did n't realize you were in charge now. Nobody told me. -LRB- his temper flares. -RRB- If he had opened the vault it would have saved us a fucking hour. He charges into the reserve vault area.\",\n \"INT. BANK - RESERVE VAULT AREA - DAY They enter and Eric walks up to a bathroom door. ZED Eric. It's just that we've gone from being thieves to murderers. ERIC Oh fuck it does n't matter! Here you get the death penalty just for robbing a federal bank. ZED I thought the death penalty was abolished in 1980? ERIC Ohhhh! That's what they tell you! But who cares? I need to take a piss. Eric enters the bathroom. ERIC -LRB- on his way into the bathroom. -RRB- Why do n't you open the vault? Zed looks at the bathroom door close. After a fuming pause he turns and walks back toward the Poseidon vault door.\",\n \"INT. BANK - LOBBY - DAY Francois peeks through the venetian blinds of the windows to the outside. FRANCOIS Looks clear. In the meantime, behind the teller windows guarding the people who are laying on the floor, Jean and Ricardo are in the middle of a conversation. Oliver is sitting on the counter, having just brought the stodgy customer upstairs. Also here now are the sub lobby assistant and the sub lobby guard # 2. JEAN What do you mean you're not sure if the alarm went off or not? RICARDO I mean I'm not sure. JEAN Well, either it did or it did n't. RICARDO And I'm not sure. JEAN Well, do you think it did? RICARDO I just fucking told you, I do n't know. JEAN Take a guess. RICARDO It did n't. JEAN You're sure? RICARDO No. It's just a guess. JEAN Well what kind of a fucking guess is that? You're saying it could have. RICARDO Yes. JEAN Well that's fucking great. Why did n't you just kill that asshole to begin with. I knew I should have been the one to kill him. You're always so damn slow. RICARDO Shit these masks are really hot. CLAUDE I know, I've got fucking sweat stinging my eyes. In the meantime Zoey is on the floor, unsure of what is going on.\",\n \"INT. BANK - VAULT ANTECHAMBER - DAY Zed opens up his steel briefcase. Inside of it are all sorts of electronic gear and tools. He takes out a tape measure and some callipers and measures out a point on the vault door. He marks the point with a piece of chalk.\",\n \"INT. BANK - MEN'S BATHROOM - DAY In one of the stalls Eric is preparing a syringe. He has just cooked the heroin and is now tapping on it to get the bubbles out.\",\n \"INT. BANK - VAULT ANTECHAMBER - DAY Zed takes a power drill out from the briefcase and attaches a special diamond tipped bit. He measures the depth he wants to drill to and then marks the bit with a yellow pencil. He places his ear to the vault and taps the spot.\",\n \"INT. BANK - MEN'S BATHROOM - DAY Eric readies the needle and slaps his vein. He is shaking but trying to remain as still as possible. He places the needle at the end of a track on his arm and inserts it.\",\n \"INT. BANK - VAULT ANTECHAMBER - DAY Zed starts drilling into the point he marked with the chalk on the vault door.\",\n \"INT. BANK - MEN'S BATHROOM - DAY Eric's eyes roll back into his head as the heroin fills his vein. He drops the needle to the floor and sits back to enjoy the rush.\",\n \"INT. BANK - LOBBY - DAY Zoey is sitting on the floor next to the other bank hostages.\",\n \"INT. BANK - VAULT ANTECHAMBER - DAY EXTREME CLOSE ON : Zed's drill bit. It burrows into the steel wall of the safe spewing out spiral shavings.\",\n \"INT. BANK - LOBBY - DAY Zoey looks at all the people sitting around her. They're all scared. Jean, Ricardo, and Francois are talking amongst themselves. JEAN -LRB- in French to Ricardo. -RRB- Do you know one? RICARDO Let's see. Okay. An unfortunate fellow was locked up in prison doing five to ten for armed robbery. All he could think of the whole time was eating pussy. Zoey looks up at them telling the joke. RICARDO The day finally came for his release. He walked out of the prison with a new suit and fifty francs the officials had given him, and made a bee - line for the whorehouse in the nearest town. Slamming his fifty francs on the front desk, he said, `` I wan na eat some pussy.'' Jean is already laughing. RICARDO I'm not done. Listen. `` Where've you been,'' said the greasy fellow behind the desk, `` fifty francs wo n't get you a close look these days.'' Zoey glances at all of the people. Then her eyes lock with the concierge security guard. RICARDO `` Listen buddy,'' said the ex - convict, pulling him out of his chair by the shirt collar, `` I wan na eat some pussy, and I want it now!'' The concierge security guard lifts his pant leg slowly. RICARDO `` Okay, okay,'' gasped the proprietor, `` I'll see what I can do.'' So the ex - con followed him through to the very back of the warehouse through some stained, tattered red curtains, and into a grimy little room where a bedraggled looking whore lay spreadeagled on a filthy bed. `` She's yours for fifty francs,'' said the proprietor, and the fellow went at it. Zoey notices that on the concierge security guard's leg is an ankle holster with a small.38 pistol on it. His fingers begin to unsnap the safety harness on it. Her eyes widen. RICARDO After a little while, he came across a piece of egg. `` That's funny,'' he thought to himself, `` I do n't think I had egg for breakfast.'' But he spat it out and kept eating away. Next he found a piece of chipped beef wedged between his front teeth. `` I'm sure I have n't eaten chipped beef this week,'' he thought, but kept on. Then he came across the corn. `` What is this?'' he said, `` I think I'm going to be sick.'' The concierge security guard unsnaps the safety. Zoey knows he's going to make his move. RICARDO `` Ya know,'' says the whore, `` that's what the last guy said.'' Before they can even laugh the concierge security guard whips out the.38 and fires three shots. Two of them hit Ricardo in the chest. He falls to the ground. The other hits Francois in the arm. In an instant Jean is firing his machine gun into the group of people huddled on the floor. Everyone is screaming and trying to get away. Machine gun fire cuts through the concierge security guard killing him dead. Unfortunately, the wild spray of bullets also rips into three of the tellers, four of the customers, and the loan officer, killing them all. People are trying to flee but Claude fires his gun into the ceiling. CLAUDE No one fucking moves! Jean has jumped up on the table and is aiming at the people. JEAN Shit! What happened!?\",\n \"INT. BANK - VAULT ANTECHAMBER - DAY Zed looks up hearing the commotion. Eric comes running out of the bathroom and into the storage/elevator area. ERIC What is it? What's going on? Zed gets up to go upstairs. ZED I do n't know. ERIC No! You stay here. Eric runs upstairs.\",\n \"INT. BANK - LOBBY - DAY Francois is on the ground holding his arm. He keeps rolling back and forth in pain. Ricardo is dead. Jean, Claude, and Oliver are waving their guns around ready to kill someone any second. JEAN Nobody fucking moves! Nobody fucking moves! Claude motions to the dead security guard. CLAUDE The gun! Somebody get it! Oliver goes over to the dead security guard, the whole time waving his gun at people. OLIVER Do n't fuck with me! Do n't fuck with me! He grabs the gun from the dead security guards limp grip. Eric storms in. He is n't wearing his mask. ERIC What the fuck is going on!? Zoey notices Eric, she remembers him. OLIVER -LRB- pointing at the dead man. -RRB- This crazy fuck shot Ricardo! Eric looks over at Ricardo and then at the carnage. Then everybody notices he is n't wearing a mask. JEAN -LRB- quietly. -RRB- Eric, your mask. ERIC Oh shit. Then Oliver yanks his off. OLIVER Who gives a damn if they see us or not anyway! I ca n't see a fucking think in this! Everyone takes their masks off. ERIC Is this what happens? Is this what happens when I walk away for five minutes? CLAUDE He had a hidden gun. ERIC -LRB- mimicking a little child. -RRB- He had a hidden gun. -LRB- then back to normal. -RRB- I do n't care! Then, one of the bank customers, a MALE TOURIST, speaks up. MALE TOURIST -LRB- holding up his passport. -RRB- This is insane! I am a U.S. citizen! You must let me go! Eric looks at him. MALE TOURIST I'm an American! American! I'm just here exchanging dollars. If it was n't for my country you'd all be speaking German! Eric is tired of this outburst, he shoots him. Everyone screams. ERIC -LRB- to the people. -RRB- I have had enough of this nonsense! The next person that speaks will die! Everyone is quiet. Francois is sitting on the floor bleeding from his arm. JEAN Eric, I'm sorry. Things got out of hand. But we're in control now. ERIC Good. Let's try to keep it that way. God what a mess. CLAUDE Eric ERIC What the fuck is it now!? You want me to hold your hand as you take a piss? CLAUDE I have a question. ERIC What? CLAUDE Do we know if the alarm went off or not? ERIC Yes. CLAUDE We do? ERIC Yes. It did n't go off. If it had the police would be here and our whole plan would be fucked. But they're not here, and our plan is n't fucked. So if there are n't any more fucking stupid questions I'll go downstairs and see if we're in yet. Is that okay with you? Claude nods. Then, the phone rings. Everyone looks at it. ERIC I thought the phones were dead. It rings again. OLIVER The phones are dead. Eric grabs a WOMAN TELLER who is crying hysterically and lifts her to her feet. He drags her to the ringing phone. ERIC Answer it! She is crying too hard. Eric puts his gun to her head. ERIC Answer it or you will die. She slowly picks up the phone. WOMAN TELLER -LRB- answering phone through tears. -RRB- Banque Internationale de Paris. She pauses, then hands the phone to Eric. WOMAN TELLER It's for you. Eric takes the phone and pushes her to the floor. He puts the receiver to his ear. ERIC -LRB- into phone. -RRB- Hello. -LRB- pause. -RRB- Who is this? Eric motions to Oliver to check the windows. Oliver runs over and peeks out the blinds. OLIVER Oh my God! The police! ERIC -LRB- into phone. -RRB- What do you want? Eric looks around at the dead bodies. ERIC -LRB- into phone. -RRB- We're all fine in here. Oliver is pacing back and forth wildly. He starts loading extra ammo into his weapon. ERIC -LRB- into phone. -RRB- No. I'll tell you what, you go fuck yourself you fucking pig. You send anyone near this building and I'll kill the first person I lay my hands on. I've got plenty hostages here to kill so do n't even think of coming in. -LRB- pause. -RRB- Just stay put. We'll call you when we're ready. In the mean time, have a nice day. Eric hangs up the phone, and then leaves it off the hook. CLAUDE The silent alarm must have gone off after all! ERIC Shut the fuck up! The alarm did n't do shit. For all we know your idiot shooting brought them here. Anyhow it does n't matter. Nothing has changed. JEAN My God! The police! What are we going to do? ERIC Nothing. We do n't have to do anything. The plan stays the same, just slightly different. Then Eric catches sight of Zoey, their eyes lock. Eric smiles and winks. Then he turns to Jean with a whisper. ERIC If the police decide to come in. kill them. And if you do n't mind, stack those bodies somewhere else. This place is a fucking mess and it's bad for morale. Then he takes off downstairs, smiling. Jean is a little stumped.\",\n \"INT. BANK - RESERVE VAULT AREA - DAY As Eric walks down the stairs and through the reserve vault area a look of intense concentration washes over his face. You can see that a trillion calculations are being made in his brain. the question is : are there any answers?\",\n \"INT. BANK - VAULT ANTECHAMBER - DAY Zed is drilling now with a hand drill. He removes it and blows into the hole. Shavings come out. Eric comes trotting into the antechamber whistling. ZED -LRB- turning to Eric. -RRB- What's going on? ERIC Nothing. They were just scaring them. ZED Well, did you tell them to stay quiet? ERIC Yes. They're assholes. Just having fun. Zed looks into the hole. He has drilled into the vault door, revealing some wiring. ZED Fucked up my drill bit. ERIC It's okay. You can buy another one. Zed takes out a volt meter from his briefcase and inserts the two prongs into the hole. ZED Cross your fingers. Eric does. The volt meter's needle jumps. ZED Perfect. ERIC Excellent. What next? ZED We find the fuse box. It'll probably be upstairs. Zed gets up. ERIC It's okay. I'll find it for you. ZED No. I need to see it myself. Zed jumps up and into the storage/elevator area with Eric close behind him. ERIC I think it would be better if I looked for you. I could -\",\n \"INT. BANK - STORAGE/ELEVATOR AREA - DAY Instead of walking upstairs, Zed finds the fuse box right in the next room. ZED Hold on. Here she is. Eric is a bit relieved. Zed opens it up. ZED Let's see. He looks through the fuses and then finds the one he wants. ZED Okay, you throw this fuse switch off and then back on when I call to you. Any other switch may set off the alarm. Eric smirks. ERIC Oh, I would n't want to do that. ZED -LRB- serious. -RRB- Got it? ERIC -LRB- nodding. -RRB- Got it. Zed goes back to the vaults.\",\n \"INT. BANK - VAULT ANTECHAMBER - DAY Zed trots back to the Poseidon vault door and quickly grabs a little gizmo from out of his briefcase. It is a little home - made black box with a series of LED's on it and two wires coming out of one side with alligator clips on the end. Three other wires are also coming out of it. He slips the alligator clips into the hole and latches them. He then tapes one of the wires to the vault itself. The two remaining wires he hooks up to a large twelve volt battery. ZED Come on sweetie do n't fail me now. He looks toward the door leading to the reserve vault area. ZED -LRB- calling to Eric. -RRB- Ready?! ERIC -LRB- O.S. -RRB- -LRB- calling back. -RRB- Ready! Zed turns on his little box, the LED's start flickering. ZED Now! The lights go out and then back on. There is a whirring sound from the vault door. The LED's quickly go from red to green. There is a loud, heavy clicking as the vault door unlocks. ZED Open seasame. Zed smiles and swings the door open revealing the interior of the Poseidon vault. Eric comes running in like a kid on Christmas morning. ERIC It worked! He and Zed hug. ERIC Oh my God it worked! Zed looks into the Poseidon vault at the passage connecting it to the main vault. It is covered by a small locked cage. ZED I can get through that lock in a minute. ERIC Then do it. We do n't have all day. Zed enters the Poseidon vault.\",\n \"INT. BANK - POSEIDON VAULT - DAY Zed goes to the gated passage which is n't much more than a window in one upper side of the vault, but it's enough to get him into the main vault. Eric is right behind him. Zed takes a twirl at the combination lock. ZED Dime store brand. Three minutes max. ERIC Good. Then, there's a gunshot. The bullet comes from the Calibre vault through the window and almost hits Zed. Zed falls backwards onto the floor. ZED Fuck! ERIC Merde! Then there's another gunshot. The bullet ricochets through the vault. ZED Jesus Christ! Scrambling on their hands and knees Zed and Eric crawl out of the Poseidon vault.\",\n \"INT. BANK - VAULT ANTECHAMBER - DAY They take cover. Another shot is fired into the vault. Zed and Eric look into the vault. ZED Another security guard? ERIC Must be. ZED I think I stained my pants. ERIC Me too. Oliver comes running in with his gun ready for action. OLIVER What is it?! I came down to see how things were going and heard shots! ERIC Some asshole in the vault. Oliver takes cover and cocks his gun. OLIVER We've got guns. Why do n't we just storm in and blast his fucking ass! It's three against one! Let's give it the old - ERIC Quiet! OLIVER I'm just trying to be helpful. ERIC Just let me think. OLIVER You do n't have to snap at me. Eric peeks into the vault. ERIC -LRB- calling into the vault. -RRB- Hey you. Nice shooting. Play time's over. Why do n't you throw out your gun? VAULT GUARD #1 -LRB- O.S. -RRB- -LRB- calling from main vault. -RRB- No! Oliver and Eric look at each other and smile. ERIC Come on. We do n't want to kill you. VAULT GUARD #1 -LRB- O.S. -RRB- You'll have to! ERIC -LRB- quietly to Zed. -RRB- What is this guys problem? -LRB- then to the guard. -RRB- Come on! You're making me impatient. I do n't have all day. VAULT GUARD #1 -LRB- O.S. -RRB- Look, do n't take it personally. This is my job. Oliver and Eric look at each other and shrug. Then Eric sees something in Zed's briefcase. It looks like grey clay. ERIC Then take a paid vacation. We wo n't tell if you wo n't. There is a pause. During this time Eric takes the clay and pushes a detonator into it. ZED -LRB- quietly. -RRB- What the Hell are you doing? Have you gone mad? VAULT GUARD #1 -LRB- O.S. -RRB- Sorry. I ca n't. ERIC Well, look, we're going to give you fifteen minutes to change your mind. Okay? VAULT GUARD #1 -LRB- O.S. -RRB- Okay. Zed starts to grab the plastique away from Eric. Eric resists. ZED -LRB- holding his voice down. -RRB- That's too much. It's dangerous. ERIC I like danger. -LRB- then to the guard. -RRB- Changed your mind yet? Eric creeps into the room and activates the detonator. Zed and Oliver run for cover. VAULT GUARD #1 -LRB- O.S. -RRB- No. And I'm not going to. Why do n't you just take the money from the other vaults? - Eric tosses the bar of plastique through the caged window and makes a break for it. There is a huge explosion in the adjoining main vault. The walls quake and a fireball bellows out of the caged window, blowing it open. The vault guard # 1 screams and then goes silent.\",\n \"INT. BANK - LOBBY - DAY Francois, Claude, and Jean are forcing customers to drag dead bodies into a cube. The room shakes and everyone looks toward the hall that leads to the stairs. The hostages, whose nerves are already shot, start crying. FRANCOIS Should we see if they're okay? JEAN No. They're just blasting the vault open. CLAUDE What does it matter now? We're fucking surrounded by police.\",\n \"INT. BANK - VAULT ANTECHAMBER - DAY Dust has blown out of the vault and is settling on Oliver, Zed, and Eric, who is laughing like a madman. Zed is looking at him like he's crazy. ZED You asshole! You could have killed us all. ERIC But I did n't! Let's go check out the damage. Eric gets up and walks into the Poseidon vault. Before Zed follows him he looks at Oliver who does n't know what to think.\",\n \"INT. BANK - POSEIDON VAULT - DAY Eric laughs. ERIC Zed look! He points to the caged window. It's been blown off it's hinges. ERIC I beat you! I opened it in under three minutes. He starts laughing and then crawls through the connecting passage into the Caliber vault. Zed, with his briefcase, follows. ZED -LRB- to Oliver. -RRB- Go around and wait at the main vault door. When I tell you, open it up. OLIVER Right. When you tell me, I'll open it up. ZED Right. OLIVER Right. Zed crawls through the opening. OLIVER I'll be at the other vault waiting for you to call to me.\",\n \"INT. CALIBER VAULT - DAY The main vault looks like what a vault would look like if it were blown up from the inside. On the floor is the still smoldering body of the security guard. The room is incredibly smokey. Zed squeezes through the opening. Then, Eric, grinning like a schoolboy, emerges from the smoke with a brick sized bar of pure gold. ERIC Look at it! We're all rich! The smoke clears and we see that on the far side of the vault there is a huge platen on wheels with bricks of gold stacked onto it. Eric starts laughing. ERIC We're rich! Zed looks at him like he's crazy. ERIC We're rich! ZED We're not out of here yet. ERIC Yes but we're rich! Zed takes a seat at the vault door. The backside of a vault door looks like an incredibly intricate clock. Zed removes the Plexiglass shielding. ERIC I'm going to show the others. He squirms out of the entry with the brick of gold. Zed shakes his head and goes to work setting dials and using his voltmeter to test electrical points.\",\n \"INT. BANK - LOBBY - DAY Claude is talking to Jean. CLAUDE What? You think we may actually get out of this? You're fooling yourself. JEAN Why are you such a pessimist? CLAUDE Are you kidding me? Look at this mess. Jean surveys the mess, the crying people. CLAUDE This is nothing. Imagine the police outside. We're dead men. Eric walks in from the rear stairs. In his hand is a brick of gold. ERIC Jean, Francois, Claude. look at this. They see the gold. JEAN You did it! You got in! ERIC Zed is opening the vault now. This is a taste. Eric holds the bar of gold up for all the people to see. ERIC Look at this and tell me I'm not brilliant. WOMAN CUSTOMER -LRB- crying. -RRB- You're a monster! And you'll never leave this place alive! Eric shoots her with his Uzi. ERIC -LRB- to the hostages. -RRB- None of you are worth half of this single bar. Remember that. Francois, Jean, and Claude look at each other. CLAUDE Eric. can I speak with you? ERIC Of course. CLAUDE In private. ERIC There's no need. I have nothing to hide. What is it Claude? CLAUDE Well. we're surrounded by the police and we have no way out. What are we going to do? Eric slaps him across the face. ERIC What are you doing Claude? Talking of all this false doubt. What do you think we're going to do? Claude is hurt, not physically but emotionally. CLAUDE I do n't know. not the original plan. ERIC Obviously, since Ricardo fucked us up and did n't kill the concierge fast enough. And killing all these assholes -. -LRB- motioning to all the customers. -RRB- - is n't going to do us a damn bit of good now, is it? CLAUDE No. ERIC No. Because we'll need them as hostages when we get on the plane. CLAUDE We're going on a plane? Eric pats his shoulder. ERIC Claude, you are a mental giant. Leave the plans up to me and just kill people if they get out of line, okay? CLAUDE Okay. Eric turns and starts to walk toward the downstairs. ERIC I'm going to see how things are going.\",\n \"INT. BANK - REAR STAIRS TO LOBBY - DAY Eric is whistling while he walks, he pauses to perform a quick magic trick, then he continues.\",\n \"INT. RESERVE VAULT AREA - DAY Eric walks into the reserve vault area. He stops. He hears something. A scratching sound. He looks at it's source, TWO POLICEMEN, decked out in black flak jackets and gas masks are starting to come out of a sewer manhole. Eric's eyes widen. He takes his silencer out of his coat and fixes it to his handgun. Then, like a man with intent to kill, he rapidly approaches them. The one who came out of the manhole turns just in time to see Eric fire into his chest. Then, Eric aims the gun into the tight crawlspace and fires into the other man. For safe measure he empties his gun into the tiny causeway. He drops the gun into the hole and then shoves the other policeman into it. He then pushes a large utility wagon over the manhole cover to stop anyone else from coming in.\",\n \"INT. BANK - REAR STAIRS TO LOBBY - DAY Eric comes running out from the reserve vault area and up the stairs to the lobby.\",\n \"INT. BANK - LOBBY - DAY Eric rushes into the lobby. ERIC They want to fuck with me!? They want to fuck with me!? He puts the phone on the hook. It instantly rings. He answers the phone. ERIC You want to fuck with me!? I'll show you what happens to people who fuck with me! He throws the phone to the ground and looks at Zoey. ERIC The moment of truth my love. You knew it would come. He grabs Zoey and lifts her to her feet. ZOEY -LRB- screeching. -RRB- No! Then, the assistant manager stops him. ASSISTANT MANAGER No! What ever it is you're going to do have mercy! Eric suddenly calms down. ERIC Have mercy? ASSISTANT MANAGER Yes. ERIC With her. ASSISTANT MANAGER Yes. ERIC That's sweet. -LRB- to Zoey. -RRB- You have quite a reach my lovely. Is he one of your clients? He pushes Zoey to the ground. ERIC It's a deal. ASSISTANT MANAGER Thank you. ERIC Do n't mention it. He grabs the assistant manager and at gunpoint forces him to the main entrance. CLAUDE Eric! What are you doing? ERIC Clearing up the `` how full of shit am I'' question the cops are asking themselves right now. The assistant manager is putting up a bit of a struggle but Eric simply forces him along. Everyone waits until suddenly they hear a burst of gunfire from outside. They all scream. Eric walks back into the bank, he picks up the phone. ERIC -LRB- into phone. -RRB- Hello. -LRB- pause. -RRB- Yes. I'll hold. -LRB- then to Claude. -RRB- I'm holding. After a little bit of a wait someone comes on the other end of the line. ERIC -LRB- into phone. -RRB- Hello. -LRB- pause. -RRB- You do n't know the fucking half of it. So just shut the fuck up and listen. Try any more stunts and I'll fucking really go crazy. -LRB- pause. -RRB- Well that's good because if you faggot cops even think of it I'll kill some more people. Hear? -LRB- pause. -RRB- No. None of that. We wo n't trade. That never works. Not in the movies, not in real life. Understand? We're going to get into our van, with a couple of people, go to the airport, and fly out of this shit hole city. And you're not going to follow us. -LRB- pause. -RRB- Who do you fucking think is going to supply the plane? Us? No, you fucking imbecile, the French taxpayers would be a good second guess for you. You're really pissing me off. You think I'm a fucking amature? He covers the mouth piece. ERIC -LRB- to Claude. -RRB- I fucking hate cops.\",\n \"INT. BANK - CALIBER VAULT - DAY Zed is sweating as he works away at the back of the door. He glances over what he's done and makes a calculation on a calculator. Then, there is a groaning sound. Zed, terrified, spins around. Another groaning sound. The vault security guard is n't dead. His body is charred and he's not moving but he's very much alive. VAULT GUARD #1 I'm going to die. Zed ca n't believe what he's seeing. He moves over to the body, leaving his work behind. VAULT GUARD #1 I'm going to die. please hold my. hand. I do n't. want to die. alone. Zed hovers over the body, afraid to touch it. He gives it a nudge with his foot. The body groans and then exhales the longest exhale ever. Zed kneels down next to the body. ZED Are you still there? Nothing. Zed puts his hand to the neck of the vault guard # 1 and checks for a pulse. Nothing. Zed sits there for a moment looking at the corpse, then, like he wants to get out of there as soon as possible, he scrambles to the door and starts adjusting several switches. He has wired a battery to two leads. He takes out a wire cutter and snips a wire. There is a sudden barrage of whirring and clicking sounds as the vault unlocks. Zed calls to Oliver from the passage.\",\n \"INT. BANK - STORAGE/ELEVATOR AREA - DAY Oliver is staring at the dead bodies of the manager and sub lobby teller. ZED -LRB- O.S. -RRB- -LRB- distant, calling from the vault. -RRB- Oliver, now! Open the vault! Oliver turns the large wheel and opens the Caliber vault door. With some amount of energy the door opens. Standing inside is Zed. ZED Open seasame. He steps out of the vault. ZED Do you want to give me a hand? OLIVER Sure. Oliver puts his gun down and they go into the Calibre vault.\",\n \"INT. BANK - CALIBER VAULT - DAY Oliver sees the huge platen of gold bricks. Zed puts his steel briefcase on top of it. OLIVER Holy mother. ZED Here, help me with this.\",\n \"INT. BANK - LOBBY - DAY Eric slams the phone down and then in a fit of rage tears the phone from the wall. ERIC Merde! He grabs his machine gun and aims it at the sub lobby guard # 2. The sub lobby guard # 2 braces himself for gunfire. Eric fires into him. He is dead instantly. Everybody screams. Eric fires into his dead corpse until his gun runs out of bullets. ERIC That's what you get! Claude puts his hand on Eric's shoulder. CLAUDE Eric. Eric looks at him. ERIC The fucking police wo n't budge. I kill a man and they do n't care. They say they do n't make deals with terrorists. It really fucks up my plan. CLAUDE And what if we gave up? Eric ca n't believe this. ERIC -LRB- laughing. -RRB- Claude, look around you. We're not talking prison here. You know. The cops will give in. You start killing women. they give in. They're all so fucking much in love with women! Then he looks at Zoey. ERIC What are you looking at you fucking whore? She does n't want to say a thing that'll upset him. ERIC Are you afraid I'll tell these people that this is only a day job for you? She shakes her head `` no''. ERIC What? So they know that you're a - The sub lobby assistant speaks up. SUB LOBBY ASSISTANT Leave her alone. Eric cracks the butt of his gun into the man's face. ERIC Shut up! He clicks another clip into the Uzi and grabs Zoey by the collar and lifts her to her feet. ERIC My only mistake was not to make an example of a woman to begin with.\",\n \"INT. BANK - CALIBER VAULT - DAY Zed takes the dolly and starts wheeling the platen of gold out. Oliver helps him. OLIVER This is unbelievable. Look at all of this. It's wonderful to touch. ZED Just help me steer this out. They maneuver out of the Calibre vault.\",\n \"INT. BANK - STORAGE/ELEVATOR AREA - DAY They come out of the Calibre vault with the huge platen. OLIVER Do you think we should get some cash also? ZED What for? OLIVER Well, you never know. They start maneuvering the platen toward an elevator. ZED Money is too easily traceable. You'd never be able to spend it. And forget about exchanging it. OLIVER That's true. ZED No sir. Your best bet is to get these bars melted down in Tunisia or Korea. OLIVER Eric knows someone in Portugal. ZED Or Portugal. They get into the banks private freight elevator.\",\n \"INT. BANK - FREIGHT ELEVATOR - DAY Zed closes the door and pushes the button to go up to the ground floor.\",\n \"INT. BANK - LOBBY - DAY Eric is dragging Zoey by the hair toward the door when she grabs his groin and starts squeezing. Eric lets out a shrill scream and whacks the butt of the Uzi into her face. But she wo n't let go. Her years as a prostitute have taught her to ignore pain. She grabs hold of the gun hand. ERIC -LRB- groaning. -RRB- You fucking bitch! A few bursts of the Uzi go off and one shell stitches Eric's foot red. Eric lets go and falls to the ground. Claude, Jean, and Francois suddenly become attentive to what's going on. Zoey starts firing the Uzi but ca n't control it. She showers the room with bullets. She starts to run toward the back office blindly firing the gun in the direction of Claude, Eric, Francois, Jean, and the other hostages. Then, a tear gas cannister break through the top windows and start clouding the place up. Eric whips out his switch blade and hops on his bloody red foot. ERIC Bitch!\",\n \"INT. BANK - FREIGHT ELEVATOR - DAY Zed is waiting for the elevator to arrive. ZED Do we have a covering of some kind? OLIVER A what? ZED You know. Something to cover this with. It'll look kind of conspicuous leaving the bank with a platten of gold. OLIVER Oh, it wo n't matter. The police know what we're up too. ZED Police?! What do you mean they know what we're up too? OLIVER You do n't know? We've been discovered. But Eric has them under control. Zed is frantic. ZED No I did n't know! How many police? OLIVER The building is surrounded. The elevator doors open onto the ground floor to the sound of automatic gunfire. Zed walks out into the back office.\",\n \"INT. BANK - BACK OFFICE - DAY Suddenly, from the back office, Zed sees Zoey blasting away an Uzi and running toward the rear stairwell. Eric is in the lobby limping around. The other gang members are ducking from her fire. Then, her clip runs out. She sees Zed, their eyes lock. An IMAGE overcomes Zed. She runs down the stairs to the back. ERIC Kill her! Kill her! Oliver aims his gun to fire and Zed pushes it up. Oliver's gun discharges into the ceiling. Oliver and Zed begin to struggle.\",\n \"INT. BANK - LOBBY - DAY Zed and Oliver collapse out of the back office and into the lobby. They tumble onto the floor. Eric hobbles over to them, his gun aimed at Zed. ERIC What the fuck are you doing!?\",\n \"INT. BANK - RESERVE VAULT AREA - DAY Zoe is near tears. She drops the empty machine gun to the floor and starts walking toward the sub lobby.\",\n \"INT. BANK - LOBBY - DAY Eric leans down to talk to Zed. Oliver and Jean are watching. Francois and Claude are more worried about the tear gas. CLAUDE They're trying to smoke us out Eric! FRANCOIS What do we do!? Eric waves them off with a brush of his hand. He's concentrating on Zed. ERIC Do you really love your bitch whore girlfriend that much? She's really fucked with your mind. ZED Eric. what are you talking about? Eric lifts him to his feet and holds him up against the knife. He turns him toward the smoke and whispers into his ear. ERIC Look at it. It's all for us. The smoke. The attention. They have no idea of who they're dealing with. They have no idea what kind of men we are. ZED -LRB- thinking Eric is a madman. -RRB- What kind of men are we? Eric looks at him and gives him a soft kiss on the cheek. ERIC You can no longer be in our club. You forfeit your cut of the pie. Zed laughs, there's not gon na be much of a pie to eat. ZED What about our friendship? ERIC Shit Zed. I have n't seen you in years. You hardly know me. He slashes Zed across the face with the switchblade. Zed falls backwards and tumbles down the stairs like a rag doll. ERIC Never let a girl come between two men. He walks down the hall toward the gold. ERIC Now let's try to get out of here. Eric walks into the back office. The others look at each other. Suddenly a black figure runs across the bank behind the shadows, Francois sees it and nervously fires. In the background the distinctive sound of European police sirens wail as more cars pull up to the outside of the bank. Also, an UNINTELLIGIBLE VOICE is blaring orders over a bullhorn. FRANCOIS The police! They're entering the building! Suddenly all of them start firing like blindly into the smoke. Francois runs back to Eric who has walked up to the elevator via the back office.\",\n \"INT. BANK - FREIGHT ELEVATOR - DAY Eric caresses his hand across the bars of gold. ERIC -LRB- to himself. -RRB- Smoother and more giving than the most selfless human being. You're beautiful. Francois runs in. FRANCOIS Eric! ERIC Jesus, what now? FRANCOIS The police are coming in! We're doomed! ERIC Get a hostage. FRANCOIS -LRB- frantic. -RRB- They do n't give a fuck about the hostages!\",\n \"INT. BANK - LOBBY - DAY Jean becomes a berzerker and runs out into a cloud of smoke and throws the tear gas container into the thick cloud. Then he turns to the police and holds his own gun to his head. JEAN Do n't make me! A single bullet passes through his torso. As Jean falls to the ground he lets loose a round of gunfire into the ceiling. Oliver is still firing, his face is red like a crazed man. From behind the counter the sub lobby assistant grabs a hold of Claude and wrestles him to the ground. The other customers start to flee for cover. Oliver sees the fracas between the sub lobby assistant and Claude. It looks like the sub lobby assistant is getting the upper hand. Oliver swings his gun around and sprays machine gun fire at them. killing them both.\",\n \"INT. BANK - SUB LOBBY - DAY Zoe walks up the stairs out, not only are they locked but a cloud of tear gas is pouring into the downstairs sub lobby. Suddenly, Zed stumbles in. Zed is like a zombie. Then he notices Zoe in the stairwell. They lock eyes. ZED -LRB- almost delerious. -RRB- Zoe. She steps down into the sub lobby, machine guns crackle in the background. She runs up to him just as he slumps to the ground. ZOE -LRB- holding him. -RRB- My Zed. They've hurt you. She dabs a cloth to his cut face. He holds it on. ZOE -LRB- trying to comfort him. -RRB- You're going to be okay. In many countries scars on the face are a symbol of heroism. To proudly display a flaw like a badge. is to wear a badge of truth. He takes her hand. ZED Be serious Zoe. I can stick my tongue through my cheek.\",\n \"INT. BANK - LOBBY - DAY The police are now laying it on heavy. Francois comes out of the office. FRANCOIS Oliver! Let's get a hostage! OLIVER This is the end! Francois is ripped into by machine gun fire. Oliver races past him.\",\n \"INT. BANK - SUB LOBBY - DAY Tear gas is starting to fill the room. Zoe stands Zed up. ZOE Listen to me. We're going to lock ourselves into one of the air tight vaults. if any of them are still open. They start walking toward the reserve vault area.\",\n \"INT. BANK - FREIGHT ELEVATOR - DAY Eric hops into the elevator and closes the door, just as Oliver runs up, firing toward the police. Eric is laughing manically as he leaves them behind. OLIVER Bastard! Oliver turns to where the police will surely be coming in.\",\n \"INT. BANK - RESERVE VAULT AREA - DAY Zoey and Zed rush into the reserve vault area. Zoey notices that the downstairs reserve vault is closed. ZOE Merde! The vault has been closed. ZED What about the others? The gunfire upstairs has subsided and has been replaced by unintelligible POLICE VOICES. ZOE Listen. there's no gunfire. Zoey quietly opens the door opposite the vault that leads to the rear stairs to the lobby level.\",\n \"INT. BANK - REAR STAIRS TO LOBBY - DAY Zoey peeks up the stairs just in time to see Oliver bolt for the stairs. OLIVER -LRB- to police. -RRB- Motherfuckers! A volly of gunfire rips into Oliver but he stands his ground and fires into the police. OLIVER You wan na fuck with me? You wan na fuck with me? I'll show you who you're fucking with! He starts blasting away. Terrified, Zoey leads Zed to the storage/elevator area. ZOEY C'mon, we'll be safer in here.\",\n \"INT. BANK - STORAGE/ELEVATOR AREA - DAY The elevator door opens, Eric steps out and looks around like a caged animal. ERIC Think! Then, Zed and Zoey appear from the hall to the reserve vault area. Eric turns to them with his gun raised, when he sees them he lowers it. ERIC Zed. They all stand there for a moment, the gunfire cracking away upstairs. Eric is more casual than he should be. ERIC -LRB- matter - of - factly. -RRB- What's your girlfriends name? ZED Zoe. ERIC Zoe. -LRB- to Zoey in French. -RRB- Zoe, come here to me. Zoey spits at him. Eric laughs and aims the gun at her. ERIC Killing you would just be gravy, so do n't fuck with me. ZOEY Go ahead you slob. Shave my ass! Eric smashes the side of her face with the gun and then grabs a hold of her arm. Zed tries to stop Eric but Eric aims the gun at him. ERIC Zed no. I'll kill you. It means nothing to me, our friendship. ZED -LRB- starting out calm and then building to a scream. -RRB- Eric. there's no fucking way out of here! ERIC Oh but you're wrong. This is my way out. This dime store couge with her motor driven ass. You find your own. Zed rushes Eric and Zoey starts scratching. Eric drops the gun but quickly whips out his knife. She tries to get away from Eric but he has a hold on her shirt. Eric swipes at her with the knife and grazes he back. Then Eric slashes toward Zed who jumps back. Zoey falls to the floor. ERIC Come Zed. I'm going to cut you like a sausage. Zed is standing between Zoey and Eric. ZED Zoey, get out of here! She scrambles away. He swipes at Zed. Zed jumps back down the hall toward the reserve vault area.\",\n \"INT. BANK - RESERVE VAULT AREA- DAY They rush out toward the stairs. ERIC Did you see how she ran? Did you see how she ran? She does n't care about you. Fucking pussy only cares about pussy. Look out for number one. What do you say Zed? He swipes again. ERIC I will kill you. And once I kill you Zed, I'll get out of here. I'll fuck your bitch up the ass and give her AIDS. if she does n't already have it. What do you say to that Zed? He swipes and Zed grabs a hold of the knife by the blade. Eric pulls it free and the knife falls to the floor. Zed takes this opportunity and kicks Eric in the face. Eric reaches for the knife. Zed, his hand bloody, dives onto Eric. Zoey also jumps onto them and starts yanking on Eric's hair. She plunges her nails into his face. ERIC Fucking bitch! Zed is rabbit punching Eric from underneath. Then, Eric grabs a hold of Zed's balls and squeezes. Zed lets out a shrill scream. Eric starts elbowing Zoey in the face. The three of them lay there on the floor wriggling like worms, unable to move because each is putting the other through such agony. Then, Oliver, shot up and bloody haplessly stumbles into the room. His body is a mass of bullet wounds. OLIVER Ox! Where is thy yoke!? He clumsily falls dead to the ground, his shotgun slides near Zoey, Zed, and Eric. The sight of the gun gives Eric the strength only a madman could posses. He rolls over and throws Zoey off him. Then, he smashes his forehead into Zed's nose, bursting it. Eric, deftly, rolls over and grabs the gun. He gets to his feet and cocks the pump action. ERIC Fuck both of you. Then he notices the lack of gunfire upstairs. Eric turns back to them. ERIC Au revoir. He aims to kill Zed. ZOEY No! Then, all of the French policemen, decked out in their assault gear and wearing gas masks, storm down the stairs. At the sight of Eric about to execute Zed they raise their guns. FRENCH POLICEMAN #1 Stop! Eric stops. It becomes quiet. Then, Eric looks back down at Zed and braces for the shotgun kick. ERIC I give you little kiss. Ciao. He squeezes the trigger and. CLICK The police open fire with their French made assault machine guns and fill Eric with bullets. Instead of falling he does a scarecrow dance as his body is painted red. The wall behind them explodes as plaster sprays all over Zed. An IMAGE overcomes Eric. Eric's dead body slumps to it's knees and flops on top of Zed. Zed pushes the body off and tries to drag himself to Zoey. Zoey runs up to him and holds him. The police all charge into the secondary vault area and secure the downstairs. Zoey is crying as she holds Zed. The police have their guns aimed at the two of them. Zoey looks up. ZOEY -LRB- to the policemen. -RRB- I work here. This man is a customer. he needs medical help. They take their guns away and kneel next to him, seeing if he's okay. FRENCH POLICEMAN #2 How bad do you think his wounds are? The other policeman, unable to tell because of Eric's blood, simply shakes his head. FRENCH POLICEMAN #1 -LRB- to Zoey. -RRB- Are you alright? Zoey starts to cry.\",\n \"INT. BANK - LOBBY - DAY Zoey and Zed, bandaged up, are being aided by all of the French policemen as they walk through the bank. Smoke is still clearing, but the bodies of customers and bank robbers alike litter the area. PARAMEDIC's, wearing all white, try to help the injured, they assist Zed and Zoey. FRENCH POLICEMAN #1 -LRB- to Zoey and Zed. -RRB- There's an ambulance outside. -LRB- he looks around. -RRB- My God. What a Bastille Day. Zed's attention is caught by two OTHER POLICEMEN carrying a body bag. FRENCH POLICEMAN #3 -LRB- to French policeman # 1. -RRB- This one's the ringmaster. We need an I.D. No longer interested in Zoey or Zed, he goes to check out the body. ZOEY The hospital? ZED No. ZOEY Come on. I have a car. Zoey puts her arm around Zed and helps him out of the bank. never to return.\",\n \"INT. ZOEY'S CAR - MOVING - DAY Zoey is driving. Zed looks like he's been in a burning building. ZED I'm so tired. ZOEY We'll go to my flat. You can rest there. Do you feel pain? ZED No. it was mostly his blood. ZOEY I have a shower. You can clean up there. ZED Thank you Zoe. He looks at her. ZOEY My name is not Zoe. Not any more. He looks forward at the streets of Paris. ZOEY You'll get well. Then I'll show you the real Paris. They drive away. THE END\"\n]"},"labels":{"kind":"list like","value":[1,0,0,0,0,0,1,1,0,1,0,0,0,0,0,1,0,1,1,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,1,0,0,0,0,0,1,0,0,0,1,1,1],"string":"[\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 1,\n 1\n]"},"summary":{"kind":"string","value":"Zed (Eric Stoltz), a professional safe-cracker, comes to Paris to help a childhood friend, Eric (Jean-Hugues Anglade), with a bank heist. In the cab on the way to his hotel room, the cabbie obtains a prostitute for him. He arrives at his hotel room and is soon greeted by the prostitute, Zoe (Julie Delpy), who also confides that she is studying art, and has a \"very boring\" day job. After having sex, they talk with each other amiably, then fall asleep. Their reverie is soon interrupted when Eric barges in and brusquely sends Zoe out of the room, so the two men can get on with their business. Eric takes Zed back to his residence where Zed meets Eric's friends. Eric explains his plans: the following day is Bastille Day and virtually everything is closed except for the bank they plan to rob, which is a holding bank and is open on holidays. Zed forgoes his rest time to spend the night partying with Eric and his friends among some of the less reputable people of Paris in a cavernous jazz club, which Eric refers to as 'the Real Paris'. During the binging, Eric confides to Zed that he has AIDS, which he contracted through IV drug use. The next day, Zed is awakened by Eric as they prepare to enter the bank. The team dons Carnival masks to hide their faces before bursting into the bank. They quickly kill those who do not cooperate as they escort Zed (who has not witnessed the killings) to the safe so he can get to work. Their plans soon start to disintegrate as the police show up and they're faced with the possibility of going to jail for life or having to shoot their way out. Eric throws an explosive into a vault and enters it (mortally wounding a guard in the process - Zed himself shoots the guard as an act of mercy), finding a large supply of gold bars—- but the thieves can't leave the bank alive with their fortune. Tensions become even higher when Zed recognizes Zoe (who coincidentally works at the bank) and attempts to protect her, to the fury of Eric, who viciously slashes Zed's cheek with a knife. A vicious gunfight between the police, Eric, and the rest of the gang begins—- with Zed caught 'innocently' in the middle. Eric's men are killed by the police as they rush the bank, and Zed and Eric begin to fight each other. The police shoot Eric to death. He falls on Zed, splattering great amounts of blood on him in the process (possibly exposing Zed to his HIV-infected blood). Injured, Zed is led away quickly by Zoe, who covers for him, stating he is a bank customer. They drive away in her car, where Zoe promises Zed that when he gets well she'll show him the 'real' Paris."},"name":{"kind":"string","value":"Killing_Zoe"}}},{"rowIdx":81,"cells":{"scenes":{"kind":"list like","value":["The Sting A white on black TITLE appears in the lower left hand corner of the screen : AUGUST, 1936 FADE OUT.","EXT. A SLUM AREA OF JOLIET - DAY It's a bleak, windy morning, the kind that clears the streets of all but the winos -LRB- who carry their own heaters -RRB-, and the point - men for juvenile gangs. We pick up a solitary figure, Joe Mottola, coming down the street and entering what appears to be an abandoned tenement. He pauses a second to dust his white - winged alligator shoes on the back of his pants leg. Sharply dressed and surrounded by the aura of one who is making money for the first time and broadcasting it on all bands, he seems an incongruity in this part of town. We follow him up a flight of rickety stairs to a second floor flat. He knocks on the door, is admitted by a cautious doorman.","INT. NUMBERS SPOT - DAY Suddenly we are plunged into a room of chattering, clamoring people. This is a spot for the numbers racket, a place immune from legal interference, where any sucker can bet on a number between 1 and 1000 in the hope of getting the 600 to 1 payoff that goes to those few who guess right. The bettors are queued up in several lines before a long table, where they place their bets and are given receipts in return. Others wait at a cashier's window to pick up previous earnings or to ask for credit. Mottola moves through the crowd to a back room where betting slips are being sorted and money counted under the watchful and somewhat impatient gaze of a Supervisor, an older man named Mr. Granger. The Yankee - White Sox game is heard on the radio in the background. Mottola, noticing that his entrance has aroused little interest, saunters over to the Phone Girl and gives her a little pinch on the cheek. The girl slaps his hand away, obviously having been through this before. PHONE GIRL Beat it, Mottola. Granger glances up and exchanges a token nod with Mottola, who plops down in a folding chair next to the radio. The phone rings. PHONE GIRL 8720. Yes, hold on a second. -LRB- calling over to the Supervisor. -RRB- Mr. Granger, Chicago on the line. Granger is a little apprehensive about talking to Chicago, but takes the phone anyway. GRANGER Yeh?","INT. A WATERFRONT PROCESSING PLANT - CHICAGO - DAY A flabby, bald man named Combs is on the other end of the line. Visible beyond the door and interior window of his office is a large room, cluttered with tables, typewriters, clerks and adding machines. This room is the clearinghouse for all the transaction of the numbers game. All the betting slips and income from the spots are brought in here and processed. COMBS Granger, this is Combs. Why have n't we heard from ya? Everybody else is in. GRANGER We had a few problems with the Law this morning. The Mayor promised the Jaycees to get tough on the rackets again, so he shut everybody down for a couple hours to make it look good. Nothing serious, it just put us a little behind for the day. COMBS You been making your payoffs, have n't ya? GRANGER Hell yes. He does this every year. There's nothing to worry about. COMBS Okay, finish your count and get it up here as soon as you can. I do n't wanta be here all night. GRANGER Believe me, the Man's gon na be real happy. Looks like we cleared over ten grand this week. COMBS -LRB- not impressed. -RRB- We cleared 22 here. GRANGER Well, hell, you got the whole Chicago south side. How do ya expect the eight lousy spots I've got to compete with that? COMBS -LRB- reading off a sheet of paper on his desk. -RRB- They did 14 grand in Evanston, 16.5 is Gary, and 20 in Cicero. Looks like you're bringing up the rear, Granger.","INT. NUMBERS SPOT - DAY Granger burns inside. One of the girls who's been sorting and counting hands him a slip of paper. GRANGER I just got the count. We'll put the take on the 4:15. COMBS We'll be waitin'. Combs hangs up, smiling to himself, proud of the way he gave the needle to Granger.","INT. NUMBERS SPOT - DAY Granger storming over to a safe and jerking open the door. GRANGER -LRB- snapping. -RRB- Mottola. Mottola hustles out of his chair. GRANGER -LRB- handing him a bundle of bills. -RRB- Take this up to the city on the 4:15. They'll be waitin' for it at the clearing house. And do n't stop for no drinks. You can get a cab down the street. Mottola takes the money and slips it into his inside coat pocket with all the dramatic flair of the true flunky. No one would ever guess that he was just an overdressed messenger boy.","EXT. OF THE TENEMENT AGAIN Mottola emerges from a side entrance into a narrow alley. He walks briskly down to the end and turns left into a large alleyway ; this one connecting two streets. The alley is deserted save for one scruffy, slovenly dressed young stranger coming toward him from the opposite direction. The man carries a battered suitcase and seems to be in a hurry. Suddenly, Mottola hears shouting coming from somewhere behind him. He turns around to see a small, weathered looking thief come racing around the corner and down the alley toward him, frantically pursued by a gray - haired black man. Limping noticeably, the black man manages a few cries for help and then stumbles and falls. The stranger yells at Mottola to cover his side of the alley, and then readies himself for the arrival of the thief. Mottola just stands there, not the least interested in the exercise of justice. Just as the thief is about to run on by, the stranger throws his suitcase at the little man's legs, sending him sprawling and separating him from the wallet he's been carrying in his left hand. The stranger makes a dash for the wallet and kicks it back to where Mottola is standing. Almost by reflex, Mottola picks it up. The thief scrambles to his feet and starts back toward his new - found enemy, brandishing a knife. Both the stranger and Mottola brace themselves for an attack. The thief, realizing that there are two people to fight, begins to think better of it. He is not a young man, nor particularly strong. THIEF -LRB- shaking his fist at the stranger. -RRB- You fuckin' nigger - lover. I'll get you for this someday, sucker egg. Mottola and the stranger exchange glances of relief as the thief flees out onto the street and disappears. The black man, meanwhile, has struggled to his feet and is staggering toward them. He collapses against the alley wall after a few steps. The stranger rushes over to him, followed somewhat absently by Mottola. BLACK MAN The wallet. You got ta go after him. He's got all the money. STRANGER Do n't worry, we got the wallet. What happened? He get ya with the knife? The stranger opens the Black Man's coat to reveal a bloody wound at the top of his leg. BLACK MAN -LRB- trying to move. -RRB- Give it to me! Please. I got ta know it's all there! STRANGER You just sit tight, old man. We're gon na have to get you to a doctor. -LRB- starting to leave. -RRB- I'll call a cop. BLACK MAN No, no cops! Mottola has given him his wallet, which the black man now opens, disclosing a fat bundle of bills tied by a rubber band. Mottola and the stranger are amazed by the amount of money. STRANGER -LRB- a little uneasy. -RRB- You wanted by the law or somethin'? BLACK MAN Naw, it's okay. STRANGER You're crazy carryin' that kinda money in this neighborhood. No wonder you got hit. BLACK MAN -LRB- trying to get to his feet. -RRB- Thanks. I'm obliged to ya, but I got ta get goin'. -LRB- his leg gives way under him. -RRB- STRANGER You ai n't goin' nowhere on that leg. BLACK MAN I got ta! Look, I run some slots down in West Bend for a mob here. I got a little behind on my payoffs so they figure I been holdin' out on'em. They gave me to 4:00 to come up with the cash. I do n't get it there I'm dead. STRANGER It do n't look good, gramps, it's ten of now. BLACK MAN I got a hundred bucks for you and your friend if you deliver the money for me. STRANGER -LRB- hesitates. -RRB- I dunno. That little mug that got ya is mad enough at me already - what if he's out there waitin' around a corner with some friends. BLACK MAN He wo n't know you're carryin' it. C'mon, you got ta help me out. STRANGER -LRB- makes up his mind. -RRB- Sorry, pal. I'll fix you up, call you a doc, but I ai n't gon na walk into a bunch of knives for ya. BLACK MAN -LRB- desperate to Mottola. -RRB- How bout you? I'll give you the whole hundred! STRANGER What makes you think you can trust him? He did n't do shit. MOTTOLA Hey, butt out, chicken liver. I gave him back his wallet, did n't I? -LRB- to black man. -RRB- How far is this place? BLACK MAN 1811 Mason. Put it in Box 3C. You wo n't have no trouble. There's five thousand dollars there and here's a hundred for you. MOTTOLA -LRB- taking the bundle of bills from the black man, plus the $ 100 bill. -RRB- All right. I'll make your drop for you, old man. And do n't worry, you can trust me. Mottola puts the bills in his inside coat pocket, right next to the numbers money. The stranger, who has now finished bandaging, watches him do it. STRANGER If that punk and his pals decide to search ya, you'll never fool'em carryin' it there. BLACK MAN -LRB- suddenly afraid again. -RRB- What do we do? STRANGER You got a bag or somethin? BLACK MAN No. STRANGER How ` bout a handkerchief? BLACK MAN Here. The stranger goes into the right coat pocket and pulls out a wrinkled handkerchief. STRANGER Let me have the money. Mottola takes out the Black Man's five grand and hands it to the Stranger. He puts it in the handkerchief. STRANGER You better stick that other in here too, if you wanta keep it. BLACK MAN -LRB- pleading. -RRB- Just hurry, will ya. Mottola pulls out the numbers money and puts it in the handkerchief too. The stranger ties it all up. STRANGER -LRB- demonstrating by slipping the bundle down into crotch. -RRB- All right. Carry it down in your pants here. -LRB- pulling it back out and tucking it in Mottola's pants. -RRB- Ai n't no hard guy in the world gon na frisk ya there. MOTTOLA Thanks. -LRB- to the black man. -RRB- So long, partner. Do n't worry, everything's gon na be all right. The Black Man nods gratefully, but there's still a trace of worry on his face. Mottola trots off down the alley and out onto the street, glancing around cautiously for signs of trouble. He walks hurriedly down the sidewalk toward the cab stand in the distance. Suddenly the little man with the knife appears out of a doorway about 15 yards behind him. Mottola notices him and quickens his pace, finally breaking into a dead run. We follow him as he dashes headlong down the street, opening a big lead on the guy with the knife. He reaches the taxi zone. He hops in a cab and slams the door.","INT. TAXI - DAY He jumps in, closes the door, and breathes a sigh of relief. CABBIE Where to? MOTTOLA Which way is Mason? CABBIE About 20 blocks south. MOTTOLA Okay, go north. The Joliet Station - Fast. Mottola settles back in his seat and starts to laugh. CABBIE What's so funny? MOTTOLA I just made the world's easiest five grand. He takes the bundle out from inside his pants in order to gaze upon his new - found fortune. He unties the handkerchief. It's full of toilet paper. Mottola looks like he's just been shot.","EXT. ALLEY - DAY - THE STRANGER AND BLACK MAN hightailing it down the street, two newly solvent con artists on the lam. It's hard to run they're laughing so hard. The stranger chucks his suitcase in a trash can and pulls the real handkerchief out of his pants. BLACK MAN Jesus, what a bundle. Did you know he was that loaded? STRANGER Hell no, I just cut into him. I woulda settled for pawning one of them shoes. As they split off, music begins, and we go into a TITLES SEQUENCE Done to a driving Chicago blues, the sequence is designed to establish somewhat the milieu of the stranger, known to friends and enemies alike as Hooker. We see the following :","EXT. PAWNSHOP - LOOKING INSIDE - DAY Hooker is getting a radio and well - worn suit out of hook. It's like seeing old friends again. All pantomime.","INT. HOOKER'S ROOM - DAY A shabby little place he rents above a cigar store. We pick him up in a jerry - built outdoor shower, which he's rigged up on the fire escape. The rinse water drips down through the landing into the grimy alley below. HOOKER -LRB- singing. -RRB- ` With plenty of money and you - oo - oo, Oh baby, what I would n't do - oo - oo.' ON THE STREET AGAIN jauntily carrying a magnum of champagne and some flowers, obviously on his way to see someone special. IN A BURLESQUE HOUSE Hooker stands in the wings holding the flowers and champagne, watching his date for the evening, a 6' 3'' stripper named Crystal, do her routine. Crystal finishes up and comes off the stage. CRYSTAL -LRB- tired. -RRB- Hi, Hooker, you gettin' married or somethin'? HOOKER Come into a little dough. You wan na get outa here tonight? CRYSTAL Ca n't. I got a 10 o'clock show. I need the five bucks. HOOKER I'll spend fifty on ya. Crystal looks at him a second and starts to giggle. We're pretty sure she's gon na get outa here tonight. COMING INTO A POOR MAN'S GAMBLING JOINT Little more than a reconverted brick basement, the place contains three shoddy, homemade roulette tables. Hooker, accompanied now by Crystal, nods a greeting to the doorman and proceeds to a table where there are already several other people laying their bets for the next spin. Hooker knows the wheel man, an old - timer named Jimmy. JIMMY -LRB- glad to see him. -RRB- Hooker! HOOKER How ya doin', Jimmy. JIMMY -LRB- collecting bets and paying off the winners. -RRB- Ai n't seen you in months, boy. Thought maybe you took a fall. HOOKER Naw, just a little hard times, that's all. It's all over now. JIMMY You gon na have a go here? -LRB- pointing to the betting board. -RRB- How ` bout a ten spot on the line here. The 4 - 9 been lookin' good today. Lotsa action on 28th Street down there, too. Pay ya 10 - 1. As Jimmy finishes his spiel, he starts the wheel spinning and drops in the ball. Betting is allowed to continue until the ball drops from the outer ring into the center. HOOKER -LRB- taking out his wallet. -RRB- Three grand on the black. Jimmy is stunned. The others at the table, used to dollar bets, look at Hooker like he's some kind of foreign dignitary. JIMMY -LRB- worried. -RRB- You sure you wan na start off that big? Bet like that could put a real dent in us. HOOKER I feel lucky tonight. JIMMY Aw, come on, Hooker, why do n't you just. HOOKER Three grand on the black, Jimmy. Jimmy wants to argue some more, but the ball is getting ready to drop into the center. We see Jimmy quickly press a hidden lever under the table with his foot. The ball falls and settles into red 27 with a motion that is not quite right. The others at the table fail to notice, but Hooker is not fooled. He stares venomously at Jimmy, who knows that Hooker is on to him. JIMMY Sorry, Hooker. -LRB- making an attempt at levity, in order to explain. -RRB- Good thing that ball came up red. Guy could get in trouble around here, losin' a bet that big. Jimmy reaches for Hooker's money. Hooker stops him by putting his hand on it. HOOKER Spin it again. Jimmy does n't know what the hell to do. He gives Hooker a little head motion to indicate a small window high up in one of the walls. Behind it, we see a pair of eyes. Suddenly, Hooker understands why Jimmy had to cheat him, but it does n't change his demand. HOOKER Spin it anyway, Jimmy. Jimmy is beside himself. If he does n't spin again, Hooker may expose him. If he does spin, and loses, his management will fire him. He pleads to Hooker with his eyes, but it's no use. Jimmy spins the wheel and reluctantly drops in the ball. This time there is no foot on the lever, and it settles into black 15. Hooker stares at the ball a second and then looks up at his terrified friend. HOOKER Do n't worry, pal. I knew it was my night. Hooker pushes the money over to Jimmy and walks out of the room. He's lost $ 3,000, but he's still working on a lucky night.","EXT. GAMBLING JOINT Hooker and Crystal out on the street. CRYSTAL -LRB- irritated. -RRB- Thanks for the evening, Hooker. I can still make the 10 o'clock. If you wan na spend 50 bucks on me again, mail it. She walks off down the street. HOOKER -LRB- going into his pocket for more money. -RRB- Hey wait a minute. -LRB- he comes up with 30'. -RRB- Aw, the hell with ya.","EXT. THE WATERFRONT PROCESSING PLANT - LATE AFTERNOON A late model Ford roars up and screeches to a stop in front of the plant. Out bursts a carefully - groomed, tight - lipped young man named Greer, who hustles into the plant. We follow him through a maze of machinery to the service elevator and up to the third floor where we find ourselves in the clearinghouse room we saw earlier.","INT. PLANT - AFTERNOON - LATE The working day is over now, and everyone has gone, except for Combs, who sits somberly in his office. GREER They found Mottola. He was drunk in a dive in Joliet. Never got on the train. COMBS -LRB- aggravated. -RRB- I do n't wanta hear about his day, Greer. What happened to the money? GREER He lost it to a coupla con artists on his way outa the spot. COMBS How much? GREER Twelve thousand. Combs sits in quiet thought for a second. Finally : COMBS All right. Better get on the phone to New York. See what the big mick wants to do about it. -LRB- pause. -RRB- I got ta pretty good idea, though.","INT. AN EXCLUSIVE NEW YORK GAMBLING CLUB - LATE AFTERNOON An agitated young man, Floyd, weaves his way through the craps and roulette tables, and hustles up a staircase to a second floor room with a drawing of a snarling tiger on the door. Below the tiger, the word `` FARO'' appears. There is a large man, of thuggish demeanor, guarding the door, but Floyd gives him a small hand signal and walks right by him. INSIDE THE FARO ROOM In the center is a beautifully - carved wooden table, on which sit a faro board and a dealing box, tended by a stone - faced Dealer, who calls the progress of the game in a continuous abacus - like device that keeps track of the cards which have already been played. On the opposite side of the table, completely absorbed in the rhythmic appearance of the cards from the dealing box, sits Doyle Lonnegan. Although is clothes and accessories are those of a wealthy man, there is a coarseness to both his movement and speech which bespeak lower class origins, for which he now has nothing but contempt. Floyd enters the room and approaches him cautiously, trying hard to make as little noise as possible. FLOYD Doyle, can I see you a minute? LONNEGAN -LRB- not looking up from the table. -RRB- I'm busy, Floyd. FLOYD It's important. We had a little trouble in Chicago today. One of our runners got hit for 12 grand. LONNEGAN -LRB- calmly. -RRB- Which one? FLOYD Mottola. LONNEGAN You sure he did n't just pocket it? FLOYD No, we checked his story with a tipster. He was cleaned by two grifters on 47th. LONNEGAN They workin' for anybody? FLOYD I do n't know. Could be. We're runnin' that down now. LONNEGAN All right, mark Mottola up a little and put him on a bus. Nothin' fancy, just enough to keep him from coming back. Get some local people to take care of the other two. -LRB- impassively. -RRB- We got ta discourage this kinda thing.","INT. AN OLD BROWNSTONE - NIGHT Hooker, still in his suit, but looking a little worse for wear, knocks on the door of one of the apartments. A young black woman, Louise, answers the door, holding a baby. HOOKER Howdy, Louise. LOUISE -LRB- admiring Hooker in his suit. -RRB- Goddamn, Johnny Hooker, you're a sharp hunky in them linens. If you was n't so pale, I ` da sworn you had class. Hooker steps inside and walks right into a big hug from an older black woman, Alva. Alva has a hat on, obviously just about to go out. Beyond her we see the Eirie kid and the Black Man -LRB- known from here on as Luther Coleman -RRB- playing a game of mah jong on the dining table with a man whose back is to us. An 11 - year - old boy is listening to the radio. COLEMAN Turn that down, Leroy. ALVA Oh, Johnny, Luther said you was somethin' to see today. HOOKER I'll never be as good as that mark, Alva. ALVA Well, we gon na hear all about it when we get back from church. Leroy, get your jacket on, boy. Leroy goes to get his jacket. Louise is finished putting the baby to bed. HOOKER You goin' to church now? ALVA They been havin' late bingo down there. I'm gon na call on the Lord for a little cash, while he's still payin' off. Luther, you look in on that child from time to time, will ya? Luther nods that he will. Alva, Leroy and Louise leave for church as Hooker strolls over and tosses two packets on the table. Luther does n't pick his up, but the other man does. We now see that he is the thief in the opening sequence. He is called the Eirie kid and he is delighted at his share. EIRIE KID Hey, Luther told me he was carrying a wad, but I did n't figure this much. HOOKER Which way did he do, Eirie? EIRIE KID Straight north. He was gon na take it all and run. HOOKER -LRB- laughs. -RRB- The bastard. He can blow his nose all the way. They laugh again, but Luther does n't share their enthusiasm. He watches Hooker who becomes uncomfortable under his gaze. COLEMAN You're late. Where you been? HOOKER -LRB- flopping into a chair. -RRB- I had some appointments. COLEMAN -LRB- not fooled. -RRB- How much did ya lose? HOOKER -LRB- after a pause. -RRB- All of it. COLEMAN -LRB- pissed. -RRB- In one goddamn night? What are ya sprayin' money around like that for? You coulda been nailed. HOOKER I checked the place out. There were n't no dicks in there. COLEMAN You're a con man, and you blew it like a pimp. I did n't teach ya to be no pimp. HOOKER What's eatin' you? I've blown money before. COLEMAN No class grifter woulda' done it, that's all. HOOKER You think my play is bad? COLEMAN I think it's the best. Hooker sinks back, embarrassed that he misread Coleman's intentions. COLEMAN It's the only reason I ai n't quit before now. HOOKER -LRB- bewildered. -RRB- What? COLEMAN I'm gettin' too slow for this racket. I done the best I'm gon na do. You hang on too long, you start embarrassin' yourself. HOOKER What are you talkin' about? We just took off the biggest score we've ever had. We can do anything we want now. COLEMAN It's nothin' compared to what you could be makin' on the Big Con. You're wastin' your time workin' street marks. HOOKER Hey look. You think I'm gon na run out on ya or somethin'? Just cause we hit it big. Luther, I owe you everything. If you had n't taught me con, I would n't know nothin'. COLEMAN -LRB- a little embarrassed. -RRB- Aw hell, you sound like some goddamn sucker. You know everything I know. You got nothin' more to learn from me. HOOKER But you played the Big Con. You said it was nothin'. A game for flakes and mama's boys. COLEMAN And I'm tellin' ya now, you're a fool if you do n't get into it. A bigger fool than I was. -LRB- pause, holding up the money. -RRB- I been lookin' for this one all my life, Johnny. Now I got a chance to step out at the top. Hooker knows it's no use. HOOKER -LRB- after a long silence. -RRB- What the hell you gon na do with yourself? COLEMAN Aw, I got a brother down in K.C., runs a freight outlet. I can go halfsies with'em! It ai n't too exciting, but it's mostly legal. Hooker just nods. COLEMAN Straighten up, kid. I would n't turn ya out if ya were n't ready. -LRB- flipping Hooker a piece of paper. -RRB- I got a guy named Henry Gondorff I want you to look up. There ai n't a better insideman alive. He'll teach ya everything ya got ta know. HOOKER You'll take a cut of what I make, wo n't ya? COLEMAN I'm out, Johnny. HOOKER If that's the way you want it. COLEMAN That's the way I want it.","EXT. A DIMLY LIT STREET - NIGHT It's late at night now. Hooker and Eirie wander along the street together, not really ready to go home, but with no other ideas either. Hooker, obviously preoccupied, idly strikes a match on a street lamp as he passes and lets it burn out. He does this several times. HOOKER How do you like that Coleman, huh? After three years. EIRIE KID Aw come on, it was the only thing to do. He knew he was holdin' ya back. HOOKER We were partners. If it were n't for Luther I'd still be hustlin' pinball down at Gianelli's. I do n't need anything more than I got. HOOKER You ai n't gon na have nothin' if you do n't lay off them games of chance. There's a depression on ya know. HOOKER There's always a depression on. EIRIE KID If you saved a little, you would n't have to grift so much. HOOKER I like griftin'. EIRIE KID You could buy yourself some things. Clothes, or a nice car. HOOKER I do n't look any good in clothes and I do n't know how to drive. What else ya got to sell, Eirie? EIRIE KID Forget it. They walk on a few more feet, when suddenly a police car pulls up alongside them and two men jump out. The first, a uniformed policeman, grabs Eirie around the neck. Hooker makes a break for it, but the second Figure, a burly detective named Snyder, tackles him in the middle of the street, drags him back into the alley and plasters him up against a brick wall. The two have met before. HOOKER Hi there, Snyder. Things a little slow down at the Bunco Department tonight, eh? Somebody lose the dominoes? SNYDER You scored blood money today, Hooker. You need a friend. HOOKER -LRB- knocking Snyder's hand away. -RRB- Aw, find yourself a shoplifter to roll. Snyder gives Hooker a swift knee in the thigh and follows it with an elbow across the head. Hooker flies into a row of boxes and garbage cans. HOOKER -LRB- getting up slowly. -RRB- You got the wrong guy, pal. I been home with the flu all day. -LRB- rising to a fuller height. -RRB- You can stake out my toilet if you want. Bang. Snyder, infuriated by Hooker's irreverence, slams him to the ground again. The policeman is no longer holding Eirie but is almost daring him to make a move. Eirie wants to go to Hooker's aid, but he knows the policeman will beat him to a pulp. SNYDER -LRB- pulling Hooker out of the heap and smashing him against the wall again. -RRB- I'll tell ya what you did, smart boy. You tied into a loaded mark on 47th across from Maxies. You and Coleman played the switch for him and blew him off to a cab on 49th. If he had n't been a numbers runner for Doyle Lonnegan, it woulda been perfect. HOOKER -LRB- startled by the information. -RRB- You're crazy. I'm not stupid enough to play for rackets money. SNYDER Not intentionally maybe, but that do n't make no difference to Lonnegan. He'll swat you like any fly. HOOKER I'll square it with the fixer. SNYDER Nobody can buy you a prayer, if I put the finger on ya. Snyder lets go. Hooker sinks back against the wall. He says nothing ; he's waiting for the price. SNYDER I figure your end of the score was at least 3 gees. I want 2 no matter what it was. HOOKER -LRB- lying. -RRB- My end was only one. SNYDER -LRB- not taking the fake. -RRB- Then you'll have to come up with another grand somewhere. Hooker is beat and he knows it. HOOKER All right. He reaches into his coat, pulls out a stack of bills and counts out $ 2000 to Snyder. Eirie looks on in amazement ; he did n't think Hooker had it. SNYDER -LRB- pocketing the money and motioning his partner to put his gun away. -RRB- You're a smart egg, Hooker. No use dyin' for 2 grand. Snyder and his policeman friend get in their car and start down the street. Hooker and Eirie walk nonchalantly in the other direction. EIRIE KID I thought you blew all your money. HOOKER I did. That stuff I gave him was counterfeit. They'll pinch him the first place he tries to spend it. Snyder and his partner disappear around a corner. Hooker suddenly takes off like a shot.","INT. DRUGSTORE - NIGHT He runs into a drugstore and goes to the phone booth. There's already a woman in it. Hooker rips open the door and throws her out. Hurriedly, he begins to dial. EIRIE KID -LRB- standing outside the booth. -RRB- What the hell you gon na do when Snyder rushes his finger right to Lonnegan? You're committin' suicide, kid. HOOKER -LRB- waiting for the ring. -RRB- Aw Christ, it does n't make no difference now. If Snyder knows about it so does everybody else. He never gets anything first. Damn, there's no answer at Luther's. EIRIE KID Listen to me, Hooker. What ever you do, do n't go back to your place tonight, do n't go anyplace you usually go, ya hear me? Get outa town or somethin', but. Hooker, still getting no answer, slams the phone down and blasts out of the booth.","EXT. STREET - NIGHT Eirie chases him frantically, calling him to come back, but he's giving away too many years and there's no stopping Hooker at this point.","EXT. STREET - NIGHT - SHOTS OF HOOKER Pumping down the street.","EXT. LUTHER'S BROWNSTONE - NIGHT Hooker races into Luther's brownstone, charges up to the third floor.","INT. LUTHER'S BROWNSTONE - NIGHT Hooker runs up through a small group of people on the stairs. He bursts into Luther's room, the door of which is already open. The room shows signs of a struggle, a turned - over chair, a broken lamp, but there is no Coleman. Hooker goes slowly to the window. He looks down into the courtyard and then suddenly sprints back out the door. As we hear him scrambling down the stairs, the camera dollies to the window and looks out.","EXT. COURTYARD - NIGHT There on the concrete below, face down, is the body of Luther Coleman. Hooker races out to it and kneels down. HOOKER -LRB- shaking the body. -RRB- C'mon Luther, get up. You got ta get up, Luther. In the distance, sirens are heard. Heads are out of the windows and some people are starting to gather in the courtyard. HOOKER -LRB- CONT'D. -RRB- Goddamn you, Luther, will you get up? -LRB- pounding on the body. -RRB- I'm not waitin' for you, Luther. I'm not waitin' anymore. Get up, you son of a bitch. Goddamn you, Luther, goddamn. The sirens are close now, and Hooker tears himself away from Luther and runs. The others gather to look at the body. FADE OUT. THE SET - UP FADE OUT.","INT. THE TRAIN STATION - DAY We open on Hooker sleeping in some remote corner of the station, covered with newspapers for warmth, and barely distinguishable from the clutter of junk surrounding him. A station security officer, on his morning sweep, wanders by and delivers a terrific blow to the soles of Hooker's feet with a nightstick. Hooker jolts awake with a cry of pain, as the officer diffidently moves on toward another sleeping victim. Tired and sore from his night in the station, Hooker struggles to his feet and attempts to take stock of the situation. He tries to smooth the wrinkles out of his suit, but it's futile. A quick check of his wallet finds it as empty as he'd remembered it. THE STATION - GIFT SHOP - DAY Hooker walks in and goes to the toy section. He looks through several small novelties, till he finds what he's looking for - a little tin replica of a policeman's badge. He looks around for station detectives, and seeing none, slips the badge into his pocket. THE STATION - WASHROOM - DAY Hooker rinses out his mouth, towels off his face and slicks his hair back with water. It's a drop in the bucket, but it seems to revitalize him a little. STATION - HALLWAY - DAY We see Hooker removing a sign from a door, but the angle prohibits us from reading it.","INT. STATION - DAY He drops the sign in a waste can and walks out into the crowded passenger lobby. After scanning the area carefully for a minute, he goes up to a conservative young business man, who's busy reading the schedule board. HOOKER -LRB- flashing open his wallet to reveal the little tin badge and then closing it again quickly. -RRB- Excuse me, sir. Treasury Dept. I'd like to ask you a few questions. MAN -LRB- flustered. -RRB- What for? I have n't done anything. HOOKER We do n't doubt that, but there's a counterfeiting operation passing bad money in the station. Have you made any purchases here today? MAN -LRB- reluctantly. -RRB- Yes, a ticket to Chicago. HOOKER Then I'm afraid we'll have to impound your money until we're sure that it's all good. Can I see your wallet and your ticket, please? MAN -LRB- handing them over. -RRB- But I got a train to make. HOOKER -LRB- taking out the money and returning the wallet. -RRB- It'll only take 20 minutes or so. You can pick it up at the window down the hall. MAN But what about all these other people? HOOKER -LRB- blowing up. -RRB- We'll get'em! Give us a chance. I'm not the only agent in here, ya know. We go around advertising ourselves, how many counterfeiters do you think we'd catch, huh? -LRB- pointing to his suit. -RRB- You think I'm wearin' this rag here'cause I like it? Christ, everybody thinks life's a holiday or somethin' when you got a badge. -LRB- pouring it on. -RRB- I been here since three this morning, Charlie, and I never knew there was so much ugliness in people. You try to help'em and they spit on you. I shoulda let ya go and gotten yourself arrested for passin' false notes. The Businessman is totally shamed. MAN I'm sorry, really I am, but my train leaves in ten minutes. HOOKER All right, I'll give ya a break. -LRB- pointing to a hall. -RRB- Down that hall there, there's an unmarked door on the left. Go on in there and wait at the window. I'll take this. -LRB- he holds up the money. -RRB-. in the back and run it through right away. We'll have you outta there in a couple minutes. MAN Thank you. You do n't know how much I appreciate this. HOOKER -LRB- with a little wave. -RRB- Think nothin' of it. The man goes off down the hall, more than grateful to be given a break like this. Hooker heads for the `` back''. We follow the Man down the hall to the unmarked door. He strides on through to find himself face to face with a wall of busily flushing urinals.","EXT. STATION - DAY - HOOKER Boarding the 8:10 for Chicago.","INT. STATION - DAY The Man wandering up and down the hall, wondering how he could have missed that room.","EXT. CHICAGO STREET - DAY The street runs along side an elevated train track. We pick up Hooker coming down the street, eating a hot dog he bought with the money he just earned in the train station. He appears to be looking for an address, referring every now and then to the piece of paper Luther gave him the night before. Finally he stops in front of an old three - story building which contains a carousel on the bottom 2 floors and what appear to be apartments on the third floor. He peers inside the big, sliding glass doors and seeing no sign of life, goes around to the side to look for a way in. A 35 year - old woman, Billie, appears in her bathrobe on the second floor landing and descends the stairs to get the morning paper. She's eating an apple. Although she has just gotten up and looks it, she has the presence of one who is probably quite striking at other hours. The sight of Hooker fazes her not at all. HOOKER Excuse me, I'm looking for a guy named Henry Gondorff. You know him? BILLIE -LRB- starting back up the stairs. -RRB- No. HOOKER Luther Coleman sent me. Billie stops and comes back down the stairs. It's the first time she's stopped chewing. BILLIE -LRB- checking him out. -RRB- You Hooker? HOOKER Yeh. BILLIE Why did n't you say so. I thought maybe you was a copper or somethin'. She goes to a side door and unlocks it. BILLIE It's the room in the back. He was n't expecting you so soon though. Hooker's not quite sure what that means, but there's something about Billie that makes him know that you do n't ask.","INT. CAROUSEL - DAY Hooker walks past the now motionless carousel to the room in the back and knocks on the door. No answer. He gives the door a little push and it swings open.","INT. GONDORFF'S ROOM - DAY The room inside if small and cluttered, consisting of a bed, a sink, and a bathroom, all covered by a layer of books, dirty clothes and beer bottles. Draped over a chair, fully dressed, but completely passed out is the one and only Henry Gondorff. HOOKER -LRB- to himself. -RRB- The great Henry Gondorff.","INT. A SHOWER - DAY Water blasting out of the fixture. We see Gondorff, still fully clothed, sitting in the bottom of the shower, the spray streaming off his face. An imposing figure, with deep set eyes and full beard, he just sits there stoically, looking like a soggy lumberjack. Hooker, sitting on the floor between the toilet and the sink, watches listlessly. Finally - GONDORFF Turn the goddamn thing off, will ya. HOOKER You sober? GONDORFF I can talk, ca n't I? Hooker makes no move to get up. Gondorff struggles to his knees, turns off the water, and slumps back against the wall. The two men just look past each other a second. Down in the bottom. GONDORFF Glad to meet ya, kid. You're a real horse's ass. HOOKER Yeh, Luther said you could teach me something. I already know how to drink. Gondorff wipes his face with his hand. His mood softens a little. GONDORFF -LRB- quietly. -RRB- I'm sorry about Luther. He was the best street worker I ever saw. HOOKER He had you down as a big - timer. What happened? GONDORFF Aw, I conned a Senator from Florida on a stocks deal. A real lop - ear. He thought he was gon na take over General Electric. Some Chantoozie woke him up, though, and he put the feds on me. HOOKER You mean you blew it. GONDORFF -LRB- pause. -RRB- Luther did n't tell me you had a big mouth. HOOKER He did n't tell me you was a fuck - up, either. -LRB- Gondorff looks at him coldly. -RRB- You played the Big Con since then. GONDORFF No, I lammed it around for a while while things cooled off. Philly, Denver, Baltimore, nuthin' towns. Hooker's disappointment is obvious. GONDORFF But do n't kid yourself, friend, I still know how. Hooker nods, unconvinced. GONDORFF -LRB- getting up from the floor and emptying the water out of his pockets. -RRB- You gon na stay for breakfast, or do you already know how to eat? HOOKER -LRB- tired. -RRB- I picked something up on the way. GONDORFF -LRB- sensing something. -RRB- Lonnegan after you, too? HOOKER I do n't know. Have n't seen anybody. GONDORFF You never do, kid. We go to Hooker. He had n't thought of that.","EXT. A BEAUTIFUL OLD COLONIAL COUNTRY CLUB - LONG ISLAND DAY Lonnegan, in plus fours and argyles sits on a bench as other members of his foursome tee off. Floyd comes up to him. FLOYD We got word from Chicago. They got one of the grifters last night. The nigger. LONNEGAN What about the other one? FLOYD They're still looking for him. LONNEGAN Who's got the contract? FLOYD Combs gave it to Reilly and Cole. LONNEGAN Hackers. FLOYD They staked out the other guy's place last night, but he never showed. They figure maybe he skipped town. You wan na follow'em up? Lonnegan regards Floyd patiently and then pats the bench beside him. Floyd sits gingerly. LONNEGAN You see the guy in the red sweater over there? We cut to one of Lonnegan's foursome, a short, squat little Irishman in a red sweater. He was a good - time, friendly manner and a winning Irish smile. We like him immediately. LONNEGAN Name's Danny McCoy. No Neck McCoy we called him. Runs a few protection rackets for Carnello while he's waiting for something bigger to come along. Me and Danny been friends since we were six. Take a good look at that face, Floyd, cause if he ever finds out we let one lousy grifter beat us, you'll have to kill him and every other hood in Chicago who'd like to do the same thing. You understand what I'm sayin'? FLOYD Yes sir. LONNEGAN Good lad. Lonnegan is called to the tee by one of his foursome. He exchanges a friendly smile with McCoy and belts the ball down the fairway.","INT. THE CAROUSEL AGAIN - DAY Gondorff, dried off now and in a new set of clothes, is pulling up the shades of the large facing windows of the carousel building. The morning light pours in, illuminating fully for the first time the ornate merry - go - round and its massive oaken horses. Hooker watches him go about his business. Billie calls down from the mezzanine which surrounds the carousel. BILLIE You feeling all right this morning, Henry? GONDORFF Fine, Billie. BILLIE You mind opening the round a little early today? We got some business coming in before hours. Gondorff waves okay. GONDORFF -LRB- to Hooker. -RRB- Great little countess, that Billie. Runs a good house up there, too. One of the few left that Luciano does n't own. Gondorff walks around on the carousel, checking straps, bearing and poles. Hooker follows him. HOOKER -LRB- getting impatient. -RRB- Gondorff, you gon na teach me the Big Con or not? GONDORFF -LRB- on his back, checking underneath one of the horses. -RRB- You did n't act much like you wanted to learn it. HOOKER I wan na play for Lonnegan. GONDORFF -LRB- getting up. -RRB- You know anything about him? HOOKER -LRB- exploding. -RRB- Yeh, he croaked Luther. What else do I got ta know. Gondorff just sits tight and waits for him to cool off. HOOKER -LRB- waving Gondorff off, embarrassed at his own outburst. -RRB- Aw right, he runs the numbers outta the south side. GONDORFF -LRB- going over to start the machinery. -RRB- And a packing company, a chain of Savings and Loans and half the politicians in Chicago and New York. There ai n't a fix in the world gon na cool him out if he blows on ya. HOOKER I'll take him anyway. GONDORFF -LRB- whirling on him. -RRB- Why? HOOKER -LRB- like steel. -RRB-'Cause I do n't know enough about killin' to kill him. It's the right answer. Gondorff did n't know it himself until now. GONDORFF You ca n't do it alone, ya know. It takes a mob of guys like you and enough money to make'em look good. HOOKER We'll get by without'em. GONDORFF This is n't like playin' winos on the street. You got ta do more than outrun the guy. HOOKER -LRB- incensed. -RRB- I never played for winos. GONDORFF -LRB- going right on, ignoring Hooker's remark. -RRB- You got ta keep Lonnegan's con, even after you spent his money. And no matter how much you take from his, he'll get more. HOOKER You're sacred of'em, are n't ya? GONDORFF Right down to my socks, turkey. If I ` da been half as scared a that lop - ear, I would n't a fallen asleep on'em. Lonnegan might kill me, but at least he wo n't bore me to death. HOOKER Then you'll do it? GONDORFF If I can find a mob that'll risk it. But no matter what happens, I do n't want you comin' back to me halfway through and sayin' it's not enough. cause it's all you got. Hooker nods. Gondorff switches on the carousel and steps back to admire his handiwork. The carousel makes a grinding sound, does a few lurches and stops cold. Music begins and we are into a short : MONTAGE SEQUENCE Detailing the arrival of the others three members of Gondorff's `` mob.'' Throughout, Gondorff wears the fedora hat which is his trademark. We begin with - A tall, good - looking man, Kid Twist, making his way through the railway station. Impeccably dressed and carrying a small suitcase, he combs the terrain carefully with his eyes. Finally he catches a glimpse of the thing he's been looking for. It's Gondorff, standing by a newsstand. Gondorff makes a quick snubbing motion on his nose as if flicking off a gnat. This is known among con men as the `` office.'' Twist returns the sign with a barely discernible smile as he walks on by. Con men rarely acknowledge each other openly in public, but it's obvious that these two are glad to see each other.","INT. BARBER SHOP - DAY Hooker in, having his hair cut and his nails manicured. Gondorff gives instructions to the barber.","INT. HABERDASHERY - DAY Hooker is modeling a new suit in front of a mirror. He does n't look too pleased, but Gondorff peels out a bankroll anyway.","EXT. HOTEL - DAY A pair of white spats stepping off a bus. We follow them into a :","INT. HOTEL LOBBY Where we tilt up to reveal J.J. Singleton, the most flamboyant of the bunch. On his way to the check - in desk, he silently exchanges the `` office'' with Gondorff, who is sitting on a lounge reading the paper.","INT. APARTMENT - DAY Hooker being shown into a small apartment room by an old woman. It consists of a bed, a table and a sink. Hooker nods his acceptance to the woman and gives her a bill. He takes another look around the room and decides to go out somewhere, but first he wedges a small piece of paper between the door and the jamb, about an inch off the floor.","INT. A BIG METROPOLITAN BANK - DAY We hold on a slight, bespectacled teller, Eddie Niles, in the process of counting a large deposit. Niles is all business ; if he's ever smiled, no one knows about it. He glances up for a second and sees Gondorff `` officing'' him from across the bank. Without a word he shoves the money he's been counting back into the hands of a startled customer, abruptly closes up his window, flips his identification tag on the manager's desk and walks out of the bank.","INT. AN UPSTAIRS ROOM OF THE CAROUSEL BUILDING - NIGHT This room has obviously been relegated to the status of the storage room. It contains the water heater, mops and brooms, old bed springs, etc.. In the middle of the room a space has been cleared for a table, around which are seated Hooker, Gondorff, Niles, Singleton and Twist. Gondorff is in his T - shirt, but still wears his hat. Kid Twist is in a suit as usual. The room is illuminated by a single bare bulb hanging from the ceiling. TWIST -LRB- showing Hooker photographs of three men. -RRB- These are Combs' favorite torpedoes. Riley and Cole. We recognize Riley and Cole as the two guys who got into Mottola's cab. TWIST They do most of the small jobs, but Lonnegan might not wan na use'em on you'cause they're kinda messy. No class. We go to Hooker. He's real grateful. Billie, wearing an evening dress, enters the room and begins gathering up the empty beer mugs on the table. TWIST We got reason to believe Riley was the guy who hit Luther. But if you see either one of these two, find yourself a crowd, or take'em someplace you know you can handle'em. GONDORFF But most of all let us know. If they got a hit on you, we got ta fold up the con. You're too exposed. You got that? Hooker nods, but we know he has n't really got that. HOOKER You sure it'll be one of these two? TWIST No. They're just the only ones we know of. Billie has finished gathering the mugs, and leaves the room with them. We follow her down the hall and into the : RECEIVING ROOM OF HER BROTHEL Carousel music filters up from the arcade below. The room has a bar along one wall and the rest of the space is taken up by tables and couches. It's a comfortable place, but not opulent. Some of the girls sit patiently on the couches, others play canasta at the tables. Most of the men are at the bar, fortifying themselves for the task at hand. Billie comes over to the bar. BILLIE -LRB- to the bartender. -RRB- Set me up five more beers, will ya Danny. As Danny goes to fill the mugs, Billie's eyes fix on a man at the end of the bar. We move to reveal Snyder, intently scanning the room, as if he'd lost a dancing partner in the crush. Not finding what he wants, he comes down the bar to Billie. SNYDER You the owner here? BILLIE That's right. SNYDER -LRB- flipping out his badge. -RRB- Lieutenant Snyder. Bunco. BILLIE Joliet badge, Snyder. Do n't cut much up here. SNYDER -LRB- trying to ignore her remark. -RRB- I'm lookin' for a guy on the lam from a counterfeiting rap. Thought he mighta come in here. BILLIE Do n't think so. I know everybody in the place and I always bounce the lamsters. SNYDER All right if I look around your lobby? BILLIE No, but you're welcome to a free beer before you go. Billie grabs a bottle of beer, pours some in a shot glass and pushes it over to Snyder. He ignores the gesture. SNYDER -LRB- with controlled force. -RRB- I do n't really need your permission. We go to Billie. She knew that when he came in. THE STORAGE ROOM AGAIN The discussion continues. Hooker, a bit out of his depth here, listens and stays silent. SINGLETON Lonnegan's a fast egg, Henry. He's not gon na sit still for a standard play. GONDORFF Everybody'll sit still for somethin'. What did ya find out about the train, Eddie? NILES He's been taking the 8:10 Century Limited outa New York on Friday and getting in here early Saturday morning. He usually stays a day to check on his policy operations, and then flies back. GONDORFF Wonder why he does n't fly both ways. NILES The porters say he runs a braced card game in one of the cars. $ 100 minimum, straight poker. Last time he pulled in here ten grand heavier than he left New York. GONDORFF Fancies himself a gambler, huh? TWIST Lotta plungers ride that train just to play him. GONDORFF -LRB- breaking into a smile. -RRB- See J.J., he's slowly down already. THE RECEIVING ROOM AGAIN Snyder has completed his inspection of the `` lobby'' and found nothing. Danny, meanwhile, has set up the five beers on a tray. SNYDER Which way are the rooms? BILLIE Who told ya this guy was in here? SNYDER Nobody. I just know what kinda women he likes. I'm gon na check all the joyhouses till I find him. BILLIE Maybe I could help ya if ya told me his name. SNYDER I think I'll keep that to myself. Which way are the rooms? BILLIE Right through there. But I would n't go in there if I were you. -LRB- picks up the tray. -RRB- SNYDER -LRB- snidely. -RRB- What are ya gon na do, call the cops? BILLIE I do n't have to. You'll be bustin' in on the Chief of Police just up the hall. -LRB- she exits with the drinks. -RRB- Snyder is stopped cold. He calls after her. SNYDER Keep your nose clean, lady. He ca n't spend all his time here. THE STORAGE ROOM AGAIN Billie comes over to Gondorff and whispers in his ear, while the others talk. His eyes flick momentarily to Hooker. SINGLETON I think we ought to play him on the Rag. It's the tightest game we got, and it's not all over the papers yet. NILES No good, J.J. You're not gon na con stocks to a banker. Lonnegan's too smart for that. TWIST What are you going to do, con the payoff to a gambler? SNYDER Twist is right. It wo n't work. Gondorff has nodded to Billie and now rejoins the conversation. She serves the others beer. GONDORFF We'll use the wire. Never known a gambler who would n't like to beat the ponies. NILES The wire is ten years outa date. GONDORFF That's why he wo n't know it. SINGLETON I'm not sure I know it. GONDORFF We'll give him the hook on the train, and play him here. You think I can get in that poker game, Eddie? NILES All you got ta do is show up with some money and look like a fool. GONDORFF I also got ta win. He looks at Hooker. There is a challenge in their book. Gondorff smiles broadly, then casually, to them all. GONDORFF By the way, any of you guys been passing off any green goods lately? We go around the table. No reply. GONDORFF Billie, if that Dick comes in again, stall him till I can get a look at him. And let me pay ya for these beers. BILLIE What are you talking about? It's on the house. GONDORFF -LRB- pulling out a $ 5 bill. -RRB- Naw, I want ya to have this. He hitches up Billie's skirt, and puts the bill in her garter. GONDORFF Do n't look at it till ya go to bed though or it'll turn to paper. Billie smiles and leaves the room.","INT. HALLWAY She walks halfway down the hall and stops. She ca n't wait. Lifting up her skirt, she finds that the five has indeed turned to paper. As she breaks into laughter and continues on down the hall, we : FADE OUT. THE HOOK FADE OUT.","EXT. A SUNKEN ALLEY - DAY Actually little more than a service area between two apartment buildings. Niles, Kid Twist, and a middle - aged black man, named Benny Garfield, enter the alley with an old man and follow him down a stairwell to a subterranean basement. A faded sign above the door says Stenner's Billiards. We follow them inside to a :","INT. A LARGE BARREN ROOM - DAY An office comes off it at one end. Judging from the fluorescent lights overhead and the scattered cue racks which still hang tenuously on the walls, the place, indeed, used to be a pool hall. Niles and Garfield go all the way to the back, while Twist stays near the front with the old man. NILES Looks all right. It's big enough and off the street. GARFIELD I do n't know. This is kinda short notice. I'm not sure we can get it all done by Saturday. NILES Got to. Gondorff's ridin' the mark in from New York on the Century. Garfield thinks it over a little. He's taking another look at the place. We go to Twist and the old man by the door. TWIST We'll take it. -LRB- pointing through the door. -RRB- You manage the building at the end of the alley? OLD MAN -LRB- with pride. -RRB- For fifteen years. TWIST I'll need a room over there that faces this way. How much a week? OLD MAN Only rents by the month. Two hundred and fifty for the two of them. TWIST -LRB- pulling out his wallet. -RRB- This is the last time I expect to see you down here. OLD MAN -LRB- watching the bills being counted into his hand. -RRB- Never heard of the place. We go back to Niles and Garfield. GARFIELD Been a while since I stocked a wire store. Not many mobs playing that anymore. NILES All we need is the bookie setup for now. We'll worry about the telegraph office later. GARFIELD All right, I'll rent ya everything I got in the warehouse for two grand. That'll give ya phones, cages, blackboards and ticker gear. You supply the guys to move'em. If you want a counter and bar, that's another grand. I do n't know where the hell I'm gon na get'em though. NILES C'mon, you can do better than that. We ai n't no heel grifters. GARFIELD You want the stuff tomorrow or do n't ya? It's gon na take hours just to clean it up. -LRB- pause. -RRB- Besides, Gondorff's still a hot item. Where am I gon na be if he gets hit? NILES Just give us what ya can, Benny. We'll send a truck down. Twist has rejoined them by now. TWIST -LRB- to Garfield. -RRB- You wan na work flat rate or percentage? GARFIELD Who's the mark? TWIST Doyle Lonnegan. GARFIELD Flat rate.","INT. A NEW YORK TRAIN STATION - DAY We pick up Doyle Lonnegan, accompanied by two bodyguards and Floyd, making his way through the station. He stops at a cigar counter to buy some cigarettes, and we reveal Gondorff and Hooker sitting on their suitcases on the other side of the room. GONDORFF -LRB- eyes fixed on Lonnegan. -RRB- Guy in the blue pinstripe and grey fedora. Hooker looks and finally spots him in the crowd. We go back to Lonnegan, as he moves off from the cigar counter, toward his train. Hooker watches him with the intensity of one gazing on a religious object. HOOKER He's not as tough as he'd like to think. GONDORFF -LRB- picking up his suitcase. -RRB- Neither are we.","EXT. TRAIN Lonnegan and his retainers getting on the train. Two cars down the line, we see Hooker and Gondorff boarding also. On his way in, Gordorff takes the conductor aside. GONDORFF I hear there's a friendly poker game on this train tonight. You know anything about that? CONDUCTOR A little. GONDORFF You think you could get me in that game? CONDUCTOR I do n't know. There's usually a waiting list. Gondorff flashes a $ 50 bill. CONDUCTOR -LRB- loosening up a bit. -RRB- That'll get you first alternate, sir. Gondorff pulls out another fifty. CONDUCTOR -LRB- taking the money. -RRB- I'll see what I can do.","INT. A BASEMENT BAR - EARLY EVENING Kid Twist enters and threads his way through the maze of tables to a door at the back of the building. A large bull of a man is stationed there, obviously to discourage those who do n't have credentials to enter. Twist is not such a man. TWIST -LRB- going right on through. -RRB- How ya doin', Lacey. LACEY -LRB- innocently pleased for one so menacing. -RRB- Good to see ya again, Twist.","INT. ANOTHER ROOM - EARLY EVENING Inside is another room, this one much better lit than the outer one. There are only three tables in here, around which are seated the elite of the Con World. Twist is enthusiastically greeted by Duke Boudreau, a large, rotund man whose stylish dress and authoritative manner mark him as a powerful figure in this group. BOUDREAU Twist! When did you get back in town? TWIST Coupla days ago. I'm workin' a big one with Gondorff on the North Side. The two men sit down together, apart from the others. TWIST Listen Duke, we're setting up a wire store. I need a twenty man boost right away. BOUDREAU I got twenty or so in here tonight. Take your pick. TWIST These guys have got ta be the quill, Duky. We ca n't afford to rank the joint. BOUDREAU -LRB- to one of his assistants. -RRB- Get me the sheet, Jake. Let's see who's in town. THE OUTER PART OF THE BAR AGAIN A silhouetted figure appears in the entrance doorway. The word `` chill'' races from table to table and the place falls still. The bartender pushes a button behind the bar and a buzzer goes off in the back room. Boudreau gets up from his table and opens a small viewing port in the door. The silhouetted figure is now walking slowly past the silent tables. It's Snyder and he's checking out every face in the place. BOUDREAU Twist, you know this guy? TWIST -LRB- taking a look through the viewing port. -RRB- No. Never saw him before. He's a dick, though. Snyder walks all the way to the back, and then retraces his route. About halfway back, he stops at one of the tables, recognizing a grifter he knows. It's the Eirie Kid. EIRIE KID Hello, Snyder. What are you doin' up here? SNYDER I'm on vacation. You seen your friend lately? EIRIE KID Yeh, he packed it in and enrolled in detective school. Snyder, in no mood for jokes, grabs Eirie by the hair and slams his face into the table. Eirie just stays there ; he knows it does n't pay to assault a detective. Twist is watching all this intently from the viewing port. SNYDER You see him, you tell him to pay his debts before I get him. Eirie raises his head slowly, but says nothing. There is a slight trickle of blood from his nose. Snyder turns and walks slowly out of the bar. When he is a safe distance down the street, the chatter and drinking resume. THE INSIDE ROOM AGAIN Twist gives an all clear signal and returns to the table where he and Boudreau were talking. Boudreau reads from a list of names. Twist listens with a certain preoccupation. He's still thinking about the little confrontation he just witnessed. BOUDREAU Paltrow, Sterling, Furey, and the Big Alabama are in from New Orleans. Fiskin and the Boone Kid from Denver, and Phillips, Barnett and Limehouse Chappie from New York. Those and the guys outside should give ya 30 or so to choose from. TWIST Good, have'em down at Stenner's old Pool Hall before 3:00. We're gon na run through the route tonight. BOUDREAU Okay, Twist, but you know if this blows up, I ca n't do ya no good downtown. Gondorff is Federal. TWIST Do n't worry about it, pal.","EXT. SPEEDING PASSENGER TRAIN - NIGHT Ripping through an open stretch between New York and Chicago.","INT. TRAIN - NIGHT Singleton is walking down a passageway and stops at a door and goes in.","INT. GONDORFF'S COMPARTMENT - NIGHT Gondorff is rapidly shuffling cards to four empty places. He is alone. He looks up as Singleton enters. SINGLETON You in? GONDORFF Yeh, I think so. I gave the kay - ducer a C - note. You find out the deck? SINGLETON He usually plays with a Royal or a Cadenza. -LRB- handing him two sealed decks. -RRB- I got you one of each. He likes to cold deck low, 8's or 9's. GONDORFF Nice work, J.J. Singleton slips out as Gondorff unpeels the packs.","INT. TRAIN - NIGHT We pick up Lonnegan coming out of his compartment, flanked by only one bodyguard and Floyd. He starts through the passenger section toward the compartment where the poker game will be held. Suddenly a drunken woman comes staggering around the corner and bumps into him. They grapple a moment and Lonnegan pushes her away in disgust. WOMAN -LRB- sloppy drunk. -RRB- Keep your mitts off me, ya big lug. If I ` da wanted you handlin' me I woulda asked ya. Lonnegan ignores her and proceeds down the passageway. As the woman proceeds in the other direction between passengers, we see it is Billie. She drops something on a seat beside a passenger. A hand reaches to pick it up. It is Lonnegan's wallet and it is Hooker who picks it up. Hooker waits a moment, then stands and goes in the direction Lonnegan has taken. He passes by the open door to the card room, hesitating only slightly to hear the greetings exchanged inside before the door is shut. Then he continues on into the next car. He turns into Gondorff's compartment.","INT. GONDORFF'S COMPARTMENT - NIGHT Gondorff is still practicing. He looks up as Hooker enters and tosses him the wallet. HOOKER She got him clean. He has n't missed it. Gondorff nods, takes the money out, counts it. GONDORFF Fifteen grand. Looks like he's expecting a big night. He takes out his own wallet and puts the money in it, and tosses the empty wallet back to Hooker, and resumes his shuffling and dealing. Hooker sits back silently and watches him. HOOKER He's waitin' for you in the card room. GONDORFF Let him wait. As he deals, on the second pass he attempts to cut from the bottom, muffs it completely and sprays half the deck on the table. Hooker regards him steadily as he gathers them back up. Gondorff finally meets his gaze. GONDORFF You just worry about your end, kid. HOOKER If we ever get to it.","INT. THE POKER ROOM - NIGHT A specially outfitted compartment with a table and chairs in the middle and leather cushions around the outside for kibitzers. Lonnegan and 3 other players are already there and seated. They're getting slightly impatient. LONNEGAN -LRB- to the Conductor. -RRB- Where the hell is this guy? CONDUCTOR I do n't know. He said he'd be here. GONDORFF'S CABIN AGAIN Gondorff is standing in front of the mirror dressing. He grabs up a clean white shirt and rumples it up in his hands. He then picks up a half - full bottle of bourbon. Hooker gives him a disapproving look. Gondorff smiles and pats some on his face. THE POKER ROOM AGAIN Everybody's itchy now. LONNEGAN All right, let's start without him. Mr. Clemens, give me the cards. The Conductor hands him a sealed deck. As he begins to open it, Gordoff comes into the room, coatless, rumpled, unshaven and looking slightly tipsy. The others at the table, all men of high school or financial standing, are somewhat put off. GONDORFF Sorry I'm late boys. I was takin' a crap. This bit of grossness does little to improve his image. CONDUCTOR -LRB- making the introductions ; referring first to Gondorff. -RRB- Mr. Shaw is a bookmaker from Chicago. Mr. Shaw, meet Mr. Clayton from Pittsburgh, Mr. Jameson, Chicago, Mr. Lonnegan, New York and Mr. Lombard, Philadelphia. Gondorff nods and takes a seat, none too gracefully. CONDUCTOR Straight poker, gentlemen. 100 dollar minimum, table stakes. We assume you're good for your debts. LONNEGAN -LRB- shuffling the cards. -RRB- Mr. Shaw, we usually require a tie at this table. If you do n't have one, we can get ya one. GONDORFF Yeh, that'd be real nice of ya, Mr. Lonneman. LONNEGAN -LRB- irritated. -RRB- Lonnegan. He begins to deal, obviously not pleased that his evening seems to be peopled with drunks.","EXT. THE SUNKEN ALLEY - NIGHT A truck is now parked at the end of the alley, and several workmen are busy unloading it. One group carries a large blackboard ; others have boxes of glasses, ash tray stands, furniture, etc.. Take several cuts. INSIDE THE ONCE - VACANT POOL HALL Now a blaze of activity. We take several cuts of workmen papering the walls, tacking down carpet, putting in new light fixtures, painting signs, all under the supervision of Niles. From now on, we will refer to the pool hall as the store. Back in the office, Kid Twist is `` interviewing'' one by one, a group of con men lined up outside the office door. A gray - haired old buzzard, Curly Jackson, approaches the table which is serving Twist as a desk. Curly is practically in rags and has several days growth on his face. He wears a little beret which he takes off to address Twist. CURLY Name's Curly Jackson. I worked for Gad Bryan outa Baltimore. TWIST You ever played the Wire, Curly? CURLY Used to rope for it long ago. I can shill, mark board, anything you want. I do n't run with riffraff and I only drink on weekends. -LRB- affecting an English accent. -RRB- Me specialty is an Englishman. Twist is taken with the man, despite his appearance. TWIST All right, Curly, you're in. We got a rack of suits over there. Get yourself a nice tweed one. CURLY -LRB- exiting. -RRB- That's all right. I got all my own stuff. THE CARD GAME AGAIN Gondorff and Lonnegan have most of the chips. Lonnegan is slightly ahead. Gondorff has made a token attempt to wear the provided tie, having tied it in a knot around his neck, but not having bothered to put it under his collar. He has a shot glass and a bottle next to him, from which he has been drinking heavily. He and Lonnegan are the only ones left in this hand. LONNEGAN -LRB- throwing chips in. -RRB- Raise 500. GONDORFF -LRB- likewise. -RRB- See ya and raise three. LONNEGAN -LRB- more chips. -RRB- See and raise five. GONDORFF Five and call. Lonnegan lays down his hand, a solid two pair. Gondoroff turns out three tens. Lonnegan is beat. GONDORFF Tough luck, Lonnihan, but that's what you get for playin' with your head up your ass. Couple more like that and we can all go to bed early, huh boys. Lonnegan burns, and the `` boys'' have no comment.","INT. THE STORE - NIGHT The work is still progressing. We see two workmen installing a ticket tape machine in a secluded area of the store. GARFIELD We bought ya a tap into Moe Anenberg's wire. He's got eyes at every track in the country. You'll get race results, odds, scratches, pole positions, everything ; and just as fast as Western Union gets'em. NILES Does J.J. know how to use this thing? GARFIELD All he's got ta do is read. We go to Kid Twist, still conducting interviews in the office. A young, rather sullen man, Buck Duff, steps to the table. DUFF Buck Duff. I was in Maxwell's boost in Troy. TWIST You the Duff that did n't come up with his end when Little Jeff was sent up? DUFF Was n't no problem a mine. TWIST He was a con man, was n't he? DUFF He was a tear - off rat. He got what he deserved. No sense helpin' pay his bills. TWIST -LRB- like ice. -RRB- Shove off, Duff. Duff stands there a second and then slouches away from the table. He stops however, by the door. The next man up is the Eirie Kid. Twist knows he's seen him somewhere before. EIRIE KID -LRB- nervous as hell. -RRB- Names's Joe Eirie. Twist waits for more, but it's not coming. TWIST You played for any particular mobs? EIRIE KID No. TWIST You know the Wire at all? EIRIE KID No. I never played no Big Con before. But Luther Coleman was a friend a mine. I thought maybe there was something I could do. TWIST -LRB- pointing to Eirie slightly swollen nose. -RRB- You get that nose in Duke Boudreau's tonight? Eirie nods a reluctant `` yes.'' TWIST You got moxie, Eirie. Get yourself a suit. Eirie is so happy, he can barely blurt out a thank you. Buck Duff, enraged that Twist would hire a total amateur, turns in disgust and strides vengefully out of the store. THE CARD GAME AGAIN The room is dense with smoke now, and the players are feeling the heat. Gondorff has his white shirt open, revealing a stained T - shirt underneath. The bottle next to him is almost empty. He sneezes and wipes his nose with the tie Lonnegan gave him. The chips are now about equally divided between Gondorff and Lonnegan. The others are losing badly. GONDORFF Raise 300. LONNEGAN Pass. JAMESON -LRB- throwing in his last few chips. -RRB- Raise 200. GONDORFF Two and call. Jameson lays down two pair. Gondorff has a flush. Gondorff rakes in the chips, which now put him ahead of Lonnegan. JAMESON Well, I'm out. GONDORFF Do n't worry about it, pal. Lemongan here would n'ta let you in the game if you were n't a chump. LONNEGAN -LRB- getting to his feet. -RRB- I've had enough of your lip, Shaw. Gondorff grabs the whiskey bottle next to him, breaks it against the table and waves the jagged end in Lonnegan's face. GONDORFF -LRB- barely able to stand up. -RRB- Just take it easy there, Larrabee. Jameson and the conductor step in between. JAMESON Let's take a break for a couple minutes and cool off. Lonnegan storms out of the room, followed by Floyd and Bodyguard.","INT. SMOKING ROOM We pick up Lonnegan coming down the passageway to enter the smoking room. LONNEGAN -LRB- to his assistant. -RRB- I've had it with that bum, Floyd. Stack me a cooler. FLOYD -LRB- trying to settle him down. -RRB- You've only been playin three hours, Doyle. LONNEGAN -LRB- not to be pacified. -RRB- I do n't care. Load me a deck. Set it up for threes and nines. I'll cut it in on his deal. FLOYD -LRB- taking a deck and beginning to sort it. -RRB- What do ya want the others to get? LONNEGAN Nothin'. They got ta be outa there early. I'm gon na bust that bastard in one play.","INT. THE POKER ROOM AGAIN - NIGHT A pair of hands shuffling. We pull back to reveal that they're Gondorff's. He passes the deck to Lonnegan to be cut and turns to pen a new whiskey bottle. Lonnegan takes the deck and in one lightning motion substitutes a new deck, while making it look like he's cutting the old one. Gondorff picks up the deck and begins to deal. As the hand is picked up, we see that Gondorff has four threes, Lonnegan four nines, and everybody else has nothing. CLAYTON -LRB- opening the bidding. -RRB- Fold. LONNEGAN 250. GONDORFF Raise 1,000. LONNEGAN Raise 500. Gondorff looks at Lonnegan very carefully for a second. Lonnegan meets his stare. GONDORFF -LRB- slowly. -RRB- Raise 2,000. The spectators shift a little. It's the biggest bet of the night. LONNEGAN See and raise 1,000. GONDORFF -LRB- taking it to him. -RRB- Raise 5,000. Lonnegan fingers his remaining chips. He knows he's won, but he wants to bleed it for every bit of suspense. LONNEGAN -LRB- going for broke. -RRB- See, and raise the rest. Lonnegan pushes in the rest of his chips. Gondorff, who is only required to match Lonnegan's total, throws in all his too. It's a showdown. GONDORFF Call. Lonnegan puts down his four nines. Gondorff just stares at them a second, lets out a deep sigh and lays down four jacks. Lonnegan is aghast. This just ca n't be. He glances at Floyd, who can do nothing but sit there with his mouth open. GONDORFF -LRB- raking in the chips. -RRB- Well that's all for me tonight, boys. I'm gon na leave ya some cab fare. The other players look at each other in disgust, and reach for their wallets, all of which are well stocked. GONDORFF -LRB- to Lonnegan. -RRB- You owe me 15 grand, pal. Lonnegan, with a stare that could kill, reaches for his wallet. Suddenly the stare goes soft. He tries a few more pockets. No soap. LONNEGAN -LRB- getting up to get it. -RRB- I guess I left it in my room. GONDORFF -LRB- blowing up. -RRB- What! Do n't give me that crap you little weenie. How do I know you ai n't gon na take a powder. -LRB- waving his wallter, which is full of Lonnegan's money. -RRB- You come to a game like this, you bring your money. Lonnegan, having had all he can take, goes for Gondorff, but is restrained by the conductor. GONDORFF All right, buddy, I'm gon na send a boy by your room in five minutes, and you better have that jack, or it's gon na be all over Chicago that your name ai n't worth a dime. Gondorff stalks out of the room. We pick him up coming down the passageway to his compartment.","INT. GONDORFF'S COMPARTMENT The drunkenness has vanished. We follow him into his cabin, where Hooker is waiting anxiously. HOOKER How'd ya do? GONDORFF -LRB- modestly. -RRB- Well we got some workin' money anyway. Gondorff tosses his winnings on the table. GONDORFF -LRB- big smile. -RRB- Okay, kid, you're on. But I got ta tell ya, its a hard act to follow.","INT. LONNEGAN'S CABIN - NIGHT Lonnegan sits in a chair smoking, obviously still upset. Floyd paces in front of him. FLOYD I know I give him four threes. We ca n't let him get away with that. LONNEGAN What am I supposed to do? Call him for cheating better than me? There's a knock at the door. Floyd goes and opens it. It's Hooker. HOOKER My name's Carver. Mr. Shaw sent me. Floyd motions him in without a word. LONNEGAN Your boss is quite a card player, Carver. How does he do it? HOOKER -LRB- very matter - of - factly. -RRB- He cheats. Lonnegan says nothing. He does n't like smart asses. He looks Hooker over a second, as if considering whether to have him wasted or not. LONNEGAN -LRB- reaching into his coat pocket. -RRB- He'll have to take a check. -LRB- pulling out a check. -RRB- I could n't find my wallet. HOOKER Yeh, he knows that. LONNEGAN -LRB- startled. -RRB- What do you mean? HOOKER -LRB- pulling out Lonnegan's wallet and tossing it to him. -RRB- He hired a dame to take it from ya. Lonnegan just holds the wallet. He ca n't believe it. HOOKER You were set up, Lonnegan. Shaw's been planning to beat your game for months. He was just waiting for you to cheat him so he could clip ya. LONNEGAN -LRB- the heat rising. -RRB- I could have you put under this train for this, errand boy. HOOKER -LRB- cool as hell. -RRB- So could Shaw. LONNEGAN Then why the rat? HOOKER Cause I'm tired of bein' his nigger. -LRB- pause. -RRB- I want you to help me break him. Lonnegan looks at Hooker long and hard, as if the intensity of his gaze could separate truth from fiction. Lonnegan had n't expected this, but now that it's here, it better be on the level. The silence is suddenly broken by the noise of the train braking into the station. LONNEGAN -LRB- to Hooker. -RRB- C'mon, I'll give ya a lift home. Hooker hesitates, not sure whether to accept or not. LONNEGAN What's the matter? You got ta get back to Shaw? HOOKER Naw, he picked up some jane in the bar. Ca n't see him till morning anyway. LONNEGAN All right, then.","INT. LONNEGAN'S CAR - NIGHT Driving through the city, the driver and Floyd in front, Hooker and Lonnegan in back. Hooker glances out the window from time to time, just to make sure they're really going to his place. LONNEGAN Why me? Shaw probably has lotsa enemies to choose from. HOOKER I need somebody respectable. but not completely legit. What I'm gon na do is n't very legal. LONNEGAN -LRB- insulted. -RRB- I'm a banker, friend. That's legit in this state. HOOKER All you got ta do is place a bet for me at Shaw's place. I'll supply all the money and the information. Lonnegan is listening, but you'd never know it. HOOKER If you help me out, I'll pay ya back the money you owe Shaw, myself. LONNEGAN That's worth fifteen grand to ya? HOOKER Maybe a couple million. We go to Lonnegan. He's still not talking, but that last phrase has registered.","EXT. HOOKER'S PLACE The car pulls up in front of Hooker's place. LONNEGAN You're dreamin', kid. HOOKER -LRB- getting out. -RRB- 660 Marshall Street. Tomorrow at 12:30, if you're interested. LONNEGAN -LRB- diffidently. -RRB- If I'm not there by quarter of, I'm not coming. Hooker nods and walks up the steps to his apartment building. Lonnegan's car speeds away from the curb and on out of sight. Hooker breathes a sigh of relief. He's passed his first test ; or has he? We follow him up the stairs to his room.","INT. HOOKER'S APARTMENT He's just about to unlock the door, when he notices the little piece of paper he left in the door is on the floor. Without the slightest hesitation, Hooker leaps over the bannister and races back down the stairs. Two gunmen, Riley and Cole, burst out of his room and fire at him over the railing, but he's already too far down. Riley and Cole give chase. THE FRONT OF THE BUILDING Riley and Cole barrel out of the building and onto the sidewalk. There is an empty bus stopped at a light, but they find no sign of Hooker. As the light changes, we cut to the other side of the bus, where we see Hooker crouched on the rear wheel housing, hanging on to a vent. He's a little shaken, but most of all, he's still alive. We hold on him, as the bus moves off. GONDORFF -LRB- V.O. -RRB- Everything go all right? HOOKER -LRB- V.O. -RRB- -LRB- lying. -RRB- Yeh, it was easy.","INT. THE STORE - NIGHT Hooker and Gondorff are sitting alone in the back office while the work goes on outside. Their conversation continues. GONDORFF No signs of trouble? HOOKER What do ya mean? GONDORFF You know, somebody tailin' ya. A torpedo or somethin'. HOOKER -LRB- wanting to get off the subject. -RRB- No, not a thing. Gondorff has his doubts, but lets them ride. OTHER PARTS OF THE STORE We concentrate on some of the fine details, i.e. Garfield explaining how the ticker will read out to Singleton and Billie ; Curly Jackson showing a younger con man how to mark the odds board properly. GONDORFF -LRB- V.O. -RRB- How ` bout Lonnegan? HOOKER -LRB- V.O. -RRB- I gave him the breakdown just like ya told me to. GONDORFF -LRB- V.O. -RRB- And? HOOKER -LRB- V.O. -RRB- He threatened to kill me. GONDORFF -LRB- V.O. -RRB- Hell, they do n't do that and you know you're not gettin' through to'em. We concentrate on Niles, who's making up the `` boodles'' or fake bankrollls. He puts a real $ 100 bill on the bottom, then two inches of cut green paper on top, and then another $ 100 bill on top of that, so that it looks like he has a whole stack of $ 100 bills. The bundle is then bound with a sealed label, like those used in banks, that says $ 10,000. We see that he has already made several of these bundles. HOOKER -LRB- V.O. -RRB- Then he drove me home. He tried to put himself away as legit, so I went right into the pitch. GONDORFF -LRB- V.O. -RRB- Did he hold you up on anything? HOOKER -LRB- V.O. -RRB- Naw, he just sat there and listened. I do n't know if he bought it or not.","INT. THE STORE Twist in the middle of the room giving a route to the Eirie Kid. He shows him where to get his drink at the bar, where to sit and finally how to leap up and throw his racing form down in disgust. GONDORFF -LRB- V.O. -RRB- That's all right. Once they start listening, they're in trouble. Just do n't give him more than he asks for. If you rattle his imagination a little, he'll come up with all the right answers himself. But all he's got ta do is catch you in one lie and you're dead. HOOKER AND GONDORFF IN THE STORE OFFICE AGAIN They both look tired. HOOKER You think he'll show? GONDORFF Did he say he would n't? HOOKER No. GONDORFF -LRB- softly. -RRB- He'll show. FADE OUT. THE TALE FADE OUT. WE OPEN ON A WIDE SHOT OF THE ALLEY OUTSIDE THE STORE At first it appears to be deserted, but we move to reveal a figure in an upper window of the apartment building which forms one side of the alley. It's Kid Twist. His eyes roam the street, for what, we do not yet know.","INT. AN OLD DRUGSTORE ACROSS FROM THE ALLEY - DAY Probably prosperous at one time, it has since declined, its large fountain and eating area bow host to two bums and Hooker, who sits alone in a rear booth near the telephone. Dressed in a tuxedo, he nurses a cup of coffee, and anxiously alternates his glances between the clock and the empty street outside. It's 12:52.","INT. THE STORE - DAY The place is full of people, although we avoid long shot so as not to give away the room as a whole yet. Instead, we concentrate on the tense, waiting faces of some of the more familiar people : Gondorff and Niles in tuxedos behind a barred cashier's area. Gondorff mutilates a piece of gum in his mouth. Niles just stares out into space cracking his knuckles. GONDORFF Eddie, cut that out, will ya. The boardmarker walking nervously back and forth in front of his odds board, checking every letter and number. He stops to cross a T on one of the horses' names. It was already crossed, but he does it again anyway. Billie and Singleton, in an area hidden from the rest of the room, watching the print - out on the ticker machine. The clicking of the ticker is the only sound we hear in the store. Curly Jackson in front of a mirror, pasting a fake Van Dyke on his chin to go with his tweed suit and monocle. A couple of Billie's girls adjusting their waitress outfits and primping their hair. Each has a tray full of drinks beside her. The Eirie Kid silently retracing his `` route'' to make sure he has it down. Despite the crowd, there is no talking and little movement, save for the constant swirling of smoke from several cigars and cigarettes. The group is like a theatre company waiting to go on opening night. THE DRUGSTORE AGAIN It's 12:56 and Hooker is worried. He looks up to see two large men, obviously racket goons, come in the front door, and take a seat facing him in the next booth. They stare at him impassively, waving the waitress away when she comes to take their order. Hooker knows they're Lonnegan's men, but is somewhat unsettled by the fact that Lonnegan is not with them. Suddenly, a voice. VOICE Carver? Hooker turns around to find that Lonnegan is seated in the booth directly behind him. His bodyguard is in the one behind that. LONNEGAN You should always look to the back too, kid. HOOKER -LRB- sliding out of his booth and into Lonnegan's. -RRB- I was afraid you were n't gon na come. We have n't got much time. LONNEGAN -LRB- curtly. -RRB- Get on with it then. HOOKER -LRB- pointing to telephone. -RRB- Sometime after 1:00 a guy's gon na call here and give you the name of a horse. -LRB- pulling out a wad of bills. -RRB- All you do is take this two grand across the street to Shaw's place and bet it on that pony. There's nothin' to it, but do n't take too much time. We only have 3 or 4 minutes after you get the call. LONNEGAN You're not gon na break him with a $ 2,000 bet. HOOKER This is just a test. The big one comes later. Be careful with that though, it's all I got. LONNEGAN And you were gon na pay me back? HOOKER I am after this race. Lonnegan says nothing. He's not sure he likes a man who's stupid enough to bet his last dollar on a horse race. HOOKER I got ta get back before Shaw misses me. Good luck.","EXT. STREET Hooker hustles out across the street and into the alley.","INT. DRUGSTORE Lonnegan watches him through the window and then settles back in his seat to wait for the phone. OUTSIDE STORE As Hooker descends the stairwell into the store, he gives Kid Twist the office. Twist turns away from the window and looks at his watch. 12:58. DRUGSTORE Lonnegan waiting by the phone, idly pinging a knife on the salt shaker. It's 1:40. A man enters the store and walks over to use the phone. LONNEGAN We're waitin' for a call. The man looks at Lonnegan a second, and then at his four goons. He decides maybe he'll make the call later.","INT. THE STORE Kid Twist again. Billie enters the room with a piece of paper. Kid Twist looks at it a second and then picks up the pohne and begins to dial.","INT. DRUGSTORE Lonnegan again. He's getting impatient now and lights a cigarette, and then the phone rings. He answers it quickly and we hear : TWIST Bluenote at 6 to 1 on the nose. The receiver clicks down at the other end. Lonnegan hangs up and goes out the door, followed by his entourage.","EXT. STREET We follow him across the street and into the alley, where he signals one of the bodyguards to check the place out. Kid Twist pushes a button on his window sill, and a buzzer goes off inside the store. The previously inert figures there spring to life. Lonnegan's bodyguard descends the stairwell and knocks at the door, where he is greeted by Hooker in the capacity of host. He looks the place over and motions an okay to Lonnegan.","INT. THE STORE As Lonnegan enters, we see the room for the first time in its entirety. Overnight it has been transformed into a swank private club, with bar, cigarette girls, upholstered furniture and chandeliers. SINGLETON Look at that. He's got four apes with him. GONDORFF That's what I like about these guys, J.J. They always got protection against things we'd never do to'em. Everywhere there is activity. A bank of telephones buzzes incessantly. Sheet writers scurry from phone to phone, taking bets of tremendous size from prominent people. SHEET WRITER Yes, Mr. Ruth, 20,000 on Dancing Cloud. We reveal that the phones are controlled by a master switch, which one of the recruited con men operates from behind a partition. The boardmaker, wearing headphones suspended from a sliding wire, hurriedly chalks up races and odds on a huge blackboard. From the loudspeakers we hear the words `` last flash.'' The odds on Bluenote settle down to 8 to 1. Lonnegan makes his way through the throng toward the betting line. His bodyguards fan out to various positions in the room. The betting crowd itself -LRB- known as the `` boost'' -RRB- consists of close to twenty people, none of whom, of course are what they're pretending to be. There are brokers with pasty faces, sportsmen, tanned and casual, and financiers with goatees and highly tailored clothes. Large amounts of money are changing hands at the betting window. Boodles are in sight everywhere. Lonnegan slips into the betting line, feeling somewhat estranged from the general merriment around him. There are two men in line ahead of him. The first, Curly Jackson, slaps down several bundles of cash in front of Niles, who's the cashier, and places a $ 20,000 bet on War Eagle. Gondorff appears at the cashier's window and catches sight of Lonnegan. GONDORFF Never get enough, huh pal? I'd think you'd get tired of losin', Honnigan. LONNEGAN -LRB- piercingly. -RRB- The name is Lonnegan. GONDORFF -LRB- to Niles. -RRB- Make sure you see cash from this guy, Eddie. He's got the name for bettin' money he do n't have. The man in front of Lonnegan puts $ 5,000 on Dancing Cloud. He makes the bet on credit. Lonnegan steps to the window. LONNEGAN Two - thousand on Bluenote. NILES -LRB- writing out a ticket. -RRB- Is that all? LONNEGAN -LRB- pissed. -RRB- That's all. Bluenote's race is now up on the board. The race caller comes on the loudspeaker. CALLER Ladies and Gentlemen. This is Arnold Rowe, your caller for the second race at Belmont in New York. A mile and 1/8. Four year olds and up. And they're off! We see that the caller is Singleton, and that he's calling the race from a concealed booth next to the cashier's cage. CALLER Around the first turn it's a War Eagle first by a length, Jail Bate second by one and a half, Dancing Cloud third by a half on the outside, followed by Lucky Lady, Mojo, Wits' End and Bluenote. Lonnegan goes to the bar, orders a drink, and settles down at one of the tables. It happens to be the one the Eirie Kid is at. Gondorff and Niles watch it from the cashier's cage. GONDORFF -LRB- worried. -RRB- That's not where we want him to sit. Eirie tries to ignore Lonnegan at first, but realizes he better make some conversation. EIRIE KID C'mon War Eagle. -LRB- to Lonnegan. -RRB- That Dancing Cloud's a hell of a finisher. War Eagle's gon na have to open up a little more on'em. LONNEGAN You know anything about a horse named Bluenote? EIRIE KID Naw, he's never done much. Probably in here just to round out the field. War Eagle's where you wan na have your money. Eirie excuses himself and heads for the bar. CALLER Into the clubhouse turn, it's War Eagle by two lengths, Dancing Cloud has moved up to second by a half, Lucky Lady is third by three followed by Jail Bait, Mojo, Bluenote and Wits' End. The heretofore chaotic energy of the parlor is now focused on the race. Several of the patrons begin to yell for their horses. Lonnegan remains seated. He seems bored with it all. Hooker comes over to clear some empty glasses from his table. LONNEGAN -LRB- out of the corner of his mouth. -RRB- You really picked a winner, kid. HOOKER Give'em a little time. CALLER Into the backstretch it's War Eagle still by a length, Dancing Cloud closing on the inside, is second by two, Lucky Lady is third by one and a half, followed by Bluenote, Jail Bait, Wits' End and Mojo. Lonnegan perks up just a little. Bluenote, at least, has moved up. The rest of the people in the place are really rooting now. Few of them remain seated. Hooker arrives at the bar, with the glasses he cleared from Lonnegan's table. Eirie is already there, fortifying himself with a scotch. HOOKER You're doin' great, Eirie. He loves ya. Eirie nods, somewhat unconvinced, and heads bak to the table. CALLER Into the far turn, it's Dancing Cloud now by half a length, War Eagle is second by two, Bluenote is third by a half and moving fast on the outside. Lucky Lady is fourth by four lengths, followed by Jail Bait, Wits' End and Mojo. Lonnegan is getting more intent now. CALLER Coming down the stretch, it's Dancing Cloud by one length, War Eagle and Bluenote are neck and neck by two. Now it's Dancing Cloud, Bluenote and War Eagle. -LRB- shouting now. -RRB- Dancing Cloud and Bluenote head to head. The place is going crazy. Even Singleton is standing up to get the necessary excitement in his voice. CALLER Dancing Cloud, Bluenote. Dancing Cloud, Bluenote. It's Bluenote by a nose. Dancing Cloud is second by two, War Eagle third by three and a half. Time for a mile and 1/8, 2:01 and 6/10 seconds. Most of the patrons collapse into their chairs like spent lovers. Eirie slams his racing form to the floor. Nobody had Bluenote. CURLY -LRB- tearing up his ticket. -RRB- Bloody awful. Who in blazes is Bluenote? LONNEGAN -LRB- to Eirie, very self - satisfied. -RRB- War Eagle's where you want to have your money, huh? Eirie does n't reply. He ca n't believe Bluenote won. Lonnegan looks to Hooker. Hooker gives him a wink. For the first time, Lonnegan permits a smile. LONNEGAN AT THE CASHIER'S WINDOW Niles is counting out $ 16,000 to him -LRB- all of which Gondorff won the night before -RRB-. Gondorff looks somewhat perturbed. Lonnegan picks up the money and tauntingly waves it at him. GONDORFF -LRB- getting his name right this time. -RRB- Do n't bother to come back with a piker's bet like that again, Lonnegan. We got a $ 5,000 minimum here. -LRB- to Hooker. -RRB- Show this bum out. Hooker hesitates a second. GONDORFF Go on, ya goddamn ninny. Gondorff gives Hooker a hard shove in the back with his foot, sending him into a table and sprawling to the floor. GONDORFF -LRB- indicating Lonnegan's bodyguards. -RRB- And tell him not to bring his garbage men in here no more. This is a class joint. Hooker, pretending to be humiliated, gets to his feet and escorts Lonnegan to the door. Lonnegan stops, gives Gondorff a derisive smile, and walks out. Once he's gone, the general clatter and hubbub in the room cease, like it had been turned off by a faucet. Most of the boost sit down and relax. Curly Jackson rips off his Van Dyke. It's been itching him. GONDORFF He's gaffed, kid. He should start coming to you now.","INT. COMB'S OFFICE AT THE CLEARINGHOUSE - DAY Combs sits passively on the edge of his desk glancing across the room every now and then at Riley, who is slumped uneasily in a folding chair, looking like a defendant at the Inquisition. Both remain silent, like two men in a waiting room. Suddenly, what they've been waiting for arrives. Lonnegan comes into the office, flanked by his bodyguards. Skipping the usual pleasantries, he walks right over to Riley. LONNEGAN All right, Riley. What the hell happened? RILEY -LRB- not looking at him. -RRB- We missed him. LONNEGAN You were n't hired to miss him. RILEY There was n't any way he coulda known we was in there. We made a clean pick on the lock and did n't leave no footprints in the hall. Somebody musta wised him up. LONNEGAN Yeh, and what does Cole say about that? RILEY I do n't know. He took it hard. LONNEGAN All right, get outa here. You're outta work. Riley gets up and drags himself out the door like a whipped dog. LONNEGAN We'll put Salino on it. I need somebody careful. COMBS Salino? Why waste our best people on a small - time job like this? It ai n't no heavy gee we're after. The guy's a five and dime grifter. LONNEGAN Then why ai n't he dead? COMBS They did n't think he'd be so cagey, that's all. They'll get him next time. LONNEGAN Use Salino. It'll take a little longer, but there wo n't be any holes in it. Combs gives up. The second time's the charm. LONNEGAN And tell Cole I wanta see him when he gets in. COMBS He's not comin' in. Not to get bounced off a job anyway. LONNEGAN He had his chance and all he did was shoot up a rooming house. Made a lotte noise and woke up a few cops, but did n't hit nothin'. Combs keeps his mouth shut. There's no way to talk to Lonnegan when he's like this. LONNEGAN -LRB- cooling a little. -RRB- This is Salino's job now, Vince. If Cole wants to muscle in on it, that's his business. But he's breakin' the rules and when Salino finds out about it, I ca n't feel sorry for what's gon na happen to him.","INT. LONNEGAN'S HOTEL - DAY The finest the period had to offer. We pick up Hooker coming down the hall to Lonnegan's suite. He is admitted by the Bodyguard. Lonnegan, wearing a smoking jacket, is seated at a table counting a pile of money. There are two other assistants standing behind him. They do n't look friendly. HOOKER Well, what did I tell ya? LONNEGAN You're a lucky man, all right. HOOKER Lucky, hell. I could do it every day. LONNEGAN Why do n't ya then. HOOKER'Cause it's better to do it all at once. -LRB- leaning close. -RRB- We're puttin' down 400 grand next week. At 5 - 1 we make 2 million. Twenty per cent of that is yours if ya stick with us. LONNEGAN You got a system, Carver? HOOKER You stayin' in or not? LONNEGAN I'm in. HOOKER -LRB- drawing up a chair, barely able to contain his enthusiasm. -RRB- It's foolproof. We got a partner downtown runs the central office of the Western Union. Race results from all over the country come in there and go right across his desk on their way to the bookies. All he does in hold them up a couple minutes until he can call us and get a bet down on the winner. Then he releases the results to the bookies and we clean up on a race that's already been run. It ca n't miss, unless the Western Union Dicks get onto it. Lonnegan is amazed. He sits back a second, then comes forward again and pushes a pile of bills over to Hooker. Hooker smiles and begins to count the money. LONNEGAN You got the 400 grand yet? HOOKER Not yet, but. -LRB- stopping suddenly. -RRB- Hey, there's only a grand here. LONNEGAN -LRB- more like a command. -RRB- I think we oughta place another bet tomorrow. HOOKER -LRB- getting angry. -RRB- What is this? That's my money. You tryin' to muscle me? LONNEGAN -LRB- controlled. -RRB- If your system's as foolproof as you say, you'll get even more. Hooker's in a jam and he knows it. HOOKER -LRB- after a pause. -RRB- I got ta talk to me partner first. We ca n't afford to expose our game too much. LONNEGAN Let me talk to him. HOOKER -LRB- flatly. -RRB- No. LONNEGAN You want your money back? Try and get it in a court of law. -LRB- softening a bit. -RRB- C'mon, do n't be a sorehead. I'll make it worth your while. Migth even help ya finance the big play if this one works out. Hooker says nothing for a minute, and then reluctantly nods his head. HOOKER Four o'clock tomorrow. Pick me up at Dewey Lyle's.","EXT. LONNEGAN'S HOTEL - DAY We pick up Hooker coming out of the hotel and going off down the street. As he does so, we pull back all the way across the street and through the interior of a parked car to reveal the silhouette of a man seated at the wheel. We move to his right hand, which rests on the steering column. It's covered by a black glove and the middle finger is missing. His trigger finger, however, taps lightly on the wheel.","INT. AN INDOOR TELEPHONE BOOTH - DAY One of the old, wooden kind - accordian doors with glass panes in the upper half. Hooker dials rapidly. HOOKER Twist? I told him the tale. He wants to see ya. TWIST All right, when? HOOKER Tomorrow, after 4:00. Stay inside, I'll come in and get ya. And be hard on him for a while ; he's talking money. TWIST Okay, Tootsie. Hooker blows a mock kiss through the phone and hangs up. He turns to leave the booth, when suddenly he sees something that stops him cold. There looking through the glass is the smirking face of Detective Synder. Hooker is immobilized. Snyder puts his hand inside his coat and slowly draws out his gun. He points it right at Hooker's face and then violently smashes all the glass in the upper half of the door with the barrel. Fragments of glass spray into the booth, a couple of which imbed themselves in Hooker's cheek. Hooker quickly whips open the door, trapping Snyder's hand in the accordian and jarring loose his gun. Hooker sprints out of the booth as Snyder scrambles for his pistol and gives pursuit.","EXT. ALLEYS AND SIDESTREETS - NIGHT - THE TWO MEN We follow the two men up alleys and sidestreets as they race through the dregs of the city, two panting shadows moving through places that only get light at night. The wind blows drops of blood off Hooker's cheek as he runs. Snyder still has his gun, but would rather inflict pain than death. CONDEMNED BUILDING Hooker makes for a condemned building and scrambles up the stairs, steps giving way under him as he goes.","INT. BUILDING On the fourth floor, he ducks into a room and quickly locks the door. We pan the room to reveal that the whole back side of the building is gone. Hooker runs toward the ledge and leaps through the air, landing on the fire escape of an adjacent building, some 15 feet away. He kicks in a window and goes off down the hall. We cut back to Snyder furiously kicking in the locked door. He finally crashes through, only to find an empty room and a beautiful panorama of the city and its nearest Hooverville. LONG SHOT - HOOKER Winding his way through the slum area of town, dashing along backstreets, over fences and through vacant lots, making good his escape. From our angle, he looks like a rat in a maze. GONDORFF -LRB- V.O. -RRB- Why did n't you tell me about Snyder before? HOOKER -LRB- V.O. -RRB- I thought I'd lost him.","INT. GONDORFF'S ROOM AT THE CAROUSEL BUILDING - DAY Hooker sits sullenly at the table. Billie stands over him putting some ointment on his face to close the cuts. Gondorff looks on. Their discussion continues. GONDORFF Well you found him again and we're gon na have to do somethin' about it. What else have n't ya been tellin' me? HOOKER Nothin'. I told ya everything there is. GONDORFF Then why'd ya move outa your room? HOOKER It was too noisy. GONDORFF You ca n't play your friends like marks, Hooker. Hooker does n't reply. He knows Gondorff's on to him. GONDORFF You know how easy it'd be for one of Lonnegan's guys to nail you? HOOKER All we need is a couple days, Henry. A couple days and we'll get Lonnegan down and stomp on'em. GONDORFF You just wo n't learn, will ya. Hell, you come in here, I teach you stuff maybe five guys in this world know, stuff most grifters could n't do even if they knew it, and all you wan na do is run down a bullet. -LRB- pause. -RRB- You're just like all them new jerks. Lotsa nerve and no brains. And ten years from now when me and the others are through and you dumb guys are all dead there wo n't be one gee left who knows the Big Con was anything more than a way to make a livin'. HOOKER A couple days ; that's all I'm askin'. I can stay clear that long. GONDORFF -LRB- trying to be angry and failing. -RRB- Christ, they'll probably miss you and hit me. FADE OUT. THE WIRE FADE OUT.","INT. A SLEEPY DINER - LATE AFTERNOON Located across the street from Hooker's apartment building. Hooker sits down alone in a booth, with a plate of ham and eggs he's hardly touched. The two cuts on his face have pretty much stopped bleeding. A big fan above the counter area drones away lethargically, it's air stream insufficient to either cool the place or drive out the smell of onions and grease. A waitress, Loretta, emerges from the kitchen and ambles slowly over to Hooker's table. Slim and raven - haired, she manifests an indifference bred from years spent delivering things to people who are rarely grateful for what she brings. Only a light scar on her left cheek hints at another side. LORETTA You done? HOOKER Yeh, I guess I shoulda had the meat loaf. LORETTA -LRB- deadpan. -RRB- It is n't any better. HOOKER Where's June today? LORETTA -LRB- figuring up the bill. -RRB- She do n't work here no more. I'm fillin' in for a couple days. till I can get a train outa here. HOOKER Where you goin'? LORETTA -LRB- putting the check down and walking away. -RRB- I do n't know. Depends what train I get on. Hooker looks for some sign that she's putting him on. He does n't get it. He takes out some money, drops it on the table and walks out.","EXT. A WESTERN UNION OFFICE - LATE AFTERNOON A truck with the words CLAYTON BROS., CUSTOM PAINTING AND DECORATING stenciled on the side, is parked out front. Two men, wearing overalls and painter's caps, walk into the office to the reception counter, we see that they are Twist and Singleton. TWIST -LRB- to the receptionist. -RRB- Excuse me. We're here to paint Mr. Harmon's office. RECEPTIONIST -LRB- obviously not expecting them. -RRB- Mr. Harmon's office? Hold on just a second. She goes to get Mr. Harmon.","EXT. THE SLEEZY DINER - LATE AFTERNOON Hooker is standing on the curb outside the diner, obviously waiting for somebody. Lonnegan's car pulls up and Hooker hops in the back. LONNEGAN What happened to your face? HOOKER Had a little fight with a raggle down on 13th. She got me with her ring. Lonnegan laughs.","INT. THE WESTERN UNION OFFICE AGAIN - LATE AFTERNOON Mr. Harmon is looking over the authorization papers that Twist and Singleton have given him. He ca n't find anything wrong with it. HARMON Brigham signed it all right. I ca n't understand why he did n't tell me. SINGLETON Ah, he's like all them supervisors. They think they're too good for regular people. He says he was in here a while ago and the place was a mess. Harmon looks around, hoping it's not true. TWIST We'll try and hurry so we do n't keep you out of your office too long. HARMON Why ca n't I work with you in there? SINGLETON Look pal, we got ta cover the floor, the furniture, everything, so we do n't spill on nothing. Now if you wanta sit in there with a tarp over your head, you're welcome to it. HARMON All right, how long will you be? TWIST Hour or two at the most. We do good work. Harmon is resigned. Twist and Singleton pick up their gear and march into the office. Once inside, we notice that the office has an exit door which opens to an outside alley. Twist immediately removes his overalls, revealing the suit and tie he's wearing underneath. He takes out a picture of himself, a woman and three small children, and puts it on Harmon's desk, replacing a similiar picture of Harmon's family. Singleton, meanwhile, has spread a few tarps and begins to paint the walls.","EXT. THE WESTERN UNION OFFICE - LATE AFTERNOON Lonnegan's car pulls up and stops across the street. HOOKER We'll go to the side door. We follow Hooker and Lonnegan across the street to the side entrance which opens into :","INT. HARMON'S OFFICE Hooker knocks and Twist, of course, answers. HOOKER Les, I got Mr. Lonnegan with me. He wants to see you a second. TWIST -LRB- irritated. -RRB- What the hell's the matter with you. We coulda met at a club or somethin'. HOOKER I thought it might be good for him to see the setup. TWIST -LRB- hushed. -RRB- Well we ca n't talk in here. They're having the place painted. Twist walks over to the intercom on his desk. He leaves the door open so that Lonnegan can get a good look at the office, Twist's picture in it, the painter, etc. Lonnegan's not missing any of it. TWIST -LRB- talking into the intercom. -RRB- Miss Barnes, I'm going home a little early today. Tell anyone that calls that they can reach me here in the morning. Thank you.","INT. FRONT OFFICE Harmon's secretary at the other end of the intercom. Mr. Harmon is with her. They look at each other a second and Harmon decides he better see what's happening in his office. He opens the door to find it empty except for a pile of painting equipment and one haphazardly painted wall.","INT. A DILAPIDATED CHINESE RESTAURANT - EVENING Dark and somewhat foreboding, its peeling dragons and shoddy lanterns compete for space with the many slot machines and arcade games that line the walls. Hooker, Lonnegan and Twist sit at one of the more secluded tables. They are not eating. TWIST Ca n't do it. There're telegraph inspectors all over the place. I got 750 grand coming in from the coast, and I'm not gon na blow it for a lousy 14 gees. We'll get somebody else to do our betting. LONNEGAN I could come up with 750 grand in a day if I had a reason to. TWIST But who says you will. I got a guy I can depend on. He's liquidating everything he has for this. You would n't even give Carver his money back. LONNEGAN I need more proof, that's all. Anybody can get lucky once. TWIST -LRB- stubbornly. -RRB- On a 6 - 1 shot? The hell with ya. We'll keep the deal we got. LONNEGAN If it works again tomorrow, I'll have a half million in cash here by noon the next day. We split 60 - 40. TWIST -LRB- feebly, beginning to break. -RRB- We were getting 50 from our guy. LONNEGAN With 20 % coming off the top for me laying your bet. Either way you end up with 40. Twist hesitates. LONNEGAN A week's a long time, friend. Anything can happen. All of it bad. HOOKER He's right, Les. TWIST Yeh, and what if we play tomorrow and he does n't come up with the money. We risk our whole operation for nothing. I'll say when we make our bets. LONNEGAN Not if you want me to keep makin''em for ya. HOOKER And what do we know about your guy. He says a week, but who knows if it's a month? Lonnegan here's a banker. He can get that dough with no questions asked. Twist says nothing for a minute, then : TWIST All right. Be at the booth at 1:00. I'll give you all three places this time, Lonnegan. That better be proof enough. Hooker and Lonnegan smile at each other like life - long friends. They get up to leave, and we frame the shot with a coffee cup large in the foreground. As they go out the door, a black - gloved hand with four fingers enters the frame and puts a nickel down next to the cup. FADE OUT. THE SHUT - OUT FADE OUT.","INT. A DOWNTOWN DINETTE - MORNING Snyder finishes a donut and a cup of coffee, puts down a dime for the lot and exits. We follow him down the street :","EXT. STREET To a corner newsstand, where he stops to buy a morning paper. As he peruses it, he's approached by two large, clean - cut men in white skimmers. MAN Are you Lieutenant William Snyder? SNYDER I do n't know, what's up? MAN F.B.I. The Captain'd like a few words with ya. Ya got a couple minutes? SNYDER -LRB- completely floored. -RRB- Yeh, sure. The two men show him to a waiting car.","INT. AN ABANDONED WAREHOUSE - DAY Snyder stands in the middle of a dusty old machine room, surrounded by four or five Federal Agents. Visible around the room are several folding cots and portable lockers. The agents have obviously been quartered here temporarily. They all wear white skimmers, save for one, a portly man, Captain Polk, who paces the room smoking. There is something long - suffering about him, as if he wondered how he ever got in a service that thought white skimmers were classy. SNYDER What is this? I got work to do. POLK Sit down and shut up, will ya. Try not to live up to all my expectations. -LRB- not in the mood to screw around. -RRB- We were told you know a hustle artist named Johnny Hooker. Snyder does n't answer. POLK Do ya know him or do n't ya? SNYDER Yeh, but I do n't know where he is. POLK Well we do. He's chummin' around with a Big C named Henry Gondorff. Ring any bells? SNYDER Sure. Every bunco man in the country knows Gondorff. POLK There's word he's gon na run a con on the North Side here. We got a year - old Florida warrant on him, but it's a thin beef, and he can beat it in court unless we catch him cold. All we want you to do is pick up Hooker for us. SNYDER Why do n't you pick him up yourself? POLK Cause the stoolies are used to street dicks jumpin' him. If word gets around that Feds are in on it too, Gondorff'll fold up the whole thing. SNYDER Would n't that be too bad. You'd hafta move outa this nice office ya got. POLK -LRB- enraged. -RRB- Do n't crack wise to me, flatfoot. I spent a lotta time in dumps like this, eatin' Gondorff's dust while the bunco squad gets rich tippin' him off. But it's not gon na happen this time. We're not even gon na let the police know we're here. If you keep your mouth shut and do a job, there'll be a promotion in it for ya. And you better take it, cause I can make ya work for us without it. SNYDER What the hell good is Hooker to ya? POLK He's gon na set up Gondorff for us. SNYDER He'll never do it. POLK -LRB- self - satisfied. -RRB- I think he will.","INT. DRUGSTORE - DAY Lonnegan sits by the phone, watching the clock and sipping a cup of coffee.","INT. THE STORE - DAY Specifically, the small room from which Singleton does his race broadcasts. Singleton, himself, is hunched over the ticker machine, reading the print - out. Billie sits at the microphone table with a pencil and pad, ready to write. SINGLETON Visitation is still up by two at the three - quarters. Single Action second, Fasanella third. BILLIE What's the line on Visitation? SINGLETON -LRB- checking further up on the print - out sheet. -RRB- 7 to 2. That ai n't bad. BILLIE He'll probably fall down. Gondorff appears at the doorway. GONDORFF How ya doin'? SINGLETON -LRB- eyes still glued to the ticker. -RRB- Nothin' yet. I got a good one on the lead at Hialeah, but he's fadin'. BILLIE Best we had was Cat's Eye in the second at Del Mar, and he was only 5 - 2. Not many longshots comin' in today. SINGLETON -LRB- excited. -RRB- Billie. You ready? Billie prepares to write on her pad. BILLIE Yeh, go ahead. SINGLETON At the finish, it's Single Action by two, Fasanella second, Visitation third. -LRB- reading up the sheet again. -RRB- Line on Single Action. 3 to 2. Hell with it, that's no good. Billie crumples up the piece of paper she's been writing on and chucks it in a wastecan. GONDORFF We do n't need big odds on this one, J.J. Take anything you get at 3 - 1 or better. Gondorff leaves the room, as Singleton turns back to his vigil at the ticker. SINGLETON -LRB- a little weary. -RRB- Okay, the Fairfield Stakes at Santa Anita. Mile and a quarter for 3 year olds and up. THE FLOOR AREA OF THE STORE Everyone is in his place as before. Today, however, Curly Jackson is playing the part of the aging sport. Well scrubbed and clean shaven, he cuts a dashing figure in his blue blazer and white pants. We go to Gondorff in the cashier's cage. He's talking to Niles, who's busy handing out fake bankrolls to members of the boost. GONDORFF He's gon na hit ya with 20 grand, Eddie. How much cash we got? NILES Not enough to cover a bet that big. GONDORFF Get a couple extra guys in the line, then. We'll give him the shut - out. Niles nods.","INT. DRUGSTORE - DAY Lonnegan is still waiting. He takes the 20 grand out of his coat pocket and thumbs through it, just to make sure it's all there.","INT. THE STORE - DAY Singleton and Billie at the ticker again. Billie looks a little sleepy. Singleton is obviously involved with the progress of a race. SINGLETON Okay, Billie, here we go. Billie snaps to and prepares to write as Singleton reads. SINGLETON At the wire it's Wrecking Crew the winner by five, Grand Theft second, Wingless third. -LRB- reading up. -RRB- Wrecking Crew was. 4 to 1. -LRB- ripping the sheet out of the ticker. -RRB- That's our boy. Billie and Singleton hustle out of the room.","EXT. ALLEY We follow Billie through the store and across the alley to the building from which Twist keeps his lookout.","INT. THE STORE Gondorff, holding the ticker sheet Singleton has given him, emerges from the office and starts giving instructions to the boost. GONDORFF All right, Furey, your horse is Wingless. Paltrow, the Big Alabama and Phillips'll take Grand Theft. Rodgers and Eirie have Wrecking Crew. Jackson - His Dandy, Cowan - Change of Heart, Fiskin and Chappie - Made to Order. -LRB- pointing to the Eirie Kid. -RRB- Eirie, he gets a bang outa seein' you lose, so we oughta use that on'em. If you play the birds of a feather routine we worked on, it should steam him up pretty good. You think you can handle that? EIRIE KID -LRB- a little nervous. -RRB- Yeh, sure. GONDORFF O.K., you guys in line take your time, and I wanta see lotsa joy on Wrecking Crew.","INT. TWIST'S ROOM - DAY Billie enters and gives Twist the piece of paper she wrote the race results on. He picks up the phone and starts to dial.","INT. DRUGSTORE - DAY The phone rings and Lonnegan answers it. VOICE Wrecking Crew at 4 - 1, Grand Theft to place, Made to Order to show. Lonnegan smiles and hangs up the phone.","INT. THE STORE - DAY Lonnegan's in line at the betting window. There are four people in front of him this time, and they are moving rather slowly. The `` Last Flash'' call is heard on the speakers. LONNEGAN -LRB- getting impatient. -RRB- C'mon, let's hurry up there. The man at the head of the line turns around and gives Lonnegan a chilling look, as if he were beneath contempt. He puts down $ 25,000 on Grand Theft. The next man in line plunges down $ 30,000 on Wrecking Crew. Just as Lonnegan is about to step to the window, Gondorff gives a quick signal to Singleton. The speakers come on. CALLER Ladies and Gentlemen, this is Arnold Rowe, your caller for the $ 100,000 Fairfield Stakes at Hollywood Park in Los Angeles. A mile and 3/8 for three year olds and up. And they're off! LONNEGAN -LRB- counting out his money. -RRB- Twenty - thousand on Wrecking Crew. NILES I'm sorry, sir. We ca n't take bets after the race is started. He points to a sign above the window, which says exactly that. Lonnegan grabs up his money in disgust. GONDORFF Do n't take it so hard, pal. You probably woulda lost it. Lonnegan wanders over to the bar in a funk. CALLER And around the first turn it's Wrecking Crew by a half length, Grand Theft second by one, His Dandy is third by one half, followed by Change of Heart, Back Flip, Made to Order and High Ground. The assembled patrons are once again thoroughly involved in the race. Eirie comes up to Lonnegan at the bar. EIRIE KID Who you got? LONNEGAN -LRB- half - heartedly. -RRB- Wrecking Crew. EIRIE KID Me too. Maybe it's our day. Lonnegan nods and wanders away. Hooker comes over to him. HOOKER What happened? LONNEGAN I did n't get the bet down in time. HOOKER -LRB- pissed. -RRB- Oh, Jesus.","INT. STORE OFFICE Gondorff and Niles, back in the office. NILES -LRB- looking out at the floor. -RRB- Looks like he's sulking. GONDORFF If we're lucky, this'll bring him back stronger than ever. THE FLOOR CALLER Coming for home, it's Wrecking Crew by six lengths, Made to Order is second by two and a half, High Ground is third by a length and Grand Theft is coming fast on the rail. It's Wrecking Crew, Made to Order and Grand Theft. Wrecking Crew wins it by five lengths, Grand Theft is second by a nose, Made to Order is third by two. Time for one and 3/8 mile, 2:11 and 4/10 seconds. Eirie explodes in a joyous frenzy. He grabs Lonnegan by the shoulders and shakes him. EIRIE KID We won! We won! You hear that! I won 30,000! You hear that! Yeh, Lonnegan heard that. Lonnegan shakes loose, grabs his coat and heads for the door.","EXT. ALLEY - DAY He finds Hooker waiting for him outside. LONNEGAN Tell your friend I'll have the money here by post - time tomorrow. We'll take the first race where the odds are 4 - 1 or better. And make sure I can get to that window this time. HOOKER How am I gon na do that? LONNEGAN -LRB- coarsely. -RRB- I do n't know, figure something out. Lonnegan storms across the street to his waiting car and drives off. Hooker relaxes into a smile. He's already figured something out.","INT. SLEEZY DINER ACROSS FROM HOOKER'S APT. BLDG. - EVENING Hooker sits at the counter finishing a plate of meat loaf. Loretta is down at the cash register, leaning on the counter, looking idly out into space. Hooker glances over at her every once in a while to see if she might be interested in striking up a little conversation. She's not. He finishes his meal and comes down to the register to pay his bill. HOOKER Meat loaf, apple pie and a cup of coffee. LORETTA -LRB- ringing it up. -RRB- Sixty - five. Hooker gives her a dollar. She goes to the register for change. HOOKER What time you get off work here? LORETTA 2:00 A.M. HOOKER You doin' anything tonight? LORETTA -LRB- handing him his change. -RRB- Yeh, sleepin'. Hooker figures that's enough of that. He pockets his change and starts out the door, when suddenly he stops short.","EXT. STREET Across the street in a doorway is the silhouette of a man. It's Cole. He's pretending not to look at the diner, but Hooker is n't fooled.","INT. DINER He goes back to Loretta at the register. HOOKER You got a back door to this place? LORETTA No. What's wrong with the front? HOOKER -LRB- urgently now. -RRB- Look, I do n't have time to fuck around. There's somebody out there I do n't need to see. You got a fire escape or anything? LORETTA No. HOOKER All right, do me a favor. Go into the bathroom, open the window and wait for me there. LORETTA What the hell for? HOOKER Just do what I tell ya and everything'll be jake. Cracks of concern begin to appear in Loretta's marble. LORETTA What does this guy want? HOOKER -LRB- evenly. -RRB- He'd like to kill me. Loretta just looks at him a second. Realizing that this is no joke, she turns and walks slowly but steadily to the bathroom. Hooker waits until she's out of sight.","EXT. STREET Hooker goes to the front door and steps outside. Cole looks up at the sound of the door. Hooker makes a big show of spotting him, and runs back into the diner. Cole, his cover blown, draws his gun and races across the street in pursuit. Arriving just in time to see -","INT. DINER Hooker go into the bathroom, he charges in after him, only to find the place empty. He goes quickly from stall to stall, on the chance that Hooker might be hiding in one of them. He comes to one that's closed, and seeing a pair of woman's legs under the door, rejects that, and moves on to the next one. We cut inside the stall to reveal Loretta sitting on the toilet with her skirt hiked up. Right behind her, crouched on the back of the seat, is Hooker. Cole has finished his rapid inspection now, and having found nothing, looks around for Hooker's probable escape route. He sees the open window and climbs out to find himself in a small air shaft, from which he knows Hooker could not escape. Hooker, seizing the time, bursts out of the stall and runs back out through the diner. Cole sees him, but too late to get off a shot. He climbs back in the window and gives chase.","EXT. STREET We pick up Hooker barreling down the street with Cole a hundred yards or so behind. Hooker makes a sharp cut into an alley, and we see immediately that it's a hopeless dead end. Inexplicably, he makes no attempt to run back out. Cole draws up and cuts into the alley, anticipating the kill which should be easy now. He prepares to sight down his victim, when suddenly he realizes there is no victim in sight. Hooker, miraculously, has vanished. Cole scans the alley frantically for some trace of him. There are no windows or doors at the street level. Not even a drain pipe. Just brick wall. It's impossible. Hooker has disappeared into thin air. Cole slams his gun into his shoulder holster with a curse, and starts back out of the alley, when all of a sudden he stops in utter terror. His mouth drops open and he chokes out the words : COLE Salino, hey look. I did n't mean to move in on. Before anything else can come out, two bullets rip into his chest. He falls to the concrete, coming to rest on a manhole cover, which we notice is slightly ajar. We : THE SEWER PIPES Beneath the manhole. We see Hooker making his way through the slop, having gained another reprieve, but unaware that with two down, there is still one to go.","INT. HOOKER'S APARTMENT BUILDING - EVENING Hooker comes in the front entrance and goes to the elevator, one of the old - fashioned kind with the iron grid on the inside. He's still a little rattled and waiting for the elevator is making him restless. It finally arrives, and he steps inside, closing the grid behind him. As he starts to push the button for his floor, he realizes for the first time that he's not alone. He looks to the corner to find Snyder, holding a gun on him. This time there's not much doubt that he'll use it if necessary.","INT. THE ABANDONED WAREHOUSE - EVENING Snyder brings Hooker into the crate room where Capt. Polk and the other Agents are waiting. Polk, as usual, has his coat off, revealing his shoulder holster. POLK Hello, Mr. Hooker. Captain Polk, F.B.I. -LRB- shoving a chair over to him. -RRB- Have a seat. Hooker remains standing. POLK -LRB- ignoring it, drinking from a cup. -RRB- You want a drink or something? HOOKER No. POLK We want to talk to ya about Henry Gondorff. HOOKER Do n't think I know him. POLK Well give yourself a couple seconds, crumb. You would n't wan na lie to me. Lt. Snyder here says you done a lotta griftin' in this town. HOOKER Lt. Snyder does n't know shit. Capt. Polk almost laughs, but he checks it. HOOKER You got nothin' on me. POLK We'll get it, and if we ca n't, we'll just make it up. Grand larceny, extortion. -LRB- with special emphasis. -RRB- Counterfeiting, anything you want. Hooker says nothing, but it's not from defiance now. He's beginning to get the picture. POLK Look, I got nothin' against you, but you're in trouble here. All you got ta do is tell us when Gondorff's gon na play his chump. We come in at the sting, make the pinch, and you walk out free as a bird. No questions, no court appearance, nothing. HOOKER No. POLK You've already done time twice, and judges do n't like three time losers. You wan na sit in the can for forty years, startin' tonight? HOOKER I'll make parole. POLK Like hell. You wo n't even get a review till you're seventy. And if the board starts to go soft, we'll let ya out in the yard some night with a hard - nose young bull who'll put fifty slugs in your face and ask what you were doin' there later. Hooker wants to come back with something, but ca n't find it. POLK Do n't be a sap, kid. You could save us a little trouble. But Henry Gondorff is through whether you help us or not. There's nothin' left to do now but save yourself. Hooker's thoroughly whipped. He sits down for the first time. HOOKER -LRB- softly. -RRB- Will you wait until the chump is played? POLK Hell yes. We do n't care about the mark. He deserves what he gets. HOOKER -LRB- with heat. -RRB- I mean completely played. Until he's beat and the score is taken. You come in before we beat him and I'll kill him. You'll have a tough time explaining that, wo n't ya. POLK All right, Hooker, but you take it on the lam, and we'll shoot you down on sight. HOOKER -LRB- barely audible. -RRB- Just as long as I get to finish the play.","INT. GONDORFF'S ROOM - NIGHT Gondorff and Hooker are playing gin rummy and drinking. Gondorff makes little comments as he plays, but Hooker is quiet and withdrawn. The carousel is not in operation and a heavy silence hangs over the place. GONDORFF What's the matter, kid? You're not sayin' much. HOOKER Just a little nervous, that's all. GONDORFF Luther always told me to bite my toenails when I get nervous. You see yourself doin' that and you realize it ai n't worth it. Hooker smiles feebly. Billie appears at the door. BILLIE Things are a little slow tonight, Henry. I wan na open the round for the girls. Gondorff takes out a set of keys and tosses them to her. She leaves to go start the merry - go - round. Gondorff settles back into the game. GONDORFF Take it easy, you wo n't lose him now. We had him 10 years ago when he decided to be somebody. Believe me, I've seen enough to know. HOOKER -LRB- softly. -RRB- How many guys you conned in your life, Henry? GONDORFF Two or three hundred I guess. Sometimes played two a day when I was in Shea's mob. We had it down to a business. -LRB- pause. -RRB- ` Course Chicago was a right town then. The fix was in. The dicks took their end without a beef. All the Wall Street boys wanted to make investments for us. Even had marks looking us up, thinkin' they could beat the game. -LRB- pause. -RRB- Yeh, kid, it really stunk. No sense in bein' a grifter if it's the same as bein' a citizen. Gondorff chucks his cards on the table. He's through for the night. GONDORFF I better do some packin'. I'm gon na be a hot number again after tomorrow. HOOKER Then why you doin' it? GONDORFF Seems worthwhile, does n't it? Maybe it's just for the cave - in on Lonnegan's face when we put in the sting. That's good enough. Hooker gets up to leave. HOOKER Henry. HOOKER Yeh. HOOKER -LRB- apologetically. -RRB- I appreciate your stickin' your neck out. I would n't have asked ya if it were n't for Luther. GONDORFF Ai n't nothin' gon na make up for Luther, kid. -LRB- pause. -RRB- Revenge is for suckers. I been griftin' 30 years and never got any. Hooker just nods and walks out the door.","INT. CAROUSEL We follow him past the Carousel which is now full of giggling prostitutes in various stages of undress. Their childish frolicking is charming from a group usually so jaded, but it's lost on Hooker tonight.","EXT. A CITY STREET - NIGHT It's late now and the street is deserted save for an occasional derelict or streetwalker on her way home from a night's work. We pick up Hooker coming down the street toward his apartment building. He walks slowly, almost reluctantly, as if he did n't care whether he ever got there or not. As he nears his building, he notices Loretta coming out of the diner across the street. He stops and watches as she looks up and disappears into an adjacent building that advertises rooms for rent. After a few seconds, we see a light come on in one of its second story windows. Hooker just stands there a second, debating with himself, trying to figure out a reason for doing what he's going to do anyway. We follow him across the street to Loretta's building and :","INT. LORRETA'S He goes up the stairs to the room where the light came on. He passes a couple of derelicts on the way. He knocks twice and Loretta answers in her bathrobe. She is more than a little startled to see him. LORETTA Looks like he missed ya. HOOKER Yeh, this time anyway. Loretta notices an old busybody peeping out at them from her room across the hall. LORETTA Good night, Mrs. Hillard. Mrs. Hillard quickly closes her door. HOOKER -LRB- shuffling a little. -RRB- I, ah. thought you might wan na come out for a while. Maybe have a drink or somethin'. LORETTA You move right along, do n't ya. HOOKER -LRB- with more innocence than confidence. -RRB- I do n't mean nothin' by it. I just do n't know many regular girls, that's all. LORETTA And you expect me to come over, just like that. HOOKER If I expected somethin', I would n't be still standin' out here in the hall. Loretta looks at him carefully. She knows it's not a line. LORETTA -LRB- with less resistance now. -RRB- I do n't even know you. HOOKER -LRB- slowly. -RRB- You know me. I'm just like you. It's two in the morning and I do n't know nobody. The two just stand there in silence a second. There's nothing more to say. She stands back and lets him in.","INT. GONDORFF'S ROOM - NIGHT A record spinning lazily on an old phonograph. We hear Robert Johnson's `` Come On In My Kitchen.'' Gondorff is sitting up in bed, with his hat on, lost in thought. Billie is curled up asleep next to him. There's a packed suitcase next to the bed. Billie wakes up and turns over a second. BILLIE C'mon, Henry, knock off. You've done everything you can. Gondorff nods his agreement like a zombie and goes right on thinking. LORRETA'S ROOM Hooker and Loretta are asleep against each other, their bodies illuminated every few seconds by the light from a neon sign across the street. We dolly to the window and move in on another window in the building next door. There's no light on in it, but we can discern the basic outline of a face behind the curtains, which are slightly parted to afford a view of Hooker's room by a black - gloved hand. `` I said come on in my kitchen Cause it's gon na be rainin' outdoors.'' Music ends. FADE OUT. THE STING FADE OUT. We open on Hooker in bed, the morning sun streaming in on his face. He awakens slowly, looks at the ceiling for a second and, remembering last night, turns to the side to find that Loretta is no longer there. Still drowsy, he gets out of bed and looks around the room for a note or some evidence of her continued presence. He opens an empty closet, then opens empty drawers. Finding nothing, he suddenly hits on another possibility, and looks in his wallet. The money is still there. Almost disappointed, he slumps down in a chair, as the harsh reality of what will happen this day floods back in on him. Music begins and we :","INT. AN UNKNOWN LOCATION - DAY We see the black - gloved hand opening a small wooden box. Wrapped inside is a shiny black revolver, at this point in two pieces. The hand reaches in and takes them out.","INT. THE SLEEZY DINER - DAY Hooker is poking at a plate of waffles and sausage. The waitress on duty is not Loretta and Hooker has noticed.","INT. GONDORFF'S ROOM - DAY Gondorff is standing in front of the bathroom mirror, putting on his tuxedo. He goes to his dresser, pulls out a very small gun and tucks it in his cummerbund. THE GUNNMAN'S ROOM AGAIN The hand swirls a pipe cleaner inside the barrel of the revolver and picks some lint out of the chamber. He then screws the barrel onto the body. This is all seen in closeup. HOOKER'S ROOM AGAIN Hooker now has his tuxedo on. He takes two small rubber bladders out of a drawer and puts them in his pocket.","INT. LONNEGAN'S SUITE - DAY Lonnegan paces nervously around the room, looking at the clock. Obviously waiting for something, he's getting extremely impatient. THE GUNNMAN'S ROOM AGAIN We watch the hand carefully loading bullets into the chamber of the revolver.","INT. THE CAROUSEL BUILDING - DAY Gondorff emerges from his room carrying his suitcase. He stops and looks up at the mezzanine where Billie is standing. They smile sadly at each other and give a simple wave, having done this too many times to get sentimental about it now. Gondorff walks out of the building. HOOKER'S ROOM AGAIN Hooker is busily stuffing all his possessions in a paper bag, lumping clothes with food, records and toilet articles. LONNEGAN'S SUITE AGAIN Lonnegan goes to the door to admit Floyd and two assistants, one of whom carries a large brief case. Lonnegan takes the brief case to a table and opens it. Inside is a half million dollars in cash.","INT. THE GUNNMAN'S ROOM AGAIN We see the hand putting a silencer on the revolver. The gunman puts the revolver up to his eye to check the alignment and for the first time we see the face that goes with the hand. It is fully as menacing as we had imagined : Broad, flat nose, thick cracked lips, narrow eyes and cauliflower ears. HOOKER'S ROOM AGAIN Hooker is on the phone now.","INT. WAREHOUSE We see that he's talking to Captain Polk. Snyder listens also. HOOKER'S ROOM Hooker finishes the conversation, hangs up and goes to take one last look at himself in the mirror. Finding everything in order, he grabs up his sack of possessions and leaves the room.","EXT. HOOKER'S APARTMENT We pick him up emerging from the building, and follow him around the corner to a secluded alley which he generally takes on his way to the store. As he walks along, he notices Loretta coming toward him from the other end. She's wearing a coat, obviously on her way somewhere. As she comes closer, we move to reveal the gunman appearing suddenly in the alley behind and to the right of Hooker.","EXT. ALLEYWAY The gunman quickly takes out his revolver, braces it in the crook of his hand, and takes careful aim. Loretta sees him. The gunman fires. Loretta falls dead on the asphalt. Hooker spins around in confusion. The gunman moves quickly toward him. Hooker starts to back up but the gunman stops when he gets to Loretta. He kicks her over to reveal a gun under her body. GUNMAN She was gon na kill ya, kid. Hooker is stunned. He ca n't believe it. GUNMAN -LRB- dragging the body over behind a trash can. -RRB- Her name's Loretta Salino. Lonnegan's people set her up in the diner. C'mon, let's get outa here. Hooker wants to stay and try to figure it all out, but the gunman drags him away.","INT. THE ABANDONED WAREHOUSE - DAY Polk, Snyder and several federal agents are busy putting on their shoulder holsters, and checking their weapons. POLK -LRB- to Snyder. -RRB- Whoever Gondorff's playin' for is bound to be a wheel. As soon as we're inside, I want you to get the guy outa there as fast as possible, before the reporters show up. We ca n't afford to embarrass any big shots. Snyder nods.","EXT. LONNEGAN'S HOTEL - DAY Lonnegan, carrying the brief case personally, is seen getting into his limousine. Four assistants get in with him.","INT. THE STORE - DAY Gondorff enters the store carrying his suitcase. Several of the boost are already there. Gondorff clasps his hands to generate a little enthusiasm. He's obviously up for this one.","INT. TAXI CAB - DAY Hooker sits in the back seat with the gunman right next to him. He's still very uneasy with this man. HOOKER She coulda killed me last night. GUNMAN Too many people coulda seen ya go in her room. She was a professional. Used to work in the Dutch Schultz gang. HOOKER Who are you? GUNMAN Gondorff asked me to look after ya. HOOKER How do I know you're tellin' the truth. GUNMAN Do n't have much choice, do ya? We go to Hooker. No, he does n't.","EXT. THE ABANDONED WAREHOUSE - DAY We pick up Polk, Snyder and the other federal agents coming out of the warehouse in their white skimmers, and piling into cars. THE STORE AGAIN Niles is busily spreading `` boodles'' all over the cashier's area. Singleton checks his microphone. It works fine. He checks it again. LONNEGAN IN HIS LIMOUSINE He holds the brief case in his lap, his fingers tapping lightly on it. THE STORE AGAIN Hooker and the gunman enter and go over to Gondorff, who breaks into a wide smile. Hooker returns it halfheartedly, still ill at ease about what has happened. THE F.B.I. CARS ON THEIR WAY There are four or five driving in a column. Snyder and Polk ride together in the back of the lead car.","EXT. THE DRUGSTORE - DAY Lonnegan's limousine pulls up outside, and the bodyguards pile out. THE STORE AGAIN Gondorff, Hooker and the others waiting, the tension expressed in their faces.","INT. THE DRUGSTORE - DAY Lonnegan sits tensely in the usual booth. He keeps both hands firmly planted on the brief case. The phone rings and Lonnegan goes to it. Music ends. VOICE Place it on Syphon at 8 - 1. Lonnegan hangs up with the look of the financial killer. Eight to one odds is more than even he could have hoped for.","EXT. STREET We follow Lonnegan across the street and into the store. The bodyguards remain outside.","INT. THE STORE The store is buzzing with activity. Money and booze are everywhere. The sheet writer and the boardmarker can hardly keep up with the action. Lonnegan walks quickly to the betting line and finds to his relief that there's only one man ahead of him. The man puts $ 25,000 on King's Image. Lonnegan steps to the window, swings up the brief case, and opens it for Niles to see. LONNEGAN -LRB- straight - faced. -RRB- Five hundred grand on Syphon. Niles is struck dumb. He's never seen that much money before. NILES -LRB- playing the flustered clerk. -RRB- Hold on, I'll have to get the manager. Niles goes and returns with Gondorff. GONDORFF What's the problem? NILES -LRB- pointing to the brief case. -RRB- He wants to put a half million on Syphon. Gondorff looks at the money a second and then looks up at Lonnegan like he's got ta be crazy. GONDORFF -LRB- uneasily. -RRB- I ca n't lay that off in time. We lose a bet that big, it could break us. LONNEGAN -LRB- challenging. -RRB- If ya win it could make ya, too. GONDORFF -LRB- to Niles. -RRB- What are the odds on Syphon? NILES Eight to one. Gondorff looks at Lonnegan long and hard. GONDORFF A half mill on an eight to one shot. You're dumber than I thought, Lonnegan. LONNEGAN You're more gutless than I thought. The words `` Last Flash'' are heard on the speaker. Gondorff looks at Lonnegan with utter contempt. He turns to Niles. GONDORFF -LRB- chopped. -RRB- Take it. Niles hurriedly writes out a slip for 500,000 dollars. Lonnegan, allowing himself a sly smile, picks it up and retires to a nearby table. He flashes a little okay sign to Hooker who acknowledges it with a nod. CALLER Ladies and gentlemen, this is Arnold Rowe, your caller for the San Antonio Handicap at Pimlico in Baltimore - A mile and 1/16 for three - year - olds. And they're off. Lonnegan takes a deep breath and leans forward in his chair, the larceny boiling in his veins. Hooker looks to Gondorff. Gondorff gives him the `` office.'' Hooker has to smile. CALLER And around the first turn it's King's Image by a neck, Syphon is second by one, Key to the Vault third by one half, followed by Mr. Moonlight, Red Ridge, Moneyman and No Charge. Unexpectedly, Kid Twist bursts in through the entrance. Barely able to control his enthusiasm, he hurries over to Lonnegan's table and sits down next to him. TWIST Sorry, but I just could n't wait. Did everything go all right? LONNEGAN -LRB- motioning for him to keep his voice down. -RRB- Take it easy. Everything's all right. I put it on Syphon, on the nose. TWIST -LRB- in utter horror. -RRB- On the nose! I said place. Place it on Syphon. That horse is going to run second. Lonnegan looks like he's just been stabbed. He vaults over the table to the teller's window and grabs Niles. LONNEGAN You give me my goddamn money back! You hear me? There's been a mistake! NILES I'm sorry, sir. The betting's closed. Lonnegan begins to shake him violently. LONNEGAN You give me my money back. There's been a mistake, do you hear me? Gondorff leaps to Niles' aid when suddenly there is a crash at the entrance door, and Polk, Snyder and eight federal agents burst into the room, guns drawn. The place falls silent except for the loudspeaker, the members of the boost afraid to move. Gondorff and Niles look at each other wondering how this could have possibly happened. POLK -LRB- motioning to Hooker. -RRB- All right, Hooker, you can go. Hooker's eyes go to Gondorff, who looks back at him in utter disbelief, the betrayal raging in his features. Hooker, unable to meet his gaze, lowers his head and starts to walk out. Almost unnoticed, there's a flash of movement at Gondorff's belt. A small gun. A shot. Hooker clutches his back and falls dead on the floor, the blood spurting from his mouth. Polk, reacting instantly, pours four shots into Gondorff, who goes down in a heap. Pandemonium breaks loose. The members of the boost race for the door. Lonnegan is totally stunned. First he lost his money and now he's involved in a murder. Snyder rushes over to him. SNYDER C'mon. We got ta get you outa here.","EXT. STREET Snyder drags him through the crowd and out onto the street where an F.B.I. car is waiting. His bodyguards have long since fled at the sight of the F.B.I. men. LONNEGAN My money's back there. SNYDER We'll worry about that later. Snyder gets in beside Lonnegan, and the car speeds away. INSIDE THE STORE AGAIN The pandemonium has now ceased. Those who could escape have ; the rest are lined up against the wall in frisking position. Gondorff and Hooker lie on the floor dead. The loudspeaker drones on. Singleton is still calling the race from his booth, apparently oblivious to what's happened. CALLER And the winner is King's Image by four lengths, Syphon is second, by two, Moneyman third by two and one half. Time for 1 and 1/16 miles, 1:21 and 2/10 seconds. Polk walks slowly over to Hooker's body and bends down. POLK He's gone. Hooker opens his eyes and slowly drags himself up off the floor, spitting out a little rubber bladder, filled with blood, that he's had in his mouth. Gondorff does likewise. Niles, Twist, Singleton and the rest of the boost begin to laugh and shake hands, as do the Federal Agents. GONDORFF -LRB- to Polk. -RRB- Nice con, Hickey. I thought you were Feds myself, when you first came in. HICKEY No problem, Henry. Snyder went for it all the way. -LRB- laughing. -RRB- You shoulda seen the rag he lit under Lonnegan. Gondorff turns to the others. GONDORFF Okay, let's take this place apart and get outa here. You can get your splits from Eddie at Boudreau's tonight. Gondorff walks over to Hooker, who's wiping the blood off his face and hands. GONDORFF You beat him, kid. HOOKER -LRB- softly. -RRB- You were right, Henry. It's not enough. But it's close. GONDORFF You wanta wait for your share? HOOKER Naw, I'd just blow it. Gondorff nods, and walks slowly to behind the bar. He comes out with his suitcase in one hand and Hooker's paper bag in another. He throws the paper bag to Hooker, who stops by the door. Eirie Kid is standing there. Hooker gives the `` office'' to Eirie, who beams and gives it back.","EXT. ALLEY AND STREET Then Hooker and Gondorff leave. We hold on them, two ragtail grifters again as they walk off down the street and disappear around the corner. FADE OUT. THE END"],"string":"[\n \"The Sting A white on black TITLE appears in the lower left hand corner of the screen : AUGUST, 1936 FADE OUT.\",\n \"EXT. A SLUM AREA OF JOLIET - DAY It's a bleak, windy morning, the kind that clears the streets of all but the winos -LRB- who carry their own heaters -RRB-, and the point - men for juvenile gangs. We pick up a solitary figure, Joe Mottola, coming down the street and entering what appears to be an abandoned tenement. He pauses a second to dust his white - winged alligator shoes on the back of his pants leg. Sharply dressed and surrounded by the aura of one who is making money for the first time and broadcasting it on all bands, he seems an incongruity in this part of town. We follow him up a flight of rickety stairs to a second floor flat. He knocks on the door, is admitted by a cautious doorman.\",\n \"INT. NUMBERS SPOT - DAY Suddenly we are plunged into a room of chattering, clamoring people. This is a spot for the numbers racket, a place immune from legal interference, where any sucker can bet on a number between 1 and 1000 in the hope of getting the 600 to 1 payoff that goes to those few who guess right. The bettors are queued up in several lines before a long table, where they place their bets and are given receipts in return. Others wait at a cashier's window to pick up previous earnings or to ask for credit. Mottola moves through the crowd to a back room where betting slips are being sorted and money counted under the watchful and somewhat impatient gaze of a Supervisor, an older man named Mr. Granger. The Yankee - White Sox game is heard on the radio in the background. Mottola, noticing that his entrance has aroused little interest, saunters over to the Phone Girl and gives her a little pinch on the cheek. The girl slaps his hand away, obviously having been through this before. PHONE GIRL Beat it, Mottola. Granger glances up and exchanges a token nod with Mottola, who plops down in a folding chair next to the radio. The phone rings. PHONE GIRL 8720. Yes, hold on a second. -LRB- calling over to the Supervisor. -RRB- Mr. Granger, Chicago on the line. Granger is a little apprehensive about talking to Chicago, but takes the phone anyway. GRANGER Yeh?\",\n \"INT. A WATERFRONT PROCESSING PLANT - CHICAGO - DAY A flabby, bald man named Combs is on the other end of the line. Visible beyond the door and interior window of his office is a large room, cluttered with tables, typewriters, clerks and adding machines. This room is the clearinghouse for all the transaction of the numbers game. All the betting slips and income from the spots are brought in here and processed. COMBS Granger, this is Combs. Why have n't we heard from ya? Everybody else is in. GRANGER We had a few problems with the Law this morning. The Mayor promised the Jaycees to get tough on the rackets again, so he shut everybody down for a couple hours to make it look good. Nothing serious, it just put us a little behind for the day. COMBS You been making your payoffs, have n't ya? GRANGER Hell yes. He does this every year. There's nothing to worry about. COMBS Okay, finish your count and get it up here as soon as you can. I do n't wanta be here all night. GRANGER Believe me, the Man's gon na be real happy. Looks like we cleared over ten grand this week. COMBS -LRB- not impressed. -RRB- We cleared 22 here. GRANGER Well, hell, you got the whole Chicago south side. How do ya expect the eight lousy spots I've got to compete with that? COMBS -LRB- reading off a sheet of paper on his desk. -RRB- They did 14 grand in Evanston, 16.5 is Gary, and 20 in Cicero. Looks like you're bringing up the rear, Granger.\",\n \"INT. NUMBERS SPOT - DAY Granger burns inside. One of the girls who's been sorting and counting hands him a slip of paper. GRANGER I just got the count. We'll put the take on the 4:15. COMBS We'll be waitin'. Combs hangs up, smiling to himself, proud of the way he gave the needle to Granger.\",\n \"INT. NUMBERS SPOT - DAY Granger storming over to a safe and jerking open the door. GRANGER -LRB- snapping. -RRB- Mottola. Mottola hustles out of his chair. GRANGER -LRB- handing him a bundle of bills. -RRB- Take this up to the city on the 4:15. They'll be waitin' for it at the clearing house. And do n't stop for no drinks. You can get a cab down the street. Mottola takes the money and slips it into his inside coat pocket with all the dramatic flair of the true flunky. No one would ever guess that he was just an overdressed messenger boy.\",\n \"EXT. OF THE TENEMENT AGAIN Mottola emerges from a side entrance into a narrow alley. He walks briskly down to the end and turns left into a large alleyway ; this one connecting two streets. The alley is deserted save for one scruffy, slovenly dressed young stranger coming toward him from the opposite direction. The man carries a battered suitcase and seems to be in a hurry. Suddenly, Mottola hears shouting coming from somewhere behind him. He turns around to see a small, weathered looking thief come racing around the corner and down the alley toward him, frantically pursued by a gray - haired black man. Limping noticeably, the black man manages a few cries for help and then stumbles and falls. The stranger yells at Mottola to cover his side of the alley, and then readies himself for the arrival of the thief. Mottola just stands there, not the least interested in the exercise of justice. Just as the thief is about to run on by, the stranger throws his suitcase at the little man's legs, sending him sprawling and separating him from the wallet he's been carrying in his left hand. The stranger makes a dash for the wallet and kicks it back to where Mottola is standing. Almost by reflex, Mottola picks it up. The thief scrambles to his feet and starts back toward his new - found enemy, brandishing a knife. Both the stranger and Mottola brace themselves for an attack. The thief, realizing that there are two people to fight, begins to think better of it. He is not a young man, nor particularly strong. THIEF -LRB- shaking his fist at the stranger. -RRB- You fuckin' nigger - lover. I'll get you for this someday, sucker egg. Mottola and the stranger exchange glances of relief as the thief flees out onto the street and disappears. The black man, meanwhile, has struggled to his feet and is staggering toward them. He collapses against the alley wall after a few steps. The stranger rushes over to him, followed somewhat absently by Mottola. BLACK MAN The wallet. You got ta go after him. He's got all the money. STRANGER Do n't worry, we got the wallet. What happened? He get ya with the knife? The stranger opens the Black Man's coat to reveal a bloody wound at the top of his leg. BLACK MAN -LRB- trying to move. -RRB- Give it to me! Please. I got ta know it's all there! STRANGER You just sit tight, old man. We're gon na have to get you to a doctor. -LRB- starting to leave. -RRB- I'll call a cop. BLACK MAN No, no cops! Mottola has given him his wallet, which the black man now opens, disclosing a fat bundle of bills tied by a rubber band. Mottola and the stranger are amazed by the amount of money. STRANGER -LRB- a little uneasy. -RRB- You wanted by the law or somethin'? BLACK MAN Naw, it's okay. STRANGER You're crazy carryin' that kinda money in this neighborhood. No wonder you got hit. BLACK MAN -LRB- trying to get to his feet. -RRB- Thanks. I'm obliged to ya, but I got ta get goin'. -LRB- his leg gives way under him. -RRB- STRANGER You ai n't goin' nowhere on that leg. BLACK MAN I got ta! Look, I run some slots down in West Bend for a mob here. I got a little behind on my payoffs so they figure I been holdin' out on'em. They gave me to 4:00 to come up with the cash. I do n't get it there I'm dead. STRANGER It do n't look good, gramps, it's ten of now. BLACK MAN I got a hundred bucks for you and your friend if you deliver the money for me. STRANGER -LRB- hesitates. -RRB- I dunno. That little mug that got ya is mad enough at me already - what if he's out there waitin' around a corner with some friends. BLACK MAN He wo n't know you're carryin' it. C'mon, you got ta help me out. STRANGER -LRB- makes up his mind. -RRB- Sorry, pal. I'll fix you up, call you a doc, but I ai n't gon na walk into a bunch of knives for ya. BLACK MAN -LRB- desperate to Mottola. -RRB- How bout you? I'll give you the whole hundred! STRANGER What makes you think you can trust him? He did n't do shit. MOTTOLA Hey, butt out, chicken liver. I gave him back his wallet, did n't I? -LRB- to black man. -RRB- How far is this place? BLACK MAN 1811 Mason. Put it in Box 3C. You wo n't have no trouble. There's five thousand dollars there and here's a hundred for you. MOTTOLA -LRB- taking the bundle of bills from the black man, plus the $ 100 bill. -RRB- All right. I'll make your drop for you, old man. And do n't worry, you can trust me. Mottola puts the bills in his inside coat pocket, right next to the numbers money. The stranger, who has now finished bandaging, watches him do it. STRANGER If that punk and his pals decide to search ya, you'll never fool'em carryin' it there. BLACK MAN -LRB- suddenly afraid again. -RRB- What do we do? STRANGER You got a bag or somethin? BLACK MAN No. STRANGER How ` bout a handkerchief? BLACK MAN Here. The stranger goes into the right coat pocket and pulls out a wrinkled handkerchief. STRANGER Let me have the money. Mottola takes out the Black Man's five grand and hands it to the Stranger. He puts it in the handkerchief. STRANGER You better stick that other in here too, if you wanta keep it. BLACK MAN -LRB- pleading. -RRB- Just hurry, will ya. Mottola pulls out the numbers money and puts it in the handkerchief too. The stranger ties it all up. STRANGER -LRB- demonstrating by slipping the bundle down into crotch. -RRB- All right. Carry it down in your pants here. -LRB- pulling it back out and tucking it in Mottola's pants. -RRB- Ai n't no hard guy in the world gon na frisk ya there. MOTTOLA Thanks. -LRB- to the black man. -RRB- So long, partner. Do n't worry, everything's gon na be all right. The Black Man nods gratefully, but there's still a trace of worry on his face. Mottola trots off down the alley and out onto the street, glancing around cautiously for signs of trouble. He walks hurriedly down the sidewalk toward the cab stand in the distance. Suddenly the little man with the knife appears out of a doorway about 15 yards behind him. Mottola notices him and quickens his pace, finally breaking into a dead run. We follow him as he dashes headlong down the street, opening a big lead on the guy with the knife. He reaches the taxi zone. He hops in a cab and slams the door.\",\n \"INT. TAXI - DAY He jumps in, closes the door, and breathes a sigh of relief. CABBIE Where to? MOTTOLA Which way is Mason? CABBIE About 20 blocks south. MOTTOLA Okay, go north. The Joliet Station - Fast. Mottola settles back in his seat and starts to laugh. CABBIE What's so funny? MOTTOLA I just made the world's easiest five grand. He takes the bundle out from inside his pants in order to gaze upon his new - found fortune. He unties the handkerchief. It's full of toilet paper. Mottola looks like he's just been shot.\",\n \"EXT. ALLEY - DAY - THE STRANGER AND BLACK MAN hightailing it down the street, two newly solvent con artists on the lam. It's hard to run they're laughing so hard. The stranger chucks his suitcase in a trash can and pulls the real handkerchief out of his pants. BLACK MAN Jesus, what a bundle. Did you know he was that loaded? STRANGER Hell no, I just cut into him. I woulda settled for pawning one of them shoes. As they split off, music begins, and we go into a TITLES SEQUENCE Done to a driving Chicago blues, the sequence is designed to establish somewhat the milieu of the stranger, known to friends and enemies alike as Hooker. We see the following :\",\n \"EXT. PAWNSHOP - LOOKING INSIDE - DAY Hooker is getting a radio and well - worn suit out of hook. It's like seeing old friends again. All pantomime.\",\n \"INT. HOOKER'S ROOM - DAY A shabby little place he rents above a cigar store. We pick him up in a jerry - built outdoor shower, which he's rigged up on the fire escape. The rinse water drips down through the landing into the grimy alley below. HOOKER -LRB- singing. -RRB- ` With plenty of money and you - oo - oo, Oh baby, what I would n't do - oo - oo.' ON THE STREET AGAIN jauntily carrying a magnum of champagne and some flowers, obviously on his way to see someone special. IN A BURLESQUE HOUSE Hooker stands in the wings holding the flowers and champagne, watching his date for the evening, a 6' 3'' stripper named Crystal, do her routine. Crystal finishes up and comes off the stage. CRYSTAL -LRB- tired. -RRB- Hi, Hooker, you gettin' married or somethin'? HOOKER Come into a little dough. You wan na get outa here tonight? CRYSTAL Ca n't. I got a 10 o'clock show. I need the five bucks. HOOKER I'll spend fifty on ya. Crystal looks at him a second and starts to giggle. We're pretty sure she's gon na get outa here tonight. COMING INTO A POOR MAN'S GAMBLING JOINT Little more than a reconverted brick basement, the place contains three shoddy, homemade roulette tables. Hooker, accompanied now by Crystal, nods a greeting to the doorman and proceeds to a table where there are already several other people laying their bets for the next spin. Hooker knows the wheel man, an old - timer named Jimmy. JIMMY -LRB- glad to see him. -RRB- Hooker! HOOKER How ya doin', Jimmy. JIMMY -LRB- collecting bets and paying off the winners. -RRB- Ai n't seen you in months, boy. Thought maybe you took a fall. HOOKER Naw, just a little hard times, that's all. It's all over now. JIMMY You gon na have a go here? -LRB- pointing to the betting board. -RRB- How ` bout a ten spot on the line here. The 4 - 9 been lookin' good today. Lotsa action on 28th Street down there, too. Pay ya 10 - 1. As Jimmy finishes his spiel, he starts the wheel spinning and drops in the ball. Betting is allowed to continue until the ball drops from the outer ring into the center. HOOKER -LRB- taking out his wallet. -RRB- Three grand on the black. Jimmy is stunned. The others at the table, used to dollar bets, look at Hooker like he's some kind of foreign dignitary. JIMMY -LRB- worried. -RRB- You sure you wan na start off that big? Bet like that could put a real dent in us. HOOKER I feel lucky tonight. JIMMY Aw, come on, Hooker, why do n't you just. HOOKER Three grand on the black, Jimmy. Jimmy wants to argue some more, but the ball is getting ready to drop into the center. We see Jimmy quickly press a hidden lever under the table with his foot. The ball falls and settles into red 27 with a motion that is not quite right. The others at the table fail to notice, but Hooker is not fooled. He stares venomously at Jimmy, who knows that Hooker is on to him. JIMMY Sorry, Hooker. -LRB- making an attempt at levity, in order to explain. -RRB- Good thing that ball came up red. Guy could get in trouble around here, losin' a bet that big. Jimmy reaches for Hooker's money. Hooker stops him by putting his hand on it. HOOKER Spin it again. Jimmy does n't know what the hell to do. He gives Hooker a little head motion to indicate a small window high up in one of the walls. Behind it, we see a pair of eyes. Suddenly, Hooker understands why Jimmy had to cheat him, but it does n't change his demand. HOOKER Spin it anyway, Jimmy. Jimmy is beside himself. If he does n't spin again, Hooker may expose him. If he does spin, and loses, his management will fire him. He pleads to Hooker with his eyes, but it's no use. Jimmy spins the wheel and reluctantly drops in the ball. This time there is no foot on the lever, and it settles into black 15. Hooker stares at the ball a second and then looks up at his terrified friend. HOOKER Do n't worry, pal. I knew it was my night. Hooker pushes the money over to Jimmy and walks out of the room. He's lost $ 3,000, but he's still working on a lucky night.\",\n \"EXT. GAMBLING JOINT Hooker and Crystal out on the street. CRYSTAL -LRB- irritated. -RRB- Thanks for the evening, Hooker. I can still make the 10 o'clock. If you wan na spend 50 bucks on me again, mail it. She walks off down the street. HOOKER -LRB- going into his pocket for more money. -RRB- Hey wait a minute. -LRB- he comes up with 30'. -RRB- Aw, the hell with ya.\",\n \"EXT. THE WATERFRONT PROCESSING PLANT - LATE AFTERNOON A late model Ford roars up and screeches to a stop in front of the plant. Out bursts a carefully - groomed, tight - lipped young man named Greer, who hustles into the plant. We follow him through a maze of machinery to the service elevator and up to the third floor where we find ourselves in the clearinghouse room we saw earlier.\",\n \"INT. PLANT - AFTERNOON - LATE The working day is over now, and everyone has gone, except for Combs, who sits somberly in his office. GREER They found Mottola. He was drunk in a dive in Joliet. Never got on the train. COMBS -LRB- aggravated. -RRB- I do n't wanta hear about his day, Greer. What happened to the money? GREER He lost it to a coupla con artists on his way outa the spot. COMBS How much? GREER Twelve thousand. Combs sits in quiet thought for a second. Finally : COMBS All right. Better get on the phone to New York. See what the big mick wants to do about it. -LRB- pause. -RRB- I got ta pretty good idea, though.\",\n \"INT. AN EXCLUSIVE NEW YORK GAMBLING CLUB - LATE AFTERNOON An agitated young man, Floyd, weaves his way through the craps and roulette tables, and hustles up a staircase to a second floor room with a drawing of a snarling tiger on the door. Below the tiger, the word `` FARO'' appears. There is a large man, of thuggish demeanor, guarding the door, but Floyd gives him a small hand signal and walks right by him. INSIDE THE FARO ROOM In the center is a beautifully - carved wooden table, on which sit a faro board and a dealing box, tended by a stone - faced Dealer, who calls the progress of the game in a continuous abacus - like device that keeps track of the cards which have already been played. On the opposite side of the table, completely absorbed in the rhythmic appearance of the cards from the dealing box, sits Doyle Lonnegan. Although is clothes and accessories are those of a wealthy man, there is a coarseness to both his movement and speech which bespeak lower class origins, for which he now has nothing but contempt. Floyd enters the room and approaches him cautiously, trying hard to make as little noise as possible. FLOYD Doyle, can I see you a minute? LONNEGAN -LRB- not looking up from the table. -RRB- I'm busy, Floyd. FLOYD It's important. We had a little trouble in Chicago today. One of our runners got hit for 12 grand. LONNEGAN -LRB- calmly. -RRB- Which one? FLOYD Mottola. LONNEGAN You sure he did n't just pocket it? FLOYD No, we checked his story with a tipster. He was cleaned by two grifters on 47th. LONNEGAN They workin' for anybody? FLOYD I do n't know. Could be. We're runnin' that down now. LONNEGAN All right, mark Mottola up a little and put him on a bus. Nothin' fancy, just enough to keep him from coming back. Get some local people to take care of the other two. -LRB- impassively. -RRB- We got ta discourage this kinda thing.\",\n \"INT. AN OLD BROWNSTONE - NIGHT Hooker, still in his suit, but looking a little worse for wear, knocks on the door of one of the apartments. A young black woman, Louise, answers the door, holding a baby. HOOKER Howdy, Louise. LOUISE -LRB- admiring Hooker in his suit. -RRB- Goddamn, Johnny Hooker, you're a sharp hunky in them linens. If you was n't so pale, I ` da sworn you had class. Hooker steps inside and walks right into a big hug from an older black woman, Alva. Alva has a hat on, obviously just about to go out. Beyond her we see the Eirie kid and the Black Man -LRB- known from here on as Luther Coleman -RRB- playing a game of mah jong on the dining table with a man whose back is to us. An 11 - year - old boy is listening to the radio. COLEMAN Turn that down, Leroy. ALVA Oh, Johnny, Luther said you was somethin' to see today. HOOKER I'll never be as good as that mark, Alva. ALVA Well, we gon na hear all about it when we get back from church. Leroy, get your jacket on, boy. Leroy goes to get his jacket. Louise is finished putting the baby to bed. HOOKER You goin' to church now? ALVA They been havin' late bingo down there. I'm gon na call on the Lord for a little cash, while he's still payin' off. Luther, you look in on that child from time to time, will ya? Luther nods that he will. Alva, Leroy and Louise leave for church as Hooker strolls over and tosses two packets on the table. Luther does n't pick his up, but the other man does. We now see that he is the thief in the opening sequence. He is called the Eirie kid and he is delighted at his share. EIRIE KID Hey, Luther told me he was carrying a wad, but I did n't figure this much. HOOKER Which way did he do, Eirie? EIRIE KID Straight north. He was gon na take it all and run. HOOKER -LRB- laughs. -RRB- The bastard. He can blow his nose all the way. They laugh again, but Luther does n't share their enthusiasm. He watches Hooker who becomes uncomfortable under his gaze. COLEMAN You're late. Where you been? HOOKER -LRB- flopping into a chair. -RRB- I had some appointments. COLEMAN -LRB- not fooled. -RRB- How much did ya lose? HOOKER -LRB- after a pause. -RRB- All of it. COLEMAN -LRB- pissed. -RRB- In one goddamn night? What are ya sprayin' money around like that for? You coulda been nailed. HOOKER I checked the place out. There were n't no dicks in there. COLEMAN You're a con man, and you blew it like a pimp. I did n't teach ya to be no pimp. HOOKER What's eatin' you? I've blown money before. COLEMAN No class grifter woulda' done it, that's all. HOOKER You think my play is bad? COLEMAN I think it's the best. Hooker sinks back, embarrassed that he misread Coleman's intentions. COLEMAN It's the only reason I ai n't quit before now. HOOKER -LRB- bewildered. -RRB- What? COLEMAN I'm gettin' too slow for this racket. I done the best I'm gon na do. You hang on too long, you start embarrassin' yourself. HOOKER What are you talkin' about? We just took off the biggest score we've ever had. We can do anything we want now. COLEMAN It's nothin' compared to what you could be makin' on the Big Con. You're wastin' your time workin' street marks. HOOKER Hey look. You think I'm gon na run out on ya or somethin'? Just cause we hit it big. Luther, I owe you everything. If you had n't taught me con, I would n't know nothin'. COLEMAN -LRB- a little embarrassed. -RRB- Aw hell, you sound like some goddamn sucker. You know everything I know. You got nothin' more to learn from me. HOOKER But you played the Big Con. You said it was nothin'. A game for flakes and mama's boys. COLEMAN And I'm tellin' ya now, you're a fool if you do n't get into it. A bigger fool than I was. -LRB- pause, holding up the money. -RRB- I been lookin' for this one all my life, Johnny. Now I got a chance to step out at the top. Hooker knows it's no use. HOOKER -LRB- after a long silence. -RRB- What the hell you gon na do with yourself? COLEMAN Aw, I got a brother down in K.C., runs a freight outlet. I can go halfsies with'em! It ai n't too exciting, but it's mostly legal. Hooker just nods. COLEMAN Straighten up, kid. I would n't turn ya out if ya were n't ready. -LRB- flipping Hooker a piece of paper. -RRB- I got a guy named Henry Gondorff I want you to look up. There ai n't a better insideman alive. He'll teach ya everything ya got ta know. HOOKER You'll take a cut of what I make, wo n't ya? COLEMAN I'm out, Johnny. HOOKER If that's the way you want it. COLEMAN That's the way I want it.\",\n \"EXT. A DIMLY LIT STREET - NIGHT It's late at night now. Hooker and Eirie wander along the street together, not really ready to go home, but with no other ideas either. Hooker, obviously preoccupied, idly strikes a match on a street lamp as he passes and lets it burn out. He does this several times. HOOKER How do you like that Coleman, huh? After three years. EIRIE KID Aw come on, it was the only thing to do. He knew he was holdin' ya back. HOOKER We were partners. If it were n't for Luther I'd still be hustlin' pinball down at Gianelli's. I do n't need anything more than I got. HOOKER You ai n't gon na have nothin' if you do n't lay off them games of chance. There's a depression on ya know. HOOKER There's always a depression on. EIRIE KID If you saved a little, you would n't have to grift so much. HOOKER I like griftin'. EIRIE KID You could buy yourself some things. Clothes, or a nice car. HOOKER I do n't look any good in clothes and I do n't know how to drive. What else ya got to sell, Eirie? EIRIE KID Forget it. They walk on a few more feet, when suddenly a police car pulls up alongside them and two men jump out. The first, a uniformed policeman, grabs Eirie around the neck. Hooker makes a break for it, but the second Figure, a burly detective named Snyder, tackles him in the middle of the street, drags him back into the alley and plasters him up against a brick wall. The two have met before. HOOKER Hi there, Snyder. Things a little slow down at the Bunco Department tonight, eh? Somebody lose the dominoes? SNYDER You scored blood money today, Hooker. You need a friend. HOOKER -LRB- knocking Snyder's hand away. -RRB- Aw, find yourself a shoplifter to roll. Snyder gives Hooker a swift knee in the thigh and follows it with an elbow across the head. Hooker flies into a row of boxes and garbage cans. HOOKER -LRB- getting up slowly. -RRB- You got the wrong guy, pal. I been home with the flu all day. -LRB- rising to a fuller height. -RRB- You can stake out my toilet if you want. Bang. Snyder, infuriated by Hooker's irreverence, slams him to the ground again. The policeman is no longer holding Eirie but is almost daring him to make a move. Eirie wants to go to Hooker's aid, but he knows the policeman will beat him to a pulp. SNYDER -LRB- pulling Hooker out of the heap and smashing him against the wall again. -RRB- I'll tell ya what you did, smart boy. You tied into a loaded mark on 47th across from Maxies. You and Coleman played the switch for him and blew him off to a cab on 49th. If he had n't been a numbers runner for Doyle Lonnegan, it woulda been perfect. HOOKER -LRB- startled by the information. -RRB- You're crazy. I'm not stupid enough to play for rackets money. SNYDER Not intentionally maybe, but that do n't make no difference to Lonnegan. He'll swat you like any fly. HOOKER I'll square it with the fixer. SNYDER Nobody can buy you a prayer, if I put the finger on ya. Snyder lets go. Hooker sinks back against the wall. He says nothing ; he's waiting for the price. SNYDER I figure your end of the score was at least 3 gees. I want 2 no matter what it was. HOOKER -LRB- lying. -RRB- My end was only one. SNYDER -LRB- not taking the fake. -RRB- Then you'll have to come up with another grand somewhere. Hooker is beat and he knows it. HOOKER All right. He reaches into his coat, pulls out a stack of bills and counts out $ 2000 to Snyder. Eirie looks on in amazement ; he did n't think Hooker had it. SNYDER -LRB- pocketing the money and motioning his partner to put his gun away. -RRB- You're a smart egg, Hooker. No use dyin' for 2 grand. Snyder and his policeman friend get in their car and start down the street. Hooker and Eirie walk nonchalantly in the other direction. EIRIE KID I thought you blew all your money. HOOKER I did. That stuff I gave him was counterfeit. They'll pinch him the first place he tries to spend it. Snyder and his partner disappear around a corner. Hooker suddenly takes off like a shot.\",\n \"INT. DRUGSTORE - NIGHT He runs into a drugstore and goes to the phone booth. There's already a woman in it. Hooker rips open the door and throws her out. Hurriedly, he begins to dial. EIRIE KID -LRB- standing outside the booth. -RRB- What the hell you gon na do when Snyder rushes his finger right to Lonnegan? You're committin' suicide, kid. HOOKER -LRB- waiting for the ring. -RRB- Aw Christ, it does n't make no difference now. If Snyder knows about it so does everybody else. He never gets anything first. Damn, there's no answer at Luther's. EIRIE KID Listen to me, Hooker. What ever you do, do n't go back to your place tonight, do n't go anyplace you usually go, ya hear me? Get outa town or somethin', but. Hooker, still getting no answer, slams the phone down and blasts out of the booth.\",\n \"EXT. STREET - NIGHT Eirie chases him frantically, calling him to come back, but he's giving away too many years and there's no stopping Hooker at this point.\",\n \"EXT. STREET - NIGHT - SHOTS OF HOOKER Pumping down the street.\",\n \"EXT. LUTHER'S BROWNSTONE - NIGHT Hooker races into Luther's brownstone, charges up to the third floor.\",\n \"INT. LUTHER'S BROWNSTONE - NIGHT Hooker runs up through a small group of people on the stairs. He bursts into Luther's room, the door of which is already open. The room shows signs of a struggle, a turned - over chair, a broken lamp, but there is no Coleman. Hooker goes slowly to the window. He looks down into the courtyard and then suddenly sprints back out the door. As we hear him scrambling down the stairs, the camera dollies to the window and looks out.\",\n \"EXT. COURTYARD - NIGHT There on the concrete below, face down, is the body of Luther Coleman. Hooker races out to it and kneels down. HOOKER -LRB- shaking the body. -RRB- C'mon Luther, get up. You got ta get up, Luther. In the distance, sirens are heard. Heads are out of the windows and some people are starting to gather in the courtyard. HOOKER -LRB- CONT'D. -RRB- Goddamn you, Luther, will you get up? -LRB- pounding on the body. -RRB- I'm not waitin' for you, Luther. I'm not waitin' anymore. Get up, you son of a bitch. Goddamn you, Luther, goddamn. The sirens are close now, and Hooker tears himself away from Luther and runs. The others gather to look at the body. FADE OUT. THE SET - UP FADE OUT.\",\n \"INT. THE TRAIN STATION - DAY We open on Hooker sleeping in some remote corner of the station, covered with newspapers for warmth, and barely distinguishable from the clutter of junk surrounding him. A station security officer, on his morning sweep, wanders by and delivers a terrific blow to the soles of Hooker's feet with a nightstick. Hooker jolts awake with a cry of pain, as the officer diffidently moves on toward another sleeping victim. Tired and sore from his night in the station, Hooker struggles to his feet and attempts to take stock of the situation. He tries to smooth the wrinkles out of his suit, but it's futile. A quick check of his wallet finds it as empty as he'd remembered it. THE STATION - GIFT SHOP - DAY Hooker walks in and goes to the toy section. He looks through several small novelties, till he finds what he's looking for - a little tin replica of a policeman's badge. He looks around for station detectives, and seeing none, slips the badge into his pocket. THE STATION - WASHROOM - DAY Hooker rinses out his mouth, towels off his face and slicks his hair back with water. It's a drop in the bucket, but it seems to revitalize him a little. STATION - HALLWAY - DAY We see Hooker removing a sign from a door, but the angle prohibits us from reading it.\",\n \"INT. STATION - DAY He drops the sign in a waste can and walks out into the crowded passenger lobby. After scanning the area carefully for a minute, he goes up to a conservative young business man, who's busy reading the schedule board. HOOKER -LRB- flashing open his wallet to reveal the little tin badge and then closing it again quickly. -RRB- Excuse me, sir. Treasury Dept. I'd like to ask you a few questions. MAN -LRB- flustered. -RRB- What for? I have n't done anything. HOOKER We do n't doubt that, but there's a counterfeiting operation passing bad money in the station. Have you made any purchases here today? MAN -LRB- reluctantly. -RRB- Yes, a ticket to Chicago. HOOKER Then I'm afraid we'll have to impound your money until we're sure that it's all good. Can I see your wallet and your ticket, please? MAN -LRB- handing them over. -RRB- But I got a train to make. HOOKER -LRB- taking out the money and returning the wallet. -RRB- It'll only take 20 minutes or so. You can pick it up at the window down the hall. MAN But what about all these other people? HOOKER -LRB- blowing up. -RRB- We'll get'em! Give us a chance. I'm not the only agent in here, ya know. We go around advertising ourselves, how many counterfeiters do you think we'd catch, huh? -LRB- pointing to his suit. -RRB- You think I'm wearin' this rag here'cause I like it? Christ, everybody thinks life's a holiday or somethin' when you got a badge. -LRB- pouring it on. -RRB- I been here since three this morning, Charlie, and I never knew there was so much ugliness in people. You try to help'em and they spit on you. I shoulda let ya go and gotten yourself arrested for passin' false notes. The Businessman is totally shamed. MAN I'm sorry, really I am, but my train leaves in ten minutes. HOOKER All right, I'll give ya a break. -LRB- pointing to a hall. -RRB- Down that hall there, there's an unmarked door on the left. Go on in there and wait at the window. I'll take this. -LRB- he holds up the money. -RRB-. in the back and run it through right away. We'll have you outta there in a couple minutes. MAN Thank you. You do n't know how much I appreciate this. HOOKER -LRB- with a little wave. -RRB- Think nothin' of it. The man goes off down the hall, more than grateful to be given a break like this. Hooker heads for the `` back''. We follow the Man down the hall to the unmarked door. He strides on through to find himself face to face with a wall of busily flushing urinals.\",\n \"EXT. STATION - DAY - HOOKER Boarding the 8:10 for Chicago.\",\n \"INT. STATION - DAY The Man wandering up and down the hall, wondering how he could have missed that room.\",\n \"EXT. CHICAGO STREET - DAY The street runs along side an elevated train track. We pick up Hooker coming down the street, eating a hot dog he bought with the money he just earned in the train station. He appears to be looking for an address, referring every now and then to the piece of paper Luther gave him the night before. Finally he stops in front of an old three - story building which contains a carousel on the bottom 2 floors and what appear to be apartments on the third floor. He peers inside the big, sliding glass doors and seeing no sign of life, goes around to the side to look for a way in. A 35 year - old woman, Billie, appears in her bathrobe on the second floor landing and descends the stairs to get the morning paper. She's eating an apple. Although she has just gotten up and looks it, she has the presence of one who is probably quite striking at other hours. The sight of Hooker fazes her not at all. HOOKER Excuse me, I'm looking for a guy named Henry Gondorff. You know him? BILLIE -LRB- starting back up the stairs. -RRB- No. HOOKER Luther Coleman sent me. Billie stops and comes back down the stairs. It's the first time she's stopped chewing. BILLIE -LRB- checking him out. -RRB- You Hooker? HOOKER Yeh. BILLIE Why did n't you say so. I thought maybe you was a copper or somethin'. She goes to a side door and unlocks it. BILLIE It's the room in the back. He was n't expecting you so soon though. Hooker's not quite sure what that means, but there's something about Billie that makes him know that you do n't ask.\",\n \"INT. CAROUSEL - DAY Hooker walks past the now motionless carousel to the room in the back and knocks on the door. No answer. He gives the door a little push and it swings open.\",\n \"INT. GONDORFF'S ROOM - DAY The room inside if small and cluttered, consisting of a bed, a sink, and a bathroom, all covered by a layer of books, dirty clothes and beer bottles. Draped over a chair, fully dressed, but completely passed out is the one and only Henry Gondorff. HOOKER -LRB- to himself. -RRB- The great Henry Gondorff.\",\n \"INT. A SHOWER - DAY Water blasting out of the fixture. We see Gondorff, still fully clothed, sitting in the bottom of the shower, the spray streaming off his face. An imposing figure, with deep set eyes and full beard, he just sits there stoically, looking like a soggy lumberjack. Hooker, sitting on the floor between the toilet and the sink, watches listlessly. Finally - GONDORFF Turn the goddamn thing off, will ya. HOOKER You sober? GONDORFF I can talk, ca n't I? Hooker makes no move to get up. Gondorff struggles to his knees, turns off the water, and slumps back against the wall. The two men just look past each other a second. Down in the bottom. GONDORFF Glad to meet ya, kid. You're a real horse's ass. HOOKER Yeh, Luther said you could teach me something. I already know how to drink. Gondorff wipes his face with his hand. His mood softens a little. GONDORFF -LRB- quietly. -RRB- I'm sorry about Luther. He was the best street worker I ever saw. HOOKER He had you down as a big - timer. What happened? GONDORFF Aw, I conned a Senator from Florida on a stocks deal. A real lop - ear. He thought he was gon na take over General Electric. Some Chantoozie woke him up, though, and he put the feds on me. HOOKER You mean you blew it. GONDORFF -LRB- pause. -RRB- Luther did n't tell me you had a big mouth. HOOKER He did n't tell me you was a fuck - up, either. -LRB- Gondorff looks at him coldly. -RRB- You played the Big Con since then. GONDORFF No, I lammed it around for a while while things cooled off. Philly, Denver, Baltimore, nuthin' towns. Hooker's disappointment is obvious. GONDORFF But do n't kid yourself, friend, I still know how. Hooker nods, unconvinced. GONDORFF -LRB- getting up from the floor and emptying the water out of his pockets. -RRB- You gon na stay for breakfast, or do you already know how to eat? HOOKER -LRB- tired. -RRB- I picked something up on the way. GONDORFF -LRB- sensing something. -RRB- Lonnegan after you, too? HOOKER I do n't know. Have n't seen anybody. GONDORFF You never do, kid. We go to Hooker. He had n't thought of that.\",\n \"EXT. A BEAUTIFUL OLD COLONIAL COUNTRY CLUB - LONG ISLAND DAY Lonnegan, in plus fours and argyles sits on a bench as other members of his foursome tee off. Floyd comes up to him. FLOYD We got word from Chicago. They got one of the grifters last night. The nigger. LONNEGAN What about the other one? FLOYD They're still looking for him. LONNEGAN Who's got the contract? FLOYD Combs gave it to Reilly and Cole. LONNEGAN Hackers. FLOYD They staked out the other guy's place last night, but he never showed. They figure maybe he skipped town. You wan na follow'em up? Lonnegan regards Floyd patiently and then pats the bench beside him. Floyd sits gingerly. LONNEGAN You see the guy in the red sweater over there? We cut to one of Lonnegan's foursome, a short, squat little Irishman in a red sweater. He was a good - time, friendly manner and a winning Irish smile. We like him immediately. LONNEGAN Name's Danny McCoy. No Neck McCoy we called him. Runs a few protection rackets for Carnello while he's waiting for something bigger to come along. Me and Danny been friends since we were six. Take a good look at that face, Floyd, cause if he ever finds out we let one lousy grifter beat us, you'll have to kill him and every other hood in Chicago who'd like to do the same thing. You understand what I'm sayin'? FLOYD Yes sir. LONNEGAN Good lad. Lonnegan is called to the tee by one of his foursome. He exchanges a friendly smile with McCoy and belts the ball down the fairway.\",\n \"INT. THE CAROUSEL AGAIN - DAY Gondorff, dried off now and in a new set of clothes, is pulling up the shades of the large facing windows of the carousel building. The morning light pours in, illuminating fully for the first time the ornate merry - go - round and its massive oaken horses. Hooker watches him go about his business. Billie calls down from the mezzanine which surrounds the carousel. BILLIE You feeling all right this morning, Henry? GONDORFF Fine, Billie. BILLIE You mind opening the round a little early today? We got some business coming in before hours. Gondorff waves okay. GONDORFF -LRB- to Hooker. -RRB- Great little countess, that Billie. Runs a good house up there, too. One of the few left that Luciano does n't own. Gondorff walks around on the carousel, checking straps, bearing and poles. Hooker follows him. HOOKER -LRB- getting impatient. -RRB- Gondorff, you gon na teach me the Big Con or not? GONDORFF -LRB- on his back, checking underneath one of the horses. -RRB- You did n't act much like you wanted to learn it. HOOKER I wan na play for Lonnegan. GONDORFF -LRB- getting up. -RRB- You know anything about him? HOOKER -LRB- exploding. -RRB- Yeh, he croaked Luther. What else do I got ta know. Gondorff just sits tight and waits for him to cool off. HOOKER -LRB- waving Gondorff off, embarrassed at his own outburst. -RRB- Aw right, he runs the numbers outta the south side. GONDORFF -LRB- going over to start the machinery. -RRB- And a packing company, a chain of Savings and Loans and half the politicians in Chicago and New York. There ai n't a fix in the world gon na cool him out if he blows on ya. HOOKER I'll take him anyway. GONDORFF -LRB- whirling on him. -RRB- Why? HOOKER -LRB- like steel. -RRB-'Cause I do n't know enough about killin' to kill him. It's the right answer. Gondorff did n't know it himself until now. GONDORFF You ca n't do it alone, ya know. It takes a mob of guys like you and enough money to make'em look good. HOOKER We'll get by without'em. GONDORFF This is n't like playin' winos on the street. You got ta do more than outrun the guy. HOOKER -LRB- incensed. -RRB- I never played for winos. GONDORFF -LRB- going right on, ignoring Hooker's remark. -RRB- You got ta keep Lonnegan's con, even after you spent his money. And no matter how much you take from his, he'll get more. HOOKER You're sacred of'em, are n't ya? GONDORFF Right down to my socks, turkey. If I ` da been half as scared a that lop - ear, I would n't a fallen asleep on'em. Lonnegan might kill me, but at least he wo n't bore me to death. HOOKER Then you'll do it? GONDORFF If I can find a mob that'll risk it. But no matter what happens, I do n't want you comin' back to me halfway through and sayin' it's not enough. cause it's all you got. Hooker nods. Gondorff switches on the carousel and steps back to admire his handiwork. The carousel makes a grinding sound, does a few lurches and stops cold. Music begins and we are into a short : MONTAGE SEQUENCE Detailing the arrival of the others three members of Gondorff's `` mob.'' Throughout, Gondorff wears the fedora hat which is his trademark. We begin with - A tall, good - looking man, Kid Twist, making his way through the railway station. Impeccably dressed and carrying a small suitcase, he combs the terrain carefully with his eyes. Finally he catches a glimpse of the thing he's been looking for. It's Gondorff, standing by a newsstand. Gondorff makes a quick snubbing motion on his nose as if flicking off a gnat. This is known among con men as the `` office.'' Twist returns the sign with a barely discernible smile as he walks on by. Con men rarely acknowledge each other openly in public, but it's obvious that these two are glad to see each other.\",\n \"INT. BARBER SHOP - DAY Hooker in, having his hair cut and his nails manicured. Gondorff gives instructions to the barber.\",\n \"INT. HABERDASHERY - DAY Hooker is modeling a new suit in front of a mirror. He does n't look too pleased, but Gondorff peels out a bankroll anyway.\",\n \"EXT. HOTEL - DAY A pair of white spats stepping off a bus. We follow them into a :\",\n \"INT. HOTEL LOBBY Where we tilt up to reveal J.J. Singleton, the most flamboyant of the bunch. On his way to the check - in desk, he silently exchanges the `` office'' with Gondorff, who is sitting on a lounge reading the paper.\",\n \"INT. APARTMENT - DAY Hooker being shown into a small apartment room by an old woman. It consists of a bed, a table and a sink. Hooker nods his acceptance to the woman and gives her a bill. He takes another look around the room and decides to go out somewhere, but first he wedges a small piece of paper between the door and the jamb, about an inch off the floor.\",\n \"INT. A BIG METROPOLITAN BANK - DAY We hold on a slight, bespectacled teller, Eddie Niles, in the process of counting a large deposit. Niles is all business ; if he's ever smiled, no one knows about it. He glances up for a second and sees Gondorff `` officing'' him from across the bank. Without a word he shoves the money he's been counting back into the hands of a startled customer, abruptly closes up his window, flips his identification tag on the manager's desk and walks out of the bank.\",\n \"INT. AN UPSTAIRS ROOM OF THE CAROUSEL BUILDING - NIGHT This room has obviously been relegated to the status of the storage room. It contains the water heater, mops and brooms, old bed springs, etc.. In the middle of the room a space has been cleared for a table, around which are seated Hooker, Gondorff, Niles, Singleton and Twist. Gondorff is in his T - shirt, but still wears his hat. Kid Twist is in a suit as usual. The room is illuminated by a single bare bulb hanging from the ceiling. TWIST -LRB- showing Hooker photographs of three men. -RRB- These are Combs' favorite torpedoes. Riley and Cole. We recognize Riley and Cole as the two guys who got into Mottola's cab. TWIST They do most of the small jobs, but Lonnegan might not wan na use'em on you'cause they're kinda messy. No class. We go to Hooker. He's real grateful. Billie, wearing an evening dress, enters the room and begins gathering up the empty beer mugs on the table. TWIST We got reason to believe Riley was the guy who hit Luther. But if you see either one of these two, find yourself a crowd, or take'em someplace you know you can handle'em. GONDORFF But most of all let us know. If they got a hit on you, we got ta fold up the con. You're too exposed. You got that? Hooker nods, but we know he has n't really got that. HOOKER You sure it'll be one of these two? TWIST No. They're just the only ones we know of. Billie has finished gathering the mugs, and leaves the room with them. We follow her down the hall and into the : RECEIVING ROOM OF HER BROTHEL Carousel music filters up from the arcade below. The room has a bar along one wall and the rest of the space is taken up by tables and couches. It's a comfortable place, but not opulent. Some of the girls sit patiently on the couches, others play canasta at the tables. Most of the men are at the bar, fortifying themselves for the task at hand. Billie comes over to the bar. BILLIE -LRB- to the bartender. -RRB- Set me up five more beers, will ya Danny. As Danny goes to fill the mugs, Billie's eyes fix on a man at the end of the bar. We move to reveal Snyder, intently scanning the room, as if he'd lost a dancing partner in the crush. Not finding what he wants, he comes down the bar to Billie. SNYDER You the owner here? BILLIE That's right. SNYDER -LRB- flipping out his badge. -RRB- Lieutenant Snyder. Bunco. BILLIE Joliet badge, Snyder. Do n't cut much up here. SNYDER -LRB- trying to ignore her remark. -RRB- I'm lookin' for a guy on the lam from a counterfeiting rap. Thought he mighta come in here. BILLIE Do n't think so. I know everybody in the place and I always bounce the lamsters. SNYDER All right if I look around your lobby? BILLIE No, but you're welcome to a free beer before you go. Billie grabs a bottle of beer, pours some in a shot glass and pushes it over to Snyder. He ignores the gesture. SNYDER -LRB- with controlled force. -RRB- I do n't really need your permission. We go to Billie. She knew that when he came in. THE STORAGE ROOM AGAIN The discussion continues. Hooker, a bit out of his depth here, listens and stays silent. SINGLETON Lonnegan's a fast egg, Henry. He's not gon na sit still for a standard play. GONDORFF Everybody'll sit still for somethin'. What did ya find out about the train, Eddie? NILES He's been taking the 8:10 Century Limited outa New York on Friday and getting in here early Saturday morning. He usually stays a day to check on his policy operations, and then flies back. GONDORFF Wonder why he does n't fly both ways. NILES The porters say he runs a braced card game in one of the cars. $ 100 minimum, straight poker. Last time he pulled in here ten grand heavier than he left New York. GONDORFF Fancies himself a gambler, huh? TWIST Lotta plungers ride that train just to play him. GONDORFF -LRB- breaking into a smile. -RRB- See J.J., he's slowly down already. THE RECEIVING ROOM AGAIN Snyder has completed his inspection of the `` lobby'' and found nothing. Danny, meanwhile, has set up the five beers on a tray. SNYDER Which way are the rooms? BILLIE Who told ya this guy was in here? SNYDER Nobody. I just know what kinda women he likes. I'm gon na check all the joyhouses till I find him. BILLIE Maybe I could help ya if ya told me his name. SNYDER I think I'll keep that to myself. Which way are the rooms? BILLIE Right through there. But I would n't go in there if I were you. -LRB- picks up the tray. -RRB- SNYDER -LRB- snidely. -RRB- What are ya gon na do, call the cops? BILLIE I do n't have to. You'll be bustin' in on the Chief of Police just up the hall. -LRB- she exits with the drinks. -RRB- Snyder is stopped cold. He calls after her. SNYDER Keep your nose clean, lady. He ca n't spend all his time here. THE STORAGE ROOM AGAIN Billie comes over to Gondorff and whispers in his ear, while the others talk. His eyes flick momentarily to Hooker. SINGLETON I think we ought to play him on the Rag. It's the tightest game we got, and it's not all over the papers yet. NILES No good, J.J. You're not gon na con stocks to a banker. Lonnegan's too smart for that. TWIST What are you going to do, con the payoff to a gambler? SNYDER Twist is right. It wo n't work. Gondorff has nodded to Billie and now rejoins the conversation. She serves the others beer. GONDORFF We'll use the wire. Never known a gambler who would n't like to beat the ponies. NILES The wire is ten years outa date. GONDORFF That's why he wo n't know it. SINGLETON I'm not sure I know it. GONDORFF We'll give him the hook on the train, and play him here. You think I can get in that poker game, Eddie? NILES All you got ta do is show up with some money and look like a fool. GONDORFF I also got ta win. He looks at Hooker. There is a challenge in their book. Gondorff smiles broadly, then casually, to them all. GONDORFF By the way, any of you guys been passing off any green goods lately? We go around the table. No reply. GONDORFF Billie, if that Dick comes in again, stall him till I can get a look at him. And let me pay ya for these beers. BILLIE What are you talking about? It's on the house. GONDORFF -LRB- pulling out a $ 5 bill. -RRB- Naw, I want ya to have this. He hitches up Billie's skirt, and puts the bill in her garter. GONDORFF Do n't look at it till ya go to bed though or it'll turn to paper. Billie smiles and leaves the room.\",\n \"INT. HALLWAY She walks halfway down the hall and stops. She ca n't wait. Lifting up her skirt, she finds that the five has indeed turned to paper. As she breaks into laughter and continues on down the hall, we : FADE OUT. THE HOOK FADE OUT.\",\n \"EXT. A SUNKEN ALLEY - DAY Actually little more than a service area between two apartment buildings. Niles, Kid Twist, and a middle - aged black man, named Benny Garfield, enter the alley with an old man and follow him down a stairwell to a subterranean basement. A faded sign above the door says Stenner's Billiards. We follow them inside to a :\",\n \"INT. A LARGE BARREN ROOM - DAY An office comes off it at one end. Judging from the fluorescent lights overhead and the scattered cue racks which still hang tenuously on the walls, the place, indeed, used to be a pool hall. Niles and Garfield go all the way to the back, while Twist stays near the front with the old man. NILES Looks all right. It's big enough and off the street. GARFIELD I do n't know. This is kinda short notice. I'm not sure we can get it all done by Saturday. NILES Got to. Gondorff's ridin' the mark in from New York on the Century. Garfield thinks it over a little. He's taking another look at the place. We go to Twist and the old man by the door. TWIST We'll take it. -LRB- pointing through the door. -RRB- You manage the building at the end of the alley? OLD MAN -LRB- with pride. -RRB- For fifteen years. TWIST I'll need a room over there that faces this way. How much a week? OLD MAN Only rents by the month. Two hundred and fifty for the two of them. TWIST -LRB- pulling out his wallet. -RRB- This is the last time I expect to see you down here. OLD MAN -LRB- watching the bills being counted into his hand. -RRB- Never heard of the place. We go back to Niles and Garfield. GARFIELD Been a while since I stocked a wire store. Not many mobs playing that anymore. NILES All we need is the bookie setup for now. We'll worry about the telegraph office later. GARFIELD All right, I'll rent ya everything I got in the warehouse for two grand. That'll give ya phones, cages, blackboards and ticker gear. You supply the guys to move'em. If you want a counter and bar, that's another grand. I do n't know where the hell I'm gon na get'em though. NILES C'mon, you can do better than that. We ai n't no heel grifters. GARFIELD You want the stuff tomorrow or do n't ya? It's gon na take hours just to clean it up. -LRB- pause. -RRB- Besides, Gondorff's still a hot item. Where am I gon na be if he gets hit? NILES Just give us what ya can, Benny. We'll send a truck down. Twist has rejoined them by now. TWIST -LRB- to Garfield. -RRB- You wan na work flat rate or percentage? GARFIELD Who's the mark? TWIST Doyle Lonnegan. GARFIELD Flat rate.\",\n \"INT. A NEW YORK TRAIN STATION - DAY We pick up Doyle Lonnegan, accompanied by two bodyguards and Floyd, making his way through the station. He stops at a cigar counter to buy some cigarettes, and we reveal Gondorff and Hooker sitting on their suitcases on the other side of the room. GONDORFF -LRB- eyes fixed on Lonnegan. -RRB- Guy in the blue pinstripe and grey fedora. Hooker looks and finally spots him in the crowd. We go back to Lonnegan, as he moves off from the cigar counter, toward his train. Hooker watches him with the intensity of one gazing on a religious object. HOOKER He's not as tough as he'd like to think. GONDORFF -LRB- picking up his suitcase. -RRB- Neither are we.\",\n \"EXT. TRAIN Lonnegan and his retainers getting on the train. Two cars down the line, we see Hooker and Gondorff boarding also. On his way in, Gordorff takes the conductor aside. GONDORFF I hear there's a friendly poker game on this train tonight. You know anything about that? CONDUCTOR A little. GONDORFF You think you could get me in that game? CONDUCTOR I do n't know. There's usually a waiting list. Gondorff flashes a $ 50 bill. CONDUCTOR -LRB- loosening up a bit. -RRB- That'll get you first alternate, sir. Gondorff pulls out another fifty. CONDUCTOR -LRB- taking the money. -RRB- I'll see what I can do.\",\n \"INT. A BASEMENT BAR - EARLY EVENING Kid Twist enters and threads his way through the maze of tables to a door at the back of the building. A large bull of a man is stationed there, obviously to discourage those who do n't have credentials to enter. Twist is not such a man. TWIST -LRB- going right on through. -RRB- How ya doin', Lacey. LACEY -LRB- innocently pleased for one so menacing. -RRB- Good to see ya again, Twist.\",\n \"INT. ANOTHER ROOM - EARLY EVENING Inside is another room, this one much better lit than the outer one. There are only three tables in here, around which are seated the elite of the Con World. Twist is enthusiastically greeted by Duke Boudreau, a large, rotund man whose stylish dress and authoritative manner mark him as a powerful figure in this group. BOUDREAU Twist! When did you get back in town? TWIST Coupla days ago. I'm workin' a big one with Gondorff on the North Side. The two men sit down together, apart from the others. TWIST Listen Duke, we're setting up a wire store. I need a twenty man boost right away. BOUDREAU I got twenty or so in here tonight. Take your pick. TWIST These guys have got ta be the quill, Duky. We ca n't afford to rank the joint. BOUDREAU -LRB- to one of his assistants. -RRB- Get me the sheet, Jake. Let's see who's in town. THE OUTER PART OF THE BAR AGAIN A silhouetted figure appears in the entrance doorway. The word `` chill'' races from table to table and the place falls still. The bartender pushes a button behind the bar and a buzzer goes off in the back room. Boudreau gets up from his table and opens a small viewing port in the door. The silhouetted figure is now walking slowly past the silent tables. It's Snyder and he's checking out every face in the place. BOUDREAU Twist, you know this guy? TWIST -LRB- taking a look through the viewing port. -RRB- No. Never saw him before. He's a dick, though. Snyder walks all the way to the back, and then retraces his route. About halfway back, he stops at one of the tables, recognizing a grifter he knows. It's the Eirie Kid. EIRIE KID Hello, Snyder. What are you doin' up here? SNYDER I'm on vacation. You seen your friend lately? EIRIE KID Yeh, he packed it in and enrolled in detective school. Snyder, in no mood for jokes, grabs Eirie by the hair and slams his face into the table. Eirie just stays there ; he knows it does n't pay to assault a detective. Twist is watching all this intently from the viewing port. SNYDER You see him, you tell him to pay his debts before I get him. Eirie raises his head slowly, but says nothing. There is a slight trickle of blood from his nose. Snyder turns and walks slowly out of the bar. When he is a safe distance down the street, the chatter and drinking resume. THE INSIDE ROOM AGAIN Twist gives an all clear signal and returns to the table where he and Boudreau were talking. Boudreau reads from a list of names. Twist listens with a certain preoccupation. He's still thinking about the little confrontation he just witnessed. BOUDREAU Paltrow, Sterling, Furey, and the Big Alabama are in from New Orleans. Fiskin and the Boone Kid from Denver, and Phillips, Barnett and Limehouse Chappie from New York. Those and the guys outside should give ya 30 or so to choose from. TWIST Good, have'em down at Stenner's old Pool Hall before 3:00. We're gon na run through the route tonight. BOUDREAU Okay, Twist, but you know if this blows up, I ca n't do ya no good downtown. Gondorff is Federal. TWIST Do n't worry about it, pal.\",\n \"EXT. SPEEDING PASSENGER TRAIN - NIGHT Ripping through an open stretch between New York and Chicago.\",\n \"INT. TRAIN - NIGHT Singleton is walking down a passageway and stops at a door and goes in.\",\n \"INT. GONDORFF'S COMPARTMENT - NIGHT Gondorff is rapidly shuffling cards to four empty places. He is alone. He looks up as Singleton enters. SINGLETON You in? GONDORFF Yeh, I think so. I gave the kay - ducer a C - note. You find out the deck? SINGLETON He usually plays with a Royal or a Cadenza. -LRB- handing him two sealed decks. -RRB- I got you one of each. He likes to cold deck low, 8's or 9's. GONDORFF Nice work, J.J. Singleton slips out as Gondorff unpeels the packs.\",\n \"INT. TRAIN - NIGHT We pick up Lonnegan coming out of his compartment, flanked by only one bodyguard and Floyd. He starts through the passenger section toward the compartment where the poker game will be held. Suddenly a drunken woman comes staggering around the corner and bumps into him. They grapple a moment and Lonnegan pushes her away in disgust. WOMAN -LRB- sloppy drunk. -RRB- Keep your mitts off me, ya big lug. If I ` da wanted you handlin' me I woulda asked ya. Lonnegan ignores her and proceeds down the passageway. As the woman proceeds in the other direction between passengers, we see it is Billie. She drops something on a seat beside a passenger. A hand reaches to pick it up. It is Lonnegan's wallet and it is Hooker who picks it up. Hooker waits a moment, then stands and goes in the direction Lonnegan has taken. He passes by the open door to the card room, hesitating only slightly to hear the greetings exchanged inside before the door is shut. Then he continues on into the next car. He turns into Gondorff's compartment.\",\n \"INT. GONDORFF'S COMPARTMENT - NIGHT Gondorff is still practicing. He looks up as Hooker enters and tosses him the wallet. HOOKER She got him clean. He has n't missed it. Gondorff nods, takes the money out, counts it. GONDORFF Fifteen grand. Looks like he's expecting a big night. He takes out his own wallet and puts the money in it, and tosses the empty wallet back to Hooker, and resumes his shuffling and dealing. Hooker sits back silently and watches him. HOOKER He's waitin' for you in the card room. GONDORFF Let him wait. As he deals, on the second pass he attempts to cut from the bottom, muffs it completely and sprays half the deck on the table. Hooker regards him steadily as he gathers them back up. Gondorff finally meets his gaze. GONDORFF You just worry about your end, kid. HOOKER If we ever get to it.\",\n \"INT. THE POKER ROOM - NIGHT A specially outfitted compartment with a table and chairs in the middle and leather cushions around the outside for kibitzers. Lonnegan and 3 other players are already there and seated. They're getting slightly impatient. LONNEGAN -LRB- to the Conductor. -RRB- Where the hell is this guy? CONDUCTOR I do n't know. He said he'd be here. GONDORFF'S CABIN AGAIN Gondorff is standing in front of the mirror dressing. He grabs up a clean white shirt and rumples it up in his hands. He then picks up a half - full bottle of bourbon. Hooker gives him a disapproving look. Gondorff smiles and pats some on his face. THE POKER ROOM AGAIN Everybody's itchy now. LONNEGAN All right, let's start without him. Mr. Clemens, give me the cards. The Conductor hands him a sealed deck. As he begins to open it, Gordoff comes into the room, coatless, rumpled, unshaven and looking slightly tipsy. The others at the table, all men of high school or financial standing, are somewhat put off. GONDORFF Sorry I'm late boys. I was takin' a crap. This bit of grossness does little to improve his image. CONDUCTOR -LRB- making the introductions ; referring first to Gondorff. -RRB- Mr. Shaw is a bookmaker from Chicago. Mr. Shaw, meet Mr. Clayton from Pittsburgh, Mr. Jameson, Chicago, Mr. Lonnegan, New York and Mr. Lombard, Philadelphia. Gondorff nods and takes a seat, none too gracefully. CONDUCTOR Straight poker, gentlemen. 100 dollar minimum, table stakes. We assume you're good for your debts. LONNEGAN -LRB- shuffling the cards. -RRB- Mr. Shaw, we usually require a tie at this table. If you do n't have one, we can get ya one. GONDORFF Yeh, that'd be real nice of ya, Mr. Lonneman. LONNEGAN -LRB- irritated. -RRB- Lonnegan. He begins to deal, obviously not pleased that his evening seems to be peopled with drunks.\",\n \"EXT. THE SUNKEN ALLEY - NIGHT A truck is now parked at the end of the alley, and several workmen are busy unloading it. One group carries a large blackboard ; others have boxes of glasses, ash tray stands, furniture, etc.. Take several cuts. INSIDE THE ONCE - VACANT POOL HALL Now a blaze of activity. We take several cuts of workmen papering the walls, tacking down carpet, putting in new light fixtures, painting signs, all under the supervision of Niles. From now on, we will refer to the pool hall as the store. Back in the office, Kid Twist is `` interviewing'' one by one, a group of con men lined up outside the office door. A gray - haired old buzzard, Curly Jackson, approaches the table which is serving Twist as a desk. Curly is practically in rags and has several days growth on his face. He wears a little beret which he takes off to address Twist. CURLY Name's Curly Jackson. I worked for Gad Bryan outa Baltimore. TWIST You ever played the Wire, Curly? CURLY Used to rope for it long ago. I can shill, mark board, anything you want. I do n't run with riffraff and I only drink on weekends. -LRB- affecting an English accent. -RRB- Me specialty is an Englishman. Twist is taken with the man, despite his appearance. TWIST All right, Curly, you're in. We got a rack of suits over there. Get yourself a nice tweed one. CURLY -LRB- exiting. -RRB- That's all right. I got all my own stuff. THE CARD GAME AGAIN Gondorff and Lonnegan have most of the chips. Lonnegan is slightly ahead. Gondorff has made a token attempt to wear the provided tie, having tied it in a knot around his neck, but not having bothered to put it under his collar. He has a shot glass and a bottle next to him, from which he has been drinking heavily. He and Lonnegan are the only ones left in this hand. LONNEGAN -LRB- throwing chips in. -RRB- Raise 500. GONDORFF -LRB- likewise. -RRB- See ya and raise three. LONNEGAN -LRB- more chips. -RRB- See and raise five. GONDORFF Five and call. Lonnegan lays down his hand, a solid two pair. Gondoroff turns out three tens. Lonnegan is beat. GONDORFF Tough luck, Lonnihan, but that's what you get for playin' with your head up your ass. Couple more like that and we can all go to bed early, huh boys. Lonnegan burns, and the `` boys'' have no comment.\",\n \"INT. THE STORE - NIGHT The work is still progressing. We see two workmen installing a ticket tape machine in a secluded area of the store. GARFIELD We bought ya a tap into Moe Anenberg's wire. He's got eyes at every track in the country. You'll get race results, odds, scratches, pole positions, everything ; and just as fast as Western Union gets'em. NILES Does J.J. know how to use this thing? GARFIELD All he's got ta do is read. We go to Kid Twist, still conducting interviews in the office. A young, rather sullen man, Buck Duff, steps to the table. DUFF Buck Duff. I was in Maxwell's boost in Troy. TWIST You the Duff that did n't come up with his end when Little Jeff was sent up? DUFF Was n't no problem a mine. TWIST He was a con man, was n't he? DUFF He was a tear - off rat. He got what he deserved. No sense helpin' pay his bills. TWIST -LRB- like ice. -RRB- Shove off, Duff. Duff stands there a second and then slouches away from the table. He stops however, by the door. The next man up is the Eirie Kid. Twist knows he's seen him somewhere before. EIRIE KID -LRB- nervous as hell. -RRB- Names's Joe Eirie. Twist waits for more, but it's not coming. TWIST You played for any particular mobs? EIRIE KID No. TWIST You know the Wire at all? EIRIE KID No. I never played no Big Con before. But Luther Coleman was a friend a mine. I thought maybe there was something I could do. TWIST -LRB- pointing to Eirie slightly swollen nose. -RRB- You get that nose in Duke Boudreau's tonight? Eirie nods a reluctant `` yes.'' TWIST You got moxie, Eirie. Get yourself a suit. Eirie is so happy, he can barely blurt out a thank you. Buck Duff, enraged that Twist would hire a total amateur, turns in disgust and strides vengefully out of the store. THE CARD GAME AGAIN The room is dense with smoke now, and the players are feeling the heat. Gondorff has his white shirt open, revealing a stained T - shirt underneath. The bottle next to him is almost empty. He sneezes and wipes his nose with the tie Lonnegan gave him. The chips are now about equally divided between Gondorff and Lonnegan. The others are losing badly. GONDORFF Raise 300. LONNEGAN Pass. JAMESON -LRB- throwing in his last few chips. -RRB- Raise 200. GONDORFF Two and call. Jameson lays down two pair. Gondorff has a flush. Gondorff rakes in the chips, which now put him ahead of Lonnegan. JAMESON Well, I'm out. GONDORFF Do n't worry about it, pal. Lemongan here would n'ta let you in the game if you were n't a chump. LONNEGAN -LRB- getting to his feet. -RRB- I've had enough of your lip, Shaw. Gondorff grabs the whiskey bottle next to him, breaks it against the table and waves the jagged end in Lonnegan's face. GONDORFF -LRB- barely able to stand up. -RRB- Just take it easy there, Larrabee. Jameson and the conductor step in between. JAMESON Let's take a break for a couple minutes and cool off. Lonnegan storms out of the room, followed by Floyd and Bodyguard.\",\n \"INT. SMOKING ROOM We pick up Lonnegan coming down the passageway to enter the smoking room. LONNEGAN -LRB- to his assistant. -RRB- I've had it with that bum, Floyd. Stack me a cooler. FLOYD -LRB- trying to settle him down. -RRB- You've only been playin three hours, Doyle. LONNEGAN -LRB- not to be pacified. -RRB- I do n't care. Load me a deck. Set it up for threes and nines. I'll cut it in on his deal. FLOYD -LRB- taking a deck and beginning to sort it. -RRB- What do ya want the others to get? LONNEGAN Nothin'. They got ta be outa there early. I'm gon na bust that bastard in one play.\",\n \"INT. THE POKER ROOM AGAIN - NIGHT A pair of hands shuffling. We pull back to reveal that they're Gondorff's. He passes the deck to Lonnegan to be cut and turns to pen a new whiskey bottle. Lonnegan takes the deck and in one lightning motion substitutes a new deck, while making it look like he's cutting the old one. Gondorff picks up the deck and begins to deal. As the hand is picked up, we see that Gondorff has four threes, Lonnegan four nines, and everybody else has nothing. CLAYTON -LRB- opening the bidding. -RRB- Fold. LONNEGAN 250. GONDORFF Raise 1,000. LONNEGAN Raise 500. Gondorff looks at Lonnegan very carefully for a second. Lonnegan meets his stare. GONDORFF -LRB- slowly. -RRB- Raise 2,000. The spectators shift a little. It's the biggest bet of the night. LONNEGAN See and raise 1,000. GONDORFF -LRB- taking it to him. -RRB- Raise 5,000. Lonnegan fingers his remaining chips. He knows he's won, but he wants to bleed it for every bit of suspense. LONNEGAN -LRB- going for broke. -RRB- See, and raise the rest. Lonnegan pushes in the rest of his chips. Gondorff, who is only required to match Lonnegan's total, throws in all his too. It's a showdown. GONDORFF Call. Lonnegan puts down his four nines. Gondorff just stares at them a second, lets out a deep sigh and lays down four jacks. Lonnegan is aghast. This just ca n't be. He glances at Floyd, who can do nothing but sit there with his mouth open. GONDORFF -LRB- raking in the chips. -RRB- Well that's all for me tonight, boys. I'm gon na leave ya some cab fare. The other players look at each other in disgust, and reach for their wallets, all of which are well stocked. GONDORFF -LRB- to Lonnegan. -RRB- You owe me 15 grand, pal. Lonnegan, with a stare that could kill, reaches for his wallet. Suddenly the stare goes soft. He tries a few more pockets. No soap. LONNEGAN -LRB- getting up to get it. -RRB- I guess I left it in my room. GONDORFF -LRB- blowing up. -RRB- What! Do n't give me that crap you little weenie. How do I know you ai n't gon na take a powder. -LRB- waving his wallter, which is full of Lonnegan's money. -RRB- You come to a game like this, you bring your money. Lonnegan, having had all he can take, goes for Gondorff, but is restrained by the conductor. GONDORFF All right, buddy, I'm gon na send a boy by your room in five minutes, and you better have that jack, or it's gon na be all over Chicago that your name ai n't worth a dime. Gondorff stalks out of the room. We pick him up coming down the passageway to his compartment.\",\n \"INT. GONDORFF'S COMPARTMENT The drunkenness has vanished. We follow him into his cabin, where Hooker is waiting anxiously. HOOKER How'd ya do? GONDORFF -LRB- modestly. -RRB- Well we got some workin' money anyway. Gondorff tosses his winnings on the table. GONDORFF -LRB- big smile. -RRB- Okay, kid, you're on. But I got ta tell ya, its a hard act to follow.\",\n \"INT. LONNEGAN'S CABIN - NIGHT Lonnegan sits in a chair smoking, obviously still upset. Floyd paces in front of him. FLOYD I know I give him four threes. We ca n't let him get away with that. LONNEGAN What am I supposed to do? Call him for cheating better than me? There's a knock at the door. Floyd goes and opens it. It's Hooker. HOOKER My name's Carver. Mr. Shaw sent me. Floyd motions him in without a word. LONNEGAN Your boss is quite a card player, Carver. How does he do it? HOOKER -LRB- very matter - of - factly. -RRB- He cheats. Lonnegan says nothing. He does n't like smart asses. He looks Hooker over a second, as if considering whether to have him wasted or not. LONNEGAN -LRB- reaching into his coat pocket. -RRB- He'll have to take a check. -LRB- pulling out a check. -RRB- I could n't find my wallet. HOOKER Yeh, he knows that. LONNEGAN -LRB- startled. -RRB- What do you mean? HOOKER -LRB- pulling out Lonnegan's wallet and tossing it to him. -RRB- He hired a dame to take it from ya. Lonnegan just holds the wallet. He ca n't believe it. HOOKER You were set up, Lonnegan. Shaw's been planning to beat your game for months. He was just waiting for you to cheat him so he could clip ya. LONNEGAN -LRB- the heat rising. -RRB- I could have you put under this train for this, errand boy. HOOKER -LRB- cool as hell. -RRB- So could Shaw. LONNEGAN Then why the rat? HOOKER Cause I'm tired of bein' his nigger. -LRB- pause. -RRB- I want you to help me break him. Lonnegan looks at Hooker long and hard, as if the intensity of his gaze could separate truth from fiction. Lonnegan had n't expected this, but now that it's here, it better be on the level. The silence is suddenly broken by the noise of the train braking into the station. LONNEGAN -LRB- to Hooker. -RRB- C'mon, I'll give ya a lift home. Hooker hesitates, not sure whether to accept or not. LONNEGAN What's the matter? You got ta get back to Shaw? HOOKER Naw, he picked up some jane in the bar. Ca n't see him till morning anyway. LONNEGAN All right, then.\",\n \"INT. LONNEGAN'S CAR - NIGHT Driving through the city, the driver and Floyd in front, Hooker and Lonnegan in back. Hooker glances out the window from time to time, just to make sure they're really going to his place. LONNEGAN Why me? Shaw probably has lotsa enemies to choose from. HOOKER I need somebody respectable. but not completely legit. What I'm gon na do is n't very legal. LONNEGAN -LRB- insulted. -RRB- I'm a banker, friend. That's legit in this state. HOOKER All you got ta do is place a bet for me at Shaw's place. I'll supply all the money and the information. Lonnegan is listening, but you'd never know it. HOOKER If you help me out, I'll pay ya back the money you owe Shaw, myself. LONNEGAN That's worth fifteen grand to ya? HOOKER Maybe a couple million. We go to Lonnegan. He's still not talking, but that last phrase has registered.\",\n \"EXT. HOOKER'S PLACE The car pulls up in front of Hooker's place. LONNEGAN You're dreamin', kid. HOOKER -LRB- getting out. -RRB- 660 Marshall Street. Tomorrow at 12:30, if you're interested. LONNEGAN -LRB- diffidently. -RRB- If I'm not there by quarter of, I'm not coming. Hooker nods and walks up the steps to his apartment building. Lonnegan's car speeds away from the curb and on out of sight. Hooker breathes a sigh of relief. He's passed his first test ; or has he? We follow him up the stairs to his room.\",\n \"INT. HOOKER'S APARTMENT He's just about to unlock the door, when he notices the little piece of paper he left in the door is on the floor. Without the slightest hesitation, Hooker leaps over the bannister and races back down the stairs. Two gunmen, Riley and Cole, burst out of his room and fire at him over the railing, but he's already too far down. Riley and Cole give chase. THE FRONT OF THE BUILDING Riley and Cole barrel out of the building and onto the sidewalk. There is an empty bus stopped at a light, but they find no sign of Hooker. As the light changes, we cut to the other side of the bus, where we see Hooker crouched on the rear wheel housing, hanging on to a vent. He's a little shaken, but most of all, he's still alive. We hold on him, as the bus moves off. GONDORFF -LRB- V.O. -RRB- Everything go all right? HOOKER -LRB- V.O. -RRB- -LRB- lying. -RRB- Yeh, it was easy.\",\n \"INT. THE STORE - NIGHT Hooker and Gondorff are sitting alone in the back office while the work goes on outside. Their conversation continues. GONDORFF No signs of trouble? HOOKER What do ya mean? GONDORFF You know, somebody tailin' ya. A torpedo or somethin'. HOOKER -LRB- wanting to get off the subject. -RRB- No, not a thing. Gondorff has his doubts, but lets them ride. OTHER PARTS OF THE STORE We concentrate on some of the fine details, i.e. Garfield explaining how the ticker will read out to Singleton and Billie ; Curly Jackson showing a younger con man how to mark the odds board properly. GONDORFF -LRB- V.O. -RRB- How ` bout Lonnegan? HOOKER -LRB- V.O. -RRB- I gave him the breakdown just like ya told me to. GONDORFF -LRB- V.O. -RRB- And? HOOKER -LRB- V.O. -RRB- He threatened to kill me. GONDORFF -LRB- V.O. -RRB- Hell, they do n't do that and you know you're not gettin' through to'em. We concentrate on Niles, who's making up the `` boodles'' or fake bankrollls. He puts a real $ 100 bill on the bottom, then two inches of cut green paper on top, and then another $ 100 bill on top of that, so that it looks like he has a whole stack of $ 100 bills. The bundle is then bound with a sealed label, like those used in banks, that says $ 10,000. We see that he has already made several of these bundles. HOOKER -LRB- V.O. -RRB- Then he drove me home. He tried to put himself away as legit, so I went right into the pitch. GONDORFF -LRB- V.O. -RRB- Did he hold you up on anything? HOOKER -LRB- V.O. -RRB- Naw, he just sat there and listened. I do n't know if he bought it or not.\",\n \"INT. THE STORE Twist in the middle of the room giving a route to the Eirie Kid. He shows him where to get his drink at the bar, where to sit and finally how to leap up and throw his racing form down in disgust. GONDORFF -LRB- V.O. -RRB- That's all right. Once they start listening, they're in trouble. Just do n't give him more than he asks for. If you rattle his imagination a little, he'll come up with all the right answers himself. But all he's got ta do is catch you in one lie and you're dead. HOOKER AND GONDORFF IN THE STORE OFFICE AGAIN They both look tired. HOOKER You think he'll show? GONDORFF Did he say he would n't? HOOKER No. GONDORFF -LRB- softly. -RRB- He'll show. FADE OUT. THE TALE FADE OUT. WE OPEN ON A WIDE SHOT OF THE ALLEY OUTSIDE THE STORE At first it appears to be deserted, but we move to reveal a figure in an upper window of the apartment building which forms one side of the alley. It's Kid Twist. His eyes roam the street, for what, we do not yet know.\",\n \"INT. AN OLD DRUGSTORE ACROSS FROM THE ALLEY - DAY Probably prosperous at one time, it has since declined, its large fountain and eating area bow host to two bums and Hooker, who sits alone in a rear booth near the telephone. Dressed in a tuxedo, he nurses a cup of coffee, and anxiously alternates his glances between the clock and the empty street outside. It's 12:52.\",\n \"INT. THE STORE - DAY The place is full of people, although we avoid long shot so as not to give away the room as a whole yet. Instead, we concentrate on the tense, waiting faces of some of the more familiar people : Gondorff and Niles in tuxedos behind a barred cashier's area. Gondorff mutilates a piece of gum in his mouth. Niles just stares out into space cracking his knuckles. GONDORFF Eddie, cut that out, will ya. The boardmarker walking nervously back and forth in front of his odds board, checking every letter and number. He stops to cross a T on one of the horses' names. It was already crossed, but he does it again anyway. Billie and Singleton, in an area hidden from the rest of the room, watching the print - out on the ticker machine. The clicking of the ticker is the only sound we hear in the store. Curly Jackson in front of a mirror, pasting a fake Van Dyke on his chin to go with his tweed suit and monocle. A couple of Billie's girls adjusting their waitress outfits and primping their hair. Each has a tray full of drinks beside her. The Eirie Kid silently retracing his `` route'' to make sure he has it down. Despite the crowd, there is no talking and little movement, save for the constant swirling of smoke from several cigars and cigarettes. The group is like a theatre company waiting to go on opening night. THE DRUGSTORE AGAIN It's 12:56 and Hooker is worried. He looks up to see two large men, obviously racket goons, come in the front door, and take a seat facing him in the next booth. They stare at him impassively, waving the waitress away when she comes to take their order. Hooker knows they're Lonnegan's men, but is somewhat unsettled by the fact that Lonnegan is not with them. Suddenly, a voice. VOICE Carver? Hooker turns around to find that Lonnegan is seated in the booth directly behind him. His bodyguard is in the one behind that. LONNEGAN You should always look to the back too, kid. HOOKER -LRB- sliding out of his booth and into Lonnegan's. -RRB- I was afraid you were n't gon na come. We have n't got much time. LONNEGAN -LRB- curtly. -RRB- Get on with it then. HOOKER -LRB- pointing to telephone. -RRB- Sometime after 1:00 a guy's gon na call here and give you the name of a horse. -LRB- pulling out a wad of bills. -RRB- All you do is take this two grand across the street to Shaw's place and bet it on that pony. There's nothin' to it, but do n't take too much time. We only have 3 or 4 minutes after you get the call. LONNEGAN You're not gon na break him with a $ 2,000 bet. HOOKER This is just a test. The big one comes later. Be careful with that though, it's all I got. LONNEGAN And you were gon na pay me back? HOOKER I am after this race. Lonnegan says nothing. He's not sure he likes a man who's stupid enough to bet his last dollar on a horse race. HOOKER I got ta get back before Shaw misses me. Good luck.\",\n \"EXT. STREET Hooker hustles out across the street and into the alley.\",\n \"INT. DRUGSTORE Lonnegan watches him through the window and then settles back in his seat to wait for the phone. OUTSIDE STORE As Hooker descends the stairwell into the store, he gives Kid Twist the office. Twist turns away from the window and looks at his watch. 12:58. DRUGSTORE Lonnegan waiting by the phone, idly pinging a knife on the salt shaker. It's 1:40. A man enters the store and walks over to use the phone. LONNEGAN We're waitin' for a call. The man looks at Lonnegan a second, and then at his four goons. He decides maybe he'll make the call later.\",\n \"INT. THE STORE Kid Twist again. Billie enters the room with a piece of paper. Kid Twist looks at it a second and then picks up the pohne and begins to dial.\",\n \"INT. DRUGSTORE Lonnegan again. He's getting impatient now and lights a cigarette, and then the phone rings. He answers it quickly and we hear : TWIST Bluenote at 6 to 1 on the nose. The receiver clicks down at the other end. Lonnegan hangs up and goes out the door, followed by his entourage.\",\n \"EXT. STREET We follow him across the street and into the alley, where he signals one of the bodyguards to check the place out. Kid Twist pushes a button on his window sill, and a buzzer goes off inside the store. The previously inert figures there spring to life. Lonnegan's bodyguard descends the stairwell and knocks at the door, where he is greeted by Hooker in the capacity of host. He looks the place over and motions an okay to Lonnegan.\",\n \"INT. THE STORE As Lonnegan enters, we see the room for the first time in its entirety. Overnight it has been transformed into a swank private club, with bar, cigarette girls, upholstered furniture and chandeliers. SINGLETON Look at that. He's got four apes with him. GONDORFF That's what I like about these guys, J.J. They always got protection against things we'd never do to'em. Everywhere there is activity. A bank of telephones buzzes incessantly. Sheet writers scurry from phone to phone, taking bets of tremendous size from prominent people. SHEET WRITER Yes, Mr. Ruth, 20,000 on Dancing Cloud. We reveal that the phones are controlled by a master switch, which one of the recruited con men operates from behind a partition. The boardmaker, wearing headphones suspended from a sliding wire, hurriedly chalks up races and odds on a huge blackboard. From the loudspeakers we hear the words `` last flash.'' The odds on Bluenote settle down to 8 to 1. Lonnegan makes his way through the throng toward the betting line. His bodyguards fan out to various positions in the room. The betting crowd itself -LRB- known as the `` boost'' -RRB- consists of close to twenty people, none of whom, of course are what they're pretending to be. There are brokers with pasty faces, sportsmen, tanned and casual, and financiers with goatees and highly tailored clothes. Large amounts of money are changing hands at the betting window. Boodles are in sight everywhere. Lonnegan slips into the betting line, feeling somewhat estranged from the general merriment around him. There are two men in line ahead of him. The first, Curly Jackson, slaps down several bundles of cash in front of Niles, who's the cashier, and places a $ 20,000 bet on War Eagle. Gondorff appears at the cashier's window and catches sight of Lonnegan. GONDORFF Never get enough, huh pal? I'd think you'd get tired of losin', Honnigan. LONNEGAN -LRB- piercingly. -RRB- The name is Lonnegan. GONDORFF -LRB- to Niles. -RRB- Make sure you see cash from this guy, Eddie. He's got the name for bettin' money he do n't have. The man in front of Lonnegan puts $ 5,000 on Dancing Cloud. He makes the bet on credit. Lonnegan steps to the window. LONNEGAN Two - thousand on Bluenote. NILES -LRB- writing out a ticket. -RRB- Is that all? LONNEGAN -LRB- pissed. -RRB- That's all. Bluenote's race is now up on the board. The race caller comes on the loudspeaker. CALLER Ladies and Gentlemen. This is Arnold Rowe, your caller for the second race at Belmont in New York. A mile and 1/8. Four year olds and up. And they're off! We see that the caller is Singleton, and that he's calling the race from a concealed booth next to the cashier's cage. CALLER Around the first turn it's a War Eagle first by a length, Jail Bate second by one and a half, Dancing Cloud third by a half on the outside, followed by Lucky Lady, Mojo, Wits' End and Bluenote. Lonnegan goes to the bar, orders a drink, and settles down at one of the tables. It happens to be the one the Eirie Kid is at. Gondorff and Niles watch it from the cashier's cage. GONDORFF -LRB- worried. -RRB- That's not where we want him to sit. Eirie tries to ignore Lonnegan at first, but realizes he better make some conversation. EIRIE KID C'mon War Eagle. -LRB- to Lonnegan. -RRB- That Dancing Cloud's a hell of a finisher. War Eagle's gon na have to open up a little more on'em. LONNEGAN You know anything about a horse named Bluenote? EIRIE KID Naw, he's never done much. Probably in here just to round out the field. War Eagle's where you wan na have your money. Eirie excuses himself and heads for the bar. CALLER Into the clubhouse turn, it's War Eagle by two lengths, Dancing Cloud has moved up to second by a half, Lucky Lady is third by three followed by Jail Bait, Mojo, Bluenote and Wits' End. The heretofore chaotic energy of the parlor is now focused on the race. Several of the patrons begin to yell for their horses. Lonnegan remains seated. He seems bored with it all. Hooker comes over to clear some empty glasses from his table. LONNEGAN -LRB- out of the corner of his mouth. -RRB- You really picked a winner, kid. HOOKER Give'em a little time. CALLER Into the backstretch it's War Eagle still by a length, Dancing Cloud closing on the inside, is second by two, Lucky Lady is third by one and a half, followed by Bluenote, Jail Bait, Wits' End and Mojo. Lonnegan perks up just a little. Bluenote, at least, has moved up. The rest of the people in the place are really rooting now. Few of them remain seated. Hooker arrives at the bar, with the glasses he cleared from Lonnegan's table. Eirie is already there, fortifying himself with a scotch. HOOKER You're doin' great, Eirie. He loves ya. Eirie nods, somewhat unconvinced, and heads bak to the table. CALLER Into the far turn, it's Dancing Cloud now by half a length, War Eagle is second by two, Bluenote is third by a half and moving fast on the outside. Lucky Lady is fourth by four lengths, followed by Jail Bait, Wits' End and Mojo. Lonnegan is getting more intent now. CALLER Coming down the stretch, it's Dancing Cloud by one length, War Eagle and Bluenote are neck and neck by two. Now it's Dancing Cloud, Bluenote and War Eagle. -LRB- shouting now. -RRB- Dancing Cloud and Bluenote head to head. The place is going crazy. Even Singleton is standing up to get the necessary excitement in his voice. CALLER Dancing Cloud, Bluenote. Dancing Cloud, Bluenote. It's Bluenote by a nose. Dancing Cloud is second by two, War Eagle third by three and a half. Time for a mile and 1/8, 2:01 and 6/10 seconds. Most of the patrons collapse into their chairs like spent lovers. Eirie slams his racing form to the floor. Nobody had Bluenote. CURLY -LRB- tearing up his ticket. -RRB- Bloody awful. Who in blazes is Bluenote? LONNEGAN -LRB- to Eirie, very self - satisfied. -RRB- War Eagle's where you want to have your money, huh? Eirie does n't reply. He ca n't believe Bluenote won. Lonnegan looks to Hooker. Hooker gives him a wink. For the first time, Lonnegan permits a smile. LONNEGAN AT THE CASHIER'S WINDOW Niles is counting out $ 16,000 to him -LRB- all of which Gondorff won the night before -RRB-. Gondorff looks somewhat perturbed. Lonnegan picks up the money and tauntingly waves it at him. GONDORFF -LRB- getting his name right this time. -RRB- Do n't bother to come back with a piker's bet like that again, Lonnegan. We got a $ 5,000 minimum here. -LRB- to Hooker. -RRB- Show this bum out. Hooker hesitates a second. GONDORFF Go on, ya goddamn ninny. Gondorff gives Hooker a hard shove in the back with his foot, sending him into a table and sprawling to the floor. GONDORFF -LRB- indicating Lonnegan's bodyguards. -RRB- And tell him not to bring his garbage men in here no more. This is a class joint. Hooker, pretending to be humiliated, gets to his feet and escorts Lonnegan to the door. Lonnegan stops, gives Gondorff a derisive smile, and walks out. Once he's gone, the general clatter and hubbub in the room cease, like it had been turned off by a faucet. Most of the boost sit down and relax. Curly Jackson rips off his Van Dyke. It's been itching him. GONDORFF He's gaffed, kid. He should start coming to you now.\",\n \"INT. COMB'S OFFICE AT THE CLEARINGHOUSE - DAY Combs sits passively on the edge of his desk glancing across the room every now and then at Riley, who is slumped uneasily in a folding chair, looking like a defendant at the Inquisition. Both remain silent, like two men in a waiting room. Suddenly, what they've been waiting for arrives. Lonnegan comes into the office, flanked by his bodyguards. Skipping the usual pleasantries, he walks right over to Riley. LONNEGAN All right, Riley. What the hell happened? RILEY -LRB- not looking at him. -RRB- We missed him. LONNEGAN You were n't hired to miss him. RILEY There was n't any way he coulda known we was in there. We made a clean pick on the lock and did n't leave no footprints in the hall. Somebody musta wised him up. LONNEGAN Yeh, and what does Cole say about that? RILEY I do n't know. He took it hard. LONNEGAN All right, get outa here. You're outta work. Riley gets up and drags himself out the door like a whipped dog. LONNEGAN We'll put Salino on it. I need somebody careful. COMBS Salino? Why waste our best people on a small - time job like this? It ai n't no heavy gee we're after. The guy's a five and dime grifter. LONNEGAN Then why ai n't he dead? COMBS They did n't think he'd be so cagey, that's all. They'll get him next time. LONNEGAN Use Salino. It'll take a little longer, but there wo n't be any holes in it. Combs gives up. The second time's the charm. LONNEGAN And tell Cole I wanta see him when he gets in. COMBS He's not comin' in. Not to get bounced off a job anyway. LONNEGAN He had his chance and all he did was shoot up a rooming house. Made a lotte noise and woke up a few cops, but did n't hit nothin'. Combs keeps his mouth shut. There's no way to talk to Lonnegan when he's like this. LONNEGAN -LRB- cooling a little. -RRB- This is Salino's job now, Vince. If Cole wants to muscle in on it, that's his business. But he's breakin' the rules and when Salino finds out about it, I ca n't feel sorry for what's gon na happen to him.\",\n \"INT. LONNEGAN'S HOTEL - DAY The finest the period had to offer. We pick up Hooker coming down the hall to Lonnegan's suite. He is admitted by the Bodyguard. Lonnegan, wearing a smoking jacket, is seated at a table counting a pile of money. There are two other assistants standing behind him. They do n't look friendly. HOOKER Well, what did I tell ya? LONNEGAN You're a lucky man, all right. HOOKER Lucky, hell. I could do it every day. LONNEGAN Why do n't ya then. HOOKER'Cause it's better to do it all at once. -LRB- leaning close. -RRB- We're puttin' down 400 grand next week. At 5 - 1 we make 2 million. Twenty per cent of that is yours if ya stick with us. LONNEGAN You got a system, Carver? HOOKER You stayin' in or not? LONNEGAN I'm in. HOOKER -LRB- drawing up a chair, barely able to contain his enthusiasm. -RRB- It's foolproof. We got a partner downtown runs the central office of the Western Union. Race results from all over the country come in there and go right across his desk on their way to the bookies. All he does in hold them up a couple minutes until he can call us and get a bet down on the winner. Then he releases the results to the bookies and we clean up on a race that's already been run. It ca n't miss, unless the Western Union Dicks get onto it. Lonnegan is amazed. He sits back a second, then comes forward again and pushes a pile of bills over to Hooker. Hooker smiles and begins to count the money. LONNEGAN You got the 400 grand yet? HOOKER Not yet, but. -LRB- stopping suddenly. -RRB- Hey, there's only a grand here. LONNEGAN -LRB- more like a command. -RRB- I think we oughta place another bet tomorrow. HOOKER -LRB- getting angry. -RRB- What is this? That's my money. You tryin' to muscle me? LONNEGAN -LRB- controlled. -RRB- If your system's as foolproof as you say, you'll get even more. Hooker's in a jam and he knows it. HOOKER -LRB- after a pause. -RRB- I got ta talk to me partner first. We ca n't afford to expose our game too much. LONNEGAN Let me talk to him. HOOKER -LRB- flatly. -RRB- No. LONNEGAN You want your money back? Try and get it in a court of law. -LRB- softening a bit. -RRB- C'mon, do n't be a sorehead. I'll make it worth your while. Migth even help ya finance the big play if this one works out. Hooker says nothing for a minute, and then reluctantly nods his head. HOOKER Four o'clock tomorrow. Pick me up at Dewey Lyle's.\",\n \"EXT. LONNEGAN'S HOTEL - DAY We pick up Hooker coming out of the hotel and going off down the street. As he does so, we pull back all the way across the street and through the interior of a parked car to reveal the silhouette of a man seated at the wheel. We move to his right hand, which rests on the steering column. It's covered by a black glove and the middle finger is missing. His trigger finger, however, taps lightly on the wheel.\",\n \"INT. AN INDOOR TELEPHONE BOOTH - DAY One of the old, wooden kind - accordian doors with glass panes in the upper half. Hooker dials rapidly. HOOKER Twist? I told him the tale. He wants to see ya. TWIST All right, when? HOOKER Tomorrow, after 4:00. Stay inside, I'll come in and get ya. And be hard on him for a while ; he's talking money. TWIST Okay, Tootsie. Hooker blows a mock kiss through the phone and hangs up. He turns to leave the booth, when suddenly he sees something that stops him cold. There looking through the glass is the smirking face of Detective Synder. Hooker is immobilized. Snyder puts his hand inside his coat and slowly draws out his gun. He points it right at Hooker's face and then violently smashes all the glass in the upper half of the door with the barrel. Fragments of glass spray into the booth, a couple of which imbed themselves in Hooker's cheek. Hooker quickly whips open the door, trapping Snyder's hand in the accordian and jarring loose his gun. Hooker sprints out of the booth as Snyder scrambles for his pistol and gives pursuit.\",\n \"EXT. ALLEYS AND SIDESTREETS - NIGHT - THE TWO MEN We follow the two men up alleys and sidestreets as they race through the dregs of the city, two panting shadows moving through places that only get light at night. The wind blows drops of blood off Hooker's cheek as he runs. Snyder still has his gun, but would rather inflict pain than death. CONDEMNED BUILDING Hooker makes for a condemned building and scrambles up the stairs, steps giving way under him as he goes.\",\n \"INT. BUILDING On the fourth floor, he ducks into a room and quickly locks the door. We pan the room to reveal that the whole back side of the building is gone. Hooker runs toward the ledge and leaps through the air, landing on the fire escape of an adjacent building, some 15 feet away. He kicks in a window and goes off down the hall. We cut back to Snyder furiously kicking in the locked door. He finally crashes through, only to find an empty room and a beautiful panorama of the city and its nearest Hooverville. LONG SHOT - HOOKER Winding his way through the slum area of town, dashing along backstreets, over fences and through vacant lots, making good his escape. From our angle, he looks like a rat in a maze. GONDORFF -LRB- V.O. -RRB- Why did n't you tell me about Snyder before? HOOKER -LRB- V.O. -RRB- I thought I'd lost him.\",\n \"INT. GONDORFF'S ROOM AT THE CAROUSEL BUILDING - DAY Hooker sits sullenly at the table. Billie stands over him putting some ointment on his face to close the cuts. Gondorff looks on. Their discussion continues. GONDORFF Well you found him again and we're gon na have to do somethin' about it. What else have n't ya been tellin' me? HOOKER Nothin'. I told ya everything there is. GONDORFF Then why'd ya move outa your room? HOOKER It was too noisy. GONDORFF You ca n't play your friends like marks, Hooker. Hooker does n't reply. He knows Gondorff's on to him. GONDORFF You know how easy it'd be for one of Lonnegan's guys to nail you? HOOKER All we need is a couple days, Henry. A couple days and we'll get Lonnegan down and stomp on'em. GONDORFF You just wo n't learn, will ya. Hell, you come in here, I teach you stuff maybe five guys in this world know, stuff most grifters could n't do even if they knew it, and all you wan na do is run down a bullet. -LRB- pause. -RRB- You're just like all them new jerks. Lotsa nerve and no brains. And ten years from now when me and the others are through and you dumb guys are all dead there wo n't be one gee left who knows the Big Con was anything more than a way to make a livin'. HOOKER A couple days ; that's all I'm askin'. I can stay clear that long. GONDORFF -LRB- trying to be angry and failing. -RRB- Christ, they'll probably miss you and hit me. FADE OUT. THE WIRE FADE OUT.\",\n \"INT. A SLEEPY DINER - LATE AFTERNOON Located across the street from Hooker's apartment building. Hooker sits down alone in a booth, with a plate of ham and eggs he's hardly touched. The two cuts on his face have pretty much stopped bleeding. A big fan above the counter area drones away lethargically, it's air stream insufficient to either cool the place or drive out the smell of onions and grease. A waitress, Loretta, emerges from the kitchen and ambles slowly over to Hooker's table. Slim and raven - haired, she manifests an indifference bred from years spent delivering things to people who are rarely grateful for what she brings. Only a light scar on her left cheek hints at another side. LORETTA You done? HOOKER Yeh, I guess I shoulda had the meat loaf. LORETTA -LRB- deadpan. -RRB- It is n't any better. HOOKER Where's June today? LORETTA -LRB- figuring up the bill. -RRB- She do n't work here no more. I'm fillin' in for a couple days. till I can get a train outa here. HOOKER Where you goin'? LORETTA -LRB- putting the check down and walking away. -RRB- I do n't know. Depends what train I get on. Hooker looks for some sign that she's putting him on. He does n't get it. He takes out some money, drops it on the table and walks out.\",\n \"EXT. A WESTERN UNION OFFICE - LATE AFTERNOON A truck with the words CLAYTON BROS., CUSTOM PAINTING AND DECORATING stenciled on the side, is parked out front. Two men, wearing overalls and painter's caps, walk into the office to the reception counter, we see that they are Twist and Singleton. TWIST -LRB- to the receptionist. -RRB- Excuse me. We're here to paint Mr. Harmon's office. RECEPTIONIST -LRB- obviously not expecting them. -RRB- Mr. Harmon's office? Hold on just a second. She goes to get Mr. Harmon.\",\n \"EXT. THE SLEEZY DINER - LATE AFTERNOON Hooker is standing on the curb outside the diner, obviously waiting for somebody. Lonnegan's car pulls up and Hooker hops in the back. LONNEGAN What happened to your face? HOOKER Had a little fight with a raggle down on 13th. She got me with her ring. Lonnegan laughs.\",\n \"INT. THE WESTERN UNION OFFICE AGAIN - LATE AFTERNOON Mr. Harmon is looking over the authorization papers that Twist and Singleton have given him. He ca n't find anything wrong with it. HARMON Brigham signed it all right. I ca n't understand why he did n't tell me. SINGLETON Ah, he's like all them supervisors. They think they're too good for regular people. He says he was in here a while ago and the place was a mess. Harmon looks around, hoping it's not true. TWIST We'll try and hurry so we do n't keep you out of your office too long. HARMON Why ca n't I work with you in there? SINGLETON Look pal, we got ta cover the floor, the furniture, everything, so we do n't spill on nothing. Now if you wanta sit in there with a tarp over your head, you're welcome to it. HARMON All right, how long will you be? TWIST Hour or two at the most. We do good work. Harmon is resigned. Twist and Singleton pick up their gear and march into the office. Once inside, we notice that the office has an exit door which opens to an outside alley. Twist immediately removes his overalls, revealing the suit and tie he's wearing underneath. He takes out a picture of himself, a woman and three small children, and puts it on Harmon's desk, replacing a similiar picture of Harmon's family. Singleton, meanwhile, has spread a few tarps and begins to paint the walls.\",\n \"EXT. THE WESTERN UNION OFFICE - LATE AFTERNOON Lonnegan's car pulls up and stops across the street. HOOKER We'll go to the side door. We follow Hooker and Lonnegan across the street to the side entrance which opens into :\",\n \"INT. HARMON'S OFFICE Hooker knocks and Twist, of course, answers. HOOKER Les, I got Mr. Lonnegan with me. He wants to see you a second. TWIST -LRB- irritated. -RRB- What the hell's the matter with you. We coulda met at a club or somethin'. HOOKER I thought it might be good for him to see the setup. TWIST -LRB- hushed. -RRB- Well we ca n't talk in here. They're having the place painted. Twist walks over to the intercom on his desk. He leaves the door open so that Lonnegan can get a good look at the office, Twist's picture in it, the painter, etc. Lonnegan's not missing any of it. TWIST -LRB- talking into the intercom. -RRB- Miss Barnes, I'm going home a little early today. Tell anyone that calls that they can reach me here in the morning. Thank you.\",\n \"INT. FRONT OFFICE Harmon's secretary at the other end of the intercom. Mr. Harmon is with her. They look at each other a second and Harmon decides he better see what's happening in his office. He opens the door to find it empty except for a pile of painting equipment and one haphazardly painted wall.\",\n \"INT. A DILAPIDATED CHINESE RESTAURANT - EVENING Dark and somewhat foreboding, its peeling dragons and shoddy lanterns compete for space with the many slot machines and arcade games that line the walls. Hooker, Lonnegan and Twist sit at one of the more secluded tables. They are not eating. TWIST Ca n't do it. There're telegraph inspectors all over the place. I got 750 grand coming in from the coast, and I'm not gon na blow it for a lousy 14 gees. We'll get somebody else to do our betting. LONNEGAN I could come up with 750 grand in a day if I had a reason to. TWIST But who says you will. I got a guy I can depend on. He's liquidating everything he has for this. You would n't even give Carver his money back. LONNEGAN I need more proof, that's all. Anybody can get lucky once. TWIST -LRB- stubbornly. -RRB- On a 6 - 1 shot? The hell with ya. We'll keep the deal we got. LONNEGAN If it works again tomorrow, I'll have a half million in cash here by noon the next day. We split 60 - 40. TWIST -LRB- feebly, beginning to break. -RRB- We were getting 50 from our guy. LONNEGAN With 20 % coming off the top for me laying your bet. Either way you end up with 40. Twist hesitates. LONNEGAN A week's a long time, friend. Anything can happen. All of it bad. HOOKER He's right, Les. TWIST Yeh, and what if we play tomorrow and he does n't come up with the money. We risk our whole operation for nothing. I'll say when we make our bets. LONNEGAN Not if you want me to keep makin''em for ya. HOOKER And what do we know about your guy. He says a week, but who knows if it's a month? Lonnegan here's a banker. He can get that dough with no questions asked. Twist says nothing for a minute, then : TWIST All right. Be at the booth at 1:00. I'll give you all three places this time, Lonnegan. That better be proof enough. Hooker and Lonnegan smile at each other like life - long friends. They get up to leave, and we frame the shot with a coffee cup large in the foreground. As they go out the door, a black - gloved hand with four fingers enters the frame and puts a nickel down next to the cup. FADE OUT. THE SHUT - OUT FADE OUT.\",\n \"INT. A DOWNTOWN DINETTE - MORNING Snyder finishes a donut and a cup of coffee, puts down a dime for the lot and exits. We follow him down the street :\",\n \"EXT. STREET To a corner newsstand, where he stops to buy a morning paper. As he peruses it, he's approached by two large, clean - cut men in white skimmers. MAN Are you Lieutenant William Snyder? SNYDER I do n't know, what's up? MAN F.B.I. The Captain'd like a few words with ya. Ya got a couple minutes? SNYDER -LRB- completely floored. -RRB- Yeh, sure. The two men show him to a waiting car.\",\n \"INT. AN ABANDONED WAREHOUSE - DAY Snyder stands in the middle of a dusty old machine room, surrounded by four or five Federal Agents. Visible around the room are several folding cots and portable lockers. The agents have obviously been quartered here temporarily. They all wear white skimmers, save for one, a portly man, Captain Polk, who paces the room smoking. There is something long - suffering about him, as if he wondered how he ever got in a service that thought white skimmers were classy. SNYDER What is this? I got work to do. POLK Sit down and shut up, will ya. Try not to live up to all my expectations. -LRB- not in the mood to screw around. -RRB- We were told you know a hustle artist named Johnny Hooker. Snyder does n't answer. POLK Do ya know him or do n't ya? SNYDER Yeh, but I do n't know where he is. POLK Well we do. He's chummin' around with a Big C named Henry Gondorff. Ring any bells? SNYDER Sure. Every bunco man in the country knows Gondorff. POLK There's word he's gon na run a con on the North Side here. We got a year - old Florida warrant on him, but it's a thin beef, and he can beat it in court unless we catch him cold. All we want you to do is pick up Hooker for us. SNYDER Why do n't you pick him up yourself? POLK Cause the stoolies are used to street dicks jumpin' him. If word gets around that Feds are in on it too, Gondorff'll fold up the whole thing. SNYDER Would n't that be too bad. You'd hafta move outa this nice office ya got. POLK -LRB- enraged. -RRB- Do n't crack wise to me, flatfoot. I spent a lotta time in dumps like this, eatin' Gondorff's dust while the bunco squad gets rich tippin' him off. But it's not gon na happen this time. We're not even gon na let the police know we're here. If you keep your mouth shut and do a job, there'll be a promotion in it for ya. And you better take it, cause I can make ya work for us without it. SNYDER What the hell good is Hooker to ya? POLK He's gon na set up Gondorff for us. SNYDER He'll never do it. POLK -LRB- self - satisfied. -RRB- I think he will.\",\n \"INT. DRUGSTORE - DAY Lonnegan sits by the phone, watching the clock and sipping a cup of coffee.\",\n \"INT. THE STORE - DAY Specifically, the small room from which Singleton does his race broadcasts. Singleton, himself, is hunched over the ticker machine, reading the print - out. Billie sits at the microphone table with a pencil and pad, ready to write. SINGLETON Visitation is still up by two at the three - quarters. Single Action second, Fasanella third. BILLIE What's the line on Visitation? SINGLETON -LRB- checking further up on the print - out sheet. -RRB- 7 to 2. That ai n't bad. BILLIE He'll probably fall down. Gondorff appears at the doorway. GONDORFF How ya doin'? SINGLETON -LRB- eyes still glued to the ticker. -RRB- Nothin' yet. I got a good one on the lead at Hialeah, but he's fadin'. BILLIE Best we had was Cat's Eye in the second at Del Mar, and he was only 5 - 2. Not many longshots comin' in today. SINGLETON -LRB- excited. -RRB- Billie. You ready? Billie prepares to write on her pad. BILLIE Yeh, go ahead. SINGLETON At the finish, it's Single Action by two, Fasanella second, Visitation third. -LRB- reading up the sheet again. -RRB- Line on Single Action. 3 to 2. Hell with it, that's no good. Billie crumples up the piece of paper she's been writing on and chucks it in a wastecan. GONDORFF We do n't need big odds on this one, J.J. Take anything you get at 3 - 1 or better. Gondorff leaves the room, as Singleton turns back to his vigil at the ticker. SINGLETON -LRB- a little weary. -RRB- Okay, the Fairfield Stakes at Santa Anita. Mile and a quarter for 3 year olds and up. THE FLOOR AREA OF THE STORE Everyone is in his place as before. Today, however, Curly Jackson is playing the part of the aging sport. Well scrubbed and clean shaven, he cuts a dashing figure in his blue blazer and white pants. We go to Gondorff in the cashier's cage. He's talking to Niles, who's busy handing out fake bankrolls to members of the boost. GONDORFF He's gon na hit ya with 20 grand, Eddie. How much cash we got? NILES Not enough to cover a bet that big. GONDORFF Get a couple extra guys in the line, then. We'll give him the shut - out. Niles nods.\",\n \"INT. DRUGSTORE - DAY Lonnegan is still waiting. He takes the 20 grand out of his coat pocket and thumbs through it, just to make sure it's all there.\",\n \"INT. THE STORE - DAY Singleton and Billie at the ticker again. Billie looks a little sleepy. Singleton is obviously involved with the progress of a race. SINGLETON Okay, Billie, here we go. Billie snaps to and prepares to write as Singleton reads. SINGLETON At the wire it's Wrecking Crew the winner by five, Grand Theft second, Wingless third. -LRB- reading up. -RRB- Wrecking Crew was. 4 to 1. -LRB- ripping the sheet out of the ticker. -RRB- That's our boy. Billie and Singleton hustle out of the room.\",\n \"EXT. ALLEY We follow Billie through the store and across the alley to the building from which Twist keeps his lookout.\",\n \"INT. THE STORE Gondorff, holding the ticker sheet Singleton has given him, emerges from the office and starts giving instructions to the boost. GONDORFF All right, Furey, your horse is Wingless. Paltrow, the Big Alabama and Phillips'll take Grand Theft. Rodgers and Eirie have Wrecking Crew. Jackson - His Dandy, Cowan - Change of Heart, Fiskin and Chappie - Made to Order. -LRB- pointing to the Eirie Kid. -RRB- Eirie, he gets a bang outa seein' you lose, so we oughta use that on'em. If you play the birds of a feather routine we worked on, it should steam him up pretty good. You think you can handle that? EIRIE KID -LRB- a little nervous. -RRB- Yeh, sure. GONDORFF O.K., you guys in line take your time, and I wanta see lotsa joy on Wrecking Crew.\",\n \"INT. TWIST'S ROOM - DAY Billie enters and gives Twist the piece of paper she wrote the race results on. He picks up the phone and starts to dial.\",\n \"INT. DRUGSTORE - DAY The phone rings and Lonnegan answers it. VOICE Wrecking Crew at 4 - 1, Grand Theft to place, Made to Order to show. Lonnegan smiles and hangs up the phone.\",\n \"INT. THE STORE - DAY Lonnegan's in line at the betting window. There are four people in front of him this time, and they are moving rather slowly. The `` Last Flash'' call is heard on the speakers. LONNEGAN -LRB- getting impatient. -RRB- C'mon, let's hurry up there. The man at the head of the line turns around and gives Lonnegan a chilling look, as if he were beneath contempt. He puts down $ 25,000 on Grand Theft. The next man in line plunges down $ 30,000 on Wrecking Crew. Just as Lonnegan is about to step to the window, Gondorff gives a quick signal to Singleton. The speakers come on. CALLER Ladies and Gentlemen, this is Arnold Rowe, your caller for the $ 100,000 Fairfield Stakes at Hollywood Park in Los Angeles. A mile and 3/8 for three year olds and up. And they're off! LONNEGAN -LRB- counting out his money. -RRB- Twenty - thousand on Wrecking Crew. NILES I'm sorry, sir. We ca n't take bets after the race is started. He points to a sign above the window, which says exactly that. Lonnegan grabs up his money in disgust. GONDORFF Do n't take it so hard, pal. You probably woulda lost it. Lonnegan wanders over to the bar in a funk. CALLER And around the first turn it's Wrecking Crew by a half length, Grand Theft second by one, His Dandy is third by one half, followed by Change of Heart, Back Flip, Made to Order and High Ground. The assembled patrons are once again thoroughly involved in the race. Eirie comes up to Lonnegan at the bar. EIRIE KID Who you got? LONNEGAN -LRB- half - heartedly. -RRB- Wrecking Crew. EIRIE KID Me too. Maybe it's our day. Lonnegan nods and wanders away. Hooker comes over to him. HOOKER What happened? LONNEGAN I did n't get the bet down in time. HOOKER -LRB- pissed. -RRB- Oh, Jesus.\",\n \"INT. STORE OFFICE Gondorff and Niles, back in the office. NILES -LRB- looking out at the floor. -RRB- Looks like he's sulking. GONDORFF If we're lucky, this'll bring him back stronger than ever. THE FLOOR CALLER Coming for home, it's Wrecking Crew by six lengths, Made to Order is second by two and a half, High Ground is third by a length and Grand Theft is coming fast on the rail. It's Wrecking Crew, Made to Order and Grand Theft. Wrecking Crew wins it by five lengths, Grand Theft is second by a nose, Made to Order is third by two. Time for one and 3/8 mile, 2:11 and 4/10 seconds. Eirie explodes in a joyous frenzy. He grabs Lonnegan by the shoulders and shakes him. EIRIE KID We won! We won! You hear that! I won 30,000! You hear that! Yeh, Lonnegan heard that. Lonnegan shakes loose, grabs his coat and heads for the door.\",\n \"EXT. ALLEY - DAY He finds Hooker waiting for him outside. LONNEGAN Tell your friend I'll have the money here by post - time tomorrow. We'll take the first race where the odds are 4 - 1 or better. And make sure I can get to that window this time. HOOKER How am I gon na do that? LONNEGAN -LRB- coarsely. -RRB- I do n't know, figure something out. Lonnegan storms across the street to his waiting car and drives off. Hooker relaxes into a smile. He's already figured something out.\",\n \"INT. SLEEZY DINER ACROSS FROM HOOKER'S APT. BLDG. - EVENING Hooker sits at the counter finishing a plate of meat loaf. Loretta is down at the cash register, leaning on the counter, looking idly out into space. Hooker glances over at her every once in a while to see if she might be interested in striking up a little conversation. She's not. He finishes his meal and comes down to the register to pay his bill. HOOKER Meat loaf, apple pie and a cup of coffee. LORETTA -LRB- ringing it up. -RRB- Sixty - five. Hooker gives her a dollar. She goes to the register for change. HOOKER What time you get off work here? LORETTA 2:00 A.M. HOOKER You doin' anything tonight? LORETTA -LRB- handing him his change. -RRB- Yeh, sleepin'. Hooker figures that's enough of that. He pockets his change and starts out the door, when suddenly he stops short.\",\n \"EXT. STREET Across the street in a doorway is the silhouette of a man. It's Cole. He's pretending not to look at the diner, but Hooker is n't fooled.\",\n \"INT. DINER He goes back to Loretta at the register. HOOKER You got a back door to this place? LORETTA No. What's wrong with the front? HOOKER -LRB- urgently now. -RRB- Look, I do n't have time to fuck around. There's somebody out there I do n't need to see. You got a fire escape or anything? LORETTA No. HOOKER All right, do me a favor. Go into the bathroom, open the window and wait for me there. LORETTA What the hell for? HOOKER Just do what I tell ya and everything'll be jake. Cracks of concern begin to appear in Loretta's marble. LORETTA What does this guy want? HOOKER -LRB- evenly. -RRB- He'd like to kill me. Loretta just looks at him a second. Realizing that this is no joke, she turns and walks slowly but steadily to the bathroom. Hooker waits until she's out of sight.\",\n \"EXT. STREET Hooker goes to the front door and steps outside. Cole looks up at the sound of the door. Hooker makes a big show of spotting him, and runs back into the diner. Cole, his cover blown, draws his gun and races across the street in pursuit. Arriving just in time to see -\",\n \"INT. DINER Hooker go into the bathroom, he charges in after him, only to find the place empty. He goes quickly from stall to stall, on the chance that Hooker might be hiding in one of them. He comes to one that's closed, and seeing a pair of woman's legs under the door, rejects that, and moves on to the next one. We cut inside the stall to reveal Loretta sitting on the toilet with her skirt hiked up. Right behind her, crouched on the back of the seat, is Hooker. Cole has finished his rapid inspection now, and having found nothing, looks around for Hooker's probable escape route. He sees the open window and climbs out to find himself in a small air shaft, from which he knows Hooker could not escape. Hooker, seizing the time, bursts out of the stall and runs back out through the diner. Cole sees him, but too late to get off a shot. He climbs back in the window and gives chase.\",\n \"EXT. STREET We pick up Hooker barreling down the street with Cole a hundred yards or so behind. Hooker makes a sharp cut into an alley, and we see immediately that it's a hopeless dead end. Inexplicably, he makes no attempt to run back out. Cole draws up and cuts into the alley, anticipating the kill which should be easy now. He prepares to sight down his victim, when suddenly he realizes there is no victim in sight. Hooker, miraculously, has vanished. Cole scans the alley frantically for some trace of him. There are no windows or doors at the street level. Not even a drain pipe. Just brick wall. It's impossible. Hooker has disappeared into thin air. Cole slams his gun into his shoulder holster with a curse, and starts back out of the alley, when all of a sudden he stops in utter terror. His mouth drops open and he chokes out the words : COLE Salino, hey look. I did n't mean to move in on. Before anything else can come out, two bullets rip into his chest. He falls to the concrete, coming to rest on a manhole cover, which we notice is slightly ajar. We : THE SEWER PIPES Beneath the manhole. We see Hooker making his way through the slop, having gained another reprieve, but unaware that with two down, there is still one to go.\",\n \"INT. HOOKER'S APARTMENT BUILDING - EVENING Hooker comes in the front entrance and goes to the elevator, one of the old - fashioned kind with the iron grid on the inside. He's still a little rattled and waiting for the elevator is making him restless. It finally arrives, and he steps inside, closing the grid behind him. As he starts to push the button for his floor, he realizes for the first time that he's not alone. He looks to the corner to find Snyder, holding a gun on him. This time there's not much doubt that he'll use it if necessary.\",\n \"INT. THE ABANDONED WAREHOUSE - EVENING Snyder brings Hooker into the crate room where Capt. Polk and the other Agents are waiting. Polk, as usual, has his coat off, revealing his shoulder holster. POLK Hello, Mr. Hooker. Captain Polk, F.B.I. -LRB- shoving a chair over to him. -RRB- Have a seat. Hooker remains standing. POLK -LRB- ignoring it, drinking from a cup. -RRB- You want a drink or something? HOOKER No. POLK We want to talk to ya about Henry Gondorff. HOOKER Do n't think I know him. POLK Well give yourself a couple seconds, crumb. You would n't wan na lie to me. Lt. Snyder here says you done a lotta griftin' in this town. HOOKER Lt. Snyder does n't know shit. Capt. Polk almost laughs, but he checks it. HOOKER You got nothin' on me. POLK We'll get it, and if we ca n't, we'll just make it up. Grand larceny, extortion. -LRB- with special emphasis. -RRB- Counterfeiting, anything you want. Hooker says nothing, but it's not from defiance now. He's beginning to get the picture. POLK Look, I got nothin' against you, but you're in trouble here. All you got ta do is tell us when Gondorff's gon na play his chump. We come in at the sting, make the pinch, and you walk out free as a bird. No questions, no court appearance, nothing. HOOKER No. POLK You've already done time twice, and judges do n't like three time losers. You wan na sit in the can for forty years, startin' tonight? HOOKER I'll make parole. POLK Like hell. You wo n't even get a review till you're seventy. And if the board starts to go soft, we'll let ya out in the yard some night with a hard - nose young bull who'll put fifty slugs in your face and ask what you were doin' there later. Hooker wants to come back with something, but ca n't find it. POLK Do n't be a sap, kid. You could save us a little trouble. But Henry Gondorff is through whether you help us or not. There's nothin' left to do now but save yourself. Hooker's thoroughly whipped. He sits down for the first time. HOOKER -LRB- softly. -RRB- Will you wait until the chump is played? POLK Hell yes. We do n't care about the mark. He deserves what he gets. HOOKER -LRB- with heat. -RRB- I mean completely played. Until he's beat and the score is taken. You come in before we beat him and I'll kill him. You'll have a tough time explaining that, wo n't ya. POLK All right, Hooker, but you take it on the lam, and we'll shoot you down on sight. HOOKER -LRB- barely audible. -RRB- Just as long as I get to finish the play.\",\n \"INT. GONDORFF'S ROOM - NIGHT Gondorff and Hooker are playing gin rummy and drinking. Gondorff makes little comments as he plays, but Hooker is quiet and withdrawn. The carousel is not in operation and a heavy silence hangs over the place. GONDORFF What's the matter, kid? You're not sayin' much. HOOKER Just a little nervous, that's all. GONDORFF Luther always told me to bite my toenails when I get nervous. You see yourself doin' that and you realize it ai n't worth it. Hooker smiles feebly. Billie appears at the door. BILLIE Things are a little slow tonight, Henry. I wan na open the round for the girls. Gondorff takes out a set of keys and tosses them to her. She leaves to go start the merry - go - round. Gondorff settles back into the game. GONDORFF Take it easy, you wo n't lose him now. We had him 10 years ago when he decided to be somebody. Believe me, I've seen enough to know. HOOKER -LRB- softly. -RRB- How many guys you conned in your life, Henry? GONDORFF Two or three hundred I guess. Sometimes played two a day when I was in Shea's mob. We had it down to a business. -LRB- pause. -RRB- ` Course Chicago was a right town then. The fix was in. The dicks took their end without a beef. All the Wall Street boys wanted to make investments for us. Even had marks looking us up, thinkin' they could beat the game. -LRB- pause. -RRB- Yeh, kid, it really stunk. No sense in bein' a grifter if it's the same as bein' a citizen. Gondorff chucks his cards on the table. He's through for the night. GONDORFF I better do some packin'. I'm gon na be a hot number again after tomorrow. HOOKER Then why you doin' it? GONDORFF Seems worthwhile, does n't it? Maybe it's just for the cave - in on Lonnegan's face when we put in the sting. That's good enough. Hooker gets up to leave. HOOKER Henry. HOOKER Yeh. HOOKER -LRB- apologetically. -RRB- I appreciate your stickin' your neck out. I would n't have asked ya if it were n't for Luther. GONDORFF Ai n't nothin' gon na make up for Luther, kid. -LRB- pause. -RRB- Revenge is for suckers. I been griftin' 30 years and never got any. Hooker just nods and walks out the door.\",\n \"INT. CAROUSEL We follow him past the Carousel which is now full of giggling prostitutes in various stages of undress. Their childish frolicking is charming from a group usually so jaded, but it's lost on Hooker tonight.\",\n \"EXT. A CITY STREET - NIGHT It's late now and the street is deserted save for an occasional derelict or streetwalker on her way home from a night's work. We pick up Hooker coming down the street toward his apartment building. He walks slowly, almost reluctantly, as if he did n't care whether he ever got there or not. As he nears his building, he notices Loretta coming out of the diner across the street. He stops and watches as she looks up and disappears into an adjacent building that advertises rooms for rent. After a few seconds, we see a light come on in one of its second story windows. Hooker just stands there a second, debating with himself, trying to figure out a reason for doing what he's going to do anyway. We follow him across the street to Loretta's building and :\",\n \"INT. LORRETA'S He goes up the stairs to the room where the light came on. He passes a couple of derelicts on the way. He knocks twice and Loretta answers in her bathrobe. She is more than a little startled to see him. LORETTA Looks like he missed ya. HOOKER Yeh, this time anyway. Loretta notices an old busybody peeping out at them from her room across the hall. LORETTA Good night, Mrs. Hillard. Mrs. Hillard quickly closes her door. HOOKER -LRB- shuffling a little. -RRB- I, ah. thought you might wan na come out for a while. Maybe have a drink or somethin'. LORETTA You move right along, do n't ya. HOOKER -LRB- with more innocence than confidence. -RRB- I do n't mean nothin' by it. I just do n't know many regular girls, that's all. LORETTA And you expect me to come over, just like that. HOOKER If I expected somethin', I would n't be still standin' out here in the hall. Loretta looks at him carefully. She knows it's not a line. LORETTA -LRB- with less resistance now. -RRB- I do n't even know you. HOOKER -LRB- slowly. -RRB- You know me. I'm just like you. It's two in the morning and I do n't know nobody. The two just stand there in silence a second. There's nothing more to say. She stands back and lets him in.\",\n \"INT. GONDORFF'S ROOM - NIGHT A record spinning lazily on an old phonograph. We hear Robert Johnson's `` Come On In My Kitchen.'' Gondorff is sitting up in bed, with his hat on, lost in thought. Billie is curled up asleep next to him. There's a packed suitcase next to the bed. Billie wakes up and turns over a second. BILLIE C'mon, Henry, knock off. You've done everything you can. Gondorff nods his agreement like a zombie and goes right on thinking. LORRETA'S ROOM Hooker and Loretta are asleep against each other, their bodies illuminated every few seconds by the light from a neon sign across the street. We dolly to the window and move in on another window in the building next door. There's no light on in it, but we can discern the basic outline of a face behind the curtains, which are slightly parted to afford a view of Hooker's room by a black - gloved hand. `` I said come on in my kitchen Cause it's gon na be rainin' outdoors.'' Music ends. FADE OUT. THE STING FADE OUT. We open on Hooker in bed, the morning sun streaming in on his face. He awakens slowly, looks at the ceiling for a second and, remembering last night, turns to the side to find that Loretta is no longer there. Still drowsy, he gets out of bed and looks around the room for a note or some evidence of her continued presence. He opens an empty closet, then opens empty drawers. Finding nothing, he suddenly hits on another possibility, and looks in his wallet. The money is still there. Almost disappointed, he slumps down in a chair, as the harsh reality of what will happen this day floods back in on him. Music begins and we :\",\n \"INT. AN UNKNOWN LOCATION - DAY We see the black - gloved hand opening a small wooden box. Wrapped inside is a shiny black revolver, at this point in two pieces. The hand reaches in and takes them out.\",\n \"INT. THE SLEEZY DINER - DAY Hooker is poking at a plate of waffles and sausage. The waitress on duty is not Loretta and Hooker has noticed.\",\n \"INT. GONDORFF'S ROOM - DAY Gondorff is standing in front of the bathroom mirror, putting on his tuxedo. He goes to his dresser, pulls out a very small gun and tucks it in his cummerbund. THE GUNNMAN'S ROOM AGAIN The hand swirls a pipe cleaner inside the barrel of the revolver and picks some lint out of the chamber. He then screws the barrel onto the body. This is all seen in closeup. HOOKER'S ROOM AGAIN Hooker now has his tuxedo on. He takes two small rubber bladders out of a drawer and puts them in his pocket.\",\n \"INT. LONNEGAN'S SUITE - DAY Lonnegan paces nervously around the room, looking at the clock. Obviously waiting for something, he's getting extremely impatient. THE GUNNMAN'S ROOM AGAIN We watch the hand carefully loading bullets into the chamber of the revolver.\",\n \"INT. THE CAROUSEL BUILDING - DAY Gondorff emerges from his room carrying his suitcase. He stops and looks up at the mezzanine where Billie is standing. They smile sadly at each other and give a simple wave, having done this too many times to get sentimental about it now. Gondorff walks out of the building. HOOKER'S ROOM AGAIN Hooker is busily stuffing all his possessions in a paper bag, lumping clothes with food, records and toilet articles. LONNEGAN'S SUITE AGAIN Lonnegan goes to the door to admit Floyd and two assistants, one of whom carries a large brief case. Lonnegan takes the brief case to a table and opens it. Inside is a half million dollars in cash.\",\n \"INT. THE GUNNMAN'S ROOM AGAIN We see the hand putting a silencer on the revolver. The gunman puts the revolver up to his eye to check the alignment and for the first time we see the face that goes with the hand. It is fully as menacing as we had imagined : Broad, flat nose, thick cracked lips, narrow eyes and cauliflower ears. HOOKER'S ROOM AGAIN Hooker is on the phone now.\",\n \"INT. WAREHOUSE We see that he's talking to Captain Polk. Snyder listens also. HOOKER'S ROOM Hooker finishes the conversation, hangs up and goes to take one last look at himself in the mirror. Finding everything in order, he grabs up his sack of possessions and leaves the room.\",\n \"EXT. HOOKER'S APARTMENT We pick him up emerging from the building, and follow him around the corner to a secluded alley which he generally takes on his way to the store. As he walks along, he notices Loretta coming toward him from the other end. She's wearing a coat, obviously on her way somewhere. As she comes closer, we move to reveal the gunman appearing suddenly in the alley behind and to the right of Hooker.\",\n \"EXT. ALLEYWAY The gunman quickly takes out his revolver, braces it in the crook of his hand, and takes careful aim. Loretta sees him. The gunman fires. Loretta falls dead on the asphalt. Hooker spins around in confusion. The gunman moves quickly toward him. Hooker starts to back up but the gunman stops when he gets to Loretta. He kicks her over to reveal a gun under her body. GUNMAN She was gon na kill ya, kid. Hooker is stunned. He ca n't believe it. GUNMAN -LRB- dragging the body over behind a trash can. -RRB- Her name's Loretta Salino. Lonnegan's people set her up in the diner. C'mon, let's get outa here. Hooker wants to stay and try to figure it all out, but the gunman drags him away.\",\n \"INT. THE ABANDONED WAREHOUSE - DAY Polk, Snyder and several federal agents are busy putting on their shoulder holsters, and checking their weapons. POLK -LRB- to Snyder. -RRB- Whoever Gondorff's playin' for is bound to be a wheel. As soon as we're inside, I want you to get the guy outa there as fast as possible, before the reporters show up. We ca n't afford to embarrass any big shots. Snyder nods.\",\n \"EXT. LONNEGAN'S HOTEL - DAY Lonnegan, carrying the brief case personally, is seen getting into his limousine. Four assistants get in with him.\",\n \"INT. THE STORE - DAY Gondorff enters the store carrying his suitcase. Several of the boost are already there. Gondorff clasps his hands to generate a little enthusiasm. He's obviously up for this one.\",\n \"INT. TAXI CAB - DAY Hooker sits in the back seat with the gunman right next to him. He's still very uneasy with this man. HOOKER She coulda killed me last night. GUNMAN Too many people coulda seen ya go in her room. She was a professional. Used to work in the Dutch Schultz gang. HOOKER Who are you? GUNMAN Gondorff asked me to look after ya. HOOKER How do I know you're tellin' the truth. GUNMAN Do n't have much choice, do ya? We go to Hooker. No, he does n't.\",\n \"EXT. THE ABANDONED WAREHOUSE - DAY We pick up Polk, Snyder and the other federal agents coming out of the warehouse in their white skimmers, and piling into cars. THE STORE AGAIN Niles is busily spreading `` boodles'' all over the cashier's area. Singleton checks his microphone. It works fine. He checks it again. LONNEGAN IN HIS LIMOUSINE He holds the brief case in his lap, his fingers tapping lightly on it. THE STORE AGAIN Hooker and the gunman enter and go over to Gondorff, who breaks into a wide smile. Hooker returns it halfheartedly, still ill at ease about what has happened. THE F.B.I. CARS ON THEIR WAY There are four or five driving in a column. Snyder and Polk ride together in the back of the lead car.\",\n \"EXT. THE DRUGSTORE - DAY Lonnegan's limousine pulls up outside, and the bodyguards pile out. THE STORE AGAIN Gondorff, Hooker and the others waiting, the tension expressed in their faces.\",\n \"INT. THE DRUGSTORE - DAY Lonnegan sits tensely in the usual booth. He keeps both hands firmly planted on the brief case. The phone rings and Lonnegan goes to it. Music ends. VOICE Place it on Syphon at 8 - 1. Lonnegan hangs up with the look of the financial killer. Eight to one odds is more than even he could have hoped for.\",\n \"EXT. STREET We follow Lonnegan across the street and into the store. The bodyguards remain outside.\",\n \"INT. THE STORE The store is buzzing with activity. Money and booze are everywhere. The sheet writer and the boardmarker can hardly keep up with the action. Lonnegan walks quickly to the betting line and finds to his relief that there's only one man ahead of him. The man puts $ 25,000 on King's Image. Lonnegan steps to the window, swings up the brief case, and opens it for Niles to see. LONNEGAN -LRB- straight - faced. -RRB- Five hundred grand on Syphon. Niles is struck dumb. He's never seen that much money before. NILES -LRB- playing the flustered clerk. -RRB- Hold on, I'll have to get the manager. Niles goes and returns with Gondorff. GONDORFF What's the problem? NILES -LRB- pointing to the brief case. -RRB- He wants to put a half million on Syphon. Gondorff looks at the money a second and then looks up at Lonnegan like he's got ta be crazy. GONDORFF -LRB- uneasily. -RRB- I ca n't lay that off in time. We lose a bet that big, it could break us. LONNEGAN -LRB- challenging. -RRB- If ya win it could make ya, too. GONDORFF -LRB- to Niles. -RRB- What are the odds on Syphon? NILES Eight to one. Gondorff looks at Lonnegan long and hard. GONDORFF A half mill on an eight to one shot. You're dumber than I thought, Lonnegan. LONNEGAN You're more gutless than I thought. The words `` Last Flash'' are heard on the speaker. Gondorff looks at Lonnegan with utter contempt. He turns to Niles. GONDORFF -LRB- chopped. -RRB- Take it. Niles hurriedly writes out a slip for 500,000 dollars. Lonnegan, allowing himself a sly smile, picks it up and retires to a nearby table. He flashes a little okay sign to Hooker who acknowledges it with a nod. CALLER Ladies and gentlemen, this is Arnold Rowe, your caller for the San Antonio Handicap at Pimlico in Baltimore - A mile and 1/16 for three - year - olds. And they're off. Lonnegan takes a deep breath and leans forward in his chair, the larceny boiling in his veins. Hooker looks to Gondorff. Gondorff gives him the `` office.'' Hooker has to smile. CALLER And around the first turn it's King's Image by a neck, Syphon is second by one, Key to the Vault third by one half, followed by Mr. Moonlight, Red Ridge, Moneyman and No Charge. Unexpectedly, Kid Twist bursts in through the entrance. Barely able to control his enthusiasm, he hurries over to Lonnegan's table and sits down next to him. TWIST Sorry, but I just could n't wait. Did everything go all right? LONNEGAN -LRB- motioning for him to keep his voice down. -RRB- Take it easy. Everything's all right. I put it on Syphon, on the nose. TWIST -LRB- in utter horror. -RRB- On the nose! I said place. Place it on Syphon. That horse is going to run second. Lonnegan looks like he's just been stabbed. He vaults over the table to the teller's window and grabs Niles. LONNEGAN You give me my goddamn money back! You hear me? There's been a mistake! NILES I'm sorry, sir. The betting's closed. Lonnegan begins to shake him violently. LONNEGAN You give me my money back. There's been a mistake, do you hear me? Gondorff leaps to Niles' aid when suddenly there is a crash at the entrance door, and Polk, Snyder and eight federal agents burst into the room, guns drawn. The place falls silent except for the loudspeaker, the members of the boost afraid to move. Gondorff and Niles look at each other wondering how this could have possibly happened. POLK -LRB- motioning to Hooker. -RRB- All right, Hooker, you can go. Hooker's eyes go to Gondorff, who looks back at him in utter disbelief, the betrayal raging in his features. Hooker, unable to meet his gaze, lowers his head and starts to walk out. Almost unnoticed, there's a flash of movement at Gondorff's belt. A small gun. A shot. Hooker clutches his back and falls dead on the floor, the blood spurting from his mouth. Polk, reacting instantly, pours four shots into Gondorff, who goes down in a heap. Pandemonium breaks loose. The members of the boost race for the door. Lonnegan is totally stunned. First he lost his money and now he's involved in a murder. Snyder rushes over to him. SNYDER C'mon. We got ta get you outa here.\",\n \"EXT. STREET Snyder drags him through the crowd and out onto the street where an F.B.I. car is waiting. His bodyguards have long since fled at the sight of the F.B.I. men. LONNEGAN My money's back there. SNYDER We'll worry about that later. Snyder gets in beside Lonnegan, and the car speeds away. INSIDE THE STORE AGAIN The pandemonium has now ceased. Those who could escape have ; the rest are lined up against the wall in frisking position. Gondorff and Hooker lie on the floor dead. The loudspeaker drones on. Singleton is still calling the race from his booth, apparently oblivious to what's happened. CALLER And the winner is King's Image by four lengths, Syphon is second, by two, Moneyman third by two and one half. Time for 1 and 1/16 miles, 1:21 and 2/10 seconds. Polk walks slowly over to Hooker's body and bends down. POLK He's gone. Hooker opens his eyes and slowly drags himself up off the floor, spitting out a little rubber bladder, filled with blood, that he's had in his mouth. Gondorff does likewise. Niles, Twist, Singleton and the rest of the boost begin to laugh and shake hands, as do the Federal Agents. GONDORFF -LRB- to Polk. -RRB- Nice con, Hickey. I thought you were Feds myself, when you first came in. HICKEY No problem, Henry. Snyder went for it all the way. -LRB- laughing. -RRB- You shoulda seen the rag he lit under Lonnegan. Gondorff turns to the others. GONDORFF Okay, let's take this place apart and get outa here. You can get your splits from Eddie at Boudreau's tonight. Gondorff walks over to Hooker, who's wiping the blood off his face and hands. GONDORFF You beat him, kid. HOOKER -LRB- softly. -RRB- You were right, Henry. It's not enough. But it's close. GONDORFF You wanta wait for your share? HOOKER Naw, I'd just blow it. Gondorff nods, and walks slowly to behind the bar. He comes out with his suitcase in one hand and Hooker's paper bag in another. He throws the paper bag to Hooker, who stops by the door. Eirie Kid is standing there. Hooker gives the `` office'' to Eirie, who beams and gives it back.\",\n \"EXT. ALLEY AND STREET Then Hooker and Gondorff leave. We hold on them, two ragtail grifters again as they walk off down the street and disappear around the corner. FADE OUT. THE END\"\n]"},"labels":{"kind":"list like","value":[1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,0,1,0,0,0,0,0,0,1,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,0,0,0,0,0,1,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,1,0,0,0,0,0,1,1,1,0,0,0,1,0,0,0,1,1,0],"string":"[\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0\n]"},"summary":{"kind":"string","value":"The film takes place in 1936, in the waning years of the Great Depression. Johnny Hooker, a grifter in Joliet, Illinois, cons $11,000 in cash in a pigeon drop from an unsuspecting victim with the aid of his partners Luther Coleman and Joe Erie. Buoyed by the windfall, Luther announces his retirement and advises Hooker to seek out an old friend, Henry Gondorff, in Chicago to teach him \"the big con\". Unfortunately, their victim was a numbers racket courier for vicious crime boss Doyle Lonnegan. Corrupt Joliet police Lieutenant William Snyder confronts Hooker, revealing Lonnegan's involvement and demanding part of Hooker's cut. Having already blown his share on a single roulette spin, Hooker pays Snyder in counterfeit bills. Lonnegan's men murder both the courier and Luther, and Hooker flees for his life to Chicago. Hooker finds Henry Gondorff, a once-great con-man now hiding from the FBI, and asks for his help in taking on the dangerous Lonnegan. Gondorff is initially reluctant, but he relents and recruits a core team of experienced con men to dupe Lonnegan. They decide to resurrect an elaborate obsolete scam known as \"the wire\", using a larger crew of con artists to create a phony off-track betting parlor. Aboard the opulent 20th Century Limited, Gondorff, posing as boorish Chicago bookie Shaw, buys into Lonnegan's private, high-stakes poker game. Shaw infuriates Lonnegan with his obnoxious behavior, then outcheats him to win $15,000. Hooker, posing as Shaw's disgruntled employee, Kelly, is sent to collect the winnings and instead convinces Lonnegan that he wants to take over Shaw's operation. Kelly reveals that he has a partner named Les Harmon (actually con man Kid Twist) in the Chicago Western Union office, who will allow them to win bets on horse races by past-posting. Meanwhile, Snyder has tracked Hooker to Chicago, but his pursuit is thwarted when he is summoned by undercover FBI agents led by Agent Polk, who orders him to assist in their plan to arrest Gondorff using Hooker. At the same time, Lonnegan has grown frustrated with the inability of his men to find and kill Hooker for the Joliet con. Unaware that Kelly is Hooker, he demands that Salino, his best assassin, be given the job. A mysterious figure with black leather gloves is then seen following and observing Hooker. Kelly's connection appears effective, as Harmon provides Lonnegan with the winner of one horse race and the trifecta of another. Lonnegan agrees to finance a $500,000 bet at Shaw's parlor to break Shaw and gain revenge. Shortly thereafter, Snyder captures Hooker and brings him before FBI Agent Polk. Polk forces Hooker to betray Gondorff by threatening to incarcerate Luther Coleman's widow. The night before the sting, Hooker sleeps with Loretta, a waitress from a local restaurant. As Hooker leaves the building the next morning, he sees Loretta walking toward him. The black-gloved man appears behind Hooker and shoots her dead – she was Lonnegan's hired killer, Loretta Salino, and the gunman was hired by Gondorff to protect Hooker. Armed with Harmon's tip to \"place it on Lucky Dan\", Lonnegan makes the $500,000 bet at Shaw's parlor on Lucky Dan to win. As the race begins, Harmon arrives and expresses shock at Lonnegan's bet, explaining that when he said \"place it\" he meant, literally, that Lucky Dan would \"place\" (i.e., finish second). In a panic, Lonnegan rushes the teller window and demands his money back. A moment later Polk, Lt. Snyder, and a half dozen FBI agents storm the parlor. Polk confronts Gondorff, then tells Hooker he is free to go. Gondorff, reacting to the betrayal, shoots Hooker in the back. Polk then shoots Gondorff and orders Snyder to get the ostensibly-respectable Lonnegan away from the crime scene. With Lonnegan and Snyder safely away, Hooker and Gondorff rise amid cheers and laughter. Agent Polk is actually Hickey, a con man, running a con atop Gondorff's con to divert Snyder and provide a solid \"blow off\". As the con men strip the room of its contents, Hooker refuses his share of the money, saying \"I'd only blow it\", and walks away with Gondorff."},"name":{"kind":"string","value":"The_Sting"}}},{"rowIdx":82,"cells":{"scenes":{"kind":"list like","value":["INT. BERLIN CONCERT HALL (1944) - NIGHT A man conducting Beethoven. Air raid in progress. Bombs falling nearby. The orchestra continues to play. Suddenly the lights go out. The music stops.","INT. BACKSTAGE CORRIDOR, CONCERT HALL - NIGHT A beam from a torch, bouncing, making shadows. An ATTENDANT, carrying the torch, hurries down the corridor. The air raid continues. He comes to a door, knocks, opens it and looks in. ATTENDANT -LRB- agitated. -RRB- Dr. Furtwängler, the Reichsminister. The sound of heavy footsteps approaching. The attendant turns his torch to light the way for three men in Nazi uniform, also with attendants and torches, marching down the corridor. The attendant bows deeply as the REICHSMINISTER and his aide go through the door. The other man remains in the corridor on guard.","INT. CONDUCTOR'S ROOM - NIGHT Candles light the room where the conductor shakes hands with the Reichsminister. REICHSMINISTER Dr. Furtwängler, I want to apologise personally for this power failure. I was so enjoying the performance. In times like these we need spiritual nourishment. A bomb explodes nearby. REICHSMINISTER But I welcome this unexpected opportunity of talking to you. -LRB- with great care. -RRB- When you came on to the platform tonight, I thought you were n't well. You looked tired. -LRB- a warning. -RRB- Get away from this bombing. Away from the war. Yes, you look tired. -LRB- a crooked smile. -RRB- Even in this light.","INT. RUINED CINEMA - DAY Dark. ON A SCREEN : scenes from Leni Riefenstahl's triumph of the will. Over this : A MAN'S VOICE Look at them. Men, women, kids. Boy, did they love him. You see, Steve, Adolf Hitler touched something deep, real deep and savage and barbaric, and it wo n't just go away overnight. It's got to be rooted out. You know what I think? I think they were all Nazis. And let's face it, their leaders, those bastards now on trial in Nuremberg, could n't have done it alone. It's these people, they gave all the help that was needed. Willingly. The film changes with a scratchy music soundtrack - Wagner. SHOTS of high - ranking Nazis in an audience including Josef Goebbels, listening. And they're listening to and watching Wilhelm Furtwängler conducting. At the appropriate moment : THE MAN'S VOICE That's him. Furtwängler. Wilhelm Furtwängler. The Nazis applaud. Goebbels shakes hands with Furtwängler. The film ends. Sitting in the ruined cinema are two men : GENERAL WALLACE, with files on the table, and, beside him, MAJOR STEVE ARNOLD. A PROJECTIONIST is standing in the door of the projection room. WALLACE So, you never heard of him. STEVE Nope. WALLACE Do you know who Arturo Toscanini is? STEVE Sure. WALLACE He's as big as Toscanini, maybe even bigger. In this neck of the woods, he's probably Bob Hope and Betty Grable rolled into one. STEVE Jeez, and I never heard of him. Wallace glances at the file. WALLACE You were in insurance before the war. STEVE Right. Claims assessor. WALLACE Conscientious, determined, dogged. STEVE -LRB- amused. -RRB- They said I was dogged? WALLACE Well, they say here that when you went on a case, you stayed on it. -LRB- looks up at Steve. -RRB- Now we ca n't take every Nazi in this country to trial, although I would like to ; it's an impossibility. So we're going for the big boys in industry, education, law, culture. STEVE Like this bandleader. WALLACE -LRB- a smile. -RRB- Well, he's more than just a bandleader, Steve. He's a great conductor, a gifted artist. But we believe that he sold himself to the devil. Your number one priority from this moment on is to connect him to the Nazi Party. Do n't be impressed by him. I want the folks back home to understand why we fought this war. Find Wilhelm Furtwängler guilty. He represents everything that was rotten in Germany. Steve wants to rise, but Wallace puts a hand on his shoulder to make him sit again. WALLACE Stay put, Steve. There is some other stuff that I'd like for you to see here. Background. He nods to the projectionist, then starts to go, but stops. WALLACE Oh, one thing that may be a problem. Our Occupation Authorities in Wiesbaden have a duty to help these poor unfortunates with their defence. They keep repeating : ` We must be just, we must be seen to be just.' Well, I've only one thing to say to the liberals in Wiesbaden : fuck'em. -LRB- as he goes. -RRB- You answer to no one but me. Is that understood? -LRB- to the projectionist in the door. -RRB- Show him the film. PROJECTIONIST Yes, sir. Roll it. Wallace goes. The projectionist starts the next reel. ON THE SCREEN : a Berlin sequence. Bombs falling. Ruins, a city devastated, empty. Flags of the four allied nations. Posters of Truman, Stalin, Churchill. ARCHIVE FILM VOICE That is the hand that dropped the bombs on defenceless Rotterdam, Brussels, Belgrade. That is the hand that destroyed the cities, villages and homes of Russia. That is the hand that held the whip over the Polish, Yugoslav, French and Norwegian slaves. That is the hand that took their food. Steve watches expressionless. WALLACE Next reel, please. ON THE SCREEN : SHOTS of camp survivors. Then SHOTS of emaciated corpses being bulldozed into mass graves. ARCHIVE FILM Sanitary conditions were so appalling that heavy equipment had to be brought in to speed the work of cleaning up. This was Bergen Belsen. The moment this appears, Steve rises and goes quickly. ON THE SCREEN : piles of cadavers.","INT. MAJOR STEVE ARNOLD'S BEDROOM (I945) - NIGHT Steve having a nightmare, twisting, turning, moaning. He wakes with a cry. He is sweating. He turns on the light, looks at a clock, reaches for a cigarette, lights it. He smokes. He stares at the ceiling. Later : Early morning. Cold. Steve is at the basin in his small room, shaving. A radio on a shelf. AMERICAN RADIO VOICE Remember, men, no fraternisation. In a German town, if you bow to a pretty girl or pat a blond child, you bow to all that Hitler stood for. You bow to his reign of blood. You caress the ideology that meant death and destruction. You never know who was a member of the Nazi Party. Do n't be fooled. Do n't fraternise.","EXT. STEVE'S OFFICE BUILDING, BERLIN - DAY Steve's car swerves round the corner and comes to a halt. A small crowd watch workmen on ladders hammering away at a stone swastika above the portico. American soldiers supervise. Steve gets out of the car, carrying an attache case, and he, too, watches as the stone swastika falls and crashes into pieces on the road. One or two people clap, most just stare. The American soldiers immediately hoist the Stars and Stripes. Steve goes into the building. The sentry salutes. The driver of the car goes to the trunk and takes out a labelled duffel bag, cans of film, a case which holds a 16 - mm projector. A small BOY sidles up to him : BOY Cigarettes, chewing gum?","INT. WAITING ROOM - DAY Steve and Sergeant Adams ascending a grand, winding but damaged staircase to the rear of a spacious entrance hall. A once impressive building. Signs of bomb damage everywhere. German workmen doing repairs. American military personnel coming and going, saluting Steve, who barely acknowledges them. They reach the landing. Adams opens double doors and they go through. ADAMS We're gon na have the heating fixed by tonight. A few gilt chairs, a workman trying to repair the stove. Adams opens another door for Steve.","INT. STEVE S OFFICE - DAY EMMI is hanging the standard photograph of President Truman on the wall. She turns to see Steve and Adams and is covered with confusion. She gives Steve a little curtsey. ADAMS Fräulein, this is Major Arnold. Sir, this is your secretary, Fräulein Emmi Straube. Her file's on your desk. They sent her over from Admin. I'll leave you to it. He goes. Steve scrutinises Emmi. She's embarrassed, keeps her eyes downcast. Steve goes to his desk, opens a file, reads. STEVE You live here, in Berlin? EMMI Yes. STEVE You do shorthand and typing? EMMI Yes. He nods, goes on reading. STEVE Okay, let's see. How long were you in the camp for? EMMI Three months. STEVE Says here because of your father. What's that mean? EMMI My father was one of the officers in the plot against Hitler. They arrested the plotters and their families. STEVE Your mother, too. EMMI Yes. She suffered longer. She was in Ravensbruck. STEVE And your father was executed. She nods, keeps her eyes averted. He smiles sympathetically. STEVE I'm gon na call you Emmi, you're gon na call me Steve. Okay? No response. STEVE I got a list of stuff here I'd like you to get for me. He searches his pockets. ADAMS If you need anything, let me know. EMMI Major. STEVE Steve. EMMI There have been messages for you. -LRB- She consults the pad. -RRB- A Lieutenant David Wills called from the Allied Kommandatura Cultural Affairs office in Wiesbaden. I do n't know who he is. Steve starts to unpack his attache case. EMMI Then there have been three calls from Dr. Furtwängler wanting to know when you wish to see him. I did not speak to him personally. She hands Steve a typewritten sheet. He ignores it, finds a list which he hands to her. He waits for her to read, then : STEVE Think you can get me any of that? EMMI -LRB- pleased. -RRB- Oh yes, Major, I have recordings of all his symphonies. I kept them safe during the bombing. My favourite is the Seventh Symphony. STEVE Mine's the Eleventh. EMMI -LRB- puzzled. -RRB- But. he only wrote nine, Major. STEVE I'm kidding, Emmi. What about a record player? You have that, too? EMMI No. Ours was damaged. STEVE -LRB- surveys the room. -RRB- What's in those files? EMMI The names of the members of the Berlin Philharmonic Orchestra since 1934 together with their questionnaires. Major, what am I to tell Dr. Furtwängler? STEVE You tell him nothing, Emmi. If he calls again, you say you know nothing. We're gon na keep him waiting while I get acquainted with his case and with the witnesses. And, God help me, with Beethoven. He smiles. She tries to smile back.","EXT. FLEA MARKET, BERLIN - DAY Freezing weather. A narrow street, crowded, busy, noisy. Some makeshift stalls set out, trestle tables, open suitcases, people buying and selling every imaginable commodity. Emmi wanders through the crowd, passing a violinist, Helmuth Rode, wrapped up against the cold, playing Handel's Air on a G String, a bowl for money at his feet. A passer - by drops a cigarette butt in it. Immediately, Rode retrieves the butt. Emmi comes to a stall selling piles of gramophone records. She asks the stallholder a question. He points to another stall across the way.","INT. STEVE'S OFFICE - DAY Steve at his desk, paging through files. A knock on the door. STEVE Yeah. Lieutenant DAVID WILLS, aged twenty - four, enters, comes to Steve's desk, stands to attention, salutes. DAVID Lieutenant Wills reporting to Major Arnold. Sir. STEVE For Chrissakes I hate that shit, cut it out. DAVID I'm very sorry. STEVE I'm Steve. What's your name? DAVID David. David Wills. I'm your liaison officer with the Allied Kommandatura Cultural Affairs Committee. Sir. STEVE Sounds a lot of run. -LRB- studies David. -RRB- So they sent the big guns to check up on me. We recruiting children now? DAVID -LRB- smiles'. -RRB- I guess so, sir. STEVE You call me sir again and I'll make you listen to Beethoven. David half - smiles. STEVE Where you from, David? DAVID was born here, in Leipzig. I escaped in' 36. My parents, they sent me to my uncle in Philadelphia. They were to follow. But they delayed and. Breaks off. Nothing from Steve. DAVID Our family name was Weill. But that does n't sound well in English. My uncle changed it to Wills and. The door opens and Emmi enters carrying a record player, sees David and starts to back out. EMMI I'm sorry. STEVE Come in, Emmi, this is your office, too. Emmi, this is Lieutenant David Wills. They nod briefly. STEVE He is here to watch over us. A flick from Emmi. STEVE I guess you admire musicians. DAVID Some. STEVE Do n't. This is like a criminal investigation, David. Musicians, morticians, doctors, lawyers, butchers, clerks. They're all the same. For Emmi's benefit too. She becomes still, listens. STEVE We have a duty, a moral duty. David takes a few files, sits and starts to look through them. Steve returns to his files. Emmi, by now, has put on a record and starts to play it : the opening of Beethoven's Fifth Symphony blasts out. The two men look up, startled. Emmi beams : EMMI It works! Hallelujah!","INT. STEVE'S OFFICE - DAY Emmi at the door. Steve at his desk. David present. EMMI Herr Rudolf Werner. WERNER enters, bows to Steve and David. Emmi goes to her desk. STEVE Sit down, Werner. Indicates the upright chair ; Werner sits. STEVE I want you to understand why you're here. This is an investigation into Wilhelm Furtwängler, former Prussian Privy Councillor, banned from public life under Control Council Directive No 24 and who's applied to come before the Tribunal of Artists of the Denazification Commission. I'm interested in what he was up to from 1933 to the end of the war, understood? Werner nods. STEVE Rudolf Otto Werner. Wind section since 1936. What instrument did you play? WERNER First oboe. STEVE I have your questionnaire here. It says you were never a member of the Nazi Party. WERNER Absolutely not. Long silence ; Steve watches him. Werner is made more anxious. At last, in a rush : WERNER No, I was never a Nazi, I have no interest in politics, I'm a musician - STEVE Hey, hey, slow up, Fraulein Straube has to take down what you say. Werner swivels round to look at Emmi. WERNER Straube? Any relation to Colonel Joachim Straube? EMMI My father. WERNER It's a great honour to meet you, Fraulein. Your father was a great patriot. Brief silence. WERNER Dr. Furtwängler is a great musician. He actively opposed the Nazis and later on he helped many Jews to escape. STEVE Then how do you explain him being made a Prussian Privy Councillor? WERNER It was Hermann Goering. I was told he just made the maestro his Privy Councillor, no questions asked. Although Dr. Furtwängler stood up to him. And to Dr. Goebbels. STEVE He also conducted for Hitler, did n't he? WERNER Yes, that's true, but he refused to give the Nazi salute. He kept his baton in his right hand. In Hitler's presence. That was a brave act. STEVE Brave? To celebrate Hitler's birthday with some heroic piece by Wagner but without the Nazi salute? Bravo. WERNER It was Beethoven's Ninth. STEVE Do you really think it was brave? Did n't he bow to him and shake his hand?","INT. STEVE'S OFFICE - DAY Another man, SCHLEE, is in the chair. Only Steve and Emmi now. Pale, yellow electric light. Silence. Schlee, too, is very nervous. At last : SCHLEE No, no, no, I give you my word. I was never a member of the Nazi Party. Never. I am in the percussion section. I play the timpani. Steve just stares at him. SCHLEE Anyway, they would never have allowed it. My brother was married to a Jewess, may she rest in peace. And Goebbels said. -LRB- to Emmi. -RRB-. please take this down carefully, because it's most important, Fraulein? EMMI Straube. SCHLEE -LRB- acting surprised. -RRB- Straube? Are you by any chance related to Colonel Joachim Straube? EMMI My father. SCHLEE He was. he was a great hero. Steve lights a cigarette. SCHLEE Goebbels, yes, Josef Goebbels said, ` There's not a single filthy Jew left in Germany on whose behalf Dr. Furtwängler has not intervened.' No, no one could have been less of a Nazi than Dr. Furtwängler. STEVE But this was the same guy who conducted for Adolf on his birthday. SCHLEE He was forced to do that. But he refused to give the Nazi salute in front of Hitler. He kept his baton in his hand, you ca n't salute with a baton in your hand. DAVID And what about the Nuremberg Rally? SCHLEE No, we. we played on the evening before the Rally. STEVE -LRB- straight - faced. -RRB- Oh! The evening before, I see. SCHLEE Yes, Dr. Furtwängler was absolutely clear about this : politics and art must be kept separate. STEVE Politics and art must be kept separate. I'll remember that. But let me see if you can help me with something I just do n't understand. I'd really like to know why all you guys are so crazy about him. What's his secret? Schlee tries to find words. SCHLEE Well, it's hard to explain. I can only tell you from my own experience. Soon after I joined the orchestra, we were rehearsing the Third Symphony of Beethoven, the Eroica. There are several rather difficult passages for the timpani. One particular crescendo. During the break, I asked how he wanted it played. He was studying his score. He did n't look up. He said, ` Just watch me.' So, of course, I did. I never stopped watching him. The moment came. And suddenly, he turned to me and our eyes were locked. There was something in his look that. that simply demanded the crescendo. I shall never forget his look. It was a moment of. of magic. Steve nods, thinks for a moment. Then : STEVE You ever seen Adolf Hitler's eyes when he was making a speech? I've seen'em on films. SCHLEE Yes. STEVE Was looking at Furtwängler like that? SCHLEE I do n't know what you mean, Major. STEVE When you got to the crescendo. Schlee looks at him bewildered.","INT./EXT. CAR (TRAVELLING), LAKESIDE AND MANSION - DAY In the back, David and Steve. Military driver. The car's making its way along a road that skirts a lake towards a grand mansion from which fly the four Allied flags. STEVE You think a whole orchestra, what, a hundred and forty or so guys, could be orchestrated? DAVID I guess it's possible. STEVE So, what does the Russki want? DAVID Colonel Dymshitz asked specially to see you. STEVE ` Dim - shits'?","INT. THE MANSION - DAY A huge, cavernous room, once the ballroom. In the centre, a table with four chairs. To one side, antique furniture, objets d'art, paintings. Four Allied officers are surveying the treasures : COLONEL DYMSHITZ, COLONEL GREEN -LRB- American -RRB-, MAJOR RICHARDS -LRB- British -RRB- and CAPTAIN VERNAY -LRB- French -RRB-. What they say is barely audible, low mumbles. They're accompanied by aides with clipboards, taking notes. Beyond, and some distance away, a row of gilt chairs for observers where David and Steve take their seats. STEVE What the hell are they doing? DAVID -LRB- whispered. -RRB- They're trying to sort out some of the works of art the Nazis stole from occupied territories. Who really owns what? That's Colonel Dymshitz, on the far side. Dymshitz, small, intelligent face, cunning eyes. DAVID'S VOICE art historian, head of the famous Leningrad Museum of Art. He is an expert on German culture. Green, correct, formal, precise, immaculate. Richards, bespectacled and nondescript. Vernay, upright, proud. VERNAY -LRB- suddenly raising his voice. -RRB- Je suis navré, Colonel, cette peinture n'est pas la propriété de I ` union soviétique mats bien cette de la France. GREEN What's he saying? Henri, what is you saying? AMERICAN AIDE He's saying that picture is the property of France VERNAY C'est un Braque qui avec Picasso était un des pionniers du cubisme. DYMSHITZ -LRB- in French. -RRB- I know who Georges Braque is, Captain. AMERICAN AIDE -LRB- almost simultaneously. -RRB- It's a Barque. FRENCH AIDE We can produce the provenance of this Braque, you say provenance?","INT./EXT. SALON OFF THE BALLROOM AND TERRACE - DAY Outside the club room for the participants. Buzz of conversation, clink of glasses, cups. The terrace is deserted. A waiter carries a tray with various refreshments to a quiet corner where Dymshitz, Green, Vernay, his aide LIEUTENANT SIMON, Steve and David sit in comfortable armchairs. The waiter serves them. During this : DYMSHITZ Hello, Major, my name is Dymshitz. I'm glad to see you. STEVE Colonel. Pleasure. DYMSHITZ So, Major, tell me, have you questioned Dr. Furtwängler? STEVE Not yet. DYMSHITZ I've had two meetings with him. He's a great musician. Maybe the greatest conductor in the world. His Brahms, Beethoven, Schubert - unequalled. Steve makes a non - committal gesture. DYMSHITZ I'll come straight to point. I've offered him a very attractive position. Conductor of the Staatsoper Unten den Linden. He refused. But I want him. I want him badly. And I want your help. GREEN Hey, just a moment, you should have discussed this with me first. DYMSHITZ I'm discussing it with you now. Major, I want you to drop your investigation, save everybody time and trouble. GREEN We ca n't drop a case just like that. DYMSHITZ I'll give you another conductor in exchange or writer, musician, actor what. what do you care? But I like Furtwängler. He's my favourite conductor. -LRB- chuckles. -RRB- Mine and Hitler's. He's our favourite conductor.","INT. WAITING ROOM - DAY Rode is seated, waiting. Nervous, tense. The sound of laughter, David's laughter from the office. It makes him even more uncomfortable.","INT. STEVE'S OFFICE SUITE - DAY Emmi and David laughing. DAVID I clicked my heels, saluted and bowed at the same time. He demonstrates. She laughs again. EMMI That's because you had a proper upbringing. DAVID That's right. I was raised very strictly. So do n't speak before you are spoken to! EMMI Oh! And do n't wave your hands about! DAVID Respect your elders and your betters! EMMI And no elbows on the table! DAVID Eating is eating. and. EMMI And talking is talking! Well, I think we better get on. DAVID Right. So, this is going to be very formal, too, now. Lieutenant David Wills requests die pleasure of die company of Fraulein Emmi Straube at dinner any night she cares. She smiles just as Steve bursts in. He's in a bright, cheerful, energetic mood. David draws back guiltily. Emmi, embarrassed, hesitates then turns to the typewriter and types furiously. Seeing this, Steve stops, but just for a brief moment. Then, as he goes to his desk : STEVE David, need to ask you something. You heard this rumour the British found something called the Hinkel Archive? DAVID Yes. STEVE So what is it? DAVID The British occupy the building where this guy, Hinkel, ran the Nazi Ministry of Culture and it seems they've. they've discovered his secret archive. STEVE What's that mean? DAVID I do n't know, but the British are excited about it, I know that. The rumour is Hinkel kept a file on every artist working in the Third Reich. STEVE Jeez. And you think the British'll share it with their Allies? DAVID Major Richards said he'd call to let us know. STEVE That's big of him. He looks from David to Emmi as if trying to work out something. Then : STEVE Okay, better question the next witness. I bet you a bottle of French champagne he tells us the baton story inside ten minutes. DAVID Five minutes. STEVE It's a bet. You're the witness, Emmi. Later. Rode in the witness chair. Steve studying the file. David and Emmi ready to take notes. STEVE Helmuth Alfred Rode. Second violinist since 1935. What's it mean, second violinist? RODE It means I was n't good enough to be a first violinist. He chuckles, looks around for approval. Steve grins encouragingly. STEVE Good, and according to your questionnaire, Helmuth, you never joined the Nazi Party. RODE Me? Never. Never. Long silence. RODE I. I know everyone now says they were never Nazis but in my case it is absolutely one hundred per cent true. I am a Catholic, it would have been totally against my conscience. Silence. Steve lights a cigarette ; Rode eyes it hungrily. RODE Is it true you're going to interview Dr. Furtwängler today? STEVE I'll ask the questions, Helmuth. RODE Excuse me. Did you know that he refused to give the Nazi salute when Hitler was present in the audience? Steve flicks David a glance, waggles his finger like a baton. RODE The problem was how could he avoid giving the Devil's salute when Satan was actually sitting there. -LRB- modestly taps his chest with his thumb. -RRB- And, I said, ` Dr. Furtwängler, why not enter with the baton in your right hand? Hitler will be sitting in the front row. If you give the salute with the baton in your right hand it'll look like you're going to poke his eyes out.' Chuckles. David mouths I win to Steve. RODE He was. He was really grateful to me for that. After the concert, I. I stole that baton as a memento of a great act of courage. I still have it. I should have brought it to show you. I hope I'm not going too fast for you, Fraulein? - EMMI Straube. Steve and David exchange a brief look. RODE Straube. Any relation to Colonel Joachim Straube? EMMI My father. RODE -LRB- standing. -RRB- I am deeply honoured to be in your presence, Fraulein Straube. Your father was a true patriot, a man of God. He crosses himself. Silence. David raises a discreet finger. STEVE You have a question for Helmuth, David? DAVID Yes. What was the orchestra's reaction when they asked you to play for Hitler's birthday? RODE Oh, we did n't play for his birthday, we played the evening before - it was the 19th of April not the 20th. STEVE Do you know Hans Hinkel? RODE -LRB- alarmed. -RRB- Do I know Hans Hinkel? STEVE That's what I asked. RODE Do I know Hans Hinkel? STEVE You seem to understand the question, now how about answering it? RODE Hans Hinkel was in the Ministry of Culture ; how could I know such a man? I Brief silence ; a smile. RODE I hear the British have his. his archive, files, records. STEVE Do you know what's in this archive? RODE How could I know what's in the archive? Steve nods, smiles. STEVE Okay, you can go now, Helmuth. Get out. Rode stands and bows.","INT. STEVE'S OFFICE - NIGHT The final bars of the Fifth Symphony. Snowing. Dim light. There is more furniture now : two chairs, one comfortable, the other upright. A sitting area by the window with the telephone extension. The 16 - mm projector set up in another corner. Steve, at his desk, wrapped up against the cold, going through files, making notes. He stops, seems to listen, then goes to the window, looks out. The music ends. The record hisses. Steve just stares out at the night and the snow. The record continues to hiss.","INT./EXT TRAM, BERLIN (TRAVELLING) - DAY The tram packed to overflowing. Then, a sudden stir among the passengers as people push through trying to find space. One of them is FURTWÄNGLER. He's recognised. Whispering. He stares ahead or keeps his eyes downcast. An elderly man tugs at his coat, half - rises, offering his seat. Furtwängler manages a smile and shakes his head. The tram rattles on.","INT. HALL, STEVE'S BUILDING - DAY Furtwängler approaches Adams at his desk. He crosses to the stairs. German workmen stop what they are doing to let him pass. One of them bows. On the upper landing, Emmi is making her way to Steve's office. She stops, sees Furtwängler on the stairs and then dashes to Steve's door. FURTWÄNGLER Furtwängler.","INT. STEVE'S OFFICE - DAY Emmi bursts in on Steve and David. She's overawed : EMMI Major, Major. he's here. STEVE Shut the door, Emmi. Sit down, Emmi. We're going to keep him waiting, too. Emmi glances out again and reluctantly closes the door, Steve sits calmly, relaxed. STEVE Emmi, get us some coffee, will you? And, Emmi, do n't offer him coffee. Do n't even greet him, okay?","INT. WAITING ROOM - DAY Furtwängler sits, waiting. Emmi, deeply embarrassed, hurries through. Furtwängler is about to ask her something, but she's gone. He waits.","INT. STEVE'S OFFICE - DAY Steve and David preparing papers.","INT. WAITING ROOM - DAY Furtwängler waiting. Emmi enters from the landing door carrying a tray and three mugs of coffee. She hurries towards the office door, eyes downcast. FURTWÄNGLER Fraulein? Emmi stops. FURTWÄNGLER How long am I to be kept waiting? Emmi bites her lip and, without looking at him, disappears into the office. Furtwängler closes his eyes, breathes deeply. He stands, goes to the window, looks out.","INT. STEVE'S OFFICE - DAY Silence. Steve studying his notes. David watching him. Emmi staring forlornly into space. STEVE Okay, Emmi, go get him. Emmi rises, opens the door, nods, turns back to Steve. EMMI Dr. Furtwängler. Furtwängler enters. As he passes her, Emmi gives him a small curtsey. David nods. Steve does n't look up. Furtwängler waits a moment, glances round, sees the more comfortable chair and sits in it. Steve looks up. STEVE I did n't hear anyone invite you to sit down. Furtwängler stands. Steve points to the other chair. STEVE Sit there. Furtwängler sits. STEVE I want you to understand why you're here. You're automatically banned from public life under Control Council Directive No 24. We're here to look into your case before you appear in front of the Tribunal for Artists of the Denazification Commission. You understand that? FURTWÄNGLER I have already been cleared by a Denazification Tribunal in Austria. STEVE What they do in Austria does n't interest me one little bit. Okay? I have your questionnaire here. -LRB- reading. -RRB- Gustav Heinrich Ernst Martin Wilhelm Furtwängler, born Berlin, January 1886. Orchestral conductor. And you say here you were never a member of the Nazi Party. FURTWÄNGLER That is correct. A very long silence. When the silence is unbearable Steve speaks. STEVE Could you tell us about being made a Prussian Privy Councillor. How did that happen to a non - Party member? FURTWÄNGLER I received a telegram from Hermann Goering informing me that he had made me a Privy Councillor. I was not given the opportunity either to accept or refuse. After the dreadful events of November 1938, the violent attacks on the Jews, I stopped using the title. STEVE What about Vice - President of the Chamber of Music, you used that title did n't you? But then I suppose you had no choice there either, because I suppose Dr. Goebbels just sent you a telegram saying, Dear Mr. Vice - President. FURTWÄNGLER I do n't think Dr. Goebbels sent me a telegram. I was simply told. In a letter, I believe. I do n't remember exactly. STEVE Goebbels and Goering were sure heaping honours on you. One makes you a Privy Councillor, the other makes you Vice - President of the Chamber of Music, and you were n't even a member of the Party, how do you explain that? FURTWÄNGLER Well, there was a constant battle between Goering and Goebbels as to which of them would control German culture. I was simply a pawn. Anyway, I resigned from the Musikkammer at the same time I resigned as Musical Director of the Berlin Philharmonic Orchestra. In 1934. David puts up a hand. Steve nods. DAVID Why was that? Why did you resign, Dr. Furtwängler? FURTWÄNGLER I wrote an open letter to the newspapers condemning what they were doing to music, making these distinctions between Jews and non - Jews. For my part, the only divide in art is between good and bad. Eventually, Goebbels summoned me and told me I could leave the country if I wanted to but under no condition would I ever be allowed to return. I always believe that you have to fight from the inside not from without. I asked myself, what's the duty of an artist, to stay or to leave? And then Goebbels demanded that I acknowledge Hitler as solely responsible for cultural policy. Well, that was a fact and it seemed pointless to deny it. I simply acknowledged that Hitler and the Minister of Culture appointed by him were solely responsible for the cultural policy of the Reich. What I wanted to express was that I, personally, had no responsibility whatsoever for their cultural policy. I have always had the view that art and politics should. should have nothing to do with each other. STEVE Then why did you conduct at one of their Nuremberg rallies? FURTWÄNGLER -LRB- flaring. -RRB- I did not conduct at at the rally, I conducted on the evening before the rally. STEVE That sounds like the small print in one of our insurance policies, Wilhelm. And what about April 19, 1942? The eve of Hitler's fifty - third birthday, the big celebration ; you conducted for Hitler, did n't you? Was that in keeping with your view that art and politics have nothing to do with each other? FURTWÄNGLER -LRB- flustered. -RRB- That. that was a different matter, I. I was tricked. STEVE How come? FURTWÄNGLER Could I have a glass of water, please? Please, Fraulein? EMMI Straube. Steve looks expectant but Furtwängler remains silent. Steve nods to Emmi, who gets the water. Furtwängler drinks. Steve waits. FURTWÄANGLER Thank you. I was in Vienna, rehearsing the Ninth Symphony of Beethoven, when Goebbels called and said I had to conduct at Hitler's birthday. I'd always managed to wriggle out of such invitations, pleading previous engagements, illness, having my doctors state I was not well and so on and so on. I was also fortunate that Baldur von Shirach, who controlled Vienna, hated Dr. Goebbels and would do anything to thwart his wishes. But this time Goebbels got to my doctors before me ; they were frightened off, and von Schirach was threatened, bullied and gave in. So, I had no alternative but to conduct for Hitler. Believe me, I knew I had compromised, and I deeply regret it. STEVE -LRB- playing with him. -RRB- Does n't sound much of a trick to me. Sounds like you made a deal. FURTWÄNGLER I made no deal! STEVE I do n't buy that. FURTWÄNGLER It's the truth. Silence. Steve paces. Then suddenly turns on Furtwängler. STEVE I keep hearing you helped a lot of Jews to escape. How did you do that? FURTWÄNGLER I do n't remember in detail, there were so many. STEVE Did you call someone you knew? FURTWÄNGLER I may have, as. as I said, I simply do n't remember. STEVE Let me me help you, then. You picked up the phone and made a call -. -LRB- Mimes a telephone. -RRB- ` Hello, Adolf? Wilhelm speaking. Listen, old pal, there's a Jew - boy musician I want you to help. He needs a permit to get to Paris.' Emmi sticks her fingers in her ears and shuts her eyes tight. STEVE Or maybe you called Goebbels or Goering? You were so close you were in the same shithouse as them. FURTWÄNGLER May I ask a question? STEVE Sure. FURTWÄNGLER When will my case be heard by the Tribunal? STEVE Your guess is as good as mine. FURTWÄNGLER I need to work. I need to make my living. I live off the generosity of friends. STEVE Tough, tough! FURTWÄNGLER -LRB- now more and more agitated. -RRB- Then why is it, please, that another conductor who was actually a member of the Party, who used to play the Horst Wessel before his concerts, has already been cleared and is working again while I have to wait and wait and wait? STEVE I do n't know, he was n't my case. Why did you escape to Switzerland just before the war ended? FURTWÄNGLER It was because I learned that the Gestapo was about to arrest me. STEVE Why were they going to arrest you? FURTWÄNGLER I believe it was because of another letter I'd written to Goebbels lamenting the decline of musical standards due to racial policies. STEVE You did n't complain about the racial policies, just about the musical standards, is that right? No response. STEVE So, how did you learn that the Gestapo was out to get you? FURTWÄNGLER During an enforced hour - long interval because of a power failure at a concert here in Berlin, Albert Speer, the Minister of Armaments, said to me, ` You look very tired Dr. Furtwängler, you should go abroad for a while.' I knew exactly what he meant. STEVE You sure knew a lot of people in high places. FURTWÄNGLER It would be truer to say, I think, that a lot of people in high places knew me. STEVE You were real close to all of them, to Adolf, to Hermann, to Joseph, to Baldur, and now Albert. -LRB- flaring. -RRB- So, let's hear the truth, let's come clean. What was your Party number? FURTWÄNGLER If you are going to bully me like this, Major, you had better do your homework. You obviously have no idea how impertinent and stupid your questions are. Steve is stung. His eyes narrow dangerously. STEVE David, you remember I said I had a question that he would n't be able to answer? Well, I'm gon na ask it now. You ready for this, Wilhelm? It's a tough one. Why did n't you get out right at the start when Hitler came to power in 1933? Why did n't you leave Germany? No response. STEVE I have a list of names here, people in your profession, who got out in' 33. Bruno Walter, Otto Klemperer, Arnold Schoenberg, Max Reinhardt. FURTWÄNGLER They were Jews, they had to leave. They were right to leave. -LRB- He breathes deeply, summons strength. -RRB- I could not leave my country in her deepest misery. After all, I am a German. I. I stayed in my homeland. Is that my sin in your eyes? STEVE See, David? He ca n't answer the question. I'll ask it again, Wilhelm, and do n't give me any more airy - fairy, intellectual bullshit! The telephone rings. No one moves. Then Emmi picks up the telephone. EMMI Major Arnold's office. Yes, he is. Offers the phone to David. EMMI It's Major Richards for Lieutenant Wills. David takes the telephone. DAVID David Wills. Yes, sir. -LRB- listens. -RRB- Well, you want me to tell him? Okay. -LRB- to Steve. -RRB- Major Richards wants a word with you, sir. Steve indicates he'll take the call on the extension. Furtwängler stands. As Steve crosses to the extension : STEVE -LRB- muttering. -RRB- Why ca n't he just ask for me? Why does he have to ask for you first? Goddamn British, so correct! He picks up the extension. Emmi puts down her receiver. STEVE Steve Arnold. FURTWÄNGLER I've had enough of this, I'm leaving. He goes quickly. David dashes after him.","INT. WAITING ROOM - DAY Furtwängler is at the door when David reaches him. DAVID Dr. Furtwängler! Dr. Furtwängler! Please, please. -LRB- a warning. -RRB- Do n't. It's not advisable. The sound of Steve laughing with delight. Furtwängler hesitates. Emmi comes to the waiting - room door, watches, as if on guard. David comes round to face Furtwängler. DAVID -LRB- he gathers courage. -RRB- When I was a child, my father, he took me to. he took me to one of your concerts. I remember you conducted Beethoven's Fifth Symphony. I was deeply moved. And I've loved music ever since. I was grateful to you. And I've admired you. How could you. how could you serve those criminals? He falls silent.","INT. STEVE'S OFFICE - DAY Emmi, at the open door, has been listening. She's shocked, turns away to see Steve, on the extension, chuckling, grinning from ear to ear. STEVE How many? Jesus, that's dynamite! Okay.","INT. WAITING ROOM - DAY David and Furtwängler have n't moved. Both are looking towards Steve's office and Emmi in the doorway. Again the sound of Steve's laugh. Then Emmi steps into the room, approaches Furtwängler. EMMI Dr. Furtwängler. He gives her a wonderful smile. And, suddenly, Steve stands in the doorway, smiling. STEVE Well now. Are n't we all sociable? The others are made awkward. STEVE I've got to hand it to the British, David. You know what those guys are? Decent. -LRB- He sits, crosses his legs. -RRB- Tell me, Herr Dr. Furtwängler, do you know Hans Hinkel? FURTWÄNGLER Yes, a despicable human being. He was in the Ministry of Culture. His job was to get rid of Jews in the arts. STEVE Yup, that's him, that's the guy. You know what else the little creep did? He kept files, close on 250,000 files. And you know what's in those files? FURTWÄNGLER Certainly not, but I knew he had informers everywhere. Even in my orchestra there was someone STEVE Who? FURTWÄNGLER I was n't told. I just knew it. STEVE How? FURTWÄNGLER -LRB- uneasy. -RRB- I was warned. STEVE Who warned you? FURTWÄNGLER -LRB- lowering his head. -RRB- Goering. Because Hinkel was working for Goebbels. STEVE What did Goering say? FURTWÄNGLER He told me to be careful as one of Goebbels' men was watching me. He read a report on me - everything I said was quoted word by word. STEVE Oh boy, you're gon na love this. Take your time with this now. Those files contain the details of every working artist in this country. Those files are gon na tell us who joined the Party, who informed and who was helpful. Furtwängler goes to the door. David opens it for him. Furtwängler nods, then turns to Emmi, bows to her and smiles. He goes.","INT. BRITISH INTELLIGENCE HQ, ARCHIVE ROOM - DAY SECURITY Your name, please. DAVID David Wills. SECURITY Over there. There is a long trestle table running the length of the room, with chairs, as if in a library. A notice requests ` Silence'. British and American servicemen, a Russian and a French officer studying papers, making notes. At the furthest end, Steve, David and Emmi. STEVE Fantastic! The only condition is we have to do the work here. I want you to collect all the files on the boys in the band.","INT. BRITISH INTELLIGENCE HQ, ARCHIVE ROOM - NIGHT David discovers that the archive room was originally a synagogue. He is moved. He lays stones on the rail of what was once the ark.","INT. BRITISH INTELLIGENCE HQ, ARCHIVE ROOM - DAY Emmi and David surrounded by files, sifting through, making notes. They examine the Hinkel Archive.","INT. BRITISH INTELLIGENCE HQ, ARCHIVE ROOM - DAY Another day. Sunshine pouring in. Steve seated as before, but Emmi and David again in different places. Emmi rises, goes to Steve, shows him something. EMMI Maybe you can have a look at this. He reads. He is not pleased. He writes furiously. Emmi returns to her place. Suddenly, a movement causes Steve to look up. STEVE AND HIS POV : David slides a note across to Emmi. Emmi reads the note. David watches her. She looks at him. She almost smiles, nods surreptitiously. DAVID -LRB- a whisper. -RRB- Schubert. She feels Steve's eyes on her, and returns quickly to her work. Steve is displeased and even more suspicious.","EXT. PARTLY RUINED CHURCH - EVENING Summer evening. The first movement of Schubert's String Quintet in C Major, D956, played by three men and two women to a large audience packed into the ruins, partly open to the sky, Dymshitz among them. At the rear of the church, Emmi and David, enraptured, seated side by side. The first movement ends and the Adagio begins. After the music gathers momentum : Rain. Thunder and lightning. The musicians continue to play, unperturbed. They are coming to the end of the Quintet. David and Emmi huddled together. Some umbrellas up and then movement which catches David's attention. He nudges Emmi, I indicates with his chin. People have moved to reveal Furtwängler : seated, wearing a hat, still I' as a statue, soaked, listening, expressionless. Much applause. The musicians bow. The audience start to leave. Emmi and David emerge from the ruins. Furtwängler passes them. They nod awkwardly. He does n't respond but is about to walk on when Dymshitz pushes through, nods to David, who salutes. Dymshitz catches up with Furtwängler. They are near to Emmi and David. DYMSHITZ Dr. Furtwängler - Furtwängler stops. DYMSHITZ Moving, you agree? Whenever I hear Schubert I am moved. You agree? FURTWÄNGLER The tempi were a little too correct for my taste. But I expect that is because of the rain. He nods politely, is about to go - DYMSHITZ -LRB- also for David's benefit. -RRB- Wait, Doctor, I understand you have difficulties with the Americans. I want you to know, I am your champion. We can help. Furtwängler allows himself a faint smile, tips his hat, and then hurries off into the night. Dymshitz goes, too. David and Emmi watch them. Then : EMMI -LRB- frowning, worried. -RRB- What does he mean, too correct? DAVID I do n't know. Huddled under their umbrella, they dash off.","INT. STEVE'S BEDROOM, GRAND HOTEL - NIGHT Steve, fully dressed, lies on the bed in his small, shabby room, staring into space. He is suddenly startled by a loud roll of thunder and then a fierce crack of lightning. He goes to the window, watching the rain. He stands motionless for a second, then makes a decision. He grabs his cap, a raincoat from the back of the door. Another loud thunderclap.","INT. US OFFICERS' CLUB - NIGHT Dancers jitterbugging and jiving. Among them, David and Emmi also dancing, imitating the others and having a good time. The music ends. Scattered applause. The band leaves the platform. The dancers return to tables or the bar. Later : David and Emmi at their table, eating. She eats voraciously, eyes glazed, all her concentration on the food in front of her. David is fascinated, ca n't stop watching her. Steve enters the club, makes his way to the bar, orders a drink. Steve turns to survey the room, almost at once spots David and Emmi, their backs to him. He observes them. David and Emmi at their table : They have finished their meal. Emmi is silent now, staring at her empty plate. Steve is suddenly at their table. STEVE Well, what is this, the office party? David and Emmi are frozen with embarrassment. STEVE May I join you? -LRB- sits down, beams. -RRB- So, what have you two been up to tonight? Hey. Do n't I owe you a bottle of French champagne? Tries to get a waiter's attention but fails. • No response. STEVE You know, David, you're a lucky guy. I invited Emmi here but she turned me down. You must've hidden depths, David. he band starts to play ; he stands, holds out a hand. STEVE C'mon, Emmi, let's dance. I'll teach you how to jive. She is horribly embarrassed, does n't move. David suddenly stands and takes Emmi by the arm. DAVID I'm very sorry, Major, but I promised her mother, we have to go. They leave quickly. Steve watches them. He sinks down, angry and jealous.","INT. HALL, STAIRWAY, STRAUBE APARTMENT BLOCK - NIGHT David and Emmi enter the hall, each locked in their own thoughts. They reach the foot of the stairs and pause. They want to kiss but both are too awkward. She starts up the stairs. EMMI Do n't see me to my door, there's no need. DAVID But I promised your mother. She stops, turns. EMMI Well, sleep well. She continues on her way.","INT. ARCHIVE ROOM - DAY Steve and Emmi at work on the files. One or two BRITISH OFFICERS present, and David, who is working at the far end of the table. He has a cold. Emmi, who also has a cold, opens a file and is immediately alert. She reads. She blows her nose. She is uncertain. She looks up at Steve. She makes a decision. She rises, takes the file to Steve. EMMI Excuse me, Major. I found this on Helmuth Rode. You remember? The second violinist? Look, he's Austrian not German. But it's this that's more important, I think. She points to something. Steve laughs loudly. AN OFFICER Sssh! David looks up at them, puzzled. Then a British SERGEANT comes into the doorway. SERGEANT Lieutenant Wills, telephone - David rises and as he goes : THE OFFICER -LRB- exasperated. -RRB- What is this, a railway station?","INT. LOBBY, ARCHIVE BUILDING - DAY In a booth near the front desk, David is on the telephone. DAVID -LRB- into telephone. -RRB- David. Wills. Hello? Who? Who in Wiesbaden? Irritated, he taps the receiver but the line's gone dead.","EXT. LAKESIDE, BERLIN - DAY Steve lies, shirt off, taking the sun. Children playing. Noise behind him of someone in the bushes. Steve does n't move. Rode, carrying a slender leather case, pushes through to Steve, who remains with his eyes closed. RODE Major. STEVE -LRB- eyes still closed. -RRB- Helmuth. RODE Guess what I am holding in my hand. You like guessing games? STEVE Love'em, Helmuth. I give up. What are you holding in your hand? Rode takes from the case a conductor's baton. Steve opens one eye. RODE It's Dr. Furtwängler's baton, which I stole. STEVE The one he kept in his right hand. Yes, you remember. RODE Yes, you remember. STEVE How could I forget? Sits up, takes the baton. Somewhere a child laughs ; suddenly Steve thrusts the baton at Rode. STEVE Show me. RODE Show you? STEVE Yeah, show me, I want to see you do it. Pretend I'm Adolf. You're the maestro, and you have the baton in your right hand, but you give me the salute just the same. RODE Not here, Major, there are people, if anybody should see. please, please, Major. STEVE Do it, Helmuth. After nervous looks over his shoulder Rode, salutes half - heartedly. STEVE Do it right. Rode thrusts his hand out in the Nazi salute. People by the lake : Mostly elderly, but some younger ones see Rode saluting. Some turn away. Others stare. STEVE'S VOICE You look great doing that. Rode and Steve : Rode looks around nervously, lowers his arm. STEVE And I see what you mean. You nearly poked my eyes out. RODE Exactly. Replaces the baton, gives Steve the case. STEVE Do n't worry, Helmuth, it'll be our secret. A ball comes bounding towards them. Steve catches it. Then a BOY runs in, looks hopeful. BOY Mister, mister, here, here, mister! Steve tosses the ball back to him. STEVE Great catch, kid. The boy runs off. RODE So. You wanted to see me. Steve pats the spot next to him and Rode sits. RODE You usually do n't work on Sunday, Major? STEVE All in the cause of humanity, Helmuth. Or should I call you one - zero - four - nine - three - three - one? RODE What? STEVE One - zero - four - nine - three - three - one. Or d'you mind if I just call you ` one'? Rode makes an attempt to go but Steve grabs him. STEVE You know what I say you are, Helmuth? I say you're a piece of shit. Rode suddenly starts to retch. RODE That bastard! People by the lakeside : Faces turning at Rode's sobs. Impassive. Blank. Steve and Rode : STEVE Who's the bastard, Helmuth? Hinkel? Rode nods. STEVE Why? He promised to remove your file? Rode vomits. STEVE And what about before that? What were you a member of in Austria? After a moment : STEVE Was a member of? Speak up? RODE -LRB- barely audible. -RRB- I was a member of the Communist Party. I was a communist. That's what Hinkel had over me. He knew everything. He held that over me. That's how he made me co - operate. STEVE Oh, I see, he made you co - operate. And now are you a communist again? RODE -LRB- angry. -RRB- You do n't know what it's like to wake up every single morning of your life terrified, you do n't know that -. -LRB- he stops. -RRB- Brief silence. Steve stands. Further along the lakeside : Steve and Rode walk. People about. Boats on the lake. RODE I would never, in my wildest dreams, have ever been a second violinist in the Berlin Philharmonic. When they got rid of the. the Jews in the orchestra, it gave people like me a chance.","EXT. LAKE - DAY Rode rowing Steve in a small boat. Rode, exhausted, stops. The boat drifts. Steve watches him for a moment, then : STEVE Helmuth, you ever heard of plea - bargaining? Rode, trying to catch his breath, shakes his head. STEVE Talk about power, I have the power to give you work, make your life easier. Your past wo n't be mentioned. I could give you a job tomorrow but I have to get something in return. See, Helmuth? That's plea - bargaining. No response. Rode keeps his head bowed. STEVE I can give you freedom of movement, freedom to work, freedom, Helmuth. But I need something in return. RODE Major, we're discussing a man of genius, I do n't want. STEVE Fuck that, Helmuth. You want to discuss symbols here? This guy was a front man. He was the piper, but he played their tune, you get my philosophical meaning? I'm not interested in small fish, I'm after Moby Dick. Come on, Helmuth. Hard facts. Silence. Then Rode slowly raises his head. RODE The only thing I know is he's an anti - Semite. STEVE Of course. You, too. Like everyone else in this goddamn country.","EXT. WOOD, LAKESIDE - DAY Rode and Steve walking. Rode suddenly turns to him : RODE I've remembered something else. STEVE Yeah? RODE Furtwängler sent Hitler a telegram for his birthday. STEVE He did? RODE One of your people told me. STEVE One of my people? They start to walk away from the water. RODE Yes. A corporal. US Army. A Jew. He said he'd seen the telegram in the Chancellery. STEVE Son - of - a - gun. We'll find the corporal and we'll find the telegram. He stops, takes out a cigarette, offers one to Rode, lights them both, gives Rode the packet. They smoke for a moment. STEVE But I need documentary proof. You know of anything like that? RODE No. But that's why we hated him. We admired him as a conductor but we all hated him too because he did n't have to join the Party and yet he had a better life than any of us. He did n't have to go and deliver a report after every trip abroad. He got everything from them, everything. He was filthier than any of us Party members. The sun is setting. Rode stops suddenly. RODE There's a rumour. I do n't know if it's true or not. but ask him about von der Null. STEVE Never heard of him, who is he? RODE Edwin von der Null. Music critic. He gave Furtwängler terrible reviews while he raved about Herbert von Karajan. STEVE Who's he? RODE Also a conductor. Very brilliant. Young. Von der Null called him ` The Miracle von Karajan'. Furtwängler was outraged and they say he had von der Null conscripted into the army. The same thing happened to another critic. True or not, it's not such a bad idea. Critics give you bad reviews, you have them sent to the Russian front. -LRB- Chuckks. -RRB- But if you really want to get Furtwängler, ask him about Herbert von Karajan. STEVE The Miracle Kid. RODE Yes, yes you may notice that he can not even bring himself to utter his name, he. he refers to him as K. Rode tries to make up his mind about something, then decides. He reaches into an inside pocket and takes out a small black notebook. RODE And ask him about his private life. STEVE His private life? Rode hesitates, then he hands Steve the black book. RODE Yes, it's all in here. His women.","INT. ARCHIVE ROOM - DAY Steve going along the shelves filled with files. He's at the H, then I, then J. He stops at the letter K. With his forefinger, he runs down the files. He stops, pulls out a fat file : ` KARAJAN, H.VON' He opens the file. INSERT : - the file : ID PHOTOGRAPHS of an energetic - looking young man and two Nazi Party membership booklets.","INT. CAFETERIA - DAY David makes his way from the counter. He carries a tray with two cups of coffee. He goes to a table where CAPTAIN MARTIN sits, papers and files spread before him. David gives him his coffee, then sits across from him, blows his nose. Silence while they sugar and milk their coffee. David aware of Martin's eyes on him. MARTIN Where do you stand on all this? DAVID On all what? MARTIN On Furtwängler. DAVID I do n't know. He breaks off. MARTIN You represent the United States now. We have a moral duty to be just and we have to be seen to be just. DAVID Major Arnold believes he has a moral duty, too. MARTIN Our duty is to help Furtwängler with his defence. -LRB- carefully. -RRB- That's why I want you to look at this. -LRB- he selects papers from the table. -RRB- These are part of the transcripts of the trial at Nuremberg. We ca n't get them translated fast enough. But I guess you understand German, right? Passes papers across to David. MARTIN That's the evidence of a guy named Dahlerus. He's a Swede. Friend of Hermann Goering. I want you to study it. And I want you to use it. David tries to sneeze but fails ; he starts to read. MARTIN We're going to find more stuff to feed you. We'll have some other suggestions. We need to build a case for the defence - based not on feelings, not on prejudice, but on facts. He watches David read. David is engrossed. Almost imperceptibly, he shakes his head.","EXT. BERLIN STREET - DAY A half - ruined café with tables on the sidewalk. WERNER, the timpanist, SCHLEE, the oboist, and two others seated at one of the tables, drinking coffee. David carries an attaché case and walks towards the café. He scans the people at the tables, sees the musicians and approaches. They stand. WERNER Lieutenant Wills. David nods WERNER Herr Schlee, timpanist, Herr Romer, cello and Herr Schmidt, viola. They are willing to help. We have already ordered ourselves coffee. I hope you. DAVID Yeah, of course. WERNER The whole orchestra will vouch for him. He was always there to support us. DAVID We need names, if possible with addresses, because it's urgent. Names of musicians saved by Dr. Furtwängler, people he helped to escape abroad. Let's go somewhere public. David leaves money on the table and then walks off with the four men. They talk as they make their way down a side street.","INT. DYMSHITZ'S VILLA - NIGHT Steve and Dymshitz sit opposite each other and clink vodka glasses. They have been drinking but are not yet drunk. DYMSHITZ To co - operation. They drink. Dymshitz pours more vodka. STEVE I was in Vienna. I had with me an Austrian chauffeur, Max his name was, he spent time in the camps. We were looking at these Viennese cleaning up the bomb damage, scavenging for rotting food, butt ends, anything. I said, ` To think a million of these people came out to welcome Adolf on the day he entered the city, a million of'em, and now look at'em.' And Max said, ` Oh, not these people, Major. These people were all at home hiding Jews in their attics.' You get the point, Colonel? The point is they're all full of shit. DYMSHITZ Furtwängler's in a different category. STEVE We're dealing with degenerates here. He is still for a moment, then grabs the bottle and pours himself a drink, downs it. Dymshitz watches him, then : DYMSHITZ Degenerates?","INT. ANOTHER ROOM, DYMSHITZ'S OFFICE SUITE - NIGHT German modern paintings stacked untidily. Dymshitz, carrying a vodka bottle and his glass, shows Steve the paintings. Steve, too, has a glass. DYMSHITZ A great artist will have great privileges in a Russian zone. STEVE That's why he did n't get the hell out of here when he had the chance! I put that to him, he could n't answer. Why did n't he go and direct in America, like that Italian, Toscanini. Dymshitz pours vodkas, raises his glass, drinks. So does Steve. Now, their moods swing with the drink. Dymshitz drinks ; then sits, sinks into his own world. DYMSHITZ -LRB- lost for a moment. -RRB- Perhaps. perhaps he believed he could at least try to preserve something important, things like an orchestra, a school. That's his country. Maybe he has an old mother who ca n't be left alone. Maybe he has brothers, sisters. you ca n't. A forlorn look at Steve. His eyes are misty, he is visibly drunk. STEVE -LRB- a wry smile. -RRB- Colonel. He had no sisters, no brothers, only a lot of love affairs. DYMSHITZ Anyway, Major, why should he leave his country, his mother tongue, his family, his history, his past, his future, just because now, suddenly, there is a dictatorship? Why? STEVE But what. before that turns rotten. What if they surround the space with barbed wire, Colonel? DYMSHITZ -LRB- suddenly exploding. -RRB- Do n't talk about things you know nothing about. He was in a dictatorship! STEVE -LRB- dismissive. -RRB- Yeah, yeah, art and politics, yeah, yeah, I heard all about that. DYMSHITZ -LRB- angry. -RRB- In a dictatorship, art belongs to the Party. If you want to be a conductor, you have to have an orchestra. And you can only get an orchestra if you have contact with the power. All over the world you need the right contacts and you have to make the right compromises. STEVE This is what I'm saying. He must have had Party contacts. DYMSHITZ There are good Party members who help, and there are dirty non - Party members who inform on you. Of course, they gave him privileges. Pause. DYMSHITZ And suddenly, Steve, suddenly you notice that they like you. They honour you, suddenly you are the director of the best museum in the world, for example. STEVE What museum? DYMSHITZ I'm sorry. Museum? Not. I said orchestra. Sorry. Believe me. -LRB- another sudden change of mood to earnest, intimate. -RRB- Help me, Steve. You say you answer for someone from high up. I, too, have orders from high up. Very high up. We want Furtwängler. I'll give you in return the whole orchestra, four, five conductors. I need him, Steve. STEVE No can do. DYMSHITZ Let Furtwängler go. Please. STEVE I have a duty. DYMSHITZ -LRB- flaring. -RRB- Duty? I am sorry, duty? Duty fucking duty. Trouble is, you Americans want everybody to live like you. We liberated Berlin, Major Steve, not you. Our duty also is to bring back the best of German culture. Dymshitz bursts out laughing. Stung, Steve advances on him, almost as if he's about to attack him physically. He stops, sways a little, then, after a moment, drops down in a chair near to Dymshitz. They drink. Intimate : STEVE I'm gon na get that fucking bandleader, Colonel. No deal. No fucking deal. DYMSHITZ Then you're going to kill me.","INT. STEVE'S OFFICE - NIGHT Drunk, Steve is clumsily, almost frantically, threading film into the 16 - mm projector. He switches off the lights then stumbles back to the projector, turns it on and directs its beam towards a blank square of watt. It's an American military propaganda film. ARCHIVES You'll see ruins, you'll see flowers, you'll see some mighty pretty scenery, do n't let it fool you. You are in enemy country. The Nazi party may be gone, but Nazi thinking, Nazi training and Nazi trickery remain. Somewhere in this Germany are two million ex - Nazi officials. Out of power but still in there and thinking, thinking about next time. Remember that only yesterday every business, every profession was part of Hitler's system. Practically every German was part of the Nazi network. They believed they were born to be masters. Do n't argue with them. You are not being sent Germany as educators. You're a soldier on guard. You will observe their local laws, respect their costumes and religion and you will respect their property rights. You will not be friendly. You will be aloof, watchful and suspicious. Steve, swaying slightly, watches, with the film continuing.","EXT. FLEA MARKET - DAY Bright summer's day. Emmi pushing her way through the crowded market. She comes to the stall with gramophone records. David is with her, staying behind a little so as not to disturb her. She starts to look through the records, blowing her nose from time to time. Then she finds a box of records, opens it, is delighted. She bargains with the stallholder, and she hands over money. She shows her purchase to David happily. They struggle on in the crowd. David suddenly stops. He has spotted a tandem. The bicycle with two seats is old and rusty but seems to be in working order. David steps up to it, touches it.","EXT. WOODLAND - DAY Two persons, Emmi and David, riding the tandem. Emmi in the front, pedalling, David behind. The road going up into the hills is full of potholes. They change seats. David is in the front, Emmi at the back. Suddenly the road begins to descend. They change again, Emmi sits in the front, David at the back. They speed down the hill.","INT. BURNT-OUT DEPARTMENT STORE - DAY The tandem, ridden by Emmi and David, rolls into a huge building, black and burnt out. In the middle of the vast hall, surrounded by the staircase, there is a Christmas tree, almost burnt to cinder. Emmi and David stare at it, mesmerised. DAVID Yesterday I read that Furtwängler was asked to lead the New York Philharmonic back in' 36, Toscanini suggested it. Had he accepted, he would have become the most celebrated conductor in America. EMMI When he made his decision, he could n't have known everything. Especially not the way people like you do, who've returned from exile and feel that you have a right to pass judgement. Because you are blameless, you think you know best who is a sinner and who deserves forgiveness. But you have no idea how people lived here. DAVID When he met Hitler at his birthday and shook hands with him, was he pleased? EMMI I do n't know. But you and I already know that he has saved lives.","INT. STEVE'S OFFICE - DAY Steve and David studying files in silence. Furtwängler's baton is on Steve's desk. Steve drinks black coffee. Emmi enters. Curt nods of greeting. She goes to her desk, then takes the Bruckner record to Steve. Steve looks at the record, then glances up at Emmi. He does his best to exclude David, who tries to hear what is said. Emmi glances at David. She's embarrassed. EMMI Bruckner's Seventh, Major. STEVE Do you know where the Adagio begins? EMMI Of course. STEVE Put it on ready to play, and I'll tell you when to play it. He returns to his desk. Emmi looks through the album for the appropriate record.","INT. STEVE'S OFFICE - DAY Steve by the open window, looking at his wristwatch, smoking a cigarette. David and Emmi both watch him. The door opens and Furtwängler bursts in. FURTWÄNGLER It is now nine o'clock precisely. I do not intend to be kept waiting again. STEVE -LRB- dangerously calm. -RRB- Do n't talk to me like I was a second violinist. Go back into the waiting room. Miss Straube will come and get you when I am ready to see you. Furtwängler goes out. STEVE Jesus God, who the hell does he think he is? Who the hell does he think he is? David and Emmi gaze at him as he tries to regain control.","INT. WAITING ROOM - DAY The door to the landing is open and Rode is there pretending to sweep. He looks in to see Furtwängler sitting, holding his handkerchief over his nose and mouth. RODE Would you perhaps like to have a glass of water, Herr Professor? Furtwängler does n't seem to hear. Rode hesitates, then continues to sweep.","INT. STEVE'S OFFICE - DAY David and Emmi look at him, puzzled. She goes to the door, opens it, nods. Rode quickly disappears. Furtwängler looks at Emmi. FURTWÄNGLER What is this man doing here? Emmi does n't answer. All eyes on the door. Furtwängler enters. STEVE Dr. Furtwängler! Come in, come in, sit down. Furtwängler, deeply suspicious, goes for the uncomfortable chair. STEVE No, no, take this one, it's more comfortable He holds the other chair for Furtwängler, who sits. STEVE If it's too hot, open your tie. FURTWÄNGLER -LRB- interrupting. -RRB- I wish to say something. STEVE Go ahead, be my guest. Furtwängler takes from his pocket a piece of paper with notes. He blows his nose. The room is warming up. It will become like an airless court room, a pressure cooker. FURTWÄNGLER When I last saw you, I was unprepared. I did not know what to expect. In these past weeks, I have been thinking more carefully and making some notes. -LRB- glances at the notes. -RRB- You have to understand who I am and what I am. I am a musician and I believe in music. I am an artist and I believe in art. Art in general, and music, in particular, has for me mystical powers which nurture man's spiritual needs. I must confess, however, to being extremely naive. I insisted for many years on the absolute separation of art and politics. My entire life was devoted to music because, and this is very important, because I thought that I could, through music, do something practical. STEVE And what was that? FURTWÄNGLER Maintain liberty, humanity and justice. STEVE Gee, that's a thing of beauty, honest to God, a real thing of beauty. I'm going to try to remember that. Liberty, humanity and justice. Beautiful. But you used the word ` naive'. Are you now saying you think you were wrong? That art and politics ca n't be separated? FURTWÄNGLER I believe art and politics should be separate, but that they were n't kept separate I learned to my cost. STEVE And when did you first learn that - when you sent the telegram? Was that the surrender signal, the waving of the white flag? FURTWÄNGLER What telegram? STEVE ` Happy birthday, dear Adolf, love Wilhelm.' Or words to that effect. That sounds to me like you were dropping on your knees and saying, ` Okay, Adolf, you win. You're the number one man. Have a swell party.' FURTWÄNGLER I have no idea what you're talking about. STEVE The birthday greetings you sent to your old pal, Adolf Hider. FURTWÄNGLER I never sent him any birthday greetings or any other kind of greetings. STEVE Think carefully, Wilhelm. maybe not in your own name, but as Privy Councillor or Vice - President. FURTWÄNGLER I do n't have to think carefully. This is utterly ridiculous. David and Emmi exchange the briefest of looks. David raises his hand. STEVE Yes, David? DAVID Why not show Dr. Furtwängler the evidence. It may refresh his memory? FURTWÄNGLER You wo n't find it because no such telegram exists. STEVE Well, I tried, you got to admit I tried. I thought I might just trap you there, Wilhelm, but David here was too quick for me. Smart move, David, smart move. No, I do n't have the telegram, but I know it exists. And I want you to know, Wilhelm, we're going to keep looking for it because I believe you sent it. FURTWÄNGLER Then you are wrong. STEVE Art and politics, yeah, art and politics. Let's look at that. You and the Berlin Philharmonic toured the Third Reich, played in countries the Nazis had conquered. Are you saying that conducting in occupied territories from 1939 on was n't a commercial for Adolf and all he stood for? FURTWÄNGLER We never, never officially represented the regime when we played abroad. We always performed as a private ensemble. As I think I already told you, I was a freelance conductor. STEVE You know something? You should've written our insurance policies for us because you got more exclusion clauses than Double Indemnity. What do you imagine people thought? The Berlin Philharmonic's taken over by Doctor Goebbels and his Propaganda Ministry but Wilhelm is a freelance, so art and politics are now entirely separate? Is that what you believed ordinary people thought? FURTWÄNGLER have no idea what ordinary people thought. STEVE No! FURTWÄNGLER No, because I had only one intention. My only intention whatever I did was to show that music means more than politics. STEVE Tell me about von der Null. FURTWÄNGLER -LRB- taken off - guard. -RRB- Von der Null? STEVE Yes, von der Null. FURTWÄNGLER Von der Null? STEVE How long's this going to go on, Wilhelm? I say von der Null, you say von der Null, I say von der Null, you say von der Null, we could go on all day. You know who von der Null is, do n't you? Edwin von der Nuell, music critic. FURTWÄNGLER Yes, I know who he is. STEVE Is n't it true that because he gave you bad reviews and praised this young guy, Von Karajan, called him a goddamn miracle, said he was a better conductor than you, then you had von der Null conscripted into the army and no one's heard from him since? FURTWÄNGLER That's an outrageous lie! STEVE You sure you did n't call one of your close buddies and say, God in heaven, did you see what that guy von der Null wrote about me? The greatest conductor on earth. I want him out the way. He had the nerve to accuse me I am not playing enough modern music. Send him to Stalingrad. Is n't that what you did? You do n't like criticism, do you, Wilhelm? You surely did n't like them saying there was another conductor who was better than you. Are you saying the name von der Null was never mentioned in your talks with Goebbels? FURTWÄNGLER -LRB- uncomfortable. -RRB- Well. Once he said he'd read what this man wrote about me. STEVE And what did he say? FURTWÄNGLER He said, ` Do n't mind him. His job is to criticise, your job is to conduct.' STEVE And what happened to Von der Nul? FURTWÄNGLER I have no idea. STEVE You've really no idea? I'll tell you what happened. He died in Stalingrad. FURTWÄNGLER I'm sorry. STEVE Now, that young conductor what's his name? -LRB- playing with Furtwängler. -RRB- That miracle kid, you know who I mean. Von Karajan! But you called him something else. C'mon. What did you call von Karajan? Silence. STEVE Say it. Silence. STEVE I'll say it, then. ` Little K.' Is that right? You could n't even bear to say his name! Furtwängler rises angrily and starts to pace. FURTWÄNGLER Please stop playing these games with me. Why you should bring up the name of another conductor is beyond my understanding. STEVE I'll tell you why. You remember we talked about you playing for Hitler's birthday? And you told me that Goebbels got to your doctors first, that you were tricked? FURTWÄNGLER Yes, that's what happened. He sits heavily, wipes his brow. He is sweating now. STEVE I have a different story to tell. I do n't think you were tricked. Not in the way you describe. I believe something else happened. I've seen the Hinkel Archive, I've seen records of phone calls, and putting it all together, this is what I think happened. I think Goebbels said, ` Wilhelm, if you wo n't conduct for Adolf's birthday, we'll get the Miracle Kid, the guy that critic, von der Null, thinks is the greatest conductor in the world. He's not just willing to conduct for Adolf, he's offered to sing `` Happy Birthday'' as a solo.' Silence. STEVE Come on, admit it. K worried you, did n't he? He always worried you. In 1942, he's thirty - four years old, you're already fifty - six. And Goebbels and Goering keep saying to you, ` If you do n't do it, little K will.' Never mind art and politics and symbols and airy - fairy bullshit about liberty, humanity and justice because I do n't care how great you are. It's the oldest story in the book. -LRB- a wry look at David. -RRB- The ageing Romeo jealous of the young buck. The real reason you did n't leave the country when you knew you should have was that you were frightened that, once you were out of the way, you'd be supplanted by the Miracle Kid, the Party's boy twice over, flashy, talented little K. FURTWÄNGLER This is absolute nonsense! STEVE Well, I'm just beginning to develop my theme. Is n't that what you call it in classical music, developing your theme? Okay, so they played on your insecurity. That's human, understandable. But, there is one guy who does n't like little K as much as he likes you - yeah, the number one man your old pal, Adolf. He thinks you're the greatest, and when he says, I want Wilhelm for my birthday, boy, they better go out get Wilhelm. So, Josef calls and threatens you with little K. And you said to hell with the Ninth in Vienna, I'll give it to Adolf as a birthday present in Berlin. That's the trick they played, they got you by the balls and they squeezed. Hard. Why did you stay? Why did you play for them? Why were you the flag - carrier for their regime? Jealousy? FURTWÄNGLER -LRB- interrupting. -RRB- Of course there was a conspiracy against me, a campaign - even abroad. Brief silence ; all eyes on him. STEVE You see, Wilhelm, I'm talking about ordinary, everyday reasons. Which is why I want to discuss your private life. How many illegitimate children do you have? DAVID Major, I do n't see how this line of questioning could. STEVE David, what are you Counsel for the Defence now? -LRB-. -LRB- to Furtwängler. -RRB- Did you hear the question? FURTWÄNGLER -LRB- barely audible. -RRB- I have illegitimate children. STEVE What? FURTWÄNGLER I said I have illegitimate children. I do n't know how many. STEVE You like the women, do n't you, Wilhelm? No response. STEVE Is n't it true that before every concert you got a woman in your dressing room and gave her the old conductor's baton, is n't that true? DAVID -LRB- indicating EmmI. -RRB- Major, this is deeply offensive and repugnant! STEVE You bet. DAVID and totally irrelevant. STEVE -LRB- continuing to Furtwängler. -RRB- Not so, Counsellor. That secretary of yours, she was n't just your secretary, she procured women for you, did n't she? As many and as often as you wanted. FURTWÄNGLER Stop this, please, stop this now! STEVE No, I'm not going to stop it. Hitler himself offered you a beautiful house and a personal bomb shelter. FURTWÄNGLER I absolutely refused the house and the bomb shelter. STEVE But you see what I'm getting at? You get a gorgeous house, you're highly paid. What are you gon na do, stay or leave? One voice comes back at me : stay! DAVID Major, that's not a good argument. If Dr. Furtwängler did indeed enjoy all these. these privileges, he enjoyed them because of who he is and what he is. That's true of any leading artist in any country in the world. STEVE But it still does n't make them saints. They still have to get up and piss in the middle of the night, do n't they? They can still be vindictive and envious and mean just like you and me. Well, just like me. Ca n't they? No response. To Furtwängler : STEVE Okay, Wilhelm, go home now. Go home and think about these past twelve years. FURTWÄNGLER I do n't understand what you mean. STEVE No, that's your problem, Wilhelm. You understand nothing. We'll call you. Go! Furtwängler leaves. DAVID Major. Steve goes to his desk and, as Furtwängler rises uncertainly : STEVE What? DAVID Your manner. STEVE My manner? Why do n't you go downstairs, get a cup of coffee and calm down? What's the matter, Emmi? What's going on with you? What's wrong? EMMI I'm sorry but I have to leave. I'll find other work. You'll have to get someone else, that's all. STEVE What is this, Emmi? EMMI I ca n't do this. It's not right. STEVE What's not right? EMMI I have been questioned by the Gestapo just like that. Just like you questioned him. STEVE Emmi, stop! I want to show you something. Let me show you something and then if you want to leave, you can leave, please please. His friends, they did this. And he gave them birthday concerts. EMMI But he had no idea, a lot of people had no idea. I only realised what was really going on when I got arrested. STEVE If he had no idea, why did the Jews need saving? This is the question, Emmi, to all Germans : Why did the Jews need saving in this country? Why, if people had no idea? EMMI I would like to go now, please. But Steve turns on the projector and the Bergen - Belsen film flickers into life.","INT. US OFFICERS' CLUB - NIGHT Band playing. Couples dancing. David and Steve at the bar, each with a drink in front of them, lost in their own thoughts. Then : Steve signs to the barkeeper to fill their glasses but David puts a hand over his glass. Then : DAVID Can I ask you a favour, Major? STEVE Yeah. DAVID When you question him again, could you treat him with more respect? STEVE With more what? More what? DAVID Major, he may just be the greatest conductor of this century and that merits respect. STEVE -LRB- flaring, hissing. -RRB- David, I do n't understand a thing about you. You're a Jew. Are you a Jew? DAVID Yes, I'm a Jew. But I like to think first I'm a human being. STEVE A human being, oh, good, I'm relieved, I thought you were going to say you were a music lover. This man, this great artist has made anti - Semitic remarks like you would n't believe. I got letters. DAVID Major, show me someone who has n't made an anti - Semitic remark and I'll show you the gates of paradise. STEVE -LRB- over - reacting and overlapping. -RRB- What is it with you, David? Where are your feelings? Where's your hatred, your disgust? Where's your fucking outrage, David? He starts to go, then comes back to them. STEVE Think of your parents, David, and then think of him conducting ` Happy Birthday, dear Adolf'. I mean, for Chrissake, whose side are you on? Grow up! Just grow the fuck up! The customers stare at him as he stalks out. The band plays.","INT. STRAUBE APARTMENT - EVENING David and Emmi, sitting. DAVID I want you to come back to the office. May I come in? If you are there you can influence what happens. What good can you do by leaving. If you go, you are giving up and how can you help Furtwängler or me? Do n't think about leaving. Stay.","INT. STEVE'S OFFICE - DAY Hot, Windows closed. Furtwängler seated. David and Emmi present. Steve looks up from his notes. STEVE Everybody says what a great benefactor you were to the Jews. But -. -LRB- holds up a sheaf of papers. -RRB- I have things here you said and wrote. Listen to this : ` The Jew composer Schonberg is admired by the Jewish International.' And what about this : ` Jewish musicians lack a genuine affinity with our music.' ` Jewish musicians are good businessmen with few scruples, lacking roots.' You deny you said these things? FURTWÄNGLER Those attitudes do not exist in me. STEVE I believe that. But just answer the question, do n't give me explanations. FURTWÄNGLER Speaking to Party members I used their language, of course I did, everyone did. DAVID -LRB- with some irony. -RRB- Major, sorry to interrupt, but maybe we have to. maybe we have to balance those things against his assistance to his Jewish colleagues. Steve tenses. DAVID This is a transcript of the proceedings at Nuremberg. A Swedish businessman, Birger Dahlerus, testified in cross - examination that he had several meetings with Hermann Goering.' I first saw Goering,' Dahlerus testified,'em broiled in a stormy interview with Wilhelm Furtwängler, the famous conductor of the Berlin Philharmonic, who was vainly seeking permission to keep his Jewish concert master. Holds up his package of letters and dumps them on Emmi's desk. DAVID Emmi, pick one of these, any one, read it out loud. Emmi is uncertain. Steve shrugs indifferently. She picks an envelope and takes out the letter. EMMI -LRB- reading. -RRB- ` Please remember that Dr. Furtwängler risked his life to help anyone who asked him. I personally testify to having seen literally hundreds of people lined up outside his dressing room after concerts to ask for his help. He never turned anyone away. After he heard me play. I am a violinist. he gave me money because I was unable to feed myself or my family and then he helped me to escape to Sweden. He helped countless people in similar ways.' DAVID And this, only one of these letters, Major. I have lots of them. STEVE -LRB- smiling. -RRB- How many times have I got to tell you I was in insurance? You think I ca n't smell a phoney policy when it's shoved under my nose? Sure, he helped Jews, but that was just insurance, his cover, because all the while he was maestro of all he surveyed. -LRB- turning on Furtwängler. -RRB- See, Wilhelm, I think you're their boy, their creature. You were like an advertising slogan for them : this is what we produce, the greatest conductor in the world. And you went along with it. The truth of the matter is, Wilhelm, you did n't need to be a member of the Party. I made a mistake when I asked you for your Party number. I should've asked you for your non - Party number. Just like some other well - known artists. -LRB- suddenly, to Emmi. -RRB- Emmi, put that record on. Emmi puts on the record of the Adagio from Bruckner's Seventh Symphony. After a moment : STEVE Do you know what that is? FURTWÄNGLER Of course I know what that is. STEVE Okay, so what is it? FURTWÄNGLER Bruckner's Seventh. The Adagio. STEVE Who's conducting? FURTWANGLBR I am. STEVE You know the last time it was played on these air waves? FURTWÄNGLER How can I know such a thing? STEVE I'll tell you, then. The last time this music was played on these air waves was after they announced that your pal Hitler had shot himself. Listen to it. They listen. Did they pick little K's recording? Did they pick some other conductor? No, they picked you, and why? Because you represented them so beautifully. When the Devil died, they wanted his bandleader to conduct the funeral march. You were everything to them. The music plays. FURTWÄNGLER -LRB- near to breakdown but struggling for control. -RRB- I have always tried to analyse myself carefully and closely. In staying here, I believed I walked a tightrope between exile and the gallows. You seem to be blaming me for not having allowed myself to be hanged. David takes the record off. FURTWÄNGLER I did n't directly oppose the Party because I told myself, that was not my job. If I had taken any active part in politics I could not have remained here. But as a musician, I am more than a citizen. I am a citizen of this country in that eternal sense to which the genius of great music testifies. I know that a single performance of a great masterpiece was a stronger and more vital negation of the spirit of Buchenwald and Auschwitz than words. An uncontrollable surge of anger wells up in Steve, causing him to pace alarmingly. He grabs the baton from his desk, stands trembling before Furtwängler, and snaps it in half. He pushes his face close to Furtwängler, who recoils, terrified. David half - stands, ready to intervene physically. During this Emmi puts her fingers in her ears. STEVE -LRB- quiet, terrifying. -RRB- Have you ever smelled burning flesh? I smelt it four miles away. Four miles away, I smelt it. Have you ever seen the gas chambers, the crematoria? Have you seen the mounds of rotting corpses? You talk to me about culture, art and music? You putting that in the scales, Wilhelm? You setting culture, art and music against the millions put to death by your pals? They had orchestras in the camps. They played Beethoven, Wagner. The hangmen were playing chamber music at home with their families. I do n't understand the Germans' relationship with music. What do you need music for? Your pals you could call to save a few Jews when millions of them were being annihilated? Yes, I blame you for not getting hanged, I blame you for your cowardice. You strutted and swaggered, you fucking piece of shit, king - pin in a shithouse. You talk to me about walking a tightrope between exile and the gallows, and I say to you, lies! FURTWÄNGLER -LRB- breaking down. -RRB- I love my country, I believe in music, what was I to do? STEVE Look around you. See the country you served. Look at people who had real courage, who took risks, who risked their lives. Like Emmi's father. He sees Emmi has her fingers in her ears, yells at her. STEVE Emmi, take your fingers out of your ears! She does so. STEVE I'm talking about your father. She screams. Stillness. All eyes on her. EMMI My father only joined the plot when he realised that we could not win the war. She cries quietly. FURTWÄNGLER -LRB- desperate. -RRB- What kind of a world do you want, Major? What kind of world are you going to make? Do you honestly believe that the only reality is the material world, so you will be left nothing, nothing but feculence. more foul - smelling than that which pervades your nights. -LRB- near to breakdown. -RRB- How was I to understand, how was I to know what they were capable of? No one knew. No one knew. He breaks down, buries his face in his hands, weeps. FURTWÄNGLER I do n't want to stay in this country. Yes, I should have left in 1934, it would have been better if I'd left. He is suddenly overtaken by nausea and faintness, stands, a hand to his mouth. Emmi goes to him. STEVE Get him out of here. Emmi helps Furtwängler out. Steve strides to the window, opens it, puts his head out into the fresh air.","INT. WAITING ROOM - DAY Emmi helps Furtwängler to a chair. She watches him solicitously. He breathes deeply. FURTWÄNGLER Thank you, Fraulein. You have been most kind. -LRB- he rises. -RRB- He smiles at her. She is embarrassed.","INT. STEVE'S OFFICE - DAY Steve is trying to get a number on the telephone. David is packing up his papers. David turns to the records, starts to son through until he finds what he's looking for. He removes the Bruckner and puts another record on the turntable. STEVE -LRB- into the telephone. -RRB- Major Arnold. Get me General Wallace. General? Major Arnold, about Furtwängler. I do n't know if we've got a case that'll stand up, but sure as hell we can give him a hard time. At full volume the sound of the subdued opening of Beethoven's Ninth Symphony. STEVE -LRB- to David. -RRB- Hey, turn that down, would you? Ca n't you see I'm on the phone? -LRB- into the telephone. -RRB- Never mind, we got a journalist who'll do whatever we tell him. But David ignores him, sits, implacable, listening.","INT. STEVE'S BUILDING - DAY Furtwängler walks slowly down the stairs, a broken man struggling to regain his composure. Emmi watches him.","INT. STEVE'S OFFICE - DAY The music at full blast. David, at an open window, keeps his back to Steve, still on the telephone. STEVE Turn it off!","EXT. STEVE S BUILDING - DAY Furtwängler, on the stairs, stops, hearing the music echoing through the building. Furtwängler left hand begins to tremble, but it is only his way of sensing the tempo. Furtwängler slowly continues down the stairs. STEVE'S VOICE We handed Wilhelm Furtwängler over to the civil authorities and he was charged with serving the Nazi regime, with uttering anti - Semitic slurs, performing at an official Nazi Party function and with being a Prussian Privy Councillor. Dr. Furtwängler was acquitted. I did n't nail him. But I sure winged him. And I know I did the right thing. Furtwängler resumed his career but he was never allowed to conduct in the United States. He died in 1954. Little K succeeded him as head of the Berlin Philharmonic.","INT. CONCERT HALL (ARCHIVE) Furtwängler conducting. Goebbels and other high - ranking Nazis in the audience. When the music finishes, Furtwängler turns and bows. Goebbels rises and shakes hands with him. Furtwängler takes his handkerchief and wipes his hands. The film replays this gesture several times - Furtwängler wiping his hands. THE END"],"string":"[\n \"INT. BERLIN CONCERT HALL (1944) - NIGHT A man conducting Beethoven. Air raid in progress. Bombs falling nearby. The orchestra continues to play. Suddenly the lights go out. The music stops.\",\n \"INT. BACKSTAGE CORRIDOR, CONCERT HALL - NIGHT A beam from a torch, bouncing, making shadows. An ATTENDANT, carrying the torch, hurries down the corridor. The air raid continues. He comes to a door, knocks, opens it and looks in. ATTENDANT -LRB- agitated. -RRB- Dr. Furtwängler, the Reichsminister. The sound of heavy footsteps approaching. The attendant turns his torch to light the way for three men in Nazi uniform, also with attendants and torches, marching down the corridor. The attendant bows deeply as the REICHSMINISTER and his aide go through the door. The other man remains in the corridor on guard.\",\n \"INT. CONDUCTOR'S ROOM - NIGHT Candles light the room where the conductor shakes hands with the Reichsminister. REICHSMINISTER Dr. Furtwängler, I want to apologise personally for this power failure. I was so enjoying the performance. In times like these we need spiritual nourishment. A bomb explodes nearby. REICHSMINISTER But I welcome this unexpected opportunity of talking to you. -LRB- with great care. -RRB- When you came on to the platform tonight, I thought you were n't well. You looked tired. -LRB- a warning. -RRB- Get away from this bombing. Away from the war. Yes, you look tired. -LRB- a crooked smile. -RRB- Even in this light.\",\n \"INT. RUINED CINEMA - DAY Dark. ON A SCREEN : scenes from Leni Riefenstahl's triumph of the will. Over this : A MAN'S VOICE Look at them. Men, women, kids. Boy, did they love him. You see, Steve, Adolf Hitler touched something deep, real deep and savage and barbaric, and it wo n't just go away overnight. It's got to be rooted out. You know what I think? I think they were all Nazis. And let's face it, their leaders, those bastards now on trial in Nuremberg, could n't have done it alone. It's these people, they gave all the help that was needed. Willingly. The film changes with a scratchy music soundtrack - Wagner. SHOTS of high - ranking Nazis in an audience including Josef Goebbels, listening. And they're listening to and watching Wilhelm Furtwängler conducting. At the appropriate moment : THE MAN'S VOICE That's him. Furtwängler. Wilhelm Furtwängler. The Nazis applaud. Goebbels shakes hands with Furtwängler. The film ends. Sitting in the ruined cinema are two men : GENERAL WALLACE, with files on the table, and, beside him, MAJOR STEVE ARNOLD. A PROJECTIONIST is standing in the door of the projection room. WALLACE So, you never heard of him. STEVE Nope. WALLACE Do you know who Arturo Toscanini is? STEVE Sure. WALLACE He's as big as Toscanini, maybe even bigger. In this neck of the woods, he's probably Bob Hope and Betty Grable rolled into one. STEVE Jeez, and I never heard of him. Wallace glances at the file. WALLACE You were in insurance before the war. STEVE Right. Claims assessor. WALLACE Conscientious, determined, dogged. STEVE -LRB- amused. -RRB- They said I was dogged? WALLACE Well, they say here that when you went on a case, you stayed on it. -LRB- looks up at Steve. -RRB- Now we ca n't take every Nazi in this country to trial, although I would like to ; it's an impossibility. So we're going for the big boys in industry, education, law, culture. STEVE Like this bandleader. WALLACE -LRB- a smile. -RRB- Well, he's more than just a bandleader, Steve. He's a great conductor, a gifted artist. But we believe that he sold himself to the devil. Your number one priority from this moment on is to connect him to the Nazi Party. Do n't be impressed by him. I want the folks back home to understand why we fought this war. Find Wilhelm Furtwängler guilty. He represents everything that was rotten in Germany. Steve wants to rise, but Wallace puts a hand on his shoulder to make him sit again. WALLACE Stay put, Steve. There is some other stuff that I'd like for you to see here. Background. He nods to the projectionist, then starts to go, but stops. WALLACE Oh, one thing that may be a problem. Our Occupation Authorities in Wiesbaden have a duty to help these poor unfortunates with their defence. They keep repeating : ` We must be just, we must be seen to be just.' Well, I've only one thing to say to the liberals in Wiesbaden : fuck'em. -LRB- as he goes. -RRB- You answer to no one but me. Is that understood? -LRB- to the projectionist in the door. -RRB- Show him the film. PROJECTIONIST Yes, sir. Roll it. Wallace goes. The projectionist starts the next reel. ON THE SCREEN : a Berlin sequence. Bombs falling. Ruins, a city devastated, empty. Flags of the four allied nations. Posters of Truman, Stalin, Churchill. ARCHIVE FILM VOICE That is the hand that dropped the bombs on defenceless Rotterdam, Brussels, Belgrade. That is the hand that destroyed the cities, villages and homes of Russia. That is the hand that held the whip over the Polish, Yugoslav, French and Norwegian slaves. That is the hand that took their food. Steve watches expressionless. WALLACE Next reel, please. ON THE SCREEN : SHOTS of camp survivors. Then SHOTS of emaciated corpses being bulldozed into mass graves. ARCHIVE FILM Sanitary conditions were so appalling that heavy equipment had to be brought in to speed the work of cleaning up. This was Bergen Belsen. The moment this appears, Steve rises and goes quickly. ON THE SCREEN : piles of cadavers.\",\n \"INT. MAJOR STEVE ARNOLD'S BEDROOM (I945) - NIGHT Steve having a nightmare, twisting, turning, moaning. He wakes with a cry. He is sweating. He turns on the light, looks at a clock, reaches for a cigarette, lights it. He smokes. He stares at the ceiling. Later : Early morning. Cold. Steve is at the basin in his small room, shaving. A radio on a shelf. AMERICAN RADIO VOICE Remember, men, no fraternisation. In a German town, if you bow to a pretty girl or pat a blond child, you bow to all that Hitler stood for. You bow to his reign of blood. You caress the ideology that meant death and destruction. You never know who was a member of the Nazi Party. Do n't be fooled. Do n't fraternise.\",\n \"EXT. STEVE'S OFFICE BUILDING, BERLIN - DAY Steve's car swerves round the corner and comes to a halt. A small crowd watch workmen on ladders hammering away at a stone swastika above the portico. American soldiers supervise. Steve gets out of the car, carrying an attache case, and he, too, watches as the stone swastika falls and crashes into pieces on the road. One or two people clap, most just stare. The American soldiers immediately hoist the Stars and Stripes. Steve goes into the building. The sentry salutes. The driver of the car goes to the trunk and takes out a labelled duffel bag, cans of film, a case which holds a 16 - mm projector. A small BOY sidles up to him : BOY Cigarettes, chewing gum?\",\n \"INT. WAITING ROOM - DAY Steve and Sergeant Adams ascending a grand, winding but damaged staircase to the rear of a spacious entrance hall. A once impressive building. Signs of bomb damage everywhere. German workmen doing repairs. American military personnel coming and going, saluting Steve, who barely acknowledges them. They reach the landing. Adams opens double doors and they go through. ADAMS We're gon na have the heating fixed by tonight. A few gilt chairs, a workman trying to repair the stove. Adams opens another door for Steve.\",\n \"INT. STEVE S OFFICE - DAY EMMI is hanging the standard photograph of President Truman on the wall. She turns to see Steve and Adams and is covered with confusion. She gives Steve a little curtsey. ADAMS Fräulein, this is Major Arnold. Sir, this is your secretary, Fräulein Emmi Straube. Her file's on your desk. They sent her over from Admin. I'll leave you to it. He goes. Steve scrutinises Emmi. She's embarrassed, keeps her eyes downcast. Steve goes to his desk, opens a file, reads. STEVE You live here, in Berlin? EMMI Yes. STEVE You do shorthand and typing? EMMI Yes. He nods, goes on reading. STEVE Okay, let's see. How long were you in the camp for? EMMI Three months. STEVE Says here because of your father. What's that mean? EMMI My father was one of the officers in the plot against Hitler. They arrested the plotters and their families. STEVE Your mother, too. EMMI Yes. She suffered longer. She was in Ravensbruck. STEVE And your father was executed. She nods, keeps her eyes averted. He smiles sympathetically. STEVE I'm gon na call you Emmi, you're gon na call me Steve. Okay? No response. STEVE I got a list of stuff here I'd like you to get for me. He searches his pockets. ADAMS If you need anything, let me know. EMMI Major. STEVE Steve. EMMI There have been messages for you. -LRB- She consults the pad. -RRB- A Lieutenant David Wills called from the Allied Kommandatura Cultural Affairs office in Wiesbaden. I do n't know who he is. Steve starts to unpack his attache case. EMMI Then there have been three calls from Dr. Furtwängler wanting to know when you wish to see him. I did not speak to him personally. She hands Steve a typewritten sheet. He ignores it, finds a list which he hands to her. He waits for her to read, then : STEVE Think you can get me any of that? EMMI -LRB- pleased. -RRB- Oh yes, Major, I have recordings of all his symphonies. I kept them safe during the bombing. My favourite is the Seventh Symphony. STEVE Mine's the Eleventh. EMMI -LRB- puzzled. -RRB- But. he only wrote nine, Major. STEVE I'm kidding, Emmi. What about a record player? You have that, too? EMMI No. Ours was damaged. STEVE -LRB- surveys the room. -RRB- What's in those files? EMMI The names of the members of the Berlin Philharmonic Orchestra since 1934 together with their questionnaires. Major, what am I to tell Dr. Furtwängler? STEVE You tell him nothing, Emmi. If he calls again, you say you know nothing. We're gon na keep him waiting while I get acquainted with his case and with the witnesses. And, God help me, with Beethoven. He smiles. She tries to smile back.\",\n \"EXT. FLEA MARKET, BERLIN - DAY Freezing weather. A narrow street, crowded, busy, noisy. Some makeshift stalls set out, trestle tables, open suitcases, people buying and selling every imaginable commodity. Emmi wanders through the crowd, passing a violinist, Helmuth Rode, wrapped up against the cold, playing Handel's Air on a G String, a bowl for money at his feet. A passer - by drops a cigarette butt in it. Immediately, Rode retrieves the butt. Emmi comes to a stall selling piles of gramophone records. She asks the stallholder a question. He points to another stall across the way.\",\n \"INT. STEVE'S OFFICE - DAY Steve at his desk, paging through files. A knock on the door. STEVE Yeah. Lieutenant DAVID WILLS, aged twenty - four, enters, comes to Steve's desk, stands to attention, salutes. DAVID Lieutenant Wills reporting to Major Arnold. Sir. STEVE For Chrissakes I hate that shit, cut it out. DAVID I'm very sorry. STEVE I'm Steve. What's your name? DAVID David. David Wills. I'm your liaison officer with the Allied Kommandatura Cultural Affairs Committee. Sir. STEVE Sounds a lot of run. -LRB- studies David. -RRB- So they sent the big guns to check up on me. We recruiting children now? DAVID -LRB- smiles'. -RRB- I guess so, sir. STEVE You call me sir again and I'll make you listen to Beethoven. David half - smiles. STEVE Where you from, David? DAVID was born here, in Leipzig. I escaped in' 36. My parents, they sent me to my uncle in Philadelphia. They were to follow. But they delayed and. Breaks off. Nothing from Steve. DAVID Our family name was Weill. But that does n't sound well in English. My uncle changed it to Wills and. The door opens and Emmi enters carrying a record player, sees David and starts to back out. EMMI I'm sorry. STEVE Come in, Emmi, this is your office, too. Emmi, this is Lieutenant David Wills. They nod briefly. STEVE He is here to watch over us. A flick from Emmi. STEVE I guess you admire musicians. DAVID Some. STEVE Do n't. This is like a criminal investigation, David. Musicians, morticians, doctors, lawyers, butchers, clerks. They're all the same. For Emmi's benefit too. She becomes still, listens. STEVE We have a duty, a moral duty. David takes a few files, sits and starts to look through them. Steve returns to his files. Emmi, by now, has put on a record and starts to play it : the opening of Beethoven's Fifth Symphony blasts out. The two men look up, startled. Emmi beams : EMMI It works! Hallelujah!\",\n \"INT. STEVE'S OFFICE - DAY Emmi at the door. Steve at his desk. David present. EMMI Herr Rudolf Werner. WERNER enters, bows to Steve and David. Emmi goes to her desk. STEVE Sit down, Werner. Indicates the upright chair ; Werner sits. STEVE I want you to understand why you're here. This is an investigation into Wilhelm Furtwängler, former Prussian Privy Councillor, banned from public life under Control Council Directive No 24 and who's applied to come before the Tribunal of Artists of the Denazification Commission. I'm interested in what he was up to from 1933 to the end of the war, understood? Werner nods. STEVE Rudolf Otto Werner. Wind section since 1936. What instrument did you play? WERNER First oboe. STEVE I have your questionnaire here. It says you were never a member of the Nazi Party. WERNER Absolutely not. Long silence ; Steve watches him. Werner is made more anxious. At last, in a rush : WERNER No, I was never a Nazi, I have no interest in politics, I'm a musician - STEVE Hey, hey, slow up, Fraulein Straube has to take down what you say. Werner swivels round to look at Emmi. WERNER Straube? Any relation to Colonel Joachim Straube? EMMI My father. WERNER It's a great honour to meet you, Fraulein. Your father was a great patriot. Brief silence. WERNER Dr. Furtwängler is a great musician. He actively opposed the Nazis and later on he helped many Jews to escape. STEVE Then how do you explain him being made a Prussian Privy Councillor? WERNER It was Hermann Goering. I was told he just made the maestro his Privy Councillor, no questions asked. Although Dr. Furtwängler stood up to him. And to Dr. Goebbels. STEVE He also conducted for Hitler, did n't he? WERNER Yes, that's true, but he refused to give the Nazi salute. He kept his baton in his right hand. In Hitler's presence. That was a brave act. STEVE Brave? To celebrate Hitler's birthday with some heroic piece by Wagner but without the Nazi salute? Bravo. WERNER It was Beethoven's Ninth. STEVE Do you really think it was brave? Did n't he bow to him and shake his hand?\",\n \"INT. STEVE'S OFFICE - DAY Another man, SCHLEE, is in the chair. Only Steve and Emmi now. Pale, yellow electric light. Silence. Schlee, too, is very nervous. At last : SCHLEE No, no, no, I give you my word. I was never a member of the Nazi Party. Never. I am in the percussion section. I play the timpani. Steve just stares at him. SCHLEE Anyway, they would never have allowed it. My brother was married to a Jewess, may she rest in peace. And Goebbels said. -LRB- to Emmi. -RRB-. please take this down carefully, because it's most important, Fraulein? EMMI Straube. SCHLEE -LRB- acting surprised. -RRB- Straube? Are you by any chance related to Colonel Joachim Straube? EMMI My father. SCHLEE He was. he was a great hero. Steve lights a cigarette. SCHLEE Goebbels, yes, Josef Goebbels said, ` There's not a single filthy Jew left in Germany on whose behalf Dr. Furtwängler has not intervened.' No, no one could have been less of a Nazi than Dr. Furtwängler. STEVE But this was the same guy who conducted for Adolf on his birthday. SCHLEE He was forced to do that. But he refused to give the Nazi salute in front of Hitler. He kept his baton in his hand, you ca n't salute with a baton in your hand. DAVID And what about the Nuremberg Rally? SCHLEE No, we. we played on the evening before the Rally. STEVE -LRB- straight - faced. -RRB- Oh! The evening before, I see. SCHLEE Yes, Dr. Furtwängler was absolutely clear about this : politics and art must be kept separate. STEVE Politics and art must be kept separate. I'll remember that. But let me see if you can help me with something I just do n't understand. I'd really like to know why all you guys are so crazy about him. What's his secret? Schlee tries to find words. SCHLEE Well, it's hard to explain. I can only tell you from my own experience. Soon after I joined the orchestra, we were rehearsing the Third Symphony of Beethoven, the Eroica. There are several rather difficult passages for the timpani. One particular crescendo. During the break, I asked how he wanted it played. He was studying his score. He did n't look up. He said, ` Just watch me.' So, of course, I did. I never stopped watching him. The moment came. And suddenly, he turned to me and our eyes were locked. There was something in his look that. that simply demanded the crescendo. I shall never forget his look. It was a moment of. of magic. Steve nods, thinks for a moment. Then : STEVE You ever seen Adolf Hitler's eyes when he was making a speech? I've seen'em on films. SCHLEE Yes. STEVE Was looking at Furtwängler like that? SCHLEE I do n't know what you mean, Major. STEVE When you got to the crescendo. Schlee looks at him bewildered.\",\n \"INT./EXT. CAR (TRAVELLING), LAKESIDE AND MANSION - DAY In the back, David and Steve. Military driver. The car's making its way along a road that skirts a lake towards a grand mansion from which fly the four Allied flags. STEVE You think a whole orchestra, what, a hundred and forty or so guys, could be orchestrated? DAVID I guess it's possible. STEVE So, what does the Russki want? DAVID Colonel Dymshitz asked specially to see you. STEVE ` Dim - shits'?\",\n \"INT. THE MANSION - DAY A huge, cavernous room, once the ballroom. In the centre, a table with four chairs. To one side, antique furniture, objets d'art, paintings. Four Allied officers are surveying the treasures : COLONEL DYMSHITZ, COLONEL GREEN -LRB- American -RRB-, MAJOR RICHARDS -LRB- British -RRB- and CAPTAIN VERNAY -LRB- French -RRB-. What they say is barely audible, low mumbles. They're accompanied by aides with clipboards, taking notes. Beyond, and some distance away, a row of gilt chairs for observers where David and Steve take their seats. STEVE What the hell are they doing? DAVID -LRB- whispered. -RRB- They're trying to sort out some of the works of art the Nazis stole from occupied territories. Who really owns what? That's Colonel Dymshitz, on the far side. Dymshitz, small, intelligent face, cunning eyes. DAVID'S VOICE art historian, head of the famous Leningrad Museum of Art. He is an expert on German culture. Green, correct, formal, precise, immaculate. Richards, bespectacled and nondescript. Vernay, upright, proud. VERNAY -LRB- suddenly raising his voice. -RRB- Je suis navré, Colonel, cette peinture n'est pas la propriété de I ` union soviétique mats bien cette de la France. GREEN What's he saying? Henri, what is you saying? AMERICAN AIDE He's saying that picture is the property of France VERNAY C'est un Braque qui avec Picasso était un des pionniers du cubisme. DYMSHITZ -LRB- in French. -RRB- I know who Georges Braque is, Captain. AMERICAN AIDE -LRB- almost simultaneously. -RRB- It's a Barque. FRENCH AIDE We can produce the provenance of this Braque, you say provenance?\",\n \"INT./EXT. SALON OFF THE BALLROOM AND TERRACE - DAY Outside the club room for the participants. Buzz of conversation, clink of glasses, cups. The terrace is deserted. A waiter carries a tray with various refreshments to a quiet corner where Dymshitz, Green, Vernay, his aide LIEUTENANT SIMON, Steve and David sit in comfortable armchairs. The waiter serves them. During this : DYMSHITZ Hello, Major, my name is Dymshitz. I'm glad to see you. STEVE Colonel. Pleasure. DYMSHITZ So, Major, tell me, have you questioned Dr. Furtwängler? STEVE Not yet. DYMSHITZ I've had two meetings with him. He's a great musician. Maybe the greatest conductor in the world. His Brahms, Beethoven, Schubert - unequalled. Steve makes a non - committal gesture. DYMSHITZ I'll come straight to point. I've offered him a very attractive position. Conductor of the Staatsoper Unten den Linden. He refused. But I want him. I want him badly. And I want your help. GREEN Hey, just a moment, you should have discussed this with me first. DYMSHITZ I'm discussing it with you now. Major, I want you to drop your investigation, save everybody time and trouble. GREEN We ca n't drop a case just like that. DYMSHITZ I'll give you another conductor in exchange or writer, musician, actor what. what do you care? But I like Furtwängler. He's my favourite conductor. -LRB- chuckles. -RRB- Mine and Hitler's. He's our favourite conductor.\",\n \"INT. WAITING ROOM - DAY Rode is seated, waiting. Nervous, tense. The sound of laughter, David's laughter from the office. It makes him even more uncomfortable.\",\n \"INT. STEVE'S OFFICE SUITE - DAY Emmi and David laughing. DAVID I clicked my heels, saluted and bowed at the same time. He demonstrates. She laughs again. EMMI That's because you had a proper upbringing. DAVID That's right. I was raised very strictly. So do n't speak before you are spoken to! EMMI Oh! And do n't wave your hands about! DAVID Respect your elders and your betters! EMMI And no elbows on the table! DAVID Eating is eating. and. EMMI And talking is talking! Well, I think we better get on. DAVID Right. So, this is going to be very formal, too, now. Lieutenant David Wills requests die pleasure of die company of Fraulein Emmi Straube at dinner any night she cares. She smiles just as Steve bursts in. He's in a bright, cheerful, energetic mood. David draws back guiltily. Emmi, embarrassed, hesitates then turns to the typewriter and types furiously. Seeing this, Steve stops, but just for a brief moment. Then, as he goes to his desk : STEVE David, need to ask you something. You heard this rumour the British found something called the Hinkel Archive? DAVID Yes. STEVE So what is it? DAVID The British occupy the building where this guy, Hinkel, ran the Nazi Ministry of Culture and it seems they've. they've discovered his secret archive. STEVE What's that mean? DAVID I do n't know, but the British are excited about it, I know that. The rumour is Hinkel kept a file on every artist working in the Third Reich. STEVE Jeez. And you think the British'll share it with their Allies? DAVID Major Richards said he'd call to let us know. STEVE That's big of him. He looks from David to Emmi as if trying to work out something. Then : STEVE Okay, better question the next witness. I bet you a bottle of French champagne he tells us the baton story inside ten minutes. DAVID Five minutes. STEVE It's a bet. You're the witness, Emmi. Later. Rode in the witness chair. Steve studying the file. David and Emmi ready to take notes. STEVE Helmuth Alfred Rode. Second violinist since 1935. What's it mean, second violinist? RODE It means I was n't good enough to be a first violinist. He chuckles, looks around for approval. Steve grins encouragingly. STEVE Good, and according to your questionnaire, Helmuth, you never joined the Nazi Party. RODE Me? Never. Never. Long silence. RODE I. I know everyone now says they were never Nazis but in my case it is absolutely one hundred per cent true. I am a Catholic, it would have been totally against my conscience. Silence. Steve lights a cigarette ; Rode eyes it hungrily. RODE Is it true you're going to interview Dr. Furtwängler today? STEVE I'll ask the questions, Helmuth. RODE Excuse me. Did you know that he refused to give the Nazi salute when Hitler was present in the audience? Steve flicks David a glance, waggles his finger like a baton. RODE The problem was how could he avoid giving the Devil's salute when Satan was actually sitting there. -LRB- modestly taps his chest with his thumb. -RRB- And, I said, ` Dr. Furtwängler, why not enter with the baton in your right hand? Hitler will be sitting in the front row. If you give the salute with the baton in your right hand it'll look like you're going to poke his eyes out.' Chuckles. David mouths I win to Steve. RODE He was. He was really grateful to me for that. After the concert, I. I stole that baton as a memento of a great act of courage. I still have it. I should have brought it to show you. I hope I'm not going too fast for you, Fraulein? - EMMI Straube. Steve and David exchange a brief look. RODE Straube. Any relation to Colonel Joachim Straube? EMMI My father. RODE -LRB- standing. -RRB- I am deeply honoured to be in your presence, Fraulein Straube. Your father was a true patriot, a man of God. He crosses himself. Silence. David raises a discreet finger. STEVE You have a question for Helmuth, David? DAVID Yes. What was the orchestra's reaction when they asked you to play for Hitler's birthday? RODE Oh, we did n't play for his birthday, we played the evening before - it was the 19th of April not the 20th. STEVE Do you know Hans Hinkel? RODE -LRB- alarmed. -RRB- Do I know Hans Hinkel? STEVE That's what I asked. RODE Do I know Hans Hinkel? STEVE You seem to understand the question, now how about answering it? RODE Hans Hinkel was in the Ministry of Culture ; how could I know such a man? I Brief silence ; a smile. RODE I hear the British have his. his archive, files, records. STEVE Do you know what's in this archive? RODE How could I know what's in the archive? Steve nods, smiles. STEVE Okay, you can go now, Helmuth. Get out. Rode stands and bows.\",\n \"INT. STEVE'S OFFICE - NIGHT The final bars of the Fifth Symphony. Snowing. Dim light. There is more furniture now : two chairs, one comfortable, the other upright. A sitting area by the window with the telephone extension. The 16 - mm projector set up in another corner. Steve, at his desk, wrapped up against the cold, going through files, making notes. He stops, seems to listen, then goes to the window, looks out. The music ends. The record hisses. Steve just stares out at the night and the snow. The record continues to hiss.\",\n \"INT./EXT TRAM, BERLIN (TRAVELLING) - DAY The tram packed to overflowing. Then, a sudden stir among the passengers as people push through trying to find space. One of them is FURTWÄNGLER. He's recognised. Whispering. He stares ahead or keeps his eyes downcast. An elderly man tugs at his coat, half - rises, offering his seat. Furtwängler manages a smile and shakes his head. The tram rattles on.\",\n \"INT. HALL, STEVE'S BUILDING - DAY Furtwängler approaches Adams at his desk. He crosses to the stairs. German workmen stop what they are doing to let him pass. One of them bows. On the upper landing, Emmi is making her way to Steve's office. She stops, sees Furtwängler on the stairs and then dashes to Steve's door. FURTWÄNGLER Furtwängler.\",\n \"INT. STEVE'S OFFICE - DAY Emmi bursts in on Steve and David. She's overawed : EMMI Major, Major. he's here. STEVE Shut the door, Emmi. Sit down, Emmi. We're going to keep him waiting, too. Emmi glances out again and reluctantly closes the door, Steve sits calmly, relaxed. STEVE Emmi, get us some coffee, will you? And, Emmi, do n't offer him coffee. Do n't even greet him, okay?\",\n \"INT. WAITING ROOM - DAY Furtwängler sits, waiting. Emmi, deeply embarrassed, hurries through. Furtwängler is about to ask her something, but she's gone. He waits.\",\n \"INT. STEVE'S OFFICE - DAY Steve and David preparing papers.\",\n \"INT. WAITING ROOM - DAY Furtwängler waiting. Emmi enters from the landing door carrying a tray and three mugs of coffee. She hurries towards the office door, eyes downcast. FURTWÄNGLER Fraulein? Emmi stops. FURTWÄNGLER How long am I to be kept waiting? Emmi bites her lip and, without looking at him, disappears into the office. Furtwängler closes his eyes, breathes deeply. He stands, goes to the window, looks out.\",\n \"INT. STEVE'S OFFICE - DAY Silence. Steve studying his notes. David watching him. Emmi staring forlornly into space. STEVE Okay, Emmi, go get him. Emmi rises, opens the door, nods, turns back to Steve. EMMI Dr. Furtwängler. Furtwängler enters. As he passes her, Emmi gives him a small curtsey. David nods. Steve does n't look up. Furtwängler waits a moment, glances round, sees the more comfortable chair and sits in it. Steve looks up. STEVE I did n't hear anyone invite you to sit down. Furtwängler stands. Steve points to the other chair. STEVE Sit there. Furtwängler sits. STEVE I want you to understand why you're here. You're automatically banned from public life under Control Council Directive No 24. We're here to look into your case before you appear in front of the Tribunal for Artists of the Denazification Commission. You understand that? FURTWÄNGLER I have already been cleared by a Denazification Tribunal in Austria. STEVE What they do in Austria does n't interest me one little bit. Okay? I have your questionnaire here. -LRB- reading. -RRB- Gustav Heinrich Ernst Martin Wilhelm Furtwängler, born Berlin, January 1886. Orchestral conductor. And you say here you were never a member of the Nazi Party. FURTWÄNGLER That is correct. A very long silence. When the silence is unbearable Steve speaks. STEVE Could you tell us about being made a Prussian Privy Councillor. How did that happen to a non - Party member? FURTWÄNGLER I received a telegram from Hermann Goering informing me that he had made me a Privy Councillor. I was not given the opportunity either to accept or refuse. After the dreadful events of November 1938, the violent attacks on the Jews, I stopped using the title. STEVE What about Vice - President of the Chamber of Music, you used that title did n't you? But then I suppose you had no choice there either, because I suppose Dr. Goebbels just sent you a telegram saying, Dear Mr. Vice - President. FURTWÄNGLER I do n't think Dr. Goebbels sent me a telegram. I was simply told. In a letter, I believe. I do n't remember exactly. STEVE Goebbels and Goering were sure heaping honours on you. One makes you a Privy Councillor, the other makes you Vice - President of the Chamber of Music, and you were n't even a member of the Party, how do you explain that? FURTWÄNGLER Well, there was a constant battle between Goering and Goebbels as to which of them would control German culture. I was simply a pawn. Anyway, I resigned from the Musikkammer at the same time I resigned as Musical Director of the Berlin Philharmonic Orchestra. In 1934. David puts up a hand. Steve nods. DAVID Why was that? Why did you resign, Dr. Furtwängler? FURTWÄNGLER I wrote an open letter to the newspapers condemning what they were doing to music, making these distinctions between Jews and non - Jews. For my part, the only divide in art is between good and bad. Eventually, Goebbels summoned me and told me I could leave the country if I wanted to but under no condition would I ever be allowed to return. I always believe that you have to fight from the inside not from without. I asked myself, what's the duty of an artist, to stay or to leave? And then Goebbels demanded that I acknowledge Hitler as solely responsible for cultural policy. Well, that was a fact and it seemed pointless to deny it. I simply acknowledged that Hitler and the Minister of Culture appointed by him were solely responsible for the cultural policy of the Reich. What I wanted to express was that I, personally, had no responsibility whatsoever for their cultural policy. I have always had the view that art and politics should. should have nothing to do with each other. STEVE Then why did you conduct at one of their Nuremberg rallies? FURTWÄNGLER -LRB- flaring. -RRB- I did not conduct at at the rally, I conducted on the evening before the rally. STEVE That sounds like the small print in one of our insurance policies, Wilhelm. And what about April 19, 1942? The eve of Hitler's fifty - third birthday, the big celebration ; you conducted for Hitler, did n't you? Was that in keeping with your view that art and politics have nothing to do with each other? FURTWÄNGLER -LRB- flustered. -RRB- That. that was a different matter, I. I was tricked. STEVE How come? FURTWÄNGLER Could I have a glass of water, please? Please, Fraulein? EMMI Straube. Steve looks expectant but Furtwängler remains silent. Steve nods to Emmi, who gets the water. Furtwängler drinks. Steve waits. FURTWÄANGLER Thank you. I was in Vienna, rehearsing the Ninth Symphony of Beethoven, when Goebbels called and said I had to conduct at Hitler's birthday. I'd always managed to wriggle out of such invitations, pleading previous engagements, illness, having my doctors state I was not well and so on and so on. I was also fortunate that Baldur von Shirach, who controlled Vienna, hated Dr. Goebbels and would do anything to thwart his wishes. But this time Goebbels got to my doctors before me ; they were frightened off, and von Schirach was threatened, bullied and gave in. So, I had no alternative but to conduct for Hitler. Believe me, I knew I had compromised, and I deeply regret it. STEVE -LRB- playing with him. -RRB- Does n't sound much of a trick to me. Sounds like you made a deal. FURTWÄNGLER I made no deal! STEVE I do n't buy that. FURTWÄNGLER It's the truth. Silence. Steve paces. Then suddenly turns on Furtwängler. STEVE I keep hearing you helped a lot of Jews to escape. How did you do that? FURTWÄNGLER I do n't remember in detail, there were so many. STEVE Did you call someone you knew? FURTWÄNGLER I may have, as. as I said, I simply do n't remember. STEVE Let me me help you, then. You picked up the phone and made a call -. -LRB- Mimes a telephone. -RRB- ` Hello, Adolf? Wilhelm speaking. Listen, old pal, there's a Jew - boy musician I want you to help. He needs a permit to get to Paris.' Emmi sticks her fingers in her ears and shuts her eyes tight. STEVE Or maybe you called Goebbels or Goering? You were so close you were in the same shithouse as them. FURTWÄNGLER May I ask a question? STEVE Sure. FURTWÄNGLER When will my case be heard by the Tribunal? STEVE Your guess is as good as mine. FURTWÄNGLER I need to work. I need to make my living. I live off the generosity of friends. STEVE Tough, tough! FURTWÄNGLER -LRB- now more and more agitated. -RRB- Then why is it, please, that another conductor who was actually a member of the Party, who used to play the Horst Wessel before his concerts, has already been cleared and is working again while I have to wait and wait and wait? STEVE I do n't know, he was n't my case. Why did you escape to Switzerland just before the war ended? FURTWÄNGLER It was because I learned that the Gestapo was about to arrest me. STEVE Why were they going to arrest you? FURTWÄNGLER I believe it was because of another letter I'd written to Goebbels lamenting the decline of musical standards due to racial policies. STEVE You did n't complain about the racial policies, just about the musical standards, is that right? No response. STEVE So, how did you learn that the Gestapo was out to get you? FURTWÄNGLER During an enforced hour - long interval because of a power failure at a concert here in Berlin, Albert Speer, the Minister of Armaments, said to me, ` You look very tired Dr. Furtwängler, you should go abroad for a while.' I knew exactly what he meant. STEVE You sure knew a lot of people in high places. FURTWÄNGLER It would be truer to say, I think, that a lot of people in high places knew me. STEVE You were real close to all of them, to Adolf, to Hermann, to Joseph, to Baldur, and now Albert. -LRB- flaring. -RRB- So, let's hear the truth, let's come clean. What was your Party number? FURTWÄNGLER If you are going to bully me like this, Major, you had better do your homework. You obviously have no idea how impertinent and stupid your questions are. Steve is stung. His eyes narrow dangerously. STEVE David, you remember I said I had a question that he would n't be able to answer? Well, I'm gon na ask it now. You ready for this, Wilhelm? It's a tough one. Why did n't you get out right at the start when Hitler came to power in 1933? Why did n't you leave Germany? No response. STEVE I have a list of names here, people in your profession, who got out in' 33. Bruno Walter, Otto Klemperer, Arnold Schoenberg, Max Reinhardt. FURTWÄNGLER They were Jews, they had to leave. They were right to leave. -LRB- He breathes deeply, summons strength. -RRB- I could not leave my country in her deepest misery. After all, I am a German. I. I stayed in my homeland. Is that my sin in your eyes? STEVE See, David? He ca n't answer the question. I'll ask it again, Wilhelm, and do n't give me any more airy - fairy, intellectual bullshit! The telephone rings. No one moves. Then Emmi picks up the telephone. EMMI Major Arnold's office. Yes, he is. Offers the phone to David. EMMI It's Major Richards for Lieutenant Wills. David takes the telephone. DAVID David Wills. Yes, sir. -LRB- listens. -RRB- Well, you want me to tell him? Okay. -LRB- to Steve. -RRB- Major Richards wants a word with you, sir. Steve indicates he'll take the call on the extension. Furtwängler stands. As Steve crosses to the extension : STEVE -LRB- muttering. -RRB- Why ca n't he just ask for me? Why does he have to ask for you first? Goddamn British, so correct! He picks up the extension. Emmi puts down her receiver. STEVE Steve Arnold. FURTWÄNGLER I've had enough of this, I'm leaving. He goes quickly. David dashes after him.\",\n \"INT. WAITING ROOM - DAY Furtwängler is at the door when David reaches him. DAVID Dr. Furtwängler! Dr. Furtwängler! Please, please. -LRB- a warning. -RRB- Do n't. It's not advisable. The sound of Steve laughing with delight. Furtwängler hesitates. Emmi comes to the waiting - room door, watches, as if on guard. David comes round to face Furtwängler. DAVID -LRB- he gathers courage. -RRB- When I was a child, my father, he took me to. he took me to one of your concerts. I remember you conducted Beethoven's Fifth Symphony. I was deeply moved. And I've loved music ever since. I was grateful to you. And I've admired you. How could you. how could you serve those criminals? He falls silent.\",\n \"INT. STEVE'S OFFICE - DAY Emmi, at the open door, has been listening. She's shocked, turns away to see Steve, on the extension, chuckling, grinning from ear to ear. STEVE How many? Jesus, that's dynamite! Okay.\",\n \"INT. WAITING ROOM - DAY David and Furtwängler have n't moved. Both are looking towards Steve's office and Emmi in the doorway. Again the sound of Steve's laugh. Then Emmi steps into the room, approaches Furtwängler. EMMI Dr. Furtwängler. He gives her a wonderful smile. And, suddenly, Steve stands in the doorway, smiling. STEVE Well now. Are n't we all sociable? The others are made awkward. STEVE I've got to hand it to the British, David. You know what those guys are? Decent. -LRB- He sits, crosses his legs. -RRB- Tell me, Herr Dr. Furtwängler, do you know Hans Hinkel? FURTWÄNGLER Yes, a despicable human being. He was in the Ministry of Culture. His job was to get rid of Jews in the arts. STEVE Yup, that's him, that's the guy. You know what else the little creep did? He kept files, close on 250,000 files. And you know what's in those files? FURTWÄNGLER Certainly not, but I knew he had informers everywhere. Even in my orchestra there was someone STEVE Who? FURTWÄNGLER I was n't told. I just knew it. STEVE How? FURTWÄNGLER -LRB- uneasy. -RRB- I was warned. STEVE Who warned you? FURTWÄNGLER -LRB- lowering his head. -RRB- Goering. Because Hinkel was working for Goebbels. STEVE What did Goering say? FURTWÄNGLER He told me to be careful as one of Goebbels' men was watching me. He read a report on me - everything I said was quoted word by word. STEVE Oh boy, you're gon na love this. Take your time with this now. Those files contain the details of every working artist in this country. Those files are gon na tell us who joined the Party, who informed and who was helpful. Furtwängler goes to the door. David opens it for him. Furtwängler nods, then turns to Emmi, bows to her and smiles. He goes.\",\n \"INT. BRITISH INTELLIGENCE HQ, ARCHIVE ROOM - DAY SECURITY Your name, please. DAVID David Wills. SECURITY Over there. There is a long trestle table running the length of the room, with chairs, as if in a library. A notice requests ` Silence'. British and American servicemen, a Russian and a French officer studying papers, making notes. At the furthest end, Steve, David and Emmi. STEVE Fantastic! The only condition is we have to do the work here. I want you to collect all the files on the boys in the band.\",\n \"INT. BRITISH INTELLIGENCE HQ, ARCHIVE ROOM - NIGHT David discovers that the archive room was originally a synagogue. He is moved. He lays stones on the rail of what was once the ark.\",\n \"INT. BRITISH INTELLIGENCE HQ, ARCHIVE ROOM - DAY Emmi and David surrounded by files, sifting through, making notes. They examine the Hinkel Archive.\",\n \"INT. BRITISH INTELLIGENCE HQ, ARCHIVE ROOM - DAY Another day. Sunshine pouring in. Steve seated as before, but Emmi and David again in different places. Emmi rises, goes to Steve, shows him something. EMMI Maybe you can have a look at this. He reads. He is not pleased. He writes furiously. Emmi returns to her place. Suddenly, a movement causes Steve to look up. STEVE AND HIS POV : David slides a note across to Emmi. Emmi reads the note. David watches her. She looks at him. She almost smiles, nods surreptitiously. DAVID -LRB- a whisper. -RRB- Schubert. She feels Steve's eyes on her, and returns quickly to her work. Steve is displeased and even more suspicious.\",\n \"EXT. PARTLY RUINED CHURCH - EVENING Summer evening. The first movement of Schubert's String Quintet in C Major, D956, played by three men and two women to a large audience packed into the ruins, partly open to the sky, Dymshitz among them. At the rear of the church, Emmi and David, enraptured, seated side by side. The first movement ends and the Adagio begins. After the music gathers momentum : Rain. Thunder and lightning. The musicians continue to play, unperturbed. They are coming to the end of the Quintet. David and Emmi huddled together. Some umbrellas up and then movement which catches David's attention. He nudges Emmi, I indicates with his chin. People have moved to reveal Furtwängler : seated, wearing a hat, still I' as a statue, soaked, listening, expressionless. Much applause. The musicians bow. The audience start to leave. Emmi and David emerge from the ruins. Furtwängler passes them. They nod awkwardly. He does n't respond but is about to walk on when Dymshitz pushes through, nods to David, who salutes. Dymshitz catches up with Furtwängler. They are near to Emmi and David. DYMSHITZ Dr. Furtwängler - Furtwängler stops. DYMSHITZ Moving, you agree? Whenever I hear Schubert I am moved. You agree? FURTWÄNGLER The tempi were a little too correct for my taste. But I expect that is because of the rain. He nods politely, is about to go - DYMSHITZ -LRB- also for David's benefit. -RRB- Wait, Doctor, I understand you have difficulties with the Americans. I want you to know, I am your champion. We can help. Furtwängler allows himself a faint smile, tips his hat, and then hurries off into the night. Dymshitz goes, too. David and Emmi watch them. Then : EMMI -LRB- frowning, worried. -RRB- What does he mean, too correct? DAVID I do n't know. Huddled under their umbrella, they dash off.\",\n \"INT. STEVE'S BEDROOM, GRAND HOTEL - NIGHT Steve, fully dressed, lies on the bed in his small, shabby room, staring into space. He is suddenly startled by a loud roll of thunder and then a fierce crack of lightning. He goes to the window, watching the rain. He stands motionless for a second, then makes a decision. He grabs his cap, a raincoat from the back of the door. Another loud thunderclap.\",\n \"INT. US OFFICERS' CLUB - NIGHT Dancers jitterbugging and jiving. Among them, David and Emmi also dancing, imitating the others and having a good time. The music ends. Scattered applause. The band leaves the platform. The dancers return to tables or the bar. Later : David and Emmi at their table, eating. She eats voraciously, eyes glazed, all her concentration on the food in front of her. David is fascinated, ca n't stop watching her. Steve enters the club, makes his way to the bar, orders a drink. Steve turns to survey the room, almost at once spots David and Emmi, their backs to him. He observes them. David and Emmi at their table : They have finished their meal. Emmi is silent now, staring at her empty plate. Steve is suddenly at their table. STEVE Well, what is this, the office party? David and Emmi are frozen with embarrassment. STEVE May I join you? -LRB- sits down, beams. -RRB- So, what have you two been up to tonight? Hey. Do n't I owe you a bottle of French champagne? Tries to get a waiter's attention but fails. • No response. STEVE You know, David, you're a lucky guy. I invited Emmi here but she turned me down. You must've hidden depths, David. he band starts to play ; he stands, holds out a hand. STEVE C'mon, Emmi, let's dance. I'll teach you how to jive. She is horribly embarrassed, does n't move. David suddenly stands and takes Emmi by the arm. DAVID I'm very sorry, Major, but I promised her mother, we have to go. They leave quickly. Steve watches them. He sinks down, angry and jealous.\",\n \"INT. HALL, STAIRWAY, STRAUBE APARTMENT BLOCK - NIGHT David and Emmi enter the hall, each locked in their own thoughts. They reach the foot of the stairs and pause. They want to kiss but both are too awkward. She starts up the stairs. EMMI Do n't see me to my door, there's no need. DAVID But I promised your mother. She stops, turns. EMMI Well, sleep well. She continues on her way.\",\n \"INT. ARCHIVE ROOM - DAY Steve and Emmi at work on the files. One or two BRITISH OFFICERS present, and David, who is working at the far end of the table. He has a cold. Emmi, who also has a cold, opens a file and is immediately alert. She reads. She blows her nose. She is uncertain. She looks up at Steve. She makes a decision. She rises, takes the file to Steve. EMMI Excuse me, Major. I found this on Helmuth Rode. You remember? The second violinist? Look, he's Austrian not German. But it's this that's more important, I think. She points to something. Steve laughs loudly. AN OFFICER Sssh! David looks up at them, puzzled. Then a British SERGEANT comes into the doorway. SERGEANT Lieutenant Wills, telephone - David rises and as he goes : THE OFFICER -LRB- exasperated. -RRB- What is this, a railway station?\",\n \"INT. LOBBY, ARCHIVE BUILDING - DAY In a booth near the front desk, David is on the telephone. DAVID -LRB- into telephone. -RRB- David. Wills. Hello? Who? Who in Wiesbaden? Irritated, he taps the receiver but the line's gone dead.\",\n \"EXT. LAKESIDE, BERLIN - DAY Steve lies, shirt off, taking the sun. Children playing. Noise behind him of someone in the bushes. Steve does n't move. Rode, carrying a slender leather case, pushes through to Steve, who remains with his eyes closed. RODE Major. STEVE -LRB- eyes still closed. -RRB- Helmuth. RODE Guess what I am holding in my hand. You like guessing games? STEVE Love'em, Helmuth. I give up. What are you holding in your hand? Rode takes from the case a conductor's baton. Steve opens one eye. RODE It's Dr. Furtwängler's baton, which I stole. STEVE The one he kept in his right hand. Yes, you remember. RODE Yes, you remember. STEVE How could I forget? Sits up, takes the baton. Somewhere a child laughs ; suddenly Steve thrusts the baton at Rode. STEVE Show me. RODE Show you? STEVE Yeah, show me, I want to see you do it. Pretend I'm Adolf. You're the maestro, and you have the baton in your right hand, but you give me the salute just the same. RODE Not here, Major, there are people, if anybody should see. please, please, Major. STEVE Do it, Helmuth. After nervous looks over his shoulder Rode, salutes half - heartedly. STEVE Do it right. Rode thrusts his hand out in the Nazi salute. People by the lake : Mostly elderly, but some younger ones see Rode saluting. Some turn away. Others stare. STEVE'S VOICE You look great doing that. Rode and Steve : Rode looks around nervously, lowers his arm. STEVE And I see what you mean. You nearly poked my eyes out. RODE Exactly. Replaces the baton, gives Steve the case. STEVE Do n't worry, Helmuth, it'll be our secret. A ball comes bounding towards them. Steve catches it. Then a BOY runs in, looks hopeful. BOY Mister, mister, here, here, mister! Steve tosses the ball back to him. STEVE Great catch, kid. The boy runs off. RODE So. You wanted to see me. Steve pats the spot next to him and Rode sits. RODE You usually do n't work on Sunday, Major? STEVE All in the cause of humanity, Helmuth. Or should I call you one - zero - four - nine - three - three - one? RODE What? STEVE One - zero - four - nine - three - three - one. Or d'you mind if I just call you ` one'? Rode makes an attempt to go but Steve grabs him. STEVE You know what I say you are, Helmuth? I say you're a piece of shit. Rode suddenly starts to retch. RODE That bastard! People by the lakeside : Faces turning at Rode's sobs. Impassive. Blank. Steve and Rode : STEVE Who's the bastard, Helmuth? Hinkel? Rode nods. STEVE Why? He promised to remove your file? Rode vomits. STEVE And what about before that? What were you a member of in Austria? After a moment : STEVE Was a member of? Speak up? RODE -LRB- barely audible. -RRB- I was a member of the Communist Party. I was a communist. That's what Hinkel had over me. He knew everything. He held that over me. That's how he made me co - operate. STEVE Oh, I see, he made you co - operate. And now are you a communist again? RODE -LRB- angry. -RRB- You do n't know what it's like to wake up every single morning of your life terrified, you do n't know that -. -LRB- he stops. -RRB- Brief silence. Steve stands. Further along the lakeside : Steve and Rode walk. People about. Boats on the lake. RODE I would never, in my wildest dreams, have ever been a second violinist in the Berlin Philharmonic. When they got rid of the. the Jews in the orchestra, it gave people like me a chance.\",\n \"EXT. LAKE - DAY Rode rowing Steve in a small boat. Rode, exhausted, stops. The boat drifts. Steve watches him for a moment, then : STEVE Helmuth, you ever heard of plea - bargaining? Rode, trying to catch his breath, shakes his head. STEVE Talk about power, I have the power to give you work, make your life easier. Your past wo n't be mentioned. I could give you a job tomorrow but I have to get something in return. See, Helmuth? That's plea - bargaining. No response. Rode keeps his head bowed. STEVE I can give you freedom of movement, freedom to work, freedom, Helmuth. But I need something in return. RODE Major, we're discussing a man of genius, I do n't want. STEVE Fuck that, Helmuth. You want to discuss symbols here? This guy was a front man. He was the piper, but he played their tune, you get my philosophical meaning? I'm not interested in small fish, I'm after Moby Dick. Come on, Helmuth. Hard facts. Silence. Then Rode slowly raises his head. RODE The only thing I know is he's an anti - Semite. STEVE Of course. You, too. Like everyone else in this goddamn country.\",\n \"EXT. WOOD, LAKESIDE - DAY Rode and Steve walking. Rode suddenly turns to him : RODE I've remembered something else. STEVE Yeah? RODE Furtwängler sent Hitler a telegram for his birthday. STEVE He did? RODE One of your people told me. STEVE One of my people? They start to walk away from the water. RODE Yes. A corporal. US Army. A Jew. He said he'd seen the telegram in the Chancellery. STEVE Son - of - a - gun. We'll find the corporal and we'll find the telegram. He stops, takes out a cigarette, offers one to Rode, lights them both, gives Rode the packet. They smoke for a moment. STEVE But I need documentary proof. You know of anything like that? RODE No. But that's why we hated him. We admired him as a conductor but we all hated him too because he did n't have to join the Party and yet he had a better life than any of us. He did n't have to go and deliver a report after every trip abroad. He got everything from them, everything. He was filthier than any of us Party members. The sun is setting. Rode stops suddenly. RODE There's a rumour. I do n't know if it's true or not. but ask him about von der Null. STEVE Never heard of him, who is he? RODE Edwin von der Null. Music critic. He gave Furtwängler terrible reviews while he raved about Herbert von Karajan. STEVE Who's he? RODE Also a conductor. Very brilliant. Young. Von der Null called him ` The Miracle von Karajan'. Furtwängler was outraged and they say he had von der Null conscripted into the army. The same thing happened to another critic. True or not, it's not such a bad idea. Critics give you bad reviews, you have them sent to the Russian front. -LRB- Chuckks. -RRB- But if you really want to get Furtwängler, ask him about Herbert von Karajan. STEVE The Miracle Kid. RODE Yes, yes you may notice that he can not even bring himself to utter his name, he. he refers to him as K. Rode tries to make up his mind about something, then decides. He reaches into an inside pocket and takes out a small black notebook. RODE And ask him about his private life. STEVE His private life? Rode hesitates, then he hands Steve the black book. RODE Yes, it's all in here. His women.\",\n \"INT. ARCHIVE ROOM - DAY Steve going along the shelves filled with files. He's at the H, then I, then J. He stops at the letter K. With his forefinger, he runs down the files. He stops, pulls out a fat file : ` KARAJAN, H.VON' He opens the file. INSERT : - the file : ID PHOTOGRAPHS of an energetic - looking young man and two Nazi Party membership booklets.\",\n \"INT. CAFETERIA - DAY David makes his way from the counter. He carries a tray with two cups of coffee. He goes to a table where CAPTAIN MARTIN sits, papers and files spread before him. David gives him his coffee, then sits across from him, blows his nose. Silence while they sugar and milk their coffee. David aware of Martin's eyes on him. MARTIN Where do you stand on all this? DAVID On all what? MARTIN On Furtwängler. DAVID I do n't know. He breaks off. MARTIN You represent the United States now. We have a moral duty to be just and we have to be seen to be just. DAVID Major Arnold believes he has a moral duty, too. MARTIN Our duty is to help Furtwängler with his defence. -LRB- carefully. -RRB- That's why I want you to look at this. -LRB- he selects papers from the table. -RRB- These are part of the transcripts of the trial at Nuremberg. We ca n't get them translated fast enough. But I guess you understand German, right? Passes papers across to David. MARTIN That's the evidence of a guy named Dahlerus. He's a Swede. Friend of Hermann Goering. I want you to study it. And I want you to use it. David tries to sneeze but fails ; he starts to read. MARTIN We're going to find more stuff to feed you. We'll have some other suggestions. We need to build a case for the defence - based not on feelings, not on prejudice, but on facts. He watches David read. David is engrossed. Almost imperceptibly, he shakes his head.\",\n \"EXT. BERLIN STREET - DAY A half - ruined café with tables on the sidewalk. WERNER, the timpanist, SCHLEE, the oboist, and two others seated at one of the tables, drinking coffee. David carries an attaché case and walks towards the café. He scans the people at the tables, sees the musicians and approaches. They stand. WERNER Lieutenant Wills. David nods WERNER Herr Schlee, timpanist, Herr Romer, cello and Herr Schmidt, viola. They are willing to help. We have already ordered ourselves coffee. I hope you. DAVID Yeah, of course. WERNER The whole orchestra will vouch for him. He was always there to support us. DAVID We need names, if possible with addresses, because it's urgent. Names of musicians saved by Dr. Furtwängler, people he helped to escape abroad. Let's go somewhere public. David leaves money on the table and then walks off with the four men. They talk as they make their way down a side street.\",\n \"INT. DYMSHITZ'S VILLA - NIGHT Steve and Dymshitz sit opposite each other and clink vodka glasses. They have been drinking but are not yet drunk. DYMSHITZ To co - operation. They drink. Dymshitz pours more vodka. STEVE I was in Vienna. I had with me an Austrian chauffeur, Max his name was, he spent time in the camps. We were looking at these Viennese cleaning up the bomb damage, scavenging for rotting food, butt ends, anything. I said, ` To think a million of these people came out to welcome Adolf on the day he entered the city, a million of'em, and now look at'em.' And Max said, ` Oh, not these people, Major. These people were all at home hiding Jews in their attics.' You get the point, Colonel? The point is they're all full of shit. DYMSHITZ Furtwängler's in a different category. STEVE We're dealing with degenerates here. He is still for a moment, then grabs the bottle and pours himself a drink, downs it. Dymshitz watches him, then : DYMSHITZ Degenerates?\",\n \"INT. ANOTHER ROOM, DYMSHITZ'S OFFICE SUITE - NIGHT German modern paintings stacked untidily. Dymshitz, carrying a vodka bottle and his glass, shows Steve the paintings. Steve, too, has a glass. DYMSHITZ A great artist will have great privileges in a Russian zone. STEVE That's why he did n't get the hell out of here when he had the chance! I put that to him, he could n't answer. Why did n't he go and direct in America, like that Italian, Toscanini. Dymshitz pours vodkas, raises his glass, drinks. So does Steve. Now, their moods swing with the drink. Dymshitz drinks ; then sits, sinks into his own world. DYMSHITZ -LRB- lost for a moment. -RRB- Perhaps. perhaps he believed he could at least try to preserve something important, things like an orchestra, a school. That's his country. Maybe he has an old mother who ca n't be left alone. Maybe he has brothers, sisters. you ca n't. A forlorn look at Steve. His eyes are misty, he is visibly drunk. STEVE -LRB- a wry smile. -RRB- Colonel. He had no sisters, no brothers, only a lot of love affairs. DYMSHITZ Anyway, Major, why should he leave his country, his mother tongue, his family, his history, his past, his future, just because now, suddenly, there is a dictatorship? Why? STEVE But what. before that turns rotten. What if they surround the space with barbed wire, Colonel? DYMSHITZ -LRB- suddenly exploding. -RRB- Do n't talk about things you know nothing about. He was in a dictatorship! STEVE -LRB- dismissive. -RRB- Yeah, yeah, art and politics, yeah, yeah, I heard all about that. DYMSHITZ -LRB- angry. -RRB- In a dictatorship, art belongs to the Party. If you want to be a conductor, you have to have an orchestra. And you can only get an orchestra if you have contact with the power. All over the world you need the right contacts and you have to make the right compromises. STEVE This is what I'm saying. He must have had Party contacts. DYMSHITZ There are good Party members who help, and there are dirty non - Party members who inform on you. Of course, they gave him privileges. Pause. DYMSHITZ And suddenly, Steve, suddenly you notice that they like you. They honour you, suddenly you are the director of the best museum in the world, for example. STEVE What museum? DYMSHITZ I'm sorry. Museum? Not. I said orchestra. Sorry. Believe me. -LRB- another sudden change of mood to earnest, intimate. -RRB- Help me, Steve. You say you answer for someone from high up. I, too, have orders from high up. Very high up. We want Furtwängler. I'll give you in return the whole orchestra, four, five conductors. I need him, Steve. STEVE No can do. DYMSHITZ Let Furtwängler go. Please. STEVE I have a duty. DYMSHITZ -LRB- flaring. -RRB- Duty? I am sorry, duty? Duty fucking duty. Trouble is, you Americans want everybody to live like you. We liberated Berlin, Major Steve, not you. Our duty also is to bring back the best of German culture. Dymshitz bursts out laughing. Stung, Steve advances on him, almost as if he's about to attack him physically. He stops, sways a little, then, after a moment, drops down in a chair near to Dymshitz. They drink. Intimate : STEVE I'm gon na get that fucking bandleader, Colonel. No deal. No fucking deal. DYMSHITZ Then you're going to kill me.\",\n \"INT. STEVE'S OFFICE - NIGHT Drunk, Steve is clumsily, almost frantically, threading film into the 16 - mm projector. He switches off the lights then stumbles back to the projector, turns it on and directs its beam towards a blank square of watt. It's an American military propaganda film. ARCHIVES You'll see ruins, you'll see flowers, you'll see some mighty pretty scenery, do n't let it fool you. You are in enemy country. The Nazi party may be gone, but Nazi thinking, Nazi training and Nazi trickery remain. Somewhere in this Germany are two million ex - Nazi officials. Out of power but still in there and thinking, thinking about next time. Remember that only yesterday every business, every profession was part of Hitler's system. Practically every German was part of the Nazi network. They believed they were born to be masters. Do n't argue with them. You are not being sent Germany as educators. You're a soldier on guard. You will observe their local laws, respect their costumes and religion and you will respect their property rights. You will not be friendly. You will be aloof, watchful and suspicious. Steve, swaying slightly, watches, with the film continuing.\",\n \"EXT. FLEA MARKET - DAY Bright summer's day. Emmi pushing her way through the crowded market. She comes to the stall with gramophone records. David is with her, staying behind a little so as not to disturb her. She starts to look through the records, blowing her nose from time to time. Then she finds a box of records, opens it, is delighted. She bargains with the stallholder, and she hands over money. She shows her purchase to David happily. They struggle on in the crowd. David suddenly stops. He has spotted a tandem. The bicycle with two seats is old and rusty but seems to be in working order. David steps up to it, touches it.\",\n \"EXT. WOODLAND - DAY Two persons, Emmi and David, riding the tandem. Emmi in the front, pedalling, David behind. The road going up into the hills is full of potholes. They change seats. David is in the front, Emmi at the back. Suddenly the road begins to descend. They change again, Emmi sits in the front, David at the back. They speed down the hill.\",\n \"INT. BURNT-OUT DEPARTMENT STORE - DAY The tandem, ridden by Emmi and David, rolls into a huge building, black and burnt out. In the middle of the vast hall, surrounded by the staircase, there is a Christmas tree, almost burnt to cinder. Emmi and David stare at it, mesmerised. DAVID Yesterday I read that Furtwängler was asked to lead the New York Philharmonic back in' 36, Toscanini suggested it. Had he accepted, he would have become the most celebrated conductor in America. EMMI When he made his decision, he could n't have known everything. Especially not the way people like you do, who've returned from exile and feel that you have a right to pass judgement. Because you are blameless, you think you know best who is a sinner and who deserves forgiveness. But you have no idea how people lived here. DAVID When he met Hitler at his birthday and shook hands with him, was he pleased? EMMI I do n't know. But you and I already know that he has saved lives.\",\n \"INT. STEVE'S OFFICE - DAY Steve and David studying files in silence. Furtwängler's baton is on Steve's desk. Steve drinks black coffee. Emmi enters. Curt nods of greeting. She goes to her desk, then takes the Bruckner record to Steve. Steve looks at the record, then glances up at Emmi. He does his best to exclude David, who tries to hear what is said. Emmi glances at David. She's embarrassed. EMMI Bruckner's Seventh, Major. STEVE Do you know where the Adagio begins? EMMI Of course. STEVE Put it on ready to play, and I'll tell you when to play it. He returns to his desk. Emmi looks through the album for the appropriate record.\",\n \"INT. STEVE'S OFFICE - DAY Steve by the open window, looking at his wristwatch, smoking a cigarette. David and Emmi both watch him. The door opens and Furtwängler bursts in. FURTWÄNGLER It is now nine o'clock precisely. I do not intend to be kept waiting again. STEVE -LRB- dangerously calm. -RRB- Do n't talk to me like I was a second violinist. Go back into the waiting room. Miss Straube will come and get you when I am ready to see you. Furtwängler goes out. STEVE Jesus God, who the hell does he think he is? Who the hell does he think he is? David and Emmi gaze at him as he tries to regain control.\",\n \"INT. WAITING ROOM - DAY The door to the landing is open and Rode is there pretending to sweep. He looks in to see Furtwängler sitting, holding his handkerchief over his nose and mouth. RODE Would you perhaps like to have a glass of water, Herr Professor? Furtwängler does n't seem to hear. Rode hesitates, then continues to sweep.\",\n \"INT. STEVE'S OFFICE - DAY David and Emmi look at him, puzzled. She goes to the door, opens it, nods. Rode quickly disappears. Furtwängler looks at Emmi. FURTWÄNGLER What is this man doing here? Emmi does n't answer. All eyes on the door. Furtwängler enters. STEVE Dr. Furtwängler! Come in, come in, sit down. Furtwängler, deeply suspicious, goes for the uncomfortable chair. STEVE No, no, take this one, it's more comfortable He holds the other chair for Furtwängler, who sits. STEVE If it's too hot, open your tie. FURTWÄNGLER -LRB- interrupting. -RRB- I wish to say something. STEVE Go ahead, be my guest. Furtwängler takes from his pocket a piece of paper with notes. He blows his nose. The room is warming up. It will become like an airless court room, a pressure cooker. FURTWÄNGLER When I last saw you, I was unprepared. I did not know what to expect. In these past weeks, I have been thinking more carefully and making some notes. -LRB- glances at the notes. -RRB- You have to understand who I am and what I am. I am a musician and I believe in music. I am an artist and I believe in art. Art in general, and music, in particular, has for me mystical powers which nurture man's spiritual needs. I must confess, however, to being extremely naive. I insisted for many years on the absolute separation of art and politics. My entire life was devoted to music because, and this is very important, because I thought that I could, through music, do something practical. STEVE And what was that? FURTWÄNGLER Maintain liberty, humanity and justice. STEVE Gee, that's a thing of beauty, honest to God, a real thing of beauty. I'm going to try to remember that. Liberty, humanity and justice. Beautiful. But you used the word ` naive'. Are you now saying you think you were wrong? That art and politics ca n't be separated? FURTWÄNGLER I believe art and politics should be separate, but that they were n't kept separate I learned to my cost. STEVE And when did you first learn that - when you sent the telegram? Was that the surrender signal, the waving of the white flag? FURTWÄNGLER What telegram? STEVE ` Happy birthday, dear Adolf, love Wilhelm.' Or words to that effect. That sounds to me like you were dropping on your knees and saying, ` Okay, Adolf, you win. You're the number one man. Have a swell party.' FURTWÄNGLER I have no idea what you're talking about. STEVE The birthday greetings you sent to your old pal, Adolf Hider. FURTWÄNGLER I never sent him any birthday greetings or any other kind of greetings. STEVE Think carefully, Wilhelm. maybe not in your own name, but as Privy Councillor or Vice - President. FURTWÄNGLER I do n't have to think carefully. This is utterly ridiculous. David and Emmi exchange the briefest of looks. David raises his hand. STEVE Yes, David? DAVID Why not show Dr. Furtwängler the evidence. It may refresh his memory? FURTWÄNGLER You wo n't find it because no such telegram exists. STEVE Well, I tried, you got to admit I tried. I thought I might just trap you there, Wilhelm, but David here was too quick for me. Smart move, David, smart move. No, I do n't have the telegram, but I know it exists. And I want you to know, Wilhelm, we're going to keep looking for it because I believe you sent it. FURTWÄNGLER Then you are wrong. STEVE Art and politics, yeah, art and politics. Let's look at that. You and the Berlin Philharmonic toured the Third Reich, played in countries the Nazis had conquered. Are you saying that conducting in occupied territories from 1939 on was n't a commercial for Adolf and all he stood for? FURTWÄNGLER We never, never officially represented the regime when we played abroad. We always performed as a private ensemble. As I think I already told you, I was a freelance conductor. STEVE You know something? You should've written our insurance policies for us because you got more exclusion clauses than Double Indemnity. What do you imagine people thought? The Berlin Philharmonic's taken over by Doctor Goebbels and his Propaganda Ministry but Wilhelm is a freelance, so art and politics are now entirely separate? Is that what you believed ordinary people thought? FURTWÄNGLER have no idea what ordinary people thought. STEVE No! FURTWÄNGLER No, because I had only one intention. My only intention whatever I did was to show that music means more than politics. STEVE Tell me about von der Null. FURTWÄNGLER -LRB- taken off - guard. -RRB- Von der Null? STEVE Yes, von der Null. FURTWÄNGLER Von der Null? STEVE How long's this going to go on, Wilhelm? I say von der Null, you say von der Null, I say von der Null, you say von der Null, we could go on all day. You know who von der Null is, do n't you? Edwin von der Nuell, music critic. FURTWÄNGLER Yes, I know who he is. STEVE Is n't it true that because he gave you bad reviews and praised this young guy, Von Karajan, called him a goddamn miracle, said he was a better conductor than you, then you had von der Null conscripted into the army and no one's heard from him since? FURTWÄNGLER That's an outrageous lie! STEVE You sure you did n't call one of your close buddies and say, God in heaven, did you see what that guy von der Null wrote about me? The greatest conductor on earth. I want him out the way. He had the nerve to accuse me I am not playing enough modern music. Send him to Stalingrad. Is n't that what you did? You do n't like criticism, do you, Wilhelm? You surely did n't like them saying there was another conductor who was better than you. Are you saying the name von der Null was never mentioned in your talks with Goebbels? FURTWÄNGLER -LRB- uncomfortable. -RRB- Well. Once he said he'd read what this man wrote about me. STEVE And what did he say? FURTWÄNGLER He said, ` Do n't mind him. His job is to criticise, your job is to conduct.' STEVE And what happened to Von der Nul? FURTWÄNGLER I have no idea. STEVE You've really no idea? I'll tell you what happened. He died in Stalingrad. FURTWÄNGLER I'm sorry. STEVE Now, that young conductor what's his name? -LRB- playing with Furtwängler. -RRB- That miracle kid, you know who I mean. Von Karajan! But you called him something else. C'mon. What did you call von Karajan? Silence. STEVE Say it. Silence. STEVE I'll say it, then. ` Little K.' Is that right? You could n't even bear to say his name! Furtwängler rises angrily and starts to pace. FURTWÄNGLER Please stop playing these games with me. Why you should bring up the name of another conductor is beyond my understanding. STEVE I'll tell you why. You remember we talked about you playing for Hitler's birthday? And you told me that Goebbels got to your doctors first, that you were tricked? FURTWÄNGLER Yes, that's what happened. He sits heavily, wipes his brow. He is sweating now. STEVE I have a different story to tell. I do n't think you were tricked. Not in the way you describe. I believe something else happened. I've seen the Hinkel Archive, I've seen records of phone calls, and putting it all together, this is what I think happened. I think Goebbels said, ` Wilhelm, if you wo n't conduct for Adolf's birthday, we'll get the Miracle Kid, the guy that critic, von der Null, thinks is the greatest conductor in the world. He's not just willing to conduct for Adolf, he's offered to sing `` Happy Birthday'' as a solo.' Silence. STEVE Come on, admit it. K worried you, did n't he? He always worried you. In 1942, he's thirty - four years old, you're already fifty - six. And Goebbels and Goering keep saying to you, ` If you do n't do it, little K will.' Never mind art and politics and symbols and airy - fairy bullshit about liberty, humanity and justice because I do n't care how great you are. It's the oldest story in the book. -LRB- a wry look at David. -RRB- The ageing Romeo jealous of the young buck. The real reason you did n't leave the country when you knew you should have was that you were frightened that, once you were out of the way, you'd be supplanted by the Miracle Kid, the Party's boy twice over, flashy, talented little K. FURTWÄNGLER This is absolute nonsense! STEVE Well, I'm just beginning to develop my theme. Is n't that what you call it in classical music, developing your theme? Okay, so they played on your insecurity. That's human, understandable. But, there is one guy who does n't like little K as much as he likes you - yeah, the number one man your old pal, Adolf. He thinks you're the greatest, and when he says, I want Wilhelm for my birthday, boy, they better go out get Wilhelm. So, Josef calls and threatens you with little K. And you said to hell with the Ninth in Vienna, I'll give it to Adolf as a birthday present in Berlin. That's the trick they played, they got you by the balls and they squeezed. Hard. Why did you stay? Why did you play for them? Why were you the flag - carrier for their regime? Jealousy? FURTWÄNGLER -LRB- interrupting. -RRB- Of course there was a conspiracy against me, a campaign - even abroad. Brief silence ; all eyes on him. STEVE You see, Wilhelm, I'm talking about ordinary, everyday reasons. Which is why I want to discuss your private life. How many illegitimate children do you have? DAVID Major, I do n't see how this line of questioning could. STEVE David, what are you Counsel for the Defence now? -LRB-. -LRB- to Furtwängler. -RRB- Did you hear the question? FURTWÄNGLER -LRB- barely audible. -RRB- I have illegitimate children. STEVE What? FURTWÄNGLER I said I have illegitimate children. I do n't know how many. STEVE You like the women, do n't you, Wilhelm? No response. STEVE Is n't it true that before every concert you got a woman in your dressing room and gave her the old conductor's baton, is n't that true? DAVID -LRB- indicating EmmI. -RRB- Major, this is deeply offensive and repugnant! STEVE You bet. DAVID and totally irrelevant. STEVE -LRB- continuing to Furtwängler. -RRB- Not so, Counsellor. That secretary of yours, she was n't just your secretary, she procured women for you, did n't she? As many and as often as you wanted. FURTWÄNGLER Stop this, please, stop this now! STEVE No, I'm not going to stop it. Hitler himself offered you a beautiful house and a personal bomb shelter. FURTWÄNGLER I absolutely refused the house and the bomb shelter. STEVE But you see what I'm getting at? You get a gorgeous house, you're highly paid. What are you gon na do, stay or leave? One voice comes back at me : stay! DAVID Major, that's not a good argument. If Dr. Furtwängler did indeed enjoy all these. these privileges, he enjoyed them because of who he is and what he is. That's true of any leading artist in any country in the world. STEVE But it still does n't make them saints. They still have to get up and piss in the middle of the night, do n't they? They can still be vindictive and envious and mean just like you and me. Well, just like me. Ca n't they? No response. To Furtwängler : STEVE Okay, Wilhelm, go home now. Go home and think about these past twelve years. FURTWÄNGLER I do n't understand what you mean. STEVE No, that's your problem, Wilhelm. You understand nothing. We'll call you. Go! Furtwängler leaves. DAVID Major. Steve goes to his desk and, as Furtwängler rises uncertainly : STEVE What? DAVID Your manner. STEVE My manner? Why do n't you go downstairs, get a cup of coffee and calm down? What's the matter, Emmi? What's going on with you? What's wrong? EMMI I'm sorry but I have to leave. I'll find other work. You'll have to get someone else, that's all. STEVE What is this, Emmi? EMMI I ca n't do this. It's not right. STEVE What's not right? EMMI I have been questioned by the Gestapo just like that. Just like you questioned him. STEVE Emmi, stop! I want to show you something. Let me show you something and then if you want to leave, you can leave, please please. His friends, they did this. And he gave them birthday concerts. EMMI But he had no idea, a lot of people had no idea. I only realised what was really going on when I got arrested. STEVE If he had no idea, why did the Jews need saving? This is the question, Emmi, to all Germans : Why did the Jews need saving in this country? Why, if people had no idea? EMMI I would like to go now, please. But Steve turns on the projector and the Bergen - Belsen film flickers into life.\",\n \"INT. US OFFICERS' CLUB - NIGHT Band playing. Couples dancing. David and Steve at the bar, each with a drink in front of them, lost in their own thoughts. Then : Steve signs to the barkeeper to fill their glasses but David puts a hand over his glass. Then : DAVID Can I ask you a favour, Major? STEVE Yeah. DAVID When you question him again, could you treat him with more respect? STEVE With more what? More what? DAVID Major, he may just be the greatest conductor of this century and that merits respect. STEVE -LRB- flaring, hissing. -RRB- David, I do n't understand a thing about you. You're a Jew. Are you a Jew? DAVID Yes, I'm a Jew. But I like to think first I'm a human being. STEVE A human being, oh, good, I'm relieved, I thought you were going to say you were a music lover. This man, this great artist has made anti - Semitic remarks like you would n't believe. I got letters. DAVID Major, show me someone who has n't made an anti - Semitic remark and I'll show you the gates of paradise. STEVE -LRB- over - reacting and overlapping. -RRB- What is it with you, David? Where are your feelings? Where's your hatred, your disgust? Where's your fucking outrage, David? He starts to go, then comes back to them. STEVE Think of your parents, David, and then think of him conducting ` Happy Birthday, dear Adolf'. I mean, for Chrissake, whose side are you on? Grow up! Just grow the fuck up! The customers stare at him as he stalks out. The band plays.\",\n \"INT. STRAUBE APARTMENT - EVENING David and Emmi, sitting. DAVID I want you to come back to the office. May I come in? If you are there you can influence what happens. What good can you do by leaving. If you go, you are giving up and how can you help Furtwängler or me? Do n't think about leaving. Stay.\",\n \"INT. STEVE'S OFFICE - DAY Hot, Windows closed. Furtwängler seated. David and Emmi present. Steve looks up from his notes. STEVE Everybody says what a great benefactor you were to the Jews. But -. -LRB- holds up a sheaf of papers. -RRB- I have things here you said and wrote. Listen to this : ` The Jew composer Schonberg is admired by the Jewish International.' And what about this : ` Jewish musicians lack a genuine affinity with our music.' ` Jewish musicians are good businessmen with few scruples, lacking roots.' You deny you said these things? FURTWÄNGLER Those attitudes do not exist in me. STEVE I believe that. But just answer the question, do n't give me explanations. FURTWÄNGLER Speaking to Party members I used their language, of course I did, everyone did. DAVID -LRB- with some irony. -RRB- Major, sorry to interrupt, but maybe we have to. maybe we have to balance those things against his assistance to his Jewish colleagues. Steve tenses. DAVID This is a transcript of the proceedings at Nuremberg. A Swedish businessman, Birger Dahlerus, testified in cross - examination that he had several meetings with Hermann Goering.' I first saw Goering,' Dahlerus testified,'em broiled in a stormy interview with Wilhelm Furtwängler, the famous conductor of the Berlin Philharmonic, who was vainly seeking permission to keep his Jewish concert master. Holds up his package of letters and dumps them on Emmi's desk. DAVID Emmi, pick one of these, any one, read it out loud. Emmi is uncertain. Steve shrugs indifferently. She picks an envelope and takes out the letter. EMMI -LRB- reading. -RRB- ` Please remember that Dr. Furtwängler risked his life to help anyone who asked him. I personally testify to having seen literally hundreds of people lined up outside his dressing room after concerts to ask for his help. He never turned anyone away. After he heard me play. I am a violinist. he gave me money because I was unable to feed myself or my family and then he helped me to escape to Sweden. He helped countless people in similar ways.' DAVID And this, only one of these letters, Major. I have lots of them. STEVE -LRB- smiling. -RRB- How many times have I got to tell you I was in insurance? You think I ca n't smell a phoney policy when it's shoved under my nose? Sure, he helped Jews, but that was just insurance, his cover, because all the while he was maestro of all he surveyed. -LRB- turning on Furtwängler. -RRB- See, Wilhelm, I think you're their boy, their creature. You were like an advertising slogan for them : this is what we produce, the greatest conductor in the world. And you went along with it. The truth of the matter is, Wilhelm, you did n't need to be a member of the Party. I made a mistake when I asked you for your Party number. I should've asked you for your non - Party number. Just like some other well - known artists. -LRB- suddenly, to Emmi. -RRB- Emmi, put that record on. Emmi puts on the record of the Adagio from Bruckner's Seventh Symphony. After a moment : STEVE Do you know what that is? FURTWÄNGLER Of course I know what that is. STEVE Okay, so what is it? FURTWÄNGLER Bruckner's Seventh. The Adagio. STEVE Who's conducting? FURTWANGLBR I am. STEVE You know the last time it was played on these air waves? FURTWÄNGLER How can I know such a thing? STEVE I'll tell you, then. The last time this music was played on these air waves was after they announced that your pal Hitler had shot himself. Listen to it. They listen. Did they pick little K's recording? Did they pick some other conductor? No, they picked you, and why? Because you represented them so beautifully. When the Devil died, they wanted his bandleader to conduct the funeral march. You were everything to them. The music plays. FURTWÄNGLER -LRB- near to breakdown but struggling for control. -RRB- I have always tried to analyse myself carefully and closely. In staying here, I believed I walked a tightrope between exile and the gallows. You seem to be blaming me for not having allowed myself to be hanged. David takes the record off. FURTWÄNGLER I did n't directly oppose the Party because I told myself, that was not my job. If I had taken any active part in politics I could not have remained here. But as a musician, I am more than a citizen. I am a citizen of this country in that eternal sense to which the genius of great music testifies. I know that a single performance of a great masterpiece was a stronger and more vital negation of the spirit of Buchenwald and Auschwitz than words. An uncontrollable surge of anger wells up in Steve, causing him to pace alarmingly. He grabs the baton from his desk, stands trembling before Furtwängler, and snaps it in half. He pushes his face close to Furtwängler, who recoils, terrified. David half - stands, ready to intervene physically. During this Emmi puts her fingers in her ears. STEVE -LRB- quiet, terrifying. -RRB- Have you ever smelled burning flesh? I smelt it four miles away. Four miles away, I smelt it. Have you ever seen the gas chambers, the crematoria? Have you seen the mounds of rotting corpses? You talk to me about culture, art and music? You putting that in the scales, Wilhelm? You setting culture, art and music against the millions put to death by your pals? They had orchestras in the camps. They played Beethoven, Wagner. The hangmen were playing chamber music at home with their families. I do n't understand the Germans' relationship with music. What do you need music for? Your pals you could call to save a few Jews when millions of them were being annihilated? Yes, I blame you for not getting hanged, I blame you for your cowardice. You strutted and swaggered, you fucking piece of shit, king - pin in a shithouse. You talk to me about walking a tightrope between exile and the gallows, and I say to you, lies! FURTWÄNGLER -LRB- breaking down. -RRB- I love my country, I believe in music, what was I to do? STEVE Look around you. See the country you served. Look at people who had real courage, who took risks, who risked their lives. Like Emmi's father. He sees Emmi has her fingers in her ears, yells at her. STEVE Emmi, take your fingers out of your ears! She does so. STEVE I'm talking about your father. She screams. Stillness. All eyes on her. EMMI My father only joined the plot when he realised that we could not win the war. She cries quietly. FURTWÄNGLER -LRB- desperate. -RRB- What kind of a world do you want, Major? What kind of world are you going to make? Do you honestly believe that the only reality is the material world, so you will be left nothing, nothing but feculence. more foul - smelling than that which pervades your nights. -LRB- near to breakdown. -RRB- How was I to understand, how was I to know what they were capable of? No one knew. No one knew. He breaks down, buries his face in his hands, weeps. FURTWÄNGLER I do n't want to stay in this country. Yes, I should have left in 1934, it would have been better if I'd left. He is suddenly overtaken by nausea and faintness, stands, a hand to his mouth. Emmi goes to him. STEVE Get him out of here. Emmi helps Furtwängler out. Steve strides to the window, opens it, puts his head out into the fresh air.\",\n \"INT. WAITING ROOM - DAY Emmi helps Furtwängler to a chair. She watches him solicitously. He breathes deeply. FURTWÄNGLER Thank you, Fraulein. You have been most kind. -LRB- he rises. -RRB- He smiles at her. She is embarrassed.\",\n \"INT. STEVE'S OFFICE - DAY Steve is trying to get a number on the telephone. David is packing up his papers. David turns to the records, starts to son through until he finds what he's looking for. He removes the Bruckner and puts another record on the turntable. STEVE -LRB- into the telephone. -RRB- Major Arnold. Get me General Wallace. General? Major Arnold, about Furtwängler. I do n't know if we've got a case that'll stand up, but sure as hell we can give him a hard time. At full volume the sound of the subdued opening of Beethoven's Ninth Symphony. STEVE -LRB- to David. -RRB- Hey, turn that down, would you? Ca n't you see I'm on the phone? -LRB- into the telephone. -RRB- Never mind, we got a journalist who'll do whatever we tell him. But David ignores him, sits, implacable, listening.\",\n \"INT. STEVE'S BUILDING - DAY Furtwängler walks slowly down the stairs, a broken man struggling to regain his composure. Emmi watches him.\",\n \"INT. STEVE'S OFFICE - DAY The music at full blast. David, at an open window, keeps his back to Steve, still on the telephone. STEVE Turn it off!\",\n \"EXT. STEVE S BUILDING - DAY Furtwängler, on the stairs, stops, hearing the music echoing through the building. Furtwängler left hand begins to tremble, but it is only his way of sensing the tempo. Furtwängler slowly continues down the stairs. STEVE'S VOICE We handed Wilhelm Furtwängler over to the civil authorities and he was charged with serving the Nazi regime, with uttering anti - Semitic slurs, performing at an official Nazi Party function and with being a Prussian Privy Councillor. Dr. Furtwängler was acquitted. I did n't nail him. But I sure winged him. And I know I did the right thing. Furtwängler resumed his career but he was never allowed to conduct in the United States. He died in 1954. Little K succeeded him as head of the Berlin Philharmonic.\",\n \"INT. CONCERT HALL (ARCHIVE) Furtwängler conducting. Goebbels and other high - ranking Nazis in the audience. When the music finishes, Furtwängler turns and bows. Goebbels rises and shakes hands with him. Furtwängler takes his handkerchief and wipes his hands. The film replays this gesture several times - Furtwängler wiping his hands. THE END\"\n]"},"labels":{"kind":"list like","value":[1,0,1,1,1,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,1,1,0,1,0,0,1,0,0,0,0,1,1],"string":"[\n 1,\n 0,\n 1,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1\n]"},"summary":{"kind":"string","value":"In Berlin at the end of World War II, Wilhelm Furtwängler (Stellan Skarsgård) is conducting Beethoven's 5th Symphony when yet another Allied bomb raid stops the performance. A minister in Hitler's government comes to Furtwängler's dressing room to advise him that he should go abroad, and escape the war. The film then jumps to some time after the Allied victory, and we see U.S. Army General Wallace (R. Lee Ermey) task Major Steve Arnold (Harvey Keitel) with \"getting\" Furtwängler at his denazification hearing: \"Find Wilhelm Furtwängler guilty. He represents everything that was rotten in Germany\". [2] Arnold gets an office with Lt. David Wills (Moritz Bleibtreu), a German-American Jew, and Emmaline Straube (Birgit Minichmayr), daughter of an executed member of the German resistance. Arnold questions several musicians, many of whom know Emmaline's father and say that Furtwängler refused to give Hitler the Nazi salute. Arnold begins interrogating Furtwängler, asking why he didn't leave Germany in 1933 like so many other musicians? Why he played for Hitler's birthday? Why he played at a Nazi rally? And why his recording of Anton Bruckner's 7th Symphony was used on the radio after Hitler's death? Arnold gets a second violinist to tell him about Furtwängler's womanizing and the conductor's professional jealousy of Herbert von Karajan. In a sub plot, Arnold is assisted by a young Jewish lieutenant from the Big Red One. The young officer begins to have sympathy for the conductor as well as for the young German girl who works as a clerk in their office. This causes friction between Arnold and his job investigating former suspected Nazis. In a voice-over, Arnold explains that Furtwängler was exonerated at the later hearings but boasts his questioning \"winged\" him. The film closes with actual footage of the real Furtwängler shaking hands with Propaganda Minister Joseph Goebbels after a concert. A close-up then shows the conductor surreptitiously wiping his hands with a cloth after touching the Nazi."},"name":{"kind":"string","value":"Taking_Sides_(film)"}}},{"rowIdx":83,"cells":{"scenes":{"kind":"list like","value":["INT. MASTER BATHROOM - DAY PETE -LRB- 39 -RRB- and DEBBIE -LRB- 39 -RRB- are having fantastic sex in the shower. Debbie moans loudly. Pete is strong and sure of himself. In total control. DEBBIE Oh Pete! Oh my god! This is crazy! PETE Oh my god. So incredible. Want to know a secret? I took a Viagra. DEBBIE What? PETE I took a Viagra. Those things totally work. This is awesome. Why do n't I use this every day? DEBBIE What? What did you do? Wait. Stop. Debbie gets out of the shower. Pete follows. PETE What's the matter? DEBBIE You just took a Viagra to have sex with me? PETE I thought it would make it better. It was better. It takes some of the pressure off. DEBBIE Because you ca n't get hard without a Viagra? Is it because you do n't think I'm sexy? PETE I thought you'd think it was fun for me to supersize it for once. DEBBIE That is the worst birthday present you could ever give someone. PETE I was just trying to go turbo for your birthday. My hard - ons are still in analog. This shit's digital. DEBBIE I do n't want a turbo penis. I like your medium soft one. PETE Look, I can get it up. Just not that far up. DEBBIE Where did you get this? PETE I got it from Barry. DEBBIE What? You got it from Barry? PETE Why do you care? This is my dick we're talking about, not yours. DEBBIE We are young people. We do n't need medication to have sex. PETE I only took it because it's your birthday. I thought you'd like it. Happy fucking fortieth birthday. DEBBIE I am not forty! And I do n't want to have a husband who has to take Viagra to get a hard - on. PETE I do n't have to take it every time, but once in a while. DEBBIE Fuck forty! Forty can suck my dick. TITLE UP - THIS IS 40","INT. HALLWAY/SADIE'S ROOM - MORNING Pete sneaks down the hallway. He kisses SADIE -LRB- 13 -RRB- as he wakes her. She wants to be left alone. SADIE Your breath smells weird. Pete breathes all over her as he talks. PETE Wake up, wake up. Time to get up.","INT. CHARLOTTE'S ROOM - MORNING Pete lifts a sleeping CHARLOTTE -LRB- 8 -RRB- out of bed and walks her downstairs. It looks ridiculous because she is too tall to hold her like she is a baby.","INT. BREAKFAST NOOK - MORNING Pete and the kids set up a tray of muffins and donuts on the table and decorate the room with birthday balloons, streamers, etc.. Pete sneaks bacon, cupcakes, and mini donuts into his mouth occasionally. The house is a bit more cluttered and messier than when we last saw it in Knocked Up.","INT. MASTER BATHROOM - MORNING Debbie opens a window and sneaks a cigarette. PETE -LRB- O.C. -RRB- We're ready! She holds her cigarette with a yellow dish washing glove. She puts out the cigarette and goes through an elaborate routine of hiding the smell of smoke. She puts some weird oil in her hair and uses a wet nap on her neck and clothes and brushes her teeth. She sprays cologne and walks through it.","INT. KITCHEN - MORNING Pete and the kids hold a cake and sing `` Happy Birthday'' as Debbie walks in. When they are done she blows out the candles on the cake which says `` Happy 38th Birthday.'' PETE Make a wish!","INT. KITCHEN, TV AREA - MORNING The kids eat cereal. Sadie watches Lost on her iPad while Pete and Debbie talk in the kitchen. CHARLOTTE Can I watch Lost? SADIE You ca n't handle Lost. It's too violent, and you wo n't understand. CHARLOTTE If I do n't understand it, why ca n't I handle it? SADIE Because you're eight. CHARLOTTE I can handle it. I've seen a shark eat a guy on Shark Week. SADIE Shark Week is fake. CHARLOTTE No, it's not. SADIE All of it is reenactments. CHARLOTTE I know but they - SADIE That's scary! You should n't be allowed to watch that. CHARLOTTE - they show the reenactments but they actually happened. SADIE It's going to give you nightmares. CHARLOTTE I can handle a nightmare. You're a nightmare every day for me.","INT. KITCHEN - MORNING Pete clears the breakfast dishes. DEBBIE Hey. Do n't eat that cupcake. PETE What? DEBBIE The one you just put into the sink. I saw you were hiding that. PETE This cupcake? You think I'm going to eat this cupcake? DEBBIE Yeah. PETE I so do n't want this cupcake. Look. He turns on the faucet and pours water on the cupcake. DEBBIE You're still going to eat it. PETE I'm going to eat this cupcake? DEBBIE Just put it in the trash. PETE What would you like to do today? Your choice. DEBBIE Anything? PETE Yeah, anything. DEBBIE Just hang out with you guys. PETE Do n't you want to get a massage? Or do something fun? Forty's huge. DEBBIE I'm turning thirty - eight. PETE Okay. Thirty - eight. We'll move on. Is n't it weird that our birthday is the same week and that we're going to have a party, and it's just for me? DEBBIE No. I do n't think it's weird at all. Because you're turning forty and I'm turning thirty - eight. PETE Come on. Do you really want to be one of those ladies who's just so insecure about their age and they lie and then they've got to remember. DEBBIE You do n't get it. You do n't understand how it works. I do n't want to shop at old lady stores. I do n't want to go to J. Jill and Chicos and Ann Taylor Loft. I'm not ready yet. I need two more years. PETE That is so insane, it kind of makes sense. DEBBIE What did you get me for my birthday? PETE I thought you said that we should n't get each other gifts this year? DEBBIE What do you mean? You're supposed to get me a surprise gift. This is a big birthday. I'm turning forty!","INT. CHARLOTTE'S ROOM - MORNING Charlotte plays the theme from The Office on her keyboard. SADIE -LRB- O.C. -RRB- Mom!","INT. SADIE'S ROOM - CONTINUOUS Sadie tears apart her closet looking for clothes. SADIE Mom! Why ca n't I get new clothes?! Nothing fits me! God damn it!","INT. KITCHEN - MORNING Debbie is in workout gear. Pete enters wearing a lycra outfit with all sorts of logos on it. He is a complete bicycling asshole. DEBBIE I am going to work out. I'll be back in about an hour. PETE Hey, did your father call to wish you a happy birthday? DEBBIE No. That's no surprise. Debbie leaves. Pete picks the soaking wet cupcake out of the sink and takes a bite.","EXT. SANTA MONICA STAIRS - DAY Debbie runs up a long flight of stairs with her trainer JASON. Her friend BARB trails behind. JASON Come on. BARB Coming. JASON You've got to keep up with us, sweetheart. That's why your body looks like your body and her body looks like her body. Before, after. Before, after. BARB You guys just go on without me. I'm just gon na. fuck.","EXT. BRENTWOOD - MORNING We see Pete in a large group of bikers riding down San Vicente. Pete's friend BARRY is part of the group. BARRY Hey, thanks for letting me join this team. PETE It's not really a team, it's just a bunch of guys who get together and ride. BARRY I know, I know. A car makes a right turn in front of Pete, nearly hitting him. Pete bangs on the back of the car. PETE Bike lane, asshole! It's always the guy in the fucking Infiniti.","EXT. STREETS NEAR THE STAIRS - DAY Debbie is doing sit - ups while talking to Jason, who holds her feet down. In the background, Barb stretches on a yoga ball. JASON So why on earth is Pete taking Viagra? What's going on? DEBBIE I do n't know. I think maybe he just is n't attracted to me anymore. JASON That is ridiculous. If you were my girlfriend, I would not need a Viagra. I would need an anti - Viagra pill. To try not to get a boner. DEBBIE But everyone gives you a boner. JASON Do n't sell yourself short like that. You give me a boner. -LRB- whispers. -RRB- Barb does n't give me a boner. DEBBIE Maybe things are just getting stale. That's why maybe I work out really hard. Maybe he'll be able to get a boner again. BARB Why do you need to have sex, Deb? Sex is the number one thing people fight about. You stop having sex, there will be no more fights. I am living proof. I have no sex, and I am the happiest I've ever been. JASON I knew it. I knew you were not having sex. I can see it on your face. It's all puckered and pained. BARB I'm enjoying our non - sex period, that's all I'm saying. JASON Do n't you miss it? BARB Well, I would n't know, because I do n't have any feeling down there anymore. I have nerve damage from my C - section so everything is just kinda - DEBBIE She's numb down there. BARB I could sit down hard on a fire hydrant, and I would n't even know that I was sitting. I could get stung by a hornet down there, and I would not feel it. You could put anything in there, and I would not know what the object was. I used to pee in a nice stream, and now it just kind of goes like a shower head. JASON That is the saddest thing I've ever heard. DEBBIE I think you need a family. Do n't you want a family? JASON No, I think I want to Clooney it. DEBBIE Clooney it? JASON Yup. DEBBIE He does n't seem happy. JASON Yeah, he is. DEBBIE No. He's lonely. JASON No, he's not. DEBBIE See, I think he has sad eyes. JASON Aw, you sweet little thing. He's doing sad, lonely eyes. To get the next lady. I can do it too, watch. Jason demonstrates. DEBBIE I bet George Clooney is really lonely. Just him and his pig. JASON You'd fuck him. DEBBIE I would n't. JASON So would you. BARB I would. I would n't feel it but - JASON You'd fuck him with your numb vagina. Yes, you would. Ocean's thirteen inches, that's what you'd find out. DEBBIE Do you think?","INT. STARBUCKS - MOMENTS LATER Pete and Barry eat frosted scones, happy to get some alone time to delay their return home. BARRY I mean that was idiotic. You have to understand. That's like the one thing you do n't do is tell her you used Viagra. I think that's even on the warning label. PETE We're in one of those phases where everything the other person says just annoys the shit out of each other. All the time. It's a blast. BARRY Do n't worry about it. You just got ta ride that out. PETE This sounds terrible but do you ever wonder what it would be like if, say, you were separated by something bigger, like death. Like her death? BARRY I have given it a fair amount of thought. PETE Not in a painful way. Just quietly slid into death. Like a gas leak. BARRY Absolutely. It has got to be peaceful. I mean this is the mother of your children. PETE I'd want it to be a peaceful - just like, drift, into a coma, from which she never awakens. BARRY Then you move on. Then you're a widower. PETE That's just it. People love widowers. BARRY They love widowers. It's like the polar opposite of divorced guys. PETE It's the best. BARRY It's like, oh, that poor widower. You know. If I could only - PETE Somehow. BARRY make him happy. PETE Somehow ease his pain. BARRY cocksuck away his sadness.","INT. CAR - DAY The family is driving. Sadie watches an episode of Lost on an iPad. The Pixies play on the stereo, and Pete sings along. PETE Did you know that the Pixies did this song about a Salvador Dali short film called `` Un Chien Andalou''? DEBBIE This music does n't make people happy. PETE This song kicks off Doolittle, one of the best albums of the last thirty years. An important record. DEBBIE Look how angry you get while listening to this. -LRB- beat. -RRB- It's my birthday. You do n't control the radio on my birthday. I control the radio on my birthday. Debbie switches the radio and sings along to `` Take On Me'' by Ah - Hah. Sadie stares at her iPad. We see a violent scene. CHARLOTTE Sadie's watching Lost. DEBBIE Sadie, how many times have you watched Lost this week? SADIE I've only watched eleven. I have eight more and then I'm done. PETE How many are there? SADIE A hundred and fourteen? PETE Are you kidding me? You ca n't watch over a hundred episodes of a show in five weeks. It'll melt your brain. SADIE It's not melting my brain, it's blowing my mind. DEBBIE That's really bad, Sadie. You're not allowed to do that. SADIE My relationship with Lost is not your business. It's extremely personal. Charlotte grabs for Sadie's iPad, then starts trying to lick her. SADIE -LRB- CONT'D. -RRB- Stop it! DEBBIE Be nice to your sister. You guys are going to cherish each other one day. SADIE Stop it! Stop!","EXT. MONTANA AVENUE - DAY Pete and Debbie get out of the car and walk down the street. PETE It's your birthday, you do n't need to go to the store. DEBBIE I know, just five minutes. I think Desi and Jodi are fighting. PETE All right, five minutes. But then I'm pulling you out.","INT. DEBBIE'S STORE - DAY Pete and Debbie enter and we see their two employees, JODI and a new, gorgeous employee, DESI, who is up on a ladder. DEBBIE Hi. How's Jodi treating you? DESI Jodi? Oh, Jodi's my new BFF. She's like a little kitty cat. Sometimes she comes and rubs up against my leg. JODI You're a ball of shit. DESI She loves me. DEBBIE Huh. Debbie goes behind the register. She looks at Jodi. DEBBIE -LRB- CONT'D. -RRB- Can you do inventory so that we can do the sidewalk sale? And you really need to pay attention to the numbers because we have twelve thousand dollars unaccounted for. JODI I think it's probably Desi. She's been having a really hard time using these simple computers. It's because she's stupid. I think she might be stealing. DEBBIE She's not stealing. She's our best employee. She made nine grand last month. JODI Well, how much did I make? DEBBIE You brought in twenty - two hundred. JODI That's not bad. DEBBIE Well, that's not that good. I mean, I'm not comparing you, but you're not as good. Pete is still staring at Desi on the ladder. PETE -LRB- to Desi. -RRB- All right. See you. Pete walks over to Debbie. PETE -LRB- CONT'D. -RRB- I do n't think she's wearing underwear. DEBBIE What? PETE It's all dark up there. DEBBIE What? Why are you looking? PETE I did n't mean to look, I just said, ` Hey - woah!' There it was. DEBBIE Maybe she's wearing dark underwear. PETE Yeah. Maybe she has underwear that has a picture of a vagina painted on it. DEBBIE Stop looking. Desi comes down to help a CUSTOMER at the front of the store. DESI Maybe some deep oranges and browns and maybe dark greens? That would really play up your features. CUSTOMER I'll just take out my AmEx and you pick what stuff you think is good.","EXT. BACKYARD - DAY We see quick cuts of Debbie playing with the kids on the trampoline outside. She does a full flip and lands on her feet. Pete is nowhere to be found. DEBBIE Woo! Where's daddy? SADIE I think he went to poop. DEBBIE Pete!","INT. HOUSE - CONTINUOUS Debbie walks down the hall and into the bathroom without knocking. Pete is on the toilet playing Scrabble on his iPad. DEBBIE What are you doing? PETE Going to the bathroom. DEBBIE We're all downstairs waiting for you. You've been up here for a really long time now. PETE Oh, I'm almost done. I'll be down in a second. DEBBIE Charlotte just did her first flip on the trampoline, and she landed on her feet. She was really proud of herself. PETE Oh, that's great. DEBBIE And you missed it. PETE She'll do it again. DEBBIE It's just that this is the fourth time you've gone to the bathroom today. PETE Give me a break. DEBBIE Why is your instinct to escape? PETE It's not my instinct to escape from you. It is my instinct to come into the bathroom when I need to go to the bathroom. DEBBIE How come I do n't smell anything? PETE It's because I shoved an Altoid up my ass before I came in here. DEBBIE Let me see then. PETE What? DEBBIE Let me see! PETE No, I'm not going to let you see. DEBBIE You're not going to let me see because you're not taking a poop. PETE I've been flushing as I go. DEBBIE You're flushing as you go? Who takes a half hour to go to the bathroom? PETE -LRB- thinks for a second. -RRB- John Goodman. She angrily grabs his iPad and walks out. PETE -LRB- CONT'D. -RRB- Do n't press Enter! I'm not sure I want to make that move!","EXT. SMALL NIGHTCLUB - NIGHT A sign outside reads : `` Tonight Only : Graham Parker''","INT. SMALL NIGHTCLUB - STAGE - NIGHT Pete stands on stage speaking to a small crowd. PETE You know, when I started this label, my dream was to work with musicians and bands whose music I just admired so much. The person that I thought, `` My god, would n't it be incredible to work with'' was Graham Parker. Tonight we have him. Solo. Because we could n't afford to fly in The Rumour. The crowd applauds as Graham Parker -LRB- 60's -RRB- leaps on stage. Pete and Debbie watch Graham sing a very moving song. The song is fantastic and personal, but clearly not commercial. We watch Debbie. Although the music is great, it's a little depressing and not working on her. She quickly gets bored.","INT. CAR - NIGHT Pete and Debbie are driving home. DEBBIE It's just not my kind of music. PETE Really. What is your kind of music? DEBBIE I like Lady Gaga. PETE Oh, god, of course you do. DEBBIE What? PETE Shallow dance music. DEBBIE It's not! It's fun, and it's about release and sex and power. PETE You know, you do n't have to like it. It's really not for you, that's fine. DEBBIE This is a job. This is not a hobby. Ca n't you love him just as a hobby? And sign a fifteen - year - old hot girl so we can eat? PETE Graham Parker and The Rumour had two albums in the Rolling Stone Top 500 Best Albums of All Time. Two of ` em. If I can just sell ten thousand records to his hardcore fan base, we're golden. An ambulance drives by, sirens blaring. DEBBIE -LRB- pause, then laughing. -RRB- The last of Graham Parker's fans just died.","INT. SADIE'S ROOM - NIGHT Pete and Debbie walk in mid - argument. Sadie is listening to a song on her iPhone. DEBBIE Sadie. Sadie, what are you listening to? Okay, this is music that makes people happy. And this is what people buy. Right, girls? She puts Sadie's iPod in a dock and plays the Nikki Minaj rap `` Roman's Revenge.'' They all start rapping along to it. They all laugh and dance and go crazy. Pete turns the iPod off. DEBBIE -LRB- CONT'D. -RRB- Why did you take it off? PETE Now, something that really rocks. Pete puts on `` Rooster'' by Alice In Chains. PETE -LRB- CONT'D. -RRB- This is called good music. From somebody's heart. SADIE This is bumming me out. This is n't fun. PETE Just listen to these words, okay? CHARLOTTE I do n't understand the words. PETE This is lyrics, this is poetry. This is what is going to survive in a hundred years. DEBBIE It just does n't make people happy. PETE It makes me happy. I can dance to it. Pete starts dancing around like it is fun. DEBBIE You're the only one in the room who's happy. Pete stops his music. PETE Sometimes, I wish just one of you had a dick. CHARLOTTE Well, we do n't want one.","INT. HOUSE - MORNING Pete sits with the kids and eats breakfast. Debbie scurries around him to prep the kids for school. DEBBIE -LRB- to Pete. -RRB- Is there something that you can do to be helping me right now? PETE Yeah, I'm ready to help. Just tell me what to do. DEBBIE Can you go get a lunch box or something? PETE For me or for them? Charlotte runs away towards her room. Sadie screams. SADIE Charlotte! I've got a test! CHARLOTTE I'm coming! I'm coming! SADIE Charlotte, I'm going to kill you! Debbie covers Sadie's mouth. DEBBIE Shhh!","EXT. SCHOOL PARKING LOT - MORNING Debbie drives the kids to school.","EXT. SCHOOL - MORNING Debbie runs Charlotte into the school. Along the way they see a lot of parents. Debbie says `` Hi'' to them in the way that lets us know that she does not know anybody's name. Debbie says `` Hello'' to a PREGNANT FIFTY - YEAR - OLD PARENT, towing a seven - year - old boy. DEBBIE Hi, any day now, huh? PREGNANT FIFTY-YEAR-OLD PARENT Not really. Three more months! Another parent, BETH, and her adorable child walk over. BETH Katie's dying for a play date. Let's hook these two up. DEBBIE That would be great, I'll call you. Beth and Katie walk off. CHARLOTTE No. DEBBIE `` No'' what? CHARLOTTE No. DEBBIE What? She's sweet. CHARLOTTE She's evil.","INT./EXT. CHARLOTTE'S SCHOOL - MORNING As they walk into class, the teacher pulls Debbie aside. TEACHER Hi. Listen, Charlotte really needs to get here on time because she needs the extra time to just settle in. DEBBIE Oh. We are on time. TEACHER Being on time means being early. DEBBIE Oh. Okay. TEACHER Well, it's nice to see you in class. We'd like to see more of you. DEBBIE I come to - The teacher walks away before Debbie can defend herself. GRANDMA MOLLY Hi Debbie! DEBBIE Hi, Grandma Molly. GRANDMA MOLLY How are you? I'm so happy about the science fair. It's going very well I heard. I love you. You look so beautiful. Happy birthday! I just learned it's your fortieth. Are you forty? DEBBIE Yeah. GRANDMA MOLLY I remember when I was forty, and then I blinked and there I was, going to be ninety. My god, where did it go? One day you're going to blink, and you're going to be ninety, and I wo n't be around to see it. And that makes me very sad. I'm telling you, I'm warning you. Do n't blink. Do n't blink.","EXT. SCHOOL PARKING LOT - DAY As Debbie pulls out of the lot, she lights a cigarette.","INT. PETE'S MUSIC LABEL - DAY Pete paces around his office on the phone. ACCOUNTANT -LRB- O.C. -RRB- And then you missed the mortgage payment, and that's the second mortgage. You've got to tighten your belt. You've got to go home, sit down, look at your expenses, come clean with Debbie. PETE Oh, god. I ca n't tell Debbie. ACCOUNTANT -LRB- O.C. -RRB- You have to tell her, Pete. PETE She knows it's bad, but she has no idea just how bad. ACCOUNTANT -LRB- O.C. -RRB- If you sell the house, it'll really buy you some time. PETE No. Debbie's not really into selling the house. ACCOUNTANT -LRB- O.C. -RRB- As your business manager and your friend, I ca n't recommend that. -LRB- beat. -RRB- Hey, how funny would it be if I bought your house? PETE Okay. Bye. ACCOUNTANT -LRB- O.C. -RRB- Hang in there. Pete is with RONNIE and CAT, employees at his record label. They are watching an electronic press kit cut together for Graham Parker. There is a montage of him performing throughout the years from the seventies to the present. RONNIE What are you doing? CAT I'm contextualizing him as one of the great figures in rock history. RONNIE You ca n't show him in his prime in ` 77 and then jump straight to him as he is now. It's terrifying. You have to reverse it. You've got to show him as he is now very briefly, and then show him in 1977. You have to `` Benjamin Button'' it. CAT I do n't know what you're talking about, okay? All rock stars are older now. Steven Tyler, David Bowie, Mick Jagger - PETE Paul McCartney. RONNIE Okay, stop it. Everybody you're mentioning looks like an old woman now. You're just mentioning a bunch of Jessica Tandys. Keith Richards gets away with it. But that's because Keith Richards looked seventy when he was forty, and now that he's seventy, he looks sixty - nine. He's regenerating. CAT I like it. And I think Graham Parker is sexy. RONNIE Would you fuck him? CAT Yes. RONNIE You'd fuck him, and you wo n't fuck me? CAT I mean, I kind of fucked you once, if you could have finished. RONNIE Oh, I finished. PETE You know what, enough of who fucked who and who finished what. RONNIE I finished. PETE Look. It's a retro label. That's our niche. That's our market. It costs money to break new bands, I ca n't do that. RONNIE Oh, okay. And also you're the guy who turned down Arcade Fire. PETE Everyone turned down Arcade Fire. CAT It's crazy, there are so many of them! PETE We do n't have the money to market a new band. We just need to make Graham seem relevant. Who is he talking to? CAT Um, the Jewish Journal. PETE The Jewish Journal? RONNIE Apparently old Jews are the only ones who still buy hard copies of records. Because they do n't like to download music. Because they do n't know what downloading means. Angle on Graham and a journalist wearing a yarmulke. INTERVIEWER Why is this album different from any other album? GRAHAM It is n't. Angle on Pete, Cat and Ronnie. PETE What is he wearing? CAT It's a hat with the Oreo logo on it. PETE Why? CAT I do n't think he's being ironic, I think he just really likes Oreos. PETE Look. The Paul Westerberg record did okay. Frank Black did all right. The Haircut 100, not so much. We have to break this record. Otherwise, we're not here next year. RONNIE He's coming. Oreo man is coming. Graham walks up. GRAHAM Hey guys, how are you? RONNIE Are n't cookies the best? GRAHAM Yeah. Jewish Journal guy loves the record. PETE Great! GRAHAM Got a bit of a problem. Touch of gout. PETE Gout? GRAHAM Yeah, my whole family, they all had gout. PETE Jesus. RONNIE That's very unfortunate. GRAHAM My auntie Queenie, she had a foot like the size of a small pig. I've got a photo of it. RONNIE I'd love to see that photo of that gout foot. GRAHAM A couple of bunions as well. RONNIE Fuck. GRAHAM I've got to go to the podiatrist, and I hope he can shoot me up with something. PETE Yeah, well, let's get you to the podiatrist. CAT Bye, Graham. RONNIE See you later, Graham. Good luck with your gout! GRAHAM Rock and Roll, baby.","INT. PETE'S HOME OFFICE - AFTERNOON Pete and Debbie are talking. Debbie holds a list of changes she wants to make. DEBBIE The happiest period in people's lives is from age forty to sixty. So this is it. We're in it, right now. PETE Says who? DEBBIE Says a lot of people, most people. PETE Huh. DEBBIE We have everything we need right now to be completely happy. We're going to blink and be ninety. PETE What? DEBBIE So, let's just choose to be happy. PETE Yeah. DEBBIE Your eyes are kind of glazing over. PETE No, I'm just processing it all. DEBBIE Some of these I wrote for you. So, we have to exercise every day. Spend more time alone together. We have to go to the therapist every week. PETE That's a little pricey. DEBBIE No stressing over tiny things. PETE Yeah, that's good. You should do that. DEBBIE We have to get more involved in school. Have more patience with the kids. And we need to work on our anger. PETE Yeah, I think it would be good if you could take care of your anger. DEBBIE No, I said both of us. PETE That's what I said. Our anger. DEBBIE Okay. No more smoking. PETE Yeah, you've got to cut that out. DEBBIE I do n't want to make this about a fight, I want to just be positive. PETE Sorry. DEBBIE Okay, and then no more holding on to resentments. We have to just let that go. PETE So, you're saying that if we're arguing and I apologize, you'll let it go and not throw it back in my face later? DEBBIE Well, I do n't do that, but I will continue not to do that. What did you write? PETE All of that. That's plenty. That's a lot. DEBBIE And you're going to eat better? PETE Oh, yeah. I've been doing a decent job, but I do n't think there's anything wrong with having some fries every now and again. DEBBIE And then I'll smoke that day. PETE That's not the same thing. DEBBIE It is the same thing. PETE I like fries. DEBBIE And the other thing is your dad stuff. Pete picks up a guitar and starts playing with it. DEBBIE -LRB- CONT'D. -RRB- The not letting him guilt trip you all the time, because that puts a lot of pressure on you, and the whole family feels it. He's a grown man, and he's not our responsibility. And you're not giving him money anymore, right? PETE No, I have n't been giving him money for years, I told you. DEBBIE Can you please put that down?","INT. BEDROOM - NIGHT Pete and Debbie are in bed. Debbie has a computer on her lap. DEBBIE A lot of people are RSVP - ing to your birthday party. PETE You sure you do n't want to just do a joint birthday party? DEBBIE No. PETE We always used to. DEBBIE No. We reveal that Debbie is watching security cam footage of the store. DEBBIE -LRB- CONT'D. -RRB- Did Jodi tell you she thinks Desi's stealing? PETE Are you serious? DEBBIE Yes. PETE How much? DEBBIE Twelve thousand dollars. PETE Oh, god. And Desi's taking it? DEBBIE Well, I do n't know. That's what Jodi said. PETE We really need the store to work. DEBBIE It is. Do n't put that kind of pressure on me. PETE That's not what I mean. DEBBIE Are you nervous about money? Are we okay? PETE Yeah. Maybe we just suck it up because she's clearly earning so much more than any other employee we have. DEBBIE Oh, yeah. For sure. We ca n't fire her. We're barely breaking even with her. PETE That's why we have to keep her. We watch the footage and suddenly Desi's BOYFRIEND enters. He walks behind the counter, and she sits on his lap. She adjusts herself. DEBBIE Look at this, she's making out with somebody. On the screen, they kiss. Desi seems to be popping up and down a little. DEBBIE -LRB- CONT'D. -RRB- Is she screwing him? PETE That might be like a dry hump. DEBBIE Look at the position of her skirt. PETE That's too grainy to know for sure. Oh my god, this is the middle of the day. Customers could be in there. DEBBIE At least she's getting some. PETE What did you say? `` At least she's getting some''? DEBBIE Yes. PETE What are you talking about? We had sex the other night. You have to give me a little credit for that. DEBBIE It's not about credit. We need to have more passion. Like this. PETE That's not passion. DEBBIE It looks like passion to me. PETE What - Pete farts. PETE -LRB- CONT'D. -RRB- What is she doing? He farts again. It is longer. DEBBIE Oh my god. Do n't do that! Debbie hits Pete with a pillow. PETE What am I doing? DEBBIE Do n't fart in the bed! PETE I'm not, it's the springs. DEBBIE This is why we never have sex. That's disgusting. You're gross. PETE I do n't know what you're talking about. Pete farts again.","INT. SADIE'S ROOM - NIGHT Charlotte jumps around in front of Sadie's door. Sadie sits on her bed quietly doing homework. CHARLOTTE -LRB- singing. -RRB- Sadie. Sadie, Sadie! Sadie, Sadie! SADIE Charlotte. I'm doing my homework. CHARLOTTE Okay, watch this. There's a haunted cow back here, and I'm pretty sure it does not have milk! Charlotte grabs her own head and makes it look like she's being dragged away. CHARLOTTE -LRB- CONT'D. -RRB- Did you see that? They took me away! Sadie does not even look up. CHARLOTTE -LRB- CONT'D. -RRB- You're no fun. You never want to play. SADIE Charlotte. How many times do I have to tell you - CHARLOTTE -LRB- singing. -RRB- Sadie! Sadie, Sadie! Is boring! Charlotte plays air guitar. Sadie does not respond. CHARLOTTE -LRB- CONT'D. -RRB- You're so mean since your body got weird. SADIE Close the door.","EXT. HOUSE - MORNING Debbie and Pete begin their `` fresh start.'' Debbie tosses her cigarettes in the garbage cans outside. Pete tosses a packet of M&M's in the garbage. He throws out all of his cupcakes except for one. He takes a bite, tries to throw it but again, ca n't. He takes another bite, holds it over the garbage, then takes one last bite before dumping what little remains.","INT. DOCTOR'S OFFICE - DAY Pete runs on a treadmill while getting an electrocardiogram.","INT. DOCTOR'S OFFICE - DAY Debbie is getting a mammogram. The machine clamps too hard on her breast. She screams.","INT. DOCTOR'S OFFICE- DAY Pete gets his testicles examined. DR. BOWE Did I tell you that my son is going to Stanford? PETE No, that's great. DR. BOWE Great for us and great for him. Cough again. Everything looks good. PETE Your face is close to my face.","INT. DOCTOR'S OFFICE - DAY Debbie is getting a colonoscopy. TECHNICIAN Descending colon. I'm about four feet in right now. DEBBIE -LRB- laughing. -RRB- That's what he said.","INT. DENTIST OFFICE - DAY Debbie has some sort of very painful oral surgery. She's a little high from the laughing gas. DENTIST Do you grind your teeth? DEBBIE I grind all night. DENTIST I think we need to turn the gas down. DEBBIE Turn it up! DENTIST No, we're going to turn it down. DEBBIE Turn it up!","INT. DOCTOR'S OFFICE - DAY Dr. Bowe has his finger inside of Pete's anus, giving him a prostate exam. PETE Do you have to breathe right on my neck? DR. BOWE Sorry.","INT. GYNECOLOGIST OFFICE Debbie is at the Gynecologist. He is the same one from the beginning of Knocked Up, DR. PELLIGRINO. Debbie's legs are up in stirrups. DR. PELLIGRINO What are you all doing for Christmas? DEBBIE I do n't know. DR. PELLIGRINO Do you have a tree and everything? DEBBIE Yes. DR. PELLIGRINO Is n't that fun. Get in the spirit - Two nurses enter the exam room. NURSE #1 Hi, sorry I just have one quick question. On your form you said you were born in 1974, but your paper said 1972. I just need to know which it is. DEBBIE Oh. It's 1974. NURSE #2 Because on your last form you said that you were born in 1975. DR. PELLIGRINO Did n't you tell me you were born in 1976? DEBBIE No. That's funny. NURSE #2 So you want to go with 1974? DEBBIE I'm not going to `` go'' with 1974, it is 1974. NURSE #2 Okay. Just remember to write 1974 every time. DR. PELLIGRINO It's okay. It's 1976. DEBBIE I lie about my age, okay? DR. PELLIGRINO Okay. DEBBIE Okay? Okay? Okay?! DR. PELLIGRINO You're tightening up. DEBBIE Oh my gosh. DR. PELLIGRINO I know how old you are. By counting the rings! Little gyno joke.","INT. BEDROOM - LATER Debbie comes in the bedroom. DEBBIE What are you doing? PETE Getting ready to go for my ride. DEBBIE You want a blow job? PETE Yeah. Why? DEBBIE I really want a cigarette right now. PETE Well, happy to help.","INT. HALLWAY - CONTINUOUS Sadie runs down the hallway. SADIE Charlotte, where is my backpack?","INT. OUTSIDE THE BEDROOM - CONTINUOUS Charlotte tries to open the door, it's locked.","INT. BEDROOM - CONTINUOUS Debbie is giving Pete a blow job out of frame. Pete is sitting on a chair, super happy. CHARLOTTE -LRB- O.C. -RRB- Hello? PETE Mom's busy! CHARLOTTE -LRB- O.C. -RRB- Why are you locking the door? Mom!","INT. OUTSIDE THE BEDROOM - CONTINUOUS CHARLOTTE What's going on in there? SADIE Mom, I ca n't be late for school, I have a test! PETE -LRB- O.C. -RRB- Mommy ca n't talk right now!","INT. BEDROOM - CONTINUOUS SADIE -LRB- O.C. -RRB- This is n't funny, Mom. I need to go. CHARLOTTE -LRB- O.C. -RRB- Mom, let me in!","INT. OUTSIDE THE BEDROOM - CONTINUOUS SADIE That's not going to help. Charlotte shoves Sadie. PETE -LRB- O.C. -RRB- Put on your shoes. We'll meet you in the car. The fight between Sadie and Charlotte escalates and becomes physical.","INT. BEDROOM - CONTINUOUS CHARLOTTE -LRB- O.C. -RRB- Sadie hurt me! SADIE -LRB- O.C. -RRB- I did n't! PETE Hit her back! SADIE -LRB- O.C. -RRB- She's faking!","INT. OUTSIDE THE BEDROOM - CONTINUOUS CHARLOTTE -LRB- crying. -RRB- I'm not! PETE -LRB- O.S. -RRB- Go downstairs.","INT. BEDROOM - CONTINUOUS DEBBIE -LRB- shouting to kids. -RRB- Stop crying! PETE -LRB- to kids. -RRB- Stop crying! DEBBIE Stop it! PETE God damn it!","INT. OUTSIDE THE BEDROOM - CONTINUOUS SADIE -LRB- banging on the door. -RRB- Open the door! Open it!","INT. BEDROOM - CONTINUOUS Muffled screams from the girls outside. DEBBIE Forget it. PETE No. Do n't forget it. Do n't forget it. Do n't. Oh, god.","EXT. LARRY'S HOUSE - EL SEGUNDO - DAY Pete walks to the front door. His father, LARRY, greets him. LARRY Hey, Boychik. A low flying 747 lets us know he lives too close to the airport in a small house. LARRY -LRB- CONT'D. -RRB- That's the eleven o'clock from London. -LRB- yells up at the plane. -RRB- Drop something valuable, you shit. -LRB- back to Pete. -RRB- How are you? PETE That's loud. LARRY Every eight minutes, buddy.","INT. LARRY'S HOUSE - DAY Pete sits down and talks with Larry. LARRY You look pretty good. Your hair is different. PETE Yeah, I'm growing it out. LARRY I'd get it cut. TRIPLET #1 Daddy, you never play with me. LARRY I do but right now look who I'm talking to. It's your brother. TRIPLET #1 You do n't look like my brother. LARRY I told you honey, that's because of the egg donor. Remember? TRIPLET #1 I came from a test tube. PETE How's business? LARRY It's not good. Nobody wants curtains. They think of it like a luxury. It's not a luxury. You need shade, you need privacy. Who wants to have other people watch you fuck? PETE I know how you feel. You know my business is going through some growing pains right now. Two other identical children enter and jump on Larry. TRIPLET #2 Daddy come play with us. The kids crawl around on him. LARRY Be careful, do n't jump on Daddy. Remember, Daddy has high blood what? TRIPLETS Blood pressure. LARRY That's right. Can you go outside without me for a little bit? All right? Do the Three Stooges routine you were practicing. The three exit. LARRY -LRB- CONT'D. -RRB- I ca n't tell them apart. I swear to god. I need tattoos. PETE Look, I wanted to talk to you about scaling back a little bit. You know, Deb and I are thinking about selling the house. LARRY I think that house is more than you need. I think it was too big of a purchase when you made it. PETE Yeah. In the meantime, I'm going to have to make some changes. Going to have to cut back. LARRY What do you mean? PETE With you. LARRY Oh. I'm sorry, what? PETE I ca n't lend you any more money. LARRY No, that's a bad idea. That's not the way to cut back. I have three children, here. PETE What about Claire? Why ca n't she get a job? LARRY Claire takes care of your brothers. What do you want her to do? If she goes to work, then I've got to hire somebody. PETE Well you've got to figure something out because I ca n't do it. LARRY Okay, fine. Why do n't we kill them? Come on, we'll kill two of them. I'll keep the best one. Really, it will save us both a lot of trouble. Larry stands up and walks outside. Pete follows.","EXT. LARRY'S BACKYARD - CONTINUOUS Larry prepares to spray the kids with the hose. LARRY Line up! Line up for murder! Come on! Who wants to be killed? TRIPLET #1 I do! LARRY Okay, we're eliminating one, we're cheaper already. Larry sprays him with the hose. TRIPLET #2 Murder me! LARRY Boom, dead. You're dead. TRIPLET #2 I'm dead! LARRY All right, the kids are murdered. That will save us some money. PETE Why would you have three kids, anyway? I mean, you're sixty years old. You have no money. LARRY Because Claire wanted a baby. If we did n't at least try, she would have left me. She was forty - five years old. Nobody thought it would take. The doctor when we were doing in vitro was winking at me like, `` Do n't worry, do n't worry.'' We were very unlucky. And now we have these three beautiful children. Come on, I've got to tell you something.","INT. LARRY'S HOUSE - MOMENTS LATER PETE What? LARRY Your mother wanted you aborted. PETE Oh, Jesus Christ. LARRY It's the truth. It was the seventies. We were twenty - two years old. That's what everybody did. You did some blow, had sex, had an abortion. PETE Really. LARRY Yes. We were on the way to the doctor's office. I said, `` Let's stop, have a pizza, talk about it, if you still want to do it after lunch, it's okay.'' The pizza saved your life. But do n't give me money. Because I'm not worth it. PETE So how much do I owe you for saving my life? LARRY I do n't have a number. You just keep giving like you're giving. Larry's wife, CLAIRE, enters. CLAIRE Oh, hi Pete. -LRB- to Larry. -RRB- Why are n't you playing with kids? LARRY We were playing with them all day. Pete's just talking to me about his fortieth birthday party. Whatever I can do to help. CLAIRE Okay. Did you feed them? LARRY I fed half of one. Okay, let's feed them. Who wants tuna with a side of jet fuel? Larry gets up and walks outside.","INT. RESTAURANT - DAY A nervous Debbie approaches a hostess. DEBBIE Hi, I'm looking for my dad, an older man? Debbie sees OLIVER -LRB- 65 -RRB- sitting stiffly at a table.","INT. RESTAURANT - LATER OLIVER So how's Sony treating Pete? DEBBIE Oh, he's not with Sony anymore. He went out on his own. Now he's able to focus on the artists that he's really passionate about. OLIVER How's Sadie doing? Last time I saw her she was throwing her Cheerios on the floor. What a mess. DEBBIE She just got her period. OLIVER Well. I guess she's not a little baby anymore. DEBBIE It would be nice to see more of each other. OLIVER Well, we can certainly arrange for that. I'd love to see the girls. DEBBIE That would be nice. Do you have a good day? OLIVER I would say the weekends, but our weekends are hell. Soccer competitions, kids exams. I mean, we're both so busy. I have young children, you have young children. I do n't think we should judge ourselves too harshly about that. DEBBIE I know, I was n't. I'm glad we're here. I think this is a good start and that if we can spend more time together, it would be nice. OLIVER It would be nice. -LRB- pause. -RRB- Do you want to see pictures of the kids? Oliver takes out his iPhone and starts showing Debbie photos. OLIVER -LRB- CONT'D. -RRB- This is Kell, my son. DEBBIE He's handsome. He's thirteen? OLIVER Yeah. And that's Alexandra, my daughter, she's a real perfectionist. A lot like you. That's the whole gang at Cabo. -LRB- pause. -RRB- Will you excuse me, dear? I've got to use the restroom. Be right back. He exits. Debbie picks up his iPhone and sadly scrolls through all the happy pictures of his new family.","EXT. HOUSE - LATE AFTERNOON The family's hanging out, relaxing at dinner. DEBBIE Daddy and I are making some changes so that we can be happier and healthier, and we're starting with this meal that I prepared. PETE I think it looks great. DEBBIE Does n't it look good? PETE What is that, grilled cheeses? DEBBIE No, baked tofu. It's actually really tasty. And the lettuce is so fresh and tasty that you forget how good lettuce tastes on its own without dressing. PETE Yeah, dressing always gets in the way of the natural taste of the lettuce. DEBBIE And another thing we've decided is to cut back on all of the electronics we use. What we're going to do is get rid of the wi - fi and only use the computer from eight to eight - thirty at night. SADIE How are we going to go on the computer? DEBBIE We're going to have a hard line in the kitchen. PETE Yeah, we'll supervise that. SADIE You ca n't do this. You ca n't take away the wi - fi. Charlotte holds her iPhone to her face using an app that animates her mouth to look like a talking monkey's. CHARLOTTE -LRB- from behind her iPhone. -RRB- No wi - fi! Ha - ha - ha! DEBBIE You do n't spend enough time with the family when you're constantly on your iPhone and your computer. You're only here five more years. SADIE So you wo n't see me after five years? DEBBIE No, but you wo n't be living with us. And you should get to know your little sister. PETE You've got the perfect friend right here. SADIE I do n't want to be friends with her now. I'll be friends with her when she's twenty and a normal person. CHARLOTTE I do n't want to hang out with her when I'm in my twenties. PETE You're on your computer too much as it is. You need to get outside more. DEBBIE Yeah. You can build things. You can build a fort. SADIE What? DEBBIE Yeah, build a fort. Play with your friends. SADIE Make a fort?! Outside? And do what in the fort? DEBBIE When I was a kid we used to build tree houses and play with sticks. SADIE Nobody plays with sticks. PETE You and Charlotte can have a lemonade stand. DEBBIE Play Kick the Can. PETE Look for dead bodies. DEBBIE It's fun. PETE Get a tire and then take a stick and run down the street with it. SADIE Nobody does that crap. It's 2012. DEBBIE You do n't need technology. Charlotte holds the iPhone monkey app to her lips again. CHARLOTTE No technology! DEBBIE Charlotte, put that down. SADIE I do n't need to be monitored all the time on the computer. I do n't do anything bad. DEBBIE Nobody said you were bad. SADIE I do n't do things I'm not supposed to. I do n't illegally download music. I do n't look at porn like Wendy. DEBBIE She is up to no good. She's not allowed to come over here anymore. CHARLOTTE What's porn? PETE No, she said `` corn.'' DEBBIE This is n't turning out the way I wanted it to. SADIE I'm not hungry. Sadie gets up and stomps off. DEBBIE No computer. PETE Listen to your mom. SADIE I need to use it for my homework. She walks off. PETE She's outplaying us. DEBBIE I know. She's tough.","EXT. PETE AND DEBBIE'S CAR - DAY Pete and Debbie drive down the Pacific Coast Highway. DEBBIE This is the best birthday present. PETE It's good to get away, you know? We have n't been to Laguna without the kids in years.","INT. PETE AND DEBBIE'S CAR - CONTINUOUS DEBBIE I know! PETE If we're happy, they're happy. DEBBIE I mean I ca n't take it. With the hormones, and the crying, and `` do my homework''. PETE Them's little bitches. DEBBIE Them's lil' bitches! Bugging us for shit all the time. And they never appreciate anything. PETE God no. They're selfish assholes. DEBBIE -LRB- laughs. -RRB- Aw, I feel bad. I love them. PETE I know.","EXT. LAGUNA HOTEL - CONTINUOUS The car pulls up to a beautiful hotel in Laguna. DEBBIE I miss them already. Should we go home? PETE Nah. LAGUNA HOTEL - MONTAGE Pete and Debbie hold hands as they walk the hotel grounds. They enter their room, which has a beautiful ocean view. Debbie jumps on the bed. Pete jumps on top to kiss her. Pete and Debbie jump into the hotel pool together. Pete holds Debbie in the water. They kiss.","INT. LAGUNA HOTEL ROOM - NIGHT Pete and Debbie are in bed in their underwear. DEBBIE Why do we fight? PETE I do n't know, it makes no sense at all. DEBBIE It makes no sense. PETE When we get in a fight, look in my eyes. Let's remember this moment right now and know that we never have to fight. DEBBIE But you're such a dick sometimes. PETE I know, I am a dick sometimes. People think I'm so nice, but I'm such a dick. DEBBIE Thank you for admitting that. PETE And you get so mad at me. I feel like you want to kill me. DEBBIE I do want to kill you. PETE How would you do it? DEBBIE I do n't know. poison you. I'd poison your cupcakes that you pretend not to eat everyday. And just put enough in to slowly weaken you. PETE I love it. DEBBIE I would enjoy our last few months together. PETE Me too. DEBBIE Because you'd be so weak and sweet, and I could take care of you but while killing you. PETE See? You know what I love about us? You can still surprise me. I figured for sure you'd knock me out with one fell swoop. But you would extend it over a series of months. DEBBIE Have you ever thought about killing me? PETE Oh, yeah. DEBBIE Really? PETE Sure. DEBBIE How would you do it? PETE Wood chipper. DEBBIE A wood chipper? PETE Did you see Fargo? DEBBIE Yeah. Pete makes a wood chipping splatter noise. DEBBIE -LRB- CONT'D. -RRB- Wow. That's a bad plan. The cupcakes is a way better plan. PETE It is. You know what? I wo n't murder you. DEBBIE Aw. I love you. PETE I love you too. Hey. You know what I brought? DEBBIE What? PETE A medical marijuana cookie. Ben gave it to me last Christmas. DEBBIE What? PETE Chocolate chip koo - kie. DEBBIE Should we do it? PETE Let's eat the cookie, and then we'll order a bunch of cheeseburgers. Let's order the entire room service menu. DEBBIE Just get all of it. You deserve it. You really do. PETE Would n't you rather have me around for less years and I'm incredibly happy than longer and miserable? DEBBIE Yes, and I just realized that right now. Go get the cookie! Pete runs into the bathroom. He looks for the cookie. DEBBIE -LRB- CONT'D. -RRB- Should we watch porn when we eat the cookie? PETE Should we get a block of porn? DEBBIE I do n't think we need twenty - four hours of porn. PETE Yeah, but you know, two porns cost about as much as a block. DEBBIE I think that's too much porn. PETE We do n't have to watch it all, but for the value it makes sense.","INT. HOTEL ROOM - LATER Pete and Debbie eat the cookie. DEBBIE How much are we supposed to eat? PETE I do n't know. I think like six or seven cookies, right? DEBBIE Plus, it's old. It probably has lost some of its - PETE Potency? They sit in silence for an incredibly long amount of time, staring through each other in a haze. They are stoned. DEBBIE We should have sex. More. PETE I mean, girls have it so easy. You just show up with your sexual organs and you're good to go. All the pressure is on the guy. DEBBIE It's true. PETE And I look at guys, like I look at a guy like Prince, and you know that guy fucks. I know I do n't fuck like Prince. Prince can fuck. I fuck more like David Schwimmer. DEBBIE You do. PETE I fuck like Ross from Friends. They're laughing and having a good time.","INT. HOTEL ROOM - LATER MONTAGE Stoned, Pete and Debbie jump up and down on the bed. They fall down on the bed, kissing. Almost totally under the covers, they watch as a WAITER brings in a room service cart full of food. Pete does magic tricks for the waiter. PETE How does he do it? The floating spoon. LATER Debbie hands Pete a banana and two oranges, which he holds to his crotch in front of the waiter. PETE -LRB- CONT'D. -RRB- Check it out. My dick and balls. I'm going to eat my own dick! Pete eats a bite of the banana. PETE -LRB- CONT'D. -RRB- I ate my dick! LATER Debbie crawls on the floor while Pete lays in bed. PETE -LRB- CONT'D. -RRB- I think this room has rodents. I just saw it! LATER Pete stands with a starfish sticking out of his underwear. PETE -LRB- CONT'D. -RRB- Have you seen my starfish? Where did I put my starfish? LATER They eat room service. Chips and desserts and everything. DEBBIE I'm going to deep throat this eclair. She tries to deep throat it. Pete loves it. PETE I want to make out with you so bad.","INT./EXT. CAR - DAY Pete and Debbie drive back from Laguna. They could not look happier or more refreshed. They hold hands and smile at each other. It is a beautiful day. They pull up to their house, shut off the car and sit for a beat, knowing they're about to head back into the stress of the real world, not wanting their peaceful, loving time to end. PETE That was nice. DEBBIE That was nice. Sadie walks outside. Jodi follows her. SADIE Mom! Charlotte's crying. She's got an ear infection again. JODI I did n't know what to do. PETE -LRB- to Debbie. -RRB- We're home.","INT. CHARLOTTE'S ROOM - DAY Charlotte is crying really hard. DEBBIE Are you okay? What's the matter? CHARLOTTE I just want to rip my ear off, it hurts so much. DEBBIE -LRB- to Pete. -RRB- I told you the pediatrician did n't know what he was talking about. PETE Oh, come on. You ca n't blame it on our doctor. Ear infections are common in little kids. DEBBIE Not in kids over six years old. We're going to the Eastern doctor. PETE If she's in this much pain, we should call a real doctor. DEBBIE Are you kidding right now? PETE Okay.","INT. DOCTOR SEDUKU - DAY Charlotte sits on the table. Pete and Debbie are talking to DR. SEDUKU, a foreign doctor. DOCTOR SEDUKU What we should do is easy and simple. No more dairy, no more wheat, no more sugar. DEBBIE Sugar, wheat and dairy. Okay. PETE -LRB- mutters. -RRB- What the fuck is left? Sorry. Is n't everything sugar, wheat and dairy? DOCTOR SEDUKU She can have vegetables and f - r - ruits. Dr. Seduku has both an accent and a lisp. PETE Oh, she can eat fr - r - ruits. DOCTOR SEDUKU Fr - r - ruits, yes. PETE Any kind of fr - r - ruits? DOCTOR SEDUKU Mangos, pineapple. PETE It is n't like there are safe fr - r - ruits and then unsafe fr - r - ruits. DOCTOR SEDUKU No, no. PETE What about F - r - r - rench f - r - r - ries? Can we do something like that? DOCTOR SEDUKU Are you okay? Would you like to come on the table? PETE I'm okay. DEBBIE Why do n't you go on the table? PETE No. DEBBIE Why do n't you go on the table? It looks like you need to get on the table. PETE I do n't want to get on the table.","EXT. BRENTWOOD - DAY Pete cycles with the crew.","INT. HOUSE - DAY - LATER Debbie looks around the house for Pete. DEBBIE Pete!","INT. BEDROOM - DAY Debbie sees Pete on the bed, his legs up in the air. He still has his bike top on but is naked from the waist down. He is trying to look at his back end. He is holding a mirror and an iPhone. DEBBIE What are you doing? PETE I need you to look at something. In my butt. DEBBIE Why? PETE I think I've got something in there, and I'm not limber enough to see. I need you to look at it. I might have like an anal fissure or a hemorrhoid or a worm or something. DEBBIE What are you doing with your phone? PETE Trying to take pictures of it, so I can compare it to something on Google. DEBBIE Can we just keep like a small shred of mystery in our relationship? PETE Look, I saw you have two babies, okay? Seriously, I need you to get all up in that. DEBBIE I do not want to investigate your anus. PETE It's payback time. Pete has his naked legs hiked up over his head. Debbie takes a very quick glance inside. DEBBIE It's a hemorrhoid. PETE Thank you. Now erase that from your memory.","INT. DEBBIE'S STORE - DAY Debbie talks to Jodi while they fold clothes and watch Desi. DEBBIE Where did she get those clothes? Those are expensive. JODI Where do you think? I do n't want this to sound harsh, but everything that comes out of her mouth is a lie. Everything that comes into it is a dick. DEBBIE Everything that goes in is dicks? JODI A dick. DEBBIE Do n't say that. JODI I'm sorry, I'm just being protective of the store. DEBBIE I'm going to go talk to her. Debbie walks over to Desi. DEBBIE -LRB- CONT'D. -RRB- Hey Desi. Is that your new Acura out front? DESI Uh, yeah. DEBBIE It's so nice. Do you love it? DESI Well, I mean, it's not a fucking Porsche, but it'll do for now. DEBBIE Hey Desi, would you mind wearing some of the clothes we have in the store? DESI Yeah, sure. I'm sorry. Desi picks a shirt. DESI -LRB- CONT'D. -RRB- Good? Desi begins to take all her clothes off in front of Debbie. DESI -LRB- CONT'D. -RRB- You know, I actually made this one myself. DEBBIE Did you? DESI Yeah. I did the tiger on a piece of paper separately, and then I transferred it to the t - shirt. DEBBIE Wow. So you stenciled on the tiger? DESI I drew it on a piece of paper, and then I transferred the drawing to the t - shirt. DEBBIE You have an amazing body. DESI Really? DEBBIE Yes. Are those real? DESI My boobs? Yeah. Do you want to touch them? DEBBIE Really? DESI Touch ` em! DEBBIE Okay. Debbie squeezes Desi's breasts. DEBBIE -LRB- CONT'D. -RRB- Wow. Jesus. I mean they really are amazing. That's firm, for real. They're like a memory mattress. Like Tempurpedic, you know? They look amazing. My kids just sucked the meat right out of mine. DESI No. There's some meat in there. DEBBIE Since I had kids, my boobs are just gone. They did n't even say goodbye. They just left. DESI By the time I'm forty, these are going to go National Geographic on me. DEBBIE I feel bad about myself right now.","INT. RECORD LABEL - DAY Pete talks is in his office on the phone with his REALTOR. REALTOR -LRB- O.C. -RRB- I think this is a really good offer on the house. PETE We expected more. I mean, I know it's a bad market but that's still way under what we were looking for. REALTOR -LRB- O.C. -RRB- I know, but based on the market, it's like you're gaining money. Because it's so much more than what you deserve. But these people are from Iran and they do n't really know that they're offering too much. Is there any chance that Debbie will go for it? PETE I doubt it. I do n't know. REALTOR -LRB- O.C. -RRB- There's a lot of inventory out there. What's her problem? PETE She has unrealistic expectations.","EXT. YARD - DAY Sadie and her friend WENDY run around the yard with Charlotte and the triplets.","INT. KITCHEN PANTRY - DAY Larry and Debbie greet the kids when they enter the kitchen. Larry picks up one of the triplets. LARRY Did you miss me Travis? TRIPLET #1 It's Jack! LARRY Hey, Jack. TRIPLET #1 My daddy does n't know my name. CHARLOTTE Can I go show them my crystals before they leave? DEBBIE Yeah, really quick. Charlotte leaves with the triplets. LARRY Go play with your tiny uncles. -LRB- to Debbie. -RRB- So, what are you doing, spring cleaning? DEBBIE I'm getting rid of everything in the house that has gluten or sugar. LARRY Why? What's wrong with gluten? DEBBIE Gluten's really bad for you. LARRY I do n't think so. It's wheat. DEBBIE Do n't you watch Dr. Oz? LARRY As in the Wizard of? SADIE Hey, Mom. We were wondering if we could use the computer to iChat. DEBBIE Remember the rules? Eight to eight - thirty? SADIE Yeah, but I have a friend over. DEBBIE Hi Wendy. Why do n't you guys go play? You could go build a fort! LARRY Remember the Alamo? DEBBIE Have you ever built a fort, Wendy? WENDY Like on Facebook? LARRY I will take this if you're going to throw it away, because at our house, we're wheat eaters. DEBBIE But do n't you want to live long enough to see your kids grow up? LARRY That's up to god, honey. DEBBIE But that's really not good for the kids. LARRY The kids eat grass. This is fine. Larry takes some of the food she's throwing out. SADIE Wendy's mom lets her go on whenever she wants. WENDY My mom's pretty cool about it as long as I finish my homework. DEBBIE Yeah. Well, I guess I'm not the cool one. But the rules are just different in our house. SADIE But I get better grades than Wendy. WENDY She does. She's so smart. LARRY Let me just grab the candy worms. SADIE Your rules are ridiculous. DEBBIE Do n't sass me. SADIE I'm only sassing you because you're throwing out all the food in our house and I'm freaking starving. You're being stupid. DEBBIE Wendy, can you go stand in the other room, please? WENDY Yeah. Wendy exits. SADIE -LRB- whispers. -RRB- Mom. DEBBIE Give me your iPhone now. LARRY The nougat things are good. SADIE I have all my contacts in there. DEBBIE Okay, if you do n't give me your phone right now, then I'm going to have to take away your phone and your computer. SADIE Jesus Christ - DEBBIE That's it. SADIE I need my computer to do homework. DEBBIE No phone, no computer. SADIE This is B.S.. This is a bunch of F - ing S. You're acting like a B. LARRY Kids! Time to go! DEBBIE You go to your room right now. Sadie runs off. DEBBIE -LRB- CONT'D. -RRB- -LRB- calling after her. -RRB- You are not allowed to use iPhone, iPad, iPod Touch, iTunes, Netflix, Pandora, or Spotify! Pete enters from the hallway. He sees Larry and turns around before anyone notices him. LARRY She's a little pip. Just like her mommy. So I might have a job tomorrow, at least I'm going to go try to give an estimate. Do you mind taking the kids for a couple hours? DEBBIE -LRB- conflicted. -RRB- Okay. LARRY This is nice. You and I do n't spend enough time together, do we? DEBBIE We spend enough time together. LARRY We do? DEBBIE It's quality time. LARRY Then we do. I'll go with what you think.","INT. BEDROOM - NIGHT Pete and Debbie are in bed. Pete is reading Sadie's iChats on her confiscated iPad out loud to Debbie. DEBBIE What else did they say? PETE Some kid named Joseph - DEBBIE I know Joseph. PETE You do? He's making a `` Hot or Not'' list. DEBBIE What? PETE So, Sadie said, `` That's so lame and immature that you're doing that.'' And then Joseph says, `` Yo, girl. We're just having some fun so do n't be a bitch, yo.'' DEBBIE That is not nice. PETE So, then Sadie said, `` Do n't call me a bitch.'' And Joseph said, `` I did n't call you a bitch, I said do n't act like a bitch. And by the way you're in the ` Not Hot' column.'' DEBBIE Who made him the judge of hot? PETE Do you realize what that could do to her self - esteem? DEBBIE What a little fuckhead. I'll kill him. PETE So then Sadie said, `` You're in the jackass column. I've got to go. I'm bored of you.'' DEBBIE That is cool. That's taking the high road. PETE For some reason, there's an emoticon of a panda doing push - ups. DEBBIE I wonder what that means. PETE I do n't think it means anything, I think it's just adorable. DEBBIE Aww. She's a good girl. She was polite, and she stood up for herself. PETE That's pretty cool. They hear a door slam. Debbie gasps. PETE -LRB- CONT'D. -RRB- What? DEBBIE Shit. I thought she was coming in. PETE Oh my god, that scared me to death. DEBBIE If she caught us, she would kill us. Debbie starts looking through the iPad. Pete's iPhone chimes. He sees a message from Ronnie from work. It reads : `` Got the numbers. Call me.'' Pete looks ashen. He looks over at Debbie who is oblivious. PETE I've got to make a call.","INT. HOME OFFICE - NIGHT Pete paces. PETE -LRB- whispering loudly. -RRB- We sold how many? RONNIE -LRB- O.C. -RRB- Six hundred and twelve album downloads. PETE Wait a minute. There are no zeros after that? RONNIE -LRB- O.C. -RRB- There are zeros, but all of them are before six hundred and twelve. There are none after. PETE How is that even possible? RONNIE -LRB- O.C. -RRB- Out of three hundred million Americans, six hundred and twelve people chose to download the album. You could personally call everyone who bought this record. PETE We're fucked! Here's the deal. I want you to meet me tomorrow morning at eight o'clock. I want a list of at least thirty ideas of what we can do to change this. We have to change this. I started a record label because I could n't get a job, so I have no other options.","INT. CAR - MORNING Pete is driving. Sadie and Charlotte sing show tunes loudly and happily. Pete is very upset about the record not selling.","INT. ACCOUNTANT'S OFFICE - DAY Debbie is talking to their ACCOUNTANT. DEBBIE What financial problems? ACCOUNTANT Well, for one thing, you were right, you are missing about ten thousand dollars from the store. And then, Pete's record not selling well. DEBBIE I thought we were n't supposed to hear for three weeks? ACCOUNTANT We heard. DEBBIE You heard. ACCOUNTANT And they're bad. You know, it's that, and it's the money that he's been lending to his father, that's creating a strain. DEBBIE How much have we lent him? ACCOUNTANT Eighty thousand. DEBBIE Did you say `` eight thousand'' or `` eighty thousand''? ACCOUNTANT Eighty thousand, over the past couple of years. And then you missed the mortgage payment - DEBBIE On the house? ACCOUNTANT And you missed the rental on the office. DEBBIE Does Pete know that? ACCOUNTANT Oh, yeah. We're on the phone all the time. Look, I know you're going through a hard time, and I want you guys to know that we're here for you, okay? Anything you guys need, that's why we're here. We're here for times like this. DEBBIE What are you going to do? ACCOUNTANT There's not much I can do.","INT. RECORD LABEL - MORNING Pete enters and walks into Ronnie's office. Ronnie is drawing on a blackboard behind his desk. PETE What are you doing? RONNIE I'm drawing the album cover for Van Halen's Diver Down. PETE If you spent a little bit more time focusing on Graham Parker instead of drawing album covers, I would n't be in this predicament. RONNIE I'm focused on Graham Parker. PETE You're supposed to help me with him! You're supposed to call the companies, you're supposed to get people to the show! RONNIE I've done everything I can, Pete. You had me pushing around a corpse. It was like being in fucking Weekend at Graham's. PETE What should we do? I'm out of ideas. RONNIE You fly in The Rumour. I ca n't sell a reunion concert without the band. It's ridiculous. PETE With what? I ca n't afford it. RONNIE You put this on yourself. You wanted the responsibility, take it on the chin, and stop acting like a bitch. PETE What did you call me? RONNIE Chin. Pete walks out of Ronnie's office and into the main office space. Ronnie follows. RONNIE -LRB- CONT'D. -RRB- Pete - wait. I have an apartment, I have health insurance, I have car payments. I have responsibilities. PETE Do n't talk to me about responsibilities. I have a life. I have a family. I ca n't afford to sit in my apartment getting high, jerking off, and then going to Tommy's Chili Burgers at three in the morning. RONNIE That's not even the order that happens in! PETE I have everything to lose here. Everything. RONNIE Yes. Because you spent thousands of dollars on shit we do n't need. You really need to spend thirty thousand dollars on a fucking neon sign, dude? Which is inside? It's not even outside. We know where we work. PETE If you want to sign a band, you have to look like you're the real deal. RONNIE -LRB- to Cat. -RRB- Princess Labia, how much is it to fly The Rumour in? CAT It's twelve thousand. RONNIE Twelve thousand dollars! PETE You know what? Fine. Fly in The Rumour. Put it on my AmEx.","INT. GYNECOLOGIST'S OFFICE - DAY Debbie sits in Dr. Pelligrino's office. DEBBIE No, you said it was impossible. DR. PELLIGRINO I do n't think I said it was impossible. DEBBIE Yeah. DR. PELLIGRINO I usually do n't say impossible. I like to leave some wiggle room. DEBBIE You said that my fibroid was like a giant boulder, like the one from the Indiana Jones movies blocking up my uterus. DR. PELLIGRINO And I need to stop using that reference of Indiana Jones. I think that's not appropriate when talking about the reproductive system. DEBBIE It's okay. DR. PELLIGRINO Anyway, somehow the Eastern medicine has worked and the fibroid has dissipated. DEBBIE That's great. DR. PELLIGRINO Yes. Your fibroid shrunk, and somehow it allowed you to get pregnant. DEBBIE What? DR. PELLIGRINO You're going to have your third baby. Congratulations. DEBBIE No. DR. PELLIGRINO Yes. Debbie does not react. DR. PELLIGRINO -LRB- CONT'D. -RRB- Would you like some water? DEBBIE That's good news. Another baby, at forty. DR. PELLIGRINO Debbie? DEBBIE I am thrilled. And Pete is going to be so happy. DR. PELLIGRINO So, you're okay? DEBBIE What a relief. I can finally relax now, you know? I'm so happy, I really am. It's good. DR. PELLIGRINO Great. Great.","INT. CAR - DAY Debbie drives. We can not tell what she is feeling. Then after a few beats, a joyous smile appears across her face.","INT. RECORD LABEL - PETE'S OFFICE - DAY Pete takes a framed item off of his wall.","EXT. LARRY'S HOUSE - DAY Larry answers the door. Pete is there with a framed drawing made by John Lennon. PETE Hey, why are you in a bathrobe? It's the middle of the afternoon.","INT. LARRY'S HOUSE - CONTINUOUS LARRY I took a late shower. Why are you busting my balls? Look, I'm sorry about the record. You're going through financial shit. This is what I live with. This is a horrible time in human history. What is that? PETE Something that might help both of our situations. Pete hands him the drawing. PETE -LRB- CONT'D. -RRB- This is a drawing by John Lennon. I got it ten years ago for five thousand dollars. I do n't know how much it's worth now. Could be five, could be twenty. LARRY I do n't want this. I do n't even like it. I'm not going to hang it up. PETE It's not for you to hang up. It's for you to sell. That way I can give it to you and you can make some money, and Debbie does n't know that I'm giving you anything. LARRY Well, you're not giving me money. You're giving me a project. I do n't know how to sell this. I'm not an art dealer. PETE Just sell it online. Do some research, make some calls. Or is that too hard to do with your high blood pressure? LARRY All right. Do n't get snippy. Just because you write a great song does n't mean you can draw. PETE It's incredible. John Lennon drew it. LARRY I think it's a Ringo. Do n't beat me up if I get three hundred dollars for it. PETE Do n't take less than sixty - five hundred for that. It's very valuable. It's important to me. I want you to sell it so I can help you. LARRY Okay. PETE I'll see you at my party. LARRY What should I bring? You want wine or something? PETE No. Do n't buy wine with my money and give it to me at my party. LARRY That's mean. PETE I love you. Bye. LARRY All right. Bye. How do I call eBay?","INT. SCHOOL AUDITORIUM - DAY Sadie and a bunch of other kids are building sets for a school play. Sadie talks with a FRIEND. Pete and Debbie are watching from afar, sitting next to each other. Debbie tries to gently break the news. DEBBIE She's so cute. She's so tall. PETE I know. How did that happen? DEBBIE Do you ever wish we had a bigger family? PETE No, never for a second. Never. DEBBIE Never? PETE Never. I love what we have. One? A breeze. Two? Brutal. Three? Put a bullet in my head. Debbie is totally deflated. PETE -LRB- CONT'D. -RRB- I think about that gray - haired pregnant lady from school and I just feel bad for her. And I feel bad for the kid. Can you imagine? All the other little kids, `` Where's your mommy?'' `` Oh, she's the one sitting in that scooter eating a soft cracker.'' Kids do n't want to have old parents. You know, it would also be nice for us to spend some time apart. Kind of rediscover who we are individually. It would be so great to not see you for like a chunk of time so that I could really just miss you. Remember when we used to miss each other?","EXT. SCHOOL - DAY Debbie is walking through the campus upset. She sees a kid and darts over to him. DEBBIE Hey! JOSEPH -LRB- 13 -RRB-, the kid who insulted Sadie on her Facebook, turns and sees Debbie. JOSEPH Yo, sup? DEBBIE I'm Sadie's mom. JOSEPH Sadie? DEBBIE Sadie, the one you chat with on the internet? JOSEPH Nah, man. That ai n't me. DEBBIE Well, it was you, I saw your picture. Did you make a `` Hot'' list and not put Sadie on the `` Hot'' list? JOSEPH She was not on my list, no. DEBBIE You know what I'm going to do? I'm going to make my own `` Hot'' list, and you know what? You're on the `` Not Hot'' list. How does that feel? JOSEPH It does n't bother me. I'm comfortable with the way I am. She gets even quieter, scarier and more in his face. DEBBIE Maybe you should n't be so comfortable with yourself. You know why? You look like a miniature Tom Petty. How's that feel? Huh? You think that haircut's cool? It's not. It looks like you put your Justin Bieber wig on backwards. You still comfortable with yourself? Why are you wearing a tank top? Huh? So you can show off your bald pits, you little hairless wonder? Cool tank top, man. So next time you think about writing something nasty on my daughter's Facebook page, just remember me. Remember me. I will come down here, and I will fuck you up. Joseph looks upset. JOSEPH Okay, I'm sorry. DEBBIE Wait a minute. Hey. Are you crying? JOSEPH Just let me go. DEBBIE I'm sorry. I'm not in my right head. JOSEPH I understand. My mom is going through menopause, too. It's a hard time. DEBBIE What did you say? JOSEPH You're going through menopause? DEBBIE I'm not going through menopause! I'm not going to go through menopause for twenty years. I'm pregnant you little bitch. God damn it! She storms off.","INT. MASTER BEDROOM - BATHROOM - NIGHT Debbie pulls open the door, Pete is on the toilet playing on his iPad. DEBBIE I'm going out to coffee with Desi to find out if she's stealing from us. PETE I've got the Graham Parker concert. Who's gon na watch the kids? DEBBIE I do n't know. Figure it out. Debbie exits. Pete flips her off after she's gone.","INT. BAR - NIGHT Debbie and Desi are talking as they walk down the stairs into a loud club. DEBBIE I just wanted to talk. Maybe we could go to a coffee house or something? DESI You want coffee? This place has coffee. They have all kinds of drinks.","INT. BAR - NIGHT Debbie and Desi talk to a group of young men, PROFESSIONAL HOCKEY PLAYERS. DESI What sport do you guys play? HOCKEY PLAYER We play hockey. DESI Oh, I like hockey. DEBBIE Who do you guys play for? HOCKEY PLAYER We play for the Philadelphia Flyers. DEBBIE You guys are all from Philadelphia? HOCKEY PLAYER No, actually none of us are. DESI Do you guys still have all of your teeth? HOCKEY PLAYER #2 Well, I've got all my teeth, except for these ones. He takes a plate of his teeth out. HOCKEY PLAYER #2 -LRB- CONT'D. -RRB- Want to try them on? Desi takes them and tries to put them in her mouth. Everyone laughs. DESI Do I look sexy? Desi looks insane. She tries to kiss Debbie. Everyone is laughing. HOCKEY PLAYER #3 They definitely look way better on her than they do on you. She hands the teeth back to their owner. He pops them back in and everyone cheers. DEBBIE So, should we go to the quiet area? HOCKEY PLAYERS No, no. HOCKEY PLAYER #4 Where are you going? DEBBIE We kind of have to have a little business meeting tonight. HOCKEY PLAYER Business meeting? You have to celebrate with us. We won tonight. DESI I want to party with these winners, come on Deb. HOCKEY PLAYER #4 Come dance with us. DEBBIE -LRB- thinks about it. -RRB- Okay. Let's fucking dance! Yeah!","INT. NIGHTCLUB - NIGHT - CONTINUOUS Pete on stage in a half - filled nightclub. PETE Thank you so much for coming, this is so exciting! For the first time in over thirty years, Graham Parker and The Rumour. Pete watches Graham Parker perform with his band. The song is amazing. It is about issues Pete is going through, and he is really connecting. PETE -LRB- CONT'D. -RRB- -LRB- to Ronnie. -RRB- Where are his fans? Where are they? RONNIE It's hard to watch a band when you know all of them remember D - Day. PETE What's press turnout like? RONNIE Are you serious? Nobody came. PETE Nobody is here? RONNIE Oh, the guy from Green Day is here. BILLIE JOE ARMSTRONG sits nearby, watching the show. PETE Yeah, Billie Joe, I emailed him. He's a fan. RONNIE You've got to get a photo of the two of them. PETE No, he says he does n't want to do any press, he's just watching the show. RONNIE Oh, how punk rock of him. `` I do n't like photographs.'' -LRB- to Billie Joe. -RRB- Grow up, Green Day! BILLIE JOE Shut up, Tom Selleck.","INT. NIGHTCLUB - NIGHT Desi and Debbie dance with the hockey players to a Nikki Minaj song. Debbie lets loose, she's having the time of her life.","INT. NIGHTCLUB - MOMENTS LATER Debbie is talking to a hockey player named JAY who is twenty - four and cute. JAY I would n't call them classically good dance moves, but you left it all out there. You're a blast to dance with. DEBBIE Thank you. JAY We're having a little shindig at the hotel after this, you should come by and hang out. DEBBIE You want me to come to the hotel? JAY Yes. I want you to come by the hotel with me. DEBBIE Well, what would we do there? JAY Maybe we can find somewhere quiet, have fun, and see where it goes. Like adults do sometimes. DEBBIE Like, sex? JAY I mean, if you want. If that's on the docket. I'm not trying to force that. DEBBIE So you would do sex with me? JAY Do sex? What are you, Borat? DEBBIE Are you hitting on me? JAY Yes. I'm hitting on you. You're hot and cool and nice and you have beautiful eyes. DEBBIE I'm sorry. I'm married, I have two kids, and I'm pregnant. JAY That is what we call the `` hat trick.'' Wow. DEBBIE I'm sorry I did n't tell you. I'm just really enjoying you being so nice to me. JAY I hope this does n't come off as super cheesy, but I think you're a very rare find. DEBBIE Thank you. JAY And I would totally do sex with you. They laugh.","INT. NIGHTCLUB - LATER Graham is packing up to go. Pete approaches him. PETE -LRB- to the band. -RRB- That was spectacular guys, really well done. -LRB- to Graham. -RRB- Hey, Graham. GRAHAM Pete! How are you, man? PETE Well, the first numbers came in. GRAHAM Happy? How's it looking? PETE About half of your last record. GRAHAM Ah, so you were expecting it to sell. They never sell anymore. They used to sell. But now they do n't. I'm not a sexy sixteen - year - old girl. PETE But I wanted to sell it. It's such a good record. I feel like I let you down. GRAHAM No, I'm going to be fine. My overheads are so low. I just got a song in Glee. Guy in the wheelchair is going to sing it to the Asian girl, I believe. I do n't know, I've never seen the show, but that's what I'm told. Secret is, make sure you have a small nut. That's the key to life. PETE Graham, I do n't have small nuts, all right? I have big nuts. And I need to provide for them. Billie Joe comes over to congratulate Graham. BILLIE JOE Graham, hey, what's up? GRAHAM Billie! BILLIE JOE How you doing, man? Great show. I'm inspired. I want to write a song right now. GRAHAM Inspired, huh? That inspires me. BILLIE JOE Let's go get a drink. GRAHAM Let's get a drink. BILLIE JOE -LRB- to Pete. -RRB- You coming? PETE No. I'm fine. You guys go. Congratulations on Glee. They walk away. BILLIE JOE You got a song on Glee? That's killer, man. That's so much money, that's good for all of us.","INT. CAR - NIGHT Pete sits in the car crying.","INT. CAR - NIGHT Debbie is dropping Desi off at her apartment. DEBBIE Why did you put that guy's teeth in your mouth? That's so gross. He was dirty. DESI No, he was wearing a tie. DEBBIE That's true. DESI When I kissed him, I felt his little tiny teeth nubs with my tongue. DEBBIE You did? DESI It was like kissing a baby. French kissing a baby. DEBBIE Can I ask you something stupid? Do you know why we're missing money at the store? DESI Are you guys missing money? DEBBIE Like twelve thousand dollars. DESI Wait. Do you think I took it? DEBBIE Well, no. I did, but now I do n't. DESI It's not me. DEBBIE Then, why do you live in such a nice apartment and have such a fancy car? DESI Yes, you're right. Look. I. am an escort. I get paid to go out on dates. Debbie looks shocked. DESI -LRB- CONT'D. -RRB- But only three to five times a year. Ten times max. But it's not technically `` prostitution'' because I do n't have to sleep with them. DEBBIE Well, that's good. DESI But I always do. That's why I only do it four to eight times a year, fifteen times max. DEBBIE Huh. DESI One year I did it twenty. DEBBIE As long as you think it's safe. DESI It's safe. I only do it ten to thirty times a year. DEBBIE So, who do you think is stealing money? DESI It's Jodi. DEBBIE No. DESI Yeah. She's a pilled - out whore. DEBBIE Since you told me, I want to tell you something. DESI You're pregnant. DEBBIE How did you know? Desi nods. DEBBIE -LRB- CONT'D. -RRB- Wow. Maybe you should tell Pete. DESI You did n't tell Pete yet? Why not? DEBBIE I do n't know. I just want him to want me. I do n't want him to want me because I'm pregnant. DESI Go home and suck his dick and tell him then and he will love it. DEBBIE You think? DESI He'll be so excited. Or even better yet, you should tell him while you're sucking his dick. -LRB- mimes a blow job. -RRB- `` I'm pregnant.''","INT. BEDROOM - NEXT MORNING Pete on his iPad laying in bed. Debbie comes in to talk. DEBBIE What are you doing? PETE I'm returning some emails. DEBBIE What time do you have to go to work? PETE Like ten minutes ago. DEBBIE Want to be late? Debbie's shirt is unbuttoned and she is topless. PETE -LRB- not looking up. -RRB- No, I ca n't be late. Not today. Pause. DEBBIE Do you see me? Standing here in front of you? Half - naked? PETE Yeah. DEBBIE And does that make you feel anything? PETE Come on. Are you trying to start a fight? DEBBIE No, I'm not trying to start a fight with you. I'm trying to fuck you! PETE Oh god, you know what? Today of all days you need to give me a break, all right? DEBBIE Whatever. She exits into the bathroom. There's silence. PETE I did n't realize it was intentional! I did n't say anything because I did n't want you to be embarrassed. I thought I was being gallant. No response. PETE -LRB- CONT'D. -RRB- All right, fine, I'm an asshole. Debbie returns, dressed. DEBBIE You know what your problem is? You're never in the moment, you're never present. You're never in your body. PETE That's not true. I am in the moment. You know how I know? I want to get the fuck out of the moment. I swear, I ca n't win with you. Pete walks out of the room. Debbie follows. DEBBIE You ca n't just walk away.","INT. PETE'S OFFICE - CONTINUOUS DEBBIE How's the record company going, Pete? PETE What? Not great. I'm still waiting for numbers to come in. DEBBIE What have you heard? PETE A couple numbers have trickled in. It's lower than we expected. DEBBIE Then why are you giving Larry money? PETE What? DEBBIE I know everything. I talked to the accountant. PETE All right, you know what? I do n't want to get into some nasty fight. So can we please talk to each other like the therapist told us to talk to each other? DEBBIE Fine. It makes me feel sad when you are dishonest. PETE I understand it makes you feel bad when I am dishonest with you. It hurts my feelings when you treat me with contempt and corner me and try and trick me into lying. DEBBIE Okay. It makes me sad when it's so easy to trick you into lying because you're such a lying shitbag. PETE You ca n't do that. The therapist said you're not allowed to judge me. DEBBIE That's not a judgment. That's just a fact. PETE Fair enough. Sometimes I withhold truth, that is true. But it's only because I'm scared to death of your crazy - assed illogical overreactions. DEBBIE Well, it hurts me inside and triggers me that you're such a dishonest shit that you're lending your father money without telling me, while your record company is going bankrupt and we're on the verge of losing our fucking house!","INT. CHARLOTTE'S ROOM - CONTINUOUS Charlotte plays piano in her room alone. Through the wall, she can hear Debbie and Pete fighting.","INT. BEDROOM - CONTINUOUS DEBBIE What else are you lying about? PETE I've taken Viagra for two years. I ate six muffins downstairs a while ago and my cholesterol level is 305. My heart could explode at any second. These might be my very last words. And I gave Charlotte antibiotics when you were n't looking. That's why her ear got better. So, go fuck your witch doctor. DEBBIE What are we even doing? This is not making me happy. You're not happy. You do n't like me. I can feel that. I'm not blind. Jesus. We're like business associates. We're like brother and sister. There's no passion there. PETE We're not like brother and sister. You know what we're like? We're like Simon and Garfunkel, and somehow you turned me into Garfunkel. DEBBIE I do n't even know what that means. PETE Art Garfunkel. DEBBIE What's wrong with Art Garfunkel? He has a beautiful voice. PETE He's got an amazing voice. He could put a harmony to anything, but what I'm saying is that you turned me into him. DEBBIE What the hell are you talking about? PETE Simon controls him. DEBBIE That's because Simon writes the fucking songs! He's the better one. PETE You know what? I see the way you look at our kids. You have so much love and compassion for them. You never look at me like that. Ever. DEBBIE Would we even still be together if I did n't get pregnant fourteen years ago? PETE I'm not going to go down that road. DEBBIE Would we? Pete does n't say anything. DEBBIE -LRB- CONT'D. -RRB- Okay. Debbie starts walking away. DEBBIE -LRB- CONT'D. -RRB- You know what? I do n't even want to have a party here. You need to cancel it. PETE No, I'm not. I already paid for the catering, I put down deposits, and I ` m not going to call everybody back in two days when change your mind.","INT. BEDROOM - NIGHT They all are laying in bed watching Spongebob Squarepants. It is tense. Charlotte is licking her fingers. SADIE Can you please stop licking your fingers? Charlotte does it more. SADIE -LRB- CONT'D. -RRB- Do you know how many germs are on your hands? And you're putting them into your mouth. It's gross. Stop. Charlotte pokes Sadie with her wet fingers. SADIE -LRB- CONT'D. -RRB- I'm going to kill you! PETE Hey! Sadie, enough! She is n't hurting anyone. If you want to say something, keep your mouth shut. DEBBIE You have never been nice to her and now she's getting aggressive with you. I told you this would happen. Sadie leaves and slams her door. CHARLOTTE I'm sick of everybody fighting. Charlotte leaves.","INT. CHARLOTTE'S ROOM - NIGHT - LATER Charlotte writes a note at her desk.","INT. HALLWAY/SADIE'S ROOM - NIGHT Charlotte walks by Sadie's room. She puts the note up on the door. It reads, `` I'm sorry you think I'm gross. You are right. Love, Charlotte.''","INT. HOME OFFICE - NIGHT Pete sits alone, listening to music.","INT. LIVING ROOM - NIGHT Sadie sits alone watching Lost on an iPad.","INT. CHARLOTTE'S ROOM - NIGHT - LATER Debbie rests next to Charlotte in bed. DEBBIE What do you think you're going to be like when you grow up? CHARLOTTE I do n't know. DEBBIE Do you think you want kids? CHARLOTTE Just one. DEBBIE Just one? Why? CHARLOTTE Because if I have two then the one will fight with the other one. DEBBIE Does it make you sad when you fight? CHARLOTTE I do n't want anyone to fight. DEBBIE I love you.","INT. FAMILY ROOM - MORNING Pete is sleeping on the couch.","INT. KITCHEN - MORNING Pete sits at the counter. Debbie and the kids are at the breakfast table. CHARLOTTE Why is n't anybody talking? Why is it so quiet? PETE It's the sounds of silence.","INT. CAR - DAY Pete is driving Sadie and Charlotte to school. On the stereo is `` Paradise by the Dashboard Light'' by Meatloaf. Pete is eating an egg sandwich and manically singing along. PETE -LRB- singing. -RRB- I do n't think that I can really survive. I'm praying for the end of time, it's all that I can do. Praying for the end of time, so I can end my time with you. SADIE Stop, Dad. PETE It was long ago and it was far away, it was so much better than it is today. CHARLOTTE How many of those are you going to eat? PETE As many as I want. CHARLOTTE I'm going to tell Mom on you. PETE Try it. See what you get for Christmas. Nothing. Snitches wind up in ditches. Remember that.","EXT. SCHOOL - DAY Pete walks Charlotte in. He gives her a kiss then walks back towards his car. On the way he bumps into Joseph and his mom, CATHERINE. CATHERINE Peter! PETE Hey. CATHERINE Catherine. I'm Joseph's mother. PETE -LRB- pleasantly lying. -RRB- Oh, right. No, I know. Hi, Catherine. CATHERINE Our kids have gone to school together for eight years. PETE Sorry. -LRB- to Joseph. -RRB- Hello, Joseph. -LRB- to Catherine. -RRB- I hear our kids have been chatting online. CATHERINE Yeah? I heard that your wife has been screaming at my son and I do n't appreciate it. PETE Excuse me? CATHERINE She screamed at my son. -LRB- to Joseph. -RRB- Right? She threatened you? -LRB- to Pete. -RRB- She cursed at him. He's thirteen years old for god's sake. What the hell is the matter with her? You better check her meds and get them right. Pete thinks for a moment, not sure how to handle this. PETE Okay, why do n't you back the fuck off, because that's my lovely, sweet wife you're talking about. CATHERINE Oh, I need to back off? PETE Yeah, you need to back off because your kid is an animal. Why do n't you put him on a leash? CATHERINE -LRB- to Joseph. -RRB- Turn around! PETE If he insults my daughter again, I'm going to hit him with my car. Got it? In fact, if you insult my wife again, you know what I'm going to do? I'm going to show up at your house when you're sleeping, and I'll take your iPad and your iPod or your iMac and I'll shove them up your fucking iCunt. I've got nothing to lose. Your kid is the problem. My kid is a fucking angel. I do n't have time for this shit. So I'm keeping it together. But if I was n't at school right now. He pokes her shoulder. CATHERINE Do n't touch me. PETE I did n't touch you. CATHERINE You touched my upper breast! PETE I did n't. I got right below your shoulder. CATHERINE You got right here. -LRB- to Joseph. -RRB- He hit my nipple! JOSEPH You what? PETE You're insane. CATHERINE Why would you do that? JOSEPH Did you just touch my mom's nipple? CATHERINE He just touched my nipple! Why would you do that? PETE I poked you on the shoulder. CATHERINE I have very high nipples. PETE I touched your shirt. CATHERINE What do you think is under my shirt? My breasts are under my shirt. -LRB- to Joseph. -RRB- He just touched my breast. PETE Your shoulder, your shoulder. CATHERINE That's a funny place to put a shoulder. My boob! PETE Hello! There are children around. CATHERINE This is n't over. You're going to be sorry. -LRB- to Joseph. -RRB- Let's go!","INT. COFFEE BEAN AND TEA LEAF - DAY Debbie is talking to Jodi, who is crying. JODI Why the fuck would you believe Desi? DEBBIE You just admitted it. JODI Did I? DEBBIE You stole twelve thousand dollars from me, Jodi, and I need you to pay me back. JODI Can you at least give me a referral? DEBBIE You babysat my kids while you were on Oxycontin. JODI Oxycotton. DEBBIE Oxyconton? JODI Oxykitten. DEBBIE What's oxykitten? JODI Meow. DEBBIE Jodi. You put me in danger. Me and my family. JODI It was a cry for help. Help. -LRB- getting weirder. -RRB- Help. Why do n't you help me? Just help. Help. Why do n't you help me? DEBBIE Are you high right now? JODI -LRB- weirder. -RRB- Help me. Debbie's phone buzzes. JODI -LRB- CONT'D. -RRB- Is that about me? Is that the cops? Is this a set - up? DEBBIE I need to go. JODI Okay, see you later. -LRB- creepily. -RRB- Fuck you, Debbie. Fuck. You.","INT. VICE PRINCIPAL'S OFFICE - DAY Pete and Debbie are sitting across from VICE PRINCIPAL LAVIANI. In another seat is Joseph's mother, Catherine. MS. LAVIANI Joseph was very upset when I spoke to him about this, so I thought it was important that we join together and work this through. PETE Absolutely. CATHERINE We're going to work through it, but Debbie told my son that he looked like Tom Petty, in a negative way - PETE Who's Tom Petty? CATHERINE You know who Tom Petty is. And she said that if she had to come back, that she was going to `` F up his pussy ass.'' Which is what she said. DEBBIE Are you serious? I did n't. I would never. To a child? Your son has been defiling my daughter's Facebook page now for months. CATHERINE These people are liars. He said that my son was an animal and that if I did n't keep him on a leash that he would hit him with his car. MS. LAVIANI Did you say that? PETE That's ridiculous. Who talks like that? CATHERINE You do. Debbie tries to hide a smile. DEBBIE He did n't say that. CATHERINE He said it. To me. PETE What I said was that we need to keep an extra eye on our kids because with all the technological advances, they need to learn to use them responsibly. CATHERINE No. He called me an `` iCunt.'' PETE A what? MS. LAVIANI Language, Catherine! CATHERINE How am I going to relay what these two nutballs said to me unless I say it. MS. LAVIANI Can you please not talk like that, Catherine? Music Man is rehearsing next door. CATHERINE Sorry, fucking Music Man. Maybe if I looked more like this fake bullshit couple, looks like they're in a bank commercial. That's what you look like. Like a bullshit bank commercial couple. MS. LAVIANI None of this talk is productive. CATHERINE I'd like to rear up and jackknife my legs and kick you both in the jaw with my foot bone. DEBBIE You're just really scaring me. CATHERINE This is what happens when you corner a rat. You corner me, I will chew through you. MS. LAVIANI Catherine, you're better than this. CATHERINE Fuck you, Jill. You're a horrible woman. This is why everybody hates you. This kind of shit. Ineffective. Bullshit hair. And I'm glad your husband died. Because you're a fucking asshole. He probably killed himself. MS. LAVIANI Okay, Catherine. I think we know what's happening now. DEBBIE Now you know what we're dealing with.","EXT. PARKING LOT - DAY Pete and Debbie leave the school together, surpressing smiles. They get in separate cars and drive off.","INT. KITCHEN - NIGHT Debbie is making dinner. Pete and Charlotte sit at the table. CHARLOTTE I'm not going to eat that chicken. DEBBIE Why not? CHARLOTTE Because I feel like I'm going to be a vegetarian. DEBBIE Can you become a vegetarian tomorrow? CHARLOTTE No. Sadie storms in. SADIE You guys have been reading my texts? PETE No, we have n't. DEBBIE Yes, we have. We're supposed to keep an eye on you. PETE How did you find out? SADIE Joseph told me that you flipped out on him and his mom and that you guys are nuts, and I agree. PETE Do n't be disrespectful. SADIE You're the ones who are disrespectful. Reading my texts is like reading my diary. DEBBIE You were really sweet on your iChat. We were really proud of you. PETE Yeah, we were going to give you your computer and phone back. SADIE Fuck you! PETE Okay, there's the first official `` Fuck you.'' DEBBIE That is not how we talk to each other in this house. SADIE You guys talk to each other like that all the time! And to Joseph and his mom. You made Joseph cry. CHARLOTTE Joseph has a crush on you. You like a boy who cries. SADIE Shut up, Charlotte. You guys so desperately want me to be perfect and to make no mistakes. Well, you two are fucking insane. DEBBIE Okay. SADIE All you do is fight. Or you do n't fight, which is even worse because it looks like you hate each other for weeks. You obsess over every little thing I do, and you do n't trust in me or believe in me. Well, I'm fucking sick of it! Yeah, I said `` fuck.'' Fuck fuck fuck. Ground me forever I do n't care. I do n't care about anything. -LRB- crying hard. -RRB- I hate everything, everyone's going crazy, I do n't care if I have no friends. DEBBIE Are you still upset about Lost? SADIE Of course I'm upset about Lost! You guys took away my shit before I could watch the last two episodes! I do n't know what the fuck happens! She walks off. DEBBIE She's becoming just like us. CHARLOTTE I hope I never get my period if this is what happens.","INT. SADIE'S ROOM - NIGHT Sadie does her homework on her bed. Charlotte brings in Sadie's electronics and puts them down in a pile beside her. SADIE Where did you find these? CHARLOTTE I stole them. Charlotte walks away and starts to slide the door closed behind her. SADIE Thank you. CHARLOTTE No big deal.","INT. LIVING ROOM - NIGHT Debbie is sitting on the couch. Pete paces around the room. PETE Our kids are crazy. And it's our fault. DEBBIE Do you think there's anything we can do to turn it around? PETE Sadie's thirteen. She might be a lost cause. DEBBIE Where did she learn that kind of language? We do n't talk like that. PETE I have no fucking idea. Do you think Sadie is this crazy because of us? Or is it hormones and Lost. DEBBIE J.J. Abrams. He's ruining our daughter. That fucking geek. PETE I feel bad for us. DEBBIE All of a sudden we're like a magnet for negativity. Why do people keep attacking us? What did we do? We're just doing our best. PETE Should we talk about our fight? DEBBIE I think we're under enough pressure. Let's just let it go this time. PETE Yeah. DEBBIE We can give each other a break. PETE Great. Thank you. And I'm sorry about my dad. You're right. I'm sorry that he's just an endless mooch. -LRB- beat. -RRB- The truth is, this is n't about us. It's about our parents. DEBBIE We're not even mad at each other. We're mad at them. PETE Exactly. DEBBIE Let's just take away our parents' power by loving them. PETE Can we do that? DEBBIE Yes. PETE Thank god. DEBBIE I kind of feel better already, do you? PETE I do. DEBBIE I love you. PETE I love you too. DEBBIE It's not us, it's them. PETE Totally. They hug.","INT. SADIE'S ROOM - MORNING The shades are closed and the room is dark. Sadie watches the end of the last episode of Lost on a laptop. Pete enters. PETE What are you doing? We need to get ready for the party. SADIE -LRB- devastated. -RRB- I just finished the last episode of Lost. PETE We do n't have time for this right now. We have a lot of people coming over - SADIE -LRB- losing it. -RRB- They're all dead. PETE What? SADIE Jack, Kate, Sawyer. PETE I do n't care about the show right now - SADIE Jin, Sun. PETE Okay? I need you to just get in the shower. Get dressed. Let's just put it on hold. SADIE Walt, Juliet. All those people. PETE Do n't think about Lost today. Tomorrow : Lost. All day. I ca n't wait to hear about it. Jack? No way. Really? Right now, shower. SADIE I do n't make fun of your stupid Mad Men. PETE First of all, I do n't get worked up over Mad Men. SADIE That's because Mad Men sucks. PETE What Don Draper has gone through beats whatever Jack is running from on some island. SADIE A bunch of people smoking in an office, it's stupid. PETE You're getting me off topic. Please get dressed.","EXT. HOUSE - DAY Debbie is speaking with Barb as they set up the kitchen for a barbecue for Pete's fortieth birthday. DEBBIE I am so glad you're here. I need a buffer in case it gets weird. BARB Well, I'm ready to buff. DEBBIE Here, grab these napkins.","INT./EXT. HOUSE - DAY Desi jumps in the pool in a small bikini. She is playing in the water with the kids. ANGLE ON BARRY AND PETE BARRY So that's the girl who works for you. PETE Yeah, that's her. BARRY Seems nice. My wife would never let me have a hot employee like that. Everyone that works for us looks like they've been in some kind of horrible accident. Angle on Barb and Debbie. BARB You're comfortable with that around your husband? DEBBIE Pete would n't know what to do with that. Angle on Barry and Pete. BARRY You think our wives are looking at us right now? PETE Oh, definitely. Angle on Barb and Debbie. DEBBIE They look like pedophiles. Barry and Pete turn toward their wives, smile and wave.","INT. KITCHEN - LATER Pete greets guests, including Graham and Grandma Molly.","EXT. BACKYARD - LATER Pete and Ronnie are talking in the backyard. DEBBIE -LRB- O.C. -RRB- Hey, Pete! Debbie walks over with Jason. DEBBIE -LRB- CONT'D. -RRB- Jason's here. JASON Peter, hi. PETE Hey, how's it going? JASON Great, you look well. How do you like what I've been doing to your girl? How do you like Debbie's after body? RONNIE It's nice. JASON Come on, show ` em. Look at this. -LRB- points to her ass. -RRB- It's beautiful. Look at that after - ass. Now it starts here, but it used to start here. And I brought it up. You're welcome. RONNIE Are you a trainer? JASON Yes, well, but not just physical. Spiritual. I'm sort of a guide. PETE You guys should talk. I think you'll get along. Come here, honey, I have to tell you something. They leave Ronnie and Jason alone. The guys spot Desi swimming in the pool. JASON Who's that in the pool? RONNIE Mine.","INT./EXT. FRONT DOOR - DAY Debbie and Pete open the front door. Standing there is Oliver. He gives a nervous smile. Debbie looks at him and tries to be nice, but we feel her effort. DEBBIE Hello. OLIVER Hello, Debbie. She opens the door wider. They do not hug. DEBBIE Remember my husband, Pete? OLIVER Oh, yes. I did n't recognize you with the long hair. PETE -LRB- people pleasing. -RRB- I've been growing it. OLIVER Happy birthday. He hands him a bottle. PETE Thank you so much. OLIVER Very old scotch. PETE Oh, wow. You know, I hope it has n't expired. OLIVER No, scotch does n't expire. It improves with age. PETE No, I know. Thank you so much.","EXT. BACKYARD - DAY The party is in full swing. Pete, Debbie, Oliver, Barry and Barb are getting food from the buffet. Barb and Barry are trying to help keep the conversation going. BARRY What do you do in Chino, Oliver? OLIVER I am a surgeon. BARB Wow, what kind? OLIVER Mainly of the spine. My specialty is scoliosis surgery. BARRY My mom used to talk to me like I had scoliosis because I'm a little hunchy, but that's a different thing. OLIVER Well, you definitely do n't look right. Larry arrives, with Claire and the triplets. Claire is holding two of them, while Larry carries one. The triplets now have very different HAIRCUTS so he can tell them apart. One has a faux hawk, one has bangs, and one has a buzz cut. LARRY Hello everyone! I'm sorry we're late. I was in the lab cloning myself. We're going to have another seven more tomorrow. Look, we cut their hair different so we can finally tell who they are. Larry lifts one of the triplets up and down by the arms, simulating an elevator. LARRY -LRB- CONT'D. -RRB- You like the new haircut, Travis? TRIPLET #1 I'm Jack, damn it. LARRY Of course you are. Larry puts Jack down and he runs off. DEBBIE Larry, this is my father. LARRY Really? How are you? OLIVER Oliver. LARRY Oliver. `` Can I have some more? Please, Oliver, I need a little morsel.'' I love that movie. You must get that all the time. OLIVER Not really. CLAIRE I'm Claire, Larry's wife. Very good to see you, but excuse me, I'm going to go get the kids. Claire runs off. LARRY We wo n't see her now for the whole day. I'd help honey, but I've got the blood pressure, and I do n't want to. PETE Dad, you want a drink? LARRY Yeah, a little white wine. PETE White wine? Okay, heavy stuff. LARRY So, who knew that Debbie had a dad! Where have you been for fifteen years? Never seen you at Hanukkah, Christmas, Ramadan, nothing. How do you get out of all that stuff? Do you have a wife? OLIVER My wife is at home. DEBBIE Why did n't she come? OLIVER Construction. They're sanding our deck. LARRY You let the woman sand the deck? OLIVER She supervises it, yes. Sadie, Charlotte and Desi walk over. DEBBIE Hey guys. LARRY Look how big the kids are. Sadie! He gives Desi a hug. DESI Hi, Larry. LARRY -LRB- to Sadie. -RRB- Hi, Sadie. SADIE Mom. Who is Oliver? DEBBIE What do you mean? CHARLOTTE Is he your dad? DEBBIE He is my biological father. CHARLOTTE What does that mean? DEBBIE He and my mom had a baby and that was me. SADIE Oh, so you're our grandpa. OLIVER Why do n't you ask your mother? DEBBIE Yes, well, that would make him your grandpa. Do you want him to be? CHARLOTTE Yes. Then we get another grandpa. Come on! Oliver gets up. Charlotte, Sadie and Desi run off. Oliver follows. LARRY That was deeply uncomfortable. Thank god the pretty girl was here to divert our attention.","EXT. POOL - DAY Desi is gracefully swimming under water. She looks gorgeous. She sees Jason and Ronnie under water, but they look grotesque, red - faced and awkward. They both reach for each other and come to the surface. JASON Oh, hi. I did not see you there. RONNIE I saw you there. DESI Did you guys come together? Are you a couple? RONNIE / JASON No, we did n't come together. Absolutely not. DESI Sorry, the mustache is a little - JASON That's fair. DESI I just assumed. RONNIE This is a straight man mustache. DESI What is the different between a gay man's mustache and a straight man's mustache? Pause. JASON The smell. DESI Excuse me. Desi swims away.","EXT. BACKYARD - LATER Larry is talking to Oliver. LARRY So, spinal surgery just seems to me to be at the top of the surgery chain. OLIVER Well, we're not cardio, we're not neuro, but I like to think we're an important part of the spectrum. LARRY Do you operate every single day? OLIVER Most days. LARRY Multiple times a day? OLIVER Three, four times. LARRY So what's the price range? Like if I wanted - OLIVER Oh, I'd rather not say. LARRY It's so big you're embarrassed to say. OLIVER I would n't say embarrassed. LARRY Are there hunchbacks today? OLIVER Of course. LARRY I've never seen one. OLIVER Well, that's because there are spinal surgeons. LARRY That's because of you. Each time I do n't see a hunchback, you're getting that much richer. Oliver smiles, amused. LARRY -LRB- CONT'D. -RRB- You like The Beatles, do n't you? OLIVER Who does n't like The Beatles? LARRY Nobody.","EXT. POOLSIDE - DAY Jason and Ronnie are talking to Desi. DESI So what's your sun sign? RONNIE Libra. JASON Oh, boy. DESI That's not good. JASON No, sir. DESI Not for me, that's not good. Sexually we are completely incompatible. RONNIE That's not true. JASON That's such a shame. That's as bad as it gets. DESI What's yours? JASON I'm a Cancer. DESI Really? JASON Is that good? RONNIE What does it mean? DESI That's really strange. Well, Taurus and Cancers are sort of soul mates of the Zodiac. We're like perfectly compatible. I balance what you lack, and you make up for what I lack. And a quiet Cancer almost always has a huge penis. JASON -LRB- quietly. -RRB- You're making me embarrassed.","EXT. BACKYARD - LATER Debbie, Pete, Larry, Oliver, Barb and Barry are eating. DEBBIE I wanted to make a toast. Thank you guys so much for coming. Pete's turning forty. PETE Weird. DEBBIE And we're ready to start this new phase of our lives with open hearts. Ready to just choose joy and forgive everybody, so thank you all for coming. LARRY Wait. Forgive who? PETE I think she just meant generally. You know? Put the past behind us. DEBBIE And live without resentments. LARRY But specifically who are you forgiving? I like to know the details before I toast. DEBBIE Well, you and my dad and others. LARRY I see. I know you have some issues with me, but I'm curious, what's he in for? Before today nobody even knew he existed. DEBBIE My parents divorced when I was really young and we do n't spend that much time together and I'd like to work on that. Just like we'd like to work on how you have financial issues. BARRY -LRB- to Larry. -RRB- She means all the lending. And the borrowing. LARRY I know what she meant.","EXT. POOLSIDE - CONTINUOUS Ronnie, Jason, and Desi talk. JASON You are a beautiful woman, but you are not totally maxed out. I would say honestly, you're a six. Six and a half. I could make you an eleven. DESI Really? JASON When I found Deb, she was a seven. And now she's a twelve. DESI I want to be a twelve. JASON You ca n't be lazy. DESI I do n't want to be lazy. JASON Look at me. You can not be lazy. DESI I wo n't be lazy. JASON Do you know how she got her body? Bodies By Jason. DESI Wow. JASON Say it. DESI Bodies By Jason. JASON Say it again. DESI Bodies By Jason. JASON And now just say Jason. DESI Jason. JASON Again? DESI -LRB- whispers. -RRB- Jason. JASON That sounds right, does n't it? DESI Yeah. RONNIE What the fuck is happening right now?","EXT. BACKYARD - CONTINUOUS LARRY When was the last time you two saw each other, if you do n't mind me asking? OLIVER Actually, we had lunch together last week. LARRY And before that? OLIVER It's been about seven years. LARRY Seven years? That's a joke, right? That's like two Olympics. And I'm the bad guy. What Debbie does n't understand is that it's not bad to help out a parent. And it's certainly not bad for a parent to help out a child. I'm sure Oliver would agree. DEBBIE Are you really doing this right now? LARRY Am I doing what? I did n't start the toast. DEBBIE Are you really about to hit up my dad for money? LARRY What? He does four operations a day. It's perfect. It helps everybody, and it relieves his guilt from all the abandonment issues. DEBBIE You ca n't buy forgiveness, right Pete? PETE I do n't think anyone's looking for handouts. We'd pay him back. OLIVER If you two are in a bind I'd be more than happy to help. DEBBIE No. It's not good to borrow money from family members because it causes resentment, remember? PETE Yeah. LARRY What do you want me to do? Admit that my life is shit? Is that what you want me to say? You happy? Are n't I allowed a little joy with these children I never wanted to have? DEBBIE You have never once stopped asking us for money. LARRY Family helps family. PETE It's true. Family helps family. Look, I do n't expect you to fully understand. Your dad left. You're broken inside. It's not your fault you ca n't feel love. There's something that you ca n't - this is coming out wrong. DEBBIE You know what? I would rather have my dad than your dad, because he does n't drive me crazy. You know the best quality my father has? He asks for nothing. I do n't know what the fuck he's thinking right now. Look at that. Nothing. I do n't even know him. And I turned out perfectly fine without his input. LARRY I just figured out what your problem is. You hate Jews. Which is so odd because your children are Jewish. DEBBIE Do n't play the Jew card, Larry. LARRY I'm not playing any Jew card. DEBBIE Seriously, it's used up. LARRY You ca n't use up a Jew card. That's the whole point of a Jew card. BARRY That's right. You ca n't use it up, it goes forever. OLIVER You know what? I have to go. Oliver gets up to leave. PETE Great. What a big surprise. Bye Oliver. See you later. See you in another seven years. Make sure to say goodbye to the grandkids, who you met today. You know, nothing I do is right because of you? Nothing. No matter how hard I try, I'm just the asshole here, but you know what I realized? It's you. You're the asshole. OLIVER Good luck working that out. Happy birthday and go fuck yourself. Oliver walks out. LARRY See you when the Cubs win the Pennant. BARB I'm going to light the candles. Get it going. LARRY Maybe we should try the toast again. DEBBIE Can you be quiet? -LRB- to Pete. -RRB- You just threw me under the bus. PETE No. We agreed to let go and forgive, but then you started ripping into my dad like a crazy person. DEBBIE I'm not ripping into your dad. I'm just saying to him what you say to me. PETE Do n't be such a ball buster. DEBBIE I am not a ball buster. You make me one! I am a fun girl! I am fun - loving! I am a good time Sally! I dance hip - hop. I can not believe I've wasted my whole life busting the balls of people who have no balls. I am the only one here who has any balls.","EXT. BACKYARD - DAY Graham Parker sings `` Happy Birthday'' to Pete as Charlotte accompanies him on a keyboard. The party is tense. Debbie looks over and sees that Oliver never actually left. He stands in the back looking uncomfortable, quietly singing. She's shocked he's still there.","EXT. HOUSE - DAY - LATER Debbie smokes a cigarette at the side of the house. Sadie appears. SADIE Mom? Debbie turns, caught. SADIE -LRB- CONT'D. -RRB- Mom! What are you doing? DEBBIE What? SADIE You're smoking? In the front yard? DEBBIE No, they're Barb's. She walks away towards the house. Sadie follows.","INT./EXT. FOYER - CONTINUOUS Sadie storms through the front door after Debbie. SADIE Mom! Since when have you been a smoker? DEBBIE I'm not a smoker. Debbie keeps walking down the hall. Sadie follows her. SADIE I thought you said smokers die. DEBBIE I was n't smoking. SADIE I saw you. Barb is in the kitchen with Pete and Charlotte. CHARLOTTE Mom, you're smoking? BARB Deb, you ca n't smoke, you're pregnant. You've been doing so well. CHARLOTTE You're pregnant? SADIE No f - ing way. I do n't want another sister. CHARLOTTE I do n't want her as a sister. BARB I'm sorry. I'm so sorry. It just slipped out. Debbie turns the corner to find Pete standing in front of the fridge, stress eating. PETE -LRB- mouth full of cupcake. -RRB- Are you really pregnant? Since when are you pregnant? DEBBIE Since when do you care? You do n't want another baby. PETE You have no idea what I want. CHARLOTTE I want an Asian baby. SADIE We're not going to have an Asian baby. CHARLOTTE Yes, we are! SADIE They're not Asian. DEBBIE Sadie. CHARLOTTE We'll buy one. SADIE Shut up, Charlotte. CHARLOTTE You shut up! DEBBIE Shut up, Sadie! SADIE Shut up, Charlotte! CHARLOTTE Shut up! DEBBIE Okay, Sadie. Shut up. SADIE Shut up, Charlotte! DEBBIE Okay, stop saying shut up! PETE Since when are you pregnant? When did you find out? DEBBIE Will you stop eating cupcakes, please! Stop eating cupcakes. Stop eating cupcakes! Debbie storms off back towards the foyer. Larry pops out from the living room, stopping Debbie in the foyer. Claire and the triplets are right behind him. LARRY Hey! We just heard. You're having a baby! See, it can happen to anybody. CLAIRE That is so wonderful. We're so happy for you.","INT. KITCHEN - CONTINUOUS Pete throws his cupcake against the wall. SADIE -LRB- to Charlotte. -RRB- This is too adult for you. Let's go outside.","INT. FOYER - CONTINUOUS Larry and Claire walk away as Pete storms in. DEBBIE Well, I guess we're stuck together forever, then, right? PETE Were n't we always? DEBBIE You do n't even want a baby. PETE Of course I do. I never said that. Look, I did n't want one if I could choose. DEBBIE I should put that on a Hallmark card. That's beautiful. Oliver passes Pete and turns to Debbie as Pete walks away. OLIVER Good luck with the pregnancy, Debbie. But please, take care of yourself. It's a much riskier pregnancy after forty. DEBBIE I'm not forty. OLIVER Of course you are. You were born on December 5th, 1972. DEBBIE How do you know? OLIVER I was there. I'm the one who took your mother to the hospital. DEBBIE That's not what she said. OLIVER Your mom was in labor for only twenty minutes. It was like you could n't wait to meet me, can you imagine that? Debbie is stunned. DEBBIE I do n't even know you. You ca n't just come into my house and reminisce. OLIVER -LRB- walking out. -RRB- Look, maybe we were just not meant to be in each other's lives. I'm not sure this was such a great idea. Debbie follows him out the door and onto the front porch. She closes the door behind them.","EXT. FRONT PORCH - CONTINUOUS DEBBIE Hey, wait a minute. You did leave. And you did n't come back. OLIVER -LRB- getting agitated. -RRB- My first life was ruined. I did my best with my second. DEBBIE So I ruined your life? I was eight. OLIVER People do better when I stay out of their lives. That's what my son tells me. You think my life is so perfect? I've got a thirteen - year - old who's a pot head, I've got a wife who's keeping Zoloft alive. DEBBIE You never said that before. OLIVER You do n't think I want to talk to you about this? To share it with you? It's just not our way! We do n't talk to each other, we do n't know each other. I thought that's the way you wanted it. How do I get out of this? How do I get you all to just help me down off the cross? Debbie looks at him for a moment. DEBBIE You sound just like Sadie. OLIVER Who's Sadie? No. Your daughter, your younger? DEBBIE The big one. OLIVER Your older. I know that! She's a wonderful girl. Larry opens the door and peeks out. We reveal that everyone at the party -LRB- except Pete -RRB- is still standing in the foyer. LARRY Hi, guys. Some of us need to leave. Would this be a good moment to sneak out? From the side of the house we see Pete storming by on his bike, wearing his street clothes and a helmet. SADIE Where's Dad going?","EXT. CITY STREETS - DAY Pete exits his home riding his bike. He is very angry. He rides with great emotion like he is trying to get all the frustration out of his body. PETE Best birthday ever! Pete rides his bike onto San Vicente Boulevard. Pete rides down the street. A CAR passes by him. When it does a fifteen - year - old TEENAGER sticks his head out the window and yells to scare Pete. TEENAGER Bike lane, asshole! Pete almost falls. PETE Fuck you, you Twilight pimply - ass motherfuckers!","INT. KITCHEN - DAY Debbie and Barb are cleaning up. They look out the window to see Oliver picking up glasses and putting them in a bin. BARB Your dad's still here. DEBBIE I know. It's weird. Where the hell is Pete? Sadie walks in with Joseph. SADIE Mom, is it okay if Joseph hangs out here for a while? DEBBIE Sure. Hi, Joseph. JOSEPH Hi. DEBBIE Do you want a piece of cake? JOSEPH Oh, yeah sure. Thank you. Sadie walks off. JOSEPH -LRB- CONT'D. -RRB- All right, then. Joseph follows. BARB They are so cute. DEBBIE So cute. BARB He looks exactly like Tom Petty.","EXT. STREET - DAY There is no bike lane and cars going very fast have to swerve to avoid Pete. A car honks when traffic clogs up behind him. PETE Go around! A car makes a right turn, and Pete almost rides right into it. PETE -LRB- CONT'D. -RRB- Watch it! He pulls up alongside Jason's van. Desi is riding with Jason. DESI Hey, Pete. Great party! They speed off. PETE Yeah. The best!","EXT. BACKYARD - DAY Oliver and the kids are playing with an iPhone. SADIE Then you shake it. And then a restaurant comes up. Debbie walks outside. DEBBIE Dad? Excuse me. I'm going to go look for Pete. Would you mind staying with the girls for just a little bit? OLIVER -LRB- shocked. -RRB- Well, if you want me to. DEBBIE If you do n't mind. You do n't have to. OLIVER Sure. -LRB- beat. -RRB- Can I let Sadie show me the last episode of Lost? She asked me if I'd seen it, I have n't. DEBBIE That would be nice. Thank you. OLIVER Thank you. Debbie exits. OLIVER -LRB- CONT'D. -RRB- -LRB- to Sadie. -RRB- She said we could watch it. Sadie turns to Charlotte, puts her arm around her. SADIE I'm going to let you watch Lost. Come on. Charlotte smiles, delighted to be accepted by her sister. CHARLOTTE Is it scary? SADIE I'll cover your eyes if it gets too scary.","EXT. STREET - DAY Pete starts riding really fast and passes a car. When the car stops for a red he keeps going, tears off to the left, crosses four lanes of traffic in both directions and almost gets hit. Pete rides his bike up a steep hill. He passes some other bikers almost hitting them.","INT. DEBBIE'S CAR - DAY Debbie drives around the neighborhood with Larry in the passenger seat. LARRY Are you mad at me? Did I say something? DEBBIE Shh. Larry, please.","EXT. STREET - DAY Pete flies down a steep hill going crazy fast. Close up of his front wheel shaking. It is as if he wants to crash. He rides down the street when suddenly a MAN IN A RANGE ROVER opens his door to exit his car and Pete slams directly into the man's car door - hard, breaking the man's window and falling to the ground. The man is an incredibly thick fifty - five - year - old. MAN IN RANGE ROVER Are you fucking kidding me? PETE You opened your door on me. MAN IN RANGE ROVER I did n't open my fucking door on you. I opened my door! Pete slowly gets to his feet. PETE I was right there! You are supposed to look before you open your door. I was in the fucking bike path. MAN IN RANGE ROVER That's a blind spot. There's no fucking bike path. This is a residential section. Get your head out of your ass. PETE Pay attention! MAN IN RANGE ROVER Open your god damn eyes. What are you doing, sleepwalking? PETE You're supposed to look to see if a biker is coming through. You're supposed to look! MAN IN RANGE ROVER It's not my job to look out for you. You look out for yourself. I do n't look out for you. I do n't see you. I do n't now where the fuck you are and what you're doing. PETE No one is ever looking out for me! MAN IN RANGE ROVER I need your name and number. PETE Why? MAN IN RANGE ROVER Because you're going to pay for my door.","INT. DEBBIE'S CAR - CONTINUOUS They drive near the scene of Pete's accident and overhear. PETE -LRB- O.S. -RRB- Fuck you!","EXT. STREET - CONTINUOUS PETE Why do n't you pay for my bike - and my face, you fucking prick! The man punches Pete in the face where he's already bleeding.","INT. DEBBIE'S CAR Debbie sees the punch and gasps, realizing it's Pete.","EXT. STREET - CONTINUOUS Pete looks stunned. He punches the man in the gut, to no effect. The man punches Pete back in the stomach. Pete sinks to the ground. MAN IN RANGE ROVER Do n't disrespect me.","INT. DEBBIE'S CAR - CONTINUOUS Debbie watches Pete fall to the ground. She opens the car door and starts to run over toward him. LARRY Are you sure that's him? I do n't think that's him.","EXT. STREET- CONTINUOUS As the man starts his engine, Debbie runs toward Pete. PETE -LRB- in pain. -RRB- I'm going to write down your license plate number. The car drives away, revealing that it is new and has dealer's plates with no numbers. PETE -LRB- CONT'D. -RRB- `` Range Rover of Sunland.'' Debbie reaches him and holds his head up. DEBBIE What are you doing? PETE Ow.","INT. HOSPITAL - NIGHT Debbie and Larry sit in the waiting area of the hospital. LARRY I guess the party did n't turn out like you planned. DEBBIE It was n't a good party. A NURSE walks over to them. NURSE Hi. I'll bring you in as soon as his x - rays are finished. DEBBIE Is he okay? NURSE Yeah, he has a broken rib and he's been crying a little bit, but he'll be fine. The Nurse walks away. LARRY You know Pete was never a real fighter. But that's why he married you. That's why he loves you. Because you're the fighter, and you need that. One person in a relationship has got to punch. DEBBIE Do you mean that in a good way? LARRY Oh, it's a high compliment. DEBBIE Thanks. LARRY Listen, I know what you're worried about. You think he's going to turn into me, but I do n't think it's going to happen. He's smarter and probably a little cuter. A little less Jewy. Although, after fifty, that's all going to change. Be prepared to wake up one day with a a rabbi. But the good news is, he'll love you forever. That's in our DNA. We stick around. DEBBIE He worries about you. It puts a lot of pressure on him. LARRY I know. I just do n't have anyone else to talk to about it. DEBBIE You can talk to Claire. LARRY No. If I open up to her she'll leave me. DEBBIE No, she wo n't, Larry, she loves you. LARRY I know, but there's a certain point at which you just ca n't stay. -LRB- beat. -RRB- I guess it's hard to forgive somebody if they do n't formally apologize to you. DEBBIE Are you apologizing? LARRY I'm very close. -LRB- beat. -RRB- Yes, I'm sorry. And I'm glad everybody's okay. DEBBIE Thanks. She hugs him and starts to cry a little bit. LARRY I'm off. DEBBIE Okay. LARRY This is awkward. DEBBIE What? LARRY I need forty dollars for a cab. DEBBIE -LRB- laughing. -RRB- That's funny. LARRY No, I'm not kidding. You drove me. I was n't prepared. DEBBIE I only have a hundred. LARRY That's okay. I'll bring you the change. He grabs the bill out of her purse and walks off. LARRY -LRB- CONT'D. -RRB- All right, give him a kiss for me.","INT. HOUSE - NIGHT Oliver is sitting on the couch with Charlotte and Sadie watching the last scene of Lost. Joseph has joined them. OLIVER I do n't get it. SADIE See, it's not sad, it's happy because they helped each other achieve their destiny. OLIVER Oh. CHARLOTTE Great. I'm going to have some freaky ass nightmares.","INT. HOSPITAL ROOM - NIGHT Debbie walks into Pete's room, sits on the bed next to him. DEBBIE I really liked our lives so much better before we tried to change everything. I'm sorry. PETE No. I'm sorry. I do n't want to keep anything from you. I love you. You're my wife. I just did n't want to let you down. DEBBIE Are you mad that I'm pregnant? PETE No. I'm not mad. I'm thrilled. DEBBIE You do n't feel trapped? PETE Sometimes I feel like I trapped you. DEBBIE I do n't feel trapped. PETE Really? DEBBIE No. PETE You should, because I've trapped you. You ca n't go anywhere. I'm going to get you pregnant every ten years for the rest of your life. You can never leave me. Ever. DEBBIE I never feel trapped by you. I'm so happy to be with you. I love you so much. You're my favorite person in the whole world. god damn it, why am I crying like this? Something is wrong with me. PETE You're pregnant. DEBBIE Oh, yeah. Shit. I was just outside telling your dad that I liked him. What if he thinks I like him now? PETE No, he wo n't think that. DEBBIE I do n't want him to think I like him that much. PETE It'll never happen. DEBBIE -LRB- suddenly giddy. -RRB- Can you believe it? This is the craziest thing ever. What are we going to do with a third baby? PETE I have no idea. How are we going to afford it? DEBBIE We'll sell the house. PETE We do n't have to. DEBBIE We kind of do. PETE We kind of do. DEBBIE We'll make new memories in a new house. PETE I love you. DEBBIE Is there anything you want to do for your birthday? It's been the worst birthday ever. PETE There is one thing, but I do n't think you'll like it. DEBBIE What? PETE I would n't mind going to see some music. Would you want to do that? DEBBIE Yeah. PETE Really? I do n't believe you, but you're sweet for saying that. DEBBIE How do we break you out of here? PETE I can just leave on my own volition. It's not a mental institution. DEBBIE Can you? PETE It's not like One Flew Over the Cuckoo's Nest. Please do n't put a pillow over my face. Debbie laughs. DEBBIE Let's get out of here, McMurphy. PETE You got it, Chief. Will you carry me? As Debbie helps Pete off of the hospital bed, Pete kisses her passionately.","INT. SMALL NIGHTCLUB - NIGHT Pete and Debbie watch Ryan Adams perform `` Lucky Now'' with his band. DEBBIE I like this song. PETE Really? DEBBIE Yeah. Why? Pete smiles. DEBBIE -LRB- CONT'D. -RRB- Why do n't you sign him? PETE Ryan Adams? No, he would n't sign with me. DEBBIE Why not? You're the best. She smiles at him and he smiles back, almost blushing. This is the smile he has been waiting for. PETE Well, he is in between labels. Let's go try and talk to him after the show. The camera pulls back as Ryan Adams finishes his song. FADE TO BLACK"],"string":"[\n \"INT. MASTER BATHROOM - DAY PETE -LRB- 39 -RRB- and DEBBIE -LRB- 39 -RRB- are having fantastic sex in the shower. Debbie moans loudly. Pete is strong and sure of himself. In total control. DEBBIE Oh Pete! Oh my god! This is crazy! PETE Oh my god. So incredible. Want to know a secret? I took a Viagra. DEBBIE What? PETE I took a Viagra. Those things totally work. This is awesome. Why do n't I use this every day? DEBBIE What? What did you do? Wait. Stop. Debbie gets out of the shower. Pete follows. PETE What's the matter? DEBBIE You just took a Viagra to have sex with me? PETE I thought it would make it better. It was better. It takes some of the pressure off. DEBBIE Because you ca n't get hard without a Viagra? Is it because you do n't think I'm sexy? PETE I thought you'd think it was fun for me to supersize it for once. DEBBIE That is the worst birthday present you could ever give someone. PETE I was just trying to go turbo for your birthday. My hard - ons are still in analog. This shit's digital. DEBBIE I do n't want a turbo penis. I like your medium soft one. PETE Look, I can get it up. Just not that far up. DEBBIE Where did you get this? PETE I got it from Barry. DEBBIE What? You got it from Barry? PETE Why do you care? This is my dick we're talking about, not yours. DEBBIE We are young people. We do n't need medication to have sex. PETE I only took it because it's your birthday. I thought you'd like it. Happy fucking fortieth birthday. DEBBIE I am not forty! And I do n't want to have a husband who has to take Viagra to get a hard - on. PETE I do n't have to take it every time, but once in a while. DEBBIE Fuck forty! Forty can suck my dick. TITLE UP - THIS IS 40\",\n \"INT. HALLWAY/SADIE'S ROOM - MORNING Pete sneaks down the hallway. He kisses SADIE -LRB- 13 -RRB- as he wakes her. She wants to be left alone. SADIE Your breath smells weird. Pete breathes all over her as he talks. PETE Wake up, wake up. Time to get up.\",\n \"INT. CHARLOTTE'S ROOM - MORNING Pete lifts a sleeping CHARLOTTE -LRB- 8 -RRB- out of bed and walks her downstairs. It looks ridiculous because she is too tall to hold her like she is a baby.\",\n \"INT. BREAKFAST NOOK - MORNING Pete and the kids set up a tray of muffins and donuts on the table and decorate the room with birthday balloons, streamers, etc.. Pete sneaks bacon, cupcakes, and mini donuts into his mouth occasionally. The house is a bit more cluttered and messier than when we last saw it in Knocked Up.\",\n \"INT. MASTER BATHROOM - MORNING Debbie opens a window and sneaks a cigarette. PETE -LRB- O.C. -RRB- We're ready! She holds her cigarette with a yellow dish washing glove. She puts out the cigarette and goes through an elaborate routine of hiding the smell of smoke. She puts some weird oil in her hair and uses a wet nap on her neck and clothes and brushes her teeth. She sprays cologne and walks through it.\",\n \"INT. KITCHEN - MORNING Pete and the kids hold a cake and sing `` Happy Birthday'' as Debbie walks in. When they are done she blows out the candles on the cake which says `` Happy 38th Birthday.'' PETE Make a wish!\",\n \"INT. KITCHEN, TV AREA - MORNING The kids eat cereal. Sadie watches Lost on her iPad while Pete and Debbie talk in the kitchen. CHARLOTTE Can I watch Lost? SADIE You ca n't handle Lost. It's too violent, and you wo n't understand. CHARLOTTE If I do n't understand it, why ca n't I handle it? SADIE Because you're eight. CHARLOTTE I can handle it. I've seen a shark eat a guy on Shark Week. SADIE Shark Week is fake. CHARLOTTE No, it's not. SADIE All of it is reenactments. CHARLOTTE I know but they - SADIE That's scary! You should n't be allowed to watch that. CHARLOTTE - they show the reenactments but they actually happened. SADIE It's going to give you nightmares. CHARLOTTE I can handle a nightmare. You're a nightmare every day for me.\",\n \"INT. KITCHEN - MORNING Pete clears the breakfast dishes. DEBBIE Hey. Do n't eat that cupcake. PETE What? DEBBIE The one you just put into the sink. I saw you were hiding that. PETE This cupcake? You think I'm going to eat this cupcake? DEBBIE Yeah. PETE I so do n't want this cupcake. Look. He turns on the faucet and pours water on the cupcake. DEBBIE You're still going to eat it. PETE I'm going to eat this cupcake? DEBBIE Just put it in the trash. PETE What would you like to do today? Your choice. DEBBIE Anything? PETE Yeah, anything. DEBBIE Just hang out with you guys. PETE Do n't you want to get a massage? Or do something fun? Forty's huge. DEBBIE I'm turning thirty - eight. PETE Okay. Thirty - eight. We'll move on. Is n't it weird that our birthday is the same week and that we're going to have a party, and it's just for me? DEBBIE No. I do n't think it's weird at all. Because you're turning forty and I'm turning thirty - eight. PETE Come on. Do you really want to be one of those ladies who's just so insecure about their age and they lie and then they've got to remember. DEBBIE You do n't get it. You do n't understand how it works. I do n't want to shop at old lady stores. I do n't want to go to J. Jill and Chicos and Ann Taylor Loft. I'm not ready yet. I need two more years. PETE That is so insane, it kind of makes sense. DEBBIE What did you get me for my birthday? PETE I thought you said that we should n't get each other gifts this year? DEBBIE What do you mean? You're supposed to get me a surprise gift. This is a big birthday. I'm turning forty!\",\n \"INT. CHARLOTTE'S ROOM - MORNING Charlotte plays the theme from The Office on her keyboard. SADIE -LRB- O.C. -RRB- Mom!\",\n \"INT. SADIE'S ROOM - CONTINUOUS Sadie tears apart her closet looking for clothes. SADIE Mom! Why ca n't I get new clothes?! Nothing fits me! God damn it!\",\n \"INT. KITCHEN - MORNING Debbie is in workout gear. Pete enters wearing a lycra outfit with all sorts of logos on it. He is a complete bicycling asshole. DEBBIE I am going to work out. I'll be back in about an hour. PETE Hey, did your father call to wish you a happy birthday? DEBBIE No. That's no surprise. Debbie leaves. Pete picks the soaking wet cupcake out of the sink and takes a bite.\",\n \"EXT. SANTA MONICA STAIRS - DAY Debbie runs up a long flight of stairs with her trainer JASON. Her friend BARB trails behind. JASON Come on. BARB Coming. JASON You've got to keep up with us, sweetheart. That's why your body looks like your body and her body looks like her body. Before, after. Before, after. BARB You guys just go on without me. I'm just gon na. fuck.\",\n \"EXT. BRENTWOOD - MORNING We see Pete in a large group of bikers riding down San Vicente. Pete's friend BARRY is part of the group. BARRY Hey, thanks for letting me join this team. PETE It's not really a team, it's just a bunch of guys who get together and ride. BARRY I know, I know. A car makes a right turn in front of Pete, nearly hitting him. Pete bangs on the back of the car. PETE Bike lane, asshole! It's always the guy in the fucking Infiniti.\",\n \"EXT. STREETS NEAR THE STAIRS - DAY Debbie is doing sit - ups while talking to Jason, who holds her feet down. In the background, Barb stretches on a yoga ball. JASON So why on earth is Pete taking Viagra? What's going on? DEBBIE I do n't know. I think maybe he just is n't attracted to me anymore. JASON That is ridiculous. If you were my girlfriend, I would not need a Viagra. I would need an anti - Viagra pill. To try not to get a boner. DEBBIE But everyone gives you a boner. JASON Do n't sell yourself short like that. You give me a boner. -LRB- whispers. -RRB- Barb does n't give me a boner. DEBBIE Maybe things are just getting stale. That's why maybe I work out really hard. Maybe he'll be able to get a boner again. BARB Why do you need to have sex, Deb? Sex is the number one thing people fight about. You stop having sex, there will be no more fights. I am living proof. I have no sex, and I am the happiest I've ever been. JASON I knew it. I knew you were not having sex. I can see it on your face. It's all puckered and pained. BARB I'm enjoying our non - sex period, that's all I'm saying. JASON Do n't you miss it? BARB Well, I would n't know, because I do n't have any feeling down there anymore. I have nerve damage from my C - section so everything is just kinda - DEBBIE She's numb down there. BARB I could sit down hard on a fire hydrant, and I would n't even know that I was sitting. I could get stung by a hornet down there, and I would not feel it. You could put anything in there, and I would not know what the object was. I used to pee in a nice stream, and now it just kind of goes like a shower head. JASON That is the saddest thing I've ever heard. DEBBIE I think you need a family. Do n't you want a family? JASON No, I think I want to Clooney it. DEBBIE Clooney it? JASON Yup. DEBBIE He does n't seem happy. JASON Yeah, he is. DEBBIE No. He's lonely. JASON No, he's not. DEBBIE See, I think he has sad eyes. JASON Aw, you sweet little thing. He's doing sad, lonely eyes. To get the next lady. I can do it too, watch. Jason demonstrates. DEBBIE I bet George Clooney is really lonely. Just him and his pig. JASON You'd fuck him. DEBBIE I would n't. JASON So would you. BARB I would. I would n't feel it but - JASON You'd fuck him with your numb vagina. Yes, you would. Ocean's thirteen inches, that's what you'd find out. DEBBIE Do you think?\",\n \"INT. STARBUCKS - MOMENTS LATER Pete and Barry eat frosted scones, happy to get some alone time to delay their return home. BARRY I mean that was idiotic. You have to understand. That's like the one thing you do n't do is tell her you used Viagra. I think that's even on the warning label. PETE We're in one of those phases where everything the other person says just annoys the shit out of each other. All the time. It's a blast. BARRY Do n't worry about it. You just got ta ride that out. PETE This sounds terrible but do you ever wonder what it would be like if, say, you were separated by something bigger, like death. Like her death? BARRY I have given it a fair amount of thought. PETE Not in a painful way. Just quietly slid into death. Like a gas leak. BARRY Absolutely. It has got to be peaceful. I mean this is the mother of your children. PETE I'd want it to be a peaceful - just like, drift, into a coma, from which she never awakens. BARRY Then you move on. Then you're a widower. PETE That's just it. People love widowers. BARRY They love widowers. It's like the polar opposite of divorced guys. PETE It's the best. BARRY It's like, oh, that poor widower. You know. If I could only - PETE Somehow. BARRY make him happy. PETE Somehow ease his pain. BARRY cocksuck away his sadness.\",\n \"INT. CAR - DAY The family is driving. Sadie watches an episode of Lost on an iPad. The Pixies play on the stereo, and Pete sings along. PETE Did you know that the Pixies did this song about a Salvador Dali short film called `` Un Chien Andalou''? DEBBIE This music does n't make people happy. PETE This song kicks off Doolittle, one of the best albums of the last thirty years. An important record. DEBBIE Look how angry you get while listening to this. -LRB- beat. -RRB- It's my birthday. You do n't control the radio on my birthday. I control the radio on my birthday. Debbie switches the radio and sings along to `` Take On Me'' by Ah - Hah. Sadie stares at her iPad. We see a violent scene. CHARLOTTE Sadie's watching Lost. DEBBIE Sadie, how many times have you watched Lost this week? SADIE I've only watched eleven. I have eight more and then I'm done. PETE How many are there? SADIE A hundred and fourteen? PETE Are you kidding me? You ca n't watch over a hundred episodes of a show in five weeks. It'll melt your brain. SADIE It's not melting my brain, it's blowing my mind. DEBBIE That's really bad, Sadie. You're not allowed to do that. SADIE My relationship with Lost is not your business. It's extremely personal. Charlotte grabs for Sadie's iPad, then starts trying to lick her. SADIE -LRB- CONT'D. -RRB- Stop it! DEBBIE Be nice to your sister. You guys are going to cherish each other one day. SADIE Stop it! Stop!\",\n \"EXT. MONTANA AVENUE - DAY Pete and Debbie get out of the car and walk down the street. PETE It's your birthday, you do n't need to go to the store. DEBBIE I know, just five minutes. I think Desi and Jodi are fighting. PETE All right, five minutes. But then I'm pulling you out.\",\n \"INT. DEBBIE'S STORE - DAY Pete and Debbie enter and we see their two employees, JODI and a new, gorgeous employee, DESI, who is up on a ladder. DEBBIE Hi. How's Jodi treating you? DESI Jodi? Oh, Jodi's my new BFF. She's like a little kitty cat. Sometimes she comes and rubs up against my leg. JODI You're a ball of shit. DESI She loves me. DEBBIE Huh. Debbie goes behind the register. She looks at Jodi. DEBBIE -LRB- CONT'D. -RRB- Can you do inventory so that we can do the sidewalk sale? And you really need to pay attention to the numbers because we have twelve thousand dollars unaccounted for. JODI I think it's probably Desi. She's been having a really hard time using these simple computers. It's because she's stupid. I think she might be stealing. DEBBIE She's not stealing. She's our best employee. She made nine grand last month. JODI Well, how much did I make? DEBBIE You brought in twenty - two hundred. JODI That's not bad. DEBBIE Well, that's not that good. I mean, I'm not comparing you, but you're not as good. Pete is still staring at Desi on the ladder. PETE -LRB- to Desi. -RRB- All right. See you. Pete walks over to Debbie. PETE -LRB- CONT'D. -RRB- I do n't think she's wearing underwear. DEBBIE What? PETE It's all dark up there. DEBBIE What? Why are you looking? PETE I did n't mean to look, I just said, ` Hey - woah!' There it was. DEBBIE Maybe she's wearing dark underwear. PETE Yeah. Maybe she has underwear that has a picture of a vagina painted on it. DEBBIE Stop looking. Desi comes down to help a CUSTOMER at the front of the store. DESI Maybe some deep oranges and browns and maybe dark greens? That would really play up your features. CUSTOMER I'll just take out my AmEx and you pick what stuff you think is good.\",\n \"EXT. BACKYARD - DAY We see quick cuts of Debbie playing with the kids on the trampoline outside. She does a full flip and lands on her feet. Pete is nowhere to be found. DEBBIE Woo! Where's daddy? SADIE I think he went to poop. DEBBIE Pete!\",\n \"INT. HOUSE - CONTINUOUS Debbie walks down the hall and into the bathroom without knocking. Pete is on the toilet playing Scrabble on his iPad. DEBBIE What are you doing? PETE Going to the bathroom. DEBBIE We're all downstairs waiting for you. You've been up here for a really long time now. PETE Oh, I'm almost done. I'll be down in a second. DEBBIE Charlotte just did her first flip on the trampoline, and she landed on her feet. She was really proud of herself. PETE Oh, that's great. DEBBIE And you missed it. PETE She'll do it again. DEBBIE It's just that this is the fourth time you've gone to the bathroom today. PETE Give me a break. DEBBIE Why is your instinct to escape? PETE It's not my instinct to escape from you. It is my instinct to come into the bathroom when I need to go to the bathroom. DEBBIE How come I do n't smell anything? PETE It's because I shoved an Altoid up my ass before I came in here. DEBBIE Let me see then. PETE What? DEBBIE Let me see! PETE No, I'm not going to let you see. DEBBIE You're not going to let me see because you're not taking a poop. PETE I've been flushing as I go. DEBBIE You're flushing as you go? Who takes a half hour to go to the bathroom? PETE -LRB- thinks for a second. -RRB- John Goodman. She angrily grabs his iPad and walks out. PETE -LRB- CONT'D. -RRB- Do n't press Enter! I'm not sure I want to make that move!\",\n \"EXT. SMALL NIGHTCLUB - NIGHT A sign outside reads : `` Tonight Only : Graham Parker''\",\n \"INT. SMALL NIGHTCLUB - STAGE - NIGHT Pete stands on stage speaking to a small crowd. PETE You know, when I started this label, my dream was to work with musicians and bands whose music I just admired so much. The person that I thought, `` My god, would n't it be incredible to work with'' was Graham Parker. Tonight we have him. Solo. Because we could n't afford to fly in The Rumour. The crowd applauds as Graham Parker -LRB- 60's -RRB- leaps on stage. Pete and Debbie watch Graham sing a very moving song. The song is fantastic and personal, but clearly not commercial. We watch Debbie. Although the music is great, it's a little depressing and not working on her. She quickly gets bored.\",\n \"INT. CAR - NIGHT Pete and Debbie are driving home. DEBBIE It's just not my kind of music. PETE Really. What is your kind of music? DEBBIE I like Lady Gaga. PETE Oh, god, of course you do. DEBBIE What? PETE Shallow dance music. DEBBIE It's not! It's fun, and it's about release and sex and power. PETE You know, you do n't have to like it. It's really not for you, that's fine. DEBBIE This is a job. This is not a hobby. Ca n't you love him just as a hobby? And sign a fifteen - year - old hot girl so we can eat? PETE Graham Parker and The Rumour had two albums in the Rolling Stone Top 500 Best Albums of All Time. Two of ` em. If I can just sell ten thousand records to his hardcore fan base, we're golden. An ambulance drives by, sirens blaring. DEBBIE -LRB- pause, then laughing. -RRB- The last of Graham Parker's fans just died.\",\n \"INT. SADIE'S ROOM - NIGHT Pete and Debbie walk in mid - argument. Sadie is listening to a song on her iPhone. DEBBIE Sadie. Sadie, what are you listening to? Okay, this is music that makes people happy. And this is what people buy. Right, girls? She puts Sadie's iPod in a dock and plays the Nikki Minaj rap `` Roman's Revenge.'' They all start rapping along to it. They all laugh and dance and go crazy. Pete turns the iPod off. DEBBIE -LRB- CONT'D. -RRB- Why did you take it off? PETE Now, something that really rocks. Pete puts on `` Rooster'' by Alice In Chains. PETE -LRB- CONT'D. -RRB- This is called good music. From somebody's heart. SADIE This is bumming me out. This is n't fun. PETE Just listen to these words, okay? CHARLOTTE I do n't understand the words. PETE This is lyrics, this is poetry. This is what is going to survive in a hundred years. DEBBIE It just does n't make people happy. PETE It makes me happy. I can dance to it. Pete starts dancing around like it is fun. DEBBIE You're the only one in the room who's happy. Pete stops his music. PETE Sometimes, I wish just one of you had a dick. CHARLOTTE Well, we do n't want one.\",\n \"INT. HOUSE - MORNING Pete sits with the kids and eats breakfast. Debbie scurries around him to prep the kids for school. DEBBIE -LRB- to Pete. -RRB- Is there something that you can do to be helping me right now? PETE Yeah, I'm ready to help. Just tell me what to do. DEBBIE Can you go get a lunch box or something? PETE For me or for them? Charlotte runs away towards her room. Sadie screams. SADIE Charlotte! I've got a test! CHARLOTTE I'm coming! I'm coming! SADIE Charlotte, I'm going to kill you! Debbie covers Sadie's mouth. DEBBIE Shhh!\",\n \"EXT. SCHOOL PARKING LOT - MORNING Debbie drives the kids to school.\",\n \"EXT. SCHOOL - MORNING Debbie runs Charlotte into the school. Along the way they see a lot of parents. Debbie says `` Hi'' to them in the way that lets us know that she does not know anybody's name. Debbie says `` Hello'' to a PREGNANT FIFTY - YEAR - OLD PARENT, towing a seven - year - old boy. DEBBIE Hi, any day now, huh? PREGNANT FIFTY-YEAR-OLD PARENT Not really. Three more months! Another parent, BETH, and her adorable child walk over. BETH Katie's dying for a play date. Let's hook these two up. DEBBIE That would be great, I'll call you. Beth and Katie walk off. CHARLOTTE No. DEBBIE `` No'' what? CHARLOTTE No. DEBBIE What? She's sweet. CHARLOTTE She's evil.\",\n \"INT./EXT. CHARLOTTE'S SCHOOL - MORNING As they walk into class, the teacher pulls Debbie aside. TEACHER Hi. Listen, Charlotte really needs to get here on time because she needs the extra time to just settle in. DEBBIE Oh. We are on time. TEACHER Being on time means being early. DEBBIE Oh. Okay. TEACHER Well, it's nice to see you in class. We'd like to see more of you. DEBBIE I come to - The teacher walks away before Debbie can defend herself. GRANDMA MOLLY Hi Debbie! DEBBIE Hi, Grandma Molly. GRANDMA MOLLY How are you? I'm so happy about the science fair. It's going very well I heard. I love you. You look so beautiful. Happy birthday! I just learned it's your fortieth. Are you forty? DEBBIE Yeah. GRANDMA MOLLY I remember when I was forty, and then I blinked and there I was, going to be ninety. My god, where did it go? One day you're going to blink, and you're going to be ninety, and I wo n't be around to see it. And that makes me very sad. I'm telling you, I'm warning you. Do n't blink. Do n't blink.\",\n \"EXT. SCHOOL PARKING LOT - DAY As Debbie pulls out of the lot, she lights a cigarette.\",\n \"INT. PETE'S MUSIC LABEL - DAY Pete paces around his office on the phone. ACCOUNTANT -LRB- O.C. -RRB- And then you missed the mortgage payment, and that's the second mortgage. You've got to tighten your belt. You've got to go home, sit down, look at your expenses, come clean with Debbie. PETE Oh, god. I ca n't tell Debbie. ACCOUNTANT -LRB- O.C. -RRB- You have to tell her, Pete. PETE She knows it's bad, but she has no idea just how bad. ACCOUNTANT -LRB- O.C. -RRB- If you sell the house, it'll really buy you some time. PETE No. Debbie's not really into selling the house. ACCOUNTANT -LRB- O.C. -RRB- As your business manager and your friend, I ca n't recommend that. -LRB- beat. -RRB- Hey, how funny would it be if I bought your house? PETE Okay. Bye. ACCOUNTANT -LRB- O.C. -RRB- Hang in there. Pete is with RONNIE and CAT, employees at his record label. They are watching an electronic press kit cut together for Graham Parker. There is a montage of him performing throughout the years from the seventies to the present. RONNIE What are you doing? CAT I'm contextualizing him as one of the great figures in rock history. RONNIE You ca n't show him in his prime in ` 77 and then jump straight to him as he is now. It's terrifying. You have to reverse it. You've got to show him as he is now very briefly, and then show him in 1977. You have to `` Benjamin Button'' it. CAT I do n't know what you're talking about, okay? All rock stars are older now. Steven Tyler, David Bowie, Mick Jagger - PETE Paul McCartney. RONNIE Okay, stop it. Everybody you're mentioning looks like an old woman now. You're just mentioning a bunch of Jessica Tandys. Keith Richards gets away with it. But that's because Keith Richards looked seventy when he was forty, and now that he's seventy, he looks sixty - nine. He's regenerating. CAT I like it. And I think Graham Parker is sexy. RONNIE Would you fuck him? CAT Yes. RONNIE You'd fuck him, and you wo n't fuck me? CAT I mean, I kind of fucked you once, if you could have finished. RONNIE Oh, I finished. PETE You know what, enough of who fucked who and who finished what. RONNIE I finished. PETE Look. It's a retro label. That's our niche. That's our market. It costs money to break new bands, I ca n't do that. RONNIE Oh, okay. And also you're the guy who turned down Arcade Fire. PETE Everyone turned down Arcade Fire. CAT It's crazy, there are so many of them! PETE We do n't have the money to market a new band. We just need to make Graham seem relevant. Who is he talking to? CAT Um, the Jewish Journal. PETE The Jewish Journal? RONNIE Apparently old Jews are the only ones who still buy hard copies of records. Because they do n't like to download music. Because they do n't know what downloading means. Angle on Graham and a journalist wearing a yarmulke. INTERVIEWER Why is this album different from any other album? GRAHAM It is n't. Angle on Pete, Cat and Ronnie. PETE What is he wearing? CAT It's a hat with the Oreo logo on it. PETE Why? CAT I do n't think he's being ironic, I think he just really likes Oreos. PETE Look. The Paul Westerberg record did okay. Frank Black did all right. The Haircut 100, not so much. We have to break this record. Otherwise, we're not here next year. RONNIE He's coming. Oreo man is coming. Graham walks up. GRAHAM Hey guys, how are you? RONNIE Are n't cookies the best? GRAHAM Yeah. Jewish Journal guy loves the record. PETE Great! GRAHAM Got a bit of a problem. Touch of gout. PETE Gout? GRAHAM Yeah, my whole family, they all had gout. PETE Jesus. RONNIE That's very unfortunate. GRAHAM My auntie Queenie, she had a foot like the size of a small pig. I've got a photo of it. RONNIE I'd love to see that photo of that gout foot. GRAHAM A couple of bunions as well. RONNIE Fuck. GRAHAM I've got to go to the podiatrist, and I hope he can shoot me up with something. PETE Yeah, well, let's get you to the podiatrist. CAT Bye, Graham. RONNIE See you later, Graham. Good luck with your gout! GRAHAM Rock and Roll, baby.\",\n \"INT. PETE'S HOME OFFICE - AFTERNOON Pete and Debbie are talking. Debbie holds a list of changes she wants to make. DEBBIE The happiest period in people's lives is from age forty to sixty. So this is it. We're in it, right now. PETE Says who? DEBBIE Says a lot of people, most people. PETE Huh. DEBBIE We have everything we need right now to be completely happy. We're going to blink and be ninety. PETE What? DEBBIE So, let's just choose to be happy. PETE Yeah. DEBBIE Your eyes are kind of glazing over. PETE No, I'm just processing it all. DEBBIE Some of these I wrote for you. So, we have to exercise every day. Spend more time alone together. We have to go to the therapist every week. PETE That's a little pricey. DEBBIE No stressing over tiny things. PETE Yeah, that's good. You should do that. DEBBIE We have to get more involved in school. Have more patience with the kids. And we need to work on our anger. PETE Yeah, I think it would be good if you could take care of your anger. DEBBIE No, I said both of us. PETE That's what I said. Our anger. DEBBIE Okay. No more smoking. PETE Yeah, you've got to cut that out. DEBBIE I do n't want to make this about a fight, I want to just be positive. PETE Sorry. DEBBIE Okay, and then no more holding on to resentments. We have to just let that go. PETE So, you're saying that if we're arguing and I apologize, you'll let it go and not throw it back in my face later? DEBBIE Well, I do n't do that, but I will continue not to do that. What did you write? PETE All of that. That's plenty. That's a lot. DEBBIE And you're going to eat better? PETE Oh, yeah. I've been doing a decent job, but I do n't think there's anything wrong with having some fries every now and again. DEBBIE And then I'll smoke that day. PETE That's not the same thing. DEBBIE It is the same thing. PETE I like fries. DEBBIE And the other thing is your dad stuff. Pete picks up a guitar and starts playing with it. DEBBIE -LRB- CONT'D. -RRB- The not letting him guilt trip you all the time, because that puts a lot of pressure on you, and the whole family feels it. He's a grown man, and he's not our responsibility. And you're not giving him money anymore, right? PETE No, I have n't been giving him money for years, I told you. DEBBIE Can you please put that down?\",\n \"INT. BEDROOM - NIGHT Pete and Debbie are in bed. Debbie has a computer on her lap. DEBBIE A lot of people are RSVP - ing to your birthday party. PETE You sure you do n't want to just do a joint birthday party? DEBBIE No. PETE We always used to. DEBBIE No. We reveal that Debbie is watching security cam footage of the store. DEBBIE -LRB- CONT'D. -RRB- Did Jodi tell you she thinks Desi's stealing? PETE Are you serious? DEBBIE Yes. PETE How much? DEBBIE Twelve thousand dollars. PETE Oh, god. And Desi's taking it? DEBBIE Well, I do n't know. That's what Jodi said. PETE We really need the store to work. DEBBIE It is. Do n't put that kind of pressure on me. PETE That's not what I mean. DEBBIE Are you nervous about money? Are we okay? PETE Yeah. Maybe we just suck it up because she's clearly earning so much more than any other employee we have. DEBBIE Oh, yeah. For sure. We ca n't fire her. We're barely breaking even with her. PETE That's why we have to keep her. We watch the footage and suddenly Desi's BOYFRIEND enters. He walks behind the counter, and she sits on his lap. She adjusts herself. DEBBIE Look at this, she's making out with somebody. On the screen, they kiss. Desi seems to be popping up and down a little. DEBBIE -LRB- CONT'D. -RRB- Is she screwing him? PETE That might be like a dry hump. DEBBIE Look at the position of her skirt. PETE That's too grainy to know for sure. Oh my god, this is the middle of the day. Customers could be in there. DEBBIE At least she's getting some. PETE What did you say? `` At least she's getting some''? DEBBIE Yes. PETE What are you talking about? We had sex the other night. You have to give me a little credit for that. DEBBIE It's not about credit. We need to have more passion. Like this. PETE That's not passion. DEBBIE It looks like passion to me. PETE What - Pete farts. PETE -LRB- CONT'D. -RRB- What is she doing? He farts again. It is longer. DEBBIE Oh my god. Do n't do that! Debbie hits Pete with a pillow. PETE What am I doing? DEBBIE Do n't fart in the bed! PETE I'm not, it's the springs. DEBBIE This is why we never have sex. That's disgusting. You're gross. PETE I do n't know what you're talking about. Pete farts again.\",\n \"INT. SADIE'S ROOM - NIGHT Charlotte jumps around in front of Sadie's door. Sadie sits on her bed quietly doing homework. CHARLOTTE -LRB- singing. -RRB- Sadie. Sadie, Sadie! Sadie, Sadie! SADIE Charlotte. I'm doing my homework. CHARLOTTE Okay, watch this. There's a haunted cow back here, and I'm pretty sure it does not have milk! Charlotte grabs her own head and makes it look like she's being dragged away. CHARLOTTE -LRB- CONT'D. -RRB- Did you see that? They took me away! Sadie does not even look up. CHARLOTTE -LRB- CONT'D. -RRB- You're no fun. You never want to play. SADIE Charlotte. How many times do I have to tell you - CHARLOTTE -LRB- singing. -RRB- Sadie! Sadie, Sadie! Is boring! Charlotte plays air guitar. Sadie does not respond. CHARLOTTE -LRB- CONT'D. -RRB- You're so mean since your body got weird. SADIE Close the door.\",\n \"EXT. HOUSE - MORNING Debbie and Pete begin their `` fresh start.'' Debbie tosses her cigarettes in the garbage cans outside. Pete tosses a packet of M&M's in the garbage. He throws out all of his cupcakes except for one. He takes a bite, tries to throw it but again, ca n't. He takes another bite, holds it over the garbage, then takes one last bite before dumping what little remains.\",\n \"INT. DOCTOR'S OFFICE - DAY Pete runs on a treadmill while getting an electrocardiogram.\",\n \"INT. DOCTOR'S OFFICE - DAY Debbie is getting a mammogram. The machine clamps too hard on her breast. She screams.\",\n \"INT. DOCTOR'S OFFICE- DAY Pete gets his testicles examined. DR. BOWE Did I tell you that my son is going to Stanford? PETE No, that's great. DR. BOWE Great for us and great for him. Cough again. Everything looks good. PETE Your face is close to my face.\",\n \"INT. DOCTOR'S OFFICE - DAY Debbie is getting a colonoscopy. TECHNICIAN Descending colon. I'm about four feet in right now. DEBBIE -LRB- laughing. -RRB- That's what he said.\",\n \"INT. DENTIST OFFICE - DAY Debbie has some sort of very painful oral surgery. She's a little high from the laughing gas. DENTIST Do you grind your teeth? DEBBIE I grind all night. DENTIST I think we need to turn the gas down. DEBBIE Turn it up! DENTIST No, we're going to turn it down. DEBBIE Turn it up!\",\n \"INT. DOCTOR'S OFFICE - DAY Dr. Bowe has his finger inside of Pete's anus, giving him a prostate exam. PETE Do you have to breathe right on my neck? DR. BOWE Sorry.\",\n \"INT. GYNECOLOGIST OFFICE Debbie is at the Gynecologist. He is the same one from the beginning of Knocked Up, DR. PELLIGRINO. Debbie's legs are up in stirrups. DR. PELLIGRINO What are you all doing for Christmas? DEBBIE I do n't know. DR. PELLIGRINO Do you have a tree and everything? DEBBIE Yes. DR. PELLIGRINO Is n't that fun. Get in the spirit - Two nurses enter the exam room. NURSE #1 Hi, sorry I just have one quick question. On your form you said you were born in 1974, but your paper said 1972. I just need to know which it is. DEBBIE Oh. It's 1974. NURSE #2 Because on your last form you said that you were born in 1975. DR. PELLIGRINO Did n't you tell me you were born in 1976? DEBBIE No. That's funny. NURSE #2 So you want to go with 1974? DEBBIE I'm not going to `` go'' with 1974, it is 1974. NURSE #2 Okay. Just remember to write 1974 every time. DR. PELLIGRINO It's okay. It's 1976. DEBBIE I lie about my age, okay? DR. PELLIGRINO Okay. DEBBIE Okay? Okay? Okay?! DR. PELLIGRINO You're tightening up. DEBBIE Oh my gosh. DR. PELLIGRINO I know how old you are. By counting the rings! Little gyno joke.\",\n \"INT. BEDROOM - LATER Debbie comes in the bedroom. DEBBIE What are you doing? PETE Getting ready to go for my ride. DEBBIE You want a blow job? PETE Yeah. Why? DEBBIE I really want a cigarette right now. PETE Well, happy to help.\",\n \"INT. HALLWAY - CONTINUOUS Sadie runs down the hallway. SADIE Charlotte, where is my backpack?\",\n \"INT. OUTSIDE THE BEDROOM - CONTINUOUS Charlotte tries to open the door, it's locked.\",\n \"INT. BEDROOM - CONTINUOUS Debbie is giving Pete a blow job out of frame. Pete is sitting on a chair, super happy. CHARLOTTE -LRB- O.C. -RRB- Hello? PETE Mom's busy! CHARLOTTE -LRB- O.C. -RRB- Why are you locking the door? Mom!\",\n \"INT. OUTSIDE THE BEDROOM - CONTINUOUS CHARLOTTE What's going on in there? SADIE Mom, I ca n't be late for school, I have a test! PETE -LRB- O.C. -RRB- Mommy ca n't talk right now!\",\n \"INT. BEDROOM - CONTINUOUS SADIE -LRB- O.C. -RRB- This is n't funny, Mom. I need to go. CHARLOTTE -LRB- O.C. -RRB- Mom, let me in!\",\n \"INT. OUTSIDE THE BEDROOM - CONTINUOUS SADIE That's not going to help. Charlotte shoves Sadie. PETE -LRB- O.C. -RRB- Put on your shoes. We'll meet you in the car. The fight between Sadie and Charlotte escalates and becomes physical.\",\n \"INT. BEDROOM - CONTINUOUS CHARLOTTE -LRB- O.C. -RRB- Sadie hurt me! SADIE -LRB- O.C. -RRB- I did n't! PETE Hit her back! SADIE -LRB- O.C. -RRB- She's faking!\",\n \"INT. OUTSIDE THE BEDROOM - CONTINUOUS CHARLOTTE -LRB- crying. -RRB- I'm not! PETE -LRB- O.S. -RRB- Go downstairs.\",\n \"INT. BEDROOM - CONTINUOUS DEBBIE -LRB- shouting to kids. -RRB- Stop crying! PETE -LRB- to kids. -RRB- Stop crying! DEBBIE Stop it! PETE God damn it!\",\n \"INT. OUTSIDE THE BEDROOM - CONTINUOUS SADIE -LRB- banging on the door. -RRB- Open the door! Open it!\",\n \"INT. BEDROOM - CONTINUOUS Muffled screams from the girls outside. DEBBIE Forget it. PETE No. Do n't forget it. Do n't forget it. Do n't. Oh, god.\",\n \"EXT. LARRY'S HOUSE - EL SEGUNDO - DAY Pete walks to the front door. His father, LARRY, greets him. LARRY Hey, Boychik. A low flying 747 lets us know he lives too close to the airport in a small house. LARRY -LRB- CONT'D. -RRB- That's the eleven o'clock from London. -LRB- yells up at the plane. -RRB- Drop something valuable, you shit. -LRB- back to Pete. -RRB- How are you? PETE That's loud. LARRY Every eight minutes, buddy.\",\n \"INT. LARRY'S HOUSE - DAY Pete sits down and talks with Larry. LARRY You look pretty good. Your hair is different. PETE Yeah, I'm growing it out. LARRY I'd get it cut. TRIPLET #1 Daddy, you never play with me. LARRY I do but right now look who I'm talking to. It's your brother. TRIPLET #1 You do n't look like my brother. LARRY I told you honey, that's because of the egg donor. Remember? TRIPLET #1 I came from a test tube. PETE How's business? LARRY It's not good. Nobody wants curtains. They think of it like a luxury. It's not a luxury. You need shade, you need privacy. Who wants to have other people watch you fuck? PETE I know how you feel. You know my business is going through some growing pains right now. Two other identical children enter and jump on Larry. TRIPLET #2 Daddy come play with us. The kids crawl around on him. LARRY Be careful, do n't jump on Daddy. Remember, Daddy has high blood what? TRIPLETS Blood pressure. LARRY That's right. Can you go outside without me for a little bit? All right? Do the Three Stooges routine you were practicing. The three exit. LARRY -LRB- CONT'D. -RRB- I ca n't tell them apart. I swear to god. I need tattoos. PETE Look, I wanted to talk to you about scaling back a little bit. You know, Deb and I are thinking about selling the house. LARRY I think that house is more than you need. I think it was too big of a purchase when you made it. PETE Yeah. In the meantime, I'm going to have to make some changes. Going to have to cut back. LARRY What do you mean? PETE With you. LARRY Oh. I'm sorry, what? PETE I ca n't lend you any more money. LARRY No, that's a bad idea. That's not the way to cut back. I have three children, here. PETE What about Claire? Why ca n't she get a job? LARRY Claire takes care of your brothers. What do you want her to do? If she goes to work, then I've got to hire somebody. PETE Well you've got to figure something out because I ca n't do it. LARRY Okay, fine. Why do n't we kill them? Come on, we'll kill two of them. I'll keep the best one. Really, it will save us both a lot of trouble. Larry stands up and walks outside. Pete follows.\",\n \"EXT. LARRY'S BACKYARD - CONTINUOUS Larry prepares to spray the kids with the hose. LARRY Line up! Line up for murder! Come on! Who wants to be killed? TRIPLET #1 I do! LARRY Okay, we're eliminating one, we're cheaper already. Larry sprays him with the hose. TRIPLET #2 Murder me! LARRY Boom, dead. You're dead. TRIPLET #2 I'm dead! LARRY All right, the kids are murdered. That will save us some money. PETE Why would you have three kids, anyway? I mean, you're sixty years old. You have no money. LARRY Because Claire wanted a baby. If we did n't at least try, she would have left me. She was forty - five years old. Nobody thought it would take. The doctor when we were doing in vitro was winking at me like, `` Do n't worry, do n't worry.'' We were very unlucky. And now we have these three beautiful children. Come on, I've got to tell you something.\",\n \"INT. LARRY'S HOUSE - MOMENTS LATER PETE What? LARRY Your mother wanted you aborted. PETE Oh, Jesus Christ. LARRY It's the truth. It was the seventies. We were twenty - two years old. That's what everybody did. You did some blow, had sex, had an abortion. PETE Really. LARRY Yes. We were on the way to the doctor's office. I said, `` Let's stop, have a pizza, talk about it, if you still want to do it after lunch, it's okay.'' The pizza saved your life. But do n't give me money. Because I'm not worth it. PETE So how much do I owe you for saving my life? LARRY I do n't have a number. You just keep giving like you're giving. Larry's wife, CLAIRE, enters. CLAIRE Oh, hi Pete. -LRB- to Larry. -RRB- Why are n't you playing with kids? LARRY We were playing with them all day. Pete's just talking to me about his fortieth birthday party. Whatever I can do to help. CLAIRE Okay. Did you feed them? LARRY I fed half of one. Okay, let's feed them. Who wants tuna with a side of jet fuel? Larry gets up and walks outside.\",\n \"INT. RESTAURANT - DAY A nervous Debbie approaches a hostess. DEBBIE Hi, I'm looking for my dad, an older man? Debbie sees OLIVER -LRB- 65 -RRB- sitting stiffly at a table.\",\n \"INT. RESTAURANT - LATER OLIVER So how's Sony treating Pete? DEBBIE Oh, he's not with Sony anymore. He went out on his own. Now he's able to focus on the artists that he's really passionate about. OLIVER How's Sadie doing? Last time I saw her she was throwing her Cheerios on the floor. What a mess. DEBBIE She just got her period. OLIVER Well. I guess she's not a little baby anymore. DEBBIE It would be nice to see more of each other. OLIVER Well, we can certainly arrange for that. I'd love to see the girls. DEBBIE That would be nice. Do you have a good day? OLIVER I would say the weekends, but our weekends are hell. Soccer competitions, kids exams. I mean, we're both so busy. I have young children, you have young children. I do n't think we should judge ourselves too harshly about that. DEBBIE I know, I was n't. I'm glad we're here. I think this is a good start and that if we can spend more time together, it would be nice. OLIVER It would be nice. -LRB- pause. -RRB- Do you want to see pictures of the kids? Oliver takes out his iPhone and starts showing Debbie photos. OLIVER -LRB- CONT'D. -RRB- This is Kell, my son. DEBBIE He's handsome. He's thirteen? OLIVER Yeah. And that's Alexandra, my daughter, she's a real perfectionist. A lot like you. That's the whole gang at Cabo. -LRB- pause. -RRB- Will you excuse me, dear? I've got to use the restroom. Be right back. He exits. Debbie picks up his iPhone and sadly scrolls through all the happy pictures of his new family.\",\n \"EXT. HOUSE - LATE AFTERNOON The family's hanging out, relaxing at dinner. DEBBIE Daddy and I are making some changes so that we can be happier and healthier, and we're starting with this meal that I prepared. PETE I think it looks great. DEBBIE Does n't it look good? PETE What is that, grilled cheeses? DEBBIE No, baked tofu. It's actually really tasty. And the lettuce is so fresh and tasty that you forget how good lettuce tastes on its own without dressing. PETE Yeah, dressing always gets in the way of the natural taste of the lettuce. DEBBIE And another thing we've decided is to cut back on all of the electronics we use. What we're going to do is get rid of the wi - fi and only use the computer from eight to eight - thirty at night. SADIE How are we going to go on the computer? DEBBIE We're going to have a hard line in the kitchen. PETE Yeah, we'll supervise that. SADIE You ca n't do this. You ca n't take away the wi - fi. Charlotte holds her iPhone to her face using an app that animates her mouth to look like a talking monkey's. CHARLOTTE -LRB- from behind her iPhone. -RRB- No wi - fi! Ha - ha - ha! DEBBIE You do n't spend enough time with the family when you're constantly on your iPhone and your computer. You're only here five more years. SADIE So you wo n't see me after five years? DEBBIE No, but you wo n't be living with us. And you should get to know your little sister. PETE You've got the perfect friend right here. SADIE I do n't want to be friends with her now. I'll be friends with her when she's twenty and a normal person. CHARLOTTE I do n't want to hang out with her when I'm in my twenties. PETE You're on your computer too much as it is. You need to get outside more. DEBBIE Yeah. You can build things. You can build a fort. SADIE What? DEBBIE Yeah, build a fort. Play with your friends. SADIE Make a fort?! Outside? And do what in the fort? DEBBIE When I was a kid we used to build tree houses and play with sticks. SADIE Nobody plays with sticks. PETE You and Charlotte can have a lemonade stand. DEBBIE Play Kick the Can. PETE Look for dead bodies. DEBBIE It's fun. PETE Get a tire and then take a stick and run down the street with it. SADIE Nobody does that crap. It's 2012. DEBBIE You do n't need technology. Charlotte holds the iPhone monkey app to her lips again. CHARLOTTE No technology! DEBBIE Charlotte, put that down. SADIE I do n't need to be monitored all the time on the computer. I do n't do anything bad. DEBBIE Nobody said you were bad. SADIE I do n't do things I'm not supposed to. I do n't illegally download music. I do n't look at porn like Wendy. DEBBIE She is up to no good. She's not allowed to come over here anymore. CHARLOTTE What's porn? PETE No, she said `` corn.'' DEBBIE This is n't turning out the way I wanted it to. SADIE I'm not hungry. Sadie gets up and stomps off. DEBBIE No computer. PETE Listen to your mom. SADIE I need to use it for my homework. She walks off. PETE She's outplaying us. DEBBIE I know. She's tough.\",\n \"EXT. PETE AND DEBBIE'S CAR - DAY Pete and Debbie drive down the Pacific Coast Highway. DEBBIE This is the best birthday present. PETE It's good to get away, you know? We have n't been to Laguna without the kids in years.\",\n \"INT. PETE AND DEBBIE'S CAR - CONTINUOUS DEBBIE I know! PETE If we're happy, they're happy. DEBBIE I mean I ca n't take it. With the hormones, and the crying, and `` do my homework''. PETE Them's little bitches. DEBBIE Them's lil' bitches! Bugging us for shit all the time. And they never appreciate anything. PETE God no. They're selfish assholes. DEBBIE -LRB- laughs. -RRB- Aw, I feel bad. I love them. PETE I know.\",\n \"EXT. LAGUNA HOTEL - CONTINUOUS The car pulls up to a beautiful hotel in Laguna. DEBBIE I miss them already. Should we go home? PETE Nah. LAGUNA HOTEL - MONTAGE Pete and Debbie hold hands as they walk the hotel grounds. They enter their room, which has a beautiful ocean view. Debbie jumps on the bed. Pete jumps on top to kiss her. Pete and Debbie jump into the hotel pool together. Pete holds Debbie in the water. They kiss.\",\n \"INT. LAGUNA HOTEL ROOM - NIGHT Pete and Debbie are in bed in their underwear. DEBBIE Why do we fight? PETE I do n't know, it makes no sense at all. DEBBIE It makes no sense. PETE When we get in a fight, look in my eyes. Let's remember this moment right now and know that we never have to fight. DEBBIE But you're such a dick sometimes. PETE I know, I am a dick sometimes. People think I'm so nice, but I'm such a dick. DEBBIE Thank you for admitting that. PETE And you get so mad at me. I feel like you want to kill me. DEBBIE I do want to kill you. PETE How would you do it? DEBBIE I do n't know. poison you. I'd poison your cupcakes that you pretend not to eat everyday. And just put enough in to slowly weaken you. PETE I love it. DEBBIE I would enjoy our last few months together. PETE Me too. DEBBIE Because you'd be so weak and sweet, and I could take care of you but while killing you. PETE See? You know what I love about us? You can still surprise me. I figured for sure you'd knock me out with one fell swoop. But you would extend it over a series of months. DEBBIE Have you ever thought about killing me? PETE Oh, yeah. DEBBIE Really? PETE Sure. DEBBIE How would you do it? PETE Wood chipper. DEBBIE A wood chipper? PETE Did you see Fargo? DEBBIE Yeah. Pete makes a wood chipping splatter noise. DEBBIE -LRB- CONT'D. -RRB- Wow. That's a bad plan. The cupcakes is a way better plan. PETE It is. You know what? I wo n't murder you. DEBBIE Aw. I love you. PETE I love you too. Hey. You know what I brought? DEBBIE What? PETE A medical marijuana cookie. Ben gave it to me last Christmas. DEBBIE What? PETE Chocolate chip koo - kie. DEBBIE Should we do it? PETE Let's eat the cookie, and then we'll order a bunch of cheeseburgers. Let's order the entire room service menu. DEBBIE Just get all of it. You deserve it. You really do. PETE Would n't you rather have me around for less years and I'm incredibly happy than longer and miserable? DEBBIE Yes, and I just realized that right now. Go get the cookie! Pete runs into the bathroom. He looks for the cookie. DEBBIE -LRB- CONT'D. -RRB- Should we watch porn when we eat the cookie? PETE Should we get a block of porn? DEBBIE I do n't think we need twenty - four hours of porn. PETE Yeah, but you know, two porns cost about as much as a block. DEBBIE I think that's too much porn. PETE We do n't have to watch it all, but for the value it makes sense.\",\n \"INT. HOTEL ROOM - LATER Pete and Debbie eat the cookie. DEBBIE How much are we supposed to eat? PETE I do n't know. I think like six or seven cookies, right? DEBBIE Plus, it's old. It probably has lost some of its - PETE Potency? They sit in silence for an incredibly long amount of time, staring through each other in a haze. They are stoned. DEBBIE We should have sex. More. PETE I mean, girls have it so easy. You just show up with your sexual organs and you're good to go. All the pressure is on the guy. DEBBIE It's true. PETE And I look at guys, like I look at a guy like Prince, and you know that guy fucks. I know I do n't fuck like Prince. Prince can fuck. I fuck more like David Schwimmer. DEBBIE You do. PETE I fuck like Ross from Friends. They're laughing and having a good time.\",\n \"INT. HOTEL ROOM - LATER MONTAGE Stoned, Pete and Debbie jump up and down on the bed. They fall down on the bed, kissing. Almost totally under the covers, they watch as a WAITER brings in a room service cart full of food. Pete does magic tricks for the waiter. PETE How does he do it? The floating spoon. LATER Debbie hands Pete a banana and two oranges, which he holds to his crotch in front of the waiter. PETE -LRB- CONT'D. -RRB- Check it out. My dick and balls. I'm going to eat my own dick! Pete eats a bite of the banana. PETE -LRB- CONT'D. -RRB- I ate my dick! LATER Debbie crawls on the floor while Pete lays in bed. PETE -LRB- CONT'D. -RRB- I think this room has rodents. I just saw it! LATER Pete stands with a starfish sticking out of his underwear. PETE -LRB- CONT'D. -RRB- Have you seen my starfish? Where did I put my starfish? LATER They eat room service. Chips and desserts and everything. DEBBIE I'm going to deep throat this eclair. She tries to deep throat it. Pete loves it. PETE I want to make out with you so bad.\",\n \"INT./EXT. CAR - DAY Pete and Debbie drive back from Laguna. They could not look happier or more refreshed. They hold hands and smile at each other. It is a beautiful day. They pull up to their house, shut off the car and sit for a beat, knowing they're about to head back into the stress of the real world, not wanting their peaceful, loving time to end. PETE That was nice. DEBBIE That was nice. Sadie walks outside. Jodi follows her. SADIE Mom! Charlotte's crying. She's got an ear infection again. JODI I did n't know what to do. PETE -LRB- to Debbie. -RRB- We're home.\",\n \"INT. CHARLOTTE'S ROOM - DAY Charlotte is crying really hard. DEBBIE Are you okay? What's the matter? CHARLOTTE I just want to rip my ear off, it hurts so much. DEBBIE -LRB- to Pete. -RRB- I told you the pediatrician did n't know what he was talking about. PETE Oh, come on. You ca n't blame it on our doctor. Ear infections are common in little kids. DEBBIE Not in kids over six years old. We're going to the Eastern doctor. PETE If she's in this much pain, we should call a real doctor. DEBBIE Are you kidding right now? PETE Okay.\",\n \"INT. DOCTOR SEDUKU - DAY Charlotte sits on the table. Pete and Debbie are talking to DR. SEDUKU, a foreign doctor. DOCTOR SEDUKU What we should do is easy and simple. No more dairy, no more wheat, no more sugar. DEBBIE Sugar, wheat and dairy. Okay. PETE -LRB- mutters. -RRB- What the fuck is left? Sorry. Is n't everything sugar, wheat and dairy? DOCTOR SEDUKU She can have vegetables and f - r - ruits. Dr. Seduku has both an accent and a lisp. PETE Oh, she can eat fr - r - ruits. DOCTOR SEDUKU Fr - r - ruits, yes. PETE Any kind of fr - r - ruits? DOCTOR SEDUKU Mangos, pineapple. PETE It is n't like there are safe fr - r - ruits and then unsafe fr - r - ruits. DOCTOR SEDUKU No, no. PETE What about F - r - r - rench f - r - r - ries? Can we do something like that? DOCTOR SEDUKU Are you okay? Would you like to come on the table? PETE I'm okay. DEBBIE Why do n't you go on the table? PETE No. DEBBIE Why do n't you go on the table? It looks like you need to get on the table. PETE I do n't want to get on the table.\",\n \"EXT. BRENTWOOD - DAY Pete cycles with the crew.\",\n \"INT. HOUSE - DAY - LATER Debbie looks around the house for Pete. DEBBIE Pete!\",\n \"INT. BEDROOM - DAY Debbie sees Pete on the bed, his legs up in the air. He still has his bike top on but is naked from the waist down. He is trying to look at his back end. He is holding a mirror and an iPhone. DEBBIE What are you doing? PETE I need you to look at something. In my butt. DEBBIE Why? PETE I think I've got something in there, and I'm not limber enough to see. I need you to look at it. I might have like an anal fissure or a hemorrhoid or a worm or something. DEBBIE What are you doing with your phone? PETE Trying to take pictures of it, so I can compare it to something on Google. DEBBIE Can we just keep like a small shred of mystery in our relationship? PETE Look, I saw you have two babies, okay? Seriously, I need you to get all up in that. DEBBIE I do not want to investigate your anus. PETE It's payback time. Pete has his naked legs hiked up over his head. Debbie takes a very quick glance inside. DEBBIE It's a hemorrhoid. PETE Thank you. Now erase that from your memory.\",\n \"INT. DEBBIE'S STORE - DAY Debbie talks to Jodi while they fold clothes and watch Desi. DEBBIE Where did she get those clothes? Those are expensive. JODI Where do you think? I do n't want this to sound harsh, but everything that comes out of her mouth is a lie. Everything that comes into it is a dick. DEBBIE Everything that goes in is dicks? JODI A dick. DEBBIE Do n't say that. JODI I'm sorry, I'm just being protective of the store. DEBBIE I'm going to go talk to her. Debbie walks over to Desi. DEBBIE -LRB- CONT'D. -RRB- Hey Desi. Is that your new Acura out front? DESI Uh, yeah. DEBBIE It's so nice. Do you love it? DESI Well, I mean, it's not a fucking Porsche, but it'll do for now. DEBBIE Hey Desi, would you mind wearing some of the clothes we have in the store? DESI Yeah, sure. I'm sorry. Desi picks a shirt. DESI -LRB- CONT'D. -RRB- Good? Desi begins to take all her clothes off in front of Debbie. DESI -LRB- CONT'D. -RRB- You know, I actually made this one myself. DEBBIE Did you? DESI Yeah. I did the tiger on a piece of paper separately, and then I transferred it to the t - shirt. DEBBIE Wow. So you stenciled on the tiger? DESI I drew it on a piece of paper, and then I transferred the drawing to the t - shirt. DEBBIE You have an amazing body. DESI Really? DEBBIE Yes. Are those real? DESI My boobs? Yeah. Do you want to touch them? DEBBIE Really? DESI Touch ` em! DEBBIE Okay. Debbie squeezes Desi's breasts. DEBBIE -LRB- CONT'D. -RRB- Wow. Jesus. I mean they really are amazing. That's firm, for real. They're like a memory mattress. Like Tempurpedic, you know? They look amazing. My kids just sucked the meat right out of mine. DESI No. There's some meat in there. DEBBIE Since I had kids, my boobs are just gone. They did n't even say goodbye. They just left. DESI By the time I'm forty, these are going to go National Geographic on me. DEBBIE I feel bad about myself right now.\",\n \"INT. RECORD LABEL - DAY Pete talks is in his office on the phone with his REALTOR. REALTOR -LRB- O.C. -RRB- I think this is a really good offer on the house. PETE We expected more. I mean, I know it's a bad market but that's still way under what we were looking for. REALTOR -LRB- O.C. -RRB- I know, but based on the market, it's like you're gaining money. Because it's so much more than what you deserve. But these people are from Iran and they do n't really know that they're offering too much. Is there any chance that Debbie will go for it? PETE I doubt it. I do n't know. REALTOR -LRB- O.C. -RRB- There's a lot of inventory out there. What's her problem? PETE She has unrealistic expectations.\",\n \"EXT. YARD - DAY Sadie and her friend WENDY run around the yard with Charlotte and the triplets.\",\n \"INT. KITCHEN PANTRY - DAY Larry and Debbie greet the kids when they enter the kitchen. Larry picks up one of the triplets. LARRY Did you miss me Travis? TRIPLET #1 It's Jack! LARRY Hey, Jack. TRIPLET #1 My daddy does n't know my name. CHARLOTTE Can I go show them my crystals before they leave? DEBBIE Yeah, really quick. Charlotte leaves with the triplets. LARRY Go play with your tiny uncles. -LRB- to Debbie. -RRB- So, what are you doing, spring cleaning? DEBBIE I'm getting rid of everything in the house that has gluten or sugar. LARRY Why? What's wrong with gluten? DEBBIE Gluten's really bad for you. LARRY I do n't think so. It's wheat. DEBBIE Do n't you watch Dr. Oz? LARRY As in the Wizard of? SADIE Hey, Mom. We were wondering if we could use the computer to iChat. DEBBIE Remember the rules? Eight to eight - thirty? SADIE Yeah, but I have a friend over. DEBBIE Hi Wendy. Why do n't you guys go play? You could go build a fort! LARRY Remember the Alamo? DEBBIE Have you ever built a fort, Wendy? WENDY Like on Facebook? LARRY I will take this if you're going to throw it away, because at our house, we're wheat eaters. DEBBIE But do n't you want to live long enough to see your kids grow up? LARRY That's up to god, honey. DEBBIE But that's really not good for the kids. LARRY The kids eat grass. This is fine. Larry takes some of the food she's throwing out. SADIE Wendy's mom lets her go on whenever she wants. WENDY My mom's pretty cool about it as long as I finish my homework. DEBBIE Yeah. Well, I guess I'm not the cool one. But the rules are just different in our house. SADIE But I get better grades than Wendy. WENDY She does. She's so smart. LARRY Let me just grab the candy worms. SADIE Your rules are ridiculous. DEBBIE Do n't sass me. SADIE I'm only sassing you because you're throwing out all the food in our house and I'm freaking starving. You're being stupid. DEBBIE Wendy, can you go stand in the other room, please? WENDY Yeah. Wendy exits. SADIE -LRB- whispers. -RRB- Mom. DEBBIE Give me your iPhone now. LARRY The nougat things are good. SADIE I have all my contacts in there. DEBBIE Okay, if you do n't give me your phone right now, then I'm going to have to take away your phone and your computer. SADIE Jesus Christ - DEBBIE That's it. SADIE I need my computer to do homework. DEBBIE No phone, no computer. SADIE This is B.S.. This is a bunch of F - ing S. You're acting like a B. LARRY Kids! Time to go! DEBBIE You go to your room right now. Sadie runs off. DEBBIE -LRB- CONT'D. -RRB- -LRB- calling after her. -RRB- You are not allowed to use iPhone, iPad, iPod Touch, iTunes, Netflix, Pandora, or Spotify! Pete enters from the hallway. He sees Larry and turns around before anyone notices him. LARRY She's a little pip. Just like her mommy. So I might have a job tomorrow, at least I'm going to go try to give an estimate. Do you mind taking the kids for a couple hours? DEBBIE -LRB- conflicted. -RRB- Okay. LARRY This is nice. You and I do n't spend enough time together, do we? DEBBIE We spend enough time together. LARRY We do? DEBBIE It's quality time. LARRY Then we do. I'll go with what you think.\",\n \"INT. BEDROOM - NIGHT Pete and Debbie are in bed. Pete is reading Sadie's iChats on her confiscated iPad out loud to Debbie. DEBBIE What else did they say? PETE Some kid named Joseph - DEBBIE I know Joseph. PETE You do? He's making a `` Hot or Not'' list. DEBBIE What? PETE So, Sadie said, `` That's so lame and immature that you're doing that.'' And then Joseph says, `` Yo, girl. We're just having some fun so do n't be a bitch, yo.'' DEBBIE That is not nice. PETE So, then Sadie said, `` Do n't call me a bitch.'' And Joseph said, `` I did n't call you a bitch, I said do n't act like a bitch. And by the way you're in the ` Not Hot' column.'' DEBBIE Who made him the judge of hot? PETE Do you realize what that could do to her self - esteem? DEBBIE What a little fuckhead. I'll kill him. PETE So then Sadie said, `` You're in the jackass column. I've got to go. I'm bored of you.'' DEBBIE That is cool. That's taking the high road. PETE For some reason, there's an emoticon of a panda doing push - ups. DEBBIE I wonder what that means. PETE I do n't think it means anything, I think it's just adorable. DEBBIE Aww. She's a good girl. She was polite, and she stood up for herself. PETE That's pretty cool. They hear a door slam. Debbie gasps. PETE -LRB- CONT'D. -RRB- What? DEBBIE Shit. I thought she was coming in. PETE Oh my god, that scared me to death. DEBBIE If she caught us, she would kill us. Debbie starts looking through the iPad. Pete's iPhone chimes. He sees a message from Ronnie from work. It reads : `` Got the numbers. Call me.'' Pete looks ashen. He looks over at Debbie who is oblivious. PETE I've got to make a call.\",\n \"INT. HOME OFFICE - NIGHT Pete paces. PETE -LRB- whispering loudly. -RRB- We sold how many? RONNIE -LRB- O.C. -RRB- Six hundred and twelve album downloads. PETE Wait a minute. There are no zeros after that? RONNIE -LRB- O.C. -RRB- There are zeros, but all of them are before six hundred and twelve. There are none after. PETE How is that even possible? RONNIE -LRB- O.C. -RRB- Out of three hundred million Americans, six hundred and twelve people chose to download the album. You could personally call everyone who bought this record. PETE We're fucked! Here's the deal. I want you to meet me tomorrow morning at eight o'clock. I want a list of at least thirty ideas of what we can do to change this. We have to change this. I started a record label because I could n't get a job, so I have no other options.\",\n \"INT. CAR - MORNING Pete is driving. Sadie and Charlotte sing show tunes loudly and happily. Pete is very upset about the record not selling.\",\n \"INT. ACCOUNTANT'S OFFICE - DAY Debbie is talking to their ACCOUNTANT. DEBBIE What financial problems? ACCOUNTANT Well, for one thing, you were right, you are missing about ten thousand dollars from the store. And then, Pete's record not selling well. DEBBIE I thought we were n't supposed to hear for three weeks? ACCOUNTANT We heard. DEBBIE You heard. ACCOUNTANT And they're bad. You know, it's that, and it's the money that he's been lending to his father, that's creating a strain. DEBBIE How much have we lent him? ACCOUNTANT Eighty thousand. DEBBIE Did you say `` eight thousand'' or `` eighty thousand''? ACCOUNTANT Eighty thousand, over the past couple of years. And then you missed the mortgage payment - DEBBIE On the house? ACCOUNTANT And you missed the rental on the office. DEBBIE Does Pete know that? ACCOUNTANT Oh, yeah. We're on the phone all the time. Look, I know you're going through a hard time, and I want you guys to know that we're here for you, okay? Anything you guys need, that's why we're here. We're here for times like this. DEBBIE What are you going to do? ACCOUNTANT There's not much I can do.\",\n \"INT. RECORD LABEL - MORNING Pete enters and walks into Ronnie's office. Ronnie is drawing on a blackboard behind his desk. PETE What are you doing? RONNIE I'm drawing the album cover for Van Halen's Diver Down. PETE If you spent a little bit more time focusing on Graham Parker instead of drawing album covers, I would n't be in this predicament. RONNIE I'm focused on Graham Parker. PETE You're supposed to help me with him! You're supposed to call the companies, you're supposed to get people to the show! RONNIE I've done everything I can, Pete. You had me pushing around a corpse. It was like being in fucking Weekend at Graham's. PETE What should we do? I'm out of ideas. RONNIE You fly in The Rumour. I ca n't sell a reunion concert without the band. It's ridiculous. PETE With what? I ca n't afford it. RONNIE You put this on yourself. You wanted the responsibility, take it on the chin, and stop acting like a bitch. PETE What did you call me? RONNIE Chin. Pete walks out of Ronnie's office and into the main office space. Ronnie follows. RONNIE -LRB- CONT'D. -RRB- Pete - wait. I have an apartment, I have health insurance, I have car payments. I have responsibilities. PETE Do n't talk to me about responsibilities. I have a life. I have a family. I ca n't afford to sit in my apartment getting high, jerking off, and then going to Tommy's Chili Burgers at three in the morning. RONNIE That's not even the order that happens in! PETE I have everything to lose here. Everything. RONNIE Yes. Because you spent thousands of dollars on shit we do n't need. You really need to spend thirty thousand dollars on a fucking neon sign, dude? Which is inside? It's not even outside. We know where we work. PETE If you want to sign a band, you have to look like you're the real deal. RONNIE -LRB- to Cat. -RRB- Princess Labia, how much is it to fly The Rumour in? CAT It's twelve thousand. RONNIE Twelve thousand dollars! PETE You know what? Fine. Fly in The Rumour. Put it on my AmEx.\",\n \"INT. GYNECOLOGIST'S OFFICE - DAY Debbie sits in Dr. Pelligrino's office. DEBBIE No, you said it was impossible. DR. PELLIGRINO I do n't think I said it was impossible. DEBBIE Yeah. DR. PELLIGRINO I usually do n't say impossible. I like to leave some wiggle room. DEBBIE You said that my fibroid was like a giant boulder, like the one from the Indiana Jones movies blocking up my uterus. DR. PELLIGRINO And I need to stop using that reference of Indiana Jones. I think that's not appropriate when talking about the reproductive system. DEBBIE It's okay. DR. PELLIGRINO Anyway, somehow the Eastern medicine has worked and the fibroid has dissipated. DEBBIE That's great. DR. PELLIGRINO Yes. Your fibroid shrunk, and somehow it allowed you to get pregnant. DEBBIE What? DR. PELLIGRINO You're going to have your third baby. Congratulations. DEBBIE No. DR. PELLIGRINO Yes. Debbie does not react. DR. PELLIGRINO -LRB- CONT'D. -RRB- Would you like some water? DEBBIE That's good news. Another baby, at forty. DR. PELLIGRINO Debbie? DEBBIE I am thrilled. And Pete is going to be so happy. DR. PELLIGRINO So, you're okay? DEBBIE What a relief. I can finally relax now, you know? I'm so happy, I really am. It's good. DR. PELLIGRINO Great. Great.\",\n \"INT. CAR - DAY Debbie drives. We can not tell what she is feeling. Then after a few beats, a joyous smile appears across her face.\",\n \"INT. RECORD LABEL - PETE'S OFFICE - DAY Pete takes a framed item off of his wall.\",\n \"EXT. LARRY'S HOUSE - DAY Larry answers the door. Pete is there with a framed drawing made by John Lennon. PETE Hey, why are you in a bathrobe? It's the middle of the afternoon.\",\n \"INT. LARRY'S HOUSE - CONTINUOUS LARRY I took a late shower. Why are you busting my balls? Look, I'm sorry about the record. You're going through financial shit. This is what I live with. This is a horrible time in human history. What is that? PETE Something that might help both of our situations. Pete hands him the drawing. PETE -LRB- CONT'D. -RRB- This is a drawing by John Lennon. I got it ten years ago for five thousand dollars. I do n't know how much it's worth now. Could be five, could be twenty. LARRY I do n't want this. I do n't even like it. I'm not going to hang it up. PETE It's not for you to hang up. It's for you to sell. That way I can give it to you and you can make some money, and Debbie does n't know that I'm giving you anything. LARRY Well, you're not giving me money. You're giving me a project. I do n't know how to sell this. I'm not an art dealer. PETE Just sell it online. Do some research, make some calls. Or is that too hard to do with your high blood pressure? LARRY All right. Do n't get snippy. Just because you write a great song does n't mean you can draw. PETE It's incredible. John Lennon drew it. LARRY I think it's a Ringo. Do n't beat me up if I get three hundred dollars for it. PETE Do n't take less than sixty - five hundred for that. It's very valuable. It's important to me. I want you to sell it so I can help you. LARRY Okay. PETE I'll see you at my party. LARRY What should I bring? You want wine or something? PETE No. Do n't buy wine with my money and give it to me at my party. LARRY That's mean. PETE I love you. Bye. LARRY All right. Bye. How do I call eBay?\",\n \"INT. SCHOOL AUDITORIUM - DAY Sadie and a bunch of other kids are building sets for a school play. Sadie talks with a FRIEND. Pete and Debbie are watching from afar, sitting next to each other. Debbie tries to gently break the news. DEBBIE She's so cute. She's so tall. PETE I know. How did that happen? DEBBIE Do you ever wish we had a bigger family? PETE No, never for a second. Never. DEBBIE Never? PETE Never. I love what we have. One? A breeze. Two? Brutal. Three? Put a bullet in my head. Debbie is totally deflated. PETE -LRB- CONT'D. -RRB- I think about that gray - haired pregnant lady from school and I just feel bad for her. And I feel bad for the kid. Can you imagine? All the other little kids, `` Where's your mommy?'' `` Oh, she's the one sitting in that scooter eating a soft cracker.'' Kids do n't want to have old parents. You know, it would also be nice for us to spend some time apart. Kind of rediscover who we are individually. It would be so great to not see you for like a chunk of time so that I could really just miss you. Remember when we used to miss each other?\",\n \"EXT. SCHOOL - DAY Debbie is walking through the campus upset. She sees a kid and darts over to him. DEBBIE Hey! JOSEPH -LRB- 13 -RRB-, the kid who insulted Sadie on her Facebook, turns and sees Debbie. JOSEPH Yo, sup? DEBBIE I'm Sadie's mom. JOSEPH Sadie? DEBBIE Sadie, the one you chat with on the internet? JOSEPH Nah, man. That ai n't me. DEBBIE Well, it was you, I saw your picture. Did you make a `` Hot'' list and not put Sadie on the `` Hot'' list? JOSEPH She was not on my list, no. DEBBIE You know what I'm going to do? I'm going to make my own `` Hot'' list, and you know what? You're on the `` Not Hot'' list. How does that feel? JOSEPH It does n't bother me. I'm comfortable with the way I am. She gets even quieter, scarier and more in his face. DEBBIE Maybe you should n't be so comfortable with yourself. You know why? You look like a miniature Tom Petty. How's that feel? Huh? You think that haircut's cool? It's not. It looks like you put your Justin Bieber wig on backwards. You still comfortable with yourself? Why are you wearing a tank top? Huh? So you can show off your bald pits, you little hairless wonder? Cool tank top, man. So next time you think about writing something nasty on my daughter's Facebook page, just remember me. Remember me. I will come down here, and I will fuck you up. Joseph looks upset. JOSEPH Okay, I'm sorry. DEBBIE Wait a minute. Hey. Are you crying? JOSEPH Just let me go. DEBBIE I'm sorry. I'm not in my right head. JOSEPH I understand. My mom is going through menopause, too. It's a hard time. DEBBIE What did you say? JOSEPH You're going through menopause? DEBBIE I'm not going through menopause! I'm not going to go through menopause for twenty years. I'm pregnant you little bitch. God damn it! She storms off.\",\n \"INT. MASTER BEDROOM - BATHROOM - NIGHT Debbie pulls open the door, Pete is on the toilet playing on his iPad. DEBBIE I'm going out to coffee with Desi to find out if she's stealing from us. PETE I've got the Graham Parker concert. Who's gon na watch the kids? DEBBIE I do n't know. Figure it out. Debbie exits. Pete flips her off after she's gone.\",\n \"INT. BAR - NIGHT Debbie and Desi are talking as they walk down the stairs into a loud club. DEBBIE I just wanted to talk. Maybe we could go to a coffee house or something? DESI You want coffee? This place has coffee. They have all kinds of drinks.\",\n \"INT. BAR - NIGHT Debbie and Desi talk to a group of young men, PROFESSIONAL HOCKEY PLAYERS. DESI What sport do you guys play? HOCKEY PLAYER We play hockey. DESI Oh, I like hockey. DEBBIE Who do you guys play for? HOCKEY PLAYER We play for the Philadelphia Flyers. DEBBIE You guys are all from Philadelphia? HOCKEY PLAYER No, actually none of us are. DESI Do you guys still have all of your teeth? HOCKEY PLAYER #2 Well, I've got all my teeth, except for these ones. He takes a plate of his teeth out. HOCKEY PLAYER #2 -LRB- CONT'D. -RRB- Want to try them on? Desi takes them and tries to put them in her mouth. Everyone laughs. DESI Do I look sexy? Desi looks insane. She tries to kiss Debbie. Everyone is laughing. HOCKEY PLAYER #3 They definitely look way better on her than they do on you. She hands the teeth back to their owner. He pops them back in and everyone cheers. DEBBIE So, should we go to the quiet area? HOCKEY PLAYERS No, no. HOCKEY PLAYER #4 Where are you going? DEBBIE We kind of have to have a little business meeting tonight. HOCKEY PLAYER Business meeting? You have to celebrate with us. We won tonight. DESI I want to party with these winners, come on Deb. HOCKEY PLAYER #4 Come dance with us. DEBBIE -LRB- thinks about it. -RRB- Okay. Let's fucking dance! Yeah!\",\n \"INT. NIGHTCLUB - NIGHT - CONTINUOUS Pete on stage in a half - filled nightclub. PETE Thank you so much for coming, this is so exciting! For the first time in over thirty years, Graham Parker and The Rumour. Pete watches Graham Parker perform with his band. The song is amazing. It is about issues Pete is going through, and he is really connecting. PETE -LRB- CONT'D. -RRB- -LRB- to Ronnie. -RRB- Where are his fans? Where are they? RONNIE It's hard to watch a band when you know all of them remember D - Day. PETE What's press turnout like? RONNIE Are you serious? Nobody came. PETE Nobody is here? RONNIE Oh, the guy from Green Day is here. BILLIE JOE ARMSTRONG sits nearby, watching the show. PETE Yeah, Billie Joe, I emailed him. He's a fan. RONNIE You've got to get a photo of the two of them. PETE No, he says he does n't want to do any press, he's just watching the show. RONNIE Oh, how punk rock of him. `` I do n't like photographs.'' -LRB- to Billie Joe. -RRB- Grow up, Green Day! BILLIE JOE Shut up, Tom Selleck.\",\n \"INT. NIGHTCLUB - NIGHT Desi and Debbie dance with the hockey players to a Nikki Minaj song. Debbie lets loose, she's having the time of her life.\",\n \"INT. NIGHTCLUB - MOMENTS LATER Debbie is talking to a hockey player named JAY who is twenty - four and cute. JAY I would n't call them classically good dance moves, but you left it all out there. You're a blast to dance with. DEBBIE Thank you. JAY We're having a little shindig at the hotel after this, you should come by and hang out. DEBBIE You want me to come to the hotel? JAY Yes. I want you to come by the hotel with me. DEBBIE Well, what would we do there? JAY Maybe we can find somewhere quiet, have fun, and see where it goes. Like adults do sometimes. DEBBIE Like, sex? JAY I mean, if you want. If that's on the docket. I'm not trying to force that. DEBBIE So you would do sex with me? JAY Do sex? What are you, Borat? DEBBIE Are you hitting on me? JAY Yes. I'm hitting on you. You're hot and cool and nice and you have beautiful eyes. DEBBIE I'm sorry. I'm married, I have two kids, and I'm pregnant. JAY That is what we call the `` hat trick.'' Wow. DEBBIE I'm sorry I did n't tell you. I'm just really enjoying you being so nice to me. JAY I hope this does n't come off as super cheesy, but I think you're a very rare find. DEBBIE Thank you. JAY And I would totally do sex with you. They laugh.\",\n \"INT. NIGHTCLUB - LATER Graham is packing up to go. Pete approaches him. PETE -LRB- to the band. -RRB- That was spectacular guys, really well done. -LRB- to Graham. -RRB- Hey, Graham. GRAHAM Pete! How are you, man? PETE Well, the first numbers came in. GRAHAM Happy? How's it looking? PETE About half of your last record. GRAHAM Ah, so you were expecting it to sell. They never sell anymore. They used to sell. But now they do n't. I'm not a sexy sixteen - year - old girl. PETE But I wanted to sell it. It's such a good record. I feel like I let you down. GRAHAM No, I'm going to be fine. My overheads are so low. I just got a song in Glee. Guy in the wheelchair is going to sing it to the Asian girl, I believe. I do n't know, I've never seen the show, but that's what I'm told. Secret is, make sure you have a small nut. That's the key to life. PETE Graham, I do n't have small nuts, all right? I have big nuts. And I need to provide for them. Billie Joe comes over to congratulate Graham. BILLIE JOE Graham, hey, what's up? GRAHAM Billie! BILLIE JOE How you doing, man? Great show. I'm inspired. I want to write a song right now. GRAHAM Inspired, huh? That inspires me. BILLIE JOE Let's go get a drink. GRAHAM Let's get a drink. BILLIE JOE -LRB- to Pete. -RRB- You coming? PETE No. I'm fine. You guys go. Congratulations on Glee. They walk away. BILLIE JOE You got a song on Glee? That's killer, man. That's so much money, that's good for all of us.\",\n \"INT. CAR - NIGHT Pete sits in the car crying.\",\n \"INT. CAR - NIGHT Debbie is dropping Desi off at her apartment. DEBBIE Why did you put that guy's teeth in your mouth? That's so gross. He was dirty. DESI No, he was wearing a tie. DEBBIE That's true. DESI When I kissed him, I felt his little tiny teeth nubs with my tongue. DEBBIE You did? DESI It was like kissing a baby. French kissing a baby. DEBBIE Can I ask you something stupid? Do you know why we're missing money at the store? DESI Are you guys missing money? DEBBIE Like twelve thousand dollars. DESI Wait. Do you think I took it? DEBBIE Well, no. I did, but now I do n't. DESI It's not me. DEBBIE Then, why do you live in such a nice apartment and have such a fancy car? DESI Yes, you're right. Look. I. am an escort. I get paid to go out on dates. Debbie looks shocked. DESI -LRB- CONT'D. -RRB- But only three to five times a year. Ten times max. But it's not technically `` prostitution'' because I do n't have to sleep with them. DEBBIE Well, that's good. DESI But I always do. That's why I only do it four to eight times a year, fifteen times max. DEBBIE Huh. DESI One year I did it twenty. DEBBIE As long as you think it's safe. DESI It's safe. I only do it ten to thirty times a year. DEBBIE So, who do you think is stealing money? DESI It's Jodi. DEBBIE No. DESI Yeah. She's a pilled - out whore. DEBBIE Since you told me, I want to tell you something. DESI You're pregnant. DEBBIE How did you know? Desi nods. DEBBIE -LRB- CONT'D. -RRB- Wow. Maybe you should tell Pete. DESI You did n't tell Pete yet? Why not? DEBBIE I do n't know. I just want him to want me. I do n't want him to want me because I'm pregnant. DESI Go home and suck his dick and tell him then and he will love it. DEBBIE You think? DESI He'll be so excited. Or even better yet, you should tell him while you're sucking his dick. -LRB- mimes a blow job. -RRB- `` I'm pregnant.''\",\n \"INT. BEDROOM - NEXT MORNING Pete on his iPad laying in bed. Debbie comes in to talk. DEBBIE What are you doing? PETE I'm returning some emails. DEBBIE What time do you have to go to work? PETE Like ten minutes ago. DEBBIE Want to be late? Debbie's shirt is unbuttoned and she is topless. PETE -LRB- not looking up. -RRB- No, I ca n't be late. Not today. Pause. DEBBIE Do you see me? Standing here in front of you? Half - naked? PETE Yeah. DEBBIE And does that make you feel anything? PETE Come on. Are you trying to start a fight? DEBBIE No, I'm not trying to start a fight with you. I'm trying to fuck you! PETE Oh god, you know what? Today of all days you need to give me a break, all right? DEBBIE Whatever. She exits into the bathroom. There's silence. PETE I did n't realize it was intentional! I did n't say anything because I did n't want you to be embarrassed. I thought I was being gallant. No response. PETE -LRB- CONT'D. -RRB- All right, fine, I'm an asshole. Debbie returns, dressed. DEBBIE You know what your problem is? You're never in the moment, you're never present. You're never in your body. PETE That's not true. I am in the moment. You know how I know? I want to get the fuck out of the moment. I swear, I ca n't win with you. Pete walks out of the room. Debbie follows. DEBBIE You ca n't just walk away.\",\n \"INT. PETE'S OFFICE - CONTINUOUS DEBBIE How's the record company going, Pete? PETE What? Not great. I'm still waiting for numbers to come in. DEBBIE What have you heard? PETE A couple numbers have trickled in. It's lower than we expected. DEBBIE Then why are you giving Larry money? PETE What? DEBBIE I know everything. I talked to the accountant. PETE All right, you know what? I do n't want to get into some nasty fight. So can we please talk to each other like the therapist told us to talk to each other? DEBBIE Fine. It makes me feel sad when you are dishonest. PETE I understand it makes you feel bad when I am dishonest with you. It hurts my feelings when you treat me with contempt and corner me and try and trick me into lying. DEBBIE Okay. It makes me sad when it's so easy to trick you into lying because you're such a lying shitbag. PETE You ca n't do that. The therapist said you're not allowed to judge me. DEBBIE That's not a judgment. That's just a fact. PETE Fair enough. Sometimes I withhold truth, that is true. But it's only because I'm scared to death of your crazy - assed illogical overreactions. DEBBIE Well, it hurts me inside and triggers me that you're such a dishonest shit that you're lending your father money without telling me, while your record company is going bankrupt and we're on the verge of losing our fucking house!\",\n \"INT. CHARLOTTE'S ROOM - CONTINUOUS Charlotte plays piano in her room alone. Through the wall, she can hear Debbie and Pete fighting.\",\n \"INT. BEDROOM - CONTINUOUS DEBBIE What else are you lying about? PETE I've taken Viagra for two years. I ate six muffins downstairs a while ago and my cholesterol level is 305. My heart could explode at any second. These might be my very last words. And I gave Charlotte antibiotics when you were n't looking. That's why her ear got better. So, go fuck your witch doctor. DEBBIE What are we even doing? This is not making me happy. You're not happy. You do n't like me. I can feel that. I'm not blind. Jesus. We're like business associates. We're like brother and sister. There's no passion there. PETE We're not like brother and sister. You know what we're like? We're like Simon and Garfunkel, and somehow you turned me into Garfunkel. DEBBIE I do n't even know what that means. PETE Art Garfunkel. DEBBIE What's wrong with Art Garfunkel? He has a beautiful voice. PETE He's got an amazing voice. He could put a harmony to anything, but what I'm saying is that you turned me into him. DEBBIE What the hell are you talking about? PETE Simon controls him. DEBBIE That's because Simon writes the fucking songs! He's the better one. PETE You know what? I see the way you look at our kids. You have so much love and compassion for them. You never look at me like that. Ever. DEBBIE Would we even still be together if I did n't get pregnant fourteen years ago? PETE I'm not going to go down that road. DEBBIE Would we? Pete does n't say anything. DEBBIE -LRB- CONT'D. -RRB- Okay. Debbie starts walking away. DEBBIE -LRB- CONT'D. -RRB- You know what? I do n't even want to have a party here. You need to cancel it. PETE No, I'm not. I already paid for the catering, I put down deposits, and I ` m not going to call everybody back in two days when change your mind.\",\n \"INT. BEDROOM - NIGHT They all are laying in bed watching Spongebob Squarepants. It is tense. Charlotte is licking her fingers. SADIE Can you please stop licking your fingers? Charlotte does it more. SADIE -LRB- CONT'D. -RRB- Do you know how many germs are on your hands? And you're putting them into your mouth. It's gross. Stop. Charlotte pokes Sadie with her wet fingers. SADIE -LRB- CONT'D. -RRB- I'm going to kill you! PETE Hey! Sadie, enough! She is n't hurting anyone. If you want to say something, keep your mouth shut. DEBBIE You have never been nice to her and now she's getting aggressive with you. I told you this would happen. Sadie leaves and slams her door. CHARLOTTE I'm sick of everybody fighting. Charlotte leaves.\",\n \"INT. CHARLOTTE'S ROOM - NIGHT - LATER Charlotte writes a note at her desk.\",\n \"INT. HALLWAY/SADIE'S ROOM - NIGHT Charlotte walks by Sadie's room. She puts the note up on the door. It reads, `` I'm sorry you think I'm gross. You are right. Love, Charlotte.''\",\n \"INT. HOME OFFICE - NIGHT Pete sits alone, listening to music.\",\n \"INT. LIVING ROOM - NIGHT Sadie sits alone watching Lost on an iPad.\",\n \"INT. CHARLOTTE'S ROOM - NIGHT - LATER Debbie rests next to Charlotte in bed. DEBBIE What do you think you're going to be like when you grow up? CHARLOTTE I do n't know. DEBBIE Do you think you want kids? CHARLOTTE Just one. DEBBIE Just one? Why? CHARLOTTE Because if I have two then the one will fight with the other one. DEBBIE Does it make you sad when you fight? CHARLOTTE I do n't want anyone to fight. DEBBIE I love you.\",\n \"INT. FAMILY ROOM - MORNING Pete is sleeping on the couch.\",\n \"INT. KITCHEN - MORNING Pete sits at the counter. Debbie and the kids are at the breakfast table. CHARLOTTE Why is n't anybody talking? Why is it so quiet? PETE It's the sounds of silence.\",\n \"INT. CAR - DAY Pete is driving Sadie and Charlotte to school. On the stereo is `` Paradise by the Dashboard Light'' by Meatloaf. Pete is eating an egg sandwich and manically singing along. PETE -LRB- singing. -RRB- I do n't think that I can really survive. I'm praying for the end of time, it's all that I can do. Praying for the end of time, so I can end my time with you. SADIE Stop, Dad. PETE It was long ago and it was far away, it was so much better than it is today. CHARLOTTE How many of those are you going to eat? PETE As many as I want. CHARLOTTE I'm going to tell Mom on you. PETE Try it. See what you get for Christmas. Nothing. Snitches wind up in ditches. Remember that.\",\n \"EXT. SCHOOL - DAY Pete walks Charlotte in. He gives her a kiss then walks back towards his car. On the way he bumps into Joseph and his mom, CATHERINE. CATHERINE Peter! PETE Hey. CATHERINE Catherine. I'm Joseph's mother. PETE -LRB- pleasantly lying. -RRB- Oh, right. No, I know. Hi, Catherine. CATHERINE Our kids have gone to school together for eight years. PETE Sorry. -LRB- to Joseph. -RRB- Hello, Joseph. -LRB- to Catherine. -RRB- I hear our kids have been chatting online. CATHERINE Yeah? I heard that your wife has been screaming at my son and I do n't appreciate it. PETE Excuse me? CATHERINE She screamed at my son. -LRB- to Joseph. -RRB- Right? She threatened you? -LRB- to Pete. -RRB- She cursed at him. He's thirteen years old for god's sake. What the hell is the matter with her? You better check her meds and get them right. Pete thinks for a moment, not sure how to handle this. PETE Okay, why do n't you back the fuck off, because that's my lovely, sweet wife you're talking about. CATHERINE Oh, I need to back off? PETE Yeah, you need to back off because your kid is an animal. Why do n't you put him on a leash? CATHERINE -LRB- to Joseph. -RRB- Turn around! PETE If he insults my daughter again, I'm going to hit him with my car. Got it? In fact, if you insult my wife again, you know what I'm going to do? I'm going to show up at your house when you're sleeping, and I'll take your iPad and your iPod or your iMac and I'll shove them up your fucking iCunt. I've got nothing to lose. Your kid is the problem. My kid is a fucking angel. I do n't have time for this shit. So I'm keeping it together. But if I was n't at school right now. He pokes her shoulder. CATHERINE Do n't touch me. PETE I did n't touch you. CATHERINE You touched my upper breast! PETE I did n't. I got right below your shoulder. CATHERINE You got right here. -LRB- to Joseph. -RRB- He hit my nipple! JOSEPH You what? PETE You're insane. CATHERINE Why would you do that? JOSEPH Did you just touch my mom's nipple? CATHERINE He just touched my nipple! Why would you do that? PETE I poked you on the shoulder. CATHERINE I have very high nipples. PETE I touched your shirt. CATHERINE What do you think is under my shirt? My breasts are under my shirt. -LRB- to Joseph. -RRB- He just touched my breast. PETE Your shoulder, your shoulder. CATHERINE That's a funny place to put a shoulder. My boob! PETE Hello! There are children around. CATHERINE This is n't over. You're going to be sorry. -LRB- to Joseph. -RRB- Let's go!\",\n \"INT. COFFEE BEAN AND TEA LEAF - DAY Debbie is talking to Jodi, who is crying. JODI Why the fuck would you believe Desi? DEBBIE You just admitted it. JODI Did I? DEBBIE You stole twelve thousand dollars from me, Jodi, and I need you to pay me back. JODI Can you at least give me a referral? DEBBIE You babysat my kids while you were on Oxycontin. JODI Oxycotton. DEBBIE Oxyconton? JODI Oxykitten. DEBBIE What's oxykitten? JODI Meow. DEBBIE Jodi. You put me in danger. Me and my family. JODI It was a cry for help. Help. -LRB- getting weirder. -RRB- Help. Why do n't you help me? Just help. Help. Why do n't you help me? DEBBIE Are you high right now? JODI -LRB- weirder. -RRB- Help me. Debbie's phone buzzes. JODI -LRB- CONT'D. -RRB- Is that about me? Is that the cops? Is this a set - up? DEBBIE I need to go. JODI Okay, see you later. -LRB- creepily. -RRB- Fuck you, Debbie. Fuck. You.\",\n \"INT. VICE PRINCIPAL'S OFFICE - DAY Pete and Debbie are sitting across from VICE PRINCIPAL LAVIANI. In another seat is Joseph's mother, Catherine. MS. LAVIANI Joseph was very upset when I spoke to him about this, so I thought it was important that we join together and work this through. PETE Absolutely. CATHERINE We're going to work through it, but Debbie told my son that he looked like Tom Petty, in a negative way - PETE Who's Tom Petty? CATHERINE You know who Tom Petty is. And she said that if she had to come back, that she was going to `` F up his pussy ass.'' Which is what she said. DEBBIE Are you serious? I did n't. I would never. To a child? Your son has been defiling my daughter's Facebook page now for months. CATHERINE These people are liars. He said that my son was an animal and that if I did n't keep him on a leash that he would hit him with his car. MS. LAVIANI Did you say that? PETE That's ridiculous. Who talks like that? CATHERINE You do. Debbie tries to hide a smile. DEBBIE He did n't say that. CATHERINE He said it. To me. PETE What I said was that we need to keep an extra eye on our kids because with all the technological advances, they need to learn to use them responsibly. CATHERINE No. He called me an `` iCunt.'' PETE A what? MS. LAVIANI Language, Catherine! CATHERINE How am I going to relay what these two nutballs said to me unless I say it. MS. LAVIANI Can you please not talk like that, Catherine? Music Man is rehearsing next door. CATHERINE Sorry, fucking Music Man. Maybe if I looked more like this fake bullshit couple, looks like they're in a bank commercial. That's what you look like. Like a bullshit bank commercial couple. MS. LAVIANI None of this talk is productive. CATHERINE I'd like to rear up and jackknife my legs and kick you both in the jaw with my foot bone. DEBBIE You're just really scaring me. CATHERINE This is what happens when you corner a rat. You corner me, I will chew through you. MS. LAVIANI Catherine, you're better than this. CATHERINE Fuck you, Jill. You're a horrible woman. This is why everybody hates you. This kind of shit. Ineffective. Bullshit hair. And I'm glad your husband died. Because you're a fucking asshole. He probably killed himself. MS. LAVIANI Okay, Catherine. I think we know what's happening now. DEBBIE Now you know what we're dealing with.\",\n \"EXT. PARKING LOT - DAY Pete and Debbie leave the school together, surpressing smiles. They get in separate cars and drive off.\",\n \"INT. KITCHEN - NIGHT Debbie is making dinner. Pete and Charlotte sit at the table. CHARLOTTE I'm not going to eat that chicken. DEBBIE Why not? CHARLOTTE Because I feel like I'm going to be a vegetarian. DEBBIE Can you become a vegetarian tomorrow? CHARLOTTE No. Sadie storms in. SADIE You guys have been reading my texts? PETE No, we have n't. DEBBIE Yes, we have. We're supposed to keep an eye on you. PETE How did you find out? SADIE Joseph told me that you flipped out on him and his mom and that you guys are nuts, and I agree. PETE Do n't be disrespectful. SADIE You're the ones who are disrespectful. Reading my texts is like reading my diary. DEBBIE You were really sweet on your iChat. We were really proud of you. PETE Yeah, we were going to give you your computer and phone back. SADIE Fuck you! PETE Okay, there's the first official `` Fuck you.'' DEBBIE That is not how we talk to each other in this house. SADIE You guys talk to each other like that all the time! And to Joseph and his mom. You made Joseph cry. CHARLOTTE Joseph has a crush on you. You like a boy who cries. SADIE Shut up, Charlotte. You guys so desperately want me to be perfect and to make no mistakes. Well, you two are fucking insane. DEBBIE Okay. SADIE All you do is fight. Or you do n't fight, which is even worse because it looks like you hate each other for weeks. You obsess over every little thing I do, and you do n't trust in me or believe in me. Well, I'm fucking sick of it! Yeah, I said `` fuck.'' Fuck fuck fuck. Ground me forever I do n't care. I do n't care about anything. -LRB- crying hard. -RRB- I hate everything, everyone's going crazy, I do n't care if I have no friends. DEBBIE Are you still upset about Lost? SADIE Of course I'm upset about Lost! You guys took away my shit before I could watch the last two episodes! I do n't know what the fuck happens! She walks off. DEBBIE She's becoming just like us. CHARLOTTE I hope I never get my period if this is what happens.\",\n \"INT. SADIE'S ROOM - NIGHT Sadie does her homework on her bed. Charlotte brings in Sadie's electronics and puts them down in a pile beside her. SADIE Where did you find these? CHARLOTTE I stole them. Charlotte walks away and starts to slide the door closed behind her. SADIE Thank you. CHARLOTTE No big deal.\",\n \"INT. LIVING ROOM - NIGHT Debbie is sitting on the couch. Pete paces around the room. PETE Our kids are crazy. And it's our fault. DEBBIE Do you think there's anything we can do to turn it around? PETE Sadie's thirteen. She might be a lost cause. DEBBIE Where did she learn that kind of language? We do n't talk like that. PETE I have no fucking idea. Do you think Sadie is this crazy because of us? Or is it hormones and Lost. DEBBIE J.J. Abrams. He's ruining our daughter. That fucking geek. PETE I feel bad for us. DEBBIE All of a sudden we're like a magnet for negativity. Why do people keep attacking us? What did we do? We're just doing our best. PETE Should we talk about our fight? DEBBIE I think we're under enough pressure. Let's just let it go this time. PETE Yeah. DEBBIE We can give each other a break. PETE Great. Thank you. And I'm sorry about my dad. You're right. I'm sorry that he's just an endless mooch. -LRB- beat. -RRB- The truth is, this is n't about us. It's about our parents. DEBBIE We're not even mad at each other. We're mad at them. PETE Exactly. DEBBIE Let's just take away our parents' power by loving them. PETE Can we do that? DEBBIE Yes. PETE Thank god. DEBBIE I kind of feel better already, do you? PETE I do. DEBBIE I love you. PETE I love you too. DEBBIE It's not us, it's them. PETE Totally. They hug.\",\n \"INT. SADIE'S ROOM - MORNING The shades are closed and the room is dark. Sadie watches the end of the last episode of Lost on a laptop. Pete enters. PETE What are you doing? We need to get ready for the party. SADIE -LRB- devastated. -RRB- I just finished the last episode of Lost. PETE We do n't have time for this right now. We have a lot of people coming over - SADIE -LRB- losing it. -RRB- They're all dead. PETE What? SADIE Jack, Kate, Sawyer. PETE I do n't care about the show right now - SADIE Jin, Sun. PETE Okay? I need you to just get in the shower. Get dressed. Let's just put it on hold. SADIE Walt, Juliet. All those people. PETE Do n't think about Lost today. Tomorrow : Lost. All day. I ca n't wait to hear about it. Jack? No way. Really? Right now, shower. SADIE I do n't make fun of your stupid Mad Men. PETE First of all, I do n't get worked up over Mad Men. SADIE That's because Mad Men sucks. PETE What Don Draper has gone through beats whatever Jack is running from on some island. SADIE A bunch of people smoking in an office, it's stupid. PETE You're getting me off topic. Please get dressed.\",\n \"EXT. HOUSE - DAY Debbie is speaking with Barb as they set up the kitchen for a barbecue for Pete's fortieth birthday. DEBBIE I am so glad you're here. I need a buffer in case it gets weird. BARB Well, I'm ready to buff. DEBBIE Here, grab these napkins.\",\n \"INT./EXT. HOUSE - DAY Desi jumps in the pool in a small bikini. She is playing in the water with the kids. ANGLE ON BARRY AND PETE BARRY So that's the girl who works for you. PETE Yeah, that's her. BARRY Seems nice. My wife would never let me have a hot employee like that. Everyone that works for us looks like they've been in some kind of horrible accident. Angle on Barb and Debbie. BARB You're comfortable with that around your husband? DEBBIE Pete would n't know what to do with that. Angle on Barry and Pete. BARRY You think our wives are looking at us right now? PETE Oh, definitely. Angle on Barb and Debbie. DEBBIE They look like pedophiles. Barry and Pete turn toward their wives, smile and wave.\",\n \"INT. KITCHEN - LATER Pete greets guests, including Graham and Grandma Molly.\",\n \"EXT. BACKYARD - LATER Pete and Ronnie are talking in the backyard. DEBBIE -LRB- O.C. -RRB- Hey, Pete! Debbie walks over with Jason. DEBBIE -LRB- CONT'D. -RRB- Jason's here. JASON Peter, hi. PETE Hey, how's it going? JASON Great, you look well. How do you like what I've been doing to your girl? How do you like Debbie's after body? RONNIE It's nice. JASON Come on, show ` em. Look at this. -LRB- points to her ass. -RRB- It's beautiful. Look at that after - ass. Now it starts here, but it used to start here. And I brought it up. You're welcome. RONNIE Are you a trainer? JASON Yes, well, but not just physical. Spiritual. I'm sort of a guide. PETE You guys should talk. I think you'll get along. Come here, honey, I have to tell you something. They leave Ronnie and Jason alone. The guys spot Desi swimming in the pool. JASON Who's that in the pool? RONNIE Mine.\",\n \"INT./EXT. FRONT DOOR - DAY Debbie and Pete open the front door. Standing there is Oliver. He gives a nervous smile. Debbie looks at him and tries to be nice, but we feel her effort. DEBBIE Hello. OLIVER Hello, Debbie. She opens the door wider. They do not hug. DEBBIE Remember my husband, Pete? OLIVER Oh, yes. I did n't recognize you with the long hair. PETE -LRB- people pleasing. -RRB- I've been growing it. OLIVER Happy birthday. He hands him a bottle. PETE Thank you so much. OLIVER Very old scotch. PETE Oh, wow. You know, I hope it has n't expired. OLIVER No, scotch does n't expire. It improves with age. PETE No, I know. Thank you so much.\",\n \"EXT. BACKYARD - DAY The party is in full swing. Pete, Debbie, Oliver, Barry and Barb are getting food from the buffet. Barb and Barry are trying to help keep the conversation going. BARRY What do you do in Chino, Oliver? OLIVER I am a surgeon. BARB Wow, what kind? OLIVER Mainly of the spine. My specialty is scoliosis surgery. BARRY My mom used to talk to me like I had scoliosis because I'm a little hunchy, but that's a different thing. OLIVER Well, you definitely do n't look right. Larry arrives, with Claire and the triplets. Claire is holding two of them, while Larry carries one. The triplets now have very different HAIRCUTS so he can tell them apart. One has a faux hawk, one has bangs, and one has a buzz cut. LARRY Hello everyone! I'm sorry we're late. I was in the lab cloning myself. We're going to have another seven more tomorrow. Look, we cut their hair different so we can finally tell who they are. Larry lifts one of the triplets up and down by the arms, simulating an elevator. LARRY -LRB- CONT'D. -RRB- You like the new haircut, Travis? TRIPLET #1 I'm Jack, damn it. LARRY Of course you are. Larry puts Jack down and he runs off. DEBBIE Larry, this is my father. LARRY Really? How are you? OLIVER Oliver. LARRY Oliver. `` Can I have some more? Please, Oliver, I need a little morsel.'' I love that movie. You must get that all the time. OLIVER Not really. CLAIRE I'm Claire, Larry's wife. Very good to see you, but excuse me, I'm going to go get the kids. Claire runs off. LARRY We wo n't see her now for the whole day. I'd help honey, but I've got the blood pressure, and I do n't want to. PETE Dad, you want a drink? LARRY Yeah, a little white wine. PETE White wine? Okay, heavy stuff. LARRY So, who knew that Debbie had a dad! Where have you been for fifteen years? Never seen you at Hanukkah, Christmas, Ramadan, nothing. How do you get out of all that stuff? Do you have a wife? OLIVER My wife is at home. DEBBIE Why did n't she come? OLIVER Construction. They're sanding our deck. LARRY You let the woman sand the deck? OLIVER She supervises it, yes. Sadie, Charlotte and Desi walk over. DEBBIE Hey guys. LARRY Look how big the kids are. Sadie! He gives Desi a hug. DESI Hi, Larry. LARRY -LRB- to Sadie. -RRB- Hi, Sadie. SADIE Mom. Who is Oliver? DEBBIE What do you mean? CHARLOTTE Is he your dad? DEBBIE He is my biological father. CHARLOTTE What does that mean? DEBBIE He and my mom had a baby and that was me. SADIE Oh, so you're our grandpa. OLIVER Why do n't you ask your mother? DEBBIE Yes, well, that would make him your grandpa. Do you want him to be? CHARLOTTE Yes. Then we get another grandpa. Come on! Oliver gets up. Charlotte, Sadie and Desi run off. Oliver follows. LARRY That was deeply uncomfortable. Thank god the pretty girl was here to divert our attention.\",\n \"EXT. POOL - DAY Desi is gracefully swimming under water. She looks gorgeous. She sees Jason and Ronnie under water, but they look grotesque, red - faced and awkward. They both reach for each other and come to the surface. JASON Oh, hi. I did not see you there. RONNIE I saw you there. DESI Did you guys come together? Are you a couple? RONNIE / JASON No, we did n't come together. Absolutely not. DESI Sorry, the mustache is a little - JASON That's fair. DESI I just assumed. RONNIE This is a straight man mustache. DESI What is the different between a gay man's mustache and a straight man's mustache? Pause. JASON The smell. DESI Excuse me. Desi swims away.\",\n \"EXT. BACKYARD - LATER Larry is talking to Oliver. LARRY So, spinal surgery just seems to me to be at the top of the surgery chain. OLIVER Well, we're not cardio, we're not neuro, but I like to think we're an important part of the spectrum. LARRY Do you operate every single day? OLIVER Most days. LARRY Multiple times a day? OLIVER Three, four times. LARRY So what's the price range? Like if I wanted - OLIVER Oh, I'd rather not say. LARRY It's so big you're embarrassed to say. OLIVER I would n't say embarrassed. LARRY Are there hunchbacks today? OLIVER Of course. LARRY I've never seen one. OLIVER Well, that's because there are spinal surgeons. LARRY That's because of you. Each time I do n't see a hunchback, you're getting that much richer. Oliver smiles, amused. LARRY -LRB- CONT'D. -RRB- You like The Beatles, do n't you? OLIVER Who does n't like The Beatles? LARRY Nobody.\",\n \"EXT. POOLSIDE - DAY Jason and Ronnie are talking to Desi. DESI So what's your sun sign? RONNIE Libra. JASON Oh, boy. DESI That's not good. JASON No, sir. DESI Not for me, that's not good. Sexually we are completely incompatible. RONNIE That's not true. JASON That's such a shame. That's as bad as it gets. DESI What's yours? JASON I'm a Cancer. DESI Really? JASON Is that good? RONNIE What does it mean? DESI That's really strange. Well, Taurus and Cancers are sort of soul mates of the Zodiac. We're like perfectly compatible. I balance what you lack, and you make up for what I lack. And a quiet Cancer almost always has a huge penis. JASON -LRB- quietly. -RRB- You're making me embarrassed.\",\n \"EXT. BACKYARD - LATER Debbie, Pete, Larry, Oliver, Barb and Barry are eating. DEBBIE I wanted to make a toast. Thank you guys so much for coming. Pete's turning forty. PETE Weird. DEBBIE And we're ready to start this new phase of our lives with open hearts. Ready to just choose joy and forgive everybody, so thank you all for coming. LARRY Wait. Forgive who? PETE I think she just meant generally. You know? Put the past behind us. DEBBIE And live without resentments. LARRY But specifically who are you forgiving? I like to know the details before I toast. DEBBIE Well, you and my dad and others. LARRY I see. I know you have some issues with me, but I'm curious, what's he in for? Before today nobody even knew he existed. DEBBIE My parents divorced when I was really young and we do n't spend that much time together and I'd like to work on that. Just like we'd like to work on how you have financial issues. BARRY -LRB- to Larry. -RRB- She means all the lending. And the borrowing. LARRY I know what she meant.\",\n \"EXT. POOLSIDE - CONTINUOUS Ronnie, Jason, and Desi talk. JASON You are a beautiful woman, but you are not totally maxed out. I would say honestly, you're a six. Six and a half. I could make you an eleven. DESI Really? JASON When I found Deb, she was a seven. And now she's a twelve. DESI I want to be a twelve. JASON You ca n't be lazy. DESI I do n't want to be lazy. JASON Look at me. You can not be lazy. DESI I wo n't be lazy. JASON Do you know how she got her body? Bodies By Jason. DESI Wow. JASON Say it. DESI Bodies By Jason. JASON Say it again. DESI Bodies By Jason. JASON And now just say Jason. DESI Jason. JASON Again? DESI -LRB- whispers. -RRB- Jason. JASON That sounds right, does n't it? DESI Yeah. RONNIE What the fuck is happening right now?\",\n \"EXT. BACKYARD - CONTINUOUS LARRY When was the last time you two saw each other, if you do n't mind me asking? OLIVER Actually, we had lunch together last week. LARRY And before that? OLIVER It's been about seven years. LARRY Seven years? That's a joke, right? That's like two Olympics. And I'm the bad guy. What Debbie does n't understand is that it's not bad to help out a parent. And it's certainly not bad for a parent to help out a child. I'm sure Oliver would agree. DEBBIE Are you really doing this right now? LARRY Am I doing what? I did n't start the toast. DEBBIE Are you really about to hit up my dad for money? LARRY What? He does four operations a day. It's perfect. It helps everybody, and it relieves his guilt from all the abandonment issues. DEBBIE You ca n't buy forgiveness, right Pete? PETE I do n't think anyone's looking for handouts. We'd pay him back. OLIVER If you two are in a bind I'd be more than happy to help. DEBBIE No. It's not good to borrow money from family members because it causes resentment, remember? PETE Yeah. LARRY What do you want me to do? Admit that my life is shit? Is that what you want me to say? You happy? Are n't I allowed a little joy with these children I never wanted to have? DEBBIE You have never once stopped asking us for money. LARRY Family helps family. PETE It's true. Family helps family. Look, I do n't expect you to fully understand. Your dad left. You're broken inside. It's not your fault you ca n't feel love. There's something that you ca n't - this is coming out wrong. DEBBIE You know what? I would rather have my dad than your dad, because he does n't drive me crazy. You know the best quality my father has? He asks for nothing. I do n't know what the fuck he's thinking right now. Look at that. Nothing. I do n't even know him. And I turned out perfectly fine without his input. LARRY I just figured out what your problem is. You hate Jews. Which is so odd because your children are Jewish. DEBBIE Do n't play the Jew card, Larry. LARRY I'm not playing any Jew card. DEBBIE Seriously, it's used up. LARRY You ca n't use up a Jew card. That's the whole point of a Jew card. BARRY That's right. You ca n't use it up, it goes forever. OLIVER You know what? I have to go. Oliver gets up to leave. PETE Great. What a big surprise. Bye Oliver. See you later. See you in another seven years. Make sure to say goodbye to the grandkids, who you met today. You know, nothing I do is right because of you? Nothing. No matter how hard I try, I'm just the asshole here, but you know what I realized? It's you. You're the asshole. OLIVER Good luck working that out. Happy birthday and go fuck yourself. Oliver walks out. LARRY See you when the Cubs win the Pennant. BARB I'm going to light the candles. Get it going. LARRY Maybe we should try the toast again. DEBBIE Can you be quiet? -LRB- to Pete. -RRB- You just threw me under the bus. PETE No. We agreed to let go and forgive, but then you started ripping into my dad like a crazy person. DEBBIE I'm not ripping into your dad. I'm just saying to him what you say to me. PETE Do n't be such a ball buster. DEBBIE I am not a ball buster. You make me one! I am a fun girl! I am fun - loving! I am a good time Sally! I dance hip - hop. I can not believe I've wasted my whole life busting the balls of people who have no balls. I am the only one here who has any balls.\",\n \"EXT. BACKYARD - DAY Graham Parker sings `` Happy Birthday'' to Pete as Charlotte accompanies him on a keyboard. The party is tense. Debbie looks over and sees that Oliver never actually left. He stands in the back looking uncomfortable, quietly singing. She's shocked he's still there.\",\n \"EXT. HOUSE - DAY - LATER Debbie smokes a cigarette at the side of the house. Sadie appears. SADIE Mom? Debbie turns, caught. SADIE -LRB- CONT'D. -RRB- Mom! What are you doing? DEBBIE What? SADIE You're smoking? In the front yard? DEBBIE No, they're Barb's. She walks away towards the house. Sadie follows.\",\n \"INT./EXT. FOYER - CONTINUOUS Sadie storms through the front door after Debbie. SADIE Mom! Since when have you been a smoker? DEBBIE I'm not a smoker. Debbie keeps walking down the hall. Sadie follows her. SADIE I thought you said smokers die. DEBBIE I was n't smoking. SADIE I saw you. Barb is in the kitchen with Pete and Charlotte. CHARLOTTE Mom, you're smoking? BARB Deb, you ca n't smoke, you're pregnant. You've been doing so well. CHARLOTTE You're pregnant? SADIE No f - ing way. I do n't want another sister. CHARLOTTE I do n't want her as a sister. BARB I'm sorry. I'm so sorry. It just slipped out. Debbie turns the corner to find Pete standing in front of the fridge, stress eating. PETE -LRB- mouth full of cupcake. -RRB- Are you really pregnant? Since when are you pregnant? DEBBIE Since when do you care? You do n't want another baby. PETE You have no idea what I want. CHARLOTTE I want an Asian baby. SADIE We're not going to have an Asian baby. CHARLOTTE Yes, we are! SADIE They're not Asian. DEBBIE Sadie. CHARLOTTE We'll buy one. SADIE Shut up, Charlotte. CHARLOTTE You shut up! DEBBIE Shut up, Sadie! SADIE Shut up, Charlotte! CHARLOTTE Shut up! DEBBIE Okay, Sadie. Shut up. SADIE Shut up, Charlotte! DEBBIE Okay, stop saying shut up! PETE Since when are you pregnant? When did you find out? DEBBIE Will you stop eating cupcakes, please! Stop eating cupcakes. Stop eating cupcakes! Debbie storms off back towards the foyer. Larry pops out from the living room, stopping Debbie in the foyer. Claire and the triplets are right behind him. LARRY Hey! We just heard. You're having a baby! See, it can happen to anybody. CLAIRE That is so wonderful. We're so happy for you.\",\n \"INT. KITCHEN - CONTINUOUS Pete throws his cupcake against the wall. SADIE -LRB- to Charlotte. -RRB- This is too adult for you. Let's go outside.\",\n \"INT. FOYER - CONTINUOUS Larry and Claire walk away as Pete storms in. DEBBIE Well, I guess we're stuck together forever, then, right? PETE Were n't we always? DEBBIE You do n't even want a baby. PETE Of course I do. I never said that. Look, I did n't want one if I could choose. DEBBIE I should put that on a Hallmark card. That's beautiful. Oliver passes Pete and turns to Debbie as Pete walks away. OLIVER Good luck with the pregnancy, Debbie. But please, take care of yourself. It's a much riskier pregnancy after forty. DEBBIE I'm not forty. OLIVER Of course you are. You were born on December 5th, 1972. DEBBIE How do you know? OLIVER I was there. I'm the one who took your mother to the hospital. DEBBIE That's not what she said. OLIVER Your mom was in labor for only twenty minutes. It was like you could n't wait to meet me, can you imagine that? Debbie is stunned. DEBBIE I do n't even know you. You ca n't just come into my house and reminisce. OLIVER -LRB- walking out. -RRB- Look, maybe we were just not meant to be in each other's lives. I'm not sure this was such a great idea. Debbie follows him out the door and onto the front porch. She closes the door behind them.\",\n \"EXT. FRONT PORCH - CONTINUOUS DEBBIE Hey, wait a minute. You did leave. And you did n't come back. OLIVER -LRB- getting agitated. -RRB- My first life was ruined. I did my best with my second. DEBBIE So I ruined your life? I was eight. OLIVER People do better when I stay out of their lives. That's what my son tells me. You think my life is so perfect? I've got a thirteen - year - old who's a pot head, I've got a wife who's keeping Zoloft alive. DEBBIE You never said that before. OLIVER You do n't think I want to talk to you about this? To share it with you? It's just not our way! We do n't talk to each other, we do n't know each other. I thought that's the way you wanted it. How do I get out of this? How do I get you all to just help me down off the cross? Debbie looks at him for a moment. DEBBIE You sound just like Sadie. OLIVER Who's Sadie? No. Your daughter, your younger? DEBBIE The big one. OLIVER Your older. I know that! She's a wonderful girl. Larry opens the door and peeks out. We reveal that everyone at the party -LRB- except Pete -RRB- is still standing in the foyer. LARRY Hi, guys. Some of us need to leave. Would this be a good moment to sneak out? From the side of the house we see Pete storming by on his bike, wearing his street clothes and a helmet. SADIE Where's Dad going?\",\n \"EXT. CITY STREETS - DAY Pete exits his home riding his bike. He is very angry. He rides with great emotion like he is trying to get all the frustration out of his body. PETE Best birthday ever! Pete rides his bike onto San Vicente Boulevard. Pete rides down the street. A CAR passes by him. When it does a fifteen - year - old TEENAGER sticks his head out the window and yells to scare Pete. TEENAGER Bike lane, asshole! Pete almost falls. PETE Fuck you, you Twilight pimply - ass motherfuckers!\",\n \"INT. KITCHEN - DAY Debbie and Barb are cleaning up. They look out the window to see Oliver picking up glasses and putting them in a bin. BARB Your dad's still here. DEBBIE I know. It's weird. Where the hell is Pete? Sadie walks in with Joseph. SADIE Mom, is it okay if Joseph hangs out here for a while? DEBBIE Sure. Hi, Joseph. JOSEPH Hi. DEBBIE Do you want a piece of cake? JOSEPH Oh, yeah sure. Thank you. Sadie walks off. JOSEPH -LRB- CONT'D. -RRB- All right, then. Joseph follows. BARB They are so cute. DEBBIE So cute. BARB He looks exactly like Tom Petty.\",\n \"EXT. STREET - DAY There is no bike lane and cars going very fast have to swerve to avoid Pete. A car honks when traffic clogs up behind him. PETE Go around! A car makes a right turn, and Pete almost rides right into it. PETE -LRB- CONT'D. -RRB- Watch it! He pulls up alongside Jason's van. Desi is riding with Jason. DESI Hey, Pete. Great party! They speed off. PETE Yeah. The best!\",\n \"EXT. BACKYARD - DAY Oliver and the kids are playing with an iPhone. SADIE Then you shake it. And then a restaurant comes up. Debbie walks outside. DEBBIE Dad? Excuse me. I'm going to go look for Pete. Would you mind staying with the girls for just a little bit? OLIVER -LRB- shocked. -RRB- Well, if you want me to. DEBBIE If you do n't mind. You do n't have to. OLIVER Sure. -LRB- beat. -RRB- Can I let Sadie show me the last episode of Lost? She asked me if I'd seen it, I have n't. DEBBIE That would be nice. Thank you. OLIVER Thank you. Debbie exits. OLIVER -LRB- CONT'D. -RRB- -LRB- to Sadie. -RRB- She said we could watch it. Sadie turns to Charlotte, puts her arm around her. SADIE I'm going to let you watch Lost. Come on. Charlotte smiles, delighted to be accepted by her sister. CHARLOTTE Is it scary? SADIE I'll cover your eyes if it gets too scary.\",\n \"EXT. STREET - DAY Pete starts riding really fast and passes a car. When the car stops for a red he keeps going, tears off to the left, crosses four lanes of traffic in both directions and almost gets hit. Pete rides his bike up a steep hill. He passes some other bikers almost hitting them.\",\n \"INT. DEBBIE'S CAR - DAY Debbie drives around the neighborhood with Larry in the passenger seat. LARRY Are you mad at me? Did I say something? DEBBIE Shh. Larry, please.\",\n \"EXT. STREET - DAY Pete flies down a steep hill going crazy fast. Close up of his front wheel shaking. It is as if he wants to crash. He rides down the street when suddenly a MAN IN A RANGE ROVER opens his door to exit his car and Pete slams directly into the man's car door - hard, breaking the man's window and falling to the ground. The man is an incredibly thick fifty - five - year - old. MAN IN RANGE ROVER Are you fucking kidding me? PETE You opened your door on me. MAN IN RANGE ROVER I did n't open my fucking door on you. I opened my door! Pete slowly gets to his feet. PETE I was right there! You are supposed to look before you open your door. I was in the fucking bike path. MAN IN RANGE ROVER That's a blind spot. There's no fucking bike path. This is a residential section. Get your head out of your ass. PETE Pay attention! MAN IN RANGE ROVER Open your god damn eyes. What are you doing, sleepwalking? PETE You're supposed to look to see if a biker is coming through. You're supposed to look! MAN IN RANGE ROVER It's not my job to look out for you. You look out for yourself. I do n't look out for you. I do n't see you. I do n't now where the fuck you are and what you're doing. PETE No one is ever looking out for me! MAN IN RANGE ROVER I need your name and number. PETE Why? MAN IN RANGE ROVER Because you're going to pay for my door.\",\n \"INT. DEBBIE'S CAR - CONTINUOUS They drive near the scene of Pete's accident and overhear. PETE -LRB- O.S. -RRB- Fuck you!\",\n \"EXT. STREET - CONTINUOUS PETE Why do n't you pay for my bike - and my face, you fucking prick! The man punches Pete in the face where he's already bleeding.\",\n \"INT. DEBBIE'S CAR Debbie sees the punch and gasps, realizing it's Pete.\",\n \"EXT. STREET - CONTINUOUS Pete looks stunned. He punches the man in the gut, to no effect. The man punches Pete back in the stomach. Pete sinks to the ground. MAN IN RANGE ROVER Do n't disrespect me.\",\n \"INT. DEBBIE'S CAR - CONTINUOUS Debbie watches Pete fall to the ground. She opens the car door and starts to run over toward him. LARRY Are you sure that's him? I do n't think that's him.\",\n \"EXT. STREET- CONTINUOUS As the man starts his engine, Debbie runs toward Pete. PETE -LRB- in pain. -RRB- I'm going to write down your license plate number. The car drives away, revealing that it is new and has dealer's plates with no numbers. PETE -LRB- CONT'D. -RRB- `` Range Rover of Sunland.'' Debbie reaches him and holds his head up. DEBBIE What are you doing? PETE Ow.\",\n \"INT. HOSPITAL - NIGHT Debbie and Larry sit in the waiting area of the hospital. LARRY I guess the party did n't turn out like you planned. DEBBIE It was n't a good party. A NURSE walks over to them. NURSE Hi. I'll bring you in as soon as his x - rays are finished. DEBBIE Is he okay? NURSE Yeah, he has a broken rib and he's been crying a little bit, but he'll be fine. The Nurse walks away. LARRY You know Pete was never a real fighter. But that's why he married you. That's why he loves you. Because you're the fighter, and you need that. One person in a relationship has got to punch. DEBBIE Do you mean that in a good way? LARRY Oh, it's a high compliment. DEBBIE Thanks. LARRY Listen, I know what you're worried about. You think he's going to turn into me, but I do n't think it's going to happen. He's smarter and probably a little cuter. A little less Jewy. Although, after fifty, that's all going to change. Be prepared to wake up one day with a a rabbi. But the good news is, he'll love you forever. That's in our DNA. We stick around. DEBBIE He worries about you. It puts a lot of pressure on him. LARRY I know. I just do n't have anyone else to talk to about it. DEBBIE You can talk to Claire. LARRY No. If I open up to her she'll leave me. DEBBIE No, she wo n't, Larry, she loves you. LARRY I know, but there's a certain point at which you just ca n't stay. -LRB- beat. -RRB- I guess it's hard to forgive somebody if they do n't formally apologize to you. DEBBIE Are you apologizing? LARRY I'm very close. -LRB- beat. -RRB- Yes, I'm sorry. And I'm glad everybody's okay. DEBBIE Thanks. She hugs him and starts to cry a little bit. LARRY I'm off. DEBBIE Okay. LARRY This is awkward. DEBBIE What? LARRY I need forty dollars for a cab. DEBBIE -LRB- laughing. -RRB- That's funny. LARRY No, I'm not kidding. You drove me. I was n't prepared. DEBBIE I only have a hundred. LARRY That's okay. I'll bring you the change. He grabs the bill out of her purse and walks off. LARRY -LRB- CONT'D. -RRB- All right, give him a kiss for me.\",\n \"INT. HOUSE - NIGHT Oliver is sitting on the couch with Charlotte and Sadie watching the last scene of Lost. Joseph has joined them. OLIVER I do n't get it. SADIE See, it's not sad, it's happy because they helped each other achieve their destiny. OLIVER Oh. CHARLOTTE Great. I'm going to have some freaky ass nightmares.\",\n \"INT. HOSPITAL ROOM - NIGHT Debbie walks into Pete's room, sits on the bed next to him. DEBBIE I really liked our lives so much better before we tried to change everything. I'm sorry. PETE No. I'm sorry. I do n't want to keep anything from you. I love you. You're my wife. I just did n't want to let you down. DEBBIE Are you mad that I'm pregnant? PETE No. I'm not mad. I'm thrilled. DEBBIE You do n't feel trapped? PETE Sometimes I feel like I trapped you. DEBBIE I do n't feel trapped. PETE Really? DEBBIE No. PETE You should, because I've trapped you. You ca n't go anywhere. I'm going to get you pregnant every ten years for the rest of your life. You can never leave me. Ever. DEBBIE I never feel trapped by you. I'm so happy to be with you. I love you so much. You're my favorite person in the whole world. god damn it, why am I crying like this? Something is wrong with me. PETE You're pregnant. DEBBIE Oh, yeah. Shit. I was just outside telling your dad that I liked him. What if he thinks I like him now? PETE No, he wo n't think that. DEBBIE I do n't want him to think I like him that much. PETE It'll never happen. DEBBIE -LRB- suddenly giddy. -RRB- Can you believe it? This is the craziest thing ever. What are we going to do with a third baby? PETE I have no idea. How are we going to afford it? DEBBIE We'll sell the house. PETE We do n't have to. DEBBIE We kind of do. PETE We kind of do. DEBBIE We'll make new memories in a new house. PETE I love you. DEBBIE Is there anything you want to do for your birthday? It's been the worst birthday ever. PETE There is one thing, but I do n't think you'll like it. DEBBIE What? PETE I would n't mind going to see some music. Would you want to do that? DEBBIE Yeah. PETE Really? I do n't believe you, but you're sweet for saying that. DEBBIE How do we break you out of here? PETE I can just leave on my own volition. It's not a mental institution. DEBBIE Can you? PETE It's not like One Flew Over the Cuckoo's Nest. Please do n't put a pillow over my face. Debbie laughs. DEBBIE Let's get out of here, McMurphy. PETE You got it, Chief. Will you carry me? As Debbie helps Pete off of the hospital bed, Pete kisses her passionately.\",\n \"INT. SMALL NIGHTCLUB - NIGHT Pete and Debbie watch Ryan Adams perform `` Lucky Now'' with his band. DEBBIE I like this song. PETE Really? DEBBIE Yeah. Why? Pete smiles. DEBBIE -LRB- CONT'D. -RRB- Why do n't you sign him? PETE Ryan Adams? No, he would n't sign with me. DEBBIE Why not? You're the best. She smiles at him and he smiles back, almost blushing. This is the smile he has been waiting for. PETE Well, he is in between labels. Let's go try and talk to him after the show. The camera pulls back as Ryan Adams finishes his song. FADE TO BLACK\"\n]"},"labels":{"kind":"list like","value":[1,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,1,1,1,1,1,1,0,0,1,0,0,1,0,0,1,0,1,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,1,0,0,0,0,0,0,0,1,0,1,0,0,0,1,0,0,1,0,1,1],"string":"[\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 1,\n 1,\n 1,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 1,\n 1\n]"},"summary":{"kind":"string","value":"While having sex in the shower Pete reveals to his wife Debbie that he took a Viagra given to him by his friend Barry; this enrages Debbie and they stop. Debbie is angered that she is turning 40. In the five years since Knocked Up, Debbie owns a boutique with Desi and Jodi working for her. Pete owns his own record label, with his friends Ronnie and Cat working with him. Pete's business is struggling financially as he promotes the reunion of Graham Parker & The Rumour. The couple also are having to deal with their daughters; Sadie, a young teenager, and eight-year-old Charlotte. For Debbie's birthday, the couple goes on a romantic weekend to a resort. There they get high from eating marijuana cookies, and fantasize out loud about ways they would kill each other. After speaking with her friends Jason and Barb, Debbie decides to improve her marriage and family through exercise, and becoming more connected with her parents. Debbie tells Pete that he needs to stop lending his dad, Larry, money, because it is hurting them financially. Pete goes to visit him, but is unsuccessful at giving him the news, and still agrees to give him money. Meanwhile, Debbie visits her gynecologist, and discovers that she is pregnant. She decides not to tell Pete about this. Later, she yells at a student, Joseph, who has been taunting Sadie. She yells at him so much that his mother, Catherine, gets into an argument with Pete. One night between the school taunting sequences, Debbie takes Desi out dancing at a club, planning to confront her with her suspicions that she has been stealing money from the store. Debbie and Desi meet several players from the Philadelphia Flyers hockey team at the pub. Debbie awkwardly finds out that one of the players wants to hang out with her and possibly sleep with her. She is proud that he wants to have sex with her, but admits that she is married, has two kids, and is pregnant. Afterwards, Debbie drops Desi off at her house and confronts her about the missing money. Desi reveals she is able to afford nice things because she is also an escort. Later, Debbie meets up with Jodi, who confesses that she stole the money to buy Oxycontin. Debbie fires her and leaves. Meanwhile, Pete and Debbie are having to deal with Sadie and Charlotte fighting all the time, which results in arguments amid the family. They later have a meeting with the principal, but the couple denies everything that happened. The couple is overjoyed when Catherine starts using the same language they used previously and the principal dismisses them. On Pete's 40th birthday party, he argues with his dad about the money he wants from them. Debbie argues with her dad about not spending enough time in her life, and how his is perfect. Oliver then explains that his life is not perfect, and how he has always cared about her and loved her. Later, Pete overhears Debbie talking about her pregnancy, and rides out of the house on his bicycle in anger. Debbie and Larry then go after Pete, trying to find him. Soon, they find that he wrecked after hitting his head on a car door. Pete then gets into an argument with the driver of the car who then punches him in the stomach. Debbie and Larry take Pete to the hospital, where Larry and Debbie reconcile, with Larry advising Debbie that it's because of her that the family is able to stay together. Debbie is the fighter and she fights for the family. Debbie and Pete talk later and Pete explains that he is actually thrilled about having a third baby, and that he doesn't feel trapped, so the two reconcile. Sometime later, Pete and Debbie are watching a small concert with Ryan Adams performing. Debbie then suggests that Pete should sign him to his label and plan to talk to him as they finish watching the show. After the main credits roll, there's an extended alternate take of Catherine ad-libbing insults during the conversation with Debbie, Pete, and the principal."},"name":{"kind":"string","value":"This_Is_40"}}},{"rowIdx":84,"cells":{"scenes":{"kind":"list like","value":["MIDNIGHT EXPRESS THE FOLLOWING IS BASED ON A TRUE STORY. IT OCTOBER 6, 1970 ISTANBUL, TURKEY - SOUND UNDER, SHARP : CRACKLE - RIP - SNIP. A SET OF CLOTHES ON A HOTEL ROOM BED - trenchcoat, bulky white turtle - neck sweater, T - shirt, jeans, Western style boots. SOUNDS continue, Accentuated. MOVE Across open TRAVEL BAGS On The bed. Clothes, possessions. CONTINUE Across FURNITURE, WASHBASIN, TOILET. A large room, high old ceilings And windows suggesting Ancient Europe & design, A haunting greenish AFTERNOON light. We MOVE to HANDS, TIGHT - drawing out a strip of adhesive tape, SCISSORS move in TIGHT. SNIP! UNDERARM, TIGHT. Tape being laid over it. BACK OF SHOULDER. TIGHT. Tape going on. BELLYBUTTON, TIGHT. TAPE going Then : a harsh RIP! SOUND and the tape comes off the bellybutton. HANDS with new strip of tape. Moving to : HASHISH PLAQUE. Four of them, thinly pressed. One on top of the other. The HAND wrapping a portion of the TAPE around them and : BELLY, TIGHT. SOUNDS of BREATHING stop. The belly is sucked in. The TAPE is pulled HARD across, then CLINCHED. We hear F.X. of HEART BEAT - BILLY HAYES - 21, baby - face, attractive, medium build an aura of innocence. His eyes moving off his belly to : MIRROR. FULL SHOT. Climax. A creature in a bondage of his own devise, he is naked in his underpants, his body criss - crossed by a network of TAPE and 40 tightly pressed plaques of HASHISH in every conceivable crevice of his body. The eyes are hard. NIX THROUGH HEART BEAT, SOUNDS OF AIRPORT. INTERIOR ISTANBUL AIR TERMINAL dirty, crowded, wooden benches, peddlers. Turkish flight instructions on LOUDSPEAKER, followed by mediocre English translations. NOTE : ALL DIALOGUE IN TURKISH TO FOLLOW WILL BE MARKED OFF BY PARENTHESIS. A CERTAIN WILL BE SUBTITLED, BUT SOME NOT. LOUDSPEAKER VOICE Pan American Flight 1 to Frankfurt, London, and New York has arrived and will be ready for boarding at Gate 7 in 20 minutes. REPEAT IN ENGLISH over : BILL walking down a long CORRIDOR. He moves somewhat stuffly in the clothes we saw laid out on the bed ; his face complicated by dark, rather ridiculous aviator sunglasses and an increasing edge of nervousness to his actions. With him is : SUSAN 23, healthy outdoor looks, dressed casually colorful like an American student abroad. APPROACHING P.O.V. - a group of TURKISH SECURITY GUARDS, in rumpled green uniforms, at a security CHECKPOINT inspect the carry - on bags of several PASSENGERS. BILLY tensely contemplating the guards as he walks. SUSAN digging in her bag for her passport as she walks. BILLY, looking from guards ahead to SUSAN. He suddenly breaks stride, still a fair distance from the checkpoint. SUSAN glances at him. He is holding his belly. BILLY I think I've been poisoned. SUSAN And you ate two baclavas, right? I not to touch them, mine was awful. BILLY -LRB- his voice strained. -RRB- Look, I think I'm going to have to go to the john again. You go on through, I'll catch up. With a sense of panic, he turns and goes back down the corridor without waiting for a response. SUSAN concerned, moves on. BILLY in the WASHROOM MIRROR, again checks himself out. His glasses are off, and he has just watered himself down. But the SOUND of his HEARTBEAT is up, and his nerves are visible in his eyeballs and he knows it. He dabs at the sweat on his sideburns. He closes his eyes, takes a DEEP BREATH. A pause. He puts his dark sunglasses back on. Turns away from the mirror. No going back now. ADVANCING P.O.V. - SECURITY CHECKPOINT. The GUARDS again. Closer, closer, Guns in their HOLSTERS. SOUND of billy's heartbeat, CLOSE - GUARD smoking a cigarette, bored, uniform, looks at BILLY. The GUARDS again.SOUND of Billy's in a tattered olive GUARD Passport! BILLY PASSPORT. The Guard's tobacco - stained FINGERS take it open it. Basic information on Billy : Birth Date April 17, 1949. Birth Place : Babylon, Long Island. No wife, no minors. Signature. GUARD gives it back to BILLY. GUARD Bag! BILLY opens his shoulder bag, proffers it. The GUARD tosses it, pushing aside books, grabbing a white plastic dish. GUARD Nebu? BILLY -LRB- Understand the Turkish expression, `` What's this?''. -RRB- It's a frisbee. GUARD Nebu? BILLY A Frisbee. -LRB- makes a throwing gesture of the wrist. -RRB- You throw, catch it. Game! Curious, one of the other GUARDS ambles over looking at the frisbee. BILLY tightens. Cursing the frisbee. Sweat now runs his sideburns again. HEARTBEAT up. 2ND GUARD American game. Baseball. GUARD Ah! -LRB- puzzled, turns the Frisbee around and around. -RRB- THE SECOND GUARD studies BILLY curious about the sweat. Suddenly reaches up, indicates the eyes. GUARD Take off the glasses. BILLY understanding the gesture rather than the words, removes his glasses. His eyes. Straight, staring at the GUARD without trying to look away. A long moment. FIRST GUARD stuffs the frisbee back into the bag. Scowls. Takes a puff on his cigarette, coughs. Phlegm rattles around in his throat. Reads the International Herald Tribune, seated on a crowded olive - colored out on the tarmac She has saved him a seat and pulls her bag off as BILLY sits down. FIRST GUARD Aaaah! He waves BILLY through. BILLY puts his glasses walks past the back the SECOND GUARD turns away. BILLY walks past the Checkpoint. His HEARTBEAT drops. SUSAN reads the International Herald Tribune, seated on an crowded olive - colored BUS out on the tarmac. She has save him a seat and pulls her bag off as BILLY sits down. SUSAN Are you all right? He looks at her. Relief. A smile, awkward - he wishes he could tell her. BILLY Yeah. Yeah. Lays his head back on the wooden bench. Reaches out : TAKES HER HAND in his. She returns the grip. THE BUS DOOR slams shut. THE TURKISH BUS DRIVER rolls the bus out towards the PLANES visible in the far distance? SUSAN, feeling Billy is better, shows him the Herald Tribune. SUSAN -LRB- saddened. -RRB- D'you see this? Janis Joplin died yesterday. BILLY, his sunglasses removed, looks at the paper, almost abstractedly. SUSAN -LRB- OFF. -RRB- Overdose, in a Hollywood motel. NEWSPAPER Picture of JANIS JOPLIN. That big, earthy, rugged smile. BILLY'S P.O.V. - Moves Up page One To The Headline : NIXON OUT - RAGED AT PALESTINIAN HIJACKERS : CALLS FOR CAPITAL PUNISHMENT SUSAN -LRB- a faint voice. -RRB- Never Was anybody like Janis. BILLY, thinking other happier things, reaches over and playful! : squeezes her tit twice, rapidly. BILLY -LRB- smiles. -RRB- Never was anybody like you. SUSAN -LRB- annoyed, brushes his hand away, a clicking sound in her throat. -RRB- You ca n't take anything seriously. BILLY -LRB- smiles. -RRB- You're right. Bus stops suddenly. BILLY changes expression. THROUGH FRONT WINDSHIELD we see TURKISH SOLDIERS in several HALFTRACKS drawn up in a semicircle blocking the bus. The Pan American PLANE is directly behind. Also JEEPS and a POLICEMAN waving the bus down. BUS BOOR opens and the Turkish Police OFFICER hops aboard briskly : OFFICER Attention please, Ladies and Gentlemen. For your own safety we're conducting a security check before you board your airplane, Kindly file out the back. Women and children in one line. Men in another. PASSENGERS. A confused hum. VARIOUS PASSENGERS What's he saying? I do n't know. Marian. Hey Marian, what the hell. The Turkish - speaking PASSENGERS are gathering together their items and beginning to exit as : POLICE OFFICER repeats, in ENGLISH POLICE OFFICER Idem. CLOSE BILLY. The POLICE OFFICER is only beginning the speech.in English but already Billy realizes, And it's panic. Silent panic. That horrendous cold feeling all over his back : Oh God what have I done, what can I do now? He freezes. MOVE TO SUSAN rising, fetching her things, irritated. SUSAN Jesus, they do everything ass backwards in Turkey. Behind her we see the other AMERICAN PASSENGERS beginning to disembark with the usual chorus of overlapped conversations, expletives, including : PASSENGERS They're checking for hijackers. Any Palestinians aboard? Hey Harry, get rid of your grenades. Laughter is returned from several of the American contingent, but we MOVE BACK to BILLY in foreground ; all of a sudden he is on his knees trying to crawl under the seat. SUSAN -LRB- OFF. -RRB- Billy, what's the matter? BILLY My passport! SUSAN No! She bends down to look, coming FACE TO FACE with him. He grips her arm. BILLY -LRB- low voice. -RRB- Susan - forget it. Go get us a seat on the plane. Now. SUSAN -LRB- picking up the real fear in his voice. -RRB- What is it?. Billy? BILLY -LRB- a fierce whisper, panic. -RRB- For Christ's sake, just GET on the plane, okay! His tone stuns her ; never before has he spoken to her like that. A LOOK between them ; he has his glasses off now. She's not a stupid girl by any means and realizes something is very wrong and for the both of them, she'd best do exactly as he says. And fast. She moves OUT OF SHOT. BILLY, crouched low in the aisle starts to work fast, his finger : shaking reaching into his sweater starting to work the TAPE loose from around his chest ; looking from under the bench. Still quite a bit of commotion as passengers are exiting. BUT THEN : BILLY P.O.V. - UNIFORMED LEGS coming slowly down Isle Towards him. The muzzle of An M - l RIFLE tapping loosely Against the side of the kneecap. PAN WITH and MOVE UP as TURKISH MILITARY LIEUTENANT comes into view, intersecting outgoing PASSENGERS, eyes casually coming to rest on : BILLY looks up from his kneeling position on floor ; his sweater rolled back down ; he indicates the passport in his hand. `` Just found it'' expression. MOVE to the LIEUTENANT not necessarily suspecting anything, but with a customary insolence reserved for young vagrant - types, he stretches his rifle arms length with one hand and gently prods Billy up with the tip of the muzzle placed under his chin. MOVE BACK to the OFFICER, bringing the rifle back to his side, indicating Billy get off the bus with the others. All in silence. BILLY among a group of MALE PASSENGERS funnelling into two lines that pass on either side of a wooden inspection table. Thirty TURKISH SOLDIERS with rifles ring the area. It is open, vast, no place to run or hide. The only apparent hope is to melt into their regular jostling patterns of the passengers impatiently waiting. TWO PLAINCLOTHESMEN -LRB- Police -RRB- are on each side of the table, body - searching the male passengers alternately. SUSAN is in a similar set - up twenty yards away, with FEMALE ATTENDANTS doing the searching. She glances at Billy as she undergoes search. She is cleared, passes on, towards the ramp of the plane. BILLY, his sunglasses off, smoothly melts among the male PASSENGERS pulling some books from his shoulder bag. Glides to the head of the line. MOVE TO : The FIRST OFFICER patting down a PASSENGER, his back partially turned to Billy. MOVE AROUND bringing him into foreground as : BILLY skirts him in the background, camouflaged among two other conversing PASSENGERS waiting for the SECOND OFFICER who now appears in foreground on the lateral TRACK ; he is busy with another passenger. In passing him, Billy replaces the books in his shoulder bag as though he had already been searched by the first officer, Tension. FOLLOW BILLY as he approaches the boarding ramp. BILLY P.O.V. - SUSAN at the top of the ramp waiting. Smiling STEWARDESSES. Pan America. Haven. BILLY - FOOT rising off Turkish soil onto ramp. TURKISH HAND lightly touching Billy's elbow, then grasping the ARM. TURK -LRB- OFF. -RRB- Just a minute! BILLY his eyes flattening. SUSAN in LONG SHOT, reacting. BILLY turns trying to seem casual ; he confronts the SECOND OFFICER face to face and gestures towards the : FIRST OFFICER who happens to glance at them. SECOND Nebu? Did you search him? FIRST OFFICER -LRB- frowns. -RRB- No! SECOND OFFICER tightens his grip on BILLY, angry, and pulls him back to the TABLE. MOVE with them. The officer has been lied to ; in addition he is young, inexperienced, about eighteen. SECOND OFFICER -LRB- grunts a command, makes a gesture. -RRB- BILLY, comprehending, spreads his arms. The OFFICER pats him down carefully, brushing against his armpits. Precisely in the area where we saw the hashish. But incredibly he does n't notice, continuing to work his way down the hips and legs. CLOSE BILLY eyes on the sky behind the OFFICER, praying silently for a break. TURKISH FINGERS moving up the inside of his legs, onto his belly, touching the hard bulge below the navel. But again not noticing. BILLY in limbo, SOUND of his heartbeat. SECOND OFFICER pausing, his fingers around Billy's chest, about to let it go, then : PLACES HIS HAND suddenly flat on Billy's heart. OFFICER, sensing the accelerated Heartbeat, stares at : BILLY whose eyes jump, startled by this technique. FINGERS like excited spiders quickly run back up into the armpit area. STOP - right on the packets. TURKISH EYES SWIVEL to BILLY EYES CLOSE. Frozen moment. Then, sudden blur of movement at the edge of frame. SECOND OFFICER jumping back, grabbing his pistol from his holster, crouching on one knee, aiming the gun barrel at BILLY, hand shaking. He is terrified. SECOND OFFICER -LRB- screaming. -RRB- Bomb! He's got a bomb! AMERICAN PASSENGERS scream and the deck all around. AMERICAN PASSENGER Bomb! Bomb! BILLY stands there, arms straight up in the air, eyes clamped shut, trying not to breathe. CHORUS of rifle and revolver CLICKS OFF as : PULL BACK to OVERHEAD SHOT BILLY surrounded by thirty SOLDIERS with rifles pointed at him from all directions, crouched nervously. The PASSENGERS all huddled on the ground. BILLY, eyes closed. Edge of frame shows a shaky muzzle a REVOLVER poked into his belly, moving up. MOVE to THE FIRST OFFICER, older, more experienced but scared, poking with the revolver ; reaches in with his hand cautiously, starts to pull up the turtleneck sweater. MOVE with the hand, revealing the HASHISH PLAQUES around the navel. A pause. His HAND draws the sweater higher. More PLAQUES. FIRST OFFICER'S FACE relaxes. Starts to smile, finding it funny. FIRST OFFICER -LRB- yells out. -RRB- It's hashish. just a smuggler. SOLDIERS -LRB- OFF. -RRB- -LRB- in chorus echo, relaxing, chuckling. -RRB- Hashish. smuggler. hippy. MASTER ANGLE SOLDIERS REGROUPING. PASSENGERS starting to rise from the ground. SUSAN dumbfounded watching all this from the door of the PLANE, starts back down the ramp. But a flow of upcoming PASSENGERS slows her descent. BILLY is led roughly by TWO SOLDIERS parallel to the plane his hands on his head. He manages a glance at Susan. A slight but strong movement of the head and eyes. ` No. Do n't come down the stairs' SUSAN understands it, looks helplessly, hesitates lost between two worlds. A silent shaping of a puzzled mouth. SUSAN Billy? She is washed back along in the flow of passengers. VIP ROOM AIRPORT LOUNGE. The scene moves very fast, Indicating A sense of chaos. Much smoke. Many phone calls. Half A dozen Turkish police OFFICERS Are bizarrely seated In A row of fold up chairs next to A desk. Chattering among themselves -LRB- AD LIB -RRB- lighting their Turkish cigarettes. They hardly pay attention as : MOVE TO BILLY, scared, sweating - backlit by the huge windows overlooking the airstrip. In background, we see the 707 Pan American PLANE beginning to circle towards the runway. GUARDS have stripped him down to his bare chest and now knife through the adhesive tape from two sides at once. Then RIP the tape off. BILLY winces. ANOTHER ANGLE the room. Billy's luggage Is being Tossed. Clothes fly through the air. A sweatshirt ; Marquette University Rowing Team. A 35mm camera. A gift package for his mother ripped open. A silver Turkish kettle, clanging To The floor. Another package is ripped open and a set of Turkish tea cups smash and break all over the floor. Very fast. BILLY watches, bewildered. He is stripped of the last plaque in of the confusion is that each time another police officer his navel. FOLLOW the plaque clattering onto the pile of forty plaques. FIRSTOFFICER -LRB- OFF. -RRB- Name? BILLY -LRB- OFF. -RRB- William Hayes. MOVE BACK QUICKLY to the OFFICER with notebook at the desk. Part of the confusion is that each time we see another police officer we see he has another face. FIRST OFFICER Vi. Vilyum. Vilyum. BILLY -LRB- OFF. -RRB- Hayes. FIRST OFFICER Hi - yes. -LRB- writes it down. -RRB- ANOTHER ANGLE - FIRST OFFICER ` Merican? BILLY -LRB- nods. -RRB- New York. The OFFICER is puzzled. BILLY New York. New York. FIRST OFFICER Ahhhh. Nev Yok! -LRB- writes it down. -RRB- A LOUD SOUND OFF. The DOOR flies open and ANOTHER OFFICER strides in. Paunchy, moustached. The room is suddenly silent as we TRACK him in, followed by a grinning civilian FLUNKY with a big portable photo instrument and bulb. THE FIRST OFFICER jumps up from the desk, makes an obsequious salute to the SECOND OFFICER who arrogantly acknowledges it and takes the vacated chair behind the desk. The FIRST OFFICER moves to the first fold - up chair in the row, pushing the police officer in that chair further down. THIS OFFICER, in turn, shoves the next man down. It goes all the way down the line like a comedy until the last man in the row stands up against the wall. But this is all in the background as : SECOND OFFICER Name? BILLY William Hayes. SECOND OFFICER Vil. Vilyum? BILLY Hayes. Sharp SOUND OFF of FILM BEING RIPPED FROM CAMERA. He darts a look at POLICEMAN stretching the undeveloped film out. Another loud SOUND OFF, interrupting this - THE DOOR flies open again and a THIRD OFFICER strides in, obviously the most important yet, because the SECOND OFFICER jumps up from the desk, and all the others immediately move down one seat in the hierarchy without a moment's hesitation. But the THIRD OFFICER strides right up to Billy, waves to the SECOND OFFICER. THE CAMERAMAN in background bubbles with enthusiasm, sliding into position. Billy is puzzled - what's going on? His arm is grabbed and he is swivelled around. REVERSE ANGLE - OVER CAMERAMAN BILLY in the middle, flanked by SECOND and THIRD OFFICER, grinning like big game hunters, their arms on his shoulders. The FIRST OFFICER, sticking a bunch of hashish plaques into Billy's hands, runs OUT OF FRAME. BILLY looks from side to side. The SECOND OFFICER pats him hard on the back of the head, meaning ` look at camera'. BILLY glances at him, sees the grin on both the officers' faces. Thinking this is the necessary expression, he grins at the camera. CAMERAMAN disgustedly looks up from his eyepiece. CAMERAMAN No. He's smiling. Make him look miserable. SECOND OFFICER slugs BILLY in the stomach with a quick back - handed fist. BILLY groans, sinks to his knees. The plaques fall on the floor. FIRST OFFICER -LRB- running up. -RRB- Gel? Gel? He growls, grabbing Billy's arm and hauling him up, gathering the hashish plaques and putting them back in his arms. The TWO OFFICERS put their arms back on Billy's shoulders. BILLY, in pain, makes the proper expression of misery. FLASH! The bulb goes. THE 707 PAN AMERICAN PLANE, destination New York, roars up into the sky. PULL BACK all the way to BILLY sitting next to the window, huddled over, feeling woozy and near vomiting. He glimpses the plane but it is anti - climatic now ; as he stares down at his boots. Then remembers something! Surprised. ANOTHER ANGLE - ROOM. The Turkish OFFICERS talk AD LIB among themselves, congratulating, slapping shoulders, pointing to the hashish plaques, etc.. In center background, we see BILLY submissively lifting his arm for permission to speak, THIRD OFFICER nods, approaches, followed by OTHERS. BILLY slowly, partly out of pain, pulls off one of his boots, bangs it on the heel and two more PLAQUES clatter to the floor. TURKISH MOUTHS drop open. BILLY finishes the process with the other boot. An awkward silence OFF. BILLY -LRB- trying to explain, innocent. -RRB- I forgot. I really did. -LRB- makes ineffective gestures. -RRB- ANOTHER ANGLE. The room explodes with screams and commotion. THIRD OFFICER -LRB- screaming at SECOND OFFICER. -RRB- You idiot, you fool. You told me the American was searched. and he's pulling hashish out of his boots! You're all dogshit! SECOND OFFICER -LRB- turning on First Officer, screaming. -RRB- You worthless piece of garbage, where did you learn to search a prisoner? He's been in our custody for an hour, etc.. FIRST OFFICER -LRB- screaming at the others. -RRB- Who searched him? Who? Amid all the screaming TWO POLICEMEN rush over and yank BILLY upwards, and start to strip all his clothes. BILLY -LRB- protesting. -RRB- That's it! That's all I have! BILLY spread - eagled STARK NAKED against the wall. He is afraid to move. A strange silence. ANOTHER ANGLE. BILLY naked in center B.G. against the wall.The OFFICERS and SOLDIERS quietly leering at his trim, muscular buttocks. Hungry stares. Bisexuality is prevalent in Turkey.But there is also embarrassment among the officers ; none would do anything openly in front of the others ; instead they just stare and smoke their cigarettes. Low murmurs. Continued telephone calls. Much thick smoke all over the room. Another DOOR opens OFF. Obsequious GREETINGS in Turkish. BILLY is afraid to look over his shoulder, feeling enormously humiliated. VOICE -LRB- OFF. -RRB- Howdy, Billy. Howya doing, Ok? A perfect Texas drawl. BILLY glances over his shoulder. Sees : TEX a tall, lanky blonde - haired American in a business suit with boots. Clean cut, very handsome, with a strong flavour of danger in his blue eyes. TEX -LRB- smiling, extends Billy's clothes. -RRB- I think these gentlemen have finished for the time being if you'd like to put your clothes on. ANOTHER ANGLE - BILLY, so grateful at last to see a fellow American, reaches quietly for the clothes, his eyes never leaving Tex.. Release? TURKISH DETECTIVE sits at the main desk in the room. Unlike the others, he has no moustache ; a skeletal face, intelligent looking. TEX Is behind, leaning casually up against the wall. Angled to Billy's side is the entire array of seated OFFICERS looking on like a tribunal. DETECTIVE -LRB- thickly accented English, sympathetic. -RRB- Are you afraid, Vilyum? BILLY, standing to the side of the desk, clothed now, buckling his belt - afraid. BILLY No, I'm not afraid. DETECTIVE Good. There's nothing to be afraid of. If you co - operate with us, you will be on the plane for New York tomorrow. yes? BILLY -LRB- softly, hoping. -RRB- Yes? DETECTIVE Good. Now, where did you get the hashish? BILLY A cabdriver. He picked me up in the Pudding Shoppe in the bazaar. DETECTIVE Would you recognize him again? BILLY Yes. I think so. DETECTIVE Good. Would you go back to the Pudding Shoppe now and point him out to my men if you see him? BILLY'S EYES MOVE TO : TEX who makes a cool affirmative nod of the eyes to Billy. BILLY -LRB- OFF. -RRB- Yes. STREETS, ISTANBUL, AFTERNOON. TEX drives his American CAR ; BILLY in the passenger seat ; TWO TURKISH PLAINCLOTHESMEN in the rear seats. Various BACKGROUND SHOTS of the city. TEX -LRB- casual tone. -RRB- You decided to fly at a bad time Billy Palestinian Guerrillas all over the place blowing up planes and all. BILLY -LRB- shakes his head. -RRB- Stupid. TEX Four planes in four days. but I guess you kids do n't read the newspapers. and what with our people kicking up a shit storm ` bout the flow of heroin from Turkey you got. BILLY But did n't have heroin. TURK -LRB- grins. -RRB- Well I'm not up on all that. A drug's a drug seems to me Billy and. BILLY -LRB- sweating. -RRB- But it was my first time. I'm not really a smuggler, was just two kilos. TEX Well, you see Billy, it do n't really matter right now if it's 2 kilos or 200 kilos. The Turks love to catch any foreigner smuggling - it shows the world they're fighting the drug trade. BILLY But just. TEX Just what? BILLY I just needed some extra money. I was broke, the guy offered me the hash and. It sounds bad. Tex looks at him without expression. Pause.Billy tries to sense a sympathy in this ambiguous man, a liking towards himself. But feels nothing yet, except someone who can speak English. BILLY are you with the Consulate? TEX -LRB- not looking at him. -RRB- Something like that. Cigarette? ANOTHER ANGLE - BILLY nervously takes the pack and matches. TEX How much you pay this joker. this cab driver? BILLY Two hundred dollars. It was my last two hundred. TEX How much did you figure to make? BILLY fumbles to light up his cigarette. He is nervous, grateful to volunteer any information. anything. BILLY Three, four thousand. I do n't know. The guy offered me the hash -. -LRB- shakes his head. -RRB-. it just seemed like easy money. TEX Beats working. BILLY I was just going to sell it to friends. I'm not a pusher, honest. TEX grins, sceptical of his naivete, changing the subject. TEX Got a family back there? BILLY -LRB- inhales deeply. -RRB- Yeah. Parents, brother, sister. Babylon, Long Island. TEX What's your father do? BILLY He sells insurance for Metropolitan Life. TEX -LRB- a pause, not looking at Billy. -RRB- Be tough on'em. BILLY nods, takes a deep drag on his cigarette. ANOTHER ANGLE TEX Girlfriend? BILLY She was on the plane. Tex glances at him, questioningly. BILLY She did n't know anything about. I would n't have wanted her to. TEX Lucky girl. Billy leans back in seat, blowing out the cigarette smoke. BILLY Jeez, she used to say I was the lucky one. TEX Let's hope so, Billy. Let's sure hope so. A narrow cobblestone STREET. TEX pulls the car to a halt. THE PUDDING SHOPPE TWILIGHT Internationally - known cafe, adjacent BAZAAR. Crowded, noisy. WOMEN dressed in black hold crying CHILDREN by the hands. FOREIGNERS, mostly students and hippies, move about laughing, joking. Hawkers, street peddlers, vendors cooking shishkebab. small GYPSY BOY leads a huge MUZZLED BEAR on a leash. BILLY sits at a small outdoor TABLE alone sipping tea and eating baclava - nervous, very nervous, still trying to sort it all out in his head. If he does n't find the seller, what will happen next? MOVE across the TABLES, past a middle - aged AMERICAN COUPLE, to TWO TURKISH PLAINCLOTHESMEN watching him closely. They look evident. TWO HIPPIES make a wide berth around them. HIPPIES -LRB- OFF. -RRB- -LRB- in passing, low. -RRB- Hey Janet, why do n't you go sell'em some dope. MOVE ON to another TABLE where TWO MORE PLAINCLOTHESMEN sit, equally evident, watching BILLY. TEX sits in his car, in the distance, casually glancing at a newspaper. BILLY's eyes rove.","INTERIOR PUDDING SHOPPE Large. Many tables. Stairs. A back exit. ANOTHER GYPSY BOY leads a huge PINK PIG leashed with a wooden sign around its neck proclaiming `` Pig'' in Turkish. Various TURKS point the pig out, laughing at it, some disgusted by it, making faces and gestures : `` Go way, go way! `` Ayip!'' The PIG moves past BILLY, who shifts his gaze to : POV - CABDRIVER # 1 lingering at the curb. PAN to CABDRIVER # 2 PAN to CABDRIVER # 3. PAN BACK to # 1 and again to # 2 indicating no real fix on identity. BILLY tense now, knowing this is the chance he must take, nods with his head, pointing at CABDRIVER # 2, off. THE PLAINCLOTHESMEN move out towards CABDRIVER # 2. BILLY tentatively rises, as if to join them, but moves slyly towards the interior of the cafe. PLAINCLOTHESMEN move in roughly on a surprised CABDRIVER # 2 who begins to protest LOUDLY -LRB- AD LIB -RRB-. BILLY moves through the INTERIOR of the PUDDING SHOPPE, past the tables, past the stairs, towards the back of the shop, at a normal.to attract attention. A PLAINCLOTHESMAN looks around, sees he is gone. Tells the others -LRB- AD LIB -RRB- They spread out looking, abandoning the CABDRIVER # 2 who spits and curses them -LRB- AD LIB -RRB-. BILLY, with one backward glance, now eases out the BACK DOOR, into a bilious sunlight, onto a STREET. Pause. A HAND with GUN moves into FRAME pointing a six - inch barrel right at his temple. BILLY freezes, moving just his eyes to : TEX looking down at him calm, merciless. TEX You seem like a nice enough kid to me Billy, but try it and I'll blow your fucking brains out. BILLY - the sense of betrayal in his eyes. ESTABLISH PRISON - OVERHEAD ANGLE. A large and Byzantine structure suggesting the 15th Century Sultan's Janissary Barracks. Irregular crescent various wings ; a MOSQUE inside the prison. The possibly a shapes to the sense of an endless a decorative an equally in a city, labyrinth built by some mad Arab architect to suit purpose and now, in the 20th Century, transformed by mad Turkish bureaucracy into a prison. It should be preferably made to look like Istanbul. Faint background atonal Turkish CHANTING. Evening Muslim prayer. `` Allah wakbah, Allah wakbah.'' on and on, suggesting to us fear rather than praise. BILLY VOICE Dear Mom and Dad. This is the hardest letter I've ever had to write. know the confusion and the pain it will cause you. And the disappointment. BILLY - his scalp being shaved off by a prison BARBER in an un - specified ANTI - CHAMBER, His eyes are staring dead ahead. BILLY VOICE -LRB- continuous. -RRB- I really thought knew what I was doing with my life. I'd hoped somehow to get out of this quickly so that you'd never know about it. But that just is n't possible now. I do n't know what's going to happen. But what can I say to you? Will ` I'm sorry' make a difference? Will it ease the pain, the shame you must be feeling? Forgive me. Please. BILLY is now completely BALD, SOUND SHARP OVER : A CELL DOOR SLIDING OPEN. BILLY steps in, bewildered. ZIAT VOICE -LRB- OFF. -RRB- Git! The cell is dark, almost black, an overpowering stench ; a small grey metal bunk is bolted to the floor with a lumpy mattress. BILLY turns, looking back at the man staring at him from the door. ZIAT is quickly summing up Billy's character. This is his craft.He is a prisoner and trustee. sinister man whose one motivation in life is the accumulation of money, in the pursuit of which he has acquired an ugly purplish SCAR running the width of his throat, various other facial SCARS ; and one blind milky white EYE. He's stocky and strong - about five ten, with bushy eyebrows, brown cigarette teeth, big dirty nails, repulsively in need of a bath. What's surprising is that he is no more than thirty years old looks and behaves like sixty. The personification of the denaturalization of a man. Time, body, mind - all of them warped. BILLY, not yet attuned to his nature, only repulsed, is still wearing his own clothes and makes a shivering gesture, enunciating very clearly, hoping he will understand. BILLY Cold. Very cold. Can I get blanket? Blanket? -LRB- makes a gesture of a blanket wrapped around him. -RRB- ZIAT smiles, showing his stained teeth, and starts to slide shut the cell door on its ROLLER. ZIAT -LRB- in English. -RRB- Mo sell. Too late. Tomorrow. A cobra smile flashes, as the cell door bangs shut. ZIAT -LRB- through the bars. -RRB- You be here tomorrow. `` Ayi Gedjaler'' -LRB- `` good night''. -RRB- Goes. BILLY walks around the cell, hugging himself for warmth. VOICE -LRB- OFF. -RRB- Pssst! BILLY stops, goes to the edge of the cell. A BONY BARE ARM motions from the bars of the cell next to his. We never see the face but hear a thick ITALIAN ACCENT, hoarse and cracked. VOICE -LRB- OFF. -RRB- -LRB- Whispering. -RRB- Your cell, no key. Open! Blanket. Three cell down. You get me one. Take. Extends a stick with a big nail pounded into the end, twisted over to form a hook. BILLY takes it. Hesitates. VOICE -LRB- OFF. -RRB- Ziat go for night. Go! BILLY cautiously slides the cell door open, amazed that it's been left open. Nothing makes any sense to him in this labyrinth ANOTHER ANGLE - BILLY steps out into a WALKWAY. A bare bulb overhead casts light. He glides past the three cells, seemingly empty. Finds the cell with blankets, sheets, towels and various supplies stacked inside. But it's locked. He slips the stick in between the bars and stretching, hooks the first blanket. BILLY asleep with the blankets pulled up to his chin. Suddenly DIRTY HANDS reach into frame and rip the blanket off. WIDEN TO : ZIAT -LRB- tugging the sheet, growls. -RRB- Brack! Brack! Then SLAPS at BILLY. BILLY ducks away. Encouraged, ZIAT steps up closer to him, sticks his fingers in his chest screaming. ZIAT You, goddamn you, give me sheet. Give me! And feints as if to hit BILLY again. BILLY reacts to defend himself, pushing ZIAT off and jumping out of the bunk. ZIAT, Enraged by the shove, comes back at BILLY, screaming, arms flailing like a bear to pummel him, but BILLY, not understanding the Turkish bluster in his mannerisms, meets him with a sharp right FIST into the front of his face. ZIAT staggers back, startled into silence ; he has misjudged this kid. BILLY waits, ready for the fight in the defensive position. The guy is bigger than himself. ZIAT, however, now feels the blood from his mouth and nose and freaks out, running out of the cell SCREAMING at the top of his lungs as if he's dying. BILLY is blindfolded, stumbling down stone steps pushed by a GUARD, into a dungeon - like basement room. THE PUNISHMENT CELLS. THE GUARD removes the blindfold. BILLY, adjusting to the light, stares around. The cell is spartan, with a series of pulleys and primitive bondage devices hanging from the cobwebbed ceiling.A DOOR opens and : HAMIDOU STEPS in, lowering his head to get through the door.Chief of the guards. A clean uniform. Four stripes. The only guard to carry a holstered gun. very frightening man. He is about six two, two forty, and muscular, and moves lightly like a fighter on his feet. His skull is bullet - shaped and completely shaven like Billy's, Enhancing this effect, he has no eyebrows, and his pale blue eyes -LRB- suggesting a trace of Indo - European stock in his ancestry -RRB- are set deep in his skull somewhat like turtle eyes, giving nothing away. His nose is a beak of skin his neck broad, his mouth a small crescent that moves as lightly as his feet between anger and amusement. He approaches BILLY, looks into his eyes, drawing out the moment for himself, enjoying the tension and the fear he instils in others. BILLY meets his eyes respectfully, then realizing this is perhaps not the thing do to, looks away. But, fascinated by the man's features beyond his self - control, he looks back. HAMIDOU, amused by eye actions, smiles thinly. The sort of smile that could imply friendship such is its hint of charm. HAMIDOU -LRB- to one of the guards. -RRB- Name? GUARD -LRB- checking a clipboard. -RRB- Vilyum Hi - yes HAMIDOU -LRB- looking at BILLY, repeating it. -RRB- Vilyum Hi - yes. And slowly his hand moves up to caress the edge of his hairless upper lip. An erotic gesture in Turkey. HAMIDOU Vilyum Hi - yes `` Its in my memory locked.'' He slowly extends his right arm stiff out to his side. BILLY watches, fascinated. HAMIDOU lets the arm linger ; then : SMASHES BILLY across the face with an open palm. BILLY shoots back : and smashes against the wall just from the force of one blow. Stunned. HAMIDOU advances, taking a wooden CLUB -LRB- FALUKA STICK -RRB- about feet three long and three inches wide from a GUARD. BILLY scared, emphasizing the words, trying to make himself understood. BILLY It was cold. Cold! I get blanket. Blanket! Cold! THWACK! BILLY'S LEG BUCKLES, where the faluka stick has just smashed him behind the kneecap. He SCREAMS going down. BILLY looks up from the floor : HAMIDOU with his club in hand. HAMIDOU -LRB- In some sort of English, smiles. -RRB- No do. No do. Raises the club. BILLY tries to block it with his hand, and the CLUB smashes his thumb. SCREAM. BILLY is hoisted upside - down in his UNDERPANTS ONLY with thick rope tied about his ankles, the legs spread - onto a PULLEY suspended from the ceiling. He is yanked upwards, then lowered slightly, his head and backs of shoulders banging against the stone floor. THE PULLEY is LOCKED into place. -LRB- LOUD SOUND -RRB- BILLY has this surprised look on his face still, through the tears. What's happening? Hamidou motions the GUARDS out of the room -LRB- AD LIB -RRB-. Turns back to BILLY, raises his club. BRINGS IT DOWN FORCE on the soles of BILLY'S BARE FEET. SCREAM. He cocks the club again. BILLY twists To avoid The blow CLUB catches him On The ANKLEBONE BILLY SCREAMs louder than ever as we hear The SOUND of wood On bone. Whimpering SOUNDS follow. BILLY looking through teary eyes, sure now that he is going to be killed. The CLUB - OFF - smacks sole skin with the same force as the first blow. No let up. BILLY still in the same position, vomits all over himself. HAMIDOU SPINS the PULLEY to a new position bringing : BILLY into a steeper, more vertical position. He is on the verge of fainting, bleary - eyed, looking as : HAMIDOU moves around in between his legs. Doing something indistinct with the stick between his legs, then dropping the stick. Then, with this bizarrely excited expression on his hairless face, he begins to undo his own pants. But, for Billy, it all BLURS OUT TO : JAPANESE SILK SCREEN depicting a fat jovial Buddhist monk, fishing placidly by a stream. Then moves to soap carvings of chess pieces Then a bed - sheet hung as a curtain with astrological symbols paint ; on it. SOUND OFF, of a blaring radio. Atonal TURKISH MUSIC. VOICE -LRB- close, intense. -RRB- Hey man, he's got ta walk, or his feet gon na swell up worse. 2ND VOICE -LRB- softer, sonorous, Swedish accent. -RRB- We take him down to courtyard. Then : ERICH - a gentle long bird's face. Long whitish - blond - hair, Swedish, well above six feet, 25. Another FACE moves into view JIMMY BELL, American, 23 fiery eyes, black hair and moustache, intense, strong. BELL Smoke this rocket, it'll cool the pain. ANOTHER ANGLE - BELL puts a huge cone - shaped JOINT with aluminium foil filter into BILLY'S LIPS. He hardly knows what it is, Puffing weakly. Though dehydrated and his face white without color, he has no facial markings. BELL You got ta walk around some man, or your feet gon na swell up something bad. BILLY looks down at HIS FEET Bloated black and blue with inflamed red points in various spots. A vicious bruise on his anklebone. ERICH is running a cold rag from a basin of water over them, his fingers tender. BELL -LRB- OVER. -RRB- You've been out for days man, talking all kinds of shit. Come on, we'll walk you down to the courtyard. BELL eases BILLY up from the bed, as ERICH puts a pair of clip - clops on his feet. ERICH Okay? BILLY nods. They rise together, bracing his shoulder. BILLY adjusting to the sensation of standing. ERICH How's it feel? BILLY -LRB- dizzy. -RRB- About as good as it looks. BELL Getchmis olsun BILLY Getchmis? BELL Olsun - `` May it pass quickly.'' I'm Bell, Jimmy Bell. This is Erich something Swedish. ERICH -LRB- smiling. -RRB- Just Erich. BILLY I'm Billy Hayes. At least I used to be. Looks around. A DORMITORY TYPE ROOM with 24 bunk beds set head to head in horizontal fashion, cramped and with minimal privacy. A narrow WALKWAY leading towards a TOILET AREA and STAIRCASE. BILLY Looks like a cheap hotel. BELL Yeah. Only the room service is lousy. Come on, let me show you the tennis courts. Helps him with ERICH to take the first steps. THE COURTYARD. The THREE of them emerge in a thin AFTERNOON sun, Billy now disengaging and hobbling on his own power. ERICH -LRB- watching Billy limp. -RRB- Feeling all right? BILLY -LRB- still groggy. -RRB- Yeah. That guy who beat me? -LRB- stops, slightly puzzled. -RRB- I feel stoned. BELL -LRB- grins, interjects. -RRB- ` Figgers. BILLY -LRB- vague, going on. -RRB-. He had a bald skull and. BELL Hamidou. Chief of the Guards. Do n't fuck with him. He almost killed an Italian dude couple months ago. Bad news. He try anything with you? BILLY glances at him, understanding. Pause. BILLY No. I do n't remember. Glances at ERICH. BELL With these fucking Turks, soon as the light goes out. I keep one hand on their feet and their feet better not grow. You'll meet Max. He got raped something bad down in Section 13. That's the pits. THE COURTYARD VARIOUS ANGLES The yard is 30 by 50 paces with a wall 20 feet high. Cigarette butts, orange peels crumpled news - papers, rocks, sticks, broken glass litter the place. No guards are on the walls ; the only GUARDS are unarmed inanimate lumps of boredom who look as helpless as the prisoners with whom they intermingle ; they have raggedy olive green uniforms and worn boots -LRB- they make $ 1 a month, augmented by bribes -RRB-. On one side of the yard is a 2 - story ROGUS -LRB- cellblock -RRB- with barred windows from which Billy and his two companions have just emerged. On the other side of the yard is another 2 - story KOGUS -LRB- the children's kogus -RRB-. The COURTYARD is colorful, almost like a bazaar, about 8O people in it - groups of exotically dressed AFRICANS, AFGHANS, ARABS, MALAYSIANS, EUROPEANS, and predominantly TURKS pacing back and forth talking in little circles, hawking wares, trading illegal currencies. Screaming Turkish STREET URCHINS 10 - 14 years old, share the space playing soccer and volleyball with a surprising viciousness, continually hitting each other and cursing. A bunch of them vehemently lay bets on the soccer game. Other aspects of the prison which should become evident : 1 -RRB- NOISE - continuous, Loud. Radios, Turkish music, screaming, shouting. 2 -RRB- CATS - all kinds, some of them pets, some stray, tolerated because they kill the rats. 3 -RRB- THE PRISONERS all wear their own clothing ; the foreigners preferring jeans, clip - clops, sneakers, Sweat suits. 4 -RRB- THE HEADS of only the new prisoners are shaved, then allowed to grow back. 5 -RRB- MANY PRISONERS have physical disabilities. Carbuncles on the back from wet mattresses. Boils on the lymph glands around the neck, buttocks, under - arms, sometimes SO painful the victim walks with his arms up in the air. Arthritic in the knees, hips, ankles. Fungus on the feet. Many limp. ANOTHER ANGLE - THE PRISONERS glance at BILLY as he walks, noting the beating he has taken and sizing him up, then going on with their business. BILLY The kids? Why are they. BELL -LRB- snorts. -RRB- Little fuckers are thieves, rapists, pickpockets, murderers, you name it - they do it. Do n't trust any of'em. BELL's eyes follow a knot of KIDS to : ZIAT has a window open on the FIRST FLOOR KOGUS and is selling little cups of tea to the kids from inside where he works a GAS STOVE. The kids push and punch each other to get the tea faster. BELL -LRB- OVER. -RRB- They tell Ziat everything. He's the squeal round here. Goes all over the prison. Sells watered - down tea, blankets, hash, black money, nembutols - anything for a buck. ZIAT leaves the stove in the hands of an ASSISTANT and moves down the window to a particularly gaudy AFGHANI a fierce hawk - faced old man with a chunk of his ear missing. He wears a colorful flowing robe, various scarves, turban, trinkets, rings, baggy pants, and pointed curved shoes, and makes emphatic violent gestures at ZIAT with his mutilated THREE FINGERS. ZIAT Seems to speak something of his language and bargains back. BELL -LRB- continuous. -RRB- He was an informer on the outside but he tried to screw the cops out of 60 kilos of opium. Watch him, he's a fox. BILLY says nothing to them about the Ziat incident, sizing him up for himself. THE AFGHANI having concluded the deal with ZIAT reaches deep into his layers of clothing around his crotch and pulls out several scrofulous $ 10 bills which discreetly takes in exchange for a thick wad of Turkish currency, his eyes moving around, stopping on BILLY. A hooded look. BELL -LRB- OVER. -RRB- Whatcha' in for, smuggling? Rash? BILLY turning his eyes away from ZIAT BILLY Yeah. BELL -LRB- shaking his head. -RRB- History, man, history. How much? BILLY Two kilos. BELL Where? BILLY The airport. Trying to get on the plane for the States. BELL -LRB- whistling a kind of punctuation. -RRB- Could be ten or fifteen. Maybe even twenty. BILLY -LRB- tensing. -RRB- Twenty months? BELL Twenty fucking YEARS, man - YEARS! I figger ten at the least. BILLY stunned. BILLY -LRB- soft. -RRB- Years? BELL Yeah, what do you think this is, the good USA? This is Turkey, man. -LRB- laughs bitterly. -RRB-. -RRB- It's a fucking accident here if you're innocent. And anyway. ai n't nobody who's innocent. ANOTHER ANGLE - all the color and breath seems to have gone from BILLY. ERICH -LRB- his English is halting but has a calming effect. -RRB- Do n't pay too much attention, anything is possible in Turkey. You might get bail. BELL snorts, amused, kicking the SOCCER BALL away hard as it dribbles towards them. ERICH If you make bail, you're free. You can get a fake passport or sneak across the border to Greece. The Greeks hate the Turks so much they never send you back. The Turks know it. They just keep the bail. money. BELL Sure, keep dreaming and see where that gets you. like Max, up in the head, you know. -LRB- makes a crazy signal towards the head. -RRB- You gon na eat a lot more fasoulia beans, Billy baby, ` fore you taste a hamburger ` gain cause you broke the law man, and you got caught. -LRB- grins. -RRB- And that. is history. ERICH The law is sometimes wrong. BELL -LRB- eyes feverish. -RRB- The Law is never wrong, asshole. The Law is! And stalks away, disgusted. A deep anger inside him. ERICH looks at BILLY who is quiet ; by way of apology. ERICH New people sometimes get on his nerves. BILLY -LRB- lifeless. -RRB- What did he do? ERIC He was caught steeling from a Mosque. That's heavy here. He got 30 years. BILLY Thirty years? ERICH Jimmy has more balls than brains. He did n't tell his parents he was in jail for a year and a half. He says he got himself in and now he's going to get himself out. He shakes his head, looking at : BELL him across the courtyard huddling with a cigarette, bartering angrily. a raggedy GUARD giving him a cigarette, bartering angrily. BILLY and ERICH. BILLY And you? ERICH Hashish. Ninety percent of the foreigners are in for hashish. They walk. BILLY What they give you? ERICH -LRB- passive. -RRB- Twelve years. Billy stops. BILLY How much did you have? ERICH A hundred grams. BILLY -LRB- appalled. -RRB- It's not fair! Even ERICH has to smile now. ERICH There is no fair in Turkey, Billy. It's all `` sula - bula'' like this, like that. An Italian hippie had a car accident and a Turk was killed. SO, they threw him in here for six months. BILLY That does n't seem so bad. ERICH But he was eating lunch a mile away when the Turk smashed into killed himself. BILLY He was n't even in the car? ERICH -LRB- shakes his head. -RRB- Aslan, there. -LRB- points. -RRB- ASLAN - a young big fat heavily moustached Turk, wearing a black silk double - breasted business suit, grotesque cuff - links, heavily pomaded hair, is huddling in a section of the YARD with FIVE other grinning GANGSTER TYPES, all in suits. ERICH -LRB- OVER. -RRB- Killed a guy. But his father's a big gangster on the docks. A `` Kapidiye.'' He'll stay in. twelve months no more, and get parole. In Turkey, murder is manly - `` erkek''. ERICH Glances back at BILLY ERICH You just got to get yourself a good lawyer. And some money. Talk to Max. He's been in the longest. BILLY How long? ERICH Seven years. MAX - `` Eskilet'' -LRB- skeleton -RRB-. British, tall, straggly long hair with wire spectacles set crookedly over his nose. An earing in one ear. The far away eyes of an international junkie, preoccupied and uninterested in small talk. Tough in his skinny way, like apiece of old dried leather. He occupies with his YOUNG STRIPED CAT a bunk in the far corner of the SECOND FLOOR KOGUS - in the process of shooting himself up with `` Gastro'' a smelly brown liquid stomach medicine. No one is in the vicinity except ANOTHER ANGLE ERICH and BILLY who watches repelled as MAX fumbles with a piece of twine tied around his arm in a tourniquet, searching for an unused spot amid dirty infected track marks. PLUNGES the needle in, pumping in the black gunk. Glances at BILLY. MAX -LRB- smiles. -RRB- Gastro. Stomach medicine. Has codeine in it. Best can do Pulls out the needle, loosens the tourniquet. His eyes take on a far away stare. ERICH Lawyers? MAX Yeah. there's no straight lawyers in Turkey. They're all bent bent as hairpins. Gives a spoon with a taste of the black residue to : HIS CAT who is full of spunk, and tries to catch Max's HAND. He looks at BILLY, not remembering him. ERICH His name? MAX Who? ERICH The lawyer? MAX is beginning to go. He sits on his bunk. MAX What lawyer? ERICH Who got the Frenchman out? MAX Oh Yesil. Yesil's his name but I. do n't know anything. ` bout. Yesil. ANOTHER ANGLE - MAX'S head begins to bob back and forth.Focuses on BILLY. MAX Best way is get your ass out. any. way. you can. BILLY What do you mean? MAX Get the. midnight. express. BILLY What's that? MAX smiles from faraway like a Cheshire cat and his head drops forward onto his knees, nodding off. HAMIDOU, swinging his falaka stick rhythmically against his leg and that calm killer look on his face, leads an uneasy BILLY down a MAIN WALKWAY with a roof overhead ; we gather that the prison contains several separate wings. ADMINISTRATIVE BUILDING - HAMIDOU glances back at BILLY, indicates with his stick `` come here'' and opens an office door. BILLY, still bewildered, his bruised feet almost back to normal, limps in warily eyeing HAMIDOU who follows. NECDIT YESIL, the lawyer, fleshy, grinning, thin black hair heavily greased, sits at a conference table. Standing adjacent is STANLEY DAVIS, the U.S. Consul - eyeglasses, striped tie, neat summer suit with stripes, trimmed hair, ivy league look, his eyes moving from Billy to : OLDER MAN, late 50's white hair, blue - eyed New York Irishman.A suburban insurance agent, rumpled suit, an anxious look on his face. Moving towards BILLY fast : FATHER Billy! FATHER AND SON embrace ; the father's left hand grabbing Billy's arm tightly as if never to let go. BILLY Dad! HAMIDOU looks on, intrigued by the Father and Son ; leaves silently, closing the door. FATHER looks into his son's eyes, his own eyes moistening. He looks tired, pain all over his face. BILLY looks down. BILLY Dad. I'm. ANOTHER ANGLE FATHER -LRB- voice quivering. -RRB-. Do n't worry about it. -LRB- managing a smile. -RRB- I can punch you in the nose later. Right now we've got to get you out of here. You all right? BILLY -LRB- eyes moistening. -RRB- Yeah. How's Mom? FATHER Bad. She could n't make the trip. You know Her boy. -LRB- breaks off. -RRB- Susan told us before we got your letter. She's fine ; she's trying to get the money to come back and see you, but. BILLY No, do n't let her! I'll. How about Peg? Robbie? FATHER Same. None of the neighbors know. We told them you were in a hospital in Europe. Oh. this is Stanley Davis. He's the American Consul here. And Necdit Yesil, the lawyer you wanted. ANOTHER ANGLE DAVIS -LRB- shaking hands. -RRB- Hello, Billy. BILLY Hello. The professional smile from the Consul, but in the handshake and the eye contact, BILLY is cool. The unanswered question : Where were you before my father arrived? DAVIS I want you to know we're going to do everything, in our power to get you out as soon as possible. Believe me. BILLY Thank you. ANOTHER ANGLE YESIL moves forward. unctuous. bubbling with high spirits, profusely shaking BILLY's hand, exuding confidence in fractured English, YESIL Vilyum, I am Necdit Yesil. BILLY Mr. Yesil. YESIL I know exactly what you feel but you must not worry, we are acting immediately, we get the right court, the right judge, I arrange everything - just right. And I think we get you bail. If very bad, maybe twenty month sentence. But I think we get you bail. Pause, BILLY looks at him wondering how to take him in. YESIL -LRB- reassuringly. -RRB- You know I have lectured at the University of Maryland in your country? Also University Michigan Very nice country. We both go back. -LRB- smiles. -RRB- BILLY -LRB- trying to concentrate. -RRB- If I get bail, Mister Yesil, they say it's easy to cross the border into Greece? FATHER -LRB- pacing up, hungry. -RRB- Right! That's what we're shooting for. Mister Davis and have been in contact with the State Department, but right now relations with the Turks are n't too good, Nixon's upset the hell out of them. Our best bet's. right here. BILLY Dad. -LRB- pauses, glances at Davis and Yesil, embarrassed. -RRB- I'll pay you back for all this, I Promise. ANOTHER ANGLE FATHER Do n't worry about it. Right now money does n't count. Okay? A pause. YESIL Shifts, Throats are cleared. BILLY moves to sit down, limping faintly ; he is wearing sneakers and the bruises do n't show. FATHER Where'd you get that limp? BILLY -LRB- not wanting to alarm him. -RRB- Nothing. Just twisted my ankle. Sits down at the conference TABLE. BILLY Where you staying, Dad? FATHER -LRB- pulls up a seat next to Billy. -RRB- The Hilton. BILLY How do you like it? Istanbul? FATHER Well, it's an interesting place. -LRB- lowers his voice, a hint of a smile. -RRB- Tell you the truth, I think the food is lousy. The crap they sell in these little restaurants. I went out to eat in one of them last night, and I had to run to the damn toilet. You shoulda' seen the toilet. BILLY laughs. BILLY You mean you got toilets? FATHER is happy to see his son laugh. FATHER Yeah, with real toilet paper - and you do n't have to use both sides. BILLY laughs again. FATHER So now I'm eating at the Hilton every night. BILLY smiles. A pause. A worried look returns to the Father's face FATHER Why'd you do it, Billy? BILLY For the money. -LRB- Looks away. -RRB-. -RRB- FATHER -LRB- sighs. -RRB- I know you kids smoke that stuff, and we drink booze, but taking it across a border - it was stupid, Billy. Stupid. BILLY I know. Glances at DAVIS, YESIL back to his father, his voice beginning to tremble, ashamed of himself for letting it show. BILLY Dad get me out of here. ANOTHER ANGLE. The FATHER understands the desperation in his voice, puts his hand on his son's. FATHER I promise you, Billy. Just sit tight and do n't. DO N'T do anything stupid. Let me work with Mr. Yesil and Mr. Davis. We'll get you out. Okay? Billy, okay? All the assurance of the world is written in this kindly Irishman's face. BILLY feels it. BILLY being led by TWO GUARDS down a huge arched CORRIDOR in the COURTROOM BUILDING. BILLY Okay. PROSECUTOR VOICE -LRB- OVER. -RRB- THE world is now looking at Turkey. We are called the Heroin Supplier of the world. Stories about us are in newspapers and on television every day all around the world. The time has come, your Honor, to alter this image before we find ourselves isolated and morally ostracized by the rest of the human race. THE COURTROOM - monolithic, frightening, immense with cross - currents of greenish light from the enormous windows. People seem insignificant. THE PROSECUTOR, wearing dark green glasses, continues, scowling, gesturing profusely at : BILLY in the PRISONERS DOCK, baroque design, isolated. Does n't understand a thing, Erich's extra - large blue pin - striped suit makes him look rather absurd. HIS FATHER, CONSUL DAVIS, YESIL and ANOTHER LAWYER are seated together at the defence table conferring in low tones with each other. YESIL looks over at BILLY with a big reassuring grin, nods his head - nothing to worry about. TURKISH GIRL from the Press with a yellow legal pad, makes notes in the Spectator Gallery. Her legs flare out from a short skirt. BILLY pries his eyes away to : PROSECUTOR continuing in front of the THREE JUDGES high on an Alice in Wonderland podium wearing long black robes with scarlet collars. One of the Judges is bald, the other has his eyes closed, could be asleep. The CHIEF JUDGE in the middle has a sagging somewhat kindly face and short grey hair. A YOUNG MAN below the podium, is clacking at an ancient typewriter on a small table. PROSECUTOR VOICE -LRB- OVER. -RRB- -LRB- continuous. -RRB-. We must alter this image by punishing only our own drug smugglers - but by handing out foreigners who infest our culture with their depravity ungodly and behavior. We must start now - by sentencing this American, Vilyum Hi - yes, to the maximum sentence for smuggling, to be held up to the light of the world as an example of Turkish justice and its intention to halt the drug trade once and for all. I ask the Court therefore to sentence Vilyum Hi - yes to Life Imprisonment. He sits, staring malignantly at BILLY. THE JUDGES rise. JUDGE Thank you, Prosecutor. The Court will now recess to consider its verdict. The JUDGES exit. ANOTHER ANGLE, General commotion in the courtroom as people move about. The FATHER and DAVIS and the OTHER LAWYER consult among themselves, the FATHER vigorously nodding his head. YESIL approaches BILLY. BILLY leans forward anxiously in the dock. BILLY What'd the Prosecutor say? YESIL -LRB- hurried. -RRB- It's not important, just technical things. We make our case. You were very good, you spoke well. The Judge like you. It look good. Do n't worry. BILLY -LRB- pressing. -RRB- Did you ask for bail? But YESIL is called over by the other LAWYER and hurries off. A SOLDIER comes over and sits BILLY down. THE CHIEF JUDGE puts on his glasses, stands to read the verdict. YESIL, standing with the OTHERS, motions BILLY to rise. BILLY rises, tense. FATHER looks over at him, manages a reassuring smile. JUDGE continuing, after preliminaries : JUDGE The Defendant has been found guilty by the Court of the illegal possession of Hashish. PROSECUTOR, his expression souring, makes a gesture of defeat. We wanted a conviction for smuggling, not possession. BILLY, not understanding sees the Prosecutor's gesture, and a hint of hope crosses his expression. JUDGE puts the paper away, looks at BILLY directly. JUDGE Therefore. this court sentences you, Vilyum Hi - yes to be imprisoned at Sagamilcar Prison for a term of four years and two months. This Case is now closed. BILLY looking at the JUDGE does n't understand. Thinks he might be free. But suddenly TWO SOLDIERS move in, and start chaining his hands together. He is bewildered, looking at : YESIL hastily conferring with Billy's FATHER, more concerned about making a good impression with him than with Billy. YESILF Four years, two months. It's good. FATHER -LRB- stunned. -RRB- Four years! YESIL -LRB- quickly. -RRB- We appeal it. BILLY watching this, a lost look. FATHER is too shocked to do anything but look at YESIL who continues on : YESIL You will see, he will have maybe one year taken off this sentence for good behaviour. Remember, it is only for possession ; the prosecutor wanted life sentence for smuggling. -LRB- a smile. -RRB- To be honest Mr. Hayes, it is a great victory! BILLY is forcibly removed from the DOCK - in chains. THE FATHER, in the same CONFERENCE ROOM, FATHER -LRB- embarrassed. -RRB-. With good time Billy it works out to about 3 years. then there's the appeal. Yesil, Davis, they're all working for you We're going to try to make a deal to get you transferred to a Stateside prison. And Davis thinks there might be a political amnesty any month. Stops. Knows it sounds bad. BILLY looks down. FATHER Look - I know it sounds tough, Billy, but we're gon na get you out. FATHER grips BILLY by the arm hard. FATHER I promise you, but I do n't want you to get stupid again. Pull anything. They can play with your sentence. BILLY nods, acquiescent. FATTIER -LRB- his voice starting to crack. -RRB- I'm putting $ 500 in the bank for you. Anything you need you write. BILLY nods. His FATHER points to a stack of ITEMS on the conference table, picks up a cigarette carton. FATHER There's food, candy, writing paper, soap, books. -LRB- his eyes start to water. -RRB-. cigarettes, soap, tooth - brush, there's. Jesus! -LRB- cracks, throws down the cigarette carton. -RRB- I been writing insurance policies on people for thirty goddamn years. -LRB- laughs and cries at the same time. -RRB- And now I got ta see my own son. Jesus! Jesus! If I could be where you are Billy, I'd be there. Goddamn Jesus! These bastards. HUGS HIS SON BILLY is on the verge of tears. BILLY DAD! FATHER Oh Jesus! -LRB- sobbing. -RRB- HAMIDOU enters the room. A morbid curiosity in his expression about this show of grief. Watches a few moments, then indicating the visit is over, he taps his falaka stick lightly a few times on the hollow door. THWACK! THWACK! FATHER breaks the embrace with BILLY, tears streaking his cheeks. Silently indicates for him to `` Go, go Fast.'' BILLY goes, past HAMIDOU FATHER shaking his finger at HAMIDOU FATHER You take good care of my boy, you hear, or I'll have your fucking head, you Turkish bastard! It sputters out of his mouth, senseless to : HAMIDOU who closes the door. He has an angry glint in his eye. BILLY lies on his bunk at night deeply depressed, paler. Candlelight flutters softly against the stone walls. A PHOTO of SUSAN taken outdoors with a mountain range in the background, is on his wall with various SOAP CARVINGS of little chess piece she has designed. In the distance, very faintly coming upwards into our sound consciousness we hear a TRAIN WHISTLING in the night, on an old railroad track bypassing the prison walls. Two whistles. Chugging. Then passing off. The Midnight Express. BILLY'S VOICE Dear Susan. 1970 has now passed into 1971. You can drift in here and never know you're gone. You can fade so far out and you do n't know where you are anymore or where anything else is. The CAMERA DRIFTS around the SECOND STORY KOGUS revealing the sleepers : ERICH, BELL, MAX. BILLY'S VOICE -LRB- continuous. -RRB- I find loneliness is a physical pain which hurts all over ; you ca n't isolate it in one part of your body. I so much need your softness, your strength. I have your letters. They charge me, give me courage.News about amnesty and getting out - tangled, complicated. The CAMERA LINGERS on ZIAT in a far corner of the Kogus, top bunk, against a wall. Never secure, he shuffles in his sleep. VOICE I feel myself drifting more heavily into smoking hashish. The haze helps the time pass. Also I do soap carvings. Erich taught me. And I have been learning Turkish because it helps me to deal with the guards and the prisoners. I'm trying hard to maintain some sort of schedule to my life, but sometimes it seems like I'm just trying in order to try. ZIAT is evidently awake he pulls his RADIO over into the bed, and peering around to make sure no one is watching, here moves the screws from the back of it, pulls off the cover and puts in a sheaf of large denomination GERMAN MARKS : inside we briefly glimpse a wad of different - colored CURRENCIES stacked with rubber bands. COURTYARD. Volleyball game in progress. ERICH is tall and plays with dexterous grace. BILLY is fast, agile. BELL is muscular, intense, his hits power - packed. BILLY'S VOICE -LRB- continuous. -RRB-. In the daytimes we sometimes play volleyball against the big Turkish gangsters. THE THREE they play against are hilarious looking in this context, moving like big clumsy bears, waving their arms and screaming at each other, disorganized. Ever conscious of fashion, they have their jackets and vests off but play in their Elvis Presley shirts rolled up at the sleeves, shiny slacks, black pointed pumps. The boys wear shorts and sneakers. On the sidelines we see a group of PRISONERS laying bets and shouting encouragement. BILLY leaps up for a ball close to the net and as the TURKISH OPPONENT backs off, he dinks the ball in just over the net ; the Turk SCREAMS his teammates scream at him. BELL goes up for another ball close to the net and really SMASHES it with all his might, and : BALL bangs right into the eye of a TURK who flails his arms and SCREAMS with pain, very theatrical. THE SAME TURK now swaggers around the COURTYARD, wearing sunglasses so no one will see his black eye. BILLY'S VOICE To the Turks all foreigners are `` ayip'' - unclean, dirty. We do n't shave our under - arms or around our crotch. BELL across the pointyard grins at him and points him out to BILLY, and ERICH. BILLY VOICE -LRB- continuous. -RRB- Even the yoga I sometimes do is `` ayip'' - too suggestive. THE TURK scowls back at BELL, huddles menacingly with another TURK. BILLY'S VOICE -LRB- continuous. -RRB- And you're never supposed to eat with your left hand. You know why? Because that's what they use to wipe their asses with instead of toilet paper. And yet they hate pigs. There are no pigs in Turkey. They're considered dirty. BELL, smirking at the Turk, turns and walks away. BILLY VOICE -LRB- continuous. -RRB- So is homosexuality. That's a big crime here but most of them do it every chance they get. There are about a thousand things that are `` ayip''. But they're really so hypocritical, like children breaking the rules. For instance. Suddenly a CRY OFF and : THE TURK runs up, pulling a sharp SHIV from his pants, and using the cloth as a handle he repeatedly STABS BELL in the ass and backs of his thighs. One, two, three, four, five QUICK STABS, like a cook hammering veal. In spite of its violence, the action seems like slapstick. BELL tumbles to the ground, crying out. THE TURK stashes the shiv and disappears among his FRIENDS, his honor restored. BILLY and ERICH run over to help BELL who is obviously more in pain than in danger. BILLY VOICE -LRB- continuous. -RRB-. You can stab or shoot some body the but not above the waist because that's intent to kill. So everybody runs around stabbing everyone else in the ass. That's what they call ` Turkish revenge'. There's also a lot of `` Baksheesh'' that's a favorite Turkish word for bribery. LONG SHOT - HAMIDOU and ASLAN the young fat Turkish gangster pointed out previously by Erich, are taking tea together in the FIRST STORY KOGUS alone except for ZIATR and Hamidou's two FAT SONS, 7 and 8 years old, both dressed in little suits listening politely as Hamidou gestures to them, in couched terms. The voices are distant and, after a few beats, UNDER BILLY'S VOICE : HAMIDOU Unfortunately my youngest son Arief is having problems with his teeth ; he needs braces, but dentists are so expensive these days ASLAN -LRB- patting Arief on the head. -RRB- Poor kid. You know I have a friend, a very good friend ; he's a dentist ; maybe he could get you some braces at a. reasonable price. HAMIDOU -LRB- protesting with his hands, shaking his head. -RRB-. -RRB- Oh, no. it's out of the question. would n't want to ask your friend. ASLAN Yes. Please! As a favour. I insist They go on, each protesting. BILLY VOICE -LRB- continuous. -RRB- Hamidou hints that he needs new braces for one of his sons. Aslan of course has a friend who's a dentist. They bullshit for half an hour and Hamidou finally accepts the `` Baksheesh'' in return. A BURLAP BAG comes flying over the WALL of the COURTYARD late at NIGHT. Then another comes over, lands in the yard. one is around. BILLY VOICE -LRB- continuous. -RRB- Dope and all kinds of shipments get delivered to Aslan, who re - sells it through his runners. People like Ziat. But one night, it backfired. A THIRD BAG comes over, gets caught on a hooknail and rips right open. HUNDREDS of yellow PILLS spill out. COURTYARD. The SUN is just coming up in the East. PRAYER can be heard in the distance. Thousands of bombers are scattered all over the courtyard. BILLY VOICE -LRB- continuous. -RRB- There were thousands of yellow nembutols. Aslan as usual had the privilege of going into the courtyard before anybody else to pick up his stuff but. ASLAN arguing vehemently with a GUARD, in his ragged uniform, who wo n't open the cell of the FIRST FLOOR KOGUS into the courtyard. BILLY'S VOICE -LRB- continuous. -RRB-. it happened to be a new guard that day and he did n't understand the system. GUARD No. It's too early. ASLAN Open the fucking Gate, you asshole! Do you know who I am? You want to get in trouble! GUARD -LRB- angry. -RRB- Hey, I your mother! Get back to your bunk. ASLAN, red in the face, steps back, suddenly pulling out a little REVOLVER. He promptly shoots the GUARD in both legs and stalks back towards his bunk. PRISONERS rushing out into the COURTYARD, scrambling for the windfall of free nembutols. THE PRISON DIRECTOR, A balding unimpressive looking man in a western suit, is calling up the circular stone STAIRS to the second story Kogus from the first story. With him are several GUARDS, equally reluctant to move forward. Hamidou is absent. PRISON DIRECTOR Aslan. be reasonable. Come down and talk. ASLAN -LRB- OFF. -RRB- -LRB- from second story. -RRB- You come up here and talk! PRISON DIRECTOR -LRB- not moving. -RRB- Aslan. if you give up the gun, you can keep the bullets BILLY'S VOICE -LRB- continuous. -RRB- A week later Aslan had a new gun. A PHOTOGRAPHER, seedy looking, readies a big old fashioned box of a CAMERA. He snaps the shutter on : BILLY'S VOICE I know all this must sound crazy to you, but this place is crazy. ASLAN and a group of FELLOW GANGSTERS, all impeccably dressed and grinning for camera, fresh from their victory. BILLY, ERICH, MAX, form their own group ; in contrast to the Turks, none of them are smiling, MAX has his YOUNG CAT in hand. The PHOTOGRAPHER is lining up his shot, posing them like actors. BILLY -LRB- continuous. -RRB- Everything is `` sula - bula'' which means `` like this, like that'' - you never know what will happen. One day one of the new kids was raped in the children's kogus, so they picked out six of the worst kids. COURTYARD. GUARDS pull out SIX KIDS by the ears from a line - up. CLOSE KID being pinned onto his back on the floor in CHILDREN'S KOGUS : then he is bent over double by a wooden bench ; and TWO GUARDS sit on each end of the bench, holding him down. A silence, HAMIDOU appears in a hat and mohair suit with narrow lapels, accompanied by his two little fat SONS, also in their Sunday best. With a ceremonious solemnity, HAMIDOU takes off his jacket, hat, vest, hands them to his sons. BILLY watches through the WINDOW with OTHER PRISONERS. HAMIDOU is passed a falaka stick. He raises it high in the air and begins to whack at the buttocks, legs, and feet of the SCREAMING KID. ANOTHER ANGLE - On this cue, the five GUARDS on the other benches begin whacking away ; the KIDS squirm, scream, struggle but the GUARDS sitting on the of the benches brace their legs farther apart to keep their balance, In immediate background, the other KIDS watch, scared. THE TWO SONS with wide - eyed but passive expressions, stare at their father at work. HAMIDOU beating his VICTIM, screams out : HAMIDOU PIS! PIS''. -LRB- `` Obscene, filthy''. -RRB- Then stops. HAMIDOU is handed back his vest, jacket and hat by his SONS : Puts them on ever so neatly and leads them off as if on a Sunday stroll leaving the CRYING behind. On their backs, we hear, placidly : HAMIDOU You see Mamur, Mamet - what happens when you're not a good boy. BILLY VOICE -LRB- continuos. -RRB- Then there's Ziat. The more I know of him. TEN DOLLAR BILL exchanging HANDS. The dirty nails of ZIAT clutch the bill, waving it to the candlelight to see if it is authentic his milky white EYE across the BILL. He is next to his bunk at night. BILLY VOICE the more hate him. MAX and BILLY are next to him, MAX eagerly gouging with his knife into a small bar of SOAP : PULLS out a ball of HASHISH inside, neatly concealed. Brings it up to his NOSE, sniffing. ANOTHER ANGLE - BILLY is watching with glazed eyes - stoned. Approving of the $ 10, tucks it into his belly cloth looking over and scowling at : MAX'S YOUNG CAT on his bunk scratching playfully at one of his wool sweaters. ANOTHER ANGLE MAX holding the ball of hash : MAX Ten dollars for this shit? You greedy one - eyed git. ZIAT NO! Is good! -LRB- gets his English wrong. -RRB- Me good shit. -LRB- Meaning my shit is good. -RRB- MAX No! You big shit! ZIAT thinking MAX is correcting his English, nods and repeats : ZIAT Yeah! Efe big shit. BILLY and MAX snigger and ZIAT realizes they are making fun of him. He hates that and suddenly reaches over and : ZIAT JAAAASH! SHAKES THE CAT hard off his bunk. A SQUEAL from the cat. MAX surprised, glares at Ziat. MAX You asshole! Then hurries after it, calling its name. MAX Hikmet come here boy. Hikmet ZIAT shrugs. So what? BILLY -LRB- irritated. -RRB- What is it with you man, what the hell is it? ZIAT Cat, ah! Ayip! BILLY You're ayip! ZIAT -LRB- glares at him, then lets it go. -RRB- Look, you do n't fuck with me, I do n't fuck with you, right? BILLY But you fuck with me. You fuck with me all the time. You make crummy tea. You rip us off on the hash. ZIAT -LRB- amused. -RRB- I make special tea for you, Hiyes, okay? We've to live like brothers. We have to be in here together. BILLY -LRB- tired of it. -RRB- Oh shove it, Ziat for all the money you have, you have nothing! ZIAT grins, shrugs, squats and fiddles with his keys and footlocker. ZIAT You ` Merican. You do n't know. BILLY watches, repulsed and fascinated. BILLY Know what? ZIAT Was. -LRB- makes gesture with his fingers. -RRB-. seven years old. I was on street in Suk. Buy. Sell. No family to take care. I learn. BILLY Learn what? ZIAT shrugs. He thinks BILLY is an idiot. ZIAT Dog eat dog, Hi - yes. You fuck other man before he fuck you. -LRB- grins. -RRB- And you must fuck last. BILLY That's a great philosophy. ZIAT -LRB- shakes his head. -RRB- You ` Merican. You do n't know. MAX has followed his cat down to the end of the floor but it has run up into a rafter which he can not reach. He calls up. MAX Here Hikmet! Come down here boy! Hikmet. RAFTER Nothing. Max gives up. MAX Sodding cat! He shuffles off back to his bunk. THE CAT is back on ZIAT'S BUNK - NIGHT scratching with his paw around the radio. of the neck, hard. Suddenly he is GRABBED by the scruff of the neck, hard. BILLY jerks up from his bunk as he the hears a loud, piercing SCREECH, OFF, echoing through the Kogus. Then silence. ZIAT, industrious as always, is preparing his tea on the three burners of the small bottled gas' stove in THE KITCHEN, FIRST FLOOR Kogus ; needless to say the area is filthy with scraps all over the floor, cats and two large wooden eating tables occupied by some PRISONERS. The Kitchen opens up in background into a WASHING ROOM with SINK. It is EARLY MORNING - Muslim CHANTING OFF, THREE TURKISH PRISONERS walk in, talking -LRB- AD LIB -RRB-, followed by MAX stoned, who shuffles over to the table, about to sit, sees something. HIS CAT, dead stabbed, and lying there neglected in the corner, just another scrap ready to be swept out. ZIAT calmly pours the tea for the table, paying MAX no attention, an excellent actor. Prominently seated, however, is a GUARD. MAX quietly glares at ZIAT and the Guard but says nothing ; he has been in prison long enough to know how to hold it in. ANOTHER ANGLE MAX - silently walks over and gently picks up the corpse in his arms, starts to walk out. BILLY listening impassively to : YESIL the lawyer. They are in a booth in the VISITING CAMBER. Bars separate prisoner and visitor. YESIL -LRB- smiling. -RRB- The new American Ambassador here is following your case very closely. He says there is progress. But there is another route that is quite possible. -LRB- lowers his voice and leans close. -RRB-. For the proper amount of money it is possible I can convince certain officials to lose track of your papers before the High Court in Ankara confirms the sentence of the Lower Court in Istanbul. You would not exist ; and you could be in Greece by the time the Turkish courts discovered a stupid clerical mistake. But I have to act before the official sentence is handed down, and for that I must pay certain officials in advance. BILLY closes his eyes as YESIL'S VOICE drones on, explaining the details, the cast, the simplicity Of it, FADING OUT BILLY walking the COURTYARD counting his paces 48, 49, 50 Turns, goes back. SUSAN'S VOICE My dearest Billy. I know it is long and it is hard for you, but your family and I are thinking about you all the time. I am trying hard to make enough money nights to come and see you. Your father says that lawyer Yesil wants another $ 2000. I know you distrust him more and more, but your father wants to do everything he can, and he is borrowing all he can on the mortgage of the house. Money seems to be the only way out of there. Except of course the other way. BILLY, MAX and BELL -LRB- bandaged around the ass from the stabbing -RRB- are huddled around BELL's BUNK late NIGHT candle burning, a sheet sealing off some of the kogus. Bell furtively looks around, pulling out and elaborately unfolding a set of DRAWINGS from a pack of letters. SUSAN'S VOICE -LRB- continuous. -RRB-. But I can not say I am for it. Nor are your parents. They consulted the priest, and he said to send you money for that reason would be like sealing your death. BELL -LRB- excited. -RRB- The blueprints! MAX To what? BELL The prison, man. There was this German cat an architect in the hospital. He was helping the Turks build some shit round the place. I laid some bread on him and he let me copy them. BILLY, puzzled, turns the drawings upside - down, sideways. THE DRAWINGS are a lunatic mess of scrambled lines, dots, crosses. ANOTHER ANGLE MAX and BILLY, trying to follow the map, look at each other dubiously. MAX Too bad you did n't have a machine. BELL -LRB- intent. -RRB- There's two ways out I figger - over the roof, but that's only one person, maybe two. The other way is Under. BILLY Tunnel? BELL -LRB- grins. -RRB- It's already built! There's a basement substructure where they used to keep weapons and stuff, but beneath that there's these old catacombs that the Christians built ` bout a thousand fucking years ago to bury their dead. We're sitting right on top of it - here. INSERT DRAWING, illustrating roughly the structure of the prison. His FINGER tracing, bubbling with nervous enthusiasm. BELL -LRB- OVER. -RRB- The Kraut said there's a whole bunch of hollow sealed shafts sort of like dumbwaiters running along this wall ; one of them is right in there, right next to our shower. We get in there, he says, we can get down into the catacombs. With three of us working. -LRB- stops. -RRB- MAX is standing, tapping on the wall, listening, a funny look on is face. MAX Got ta be here someplace. Thought I heard a couple of dead Christians singing down there. ANOTHER ANGLE BELL -LRB- irritated. -RRB- Stop shitting me, man! BILLY -LRB- trying to be serious. -RRB- But how would you get into the shaft, Jimmy? MAX I suppose you knock three times and ask for St. Peter. BELL -LRB- turning on Max. -RRB- Hey! I'm getting this together man and I do n't need no fucking Gastro - head along on this trip! -LRB- a fierce look at Max then back to Billy. -RRB- We go through the wall. BILLY -LRB- a resigned look on his face. -RRB- We go through the wall? MAX -LRB- quite sure Bell is out of his skull. -RRB- We go through the wall. BELL between BILLY and MAX walking in the COURTYARD continuing intently : BELL The Kraut was right! I checked it out - there's no reinforced steel in those bath walls. They're real soft from underground seepage - BELL reaches the wall, turns around and continues Lowers his voice occasionally as other PRISONERS intersect them. BELL -LRB- gesturing profusely. -RRB- - the water like'' ` weeps'' through the cement, see. Twenty, thirty years, you can almost push it over. All we do is use Gastrohead's screwdriver here and scrape the mortar out. Pull out 2, 3 stones, squeeze through, put'em back, and get our ass down the shaft, It's a two night operation, maybe three. MAX And what do you do when you in the catacombs? BELL The catacoombs? Whaddya want, a door? There's miles of em like a sewer system but they got to come up someplace in Istanbul. Max is fed up with it now, no longer joking. MAX You got ta be fucking crazy! You got stabbed in the ass once too much, sweetheart, cause you're gon na end up in Section 13, that's what - not the ` catacombs. BILLY Section 13? MAX -LRB- looking at Bell. -RRB- Yeah, for the criminally insane. -LRB- looks at Billy. -RRB- I was there once for two weeks and it ai n't an illusion. It's awful. Namidou runs it like a death camp, that's where he spends most of his time. BILLY Where is it? MAX I don' t know. It's someplace down in there. -LRB- points at the ground. -RRB-. deep. A big door. a wheel. His eyes go back in time, haunted, vague breaks off. ANOTHER ANGLE BELL -LRB- low - keyed. -RRB- Hey, you know what's gon na get us out of here? It's not a map, Max. It's our balls. You know what I mean. -LRB- straight at Max, Billy, very sincere, his eyes almost watering. -RRB-. I got ta get laid man, I do n't know ` bout you guys, but if I do n't get it on soon, I'm. I'm not gon na make it. MAX -LRB- under his breath. -RRB- Shit. BELL Billy? BILLY The roof sounds better to me than digging through a wall. Ziat's round there all the time. But the roof. -LRB- looks up. -RRB- P.O.V. - THE ROOF, its edges visible over the courtyard. BILLY shakes his head. BILLY The bullet percentage is awful high. A pause. BILLY looks away from BELL'S stare. BILLY If I get caught, Jimmy, I'm facing another months. I'd be back up to 3 years, maybe more. Looks down. BELL understands, deeply disappointed. BELL Well fuck it! Choose your own death, babe, I'm taking the roof out of here! Bell leaves : A LONG DUNGEON CORRIDOR at the end of it, the frame of a small ; DOOR, cracks of light at its edges. TRACK IN - F.X. of a siren, capture and now BEATING - heavy beating from behind that door. CLOSER we reach it. The door FLIES OPEN and HAMIDOU is glimpsed lighting a cigarette. Like a surreal dream, his hand holding the match has a thick LEATHER THONG bound around its knuckles and blood speckled on his fingers. A BLUR of foreground movement a GUARD coming out the door - dragging : BELL by the hair across the floor. His face contorting in agony. BILLY'S VOICE Dear Susan. Poor Jimmy was caught and beaten so badly he got a severe hernia and lost a testicle. He's been in the hospital for months having operations. CLOSE BILLY'S TOOTH BEING PULLED BILLY VOICE -LRB- continuous. -RRB-. In comparison my problems seem very small. But two and a half years have now gone by, and in their own fashion, the Turks are slowly draining my life away. WIDEN to a STONE CHAMBER and a crazy looking DENTIST in a filthy long white smock, puffing on a cigarette holder, his ashes falling over Billy as he works his mouth. A motorized drill is plugged into the wall, adjacent a filthy spittoon covered with blood ; dried blood is spattered liberally around the chamber. BILLY spits out the blood and looks in the mirror. BILLY'S VOICE I have problems with my stomach and my leg muscles feel very weak. My gums seem to be shrinking and they sometimes bleed when I massage them. They've pulled five of my teeth. Suddenly he starts SHOUTING angrily in TURKISH. The DENTIST screams back at him. AD LIB. THE DENTIST still screaming, leans BILLY back in the chair and looks in his mouth. BILLY'S VOICE -LRB- continuous. -RRB-. sometimes they null the wrong one. BILLY is washing himself in his undershorts at the SINK with ERICH ; the hot water is on full blast and billows of vapor fill the small stone room, like a sauna. He pours a pitcher full of hot water over his head ; his eyes lingering on : THE STONES of the wall with their cracked moldings ; some areas are noticeably darker than others - Bell's `` wet spots'', the alternate escape route. BILLY VOICE -LRB- continuos. -RRB-. even my dreams do n't seem to work any more. Because the outside does n't seem real any more. It's not even a fantasy. because there is no fantasy. ERICH uses a coarse washing sponge on BILLY's back. BILLY'S VOICE -LRB- continuous. -RRB- Even masturbation has become boring. It teaches you, like the rest of prison life, to seal up your emotions, and this is the greatest danger, this is what makes so many of the men change into something monstrous. EYES of the ARABS peer through the musky vapors at Billy and Erich ; they loll about the door curious, lecherous for their bodies. ERICH massaging BILLY on his bunk in the SECOND STORY KOGUS. BILLY VOICE -LRB- continuous. -RRB- It is Erich who has taught me how it is to be conscious, to channel and direct my energy. He has convinced me to stop smoking hashish, he is the calmest man I have ever known. If you do n't control your energy in here if can blow you apart like with Bell. And you ca n't waste it either. You have to weigh up every one of your actions - for and against. Too little sex, too much sex either will throw you off balance. ERICH leans forward and kisses a tentative BILLY on the lips. A gentle kiss. They are standing inside the TOILET STALL ; lower themselves down onto the seat. ERICH looks back over his shoulder, guarding their privacy. It is late NIGHT. BILLY VOICE -LRB- continuously. -RRB-. he has taught me about feelings, and the need to express them. And he has taught me about love. BILLY closes his eyes, softly - and with hesitation - returns ERICH's caress. Their hands probe each other's bodies. BILLY VOICE -LRB- continuous. -RRB-. and what love really is, beyond its physical forms. I think up to now I have only considered my own self, never really another. ERICH and BILLY do yoga positions together EARLY MORNING fully clothed, in the FIRST FLOOR KOGUS empty space. ERICH lies on his belly, his back stiffly arched, feet raised. BILLY stands silent, balanced lightly on his feet, his palms pressed together beneath his chin, centering, eyes closed. BILLY VOICE and now strange as it seems, Susan, without having seen you in so long I feel myself more inside of you than ever before. I feel your female mind. I sense you, touch you ;. know you ; and find myself falling more and more. in love with you. BILLY rises gracefully onto his toes, stretching his arms out above his head. It is the beginning posture, his body greeting the day. BILLY and ERICH sit silently now in lotus position, facing each other, breathing slowly, relaxing minds still, looking into each other's eyes. Billy closes eyes. BILLY -LRB- chant - like, gathering momentum. -RRB- A prison a monastery a cloister a cave, Prison monastery cloister cave, Prison monastery cloister cave, Prison monastery cloister cave, Prison monastery cloister. SOUND OFF, interrupting the clomp of FOOTSTEPS on the STAIRS. ZIAT comes down, staring at the two of them as he goes into the KITCHEN to prepare early morning tea. BILLY's expression changes. BILLY Prison. Rises from his position. THE SUN flowering up over ISTANBUL. BILLY rises from his BUNK to the chanting drone of `` Allah Wakbah'' OFF, and moving to the closest wall, takes out an old wet rag. BILLY'S VOICE Dear Susan. Erich has been transferred to a prison back in Sweden. He has profoundly affected my life and though I am lonely without him I am calmer than ever. BILLY erases out a scraped numeral -LRB- 54 -RRB- on the wall and with a chalky piece of rock, inscribes in bold strokes the numberal : 53 BILLY'S VOICE -LRB- continuous. -RRB- Though I only have 53 days left, I feel I have never been so well adjusted to prison and to living as now. BELL -LRB- OFF. -RRB- Allah fuck Off! JIMMY BELL wakes, hearing the perpetual `` Allah Wakbah'' CHANT. BELL Asina Covaciml. -LRB- I stick it in his mouth. -RRB- He is noticeably pale and weaker than before. BILLY'S VOICE -LRB- continuous. -RRB-. Poor Jimmy. BILLY cuts hair in the FIRST FLOOR there with a disturbed tight look on his face, work with a pocket mirror. BELL sits inspecting the BILLY VOICE -LRB- continuous. -RRB-. Though his health is bad he still wo n't give up. GUARD approaching with a slip in hand. BILLY'S VOICE -LRB- continuous. -RRB-. He still talks of escape. THE GUARD hands the slip to BILLY who is pleasantly surprised. A visitor. BILLY, walking down and turning a CORRIDOR into : in the PRISON, following a GUARD and turning into : THE VISITING ROOM where the little booths with BARS separate prisoner and visitor. Behind the grill is the Consul, STANLEY DAVIS. His face is grim and grey. BILLY senses it immediately. BILLY What's wrong? DAVIS Sit down a moment, Billy. I'm afraid I have some bad news for you. BILLY sits, tense. BILLY Something happen to Dad? Mom? DAVIS swallows hard, not to say it DAVIS No. It looks like your going to have a new court. BILLY What do you mean? DAVIS The Prosecutor objected to your sentence for possession ; he wanted a smuggling conviction and the High Court in Ankara reviewed it. ANOTHER ANGLE BILLY And? DAVIS We've been notified that they rejected the sentence. Billy's face drains of all expression. DAVIS -LRB- continuing. -RRB- There were 35 judges on the High Court. Twenty eight of them voted for a life sentence. BILLY'S EYES. Numb, dazed, surreal. DAVIS -LRB- OFF. -RRB- The Lower Court in Istanbul will have to go along with the decision. The Judge likes you and he'll do the only thing he can do under the law. He'll reduce the sentence to thirty years. We're notified. Billy. Suddenly he is GRABBED by his ivy - league striped tie and his face is yanked up to the bars, his glasses falling off. BILLY is berserk, his face right up against the bars, GRIPPING Davis tight. BILLY What do you mean LIFE FOR FOR WHAT! FOR WHAT! DAVIS -LRB- choking. -RRB- Billy! Please! Commotion OFF as GUARDS run in, HAMIDOU in the lead. BILLY FOR WHAT! FOR WHAT! The GUARDS try to pry loose BILLY'S strangling grip ON DAVIS' tie. BILLY I HAVE FIFTY THREE DAYS LEFT! HAMIDOU takes out a KNIFE and cuts the consul's tie in half. DAVIS falls backwards. BILLY is hauled now. back, still gripping half the tie. He is trembling now. BILLY I HAVE FIFTY THREE DAYS LEFT! DAVIS is shaken. He has red bar marks across his face and is absent - mindedly trying to adjust half a tie as he looks at : BILLY being hauled out by HAMIDOU, SCREAMING something indistinct. COURTROOM. Same as before. BILLY, in the prisoner's dock, addresses the Court ; as he speaks, a Turkish TRANSLATOR. drones underneath his voice level : BILLY What is the crime? And what is the punishment? The answer seems to vary from place to place, and from time to time. What's legal today is suddenly illegal tomorrow cause some society says it's so ; and what's illegal yesterday all of a sudden gets legal today because everybody's doing it and you ca n't throw everybody in jail. Well I'm not saying this is right or wrong. It's just the way things are. YESIL the lawyer ; DAVIS the consul. THE PRESS GIRL from the previous trial in the short skirt. BILLY BILLY -LRB- continuous. -RRB- But I spent the last three and a half years of my life in your prison and I think I paid for my error and if it's your decision today to sentence me to more years, I. I. -LRB- a break. -RRB- You know my lawyers told me ` be cool Billy do n't get upset, do n't get angry, if you're good I can maybe get a pardon, an amnesty, an appeal, this that and the other thing.' Well that's been going down now for 35 years. YESIL looks over, surprised he is talking like this. Looks at DAVIS. BILLY. BILLY -LRB- continuous. -RRB- And I've been playing it cool and I've been good and now I'm damn tired of being good cause you people gave me the belief that I had 53 days left. You hung 53 days in front of my eyes and then you took those 53 days away, and Mister Prosecutor! I just wish you could. PROSECUTOR looks over, through his dark green glasses. BILLY -LRB- OVER. -RRB- stand right here where I'm standing and feel what that. feels like, cause then you'd know something you do n't know you'd know what means, Mister Prosecutor and you'd know the concept of a society is based on the quality of its mercy means, of its sense of fair play, its sense of justice. but. -LRB- shrugs and scoffs at himself. -RRB- I guess that's just like asking a bear to shit in a toilet. TRANSLATOR stops, looks puzzled. BILLY BILLY -LRB- same self - mocking tone. -RRB- For a nation of pigs, it's funny you do n't eat them. Fuck it, give me the sentence. Jesus forgave the bastards, but I ca n't. I hate you. Nation. I hate your I hate your people. And I fuck your sons and daughters! Sits down, disgusted ; under his breath : BILLY cause you're all pigs. SILENCE in the uncomfortably. courtroom. PEOPLE looking at each other DAVIS looks down. YESIL flips some pages abstractedly. TRANSLATOR Would Your honor like me to translate? THE OLD CHIEF JUDGE, the same one as before Shakes his head. JUDGE That wo n't be necessary ANOTHER ANGLE - THE JUDGE turns to BILLY in the foreground rises, and unexpectedly crosses his wrists out in front of him. JUDGE -LRB- emotionally. -RRB- My hands are tied by Ankara! Makes the gesture of the hands forcefully, with anger. TRANSLATOR -LRB- OFF. -RRB- My hands are tied by Ankara! BILLY WATCHING, JUDGE -LRB- OFF. -RRB- I must sentence you, Vilyum Hiyes. JUDGE JUDGE to be imprisoned at Sagamilcar for a term no less than thirty years. Getchmis olsun TRANSLATOR -LRB- OFF. -RRB- `` I must sentence you, Vilyum Hiyes, to be imprisoned at Sagamilcar for a term no less than years. `` Getchmis Olsun'' As he translates, the JUDGE unable to control his emotion exits rapidly, not looking at Billy, followed by the TWO OTHER JUDGES. TRANSLATOR -LRB- OFF. -RRB- `` May it pass quickly.'' THREE OLD GLEANING WOMEN swathed in black like three fates turn from their sweeping as BILLY is led out COURTROOM NUMBER SIX down a long stone corridor. Dust floats through long slanting shafts of yellowish light, like a striped leotard dream. BILLY walks, his eyes straight ahead - determined. SONG OVER -LRB- BELL. -RRB- -LRB- old Southern blues beat, improvised. -RRB- `` Mmmmm. got the blues babe, Got those old Istanbul blues, Said Yeah, I got the blues babe Got those old Istanbul blues. Thirty years in Turkey, babe, Ai n't got nothing left to lose.'' BELL sings it, strumming sloppily but with feeling on his guitar. BILLY lies, his back up, on his BUNK nearby. MAX, stoned, sits at the base of the bunk. It is NIGHT. The song falters, but MAX now joins in, improvising : SONG OVER -LRB- MAX AND BELL. -RRB- `` Busted at the border Two keys in my shoes Said I was busted at the border with two keys in my shoes An they gave me thirty years, babe To learn the old Istanbul blues.'' SEVERAL TURKS are partying it up down at the other end of the SECOND FLOOR KOGUS, playing a `` sas'' - Turkish type guitar, counterpointed by a little drum ; the music is stridently Turkish, and one of the men does a belly - dance in underpants with two lemons masquerading as breasts under his shirt. The LOUD TWANGING of Bell's GUITAR can be heard OFF, interrupting them. They are annoyed. BELL leading MAX into the next stanza : SONG OVER -LRB- MAX AND BELL. -RRB- `` I said Lord now save me Please save me from this pain'' BILLY, touched - listening, thinking. SONG OVER -LRB- OVER. -RRB- `` I said Lord come and save me, Come save me from this pain Come set me free sweet Jesus.'' TURK -LRB- OFF. -RRB- Hey knock off that shit music. TWO TURKS from the party walk up, waving at BELL's guitar, annoyed. TURK We're playing the sas. BELL -LRB- understanding their Turkish. -RRB- Omina koyden your sas! -LRB- Put your sas in your cunt! -RRB- THE TWO TURKS tense, the mood changing. BELL gets even angrier, puts the guitar aside, ready to spring. BELL And besides that I fuck Allah and I fuck your Muslim mother too. They do n't understand but one of them is reaching into his pants for his shiv. BELL You got that, shit face? Asina. BILLY -LRB- OFF. -RRB- KNOCK IT OFF! ANOTHER ANGLE BILLY is moving fast between the TWO TURKS and BELL. A new authority in his voice, and controlled anger in his face. BILLY -LRB- to Bell. -RRB- Cut it! No more fights. BELL looks. BILLY We're getting out of here. BELL astonished. BILLY, with Max's little screwdriver and a metal spoon, digs hard at the cracks around a dark stone in the SINK ROOM, FIRST FLOOR KOGUS. With him is MAX working on the same stone. They are sweating, shirtless, looking back over their shoulders at : BELL guarding the STAIRS. BILLY works the stucco out, jiggling with the stone -LRB- about a nine inch circumference -RRB- using his fingers and screwdriver. Painful work. BILLY'S VOICE Dear Susan. It's taken me a long time to find out that it's got to stop somewhere. I've learned painfully not to trust the Turks, the courts, the lawyers, the Consul, the United States Government, and not even my loving parents. There is only one way out of here. The Midnight Express. BILLY kicks with his sneakers at the stone, as silently as possible. A LOUD NOISE - crumbling dust, stucco. BELL at the stairs freezes, fearful. Then SILENCE. He Runs over. MAX, BELL, BILLY. MAX -LRB- in a whisper. -RRB- We're undermining the other stones! BELL studies it, pointing to the stone above left the one that has been loosened. BELL We got ta take a chance and do that one next -. -LRB- pointing. -RRB- Then pull out this one -. -LRB- pointing to the one directly left of the loosened stone, excited. -RRB- Just jiggle it, scratch it out, loose nit up, it's soft real soft! BILLY has his head pressed close to the loosened stone. Suddenly : BILLY It's there! BELL What? BILLY Listen! ANOTHER ANGLE - all THREE press their ears to the stone. A silence. The faintest whisper of WIND and dripping ` WATER - indicating a shaft of some nature. BELL looks back at BILLY. BELL I told you, I told you you cock - suckers! You did n't believe me. BILLY smiles. MAX reaches over and grabs Bell's face between his hands, kisses him violently. MAX Fuck me! You beautiful mother, you! MAX now on guard at the STAIRS, looks over at : BELL AND BILLY - with fresh paste putting the finishing touches on the edges of the stone which has been replaced in its original position. Bell's half naked torso reveals a pair of dice with lucky sevens tattooed on his shoulder. THE REPLACED STONE. On close inspection, it is apparent that the stucco around it does n't match the other stones one bit, but as we PULL BACK to see ZIAT washing his tea cups in the SINK during the DAY, this irregularity is lost in the greater mosaic of the wall structure. At least ZIAT does n't notice as : BILLY nervously comes into the SINK area, watching him, and calls to him. BILLY -LRB- using Turkish. -RRB- Hey, Ziat, hurry up with the tea will ay! ZIAT -LRB- mutters to himself. -RRB- Work, work, work, that's all do BILLY I do n't hear you bitch about the money. BILLY followed by ZIAT into the KITCHEN casts a look of relief at : BELL and MAX who wait at a table with empty tea cups. A HORDE OF COCKROACHES stream out from a crack in the stone as BILLY and MAX dig, scrape, jiggle the third stone. Both covered with sweat, working with confidence now. A DARK EMPTY SHAFT on the other side. Dripping water. Two stones removed. BELL runs over : BELL Want me to take over? BILLY You want to split your hernia again? MAX Get off our tits! Bell turns to go. Suddenly a LOUD CRUMBLING NOISE and : A FOURTH STONE starts to go - but brakes itself. BILLY, MAX, BELL all framed in a posture of fear - not daring to move. SECOND STORY KOGUS remains silent. BELL looks up the STAIRS, tiptoes back, indicating they are clear. MAX AND BILLY. All THREE of them look : THE THREE A HALF STONE SPACE. Easily big enough for them to squeeze through. BILLY shines a candle in the shaft, OFF. THE THREE look at each other. The same thought. Eager eyes. The TRAIN WHISTLES by in the night, OFF. BELL -LRB- sudden. -RRB- Let's go! BILLY looks at his watch, hates to do it. Shakes his head. BILLY No. No time. Put'em back. MAX groans to himself. BILLY tense and restless at his BUNK TWILIGHT. A loud RADIO OFF - Turkish News. BILLY We go early. Any fuck - ups we should be back here and have the stones in by dawn. ANOTHER ANGLE - MAX, BELL, AND BILLY. A pause. BILLY You got your stuff? MAX Yeah. BELL -LRB- persistent. -RRB- Haps, railroad, bus timetables? MAX -LRB- business - like. -RRB- Everything. BILLY Okay. -LRB- looks around the group. -RRB- Let's do it. He extends his hands and the other two cross in a six - handed shake. MAX signals down the STAIRS - `` all clear''. BILLY going through the HOLE in the STONES that NIGHT into : A DARK SHAFT spookily leading downwards. He lights a thick CANDLE tied horizontally across his sneakers so as to give him his light source where his footholds are. His P.V.O : PART DUMBWAITER SHAFT, PART WATER WELL from a previous century A series of corrugated mossy old footholds and iron spikes lead down at irregular intervals. BILLY, MAX AND BELL, each with their own foot candle, are spaced along the shaft easing downwards. BILLY looks up at MAX about ten feet above. BILLY Okay? MAX Yeah! BILLY Jimmy? BELL -LRB- struggling. -RRB- What? BILLY How's your hernia? BELL Do n't make me laugh. BILLY in a sweat, slips. A tense moment - then he catches himself. OFF - the TRAIN WHISTLE can be heard, echoing into the shaft.Mixed suddenly with LOUD TALKING OFF. Arguing in Turkish. BILLY freezes, signals upwards with a sharp hiss of breath. VOICE #1 -LRB- OFF. -RRB- What do you mean, you forgot, he'll have my ass! VOICE #2 -LRB- OFF. -RRB- Well I ca n't do two things at once, you were supposed to be here at nine o'clock! BILLY identifying the relative location of the voices, eases downwards, coming to a GRILL, looks in at : A BASEMENT ROOM with FURNACE. TWO TURKISH GUARDS throw the prison rubbish in the furnace, still arguing, AD LIB. BILLY signals upwards. REVERSE ANGLE, from inside the basement, of BILLY slipping past the grill, his face sharply illuminated by the flame of the furnace. Off the walls around the grill we can see the GIANT SILHOUETTES of the two guards still arguing. BILLY comes to the base of the shaft. A puddle of scummy water. Unstraps the candle. A current of WIND He peers around. P.O.V. - A WINDING NARROW CATACOMB, WITH BEEHIVE BURIAL PLACES ON BOTH SIDES. BILLY, sniffing the stench, unrolls a ball of THREAD ties it to a marker and heads in. BILLY, BELL and MAX are in the catacomb. A scratchy hideous sound and : BATS fly out squealing from the ceiling. THE BOYS hit the ground as BATWINGS flap over them, colliding against each other, knocking off walls, SCREECHING, then diminishing in sound. Fewer and fewer. Then gone. MAX -LRB- looking up, scared. -RRB- Jesus! BILLY looking up. BILLY Anybody bitten? ANOTHER ANGLE BELL Nah, just covered with batshit! BILLY -LRB- getting to his knees. -RRB- They went out over there : must be some kind of exit. Heads in that direction. A HUGE SPIDER scatters off, as BILLY's CANDLE illuminates : ANOTHER ENDLESS WALKWAY. BILLY comes to a stop - frustrated. BILLY Let's go back the other way. INTERSECTION Two walkways. BELL leads in, unwinding the thread, stops. BELL -LRB- desperate. -RRB- The fuck are we? BILLY comes into view, equally frustrated. BILLY What time is it? MAX Two thirty. ANOTHER MAZE of walkways. The three stop exhausted, faces blackened. BILLY, in utter rage and frustration starts kicking the wall. BILLY Shit! Shit! Shit! MAX -LRB- slumping to the ground. -RRB- It's a dead end. The Turks musta' sealed it up. BELL What the fuck we gon na do? SILENCE as the three pathetic escapees ponder their fate. BILLY, getting a grip on himself, thinking. BILLY We go back. ANOTHER ANGLE MAX What? You got ta be joking. BILLY -LRB- resolute. -RRB- We go back, seal it up again, and come in tomorrow night - every night'till we get out of here. There's got ta be a way. Those bats got out someplace. -LRB- rises. -RRB- Now let's go. Doubletime! Takes the THREAD and starts to follow it back. THE SHAFT. BILLY leads the climbers UP. MAX reaches a new foothold, stops, getting his breath. Looks down at BELL heavy breathing OFF. Urging him on. MAX You got ta have a lot of balls for this BELL, suffering, ca n't help but grin. BELL -LRB- murmurs. -RRB- Count me out. -LRB- to himself, shaking his head. -RRB- Who ever heard of anybody sneaking back into a fucking jail? MAX overhearing it. MAX Yeah, what if got caught? BELL starts to giggle. BILLY -LRB- OFF. -RRB- -LRB- up the shaft. -RRB- Hey Max, do n't make the dummy laugh. MAX laughing, shaking his head. MAX -LRB- between giggles. -RRB- Who's laughing? I mean I find this terribly depressing. Can you see old Hamidou's face when he tries to figure this one out? BILLY ca n't go on, starts to giggle at the thought. BILLY -LRB- between giggles. -RRB- We'll tell him we were checking out our escape route. We wanted to be completely sure before we tried it. ANOTHER ANGLE - the THREE of them, spaced along the shaft, are all giggling hysterically. Echoing. HOLD ON them. BILLY comes through the HOLE in the stones in the SINK AREA. It is still NIGHT. He looks around - silence. MAX follows through the hole. BILLY and MAX work fractically to seal up the STONES. BELL, exhausted, is at the STAIRS guarding. Distant early morning SOUNDS of prison waking up. We feel they will be spotted this time, but : BILLY slumps into his BUNK as the first rays of LIGHT come up in the sky and the CHANT from the Mosque commences. He immediately sinks into sleep. CLOSE on OLD TEA LEAVES being washed in the SINK. A MILKY WHITE EYE follows into view. ZIAT is preparing his early morning tea, his good eye now moving to something beyond the tea leaves. Curious, he straightens, throwing the withered bunch of leaves the sink. ZIAT approaches the irregular stucco paste around the REPLACED STONES ; runs his fingers along the ridges, noticing the paste is fresh. BILLY snoring from fatigue. BELL wakes him quickly. BELL Billy, wake up! They found it! OFF there is a lot of SHOUTING downstairs. BILLY Who? BELL Ziat! BILLY standing in a group of PRISONERS with BELL and MAX. He has a look of total despair on his face, as he watches. THE SINK. PRISONERS are everywhere jabbering excitedly among themselves. ZIAT is conferring with HAMIDOU as GUARDS rip out the last stone, revealing the HOLE leading to the SHAFT. BILLY's gaze shifts to ZIAT fixing all his hatred on him. ZIAT grinning, moves away, and his falaka stick cocked like a sergeant major - moves among the prisoners. HAMIDOU Shut up! They all fall immediately silent. HAMIDOU continues his walk among them, bypassing : MAX who shifts his gaze onto : BILLY. HAMIDOU approaches, his eyes moving over BILLY with contempt, and shifting him aside with the stick. To him Billy is the same passive prisoner as before. He moves on, shifting OTHERS aside and then stops at : BELL. HAMIDOU swings his stick up slowly and taps him lightly on the chest. BELL realizes and is afraid. HAMIDOU No do! No do! I tell you I see you again. Finish! He punctuates this last with a theatrical tap on the chest and he gestures to the GUARDS. HAMIDOU Take him! BELL, already broken by bad beatings, shivers. BELL. says. No! Oh no! No. GUARDS grab him, hurry him out the Kogus behind HAMIDOU BILLY holds himself rigid, trying not to break. Bell's PROTESTS continue OFF. MAX unable to contain his anger, strides right up to ZIAT, collars him, livid. MAX You bastard! This time I'm gon na kick your fucking brains all over this kitchen! ZIAT -LRB- calm. -RRB- Fine. Good. Man to man. We fight now. And when finish I bring Hamidou and he kick you fuckinq ass. MAX is about to swing when BILLY grabs him. BILLY Max! Cool it! -LRB- looking at Ziat calmly. -RRB- Ziat's just doing his job. ZIAT Glances from BILLY back to MAX fixing on him as BILLY walks him away. MAX is at his BUNK that NIGHT ; puts away the hypodermic needle, stoned and speeding at the same time, smoking a cigarette. BILLY inwardly tense, sits with his head in his hands. MAX Bell's gon na talk. They got to find out. Man, we got ta out. Tears have formed in his eyes. MAX Goddamn Gastro's killing me. Making me blind. Hey Billy! BILLY -LRB- sympathetic. -RRB- Yeah. MAX I got some acid man. Maybe we can drop some on the guards huh? In their tea or something. BILLY looks away, not even considering. But MAX is caught up in the notion. MAX Yeah I got it all worked out. Billy, listen to me. -LRB- looks at Billy, his eyes glazed. -RRB- That old guard likes you, You drop some acid on him. When he's Seeing rainbows yer know. walk out - tonight. BILLY Then we're outside the kogus. Then what? MAX What? BILLY After we're outside the kogus? MAX Oh we. we. BILLY Max. Your BILLY shirt's on fire. MAX clumsily brushes the burning ash off his shirt where it's made a hole. MAX Oh shit! Oh Christ! His eyes cloud with tears. He sits down, head between his hands. MAX There just comes a time you know. you know you're never going to git it on. Suddenly shifts mood again, stands, pulling out a SHIV, resolute, eyes brightening. MAX That's what I'm gon na do. -LRB- giggles. -RRB- BILLY looks up wondering. BILLY What? MAX -LRB- crazily. -RRB- Cut his fucking throat. BILLY Whose? MAX ZIAT. What do I got to lose huh! What do I got to lose. And I'd really enjoy it. Lurches against the bunk. BILLY Max, sit down. You're in no shape to kill anybody. MAX I want to cut his throat. BILLY It's already been cut. MAX Then I'll cut his balls off. BILLY smiles, shakes his head, then : BILLY If you really wanted to hurt Ziat. -LRB- pause. -RRB- MAX slumps back down on the bunk, suddenly tired of killing. BILLY -LRB- reflective. -RRB-. His money - steal that, you steal his blood. Could you see his face when everything he worked so hard to get got snatched? -LRB- plays with the thought idly, then shrugs. -RRB- If we knew where he hid it. -LRB- waves it away. -RRB- Anyway, steal from him they'd pick up the whole prison and shake it sideways. We could n't hide it anywhere. MAX -LRB- head bobbing now, murmurs. -RRB- You know where it is? BILLY What? MAX -LRB- a vague grin. -RRB- I know where it is. BILLY glances at him, not sure whether he heard. BILLY His money? MAX gives him a goofy nod - and a grin. Imitating Robert Newton as Long John Silver. MAX ` Dem dat hides can finds says I'. I seen him, the clever tit, sneaking looks at it late at night, talking to it. BILLY -LRB- beginning to believe him. -RRB- Yeah? Where? MAX, distracted, let's his attention wander back. Inaudible his head bobbing now. MAX Hishradyo. BILLY Max - where? MAX -LRB- his mouth hanging open, eyes closed. -RRB- His radio Back of his open, radio. He lurches over gently on the bunk. MAX That's why he never plays it. MAX Sleeps. BILLY surprised, then reflective. THE BACK OF THE RADIO is unscrewed ; the cover pulled off. EMPTY! MOVE TO ZIAT. The look is as Billy expected. Horror, shock, anger, fear. ZIAT SCREAMS hysterically like old Greek widow and : BEATING HIS CHEST and tearing at his hair, ZIAT runs out of the KOGUS wailing, moaning. THE SECOND STORY KOGUS is being'' controlled'' by the GUARDS. WIDE ANGLE reveals a circus of clockwork destruction as the GUARDS, making abundant NOISE, systematically rip up each bunk, locker, mattress, picture, book, etc., their faces flushed with this opportunity for orgy. THE PRISONERS are lined up in the COURTYARD, each one being body searched.Prominent are MAX and BILLY, looking up amused at the SECOND STORY WINDOWS - feathers from a mattress fly around. ZIAT Briefly appears, his face at the window, looking at the prisoners in the yard, frustrated. HAMIDOU breaks apart a with his bare hands. ZIAT is stripping MAX's possessions, sure he will find it here. VOICE -LRB- OFF. -RRB- Down here! Ziat springs up. GUARD calling out from the STAIRS. GUARD We found it! ZIAT leaning in CLOSE, OVER THE STOVE in the KITCHEN, framed by GUARDS. It is the same crouched posture he always uses to work the stove but now his eyes show complete despair as he sees : A THOUSAND SHREDS OF PAPER MONEY floating in his pots amid his withered tea bags. From ashes to ashes and dust to dust. ZIAT folds his head into his hands, sobbing then wailing very human, very sad. KITCHEN - NEGDIR an Arab, is now running the tea concession. A jolly ebullient man. Pours a cup for MAX. Several OTHERS are at the table. NEGDIR -LRB- heavily accented English. -RRB-. He sell me tea business - everything. No the same. Ziat lose all. -LRB- makes the gesture towards the heart and the gut, using the Arabic word. -RRB- Heart! Soul! MAX He never had one. NEGDIR Soon he go back streets Istanbul. Thousand enemy. No money. -LRB- makes throat cutting gesture. -RRB- MAX I'll drink to that. -LRB- toasting with the tea. -RRB- Just as : ZIAT enters the kitchen ; he eyes Max with hatred, sits at the other TABLE and orders tea. Surprisingly, he is wearing a suit and clean shirt - unlike his usual grimy appearance. BILLY, looking shaken, enters the kitchen, glances at ZIAT sits with MAX. BILLY Just got some news on Bell. MAX What? BILLY Bad. Sent to the City Hospital. They ruptured his hernia again. MAX -LRB- grim. -RRB- Oh shit. BILLY I Guess he did n't talk. Poor bastard. BILLY glances over at : ZIAT drinking tea. BILLY AND MAX BILLY Why the suit? MAX Maybe he's changing jobs. VOICE -LRB- OFF. -RRB- SAYIM! SAYIM! BILLY looks over to see : HAMIDOU and a DOZEN GUARDS spreading through the KOGUS, assembling everybody with shouts of `` SAYIM!'' THE PRISONERS are lined up in ranks in the FIRST FLOOR KOGUS. BILLY glancing at MAX next to him, wondering why. HAMIDOU goes down the line, his FLUNKIES searching each man. A GUARD reaches into ZIAT'S pocket and comes out with a matchbox. Yells to HAMIDOU who comes over. HAMIDOU -LRB- opening the matchbox. -RRB- Nebu? MATCHBOX Containing a small amount of HASHISH. HAMIDOU reaches over and pulls ZIAT out of the ` line roughly. HAMIDOU Nebu? Starts to slap him around. BILLY glancing at MAX. MAX -LRB- worried. -RRB- What's going on? Maybe Ziat ca n't pay off ; Hamidou's taking it out in trade. HAMIDOU smashes ZIAT again, but pulls the punch. HAMIDOU Where did you get this hash? Raises his arm again. ZIAT -LRB- cowering, pretending fear. -RRB- From Max. Point at : MAX who stiffens, eyes like cracked eggs. MAX -LRB- under his breath. -RRB- You got to be kidding. HAMIDOU peers at MAX, advances. HAMIDOU What's happening with this hash? Indicates the matchbox in his hand. MAX I did n't sell it to him. I do n't have anything to do with this, I. HAMIDOU -LRB- leans closer. -RRB- I know your face. Where did you get the hash? BILLY -LRB- interrupting in Turkish. -RRB-. -RRB- -LRB- He knows nothing about it. Ziat's lying. HAMIDOU -LRB- turns on Billy, in English. -RRB- You, goddamn you, shut up! -LRB- Back to MAX. -RRB- Take him to the cellar. -RRB- GUARDS drag off. MAX Get out of here! He's lying! That cock - sucker! Billy? BILLY sits on his his anger building, his imagination running wild. MAX being dragged down a CORRIDOR by his feet. A SCREAM. BILLY BELL, his features distorted, being carried into an AMBULANCE. BELL, MAX and BILLY at the wall, digging together, MAX hugging BELL the time they found the shaft. MAX twisting out of the grip of a GUARD and, grabbing the glass from his smashed spectacles, he cuts deep into his wrist. GUARDS grab him. A LOUD LAUGH OFF carrying over. BILLY turning on his bunk to see : ZIAT joking with TWO GUARDS as he enters the SECOND STORY. The guards back down the stairs. BILLY already in movement. ZIAT, in his suit, collecting suitcase from his bunk, preparing to leave. VOICE -LRB- OFF. -RRB- ZIAT! Turns and catches a FIST in the side of the face. Staggers into a bunk. BILLY, fists clenched, yells a string of Turkish curse words at him : BILLY Asina covacim, ipnave pesankek. yosakt. Lunges. ZIAT is bulky, throws the smaller BILLY off and scrambles past a bunk. BILLY is up and after him. Jumps back as a SHIV cuts the air in front of him. His side is cut. ZIAT holding the shiv, feints, cursing BILLY in Turkish. BILLY skips back, takes a MATTRESS off the bed and runs it right into KNOCKING HIM AND THE WHOLE BUNK OVER. THE TWO scramble around, BILLY tackling him into another BUNK which also goes over. Chairs break. ZIAT butts his head into BILLY'S jaw. BILLY staggers back from the blow and ZIAT jumps him, BITING into his ear. ZIAT, getting a better hold, now BITES into BILLY'S NOSE. BILLY slams ZIAT in the nose hard with the palm of his hand. ZIAT relinquishes his hold, grabbing at his broken bleeding nose. BILLY beats him around the head but though the blood now flows and teeth are broken, is like a clumsy bear, hard to kill. ZIAT scrambles away on his knees under another BUNK now screaming as loud as he can. ZIAT HELP ME! GUARDS! HELP ME! SEVERAL PRISONERS watching from further down the SECOND STORY Kogus now move in sync, turning on their RADIOS loud as possible, drowning out the cries for help, others watching the stairs. BILLY takes the BUNK and throws it over, revealing ZIAT cowering in pure terror. He grabs ZIAT by the hair, hauls him up and LAUNCHES HIS KNEE into HIS FACE. ZIAT thuds onto the floor. BILLY stomps him in the gut hard. ZIAT screams unnaturally shrill. BILLY, driven by supernatural anger, now jumps on him and CLAMPS HIS MOUTH right on ZIAT'S open SCREAM. A STRUGGLING KISS ensues. BILLY pulls back, his mouth filled with blood, spitting out. AN UNIDENTIFIED PIECE OF FLESH which Bits the ground with an odd slow motion grace. ZIAT - CLOSE in terror ; throat cords rippling ; eyes bulging with disbelief, body quivering, mouth open and screaming, but it is a SILENT SCREAM and the mouth is a dark hole filled with blood and without a TONGUE. BILLY, without a moment's mercy, crashes his fist into ZIAT'S face. ZIAT his strength now broken, collapses on his back. BILLY crashes his fist again into the hated face. He is GRABBED now by a GUARD, but : ANOTHER ANGLE - BILLY shakes the GUARD OFF, then as ANOTHER GUARD runs up, BILLY SLAMS him aside and, obsessed, lunges back down on ZIAT and BOTH HANDS CLAMPED TOGETHER high in the air delivers a final blow to ZIAT'S face. The bones shatter. Pause. His ogre unconscious beneath him, BILLY, now in SLOW MOTION, EXTENDS HIS ARMS IN THE AIR - in the fighter's victory gesture, and his eyes glow with the fever in them, and with his mouth and face bloodied, he looks like a savage. No longer Billy Hayes. BILLY bound in a thick leather belt -LRB- a kiyis -RRB- which screws tightly around the waist and cinches the hands together, is being HAULED in continuing SLOW MOTION through a huge DOOR somewhere in one of the cavernous corridors of the prison.The door is approximately NINE FEET by SIX FEET, strong and wooden with a circular iron handle which one of the GUARDS now pulls open ; a GLIMPSE of darkness within. THE DOOR CLOSES. SUPERIMPOSE :","SECTION 13 - ASYLUM FOR THE CRIMINALLY INSANE A YEAR LATER MAX, barely recognizable in a torn sheet and with a blackened face, comes rushing into a crowded ROOM, screaming louder than any other inmate. marks on his face, He is enraged, blood dripping from scratch ATTENDANTS in white smocks chase him over the beds. Max is yelling in Turkish. MAX Please, will you listen to me? Will someone please listen to me? JUST LISTEN To ME! ATTENDANTS Hamidou! Get Hamidou! Get the Kiyisl! The ATTENDANTS wrestle with him, but he throws them off, tearing around the room mindlessly. In the process we see that not much attention is paid him because everybody else is crazy! There are 50 other LUNATICS yelling at each other in fights over sheets, blankets, beds, cigarettes, jumping : screaming, pushing, shoving ; some babbling to themselves, rocking, crying, chanting, singing. Several of them -LRB- the craziest -RRB- are stark naked. some, wrapped in torn blackened sheets, patrol the room like quick ferrets, sharp eyes open for anything they can steal. Others move in meaningless, blank - eyed silence. The walls are filthy black and join the ceilings in arches rather than angles, giving the look of an old dungeon. Fifty beds are lined up right next to each other so that you walk right into your bed. A constant nerve - racking NOISE. HAMIDOU bursts into the ROOM, the angry look in his eyes spelling real trouble for Max. MOVE with him as he sweep sin on MAX and picks him up with one move and SMASHES HIM against the wall. Max hardly notices. ANOTHER ANGLE - HAMIDOU takes the leather kiyis from an ATTENDANT, moves in on MAX and starts clamping it around him. AN ATTENDANT walks through the room with an apron containing several large pockets bulging with red, green, blue, white PILLS, which he distributes by the handful. ATTENDANT -LRB- crying out. -RRB- Hop! Hop! Hop! Full moon. Hop! Hop! Hop! THE LUNATICS gobble them up as if they were candy. In some of the clustered areas, nine lunatics occupy as little as three beds. MAX is tightly bound now by HAMIDOU, but his body arches against the bindings, his neck straining, his teeth snapping at the air. HAMIDOU grabs him with one hand by the leather waist, hauls him high up in the air and THROWS MAX half - ways across the room, MAX smashing heavily against some beds, continuing to SCREAM OFF as : THE ATTENDANT with the pills - now bypasses BILLY on one of the beds. ATTENDANT Hop! Hop! Full Moon - take your pills! BILLY gobbles them up. He has changed. Lines in his face. No smile, no sense of humor ; a brooding silence about him, a straight ahead look. He pays no attention to MAX off ; he is in grubby white pyjamas and shower sandals. Rolls back onto hi & bed with its filthy torn sheet, totally ignoring the surrounding commotion, and ANOTHER ANGLE - turning onto his shoulder, BILLY suddenly finds himself face to face with a dark saddened visage. The MAN is very young and stark naked but for an old black rag wrapped around his head and clutched under his chin. His eyes are yellow, the voice pleading. YOUNG MAN Cigare? -LRB- pause, same tone, holds out his palm. -RRB- Cigare? Cigare? BILLY shakes his head sharply - too sharply - and barks, irritable. BILLY Go away! Turns on his other shoulder, trying to sleep. YOUNG MAN -LRB- OFF. -RRB- Cigare? Cigare? YOUNG MAN in a surprisingly meek tone. YOUNG MAN S'il Vous plait, Monsieur? S'il vous plait? BILLY, really aggravated now, springs up from the bed, and in the quirky way the mad and the eccentric adopt walks determinedly away from the young man, looking back to shake his head bizarrely at him one more time. ANOTHER ANGLE BILLY walking down the aisle bypasses MAX int he kiyis, rolling on the floor, still screaming in Turkish. MAX Will you listen to me? PLEASE LISTEN TO ME! Several LUNATICS are gathered around tormenting him, one of them yanking on his penis as if it were made of rubber ; another is playing with his ass. A third one, also in a leather kiyis, is leaning over MAX jabbering and drooling into his face. MAX, more enraged by this than the other bodily offences, lunges up sharply and bites the man's FACE. SCREAMS, etc.. BILLY, paying no attention except for a brief disinterested glance, keeps going into : A SECOND ROOM. MORE LUNATICS. A screaming OLD MAN is chasing after another OLD MAN who has stolen his tespe beads, waving them back at the first old man who howls with rage, frantic to have his beads back. The second old man throws the beads to a THIRD OLD MAN who hops across the beds with the FIRST OLD MAN chasing him. BILLY intersects. OLD MAN -LRB- pleading. -RRB- Allah! Allah! Yok! Yok! Yok! Brack! A LITTLE NERVOUS MAN stares into a broken pocket mirror fingering the large round carbuncle under his eye, trying to rub it away with little grimaces and flurries of nervous motion. TWO ATTENDANTS in smocks indifferently finish eating on a newspaper spread across one of the beds ; they shake out the paper. CHICKEN BONES, ORANGE PEELS hitting the floor. A flurry of movement, as the LUNATICS scuffle like rats over the left - overs. AD LIB curses, yells. AN OLD MAN obscenely gestures to BILLY from his bed. OLD MAN Hey American. Fik! Fick! Come. Fik! Fik! His blackened teeth leer. BILLY, seemingly immune to all of this in some private island of his own madness, walks in his determined way past a PARTITION to : A CIRCULAR STONE STAIRCASE leading downwards, the stones damp, dark, slippery. BILLY continues with the same straight - ahead determination to : A LONER LEVEL. at last BILLY's expression changes to almost childish relief, for here at last is the refuge he seeks the relative comfort and silence of THE WHEEL. It is a grim, squat PILLAR dominating the room and bearing the weight of the ceiling. And around it some SIXTY LUNATICS trudge slowly, near silently, in counter - clockwise flow. It is a hypnotic shuffle and BILLY blends right in, sliding easily into the sluggish, mindless river, his eyes hanging loosely on the floor, watching : THE SOOTHING RHYTHM OF FEET shuffling at a comforting pace. These are the spokes of the wheel. TWO TINY BARE LIGHT - BULBS give faint, eerie illumination to the chamber. One one side, a pot - bellied stove flickers, etching the shadows of the walkers in a strange orange glow. SOME LUNATICS, not walking, hover around the stove. OTHERS are jammed onto a low L - shaped wooden platform that runs the length of two walls. of these men are naked, covered with open running sores over their knees, elbows, buttocks. But they are much quieter than the upstairs crowd. They are the lowest order of madmen. They have no minds left. They are the damned. BILLY walks among them, expressionless. A tall, thin cadaverous TURK with a grizzled beard now shuffles up alongside BILLY, looks at him, walks with him. is about fifty, his pyjamas relatively clean, looking more sane than the average but his eyes are bright and scary and his wet hair is matted down on his head, and big clumps of it have been pulled out. He speaks with a cultured English accent. AHMET You're an American? BILLY is interrupted but keeps his eyes on the ground. AHMET does n't wait for an answer. AHMET Ah yes, America! My name is Ahmet. I studied philosophy at Harvard for many many years. But actually Oxford is my real Alma Mata - I've also studied in Vienna. Now I study here. BILLY does n't notice, shuffles along. AHMET They put me here. They say I raped a little boy. I have been here very long time. They will never let me go. BILLY pays no attention, keeps shuffling on. Glances at him, smiles. AHMET They wo n't let YOU go either. The smug certainty of his manner reaches some chord deep inside Billy, because Billy glances briefly at this lunatic who is smiling. Billy looks back at his feet. AHMET No, they'll never let you go. They tell you they let you go but you stay. You never go from here. BILLY plods on. grins and tries to explain the situation like a father lecturing a child. AHMET You see we all come from a factory. Sometimes the factory makes bad machines that do n't work. They put them here. The bad machines do n't know they're bad machines, but the people at the factory know. They know one of the machines that does n't work. They walk on. Ahmet's expression changes. AHMET -LRB- polite. -RRB- I think we have spoken enough for today. I say good night to you. He wraps his rags around himself quite carefully and we FOLLOW him out of the circle. He drops to his hands and knees and with a sense of dignity, crawls into the filthy blackness under the L - shaped wooden platform, disappearing like a cockroach. BILLY plods on. AN OLD WHITE - BEARDED MADMAN the Hoja, grandiose in his rags, leads MUSLIM PRAYER in the first ROOM. Some of his followers have prayer mats, others a scrap of sheet or newspaper ; their tones discordant, still pushing and shoving at each other during the prayer. TWO SPASTICS ca n't follow the routine of kneeling and bending ; they tangle up absurdly and fall to the floor in a ball of arms and legs. A FALAKA STICK pokes BILLY wake SOUND of the CHANTING fills room. It is evidently impossible to distinguish night from day because there are no windows. ATTENDANTS poke the LUNATICS awake with their `` clubs. ATTENDANTS Head count! Head count! A MASS OF LUNATICS in the ROOM all at once. Attendants take a redundant and comic head count. The place sounds like a `` yadi yadi room'' the noise fearsome. ANOTHER ANGLE ATTENDANT #1 Sixty two, sixty three, sixty four. ATTENDANT #2 Seventy four, seventy five, seventy six. get back there, you!. seventy five, seventy six. -RRB- ATTENDANTS poke around underneath a bed and pull out a very old trembling VEGETABLE. OTHER ATTENDANTS wrap an old DEAD LUNATIC with no teeth and foam on his open lips into a dirty sheet and haul him away. BILLY amid the LUNATICS. We MOVE closer and closer to him, the head COUNT regressing. The room has become a torture cell - the NOISE LOUDER, LOUDER, closing in on Billy. BILLY is led down a CORRIDOR by HAMIDOU into : A VISITING room - Cabins are lined up like narrow wooden phone booths. HAMIDOU Kabin on - yedi BILLY plods without interest to the specified cabin, closes the door, sits in the chair. No one is there. He waits - indifferent to any sense of time. Dirty two glass panes separate visitor and prisoner booths ; bars are between the panes. An erratic microphone is the method of communication, giving a weird and distant aspect to the voice. HAMIDOU opens a small peep - hole in the cabin door, looks in unseen as : TEE VISITOR DOOR opens and SUSAN tentatively walks in holding a large photo album ; it takes several moments for her to react, and then her face shows the shock. BILLY stares at her, his face rabid, decaying ; if he remembers her even, he does n't register it because she is a shock to him as well. Reality, the outside world all at once. His mind is spinning, unbalanced, unable to grasp it. SUSAN -LRB- OFF. -RRB- Oh my God! SUSAN SUSAN Billy, what have they done to you. my God! The MICROPHONE makes her voice jarring, gagged. She looks silently. No sobbing, no big sad looks. Just shock. Shock of recognition, shock of time gone by. BILLY looking at her, his eyes moving down to : BILLY P.O.V. - SUSAN, her neck, her breasts straining against the thin shirt. SUSAN fingers the photo album nervously, speaking slow and distinct ; not sure she is communicating. SUSAN Billy, your family is fine. Senator Buckley just made a special plea on your behalf in the Senate. Newsday has written several big articles about you. They've called you a pawn in the poppy game between Nixon and the Turks. The letters are coming in, Billy. People care. Stops, shakes her head. It sounds all wrong in this context. BILLY is still staring at her breasts. He has n't seen a woman for five years and now a hungry animal look comes into his eyes He moves suddenly pressing up against the glass, rabid. And in Turkish : BILLY -LRB- in Turkish. -RRB- Take it off. Take it off! -LRB- then remembering the English. -RRB- Take it off. Take it off! His voice is savage, demanding. SUSAN understands, startled. Looks around. SUSAN Billy - you'll just make yourself crazy. BILLY BILLY Take it off! Take it off! -LRB- suddenly in a very soft voice. -RRB-. S'il vous plait? A strange look in his eye. SUSAN slowly, scared, begins to unbutton her shirt. HAMIDOU looks on silently, does nothing. BILLY follows every movement with wild - eyed lust. SUSAN leans up close to the window. With both hands on the front of her blouse, she slowly draws it apart. BILLY going wild! Against the window. His hand down in his pyjamas. HER BREASTS spring free, quivering, full and ripe with a deep cleavage and hard dark nipples. They hang full and loose. FULL SCREEN BILLY'S EYES - FULL SCREEN. BILLY beats on the window, working his mouth soundlessly. SUSAN is shattered, scared of Billy's sanity. SUSAN Oh Billy, Billy, I wish I could make it better for you. Please do n't. do n't. Tears. Fear. BILLY tightens dramatically and comes right in his pants, slumps against the window. SUSAN realizes he has come, surprised. BILLY looks at her. Furtive, animal shame. And suddenly he starts to cry. A flood of feelings locked up too long come pouring out. He murmurs some words, Turkish SOUNDS sputtering out in his throat, then : BILLY S. Susan? Softly, working his mouth finding it hard to speak. SUSAN yearning. Tears sprinkling her eyes. SUSAN Yes, Billy? BILLY straining, not out of physical weakness but an emotional one. Sputters, eyes closed. BILLY I love you. It sounds pathetic, lost. SUSAN is worked up to the limit, tries to hug him through the window. SUSAN Oh Billy. Billy! Do n't give up. Please do n't give up. You'll get out. I know you will! Remembers something. Grabs the PHOTO ALBUM with all her strength, holding it up for him to see through the glass.Then remembering herself, looks around the room to make sure they're alone and in a contained voice : SUSAN Billy, your father gave me this for you. There's pictures of your Mom and Dad. Rob. Peg. BILLY looks at it listlessly. HIS P.V.O - SUSAN holding the album open to PICTURES of his MOTHER and FATHER in front of the house, ROB on a bicycle, PEG in her cheer - leading outfit. SUSAN And there's pictures in the back of your old Mr. Franklin. Remember him. From the bank? A certain tone slips into her voice. SUSAN He's over in Greece now. He bought a ticket. BILLY looks from the album to Susan. Possibly there is a gleam of understanding in his eyes but it is very faint. An Attendant BANGS on Susan's door, OFF. VOICE Visiting is over. SUSAN quickly puts the album away as if it were a hidden weapon. SUSAN I'll give it to them for you. She buttons her blouse but her eyes are worried, on Billy. SUSAN You were right Billy do n't count on them, you hear, do n't count on anybody but yourself! The ATTENDANT now swings open her door, annoyed. ATTENDANT Let's go! Susan stands, about to go, then suddenly leans up close to the bars, hard and practical. SUSAN -LRB- quickly. -RRB- If you stay you'll die Billy! Get out of here. Get to Greece, you hear me? Billy? Pause. Silence. She closes her eyes, in pain ; she does n't think she has reached him. She turns to go, resigned. BILLY looking at her. Behind him HAMIDOU opens the door. A calm and cunning look on his face, glancing with Billy towards A BRIEF GLIMPSE of SUSAN looking back, the album under her arm. The door closes. BILLY, with the same deadened expression as before, comes down the STAIRS towards THE WHEEL. It is early morning and the walkers have n't started yet. Billy looks at the Pillar a dire look of reflection passing over his eyes. Then he starts walking but in a clockwise motion, opposite the normal pattern ; in the same methodical manner as before. ANOTHER ANGLE BILLY, on the inner track, passes TWO LUNATICS who are walking counter - clockwise. They glare at him, motion for him to turn around. Billy just keeps walking. BILLY intersects several more LUNATICS going counter - clockwise They motion for him to turn. LUNATIC -LRB- grunting. -RRB- Gower! Tries to block Billy's way, but BILLY shakes his head, brushes by him - determined. AHMET Slides up next to BILLY in his rags. AHMET Good morning, my American friend! There will be trouble if you go this way. A good Turk always walks to the right. Left is communist. Right is good. You must go the other way. It's Good. More LUNATICS join the flow, gesturing or grunting at BILLY. BILLY STOPS, turns, looks at the rest of them slogging in the usual direction, looks as if he ` sees' them ; and he walks out of the wheel, towards the stairs. AHMET curious about his unusual behavior, follows BILLY. AHMET Why you go? Why do n't you walk the wheel with us? -LRB- suspiciously leaning forward, suddenly realizing the answer. -RRB- The bad machine does n't know he's a bad machine. You still do n't believe it? You still do n't believe you're a bad machine? ANOTHER ANGLE BILLY stops and turns to look at AHMET at the base of the STAIRS. BILLY carries on up the stairs. AHMET -LRB- shakes his head. -RRB- To know oneself is to know God, my friend. The factory knows. That's why they put you here. You'll see. You'll find out. Later on you'll know. BILLY stops and turns to look at AHMET. His eyes glint with special knowledge and he takes AHMET into his confidence using the latter's tone of voice : BILLY I already know. I know that you're a bad machine. That's why the factory keeps you here. -LRB- Lowers s voice. -RRB- You know how I know? I know because I'm from the factory. I make the machines. I'm here to spy on you. Eyes narrow. Surprise. Fear. He shuffles away. BILLY looks at him and turns up the STAIRS. BILLY in his BED. The usual UPROAR. THE ATTENDANT comes by with the pills, offers a handful to BILLY. ATTENDANT Hop! Hop! Take! He takes them, puts a few into his mouth, swallows. Reflective, unsure. A RADIO playing OFF blares suddenly with the U.S. Armed Forces Station - JANIS JOPLIN singing `` Take another piece of my heat now, Baby'' then it's switched back to a TURKISH STATION, loud. Billy rises. BILLY enters the TOILET with the PHOTO ALBUM tightly clutched under his arm. A dark stone room, very shadowy. Piles of waste on the floor. A vacant - eyed barefoot LUNATIC shuffles past BILLY who goes to one of the four partitioned HOLES cut into the floor. ANOTHER ANGLE - BILLY squats over it and with his filthy long nails he starts to slit open the back binder of the album Susan gave him. Flickering shadows. He looks up absently. THREE LUNATIC FACES stare in at him through wooden slats, tongues hanging out and drooling - playing with themselves - OFF. BILLY makes a lunatic face and SCREAM kicking at the partition. BILLY Aaaaaaaaaaaaaaaaahhhhhhhhhhhhhhhh! THE LUNATICS, petrified, scatter off but ONE LUNATIC skids in a puddle of urine and crashes onto the tile howling. BILLY slits open the binder to reveal TEN HUNDRED DOLLAR BILLS with Pictures of Mr. Franklin' neatly inserted. ANOTHER ANGLE BILLY has no particular expression on his face. Reflective, staring at the money ; he looks up. A LARGE SILHOUETTE is moving towards him. BILLY just watches, transfixed, not trying to hide the money. HAMIDOU comes into a faint light, looking down at him ; glances at the money. Shakes his head gently. HAMIDOU No do! No do! Reaches for and : ANOTHER ANGLE - HAMIDOU takes the money from BILLY like candy from a baby, then takes him by the ear and slowly lifts him up. Billy is like a vegetable in his hands. HAMIDOU -LRB- in his broken English. -RRB- I tell you I see ` gain. -LRB- into Turkish. -RRB- I take you down to bath and your feet be big like. Breasts. -LRB- a gesture. -RRB- HAMIDOU leads BILLY roughly out of the lunatic room, pulling him by the ear. HAMIDOU still Pulling BILLY by the ear, guides him through the GUARD QUARTERS. HAMIDOU leads him up a narrow winding flight of STAIRS. HAMIDO First you make mistake with Ziat, now you make mistake with money. You're not a new Prisoner, Vilyum Hi - yes. The tone of his voice indicates a severe reckoning this time. HAMIDOU pulls BILLY by the ear into a large echoing BATH. BILLY looking, bent over by the ear - a hint of awareness of new surroundings. ANOTHER ANGLE - the BATH is deserted, spooky with greenish Yellow fish light flittering down from holes in ceiling around damp mossy arches. Steam rises off a bath. Benches, buckets of water. HAMIDOU swings BILLY around until he is facing him. HAMIDOU makes an elaborate gesture of putting aside his falaka stick and holstered gun ; he will use his hands. HAMIDOU -LRB- shakes his head. -RRB- You've been in prison too long, Vilyum Hi - yes. He takes that : stiff arm all the way back to its full arc and WHACKS BILLY up against the wall. BILLY bounces back off the wall. The print of Hamidou's fingers is imbedded like a flaring white rainbow in the redness of his left cheek. SLAM - a backhanded whack. BILLY bounces right back from the wall. steadies him. HAMIDOU You go crazy here Vilyum Hi - yes. Many people go crazy here. Best thing for crazy people is this. THE BLOW, in SLOW MOTION comes sailing into : BILLY, and we see the brief boxer's distortion of all his face as he flies upwards and back into : THE BENCH smashing it. Echo like jarring F.X. BILLY is held up by the PAJAMAS, steadied. The Turkish words seem far away, incomprehensible. HAMIDOU -LRB- OFF. -RRB- Vilyum Hi - yes. You die here, Hi - yes. WHACK - ANOTHER BLOW, but : HAMIDOU this time holds onto the pajamas using Billy like a punching bag. WHACK - A REVERSE BLOW. HAMIDOU increasingly excited. HAMIDOU Babba sikijam! I fuck your mother, I fuck your sister. WHACK - ANOTHER BLOW in SLOW MOTION HAMIDOU I fuck your father, I fuck your brother. RIP! - a loud SOUND as HAMIDOU moves with a blur of speed, and shreds BILLY's pajamas with his hands. BILLY naked, totally passive, semiconscious. HAMIDOU suddenly shifts position and snaps Billy into a strenuous wrestling hold across his knee on the steamy floor. He loosens him up by cracking his bones along his back. HAMIDOU - sweat pouring off his face, excited. HAMIDOU And I fuck your grandmother and I fuck your pretty girlfriend. And I fuck you Hi - yes! -RRB- A bizarre otherworldly scene. This man is dredging Billy through a sadistic imagination sparked by the steam, the sweat, and an ethnic identification with a Turkish steam bath as a bedroom. He loosens his hold abruptly, rises, moves off as : BILLY holds himself on his knees, head sunk on his chest, gasping for breath, about to vomit. Pause ; he looks up horrified at : HAMIDOU pouring fresh buckets of water on the floor. SSSSSSSSSS! The awakened STEAM coils like a snake into every cranny of the little room. BLURRED VISUALS - HAMIDOU stripping his shirt off. A huge muscular flash of chest, A BELT being snapped open. BILLY waiting. A FIGURE moving through the steam, closer. BILLY backing away from it. STEAM - a glint of a FACE coming through. HAMIDOU - his eyes so intense they seem to burn off the steam like sun cutting haze. Then disappear again. BILLY pulls back. A pause. Silence. Cat and mouse. Then very suddenly : A HAND reaches out of the STEAM and GRABS BILLY by the hair. A GRUNT, OFF. BILLY his eyes moving fast. A FLASH of a huge darkened penis, fully erect cutting forward into the steam like a from drill, detached from the rest of the body. A SOUND - grotesque and so sudden after the silence it jars the senses. A BLURRED VISUAL then : BILLY Launching forward in SLOW MOTION, desperation distorting his features and : STEAM - then BILLY'S HEAD SLAMS through it in SLOW MOTION and : SMASHES the penis with its skull. A horrifying GASP. BLURRED VISUALS - STEAM - HAMIDOU staggering CLOSE - surprise, pain. BILLY MOVING. A FOOT coming up fast through the steam, connecting again with the genitals. Another SCREAM. A BODY hitting the tiles. BILLY groping for the falaka stick. Raises it. A STRUGGLE - Two bodies thrashing, one of them screaming now in pain. A definitive sound then a THWACK! Another thwack! The steam seems to clear and BILLY is on top of the gigantic HAMIDOU smashing him with the falaka stick with all his might. HAMIDOU is in contortions, his nose busted and bleeding. His HAND gripping BILLY by the neck, forcing him back and strangling him at the same time. Billy is red in the face, such is the force of this creature but continues to beat him, harder, harder. His expression filled with a life energy, seeded in hatred, that he thought he had lost. Again, Again - BILLY Babba sikijam, Hamidu! I fuck your Mother, I fuck your daughter, I fuck your sons, I fuck your wife! The BAND slips from his throat, then springs up desperately again and clenches Billy's whole face with one gigantic palm, clawing to get in, then just as quickly slips away. BILLY beats on - again, again. BLOOD flows fast in agitated swirls into the little pool. BILLY opens a door gently, moves across an empty CORRIDOR, dressed in and gun in intense. Hamidou's holster. large uniform with his He looks shaken, weak, falaka stick dizzy but VOICE -LRB- OFF. -RRB- How about a shoe shine, friend? BILLY starts, clenches the falaka stick ready to spring, spins. A LITTLE SHOESHINE BOY is his case down the corridor. BILLY has not seen a child in a long time. get words out, then manages : Surprised. Ca n't get the words out, then manages : BILLY No! THE KID shrugs, moves on, looking At Billy strangely. BILLY goes up a flight of STAIRS. Ahead, VOICES passing. He stops. Goes on. BILLY goes through an empty GUARD QUARTERS. BILLY is in another CORRIDOR, approaches A SMALL PORTAL, daylight at its edges. Locked? BILLY, tense, tries it. It swings open on : DAYLIGHT! BILLY squints. Adjusting to the harsh sensation. AN ISTANBUL STREET - TRAFFIC, SOUNDS. TWO GUARDS approaching the portal in the distance, drinking soda pop. BILLY steps back, straightens his clothes, steps out briskly and at such an angle that THE TWO GUARDS do n't notice him in the traffic as they enter the open portal. LONG SHOT - BILLY walking down the street, looking back, almost bewildered, not quiet believing this. TIGHT - RAILROAD TICKET being stamped. SOUND - SNAP. MOVE UP to TICKET CLERK behind a grill. VOICE -LRB- OFF. -RRB- Edirne to Uzun Kopru? THE CLERK looks puzzled. BILLY is on the other side of the grill. A ill - fitting new Western style suit, a hat over his dyed black hair ; totally paranoid. He has n't slept in three days and the bruises from the Hamidou beating now show clearly black and blue on his face. His eyes are alert, darting around, his speech clipped and to the point. BILLY What's the matter? THE CLEF! Shrugs. CLERK ` What are you crazy? There's no train anymore to Uzun Kopru, it'd have to go through Greece. The border's closed. BILLY taken by surprise. BILLY No train? CLERK -LRB- OFF. -RRB- No more train. BILLY Moves off a small provincial RAILROAD DEPOT - DAY. He looks at the : EMPTY TRACKS - No ` midnight express'. BILLY, tenser than ever, uses the occasion of buying a newspaper at an OUTDOOR STAND to study : THE MAIN SQUARE of the VILLAGE -LRB- EDIRNE -RRB- - DAY. SOLDIERS and POLICE are abundant, chattering bustling amid tanks and half - tracks. Mountains can be seen in the far distance. BILLY camouflages his face as best he can in the Newspaper `` Hurriyet'' studying : CABDRIVERS in the Main Square. Most of them are older, grizzled looking standing next to their old battered dusty cabs talking with stray SOLDIERS. Billy's eyes settle on a YOUNGER DRIVER with longish hair, possibly an ally. BILLY glances down at his newspaper as a SOLDIER intersects and his expression goes stony as he sees : FULL COLOR DRAWING -LRB- first page -RRB- of a ridiculously fierce heavy - muscled barechested MAN beating a facsimile of Hamidou into the ground. Next to it a blurry badly reproduced photograph of BILLY with a superimposed GUN in his hand. You ca n't really tell it's him. BILLY, controlling himself, crumples up the newspaper into a baton, his eyes everywhere. Be the darting A crosses square. ANOTHER ANGLE - BILLY, intersecting a POLICEMAN who glances at him, joins the YOUNG CABDRIVER. BILLY Listen, I have Swedish friends camping south of the town. I was supposed to meet them here this morning but I was late. Can you take me there? DRIVER looks at him neutral. DRIVER You know where they are? BILLY -LRB- anxious to get in the cab. -RRB- Sure. DRIVER How far? BILLY -LRB- impatient. -RRB- About ten kilometers. DRIVER Sixty Lira? BILLY -LRB- surprised. -RRB- Sixty? Billy eyes : APPROACHING SOLDIERS. BILLY -LRB- OFF. -RRB- Okay. THE DRIVER, noticing Billy's look at the soldiers, gets in the cab. BILLY climbs into the back seat, feeling already he has made a mistake. There is something too alert, too hard in this young driver. BILLY P.O.V. - THE MOUNTAINS as they roll in the taxi. FORESTS - FIELDS.","INTERIOR TAXI BILLY Those mountains? are they? DRIVER -LRB- Greece. -LRB- shakes his head. -RRB- Very bad now. Maybe war. Those Greek pigs try to steal Cyprus again. -LRB- pause. -RRB-. -RRB- How'd you lose your friends? BILLY leaning back in his seat, casual. BILLY Oh, I drank a lot of raka last night in Istanbul. Got into a fight. Indicates the bruises on his face. DRIVER looking at him in the rear view mirror. His curiosity narrowing. DRIVER How come you speak Turkish so good? BILLY casually glances out the window. BILLY Did twenty months in prison in Istanbul. Hash THE DRIVER studies BILLY in the rear - view mirror. Then : DRIVER You want to score some? Cheap? BILLY looks at him hard. Something's wrong with this man. BILLY -LRB- curt. -RRB- No! Cutting off further conversation, he looks out at : THE MOUNTAINS of Greece - with longing. BILLY stares back at : THE DRIVER whose eyes now move away from the rear - view mirror under the pressure of the stare. SOUND OFF loud machinery. BILLY turning - in rear window, we see a TURKISH HALFTRACK pulling alongside the cab, SOLDIERS waving their arms for the cabdriver to get out of the way. ANOTHER ANGLE - the HALFTRACK pulls level. The CABDRIVER slows down, with a curse. BILLY - beads of sweat trickle his brow THE PERSONNEL CARRIER, disinterested, pulls past. BILLY breathes heavily with nervous relief. THE CAB pulls up to the end of a dirt road. BILLY has his MAP out, studying it. BILLY The Maritas River? Where is it? ANOTHER ANGLE - the DRIVER, exasperated, waves southwest. DRIVER Two miles! Minefields over there. Do you know where this campground is or not? BILLY Not far. Just a little way. DRIVER No! I'm not going any further! It'll wreck my car. BILLY I'll pay extra DRIVER How much? ANOTHER ANGLE - BILLY slips him fifty lira. The DRIVER takes it, muttering under his breath, jams the cab into gear. THE CAB follows rutted tracks into low HILLS.","INTERIOR CAB - very bumpy. BILLY Where are the minefields? DRIVER All over. Turkish Army up there. It's against the law. They shoot us. -LRB- looks up in the mirror. -RRB- You sure you looking for your friends, man? BILLY -LRB- VERY SHARP NOW. -RRB- -LRB- very sharp now. -RRB- Okay! Ley me out right here. I'm getting tired of all this bullshit from you. I'll walk it. DRIVER -LRB- looks back, then ahead, suddenly brightening. -RRB- Ah, look! they probably know where the campers are BILLY's entire expression changes. It is all over. A TANK AND HALFTRACK are sitting there by the rutted track, with SOLDIERS. And a little LEAN - TO with several POLICE. Also a couple of attack DOGS on leashes. The Driver honks his horn on the approach. ANOTHER ANGLE DRIVER Hey officer, we're looking for the campground. Do you know where it is? ANOTHER ANGLE - TWO POLICEMEN and A SOLDIER come sauntering over, their collars open, beer bottles in hand, slightly drunk. POLICEMAN -LRB- curt. -RRB- You're not supposed to be here DRIVER -LRB- indicated Billy. -RRB- He's a tourist, what do you want, he says he's looking for friends at the campground. FIRST POLICEMAN glances BILLY POLICEMAN Campground? -LRB- shrugs. -RRB- Never heard of one. DRIVER Seen any Swedish foreigners in a camper - bus? SECOND POLICEMAN meanwhile eases his arm down on the OPEN WINDOW bringing BILLY into foreground. The COP'S mouth is open and exhaling a wave of beer breath over - BILLY. BILLY P.O.V. - BEER FACE FOCUS PAST him to SOLDIER at tank reading `` Hurriyet'' - the picture of BILLY on page one, spread for all to see. BEER FACE Noldu? DRIVER turning around to address him. DRIVER Seen any foreigners in a camper bus? SOLDIER circles the cab from the other side. BILLY motions to the DRIVER. BILLY Okay, they have n't seen him, let's go back to town, it's getting late. THE DRIVER ignores it. Calls out again, louder to BEER FACE. DRIVER Foreigners! KAMPER. VOLKSWAGEN BILLY rigid. This asshole of a driver! BEER FACE glances at BILLY, pulls his head out the window. Looks down the road. Takes a sip of beer. SOLDIER, disinterested, moves back towards the tank. BEER FACE looks in the other direction down the road, burps.Very conscious of his authority, shakes his head without looking at the driver. Moves away. BILLY nudges the DRIVER. BILLY Okay, let's go. THE DRIVER impatiently turns and looks straight at BILLY, aware of his anxiety. DRIVER Is no Volkswagen, man! Something wrong with you? BILLY hardening. DRIVER calling out. BEER FACE turns. DRIVER leans out the window. DRIVER This guy's fishy. I think he might be trying to get to Greece. BILLY looks around fast. BEER FACE starts back lazily, half drunk, with the OTHER POLICEMAN BEER FACE Huh? DRIVER DRIVER I do n't know, there's His eyes grow big suddenly As he sees the barrel of Hamidou's REVOLVER right in His cheek. BILLY all business, very quiet. BILLY Get out - right now, move! BEER - FACE advancing looks puzzled, thinks he sees something, then crouches as : DRIVER gets out the door crouching, yells. DRIVER He's got a gun! BILLY firing SHOTS off to distract them has climbed over the front seat, jams the cab into gear. It stalls! Again he tries, and now shoots off. THE CAB Roars past the roadblock. THE COPS AND SOLDIER, scattered by the shots, now scream at each other. They run. SHOTS are fired. BILLY guns the cab down the road, flying. CLOUDS OF DUST trail the cab. THE TANK starts to roll after it. Full speed. The HALFTRACK follows, the MEN riding it shouting. BILLY looks back, then looking ahead sees something. P.O.V - a speck in the far distance. Another ROADBLOCK. BILLY decides, then - THE CAB swerves right off the road and jumps into the gently rolling FIELD on the border of the road, pock marked with HILLS. THE TURKS come roaring down the road, pointing to the cab. LOW ANGLE - the TANK makes a flat out stop, gears grinding. THE GUN TURRET swings left. THE CAB in the far distance, at an angle to the tank, starts running up an incline. THE TANK FIRES. P.O.V. - SHELL BLASTS WIDE OF THE CAB. BILLY, startled, looks back, guns for the top of the incline. HIS P.O.V. - ANOTHER SHELL now blasts to his front right, closer. Something heavy -LRB- shrapnel -RRB- thuds into the rood of the cab. BILLY drives all out. P.O.V. - THE INCLINE CLOSER, CLOSER, ABOUT TO MAKE IT, THEN : A BLAST TANK P.O.V. - the CAB spinning in the blast of the adjacent shell - burst. BILLY, shaken but unhurt, staggers out of the cab, looks : P.O.V. - A WHEEL BLASTED AWAY, FUEL PISSING OUT FROM THE SHRAPNEL HOLES, SMASHED WINDSHIELD AND FENDER. THE TURKS are coming up the incline now, like the Cavalry - some on foot running, others on the HALFTRACK. BULLETS whistle and pop nearby. BILLY running. He tears off his jacket. SOLDIERS pass the wrecked car, at the top of the incline shouting, pointing and firing at BILLY in the distance. ONE SOLDIER seems lighter than the others and takes off in a sprint as the OTHERS follow. THE HALFTRACK now crests the incline and gathering full gear and momentum, roars off down the slope after Billy. CLOSE BILLY running sweat all over him. In background, the HALFTRACK and running FIGURES. BILLY runs into a high dry cornfield with the sun starting to set ahead of him in the Greek mountains. MOUNTAINS - must make those mountains. BILLY running all out - eyes fixed on them, breathing, skipping heartbeats. THE PERSONNEL CARRIER bypasses the FAST SOLDIER who slows down, panting. Billy has outrun him. OTHER SOLDIERS run up in the distance. BILLY, tireless, obsessed, runs right into a POPPY FIELD.It is a splendid beautiful scarlet red, set off by the dipping rays of the sun. HIS FEET smashing down the poppy plants. Fast - THUCK! THUCK! THUCK! THUCK! THUCK! THUCK! CROSSCUT the metal TREADS of the Halftrack into the poppy, mowing down entire rows. TWO SOLDIERS on the PERSONNEL CARRIER are waving encouragement to the driver inside. They have him. ANOTHER ANGLE the HALFTRACK closing the distance on BILLY now thirty yards apart. BILLY looking back, starting to fade. Huge wheezing gasps of breath. SOLDIERS running up looking at THE HALFTRACK in the distance. SOLDIERS yell. SOLDIERS Minefield! Minefield! Come back! Stop! -LRB- NO SUBTITLE. -RRB- BILLY runs out of the POPPY FIELD into a THIN FOREST. THE SOLDIERS screaming in the distance, jumping up and down waving for the halftrack to come back. LOW ANGLE - the HALFTRACK with the waving SOLDIERS on board now blasts out of the poppy field at full speed. BILLY - he has no chance, In immediate background is the fast HALFTRACK. ONE SOLDIER on the HALFTRACK now looking back to the SHOUTS of his comrades. Confused. Turns bout back to yell something and : ENORMOUS EXPLOSION The HALFTRACK disintegrates in a tank landmine. BILLY thrown to the ground by the force of the blast, looks back, GASPS! A BURNING WRECKAGE. Black spirals of smoke. Secondary explosions. BILLY stumbles up. A gash of blood is on his temple but he does n't know it or feel it such is his stress. He runs on, SHOTS whistling towards him from the poppy field. TURKISH OFFICER screaming angrily at Billy, cursing, shaking his fist at the sky. BILLY, in the forest, is totally out of breath and out of eyesight of the pursuers. He stops against a tree. FROG SOUNDS. The gurgle of water. Muddy ground. He looks : THE MARITAS RIVER rushing ahead. A strong current. BILLY peels off all his clothing except his pants, not delaying one more moment. He feels he must keep going. And he's right. DOGS are barking OFF. A SNARLING ATTACK DOG is tearing through the minefield, fast, ahead of the others. BILLY looks, sees it. THIRTY YARDS - the huge DOG coming right at him! BILLY runs for the edge of the bank and plunges in. THE ATTACK DOG sprints up to the edge of the river bank and without a moment's hesitation, plunges right in after him. BILLY lashing into the current with a fierce breast stroke, is swept downstream kicking futilely. THE DOG, its jaws open and clacking, is also swept down river. BILLY going under, coming back up - fighting, still fighting. THE DOG struggling sails past as BILLY hauls himself out of the river, going in a circle, dizzy. Falls. Struggles up again. Looks back. Must keep going. Must. THE BASE OF' MOUNTAIN - hilly, rugged. BILLY runs, drags, runs again. He is a lamentable sight - naked except for ripped wet pants, barefoot, bleeding, muddied. Dimly he makes out : A FARMHOUSE - TWILIGHT. Some cows, goats, chickens. NO sign of people. BILLY staggers towards it. Wears something. A rooting SOUND. Stops. Something familiar about it. A FAMILY OF PIGS snort and root in the mud, little piglets running around. BILLY staggers towards them, muttering to himself. BILLY Pigs! Pigs! Then yells in the recognition of it BILLY Pigs. You. Beautiful. BILLY BILLY falls to his knees in the confined pen ; the pigs run around squealing. Trying to reach out for one of them, he falls face first into the mud and lies there. Pause. A wooden DOOR squeaks open OFF. BILLY slowly turns his muddy eyes over his shoulder. BILLY P.O.V. - TWO SOLDIERS, khaki - colored uniforms, helmets, olive faces, mustaches, approach cautiously from the farmhouse, rifles ready. Following them is an OLD FARMER, Further behind in the doorway is his WIFE and CHILDREN. BILLY muttering to himself, in Turkish. BILLY Greek? Greek? THE SOLDIERS approach close, stand above this strange figure, look at each other. SOLDIER Ti leei? -LRB- What is he saying? -RRB- 2ND SOLDIER Mou fainetai san Toupkika. -LRB- It sounded like Turkish. -RRB- BILLY with dimming strength. BILLY THE FARMER understands, makes a vigorous nod of his head. FARMER Malisee. Ellada! -LRB- Ah, yes. Greece! -RRB- CAR DOOR SLAMS SHUT - and BILLY, his movements still weak, moves a few steps from the car and stops. SUBTITLE :","OCTOBER 24, 1975 - BABYLON, LONG ISLAND Framing Billy are SUSAN and his FATHER, both silent. They look with him at HIS SISTER, BROTHER, UNCLE, AUNT, SISTER - In - LAW FAMILY FRIEND - AND GRANDMOTHER, all on the porch of the ordinary house in BABYLON, LONG ISLAND - DAY ; all of them returning his gaze in that first SILENT moment. Curiosity. Recognition. Shock. Love. And then they move. But we do n't hear their movements. It is SOUNDLESS reunion ; the SISTER running out first in SLOW MOTION, the MOTHER following last, crying ; the GRANDMOTHER too infirm to move, the shaking her head from side to side in SLOW MOTION, her tears lost somewhere in the wrinkles of her face. BILLY surrounded by FAMILY - SLOW MOTION - SOUNDLESS. His eyes flooding. All the feelings in him. And deep inside - a solitary question. THE CHARACTER NAMED BELL IS STILL INSIDE. -LRB- ROLL THE LIST OF NAMES -RRB- And OVER this, the SOUND of a PASSING TRAIN rushing by in the night - UP, FAST and AWAY. -LRB- Getchmis Olsun -RRB- THE END"],"string":"[\n \"MIDNIGHT EXPRESS THE FOLLOWING IS BASED ON A TRUE STORY. IT OCTOBER 6, 1970 ISTANBUL, TURKEY - SOUND UNDER, SHARP : CRACKLE - RIP - SNIP. A SET OF CLOTHES ON A HOTEL ROOM BED - trenchcoat, bulky white turtle - neck sweater, T - shirt, jeans, Western style boots. SOUNDS continue, Accentuated. MOVE Across open TRAVEL BAGS On The bed. Clothes, possessions. CONTINUE Across FURNITURE, WASHBASIN, TOILET. A large room, high old ceilings And windows suggesting Ancient Europe & design, A haunting greenish AFTERNOON light. We MOVE to HANDS, TIGHT - drawing out a strip of adhesive tape, SCISSORS move in TIGHT. SNIP! UNDERARM, TIGHT. Tape being laid over it. BACK OF SHOULDER. TIGHT. Tape going on. BELLYBUTTON, TIGHT. TAPE going Then : a harsh RIP! SOUND and the tape comes off the bellybutton. HANDS with new strip of tape. Moving to : HASHISH PLAQUE. Four of them, thinly pressed. One on top of the other. The HAND wrapping a portion of the TAPE around them and : BELLY, TIGHT. SOUNDS of BREATHING stop. The belly is sucked in. The TAPE is pulled HARD across, then CLINCHED. We hear F.X. of HEART BEAT - BILLY HAYES - 21, baby - face, attractive, medium build an aura of innocence. His eyes moving off his belly to : MIRROR. FULL SHOT. Climax. A creature in a bondage of his own devise, he is naked in his underpants, his body criss - crossed by a network of TAPE and 40 tightly pressed plaques of HASHISH in every conceivable crevice of his body. The eyes are hard. NIX THROUGH HEART BEAT, SOUNDS OF AIRPORT. INTERIOR ISTANBUL AIR TERMINAL dirty, crowded, wooden benches, peddlers. Turkish flight instructions on LOUDSPEAKER, followed by mediocre English translations. NOTE : ALL DIALOGUE IN TURKISH TO FOLLOW WILL BE MARKED OFF BY PARENTHESIS. A CERTAIN WILL BE SUBTITLED, BUT SOME NOT. LOUDSPEAKER VOICE Pan American Flight 1 to Frankfurt, London, and New York has arrived and will be ready for boarding at Gate 7 in 20 minutes. REPEAT IN ENGLISH over : BILL walking down a long CORRIDOR. He moves somewhat stuffly in the clothes we saw laid out on the bed ; his face complicated by dark, rather ridiculous aviator sunglasses and an increasing edge of nervousness to his actions. With him is : SUSAN 23, healthy outdoor looks, dressed casually colorful like an American student abroad. APPROACHING P.O.V. - a group of TURKISH SECURITY GUARDS, in rumpled green uniforms, at a security CHECKPOINT inspect the carry - on bags of several PASSENGERS. BILLY tensely contemplating the guards as he walks. SUSAN digging in her bag for her passport as she walks. BILLY, looking from guards ahead to SUSAN. He suddenly breaks stride, still a fair distance from the checkpoint. SUSAN glances at him. He is holding his belly. BILLY I think I've been poisoned. SUSAN And you ate two baclavas, right? I not to touch them, mine was awful. BILLY -LRB- his voice strained. -RRB- Look, I think I'm going to have to go to the john again. You go on through, I'll catch up. With a sense of panic, he turns and goes back down the corridor without waiting for a response. SUSAN concerned, moves on. BILLY in the WASHROOM MIRROR, again checks himself out. His glasses are off, and he has just watered himself down. But the SOUND of his HEARTBEAT is up, and his nerves are visible in his eyeballs and he knows it. He dabs at the sweat on his sideburns. He closes his eyes, takes a DEEP BREATH. A pause. He puts his dark sunglasses back on. Turns away from the mirror. No going back now. ADVANCING P.O.V. - SECURITY CHECKPOINT. The GUARDS again. Closer, closer, Guns in their HOLSTERS. SOUND of billy's heartbeat, CLOSE - GUARD smoking a cigarette, bored, uniform, looks at BILLY. The GUARDS again.SOUND of Billy's in a tattered olive GUARD Passport! BILLY PASSPORT. The Guard's tobacco - stained FINGERS take it open it. Basic information on Billy : Birth Date April 17, 1949. Birth Place : Babylon, Long Island. No wife, no minors. Signature. GUARD gives it back to BILLY. GUARD Bag! BILLY opens his shoulder bag, proffers it. The GUARD tosses it, pushing aside books, grabbing a white plastic dish. GUARD Nebu? BILLY -LRB- Understand the Turkish expression, `` What's this?''. -RRB- It's a frisbee. GUARD Nebu? BILLY A Frisbee. -LRB- makes a throwing gesture of the wrist. -RRB- You throw, catch it. Game! Curious, one of the other GUARDS ambles over looking at the frisbee. BILLY tightens. Cursing the frisbee. Sweat now runs his sideburns again. HEARTBEAT up. 2ND GUARD American game. Baseball. GUARD Ah! -LRB- puzzled, turns the Frisbee around and around. -RRB- THE SECOND GUARD studies BILLY curious about the sweat. Suddenly reaches up, indicates the eyes. GUARD Take off the glasses. BILLY understanding the gesture rather than the words, removes his glasses. His eyes. Straight, staring at the GUARD without trying to look away. A long moment. FIRST GUARD stuffs the frisbee back into the bag. Scowls. Takes a puff on his cigarette, coughs. Phlegm rattles around in his throat. Reads the International Herald Tribune, seated on a crowded olive - colored out on the tarmac She has saved him a seat and pulls her bag off as BILLY sits down. FIRST GUARD Aaaah! He waves BILLY through. BILLY puts his glasses walks past the back the SECOND GUARD turns away. BILLY walks past the Checkpoint. His HEARTBEAT drops. SUSAN reads the International Herald Tribune, seated on an crowded olive - colored BUS out on the tarmac. She has save him a seat and pulls her bag off as BILLY sits down. SUSAN Are you all right? He looks at her. Relief. A smile, awkward - he wishes he could tell her. BILLY Yeah. Yeah. Lays his head back on the wooden bench. Reaches out : TAKES HER HAND in his. She returns the grip. THE BUS DOOR slams shut. THE TURKISH BUS DRIVER rolls the bus out towards the PLANES visible in the far distance? SUSAN, feeling Billy is better, shows him the Herald Tribune. SUSAN -LRB- saddened. -RRB- D'you see this? Janis Joplin died yesterday. BILLY, his sunglasses removed, looks at the paper, almost abstractedly. SUSAN -LRB- OFF. -RRB- Overdose, in a Hollywood motel. NEWSPAPER Picture of JANIS JOPLIN. That big, earthy, rugged smile. BILLY'S P.O.V. - Moves Up page One To The Headline : NIXON OUT - RAGED AT PALESTINIAN HIJACKERS : CALLS FOR CAPITAL PUNISHMENT SUSAN -LRB- a faint voice. -RRB- Never Was anybody like Janis. BILLY, thinking other happier things, reaches over and playful! : squeezes her tit twice, rapidly. BILLY -LRB- smiles. -RRB- Never was anybody like you. SUSAN -LRB- annoyed, brushes his hand away, a clicking sound in her throat. -RRB- You ca n't take anything seriously. BILLY -LRB- smiles. -RRB- You're right. Bus stops suddenly. BILLY changes expression. THROUGH FRONT WINDSHIELD we see TURKISH SOLDIERS in several HALFTRACKS drawn up in a semicircle blocking the bus. The Pan American PLANE is directly behind. Also JEEPS and a POLICEMAN waving the bus down. BUS BOOR opens and the Turkish Police OFFICER hops aboard briskly : OFFICER Attention please, Ladies and Gentlemen. For your own safety we're conducting a security check before you board your airplane, Kindly file out the back. Women and children in one line. Men in another. PASSENGERS. A confused hum. VARIOUS PASSENGERS What's he saying? I do n't know. Marian. Hey Marian, what the hell. The Turkish - speaking PASSENGERS are gathering together their items and beginning to exit as : POLICE OFFICER repeats, in ENGLISH POLICE OFFICER Idem. CLOSE BILLY. The POLICE OFFICER is only beginning the speech.in English but already Billy realizes, And it's panic. Silent panic. That horrendous cold feeling all over his back : Oh God what have I done, what can I do now? He freezes. MOVE TO SUSAN rising, fetching her things, irritated. SUSAN Jesus, they do everything ass backwards in Turkey. Behind her we see the other AMERICAN PASSENGERS beginning to disembark with the usual chorus of overlapped conversations, expletives, including : PASSENGERS They're checking for hijackers. Any Palestinians aboard? Hey Harry, get rid of your grenades. Laughter is returned from several of the American contingent, but we MOVE BACK to BILLY in foreground ; all of a sudden he is on his knees trying to crawl under the seat. SUSAN -LRB- OFF. -RRB- Billy, what's the matter? BILLY My passport! SUSAN No! She bends down to look, coming FACE TO FACE with him. He grips her arm. BILLY -LRB- low voice. -RRB- Susan - forget it. Go get us a seat on the plane. Now. SUSAN -LRB- picking up the real fear in his voice. -RRB- What is it?. Billy? BILLY -LRB- a fierce whisper, panic. -RRB- For Christ's sake, just GET on the plane, okay! His tone stuns her ; never before has he spoken to her like that. A LOOK between them ; he has his glasses off now. She's not a stupid girl by any means and realizes something is very wrong and for the both of them, she'd best do exactly as he says. And fast. She moves OUT OF SHOT. BILLY, crouched low in the aisle starts to work fast, his finger : shaking reaching into his sweater starting to work the TAPE loose from around his chest ; looking from under the bench. Still quite a bit of commotion as passengers are exiting. BUT THEN : BILLY P.O.V. - UNIFORMED LEGS coming slowly down Isle Towards him. The muzzle of An M - l RIFLE tapping loosely Against the side of the kneecap. PAN WITH and MOVE UP as TURKISH MILITARY LIEUTENANT comes into view, intersecting outgoing PASSENGERS, eyes casually coming to rest on : BILLY looks up from his kneeling position on floor ; his sweater rolled back down ; he indicates the passport in his hand. `` Just found it'' expression. MOVE to the LIEUTENANT not necessarily suspecting anything, but with a customary insolence reserved for young vagrant - types, he stretches his rifle arms length with one hand and gently prods Billy up with the tip of the muzzle placed under his chin. MOVE BACK to the OFFICER, bringing the rifle back to his side, indicating Billy get off the bus with the others. All in silence. BILLY among a group of MALE PASSENGERS funnelling into two lines that pass on either side of a wooden inspection table. Thirty TURKISH SOLDIERS with rifles ring the area. It is open, vast, no place to run or hide. The only apparent hope is to melt into their regular jostling patterns of the passengers impatiently waiting. TWO PLAINCLOTHESMEN -LRB- Police -RRB- are on each side of the table, body - searching the male passengers alternately. SUSAN is in a similar set - up twenty yards away, with FEMALE ATTENDANTS doing the searching. She glances at Billy as she undergoes search. She is cleared, passes on, towards the ramp of the plane. BILLY, his sunglasses off, smoothly melts among the male PASSENGERS pulling some books from his shoulder bag. Glides to the head of the line. MOVE TO : The FIRST OFFICER patting down a PASSENGER, his back partially turned to Billy. MOVE AROUND bringing him into foreground as : BILLY skirts him in the background, camouflaged among two other conversing PASSENGERS waiting for the SECOND OFFICER who now appears in foreground on the lateral TRACK ; he is busy with another passenger. In passing him, Billy replaces the books in his shoulder bag as though he had already been searched by the first officer, Tension. FOLLOW BILLY as he approaches the boarding ramp. BILLY P.O.V. - SUSAN at the top of the ramp waiting. Smiling STEWARDESSES. Pan America. Haven. BILLY - FOOT rising off Turkish soil onto ramp. TURKISH HAND lightly touching Billy's elbow, then grasping the ARM. TURK -LRB- OFF. -RRB- Just a minute! BILLY his eyes flattening. SUSAN in LONG SHOT, reacting. BILLY turns trying to seem casual ; he confronts the SECOND OFFICER face to face and gestures towards the : FIRST OFFICER who happens to glance at them. SECOND Nebu? Did you search him? FIRST OFFICER -LRB- frowns. -RRB- No! SECOND OFFICER tightens his grip on BILLY, angry, and pulls him back to the TABLE. MOVE with them. The officer has been lied to ; in addition he is young, inexperienced, about eighteen. SECOND OFFICER -LRB- grunts a command, makes a gesture. -RRB- BILLY, comprehending, spreads his arms. The OFFICER pats him down carefully, brushing against his armpits. Precisely in the area where we saw the hashish. But incredibly he does n't notice, continuing to work his way down the hips and legs. CLOSE BILLY eyes on the sky behind the OFFICER, praying silently for a break. TURKISH FINGERS moving up the inside of his legs, onto his belly, touching the hard bulge below the navel. But again not noticing. BILLY in limbo, SOUND of his heartbeat. SECOND OFFICER pausing, his fingers around Billy's chest, about to let it go, then : PLACES HIS HAND suddenly flat on Billy's heart. OFFICER, sensing the accelerated Heartbeat, stares at : BILLY whose eyes jump, startled by this technique. FINGERS like excited spiders quickly run back up into the armpit area. STOP - right on the packets. TURKISH EYES SWIVEL to BILLY EYES CLOSE. Frozen moment. Then, sudden blur of movement at the edge of frame. SECOND OFFICER jumping back, grabbing his pistol from his holster, crouching on one knee, aiming the gun barrel at BILLY, hand shaking. He is terrified. SECOND OFFICER -LRB- screaming. -RRB- Bomb! He's got a bomb! AMERICAN PASSENGERS scream and the deck all around. AMERICAN PASSENGER Bomb! Bomb! BILLY stands there, arms straight up in the air, eyes clamped shut, trying not to breathe. CHORUS of rifle and revolver CLICKS OFF as : PULL BACK to OVERHEAD SHOT BILLY surrounded by thirty SOLDIERS with rifles pointed at him from all directions, crouched nervously. The PASSENGERS all huddled on the ground. BILLY, eyes closed. Edge of frame shows a shaky muzzle a REVOLVER poked into his belly, moving up. MOVE to THE FIRST OFFICER, older, more experienced but scared, poking with the revolver ; reaches in with his hand cautiously, starts to pull up the turtleneck sweater. MOVE with the hand, revealing the HASHISH PLAQUES around the navel. A pause. His HAND draws the sweater higher. More PLAQUES. FIRST OFFICER'S FACE relaxes. Starts to smile, finding it funny. FIRST OFFICER -LRB- yells out. -RRB- It's hashish. just a smuggler. SOLDIERS -LRB- OFF. -RRB- -LRB- in chorus echo, relaxing, chuckling. -RRB- Hashish. smuggler. hippy. MASTER ANGLE SOLDIERS REGROUPING. PASSENGERS starting to rise from the ground. SUSAN dumbfounded watching all this from the door of the PLANE, starts back down the ramp. But a flow of upcoming PASSENGERS slows her descent. BILLY is led roughly by TWO SOLDIERS parallel to the plane his hands on his head. He manages a glance at Susan. A slight but strong movement of the head and eyes. ` No. Do n't come down the stairs' SUSAN understands it, looks helplessly, hesitates lost between two worlds. A silent shaping of a puzzled mouth. SUSAN Billy? She is washed back along in the flow of passengers. VIP ROOM AIRPORT LOUNGE. The scene moves very fast, Indicating A sense of chaos. Much smoke. Many phone calls. Half A dozen Turkish police OFFICERS Are bizarrely seated In A row of fold up chairs next to A desk. Chattering among themselves -LRB- AD LIB -RRB- lighting their Turkish cigarettes. They hardly pay attention as : MOVE TO BILLY, scared, sweating - backlit by the huge windows overlooking the airstrip. In background, we see the 707 Pan American PLANE beginning to circle towards the runway. GUARDS have stripped him down to his bare chest and now knife through the adhesive tape from two sides at once. Then RIP the tape off. BILLY winces. ANOTHER ANGLE the room. Billy's luggage Is being Tossed. Clothes fly through the air. A sweatshirt ; Marquette University Rowing Team. A 35mm camera. A gift package for his mother ripped open. A silver Turkish kettle, clanging To The floor. Another package is ripped open and a set of Turkish tea cups smash and break all over the floor. Very fast. BILLY watches, bewildered. He is stripped of the last plaque in of the confusion is that each time another police officer his navel. FOLLOW the plaque clattering onto the pile of forty plaques. FIRSTOFFICER -LRB- OFF. -RRB- Name? BILLY -LRB- OFF. -RRB- William Hayes. MOVE BACK QUICKLY to the OFFICER with notebook at the desk. Part of the confusion is that each time we see another police officer we see he has another face. FIRST OFFICER Vi. Vilyum. Vilyum. BILLY -LRB- OFF. -RRB- Hayes. FIRST OFFICER Hi - yes. -LRB- writes it down. -RRB- ANOTHER ANGLE - FIRST OFFICER ` Merican? BILLY -LRB- nods. -RRB- New York. The OFFICER is puzzled. BILLY New York. New York. FIRST OFFICER Ahhhh. Nev Yok! -LRB- writes it down. -RRB- A LOUD SOUND OFF. The DOOR flies open and ANOTHER OFFICER strides in. Paunchy, moustached. The room is suddenly silent as we TRACK him in, followed by a grinning civilian FLUNKY with a big portable photo instrument and bulb. THE FIRST OFFICER jumps up from the desk, makes an obsequious salute to the SECOND OFFICER who arrogantly acknowledges it and takes the vacated chair behind the desk. The FIRST OFFICER moves to the first fold - up chair in the row, pushing the police officer in that chair further down. THIS OFFICER, in turn, shoves the next man down. It goes all the way down the line like a comedy until the last man in the row stands up against the wall. But this is all in the background as : SECOND OFFICER Name? BILLY William Hayes. SECOND OFFICER Vil. Vilyum? BILLY Hayes. Sharp SOUND OFF of FILM BEING RIPPED FROM CAMERA. He darts a look at POLICEMAN stretching the undeveloped film out. Another loud SOUND OFF, interrupting this - THE DOOR flies open again and a THIRD OFFICER strides in, obviously the most important yet, because the SECOND OFFICER jumps up from the desk, and all the others immediately move down one seat in the hierarchy without a moment's hesitation. But the THIRD OFFICER strides right up to Billy, waves to the SECOND OFFICER. THE CAMERAMAN in background bubbles with enthusiasm, sliding into position. Billy is puzzled - what's going on? His arm is grabbed and he is swivelled around. REVERSE ANGLE - OVER CAMERAMAN BILLY in the middle, flanked by SECOND and THIRD OFFICER, grinning like big game hunters, their arms on his shoulders. The FIRST OFFICER, sticking a bunch of hashish plaques into Billy's hands, runs OUT OF FRAME. BILLY looks from side to side. The SECOND OFFICER pats him hard on the back of the head, meaning ` look at camera'. BILLY glances at him, sees the grin on both the officers' faces. Thinking this is the necessary expression, he grins at the camera. CAMERAMAN disgustedly looks up from his eyepiece. CAMERAMAN No. He's smiling. Make him look miserable. SECOND OFFICER slugs BILLY in the stomach with a quick back - handed fist. BILLY groans, sinks to his knees. The plaques fall on the floor. FIRST OFFICER -LRB- running up. -RRB- Gel? Gel? He growls, grabbing Billy's arm and hauling him up, gathering the hashish plaques and putting them back in his arms. The TWO OFFICERS put their arms back on Billy's shoulders. BILLY, in pain, makes the proper expression of misery. FLASH! The bulb goes. THE 707 PAN AMERICAN PLANE, destination New York, roars up into the sky. PULL BACK all the way to BILLY sitting next to the window, huddled over, feeling woozy and near vomiting. He glimpses the plane but it is anti - climatic now ; as he stares down at his boots. Then remembers something! Surprised. ANOTHER ANGLE - ROOM. The Turkish OFFICERS talk AD LIB among themselves, congratulating, slapping shoulders, pointing to the hashish plaques, etc.. In center background, we see BILLY submissively lifting his arm for permission to speak, THIRD OFFICER nods, approaches, followed by OTHERS. BILLY slowly, partly out of pain, pulls off one of his boots, bangs it on the heel and two more PLAQUES clatter to the floor. TURKISH MOUTHS drop open. BILLY finishes the process with the other boot. An awkward silence OFF. BILLY -LRB- trying to explain, innocent. -RRB- I forgot. I really did. -LRB- makes ineffective gestures. -RRB- ANOTHER ANGLE. The room explodes with screams and commotion. THIRD OFFICER -LRB- screaming at SECOND OFFICER. -RRB- You idiot, you fool. You told me the American was searched. and he's pulling hashish out of his boots! You're all dogshit! SECOND OFFICER -LRB- turning on First Officer, screaming. -RRB- You worthless piece of garbage, where did you learn to search a prisoner? He's been in our custody for an hour, etc.. FIRST OFFICER -LRB- screaming at the others. -RRB- Who searched him? Who? Amid all the screaming TWO POLICEMEN rush over and yank BILLY upwards, and start to strip all his clothes. BILLY -LRB- protesting. -RRB- That's it! That's all I have! BILLY spread - eagled STARK NAKED against the wall. He is afraid to move. A strange silence. ANOTHER ANGLE. BILLY naked in center B.G. against the wall.The OFFICERS and SOLDIERS quietly leering at his trim, muscular buttocks. Hungry stares. Bisexuality is prevalent in Turkey.But there is also embarrassment among the officers ; none would do anything openly in front of the others ; instead they just stare and smoke their cigarettes. Low murmurs. Continued telephone calls. Much thick smoke all over the room. Another DOOR opens OFF. Obsequious GREETINGS in Turkish. BILLY is afraid to look over his shoulder, feeling enormously humiliated. VOICE -LRB- OFF. -RRB- Howdy, Billy. Howya doing, Ok? A perfect Texas drawl. BILLY glances over his shoulder. Sees : TEX a tall, lanky blonde - haired American in a business suit with boots. Clean cut, very handsome, with a strong flavour of danger in his blue eyes. TEX -LRB- smiling, extends Billy's clothes. -RRB- I think these gentlemen have finished for the time being if you'd like to put your clothes on. ANOTHER ANGLE - BILLY, so grateful at last to see a fellow American, reaches quietly for the clothes, his eyes never leaving Tex.. Release? TURKISH DETECTIVE sits at the main desk in the room. Unlike the others, he has no moustache ; a skeletal face, intelligent looking. TEX Is behind, leaning casually up against the wall. Angled to Billy's side is the entire array of seated OFFICERS looking on like a tribunal. DETECTIVE -LRB- thickly accented English, sympathetic. -RRB- Are you afraid, Vilyum? BILLY, standing to the side of the desk, clothed now, buckling his belt - afraid. BILLY No, I'm not afraid. DETECTIVE Good. There's nothing to be afraid of. If you co - operate with us, you will be on the plane for New York tomorrow. yes? BILLY -LRB- softly, hoping. -RRB- Yes? DETECTIVE Good. Now, where did you get the hashish? BILLY A cabdriver. He picked me up in the Pudding Shoppe in the bazaar. DETECTIVE Would you recognize him again? BILLY Yes. I think so. DETECTIVE Good. Would you go back to the Pudding Shoppe now and point him out to my men if you see him? BILLY'S EYES MOVE TO : TEX who makes a cool affirmative nod of the eyes to Billy. BILLY -LRB- OFF. -RRB- Yes. STREETS, ISTANBUL, AFTERNOON. TEX drives his American CAR ; BILLY in the passenger seat ; TWO TURKISH PLAINCLOTHESMEN in the rear seats. Various BACKGROUND SHOTS of the city. TEX -LRB- casual tone. -RRB- You decided to fly at a bad time Billy Palestinian Guerrillas all over the place blowing up planes and all. BILLY -LRB- shakes his head. -RRB- Stupid. TEX Four planes in four days. but I guess you kids do n't read the newspapers. and what with our people kicking up a shit storm ` bout the flow of heroin from Turkey you got. BILLY But did n't have heroin. TURK -LRB- grins. -RRB- Well I'm not up on all that. A drug's a drug seems to me Billy and. BILLY -LRB- sweating. -RRB- But it was my first time. I'm not really a smuggler, was just two kilos. TEX Well, you see Billy, it do n't really matter right now if it's 2 kilos or 200 kilos. The Turks love to catch any foreigner smuggling - it shows the world they're fighting the drug trade. BILLY But just. TEX Just what? BILLY I just needed some extra money. I was broke, the guy offered me the hash and. It sounds bad. Tex looks at him without expression. Pause.Billy tries to sense a sympathy in this ambiguous man, a liking towards himself. But feels nothing yet, except someone who can speak English. BILLY are you with the Consulate? TEX -LRB- not looking at him. -RRB- Something like that. Cigarette? ANOTHER ANGLE - BILLY nervously takes the pack and matches. TEX How much you pay this joker. this cab driver? BILLY Two hundred dollars. It was my last two hundred. TEX How much did you figure to make? BILLY fumbles to light up his cigarette. He is nervous, grateful to volunteer any information. anything. BILLY Three, four thousand. I do n't know. The guy offered me the hash -. -LRB- shakes his head. -RRB-. it just seemed like easy money. TEX Beats working. BILLY I was just going to sell it to friends. I'm not a pusher, honest. TEX grins, sceptical of his naivete, changing the subject. TEX Got a family back there? BILLY -LRB- inhales deeply. -RRB- Yeah. Parents, brother, sister. Babylon, Long Island. TEX What's your father do? BILLY He sells insurance for Metropolitan Life. TEX -LRB- a pause, not looking at Billy. -RRB- Be tough on'em. BILLY nods, takes a deep drag on his cigarette. ANOTHER ANGLE TEX Girlfriend? BILLY She was on the plane. Tex glances at him, questioningly. BILLY She did n't know anything about. I would n't have wanted her to. TEX Lucky girl. Billy leans back in seat, blowing out the cigarette smoke. BILLY Jeez, she used to say I was the lucky one. TEX Let's hope so, Billy. Let's sure hope so. A narrow cobblestone STREET. TEX pulls the car to a halt. THE PUDDING SHOPPE TWILIGHT Internationally - known cafe, adjacent BAZAAR. Crowded, noisy. WOMEN dressed in black hold crying CHILDREN by the hands. FOREIGNERS, mostly students and hippies, move about laughing, joking. Hawkers, street peddlers, vendors cooking shishkebab. small GYPSY BOY leads a huge MUZZLED BEAR on a leash. BILLY sits at a small outdoor TABLE alone sipping tea and eating baclava - nervous, very nervous, still trying to sort it all out in his head. If he does n't find the seller, what will happen next? MOVE across the TABLES, past a middle - aged AMERICAN COUPLE, to TWO TURKISH PLAINCLOTHESMEN watching him closely. They look evident. TWO HIPPIES make a wide berth around them. HIPPIES -LRB- OFF. -RRB- -LRB- in passing, low. -RRB- Hey Janet, why do n't you go sell'em some dope. MOVE ON to another TABLE where TWO MORE PLAINCLOTHESMEN sit, equally evident, watching BILLY. TEX sits in his car, in the distance, casually glancing at a newspaper. BILLY's eyes rove.\",\n \"INTERIOR PUDDING SHOPPE Large. Many tables. Stairs. A back exit. ANOTHER GYPSY BOY leads a huge PINK PIG leashed with a wooden sign around its neck proclaiming `` Pig'' in Turkish. Various TURKS point the pig out, laughing at it, some disgusted by it, making faces and gestures : `` Go way, go way! `` Ayip!'' The PIG moves past BILLY, who shifts his gaze to : POV - CABDRIVER # 1 lingering at the curb. PAN to CABDRIVER # 2 PAN to CABDRIVER # 3. PAN BACK to # 1 and again to # 2 indicating no real fix on identity. BILLY tense now, knowing this is the chance he must take, nods with his head, pointing at CABDRIVER # 2, off. THE PLAINCLOTHESMEN move out towards CABDRIVER # 2. BILLY tentatively rises, as if to join them, but moves slyly towards the interior of the cafe. PLAINCLOTHESMEN move in roughly on a surprised CABDRIVER # 2 who begins to protest LOUDLY -LRB- AD LIB -RRB-. BILLY moves through the INTERIOR of the PUDDING SHOPPE, past the tables, past the stairs, towards the back of the shop, at a normal.to attract attention. A PLAINCLOTHESMAN looks around, sees he is gone. Tells the others -LRB- AD LIB -RRB- They spread out looking, abandoning the CABDRIVER # 2 who spits and curses them -LRB- AD LIB -RRB-. BILLY, with one backward glance, now eases out the BACK DOOR, into a bilious sunlight, onto a STREET. Pause. A HAND with GUN moves into FRAME pointing a six - inch barrel right at his temple. BILLY freezes, moving just his eyes to : TEX looking down at him calm, merciless. TEX You seem like a nice enough kid to me Billy, but try it and I'll blow your fucking brains out. BILLY - the sense of betrayal in his eyes. ESTABLISH PRISON - OVERHEAD ANGLE. A large and Byzantine structure suggesting the 15th Century Sultan's Janissary Barracks. Irregular crescent various wings ; a MOSQUE inside the prison. The possibly a shapes to the sense of an endless a decorative an equally in a city, labyrinth built by some mad Arab architect to suit purpose and now, in the 20th Century, transformed by mad Turkish bureaucracy into a prison. It should be preferably made to look like Istanbul. Faint background atonal Turkish CHANTING. Evening Muslim prayer. `` Allah wakbah, Allah wakbah.'' on and on, suggesting to us fear rather than praise. BILLY VOICE Dear Mom and Dad. This is the hardest letter I've ever had to write. know the confusion and the pain it will cause you. And the disappointment. BILLY - his scalp being shaved off by a prison BARBER in an un - specified ANTI - CHAMBER, His eyes are staring dead ahead. BILLY VOICE -LRB- continuous. -RRB- I really thought knew what I was doing with my life. I'd hoped somehow to get out of this quickly so that you'd never know about it. But that just is n't possible now. I do n't know what's going to happen. But what can I say to you? Will ` I'm sorry' make a difference? Will it ease the pain, the shame you must be feeling? Forgive me. Please. BILLY is now completely BALD, SOUND SHARP OVER : A CELL DOOR SLIDING OPEN. BILLY steps in, bewildered. ZIAT VOICE -LRB- OFF. -RRB- Git! The cell is dark, almost black, an overpowering stench ; a small grey metal bunk is bolted to the floor with a lumpy mattress. BILLY turns, looking back at the man staring at him from the door. ZIAT is quickly summing up Billy's character. This is his craft.He is a prisoner and trustee. sinister man whose one motivation in life is the accumulation of money, in the pursuit of which he has acquired an ugly purplish SCAR running the width of his throat, various other facial SCARS ; and one blind milky white EYE. He's stocky and strong - about five ten, with bushy eyebrows, brown cigarette teeth, big dirty nails, repulsively in need of a bath. What's surprising is that he is no more than thirty years old looks and behaves like sixty. The personification of the denaturalization of a man. Time, body, mind - all of them warped. BILLY, not yet attuned to his nature, only repulsed, is still wearing his own clothes and makes a shivering gesture, enunciating very clearly, hoping he will understand. BILLY Cold. Very cold. Can I get blanket? Blanket? -LRB- makes a gesture of a blanket wrapped around him. -RRB- ZIAT smiles, showing his stained teeth, and starts to slide shut the cell door on its ROLLER. ZIAT -LRB- in English. -RRB- Mo sell. Too late. Tomorrow. A cobra smile flashes, as the cell door bangs shut. ZIAT -LRB- through the bars. -RRB- You be here tomorrow. `` Ayi Gedjaler'' -LRB- `` good night''. -RRB- Goes. BILLY walks around the cell, hugging himself for warmth. VOICE -LRB- OFF. -RRB- Pssst! BILLY stops, goes to the edge of the cell. A BONY BARE ARM motions from the bars of the cell next to his. We never see the face but hear a thick ITALIAN ACCENT, hoarse and cracked. VOICE -LRB- OFF. -RRB- -LRB- Whispering. -RRB- Your cell, no key. Open! Blanket. Three cell down. You get me one. Take. Extends a stick with a big nail pounded into the end, twisted over to form a hook. BILLY takes it. Hesitates. VOICE -LRB- OFF. -RRB- Ziat go for night. Go! BILLY cautiously slides the cell door open, amazed that it's been left open. Nothing makes any sense to him in this labyrinth ANOTHER ANGLE - BILLY steps out into a WALKWAY. A bare bulb overhead casts light. He glides past the three cells, seemingly empty. Finds the cell with blankets, sheets, towels and various supplies stacked inside. But it's locked. He slips the stick in between the bars and stretching, hooks the first blanket. BILLY asleep with the blankets pulled up to his chin. Suddenly DIRTY HANDS reach into frame and rip the blanket off. WIDEN TO : ZIAT -LRB- tugging the sheet, growls. -RRB- Brack! Brack! Then SLAPS at BILLY. BILLY ducks away. Encouraged, ZIAT steps up closer to him, sticks his fingers in his chest screaming. ZIAT You, goddamn you, give me sheet. Give me! And feints as if to hit BILLY again. BILLY reacts to defend himself, pushing ZIAT off and jumping out of the bunk. ZIAT, Enraged by the shove, comes back at BILLY, screaming, arms flailing like a bear to pummel him, but BILLY, not understanding the Turkish bluster in his mannerisms, meets him with a sharp right FIST into the front of his face. ZIAT staggers back, startled into silence ; he has misjudged this kid. BILLY waits, ready for the fight in the defensive position. The guy is bigger than himself. ZIAT, however, now feels the blood from his mouth and nose and freaks out, running out of the cell SCREAMING at the top of his lungs as if he's dying. BILLY is blindfolded, stumbling down stone steps pushed by a GUARD, into a dungeon - like basement room. THE PUNISHMENT CELLS. THE GUARD removes the blindfold. BILLY, adjusting to the light, stares around. The cell is spartan, with a series of pulleys and primitive bondage devices hanging from the cobwebbed ceiling.A DOOR opens and : HAMIDOU STEPS in, lowering his head to get through the door.Chief of the guards. A clean uniform. Four stripes. The only guard to carry a holstered gun. very frightening man. He is about six two, two forty, and muscular, and moves lightly like a fighter on his feet. His skull is bullet - shaped and completely shaven like Billy's, Enhancing this effect, he has no eyebrows, and his pale blue eyes -LRB- suggesting a trace of Indo - European stock in his ancestry -RRB- are set deep in his skull somewhat like turtle eyes, giving nothing away. His nose is a beak of skin his neck broad, his mouth a small crescent that moves as lightly as his feet between anger and amusement. He approaches BILLY, looks into his eyes, drawing out the moment for himself, enjoying the tension and the fear he instils in others. BILLY meets his eyes respectfully, then realizing this is perhaps not the thing do to, looks away. But, fascinated by the man's features beyond his self - control, he looks back. HAMIDOU, amused by eye actions, smiles thinly. The sort of smile that could imply friendship such is its hint of charm. HAMIDOU -LRB- to one of the guards. -RRB- Name? GUARD -LRB- checking a clipboard. -RRB- Vilyum Hi - yes HAMIDOU -LRB- looking at BILLY, repeating it. -RRB- Vilyum Hi - yes. And slowly his hand moves up to caress the edge of his hairless upper lip. An erotic gesture in Turkey. HAMIDOU Vilyum Hi - yes `` Its in my memory locked.'' He slowly extends his right arm stiff out to his side. BILLY watches, fascinated. HAMIDOU lets the arm linger ; then : SMASHES BILLY across the face with an open palm. BILLY shoots back : and smashes against the wall just from the force of one blow. Stunned. HAMIDOU advances, taking a wooden CLUB -LRB- FALUKA STICK -RRB- about feet three long and three inches wide from a GUARD. BILLY scared, emphasizing the words, trying to make himself understood. BILLY It was cold. Cold! I get blanket. Blanket! Cold! THWACK! BILLY'S LEG BUCKLES, where the faluka stick has just smashed him behind the kneecap. He SCREAMS going down. BILLY looks up from the floor : HAMIDOU with his club in hand. HAMIDOU -LRB- In some sort of English, smiles. -RRB- No do. No do. Raises the club. BILLY tries to block it with his hand, and the CLUB smashes his thumb. SCREAM. BILLY is hoisted upside - down in his UNDERPANTS ONLY with thick rope tied about his ankles, the legs spread - onto a PULLEY suspended from the ceiling. He is yanked upwards, then lowered slightly, his head and backs of shoulders banging against the stone floor. THE PULLEY is LOCKED into place. -LRB- LOUD SOUND -RRB- BILLY has this surprised look on his face still, through the tears. What's happening? Hamidou motions the GUARDS out of the room -LRB- AD LIB -RRB-. Turns back to BILLY, raises his club. BRINGS IT DOWN FORCE on the soles of BILLY'S BARE FEET. SCREAM. He cocks the club again. BILLY twists To avoid The blow CLUB catches him On The ANKLEBONE BILLY SCREAMs louder than ever as we hear The SOUND of wood On bone. Whimpering SOUNDS follow. BILLY looking through teary eyes, sure now that he is going to be killed. The CLUB - OFF - smacks sole skin with the same force as the first blow. No let up. BILLY still in the same position, vomits all over himself. HAMIDOU SPINS the PULLEY to a new position bringing : BILLY into a steeper, more vertical position. He is on the verge of fainting, bleary - eyed, looking as : HAMIDOU moves around in between his legs. Doing something indistinct with the stick between his legs, then dropping the stick. Then, with this bizarrely excited expression on his hairless face, he begins to undo his own pants. But, for Billy, it all BLURS OUT TO : JAPANESE SILK SCREEN depicting a fat jovial Buddhist monk, fishing placidly by a stream. Then moves to soap carvings of chess pieces Then a bed - sheet hung as a curtain with astrological symbols paint ; on it. SOUND OFF, of a blaring radio. Atonal TURKISH MUSIC. VOICE -LRB- close, intense. -RRB- Hey man, he's got ta walk, or his feet gon na swell up worse. 2ND VOICE -LRB- softer, sonorous, Swedish accent. -RRB- We take him down to courtyard. Then : ERICH - a gentle long bird's face. Long whitish - blond - hair, Swedish, well above six feet, 25. Another FACE moves into view JIMMY BELL, American, 23 fiery eyes, black hair and moustache, intense, strong. BELL Smoke this rocket, it'll cool the pain. ANOTHER ANGLE - BELL puts a huge cone - shaped JOINT with aluminium foil filter into BILLY'S LIPS. He hardly knows what it is, Puffing weakly. Though dehydrated and his face white without color, he has no facial markings. BELL You got ta walk around some man, or your feet gon na swell up something bad. BILLY looks down at HIS FEET Bloated black and blue with inflamed red points in various spots. A vicious bruise on his anklebone. ERICH is running a cold rag from a basin of water over them, his fingers tender. BELL -LRB- OVER. -RRB- You've been out for days man, talking all kinds of shit. Come on, we'll walk you down to the courtyard. BELL eases BILLY up from the bed, as ERICH puts a pair of clip - clops on his feet. ERICH Okay? BILLY nods. They rise together, bracing his shoulder. BILLY adjusting to the sensation of standing. ERICH How's it feel? BILLY -LRB- dizzy. -RRB- About as good as it looks. BELL Getchmis olsun BILLY Getchmis? BELL Olsun - `` May it pass quickly.'' I'm Bell, Jimmy Bell. This is Erich something Swedish. ERICH -LRB- smiling. -RRB- Just Erich. BILLY I'm Billy Hayes. At least I used to be. Looks around. A DORMITORY TYPE ROOM with 24 bunk beds set head to head in horizontal fashion, cramped and with minimal privacy. A narrow WALKWAY leading towards a TOILET AREA and STAIRCASE. BILLY Looks like a cheap hotel. BELL Yeah. Only the room service is lousy. Come on, let me show you the tennis courts. Helps him with ERICH to take the first steps. THE COURTYARD. The THREE of them emerge in a thin AFTERNOON sun, Billy now disengaging and hobbling on his own power. ERICH -LRB- watching Billy limp. -RRB- Feeling all right? BILLY -LRB- still groggy. -RRB- Yeah. That guy who beat me? -LRB- stops, slightly puzzled. -RRB- I feel stoned. BELL -LRB- grins, interjects. -RRB- ` Figgers. BILLY -LRB- vague, going on. -RRB-. He had a bald skull and. BELL Hamidou. Chief of the Guards. Do n't fuck with him. He almost killed an Italian dude couple months ago. Bad news. He try anything with you? BILLY glances at him, understanding. Pause. BILLY No. I do n't remember. Glances at ERICH. BELL With these fucking Turks, soon as the light goes out. I keep one hand on their feet and their feet better not grow. You'll meet Max. He got raped something bad down in Section 13. That's the pits. THE COURTYARD VARIOUS ANGLES The yard is 30 by 50 paces with a wall 20 feet high. Cigarette butts, orange peels crumpled news - papers, rocks, sticks, broken glass litter the place. No guards are on the walls ; the only GUARDS are unarmed inanimate lumps of boredom who look as helpless as the prisoners with whom they intermingle ; they have raggedy olive green uniforms and worn boots -LRB- they make $ 1 a month, augmented by bribes -RRB-. On one side of the yard is a 2 - story ROGUS -LRB- cellblock -RRB- with barred windows from which Billy and his two companions have just emerged. On the other side of the yard is another 2 - story KOGUS -LRB- the children's kogus -RRB-. The COURTYARD is colorful, almost like a bazaar, about 8O people in it - groups of exotically dressed AFRICANS, AFGHANS, ARABS, MALAYSIANS, EUROPEANS, and predominantly TURKS pacing back and forth talking in little circles, hawking wares, trading illegal currencies. Screaming Turkish STREET URCHINS 10 - 14 years old, share the space playing soccer and volleyball with a surprising viciousness, continually hitting each other and cursing. A bunch of them vehemently lay bets on the soccer game. Other aspects of the prison which should become evident : 1 -RRB- NOISE - continuous, Loud. Radios, Turkish music, screaming, shouting. 2 -RRB- CATS - all kinds, some of them pets, some stray, tolerated because they kill the rats. 3 -RRB- THE PRISONERS all wear their own clothing ; the foreigners preferring jeans, clip - clops, sneakers, Sweat suits. 4 -RRB- THE HEADS of only the new prisoners are shaved, then allowed to grow back. 5 -RRB- MANY PRISONERS have physical disabilities. Carbuncles on the back from wet mattresses. Boils on the lymph glands around the neck, buttocks, under - arms, sometimes SO painful the victim walks with his arms up in the air. Arthritic in the knees, hips, ankles. Fungus on the feet. Many limp. ANOTHER ANGLE - THE PRISONERS glance at BILLY as he walks, noting the beating he has taken and sizing him up, then going on with their business. BILLY The kids? Why are they. BELL -LRB- snorts. -RRB- Little fuckers are thieves, rapists, pickpockets, murderers, you name it - they do it. Do n't trust any of'em. BELL's eyes follow a knot of KIDS to : ZIAT has a window open on the FIRST FLOOR KOGUS and is selling little cups of tea to the kids from inside where he works a GAS STOVE. The kids push and punch each other to get the tea faster. BELL -LRB- OVER. -RRB- They tell Ziat everything. He's the squeal round here. Goes all over the prison. Sells watered - down tea, blankets, hash, black money, nembutols - anything for a buck. ZIAT leaves the stove in the hands of an ASSISTANT and moves down the window to a particularly gaudy AFGHANI a fierce hawk - faced old man with a chunk of his ear missing. He wears a colorful flowing robe, various scarves, turban, trinkets, rings, baggy pants, and pointed curved shoes, and makes emphatic violent gestures at ZIAT with his mutilated THREE FINGERS. ZIAT Seems to speak something of his language and bargains back. BELL -LRB- continuous. -RRB- He was an informer on the outside but he tried to screw the cops out of 60 kilos of opium. Watch him, he's a fox. BILLY says nothing to them about the Ziat incident, sizing him up for himself. THE AFGHANI having concluded the deal with ZIAT reaches deep into his layers of clothing around his crotch and pulls out several scrofulous $ 10 bills which discreetly takes in exchange for a thick wad of Turkish currency, his eyes moving around, stopping on BILLY. A hooded look. BELL -LRB- OVER. -RRB- Whatcha' in for, smuggling? Rash? BILLY turning his eyes away from ZIAT BILLY Yeah. BELL -LRB- shaking his head. -RRB- History, man, history. How much? BILLY Two kilos. BELL Where? BILLY The airport. Trying to get on the plane for the States. BELL -LRB- whistling a kind of punctuation. -RRB- Could be ten or fifteen. Maybe even twenty. BILLY -LRB- tensing. -RRB- Twenty months? BELL Twenty fucking YEARS, man - YEARS! I figger ten at the least. BILLY stunned. BILLY -LRB- soft. -RRB- Years? BELL Yeah, what do you think this is, the good USA? This is Turkey, man. -LRB- laughs bitterly. -RRB-. -RRB- It's a fucking accident here if you're innocent. And anyway. ai n't nobody who's innocent. ANOTHER ANGLE - all the color and breath seems to have gone from BILLY. ERICH -LRB- his English is halting but has a calming effect. -RRB- Do n't pay too much attention, anything is possible in Turkey. You might get bail. BELL snorts, amused, kicking the SOCCER BALL away hard as it dribbles towards them. ERICH If you make bail, you're free. You can get a fake passport or sneak across the border to Greece. The Greeks hate the Turks so much they never send you back. The Turks know it. They just keep the bail. money. BELL Sure, keep dreaming and see where that gets you. like Max, up in the head, you know. -LRB- makes a crazy signal towards the head. -RRB- You gon na eat a lot more fasoulia beans, Billy baby, ` fore you taste a hamburger ` gain cause you broke the law man, and you got caught. -LRB- grins. -RRB- And that. is history. ERICH The law is sometimes wrong. BELL -LRB- eyes feverish. -RRB- The Law is never wrong, asshole. The Law is! And stalks away, disgusted. A deep anger inside him. ERICH looks at BILLY who is quiet ; by way of apology. ERICH New people sometimes get on his nerves. BILLY -LRB- lifeless. -RRB- What did he do? ERIC He was caught steeling from a Mosque. That's heavy here. He got 30 years. BILLY Thirty years? ERICH Jimmy has more balls than brains. He did n't tell his parents he was in jail for a year and a half. He says he got himself in and now he's going to get himself out. He shakes his head, looking at : BELL him across the courtyard huddling with a cigarette, bartering angrily. a raggedy GUARD giving him a cigarette, bartering angrily. BILLY and ERICH. BILLY And you? ERICH Hashish. Ninety percent of the foreigners are in for hashish. They walk. BILLY What they give you? ERICH -LRB- passive. -RRB- Twelve years. Billy stops. BILLY How much did you have? ERICH A hundred grams. BILLY -LRB- appalled. -RRB- It's not fair! Even ERICH has to smile now. ERICH There is no fair in Turkey, Billy. It's all `` sula - bula'' like this, like that. An Italian hippie had a car accident and a Turk was killed. SO, they threw him in here for six months. BILLY That does n't seem so bad. ERICH But he was eating lunch a mile away when the Turk smashed into killed himself. BILLY He was n't even in the car? ERICH -LRB- shakes his head. -RRB- Aslan, there. -LRB- points. -RRB- ASLAN - a young big fat heavily moustached Turk, wearing a black silk double - breasted business suit, grotesque cuff - links, heavily pomaded hair, is huddling in a section of the YARD with FIVE other grinning GANGSTER TYPES, all in suits. ERICH -LRB- OVER. -RRB- Killed a guy. But his father's a big gangster on the docks. A `` Kapidiye.'' He'll stay in. twelve months no more, and get parole. In Turkey, murder is manly - `` erkek''. ERICH Glances back at BILLY ERICH You just got to get yourself a good lawyer. And some money. Talk to Max. He's been in the longest. BILLY How long? ERICH Seven years. MAX - `` Eskilet'' -LRB- skeleton -RRB-. British, tall, straggly long hair with wire spectacles set crookedly over his nose. An earing in one ear. The far away eyes of an international junkie, preoccupied and uninterested in small talk. Tough in his skinny way, like apiece of old dried leather. He occupies with his YOUNG STRIPED CAT a bunk in the far corner of the SECOND FLOOR KOGUS - in the process of shooting himself up with `` Gastro'' a smelly brown liquid stomach medicine. No one is in the vicinity except ANOTHER ANGLE ERICH and BILLY who watches repelled as MAX fumbles with a piece of twine tied around his arm in a tourniquet, searching for an unused spot amid dirty infected track marks. PLUNGES the needle in, pumping in the black gunk. Glances at BILLY. MAX -LRB- smiles. -RRB- Gastro. Stomach medicine. Has codeine in it. Best can do Pulls out the needle, loosens the tourniquet. His eyes take on a far away stare. ERICH Lawyers? MAX Yeah. there's no straight lawyers in Turkey. They're all bent bent as hairpins. Gives a spoon with a taste of the black residue to : HIS CAT who is full of spunk, and tries to catch Max's HAND. He looks at BILLY, not remembering him. ERICH His name? MAX Who? ERICH The lawyer? MAX is beginning to go. He sits on his bunk. MAX What lawyer? ERICH Who got the Frenchman out? MAX Oh Yesil. Yesil's his name but I. do n't know anything. ` bout. Yesil. ANOTHER ANGLE - MAX'S head begins to bob back and forth.Focuses on BILLY. MAX Best way is get your ass out. any. way. you can. BILLY What do you mean? MAX Get the. midnight. express. BILLY What's that? MAX smiles from faraway like a Cheshire cat and his head drops forward onto his knees, nodding off. HAMIDOU, swinging his falaka stick rhythmically against his leg and that calm killer look on his face, leads an uneasy BILLY down a MAIN WALKWAY with a roof overhead ; we gather that the prison contains several separate wings. ADMINISTRATIVE BUILDING - HAMIDOU glances back at BILLY, indicates with his stick `` come here'' and opens an office door. BILLY, still bewildered, his bruised feet almost back to normal, limps in warily eyeing HAMIDOU who follows. NECDIT YESIL, the lawyer, fleshy, grinning, thin black hair heavily greased, sits at a conference table. Standing adjacent is STANLEY DAVIS, the U.S. Consul - eyeglasses, striped tie, neat summer suit with stripes, trimmed hair, ivy league look, his eyes moving from Billy to : OLDER MAN, late 50's white hair, blue - eyed New York Irishman.A suburban insurance agent, rumpled suit, an anxious look on his face. Moving towards BILLY fast : FATHER Billy! FATHER AND SON embrace ; the father's left hand grabbing Billy's arm tightly as if never to let go. BILLY Dad! HAMIDOU looks on, intrigued by the Father and Son ; leaves silently, closing the door. FATHER looks into his son's eyes, his own eyes moistening. He looks tired, pain all over his face. BILLY looks down. BILLY Dad. I'm. ANOTHER ANGLE FATHER -LRB- voice quivering. -RRB-. Do n't worry about it. -LRB- managing a smile. -RRB- I can punch you in the nose later. Right now we've got to get you out of here. You all right? BILLY -LRB- eyes moistening. -RRB- Yeah. How's Mom? FATHER Bad. She could n't make the trip. You know Her boy. -LRB- breaks off. -RRB- Susan told us before we got your letter. She's fine ; she's trying to get the money to come back and see you, but. BILLY No, do n't let her! I'll. How about Peg? Robbie? FATHER Same. None of the neighbors know. We told them you were in a hospital in Europe. Oh. this is Stanley Davis. He's the American Consul here. And Necdit Yesil, the lawyer you wanted. ANOTHER ANGLE DAVIS -LRB- shaking hands. -RRB- Hello, Billy. BILLY Hello. The professional smile from the Consul, but in the handshake and the eye contact, BILLY is cool. The unanswered question : Where were you before my father arrived? DAVIS I want you to know we're going to do everything, in our power to get you out as soon as possible. Believe me. BILLY Thank you. ANOTHER ANGLE YESIL moves forward. unctuous. bubbling with high spirits, profusely shaking BILLY's hand, exuding confidence in fractured English, YESIL Vilyum, I am Necdit Yesil. BILLY Mr. Yesil. YESIL I know exactly what you feel but you must not worry, we are acting immediately, we get the right court, the right judge, I arrange everything - just right. And I think we get you bail. If very bad, maybe twenty month sentence. But I think we get you bail. Pause, BILLY looks at him wondering how to take him in. YESIL -LRB- reassuringly. -RRB- You know I have lectured at the University of Maryland in your country? Also University Michigan Very nice country. We both go back. -LRB- smiles. -RRB- BILLY -LRB- trying to concentrate. -RRB- If I get bail, Mister Yesil, they say it's easy to cross the border into Greece? FATHER -LRB- pacing up, hungry. -RRB- Right! That's what we're shooting for. Mister Davis and have been in contact with the State Department, but right now relations with the Turks are n't too good, Nixon's upset the hell out of them. Our best bet's. right here. BILLY Dad. -LRB- pauses, glances at Davis and Yesil, embarrassed. -RRB- I'll pay you back for all this, I Promise. ANOTHER ANGLE FATHER Do n't worry about it. Right now money does n't count. Okay? A pause. YESIL Shifts, Throats are cleared. BILLY moves to sit down, limping faintly ; he is wearing sneakers and the bruises do n't show. FATHER Where'd you get that limp? BILLY -LRB- not wanting to alarm him. -RRB- Nothing. Just twisted my ankle. Sits down at the conference TABLE. BILLY Where you staying, Dad? FATHER -LRB- pulls up a seat next to Billy. -RRB- The Hilton. BILLY How do you like it? Istanbul? FATHER Well, it's an interesting place. -LRB- lowers his voice, a hint of a smile. -RRB- Tell you the truth, I think the food is lousy. The crap they sell in these little restaurants. I went out to eat in one of them last night, and I had to run to the damn toilet. You shoulda' seen the toilet. BILLY laughs. BILLY You mean you got toilets? FATHER is happy to see his son laugh. FATHER Yeah, with real toilet paper - and you do n't have to use both sides. BILLY laughs again. FATHER So now I'm eating at the Hilton every night. BILLY smiles. A pause. A worried look returns to the Father's face FATHER Why'd you do it, Billy? BILLY For the money. -LRB- Looks away. -RRB-. -RRB- FATHER -LRB- sighs. -RRB- I know you kids smoke that stuff, and we drink booze, but taking it across a border - it was stupid, Billy. Stupid. BILLY I know. Glances at DAVIS, YESIL back to his father, his voice beginning to tremble, ashamed of himself for letting it show. BILLY Dad get me out of here. ANOTHER ANGLE. The FATHER understands the desperation in his voice, puts his hand on his son's. FATHER I promise you, Billy. Just sit tight and do n't. DO N'T do anything stupid. Let me work with Mr. Yesil and Mr. Davis. We'll get you out. Okay? Billy, okay? All the assurance of the world is written in this kindly Irishman's face. BILLY feels it. BILLY being led by TWO GUARDS down a huge arched CORRIDOR in the COURTROOM BUILDING. BILLY Okay. PROSECUTOR VOICE -LRB- OVER. -RRB- THE world is now looking at Turkey. We are called the Heroin Supplier of the world. Stories about us are in newspapers and on television every day all around the world. The time has come, your Honor, to alter this image before we find ourselves isolated and morally ostracized by the rest of the human race. THE COURTROOM - monolithic, frightening, immense with cross - currents of greenish light from the enormous windows. People seem insignificant. THE PROSECUTOR, wearing dark green glasses, continues, scowling, gesturing profusely at : BILLY in the PRISONERS DOCK, baroque design, isolated. Does n't understand a thing, Erich's extra - large blue pin - striped suit makes him look rather absurd. HIS FATHER, CONSUL DAVIS, YESIL and ANOTHER LAWYER are seated together at the defence table conferring in low tones with each other. YESIL looks over at BILLY with a big reassuring grin, nods his head - nothing to worry about. TURKISH GIRL from the Press with a yellow legal pad, makes notes in the Spectator Gallery. Her legs flare out from a short skirt. BILLY pries his eyes away to : PROSECUTOR continuing in front of the THREE JUDGES high on an Alice in Wonderland podium wearing long black robes with scarlet collars. One of the Judges is bald, the other has his eyes closed, could be asleep. The CHIEF JUDGE in the middle has a sagging somewhat kindly face and short grey hair. A YOUNG MAN below the podium, is clacking at an ancient typewriter on a small table. PROSECUTOR VOICE -LRB- OVER. -RRB- -LRB- continuous. -RRB-. We must alter this image by punishing only our own drug smugglers - but by handing out foreigners who infest our culture with their depravity ungodly and behavior. We must start now - by sentencing this American, Vilyum Hi - yes, to the maximum sentence for smuggling, to be held up to the light of the world as an example of Turkish justice and its intention to halt the drug trade once and for all. I ask the Court therefore to sentence Vilyum Hi - yes to Life Imprisonment. He sits, staring malignantly at BILLY. THE JUDGES rise. JUDGE Thank you, Prosecutor. The Court will now recess to consider its verdict. The JUDGES exit. ANOTHER ANGLE, General commotion in the courtroom as people move about. The FATHER and DAVIS and the OTHER LAWYER consult among themselves, the FATHER vigorously nodding his head. YESIL approaches BILLY. BILLY leans forward anxiously in the dock. BILLY What'd the Prosecutor say? YESIL -LRB- hurried. -RRB- It's not important, just technical things. We make our case. You were very good, you spoke well. The Judge like you. It look good. Do n't worry. BILLY -LRB- pressing. -RRB- Did you ask for bail? But YESIL is called over by the other LAWYER and hurries off. A SOLDIER comes over and sits BILLY down. THE CHIEF JUDGE puts on his glasses, stands to read the verdict. YESIL, standing with the OTHERS, motions BILLY to rise. BILLY rises, tense. FATHER looks over at him, manages a reassuring smile. JUDGE continuing, after preliminaries : JUDGE The Defendant has been found guilty by the Court of the illegal possession of Hashish. PROSECUTOR, his expression souring, makes a gesture of defeat. We wanted a conviction for smuggling, not possession. BILLY, not understanding sees the Prosecutor's gesture, and a hint of hope crosses his expression. JUDGE puts the paper away, looks at BILLY directly. JUDGE Therefore. this court sentences you, Vilyum Hi - yes to be imprisoned at Sagamilcar Prison for a term of four years and two months. This Case is now closed. BILLY looking at the JUDGE does n't understand. Thinks he might be free. But suddenly TWO SOLDIERS move in, and start chaining his hands together. He is bewildered, looking at : YESIL hastily conferring with Billy's FATHER, more concerned about making a good impression with him than with Billy. YESILF Four years, two months. It's good. FATHER -LRB- stunned. -RRB- Four years! YESIL -LRB- quickly. -RRB- We appeal it. BILLY watching this, a lost look. FATHER is too shocked to do anything but look at YESIL who continues on : YESIL You will see, he will have maybe one year taken off this sentence for good behaviour. Remember, it is only for possession ; the prosecutor wanted life sentence for smuggling. -LRB- a smile. -RRB- To be honest Mr. Hayes, it is a great victory! BILLY is forcibly removed from the DOCK - in chains. THE FATHER, in the same CONFERENCE ROOM, FATHER -LRB- embarrassed. -RRB-. With good time Billy it works out to about 3 years. then there's the appeal. Yesil, Davis, they're all working for you We're going to try to make a deal to get you transferred to a Stateside prison. And Davis thinks there might be a political amnesty any month. Stops. Knows it sounds bad. BILLY looks down. FATHER Look - I know it sounds tough, Billy, but we're gon na get you out. FATHER grips BILLY by the arm hard. FATHER I promise you, but I do n't want you to get stupid again. Pull anything. They can play with your sentence. BILLY nods, acquiescent. FATTIER -LRB- his voice starting to crack. -RRB- I'm putting $ 500 in the bank for you. Anything you need you write. BILLY nods. His FATHER points to a stack of ITEMS on the conference table, picks up a cigarette carton. FATHER There's food, candy, writing paper, soap, books. -LRB- his eyes start to water. -RRB-. cigarettes, soap, tooth - brush, there's. Jesus! -LRB- cracks, throws down the cigarette carton. -RRB- I been writing insurance policies on people for thirty goddamn years. -LRB- laughs and cries at the same time. -RRB- And now I got ta see my own son. Jesus! Jesus! If I could be where you are Billy, I'd be there. Goddamn Jesus! These bastards. HUGS HIS SON BILLY is on the verge of tears. BILLY DAD! FATHER Oh Jesus! -LRB- sobbing. -RRB- HAMIDOU enters the room. A morbid curiosity in his expression about this show of grief. Watches a few moments, then indicating the visit is over, he taps his falaka stick lightly a few times on the hollow door. THWACK! THWACK! FATHER breaks the embrace with BILLY, tears streaking his cheeks. Silently indicates for him to `` Go, go Fast.'' BILLY goes, past HAMIDOU FATHER shaking his finger at HAMIDOU FATHER You take good care of my boy, you hear, or I'll have your fucking head, you Turkish bastard! It sputters out of his mouth, senseless to : HAMIDOU who closes the door. He has an angry glint in his eye. BILLY lies on his bunk at night deeply depressed, paler. Candlelight flutters softly against the stone walls. A PHOTO of SUSAN taken outdoors with a mountain range in the background, is on his wall with various SOAP CARVINGS of little chess piece she has designed. In the distance, very faintly coming upwards into our sound consciousness we hear a TRAIN WHISTLING in the night, on an old railroad track bypassing the prison walls. Two whistles. Chugging. Then passing off. The Midnight Express. BILLY'S VOICE Dear Susan. 1970 has now passed into 1971. You can drift in here and never know you're gone. You can fade so far out and you do n't know where you are anymore or where anything else is. The CAMERA DRIFTS around the SECOND STORY KOGUS revealing the sleepers : ERICH, BELL, MAX. BILLY'S VOICE -LRB- continuous. -RRB- I find loneliness is a physical pain which hurts all over ; you ca n't isolate it in one part of your body. I so much need your softness, your strength. I have your letters. They charge me, give me courage.News about amnesty and getting out - tangled, complicated. The CAMERA LINGERS on ZIAT in a far corner of the Kogus, top bunk, against a wall. Never secure, he shuffles in his sleep. VOICE I feel myself drifting more heavily into smoking hashish. The haze helps the time pass. Also I do soap carvings. Erich taught me. And I have been learning Turkish because it helps me to deal with the guards and the prisoners. I'm trying hard to maintain some sort of schedule to my life, but sometimes it seems like I'm just trying in order to try. ZIAT is evidently awake he pulls his RADIO over into the bed, and peering around to make sure no one is watching, here moves the screws from the back of it, pulls off the cover and puts in a sheaf of large denomination GERMAN MARKS : inside we briefly glimpse a wad of different - colored CURRENCIES stacked with rubber bands. COURTYARD. Volleyball game in progress. ERICH is tall and plays with dexterous grace. BILLY is fast, agile. BELL is muscular, intense, his hits power - packed. BILLY'S VOICE -LRB- continuous. -RRB-. In the daytimes we sometimes play volleyball against the big Turkish gangsters. THE THREE they play against are hilarious looking in this context, moving like big clumsy bears, waving their arms and screaming at each other, disorganized. Ever conscious of fashion, they have their jackets and vests off but play in their Elvis Presley shirts rolled up at the sleeves, shiny slacks, black pointed pumps. The boys wear shorts and sneakers. On the sidelines we see a group of PRISONERS laying bets and shouting encouragement. BILLY leaps up for a ball close to the net and as the TURKISH OPPONENT backs off, he dinks the ball in just over the net ; the Turk SCREAMS his teammates scream at him. BELL goes up for another ball close to the net and really SMASHES it with all his might, and : BALL bangs right into the eye of a TURK who flails his arms and SCREAMS with pain, very theatrical. THE SAME TURK now swaggers around the COURTYARD, wearing sunglasses so no one will see his black eye. BILLY'S VOICE To the Turks all foreigners are `` ayip'' - unclean, dirty. We do n't shave our under - arms or around our crotch. BELL across the pointyard grins at him and points him out to BILLY, and ERICH. BILLY VOICE -LRB- continuous. -RRB- Even the yoga I sometimes do is `` ayip'' - too suggestive. THE TURK scowls back at BELL, huddles menacingly with another TURK. BILLY'S VOICE -LRB- continuous. -RRB- And you're never supposed to eat with your left hand. You know why? Because that's what they use to wipe their asses with instead of toilet paper. And yet they hate pigs. There are no pigs in Turkey. They're considered dirty. BELL, smirking at the Turk, turns and walks away. BILLY VOICE -LRB- continuous. -RRB- So is homosexuality. That's a big crime here but most of them do it every chance they get. There are about a thousand things that are `` ayip''. But they're really so hypocritical, like children breaking the rules. For instance. Suddenly a CRY OFF and : THE TURK runs up, pulling a sharp SHIV from his pants, and using the cloth as a handle he repeatedly STABS BELL in the ass and backs of his thighs. One, two, three, four, five QUICK STABS, like a cook hammering veal. In spite of its violence, the action seems like slapstick. BELL tumbles to the ground, crying out. THE TURK stashes the shiv and disappears among his FRIENDS, his honor restored. BILLY and ERICH run over to help BELL who is obviously more in pain than in danger. BILLY VOICE -LRB- continuous. -RRB-. You can stab or shoot some body the but not above the waist because that's intent to kill. So everybody runs around stabbing everyone else in the ass. That's what they call ` Turkish revenge'. There's also a lot of `` Baksheesh'' that's a favorite Turkish word for bribery. LONG SHOT - HAMIDOU and ASLAN the young fat Turkish gangster pointed out previously by Erich, are taking tea together in the FIRST STORY KOGUS alone except for ZIATR and Hamidou's two FAT SONS, 7 and 8 years old, both dressed in little suits listening politely as Hamidou gestures to them, in couched terms. The voices are distant and, after a few beats, UNDER BILLY'S VOICE : HAMIDOU Unfortunately my youngest son Arief is having problems with his teeth ; he needs braces, but dentists are so expensive these days ASLAN -LRB- patting Arief on the head. -RRB- Poor kid. You know I have a friend, a very good friend ; he's a dentist ; maybe he could get you some braces at a. reasonable price. HAMIDOU -LRB- protesting with his hands, shaking his head. -RRB-. -RRB- Oh, no. it's out of the question. would n't want to ask your friend. ASLAN Yes. Please! As a favour. I insist They go on, each protesting. BILLY VOICE -LRB- continuous. -RRB- Hamidou hints that he needs new braces for one of his sons. Aslan of course has a friend who's a dentist. They bullshit for half an hour and Hamidou finally accepts the `` Baksheesh'' in return. A BURLAP BAG comes flying over the WALL of the COURTYARD late at NIGHT. Then another comes over, lands in the yard. one is around. BILLY VOICE -LRB- continuous. -RRB- Dope and all kinds of shipments get delivered to Aslan, who re - sells it through his runners. People like Ziat. But one night, it backfired. A THIRD BAG comes over, gets caught on a hooknail and rips right open. HUNDREDS of yellow PILLS spill out. COURTYARD. The SUN is just coming up in the East. PRAYER can be heard in the distance. Thousands of bombers are scattered all over the courtyard. BILLY VOICE -LRB- continuous. -RRB- There were thousands of yellow nembutols. Aslan as usual had the privilege of going into the courtyard before anybody else to pick up his stuff but. ASLAN arguing vehemently with a GUARD, in his ragged uniform, who wo n't open the cell of the FIRST FLOOR KOGUS into the courtyard. BILLY'S VOICE -LRB- continuous. -RRB-. it happened to be a new guard that day and he did n't understand the system. GUARD No. It's too early. ASLAN Open the fucking Gate, you asshole! Do you know who I am? You want to get in trouble! GUARD -LRB- angry. -RRB- Hey, I your mother! Get back to your bunk. ASLAN, red in the face, steps back, suddenly pulling out a little REVOLVER. He promptly shoots the GUARD in both legs and stalks back towards his bunk. PRISONERS rushing out into the COURTYARD, scrambling for the windfall of free nembutols. THE PRISON DIRECTOR, A balding unimpressive looking man in a western suit, is calling up the circular stone STAIRS to the second story Kogus from the first story. With him are several GUARDS, equally reluctant to move forward. Hamidou is absent. PRISON DIRECTOR Aslan. be reasonable. Come down and talk. ASLAN -LRB- OFF. -RRB- -LRB- from second story. -RRB- You come up here and talk! PRISON DIRECTOR -LRB- not moving. -RRB- Aslan. if you give up the gun, you can keep the bullets BILLY'S VOICE -LRB- continuous. -RRB- A week later Aslan had a new gun. A PHOTOGRAPHER, seedy looking, readies a big old fashioned box of a CAMERA. He snaps the shutter on : BILLY'S VOICE I know all this must sound crazy to you, but this place is crazy. ASLAN and a group of FELLOW GANGSTERS, all impeccably dressed and grinning for camera, fresh from their victory. BILLY, ERICH, MAX, form their own group ; in contrast to the Turks, none of them are smiling, MAX has his YOUNG CAT in hand. The PHOTOGRAPHER is lining up his shot, posing them like actors. BILLY -LRB- continuous. -RRB- Everything is `` sula - bula'' which means `` like this, like that'' - you never know what will happen. One day one of the new kids was raped in the children's kogus, so they picked out six of the worst kids. COURTYARD. GUARDS pull out SIX KIDS by the ears from a line - up. CLOSE KID being pinned onto his back on the floor in CHILDREN'S KOGUS : then he is bent over double by a wooden bench ; and TWO GUARDS sit on each end of the bench, holding him down. A silence, HAMIDOU appears in a hat and mohair suit with narrow lapels, accompanied by his two little fat SONS, also in their Sunday best. With a ceremonious solemnity, HAMIDOU takes off his jacket, hat, vest, hands them to his sons. BILLY watches through the WINDOW with OTHER PRISONERS. HAMIDOU is passed a falaka stick. He raises it high in the air and begins to whack at the buttocks, legs, and feet of the SCREAMING KID. ANOTHER ANGLE - On this cue, the five GUARDS on the other benches begin whacking away ; the KIDS squirm, scream, struggle but the GUARDS sitting on the of the benches brace their legs farther apart to keep their balance, In immediate background, the other KIDS watch, scared. THE TWO SONS with wide - eyed but passive expressions, stare at their father at work. HAMIDOU beating his VICTIM, screams out : HAMIDOU PIS! PIS''. -LRB- `` Obscene, filthy''. -RRB- Then stops. HAMIDOU is handed back his vest, jacket and hat by his SONS : Puts them on ever so neatly and leads them off as if on a Sunday stroll leaving the CRYING behind. On their backs, we hear, placidly : HAMIDOU You see Mamur, Mamet - what happens when you're not a good boy. BILLY VOICE -LRB- continuos. -RRB- Then there's Ziat. The more I know of him. TEN DOLLAR BILL exchanging HANDS. The dirty nails of ZIAT clutch the bill, waving it to the candlelight to see if it is authentic his milky white EYE across the BILL. He is next to his bunk at night. BILLY VOICE the more hate him. MAX and BILLY are next to him, MAX eagerly gouging with his knife into a small bar of SOAP : PULLS out a ball of HASHISH inside, neatly concealed. Brings it up to his NOSE, sniffing. ANOTHER ANGLE - BILLY is watching with glazed eyes - stoned. Approving of the $ 10, tucks it into his belly cloth looking over and scowling at : MAX'S YOUNG CAT on his bunk scratching playfully at one of his wool sweaters. ANOTHER ANGLE MAX holding the ball of hash : MAX Ten dollars for this shit? You greedy one - eyed git. ZIAT NO! Is good! -LRB- gets his English wrong. -RRB- Me good shit. -LRB- Meaning my shit is good. -RRB- MAX No! You big shit! ZIAT thinking MAX is correcting his English, nods and repeats : ZIAT Yeah! Efe big shit. BILLY and MAX snigger and ZIAT realizes they are making fun of him. He hates that and suddenly reaches over and : ZIAT JAAAASH! SHAKES THE CAT hard off his bunk. A SQUEAL from the cat. MAX surprised, glares at Ziat. MAX You asshole! Then hurries after it, calling its name. MAX Hikmet come here boy. Hikmet ZIAT shrugs. So what? BILLY -LRB- irritated. -RRB- What is it with you man, what the hell is it? ZIAT Cat, ah! Ayip! BILLY You're ayip! ZIAT -LRB- glares at him, then lets it go. -RRB- Look, you do n't fuck with me, I do n't fuck with you, right? BILLY But you fuck with me. You fuck with me all the time. You make crummy tea. You rip us off on the hash. ZIAT -LRB- amused. -RRB- I make special tea for you, Hiyes, okay? We've to live like brothers. We have to be in here together. BILLY -LRB- tired of it. -RRB- Oh shove it, Ziat for all the money you have, you have nothing! ZIAT grins, shrugs, squats and fiddles with his keys and footlocker. ZIAT You ` Merican. You do n't know. BILLY watches, repulsed and fascinated. BILLY Know what? ZIAT Was. -LRB- makes gesture with his fingers. -RRB-. seven years old. I was on street in Suk. Buy. Sell. No family to take care. I learn. BILLY Learn what? ZIAT shrugs. He thinks BILLY is an idiot. ZIAT Dog eat dog, Hi - yes. You fuck other man before he fuck you. -LRB- grins. -RRB- And you must fuck last. BILLY That's a great philosophy. ZIAT -LRB- shakes his head. -RRB- You ` Merican. You do n't know. MAX has followed his cat down to the end of the floor but it has run up into a rafter which he can not reach. He calls up. MAX Here Hikmet! Come down here boy! Hikmet. RAFTER Nothing. Max gives up. MAX Sodding cat! He shuffles off back to his bunk. THE CAT is back on ZIAT'S BUNK - NIGHT scratching with his paw around the radio. of the neck, hard. Suddenly he is GRABBED by the scruff of the neck, hard. BILLY jerks up from his bunk as he the hears a loud, piercing SCREECH, OFF, echoing through the Kogus. Then silence. ZIAT, industrious as always, is preparing his tea on the three burners of the small bottled gas' stove in THE KITCHEN, FIRST FLOOR Kogus ; needless to say the area is filthy with scraps all over the floor, cats and two large wooden eating tables occupied by some PRISONERS. The Kitchen opens up in background into a WASHING ROOM with SINK. It is EARLY MORNING - Muslim CHANTING OFF, THREE TURKISH PRISONERS walk in, talking -LRB- AD LIB -RRB-, followed by MAX stoned, who shuffles over to the table, about to sit, sees something. HIS CAT, dead stabbed, and lying there neglected in the corner, just another scrap ready to be swept out. ZIAT calmly pours the tea for the table, paying MAX no attention, an excellent actor. Prominently seated, however, is a GUARD. MAX quietly glares at ZIAT and the Guard but says nothing ; he has been in prison long enough to know how to hold it in. ANOTHER ANGLE MAX - silently walks over and gently picks up the corpse in his arms, starts to walk out. BILLY listening impassively to : YESIL the lawyer. They are in a booth in the VISITING CAMBER. Bars separate prisoner and visitor. YESIL -LRB- smiling. -RRB- The new American Ambassador here is following your case very closely. He says there is progress. But there is another route that is quite possible. -LRB- lowers his voice and leans close. -RRB-. For the proper amount of money it is possible I can convince certain officials to lose track of your papers before the High Court in Ankara confirms the sentence of the Lower Court in Istanbul. You would not exist ; and you could be in Greece by the time the Turkish courts discovered a stupid clerical mistake. But I have to act before the official sentence is handed down, and for that I must pay certain officials in advance. BILLY closes his eyes as YESIL'S VOICE drones on, explaining the details, the cast, the simplicity Of it, FADING OUT BILLY walking the COURTYARD counting his paces 48, 49, 50 Turns, goes back. SUSAN'S VOICE My dearest Billy. I know it is long and it is hard for you, but your family and I are thinking about you all the time. I am trying hard to make enough money nights to come and see you. Your father says that lawyer Yesil wants another $ 2000. I know you distrust him more and more, but your father wants to do everything he can, and he is borrowing all he can on the mortgage of the house. Money seems to be the only way out of there. Except of course the other way. BILLY, MAX and BELL -LRB- bandaged around the ass from the stabbing -RRB- are huddled around BELL's BUNK late NIGHT candle burning, a sheet sealing off some of the kogus. Bell furtively looks around, pulling out and elaborately unfolding a set of DRAWINGS from a pack of letters. SUSAN'S VOICE -LRB- continuous. -RRB-. But I can not say I am for it. Nor are your parents. They consulted the priest, and he said to send you money for that reason would be like sealing your death. BELL -LRB- excited. -RRB- The blueprints! MAX To what? BELL The prison, man. There was this German cat an architect in the hospital. He was helping the Turks build some shit round the place. I laid some bread on him and he let me copy them. BILLY, puzzled, turns the drawings upside - down, sideways. THE DRAWINGS are a lunatic mess of scrambled lines, dots, crosses. ANOTHER ANGLE MAX and BILLY, trying to follow the map, look at each other dubiously. MAX Too bad you did n't have a machine. BELL -LRB- intent. -RRB- There's two ways out I figger - over the roof, but that's only one person, maybe two. The other way is Under. BILLY Tunnel? BELL -LRB- grins. -RRB- It's already built! There's a basement substructure where they used to keep weapons and stuff, but beneath that there's these old catacombs that the Christians built ` bout a thousand fucking years ago to bury their dead. We're sitting right on top of it - here. INSERT DRAWING, illustrating roughly the structure of the prison. His FINGER tracing, bubbling with nervous enthusiasm. BELL -LRB- OVER. -RRB- The Kraut said there's a whole bunch of hollow sealed shafts sort of like dumbwaiters running along this wall ; one of them is right in there, right next to our shower. We get in there, he says, we can get down into the catacombs. With three of us working. -LRB- stops. -RRB- MAX is standing, tapping on the wall, listening, a funny look on is face. MAX Got ta be here someplace. Thought I heard a couple of dead Christians singing down there. ANOTHER ANGLE BELL -LRB- irritated. -RRB- Stop shitting me, man! BILLY -LRB- trying to be serious. -RRB- But how would you get into the shaft, Jimmy? MAX I suppose you knock three times and ask for St. Peter. BELL -LRB- turning on Max. -RRB- Hey! I'm getting this together man and I do n't need no fucking Gastro - head along on this trip! -LRB- a fierce look at Max then back to Billy. -RRB- We go through the wall. BILLY -LRB- a resigned look on his face. -RRB- We go through the wall? MAX -LRB- quite sure Bell is out of his skull. -RRB- We go through the wall. BELL between BILLY and MAX walking in the COURTYARD continuing intently : BELL The Kraut was right! I checked it out - there's no reinforced steel in those bath walls. They're real soft from underground seepage - BELL reaches the wall, turns around and continues Lowers his voice occasionally as other PRISONERS intersect them. BELL -LRB- gesturing profusely. -RRB- - the water like'' ` weeps'' through the cement, see. Twenty, thirty years, you can almost push it over. All we do is use Gastrohead's screwdriver here and scrape the mortar out. Pull out 2, 3 stones, squeeze through, put'em back, and get our ass down the shaft, It's a two night operation, maybe three. MAX And what do you do when you in the catacombs? BELL The catacoombs? Whaddya want, a door? There's miles of em like a sewer system but they got to come up someplace in Istanbul. Max is fed up with it now, no longer joking. MAX You got ta be fucking crazy! You got stabbed in the ass once too much, sweetheart, cause you're gon na end up in Section 13, that's what - not the ` catacombs. BILLY Section 13? MAX -LRB- looking at Bell. -RRB- Yeah, for the criminally insane. -LRB- looks at Billy. -RRB- I was there once for two weeks and it ai n't an illusion. It's awful. Namidou runs it like a death camp, that's where he spends most of his time. BILLY Where is it? MAX I don' t know. It's someplace down in there. -LRB- points at the ground. -RRB-. deep. A big door. a wheel. His eyes go back in time, haunted, vague breaks off. ANOTHER ANGLE BELL -LRB- low - keyed. -RRB- Hey, you know what's gon na get us out of here? It's not a map, Max. It's our balls. You know what I mean. -LRB- straight at Max, Billy, very sincere, his eyes almost watering. -RRB-. I got ta get laid man, I do n't know ` bout you guys, but if I do n't get it on soon, I'm. I'm not gon na make it. MAX -LRB- under his breath. -RRB- Shit. BELL Billy? BILLY The roof sounds better to me than digging through a wall. Ziat's round there all the time. But the roof. -LRB- looks up. -RRB- P.O.V. - THE ROOF, its edges visible over the courtyard. BILLY shakes his head. BILLY The bullet percentage is awful high. A pause. BILLY looks away from BELL'S stare. BILLY If I get caught, Jimmy, I'm facing another months. I'd be back up to 3 years, maybe more. Looks down. BELL understands, deeply disappointed. BELL Well fuck it! Choose your own death, babe, I'm taking the roof out of here! Bell leaves : A LONG DUNGEON CORRIDOR at the end of it, the frame of a small ; DOOR, cracks of light at its edges. TRACK IN - F.X. of a siren, capture and now BEATING - heavy beating from behind that door. CLOSER we reach it. The door FLIES OPEN and HAMIDOU is glimpsed lighting a cigarette. Like a surreal dream, his hand holding the match has a thick LEATHER THONG bound around its knuckles and blood speckled on his fingers. A BLUR of foreground movement a GUARD coming out the door - dragging : BELL by the hair across the floor. His face contorting in agony. BILLY'S VOICE Dear Susan. Poor Jimmy was caught and beaten so badly he got a severe hernia and lost a testicle. He's been in the hospital for months having operations. CLOSE BILLY'S TOOTH BEING PULLED BILLY VOICE -LRB- continuous. -RRB-. In comparison my problems seem very small. But two and a half years have now gone by, and in their own fashion, the Turks are slowly draining my life away. WIDEN to a STONE CHAMBER and a crazy looking DENTIST in a filthy long white smock, puffing on a cigarette holder, his ashes falling over Billy as he works his mouth. A motorized drill is plugged into the wall, adjacent a filthy spittoon covered with blood ; dried blood is spattered liberally around the chamber. BILLY spits out the blood and looks in the mirror. BILLY'S VOICE I have problems with my stomach and my leg muscles feel very weak. My gums seem to be shrinking and they sometimes bleed when I massage them. They've pulled five of my teeth. Suddenly he starts SHOUTING angrily in TURKISH. The DENTIST screams back at him. AD LIB. THE DENTIST still screaming, leans BILLY back in the chair and looks in his mouth. BILLY'S VOICE -LRB- continuous. -RRB-. sometimes they null the wrong one. BILLY is washing himself in his undershorts at the SINK with ERICH ; the hot water is on full blast and billows of vapor fill the small stone room, like a sauna. He pours a pitcher full of hot water over his head ; his eyes lingering on : THE STONES of the wall with their cracked moldings ; some areas are noticeably darker than others - Bell's `` wet spots'', the alternate escape route. BILLY VOICE -LRB- continuos. -RRB-. even my dreams do n't seem to work any more. Because the outside does n't seem real any more. It's not even a fantasy. because there is no fantasy. ERICH uses a coarse washing sponge on BILLY's back. BILLY'S VOICE -LRB- continuous. -RRB- Even masturbation has become boring. It teaches you, like the rest of prison life, to seal up your emotions, and this is the greatest danger, this is what makes so many of the men change into something monstrous. EYES of the ARABS peer through the musky vapors at Billy and Erich ; they loll about the door curious, lecherous for their bodies. ERICH massaging BILLY on his bunk in the SECOND STORY KOGUS. BILLY VOICE -LRB- continuous. -RRB- It is Erich who has taught me how it is to be conscious, to channel and direct my energy. He has convinced me to stop smoking hashish, he is the calmest man I have ever known. If you do n't control your energy in here if can blow you apart like with Bell. And you ca n't waste it either. You have to weigh up every one of your actions - for and against. Too little sex, too much sex either will throw you off balance. ERICH leans forward and kisses a tentative BILLY on the lips. A gentle kiss. They are standing inside the TOILET STALL ; lower themselves down onto the seat. ERICH looks back over his shoulder, guarding their privacy. It is late NIGHT. BILLY VOICE -LRB- continuously. -RRB-. he has taught me about feelings, and the need to express them. And he has taught me about love. BILLY closes his eyes, softly - and with hesitation - returns ERICH's caress. Their hands probe each other's bodies. BILLY VOICE -LRB- continuous. -RRB-. and what love really is, beyond its physical forms. I think up to now I have only considered my own self, never really another. ERICH and BILLY do yoga positions together EARLY MORNING fully clothed, in the FIRST FLOOR KOGUS empty space. ERICH lies on his belly, his back stiffly arched, feet raised. BILLY stands silent, balanced lightly on his feet, his palms pressed together beneath his chin, centering, eyes closed. BILLY VOICE and now strange as it seems, Susan, without having seen you in so long I feel myself more inside of you than ever before. I feel your female mind. I sense you, touch you ;. know you ; and find myself falling more and more. in love with you. BILLY rises gracefully onto his toes, stretching his arms out above his head. It is the beginning posture, his body greeting the day. BILLY and ERICH sit silently now in lotus position, facing each other, breathing slowly, relaxing minds still, looking into each other's eyes. Billy closes eyes. BILLY -LRB- chant - like, gathering momentum. -RRB- A prison a monastery a cloister a cave, Prison monastery cloister cave, Prison monastery cloister cave, Prison monastery cloister cave, Prison monastery cloister. SOUND OFF, interrupting the clomp of FOOTSTEPS on the STAIRS. ZIAT comes down, staring at the two of them as he goes into the KITCHEN to prepare early morning tea. BILLY's expression changes. BILLY Prison. Rises from his position. THE SUN flowering up over ISTANBUL. BILLY rises from his BUNK to the chanting drone of `` Allah Wakbah'' OFF, and moving to the closest wall, takes out an old wet rag. BILLY'S VOICE Dear Susan. Erich has been transferred to a prison back in Sweden. He has profoundly affected my life and though I am lonely without him I am calmer than ever. BILLY erases out a scraped numeral -LRB- 54 -RRB- on the wall and with a chalky piece of rock, inscribes in bold strokes the numberal : 53 BILLY'S VOICE -LRB- continuous. -RRB- Though I only have 53 days left, I feel I have never been so well adjusted to prison and to living as now. BELL -LRB- OFF. -RRB- Allah fuck Off! JIMMY BELL wakes, hearing the perpetual `` Allah Wakbah'' CHANT. BELL Asina Covaciml. -LRB- I stick it in his mouth. -RRB- He is noticeably pale and weaker than before. BILLY'S VOICE -LRB- continuous. -RRB-. Poor Jimmy. BILLY cuts hair in the FIRST FLOOR there with a disturbed tight look on his face, work with a pocket mirror. BELL sits inspecting the BILLY VOICE -LRB- continuous. -RRB-. Though his health is bad he still wo n't give up. GUARD approaching with a slip in hand. BILLY'S VOICE -LRB- continuous. -RRB-. He still talks of escape. THE GUARD hands the slip to BILLY who is pleasantly surprised. A visitor. BILLY, walking down and turning a CORRIDOR into : in the PRISON, following a GUARD and turning into : THE VISITING ROOM where the little booths with BARS separate prisoner and visitor. Behind the grill is the Consul, STANLEY DAVIS. His face is grim and grey. BILLY senses it immediately. BILLY What's wrong? DAVIS Sit down a moment, Billy. I'm afraid I have some bad news for you. BILLY sits, tense. BILLY Something happen to Dad? Mom? DAVIS swallows hard, not to say it DAVIS No. It looks like your going to have a new court. BILLY What do you mean? DAVIS The Prosecutor objected to your sentence for possession ; he wanted a smuggling conviction and the High Court in Ankara reviewed it. ANOTHER ANGLE BILLY And? DAVIS We've been notified that they rejected the sentence. Billy's face drains of all expression. DAVIS -LRB- continuing. -RRB- There were 35 judges on the High Court. Twenty eight of them voted for a life sentence. BILLY'S EYES. Numb, dazed, surreal. DAVIS -LRB- OFF. -RRB- The Lower Court in Istanbul will have to go along with the decision. The Judge likes you and he'll do the only thing he can do under the law. He'll reduce the sentence to thirty years. We're notified. Billy. Suddenly he is GRABBED by his ivy - league striped tie and his face is yanked up to the bars, his glasses falling off. BILLY is berserk, his face right up against the bars, GRIPPING Davis tight. BILLY What do you mean LIFE FOR FOR WHAT! FOR WHAT! DAVIS -LRB- choking. -RRB- Billy! Please! Commotion OFF as GUARDS run in, HAMIDOU in the lead. BILLY FOR WHAT! FOR WHAT! The GUARDS try to pry loose BILLY'S strangling grip ON DAVIS' tie. BILLY I HAVE FIFTY THREE DAYS LEFT! HAMIDOU takes out a KNIFE and cuts the consul's tie in half. DAVIS falls backwards. BILLY is hauled now. back, still gripping half the tie. He is trembling now. BILLY I HAVE FIFTY THREE DAYS LEFT! DAVIS is shaken. He has red bar marks across his face and is absent - mindedly trying to adjust half a tie as he looks at : BILLY being hauled out by HAMIDOU, SCREAMING something indistinct. COURTROOM. Same as before. BILLY, in the prisoner's dock, addresses the Court ; as he speaks, a Turkish TRANSLATOR. drones underneath his voice level : BILLY What is the crime? And what is the punishment? The answer seems to vary from place to place, and from time to time. What's legal today is suddenly illegal tomorrow cause some society says it's so ; and what's illegal yesterday all of a sudden gets legal today because everybody's doing it and you ca n't throw everybody in jail. Well I'm not saying this is right or wrong. It's just the way things are. YESIL the lawyer ; DAVIS the consul. THE PRESS GIRL from the previous trial in the short skirt. BILLY BILLY -LRB- continuous. -RRB- But I spent the last three and a half years of my life in your prison and I think I paid for my error and if it's your decision today to sentence me to more years, I. I. -LRB- a break. -RRB- You know my lawyers told me ` be cool Billy do n't get upset, do n't get angry, if you're good I can maybe get a pardon, an amnesty, an appeal, this that and the other thing.' Well that's been going down now for 35 years. YESIL looks over, surprised he is talking like this. Looks at DAVIS. BILLY. BILLY -LRB- continuous. -RRB- And I've been playing it cool and I've been good and now I'm damn tired of being good cause you people gave me the belief that I had 53 days left. You hung 53 days in front of my eyes and then you took those 53 days away, and Mister Prosecutor! I just wish you could. PROSECUTOR looks over, through his dark green glasses. BILLY -LRB- OVER. -RRB- stand right here where I'm standing and feel what that. feels like, cause then you'd know something you do n't know you'd know what means, Mister Prosecutor and you'd know the concept of a society is based on the quality of its mercy means, of its sense of fair play, its sense of justice. but. -LRB- shrugs and scoffs at himself. -RRB- I guess that's just like asking a bear to shit in a toilet. TRANSLATOR stops, looks puzzled. BILLY BILLY -LRB- same self - mocking tone. -RRB- For a nation of pigs, it's funny you do n't eat them. Fuck it, give me the sentence. Jesus forgave the bastards, but I ca n't. I hate you. Nation. I hate your I hate your people. And I fuck your sons and daughters! Sits down, disgusted ; under his breath : BILLY cause you're all pigs. SILENCE in the uncomfortably. courtroom. PEOPLE looking at each other DAVIS looks down. YESIL flips some pages abstractedly. TRANSLATOR Would Your honor like me to translate? THE OLD CHIEF JUDGE, the same one as before Shakes his head. JUDGE That wo n't be necessary ANOTHER ANGLE - THE JUDGE turns to BILLY in the foreground rises, and unexpectedly crosses his wrists out in front of him. JUDGE -LRB- emotionally. -RRB- My hands are tied by Ankara! Makes the gesture of the hands forcefully, with anger. TRANSLATOR -LRB- OFF. -RRB- My hands are tied by Ankara! BILLY WATCHING, JUDGE -LRB- OFF. -RRB- I must sentence you, Vilyum Hiyes. JUDGE JUDGE to be imprisoned at Sagamilcar for a term no less than thirty years. Getchmis olsun TRANSLATOR -LRB- OFF. -RRB- `` I must sentence you, Vilyum Hiyes, to be imprisoned at Sagamilcar for a term no less than years. `` Getchmis Olsun'' As he translates, the JUDGE unable to control his emotion exits rapidly, not looking at Billy, followed by the TWO OTHER JUDGES. TRANSLATOR -LRB- OFF. -RRB- `` May it pass quickly.'' THREE OLD GLEANING WOMEN swathed in black like three fates turn from their sweeping as BILLY is led out COURTROOM NUMBER SIX down a long stone corridor. Dust floats through long slanting shafts of yellowish light, like a striped leotard dream. BILLY walks, his eyes straight ahead - determined. SONG OVER -LRB- BELL. -RRB- -LRB- old Southern blues beat, improvised. -RRB- `` Mmmmm. got the blues babe, Got those old Istanbul blues, Said Yeah, I got the blues babe Got those old Istanbul blues. Thirty years in Turkey, babe, Ai n't got nothing left to lose.'' BELL sings it, strumming sloppily but with feeling on his guitar. BILLY lies, his back up, on his BUNK nearby. MAX, stoned, sits at the base of the bunk. It is NIGHT. The song falters, but MAX now joins in, improvising : SONG OVER -LRB- MAX AND BELL. -RRB- `` Busted at the border Two keys in my shoes Said I was busted at the border with two keys in my shoes An they gave me thirty years, babe To learn the old Istanbul blues.'' SEVERAL TURKS are partying it up down at the other end of the SECOND FLOOR KOGUS, playing a `` sas'' - Turkish type guitar, counterpointed by a little drum ; the music is stridently Turkish, and one of the men does a belly - dance in underpants with two lemons masquerading as breasts under his shirt. The LOUD TWANGING of Bell's GUITAR can be heard OFF, interrupting them. They are annoyed. BELL leading MAX into the next stanza : SONG OVER -LRB- MAX AND BELL. -RRB- `` I said Lord now save me Please save me from this pain'' BILLY, touched - listening, thinking. SONG OVER -LRB- OVER. -RRB- `` I said Lord come and save me, Come save me from this pain Come set me free sweet Jesus.'' TURK -LRB- OFF. -RRB- Hey knock off that shit music. TWO TURKS from the party walk up, waving at BELL's guitar, annoyed. TURK We're playing the sas. BELL -LRB- understanding their Turkish. -RRB- Omina koyden your sas! -LRB- Put your sas in your cunt! -RRB- THE TWO TURKS tense, the mood changing. BELL gets even angrier, puts the guitar aside, ready to spring. BELL And besides that I fuck Allah and I fuck your Muslim mother too. They do n't understand but one of them is reaching into his pants for his shiv. BELL You got that, shit face? Asina. BILLY -LRB- OFF. -RRB- KNOCK IT OFF! ANOTHER ANGLE BILLY is moving fast between the TWO TURKS and BELL. A new authority in his voice, and controlled anger in his face. BILLY -LRB- to Bell. -RRB- Cut it! No more fights. BELL looks. BILLY We're getting out of here. BELL astonished. BILLY, with Max's little screwdriver and a metal spoon, digs hard at the cracks around a dark stone in the SINK ROOM, FIRST FLOOR KOGUS. With him is MAX working on the same stone. They are sweating, shirtless, looking back over their shoulders at : BELL guarding the STAIRS. BILLY works the stucco out, jiggling with the stone -LRB- about a nine inch circumference -RRB- using his fingers and screwdriver. Painful work. BILLY'S VOICE Dear Susan. It's taken me a long time to find out that it's got to stop somewhere. I've learned painfully not to trust the Turks, the courts, the lawyers, the Consul, the United States Government, and not even my loving parents. There is only one way out of here. The Midnight Express. BILLY kicks with his sneakers at the stone, as silently as possible. A LOUD NOISE - crumbling dust, stucco. BELL at the stairs freezes, fearful. Then SILENCE. He Runs over. MAX, BELL, BILLY. MAX -LRB- in a whisper. -RRB- We're undermining the other stones! BELL studies it, pointing to the stone above left the one that has been loosened. BELL We got ta take a chance and do that one next -. -LRB- pointing. -RRB- Then pull out this one -. -LRB- pointing to the one directly left of the loosened stone, excited. -RRB- Just jiggle it, scratch it out, loose nit up, it's soft real soft! BILLY has his head pressed close to the loosened stone. Suddenly : BILLY It's there! BELL What? BILLY Listen! ANOTHER ANGLE - all THREE press their ears to the stone. A silence. The faintest whisper of WIND and dripping ` WATER - indicating a shaft of some nature. BELL looks back at BILLY. BELL I told you, I told you you cock - suckers! You did n't believe me. BILLY smiles. MAX reaches over and grabs Bell's face between his hands, kisses him violently. MAX Fuck me! You beautiful mother, you! MAX now on guard at the STAIRS, looks over at : BELL AND BILLY - with fresh paste putting the finishing touches on the edges of the stone which has been replaced in its original position. Bell's half naked torso reveals a pair of dice with lucky sevens tattooed on his shoulder. THE REPLACED STONE. On close inspection, it is apparent that the stucco around it does n't match the other stones one bit, but as we PULL BACK to see ZIAT washing his tea cups in the SINK during the DAY, this irregularity is lost in the greater mosaic of the wall structure. At least ZIAT does n't notice as : BILLY nervously comes into the SINK area, watching him, and calls to him. BILLY -LRB- using Turkish. -RRB- Hey, Ziat, hurry up with the tea will ay! ZIAT -LRB- mutters to himself. -RRB- Work, work, work, that's all do BILLY I do n't hear you bitch about the money. BILLY followed by ZIAT into the KITCHEN casts a look of relief at : BELL and MAX who wait at a table with empty tea cups. A HORDE OF COCKROACHES stream out from a crack in the stone as BILLY and MAX dig, scrape, jiggle the third stone. Both covered with sweat, working with confidence now. A DARK EMPTY SHAFT on the other side. Dripping water. Two stones removed. BELL runs over : BELL Want me to take over? BILLY You want to split your hernia again? MAX Get off our tits! Bell turns to go. Suddenly a LOUD CRUMBLING NOISE and : A FOURTH STONE starts to go - but brakes itself. BILLY, MAX, BELL all framed in a posture of fear - not daring to move. SECOND STORY KOGUS remains silent. BELL looks up the STAIRS, tiptoes back, indicating they are clear. MAX AND BILLY. All THREE of them look : THE THREE A HALF STONE SPACE. Easily big enough for them to squeeze through. BILLY shines a candle in the shaft, OFF. THE THREE look at each other. The same thought. Eager eyes. The TRAIN WHISTLES by in the night, OFF. BELL -LRB- sudden. -RRB- Let's go! BILLY looks at his watch, hates to do it. Shakes his head. BILLY No. No time. Put'em back. MAX groans to himself. BILLY tense and restless at his BUNK TWILIGHT. A loud RADIO OFF - Turkish News. BILLY We go early. Any fuck - ups we should be back here and have the stones in by dawn. ANOTHER ANGLE - MAX, BELL, AND BILLY. A pause. BILLY You got your stuff? MAX Yeah. BELL -LRB- persistent. -RRB- Haps, railroad, bus timetables? MAX -LRB- business - like. -RRB- Everything. BILLY Okay. -LRB- looks around the group. -RRB- Let's do it. He extends his hands and the other two cross in a six - handed shake. MAX signals down the STAIRS - `` all clear''. BILLY going through the HOLE in the STONES that NIGHT into : A DARK SHAFT spookily leading downwards. He lights a thick CANDLE tied horizontally across his sneakers so as to give him his light source where his footholds are. His P.V.O : PART DUMBWAITER SHAFT, PART WATER WELL from a previous century A series of corrugated mossy old footholds and iron spikes lead down at irregular intervals. BILLY, MAX AND BELL, each with their own foot candle, are spaced along the shaft easing downwards. BILLY looks up at MAX about ten feet above. BILLY Okay? MAX Yeah! BILLY Jimmy? BELL -LRB- struggling. -RRB- What? BILLY How's your hernia? BELL Do n't make me laugh. BILLY in a sweat, slips. A tense moment - then he catches himself. OFF - the TRAIN WHISTLE can be heard, echoing into the shaft.Mixed suddenly with LOUD TALKING OFF. Arguing in Turkish. BILLY freezes, signals upwards with a sharp hiss of breath. VOICE #1 -LRB- OFF. -RRB- What do you mean, you forgot, he'll have my ass! VOICE #2 -LRB- OFF. -RRB- Well I ca n't do two things at once, you were supposed to be here at nine o'clock! BILLY identifying the relative location of the voices, eases downwards, coming to a GRILL, looks in at : A BASEMENT ROOM with FURNACE. TWO TURKISH GUARDS throw the prison rubbish in the furnace, still arguing, AD LIB. BILLY signals upwards. REVERSE ANGLE, from inside the basement, of BILLY slipping past the grill, his face sharply illuminated by the flame of the furnace. Off the walls around the grill we can see the GIANT SILHOUETTES of the two guards still arguing. BILLY comes to the base of the shaft. A puddle of scummy water. Unstraps the candle. A current of WIND He peers around. P.O.V. - A WINDING NARROW CATACOMB, WITH BEEHIVE BURIAL PLACES ON BOTH SIDES. BILLY, sniffing the stench, unrolls a ball of THREAD ties it to a marker and heads in. BILLY, BELL and MAX are in the catacomb. A scratchy hideous sound and : BATS fly out squealing from the ceiling. THE BOYS hit the ground as BATWINGS flap over them, colliding against each other, knocking off walls, SCREECHING, then diminishing in sound. Fewer and fewer. Then gone. MAX -LRB- looking up, scared. -RRB- Jesus! BILLY looking up. BILLY Anybody bitten? ANOTHER ANGLE BELL Nah, just covered with batshit! BILLY -LRB- getting to his knees. -RRB- They went out over there : must be some kind of exit. Heads in that direction. A HUGE SPIDER scatters off, as BILLY's CANDLE illuminates : ANOTHER ENDLESS WALKWAY. BILLY comes to a stop - frustrated. BILLY Let's go back the other way. INTERSECTION Two walkways. BELL leads in, unwinding the thread, stops. BELL -LRB- desperate. -RRB- The fuck are we? BILLY comes into view, equally frustrated. BILLY What time is it? MAX Two thirty. ANOTHER MAZE of walkways. The three stop exhausted, faces blackened. BILLY, in utter rage and frustration starts kicking the wall. BILLY Shit! Shit! Shit! MAX -LRB- slumping to the ground. -RRB- It's a dead end. The Turks musta' sealed it up. BELL What the fuck we gon na do? SILENCE as the three pathetic escapees ponder their fate. BILLY, getting a grip on himself, thinking. BILLY We go back. ANOTHER ANGLE MAX What? You got ta be joking. BILLY -LRB- resolute. -RRB- We go back, seal it up again, and come in tomorrow night - every night'till we get out of here. There's got ta be a way. Those bats got out someplace. -LRB- rises. -RRB- Now let's go. Doubletime! Takes the THREAD and starts to follow it back. THE SHAFT. BILLY leads the climbers UP. MAX reaches a new foothold, stops, getting his breath. Looks down at BELL heavy breathing OFF. Urging him on. MAX You got ta have a lot of balls for this BELL, suffering, ca n't help but grin. BELL -LRB- murmurs. -RRB- Count me out. -LRB- to himself, shaking his head. -RRB- Who ever heard of anybody sneaking back into a fucking jail? MAX overhearing it. MAX Yeah, what if got caught? BELL starts to giggle. BILLY -LRB- OFF. -RRB- -LRB- up the shaft. -RRB- Hey Max, do n't make the dummy laugh. MAX laughing, shaking his head. MAX -LRB- between giggles. -RRB- Who's laughing? I mean I find this terribly depressing. Can you see old Hamidou's face when he tries to figure this one out? BILLY ca n't go on, starts to giggle at the thought. BILLY -LRB- between giggles. -RRB- We'll tell him we were checking out our escape route. We wanted to be completely sure before we tried it. ANOTHER ANGLE - the THREE of them, spaced along the shaft, are all giggling hysterically. Echoing. HOLD ON them. BILLY comes through the HOLE in the stones in the SINK AREA. It is still NIGHT. He looks around - silence. MAX follows through the hole. BILLY and MAX work fractically to seal up the STONES. BELL, exhausted, is at the STAIRS guarding. Distant early morning SOUNDS of prison waking up. We feel they will be spotted this time, but : BILLY slumps into his BUNK as the first rays of LIGHT come up in the sky and the CHANT from the Mosque commences. He immediately sinks into sleep. CLOSE on OLD TEA LEAVES being washed in the SINK. A MILKY WHITE EYE follows into view. ZIAT is preparing his early morning tea, his good eye now moving to something beyond the tea leaves. Curious, he straightens, throwing the withered bunch of leaves the sink. ZIAT approaches the irregular stucco paste around the REPLACED STONES ; runs his fingers along the ridges, noticing the paste is fresh. BILLY snoring from fatigue. BELL wakes him quickly. BELL Billy, wake up! They found it! OFF there is a lot of SHOUTING downstairs. BILLY Who? BELL Ziat! BILLY standing in a group of PRISONERS with BELL and MAX. He has a look of total despair on his face, as he watches. THE SINK. PRISONERS are everywhere jabbering excitedly among themselves. ZIAT is conferring with HAMIDOU as GUARDS rip out the last stone, revealing the HOLE leading to the SHAFT. BILLY's gaze shifts to ZIAT fixing all his hatred on him. ZIAT grinning, moves away, and his falaka stick cocked like a sergeant major - moves among the prisoners. HAMIDOU Shut up! They all fall immediately silent. HAMIDOU continues his walk among them, bypassing : MAX who shifts his gaze onto : BILLY. HAMIDOU approaches, his eyes moving over BILLY with contempt, and shifting him aside with the stick. To him Billy is the same passive prisoner as before. He moves on, shifting OTHERS aside and then stops at : BELL. HAMIDOU swings his stick up slowly and taps him lightly on the chest. BELL realizes and is afraid. HAMIDOU No do! No do! I tell you I see you again. Finish! He punctuates this last with a theatrical tap on the chest and he gestures to the GUARDS. HAMIDOU Take him! BELL, already broken by bad beatings, shivers. BELL. says. No! Oh no! No. GUARDS grab him, hurry him out the Kogus behind HAMIDOU BILLY holds himself rigid, trying not to break. Bell's PROTESTS continue OFF. MAX unable to contain his anger, strides right up to ZIAT, collars him, livid. MAX You bastard! This time I'm gon na kick your fucking brains all over this kitchen! ZIAT -LRB- calm. -RRB- Fine. Good. Man to man. We fight now. And when finish I bring Hamidou and he kick you fuckinq ass. MAX is about to swing when BILLY grabs him. BILLY Max! Cool it! -LRB- looking at Ziat calmly. -RRB- Ziat's just doing his job. ZIAT Glances from BILLY back to MAX fixing on him as BILLY walks him away. MAX is at his BUNK that NIGHT ; puts away the hypodermic needle, stoned and speeding at the same time, smoking a cigarette. BILLY inwardly tense, sits with his head in his hands. MAX Bell's gon na talk. They got to find out. Man, we got ta out. Tears have formed in his eyes. MAX Goddamn Gastro's killing me. Making me blind. Hey Billy! BILLY -LRB- sympathetic. -RRB- Yeah. MAX I got some acid man. Maybe we can drop some on the guards huh? In their tea or something. BILLY looks away, not even considering. But MAX is caught up in the notion. MAX Yeah I got it all worked out. Billy, listen to me. -LRB- looks at Billy, his eyes glazed. -RRB- That old guard likes you, You drop some acid on him. When he's Seeing rainbows yer know. walk out - tonight. BILLY Then we're outside the kogus. Then what? MAX What? BILLY After we're outside the kogus? MAX Oh we. we. BILLY Max. Your BILLY shirt's on fire. MAX clumsily brushes the burning ash off his shirt where it's made a hole. MAX Oh shit! Oh Christ! His eyes cloud with tears. He sits down, head between his hands. MAX There just comes a time you know. you know you're never going to git it on. Suddenly shifts mood again, stands, pulling out a SHIV, resolute, eyes brightening. MAX That's what I'm gon na do. -LRB- giggles. -RRB- BILLY looks up wondering. BILLY What? MAX -LRB- crazily. -RRB- Cut his fucking throat. BILLY Whose? MAX ZIAT. What do I got to lose huh! What do I got to lose. And I'd really enjoy it. Lurches against the bunk. BILLY Max, sit down. You're in no shape to kill anybody. MAX I want to cut his throat. BILLY It's already been cut. MAX Then I'll cut his balls off. BILLY smiles, shakes his head, then : BILLY If you really wanted to hurt Ziat. -LRB- pause. -RRB- MAX slumps back down on the bunk, suddenly tired of killing. BILLY -LRB- reflective. -RRB-. His money - steal that, you steal his blood. Could you see his face when everything he worked so hard to get got snatched? -LRB- plays with the thought idly, then shrugs. -RRB- If we knew where he hid it. -LRB- waves it away. -RRB- Anyway, steal from him they'd pick up the whole prison and shake it sideways. We could n't hide it anywhere. MAX -LRB- head bobbing now, murmurs. -RRB- You know where it is? BILLY What? MAX -LRB- a vague grin. -RRB- I know where it is. BILLY glances at him, not sure whether he heard. BILLY His money? MAX gives him a goofy nod - and a grin. Imitating Robert Newton as Long John Silver. MAX ` Dem dat hides can finds says I'. I seen him, the clever tit, sneaking looks at it late at night, talking to it. BILLY -LRB- beginning to believe him. -RRB- Yeah? Where? MAX, distracted, let's his attention wander back. Inaudible his head bobbing now. MAX Hishradyo. BILLY Max - where? MAX -LRB- his mouth hanging open, eyes closed. -RRB- His radio Back of his open, radio. He lurches over gently on the bunk. MAX That's why he never plays it. MAX Sleeps. BILLY surprised, then reflective. THE BACK OF THE RADIO is unscrewed ; the cover pulled off. EMPTY! MOVE TO ZIAT. The look is as Billy expected. Horror, shock, anger, fear. ZIAT SCREAMS hysterically like old Greek widow and : BEATING HIS CHEST and tearing at his hair, ZIAT runs out of the KOGUS wailing, moaning. THE SECOND STORY KOGUS is being'' controlled'' by the GUARDS. WIDE ANGLE reveals a circus of clockwork destruction as the GUARDS, making abundant NOISE, systematically rip up each bunk, locker, mattress, picture, book, etc., their faces flushed with this opportunity for orgy. THE PRISONERS are lined up in the COURTYARD, each one being body searched.Prominent are MAX and BILLY, looking up amused at the SECOND STORY WINDOWS - feathers from a mattress fly around. ZIAT Briefly appears, his face at the window, looking at the prisoners in the yard, frustrated. HAMIDOU breaks apart a with his bare hands. ZIAT is stripping MAX's possessions, sure he will find it here. VOICE -LRB- OFF. -RRB- Down here! Ziat springs up. GUARD calling out from the STAIRS. GUARD We found it! ZIAT leaning in CLOSE, OVER THE STOVE in the KITCHEN, framed by GUARDS. It is the same crouched posture he always uses to work the stove but now his eyes show complete despair as he sees : A THOUSAND SHREDS OF PAPER MONEY floating in his pots amid his withered tea bags. From ashes to ashes and dust to dust. ZIAT folds his head into his hands, sobbing then wailing very human, very sad. KITCHEN - NEGDIR an Arab, is now running the tea concession. A jolly ebullient man. Pours a cup for MAX. Several OTHERS are at the table. NEGDIR -LRB- heavily accented English. -RRB-. He sell me tea business - everything. No the same. Ziat lose all. -LRB- makes the gesture towards the heart and the gut, using the Arabic word. -RRB- Heart! Soul! MAX He never had one. NEGDIR Soon he go back streets Istanbul. Thousand enemy. No money. -LRB- makes throat cutting gesture. -RRB- MAX I'll drink to that. -LRB- toasting with the tea. -RRB- Just as : ZIAT enters the kitchen ; he eyes Max with hatred, sits at the other TABLE and orders tea. Surprisingly, he is wearing a suit and clean shirt - unlike his usual grimy appearance. BILLY, looking shaken, enters the kitchen, glances at ZIAT sits with MAX. BILLY Just got some news on Bell. MAX What? BILLY Bad. Sent to the City Hospital. They ruptured his hernia again. MAX -LRB- grim. -RRB- Oh shit. BILLY I Guess he did n't talk. Poor bastard. BILLY glances over at : ZIAT drinking tea. BILLY AND MAX BILLY Why the suit? MAX Maybe he's changing jobs. VOICE -LRB- OFF. -RRB- SAYIM! SAYIM! BILLY looks over to see : HAMIDOU and a DOZEN GUARDS spreading through the KOGUS, assembling everybody with shouts of `` SAYIM!'' THE PRISONERS are lined up in ranks in the FIRST FLOOR KOGUS. BILLY glancing at MAX next to him, wondering why. HAMIDOU goes down the line, his FLUNKIES searching each man. A GUARD reaches into ZIAT'S pocket and comes out with a matchbox. Yells to HAMIDOU who comes over. HAMIDOU -LRB- opening the matchbox. -RRB- Nebu? MATCHBOX Containing a small amount of HASHISH. HAMIDOU reaches over and pulls ZIAT out of the ` line roughly. HAMIDOU Nebu? Starts to slap him around. BILLY glancing at MAX. MAX -LRB- worried. -RRB- What's going on? Maybe Ziat ca n't pay off ; Hamidou's taking it out in trade. HAMIDOU smashes ZIAT again, but pulls the punch. HAMIDOU Where did you get this hash? Raises his arm again. ZIAT -LRB- cowering, pretending fear. -RRB- From Max. Point at : MAX who stiffens, eyes like cracked eggs. MAX -LRB- under his breath. -RRB- You got to be kidding. HAMIDOU peers at MAX, advances. HAMIDOU What's happening with this hash? Indicates the matchbox in his hand. MAX I did n't sell it to him. I do n't have anything to do with this, I. HAMIDOU -LRB- leans closer. -RRB- I know your face. Where did you get the hash? BILLY -LRB- interrupting in Turkish. -RRB-. -RRB- -LRB- He knows nothing about it. Ziat's lying. HAMIDOU -LRB- turns on Billy, in English. -RRB- You, goddamn you, shut up! -LRB- Back to MAX. -RRB- Take him to the cellar. -RRB- GUARDS drag off. MAX Get out of here! He's lying! That cock - sucker! Billy? BILLY sits on his his anger building, his imagination running wild. MAX being dragged down a CORRIDOR by his feet. A SCREAM. BILLY BELL, his features distorted, being carried into an AMBULANCE. BELL, MAX and BILLY at the wall, digging together, MAX hugging BELL the time they found the shaft. MAX twisting out of the grip of a GUARD and, grabbing the glass from his smashed spectacles, he cuts deep into his wrist. GUARDS grab him. A LOUD LAUGH OFF carrying over. BILLY turning on his bunk to see : ZIAT joking with TWO GUARDS as he enters the SECOND STORY. The guards back down the stairs. BILLY already in movement. ZIAT, in his suit, collecting suitcase from his bunk, preparing to leave. VOICE -LRB- OFF. -RRB- ZIAT! Turns and catches a FIST in the side of the face. Staggers into a bunk. BILLY, fists clenched, yells a string of Turkish curse words at him : BILLY Asina covacim, ipnave pesankek. yosakt. Lunges. ZIAT is bulky, throws the smaller BILLY off and scrambles past a bunk. BILLY is up and after him. Jumps back as a SHIV cuts the air in front of him. His side is cut. ZIAT holding the shiv, feints, cursing BILLY in Turkish. BILLY skips back, takes a MATTRESS off the bed and runs it right into KNOCKING HIM AND THE WHOLE BUNK OVER. THE TWO scramble around, BILLY tackling him into another BUNK which also goes over. Chairs break. ZIAT butts his head into BILLY'S jaw. BILLY staggers back from the blow and ZIAT jumps him, BITING into his ear. ZIAT, getting a better hold, now BITES into BILLY'S NOSE. BILLY slams ZIAT in the nose hard with the palm of his hand. ZIAT relinquishes his hold, grabbing at his broken bleeding nose. BILLY beats him around the head but though the blood now flows and teeth are broken, is like a clumsy bear, hard to kill. ZIAT scrambles away on his knees under another BUNK now screaming as loud as he can. ZIAT HELP ME! GUARDS! HELP ME! SEVERAL PRISONERS watching from further down the SECOND STORY Kogus now move in sync, turning on their RADIOS loud as possible, drowning out the cries for help, others watching the stairs. BILLY takes the BUNK and throws it over, revealing ZIAT cowering in pure terror. He grabs ZIAT by the hair, hauls him up and LAUNCHES HIS KNEE into HIS FACE. ZIAT thuds onto the floor. BILLY stomps him in the gut hard. ZIAT screams unnaturally shrill. BILLY, driven by supernatural anger, now jumps on him and CLAMPS HIS MOUTH right on ZIAT'S open SCREAM. A STRUGGLING KISS ensues. BILLY pulls back, his mouth filled with blood, spitting out. AN UNIDENTIFIED PIECE OF FLESH which Bits the ground with an odd slow motion grace. ZIAT - CLOSE in terror ; throat cords rippling ; eyes bulging with disbelief, body quivering, mouth open and screaming, but it is a SILENT SCREAM and the mouth is a dark hole filled with blood and without a TONGUE. BILLY, without a moment's mercy, crashes his fist into ZIAT'S face. ZIAT his strength now broken, collapses on his back. BILLY crashes his fist again into the hated face. He is GRABBED now by a GUARD, but : ANOTHER ANGLE - BILLY shakes the GUARD OFF, then as ANOTHER GUARD runs up, BILLY SLAMS him aside and, obsessed, lunges back down on ZIAT and BOTH HANDS CLAMPED TOGETHER high in the air delivers a final blow to ZIAT'S face. The bones shatter. Pause. His ogre unconscious beneath him, BILLY, now in SLOW MOTION, EXTENDS HIS ARMS IN THE AIR - in the fighter's victory gesture, and his eyes glow with the fever in them, and with his mouth and face bloodied, he looks like a savage. No longer Billy Hayes. BILLY bound in a thick leather belt -LRB- a kiyis -RRB- which screws tightly around the waist and cinches the hands together, is being HAULED in continuing SLOW MOTION through a huge DOOR somewhere in one of the cavernous corridors of the prison.The door is approximately NINE FEET by SIX FEET, strong and wooden with a circular iron handle which one of the GUARDS now pulls open ; a GLIMPSE of darkness within. THE DOOR CLOSES. SUPERIMPOSE :\",\n \"SECTION 13 - ASYLUM FOR THE CRIMINALLY INSANE A YEAR LATER MAX, barely recognizable in a torn sheet and with a blackened face, comes rushing into a crowded ROOM, screaming louder than any other inmate. marks on his face, He is enraged, blood dripping from scratch ATTENDANTS in white smocks chase him over the beds. Max is yelling in Turkish. MAX Please, will you listen to me? Will someone please listen to me? JUST LISTEN To ME! ATTENDANTS Hamidou! Get Hamidou! Get the Kiyisl! The ATTENDANTS wrestle with him, but he throws them off, tearing around the room mindlessly. In the process we see that not much attention is paid him because everybody else is crazy! There are 50 other LUNATICS yelling at each other in fights over sheets, blankets, beds, cigarettes, jumping : screaming, pushing, shoving ; some babbling to themselves, rocking, crying, chanting, singing. Several of them -LRB- the craziest -RRB- are stark naked. some, wrapped in torn blackened sheets, patrol the room like quick ferrets, sharp eyes open for anything they can steal. Others move in meaningless, blank - eyed silence. The walls are filthy black and join the ceilings in arches rather than angles, giving the look of an old dungeon. Fifty beds are lined up right next to each other so that you walk right into your bed. A constant nerve - racking NOISE. HAMIDOU bursts into the ROOM, the angry look in his eyes spelling real trouble for Max. MOVE with him as he sweep sin on MAX and picks him up with one move and SMASHES HIM against the wall. Max hardly notices. ANOTHER ANGLE - HAMIDOU takes the leather kiyis from an ATTENDANT, moves in on MAX and starts clamping it around him. AN ATTENDANT walks through the room with an apron containing several large pockets bulging with red, green, blue, white PILLS, which he distributes by the handful. ATTENDANT -LRB- crying out. -RRB- Hop! Hop! Hop! Full moon. Hop! Hop! Hop! THE LUNATICS gobble them up as if they were candy. In some of the clustered areas, nine lunatics occupy as little as three beds. MAX is tightly bound now by HAMIDOU, but his body arches against the bindings, his neck straining, his teeth snapping at the air. HAMIDOU grabs him with one hand by the leather waist, hauls him high up in the air and THROWS MAX half - ways across the room, MAX smashing heavily against some beds, continuing to SCREAM OFF as : THE ATTENDANT with the pills - now bypasses BILLY on one of the beds. ATTENDANT Hop! Hop! Full Moon - take your pills! BILLY gobbles them up. He has changed. Lines in his face. No smile, no sense of humor ; a brooding silence about him, a straight ahead look. He pays no attention to MAX off ; he is in grubby white pyjamas and shower sandals. Rolls back onto hi & bed with its filthy torn sheet, totally ignoring the surrounding commotion, and ANOTHER ANGLE - turning onto his shoulder, BILLY suddenly finds himself face to face with a dark saddened visage. The MAN is very young and stark naked but for an old black rag wrapped around his head and clutched under his chin. His eyes are yellow, the voice pleading. YOUNG MAN Cigare? -LRB- pause, same tone, holds out his palm. -RRB- Cigare? Cigare? BILLY shakes his head sharply - too sharply - and barks, irritable. BILLY Go away! Turns on his other shoulder, trying to sleep. YOUNG MAN -LRB- OFF. -RRB- Cigare? Cigare? YOUNG MAN in a surprisingly meek tone. YOUNG MAN S'il Vous plait, Monsieur? S'il vous plait? BILLY, really aggravated now, springs up from the bed, and in the quirky way the mad and the eccentric adopt walks determinedly away from the young man, looking back to shake his head bizarrely at him one more time. ANOTHER ANGLE BILLY walking down the aisle bypasses MAX int he kiyis, rolling on the floor, still screaming in Turkish. MAX Will you listen to me? PLEASE LISTEN TO ME! Several LUNATICS are gathered around tormenting him, one of them yanking on his penis as if it were made of rubber ; another is playing with his ass. A third one, also in a leather kiyis, is leaning over MAX jabbering and drooling into his face. MAX, more enraged by this than the other bodily offences, lunges up sharply and bites the man's FACE. SCREAMS, etc.. BILLY, paying no attention except for a brief disinterested glance, keeps going into : A SECOND ROOM. MORE LUNATICS. A screaming OLD MAN is chasing after another OLD MAN who has stolen his tespe beads, waving them back at the first old man who howls with rage, frantic to have his beads back. The second old man throws the beads to a THIRD OLD MAN who hops across the beds with the FIRST OLD MAN chasing him. BILLY intersects. OLD MAN -LRB- pleading. -RRB- Allah! Allah! Yok! Yok! Yok! Brack! A LITTLE NERVOUS MAN stares into a broken pocket mirror fingering the large round carbuncle under his eye, trying to rub it away with little grimaces and flurries of nervous motion. TWO ATTENDANTS in smocks indifferently finish eating on a newspaper spread across one of the beds ; they shake out the paper. CHICKEN BONES, ORANGE PEELS hitting the floor. A flurry of movement, as the LUNATICS scuffle like rats over the left - overs. AD LIB curses, yells. AN OLD MAN obscenely gestures to BILLY from his bed. OLD MAN Hey American. Fik! Fick! Come. Fik! Fik! His blackened teeth leer. BILLY, seemingly immune to all of this in some private island of his own madness, walks in his determined way past a PARTITION to : A CIRCULAR STONE STAIRCASE leading downwards, the stones damp, dark, slippery. BILLY continues with the same straight - ahead determination to : A LONER LEVEL. at last BILLY's expression changes to almost childish relief, for here at last is the refuge he seeks the relative comfort and silence of THE WHEEL. It is a grim, squat PILLAR dominating the room and bearing the weight of the ceiling. And around it some SIXTY LUNATICS trudge slowly, near silently, in counter - clockwise flow. It is a hypnotic shuffle and BILLY blends right in, sliding easily into the sluggish, mindless river, his eyes hanging loosely on the floor, watching : THE SOOTHING RHYTHM OF FEET shuffling at a comforting pace. These are the spokes of the wheel. TWO TINY BARE LIGHT - BULBS give faint, eerie illumination to the chamber. One one side, a pot - bellied stove flickers, etching the shadows of the walkers in a strange orange glow. SOME LUNATICS, not walking, hover around the stove. OTHERS are jammed onto a low L - shaped wooden platform that runs the length of two walls. of these men are naked, covered with open running sores over their knees, elbows, buttocks. But they are much quieter than the upstairs crowd. They are the lowest order of madmen. They have no minds left. They are the damned. BILLY walks among them, expressionless. A tall, thin cadaverous TURK with a grizzled beard now shuffles up alongside BILLY, looks at him, walks with him. is about fifty, his pyjamas relatively clean, looking more sane than the average but his eyes are bright and scary and his wet hair is matted down on his head, and big clumps of it have been pulled out. He speaks with a cultured English accent. AHMET You're an American? BILLY is interrupted but keeps his eyes on the ground. AHMET does n't wait for an answer. AHMET Ah yes, America! My name is Ahmet. I studied philosophy at Harvard for many many years. But actually Oxford is my real Alma Mata - I've also studied in Vienna. Now I study here. BILLY does n't notice, shuffles along. AHMET They put me here. They say I raped a little boy. I have been here very long time. They will never let me go. BILLY pays no attention, keeps shuffling on. Glances at him, smiles. AHMET They wo n't let YOU go either. The smug certainty of his manner reaches some chord deep inside Billy, because Billy glances briefly at this lunatic who is smiling. Billy looks back at his feet. AHMET No, they'll never let you go. They tell you they let you go but you stay. You never go from here. BILLY plods on. grins and tries to explain the situation like a father lecturing a child. AHMET You see we all come from a factory. Sometimes the factory makes bad machines that do n't work. They put them here. The bad machines do n't know they're bad machines, but the people at the factory know. They know one of the machines that does n't work. They walk on. Ahmet's expression changes. AHMET -LRB- polite. -RRB- I think we have spoken enough for today. I say good night to you. He wraps his rags around himself quite carefully and we FOLLOW him out of the circle. He drops to his hands and knees and with a sense of dignity, crawls into the filthy blackness under the L - shaped wooden platform, disappearing like a cockroach. BILLY plods on. AN OLD WHITE - BEARDED MADMAN the Hoja, grandiose in his rags, leads MUSLIM PRAYER in the first ROOM. Some of his followers have prayer mats, others a scrap of sheet or newspaper ; their tones discordant, still pushing and shoving at each other during the prayer. TWO SPASTICS ca n't follow the routine of kneeling and bending ; they tangle up absurdly and fall to the floor in a ball of arms and legs. A FALAKA STICK pokes BILLY wake SOUND of the CHANTING fills room. It is evidently impossible to distinguish night from day because there are no windows. ATTENDANTS poke the LUNATICS awake with their `` clubs. ATTENDANTS Head count! Head count! A MASS OF LUNATICS in the ROOM all at once. Attendants take a redundant and comic head count. The place sounds like a `` yadi yadi room'' the noise fearsome. ANOTHER ANGLE ATTENDANT #1 Sixty two, sixty three, sixty four. ATTENDANT #2 Seventy four, seventy five, seventy six. get back there, you!. seventy five, seventy six. -RRB- ATTENDANTS poke around underneath a bed and pull out a very old trembling VEGETABLE. OTHER ATTENDANTS wrap an old DEAD LUNATIC with no teeth and foam on his open lips into a dirty sheet and haul him away. BILLY amid the LUNATICS. We MOVE closer and closer to him, the head COUNT regressing. The room has become a torture cell - the NOISE LOUDER, LOUDER, closing in on Billy. BILLY is led down a CORRIDOR by HAMIDOU into : A VISITING room - Cabins are lined up like narrow wooden phone booths. HAMIDOU Kabin on - yedi BILLY plods without interest to the specified cabin, closes the door, sits in the chair. No one is there. He waits - indifferent to any sense of time. Dirty two glass panes separate visitor and prisoner booths ; bars are between the panes. An erratic microphone is the method of communication, giving a weird and distant aspect to the voice. HAMIDOU opens a small peep - hole in the cabin door, looks in unseen as : TEE VISITOR DOOR opens and SUSAN tentatively walks in holding a large photo album ; it takes several moments for her to react, and then her face shows the shock. BILLY stares at her, his face rabid, decaying ; if he remembers her even, he does n't register it because she is a shock to him as well. Reality, the outside world all at once. His mind is spinning, unbalanced, unable to grasp it. SUSAN -LRB- OFF. -RRB- Oh my God! SUSAN SUSAN Billy, what have they done to you. my God! The MICROPHONE makes her voice jarring, gagged. She looks silently. No sobbing, no big sad looks. Just shock. Shock of recognition, shock of time gone by. BILLY looking at her, his eyes moving down to : BILLY P.O.V. - SUSAN, her neck, her breasts straining against the thin shirt. SUSAN fingers the photo album nervously, speaking slow and distinct ; not sure she is communicating. SUSAN Billy, your family is fine. Senator Buckley just made a special plea on your behalf in the Senate. Newsday has written several big articles about you. They've called you a pawn in the poppy game between Nixon and the Turks. The letters are coming in, Billy. People care. Stops, shakes her head. It sounds all wrong in this context. BILLY is still staring at her breasts. He has n't seen a woman for five years and now a hungry animal look comes into his eyes He moves suddenly pressing up against the glass, rabid. And in Turkish : BILLY -LRB- in Turkish. -RRB- Take it off. Take it off! -LRB- then remembering the English. -RRB- Take it off. Take it off! His voice is savage, demanding. SUSAN understands, startled. Looks around. SUSAN Billy - you'll just make yourself crazy. BILLY BILLY Take it off! Take it off! -LRB- suddenly in a very soft voice. -RRB-. S'il vous plait? A strange look in his eye. SUSAN slowly, scared, begins to unbutton her shirt. HAMIDOU looks on silently, does nothing. BILLY follows every movement with wild - eyed lust. SUSAN leans up close to the window. With both hands on the front of her blouse, she slowly draws it apart. BILLY going wild! Against the window. His hand down in his pyjamas. HER BREASTS spring free, quivering, full and ripe with a deep cleavage and hard dark nipples. They hang full and loose. FULL SCREEN BILLY'S EYES - FULL SCREEN. BILLY beats on the window, working his mouth soundlessly. SUSAN is shattered, scared of Billy's sanity. SUSAN Oh Billy, Billy, I wish I could make it better for you. Please do n't. do n't. Tears. Fear. BILLY tightens dramatically and comes right in his pants, slumps against the window. SUSAN realizes he has come, surprised. BILLY looks at her. Furtive, animal shame. And suddenly he starts to cry. A flood of feelings locked up too long come pouring out. He murmurs some words, Turkish SOUNDS sputtering out in his throat, then : BILLY S. Susan? Softly, working his mouth finding it hard to speak. SUSAN yearning. Tears sprinkling her eyes. SUSAN Yes, Billy? BILLY straining, not out of physical weakness but an emotional one. Sputters, eyes closed. BILLY I love you. It sounds pathetic, lost. SUSAN is worked up to the limit, tries to hug him through the window. SUSAN Oh Billy. Billy! Do n't give up. Please do n't give up. You'll get out. I know you will! Remembers something. Grabs the PHOTO ALBUM with all her strength, holding it up for him to see through the glass.Then remembering herself, looks around the room to make sure they're alone and in a contained voice : SUSAN Billy, your father gave me this for you. There's pictures of your Mom and Dad. Rob. Peg. BILLY looks at it listlessly. HIS P.V.O - SUSAN holding the album open to PICTURES of his MOTHER and FATHER in front of the house, ROB on a bicycle, PEG in her cheer - leading outfit. SUSAN And there's pictures in the back of your old Mr. Franklin. Remember him. From the bank? A certain tone slips into her voice. SUSAN He's over in Greece now. He bought a ticket. BILLY looks from the album to Susan. Possibly there is a gleam of understanding in his eyes but it is very faint. An Attendant BANGS on Susan's door, OFF. VOICE Visiting is over. SUSAN quickly puts the album away as if it were a hidden weapon. SUSAN I'll give it to them for you. She buttons her blouse but her eyes are worried, on Billy. SUSAN You were right Billy do n't count on them, you hear, do n't count on anybody but yourself! The ATTENDANT now swings open her door, annoyed. ATTENDANT Let's go! Susan stands, about to go, then suddenly leans up close to the bars, hard and practical. SUSAN -LRB- quickly. -RRB- If you stay you'll die Billy! Get out of here. Get to Greece, you hear me? Billy? Pause. Silence. She closes her eyes, in pain ; she does n't think she has reached him. She turns to go, resigned. BILLY looking at her. Behind him HAMIDOU opens the door. A calm and cunning look on his face, glancing with Billy towards A BRIEF GLIMPSE of SUSAN looking back, the album under her arm. The door closes. BILLY, with the same deadened expression as before, comes down the STAIRS towards THE WHEEL. It is early morning and the walkers have n't started yet. Billy looks at the Pillar a dire look of reflection passing over his eyes. Then he starts walking but in a clockwise motion, opposite the normal pattern ; in the same methodical manner as before. ANOTHER ANGLE BILLY, on the inner track, passes TWO LUNATICS who are walking counter - clockwise. They glare at him, motion for him to turn around. Billy just keeps walking. BILLY intersects several more LUNATICS going counter - clockwise They motion for him to turn. LUNATIC -LRB- grunting. -RRB- Gower! Tries to block Billy's way, but BILLY shakes his head, brushes by him - determined. AHMET Slides up next to BILLY in his rags. AHMET Good morning, my American friend! There will be trouble if you go this way. A good Turk always walks to the right. Left is communist. Right is good. You must go the other way. It's Good. More LUNATICS join the flow, gesturing or grunting at BILLY. BILLY STOPS, turns, looks at the rest of them slogging in the usual direction, looks as if he ` sees' them ; and he walks out of the wheel, towards the stairs. AHMET curious about his unusual behavior, follows BILLY. AHMET Why you go? Why do n't you walk the wheel with us? -LRB- suspiciously leaning forward, suddenly realizing the answer. -RRB- The bad machine does n't know he's a bad machine. You still do n't believe it? You still do n't believe you're a bad machine? ANOTHER ANGLE BILLY stops and turns to look at AHMET at the base of the STAIRS. BILLY carries on up the stairs. AHMET -LRB- shakes his head. -RRB- To know oneself is to know God, my friend. The factory knows. That's why they put you here. You'll see. You'll find out. Later on you'll know. BILLY stops and turns to look at AHMET. His eyes glint with special knowledge and he takes AHMET into his confidence using the latter's tone of voice : BILLY I already know. I know that you're a bad machine. That's why the factory keeps you here. -LRB- Lowers s voice. -RRB- You know how I know? I know because I'm from the factory. I make the machines. I'm here to spy on you. Eyes narrow. Surprise. Fear. He shuffles away. BILLY looks at him and turns up the STAIRS. BILLY in his BED. The usual UPROAR. THE ATTENDANT comes by with the pills, offers a handful to BILLY. ATTENDANT Hop! Hop! Take! He takes them, puts a few into his mouth, swallows. Reflective, unsure. A RADIO playing OFF blares suddenly with the U.S. Armed Forces Station - JANIS JOPLIN singing `` Take another piece of my heat now, Baby'' then it's switched back to a TURKISH STATION, loud. Billy rises. BILLY enters the TOILET with the PHOTO ALBUM tightly clutched under his arm. A dark stone room, very shadowy. Piles of waste on the floor. A vacant - eyed barefoot LUNATIC shuffles past BILLY who goes to one of the four partitioned HOLES cut into the floor. ANOTHER ANGLE - BILLY squats over it and with his filthy long nails he starts to slit open the back binder of the album Susan gave him. Flickering shadows. He looks up absently. THREE LUNATIC FACES stare in at him through wooden slats, tongues hanging out and drooling - playing with themselves - OFF. BILLY makes a lunatic face and SCREAM kicking at the partition. BILLY Aaaaaaaaaaaaaaaaahhhhhhhhhhhhhhhh! THE LUNATICS, petrified, scatter off but ONE LUNATIC skids in a puddle of urine and crashes onto the tile howling. BILLY slits open the binder to reveal TEN HUNDRED DOLLAR BILLS with Pictures of Mr. Franklin' neatly inserted. ANOTHER ANGLE BILLY has no particular expression on his face. Reflective, staring at the money ; he looks up. A LARGE SILHOUETTE is moving towards him. BILLY just watches, transfixed, not trying to hide the money. HAMIDOU comes into a faint light, looking down at him ; glances at the money. Shakes his head gently. HAMIDOU No do! No do! Reaches for and : ANOTHER ANGLE - HAMIDOU takes the money from BILLY like candy from a baby, then takes him by the ear and slowly lifts him up. Billy is like a vegetable in his hands. HAMIDOU -LRB- in his broken English. -RRB- I tell you I see ` gain. -LRB- into Turkish. -RRB- I take you down to bath and your feet be big like. Breasts. -LRB- a gesture. -RRB- HAMIDOU leads BILLY roughly out of the lunatic room, pulling him by the ear. HAMIDOU still Pulling BILLY by the ear, guides him through the GUARD QUARTERS. HAMIDOU leads him up a narrow winding flight of STAIRS. HAMIDO First you make mistake with Ziat, now you make mistake with money. You're not a new Prisoner, Vilyum Hi - yes. The tone of his voice indicates a severe reckoning this time. HAMIDOU pulls BILLY by the ear into a large echoing BATH. BILLY looking, bent over by the ear - a hint of awareness of new surroundings. ANOTHER ANGLE - the BATH is deserted, spooky with greenish Yellow fish light flittering down from holes in ceiling around damp mossy arches. Steam rises off a bath. Benches, buckets of water. HAMIDOU swings BILLY around until he is facing him. HAMIDOU makes an elaborate gesture of putting aside his falaka stick and holstered gun ; he will use his hands. HAMIDOU -LRB- shakes his head. -RRB- You've been in prison too long, Vilyum Hi - yes. He takes that : stiff arm all the way back to its full arc and WHACKS BILLY up against the wall. BILLY bounces back off the wall. The print of Hamidou's fingers is imbedded like a flaring white rainbow in the redness of his left cheek. SLAM - a backhanded whack. BILLY bounces right back from the wall. steadies him. HAMIDOU You go crazy here Vilyum Hi - yes. Many people go crazy here. Best thing for crazy people is this. THE BLOW, in SLOW MOTION comes sailing into : BILLY, and we see the brief boxer's distortion of all his face as he flies upwards and back into : THE BENCH smashing it. Echo like jarring F.X. BILLY is held up by the PAJAMAS, steadied. The Turkish words seem far away, incomprehensible. HAMIDOU -LRB- OFF. -RRB- Vilyum Hi - yes. You die here, Hi - yes. WHACK - ANOTHER BLOW, but : HAMIDOU this time holds onto the pajamas using Billy like a punching bag. WHACK - A REVERSE BLOW. HAMIDOU increasingly excited. HAMIDOU Babba sikijam! I fuck your mother, I fuck your sister. WHACK - ANOTHER BLOW in SLOW MOTION HAMIDOU I fuck your father, I fuck your brother. RIP! - a loud SOUND as HAMIDOU moves with a blur of speed, and shreds BILLY's pajamas with his hands. BILLY naked, totally passive, semiconscious. HAMIDOU suddenly shifts position and snaps Billy into a strenuous wrestling hold across his knee on the steamy floor. He loosens him up by cracking his bones along his back. HAMIDOU - sweat pouring off his face, excited. HAMIDOU And I fuck your grandmother and I fuck your pretty girlfriend. And I fuck you Hi - yes! -RRB- A bizarre otherworldly scene. This man is dredging Billy through a sadistic imagination sparked by the steam, the sweat, and an ethnic identification with a Turkish steam bath as a bedroom. He loosens his hold abruptly, rises, moves off as : BILLY holds himself on his knees, head sunk on his chest, gasping for breath, about to vomit. Pause ; he looks up horrified at : HAMIDOU pouring fresh buckets of water on the floor. SSSSSSSSSS! The awakened STEAM coils like a snake into every cranny of the little room. BLURRED VISUALS - HAMIDOU stripping his shirt off. A huge muscular flash of chest, A BELT being snapped open. BILLY waiting. A FIGURE moving through the steam, closer. BILLY backing away from it. STEAM - a glint of a FACE coming through. HAMIDOU - his eyes so intense they seem to burn off the steam like sun cutting haze. Then disappear again. BILLY pulls back. A pause. Silence. Cat and mouse. Then very suddenly : A HAND reaches out of the STEAM and GRABS BILLY by the hair. A GRUNT, OFF. BILLY his eyes moving fast. A FLASH of a huge darkened penis, fully erect cutting forward into the steam like a from drill, detached from the rest of the body. A SOUND - grotesque and so sudden after the silence it jars the senses. A BLURRED VISUAL then : BILLY Launching forward in SLOW MOTION, desperation distorting his features and : STEAM - then BILLY'S HEAD SLAMS through it in SLOW MOTION and : SMASHES the penis with its skull. A horrifying GASP. BLURRED VISUALS - STEAM - HAMIDOU staggering CLOSE - surprise, pain. BILLY MOVING. A FOOT coming up fast through the steam, connecting again with the genitals. Another SCREAM. A BODY hitting the tiles. BILLY groping for the falaka stick. Raises it. A STRUGGLE - Two bodies thrashing, one of them screaming now in pain. A definitive sound then a THWACK! Another thwack! The steam seems to clear and BILLY is on top of the gigantic HAMIDOU smashing him with the falaka stick with all his might. HAMIDOU is in contortions, his nose busted and bleeding. His HAND gripping BILLY by the neck, forcing him back and strangling him at the same time. Billy is red in the face, such is the force of this creature but continues to beat him, harder, harder. His expression filled with a life energy, seeded in hatred, that he thought he had lost. Again, Again - BILLY Babba sikijam, Hamidu! I fuck your Mother, I fuck your daughter, I fuck your sons, I fuck your wife! The BAND slips from his throat, then springs up desperately again and clenches Billy's whole face with one gigantic palm, clawing to get in, then just as quickly slips away. BILLY beats on - again, again. BLOOD flows fast in agitated swirls into the little pool. BILLY opens a door gently, moves across an empty CORRIDOR, dressed in and gun in intense. Hamidou's holster. large uniform with his He looks shaken, weak, falaka stick dizzy but VOICE -LRB- OFF. -RRB- How about a shoe shine, friend? BILLY starts, clenches the falaka stick ready to spring, spins. A LITTLE SHOESHINE BOY is his case down the corridor. BILLY has not seen a child in a long time. get words out, then manages : Surprised. Ca n't get the words out, then manages : BILLY No! THE KID shrugs, moves on, looking At Billy strangely. BILLY goes up a flight of STAIRS. Ahead, VOICES passing. He stops. Goes on. BILLY goes through an empty GUARD QUARTERS. BILLY is in another CORRIDOR, approaches A SMALL PORTAL, daylight at its edges. Locked? BILLY, tense, tries it. It swings open on : DAYLIGHT! BILLY squints. Adjusting to the harsh sensation. AN ISTANBUL STREET - TRAFFIC, SOUNDS. TWO GUARDS approaching the portal in the distance, drinking soda pop. BILLY steps back, straightens his clothes, steps out briskly and at such an angle that THE TWO GUARDS do n't notice him in the traffic as they enter the open portal. LONG SHOT - BILLY walking down the street, looking back, almost bewildered, not quiet believing this. TIGHT - RAILROAD TICKET being stamped. SOUND - SNAP. MOVE UP to TICKET CLERK behind a grill. VOICE -LRB- OFF. -RRB- Edirne to Uzun Kopru? THE CLERK looks puzzled. BILLY is on the other side of the grill. A ill - fitting new Western style suit, a hat over his dyed black hair ; totally paranoid. He has n't slept in three days and the bruises from the Hamidou beating now show clearly black and blue on his face. His eyes are alert, darting around, his speech clipped and to the point. BILLY What's the matter? THE CLEF! Shrugs. CLERK ` What are you crazy? There's no train anymore to Uzun Kopru, it'd have to go through Greece. The border's closed. BILLY taken by surprise. BILLY No train? CLERK -LRB- OFF. -RRB- No more train. BILLY Moves off a small provincial RAILROAD DEPOT - DAY. He looks at the : EMPTY TRACKS - No ` midnight express'. BILLY, tenser than ever, uses the occasion of buying a newspaper at an OUTDOOR STAND to study : THE MAIN SQUARE of the VILLAGE -LRB- EDIRNE -RRB- - DAY. SOLDIERS and POLICE are abundant, chattering bustling amid tanks and half - tracks. Mountains can be seen in the far distance. BILLY camouflages his face as best he can in the Newspaper `` Hurriyet'' studying : CABDRIVERS in the Main Square. Most of them are older, grizzled looking standing next to their old battered dusty cabs talking with stray SOLDIERS. Billy's eyes settle on a YOUNGER DRIVER with longish hair, possibly an ally. BILLY glances down at his newspaper as a SOLDIER intersects and his expression goes stony as he sees : FULL COLOR DRAWING -LRB- first page -RRB- of a ridiculously fierce heavy - muscled barechested MAN beating a facsimile of Hamidou into the ground. Next to it a blurry badly reproduced photograph of BILLY with a superimposed GUN in his hand. You ca n't really tell it's him. BILLY, controlling himself, crumples up the newspaper into a baton, his eyes everywhere. Be the darting A crosses square. ANOTHER ANGLE - BILLY, intersecting a POLICEMAN who glances at him, joins the YOUNG CABDRIVER. BILLY Listen, I have Swedish friends camping south of the town. I was supposed to meet them here this morning but I was late. Can you take me there? DRIVER looks at him neutral. DRIVER You know where they are? BILLY -LRB- anxious to get in the cab. -RRB- Sure. DRIVER How far? BILLY -LRB- impatient. -RRB- About ten kilometers. DRIVER Sixty Lira? BILLY -LRB- surprised. -RRB- Sixty? Billy eyes : APPROACHING SOLDIERS. BILLY -LRB- OFF. -RRB- Okay. THE DRIVER, noticing Billy's look at the soldiers, gets in the cab. BILLY climbs into the back seat, feeling already he has made a mistake. There is something too alert, too hard in this young driver. BILLY P.O.V. - THE MOUNTAINS as they roll in the taxi. FORESTS - FIELDS.\",\n \"INTERIOR TAXI BILLY Those mountains? are they? DRIVER -LRB- Greece. -LRB- shakes his head. -RRB- Very bad now. Maybe war. Those Greek pigs try to steal Cyprus again. -LRB- pause. -RRB-. -RRB- How'd you lose your friends? BILLY leaning back in his seat, casual. BILLY Oh, I drank a lot of raka last night in Istanbul. Got into a fight. Indicates the bruises on his face. DRIVER looking at him in the rear view mirror. His curiosity narrowing. DRIVER How come you speak Turkish so good? BILLY casually glances out the window. BILLY Did twenty months in prison in Istanbul. Hash THE DRIVER studies BILLY in the rear - view mirror. Then : DRIVER You want to score some? Cheap? BILLY looks at him hard. Something's wrong with this man. BILLY -LRB- curt. -RRB- No! Cutting off further conversation, he looks out at : THE MOUNTAINS of Greece - with longing. BILLY stares back at : THE DRIVER whose eyes now move away from the rear - view mirror under the pressure of the stare. SOUND OFF loud machinery. BILLY turning - in rear window, we see a TURKISH HALFTRACK pulling alongside the cab, SOLDIERS waving their arms for the cabdriver to get out of the way. ANOTHER ANGLE - the HALFTRACK pulls level. The CABDRIVER slows down, with a curse. BILLY - beads of sweat trickle his brow THE PERSONNEL CARRIER, disinterested, pulls past. BILLY breathes heavily with nervous relief. THE CAB pulls up to the end of a dirt road. BILLY has his MAP out, studying it. BILLY The Maritas River? Where is it? ANOTHER ANGLE - the DRIVER, exasperated, waves southwest. DRIVER Two miles! Minefields over there. Do you know where this campground is or not? BILLY Not far. Just a little way. DRIVER No! I'm not going any further! It'll wreck my car. BILLY I'll pay extra DRIVER How much? ANOTHER ANGLE - BILLY slips him fifty lira. The DRIVER takes it, muttering under his breath, jams the cab into gear. THE CAB follows rutted tracks into low HILLS.\",\n \"INTERIOR CAB - very bumpy. BILLY Where are the minefields? DRIVER All over. Turkish Army up there. It's against the law. They shoot us. -LRB- looks up in the mirror. -RRB- You sure you looking for your friends, man? BILLY -LRB- VERY SHARP NOW. -RRB- -LRB- very sharp now. -RRB- Okay! Ley me out right here. I'm getting tired of all this bullshit from you. I'll walk it. DRIVER -LRB- looks back, then ahead, suddenly brightening. -RRB- Ah, look! they probably know where the campers are BILLY's entire expression changes. It is all over. A TANK AND HALFTRACK are sitting there by the rutted track, with SOLDIERS. And a little LEAN - TO with several POLICE. Also a couple of attack DOGS on leashes. The Driver honks his horn on the approach. ANOTHER ANGLE DRIVER Hey officer, we're looking for the campground. Do you know where it is? ANOTHER ANGLE - TWO POLICEMEN and A SOLDIER come sauntering over, their collars open, beer bottles in hand, slightly drunk. POLICEMAN -LRB- curt. -RRB- You're not supposed to be here DRIVER -LRB- indicated Billy. -RRB- He's a tourist, what do you want, he says he's looking for friends at the campground. FIRST POLICEMAN glances BILLY POLICEMAN Campground? -LRB- shrugs. -RRB- Never heard of one. DRIVER Seen any Swedish foreigners in a camper - bus? SECOND POLICEMAN meanwhile eases his arm down on the OPEN WINDOW bringing BILLY into foreground. The COP'S mouth is open and exhaling a wave of beer breath over - BILLY. BILLY P.O.V. - BEER FACE FOCUS PAST him to SOLDIER at tank reading `` Hurriyet'' - the picture of BILLY on page one, spread for all to see. BEER FACE Noldu? DRIVER turning around to address him. DRIVER Seen any foreigners in a camper bus? SOLDIER circles the cab from the other side. BILLY motions to the DRIVER. BILLY Okay, they have n't seen him, let's go back to town, it's getting late. THE DRIVER ignores it. Calls out again, louder to BEER FACE. DRIVER Foreigners! KAMPER. VOLKSWAGEN BILLY rigid. This asshole of a driver! BEER FACE glances at BILLY, pulls his head out the window. Looks down the road. Takes a sip of beer. SOLDIER, disinterested, moves back towards the tank. BEER FACE looks in the other direction down the road, burps.Very conscious of his authority, shakes his head without looking at the driver. Moves away. BILLY nudges the DRIVER. BILLY Okay, let's go. THE DRIVER impatiently turns and looks straight at BILLY, aware of his anxiety. DRIVER Is no Volkswagen, man! Something wrong with you? BILLY hardening. DRIVER calling out. BEER FACE turns. DRIVER leans out the window. DRIVER This guy's fishy. I think he might be trying to get to Greece. BILLY looks around fast. BEER FACE starts back lazily, half drunk, with the OTHER POLICEMAN BEER FACE Huh? DRIVER DRIVER I do n't know, there's His eyes grow big suddenly As he sees the barrel of Hamidou's REVOLVER right in His cheek. BILLY all business, very quiet. BILLY Get out - right now, move! BEER - FACE advancing looks puzzled, thinks he sees something, then crouches as : DRIVER gets out the door crouching, yells. DRIVER He's got a gun! BILLY firing SHOTS off to distract them has climbed over the front seat, jams the cab into gear. It stalls! Again he tries, and now shoots off. THE CAB Roars past the roadblock. THE COPS AND SOLDIER, scattered by the shots, now scream at each other. They run. SHOTS are fired. BILLY guns the cab down the road, flying. CLOUDS OF DUST trail the cab. THE TANK starts to roll after it. Full speed. The HALFTRACK follows, the MEN riding it shouting. BILLY looks back, then looking ahead sees something. P.O.V - a speck in the far distance. Another ROADBLOCK. BILLY decides, then - THE CAB swerves right off the road and jumps into the gently rolling FIELD on the border of the road, pock marked with HILLS. THE TURKS come roaring down the road, pointing to the cab. LOW ANGLE - the TANK makes a flat out stop, gears grinding. THE GUN TURRET swings left. THE CAB in the far distance, at an angle to the tank, starts running up an incline. THE TANK FIRES. P.O.V. - SHELL BLASTS WIDE OF THE CAB. BILLY, startled, looks back, guns for the top of the incline. HIS P.O.V. - ANOTHER SHELL now blasts to his front right, closer. Something heavy -LRB- shrapnel -RRB- thuds into the rood of the cab. BILLY drives all out. P.O.V. - THE INCLINE CLOSER, CLOSER, ABOUT TO MAKE IT, THEN : A BLAST TANK P.O.V. - the CAB spinning in the blast of the adjacent shell - burst. BILLY, shaken but unhurt, staggers out of the cab, looks : P.O.V. - A WHEEL BLASTED AWAY, FUEL PISSING OUT FROM THE SHRAPNEL HOLES, SMASHED WINDSHIELD AND FENDER. THE TURKS are coming up the incline now, like the Cavalry - some on foot running, others on the HALFTRACK. BULLETS whistle and pop nearby. BILLY running. He tears off his jacket. SOLDIERS pass the wrecked car, at the top of the incline shouting, pointing and firing at BILLY in the distance. ONE SOLDIER seems lighter than the others and takes off in a sprint as the OTHERS follow. THE HALFTRACK now crests the incline and gathering full gear and momentum, roars off down the slope after Billy. CLOSE BILLY running sweat all over him. In background, the HALFTRACK and running FIGURES. BILLY runs into a high dry cornfield with the sun starting to set ahead of him in the Greek mountains. MOUNTAINS - must make those mountains. BILLY running all out - eyes fixed on them, breathing, skipping heartbeats. THE PERSONNEL CARRIER bypasses the FAST SOLDIER who slows down, panting. Billy has outrun him. OTHER SOLDIERS run up in the distance. BILLY, tireless, obsessed, runs right into a POPPY FIELD.It is a splendid beautiful scarlet red, set off by the dipping rays of the sun. HIS FEET smashing down the poppy plants. Fast - THUCK! THUCK! THUCK! THUCK! THUCK! THUCK! CROSSCUT the metal TREADS of the Halftrack into the poppy, mowing down entire rows. TWO SOLDIERS on the PERSONNEL CARRIER are waving encouragement to the driver inside. They have him. ANOTHER ANGLE the HALFTRACK closing the distance on BILLY now thirty yards apart. BILLY looking back, starting to fade. Huge wheezing gasps of breath. SOLDIERS running up looking at THE HALFTRACK in the distance. SOLDIERS yell. SOLDIERS Minefield! Minefield! Come back! Stop! -LRB- NO SUBTITLE. -RRB- BILLY runs out of the POPPY FIELD into a THIN FOREST. THE SOLDIERS screaming in the distance, jumping up and down waving for the halftrack to come back. LOW ANGLE - the HALFTRACK with the waving SOLDIERS on board now blasts out of the poppy field at full speed. BILLY - he has no chance, In immediate background is the fast HALFTRACK. ONE SOLDIER on the HALFTRACK now looking back to the SHOUTS of his comrades. Confused. Turns bout back to yell something and : ENORMOUS EXPLOSION The HALFTRACK disintegrates in a tank landmine. BILLY thrown to the ground by the force of the blast, looks back, GASPS! A BURNING WRECKAGE. Black spirals of smoke. Secondary explosions. BILLY stumbles up. A gash of blood is on his temple but he does n't know it or feel it such is his stress. He runs on, SHOTS whistling towards him from the poppy field. TURKISH OFFICER screaming angrily at Billy, cursing, shaking his fist at the sky. BILLY, in the forest, is totally out of breath and out of eyesight of the pursuers. He stops against a tree. FROG SOUNDS. The gurgle of water. Muddy ground. He looks : THE MARITAS RIVER rushing ahead. A strong current. BILLY peels off all his clothing except his pants, not delaying one more moment. He feels he must keep going. And he's right. DOGS are barking OFF. A SNARLING ATTACK DOG is tearing through the minefield, fast, ahead of the others. BILLY looks, sees it. THIRTY YARDS - the huge DOG coming right at him! BILLY runs for the edge of the bank and plunges in. THE ATTACK DOG sprints up to the edge of the river bank and without a moment's hesitation, plunges right in after him. BILLY lashing into the current with a fierce breast stroke, is swept downstream kicking futilely. THE DOG, its jaws open and clacking, is also swept down river. BILLY going under, coming back up - fighting, still fighting. THE DOG struggling sails past as BILLY hauls himself out of the river, going in a circle, dizzy. Falls. Struggles up again. Looks back. Must keep going. Must. THE BASE OF' MOUNTAIN - hilly, rugged. BILLY runs, drags, runs again. He is a lamentable sight - naked except for ripped wet pants, barefoot, bleeding, muddied. Dimly he makes out : A FARMHOUSE - TWILIGHT. Some cows, goats, chickens. NO sign of people. BILLY staggers towards it. Wears something. A rooting SOUND. Stops. Something familiar about it. A FAMILY OF PIGS snort and root in the mud, little piglets running around. BILLY staggers towards them, muttering to himself. BILLY Pigs! Pigs! Then yells in the recognition of it BILLY Pigs. You. Beautiful. BILLY BILLY falls to his knees in the confined pen ; the pigs run around squealing. Trying to reach out for one of them, he falls face first into the mud and lies there. Pause. A wooden DOOR squeaks open OFF. BILLY slowly turns his muddy eyes over his shoulder. BILLY P.O.V. - TWO SOLDIERS, khaki - colored uniforms, helmets, olive faces, mustaches, approach cautiously from the farmhouse, rifles ready. Following them is an OLD FARMER, Further behind in the doorway is his WIFE and CHILDREN. BILLY muttering to himself, in Turkish. BILLY Greek? Greek? THE SOLDIERS approach close, stand above this strange figure, look at each other. SOLDIER Ti leei? -LRB- What is he saying? -RRB- 2ND SOLDIER Mou fainetai san Toupkika. -LRB- It sounded like Turkish. -RRB- BILLY with dimming strength. BILLY THE FARMER understands, makes a vigorous nod of his head. FARMER Malisee. Ellada! -LRB- Ah, yes. Greece! -RRB- CAR DOOR SLAMS SHUT - and BILLY, his movements still weak, moves a few steps from the car and stops. SUBTITLE :\",\n \"OCTOBER 24, 1975 - BABYLON, LONG ISLAND Framing Billy are SUSAN and his FATHER, both silent. They look with him at HIS SISTER, BROTHER, UNCLE, AUNT, SISTER - In - LAW FAMILY FRIEND - AND GRANDMOTHER, all on the porch of the ordinary house in BABYLON, LONG ISLAND - DAY ; all of them returning his gaze in that first SILENT moment. Curiosity. Recognition. Shock. Love. And then they move. But we do n't hear their movements. It is SOUNDLESS reunion ; the SISTER running out first in SLOW MOTION, the MOTHER following last, crying ; the GRANDMOTHER too infirm to move, the shaking her head from side to side in SLOW MOTION, her tears lost somewhere in the wrinkles of her face. BILLY surrounded by FAMILY - SLOW MOTION - SOUNDLESS. His eyes flooding. All the feelings in him. And deep inside - a solitary question. THE CHARACTER NAMED BELL IS STILL INSIDE. -LRB- ROLL THE LIST OF NAMES -RRB- And OVER this, the SOUND of a PASSING TRAIN rushing by in the night - UP, FAST and AWAY. -LRB- Getchmis Olsun -RRB- THE END\"\n]"},"labels":{"kind":"list like","value":[1,1,1,0,1,0],"string":"[\n 1,\n 1,\n 1,\n 0,\n 1,\n 0\n]"},"summary":{"kind":"string","value":"On October 6, 1970, on holiday in Istanbul, Turkey, American college student Billy Hayes straps 2 kg of hashish blocks to his chest. While attempting to board a plane back to the United States with his girlfriend, Billy is arrested by Turkish police on high alert for fear of terrorist attacks. He is strip-searched, photographed, and questioned. After a while, a shadowy American – who is never named but is nicknamed \"Tex\" by Billy, for his thick Texan accent – arrives, takes Billy to a police station, and translates Billy's English for one of the detectives. Billy says that he bought the hashish from a taxicab driver and offers to help the police track him down in exchange for his release. Billy goes with the police to a nearby market and points out the cab driver, but when they go to arrest the cabbie, it becomes apparent that the police have no intention of keeping their end of the deal with Billy. He sees an opportunity and makes a run for it, only to get cornered and recaptured by the mysterious American. During his first night in holding at a local jail, a freezing-cold Billy sneaks out of his cell and steals a blanket. Later that night, he is rousted from his cell and brutally beaten by chief guard Hamidou for the theft. A few days later, Billy wakes up in Sağmalcılar Prison, surrounded by fellow Western prisoners Jimmy (an American who is in for stealing two candlesticks from a mosque), Max (an English heroin addict), and Erich (a Swede, also in for drug smuggling), who help him to his feet. Jimmy tells Billy that the prison is a dangerous place for foreigners like them and that no one can be trusted, not even young children. Billy meets his father, along with a US representative and a Turkish lawyer to discuss what will happen to him. Billy is sent to trial for his case, during which the angry prosecutor makes a case against him for drug smuggling. The lead judge is sympathetic to Billy and gives him only a four-year sentence for drug possession. Billy and his father are horrified at the outcome, but their Turkish lawyer insists that it is a very good result. Jimmy tries to encourage Billy to become part of an escape attempt through the prison's tunnels. Believing that he is to be released soon, Billy rebuffs Jimmy, who goes on to attempt an escape himself. Caught, he is brutally beaten. Then, in 1974, Billy finds out 53 days before he is due for release, that his sentence has been overturned by the Turkish High Court in Ankara after an appeal by the prosecution. The prosecutor originally wished to have him found guilty of smuggling and not the lesser charge of possession. Billy is shocked to find out that he now has to serve 30 years for his crime. In desperation, Billy goes along with a prison break that Jimmy has masterminded. Along with Jimmy and Max, he tries to escape through the catacombs below the prison, but their plans are revealed to the prison authorities by fellow prisoner Rifki. His stay becomes harsh and brutal: terrifying scenes of physical and mental torture follow one another, and Billy has a breakdown. He beats up and bites out Rifki's tongue and is sent to the prison's ward for the insane, where he wanders in a daze among the other disturbed and catatonic prisoners. In 1975, Billy's girlfriend, Susan, comes to see him. Devastated at what has happened to Billy, she tells him that he has to escape or he will die in there. She leaves him a scrapbook with money hidden inside as \"a picture of your good friend Mr. Franklin from the bank\" in the hope that Billy can use it to help him escape. Her visit moves Billy strongly, and he regains his senses. Billy says goodbye to Max, telling him not to die and promising to come back for him. He then tries to bribe Hamidou into taking him where there are no guards, but Hamidou takes Billy to another room and prepares to rape him. He suddenly and inadvertently kills Hamidou by pushing his head onto a coat hook that sticks out of the wall. Here, Billy seizes the opportunity to escape by putting on a guard's uniform and walking out of the front door. In the epilogue, it is explained that on the night of October 4, 1975, Billy successfully crossed the border to Greece and arrived home three weeks later."},"name":{"kind":"string","value":"Midnight_Express_(film)"}}},{"rowIdx":85,"cells":{"scenes":{"kind":"list like","value":["INT. Jack Burden's Desk, The Chronicle, Day Jack Burden is looking over the morning edition of `` The Chronicle.'' He reads the society page. A man enters and leans across his desk. MAN Burden! Jack Burden! The boss wants to see you. He folds his paper, rises, and walks by the presses into Madison's office.","INT. Madison's Office, Day Madison, the city editor, is correcting copy at his desk. MADISON Hey, Jack, ever hear of a fellow called Willie Stark? JACK No. Who'd he shoot? MADISON Oh, county. uh. treasurer, or something like that. JACK What's so special about him? MADISON They say he's an honest man. What I want you to do is to hop into your car. JACK Why, you promised me a vacation. MADISON Well, that can wait. JACK Yeah. but there's a. a girl I know. He opens his newspaper to the society page and shows Madison a photograph of Anne Stanton. MADISON Oh. Well, she can wait too. Jack takes the paper back and looks at it. JACK The question is. can I? MADISON The answer is. get up there. JACK Right. -LRB- starts to go. -RRB- Oh. uh. what did you say his name was? MADISON Who? JACK The fellow's name. MADISON Oh, the. uh. Stark. Willie Stark. Madison goes on with his work. JACK -LRB- as he leaves. -RRB- Willie Stark.","EXT. Kanoma City, Day As Jack Burden's jalopy pulls up before the Kanoma County Courthouse of this back - country, one - street small town. JACK -LRB- voice over. -RRB- I found him in Kanoma City. A typical, hot, dusty, backwoods county seat. He gets out of the car, and notices a crowd of people gathered around a platform in the town square. As he walks over the begins to hear the words that Willie Stark is speaking. WILLIE to lie to them in order to line their own dirty pockets with the taxpayers' money. When have the citizens of Kanoma County ever witnessed a campaign like this? Why is the opposition so anxious to defeat me? Why have they used every dirty method known to make sure I'm not elected county treasurer? Well, I'll tell you why. A man in shirt sleeves and suspenders, Tiny Duffy, comes out of the local poolroom, listens for a moment to Willie's speech, and signals to two uniformed men to go over and break up the gathering. Jack Burden stands close to the platform, next to Willie's son, Tom, who waits patiently to distribute handbills. WILLIE Because they're afraid of the truth. and the truth is this. They're trying to steal your money. Yeah, I said steal. The county commissioners rejected the bid on the schoolhouse. Why? Well, they'll tell you their reason is the job will be done better. The county commissioners would have you believe that they're interested in public welfare. They're interested in welfare, sure. But it's their own. Let's look at the reason in the light of the facts and the figures. That brick factory is owned by one of the commissioners. That same brick factory uses convict labor. The sheriff and his deputy push through the crowd. SHERIFF Sorry, Willie, you'll have to move on. WILLIE Why? SHERIFF City Ordinance Number One - Oh - Five : more than five people congregating is disturbing the peace. WILLIE -LRB- ignores him. -RRB- If you folks'll be so kind as to read these handbills, my boy will pass them out among you. SHERIFF There's an ordinance against that too. WILLIE -LRB- his face grim. -RRB- Pass'em out, Tom. The sheriff pushes Tom back, grabbing the handbills out of his hand. Willie jumps down off the platform. WILLIE Let him alone! The sheriff collars Willie, then notices Jack on the platform snapping a picture. SHERIFF -LRB- to deputy. -RRB- Get that camera! Willie, you're under arrest. He takes Willie by the arm and leads him away. The crowd follows them to the courthouse. Tiny Duffy wipes the sweat off his neck and goes back into the poolroom.","INT. Kanoma City Poolroom, Day Two of Duffy's men, Pillsbury and a local commissioner, are playing pool as Jack enters. JACK Where can I find Tiny Duffy? PILLSBURY Right over there, mister. He walks over to Duffy. Some townspeople, who followed him there, gather around him to listen. JACK Uh, they told me I could get my camera back here. DUFFY Who told you that? JACK People. Can I? DUFFY You the reporter that's been snoopin' around town? JACK Are you Tiny Duffy? DUFFY What paper? JACK Chronicle. DUFFY You sure come a long way to stick your nose into other people's business. JACK That's true. Only my boss on the paper ca n't see it that way. DUFFY It ai n't any of his business either. JACK Whose business is it? PILLSBURY Them as is tendin' to it. County commissioners that the voters of Kanoma County elected to tend to their business and not take no buttin' in from nobody. JACK You a commissioner? PILLSBURY Yeah. Name's Pillsbury. Dolph Pillsbury. 2ND COMMISSIONER Me too. I'm a commissioner too. JACK Who is n't a commissioner? DUFFY He's the head man. JACK -LRB- to Pillsbury. -RRB- Then you're in a position to know where - DUFFY He's in a position to know nothin'. And to say nothin'. JACK I thought you said he was head man? DUFFY -LRB- smiling. -RRB- He uses my head. PILLSBURY -LRB- laughing loudly. -RRB- Oh, Tiny, you're a card. Ai n't he a card? Yeah, he's a card. Now, who thought up those city ordinances about arresting someone for making a speech? DUFFY Who's arrested? Nobody's been arrested. -LRB- looks toward the door. -RRB- Hi, Willie. Willie enters, accompanied by the sheriff and his deputy. The others in the room, including Sugar Boy in his bartender's apron, step aside to let him pass through. PILLSBURY Hi, Willie. DUFFY -LRB- to Sheriff. -RRB- Did you apologize to Willie? SHERIFF -LRB- mumbles. -RRB- Yeah, I apologized to Willie. DUFFY Did you give him his handbills back? SHERIFF Yeah, I gave'em back. DUFFY Give him back his flag and his bag and. -LRB- points to Jack. -RRB- give this man his camera. WILLIE I'm going to be on that same street corner tomorrow, Mr. Duffy. DUFFY You go right ahead, Willie. We all believe in free speech. We got to. it's in the Constitution. WILLIE My boy is out distributing those handbills now. DUFFY It's a free country, Willie. If you can convince the people to vote for you. you go right ahead. WILLIE What did you want to see me about, Mr. Duffy? DUFFY I wanted you to meet a fella came all the way up from the state capital to meet you. A reporter. Wants to write you up. maybe put your picture in the paper. WILLIE -LRB- turns to Jack. -RRB- I'm happy to know you, sir. JACK Burden's my name. Jack Burden. Can we go somewhere where we can talk? DUFFY Now that ai n't polite. Do n't you want to hear both sides of the story? Jack examines the camera that has just been returned to him. JACK I know your side. -LRB- finds the plate missing. -RRB- What happened to the plate your men took from my camera? DUFFY Must have dropped out. Oh, come on, fellas, let's relax. It's a hot day. Hey, Sugar Boy. SUGAR BOY Yeah? DUFFY Bring some cold beer for the boys. WILLIE None for me, thank you kindly. PILLSBURY Now you know Willie do n't drink, Tiny. His wife do n't favor drinking. And Willie's the teacher's pet, ai n't you, Willie? WILLIE I'll have some orange pop if you do n't mind. Duffy roars with laughter. DUFFY Orange pop! All right, Sugar Boy. Bring him some orange pop. SUGAR BOY -LRB- stutters. -RRB- Th - th - the p - p - pop's s - s - sold out. DUFFY Did you hear that, boys? The p - p - pop's s - s - sold out. They all laugh. PILLSBURY Now ai n't he a card? WILLIE -LRB- his face hard. -RRB- He stutters, Mr. Duffy, but you. you do n't say anything. -LRB- to Jack. -RRB- Let's go, mister. They turn and go out.","EXT. Dirt Road, Day Jack is driving Willie home to his farmhouse. They pass a farmer and his family walking by the side of the road. Willie smiles and waves to them.","EXT. Stark Farmhouse, Day As the car pulls into the drive we see Pa Stark in his rocking chair on the porch, and Lucy, who stands at the top of the steps, waiting to welcome Willie. WILLIE -LRB- as they go up the steps. -RRB- This is my wife, Lucy, Mr. Burden. JACK AND LUCY How do you do? WILLIE That's my pa.. Jack reaches out to shake his hand.","INT. Stark Farmhouse, Night Willie finishes chewing his food, pats his mouth with a napkin, and pushes his plate back. WILLIE Now we'll talk. Camera pulls back to include Jack, Lucy, and Pa, all seated around the dinner table. JACK You've been talking for a long time, Mr. Stark. PAPPY Willie's got a lot to say. LUCY You sleepy, Pappy? You want to have a nap? PAPPY No, I want to hear it. Lucy gets up and turns on a light in the kitchen. LUCY I'm worried about Tom. It's getting dark. He should have been home. WILLIE He's a strong boy. Do n't worry about him. He can take care of himself. JACK How old is the boy? WILLIE Fifteen. JACK How long have you been married? WILLIE Nine years. Willie grins at Jack's look of surprise. Lucy comes back into the room. LUCY -LRB- laughs. -RRB- He was a neighbor's boy. They were poor folks. Both died. I could n't have any children, so. He's a good boy. WILLIE Oh, he's the best. I could n't love him any more if he was my own flesh and blood. JACK -LRB- to Lucy. -RRB- And now you, Mrs. Stark? LUCY Oh, there is n't very much to tell about me. JACK How did you meet? LUCY I was teaching school and one day a pupil walked in. It was Willie. I could n't have a grown man in the class and Willie wanted to learn so badly. so I married him. JACK Is that the only reason? LUCY -LRB- pressing Willie's arm. -RRB- Except that I loved him. WILLIE Get the coffee, Lucy. She goes back into the kitchen. JACK When did they fire you, Mrs. Stark? LUCY -LRB- as she serves the coffee. -RRB- A couple of weeks ago. I'd been teaching for a long time and nobody ever said I was n't all right. But I do n't care. I do n't want to teach in a schoolhouse that they built just so somebody can steal some money. And Willie does n't want to be Treasurer, either, if he has to associate with those dishonest people. WILLIE -LRB- glumly. -RRB- I'm going to run. They ca n't keep me from running. JACK If you do n't mind the truth, Mr. Stark, you have n't much of a chance. WILLIE I'm going to run. They're not going to kick me around like I was dirt. LUCY I do n't care if Willie loses. just so he gets the truth to the people. Is n't that true, Willie? Willie is silent. Jack looks at him. LUCY Is n't it, Willie? WILLIE Hmmm? Yeah, yeah, sure, that's right. LUCY Well, if you lose you can give a little more time to studying your law books. JACK Oh, you studying law too? WILLIE By myself, at night. PAPPY Willie's a smart boy. WILLIE If I ever find the time I'm going to take a course at the university. The door opens slowly and Tom comes in from the porch. His clothes are torn and his face is dirty and bloody. He still carries some of the handbills. They rise to their feet and cluster around him. LUCY What happened, Tommy boy? What's the matter? TOM -LRB- head down, muttering. -RRB- I gave out the handbills, Pa.. WILLIE Speak up. Speak up. LUCY Let him tell it his own way. Go on, Tommy. TOM This time they were waiting for me. They took them away from me. Threw them in the dirt and beat me up. I brought some of them back. WILLIE -LRB- pats him on the back. -RRB- Good boy. Have you eaten yet, Tom? LUCY Let him wash up first. As Tom and Pappy go into the other room, a rock comes crashing through the front window, shattering the glass. Willie, his face filled with anger, throws open the door and stalks out onto the porch. Jack stands at the door, watching Willie shout into the darkness around him. WILLIE I'm going to run. and you're not going to stop me. I'm gon na run even if I do n't get a single vote. FADE OUT","INT. Jack Burden's Desk, Day Jack's fingers type out a story, the last line of which reads `` an honest man with courage.'' He pulls the sheet out and hands it to Madison. JACK Here you are. the last of the Willie Stark articles. Now can I go? MADISON Yes. You've earned your vacation. You've been writing these like you really mean them. Jack rises and walks toward the door. JACK I do.","EXT. Ferry To Burden's Landing, Day Jack's car is ferried across the bay to the slip of Burden's Landing. JACK -LRB- voice over. -RRB- I had n't been home in a long time. Only a hundred and thirty miles from Kanoma City. It was separated from the mainland by a body of water. For the first time I wondered if it was n't separated by more than that.","EXT. Mrs. Burden's Home, Day As Jack arrives, Mrs. Burden and her husband, McEvoy, are seated at a lawn table near the boat landing. JACK Hello, Mother. She runs forward to meet him. MRS. BURDEN Floyd, Jack's home. Oh, he looks fine. does n't he look fine? -LRB- to Jack, coquettishly. -RRB- How do I look, Jackie boy? JACK You look beautiful, Mother. MRS. BURDEN I've got so many things planned for you. parties and. it'll be just like old times. But first, let's have a drink. MCEVOY Ca n't that wait until this evening? She goes ahead and pours the drinks. MRS. BURDEN Floyd. honey. my son's home. MCEVOY How long do you plan on staying? JACK -LRB- coldly. -RRB- Two or three weeks. If that's all right with you. MRS. BURDEN I'm sure your father would be - JACK Stepfather, Mother. MRS. BURDEN -LRB- reproachfully. -RRB- Now, Jackie. here we all are. Floyd, Jackie, myself. -LRB- raises her glass for a toast. -RRB- To the best time we've ever had together. JACK Yes, Mother. They drink. Mrs. Burden gulps hers down avidly. Jack looks at her and then at McEvoy. JACK Excuse me. I. He turns and walks back toward the shore. He boards a small motorboat and heads toward a house that can be seen across the water.","EXT. Stanton Home (Burden's Landing), Day As the boat approaches the shore. Adam Stanton reaches down and pulls the boat up on land. He throws his arm around Jack, and the two climb the hill toward Judge Stanton, who stands waiting to greet him. JACK Dr. Stanton, I presume. STANTON -LRB- laughing. -RRB- Is my shingle showing? JUDGE Good to see you, boy. Very good. JACK Good to see you, Judge. How have you been? What have you been doing? They walk back together to the patio tables. JUDGE Oh, just sitting here. waiting for all of you to come home. You know, when a man starts to get old his eyes stray and play funny tricks on him. As I watched you in that boat I thought sure I saw a boy of twelve with a fishing rod in his hands. And I was sure the first thing he'd say would be. Jack catches sight of Anne Stanton walking down the path. He runs to meet her. As they embrace, he looks back at the Judge. JACK Do you mind if I kiss your niece, sir? He kisses her, and they turn and walk away.","EXT. Tennis Court (Burden's Landing), Day Anne gracefully returns a ball to Jack, then runs to embrace him at the net. Adam, seated near the court, smiles approvingly.","EXT. Gulf (Burden's Landing), Morning Jack and Judge Stanton in a rowboat, on their way to do some duck hunting.","EXT. Gulf (Burden's Landing), Day Adam is at the wheel of his sailboat, with Jack and Anne behind him.","INT. Stanton Living Room (Burden's Landing), Night A party in the Stanton living room. Adam plays the piano. He plays a waltz. Jack and Anne hold each other tightly as they move among the other couples.","INT. Burden Dining Room, Night A formal dinner, attended by Jack and Anne, Mrs. Burden and McEvoy, Judge Stanton and Adam. Mrs. Burden is proposing a toast. MRS. BURDEN To all the good times we've had together at Burden's Landing. And especially to this one. Because my son's home. JACK Thank you, Mother. Thank you very much. MRS. BURDEN Monty, Anne and I have been discussing Jack's career. What do you think he ought to go in for? Shall he be a lawyer, doctor. Jack looks at Anne. ANNE We were just discussing whether you should. JACK -LRB- to his mother. -RRB- I like what I'm doing, Mother. MCEVOY You do very well at it. I read your articles about this fellow. Willie Stark. Very convincing. Too convincing for my tastes. JACK A lot of people like them. MCEVOY A lot of people are fools. Articles like that should n't be permitted. They only tend to incite people. JACK What are you afraid of? STANTON I thought they were very good. I was proud of you, Jack. I was particularly interested in Stark's ideas on health and medicine. You know the conditions at the hospital I work in. They're intolerable. I'd like to meet this Willie Stark. He sounds like an honest man. MCEVOY Honest man? This state is full of these log - cabin Abe Lincolns with price tags on them. The louder he yells the higher his price. JACK You think you can buy anything, do n't you? MCEVOY Yes, do n't you? There is a silence. Then McEvoy turns to the Judge. MCEVOY What do you think, Judge? JUDGE I think this state could stand a few changes. MCEVOY -LRB- his face white. -RRB- Well, I'll tell you what I think - ANNE -LRB- quickly. -RRB- Oh, please. let's not talk politics. MRS. BURDEN Anne is right. I absolutely forbid any more of it. I know what we need, we need another toast. -LRB- to the Judge. -RRB- You propose it, Monty. you're so good at it. The Judge picks up his glass and stands up. JUDGE To the young people. to Anne, to Jack, to Adam. To what lies before them. To the world they'll make. in spite of the mistakes we've made. MCEVOY -LRB- rising. -RRB- The mistakes you've made, not me. You're all still pretty high and mighty, are n't you? You all think this state needs a change. You do n't like the way it's run. Well, who's going to run it? Willie Stark? The Judge? -LRB- to Jack. -RRB- You? You can be bought too. As a matter of fact you have been. And with my money. Jack's answer is to throw his liquor in his stepfather's face. There is a pause. McEvoy wipes the liquor off with his handkerchief. MCEVOY -LRB- slowly. -RRB- That's a waste of good liquor. -LRB- looks at Mrs. Burden. -RRB- Your mother would n't approve. Jack turns and leaves the room. MRS. BURDEN Jack. She hurries after him.","EXT. Veranda, Night As Mrs. Burden comes out after Jack. Anne stands in the doorway. MRS. BURDEN Jack. you go back in and apologize. JACK Apologize? I'd rather die. MRS. BURDEN I've got to live with him. JACK Well, I do n't. Neither do you. You do n't love him, Mother. You never did. MRS. BURDEN Son, do n't spoil anything now. He can help you. JACK I can get along without him. You need this house. And the parties. And the cars and the clothes and the lies. I do n't. It's the truth, Mother, face it. For once in your life, face it. Mrs. Burden appeals to Anne. MRS. BURDEN Anne, please. please make him understand. Anne says nothing. Mrs. Burden goes back into the house.","INT. Stanton Living Room, Night Anne and Jack sit alone in the room, beneath the portrait of the old Governor Stanton. JACK Anne, Burden's Landing is a place on the moon. It is n't real. It does n't exist. It's me pretending I live on what I earn. It's my mother trying to keep herself young, and drinking herself old doing it. It's you and Adam living in this house as though your father were still alive. It's an old man like the Judge dreaming of the past. Anne, come away with me. ANNE And do what? JACK -LRB- rises impatiently. -RRB- And live in a shack and eat red beans. Anne, what do you want me to do? ANNE Oh, Jack, Jack, you have n't been sure. You've gone from one thing to the other. a year at law school, and now this job as a reporter. JACK Are you afraid I ca n't make a living? ANNE Oh, no, Jack, it is n't that. I do n't care about the money. It. it's just that I. I want you to be something. JACK What is it you want me to be? ANNE I do n't know. It's just that I want you to be. to do. something important. Jack looks up at the portrait of Governor Stanton. JACK Like your father. All right. I'll run for governor. -LRB- pause. -RRB- Anne, I'm sorry. I'm sorry I said that. ANNE All right, Jack. I'll go away with you. I'll do anything you want me to do. They kiss. JACK Anne, I've wanted you to say that more than anything in the world, and now that you've said it. Anne, I guess you were right. I'm not sure of anything, including myself. I'm not sure I could live up to the. -LRB- looks again at the portrait. -RRB- Anne, wait for me. Please wait for me. ANNE I'll wait for you.","INT. Madison's Office, Day Madison is at his desk as Jack enters. MADISON Hello, Jack. Cut your vacation short, did n't you? JACK Yeah. MADISON By the way, Jack, the fellow you wrote the articles about. uh. Stark. JACK Yeah? MADISON He lost. JACK Well, I guess that's the end of Willie Stark. He turns around and walks off toward his desk. FADE OUT","INT. Stark Farmhouse, Night Lucy and Willie are seated together at the table. Willie has his law books open before him. WILLIE Measure of the damages is caused by. LUCY -LRB- prompting. -RRB- A breach. WILLIE A breach. LUCY Of an agreement. WILLIE Of an agreement. LUCY To sell personal property. WILLIE To sell. -LRB- slams the book shut. -RRB- Oh, two years of this. LUCY -LRB- leaning over to him. -RRB- Oh, go on, Willie, go on. He opens the book again.","INT. Willie's Law Office (Kanoma City), Day Willie positions the framed diploma on the wall. The camera pulls back to show Tom and Lucy, looking on. WILLIE Willie Stark. Bachelor of Law.","EXT. Kanoma City Farm, Day Close shot of Willie, talking to a farmer. WILLIE If you'll just let me take your case.","EXT. Farm, Day Willie walks beside a farmer who is plowing his field. WILLIE Really, I'll wait for my fee. Just as long as you want me to.","INT. Willie's Law Office, Night Through the window, on which is printed `` Willie Stark : Attorney at Law,'' we see Willie, alone, pacing back and forth in his office. LUCY'S VOICE Go on, Willie, go on. WILLIE'S VOICE They're not going to kick me around like I was dirt. LUCY'S VOICE If you lose you can give a little more time studying your law books. WILLIE'S VOICE I'm going to be on that same street corner tomorrow, Mr. Duffy! DUFFY'S VOICE By all means. Free speech, free country, Willie. WILLIE'S VOICE That brick factory is owned by a brother - in - law of one of the commissioners. The county commissioners rejected the low bid on the schoolhouse. Willie crumples a piece of paper in his hand and tosses it against the window.","EXT. Schoolhouse (Kanoma City), Day A plaque on the school wall reads KANOMA CITY GRAMMAR SCHOOL","INT. Schoolroom, Day Teacher faces her class. The clanging of a fire bell is heard. TEACHER All right, children, this is a fire drill. The children rise and start to march out of the room in double file. TEACHER Remember now, walk quietly.","EXT. Schoolhouse, Day The children's feet, as they climb down the fire escape. Camera pans past children to an iron rod supporting the fire escape. The brick around the rod starts to crumble and it rips loose. The children scream out in fear and agony.","EXT. Cemetery, Day The whole town is there. Willie Stark, Lucy, Tom stand modestly in the background. Quiet sobbing is heard as the minister reads from the Bible. When he finishes the prayer, he walks past the line of mourners, shaking their hands. The ceremony is over. As they start to go, a man spots Willie, goes over to him, and lifts Willie's arm in the air. MAN Oh, Lord, I'm punished for voting against an honest man. This sudden action brings response ; women begin to cry and people push their way forward to grab Willie by the hand. VOICES OF THE MOURNERS God bless you, Willie. If we had only listened to you, Willie. You were right, Willie. Let me shake your hand, Willie. We should have listened, Willie. You were right all the time. On Willie's face is the realization that something important has happened to him.","INT. Stark Farmhouse, Night An article is pasted in a scrapbook. It reads : `` VOICE IN THE WILDERNESS. Recent school tragedy is a potent reminder that a man named Willie Stark.'' A hand draws a pencil underneath the name. WILLIE'S VOICE A voice in the wilderness. A man named Willie Stark. Camera pulls back to show Willie at the table busy with his scrapbook. He looks up at Lucy. WILLIE How about that, Lucy, that's me. She looks at him, unsmiling, and sits down to help him clip various articles from other papers.","INT. Stark Farmhouse, Night A series of clippings are being pasted in the scrapbook. They read : A. SCHOOL VICTIMS SUE COUNTY : STARK FILES DAMAGE SUIT `` Will prove graft cause of tragedy,'' says Attorney Stark. B. CITIZENS COMMITTEE FORMED Draft Stark to lead fight to rid state of graft. C. CITIZENS COMMITTEE DEMANDS STATE - WIDE INVESTIGATION D. Large photograph of Willie. Under it, the caption : RURAL AREAS IN REVOLT","INT. Madison's Office, The Chronicle, Day The clippings are spread out on Madison's desk. He looks up at Jack. MADISON Get up there. Get up there fast. Your friend, Willie, is hotter than a firecracker. Jack starts toward the door. MADISON Stay there with him.","INT. Harrison's Political Headquarters (State Capital), Day A politician points to a map on the wall. POLITICIAN Look, before this Kanoma City business we had this whole area tied up. Now we're losing to Hickville. Camera pulls back, revealing the candidate, Harrison, Tiny Duffy, and a woman, Sadie Burke. POLITICIAN We must find a way to split that vote. HARRISON Well, all I know is, the way it is now it looks like I'm not going to win. POLITICIAN I know a way. find a dummy. SADIE Find a dummy. -LRB- looks at Harrison. -RRB- That's what we've got. POLITICIAN A guy from the sticks. strong enough to grab some votes and dumb enough not to ask questions. DUFFY If you want to listen to a boy from the sticks, I know just the guy. They crowd around to listen.","INT. Stark Farmhouse, Day Jack sits at the dinner table, with Willie and Lucy. Tom stands next to Willie. Pappy dozes in his chair. JACK No more politics, eh, Willie? WILLIE No, I worked too hard in my time to get there. I think I'll just go on practicing law and make a little more money. JACK The question I'd like to know is, why all the speeches you're making around the countryside? Willie is about to answer when he hears the sound of approaching cars. WILLIE Wonder who that is? He goes to the window, and we see a big black limousine turning into his drive. He opens the door and waits as Sadie, Duffy, Dolph Pillsbury, and other politicians climb the steps to meet him. DUFFY Brought some people all the way up from the state capital just to meet you. -LRB- turns to others. -RRB- Folks, I want you to meet Willie Stark, the next governor of our state. Willie, Lucy, and Tom beam happily. Jack looks skeptically at Sadie, whose only reaction is to smile, politely.","EXT. Country Road, Day Close shot of three posters on a billboard. They read ELECT JOE HARRISON -LRB- HAPPY JOE -RRB- GOVERNOR FOR GOVERNOR ELECT McMURPHY WILLIE STARK FOR GOVERNOR. The camera pans to the road, where an old Model T comes bouncing along. As it passes we see a poster stuck on its back : WILLIE STARK - GOVERNOR.","EXT. Railroad Station, Day Willie Stark walks out on the platform at the rear of the train and talks to some of the townspeople who have gathered at the station. WILLIE Folks, if you'll just bear patiently with me for a couple of minutes, I'd like to tell you what this state needs. It needs a balanced tax program. Now I'd like to give you the facts and the figures. Some of the townspeople start to move away.","INT. Train, Day As the train pulls away from the station, Willie turns around to Jack. WILLIE How did it sound, Jack? JACK Fine, Willie, fine. WILLIE -LRB- alarmed. -RRB- Say. I forgot to send a telegram to Lucy. Conductor! Jack and Sadie exchange looks.","INT. Train Club Car, Day Willie, jacket off, works over a speech with Duffy as Pillsbury and Sadie look on. WILLIE Now right here. right here I'd like to add something about last year's taxes. eh? DUFFY I would n't add a thing. Just give them the facts. PILLSBURY Yeah. and the figures. DUFFY Great speech. Sadie sips her drink.","EXT. Street Corner (Upton), Day Willie stands on a platform, next to an American flag, reading from his prepared speech. WILLIE What this state needs is a balanced tax program. Last year, last year the state claimed to have spent on roads. Sadie turns and walks away, no longer able to listen. Jack follows her toward the hotel.","INT. Hotel Lobby (Upton), Day As Jack and Sadie cross the street, enter the lobby, and sit down next to the front window. We can still see Willie and his small street - corner audience in the background. JACK Do you mind if I sit with you, Sadie? SADIE -LRB- shrugs. -RRB- Stand. sit. JACK Thanks. Tell me, what are you on this merry - go - round for? SADIE I take notes. JACK For whom? SADIE For those who pay me. JACK Which is. SADIE People. JACK Smart people. SADIE Oh, yeah. Anybody that pays me is smart. JACK You do n't have to be smart to frame a guy like Willie Stark. SADIE No. No, brother, you do n't. JACK -LRB- lights a cigarette. -RRB- It is a frame, is n't it? SADIE Why do n't you give me a cigarette? JACK -LRB- gives her the pack. -RRB- To split the vote and win the election for Harrison, huh? SADIE If you know, why do you ask? JACK I just want to make sure. SADIE Yeah. JACK Look, why do n't you tell the boys back home to save their money. Willie could n't steal a vote from. from Abe Lincoln in the Cradle of the Confederacy. SADIE I wish the poor. had enough sense to have somebody give him a good greasing for the beating he's going to get.'Cause this way all he gets out of it is the ride. -LRB- looks at Willie through the window. -RRB- Hey, those speeches! Ai n't they awful? Ai n't they just plain awful? Question to you : if somebody told him he was a sucker, do you think he'd quit? Willie has just finished his speech and is on his way over to the hotel. JACK I do n't know, Sadie. I really do n't know. WILLIE -LRB- as he comes into the lobby. -RRB- Did it sound all right, Mr. Burden? JACK Fine, Willie, fine. WILLIE Thanks. He and Jack go upstairs together. Sadie watches them.","INT. Sadie's Hotel Room (Upton), Night Sadie lies on her bed, listening to Willie in the next room, rehearsing one of his speeches. WILLIE'S VOICE Now, friends, if you will bear patiently with me for a few minutes, I'll give you the figures. What we need is a balanced tax program. JACK'S VOICE No, Willie, no. Sadie pulls off a shoe and hurls it at the wall. SADIE What I need is some sleep. Shut up!","INT. Jack's Hotel Room (Upton), Same Time Willie lies on his bed. Jack finishes shaving in the bathroom as he continues to rehearse him. JACK -LRB- shouting back at Sadie. -RRB- Shut up yourself! -LRB- goes to bed, shakes Willie. -RRB- Listen, Willie, try it on your feet this time. WILLIE Oh, no. Wait a minute. My feet are killing me. Let me stay here, huh? JACK All right. Look, Willie, you tell'em too much. Just tell'em you're going to soak the fat boys and forget the rest of the tax stuff. WILLIE -LRB- pathetically. -RRB- That's what I say. JACK But it's the way you say it. Willie, make'em cry. Make'em laugh, make'em mad, even mad at you. Stir'em up and they'll love it and come back for more. But for heaven's sake do n't try and improve their minds. WILLIE -LRB- suddenly. -RRB- A man do n't have to be governor. JACK -LRB- surprised. -RRB- What? WILLIE A man do n't have to be governor. Pause. JACK Well, they have n't counted up the votes yet. WILLIE -LRB- quietly. -RRB- Oh, I'm going to lose, Mr. Burden. I know that. Do n't try and fool me. I'm not going to lie to you. I wanted it. I wanted it so badly I stayed up nights thinking about it. A man wants something so badly he gets mixed up in knowing what he wants. It's something inside of you. I would have made a good governor. Better than those other fellows. There is a knock on the door. JACK Come in. WILLIE -LRB- almost to himself. -RRB- A great governor. Sadie enters. She immediately spots the liquor, and pours herself a drink. SADIE Since you wo n't let me sleep you might at least give me a drink. WILLIE -LRB- muttering. -RRB- Build them highways. greatest system of highways in the country. JACK -LRB- to Sadie. -RRB- Help yourself. WILLIE I'll build schools. SADIE -LRB- to Jack. -RRB- What's up? JACK Nothing. except Willie here has been saying as how he's not going to be governor. SADIE -LRB- directly, to Jack. -RRB- So you told him. JACK I do n't tell anyone anything. I just listen. SADIE -LRB- goes to Willie. -RRB- Who told you? WILLIE Told me what? Told me what? SADIE That you're not going to be governor. WILLIE -LRB- getting up. -RRB- Jack! Told me what? Told me what? Jack says nothing. Sadie gulps down her drink, bangs the empty glass on the bureau top, and turns to face Willie. SADIE -LRB- loudly. -RRB- All right! That you've been framed, you poor sap. Willie looks at her steadily for a moment. WILLIE -LRB- quietly. -RRB- Framed? SADIE And how! Oh, you decoy, you woodenhead decoy! And you let'em. You let'em because you thought you were the little lamb of God. But you know what you are? -LRB- she waits for his answer ; he has none. -RRB- Well, you're the goat! You are the sacrificial goat! You are a sap. because you let'em. JACK Sadie! That's enough. SADIE Enough? He did n't even get anything out of it. Oh, they'd have paid you to take a rap like that, but they did n't have to pay a sap like you. Oh, no, you were so full of yourself and hot air, all you wanted was a chance to stand up on your hind legs and make a speech : my friends, what this state needs is a good five - cent cigar. What this state needs is a - WILLIE -LRB- to Jack. -RRB- Is it true? SADIE -LRB- prayerfully, to the ceiling. -RRB- He wants to know if it's true. WILLIE Is it true? JACK That's what they tell me. There is a long pause. Willie looks almost as if he is going to cry. Sadie pours out another drink, a stiff one. SADIE -LRB- handing it to him. -RRB- Here. Willie drinks it all. JACK Hey, lay off that. You're not used to it. SADIE -LRB- jeeringly. -RRB- He's not used to a lot of things. Are you, Willie? JACK -LRB- angrily. -RRB- Why do n't you lay off of him, Sadie? SADIE -LRB- ignores Jack. -RRB- Are you, Willie? Are you? Are you. are you, are you, are you? She shoves the bottle at him. He takes it and pours himself a drink.","INT. Sadie's Hotel Room (Upton), Morning Willie is snoring on the bed. Sadie's coat is thrown over him. She is in the bathroom, applying lipstick. Jack enters. SADIE Hi. JACK Well, things seem to have quieted down. SADIE -LRB- laughs. -RRB- Yeah, I quieted him down. JACK Yeah. How was he? Noisy? SADIE Oh, he reared some. He's been telling me all the things he's going to do. He's going to do big things, this fella. He's going to be President. He's going to kill people with his bare hands. I quieted him down. Hey! Who's Lucy? JACK His wife. SADIE He talks like she's his mammy. she's going to blow his nose for him. Jack sits on the bed next to Willie. JACK Well, I'll take him from here on in. They're waiting for him at the barbecue. Sadie pulls her coat off Willie and goes to the door. SADIE Yeah, well give me a receipt for the body and I'll be on my way. She leaves. Jack bends over Willie, who continues to snore. JACK Hey, Willie, Willie. come on, wake up, Willie. Come on, Willie.","EXT. Fairgrounds (Upton), Day A crowd mills about underneath a banner that reads HEAR WILLIE STARK MAMMOTH BARBECUE - UPTON FAIRGROUNDS","EXT. Fairgrounds, Day Willie, staggering a bit, hung over, reacts painfully to the staggering height of the Ferris wheel. He leans on Jack for support, and they walk on.","EXT. Fairgrounds, Day Willie takes a seat on the children's swing as Jack goes off to get some coffee. Two little girls stare curiously at him. Willie waves them off. Jack returns with the coffee and pours some whisky in it. Willie tips his hand, forcing him to pour more, then gulps his drink down.","EXT. Bandstand (Upton), Day Duffy, Pillsbury, and the other politicians stand on the platform, waiting for Willie. A band plays march music. Duffy goes over to Sadie, who is standing on the steps of the platform. DUFFY Where is he? SADIE -LRB- pointing. -RRB- There he is. Escorted by Jack, Willie approaches the platform and stumbles up the steps past Sadie. SADIE Whoops! DUFFY -LRB- to Jack. -RRB- Is he drunk? JACK Never touches the stuff. Lucy does n't favor drinkin'. Duffy follows Willie up on the platform. SADIE -LRB- to Jack. -RRB- How'd you get him here? He was out stiff. JACK Hair of the dog that bit him. SADIE Hair? He must have swallowed the dog. On the platform, Duffy looks uneasily at the bleary - eyed Willie. The band suddenly plays a fanfare, and the chairman steps up to the microphone. CHAIRMAN Ladies and gentlemen, it gives me a great deal of pleasure to introduce to you that true man of the people, the next governor of the state. Willie Stark. There is scattered applause as Willie steps forward to speak. WILLIE My friends. He turns his face from side to side, and fumbles in the right side of his coat pocket to fish out his speech. WILLIE My friends. I. He tries to focus on the speech, which he clutches before his eyes with both hands. Then he lifts his head, and looks directly at the people who have come to hear him. As he speaks, the camera focuses on the faces of these people : the farmers, workers, hicks, red - necks who are Willie's audience, Willie's people. WILLIE I have a speech here. It's a speech about what this state needs. There's no need in my telling you what this state needs. You are the state and you know what you need. You over there. look at your pants. Have they got holes in the knees? Listen to your stomach. Did you ever hear it rumble from hunger? And you, what about your crops? Did they ever rot in the field because the road was so bad you could n't get them to market? And you. What about your kids? Are they growing up ignorant as dirt, ignorant as you,'cause there's no school for them? No, I'm not going to read you any speech. He throws his speech away. Duffy looks alarmed. WILLIE But I am going to tell you a story. It's a funny story. SADIE -LRB- from the steps. -RRB- Hey! WILLIE'S VOICE So get ready to laugh. SADIE What's he up to? JACK Shut up! WILLIE Get ready to bust your sides laughing,'cause it's sure a funny story. It's about a hick. a hick like you, if you please. Yeah, like you. He grew up on the dirt roads and gully washes of a farm. He knew what it was to get up before dawn and get feed and slop and milk before breakfast. and then set out before sunup and walk six miles to a one - room, slab - sided schoolhouse. Oh, this hick knew what it was to be a hick, all right. He figured if he was going to get anything done, he had to do it himself. So he sat up nights and studied books. He studied law because he thought he might be able to change things some. for himself, and for folks like him. Sugar Boy listens intently, sharing in the anger in Willie's speech. WILLIE No, I'm not going to lie to you. He did n't start off thinking about the hicks and all the wonderful things he was going to do for them. No. No, he started off thinking of number one. But something came to him on the way. How he could do nothing for himself without the help of the people. That's what came to him. And it also came to him, with the powerful force of God's own lightning, back in his home country, when a schoolhouse collapsed because it was built of politics. rotten brick. It killed and mangled a dozen kids. But you know that story. The people were his friends because he fought that rotten brick. And some of the politicians down in the city, they knew that. So they rode up to his house in a big, fine, shiny car and said as how they wanted him to run for governor. Jack, electrified, grips Sadie's arm. JACK Sadie, he's wonderful. wonderful. Duffy fidgets as Willie continues to pace and speak, his face filled with conviction, and with fury. WILLIE So they told the hick. and he swallowed it. He looked in his heart and he thought in all humility how he'd like to try and change things. He was just a country boy who thought that even the plainest, poorest man can be governor if his fellow citizens find he's got the stuff for the job. Well, those fellows in the striped pants. they saw the hick and they took him in. He points his finger at Duffy, who is coming over to speak to him. DUFFY -LRB- low voice. -RRB- Willie, what are you trying to do? Willie turns on him, roaring. WILLIE There he is! There's your Judas Iscariot. -LRB- he pushes Duffy across the platform. -RRB- Look at him. lickspittle. nose - wiper. Duffy gestures frantically to the band. DUFFY Play! Play! WILLIE -LRB- pushing him again. -RRB- Look at him! DUFFY Play anything. The band starts to play, adding to the pandemonium. Willie shouts above it. WILLIE Look at him! Joe Harrison's dummy! Look at him! DUFFY That's a lie! WILLIE Look at him! Duffy signals to some of his goons standing near the platform. DUFFY Go get him, boys. go get him. Sugar Boy leaps up on the platform, his pistol drawn and pointed at Duffy's men. Willie throws up his arms to silence the crowd. WILLIE Now, shut up! Shut up, all of you. Now, listen to me, you hicks. Yeah, you're hicks too, and they fooled you a thousand times, just like they fooled me. But this time I'm going to fool somebody. I'm going to stay in this race. I'm on my own and I'm out for blood. The camera moves in close on Willie's face. WILLIE Listen to me, you hicks.","EXT. Willie's Speeches, Day and Night A series of close - ups of Willie's face as he shouts and jeers his message, always accompanied by the loud and frenzied cheers of the crowd. Superimposed over his face is the figure of Jack Burden, at his desk, typing out his stories. WILLIE Listen to me and lift up your eyes and look at God's blessed and unflyblown truth. And this is the truth. You're a hick. And nobody ever helped a hick but a hick himself. Loud cheers and yells. WILLIE All right, listen to me. listen to me. I was the hick they were going to use to split the hick vote. But I'm standing right here now on my hind legs. even a dog can learn to do that. Are you standing on your hind legs? Have you learned to do that much yet? Here it is, here it is, you hicks. Nail up anybody who stands in your way! Nail up Joe Harrison! Nail up McMurphy! And if they do n't deliver, give me a hammer and I'll do it myself. NEWSPAPER HEADLINE There is a photograph of Willie and a headline that reads STARK CHANCES BOOMING Superimposed over the newspaper is a shot of a crowd applauding and yelling for Willie.","INT. Joe Harrison's Campaign Headquarters, Night Duffy, Pillsbury, and other aides stand looking at a poster of Willie. POLITICIAN I want his throat cut, from ear to ear.","EXT. Willie's Campaign Montage Rock crashes through a window, knocking down a poster of Willie. Poster being torn off the side of a building. A man is attacked as he tries to distribute leaflets.","EXT. Jack Burden's Desk, The Chronicle, Night Jack is working on a story when Madison comes to his desk. MADISON No use going any further, Jack. We are n't printing them any more. JACK I thought the Chronicle line was - MADISON Divide and conquer? Stark is getting too big for his britches and the hicks are getting too smart. We're now supporting Harrison. JACK -LRB- stands up. -RRB- How do you square that? MADISON I work here. JACK -LRB- putting on his coat. -RRB- Well, I do n't. not any more. MADISON Jack, you fool. JACK If you had any guts you'd print this. MADISON I work here. I take orders. JACK I know. You've got a wife and three kids and your boy goes to Princeton. MADISON You wo n't find it easy to get another job. JACK I'm too rich to work.","EXT. Street Outside State Capitol, Day NEWSPAPER HEADLINE READS HARRISON WINS CLOSE RACE STARK SWEEPS RURAL AREAS CITY VOTE DECIDES ELECTION Superimposed over newspaper is a crowd cheering at Harrison's victory parade. Willie, raincoat thrown over his shoulders, looking grim, and Sadie and Sugar Boy are part of that crowd. They turn away and walk toward a bar.","INT. Bar, Day Jack is already at the bar. Willie, Sadie, and Sugar Boy join him there. JACK We did n't do so good. WILLIE Double bourbon. SADIE -LRB- sitting next to Jack. -RRB- Same for me. WILLIE And a beer. -LRB- to Jack. -RRB- I hear you got fired from the paper. JACK You heard wrong, Willie. I quit. WILLIE -LRB- passing the beer back to Sugar Boy. -RRB- You're smart.'Cause before I'm through with that mob they're not going to have enough money left to pay the boy that cleans the spittoons. JACK How do you feel, Willie? WILLIE I feel fine, fine. You see, Jack, I learned something. Willie and Sadie exchange looks. JACK Yeah. what? Close shot of Willie. WILLIE How to win. FADE OUT","EXT. Road, Day Jack stands on the side of the road, thumbing a ride. JACK -LRB- voice over. -RRB- I did n't see Willie again until his second campaign. four years later.","INT. Office, Night Jack turns in some copy to a man at a desk. JACK -LRB- voice over. -RRB- I drifted from job to job.","EXT. Street, Day Jack and others in front of an employment agency. JACK -LRB- voice over. -RRB-. That is, whenever I could find one.","INT. Bar, Night Jack, at the bar, looking haggard and disheveled, picks up a newspaper and turns to find a photograph of Anne. The caption reads STANTONS ARRIVE HOME. JACK -LRB- voice over. -RRB- But always further and further away from Anne, and the life at Burden's Landing.","EXT. Street, Day Camera pans with Jack as he trudges along the street. JACK -LRB- voice over. -RRB- But Willie was n't drifting. He knew where he was going. We see an insert of a newspaper. It has a caricature of Willie, swinging a sledge hammer. The caption reads STARK ATTACKS ADMINISTRATION CHARGES OLD MACHINE STILL CORRUPT JACK -LRB- voice over. -RRB- He had his foot in the door and he kept right on pushing to get in. He had lost the election but he had won the state. and he knew it. and the people knew it. MONTAGE : WILLIE'S LIFE Writing on a fence : THE PEOPLE'S WILL SHOULD BE THE LAW OF THE STATE. WILLIE STARK Painted on a rock : KNOWLEDGE BELONGS TO THE PEOPLE. WILLIE STARK Lettering on a barn : FREE MEDICINE FOR ALL PEOPLE - NOT AS A CHARITY BUT AS A RIGHT. WILLIE STARK Poster on a building : MY STUDY IS THE HEART OF THE PEOPLE. WILLIE STARK JACK -LRB- voice over. -RRB- They were all hopping on his bandwagon. even Tiny Duffy. Newspaper caricature : it shows Willie on a bandwagon headed for the state capitol. Everyone is trying to climb aboard. Caption is THEY'RE ALL FOR WILLIE NOW. Huge poster on the side of a building : MY STUDY IS THE HEART OF THE PEOPLE. Camera pans up to photograph of Willie on the poster. JACK -LRB- voice over. -RRB- Yep, Willie came back like he said he would.","INT. Willie's Office, Day Willie is being interviewed by a group of reporters. Sugar Boy lounges nearby, leaning against the wall. WILLIE Do you want to know what my platform is? Here it is : I'm going to soak the fat boys and I'm going to spread it thin.","EXT. Circus Grounds, Day We see balloons with inscriptions reading `` I'm for Willie,'' and a large banner stretching overhead, saying FREE CIRCUS TODAY - COMPLIMENTS OF WILLIE STARK. The crowd moves about, gazing at the clowns, animals, the trapeze act. JACK -LRB- voice over. -RRB- Willie was right - he'd learned how to win.","EXT. Park, Day A truck loaded with beer kegs pulls into the park. On the back of the truck is a sign : BIG STARK RALLY TODAY - FREE BEER - FREE FOOD - EVERYBODY INVITED. Superimposed over this is the image of dollar bills floating through the air. JACK -LRB- voice over. -RRB- He spent a lot of money doing it. an awful lot of money. I was beginning to wonder where he got it from. Montage : Willie's Second Campaign Hand holding check made payable to Willie Stark Campaign Fund. $ 7000. Willie's hand reaches out and takes it. Hand holding check payable to cash for $ 5000. Superimposed is Willie, looking on, and his hand endorsing the back of the check. Another check to the Stark Campaign Fund for $ 3500. Poster of Willie is superimposed. JACK -LRB- voice over. -RRB- There were rumors throughout the state that Willie was making deals with all kinds of people. strange deals. for Willie Stark. Crowd milling about circus grounds, with Willie's poster superimposed. Fireworks exploding. Crowd cheers. JACK -LRB- voice over. -RRB- The second time out, it was n't a campaign. it was a slaughter. It was Saturday night in a mining town. Huge poster is affixed to the side of a building. It bears Willie's face, and his slogans.","EXT. Hotel (State Capital), Day Crowd stands about as Willie and Jack make their way into the hotel. JACK -LRB- voice over. -RRB- He came back and he took me with him.","INT. Hotel Lobby, Day The lobby is packed as Willie, Jack, Sugar Boy, and Pillsbury enter. Willie makes signals to Duffy to tag along with the entourage. Willie leans over to speak to the room clerk. WILLIE This is Jack Burden, a friend of mine. From now on he's going to live here. Give him anything he wants. The group starts up the stairs, past the officers who are standing guard. Duffy stops to speak to one, pointing his finger at some of his men standing below. DUFFY Let these boys through, officer. WILLIE -LRB- to Jack. -RRB- Duffy works for me now. JACK It looks like everybody works for you. They start up the second flight of stairs. WILLIE No. No, not yet. But I want to keep him around. He reminds me of something I never want to forget. Willie stops and looks around at Duffy's men hurrying up the steps. WILLIE -LRB- to Duffy. -RRB- Come on, come on, come on, come on. Are these the boys? DUFFY These are the boys that can get the boys. WILLIE How many do you think we can get? DUFFY Fifty. WILLIE How much? DUFFY Five dollars a head. WILLIE -LRB- to Sugar Boy. -RRB- What do you think, Sugar? Do they look like good boys? SUGAR BOY T - t - they b - b - better be. WILLIE Get a hundred. All right, go on, all of you. Blow. Blow, blow. You too, Duffy. Go on. Duffy and his men turn and go downstairs. WILLIE -LRB- to Jack. -RRB- Handbill distributors. JACK If they all look like them I'd hate not to take one. WILLIE That's the object. Not like when they beat up my boy Tom. JACK How is Tom? WILLIE Oh, he's fine. He starts college in the fall. JACK Oh. And Lucy? Willie's expression changes. He starts up the stairs. WILLIE Fine. fine.","INT. Willie's Campaign Office In Hotel, Day The place is a beehive of activity, with typists and messengers scurrying about, all supervised by Sadie. SADIE Hey, I need a boy. Where's a boy? -LRB- boy runs up. -RRB- Take that downstairs ; they're waiting for it. Right away, on the double. -LRB- to typist. -RRB- Listen, baby, you've got to double - space all of this. he ca n't read, see. The door opens and Willie, Jack, and Sugar Boy come in. JACK Sadie! SADIE -LRB- to typist. -RRB- And they need four copies. -LRB- looks up. -RRB- Hi, Jack. How are you? WILLIE Sadie is my secretary now. -LRB- to messenger, trying to squeeze by. -RRB- Oh, pardon me. As Willie and Jack walk toward adjoining room, Sadie calls out : SADIE Fix your tie, Willie.","INT. Bedroom Hotel Suite, Day Willie and Jack enter from the office. WILLIE Hey, Sugar. Sugar Boy appears in the doorway. Sadie slips by into the room. WILLIE Keep everybody out of here. I want to talk to Jack and Sadie alone. He walks over to Jack, who leans back on the bed. WILLIE From now on you're working for me. JACK Doing what? WILLIE I do n't know. Something will turn up, wo n't it, Sadie? SADIE Yeah. We need a college man around. for research. WILLIE How much did they pay you on that newspaper? JACK Three hundred dollars a month. WILLIE -LRB- laughs. -RRB- I could buy you cheap, could n't I? JACK For a bag of salt. WILLIE No. No, I do n't play that way. I like you, boy. I always have. I'll tell you what I'll do. I'll give you four hundred dollars a month and traveling expenses. JACK You throw money around like it was money. Willie gets up and walks to the window. WILLIE Money? I do n't need money. People give me things. JACK Why? WILLIE Because they believe in me.","EXT. Burden's Landing, Day Willie's car is on the ferry crossing the bay to Burden's Landing. Sugar Boy drives the car off the ferry and up the road toward the house. JACK -LRB- voice over. -RRB- I was going home again. But this time it was different. Now I had a feeling that maybe the waiting was over. for me, and for Anne.","INT. Stanton Living Room (Burden's Landing), Night Close shot of Willie standing in front of the fireplace, beneath the portrait of Governor Stanton. WILLIE It's a far cry from where I come from. to this house. Camera pulls back. The room is crowded with people, all of them friends of the Stantons. Anne, Adam, Judge Stanton, Mrs. Burden, and McEvoy are part of the audience sitting around the fireplace. Jack stands next to Willie. WILLIE And standing here under the portrait of one of the greatest governors of this state, talking to you people. well, it's an honor I never thought I'd have. JACK Are there any questions? -LRB- looks around. -RRB- Mr. McEvoy. MCEVOY -LRB- smiles. -RRB- No, I have no questions. JACK Judge? JUDGE A few. but it will hold. STANTON I have a question. WILLIE Shoot. STANTON A lot of people in this state have been saying that you've been making deals. some of them with the very groups that you claim you're against. Is that true? JACK Adam, you know how rumors start. WILLIE Yes. Yes, that's true. I have nothing to hide. I'll make a deal with the devil if it'll help me carry out my program. But believe me, there are no strings attached to those deals. STANTON You're sure about that? WILLIE Doc, Jack here has been telling me how you feel about things. how you'd like to see a new hospital built, a hospital that's the biggest and best that money can buy. You want those things, Doc, because, well, because you're a man who wants to do good. Now, I'd like to ask you a question. STANTON Shoot. The guests laugh good - naturedly. WILLIE Do you know what good comes out of? STANTON You tell me, Mr. Stark. WILLIE Out of bad. that's what good comes out of. Because you ca n't make it out of anything else. You did n't know that, did you? STANTON No, I did n't. There's another question I'd like to ask you. You say there's only bad to start with and the good must come with the bad. Who's to determine what's good and what's bad? You? WILLIE Why not? STANTON How? WILLIE Why, that's easy. Just. just make it up as you go along. More laughter. Willie smiles and goes on. WILLIE Folks, there's a time to talk and there's a time to act. I think the time to act is right now. And with your support, I not only will win but I will do all of the things I promised. I need your help. Oh, I need it badly. But I'm not going to beg for it. In the name of this state which we love. in the name of the governor in whose house we meet. I demand it. There is immediate applause. Anne is the first to rush over and shake Willie's hand.","EXT. Stanton Home, Night The last of the guests are leaving. Jack and Willie remain with the Judge, Anne, and Adam. WILLIE -LRB- to Judge. -RRB- Well, what do you say, sir? JACK You've got to say yes. With you in the race. JUDGE I'm an old bird. I. WILLIE But a game one. They laugh. WILLIE Look, I'll give you complete power as attorney general. You can do anything you see fit. I'll swing the ax to clear the way for you. Is that a deal? The Judge smiles, then puts out his hand. JUDGE It's a deal. They shake hands. WILLIE Jack, we have to get back to town. a lot to do. -LRB- shakes hands with Adam. -RRB- Dr. Stanton. Jack kisses Anne on the cheek. Anne comes over and shakes Willie's hand. ANNE I'm very glad to have met you. FADE OUT","INT. Hotel Lobby (State Capital), Day People stand before the election return board in the hotel lobby. Camera pulls back, revealing a newspaper picture of Willie, and the headline STARK ELECTED GOVERNOR WILLIE WINS","EXT. Street Outside Willie's Hotel Balcony, Night A crowd stands below Willie's hotel window, chanting together : CROWD We want Willie! We want Willie! A high angle from the balcony shows Anne, Jack, and Adam in the center of the excited crowd, looking expectantly upward. Some of the people around them are carrying torches. Arc lights play over the dome of the state capitol in the background. In response to the chants, Willie appears on the balcony. With him, standing on the balcony, are Tom and Lucy. The crowd erupts into cheers as he steps outside. WILLIE -LRB- raises his hands for silence. -RRB- This is not a time for speechmaking. I should get on my knees and ask God to give me strength to carry out your will. Loud cheers. Adam watches Anne. She applauds. Willie looks down at the crowd and continues his speech. WILLIE This much I swear to you. These things you shall have. I'm going to build a hospital. The biggest that money can buy. and it will belong to you. That any man, woman, or child who is sick or in pain can go through those doors and know that everything will be done for them that man can do. To heal sickness. To ease pain. Free. Not as a charity, but as a right. And it is your right that every child shall have a complete education. That any man who produces anything can take it to market without paying toll. And no poor man's land or farm can be taxed or taken away from him. And it is the right of the people that they will not be deprived of hope. The crowd applauds, and Willie waves. We see Anne, face aglow, turn to Jack. ANNE Does he mean it, Jack? Does he? STANTON -LRB- as he walks away. -RRB- That's his bribe. Anne and Jack watch Adam as he leaves. FADE OUT Montage : Willie Becomes Governor Willie, Sadie, and Jack leaving their old campaign headquarters. Willie, Sadie, Jack, and others going upstairs in the governor's mansion. The ousted politicians are just packing up and leaving. JACK -LRB- voice over. -RRB- What if it was his bribe! He swept the old gang out of office. What if they hollered like stuck pigs? He jammed through bill after bill and the people got what they wanted. Willie yelling at the legislators during a session. WILLIE I demand that this bill be passed. Nobody's going to tell me how to run this state. Road excavation - a bulldozer clears away dirt. A huge crane maneuvers over a dam site. Men are seen working on the girders of a large power plant. JACK -LRB- voice over. -RRB- He started to build the roads, the schools, the power dams, to change the face of the state from one end to the other. His methods? Shots of uniformed policemen roughing up citizens. Willie and Sugar Boy move in on a man being held by cops. Willie looks on as Jack thumbs through his little black book. JACK -LRB- voice over. -RRB- Politics is a dirty game. and he played it rough and dirty. Willie's little black book was a record of sin and corruption. And me, Jack Burden? I kept the book and added up the accounts. Willie in a nightclub, surrounded by some show girls. A photographer takes a picture of Willie with a girl balanced on his knee. Willie leads a marching band out onto a football field. JACK -LRB- voice over. -RRB- Clown, show - off, playboy, they yelled at him. Building football stadiums. Fiercely proud of his son who played in them. Shot of Tom in football uniform running across the field with the ball. Willie, in the stands, hugs Lucy. WILLIE Oh, look at him go. He's going to be All - American. Willie makes an inspection of the police. He stops to adjust an officer's tie. JACK -LRB- voice over. -RRB- They said he was building up a private army. But he was building, always building. Sign at building excavation reads HERE ON THIS SITE WILL BE ERECTED THE GOVERNOR STARK HOSPITAL - `` TO HEAL SICKNESS. TO EASE PAIN. FREE. NOT AS A CHARITY - BUT AS A RIGHT''. WILLIE STARK. JACK -LRB- voice over. -RRB- Always playing up to the crowd. Letting them trample on tradition. Well, tradition needed trampling on. A square dance at the governor's mansion. Willie dances with Anne. JACK -LRB- voice over. -RRB- The crowd loved it. Willie loved it. and so did I. FADE OUT","INT. Executive Office Corridor, Day Jack walks down the corridor on the way to Willie's offices.","INT. Willie's Executive Offices, Day As Jack enters from the corridor, Sadie is coming out of Willie's private office. SADIE -LRB- through open door. -RRB- You low - down, no - good redneck. She slams the door hard. We hear Willie laugh. JACK -LRB- to secretary. -RRB- What goes on here? SECRETARY That's what Sadie wants to know. -LRB- she shows Jack newspaper containing photograph of Willie at the nightclub. -RRB- The boss poses for too many pictures. Jack grins, then walks into Sadie's office. SADIE I'll kill him. JACK Why, Sadie, I'm surprised at you. SADIE I'll kill him. She goes to the door to yell to the secretary. SADIE I hate all women. She slams the door again, and returns to her desk. SADIE Was she pretty? Jack shoves the paper at her. She ignores it. SADIE Was she pretty? JACK If I met her on the street I'd never recognize her. SADIE Was she pretty? JACK How should I know? I was n't looking at her face. Look, if it's going to cause all this grief, why do n't you let him go? SADIE Let him go? I'll kill him. I'll drive him out of this state. JACK Just because a guy's sitting with a couple of girls on his knees in public. SADIE Public or private. I know him. How about what happened in Chicago? That girl on skates. and the time you both went to St. Louis. There's a new invention, you know, Photography and newsreels. Willie Stark in a nightclub. Willie Stark with a blonde. JACK You could always bleach your hair. SADIE I could also break every bone in his neck. After all I've done for him. Now he goes two - timing me. JACK He's been two - timing Lucy. So there's another kind of arithmetic for what he's doing to you. SADIE Lucy? -LRB- laughs. -RRB- If she had her way he'd be back in Kanoma City slopping the hogs right now. And he knows it. He knows what she'd do for him. She had her chance. JACK You seem to think Lucy's on her way out, do n't you? SADIE He'll ditch her. Give him time. JACK You ought to know. She slaps his face. JACK Hey, you got the wrong guy. I'm not the hero of this piece. The door to Willie's office bursts open and Willie dashes out. WILLIE All right, come on, both of you. Let's go, hurry it up. They go out through the reception room, pick up Sugar Boy, and head down the corridor. WILLIE Come on. Pillsbury put his hand in the pork barrel and got caught. You know, I never did trust that guy. Some newsmen are waiting on the top landing. NEWSMEN Have you heard about Pillsbury? What do you intend to do about Pillsbury? How about it, Governor? Willie pushes by them. WILLIE Later, boys, later. -LRB- to Jack. -RRB- Say, Jack, go back and get the Judge. Let's get him over to my hotel just as soon as you can. They all hurry after Willie as he rushes down the stairs.","INT. Lobby State Capitol, Day Anne is about to go up the stairs when she meets Willie and the others on the way down. ANNE -LRB- to Willie. -RRB- I waited for you. -LRB- she sees Sadie. -RRB- Hello. -LRB- back to Willie. -RRB- You promised we could. uh. discuss my charity project. Children's home? WILLIE Well, I'm very sorry. Something very important came up. You'll call me later, wo n't you? ANNE Yes, certainly. SADIE We're late. Anne watches as they cross the lobby and exit.","INT. Stark's Hotel Suite, Night Close shot of Willie, seated, with his feet propped up on a table. Pillsbury stands before him. Jack, Sadie, Duffy, and Sugar Boy are also in the room. WILLIE Look at you, Pillsbury. Fifty years old, gut - sprung, teeth gone, never had a dime. If the Almighty had intended for you to be rich he'd have taken care of that a long time ago. The idea of you being rich. that's plain blasphemy. Ai n't that a fact? Pillsbury does n't answer. WILLIE Answer me! PILLSBURY Yes. WILLIE Louder, man. Do n't mumble. Speak up. Say it's a fact, a blasphemous fact. PILLSBURY It's a fact, a blasphemous fact. Sugar Boy laughs loudly. The phone rings and Sadie picks it up. SADIE Yeah? Oh, I see. -LRB- hangs up. -RRB- Dumond ca n't come. He says his wife is sick. WILLIE I do n't care if she's dying. Sugar, get the car. Get him and bring him over here. Sugar Boy exists. Willie turns back to Pillsbury. WILLIE Now, you know what you're supposed to do, do n't you, Pillsbury? You're supposed to stay poor and take orders. Oh, there'll be some sweetening for you from time to time. but Duffy'll take care of that. Do n't you go setting yourself up on your own again, do you understand that? PILLSBURY Yes. WILLIE Louder, man. And say, I understand that. PILLSBURY I understand that. WILLIE Give him a pen and some paper, Sadie. There is a knock on the door. WILLIE See who that is, Duffy. Judge Stanton enters. WILLIE Oh, hello, Judge. Sit down. I'll be with you in just a couple of seconds. -LRB- back to Pillsbury. -RRB- Now write what I tell you to write. Dear Governor Stark. I wish to resign as auditor due to ill health, to take effect as soon as you can relieve me. Respectfully yours. -LRB- after a pause. -RRB- Did you sign it? PILLSBURY No. WILLIE -LRB- roaring. -RRB- Well, sign it! Do n't put any date on it. I can fill that in when I need it. Pillsbury signs the paper. WILLIE Now bring it to me. Pillsbury moves slowly, so Sadie yanks the paper out of his hand and passes it to Willie. WILLIE Now get out. Pillsbury slinks out of the room. JUDGE The papers have the story. WILLIE Yeah, I know. JUDGE They're talking about impeachment proceedings. WILLIE -LRB- rising. -RRB- Against who? JUDGE This time, Pillsbury. WILLIE I got that `` this time,'' Judge. JUDGE How true is it? WILLIE It's too true. The phone rings. SADIE Yes? -LRB- hands phone to Willie. -RRB- This is it, Willie. Jeff Hopkins on the wire. Willie takes the phone, but puts his hand over the mouthpiece so that he can speak to Jack. WILLIE What have we got on Hopkins, Jack? -LRB- as Jack riffles through the black book. -RRB- Hello, Jeff. About that Pillsbury business. -LRB- reads from black book Jack holds out for him. -RRB- Here's what I want you to do when it comes up in the legislature. Now, wait a minute, wait a minute. You listen to me. -LRB- still reading from book. -RRB- You got a mortgage coming due on that place of yours in about five weeks, have n't you? You'd like to get it renewed, would n't you? -LRB- pause. -RRB- All right, Tiny'll talk to you in the morning. He grins and hangs up the phone. WILLIE Get going, Tiny. Duffy leaves. JUDGE You have n't answered my question. Why are you saving Pillsbury's hide? WILLIE I'm not a bit interested in Pillsbury's hide. It's something much more important than that. If the McMurphy boys get the notion they can get away with this, there's no telling where they'll stop. JUDGE -LRB- quietly. -RRB- Or where you will. Pillsbury is guilty. As attorney general of this state, it's my job to prosecute. WILLIE Judge, you talk like Pillsbury was. was human. He is n't. He's a thing. You do n't prosecute an adding machine if the spring goes busted and makes a mistake. You fix it. Well, I fixed him. I'm not a bit interested in Pillsbury. It's something much bigger than that. JUDGE -LRB- getting up. -RRB- Yes, it is. JACK He's right, Judge. Ca n't you see that he's right? JUDGE He's right because you want him to be right. Because you're afraid to admit you've made a mistake. Do it now before it's too late. -LRB- to Willie. -RRB- I'm offering my resignation as attorney general. You'll have it in writing by messenger in the morning. dated. WILLIE -LRB- softly. -RRB- It took you a long time to make up your mind, Judge. A long time. What made you take such a long time? JUDGE I was n't sure. WILLIE And now you are? The Judge nods. WILLIE I'll tell you what you are. You're scared. You sat in that big easy chair of yours for thirty years and played at being a judge. Then all of a sudden I came along and put a bat in your hand, and I said, go ahead, Judge, start swinging. And you did. And you had a wonderful time. But now you're scared. You do n't want to get your hands dirty. You want to pick up the marbles. but you do n't want to get your hands dirty. Look at my whole program, Judge. How do you think I put that across? JUDGE I knew how, but I never knew why. He starts to leave. WILLIE You're not by any chance thinking of going over to McMurphy's boys, are you? JUDGE I'm through with politics. WILLIE I'm happy to hear that. -LRB- extends his hand. -RRB- No hard feelings. JUDGE -LRB- ignores the hand. -RRB- Goodbye, Governor. -LRB- to Jack. -RRB- Are you coming with me, Jack? Jack turns away. JUDGE You're making a mistake. He goes. Willie closes the door behind him. WILLIE Do you think he means it when he says he's through with politics, Sadie? SADIE No. No, I do n't. WILLIE What about you, Jack? JACK I've known the Judge all my life. He's always meant everything he's said. WILLIE All right. All right. Take it easy. I'll take your word for it.","EXT. Willie's Hotel, Night Willie's car draws up to the curb. Sugar Boy hops out to open the door for Willie. Sadie is watching him from a window upstairs in the hotel. Anne is in the back seat ; Willie leans down to talk to her. WILLIE Sugar, take Miss Stanton home. -LRB- to Anne. -RRB- When am I going to see you again? She does n't answer. WILLIE What's the matter, Anne? ANNE Please take me home now, Sugar Boy. WILLIE You've got to understand me. ANNE -LRB- turns away. -RRB- I understand you. It's myself I do n't understand. WILLIE Do you think I like sneaking around corners any more than you do? But right now, with the Pillsbury business and with your uncle quitting. If I got a divorce. ANNE Maybe we'd better stop seeing each other. WILLIE No. No, we wo n't stop seeing each other, will we? ANNE -LRB- slowly. -RRB- No. WILLIE Because you believe in what I tell you. ANNE -LRB- puts her hand on his. -RRB- Because I believe what you tell me. Sadie approaches. SADIE Good evening, Governor Stark. -LRB- looks at Anne, but talks to Willie. -RRB- I thought you might like to know that Judge Stanton kept his promise. -LRB- directly to Willie. -RRB- He gave the story to every paper in town. WILLIE Sugar, meet me at the hotel as soon as you can. FADE OUT NEWSPAPER HEADLINE STANTON ACCUSES STARK OF QUASHING PILLSBURY GRAFT","INT. State Legislature Assembly Room, Day Duffy stands in the forground, looking in on the uproar and confusion of the assembly. SENATOR These are serious charges that Judge Stanton has given to the press. This legislature is entitled to a complete and full report on the Pillsbury affair. Let the truth be known. 2ND SENATOR Let it come out. 3RD SENATOR I move that we adjourn. 4TH SENATOR I second the motion. CHAIRMAN All those in favor, say aye. Motion carried. The house is adjourned. As Duffy turns and walks away, other senators rise up in their seats in protest. MONTAGE : PILLSBURY SCANDAL Sign on building reads : CITIZENS COMMITTEE MEETING, Subject : PILLSBURY SCANDAL, 8 P.M. Tonight - Town Hall. A man pastes a strip across the sign : CANCELED. A man is making a speech to a small group of people. MAN If you let Willie Stark get away with the Pillsbury graft, there's no telling. Thugs break up the meeting. The speaker is beaten up. Jack Burden turns through the pages of the little black book.","INT. Stark's Hotel Suite, Day Willie is lying on the bed. Jack is seated. Sadie and Sugar Boy stand nearby. JACK But we beat the Pillsbury rap. It's over. WILLIE These things are never over. I'll tell you what I want you to do, Jack. I want you to start a new page in that black book of yours. under then name of Judge Stanton. JACK You're crazy. There's nothing on the Judge. SADIE Why? Because his name is Stanton? WILLIE Ssshhh, easy. JACK What if I wo n't do it? WILLIE You know, some of this has rubbed off on you. JACK What are you going to do? Have me shot? WILLIE No. no. but I'll have to get myself a new boy. JACK I tell you there's nothing on the Judge. WILLIE Jack, there's something on everybody. Man is conceived in sin and born in corruption. JACK It's a waste of time. WILLIE What's the matter, Jack? Are you afraid you might find something out? Jack stares at him.","EXT. Burden's Landing Ferry, Night Jack's car is seen coming across on the ferry. JACK -LRB- voice over. -RRB- I kept saying to myself that Willie was wrong about the Judge. If there was anything left at Burden's Landing, it was honor. I had to believe that.","INT. Stanton Living Room, Night Jack and Anne stand together in the living room. JACK Anne, I want to ask you a question. Was the Judge ever broke? Really broke? ANNE Why do you want to know? JACK I do n't want to know, but I've got to. ANNE Did he tell you - JACK Did who tell me? ANNE I do n't know. I. how should I know if the Judge was ever broke? She walks away from him. Adam enters, carrying bundles of food and two wine bottles. STANTON Hello. Come on, Anne, take this food and start cooking. I'm hungry. Anne takes the grocery bundles. Jack grabs the wine. JACK Me, I'm on the thirsty side. Bring some glasses, Anne, quick. He joins Adam, who has opened the piano. STANTON -LRB- laughing. -RRB- It's been a long time since I played this thing. What do you say we wake up the ghosts, huh? JACK -LRB- calling to Anne. -RRB- Another glass, Anne, for a ghost. STANTON -LRB- starting to play. -RRB- Remember the last time I played this? You and Anne were dancing? Anne returns with three glasses. Jack grabs her around the waist and whirls her around. JACK Shall we dance? ANNE Let's. let's have a drink first. Adam starts to pour the wine. JACK No, no. keep playing. Anne and I want to hear this, do n't we, Anne? -LRB- Jack pours the wine. -RRB- Adam. ghost. and me. STANTON What shall we drink to? JACK To the ghost? To Adam, to the director of the new medical center. STANTON -LRB- bangs the piano keys. -RRB- Do n't you ever stop working for him? ANNE Adam! STANTON I came up here to get away. JACK I'm sorry, Adam. ANNE Well, I'm not. What's wrong with being the director of the new medical center? STANTON Nothing, except that I'm not going to take it. JACK Why? Because your uncle resigned? STANTON That's partly it. There are other things. ANNE What other things? STANTON -LRB- looks at her. -RRB- You too? ANNE Yes, me too. JACK Anne, if Adam does n't want to discuss it, let's not. STANTON All right, let's discuss it. ANNE But calmly. STANTON Calmly. Go ahead, Jack. Why do you think he wants me? JACK Because you're the best man for the job. STANTON It could have nothing to do with my name being Stanton? JACK It could have. Let's grant that. STANTON That's your answer. JACK No, it's not. If that were the only answer I would n't be with him any more. There's another side of it. I've learned something from him. You ca n't make an omelet without cracking eggs. STANTON Or heads. ANNE But at least a hospital will be built, and the sick will be cared for. STANTON At what price? JACK At any price. STANTON Do you really believe that, Jack? JACK I really believe that Stark wants to do good. You do too. It's a matter of method. Many times out of evil comes good. Well, pain is an evil. As a doctor you should know that. STANTON Pain is an evil ; it is not evil. It is not evil in itself. Stark is evil. JACK The people of the state do n't think so. STANTON How would they know? The first thing he did was to take over the newspapers and the radio stations. Why be so afraid of criticism? If Stark is interested in doing good, he should also be interested in the truth. I do n't see how you can separate the two. No, Stark is not for me. ANNE -LRB- upset. -RRB- No, Stark is not for you. Well, what is for you? Pride. Pride, that's all it is. foolish, stupid pride. All you've ever talked about is what you could do if. if somebody would tear down and build. All right, all right, somebody has, and he's given it to you. But he's not for you. No, he's not for you. She throws down her glass and runs crying from the room. Adam goes after her. STANTON Anne. Anne.","INT. Stanton Hallway and Stairs, Night Anne runs upstairs and Adam follows. The Judge comes out of his room to see what has happened, sees Jack standing at the foot of the stairs, hesitates a moment, and then goes back to his room without speaking.","INT. County Recorder Room, Day Jack enters and speaks to a clerk, who then directs him to one of the files. He starts to look through the files marked MORTGAGES DEFAULTED. JACK -LRB- voice over. -RRB- Will I find anything, Judge? Will I? I did n't find it all at once. It takes a long time to go through old courthouse records and musty deeds. a very long time. But it was n't too hard for me. I was well trained in research, especially this kind. He pulls out a file. JACK -LRB- voice over. -RRB- I found what I did n't want to find. He takes the file back to the clerk. JACK Have some photostat copies made of these. I'll be back tomorrow for them.","INT. Jack's Hotel Bedroom, Day Jack is lying on his bed, looking over the documents that relate to the Judge. He looks haggard and worried. There is a knock on the door. Jack does n't answer ; the knock is repeated. JACK Who is it? SADIE'S VOICE It's me, Sadie Burke. JACK Wait a minute. He hides the documents under his pillow. JACK All right, come in. She comes in, sniffs the air. SADIE Phew! Awful lot of smoke. Awful lot of whisky. You sober? JACK Stone. SADIE I'll have one with you. -LRB- starts tidying up the room. -RRB- What are you hiding out for? JACK I'm not. I've been sleeping. SADIE For four days? You've been back in town for four days. JACK Willie knows everything. SADIE Willie's worried about his boy. JACK Willie's boy is worried about Willie's boy. SADIE Well, why do n't you put something on the phonograph - a low - down, mean blues. Play it over and over again until you're sick of it. Then crack it and go back to work. -LRB- sits down. -RRB- I do it all the time. JACK That's not my problem. SADIE No, it is n't your problem. -LRB- gets up again. -RRB- I'll wait for you if you want to powder your nose. Jack goes into the bathroom. JACK I'll be with you in a minute. Sadie wanders around. She goes to the dresser, upon which is a photograph of Anne Stanton. She picks up the picture and places it so she can see it in the mirror and compare it with her own reflection. SADIE Hmmm. Yeah, I can see it. I've got to look in the mirror to be able to see it. Soft, white skin. not like mine. -LRB- runs her hand across her cheeks. -RRB- I had smallpox when I was a kid. Where I lived it seemed nearly all the kids had smallpox. Jack watches her through the open bathroom door. SADIE It leaves your face hard. Then she's got poise. Look at the way she holds her head. at just the right angle. That takes training. That takes years of training. Jack, towel in hand, comes out and stands behind her. He looks at her in the mirror, puzzled. SADIE I see what Willie sees. Willie's got big ideas, Jack. JACK What do you mean? SADIE A girl like that could be a governor's wife. Or even a President's. JACK What are you talking about? SADIE He ditched Lucy, he ditched me, and he'll ditch you. JACK -LRB- shaking her. -RRB- Answer me! SADIE He'll ditch everybody in the whole world because that's what Willie wants. Nobody in the world but him. JACK What are you talking about? SADIE You and your high - tone friends. What do they know? What do they know about anything? Why did you have to mix her in? JACK You're crazy, Sadie. You're out of your mind. SADIE Am I? Well, why do n't you go down and ask her. Or ask him. Ask Willie. JACK Shut up! SADIE Go ahead, ask him. JACK Shut up! SADIE Ask him! He slaps her hard. SADIE Ow - oo. oh. oh. She starts to laugh.","EXT. Football Field, Day A football team is practicing on the field. Willie watches from the bench. A player kicks the ball and Tom misses it. Jack walks over to Willie. JACK He's off today. WILLIE It's only practice. He'll be all right tomorrow. You been gone a long time, Jack. JACK Yeah. I figured if you needed me you'd yell. WILLIE Why'd you lay around the hotel? JACK Thinking. WILLIE About what? JACK Things. WILLIE What did you find on the Judge? JACK Nothing. WILLIE You sure you did n't find anything on the Judge? JACK Yeah, I'm sure. WILLIE You're going to keep trying, are n't you? JACK If you want me to. WILLIE I want you to. There's something else I want you to do too. JACK What? Bucket boy? Towel slinger? What? WILLIE -LRB- looks at him closely. -RRB- What's eating you, Jack? JACK -LRB- avoiding it. -RRB- What else do you want me to do? WILLIE If you've got something on your mind, boy, spit it out. We've been together too long to play games. JACK What do you want me to do? WILLIE I hear your pal Adam Stanton turned down the job as director of the hospital. That's bad. Especially at a time like this. JACK Oh? How did you hear it? WILLIE Why? What difference does it make? JACK I just wanted to know. WILLIE I heard it around. JACK -LRB- insistent. -RRB- How did you hear he turned it down, Willie? Out on the field the boys have stopped playing and are huddled around the coach. WILLIE I'll be right back, Jack. I want to see what's happening here. He goes over to the group on the field. The coach is talking to Tom. COACH You going to practice the way I tell you. TOM I'm going to do it the way I want to do it. Willie comes up to them. WILLIE Tom, come here. What's going on here? COACH I do n't care if he is your son, Governor. No special rules for him. TOM It does n't make any difference to me either way. whether I play or not. WILLIE Well, it does to me. -LRB- to coach. -RRB- What do you want him to do? COACH To behave himself. Like the rest of the boys. Four times this season he's broken training. He comes on the practice field half potted. WILLIE Tom, you're going to have to obey the rules. Do you hear me? You're going to obey the rules. TOM I put'em across, do n't I? Every Saturday I put'em across and I can still do it, drunk or sober. That's all you want, is n't it. for me to put'em across so you can big - shot it around? Is n't that all you want? He walks away. WILLIE Tom! -LRB- to coach. -RRB- He's a little high - strung. -LRB- goes after Tom. -RRB- Tom, come here. Tom!","EXT. Highway, Foggy Day Sign in foreground reads : WILLIE STARK HIGHWAY U.S. 56. A car swerves around a bend and careens down the highway. Tom and his girl friend Helene are in the car. Tom is drinking. HELENE -LRB- laughing. -RRB- Come on, Tommy. let's go faster. Come on. The car goes across a bridge, weaving. Two motorcycle cops parked there start to give chase. Tom's car swerves out of control and crashes through a fence. The two motorcycle cops ride out to the field to the wrecked car. They find Tom and Helene, unconscious. One of the cops picks up the empty bottle and hands it to the other. 2ND COP -LRB- looking at Tom. -RRB- It's the governor's son. He throws the bottle away. NEWSPAPER HEADLINES GOVERNOR'S SON HURT : GIRL NEAR DEATH IN CRASH Below the headline is a picture of Helene Hale's father. Another picture of Mr. Hale on the front page. Caption reads : GIRL'S FATHER CLAIMS DRUNK DRIVING CAUSE OF WRECK ADMITTANCE TO HOSPITAL DENIED PRESS","INT. Governor's Mansion, Night Lucy and Mr. Hale walk across the large reception room toward Willie. Jack, Sugar Boy, and Duffy stand around in the background. LUCY Willie, Mr. Hale's here to see you. Willie comes to meet them, a drink in his hand. He is obviously drunk. WILLIE Go on upstairs, Lucy. I have some business I want to talk over with Mr. Hale. HALE What I've got to say anybody can listen to. Where's your boy? WILLIE Now. now, do n't get excited. -LRB- to Sugar Boy. -RRB- Get me another drink, Sugar. HALE My daughter may die. WILLIE She's not going to die. She'll get the best medical attention there is. No expense will be spared. HALE Where's your boy? LUCY I'll get him. WILLIE Wait a minute, Lucy. He's asleep. And the doctor said after a good night's sleep he'll be all right. LUCY No, he wo n't be all right unless you make him all right. I'll get him. She goes. WILLIE Lucy! -LRB- to Hale. -RRB- You care for a drink? HALE No thanks. WILLIE Accidents will happen, you know. HALE Accidents? Your boy was drunk. WILLIE I saw the police report. There. there was nothing about drunkenness on the police report. HALE Whose police and whose report? I say the boy was drunk. And I know it. Tom comes down the stairs, with Lucy. HALE -LRB- to Tom. -RRB- Right here before your father. I want you - TOM Mr. Hale - WILLIE Tom, the doctor says you need rest, boy. TOM -LRB- turns on him. -RRB- I do n't want you to try to cover up for me. I was wrong. that's all there is to it. WILLIE You do n't know what you're talking about. I saw the police report - TOM I do n't care what the police report says. I was driving and I was drunk. It's all my fault. -LRB- to Hale. -RRB- Anything you want to do to me, you can do. Whatever you want me to do, I'll do. WILLIE Nobody has to do anything. Stop worrying. I'll take care of everything. TOM I do n't want you to take care of anything. Tom looks ill ; he presses his hand to his forehead. WILLIE Tom, go on upstairs and get some rest, boy. Go on. go on. go on. Tom walks slowly toward the stairs. WILLIE Sugar, help him. Mr. Hale, come on over and sit down. You sure you would n't care for a drink, Mr. Hale? Hale sits down, shakes his head. WILLIE Hey, Tiny, go home. Go on, out of here. out of here. Go on. Duffy leaves, disgruntled. Willie sits on a coffee table. He pours himself another drink. WILLIE What business did you say you were in? HALE I did n't say. WILLIE What business are you in? HALE Trucking business. WILLIE Trucking business. Trucks run on state roads. If a man in the trucking business had a contract with the state, a big one, that would be pretty good, would n't it? -LRB- to Jack. -RRB- Go on, Jack. Tell him what would happen. Jack is silent. WILLIE Go on, tell him. HALE You're trying to bribe me, are n't you? WILLIE No, no. No, I'm not trying to bribe you. I'm. I'm only talking things over with you, that's all. HALE You're pretty good at talking. I remember when you first started talking. A place called Upton. You did a lot of talking then and the things you said made sense, to me and a lot of other people. I believed in you. I followed you. and I fought for you. Well, the words are still good. But you're not. -LRB- rises. -RRB- And I do n't believe you ever were. He walks out of the room. WILLIE -LRB- after a pause. -RRB- Sugar, follow him. Keep calling in. Sugar goes, leaving just Jack and Willie. Willie, very drunk, tries to get up but falls against the piano. WILLIE -LRB- yells. -RRB- Lucy! Lucy! He staggers up the long stairway. Halfway up he tumbles, groaning. Jack helps him to his feet. JACK I'd like Anne to see you now. I'd like Anne to see you now, you drunken sot! -LRB- drags him up the stairs. -RRB- Come on. FADE OUT NEWSPAPER Photograph of Helene Hale on front page. Headline reads : GIRL CRASH VICTIM DIES Under the photograph there is a caption : FATHER MYSTERIOUSLY DISAPPEARS AFTER BARING BRIBE OFFER BY GOVERNOR STARK","EXT. Governor's Mansion, Day Willie, Jack, and Sugar Boy are accosted by a group of newsmen as they come down the stairs. NEWSMEN What about the girl's father, Governor? Have you a statement to make? WILLIE All right, all right, gentlemen. I'll give you a statement. This whole thing is a mess of lies. It's a frame. The man that made that statement. have him repeat it to my face. He ca n't. He vanished. Let me ask you some questions. Where has he gone? Where is he? REPORTER Maybe you could answer those questions too, Governor. Sugar Boy makes a move for the reporter but Willie holds him back. WILLIE I wo n't dignify that question with an answer. ANOTHER REPORTER One more question, Governor. Where's your son? WILLIE At the football stadium, where he's supposed to be. He's going to play for State University, which this administration is responsible for. He's not hiding from anybody, gentlemen. He'll be out there in full view of seventy thousand cheering fans. -LRB- starts down the stairs. -RRB- One of which will be me. See you, men. He leaves, followed by Jack and Sugar Boy.","EXT. Football Field, Day The game is in progress and the stands are packed. But there is no cheering. Instead we hear boos, and shouts for Tom. CROWD VOICES Where's Stark? How about Tommy Stark? Hey, Willie, send your boy in.","EXT. Willie's Box Willie, Jack, Sugar Boy, and Lucy are in one box. Sadie and Duffy sit in the adjoining one. Willie is standing up. The crowd continues to heckle him. WILLIE Why do n't they put him in! MAN Come on, Willie. send your boy in. A drunk comes over to his box. DRUNK What's the matter, Willie. is your little boy ashamed to show his face? DUFFY Shut up! Willie signals angrily to the police. WILLIE Get that man out of here! Come on, get him out of here. The man is dragged away. The crowd boos, and Willie gets up and leaves the box, followed by Jack.","INT. Stadium Dressing Room, Day Tom is sitting on one of the massage tables with a towel around his shoulders as Willie and Jack come in. The sound of the boos can still be heard. WILLIE They're booing you. TOM -LRB- holds his head. -RRB- Ever since the accident, my head. WILLIE The doctor said it was nothing. TOM Get dizzy. ca n't see. dizzy. WILLIE You're scared. plain scared. TOM -LRB- looks up angrily. -RRB- Get out of here! WILLIE Atta boy. get mad. Show some spirit. Jack, tell him what his playing means. Go on, tell him. JACK You can never tell about a head injury. Maybe the boy's hurt. WILLIE He's hurt? I'm hurt. It was n't me that wrapped that car around the tree. It was n't me that got drunk. But me, I'm takin' the rap. -LRB- softer, to Tom. -RRB- Go on, kid. Get out there and play. Show'em the kind of stuff a Stark is made of. TOM -LRB- coldly. -RRB- I would n't know. Enraged, Willie slaps him. Tom fights back, and Jack has to pull them apart. JACK Tom. cut it out! TOM -LRB- breathing heavily. -RRB- All right, I'll play. Now get out of here. Camera holds on Tom as Jack and Willie leave. He picks up his uniform, stops, then rubs his head.","EXT. Football Stadium, Day Tom is on the field. He runs up to the coach. P.A. ANNOUNCER Stark's going in! The boos turn to cheers. The crowd applauds. Willie signals from his box to the coach. He wants Tom sent in. Tom runs out on the field and joins the team. The players are lined up, in position to play. Tom shakes his head, as if trying to clear it.","EXT. Football Stadium, Time Lapse The crowd yells excitedly. Tom, looking weary, gets the ball and runs with it downfield. Three players tackle him hard and fall on him. A silence falls over the stadium as he fails to get up with the others. In Willie's box, everyone is standing. LUCY Tommy. Tommy. Tommy! Willie rushes out onto the field and kneels beside Tom as the doctor and stretcher bearers arrive.","INT. Hospital Waiting Room, Night Lucy and Willie are waiting for news about Tom. Sugar Boy comes in with a paper bag and sets it on a table. SUGAR BOY B - b - boss, you got ta eat. You g - g - got ta. Willie motions him away. WILLIE I'm the one that made him play. I sent him in. LUCY Sit down, Willie. Please sit down. WILLIE I sent him in. LUCY What difference does that make now? Jack comes in. WILLIE What goes on? JACK There is n't a plane flying. WILLIE They got ta fly. This is my son. He's got to live. Adam Stanton enters. STANTON I just got a call from Dr. Birnham. The earliest he can possibly get here will be tomorrow morning. WILLIE Is n't there anybody else we can get? JACK I still think Dr. Stanton should operate. STANTON That's up to Governor Stark. He wanted another doctor. a specialist. I sent for one. WILLIE How bad is it really, doctor? STANTON He's unconscious. and paralyzed. Lucy slumps in her chair. WILLIE Has he got a chance? STANTON To live? Yes. WILLIE What do you mean? STANTON Even if the operation's successful - that is, if he lives - I think he'll be paralyzed for life. WILLIE You'll do everything you can, wo n't you? Anything between you and me. that wo n't count, will it? It does n't have to. Look, doc, anything you want in the world you just ask for it and you got it. Go on, doc. ask for it. STANTON -LRB- coldly. -RRB- There are some things, Governor Stark, that even you ca n't buy. Do you want me to operate, or do n't you? LUCY Yes. I want you to operate. -LRB- stands up. -RRB- Please, may I see Tom now? STANTON Yes. They leave together. WILLIE -LRB- to Jack. -RRB- How much does the doc know? JACK About what? WILLIE Oh, you know what I'm talking about. JACK About what? WILLIE About Anne and me. JACK -LRB- after a pause. -RRB- He does n't know a thing. not a thing. Jack turns and walks away.","EXT. Hospital, Night Anne has been waiting outside the hospital. She turns to Jack as he comes out the door. ANNE Jack, how is he? JACK The boy? ANNE Yes. JACK He'll live. ANNE Oh, thank God. How is - JACK Willie? ANNE He blames himself, does n't he? JACK -LRB- as he walks down the street. -RRB- He'll find someone else to blame in a few days. ANNE -LRB- following him. -RRB- Oh, I tried to call here at the hospital, but I just. They walk together, along the waterfront. JACK Anne. Anne, why did you do it? ANNE He was n't like anybody I ever knew before. JACK You mean he was n't like me. ANNE He was n't like anybody I ever knew before. I love him, I guess. I guess that's the reason. JACK Everybody loves him. ANNE He wants to marry me. JACK Are you going to? ANNE Not now. It would hurt him. A divorce would hurt his career. JACK His career! ANNE Jack. Jack, what are you going to do? You ca n't leave him now. He needs you now more than he ever did before. JACK What Willie needs, Willie's got. ANNE You do n't know him. You've known him all these years and you do n't really know him at all. JACK What about Adam? ANNE Adam? JACK Well, you do n't have to worry about him. If Adam finds out it'll be easy to prove a Stanton is no different than anybody else. -LRB- gives her the papers on the Judge. -RRB- Just show him these. Willie was right. a man is conceived in sin and born in corruption. Even Judge Stanton. Show them to him, Anne. Change the picture of the world that Adam has in his head, just like our picture of it has been changed. He grips her by the shoulders. JACK Wipe out everything he's ever believed in. It'll be good for him. There's no God but Willie Stark. I'm his prophet and you're his. -LRB- pushes her aside, then feels sorry and walks after her. -RRB- Oh, Anne. Anne, I'm sorry. I did n't mean. Anne! A policeman comes over. POLICEMAN What's going on here? Jack catches up to Anne. He takes her arm and they start to walk back together. JACK It's all right, officer. we both work for Willie Stark. FADE OUT","EXT. Hospital Site, Day Willie, Anne, Adam, and Jack inspect a construction site. There are newsmen and photographers present. WILLIE -LRB- to Adam. -RRB- Right over there, that's going to be the main building. fifteen stories high, like on the model. Over there, that's the laboratory. Finest technical equipment in the world. STANTON What are you trying to convince me of? I've taken the job. WILLIE Why? STANTON My reasons are my own. Why are you building a hospital? WILLIE To do some good for the people of the state. STANTON And get some votes. WILLIE Oh, there are lots of ways to get votes. STANTON Yes, I know. I wo n't stand for any interference. WILLIE I wo n't interfere. I may fire you, but I wo n't interfere. STANTON If that's a threat, you're wasting your time. You know what I think of your administration. WILLIE Yes, I know. I'll tell you what. You stay on your side of the fence ; I'll stay on mine. Is that a deal? They climb up onto the platform, where the newsmen gather around to take pictures. Willie and Adam shake hands. JACK -LRB- voice over. -RRB- Now he had us all. me, Anne, and Adam. Now we all worked for him. FADE OUT","INT. Projection Room, Day Willie, Jack, and Sugar Boy are watching a newsreel, similar in style to the March of Time newsreels. A producer, his assistant, and two policemen are also in the room. NARRATOR'S VOICE And so the eyes of the entire nation are now focused upon Governor Willie Stark, an amazing phenomenon on the American political scene. The whole state is filled with his accomplishments - each of them, of course, bearing his personal signature, to make sure that no one will ever forget who gave them to the state. MONTAGE : THE NEWSREEL Large plaque on side of the highway : THIS BRIDGE WAS BUILT DURING THE FIRST ADMINISTRATION OF GOVERNOR STARK. A TOLL BRIDGE STOOD HERE FOR FIFTY YEARS. NOW THE PEOPLE TRAVEL FREE Camera pans to shot of the bridge. Plaque over college entrance : STARK COLLEGE. THAT EVERY MAN, WOMAN, OR CHILD, RICH OR POOR, SHALL HAVE AN EDUCATION. WILLIE STARK Shot of library - lettering reads WILLIE STARK LIBRARY. KNOWLEDGE BELONGS TO THE PEOPLE Shot of bad road running through dry, barren land. NARRATOR'S VOICE This is the way the roads used to be. But there are those who claim that they were adequate for the people's needs, that you do n't need a four - or six - lane highway for a horse and buggy. Shot of horse pulling a plow. The empty, untraversed STARK HIGHWAY. NARRATOR'S VOICE When Stark boasts of his great school system, his critics say : you ca n't go to school and work in the fields at the same time. And they question the benefit of these projects, charging that the need and the poverty of the people is as great as before. Shot of large school. Camera cuts to men working in the field, then to ramshackle barn, and to a farmer walking across his rotted cornfield. NARRATOR'S VOICE Willie Stark has never forgotten the source of his power : the people who supported him. Willie talking to the farmers. NARRATOR'S VOICE He still keeps in touch with these people of the backwoods, making periodic trips to such places as Kanoma City, now famous as his birthplace. Willie's official car and escort speeding through a street. Sign reads : KANOMA CITY, BIRTHPLACE OF WILLIE STARK Shot of Willie having his picture taken with Lucy and Pappy on the porch of the old farm. Willie mending the fence on the farm. Willie feeding the pigs. NARRATOR'S VOICE For those who say that Willie Stark is a man of destiny, there are others who claim that he is a man of evil, a man who cares neither for the people nor the state, but only for his own personal power and ambition. Willie making a speech to a huge crowd of cheering people. Willie inspecting his police force. Willie pounding the desk in the state legislature. NARRATOR'S VOICE Obviously, these ambitions go far beyond the boundaries of the state. Just how far, only time will tell. Meanwhile, he is here. Big close - up of Willie as he delivers a speech. NARRATOR'S VOICE and from the looks of things, he is here to stay. Willie Stark : messiah or dictator? The picture goes off and the lights in the room come on. PRODUCER How do you like it, Governor? Willie stands and faces the producer. WILLIE How many theaters will this play in? PRODUCER All over the country. WILLIE Hear that, Jack. All over the country. They start to leave. Willie stops for a moment. WILLIE Oh, there's one thing in there I did n't like too well. That messiah or dictator. PRODUCER That's our point of view, Governor. And that's the way it stands. There is a silence. Willie's face is hard. Then he grins. WILLIE All right, all right, that's the way it stands. as of now. FADE OUT NEWSPAPER HEADLINE STARK BEGINS RE - ELECTION CAMPAIGN STATEWIDE TOUR STARTS WITH VISIT TO KANOMA CITY","EXT. STARK FARMHOUSE, DAY Tom and Pappy Stark are seated on the porch. Tom is in a wheelchair. Lucy comes onto the porch as the sound of sirens is heard, and Willie's two cars, motorcycle escort, and the car of reporters turn onto the drive. Tom, upset, flips his cigarette away as the cars stop in front of the porch. Lucy puts her hand on his shoulder to calm him. Then Willie climbs up the steps to greet Lucy. WILLIE Hello, Lucy. How are you making it, Pa? How are you, Tom? Tom does n't answer. Lucy offers her cheek to Willie. Sadie, Jack, and Sugar Boy wait at the bottom of the steps, along with the reporters. LUCY I made some refreshments for your friends. I'll get them. SADIE I'll help. LUCY -LRB- firmly. -RRB- No, thank you. Thank you kindly. JACK If you do n't mind, Mrs. Stark. the boys have to get back to make the morning editions. -LRB- to photographers. -RRB- Set'em up on the porch, fellows. We'll take some pictures out here, first. He starts arranging the family for the picture. JACK Mrs. Stark, please. All right, fellows, take one down there, will you please. Shoot it up this way. The cameras click.","INT. Stark Farmhouse, Night Willie is finishing his meal, seated at the table with his family and Jack. Sugar Boy stands behind Willie. Sadie has left the table and is examining the room. WILLIE -LRB- on the last bite. -RRB- You're still a great cook, Lucy. Great cook. -LRB- gets up. -RRB- Well, I guess I better be getting back to town. Nice to have spent the day with the family. -LRB- kisses Lucy on the forehead. -RRB- Goodbye, Lucy. -LRB- extends his hand to Tom. -RRB- Tom. TOM -LRB- ignores the gesture. -RRB- Goodbye. WILLIE Take care of yourself, Pappy. Oh, uh. how do you like the new radio I got you? -LRB- walks over to it. -RRB- You know how it works? You can get police calls on it. Come here, come here. I'll show you. Pappy leans over as Willie demonstrates how it works. WILLIE This one for police calls up here. He turns the dial. POLICE BROADCAST Car sixty - two, proceed to five - eighteen Oak Street. Tom Jones beating his wife again. Pappy laughs delightedly. He reaches out to turn the dial. WILLIE All right, go ahead, go ahead. ANNOUNCER'S VOICE We interrupt this program to bring you a special announcement. This afternoon, the body of Richard Hale, father of the girl who died in the automobile accident involving the governor's son, was found. A medical examination revealed he was beaten to death. Tom starts to wheel toward Willie, but Lucy restrains him. ANNOUNCER'S VOICE The ugly charge of `` official murder'' has been hurled at the administration by a coalition of Stark's opponents, led by Judge Stanton, lately an outspoken critic of the administration. WILLIE -LRB- to Jack. -RRB- Your friend, the Judge. ANNOUNCER'S VOICE Thus an almost forgotten incident provided the spark that might set off the explosion needed to rock Willie Stark out of power. The latest report is that impeachment proceedings may be instituted. Willie turns off the radio. There is a silence. Then Willie turns to Lucy. WILLIE How long will it take you to pack? I want you to go back to Capital City with me tonight. LUCY Why? WILLIE Because I need you. TOM What for? WILLIE -LRB- still speaking to Lucy. -RRB- I'll explain all of that later. Now, Lucy, do like I say. JACK I'll wait outside. WILLIE You stay right here, Jack. I want you bear witness to what I've got to say. LUCY -LRB- indicating Sadie. -RRB- She can be a witness too. SADIE -LRB- starting toward the door. -RRB- I'm going back to the capital and get hold of Duffy. WILLIE You stay right here, Sadie. SADIE Somebody's got to go back to the capital. I'll go in the other car. WILLIE All right, then tell Duffy not to do anything or say anything until I get there. SADIE Yes, Governor. She leaves. TOM Now he needs us. Now that he's in trouble he needs us, so he can lead us around like monkeys with rings in our noses. So he can say to people, look at me, feel sorry for me. just a family man with a wife and a crippled son. WILLIE -LRB- shouts. -RRB- Shut up! LUCY Willie! TOM Why do n't you leave us alone? Tom wheels himself into his own room. Lucy starts to follow. WILLIE Leave him alone. How many scrapes have I gotten him out of? How many girls? LUCY Willie, stop. WILLIE It's not him they're after. It's me. How many halfwitted apes do you think I'm going to have to pay to square this one? What do you think this is going to cost me? LUCY What do you think it cost him? Suddenly Willie turns his face away. WILLIE -LRB- in a broken voice. -RRB- A man builds for his son. That's all he builds for. LUCY Willie! -LRB- turns and goes into Tom's room. -RRB- Tom. Tom. Willie looks up at Jack and Pappy. WILLIE Give me a drink, Jack. Jack hands him a bottle and he takes a slug. WILLIE She'll go. Pappy shakes his head. PAPPY No good, Willie. No good.","EXT. Stark Farmhouse, Night Pappy stays behind on the porch as Tom is carried in his wheelchair down the steps and into Willie's car. Lucy follows. The motorcycle escort leads them away from the farm.","EXT. Highway, Night As the cars speed to Capital City.","INT. State Legislature, Night There is great excitement in the assembly room. One senator steps forward and addresses the speaker of the house. SENATOR Mr. Speaker, I offer a house resolution. Whereas Willie Stark, governor of this state, has been guilty of incompetence, corruption, and favoritism in office - yes, and other high crimes - that he is hereby impeached, and ordered to be tried by the senate. His resolution is met with a mixture of cheers and boos.","EXT. State Capitol, Night A huge crowd is gathered outside. Pillsbury, Sadie, and Duffy, waiting with the crowd, step forward as they see Willie's car approach. Newsmen take pictures as Willie gets out of the car. WILLIE -LRB- as he meets Duffy. -RRB- What's the score? DUFFY They're lined up against you solid. They had a meeting. WILLIE How do you know? Were you there? DUFFY Me? What would I be doing there? WILLIE Selling me out. He starts up the steps of the building.","INT. Willie's Executive Offices, Night WILLIE How many votes have we got? SADIE -LRB- going through some files. -RRB- Eleven. WILLIE We need twenty. DUFFY We might be able to dig up a few more. WILLIE Yeah. Do you know how? DUFFY No. Willie turns to Jack. WILLIE Oh, Jack. Come here. What have you got in your black book about that old friend of yours? JACK Who do you mean? WILLIE You know who I'm talking about. your old friend, the Judge. JACK If and when you need it. WILLIE If and when? I need it right now. He's got four senators wrapped up in his hip pocket. Come on, come on, boy. what have you got? JACK I'm going to give him a break. If he can prove it is n't true, I wo n't spill it. WILLIE I ought to bust you, Jack. JACK I promised two people I'd do it this way. WILLIE Who are they? JACK Myself. and someone else. It does n't matter who. I'm going to give him a break. WILLIE All right, give him a break. But if you got the facts, you got the facts. The truth is sufficient. just like it says in the Bible. JACK That's the way it's going to be. WILLIE All right, boy. I'll trust you. Where are you going? JACK -LRB- on his way out. -RRB- I'll be around. Willie turns to go into his private office. SADIE Who else do you think he promised, Willie? Willie shrugs. SADIE You'd be smart. play square with him. You're going to need people like us around. WILLIE -LRB- as he shuts his door. -RRB- Are you sure? MONTAGE : THE IMPEACHMENT Willie's car speeding down a road. Willie, with Lucy and Tom seated behind him, addressing crowd. Willie speaking from the back of a train to a railroad station audience. JACK -LRB- voice over. -RRB- The chips were down, and Willie knew it. He was fighting for his life. He roared across the state making one speech after another. And all of them added up to the same thing. `` It's not me they're after, it's you!'' Close - ups of Willie, speaking to the people. JACK -LRB- voice over. -RRB- Willie hollered foul. Willie knew if you hollered long enough, hard enough, and loud enough, people begin to believe you. Just in case they did n't, he organized spontaneous demonstrations. Sign on back of a car : FIGHT WITH WILLIE Crowds carrying signs : WIN WITH WILLIE Willie talking on the telephone. Sadie listens. WILLIE Tell the boys to get the hicks out. Bring'em in from the sticks, empty the pool halls. Turn'em out. Turn the yokels out. More men with WIN WITH WILLIE signs. Man directing crowd from top of bus. Other bus loads of people are seen, all of them bearing signs. JACK -LRB- voice over. -RRB- In case anyone hollered back, he organized spontaneous slugging. Willie pulled every trick he ever knew - and added a few more. Crowd looks on as two uniformed police drag a man away. Willie's car waiting. Two thugs talk things over with a man on his doorstep. Willie discussing matters with a man in his office. Two cops stand with him. Willie and Jack in the car. Sugar Boy drives. It is night. Sugar Boy drives fast, and has to swerve to avoid colliding with a truck. JACK Hey, Sugar! -LRB- To Willie. -RRB- You'll never live to be impeached! WILLIE Boy, I'll live to be President. Jack and Sugar wait in the car as Willie leans out the car window to talk to a senator. He offers the man a piece of paper. WILLIE I've got fourteen senators to vote against impeachment. If I win, you're out of politics. SENATOR -LRB- refuses to sign. -RRB- I'll do whatever the Judge says.","EXT. Highway, Night Willie's car, as it races down the highway. JACK -LRB- voice over. -RRB- And always the trail led to one place. Burden's Landing. and the Judge.","EXT. Ferry to Burden's Landing, Night Willie's car coming across on the ferry.","EXT. Stanton Home, Night As Willie's car stops and they all get out. WILLIE You sure you do n't want me to go in with you? JACK I'm sure. WILLIE Well, hurry it up, boy. We've got places to go. Jack goes into the house alone.","INT. Judge Stanton's Study, Night Jack and the Judge are seated opposite each other. JACK Judge, I beg you, as a favor to yourself, to me. call up, release your votes. JUDGE I made a mistake once, Jack. when I resigned. It was too easy then, just resigning, pulling out. No, Jack, I've made my choice. I have nothing more to lose. JACK Judge, you know what Stark is capable of. Think it over. I'll leave now. I'll come back tomorrow and we'll talk about it again. You can give me your answer then. The door opens and Willie and Sugar Boy enter. WILLIE I ca n't wait until tomorrow. I'm a very impatient man. JACK -LRB- rising. -RRB- I told you not to come in here. WILLIE -LRB- ignoring him. -RRB- Is it true, Judge, that you're behind the impeachment proceedings? JUDGE Yes, it's true. Willie takes a seat in an easy chair. WILLIE I wanted to hear you say it with your own silver tongue. JUDGE Well, you've heard it. If that's all you came to hear you could have saved yourself a trip. Willie picks up a decanter off the table. WILLIE Mind if I pour myself a drink? How about you, Judge, will you have one? You better. You're going to need it. Jack and Judge Stanton remain standing, silently watching Willie. WILLIE What'd he say, Jack? JACK You'll get your answer tomorrow. WILLIE Are you kidding? Did you show it to him, or did n't you? JUDGE Show me what? WILLIE That's what I figured. Let's get down to cases, Judge. Do you remember a man with the name of Littlepaugh? The Judge shakes his head. He does n't. WILLIE Remember the Fortune Electric Company? JUDGE Of course. I was their counsel for over ten years. WILLIE Remember how you got the job? JACK How did you find out? WILLIE -LRB- hands the Judge some papers. -RRB- Do you remember how you got the job? The Judge examines the papers. WILLIE You know, Judge, dirt's a funny thing. Some of it rubs off on everybody. How did you get the job, Judge? Blackmail? JUDGE -LRB- to Jack. -RRB- I swear I never even remembered his name. Is n't that remarkable, Jack? I never even remembered his name. It's all so long ago it's hard for me to realize it ever happened. WILLIE Yeah. But it did. JUDGE Yes, it did. But it's difficult for me to realize it. JACK For me too, Judge. JUDGE Thanks for that much. WILLIE Well, I guess you know what the next move is, do n't you? JUDGE Yes, I do. Jack Burden. Willie Stark's hatchet man. JACK -LRB- to Willie. -RRB- I asked you. how did you find out? JUDGE This would never stand at law, not for a minute. It happened over twenty - five years ago, and you could never get any testimony. Everybody is dead. WILLIE Everybody except you, Judge. You're alive. And people think you're a certain kind of man. And you just could n't bear for people to think otherwise. JUDGE Ever since then I. I've done my duty. I. I'm responsible for many good things. -LRB- looks at the papers again. -RRB- But I also did this. WILLIE Yes, yes, you did. JACK Judge, I beg of you, call and release your votes, for your sake. JUDGE You have tender sensibilities for a hatchet man. -LRB- goes to the door. -RRB- Good night, gentlemen. WILLIE How about my answer? JUDGE You'll have it in the morning. WILLIE I want it tonight. JUDGE In the morning. Good night, gentlemen. There is silence. Then the three men get up to go. The Judge closes the door behind them.","INT. Stanton Hallway, Night As the three men walk to the front door. JACK How did you find out? WILLIE We've got a lot to do. It's getting late, Jack. Let's get back to town. JACK You know we're through, do n't you? WILLIE Aw, you do n't mean that, boy. The front door opens, and Adam and Anne come in. STANTON What are you doing here? WILLIE It's all right, doc. Just here to discuss some politics with the Judge. STANTON Oh, I see. -LRB- starts upstairs. -RRB- Well, good night. WILLIE Good night. JACK -LRB- to Anne. -RRB- Did you give him - WILLIE Wait a minute, Jack - JACK Answer me. Did you give - A shot is fired. They turn and rush into the Judge's study. They find the Judge face downward in his leather chair. Adam and Jack kneel beside him. Willie, holding on tightly to Anne's arm, stands in the doorway. Jack picks up the Judge's pistol and looks at Adam.","EXT. Stanton Home, Night Jack comes out of the house, followed by Anne and Adam. STANTON Are n't you going back with him? JACK No. STANTON Why not? You belong with him. Jack, how could you have done it? When Anne brought me those papers she told me you promised not to tell Stark until. JACK Yeah. I know. -LRB- walks away. -RRB- Well, I kept my promise. Adam looks unbelievingly at Anne. She looks away. STANTON Anne? Anne? FADE OUT","INT. Jack's Hotel Room (State Capital), Day Jack looks out the window. A portable radio is blaring out the news. ANNOUNCER'S VOICE From all over the state they're streaming in. From the hill country and farms, the lumber camps. by boat, by train, by horse, and on foot. Willie Stark's army. Through Jack's window we see the street blocked with cars and people, all headed for the State Capitol Building. Anne is in the crowd, trying to get across the street. Seeing Jack in the window, she pushes her way across and enters the hotel. He slams the window shut and comes back into the room. ANNOUNCER'S VOICE The state capital is filled with rumors, one of which is that Stark is planning to seize power by force. As commander of the state militia, he has - Jack turns it off. He goes over to his bed and starts putting clothes into a valise. There is a knock on the door. He ignores it. Another knock. JACK Come in. The door's open. Anne enters. ANNE Jack. JACK What do you want? She starts to cry. He grabs her, pulling her face close to his. JACK -LRB- bitterly. -RRB- No, I want to see you cry. He lets her go and she falls to the bed, sobbing. JACK Stop it! ANNE I called you. All afternoon I've been calling you. JACK I know. I was here. ANNE You've got to tell Adam. You've got to see him. JACK Tell him what? ANNE He knows about me and. JACK About you and Willie? ANNE -LRB- nods. -RRB- I tried to explain to him. I. I tried to explain to him that it was n't the way he thought it was. JACK How was it, Anne? You tell me. ANNE He hit me, Jack. My own brother. he hit me. JACK Your brother is an old - fashioned man. He believes in his sister's honor. Me, I'm a modern man. -LRB- slams clothes into the valise. -RRB- The twentieth - century type. I run. ANNE -LRB- rises. -RRB- I'm frightened, Jack. JACK For who? Your brother, or Willie? ANNE -LRB- quietly. -RRB- We're through. JACK Who's through with who? ANNE He called me this afternoon. He's going back to Lucy. He said it was better that way. JACK Better for who? Him. ANNE Both of us. JACK Did he tell you that too when he asked you to betray the Judge? At least I walked out on him. ANNE Oh Jack. help me, please, please. Adam's all I've got left now. Oh, Jack, if you ever loved me. JACK If I ever loved you. -LRB- pause. -RRB- I'll go find Adam. He takes up his coat.","EXT. HOSPITAL SITE, DAY A large billboard. It reads HERE ON THIS SITE WILL BE ERECTED THE GOVERNOR STARK HOSPITAL - TO HEAL SICKNESS - TO EASE PAIN - FREE. NOT AS A CHARITY BUT AS A RIGHT. WILLIE STARK Adam enters, looks at the sign, and walks on.","EXT. Street Near Capitol Building, Day Crowds of people headed toward the building, some with WIN WITH WILLIE signs. A marching band plays music for them.","EXT. Capitol Building, Day Crowd waiting outside the building. Mounted policemen keep them in line. From a large platform, loaded with people, comes the chant `` We want Willie, we want Willie.'' Jack pushes his way through the people and speaks to a policeman standing guard on the Capitol steps. COP Where do you think you're going? -LRB- recognizes Jack. -RRB- Oh, I'm sorry. I did n't recognize you. JACK Do you know who Dr. Stanton is? COP Yes sir. JACK Did he try to come through here today? COP Have n't seen him, sir. JACK Well, can you check the other entrances? 2ND COP There's no other entrances today. The other entrances are blocked off. Orders are to take no chances. COP If you care to come inside and wait, Mr. Burden, we can find you a seat. JACK No, thanks. I'll wait out here. If Dr. Stanton shows up, let me know. Pass the word along to the boys, will you? COP Yes sir. Jack turns and looks at the large crowd. A voice from a public address loudspeaker begins to yell out commands to the crowd. LOUDSPEAKER All right now. Everybody. that means everybody. let's let Willie know we're here! All together : WE WANT WILLIE. WE WANT WILLIE. The chant is picked up enthusiastically by the crowd.","INT. State Legislature, Day The speaker is trying to speak over the clamor of the chanting. SPEAKER We will first proceed to take the judgment of the senate on the question of the impeachment of the governor. SENATOR -LRB- rising. -RRB- Mr. Speaker, this is a farce to ask us to vote in the face of the kind of intimidation and pressure that has been exerted here in the past few weeks. Even that crowd outside, yelling on cue, is part of that pressure. CROWD NOISE We want Willie. We want Willie. Willie gets up, and goes to the window.","EXT. State Capitol, Day The crowd, with Jack in the foreground. The crowd suddenly goes wild as they see Willie appear at the window. In the growing darkness he seems only a shadowy figure as he raises his hands to wave to the crowd. We see various shots of people straining to get a little closer to the steps in order to see him better. Willie then turns and goes back into the room.","EXT. State Capitol, Day The crowd again, still waiting. The camera pans upward to a loudspeaker. ANNOUNCER Attention, please. Attention, please. This is a special announcement from Willie Stark to you people out there. He does n't want any one of you to leave. The camera moves over the faces of the people listening. ANNOUNCER He wants you to stay in front of this state Capitol until the fight is over. If you want Willie Stark to win, stay where you are. They cheer. Camera picks up Jack watching the crowd's reaction, then up to a plaque over the entrance to the Capitol Building. It reads THE PEOPLE'S WILL IS THE LAW OF THIS STATE - GOVERNOR STARK. ANNOUNCER Do you hear me. stay where you are. Do n't go away. Stay where you are. Do n't go away.","EXT. State Capitol, Night Newsmen, photographers stand about, bored. The crowd, every bit as large, is quiet but expectant. Everyone holds still as the announcer's voice is heard again. ANNOUNCER Attention, please. Attention, please. The balloting on the impeachment proceedings against Governor Stark has just ended. This is the result : Willie Stark has won. The crowd explodes. People break through the police barriers. Mounted policemen ride in quickly to prevent a riot. Camera picks up Anne in the crowd, trying to push through. Jack stands on the steps of the Capitol, watching it all. Suddenly Willie appears at the top of the steps, followed by Sugar Boy. Sadie, Duffy, Pillsbury follow close behind. Willie grabs hold of the mike and addresses the suddenly hushed crowd. WILLIE They tried to ruin me. But they are ruined. They tried to ruin me because they did not like what I have done. Do you like what I have done? Loud applause, and cries of `` yes.'' WILLIE Remember, it's not I who have won, but you. Your will is my strength, and your need is my justice, and I shall live in your right and your will. And if any man tries to stop me from fulfilling that right and that will, I'll break him. I'll break him with my bare hands. For I have the strength of many. Having finished, he waves at them all. Then he notices Jack and comes down the steps to greet him. WILLIE Hello, Jack boy, I'm glad you're here. I knew you'd come back. He walks back up the steps, his arm around Jack's shoulders. They start to go into the building that way when Willie sees someone. He smiles and puts out his hand. WILLIE Oh, doctor, I'm very glad to see you. Adam is seen, waiting at the entrance of the building. Before Willie has taken a step Adam fires several shots into him. Willie falls to the ground and Sugar Boy whips out his pistol and fires at Adam. Three policemen with tommy guns open fire, shooting into Adam's already fallen body. Then they turn and point their guns at the mob of people rushing toward Willie, forcing them back. COP Stand back, everybody. Stand back. Sugar Boy kneels beside Willie. Sadie stands against a pillar, looking down on him. SUGAR BOY -LRB- nearly crying. -RRB- D - does it hurt m - much, boss? D - d - does it hurt much? Jack looks up to see Anne struggling through the screaming mob to get to Adam. She looks at Adam for a moment, then turns away. JACK Anne, Anne. Where are you going? She does n't answer, only walks away. He runs after her and catches hold of her arm. ANNE I do n't know. Leave me alone. JACK To do what? ANNE I do n't care. JACK No, that's too easy. ANNE I do n't know, I do n't know, I do n't know. JACK I do. ANNE Leave me alone, please. JACK No, no more. ANNE He's dead. JACK We're alive. ANNE My brother's dead. JACK We've got to go on living. ANNE How? JACK So that Adam's death has meaning, so that it was n't wasted. Anne, our life has to give his death meaning. Do n't you see that? Look at those people. He turns her around so that she can see the crowds still struggling to get a look at Willie. JACK Look at them! They still believe in him. And we've got to make them see Willie the way Adam saw him, or there's no meaning in anything. anything. A policeman approaches. POLICEMAN Mr. Burden. the governor's asking for you. You better hurry. He's going fast. JACK -LRB- to Anne. -RRB- Will you wait here? No reply. JACK Will you wait here? She nods her head slowly. Jack walks through the building to the pillar against which Willie has been propped. Sugar Boy is still beside him. He stands behind Sadie and Duffy, looking down at Willie. WILLIE It could have been the whole world, Willie Stark. The whole world. Willie Stark. Why did he do it to me. Willie Stark? Why? His head droops to the side and he dies. FADE OUT THE END"],"string":"[\n \"INT. Jack Burden's Desk, The Chronicle, Day Jack Burden is looking over the morning edition of `` The Chronicle.'' He reads the society page. A man enters and leans across his desk. MAN Burden! Jack Burden! The boss wants to see you. He folds his paper, rises, and walks by the presses into Madison's office.\",\n \"INT. Madison's Office, Day Madison, the city editor, is correcting copy at his desk. MADISON Hey, Jack, ever hear of a fellow called Willie Stark? JACK No. Who'd he shoot? MADISON Oh, county. uh. treasurer, or something like that. JACK What's so special about him? MADISON They say he's an honest man. What I want you to do is to hop into your car. JACK Why, you promised me a vacation. MADISON Well, that can wait. JACK Yeah. but there's a. a girl I know. He opens his newspaper to the society page and shows Madison a photograph of Anne Stanton. MADISON Oh. Well, she can wait too. Jack takes the paper back and looks at it. JACK The question is. can I? MADISON The answer is. get up there. JACK Right. -LRB- starts to go. -RRB- Oh. uh. what did you say his name was? MADISON Who? JACK The fellow's name. MADISON Oh, the. uh. Stark. Willie Stark. Madison goes on with his work. JACK -LRB- as he leaves. -RRB- Willie Stark.\",\n \"EXT. Kanoma City, Day As Jack Burden's jalopy pulls up before the Kanoma County Courthouse of this back - country, one - street small town. JACK -LRB- voice over. -RRB- I found him in Kanoma City. A typical, hot, dusty, backwoods county seat. He gets out of the car, and notices a crowd of people gathered around a platform in the town square. As he walks over the begins to hear the words that Willie Stark is speaking. WILLIE to lie to them in order to line their own dirty pockets with the taxpayers' money. When have the citizens of Kanoma County ever witnessed a campaign like this? Why is the opposition so anxious to defeat me? Why have they used every dirty method known to make sure I'm not elected county treasurer? Well, I'll tell you why. A man in shirt sleeves and suspenders, Tiny Duffy, comes out of the local poolroom, listens for a moment to Willie's speech, and signals to two uniformed men to go over and break up the gathering. Jack Burden stands close to the platform, next to Willie's son, Tom, who waits patiently to distribute handbills. WILLIE Because they're afraid of the truth. and the truth is this. They're trying to steal your money. Yeah, I said steal. The county commissioners rejected the bid on the schoolhouse. Why? Well, they'll tell you their reason is the job will be done better. The county commissioners would have you believe that they're interested in public welfare. They're interested in welfare, sure. But it's their own. Let's look at the reason in the light of the facts and the figures. That brick factory is owned by one of the commissioners. That same brick factory uses convict labor. The sheriff and his deputy push through the crowd. SHERIFF Sorry, Willie, you'll have to move on. WILLIE Why? SHERIFF City Ordinance Number One - Oh - Five : more than five people congregating is disturbing the peace. WILLIE -LRB- ignores him. -RRB- If you folks'll be so kind as to read these handbills, my boy will pass them out among you. SHERIFF There's an ordinance against that too. WILLIE -LRB- his face grim. -RRB- Pass'em out, Tom. The sheriff pushes Tom back, grabbing the handbills out of his hand. Willie jumps down off the platform. WILLIE Let him alone! The sheriff collars Willie, then notices Jack on the platform snapping a picture. SHERIFF -LRB- to deputy. -RRB- Get that camera! Willie, you're under arrest. He takes Willie by the arm and leads him away. The crowd follows them to the courthouse. Tiny Duffy wipes the sweat off his neck and goes back into the poolroom.\",\n \"INT. Kanoma City Poolroom, Day Two of Duffy's men, Pillsbury and a local commissioner, are playing pool as Jack enters. JACK Where can I find Tiny Duffy? PILLSBURY Right over there, mister. He walks over to Duffy. Some townspeople, who followed him there, gather around him to listen. JACK Uh, they told me I could get my camera back here. DUFFY Who told you that? JACK People. Can I? DUFFY You the reporter that's been snoopin' around town? JACK Are you Tiny Duffy? DUFFY What paper? JACK Chronicle. DUFFY You sure come a long way to stick your nose into other people's business. JACK That's true. Only my boss on the paper ca n't see it that way. DUFFY It ai n't any of his business either. JACK Whose business is it? PILLSBURY Them as is tendin' to it. County commissioners that the voters of Kanoma County elected to tend to their business and not take no buttin' in from nobody. JACK You a commissioner? PILLSBURY Yeah. Name's Pillsbury. Dolph Pillsbury. 2ND COMMISSIONER Me too. I'm a commissioner too. JACK Who is n't a commissioner? DUFFY He's the head man. JACK -LRB- to Pillsbury. -RRB- Then you're in a position to know where - DUFFY He's in a position to know nothin'. And to say nothin'. JACK I thought you said he was head man? DUFFY -LRB- smiling. -RRB- He uses my head. PILLSBURY -LRB- laughing loudly. -RRB- Oh, Tiny, you're a card. Ai n't he a card? Yeah, he's a card. Now, who thought up those city ordinances about arresting someone for making a speech? DUFFY Who's arrested? Nobody's been arrested. -LRB- looks toward the door. -RRB- Hi, Willie. Willie enters, accompanied by the sheriff and his deputy. The others in the room, including Sugar Boy in his bartender's apron, step aside to let him pass through. PILLSBURY Hi, Willie. DUFFY -LRB- to Sheriff. -RRB- Did you apologize to Willie? SHERIFF -LRB- mumbles. -RRB- Yeah, I apologized to Willie. DUFFY Did you give him his handbills back? SHERIFF Yeah, I gave'em back. DUFFY Give him back his flag and his bag and. -LRB- points to Jack. -RRB- give this man his camera. WILLIE I'm going to be on that same street corner tomorrow, Mr. Duffy. DUFFY You go right ahead, Willie. We all believe in free speech. We got to. it's in the Constitution. WILLIE My boy is out distributing those handbills now. DUFFY It's a free country, Willie. If you can convince the people to vote for you. you go right ahead. WILLIE What did you want to see me about, Mr. Duffy? DUFFY I wanted you to meet a fella came all the way up from the state capital to meet you. A reporter. Wants to write you up. maybe put your picture in the paper. WILLIE -LRB- turns to Jack. -RRB- I'm happy to know you, sir. JACK Burden's my name. Jack Burden. Can we go somewhere where we can talk? DUFFY Now that ai n't polite. Do n't you want to hear both sides of the story? Jack examines the camera that has just been returned to him. JACK I know your side. -LRB- finds the plate missing. -RRB- What happened to the plate your men took from my camera? DUFFY Must have dropped out. Oh, come on, fellas, let's relax. It's a hot day. Hey, Sugar Boy. SUGAR BOY Yeah? DUFFY Bring some cold beer for the boys. WILLIE None for me, thank you kindly. PILLSBURY Now you know Willie do n't drink, Tiny. His wife do n't favor drinking. And Willie's the teacher's pet, ai n't you, Willie? WILLIE I'll have some orange pop if you do n't mind. Duffy roars with laughter. DUFFY Orange pop! All right, Sugar Boy. Bring him some orange pop. SUGAR BOY -LRB- stutters. -RRB- Th - th - the p - p - pop's s - s - sold out. DUFFY Did you hear that, boys? The p - p - pop's s - s - sold out. They all laugh. PILLSBURY Now ai n't he a card? WILLIE -LRB- his face hard. -RRB- He stutters, Mr. Duffy, but you. you do n't say anything. -LRB- to Jack. -RRB- Let's go, mister. They turn and go out.\",\n \"EXT. Dirt Road, Day Jack is driving Willie home to his farmhouse. They pass a farmer and his family walking by the side of the road. Willie smiles and waves to them.\",\n \"EXT. Stark Farmhouse, Day As the car pulls into the drive we see Pa Stark in his rocking chair on the porch, and Lucy, who stands at the top of the steps, waiting to welcome Willie. WILLIE -LRB- as they go up the steps. -RRB- This is my wife, Lucy, Mr. Burden. JACK AND LUCY How do you do? WILLIE That's my pa.. Jack reaches out to shake his hand.\",\n \"INT. Stark Farmhouse, Night Willie finishes chewing his food, pats his mouth with a napkin, and pushes his plate back. WILLIE Now we'll talk. Camera pulls back to include Jack, Lucy, and Pa, all seated around the dinner table. JACK You've been talking for a long time, Mr. Stark. PAPPY Willie's got a lot to say. LUCY You sleepy, Pappy? You want to have a nap? PAPPY No, I want to hear it. Lucy gets up and turns on a light in the kitchen. LUCY I'm worried about Tom. It's getting dark. He should have been home. WILLIE He's a strong boy. Do n't worry about him. He can take care of himself. JACK How old is the boy? WILLIE Fifteen. JACK How long have you been married? WILLIE Nine years. Willie grins at Jack's look of surprise. Lucy comes back into the room. LUCY -LRB- laughs. -RRB- He was a neighbor's boy. They were poor folks. Both died. I could n't have any children, so. He's a good boy. WILLIE Oh, he's the best. I could n't love him any more if he was my own flesh and blood. JACK -LRB- to Lucy. -RRB- And now you, Mrs. Stark? LUCY Oh, there is n't very much to tell about me. JACK How did you meet? LUCY I was teaching school and one day a pupil walked in. It was Willie. I could n't have a grown man in the class and Willie wanted to learn so badly. so I married him. JACK Is that the only reason? LUCY -LRB- pressing Willie's arm. -RRB- Except that I loved him. WILLIE Get the coffee, Lucy. She goes back into the kitchen. JACK When did they fire you, Mrs. Stark? LUCY -LRB- as she serves the coffee. -RRB- A couple of weeks ago. I'd been teaching for a long time and nobody ever said I was n't all right. But I do n't care. I do n't want to teach in a schoolhouse that they built just so somebody can steal some money. And Willie does n't want to be Treasurer, either, if he has to associate with those dishonest people. WILLIE -LRB- glumly. -RRB- I'm going to run. They ca n't keep me from running. JACK If you do n't mind the truth, Mr. Stark, you have n't much of a chance. WILLIE I'm going to run. They're not going to kick me around like I was dirt. LUCY I do n't care if Willie loses. just so he gets the truth to the people. Is n't that true, Willie? Willie is silent. Jack looks at him. LUCY Is n't it, Willie? WILLIE Hmmm? Yeah, yeah, sure, that's right. LUCY Well, if you lose you can give a little more time to studying your law books. JACK Oh, you studying law too? WILLIE By myself, at night. PAPPY Willie's a smart boy. WILLIE If I ever find the time I'm going to take a course at the university. The door opens slowly and Tom comes in from the porch. His clothes are torn and his face is dirty and bloody. He still carries some of the handbills. They rise to their feet and cluster around him. LUCY What happened, Tommy boy? What's the matter? TOM -LRB- head down, muttering. -RRB- I gave out the handbills, Pa.. WILLIE Speak up. Speak up. LUCY Let him tell it his own way. Go on, Tommy. TOM This time they were waiting for me. They took them away from me. Threw them in the dirt and beat me up. I brought some of them back. WILLIE -LRB- pats him on the back. -RRB- Good boy. Have you eaten yet, Tom? LUCY Let him wash up first. As Tom and Pappy go into the other room, a rock comes crashing through the front window, shattering the glass. Willie, his face filled with anger, throws open the door and stalks out onto the porch. Jack stands at the door, watching Willie shout into the darkness around him. WILLIE I'm going to run. and you're not going to stop me. I'm gon na run even if I do n't get a single vote. FADE OUT\",\n \"INT. Jack Burden's Desk, Day Jack's fingers type out a story, the last line of which reads `` an honest man with courage.'' He pulls the sheet out and hands it to Madison. JACK Here you are. the last of the Willie Stark articles. Now can I go? MADISON Yes. You've earned your vacation. You've been writing these like you really mean them. Jack rises and walks toward the door. JACK I do.\",\n \"EXT. Ferry To Burden's Landing, Day Jack's car is ferried across the bay to the slip of Burden's Landing. JACK -LRB- voice over. -RRB- I had n't been home in a long time. Only a hundred and thirty miles from Kanoma City. It was separated from the mainland by a body of water. For the first time I wondered if it was n't separated by more than that.\",\n \"EXT. Mrs. Burden's Home, Day As Jack arrives, Mrs. Burden and her husband, McEvoy, are seated at a lawn table near the boat landing. JACK Hello, Mother. She runs forward to meet him. MRS. BURDEN Floyd, Jack's home. Oh, he looks fine. does n't he look fine? -LRB- to Jack, coquettishly. -RRB- How do I look, Jackie boy? JACK You look beautiful, Mother. MRS. BURDEN I've got so many things planned for you. parties and. it'll be just like old times. But first, let's have a drink. MCEVOY Ca n't that wait until this evening? She goes ahead and pours the drinks. MRS. BURDEN Floyd. honey. my son's home. MCEVOY How long do you plan on staying? JACK -LRB- coldly. -RRB- Two or three weeks. If that's all right with you. MRS. BURDEN I'm sure your father would be - JACK Stepfather, Mother. MRS. BURDEN -LRB- reproachfully. -RRB- Now, Jackie. here we all are. Floyd, Jackie, myself. -LRB- raises her glass for a toast. -RRB- To the best time we've ever had together. JACK Yes, Mother. They drink. Mrs. Burden gulps hers down avidly. Jack looks at her and then at McEvoy. JACK Excuse me. I. He turns and walks back toward the shore. He boards a small motorboat and heads toward a house that can be seen across the water.\",\n \"EXT. Stanton Home (Burden's Landing), Day As the boat approaches the shore. Adam Stanton reaches down and pulls the boat up on land. He throws his arm around Jack, and the two climb the hill toward Judge Stanton, who stands waiting to greet him. JACK Dr. Stanton, I presume. STANTON -LRB- laughing. -RRB- Is my shingle showing? JUDGE Good to see you, boy. Very good. JACK Good to see you, Judge. How have you been? What have you been doing? They walk back together to the patio tables. JUDGE Oh, just sitting here. waiting for all of you to come home. You know, when a man starts to get old his eyes stray and play funny tricks on him. As I watched you in that boat I thought sure I saw a boy of twelve with a fishing rod in his hands. And I was sure the first thing he'd say would be. Jack catches sight of Anne Stanton walking down the path. He runs to meet her. As they embrace, he looks back at the Judge. JACK Do you mind if I kiss your niece, sir? He kisses her, and they turn and walk away.\",\n \"EXT. Tennis Court (Burden's Landing), Day Anne gracefully returns a ball to Jack, then runs to embrace him at the net. Adam, seated near the court, smiles approvingly.\",\n \"EXT. Gulf (Burden's Landing), Morning Jack and Judge Stanton in a rowboat, on their way to do some duck hunting.\",\n \"EXT. Gulf (Burden's Landing), Day Adam is at the wheel of his sailboat, with Jack and Anne behind him.\",\n \"INT. Stanton Living Room (Burden's Landing), Night A party in the Stanton living room. Adam plays the piano. He plays a waltz. Jack and Anne hold each other tightly as they move among the other couples.\",\n \"INT. Burden Dining Room, Night A formal dinner, attended by Jack and Anne, Mrs. Burden and McEvoy, Judge Stanton and Adam. Mrs. Burden is proposing a toast. MRS. BURDEN To all the good times we've had together at Burden's Landing. And especially to this one. Because my son's home. JACK Thank you, Mother. Thank you very much. MRS. BURDEN Monty, Anne and I have been discussing Jack's career. What do you think he ought to go in for? Shall he be a lawyer, doctor. Jack looks at Anne. ANNE We were just discussing whether you should. JACK -LRB- to his mother. -RRB- I like what I'm doing, Mother. MCEVOY You do very well at it. I read your articles about this fellow. Willie Stark. Very convincing. Too convincing for my tastes. JACK A lot of people like them. MCEVOY A lot of people are fools. Articles like that should n't be permitted. They only tend to incite people. JACK What are you afraid of? STANTON I thought they were very good. I was proud of you, Jack. I was particularly interested in Stark's ideas on health and medicine. You know the conditions at the hospital I work in. They're intolerable. I'd like to meet this Willie Stark. He sounds like an honest man. MCEVOY Honest man? This state is full of these log - cabin Abe Lincolns with price tags on them. The louder he yells the higher his price. JACK You think you can buy anything, do n't you? MCEVOY Yes, do n't you? There is a silence. Then McEvoy turns to the Judge. MCEVOY What do you think, Judge? JUDGE I think this state could stand a few changes. MCEVOY -LRB- his face white. -RRB- Well, I'll tell you what I think - ANNE -LRB- quickly. -RRB- Oh, please. let's not talk politics. MRS. BURDEN Anne is right. I absolutely forbid any more of it. I know what we need, we need another toast. -LRB- to the Judge. -RRB- You propose it, Monty. you're so good at it. The Judge picks up his glass and stands up. JUDGE To the young people. to Anne, to Jack, to Adam. To what lies before them. To the world they'll make. in spite of the mistakes we've made. MCEVOY -LRB- rising. -RRB- The mistakes you've made, not me. You're all still pretty high and mighty, are n't you? You all think this state needs a change. You do n't like the way it's run. Well, who's going to run it? Willie Stark? The Judge? -LRB- to Jack. -RRB- You? You can be bought too. As a matter of fact you have been. And with my money. Jack's answer is to throw his liquor in his stepfather's face. There is a pause. McEvoy wipes the liquor off with his handkerchief. MCEVOY -LRB- slowly. -RRB- That's a waste of good liquor. -LRB- looks at Mrs. Burden. -RRB- Your mother would n't approve. Jack turns and leaves the room. MRS. BURDEN Jack. She hurries after him.\",\n \"EXT. Veranda, Night As Mrs. Burden comes out after Jack. Anne stands in the doorway. MRS. BURDEN Jack. you go back in and apologize. JACK Apologize? I'd rather die. MRS. BURDEN I've got to live with him. JACK Well, I do n't. Neither do you. You do n't love him, Mother. You never did. MRS. BURDEN Son, do n't spoil anything now. He can help you. JACK I can get along without him. You need this house. And the parties. And the cars and the clothes and the lies. I do n't. It's the truth, Mother, face it. For once in your life, face it. Mrs. Burden appeals to Anne. MRS. BURDEN Anne, please. please make him understand. Anne says nothing. Mrs. Burden goes back into the house.\",\n \"INT. Stanton Living Room, Night Anne and Jack sit alone in the room, beneath the portrait of the old Governor Stanton. JACK Anne, Burden's Landing is a place on the moon. It is n't real. It does n't exist. It's me pretending I live on what I earn. It's my mother trying to keep herself young, and drinking herself old doing it. It's you and Adam living in this house as though your father were still alive. It's an old man like the Judge dreaming of the past. Anne, come away with me. ANNE And do what? JACK -LRB- rises impatiently. -RRB- And live in a shack and eat red beans. Anne, what do you want me to do? ANNE Oh, Jack, Jack, you have n't been sure. You've gone from one thing to the other. a year at law school, and now this job as a reporter. JACK Are you afraid I ca n't make a living? ANNE Oh, no, Jack, it is n't that. I do n't care about the money. It. it's just that I. I want you to be something. JACK What is it you want me to be? ANNE I do n't know. It's just that I want you to be. to do. something important. Jack looks up at the portrait of Governor Stanton. JACK Like your father. All right. I'll run for governor. -LRB- pause. -RRB- Anne, I'm sorry. I'm sorry I said that. ANNE All right, Jack. I'll go away with you. I'll do anything you want me to do. They kiss. JACK Anne, I've wanted you to say that more than anything in the world, and now that you've said it. Anne, I guess you were right. I'm not sure of anything, including myself. I'm not sure I could live up to the. -LRB- looks again at the portrait. -RRB- Anne, wait for me. Please wait for me. ANNE I'll wait for you.\",\n \"INT. Madison's Office, Day Madison is at his desk as Jack enters. MADISON Hello, Jack. Cut your vacation short, did n't you? JACK Yeah. MADISON By the way, Jack, the fellow you wrote the articles about. uh. Stark. JACK Yeah? MADISON He lost. JACK Well, I guess that's the end of Willie Stark. He turns around and walks off toward his desk. FADE OUT\",\n \"INT. Stark Farmhouse, Night Lucy and Willie are seated together at the table. Willie has his law books open before him. WILLIE Measure of the damages is caused by. LUCY -LRB- prompting. -RRB- A breach. WILLIE A breach. LUCY Of an agreement. WILLIE Of an agreement. LUCY To sell personal property. WILLIE To sell. -LRB- slams the book shut. -RRB- Oh, two years of this. LUCY -LRB- leaning over to him. -RRB- Oh, go on, Willie, go on. He opens the book again.\",\n \"INT. Willie's Law Office (Kanoma City), Day Willie positions the framed diploma on the wall. The camera pulls back to show Tom and Lucy, looking on. WILLIE Willie Stark. Bachelor of Law.\",\n \"EXT. Kanoma City Farm, Day Close shot of Willie, talking to a farmer. WILLIE If you'll just let me take your case.\",\n \"EXT. Farm, Day Willie walks beside a farmer who is plowing his field. WILLIE Really, I'll wait for my fee. Just as long as you want me to.\",\n \"INT. Willie's Law Office, Night Through the window, on which is printed `` Willie Stark : Attorney at Law,'' we see Willie, alone, pacing back and forth in his office. LUCY'S VOICE Go on, Willie, go on. WILLIE'S VOICE They're not going to kick me around like I was dirt. LUCY'S VOICE If you lose you can give a little more time studying your law books. WILLIE'S VOICE I'm going to be on that same street corner tomorrow, Mr. Duffy! DUFFY'S VOICE By all means. Free speech, free country, Willie. WILLIE'S VOICE That brick factory is owned by a brother - in - law of one of the commissioners. The county commissioners rejected the low bid on the schoolhouse. Willie crumples a piece of paper in his hand and tosses it against the window.\",\n \"EXT. Schoolhouse (Kanoma City), Day A plaque on the school wall reads KANOMA CITY GRAMMAR SCHOOL\",\n \"INT. Schoolroom, Day Teacher faces her class. The clanging of a fire bell is heard. TEACHER All right, children, this is a fire drill. The children rise and start to march out of the room in double file. TEACHER Remember now, walk quietly.\",\n \"EXT. Schoolhouse, Day The children's feet, as they climb down the fire escape. Camera pans past children to an iron rod supporting the fire escape. The brick around the rod starts to crumble and it rips loose. The children scream out in fear and agony.\",\n \"EXT. Cemetery, Day The whole town is there. Willie Stark, Lucy, Tom stand modestly in the background. Quiet sobbing is heard as the minister reads from the Bible. When he finishes the prayer, he walks past the line of mourners, shaking their hands. The ceremony is over. As they start to go, a man spots Willie, goes over to him, and lifts Willie's arm in the air. MAN Oh, Lord, I'm punished for voting against an honest man. This sudden action brings response ; women begin to cry and people push their way forward to grab Willie by the hand. VOICES OF THE MOURNERS God bless you, Willie. If we had only listened to you, Willie. You were right, Willie. Let me shake your hand, Willie. We should have listened, Willie. You were right all the time. On Willie's face is the realization that something important has happened to him.\",\n \"INT. Stark Farmhouse, Night An article is pasted in a scrapbook. It reads : `` VOICE IN THE WILDERNESS. Recent school tragedy is a potent reminder that a man named Willie Stark.'' A hand draws a pencil underneath the name. WILLIE'S VOICE A voice in the wilderness. A man named Willie Stark. Camera pulls back to show Willie at the table busy with his scrapbook. He looks up at Lucy. WILLIE How about that, Lucy, that's me. She looks at him, unsmiling, and sits down to help him clip various articles from other papers.\",\n \"INT. Stark Farmhouse, Night A series of clippings are being pasted in the scrapbook. They read : A. SCHOOL VICTIMS SUE COUNTY : STARK FILES DAMAGE SUIT `` Will prove graft cause of tragedy,'' says Attorney Stark. B. CITIZENS COMMITTEE FORMED Draft Stark to lead fight to rid state of graft. C. CITIZENS COMMITTEE DEMANDS STATE - WIDE INVESTIGATION D. Large photograph of Willie. Under it, the caption : RURAL AREAS IN REVOLT\",\n \"INT. Madison's Office, The Chronicle, Day The clippings are spread out on Madison's desk. He looks up at Jack. MADISON Get up there. Get up there fast. Your friend, Willie, is hotter than a firecracker. Jack starts toward the door. MADISON Stay there with him.\",\n \"INT. Harrison's Political Headquarters (State Capital), Day A politician points to a map on the wall. POLITICIAN Look, before this Kanoma City business we had this whole area tied up. Now we're losing to Hickville. Camera pulls back, revealing the candidate, Harrison, Tiny Duffy, and a woman, Sadie Burke. POLITICIAN We must find a way to split that vote. HARRISON Well, all I know is, the way it is now it looks like I'm not going to win. POLITICIAN I know a way. find a dummy. SADIE Find a dummy. -LRB- looks at Harrison. -RRB- That's what we've got. POLITICIAN A guy from the sticks. strong enough to grab some votes and dumb enough not to ask questions. DUFFY If you want to listen to a boy from the sticks, I know just the guy. They crowd around to listen.\",\n \"INT. Stark Farmhouse, Day Jack sits at the dinner table, with Willie and Lucy. Tom stands next to Willie. Pappy dozes in his chair. JACK No more politics, eh, Willie? WILLIE No, I worked too hard in my time to get there. I think I'll just go on practicing law and make a little more money. JACK The question I'd like to know is, why all the speeches you're making around the countryside? Willie is about to answer when he hears the sound of approaching cars. WILLIE Wonder who that is? He goes to the window, and we see a big black limousine turning into his drive. He opens the door and waits as Sadie, Duffy, Dolph Pillsbury, and other politicians climb the steps to meet him. DUFFY Brought some people all the way up from the state capital just to meet you. -LRB- turns to others. -RRB- Folks, I want you to meet Willie Stark, the next governor of our state. Willie, Lucy, and Tom beam happily. Jack looks skeptically at Sadie, whose only reaction is to smile, politely.\",\n \"EXT. Country Road, Day Close shot of three posters on a billboard. They read ELECT JOE HARRISON -LRB- HAPPY JOE -RRB- GOVERNOR FOR GOVERNOR ELECT McMURPHY WILLIE STARK FOR GOVERNOR. The camera pans to the road, where an old Model T comes bouncing along. As it passes we see a poster stuck on its back : WILLIE STARK - GOVERNOR.\",\n \"EXT. Railroad Station, Day Willie Stark walks out on the platform at the rear of the train and talks to some of the townspeople who have gathered at the station. WILLIE Folks, if you'll just bear patiently with me for a couple of minutes, I'd like to tell you what this state needs. It needs a balanced tax program. Now I'd like to give you the facts and the figures. Some of the townspeople start to move away.\",\n \"INT. Train, Day As the train pulls away from the station, Willie turns around to Jack. WILLIE How did it sound, Jack? JACK Fine, Willie, fine. WILLIE -LRB- alarmed. -RRB- Say. I forgot to send a telegram to Lucy. Conductor! Jack and Sadie exchange looks.\",\n \"INT. Train Club Car, Day Willie, jacket off, works over a speech with Duffy as Pillsbury and Sadie look on. WILLIE Now right here. right here I'd like to add something about last year's taxes. eh? DUFFY I would n't add a thing. Just give them the facts. PILLSBURY Yeah. and the figures. DUFFY Great speech. Sadie sips her drink.\",\n \"EXT. Street Corner (Upton), Day Willie stands on a platform, next to an American flag, reading from his prepared speech. WILLIE What this state needs is a balanced tax program. Last year, last year the state claimed to have spent on roads. Sadie turns and walks away, no longer able to listen. Jack follows her toward the hotel.\",\n \"INT. Hotel Lobby (Upton), Day As Jack and Sadie cross the street, enter the lobby, and sit down next to the front window. We can still see Willie and his small street - corner audience in the background. JACK Do you mind if I sit with you, Sadie? SADIE -LRB- shrugs. -RRB- Stand. sit. JACK Thanks. Tell me, what are you on this merry - go - round for? SADIE I take notes. JACK For whom? SADIE For those who pay me. JACK Which is. SADIE People. JACK Smart people. SADIE Oh, yeah. Anybody that pays me is smart. JACK You do n't have to be smart to frame a guy like Willie Stark. SADIE No. No, brother, you do n't. JACK -LRB- lights a cigarette. -RRB- It is a frame, is n't it? SADIE Why do n't you give me a cigarette? JACK -LRB- gives her the pack. -RRB- To split the vote and win the election for Harrison, huh? SADIE If you know, why do you ask? JACK I just want to make sure. SADIE Yeah. JACK Look, why do n't you tell the boys back home to save their money. Willie could n't steal a vote from. from Abe Lincoln in the Cradle of the Confederacy. SADIE I wish the poor. had enough sense to have somebody give him a good greasing for the beating he's going to get.'Cause this way all he gets out of it is the ride. -LRB- looks at Willie through the window. -RRB- Hey, those speeches! Ai n't they awful? Ai n't they just plain awful? Question to you : if somebody told him he was a sucker, do you think he'd quit? Willie has just finished his speech and is on his way over to the hotel. JACK I do n't know, Sadie. I really do n't know. WILLIE -LRB- as he comes into the lobby. -RRB- Did it sound all right, Mr. Burden? JACK Fine, Willie, fine. WILLIE Thanks. He and Jack go upstairs together. Sadie watches them.\",\n \"INT. Sadie's Hotel Room (Upton), Night Sadie lies on her bed, listening to Willie in the next room, rehearsing one of his speeches. WILLIE'S VOICE Now, friends, if you will bear patiently with me for a few minutes, I'll give you the figures. What we need is a balanced tax program. JACK'S VOICE No, Willie, no. Sadie pulls off a shoe and hurls it at the wall. SADIE What I need is some sleep. Shut up!\",\n \"INT. Jack's Hotel Room (Upton), Same Time Willie lies on his bed. Jack finishes shaving in the bathroom as he continues to rehearse him. JACK -LRB- shouting back at Sadie. -RRB- Shut up yourself! -LRB- goes to bed, shakes Willie. -RRB- Listen, Willie, try it on your feet this time. WILLIE Oh, no. Wait a minute. My feet are killing me. Let me stay here, huh? JACK All right. Look, Willie, you tell'em too much. Just tell'em you're going to soak the fat boys and forget the rest of the tax stuff. WILLIE -LRB- pathetically. -RRB- That's what I say. JACK But it's the way you say it. Willie, make'em cry. Make'em laugh, make'em mad, even mad at you. Stir'em up and they'll love it and come back for more. But for heaven's sake do n't try and improve their minds. WILLIE -LRB- suddenly. -RRB- A man do n't have to be governor. JACK -LRB- surprised. -RRB- What? WILLIE A man do n't have to be governor. Pause. JACK Well, they have n't counted up the votes yet. WILLIE -LRB- quietly. -RRB- Oh, I'm going to lose, Mr. Burden. I know that. Do n't try and fool me. I'm not going to lie to you. I wanted it. I wanted it so badly I stayed up nights thinking about it. A man wants something so badly he gets mixed up in knowing what he wants. It's something inside of you. I would have made a good governor. Better than those other fellows. There is a knock on the door. JACK Come in. WILLIE -LRB- almost to himself. -RRB- A great governor. Sadie enters. She immediately spots the liquor, and pours herself a drink. SADIE Since you wo n't let me sleep you might at least give me a drink. WILLIE -LRB- muttering. -RRB- Build them highways. greatest system of highways in the country. JACK -LRB- to Sadie. -RRB- Help yourself. WILLIE I'll build schools. SADIE -LRB- to Jack. -RRB- What's up? JACK Nothing. except Willie here has been saying as how he's not going to be governor. SADIE -LRB- directly, to Jack. -RRB- So you told him. JACK I do n't tell anyone anything. I just listen. SADIE -LRB- goes to Willie. -RRB- Who told you? WILLIE Told me what? Told me what? SADIE That you're not going to be governor. WILLIE -LRB- getting up. -RRB- Jack! Told me what? Told me what? Jack says nothing. Sadie gulps down her drink, bangs the empty glass on the bureau top, and turns to face Willie. SADIE -LRB- loudly. -RRB- All right! That you've been framed, you poor sap. Willie looks at her steadily for a moment. WILLIE -LRB- quietly. -RRB- Framed? SADIE And how! Oh, you decoy, you woodenhead decoy! And you let'em. You let'em because you thought you were the little lamb of God. But you know what you are? -LRB- she waits for his answer ; he has none. -RRB- Well, you're the goat! You are the sacrificial goat! You are a sap. because you let'em. JACK Sadie! That's enough. SADIE Enough? He did n't even get anything out of it. Oh, they'd have paid you to take a rap like that, but they did n't have to pay a sap like you. Oh, no, you were so full of yourself and hot air, all you wanted was a chance to stand up on your hind legs and make a speech : my friends, what this state needs is a good five - cent cigar. What this state needs is a - WILLIE -LRB- to Jack. -RRB- Is it true? SADIE -LRB- prayerfully, to the ceiling. -RRB- He wants to know if it's true. WILLIE Is it true? JACK That's what they tell me. There is a long pause. Willie looks almost as if he is going to cry. Sadie pours out another drink, a stiff one. SADIE -LRB- handing it to him. -RRB- Here. Willie drinks it all. JACK Hey, lay off that. You're not used to it. SADIE -LRB- jeeringly. -RRB- He's not used to a lot of things. Are you, Willie? JACK -LRB- angrily. -RRB- Why do n't you lay off of him, Sadie? SADIE -LRB- ignores Jack. -RRB- Are you, Willie? Are you? Are you. are you, are you, are you? She shoves the bottle at him. He takes it and pours himself a drink.\",\n \"INT. Sadie's Hotel Room (Upton), Morning Willie is snoring on the bed. Sadie's coat is thrown over him. She is in the bathroom, applying lipstick. Jack enters. SADIE Hi. JACK Well, things seem to have quieted down. SADIE -LRB- laughs. -RRB- Yeah, I quieted him down. JACK Yeah. How was he? Noisy? SADIE Oh, he reared some. He's been telling me all the things he's going to do. He's going to do big things, this fella. He's going to be President. He's going to kill people with his bare hands. I quieted him down. Hey! Who's Lucy? JACK His wife. SADIE He talks like she's his mammy. she's going to blow his nose for him. Jack sits on the bed next to Willie. JACK Well, I'll take him from here on in. They're waiting for him at the barbecue. Sadie pulls her coat off Willie and goes to the door. SADIE Yeah, well give me a receipt for the body and I'll be on my way. She leaves. Jack bends over Willie, who continues to snore. JACK Hey, Willie, Willie. come on, wake up, Willie. Come on, Willie.\",\n \"EXT. Fairgrounds (Upton), Day A crowd mills about underneath a banner that reads HEAR WILLIE STARK MAMMOTH BARBECUE - UPTON FAIRGROUNDS\",\n \"EXT. Fairgrounds, Day Willie, staggering a bit, hung over, reacts painfully to the staggering height of the Ferris wheel. He leans on Jack for support, and they walk on.\",\n \"EXT. Fairgrounds, Day Willie takes a seat on the children's swing as Jack goes off to get some coffee. Two little girls stare curiously at him. Willie waves them off. Jack returns with the coffee and pours some whisky in it. Willie tips his hand, forcing him to pour more, then gulps his drink down.\",\n \"EXT. Bandstand (Upton), Day Duffy, Pillsbury, and the other politicians stand on the platform, waiting for Willie. A band plays march music. Duffy goes over to Sadie, who is standing on the steps of the platform. DUFFY Where is he? SADIE -LRB- pointing. -RRB- There he is. Escorted by Jack, Willie approaches the platform and stumbles up the steps past Sadie. SADIE Whoops! DUFFY -LRB- to Jack. -RRB- Is he drunk? JACK Never touches the stuff. Lucy does n't favor drinkin'. Duffy follows Willie up on the platform. SADIE -LRB- to Jack. -RRB- How'd you get him here? He was out stiff. JACK Hair of the dog that bit him. SADIE Hair? He must have swallowed the dog. On the platform, Duffy looks uneasily at the bleary - eyed Willie. The band suddenly plays a fanfare, and the chairman steps up to the microphone. CHAIRMAN Ladies and gentlemen, it gives me a great deal of pleasure to introduce to you that true man of the people, the next governor of the state. Willie Stark. There is scattered applause as Willie steps forward to speak. WILLIE My friends. He turns his face from side to side, and fumbles in the right side of his coat pocket to fish out his speech. WILLIE My friends. I. He tries to focus on the speech, which he clutches before his eyes with both hands. Then he lifts his head, and looks directly at the people who have come to hear him. As he speaks, the camera focuses on the faces of these people : the farmers, workers, hicks, red - necks who are Willie's audience, Willie's people. WILLIE I have a speech here. It's a speech about what this state needs. There's no need in my telling you what this state needs. You are the state and you know what you need. You over there. look at your pants. Have they got holes in the knees? Listen to your stomach. Did you ever hear it rumble from hunger? And you, what about your crops? Did they ever rot in the field because the road was so bad you could n't get them to market? And you. What about your kids? Are they growing up ignorant as dirt, ignorant as you,'cause there's no school for them? No, I'm not going to read you any speech. He throws his speech away. Duffy looks alarmed. WILLIE But I am going to tell you a story. It's a funny story. SADIE -LRB- from the steps. -RRB- Hey! WILLIE'S VOICE So get ready to laugh. SADIE What's he up to? JACK Shut up! WILLIE Get ready to bust your sides laughing,'cause it's sure a funny story. It's about a hick. a hick like you, if you please. Yeah, like you. He grew up on the dirt roads and gully washes of a farm. He knew what it was to get up before dawn and get feed and slop and milk before breakfast. and then set out before sunup and walk six miles to a one - room, slab - sided schoolhouse. Oh, this hick knew what it was to be a hick, all right. He figured if he was going to get anything done, he had to do it himself. So he sat up nights and studied books. He studied law because he thought he might be able to change things some. for himself, and for folks like him. Sugar Boy listens intently, sharing in the anger in Willie's speech. WILLIE No, I'm not going to lie to you. He did n't start off thinking about the hicks and all the wonderful things he was going to do for them. No. No, he started off thinking of number one. But something came to him on the way. How he could do nothing for himself without the help of the people. That's what came to him. And it also came to him, with the powerful force of God's own lightning, back in his home country, when a schoolhouse collapsed because it was built of politics. rotten brick. It killed and mangled a dozen kids. But you know that story. The people were his friends because he fought that rotten brick. And some of the politicians down in the city, they knew that. So they rode up to his house in a big, fine, shiny car and said as how they wanted him to run for governor. Jack, electrified, grips Sadie's arm. JACK Sadie, he's wonderful. wonderful. Duffy fidgets as Willie continues to pace and speak, his face filled with conviction, and with fury. WILLIE So they told the hick. and he swallowed it. He looked in his heart and he thought in all humility how he'd like to try and change things. He was just a country boy who thought that even the plainest, poorest man can be governor if his fellow citizens find he's got the stuff for the job. Well, those fellows in the striped pants. they saw the hick and they took him in. He points his finger at Duffy, who is coming over to speak to him. DUFFY -LRB- low voice. -RRB- Willie, what are you trying to do? Willie turns on him, roaring. WILLIE There he is! There's your Judas Iscariot. -LRB- he pushes Duffy across the platform. -RRB- Look at him. lickspittle. nose - wiper. Duffy gestures frantically to the band. DUFFY Play! Play! WILLIE -LRB- pushing him again. -RRB- Look at him! DUFFY Play anything. The band starts to play, adding to the pandemonium. Willie shouts above it. WILLIE Look at him! Joe Harrison's dummy! Look at him! DUFFY That's a lie! WILLIE Look at him! Duffy signals to some of his goons standing near the platform. DUFFY Go get him, boys. go get him. Sugar Boy leaps up on the platform, his pistol drawn and pointed at Duffy's men. Willie throws up his arms to silence the crowd. WILLIE Now, shut up! Shut up, all of you. Now, listen to me, you hicks. Yeah, you're hicks too, and they fooled you a thousand times, just like they fooled me. But this time I'm going to fool somebody. I'm going to stay in this race. I'm on my own and I'm out for blood. The camera moves in close on Willie's face. WILLIE Listen to me, you hicks.\",\n \"EXT. Willie's Speeches, Day and Night A series of close - ups of Willie's face as he shouts and jeers his message, always accompanied by the loud and frenzied cheers of the crowd. Superimposed over his face is the figure of Jack Burden, at his desk, typing out his stories. WILLIE Listen to me and lift up your eyes and look at God's blessed and unflyblown truth. And this is the truth. You're a hick. And nobody ever helped a hick but a hick himself. Loud cheers and yells. WILLIE All right, listen to me. listen to me. I was the hick they were going to use to split the hick vote. But I'm standing right here now on my hind legs. even a dog can learn to do that. Are you standing on your hind legs? Have you learned to do that much yet? Here it is, here it is, you hicks. Nail up anybody who stands in your way! Nail up Joe Harrison! Nail up McMurphy! And if they do n't deliver, give me a hammer and I'll do it myself. NEWSPAPER HEADLINE There is a photograph of Willie and a headline that reads STARK CHANCES BOOMING Superimposed over the newspaper is a shot of a crowd applauding and yelling for Willie.\",\n \"INT. Joe Harrison's Campaign Headquarters, Night Duffy, Pillsbury, and other aides stand looking at a poster of Willie. POLITICIAN I want his throat cut, from ear to ear.\",\n \"EXT. Willie's Campaign Montage Rock crashes through a window, knocking down a poster of Willie. Poster being torn off the side of a building. A man is attacked as he tries to distribute leaflets.\",\n \"EXT. Jack Burden's Desk, The Chronicle, Night Jack is working on a story when Madison comes to his desk. MADISON No use going any further, Jack. We are n't printing them any more. JACK I thought the Chronicle line was - MADISON Divide and conquer? Stark is getting too big for his britches and the hicks are getting too smart. We're now supporting Harrison. JACK -LRB- stands up. -RRB- How do you square that? MADISON I work here. JACK -LRB- putting on his coat. -RRB- Well, I do n't. not any more. MADISON Jack, you fool. JACK If you had any guts you'd print this. MADISON I work here. I take orders. JACK I know. You've got a wife and three kids and your boy goes to Princeton. MADISON You wo n't find it easy to get another job. JACK I'm too rich to work.\",\n \"EXT. Street Outside State Capitol, Day NEWSPAPER HEADLINE READS HARRISON WINS CLOSE RACE STARK SWEEPS RURAL AREAS CITY VOTE DECIDES ELECTION Superimposed over newspaper is a crowd cheering at Harrison's victory parade. Willie, raincoat thrown over his shoulders, looking grim, and Sadie and Sugar Boy are part of that crowd. They turn away and walk toward a bar.\",\n \"INT. Bar, Day Jack is already at the bar. Willie, Sadie, and Sugar Boy join him there. JACK We did n't do so good. WILLIE Double bourbon. SADIE -LRB- sitting next to Jack. -RRB- Same for me. WILLIE And a beer. -LRB- to Jack. -RRB- I hear you got fired from the paper. JACK You heard wrong, Willie. I quit. WILLIE -LRB- passing the beer back to Sugar Boy. -RRB- You're smart.'Cause before I'm through with that mob they're not going to have enough money left to pay the boy that cleans the spittoons. JACK How do you feel, Willie? WILLIE I feel fine, fine. You see, Jack, I learned something. Willie and Sadie exchange looks. JACK Yeah. what? Close shot of Willie. WILLIE How to win. FADE OUT\",\n \"EXT. Road, Day Jack stands on the side of the road, thumbing a ride. JACK -LRB- voice over. -RRB- I did n't see Willie again until his second campaign. four years later.\",\n \"INT. Office, Night Jack turns in some copy to a man at a desk. JACK -LRB- voice over. -RRB- I drifted from job to job.\",\n \"EXT. Street, Day Jack and others in front of an employment agency. JACK -LRB- voice over. -RRB-. That is, whenever I could find one.\",\n \"INT. Bar, Night Jack, at the bar, looking haggard and disheveled, picks up a newspaper and turns to find a photograph of Anne. The caption reads STANTONS ARRIVE HOME. JACK -LRB- voice over. -RRB- But always further and further away from Anne, and the life at Burden's Landing.\",\n \"EXT. Street, Day Camera pans with Jack as he trudges along the street. JACK -LRB- voice over. -RRB- But Willie was n't drifting. He knew where he was going. We see an insert of a newspaper. It has a caricature of Willie, swinging a sledge hammer. The caption reads STARK ATTACKS ADMINISTRATION CHARGES OLD MACHINE STILL CORRUPT JACK -LRB- voice over. -RRB- He had his foot in the door and he kept right on pushing to get in. He had lost the election but he had won the state. and he knew it. and the people knew it. MONTAGE : WILLIE'S LIFE Writing on a fence : THE PEOPLE'S WILL SHOULD BE THE LAW OF THE STATE. WILLIE STARK Painted on a rock : KNOWLEDGE BELONGS TO THE PEOPLE. WILLIE STARK Lettering on a barn : FREE MEDICINE FOR ALL PEOPLE - NOT AS A CHARITY BUT AS A RIGHT. WILLIE STARK Poster on a building : MY STUDY IS THE HEART OF THE PEOPLE. WILLIE STARK JACK -LRB- voice over. -RRB- They were all hopping on his bandwagon. even Tiny Duffy. Newspaper caricature : it shows Willie on a bandwagon headed for the state capitol. Everyone is trying to climb aboard. Caption is THEY'RE ALL FOR WILLIE NOW. Huge poster on the side of a building : MY STUDY IS THE HEART OF THE PEOPLE. Camera pans up to photograph of Willie on the poster. JACK -LRB- voice over. -RRB- Yep, Willie came back like he said he would.\",\n \"INT. Willie's Office, Day Willie is being interviewed by a group of reporters. Sugar Boy lounges nearby, leaning against the wall. WILLIE Do you want to know what my platform is? Here it is : I'm going to soak the fat boys and I'm going to spread it thin.\",\n \"EXT. Circus Grounds, Day We see balloons with inscriptions reading `` I'm for Willie,'' and a large banner stretching overhead, saying FREE CIRCUS TODAY - COMPLIMENTS OF WILLIE STARK. The crowd moves about, gazing at the clowns, animals, the trapeze act. JACK -LRB- voice over. -RRB- Willie was right - he'd learned how to win.\",\n \"EXT. Park, Day A truck loaded with beer kegs pulls into the park. On the back of the truck is a sign : BIG STARK RALLY TODAY - FREE BEER - FREE FOOD - EVERYBODY INVITED. Superimposed over this is the image of dollar bills floating through the air. JACK -LRB- voice over. -RRB- He spent a lot of money doing it. an awful lot of money. I was beginning to wonder where he got it from. Montage : Willie's Second Campaign Hand holding check made payable to Willie Stark Campaign Fund. $ 7000. Willie's hand reaches out and takes it. Hand holding check payable to cash for $ 5000. Superimposed is Willie, looking on, and his hand endorsing the back of the check. Another check to the Stark Campaign Fund for $ 3500. Poster of Willie is superimposed. JACK -LRB- voice over. -RRB- There were rumors throughout the state that Willie was making deals with all kinds of people. strange deals. for Willie Stark. Crowd milling about circus grounds, with Willie's poster superimposed. Fireworks exploding. Crowd cheers. JACK -LRB- voice over. -RRB- The second time out, it was n't a campaign. it was a slaughter. It was Saturday night in a mining town. Huge poster is affixed to the side of a building. It bears Willie's face, and his slogans.\",\n \"EXT. Hotel (State Capital), Day Crowd stands about as Willie and Jack make their way into the hotel. JACK -LRB- voice over. -RRB- He came back and he took me with him.\",\n \"INT. Hotel Lobby, Day The lobby is packed as Willie, Jack, Sugar Boy, and Pillsbury enter. Willie makes signals to Duffy to tag along with the entourage. Willie leans over to speak to the room clerk. WILLIE This is Jack Burden, a friend of mine. From now on he's going to live here. Give him anything he wants. The group starts up the stairs, past the officers who are standing guard. Duffy stops to speak to one, pointing his finger at some of his men standing below. DUFFY Let these boys through, officer. WILLIE -LRB- to Jack. -RRB- Duffy works for me now. JACK It looks like everybody works for you. They start up the second flight of stairs. WILLIE No. No, not yet. But I want to keep him around. He reminds me of something I never want to forget. Willie stops and looks around at Duffy's men hurrying up the steps. WILLIE -LRB- to Duffy. -RRB- Come on, come on, come on, come on. Are these the boys? DUFFY These are the boys that can get the boys. WILLIE How many do you think we can get? DUFFY Fifty. WILLIE How much? DUFFY Five dollars a head. WILLIE -LRB- to Sugar Boy. -RRB- What do you think, Sugar? Do they look like good boys? SUGAR BOY T - t - they b - b - better be. WILLIE Get a hundred. All right, go on, all of you. Blow. Blow, blow. You too, Duffy. Go on. Duffy and his men turn and go downstairs. WILLIE -LRB- to Jack. -RRB- Handbill distributors. JACK If they all look like them I'd hate not to take one. WILLIE That's the object. Not like when they beat up my boy Tom. JACK How is Tom? WILLIE Oh, he's fine. He starts college in the fall. JACK Oh. And Lucy? Willie's expression changes. He starts up the stairs. WILLIE Fine. fine.\",\n \"INT. Willie's Campaign Office In Hotel, Day The place is a beehive of activity, with typists and messengers scurrying about, all supervised by Sadie. SADIE Hey, I need a boy. Where's a boy? -LRB- boy runs up. -RRB- Take that downstairs ; they're waiting for it. Right away, on the double. -LRB- to typist. -RRB- Listen, baby, you've got to double - space all of this. he ca n't read, see. The door opens and Willie, Jack, and Sugar Boy come in. JACK Sadie! SADIE -LRB- to typist. -RRB- And they need four copies. -LRB- looks up. -RRB- Hi, Jack. How are you? WILLIE Sadie is my secretary now. -LRB- to messenger, trying to squeeze by. -RRB- Oh, pardon me. As Willie and Jack walk toward adjoining room, Sadie calls out : SADIE Fix your tie, Willie.\",\n \"INT. Bedroom Hotel Suite, Day Willie and Jack enter from the office. WILLIE Hey, Sugar. Sugar Boy appears in the doorway. Sadie slips by into the room. WILLIE Keep everybody out of here. I want to talk to Jack and Sadie alone. He walks over to Jack, who leans back on the bed. WILLIE From now on you're working for me. JACK Doing what? WILLIE I do n't know. Something will turn up, wo n't it, Sadie? SADIE Yeah. We need a college man around. for research. WILLIE How much did they pay you on that newspaper? JACK Three hundred dollars a month. WILLIE -LRB- laughs. -RRB- I could buy you cheap, could n't I? JACK For a bag of salt. WILLIE No. No, I do n't play that way. I like you, boy. I always have. I'll tell you what I'll do. I'll give you four hundred dollars a month and traveling expenses. JACK You throw money around like it was money. Willie gets up and walks to the window. WILLIE Money? I do n't need money. People give me things. JACK Why? WILLIE Because they believe in me.\",\n \"EXT. Burden's Landing, Day Willie's car is on the ferry crossing the bay to Burden's Landing. Sugar Boy drives the car off the ferry and up the road toward the house. JACK -LRB- voice over. -RRB- I was going home again. But this time it was different. Now I had a feeling that maybe the waiting was over. for me, and for Anne.\",\n \"INT. Stanton Living Room (Burden's Landing), Night Close shot of Willie standing in front of the fireplace, beneath the portrait of Governor Stanton. WILLIE It's a far cry from where I come from. to this house. Camera pulls back. The room is crowded with people, all of them friends of the Stantons. Anne, Adam, Judge Stanton, Mrs. Burden, and McEvoy are part of the audience sitting around the fireplace. Jack stands next to Willie. WILLIE And standing here under the portrait of one of the greatest governors of this state, talking to you people. well, it's an honor I never thought I'd have. JACK Are there any questions? -LRB- looks around. -RRB- Mr. McEvoy. MCEVOY -LRB- smiles. -RRB- No, I have no questions. JACK Judge? JUDGE A few. but it will hold. STANTON I have a question. WILLIE Shoot. STANTON A lot of people in this state have been saying that you've been making deals. some of them with the very groups that you claim you're against. Is that true? JACK Adam, you know how rumors start. WILLIE Yes. Yes, that's true. I have nothing to hide. I'll make a deal with the devil if it'll help me carry out my program. But believe me, there are no strings attached to those deals. STANTON You're sure about that? WILLIE Doc, Jack here has been telling me how you feel about things. how you'd like to see a new hospital built, a hospital that's the biggest and best that money can buy. You want those things, Doc, because, well, because you're a man who wants to do good. Now, I'd like to ask you a question. STANTON Shoot. The guests laugh good - naturedly. WILLIE Do you know what good comes out of? STANTON You tell me, Mr. Stark. WILLIE Out of bad. that's what good comes out of. Because you ca n't make it out of anything else. You did n't know that, did you? STANTON No, I did n't. There's another question I'd like to ask you. You say there's only bad to start with and the good must come with the bad. Who's to determine what's good and what's bad? You? WILLIE Why not? STANTON How? WILLIE Why, that's easy. Just. just make it up as you go along. More laughter. Willie smiles and goes on. WILLIE Folks, there's a time to talk and there's a time to act. I think the time to act is right now. And with your support, I not only will win but I will do all of the things I promised. I need your help. Oh, I need it badly. But I'm not going to beg for it. In the name of this state which we love. in the name of the governor in whose house we meet. I demand it. There is immediate applause. Anne is the first to rush over and shake Willie's hand.\",\n \"EXT. Stanton Home, Night The last of the guests are leaving. Jack and Willie remain with the Judge, Anne, and Adam. WILLIE -LRB- to Judge. -RRB- Well, what do you say, sir? JACK You've got to say yes. With you in the race. JUDGE I'm an old bird. I. WILLIE But a game one. They laugh. WILLIE Look, I'll give you complete power as attorney general. You can do anything you see fit. I'll swing the ax to clear the way for you. Is that a deal? The Judge smiles, then puts out his hand. JUDGE It's a deal. They shake hands. WILLIE Jack, we have to get back to town. a lot to do. -LRB- shakes hands with Adam. -RRB- Dr. Stanton. Jack kisses Anne on the cheek. Anne comes over and shakes Willie's hand. ANNE I'm very glad to have met you. FADE OUT\",\n \"INT. Hotel Lobby (State Capital), Day People stand before the election return board in the hotel lobby. Camera pulls back, revealing a newspaper picture of Willie, and the headline STARK ELECTED GOVERNOR WILLIE WINS\",\n \"EXT. Street Outside Willie's Hotel Balcony, Night A crowd stands below Willie's hotel window, chanting together : CROWD We want Willie! We want Willie! A high angle from the balcony shows Anne, Jack, and Adam in the center of the excited crowd, looking expectantly upward. Some of the people around them are carrying torches. Arc lights play over the dome of the state capitol in the background. In response to the chants, Willie appears on the balcony. With him, standing on the balcony, are Tom and Lucy. The crowd erupts into cheers as he steps outside. WILLIE -LRB- raises his hands for silence. -RRB- This is not a time for speechmaking. I should get on my knees and ask God to give me strength to carry out your will. Loud cheers. Adam watches Anne. She applauds. Willie looks down at the crowd and continues his speech. WILLIE This much I swear to you. These things you shall have. I'm going to build a hospital. The biggest that money can buy. and it will belong to you. That any man, woman, or child who is sick or in pain can go through those doors and know that everything will be done for them that man can do. To heal sickness. To ease pain. Free. Not as a charity, but as a right. And it is your right that every child shall have a complete education. That any man who produces anything can take it to market without paying toll. And no poor man's land or farm can be taxed or taken away from him. And it is the right of the people that they will not be deprived of hope. The crowd applauds, and Willie waves. We see Anne, face aglow, turn to Jack. ANNE Does he mean it, Jack? Does he? STANTON -LRB- as he walks away. -RRB- That's his bribe. Anne and Jack watch Adam as he leaves. FADE OUT Montage : Willie Becomes Governor Willie, Sadie, and Jack leaving their old campaign headquarters. Willie, Sadie, Jack, and others going upstairs in the governor's mansion. The ousted politicians are just packing up and leaving. JACK -LRB- voice over. -RRB- What if it was his bribe! He swept the old gang out of office. What if they hollered like stuck pigs? He jammed through bill after bill and the people got what they wanted. Willie yelling at the legislators during a session. WILLIE I demand that this bill be passed. Nobody's going to tell me how to run this state. Road excavation - a bulldozer clears away dirt. A huge crane maneuvers over a dam site. Men are seen working on the girders of a large power plant. JACK -LRB- voice over. -RRB- He started to build the roads, the schools, the power dams, to change the face of the state from one end to the other. His methods? Shots of uniformed policemen roughing up citizens. Willie and Sugar Boy move in on a man being held by cops. Willie looks on as Jack thumbs through his little black book. JACK -LRB- voice over. -RRB- Politics is a dirty game. and he played it rough and dirty. Willie's little black book was a record of sin and corruption. And me, Jack Burden? I kept the book and added up the accounts. Willie in a nightclub, surrounded by some show girls. A photographer takes a picture of Willie with a girl balanced on his knee. Willie leads a marching band out onto a football field. JACK -LRB- voice over. -RRB- Clown, show - off, playboy, they yelled at him. Building football stadiums. Fiercely proud of his son who played in them. Shot of Tom in football uniform running across the field with the ball. Willie, in the stands, hugs Lucy. WILLIE Oh, look at him go. He's going to be All - American. Willie makes an inspection of the police. He stops to adjust an officer's tie. JACK -LRB- voice over. -RRB- They said he was building up a private army. But he was building, always building. Sign at building excavation reads HERE ON THIS SITE WILL BE ERECTED THE GOVERNOR STARK HOSPITAL - `` TO HEAL SICKNESS. TO EASE PAIN. FREE. NOT AS A CHARITY - BUT AS A RIGHT''. WILLIE STARK. JACK -LRB- voice over. -RRB- Always playing up to the crowd. Letting them trample on tradition. Well, tradition needed trampling on. A square dance at the governor's mansion. Willie dances with Anne. JACK -LRB- voice over. -RRB- The crowd loved it. Willie loved it. and so did I. FADE OUT\",\n \"INT. Executive Office Corridor, Day Jack walks down the corridor on the way to Willie's offices.\",\n \"INT. Willie's Executive Offices, Day As Jack enters from the corridor, Sadie is coming out of Willie's private office. SADIE -LRB- through open door. -RRB- You low - down, no - good redneck. She slams the door hard. We hear Willie laugh. JACK -LRB- to secretary. -RRB- What goes on here? SECRETARY That's what Sadie wants to know. -LRB- she shows Jack newspaper containing photograph of Willie at the nightclub. -RRB- The boss poses for too many pictures. Jack grins, then walks into Sadie's office. SADIE I'll kill him. JACK Why, Sadie, I'm surprised at you. SADIE I'll kill him. She goes to the door to yell to the secretary. SADIE I hate all women. She slams the door again, and returns to her desk. SADIE Was she pretty? Jack shoves the paper at her. She ignores it. SADIE Was she pretty? JACK If I met her on the street I'd never recognize her. SADIE Was she pretty? JACK How should I know? I was n't looking at her face. Look, if it's going to cause all this grief, why do n't you let him go? SADIE Let him go? I'll kill him. I'll drive him out of this state. JACK Just because a guy's sitting with a couple of girls on his knees in public. SADIE Public or private. I know him. How about what happened in Chicago? That girl on skates. and the time you both went to St. Louis. There's a new invention, you know, Photography and newsreels. Willie Stark in a nightclub. Willie Stark with a blonde. JACK You could always bleach your hair. SADIE I could also break every bone in his neck. After all I've done for him. Now he goes two - timing me. JACK He's been two - timing Lucy. So there's another kind of arithmetic for what he's doing to you. SADIE Lucy? -LRB- laughs. -RRB- If she had her way he'd be back in Kanoma City slopping the hogs right now. And he knows it. He knows what she'd do for him. She had her chance. JACK You seem to think Lucy's on her way out, do n't you? SADIE He'll ditch her. Give him time. JACK You ought to know. She slaps his face. JACK Hey, you got the wrong guy. I'm not the hero of this piece. The door to Willie's office bursts open and Willie dashes out. WILLIE All right, come on, both of you. Let's go, hurry it up. They go out through the reception room, pick up Sugar Boy, and head down the corridor. WILLIE Come on. Pillsbury put his hand in the pork barrel and got caught. You know, I never did trust that guy. Some newsmen are waiting on the top landing. NEWSMEN Have you heard about Pillsbury? What do you intend to do about Pillsbury? How about it, Governor? Willie pushes by them. WILLIE Later, boys, later. -LRB- to Jack. -RRB- Say, Jack, go back and get the Judge. Let's get him over to my hotel just as soon as you can. They all hurry after Willie as he rushes down the stairs.\",\n \"INT. Lobby State Capitol, Day Anne is about to go up the stairs when she meets Willie and the others on the way down. ANNE -LRB- to Willie. -RRB- I waited for you. -LRB- she sees Sadie. -RRB- Hello. -LRB- back to Willie. -RRB- You promised we could. uh. discuss my charity project. Children's home? WILLIE Well, I'm very sorry. Something very important came up. You'll call me later, wo n't you? ANNE Yes, certainly. SADIE We're late. Anne watches as they cross the lobby and exit.\",\n \"INT. Stark's Hotel Suite, Night Close shot of Willie, seated, with his feet propped up on a table. Pillsbury stands before him. Jack, Sadie, Duffy, and Sugar Boy are also in the room. WILLIE Look at you, Pillsbury. Fifty years old, gut - sprung, teeth gone, never had a dime. If the Almighty had intended for you to be rich he'd have taken care of that a long time ago. The idea of you being rich. that's plain blasphemy. Ai n't that a fact? Pillsbury does n't answer. WILLIE Answer me! PILLSBURY Yes. WILLIE Louder, man. Do n't mumble. Speak up. Say it's a fact, a blasphemous fact. PILLSBURY It's a fact, a blasphemous fact. Sugar Boy laughs loudly. The phone rings and Sadie picks it up. SADIE Yeah? Oh, I see. -LRB- hangs up. -RRB- Dumond ca n't come. He says his wife is sick. WILLIE I do n't care if she's dying. Sugar, get the car. Get him and bring him over here. Sugar Boy exists. Willie turns back to Pillsbury. WILLIE Now, you know what you're supposed to do, do n't you, Pillsbury? You're supposed to stay poor and take orders. Oh, there'll be some sweetening for you from time to time. but Duffy'll take care of that. Do n't you go setting yourself up on your own again, do you understand that? PILLSBURY Yes. WILLIE Louder, man. And say, I understand that. PILLSBURY I understand that. WILLIE Give him a pen and some paper, Sadie. There is a knock on the door. WILLIE See who that is, Duffy. Judge Stanton enters. WILLIE Oh, hello, Judge. Sit down. I'll be with you in just a couple of seconds. -LRB- back to Pillsbury. -RRB- Now write what I tell you to write. Dear Governor Stark. I wish to resign as auditor due to ill health, to take effect as soon as you can relieve me. Respectfully yours. -LRB- after a pause. -RRB- Did you sign it? PILLSBURY No. WILLIE -LRB- roaring. -RRB- Well, sign it! Do n't put any date on it. I can fill that in when I need it. Pillsbury signs the paper. WILLIE Now bring it to me. Pillsbury moves slowly, so Sadie yanks the paper out of his hand and passes it to Willie. WILLIE Now get out. Pillsbury slinks out of the room. JUDGE The papers have the story. WILLIE Yeah, I know. JUDGE They're talking about impeachment proceedings. WILLIE -LRB- rising. -RRB- Against who? JUDGE This time, Pillsbury. WILLIE I got that `` this time,'' Judge. JUDGE How true is it? WILLIE It's too true. The phone rings. SADIE Yes? -LRB- hands phone to Willie. -RRB- This is it, Willie. Jeff Hopkins on the wire. Willie takes the phone, but puts his hand over the mouthpiece so that he can speak to Jack. WILLIE What have we got on Hopkins, Jack? -LRB- as Jack riffles through the black book. -RRB- Hello, Jeff. About that Pillsbury business. -LRB- reads from black book Jack holds out for him. -RRB- Here's what I want you to do when it comes up in the legislature. Now, wait a minute, wait a minute. You listen to me. -LRB- still reading from book. -RRB- You got a mortgage coming due on that place of yours in about five weeks, have n't you? You'd like to get it renewed, would n't you? -LRB- pause. -RRB- All right, Tiny'll talk to you in the morning. He grins and hangs up the phone. WILLIE Get going, Tiny. Duffy leaves. JUDGE You have n't answered my question. Why are you saving Pillsbury's hide? WILLIE I'm not a bit interested in Pillsbury's hide. It's something much more important than that. If the McMurphy boys get the notion they can get away with this, there's no telling where they'll stop. JUDGE -LRB- quietly. -RRB- Or where you will. Pillsbury is guilty. As attorney general of this state, it's my job to prosecute. WILLIE Judge, you talk like Pillsbury was. was human. He is n't. He's a thing. You do n't prosecute an adding machine if the spring goes busted and makes a mistake. You fix it. Well, I fixed him. I'm not a bit interested in Pillsbury. It's something much bigger than that. JUDGE -LRB- getting up. -RRB- Yes, it is. JACK He's right, Judge. Ca n't you see that he's right? JUDGE He's right because you want him to be right. Because you're afraid to admit you've made a mistake. Do it now before it's too late. -LRB- to Willie. -RRB- I'm offering my resignation as attorney general. You'll have it in writing by messenger in the morning. dated. WILLIE -LRB- softly. -RRB- It took you a long time to make up your mind, Judge. A long time. What made you take such a long time? JUDGE I was n't sure. WILLIE And now you are? The Judge nods. WILLIE I'll tell you what you are. You're scared. You sat in that big easy chair of yours for thirty years and played at being a judge. Then all of a sudden I came along and put a bat in your hand, and I said, go ahead, Judge, start swinging. And you did. And you had a wonderful time. But now you're scared. You do n't want to get your hands dirty. You want to pick up the marbles. but you do n't want to get your hands dirty. Look at my whole program, Judge. How do you think I put that across? JUDGE I knew how, but I never knew why. He starts to leave. WILLIE You're not by any chance thinking of going over to McMurphy's boys, are you? JUDGE I'm through with politics. WILLIE I'm happy to hear that. -LRB- extends his hand. -RRB- No hard feelings. JUDGE -LRB- ignores the hand. -RRB- Goodbye, Governor. -LRB- to Jack. -RRB- Are you coming with me, Jack? Jack turns away. JUDGE You're making a mistake. He goes. Willie closes the door behind him. WILLIE Do you think he means it when he says he's through with politics, Sadie? SADIE No. No, I do n't. WILLIE What about you, Jack? JACK I've known the Judge all my life. He's always meant everything he's said. WILLIE All right. All right. Take it easy. I'll take your word for it.\",\n \"EXT. Willie's Hotel, Night Willie's car draws up to the curb. Sugar Boy hops out to open the door for Willie. Sadie is watching him from a window upstairs in the hotel. Anne is in the back seat ; Willie leans down to talk to her. WILLIE Sugar, take Miss Stanton home. -LRB- to Anne. -RRB- When am I going to see you again? She does n't answer. WILLIE What's the matter, Anne? ANNE Please take me home now, Sugar Boy. WILLIE You've got to understand me. ANNE -LRB- turns away. -RRB- I understand you. It's myself I do n't understand. WILLIE Do you think I like sneaking around corners any more than you do? But right now, with the Pillsbury business and with your uncle quitting. If I got a divorce. ANNE Maybe we'd better stop seeing each other. WILLIE No. No, we wo n't stop seeing each other, will we? ANNE -LRB- slowly. -RRB- No. WILLIE Because you believe in what I tell you. ANNE -LRB- puts her hand on his. -RRB- Because I believe what you tell me. Sadie approaches. SADIE Good evening, Governor Stark. -LRB- looks at Anne, but talks to Willie. -RRB- I thought you might like to know that Judge Stanton kept his promise. -LRB- directly to Willie. -RRB- He gave the story to every paper in town. WILLIE Sugar, meet me at the hotel as soon as you can. FADE OUT NEWSPAPER HEADLINE STANTON ACCUSES STARK OF QUASHING PILLSBURY GRAFT\",\n \"INT. State Legislature Assembly Room, Day Duffy stands in the forground, looking in on the uproar and confusion of the assembly. SENATOR These are serious charges that Judge Stanton has given to the press. This legislature is entitled to a complete and full report on the Pillsbury affair. Let the truth be known. 2ND SENATOR Let it come out. 3RD SENATOR I move that we adjourn. 4TH SENATOR I second the motion. CHAIRMAN All those in favor, say aye. Motion carried. The house is adjourned. As Duffy turns and walks away, other senators rise up in their seats in protest. MONTAGE : PILLSBURY SCANDAL Sign on building reads : CITIZENS COMMITTEE MEETING, Subject : PILLSBURY SCANDAL, 8 P.M. Tonight - Town Hall. A man pastes a strip across the sign : CANCELED. A man is making a speech to a small group of people. MAN If you let Willie Stark get away with the Pillsbury graft, there's no telling. Thugs break up the meeting. The speaker is beaten up. Jack Burden turns through the pages of the little black book.\",\n \"INT. Stark's Hotel Suite, Day Willie is lying on the bed. Jack is seated. Sadie and Sugar Boy stand nearby. JACK But we beat the Pillsbury rap. It's over. WILLIE These things are never over. I'll tell you what I want you to do, Jack. I want you to start a new page in that black book of yours. under then name of Judge Stanton. JACK You're crazy. There's nothing on the Judge. SADIE Why? Because his name is Stanton? WILLIE Ssshhh, easy. JACK What if I wo n't do it? WILLIE You know, some of this has rubbed off on you. JACK What are you going to do? Have me shot? WILLIE No. no. but I'll have to get myself a new boy. JACK I tell you there's nothing on the Judge. WILLIE Jack, there's something on everybody. Man is conceived in sin and born in corruption. JACK It's a waste of time. WILLIE What's the matter, Jack? Are you afraid you might find something out? Jack stares at him.\",\n \"EXT. Burden's Landing Ferry, Night Jack's car is seen coming across on the ferry. JACK -LRB- voice over. -RRB- I kept saying to myself that Willie was wrong about the Judge. If there was anything left at Burden's Landing, it was honor. I had to believe that.\",\n \"INT. Stanton Living Room, Night Jack and Anne stand together in the living room. JACK Anne, I want to ask you a question. Was the Judge ever broke? Really broke? ANNE Why do you want to know? JACK I do n't want to know, but I've got to. ANNE Did he tell you - JACK Did who tell me? ANNE I do n't know. I. how should I know if the Judge was ever broke? She walks away from him. Adam enters, carrying bundles of food and two wine bottles. STANTON Hello. Come on, Anne, take this food and start cooking. I'm hungry. Anne takes the grocery bundles. Jack grabs the wine. JACK Me, I'm on the thirsty side. Bring some glasses, Anne, quick. He joins Adam, who has opened the piano. STANTON -LRB- laughing. -RRB- It's been a long time since I played this thing. What do you say we wake up the ghosts, huh? JACK -LRB- calling to Anne. -RRB- Another glass, Anne, for a ghost. STANTON -LRB- starting to play. -RRB- Remember the last time I played this? You and Anne were dancing? Anne returns with three glasses. Jack grabs her around the waist and whirls her around. JACK Shall we dance? ANNE Let's. let's have a drink first. Adam starts to pour the wine. JACK No, no. keep playing. Anne and I want to hear this, do n't we, Anne? -LRB- Jack pours the wine. -RRB- Adam. ghost. and me. STANTON What shall we drink to? JACK To the ghost? To Adam, to the director of the new medical center. STANTON -LRB- bangs the piano keys. -RRB- Do n't you ever stop working for him? ANNE Adam! STANTON I came up here to get away. JACK I'm sorry, Adam. ANNE Well, I'm not. What's wrong with being the director of the new medical center? STANTON Nothing, except that I'm not going to take it. JACK Why? Because your uncle resigned? STANTON That's partly it. There are other things. ANNE What other things? STANTON -LRB- looks at her. -RRB- You too? ANNE Yes, me too. JACK Anne, if Adam does n't want to discuss it, let's not. STANTON All right, let's discuss it. ANNE But calmly. STANTON Calmly. Go ahead, Jack. Why do you think he wants me? JACK Because you're the best man for the job. STANTON It could have nothing to do with my name being Stanton? JACK It could have. Let's grant that. STANTON That's your answer. JACK No, it's not. If that were the only answer I would n't be with him any more. There's another side of it. I've learned something from him. You ca n't make an omelet without cracking eggs. STANTON Or heads. ANNE But at least a hospital will be built, and the sick will be cared for. STANTON At what price? JACK At any price. STANTON Do you really believe that, Jack? JACK I really believe that Stark wants to do good. You do too. It's a matter of method. Many times out of evil comes good. Well, pain is an evil. As a doctor you should know that. STANTON Pain is an evil ; it is not evil. It is not evil in itself. Stark is evil. JACK The people of the state do n't think so. STANTON How would they know? The first thing he did was to take over the newspapers and the radio stations. Why be so afraid of criticism? If Stark is interested in doing good, he should also be interested in the truth. I do n't see how you can separate the two. No, Stark is not for me. ANNE -LRB- upset. -RRB- No, Stark is not for you. Well, what is for you? Pride. Pride, that's all it is. foolish, stupid pride. All you've ever talked about is what you could do if. if somebody would tear down and build. All right, all right, somebody has, and he's given it to you. But he's not for you. No, he's not for you. She throws down her glass and runs crying from the room. Adam goes after her. STANTON Anne. Anne.\",\n \"INT. Stanton Hallway and Stairs, Night Anne runs upstairs and Adam follows. The Judge comes out of his room to see what has happened, sees Jack standing at the foot of the stairs, hesitates a moment, and then goes back to his room without speaking.\",\n \"INT. County Recorder Room, Day Jack enters and speaks to a clerk, who then directs him to one of the files. He starts to look through the files marked MORTGAGES DEFAULTED. JACK -LRB- voice over. -RRB- Will I find anything, Judge? Will I? I did n't find it all at once. It takes a long time to go through old courthouse records and musty deeds. a very long time. But it was n't too hard for me. I was well trained in research, especially this kind. He pulls out a file. JACK -LRB- voice over. -RRB- I found what I did n't want to find. He takes the file back to the clerk. JACK Have some photostat copies made of these. I'll be back tomorrow for them.\",\n \"INT. Jack's Hotel Bedroom, Day Jack is lying on his bed, looking over the documents that relate to the Judge. He looks haggard and worried. There is a knock on the door. Jack does n't answer ; the knock is repeated. JACK Who is it? SADIE'S VOICE It's me, Sadie Burke. JACK Wait a minute. He hides the documents under his pillow. JACK All right, come in. She comes in, sniffs the air. SADIE Phew! Awful lot of smoke. Awful lot of whisky. You sober? JACK Stone. SADIE I'll have one with you. -LRB- starts tidying up the room. -RRB- What are you hiding out for? JACK I'm not. I've been sleeping. SADIE For four days? You've been back in town for four days. JACK Willie knows everything. SADIE Willie's worried about his boy. JACK Willie's boy is worried about Willie's boy. SADIE Well, why do n't you put something on the phonograph - a low - down, mean blues. Play it over and over again until you're sick of it. Then crack it and go back to work. -LRB- sits down. -RRB- I do it all the time. JACK That's not my problem. SADIE No, it is n't your problem. -LRB- gets up again. -RRB- I'll wait for you if you want to powder your nose. Jack goes into the bathroom. JACK I'll be with you in a minute. Sadie wanders around. She goes to the dresser, upon which is a photograph of Anne Stanton. She picks up the picture and places it so she can see it in the mirror and compare it with her own reflection. SADIE Hmmm. Yeah, I can see it. I've got to look in the mirror to be able to see it. Soft, white skin. not like mine. -LRB- runs her hand across her cheeks. -RRB- I had smallpox when I was a kid. Where I lived it seemed nearly all the kids had smallpox. Jack watches her through the open bathroom door. SADIE It leaves your face hard. Then she's got poise. Look at the way she holds her head. at just the right angle. That takes training. That takes years of training. Jack, towel in hand, comes out and stands behind her. He looks at her in the mirror, puzzled. SADIE I see what Willie sees. Willie's got big ideas, Jack. JACK What do you mean? SADIE A girl like that could be a governor's wife. Or even a President's. JACK What are you talking about? SADIE He ditched Lucy, he ditched me, and he'll ditch you. JACK -LRB- shaking her. -RRB- Answer me! SADIE He'll ditch everybody in the whole world because that's what Willie wants. Nobody in the world but him. JACK What are you talking about? SADIE You and your high - tone friends. What do they know? What do they know about anything? Why did you have to mix her in? JACK You're crazy, Sadie. You're out of your mind. SADIE Am I? Well, why do n't you go down and ask her. Or ask him. Ask Willie. JACK Shut up! SADIE Go ahead, ask him. JACK Shut up! SADIE Ask him! He slaps her hard. SADIE Ow - oo. oh. oh. She starts to laugh.\",\n \"EXT. Football Field, Day A football team is practicing on the field. Willie watches from the bench. A player kicks the ball and Tom misses it. Jack walks over to Willie. JACK He's off today. WILLIE It's only practice. He'll be all right tomorrow. You been gone a long time, Jack. JACK Yeah. I figured if you needed me you'd yell. WILLIE Why'd you lay around the hotel? JACK Thinking. WILLIE About what? JACK Things. WILLIE What did you find on the Judge? JACK Nothing. WILLIE You sure you did n't find anything on the Judge? JACK Yeah, I'm sure. WILLIE You're going to keep trying, are n't you? JACK If you want me to. WILLIE I want you to. There's something else I want you to do too. JACK What? Bucket boy? Towel slinger? What? WILLIE -LRB- looks at him closely. -RRB- What's eating you, Jack? JACK -LRB- avoiding it. -RRB- What else do you want me to do? WILLIE If you've got something on your mind, boy, spit it out. We've been together too long to play games. JACK What do you want me to do? WILLIE I hear your pal Adam Stanton turned down the job as director of the hospital. That's bad. Especially at a time like this. JACK Oh? How did you hear it? WILLIE Why? What difference does it make? JACK I just wanted to know. WILLIE I heard it around. JACK -LRB- insistent. -RRB- How did you hear he turned it down, Willie? Out on the field the boys have stopped playing and are huddled around the coach. WILLIE I'll be right back, Jack. I want to see what's happening here. He goes over to the group on the field. The coach is talking to Tom. COACH You going to practice the way I tell you. TOM I'm going to do it the way I want to do it. Willie comes up to them. WILLIE Tom, come here. What's going on here? COACH I do n't care if he is your son, Governor. No special rules for him. TOM It does n't make any difference to me either way. whether I play or not. WILLIE Well, it does to me. -LRB- to coach. -RRB- What do you want him to do? COACH To behave himself. Like the rest of the boys. Four times this season he's broken training. He comes on the practice field half potted. WILLIE Tom, you're going to have to obey the rules. Do you hear me? You're going to obey the rules. TOM I put'em across, do n't I? Every Saturday I put'em across and I can still do it, drunk or sober. That's all you want, is n't it. for me to put'em across so you can big - shot it around? Is n't that all you want? He walks away. WILLIE Tom! -LRB- to coach. -RRB- He's a little high - strung. -LRB- goes after Tom. -RRB- Tom, come here. Tom!\",\n \"EXT. Highway, Foggy Day Sign in foreground reads : WILLIE STARK HIGHWAY U.S. 56. A car swerves around a bend and careens down the highway. Tom and his girl friend Helene are in the car. Tom is drinking. HELENE -LRB- laughing. -RRB- Come on, Tommy. let's go faster. Come on. The car goes across a bridge, weaving. Two motorcycle cops parked there start to give chase. Tom's car swerves out of control and crashes through a fence. The two motorcycle cops ride out to the field to the wrecked car. They find Tom and Helene, unconscious. One of the cops picks up the empty bottle and hands it to the other. 2ND COP -LRB- looking at Tom. -RRB- It's the governor's son. He throws the bottle away. NEWSPAPER HEADLINES GOVERNOR'S SON HURT : GIRL NEAR DEATH IN CRASH Below the headline is a picture of Helene Hale's father. Another picture of Mr. Hale on the front page. Caption reads : GIRL'S FATHER CLAIMS DRUNK DRIVING CAUSE OF WRECK ADMITTANCE TO HOSPITAL DENIED PRESS\",\n \"INT. Governor's Mansion, Night Lucy and Mr. Hale walk across the large reception room toward Willie. Jack, Sugar Boy, and Duffy stand around in the background. LUCY Willie, Mr. Hale's here to see you. Willie comes to meet them, a drink in his hand. He is obviously drunk. WILLIE Go on upstairs, Lucy. I have some business I want to talk over with Mr. Hale. HALE What I've got to say anybody can listen to. Where's your boy? WILLIE Now. now, do n't get excited. -LRB- to Sugar Boy. -RRB- Get me another drink, Sugar. HALE My daughter may die. WILLIE She's not going to die. She'll get the best medical attention there is. No expense will be spared. HALE Where's your boy? LUCY I'll get him. WILLIE Wait a minute, Lucy. He's asleep. And the doctor said after a good night's sleep he'll be all right. LUCY No, he wo n't be all right unless you make him all right. I'll get him. She goes. WILLIE Lucy! -LRB- to Hale. -RRB- You care for a drink? HALE No thanks. WILLIE Accidents will happen, you know. HALE Accidents? Your boy was drunk. WILLIE I saw the police report. There. there was nothing about drunkenness on the police report. HALE Whose police and whose report? I say the boy was drunk. And I know it. Tom comes down the stairs, with Lucy. HALE -LRB- to Tom. -RRB- Right here before your father. I want you - TOM Mr. Hale - WILLIE Tom, the doctor says you need rest, boy. TOM -LRB- turns on him. -RRB- I do n't want you to try to cover up for me. I was wrong. that's all there is to it. WILLIE You do n't know what you're talking about. I saw the police report - TOM I do n't care what the police report says. I was driving and I was drunk. It's all my fault. -LRB- to Hale. -RRB- Anything you want to do to me, you can do. Whatever you want me to do, I'll do. WILLIE Nobody has to do anything. Stop worrying. I'll take care of everything. TOM I do n't want you to take care of anything. Tom looks ill ; he presses his hand to his forehead. WILLIE Tom, go on upstairs and get some rest, boy. Go on. go on. go on. Tom walks slowly toward the stairs. WILLIE Sugar, help him. Mr. Hale, come on over and sit down. You sure you would n't care for a drink, Mr. Hale? Hale sits down, shakes his head. WILLIE Hey, Tiny, go home. Go on, out of here. out of here. Go on. Duffy leaves, disgruntled. Willie sits on a coffee table. He pours himself another drink. WILLIE What business did you say you were in? HALE I did n't say. WILLIE What business are you in? HALE Trucking business. WILLIE Trucking business. Trucks run on state roads. If a man in the trucking business had a contract with the state, a big one, that would be pretty good, would n't it? -LRB- to Jack. -RRB- Go on, Jack. Tell him what would happen. Jack is silent. WILLIE Go on, tell him. HALE You're trying to bribe me, are n't you? WILLIE No, no. No, I'm not trying to bribe you. I'm. I'm only talking things over with you, that's all. HALE You're pretty good at talking. I remember when you first started talking. A place called Upton. You did a lot of talking then and the things you said made sense, to me and a lot of other people. I believed in you. I followed you. and I fought for you. Well, the words are still good. But you're not. -LRB- rises. -RRB- And I do n't believe you ever were. He walks out of the room. WILLIE -LRB- after a pause. -RRB- Sugar, follow him. Keep calling in. Sugar goes, leaving just Jack and Willie. Willie, very drunk, tries to get up but falls against the piano. WILLIE -LRB- yells. -RRB- Lucy! Lucy! He staggers up the long stairway. Halfway up he tumbles, groaning. Jack helps him to his feet. JACK I'd like Anne to see you now. I'd like Anne to see you now, you drunken sot! -LRB- drags him up the stairs. -RRB- Come on. FADE OUT NEWSPAPER Photograph of Helene Hale on front page. Headline reads : GIRL CRASH VICTIM DIES Under the photograph there is a caption : FATHER MYSTERIOUSLY DISAPPEARS AFTER BARING BRIBE OFFER BY GOVERNOR STARK\",\n \"EXT. Governor's Mansion, Day Willie, Jack, and Sugar Boy are accosted by a group of newsmen as they come down the stairs. NEWSMEN What about the girl's father, Governor? Have you a statement to make? WILLIE All right, all right, gentlemen. I'll give you a statement. This whole thing is a mess of lies. It's a frame. The man that made that statement. have him repeat it to my face. He ca n't. He vanished. Let me ask you some questions. Where has he gone? Where is he? REPORTER Maybe you could answer those questions too, Governor. Sugar Boy makes a move for the reporter but Willie holds him back. WILLIE I wo n't dignify that question with an answer. ANOTHER REPORTER One more question, Governor. Where's your son? WILLIE At the football stadium, where he's supposed to be. He's going to play for State University, which this administration is responsible for. He's not hiding from anybody, gentlemen. He'll be out there in full view of seventy thousand cheering fans. -LRB- starts down the stairs. -RRB- One of which will be me. See you, men. He leaves, followed by Jack and Sugar Boy.\",\n \"EXT. Football Field, Day The game is in progress and the stands are packed. But there is no cheering. Instead we hear boos, and shouts for Tom. CROWD VOICES Where's Stark? How about Tommy Stark? Hey, Willie, send your boy in.\",\n \"EXT. Willie's Box Willie, Jack, Sugar Boy, and Lucy are in one box. Sadie and Duffy sit in the adjoining one. Willie is standing up. The crowd continues to heckle him. WILLIE Why do n't they put him in! MAN Come on, Willie. send your boy in. A drunk comes over to his box. DRUNK What's the matter, Willie. is your little boy ashamed to show his face? DUFFY Shut up! Willie signals angrily to the police. WILLIE Get that man out of here! Come on, get him out of here. The man is dragged away. The crowd boos, and Willie gets up and leaves the box, followed by Jack.\",\n \"INT. Stadium Dressing Room, Day Tom is sitting on one of the massage tables with a towel around his shoulders as Willie and Jack come in. The sound of the boos can still be heard. WILLIE They're booing you. TOM -LRB- holds his head. -RRB- Ever since the accident, my head. WILLIE The doctor said it was nothing. TOM Get dizzy. ca n't see. dizzy. WILLIE You're scared. plain scared. TOM -LRB- looks up angrily. -RRB- Get out of here! WILLIE Atta boy. get mad. Show some spirit. Jack, tell him what his playing means. Go on, tell him. JACK You can never tell about a head injury. Maybe the boy's hurt. WILLIE He's hurt? I'm hurt. It was n't me that wrapped that car around the tree. It was n't me that got drunk. But me, I'm takin' the rap. -LRB- softer, to Tom. -RRB- Go on, kid. Get out there and play. Show'em the kind of stuff a Stark is made of. TOM -LRB- coldly. -RRB- I would n't know. Enraged, Willie slaps him. Tom fights back, and Jack has to pull them apart. JACK Tom. cut it out! TOM -LRB- breathing heavily. -RRB- All right, I'll play. Now get out of here. Camera holds on Tom as Jack and Willie leave. He picks up his uniform, stops, then rubs his head.\",\n \"EXT. Football Stadium, Day Tom is on the field. He runs up to the coach. P.A. ANNOUNCER Stark's going in! The boos turn to cheers. The crowd applauds. Willie signals from his box to the coach. He wants Tom sent in. Tom runs out on the field and joins the team. The players are lined up, in position to play. Tom shakes his head, as if trying to clear it.\",\n \"EXT. Football Stadium, Time Lapse The crowd yells excitedly. Tom, looking weary, gets the ball and runs with it downfield. Three players tackle him hard and fall on him. A silence falls over the stadium as he fails to get up with the others. In Willie's box, everyone is standing. LUCY Tommy. Tommy. Tommy! Willie rushes out onto the field and kneels beside Tom as the doctor and stretcher bearers arrive.\",\n \"INT. Hospital Waiting Room, Night Lucy and Willie are waiting for news about Tom. Sugar Boy comes in with a paper bag and sets it on a table. SUGAR BOY B - b - boss, you got ta eat. You g - g - got ta. Willie motions him away. WILLIE I'm the one that made him play. I sent him in. LUCY Sit down, Willie. Please sit down. WILLIE I sent him in. LUCY What difference does that make now? Jack comes in. WILLIE What goes on? JACK There is n't a plane flying. WILLIE They got ta fly. This is my son. He's got to live. Adam Stanton enters. STANTON I just got a call from Dr. Birnham. The earliest he can possibly get here will be tomorrow morning. WILLIE Is n't there anybody else we can get? JACK I still think Dr. Stanton should operate. STANTON That's up to Governor Stark. He wanted another doctor. a specialist. I sent for one. WILLIE How bad is it really, doctor? STANTON He's unconscious. and paralyzed. Lucy slumps in her chair. WILLIE Has he got a chance? STANTON To live? Yes. WILLIE What do you mean? STANTON Even if the operation's successful - that is, if he lives - I think he'll be paralyzed for life. WILLIE You'll do everything you can, wo n't you? Anything between you and me. that wo n't count, will it? It does n't have to. Look, doc, anything you want in the world you just ask for it and you got it. Go on, doc. ask for it. STANTON -LRB- coldly. -RRB- There are some things, Governor Stark, that even you ca n't buy. Do you want me to operate, or do n't you? LUCY Yes. I want you to operate. -LRB- stands up. -RRB- Please, may I see Tom now? STANTON Yes. They leave together. WILLIE -LRB- to Jack. -RRB- How much does the doc know? JACK About what? WILLIE Oh, you know what I'm talking about. JACK About what? WILLIE About Anne and me. JACK -LRB- after a pause. -RRB- He does n't know a thing. not a thing. Jack turns and walks away.\",\n \"EXT. Hospital, Night Anne has been waiting outside the hospital. She turns to Jack as he comes out the door. ANNE Jack, how is he? JACK The boy? ANNE Yes. JACK He'll live. ANNE Oh, thank God. How is - JACK Willie? ANNE He blames himself, does n't he? JACK -LRB- as he walks down the street. -RRB- He'll find someone else to blame in a few days. ANNE -LRB- following him. -RRB- Oh, I tried to call here at the hospital, but I just. They walk together, along the waterfront. JACK Anne. Anne, why did you do it? ANNE He was n't like anybody I ever knew before. JACK You mean he was n't like me. ANNE He was n't like anybody I ever knew before. I love him, I guess. I guess that's the reason. JACK Everybody loves him. ANNE He wants to marry me. JACK Are you going to? ANNE Not now. It would hurt him. A divorce would hurt his career. JACK His career! ANNE Jack. Jack, what are you going to do? You ca n't leave him now. He needs you now more than he ever did before. JACK What Willie needs, Willie's got. ANNE You do n't know him. You've known him all these years and you do n't really know him at all. JACK What about Adam? ANNE Adam? JACK Well, you do n't have to worry about him. If Adam finds out it'll be easy to prove a Stanton is no different than anybody else. -LRB- gives her the papers on the Judge. -RRB- Just show him these. Willie was right. a man is conceived in sin and born in corruption. Even Judge Stanton. Show them to him, Anne. Change the picture of the world that Adam has in his head, just like our picture of it has been changed. He grips her by the shoulders. JACK Wipe out everything he's ever believed in. It'll be good for him. There's no God but Willie Stark. I'm his prophet and you're his. -LRB- pushes her aside, then feels sorry and walks after her. -RRB- Oh, Anne. Anne, I'm sorry. I did n't mean. Anne! A policeman comes over. POLICEMAN What's going on here? Jack catches up to Anne. He takes her arm and they start to walk back together. JACK It's all right, officer. we both work for Willie Stark. FADE OUT\",\n \"EXT. Hospital Site, Day Willie, Anne, Adam, and Jack inspect a construction site. There are newsmen and photographers present. WILLIE -LRB- to Adam. -RRB- Right over there, that's going to be the main building. fifteen stories high, like on the model. Over there, that's the laboratory. Finest technical equipment in the world. STANTON What are you trying to convince me of? I've taken the job. WILLIE Why? STANTON My reasons are my own. Why are you building a hospital? WILLIE To do some good for the people of the state. STANTON And get some votes. WILLIE Oh, there are lots of ways to get votes. STANTON Yes, I know. I wo n't stand for any interference. WILLIE I wo n't interfere. I may fire you, but I wo n't interfere. STANTON If that's a threat, you're wasting your time. You know what I think of your administration. WILLIE Yes, I know. I'll tell you what. You stay on your side of the fence ; I'll stay on mine. Is that a deal? They climb up onto the platform, where the newsmen gather around to take pictures. Willie and Adam shake hands. JACK -LRB- voice over. -RRB- Now he had us all. me, Anne, and Adam. Now we all worked for him. FADE OUT\",\n \"INT. Projection Room, Day Willie, Jack, and Sugar Boy are watching a newsreel, similar in style to the March of Time newsreels. A producer, his assistant, and two policemen are also in the room. NARRATOR'S VOICE And so the eyes of the entire nation are now focused upon Governor Willie Stark, an amazing phenomenon on the American political scene. The whole state is filled with his accomplishments - each of them, of course, bearing his personal signature, to make sure that no one will ever forget who gave them to the state. MONTAGE : THE NEWSREEL Large plaque on side of the highway : THIS BRIDGE WAS BUILT DURING THE FIRST ADMINISTRATION OF GOVERNOR STARK. A TOLL BRIDGE STOOD HERE FOR FIFTY YEARS. NOW THE PEOPLE TRAVEL FREE Camera pans to shot of the bridge. Plaque over college entrance : STARK COLLEGE. THAT EVERY MAN, WOMAN, OR CHILD, RICH OR POOR, SHALL HAVE AN EDUCATION. WILLIE STARK Shot of library - lettering reads WILLIE STARK LIBRARY. KNOWLEDGE BELONGS TO THE PEOPLE Shot of bad road running through dry, barren land. NARRATOR'S VOICE This is the way the roads used to be. But there are those who claim that they were adequate for the people's needs, that you do n't need a four - or six - lane highway for a horse and buggy. Shot of horse pulling a plow. The empty, untraversed STARK HIGHWAY. NARRATOR'S VOICE When Stark boasts of his great school system, his critics say : you ca n't go to school and work in the fields at the same time. And they question the benefit of these projects, charging that the need and the poverty of the people is as great as before. Shot of large school. Camera cuts to men working in the field, then to ramshackle barn, and to a farmer walking across his rotted cornfield. NARRATOR'S VOICE Willie Stark has never forgotten the source of his power : the people who supported him. Willie talking to the farmers. NARRATOR'S VOICE He still keeps in touch with these people of the backwoods, making periodic trips to such places as Kanoma City, now famous as his birthplace. Willie's official car and escort speeding through a street. Sign reads : KANOMA CITY, BIRTHPLACE OF WILLIE STARK Shot of Willie having his picture taken with Lucy and Pappy on the porch of the old farm. Willie mending the fence on the farm. Willie feeding the pigs. NARRATOR'S VOICE For those who say that Willie Stark is a man of destiny, there are others who claim that he is a man of evil, a man who cares neither for the people nor the state, but only for his own personal power and ambition. Willie making a speech to a huge crowd of cheering people. Willie inspecting his police force. Willie pounding the desk in the state legislature. NARRATOR'S VOICE Obviously, these ambitions go far beyond the boundaries of the state. Just how far, only time will tell. Meanwhile, he is here. Big close - up of Willie as he delivers a speech. NARRATOR'S VOICE and from the looks of things, he is here to stay. Willie Stark : messiah or dictator? The picture goes off and the lights in the room come on. PRODUCER How do you like it, Governor? Willie stands and faces the producer. WILLIE How many theaters will this play in? PRODUCER All over the country. WILLIE Hear that, Jack. All over the country. They start to leave. Willie stops for a moment. WILLIE Oh, there's one thing in there I did n't like too well. That messiah or dictator. PRODUCER That's our point of view, Governor. And that's the way it stands. There is a silence. Willie's face is hard. Then he grins. WILLIE All right, all right, that's the way it stands. as of now. FADE OUT NEWSPAPER HEADLINE STARK BEGINS RE - ELECTION CAMPAIGN STATEWIDE TOUR STARTS WITH VISIT TO KANOMA CITY\",\n \"EXT. STARK FARMHOUSE, DAY Tom and Pappy Stark are seated on the porch. Tom is in a wheelchair. Lucy comes onto the porch as the sound of sirens is heard, and Willie's two cars, motorcycle escort, and the car of reporters turn onto the drive. Tom, upset, flips his cigarette away as the cars stop in front of the porch. Lucy puts her hand on his shoulder to calm him. Then Willie climbs up the steps to greet Lucy. WILLIE Hello, Lucy. How are you making it, Pa? How are you, Tom? Tom does n't answer. Lucy offers her cheek to Willie. Sadie, Jack, and Sugar Boy wait at the bottom of the steps, along with the reporters. LUCY I made some refreshments for your friends. I'll get them. SADIE I'll help. LUCY -LRB- firmly. -RRB- No, thank you. Thank you kindly. JACK If you do n't mind, Mrs. Stark. the boys have to get back to make the morning editions. -LRB- to photographers. -RRB- Set'em up on the porch, fellows. We'll take some pictures out here, first. He starts arranging the family for the picture. JACK Mrs. Stark, please. All right, fellows, take one down there, will you please. Shoot it up this way. The cameras click.\",\n \"INT. Stark Farmhouse, Night Willie is finishing his meal, seated at the table with his family and Jack. Sugar Boy stands behind Willie. Sadie has left the table and is examining the room. WILLIE -LRB- on the last bite. -RRB- You're still a great cook, Lucy. Great cook. -LRB- gets up. -RRB- Well, I guess I better be getting back to town. Nice to have spent the day with the family. -LRB- kisses Lucy on the forehead. -RRB- Goodbye, Lucy. -LRB- extends his hand to Tom. -RRB- Tom. TOM -LRB- ignores the gesture. -RRB- Goodbye. WILLIE Take care of yourself, Pappy. Oh, uh. how do you like the new radio I got you? -LRB- walks over to it. -RRB- You know how it works? You can get police calls on it. Come here, come here. I'll show you. Pappy leans over as Willie demonstrates how it works. WILLIE This one for police calls up here. He turns the dial. POLICE BROADCAST Car sixty - two, proceed to five - eighteen Oak Street. Tom Jones beating his wife again. Pappy laughs delightedly. He reaches out to turn the dial. WILLIE All right, go ahead, go ahead. ANNOUNCER'S VOICE We interrupt this program to bring you a special announcement. This afternoon, the body of Richard Hale, father of the girl who died in the automobile accident involving the governor's son, was found. A medical examination revealed he was beaten to death. Tom starts to wheel toward Willie, but Lucy restrains him. ANNOUNCER'S VOICE The ugly charge of `` official murder'' has been hurled at the administration by a coalition of Stark's opponents, led by Judge Stanton, lately an outspoken critic of the administration. WILLIE -LRB- to Jack. -RRB- Your friend, the Judge. ANNOUNCER'S VOICE Thus an almost forgotten incident provided the spark that might set off the explosion needed to rock Willie Stark out of power. The latest report is that impeachment proceedings may be instituted. Willie turns off the radio. There is a silence. Then Willie turns to Lucy. WILLIE How long will it take you to pack? I want you to go back to Capital City with me tonight. LUCY Why? WILLIE Because I need you. TOM What for? WILLIE -LRB- still speaking to Lucy. -RRB- I'll explain all of that later. Now, Lucy, do like I say. JACK I'll wait outside. WILLIE You stay right here, Jack. I want you bear witness to what I've got to say. LUCY -LRB- indicating Sadie. -RRB- She can be a witness too. SADIE -LRB- starting toward the door. -RRB- I'm going back to the capital and get hold of Duffy. WILLIE You stay right here, Sadie. SADIE Somebody's got to go back to the capital. I'll go in the other car. WILLIE All right, then tell Duffy not to do anything or say anything until I get there. SADIE Yes, Governor. She leaves. TOM Now he needs us. Now that he's in trouble he needs us, so he can lead us around like monkeys with rings in our noses. So he can say to people, look at me, feel sorry for me. just a family man with a wife and a crippled son. WILLIE -LRB- shouts. -RRB- Shut up! LUCY Willie! TOM Why do n't you leave us alone? Tom wheels himself into his own room. Lucy starts to follow. WILLIE Leave him alone. How many scrapes have I gotten him out of? How many girls? LUCY Willie, stop. WILLIE It's not him they're after. It's me. How many halfwitted apes do you think I'm going to have to pay to square this one? What do you think this is going to cost me? LUCY What do you think it cost him? Suddenly Willie turns his face away. WILLIE -LRB- in a broken voice. -RRB- A man builds for his son. That's all he builds for. LUCY Willie! -LRB- turns and goes into Tom's room. -RRB- Tom. Tom. Willie looks up at Jack and Pappy. WILLIE Give me a drink, Jack. Jack hands him a bottle and he takes a slug. WILLIE She'll go. Pappy shakes his head. PAPPY No good, Willie. No good.\",\n \"EXT. Stark Farmhouse, Night Pappy stays behind on the porch as Tom is carried in his wheelchair down the steps and into Willie's car. Lucy follows. The motorcycle escort leads them away from the farm.\",\n \"EXT. Highway, Night As the cars speed to Capital City.\",\n \"INT. State Legislature, Night There is great excitement in the assembly room. One senator steps forward and addresses the speaker of the house. SENATOR Mr. Speaker, I offer a house resolution. Whereas Willie Stark, governor of this state, has been guilty of incompetence, corruption, and favoritism in office - yes, and other high crimes - that he is hereby impeached, and ordered to be tried by the senate. His resolution is met with a mixture of cheers and boos.\",\n \"EXT. State Capitol, Night A huge crowd is gathered outside. Pillsbury, Sadie, and Duffy, waiting with the crowd, step forward as they see Willie's car approach. Newsmen take pictures as Willie gets out of the car. WILLIE -LRB- as he meets Duffy. -RRB- What's the score? DUFFY They're lined up against you solid. They had a meeting. WILLIE How do you know? Were you there? DUFFY Me? What would I be doing there? WILLIE Selling me out. He starts up the steps of the building.\",\n \"INT. Willie's Executive Offices, Night WILLIE How many votes have we got? SADIE -LRB- going through some files. -RRB- Eleven. WILLIE We need twenty. DUFFY We might be able to dig up a few more. WILLIE Yeah. Do you know how? DUFFY No. Willie turns to Jack. WILLIE Oh, Jack. Come here. What have you got in your black book about that old friend of yours? JACK Who do you mean? WILLIE You know who I'm talking about. your old friend, the Judge. JACK If and when you need it. WILLIE If and when? I need it right now. He's got four senators wrapped up in his hip pocket. Come on, come on, boy. what have you got? JACK I'm going to give him a break. If he can prove it is n't true, I wo n't spill it. WILLIE I ought to bust you, Jack. JACK I promised two people I'd do it this way. WILLIE Who are they? JACK Myself. and someone else. It does n't matter who. I'm going to give him a break. WILLIE All right, give him a break. But if you got the facts, you got the facts. The truth is sufficient. just like it says in the Bible. JACK That's the way it's going to be. WILLIE All right, boy. I'll trust you. Where are you going? JACK -LRB- on his way out. -RRB- I'll be around. Willie turns to go into his private office. SADIE Who else do you think he promised, Willie? Willie shrugs. SADIE You'd be smart. play square with him. You're going to need people like us around. WILLIE -LRB- as he shuts his door. -RRB- Are you sure? MONTAGE : THE IMPEACHMENT Willie's car speeding down a road. Willie, with Lucy and Tom seated behind him, addressing crowd. Willie speaking from the back of a train to a railroad station audience. JACK -LRB- voice over. -RRB- The chips were down, and Willie knew it. He was fighting for his life. He roared across the state making one speech after another. And all of them added up to the same thing. `` It's not me they're after, it's you!'' Close - ups of Willie, speaking to the people. JACK -LRB- voice over. -RRB- Willie hollered foul. Willie knew if you hollered long enough, hard enough, and loud enough, people begin to believe you. Just in case they did n't, he organized spontaneous demonstrations. Sign on back of a car : FIGHT WITH WILLIE Crowds carrying signs : WIN WITH WILLIE Willie talking on the telephone. Sadie listens. WILLIE Tell the boys to get the hicks out. Bring'em in from the sticks, empty the pool halls. Turn'em out. Turn the yokels out. More men with WIN WITH WILLIE signs. Man directing crowd from top of bus. Other bus loads of people are seen, all of them bearing signs. JACK -LRB- voice over. -RRB- In case anyone hollered back, he organized spontaneous slugging. Willie pulled every trick he ever knew - and added a few more. Crowd looks on as two uniformed police drag a man away. Willie's car waiting. Two thugs talk things over with a man on his doorstep. Willie discussing matters with a man in his office. Two cops stand with him. Willie and Jack in the car. Sugar Boy drives. It is night. Sugar Boy drives fast, and has to swerve to avoid colliding with a truck. JACK Hey, Sugar! -LRB- To Willie. -RRB- You'll never live to be impeached! WILLIE Boy, I'll live to be President. Jack and Sugar wait in the car as Willie leans out the car window to talk to a senator. He offers the man a piece of paper. WILLIE I've got fourteen senators to vote against impeachment. If I win, you're out of politics. SENATOR -LRB- refuses to sign. -RRB- I'll do whatever the Judge says.\",\n \"EXT. Highway, Night Willie's car, as it races down the highway. JACK -LRB- voice over. -RRB- And always the trail led to one place. Burden's Landing. and the Judge.\",\n \"EXT. Ferry to Burden's Landing, Night Willie's car coming across on the ferry.\",\n \"EXT. Stanton Home, Night As Willie's car stops and they all get out. WILLIE You sure you do n't want me to go in with you? JACK I'm sure. WILLIE Well, hurry it up, boy. We've got places to go. Jack goes into the house alone.\",\n \"INT. Judge Stanton's Study, Night Jack and the Judge are seated opposite each other. JACK Judge, I beg you, as a favor to yourself, to me. call up, release your votes. JUDGE I made a mistake once, Jack. when I resigned. It was too easy then, just resigning, pulling out. No, Jack, I've made my choice. I have nothing more to lose. JACK Judge, you know what Stark is capable of. Think it over. I'll leave now. I'll come back tomorrow and we'll talk about it again. You can give me your answer then. The door opens and Willie and Sugar Boy enter. WILLIE I ca n't wait until tomorrow. I'm a very impatient man. JACK -LRB- rising. -RRB- I told you not to come in here. WILLIE -LRB- ignoring him. -RRB- Is it true, Judge, that you're behind the impeachment proceedings? JUDGE Yes, it's true. Willie takes a seat in an easy chair. WILLIE I wanted to hear you say it with your own silver tongue. JUDGE Well, you've heard it. If that's all you came to hear you could have saved yourself a trip. Willie picks up a decanter off the table. WILLIE Mind if I pour myself a drink? How about you, Judge, will you have one? You better. You're going to need it. Jack and Judge Stanton remain standing, silently watching Willie. WILLIE What'd he say, Jack? JACK You'll get your answer tomorrow. WILLIE Are you kidding? Did you show it to him, or did n't you? JUDGE Show me what? WILLIE That's what I figured. Let's get down to cases, Judge. Do you remember a man with the name of Littlepaugh? The Judge shakes his head. He does n't. WILLIE Remember the Fortune Electric Company? JUDGE Of course. I was their counsel for over ten years. WILLIE Remember how you got the job? JACK How did you find out? WILLIE -LRB- hands the Judge some papers. -RRB- Do you remember how you got the job? The Judge examines the papers. WILLIE You know, Judge, dirt's a funny thing. Some of it rubs off on everybody. How did you get the job, Judge? Blackmail? JUDGE -LRB- to Jack. -RRB- I swear I never even remembered his name. Is n't that remarkable, Jack? I never even remembered his name. It's all so long ago it's hard for me to realize it ever happened. WILLIE Yeah. But it did. JUDGE Yes, it did. But it's difficult for me to realize it. JACK For me too, Judge. JUDGE Thanks for that much. WILLIE Well, I guess you know what the next move is, do n't you? JUDGE Yes, I do. Jack Burden. Willie Stark's hatchet man. JACK -LRB- to Willie. -RRB- I asked you. how did you find out? JUDGE This would never stand at law, not for a minute. It happened over twenty - five years ago, and you could never get any testimony. Everybody is dead. WILLIE Everybody except you, Judge. You're alive. And people think you're a certain kind of man. And you just could n't bear for people to think otherwise. JUDGE Ever since then I. I've done my duty. I. I'm responsible for many good things. -LRB- looks at the papers again. -RRB- But I also did this. WILLIE Yes, yes, you did. JACK Judge, I beg of you, call and release your votes, for your sake. JUDGE You have tender sensibilities for a hatchet man. -LRB- goes to the door. -RRB- Good night, gentlemen. WILLIE How about my answer? JUDGE You'll have it in the morning. WILLIE I want it tonight. JUDGE In the morning. Good night, gentlemen. There is silence. Then the three men get up to go. The Judge closes the door behind them.\",\n \"INT. Stanton Hallway, Night As the three men walk to the front door. JACK How did you find out? WILLIE We've got a lot to do. It's getting late, Jack. Let's get back to town. JACK You know we're through, do n't you? WILLIE Aw, you do n't mean that, boy. The front door opens, and Adam and Anne come in. STANTON What are you doing here? WILLIE It's all right, doc. Just here to discuss some politics with the Judge. STANTON Oh, I see. -LRB- starts upstairs. -RRB- Well, good night. WILLIE Good night. JACK -LRB- to Anne. -RRB- Did you give him - WILLIE Wait a minute, Jack - JACK Answer me. Did you give - A shot is fired. They turn and rush into the Judge's study. They find the Judge face downward in his leather chair. Adam and Jack kneel beside him. Willie, holding on tightly to Anne's arm, stands in the doorway. Jack picks up the Judge's pistol and looks at Adam.\",\n \"EXT. Stanton Home, Night Jack comes out of the house, followed by Anne and Adam. STANTON Are n't you going back with him? JACK No. STANTON Why not? You belong with him. Jack, how could you have done it? When Anne brought me those papers she told me you promised not to tell Stark until. JACK Yeah. I know. -LRB- walks away. -RRB- Well, I kept my promise. Adam looks unbelievingly at Anne. She looks away. STANTON Anne? Anne? FADE OUT\",\n \"INT. Jack's Hotel Room (State Capital), Day Jack looks out the window. A portable radio is blaring out the news. ANNOUNCER'S VOICE From all over the state they're streaming in. From the hill country and farms, the lumber camps. by boat, by train, by horse, and on foot. Willie Stark's army. Through Jack's window we see the street blocked with cars and people, all headed for the State Capitol Building. Anne is in the crowd, trying to get across the street. Seeing Jack in the window, she pushes her way across and enters the hotel. He slams the window shut and comes back into the room. ANNOUNCER'S VOICE The state capital is filled with rumors, one of which is that Stark is planning to seize power by force. As commander of the state militia, he has - Jack turns it off. He goes over to his bed and starts putting clothes into a valise. There is a knock on the door. He ignores it. Another knock. JACK Come in. The door's open. Anne enters. ANNE Jack. JACK What do you want? She starts to cry. He grabs her, pulling her face close to his. JACK -LRB- bitterly. -RRB- No, I want to see you cry. He lets her go and she falls to the bed, sobbing. JACK Stop it! ANNE I called you. All afternoon I've been calling you. JACK I know. I was here. ANNE You've got to tell Adam. You've got to see him. JACK Tell him what? ANNE He knows about me and. JACK About you and Willie? ANNE -LRB- nods. -RRB- I tried to explain to him. I. I tried to explain to him that it was n't the way he thought it was. JACK How was it, Anne? You tell me. ANNE He hit me, Jack. My own brother. he hit me. JACK Your brother is an old - fashioned man. He believes in his sister's honor. Me, I'm a modern man. -LRB- slams clothes into the valise. -RRB- The twentieth - century type. I run. ANNE -LRB- rises. -RRB- I'm frightened, Jack. JACK For who? Your brother, or Willie? ANNE -LRB- quietly. -RRB- We're through. JACK Who's through with who? ANNE He called me this afternoon. He's going back to Lucy. He said it was better that way. JACK Better for who? Him. ANNE Both of us. JACK Did he tell you that too when he asked you to betray the Judge? At least I walked out on him. ANNE Oh Jack. help me, please, please. Adam's all I've got left now. Oh, Jack, if you ever loved me. JACK If I ever loved you. -LRB- pause. -RRB- I'll go find Adam. He takes up his coat.\",\n \"EXT. HOSPITAL SITE, DAY A large billboard. It reads HERE ON THIS SITE WILL BE ERECTED THE GOVERNOR STARK HOSPITAL - TO HEAL SICKNESS - TO EASE PAIN - FREE. NOT AS A CHARITY BUT AS A RIGHT. WILLIE STARK Adam enters, looks at the sign, and walks on.\",\n \"EXT. Street Near Capitol Building, Day Crowds of people headed toward the building, some with WIN WITH WILLIE signs. A marching band plays music for them.\",\n \"EXT. Capitol Building, Day Crowd waiting outside the building. Mounted policemen keep them in line. From a large platform, loaded with people, comes the chant `` We want Willie, we want Willie.'' Jack pushes his way through the people and speaks to a policeman standing guard on the Capitol steps. COP Where do you think you're going? -LRB- recognizes Jack. -RRB- Oh, I'm sorry. I did n't recognize you. JACK Do you know who Dr. Stanton is? COP Yes sir. JACK Did he try to come through here today? COP Have n't seen him, sir. JACK Well, can you check the other entrances? 2ND COP There's no other entrances today. The other entrances are blocked off. Orders are to take no chances. COP If you care to come inside and wait, Mr. Burden, we can find you a seat. JACK No, thanks. I'll wait out here. If Dr. Stanton shows up, let me know. Pass the word along to the boys, will you? COP Yes sir. Jack turns and looks at the large crowd. A voice from a public address loudspeaker begins to yell out commands to the crowd. LOUDSPEAKER All right now. Everybody. that means everybody. let's let Willie know we're here! All together : WE WANT WILLIE. WE WANT WILLIE. The chant is picked up enthusiastically by the crowd.\",\n \"INT. State Legislature, Day The speaker is trying to speak over the clamor of the chanting. SPEAKER We will first proceed to take the judgment of the senate on the question of the impeachment of the governor. SENATOR -LRB- rising. -RRB- Mr. Speaker, this is a farce to ask us to vote in the face of the kind of intimidation and pressure that has been exerted here in the past few weeks. Even that crowd outside, yelling on cue, is part of that pressure. CROWD NOISE We want Willie. We want Willie. Willie gets up, and goes to the window.\",\n \"EXT. State Capitol, Day The crowd, with Jack in the foreground. The crowd suddenly goes wild as they see Willie appear at the window. In the growing darkness he seems only a shadowy figure as he raises his hands to wave to the crowd. We see various shots of people straining to get a little closer to the steps in order to see him better. Willie then turns and goes back into the room.\",\n \"EXT. State Capitol, Day The crowd again, still waiting. The camera pans upward to a loudspeaker. ANNOUNCER Attention, please. Attention, please. This is a special announcement from Willie Stark to you people out there. He does n't want any one of you to leave. The camera moves over the faces of the people listening. ANNOUNCER He wants you to stay in front of this state Capitol until the fight is over. If you want Willie Stark to win, stay where you are. They cheer. Camera picks up Jack watching the crowd's reaction, then up to a plaque over the entrance to the Capitol Building. It reads THE PEOPLE'S WILL IS THE LAW OF THIS STATE - GOVERNOR STARK. ANNOUNCER Do you hear me. stay where you are. Do n't go away. Stay where you are. Do n't go away.\",\n \"EXT. State Capitol, Night Newsmen, photographers stand about, bored. The crowd, every bit as large, is quiet but expectant. Everyone holds still as the announcer's voice is heard again. ANNOUNCER Attention, please. Attention, please. The balloting on the impeachment proceedings against Governor Stark has just ended. This is the result : Willie Stark has won. The crowd explodes. People break through the police barriers. Mounted policemen ride in quickly to prevent a riot. Camera picks up Anne in the crowd, trying to push through. Jack stands on the steps of the Capitol, watching it all. Suddenly Willie appears at the top of the steps, followed by Sugar Boy. Sadie, Duffy, Pillsbury follow close behind. Willie grabs hold of the mike and addresses the suddenly hushed crowd. WILLIE They tried to ruin me. But they are ruined. They tried to ruin me because they did not like what I have done. Do you like what I have done? Loud applause, and cries of `` yes.'' WILLIE Remember, it's not I who have won, but you. Your will is my strength, and your need is my justice, and I shall live in your right and your will. And if any man tries to stop me from fulfilling that right and that will, I'll break him. I'll break him with my bare hands. For I have the strength of many. Having finished, he waves at them all. Then he notices Jack and comes down the steps to greet him. WILLIE Hello, Jack boy, I'm glad you're here. I knew you'd come back. He walks back up the steps, his arm around Jack's shoulders. They start to go into the building that way when Willie sees someone. He smiles and puts out his hand. WILLIE Oh, doctor, I'm very glad to see you. Adam is seen, waiting at the entrance of the building. Before Willie has taken a step Adam fires several shots into him. Willie falls to the ground and Sugar Boy whips out his pistol and fires at Adam. Three policemen with tommy guns open fire, shooting into Adam's already fallen body. Then they turn and point their guns at the mob of people rushing toward Willie, forcing them back. COP Stand back, everybody. Stand back. Sugar Boy kneels beside Willie. Sadie stands against a pillar, looking down on him. SUGAR BOY -LRB- nearly crying. -RRB- D - does it hurt m - much, boss? D - d - does it hurt much? Jack looks up to see Anne struggling through the screaming mob to get to Adam. She looks at Adam for a moment, then turns away. JACK Anne, Anne. Where are you going? She does n't answer, only walks away. He runs after her and catches hold of her arm. ANNE I do n't know. Leave me alone. JACK To do what? ANNE I do n't care. JACK No, that's too easy. ANNE I do n't know, I do n't know, I do n't know. JACK I do. ANNE Leave me alone, please. JACK No, no more. ANNE He's dead. JACK We're alive. ANNE My brother's dead. JACK We've got to go on living. ANNE How? JACK So that Adam's death has meaning, so that it was n't wasted. Anne, our life has to give his death meaning. Do n't you see that? Look at those people. He turns her around so that she can see the crowds still struggling to get a look at Willie. JACK Look at them! They still believe in him. And we've got to make them see Willie the way Adam saw him, or there's no meaning in anything. anything. A policeman approaches. POLICEMAN Mr. Burden. the governor's asking for you. You better hurry. He's going fast. JACK -LRB- to Anne. -RRB- Will you wait here? No reply. JACK Will you wait here? She nods her head slowly. Jack walks through the building to the pillar against which Willie has been propped. Sugar Boy is still beside him. He stands behind Sadie and Duffy, looking down at Willie. WILLIE It could have been the whole world, Willie Stark. The whole world. Willie Stark. Why did he do it to me. Willie Stark? Why? His head droops to the side and he dies. FADE OUT THE END\"\n]"},"labels":{"kind":"list like","value":[0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,1,0,1,0,0,0,0,0,0,0,0,1,0,0,1,0,0,0,0,0,0,0],"string":"[\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0\n]"},"summary":{"kind":"string","value":"The story of the rise of politician Willie Stark from a rural county seat to the governor's mansion is depicted in the film. He goes into politics, railing against the corruptly run county government, but loses his race for county treasurer, in the face of unfair obstacles placed by the local machine. Stark teaches himself law, and as a lawyer, continues to fight the local establishment, championing the local people and gaining popularity. He eventually rises to become a candidate for governor, narrowly losing his first race, then winning on his second attempt. Along the way he loses his innocence and becomes as corrupt as the politicians he once fought against. As he rises, Stark philanders and gets involved with many women, taking his PR man/journalist Jack Burden's own girlfriend, Anne Stanton, as his mistress. Stark's son Tommy drinks to deal with his feelings about his father, eventually crashes his car, injuring himself and killing his female passenger. When Stark bullies Tommy into playing a football game, Tommy becomes paralyzed after a brutal hit. Stark, who had always dealt with those who got in his way by any means, begins to see his world start to unravel and he discovers that not everyone can be bought off. The story has a complex series of relationships. All is seen through the eyes of the journalist, Jack Burden, who admires Stark and even when disillusioned still sticks by him. Stark's campaign assistant, Sadie is clearly in love with Stark and wants him to leave his wife, Lucy. When Stark's reputation is brought into disrepute by Judge Stanton (Anne's uncle), he seeks to blacken the judge's name. When Jack finds evidence of the judge's possible wrongdoing, a quarter century earlier, he hides it from Stark. Anne gives the evidence to Stark, who uses it against her uncle, who immediately commits suicide. Anne seems to forgive Stark, but her brother, Adam, the surgeon who helped save Tommy's life after the car crash, cannot. After Stark wins an impeachment investigation, Adam assassinates Stark. The doctor in turn is shot down by Sugar Boy, Stark's fawning assistant. Having lost their respect for him, Jack and Anne agree to find a way to destroy Stark's reputation just as he dies."},"name":{"kind":"string","value":"All_the_Kings_Men_(1949_film)"}}},{"rowIdx":86,"cells":{"scenes":{"kind":"list like","value":["EXT. TWO-LANE HIGHWAY - SUNRISE A dishevelled WOMAN in a business suit -LRB- 27 -RRB- runs down a lonely highway in Texas hill country, moving desperately through the thick morning fog. She's carrying a VHS cassette. The sounds of her breathing and SHOES HITTING the PAVEMENT ECHO into the mist. She runs, and runs. She slows, out - of - strength, looks up and down the highway. Both in front and behind, it leads straight into the mist, a tunnel of fog. She stumbles on, a final effort. She runs. Sees something. Stops cold. WHITE","INT. OFFICE OF \"DEATHWATCH AUSTIN\" - SUNRISE A clock on the wall : 6:11. Beneath the clock a simple banner reads `` DeathWatch Austin.'' YOUNG MAN -LRB- O.S. -RRB- It's probably been about seven minutes. The office is small, cheaply furnished. One wall is filled with neat rows of 8x10's of death row inmates. About 30 percent have red crosses over their faces. Five people wait in tense silence. A SKINNY COLLEGE GUY with a mullet and pinch of Skoal in his mouth looks at a computer screen. A co - ed cuddles a Styrofoam cup of coffee, sobs quietly. A matronly woman sits quietly at a desk holding a phone to one ear. The clock's minute hand changes from :11 to :12. CONSTANCE HARRAWAY -LRB- 36 -RRB-, bookish, sits beside DAVID GALE -LRB- 31 -RRB-. He wears a blue Yale sweatshirt. They both stare at nothing. She bites her lip. COLLEGE GUY Okay. Okay. We've got pronouncement. 6:12. Roughly eight minutes. -LRB- a beat as he records the time. -RRB- Number 36 this year for the Great State of Texas. They all exchange looks : they've lost. David stands. CONSTANCE David, do n't start throwing things. A PHONE RINGS. David controls himself. DAVID I'm going home. Let's do the press fax tomorrow. Another PHONE RINGS. Constance stands. CONSTANCE Go. I'll do it. He nods to her, exits. She walks to the photo wall. With a red magic marker she marks a cross over the photo of a Hispanic male. The wall clock reads 6:13.","EXT. PARKING LOT IN FRONT OF OFFICE - SUNRISE The office is in a largely abandoned mini - mall. It's going to be a clear summer day. David hurries through the empty parking lot to Volvo station wagon. As the car exits the lot, we see the Austin skyline with the capitol building in the distance.","INT. DAVID'S CAR - SUNRISE David drinks from a travel cup as he drives, windows down.","EXT. INTERSECTION - SUNRISE David stops at a red light beside a squad car with one cop inside. The cop gives him a cursory glance.","INT. DAVID'S CAR - SUNRISE He stares at the cop. The cop looks neutrally ahead ; behind him the buckle of his seat belt shoulder strap catches the reflection of the rising sun. BACK TO DAVID He stares, then : DAVID Hey! The cop ignores him. DAVID Yo! Officer! The cop looks over ; his face says he expects a confrontation. David points to the seat belt buckle. DAVID Your seatbelt. The cop nods, weary, embarrassed. He reaches back for the belt. David takes a sip and drives on. WHITE CLOSE ON TELEVISION Court TV reporter, Roberts, stands in front of the Supreme Court. ROBERTS -LRB- V.O. -RRB- The high court also refused to stay Friday's execution of former philosophy professor, David Gale. FEMALE -LRB- O.S. -RRB- -LRB- with her mouth full. -RRB- Christ doin' Karaoke.","INT. NEWS MAGAZINE OFFICE - DAY KRUGER -LRB- 47 -RRB- watches with a leg up on her messy desk, eating low - fat tortilla chips and massaging a knee with an electric massager. A name plate on her desk reads `` Barbara D. Kruger, Crime and Courts Editor.'' News magazine covers are on the walls. Kruger is black, short, overweight, wears an old jogging suit and new oversized athletic shoes. She has half - frame granny glasses on a cord around her neck. ROBERTS -LRB- V.O. -RRB- Gale had sought a review of his 1993 conviction for the rape and murder of University of Texas colleague, Constance Harraway. Kruger reaches for a phone, hits four numbers, takes a chip. ON TV A book - jacket photo of Constance. BACK ON ROBERTS ROBERTS -LRB- V.O. -RRB- Defense lawyers had hoped to argue that Gale's former activism against capital punishment unduly prejudiced. ON KRUGER She waits impatiently, munching, swallowing. ROBERTS -LRB- V.O. -RRB- the Texas judicial system. Citing ` discriminating purpose' - KRUGER -LRB- into the phone. -RRB- Hey, they're not gon na stay Gale. It's on Court TV right now, listen. She holds the phone out in the direction of the TV, uses the opportunity to eat another chip. ON TV We see old footage of David on a TV talk show. ROBERTS -LRB- V.O. -RRB- clear political gain in executing its leading opponent of the death penalty. ON KRUGER KRUGER -LRB- into the phone, swallowing. -RRB- So, what's it gon na be? Belyeu said to call after the decision. No, they said only Bitsey. ROBERTS -LRB- V.O. -RRB- -LRB- in b.g. -RRB-. Further failed to consider that the victim was herself an abolitionist activist. KRUGER It means only Bitsey. Bill, I do n't get to make the rules, I'm a fat black woman. Bitsey Bloom -LRB- The runner from the opening -RRB- enters. She wears, as always, a tailored suit. KRUGER -LRB- into the phone. -RRB-. What we need is to put her on a plane to Houston. BITSEY -LRB- WOMAN. -RRB- Gale's going down. Kruger shushes her with a we - know - already gesture. KRUGER -LRB- into the phone. -RRB- Why do you always get lordosis around legal? She's here. She puts him on SPEAKER, and reaches for a chip. BITSEY -LRB- to the phone. -RRB- Hi. What's lordosis? BILL -LRB- V.O. -RRB- Female ape's posture when preparing for intercourse. Hello, Bitsey. Bitsey shoots Kruger a look, mouths `` you're sick.'' BILL -LRB- V.O. -RRB- Look, kids, setting aside the cost issue, though half - a - million dollars for three two hour interviews is not only illegal it's obscen - KRUGER Market value. Guy's never talked. BILL -LRB- V.O. -RRB- That aside, I, we are still uncomfortable with the arrangement. BITSEY Meaning? BILL -LRB- V.O. -RRB- Meaning you've just spent a very public seven days in jail for a very public contempt of court citation. BITSEY Protecting sources, even kiddie porn scumbags, is magazine policy. BILL -LRB- V.O. -RRB- And I, we continue to appreciate your decision. We're just concerned. A rapist slash murderer, five days before he's executed, demands a reporter known for protecting sexual deviants. A reporter who is also a very attractive woman - Bitsey and Kruger moan in unison. KRUGER This is disparate treatment. BITSEY I could go if I were an ugly blabby guy? BILL -LRB- V.O. -RRB- There's an agenda issue here which would be diffused with an older male. KRUGER I hear lawyers gleefully saying the words Bloom vs. News Magazine Inc.. BITSEY ` Well, Your Honor, I started to notice that my assignments were evaluated on the basis of my sex.' KRUGER You've got ta let her go now. BILL -LRB- V.O. -RRB- That's not quite what I meant. KRUGER He's got ta let you go. BITSEY ` Certain references were made -' BILL -LRB- V.O. -RRB- -LRB- interrupting. -RRB- All right. All right. Enough. The intern is with you at all times? Bitsey vehemently shakes her head `` no'' to this idea. KRUGER Yes. I, we are hanging up. ` Bye. Kruger hangs up the phone before he can respond. BITSEY I'm not baby - sitting. Kruger reaches for a chip.","INT. RENTAL CAR - NIGHT ZACK -LRB- boyish, 24 -RRB- sits in the passenger seat, smoking and looking at a case file in his lap. He holds the cigarette just outside the slightly open window. Zack has a bohemian grunge thing going - long hair, ultra - hip glasses. As Bitsey drives, she keeps looking down at the dash's instrument panel. We hear strained patience in her voice. BITSEY Gale was seen leaving the house.","EXT. INTERSTATE 45 - NIGHT The car's lights move past a sign : `` Huntsville 27 Miles.'' BITSEY -LRB- V.O. -RRB- His sperm was inside her.","INT. RENTAL CAR - NIGHT BITSEY His prints were all over the kitchen, including one on the bag. Zack has a police photo : a woman naked on a kitchen floor, hands handcuffed behind her. Over her head is an opaque white plastic bag, sealed around the neck with duct tape. ZACK Half - a - thumb print. BITSEY Okay, half - a - thumb print. ZACK Could have touched it before it was a murder weapon. BITSEY Do you fondle your friends' garbage bags? ZACK Yeah, I get very touchy around household plastics. ` Hello, everybody - ooooh, Tupperware.' Chill. I'm just saying the bag could have been out on the counter or something. She looks at him a beat. BITSEY Hey, Zack? ZACK Yeah. BITSEY He did it. ZACK But the murder's way too fucking clumsy. And this guy's a major intellectual. Top of his Yale class, a Rhodes gig, tenured at 27, two books. He's an academic stud. BITSEY And, empirically speaking, a psychotic. Zack picks up another file photo : Christmas shot of the Gale family : David -LRB- 31 -RRB-, his wife -LRB- Sharon, beautiful, 29 -RRB-, and son -LRB- Chase, 6 -RRB-. ZACK Look at his wife, she's a regular Grace Kelly. Old money svelte. Father was Ambassador to Spain - BITSEY -LRB- looking at the car's instrument panel. -RRB- Shit! The light's on again. CLOSEUP - OVERHEAT LIGHT is on. BACK TO SCENE ZACK Ignore it. It's a rental. BITSEY Thanks, Zack. Do you smell anything? ZACK No. Besides the guy's a flaming liberal. Bitsey keeps looking down at the light. BITSEY A person's politics has nothing to do with their propensity to commit crime. -LRB- beat. -RRB- Are n't we supposed to smell it if it's overheating? ZACK Wrong, seventy - three percent of all serial killers vote republican. BITSEY Throw the cigarette out so we can smell. Zack reaches for the car ashtray. BITSEY No! You'll stink up the car. Throw it out! ZACK I'm not gon na fucking pollute. BITSEY Zack! Zack pinches the cherry off, lets it drop out the window. He shows her the filter, animatedly puts in the ash tray. She gives him a look. They ride a beat in silence. Bitsey sniffs. BITSEY We better pull off. Shit, this is so irritating. ZACK How far to Huntsville? BITSEY Look. She points to an approaching rest area exit sign. They share a glance, then a laugh. Zack affects an evil, maniacal cackle. ZACK -LRB- ` Hard Copy' announcer's voice. -RRB- ` NEWS Magazine reporters Bitsy Bloom and Zack Stemmons entered the rest area with car trouble.","EXT. REST AREA EXIT - NIGHT The car exits for the rest area. ZACK -LRB- V.O. -RRB- Little did they know their troubles were just beginning. Zack mimics the OPENING MUSIC to `` Dark Shadows.''","EXT. REST AREA - NIGHT Well lit and empty. The rental car is parked with the hood up. They stand looking at the radiator. BITSEY Is it hot? He puts his hand on it. ZACK Oww! Jesus, yes. Is n't it always? Bitsey shrugs. ZACK So what do I do? BITSEY I do n't know, something male. Zack animatedly adjusts his balls, spits. ZACK Now what? Bitsey's not paying attention. She's watching headlights coming toward them. BITSEY Company. ZACK I hope whoever it is never saw Deliverance. A late model pickup pulls up behind them. They shade their eyes from its headlights. The lights go off. An OLDER COWBOY -LRB- mid - 60's, Stetson, lizard skin boots -RRB- steps out. OLDER COWBOY You folks need some help? BITSEY Actually yes.","EXT. HUNTSVILLE MOTEL SIX - NIGHT The motel lies adjacent to Interstate 45 and a Kettle restaurant. The rental car pulls up to the reception building.","EXT. HUNTSVILLE MOTEL SIX - NEXT DAY The rental car is parked in front. The morning is overcast, it's sprinkling. Bitsey emerges from one of the rooms on the second floor carrying an umbrella.","INT. KETTLE RESTAURANT - DAY Bitsey enters and sees Zack in a booth, smoking and reading. The hyper - smiley TEENAGE HOSTESS approaches her. HOSTESS How are you this morning? Bitsey ignores her, takes a menu without comment. She goes and sits across from Zack ; he's reading Dialogical Exhaustion by David Gale. BITSEY Little early, is n't it? ZACK The non - smoking section's over there. BITSEY I meant the book. ZACK Oh. Bitsey opens the menu ; he puts the book down. BITSEY What time is it? ZACK 9:15. The waitress says the Ellis Unit is about fifteen minutes out of town, so we've got like five and half hours. I - BITSEY Never eat where the menus have pictures of the food. ZACK I was thinking we should drive to Austin, check out the crime scene. Could be some story stuff for us. BITSEY -LRB- without looking up. -RRB- First, this is n't a story. It's an interview. We come, I listen, you watch, we go home. Second, there is no ` us' in the assignment. ZACK Okay, what do I watch you do for the next five hours? BITSEY -LRB- closing the menu. -RRB- Drive around looking for decent restaurant. ZACK You know, your reputation as Siberian - Female - Dog - Person does n't do you justice. She's unsure how to interpret his comment. He smiles. BITSEY My reputation got us invited here. I play by the rules. It's called objectivity. They stare at each other. Zack picks up his book, starts to read, affects a shiver.","EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY Drizzle. The prison and adjacent parking lot can be seen a few hundred yards down the road. In front of the guardhouse is a sign : `` TDC Ellis Unit. All visitors must report.'' SUPERIMPOSE : `` DAY ONE'' The rental car ENTERS the FRAME, brakes briefly for the empty guardhouse, and moves on toward the prison.","EXT. ELLIS UNIT PARKING LOT - DAY Bitsey and Zack get out of their car. She has an umbrella. ZACK So where do we report? Three razor wire fences surround the prison. Guard towers rise at the corners. Outside the fence sits a small building with a sign : `` REPORT HERE.'' Bitsey makes a there - you - have - it face. They move toward the building. Someone hawks. They look over. Within the fence, a skinny Hispanic inmate -LRB- 50's -RRB- spits. He's hunched in the rain thirty yards away. He watches them neutrally. CAMERA TRACKS Bitsey and Zack as they walk nervously past a series of kennel - like pens that run along a long building. Inmates watch them pass : A smoking, tattooed white male -LRB- 30's -RRB- stands by his door. A muscular black man -LRB- 30's -RRB- with a Muslim skullcap speaks quietly to the forty - something redneck beside him. A paunchy Hispanic -LRB- 20's -RRB- with a shaved head sits back against the building, making clicking sounds. A skinny white guy with his shirt off tosses a tennis ball against the building. At the closest end of the last pen, a gang - banger -LRB- 20's -RRB- watches as he stands with his fingers clutching the chain - link above his head. Rain runs down his face.","INT. ELLIS RECEPTION OFFICE As Bitsey and Zack enter, a clean - cut man in his forties is on the phone -LRB- DUKE GROVER -RRB-. He waves them in and holds up a wait - just - a - second finger. GROVER Well, I do n't rightly know one fraternity from another. But if we catch any those boys out here again, we're gon na Arrest and Prosecute. You do that, Susan. Bye now. The office has cheap wood paneling and a tired shag carpet. A portrait of GOVERNOR HARDIN -LRB- female, mid - 50's -RRB- is on the wall, a large aerial photograph of the prison on the other. At a desk sits a WOMAN WITH TEXAS HAIR -LRB- 40's -RRB-. Grover hangs up. GROVER -LRB- to the Woman. -RRB- Thank you, Margie. -LRB- turning to Bitsey and Zack. -RRB- Correspondents Bloom and Stevens I presume. BITSEY Yes, hello. They shake hands. ZACK Stemmons. GROVER Stemmons. Sorry, wo n't happen again. I'm Duke Grover, T.D.C. community relations. Grover's demeanor suggests a successful Little League coach, his suit suggests J.C. Penny. He speaks quickly. MARGIE -LRB- WOMAN. -RRB- He's usually real good with names. GROVER -LRB- to Bitsey. -RRB- And these days I always like to ask, now do you prefer Miss, Mrs. or Ms? BITSEY Bitsey. GROVER Bitsey it is. Margie, I'm stealin' your umbrella. MARGIE Okey dokey.","EXT. ELLIS UNIT ENTRANCE Bitsey and Grover walk beneath their umbrellas toward the Unit gate - Grover walks as fast as he talks. Zack follows, turns his collar up. GROVER Bitsey, you ever been in a prison? BITSEY Yes. Zack smiles to himself. GROVER On death row? BITSEY No. GROVER Well, we house 422 inmates here. Average stay with us is nine years. Some get commuted, move on, most get killed. It'll put you off your supper, but then it's supposed to. The unit fence gate parts as they enter. The older gate guard nods as they pass. GROVER -LRB- to the guard. -RRB- Afternoon, Earl. -LRB- back to her. -RRB- We've got three concerns here : safety, safety and safety. The visitation area is entirely secure - we just ask you do n't touch the glass. Windex gets expensive. They come to the door of the entrance area. GROVER Rules say seven days prior to execution inmates must be interviewed in a cage. The DOOR BUZZES, Grover opens it.","INT. ELLIS ENTRANCE LOBBY - DAY The lobby has institutional chairs and few vending machines. To one side is a guard's counter and a walk through metal detector. They enter and make their way toward the counter. GROVER This changes for no man. You're not carryin' a weapon are you? BITSEY No. GROVER Mr. Stemmons, you packin'? ZACK No, sir. They arrive at the counter. Behind it are two GUARDS, one male, one female. GROVER -LRB- to the guards. -RRB- Clarence. Karla. New York guests for Mr. Gale. CLARENCE -LRB- GUARD. -RRB- May I see your purse, ma'am. GROVER -LRB- to Bitsey, indicating the metal detector. -RRB- Go on and walk through. Grover keeps talking as he walks around the detector and waits for her. GROVER Now, should any kinda of unpleasantness occur in the visitation area, we ask that you stay put. Come on through, Mr. Stemmons. And please follow the instructions of these fine correctional officers should they see fit to give you any. CLARENCE -LRB- handing her the purse. -RRB- Here you go, ma'am. He leads them down the hall. GROVER Anythin' you say can be overheard. And any discussion of criminal activity on your part is admissible. Not plannin' a jailbreak are you, Bitsey?","INT. ELLIS VISITATION AREA - DAY The door guard gets up from his small table and opens the door for them. GROVER Here we are. The visitation hall has the linoleum - and - fluorescent feel of an empty school cafeteria. It is seamlessly intersected by curved wall of sheer glass. Across the hall a guard's booth is built into the concrete wall ; the two guards inside look like they are in a sound booth. Every fifteen feet, the glass has small sound holes. On the visitors' side, chairs -LRB- with lap desks -RRB- cluster at each section. Just getting up from a chair in the hall's center is a big man wearing an expensive suit and black cowboy boots. This is David's lawyer, BENJAMIN BELYEU -LRB- late 30's -RRB-. On the prisoner's side of the glass, a row of ten chairs trace the outline of its curve. Above each chair a microphone hangs from the ceiling. The center chair is in a stainless steel cage. Inside sits David Gale. GROVER -LRB- calling out to Belyeu. -RRB- All yours, Mr. Belyeu. -LRB- to Bitsey and Zack. -RRB- You folks have safe visit now. BITSEY Thank you. He exits as Bitsey and Zack make their way toward Belyeu and David ; it's a walk of about twenty - five feet. Belyeu's voice is a thick combination of Cajun and Harvard Yard. BELYEU Miss Bloom? BITSEY Yes. Belyeu speaks as slowly as Grover did quickly. David stands up politely in his cage - he's too tall and has to hunch. BELYEU Did that P.R. man validate your parkin'? BITSEY He said the gift shop could do it. Belyeu laughs, smiles pure Old New Orleans charm. BELYEU -LRB- to David. -RRB- She's a smart one. Belyeu takes a few steps toward them, extends his hand. BELYEU Benjamin Belyeu, Mr. Gale's attorney. BITSEY This is Zack. BELYEU Pleasure. -LRB- turning. -RRB- And this is the man of the hour. They move toward David. A SPEAKER - SYSTEM LOUDLY -LRB- really loudly -RRB- interrupts : GUARD -LRB- V.O. -RRB- Sit down, Gale. All wince. David sits, smiles, a bit embarrassed. DAVID Hello. BITSEY Hello. ZACK Hi. BELYEU Now, why ca n't they turn that thing down? DAVID -LRB- to the microphone above him. -RRB- My lawyer respectfully suggests you adjust the speaker - system volume. A beat. They all look over at the guard's booth. One of the guards makes a get - on - with - your - business gesture. DAVID They're practicing being cruel and unusual. BELYEU Mrs. Bloom, I'm sure you're a bitin' at the bit. Belyeu collects papers from the chair he was using and starts to stuff them into his antique carpetbag. BELYEU Now, it is our understanding that you are to have three two - hour sessions. Today, tomorrow and Thursday, all at three in the P.M. I'm sorry we ca n't afford you more time, but contrary to popular rumor we have not yet begun to fight. Furthermore, it's our understanding that you will do this with no recording equipment of any kind. -LRB- to David. -RRB- You have my Gregg book? DAVID I need it for Billy's appeal. BELYEU -LRB- to Bitsey. -RRB- My client's got a ten pound bass on the line and he's worried about baitin' his neighbor's hook. -LRB- takes out his planner. -RRB- Now, I have some papers for which I need your Jo Ann Hancock. -LRB- handing her a business card. -RRB- Come by my Austin office at your earliest convenience. Thursday mornin', say. Bitsey's confused. Belyeu just smiles at her, then looks up at the microphone. She understands, nods. BELYEU Fine, till Thursday then. Belyeu picks up his bag. He and Zack start the hike to the door. Belyeu turns, walks backwards. BELYEU Good luck, Miss Bloom. -LRB- to David. -RRB- I'll come by later. We can play a game of hangman, take up smokin'. David waves `` get lost.'' Belyeu turns. BELYEU Bye, ya' all. They watch him walk away. Bitsey turns to David. He's looking at the floor, caught in a thought. BITSEY So. DAVID Sorry. Have a seat. She does so. David smiles at her, he has a beautiful smile, sincere, charming, vaguely devilish. BITSEY He's a character. DAVID Yeah, known Benny most my life. Met the summer after 4th grade, spent the day burning ants with his dad's magnifying glass. We called it playing ` Execution.' David looks at her a beat, lets the irony of this sit in the air. Uncomfortable, Bitsey starts to look in her purse. DAVID Since I grew up in foster homes, he's become the only family I have. BITSEY Where's your ex - wife? Bitsey takes a pad out of her purse, looks for a pen. DAVID We agreed minimal contact would be easier. Please do n't mention her, or my son. BITSEY All right. Anything else, just clearly say, ` off the record.' I'll take it to my grave. But then you know that about me. Otherwise I would n't be here. David smiles, nods. BITSEY -LRB- referring to the pen. -RRB- Is this recording equipment? He shrugs. DAVID How should we start? BITSEY I'd say you're a man with a story to tell, Mr. Gale. You chose the magazine, the format. You chose me. She sits with pen on paper, poised for dictation. BITSEY Go. David looks at her a long beat, then gives her the smile. WHITE TRANSITION MONTAGE CAMERA starts TO ROTATE and ROLLS THROUGHOUT until the LAST SHOT COMES TO REST UPRIGHT. A -RRB- OVERHEAD Belyeu gets in his Cadillac in the wet Ellis Unit parking lot. B -RRB- ELLIS UNIT -LRB- RAINY DAY -RRB- from the air. C -RRB- AUSTIN FROM AIR -LRB- SUNNY DAY -RRB- D -RRB- OVERHEAD SEXY FEMALE GRAD STUDENT -LRB- over - dressed in a mini - skirt and heels -RRB- moves hurriedly through the University of Texas -LRB- U.T. -RRB- campus. E -RRB- FROM BEHIND TWO GRADUATE STUDENTS attending class in an U.T. lecture hall - they are laughing as David entertains from a mike at the podium.","INT. U.T. LECTURE HALL - DAY Thirty animated students -LRB- circa 1992 -RRB- are listening to David lecture. He's younger -LRB- 31 -RRB-, vibrant - looks like a grad student himself. On the white board behind him are phrases : `` Lucan,'' `` objet petit a,'' `` Fantasy Theory.'' DAVID Think. What do you fantasize about? World peace? -LRB- as no one responds. -RRB- Thought so. -LRB- light laughter. -RRB- Money - Fame - Ferrari? -LRB- as some guys applaud loudly ; others then boo them. -RRB- A Pulitzer? Nobel? M.T.V. Music Award? -LRB- applause. -RRB- A genius hunk - ostensibly bad but secretly simmering with noble passions, and willing to sleep on the wet spot? As women applaud. LARGE WOMAN -LRB- yells. -RRB- I'll take two! Laughter. DAVID A Victoria's Secret model - just slumming between law school and running her family's Vastly Endowed Foundation for Tragically Sad - Eyed Children? The crowd laughs, David changes tone. DAVID Okay, good, you see Lucan's point. Fantasies must be unrealistic. The minute you get something, you do n't, you ca n't, want it anymore. To exist, desire needs absent objects. So desire supports itself with crazy fantasies. The over - dressed Sexy Grad Student enters loudly from a side door, out - of - breath and discombobulated. The crowd laughs at the timing. David pauses. STUDENT Sorry. He animatedly gestures to the seats, waits a beat as she moves towards them. DAVID This is what Pascal means when he says the only time we're truly happy is when day - dreaming about future happiness. The Sexy Student sits, adjusts herself. DAVID Or why we say, ` The hunt is sweeter than the kill' or ` Be careful what you wish for.' A guy behind the Sexy Student taps her on the shoulder, she turns and he hands her letter from the registrar's office. It's from a girl friend two rows back. The girlfriend mouths, `` It came today?'' DAVID -LRB- O.S. -RRB- Not because you'll get it, but because you're doomed not to want it if you do. Think about it next time you're at a wedding. Laughter. The Sexy Student turns back around, throws the letter in a book.","INT. U.T. HALLWAY - DAY Students pour out of the double doors leading from David's class. The hall is crowded. Standing waiting for him against the wall is Constance -LRB- glasses, granola clothes -RRB-. She's looking at a document, holds a file.","INT. U.T. LECTURE HALL - DAY The students are leaving. David is quickly erasing the white - board. The Sexy Student approaches him -LRB- her name is Berlin -RRB-. BERLIN -LRB- SEXY STUDENT. -RRB- Sorry about being late. There was, you know, a thing. DAVID There usually is, Berlin. BERLIN Look, I know I'm not doing well. He turns, nods, takes his books and papers from the podium. BERLIN And to torture a cliche, I'd do anything to pass. He looks at her a beat, starts to walk toward the door. BERLIN Anything, Professor Gale. He stops, turns. DAVID Anything, huh? BERLIN -LRB- suggestively. -RRB- Anything. DAVID -LRB- the smile. -RRB- Anything? She affects a solicitous shyness - then goes all sex. BERLIN Any thing. He checks the room, then comes over to her, close. DAVID Tell you what, I'll give you good grade, a really good grade, if you will. -LRB- leans down to her ear, whispers sensually. -RRB-. study. He smiles, turns, walks away. As she watches, anger builds.","INT. U.T. HALLWAY - DAY David comes out the room. Constance sees him, hurries to him. She's excited, and speaks now - as always - with absolute authority. They talk as they walk down the crowded hall. CONSTANCE David! DAVID Hey. CONSTANCE The T.A. finished transcribing the Governor's radio and TV comments. Listen :' I hate killing, that's why I'm willing to kill to stop it.' The woman breathes in soundbites. She hands him a copy. DAVID -LRB- pretends to read a quote. -RRB- ` Yes, Virginia, the people of this State have overwhelmingly affirmed the reality of Santa.' CONSTANCE You might can use some of her pre - centrist stuff. DAVID Tell me again why you are n't doing the debate. CONSTANCE Telegenics. You have a cuter butt. DAVID I had n't noticed. CONSTANCE I know. DAVID That's not what I meant.","EXT. U.T. CAMPUS - DAY David and Constance exit the building into the sun. CONSTANCE She's gon na do the whole mother thing. She empathizes with you completely, but experience has given her the courage to take the tougher road, ta - da, ta - da. Keep it rational. And flirt politely. DAVID ` Governor, you bat a lovely lash for a woman who executed thirty eight last year.' They've come to a sidewalk junction, stop. CONSTANCE And watch your ego. Do n't come across as one of those I - hate - authority - because - nobody - in - charge - reads - the - New Yorker types. DAVID Anything else? CONSTANCE Yeah, do n't fall into one of your brooding silences. Oh, I'm getting new federal stats from Amnesty tonight. DAVID I'm going to Greer's party. Fax them to Sharon's number at the house. She looks at him sternly over the top of her glasses. CONSTANCE If you have a hang - over tomorrow - DAVID -LRB- hangs up, walking away. -RRB- Apropos playing Mother. CONSTANCE -LRB- calling after him. -RRB- Ten o'clock! -LRB- beat. -RRB- Bright - eyed and bushy tailed!","EXT. GALE HOME - ESTABLISHING - NIGHT The house is an immaculately restored two - story Victorian, far better than what a university professor can afford. The grounds are perfect. David's Volvo is in the driveway, his wife's new Laredo beside it. On the street out front sits a new VW Beetle.","INT. KID'S ROOM - NIGHT David's son - CHASE - sits in bed holding a stuffed sheep in the air. David turns off the light in the adjacent bathroom, comes in holding his son's jeans and shoes. David wears a t - shirt which says `` Evil - Doer & Curious Person.'' The room is over - decorated with boy stuff. DAVID Did you mark your calendar? CHASE -LRB- looking up at it. -RRB- Yep. INSERT - KID'S CALENDAR hangs above the bed, opened to the month of March. It has a felt - tipped pen hanging from a piece of string taped to it. Ten frowny faces cover ten consecutive days, then there are three empty days before a large smiley face awaits on the fourth. The frowny faces are in a kid's hand, the smiley face in an adult's. BACK TO SCENE CHASE -LRB- counting on his fingers. -RRB- Only. three more Spain days. David puts the jeans and shoes away. DAVID Only three. That's great, huh? David comes and sits beside his son. Points to an African statue -LRB- a man holding a spear -RRB- on the bedside table. DAVID What's he doing in here? CHASE Mommy said I could. Just till she gets back. -LRB- touching the spear. -RRB- That's a special - duper monster laser knife. DAVID Where's your laser gun? Chase reaches under the sheets, searches, finally pulls out a laser pointer. CHASE Here. He `` shoots'' some toys in the corner with the red laser dot. CHASE Tussshh, tusssshh, tussshh. I never shoot them in the eyes, Daddy. DAVID That's'cause you're a special - duper - super - quadruper boy. Who's now going to sleep. He tucks his son in. DAVID Who loves you? Chase giggles, points at his dad, then pokes his nose. DAVID Ooooh. -LRB- kissing him. -RRB- Good night, son. CHASE -LRB- holding up his stuffed sheep. -RRB- Do Cloud Dog. DAVID -LRB- kissing the sheep. -RRB- Good night, Cloud Dog.","INT. LIVING ROOM - NIGHT Obsessively cool, full of designer furniture and rough fabrics. The art is mostly contemporary and conspicuously lit - a Damien Hirst piece sits in one corner. A few African antiquities are scattered throughout. A BABYSITTER sits on the couch reading a school textbook, holding lip gloss and absentmindedly applying it as she reads. David passes on his way to the door. DAVID Back before midnight. BABYSITTER It's cool, Mr. Gale. -LRB- calling after him. -RRB- Do n't do anything I would n't. DAVID -LRB- O.S. -RRB- Rest assured. He exits. When she hears the DOOR CLOSE, the Babysitter reaches for the TV remote.","INT. DUPLEX - LIVING AREA - NIGHT The duplex is upscale, two - story with a vaulted ceiling. Scattered about are forty party - goers, mostly grad students. Some spill out onto the back patio and around the pool. Everyone has a t - shirt with a philosophic idea -LRB- `` Yawnic,'' `` Mad, Bad and Dangerous to Know,'''' -LSB- Philosophic t - shirt -RSB-''. -RRB- LEONARD COHEN MUSIC PLAYS. FROM FRONT DOOR GREER -LRB- late 20s, Persian, `` Host'' t - shirt -RRB- escorts David into the living room. GREER The guy's the Immanuel Kant of the N.F.L. Consistent, accurate, effective, and boring, boring, boring. Greer leaves him at the sofa where an OLDER PROFESSOR -LRB- 60s, homemade t - shirt - `` Pre - Socratic'' - over his shirt and tie -RRB- stands speaking with ROSS -LRB- late 40s, `` Homosexualist'' t - shirt -RRB-. DAVID Meinen Herren. ROSS -LRB- has an Oxford accent. -RRB- Hello, David. OLDER PROFESSOR Professor Gale. Where's your better half? DAVID Spain. OLDER PROFESSOR Again? -LRB- a beat. -RRB- Well, I was just off for air. He moves to the patio. They watch him go. DAVID -LRB- under his breath. -RRB- Looks like Sharon's affair is an open secret. ROSS -LRB- under his breath. -RRB- Hermeneutical bias : the only fun truths are the ones someone's trying to hide. -LRB- normal tone. -RRB- Have a seat. They sit on the sofa. ROSS Listen, Berlin's here - and livid. Probations suspended her. She received the letter today, took the opportunity to throw a fit in my office. You should - BERLIN -LRB- O.S. -RRB- Talking about me? She's standing behind them. David tilts his head back. DAVID Yep. She's tipsy, brings her face down between their heads. BERLIN -LRB- to David. -RRB- He tell you I said when you were circumcised they threw away the wrong part. DAVID He mentioned it. An uncomfortable beat. She reaches over and takes Ross's drink from his hand, drinks the rest, puts it back. DAVID It's called schmuck. BERLIN What? DAVID The part of the foreskin that gets thrown away. I think it's called schmuck. BERLIN Are n't we so fucking clever. ROSS -LRB- standing, escaping. -RRB- I suppose I should get us another. David? DAVID Black Bush. Ross walks to the bar. Berlin comes around and sits in his seat. Her mid - drift T - shirt reads `` Sex is Power.'' BERLIN You were a jerk this afternoon. A beat. She's turned facing him, he looks forward. DAVID For what it's worth, I did n't know about the suspension. BERLIN Is that supposed to be an apology? DAVID More like a conciliation. ON FOOD AND DRINKS TABLE Ross has two gin - and - tonics and is finishing pouring David's Black Bush. He moves away. The table is neatly laid with snacks and bottles. The flower arrangement is perfect. SAME SCENE - LATER The table is now in mid - party chaos. Food spilled, bottles empty, the flowers in disarray. `` I'M TOO SEXY'' PLAYS LOUDLY in the background. Berlin takes a bottle of Red Label from the table. CAMERA TRACKS her THROUGH the living room, where a few people now dance, and out onto the patio. A crowd well on their way to being drunk gathers by the pool. They surround two patio chairs which face each other, one with David, the other with Ross. The men are playing an Irish drinking game - the crowd has chosen favorites. ROSS -LRB- slurring a bit. -RRB- All right. -LRB- clears his throat. -RRB- As the poets have mournfully sung, Death takes the innocent young, The screamingly funny, The rolling in money, And those who are very well hung. Laughter, a few animated moans. David raises his glass to Ross and downs a whiskey. Someone starts to chant : `` Gale! Gale! Gale!'' DAVID -LRB- feeling good but very much in control. -RRB- There once was a lesbian from Canjuom, Who took a young man to her room, And they argued all night, As to who had the right, To do what, how, and to whom. Laughter. Two women holding each other boo. Ross drinks. BERLIN One more. C'mon, one more. DAVID Enough. That's enough. The crowd wants more. Someone makes chicken sounds. ROSS Do you bow to the Queen? David looks at him, contemplates, then smiles. He holds his glass out for a refill. The crowd applauds. FULL SHOT OF PATIO The crowd is chanting : `` Ross! Ross! Ross!'' SAME SCENE - LATER The crowd has dispersed. A couple of small groups converse. Someone is being thrown into the pool. TECHNO MUSIC PLAYS. Inside the duplex a few dancers are still going at it.","INT. BATHROOM David is washing his face. As he dries, the TECHNO MUSIC downstairs gets BRIEFLY LOUDER. He looks from beneath the towel into the mirror. Berlin has entered the bathroom. DAVID I'm done. She locks the door, leans back against it. She's flushed. He folds the towel. BERLIN I'm not a student anymore. DAVID Do n't think I want to know what that means. David lays the towel down, leans back against the sink - they face each other on opposite sides of the bathroom. BERLIN There once was woman named Berlin, Who liked a bit now and again. Not now and again, But Now! And Again! And Again! And Again! And Again! He laughs. BERLIN Cute, huh? DAVID Cute. BERLIN I have a secret. But I have to come over there to tell you. He makes an I'm - not - so - sure face. She moves playfully toward him. BERLIN Here I come. She comes up to him, leans into him as she puts her mouthclose to his ear. He keeps his hands back on the sink counter. BERLIN -LRB- whispering. -RRB- I was n't after the grade. She stands with her body against him, looks into his eyes. DAVID Berlin, this, this is not. She puts her fingers over his mouth, keeps them there. BERLIN Ssshhhh. With her free hand she takes one of his, rubs it against her face and lips as she speaks. BERLIN We'll just talk, analyze, contemplate. Or. you can put your mouth on my body. She moves his hand down, brushing it against her breast and to her groin. She brings her mouth toward her fingers - which are still against his lips. BERLIN -LRB- softly, vulnerably. -RRB- Do n't reject me. Please. With her eyes open, she kisses the back of her own fingers, runs her tongue between them, opens them to reach his mouth.","INT. HALLWAY A Hispanic woman -LRB- T - shirt : `` DerriDa - Da'' -RRB- bee - bops to the bathroom door. Tries the handle, then dances away.","INT. LIVING ROOM About eight dancers dance to the TECHNO MUSIC - its pace increasing. A couple them are really into it.","INT. BATHROOM Berlin and David are against the sink, kissing in full passion. The MUSIC from downstairs seems LOUDER. Her T shirt is off. Panting, he turns her against the sink. Pulls her skirt up, reaches for her panties. BERLIN Rip them. DAVID What? BERLIN Rip them off. He does so.","INT. KITCHEN Ross sits at the kitchen table, holding his throbbing head against the POUNDING MUSIC. Greer sets a cup of coffee in front of him, sits across. A long beat. They seem like parents waiting out a teenager's party.","INT. BATHROOM Berlin is back against the sink, undoing David's fly as he takes his T - shirt off. The MUSIC from downstairs seems even LOUDER. His pants and underwear fall. He starts to penetrate her. BERLIN No. From behind. She turns, faces the mirror. He positions himself behind, enters her. BERLIN Yes. He moves against her. BERLIN Do it hard. He looks at her in the mirror, then continues. She watches him. ON PATIO A guy sits alone at the far end of the pool on a lounger. The dancers can be seen in the living room behind him.","INT. BATHROOM David thrusts against Berlin, her thighs pound against the edge of the sink. The MUSIC is as LOUD as it is downstairs. BERLIN Harder. He looks at her in the mirror, unsure. BERLIN Harder. He thrusts harder. BERLIN Yes. They continue in rhythm. She reaches back and pulls him into her. BERLIN Bite me. Bite my shoulder. She watches him do so in the mirror.","INT. LIVING ROOM The dancers dance - the TECHNO PACE has INCREASED even more. One dancer is a blur.","INT. BATHROOM Berlin is pulling David into her. They approach a climax. She scratches him on the small of the back. Blood trickles.","INT. LIVING ROOM The MUSIC and dancers are in pure FRENZY. Suddenly, the MUSIC STOPS. Greer stands by the STEREO, his hand coming back from the power button. He gestures `` that's - all - folks.''","INT. BATHROOM David and Berlin stand still and apart, breathing heavily into the reality - inducing silence. He looks at her in the mirror, a look of shame. She gives him an odd smile. BLACK","INT. CONSTANCE'S BEDROOM - NIGHT Constance wakes with a jolt, sweating. She gets up and goes into her bathroom.","INT. BATHROOM - NIGHT She turns on the light, moves to the sink, opens the medicine cabinet. It's stacked with prescription medicines. Suddenly, she turns to the toilette, vomits. BLACK.","INT. BARNES & NOBLE COFFEE HOUSE - DAY David and Constance sit by a window, the U.T. campus in the b.g. David's distracted, wearing a suit and a long face. She's wearing the closest thing she has to business attire. She has stacks of paper spread in front of her. CONSTANCE Okay, let's say we find an innocent on death row. Would n't matter. Corrections would let him go. Governor Harding would go on TV, say, ` Thanks to the good people at DeathWatch, the system works.' Yeah, if they executed an innocent, and we had absolute, undeniable, in - your - face proof, we could demand abolition. Just like happened in England. Are you okay? DAVID -LRB- coming out of it. -RRB- Sorry. Yeah. He makes an effort, plays the `` good listener.'' CONSTANCE But it has n't happened, not since' 76. And wo n't happen. David nods. CONSTANCE Dead men ca n't make a case. DAVID And ` Almost Martyrs' do n't count. CONSTANCE Just keep it rational. The death penalty is expensive and ineffective. No one wants to see a murderer as a victim. DAVID Um - hum. CONSTANCE And stop that. DAVID What? CONSTANCE Active listening. I hate active listeners. Makes me feel like I'm with a Dale Carnegie grad who cares more about appearing to listen than actually listening. Did you bring the Amnesty fax? DAVID I can listen and appear to listen at the same time. Yeah, no. Damn, I left it home. CONSTANCE I have a copy. She looks through her papers, finds the copy in the stack beneath her coffee cup. She starts to hand it to him. He is looking out the window, caught in a thought. CONSTANCE You want to tell me what's up. DAVID Nothing. Everything. Something profoundly stupid happened last night. CONSTANCE -LRB- teasing. -RRB- I hope you used a condom. A beat. His reaction tells her the jest hit home. CONSTANCE Jesus Christ, David. Was she one of yours? A longer beat. He holds her eyes. DAVID It was Berlin. She's stunned, then genuinely angry. CONSTANCE Oh, that's great, great. I can hear the grapevine now. They suspended her so Gale could dick her with a clear conscience. He looks at his coffee, which he has n't touched. CONSTANCE A power differential equals coercion. Great. You are so weak. DAVID Constance, you're not my wife. Thank God. CONSTANCE I know you can tell yourself it's a position I aspire to, but believe me, I would rather. She trails off. They stare at each other a beat. Then, she starts to collect the papers. DAVID I did n't mean - CONSTANCE Let's go. As she collects, she winces, grabs her side. DAVID Are you okay? CONSTANCE Yes, let's just go.","INT. TELEVISION STUDIO - CONTROL BOOTH - DAY Two people sit in front of monitors displaying various angles on sound stage. The main monitor is playing the end of the show's signation. ASSISTANT DIRECTOR In three, two. ON SOUND STAGE A camera operator cues the host -LRB- 50s, male, bow tie -RRB-. The host is flanked by David and Governor Hardin. The set has an upscale regional television look. The Governor has the rare ability to look comfortable while David fidgets. HOST -LRB- to camera. -RRB- Welcome back to ` Batter's Box.' Tonight we continue our very special four - part series with the Governor Hardin. Arguing capital punishment with her is DeathWatch coordinator, Professor David Gale. Governor, you're up. GOVERNOR HARDIN Alan, let me say somethin' I always say. Constance stands behind the cameras. She motions to David - something about the papers in front of him. GOVERNOR HARDIN And I'm gon na keep on sayin.' And that is I hate killin.' That's why my administration is willing to kill to stop it. DAVID So you do n't subscribe to the idea that' a good state is one that protects its most despised members'? GOVERNOR HARDIN It's a nice liberal idea, but like most nice liberal ideas, naive. DAVID It's a quote from you, Governor, from your first state attorney campaign. Constance is biting her lip, breaks into a smile. The Governor is unsure how to react, then laughs. The host chuckles with her. GOVERNOR HARDIN You've got me, Professor. But let me, in my defense, give you a quote. Winston Churchill : ` If you're not a liberal at twenty, you've got no heart, if you're still a liberal at thirty, you've got no brain.' The host's laughter is overdone. David smiles. Constance bites her lip. DAVID So, basically you feel, to choose another quote, ` society must be cleansed of elements which represent its own death.' The Governor makes an animated thinking face. GOVERNOR HARDIN Well, yes. I would have to agree. -LRB- chuckles again. -RRB- Did I say that, too? DAVID No, ma'am. That was Hitler. Constance makes a `` Yes!'' gesture with her hands. The Governor is surprised into silence. The host laughs and, noting her reaction, trails off. David becomes more confident, his tone more sincere. DAVID Governor, ca n't we examine the possibility that capital punishment is n't working. That murderers are n't deterred by the law because they have about as much forethought as lemmings. That it's expensive, inequably administered, that. David cuts his eyes briefly to Constance. DAVID that we may even be killing innocents. Constance rolls her eyes. The Governor is ready for this. GOVERNOR HARDIN All righty, Mr. Gale, I'll play your game. Name one. Name one innocent man Texas has put to death in my tenure. One. A beat. David does n't respond. GOVERNOR HARDIN Name one in the last twenty years. In any state in this country. A long, miserable beat. HOST Well, Mr. Gale? DAVID Dead men ca n't make a case. GOVERNOR HARDIN Well, as my daddy used to say : If you ca n't find a problem, there probably is n't one. Constance shakes her head in irritation. BACKSTAGE - LATER The show is over. David and the Governor are shaking hands. Constance stands nearby. GOVERNOR HARDIN Well, you certainly had me on that Hitler quote. DAVID Thank you, Governor. GOVERNOR HARDIN These debates are awfully good for the state, do n't you think? DAVID Of course. GOVERNOR HARDIN Well, I've got to buzz. She moves toward her handlers. GOVERNOR HARDIN You folks keep up the good work. We need that opposition. Constance's and David's polite smiles follow her.","EXT. TELEVISION STATION - DAY Constance and David argue as they walk the sidewalk to the parking lot. CONSTANCE Your exact words were, ` Just tell me when my ego gets in the way of the work.' Now I'm telling you : Your ego's in the way of work. DAVID -LRB- indicating the station. -RRB- Look, I wanted you to do this anyway. CONSTANCE You put up precisely two seconds of protest at the thought of a televised debate. DAVID What's that supposed to mean? CONSTANCE It means DeathWatch suffers because you're so anxious to finger authority, to publicly prove that David Gale is so much fucking smarter than the powers that be. Learn to work without an audience. Try squeezing money from the donor list. Have you ever licked one single mail - out envelope? They come to the end of the sidewalk, where two SUITS are standing - one Hispanic, one white -LRB- 30s -RRB-. MAN #2 -LRB- SUIT. -RRB- Mr. Gale? DAVID Look, guys, there's not much more to say - MAN #2 Rameriz, Austin police. This is Officer Haslinger. The officers show their Ids. Constance takes one to examine it more closely. DAVID What, arguing with the Governor is a crime? The officers exchange a look. MAN #3 -LRB- SUIT. -RRB- No, sir, rape is. Constance and David look at each other, stunned. OVERHEAD SHOT CAMERA QUICKLY CRANES UP and ROTATES. WHITE.","INT. ELLIS VISITATION AREA - OVERHEAD SHOT - DAY CAMERA CRANES DOWN and ROTATES, ENDING UPRIGHT BY Bitsey as she listens to David. GUARD -LRB- V.O. -RRB- -LRB- over the loudspeaker. -RRB- Gale, time's up. The speaker, loud as ever, startles Bitsey. David nods over to the guard's booth. DAVID Berlin had my bite marks, bruises, ripped clothing. My skin was beneath her nails. It did n't look like anything but rape. Two days later she called the D.A., said she would n't testify, too drunk to be sure, etc.. On the plane home, Sharon read about her husband's rape case being dropped. BITSEY Why'd she do it? A guard approaches. David stands up and moves to the back of his cage, puts his hands behind him and out the slot in the back to be handcuffed. DAVID -LRB- shrugs. -RRB- Finger authority, show she was smarter than the powers that be. BITSEY Do you know where I can find her? DAVID First year in here I received a card postmarked San Francisco. It was n't signed, but I suspect it was from her - the front had the text ` Sex is Power.' Cuffed, David stands aside for the cage door to be opened. BITSEY Anything written on it? DAVID Yeah. It said, ` I'm sorrier than you can know.'. -LRB- exiting the cage. -RRB- See you tomorrow, Ms. Bloom.","EXT. MOTEL SIX PARKING LOT - NIGHT Bitsey and Zack are walking from the Kettle to their rooms. Zack is lighting a cigarette. The rain's stopped, but the lot is wet. BITSEY Try phone records, a net search. ZACK Fucking better than watching you work. They walk a beat in silence. ZACK You think he's telling the truth? BITSEY Do n't ask me that. I do n't know. There is no truth, only perspectives. ZACK Ca n't say that. If you say ` there is no truth,' you're claiming it's true that there is no truth - it's a logical contradiction. BITSEY Working on our philosophy merit badge, Zack? ZACK I, on the other hand, think Gale's telling the truth. They come to the stairs and start up. BITSEY This you know telepathically? ZACK It's just my perspective. In a dark corner of the parking lot sits the pickup from the rest area. The older cowboy watches Bitsey and Zack climb the stairs. On his STEREO, PUCCINI plays. Once they are in their rooms, he TURNS UP the opera, closes his eyes, feels the music.","INT. RENTAL CAR - DAY The car moves through an older Austin suburb with wood framed houses -LRB- circa 1950 -RRB- in varying states of repair. It's an overcast day. Zack drives, slowly, searching. Bitsey has the passenger seat fully reclined, lies with her eyes closed. SUPERIMPOSE : DAY TWO. ZACK Thirty - three o what? BITSEY Seven. -LRB- then. -RRB- ` Check out the crime scene in Austin.' You made it sound so close. Shit, two and half hours and that damn lig - ZACK Bitsey. She looks up. Zack is pointing at house 3307, which needs paint and a lawn mower. In front of the house is a homemade sign which reads, `` David Gale Death House and Museum'' See where it happened!'' Beneath are the opening hours -LRB- 12 - 8 -RRB- ; someone has marked them out and scribbled `` ring bell.'' They share a look.","EXT. PORCH OF HOUSE 3307 - DAY Bitsey rings the bell. Zack stomps out a cigarette, points out a worn `` Block Home'' sign in the window, raises his eyebrows. As Bitsey straightens her skirt, the door is opened by a GOTH GIRL, probably not quite eighteen. She has jet - black hair, nose piercings, tattoos, a Nine Inch Nails T - shirt. METAL MUSIC comes from within. The Goth Girl just looks at them. After an uncomfortable silence, Bitsey extends her hand. BITSEY Hi. I'm Bitsey Bloom and this is Zack Stemmons. We - GOTH GIRL You want the tour? Her voice is slacker monotone. BITSEY Uh, yes. GOTH GIRL There's a twenty - dollar mandatory donation, apiece. But you get a re - enactment photo packet. It's got five pictures. BITSEY Okay. A beat. GOTH GIRL I got ta collect first. BITSEY Oh, sure. Bitsey reaches in her bag.","INT. LIVING ROOM - DAY They enter. The room is dark, messy, with an old couch and TV/VCR. A kitchen is adjacent. The walls are full of Goth bric - a - brac : London Batcave poster, one from Burton's Frankenweenie, a couple of fan - zine pictures of Siouxsie and the Banshees. In one corner is a very expensive STEREO, from which THE CURE plays. In another, a dead plant. The Goth Girl turns the MUSIC DOWN. A table near the door has numbered photos beneath a torn and curling sheet of plastic. Small packets of snapshots sit on the table along with a few hand - labelled videos and a book of clippings. There's also a guest book. GOTH GIRL You got ta sign the book. Does n't have to be your real name, though. Bitsey signs in. GOTH GIRL First page says you're here to do research on violent crime. The state requires it for nonprofit shit. Zack signs in. GOTH GIRL Take a re - enactment photo packet. Bitsey does so. As does Zack. GOTH GIRL If you guys could share one, it would be really cool. The butt wipes where I do prints kinda jerk my chain. Zack puts his back. Bitsey is looking at a photo : the Goth Girl in her panties and bra laying on the floor with plastic wrap over her head. She's handcuffed and wearing a platinum blonde wig. The pose is half - corpse, half - pinup. GOTH GIRL That's me. My boyfriend took it. We also did a video. It's fifty bucks'cause you can see my tits. There's a version without tits, that's thirty - five. Zack looks at a video, hand - labelled : `` Constance Harraway Murder -LRB- with breasts -RRB-! Copyright 1997! Svengali Productions!'' BITSEY Do many people take the tour? GOTH GIRL Not so much anymore. We thought this would be like a busy week - Gale gettin' the prune juice and all. Prune juice is what death row dudes call the poison,'cause it gives you the shits. Most jerks just take a photo from the street. They shot a ` Real Crimes' episode here, but the owner did n't give us dick. ZACK You do n't mind living here? GOTH GIRL I'm cool with ghouls. Beats livin' with my dickwad parents. It starts over here. She takes them to the coffee table. Among her own things, a dusty Johnny Walker Black Label bottle sits beside a tumbler -LRB- an index card with the # 1 leans against it -RRB-. The area has been outlined on the table with white shoe polish. GOTH GIRL She let him crash here sometimes. He was like constantly wasted. Drank Black Label religiously. Bitsey and Zack exchange a look. The Goth Girl moves into the kitchen. It's cluttered and dirty except in the various areas which at one point had been outlined and indexed - the cards are all dirty. A sliding glass door leads onto the patio. The backyard has n't been mowed in years ; roughly twenty pots with dead plants lying around. By the door, three small taped Xs are on the floor, outlined and indexed -LRB- # 2 -RRB-. GOTH GIRL This is where the tripod was. My boyfriend borrowed the one we usually show folks. They never found a camera, photos, or videos or anything. Gale must have buried them. These serial killer dudes take photos to whack off to later. ZACK He's not exactly a serial killer. GOTH GIRL Whatever. She moves to the sink. On the linoleum, the position of Constance's body has been chalk - lined -LRB- # 3 -RRB-. In this area are a pair of handcuffs -LRB- # 4 -RRB-. Not far off is a roll of packing tape -LRB- # 5 -RRB-. A pair of latex kitchen gloves are crumpled on the sink counter -LRB- # 6 -RRB-. GOTH GIRL She was like totally naked right here. The meter man saw her through the door. Gale handcuffed her, taped her mouth, then taped a bag over her head so she could n't breathe. My boyfriend says that's probably when he fucked her. Your muscles tense up when you die - the sex is better. -LRB- pointing. -RRB- He used those housewife gloves so he would n't leave prints. They found sticky stuff from the tape on them. Zack picks up the gloves. GOTH GIRL We ask folks not to touch the exhibit. ZACK Right. He puts them back. GOTH GIRL The totally sick part was where they found the key - BITSEY We know, you can save that. ZACK What? Where was it? GOTH GIRL It was in her stomach, dude. He made her swallow it before he bagged her. A beat. Zack's shocked. GOTH GIRL That's pretty much the highlight. Got questions?","INT. RENTAL CAR - DAY Bitsey drives. They are on the two - lane highway to Huntsville. Zack smokes out the window. BITSEY It was in the case file. ZACK Fuck, in her stomach? That's colder than Wisconsin. BITSEY -LRB- looking in the rearview mirror. -RRB- Zack, open your vanity. ZACK What? BITSEY The vanity mirror, pull it down. He does so. BITSEY See that truck behind us? ZACK Yeah. BITSEY Is n't that the cowboy from the rest area? They look in their respective mirrors. Some distance behind them is the older cowboy in his pickup. ZACK Same truck. BITSEY Weird coincidence, huh? ZACK -LRB- turning. -RRB- Coincidences are always weird, that's why they're coincidences.","INT. ELLIS VISITATION AREA - DAY Bitsey sits in front of David. He's less animated than the day before, drained. He rubs his wrists. They are speaking in hushed tones. A beat. DAVID Off - the - record? BITSEY Alright, we're off. DAVID Constance was murdered with what's called the Securitat Method. You're hand - cuffed, forced to swallow the key, taped at the mouth, a bag's sealed over your head and you're left to suffocate. The Securitat did this to Romanians who would n't inform or confess. Sometimes the bag was ripped off at the last second, you got a second chance. If not, you die knowing the ` key' to your freedom was inside you the whole time. A cheap - but - effective metonym. Problem is I mentioned the method in an early article. The prosecution never knew. BITSEY You're telling me someone's framing you? DAVID It's more than that. DAVID There was a tripod. BITSEY Right, facing her body. Are we on? DAVID -LRB- nods agreement. -RRB- Not a single print was found on it. Someone brought it, wiped it, left it. Why? It's as if they wanted me to know that somewhere there's a record of what really happened that afternoon. As if they wanted me to die knowing the key to my freedom was. out there. BITSEY Maybe you're being paranoid? DAVID Ms. Bloom. I'm an anti - death row activist on death row. Does n't that strike you as odd? A beat. She nods. BITSEY Any ideas who ` they' are? DAVID No. A beat. DAVID But I have someone on it, someone I'm hoping will one day find an answer. BITSEY Belyeu's hired a detective? He shakes his head. DAVID A journalist. It takes Bitsey a second to understand. David smiles. DAVID -LRB- mimicking Belyeu. -RRB- ` She's a smart one.' ACCELERATED ROTATING ZOOM OUT TO LONG SHOT. WHITE.","INT. U.T HALLWAY - LONG SHOT - DAY ACCELERATED ROTATING ZOOM IN. David and Constance stand by the double doors. He's concentrated ; she's biting her lip. They're looking onto a large parking lot. The lot is practically empty except for Sharon and Chase, who stand near their Jeep. It's packed with various household items, things not entrusted to movers. CONSTANCE I'll drop by your office after. He nods and goes out.","EXT. U.T. PARKING LOT - DAY As David approaches them, Chase runs to them - still carrying Cloud Dog. He jumps on his dad. CHASE Wear me like a fur, Daddy! Wear me like a fur! As he walks, David drapes the boy sideways over his shoulders -LRB- like a fur -RRB-. Chase squeals with pleasure. DAVID Who's your hero? Chase bonks him on the nose. David sets Chase down when he reaches his WIFE. He kiss him goodbye as the boy struggles to move on to something else. A long beat as David and his wife stand uncomfortably. DAVID Call me when you get to Boston? SHARON -LRB- WIFE. -RRB- Yeah. A beat. DAVID I wish you - SHARON Do n't. She turns and walks to the Jeep. The door's open. SHARON Chase, get in, Sweetie. Chase climbs in, sits in the driver's seat. CHASE -LRB- turning to his dad. -RRB- See ya later, Alli - gator. DAVID After awhile, Crocodile. CHASE Take it easy, Japa - ne - se. DAVID Okey - dokey, Artichokey. SHARON -LRB- to Chase. -RRB- Scoot. Chase scoots over to the passenger seat. Sharon gets in the driver's seat. SHARON I sent you an e - mail. DAVID Okay? SHARON Just read it. She closes the door. Suddenly, Chase opens the passenger side door, runs around the Jeep carrying Cloud Dog. He runs to his dad, hugs him one last time. SHARON -LRB- cracking her window. -RRB- Come on, Chase. Chase starts to go back, turns and hands David his Cloud Dog without comment. He then quickly runs back around the Jeep and gets in. David watches them drive away. Chase's hand waves out the window until they are out of the parking lot. INSERT - COMPUTER SCREEN with an e - mail message : `` David, I want a divorce. I'm sorry to say it so plainly, but that's how I feel it. I do n't need time to think, this whole ` rape' thing has only forced.''","INT. DAVID'S U.T. OFFICE - DAY David sits in front of his computer, staring into space. The office is institutional, cramped. Books line the walls, fill the desk. There's a framed poster -LRB- Warhol - style -RRB- of Socrates. He reaches into his desk for a bottle of Black Bush and fills his glass. There's a KNOCK on the door. Constance enters. CONSTANCE You could at least hide the bottle. David closes the e - mail. She collapses in the chair opposite his desk, exhausted. DAVID Well? CONSTANCE Officially, you're on sabbatical. Unofficially, they want you to look for another position. It was four to two. A beat as he absorbs the information. DAVID How did Ross vote? CONSTANCE You're not supp. Against you. David nods. DAVID And you? CONSTANCE Against my politics. David mouths a `` thank you.''","EXT. GALE HOUSE - DAY A Century 21 real estate agent is putting a `` For Sale'' sign in the front yard.","INT. UPSCALE RESTAURANT - DAY David is having lunch with an IVY LEAGUE - LOOKING MALE in his fifties. Only water and bread are on the table. DAVID So, I wanted to get your feedback on the idea. The Ivy Leaguer vigorously butters his bread. IVY LEAGUER Look, Professor Gale, I could sit here, as I'm sure others have, and plead departmental cutbacks. Claim you need more publications, or I need a minority, whatever. All bull - geschichte. Your record's brilliant. You're an original voice worth - in the scarcity - defines - value capitalist system under which we toil - your weight in gold. Hell, it's not even the alcohol. It'd be nice to have faculty whose crutch was n't Prozac. But, to speak plainly, if I hire you, in the eyes of the regents, alumni and every freshman with an ear for gossip, I'd be hiring a rapist. He takes a bite of bread. IVY LEAGUER You're not politically correct, Dr. Gale. Welcome to the club.","EXT./INT. DAVID'S APARTMENT - DAY David stands on the balcony of a sparsely - furnished 420 - a - month apartment. Books are stacked everywhere. An Interstate runs nearby. He holds a phone, looks down in the pool area. DAVID'S POV A horribly - tanned man in his seventies -LRB- wearing a Speedo -RRB- attempts to do Tai Chi. CHASE -LRB- V.O. -RRB- -LRB- on his mom's answering machine. -RRB- We are n't home. Please, tell us a message. SHARON -LRB- V.O. -RRB- -LRB- cueing him in the b.g. -RRB- At the beep. CHASE -LRB- V.O. -RRB- At the peep. ON DAVID David lets the PHONE BEEP, just stares down at the man, saying nothing.","EXT. APARTMENT COMPLEX PARKING LOT - DAY As David gets out of his Volvo, a SORORITY PLEDGE -LRB- funny clothes, Greek letters on her cheek -RRB- quickly approaches. She takes his picture with a Polaroid camera. She runs to a waiting convertible, where two other girls sit. SORORITY PLEDGE I got it! I got it! She jumps in the car and they speed away.","INT. HIGH-RISE OFFICE - DAY The office is Philip Stark chic with large window walls - Austin stretches into the distance. David sits on a sofa across from an exceedingly ATTRACTIVE WOMAN -LRB- early 40s -RRB-. ATTRACTIVE WOMAN What exactly attracts you to the bond market? He's staring into space. ATTRACTIVE WOMAN Mr. Gale? He looks at her. She forces a strained smile.","INT. DAVID'S APARTMENT - NIGHT Dark. David lies on the floor, his head propped against a wall. He's in his underwear and drinking from a Black Bush bottle. The phone's beside his ear and Chase's MESSAGE on his wife's MACHINE TWEAKS out of the receiver speaker. After the BEEP, David hangs up, gets a DIAL TONE, and punches re - dial. The MESSAGE STARTS again. After the BEEP, he hangs up, gets a DIAL TONE, and punches re - dial.","INT. SMALL OFFICE - DAY David is in the office of an overdressed YUPPIE BLACK MAN -LRB- early 20s -RRB-. David is doing his active listening thing. YUPPIE MAN -LRB- over - articulating. -RRB- Now, Mr. Gale, I want you to tell me three personal qualities you have that would make you a successful Radio Shack manager.","EXT. GOLF COURSE - DAY David and Belyeu approach a ball fifty feet from the green. BELYEU Because divorce proceedings do not require her presence in the country. For a custody hearin', yeah, she'll have to return. David chooses a club. BELYEU But without successful completion of an alcohol treatment program, you'll be lucky to get the odd Thanksgivin'. David walks to the ball. DAVID So my chances of getting partial custody are n't good? BELYEU Roughly the same as you sinkin' that from here. David looks at him, then concentrates on the ball - suddenly it has meaning. He swings. The ball lands in a water trap.","INT. PICTURESQUE MOUNTAIN ROAD - DAY David's Volvo winds up the road, enters through a gate. A sign beside the gate : `` The Go lightly : A Recovery Clinic.'' BLACK.","EXT. CONSTANCE'S HOUSE (3307) - DAY It's a beautiful day. The house looks much different than in the Goth Girl's care - flower bed, well - manicured lawn, fresh paint. The `` Block Home'' sign is in the window. David's Volvo pulls up in front.","INT./EXT. CONSTANCE'S FRONT HALLWAY - DAY Constance opens the door for David. He's wearing a short sleeved Radio Shack shirt and tie. She's taken aback. Looks at him a beat, bites her lip, suppresses a laugh. CONSTANCE I'm sorry. He plays hurt, then they both burst out laughing. LONG SHOT - CONSTANCE AND DAVID She hugs him as they laugh on the porch.","INT. CONSTANCE'S LIVING ROOM - DAY The living room is now Laura Ashley cozy. The sliding door is open so the room's sunny, breezy. Constance leads David in. She looks tired but is animated, a bit too much so. Her hair is different. CONSTANCE You look good. DAVID I feel. washed. She smiles at him maternally, touches his face. They hug again. CONSTANCE -LRB- lightly, in his arms. -RRB- I need you. DeathWatch needs you, now more than ever. DAVID Nothing like I need you, both. You're all I have. CONSTANCE Look. She moves from him, takes a photo from a case file on her kitchen table. CONSTANCE Jo Ann Johnson's been re - scheduled. INSERT - PHOTO of a young black women - pleasant, timid. BACK ON SCENE CONSTANCE I've got a call with Hawkins tonight, and if national will commit emergency funds. She lifts a small plant, moves to the porch. DAVID Jo Ann will be commuted and you'll only prove the system works. He notices she has bruises on her arms. CONSTANCE But I'll save a life. DAVID -LRB- referring to the bruises. -RRB- Where'd you get those? CONSTANCE Spring cleaning.","EXT. CONSTANCE'S PORCH CONSTANCE She went up at 18, she's 26 now. She sets the plant down among others. At the very back of the yard, the Older Cowboy spades in a vegetable garden. DAVID -LRB- calling to the Cowboy. -RRB- Hey! She ever not make you work when you come by? OLDER COWBOY -LRB- raising his spade in greeting. -RRB- Mornin', David. DAVID -LRB- turning to Constance. -RRB- What's her story? CONSTANCE I really want us to get behind this one. She's articul - DAVID Constance, who did she kill? Constance looks at him a beat, sighs. CONSTANCE A cop. DAVID She admit to it? Contance sheepishly nods. DAVID You're a crazy woman. Not your medium grade thinks - she's - Teddy Roosevelt's - bathrobe, but stark - raving - loose - screws - in - the - belfry insane. CONSTANCE You're mixing metaphors. DAVID A real danger to flora and fauna. CONSTANCE Are we gon na do this? DAVID -LRB- the smile. -RRB- And how. He kisses her on the forehead - he's surprised. DAVID You're burning up.","EXT. STARBUCKS - NIGHT David exits the store carrying four large coffees in a cup - container, tries to sip one without spilling the others. He's still wearing the Radio Shack shirt, seems happier. In the parking lot, a hip high schooler jumps out of his Camero and moves toward the store. As David comes in front of the car, he sees his former baby - sitter sitting in the passenger seat. Their eyes meet. He smiles. She smiles back, waves. As he passes, he hears the girl hit the car's automatic DOOR - LOCK BUTTON.","INT. OFFICE OF DEATHWATCH (AUSTIN) - NIGHT David enters carrying the coffee. The matron sits on a desk licking envelopes. The college guy is on the floor beneath a desk rewiring a computer terminal. COLLEGE GUY -LRB- calling from beneath a desk. -RRB- Howdy, Mr. Gale. DAVID Hello, folks. David goes to the Matron, gives her cup and three Sweet & Lows. MATRON Hello. My, this is service. Thank you. DAVID Gladly. He takes one of the unsealed envelopes from her stack, then puts a cup beside the legs of the College Guy. DAVID Latte on your left, partner. David makes his way to the back office. The College Guy gives the Matron a look - they're surprised, pleased.","INT. BACK OFFICE - DAY Constance sits at a spartan desk. Nothing is on the walls, though a window opens onto the alley behind. She's talking on the SPEAKER PHONE with the DeathWatch national director - a social gathering is going on behind him. DIRECTOR -LRB- V.O. -RRB- and see what kind of resources the religious groups can deliver. David comes through the door. She waves him in. CONSTANCE I'm sure we can get some pulpit time, maybe cable. He sets her coffee in front of her. Then sits across from her. DIRECTOR -LRB- V.O. -RRB- Cable's good. Listen, I need to run. For now, I agree the first press release should focus on the woman's youth. David holds up the envelope for Constance to see, then animatedly licks and seals it. He then, literally, pats himself on the back. DIRECTOR -LRB- V.O. -RRB- I'll have the Washington people look into counsel competency, though I'm almost sure she's exhausted this issue on appeal. She smiles at him, shakes her head. CONSTANCE -LRB- to the phone. -RRB- John, David's going to - DIRECTOR -LRB- V.O. -RRB- Oh, I almost forgot. He's not around, is he? Constance hesitates, looks at David. He shakes his head no. CONSTANCE No. DIRECTOR -LRB- V.O. -RRB- Good, keep it that way. His relationship to DeathWatch is over, terminated. Last thing we need is this rape thing coming back to bite our butts. Constance is not sure how to react. David just stares at her. DIRECTOR -LRB- V.O. -RRB- These guys do n't stay on the wagon for very long. David stands up and leaves the room, quickly. His coffee spills. Constance can only watch. DIRECTOR -LRB- V.O. -RRB- I'm serious, Constance. Ban him from the premises. I realize you two.","EXT. DEATHWATCH OFFICE (AUSTIN) - NIGHT Constance comes anxiously out the front door. CONSTANCE'S POV David's Volvo pulls out of the parking lot. BACK TO SCENE She stands watching it drive away, breathing heavily. She winces, grabs her stomach, vomits on the sidewalk.","EXT. AUSTIN STREET - NIGHT The Volvo is parked on a seedy Southside street. David stands at a phone booth and dials a long - distance number and a calling code. He waits, impatiently, looks across the street : There's a liquor store. CLOSEUP - RECEIVER at his ear, Chase's MESSAGE BEGINS. BACK ON DAVID He speaks into the PHONE after the BEEP. DAVID Sharon, pick up. For once just pick up the goddamn phone! If you keep him in Spain, I'll. I'm begging you. He's my son! Please! Please. Please. David starts to put the receiver back, then suddenly starts smashing it against the phone's body ; he smashes it long after there is anything left to destroy, long after his hand bleeds.","EXT. CONSTANCE'S HOUSE (3307) - NEXT DAY Constance walks with car keys and a large stack of mail toward her front porch. She looks like she has n't slept in weeks. David is sitting on the porch beneath the Block Home sign, holding Cloud Dog. He wears the Yale sweatshirt, the Radio Shack shirt is wrapped around his injured hand. He's sloppy drunk. DAVID We're seeking refuse, refuge, uge. CONSTANCE Come on, come inside. She opens the door as he stands. DAVID We fell off our wagon.","INT. CONSTANCE'S LIVING ROOM - DAY David enters rambling, stands leaning against the back of the couch, holding the sheep. DAVID Know why Saint Jude is the patron saint of lost causes?'Cause his real name was Judas. There were two Judases, Judai, the saint guy and the bad Judas who ratted on Jesus, and tried to kiss him. Medievalers would n't pray to good Judas for fear of getting bad Judas on the line by mistake. Ergo, they only gave him business when really desperate. That's why. Then they changed his name. She's not in the room. DAVID Constance? He looks back toward the entry hall. A small flyer lightly blows along the floor into the living room. DAVID Your mail's blowing. He looks in the entry hall. ENTRY HALL Constance lies unconscious on the floor near the open door. The mail is scattered about her.","INT. HOSPITAL WAITING ROOM - DAY David sleeps in a chair, on the floor beside him is a stack of vending - machine coffee cups. A typical hospital INTERCOM can be heard throughout the scene. A female DOCTOR -LRB- mid - 30s -RRB- sits beside him, lightly shakes his shoulder. He wakes, groggy. DOCTOR How we doing? DAVID Fine. How's Constance? DOCTOR Sleeping. A beat as he collects himself, sits up. DOCTOR Mr. Gale, a leukemia patient's condition is highly susceptible to external stress. While we do n't want to totally restrict Constance's life - DAVID What? DOCTOR Constance's illness requires a degree of regularity. DAVID Constance has leukemia? DOCTOR Acute. She was diagnosed last fall. A beat as the situation clarifies for both of them. David is stunned, the doctor embarrassed. DOCTOR Have I created a problem? DAVID No, no. They sit in silence. The hospital intercom seems to say : GUARD -LRB- V.O. -RRB- Gale, time's up. CLOSEUP - DAVID CAMERA SLOWLY ROTATES. WHITE.","INT. ELLIS VISITATION AREA - CLOSEUP - BITSEY - DAY CAMERA SLOWLY ROTATES. Bitsey stares at David, engrossed. DAVID When I asked why she had n't told me, she muttered, ` too busy.' I guess she figured as long as death was chasing her, she could help others escape. He stands, goes to the back of the cage to be handcuffed. DAVID Constance left the world better than she found it. -LRB- beat. -RRB- It's a small, difficult thing.","EXT. ELLIS UNIT PARKING LOT - DAY The rental car sits in a corner of the mostly empty lot, as far as possible from the razor - wire fence and exercise pens.","INT. RENTAL CAR - DAY Zack waits in the driver's seat, smoking. He looks nervously through the windshield toward the pens. Bitsey raps on the window, startling him. ZACK Fuck. Zack unlocks the door, throws his cigarette out. Bitsey opens the door and gets in. ZACK Hey. BITSEY -LRB- waving her hand at the smoke. -RRB- For God's sake, Zack. ZACK You're not a happy camper. BITSEY It's not a happy place. He STARTS the CAR. ZACK Talked to the Austin prosecutor. Belyeu's a yokel. Prosecutor says he fucked up the penalty phase, says Gale probably would have gotten life on mitigating factors. Gale stuck with him, though, all through appeals, despite major pro bono offers. BITSEY What else? ZACK Notta on Berlin, we pick up the money in Houston tonight, overheat light came on twice, and you're about to get a surprise. BITSEY I do n't want a surprise. ZACK -LRB- pointing ahead. -RRB- Too late.","EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY The guardhouse is now occupied. The crossing guard is down. Across the drive sits a Texas Highway Patrol car. All along the drive's left side, protest vehicles are parked in the grass. They stretch out to the two - lane highway, where another Highway patrol car is stationed. The drive's right side is also marked off, though the only vehicle on this side is a Houston TV news truck. Six people in ponchos discuss something in the middle of the drive. The rental car ENTERS the FRAME.","INT. RENTAL CAR Bitsey and Zack approach the guardhouse. ZACK This is mostly an Oklahoma caravan. I got stuck behind them on the way in. The guardhouse attendant looks in, waves them through as the crossing guard lifts. ZACK Execution's not for another 36 hours. It's gon na be a zoo. There's the P.R. guy. Standing among the six people in ponchos is Duke Grover. They pass him in SLOW MOTION. He sees them, smiles, makes a `` Hello'' shooting - gesture. BITSEY What a life, waiting around for someone to die. ZACK Fuck, look. The next - to - last vehicle on the left is the Older Cowboy's pickup. He sits inside talking with another man. The Older Cowboy sees them, touches his hat as they pass. BITSEY This is a little too coincidental.","EXT. TWO-LANE HIGHWAY - DAY The rental car passes a farmhouse.","INT. RENTAL CAR Bitsey and Zack are headed to Huntsville. ZACK'Cause I could n't see the license plate. BITSEY Forget it. What time is it? ZACK 6:05. Why do n't you have a watch? BITSEY It's a long story.","EXT. TWO-LANE HIGHWAY - DAY The rental car passes a black teenager hitchhiking in front of an abandoned vegetable stand.","EXT. MOTEL SIX GANGWAY - DAY Bitsey and Zack make their way to their rooms. Zack's is first. BITSEY Give me an hour.","INT. ZACK'S MOTEL SIX ROOM - DAY Zack unlocks his door, enters. The room's a mess, papers everywhere. He walks toward a portable computer sitting on the room desk. BITSEY Zack! Zack runs from the room.","EXT. MOTEL SIX GANGWAY - DAY Zack runs towards Bitsey. She stands outside her room. ZACK What!? BITSEY It's open. ZACK So? Maybe the maid forgot. BITSEY -LRB- pointing. -RRB- Look! As he comes to her door, he sees what she's indicating : Between the door and its frame, someone has stuck a roll of duct tape.","INT. BITSEY'S MOTEL SIX ROOM - DAY Bitsey pushes the door open, looks in and around. She sees something, enters. Zack enters behind her, sees what she sees. ZACK I'll check the bathroom. He goes. She approaches the middle of the room. The room, in contrast to Zack's, is perfectly neat. It has two twin beds. The nightstand has been moved to the center. On it is a lamp, turned on. Suspended just above the lamp, a VHS cartridge hangs from the ceiling by fishing line. BITSEY'S BATHROOM Zack checks behind the shower curtain. ZACK Clear in here! Do n't touch it! BACK IN BEDROOM As Zack enters, he sees Bitsey holding the VHS Cassette. ZACK Fuck, Bitsey, there could have been prints. BITSEY Look. She holds up the cassette. It has a label typed from an old typewriter : `` For Bitsey Bloom.''","EXT. MOTEL SIX RECEPTION - DUSK Zack runs out the front door carrying a VCR, the cables drag the ground behind him. He runs toward the rooms.","INT. BITSEY'S MOTEL ROOM - DUSK Bitsey unlocks the door, lets Zack in. ZACK She says no one asked for you. And all the room keys are different. He goes to the TV. ZACK Just she and her husband have masters. BITSEY What did you tell her? ZACK That you have a jealous boyfriend. He starts to hook up the VCR. BITSEY Thanks. How about the V.C.R? ZACK She did n't ask. I think she assumed it had something to do with why he was jealous. I still say we should do this in my room - this one's a fucking crime scene. BITSEY Whoever got in here - without a key in broad daylight - was probably smart enough not to leave prints. I have the remote. He turns ON the TV. ZACK Maybe they could look for D.N.A. Try three. BITSEY -LRB- hitting the remote. -RRB- They do n't look for D.N.A. when someone breaks in to deliver, Zack. Here. She hands him the tape. He starts to put it in, hesitates, looks back at her. ZACK You sure you want to see what's on here? BITSEY No. Start it. He puts it in, pushes play. She sits on the bed. He sits beside her. They watch the black leader appear. BITSEY I hope this is n't what I think it is. CLOSEUP - TV An image flickers in. It's a woman lying nude on the kitchen floor of house 3307, facing away from the camera. An opaque white kitchen bag is over her head, sealed at the neck with duct tape. Her hands are handcuffed behind her. She appears dead. BITSEY -LRB- O.S. -RRB- God, no. ZACK -LRB- O.S. -RRB- Fuck. Is it her? BITSEY -LRB- O.S. -RRB- Turn it up. BACK TO SCENE They stare at the screen, she bites a thumbnail. He turns the sound up.","INT. HOUSE 3307 - KITCHEN - DAY (ON TV) Hi - 8 video : The woman does not move. The kitchen is cleaner than we've seen it, but otherwise unchanged. Kitchen gloves can be seen - laid upside down and inside out - on the dish rack beside the sink. Near the body on the floor is a roll of duct tape. In the lower right corner of the screen is part of what looks like a towel. The audio is full of ATMOSPHERIC HUM. A REFRIGERATOR contributes. BIRDS can barely be heard in the distance, so can what sounds like a LAWN MOWER. Suddenly, the woman makes a muffled sound, seems to come to life. Her wrists start to pull against the handcuffs, then jerk at them. She panics. He legs flail, kick against the counter. She screams, muffled, frantic. She rolls onto her stomach, her whole body fights against the cuffs. She desperately rubs her face along the linoleum trying to rip the plastic. Soon, her energy wanes, she jerks less. Her covered face now points toward the camera. Her head seems to rock, a sleepy nod. Her body goes slack. Black.","EXT. MOTEL SIX GANGWAY - DUSK Bitsey stands at the railing, looking out at the interstate and a thunderstorm gathering on the horizon. After a few seconds, Zack comes up beside her. ZACK Belyeu says to bring the tape first thing tomorrow. Also said you were right about not calling the police. A beat, she keeps looking straight on. ZACK Are you gon na be okay? Bitsey takes a deep breath, turns to him, holds his eyes. She shakes her head no. Her lips start to tremble. He puts his arms around her as she starts to cry.","INT. KETTLE RESTAURANT - NIGHT Bitsey and Zack sit at a booth having coffee. Zack smokes. The VHS cassette is also between them, as is a small stack of crumpled tissues. The thunderstorm can be heard in the distance. The waitress is refilling their cups, and they wait until she leaves. Hushed tones. ZACK Let's say Gale's right. Some sick - fuck - Agatha Christie - wannabe set him up, arranged like the perfect murder. Why send a magazine journalist proof a few hours before he's won? Does n't make sense. BITSEY No, it's perfect. He knows News Magazine wo n't give the scoop to the dailies or nightly news, not after having paid for it. Probably guessed we would n't call the cops. And, most importantly, knows I'll tell Gale tomorrow. ZACK Why does he give a shit? BITSEY Zack, what if Harraway's murder was just a means to getting Gale. I mean sending him through hell, a sick cat and mouse game. You kill the one person he has left. Make sure he sits six years on death row for the murder - a place he's made a public career of loathing. And then just let him die, die knowing everyone will remember him with disgust. You destroy his loved ones, his life's work, his memory - and you make him watch. ZACK That's a lot of hate. You're talking beyond sadism. Bitsey gestures to the tape, makes a need - I - say - more face. ZACK Then why release it? BITSEY If the mouse dies the game's over. Maybe the cat's enjoying himself. Or. ZACK Or? BITSEY -LRB- picks up the tape. -RRB- Imagine walking to the chamber knowing this exists. ZACK The ` cat' is a fucking psychopath. BITSEY Yeah, but smart.","EXT. MOTEL SIX - NIGHT The storm batters the motel. We see Bitsey's dark front window. Lightning. A figure stands looking out. More lightning. It's Bitsey, intently watching the night.","INT. RENTAL CAR - DAY SUPERIMPOSE : DAY THREE On the back seat is an aluminum suitcase. Zack sits beside it looking out the back window. Bitsey drives. It's still raining, hard. They're on the two - lane highway to Austin. ZACK Why do they call it check - book journalism if we always pay cash? CLOSE ON DASH The over - heat light is on. BACK TO SCENE ZACK Woa, woa. Sadist at six o'clock! BITSEY Is it the truck? ZACK'S POV The cowboy's truck can be seen through the tire mist fifty yards behind them. ZACK Yep, and doing a lousy job of hiding. Bitsey watches in the rearview mirror. Zack out the back window. ZACK He must think we're idiots. You think he's our fucked - up feline? Bitsey does n't respond, just watches in the mirror, then : BITSEY Is he gaining? ZACK No. Just sitting back there. BITSEY Can you see the license? ZACK Too much mist. What the fuck does this guy want?","INT. LAW OFFICE OF BENJAMIN BELYEU - DAY The office has a view of the rain - soaked capital. Expensively decorated. Dark woods and deep carpets - Belyeu's practice is clearly thriving. A sharp - looking CLERK sits at a corner table counting money from the aluminum suitcase. Bitsey sits on a huge sofa. Belyeu stands just outside his door. BELYEU -LRB- O.S. -RRB- Fine. Oh, and bring in Miss Bloom's original when that's done. -LRB- entering, to Bitsey. -RRB- Do n't blame you for not watching that twice. He goes to his desk and starts sifting through papers. BITSEY I could n't sleep afterwards. BELYEU I understand. I generally tell folks I'm no more afraid of the grim reaper than I am of a Presbyterian on Mother's Day. But watching your tape. well. I had to keep tellin' myself ` that's not Constance' just to get through. -LRB- a beat. -RRB- Unfortunately, others may argue the same. BITSEY Yeah, but it's her kitchen, in her house. BELYEU Currently home to Weirdos Incorporated. Arguably, that tape could have been made by anybody with twenty dollars and a tolerance for vulgarity. BITSEY But it will at least get us a postponement? BELYEU I hope so, Miss Bloom, I certainly hope so. But you've got to remember that there's a machine a runnin'. And come six o'clock tomorrow mornin' that machine wants to be fed. The Clerk puts the last of the money back into the suitcase. CLERK All here, Mr. Belyeu. BELYEU -LRB- to the Clerk. -RRB- Thank you, Joshua. -LRB- to Bitsey. -RRB- To add to our troubles, your own credibility may come into question. The Clerk exits. BITSEY Why? BELYEU You've been fraternizin' with the condemned. In the court's eyes, he's the most likely candidate to have put you onto the tape. He's a persuasive man, you're a out - of - state woman - it do n't look good on paper. BITSEY But someone put it in my hotel room. BELYEU A fact for which we have no evidence. A very professional - looking assistant enters, hands Bitsey her video. BELYEU Thank you, Bobbi. BITSEY Thanks. BELYEU -LRB- standing. -RRB- Well, let's not start readin' Kafka just yet. Could we find a sympathetic judge. I'll file within the hour. You headin' back over to Ellis? BITSEY -LRB- standing. -RRB- Yeah. BELYEU Fine. I'll call over at the motel later and give you an update.","INT. OFFICE HALLWAY - DAY Bitsey comes out of two huge oak doors, walks past a gold `` Belyeu and Crane'' sign. She turns a corner. At the end of another short hall, she comes to the elevator, pushes the call button. As she waits, she looks out an adjacent window at the capital in the rain. She remembers something, looks down - she has her purse but no umbrella. BITSEY Shit. She heads back toward Belyeu's office. As she turns the corner, she sees the older cowboy enter the Belyeu and Crane office.","EXT. AUSTIN OFFICE BUILDING - DAY Bitsey hurries umbrella - less through the rain to the rental car parked in the loading zone.","INT. RENTAL CAR - DAY Bitsey opens the door. Zack's in the passenger seat. She does n't bother to sit. BITSEY Did you see the cowboy go in? ZACK He went in Belyeu's building? BITSEY Into his office. Just saw him. ZACK Fuck! BITSEY Follow him. Find out who he is, where he lives - what he - ZACK How are you gon na get to Ellis? BITSEY A taxi. Zack makes a face.","EXT. ELLIS UNIT DRIVE - DAY A taxi makes its way through the hundreds of protesters and press that now gather along the drive.","INT. ELLIS VISITATION AREA - DAY Bitsey, wet and hugging herself, paces in front of David. She's upset. DAVID Okay, okay. Calm down. You have to sit. Over the loudspeaker : GUARD -LRB- V.O. -RRB- Visitors need to stay seated. She sits. DAVID -LRB- to the microphone above. -RRB- Sorry. -LRB- to Bitsey. -RRB- Look at me. He's not your man. His name is Dusty Wright, DeathWatch Director before Constance. He's a ` bullhorner,' a zealot who thinks a good demonstration has to end in a riot and arrests. ` Almost martyrs do n't mean shit.' They fired him. Constance kept him in the organization, and he loved her for it. The man adored her. BITSEY Then why was he following us? Why was he at Belyeu and Crane? DAVID He and Benny used to work A.C.L.U. cases together, until Dusty punched a clansman in a federal court. Benny sometimes still gives him work, probably had him follow you. BITSEY Why? A beat. David looks up at the microphone. DAVID To make sure you honored your agreement, one for which there's no contract. BITSEY He would've said something. DAVID He's a lawyer, Ms. Bloom. BITSEY Maybe Dusty was jealous because you were seeing Constance. DAVID I was n't ` seeing' Constance. BITSEY She died. she had your sperm - DAVID It's more complicated than that. TWO SHOT Rotates. WHITE.","EXT. ALLEY - MED. SHOT - DAVID - SUNRISE (ROTATING CAMERA) David sits in a lawn chair beside his Volvo. The tailgate's down, serving as a makeshift table for a coffee thermos and whiskey bottle. David stares off down the alley, clearly in pain. He holds a child's drawing. INSERT - DRAWING Has Gaudi's church and a matador in background. Prominent in the foreground are three labeled figures : Sharon -LRB- `` Mommy'' -RRB-, Chase -LRB- `` Me'' -RRB- and a dark - haired man -LRB- `` Papa Jorge'' -RRB-. Jorge is dressed in a tux, Sharon seems to wear a bridal gown.","INT. DEATHWATCH AUSTIN OFFICE - SUNRISE (6:09) The atmosphere is tense. Dusty Wright sits on a deskholding a red Magic Marker, the matron sits behind it. They look at the college guy, who closely watches a computer screen. In the center of the room, a middle - aged priest sits and quietly prays while holding the hands of an overweight woman, she murmurs quiet affirmations. Finally, the college guy looks up at Dusty, nods. The room's occupants all exchange glances. Dusty walks to the photo wall, marks a cross through the photo of Jo Ann Johnson, then walks to the back office.","INT. BACK OFFICE - SUNRISE Constance, wrapped in an afghan, sleeps on a futon. She's shockingly anemic. Dusty kneels beside her, watches her sleep. After a beat, she wakes with a slight jolt - like someone whose been fighting to stay awake. She looks at him, then sees the marker in his hand. She looks away. CONSTANCE All I can feel is envy. Dusty stands, goes to the alley window. DUSTY'S POV David's Volvo is parked just outside the window. David sits in a lawn chair behind it. David looks awful.","EXT. ALLEY - SUNRISE In the window, Dusty holds up the marker. David nods.","EXT. HOUSE 3307 - CONSTANCE'S BACK YARD - DUSK David sits on the porch holding a drink, a bottle of Black Bush in the chair beside him. He's staring at nothing. Constance comes out the open sliding glass door, wearing a turtleneck sweater and wrapped in her afghan. She goes to the chair beside him, picks up the bottle and sits. They silently survey the yard, the sunset. She hugs the bottle, he sips his drink. CONSTANCE Remember those Kubler - Ross stages, the ones the dying go through? DAVID Denial, anger, bargaining, depression, and acceptance. Where are you? CONSTANCE Denial. DAVID Denial's my personal favorite. CONSTANCE The whole idea of there being a process makes me tired. I'm not up to the job of Dying Person. Marveling at blades of grass. Lecturing strangers to relish every moment. DAVID Mending bridges. CONSTANCE Mending bridges. Confessing regrets. Uuuggh. DAVID No regrets? CONSTANCE Nope. A beat. CONSTANCE Take that back. I wish I had a child. DAVID Me, too. CONSTANCE I'm sorry, David. She reaches over and puts her hand on his arm. CONSTANCE I guess I just wish I would have risked more. She has the bottle in her other hand, looks at it, takes a swig. CONSTANCE -LRB- making a face, swallowing hard. -RRB- Uumm, also not enough sex. Should have had more sex. She puts the bottle down beside her chair. DAVID How much. how many lovers have you had? CONSTANCE Including college? DAVID Including college. Her hand -LRB- on his arm -RRB- holds up four fingers. DAVID Well, it's. not every. yeah, you should have had more sex. She laughs, coughs. He laughs. Their laughter trails off into the yard. He takes her hand in his. CONSTANCE You work hard not to be seen as a sex object. Before long, you're not seen at all. DAVID I see you. They are holding hands in the air, their elbows on the chairs' armrests. DAVID Want to make it five? Finish the hand? CONSTANCE A pity lay. No thanks. A beat. They watch their fingers lightly play with one another. DAVID It would n't be pity. They turn, their eyes meet, hold.","INT. CONSTANCE'S BEDROOM - NIGHT Constance and David are in bed making love. He's on top, one hand supports her head, the other strokes her face. They tenderly kiss. He starts moving, gently. DAVID Are you okay? CONSTANCE Do n't worry. He kisses her neck. CONSTANCE It's good. Moves up to her ear. CONSTANCE Talk to me. Let me hear your voice. DAVID -LRB- in her ear. -RRB- I'm here. Happy. I'm very happy. He kisses her mouth, moves against her in delicate rhythm. Her moans take on a teary edge. Their voices, breathless whispers, meld into one another. CONSTANCE Hold me tight. DAVID I'm here. CONSTANCE Tight. I'm scared. DAVID It's okay. She's begun to cry. DAVID Okay. He stops moving, kisses her tears. CONSTANCE Do n't stop. Stay in me. Please stay in me. He moves again, slowly. DAVID Shhh. I'm staying. CONSTANCE I need to feel you inside. DAVID It's okay. I'm inside. I'm not pulling out. CONSTANCE I'm so tired. DAVID I know, I know. CONSTANCE Tired of being afraid. DAVID Shhh. CONSTANCE Help me. DAVID I'm here. It's okay. CONSTANCE Help me. Please. Make it stop. DAVID Shhh. I'm here. I'm here.","EXT. CONSTANCE'S HOUSE (3307) - NIGHT The house is dark. A light in one of the rooms comes on.","INT. CONSTANCE'S BEDROOM - DAY She's awake as David enters. He opens the curtains, sets a glass of water beside bottles on the nightstand. He crawls on top of the covers, spoons her, nuzzles the back of her head. CONSTANCE How do you feel about last night? DAVID Rescued. You? CONSTANCE Like I have a reason to get out of bed. Ironic, huh?","EXT. CONVENIENCE STORE PARKING LOT - DAY David goes to the pay phone against the building.","INT. CONSTANCE'S BATHROOM - DAY Constance stands in a bathrobe beside her shower. Turns the water on. She's caught in a thought, bites her lip. She turns the water off.","EXT. APARTMENT POOL AREA - DAY David sits in a lounger speaking to someone on his right. He's sober. DAVID Let's say they move back from Spain, that I somehow got my one weekend a month. Would it matter? By high school, I'd be his weak spot, the focus of locker room jabs, embarrassed pride. In college there'd be late - night angst : ` What if I turn out like the old man?' Holidays would be forced smiles and unscheduled exits. I mean, what girl comes home with you if there's talk that Pops is a rapist? A beat. DAVID I ca n't stand the idea of being his model of failure. Without him, I drink. To cover the hole. To prove to myself he's better off without me. CAMERA PULLS BACK to reveal Dusty Wright sitting in the lounger beside him.","INT. CONSTANCE'S KITCHEN - DAY Constance, still in her robe, puts an armful of sheets in the washing machine. She feels faint.","EXT. FORMER GALE HOUSE - BACK YARD - DAY David sits in a swing set, rocks slowly. He's simply looking at the house. A yuppie woman opens the back door. DAVID -LRB- standing. -RRB- Sorry, just leaving.","INT. CONSTANCE'S LIVING ROOM - DAY Constance is quickly sorting through a box of memorabilia, a photo catches her attention. INSERT - PHOTO Constance on vacation in a Caribbean resort. She sits alone at a dinner table, looks to camera, seems surprised to be photographed. BACK ON SCENE As Constance contemplates the photo, she hears the DOORBELL ring.","EXT. LAWN - FROM ABOVE - DAY We see David lying in the grass of recently - cut lawn.","INT. DAVID'S VOLVO - DUSK David in the car in a mall parking lot, staring at nothing. On the seat beside him is Cloud Dog and a half empty Black Bush bottle.","INT. DAVID'S VOLVO - NIGHT David's asleep, using Cloud Dog as a pillow. The bottle is empty. A light flashes in on him, waking him. There's a KNOCK on the window - it's the police. He's blinded by the flashlight. POLICEMAN ROTATING CAMERA. The policeman holds the light. POLICEMAN -LRB- V.O. -RRB- -LRB- a loudspeaker voice. -RRB- Gale, time's up. WHITE.","INT. ELLIS VISITATION AREA - BITSEY AND DAVID - DAY ROTATING CAMERA. Bitsey's agitated. David's drained. BITSEY But there has to be someone. Someone with a motive, who knew you both. Someone who visited that morning. DAVID If I could answer. we would n't be having this conversation. It's why I need you, why I chose you. You have my story, now. -LRB- mimicking her delivery. -RRB- ` Go.' BITSEY There's not enough time. The guard approaches. DAVID You'll find time. BITSEY You know that's not what I meant. You should have done this earlier. DAVID You're not here to save me. You're here to save my son's memory of his father - that's all I want. A beat. BITSEY You're going to let them kill you. David moves to the back of the cage to be handcuffed. DAVID We live to stop death. Eating, inventing, loving, praying, fighting, killing - choose a verb. All to stall this evil, Job's ` king of terrors.' But what do we really know about it? Nobody comes back. There's a point, when your mind out - lives its obsessions, when your habits survive your dreams, when your losses. You wonder, maybe death is a gift. All I know is that by this time tomorrow, I'll be better off. What I do n't know is why. -LRB- exits the cage. -RRB- Goodbye, Bitsey. The guard escorts him away. When he's out of earshot : BITSEY -LRB- softly. -RRB- Goodbye, David.","EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY A guard hangs up a phone and leans out the door. GUARD Car's on its way. Wan na wait in here? Bitsey stands in the rain. Behind her, hundreds of protesters flank the drive. BITSEY No thanks. She turns and walks toward the highway. The parade tape has been replaced with crowd barriers. The drive's left side now overflows with abolitionists : They cluster beneath tarps, some sing hymns, others paint signs -LRB- `` Do n't kill with my taxes!'' , `` Mark 6:10,'' `` Murder does n't Stop Murder!'' -RRB- . Beneath one umbrella stands a large black woman holding a candle - she watches Bitsey. The right side is a media circus. Various pro - death penalty activists also cluster here. They too have prepared signs : `` Rape and Suffocate Him!'' , `` Thank Jesus for Justice,'''' ` Let's Do it'.'' A blackboard keeps a countdown : `` 13 hours.'' At the end of the drive, on the left, Bitsey sees a sign leaning against a camper : `` Save David Gale.'' It catches rain ; its letters run.","INT. KETTLE RESTAURANT - NIGHT The restaurant's crowded. A Church of Christ couple -LRB- 50s -RRB- eat without comment. The man's T - shirt reads, `` It's Simple : You Kill, You Get Killed.'' In the booth beside them sit Bitsey and Zack, their dinners largely untouched. Bitsey watches three sleazy JOURNALISTS at a table not far from theirs. JOURNALIST #1 I got it. I got it. You could have corporate sponsors. Volkswagen for Bundy, Home Depot for Gacy. And ` The David Gale Execution, brought to you by.' JOURNALIST #2. Hefty.' They find this hilarious. Bitsey looks away. BITSEY What time is it? ZACK -LRB- checking his watch. -RRB- Nine hours, 52 minutes. A beat.","EXT. MOTEL SIX PARKING LOT - NIGHT Pouring rain. As Bitsey and Zack hurry toward their rooms, they see Belyeu getting out of his Cadillac. He carries Bitsey's umbrella and opens his own. BITSEY Belyeu! He turns, comes toward them. Bitsey holds a newspaper over her head, Zack slouches. BITSEY Did you have Dusty Wright follow us? BELYEU I employ Mr. Wright from time to time. BITSEY You could have said something. BELYEU -LRB- opening her umbrella. -RRB- That would have defeated the purpose. Apologies if I caused you unnecessary anxiety, but I'm paid to be suspicious. -LRB- handing it to her. -RRB- Thought I'd return this. ZACK Any word on the writ? BELYEU Denied. Tape went to a federal judge two hours ago. Your videographer friend made contact? BITSEY No. BELYEU What you got was definitely a snippet. Could be he has more previews scheduled. Best stick close to your room. BITSEY How's David? BELYEU Holdin' up. I'm headed back over. BITSEY Tell him I'll take care of it, about his son, I mean. BELYEU Will do. We'll talk later? She nods. BELYEU Watch yourselves. They turn from one another. Bitsey turns back. BITSEY -LRB- calling after him. -RRB- Mr. Belyeu. He turns. BITSEY Were Dusty and Constance close? BELYEU Thick as thieves. Bitsey nods.","INT. BITSEY'S MOTEL SIX ROOM - NIGHT Dark. Bitsey and Zack sit on either side of the room's table looking out the window. Rain shadows run down their faces. The room phone is on the table, as is Zack's watch : 10:17.","EXT. MOTEL SIX AND KETTLE - LONG SHOT - FROM ACROSS INTERSTATE - NIGHT The rain's lightened up. The motel's full. Lights are on in ten of the motel rooms. The Kettle's lights go off, one after another.","INT. BITSEY'S MOTEL SIX ROOM - NIGHT Zack sleeps at the end of one bed, fully dressed. Bitsey, lost in agitated thought, neatly packs a suit into her perfectly arranged suitcase. She stops, thinks. She goes to her purse and takes out the VHS cassette, a pen and a note pad. Hesitating a beat, she puts the tape in the VCR. She turns on the TV and waits for an image.","EXT. MOTEL SIX - NIGHT Rain. All the rooms except Bitsey's are dark. From within comes a TV glow.","INT. BITSEY'S MOTEL SIX ROOM - INSERT - BITSEY'S NOTEPAD - NIGHT She's sketched a flow - chart of the tape with major elements timed out. BITSEY has her shoes off, sits on the floor with her back against a bed. She's still watching the tape, tired, exasperated. Finally, she turns the TV OFF, rubs her eyes. She stands, looks at the radio alarm clock on the nightstand : 11:33.","INT. BATHROOM - NIGHT Bitsey brushes her teeth. Looks down and sees a towel on the floor. Picks it up, starts to hang it on the towel rack, stops, looks at herself in the mirror. A beat. An idea hits her, first as something odd, then as a freight train. She spits, hurries into the bedroom.","INT. BEDROOM - NIGHT BITSEY -LRB- putting on her shoes. -RRB- Zack! Wake up! Get up! He starts to pull himself awake. BITSEY Did you throw the towel on the floor? ZACK What? BITSEY The towel on my bathroom floor. Did you put it there? ZACK Yeah, I guess. It's a hotel room. What - BITSEY Do you do that at home? ZACK No. Fuck, Bitsey. I'm sorry, it's not like it's - BITSEY Get up. She disconnects the VCR. ZACK -LRB- sitting up. -RRB- What the fuck's wrong with you? BITSEY Grab the T.V. I want to check something. ZACK What? BITSEY We're taking a tour. ZACK Where? She has the VCR. Grabs her purse on the way to the door. BITSEY Austin. Get the T.V. She opens the door, exits.","INT. HOUSE 3307 ENTRY HALL - NIGHT The DOORBELL RINGS over BAUHAUS MUSIC. The Goth Girl, wearing only the Nine Inch Nails T - shirt, opens the door. Bitsey barrages past carrying the VCR, Zack follows with the TV. BITSEY Wan na make a hundred bucks? GOTH GIRL What do I got ta do?","INT. HOUSE 3307 LIVING ROOM - NIGHT Bitsey, Zack and the Goth girl enter. BITSEY We're going over the crime scene. Bitsey checks the kitchen. The tripod's back. The other exhibit pieces have n't changed. BITSEY And for the next hour I want you to do exactly what I say when I say to do it. If I say suck Zack's dick, all I want to hear from you is ` May I swallow.' GOTH GIRL You want me to suck his dick? ZACK It's just a patriarchal figure of speech. BITSEY Is your boyfriend here? GOTH GIRL He ai n't exactly my boyfriend anymore. BITSEY Well is his video camera here? GOTH GIRL Yeah. BITSEY Get it. She starts to leave, turns back. GOTH GIRL I got ta collect first. Bitsey, moaning, reaches for her purse. CLOSEUP - STEREO CLOCK reads 1:48. Zack's hand ENTERS the FRAME, turns the MUSIC DOWN. SAME SCENE - MINUTES LATER Video : The Goth Girl's messy kitchen. Camera zooms in to a perspective similar to that on the Constance tape. The exhibit pieces -LRB- kitchen gloves, handcuffs, tape roll -RRB- are more - or - less where they were before. The Goth Girl enters the frame, she's removing pizza boxes and laundry from the counter. ZACK -LRB- O.S. -RRB- Move those index cards, too. She picks up the index cards. Zack looks up from a video camera's eye piece. The camera is on the tripod, connected to the Goth Girl's TV. Near it, the hotel TV/VCR. Bitsey cues the Constance tape to the beginning, freezes the image. Zack then checks the camera angle on the Goth Girl's TV. He moves the TVs so that they are side - by - side. BITSEY Zoom in a hair. He does so. Bitsey compares perspectives between the left TV -LRB- Goth Girl cleaning -RRB- to the right TV -LRB- Constance -RRB-. BITSEY Put the gloves on a dish rack. GOTH GIRL I do n't have one. Zack goes to the sink, lays three pizza boxes on the counter as an ersatz dish rack - he drapes the kitchen gloves over them. BITSEY Turn them inside out. He does so. BITSEY Move the tape roll about a foot to the left. And get rid of the handcuffs. Zack repositions the tape. The Goth Girl picks up the handcuffs. BITSEY Come check this, Zack. -LRB- to the Goth Girl. -RRB- Could you. what's your name? GOTH GIRL Nico's cool. BITSEY Nico, lie down on the floor, facing the counter. Zack comes behind the tripod and looks at the TVs. NICO sits on the floor, starts to take off her T - shirt. ZACK We can imagine that part. -LRB- to Bitsey. -RRB- I'll position her. He goes to Nico, arranges her in the position of Constance -LRB- which now bears no relation to the white outline on the floor -RRB-. BITSEY That's fine. Just straighten her legs. Zack comes back behind the tripod. He and Bitsey look at the two TV images - roughly the same. The Constance tape, however, shows what looks like a white towel in the lower right - hand corner. Bitsey points to it. BITSEY What's this? ZACK Towel or something. BITSEY Okay, look at this. She plays the tape of Constance for eight seconds. BITSEY I noticed this back at the hotel. See? Bitsey touches the TV screen by one of Constance's feet. The foot moves ever so slightly. She hits pause. BITSEY She moves her foot. Why? ZACK Fucking good question. BITSEY It's another fifteen seconds before she comes to. If she had passed out once, without fresh air she would n't come back. There was no head trauma, her blood tested normal - ZACK Jesus, maybe she was faking, hoping he would go away. BITSEY Or. Bitsey looks up at Nico. BITSEY We've got to bag her. ZACK Woa. Not a good idea. BITSEY All right, I'll do it. SAME SCENE - MINUTES LATER Nico hurries from the bedroom into the kitchen. Bitsey and Zack stand by the sink. A white plastic bag is now on the sink counter ; beside it, the roll of duct tape. NICO I found it. Nico hands Zack the key to the handcuffs. He tests them, then lays them on the counter. BITSEY -LRB- to Zack. -RRB- Okay, I want you to wait three minutes before you take it off. ZACK Bitsey, I'm not so sure about this. BITSEY Three full minutes. Just stand behind the tripod. Both of you. Zack and Nico move behind the tripod. Bitsey puts the bag on her head, rips off a long length of tape. She seals the bag around her neck. She then handcuffs herself from behind, with some difficulty. CLOSEUP - KEY is on the sink counter while she does this. BITSEY -LRB- O.S. -RRB- -LRB- through the bag. -RRB- Have you started? BACK TO SCENE ZACK Twenty - two seconds. Bitsey sits on the linoleum, then lies on her side. ZACK Thirty seconds. NICO Fuckin' wicked. Bitsey lies perfectly still. ZACK Thirty - five. Forty. Forty - five. Fifty. NICO Maybe she should n't. ZACK Fifty - five. one minute. five. ten. one - fifteen. Bitsey starts to pull slightly at the cuffs. ZACK Fuck. Twenty. twenty - five. thirty. NICO This is n't cool. ZACK thirty - five. Fuck. one - forty. one - forty fi. Bitsey panics, fights like hell against the cuffs. BITSEY -LRB- through the bag. -RRB- Zack! Zack runs to her, knocking the tripod over. He rips the bag open. She sucks air. ZACK -LRB- ripping at the tape. -RRB- Jesus fucking Christ, Bitsey. You okay? What if I'd've waited? She tries to catch her breath. Nico releases the handcuffs. ZACK No more fucking experiments, all right? Just tell me what's going on. You okay? Bitsey nods, holds up her hand, wants to say something. She takes his arm, looks at him. BITSEY -LRB- still breathing heavily. -RRB- She. she did it herself. SAME SCENE - MINUTES LATER Zack sits on the couch holding the handcuffs and smoking. Nico sits on one of its armrests. Bitsey, full of adrenaline, paces in front of them, thinking out loud. BITSEY She used the gloves to keep fingerprints off the tape and bag. Then she put them back on the dish rack, but upside down and inside out, a housewives' habit. A murderer would have just tossed them aside - like they were the first time we were here, like you do a towel in a hotel. ZACK Maybe, all right, maybe. -LRB- indicating the cuffs. -RRB- But why wear these? BITSEY They threw me. I forgot you have to have the key to put them on. But she needed them. She knew she would instinctively try to rip the bag off, that at some point automatism would kick in. NICO Fuckin' A, like when people hang themselves. At the last second they go chicken, claw at the rope and shit. The police find their own skin beneath their nails. BITSEY And she swallowed the key so she could n't get to it. She made sure there was no way out. ZACK Woa, chill, chill. Why not hang yourself, or take pills. Why take your fucking clothes off? Why make it look like a murder? A beat. Bitsey contemplates. BITSEY It's so calculated. She's handcuffed, taped at the mouth. The gloves. The damn tripod. ZACK Why, Bitsey? Why fake your own murder? BITSEY I do n't know. ZACK Motive's like a major issue here. BITSEY Thanks, Zack. ZACK It does n't make sense. The woman's a bleeding - heart abolitionist. Why frame an innocent man? Why send Gale to the chair for what looks - BITSEY What'd you say? ZACK She had to know some innocent fuck would take the fall. BITSEY Oh my God, Zack, that's it! That's why! To prove it happens. To have absolute proof that the system convicts innocents. ZACK Get the fuck out of here. BITSEY No, that's how she thought. She lived for DeathWatch. If she's gon na die, why not die for it? That's why the tripod was here. To record proof, undeniable proof, the tape. That's why we got an out - take. ZACK A dead woman put the tape in your room? BITSEY Of course not. She needed help, someone to keep it, release it. Someone she could trust, someone dedicated to the cause. They stare at each other a beat. The same thought : ZACK -LRB- mimicking Belyeu. -RRB- Thick as thieves.","INT. DUSTY WRIGHT'S CABIN - NIGHT Dusty looks up at a wall clock : 4:23. He sits fully dressed in his living room, listening to an OPERA. He closes his eyes. CAMERA PULLS BACK OUT of his window and into :","EXT. WOODS BESIDE WRIGHT'S CABIN - NIGHT Behind a couple of trees near the woods' edge, Bitsey and Zack hide watching him. ZACK Hairy. BITSEY Come on. She turns back into the woods.","EXT. DIRT ROAD - NIGHT Bitsey and Zack emerge from the woods near the rental car. They walk and speak quickly in the light rain. BITSEY Because of the Berlin thing, Constance knew the police would go straight to Gale. In a way, he's perfect. A high profile alcoholic whose life was shit anyway. But. ZACK She was in love with him. BITSEY I do n't know. Something. They were close. She would n't want him dead. They come to the car, get in.","INT. RENTAL CAR - NIGHT Bitsey drives. BITSEY Remember this thing about Dusty being a bull - horner, going to far? ZACK Why he was fired from DeathWatch, and the A.C.L.U. BITSEY Right. Maybe the plan was for Dusty to release the tape after Gale's conviction, after a year or so. You know, force him to dry out, let him play the heroic victim, give him back his dignity. So, Dusty Wright's sitting on this tape, waiting, the only one who knows about it. And maybe good ole Dusty starts to think that an erroneous execution is a hell of a lot more politically useful than a last - minute save. ZACK Which would only prove the system works. BITSEY Yeah. Almost martyrs do n't count. What's one murder to stop thousands? ZACK So he'll wait, release the whole tape after the execution. BITSEY Right. Somewhere he must have the original. What time is it?","INT. WRIGHT'S CABIN - NIGHT The wall clock : 4:50. Dusty hears the PHONE RING over a BARITONE'S ARIA. He turns the MUSIC DOWN, and picks up. DUSTY Hello?","EXT. GAS STATION - NIGHT The gas station is old, isolated on a country road. Closed, dark. By the road, a single light pole illuminates the area - its light catching the drizzle. Directly beneath the pole is a phone booth, where Bitsey waits by the rental car.","INT. PHONE BOOTH - NIGHT Zack is on the phone with the booth door open. Bitsey stands just outside. ZACK Let's talk about your tape. No, meet me at the station down the hill, in fifteen minutes. Zack hangs up before Dusty can respond. He stops out of the booth and gives Bitsey a tentative look.","INT. WRIGHT'S CABIN - NIGHT Dusty hangs up, thinks.","EXT. GAS STATION - NIGHT Bitsey sits in the car's driver seat. Zack stands by the booth. BITSEY Do n't move from the booth. Call the second you see the truck. Remember, let it ring just once. Then get into the woods - ZACK I know. Go. BITSEY -LRB- pulling away. -RRB- Into the woods, Zack. ZACK Go!","EXT. WRIGHT CABIN - NIGHT Bitsey is in the woods, watches Dusty pull away in the pickup. She hurries to the front door, enters.","INT. WRIGHT CABIN - NIGHT Bitsey turns on the lights and begins searching. She sees 11 videos on a bookshelf. Some are labeled, three are n't. She takes the cassettes to the TV/VCR. Puts one in -LRB- her hands are wet -RRB-. Nothing. She searches for the right AV channel.","INT. PHONE BOOTH - NIGHT Zack anxiously waits. His eyes check the road.","INT. WRIGHT CABIN - NIGHT Bitsey has a picture, but the tape is an old TV western. She starts to fast forward, realizes she wo n't be able to do so with each tape, hits eject. She checks the clock : 5:04. She takes another unlabeled tape. It's a home video of a city council meeting. BITSEY -LRB- hitting eject. -RRB- Shit! She grabs the next unlabeled tape.","EXT. GAS STATION - NIGHT Zack paces in front of the booth, checks his watch.","INT. WRIGHT CABIN - NIGHT Bitsey has an old `` I Love Lucy'' episode. Ejects, looks at the label : `` Lucy.'' She grabs another, labeled `` Unforgiven.'' The credits from Unforgiven roll on screen. BITSEY Shit!","EXT. GAS STATION - NIGHT Zack sees lights coming toward him. Gets into the phone booth, drops two coins, dials six numbers. He hesitates to punch the seventh, checks the road. The approaching lights belong to a car. He quickly hangs up.","INT. WRIGHT CABIN - NIGHT Bitsey is frantic. Another tape is an old Johnny Carson interview with Pavarotti. BITSEY Shit! She reaches for another.","EXT. GAS STATION - NIGHT Zack hugs himself in the waning drizzle. ZACK Come on. Fucking come on.","INT. WRIGHT CABIN Bitsey has what looks like an office Christmas party. She goes for another tape - the last. Cheyenne Autumn comes up on the screen. She hits eject. She gets up, unsure what to do next. She goes back to the bookshelf, pulls books out to look behind them for more tapes, indifferent to the mess. She goes to a filing cabinet, quickly rifles it. She looks around the room, sees something. She goes to a large oak desk with an old typewriter on it. After the other drawers, she looks in the lap drawer. It's empty except for large padded envelope addressed to `` Bitsey Bloom/News Magazine/40 W. 43rd St. / New York, New York 10036.'' A beat as she stares in disbelief. She rips it open, pulls out a VHS cassette and checks the label : `` Constance.'' The PHONE RINGS, startling her. She looks at the phone, then at the clock : 5:14. The phone does n't ring again. A beat of absolute silence. Bitsey goes quickly to the VCR and puts in the tape - hands shaking. After a few seconds, Constance appears standing in her kitchen by the sink, dressed in a bathrobe. She's wearing the kitchen gloves and fills a glass with water. ON VIDEO Constance turns from the sink : CONSTANCE -LRB- V.O. -RRB- -LRB- her voice weak. -RRB- Ready? The response is silent, but she nods. A beat - she bites her lower lip. In one quick movement she takes the key from the handcuffs and swallows it with the water. It goes down with difficulty ; she coughs, then signals she's okay. She puts the glass in the sink. She takes the duct tape roll, rips off a long section, sticks one end to the back of her gloved hand. She tears off another small section, drops the roll on the floor. She tapes the small section over her mouth. She then takes the plastic bag from the counter, looks at it a beat. Constance turns toward camera, mouth taped, eyes watering. She nods once, and turns back. She quickly puts the bag over her head. After she has smoothed the excess air out with one hand, she takes the packing tape from the other. She seals the bag around her neck. She smoothly takes off the gloves. They're inside out and she snaps them so that the fingers extend. She drops them upside down on the dish rack. She removes her robe - she's nude beneath - and tosses it aside. It lands in the bottom right hand corner of the screen. She feels for the handcuffs on the counter, takes them. She sits on the floor, cuffs herself. She rolls onto her side, perfectly still, waiting. ON BITSEY Engrossed, trembling. The spell breaks as she comes to the part of the tape she's seen before. Averting her eyes, she fast - forwards past where Constance struggles to where she dies. Constance lies perfectly still. A beat. VIDEO A man wearing gloves walks into the frame : Dusty. ON BITSEY This is what she's needed. VIDEO Dusty goes to Constance, kneels and, removing a glove, checks her pulse. He looks briefly up into the camera, then stands. He picks up her robe and comes back past the tripod. A beat. We see only Constance's dead body - then black. ON BITSEY A hand grabs her shoulder. She screams and spins around. It's Zack, breathing hard. ZACK He did n't show! Fuckin' move! Bitsey hits the eject button.","EXT. WRIGHT CABIN - NIGHT Bitsey and Zack hurry out of the cabin and into the woods. The pickup is nowhere to be seen. As they disappear into the trees, Dusty can be seen standing beneath the eave at the side of the house, watching.","EXT. RENTAL CAR - SUNRISE The car moves full speed through the misty dawn. The drizzle has stopped.","INT. RENTAL CAR - NIGHT Bitsey drives. The overheat light is on. Zack has her purse in his lap, rips a page out of her phone book. She's almost in tears, yelling. BITSEY Everyone! Wake up New York, the warden, the Governor, the goddamn Supreme Court death clerk! How far is it? ZACK Took me 30 this afternoon. You've got 26, maybe more. BITSEY I'll make it.","EXT. INTERSTATE - IN FRONT OF MOTEL SIX - SUNRISE The rental car slides to a near stop on the interstate shoulder. Zack jumps out, as Bitsey spins away again. He runs across the frontage road toward the motel in the mist.","EXT. HUNTSVILLE TOWN SQUARE - SUNRISE The rental car barrels through the empty square, ignoring stop signs.","EXT. TWO-LANE HIGHWAY - SUNRISE The rental car flies past a `` Huntsville City Limit'' sign and disappears into the fog.","INT. RENTAL CAR - SUNRISE The overheat light is still on. Bitsey looks down, then turns on the RADIO. A COUNTRY AND WESTERN SONG is on. She punches scan. BITSEY -LRB- to the radio. -RRB- Give me the time. Give me the goddamn time.","EXT. HIGHWAY JUNCTION - SUNRISE The highway forks off to another. An arrow sign at the fork reads : `` TDC Ellis Unit/8 Miles.''","INT. RENTAL CAR - SUNRISE Bitsey smells something.","EXT. HIGHWAY TO ELLIS UNIT - SUNRISE The rental car, smoke pouring from the engine, clunks to a dead roll, stops. Bitsey jumps out, VHS cassette in hand. She does n't close the door. Starts running. Bitsey runs down the middle of the two - lane highway. The rental car in the b.g. recedes into the mist - visibility is no more than fifty yards. The sounds of her breathing and SHOES HITTING the PAVEMENT ECHO into the mist. She runs, and runs. A car comes up quickly behind her. Its HORN BLARES. She turns, starts to wave it down. The driver SITS ON his HORN, swerves around her onto highway's shoulder and drives on. She runs. Runs past an abandoned vegetable stand. Runs past a sleepy farmhouse. She runs, and runs. She slows, out of strength, looks up and down the highway. Both in front and behind, it leads straight into the mist, a tunnel of fog. She stumbles on, a final effort. She runs. Sees something. Stops cold. Coming toward her in the distance are small flashing lights. They rise on hill and then fall behind another. They appear again. Soon, she can make out the form of an ambulance, and its highway patrol escort. The vehicles move slowly toward her, without sirens, as deathly quiet as their cargo. She stands to the side of the road as they approach. The highway patrol vehicle and the ambulance - marked `` Texas Department of Corrections'' - pass silently in SLOW MOTION. She watches as they disappear back into the mist. In SLOW MOTION, she screams, falls to her knees wailing, but we can not hear her. We HEAR NOTHING.","INT. WRIGHT'S CABIN - SUNRISE In the b.g., Dusty walks out the front door carrying two large suitcases. On his desk in the f.g. is a radiator cap. BLACK.","INT. DALLAS/FT. WORTH AIRPORT - DAY Belyeu makes his way through the departure hall carrying the aluminum suitcase. ON TV Roberts and the Court TV `` breaking news'' logo are on the screen. ROBERTS -LRB- V.O. -RRB- -LRB- to camera. -RRB- Here's what we know so far. Last night, News Magazine posted on their web site a video obtained by reporter Bitsey Bloom. Light applause. The TV is mounted on the wall in :","INT. NEWS MAGAZINE'S EDITORIAL FLOOR - DAY Bitsey watches the report with about a dozen colleagues. Kruger stands beside her. A few people congratulate her. She attempts a smile and nods, though she does n't look away from the TV. Kruger shushes the others to hear the story. ROBERTS -LRB- V.O. -RRB- The footage appears to show Constance Harraway commit suicide. ON TV ROBERTS -LRB- V.O. -RRB- Bloom reports she received the tape Friday morning at a motel in Huntsville, where she was staying while conducting Gale's last interview. ON FLOOR Zack watches Bitsey from the other side of the room. She looks over at him, then quickly looks back at the TV. ROBERTS -LRB- V.O. -RRB- The tape apparently had been in the possession of a former DeathWatch Director. ON TV Camera pulls back to reveal that Roberts is standing in front of Wright's cabin. Other journalists and gawkers can be seen out front. Police vehicles are also visible. Suits and officers move in and out of the cabin. ROBERTS -LRB- V.O. -RRB- -LRB- reading the name off a card. -RRB-. Dustin Emil Wright. As you can see, police and officials from the State Attorney's office have been in and out of his cabin all morning, looking for clues to his whereabouts.","INT. DALLAS/FT. WORTH AIRPORT - DAY Belyeu enters a men's room.","INT. MEN'S ROOM - DAY Belyeu walks to a row of sinks. He sets the case on the floor and starts to wash his hands. A businessman combs his hair to Belyeu's left. Belyeu looks in the mirror and sees Dusty approach from a stall.","INT. NEWS MAGAZINE - EDITORIAL FLOOR - DAY The room watches Roberts. ROBERTS -LRB- V.O. -RRB- a fanatic in the movement to stop the death penalty. ON TV ROBERTS -LRB- V.O. -RRB- It appears Wright withheld the tape to make an obscure political point about the potential for error in capital cases. ON BITSEY She watches, trying to contain her emotions. Zack watches her. She looks his direction. He smiles sadly, looks away.","INT. DALLAS/FT. WORTH AIRPORT - MEN'S ROOM - DAY Dusty washes his hands, looks down at the case. The businessman leaves. DUSTY All there? BELYEU Passport and ticket as well.","INT. NEWS MAGAZINE - EDITORIAL FLOOR - ON TV - DAY Governor Hardin is on the steps of the capital, journalists around her. GOVERNOR HARDIN -LRB- V.O. -RRB- Well, it's a tragedy for all of us. As to whether this will change policy, the people of Texas will have to decide. Right now, the prudent course is to put things on hold pendin' a procedural review, allow ourselves time to mourn. Kruger leans toward Bitsey. KRUGER You bet she'll review. Capital punishment approval rates dropped 17 points. Bitsey just looks at the TV, trying to make it through.","INT. DALLAS/FT. WORTH AIRPORT MEN'S ROOM - DAY Dusty picks up the case. Belyeu straightens his tie. BELYEU What are you going to do? DUSTY -LRB- walking past him. -RRB- Go to the opera.","INT. NEWS MAGAZINE - EDITORIAL FLOOR - ON TV - DAY Old footage of David being led in chains from an Austin jailhouse to a waiting van. He wears the clothes he was wearing the day Constance died. ROBERTS -LRB- V.O. -RRB- Of course, the ultimate irony is that David Gale, a man who became an unwitting martyr, may achieve in death what he worked for in life. ON BITSEY She bites her lower lip in a manner reminiscent of Constance. BLACK.","EXT. STREET (BARCELONA) - DAY Dusty walks along the Ramblan. He carries a duty - free bag and the aluminum suitcase. He comes to a building, checks its number against a piece of paper, enters.","INT. BARCELONA APARTMENT HOUSE - DAY Dusty ascends a staircase onto hallway. He walks a few steps to door number six. An OLD SPANISH WOMAN passes him. DUSTY Senorita Gale esta viviendo aqui? OLD WOMAN Si. Si. DUSTY Gracias. The old woman moves down the stairs. Dusty puts the aluminum suitcase on the doormat. From the duty - free bag he takes out David's Yale sweatshirt, lays it over the case. He RINGS the DOORBELL, turns and walks back down the hall. He stands at the top of the stairs, waiting for someone to answer before descending. Sharon -LRB- older than we've seen her -RRB- opens the door, sees the case and sweatshirt. She looks around, but Dusty is gone. She picks them up.","INT. NEWS MAGAZINE - EDITORIAL FLOOR - DAY Bitsey sits at her neurotically neat desk, looking out the window. It's a sunny day in New York. For the first time, we see her wearing something besides a business suit. Framed on her cubicle wall is the latest News cover page : a picture of David with the headline `` The Executed Innocent.'' A MAIL GUY drops a Fed Ex package on her desk. MAIL GUY This just came. It's from `` Belyeu & Crane/420 Congress Ave. / Austin, Texas, 78710.'' She opens it, pulls out Cloud Dog and a handwritten note on Belyeu & Crane stationery. INSERT - NOTE reads : `` David wanted you to have this. He said it would be the key to your freedom. Regards, Benjamin Belyeu.''","INT. SHARON'S BARCELONA APARTMENT - DAY At the breakfast table, a Spanish yuppie male sits with a newspaper in front of him. He watches Sharon open the case. Inside : money, stacks and stacks of money. On top is an unsigned note : `` I'm sorrier than you can know.''","INT. NEWS MAGAZINE - EDITORIAL FLOOR - DAY Bitsey holds the stuffed sheep. puzzled. Looks at the note, BITSEY Key to your freedom? Key to your. Suddenly, she understands. She squeezes the sheep, shakes it, hears something. She cuts the sheep open with scissors. A Hi - 8 tape is in the stuffing. It's hand labeled : `` Off the record.'' She jumps up. TRACKING SHOT Bitsey hurries THROUGH the cubicles. She goes DOWN a hall and INTO the `` MultiMedia'' room.","INT. NEWS - MULTIMEDIA ROOM - DAY Bitsey locks the door, puts the tape into a Hi - 8 deck. ON VIDEO The tape is cued to where Dusty picks up Constance's robe and walks past the tripod out of frame. We see only Constance's body. We hear the sliding door to the patio open behind the camera. DUSTY -LRB- V.O. -RRB- -LRB- calling. -RRB- It's over. A long beat. FOOTSTEPS on the patio. DUSTY -LRB- V.O. -RRB- Want me to turn this off? VOICE -LRB- V.O. -RRB- No. David walks into frame. He goes a couple of steps toward Constance's body and stops, facing her. We see him only from behind. He looks at her, runs his hands over his head. DAVID -LRB- V.O. -RRB- I could n't watch. DUSTY -LRB- V.O. -RRB- She preferred it that way. You were right about not tellin' her the whole plan. DAVID It helped her to think her death would save me. A beat. DUSTY -LRB- V.O. -RRB- You sure you want to do this? DAVID -LRB- V.O. -RRB- Yeah. Almost martyrs do n't count. A beat. DUSTY -LRB- V.O. -RRB- Better go ahead then. David goes to Constance, kneels. He reaches down and with his thumb gently strokes her face through the plastic. He stands, turns and walks back to the camera. He reaches behind the lens to turn it off. A beat. Half his face fills frame, his watery eyes looking directly at us. In the other half, we see Constance's body. Black.","INT. BARCELONA OPERA HOUSE - NIGHT Dusty sits watching a performance of Puccini's Turandot. On stage is the scene where Liu martyrs herself. CLOSEUP - DUSTY He closes his eyes. THE END"],"string":"[\n \"EXT. TWO-LANE HIGHWAY - SUNRISE A dishevelled WOMAN in a business suit -LRB- 27 -RRB- runs down a lonely highway in Texas hill country, moving desperately through the thick morning fog. She's carrying a VHS cassette. The sounds of her breathing and SHOES HITTING the PAVEMENT ECHO into the mist. She runs, and runs. She slows, out - of - strength, looks up and down the highway. Both in front and behind, it leads straight into the mist, a tunnel of fog. She stumbles on, a final effort. She runs. Sees something. Stops cold. WHITE\",\n \"INT. OFFICE OF \\\"DEATHWATCH AUSTIN\\\" - SUNRISE A clock on the wall : 6:11. Beneath the clock a simple banner reads `` DeathWatch Austin.'' YOUNG MAN -LRB- O.S. -RRB- It's probably been about seven minutes. The office is small, cheaply furnished. One wall is filled with neat rows of 8x10's of death row inmates. About 30 percent have red crosses over their faces. Five people wait in tense silence. A SKINNY COLLEGE GUY with a mullet and pinch of Skoal in his mouth looks at a computer screen. A co - ed cuddles a Styrofoam cup of coffee, sobs quietly. A matronly woman sits quietly at a desk holding a phone to one ear. The clock's minute hand changes from :11 to :12. CONSTANCE HARRAWAY -LRB- 36 -RRB-, bookish, sits beside DAVID GALE -LRB- 31 -RRB-. He wears a blue Yale sweatshirt. They both stare at nothing. She bites her lip. COLLEGE GUY Okay. Okay. We've got pronouncement. 6:12. Roughly eight minutes. -LRB- a beat as he records the time. -RRB- Number 36 this year for the Great State of Texas. They all exchange looks : they've lost. David stands. CONSTANCE David, do n't start throwing things. A PHONE RINGS. David controls himself. DAVID I'm going home. Let's do the press fax tomorrow. Another PHONE RINGS. Constance stands. CONSTANCE Go. I'll do it. He nods to her, exits. She walks to the photo wall. With a red magic marker she marks a cross over the photo of a Hispanic male. The wall clock reads 6:13.\",\n \"EXT. PARKING LOT IN FRONT OF OFFICE - SUNRISE The office is in a largely abandoned mini - mall. It's going to be a clear summer day. David hurries through the empty parking lot to Volvo station wagon. As the car exits the lot, we see the Austin skyline with the capitol building in the distance.\",\n \"INT. DAVID'S CAR - SUNRISE David drinks from a travel cup as he drives, windows down.\",\n \"EXT. INTERSECTION - SUNRISE David stops at a red light beside a squad car with one cop inside. The cop gives him a cursory glance.\",\n \"INT. DAVID'S CAR - SUNRISE He stares at the cop. The cop looks neutrally ahead ; behind him the buckle of his seat belt shoulder strap catches the reflection of the rising sun. BACK TO DAVID He stares, then : DAVID Hey! The cop ignores him. DAVID Yo! Officer! The cop looks over ; his face says he expects a confrontation. David points to the seat belt buckle. DAVID Your seatbelt. The cop nods, weary, embarrassed. He reaches back for the belt. David takes a sip and drives on. WHITE CLOSE ON TELEVISION Court TV reporter, Roberts, stands in front of the Supreme Court. ROBERTS -LRB- V.O. -RRB- The high court also refused to stay Friday's execution of former philosophy professor, David Gale. FEMALE -LRB- O.S. -RRB- -LRB- with her mouth full. -RRB- Christ doin' Karaoke.\",\n \"INT. NEWS MAGAZINE OFFICE - DAY KRUGER -LRB- 47 -RRB- watches with a leg up on her messy desk, eating low - fat tortilla chips and massaging a knee with an electric massager. A name plate on her desk reads `` Barbara D. Kruger, Crime and Courts Editor.'' News magazine covers are on the walls. Kruger is black, short, overweight, wears an old jogging suit and new oversized athletic shoes. She has half - frame granny glasses on a cord around her neck. ROBERTS -LRB- V.O. -RRB- Gale had sought a review of his 1993 conviction for the rape and murder of University of Texas colleague, Constance Harraway. Kruger reaches for a phone, hits four numbers, takes a chip. ON TV A book - jacket photo of Constance. BACK ON ROBERTS ROBERTS -LRB- V.O. -RRB- Defense lawyers had hoped to argue that Gale's former activism against capital punishment unduly prejudiced. ON KRUGER She waits impatiently, munching, swallowing. ROBERTS -LRB- V.O. -RRB- the Texas judicial system. Citing ` discriminating purpose' - KRUGER -LRB- into the phone. -RRB- Hey, they're not gon na stay Gale. It's on Court TV right now, listen. She holds the phone out in the direction of the TV, uses the opportunity to eat another chip. ON TV We see old footage of David on a TV talk show. ROBERTS -LRB- V.O. -RRB- clear political gain in executing its leading opponent of the death penalty. ON KRUGER KRUGER -LRB- into the phone, swallowing. -RRB- So, what's it gon na be? Belyeu said to call after the decision. No, they said only Bitsey. ROBERTS -LRB- V.O. -RRB- -LRB- in b.g. -RRB-. Further failed to consider that the victim was herself an abolitionist activist. KRUGER It means only Bitsey. Bill, I do n't get to make the rules, I'm a fat black woman. Bitsey Bloom -LRB- The runner from the opening -RRB- enters. She wears, as always, a tailored suit. KRUGER -LRB- into the phone. -RRB-. What we need is to put her on a plane to Houston. BITSEY -LRB- WOMAN. -RRB- Gale's going down. Kruger shushes her with a we - know - already gesture. KRUGER -LRB- into the phone. -RRB- Why do you always get lordosis around legal? She's here. She puts him on SPEAKER, and reaches for a chip. BITSEY -LRB- to the phone. -RRB- Hi. What's lordosis? BILL -LRB- V.O. -RRB- Female ape's posture when preparing for intercourse. Hello, Bitsey. Bitsey shoots Kruger a look, mouths `` you're sick.'' BILL -LRB- V.O. -RRB- Look, kids, setting aside the cost issue, though half - a - million dollars for three two hour interviews is not only illegal it's obscen - KRUGER Market value. Guy's never talked. BILL -LRB- V.O. -RRB- That aside, I, we are still uncomfortable with the arrangement. BITSEY Meaning? BILL -LRB- V.O. -RRB- Meaning you've just spent a very public seven days in jail for a very public contempt of court citation. BITSEY Protecting sources, even kiddie porn scumbags, is magazine policy. BILL -LRB- V.O. -RRB- And I, we continue to appreciate your decision. We're just concerned. A rapist slash murderer, five days before he's executed, demands a reporter known for protecting sexual deviants. A reporter who is also a very attractive woman - Bitsey and Kruger moan in unison. KRUGER This is disparate treatment. BITSEY I could go if I were an ugly blabby guy? BILL -LRB- V.O. -RRB- There's an agenda issue here which would be diffused with an older male. KRUGER I hear lawyers gleefully saying the words Bloom vs. News Magazine Inc.. BITSEY ` Well, Your Honor, I started to notice that my assignments were evaluated on the basis of my sex.' KRUGER You've got ta let her go now. BILL -LRB- V.O. -RRB- That's not quite what I meant. KRUGER He's got ta let you go. BITSEY ` Certain references were made -' BILL -LRB- V.O. -RRB- -LRB- interrupting. -RRB- All right. All right. Enough. The intern is with you at all times? Bitsey vehemently shakes her head `` no'' to this idea. KRUGER Yes. I, we are hanging up. ` Bye. Kruger hangs up the phone before he can respond. BITSEY I'm not baby - sitting. Kruger reaches for a chip.\",\n \"INT. RENTAL CAR - NIGHT ZACK -LRB- boyish, 24 -RRB- sits in the passenger seat, smoking and looking at a case file in his lap. He holds the cigarette just outside the slightly open window. Zack has a bohemian grunge thing going - long hair, ultra - hip glasses. As Bitsey drives, she keeps looking down at the dash's instrument panel. We hear strained patience in her voice. BITSEY Gale was seen leaving the house.\",\n \"EXT. INTERSTATE 45 - NIGHT The car's lights move past a sign : `` Huntsville 27 Miles.'' BITSEY -LRB- V.O. -RRB- His sperm was inside her.\",\n \"INT. RENTAL CAR - NIGHT BITSEY His prints were all over the kitchen, including one on the bag. Zack has a police photo : a woman naked on a kitchen floor, hands handcuffed behind her. Over her head is an opaque white plastic bag, sealed around the neck with duct tape. ZACK Half - a - thumb print. BITSEY Okay, half - a - thumb print. ZACK Could have touched it before it was a murder weapon. BITSEY Do you fondle your friends' garbage bags? ZACK Yeah, I get very touchy around household plastics. ` Hello, everybody - ooooh, Tupperware.' Chill. I'm just saying the bag could have been out on the counter or something. She looks at him a beat. BITSEY Hey, Zack? ZACK Yeah. BITSEY He did it. ZACK But the murder's way too fucking clumsy. And this guy's a major intellectual. Top of his Yale class, a Rhodes gig, tenured at 27, two books. He's an academic stud. BITSEY And, empirically speaking, a psychotic. Zack picks up another file photo : Christmas shot of the Gale family : David -LRB- 31 -RRB-, his wife -LRB- Sharon, beautiful, 29 -RRB-, and son -LRB- Chase, 6 -RRB-. ZACK Look at his wife, she's a regular Grace Kelly. Old money svelte. Father was Ambassador to Spain - BITSEY -LRB- looking at the car's instrument panel. -RRB- Shit! The light's on again. CLOSEUP - OVERHEAT LIGHT is on. BACK TO SCENE ZACK Ignore it. It's a rental. BITSEY Thanks, Zack. Do you smell anything? ZACK No. Besides the guy's a flaming liberal. Bitsey keeps looking down at the light. BITSEY A person's politics has nothing to do with their propensity to commit crime. -LRB- beat. -RRB- Are n't we supposed to smell it if it's overheating? ZACK Wrong, seventy - three percent of all serial killers vote republican. BITSEY Throw the cigarette out so we can smell. Zack reaches for the car ashtray. BITSEY No! You'll stink up the car. Throw it out! ZACK I'm not gon na fucking pollute. BITSEY Zack! Zack pinches the cherry off, lets it drop out the window. He shows her the filter, animatedly puts in the ash tray. She gives him a look. They ride a beat in silence. Bitsey sniffs. BITSEY We better pull off. Shit, this is so irritating. ZACK How far to Huntsville? BITSEY Look. She points to an approaching rest area exit sign. They share a glance, then a laugh. Zack affects an evil, maniacal cackle. ZACK -LRB- ` Hard Copy' announcer's voice. -RRB- ` NEWS Magazine reporters Bitsy Bloom and Zack Stemmons entered the rest area with car trouble.\",\n \"EXT. REST AREA EXIT - NIGHT The car exits for the rest area. ZACK -LRB- V.O. -RRB- Little did they know their troubles were just beginning. Zack mimics the OPENING MUSIC to `` Dark Shadows.''\",\n \"EXT. REST AREA - NIGHT Well lit and empty. The rental car is parked with the hood up. They stand looking at the radiator. BITSEY Is it hot? He puts his hand on it. ZACK Oww! Jesus, yes. Is n't it always? Bitsey shrugs. ZACK So what do I do? BITSEY I do n't know, something male. Zack animatedly adjusts his balls, spits. ZACK Now what? Bitsey's not paying attention. She's watching headlights coming toward them. BITSEY Company. ZACK I hope whoever it is never saw Deliverance. A late model pickup pulls up behind them. They shade their eyes from its headlights. The lights go off. An OLDER COWBOY -LRB- mid - 60's, Stetson, lizard skin boots -RRB- steps out. OLDER COWBOY You folks need some help? BITSEY Actually yes.\",\n \"EXT. HUNTSVILLE MOTEL SIX - NIGHT The motel lies adjacent to Interstate 45 and a Kettle restaurant. The rental car pulls up to the reception building.\",\n \"EXT. HUNTSVILLE MOTEL SIX - NEXT DAY The rental car is parked in front. The morning is overcast, it's sprinkling. Bitsey emerges from one of the rooms on the second floor carrying an umbrella.\",\n \"INT. KETTLE RESTAURANT - DAY Bitsey enters and sees Zack in a booth, smoking and reading. The hyper - smiley TEENAGE HOSTESS approaches her. HOSTESS How are you this morning? Bitsey ignores her, takes a menu without comment. She goes and sits across from Zack ; he's reading Dialogical Exhaustion by David Gale. BITSEY Little early, is n't it? ZACK The non - smoking section's over there. BITSEY I meant the book. ZACK Oh. Bitsey opens the menu ; he puts the book down. BITSEY What time is it? ZACK 9:15. The waitress says the Ellis Unit is about fifteen minutes out of town, so we've got like five and half hours. I - BITSEY Never eat where the menus have pictures of the food. ZACK I was thinking we should drive to Austin, check out the crime scene. Could be some story stuff for us. BITSEY -LRB- without looking up. -RRB- First, this is n't a story. It's an interview. We come, I listen, you watch, we go home. Second, there is no ` us' in the assignment. ZACK Okay, what do I watch you do for the next five hours? BITSEY -LRB- closing the menu. -RRB- Drive around looking for decent restaurant. ZACK You know, your reputation as Siberian - Female - Dog - Person does n't do you justice. She's unsure how to interpret his comment. He smiles. BITSEY My reputation got us invited here. I play by the rules. It's called objectivity. They stare at each other. Zack picks up his book, starts to read, affects a shiver.\",\n \"EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY Drizzle. The prison and adjacent parking lot can be seen a few hundred yards down the road. In front of the guardhouse is a sign : `` TDC Ellis Unit. All visitors must report.'' SUPERIMPOSE : `` DAY ONE'' The rental car ENTERS the FRAME, brakes briefly for the empty guardhouse, and moves on toward the prison.\",\n \"EXT. ELLIS UNIT PARKING LOT - DAY Bitsey and Zack get out of their car. She has an umbrella. ZACK So where do we report? Three razor wire fences surround the prison. Guard towers rise at the corners. Outside the fence sits a small building with a sign : `` REPORT HERE.'' Bitsey makes a there - you - have - it face. They move toward the building. Someone hawks. They look over. Within the fence, a skinny Hispanic inmate -LRB- 50's -RRB- spits. He's hunched in the rain thirty yards away. He watches them neutrally. CAMERA TRACKS Bitsey and Zack as they walk nervously past a series of kennel - like pens that run along a long building. Inmates watch them pass : A smoking, tattooed white male -LRB- 30's -RRB- stands by his door. A muscular black man -LRB- 30's -RRB- with a Muslim skullcap speaks quietly to the forty - something redneck beside him. A paunchy Hispanic -LRB- 20's -RRB- with a shaved head sits back against the building, making clicking sounds. A skinny white guy with his shirt off tosses a tennis ball against the building. At the closest end of the last pen, a gang - banger -LRB- 20's -RRB- watches as he stands with his fingers clutching the chain - link above his head. Rain runs down his face.\",\n \"INT. ELLIS RECEPTION OFFICE As Bitsey and Zack enter, a clean - cut man in his forties is on the phone -LRB- DUKE GROVER -RRB-. He waves them in and holds up a wait - just - a - second finger. GROVER Well, I do n't rightly know one fraternity from another. But if we catch any those boys out here again, we're gon na Arrest and Prosecute. You do that, Susan. Bye now. The office has cheap wood paneling and a tired shag carpet. A portrait of GOVERNOR HARDIN -LRB- female, mid - 50's -RRB- is on the wall, a large aerial photograph of the prison on the other. At a desk sits a WOMAN WITH TEXAS HAIR -LRB- 40's -RRB-. Grover hangs up. GROVER -LRB- to the Woman. -RRB- Thank you, Margie. -LRB- turning to Bitsey and Zack. -RRB- Correspondents Bloom and Stevens I presume. BITSEY Yes, hello. They shake hands. ZACK Stemmons. GROVER Stemmons. Sorry, wo n't happen again. I'm Duke Grover, T.D.C. community relations. Grover's demeanor suggests a successful Little League coach, his suit suggests J.C. Penny. He speaks quickly. MARGIE -LRB- WOMAN. -RRB- He's usually real good with names. GROVER -LRB- to Bitsey. -RRB- And these days I always like to ask, now do you prefer Miss, Mrs. or Ms? BITSEY Bitsey. GROVER Bitsey it is. Margie, I'm stealin' your umbrella. MARGIE Okey dokey.\",\n \"EXT. ELLIS UNIT ENTRANCE Bitsey and Grover walk beneath their umbrellas toward the Unit gate - Grover walks as fast as he talks. Zack follows, turns his collar up. GROVER Bitsey, you ever been in a prison? BITSEY Yes. Zack smiles to himself. GROVER On death row? BITSEY No. GROVER Well, we house 422 inmates here. Average stay with us is nine years. Some get commuted, move on, most get killed. It'll put you off your supper, but then it's supposed to. The unit fence gate parts as they enter. The older gate guard nods as they pass. GROVER -LRB- to the guard. -RRB- Afternoon, Earl. -LRB- back to her. -RRB- We've got three concerns here : safety, safety and safety. The visitation area is entirely secure - we just ask you do n't touch the glass. Windex gets expensive. They come to the door of the entrance area. GROVER Rules say seven days prior to execution inmates must be interviewed in a cage. The DOOR BUZZES, Grover opens it.\",\n \"INT. ELLIS ENTRANCE LOBBY - DAY The lobby has institutional chairs and few vending machines. To one side is a guard's counter and a walk through metal detector. They enter and make their way toward the counter. GROVER This changes for no man. You're not carryin' a weapon are you? BITSEY No. GROVER Mr. Stemmons, you packin'? ZACK No, sir. They arrive at the counter. Behind it are two GUARDS, one male, one female. GROVER -LRB- to the guards. -RRB- Clarence. Karla. New York guests for Mr. Gale. CLARENCE -LRB- GUARD. -RRB- May I see your purse, ma'am. GROVER -LRB- to Bitsey, indicating the metal detector. -RRB- Go on and walk through. Grover keeps talking as he walks around the detector and waits for her. GROVER Now, should any kinda of unpleasantness occur in the visitation area, we ask that you stay put. Come on through, Mr. Stemmons. And please follow the instructions of these fine correctional officers should they see fit to give you any. CLARENCE -LRB- handing her the purse. -RRB- Here you go, ma'am. He leads them down the hall. GROVER Anythin' you say can be overheard. And any discussion of criminal activity on your part is admissible. Not plannin' a jailbreak are you, Bitsey?\",\n \"INT. ELLIS VISITATION AREA - DAY The door guard gets up from his small table and opens the door for them. GROVER Here we are. The visitation hall has the linoleum - and - fluorescent feel of an empty school cafeteria. It is seamlessly intersected by curved wall of sheer glass. Across the hall a guard's booth is built into the concrete wall ; the two guards inside look like they are in a sound booth. Every fifteen feet, the glass has small sound holes. On the visitors' side, chairs -LRB- with lap desks -RRB- cluster at each section. Just getting up from a chair in the hall's center is a big man wearing an expensive suit and black cowboy boots. This is David's lawyer, BENJAMIN BELYEU -LRB- late 30's -RRB-. On the prisoner's side of the glass, a row of ten chairs trace the outline of its curve. Above each chair a microphone hangs from the ceiling. The center chair is in a stainless steel cage. Inside sits David Gale. GROVER -LRB- calling out to Belyeu. -RRB- All yours, Mr. Belyeu. -LRB- to Bitsey and Zack. -RRB- You folks have safe visit now. BITSEY Thank you. He exits as Bitsey and Zack make their way toward Belyeu and David ; it's a walk of about twenty - five feet. Belyeu's voice is a thick combination of Cajun and Harvard Yard. BELYEU Miss Bloom? BITSEY Yes. Belyeu speaks as slowly as Grover did quickly. David stands up politely in his cage - he's too tall and has to hunch. BELYEU Did that P.R. man validate your parkin'? BITSEY He said the gift shop could do it. Belyeu laughs, smiles pure Old New Orleans charm. BELYEU -LRB- to David. -RRB- She's a smart one. Belyeu takes a few steps toward them, extends his hand. BELYEU Benjamin Belyeu, Mr. Gale's attorney. BITSEY This is Zack. BELYEU Pleasure. -LRB- turning. -RRB- And this is the man of the hour. They move toward David. A SPEAKER - SYSTEM LOUDLY -LRB- really loudly -RRB- interrupts : GUARD -LRB- V.O. -RRB- Sit down, Gale. All wince. David sits, smiles, a bit embarrassed. DAVID Hello. BITSEY Hello. ZACK Hi. BELYEU Now, why ca n't they turn that thing down? DAVID -LRB- to the microphone above him. -RRB- My lawyer respectfully suggests you adjust the speaker - system volume. A beat. They all look over at the guard's booth. One of the guards makes a get - on - with - your - business gesture. DAVID They're practicing being cruel and unusual. BELYEU Mrs. Bloom, I'm sure you're a bitin' at the bit. Belyeu collects papers from the chair he was using and starts to stuff them into his antique carpetbag. BELYEU Now, it is our understanding that you are to have three two - hour sessions. Today, tomorrow and Thursday, all at three in the P.M. I'm sorry we ca n't afford you more time, but contrary to popular rumor we have not yet begun to fight. Furthermore, it's our understanding that you will do this with no recording equipment of any kind. -LRB- to David. -RRB- You have my Gregg book? DAVID I need it for Billy's appeal. BELYEU -LRB- to Bitsey. -RRB- My client's got a ten pound bass on the line and he's worried about baitin' his neighbor's hook. -LRB- takes out his planner. -RRB- Now, I have some papers for which I need your Jo Ann Hancock. -LRB- handing her a business card. -RRB- Come by my Austin office at your earliest convenience. Thursday mornin', say. Bitsey's confused. Belyeu just smiles at her, then looks up at the microphone. She understands, nods. BELYEU Fine, till Thursday then. Belyeu picks up his bag. He and Zack start the hike to the door. Belyeu turns, walks backwards. BELYEU Good luck, Miss Bloom. -LRB- to David. -RRB- I'll come by later. We can play a game of hangman, take up smokin'. David waves `` get lost.'' Belyeu turns. BELYEU Bye, ya' all. They watch him walk away. Bitsey turns to David. He's looking at the floor, caught in a thought. BITSEY So. DAVID Sorry. Have a seat. She does so. David smiles at her, he has a beautiful smile, sincere, charming, vaguely devilish. BITSEY He's a character. DAVID Yeah, known Benny most my life. Met the summer after 4th grade, spent the day burning ants with his dad's magnifying glass. We called it playing ` Execution.' David looks at her a beat, lets the irony of this sit in the air. Uncomfortable, Bitsey starts to look in her purse. DAVID Since I grew up in foster homes, he's become the only family I have. BITSEY Where's your ex - wife? Bitsey takes a pad out of her purse, looks for a pen. DAVID We agreed minimal contact would be easier. Please do n't mention her, or my son. BITSEY All right. Anything else, just clearly say, ` off the record.' I'll take it to my grave. But then you know that about me. Otherwise I would n't be here. David smiles, nods. BITSEY -LRB- referring to the pen. -RRB- Is this recording equipment? He shrugs. DAVID How should we start? BITSEY I'd say you're a man with a story to tell, Mr. Gale. You chose the magazine, the format. You chose me. She sits with pen on paper, poised for dictation. BITSEY Go. David looks at her a long beat, then gives her the smile. WHITE TRANSITION MONTAGE CAMERA starts TO ROTATE and ROLLS THROUGHOUT until the LAST SHOT COMES TO REST UPRIGHT. A -RRB- OVERHEAD Belyeu gets in his Cadillac in the wet Ellis Unit parking lot. B -RRB- ELLIS UNIT -LRB- RAINY DAY -RRB- from the air. C -RRB- AUSTIN FROM AIR -LRB- SUNNY DAY -RRB- D -RRB- OVERHEAD SEXY FEMALE GRAD STUDENT -LRB- over - dressed in a mini - skirt and heels -RRB- moves hurriedly through the University of Texas -LRB- U.T. -RRB- campus. E -RRB- FROM BEHIND TWO GRADUATE STUDENTS attending class in an U.T. lecture hall - they are laughing as David entertains from a mike at the podium.\",\n \"INT. U.T. LECTURE HALL - DAY Thirty animated students -LRB- circa 1992 -RRB- are listening to David lecture. He's younger -LRB- 31 -RRB-, vibrant - looks like a grad student himself. On the white board behind him are phrases : `` Lucan,'' `` objet petit a,'' `` Fantasy Theory.'' DAVID Think. What do you fantasize about? World peace? -LRB- as no one responds. -RRB- Thought so. -LRB- light laughter. -RRB- Money - Fame - Ferrari? -LRB- as some guys applaud loudly ; others then boo them. -RRB- A Pulitzer? Nobel? M.T.V. Music Award? -LRB- applause. -RRB- A genius hunk - ostensibly bad but secretly simmering with noble passions, and willing to sleep on the wet spot? As women applaud. LARGE WOMAN -LRB- yells. -RRB- I'll take two! Laughter. DAVID A Victoria's Secret model - just slumming between law school and running her family's Vastly Endowed Foundation for Tragically Sad - Eyed Children? The crowd laughs, David changes tone. DAVID Okay, good, you see Lucan's point. Fantasies must be unrealistic. The minute you get something, you do n't, you ca n't, want it anymore. To exist, desire needs absent objects. So desire supports itself with crazy fantasies. The over - dressed Sexy Grad Student enters loudly from a side door, out - of - breath and discombobulated. The crowd laughs at the timing. David pauses. STUDENT Sorry. He animatedly gestures to the seats, waits a beat as she moves towards them. DAVID This is what Pascal means when he says the only time we're truly happy is when day - dreaming about future happiness. The Sexy Student sits, adjusts herself. DAVID Or why we say, ` The hunt is sweeter than the kill' or ` Be careful what you wish for.' A guy behind the Sexy Student taps her on the shoulder, she turns and he hands her letter from the registrar's office. It's from a girl friend two rows back. The girlfriend mouths, `` It came today?'' DAVID -LRB- O.S. -RRB- Not because you'll get it, but because you're doomed not to want it if you do. Think about it next time you're at a wedding. Laughter. The Sexy Student turns back around, throws the letter in a book.\",\n \"INT. U.T. HALLWAY - DAY Students pour out of the double doors leading from David's class. The hall is crowded. Standing waiting for him against the wall is Constance -LRB- glasses, granola clothes -RRB-. She's looking at a document, holds a file.\",\n \"INT. U.T. LECTURE HALL - DAY The students are leaving. David is quickly erasing the white - board. The Sexy Student approaches him -LRB- her name is Berlin -RRB-. BERLIN -LRB- SEXY STUDENT. -RRB- Sorry about being late. There was, you know, a thing. DAVID There usually is, Berlin. BERLIN Look, I know I'm not doing well. He turns, nods, takes his books and papers from the podium. BERLIN And to torture a cliche, I'd do anything to pass. He looks at her a beat, starts to walk toward the door. BERLIN Anything, Professor Gale. He stops, turns. DAVID Anything, huh? BERLIN -LRB- suggestively. -RRB- Anything. DAVID -LRB- the smile. -RRB- Anything? She affects a solicitous shyness - then goes all sex. BERLIN Any thing. He checks the room, then comes over to her, close. DAVID Tell you what, I'll give you good grade, a really good grade, if you will. -LRB- leans down to her ear, whispers sensually. -RRB-. study. He smiles, turns, walks away. As she watches, anger builds.\",\n \"INT. U.T. HALLWAY - DAY David comes out the room. Constance sees him, hurries to him. She's excited, and speaks now - as always - with absolute authority. They talk as they walk down the crowded hall. CONSTANCE David! DAVID Hey. CONSTANCE The T.A. finished transcribing the Governor's radio and TV comments. Listen :' I hate killing, that's why I'm willing to kill to stop it.' The woman breathes in soundbites. She hands him a copy. DAVID -LRB- pretends to read a quote. -RRB- ` Yes, Virginia, the people of this State have overwhelmingly affirmed the reality of Santa.' CONSTANCE You might can use some of her pre - centrist stuff. DAVID Tell me again why you are n't doing the debate. CONSTANCE Telegenics. You have a cuter butt. DAVID I had n't noticed. CONSTANCE I know. DAVID That's not what I meant.\",\n \"EXT. U.T. CAMPUS - DAY David and Constance exit the building into the sun. CONSTANCE She's gon na do the whole mother thing. She empathizes with you completely, but experience has given her the courage to take the tougher road, ta - da, ta - da. Keep it rational. And flirt politely. DAVID ` Governor, you bat a lovely lash for a woman who executed thirty eight last year.' They've come to a sidewalk junction, stop. CONSTANCE And watch your ego. Do n't come across as one of those I - hate - authority - because - nobody - in - charge - reads - the - New Yorker types. DAVID Anything else? CONSTANCE Yeah, do n't fall into one of your brooding silences. Oh, I'm getting new federal stats from Amnesty tonight. DAVID I'm going to Greer's party. Fax them to Sharon's number at the house. She looks at him sternly over the top of her glasses. CONSTANCE If you have a hang - over tomorrow - DAVID -LRB- hangs up, walking away. -RRB- Apropos playing Mother. CONSTANCE -LRB- calling after him. -RRB- Ten o'clock! -LRB- beat. -RRB- Bright - eyed and bushy tailed!\",\n \"EXT. GALE HOME - ESTABLISHING - NIGHT The house is an immaculately restored two - story Victorian, far better than what a university professor can afford. The grounds are perfect. David's Volvo is in the driveway, his wife's new Laredo beside it. On the street out front sits a new VW Beetle.\",\n \"INT. KID'S ROOM - NIGHT David's son - CHASE - sits in bed holding a stuffed sheep in the air. David turns off the light in the adjacent bathroom, comes in holding his son's jeans and shoes. David wears a t - shirt which says `` Evil - Doer & Curious Person.'' The room is over - decorated with boy stuff. DAVID Did you mark your calendar? CHASE -LRB- looking up at it. -RRB- Yep. INSERT - KID'S CALENDAR hangs above the bed, opened to the month of March. It has a felt - tipped pen hanging from a piece of string taped to it. Ten frowny faces cover ten consecutive days, then there are three empty days before a large smiley face awaits on the fourth. The frowny faces are in a kid's hand, the smiley face in an adult's. BACK TO SCENE CHASE -LRB- counting on his fingers. -RRB- Only. three more Spain days. David puts the jeans and shoes away. DAVID Only three. That's great, huh? David comes and sits beside his son. Points to an African statue -LRB- a man holding a spear -RRB- on the bedside table. DAVID What's he doing in here? CHASE Mommy said I could. Just till she gets back. -LRB- touching the spear. -RRB- That's a special - duper monster laser knife. DAVID Where's your laser gun? Chase reaches under the sheets, searches, finally pulls out a laser pointer. CHASE Here. He `` shoots'' some toys in the corner with the red laser dot. CHASE Tussshh, tusssshh, tussshh. I never shoot them in the eyes, Daddy. DAVID That's'cause you're a special - duper - super - quadruper boy. Who's now going to sleep. He tucks his son in. DAVID Who loves you? Chase giggles, points at his dad, then pokes his nose. DAVID Ooooh. -LRB- kissing him. -RRB- Good night, son. CHASE -LRB- holding up his stuffed sheep. -RRB- Do Cloud Dog. DAVID -LRB- kissing the sheep. -RRB- Good night, Cloud Dog.\",\n \"INT. LIVING ROOM - NIGHT Obsessively cool, full of designer furniture and rough fabrics. The art is mostly contemporary and conspicuously lit - a Damien Hirst piece sits in one corner. A few African antiquities are scattered throughout. A BABYSITTER sits on the couch reading a school textbook, holding lip gloss and absentmindedly applying it as she reads. David passes on his way to the door. DAVID Back before midnight. BABYSITTER It's cool, Mr. Gale. -LRB- calling after him. -RRB- Do n't do anything I would n't. DAVID -LRB- O.S. -RRB- Rest assured. He exits. When she hears the DOOR CLOSE, the Babysitter reaches for the TV remote.\",\n \"INT. DUPLEX - LIVING AREA - NIGHT The duplex is upscale, two - story with a vaulted ceiling. Scattered about are forty party - goers, mostly grad students. Some spill out onto the back patio and around the pool. Everyone has a t - shirt with a philosophic idea -LRB- `` Yawnic,'' `` Mad, Bad and Dangerous to Know,'''' -LSB- Philosophic t - shirt -RSB-''. -RRB- LEONARD COHEN MUSIC PLAYS. FROM FRONT DOOR GREER -LRB- late 20s, Persian, `` Host'' t - shirt -RRB- escorts David into the living room. GREER The guy's the Immanuel Kant of the N.F.L. Consistent, accurate, effective, and boring, boring, boring. Greer leaves him at the sofa where an OLDER PROFESSOR -LRB- 60s, homemade t - shirt - `` Pre - Socratic'' - over his shirt and tie -RRB- stands speaking with ROSS -LRB- late 40s, `` Homosexualist'' t - shirt -RRB-. DAVID Meinen Herren. ROSS -LRB- has an Oxford accent. -RRB- Hello, David. OLDER PROFESSOR Professor Gale. Where's your better half? DAVID Spain. OLDER PROFESSOR Again? -LRB- a beat. -RRB- Well, I was just off for air. He moves to the patio. They watch him go. DAVID -LRB- under his breath. -RRB- Looks like Sharon's affair is an open secret. ROSS -LRB- under his breath. -RRB- Hermeneutical bias : the only fun truths are the ones someone's trying to hide. -LRB- normal tone. -RRB- Have a seat. They sit on the sofa. ROSS Listen, Berlin's here - and livid. Probations suspended her. She received the letter today, took the opportunity to throw a fit in my office. You should - BERLIN -LRB- O.S. -RRB- Talking about me? She's standing behind them. David tilts his head back. DAVID Yep. She's tipsy, brings her face down between their heads. BERLIN -LRB- to David. -RRB- He tell you I said when you were circumcised they threw away the wrong part. DAVID He mentioned it. An uncomfortable beat. She reaches over and takes Ross's drink from his hand, drinks the rest, puts it back. DAVID It's called schmuck. BERLIN What? DAVID The part of the foreskin that gets thrown away. I think it's called schmuck. BERLIN Are n't we so fucking clever. ROSS -LRB- standing, escaping. -RRB- I suppose I should get us another. David? DAVID Black Bush. Ross walks to the bar. Berlin comes around and sits in his seat. Her mid - drift T - shirt reads `` Sex is Power.'' BERLIN You were a jerk this afternoon. A beat. She's turned facing him, he looks forward. DAVID For what it's worth, I did n't know about the suspension. BERLIN Is that supposed to be an apology? DAVID More like a conciliation. ON FOOD AND DRINKS TABLE Ross has two gin - and - tonics and is finishing pouring David's Black Bush. He moves away. The table is neatly laid with snacks and bottles. The flower arrangement is perfect. SAME SCENE - LATER The table is now in mid - party chaos. Food spilled, bottles empty, the flowers in disarray. `` I'M TOO SEXY'' PLAYS LOUDLY in the background. Berlin takes a bottle of Red Label from the table. CAMERA TRACKS her THROUGH the living room, where a few people now dance, and out onto the patio. A crowd well on their way to being drunk gathers by the pool. They surround two patio chairs which face each other, one with David, the other with Ross. The men are playing an Irish drinking game - the crowd has chosen favorites. ROSS -LRB- slurring a bit. -RRB- All right. -LRB- clears his throat. -RRB- As the poets have mournfully sung, Death takes the innocent young, The screamingly funny, The rolling in money, And those who are very well hung. Laughter, a few animated moans. David raises his glass to Ross and downs a whiskey. Someone starts to chant : `` Gale! Gale! Gale!'' DAVID -LRB- feeling good but very much in control. -RRB- There once was a lesbian from Canjuom, Who took a young man to her room, And they argued all night, As to who had the right, To do what, how, and to whom. Laughter. Two women holding each other boo. Ross drinks. BERLIN One more. C'mon, one more. DAVID Enough. That's enough. The crowd wants more. Someone makes chicken sounds. ROSS Do you bow to the Queen? David looks at him, contemplates, then smiles. He holds his glass out for a refill. The crowd applauds. FULL SHOT OF PATIO The crowd is chanting : `` Ross! Ross! Ross!'' SAME SCENE - LATER The crowd has dispersed. A couple of small groups converse. Someone is being thrown into the pool. TECHNO MUSIC PLAYS. Inside the duplex a few dancers are still going at it.\",\n \"INT. BATHROOM David is washing his face. As he dries, the TECHNO MUSIC downstairs gets BRIEFLY LOUDER. He looks from beneath the towel into the mirror. Berlin has entered the bathroom. DAVID I'm done. She locks the door, leans back against it. She's flushed. He folds the towel. BERLIN I'm not a student anymore. DAVID Do n't think I want to know what that means. David lays the towel down, leans back against the sink - they face each other on opposite sides of the bathroom. BERLIN There once was woman named Berlin, Who liked a bit now and again. Not now and again, But Now! And Again! And Again! And Again! And Again! He laughs. BERLIN Cute, huh? DAVID Cute. BERLIN I have a secret. But I have to come over there to tell you. He makes an I'm - not - so - sure face. She moves playfully toward him. BERLIN Here I come. She comes up to him, leans into him as she puts her mouthclose to his ear. He keeps his hands back on the sink counter. BERLIN -LRB- whispering. -RRB- I was n't after the grade. She stands with her body against him, looks into his eyes. DAVID Berlin, this, this is not. She puts her fingers over his mouth, keeps them there. BERLIN Ssshhhh. With her free hand she takes one of his, rubs it against her face and lips as she speaks. BERLIN We'll just talk, analyze, contemplate. Or. you can put your mouth on my body. She moves his hand down, brushing it against her breast and to her groin. She brings her mouth toward her fingers - which are still against his lips. BERLIN -LRB- softly, vulnerably. -RRB- Do n't reject me. Please. With her eyes open, she kisses the back of her own fingers, runs her tongue between them, opens them to reach his mouth.\",\n \"INT. HALLWAY A Hispanic woman -LRB- T - shirt : `` DerriDa - Da'' -RRB- bee - bops to the bathroom door. Tries the handle, then dances away.\",\n \"INT. LIVING ROOM About eight dancers dance to the TECHNO MUSIC - its pace increasing. A couple them are really into it.\",\n \"INT. BATHROOM Berlin and David are against the sink, kissing in full passion. The MUSIC from downstairs seems LOUDER. Her T shirt is off. Panting, he turns her against the sink. Pulls her skirt up, reaches for her panties. BERLIN Rip them. DAVID What? BERLIN Rip them off. He does so.\",\n \"INT. KITCHEN Ross sits at the kitchen table, holding his throbbing head against the POUNDING MUSIC. Greer sets a cup of coffee in front of him, sits across. A long beat. They seem like parents waiting out a teenager's party.\",\n \"INT. BATHROOM Berlin is back against the sink, undoing David's fly as he takes his T - shirt off. The MUSIC from downstairs seems even LOUDER. His pants and underwear fall. He starts to penetrate her. BERLIN No. From behind. She turns, faces the mirror. He positions himself behind, enters her. BERLIN Yes. He moves against her. BERLIN Do it hard. He looks at her in the mirror, then continues. She watches him. ON PATIO A guy sits alone at the far end of the pool on a lounger. The dancers can be seen in the living room behind him.\",\n \"INT. BATHROOM David thrusts against Berlin, her thighs pound against the edge of the sink. The MUSIC is as LOUD as it is downstairs. BERLIN Harder. He looks at her in the mirror, unsure. BERLIN Harder. He thrusts harder. BERLIN Yes. They continue in rhythm. She reaches back and pulls him into her. BERLIN Bite me. Bite my shoulder. She watches him do so in the mirror.\",\n \"INT. LIVING ROOM The dancers dance - the TECHNO PACE has INCREASED even more. One dancer is a blur.\",\n \"INT. BATHROOM Berlin is pulling David into her. They approach a climax. She scratches him on the small of the back. Blood trickles.\",\n \"INT. LIVING ROOM The MUSIC and dancers are in pure FRENZY. Suddenly, the MUSIC STOPS. Greer stands by the STEREO, his hand coming back from the power button. He gestures `` that's - all - folks.''\",\n \"INT. BATHROOM David and Berlin stand still and apart, breathing heavily into the reality - inducing silence. He looks at her in the mirror, a look of shame. She gives him an odd smile. BLACK\",\n \"INT. CONSTANCE'S BEDROOM - NIGHT Constance wakes with a jolt, sweating. She gets up and goes into her bathroom.\",\n \"INT. BATHROOM - NIGHT She turns on the light, moves to the sink, opens the medicine cabinet. It's stacked with prescription medicines. Suddenly, she turns to the toilette, vomits. BLACK.\",\n \"INT. BARNES & NOBLE COFFEE HOUSE - DAY David and Constance sit by a window, the U.T. campus in the b.g. David's distracted, wearing a suit and a long face. She's wearing the closest thing she has to business attire. She has stacks of paper spread in front of her. CONSTANCE Okay, let's say we find an innocent on death row. Would n't matter. Corrections would let him go. Governor Harding would go on TV, say, ` Thanks to the good people at DeathWatch, the system works.' Yeah, if they executed an innocent, and we had absolute, undeniable, in - your - face proof, we could demand abolition. Just like happened in England. Are you okay? DAVID -LRB- coming out of it. -RRB- Sorry. Yeah. He makes an effort, plays the `` good listener.'' CONSTANCE But it has n't happened, not since' 76. And wo n't happen. David nods. CONSTANCE Dead men ca n't make a case. DAVID And ` Almost Martyrs' do n't count. CONSTANCE Just keep it rational. The death penalty is expensive and ineffective. No one wants to see a murderer as a victim. DAVID Um - hum. CONSTANCE And stop that. DAVID What? CONSTANCE Active listening. I hate active listeners. Makes me feel like I'm with a Dale Carnegie grad who cares more about appearing to listen than actually listening. Did you bring the Amnesty fax? DAVID I can listen and appear to listen at the same time. Yeah, no. Damn, I left it home. CONSTANCE I have a copy. She looks through her papers, finds the copy in the stack beneath her coffee cup. She starts to hand it to him. He is looking out the window, caught in a thought. CONSTANCE You want to tell me what's up. DAVID Nothing. Everything. Something profoundly stupid happened last night. CONSTANCE -LRB- teasing. -RRB- I hope you used a condom. A beat. His reaction tells her the jest hit home. CONSTANCE Jesus Christ, David. Was she one of yours? A longer beat. He holds her eyes. DAVID It was Berlin. She's stunned, then genuinely angry. CONSTANCE Oh, that's great, great. I can hear the grapevine now. They suspended her so Gale could dick her with a clear conscience. He looks at his coffee, which he has n't touched. CONSTANCE A power differential equals coercion. Great. You are so weak. DAVID Constance, you're not my wife. Thank God. CONSTANCE I know you can tell yourself it's a position I aspire to, but believe me, I would rather. She trails off. They stare at each other a beat. Then, she starts to collect the papers. DAVID I did n't mean - CONSTANCE Let's go. As she collects, she winces, grabs her side. DAVID Are you okay? CONSTANCE Yes, let's just go.\",\n \"INT. TELEVISION STUDIO - CONTROL BOOTH - DAY Two people sit in front of monitors displaying various angles on sound stage. The main monitor is playing the end of the show's signation. ASSISTANT DIRECTOR In three, two. ON SOUND STAGE A camera operator cues the host -LRB- 50s, male, bow tie -RRB-. The host is flanked by David and Governor Hardin. The set has an upscale regional television look. The Governor has the rare ability to look comfortable while David fidgets. HOST -LRB- to camera. -RRB- Welcome back to ` Batter's Box.' Tonight we continue our very special four - part series with the Governor Hardin. Arguing capital punishment with her is DeathWatch coordinator, Professor David Gale. Governor, you're up. GOVERNOR HARDIN Alan, let me say somethin' I always say. Constance stands behind the cameras. She motions to David - something about the papers in front of him. GOVERNOR HARDIN And I'm gon na keep on sayin.' And that is I hate killin.' That's why my administration is willing to kill to stop it. DAVID So you do n't subscribe to the idea that' a good state is one that protects its most despised members'? GOVERNOR HARDIN It's a nice liberal idea, but like most nice liberal ideas, naive. DAVID It's a quote from you, Governor, from your first state attorney campaign. Constance is biting her lip, breaks into a smile. The Governor is unsure how to react, then laughs. The host chuckles with her. GOVERNOR HARDIN You've got me, Professor. But let me, in my defense, give you a quote. Winston Churchill : ` If you're not a liberal at twenty, you've got no heart, if you're still a liberal at thirty, you've got no brain.' The host's laughter is overdone. David smiles. Constance bites her lip. DAVID So, basically you feel, to choose another quote, ` society must be cleansed of elements which represent its own death.' The Governor makes an animated thinking face. GOVERNOR HARDIN Well, yes. I would have to agree. -LRB- chuckles again. -RRB- Did I say that, too? DAVID No, ma'am. That was Hitler. Constance makes a `` Yes!'' gesture with her hands. The Governor is surprised into silence. The host laughs and, noting her reaction, trails off. David becomes more confident, his tone more sincere. DAVID Governor, ca n't we examine the possibility that capital punishment is n't working. That murderers are n't deterred by the law because they have about as much forethought as lemmings. That it's expensive, inequably administered, that. David cuts his eyes briefly to Constance. DAVID that we may even be killing innocents. Constance rolls her eyes. The Governor is ready for this. GOVERNOR HARDIN All righty, Mr. Gale, I'll play your game. Name one. Name one innocent man Texas has put to death in my tenure. One. A beat. David does n't respond. GOVERNOR HARDIN Name one in the last twenty years. In any state in this country. A long, miserable beat. HOST Well, Mr. Gale? DAVID Dead men ca n't make a case. GOVERNOR HARDIN Well, as my daddy used to say : If you ca n't find a problem, there probably is n't one. Constance shakes her head in irritation. BACKSTAGE - LATER The show is over. David and the Governor are shaking hands. Constance stands nearby. GOVERNOR HARDIN Well, you certainly had me on that Hitler quote. DAVID Thank you, Governor. GOVERNOR HARDIN These debates are awfully good for the state, do n't you think? DAVID Of course. GOVERNOR HARDIN Well, I've got to buzz. She moves toward her handlers. GOVERNOR HARDIN You folks keep up the good work. We need that opposition. Constance's and David's polite smiles follow her.\",\n \"EXT. TELEVISION STATION - DAY Constance and David argue as they walk the sidewalk to the parking lot. CONSTANCE Your exact words were, ` Just tell me when my ego gets in the way of the work.' Now I'm telling you : Your ego's in the way of work. DAVID -LRB- indicating the station. -RRB- Look, I wanted you to do this anyway. CONSTANCE You put up precisely two seconds of protest at the thought of a televised debate. DAVID What's that supposed to mean? CONSTANCE It means DeathWatch suffers because you're so anxious to finger authority, to publicly prove that David Gale is so much fucking smarter than the powers that be. Learn to work without an audience. Try squeezing money from the donor list. Have you ever licked one single mail - out envelope? They come to the end of the sidewalk, where two SUITS are standing - one Hispanic, one white -LRB- 30s -RRB-. MAN #2 -LRB- SUIT. -RRB- Mr. Gale? DAVID Look, guys, there's not much more to say - MAN #2 Rameriz, Austin police. This is Officer Haslinger. The officers show their Ids. Constance takes one to examine it more closely. DAVID What, arguing with the Governor is a crime? The officers exchange a look. MAN #3 -LRB- SUIT. -RRB- No, sir, rape is. Constance and David look at each other, stunned. OVERHEAD SHOT CAMERA QUICKLY CRANES UP and ROTATES. WHITE.\",\n \"INT. ELLIS VISITATION AREA - OVERHEAD SHOT - DAY CAMERA CRANES DOWN and ROTATES, ENDING UPRIGHT BY Bitsey as she listens to David. GUARD -LRB- V.O. -RRB- -LRB- over the loudspeaker. -RRB- Gale, time's up. The speaker, loud as ever, startles Bitsey. David nods over to the guard's booth. DAVID Berlin had my bite marks, bruises, ripped clothing. My skin was beneath her nails. It did n't look like anything but rape. Two days later she called the D.A., said she would n't testify, too drunk to be sure, etc.. On the plane home, Sharon read about her husband's rape case being dropped. BITSEY Why'd she do it? A guard approaches. David stands up and moves to the back of his cage, puts his hands behind him and out the slot in the back to be handcuffed. DAVID -LRB- shrugs. -RRB- Finger authority, show she was smarter than the powers that be. BITSEY Do you know where I can find her? DAVID First year in here I received a card postmarked San Francisco. It was n't signed, but I suspect it was from her - the front had the text ` Sex is Power.' Cuffed, David stands aside for the cage door to be opened. BITSEY Anything written on it? DAVID Yeah. It said, ` I'm sorrier than you can know.'. -LRB- exiting the cage. -RRB- See you tomorrow, Ms. Bloom.\",\n \"EXT. MOTEL SIX PARKING LOT - NIGHT Bitsey and Zack are walking from the Kettle to their rooms. Zack is lighting a cigarette. The rain's stopped, but the lot is wet. BITSEY Try phone records, a net search. ZACK Fucking better than watching you work. They walk a beat in silence. ZACK You think he's telling the truth? BITSEY Do n't ask me that. I do n't know. There is no truth, only perspectives. ZACK Ca n't say that. If you say ` there is no truth,' you're claiming it's true that there is no truth - it's a logical contradiction. BITSEY Working on our philosophy merit badge, Zack? ZACK I, on the other hand, think Gale's telling the truth. They come to the stairs and start up. BITSEY This you know telepathically? ZACK It's just my perspective. In a dark corner of the parking lot sits the pickup from the rest area. The older cowboy watches Bitsey and Zack climb the stairs. On his STEREO, PUCCINI plays. Once they are in their rooms, he TURNS UP the opera, closes his eyes, feels the music.\",\n \"INT. RENTAL CAR - DAY The car moves through an older Austin suburb with wood framed houses -LRB- circa 1950 -RRB- in varying states of repair. It's an overcast day. Zack drives, slowly, searching. Bitsey has the passenger seat fully reclined, lies with her eyes closed. SUPERIMPOSE : DAY TWO. ZACK Thirty - three o what? BITSEY Seven. -LRB- then. -RRB- ` Check out the crime scene in Austin.' You made it sound so close. Shit, two and half hours and that damn lig - ZACK Bitsey. She looks up. Zack is pointing at house 3307, which needs paint and a lawn mower. In front of the house is a homemade sign which reads, `` David Gale Death House and Museum'' See where it happened!'' Beneath are the opening hours -LRB- 12 - 8 -RRB- ; someone has marked them out and scribbled `` ring bell.'' They share a look.\",\n \"EXT. PORCH OF HOUSE 3307 - DAY Bitsey rings the bell. Zack stomps out a cigarette, points out a worn `` Block Home'' sign in the window, raises his eyebrows. As Bitsey straightens her skirt, the door is opened by a GOTH GIRL, probably not quite eighteen. She has jet - black hair, nose piercings, tattoos, a Nine Inch Nails T - shirt. METAL MUSIC comes from within. The Goth Girl just looks at them. After an uncomfortable silence, Bitsey extends her hand. BITSEY Hi. I'm Bitsey Bloom and this is Zack Stemmons. We - GOTH GIRL You want the tour? Her voice is slacker monotone. BITSEY Uh, yes. GOTH GIRL There's a twenty - dollar mandatory donation, apiece. But you get a re - enactment photo packet. It's got five pictures. BITSEY Okay. A beat. GOTH GIRL I got ta collect first. BITSEY Oh, sure. Bitsey reaches in her bag.\",\n \"INT. LIVING ROOM - DAY They enter. The room is dark, messy, with an old couch and TV/VCR. A kitchen is adjacent. The walls are full of Goth bric - a - brac : London Batcave poster, one from Burton's Frankenweenie, a couple of fan - zine pictures of Siouxsie and the Banshees. In one corner is a very expensive STEREO, from which THE CURE plays. In another, a dead plant. The Goth Girl turns the MUSIC DOWN. A table near the door has numbered photos beneath a torn and curling sheet of plastic. Small packets of snapshots sit on the table along with a few hand - labelled videos and a book of clippings. There's also a guest book. GOTH GIRL You got ta sign the book. Does n't have to be your real name, though. Bitsey signs in. GOTH GIRL First page says you're here to do research on violent crime. The state requires it for nonprofit shit. Zack signs in. GOTH GIRL Take a re - enactment photo packet. Bitsey does so. As does Zack. GOTH GIRL If you guys could share one, it would be really cool. The butt wipes where I do prints kinda jerk my chain. Zack puts his back. Bitsey is looking at a photo : the Goth Girl in her panties and bra laying on the floor with plastic wrap over her head. She's handcuffed and wearing a platinum blonde wig. The pose is half - corpse, half - pinup. GOTH GIRL That's me. My boyfriend took it. We also did a video. It's fifty bucks'cause you can see my tits. There's a version without tits, that's thirty - five. Zack looks at a video, hand - labelled : `` Constance Harraway Murder -LRB- with breasts -RRB-! Copyright 1997! Svengali Productions!'' BITSEY Do many people take the tour? GOTH GIRL Not so much anymore. We thought this would be like a busy week - Gale gettin' the prune juice and all. Prune juice is what death row dudes call the poison,'cause it gives you the shits. Most jerks just take a photo from the street. They shot a ` Real Crimes' episode here, but the owner did n't give us dick. ZACK You do n't mind living here? GOTH GIRL I'm cool with ghouls. Beats livin' with my dickwad parents. It starts over here. She takes them to the coffee table. Among her own things, a dusty Johnny Walker Black Label bottle sits beside a tumbler -LRB- an index card with the # 1 leans against it -RRB-. The area has been outlined on the table with white shoe polish. GOTH GIRL She let him crash here sometimes. He was like constantly wasted. Drank Black Label religiously. Bitsey and Zack exchange a look. The Goth Girl moves into the kitchen. It's cluttered and dirty except in the various areas which at one point had been outlined and indexed - the cards are all dirty. A sliding glass door leads onto the patio. The backyard has n't been mowed in years ; roughly twenty pots with dead plants lying around. By the door, three small taped Xs are on the floor, outlined and indexed -LRB- # 2 -RRB-. GOTH GIRL This is where the tripod was. My boyfriend borrowed the one we usually show folks. They never found a camera, photos, or videos or anything. Gale must have buried them. These serial killer dudes take photos to whack off to later. ZACK He's not exactly a serial killer. GOTH GIRL Whatever. She moves to the sink. On the linoleum, the position of Constance's body has been chalk - lined -LRB- # 3 -RRB-. In this area are a pair of handcuffs -LRB- # 4 -RRB-. Not far off is a roll of packing tape -LRB- # 5 -RRB-. A pair of latex kitchen gloves are crumpled on the sink counter -LRB- # 6 -RRB-. GOTH GIRL She was like totally naked right here. The meter man saw her through the door. Gale handcuffed her, taped her mouth, then taped a bag over her head so she could n't breathe. My boyfriend says that's probably when he fucked her. Your muscles tense up when you die - the sex is better. -LRB- pointing. -RRB- He used those housewife gloves so he would n't leave prints. They found sticky stuff from the tape on them. Zack picks up the gloves. GOTH GIRL We ask folks not to touch the exhibit. ZACK Right. He puts them back. GOTH GIRL The totally sick part was where they found the key - BITSEY We know, you can save that. ZACK What? Where was it? GOTH GIRL It was in her stomach, dude. He made her swallow it before he bagged her. A beat. Zack's shocked. GOTH GIRL That's pretty much the highlight. Got questions?\",\n \"INT. RENTAL CAR - DAY Bitsey drives. They are on the two - lane highway to Huntsville. Zack smokes out the window. BITSEY It was in the case file. ZACK Fuck, in her stomach? That's colder than Wisconsin. BITSEY -LRB- looking in the rearview mirror. -RRB- Zack, open your vanity. ZACK What? BITSEY The vanity mirror, pull it down. He does so. BITSEY See that truck behind us? ZACK Yeah. BITSEY Is n't that the cowboy from the rest area? They look in their respective mirrors. Some distance behind them is the older cowboy in his pickup. ZACK Same truck. BITSEY Weird coincidence, huh? ZACK -LRB- turning. -RRB- Coincidences are always weird, that's why they're coincidences.\",\n \"INT. ELLIS VISITATION AREA - DAY Bitsey sits in front of David. He's less animated than the day before, drained. He rubs his wrists. They are speaking in hushed tones. A beat. DAVID Off - the - record? BITSEY Alright, we're off. DAVID Constance was murdered with what's called the Securitat Method. You're hand - cuffed, forced to swallow the key, taped at the mouth, a bag's sealed over your head and you're left to suffocate. The Securitat did this to Romanians who would n't inform or confess. Sometimes the bag was ripped off at the last second, you got a second chance. If not, you die knowing the ` key' to your freedom was inside you the whole time. A cheap - but - effective metonym. Problem is I mentioned the method in an early article. The prosecution never knew. BITSEY You're telling me someone's framing you? DAVID It's more than that. DAVID There was a tripod. BITSEY Right, facing her body. Are we on? DAVID -LRB- nods agreement. -RRB- Not a single print was found on it. Someone brought it, wiped it, left it. Why? It's as if they wanted me to know that somewhere there's a record of what really happened that afternoon. As if they wanted me to die knowing the key to my freedom was. out there. BITSEY Maybe you're being paranoid? DAVID Ms. Bloom. I'm an anti - death row activist on death row. Does n't that strike you as odd? A beat. She nods. BITSEY Any ideas who ` they' are? DAVID No. A beat. DAVID But I have someone on it, someone I'm hoping will one day find an answer. BITSEY Belyeu's hired a detective? He shakes his head. DAVID A journalist. It takes Bitsey a second to understand. David smiles. DAVID -LRB- mimicking Belyeu. -RRB- ` She's a smart one.' ACCELERATED ROTATING ZOOM OUT TO LONG SHOT. WHITE.\",\n \"INT. U.T HALLWAY - LONG SHOT - DAY ACCELERATED ROTATING ZOOM IN. David and Constance stand by the double doors. He's concentrated ; she's biting her lip. They're looking onto a large parking lot. The lot is practically empty except for Sharon and Chase, who stand near their Jeep. It's packed with various household items, things not entrusted to movers. CONSTANCE I'll drop by your office after. He nods and goes out.\",\n \"EXT. U.T. PARKING LOT - DAY As David approaches them, Chase runs to them - still carrying Cloud Dog. He jumps on his dad. CHASE Wear me like a fur, Daddy! Wear me like a fur! As he walks, David drapes the boy sideways over his shoulders -LRB- like a fur -RRB-. Chase squeals with pleasure. DAVID Who's your hero? Chase bonks him on the nose. David sets Chase down when he reaches his WIFE. He kiss him goodbye as the boy struggles to move on to something else. A long beat as David and his wife stand uncomfortably. DAVID Call me when you get to Boston? SHARON -LRB- WIFE. -RRB- Yeah. A beat. DAVID I wish you - SHARON Do n't. She turns and walks to the Jeep. The door's open. SHARON Chase, get in, Sweetie. Chase climbs in, sits in the driver's seat. CHASE -LRB- turning to his dad. -RRB- See ya later, Alli - gator. DAVID After awhile, Crocodile. CHASE Take it easy, Japa - ne - se. DAVID Okey - dokey, Artichokey. SHARON -LRB- to Chase. -RRB- Scoot. Chase scoots over to the passenger seat. Sharon gets in the driver's seat. SHARON I sent you an e - mail. DAVID Okay? SHARON Just read it. She closes the door. Suddenly, Chase opens the passenger side door, runs around the Jeep carrying Cloud Dog. He runs to his dad, hugs him one last time. SHARON -LRB- cracking her window. -RRB- Come on, Chase. Chase starts to go back, turns and hands David his Cloud Dog without comment. He then quickly runs back around the Jeep and gets in. David watches them drive away. Chase's hand waves out the window until they are out of the parking lot. INSERT - COMPUTER SCREEN with an e - mail message : `` David, I want a divorce. I'm sorry to say it so plainly, but that's how I feel it. I do n't need time to think, this whole ` rape' thing has only forced.''\",\n \"INT. DAVID'S U.T. OFFICE - DAY David sits in front of his computer, staring into space. The office is institutional, cramped. Books line the walls, fill the desk. There's a framed poster -LRB- Warhol - style -RRB- of Socrates. He reaches into his desk for a bottle of Black Bush and fills his glass. There's a KNOCK on the door. Constance enters. CONSTANCE You could at least hide the bottle. David closes the e - mail. She collapses in the chair opposite his desk, exhausted. DAVID Well? CONSTANCE Officially, you're on sabbatical. Unofficially, they want you to look for another position. It was four to two. A beat as he absorbs the information. DAVID How did Ross vote? CONSTANCE You're not supp. Against you. David nods. DAVID And you? CONSTANCE Against my politics. David mouths a `` thank you.''\",\n \"EXT. GALE HOUSE - DAY A Century 21 real estate agent is putting a `` For Sale'' sign in the front yard.\",\n \"INT. UPSCALE RESTAURANT - DAY David is having lunch with an IVY LEAGUE - LOOKING MALE in his fifties. Only water and bread are on the table. DAVID So, I wanted to get your feedback on the idea. The Ivy Leaguer vigorously butters his bread. IVY LEAGUER Look, Professor Gale, I could sit here, as I'm sure others have, and plead departmental cutbacks. Claim you need more publications, or I need a minority, whatever. All bull - geschichte. Your record's brilliant. You're an original voice worth - in the scarcity - defines - value capitalist system under which we toil - your weight in gold. Hell, it's not even the alcohol. It'd be nice to have faculty whose crutch was n't Prozac. But, to speak plainly, if I hire you, in the eyes of the regents, alumni and every freshman with an ear for gossip, I'd be hiring a rapist. He takes a bite of bread. IVY LEAGUER You're not politically correct, Dr. Gale. Welcome to the club.\",\n \"EXT./INT. DAVID'S APARTMENT - DAY David stands on the balcony of a sparsely - furnished 420 - a - month apartment. Books are stacked everywhere. An Interstate runs nearby. He holds a phone, looks down in the pool area. DAVID'S POV A horribly - tanned man in his seventies -LRB- wearing a Speedo -RRB- attempts to do Tai Chi. CHASE -LRB- V.O. -RRB- -LRB- on his mom's answering machine. -RRB- We are n't home. Please, tell us a message. SHARON -LRB- V.O. -RRB- -LRB- cueing him in the b.g. -RRB- At the beep. CHASE -LRB- V.O. -RRB- At the peep. ON DAVID David lets the PHONE BEEP, just stares down at the man, saying nothing.\",\n \"EXT. APARTMENT COMPLEX PARKING LOT - DAY As David gets out of his Volvo, a SORORITY PLEDGE -LRB- funny clothes, Greek letters on her cheek -RRB- quickly approaches. She takes his picture with a Polaroid camera. She runs to a waiting convertible, where two other girls sit. SORORITY PLEDGE I got it! I got it! She jumps in the car and they speed away.\",\n \"INT. HIGH-RISE OFFICE - DAY The office is Philip Stark chic with large window walls - Austin stretches into the distance. David sits on a sofa across from an exceedingly ATTRACTIVE WOMAN -LRB- early 40s -RRB-. ATTRACTIVE WOMAN What exactly attracts you to the bond market? He's staring into space. ATTRACTIVE WOMAN Mr. Gale? He looks at her. She forces a strained smile.\",\n \"INT. DAVID'S APARTMENT - NIGHT Dark. David lies on the floor, his head propped against a wall. He's in his underwear and drinking from a Black Bush bottle. The phone's beside his ear and Chase's MESSAGE on his wife's MACHINE TWEAKS out of the receiver speaker. After the BEEP, David hangs up, gets a DIAL TONE, and punches re - dial. The MESSAGE STARTS again. After the BEEP, he hangs up, gets a DIAL TONE, and punches re - dial.\",\n \"INT. SMALL OFFICE - DAY David is in the office of an overdressed YUPPIE BLACK MAN -LRB- early 20s -RRB-. David is doing his active listening thing. YUPPIE MAN -LRB- over - articulating. -RRB- Now, Mr. Gale, I want you to tell me three personal qualities you have that would make you a successful Radio Shack manager.\",\n \"EXT. GOLF COURSE - DAY David and Belyeu approach a ball fifty feet from the green. BELYEU Because divorce proceedings do not require her presence in the country. For a custody hearin', yeah, she'll have to return. David chooses a club. BELYEU But without successful completion of an alcohol treatment program, you'll be lucky to get the odd Thanksgivin'. David walks to the ball. DAVID So my chances of getting partial custody are n't good? BELYEU Roughly the same as you sinkin' that from here. David looks at him, then concentrates on the ball - suddenly it has meaning. He swings. The ball lands in a water trap.\",\n \"INT. PICTURESQUE MOUNTAIN ROAD - DAY David's Volvo winds up the road, enters through a gate. A sign beside the gate : `` The Go lightly : A Recovery Clinic.'' BLACK.\",\n \"EXT. CONSTANCE'S HOUSE (3307) - DAY It's a beautiful day. The house looks much different than in the Goth Girl's care - flower bed, well - manicured lawn, fresh paint. The `` Block Home'' sign is in the window. David's Volvo pulls up in front.\",\n \"INT./EXT. CONSTANCE'S FRONT HALLWAY - DAY Constance opens the door for David. He's wearing a short sleeved Radio Shack shirt and tie. She's taken aback. Looks at him a beat, bites her lip, suppresses a laugh. CONSTANCE I'm sorry. He plays hurt, then they both burst out laughing. LONG SHOT - CONSTANCE AND DAVID She hugs him as they laugh on the porch.\",\n \"INT. CONSTANCE'S LIVING ROOM - DAY The living room is now Laura Ashley cozy. The sliding door is open so the room's sunny, breezy. Constance leads David in. She looks tired but is animated, a bit too much so. Her hair is different. CONSTANCE You look good. DAVID I feel. washed. She smiles at him maternally, touches his face. They hug again. CONSTANCE -LRB- lightly, in his arms. -RRB- I need you. DeathWatch needs you, now more than ever. DAVID Nothing like I need you, both. You're all I have. CONSTANCE Look. She moves from him, takes a photo from a case file on her kitchen table. CONSTANCE Jo Ann Johnson's been re - scheduled. INSERT - PHOTO of a young black women - pleasant, timid. BACK ON SCENE CONSTANCE I've got a call with Hawkins tonight, and if national will commit emergency funds. She lifts a small plant, moves to the porch. DAVID Jo Ann will be commuted and you'll only prove the system works. He notices she has bruises on her arms. CONSTANCE But I'll save a life. DAVID -LRB- referring to the bruises. -RRB- Where'd you get those? CONSTANCE Spring cleaning.\",\n \"EXT. CONSTANCE'S PORCH CONSTANCE She went up at 18, she's 26 now. She sets the plant down among others. At the very back of the yard, the Older Cowboy spades in a vegetable garden. DAVID -LRB- calling to the Cowboy. -RRB- Hey! She ever not make you work when you come by? OLDER COWBOY -LRB- raising his spade in greeting. -RRB- Mornin', David. DAVID -LRB- turning to Constance. -RRB- What's her story? CONSTANCE I really want us to get behind this one. She's articul - DAVID Constance, who did she kill? Constance looks at him a beat, sighs. CONSTANCE A cop. DAVID She admit to it? Contance sheepishly nods. DAVID You're a crazy woman. Not your medium grade thinks - she's - Teddy Roosevelt's - bathrobe, but stark - raving - loose - screws - in - the - belfry insane. CONSTANCE You're mixing metaphors. DAVID A real danger to flora and fauna. CONSTANCE Are we gon na do this? DAVID -LRB- the smile. -RRB- And how. He kisses her on the forehead - he's surprised. DAVID You're burning up.\",\n \"EXT. STARBUCKS - NIGHT David exits the store carrying four large coffees in a cup - container, tries to sip one without spilling the others. He's still wearing the Radio Shack shirt, seems happier. In the parking lot, a hip high schooler jumps out of his Camero and moves toward the store. As David comes in front of the car, he sees his former baby - sitter sitting in the passenger seat. Their eyes meet. He smiles. She smiles back, waves. As he passes, he hears the girl hit the car's automatic DOOR - LOCK BUTTON.\",\n \"INT. OFFICE OF DEATHWATCH (AUSTIN) - NIGHT David enters carrying the coffee. The matron sits on a desk licking envelopes. The college guy is on the floor beneath a desk rewiring a computer terminal. COLLEGE GUY -LRB- calling from beneath a desk. -RRB- Howdy, Mr. Gale. DAVID Hello, folks. David goes to the Matron, gives her cup and three Sweet & Lows. MATRON Hello. My, this is service. Thank you. DAVID Gladly. He takes one of the unsealed envelopes from her stack, then puts a cup beside the legs of the College Guy. DAVID Latte on your left, partner. David makes his way to the back office. The College Guy gives the Matron a look - they're surprised, pleased.\",\n \"INT. BACK OFFICE - DAY Constance sits at a spartan desk. Nothing is on the walls, though a window opens onto the alley behind. She's talking on the SPEAKER PHONE with the DeathWatch national director - a social gathering is going on behind him. DIRECTOR -LRB- V.O. -RRB- and see what kind of resources the religious groups can deliver. David comes through the door. She waves him in. CONSTANCE I'm sure we can get some pulpit time, maybe cable. He sets her coffee in front of her. Then sits across from her. DIRECTOR -LRB- V.O. -RRB- Cable's good. Listen, I need to run. For now, I agree the first press release should focus on the woman's youth. David holds up the envelope for Constance to see, then animatedly licks and seals it. He then, literally, pats himself on the back. DIRECTOR -LRB- V.O. -RRB- I'll have the Washington people look into counsel competency, though I'm almost sure she's exhausted this issue on appeal. She smiles at him, shakes her head. CONSTANCE -LRB- to the phone. -RRB- John, David's going to - DIRECTOR -LRB- V.O. -RRB- Oh, I almost forgot. He's not around, is he? Constance hesitates, looks at David. He shakes his head no. CONSTANCE No. DIRECTOR -LRB- V.O. -RRB- Good, keep it that way. His relationship to DeathWatch is over, terminated. Last thing we need is this rape thing coming back to bite our butts. Constance is not sure how to react. David just stares at her. DIRECTOR -LRB- V.O. -RRB- These guys do n't stay on the wagon for very long. David stands up and leaves the room, quickly. His coffee spills. Constance can only watch. DIRECTOR -LRB- V.O. -RRB- I'm serious, Constance. Ban him from the premises. I realize you two.\",\n \"EXT. DEATHWATCH OFFICE (AUSTIN) - NIGHT Constance comes anxiously out the front door. CONSTANCE'S POV David's Volvo pulls out of the parking lot. BACK TO SCENE She stands watching it drive away, breathing heavily. She winces, grabs her stomach, vomits on the sidewalk.\",\n \"EXT. AUSTIN STREET - NIGHT The Volvo is parked on a seedy Southside street. David stands at a phone booth and dials a long - distance number and a calling code. He waits, impatiently, looks across the street : There's a liquor store. CLOSEUP - RECEIVER at his ear, Chase's MESSAGE BEGINS. BACK ON DAVID He speaks into the PHONE after the BEEP. DAVID Sharon, pick up. For once just pick up the goddamn phone! If you keep him in Spain, I'll. I'm begging you. He's my son! Please! Please. Please. David starts to put the receiver back, then suddenly starts smashing it against the phone's body ; he smashes it long after there is anything left to destroy, long after his hand bleeds.\",\n \"EXT. CONSTANCE'S HOUSE (3307) - NEXT DAY Constance walks with car keys and a large stack of mail toward her front porch. She looks like she has n't slept in weeks. David is sitting on the porch beneath the Block Home sign, holding Cloud Dog. He wears the Yale sweatshirt, the Radio Shack shirt is wrapped around his injured hand. He's sloppy drunk. DAVID We're seeking refuse, refuge, uge. CONSTANCE Come on, come inside. She opens the door as he stands. DAVID We fell off our wagon.\",\n \"INT. CONSTANCE'S LIVING ROOM - DAY David enters rambling, stands leaning against the back of the couch, holding the sheep. DAVID Know why Saint Jude is the patron saint of lost causes?'Cause his real name was Judas. There were two Judases, Judai, the saint guy and the bad Judas who ratted on Jesus, and tried to kiss him. Medievalers would n't pray to good Judas for fear of getting bad Judas on the line by mistake. Ergo, they only gave him business when really desperate. That's why. Then they changed his name. She's not in the room. DAVID Constance? He looks back toward the entry hall. A small flyer lightly blows along the floor into the living room. DAVID Your mail's blowing. He looks in the entry hall. ENTRY HALL Constance lies unconscious on the floor near the open door. The mail is scattered about her.\",\n \"INT. HOSPITAL WAITING ROOM - DAY David sleeps in a chair, on the floor beside him is a stack of vending - machine coffee cups. A typical hospital INTERCOM can be heard throughout the scene. A female DOCTOR -LRB- mid - 30s -RRB- sits beside him, lightly shakes his shoulder. He wakes, groggy. DOCTOR How we doing? DAVID Fine. How's Constance? DOCTOR Sleeping. A beat as he collects himself, sits up. DOCTOR Mr. Gale, a leukemia patient's condition is highly susceptible to external stress. While we do n't want to totally restrict Constance's life - DAVID What? DOCTOR Constance's illness requires a degree of regularity. DAVID Constance has leukemia? DOCTOR Acute. She was diagnosed last fall. A beat as the situation clarifies for both of them. David is stunned, the doctor embarrassed. DOCTOR Have I created a problem? DAVID No, no. They sit in silence. The hospital intercom seems to say : GUARD -LRB- V.O. -RRB- Gale, time's up. CLOSEUP - DAVID CAMERA SLOWLY ROTATES. WHITE.\",\n \"INT. ELLIS VISITATION AREA - CLOSEUP - BITSEY - DAY CAMERA SLOWLY ROTATES. Bitsey stares at David, engrossed. DAVID When I asked why she had n't told me, she muttered, ` too busy.' I guess she figured as long as death was chasing her, she could help others escape. He stands, goes to the back of the cage to be handcuffed. DAVID Constance left the world better than she found it. -LRB- beat. -RRB- It's a small, difficult thing.\",\n \"EXT. ELLIS UNIT PARKING LOT - DAY The rental car sits in a corner of the mostly empty lot, as far as possible from the razor - wire fence and exercise pens.\",\n \"INT. RENTAL CAR - DAY Zack waits in the driver's seat, smoking. He looks nervously through the windshield toward the pens. Bitsey raps on the window, startling him. ZACK Fuck. Zack unlocks the door, throws his cigarette out. Bitsey opens the door and gets in. ZACK Hey. BITSEY -LRB- waving her hand at the smoke. -RRB- For God's sake, Zack. ZACK You're not a happy camper. BITSEY It's not a happy place. He STARTS the CAR. ZACK Talked to the Austin prosecutor. Belyeu's a yokel. Prosecutor says he fucked up the penalty phase, says Gale probably would have gotten life on mitigating factors. Gale stuck with him, though, all through appeals, despite major pro bono offers. BITSEY What else? ZACK Notta on Berlin, we pick up the money in Houston tonight, overheat light came on twice, and you're about to get a surprise. BITSEY I do n't want a surprise. ZACK -LRB- pointing ahead. -RRB- Too late.\",\n \"EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY The guardhouse is now occupied. The crossing guard is down. Across the drive sits a Texas Highway Patrol car. All along the drive's left side, protest vehicles are parked in the grass. They stretch out to the two - lane highway, where another Highway patrol car is stationed. The drive's right side is also marked off, though the only vehicle on this side is a Houston TV news truck. Six people in ponchos discuss something in the middle of the drive. The rental car ENTERS the FRAME.\",\n \"INT. RENTAL CAR Bitsey and Zack approach the guardhouse. ZACK This is mostly an Oklahoma caravan. I got stuck behind them on the way in. The guardhouse attendant looks in, waves them through as the crossing guard lifts. ZACK Execution's not for another 36 hours. It's gon na be a zoo. There's the P.R. guy. Standing among the six people in ponchos is Duke Grover. They pass him in SLOW MOTION. He sees them, smiles, makes a `` Hello'' shooting - gesture. BITSEY What a life, waiting around for someone to die. ZACK Fuck, look. The next - to - last vehicle on the left is the Older Cowboy's pickup. He sits inside talking with another man. The Older Cowboy sees them, touches his hat as they pass. BITSEY This is a little too coincidental.\",\n \"EXT. TWO-LANE HIGHWAY - DAY The rental car passes a farmhouse.\",\n \"INT. RENTAL CAR Bitsey and Zack are headed to Huntsville. ZACK'Cause I could n't see the license plate. BITSEY Forget it. What time is it? ZACK 6:05. Why do n't you have a watch? BITSEY It's a long story.\",\n \"EXT. TWO-LANE HIGHWAY - DAY The rental car passes a black teenager hitchhiking in front of an abandoned vegetable stand.\",\n \"EXT. MOTEL SIX GANGWAY - DAY Bitsey and Zack make their way to their rooms. Zack's is first. BITSEY Give me an hour.\",\n \"INT. ZACK'S MOTEL SIX ROOM - DAY Zack unlocks his door, enters. The room's a mess, papers everywhere. He walks toward a portable computer sitting on the room desk. BITSEY Zack! Zack runs from the room.\",\n \"EXT. MOTEL SIX GANGWAY - DAY Zack runs towards Bitsey. She stands outside her room. ZACK What!? BITSEY It's open. ZACK So? Maybe the maid forgot. BITSEY -LRB- pointing. -RRB- Look! As he comes to her door, he sees what she's indicating : Between the door and its frame, someone has stuck a roll of duct tape.\",\n \"INT. BITSEY'S MOTEL SIX ROOM - DAY Bitsey pushes the door open, looks in and around. She sees something, enters. Zack enters behind her, sees what she sees. ZACK I'll check the bathroom. He goes. She approaches the middle of the room. The room, in contrast to Zack's, is perfectly neat. It has two twin beds. The nightstand has been moved to the center. On it is a lamp, turned on. Suspended just above the lamp, a VHS cartridge hangs from the ceiling by fishing line. BITSEY'S BATHROOM Zack checks behind the shower curtain. ZACK Clear in here! Do n't touch it! BACK IN BEDROOM As Zack enters, he sees Bitsey holding the VHS Cassette. ZACK Fuck, Bitsey, there could have been prints. BITSEY Look. She holds up the cassette. It has a label typed from an old typewriter : `` For Bitsey Bloom.''\",\n \"EXT. MOTEL SIX RECEPTION - DUSK Zack runs out the front door carrying a VCR, the cables drag the ground behind him. He runs toward the rooms.\",\n \"INT. BITSEY'S MOTEL ROOM - DUSK Bitsey unlocks the door, lets Zack in. ZACK She says no one asked for you. And all the room keys are different. He goes to the TV. ZACK Just she and her husband have masters. BITSEY What did you tell her? ZACK That you have a jealous boyfriend. He starts to hook up the VCR. BITSEY Thanks. How about the V.C.R? ZACK She did n't ask. I think she assumed it had something to do with why he was jealous. I still say we should do this in my room - this one's a fucking crime scene. BITSEY Whoever got in here - without a key in broad daylight - was probably smart enough not to leave prints. I have the remote. He turns ON the TV. ZACK Maybe they could look for D.N.A. Try three. BITSEY -LRB- hitting the remote. -RRB- They do n't look for D.N.A. when someone breaks in to deliver, Zack. Here. She hands him the tape. He starts to put it in, hesitates, looks back at her. ZACK You sure you want to see what's on here? BITSEY No. Start it. He puts it in, pushes play. She sits on the bed. He sits beside her. They watch the black leader appear. BITSEY I hope this is n't what I think it is. CLOSEUP - TV An image flickers in. It's a woman lying nude on the kitchen floor of house 3307, facing away from the camera. An opaque white kitchen bag is over her head, sealed at the neck with duct tape. Her hands are handcuffed behind her. She appears dead. BITSEY -LRB- O.S. -RRB- God, no. ZACK -LRB- O.S. -RRB- Fuck. Is it her? BITSEY -LRB- O.S. -RRB- Turn it up. BACK TO SCENE They stare at the screen, she bites a thumbnail. He turns the sound up.\",\n \"INT. HOUSE 3307 - KITCHEN - DAY (ON TV) Hi - 8 video : The woman does not move. The kitchen is cleaner than we've seen it, but otherwise unchanged. Kitchen gloves can be seen - laid upside down and inside out - on the dish rack beside the sink. Near the body on the floor is a roll of duct tape. In the lower right corner of the screen is part of what looks like a towel. The audio is full of ATMOSPHERIC HUM. A REFRIGERATOR contributes. BIRDS can barely be heard in the distance, so can what sounds like a LAWN MOWER. Suddenly, the woman makes a muffled sound, seems to come to life. Her wrists start to pull against the handcuffs, then jerk at them. She panics. He legs flail, kick against the counter. She screams, muffled, frantic. She rolls onto her stomach, her whole body fights against the cuffs. She desperately rubs her face along the linoleum trying to rip the plastic. Soon, her energy wanes, she jerks less. Her covered face now points toward the camera. Her head seems to rock, a sleepy nod. Her body goes slack. Black.\",\n \"EXT. MOTEL SIX GANGWAY - DUSK Bitsey stands at the railing, looking out at the interstate and a thunderstorm gathering on the horizon. After a few seconds, Zack comes up beside her. ZACK Belyeu says to bring the tape first thing tomorrow. Also said you were right about not calling the police. A beat, she keeps looking straight on. ZACK Are you gon na be okay? Bitsey takes a deep breath, turns to him, holds his eyes. She shakes her head no. Her lips start to tremble. He puts his arms around her as she starts to cry.\",\n \"INT. KETTLE RESTAURANT - NIGHT Bitsey and Zack sit at a booth having coffee. Zack smokes. The VHS cassette is also between them, as is a small stack of crumpled tissues. The thunderstorm can be heard in the distance. The waitress is refilling their cups, and they wait until she leaves. Hushed tones. ZACK Let's say Gale's right. Some sick - fuck - Agatha Christie - wannabe set him up, arranged like the perfect murder. Why send a magazine journalist proof a few hours before he's won? Does n't make sense. BITSEY No, it's perfect. He knows News Magazine wo n't give the scoop to the dailies or nightly news, not after having paid for it. Probably guessed we would n't call the cops. And, most importantly, knows I'll tell Gale tomorrow. ZACK Why does he give a shit? BITSEY Zack, what if Harraway's murder was just a means to getting Gale. I mean sending him through hell, a sick cat and mouse game. You kill the one person he has left. Make sure he sits six years on death row for the murder - a place he's made a public career of loathing. And then just let him die, die knowing everyone will remember him with disgust. You destroy his loved ones, his life's work, his memory - and you make him watch. ZACK That's a lot of hate. You're talking beyond sadism. Bitsey gestures to the tape, makes a need - I - say - more face. ZACK Then why release it? BITSEY If the mouse dies the game's over. Maybe the cat's enjoying himself. Or. ZACK Or? BITSEY -LRB- picks up the tape. -RRB- Imagine walking to the chamber knowing this exists. ZACK The ` cat' is a fucking psychopath. BITSEY Yeah, but smart.\",\n \"EXT. MOTEL SIX - NIGHT The storm batters the motel. We see Bitsey's dark front window. Lightning. A figure stands looking out. More lightning. It's Bitsey, intently watching the night.\",\n \"INT. RENTAL CAR - DAY SUPERIMPOSE : DAY THREE On the back seat is an aluminum suitcase. Zack sits beside it looking out the back window. Bitsey drives. It's still raining, hard. They're on the two - lane highway to Austin. ZACK Why do they call it check - book journalism if we always pay cash? CLOSE ON DASH The over - heat light is on. BACK TO SCENE ZACK Woa, woa. Sadist at six o'clock! BITSEY Is it the truck? ZACK'S POV The cowboy's truck can be seen through the tire mist fifty yards behind them. ZACK Yep, and doing a lousy job of hiding. Bitsey watches in the rearview mirror. Zack out the back window. ZACK He must think we're idiots. You think he's our fucked - up feline? Bitsey does n't respond, just watches in the mirror, then : BITSEY Is he gaining? ZACK No. Just sitting back there. BITSEY Can you see the license? ZACK Too much mist. What the fuck does this guy want?\",\n \"INT. LAW OFFICE OF BENJAMIN BELYEU - DAY The office has a view of the rain - soaked capital. Expensively decorated. Dark woods and deep carpets - Belyeu's practice is clearly thriving. A sharp - looking CLERK sits at a corner table counting money from the aluminum suitcase. Bitsey sits on a huge sofa. Belyeu stands just outside his door. BELYEU -LRB- O.S. -RRB- Fine. Oh, and bring in Miss Bloom's original when that's done. -LRB- entering, to Bitsey. -RRB- Do n't blame you for not watching that twice. He goes to his desk and starts sifting through papers. BITSEY I could n't sleep afterwards. BELYEU I understand. I generally tell folks I'm no more afraid of the grim reaper than I am of a Presbyterian on Mother's Day. But watching your tape. well. I had to keep tellin' myself ` that's not Constance' just to get through. -LRB- a beat. -RRB- Unfortunately, others may argue the same. BITSEY Yeah, but it's her kitchen, in her house. BELYEU Currently home to Weirdos Incorporated. Arguably, that tape could have been made by anybody with twenty dollars and a tolerance for vulgarity. BITSEY But it will at least get us a postponement? BELYEU I hope so, Miss Bloom, I certainly hope so. But you've got to remember that there's a machine a runnin'. And come six o'clock tomorrow mornin' that machine wants to be fed. The Clerk puts the last of the money back into the suitcase. CLERK All here, Mr. Belyeu. BELYEU -LRB- to the Clerk. -RRB- Thank you, Joshua. -LRB- to Bitsey. -RRB- To add to our troubles, your own credibility may come into question. The Clerk exits. BITSEY Why? BELYEU You've been fraternizin' with the condemned. In the court's eyes, he's the most likely candidate to have put you onto the tape. He's a persuasive man, you're a out - of - state woman - it do n't look good on paper. BITSEY But someone put it in my hotel room. BELYEU A fact for which we have no evidence. A very professional - looking assistant enters, hands Bitsey her video. BELYEU Thank you, Bobbi. BITSEY Thanks. BELYEU -LRB- standing. -RRB- Well, let's not start readin' Kafka just yet. Could we find a sympathetic judge. I'll file within the hour. You headin' back over to Ellis? BITSEY -LRB- standing. -RRB- Yeah. BELYEU Fine. I'll call over at the motel later and give you an update.\",\n \"INT. OFFICE HALLWAY - DAY Bitsey comes out of two huge oak doors, walks past a gold `` Belyeu and Crane'' sign. She turns a corner. At the end of another short hall, she comes to the elevator, pushes the call button. As she waits, she looks out an adjacent window at the capital in the rain. She remembers something, looks down - she has her purse but no umbrella. BITSEY Shit. She heads back toward Belyeu's office. As she turns the corner, she sees the older cowboy enter the Belyeu and Crane office.\",\n \"EXT. AUSTIN OFFICE BUILDING - DAY Bitsey hurries umbrella - less through the rain to the rental car parked in the loading zone.\",\n \"INT. RENTAL CAR - DAY Bitsey opens the door. Zack's in the passenger seat. She does n't bother to sit. BITSEY Did you see the cowboy go in? ZACK He went in Belyeu's building? BITSEY Into his office. Just saw him. ZACK Fuck! BITSEY Follow him. Find out who he is, where he lives - what he - ZACK How are you gon na get to Ellis? BITSEY A taxi. Zack makes a face.\",\n \"EXT. ELLIS UNIT DRIVE - DAY A taxi makes its way through the hundreds of protesters and press that now gather along the drive.\",\n \"INT. ELLIS VISITATION AREA - DAY Bitsey, wet and hugging herself, paces in front of David. She's upset. DAVID Okay, okay. Calm down. You have to sit. Over the loudspeaker : GUARD -LRB- V.O. -RRB- Visitors need to stay seated. She sits. DAVID -LRB- to the microphone above. -RRB- Sorry. -LRB- to Bitsey. -RRB- Look at me. He's not your man. His name is Dusty Wright, DeathWatch Director before Constance. He's a ` bullhorner,' a zealot who thinks a good demonstration has to end in a riot and arrests. ` Almost martyrs do n't mean shit.' They fired him. Constance kept him in the organization, and he loved her for it. The man adored her. BITSEY Then why was he following us? Why was he at Belyeu and Crane? DAVID He and Benny used to work A.C.L.U. cases together, until Dusty punched a clansman in a federal court. Benny sometimes still gives him work, probably had him follow you. BITSEY Why? A beat. David looks up at the microphone. DAVID To make sure you honored your agreement, one for which there's no contract. BITSEY He would've said something. DAVID He's a lawyer, Ms. Bloom. BITSEY Maybe Dusty was jealous because you were seeing Constance. DAVID I was n't ` seeing' Constance. BITSEY She died. she had your sperm - DAVID It's more complicated than that. TWO SHOT Rotates. WHITE.\",\n \"EXT. ALLEY - MED. SHOT - DAVID - SUNRISE (ROTATING CAMERA) David sits in a lawn chair beside his Volvo. The tailgate's down, serving as a makeshift table for a coffee thermos and whiskey bottle. David stares off down the alley, clearly in pain. He holds a child's drawing. INSERT - DRAWING Has Gaudi's church and a matador in background. Prominent in the foreground are three labeled figures : Sharon -LRB- `` Mommy'' -RRB-, Chase -LRB- `` Me'' -RRB- and a dark - haired man -LRB- `` Papa Jorge'' -RRB-. Jorge is dressed in a tux, Sharon seems to wear a bridal gown.\",\n \"INT. DEATHWATCH AUSTIN OFFICE - SUNRISE (6:09) The atmosphere is tense. Dusty Wright sits on a deskholding a red Magic Marker, the matron sits behind it. They look at the college guy, who closely watches a computer screen. In the center of the room, a middle - aged priest sits and quietly prays while holding the hands of an overweight woman, she murmurs quiet affirmations. Finally, the college guy looks up at Dusty, nods. The room's occupants all exchange glances. Dusty walks to the photo wall, marks a cross through the photo of Jo Ann Johnson, then walks to the back office.\",\n \"INT. BACK OFFICE - SUNRISE Constance, wrapped in an afghan, sleeps on a futon. She's shockingly anemic. Dusty kneels beside her, watches her sleep. After a beat, she wakes with a slight jolt - like someone whose been fighting to stay awake. She looks at him, then sees the marker in his hand. She looks away. CONSTANCE All I can feel is envy. Dusty stands, goes to the alley window. DUSTY'S POV David's Volvo is parked just outside the window. David sits in a lawn chair behind it. David looks awful.\",\n \"EXT. ALLEY - SUNRISE In the window, Dusty holds up the marker. David nods.\",\n \"EXT. HOUSE 3307 - CONSTANCE'S BACK YARD - DUSK David sits on the porch holding a drink, a bottle of Black Bush in the chair beside him. He's staring at nothing. Constance comes out the open sliding glass door, wearing a turtleneck sweater and wrapped in her afghan. She goes to the chair beside him, picks up the bottle and sits. They silently survey the yard, the sunset. She hugs the bottle, he sips his drink. CONSTANCE Remember those Kubler - Ross stages, the ones the dying go through? DAVID Denial, anger, bargaining, depression, and acceptance. Where are you? CONSTANCE Denial. DAVID Denial's my personal favorite. CONSTANCE The whole idea of there being a process makes me tired. I'm not up to the job of Dying Person. Marveling at blades of grass. Lecturing strangers to relish every moment. DAVID Mending bridges. CONSTANCE Mending bridges. Confessing regrets. Uuuggh. DAVID No regrets? CONSTANCE Nope. A beat. CONSTANCE Take that back. I wish I had a child. DAVID Me, too. CONSTANCE I'm sorry, David. She reaches over and puts her hand on his arm. CONSTANCE I guess I just wish I would have risked more. She has the bottle in her other hand, looks at it, takes a swig. CONSTANCE -LRB- making a face, swallowing hard. -RRB- Uumm, also not enough sex. Should have had more sex. She puts the bottle down beside her chair. DAVID How much. how many lovers have you had? CONSTANCE Including college? DAVID Including college. Her hand -LRB- on his arm -RRB- holds up four fingers. DAVID Well, it's. not every. yeah, you should have had more sex. She laughs, coughs. He laughs. Their laughter trails off into the yard. He takes her hand in his. CONSTANCE You work hard not to be seen as a sex object. Before long, you're not seen at all. DAVID I see you. They are holding hands in the air, their elbows on the chairs' armrests. DAVID Want to make it five? Finish the hand? CONSTANCE A pity lay. No thanks. A beat. They watch their fingers lightly play with one another. DAVID It would n't be pity. They turn, their eyes meet, hold.\",\n \"INT. CONSTANCE'S BEDROOM - NIGHT Constance and David are in bed making love. He's on top, one hand supports her head, the other strokes her face. They tenderly kiss. He starts moving, gently. DAVID Are you okay? CONSTANCE Do n't worry. He kisses her neck. CONSTANCE It's good. Moves up to her ear. CONSTANCE Talk to me. Let me hear your voice. DAVID -LRB- in her ear. -RRB- I'm here. Happy. I'm very happy. He kisses her mouth, moves against her in delicate rhythm. Her moans take on a teary edge. Their voices, breathless whispers, meld into one another. CONSTANCE Hold me tight. DAVID I'm here. CONSTANCE Tight. I'm scared. DAVID It's okay. She's begun to cry. DAVID Okay. He stops moving, kisses her tears. CONSTANCE Do n't stop. Stay in me. Please stay in me. He moves again, slowly. DAVID Shhh. I'm staying. CONSTANCE I need to feel you inside. DAVID It's okay. I'm inside. I'm not pulling out. CONSTANCE I'm so tired. DAVID I know, I know. CONSTANCE Tired of being afraid. DAVID Shhh. CONSTANCE Help me. DAVID I'm here. It's okay. CONSTANCE Help me. Please. Make it stop. DAVID Shhh. I'm here. I'm here.\",\n \"EXT. CONSTANCE'S HOUSE (3307) - NIGHT The house is dark. A light in one of the rooms comes on.\",\n \"INT. CONSTANCE'S BEDROOM - DAY She's awake as David enters. He opens the curtains, sets a glass of water beside bottles on the nightstand. He crawls on top of the covers, spoons her, nuzzles the back of her head. CONSTANCE How do you feel about last night? DAVID Rescued. You? CONSTANCE Like I have a reason to get out of bed. Ironic, huh?\",\n \"EXT. CONVENIENCE STORE PARKING LOT - DAY David goes to the pay phone against the building.\",\n \"INT. CONSTANCE'S BATHROOM - DAY Constance stands in a bathrobe beside her shower. Turns the water on. She's caught in a thought, bites her lip. She turns the water off.\",\n \"EXT. APARTMENT POOL AREA - DAY David sits in a lounger speaking to someone on his right. He's sober. DAVID Let's say they move back from Spain, that I somehow got my one weekend a month. Would it matter? By high school, I'd be his weak spot, the focus of locker room jabs, embarrassed pride. In college there'd be late - night angst : ` What if I turn out like the old man?' Holidays would be forced smiles and unscheduled exits. I mean, what girl comes home with you if there's talk that Pops is a rapist? A beat. DAVID I ca n't stand the idea of being his model of failure. Without him, I drink. To cover the hole. To prove to myself he's better off without me. CAMERA PULLS BACK to reveal Dusty Wright sitting in the lounger beside him.\",\n \"INT. CONSTANCE'S KITCHEN - DAY Constance, still in her robe, puts an armful of sheets in the washing machine. She feels faint.\",\n \"EXT. FORMER GALE HOUSE - BACK YARD - DAY David sits in a swing set, rocks slowly. He's simply looking at the house. A yuppie woman opens the back door. DAVID -LRB- standing. -RRB- Sorry, just leaving.\",\n \"INT. CONSTANCE'S LIVING ROOM - DAY Constance is quickly sorting through a box of memorabilia, a photo catches her attention. INSERT - PHOTO Constance on vacation in a Caribbean resort. She sits alone at a dinner table, looks to camera, seems surprised to be photographed. BACK ON SCENE As Constance contemplates the photo, she hears the DOORBELL ring.\",\n \"EXT. LAWN - FROM ABOVE - DAY We see David lying in the grass of recently - cut lawn.\",\n \"INT. DAVID'S VOLVO - DUSK David in the car in a mall parking lot, staring at nothing. On the seat beside him is Cloud Dog and a half empty Black Bush bottle.\",\n \"INT. DAVID'S VOLVO - NIGHT David's asleep, using Cloud Dog as a pillow. The bottle is empty. A light flashes in on him, waking him. There's a KNOCK on the window - it's the police. He's blinded by the flashlight. POLICEMAN ROTATING CAMERA. The policeman holds the light. POLICEMAN -LRB- V.O. -RRB- -LRB- a loudspeaker voice. -RRB- Gale, time's up. WHITE.\",\n \"INT. ELLIS VISITATION AREA - BITSEY AND DAVID - DAY ROTATING CAMERA. Bitsey's agitated. David's drained. BITSEY But there has to be someone. Someone with a motive, who knew you both. Someone who visited that morning. DAVID If I could answer. we would n't be having this conversation. It's why I need you, why I chose you. You have my story, now. -LRB- mimicking her delivery. -RRB- ` Go.' BITSEY There's not enough time. The guard approaches. DAVID You'll find time. BITSEY You know that's not what I meant. You should have done this earlier. DAVID You're not here to save me. You're here to save my son's memory of his father - that's all I want. A beat. BITSEY You're going to let them kill you. David moves to the back of the cage to be handcuffed. DAVID We live to stop death. Eating, inventing, loving, praying, fighting, killing - choose a verb. All to stall this evil, Job's ` king of terrors.' But what do we really know about it? Nobody comes back. There's a point, when your mind out - lives its obsessions, when your habits survive your dreams, when your losses. You wonder, maybe death is a gift. All I know is that by this time tomorrow, I'll be better off. What I do n't know is why. -LRB- exits the cage. -RRB- Goodbye, Bitsey. The guard escorts him away. When he's out of earshot : BITSEY -LRB- softly. -RRB- Goodbye, David.\",\n \"EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY A guard hangs up a phone and leans out the door. GUARD Car's on its way. Wan na wait in here? Bitsey stands in the rain. Behind her, hundreds of protesters flank the drive. BITSEY No thanks. She turns and walks toward the highway. The parade tape has been replaced with crowd barriers. The drive's left side now overflows with abolitionists : They cluster beneath tarps, some sing hymns, others paint signs -LRB- `` Do n't kill with my taxes!'' , `` Mark 6:10,'' `` Murder does n't Stop Murder!'' -RRB- . Beneath one umbrella stands a large black woman holding a candle - she watches Bitsey. The right side is a media circus. Various pro - death penalty activists also cluster here. They too have prepared signs : `` Rape and Suffocate Him!'' , `` Thank Jesus for Justice,'''' ` Let's Do it'.'' A blackboard keeps a countdown : `` 13 hours.'' At the end of the drive, on the left, Bitsey sees a sign leaning against a camper : `` Save David Gale.'' It catches rain ; its letters run.\",\n \"INT. KETTLE RESTAURANT - NIGHT The restaurant's crowded. A Church of Christ couple -LRB- 50s -RRB- eat without comment. The man's T - shirt reads, `` It's Simple : You Kill, You Get Killed.'' In the booth beside them sit Bitsey and Zack, their dinners largely untouched. Bitsey watches three sleazy JOURNALISTS at a table not far from theirs. JOURNALIST #1 I got it. I got it. You could have corporate sponsors. Volkswagen for Bundy, Home Depot for Gacy. And ` The David Gale Execution, brought to you by.' JOURNALIST #2. Hefty.' They find this hilarious. Bitsey looks away. BITSEY What time is it? ZACK -LRB- checking his watch. -RRB- Nine hours, 52 minutes. A beat.\",\n \"EXT. MOTEL SIX PARKING LOT - NIGHT Pouring rain. As Bitsey and Zack hurry toward their rooms, they see Belyeu getting out of his Cadillac. He carries Bitsey's umbrella and opens his own. BITSEY Belyeu! He turns, comes toward them. Bitsey holds a newspaper over her head, Zack slouches. BITSEY Did you have Dusty Wright follow us? BELYEU I employ Mr. Wright from time to time. BITSEY You could have said something. BELYEU -LRB- opening her umbrella. -RRB- That would have defeated the purpose. Apologies if I caused you unnecessary anxiety, but I'm paid to be suspicious. -LRB- handing it to her. -RRB- Thought I'd return this. ZACK Any word on the writ? BELYEU Denied. Tape went to a federal judge two hours ago. Your videographer friend made contact? BITSEY No. BELYEU What you got was definitely a snippet. Could be he has more previews scheduled. Best stick close to your room. BITSEY How's David? BELYEU Holdin' up. I'm headed back over. BITSEY Tell him I'll take care of it, about his son, I mean. BELYEU Will do. We'll talk later? She nods. BELYEU Watch yourselves. They turn from one another. Bitsey turns back. BITSEY -LRB- calling after him. -RRB- Mr. Belyeu. He turns. BITSEY Were Dusty and Constance close? BELYEU Thick as thieves. Bitsey nods.\",\n \"INT. BITSEY'S MOTEL SIX ROOM - NIGHT Dark. Bitsey and Zack sit on either side of the room's table looking out the window. Rain shadows run down their faces. The room phone is on the table, as is Zack's watch : 10:17.\",\n \"EXT. MOTEL SIX AND KETTLE - LONG SHOT - FROM ACROSS INTERSTATE - NIGHT The rain's lightened up. The motel's full. Lights are on in ten of the motel rooms. The Kettle's lights go off, one after another.\",\n \"INT. BITSEY'S MOTEL SIX ROOM - NIGHT Zack sleeps at the end of one bed, fully dressed. Bitsey, lost in agitated thought, neatly packs a suit into her perfectly arranged suitcase. She stops, thinks. She goes to her purse and takes out the VHS cassette, a pen and a note pad. Hesitating a beat, she puts the tape in the VCR. She turns on the TV and waits for an image.\",\n \"EXT. MOTEL SIX - NIGHT Rain. All the rooms except Bitsey's are dark. From within comes a TV glow.\",\n \"INT. BITSEY'S MOTEL SIX ROOM - INSERT - BITSEY'S NOTEPAD - NIGHT She's sketched a flow - chart of the tape with major elements timed out. BITSEY has her shoes off, sits on the floor with her back against a bed. She's still watching the tape, tired, exasperated. Finally, she turns the TV OFF, rubs her eyes. She stands, looks at the radio alarm clock on the nightstand : 11:33.\",\n \"INT. BATHROOM - NIGHT Bitsey brushes her teeth. Looks down and sees a towel on the floor. Picks it up, starts to hang it on the towel rack, stops, looks at herself in the mirror. A beat. An idea hits her, first as something odd, then as a freight train. She spits, hurries into the bedroom.\",\n \"INT. BEDROOM - NIGHT BITSEY -LRB- putting on her shoes. -RRB- Zack! Wake up! Get up! He starts to pull himself awake. BITSEY Did you throw the towel on the floor? ZACK What? BITSEY The towel on my bathroom floor. Did you put it there? ZACK Yeah, I guess. It's a hotel room. What - BITSEY Do you do that at home? ZACK No. Fuck, Bitsey. I'm sorry, it's not like it's - BITSEY Get up. She disconnects the VCR. ZACK -LRB- sitting up. -RRB- What the fuck's wrong with you? BITSEY Grab the T.V. I want to check something. ZACK What? BITSEY We're taking a tour. ZACK Where? She has the VCR. Grabs her purse on the way to the door. BITSEY Austin. Get the T.V. She opens the door, exits.\",\n \"INT. HOUSE 3307 ENTRY HALL - NIGHT The DOORBELL RINGS over BAUHAUS MUSIC. The Goth Girl, wearing only the Nine Inch Nails T - shirt, opens the door. Bitsey barrages past carrying the VCR, Zack follows with the TV. BITSEY Wan na make a hundred bucks? GOTH GIRL What do I got ta do?\",\n \"INT. HOUSE 3307 LIVING ROOM - NIGHT Bitsey, Zack and the Goth girl enter. BITSEY We're going over the crime scene. Bitsey checks the kitchen. The tripod's back. The other exhibit pieces have n't changed. BITSEY And for the next hour I want you to do exactly what I say when I say to do it. If I say suck Zack's dick, all I want to hear from you is ` May I swallow.' GOTH GIRL You want me to suck his dick? ZACK It's just a patriarchal figure of speech. BITSEY Is your boyfriend here? GOTH GIRL He ai n't exactly my boyfriend anymore. BITSEY Well is his video camera here? GOTH GIRL Yeah. BITSEY Get it. She starts to leave, turns back. GOTH GIRL I got ta collect first. Bitsey, moaning, reaches for her purse. CLOSEUP - STEREO CLOCK reads 1:48. Zack's hand ENTERS the FRAME, turns the MUSIC DOWN. SAME SCENE - MINUTES LATER Video : The Goth Girl's messy kitchen. Camera zooms in to a perspective similar to that on the Constance tape. The exhibit pieces -LRB- kitchen gloves, handcuffs, tape roll -RRB- are more - or - less where they were before. The Goth Girl enters the frame, she's removing pizza boxes and laundry from the counter. ZACK -LRB- O.S. -RRB- Move those index cards, too. She picks up the index cards. Zack looks up from a video camera's eye piece. The camera is on the tripod, connected to the Goth Girl's TV. Near it, the hotel TV/VCR. Bitsey cues the Constance tape to the beginning, freezes the image. Zack then checks the camera angle on the Goth Girl's TV. He moves the TVs so that they are side - by - side. BITSEY Zoom in a hair. He does so. Bitsey compares perspectives between the left TV -LRB- Goth Girl cleaning -RRB- to the right TV -LRB- Constance -RRB-. BITSEY Put the gloves on a dish rack. GOTH GIRL I do n't have one. Zack goes to the sink, lays three pizza boxes on the counter as an ersatz dish rack - he drapes the kitchen gloves over them. BITSEY Turn them inside out. He does so. BITSEY Move the tape roll about a foot to the left. And get rid of the handcuffs. Zack repositions the tape. The Goth Girl picks up the handcuffs. BITSEY Come check this, Zack. -LRB- to the Goth Girl. -RRB- Could you. what's your name? GOTH GIRL Nico's cool. BITSEY Nico, lie down on the floor, facing the counter. Zack comes behind the tripod and looks at the TVs. NICO sits on the floor, starts to take off her T - shirt. ZACK We can imagine that part. -LRB- to Bitsey. -RRB- I'll position her. He goes to Nico, arranges her in the position of Constance -LRB- which now bears no relation to the white outline on the floor -RRB-. BITSEY That's fine. Just straighten her legs. Zack comes back behind the tripod. He and Bitsey look at the two TV images - roughly the same. The Constance tape, however, shows what looks like a white towel in the lower right - hand corner. Bitsey points to it. BITSEY What's this? ZACK Towel or something. BITSEY Okay, look at this. She plays the tape of Constance for eight seconds. BITSEY I noticed this back at the hotel. See? Bitsey touches the TV screen by one of Constance's feet. The foot moves ever so slightly. She hits pause. BITSEY She moves her foot. Why? ZACK Fucking good question. BITSEY It's another fifteen seconds before she comes to. If she had passed out once, without fresh air she would n't come back. There was no head trauma, her blood tested normal - ZACK Jesus, maybe she was faking, hoping he would go away. BITSEY Or. Bitsey looks up at Nico. BITSEY We've got to bag her. ZACK Woa. Not a good idea. BITSEY All right, I'll do it. SAME SCENE - MINUTES LATER Nico hurries from the bedroom into the kitchen. Bitsey and Zack stand by the sink. A white plastic bag is now on the sink counter ; beside it, the roll of duct tape. NICO I found it. Nico hands Zack the key to the handcuffs. He tests them, then lays them on the counter. BITSEY -LRB- to Zack. -RRB- Okay, I want you to wait three minutes before you take it off. ZACK Bitsey, I'm not so sure about this. BITSEY Three full minutes. Just stand behind the tripod. Both of you. Zack and Nico move behind the tripod. Bitsey puts the bag on her head, rips off a long length of tape. She seals the bag around her neck. She then handcuffs herself from behind, with some difficulty. CLOSEUP - KEY is on the sink counter while she does this. BITSEY -LRB- O.S. -RRB- -LRB- through the bag. -RRB- Have you started? BACK TO SCENE ZACK Twenty - two seconds. Bitsey sits on the linoleum, then lies on her side. ZACK Thirty seconds. NICO Fuckin' wicked. Bitsey lies perfectly still. ZACK Thirty - five. Forty. Forty - five. Fifty. NICO Maybe she should n't. ZACK Fifty - five. one minute. five. ten. one - fifteen. Bitsey starts to pull slightly at the cuffs. ZACK Fuck. Twenty. twenty - five. thirty. NICO This is n't cool. ZACK thirty - five. Fuck. one - forty. one - forty fi. Bitsey panics, fights like hell against the cuffs. BITSEY -LRB- through the bag. -RRB- Zack! Zack runs to her, knocking the tripod over. He rips the bag open. She sucks air. ZACK -LRB- ripping at the tape. -RRB- Jesus fucking Christ, Bitsey. You okay? What if I'd've waited? She tries to catch her breath. Nico releases the handcuffs. ZACK No more fucking experiments, all right? Just tell me what's going on. You okay? Bitsey nods, holds up her hand, wants to say something. She takes his arm, looks at him. BITSEY -LRB- still breathing heavily. -RRB- She. she did it herself. SAME SCENE - MINUTES LATER Zack sits on the couch holding the handcuffs and smoking. Nico sits on one of its armrests. Bitsey, full of adrenaline, paces in front of them, thinking out loud. BITSEY She used the gloves to keep fingerprints off the tape and bag. Then she put them back on the dish rack, but upside down and inside out, a housewives' habit. A murderer would have just tossed them aside - like they were the first time we were here, like you do a towel in a hotel. ZACK Maybe, all right, maybe. -LRB- indicating the cuffs. -RRB- But why wear these? BITSEY They threw me. I forgot you have to have the key to put them on. But she needed them. She knew she would instinctively try to rip the bag off, that at some point automatism would kick in. NICO Fuckin' A, like when people hang themselves. At the last second they go chicken, claw at the rope and shit. The police find their own skin beneath their nails. BITSEY And she swallowed the key so she could n't get to it. She made sure there was no way out. ZACK Woa, chill, chill. Why not hang yourself, or take pills. Why take your fucking clothes off? Why make it look like a murder? A beat. Bitsey contemplates. BITSEY It's so calculated. She's handcuffed, taped at the mouth. The gloves. The damn tripod. ZACK Why, Bitsey? Why fake your own murder? BITSEY I do n't know. ZACK Motive's like a major issue here. BITSEY Thanks, Zack. ZACK It does n't make sense. The woman's a bleeding - heart abolitionist. Why frame an innocent man? Why send Gale to the chair for what looks - BITSEY What'd you say? ZACK She had to know some innocent fuck would take the fall. BITSEY Oh my God, Zack, that's it! That's why! To prove it happens. To have absolute proof that the system convicts innocents. ZACK Get the fuck out of here. BITSEY No, that's how she thought. She lived for DeathWatch. If she's gon na die, why not die for it? That's why the tripod was here. To record proof, undeniable proof, the tape. That's why we got an out - take. ZACK A dead woman put the tape in your room? BITSEY Of course not. She needed help, someone to keep it, release it. Someone she could trust, someone dedicated to the cause. They stare at each other a beat. The same thought : ZACK -LRB- mimicking Belyeu. -RRB- Thick as thieves.\",\n \"INT. DUSTY WRIGHT'S CABIN - NIGHT Dusty looks up at a wall clock : 4:23. He sits fully dressed in his living room, listening to an OPERA. He closes his eyes. CAMERA PULLS BACK OUT of his window and into :\",\n \"EXT. WOODS BESIDE WRIGHT'S CABIN - NIGHT Behind a couple of trees near the woods' edge, Bitsey and Zack hide watching him. ZACK Hairy. BITSEY Come on. She turns back into the woods.\",\n \"EXT. DIRT ROAD - NIGHT Bitsey and Zack emerge from the woods near the rental car. They walk and speak quickly in the light rain. BITSEY Because of the Berlin thing, Constance knew the police would go straight to Gale. In a way, he's perfect. A high profile alcoholic whose life was shit anyway. But. ZACK She was in love with him. BITSEY I do n't know. Something. They were close. She would n't want him dead. They come to the car, get in.\",\n \"INT. RENTAL CAR - NIGHT Bitsey drives. BITSEY Remember this thing about Dusty being a bull - horner, going to far? ZACK Why he was fired from DeathWatch, and the A.C.L.U. BITSEY Right. Maybe the plan was for Dusty to release the tape after Gale's conviction, after a year or so. You know, force him to dry out, let him play the heroic victim, give him back his dignity. So, Dusty Wright's sitting on this tape, waiting, the only one who knows about it. And maybe good ole Dusty starts to think that an erroneous execution is a hell of a lot more politically useful than a last - minute save. ZACK Which would only prove the system works. BITSEY Yeah. Almost martyrs do n't count. What's one murder to stop thousands? ZACK So he'll wait, release the whole tape after the execution. BITSEY Right. Somewhere he must have the original. What time is it?\",\n \"INT. WRIGHT'S CABIN - NIGHT The wall clock : 4:50. Dusty hears the PHONE RING over a BARITONE'S ARIA. He turns the MUSIC DOWN, and picks up. DUSTY Hello?\",\n \"EXT. GAS STATION - NIGHT The gas station is old, isolated on a country road. Closed, dark. By the road, a single light pole illuminates the area - its light catching the drizzle. Directly beneath the pole is a phone booth, where Bitsey waits by the rental car.\",\n \"INT. PHONE BOOTH - NIGHT Zack is on the phone with the booth door open. Bitsey stands just outside. ZACK Let's talk about your tape. No, meet me at the station down the hill, in fifteen minutes. Zack hangs up before Dusty can respond. He stops out of the booth and gives Bitsey a tentative look.\",\n \"INT. WRIGHT'S CABIN - NIGHT Dusty hangs up, thinks.\",\n \"EXT. GAS STATION - NIGHT Bitsey sits in the car's driver seat. Zack stands by the booth. BITSEY Do n't move from the booth. Call the second you see the truck. Remember, let it ring just once. Then get into the woods - ZACK I know. Go. BITSEY -LRB- pulling away. -RRB- Into the woods, Zack. ZACK Go!\",\n \"EXT. WRIGHT CABIN - NIGHT Bitsey is in the woods, watches Dusty pull away in the pickup. She hurries to the front door, enters.\",\n \"INT. WRIGHT CABIN - NIGHT Bitsey turns on the lights and begins searching. She sees 11 videos on a bookshelf. Some are labeled, three are n't. She takes the cassettes to the TV/VCR. Puts one in -LRB- her hands are wet -RRB-. Nothing. She searches for the right AV channel.\",\n \"INT. PHONE BOOTH - NIGHT Zack anxiously waits. His eyes check the road.\",\n \"INT. WRIGHT CABIN - NIGHT Bitsey has a picture, but the tape is an old TV western. She starts to fast forward, realizes she wo n't be able to do so with each tape, hits eject. She checks the clock : 5:04. She takes another unlabeled tape. It's a home video of a city council meeting. BITSEY -LRB- hitting eject. -RRB- Shit! She grabs the next unlabeled tape.\",\n \"EXT. GAS STATION - NIGHT Zack paces in front of the booth, checks his watch.\",\n \"INT. WRIGHT CABIN - NIGHT Bitsey has an old `` I Love Lucy'' episode. Ejects, looks at the label : `` Lucy.'' She grabs another, labeled `` Unforgiven.'' The credits from Unforgiven roll on screen. BITSEY Shit!\",\n \"EXT. GAS STATION - NIGHT Zack sees lights coming toward him. Gets into the phone booth, drops two coins, dials six numbers. He hesitates to punch the seventh, checks the road. The approaching lights belong to a car. He quickly hangs up.\",\n \"INT. WRIGHT CABIN - NIGHT Bitsey is frantic. Another tape is an old Johnny Carson interview with Pavarotti. BITSEY Shit! She reaches for another.\",\n \"EXT. GAS STATION - NIGHT Zack hugs himself in the waning drizzle. ZACK Come on. Fucking come on.\",\n \"INT. WRIGHT CABIN Bitsey has what looks like an office Christmas party. She goes for another tape - the last. Cheyenne Autumn comes up on the screen. She hits eject. She gets up, unsure what to do next. She goes back to the bookshelf, pulls books out to look behind them for more tapes, indifferent to the mess. She goes to a filing cabinet, quickly rifles it. She looks around the room, sees something. She goes to a large oak desk with an old typewriter on it. After the other drawers, she looks in the lap drawer. It's empty except for large padded envelope addressed to `` Bitsey Bloom/News Magazine/40 W. 43rd St. / New York, New York 10036.'' A beat as she stares in disbelief. She rips it open, pulls out a VHS cassette and checks the label : `` Constance.'' The PHONE RINGS, startling her. She looks at the phone, then at the clock : 5:14. The phone does n't ring again. A beat of absolute silence. Bitsey goes quickly to the VCR and puts in the tape - hands shaking. After a few seconds, Constance appears standing in her kitchen by the sink, dressed in a bathrobe. She's wearing the kitchen gloves and fills a glass with water. ON VIDEO Constance turns from the sink : CONSTANCE -LRB- V.O. -RRB- -LRB- her voice weak. -RRB- Ready? The response is silent, but she nods. A beat - she bites her lower lip. In one quick movement she takes the key from the handcuffs and swallows it with the water. It goes down with difficulty ; she coughs, then signals she's okay. She puts the glass in the sink. She takes the duct tape roll, rips off a long section, sticks one end to the back of her gloved hand. She tears off another small section, drops the roll on the floor. She tapes the small section over her mouth. She then takes the plastic bag from the counter, looks at it a beat. Constance turns toward camera, mouth taped, eyes watering. She nods once, and turns back. She quickly puts the bag over her head. After she has smoothed the excess air out with one hand, she takes the packing tape from the other. She seals the bag around her neck. She smoothly takes off the gloves. They're inside out and she snaps them so that the fingers extend. She drops them upside down on the dish rack. She removes her robe - she's nude beneath - and tosses it aside. It lands in the bottom right hand corner of the screen. She feels for the handcuffs on the counter, takes them. She sits on the floor, cuffs herself. She rolls onto her side, perfectly still, waiting. ON BITSEY Engrossed, trembling. The spell breaks as she comes to the part of the tape she's seen before. Averting her eyes, she fast - forwards past where Constance struggles to where she dies. Constance lies perfectly still. A beat. VIDEO A man wearing gloves walks into the frame : Dusty. ON BITSEY This is what she's needed. VIDEO Dusty goes to Constance, kneels and, removing a glove, checks her pulse. He looks briefly up into the camera, then stands. He picks up her robe and comes back past the tripod. A beat. We see only Constance's dead body - then black. ON BITSEY A hand grabs her shoulder. She screams and spins around. It's Zack, breathing hard. ZACK He did n't show! Fuckin' move! Bitsey hits the eject button.\",\n \"EXT. WRIGHT CABIN - NIGHT Bitsey and Zack hurry out of the cabin and into the woods. The pickup is nowhere to be seen. As they disappear into the trees, Dusty can be seen standing beneath the eave at the side of the house, watching.\",\n \"EXT. RENTAL CAR - SUNRISE The car moves full speed through the misty dawn. The drizzle has stopped.\",\n \"INT. RENTAL CAR - NIGHT Bitsey drives. The overheat light is on. Zack has her purse in his lap, rips a page out of her phone book. She's almost in tears, yelling. BITSEY Everyone! Wake up New York, the warden, the Governor, the goddamn Supreme Court death clerk! How far is it? ZACK Took me 30 this afternoon. You've got 26, maybe more. BITSEY I'll make it.\",\n \"EXT. INTERSTATE - IN FRONT OF MOTEL SIX - SUNRISE The rental car slides to a near stop on the interstate shoulder. Zack jumps out, as Bitsey spins away again. He runs across the frontage road toward the motel in the mist.\",\n \"EXT. HUNTSVILLE TOWN SQUARE - SUNRISE The rental car barrels through the empty square, ignoring stop signs.\",\n \"EXT. TWO-LANE HIGHWAY - SUNRISE The rental car flies past a `` Huntsville City Limit'' sign and disappears into the fog.\",\n \"INT. RENTAL CAR - SUNRISE The overheat light is still on. Bitsey looks down, then turns on the RADIO. A COUNTRY AND WESTERN SONG is on. She punches scan. BITSEY -LRB- to the radio. -RRB- Give me the time. Give me the goddamn time.\",\n \"EXT. HIGHWAY JUNCTION - SUNRISE The highway forks off to another. An arrow sign at the fork reads : `` TDC Ellis Unit/8 Miles.''\",\n \"INT. RENTAL CAR - SUNRISE Bitsey smells something.\",\n \"EXT. HIGHWAY TO ELLIS UNIT - SUNRISE The rental car, smoke pouring from the engine, clunks to a dead roll, stops. Bitsey jumps out, VHS cassette in hand. She does n't close the door. Starts running. Bitsey runs down the middle of the two - lane highway. The rental car in the b.g. recedes into the mist - visibility is no more than fifty yards. The sounds of her breathing and SHOES HITTING the PAVEMENT ECHO into the mist. She runs, and runs. A car comes up quickly behind her. Its HORN BLARES. She turns, starts to wave it down. The driver SITS ON his HORN, swerves around her onto highway's shoulder and drives on. She runs. Runs past an abandoned vegetable stand. Runs past a sleepy farmhouse. She runs, and runs. She slows, out of strength, looks up and down the highway. Both in front and behind, it leads straight into the mist, a tunnel of fog. She stumbles on, a final effort. She runs. Sees something. Stops cold. Coming toward her in the distance are small flashing lights. They rise on hill and then fall behind another. They appear again. Soon, she can make out the form of an ambulance, and its highway patrol escort. The vehicles move slowly toward her, without sirens, as deathly quiet as their cargo. She stands to the side of the road as they approach. The highway patrol vehicle and the ambulance - marked `` Texas Department of Corrections'' - pass silently in SLOW MOTION. She watches as they disappear back into the mist. In SLOW MOTION, she screams, falls to her knees wailing, but we can not hear her. We HEAR NOTHING.\",\n \"INT. WRIGHT'S CABIN - SUNRISE In the b.g., Dusty walks out the front door carrying two large suitcases. On his desk in the f.g. is a radiator cap. BLACK.\",\n \"INT. DALLAS/FT. WORTH AIRPORT - DAY Belyeu makes his way through the departure hall carrying the aluminum suitcase. ON TV Roberts and the Court TV `` breaking news'' logo are on the screen. ROBERTS -LRB- V.O. -RRB- -LRB- to camera. -RRB- Here's what we know so far. Last night, News Magazine posted on their web site a video obtained by reporter Bitsey Bloom. Light applause. The TV is mounted on the wall in :\",\n \"INT. NEWS MAGAZINE'S EDITORIAL FLOOR - DAY Bitsey watches the report with about a dozen colleagues. Kruger stands beside her. A few people congratulate her. She attempts a smile and nods, though she does n't look away from the TV. Kruger shushes the others to hear the story. ROBERTS -LRB- V.O. -RRB- The footage appears to show Constance Harraway commit suicide. ON TV ROBERTS -LRB- V.O. -RRB- Bloom reports she received the tape Friday morning at a motel in Huntsville, where she was staying while conducting Gale's last interview. ON FLOOR Zack watches Bitsey from the other side of the room. She looks over at him, then quickly looks back at the TV. ROBERTS -LRB- V.O. -RRB- The tape apparently had been in the possession of a former DeathWatch Director. ON TV Camera pulls back to reveal that Roberts is standing in front of Wright's cabin. Other journalists and gawkers can be seen out front. Police vehicles are also visible. Suits and officers move in and out of the cabin. ROBERTS -LRB- V.O. -RRB- -LRB- reading the name off a card. -RRB-. Dustin Emil Wright. As you can see, police and officials from the State Attorney's office have been in and out of his cabin all morning, looking for clues to his whereabouts.\",\n \"INT. DALLAS/FT. WORTH AIRPORT - DAY Belyeu enters a men's room.\",\n \"INT. MEN'S ROOM - DAY Belyeu walks to a row of sinks. He sets the case on the floor and starts to wash his hands. A businessman combs his hair to Belyeu's left. Belyeu looks in the mirror and sees Dusty approach from a stall.\",\n \"INT. NEWS MAGAZINE - EDITORIAL FLOOR - DAY The room watches Roberts. ROBERTS -LRB- V.O. -RRB- a fanatic in the movement to stop the death penalty. ON TV ROBERTS -LRB- V.O. -RRB- It appears Wright withheld the tape to make an obscure political point about the potential for error in capital cases. ON BITSEY She watches, trying to contain her emotions. Zack watches her. She looks his direction. He smiles sadly, looks away.\",\n \"INT. DALLAS/FT. WORTH AIRPORT - MEN'S ROOM - DAY Dusty washes his hands, looks down at the case. The businessman leaves. DUSTY All there? BELYEU Passport and ticket as well.\",\n \"INT. NEWS MAGAZINE - EDITORIAL FLOOR - ON TV - DAY Governor Hardin is on the steps of the capital, journalists around her. GOVERNOR HARDIN -LRB- V.O. -RRB- Well, it's a tragedy for all of us. As to whether this will change policy, the people of Texas will have to decide. Right now, the prudent course is to put things on hold pendin' a procedural review, allow ourselves time to mourn. Kruger leans toward Bitsey. KRUGER You bet she'll review. Capital punishment approval rates dropped 17 points. Bitsey just looks at the TV, trying to make it through.\",\n \"INT. DALLAS/FT. WORTH AIRPORT MEN'S ROOM - DAY Dusty picks up the case. Belyeu straightens his tie. BELYEU What are you going to do? DUSTY -LRB- walking past him. -RRB- Go to the opera.\",\n \"INT. NEWS MAGAZINE - EDITORIAL FLOOR - ON TV - DAY Old footage of David being led in chains from an Austin jailhouse to a waiting van. He wears the clothes he was wearing the day Constance died. ROBERTS -LRB- V.O. -RRB- Of course, the ultimate irony is that David Gale, a man who became an unwitting martyr, may achieve in death what he worked for in life. ON BITSEY She bites her lower lip in a manner reminiscent of Constance. BLACK.\",\n \"EXT. STREET (BARCELONA) - DAY Dusty walks along the Ramblan. He carries a duty - free bag and the aluminum suitcase. He comes to a building, checks its number against a piece of paper, enters.\",\n \"INT. BARCELONA APARTMENT HOUSE - DAY Dusty ascends a staircase onto hallway. He walks a few steps to door number six. An OLD SPANISH WOMAN passes him. DUSTY Senorita Gale esta viviendo aqui? OLD WOMAN Si. Si. DUSTY Gracias. The old woman moves down the stairs. Dusty puts the aluminum suitcase on the doormat. From the duty - free bag he takes out David's Yale sweatshirt, lays it over the case. He RINGS the DOORBELL, turns and walks back down the hall. He stands at the top of the stairs, waiting for someone to answer before descending. Sharon -LRB- older than we've seen her -RRB- opens the door, sees the case and sweatshirt. She looks around, but Dusty is gone. She picks them up.\",\n \"INT. NEWS MAGAZINE - EDITORIAL FLOOR - DAY Bitsey sits at her neurotically neat desk, looking out the window. It's a sunny day in New York. For the first time, we see her wearing something besides a business suit. Framed on her cubicle wall is the latest News cover page : a picture of David with the headline `` The Executed Innocent.'' A MAIL GUY drops a Fed Ex package on her desk. MAIL GUY This just came. It's from `` Belyeu & Crane/420 Congress Ave. / Austin, Texas, 78710.'' She opens it, pulls out Cloud Dog and a handwritten note on Belyeu & Crane stationery. INSERT - NOTE reads : `` David wanted you to have this. He said it would be the key to your freedom. Regards, Benjamin Belyeu.''\",\n \"INT. SHARON'S BARCELONA APARTMENT - DAY At the breakfast table, a Spanish yuppie male sits with a newspaper in front of him. He watches Sharon open the case. Inside : money, stacks and stacks of money. On top is an unsigned note : `` I'm sorrier than you can know.''\",\n \"INT. NEWS MAGAZINE - EDITORIAL FLOOR - DAY Bitsey holds the stuffed sheep. puzzled. Looks at the note, BITSEY Key to your freedom? Key to your. Suddenly, she understands. She squeezes the sheep, shakes it, hears something. She cuts the sheep open with scissors. A Hi - 8 tape is in the stuffing. It's hand labeled : `` Off the record.'' She jumps up. TRACKING SHOT Bitsey hurries THROUGH the cubicles. She goes DOWN a hall and INTO the `` MultiMedia'' room.\",\n \"INT. NEWS - MULTIMEDIA ROOM - DAY Bitsey locks the door, puts the tape into a Hi - 8 deck. ON VIDEO The tape is cued to where Dusty picks up Constance's robe and walks past the tripod out of frame. We see only Constance's body. We hear the sliding door to the patio open behind the camera. DUSTY -LRB- V.O. -RRB- -LRB- calling. -RRB- It's over. A long beat. FOOTSTEPS on the patio. DUSTY -LRB- V.O. -RRB- Want me to turn this off? VOICE -LRB- V.O. -RRB- No. David walks into frame. He goes a couple of steps toward Constance's body and stops, facing her. We see him only from behind. He looks at her, runs his hands over his head. DAVID -LRB- V.O. -RRB- I could n't watch. DUSTY -LRB- V.O. -RRB- She preferred it that way. You were right about not tellin' her the whole plan. DAVID It helped her to think her death would save me. A beat. DUSTY -LRB- V.O. -RRB- You sure you want to do this? DAVID -LRB- V.O. -RRB- Yeah. Almost martyrs do n't count. A beat. DUSTY -LRB- V.O. -RRB- Better go ahead then. David goes to Constance, kneels. He reaches down and with his thumb gently strokes her face through the plastic. He stands, turns and walks back to the camera. He reaches behind the lens to turn it off. A beat. Half his face fills frame, his watery eyes looking directly at us. In the other half, we see Constance's body. Black.\",\n \"INT. BARCELONA OPERA HOUSE - NIGHT Dusty sits watching a performance of Puccini's Turandot. On stage is the scene where Liu martyrs herself. CLOSEUP - DUSTY He closes his eyes. THE END\"\n]"},"labels":{"kind":"list like","value":[0,1,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0],"string":"[\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0\n]"},"summary":{"kind":"string","value":"David Gale is a professor on death row in Texas. With only a few days until his execution, his lawyer negotiates a half-million dollar fee to tell his story to Bitsey Bloom, a journalist from a major news magazine. She has a reputation of keeping secrets and protecting her sources. He tells her how he ended up on death row, revealed through a series of lengthy flashbacks. Gale is head of the philosophy department at the University of Austin and an active member of DeathWatch, an advocacy group campaigning against capital punishment. At a graduation party, he encounters Berlin, an attractive graduate student who had been expelled from the school. When Gale gets drunk at the party, she seduces him and they have sex. She then falsely accuses Gale of rape. The next day, he loses a televised debate with the Governor of Texas when he is unable to prove a demonstrably innocent man was executed during the governor's term. After losing the debate, Gale is arrested and charged with rape. While the rape charge against Gale is later dropped, the damage had already been done, and his family, marriage, university career and reputation are all destroyed. Constance Harraway, a fellow DeathWatch activist, is a close friend of Gale who consoles him after his life falls apart, and the pair have sex. However, the next day, Harraway is discovered raped and murdered, suffocated by a plastic bag taped over her head. An autopsy reveals that she had been forced to swallow the key to the handcuffs used to restrain her, a psychological torture technique used by the Securitate under the communist regime of Nicolae Ceauşescu, which Gale and Harraway had both protested against. The physical evidence at the crime scene points to Gale, who is convicted of rape and murder and is sentenced to death. In the present, Bloom investigates the case in between her visits with Gale. She comes to believe that the apparent evidence against Gale does not add up. She is tailed several times in her car by Dusty Wright, an alleged one-time lover and colleague of Harraway, who she suspects was the real killer. Wright slips evidence to Bloom that suggests Gale has been framed, implying that the actual murderer videotaped the crime. Bloom pursues this lead until she finds a tape revealing that Harraway, who was suffering from terminal leukemia, had committed an elaborate suicide made to look like murder. Wright is seen on the videotape, acting as her accomplice, implying that they framed Gale as part of a plan to discredit the death penalty by conspiring to execute an innocent person, and subsequently releasing evidence of the actual circumstances. Once Bloom and her aide find this evidence, only hours remain until Gale's scheduled execution. She tries to give the tape to the authorities in time to stop the execution. She arrives at the Huntsville Unit just as the warden announces that the execution has been carried out. The tape is subsequently released, causing a media and political uproar over the execution of an innocent man. Later, Wright receives the fee that Bloom's magazine agreed to pay for the interview, and delivers it to Gale's ex-wife in Spain, along with a postcard from Berlin in San Francisco apologizing, all but confessing that the rape accusation that derailed Gale's life and career was false. His ex-wife looks distraught, knowing Gale told the truth and that she effectively stole their child away from him. Much later still, a videotape labeled \"Off the Record\" is delivered to Bloom. This tape picks up at the point where Wright confirmed that Harraway was dead. It continues, showing him stepping aside to allow Gale, also present and party to the suicide, to caress the body of his lover, deliberately leaving his fingerprints on the plastic bag in the process. He then stands up and ends the recording, leaving Bloom stunned with the truth that the couple deliberately sacrificed themselves to discredit capital punishment."},"name":{"kind":"string","value":"The_Life_of_David_Gale"}}},{"rowIdx":87,"cells":{"scenes":{"kind":"list like","value":["CONFESSIONS OF A DANGEROUS MIND MUSIC IN : OMINOUS ORCHESTRAL TEXT, WHITE ON BLACK : This film is a reenactment of actual events. It is based on Mr. Barris's private journals, public records, and hundreds of hours of taped interviews.","EXT. NYC STREET - NIGHT SUBTITLE : NEW YORK CITY, FALL 1981 It's raining. A cab speeds down a dark, bumpy side - street.","INT. CAB - CONTINUOUS Looking in his rearview mirror, the cab driver checks out his passenger : a sweaty young man in a gold blazer with a `` P'' insignia over his breast pocket. Several paper bags on the back seat hedge him in. The young man is immersed in the scrawled list he clutches in his hand. A passing street light momentarily illuminates the list and we glimpse a few of the entries : double - coated waterproof fuse -LRB- 500 feet -RRB- ;.38 ammo -LRB- hollowpoint configuration -RRB- ; potato chips -LRB- Lays -RRB-. GONG SHOW An excerpt from The Gong Show -LRB- reenacted -RRB-. The video image fills the screen. We watch a fat man recite Hamlet, punctuating his soliloquy with loud belching noises. The audience is booing. Eventually the man gets gonged. Chuck Barris, age 50, hat pulled over his eyes, dances out from the wings to comfort the agitated performer. PERFORMER Why'd they do that? I was n't done. BARRIS -LRB- AGE 50. -RRB- I do n't understand. Juice, why'd you gong this nice man? JAYE P. MORGAN Not to be. That is the answer. The studio audience laughs.","INT. TAXI CAB - NIGHT The cab sloshes to a stop in front of a liquor store. The young man gets out, jogs through the rain toward the fluorescent storefront. The cab driver waits, listens to staticky reports in a foreign language on his radio. The meter is running. The back seat is piled high with bags. GONG SHOW Chuck Barris spastically dances on the screen along with Gene Gene the Dancing Machine. Barris turns to the camera, points at it. BARRIS We'll be right back with more stuff.","INT. TAXI CAB - NIGHT The back of the cab is filled with even more bags and boxes. The cab stops. The young man gets out and confers with a shady looking guy on the corner. The young man pulls out a big wad of cash. Money and a small package change hands. The meter in the cab is at thirty - five dollars and change. THE GONG SHOW Chuck Barris is being sniffed in the crotch by a large dog. The audience howls with glee. Suddenly the video image explodes. Slow motion sparks and shards of glass shoot toward the camera. We pull back to reveal we're in a darkened, messy hotel room. We pan across the walls, past taped - up, yellowed newspaper clippings with headlines like `` Gong Show a New Low in Television'', `` The Dumbing of America'', and `` Chuck Barris is the Decline of Western Civilization.'' We come to rest on a naked middle - aged man crouching in the shadows in the corner, holding a gun. This is Chuck Barris. The television continues to sputter, spark, and smoke. There is a knock at the door. BARRIS -LRB- mumbly. -RRB- Fuck. Shit. Piss. Naked Barris, still holding the gun, seems panicked. He hesitates, trying to determine his options. Should he answer the door? Should he climb out onto the window ledge? Finally, he creeps to the door and peeks out the peephole for a long moment. He unlocks the door, opens it. The sweaty, young man, a bellhop, stands there with his many bags. He tries to appear casual as takes in the sight : a naked Chuck Barris holding a gun, an exploded, smoking tv set in the background. BARRIS -LRB- CONT'D. -RRB- -LRB- weakly. -RRB- More stuff? BELLHOP Yes sir, Mr. Barris. Everything you requested. Except I could n't find a. -LRB- consults list. -RRB-. DH - 10 directional fragmentation mine. BARRIS Well, it's late. -LRB- mumbling and bowing. -RRB- But thank you. Thank you for trying. You are a scholar and a. Barris trails off, gives a quick glance both ways down the hall, then motions for the bellhop to enter. The bellhop places the bags on a table, fishes in his pocket and pulls out some bills. BARRIS -LRB- CONT'D. -RRB- Keep it. It's okay. Keep it. You are a scholar and a. Barris trails off. BELLHOP -LRB- eyes averted. -RRB- Thank you, sir. Suddenly Barris becomes agitated. BARRIS Why are you not looking at me like that? Do I look ugly to you? -LRB- runs to the mirror. -RRB- It's the not sleeping. I'm not sleeping, see. I have a lot on my. Barris trails off. There is a pause. The bellhop attempts to make conversation. BELLHOP -LRB- re : exploded tv. -RRB- Um, another Gong Show rerun, sir? The naked Barris approaches the bellhop, drapes his arm over the young man's shoulder and walks with him. BARRIS -LRB- conspiratorially. -RRB- You know what I'd do? - And do n't tell anybody - I'd rub. I'd rub Alpo brand dog food on my dick so the dogs would stick their noses into my. dick. Guaranteed big laugh, right? That was my trick, my great contribution to the world. How would n't I degrade myself, I ask you. There is a silence. BARRIS -LRB- CONT'D. -RRB- -LRB- screaming. -RRB- I ask you! BELLHOP I. I. I do n't know, sir. Suddenly Barris punches himself in the head, flops down on the unmade bed. The bellhop glances at Barris's bare ass, looks away. BELLHOP -LRB- CONT'D. -RRB- Mr. Barris, maybe if you just do n't watch the show every night, you would n't have to - BARRIS I always pay for the damn tv's, do n't I? -LRB- turning to face him. -RRB- Do n't I?! BELLHOP It's - Yes, you do, sir, and we appreciate that - It's just that there've been complaints from some of the other guests, and Mr. Andrews, the assistant manager, requested that I - BARRIS Still? Complaints? I specifically used the silencer this time! Specifically! BELLHOP Well, the people in 917 found a bullet lodged in their wall. And while we want to accommodate you - we certainly value your patronage - there is an issue of customer safety. Barris lets this sink in. BARRIS Yes, of course. Barris finds his pants draped over a chair, pulls out his wallet, holds some more money out to the bellhop. BARRIS -LRB- CONT'D. -RRB- My apologies. Buy - 917, is it? - buy them a magnum of your finest champagne. And. and your finest spackle. Oh, and get me a bag of plastic army men while you're out. I forgot to tell you before. The bellhop sighs, takes the money. BELLHOP Thank you for your understanding, sir. The bellhop exists. BARRIS -LRB- calling after. -RRB- And some black socks! Seven black socks, you rascule! Barris locks the door, dumps the contents of the bags onto the floor, fishes through the mess for a cigar, puts the cigar in his mouth, studies himself in a full length mirror. BARRIS -LRB- CONT'D. -RRB- Bellhop Johnson was clearly repulsed by the sight of me. And why not? I'm wrinkled. -LRB- searches for simile, then proudly. -RRB-. like a prune. Covered in liver spots. -LRB- searches for simile. -RRB-. like an old guy. My hair is falling out in clumps, leaving exposed patches of white, sickly scalp. A flabby inner - tube of fat hangs from my waist, practically obscuring my bedraggled prick - dark and shriveled and dead. Still leaking urine even though I left the toilet ages ago. My asshole itches. Hemorrhoids abound. George Orwell said every man has the face he deserves by fifty. Does every man have the asshole he deserves by fifty, as well? Does every fifty year old asshole have the asshole he deserves?","EXT. TERRACE - DAY This feels real, verite. The actual Chuck Barris, smoking a cigar, is being interviewed. He stands outside his villa in St. Tropez, older than the middle - aged Barris depicted in the hotel room, and talks to someone off - camera. ACTUAL BARRIS It was 1981. I had holed myself up in this New York hotel. Parker Hotel. Terrified of everything. Ashamed of my life. INTERVIEWER -LRB- O.C. -RRB- Ashamed? What do you mean? Barris walks through a small vegetable garden as he talks, occasionally adjusting a stake or pulling out a weed. ACTUAL BARRIS When you're young, your potential is infinite. You might do anything, really. You might be great. You might be Einstein. You might be Goethe. Then you get to an age where what you might be gives way to what you have been. You were n't Einstein. You were n't anything. That's a bad moment. But I remembered something Carlyle wrote :''. there is no life of a man, faithfully recorded, but is a heroic poem of its sort, rhymed or unrhymed.'' I realized my salvation might be in recording my wasted life, unflinchingly. Maybe it would serve as a cautionary tale. Maybe it would help me understand why.","INT. HOTEL ROOM - NIGHT Barris, now in a hotel terrycloth bathrobe and a porkpie hat, sits at a desk and types manically. BARRIS -LRB- V.O. -RRB- My name is Charles Prescott Barris. I have written pop songs, I have been a television producer. I am responsible for polluting the airwaves with mind - numbing, puerile entertainment. In addition, I have murdered thirty - three human beings. I am damned to hell.","EXT. PHILADELPHIA STREET - DAY It's sepia. Three year old Chuck, dressed somewhat girlishly and sporting a blonde pageboy haircut is being posed on a pony by a photographer. His mother stands by anxiously as the boy totters on the animal. BARRIS -LRB- V.O. -RRB- Born in Philadelphia, Pennsylvania in 1931, my early childhood remains accessible to me only as a series of elliptical, enigmatic memories.","INT. BUTCHER SHOP - DAY A smiling butcher hands a slice of bologna to young Barris, who puts it in his mouth. BARRIS -LRB- V.O. -RRB- The taste of bologna fresh from the butcher.","EXT. CEMENT YARD - DAY A baby doll is set afire. Young Barris dances around it. BARRIS -LRB- V.O. -RRB- The sickly sweet smell of a burning babydoll on a crisp autumn day.","INT. CHILDHOOD BEDROOM - DAY Young Barris is being dressed by his mother. We're close on the velvet material being slipped over his head. BARRIS -LRB- V.O. -RRB- Velvet brushing against my tender young skin, as my mother dressed me.","EXT. SCHOOL YARD - DAY Young Barris rolling on the ground in battle with another boy, as a crowd of children look on. BARRIS -LRB- V.O. -RRB- A constant, inarticulate rage leading to fist fight after fist fight.","INT. CHILDHOOD BEDROOM - MORNING Young Barris watches dust motes lit by the early morning sunlight pouring through his bedroom window. BARRIS -LRB- V.O. -RRB- The calm I felt watching dust suspended in the early morning sunlight.","INT. CHILDHOOD BEDROOM - NIGHT Young Barris sits on the floor and watches the shadow of a man walking upstairs. The young boy is clearly terrified. BARRIS -LRB- V.O. -RRB- I remember fear.","INT. MASTER BEDROOM - MORNING Toddler Barris watches his mother change clothes. He studies her pendulous breasts. She looks down, smiles warmly. BARRIS -LRB- V.O. -RRB- Love. MOTHER You like the way mommy looks, Chuckie? BARRIS -LRB- AGE 4. -RRB- Yes. MOTHER I bet you would like to be a mommy some day, would n't you? BARRIS Yes, mommy. Please. MOTHER C'mere, you. His mother lifts the little boy to her breasts and presses his face against them. He is in heaven.","INT. CHILDHOOD HOME - DAY Four year old Chuck sits at the dining room table with several other four year olds. They all wear party hats. Barris's father, a milquetoast middle - aged man enters in birthday hat, carrying a cake decorated with four lit candles. He leads the children in `` Happy Birthday Dear Chuck'' as young Chuck beams. BARRIS -LRB- V.O. -RRB- Rejection. Chuck glances at the kitchen doorway. His mother stands there, staring at him. She dressed in black mourning clothes, complete with veil.","INT. NURSERY - DAY Young Chuck peeks in as his mother sits in a rocking chair and holds Barris's infant sister. She fusses with the bows and frills on the baby's outfit. The light in the room is golden and warm. BARRIS -LRB- V.O. -RRB- Expulsion. We move in on the little boy's devastated face, then follow him as he turns and walks down the hall into darkness.","INT. LIVING ROOM - DAY A sixteen year old Barris lies on his back on a couch lazily tossing a football in the air. Tuvia, a thirteen year old girl, sits on the floor playing with a puppy. In the background, throughout the scene, we hear the inept playing of scales on a bass violin. BARRIS -LRB- V.O. -RRB- When I was sixteen I had an experience with my little sister's friend Tuvia that left an indelible impression. BARRIS -LRB- CONT'D. -RRB- Phoebe's no Walter Page, huh, Tuvia? TUVIA I do n't know who that is. BARRIS Of course you do n't. -LRB- beat. -RRB- Why are you waiting around anyway, listening to this cacophonous cacophony, when you could be in your own abode disrupting the lives of your own siblings? TUVIA I do n't know what anything you say means. BARRIS No. You would n't, would you. Barris watches Tuvia playing with the dog. She gets on all fours and yelps, imitating the dog. This excites the dog, who bounces around her. Barris studies Tuvia's exposed white underwear for a while. This excites Barris. Finally he pulls an afghan off the back of the couch and drapes it over his pants. We hear him unzip his fly. BARRIS -LRB- CONT'D. -RRB- Hey. TUVIA -LRB- not looking. -RRB- What? BARRIS Hey, Tuvia. TUVIA -LRB- turning. -RRB- Wha - at?! Tuvia sees Barris fiddling with something under the afghan. She gets quiet. BARRIS You wan na lick it? Tuvia snorts, goes back to playing with the dog. TUVIA No. Why should I? BARRIS Well, for one thing it tastes like strawberry. My sister tells me you love strawberries. TUVIA Yeah, well. I hate strawberries. BARRIS Honestly, a man's penis tastes exactly like a strawberry lollipop. TUVIA Look, I know that's not true, so - BARRIS It is true. It's weird but it's true. I just read a research paper on it. Tuvia looks at the afghan.","INT. HOTEL ROOM - NIGHT Middle - aged Chuck Barris turns from the typewriter and stares out the window at the dark night sky. BARRIS -LRB- sadly wistful. -RRB- My first love.","INT. LIVING ROOM - DAY Tuvia's face jerks up into frame. She spits. TUVIA Uchh. Yech. It does n't taste anything like strawberry, you creep. The dog sticks his head under the afghan. Barris shoos him away. BARRIS -LRB- curious. -RRB- Well, what does it taste like? Tuvia gets up. TUVIA Y' know, I'm gon na tell your mother what you just did. BARRIS If you do, I'll tell your mother you made our dog lick your crack. TUVIA I did not! BARRIS -LRB- shrugging. -RRB- So what?","INT. HOTEL ROOM - NIGHT Middle - aged Barris types as the camera glides over some of the acquired detritus in his room : skin magazines, a gun and silencer, liquor, a copy of Beyond Good and Evil, a disguise kit, a kid's sprouted lima bean science fair project. BARRIS -LRB- V.O. -RRB- Perhaps my whole life turned at that point. The repulsiveness of my sex confirmed by the tastebuds of a ripening pubescent girl. MONTAGE Sequence of young Barris unsuccessfully attempting to pick up girls at bars, unsuccessfully attempting to cop a feel on a date in a movie theater, standing on a front porch unsuccessfully attempting to kiss a girl good night, standing outside of a movie theater in the rain, holding an umbrella over his head and checking his watch. BARRIS -LRB- V.O. ; CONT'D. -RRB- And so I found myself in a downward spiral of debauchery. Endlessly chasing pussy. My only focus in life : to get laid, to get blown, trying to fool myself into believing that given the right combination of circumstances and deception, maybe the Tuvias of the world could desire me the way I desired them. I only wanted to be loved.","INT BAR - NIGHT Barris is fighting another drunken guy. He's getting pummeled. BARRIS -LRB- V.O. -RRB- A constant, inarticulate rage led to bar fight after bar fight. The two men get tossed from the bar.","EXT. BAR - CONTINUOUS The other guy gets up, brushes himself off, orients himself, and after a moment starts beating Barris again.","EXT. HIGHWAY - DAY SUBTITLE : New Jersey Turnpike, 1955 A bus drives along. We see from the sign above the windshield that it is bound for New York.","INT. BUS - CONTINUOUS Young Barris, age 24, in traveling clothes and red hunting cap, stares out the window. BARRIS -LRB- V.O. -RRB- As much as I tried, I could n't understand my past and my present was miserable, so, at twenty - four, I decided what I needed was a future.","EXT. ROCKEFELLER CENTER (1955) - DAY Young Barris, suitcase in hand, looks up at the impressive building. People hurry by. BARRIS -LRB- V.O. -RRB- I had heard that television was an industry with a future. Barris enters the building with resolve.","INT. NBC STUDIOS (1955) - DAY Young Barris, age 24, dressed in an NBC blazer is leading a group of sheep - like tourists down a hall. BARRIS Next, we'll have a look at the studio where they produce the Today Show. The tourists `` ooooh.'' Another tour group comes around a corner. This one is led by Georgia, a perky, blonde southern girl. The two groups squeeze past each other. Chuck tries to make eye contact with Georgia. He smiles at her, but she ignores him.","INT. NBC COMMISSARY - DAY Barris is at the cash register paying for his food. He looks around for a place to sit. He spots Georgia, sitting with a female friend, and he sits at a table behind, so as to listen unobserved to their conversation. GIRLFRIEND That fella Raymond in payroll is kinda cute, huh? GEORGIA Cute's all well and good, Mary Ann, but what you want is a man who's goin' places. A go - getter on the management fast - track. Barris registers this information.","INT. NBC PERSONNEL OFFICE - DAY Barris stands at the counter talking to a female clerk. BARRIS Management trainee application, please. The clerk hands him an application without looking up. BARRIS -LRB- CONT'D. -RRB- How many people applying for this so far? CLERK -LRB- calculating. -RRB- Let's see, including you. about two thousand. BARRIS For how many positions? CLERK -LRB- looking up and smiling. -RRB- Five.","INT. NEW YORK PUBLIC LIBRARY - DAY Barris sitting with a book and copying the names of three of the board of directors of RCA onto his application under the heading of `` Personal References.''","INT. BARRIS'S BEDROOM - NIGHT Young Barris is having sex with Georgia. They finish. Barris rolls off her and onto his back. Georgia sighs. GEORGIA Tell me again. BARRIS Head of network sales at thirty. Head of the entire network at forty. GEORGIA And? BARRIS -LRB- rote. -RRB- Dead of a heart attack by fifty with all my millions left to you. GEORGIA You're wonderful. I love you, Mr. Chuck Barris, management trainee. She climbs on top of Barris and begins kissing him all over. BARRIS -LRB- V.O. -RRB- Life was sweet. For a minute.","INT. BARRIS'S APARTMENT - AFTERNOON Georgia is looking radiant as she reads a movie magazine. Barris enters. She runs over to kiss him. GEORGIA Baby doll! BARRIS I got fired. She pulls away, studies him for a moment, lets it sink in. GEORGIA Fired? BARRIS Fired. F - I - R. GEORGIA Fired? What the fuck did you get fired for?! BARRIS I do n't know, efficiency cutback. Some bullshit. Look, it's gon na be. GEORGIA Well, I'm pregnant, you fuck! BARRIS Pregnant? GEORGIA Yeah, pregnant! BARRIS What the fuck did you get pregnant for?! GEORGIA What do you mean, what the fuck did I get pregnant for? You got me fucking pregnant, you fuck! BARRIS Well, fuck you.","INT. BAR - NIGHT Barris sits drunkenly at the bar. He talks to a drunken guy next to him. BARRIS So I figured I'd skip town. I intend to be important, y' know, I ca n't be saddled with this. But then I remembered something Carlyle said : `` Do the duty which lies nearest thee.'' BAR FLY Who's Carlyle? BARRIS Dear God, why do I even bother? BAR FLY Hey, fuck you, you condescending prick. BARRIS Hey, fuck you. BAR FLY Hey, fuck you. BARRIS Hey, fuck you. The guy punches Barris. A fight ensues.","INT. BARRIS'S APARTMENT - NIGHT Barris is drunk on the couch watching a tv game show, his face swollen from the fight. Georgia enters. GEORGIA -LRB- pissy. -RRB- Looks like I was just late. Barris barely acknowledges this, continues to watch tv.","INT. BARRIS'S BEDROOM - EARLY MORNING Barris and Georgia are in bed. Georgia is asleep. Barris opens his eyes, quietly climbs out of bed.","INT. APARTMENT - DAY Another verite - looking interview. A middle - aged blonde woman, the actual Georgia, is talking to someone off - camera. Sitting next to her is a Jewish - looking middle - aged man. ACTUAL GEORGIA I woke up and he was gone. No note. No nothing. I never saw him again. Until that stupid tv show he did. JEWISH-LOOKING MAN The Gong Show. ACTUAL GEORGIA I know what it's called, jerk.","INT. COMMUTER TRAIN - DAY We're close on a copy of the NY Herald Tribune. The headline reads Clark Testifies Before `` Payola'' Committee. We pull back to see young Barris, in a suit, reading the paper in a passenger car of a moving train. BARRIS -LRB- V.O. -RRB- In'61 I was thirty. I had become a minor suit at ABC. It was during the music payola scandal.","INT. TV STUDIO - DAY American Bandstand is taping. The studio is filled with dancing teens. Barris sits off to one side behind an imposing desk in the semi - darkness, suspiciously watching Dick Clark's every move, and taking copious notes. Clark glances over nervously. BARRIS -LRB- V.O. -RRB- so my job was to commute to Philly every day to the American Bandstand tapings, and keep an eye on Dick Clark.","INT. OFFICE - DAY The actual Dick Clark is being interviewed. DICK CLARK Chuck Barris? He spooked me. I tried to keep on his good side becuase he was sort of. spooky. INTERVIEWER -LRB- O.C. -RRB- How so? DICK CLARK I dunno, there was something in his eyes. Something dark, like unbridled ambition, maybe. Or an inarticulate rage.","EXT. PALISADES PARK - NIGHT Barris walks through the crowds. A dark look in his eyes as he follows some giggling teenage girls in poodle skirts. BARRIS -LRB- V.O. -RRB- On weekends I used to hang around amusement parks. Because that's where the young girls were.","INT. BARRIS'S TENEMENT APARTMENT - NIGHT Young Barris lies in bed masturbating. BARRIS -LRB- V.O. -RRB- I wrote a song about my experience. The song `` Palisades Park'' begins. FREDDIE CANNON Last night I took a walk after dark/to see a place called Palisades Park/to have some fun and see what I could see/that's where the girls are","INT. TV STUDIO A sign above the stage reads The Dick Clark Saturday Night Beechnut Show. Freddie Cannon is on stage singing `` Palisades Park'' as a crowd of 1962 teenagers dance on the studio floor. BARRIS -LRB- V.O. -RRB- I got it to Freddie `` Boom Boom'' Cannon through my friendship with Dick Clark. Dick really wanted to help me out. FREDDIE CANNON I took a ride on the shoop de shoop/that girl I sat beside was awful cute/and when we stopped she was holding hands with me/my heart was flying/up like a rocket ship/down like a roller coaster/fast like a loop de loop/round like a merry go ` round. Young Barris watches happily from behind the cameras. He spots, Debbie, a pretty, bland young woman with headphones and a clipboard. He sidles over to her. BARRIS Hi. DEBBIE What? BARRIS Hi! DEBBIE Oh. BARRIS I wrote this song. DEBBIE Oh. Uh - huh. BARRIS It's number three on the pop charts. Barris pulls out music magazine clipping as proof. DEBBIE Huh.","INT. FANCY RESTAURANT - NIGHT Barris and Debbie are having dinner. BARRIS See, I believe there's a great future in television. DEBBIE Uh - huh. BARRIS So I'm going to take my royalties and create a pilot. A pilot is what they call a test tv show. DEBBIE I work in tv. BARRIS Yeah. It's gon na be a game show. I believe there's a great future in game shows. DEBBIE That's good. BARRIS Everyone loves game shows, right? DEBBIE I do n't know. BARRIS Well, they do. DEBBIE That's great then. BARRIS I'm on my way! There is a long, awkward silence. They both saw away at their steaks.","INT. DEBBIE'S BEDROOM - NIGHT Barris and Debbie are having sex, sort of mechanical. They're plowing through, kind of like sawing through their steaks. When it's over, they both just lie there.","INT. DEBBIE'S LIVING ROOM - NIGHT Young Barris, in his underwear, sits alone in the semi - darkness and stares out the window. The front door unlocks and a woman enters, backlit from the hallway. She turns on the light. This is Penny Pacino, eighteen, a beatnik in a black leotard and skirt and black mascara. She has red hair. She sees Barris on the couch. PENNY Hello. BARRIS Hi. Do n't be alarmed I'm with Debbie. PENNY Yeah, I figured. Penny walks past him, drops her keys and bag on the counter, and enters the kitchenette. Barris watches her ass. PENNY -LRB- CONT'D. -RRB- You hungry? BARRIS Um, no thanks. PENNY Thirsty? BARRIS If you have a beer. Penny returns with two beers, hands one to Barris. She sits in a chair across from him. They both drink. PENNY So how was sex with Debbie? I've always wondered. BARRIS -LRB- a little taken aback. -RRB- It was good. Fine. Thanks for asking. PENNY No problem. I just got fucked by this drummer cat. A really righteous Negro hipster. BARRIS Huh. Interesting. PENNY See, I believe in the brotherhood of man. Last week I got fucked by an Oriental. -LRB- beat, studies him. -RRB- What are you? BARRIS Jew. PENNY That's what I thought. I had a Jew, but he was Sephardic. You look Ashkenazi. -LRB- pronounced Ashkuh - Natzee. -RRB-, I'm guessing. BARRIS Ashkenazi. PENNY Right. Ashkenazi. I have n't balled one of them. BARRIS You're a romantic. PENNY Eh, I just do n't get into all the bullshit between cats and chicks. BARRIS I know what you mean. PENNY -LRB- not hearing him. -RRB- You know what I mean? BARRIS I know what you mean. PENNY Besides, you fall in love with a cat, you only get hurt. Right? BARRIS Do n't I know it. PENNY -LRB- beat. -RRB- We could ball if you want. I seem to like you pretty well. BARRIS Well, that would be good. But, you know, I'm kind of here with Debbie. It does n't seem right. PENNY Yeah. That's true. I did n't think of that. -LRB- getting up. -RRB- Well, I'm going to bed. Nice meeting you. Penny shakes his hand and heads off. BARRIS What's your name? PENNY Penny. BARRIS I'm Chuck. PENNY Oh, you're the one who wrote that Palisades song. I love that song. It's such sentimental bullshit. Penny exits into her bedroom. Barris drinks his beer.","INT. BARRIS'S TENEMENT APARTMENT - DAY Barris and Penny are having sex on the kitchen floor. It's quite passionate.","INT. TENEMENT APARTMENT - LATER Penny is taking a bath in the tub in the kitchen while Barris broodingly cooks dinner at the stove. PENNY -LRB- animatedly. -RRB-. so this ape and I were looking at each other. It was, like, across time and evolution. Then he began to talk, but it was a language I did n't understand, maybe Swiss. Then he turned into Perry Como, real square and. what's wrong with you? BARRIS Nothing. PENNY Just because we fucked, does n't mean there are strings now. It's okay. BARRIS Okay. PENNY Okay? I only wanted to tell you my dream is all. Nothing more complicated than that. Do n't panic. BARRIS I'm just used to all this dating bullshit, y' know. Now we're a couple. Now I'm obliged to give a shit what you say. PENNY Do n't worry about it, I'm not into those games either. So, anyway, this monkey turns into Perry Como and I say - BARRIS Holy fuck! PENNY What? BARRIS Holy holy fuck! -LRB- runs over, kisses her. -RRB- You just gave me an idea. -LRB- starts pacing For a show! Fuck! PENNY A show about monkeys? BARRIS In a way. About the craziest monkey of all : Monkius Humanius! Do n't you see? About people! About sex. About romance. About the bullshit of dating!","INT. LEONARD GOLDBERG'S OFFICE - DAY Leonard Goldberg, ABC executive, sits behind his desk as Barris, holding a cardboard model of a game show set, excitedly paces the room giving a pitch. BARRIS I call it The Dating Game, Mr. Goldberg. And that's what it's about. A pretty girl asks three handsome guys, who she ca n't see, silly questions. And based on their answers, she picks one to date. And we pay for the date. That's it! That's the show! It's got everything!","EXT. ABC BUILDING - DAY Penny leans on a signpost smoking a cigarette. Barris emerges from the building with his cardboard set. He looks grave. He approaches Penny. PENNY No? BARRIS -LRB- lighting up. -RRB- They bought it! Penny screams, hugs Barris. BARRIS -LRB- CONT'D. -RRB- They bought it they bought it they bought it. The two dance around on the street. BARRIS -LRB- CONT'D. -RRB- They're giving me seventy - five hundred fucking dollars to make a pilot! PENNY Oh my God! Oh my God! We got ta go celebrate! Let's go roller skating! Penny kisses Barris. BARRIS I ca n't, Pen. I got a date. PENNY Okay. That's cool. Call me after. BARRIS Yeha, okay. I will. Barris walks off. We stay on Penny smoking her cigarette. MUSIC IN : DATING GAME THEME THE DATING GAME PILOT BEING MADE, QUICK SHOTS OF : BARRIS TENSELY DIRECTING ACTIVITY ON THE SET. GIGGLY BACHELORETTE ASKING QUESTION. GAWKY BACHELORS MUGGING. TOOTHY HOST GUFFAWING. ACTUAL BARRIS -LRB- V.O. -RRB- I figured I was in. All I had to do was get the pilot made and I'd be a millionaire. Everyone would love me. MUSIC OUT SUDDENLY.","EXT. TERRACE - DAY ACTUAL BARRIS -LRB- staring off. -RRB- Was anyone ever so young?","INT. CHILDHOOD BEDROOM - DAY Barris, 32, lies on his bed on his back and tosses the football in the air. A very very very old dog lies on the floor. Phoebe, Barris's 26 year old sister enters. PHOEBE Chuck. BARRIS Albert's dead. PHOEBE Well, he led an amazingly long life. BARRIS Still, it's hard to go on. PHOEBE Y' know, you've been staring out this window for six months now. BARRIS I'm trying to come up with new tv shows, if you must know. Okay? That's what I'm doing. I believe there's a real future in tv. -LRB- holds up notebook, shakes it. -RRB- Look. Ideas. Okay? PHOEBE You're thirty - two years old, and you have no career and no prospects. BARRIS Thanks for the status report, Phoebe. Look, I just got ta come up with the right concept. Then, boom. -LRB- holds up notebook again. -RRB- Which, by the way, I've almost got. PHOEBE You're breaking mom's heart. You know that, do n't you? Barris looks out the window at his emaciated mother sitting in the yard in an old wicker - backed wheelchair and staring off into space. BARRIS Somehow, and do n't ask me why, Phoebe, my being born broke mom's heart. Barris watches his mother for a long moment. BARRIS -LRB- CONT'D. -RRB- Hey Phoebe, you ever see what's - her - name, Tuvia, anymore? PHOEBE Who? BARRIS Tuvia. Your friend. Tuvia. The girl. PHOEBE Oh. No. I heard something. I think she got divorced recently or something. BARRIS Oh, yeah?","EXT. FRONT PORCH - DAY Barris knocks on the door. There is some movement inside and a woman answers the door. This is older Tuvia, 20's, attractive but a little hard - edged now. She balances a baby on her hip OLDER TUVIA Yes? -LRB- registers. -RRB- Well, if it is n't Strawberry - dick Barris. BARRIS Hi, Tuvia. Barris taken by the changes in Tuvia. The baby and the full, milk - producing breasts get him excited. OLDER TUVIA What do you want? BARRIS I came by to apologize. OLDER TUVIA Okay then. She closes the door. He knocks again. She opens the door. OLDER TUVIA -LRB- CONT'D. -RRB- Well, if it is n't Strawberry - dick Barris. Now what do you want? BARRIS So I'm back in town. For a while. I thought maybe you and I could - OLDER TUVIA Jesus, you've got to be kidding. Tuvia closes the door. Barris stands there for a moment, considers knocking again, then turns and leaves.","EXT. WASHINGTON SQUARE PARK - NIGHT We move along a park bench, past several homeless people, one holding an old doll, others holding other sad items. We come to Barris. He's wrapped in a horse blanket and holding the miniature cardboard Dating Game set. An open notebook sits on his lap. The pages are blank, except for one entry : The Something Else Game. Barris holds a pen poised to write, but does n't.","INT. BAR - DAY Barris is drunk and in a fight. He is losing, flailing, swinging wildly. Jim Byrd, a middle - aged, business man - looking guy, in tinted glasses and sideburns, watches from the bar. Eventually Barris and the other brawler get thrown out of the bar. Byrd takes a sip of his drink.","EXT. BAR - DAY Barris sits on the curb, nursing his wounds. Byrd exits the bar and casually approaches. BYRD You're a pretty angry young fella, are n't you? Ca n't fight worth a damn though. BARRIS Screw off, fag. Do n't think I have n't seen you watching me in that bar for a week now. BYRD Kind of a loner, I'd say. Fairly bright. A tad anti - social. Mad at the world. Can I buy you lunch? BARRIS Look, there's a schoolyard half a block down. Why do n't you go trolling there? Barris gets up and starts to walk away. BYRD I could teach you at least thirty different ways to kill a man with a single blow, Mr. Barris. Barris stops. BYRD -LRB- CONT'D. -RRB- Might help you in future bar fights. Just a thought. Barris just stands there. BYRD -LRB- CONT'D. -RRB- Oh, and there's money in it. Good money. Barris turns.","INT. DINER - DAY Barris and Jim Byrd sit in a booth. Barris is wolfing a hamburger. Byrd sips coffee. BARRIS -LRB- mouth full. -RRB-. and I figure if I can keep afloat until I come up with my next game show idea, then all will be copacetic. BYRD That sounds great, Chuck. Y' know, I've never known a television producer before. I'm impressed. BARRIS Yeah, yeah. So what's this money deal you were talking about? BYRD Well, I work for a government agency, and I can always use good, enthusiastic men to help me carry out my directives. BARRIS What kind of work? What government agency? BYRD -LRB- matter - of - fact. -RRB- Problem solving work. For the Office of Diplomatic Security. BARRIS Office of what? Never heard of it. Is that the fucking CIA or something? BYRD Please be discreet, Mr. Barris. BARRIS -LRB- whispering. -RRB- Jesus, it is the fucking CIA! Hell, I'll be a spy! Where do I sign up? Are you fucking with me? You're fucking with me, are n't you? BYRD Hardly. And you would n't be with the company. You'd be a contract agent. Independent. No official tie to any agency. Is that understood? BARRIS -LRB- beat. -RRB- Why me? BYRD As you know, I've been watching you. For years, actually. I've only let you know about it for the last week. Chuck stops chewing. BARRIS Jesus. BYRD I'm happy to report you fit our profile, Mr. Barris. Are you interested in this work? Long pause. BARRIS Well, what's the profile? BYRD Are you interested in this work, Mr. Barris? BARRIS Yeah, sure, I wan na be a secret agent. Contract agent. Whatever. Get to fuck beautiful Eastern European women. Wear a trenchcoat. Sounds like a kick. BYRD The work we do is very serious. It's essential in quelling the rise of communism and allowing democracy to gain its rightful foothold around the globe. BARRIS Sure. Yeah. Okay. That's good.","EXT. ABANDONED ARMY BASE - DAY The place is ramshackle and overgrown. It looks deserted. A barbed - wire fence surrounds it.","INT. BASE REC ROOM - DAY A severe - looking instructor is teaching a class to an assembled group of scary - looking men : losers, psychos, mercenaries, Latin American thugs, and Chuck Barris. INSTRUCTOR #1 There are several efficient methods of killing a man, were you to find yourself without a weapon. The edge of your hand against the adversary's Adam's apple. -LRB- demonstrates on mannequin. -RRB- This will crush the windpipe causing strangulation and death. The students take notes. INSTRUCTOR #1 -LRB- CONT'D. -RRB- Boxing your adversary's ears with proper force will cause his ear drums to burst and possibly result in bleeding in the brain. And death.","EXT. BARRACKS - NIGHT It's dark. Byrd sits on a step, smoking a cigarette. Barris approaches. BARRIS You're training me to be a killer. BYRD See, Chuck, I knew you were fairly bright. BARRIS I ca n't kill people. My future is in television. BYRD Listen, you're thirty - two years old and you've achieved nothing. Jesus Christ was dead and alive again by thirty - three. Better get cracking. BARRIS I have ideas for shows. BYRD Oh, good. Why do n't you spend another six months developing'em while staring out the window at mommy's house next to poor dead Albert the dog. BARRIS How do you know all that? BYRD I know everything about you, Chuck. For fuck's sake, I know which hand you jerk off with. Barris lifts his hands, tries to remember. BYRD -LRB- CONT'D. -RRB- Right. Leave in the morning, if you want. But I'm here to tell you this is honest work for good pay. You'd be helping to make the world safer. And your country would be grateful. Byrd rises, stubs out his cigarette in his hand. BYRD -LRB- CONT'D. -RRB- It'll toughen you up. Barris sits there staring into the blackness.","INT. CLASSROOM - DAY Another big, frightening instructor stands before the class. Behind him is a full - sized diagram of a man which illustrates all major arteries and organs. He is demonstrating the proper way to grip a knife, then using the knife, he points to various sites on the body. Angle on Chuck Barris. He has copied the diagram of the man in his notebook and is writing `` Carotoid artery carries blood to brain. Death in seconds.'' He then writes : `` Game show idea : Slice of Life. Interesting!''","EXT. FIELD - DAY Several canvas dummies are propped up in the field. Barris and other students slash at the dummies with big knives.","INT. WORKSHOP - DAY Barris and other students are assembling rifles.","EXT. MUDDY FIELD - NIGHT Barris and other students crawl on their bellies through mud.","INT. LABORATORY - DAY The severe instructor, in a lab coat, is mixing chemicals. INSTRUCTOR #1 Glycerin is, of course, the best - known nitrating agent. Now keep in mind, nitroglycerin is extremely unstable. A slight tap, a one degree change in temperature and it'll blow up in your hands. Yee - haa, let's mix us up a batch! Instructor # 1 holds up a beaker. INSTRUCTOR #1 -LRB- CONT'D. -RRB- Everybody take your 75 ml beaker and fill it to the 13 ml level with fuming red nitric acid, 98 % concentration. The students nervously pour nitric acid into beakers.","INT. BUNKER - DAY The severe instructor is demonstrating how to use an army field telephone to torture a man. A canvas dummy is tied to a chair as the instructor attaches wires from the telephone to the dummy's genitals and to his mouth. The students watch closely, take notes.","EXT. BARRACKS - DAY The students with suitcases and in traveling clothes are hugging and saying good - bye. The end of summer camp. A tearful Barris heads toward one of the waiting buses. Byrd pulls him aside, discusses something with him.","INT. PLANE - DAY Byrd and Barris, now dressed in a suit similar to Byrd's, sit in first class. Byrd stirs his scotch and water with his finger as he stares at nothing out the window.","EXT. AIRSTRIP, MEXICO CITY - DAY SUBTITLE : MEXICO CITY, 1965 A commercial airliner comes in for a landing.","INT. CAFE - DAY Barris, Byrd, and two sleazy, sweaty men, Benitez and Brazioni, sit in a booth in the back of the dark cafe. Benitez opens up his brief case and pulls out a pile of grainy photos of a man leaving a residence and a street map. He lays them on the table. BYRD Salvador Panagra Renda, gentlemen. BENITEZ Si. In the flesh. BYRD What have you got for me, Manny? BENITEZ -LRB- re : map. -RRB- Renda leaves his apartment every day at 8:30, alone, walks east two blocks to this news kiosk, buys a paper and heads south four blocks to the plaza of the Museum Nacional to read it. BYRD Okay. Chuck, you're here at 8:25. Dress like a tourist. Start walking north. You should pass Renda here. Stop him and ask him in bad Spanish where the museum is. Make sure he does n't understand what you're asking. BARRIS Okay. BYRD -LRB- to Brazioni and Benitez. -RRB- You'll be parked here. Brazioni, you're behind the wheel. Benitez, you're on the street leaning into the car chatting with Benitez. When Chuck stops Renda, you turn to help with the directions, stick a gun into Renda's ribs, and direct him into the back seat. Chuck, you get in first. Renda's between you and Benitez. Brazioni, whaddaya got? Brazioni opens a case to reveal three Walther P - 38 pistols. BYRD -LRB- CONT'D. -RRB- Nice. You got suppresers with those, I'm assuming. BRAZIONI I am not an imbecile. BYRD -LRB- smiling. -RRB- Glad to hear it. Was n't sure. BARRIS -LRB- to Byrd. -RRB- Where are you going to be, Jim? BYRD Poolside, Chuck.","INT. HOTEL BAR - NIGHT Brazioni and Benitez are at a table, drunk, sweaty and loud, flirting with some women. Byrd sits at the bar, sipping a scotch. Barris enters, spots Byrd, sits down next to him. BYRD -LRB- not looking up. -RRB- Hola, Chuckito. Que pasa? YOUNG BARRIS So what'd this guy Renda do anyway? BYRD It's your job to follow directives, not question their validity. BARRIS It's just. BYRD He's a bad guy, Chuck. He's one of the bad guys. Okay? BARRIS Bad for the U.S., right, Jim? Not bad in an absolute sense, just bad for the U.S. BYRD Do n't fuckin' dance with me, Barris. Renda's bad for the Tea and Biscuit Co.. He's bad for me personally. You work for me, and Renda's bad for me. You're now officially a patriotic citizen of the United States of Jim Byrd. YOUNG BARRIS Look, this is - Byrd grabs Barris and pulls him over to a dark corner of the room. No one looks up. He pushes Barris against the wall. BYRD There's no backing out now, Chuck. We've let you in on everything. So you do n't play, you do n't leave Mexico. Comprende? YOUNG BARRIS I was just - BYRD -LRB- softening. -RRB- I like you. I really do. And you're gon na do fine tomorrow. And we're gon na become great friends. And you're gon na have a very nice little career. But you've got to grow up. There's a war on. YOUNG BARRIS What war? BYRD -LRB- walking away. -RRB- That's not your concern.","INT. MEXICAN HOTEL ROOM - NIGHT It's hot. There are two twin beds in the room. Byrd sleeps soundly in one. Barris lies in the other, eyes wide open.","EXT. MEXICO CITY STREET - DAY Renda is buying a newspaper at the kiosk. He completes the transaction and takes a few steps with his paper. Barris blocks his way, holding a phrase book and shaking. BARRIS Excusa me, por favor, Senor. Renda stops. BARRIS -LRB- CONT'D. -RRB- Donde es - bla ra - ba - blala los bloteros? RENDA No comprende. Renda tries to get away from this pesky tourist. Barris follows him, calling after him. BARRIS Ra - bla - bla - mamos las minjares? Renda picks up his pace, as does Barris. Benitez approaches. BENITEZ May I be of some assistance here? Renda appears relieved, until he feels the gun in his back.","INT. CAR - DAY Renda's in the back between Barris and Benitez. Brazioni drives. Renda seems pale and nervous, as does Barris in his gaudy tourist wear and sunglasses. The car drives slowly through the crowded Mexico City streets. They arrive at a jammed intersection and are suddenly confronted with a big parade. It's Day of the Dead ; the streets are filled with dancing skeletons. It's wild and frightening. Brazioni glances at Renda in the reaview mirror. BRAZIONI Day of the dead.","EXT. FIELD - DAY The car stops in a deserted field. Barris gets out first. His shirt is soaked through with sweat. Suddenly there's a commotion inside the car. Renda has gotten hold of a gun. He shoots Brazioni and Benitez. Barris panics and dives behind the car. Renda steps cautiously outside of the car, looking for Barris. Barris grabs Renda's foot. Renda falls, the gun flies from his hand. Barris kicks the gun under the car, his own gun drawn. He points the gun at Renda, who is on his stomach. Barris does n't shoot. He's scared, shaking wildly. Renda looks up at Barris, trying to figure him out. He slowly rises to his feet, turns to Barris with a pleading look in his eyes. RENDA Por favor. No me mates, senor. Tengo tres bebes. Barris sucks in a deep gulp of air. His hand shakes. He pulls out Spansh - English dictionary. BARRIS Again. RENDA Que? BARRIS Repitolo. Again. RENDA No me mates. Tengo tres bebes. Barris flips through the dictionary. A church bell chimes, startling Barris. His gun goes off accidentally and the bullet hits Renda in the face, tearing most of it away. Renda falls, but is still alive. He screams out of where his mouth was. A wedding party emerges from the distant church. BARRIS Oh Christ. Oh crap. Barris tries to stop Renda from screaming by covering the hole in Renda's face. Barris throws up, some of it landing on Renda's pants. He wipes his own mouth with his bloody hand and looks at the still screaming Renda. The churchgoers are starting to squint in Barris's direction. Barris shoots Renda again. And again and again and again and again. More blood spatters Barris's clothing and face. The church bell continues to chime.","INT. AIRPLANE - DAY Barris and Byrd sit side - by - side in first class. This time Barris has the window seat and stares out. BYRD Beautiful country, is n't it? YOUNG BARRIS Yeah. BYRD You did us proud, Chuck. Barris does n't say anything. BYRD -LRB- CONT'D. -RRB- Renda was a bad guy. He really was. BARRIS Yeah.","INT. APARTMENT - EVENING Barris enters carrying an overnight bag and some mail. He flips on the hall light and stares at himself in a mirror. BARRIS -LRB- V.O. -RRB- I had changed. I could see it in my eyes. Something dark. Barris notices a fleck on the side of his nose. It's dried blood. He distractedly rubs at it.","EXT. FIELD - DAY Renda's contorted face in close - up as he is shot. Blood spurting. Echoey church bells chime. RENDA No me mates. Yo tengo tres bebes.","INT. APARTMENT - EVENING Barris puts down his bag, pulls the Spanish - English dictionary from his pocket, and tries to translate what Renda said. It takes him a while but he does. BARRIS `` Do n't kill me. I am three babies.'' I am three babies? What the fuck does that mean? -LRB- studies dictionary. -RRB- Oh. `` I have three babies.'' Oh, God. Barris drops to the floor and throws up into a trash can. Out of the corner of his eye, he catches a movement in the living room. He lurches backwards, knocks over the can. Vomit spills onto the carpet. PENNY -LRB- O.C. -RRB- -LRB- groggily. -RRB- Chuck, is that you throwing up? In the dim light from the hallway, Barris spots Penny lying on the couch. She is dressed as a hippy. A backpack and a duffel lie on the floor next to her. BARRIS Jesus Christ, Penny. You scared the shit out of me. What are you doing here? PENNY Sorry. I just been crashing here for a few days. Waiting for you. Where you been, man, where you been? BARRIS Mexico. Just on a little vaca. PENNY You drank the water, did n't you? BARRIS Yeah. PENNY You're not supposed to. Montessori's Revenge. You're not even allowed to open your mouth or your eyes when you take a shower. It's crazy. How come our water is so good and their water is poison? It's the same ocean. BARRIS I do n't know. PENNY It's weird, huh? -LRB- beat, then proudly. -RRB- So I'm a hippy now. Look. Penny stands in the dimness to show off her outfit. PENNY -LRB- CONT'D. -RRB- I've been in San Francisco, and it's amazing. Everybody loves everybody and there's lots of colors. We're gon na change the world, Chuck. Come back with me and be my old man, okay? Not that old! Ha ha ha. BARRIS Penny, I'm a little tired now, so. PENNY Oh! You got ta hear this song! Penny shrieks excitedly as she runs to the record player. She turns it on, plugs in a strobe light. `` Sunshine Superman'' starts up. Penny sings and dances along, directing the lyrics at Barris. Barris looks around at his strobing apartment. He sees Penny's mess : pot paraphenalia, anti - war posters, a gold dove painted on the wall with a phone number underneath. PENNY -LRB- CONT'D. -RRB- -LRB- singing. -RRB- `` Cause I made my mind up, you're going to be mine.'' BARRIS Penny, what did you do to my wall? PENNY -LRB- looking. -RRB- Oh, it's a guy who called a couple a days ago. Gold - Bird. Is n't it pretty? BARRIS Leonard Goldberg?! You're kidding? -LRB- dials phone anxiously. -RRB- Hello, this is Chuck Barris returning for Leonard Goldberg. Pause. Barris paces. Penny sings and dances in background. GOLDBERG -LRB- PHONE VOICE. -RRB- Hi, Chuck! BARRIS Mr. Goldberg! I'm so sorry I did n't get back to you right away. I was out of town. Vacationing in Mexico. GOLDBERG Good for you. Listen, Chuck. We've ended up with a damn hole in our daytime schedule. I've been reviewing some options, and it occurred to me there might be a place here for you and your baby. BARRIS My baby, Mr. Goldberg? GOLDBERG The Dating Game. -LRB- joshingly. -RRB- That is your baby, is n't it, Chuck? BARRIS Yes sir, it is. GOLDBERG Are you still interested? BARRIS Yes sir. Very interested. Sir. GOLDBERG Good man. We'll need to start airing in about six weeks. Is that do - able for you and your people? BARRIS My people? Six weeks? Sure. Yes sir. GOLDBERG Great. Keep me posted. Dial tone. Barris sits there, phone in hand, then throws up again into the trash can. Penny stops dancing, watches. PENNY Damn Mexicans and their water.","INT. DATING GAME SET - DAY An episode of the show is being taped. Barris paces nervously behind the camera. BLONDE BACHELORETTE Bachelor number two, what would I like most about you? BEANPOLE BACHELOR I am very romantic and I would send you flowers every day. The studio audience `` awwws.'' BLONDE BACHELORETTE Aww. That's sweet. Bachelor number three, what would I like most about you? FRIZZY-HAIRED BACHELOR My big cock. The bachelorette makes a mock - horrified expression as the studio audience erupts in laughter. Barris buries his face in his hands.","INT. DATING GAME SET - DAY A brunette bachelorette asks a question. BRUNETTE BACHELORETTE Bachelor number one, what nationality are you? HANDSOME BACHELOR Well, my father is Welsh and my mother is Hungarian, so I guess that makes me Well - Hung. The audience goes wild. Barris pulls at his hair.","INT. DATING GAME SET - DAY A black bachelorette asks a question. BLACK BACHELORETTE Bachelor number three, I play the trombone. If I blew you, what would you sound like? The audience screams with delight.","INT. BOARD ROOM - DAY Leonard Goldberg, a bunch of network executives, and Barris sit around a conference table and watch a tv. On it is The Dating Game. A black bachelor is responding to the trombone question. He simulates the receiving of a blow job, moaning and writhing in his seat as the studio audience howls. Barris has his head in his hands. Goldberg signals an assistant, who switches off the television. The executives look quite grim. GOLDBERG Chuck, quite frankly these episodes are unairable. BARRIS Look, Len, the show's spontaneous, it's unscripted. That's it's charm. I ca n't control what people say. EXECUTIVE Be that as it may, Mr. Barris, we ca n't have black men getting blow jobs on national television! GOLDBERG The point is n't that he's black, Hank. EXECUTIVE -LRB- beat. -RRB- Well, I know that. That's not what I meant. BARRIS Look, Len, nobody is indifferent to these shows. Right? And that's good. Show business must avoid indifference at all costs. EXECUTIVE Even when taste is involved? BARRIS Taste is just a word. EXECUTIVE You do n't fuck with taste, my friend! BARRIS -LRB- uncomprehending. -RRB- What does that even mean? I do n't even under - GOLDBERG Chuck, we can not air this stuff. That's it. If you ca n't figure out how to retain your spontaneity without the contestants being lewd, we're going to have to pull the show.","INT. BAR - NIGHT Barris is drunk and brooding. He picks a fight with a big man who has unintentionally knocked into him at the bar. Barris is brutal and effective, utilizing the techniques he learned from one of the scary instructors at training camp. This gives him an idea.","INT. DATING GAME SET - DAY The contestants are onstage. Barris appears, warm and charming. BARRIS Hi, folks. Before we begin taping today, I'd like to introduce you to Mr. Peter Jenks of the Federal Communications Commission. The severe training camp instructor joins Barris onstage. INSTRUCTOR #1 -LRB- increasingly psychotic. -RRB- Thank you, Mr. Barris. I do n't know if any of you are aware of this, but it's a federal offense to make licentious remarks on a network television broadcoast. The penalty for this disgusting, un - American behavior is one year in prison or a ten thousand dollar fine or both. Anyone making a sick, subversive remark tonight will be arrested immediately. I will then personally escort the offender to federal prison for booking under edict number 364 of the Broadcast Act of 1963. And it's a long drive to that prison. Just you and me. No other witnesses - BARRIS -LRB- jumping in. -RRB- Any questions? There are none. The contestants are paralyzed with fear. Jenks is red - faced, trembling. BARRIS -LRB- CONT'D. -RRB- Okay. Have fun, everybody!'","EXT. TERRACE - DAY The actual Barris being interviewed. ACTUAL BARRIS Sometimes as a younger man I stretched the truth to get what I wanted. `` Through all the lying days of my youth/I swayed my leaves and flowers in the sun ; / Now I may whither into the truth.'' Yeats. You heard of him? INTERVIEWER -LRB- O.C. -RRB- Yeah. Of course. ACTUAL BARRIS Sure you have. -LRB- beat. -RRB- Anyway, my little lie worked. We aired and become a big hit. A phenomenon, really.","INT. BARRIS'S OFFICE, BARRIS PRODUCTIONS - DAY SUBTITLE : BARRIS PRODUCTIONS, LOS ANGELES, 1967 This is the sixties and the office is crazily appointed. Street signs, funny posters, faux Tiffany lamps, mobiles, lava lamps, an inflatable sex doll, etc.. Barris, 36, is behind his desk, feet up and on the phone. He wears a t - shirt and jeans and loafers. This is a new Barris, confident and successful and hip and relaxed and slovenly. Outside in the bullpen area we hear the hustle and bustle, laughing and screaming of a busy but casual office. BARRIS -LRB- into phone. -RRB- Terrific, Rod! Yeah, I'll get back to you on Monday. Great. Thanks. Bye. Barris hangs up the phone. His jovial facade disappears. He opens up his ice bucket. It's empty. BARRIS -LRB- CONT'D. -RRB- -LRB- yelling. -RRB- Ice! Ice! Ice! Ice! Ice! Loretta, Barris's pretty young secretary, enters with a new bucket of ice. She is braless and shoeless. LORETTA Jesus, Barris, take a Darvon. Loretta drops the bucket of ice on his desk. Barris grabs her arm, pulls her toward him, kisses her on the back of the neck. BARRIS Hey, baby. Loretta acts annoyed, but it's playful. LORETTA Asshole. BARRIS I know. Sit. Talk to me. Loretta sighs and drops into a bean bag chair. Barris puts some ice in a glass and pours himself a scotch. LORETTA I'm busy. We're in the middle of a bachelorette crisis out there. BARRIS I just got a call from the network. Drink? LORETTA You got any weed? BARRIS I wish. LORETTA Then I'll have a drink. Bad news? Barris pours a drink for Loretta. She gets up, takes it off the desk and falls back down into the bean bag. BARRIS The Tammy Grimes Show is being pulled from Saturday night. LORETTA -LRB- mock concern. -RRB- Oh my God! -LRB- drily. -RRB- So? BARRIS They want to put a prime - time version of the Dating Game on in its place. LORETTA Shit! You're kidding! That's fucking great! BARRIS But they say the day - time version's not hot enough. They want me to make it more exciting for night - time. I got forty - eight hours. LORETTA What do you have so far? BARRIS Nothing. Bupkis. I mean, the show is what it is. I do n't have a clue. This could be my big break, Loretta. LORETTA Yeah, I know. Do n't blow it. Loretta smiles at him, downs her drink, gets up and pads out of the office. Barris watches her ass. BARRIS Thank you for your help. LORETTA -LRB- not looking back. -RRB- Hey, I brought the ice. She is out the door. Barris picks up his guitar and noodles on it.","INT. DATING GAME SET - LATER Barris paces on the darkened set. He is trying to think. A shadowy figure appears at the top of the bleachers and creeps down the aisle. Barris is deep in thought and does n't hear. The man appears behind Barris and locks his arm around Barris's neck. Barris is startled, choking and flailing trying to remove the arm. He ca n't. Finally the man releases Barris and tweaks his crotch. Barris turns wildly around. It is Jim Byrd. BYRD Boy, did n't I teach you anything? BARRIS You son of a bitch! Barris swings at Byrd. Byrd easily blocks the punch. BYRD You're so rusty, it's embarrassing. BARRIS You're a stupid fucking turd, you know that? BYRD Can I buy you lunch?","INT. MARTONI'S - DAY Jim is downing his bourbon and signals the waitress for another. Barris, still pissed, sips a martini. BYRD Ah, lighten up, hombre. BARRIS My fucking neck hurts. Okay? BYRD Poor baby. Look, I've been put in charge of a fairly large wet operation and I could use your help. BARRIS Have you noticed, Jim, I've got a tv show on the air? I do n't need to kill people for hire anymore. BYRD I know you do n't need to. But you'd like to. BARRIS That's insane. Byrd shrugs, unconvinced. He sips his drink. BYRD Think of it as a hobby. An avocation. Something you do to relax. You can be an assassination enthusiast, a murder bug. BARRIS I've got important things to think about here. I do n't have time to fuck around with you. BYRD Okay, I'll help you out with your little show. Tit for tat. That's the kinda guy I am. I've seen this Dating Game of yours, Chuck. And I have a thought. BARRIS What, now you're a television producer? BYRD Hey, I'm CIA operative John Q. Public when it comes to tv and that should make my opinion of interest to you. BARRIS Let's hear it then. BYRD Well, what do you have now? The couple gets sent to some stupid second - rate Hollywood shitcan restaurant, right? Sets you back fifty bucks? That's not too exciting a prize to us vicarious - living boobs out in TV - land. BARRIS Yeah, what's your point? BYRD Up the stakes, Chuckles. Send'em to some exotic locale. Europe, Southeast Asia, for example. BARRIS The network's not going to let me send two unmarried kids on vacation together. BYRD -LRB- shrugs. -RRB- Send'em with a chaperone. Some respectable old lady with a sewn closed snatch. BARRIS -LRB- considering. -RRB- Y' know, that's not half bad. BYRD I'm telling ya. And. And sometimes you can be the chaperone, Chuckie. Let's say we have a job for you in Austria. You, a successful tv producer, above suspicion, chaperones the young couple, and while you're there, blam! you take care of some Company business. It's the perfect cover. TV producer by day, CIA operative by night. BARRIS I told you, I do n't have to kill people for money anymore. BYRD Chuck, when I said you fit our profile, very little of that had to do with you needing the money. Some of it, but very little. You liked it with Renda, Chuck. I saw it in your eyes. You liked it but you botched it. Do n't you want to get really good at something, Chuck? Barris stares at Byrd.","INT. BOOTH (DATING GAME SHOW) - DAY The director calls the shots. Barris stands in the back watching the show in progress. On the stage is a pretty blonde bachelorette in a short black dress and three bachelors. Bachelors two and three are attractive and stylishly dressed and groomed. Bachelor one is a fat, not - too - bright looking guy in a yellow - ochre leisure suit. His slow, unfocused delivery contrasts with the fast, sharp chatter in the booth. DIRECTOR -LRB- rapidly. -RRB- Ready one, take one. Ready three, take three. Ready one, take one. BLONDE BACHELORETTE Number one, can you please tell me what a girl is like who has n't been on a date before and how you can tell she has n't been on a date before? DIRECTOR Ready two, take two. This guy has never been on a date. Everyone in the booth laughs. FAT BACHELOR Well. BARRIS Jesus, she's got ta pick this guy. This is just too good. FAT BACHELOR I'll ask her what she likes to do and - DIRECTOR Ready one, take one. Ready two, take two. FAT BACHELOR And if she does n't know what she likes to do - DIRECTOR Ready three, take three. The only date he's ever had is with his right hand. Guys in booth laugh, except Barris. FAT BACHELOR then I'll know she has n't done it yet.","EXT. PICCADILLY CIRCUS - DAY SUBTITLE : LONDON, 1967 It's all mod and colorful. Chuck Barris shuffles along, taking in the sights with the Dating Game couple. The blonde bachelorette did indeed pick the fat guy. But it's clear she thinks she made a mistake and pays him no attention whatsoever, walking about twenty feet in front of him and Barris. Barris seems bored.","INT. PUB - DAY Barris enters the pub alone. He's dressed in a blonde wig and moustache and glasses. It's crowded and he searches the room for someone. He spots a pretty young woman by herself at a table. She wears white go - go boots. BARRIS Excuse me, is this seat taken? WOMAN By you. Barris sits across from the woman. BARRIS London is wonderful this time of year, is n't it. WOMAN Yes it is. BARRIS -LRB- beat. -RRB- Oh. Sorry. Barris gets up, glances around, spots another pretty young woman in white go - go boots, sitting by herself. He approaches her. BARRIS -LRB- CONT'D. -RRB- Excuse me, is this seat taken? PATRICIA By you. Barris sits. BARRIS London is wonderful this time of year, is n't it? PATRICIA Especially the fog. It affords one solitude, even in a city full of people. BARRIS I'm Chuck. PATRICIA Yes, I gathered. BARRIS And you are? PATRICIA -LRB- smiles. -RRB- Here you go, Chuck. She hands him a manila envelope, and stands to leave. BARRIS At least give me a made - up name. Something for me to cry out during those dark nights of the soul. PATRICIA Cry out, `` Olivia!'' BARRIS That's Twelfth Night. PATRICIA Very good, Chuck. I'm pleasantly surprised. You're not like the other murderers. She smiles and leaves. Barris watches after her, then opens the envelope and pulls out a black and white photo of a man.","EXT. WESTMINISTER ABBEY - DAY It's raining. A bored Barris, dressed normally, waits with the fat bachelor under an umbrella near the entrance. The fat bachelor checks his watch. FAT BACHELOR I thinks he's really pretty and I want to be her boyfriend.","EXT. CHURCH COURTYARD - NIGHT Barris, in wig and moustache, stands in the middle of the empty, dark courtyard. ENGLISHMAN -LRB- loud whisper. -RRB- Here. Barris approaches. BARRIS Do you have it? ENGLISHMAN Do you have it? BARRIS Sorry. Yeah. Barris reaches into his jacket pocket and pulls out an envelope. The Englishman takes it, opens it, pulls out a wad of cash and counts. BARRIS -LRB- CONT'D. -RRB- Do n't worry, we're not gon na cheat you. ENGLISHMAN Just the same. The Englishman finishes counting the money, pockets it, and hands Barris a box of Polaroid film. BARRIS Thank you. Oh, one more thing. Barris pulls out his automatic with attached silencer and jams it into the Englishman's mouth. The silencer breaks the man's front teeth. The man makes a muffled grunt. BARRIS -LRB- CONT'D. -RRB- Sorry about your teeth. The Englishman's eyes are wide with terror. Barris pulls the trigger three times. The back of the Englishman's head explodes. Blood and hair and brain are spattered against the church wall. The Englishman slumps to the ground. Barris reaches into the man's jacket, pulls out the envelope of money, pockets it, and makes his way toward the churchyard gate. There stands the fat bachelor, watching, confused. After the initial shock, Barris smiles warmly. BARRIS -LRB- CONT'D. -RRB- It's Ronnie, is n't it? The fat bachelor nods. BARRIS -LRB- CONT'D. -RRB- C'mere, Ronnie. I want to show you something neat. It's okay. The fat bachelor enters the courtyard.","EXT. TERRACE - DAY ACTUAL BARRIS I felt bad about Ronnie. But really I did that ugly, fat, stupid kid a favor. He was ugly and fat and stupid. More life would n't have changed that for him. No woman would ever have loved him. That's just the brutal truth, y' know?","INT. LONDON HOTEL ROOM - NIGHT Barris enters the room, shaky and scared.","INT. BATHROOM - CONTINUOUS Barris rips open the Polaroid box, pulls out the foil paper that protects the film, rips that open and pulls out a small white plastic vial. Barris greases the vial with Vaseline and sticks it up his ass. He looks at himself in the mirror, naked and pathetic. There is a knock at the door. He stiffens, grabs his gun and pads out of the bathroom.","INT. HOTEL ROOM - CONTINUOUS Barris peeks out the peephole. We see a fish - eye view of Patricia Watson. BARRIS Olivia? PATRICIA It's Patricia, actually.","INT. HOTEL ROOM - LATER Barris and Patricia sit sipping champagne. Both are drunk. PATRICIA and so then I spent a year in Operation Chaos, inside the anti - war movement as an agent provocateur, nudging it toward violence in order to discred it. That was fun. I got to wear granny glasses. BARRIS Sounds fun. So tell me, Patricia, why'd you come up here tonight? PATRICIA I do n't know. You're sort of cute in a homely way. And it's always lonely when that civilian you're fucking calls out the name off your fake passport. BARRIS `` All the information I have about myself is from forged documents.'' PATRICIA Nabokov. Barris is thrilled and kisses her. It begins to turn hot and heavy. Suddenly Barris pulls away. BARRIS Actually, I just got ta go into the bathroom and take care of something. PATRICIA No, baby. Leave the microfilm in.","EXT. KENNEDY AIRPORT - DAY A plane lands.","INT. KENNEDY AIRPORT TERMINAL, CUSTOMS - DAY Barris waits sweatily in line with a small a carry - on suitcase. When the line moves, he walks as if perhaps he has something up his ass. A customs agent walks past the line with a dog. The dog sniffs Barris's ass in passing.","EXT. AIRPORT TERMINAL - DAY Barris steps out of the terminal. A black limo pulls up. The back door opens and Barris gets in.","INT. LIMO - CONTINUOUS Seated in the back are Jim Byrd and Simon Oliver, 50. Oliver is pure ivy league with a pipe. When he speaks it is with an affected British accent. Byrd is pissy. BYRD Hey, buddy. This is Simon Oliver. BARRIS Hey. BYRD Everything go okay? You do n't look too good. OLIVER Mr. Barris, do not ever again jeopardize one of my missions by killing a game show contestant. Is that understood? BARRIS You're welcome, pal. OLIVER Do I make myself clear? BARRIS Fuck you! They're my contestants. OLIVER Amateur. BARRIS Faggot. BYRD Chuck - OLIVER Lovely. Tell me, Mr. Barris, are you in possession of my microfilm? BARRIS Yeah, I got it. OLIVER Let's have it then. BARRIS It's up my ass, Oliver. Why do n't you reach on up there and get it. Oliver tamps his pipe. Byrd stares down at his thumbs. BARRIS -LRB- CONT'D. -RRB- I just feel I deserve some appreciation for my efforts. OLIVER What do you think Patricia Watson was? Barris looks at Byrd. Byrd almost imperceptibly shakes his head `` no.'' BARRIS Prick.","INT. BARRIS PRODUCTIONS - DAY Barris, now in t - shirt and jeans, shuffles through the busy bullpen area. Employees wave, say `` hi'', give Barris the peace sign. He returns the gestures, but halfheartedly. He seems depressed. Loretta sidles up beside him. LORETTA Well, if is n't the hitman. BARRIS -LRB- turning, wild - eyed. -RRB- What? OFFICE WORKERS Hitman! Hitman! Hitman! Hitman! LORETTA I said, well, if it is n't the hitman. Just heard through the grapevine that ABC is going to pick up The Newlywed Game. BARRIS You're kidding me. LORETTA Not kidding you. Day - time and prime - time. BARRIS Oh, fuck, Loretta. That's sensational! Barris kisses Loretta. OFFICE WORKERS Hitman! Hitman! Hitman! Barris joins them chanting `` Hitman'' and dances around the office.","EXT. TERRACE - DAY ACTUAL BARRIS The Newlywed Game was based on my theory that almost any American would sell out their spouse for a washer - drier or a lawnmower you can ride on. Such was my respect for that most holy of unions. I must've been on to something, because the show aired for thirteen years.","EXT. MUSTANG CONVERTIBLE - DAY Barris speeds through the curvy streets of the Hollywood Hills. Penny Pacino, dressed as a hippy, sits in the front passenger seat. SUBTITLE : HOLLYWOOD HILLS, 1969 PENNY Great wheels, man. BARRIS Yeah, I decided to start treating myself right. You spend so much time denying yourself things. Life's too short. PENNY Yeah, I really gork what you're saying, man. BARRIS You really grok what I'm saying, man. Not gork. PENNY Oh. -LRB- beat. -RRB- Really? The car screeches to a halt in front of a fancy house with a `` For Sale, Open House'' sign out front.","INT. FANCY HOUSE - A FEW MINUTES LATER The house is empty. Barris and Penny are greeted at the door by a real estate agent. PENNY -LRB- looking around. -RRB- Outa sight! Buy this one. REAL ESTATE AGENT Hi. Welcome, folks. If you would n't mind signing - in on our sheet over th - BARRIS I'll take it. REAL ESTATE AGENT I'm sorry? BARRIS I'll take the house. PENNY Yay! Penny happily kisses Barris. REAL ESTATE AGENT -LRB- beat. -RRB- Very good, sir.","INT. EMPTY LIVING ROOM - NIGHT Barris and Penny are having sex on the floor. PENNY So, man, are you seeing anyone? BARRIS Nobody serious. You? PENNY No. I think we should get married. BARRIS Aw, Pen, do n't start - PENNY No, listen, it makes sense. You and I feel exactly the same about marriage, right? How much bullshit it is, right? And the odds of us finding someone else with the exact same view on it are small. So, it makes sense.","INT. HOTEL ROOM - NIGHT Barris, 50, types away. He is sweaty and naked except for a towel draped over his head. BARRIS -LRB- V.O. -RRB- I liked Penny. I even loved her in my way. But the idea of tying myself down for the rest of my life. I remember my parents' marriage.","INT. CHILDHOOD KITCHEN - NIGHT Barris, five, sits at the dinner table with his parents. His father, dressed in a dental smock, stares down at his plate as he eats. His mother absently chews and stares vacantly into space. MOTHER We need a new ice box. The father shrugs.","INT. DATING GAME SET - DAY The set, which holds four couples, divides in the middle to reveal a new refrigerator. ANNOUNCER A brand new Amana refrigerator - freezer with automatic ice maker! One of the couples is cheering and screaming hysterically, happy and in love and kissing. The other couples look disappointed and angry at their spouses. We pull back to reveal we're watching this on a tv in :","INT. BARRIS'S OFFICE - MORNING The office is filled to capacity with with hippy - like employees watching The Newlywed Game. Many sit on the floor, jammed up against each other. A few women are nursing infants. Someone passes a joint. Barris sits behind his desk, with a `` Make Love Not War'' helmet on his head, his feet up, and a guitar in his lap. BARRIS Beautiful. Did you see that? How much they loved each other just then? That's what it's all about, kiddies. Everyone agrees. Someone switches off the tv. BARRIS -LRB- CONT'D. -RRB- Okay, guys, new business. We're winning our slots every week. Everyone cheers. BARRIS -LRB- CONT'D. -RRB- But that means we need you Bandits to get on the contestant mill. Our supply of dumbfucks is lagging behind our demand for dumbfucks. And I'm gon na be introducing three new shows in the coming months : The Parent Game, The Game Game, and the Dollar Ninety - Eight Beauty Pageant, so we're gon na really need you guys to carry your weight. Nuff said. Any other business? EMPLOYEE #1 Yeah. Rick took four slices of pizza at lunch yesterday. Everyone else only got two. BARRIS Oooh. Is that true, Rick? Where are you? RICK Here. No, it's not true. BARRIS Any other witnesses to this alleged infraction? EMPLOYEE #2 I saw it. He took four. I only got one. BARRIS Rick, you're dead meat, buddy. -LRB- shoots Rick with finger. -RRB- I sentence you to. dance for us in today's post - meeting version of `` Out of Limits'' featuring the musical stylings of the CBP Stompers. Everyone cheers. RICK Aw, Chuck. BARRIS Get up here, you rascule, you. Rick heads up to Barris's desk. Everyone laughs. A few employees have joined Barris at his desk with instruments. They break into a raucous banjo version of `` Out of Limits.'' Rick dances. Everyone's laughing and clapping. MONTAGE As `` Out of Limits'' continues, now the actual version, we see montage of Barris shooting, stabbing, and garroting various foreign - looking people in strange, murky locations intercut with Barris having sex with Patricia Watson in different bedrooms and motel rooms, Barris dancing with Patricia in various exotic locales, and Barris on the set for his many game shows, happily directing the bustling activity.","INT. RANCH-STYLE LIVING ROOM - DAY The actual Jim Lange, host of The Dating Game. JIM LANGE Sometimes Chuck would just disappear for weeks. I remember once we had a conflict on the set over the right way to throw that kiss at the end of the show, y' know. -LRB- demonstrates kiss. -RRB-. and Chuck was just not reachable to resolve it. INTERVIEWER -LRB- O.C. -RRB- What was the conflict? JIM LANGE Look, it's water under the bridge. I'm not gon na talk about it.","INT. BARRIS'S LIVING ROOM - NIGHT The previously bare room is now filled with lovely and expensive furnishings. But Barris and Penny are again on the floor, now playing Scrabble by candlelight. Penny lays down some tiles : I - N - T - E - R - P - E - T BARRIS The word's interpret. PENNY Interpet. BARRIS Interpret. PENNY Well, do you have an extra `` r'' then I could borrow? BARRIS I'm not going to give you a letter. You're lucky I do n't make you forfeit a turn. PENNY Oh. Okay. Penny retrieves her letters and studies the board. Barris empties the wine into Penny's glass. There was n't much left. BARRIS I'll run to the store and get some more. PENNY All right. BARRIS Do n't cheat. PENNY You neither.","EXT. LIQUOR STORE - NIGHT Barris pulls up in a Jaguar XKE convertible. A pretty, innocent - looking young woman, Monica, is emerging with a big laundry bag from the laundromat next to the liquor store. She glances, momentarily, at the Jaguar and at Barris.","INT. BARRIS'S LIVING ROOM - A BIT LATER Barris enters with a bottle of wine. Penny is in the same position on the floor. PENNY Intrepet's a word, right? BARRIS Intrepid. PENNY Shit fuck piss. -LRB- concentrating. -RRB- Okay okay okay. BARRIS Pen, we should call it a night. I'm kinda tired. PENNY You're tired. BARRIS I got a date. PENNY Since when? BARRIS I just met this girl. PENNY Like, just now? You mean just now? BARRIS Yeah. Kinda. PENNY Well, that's rude. BARRIS Sorry. PENNY Yeah, well, see ya. Penny picks up her bag and exits in a huff.","INT. MONICA'S LIVING ROOM - LATER It's a young woman's apartment, small and girly. The doorbell rings. Monica, clearly not out of her teens, enters the room and answers the door. Barris stands there with the bottle of wine. BARRIS Hi! MONICA Hi! BARRIS Wow, this is a beautiful place you got! Barris enters, looks around. There's another teenage girl in pajamas in the kitchenette, mixing tuna salad. ROOMMATE Hi. BARRIS Hi. MONICA Chuck, this is Mindy, one of my roommates. BARRIS Hi. MONICA Have a seat. Barris sits on the couch. Monica sits next to him. Mindy is in the background, futzing around in the kitchen area. MONICA -LRB- CONT'D. -RRB- So. have you accepted the Lord Jesus Christ as your savior, Chuck? BARRIS -LRB- beat. -RRB- Yes, I have.","INT. MONICA'S LIVING ROOM - A BIT LATER Barris, Monica, and Mindy sit on the couch watching a religious show on television.","EXT. TERRACE - DAY ACTUAL BARRIS Yeah, I remember that religious girl, sure. Monica Something. Fleming. Oh God, she had the softest, fleeciest clam I ever experienced. It took a little more work than usual, but I got in there, baby. -LRB- smacks lips, then stares off into space. -RRB- It was some clam. Oh Lordy. You get old, y' know, but the taste for soft clam, it just does n't go away. This is the great tragedy of getting old.","INT. BARRIS PRODUCTIONS - DAY The room is abuzz with activity. Lots of people on the phone talking. A potential Newlywed Game couple being interviewed. Monica sits in the waiting area, eavesdrops on the interview with the Newlywed Couple. WOMAN Getting married to Alan is the best thing I've ever done. It's just so wonderful knowing that you've got someone by your side through everything for he rest of your life. The couple kisses. LORETTA ` kay, Mon.. He's off. Monica enters the office.","INT. BARRIS'S OFFICE - CONTINUOUS Monica enters. Barris wears a deerstalker cap. BARRIS My sweet little clamato. Monica leans down and kisses Barris. MONICA I'm pregnant. Barris's eye twitches. MONICA -LRB- CONT'D. -RRB- -LRB- crying. -RRB- I ca n't be pregnant, Chuck. BARRIS Is it mine? Monica looks at him incredulously, flings an ashtray at him, misses. She sits at the desk, looks glumly out the window. MONICA I ca n't believe you asked me that. BARRIS I know. I'm sorry. -LRB- beat. -RRB- But you're sure, right? MONICA I hate you so much right now. BARRIS Look, we'll take care of it. MONICA How? Are you gon na marry me? BARRIS -LRB- carefully. -RRB- Well, no. Not at this point. MONICA I'm not murdering my baby! -LRB- weeping. -RRB- I ca n't. do that. Please. Barris sighs. He touches Monica's hand.","INT. AIRPLANE - DAY Barris and Monica sit in first class. Barris stares out the window. Monica stares straight ahead. BARRIS Beautiful country, is n't it?","EXT. MEXICAN ALLEY - DAY Barris leads a crying Monica down the garbage - strewn alley. They find a doorway. Barris opens it. BARRIS Here we are. MONICA -LRB- collapsing. -RRB- I ca n't I ca n't I ca n't I ca n't. Barris supports her and leads her into the office. BARRIS It's okay. It'll be okay.","EXT. SCULPTURE GARDEN, UCLA - DAY Barris and Penny walk sadly through the garden. PENNY What a waste. BARRIS Tell me about it. I figure over the years I must've spent close to twenty grand on these abortions : airfare, hotels, doctors, gifts. PENNY That's not what I meant. BARRIS And I do n't even know how many of these fetuses were mine. That's what really kills me. A SERIES OF SHOTS IN VARIOUS LOCALES OF MIDDLE - AGED WOMEN WITH PAIN - ETCHED FACES, ADDRESSING THE CAMERA. WOMAN #1 It was his. WOMAN #2 Yeah. It was his. WOMAN #3 It was n't his. I lied. WOMAN #4 Yes, it was his baby. WOMAN #5 Yeah. WOMAN #6 The godamn son of a bitch. He asked you to ask me this? WOMAN #7 I was screwing a lot of guys at the time. It coulda been his. WOMAN #8 Uh - uh. I just needed someone to pay for it. He was a wallet with legs. WOMAN #9 Yeah, I was just a kid. It ruined my life.","EXT. TERRACE - DAY ACTUAL BARRIS I do n't really want to talk about this. We hold on a silent Barris.","EXT. SCULPTURE GARDEN - DAY Barris and Penny walk in silence. PENNY So I'm assuming this means Monica is out of the picture. BARRIS Yeah, I got baptized for nothing. PENNY Chuck, I was thinking. I have this plan now, now that you're free - BARRIS God, you look cute today. PENNY I always look cute. Do n't distract me. What was I going to say? BARRIS I do n't know. PENNY You do know. -LRB- enthusiastically charged. -RRB- Chuck, why do n't we get married? We've known each other forever. We've fucked each other forever. You think I'm cute, you just said. You always come to me when you're in trouble. And you're almost forty, Chuck. Barris turns violently toward Penny. BARRIS -LRB- shouting. -RRB- I know how old I almost am! That's it. Do n't ever ask me to marry you again! PENNY -LRB- quietly. -RRB- I wo n't.","INT. BARRIS'S BEDROOM - NIGHT Barris and Penny are having sex. It is gentle and quiet. Penny is crying, trying to conceal it. Barris notices. BARRIS I'm sorry I yelled at you today, Pen. PENNY I'm not crying because you yelled at me. This is it, is n't it? This is us. Barris studies Penny's face in the dim light.","EXT. TERRACE - DAY The actual Barris puffs on his cigar. ACTUAL BARRIS I almost asked Penny to marry me right then. But I did n't.","INT. SEEDY HOTEL ROOM - NIGHT Barris sits naked on the bed, swigging from a bottle of vodka, as a prostitute in a black dress and veil sings `` Happy Birthday'' to him. When she's done, she lifts the veil, looks confused. PROSTITUTE Is that right?","INT. BARRIS'S OFFICE - DAY Barris sits staring out the window. His mood is somber. On the table beside him are many birthday cards. The anarchic and youthful decor of the office seems to mock Barris now. Loretta enters. LORETTA Chuck? No response. LORETTA -LRB- CONT'D. -RRB- Chuck? BARRIS -LRB- not turning. -RRB- Uh. LORETTA Rod Flexner's here. BARRIS Shit piss fuck, send him in. Flexner enters. He's a suit. FLEXNER Chuck! Great to see you. BARRIS What's up, Rod? FLEXNER Well, the thing is, Chuck, some of your shows are n't doing too well in the old ratings war. The Family Game, for one. BARRIS Okay. We move into Barris's eyes.","INT. FAMILY GAME SET The show is in progress. Suddenly shots are fired from offstage. The host and contestants are slaughtered. It's bloody and violent.","INT. BARRIS'S OFFICE - DAY We're on Barris's eyes. FLEXNER And How's Your Mother - in - Law is, quite frankly, in the toilet, Chuck.","INT. HOW'S YOUR MOTHER-IN-LAW SET A mother - in - law is being garotted with piano wire. Her neck is sliced. Blood spurts.","INT. BARRIS'S OFFICE - DAY FLEXNER Now, as you know, Dream Girl is flailing terribly.","INT. DREAM GIRL SET Dream Girls lie bloody and flailing all over the set.","INT. BARRIS'S OFFICE - DAY FLEXNER And The Game Game has no life in it at all.","INT. GAME GAME SET The contestants on the set are all bloody and dead. An applause light flashes on and off, but the audience members are also dead.","INT. BARRIS'S OFFICE - DAY FLEXNER So I've been put in the unfortunate position of having to inform you that the network is canceling all four of these shows. Now do n't shoot me, Chuck, I'm just the messenger.","INT. BAR - NIGHT Barris drinks alone. He's sullen and sauced. BARRIS -LRB- to bartender. -RRB- They killed my babies. Just like that. I pushed them into the world through the birth canal of my imagination. Lovingly. Tenderly. Where's the humanity of these people? BARTENDER The fucking bastards. BARRIS What am I gon na do now? -LRB- sees pretty woman. -RRB- Hey there, can I buy you a drink? LARGE MAN What are you blind, asshole? This lady's with me. BARRIS -LRB- screaming. -RRB- Fuck you! The large man stands to face Barris. He is very large. Barris stands. The man swings at Barris. Barris easily deflects the punch, grabs the man's forearm and breaks it with a sickening crack. The man screams. Barris gets him in a chokehold from behind. The man whimpers and gags. BARRIS -LRB- CONT'D. -RRB- Let's see, if I remember correctly, the next move breaks your neck, which kills you instantly or paralyzes you. Depending on your luck. LARGE MAN Please. BARRIS -LRB- lets go. -RRB- Get out of here, you pussy faggot piece of shit dog - shit shithead. The large man hurries from the bar. Everyone in the bar, including the large man's date, watches Barris. BARRIS -LRB- CONT'D. -RRB- -LRB- to the woman. -RRB- Hi. I'm Chuck Barris, tv producer. Have you ever done any acting?","INT. BARRIS'S LIVING ROOM - NIGHT Barris and the woman from the bar are having sex on the couch. Penny enters. PENNY Hey, I was just in the - Penny sees Barris and the woman. PENNY -LRB- CONT'D. -RRB- What is she doing here, man? BARRIS She's - PENNY This is our house, man. Our house! It's one thing to go elsewhere for your pussy needs. But this is our house! BARRIS This is not our house, it's my house. PENNY It's our house! I found it with you. I decorated it for you! I spent six months sitting on that fucking couch she's fucking you on, fucking waiting for the fucking plumbers to come! God, you are such an asshole! Penny throws the house key at Barris. It hits him in the forehead. Then she turns and storms from the house. Barris looks over at the woman. She looks confused. WOMAN I should go. This does n't feel right. The woman stands, grabs her purse, pulls out an 8x10 glossy of herself and hands it to Barris, then exits. Barris stares at the photo for a moment, then opens a drawer and puts on top of a pile of similar photos.","EXT. PENNY'S APARTMENT BUILDING - NIGHT Barris pulls up, gets out of his car, and heads toward the building.","INT. APARTMENT HALLWAY - NIGHT Barris walks down the hall, carrying a bouquet of flowers. He arrives at Penny's door. There is an envelope attached to it with Barris's name on it. He opens the envelope and reads the letter. Dear Chuck, I'm dead now. I hope you're happy. The door's open. Love always, Penny. Barris hurriedly opens the door, enters the apartment looks around, finds Penny face down on the floor, surrounded by empty champagne bottles and vials of pills. He stares at her body for a moment, feeling faint. He drops to his knees. PENNY -LRB- face down. -RRB- Wan na see a stupid girl vomit?","INT. DINER - NIGHT Barris and Penny sit in a booth. Penny has black coffee in front of her. She is pale and drawn. PENNY Why were you with that girl in our living room? BARRIS It's not our living room, Pen. PENNY That's your defense? You know what it feels like to see you with someone else? In any living room. BARRIS You know who I am, Penny. I do n't force you to hang around. PENNY -LRB- incredulous. -RRB- You do n't force me? Fuck. So you're saying you have no interest in this, one way or the other? BARRIS No, I'm not saying that. PENNY Well, then, what are you saying, Chuck? Do you want me around or not? Do you even like me? BARRIS Of course I like you. PENNY How much? BARRIS What? PENNY I need to know how much you like me. BARRIS -LRB- beat. -RRB- I do n't even know what that means, `` how much?'' How can I rate a person in that way? That's ridiculous. PENNY You could if you felt it. If you felt it, it would be easy to rate me. You could spread your arms as wide as they would go and say, `` This much, Penny.'' BARRIS Everything's complicated, Pen. Nothing's black and white like that. PENNY Do you want me around or not? If you do n't, just say so, so I know. Okay? Barris and Penny look at each other. She starts to cry. BARRIS I love you, Pen, in my way. Maybe not in that crazy, head - over - heels thing, but what is that, anyway? Romantic love. Is n't that just an illusion? PENNY -LRB- beat. -RRB- But you just said you love me, right?","EXT. MOUNTAIN ROAD - NIGHT A non - descript American car is parked on the quiet wooded street. Barris pulls up in his Jaguar. He gets out of the car, looks in the window of the empty American car. BYRD -LRB- O.S. -RRB- Over here, Strawberry - dick. Barris looks over and makes out Byrd sitting on a rock with a view of L.A. spread out in front of him. Barris joins him. BARRIS Jesus, how do you know these things? BYRD We even know what she actually thought it tasted like. BARRIS Really? I could never find that out. What did she think? BYRD It's a `` need to know'', my friend. So tell me, what can I do you for? BARRIS I could really use an assignment, Jim. To straighten my head. BYRD I got something for your head.","INT. DATING GAME SET A Dating Game couple waits anxiously for host Jim Lange to announce their destination. JIM LANGE and we're the sending the two of you for three days and three nights to beautiful. West Berlin! The couple screams excitedly by reflect, but as the destination sinks in, their perplexity becomes apparent.","EXT. WEST BERLIN STREET - DAY Barris and the Dating Game couple walk along. It's cold and gray and they all wear heavy coats. The couple wear cameras around their necks. Nobody looks happy.","INT. BEER HALL - NIGHT Barris sits in the corner of this noisy, smoky place. He has a stein of beer and reads a paper as a group of drunken Germans in the background sing a song. Patricia Watson approaches and sits. Barris looks up and smiles. BARRIS Treesh. PATRICIA Leibchen. -LRB- kisses him, sits. -RRB- So, here's what we got. Name's Hans Colbert. -LRB- pulls out photos. -RRB- Other side of the wall. We do n't like him very much. BARRIS -LRB- singing Toot - toot - tootsie. -RRB- Bye - bye, Colbert, bye - bye. PATRICIA You'll work with a kraut named Keeler. He's been trailing Colbert for a month now. Knows the routine. Keeler's a drunk, so you stay sober and take charge. BARRIS -LRB- collecting photos. -RRB- Done and done. See you after? PATRICIA Prove how much you love me, baby. Kill for me. Then I'm all yours.","INT. TUNNEL - DAY Barris crawls through a long dirt tunnel. Telephone cables run along the floor. An occasional bare bulb lights the way.","INT. APARTMENT BATHROOM - DAY A middle - aged man stands in his underwear at a mirror and shaves. The stall shower pushes away from the wall revealing a hole. Barris steps through it, covered in dust. He nods at the shaving man. He nods back, hands Barris a gun and a change of clothes, and continues shaving.","EXT. APARTMENT BUILDING - MOMENTS LATER Barris exits the apartment building in the clean clothes. We see the East Berlin side of the wall in the background. A car pulls up and Barris gets in.","INT. CAR, RESIDENTIAL STREET - DAY Barris sits in the parked car with Keeler, a heavyset, silent German man with nicotine stained fingers and teeth. He is constantly smoking and writing in a tiny notebook. There is a long silence. BARRIS What you writing, Sig? KEELER I am keeping track of all the goings on on this street. Barris looks out the window. There is nothing going on, yet Keeler keeps writing. More silence. BARRIS Hey, Keeler, a bird just flew by. KEELER Yah. I know how to do my job.","INT. PARKED CAR - NIGHT Barris and Keeler are still in the car. Keeler continues to smoke and write. A well - rested, happy - looking Colbert walks by with a group of people.","INT. PARKED CAR - AFTERNOON Barris looks even more sickly. Colbert rides by happily on a tandem bike with a lovely woman on the back. Keeler continues to smoke and write.","INT. PARKED CAR - EVENING Barris and Keeler wait in the car. Colbert emerges from his house, alone, and walks toward the car. A drained Barris sighs a sigh of relief, then suddenly and with unexpected force, Keeler swings open the passenger door. The door hits a stunned Colbert and sends him flying. Keeler races around the car, grabs Colbert, throws him into the back seat, and jumps on top of him. Barris watches, surprised at the dramatic personality shift in Keeler. Keeler is strangling Colbert. A cigarettes is dangling casually from his lips as he does this. Keeler turns Colbert over so he's facing him, so he can watch him die. KEELER -LRB- calmly to Barris. -RRB- Under the seat, please. Barris reaches under the seat, pulls out a Polaroid camera. KEELER -LRB- CONT'D. -RRB- Please, if you do n't mind, a photograph. To remember. Barris is stunned, scared. He takes the photo. The flash illuminates the bulging - eyed Colbert and the calm Keeler.","INT. HOTEL ROOM - MORNING Barris types. A knock at the door. He looks up, panicked. BARRIS -LRB- falsetto. -RRB- Who is it? HOUSEKEEPER -LRB- O.S. -RRB- Housekeeping, Mr. Barris. Barris looks around. The place is a disaster. Food wrappers, crumpled papers, liquor bottles, strewn clothing, plastic army men set up for battle. He gets up, puts on a hotel bathrobe and his hat, grabs his gun, checks the peephole for a long moment, and answers the door. The housekeeper is plump and kind - looking. BARRIS Good morning, Mrs. Reynolds. HOUSEKEEPER -LRB- looking around. -RRB- Another rough night, huh? BARRIS -LRB- tapping his head. -RRB- The human psyche is a wondrous thing. HOUSEKEEPER -LRB- smiling maternally. -RRB- Yes, I know it is. -LRB- taking gun. -RRB- We do n't need this now, do we? Why do n't we just put this away? She puts the gun in a drawer, starts to pick up. Barris watches her, then : BARRIS Mrs. Reynolds, may I rest my head on your bosom for a little while? HOUSEKEEPER Oh, that does n't really seem like a very good idea, Mr. Barris. BARRIS I'm sorry. You're right. I just. I'm just without. comfort of any sort, and I. please forgive me. HOUSEKEEPER -LRB- smiles at him. -RRB- No harm done. Barris smacks himself in the head. BARRIS -LRB- bowing. -RRB- Thank you. Thank you. Thank you. You are a scholar and. HOUSEKEEPER It's fine, sir. BARRIS Mrs. Reynolds, what do you suppose God thinks of someone like me? HOUSEKEEPER God? BARRIS Yes, God. HOUSEKEEPER Well, Mr. Barris, your television shows have brought laughter and joy to millions of people. That's a very important thing, I think, in these difficult times. I would imagine God likes you very much. Barris smiles a rubber - band smile. BARRIS Thank you, that's very kind. -LRB- glances at her ample bosom. -RRB- So. I should get back to. HOUSEKEEPER Yes, of course, sir. Do n't mind me. Barris resumes typing. The housekeeper cleans.","EXT. EAST BERLIN STREET - EARLY MORNING A hollow - eyed Barris approaches the building that conceals the tunnel entrance. Suddenly there's a commotion on the quiet street. The shaving man is being led handcuffed out of the building by two trench - coated men. They shove him into a car. Barris continues to walk by, betraying no interest. He glances casually into the entranceway of the apartment building. Another trenchcoated man waits inside the shadows. The car drives away. Barris stops at the end of the block, stares at the imposing wall. BARRIS I'm really, really fucked. Another car pulls up next to him. Picard, a serious - looking Frenchman, sticks his head out the window. PICARD Get in. BARRIS What? Who the hell are you? PICARD No time. Get in or die. Barris hesitates, gets in. The car screeches off.","INT. PICARD'S CAR - CONTINUOUS Picard drives fast. Barris eyes him suspiciously, fingers his gun. Picard spots a Fiat in his rearview mirror. PICARD Merde. KGB. They know who you are, Monsieur Barris. It is their intention to kill you very much in East Berlin. Barris checks in the passenger side mirror. BARRIS Merde! MERDE! PICARD Not to worry, my friend. Picard speeds up dramatically, but continues to drive calmly. Barris is agitated. PICARD -LRB- CONT'D. -RRB- I am Paul Picard, by the way. Nice to meet you. Do not worry, I am not KGB. I do not want to kill you, I want you to live a long happy life and have many dancing grandchildren to admire. Picard screeches around a corner, then another one. He's lost the Fiat, for the moment.","EXT. QUIET EAST BERLIN STREET - EARLY MORNING Picard's car stops at the curb. Picard and Barris emerge. Picard opens the trunk. He lifts out a big folded - up clump of rubber with a an engine mounted on it. BARRIS What the hell is that? PICARD Your ride, Monsieur Barris. Picard unfolds the rubber mass. He pulls a cord and it begins to inflate. It is an airplane, a one person inflatable plane. BARRIS No fucking way. PICARD It's quite reliable and easy to operate. It will get you over the wall. Or you can stay here. In the German Democratic Republic. I will arrange for you to get a good factory job. No, you must fly, like Daedalus before you, to the freedom of the west. BARRIS Christ. What about you? PICARD They do not catch me, monsieur. This is my talent, to get away always. In guerre. In amour. This is my talent, and perhaps this is my curse.","EXT. BERLIN WALL - DAY The fully - inflated rubber plane flies down the street, dipping and rising erratically. The noise is deafening. Barris lies on his stomach and steers, looking petrified. He approaches the wall and manages to get the plane over it. The plane is shot by a soldier. Air hisses out.","EXT. CENTRAL PARK - DAY Barris sits on a park bench. Jim Byrd approaches, sits. BYRD -LRB- chuckling. -RRB- So, did you have a nice flight? BARRIS Fuck you, Jim. It was terrifying. BYRD Seems the KGB knew exactly what you were up to. You were there to kill Colbert, they were there to kill you. I'm thinking we got a mole. So much hate in the world, Chuck. BARRIS Am I in danger still? BYRD Jesus, yes. KGB did n't go out of business since yesterday, so far as I know. You're fucked, Chuck. But our main concern should be : if they know who you are, they know who I am. BARRIS Fuck off. What do we do? BYRD Bow out. Lay low. That's what I'm gon na do. You're lucky you have another career to immerse yourself in.","INT. REHEARSAL HALL - DAY Barris sits with a several network executive and some other staff members watching a fat man tap dance badly and, because of his weight, extremely loudly. It's painful for everybody to watch. The fat man finishes. BARRIS Thank you. Thanks. That was great. The fat smiles and exits. Barris puts his head in his hands. EXECUTIVE WOMAN I do n't know, Chuck. It's looking bleak. BARRIS There's got ta be somebody in America with some talent. Ted Mack got bookings every week. The executives look at each other. BARRIS -LRB- CONT'D. -RRB- Bring in the next thing. An assistant opens the door and a middle - aged woman in pale blue polyester pants and Joan Crawford painted on eyebrows enters with a guitar. She begins to sing a folk song, very sincerely, in a very off - key monotone. It's unbearable and depressing. Barris glances over at the executive ; she's checking her watch again. The song is endless. Barris's eyes grow cloudy.","EXT. FIELD - DAY This is the same field where Renda was shot. Now, the folksinging woman is in the field singing. Barris pulls out a gun and aims it at the woman. Her eyes widen in terror, but she keeps singing. A church bell chimes and Barris shoots her. She flies back, spurting blood. Her guitar hits the ground with a twang.","INT. REHEARSAL HALL - DAY Barris snaps out of his fantasy with renewed energy The folksinger is still droning on. BARRIS -LRB- ushering out. -RRB- Thank you. Thank you. We'll be in touch. That was wonderful. Barris closes the door behind the folksinger and turns to the executives. BARRIS -LRB- CONT'D. -RRB- We've been going about this all wrong. Rather than killing ourselves trying to find good acts, we just book bad ones and kill them. EXECUTIVE #2 Chuck, it's torture to sit through even one of these people - BARRIS We kill'em before they're through. As soon as it gets unbearable, we kill'em. Dead. EXECUTIVE WOMAN For God's sake, what are you talking about? BARRIS Celebrity judges ring a bell to end the act. to kill'em. And when you kill something, it stops. This I know to be true.","INT. GONG SHOW SET - DAY Barris and some suits watch from the booth as an octogenarian woman on stage sings `` Born Free'' in an impossibly high voice. Jamie Farr gongs the woman. The woman is angry. A vacuous host with great hair appears next to the woman. He seems genuinely agitated. HOST Why'd you do that, Jamie? This is someone's grandmother. She was really trying. JAMIE FARR This is The Gong Show, not the Van Cliburn eliminations. HOST This is a human being with aspirations. BARRIS -LRB- muttering. -RRB- Oh, fuck me. This guy sucks. He's bringing everyone down. The executives eye each other. EXECUTIVE WOMAN None of the hosts are getting it, Chuck. But we have a thought. BARRIS What? EXECUTIVE WOMAN You host. All the executives smile at Barris. EXECUTIVE WOMAN -LRB- CONT'D. -RRB- You get it. And we believe your awkward, non - professional, mumbling persona is exactly right for the show. BARRIS I do n't want to be on tv. EXECUTIVE WOMAN Listen, we ca n't sit through anymore of these test shows. Do it, Chuck, or we advise the network to pull it.","INT. BARRIS PRODUCTIONS - NIGHT Barris switches on the lights, walks through the empty bullpen area to his office, unlocks the door, enters.","INT. BARRIS'S OFFICE - CONTINUOUS Barris enters, stares out the window, looks at himself in a full - length mirror. BARRIS -LRB- stiff. -RRB- Ladies and Gentlemen, welcome to The Gong Show! I'm your host, Chuck Barris! -LRB- turns away in disgust. -RRB- Ucchhh. Barris sits behind his desk, draws a line down a piece of paper and writes `` Pros'' and `` Cons'' at the top of the page. He thinks. Under `` Pros'' he writes `` Become National Celebrity'', `` Get More Attention from Stewardesses'', `` Even more women will want to have sex with me''. Under `` Cons'' he writes : `` Easier target for KGB.'' He gets up, paces. Suddenly, a shot rings out. It comes through the window and shatters the mirror. Barris dives to the floor. More shots, crazy relentless shooting. Barris crawls on his belly to the window, carefully reaches up and lowers the venetian blinds just as another shot whizzes through. The blinds explode. The shooting stops He waits on the floor, shaking like a leaf. He pulls the list off his desk and writes under `` Pro'' : `` I need another hit before I die.''","INT. GONG SHOW SET - DAY Center - stage is empty. The band begins to play. The studio audience cheers. ANNOUNCER -LRB- O.S. -RRB- And now, here's the host and star of our show, Chuck Barris! The curtain rises. Barris appears in a tuxedo coat, denim work shirt, cowboy boots and a hat pulled down over his eyes. BARRIS Welcome to The Gong Show. Here's an esoteric act if there ever was one. Ephemeral. It's an ephemeral act. One that should get us our Emmy. Do we have an Emmy? We do n't? Well this should get us one. Anyway, ladies and gentlemen. Big Nose! Big Nose leaps onto stage. He is skinny, wearing a flowered shirt and a sarong, and playing a toy flute while dancing in ladies platform shoes. Suddenly he drops his flute, rips off his sarong, revealing polka - dotted boxer shorts and a yellow leotard. He rushes to a steamer trunk, opens it, and begins crazily pulling out endless amounts of old newspapers. Barris watches from the wings, mesmerized. Big Nose is gonged. Barris dances out onto stage to join him. BIG NOSE Why? Why? Why? BARRIS I do n't know. I do n't understand. Barris glances out into the audience. Something glints. Is it a gun. He starts to sweat. Jaye P. Morgan is saying something about Big Nose. But we ca n't understand it. The audience laughs. Barris continues to scan the audience. Someone in headphones signals Barris from behind a camera. BARRIS -LRB- CONT'D. -RRB- -LRB- to Big Nose. -RRB- Well, win a few, lose a few. -LRB- to audience. -RRB- We'll be back with more stuff. right after this message. Barris waits on his mark for the taping to again begin. He watches the commotion around him with eagle eyes : technicians and stagehands running around, the audience chanting `` Chuckie Baby'', the celebrity panel joking with each other, the guys in the booth smoking, the guys in the band laughing. Barris turns around and around on his mark, trying to catch every movement, looking for a gun, a suspicious character. The chanting continues, louder and more distorted. The faces in the audience turn grotesque. Barris sweats profusely, his breathing becomes more and more shallow. Suddenly his eyes roll back in his head and he drops to the stage floor, unconscious. VARIETY : GONG SHOW EM - BARRIS - MENT OF RICHES HOLLYWOOD REPORTER : KING GONG! L.A. TIMES : BARRIS'S TALENT SHOWS DAILY NEWS : GONG HO!","INT. HOSPITAL ROOM - DAY We see Barris in bed, hooked up to machines The executive woman sits by his bed showing him the headlines. EXECUTIVE WOMAN You ca n't quit. BARRIS I ca n't quit? But I get panicky, Louise, in front of all those people. EXECUTIVE WOMAN You lack confidence, that's all. BARRIS I lack confidence? EXECUTIVE WOMAN But we'll take care of that. We'll get you some confidence powder. Leave that to us. BARRIS Confidence powder? EXECUTIVE WOMAN Nose candy, Chuck. Blow. Snow. Flake. BARRIS Blow, snow, flake? EXECUTIVE Coke. BARRIS Oh. Coke. Okay. Does that work?","INT. GONG SHOW SET - DAY Barris on stage introducing an act. He is very confident. BARRIS Ladies and gentlemen, oh, this act is amazing, your gon na love this act. I'm telling ya. All the way from Pacoima. David Pincus! The curtain rises. A young man with a square of Plexiglass in his hands, presses his lips against the Plexiglass and blows. It makes a farting noise and allows to the audience to see inside his mouth.","INT. WINGS - CONTINUOUS Barris snorts some cocaine. We hear the act and audience `` booing'' and yelling `` Gong him!'' in the background.","INT. COFFEE SHOP - DAY The actual Jaye P. Morgan is being interviewed. ACTUAL JAYE P. MORGAN Chuck was real different on stage and off. Very tense. He was always looking over his shoulder. Even when we were fucking. Sort of an enigma.","INT. GONG SHOW SET - DAY Barris dances onstage with Gene Gene the Dancing Machine.","INT. SUBURBAN LIVING ROOM - DAY The actual Gene Gene is being interviewed. GENE GENE Oh yeah, a real Jekyll and Hyde. Sometimes nice as you please. Give you the shirt off his back. Other times he'd rant like a crazy man. I remember once he screamed at me that I did n't know anything about dancing. `` Nijinsky,'' he yelled, `` now there was a dancer!''","INT. GONG SHOW SET - DAY A black guy with weird teeth and a speech impediment attempts stand - up. He looks petrified. BLACK COMEDIAN Today I had a bad day today. The audience yells `` How bad was it?'' This throws the performer. Finally he continues. BLACK COMEDIAN -LRB- CONT'D. -RRB- It was so bad, my wife did n't even know how to cook. That barracuda took an egg, put it in a pot of water, and burned the water. We had to rush that to the hospital. The audience boos. BLACK COMEDIAN -LRB- CONT'D. -RRB- My mother - in - law. The booing continues. The comedian ca n't take it. He looks disoriented. He turns away from the audience and puts his head in his hands. Jamie Farr gongs him.","EXT. SWIMMING POOL - DAY The actual Jamie Farr sits next to the pool. In the background we see a couple of kids with enormous noses splashing around in the water. JAMIE FARR Chuck used to love to discuss philosophy. I think he was very saddened that the public saw him as this sort of spastic moron. I remember at the time I was reading Wittgenstein. And Chuck was just thrilled to have someone else in addition to Rex Reed to talk about that stuff with.","INT. BARRIS'S BEDROOM - LATE NIGHT Barris lies in bed next to Patricia. It's 12:30 AM. He's chatting on the phone, lazily twirling the cord. Patricia reads. BARRIS Look, Jamie, you know as well as I that language does not exist without an outward criteria. JAMIE FARR -LRB- TELEPHONE VOICE. -RRB- Certainly. Wittgenstein said as much in Investigations. But if you read Ryle carefully - PATRICIA -LRB- looking at clock. -RRB- Chuck. BARRIS Can we pick up tomorrow? JAMIE FARR Yeah. But consider my thinking on elementary propositions. I'm serious. BARRIS Will do. Love ya. JAMIE FARR Right back at ya, amigo. Barris hangs up. Patricia kisses him. She pulls away. PATRICIA I'm concerned about you. I think you need to get back into the life. Our sex was always amazing after you killed. Truth is you're not that great after your discussions with Jamie Farr. The phone rings. PATRICIA -LRB- CONT'D. -RRB- Oh, c'mon. BARRIS -LRB- picks up. -RRB- Jamie, I ca n't talk anymore tonight - KEELER -LRB- O.S. -RRB- -LRB- telephone voice. -RRB- This is Siegfried Keeler. I need to see you. Barris jerks up, surprised, alarmed. Patricia watches him. BARRIS -LRB- V.O. -RRB- Assassins do not fraternize. That Keeler was calling me could mean it was my turn to get hit. KEELER -LRB- O.S. -RRB- -LRB- phone voice. -RRB- I am in town on business, Chuck. And I desire nothing more than your company for dinner. I consider you one of my closest friends. BARRIS Sure. Dinner sounds good. There's a place called La Scala. See you there at eight. Barris hangs up. PATRICIA -LRB- eyes closed. -RRB- Dinner sounds good with whom? BARRIS Keeler. Patricia glances over at Barris. They stare at each other.","EXT. LA SCALA PARKING LOT - EVENING Barris pulls into the parking lot. As he waits for the valet parking attendant to get to him, he adjusts the gun strapped to his ankle.","INT. LA SCALA - EVENING Barris enters the crowded restaurant, looks around, spots Keeler sitting at a table in the rear. As he makes his way back, Barris shakes hands and says hello to several early seventies tv celebrities scattered throughout the restaurant : Carrol O'Connor, Joanne Worley, Flip Wilson, Ron Palillo. Barris arrives at Keeler's table. Keeler rises and embraces Chuck. He's already drunk. They sit. KEELER A very fancy place. BARRIS Only the best for my friend. KEELER The friendships one develops during wartime are remarkably strong. BARRIS Yes. There is an awkward silence. KEELER So how is the business of television? Barris, pleased to have something to talk about, rambles. BARRIS Well, it's hit and miss. I've got a new show called `` Operation Entertainment'' which I believe is going to kill. It's sort of a Bob Hope visiting the troops thing, but it's weekly and. Keeler is staring right through Barris. KEELER Why do you do what you do, Chuck? BARRIS Well, I like to think that I bring joy and laughter to millions of people. I'm not saying that my shows are as good as they could be. Yet. But - KEELER Why do you kill? Barris looks around, clears his throat. BARRIS Oh. KEELER During the second world war, I had the pleasure of killing. Yes, pleasure. I found it exhilirating. Afterwards, I could find nothing else to fill me so much with life. So I became what I am today. I wanted the exhiliration again. of death. The waiter appears. WAITER Are you gentlemen ready to order? KEELER I'll have the shrimp scampi and a green salad. WAITER And for you, sir. KEELER Um, Just give me a steak. Rare. WAITER Thank you. The waiter leaves. Keeler sips his drink, stares at Barris. KEELER `` Whatsoever thy hand findeth to do, do it with thy whole might. Work while it is called, for the night cometh wherein no man can work.'' BARRIS That's Carlyle! KEELER Yes. BARRIS It's amazing you should quote him. He's my hero. KEELER I read in a book recently that killing your first man is like making love to your first woman. Every smell, every nuance, you remember with a special allure, as if the acts had occured outside civilization, outside time. And when the allure is gone, you are condemned. BARRIS Condemned? KEELER I am condemned to live the rest of my life outside civilization. You will be too, my good friend. Barris looks into Keeler's hollow eyes.","EXT. TERRACE - DAY The actual Barris puffs on his cigar. ACTUAL BARRIS The next day I heard Keeler offed himself.","EXT. L.A. HOTEL - NIGHT Keeler falls silently in slow motion from a very high window. ACTUAL BARRIS -LRB- V.O. -RRB- You never really know in the world of espionage if something labeled a suicide actually is a suicide. But he was dead. That I knew.","INT. MARTONI'S - NIGHT Barris eats dinner with Penny. Barris seems depressed. Penny is reserved. PENNY When you called, I was n't gon na come. BARRIS I'm glad you did, Pen. PENNY I said to myself, enough. Enough of this jerk already. Enough. BARRIS I could see how you would feel that way. PENNY But I've come upon something interesting through my delvings into human psychology. It's called TA, Transactual Analysis. BARRIS Transactional Analysis. PENNY Now see, by correcting me you're responding as `` Parent'' to my `` Child.'' -LRB- authoritative voice. -RRB- `` Here's the proper way to say this word, Penny.'' But that's okay. As long as we both understand that's what you're doing. Y' know, I'm okay, you're okay. So what's wrong, Chuck? Are you okay? BARRIS A guy I knew killed himself last night. PENNY My God. Everyone you know kills themselves. Or tries. Who is it this time? BARRIS You do n't know him. A stagehand. PENNY Why'd he do it? BARRIS He did n't like his work anymore. PENNY Is being a stagehand really bad or something? BARRIS -LRB- beat. -RRB- Yeah, it's pretty bad. Patricia storms up to the table. PATRICIA You were supposed to meet me at The Palm two hours ago. BARRIS Oh fuck, I forgot. PENNY Who is this? PATRICIA I do not get stood up. Do you understand? BARRIS Um, Penny, this is Patricia. -LRB- to Patricia. -RRB- How did you find me? PATRICIA Are you serious? That's what I do for a living. PENNY Who's Patricia? What does she mean, that's what she does for a living? PATRICIA You're dead in my book, Strawberry - dick. PENNY Strawberry dick? What's that? PATRICIA There is no second chance. Get it? -LRB- to Penny. -RRB- Nice meeting you, Penny. I've heard a lot about you. -LRB- to Barris, walking away. -RRB- Oh, by the by, Byrd's dead. Patricia exits. Penny just looks down at the table. PENNY And. and okay. I'm only gon na give you one more chance, man. That's it. Get it?","INT. BARRIS'S ROLLS ROYCE - NIGHT Barris snorts some coke, pulls out of the studio parking lot. The sound of his heart beating pounds in his ears. Another car pulls behind him. A wired Barris notices the car in his rearview mirror. He turns. The other car turns also. Barris speeds up. So does the other car. Barris panics ; he tries to lose the other car. A chase ensues. Finally Barris screeches to a halt, pulls a gun from his glove compartment. The second car screeches to a halt behind him. Barris already out of his car and at the driver's side window of the second car. He looks in and sees there are two petrified teenagers, a boy and a girl, holding up their hands. Barris pulls open the door. BARRIS -LRB- screaming. -RRB- Who sent you?! Who the fuck sent you?! TEENAGE BOY Nobody, man. We just waited for you to leave after the show. We just think the show is cool. We just think you're cool. The girl is crying. TEENAGE GIRL Please do n't kill us. Barris points the gun at them for a long while, his hands shaking wildly.","INT. GONG SHOW WINGS - DAY Barris stands backstage waiting for his cue. The Unknown Comic appears next to him, wearing a paper bag with two eyeholes cut out over his head. Barris glances over at him. UNKNOWN COMIC Hey, Chuck. Barris does n't say anything. He studies the bag. Barris pulls a pistol from an ankle holster, and jams it against the bag. BARRIS Take it off. UNKNOWN COMIC Huh? BARRIS The fucking bag. Take it off. The Unknown Comic takes the bag off. He looks terrified. Barris stares him down. ANNOUNCER -LRB- O.S. -RRB- Ladies and Gentlemen, Chuck Barris! Barris dances onto the stage.","INT. GONG SHOW SET - CONTINUOUS Barris is clapping his hands together. He looks happy and relaxed. The audience is cheering. BARRIS Here he is, the Prince of Puns, the Wizard of Whoopee. The Unknown Comic! The Unknown Comic appears upstage with bag on head. UNKNOWN COMIC Chuckie Baby, Chuckie Baby, Chuckie Baby. BARRIS What? What do you want? UNKNOWN COMIC What's the difference between toilet paper and a shower curtain? BARRIS I do n't know. UNKNOWN COMIC -LRB- calling off. -RRB- Here's the guy! The audience laughs. Barris feigns annoyance and pushes the unknown comic off the stage. BARRIS Get out of here. UNKNOWN COMIC -LRB- for Barris's ears only. -RRB- You're fucking crazy, man.","INT. BARRIS'S OFFICE - DAY Barris sits behind his desk, drinking and popping pills. Loretta pokes her head in. LORETTA Phone call from someone named Tuvia. BARRIS Who?! LORETTA Tuvia? BARRIS I'll take it! Do n't hang up! Barris picks up the phone. BARRIS -LRB- CONT'D. -RRB- Hello? TUVIA -LRB- O.S. -RRB- Hello, is this Chuck Barris? BARRIS Yes. TUVIA -LRB- O.S. -RRB- Oh, this is Tuvia Feldman. I do n't know if you remember me - BARRIS Of course I do. TUVIA -LRB- O.S. -RRB- I'm in town and I've been following your career and I wondered if you might want to get a drink. For old times sake.","INT. CHILDHOOD BEDROOM - DAY Tuvia plays with the dog. White panties are revealed. BARRIS -LRB- V.O. -RRB- Sweet Tuvia.","EXT. FRONT PORCH - DAY Adult Tuvia answers the door with her baby. BARRIS -LRB- V.O. -RRB- Ripe Tuvia.","INT. BAR - NIGHT Barris waits in a booth, anxiously eyeing the door. A guy approaches. GUY Hey, Chuck, I got a talent. BARRIS Not now. GUY Just take a second. The guy gets down on all fours and starts barking and panting like a dog. It is a repulsive and frightening sight, but Barris becomes transfixed by it and can not take his eyes off the guy. TUVIA -LRB- O.C. -RRB- Chuck? Barris tears his eyes away from the dog guy to look at Tuvia. She is an older middle - aged lady. Younger than Chuck, but clearly of no interest to him. The disappointment on his face is palpable. TUVIA -LRB- CONT'D. -RRB- It's Tuvia! Remember? Hi! BARRIS -LRB- V.O. -RRB- Old Tuvia. BARRIS -LRB- CONT'D. -RRB- Hi. TUVIA You look great.","INT. BAR - LATER Barris sits in a booth across from Tuvia. The relationship has shifted once again. Now middle - aged Tuvia is trying to flirt. As they talk, she touches his arm repeatedly. She laughs at everything he says. She reapplies lipstick as they talk. There's a quiet desperation in her eyes. Barris is pleasant but unengaged. BARRIS -LRB- V.O. -RRB- Ah, Tuvia. The fantasy of Tuvia forever cast out by the reality of Tuvia. Finally, because of my fame and her desperate straits, her poverty and single parenthood, she was going to submit to me. Finally I could've had her. I could've had what had so long eluded me. But now she was old and I was n't interested.","INT. TRAIN - NIGHT Middle - aged Tuvia staring out at the night - time landscape in the darkened train car, her suitcase on the seat next to her.","INT. BARRIS'S BEDROOM - NIGHT Barris is having sex with two twenty year old nymphettes The drugs and alcohol flow freely. He seems to be enjoying himself but there is a hollowness in his eyes. BARRIS -LRB- V.O. -RRB- Tuvia was old, but not me. I was the Game Show King.","INT. GONG SHOW SET - DAY The rabid audience members chant, `` Chuckie Baby, Chuckie Baby, Chuckie Baby.''","INT. BARRIS'S OFFICE - NIGHT Barris snorts Coke in the darkness.He scans an article headlined : `` Chuck Barris is the Decline of Western Civilization.'' The phone rings, alarmingly breaking the stillness. BARRIS What? TELEPHONE VOICE Paul Picard is dead.","EXT. EAST BERLIN STREET - EARLY MORNING Barris looks down from the plane as Picard, on the ground, runs after it. PICARD -LRB- yelling. -RRB- Fly, Daedalus, fly!","INT. BARRIS'S OFFICE - NIGHT Barris hangs up the phone. He stares off into the distance. The phone rings again, again shattering the silence.","INT. GONG SHOW SET - DAY Barris on stage with red stocking hat. BARRIS This is the moment we've been waiting for. The contestants appear on stage. BARRIS -LRB- CONT'D. -RRB- The winner is Miss Tiny Brooks! A model appears with a trophy and a big check and hands it to an enormously fat woman. The other contestants appluad. two midgets dance. The band plays. A massive amount of confetti and balloons fall on everyone.","INT. AUDITORIUM - NIGHT It's the Emmy Awards. Barris is in the audience, next to his starlet date. He sweats through his tuxedo, fidgets. Ed Asner and Caroll O'Connor are on stage presenting. ED ASNER And the winner is Taxi! The Taxi theme starts as the winners make their way to the stage. ED ASNER -LRB- CONT'D. -RRB- James L. Brooks, Stan Daniels, and Ed. Weinberger, executive producers. The starlet whispers into Barris's ear, outraged at the unfairness. STARLET I do n't see why your shows are never nominated. Barris looks sick. Jim Brooks is on stage accepting. JAMES L.BROOKS And I honor you, members of the academy, for recognizing and supporting high quality television.","INT. BATHROOM - NIGHT Barris is locked in a stall, vomiting. The door to the bathroom opens. Someone enters. Barris peeks through the closed stall door. It's Jim Brooks, whistling and holding his Emmy. He places it next to the sink, unzips his fly and pisses. An agitated Barris pulls his gun from his ankle holster, opens the stall door a crack, and shakily aims the gun at Brooks' back.","EXT. TERRACE - DAY ACTUAL BARRIS But as I stood there, I realized, I could n't kill Jim Brooks, the man who was responsible for such good stuff : Mary Tyler Moore, Rhoda, Cindy, Phyllis, episodes of My Friend Tony. I loved those shows as much as anybody in America.","INT. BATHROOM - NIGHT Barris is crying. He turns the gun away from Brooks, almost against his will, and sticks it in his own mouth. After a moment, he realizes he ca n't do that either. ACTUAL BARRIS -LRB- V.O. -RRB- I could n't kill either of us, so I let us both live. Jim Brooks and me. The rest is history. Barris puts the gun away, flushes the toilet and exits the stall. BARRIS Hey, congratulations, Jim. Brooks turns and looks at Barris. He smiles. JAMES L.BROOKS Oh, hey! Thanks. BARRIS Chuck Barris. The Gong Show. JAMES L.BROOKS Oh, right. Hey, thanks, Chuck. BARRIS Once again you deserve it. Your shows are the greatest. You bring so much. quality to the medium. JAMES L.BROOKS Thank you. I appreciate that. I really do They smile and nod at each other awkwardly. Chuck waits for some sort of return of the compliment. It does not come. They continue to nod at each other.","INT. OFFICES OF GRACIE FILMS - DAY The actual Jim Brooks is being interviewed. ACTUAL JIM BROOKS I do n't really remember ever meeting Chuck Barris. INTERVIEWER -LRB- O.C. -RRB- In the men's room at the Emmys, he says. Brooks thinks, looks at interviewer. ACTUAL JIM BROOKS I'm not saying it did n't happen. I'm just, y' know. If he remembers it, I'm sure it happened. Really does n't seem like much of an anecdote though.","INT. CHATEAU MARMONT BUNGALOW - NIGHT A big party is in progress. The place is packed. Late seventies celebrities abound. Alan Alda is there. Burt Reynolds, Jamie Farr, Jaye P. Morgan, Gene Gene the Dancing Machine, Pam Dawber, Farrah Fawcett Majors and Lee Majors, John Belushi. Chuck Barris steps out of the bathroom, drink in hand. He wipes his nose like someone who's just snorted coke. He wanders disconsolately and slightly wild - eyed through the crowd. He sits in a chair. A man sitting across from him looks at Barris. His eyes light up. PARTY MAN #1 Hey, you're Chuck Barris! BARRIS Yeah. PARTY MAN #1 I love your show! BARRIS -LRB- unenthused. -RRB- Great. I'm just heading - PARTY MAN #1 I have a talent I think you'd really appreciate. BARRIS Uh - huh. Party Man # 1 begins farting `` Jingle Bells.'' Barris gets up and moves away. PARTY MAN #1 -LRB- calling after. -RRB- Hey, did n't you ever hear of Le Petomane? He was a star, buddy! These are totally smell - free! Barris settles by the fireplace. A pretty woman approaches, smiling. PRETTY WOMAN Hi. BARRIS Hi. PRETTY WOMAN I thought it was you. BARRIS -LRB- bowing. -RRB- It's me. PRETTY WOMAN I'm glad to meet you because I wanted to tell you that I've seen The Gong Show and I think you are the most insidious and despicable force in entertainment today. BARRIS Well - PRETTY WOMAN How dare you subject the rest of the world to your loathsome view of humanity. BARRIS I do n't think it's that loathsome. PRETTY WOMAN What is it then? To mock some poor, lonely people who just crave a little attention in their lives. To destroy them. So everybody's not brilliantly talented. They're still people. They deserve respect and compassion. I mean, who the hell are you? What the fuck have you ever done that elevates you above the pathetic masses? Oh, I forgot, you created The Dating Game. Wow, right up there with the Sistine Chapel. I guess that's what gives you the right to. BARRIS Excuse me, I've got to - Barris loses himself in the crowd. He hurries past a guy who recognizes and starts chanting. PARTY MAN #2 Chuckie Baby! Chuckie Baby! Chuckie Baby! Barris turns and makes his way through the crowd to the door.","EXT. SUNSET BLVD - NIGHT Barris makes his way down the crowded street. People stare, turn their heads to gawk. We hear over and over again : `` Hey, is n't that Chuck Barris?'' and `` Hey, look, The Gong Show guy!'' , and `` Chuckie baby, Chuckie baby!'' Barris smiles wanly and nods. People shove paper and pen in his face and he scribbles autographs without stopping. Sweat forms on his brow. His polyester shirt is drenched. BARRIS -LRB- V.O. -RRB- She was right. What the hell had I done with my life? Among the fans on the street, Barris spots the fat bachelor he killed in London. He sports a bullet hole in his head Barris does a double take. BARRIS -LRB- CONT'D. -RRB- Wait, you're that guy. You're dead. This is screwy. FAT BACHELOR I only want to be loved. BARRIS That's all I fucking wanted! Barris hurries away from the fat bachelor. He begins to spot others converging on him : the corpses of those he killed, bloody and disfigured. Crazy, angry - looking gonged Gong Show contestants appear in the crowd with weapons. KGB agents in trench coats and sunglasses wield guns, Day of the Dead skeletons dance after him. Barris breaks into a run. Suddenly confetti and balloons pour down on him out of the L.A. night sky. Barris dashes across the street, almost getting hit by a car. He ducks down an alley to catch his breath. As he leans against the wall and heaves, a middle - aged woman appears, somewhat backlit by the street light. MIDDLE-AGED WOMAN Mr. Barris? BARRIS No, I'm. MIDDLE-AGED WOMAN My name is Louise Wechsler and I'm here from Tulsa with my family and. BARRIS Please, I'm not feeling well. MIDDLE-AGED WOMAN Just a moment of your time. I love your show. And, well, I, sort of, have a talent myself. BARRIS You can stop by the office to audition tomorrow. The woman continues to approach. MIDDLE-AGED WOMAN Well, I'm leaving tomorrow and I was just wondering. See, I dance a little and I was just wondering - There's no way out of this. Barris sighs. BARRIS Yeah, all right. Go ahead. Barris turns to face the woman, who's very close now. She starts to dance around, sort of ballet - like, very badly. Barris watches. She pirouettes, arms above her head. BARRIS -LRB- CONT'D. -RRB- Very nice. Something in her hand glints in the light. Barris reflexively grabs her arm. It's an ice pick. The two wrestle for it. The woman is extremely strong. Barris jams the palm of his hand up into the woman's nose. She staggers back, but does n't drop the ice pick. Barris leaps at her. The two roll on the ground. The woman pins Barris. She straddles him and is about to stab him through the air. Barris reaches under her skirt and grabs her crotch. The middle - aged woman is a man. He screams in a distinctly male voice. Barris takes the moment of distraction to grab the ice pick and jam it up through the assailant's chin and into his brain. The assailant slumps over. Barris pushes the body off himself, kneels beside it, and pulls off the wig. He gets up, shaking and heaving. He looks at the body one more time, kicks it in the head with all his might.","EXT. TERRACE - DAY ACTUAL BARRIS That was it. I just disappeared. The network had to put The Gong Show into reruns. It was 1981. I holed myself up in this hotel in New York. Parker Hotel.","INT. HOTEL ROOM - DAY SUBTITLE : NEW YORK CITY, SPRING 1982 We see Barris from above, shivering and naked in the corner. The manuscript pages are piled high next to the typewriter. Barris looks up at the camera with outstretched arms, appealing to the gods. BARRIS Who Am I? There is a pounding on the wall from a neighbor. NEIGHBOR -LRB- O.S. -RRB- Who cares? Shut the fuck up! There's a knock at the door. Barris crawls toward it, peeks through the peephole. BARRIS Fuck. Shit. Piss. Barris unlocks the door. Simon Oliver stands there. OLIVER Barris. BARRIS How'd you know where I was? OLIVER Chuck, Chuck, Chuck, do n't be an orangutan. We always know where you are. We always know what you're doing. By the by, I'd think twice before I'd attempt to get that tripe you're writing published. And there's a typo on page - BARRIS Look, what do you want, Oliver? I do n't work for you anymore. I have things to. Barris trails off. OLIVER I'd like you to come back for one last assignment, Chuck. BARRIS No. Now get. Good - bye OLIVER I think you might be interested when I tell you it's the mole who fingered your friends Jim Byrd and Paul Picard. and Seigfried Keeler. BARRIS Keeler committed suicide. OLIVER Yes, of course he did. He threw himself from a twentieth floor window after he strangled himself to death with an electrical cord. BARRIS -LRB- beat. -RRB- I'm not interested, Oliver. OLIVER As long as the mole's alive, you do n't have a chance in hell of remaining so. Besides, killing is in your blood, old man. You fit the profile. Barris lunges at Oliver, pushes him against the wall. BARRIS That fucking profile again! What's the fuck is it?! What the fuck do you bastards know about me, that I do n't?! OLIVER Indeed. Where to begin. First, let go of me. Barris lets go. Oliver sits in a chair, straightens his shirt. OLIVER -LRB- CONT'D. -RRB- Let's see. Well, you had a twin sister, stillborn, strangled by your umbilical cord. Your first hit, Chuck. Your mother always wanted a daughter. She blamed you for your sister's death. And, so, until your sister Phoebe was born, she raised you as a girl. BARRIS That's not true. OLIVER Oh, and your father the dentist? Not really your father. Your biological father was a man named Edmund James Windsor. A serial killer. A fact your mother did n't know when she had an affair with him in 1930. If you want to look him up, he was also known as the Tarrytown Troll, because he had been described by witnesses as short and ugly. Windsor died in the electrical chair at Ossining in 1939. We believed your self - loathing tendencies coupled with that extra Y chromosome and whatever else you inherited from your father would serve us well. BARRIS You're lying. OLIVER I'm trying to think what more I can tell you. I'm sure there's more. But you have me at a disadvantage here, Barris. I do n't have your files in front of me. BARRIS Just leave me the hell alone! OLIVER Your mother always loved the game shows, and you so wanted to please her. We never expected the game show business to work out for you. But that it did, turned out to be in our favor. I guess your need to be a good daughter drove you more than we anticipated. Barris lunges at Oliver. The two wrestle on the floor. Barris punches him repeatedly in the face.","INT. HOTEL ROOM - MORNING Barris lies sleeping in a tangle of sheets. There's blood on his hands. A knock at the door. Barris jumps awake, grabs his gun. He looks around. The room is a mess, stuff knocked over. There's been a fight. He sees his bloody hands. Another knock. BARRIS Huh? What? PENNY -LRB- O.S. -RRB- Chuck? It's Pen. Barris brings his gun with him to the door, looks through the peephole, then opens the door. Penny stands there, takes in the room, the mess, the haggard Barris. PENNY -LRB- CONT'D. -RRB- Oh, Chuck. BARRIS Jesus, how'd you find me? Am I listed in some guidebook or something? PENNY You sent me your last letter on hotel stationary. BARRIS Oh. Well, it's great to see you, Pen. You look beautiful. Barris hugs her. PENNY I do n't really. But I appreciate the lie. I know how you hate lying. -LRB- looking around. -RRB- Boy, this place is scary looking. BARRIS Yeah. -LRB- taps his head. -RRB- The human psyche. PENNY I came to take you back to California with me. It's a lonely state without you. BARRIS I do n't know, Redhead. PENNY I ca n't wait forever for you to ask me to marry you, you know. Well, apparently I can. But I really do n't want to. Chuck. BARRIS Pen. PENNY -LRB- crying. -RRB- I love you so much. You do n't understand. I do n't even know why. You're such a schmuck. BARRIS You do n't know the half of it. PENNY You're not gon na marry me, are you? BARRIS I do n't know if I can. Penny nods her head and leaves. Barris watches her go, then falls to the floor and weeps.","EXT. PLANE - DAY","EXT. UNION OYSTER HOUSE, BOSTON - NIGHT","INT. UNION OYSTER HOUSE, BOSTON Barris, dressed in a suit, sits with Patricia Watson. He smiles across the table at her. PATRICIA I ca n't believe you finally left your two - hundred - dollar - a - night cave to see me. I'm honored. BARRIS Y' know, I got a visit this morning from Penny. She's wanted to marry me forever. But she does n't know who I am, what I've, what I'm capable of. And she ca n't ever know. So what does she really love? A lie. And I started thinking, Treesh, you are the only woman in the world who truly knows me. I know I've screwed you over in the past, and I'm really sorry. I just want you to know that you're the one I want to be with. I love you, Treesh. Patricia looks at him. Her hard - as - nails demeanor softens. She smiles. Barris smiles and reaches across the table for her hand.","EXT. WHARF - NIGHT Barris and Patricia stand looking out at the harbor. BARRIS I hate myself for how I've lived, Treesh. PATRICIA Neitzsche said, `` Whoever despises oneself still respects oneself as one who despises.'' BARRIS I never thought of that. Jesus, I ca n't even despise myself with any insight. PATRICIA Insane asylums are filled with people who think they're Jesus or Satan. Very few have delusions of being the guy down the block who works at an insurance company. Wonder what that means. BARRIS Y' know, I wanted to be a writer once. I wanted to write something that someday some lesser person would quote. But I never did. I'm the lesser person, Treesh. I never said anything meaningful that was n't said by somebody else first. I am disposable. I disposed of people and I am disposable. -LRB- beat. -RRB- You look cold. Barris drapes his jacket over Patricia's shoulders. PATRICIA Chuck, what's gotten into you? You're actually acting like a gentleman. Barris kisses her. She lets him. PATRICIA -LRB- CONT'D. -RRB- Well, it's late. I should get going. BARRIS I suppose you still wo n't tell me where you're staying. PATRICIA No. But I'll show you. She takes his hand. They walk off.","INT. PATRICIA'S HOTEL ROOM - NIGHT Patricia enters followed by Barris. She turns on the light. PATRICIA Drink? BARRIS Sure. Bourbon. Patricia pours some drinks. There are a couple of chairs near the window. Barris sits in one. PATRICIA I've been thinking a lot about you lately, Chuck. BARRIS Yeah? Patricia approaches Barris with the drinks, hands him one. PATRICIA I've missed you. BARRIS You could've fooled me. PATRICIA Well, I've mellowed. Patricia takes Barris by the hand, leads him to the window. PATRICIA -LRB- CONT'D. -RRB- Look. Boston's a beautiful city. We could start over here. A normal person's life. Together. Selling insurance. BARRIS That sounds right. Patricia flops down in the chair that Barris had been sitting in. Barris sits in the chair across from her. Patricia raises her glass. PATRICIA To life. BARRIS To life. Patricia casually slides her hand under the chair cushion. In one swift move, Barris pulls a gun from his ankle and shoots Patricia three times, twice in the head, once in the heart. The force of the bullets has tipped the chair over. Patricia lies sprawled on the floor. BARRIS -LRB- CONT'D. -RRB- -LRB- bitterly. -RRB- L'Chaim. Barris stands and looks at Patricia's body. She holds a gun.","INT. QUIET CAFE - MORNING Simon Oliver sits sipping an espresso. He has a black eye and bruised face. Barris enters, looking haggard. He sits and stares at Oliver. BARRIS It's done and I'm done. Agreed? OLIVER Agreed. But if you get antsy. and you will. Oliver smiles and walks off. Barris sits for a moment, then stands, walks over to a payphone and dials. BARRIS Hey, Redhead?","INT. CHAPEL - DAY Barris and Penny are getting married surrounded by friends in a small chapel. JUSTICE OF THE PEACE We have come here today to join together Penny Pacino and Chuck Barris. You all know Chuck Barris : the creator of The Dating Game, The Newlywed Game, The Family Game. Barris looks at Penny. Should he slug this guy? She gives him a `` be patient'' look. JUSTICE OF THE PEACE -LRB- CONT'D. -RRB- The Game Game, Dream Girl of 1968, Operation Entertainment, How's Your Mother - in - Law? and many others. Chuck Barris who most recently brought us such hits as The Rah - Rah Show, Treasure Hunt, Leave it to the Women, The Dollar - Ninety - Eight Beauty Show, and The Gong Show. The Chuck Barris, who I'm sure will be back with even more shows to.","EXT. CHAPEL - DAY Well - wishers, family, fans, photographers, reporters, and passers - by are lined up on either side of a red carpet that leads from the chapel to a limousine waiting at the curb. Barris and Penny emerge from the chapel. Everyone cheers, photos are snapped, rice and confetti are thrown, as the happy newlyweds make their way to the limo, Barris spots a pinky - ringed hand in the crowd holding a gun. Barris pushes Penny toward the white limo. The driver stands there holding the door open. Barris shoves Penny in, then screams at the driver. BARRIS Drive, Danny! Now! Barris jumps in the car, the driver slams the door closed, hurries around the driver's door and gets in. The car peals away from the cab.","INT. CAR - CONTINUOUS An ashen Barris looks back at the crowd. Penny watches him. PENNY What's going on? BARRIS -LRB- still looking out window. -RRB- Pen, I have something to confess. Penny's expression shifts, turns slightly stony. She's getting ready for something bad. PENNY Okay. BARRIS -LRB- stalling. -RRB- You know me as the creator of The Dating Game, The Newlywed Game, The Family Game, The Game Game, How's Your Mother - in - law, Dream Girl of 1968. PENNY Operation Entertainment. BARRIS Yeah, Operation Entertainment. The Rah - Rah Show, Gong Show, The Dollar - Ninety - Eight Beauty Show, The Ra - Rah Show. PENNY You said that already. BARRIS Okay. -LRB- beat. -RRB- Okay, but what you do n't know is that I've brutally murdered thirty - three people for the CIA. Penny just stares blankly at Barris, who ca n't look at her. Suddenly she starts to laugh. Danny joins in. Eventually so does Barris.","EXT. TERRACE - DAY The actual Barris is being interviewed. ACTUAL BARRIS Y' know, I came up with a new game show idea recently. It's called The Old Game. You got three old guys with loaded guns on stage They look back at their lives, see who they were, what they accomplished, how close they came to realizing their dreams. The winner is the one who does n't blow his brains out. He gets a refrigerator. The camera holds on Barris's face as he puffs a cigar. BLACK. THE END"],"string":"[\n \"CONFESSIONS OF A DANGEROUS MIND MUSIC IN : OMINOUS ORCHESTRAL TEXT, WHITE ON BLACK : This film is a reenactment of actual events. It is based on Mr. Barris's private journals, public records, and hundreds of hours of taped interviews.\",\n \"EXT. NYC STREET - NIGHT SUBTITLE : NEW YORK CITY, FALL 1981 It's raining. A cab speeds down a dark, bumpy side - street.\",\n \"INT. CAB - CONTINUOUS Looking in his rearview mirror, the cab driver checks out his passenger : a sweaty young man in a gold blazer with a `` P'' insignia over his breast pocket. Several paper bags on the back seat hedge him in. The young man is immersed in the scrawled list he clutches in his hand. A passing street light momentarily illuminates the list and we glimpse a few of the entries : double - coated waterproof fuse -LRB- 500 feet -RRB- ;.38 ammo -LRB- hollowpoint configuration -RRB- ; potato chips -LRB- Lays -RRB-. GONG SHOW An excerpt from The Gong Show -LRB- reenacted -RRB-. The video image fills the screen. We watch a fat man recite Hamlet, punctuating his soliloquy with loud belching noises. The audience is booing. Eventually the man gets gonged. Chuck Barris, age 50, hat pulled over his eyes, dances out from the wings to comfort the agitated performer. PERFORMER Why'd they do that? I was n't done. BARRIS -LRB- AGE 50. -RRB- I do n't understand. Juice, why'd you gong this nice man? JAYE P. MORGAN Not to be. That is the answer. The studio audience laughs.\",\n \"INT. TAXI CAB - NIGHT The cab sloshes to a stop in front of a liquor store. The young man gets out, jogs through the rain toward the fluorescent storefront. The cab driver waits, listens to staticky reports in a foreign language on his radio. The meter is running. The back seat is piled high with bags. GONG SHOW Chuck Barris spastically dances on the screen along with Gene Gene the Dancing Machine. Barris turns to the camera, points at it. BARRIS We'll be right back with more stuff.\",\n \"INT. TAXI CAB - NIGHT The back of the cab is filled with even more bags and boxes. The cab stops. The young man gets out and confers with a shady looking guy on the corner. The young man pulls out a big wad of cash. Money and a small package change hands. The meter in the cab is at thirty - five dollars and change. THE GONG SHOW Chuck Barris is being sniffed in the crotch by a large dog. The audience howls with glee. Suddenly the video image explodes. Slow motion sparks and shards of glass shoot toward the camera. We pull back to reveal we're in a darkened, messy hotel room. We pan across the walls, past taped - up, yellowed newspaper clippings with headlines like `` Gong Show a New Low in Television'', `` The Dumbing of America'', and `` Chuck Barris is the Decline of Western Civilization.'' We come to rest on a naked middle - aged man crouching in the shadows in the corner, holding a gun. This is Chuck Barris. The television continues to sputter, spark, and smoke. There is a knock at the door. BARRIS -LRB- mumbly. -RRB- Fuck. Shit. Piss. Naked Barris, still holding the gun, seems panicked. He hesitates, trying to determine his options. Should he answer the door? Should he climb out onto the window ledge? Finally, he creeps to the door and peeks out the peephole for a long moment. He unlocks the door, opens it. The sweaty, young man, a bellhop, stands there with his many bags. He tries to appear casual as takes in the sight : a naked Chuck Barris holding a gun, an exploded, smoking tv set in the background. BARRIS -LRB- CONT'D. -RRB- -LRB- weakly. -RRB- More stuff? BELLHOP Yes sir, Mr. Barris. Everything you requested. Except I could n't find a. -LRB- consults list. -RRB-. DH - 10 directional fragmentation mine. BARRIS Well, it's late. -LRB- mumbling and bowing. -RRB- But thank you. Thank you for trying. You are a scholar and a. Barris trails off, gives a quick glance both ways down the hall, then motions for the bellhop to enter. The bellhop places the bags on a table, fishes in his pocket and pulls out some bills. BARRIS -LRB- CONT'D. -RRB- Keep it. It's okay. Keep it. You are a scholar and a. Barris trails off. BELLHOP -LRB- eyes averted. -RRB- Thank you, sir. Suddenly Barris becomes agitated. BARRIS Why are you not looking at me like that? Do I look ugly to you? -LRB- runs to the mirror. -RRB- It's the not sleeping. I'm not sleeping, see. I have a lot on my. Barris trails off. There is a pause. The bellhop attempts to make conversation. BELLHOP -LRB- re : exploded tv. -RRB- Um, another Gong Show rerun, sir? The naked Barris approaches the bellhop, drapes his arm over the young man's shoulder and walks with him. BARRIS -LRB- conspiratorially. -RRB- You know what I'd do? - And do n't tell anybody - I'd rub. I'd rub Alpo brand dog food on my dick so the dogs would stick their noses into my. dick. Guaranteed big laugh, right? That was my trick, my great contribution to the world. How would n't I degrade myself, I ask you. There is a silence. BARRIS -LRB- CONT'D. -RRB- -LRB- screaming. -RRB- I ask you! BELLHOP I. I. I do n't know, sir. Suddenly Barris punches himself in the head, flops down on the unmade bed. The bellhop glances at Barris's bare ass, looks away. BELLHOP -LRB- CONT'D. -RRB- Mr. Barris, maybe if you just do n't watch the show every night, you would n't have to - BARRIS I always pay for the damn tv's, do n't I? -LRB- turning to face him. -RRB- Do n't I?! BELLHOP It's - Yes, you do, sir, and we appreciate that - It's just that there've been complaints from some of the other guests, and Mr. Andrews, the assistant manager, requested that I - BARRIS Still? Complaints? I specifically used the silencer this time! Specifically! BELLHOP Well, the people in 917 found a bullet lodged in their wall. And while we want to accommodate you - we certainly value your patronage - there is an issue of customer safety. Barris lets this sink in. BARRIS Yes, of course. Barris finds his pants draped over a chair, pulls out his wallet, holds some more money out to the bellhop. BARRIS -LRB- CONT'D. -RRB- My apologies. Buy - 917, is it? - buy them a magnum of your finest champagne. And. and your finest spackle. Oh, and get me a bag of plastic army men while you're out. I forgot to tell you before. The bellhop sighs, takes the money. BELLHOP Thank you for your understanding, sir. The bellhop exists. BARRIS -LRB- calling after. -RRB- And some black socks! Seven black socks, you rascule! Barris locks the door, dumps the contents of the bags onto the floor, fishes through the mess for a cigar, puts the cigar in his mouth, studies himself in a full length mirror. BARRIS -LRB- CONT'D. -RRB- Bellhop Johnson was clearly repulsed by the sight of me. And why not? I'm wrinkled. -LRB- searches for simile, then proudly. -RRB-. like a prune. Covered in liver spots. -LRB- searches for simile. -RRB-. like an old guy. My hair is falling out in clumps, leaving exposed patches of white, sickly scalp. A flabby inner - tube of fat hangs from my waist, practically obscuring my bedraggled prick - dark and shriveled and dead. Still leaking urine even though I left the toilet ages ago. My asshole itches. Hemorrhoids abound. George Orwell said every man has the face he deserves by fifty. Does every man have the asshole he deserves by fifty, as well? Does every fifty year old asshole have the asshole he deserves?\",\n \"EXT. TERRACE - DAY This feels real, verite. The actual Chuck Barris, smoking a cigar, is being interviewed. He stands outside his villa in St. Tropez, older than the middle - aged Barris depicted in the hotel room, and talks to someone off - camera. ACTUAL BARRIS It was 1981. I had holed myself up in this New York hotel. Parker Hotel. Terrified of everything. Ashamed of my life. INTERVIEWER -LRB- O.C. -RRB- Ashamed? What do you mean? Barris walks through a small vegetable garden as he talks, occasionally adjusting a stake or pulling out a weed. ACTUAL BARRIS When you're young, your potential is infinite. You might do anything, really. You might be great. You might be Einstein. You might be Goethe. Then you get to an age where what you might be gives way to what you have been. You were n't Einstein. You were n't anything. That's a bad moment. But I remembered something Carlyle wrote :''. there is no life of a man, faithfully recorded, but is a heroic poem of its sort, rhymed or unrhymed.'' I realized my salvation might be in recording my wasted life, unflinchingly. Maybe it would serve as a cautionary tale. Maybe it would help me understand why.\",\n \"INT. HOTEL ROOM - NIGHT Barris, now in a hotel terrycloth bathrobe and a porkpie hat, sits at a desk and types manically. BARRIS -LRB- V.O. -RRB- My name is Charles Prescott Barris. I have written pop songs, I have been a television producer. I am responsible for polluting the airwaves with mind - numbing, puerile entertainment. In addition, I have murdered thirty - three human beings. I am damned to hell.\",\n \"EXT. PHILADELPHIA STREET - DAY It's sepia. Three year old Chuck, dressed somewhat girlishly and sporting a blonde pageboy haircut is being posed on a pony by a photographer. His mother stands by anxiously as the boy totters on the animal. BARRIS -LRB- V.O. -RRB- Born in Philadelphia, Pennsylvania in 1931, my early childhood remains accessible to me only as a series of elliptical, enigmatic memories.\",\n \"INT. BUTCHER SHOP - DAY A smiling butcher hands a slice of bologna to young Barris, who puts it in his mouth. BARRIS -LRB- V.O. -RRB- The taste of bologna fresh from the butcher.\",\n \"EXT. CEMENT YARD - DAY A baby doll is set afire. Young Barris dances around it. BARRIS -LRB- V.O. -RRB- The sickly sweet smell of a burning babydoll on a crisp autumn day.\",\n \"INT. CHILDHOOD BEDROOM - DAY Young Barris is being dressed by his mother. We're close on the velvet material being slipped over his head. BARRIS -LRB- V.O. -RRB- Velvet brushing against my tender young skin, as my mother dressed me.\",\n \"EXT. SCHOOL YARD - DAY Young Barris rolling on the ground in battle with another boy, as a crowd of children look on. BARRIS -LRB- V.O. -RRB- A constant, inarticulate rage leading to fist fight after fist fight.\",\n \"INT. CHILDHOOD BEDROOM - MORNING Young Barris watches dust motes lit by the early morning sunlight pouring through his bedroom window. BARRIS -LRB- V.O. -RRB- The calm I felt watching dust suspended in the early morning sunlight.\",\n \"INT. CHILDHOOD BEDROOM - NIGHT Young Barris sits on the floor and watches the shadow of a man walking upstairs. The young boy is clearly terrified. BARRIS -LRB- V.O. -RRB- I remember fear.\",\n \"INT. MASTER BEDROOM - MORNING Toddler Barris watches his mother change clothes. He studies her pendulous breasts. She looks down, smiles warmly. BARRIS -LRB- V.O. -RRB- Love. MOTHER You like the way mommy looks, Chuckie? BARRIS -LRB- AGE 4. -RRB- Yes. MOTHER I bet you would like to be a mommy some day, would n't you? BARRIS Yes, mommy. Please. MOTHER C'mere, you. His mother lifts the little boy to her breasts and presses his face against them. He is in heaven.\",\n \"INT. CHILDHOOD HOME - DAY Four year old Chuck sits at the dining room table with several other four year olds. They all wear party hats. Barris's father, a milquetoast middle - aged man enters in birthday hat, carrying a cake decorated with four lit candles. He leads the children in `` Happy Birthday Dear Chuck'' as young Chuck beams. BARRIS -LRB- V.O. -RRB- Rejection. Chuck glances at the kitchen doorway. His mother stands there, staring at him. She dressed in black mourning clothes, complete with veil.\",\n \"INT. NURSERY - DAY Young Chuck peeks in as his mother sits in a rocking chair and holds Barris's infant sister. She fusses with the bows and frills on the baby's outfit. The light in the room is golden and warm. BARRIS -LRB- V.O. -RRB- Expulsion. We move in on the little boy's devastated face, then follow him as he turns and walks down the hall into darkness.\",\n \"INT. LIVING ROOM - DAY A sixteen year old Barris lies on his back on a couch lazily tossing a football in the air. Tuvia, a thirteen year old girl, sits on the floor playing with a puppy. In the background, throughout the scene, we hear the inept playing of scales on a bass violin. BARRIS -LRB- V.O. -RRB- When I was sixteen I had an experience with my little sister's friend Tuvia that left an indelible impression. BARRIS -LRB- CONT'D. -RRB- Phoebe's no Walter Page, huh, Tuvia? TUVIA I do n't know who that is. BARRIS Of course you do n't. -LRB- beat. -RRB- Why are you waiting around anyway, listening to this cacophonous cacophony, when you could be in your own abode disrupting the lives of your own siblings? TUVIA I do n't know what anything you say means. BARRIS No. You would n't, would you. Barris watches Tuvia playing with the dog. She gets on all fours and yelps, imitating the dog. This excites the dog, who bounces around her. Barris studies Tuvia's exposed white underwear for a while. This excites Barris. Finally he pulls an afghan off the back of the couch and drapes it over his pants. We hear him unzip his fly. BARRIS -LRB- CONT'D. -RRB- Hey. TUVIA -LRB- not looking. -RRB- What? BARRIS Hey, Tuvia. TUVIA -LRB- turning. -RRB- Wha - at?! Tuvia sees Barris fiddling with something under the afghan. She gets quiet. BARRIS You wan na lick it? Tuvia snorts, goes back to playing with the dog. TUVIA No. Why should I? BARRIS Well, for one thing it tastes like strawberry. My sister tells me you love strawberries. TUVIA Yeah, well. I hate strawberries. BARRIS Honestly, a man's penis tastes exactly like a strawberry lollipop. TUVIA Look, I know that's not true, so - BARRIS It is true. It's weird but it's true. I just read a research paper on it. Tuvia looks at the afghan.\",\n \"INT. HOTEL ROOM - NIGHT Middle - aged Chuck Barris turns from the typewriter and stares out the window at the dark night sky. BARRIS -LRB- sadly wistful. -RRB- My first love.\",\n \"INT. LIVING ROOM - DAY Tuvia's face jerks up into frame. She spits. TUVIA Uchh. Yech. It does n't taste anything like strawberry, you creep. The dog sticks his head under the afghan. Barris shoos him away. BARRIS -LRB- curious. -RRB- Well, what does it taste like? Tuvia gets up. TUVIA Y' know, I'm gon na tell your mother what you just did. BARRIS If you do, I'll tell your mother you made our dog lick your crack. TUVIA I did not! BARRIS -LRB- shrugging. -RRB- So what?\",\n \"INT. HOTEL ROOM - NIGHT Middle - aged Barris types as the camera glides over some of the acquired detritus in his room : skin magazines, a gun and silencer, liquor, a copy of Beyond Good and Evil, a disguise kit, a kid's sprouted lima bean science fair project. BARRIS -LRB- V.O. -RRB- Perhaps my whole life turned at that point. The repulsiveness of my sex confirmed by the tastebuds of a ripening pubescent girl. MONTAGE Sequence of young Barris unsuccessfully attempting to pick up girls at bars, unsuccessfully attempting to cop a feel on a date in a movie theater, standing on a front porch unsuccessfully attempting to kiss a girl good night, standing outside of a movie theater in the rain, holding an umbrella over his head and checking his watch. BARRIS -LRB- V.O. ; CONT'D. -RRB- And so I found myself in a downward spiral of debauchery. Endlessly chasing pussy. My only focus in life : to get laid, to get blown, trying to fool myself into believing that given the right combination of circumstances and deception, maybe the Tuvias of the world could desire me the way I desired them. I only wanted to be loved.\",\n \"INT BAR - NIGHT Barris is fighting another drunken guy. He's getting pummeled. BARRIS -LRB- V.O. -RRB- A constant, inarticulate rage led to bar fight after bar fight. The two men get tossed from the bar.\",\n \"EXT. BAR - CONTINUOUS The other guy gets up, brushes himself off, orients himself, and after a moment starts beating Barris again.\",\n \"EXT. HIGHWAY - DAY SUBTITLE : New Jersey Turnpike, 1955 A bus drives along. We see from the sign above the windshield that it is bound for New York.\",\n \"INT. BUS - CONTINUOUS Young Barris, age 24, in traveling clothes and red hunting cap, stares out the window. BARRIS -LRB- V.O. -RRB- As much as I tried, I could n't understand my past and my present was miserable, so, at twenty - four, I decided what I needed was a future.\",\n \"EXT. ROCKEFELLER CENTER (1955) - DAY Young Barris, suitcase in hand, looks up at the impressive building. People hurry by. BARRIS -LRB- V.O. -RRB- I had heard that television was an industry with a future. Barris enters the building with resolve.\",\n \"INT. NBC STUDIOS (1955) - DAY Young Barris, age 24, dressed in an NBC blazer is leading a group of sheep - like tourists down a hall. BARRIS Next, we'll have a look at the studio where they produce the Today Show. The tourists `` ooooh.'' Another tour group comes around a corner. This one is led by Georgia, a perky, blonde southern girl. The two groups squeeze past each other. Chuck tries to make eye contact with Georgia. He smiles at her, but she ignores him.\",\n \"INT. NBC COMMISSARY - DAY Barris is at the cash register paying for his food. He looks around for a place to sit. He spots Georgia, sitting with a female friend, and he sits at a table behind, so as to listen unobserved to their conversation. GIRLFRIEND That fella Raymond in payroll is kinda cute, huh? GEORGIA Cute's all well and good, Mary Ann, but what you want is a man who's goin' places. A go - getter on the management fast - track. Barris registers this information.\",\n \"INT. NBC PERSONNEL OFFICE - DAY Barris stands at the counter talking to a female clerk. BARRIS Management trainee application, please. The clerk hands him an application without looking up. BARRIS -LRB- CONT'D. -RRB- How many people applying for this so far? CLERK -LRB- calculating. -RRB- Let's see, including you. about two thousand. BARRIS For how many positions? CLERK -LRB- looking up and smiling. -RRB- Five.\",\n \"INT. NEW YORK PUBLIC LIBRARY - DAY Barris sitting with a book and copying the names of three of the board of directors of RCA onto his application under the heading of `` Personal References.''\",\n \"INT. BARRIS'S BEDROOM - NIGHT Young Barris is having sex with Georgia. They finish. Barris rolls off her and onto his back. Georgia sighs. GEORGIA Tell me again. BARRIS Head of network sales at thirty. Head of the entire network at forty. GEORGIA And? BARRIS -LRB- rote. -RRB- Dead of a heart attack by fifty with all my millions left to you. GEORGIA You're wonderful. I love you, Mr. Chuck Barris, management trainee. She climbs on top of Barris and begins kissing him all over. BARRIS -LRB- V.O. -RRB- Life was sweet. For a minute.\",\n \"INT. BARRIS'S APARTMENT - AFTERNOON Georgia is looking radiant as she reads a movie magazine. Barris enters. She runs over to kiss him. GEORGIA Baby doll! BARRIS I got fired. She pulls away, studies him for a moment, lets it sink in. GEORGIA Fired? BARRIS Fired. F - I - R. GEORGIA Fired? What the fuck did you get fired for?! BARRIS I do n't know, efficiency cutback. Some bullshit. Look, it's gon na be. GEORGIA Well, I'm pregnant, you fuck! BARRIS Pregnant? GEORGIA Yeah, pregnant! BARRIS What the fuck did you get pregnant for?! GEORGIA What do you mean, what the fuck did I get pregnant for? You got me fucking pregnant, you fuck! BARRIS Well, fuck you.\",\n \"INT. BAR - NIGHT Barris sits drunkenly at the bar. He talks to a drunken guy next to him. BARRIS So I figured I'd skip town. I intend to be important, y' know, I ca n't be saddled with this. But then I remembered something Carlyle said : `` Do the duty which lies nearest thee.'' BAR FLY Who's Carlyle? BARRIS Dear God, why do I even bother? BAR FLY Hey, fuck you, you condescending prick. BARRIS Hey, fuck you. BAR FLY Hey, fuck you. BARRIS Hey, fuck you. The guy punches Barris. A fight ensues.\",\n \"INT. BARRIS'S APARTMENT - NIGHT Barris is drunk on the couch watching a tv game show, his face swollen from the fight. Georgia enters. GEORGIA -LRB- pissy. -RRB- Looks like I was just late. Barris barely acknowledges this, continues to watch tv.\",\n \"INT. BARRIS'S BEDROOM - EARLY MORNING Barris and Georgia are in bed. Georgia is asleep. Barris opens his eyes, quietly climbs out of bed.\",\n \"INT. APARTMENT - DAY Another verite - looking interview. A middle - aged blonde woman, the actual Georgia, is talking to someone off - camera. Sitting next to her is a Jewish - looking middle - aged man. ACTUAL GEORGIA I woke up and he was gone. No note. No nothing. I never saw him again. Until that stupid tv show he did. JEWISH-LOOKING MAN The Gong Show. ACTUAL GEORGIA I know what it's called, jerk.\",\n \"INT. COMMUTER TRAIN - DAY We're close on a copy of the NY Herald Tribune. The headline reads Clark Testifies Before `` Payola'' Committee. We pull back to see young Barris, in a suit, reading the paper in a passenger car of a moving train. BARRIS -LRB- V.O. -RRB- In'61 I was thirty. I had become a minor suit at ABC. It was during the music payola scandal.\",\n \"INT. TV STUDIO - DAY American Bandstand is taping. The studio is filled with dancing teens. Barris sits off to one side behind an imposing desk in the semi - darkness, suspiciously watching Dick Clark's every move, and taking copious notes. Clark glances over nervously. BARRIS -LRB- V.O. -RRB- so my job was to commute to Philly every day to the American Bandstand tapings, and keep an eye on Dick Clark.\",\n \"INT. OFFICE - DAY The actual Dick Clark is being interviewed. DICK CLARK Chuck Barris? He spooked me. I tried to keep on his good side becuase he was sort of. spooky. INTERVIEWER -LRB- O.C. -RRB- How so? DICK CLARK I dunno, there was something in his eyes. Something dark, like unbridled ambition, maybe. Or an inarticulate rage.\",\n \"EXT. PALISADES PARK - NIGHT Barris walks through the crowds. A dark look in his eyes as he follows some giggling teenage girls in poodle skirts. BARRIS -LRB- V.O. -RRB- On weekends I used to hang around amusement parks. Because that's where the young girls were.\",\n \"INT. BARRIS'S TENEMENT APARTMENT - NIGHT Young Barris lies in bed masturbating. BARRIS -LRB- V.O. -RRB- I wrote a song about my experience. The song `` Palisades Park'' begins. FREDDIE CANNON Last night I took a walk after dark/to see a place called Palisades Park/to have some fun and see what I could see/that's where the girls are\",\n \"INT. TV STUDIO A sign above the stage reads The Dick Clark Saturday Night Beechnut Show. Freddie Cannon is on stage singing `` Palisades Park'' as a crowd of 1962 teenagers dance on the studio floor. BARRIS -LRB- V.O. -RRB- I got it to Freddie `` Boom Boom'' Cannon through my friendship with Dick Clark. Dick really wanted to help me out. FREDDIE CANNON I took a ride on the shoop de shoop/that girl I sat beside was awful cute/and when we stopped she was holding hands with me/my heart was flying/up like a rocket ship/down like a roller coaster/fast like a loop de loop/round like a merry go ` round. Young Barris watches happily from behind the cameras. He spots, Debbie, a pretty, bland young woman with headphones and a clipboard. He sidles over to her. BARRIS Hi. DEBBIE What? BARRIS Hi! DEBBIE Oh. BARRIS I wrote this song. DEBBIE Oh. Uh - huh. BARRIS It's number three on the pop charts. Barris pulls out music magazine clipping as proof. DEBBIE Huh.\",\n \"INT. FANCY RESTAURANT - NIGHT Barris and Debbie are having dinner. BARRIS See, I believe there's a great future in television. DEBBIE Uh - huh. BARRIS So I'm going to take my royalties and create a pilot. A pilot is what they call a test tv show. DEBBIE I work in tv. BARRIS Yeah. It's gon na be a game show. I believe there's a great future in game shows. DEBBIE That's good. BARRIS Everyone loves game shows, right? DEBBIE I do n't know. BARRIS Well, they do. DEBBIE That's great then. BARRIS I'm on my way! There is a long, awkward silence. They both saw away at their steaks.\",\n \"INT. DEBBIE'S BEDROOM - NIGHT Barris and Debbie are having sex, sort of mechanical. They're plowing through, kind of like sawing through their steaks. When it's over, they both just lie there.\",\n \"INT. DEBBIE'S LIVING ROOM - NIGHT Young Barris, in his underwear, sits alone in the semi - darkness and stares out the window. The front door unlocks and a woman enters, backlit from the hallway. She turns on the light. This is Penny Pacino, eighteen, a beatnik in a black leotard and skirt and black mascara. She has red hair. She sees Barris on the couch. PENNY Hello. BARRIS Hi. Do n't be alarmed I'm with Debbie. PENNY Yeah, I figured. Penny walks past him, drops her keys and bag on the counter, and enters the kitchenette. Barris watches her ass. PENNY -LRB- CONT'D. -RRB- You hungry? BARRIS Um, no thanks. PENNY Thirsty? BARRIS If you have a beer. Penny returns with two beers, hands one to Barris. She sits in a chair across from him. They both drink. PENNY So how was sex with Debbie? I've always wondered. BARRIS -LRB- a little taken aback. -RRB- It was good. Fine. Thanks for asking. PENNY No problem. I just got fucked by this drummer cat. A really righteous Negro hipster. BARRIS Huh. Interesting. PENNY See, I believe in the brotherhood of man. Last week I got fucked by an Oriental. -LRB- beat, studies him. -RRB- What are you? BARRIS Jew. PENNY That's what I thought. I had a Jew, but he was Sephardic. You look Ashkenazi. -LRB- pronounced Ashkuh - Natzee. -RRB-, I'm guessing. BARRIS Ashkenazi. PENNY Right. Ashkenazi. I have n't balled one of them. BARRIS You're a romantic. PENNY Eh, I just do n't get into all the bullshit between cats and chicks. BARRIS I know what you mean. PENNY -LRB- not hearing him. -RRB- You know what I mean? BARRIS I know what you mean. PENNY Besides, you fall in love with a cat, you only get hurt. Right? BARRIS Do n't I know it. PENNY -LRB- beat. -RRB- We could ball if you want. I seem to like you pretty well. BARRIS Well, that would be good. But, you know, I'm kind of here with Debbie. It does n't seem right. PENNY Yeah. That's true. I did n't think of that. -LRB- getting up. -RRB- Well, I'm going to bed. Nice meeting you. Penny shakes his hand and heads off. BARRIS What's your name? PENNY Penny. BARRIS I'm Chuck. PENNY Oh, you're the one who wrote that Palisades song. I love that song. It's such sentimental bullshit. Penny exits into her bedroom. Barris drinks his beer.\",\n \"INT. BARRIS'S TENEMENT APARTMENT - DAY Barris and Penny are having sex on the kitchen floor. It's quite passionate.\",\n \"INT. TENEMENT APARTMENT - LATER Penny is taking a bath in the tub in the kitchen while Barris broodingly cooks dinner at the stove. PENNY -LRB- animatedly. -RRB-. so this ape and I were looking at each other. It was, like, across time and evolution. Then he began to talk, but it was a language I did n't understand, maybe Swiss. Then he turned into Perry Como, real square and. what's wrong with you? BARRIS Nothing. PENNY Just because we fucked, does n't mean there are strings now. It's okay. BARRIS Okay. PENNY Okay? I only wanted to tell you my dream is all. Nothing more complicated than that. Do n't panic. BARRIS I'm just used to all this dating bullshit, y' know. Now we're a couple. Now I'm obliged to give a shit what you say. PENNY Do n't worry about it, I'm not into those games either. So, anyway, this monkey turns into Perry Como and I say - BARRIS Holy fuck! PENNY What? BARRIS Holy holy fuck! -LRB- runs over, kisses her. -RRB- You just gave me an idea. -LRB- starts pacing For a show! Fuck! PENNY A show about monkeys? BARRIS In a way. About the craziest monkey of all : Monkius Humanius! Do n't you see? About people! About sex. About romance. About the bullshit of dating!\",\n \"INT. LEONARD GOLDBERG'S OFFICE - DAY Leonard Goldberg, ABC executive, sits behind his desk as Barris, holding a cardboard model of a game show set, excitedly paces the room giving a pitch. BARRIS I call it The Dating Game, Mr. Goldberg. And that's what it's about. A pretty girl asks three handsome guys, who she ca n't see, silly questions. And based on their answers, she picks one to date. And we pay for the date. That's it! That's the show! It's got everything!\",\n \"EXT. ABC BUILDING - DAY Penny leans on a signpost smoking a cigarette. Barris emerges from the building with his cardboard set. He looks grave. He approaches Penny. PENNY No? BARRIS -LRB- lighting up. -RRB- They bought it! Penny screams, hugs Barris. BARRIS -LRB- CONT'D. -RRB- They bought it they bought it they bought it. The two dance around on the street. BARRIS -LRB- CONT'D. -RRB- They're giving me seventy - five hundred fucking dollars to make a pilot! PENNY Oh my God! Oh my God! We got ta go celebrate! Let's go roller skating! Penny kisses Barris. BARRIS I ca n't, Pen. I got a date. PENNY Okay. That's cool. Call me after. BARRIS Yeha, okay. I will. Barris walks off. We stay on Penny smoking her cigarette. MUSIC IN : DATING GAME THEME THE DATING GAME PILOT BEING MADE, QUICK SHOTS OF : BARRIS TENSELY DIRECTING ACTIVITY ON THE SET. GIGGLY BACHELORETTE ASKING QUESTION. GAWKY BACHELORS MUGGING. TOOTHY HOST GUFFAWING. ACTUAL BARRIS -LRB- V.O. -RRB- I figured I was in. All I had to do was get the pilot made and I'd be a millionaire. Everyone would love me. MUSIC OUT SUDDENLY.\",\n \"EXT. TERRACE - DAY ACTUAL BARRIS -LRB- staring off. -RRB- Was anyone ever so young?\",\n \"INT. CHILDHOOD BEDROOM - DAY Barris, 32, lies on his bed on his back and tosses the football in the air. A very very very old dog lies on the floor. Phoebe, Barris's 26 year old sister enters. PHOEBE Chuck. BARRIS Albert's dead. PHOEBE Well, he led an amazingly long life. BARRIS Still, it's hard to go on. PHOEBE Y' know, you've been staring out this window for six months now. BARRIS I'm trying to come up with new tv shows, if you must know. Okay? That's what I'm doing. I believe there's a real future in tv. -LRB- holds up notebook, shakes it. -RRB- Look. Ideas. Okay? PHOEBE You're thirty - two years old, and you have no career and no prospects. BARRIS Thanks for the status report, Phoebe. Look, I just got ta come up with the right concept. Then, boom. -LRB- holds up notebook again. -RRB- Which, by the way, I've almost got. PHOEBE You're breaking mom's heart. You know that, do n't you? Barris looks out the window at his emaciated mother sitting in the yard in an old wicker - backed wheelchair and staring off into space. BARRIS Somehow, and do n't ask me why, Phoebe, my being born broke mom's heart. Barris watches his mother for a long moment. BARRIS -LRB- CONT'D. -RRB- Hey Phoebe, you ever see what's - her - name, Tuvia, anymore? PHOEBE Who? BARRIS Tuvia. Your friend. Tuvia. The girl. PHOEBE Oh. No. I heard something. I think she got divorced recently or something. BARRIS Oh, yeah?\",\n \"EXT. FRONT PORCH - DAY Barris knocks on the door. There is some movement inside and a woman answers the door. This is older Tuvia, 20's, attractive but a little hard - edged now. She balances a baby on her hip OLDER TUVIA Yes? -LRB- registers. -RRB- Well, if it is n't Strawberry - dick Barris. BARRIS Hi, Tuvia. Barris taken by the changes in Tuvia. The baby and the full, milk - producing breasts get him excited. OLDER TUVIA What do you want? BARRIS I came by to apologize. OLDER TUVIA Okay then. She closes the door. He knocks again. She opens the door. OLDER TUVIA -LRB- CONT'D. -RRB- Well, if it is n't Strawberry - dick Barris. Now what do you want? BARRIS So I'm back in town. For a while. I thought maybe you and I could - OLDER TUVIA Jesus, you've got to be kidding. Tuvia closes the door. Barris stands there for a moment, considers knocking again, then turns and leaves.\",\n \"EXT. WASHINGTON SQUARE PARK - NIGHT We move along a park bench, past several homeless people, one holding an old doll, others holding other sad items. We come to Barris. He's wrapped in a horse blanket and holding the miniature cardboard Dating Game set. An open notebook sits on his lap. The pages are blank, except for one entry : The Something Else Game. Barris holds a pen poised to write, but does n't.\",\n \"INT. BAR - DAY Barris is drunk and in a fight. He is losing, flailing, swinging wildly. Jim Byrd, a middle - aged, business man - looking guy, in tinted glasses and sideburns, watches from the bar. Eventually Barris and the other brawler get thrown out of the bar. Byrd takes a sip of his drink.\",\n \"EXT. BAR - DAY Barris sits on the curb, nursing his wounds. Byrd exits the bar and casually approaches. BYRD You're a pretty angry young fella, are n't you? Ca n't fight worth a damn though. BARRIS Screw off, fag. Do n't think I have n't seen you watching me in that bar for a week now. BYRD Kind of a loner, I'd say. Fairly bright. A tad anti - social. Mad at the world. Can I buy you lunch? BARRIS Look, there's a schoolyard half a block down. Why do n't you go trolling there? Barris gets up and starts to walk away. BYRD I could teach you at least thirty different ways to kill a man with a single blow, Mr. Barris. Barris stops. BYRD -LRB- CONT'D. -RRB- Might help you in future bar fights. Just a thought. Barris just stands there. BYRD -LRB- CONT'D. -RRB- Oh, and there's money in it. Good money. Barris turns.\",\n \"INT. DINER - DAY Barris and Jim Byrd sit in a booth. Barris is wolfing a hamburger. Byrd sips coffee. BARRIS -LRB- mouth full. -RRB-. and I figure if I can keep afloat until I come up with my next game show idea, then all will be copacetic. BYRD That sounds great, Chuck. Y' know, I've never known a television producer before. I'm impressed. BARRIS Yeah, yeah. So what's this money deal you were talking about? BYRD Well, I work for a government agency, and I can always use good, enthusiastic men to help me carry out my directives. BARRIS What kind of work? What government agency? BYRD -LRB- matter - of - fact. -RRB- Problem solving work. For the Office of Diplomatic Security. BARRIS Office of what? Never heard of it. Is that the fucking CIA or something? BYRD Please be discreet, Mr. Barris. BARRIS -LRB- whispering. -RRB- Jesus, it is the fucking CIA! Hell, I'll be a spy! Where do I sign up? Are you fucking with me? You're fucking with me, are n't you? BYRD Hardly. And you would n't be with the company. You'd be a contract agent. Independent. No official tie to any agency. Is that understood? BARRIS -LRB- beat. -RRB- Why me? BYRD As you know, I've been watching you. For years, actually. I've only let you know about it for the last week. Chuck stops chewing. BARRIS Jesus. BYRD I'm happy to report you fit our profile, Mr. Barris. Are you interested in this work? Long pause. BARRIS Well, what's the profile? BYRD Are you interested in this work, Mr. Barris? BARRIS Yeah, sure, I wan na be a secret agent. Contract agent. Whatever. Get to fuck beautiful Eastern European women. Wear a trenchcoat. Sounds like a kick. BYRD The work we do is very serious. It's essential in quelling the rise of communism and allowing democracy to gain its rightful foothold around the globe. BARRIS Sure. Yeah. Okay. That's good.\",\n \"EXT. ABANDONED ARMY BASE - DAY The place is ramshackle and overgrown. It looks deserted. A barbed - wire fence surrounds it.\",\n \"INT. BASE REC ROOM - DAY A severe - looking instructor is teaching a class to an assembled group of scary - looking men : losers, psychos, mercenaries, Latin American thugs, and Chuck Barris. INSTRUCTOR #1 There are several efficient methods of killing a man, were you to find yourself without a weapon. The edge of your hand against the adversary's Adam's apple. -LRB- demonstrates on mannequin. -RRB- This will crush the windpipe causing strangulation and death. The students take notes. INSTRUCTOR #1 -LRB- CONT'D. -RRB- Boxing your adversary's ears with proper force will cause his ear drums to burst and possibly result in bleeding in the brain. And death.\",\n \"EXT. BARRACKS - NIGHT It's dark. Byrd sits on a step, smoking a cigarette. Barris approaches. BARRIS You're training me to be a killer. BYRD See, Chuck, I knew you were fairly bright. BARRIS I ca n't kill people. My future is in television. BYRD Listen, you're thirty - two years old and you've achieved nothing. Jesus Christ was dead and alive again by thirty - three. Better get cracking. BARRIS I have ideas for shows. BYRD Oh, good. Why do n't you spend another six months developing'em while staring out the window at mommy's house next to poor dead Albert the dog. BARRIS How do you know all that? BYRD I know everything about you, Chuck. For fuck's sake, I know which hand you jerk off with. Barris lifts his hands, tries to remember. BYRD -LRB- CONT'D. -RRB- Right. Leave in the morning, if you want. But I'm here to tell you this is honest work for good pay. You'd be helping to make the world safer. And your country would be grateful. Byrd rises, stubs out his cigarette in his hand. BYRD -LRB- CONT'D. -RRB- It'll toughen you up. Barris sits there staring into the blackness.\",\n \"INT. CLASSROOM - DAY Another big, frightening instructor stands before the class. Behind him is a full - sized diagram of a man which illustrates all major arteries and organs. He is demonstrating the proper way to grip a knife, then using the knife, he points to various sites on the body. Angle on Chuck Barris. He has copied the diagram of the man in his notebook and is writing `` Carotoid artery carries blood to brain. Death in seconds.'' He then writes : `` Game show idea : Slice of Life. Interesting!''\",\n \"EXT. FIELD - DAY Several canvas dummies are propped up in the field. Barris and other students slash at the dummies with big knives.\",\n \"INT. WORKSHOP - DAY Barris and other students are assembling rifles.\",\n \"EXT. MUDDY FIELD - NIGHT Barris and other students crawl on their bellies through mud.\",\n \"INT. LABORATORY - DAY The severe instructor, in a lab coat, is mixing chemicals. INSTRUCTOR #1 Glycerin is, of course, the best - known nitrating agent. Now keep in mind, nitroglycerin is extremely unstable. A slight tap, a one degree change in temperature and it'll blow up in your hands. Yee - haa, let's mix us up a batch! Instructor # 1 holds up a beaker. INSTRUCTOR #1 -LRB- CONT'D. -RRB- Everybody take your 75 ml beaker and fill it to the 13 ml level with fuming red nitric acid, 98 % concentration. The students nervously pour nitric acid into beakers.\",\n \"INT. BUNKER - DAY The severe instructor is demonstrating how to use an army field telephone to torture a man. A canvas dummy is tied to a chair as the instructor attaches wires from the telephone to the dummy's genitals and to his mouth. The students watch closely, take notes.\",\n \"EXT. BARRACKS - DAY The students with suitcases and in traveling clothes are hugging and saying good - bye. The end of summer camp. A tearful Barris heads toward one of the waiting buses. Byrd pulls him aside, discusses something with him.\",\n \"INT. PLANE - DAY Byrd and Barris, now dressed in a suit similar to Byrd's, sit in first class. Byrd stirs his scotch and water with his finger as he stares at nothing out the window.\",\n \"EXT. AIRSTRIP, MEXICO CITY - DAY SUBTITLE : MEXICO CITY, 1965 A commercial airliner comes in for a landing.\",\n \"INT. CAFE - DAY Barris, Byrd, and two sleazy, sweaty men, Benitez and Brazioni, sit in a booth in the back of the dark cafe. Benitez opens up his brief case and pulls out a pile of grainy photos of a man leaving a residence and a street map. He lays them on the table. BYRD Salvador Panagra Renda, gentlemen. BENITEZ Si. In the flesh. BYRD What have you got for me, Manny? BENITEZ -LRB- re : map. -RRB- Renda leaves his apartment every day at 8:30, alone, walks east two blocks to this news kiosk, buys a paper and heads south four blocks to the plaza of the Museum Nacional to read it. BYRD Okay. Chuck, you're here at 8:25. Dress like a tourist. Start walking north. You should pass Renda here. Stop him and ask him in bad Spanish where the museum is. Make sure he does n't understand what you're asking. BARRIS Okay. BYRD -LRB- to Brazioni and Benitez. -RRB- You'll be parked here. Brazioni, you're behind the wheel. Benitez, you're on the street leaning into the car chatting with Benitez. When Chuck stops Renda, you turn to help with the directions, stick a gun into Renda's ribs, and direct him into the back seat. Chuck, you get in first. Renda's between you and Benitez. Brazioni, whaddaya got? Brazioni opens a case to reveal three Walther P - 38 pistols. BYRD -LRB- CONT'D. -RRB- Nice. You got suppresers with those, I'm assuming. BRAZIONI I am not an imbecile. BYRD -LRB- smiling. -RRB- Glad to hear it. Was n't sure. BARRIS -LRB- to Byrd. -RRB- Where are you going to be, Jim? BYRD Poolside, Chuck.\",\n \"INT. HOTEL BAR - NIGHT Brazioni and Benitez are at a table, drunk, sweaty and loud, flirting with some women. Byrd sits at the bar, sipping a scotch. Barris enters, spots Byrd, sits down next to him. BYRD -LRB- not looking up. -RRB- Hola, Chuckito. Que pasa? YOUNG BARRIS So what'd this guy Renda do anyway? BYRD It's your job to follow directives, not question their validity. BARRIS It's just. BYRD He's a bad guy, Chuck. He's one of the bad guys. Okay? BARRIS Bad for the U.S., right, Jim? Not bad in an absolute sense, just bad for the U.S. BYRD Do n't fuckin' dance with me, Barris. Renda's bad for the Tea and Biscuit Co.. He's bad for me personally. You work for me, and Renda's bad for me. You're now officially a patriotic citizen of the United States of Jim Byrd. YOUNG BARRIS Look, this is - Byrd grabs Barris and pulls him over to a dark corner of the room. No one looks up. He pushes Barris against the wall. BYRD There's no backing out now, Chuck. We've let you in on everything. So you do n't play, you do n't leave Mexico. Comprende? YOUNG BARRIS I was just - BYRD -LRB- softening. -RRB- I like you. I really do. And you're gon na do fine tomorrow. And we're gon na become great friends. And you're gon na have a very nice little career. But you've got to grow up. There's a war on. YOUNG BARRIS What war? BYRD -LRB- walking away. -RRB- That's not your concern.\",\n \"INT. MEXICAN HOTEL ROOM - NIGHT It's hot. There are two twin beds in the room. Byrd sleeps soundly in one. Barris lies in the other, eyes wide open.\",\n \"EXT. MEXICO CITY STREET - DAY Renda is buying a newspaper at the kiosk. He completes the transaction and takes a few steps with his paper. Barris blocks his way, holding a phrase book and shaking. BARRIS Excusa me, por favor, Senor. Renda stops. BARRIS -LRB- CONT'D. -RRB- Donde es - bla ra - ba - blala los bloteros? RENDA No comprende. Renda tries to get away from this pesky tourist. Barris follows him, calling after him. BARRIS Ra - bla - bla - mamos las minjares? Renda picks up his pace, as does Barris. Benitez approaches. BENITEZ May I be of some assistance here? Renda appears relieved, until he feels the gun in his back.\",\n \"INT. CAR - DAY Renda's in the back between Barris and Benitez. Brazioni drives. Renda seems pale and nervous, as does Barris in his gaudy tourist wear and sunglasses. The car drives slowly through the crowded Mexico City streets. They arrive at a jammed intersection and are suddenly confronted with a big parade. It's Day of the Dead ; the streets are filled with dancing skeletons. It's wild and frightening. Brazioni glances at Renda in the reaview mirror. BRAZIONI Day of the dead.\",\n \"EXT. FIELD - DAY The car stops in a deserted field. Barris gets out first. His shirt is soaked through with sweat. Suddenly there's a commotion inside the car. Renda has gotten hold of a gun. He shoots Brazioni and Benitez. Barris panics and dives behind the car. Renda steps cautiously outside of the car, looking for Barris. Barris grabs Renda's foot. Renda falls, the gun flies from his hand. Barris kicks the gun under the car, his own gun drawn. He points the gun at Renda, who is on his stomach. Barris does n't shoot. He's scared, shaking wildly. Renda looks up at Barris, trying to figure him out. He slowly rises to his feet, turns to Barris with a pleading look in his eyes. RENDA Por favor. No me mates, senor. Tengo tres bebes. Barris sucks in a deep gulp of air. His hand shakes. He pulls out Spansh - English dictionary. BARRIS Again. RENDA Que? BARRIS Repitolo. Again. RENDA No me mates. Tengo tres bebes. Barris flips through the dictionary. A church bell chimes, startling Barris. His gun goes off accidentally and the bullet hits Renda in the face, tearing most of it away. Renda falls, but is still alive. He screams out of where his mouth was. A wedding party emerges from the distant church. BARRIS Oh Christ. Oh crap. Barris tries to stop Renda from screaming by covering the hole in Renda's face. Barris throws up, some of it landing on Renda's pants. He wipes his own mouth with his bloody hand and looks at the still screaming Renda. The churchgoers are starting to squint in Barris's direction. Barris shoots Renda again. And again and again and again and again. More blood spatters Barris's clothing and face. The church bell continues to chime.\",\n \"INT. AIRPLANE - DAY Barris and Byrd sit side - by - side in first class. This time Barris has the window seat and stares out. BYRD Beautiful country, is n't it? YOUNG BARRIS Yeah. BYRD You did us proud, Chuck. Barris does n't say anything. BYRD -LRB- CONT'D. -RRB- Renda was a bad guy. He really was. BARRIS Yeah.\",\n \"INT. APARTMENT - EVENING Barris enters carrying an overnight bag and some mail. He flips on the hall light and stares at himself in a mirror. BARRIS -LRB- V.O. -RRB- I had changed. I could see it in my eyes. Something dark. Barris notices a fleck on the side of his nose. It's dried blood. He distractedly rubs at it.\",\n \"EXT. FIELD - DAY Renda's contorted face in close - up as he is shot. Blood spurting. Echoey church bells chime. RENDA No me mates. Yo tengo tres bebes.\",\n \"INT. APARTMENT - EVENING Barris puts down his bag, pulls the Spanish - English dictionary from his pocket, and tries to translate what Renda said. It takes him a while but he does. BARRIS `` Do n't kill me. I am three babies.'' I am three babies? What the fuck does that mean? -LRB- studies dictionary. -RRB- Oh. `` I have three babies.'' Oh, God. Barris drops to the floor and throws up into a trash can. Out of the corner of his eye, he catches a movement in the living room. He lurches backwards, knocks over the can. Vomit spills onto the carpet. PENNY -LRB- O.C. -RRB- -LRB- groggily. -RRB- Chuck, is that you throwing up? In the dim light from the hallway, Barris spots Penny lying on the couch. She is dressed as a hippy. A backpack and a duffel lie on the floor next to her. BARRIS Jesus Christ, Penny. You scared the shit out of me. What are you doing here? PENNY Sorry. I just been crashing here for a few days. Waiting for you. Where you been, man, where you been? BARRIS Mexico. Just on a little vaca. PENNY You drank the water, did n't you? BARRIS Yeah. PENNY You're not supposed to. Montessori's Revenge. You're not even allowed to open your mouth or your eyes when you take a shower. It's crazy. How come our water is so good and their water is poison? It's the same ocean. BARRIS I do n't know. PENNY It's weird, huh? -LRB- beat, then proudly. -RRB- So I'm a hippy now. Look. Penny stands in the dimness to show off her outfit. PENNY -LRB- CONT'D. -RRB- I've been in San Francisco, and it's amazing. Everybody loves everybody and there's lots of colors. We're gon na change the world, Chuck. Come back with me and be my old man, okay? Not that old! Ha ha ha. BARRIS Penny, I'm a little tired now, so. PENNY Oh! You got ta hear this song! Penny shrieks excitedly as she runs to the record player. She turns it on, plugs in a strobe light. `` Sunshine Superman'' starts up. Penny sings and dances along, directing the lyrics at Barris. Barris looks around at his strobing apartment. He sees Penny's mess : pot paraphenalia, anti - war posters, a gold dove painted on the wall with a phone number underneath. PENNY -LRB- CONT'D. -RRB- -LRB- singing. -RRB- `` Cause I made my mind up, you're going to be mine.'' BARRIS Penny, what did you do to my wall? PENNY -LRB- looking. -RRB- Oh, it's a guy who called a couple a days ago. Gold - Bird. Is n't it pretty? BARRIS Leonard Goldberg?! You're kidding? -LRB- dials phone anxiously. -RRB- Hello, this is Chuck Barris returning for Leonard Goldberg. Pause. Barris paces. Penny sings and dances in background. GOLDBERG -LRB- PHONE VOICE. -RRB- Hi, Chuck! BARRIS Mr. Goldberg! I'm so sorry I did n't get back to you right away. I was out of town. Vacationing in Mexico. GOLDBERG Good for you. Listen, Chuck. We've ended up with a damn hole in our daytime schedule. I've been reviewing some options, and it occurred to me there might be a place here for you and your baby. BARRIS My baby, Mr. Goldberg? GOLDBERG The Dating Game. -LRB- joshingly. -RRB- That is your baby, is n't it, Chuck? BARRIS Yes sir, it is. GOLDBERG Are you still interested? BARRIS Yes sir. Very interested. Sir. GOLDBERG Good man. We'll need to start airing in about six weeks. Is that do - able for you and your people? BARRIS My people? Six weeks? Sure. Yes sir. GOLDBERG Great. Keep me posted. Dial tone. Barris sits there, phone in hand, then throws up again into the trash can. Penny stops dancing, watches. PENNY Damn Mexicans and their water.\",\n \"INT. DATING GAME SET - DAY An episode of the show is being taped. Barris paces nervously behind the camera. BLONDE BACHELORETTE Bachelor number two, what would I like most about you? BEANPOLE BACHELOR I am very romantic and I would send you flowers every day. The studio audience `` awwws.'' BLONDE BACHELORETTE Aww. That's sweet. Bachelor number three, what would I like most about you? FRIZZY-HAIRED BACHELOR My big cock. The bachelorette makes a mock - horrified expression as the studio audience erupts in laughter. Barris buries his face in his hands.\",\n \"INT. DATING GAME SET - DAY A brunette bachelorette asks a question. BRUNETTE BACHELORETTE Bachelor number one, what nationality are you? HANDSOME BACHELOR Well, my father is Welsh and my mother is Hungarian, so I guess that makes me Well - Hung. The audience goes wild. Barris pulls at his hair.\",\n \"INT. DATING GAME SET - DAY A black bachelorette asks a question. BLACK BACHELORETTE Bachelor number three, I play the trombone. If I blew you, what would you sound like? The audience screams with delight.\",\n \"INT. BOARD ROOM - DAY Leonard Goldberg, a bunch of network executives, and Barris sit around a conference table and watch a tv. On it is The Dating Game. A black bachelor is responding to the trombone question. He simulates the receiving of a blow job, moaning and writhing in his seat as the studio audience howls. Barris has his head in his hands. Goldberg signals an assistant, who switches off the television. The executives look quite grim. GOLDBERG Chuck, quite frankly these episodes are unairable. BARRIS Look, Len, the show's spontaneous, it's unscripted. That's it's charm. I ca n't control what people say. EXECUTIVE Be that as it may, Mr. Barris, we ca n't have black men getting blow jobs on national television! GOLDBERG The point is n't that he's black, Hank. EXECUTIVE -LRB- beat. -RRB- Well, I know that. That's not what I meant. BARRIS Look, Len, nobody is indifferent to these shows. Right? And that's good. Show business must avoid indifference at all costs. EXECUTIVE Even when taste is involved? BARRIS Taste is just a word. EXECUTIVE You do n't fuck with taste, my friend! BARRIS -LRB- uncomprehending. -RRB- What does that even mean? I do n't even under - GOLDBERG Chuck, we can not air this stuff. That's it. If you ca n't figure out how to retain your spontaneity without the contestants being lewd, we're going to have to pull the show.\",\n \"INT. BAR - NIGHT Barris is drunk and brooding. He picks a fight with a big man who has unintentionally knocked into him at the bar. Barris is brutal and effective, utilizing the techniques he learned from one of the scary instructors at training camp. This gives him an idea.\",\n \"INT. DATING GAME SET - DAY The contestants are onstage. Barris appears, warm and charming. BARRIS Hi, folks. Before we begin taping today, I'd like to introduce you to Mr. Peter Jenks of the Federal Communications Commission. The severe training camp instructor joins Barris onstage. INSTRUCTOR #1 -LRB- increasingly psychotic. -RRB- Thank you, Mr. Barris. I do n't know if any of you are aware of this, but it's a federal offense to make licentious remarks on a network television broadcoast. The penalty for this disgusting, un - American behavior is one year in prison or a ten thousand dollar fine or both. Anyone making a sick, subversive remark tonight will be arrested immediately. I will then personally escort the offender to federal prison for booking under edict number 364 of the Broadcast Act of 1963. And it's a long drive to that prison. Just you and me. No other witnesses - BARRIS -LRB- jumping in. -RRB- Any questions? There are none. The contestants are paralyzed with fear. Jenks is red - faced, trembling. BARRIS -LRB- CONT'D. -RRB- Okay. Have fun, everybody!'\",\n \"EXT. TERRACE - DAY The actual Barris being interviewed. ACTUAL BARRIS Sometimes as a younger man I stretched the truth to get what I wanted. `` Through all the lying days of my youth/I swayed my leaves and flowers in the sun ; / Now I may whither into the truth.'' Yeats. You heard of him? INTERVIEWER -LRB- O.C. -RRB- Yeah. Of course. ACTUAL BARRIS Sure you have. -LRB- beat. -RRB- Anyway, my little lie worked. We aired and become a big hit. A phenomenon, really.\",\n \"INT. BARRIS'S OFFICE, BARRIS PRODUCTIONS - DAY SUBTITLE : BARRIS PRODUCTIONS, LOS ANGELES, 1967 This is the sixties and the office is crazily appointed. Street signs, funny posters, faux Tiffany lamps, mobiles, lava lamps, an inflatable sex doll, etc.. Barris, 36, is behind his desk, feet up and on the phone. He wears a t - shirt and jeans and loafers. This is a new Barris, confident and successful and hip and relaxed and slovenly. Outside in the bullpen area we hear the hustle and bustle, laughing and screaming of a busy but casual office. BARRIS -LRB- into phone. -RRB- Terrific, Rod! Yeah, I'll get back to you on Monday. Great. Thanks. Bye. Barris hangs up the phone. His jovial facade disappears. He opens up his ice bucket. It's empty. BARRIS -LRB- CONT'D. -RRB- -LRB- yelling. -RRB- Ice! Ice! Ice! Ice! Ice! Loretta, Barris's pretty young secretary, enters with a new bucket of ice. She is braless and shoeless. LORETTA Jesus, Barris, take a Darvon. Loretta drops the bucket of ice on his desk. Barris grabs her arm, pulls her toward him, kisses her on the back of the neck. BARRIS Hey, baby. Loretta acts annoyed, but it's playful. LORETTA Asshole. BARRIS I know. Sit. Talk to me. Loretta sighs and drops into a bean bag chair. Barris puts some ice in a glass and pours himself a scotch. LORETTA I'm busy. We're in the middle of a bachelorette crisis out there. BARRIS I just got a call from the network. Drink? LORETTA You got any weed? BARRIS I wish. LORETTA Then I'll have a drink. Bad news? Barris pours a drink for Loretta. She gets up, takes it off the desk and falls back down into the bean bag. BARRIS The Tammy Grimes Show is being pulled from Saturday night. LORETTA -LRB- mock concern. -RRB- Oh my God! -LRB- drily. -RRB- So? BARRIS They want to put a prime - time version of the Dating Game on in its place. LORETTA Shit! You're kidding! That's fucking great! BARRIS But they say the day - time version's not hot enough. They want me to make it more exciting for night - time. I got forty - eight hours. LORETTA What do you have so far? BARRIS Nothing. Bupkis. I mean, the show is what it is. I do n't have a clue. This could be my big break, Loretta. LORETTA Yeah, I know. Do n't blow it. Loretta smiles at him, downs her drink, gets up and pads out of the office. Barris watches her ass. BARRIS Thank you for your help. LORETTA -LRB- not looking back. -RRB- Hey, I brought the ice. She is out the door. Barris picks up his guitar and noodles on it.\",\n \"INT. DATING GAME SET - LATER Barris paces on the darkened set. He is trying to think. A shadowy figure appears at the top of the bleachers and creeps down the aisle. Barris is deep in thought and does n't hear. The man appears behind Barris and locks his arm around Barris's neck. Barris is startled, choking and flailing trying to remove the arm. He ca n't. Finally the man releases Barris and tweaks his crotch. Barris turns wildly around. It is Jim Byrd. BYRD Boy, did n't I teach you anything? BARRIS You son of a bitch! Barris swings at Byrd. Byrd easily blocks the punch. BYRD You're so rusty, it's embarrassing. BARRIS You're a stupid fucking turd, you know that? BYRD Can I buy you lunch?\",\n \"INT. MARTONI'S - DAY Jim is downing his bourbon and signals the waitress for another. Barris, still pissed, sips a martini. BYRD Ah, lighten up, hombre. BARRIS My fucking neck hurts. Okay? BYRD Poor baby. Look, I've been put in charge of a fairly large wet operation and I could use your help. BARRIS Have you noticed, Jim, I've got a tv show on the air? I do n't need to kill people for hire anymore. BYRD I know you do n't need to. But you'd like to. BARRIS That's insane. Byrd shrugs, unconvinced. He sips his drink. BYRD Think of it as a hobby. An avocation. Something you do to relax. You can be an assassination enthusiast, a murder bug. BARRIS I've got important things to think about here. I do n't have time to fuck around with you. BYRD Okay, I'll help you out with your little show. Tit for tat. That's the kinda guy I am. I've seen this Dating Game of yours, Chuck. And I have a thought. BARRIS What, now you're a television producer? BYRD Hey, I'm CIA operative John Q. Public when it comes to tv and that should make my opinion of interest to you. BARRIS Let's hear it then. BYRD Well, what do you have now? The couple gets sent to some stupid second - rate Hollywood shitcan restaurant, right? Sets you back fifty bucks? That's not too exciting a prize to us vicarious - living boobs out in TV - land. BARRIS Yeah, what's your point? BYRD Up the stakes, Chuckles. Send'em to some exotic locale. Europe, Southeast Asia, for example. BARRIS The network's not going to let me send two unmarried kids on vacation together. BYRD -LRB- shrugs. -RRB- Send'em with a chaperone. Some respectable old lady with a sewn closed snatch. BARRIS -LRB- considering. -RRB- Y' know, that's not half bad. BYRD I'm telling ya. And. And sometimes you can be the chaperone, Chuckie. Let's say we have a job for you in Austria. You, a successful tv producer, above suspicion, chaperones the young couple, and while you're there, blam! you take care of some Company business. It's the perfect cover. TV producer by day, CIA operative by night. BARRIS I told you, I do n't have to kill people for money anymore. BYRD Chuck, when I said you fit our profile, very little of that had to do with you needing the money. Some of it, but very little. You liked it with Renda, Chuck. I saw it in your eyes. You liked it but you botched it. Do n't you want to get really good at something, Chuck? Barris stares at Byrd.\",\n \"INT. BOOTH (DATING GAME SHOW) - DAY The director calls the shots. Barris stands in the back watching the show in progress. On the stage is a pretty blonde bachelorette in a short black dress and three bachelors. Bachelors two and three are attractive and stylishly dressed and groomed. Bachelor one is a fat, not - too - bright looking guy in a yellow - ochre leisure suit. His slow, unfocused delivery contrasts with the fast, sharp chatter in the booth. DIRECTOR -LRB- rapidly. -RRB- Ready one, take one. Ready three, take three. Ready one, take one. BLONDE BACHELORETTE Number one, can you please tell me what a girl is like who has n't been on a date before and how you can tell she has n't been on a date before? DIRECTOR Ready two, take two. This guy has never been on a date. Everyone in the booth laughs. FAT BACHELOR Well. BARRIS Jesus, she's got ta pick this guy. This is just too good. FAT BACHELOR I'll ask her what she likes to do and - DIRECTOR Ready one, take one. Ready two, take two. FAT BACHELOR And if she does n't know what she likes to do - DIRECTOR Ready three, take three. The only date he's ever had is with his right hand. Guys in booth laugh, except Barris. FAT BACHELOR then I'll know she has n't done it yet.\",\n \"EXT. PICCADILLY CIRCUS - DAY SUBTITLE : LONDON, 1967 It's all mod and colorful. Chuck Barris shuffles along, taking in the sights with the Dating Game couple. The blonde bachelorette did indeed pick the fat guy. But it's clear she thinks she made a mistake and pays him no attention whatsoever, walking about twenty feet in front of him and Barris. Barris seems bored.\",\n \"INT. PUB - DAY Barris enters the pub alone. He's dressed in a blonde wig and moustache and glasses. It's crowded and he searches the room for someone. He spots a pretty young woman by herself at a table. She wears white go - go boots. BARRIS Excuse me, is this seat taken? WOMAN By you. Barris sits across from the woman. BARRIS London is wonderful this time of year, is n't it. WOMAN Yes it is. BARRIS -LRB- beat. -RRB- Oh. Sorry. Barris gets up, glances around, spots another pretty young woman in white go - go boots, sitting by herself. He approaches her. BARRIS -LRB- CONT'D. -RRB- Excuse me, is this seat taken? PATRICIA By you. Barris sits. BARRIS London is wonderful this time of year, is n't it? PATRICIA Especially the fog. It affords one solitude, even in a city full of people. BARRIS I'm Chuck. PATRICIA Yes, I gathered. BARRIS And you are? PATRICIA -LRB- smiles. -RRB- Here you go, Chuck. She hands him a manila envelope, and stands to leave. BARRIS At least give me a made - up name. Something for me to cry out during those dark nights of the soul. PATRICIA Cry out, `` Olivia!'' BARRIS That's Twelfth Night. PATRICIA Very good, Chuck. I'm pleasantly surprised. You're not like the other murderers. She smiles and leaves. Barris watches after her, then opens the envelope and pulls out a black and white photo of a man.\",\n \"EXT. WESTMINISTER ABBEY - DAY It's raining. A bored Barris, dressed normally, waits with the fat bachelor under an umbrella near the entrance. The fat bachelor checks his watch. FAT BACHELOR I thinks he's really pretty and I want to be her boyfriend.\",\n \"EXT. CHURCH COURTYARD - NIGHT Barris, in wig and moustache, stands in the middle of the empty, dark courtyard. ENGLISHMAN -LRB- loud whisper. -RRB- Here. Barris approaches. BARRIS Do you have it? ENGLISHMAN Do you have it? BARRIS Sorry. Yeah. Barris reaches into his jacket pocket and pulls out an envelope. The Englishman takes it, opens it, pulls out a wad of cash and counts. BARRIS -LRB- CONT'D. -RRB- Do n't worry, we're not gon na cheat you. ENGLISHMAN Just the same. The Englishman finishes counting the money, pockets it, and hands Barris a box of Polaroid film. BARRIS Thank you. Oh, one more thing. Barris pulls out his automatic with attached silencer and jams it into the Englishman's mouth. The silencer breaks the man's front teeth. The man makes a muffled grunt. BARRIS -LRB- CONT'D. -RRB- Sorry about your teeth. The Englishman's eyes are wide with terror. Barris pulls the trigger three times. The back of the Englishman's head explodes. Blood and hair and brain are spattered against the church wall. The Englishman slumps to the ground. Barris reaches into the man's jacket, pulls out the envelope of money, pockets it, and makes his way toward the churchyard gate. There stands the fat bachelor, watching, confused. After the initial shock, Barris smiles warmly. BARRIS -LRB- CONT'D. -RRB- It's Ronnie, is n't it? The fat bachelor nods. BARRIS -LRB- CONT'D. -RRB- C'mere, Ronnie. I want to show you something neat. It's okay. The fat bachelor enters the courtyard.\",\n \"EXT. TERRACE - DAY ACTUAL BARRIS I felt bad about Ronnie. But really I did that ugly, fat, stupid kid a favor. He was ugly and fat and stupid. More life would n't have changed that for him. No woman would ever have loved him. That's just the brutal truth, y' know?\",\n \"INT. LONDON HOTEL ROOM - NIGHT Barris enters the room, shaky and scared.\",\n \"INT. BATHROOM - CONTINUOUS Barris rips open the Polaroid box, pulls out the foil paper that protects the film, rips that open and pulls out a small white plastic vial. Barris greases the vial with Vaseline and sticks it up his ass. He looks at himself in the mirror, naked and pathetic. There is a knock at the door. He stiffens, grabs his gun and pads out of the bathroom.\",\n \"INT. HOTEL ROOM - CONTINUOUS Barris peeks out the peephole. We see a fish - eye view of Patricia Watson. BARRIS Olivia? PATRICIA It's Patricia, actually.\",\n \"INT. HOTEL ROOM - LATER Barris and Patricia sit sipping champagne. Both are drunk. PATRICIA and so then I spent a year in Operation Chaos, inside the anti - war movement as an agent provocateur, nudging it toward violence in order to discred it. That was fun. I got to wear granny glasses. BARRIS Sounds fun. So tell me, Patricia, why'd you come up here tonight? PATRICIA I do n't know. You're sort of cute in a homely way. And it's always lonely when that civilian you're fucking calls out the name off your fake passport. BARRIS `` All the information I have about myself is from forged documents.'' PATRICIA Nabokov. Barris is thrilled and kisses her. It begins to turn hot and heavy. Suddenly Barris pulls away. BARRIS Actually, I just got ta go into the bathroom and take care of something. PATRICIA No, baby. Leave the microfilm in.\",\n \"EXT. KENNEDY AIRPORT - DAY A plane lands.\",\n \"INT. KENNEDY AIRPORT TERMINAL, CUSTOMS - DAY Barris waits sweatily in line with a small a carry - on suitcase. When the line moves, he walks as if perhaps he has something up his ass. A customs agent walks past the line with a dog. The dog sniffs Barris's ass in passing.\",\n \"EXT. AIRPORT TERMINAL - DAY Barris steps out of the terminal. A black limo pulls up. The back door opens and Barris gets in.\",\n \"INT. LIMO - CONTINUOUS Seated in the back are Jim Byrd and Simon Oliver, 50. Oliver is pure ivy league with a pipe. When he speaks it is with an affected British accent. Byrd is pissy. BYRD Hey, buddy. This is Simon Oliver. BARRIS Hey. BYRD Everything go okay? You do n't look too good. OLIVER Mr. Barris, do not ever again jeopardize one of my missions by killing a game show contestant. Is that understood? BARRIS You're welcome, pal. OLIVER Do I make myself clear? BARRIS Fuck you! They're my contestants. OLIVER Amateur. BARRIS Faggot. BYRD Chuck - OLIVER Lovely. Tell me, Mr. Barris, are you in possession of my microfilm? BARRIS Yeah, I got it. OLIVER Let's have it then. BARRIS It's up my ass, Oliver. Why do n't you reach on up there and get it. Oliver tamps his pipe. Byrd stares down at his thumbs. BARRIS -LRB- CONT'D. -RRB- I just feel I deserve some appreciation for my efforts. OLIVER What do you think Patricia Watson was? Barris looks at Byrd. Byrd almost imperceptibly shakes his head `` no.'' BARRIS Prick.\",\n \"INT. BARRIS PRODUCTIONS - DAY Barris, now in t - shirt and jeans, shuffles through the busy bullpen area. Employees wave, say `` hi'', give Barris the peace sign. He returns the gestures, but halfheartedly. He seems depressed. Loretta sidles up beside him. LORETTA Well, if is n't the hitman. BARRIS -LRB- turning, wild - eyed. -RRB- What? OFFICE WORKERS Hitman! Hitman! Hitman! Hitman! LORETTA I said, well, if it is n't the hitman. Just heard through the grapevine that ABC is going to pick up The Newlywed Game. BARRIS You're kidding me. LORETTA Not kidding you. Day - time and prime - time. BARRIS Oh, fuck, Loretta. That's sensational! Barris kisses Loretta. OFFICE WORKERS Hitman! Hitman! Hitman! Barris joins them chanting `` Hitman'' and dances around the office.\",\n \"EXT. TERRACE - DAY ACTUAL BARRIS The Newlywed Game was based on my theory that almost any American would sell out their spouse for a washer - drier or a lawnmower you can ride on. Such was my respect for that most holy of unions. I must've been on to something, because the show aired for thirteen years.\",\n \"EXT. MUSTANG CONVERTIBLE - DAY Barris speeds through the curvy streets of the Hollywood Hills. Penny Pacino, dressed as a hippy, sits in the front passenger seat. SUBTITLE : HOLLYWOOD HILLS, 1969 PENNY Great wheels, man. BARRIS Yeah, I decided to start treating myself right. You spend so much time denying yourself things. Life's too short. PENNY Yeah, I really gork what you're saying, man. BARRIS You really grok what I'm saying, man. Not gork. PENNY Oh. -LRB- beat. -RRB- Really? The car screeches to a halt in front of a fancy house with a `` For Sale, Open House'' sign out front.\",\n \"INT. FANCY HOUSE - A FEW MINUTES LATER The house is empty. Barris and Penny are greeted at the door by a real estate agent. PENNY -LRB- looking around. -RRB- Outa sight! Buy this one. REAL ESTATE AGENT Hi. Welcome, folks. If you would n't mind signing - in on our sheet over th - BARRIS I'll take it. REAL ESTATE AGENT I'm sorry? BARRIS I'll take the house. PENNY Yay! Penny happily kisses Barris. REAL ESTATE AGENT -LRB- beat. -RRB- Very good, sir.\",\n \"INT. EMPTY LIVING ROOM - NIGHT Barris and Penny are having sex on the floor. PENNY So, man, are you seeing anyone? BARRIS Nobody serious. You? PENNY No. I think we should get married. BARRIS Aw, Pen, do n't start - PENNY No, listen, it makes sense. You and I feel exactly the same about marriage, right? How much bullshit it is, right? And the odds of us finding someone else with the exact same view on it are small. So, it makes sense.\",\n \"INT. HOTEL ROOM - NIGHT Barris, 50, types away. He is sweaty and naked except for a towel draped over his head. BARRIS -LRB- V.O. -RRB- I liked Penny. I even loved her in my way. But the idea of tying myself down for the rest of my life. I remember my parents' marriage.\",\n \"INT. CHILDHOOD KITCHEN - NIGHT Barris, five, sits at the dinner table with his parents. His father, dressed in a dental smock, stares down at his plate as he eats. His mother absently chews and stares vacantly into space. MOTHER We need a new ice box. The father shrugs.\",\n \"INT. DATING GAME SET - DAY The set, which holds four couples, divides in the middle to reveal a new refrigerator. ANNOUNCER A brand new Amana refrigerator - freezer with automatic ice maker! One of the couples is cheering and screaming hysterically, happy and in love and kissing. The other couples look disappointed and angry at their spouses. We pull back to reveal we're watching this on a tv in :\",\n \"INT. BARRIS'S OFFICE - MORNING The office is filled to capacity with with hippy - like employees watching The Newlywed Game. Many sit on the floor, jammed up against each other. A few women are nursing infants. Someone passes a joint. Barris sits behind his desk, with a `` Make Love Not War'' helmet on his head, his feet up, and a guitar in his lap. BARRIS Beautiful. Did you see that? How much they loved each other just then? That's what it's all about, kiddies. Everyone agrees. Someone switches off the tv. BARRIS -LRB- CONT'D. -RRB- Okay, guys, new business. We're winning our slots every week. Everyone cheers. BARRIS -LRB- CONT'D. -RRB- But that means we need you Bandits to get on the contestant mill. Our supply of dumbfucks is lagging behind our demand for dumbfucks. And I'm gon na be introducing three new shows in the coming months : The Parent Game, The Game Game, and the Dollar Ninety - Eight Beauty Pageant, so we're gon na really need you guys to carry your weight. Nuff said. Any other business? EMPLOYEE #1 Yeah. Rick took four slices of pizza at lunch yesterday. Everyone else only got two. BARRIS Oooh. Is that true, Rick? Where are you? RICK Here. No, it's not true. BARRIS Any other witnesses to this alleged infraction? EMPLOYEE #2 I saw it. He took four. I only got one. BARRIS Rick, you're dead meat, buddy. -LRB- shoots Rick with finger. -RRB- I sentence you to. dance for us in today's post - meeting version of `` Out of Limits'' featuring the musical stylings of the CBP Stompers. Everyone cheers. RICK Aw, Chuck. BARRIS Get up here, you rascule, you. Rick heads up to Barris's desk. Everyone laughs. A few employees have joined Barris at his desk with instruments. They break into a raucous banjo version of `` Out of Limits.'' Rick dances. Everyone's laughing and clapping. MONTAGE As `` Out of Limits'' continues, now the actual version, we see montage of Barris shooting, stabbing, and garroting various foreign - looking people in strange, murky locations intercut with Barris having sex with Patricia Watson in different bedrooms and motel rooms, Barris dancing with Patricia in various exotic locales, and Barris on the set for his many game shows, happily directing the bustling activity.\",\n \"INT. RANCH-STYLE LIVING ROOM - DAY The actual Jim Lange, host of The Dating Game. JIM LANGE Sometimes Chuck would just disappear for weeks. I remember once we had a conflict on the set over the right way to throw that kiss at the end of the show, y' know. -LRB- demonstrates kiss. -RRB-. and Chuck was just not reachable to resolve it. INTERVIEWER -LRB- O.C. -RRB- What was the conflict? JIM LANGE Look, it's water under the bridge. I'm not gon na talk about it.\",\n \"INT. BARRIS'S LIVING ROOM - NIGHT The previously bare room is now filled with lovely and expensive furnishings. But Barris and Penny are again on the floor, now playing Scrabble by candlelight. Penny lays down some tiles : I - N - T - E - R - P - E - T BARRIS The word's interpret. PENNY Interpet. BARRIS Interpret. PENNY Well, do you have an extra `` r'' then I could borrow? BARRIS I'm not going to give you a letter. You're lucky I do n't make you forfeit a turn. PENNY Oh. Okay. Penny retrieves her letters and studies the board. Barris empties the wine into Penny's glass. There was n't much left. BARRIS I'll run to the store and get some more. PENNY All right. BARRIS Do n't cheat. PENNY You neither.\",\n \"EXT. LIQUOR STORE - NIGHT Barris pulls up in a Jaguar XKE convertible. A pretty, innocent - looking young woman, Monica, is emerging with a big laundry bag from the laundromat next to the liquor store. She glances, momentarily, at the Jaguar and at Barris.\",\n \"INT. BARRIS'S LIVING ROOM - A BIT LATER Barris enters with a bottle of wine. Penny is in the same position on the floor. PENNY Intrepet's a word, right? BARRIS Intrepid. PENNY Shit fuck piss. -LRB- concentrating. -RRB- Okay okay okay. BARRIS Pen, we should call it a night. I'm kinda tired. PENNY You're tired. BARRIS I got a date. PENNY Since when? BARRIS I just met this girl. PENNY Like, just now? You mean just now? BARRIS Yeah. Kinda. PENNY Well, that's rude. BARRIS Sorry. PENNY Yeah, well, see ya. Penny picks up her bag and exits in a huff.\",\n \"INT. MONICA'S LIVING ROOM - LATER It's a young woman's apartment, small and girly. The doorbell rings. Monica, clearly not out of her teens, enters the room and answers the door. Barris stands there with the bottle of wine. BARRIS Hi! MONICA Hi! BARRIS Wow, this is a beautiful place you got! Barris enters, looks around. There's another teenage girl in pajamas in the kitchenette, mixing tuna salad. ROOMMATE Hi. BARRIS Hi. MONICA Chuck, this is Mindy, one of my roommates. BARRIS Hi. MONICA Have a seat. Barris sits on the couch. Monica sits next to him. Mindy is in the background, futzing around in the kitchen area. MONICA -LRB- CONT'D. -RRB- So. have you accepted the Lord Jesus Christ as your savior, Chuck? BARRIS -LRB- beat. -RRB- Yes, I have.\",\n \"INT. MONICA'S LIVING ROOM - A BIT LATER Barris, Monica, and Mindy sit on the couch watching a religious show on television.\",\n \"EXT. TERRACE - DAY ACTUAL BARRIS Yeah, I remember that religious girl, sure. Monica Something. Fleming. Oh God, she had the softest, fleeciest clam I ever experienced. It took a little more work than usual, but I got in there, baby. -LRB- smacks lips, then stares off into space. -RRB- It was some clam. Oh Lordy. You get old, y' know, but the taste for soft clam, it just does n't go away. This is the great tragedy of getting old.\",\n \"INT. BARRIS PRODUCTIONS - DAY The room is abuzz with activity. Lots of people on the phone talking. A potential Newlywed Game couple being interviewed. Monica sits in the waiting area, eavesdrops on the interview with the Newlywed Couple. WOMAN Getting married to Alan is the best thing I've ever done. It's just so wonderful knowing that you've got someone by your side through everything for he rest of your life. The couple kisses. LORETTA ` kay, Mon.. He's off. Monica enters the office.\",\n \"INT. BARRIS'S OFFICE - CONTINUOUS Monica enters. Barris wears a deerstalker cap. BARRIS My sweet little clamato. Monica leans down and kisses Barris. MONICA I'm pregnant. Barris's eye twitches. MONICA -LRB- CONT'D. -RRB- -LRB- crying. -RRB- I ca n't be pregnant, Chuck. BARRIS Is it mine? Monica looks at him incredulously, flings an ashtray at him, misses. She sits at the desk, looks glumly out the window. MONICA I ca n't believe you asked me that. BARRIS I know. I'm sorry. -LRB- beat. -RRB- But you're sure, right? MONICA I hate you so much right now. BARRIS Look, we'll take care of it. MONICA How? Are you gon na marry me? BARRIS -LRB- carefully. -RRB- Well, no. Not at this point. MONICA I'm not murdering my baby! -LRB- weeping. -RRB- I ca n't. do that. Please. Barris sighs. He touches Monica's hand.\",\n \"INT. AIRPLANE - DAY Barris and Monica sit in first class. Barris stares out the window. Monica stares straight ahead. BARRIS Beautiful country, is n't it?\",\n \"EXT. MEXICAN ALLEY - DAY Barris leads a crying Monica down the garbage - strewn alley. They find a doorway. Barris opens it. BARRIS Here we are. MONICA -LRB- collapsing. -RRB- I ca n't I ca n't I ca n't I ca n't. Barris supports her and leads her into the office. BARRIS It's okay. It'll be okay.\",\n \"EXT. SCULPTURE GARDEN, UCLA - DAY Barris and Penny walk sadly through the garden. PENNY What a waste. BARRIS Tell me about it. I figure over the years I must've spent close to twenty grand on these abortions : airfare, hotels, doctors, gifts. PENNY That's not what I meant. BARRIS And I do n't even know how many of these fetuses were mine. That's what really kills me. A SERIES OF SHOTS IN VARIOUS LOCALES OF MIDDLE - AGED WOMEN WITH PAIN - ETCHED FACES, ADDRESSING THE CAMERA. WOMAN #1 It was his. WOMAN #2 Yeah. It was his. WOMAN #3 It was n't his. I lied. WOMAN #4 Yes, it was his baby. WOMAN #5 Yeah. WOMAN #6 The godamn son of a bitch. He asked you to ask me this? WOMAN #7 I was screwing a lot of guys at the time. It coulda been his. WOMAN #8 Uh - uh. I just needed someone to pay for it. He was a wallet with legs. WOMAN #9 Yeah, I was just a kid. It ruined my life.\",\n \"EXT. TERRACE - DAY ACTUAL BARRIS I do n't really want to talk about this. We hold on a silent Barris.\",\n \"EXT. SCULPTURE GARDEN - DAY Barris and Penny walk in silence. PENNY So I'm assuming this means Monica is out of the picture. BARRIS Yeah, I got baptized for nothing. PENNY Chuck, I was thinking. I have this plan now, now that you're free - BARRIS God, you look cute today. PENNY I always look cute. Do n't distract me. What was I going to say? BARRIS I do n't know. PENNY You do know. -LRB- enthusiastically charged. -RRB- Chuck, why do n't we get married? We've known each other forever. We've fucked each other forever. You think I'm cute, you just said. You always come to me when you're in trouble. And you're almost forty, Chuck. Barris turns violently toward Penny. BARRIS -LRB- shouting. -RRB- I know how old I almost am! That's it. Do n't ever ask me to marry you again! PENNY -LRB- quietly. -RRB- I wo n't.\",\n \"INT. BARRIS'S BEDROOM - NIGHT Barris and Penny are having sex. It is gentle and quiet. Penny is crying, trying to conceal it. Barris notices. BARRIS I'm sorry I yelled at you today, Pen. PENNY I'm not crying because you yelled at me. This is it, is n't it? This is us. Barris studies Penny's face in the dim light.\",\n \"EXT. TERRACE - DAY The actual Barris puffs on his cigar. ACTUAL BARRIS I almost asked Penny to marry me right then. But I did n't.\",\n \"INT. SEEDY HOTEL ROOM - NIGHT Barris sits naked on the bed, swigging from a bottle of vodka, as a prostitute in a black dress and veil sings `` Happy Birthday'' to him. When she's done, she lifts the veil, looks confused. PROSTITUTE Is that right?\",\n \"INT. BARRIS'S OFFICE - DAY Barris sits staring out the window. His mood is somber. On the table beside him are many birthday cards. The anarchic and youthful decor of the office seems to mock Barris now. Loretta enters. LORETTA Chuck? No response. LORETTA -LRB- CONT'D. -RRB- Chuck? BARRIS -LRB- not turning. -RRB- Uh. LORETTA Rod Flexner's here. BARRIS Shit piss fuck, send him in. Flexner enters. He's a suit. FLEXNER Chuck! Great to see you. BARRIS What's up, Rod? FLEXNER Well, the thing is, Chuck, some of your shows are n't doing too well in the old ratings war. The Family Game, for one. BARRIS Okay. We move into Barris's eyes.\",\n \"INT. FAMILY GAME SET The show is in progress. Suddenly shots are fired from offstage. The host and contestants are slaughtered. It's bloody and violent.\",\n \"INT. BARRIS'S OFFICE - DAY We're on Barris's eyes. FLEXNER And How's Your Mother - in - Law is, quite frankly, in the toilet, Chuck.\",\n \"INT. HOW'S YOUR MOTHER-IN-LAW SET A mother - in - law is being garotted with piano wire. Her neck is sliced. Blood spurts.\",\n \"INT. BARRIS'S OFFICE - DAY FLEXNER Now, as you know, Dream Girl is flailing terribly.\",\n \"INT. DREAM GIRL SET Dream Girls lie bloody and flailing all over the set.\",\n \"INT. BARRIS'S OFFICE - DAY FLEXNER And The Game Game has no life in it at all.\",\n \"INT. GAME GAME SET The contestants on the set are all bloody and dead. An applause light flashes on and off, but the audience members are also dead.\",\n \"INT. BARRIS'S OFFICE - DAY FLEXNER So I've been put in the unfortunate position of having to inform you that the network is canceling all four of these shows. Now do n't shoot me, Chuck, I'm just the messenger.\",\n \"INT. BAR - NIGHT Barris drinks alone. He's sullen and sauced. BARRIS -LRB- to bartender. -RRB- They killed my babies. Just like that. I pushed them into the world through the birth canal of my imagination. Lovingly. Tenderly. Where's the humanity of these people? BARTENDER The fucking bastards. BARRIS What am I gon na do now? -LRB- sees pretty woman. -RRB- Hey there, can I buy you a drink? LARGE MAN What are you blind, asshole? This lady's with me. BARRIS -LRB- screaming. -RRB- Fuck you! The large man stands to face Barris. He is very large. Barris stands. The man swings at Barris. Barris easily deflects the punch, grabs the man's forearm and breaks it with a sickening crack. The man screams. Barris gets him in a chokehold from behind. The man whimpers and gags. BARRIS -LRB- CONT'D. -RRB- Let's see, if I remember correctly, the next move breaks your neck, which kills you instantly or paralyzes you. Depending on your luck. LARGE MAN Please. BARRIS -LRB- lets go. -RRB- Get out of here, you pussy faggot piece of shit dog - shit shithead. The large man hurries from the bar. Everyone in the bar, including the large man's date, watches Barris. BARRIS -LRB- CONT'D. -RRB- -LRB- to the woman. -RRB- Hi. I'm Chuck Barris, tv producer. Have you ever done any acting?\",\n \"INT. BARRIS'S LIVING ROOM - NIGHT Barris and the woman from the bar are having sex on the couch. Penny enters. PENNY Hey, I was just in the - Penny sees Barris and the woman. PENNY -LRB- CONT'D. -RRB- What is she doing here, man? BARRIS She's - PENNY This is our house, man. Our house! It's one thing to go elsewhere for your pussy needs. But this is our house! BARRIS This is not our house, it's my house. PENNY It's our house! I found it with you. I decorated it for you! I spent six months sitting on that fucking couch she's fucking you on, fucking waiting for the fucking plumbers to come! God, you are such an asshole! Penny throws the house key at Barris. It hits him in the forehead. Then she turns and storms from the house. Barris looks over at the woman. She looks confused. WOMAN I should go. This does n't feel right. The woman stands, grabs her purse, pulls out an 8x10 glossy of herself and hands it to Barris, then exits. Barris stares at the photo for a moment, then opens a drawer and puts on top of a pile of similar photos.\",\n \"EXT. PENNY'S APARTMENT BUILDING - NIGHT Barris pulls up, gets out of his car, and heads toward the building.\",\n \"INT. APARTMENT HALLWAY - NIGHT Barris walks down the hall, carrying a bouquet of flowers. He arrives at Penny's door. There is an envelope attached to it with Barris's name on it. He opens the envelope and reads the letter. Dear Chuck, I'm dead now. I hope you're happy. The door's open. Love always, Penny. Barris hurriedly opens the door, enters the apartment looks around, finds Penny face down on the floor, surrounded by empty champagne bottles and vials of pills. He stares at her body for a moment, feeling faint. He drops to his knees. PENNY -LRB- face down. -RRB- Wan na see a stupid girl vomit?\",\n \"INT. DINER - NIGHT Barris and Penny sit in a booth. Penny has black coffee in front of her. She is pale and drawn. PENNY Why were you with that girl in our living room? BARRIS It's not our living room, Pen. PENNY That's your defense? You know what it feels like to see you with someone else? In any living room. BARRIS You know who I am, Penny. I do n't force you to hang around. PENNY -LRB- incredulous. -RRB- You do n't force me? Fuck. So you're saying you have no interest in this, one way or the other? BARRIS No, I'm not saying that. PENNY Well, then, what are you saying, Chuck? Do you want me around or not? Do you even like me? BARRIS Of course I like you. PENNY How much? BARRIS What? PENNY I need to know how much you like me. BARRIS -LRB- beat. -RRB- I do n't even know what that means, `` how much?'' How can I rate a person in that way? That's ridiculous. PENNY You could if you felt it. If you felt it, it would be easy to rate me. You could spread your arms as wide as they would go and say, `` This much, Penny.'' BARRIS Everything's complicated, Pen. Nothing's black and white like that. PENNY Do you want me around or not? If you do n't, just say so, so I know. Okay? Barris and Penny look at each other. She starts to cry. BARRIS I love you, Pen, in my way. Maybe not in that crazy, head - over - heels thing, but what is that, anyway? Romantic love. Is n't that just an illusion? PENNY -LRB- beat. -RRB- But you just said you love me, right?\",\n \"EXT. MOUNTAIN ROAD - NIGHT A non - descript American car is parked on the quiet wooded street. Barris pulls up in his Jaguar. He gets out of the car, looks in the window of the empty American car. BYRD -LRB- O.S. -RRB- Over here, Strawberry - dick. Barris looks over and makes out Byrd sitting on a rock with a view of L.A. spread out in front of him. Barris joins him. BARRIS Jesus, how do you know these things? BYRD We even know what she actually thought it tasted like. BARRIS Really? I could never find that out. What did she think? BYRD It's a `` need to know'', my friend. So tell me, what can I do you for? BARRIS I could really use an assignment, Jim. To straighten my head. BYRD I got something for your head.\",\n \"INT. DATING GAME SET A Dating Game couple waits anxiously for host Jim Lange to announce their destination. JIM LANGE and we're the sending the two of you for three days and three nights to beautiful. West Berlin! The couple screams excitedly by reflect, but as the destination sinks in, their perplexity becomes apparent.\",\n \"EXT. WEST BERLIN STREET - DAY Barris and the Dating Game couple walk along. It's cold and gray and they all wear heavy coats. The couple wear cameras around their necks. Nobody looks happy.\",\n \"INT. BEER HALL - NIGHT Barris sits in the corner of this noisy, smoky place. He has a stein of beer and reads a paper as a group of drunken Germans in the background sing a song. Patricia Watson approaches and sits. Barris looks up and smiles. BARRIS Treesh. PATRICIA Leibchen. -LRB- kisses him, sits. -RRB- So, here's what we got. Name's Hans Colbert. -LRB- pulls out photos. -RRB- Other side of the wall. We do n't like him very much. BARRIS -LRB- singing Toot - toot - tootsie. -RRB- Bye - bye, Colbert, bye - bye. PATRICIA You'll work with a kraut named Keeler. He's been trailing Colbert for a month now. Knows the routine. Keeler's a drunk, so you stay sober and take charge. BARRIS -LRB- collecting photos. -RRB- Done and done. See you after? PATRICIA Prove how much you love me, baby. Kill for me. Then I'm all yours.\",\n \"INT. TUNNEL - DAY Barris crawls through a long dirt tunnel. Telephone cables run along the floor. An occasional bare bulb lights the way.\",\n \"INT. APARTMENT BATHROOM - DAY A middle - aged man stands in his underwear at a mirror and shaves. The stall shower pushes away from the wall revealing a hole. Barris steps through it, covered in dust. He nods at the shaving man. He nods back, hands Barris a gun and a change of clothes, and continues shaving.\",\n \"EXT. APARTMENT BUILDING - MOMENTS LATER Barris exits the apartment building in the clean clothes. We see the East Berlin side of the wall in the background. A car pulls up and Barris gets in.\",\n \"INT. CAR, RESIDENTIAL STREET - DAY Barris sits in the parked car with Keeler, a heavyset, silent German man with nicotine stained fingers and teeth. He is constantly smoking and writing in a tiny notebook. There is a long silence. BARRIS What you writing, Sig? KEELER I am keeping track of all the goings on on this street. Barris looks out the window. There is nothing going on, yet Keeler keeps writing. More silence. BARRIS Hey, Keeler, a bird just flew by. KEELER Yah. I know how to do my job.\",\n \"INT. PARKED CAR - NIGHT Barris and Keeler are still in the car. Keeler continues to smoke and write. A well - rested, happy - looking Colbert walks by with a group of people.\",\n \"INT. PARKED CAR - AFTERNOON Barris looks even more sickly. Colbert rides by happily on a tandem bike with a lovely woman on the back. Keeler continues to smoke and write.\",\n \"INT. PARKED CAR - EVENING Barris and Keeler wait in the car. Colbert emerges from his house, alone, and walks toward the car. A drained Barris sighs a sigh of relief, then suddenly and with unexpected force, Keeler swings open the passenger door. The door hits a stunned Colbert and sends him flying. Keeler races around the car, grabs Colbert, throws him into the back seat, and jumps on top of him. Barris watches, surprised at the dramatic personality shift in Keeler. Keeler is strangling Colbert. A cigarettes is dangling casually from his lips as he does this. Keeler turns Colbert over so he's facing him, so he can watch him die. KEELER -LRB- calmly to Barris. -RRB- Under the seat, please. Barris reaches under the seat, pulls out a Polaroid camera. KEELER -LRB- CONT'D. -RRB- Please, if you do n't mind, a photograph. To remember. Barris is stunned, scared. He takes the photo. The flash illuminates the bulging - eyed Colbert and the calm Keeler.\",\n \"INT. HOTEL ROOM - MORNING Barris types. A knock at the door. He looks up, panicked. BARRIS -LRB- falsetto. -RRB- Who is it? HOUSEKEEPER -LRB- O.S. -RRB- Housekeeping, Mr. Barris. Barris looks around. The place is a disaster. Food wrappers, crumpled papers, liquor bottles, strewn clothing, plastic army men set up for battle. He gets up, puts on a hotel bathrobe and his hat, grabs his gun, checks the peephole for a long moment, and answers the door. The housekeeper is plump and kind - looking. BARRIS Good morning, Mrs. Reynolds. HOUSEKEEPER -LRB- looking around. -RRB- Another rough night, huh? BARRIS -LRB- tapping his head. -RRB- The human psyche is a wondrous thing. HOUSEKEEPER -LRB- smiling maternally. -RRB- Yes, I know it is. -LRB- taking gun. -RRB- We do n't need this now, do we? Why do n't we just put this away? She puts the gun in a drawer, starts to pick up. Barris watches her, then : BARRIS Mrs. Reynolds, may I rest my head on your bosom for a little while? HOUSEKEEPER Oh, that does n't really seem like a very good idea, Mr. Barris. BARRIS I'm sorry. You're right. I just. I'm just without. comfort of any sort, and I. please forgive me. HOUSEKEEPER -LRB- smiles at him. -RRB- No harm done. Barris smacks himself in the head. BARRIS -LRB- bowing. -RRB- Thank you. Thank you. Thank you. You are a scholar and. HOUSEKEEPER It's fine, sir. BARRIS Mrs. Reynolds, what do you suppose God thinks of someone like me? HOUSEKEEPER God? BARRIS Yes, God. HOUSEKEEPER Well, Mr. Barris, your television shows have brought laughter and joy to millions of people. That's a very important thing, I think, in these difficult times. I would imagine God likes you very much. Barris smiles a rubber - band smile. BARRIS Thank you, that's very kind. -LRB- glances at her ample bosom. -RRB- So. I should get back to. HOUSEKEEPER Yes, of course, sir. Do n't mind me. Barris resumes typing. The housekeeper cleans.\",\n \"EXT. EAST BERLIN STREET - EARLY MORNING A hollow - eyed Barris approaches the building that conceals the tunnel entrance. Suddenly there's a commotion on the quiet street. The shaving man is being led handcuffed out of the building by two trench - coated men. They shove him into a car. Barris continues to walk by, betraying no interest. He glances casually into the entranceway of the apartment building. Another trenchcoated man waits inside the shadows. The car drives away. Barris stops at the end of the block, stares at the imposing wall. BARRIS I'm really, really fucked. Another car pulls up next to him. Picard, a serious - looking Frenchman, sticks his head out the window. PICARD Get in. BARRIS What? Who the hell are you? PICARD No time. Get in or die. Barris hesitates, gets in. The car screeches off.\",\n \"INT. PICARD'S CAR - CONTINUOUS Picard drives fast. Barris eyes him suspiciously, fingers his gun. Picard spots a Fiat in his rearview mirror. PICARD Merde. KGB. They know who you are, Monsieur Barris. It is their intention to kill you very much in East Berlin. Barris checks in the passenger side mirror. BARRIS Merde! MERDE! PICARD Not to worry, my friend. Picard speeds up dramatically, but continues to drive calmly. Barris is agitated. PICARD -LRB- CONT'D. -RRB- I am Paul Picard, by the way. Nice to meet you. Do not worry, I am not KGB. I do not want to kill you, I want you to live a long happy life and have many dancing grandchildren to admire. Picard screeches around a corner, then another one. He's lost the Fiat, for the moment.\",\n \"EXT. QUIET EAST BERLIN STREET - EARLY MORNING Picard's car stops at the curb. Picard and Barris emerge. Picard opens the trunk. He lifts out a big folded - up clump of rubber with a an engine mounted on it. BARRIS What the hell is that? PICARD Your ride, Monsieur Barris. Picard unfolds the rubber mass. He pulls a cord and it begins to inflate. It is an airplane, a one person inflatable plane. BARRIS No fucking way. PICARD It's quite reliable and easy to operate. It will get you over the wall. Or you can stay here. In the German Democratic Republic. I will arrange for you to get a good factory job. No, you must fly, like Daedalus before you, to the freedom of the west. BARRIS Christ. What about you? PICARD They do not catch me, monsieur. This is my talent, to get away always. In guerre. In amour. This is my talent, and perhaps this is my curse.\",\n \"EXT. BERLIN WALL - DAY The fully - inflated rubber plane flies down the street, dipping and rising erratically. The noise is deafening. Barris lies on his stomach and steers, looking petrified. He approaches the wall and manages to get the plane over it. The plane is shot by a soldier. Air hisses out.\",\n \"EXT. CENTRAL PARK - DAY Barris sits on a park bench. Jim Byrd approaches, sits. BYRD -LRB- chuckling. -RRB- So, did you have a nice flight? BARRIS Fuck you, Jim. It was terrifying. BYRD Seems the KGB knew exactly what you were up to. You were there to kill Colbert, they were there to kill you. I'm thinking we got a mole. So much hate in the world, Chuck. BARRIS Am I in danger still? BYRD Jesus, yes. KGB did n't go out of business since yesterday, so far as I know. You're fucked, Chuck. But our main concern should be : if they know who you are, they know who I am. BARRIS Fuck off. What do we do? BYRD Bow out. Lay low. That's what I'm gon na do. You're lucky you have another career to immerse yourself in.\",\n \"INT. REHEARSAL HALL - DAY Barris sits with a several network executive and some other staff members watching a fat man tap dance badly and, because of his weight, extremely loudly. It's painful for everybody to watch. The fat man finishes. BARRIS Thank you. Thanks. That was great. The fat smiles and exits. Barris puts his head in his hands. EXECUTIVE WOMAN I do n't know, Chuck. It's looking bleak. BARRIS There's got ta be somebody in America with some talent. Ted Mack got bookings every week. The executives look at each other. BARRIS -LRB- CONT'D. -RRB- Bring in the next thing. An assistant opens the door and a middle - aged woman in pale blue polyester pants and Joan Crawford painted on eyebrows enters with a guitar. She begins to sing a folk song, very sincerely, in a very off - key monotone. It's unbearable and depressing. Barris glances over at the executive ; she's checking her watch again. The song is endless. Barris's eyes grow cloudy.\",\n \"EXT. FIELD - DAY This is the same field where Renda was shot. Now, the folksinging woman is in the field singing. Barris pulls out a gun and aims it at the woman. Her eyes widen in terror, but she keeps singing. A church bell chimes and Barris shoots her. She flies back, spurting blood. Her guitar hits the ground with a twang.\",\n \"INT. REHEARSAL HALL - DAY Barris snaps out of his fantasy with renewed energy The folksinger is still droning on. BARRIS -LRB- ushering out. -RRB- Thank you. Thank you. We'll be in touch. That was wonderful. Barris closes the door behind the folksinger and turns to the executives. BARRIS -LRB- CONT'D. -RRB- We've been going about this all wrong. Rather than killing ourselves trying to find good acts, we just book bad ones and kill them. EXECUTIVE #2 Chuck, it's torture to sit through even one of these people - BARRIS We kill'em before they're through. As soon as it gets unbearable, we kill'em. Dead. EXECUTIVE WOMAN For God's sake, what are you talking about? BARRIS Celebrity judges ring a bell to end the act. to kill'em. And when you kill something, it stops. This I know to be true.\",\n \"INT. GONG SHOW SET - DAY Barris and some suits watch from the booth as an octogenarian woman on stage sings `` Born Free'' in an impossibly high voice. Jamie Farr gongs the woman. The woman is angry. A vacuous host with great hair appears next to the woman. He seems genuinely agitated. HOST Why'd you do that, Jamie? This is someone's grandmother. She was really trying. JAMIE FARR This is The Gong Show, not the Van Cliburn eliminations. HOST This is a human being with aspirations. BARRIS -LRB- muttering. -RRB- Oh, fuck me. This guy sucks. He's bringing everyone down. The executives eye each other. EXECUTIVE WOMAN None of the hosts are getting it, Chuck. But we have a thought. BARRIS What? EXECUTIVE WOMAN You host. All the executives smile at Barris. EXECUTIVE WOMAN -LRB- CONT'D. -RRB- You get it. And we believe your awkward, non - professional, mumbling persona is exactly right for the show. BARRIS I do n't want to be on tv. EXECUTIVE WOMAN Listen, we ca n't sit through anymore of these test shows. Do it, Chuck, or we advise the network to pull it.\",\n \"INT. BARRIS PRODUCTIONS - NIGHT Barris switches on the lights, walks through the empty bullpen area to his office, unlocks the door, enters.\",\n \"INT. BARRIS'S OFFICE - CONTINUOUS Barris enters, stares out the window, looks at himself in a full - length mirror. BARRIS -LRB- stiff. -RRB- Ladies and Gentlemen, welcome to The Gong Show! I'm your host, Chuck Barris! -LRB- turns away in disgust. -RRB- Ucchhh. Barris sits behind his desk, draws a line down a piece of paper and writes `` Pros'' and `` Cons'' at the top of the page. He thinks. Under `` Pros'' he writes `` Become National Celebrity'', `` Get More Attention from Stewardesses'', `` Even more women will want to have sex with me''. Under `` Cons'' he writes : `` Easier target for KGB.'' He gets up, paces. Suddenly, a shot rings out. It comes through the window and shatters the mirror. Barris dives to the floor. More shots, crazy relentless shooting. Barris crawls on his belly to the window, carefully reaches up and lowers the venetian blinds just as another shot whizzes through. The blinds explode. The shooting stops He waits on the floor, shaking like a leaf. He pulls the list off his desk and writes under `` Pro'' : `` I need another hit before I die.''\",\n \"INT. GONG SHOW SET - DAY Center - stage is empty. The band begins to play. The studio audience cheers. ANNOUNCER -LRB- O.S. -RRB- And now, here's the host and star of our show, Chuck Barris! The curtain rises. Barris appears in a tuxedo coat, denim work shirt, cowboy boots and a hat pulled down over his eyes. BARRIS Welcome to The Gong Show. Here's an esoteric act if there ever was one. Ephemeral. It's an ephemeral act. One that should get us our Emmy. Do we have an Emmy? We do n't? Well this should get us one. Anyway, ladies and gentlemen. Big Nose! Big Nose leaps onto stage. He is skinny, wearing a flowered shirt and a sarong, and playing a toy flute while dancing in ladies platform shoes. Suddenly he drops his flute, rips off his sarong, revealing polka - dotted boxer shorts and a yellow leotard. He rushes to a steamer trunk, opens it, and begins crazily pulling out endless amounts of old newspapers. Barris watches from the wings, mesmerized. Big Nose is gonged. Barris dances out onto stage to join him. BIG NOSE Why? Why? Why? BARRIS I do n't know. I do n't understand. Barris glances out into the audience. Something glints. Is it a gun. He starts to sweat. Jaye P. Morgan is saying something about Big Nose. But we ca n't understand it. The audience laughs. Barris continues to scan the audience. Someone in headphones signals Barris from behind a camera. BARRIS -LRB- CONT'D. -RRB- -LRB- to Big Nose. -RRB- Well, win a few, lose a few. -LRB- to audience. -RRB- We'll be back with more stuff. right after this message. Barris waits on his mark for the taping to again begin. He watches the commotion around him with eagle eyes : technicians and stagehands running around, the audience chanting `` Chuckie Baby'', the celebrity panel joking with each other, the guys in the booth smoking, the guys in the band laughing. Barris turns around and around on his mark, trying to catch every movement, looking for a gun, a suspicious character. The chanting continues, louder and more distorted. The faces in the audience turn grotesque. Barris sweats profusely, his breathing becomes more and more shallow. Suddenly his eyes roll back in his head and he drops to the stage floor, unconscious. VARIETY : GONG SHOW EM - BARRIS - MENT OF RICHES HOLLYWOOD REPORTER : KING GONG! L.A. TIMES : BARRIS'S TALENT SHOWS DAILY NEWS : GONG HO!\",\n \"INT. HOSPITAL ROOM - DAY We see Barris in bed, hooked up to machines The executive woman sits by his bed showing him the headlines. EXECUTIVE WOMAN You ca n't quit. BARRIS I ca n't quit? But I get panicky, Louise, in front of all those people. EXECUTIVE WOMAN You lack confidence, that's all. BARRIS I lack confidence? EXECUTIVE WOMAN But we'll take care of that. We'll get you some confidence powder. Leave that to us. BARRIS Confidence powder? EXECUTIVE WOMAN Nose candy, Chuck. Blow. Snow. Flake. BARRIS Blow, snow, flake? EXECUTIVE Coke. BARRIS Oh. Coke. Okay. Does that work?\",\n \"INT. GONG SHOW SET - DAY Barris on stage introducing an act. He is very confident. BARRIS Ladies and gentlemen, oh, this act is amazing, your gon na love this act. I'm telling ya. All the way from Pacoima. David Pincus! The curtain rises. A young man with a square of Plexiglass in his hands, presses his lips against the Plexiglass and blows. It makes a farting noise and allows to the audience to see inside his mouth.\",\n \"INT. WINGS - CONTINUOUS Barris snorts some cocaine. We hear the act and audience `` booing'' and yelling `` Gong him!'' in the background.\",\n \"INT. COFFEE SHOP - DAY The actual Jaye P. Morgan is being interviewed. ACTUAL JAYE P. MORGAN Chuck was real different on stage and off. Very tense. He was always looking over his shoulder. Even when we were fucking. Sort of an enigma.\",\n \"INT. GONG SHOW SET - DAY Barris dances onstage with Gene Gene the Dancing Machine.\",\n \"INT. SUBURBAN LIVING ROOM - DAY The actual Gene Gene is being interviewed. GENE GENE Oh yeah, a real Jekyll and Hyde. Sometimes nice as you please. Give you the shirt off his back. Other times he'd rant like a crazy man. I remember once he screamed at me that I did n't know anything about dancing. `` Nijinsky,'' he yelled, `` now there was a dancer!''\",\n \"INT. GONG SHOW SET - DAY A black guy with weird teeth and a speech impediment attempts stand - up. He looks petrified. BLACK COMEDIAN Today I had a bad day today. The audience yells `` How bad was it?'' This throws the performer. Finally he continues. BLACK COMEDIAN -LRB- CONT'D. -RRB- It was so bad, my wife did n't even know how to cook. That barracuda took an egg, put it in a pot of water, and burned the water. We had to rush that to the hospital. The audience boos. BLACK COMEDIAN -LRB- CONT'D. -RRB- My mother - in - law. The booing continues. The comedian ca n't take it. He looks disoriented. He turns away from the audience and puts his head in his hands. Jamie Farr gongs him.\",\n \"EXT. SWIMMING POOL - DAY The actual Jamie Farr sits next to the pool. In the background we see a couple of kids with enormous noses splashing around in the water. JAMIE FARR Chuck used to love to discuss philosophy. I think he was very saddened that the public saw him as this sort of spastic moron. I remember at the time I was reading Wittgenstein. And Chuck was just thrilled to have someone else in addition to Rex Reed to talk about that stuff with.\",\n \"INT. BARRIS'S BEDROOM - LATE NIGHT Barris lies in bed next to Patricia. It's 12:30 AM. He's chatting on the phone, lazily twirling the cord. Patricia reads. BARRIS Look, Jamie, you know as well as I that language does not exist without an outward criteria. JAMIE FARR -LRB- TELEPHONE VOICE. -RRB- Certainly. Wittgenstein said as much in Investigations. But if you read Ryle carefully - PATRICIA -LRB- looking at clock. -RRB- Chuck. BARRIS Can we pick up tomorrow? JAMIE FARR Yeah. But consider my thinking on elementary propositions. I'm serious. BARRIS Will do. Love ya. JAMIE FARR Right back at ya, amigo. Barris hangs up. Patricia kisses him. She pulls away. PATRICIA I'm concerned about you. I think you need to get back into the life. Our sex was always amazing after you killed. Truth is you're not that great after your discussions with Jamie Farr. The phone rings. PATRICIA -LRB- CONT'D. -RRB- Oh, c'mon. BARRIS -LRB- picks up. -RRB- Jamie, I ca n't talk anymore tonight - KEELER -LRB- O.S. -RRB- -LRB- telephone voice. -RRB- This is Siegfried Keeler. I need to see you. Barris jerks up, surprised, alarmed. Patricia watches him. BARRIS -LRB- V.O. -RRB- Assassins do not fraternize. That Keeler was calling me could mean it was my turn to get hit. KEELER -LRB- O.S. -RRB- -LRB- phone voice. -RRB- I am in town on business, Chuck. And I desire nothing more than your company for dinner. I consider you one of my closest friends. BARRIS Sure. Dinner sounds good. There's a place called La Scala. See you there at eight. Barris hangs up. PATRICIA -LRB- eyes closed. -RRB- Dinner sounds good with whom? BARRIS Keeler. Patricia glances over at Barris. They stare at each other.\",\n \"EXT. LA SCALA PARKING LOT - EVENING Barris pulls into the parking lot. As he waits for the valet parking attendant to get to him, he adjusts the gun strapped to his ankle.\",\n \"INT. LA SCALA - EVENING Barris enters the crowded restaurant, looks around, spots Keeler sitting at a table in the rear. As he makes his way back, Barris shakes hands and says hello to several early seventies tv celebrities scattered throughout the restaurant : Carrol O'Connor, Joanne Worley, Flip Wilson, Ron Palillo. Barris arrives at Keeler's table. Keeler rises and embraces Chuck. He's already drunk. They sit. KEELER A very fancy place. BARRIS Only the best for my friend. KEELER The friendships one develops during wartime are remarkably strong. BARRIS Yes. There is an awkward silence. KEELER So how is the business of television? Barris, pleased to have something to talk about, rambles. BARRIS Well, it's hit and miss. I've got a new show called `` Operation Entertainment'' which I believe is going to kill. It's sort of a Bob Hope visiting the troops thing, but it's weekly and. Keeler is staring right through Barris. KEELER Why do you do what you do, Chuck? BARRIS Well, I like to think that I bring joy and laughter to millions of people. I'm not saying that my shows are as good as they could be. Yet. But - KEELER Why do you kill? Barris looks around, clears his throat. BARRIS Oh. KEELER During the second world war, I had the pleasure of killing. Yes, pleasure. I found it exhilirating. Afterwards, I could find nothing else to fill me so much with life. So I became what I am today. I wanted the exhiliration again. of death. The waiter appears. WAITER Are you gentlemen ready to order? KEELER I'll have the shrimp scampi and a green salad. WAITER And for you, sir. KEELER Um, Just give me a steak. Rare. WAITER Thank you. The waiter leaves. Keeler sips his drink, stares at Barris. KEELER `` Whatsoever thy hand findeth to do, do it with thy whole might. Work while it is called, for the night cometh wherein no man can work.'' BARRIS That's Carlyle! KEELER Yes. BARRIS It's amazing you should quote him. He's my hero. KEELER I read in a book recently that killing your first man is like making love to your first woman. Every smell, every nuance, you remember with a special allure, as if the acts had occured outside civilization, outside time. And when the allure is gone, you are condemned. BARRIS Condemned? KEELER I am condemned to live the rest of my life outside civilization. You will be too, my good friend. Barris looks into Keeler's hollow eyes.\",\n \"EXT. TERRACE - DAY The actual Barris puffs on his cigar. ACTUAL BARRIS The next day I heard Keeler offed himself.\",\n \"EXT. L.A. HOTEL - NIGHT Keeler falls silently in slow motion from a very high window. ACTUAL BARRIS -LRB- V.O. -RRB- You never really know in the world of espionage if something labeled a suicide actually is a suicide. But he was dead. That I knew.\",\n \"INT. MARTONI'S - NIGHT Barris eats dinner with Penny. Barris seems depressed. Penny is reserved. PENNY When you called, I was n't gon na come. BARRIS I'm glad you did, Pen. PENNY I said to myself, enough. Enough of this jerk already. Enough. BARRIS I could see how you would feel that way. PENNY But I've come upon something interesting through my delvings into human psychology. It's called TA, Transactual Analysis. BARRIS Transactional Analysis. PENNY Now see, by correcting me you're responding as `` Parent'' to my `` Child.'' -LRB- authoritative voice. -RRB- `` Here's the proper way to say this word, Penny.'' But that's okay. As long as we both understand that's what you're doing. Y' know, I'm okay, you're okay. So what's wrong, Chuck? Are you okay? BARRIS A guy I knew killed himself last night. PENNY My God. Everyone you know kills themselves. Or tries. Who is it this time? BARRIS You do n't know him. A stagehand. PENNY Why'd he do it? BARRIS He did n't like his work anymore. PENNY Is being a stagehand really bad or something? BARRIS -LRB- beat. -RRB- Yeah, it's pretty bad. Patricia storms up to the table. PATRICIA You were supposed to meet me at The Palm two hours ago. BARRIS Oh fuck, I forgot. PENNY Who is this? PATRICIA I do not get stood up. Do you understand? BARRIS Um, Penny, this is Patricia. -LRB- to Patricia. -RRB- How did you find me? PATRICIA Are you serious? That's what I do for a living. PENNY Who's Patricia? What does she mean, that's what she does for a living? PATRICIA You're dead in my book, Strawberry - dick. PENNY Strawberry dick? What's that? PATRICIA There is no second chance. Get it? -LRB- to Penny. -RRB- Nice meeting you, Penny. I've heard a lot about you. -LRB- to Barris, walking away. -RRB- Oh, by the by, Byrd's dead. Patricia exits. Penny just looks down at the table. PENNY And. and okay. I'm only gon na give you one more chance, man. That's it. Get it?\",\n \"INT. BARRIS'S ROLLS ROYCE - NIGHT Barris snorts some coke, pulls out of the studio parking lot. The sound of his heart beating pounds in his ears. Another car pulls behind him. A wired Barris notices the car in his rearview mirror. He turns. The other car turns also. Barris speeds up. So does the other car. Barris panics ; he tries to lose the other car. A chase ensues. Finally Barris screeches to a halt, pulls a gun from his glove compartment. The second car screeches to a halt behind him. Barris already out of his car and at the driver's side window of the second car. He looks in and sees there are two petrified teenagers, a boy and a girl, holding up their hands. Barris pulls open the door. BARRIS -LRB- screaming. -RRB- Who sent you?! Who the fuck sent you?! TEENAGE BOY Nobody, man. We just waited for you to leave after the show. We just think the show is cool. We just think you're cool. The girl is crying. TEENAGE GIRL Please do n't kill us. Barris points the gun at them for a long while, his hands shaking wildly.\",\n \"INT. GONG SHOW WINGS - DAY Barris stands backstage waiting for his cue. The Unknown Comic appears next to him, wearing a paper bag with two eyeholes cut out over his head. Barris glances over at him. UNKNOWN COMIC Hey, Chuck. Barris does n't say anything. He studies the bag. Barris pulls a pistol from an ankle holster, and jams it against the bag. BARRIS Take it off. UNKNOWN COMIC Huh? BARRIS The fucking bag. Take it off. The Unknown Comic takes the bag off. He looks terrified. Barris stares him down. ANNOUNCER -LRB- O.S. -RRB- Ladies and Gentlemen, Chuck Barris! Barris dances onto the stage.\",\n \"INT. GONG SHOW SET - CONTINUOUS Barris is clapping his hands together. He looks happy and relaxed. The audience is cheering. BARRIS Here he is, the Prince of Puns, the Wizard of Whoopee. The Unknown Comic! The Unknown Comic appears upstage with bag on head. UNKNOWN COMIC Chuckie Baby, Chuckie Baby, Chuckie Baby. BARRIS What? What do you want? UNKNOWN COMIC What's the difference between toilet paper and a shower curtain? BARRIS I do n't know. UNKNOWN COMIC -LRB- calling off. -RRB- Here's the guy! The audience laughs. Barris feigns annoyance and pushes the unknown comic off the stage. BARRIS Get out of here. UNKNOWN COMIC -LRB- for Barris's ears only. -RRB- You're fucking crazy, man.\",\n \"INT. BARRIS'S OFFICE - DAY Barris sits behind his desk, drinking and popping pills. Loretta pokes her head in. LORETTA Phone call from someone named Tuvia. BARRIS Who?! LORETTA Tuvia? BARRIS I'll take it! Do n't hang up! Barris picks up the phone. BARRIS -LRB- CONT'D. -RRB- Hello? TUVIA -LRB- O.S. -RRB- Hello, is this Chuck Barris? BARRIS Yes. TUVIA -LRB- O.S. -RRB- Oh, this is Tuvia Feldman. I do n't know if you remember me - BARRIS Of course I do. TUVIA -LRB- O.S. -RRB- I'm in town and I've been following your career and I wondered if you might want to get a drink. For old times sake.\",\n \"INT. CHILDHOOD BEDROOM - DAY Tuvia plays with the dog. White panties are revealed. BARRIS -LRB- V.O. -RRB- Sweet Tuvia.\",\n \"EXT. FRONT PORCH - DAY Adult Tuvia answers the door with her baby. BARRIS -LRB- V.O. -RRB- Ripe Tuvia.\",\n \"INT. BAR - NIGHT Barris waits in a booth, anxiously eyeing the door. A guy approaches. GUY Hey, Chuck, I got a talent. BARRIS Not now. GUY Just take a second. The guy gets down on all fours and starts barking and panting like a dog. It is a repulsive and frightening sight, but Barris becomes transfixed by it and can not take his eyes off the guy. TUVIA -LRB- O.C. -RRB- Chuck? Barris tears his eyes away from the dog guy to look at Tuvia. She is an older middle - aged lady. Younger than Chuck, but clearly of no interest to him. The disappointment on his face is palpable. TUVIA -LRB- CONT'D. -RRB- It's Tuvia! Remember? Hi! BARRIS -LRB- V.O. -RRB- Old Tuvia. BARRIS -LRB- CONT'D. -RRB- Hi. TUVIA You look great.\",\n \"INT. BAR - LATER Barris sits in a booth across from Tuvia. The relationship has shifted once again. Now middle - aged Tuvia is trying to flirt. As they talk, she touches his arm repeatedly. She laughs at everything he says. She reapplies lipstick as they talk. There's a quiet desperation in her eyes. Barris is pleasant but unengaged. BARRIS -LRB- V.O. -RRB- Ah, Tuvia. The fantasy of Tuvia forever cast out by the reality of Tuvia. Finally, because of my fame and her desperate straits, her poverty and single parenthood, she was going to submit to me. Finally I could've had her. I could've had what had so long eluded me. But now she was old and I was n't interested.\",\n \"INT. TRAIN - NIGHT Middle - aged Tuvia staring out at the night - time landscape in the darkened train car, her suitcase on the seat next to her.\",\n \"INT. BARRIS'S BEDROOM - NIGHT Barris is having sex with two twenty year old nymphettes The drugs and alcohol flow freely. He seems to be enjoying himself but there is a hollowness in his eyes. BARRIS -LRB- V.O. -RRB- Tuvia was old, but not me. I was the Game Show King.\",\n \"INT. GONG SHOW SET - DAY The rabid audience members chant, `` Chuckie Baby, Chuckie Baby, Chuckie Baby.''\",\n \"INT. BARRIS'S OFFICE - NIGHT Barris snorts Coke in the darkness.He scans an article headlined : `` Chuck Barris is the Decline of Western Civilization.'' The phone rings, alarmingly breaking the stillness. BARRIS What? TELEPHONE VOICE Paul Picard is dead.\",\n \"EXT. EAST BERLIN STREET - EARLY MORNING Barris looks down from the plane as Picard, on the ground, runs after it. PICARD -LRB- yelling. -RRB- Fly, Daedalus, fly!\",\n \"INT. BARRIS'S OFFICE - NIGHT Barris hangs up the phone. He stares off into the distance. The phone rings again, again shattering the silence.\",\n \"INT. GONG SHOW SET - DAY Barris on stage with red stocking hat. BARRIS This is the moment we've been waiting for. The contestants appear on stage. BARRIS -LRB- CONT'D. -RRB- The winner is Miss Tiny Brooks! A model appears with a trophy and a big check and hands it to an enormously fat woman. The other contestants appluad. two midgets dance. The band plays. A massive amount of confetti and balloons fall on everyone.\",\n \"INT. AUDITORIUM - NIGHT It's the Emmy Awards. Barris is in the audience, next to his starlet date. He sweats through his tuxedo, fidgets. Ed Asner and Caroll O'Connor are on stage presenting. ED ASNER And the winner is Taxi! The Taxi theme starts as the winners make their way to the stage. ED ASNER -LRB- CONT'D. -RRB- James L. Brooks, Stan Daniels, and Ed. Weinberger, executive producers. The starlet whispers into Barris's ear, outraged at the unfairness. STARLET I do n't see why your shows are never nominated. Barris looks sick. Jim Brooks is on stage accepting. JAMES L.BROOKS And I honor you, members of the academy, for recognizing and supporting high quality television.\",\n \"INT. BATHROOM - NIGHT Barris is locked in a stall, vomiting. The door to the bathroom opens. Someone enters. Barris peeks through the closed stall door. It's Jim Brooks, whistling and holding his Emmy. He places it next to the sink, unzips his fly and pisses. An agitated Barris pulls his gun from his ankle holster, opens the stall door a crack, and shakily aims the gun at Brooks' back.\",\n \"EXT. TERRACE - DAY ACTUAL BARRIS But as I stood there, I realized, I could n't kill Jim Brooks, the man who was responsible for such good stuff : Mary Tyler Moore, Rhoda, Cindy, Phyllis, episodes of My Friend Tony. I loved those shows as much as anybody in America.\",\n \"INT. BATHROOM - NIGHT Barris is crying. He turns the gun away from Brooks, almost against his will, and sticks it in his own mouth. After a moment, he realizes he ca n't do that either. ACTUAL BARRIS -LRB- V.O. -RRB- I could n't kill either of us, so I let us both live. Jim Brooks and me. The rest is history. Barris puts the gun away, flushes the toilet and exits the stall. BARRIS Hey, congratulations, Jim. Brooks turns and looks at Barris. He smiles. JAMES L.BROOKS Oh, hey! Thanks. BARRIS Chuck Barris. The Gong Show. JAMES L.BROOKS Oh, right. Hey, thanks, Chuck. BARRIS Once again you deserve it. Your shows are the greatest. You bring so much. quality to the medium. JAMES L.BROOKS Thank you. I appreciate that. I really do They smile and nod at each other awkwardly. Chuck waits for some sort of return of the compliment. It does not come. They continue to nod at each other.\",\n \"INT. OFFICES OF GRACIE FILMS - DAY The actual Jim Brooks is being interviewed. ACTUAL JIM BROOKS I do n't really remember ever meeting Chuck Barris. INTERVIEWER -LRB- O.C. -RRB- In the men's room at the Emmys, he says. Brooks thinks, looks at interviewer. ACTUAL JIM BROOKS I'm not saying it did n't happen. I'm just, y' know. If he remembers it, I'm sure it happened. Really does n't seem like much of an anecdote though.\",\n \"INT. CHATEAU MARMONT BUNGALOW - NIGHT A big party is in progress. The place is packed. Late seventies celebrities abound. Alan Alda is there. Burt Reynolds, Jamie Farr, Jaye P. Morgan, Gene Gene the Dancing Machine, Pam Dawber, Farrah Fawcett Majors and Lee Majors, John Belushi. Chuck Barris steps out of the bathroom, drink in hand. He wipes his nose like someone who's just snorted coke. He wanders disconsolately and slightly wild - eyed through the crowd. He sits in a chair. A man sitting across from him looks at Barris. His eyes light up. PARTY MAN #1 Hey, you're Chuck Barris! BARRIS Yeah. PARTY MAN #1 I love your show! BARRIS -LRB- unenthused. -RRB- Great. I'm just heading - PARTY MAN #1 I have a talent I think you'd really appreciate. BARRIS Uh - huh. Party Man # 1 begins farting `` Jingle Bells.'' Barris gets up and moves away. PARTY MAN #1 -LRB- calling after. -RRB- Hey, did n't you ever hear of Le Petomane? He was a star, buddy! These are totally smell - free! Barris settles by the fireplace. A pretty woman approaches, smiling. PRETTY WOMAN Hi. BARRIS Hi. PRETTY WOMAN I thought it was you. BARRIS -LRB- bowing. -RRB- It's me. PRETTY WOMAN I'm glad to meet you because I wanted to tell you that I've seen The Gong Show and I think you are the most insidious and despicable force in entertainment today. BARRIS Well - PRETTY WOMAN How dare you subject the rest of the world to your loathsome view of humanity. BARRIS I do n't think it's that loathsome. PRETTY WOMAN What is it then? To mock some poor, lonely people who just crave a little attention in their lives. To destroy them. So everybody's not brilliantly talented. They're still people. They deserve respect and compassion. I mean, who the hell are you? What the fuck have you ever done that elevates you above the pathetic masses? Oh, I forgot, you created The Dating Game. Wow, right up there with the Sistine Chapel. I guess that's what gives you the right to. BARRIS Excuse me, I've got to - Barris loses himself in the crowd. He hurries past a guy who recognizes and starts chanting. PARTY MAN #2 Chuckie Baby! Chuckie Baby! Chuckie Baby! Barris turns and makes his way through the crowd to the door.\",\n \"EXT. SUNSET BLVD - NIGHT Barris makes his way down the crowded street. People stare, turn their heads to gawk. We hear over and over again : `` Hey, is n't that Chuck Barris?'' and `` Hey, look, The Gong Show guy!'' , and `` Chuckie baby, Chuckie baby!'' Barris smiles wanly and nods. People shove paper and pen in his face and he scribbles autographs without stopping. Sweat forms on his brow. His polyester shirt is drenched. BARRIS -LRB- V.O. -RRB- She was right. What the hell had I done with my life? Among the fans on the street, Barris spots the fat bachelor he killed in London. He sports a bullet hole in his head Barris does a double take. BARRIS -LRB- CONT'D. -RRB- Wait, you're that guy. You're dead. This is screwy. FAT BACHELOR I only want to be loved. BARRIS That's all I fucking wanted! Barris hurries away from the fat bachelor. He begins to spot others converging on him : the corpses of those he killed, bloody and disfigured. Crazy, angry - looking gonged Gong Show contestants appear in the crowd with weapons. KGB agents in trench coats and sunglasses wield guns, Day of the Dead skeletons dance after him. Barris breaks into a run. Suddenly confetti and balloons pour down on him out of the L.A. night sky. Barris dashes across the street, almost getting hit by a car. He ducks down an alley to catch his breath. As he leans against the wall and heaves, a middle - aged woman appears, somewhat backlit by the street light. MIDDLE-AGED WOMAN Mr. Barris? BARRIS No, I'm. MIDDLE-AGED WOMAN My name is Louise Wechsler and I'm here from Tulsa with my family and. BARRIS Please, I'm not feeling well. MIDDLE-AGED WOMAN Just a moment of your time. I love your show. And, well, I, sort of, have a talent myself. BARRIS You can stop by the office to audition tomorrow. The woman continues to approach. MIDDLE-AGED WOMAN Well, I'm leaving tomorrow and I was just wondering. See, I dance a little and I was just wondering - There's no way out of this. Barris sighs. BARRIS Yeah, all right. Go ahead. Barris turns to face the woman, who's very close now. She starts to dance around, sort of ballet - like, very badly. Barris watches. She pirouettes, arms above her head. BARRIS -LRB- CONT'D. -RRB- Very nice. Something in her hand glints in the light. Barris reflexively grabs her arm. It's an ice pick. The two wrestle for it. The woman is extremely strong. Barris jams the palm of his hand up into the woman's nose. She staggers back, but does n't drop the ice pick. Barris leaps at her. The two roll on the ground. The woman pins Barris. She straddles him and is about to stab him through the air. Barris reaches under her skirt and grabs her crotch. The middle - aged woman is a man. He screams in a distinctly male voice. Barris takes the moment of distraction to grab the ice pick and jam it up through the assailant's chin and into his brain. The assailant slumps over. Barris pushes the body off himself, kneels beside it, and pulls off the wig. He gets up, shaking and heaving. He looks at the body one more time, kicks it in the head with all his might.\",\n \"EXT. TERRACE - DAY ACTUAL BARRIS That was it. I just disappeared. The network had to put The Gong Show into reruns. It was 1981. I holed myself up in this hotel in New York. Parker Hotel.\",\n \"INT. HOTEL ROOM - DAY SUBTITLE : NEW YORK CITY, SPRING 1982 We see Barris from above, shivering and naked in the corner. The manuscript pages are piled high next to the typewriter. Barris looks up at the camera with outstretched arms, appealing to the gods. BARRIS Who Am I? There is a pounding on the wall from a neighbor. NEIGHBOR -LRB- O.S. -RRB- Who cares? Shut the fuck up! There's a knock at the door. Barris crawls toward it, peeks through the peephole. BARRIS Fuck. Shit. Piss. Barris unlocks the door. Simon Oliver stands there. OLIVER Barris. BARRIS How'd you know where I was? OLIVER Chuck, Chuck, Chuck, do n't be an orangutan. We always know where you are. We always know what you're doing. By the by, I'd think twice before I'd attempt to get that tripe you're writing published. And there's a typo on page - BARRIS Look, what do you want, Oliver? I do n't work for you anymore. I have things to. Barris trails off. OLIVER I'd like you to come back for one last assignment, Chuck. BARRIS No. Now get. Good - bye OLIVER I think you might be interested when I tell you it's the mole who fingered your friends Jim Byrd and Paul Picard. and Seigfried Keeler. BARRIS Keeler committed suicide. OLIVER Yes, of course he did. He threw himself from a twentieth floor window after he strangled himself to death with an electrical cord. BARRIS -LRB- beat. -RRB- I'm not interested, Oliver. OLIVER As long as the mole's alive, you do n't have a chance in hell of remaining so. Besides, killing is in your blood, old man. You fit the profile. Barris lunges at Oliver, pushes him against the wall. BARRIS That fucking profile again! What's the fuck is it?! What the fuck do you bastards know about me, that I do n't?! OLIVER Indeed. Where to begin. First, let go of me. Barris lets go. Oliver sits in a chair, straightens his shirt. OLIVER -LRB- CONT'D. -RRB- Let's see. Well, you had a twin sister, stillborn, strangled by your umbilical cord. Your first hit, Chuck. Your mother always wanted a daughter. She blamed you for your sister's death. And, so, until your sister Phoebe was born, she raised you as a girl. BARRIS That's not true. OLIVER Oh, and your father the dentist? Not really your father. Your biological father was a man named Edmund James Windsor. A serial killer. A fact your mother did n't know when she had an affair with him in 1930. If you want to look him up, he was also known as the Tarrytown Troll, because he had been described by witnesses as short and ugly. Windsor died in the electrical chair at Ossining in 1939. We believed your self - loathing tendencies coupled with that extra Y chromosome and whatever else you inherited from your father would serve us well. BARRIS You're lying. OLIVER I'm trying to think what more I can tell you. I'm sure there's more. But you have me at a disadvantage here, Barris. I do n't have your files in front of me. BARRIS Just leave me the hell alone! OLIVER Your mother always loved the game shows, and you so wanted to please her. We never expected the game show business to work out for you. But that it did, turned out to be in our favor. I guess your need to be a good daughter drove you more than we anticipated. Barris lunges at Oliver. The two wrestle on the floor. Barris punches him repeatedly in the face.\",\n \"INT. HOTEL ROOM - MORNING Barris lies sleeping in a tangle of sheets. There's blood on his hands. A knock at the door. Barris jumps awake, grabs his gun. He looks around. The room is a mess, stuff knocked over. There's been a fight. He sees his bloody hands. Another knock. BARRIS Huh? What? PENNY -LRB- O.S. -RRB- Chuck? It's Pen. Barris brings his gun with him to the door, looks through the peephole, then opens the door. Penny stands there, takes in the room, the mess, the haggard Barris. PENNY -LRB- CONT'D. -RRB- Oh, Chuck. BARRIS Jesus, how'd you find me? Am I listed in some guidebook or something? PENNY You sent me your last letter on hotel stationary. BARRIS Oh. Well, it's great to see you, Pen. You look beautiful. Barris hugs her. PENNY I do n't really. But I appreciate the lie. I know how you hate lying. -LRB- looking around. -RRB- Boy, this place is scary looking. BARRIS Yeah. -LRB- taps his head. -RRB- The human psyche. PENNY I came to take you back to California with me. It's a lonely state without you. BARRIS I do n't know, Redhead. PENNY I ca n't wait forever for you to ask me to marry you, you know. Well, apparently I can. But I really do n't want to. Chuck. BARRIS Pen. PENNY -LRB- crying. -RRB- I love you so much. You do n't understand. I do n't even know why. You're such a schmuck. BARRIS You do n't know the half of it. PENNY You're not gon na marry me, are you? BARRIS I do n't know if I can. Penny nods her head and leaves. Barris watches her go, then falls to the floor and weeps.\",\n \"EXT. PLANE - DAY\",\n \"EXT. UNION OYSTER HOUSE, BOSTON - NIGHT\",\n \"INT. UNION OYSTER HOUSE, BOSTON Barris, dressed in a suit, sits with Patricia Watson. He smiles across the table at her. PATRICIA I ca n't believe you finally left your two - hundred - dollar - a - night cave to see me. I'm honored. BARRIS Y' know, I got a visit this morning from Penny. She's wanted to marry me forever. But she does n't know who I am, what I've, what I'm capable of. And she ca n't ever know. So what does she really love? A lie. And I started thinking, Treesh, you are the only woman in the world who truly knows me. I know I've screwed you over in the past, and I'm really sorry. I just want you to know that you're the one I want to be with. I love you, Treesh. Patricia looks at him. Her hard - as - nails demeanor softens. She smiles. Barris smiles and reaches across the table for her hand.\",\n \"EXT. WHARF - NIGHT Barris and Patricia stand looking out at the harbor. BARRIS I hate myself for how I've lived, Treesh. PATRICIA Neitzsche said, `` Whoever despises oneself still respects oneself as one who despises.'' BARRIS I never thought of that. Jesus, I ca n't even despise myself with any insight. PATRICIA Insane asylums are filled with people who think they're Jesus or Satan. Very few have delusions of being the guy down the block who works at an insurance company. Wonder what that means. BARRIS Y' know, I wanted to be a writer once. I wanted to write something that someday some lesser person would quote. But I never did. I'm the lesser person, Treesh. I never said anything meaningful that was n't said by somebody else first. I am disposable. I disposed of people and I am disposable. -LRB- beat. -RRB- You look cold. Barris drapes his jacket over Patricia's shoulders. PATRICIA Chuck, what's gotten into you? You're actually acting like a gentleman. Barris kisses her. She lets him. PATRICIA -LRB- CONT'D. -RRB- Well, it's late. I should get going. BARRIS I suppose you still wo n't tell me where you're staying. PATRICIA No. But I'll show you. She takes his hand. They walk off.\",\n \"INT. PATRICIA'S HOTEL ROOM - NIGHT Patricia enters followed by Barris. She turns on the light. PATRICIA Drink? BARRIS Sure. Bourbon. Patricia pours some drinks. There are a couple of chairs near the window. Barris sits in one. PATRICIA I've been thinking a lot about you lately, Chuck. BARRIS Yeah? Patricia approaches Barris with the drinks, hands him one. PATRICIA I've missed you. BARRIS You could've fooled me. PATRICIA Well, I've mellowed. Patricia takes Barris by the hand, leads him to the window. PATRICIA -LRB- CONT'D. -RRB- Look. Boston's a beautiful city. We could start over here. A normal person's life. Together. Selling insurance. BARRIS That sounds right. Patricia flops down in the chair that Barris had been sitting in. Barris sits in the chair across from her. Patricia raises her glass. PATRICIA To life. BARRIS To life. Patricia casually slides her hand under the chair cushion. In one swift move, Barris pulls a gun from his ankle and shoots Patricia three times, twice in the head, once in the heart. The force of the bullets has tipped the chair over. Patricia lies sprawled on the floor. BARRIS -LRB- CONT'D. -RRB- -LRB- bitterly. -RRB- L'Chaim. Barris stands and looks at Patricia's body. She holds a gun.\",\n \"INT. QUIET CAFE - MORNING Simon Oliver sits sipping an espresso. He has a black eye and bruised face. Barris enters, looking haggard. He sits and stares at Oliver. BARRIS It's done and I'm done. Agreed? OLIVER Agreed. But if you get antsy. and you will. Oliver smiles and walks off. Barris sits for a moment, then stands, walks over to a payphone and dials. BARRIS Hey, Redhead?\",\n \"INT. CHAPEL - DAY Barris and Penny are getting married surrounded by friends in a small chapel. JUSTICE OF THE PEACE We have come here today to join together Penny Pacino and Chuck Barris. You all know Chuck Barris : the creator of The Dating Game, The Newlywed Game, The Family Game. Barris looks at Penny. Should he slug this guy? She gives him a `` be patient'' look. JUSTICE OF THE PEACE -LRB- CONT'D. -RRB- The Game Game, Dream Girl of 1968, Operation Entertainment, How's Your Mother - in - Law? and many others. Chuck Barris who most recently brought us such hits as The Rah - Rah Show, Treasure Hunt, Leave it to the Women, The Dollar - Ninety - Eight Beauty Show, and The Gong Show. The Chuck Barris, who I'm sure will be back with even more shows to.\",\n \"EXT. CHAPEL - DAY Well - wishers, family, fans, photographers, reporters, and passers - by are lined up on either side of a red carpet that leads from the chapel to a limousine waiting at the curb. Barris and Penny emerge from the chapel. Everyone cheers, photos are snapped, rice and confetti are thrown, as the happy newlyweds make their way to the limo, Barris spots a pinky - ringed hand in the crowd holding a gun. Barris pushes Penny toward the white limo. The driver stands there holding the door open. Barris shoves Penny in, then screams at the driver. BARRIS Drive, Danny! Now! Barris jumps in the car, the driver slams the door closed, hurries around the driver's door and gets in. The car peals away from the cab.\",\n \"INT. CAR - CONTINUOUS An ashen Barris looks back at the crowd. Penny watches him. PENNY What's going on? BARRIS -LRB- still looking out window. -RRB- Pen, I have something to confess. Penny's expression shifts, turns slightly stony. She's getting ready for something bad. PENNY Okay. BARRIS -LRB- stalling. -RRB- You know me as the creator of The Dating Game, The Newlywed Game, The Family Game, The Game Game, How's Your Mother - in - law, Dream Girl of 1968. PENNY Operation Entertainment. BARRIS Yeah, Operation Entertainment. The Rah - Rah Show, Gong Show, The Dollar - Ninety - Eight Beauty Show, The Ra - Rah Show. PENNY You said that already. BARRIS Okay. -LRB- beat. -RRB- Okay, but what you do n't know is that I've brutally murdered thirty - three people for the CIA. Penny just stares blankly at Barris, who ca n't look at her. Suddenly she starts to laugh. Danny joins in. Eventually so does Barris.\",\n \"EXT. TERRACE - DAY The actual Barris is being interviewed. ACTUAL BARRIS Y' know, I came up with a new game show idea recently. It's called The Old Game. You got three old guys with loaded guns on stage They look back at their lives, see who they were, what they accomplished, how close they came to realizing their dreams. The winner is the one who does n't blow his brains out. He gets a refrigerator. The camera holds on Barris's face as he puffs a cigar. BLACK. THE END\"\n]"},"labels":{"kind":"list like","value":[0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,1,0,0,1,0,0,0,1,0,0,1,0,0,0,0,0,1,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,1,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,0,1,1,1,0,0,0,1,0],"string":"[\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 1,\n 1,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0\n]"},"summary":{"kind":"string","value":"Tired of being rejected by the beautiful women he lusts after, Chuck Barris moves to Manhattan to become an NBC page with dreams of becoming famous in television but is eventually fired. He moves back to Philadelphia and becomes Dick Clark's personal assistant on American Bandstand in 1961. He writes the successful song \"Palisades Park\" and becomes romantically involved with a woman named Penny Pacino. Chuck is given permission to pitch the concept for The Dating Game at ABC. He is given $7,500 to create a television pilot, but ABC abandons the idea in favor of Hootenanny. One night after Barris is kicked out of a bar for fighting, he is approached by CIA agent Jim Byrd, who recruits him as an assassin. Returning from a mission in Mexico, Barris finds that Penny has become a hippie. Meanwhile, ABC green-lights The Dating Game, and by 1967 the show is a phenomenon. On a CIA mission in Helsinki, Finland, he meets female operative Patricia Watson. He finds more success back home when The Newlywed Game goes on air. He and Penny decide to move to Los Angeles, but Barris is cautious of marriage, much to Penny's dismay. In 1970, Byrd convinces Barris to go on a mission to East Berlin to assassinate Hans Colbert. Barris is introduced to German-American agent Keeler, whom he helps to kill Colbert. However, he is captured by the KGB and, after some weeks, freed during a West-East spy exchange. In 1976, Barris creates The Gong Show and becomes famous as its host. Keeler is murdered and Byrd warns Barris of a mole in the agency. His TV shows are canceled due to poor ratings, and Penny threatens to leave after catching him cheating on her. One night, Barris finds Byrd sitting atop the diving board of his backyard pool. Byrd reveals to Barris why he was chosen by the CIA to become an assassin: he is the son of a serial killer and had been raised as a girl by his mother, so he \"fit the profile\". Barris threatens Byrd, and after Byrd is killed moments later, Barris is seen pointing his gun at him. Faced with the unpleasant truth about himself, Barris begins to spiral out of control. After almost having a nervous breakdown on one of his shows, Barris shuts himself away in a New York City hotel. Penny manages to find him and tries in vain to convince him to return to California to get married. Barris finally leaves his room and meets Patricia in Boston. After a cup of coffee with her, Barris collapses, seemingly poisoned. Patricia reveals that she is the mole. Barris has tricked Patricia into drinking from the poisoned cup, and she falls dead. After her death, he returns home and begins writing his autobiography, Confessions of a Dangerous Mind. He finally decides to marry Penny. At the end of the ceremony, he sees some of the people he killed in the crowd. Distraught, he confesses to her his double life as a CIA assassin, but she merely laughs, assuming he is joking, and he decides not to correct her."},"name":{"kind":"string","value":"Confessions_of_a_Dangerous_Mind"}}},{"rowIdx":88,"cells":{"scenes":{"kind":"list like","value":["INT. STAIRCASE OUTSIDE OLD SALIERI'S SALON - NIGHT - 1823 Total darkness. We hear an old man's voice, distinct and in distress. It is OLD SALIERI. He uses a mixture of English and occasionally Italian. OLD SALIERI Mozart! Mozart! Mozart. Forgive me! Forgive your assassin! Mozart! A faint light illuminates the screen. Flickeringly, we see an eighteenth century balustrade and a flight of stone stairs. We are looking down into the wall of the staircase from the point of view of the landing. Up the stair is coming a branched candlestick held by Salieri's VALET. By his side is Salieri's COOK, bearing a large dish of sugared cakes and biscuits. Both men are desperately worried : the Valet is thin and middle - aged ; the Cook, plump and Italian. It is very cold. They wear shawls over their night - dresses and clogs on their feet. They wheeze as they climb. The candles throw their shadows up onto the peeling walls of the house, which is evidently an old one and in bad decay. A cat scuttles swiftly between their bare legs, as they reach the salon door. The Valet tries the handle. It is locked. Behind it the voice goes on, rising in volume. OLD SALIERI Show some mercy! I beg you. I beg you! Show mercy to a guilty man! The Valet knocks gently on the door. The voice stops. VALET Open the door, Signore! Please! Be good now! We've brought you something special. Something you're going to love. Silence. VALET Signore Salieri! Open the door. Come now. Be good! The voice of Old Salieri continues again, further off now, and louder. We hear a noise as if a window is being opened. OLD SALIERI Mozart! Mozart! I confess it! Listen! I confess! The two servants look at each other in alarm. Then the Valet hands the candlestick to the Cook and takes a sugared cake from the dish, scrambling as quickly as he can back down the stairs.","EXT. THE STREET OUTSIDE SALIERI'S HOUSE - VIENNA - NIGHT The street is filled with people : ten cabs with drivers, five children, fifteen adults, two doormen, fifteen dancing couples and a sled and three dogs. It is a windy night. Snow is falling and whirling about. People are passing on foot, holding their cloaks tightly around them. Some of them are revelers in fancy dress : they wear masks on their faces or hanging around their necks, as if returning from parties. Now they are glancing up at the facade of the old house. The window above the street is open and Old Salieri stands there calling to the sky : a sharp - featured, white - haired Italian over seventy years old, wearing a stained dressing gown. OLD SALIERI Mozart! Mozart! I can not bear it any longer! I confess! I confess what I did! I'm guilty! I killed you! Sir I confess! I killed you! The door of the house bursts open. The Valet hobbles out, holding the sugared cake. The wind catches at his shawl. OLD SALIERI Mozart, perdonami! Forgive your assassin! Pietˆ! Pietˆ! Forgive your assassin! Forgive me! Forgive! Forgive! VALET -LRB- looking up to the window. -RRB- That's all right, Signore! He heard you! He forgave you! He wants you to go inside now and shut the window! Old Salieri stares down at him. Some of the passersby have now stopped and are watching this spectacle. VALET Come on, Signore! Look what I have for you! I ca n't give it to you from down here, can I? Old Salieri looks at him in contempt. Then he turns away back into the room, shutting the window with a bang. Through the glass, the old man stares down at the group of onlookers in the street. They stare back at him in confusion. BYSTANDER Who is that? VALET No one, sir. He'll be all right. Poor man. He's a little unhappy, you know. He makes a sign indicating ` crazy,' and goes back inside the house. The onlookers keep staring.","INT. LANDING OUTSIDE OLD SALIERI'S SALON - NIGHT The Cook is standing holding the candlestick in one hand, the dish of cakes in the other. The Valet arrives, panting. VALET Did he open? The Cook, scared, shakes his head : no. The Valet again knocks on the door. VALET Here I am, Signore. Now open the door. He eats the sugared cake in his hand, elaborately and noisily. VALET Mmmm - this is good! This is the most delicious thing I ever ate, believe me! Signore, you do n't know what you're missing! Mmmm! We hear a thump from inside the bedroom. VALET Now that's enough, Signore! Open! We hear a terrible, throaty groaning. VALET If you do n't open this door, we're going to eat everything. There'll be nothing left for you. And I'm not going to bring you anything more. He looks down. From under the door we see a trickle of blood flowing. In horror, the two men stare at it. The dish of cakes falls from the Cook's hand and shatters. He sets the candlestick down on the floor. Both servants run at the door frantically - once, twice, three times - and the frail lock gives. The door flies open. Immediately, the stormy, frenzied opening of Mozart's Symphony No. 25 -LRB- the Little G Minor -RRB- begins. We see what the servants see.","INT. OLD SALIERI'S SALON - NIGHT Old Salieri lies on the floor in a pool of blood, an open razor in his hand. He has cut his throat but is still alive. He gestures at them. They run to him. Barely, we glimpse the room - an old chair, old tables piled with books, a forte - piano, a chamber - pot on the floor - as the Valet and the Cook struggle to lift their old Master, and bind his bleeding throat with a napkin.","INT. BALLROOM - NIGHT Twenty - five dancing couples, fifty guests, ten servants, full orchestra. As the music slows a little, we see a Masquerade Ball in progress. A crowded room of dancers is executing the slow portion of a dance fashionable in the early 1820's.","EXT. STREET OUTSIDE SALIERI'S HOUSE - NIGHT As the fast music returns, we see Old Salieri being carried out of his house on a stretcher by two attendants, and placed in a horse - drawn wagon under the supervision of a middle - aged doctor in a tall hat. This is DOCTOR GULDEN. He gets in beside his patient. The driver whips up the horse, and the wagon dashes off through the still - falling snow.","EXT. FOUR STREETS OF VIENNA AND","INT. THE WAGON - NIGHT The wagon is galloping through the snowy streets of the city. Inside the conveyance we see Old Salieri wrapped in blankets, half - conscious, being held by the hospital attendants. Doctor Gulden stares at him grimly. The wagon arrives outside the General Hospital of Vienna.","INT. A HOSPITAL CORRIDOR - LATE AFTERNOON A wide, white - washed corridor. Doctor Gulden is walking down it with a priest, a man of about forty, concerned, but somewhat self - important. This is Father VOGLER, Chaplain at the hospital. In the corridor as they walk, we note several patients - some of them visibly disturbed mentally. All patients wear white linen smocks. Doctor Gulden wears a dark frock - coat ; Vogler, a cassock. DOCTOR GULDEN He's going to live. It's much harder to cut your throat than most people imagine. They stop outside a door. DOCTOR GULDEN Here we are. Do you wish me to come in with you? VOGLER No, Doctor. Thank you. Vogler nods and opens the door.","INT. OLD SALIERI'S HOSPITAL ROOM - LATE AFTERNOON A bare room - one of the best available in the General Hospital. It contains a bed, a table with candles, chairs, a small forte - piano of the early nineteenth century. As Vogler enters, Old Salieri is sitting in a wheel - chair, looking out the window. His back is to us. The priest closes the door quietly behind him. VOGLER Herr Salieri? Old Salieri turns around to look at him. We see that his throat is bandaged expertly. He wears hospital garb, and over it the Civilian Medal and Chain with which we will later see the EMPEROR invest him. OLD SALIERI What do you want? VOGLER I am Father Vogler. I am a Chaplain here. I thought you might like to talk to someone. OLD SALIERI About what? VOGLER You tried to take your life. You do remember that, do n't you? OLD SALIERI So? VOGLER In the sight of God that is a sin. OLD SALIERI What do you want? VOGLER Do you understand that you have sinned? Gravely. OLD SALIERI Leave me alone. VOGLER I can not leave alone a soul in pain. OLD SALIERI Do you know who I am? You never heard of me, did you? VOGLER That makes no difference. All men are equal in God's eyes. OLD SALIERI Are they? VOGLER Offer me your confession. I can offer you God's forgiveness. OLD SALIERI I do not seek forgiveness. VOGLER My son, there is something dreadful on your soul. Unburden it to me. I'm here only for you. Please talk to me. OLD SALIERI How well are you trained in music? VOGLER I know a little. I studied it in my youth. OLD SALIERI Where? VOGLER Here in Vienna. OLD SALIERI Then you must know this. He propels his wheelchair to the forte - piano, and plays an unrecognizable melody. VOGLER I ca n't say I do. What is it? OLD SALIERI I'm surprised you do n't know. It was a very popular tune in its day. I wrote it. How about this? He plays another tune. OLD SALIERI This one brought down the house when we played it first. He plays it with growing enthusiasm.","INT. THE STAGE OF AN OPERA HOUSE - NIGHT - 1780'S We see the pretty soprano KATHERINA CAVALIERI, now about twenty - four, dressed in an elaborate mythological Persian costume, singing on stage. She's near the end of a very florid aria by Salieri. The audience applauds wildly.","INT. OLD SALIERI'S HOSPITAL ROOM - LATE AFTERNOON - 1823 OLD SALIERI -LRB- taking his hands off the keys. -RRB- Well? VOGLER I regret it is not too familiar. OLD SALIERI Can you recall no melody of mine? I was the most famous composer in Europe when you were still a boy. I wrote forty operas alone. What about this little thing? Slyly he plays the opening measure of Mozart's Eine Kleine Nachtmusik. The priest nods, smiling suddenly, and hums a little with the music. VOGLER Oh, I know that! That's charming! I did n't know you wrote that. OLD SALIERI I did n't. That was Mozart. Wolfgang Amadeus Mozart. You know who that is? VOGLER Of course. The man you accuse yourself of killing. OLD SALIERI Ah - you've heard that? VOGLER All Vienna has heard that. OLD SALIERI -LRB- eagerly. -RRB- And do they believe it? VOGLER Is it true? OLD SALIERI Do you believe it? VOGLER Should I? A very long pause. Salieri stares above the priest, seemingly lost in his own private world. VOGLER For God's sake, my son, if you have anything to confess, do it now! Give yourself some peace! A further pause. VOGLER Do you hear me? OLD SALIERI He was murdered, Father! Mozart! Cruelly murdered. Pause. VOGLER -LRB- almost whispering. -RRB- Yes? Did you do it? Suddenly Old Salieri turns to him, a look of extreme innocence. OLD SALIERI He was my idol! I ca n't remember a time when I did n't know his name! When I was only fourteen he was already famous. Even in Legnago - the tiniest town in Italy - I knew of him.","EXT. A SMALL TOWN SQUARE IN LOMBARDY, ITALY - DAY - 1780'S There are twelve children and twenty adults in the square. We see the fourteen - year - old Salieri blindfolded, playing a game of Blindman's Bluff with other Italian children, running about in the bright sunshine and laughing. OLD SALIERI -LRB- V.O. -RRB- I was still playing childish games when he was playing music for kings and emperors. Even the Pope in Rome!","INT. A SALON IN THE VATICAN - DAY - 1780'S We see the six - year - old MOZART, also blindfolded, seated in a gilded chair on a pile of books, playing the harpsichord for the POPE and a suite of CARDINALS and other churchmen. Beside the little boy stands LEOPOLD, his father, smirking with pride. OLD SALIERI -LRB- V.O. -RRB- I admit I was jealous when I heard the tales they told about him. Not of the brilliant little prodigy himself, but of his father, who had taught him everything. The piece finishes. Leopold lowers the lid of the harpsichord and lifts up his little son to stand on it. Mozart removes the blindfold to show a pale little face with staring eyes. Both father and son bow. A Papal Chamberlain presents Leopold with a gold snuff box whilst the cardinals decorously applaud. Over this scene Old Salieri speaks. OLD SALIERI -LRB- V.O. -RRB- My father did not care for music. He wanted me only to be a merchant, like himself. As anonymous as he was. When I told how I wished I could be like Mozart, he would say, Why? Do you want to be a trained monkey? Would you like me to drag you around Europe doing tricks like a circus freak? How could I tell him what music meant to me?","EXT. A COUNTRY CHURCH IN NORTH ITALY - DAY - 1780'S Serene music of the Italian Baroque - Pergolesi's Stabat Mater - sung by a choir of boys with organ accompaniment. We see the outside of the 17th - century church sitting in the wide landscape of Lombardy : sunlit fields, a dusty, white road, poplar trees.","INT. THE CHURCH AT LEGNAGO - DAY - 1780'S The music continues and swells. We see the twelve - year - old Salieri seated between his plump and placid parents in the congregation, listening in rapture. His father is a heavy - looking, self - approving man, obviously indifferent to the music. A large and austere Christ on the cross hangs over the altar. Candles burn below his image. OLD SALIERI -LRB- V.O. -RRB- Even then a spray of sounded notes could make me dizzy, almost to falling. The boy falls forward on his knees. So do his parents and the other members of the congregation. He stares up at Christ who stares back at him. OLD SALIERI -LRB- V.O. -RRB- Whilst my father prayed earnestly to God to protect commerce, I would offer up secretly the proudest prayer a boy could think of. Lord, make me a great composer! Let me celebrate your glory through music - and be celebrated myself! Make me famous through the world, dear God! Make me immortal! After I die let people speak my name forever with love for what I wrote! In return I vow I will give you my chastity - my industry, my deepest humility, every hour of my life. And I will help my fellow man all I can. Amen and amen! The music swells to a crescendo. The candles flare. We see the Christ through the flames looking at the boy benignly. OLD SALIERI -LRB- V.O. -RRB- And do you know what happened? A miracle!","INT. DINING ROOM IN THE SALIERI HOUSE - DAY - 1780'S CU, a large cooked fish on a thick china plate. Camera pulls back to show the Salieri family at dinner. Father Salieri sits at the head of the table, a napkin tucked into his chin. Mother Salieri is serving the fish into portions and handing them round. Two maiden aunts are in attendance, wearing black, and of course the young boy. Father Salieri receives his plate of fish and starts to eat greedily. Suddenly there is a gasp - he starts to choke violently on a fish bone. All the women get up and crowd around him, thumping and pummeling him, but it is in vain. Father Salieri collapses.","INT. OLD SALIERI'S HOSPITAL ROOM - LATE AFTERNOON - 1823 OLD SALIERI Suddenly he was dead. Just like that! And my life changed forever. My mother said, Go. Study music if you really want to. Off with you! And off I went as quick as I could and never saw Italy again. Of course, I knew God had arranged it all ; that was obvious. One moment I was a frustrated boy in an obscure little town. The next I was here, in Vienna, city of musicians, sixteen years old and studying under Gluck! Gluck, Father. Do you know who he was? The greatest composer of his time. And he loved me! That was the wonder. He taught me everything he knew. And when I was ready, introduced me personally to the Emperor! Emperor Joseph - the musical king! Within a few years I was his court composer. Was n't that incredible? Imperial Composer to His Majesty! Actually the man had no ear at all, but what did it matter? He adored my music, that was enough. Night after night I sat right next to the Emperor of Austria, playing duets with him, correcting the royal sight - reading. Tell me, if you had been me, would n't you have thought God had accepted your vow? And believe me, I honoured it. I was a model of virtue. I kept my hands off women, worked hours every day teaching students, many of them for free, sitting on endless committees to help poor musicians - work and work and work, that was all my life. And it was wonderful! Everybody liked me. I liked myself. I was the most successful musician in Vienna. And the happiest. Till he came. Mozart.","INT. THE ARCHBISHOP OF SALZBURG'S RESIDENCE - VIENNA - DAY 1780'S A grand room crowded with guests. A small group of Gypsy musicians is playing in the background. Thirteen members of the Archbishop's orchestra - all wind players, complete with 18th - century wind instruments : elaborate - looking bassoons, basset horns, etc. and wearing their employer's livery - are laying out music on stands at one end of the room. At the other end is a large gilded chair, bearing the arms of the ARCHBISHOP OF SALZBURG. A throng of people is standing, talking, and preparing to sit upon the rows of waiting chairs to hear a concert. OLD SALIERI -LRB- V.O. -RRB- One day he came to Vienna to play some of his music at the residence of his employer, the Prince - Archbishop of Salzburg. Eagerly I went there to seek him out. That night changed my life. We see Salieri, age thirty - one, a neat, carefully turned - cut man in decent black clothes and clean white linen, walking through the crowd of guests. We follow him. OLD SALIERI -LRB- V.O. -RRB- As I went through the salon, I played a game with myself. This man had written his first concerto at the age of four ; his first symphony at seven ; a full - scale opera at twelve. Did it show? Is talent like that written on the face? We see shots of assorted young men staring back at Salieri as he moves through the crowd. OLD SALIERI -LRB- V.O. -RRB- Which one of them could he be? Some of the men recognize Salieri and bow respectfully. Then suddenly a servant bearing a large tray of cakes and pastries stalks past. Instantly riveted by the sight of such delights, Salieri follows him out of the Grand Salon.","INT. A PALACE CORRIDOR - DAY - 1780'S The servant marches along bearing his tray of pastries aloft. Salieri follows him. The servant turns into :","INT. BUFFET ROOM IN THE PALACE - DAY - 1780'S Salieri's POV : several tables, dressed to the floor with cloths are loaded with many plates of confectionery. It is, in fact, Salieri's idea of paradise! The servant puts his tray down on one of the tables and withdraws from the room.","INT. A PALACE CORRIDOR - DAY - 1780'S Salieri turns away so as not to be noticed by the servant. As soon as the man disappears, Salieri sneaks into the buffet room.","INT. BUFFET ROOM IN THE PALACE - DAY - 1780'S Salieri enters the room and looks about him cautiously. He is salivating with anticipation as he stares at the feast of sweet things. His attention is attracted in particular by a huge pile of dark chocolate balls arranged in the shape of a pineapple. He reaches out a hand to steal one of the balls, but at the same moment he hears giggling coming toward him. He ducks down behind the pastry table. A girl - CONSTANZE - rushes into the room. She runs straight across it and hides herself behind one of the tables. After a beat of total silence, MOZART runs into the room, stops, and looks around. He is age twenty - six, wearing a fine wig and a brilliant coat with the insignia of the Archbishop of Salzburg upon it. He is puzzled ; Constanze has disappeared. Baffled, he turns and is about to leave the room, when Constanze suddenly squeaks from under the cloth like a tiny mouse. Instantly Mozart drops to all fours and starts crawling across the floor, meowing and hissing like a naughty cat. Watched by an astonished Salieri, Mozart disappears under the cloth and obviously pounces upon Constanze. We hear a high - pitched giggle, which is going to characterize Mozart throughout the film.","INT. PALACE GRAND SALON - DAY - 1780'S The throng is mostly seated. The musicians are in their places, holding their various exotic - looking wind instruments ; the candles are all lit. A Majordomo appears and bangs his staff on the floor for attention. Immediately COLLOREDO, Prince - Archbishop of Salzburg enters. He is a small self - important figure of fifty in a wig, surmounted by a scarlet skullcap. He is followed by his Chamberlain, the Count ARCO. Everyone stands. The Archbishop goes to his throne and sits. His guests sit also. Arco gives the signal to start the music. Nothing happens. Instead, a wind musician gets up, approaches the Chamberlain and whispers in his ear. Arco in turn whispers to the Archbishop. ARCO Mozart is not here. COLLOREDO Where is he? ARCO They're looking for him, Your Grace.","INT. A PALACE CORRIDOR - DAY - 1780'S Three servants are opening doors and looking into rooms going off the corridor.","INT. PALACE GRAND SALON - DAY - 1780'S The guests are turning around and looking at the Archbishop. The musicians are watching. There is puzzlement and a murmur of comment. The Archbishop tightens his lip. COLLOREDO -LRB- to Arco. -RRB- We'll start without him.","INT. PALACE BUFFET ROOM - DAY - 1780'S Mozart is on his knees before the tablecloth, which reaches to the floor. Under it is Constanze. We hear her giggling as he talks. MOZART Miaouw! Miaouw! Mouse - wouse? It's Puss - wuss, fangs - wangs. Paws - claws. Pounce - bounce! He grabs her ankle. She screams. He pulls her out by her leg. CONSTANZE Stop it. Stop it! They roll on the floor. He tickles her. CONSTANZE Stop it! MOZART I am! I am! I'm stopping it - slowly. You see! Look, I've stopped. Now we are going back. He tries to drag her back under the table. CONSTANZE No! No! No! MOZART Yes! Back! Back! Listen - do n't you know where you are? CONSTANZE Where? MOZART We are in the Residence of the Fartsbishop of Salzburg. CONSTANZE Fartsbishop! She laughs delightedly, then addresses an imaginary Archbishop. CONSTANZE Your Grace, I've got something to tell you. I want to complain about this man. MOZART Go ahead, tell him. Tell them all. They wo n't understand you anyway. CONSTANZE Why not? MOZART Because here everything goes backwards. People walk backwards, dance backwards, sing backwards, and talk backwards. CONSTANZE That's stupid. MOZART Why? People fart backwards. CONSTANZE Do you think that's funny? MOZART Yes, I think it's brilliant. You've been doing it for years. He gives a high pitched giggle. CONSTANZE Oh, ha, ha, ha. MOZART Sra - I'm - sick! Sra - I'm sick! CONSTANZE Yes, you are. You're very sick. MOZART No, no. Say it backwards, shit - wit. Sra - I'm - sick Say it backwards! CONSTANZE -LRB- working it out. -RRB- Sra - I'm - sick. Sick - kiss I'm - my Kiss my! Sra - I'm - sick - Kiss my arse! MOZART Em iram! Em iram! CONSTANZE No, I'm not playing this game. MOZART No, this is serious. Say it backwards. CONSTANZE No! MOZART Just say it - you'll see. It's very serious. Em iram! Em iram! CONSTANZE Iram - marry Em - marry me! No, no! You're a fiend. I'm not going to marry a fiend. A dirty fiend at that. MOZART Ui - vol - i - tub! CONSTANZE Tub - but i - tub - but I vol - love but I love ui - You. I love you! The mood becomes suddenly softer. She kisses him. They embrace. Then he spoils it. MOZART Tish - I'm tee. What's that? CONSTANZE What? MOZART Tish - I'm - tee. CONSTANZE Eat MOZART Yes. CONSTANZE Eat my - ah! Shocked, she strikes at him. At the same moment the music starts in the salon next door. We hear the opening of the Serenade for Thirteen Wind Instruments, K. MOZART My music! They've started! They've started without me! He leaps up, disheveled and rumpled and runs out of the room. Salieri watches in amazement and disgust.","INT. PALACE CORRIDOR - DAY - 1780'S The music is louder. Mozart hastens towards the Grand Salon away from the buffet room, adjusting his dress as he goes.","INT. GRAND SALON - DAY - 1780'S The opening of the Serenade is being tentatively conducted by the leader of the wind - musicians. Guests turn around as Mozart appears - bowing to the Archbishop - and walks with an attempt at dignity to the dais where the wind band is playing. The leader yields his place to the composer and Mozart smoothly takes over conducting. Constanze, deeply embarrassed, sneaks into the room and seats herself at the back.","INT. PALACE BUFFET ROOM - DAY - 1780'S The music fades down. Salieri stands shocked from his inadvertent eavesdropping. After a second he moves almost in a trance toward the door ; the music dissolves.","INT. GRAND SALON - DAY - 1780'S Mozart is conducting the Adagio from his Serenade -LRB- K. 361 -RRB-, guiding the thirteen wind instrumentalists. The squeezebox opening of the movement begins. Salieri appears at the door at the back of the salon. He stares in disbelief at Mozart. OLD SALIERI -LRB- V.O. -RRB- So that was he! That giggling, dirty - minded creature I'd just seen crawling on the floor. Mozart. The phenomenon whose legend had haunted my youth. Impossible. The music swells up and Salieri listens to it with eyes closed - amazed, transported - suddenly engulfed by the sound. Finally it fades down and away and changes into applause. Salieri opens his eyes. The audience is clearly delighted. Mozart bows to them, also delighted. Colloredo rises abruptly, and without looking at Mozart or applauding and leaves the Salon. Count Arco approaches the composer. Mozart turns to him, radiant. ARCO Follow me, please. The Archbishop would like a word. MOZART Certainly! He follows Arco out of the room, through a throng of admirers.","INT. ANOTHER PALACE CORRIDOR - DAY - 1780'S Mozart and Arco walk side by side. They pass Salieri who is staring at Mozart in fascination. As they disappear, he steals toward the music stands, unable to help himself. MOZART Well, I think that went off remarkably well, do n't you? ARCO Indeed. MOZART These Viennese certainly know good music when they hear it. ARCO His Grace is very angry with you. MOZART What do you mean? They arrive at the door of Colloredo's private apartment. ARCO You are to come in here and ask his pardon. Arco opens the door.","INT. ARCHBISHOP'S PRIVATE ROOM - DAY - 1780'S The Archbishop is sitting, chatting to quests. Among them are several ladies. Arco approaches him obsequiously. ARCO Your Grace. COLLOREDO Ah, Mozart. Why? MOZART Why what, sir? COLLOREDO Why do I have to be humiliated in front of my guests by one of my own servants? MOZART Humiliated? COLLOREDO How much provocation am I to endure from you? The more license I allow you, the more you take. The company watches this scene, deeply interested. MOZART If His Grace is not satisfied with me, he can dismiss me. COLLOREDO I wish you to return immediately to Salzburg. Your father is waiting for you there patiently. I will speak to you further when I come. MOZART No, Your Grace! I mean with all humility, no. I would rather you dismissed me. It's obvious I do n't satisfy. COLLOREDO Then try harder, Mozart. I have no intention of dismissing you. You will remain in my service and learn your place. Go now. He extends his hand to be kissed. Mozart does it with a furious grace, then leaves the room. As he opens the door we see :","INT. PALACE CORRIDOR - DAY - 1780'S A group of people who have attended the concert, among them Constanze, are standing outside the private apartment. At sight of the composer they break into sustained applause. Mozart is suddenly delighted. He throws the door wide open so that the guests can see into the private apartment where the Archbishop sits - and he can see them. Colloredo is clearly discomfited by this reception of his employee. He smiles and bows uneasily, as they include him in the small ovation. Mozart stands in the corridor, out of the Archbishop's line of sight, bowing and giggling, and encouraging the applause for the Archbishop with conducting gestures. Suddenly irritated, Colloredo signs to Arco, who steps forward and shuts the door, ending the applause.","INT. PALACE GRAND SALON - DAY - 1780'S Salieri, in this vast room, is standing and looking at the full score of the Serenade. He turns the pages back to the slow movement. Instantly, we again hear its lyrical strains. CU, Salieri, reading the score of the Adagio in helpless fascination. The music is played against his description of it. OLD SALIERI -LRB- V.O. -RRB- Extraordinary! On the page it looked nothing. The beginning simple, almost comic. Just a pulse - bassoons and basset horns - like a rusty squeezebox. Then suddenly - high above it - an oboe, a single note, hanging there unwavering, till a clarinet took over and sweetened it into a phrase of such delight! This was no composition by a performing monkey! This was a music I'd never heard. Filled with such longing, such unfulfillable longing, it had me trembling. It seemed to me that I was hearing a voice of God. Suddenly the music snaps off. Mozart stands before him as he lays down the score. MOZART Excuse me! He takes the score, bows, and struts briskly out of the room. Salieri stares uncomprehendingly after the jaunty little figure. OLD SALIERI -LRB- V.O. -RRB- But why?","INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 OLD SALIERI Why? Would God choose an obscene child to be His instrument? It was not to be believed! This piece had to be an accident. It had to be!","INT. PALACE DINING ROOM - DAY - 1780'S At the table sits the EMPEROR JOSEPH II, eating his frugal dinner and sipping goat's milk. He is an intelligent, dapper man of forty, wearing a military uniform. Around him but standing, are his Chamberlain, JOHANN VON STRACK : stiff and highly correct. COUNT ORSINI - ROSENBERG : a corpulent man of sixty, highly conscious of his position as Director of the Opera. BARON VON SWIETEN, the Imperial Librarian : a grave but kindly and educated man in his mid - fifties. FIRST KAPELLMEISTER GIUSEPPE BONNO : very Italian, cringing and time - serving, aged about seventy. And Salieri, wearing decorous black, as usual. At a side - table, two Imperial secretaries, using quill pens and inkstands, write down everything of importance that is said. JOSEPH How good is he, this Mozart? VON SWIETEN He's remarkable, Majesty. I heard an extraordinary serious opera of his last month. Idomeneo, King of Crete. ORSINI-ROSENBERG That? A most tiresome piece. I heard it, too. VON SWIETEN Tiresome? ORSINI-ROSENBERG A young man trying to impress beyond his abilities. Too much spice. Too many notes. VON SWIETEN Majesty, I thought it the most promising work I've heard in years. JOSEPH Ah - ha. Well then, we should make some effort to acquire him. We could use a good German composer in Vienna, surely? VON STRACK I agree, Majesty, but I'm afraid it's not possible. The young man is still in the pay of the Archbishop. JOSEPH Very small pay, I imagine. I'm sure he could be tempted with the right offer. Say, an opera in German for our National Theatre. VON SWIETEN Excellent, sire! ORSINI-ROSENBERG But not German, I beg your Majesty! Italian is the proper language for opera. All educated people agree on that. JOSEPH Ah - ha. What do you say, Chamberlain? VON STRACK In my opinion, it is time we had a piece in our own language, sir. Plain German. For plain people. He looks defiantly at Orsini - Rosenberg. JOSEPH Ah - ha. Kapellmeister? BONNO -LRB- Italian accent. -RRB- Majesty, I must agree with Herr Dirretore. Opera is an Italian art, solamente. German is - scusate - too bruta for singing, too rough. JOSEPH Ah - ha. Court Composer, what do you say? SALIERI I think it is an interesting notion to keep Mozart in Vienna, Majesty. It should really infuriate the Archbishop beyond measure - if that is your Majesty's intention. JOSEPH You are cattivo, Court Composer. -LRB- briskly, to Von Strack. -RRB- I want to meet this young man. Chamberlain, arrange a pleasant welcome for him. VON STRACK Yes, sir. JOSEPH Well. There it is.","INT. BEDROOM IN SALIERI'S APARTMENT - DAY - 1780'S A somber room which serves both as a bedroom and a study. We see a four - poster bed. Also, a marble mantelpiece above which hangs a handsome cross in olivewood, bearing the figure of a severe Christ. Opposite this image sits Salieri at his desk, on which stands a pile of music paper, quill pens and ink. On one side of him is an open forte - piano on which he occasionally tries notes from the march he is composing, with some difficulty. He scratches notes out with his quill, and ruffles his hair - which we see without a powdered wig. There is a knock at the door. SALIERI Si. A servant admits LORL, a young lower - class girl, who appears carrying a basket in which is a box covered with a napkin. She has just come from the baker's shop. SALIERI Ah! Here she comes. Fraulein Lorl, good morning. LORL Good morning, sir. SALIERI What have you got for me today? Let me see. Greedily he unwraps the napkin and lifts the lid on the box. SALIERI Ah - ha! Siena macaroons - my favourites. Give my best thanks to the baker. LORL I will, sir. He takes a biscuit and eats. SALIERI Thank you. Are you well today, Fraulein Lorl? LORL Yes, thank you, sir. SALIERI Bene! Bene! She gives a little curtsey, flattered and giggling and is shown out. Salieri turns back to his work, chewing. He plays through a complete line of the march. He smiles, pleased with the result. SALIERI Grazie, Signore. He inclines his head to the Christ above the fireplace, and starts to play the whole march, including the phrase which pleased him.","INT. A WIGMAKER'S SHOP - VIENNA - DAY - 1780'S The march continues on the forte - piano as we see Mozart, seated in front of a mirror, wearing an extravagant wig. On either side of him stands a SALESMAN, one of them holding another wig, equally extravagant. Mozart takes off the first wig, to reveal his own blonde hair, of which he is extremely proud, and hands it back. MOZART And the other one? The Salesman puts the second wig on his head. Mozart pulls a face of doubt in the mirror. MOZART And the other one? He takes it off and the other Salesman replaces it with the first wig on his head. MOZART Oh, they're both so beautiful, I ca n't decide. Why do n't I have two heads? He giggles. The music stops.","INT. GRAND SALON - THE ROYAL PALACE - DAY - 1780'S A door opens. We glimpse in the next room the Emperor Joseph bidding goodbye to a group of military officers standing around a table. JOSEPH Good, good, good. He turns and comes into the salon, where another group awaits him. It consists of Von Strack, Orsini - Rosenberg, Bonno, Von Swieten and Salieri. The room contains several gilded chairs dotted about, and a forte - piano. JOSEPH Good morning, gentlemen. All bow and say, Good morning, Your Majesty! JOSEPH -LRB- to Von Strack. -RRB- Well, what do you have for me today? VON STRACK Your Majesty, Herr Mozart - JOSEPH Yes, what about him? VON STRACK He's here. JOSEPH Ah - ha. Well. There it is. Good. SALIERI Majesty, I hope you wo n't think it improper, but I have written a little March of Welcome in his honour. He produces a paper. JOSEPH What a charming idea. May I see? SALIERI -LRB- handing it over. -RRB- It's just a trifle, of course. JOSEPH May I try it? SALIERI Majesty. The Emperor goes to the instrument, sits and plays the first bars of it. Quite well. JOSEPH Delightful, Court Composer. Would you permit me to play it as he comes in? SALIERI You do me too much honour, Sire. JOSEPH Let's have some fun. -LRB- to the waiting Majordomo. -RRB- Bring in Herr Mozart, please. But slowly, slowly. I need a minute to practice. The Majordomo bows and goes. The Emperor addresses himself to the march. He plays a wrong note. SALIERI A - flat, Majesty. JOSEPH Ah - ha!","INT. PALACE CORRIDOR - VIENNA - DAY - 1780'S Taking his instructions literally, the Majordomo is marching very slowly toward the salon door. He is followed by a bewildered Mozart, dressed very stylishly and wearing one of the wigs from the perruqier.","INT. ROYAL PALACE GRAND SALON - DAY - 1780'S Joseph finishes the march. The door opens. MAJORDOMO Herr Mozart. Mozart comes in eagerly. Immediately the march begins, played by His Majesty. All the courtiers stand, listening with admiration. Joseph plays well, but applies himself fiercely to the manuscript. Mozart, still bewildered, regards the scene, but does not seem to pay attention to the music itself. It finishes and all clap obsequiously. ORSINI-ROSENBERG Bravo, Your Majesty! VON STRACK Well done, Sire! The Emperor rises, pleased with himself. He snatches the manuscript off the stand and holds it in his hand for the rest of the scene. JOSEPH Gentlemen, gentlemen, a little less enthusiasm, I beg you. Ah, Mozart. He extends his hand. Mozart throws himself to his knees, and to Joseph's discomfort kisses the royal hand with fervour. MOZART Your Majesty! JOSEPH No, no, please! It is not a holy relic. -LRB- raising Mozart up. -RRB- You know we have met already? In this very room. Perhaps you wo n't remember it, you were only six years old. -LRB- to the others. -RRB- He was giving the most brilliant little concert here. As he got off the stool, he slipped and fell. My sister Antoinette helped him up herself, and do you know what he did? Jumped straight into her arms and said, Will you marry me, yes or no? Embarrassed, Mozart bursts into a wild giggle. Joseph helps him out. JOSEPH You know all these gentlemen, I'm sure. Von Strack and Bonno nod. JOSEPH The Baron Von Swieten. VON SWIETEN I'm a great admirer of yours, young man. Welcome. MOZART Oh, thank you. JOSEPH The Director of our Opera. Count Orsini - Rosenberg. MOZART -LRB- bowing excitedly. -RRB- Oh sir, yes! The honour is mine. Absolutely. Orsini - Rosenberg nods without enthusiasm. JOSEPH And here is our illustrious Court Composer, Herr Salieri. SALIERI -LRB- taking his hand. -RRB- Finally! Such an immense joy. Diletto straordinario! MOZART I know your work well, Signore. Do you know I actually composed some variations on a melody of yours? SALIERI Really? MOZART Mio caro Adone. SALIERI Ah! MOZART A funny little tune, but it yielded some good things. JOSEPH And now he has returned the compliment. Herr Salieri composed that March of Welcome for you. MOZART -LRB- speaking expertly. -RRB- Really? Oh, grazie, Signore! Sono commosso! E un onore per mo eccezionale. Compositore brilliante e famossissimo! He bows elaborately. Salieri inclines himself, dryly. SALIERI My pleasure. JOSEPH Well, there it is. Now to business. Young man, we are going to commission an opera from you. What do you say? MOZART Majesty! JOSEPH -LRB- to the courtiers. -RRB- Did we vote in the end for German or Italian? ORSINI-ROSENBERG Well, actually, Sire, if you remember, we did finally incline to Italian. VON STRACK Did we? VON SWIETEN I do n't think it was really decided, Director. MOZART Oh, German! German! Please let it be German. JOSEPH Why so? MOZART Because I've already found the most wonderful libretto! ORSINI-ROSENBERG Oh? Have I seen it? MOZART I - I do n't think you have, Herr Director. Not yet. I mean, it's quite n - Of course, I'll show it to you immediately. ORSINI-ROSENBERG I think you'd better. JOSEPH Well, what is it about? Tell us the story. MOZART It's actually quite amusing, Majesty. It's set - the whole thing is set in a - in a - He stops short with a little giggle. JOSEPH Yes, where? MOZART In a Pasha's Harem, Majesty. A Seraglio. JOSEPH Ah - ha. ORSINI-ROSENBERG You mean in Turkey? MOZART Exactly. ORSINI-ROSENBERG Then why especially does it have to be in German? MOZART Well not especially. It can be in Turkish, if you really want. I do n't care. He giggles again. Orsini - Rosenberg looks at him sourly. VON SWIETEN -LRB- kindly. -RRB- My dear fellow, the language is not finally the point. Do you really think that subject is quite appropriate for a national theatre? MOZART Why not? It's charming. I mean, I do n't actually show concubines exposing their! their! It's not indecent! -LRB- to Joseph. -RRB- It's highly moral, Majesty. It's full of proper German virtues. I swear it. Absolutely! JOSEPH Well, I'm glad to hear that. SALIERI Excuse me, Sire, but what do you think these could be? Being a foreigner, I would love to learn. JOSEPH Cattivo again, Court Composer. Well, tell him, Mozart. Name us a German virtue. MOZART Love, Sire! SALIERI Ah, love! Well of course in Italy we know nothing about that. The Italian faction - Orsini - Rosenberg and Bonno - laugh discreetly. MOZART No, I do n't think you do. I mean watching Italian opera, all those male sopranos screeching. Stupid fat couples rolling their eyes about! That's not love - it's just rubbish. An embarrassed pause. Bonno giggles in nervous amusement. MOZART Majesty, you choose the language. It will be my task to set it to the finest music ever offered a monarch. Pause. Joseph is clearly pleased. JOSEPH Well, there it is. Let it be German. He nods - he has wanted this result all the time. He turns and makes for the door. All bow. Then he becomes aware of the manuscript in his hand. JOSEPH Ah, this is yours. Mozart does not take it. MOZART Keep it, Sire, if you want to. It is already here in my head. JOSEPH What? On one hearing only? MOZART I think so, Sire, yes. Pause. JOSEPH Show me. Mozart bows and hands the manuscript back to the Emperor. Then he goes to the forte - piano and seats himself. The others, except for Salieri, gather around the manuscript held by the King. Mozart plays the first half of the march with deadly accuracy. MOZART -LRB- to Salieri. -RRB- The rest is just the same, is n't it? He plays the first half again but stops in the middle of a phrase, which he repeats dubiously. MOZART That really does n't work, does it? All the courtiers look at Salieri. MOZART Did you try this? Would n't it be just a little more -? He plays another phrase. MOZART Or this - yes, this! Better. He plays another phrase. Gradually, he alters the music so that it turns into the celebrated march to be used later in The Marriage of Figaro, Non Piu Andrai. He plays it with increasing abandon and virtuosity. Salieri watches with a fixed smile on his face. The court watches, astonished. He finishes in great glory, takes his hands off the keys with a gesture of triumph - and grins.","INT. BEDROOM IN SALIERI'S APARTMENT - DAY - 1780'S We see the olivewood cross. Salieri is sitting at his desk, staring at it. SALIERI Grazie, Signore. There is a knock at the door. He does not hear it, but sits on. Another knock, louder. SALIERI Yes? Lorl comes in. LORL Madame Cavalieri is here for her lesson, sir. SALIERI Bene. He gets up and enters :","INT. MUSIC ROOM IN SALIERI'S APARTMENT - DAY - 1780'S KATHERINA CAVALIERI, a young, high - spirited soprano of twenty is waiting for him, dressed in a fashionable dress and wearing on her head an exotic turban of satin, with a feather. Lorl exits. CAVALIERI -LRB- curtseying to him. -RRB- Maestro. SALIERI Good morning. CAVALIERI -LRB- posing, in her turban. -RRB- Well? How do you like it? It's Turkish. My hairdresser tells me everything's going to be Turkish this year! SALIERI Really? What else did he tell you today? Give me some gossip. CAVALIERI Well, I heard you met Herr Mozart. SALIERI Oh? News travels fast in Vienna. CAVALIERI And he's been commissioned to write an opera. Is it true? SALIERI Yes. CAVALIERI Is there a part for me? SALIERI No. CAVALIERI How do you know? SALIERI Well even if there is, I do n't think you want to get involved with this one. CAVALIERI Why not? SALIERI Well, do you know where it's set, my dear? CAVALIERI Where? SALIERI In a harem. CAVALIERI What's that? SALIERI A brothel. CAVALIERI Oh! SALIERI A Turkish brothel. CAVALIERI Turkish? Oh, if it's Turkish, that's different. I want to be in it. SALIERI My dear, it will hardly enhance your reputation to be celebrated throughout Vienna as a singing prostitute for a Turk. He seats himself at the forte - piano. CAVALIERI Oh. Well perhaps you could introduce us anyway. SALIERI Perhaps. He plays a chord. She sings a scale, expertly. He strikes another chord. She starts another scale, then breaks off. CAVALIERI What does he look like? SALIERI You might be disappointed. CAVALIERI Why? SALIERI Looks and talent do n't always go together, Katherina. CAVALIERI -LRB- airily. -RRB- Looks do n't concern me, Maestro. Only talent interests a woman of taste. He strikes the chord again, firmly. Cavalieri sings her next scale, then another one, and another one, doing her exercises in earnest. As she hits a sustained high note the orchestral accompaniment in the middle of Martern Aller Arten from Il Seraglio comes in underneath and the music changes from exercises to the exceedingly florid aria. We DISSOLVE on the singer's face, and she is suddenly not merely turbaned, but painted and dressed totally in a Turkish manner, and we are on :","INT. OPERA STAGE - VIENNA - 1780'S The heroine of the opera -LRB- Cavalieri -RRB- is in full cry addressing the Pasha with scorn and defiance. The house is full. Watching the performance - which is conducted by Mozart from the clavier in the midst of the orchestra - we note Von Strack, Orsini - Rosenberg, Bonno and Von Swieten, all grouped around the Emperor, in a box. In another box we see an overdressed, middle - aged woman and three girls, one of whom is Constanze. This is the formidable MADAME WEBER and her three daughters, Constanze, JOSEFA and SOPHIE. All are enraptured by the spectacle and Madame Weber is especially enraptured by being there at all. Not so, Salieri, who sits in another box, coldly watching the stage. Cavalieri is singing Martern aller Arten from the line Doch du bist entschlossen. CAVALIERI Since you are determined, Since you are determined, Calmly, with no ferment, Welcome - every pain and woe. Bind me then - compel me! Bind me then - compel me! Hurt me. Break me! Kill me! At last I shall be freed by death! After a few moments of this showy aria, with the composer and the singer staring at each other - he conducting elaborately for her benefit, and she following his beat with rapturous eyes - the music fades, and Salieri speaks over it. OLD SALIERI -LRB- V.O. -RRB- There she was. I had no idea where they met - or how - yet there she stood on stage for all to see. Showing off like the greedy songbird she was. Ten minutes of ghastly scales and arpeggios, whizzing up and down like fireworks at a fairground. Music up again for the last 30 bars of the aria. CAVALIERI -LRB- singing. -RRB- Be freed at last by death! Be freed at last by death! At last I shall be freed By! Death! Before the orchestral coda ends, cut to :","INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 Through the window we see that night has fallen. OLD SALIERI Understand, I was in love with the girl. Or at least in lust. I was n't a saint. It took me the most tremendous effort to be faithful to my vow. I swear to you I never laid a finger on her. All the same, I could n't bear to think of anyone else touching her - least of all the Creature.","INT. THE OPERA HOUSE - VIENNA - NIGHT - 1780'S The brilliant Turkish finale of Seraglio bursts over us. All the cast is lined up on stage. Mozart is conducting with happy excitement. CAST OF SERAGLIO -LRB- singing. -RRB- Pasha Selim May he Live forever! Ever, ever, ever, ever! Honour to his regal name! Honour to his regal name! May his noble brow emblazon Glory, fortune, joy and fame! Honour be to Pasha Selim Honour to his regal name! Honour to his regal name! The curtains fall. Much applause. The Emperor claps vigorously and - following his lead - so do the courtiers. The curtains part. Mozart applauds the singers who applaud him back. He skips up onto the stage amongst them. The curtains fall again as they all bow. In the auditorium, the chandeliers descend, filling it with light.","INT. OPERA HOUSE STAGE - VIENNA - NIGHT - 1780'S The curtains are down, and an excited hubbub of singers in costume surround Mozart and Cavalieri, all excited and chattering. Suddenly a hush. The Emperor is seen approaching from the wings, lit by flunkies holding candles. Von Strack, Orsini - Rosenberg and Von Swieten, amongst others, follow him. Also Salieri. The singers line up. Joseph stops at Cavalieri who makes a deep curtsey. JOSEPH Bravo, Madame. You are an ornament to our stage. CAVALIERI Majesty. JOSEPH -LRB- to Salieri. -RRB- And to you, Court Composer. Your pupil has done you great credit.","INT. BACKSTAGE CORRIDOR - VIENNA - NIGHT - 1780'S MADAME WEBER Let us pass, please! Let us pass at once! We're with the Emperor. FLUNKY I am sorry, Madame. It is not permitted. MADAME WEBER Do you know who I am? -LRB- pointing to Constanze. -RRB- This is my daughter. I am Frau Weber. We are favoured guests! FLUNKY I am sorry, Madame, but I have my orders. MADAME WEBER Call Herr Mozart! You call Herr Mozart immediately! This is insupportable! CONSTANZE Mother, please! MADAME WEBER Go ahead, Constanze. Just ignore this fellow. -LRB- pushing her. -RRB- Go ahead, dear! FLUNKY -LRB- barring the way. -RRB- I am sorry, Madame, but no! I can not let anyone pass. MADAME WEBER Young man, I am no stranger to theatres. I'm no stranger to insolence!","INT. OPERA HOUSE STAGE - VIENNA - NIGHT - 1780'S All are applauding Cavalieri. The Emperor turns to Mozart. JOSEPH Well, Herr Mozart! A good effort. Decidedly that. An excellent effort! You've shown us something quite new today. Mozart bows frantically : he is over - excited. MOZART It is new, it is, is n't it, Sire? JOSEPH Yes, indeed. MOZART And German? JOSEPH Oh, yes. Absolutely. German. Unquestionably! MOZART So then you like it? You really like it, Your Majesty? JOSEPH Of course I do. It's very good. Of course now and then - just now and then - it gets a touch elaborate. MOZART What do you mean, Sire? JOSEPH Well, I mean occasionally it seems to have, how shall one say? -LRB- he stops in difficulty ; to Orsini - Rosenberg. -RRB- How shall one say, Director? ORSINI-ROSENBERG Too many notes, Your Majesty? JOSEPH Exactly. Very well put. Too many notes. MOZART I do n't understand. There are just as many notes, Majesty, as are required. Neither more nor less. JOSEPH My dear fellow, there are in fact only so many notes the ear can hear in the course of an evening. I think I'm right in saying that, are n't I, Court Composer? SALIERI Yes! yes! er, on the whole, yes, Majesty. MOZART -LRB- to Salieri. -RRB- But this is absurd! JOSEPH My dear, young man, do n't take it too hard. Your work is ingenious. It's quality work. And there are simply too many notes, that's all. Cut a few and it will be perfect. MOZART Which few did you have in mind, Majesty? Pause. General embarrassment. JOSEPH Well. There it is. Into this uncomfortable scene bursts a sudden eruption of noise and Madame Weber floods onto the stage, followed by her daughters. All turn to look at this amazing spectacle. MADAME WEBER Wolfi! Wolfi, my dear! She moves toward Mozart with arms outstretched in an absurd theatrical gesture, then sees the Emperor. She stares at him, mesmerized, her mouth open, unable even to curtsey. MADAME WEBER Oh! Mozart moves forward quickly. MOZART Majesty, this is Madame Weber. She is my landlady. JOSEPH Enchanted, Madame. MADAME WEBER Oh, Sire! such an honour! And, and, and these are my dear daughters. This is Constanze. She is the fiancee of Herr Mozart. Constanze curtsies. CU, of Cavalieri, astonished at the news. CU, of Salieri, watching her receive it. JOSEPH Really? How delightful. May I ask when you marry? MOZART Well - Well we have n't quite received my father's consent, Your Majesty. Not entirely. Not altogether. He giggles uncomfortably. JOSEPH Excuse me, but how old are you? MOZART Twenty - six. JOSEPH Well, my advice is to marry this charming young lady and stay with us in Vienna. MADAME WEBER You see? You see? I've told him that, Your Majesty, but he wo n't listen to me. Cavalieri is glaring at Mozart. Mozart looks hastily away from her. MADAME WEBER Oh, Your Majesty, you give such wonderful - such impeccable - such royal advice. I - I - May I? She attempts to kiss the royal hand, but faints instead. The Emperor contemplates her prone body and steps back a pace. JOSEPH Well. There it is. Strack. He nods pleasantly to all and leaves the stage, with his Chamberlain. All bow. Cavalieri turns with a savage look at Mozart and leaves the stage the opposite way, to her dressing room, tossing her plumed head. Salieri watches. Mozart stays for a second, indecisive whether to follow the soprano or help Madame Weber. CONSTANZE -LRB- to Mozart. -RRB- Get some water! He hurries away. The daughters gather around Madame Weber.","INT. CAVALIERI'S DRESSING ROOM - NIGHT - 1780'S Katherina sits fuming at her mirror. A dresser is taking the pins out of her wig as she stares straight ahead of her. Mozart sticks his head round the door. MOZART Katherina! I'll tell you what I'm going to do. I'm going to write another aria for you. Something even more amazing for the second act. I have to get some water. Her mother is lying on the stage. CAVALIERI Do n't bother! MOZART What? CAVALIERI Do n't bother. MOZART I'll be right back. He dashes off.","INT. OPERA HOUSE STAGE - VIENNA - NIGHT - 1780'S Constanze and Mozart make their way quickly through a crowd of actors in turbans and caftans, and stagehands carrying bits of the dismantled set of Seraglio. We see all the turmoil of backstage after a performance. A fireman passes Mozart carrying a small bucket of water. Mozart snatches it from him and pushes his way through the crowd to Madame Weber, who still lies prone on the stage. Mozart pushes through the crowd surrounding her and throws water on her face. She is instantly revived by the shock. Constanze assists her to rise. CONSTANZE Are you all right? Instead of being furious, Madame Weber smiles at them rapturously. MADAME WEBER Ah, what an evening! What a wise man we have for an Emperor. Oh, my children! -LRB- with sudden, hard briskness. -RRB- Now I want you to write your father exactly what His Majesty said. The activity continues to swirl around them. MOZART You should really go home now, Frau Weber. Your carriage must be waiting. MADAME WEBER But are n't you taking us? MOZART I have to talk to the singers. MADAME WEBER That's all right ; we'll wait for you. Just do n't take all night.","INT. CAVALIERI'S DRESSING ROOM - NIGHT - 1780'S Cavalieri, still in costume, is marching up and down, very agitated. CAVALIERI Did you know? Had you heard? SALIERI What? CAVALIERI The marriage! SALIERI Well, what does it matter to you? CAVALIERI Nothing! He can marry who he pleases. I do n't give a damn. She catches him looking at her and tries to compose herself. CAVALIERI How was I? Tell me honestly. SALIERI You were sublime. CAVALIERI What did you think of the music? SALIERI Extremely clever. CAVALIERI Meaning you did n't like it. Mozart comes in unexpectedly. MOZART Oh - excuse me! CAVALIERI Is her mother still lying on the floor? MOZART No, she's fine. CAVALIERI I'm so relieved. She seats herself at her mirror and removes her wig. SALIERI Dear Mozart, my sincere congratulations. MOZART Did you like it, then? SALIERI How could I not? MOZART It really is the best music one can hear in Vienna today. Do n't you agree? CAVALIERI Is she a good fuck? MOZART What? CAVALIERI I assume she's the virtuoso in that department. There ca n't be any other reason you'd marry someone like that. Salieri looks astonished. There is a knock on the door. CAVALIERI Come in! The door opens. Constanze enters. CONSTANZE Excuse me, Wolfi. Mama is not feeling very well. Can we leave now? MOZART Of course. CAVALIERI No, no, no, no. You ca n't take him away now. This is his night. Wo n't you introduce us, Wolfgang? MOZART Excuse us, Fraulein. Good night, Signore. Mozart hurries Constanze out of the door. Cavalieri looks after them as they go, her voice breaking and rising out of control. CAVALIERI You really are full of surprises, are n't you? You are quite extraordinary, you little shit! She turns and collapses, crying with rage, into Salieri's arms. We focus on him. OLD SALIERI -LRB- V.O. -RRB- At that moment I knew beyond any doubt. He'd had her. The Creature had had my darling girl.","INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1820'S The old man speaks passionately to the priest. OLD SALIERI It was incomprehensible. What was God up to? Here I was denying all my natural lust in order to deserve God's gift and there was Mozart indulging his in all directions - even though engaged to be married! - and no rebuke at all! Was it possible I was being tested? Was God expecting me to offer forgiveness in the face of every offense, no matter how painful? That was very possible. All the same, why him? Why use Mozart to teach me lessons in humility? My heart was filling up with such hatred for that little man. For the first time in my life I began to know really violent thoughts. I could n't stop them. VOGLER Did you try? OLD SALIERI Every day. Sometimes for hours I would pray!","INT. SALIERI'S APARTMENT - BEDROOM - DAY - 1780'S The young Salieri is kneeling in desperation before the Cross. SALIERI Please! Please! Send him away, back to Salzburg. For his sake as well as mine. CU, Christ staring from the Cross.","INT. AUDIENCE HALL - ARCHBISHOP'S PALACE - SALZBURG - DAY 1780'S We see Leopold kneeling now not to the Cross but to Archbishop Colloredo, sitting impassively on his throne. Count Arco stands beside him. Leopold is a desperate, once - handsome man of sixty, now far too much the subservient courtier. COLLOREDO No! I wo n't have him back. LEOPOLD But he needs to be here in Salzburg, Your Grace. He needs me and he needs you. Your protection, your understanding. COLLOREDO Hardly. LEOPOLD Oh sir, yes! He's about to make the worst mistake of his life. Some little Viennese slut is trying to trick him into marriage. I know my son. He is too simple to see the trap - and there is no one there who really cares for him. COLLOREDO I'm not surprised. Money seems to be more important to him than loyalty or friendship. He has sold himself to Vienna. Let Vienna look out for him. LEOPOLD Sir - COLLOREDO Your son is an unprincipled, spoiled, conceited brat. LEOPOLD Yes, sir, that's the truth. But do n't blame him. The fault is mine. I was too indulgent with him. But not again. Never again, I promise! I implore you - let me bring him back here. I'll make him give his word to serve you faithfully. COLLOREDO And how will you make him keep it? LEOPOLD Oh, sir, he's never disobeyed me in anything. Please, Your Grace, give him one more chance. COLLOREDO You have leave to try. LEOPOLD Oh, Your Grace - I thank Your Grace! I thank you! In deepest gratitude he kisses the Archbishop's hand. He motions Leopold to rise. We hear the first dark fortissimo chord which begins the Overture to Don Giovanni : the theme associated with the character of the Commendatore. LEOPOLD -LRB- V.O. -RRB- My dear son. The second fortissimo chord sounds.","INT. A BAROQUE CHURCH - DAY - 1780'S We see a huge CU, of Mozart's head, looking front and down, as if reading his father's letter. We hear Leopold's voice over this image, no longer whining and anxious, but impressive. LEOPOLD -LRB- V.O. -RRB- I write to you with urgent news. I am coming to Vienna. Take no further steps toward marriage until we meet. You are too gullible to see your own danger. As you honour the father who has devoted his entire life to yours, do as I bid, and await my coming. MOZART I will. The camera pulls back to see that he is in fact kneeling beside Constanze. A PRIEST faces them. Behind them are Madame Weber, Josefa and Sophie Weber, and a very few others. Among them, a merry looking lady in bright clothes : the BARONESS WALDSTADTEN. PRIEST And will you, Constanze Weber, take this man, Wolfgang to be your lawful husband? CONSTANZE I will. PRIEST I now pronounce you man and wife. The opening kyrie of the great Mass in C Minor is heard. Mozart and Constanze kiss. They are in tears. Madame Weber and her daughters look on approvingly. The music swells and continues under the following :","INT. A ROOM IN LEOPOLD'S HOUSE - SALZBURG - NIGHT - 1780'S There is a view of a castle in background. Leopold sits alone in his room. He is reading a letter from Wolfgang. At his feet are his trunks, half - packed for the journey he will not now take. We hear Mozart's voice reading the following letter and we see, as the camera roves around the room, mementos of the young prodigy's early life : the little forte - piano made for him ; the little violin made for him ; an Order presented to him. We see a little starling in a wicker cage. And we see portraits of the boy on the walls, concluding with the familiar family portrait of Wolfgang and his sister Nannerl seated at the keyboard with Leopold standing, and the picture of their mother on the wall behind them. MOZART -LRB- V.O. -RRB- Most beloved father, it is done. Do not blame me that I did not wait to see your dear face. I knew you would have tried to dissuade me from my truest happiness and I could not have borne it. Your every word is precious to me. Remember how you have always told me Vienna is the City of Musicians. To conquer here is to conquer Europe! With my wife I can do it. I vow I will become regular in my habits and productive as never before. She is wonderful, Papa, and I know that you will love her. And one day soon when I am a wealthy man, you will come and live with us, and we will be so happy. I long for that day, best of Papas, and kiss your hand a hundred thousand times. The music of the Mass fades as Leopold crumples the letter in his hand.","EXT. THE IMPERIAL GARDENS - VIENNA - DAY - 1780'S Salieri stands waiting, hat in hand. Beside him stands a royal servant. Behind him, gardeners are glimpsed tending the shrubs and bushes along a grassy ride. Down this ride are seen cantering two people on horseback : the Emperor Joseph and his niece, the PRINCESS ELIZABETH. They are mounted on glossy horses. The Princess rides side - saddle. Running beside her is a panting groom. The Emperor rides elegantly ; his niece, a dumpy little Hapsburg girl of sixteen, like a sack of potatoes. As they draw level with Salieri they stop, and the groom holds the head of the Princess' horse. Salieri bows respectfully. JOSEPH Good morning, Court Composer. This is my niece, the Princess Elizabeth. SALIERI Your Highness. Out of breath, the Princess nods nervously. JOSEPH She has asked me to advise her on a suitable musical instructor. I think I've come up with an excellent idea. He smiles at Salieri. SALIERI Oh, Your Majesty, it would be such a tremendous honour! JOSEPH I'm thinking about Herr Mozart. What is your view? Salieri's face falls, almost imperceptibly. SALIERI An interesting idea, Majesty. But - JOSEPH Yes? SALIERI You already commissioned an opera from Mozart. JOSEPH And the result satisfies. SALIERI Yes, of course. My concern is to protect you from any suspicion of favouritism. JOSEPH Ah - ha. Favouritism. But I so want Mozart. SALIERI I'm sure there is a way, Majesty. Some kind of a little contest. I could perhaps put together a small Committee, and I could see to it naturally that it will select according to Your Majesty's wishes. JOSEPH You please me, Court Composer. A very clever idea. SALIERI -LRB- bowing. -RRB- Sire. JOSEPH Well. There it is. He rides on. The groom releases her horse's head, and runs on after the Princess.","INT. CHAMBERLAIN VON STRACK'S STUDY - DAY - 1780'S Von Strack sits stiffly behind his gilded desk. Mozart stands before him, trembling with anger. MOZART What is this, Herr Chamberlain? VON STRACK What is what? MOZART Why do I have to submit samples of my work to some stupid committee? Just to teach a sixteen - year - old girl. VON STRACK Because His Majesty wishes it. MOZART Is the Emperor angry with me? VON STRACK On the contrary. MOZART Then why does n't he simply appoint me to the post? VON STRACK Mozart, you are not the only composer in Vienna. MOZART No, but I'm the best. VON STRACK A little modesty would suit you better. MOZART Who is on this committee? VON STRACK Kapellmeister Bonno, Count Orsini - Rosenberg and Court Composer Salieri. MOZART Naturally, the Italians! Of course! Always the Italians! VON STRACK Mozart - MOZART They hate my music. It terrifies them. The only sound Italians understand is banality. Tonic and dominant, tonic and dominant, from here to Resurrection! -LRB- singing angrily. -RRB- Ba - ba! Ba - ba! Ba - ba! Ba - ba! Anything else is morbid. VON STRACK Mozart - MOZART Show them one interesting modulation and they faint. Ohime! Morbidezza! Morbidezza! Italians are musical idiots and you want them to judge my music! VON STRACK Look, young man, the issue is simple. If you want this post, you must submit your stuff in the same way as all your colleagues. MOZART Must I? Well, I wo n't! I tell you straight : I will not!","INT. MOZART'S APARTMENT - BEDROOM - VIENNA - DAY - 1780'S The room is very small and untidy. Constanze is marching up and down it, upset. Mozart is lying on the bed. CONSTANZE I think you're mad! You're really mad! MOZART Oh, leave me alone. CONSTANZE One royal pupil and the whole of Vienna will come flocking. We'd be set up for life! MOZART They'll come anyway. They love me here. CONSTANZE No, they will not. I know how things work in this city. MOZART Oh yes? You always know everything. CONSTANZE Well, I'm not borrowing any more money from my mother, and that's that! MOZART You borrowed money from your mother? CONSTANZE Yes! MOZART Well, do n't do that again! CONSTANZE How are we going to live, Wolfi? Do you want me to go into the streets and beg? MOZART Do n't be stupid. CONSTANZE All they want to see is your work. What's wrong with that? MOZART Shut up! Just shut up! I do n't need them. CONSTANZE This is n't pride. It's sheer stupidity! She glares at him, almost in tears.","INT. SALIERI'S MUSIC ROOM - LATE AFTERNOON - 1780'S Salieri is giving a lesson to a girl student, who is singing the Italian art song, Caro Mio Ben. There is a knock on the door. SALIERI Yes. A SERVANT enters. SERVANT Excuse me, sir, there is a lady who insists on talking to you. SALIERI Who is she? SERVANT She did n't say. But she says it's urgent. SALIERI -LRB- to the pupil. -RRB- Excuse me, my dear. Salieri goes into the salon.","INT. THE SALON - LATE AFTERNOON - 1780'S Constanze stands, closely veiled, holding a portfolio stuffed with manuscripts. The singing lesson ends, with two chords on the instrument. Salieri enters the salon. Constanze drops him a shy curtsey. CONSTANZE Excellency! SALIERI Madame. How can I help you? Shyly, she unveils. SALIERI Frau Mozart? CONSTANZE That's right, Your Excellency. I've come on behalf of my hus band. I'm - I'm bringing some samples of his work so he can be considered for the royal appointment. SALIERI How charming. But why did he not come himself? CONSTANZE He's terribly busy, sir. SALIERI I understand. He takes the portfolio and puts it on a table. SALIERI I will look at them, of course, the moment I can. It will be an honour. Please give him my warmest. CONSTANZE Would it be too much trouble, sir, to ask you to look at them now? While I wait. SALIERI I'm afraid I'm not at leisure this very moment. Just leave them with me. I assure you they will be quite safe. CONSTANZE I - I really can not do that, Your Excellency. You see, he does n't know I'm here. SALIERI Really? CONSTANZE My husband is a proud man, sir. He would be furious if he knew I'd come. SALIERI Then he did n't send you? CONSTANZE No, sir. This is my own idea. SALIERI I see. CONSTANZE Sir, we really need this job. We're desperate. My husband spends far more than he can ever earn. I do n't mean he's lazy - he's not at all - he works all day long. It's just! he's not practical. Money simply slips through his fingers, it's really ridiculous, Your Excellency. I know you help musicians. You're famous for it. Give him just this one post. We'd be forever indebted! A short pause. SALIERI Let me offer you some refreshment. Do you know what these are? He indicates a dish piled high with glazed chestnuts. SALIERI Cappezzoli di Venere. Nipples of Venus. Roman chestnuts in brandied sugar. Wo n't you try one? They're quite surprising. He offers her the dish. She takes one and puts it in her mouth. He watches carefully. CONSTANZE Oh! They're wonderful. He takes one himself. We notice on his finger a heavy gold signet - ring. CONSTANZE Thank you very much, Your Excellency. SALIERI Do n't keep calling me that. It puts me at such a distance. I was not born a Court Composer, you know. I'm from a small town, just like your husband. He smiles at her. She takes another chestnut. SALIERI Are you sure you ca n't leave that music, and come back again? I have other things you might like. CONSTANZE That's very tempting, but it's impossible, I'm afraid. Wolfi would be frantic if he found those were missing. You see, they're all originals. SALIERI Originals? CONSTANZE Yes. A pause. He puts out his hand and takes up the portfolio from the table. He opens it. He looks at the music. He is puzzled. SALIERI These are originals? CONSTANZE Yes, sir. He does n't make copies.","INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 The old man faces the Priest. OLD SALIERI Astounding! It was actually beyond belief. These were first and only drafts of music yet they showed no corrections of any kind. Not one. Do you realize what that meant? Vogler stares at him. OLD SALIERI He'd simply put down music already finished in his head. Page after page of it, as if he was just taking dictation. And music finished as no music is ever finished.","INT. SALIERI'S SALON - LATE AFTERNOON - 1780'S CU, The manuscript in Mozart's handwriting. The music begins to sound under the following : OLD SALIERI -LRB- V.O. -RRB- Displace one note and there would be diminishment. Displace one phrase, and the structure would fall. It was clear to me. That sound I had heard in the Archbishop's palace had been no accident. Here again was the very voice of God! I was staring through the cage of those meticulous ink - strokes at an absolute, inimitable beauty. The music swells. What we now hear is an amazing collage of great passages from Mozart's music, ravishing to Salieri and to us. The Court Composer, oblivious to Constanze, who sits happily chewing chestnuts, her mouth covered in sugar, walks around and around his salon, reading the pages and dropping them on the floor when he is done with them. We see his agonized and wondering face : he shudders as if in a rough and tumbling sea ; he experiences the point where beauty and great pain coalesce. More pages fall than he can read, scattering across the floor in a white cascade, as he circles the room. Finally, we hear the tremendous Qui Tollis from the Mass in C Minor. It seems to break over him like a wave and, unable to bear any more of it, he slams the portfolio shut. Instantly, the music breaks off, reverberating in his head. He stands shaking, staring wildly. Constanze gets up, perplexed. CONSTANZE Is it no good? A pause. SALIERI It is miraculous. CONSTANZE Oh yes. He's really proud of his work. Another pause. CONSTANZE So, will you help him? Salieri tries to recover himself. SALIERI Tomorrow night I dine with the Emperor. One word from me and the post is his. CONSTANZE Oh, thank you, sir! Overjoyed, she stops and kisses his hand. He raises her - and then clasps her to him clumsily. She pushes herself away. SALIERI Come back tonight. CONSTANZE Tonight? SALIERI Alone. CONSTANZE What for? SALIERI Some service deserves service in return. No? CONSTANZE What do you mean? SALIERI Is n't it obvious? They stare at one another : Constanze in total disbelief. SALIERI It's a post all Vienna seeks. If you want it for your husband, come tonight. CONSTANZE But! I'm a married woman! SALIERI Then do n't. It's up to you. Not to be vague, that is the price. He glares at her. SALIERI Yes. He rings a silver bell for a servant and abruptly leaves the roam. Constanze stares after him, horrified. The servant enters. Shocked and stunned, Constanze goes down an her knees and starts picking up the music from the floor.","INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 CU, Father Vogler, horrified. OLD SALIERI Yes, Father. Yes! So much for my vow of chastity. What did it matter? Good, patient, hard - working, chaste - what did it matter? Had goodness made me a good composer? I realized it absolutely then - that moment : goodness is nothing in the furnace of art. And I was nothing to God. VOGLER -LRB- crying out. -RRB- You can not say that! OLD SALIERI No? Was Mozart a good man? VOGLER God's ways are not yours. And you are not here to question Him. Offer him the salt of penitence. He will give you back the bread of eternal life. He is all merciful. That is all you need to know. OLD SALIERI All I ever wanted was to sing to Him. That's His doing, is n't it? He gave me that longing - then made me mute. Why? Tell me that. If He did n't want me to serve Him with music, why implant the desire, like a lust in my body, then deny me the talent? Go on, tell me! Speak for Him! VOGLER My son, no one can speak for God. OLD SALIERI Oh? I thought you did so every day. So speak now. Answer me! VOGLER I do not claim to unravel the mysteries. I treasure them. As you should. OLD SALIERI -LRB- impatiently. -RRB- Oh yes, yes, yes, yes, yes! Always the same stale answers! -LRB- intimately to the priest. -RRB- There is no God of Mercy, Father. Just a God of torture.","INT. SALIERI'S APARTMENT - BEDROOM - NIGHT - 1780'S Salieri sits at his desk, staring up at the cross. OLD SALIERI -LRB- V.O. -RRB- Evening came to that room. I sat there not knowing whether the girl would return or not. I prayed as I'd never prayed before. SALIERI Dear God, enter me now. Fill me with one piece of true music. One piece with your breath in it, so I know that you love me. Please. Just one. Show me one sign of your favour, and I will show mine to Mozart and his wife. I will get him the royal position, and if she comes, I'll receive her with all respect and send her home in joy. Enter me! Enter me! Please! Te imploro. Long, long silence. Salieri stares at the cross. Christ stares back at him impassively. Finally in this silence we hear a faint knocking at the door. Salieri stirs himself. A servant appears. SERVANT That lady is back, sir. SALIERI Show her in. Then go to bed. The Servant bows and leaves. We follow him through :","INT. MUSIC ROOM IN SALIERI'S APARTMENT - NIGHT - 1780'S The Servant crosses it and enters :","INT. SALON IN SALIERI'S APARTMENT - NIGHT - 1780'S Constanze is sitting on an upright chair, veiled as before, the portfolio of music on her lap. Through the far door leading from the hall, another servant is peering at her. The first servant joins him and shuts the door on the girl, leaving her alone. We stay with her. The clock ticks on the mantelpiece. We hear an old carriage pass in the street below. Nervously she lifts her veil and looks about her. Suddenly Salieri appears from the music room. He is pale and very tight. They regard each other. She smiles and rises to greet him, affecting a relaxed and warm manner, as if to put him at his ease. CONSTANZE Well, I'm here. My husband has gone to a concert. He did n't think I would enjoy it. A pause. CONSTANZE I do apologize for this afternoon. I behaved like a silly girl. Where shall we go? SALIERI What? CONSTANZE Should we stay here? It's a charming room. I love these candlesticks. Were they here earlier? I did n't notice them I suppose I was too nervous. As she talks, she extinguishes the candles in a pair of Venetian candelabra and subsequently other candles around the room. CONSTANZE Wolfgang was given some candlesticks by King George in England, but they were only wood. Oh, excuse me. Let's not talk about him. What do you think of this? It's real lace. Brussels. She turns and takes off her shawl. CONSTANZE Well, it's much too good for every day. I keep saying to Wolfi, do n't be so extravagant. Presents are lovely, but we ca n't afford them. It does n't do any good. The more I tell him, the more he spends. Oh, excuse me! There I go again. She picks up the portfolio. CONSTANZE Do you still want to look at this? Or do n't we need to bother anymore? I imagine we do n't, really. She looks at him inquiringly, and drops the portfolio on the floor ; pages of music pour out of it. Instantly we hear a massive chord, and the great Qui Tollis from the Mass in C Minor fills the room. To its grand and weighty sound, Constanze starts to undress, watched by the horrified Salieri. Between him and her, music is an active presence, hurting and baffling him. He opens his mouth in distress. The music pounds in his head. The candle flickers over her as she removes her clothes and prepares for his embrace. Suddenly he cries out. SALIERI Go! Go! Go! He snatches up the bell and shakes it frantically, not stopping until the two servants we saw earlier appear at the door. The music stops abruptly. They stare at the appalled and frightened Constanze, who is desperately trying to cover her nakedness. SALIERI Show this woman out! Constanze hurls herself at him. CONSTANZE You shit! You shit! You rotten shit! He seizes her wrists and thrusts her back. Then he leaves the room quickly, slamming the door behind him. Constanze turns and sees the two servants goggling at her in the room. CONSTANZE What are you staring at? Wildly, she picks up the candelabrum and throws it at them. It shatters on the floor.","INT. SALIERI'S APARTMENT - BEDROOM - NIGHT - 1780'S CU, Salieri standing, his eyes shut, shaking in distress. He opens them and sees Christ across the room, staring at him from the wall. OLD SALIERI -LRB- V.O. -RRB- From now on, we are enemies, You and I!","INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 The old man is reliving the experience. Vogler looks at him, horrified. OLD SALIERI Because You will not enter me, with all my need for you ; because You scorn my attempts at virtue ; because You choose for Your instrument a boastful, lustful, smutty infantile boy and give me for reward only the ability to recognize the Incarnation ; because You are unjust, unfair, unkind, I will block You! I swear it! I will hinder and harm Your creature on earth as far as I am able. I will ruin Your Incarnation.","INT. SALIERI'S APARTMENT - BEDROOM - NIGHT - 1780'S CU, the fireplace. In it lies the olivewood Christ on the cross, burning. OLD SALIERI -LRB- V.O. -RRB- What use after all is Man, if not to teach God His lessons? The cross flames up and disintegrates. Salieri stares at it.","INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1780'S The front door bursts open. Mozart stumbles in, followed by EMMANUEL SCHIKANEDER, three young actresses, and another man, all fairly drunk. Schikaneder -LRB- who appears everywhere accompanied by young girls -RRB- is a large, fleshy, extravagant man of about thirty - five. MOZART Stanzi! Stanzi! Stanzi - Manzi! The others laugh. MOZART Sssh! SCHIKANEDER -LRB- imitating Mozart. -RRB- Stanzi - Manzi - Banzi - Wanzi! MOZART Sssh! Stay here. He walks unsteadily to the bedroom door and opens it. SCHIKANEDER -LRB- to the girls, very tipsy. -RRB- Sssh! You're dishgrashful!","INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1780'S Constanze lies in bed, her back turned to her husband, who comes into the room and shuts the door. MOZART -LRB- playfully. -RRB- Stanzi? How's my mouse? Mouse - wouse? I'm back - puss - wuss is back! She turns around abruptly. She looks dreadful ; her eyes red with weeping. Mozart is shocked. MOZART Stanzi! He approaches the bed and sits on it. Immediately she starts crying again, desperately. MOZART What's the matter? What is it? Stanzi! He holds her and she clings to him in a fierce embrace, crying a flood of tears. MOZART Stop it now. Stop it. I've brought some friends to meet you. They're next door waiting. Do we have anything to eat? They're all starving. CONSTANZE Tell them to go away. I do n't want to see anybody. MOZART What's the matter with you? CONSTANZE Tell them to go! MOZART Sssh. What is it? Tell me. CONSTANZE No! MOZART Yes! CONSTANZE I love you! I love you! She starts crying again, throwing her arms around his neck. CONSTANZE I love you. Please stay with me. I'm frightened.","INT. THE ROYAL PALACE - DINING ROOM - DAY - 1780'S Joseph sits eating. A butler serves him goat's milk to drink. Joseph is holding a memorandum from Salieri in his hand. Salieri stands before him. JOSEPH I do n't think you understand me, Court Composer. SALIERI Majesty, I did. Believe me, it was a most agonizing. decision. But finally, I simply could not recommend Herr Mozart. JOSEPH Why not? SALIERI Well, Sire, I made some inquiries in a routine way. I was curious to know why he had so few pupils. It is rather alarming. JOSEPH Oh? With a gesture Joseph dismisses the butler, who bows and leaves the room. SALIERI Majesty, I do n't like to talk against a fellow musician. JOSEPH Of course not. SALIERI I have to tell you, Mozart is not entirely to be trusted alone with young ladies. JOSEPH Really? SALIERI As a matter of fact, one of my own pupils - a very young singer - told me she was - er - well! JOSEPH Yes? SALIERI Molested, Majesty. Twice, in the course of the same lesson. A pause. JOSEPH Ah - ha. Well. There it is.","INT. SALIERI'S HOUSE - STAIRCASE - VIENNA - DAY - 1780'S Salieri has just returned from the palace and is coming up the staircase. He is met by his servant. SERVANT Sir, there is a Herr Mozart waiting for you in the salon. Salieri is plainly alarmed. SALIERI What does he want? SERVANT He did n't say, sir. I told him I did n't know when you would be back, but he insisted on waiting. SALIERI Come with me. And stay in the room. He mounts the stairs.","INT. SALIERI'S APARTMENT - SALON - DAY - 1780'S Mozart is waiting for Salieri, holding a portfolio. Salieri approaches him nervously. Mozart stands not belligerently, but humbly. SALIERI Herr Mozart, what brings you here? MOZART Your Excellency, you requested some specimens of my work. Here they are. I do n't have to tell you how much I need your help. I truly appreciate your looking at these. I have pressures on me - financial pressures. As you know, I'm a married man now. SALIERI So you are. How is your pretty wife? MOZART She is well. She is - well, actually, I'm about to become a father! She only told me last night. You are the first to know. SALIERI I'm flattered. And congratulations to you, of course. MOZART So you see, this post is very important to me right now. Salieri looks at him in distress. SALIERI Why did n't you come to me yesterday, Mozart? This is a most painful situation. Yesterday I could have helped you. Today, I ca n't. MOZART Why? Here is the music. It's here. I am submitting it humbly. Is n't that what you wanted? SALIERI I have just come from the palace. The post has been filled. MOZART Filled? That's impossible! They have n't even seen my work. I need this post. Please, ca n't you help me? Please! SALIERI My dear Mozart, there is no one in the world I would rather help, but now it is too late. MOZART Whom did they choose? SALIERI Herr Sommer. MOZART Sommer? Herr Sommer? But the man's a fool! He's a total mediocrity. SALIERI No, no, no : he has yet to achieve mediocrity. MOZART But I ca n't lose this post, I simply ca n't! Excellency, please. Let's go to the palace, and you can explain to the Emperor that Herr Sommer is an awful choice. He could actually do musical harm to the Princess! SALIERI An implausible idea. Between you and me, no one in the world could do musical harm to the Princess Elizabeth. Mozart chuckles delightedly. Salieri offers him a glass of white dessert and a spoon. Mozart takes it absently and goes on talking. MOZART Look, I must have pupils. Without pupils I ca n't manage. SALIERI You do n't mean to tell me you are living in poverty? MOZART No, but I'm broke. I'm always broke. I do n't know why. SALIERI It has been said, my friend, that you are inclined to live somewhat above your means. MOZART How can anyone say that? We have no cook, no maid. We have no footman. Nothing at all! SALIERI How is that possible? You give concerts, do n't you? I hear they are quite successful. MOZART They're stupendously successful. You ca n't get a seat. The only problem is none will hire me. They all want to hear me play, but they wo n't let me teach their daughters. As if I was some kind of fiend. I'm not a fiend! SALIERI Of course not. MOZART Do you have a daughter? SALIERI I'm afraid not. MOZART Well, could you lend me some money till you have one? Then I'll teach her for free. That's a promise. Oh, I'm sorry. I'm being silly. Papa's right - I should put a padlock on my mouth. Seriously, is there any chance you could manage a loan? Only for six months, eight at most. After that I'll be the richest man in Vienna. I'll pay you back double. Anything. Name your terms. I'm not joking. I'm working on something that's going to explode like a bomb all over Europe! SALIERI Ah, how exciting! Tell me more. MOZART I'd better not. It's a bit of a secret. SALIERI Come, come, Mozart ; I'm interested. Truly. MOZART Actually, it's a big secret. Oh, this is delicious! What is it? SALIERI Cream cheese mixed with granulated sugar and suffused with rum. Crema al Mascarpone. MOZART Ah. Italian? SALIERI Forgive me. We all have patriotic feelings of some kind. MOZART Two thousand, two hundred florins is all I need A hundred? Fifty? SALIERI What exactly are you working on? MOZART I ca n't say. Really SALIERI I do n't think you should become known in Vienna as a debtor, Mozart. However, I know a very distinguished gentleman I could recommend to you. And he has a daughter. Will that do?","INT. MICHAEL SCHLUMBERG'S HOUSE - MORNING - 1780'S Hysterical barking and howling. The hall is full of dogs, at least five, all jumping up and dashing about and making a terrific racket. Mozart, dandified in a new coat and a plumed hat for the occasion, has arrived to teach at the house of a prosperous merchant, MICHAEL SCHLUMBERG. Bluff, friendly and coarse - looking, he stands in his hall amidst the leaping and barking animals, greeting Mozart. SCHLUMBERG Quiet! Quiet! Quiet! Down there, damn you. -LRB- to Mozart. -RRB- Welcome to you. Pay no attention, they're impossible. Stop it, you willful things! Come this way. Just ignore them. They're perfectly harmless, just willful. I treat them just like my own children. MOZART And which one of them do you want me to teach? SCHLUMBERG What? Ha - ha! That's funny - I like it. Which one, eh? You're a funny fellow. -LRB- shouting. -RRB- Hannah! Come this way. He leads Mozart through the throng of dogs into a salon furnished with comfortable middle - class taste. SCHLUMBERG Hannah! FRAU SCHLUMBERG appears : an anxious woman in middle life. SCHLUMBERG -LRB- to Mozart. -RRB- You wo n't be teaching this one either. She's my wife. MOZART -LRB- bowing. -RRB- Madame. SCHLUMBERG This is Herr Mozart, my dear. The young man Herr Salieri recommended to teach our Gertrude. Where is she? FRAU SCHLUMBERG Upstairs. SCHLUMBERG Gertrude! FRAU SCHLUMBERG You ca n't be Herr Mozart! MOZART I'm afraid I am. SCHLUMBERG Of course, it's him. Who do you think it is? FRAU SCHLUMBERG I've heard about you for ages! I thought you must be an old man. SCHLUMBERG Gertrude! FRAU SCHLUMBERG It's such an honour for us to have you here, Herr Mozart. And for Gertrude. SCHLUMBERG People who know say the girl's got talent. You must judge for yourself. If you think she stinks, say so. FRAU SCHLUMBERG Michael, please! I'm sure you will find her most willing, Herr Mozart. She's really very excited. She's been preparing all morning. MOZART Really? FRAU SCHLUMBERG Ah, now! Here she comes. GERTRUDE SCHLUMBERG appears in the doorway : an awkward girl of fifteen in her best dress, her hair primped and curled. She is exceedingly nervous. MOZART Good morning, Fraulein Schlumberg. SCHLUMBERG Strudel, this is Herr Mozart. Say good morning. Gertrude giggles instead. FRAU SCHLUMBERG -LRB- to Mozart. -RRB- Perhaps a little refreshment first? A little coffee, or a little chocolate? MOZART I'd like a little wine, if you have it. FRAU SCHLUMBERG Wine? SCHLUMBERG Quite right. He's going to need it. -LRB- calling and clapping his hands. -RRB- Klaus! A bottle of wine. Prestissimo! Now let's go to it. I've been waiting all day for this. He leads the way into :","INT. MUSIC ROOM - DAY - 1780'S A forte - piano is open and waiting. All the dogs follow him. After them come Mozart Frau and Fraulein Schlumberg. To Mozart's dismay, husband and wife seat themselves quite formally on a little narrow sofa, side by side. SCHLUMBERG -LRB- To the dogs. -RRB- Now sit down all of you and behave. Zeman, Mandi, absolutely quiet! -LRB- to a young beagle. -RRB- Especially you, Dudelsachs - not one sound from you. The dogs settle at their feet. Husband and wife smile encouragingly at each other. SCHLUMBERG Come on, then. Up and at it! Mozart gestures to the music bench. Reluctantly, the girl sits at the instrument. Mozart sits beside her. MOZART Now, please play me something. Just to give me an idea. Anything will do. GERTRUDE -LRB- to parents. -RRB- I do n't want you to stay. FRAU SCHLUMBERG That's all right, dear. Just go ahead, as if we were n't here. GERTRUDE But you are here. SCHLUMBERG Never mind, Strudel. It's part of music, getting used to an audience. Are n't I right, Herr Mozart? MOZART Well, yes! on the whole. I suppose. -LRB- to Gertrude. -RRB- How long have you been playing, Fraulein? FRAU SCHLUMBERG Just one year. MOZART Who was your teacher? FRAU SCHLUMBERG I was. But she quite outgrew the little I could show her. MOZART Thank you, Madame. -LRB- to Gertrude. -RRB- Come on now - courage. Play me something you know. In response the wretched girl just stares down at the keyboard without playing a note. An awkward pause. MOZART Perhaps it would be better if we were left alone. I think we're both a little shy. Husband and wife look at each other. SCHLUMBERG Nonsense. Strudel's not shy. She's just willful! You give into her now, you'll be sorry later. Strudel - play. Silence. The girl sits unmoving. Schlumberg bellows : SCHLUMBERG I said play! FRAU SCHLUMBERG Michael! MOZART Perhaps if I were to play a little first, it might encourage the Fraulein. -LRB- to the girl. -RRB- Why do n't you let me try the instrument? All right? Suddenly the girl rises. Mozart smiles at the parents. They smile nervously back. Mozart slides along the bench, raises his hands and preludes over the keys. Instantly a dog howls loudly. Startled, Mozart stops. Schlumberg leaps to his feet and goes over to the beagle. SCHLUMBERG Stop that, Dudelsachs! Stop it at once! -LRB- to Mozart. -RRB- Do n't let him disturb you. He'll be all right. He's just a little willful too. Please, please - play. I beg you. Mozart resumes playing. This time it is a lively piece, perhaps the Presto Finale from the K. 450. The dog howls immediately. SCHLUMBERG Stop it! STOP! Mozart stops. SCHLUMBERG No, not you. I was talking to the dog. You keep playing. It's most important. He always howls when he hears music. We've got to break them of the habit. Play, please. Please! Amazed, Mozart starts to play the Rondo again. The dog howls louder. SCHLUMBERG That's it. Now keep going, just keep going. -LRB- to the beagle. -RRB- Now you stop that noise, Dudelsachs, you stop it this instant! This instant, do you hear me? Keep going, Herr Mozart, that's it. Go on, go on! Mozart plays on. Suddenly the dog falls silent. Schlumberg smiles broadly. SCHLUMBERG Good, good, good! Very good dog! Very, very good Dudelsachs. -LRB- to his wife, snapping his fingers. -RRB- Quick, quick, dear, bring his biscuit. The wife scurries to get a jar of biscuits. A servant brings in an open bottle of wine and a full glass on a tray. He puts it down beside Mozart as Schlumberg addresses the silent dog with deepest affection. SCHLUMBERG Now guess who's going to get a nice reward? Clever, clever Dudi. He gives the biscuit to the dog who swallows it greedily. Mozart stops playing and stands up. SCHLUMBERG It's a miracle, Herr Mozart! MOZART -LRB- barely controlling himself. -RRB- Well, I'm a good teacher. The next time you wish me to instruct another of your dogs, please let me know. Goodbye, Fraulein, goodbye, Madame! goodbye, Sir! He bows to them and leaves the room. They look after him in puzzled astonishment. FRAU SCHLUMBERG What a strange young man. SCHLUMBERG Yes. He is a little strange.","EXT. A BUSY STREET IN VIENNA - DAY - 1780'S A cheerful scene. We see Mozart strutting and beaming, making his way through the crowd of porters, carriers and hawkers, sellers of sausages and pastries, vendors of hats and ribbons. Horses and carriage clatter past him. His mood is best expressed by a bubbling version of Non piu Andrai played on the forte - piano. Still in the same mood, he enters the door of his own house.","INT. MOZART'S HOUSE - HALLWAY - DAY - 1780'S Suddenly, he stops. He looks up the stairs. The grim opening chords from the Overture to Don Giovanni cut across the march from Figaro. What he sees, looking up the stairs, is a menacing figure in a long, grey cape and dark grey hat, standing on the landing. The light comes from behind the figure so that we see only its silhouette as it unfolds its arms towards Mozart in an alarming gesture of possession. It takes a beat in which the air of sinister mystery is held before Mozart realizes who it is. Then, as the music continues, he hastily sets down the bottle of wine and rushes joyfully up the stairs and hurls himself into the figure's arms. MOZART Papa! PAPA! Both men embrace. The music slowly fades.","INT. MOZART'S LIVING ROOM - DAY - 1780'S A cramped, low - ceilinged little room which nobody has tidied for ages. We see music lying everywhere. Also there are many empty wine bottles ; musical instruments - among them a mandolin, a viola, a forte - piano with the black and white keys reversed - books and abandoned plates of food. Mozart clasps his father's arms. Leopold is now seen as an aging, travel - stained man in clothes that need repair. His face is lined, and he is obviously not in perfect health. MOZART Why are you here? LEOPOLD Am I not welcome? MOZART Of course, welcome! Welcome ten thousand times. Papa! my Papa! He kisses his hands. LEOPOLD You're very thin. Does she not feed you, this wife of yours? Mozart ducks away and fetches his father's bags from the landing. MOZART Feed? Well, of course she feeds me. She stuffs me like a goose all day long. She's the best cook in the world. I mean, since Mama. Just wait, you'll see. LEOPOLD Is she not here? MOZART I do n't know. Stanzi? Stanzi! Leopold looks about him at the mess in the room. LEOPOLD Do you always live like this? MOZART Oh, yes. Oh, I mean no - not exactly like this. I mean today - just today, Stanzi - I remember now. She had to go - yes! She had to help her mother. Yes, she's like that. Her mother's a very sweet woman, you'll see. He carries the bag across the room and opens the door of the bedroom. Constanze lies in bed. She sits up, startled. MOZART Oh! I did n't know you were home. Stanzi, this is my father. Constanze, who looks ill and tired, stares at Leopold. Leopold stares back from the doorway. MOZART We'll wait, we'll wait. Why do n't you get up now, darling? He closes the door again. MOZART She's very tired, poor creature. You know me : I'm a real pig. It's not so easy cleaning up after me. LEOPOLD Do n't you have a maid? MOZART Oh we could, if we wanted to, but Stanzi wo n't hear of it. She wants to do everything herself. LEOPOLD How is your financial situation? MOZART It could n't be better. LEOPOLD That's not what I hear. MOZART What do you mean? It's wonderful. Really, it's - it's marvelous! People love me here. LEOPOLD They say you're in debt. MOZART Who? Who says that? Now that's a malicious lie! LEOPOLD How many pupils do you have? MOZART Pupils? LEOPOLD Yes. MOZART Yes. LEOPOLD How many? MOZART I do n't know. It's not important. I mean, I do n't want pupils. They get in the way. I've got to have time for composition. LEOPOLD Composition does n't pay. You know that. MOZART This one will. He picks up some pages of manuscript. LEOPOLD What's that? MOZART Oh, let's not talk about it. LEOPOLD Why not? MOZART It's a secret. LEOPOLD You do n't have secrets from me. MOZART It's too dangerous, Papa. But they're going to love it. Ah, there she is! Constanze comes into the room. She is wearing a dressing gown and has made a perfunctory attempt to tidy her hair. We see that she is clearly pregnant. MOZART My Stanzi - look at her! Is n't she beautiful? Come on now, confess, Papa. Could you want a prettier girl for a daughter? CONSTANZE Stop it, Wolfi. I look dreadful. Welcome to our house, Herr Mozart. MOZART He's not Herr Mozart. Call him Papa. LEOPOLD I see that you're expecting. CONSTANZE Oh, yes. LEOPOLD When, may I ask? CONSTANZE In three months! Papa. MOZART Is n't that marvelous? We're delighted. LEOPOLD Why did n't you mention it in your letters? MOZART Did n't I? I thought I did. I'm sure I did. He gives a little giggle of embarrassment. CONSTANZE May I offer you some tea, Herr Mozart? MOZART Tea? Who wants tea? Let's go out! This calls for a feast. You do n't want tea, Papa. Let's go dancing. Papa loves parties, do n't you? CONSTANZE Wolfi! MOZART What? How can you be so boring? Tea! CONSTANZE Wolfi, I think your father's tired. I'll cook us something here. LEOPOLD Thank you. That'll be fine. Do n't spend any money on me. MOZART Why not? Oh, come, Papa! What better way could I spend it than on you? My kissable, missable, suddenly visible Papa! The jaunty tune of Ich Mochte Wohl Der Kaiser sein -LRB- K. 539 -RRB- sounds through all the following. This is an alternate song from Il Seraglio : a very extroverted tune for baritone and orchestra and a prominent part for bass drum. The vocal part should be arranged for trumpet.","EXT. STREET IN VIENNA - DAY - 1780'S Mozart and Constanze with Leopold between them. We see couples shopping.","INT. A COSTUME SHOP - VIENNA - DAY - 1780'S This is a shop where one can buy costumes for masquerades. It is filled with extravagant costumes of various kinds. Wolfgang is wearing a costume, a mask pushed up on his forehead ; Constanze is wearing a little white velvet mask. Amidst the merriment, Leopold is helped by two assistants to put on a dark grey cloak and a dark grey tricorne hat, to which is attached a full mask of dark grey. Its mouth is cut into a fixed upward smile. He turns and looks at his son through this mask.","INT. A LARGE PARTY ROOM - VIENNA - NIGHT - 1780'S We are in the full whirl of a Masquerade Ball. Couples are dancing around dressed in fantastic costumes. The music of Ich Mochte Wohl Der Kaiser sein increases in volume and persists. We see the musicians thumping it out on a balustrade above the dancers. A steer is being roasted. Through the bobbing crowd we see a group, headed by the figure of Bacchus : this is Schikaneder in a Greek costume, wearing vine leaves in his hair. He is accompanied by his usual trio of actresses and three other men. Constanze as Columbine and Mozart as Harlequin are pulling Leopold by the hand of his dark cloak and smiling mask. This whole group threads its way across the crowded room and disappears through a door. As they go, they are watched by Salieri, standing alone in a corner, wearing ordinary evening clothes. He turns away hastily to avoid being seen by them. As soon as they disappear into the far room, Salieri goes quickly to a lady in the corner who is giving guests domino masks off a tray. He quickly takes a small black mask and puts it on.","INT. A GROTTO ROOM NEXT DOOR - NIGHT - 1780'S A fantastic room designed as a rocky grotto, lit by candles. A forte - piano to one side is being played by Schikaneder : the music of Ich Mochte Wohl Der Kaiser sein cross - fades to another tune. This is Vivat Bacchus from Il Seraglio which Schikaneder, dressed as Bacchus, is humming as he plays. The music is actually accompanying a game of Forfeits, which has begun. Five couples -LRB- the group we have just seen -RRB- are dancing in the middle of a ring made by nine chairs. When the music stops they will each have to find a chair, and the one who fails must pay a forfeit. Constanze is dancing with Leopold ; Mozart is dancing with one of the actresses ; the two other actresses are dancing with two other gentlemen ; and two children dance together - a little boy and a little girl. The scene is watched by a circle of bystanders ; among them - from the doorway - is Salieri. Schikaneder stops playing. Immediately the couples scramble for the chairs. Leopold and Constanze meet on the same chair, bumping and pushing at each other to get sole possession of it. To the amusement of the people around, the chair over - balances and they both end up on the floor. Constanze immediately gets up again, sets the chair on its feet, and tries to pretend she was sitting in it all the time. But Schikaneder calls out from the forte - piano. SCHIKANEDER No, no! You both lost. You both lost. You both have to forfeit. And the penalty is you must exchange your wigs. People are delighted by the idea of this penalty. The children jump up and down with excitement. The three actresses immediately surround Leopold, reaching for his hat and mask and wig, whilst he tries to hold on to them. Mozart takes off Constanze's wig - an absurd affair with side - curls. Constanze laughingly surrenders it. LEOPOLD No, please! This is ridiculous! No, please! Despite his protests an actress takes off his hat, to which the smiling mask is attached, to reveal his outraged face showing a very different expression underneath. Another actress snatches off his wig to reveal very sparse hair on the old man's head. The third actress takes Constanze's wig from Mozart and attempts to put it on his father's head. LEOPOLD No, really! MOZART -LRB- calling to him. -RRB- This is just a game, Papa. Constanze echoes him with a touch of malice in her voice. CONSTANZE This is just a game, Papa! Laughingly, the bystanders take it up, especially the children. BYSTANDERS This is just a game, Papa! As Leopold glares furiously about him, the actress succeeds in getting Constanze's wig firmly onto his head. Everybody bursts into applause. Delightedly, Constanze puts on Leopold's wig, hat and mask : from the waist up she now looks like a weird parody of Leopold in the smiling grey mask, and he looks like a weird parody of her in the silly feminine wig. Schikaneder starts to play again, and the couples start to dance. Leopold angrily takes off Constanze's wig and leaves the circle ; his partner, Constanze, is left alone. Seeing this, Mozart leaves his partner and catches his father entreatingly by the arm. MOZART Oh no, Papa, please! Do n't spoil the fun. Come on. Here, take mine. He takes off his own wig and puts it on Leopold's uncovered head. The effect, if not as ridiculous, is still somewhat bizarre, since Wolfgang favours fairly elaborate wigs. He takes Constanze's wig from his father. As this happens, the music stops again. Mozart gently pushes his father down onto a nearby chair ; the others scramble for the other chairs ; and he is left as the Odd Man Out. He giggles. Schikaneder calls out to Leopold from the keyboard. SCHIKANEDER Herr Mozart, why do n't you name your son's penalty? Applause. MOZART Yes, Papa, name it. Name it. I'll do anything you say! LEOPOLD I want you to come back with me to Salzburg, my son. SCHIKANEDER What did he say? What did he say? MOZART Papa, the rule is you can only give penalties that can be performed in the room. LEOPOLD I'm tired of this game. Please play without me. MOZART But my penalty. I've got to have a penalty. All the bystanders are watching. SCHIKANEDER I've got a good one. I've got the perfect one for you. Come over here. Mozart runs over to the forte - piano, and Schikaneder surrenders his place at it. SCHIKANEDER Now, I want you to play our tune - sitting backwards. Applause. MOZART Oh, that's really too easy. Any child can do that. Amused sounds of disbelief. SCHIKANEDER And a fugue in the manner of Sebastian Bach. Renewed applause at this wicked extra penalty. Mozart smiles at Schikaneder - it is the sort of challenge he loves. He defiantly puts on Constanze's wig and seats himself with his back to the keyboard. Before the astonished eyes of the company he proceeds to execute this absurdly difficult task. His right hand plays the bass part, his left hand the treble, and with this added difficulty he improvises a brilliant fugue on the subject of the tune to which they have been dancing. Attracted by this astonishing feat, the players draw nearer to the instrument. So does Salieri, cautiously, with some of the bystanders. Constanze watches him approach. Only Leopold sits by himself, sulking. The fugue ends amidst terrific clapping. The guests call out to Mozart. GUESTS Another! Do another! Someone else. MOZART Give me a name. Who shall I do? Give me a name. GUESTS Gluck! Haydn! Frederic Handel! CONSTANZE Salieri! Do Salieri! SMASH CUT : Salieri's masked face whips around and looks at her. MOZART Now that's hard. That's very hard. For Salieri one has to face the right way around. Giggling, he turns around and sits at the keyboard. Then, watched by a highly amused group, he begins a wicked parody. He furrows his brow in mock concentration and closes his eyes. Then he begins to play the tune to which they danced, in the most obvious way imaginable, relying heavily on a totally and offensively unimaginative bass of tonic and dominant, endlessly repeated. The music is the very essence of banality. The bystanders rock with laughter. Mozart starts to giggle wildly. Through this excruciating scene, Salieri stares at Constanze, who suddenly turns her head and looks challengingly back at him. Mozart's parody reaches its coarse climax with him adding a fart noise instead of notes to end cadences. He builds this up, urged on in his clowning by everyone else, until suddenly he stops and cries out. The laughter cuts off. Mozart stands up, clutching his behind as if he has made a mess in his breeches. The momentary hush of alarm is followed by a howl of laughter. CU, Salieri staring in pain.","INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 CU, The old man is shaking at the very recollection of his humiliation. OLD SALIERI Go on. Mock me. Laugh, laugh!","INT. GROTTO - NIGHT - 1780'S A repetition of the shot of Mozart at the forte - piano, wearing Constanze's wig and emitting a shrill giggle.","INT. SALIERI'S APARTMENT - BEDROOM - NIGHT - 1780'S Salieri sits at his desk. He holds in his hand the small black party mask and stares in hatred at the place on the wall where the crucifix used to hang. Faintly we see the mark of the cross. OLD SALIERI -LRB- V.O. -RRB- That was not Mozart laughing, Father. That was God. That was God! God laughing at me through that obscene giggle. Go on, Signore. Laugh. Rub my nose in it. Show my mediocrity for all to see. You wait! I will laugh at You! Before I leave this earth, I will laugh at You! Amen!","INT. MOZART'S WORKROOM - DAY - 1780'S It is littered with manuscripts. In the middle stands a billiard table. The beautiful closing ensemble from Act IV of Figaro : Ah, Tutti contenti! Saremo cosi plays in the background. Standing at the billiard table, Mozart is dreamily hearing the music and playing shots on the table. From time to time he drifts over to a piece of manuscript paper and jots down notes. He is very much in his own world of composition and the billiard balls are an aid to creation. Presently, however, we hear a knocking at the door. CONSTANZE -LRB- outside the door. -RRB- Wolfi! Wolfgang! The music breaks off. MOZART What is it? He opens the door. CONSTANZE There's a young girl to see you. MOZART What does she want? CONSTANZE I do n't know. MOZART Well, ask her! CONSTANZE She wo n't talk to me. She says she has to speak to you. MOZART Oh, damn!","INT. MOZART'S APARTMENT - LIVING ROOM - DAY - 1780'S Mozart comes out. Framed in the doorway from outside stands Lorl, the maid we noticed in Salieri's house. From his bedroom Leopold peeps out to watch. Mozart goes to the girl. Constanze follows. MOZART Yes? LORL Are you Herr Mozart? MOZART That's right. LORL My name is Lorl, sir. I'm a maidservant. I was asked to come here and offer my services to you. MOZART What? LORL They'll be paid for by a great admirer or yours who wishes to remain anon - anonymous. CONSTANZE What do you mean? What admirer? LORL I ca n't tell you that, ma'am. MOZART Are you saying that someone is paying you to be our maid and does n't want us to know who he is? LORL Yes. I can live in or out just as you wish. Mozart turns to his father. MOZART Papa, is this your idea? LEOPOLD Mine? The old man emerges from his bedroom. His son looks at him delightedly. MOZART Are you playing a trick on me? LEOPOLD I never saw this girl in my life. -LRB- to Lorl. -RRB- Is this a kind of joke? LORL Not at all, sir. And I was told to wait for an answer. LEOPOLD Young woman, this wo n't do at all. My son ca n't possibly accept such an offer, no matter how generous, unless he knows who is behind it. LORL But I really ca n't tell you, sir. LEOPOLD Oh, this is ridiculous. CONSTANZE What is ridiculous? Wolfi has many admirers in Vienna. They love him here. People send us gifts all the time. LEOPOLD But you ca n't take her without reference. It's unheard of! CONSTANZE Well, this is none of your business. -LRB- to Lorl. -RRB- Whoever sent you is going to pay, no? LORL That's right, ma'am. LEOPOLD So now we are going to let a perfect stranger into the house? Constanze looks furiously at him, then at Lorl. CONSTANZE Who is we? Who is letting who? -LRB- to Lorl. -RRB- Could you please wait outside? LORL Yes, ma'am. Lorl goes outside and closes the door. Constanze turns on Leopold. CONSTANZE Look, old man, you stay out of this. We spend a fortune on you, more than we can possibly afford, and all you do is criticize, morning to night. And then you think you can - MOZART Stanzi! CONSTANZE No, it's right he should hear. I'm sick to death of it. We ca n't do anything right for you, can we? LEOPOLD Never mind. You wo n't have to do anything for me ever again. I'm leaving! MOZART Papa! LEOPOLD Do n't worry, I'm not staying here to be a burden. MOZART No one calls you that. LEOPOLD She does. She says I sleep all day. CONSTANZE And so you do! The only time you come out is to eat. LEOPOLD And what do you expect? Who wants to walk out into a mess like this every day? CONSTANZE Oh, now I'm a bad housekeeper! LEOPOLD So you are! The place is a pigsty all the time. CONSTANZE -LRB- to Mozart. -RRB- Do you hear him? Do you? Explosively she opens the door. CONSTANZE -LRB- to Lorl. -RRB- When can you start? LORL Right away, ma'am. CONSTANZE Good! Come in. You'll start with that room there. -LRB- indicating Leopold's room. -RRB- It's filthy! She leads the maid into Leopold's room. Mozart steals back into his workroom and gently closes the door. Leopold is left alone. LEOPOLD Sorry, sorry! I'm sorry I spoke! I'm just a provincial from Salzburg. What do I know about smart Vienna? Parties all night, every night. Dancing and drinking like idiot children!","INT. MOZART'S WORKROOM - DAY - 1780'S Mozart stands trying to blot out the noise of his father's shouting from the next room. LEOPOLD -LRB- O.S. -RRB- Dinner at eight! Dinner at ten! Dinner when anyone feels like it! If anyone feels like it! The ensemble of Ah, Tutti contenti! Saremo cosi from Act IV of Figaro resumes, coming to his aid and rising to greet the listener with its serene harmonies. Relieved, Mozart languidly picks up his cue and plays a shot on the billiard table : he is sucked back into his own world of sound.","INT. SALIERI'S SALON - NIGHT - 1780'S The music fades. We see Lorl, dressed in a walking cloak, sitting before a desk, talking to someone confidentially. LORL They're out every night, sir. Till all hours. A hand comes into frame offering a plate of sugared biscuits. On its finger we see the gold signet ring belonging to Salieri. LORL -LRB- taking one. -RRB- Oh, thank you, sir. SALIERI Do any pupils come to the house? LORL Not that I've seen. SALIERI Then how does he pay for all this? Does he work at all? LORL Oh, yes, sir, all day long. He never leaves the house until evening. He just sits there, writing and writing. He does n't even eat. SALIERI Really? What is it he's writing? LORL Oh, I would n't know that, sir. SALIERI Of course not. You're a good girl. You're very kind to do this. Next time you're sure they'll be out of the house, let me know, will you? Confused, the girl hesitates. He hands her a pile of coins. LORL Oh, thank you, sir! She accepts them, delighted.","EXT. MOZART'S HOUSE - VIENNA STREET - AFTERNOON - 1780'S The final movement of Mozart's Piano Concerto in E - flat -LRB- K. 482 -RRB- begins. To its lively music, the door of the house bursts open and a grand forte - piano augmented with a pedal is carried out of it by six men, who run off with it down the street. Following them immediately appear Wolfgang, Constanze and Leopold, all three dressed for an occasion. They climb into a waiting carriage which drives off after the forte - piano. As soon as it goes, Lorl appears in the doorway, peering slyly around to see that they are out of sight. Then she shuts the door and hurries off in the opposite direction.","EXT. AN ORNAMENTAL GARDEN - VIENNA - AFTERNOON - 1780'S An outdoor concert is being given. Mozart is actually playing the final movement of his E - flat concerto with an orchestra. Listening to him is a sizable audience, including the Emperor, flanked by Strack and Von Swieten. The crowd is in a happy and appreciative mood : it is a delightful open - air scene. We hear the gayest and most complex passage. Leopold and Constanze listen to Mozart, who plays his own work brilliantly. We stay with this scene for a little while and then","EXT. VIENNA STREET - AFTERNOON - 1780'S A carriage clopping through the streets. Lorl is sitting up on the box beside the driver. Inside the vehicle, we glimpse the figure of Salieri.","EXT. AN ORNAMENTAL GARDEN - VIENNA - 1780'S We hear more of the concerto. Perhaps the slow interlude in the last movement of K. 482. Mozart is conducting and playing in a reflective mood. Abruptly we","EXT. MOZART' S APARTMENT - AFTERNOON - 1780'S Lorl is opening the door admitting Salieri. They go in. The door shuts.","INT. MOZART'S LIVING ROOM - AFTERNOON - 1780'S The room is considerably tidier as a result of Lorl's ministrations. Salieri stands looking about him with tremendous curiosity. LORL I think I've found out about the money, sir. SALIERI Yes what? She opens a drawer in a sideboard. Inside we see one gold snuff box : it is the one we saw Mozart being presented with as a child in the Vatican. LORL He kept seven snuff boxes in here. I could swear they were all gold. And now look there's only one left. And inside, sir, look - I counted them - tickets from the pawnshop. Six of them. Salieri turns to look around him. SALIERI Where does he work? LORL In there, sir. She points across the room to the workroom. Salieri crosses and goes in alone.","INT. MOZART'S WORKROOM - AFTERNOON - 1780'S Salieri enters the private quarters of Amadeus. He is immensely excited. He moves slowly into the ` holy of holies' picking up objects with great reverence - a billiard ball ; a discarded wig ; a sock ; a buckle - then objects more important to him. Standing at Mozart's desk, strewn with manuscripts, he picks up Mozart's pen and strokes the feather. He touches the inkstand. He lays a finger on the candlestick with its half - expired candle. He touches each object as if it were the memento of a beloved. He is in awe. Finally his eye falls on the sheets of music themselves. Stealthily he picks them up. CU, The pages. We see words set to music. Against each line of notes is the name of a character : Contessa, Susanna, Cherubino. Then another page - the title page - written in Mozart's hand. Le Nozze di Figaro Comedia per musica tratta dal Francese in quattro atti. CU, The word Figaro. CU, Salieri. He stares amazed.","EXT. ORNAMENTAL GARDEN - VIENNA - AFTERNOON - 1780'S Mozart is playing the cadenza and coda of Piano Concerto -LRB- K. 482 -RRB-. He completes the work with a flourish. There is loud applause. The Emperor rises and all follow suit. Mozart comes down to be greeted by him. JOSEPH Bravo, Mozart. Most charming. Yes, indeed. Clever man. MOZART Thank you, Sire! VON SWIETEN Well done, Mozart. Really quite fine. MOZART Baron! He sees his wife and father standing by in the crowd. Leopold is signaling insistently. MOZART Majesty, may I ask you to do me the greatest favour? JOSEPH What is it? MOZART May I introduce my father? He is on a short visit here and returning very soon to Salzburg. He would so much like to kiss your hand. It would make his whole stay so memorable for him. JOSEPH Ah! By all means. Leopold comes forward eagerly and fawningly kisses the royal hand. LEOPOLD Your Majesty. Constanze curtsies. JOSEPH Good evening. -LRB- to Leopold. -RRB- We have met before, Herr Mozart. LEOPOLD That's right, Your Majesty. Twenty years ago. No, twenty - two! twenty - three! And I remember word for word what you said to me. You said - you said - He searches his memory. JOSEPH Bravo? LEOPOLD No! Yes, ` bravo,' of course ` bravo'! Everybody always says ` bravo' when Wolfi plays. Like the King of England. When we played for the King of England, he got up at the end and said, ` Bravo! Bravo! Bravo!' three times. Three bravo's. And the Pope four! Four bravo's from the Holy Father, and one ` bellissimo.' All the courtiers around are looking at him. MOZART Father - LEOPOLD Hush! I'm talking to His Majesty. Your Majesty, I wish to express only one thing - that you who are the Father of us all, could teach our children the gratitude they owe to fathers. It is not for nothing that the Fifth Commandment tells us : ` Honour your Father and Mother, that your days may be long upon the earth.' JOSEPH Ah - ha. Well. There it is.","INT. ORSINI-ROSENBERG'S STUDY - DAY - 1780'S The Director sits at his table with Salieri and Bonno. SALIERI I've just learned something that might be of interest to you, Herr Director. ORSINI-ROSENBERG Yes? SALIERI Mozart is writing a new opera. An Italian opera. ORSINI-ROSENBERG Italian? BONNO Aie! SALIERI And that's not all. He has chosen for his subject, Figaro. The Marriage of Figaro. ORSINI-ROSENBERG You mean that play? SALIERI Exactly. ORSINI-ROSENBERG He's setting that play to music? SALIERI Yes. ORSINI-ROSENBERG You must be mad. BONNO What is this Marriage of Figaro? ORSINI-ROSENBERG It's a French play, Kapellmeister. It has been banned by the Emperor. BONNO Hah! He crosses himself, wide - eyed with alarm. ORSINI-ROSENBERG Are you absolutely sure? SALIERI I've seen the manuscript. ORSINI-ROSENBERG Where? SALIERI Never mind.","INT. CHAMBERLAIN VON STRACK'S STUDY - DAY - 1780'S VON STRACK I know we banned this play, but frankly I ca n't remember why. Can you refresh my memory, Herr Director? ORSINI-ROSENBERG For the same reason, Herr Chamberlain, that it was banned in France. VON STRACK Oh yes, yes. And that was? ORSINI-ROSENBERG Well, the play makes a hero out of a valet. He outwits his noble master and exposes him as a lecher. Do you see the implications? This would be, in a grander situation, as if a Chamberlain were to expose an Emperor. VON STRACK Ah.","INT. THE EMPEROR'S STUDY - DAY - 1780'S The Emperor stands in the middle of the room in close conversation with Von Strack, Orsini - Rosenberg, Von Swieten, and Bonno. Salieri is not present. A door opens and a lackey announces : LACKEY Herr Mozart. They all turn. Mozart approaches, rather apprehensively, and kisses Joseph's hand. JOSEPH Sit down, gentlemen, please. They all sit, save Mozart. The room suddenly looks like a tribunal. Joseph is in a serious mood. JOSEPH Mozart, are you aware I have declared the French play of Figaro unsuitable for our theatre? MOZART Yes, Sire. JOSEPH Yet we hear you are making an opera from it. Is this true? MOZART Who told you this, Majesty? JOSEPH It is not your place to ask questions. Is it true? MOZART Well, yes, I admit it is. JOSEPH Would you tell me why? MOZART Well, Majesty, it is only a comedy. ORSINI-ROSENBERG What you think, Mozart, is scarcely the point. It is what His Majesty thinks that counts. MOZART But, Your Majesty - JOSEPH -LRB- motioning him to be silent. -RRB- Mozart, I am a tolerant man. I do not censor things lightly. When I do, I have good reason. Figaro is a bad play. It stirs up hatred between the classes. In France it has caused nothing but bitterness. My own dear sister Antoinette writes me that she is beginning to be frightened of her own people. I do not wish to see the same fears starting here. MOZART Sire, I swear to Your Majesty, there's nothing like that in the story. I have taken out everything that could give offense. I hate politics. JOSEPH I think you are rather innocent, my friend. In these dangerous times I can not afford to provoke our nobles or our people simply over a theatre piece. The others look at their king solemnly, all save Mozart. MOZART But, Majesty, this is just a frolic. It's a piece about love. JOSEPH Ah, love again. MOZART But it's new, it's entirely new. It's so new, people will go mad for it. For example, I have a scene in the second act - it starts as a duet, just a man and wife quarreling. Suddenly the wife's scheming little maid comes in unexpectedly - a very funny situation. Duet turns into trio. Then the husband's equally screaming valet comes in. Trio turns into quartet. Then a stupid old gardener - quartet becomes quintet, and so on. On and on, sextet, septet, octet! How long do you think I can sustain that? JOSEPH I have no idea. MOZART Guess! Guess, Majesty. Imagine the longest time such a thing could last, then double it. JOSEPH Well, six or seven minutes! maybe eight! MOZART Twenty, sire! How about twenty? Twenty minutes of continuous music. No recitatives. VON SWIETEN Mozart - MOZART -LRB- ignoring him. -RRB- Sire, only opera can do this. In a play, if more than one person speaks at the same time, it's just noise. No one can understand a word. But with music, with music you can have twenty individuals all talking at once, and it's not noise - it's a perfect harmony. Is n't that marvelous? VON SWIETEN Mozart, music is not the issue here. No one doubts your talent. It is your judgment of literature that's in question. Even with the politics taken out, this thing would still remain a vulgar farce. Why waste your spirit on such rubbish? Surely you can choose more elevated themes? MOZART Elevated? What does that mean? Elevated! The only thing a man should elevate is - oh, excuse me. I'm sorry. I'm stupid. But I am fed up to the teeth with elevated things! Old dead legends! How can we go on forever writing about gods and legends? VON SWIETEN -LRB- aroused. -RRB- Because they do. They go on forever - at least what they represent. The eternal in us, not the ephemeral. Opera is here to ennoble us. You and me, just as much as His Majesty. BONNO Bello! Bello, Barone. Veramente. MOZART Oh, bello, bello, bello! Come on now, be honest. Would n't you all rather listen to your hairdressers than Hercules? Or Horatius? Or Orpheus? All those old bores! people so lofty they sound as if they shit marble! VON SWIETEN What? VON STRACK Govern your tongue, sir! How dare you? Beat. All look at the Emperor. MOZART Forgive me, Majesty. I'm a vulgar man. But I assure you, my music is not. JOSEPH You are passionate, Mozart! But you do not persuade. MOZART Sire, the whole opera is finished. Do you know how much work went into it? BONNO His Majesty has been more than patient, Signore. MOZART How can I persuade you if you wo n't let me show it? ORSINI-ROSENBERG That will do, Herr Mozart! MOZART Just let me tell you how it begins. VON STRACK Herr Mozart - MOZART May I just do that, Majesty? Show you how it begins? Just that? A slight pause. Then Joseph nods. JOSEPH Please. Mozart falls on his knees. MOZART Look! There's a servant, down on his knees. Do you know why? Not from any oppression. No, he's simply measuring a space. Do you know what for? His bed. His wedding bed to see if it will fit. He giggles.","INT. OPERA HOUSE - DAY - 1780'S Mozart sits on stage at a harpsichord rehearsing the singers taking the parts of Figaro and Susanna in the opening bars of the first act of The Marriage of Figaro. We watch Figaro measuring the space for his bed on the floor, singing and Susanna looking on, trying on the Countess' hat.","INT. SALIERI'S SALON - DAY - 1780'S Orsini - Rosenberg and Bonno are sitting with Salieri. ORSINI-ROSENBERG Well, Mozart is already rehearsing. SALIERI Incredible. ORSINI-ROSENBERG The Emperor has given him permission. BONNO Si, si! Veramente. SALIERI Well, gentlemen, so be it. In that case I think we should help Mozart all we can and do our best to protect him against the Emperor's anger. ORSINI-ROSENBERG What anger? SALIERI About the ballet. ORSINI-ROSENBERG Ballet? What ballet? SALIERI Excuse me - did n't His Majesty specifically forbid ballet in his opera? ORSINI-ROSENBERG Yes, absolutely. Is there a ballet in Figaro? SALIERI Yes, in the third act.","INT. THE OPERA HOUSE - DAY - 1780'S It is a full orchestral rehearsal. Mozart is conducting from the harpsichord with his hands ; he does not use a baton. The singers are all in practice clothes, not costumes. We are in the Act III and we hear the recitativo exchange just before the march begins. Orsini - Rosenberg and Bonno sit watching chairs. Suddenly the march starts. Peasants and friends start to dance in and at the same moment, Orsini - Rosenberg gets up and comes down to Mozart. He is accompanied by an anxious Bonno. ORSINI-ROSENBERG Mozart! Herr Mozart, may I have a word with you please. Right away. MOZART Certainly, Herr Director. He signals to the cast to break off. MOZART Five minutes, please! The company disperses, curious. The musicians look at Orsini - Rosenberg. ORSINI-ROSENBERG Did you not know that His Majesty has expressly forbidden ballet in his operas? MOZART Yes, but this is not a ballet. This is a dance at Figaro's wedding. ORSINI-ROSENBERG Exactly. A dance. MOZART But surely the Emperor did n't mean to prohibit dancing when it's part of the story. ORSINI-ROSENBERG It is dangerous for you to interpret His Majesty's edicts. Give me your score, please. Mozart hands him the score from which he is conducting. ORSINI-ROSENBERG Thank you. He rips out a page. Bonno watches in terror. MOZART What are you doing? He rips out three more. MOZART What are you doing, Herr Director? ORSINI-ROSENBERG Taking out what you should never have put in. He goes on tearing the pages determinedly.","INT. SALIERI'S SALON - DAY - 1780'S A servant opens the door to announce. SERVANT Herr Mozart. Mozart brushes past him straight towards Salieri, who rises to greet him. The little man is near hysterics. MOZART Please! Please. I've no one else to turn to. Please! He grabs Salieri. SALIERI Wolfgang, what is it? Sta calmo, per favore. What's the matter? MOZART It's unbelievable! The Director has actually ripped out a huge section of my music. Pages of it. SALIERI Really? Why? MOZART I do n't know. They say I've got to re - write the opera, but it's perfect as it is. I ca n't rewrite what's perfect. Ca n't you talk to him? SALIERI Why bother with Orsini - Rosenberg? He's obviously no friend of yours. MOZART Oh, I could kill him! I mean really kill him. I actually threw the entire opera on the fire, he made me so angry! SALIERI You burned the score? MOZART Oh no! My wife took it out in time. SALIERI How fortunate. MOZART It's not fair that a man like that has power over our work. SALIERI But there are those who have power over him. I think I'll take this up with the Emperor. MOZART Oh, Excellency, would you? SALIERI With all my heart, Mozart. MOZART Thank you! Oh, thank you. He kisses Salieri's hand. SALIERI -LRB- withdrawing it ; imitating the Emperor. -RRB- No, no, no, Herr Mozart, please. It's not a holy relic. Mozart giggles with relief and gratitude.","INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 OLD SALIERI I'm sure I do n't need to tell you I said nothing whatever to the Emperor. I went to the theatre ready to tell Mozart that His Majesty had flown into a rage when I mentioned the ballet, when suddenly, to my astonishment, in the middle of the third act, the Emperor - who never attended rehearsals - suddenly appeared.","INT. OPERA HOUSE - DAY - 1780'S In the background the same recitativo before the March. The Emperor steals in surreptitiously with Von Strack, his finger to his lips. He motions everyone not to rise, and slips into a chair behind Salieri, Orsini - Rosenberg and Bonno. The three conspirators look at each other wide - eyed. The recitativo summons up the march, but instead there is silence. Mozart lays down his baton. The musicians lay down their instruments. The celebrants of Figaro's wedding come in with a few pitiful dance steps, in procession, only to come presently to a halt, lacking their music. The singers try to go on singing, but they have no cues from their conductor or from the accompaniment. Everyone on stage looks lost, though they attempt to go on with the story for a while. Consternation grows on the faces of the conspirators. Mozart glances back at the group seated in the theatre. Finally, the Emperor speaks, in a whisper. JOSEPH What is this? I do n't understand. Is it modern? BONNO Majesty, the Herr Director, he has removed a balleto that would have occurred at this place. JOSEPH Why? ORSINI-ROSENBERG It is your regulation, Sire. No ballet in your opera. Mozart strains to hear what they are saying but can not. JOSEPH Do you like this, Salieri? SALIERI It is not a question of liking, Your Majesty. Your own law decrees it, I'm afraid. JOSEPH Well, look at them. We do look at them. The spectacle on stage has now ground to a complete halt. JOSEPH No, no, no! This is nonsense. Let me hear the scene with the music. ORSINI-ROSENBERG But, Sire - JOSEPH Oblige me. Orsini - Rosenberg acknowledges his defeat. ORSINI-ROSENBERG Yes, Majesty. Orsini - Rosenberg rises and goes down to where Mozart sits anxiously with the musicians, watching his approach. ORSINI-ROSENBERG Can we see the scene with the music back, please? MOZART Oh yes, certainly. Certainly, Herr Director! He looks back deliriously at Salieri, trying to indicate his gratitude. Salieri acknowledges with a slight and subtle nod. Orsini - Rosenberg returns to his king. MOZART Ladies and gentlemen, we're going from where we stopped. The Count : Anches so. Right away, please! The singers scatter offstage to begin the scene again. JOSEPH -LRB- to Orsini - Rosenberg. -RRB- What I hoped by that edict, Director, was simply to prevent hours of dancing like in French opera. There it is endless, as you know. ORSINI-ROSENBERG Quite so, Majesty. CUT BACK TO Mozart at the forte - piano, raising his hands. The musicians raise their bows. With a flourish the happy composer begins a reprise of the scene which had been cut out. The music of the march begins faintly ; the celebrants of Figaro's wedding start to enter as the Count and the Countess sit in their chairs. In the theatre we see increasing pleasure on the Emperor's face, sullenness and defeat on the courtiers'. Then, suddenly, without interruption, on a crescendo repeat of the march, we","INT. OPERA HOUSE - NIGHT - 1780'S The theatre is brilliantly lit for the first public performance of Figaro. Everybody is there : the Emperor, Von Strack, Bonno Orsini - Rosenberg, Von Swieten, even Madame Weber and her daughters in a box. The musicians all wear imperial livery ; the actors on stage are now in costume. Mozart, conducting, wears his Order of the Golden Spur. The company wheels in and around to the music of the restored march, which reaches a triumphant climax.","INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 OLD SALIERI -LRB- to Vogler. -RRB- So Figaro was produced in spite of me. And in spite of me, a wonder was revealed. One of the true wonders of art. The restored third act was bold and brilliant. The fourth was a miracle. The descending scale of strings in the final ensemble -LRB- Ah, Tutti contenti. Saremo cosi -RRB- fades in.","INT. OPERA HOUSE - NIGHT - 1780'S We see the tableau on stage with the Count kneeling to the Countess. All are singing. OLD SALIERI -LRB- V.O. -RRB- I saw a woman disguised in her maid's clothes hear her husband speak the first tender words he has offered her in years, only because he thinks she is someone else. I heard the music of true forgiveness filling the theatre, conferring on all who sat there a perfect absolution. God was singing through this little man to all the world - unstoppable - making my defeat more bitter with each passing bar. CU, Salieri in his box, tears on his cheeks. He watches the ensemble and we listen to it for a long moment. Finally it fades, but continues underneath the following :","INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 OLD SALIERI And then suddenly - a miracle!","INT. OPERA HOUSE - NIGHT - 1780'S The ensemble reaches its climax, and fades away to the very quiet, slow chords immediately preceding the boisterous final chord. Salieri becomes aware that some of the audience are asleep and many mare are apathetic. In the near silence we see the Emperor yawn behind his hand. Those nearby look at him. Orsini - Rosenberg smiles.","INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 OLD SALIERI Father, did you know what that meant? With that yawn I saw my defeat turn into a victory. And Mozart was lucky the Emperor only yawned once. Three yawns and the opera would fail the same night ; two yawns, within a week at most. With one yawn the composer could still get -","INT. SALIERI'S SALON - DAY - 1780'S Mozart is pacing up and down. Salieri is listening sympathetically. MOZART Nine performances! Nine! That's all it's had - and withdrawn. SALIERI I know ; it's outrageous. Still, if the public does n't like one's work one has to accept the fact gracefully. MOZART But what is it they do n't like? SALIERI Well, I can speak for the Emperor. You made too many demands on the royal ear. The poor man ca n't concentrate for more than an hour and you gave him four. MOZART What did you think of it yourself? Did you like it at all? SALIERI I think it's marvelous. Truly. MOZART It's the best opera yet written. I know it! Why did n't they come? SALIERI I think you overestimate our dear Viennese, my friend. Do you know you did n't even give them a good bang at the end of songs so they knew when to clap? MOZART I know, I know. Perhaps you should give me some lessons in that. SALIERI -LRB- fuming. -RRB- I would n't presume. All the same, if it would n't be imposing, I would like you to see my new piece. It would be a tremendous honour for me. MOZART Oh no, the honour would be all mine. SALIERI -LRB- bowing. -RRB- Grazie, mio caro, Wolfgang! MOZART Grazie, a lei, Signor Antonio! He bows too, giggling.","INT. OPERA HOUSE - NIGHT - 1780'S A performance of Salieri's grand opera, Axur : King of Ormus. Deafening applause from a crowded house. We see the reception of the aria which we saw Cavalieri singing on the stage near the start of the film. Cavalieri, in a mythological Persian costume, is bowing to the rapturous throng ; below her is Salieri. We see the Emperor, Von Strack, Orsini - Rosenberg, Bonno and Von Swieten, all applauding. We hear great cries of ` Salieri! Salieri!' and ` Bravo!' and ` Brava!' CU, Salieri looking at the crowd with immense pleasure. Then suddenly at : CU, Mozart standing in a box and clapping wildly. Behind him, seated, are Schikaneder and the three girls we saw before in Mozart's apartment. CU, Salieri staring fixedly at Mozart, then Mozart still clapping, apparently with tremendous enthusiasm. OLD SALIERI -LRB- V.O. -RRB- What was this? I never saw him excited before by any music but his own. Could he mean it?","INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 OLD SALIERI -LRB- to Vogler. -RRB- Would he actually tell me my music had moved him? Was I really going to hear that from his own lips? I found myself actually hurrying the tempo of the finale.","INT. OPERA HOUSE - NIGHT - 1780'S Salieri conducting the last scene from Axur : King of Ormus. On stage we see a big scene of acclamation : the hero and heroine of the opera accepting the crown amidst the rejoicing of the people. The decor and costumes are mythological Persian. The music is utterly conventional and totally uninventive. CU, Mozart watching this in his box, with Schikaneder and the three actresses. He passes an open bottle of wine to them. He is evidently a little drunk, but keeps a poker face. The act comes to an end. Great applause in which Mozart joins in, standing and shouting ` Bravo! Bravo!' Then he leaves the box with Schikaneder and the girls.","INT. CORRIDOR OF THE OPERA HOUSE - NIGHT - 1780'S MOZART -LRB- to Schikaneder. -RRB- Well? SCHIKANEDER -LRB- mock moved. -RRB- Sublime! Utterly sublime! MOZART That kind of music should be punishable by death. Schikaneder laughs.","INT. STAGE OF THE OPERA HOUSE - NIGHT - 1780'S A crowd of people rings Salieri at a respectful distance. The Emperor is holding out the Civilian Medal and Chain. JOSEPH I believe that is the best opera yet written, my friends. Salieri, you are the brightest star in the musical firmament. You do honour to Vienna and to me. Salieri bows his head. Joseph places the chain around his neck. The crowd claps. Salieri makes to kiss his hand, but Joseph restrains him, and passes on. Cavalieri, smiling adoringly, gives him a deep curtsey, and he raises her up. The crowd all flock to Salieri with cries and words of approval. All want to shake his hand. They tug and pat him. But he has eyes for only one man - he looks about him, searching for him and then finds him. Mozart stands there. Eagerly Salieri moves to him. SALIERI Mozart. It was good of you to come. MOZART How could I not? SALIERI Did my work please you? MOZART How could it not, Excellency? SALIERI Yes? MOZART I never knew that music like that was possible. SALIERI You flatter me. MOZART Oh no! One hears such sounds and what can one say, but - Salieri! Salieri smiles.","INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1780'S Explosive laughter as Mozart and Schikaneder enter the apartment, very pleased with themselves and accompanied by the three actresses. The front door opens, very gingerly. Mozart, still rather drunk, sticks his head into the room, anxious not to make a noise. He sees the strangers and breaks into a smile. MOZART Oh. Everybody's here! We've got guests. Good. I've brought some more. He opens the door wide to admit Schikaneder and the girls. MOZART We'll have a little party. Come in. Come in. You know Herr Schikaneder? -LRB- to a girl. -RRB- This is! a very nice girl. CONSTANZE -LRB- standing up. -RRB- Wolfi. MOZART Yes, my love? CONSTANZE These gentlemen are from Salzburg. MOZART Salzburg. We were just talking about Salzburg. -LRB- to the two men, jubilantly. -RRB- If you've come from my friend the Fartsbishop, you've arrived at just the right moment. Because I've got good news for him. I'm done with Vienna. It's over, finished, done with! Done with! Done with! CONSTANZE Wolfi! Your father is dead. MOZART What? CONSTANZE Your father is dead. The first loud chord of the Statue scene from Don Giovanni sounds. Mozart stares.","INT. AN OPERA HOUSE - NIGHT - 1780'S The second chord sounds. On stage we see the huge figure of the Commendatore in robes and helmet, extending his arms and pointing in accusation.","INT. AN OPERA HOUSE - NIGHT - 1780'S The second chord sounds. On stage we see a huge nailed fist crash through the wall of a painted dining room set. The giant armoured statue of the COMMENDATORE enters pointing his finger in accusation at Don Giovanni who sits at the supper table, staring - his servant Leporello quaking with fear under the table. THE COMMENDATORE -LRB- singing. -RRB- Don Giovanni! The figure advances on the libertine. We see Mozart conducting, pale and deeply involved. Music fades down a little. OLD SALIERI -LRB- V.O. -RRB- So rose the dreadful ghost in his next and blackest opera. There on the stage stood the figure of a dead commander calling out ` Repent! Repent!' The music swells. We see Salieri standing alone in the back of a box, unseen, in semi - darkness. We also see that the theatre is only half full. Music fades down. OLD SALIERI -LRB- V.O. -RRB- And I knew - only I understood - that the horrifying apparition was Leopold, raised from the dead. Wolfgang had actually summoned up his own father to accuse his son before all the world. It was terrifying and wonderful to watch. Music swells up again. We watch the scene on stage as the Commendatore addresses Giovanni. Then back to Salieri in the box. Music down again.","INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 OLD SALIERI Now a madness began in me. The madness of a man splitting in half. Through my influence I saw to it Don Giovanni was played only five times in Vienna. But in secret I went to every one of those five - all alone - unable to help myself, worshipping sound I alone seemed to hear.","INT. AN OPERA HOUSE - NIGHT - 1780'S OLD SALIERI -LRB- V.O. -RRB- And hour after hour, as I stood there, understanding even more clearly how that bitter old man was still possessing his poor son from beyond the grave, I began to see a way - a terrible way - I could finally triumph over God, my torturer. Music swells. On stage Don Giovanni is seized and gripped by the Statue's icy hand. Flames burst from obviously artificial rocks. Demons appear and drag the libertine down to Hell. The scene ends. CU, Salieri, staring wide - eyed.","EXT. SCHIKANEDER'S THEATRE - VIENNA - NIGHT - 1780'S We see huge and attractive posters and billboards advertising Schikaneder's troupe. The camera concentrates on the one which reads as follows : EMMANUEL SCHIKANEDER, Impresario de luxe, The Celebrated SCHIKANEDER TROUPE OF PLAYERS IN An Evening of PARODY. Music! Mirth! Magic! ALL SONGS AND SPEECHES WRITTEN BY EMMANUEL SCHIKANEDER who personally will appear in every scene!","INT. SCHIKANEDER'S THEATRE - NIGHT - 1780'S Noise ; smoke ; the audience is sitting at tables for an evening of vaudeville. Mozart, Constanze and their son Karl, now about two years old, and sitting on his mother's lap, are watching a parody scene by Schikaneder's troupe. They are rowdy, bawdy and silly, incorporating motifs, situations and tunes from Mozart's operas which we have seen and heard. Before them on the table are bottles of wine and beer, plates of sausages, etc.. THE PARODY On stage we see a set which parodies the dining room in Don Giovanni's palace, shown before. Schikaneder as Don Giovanni is dancing with the three actresses to the minuet from Don Giovanni -LRB- end of Act I -RRB-, played by a quartet of tipsy musicians. Leporello is handing around wine on a tray. Suddenly there is a tremendous knocking from outside. The music slithers to a stop. All look at each other in panic. Leporello drops his tray with a crash. All go quiet. One more knock is heard. Then all musicians, actresses, Don Giovanni and Leporello make a dash to hide under the table which is far too small to accommodate them all. The table rocks. Schikaneder is pushed out. He is terrified. He shakes elaborately. Three more knocks are heard ; louder. SCHIKANEDER Who is it? One more knock. SCHIKANEDER C - c - c - come in! In the pit a chromatic scale from the Overture to Don Giovanni turns into a anticipatory vamp. This grows more and more menacing until the whole flat representing the wall at the back falls down. An absurd pantomime horse gallops in. It has a ridiculous expression, and is manned by four men inside. Standing precariously on its back is a dwarf, wearing a miniature version of the armour and helmet worn by the Commendatore. He sings in a high, nasal voice : COMMENDATORE -LRB- singing. -RRB- Don Giovannnnnnnnnni! He tries to keep his balance as he trots in, but fails. He falls off onto the stage. He beats at the horse, trying to get back on. COMMENDATORE Down! Down! Bewildered, the horse looks about him, but can not see his small rider who is below his level of sight. COMMENDATORE I'm here! I'm here! The horse, amidst laughter from the audience, fails to locate him. Exasperated, the dwarf signals to someone in the wings. A tall man strides out carrying a see - saw ; on his shoulders stands another man. The dwarf stands on the lowered end of the see - saw. There is a drum roll and the man above jumps down onto the raised end and the Commendatore is abruptly catapulted back onto the horse, only backwards so that he is facing away from Don Giovanni. The two men bow to the applauding audience, and retire off - stage. The Commendatore tries to extend his arms in the proper menacing attitude, and at the same time turn around to face Don Giovanni. This he finds difficult. COMMENDATORE -LRB- singing. -RRB- Don Giovannnnnnnni! SCHIKANEDER Who the devil are you? What do you want? COMMENDATORE -LRB- singing. -RRB- I've come to dinnnnnner! SCHIKANEDER Dinner? How dare you? I am a nobleman. I only dine with people of my own height. COMMENDATORE Are you drunk? You invited me. And my horse. Here he is. Ottavio! The horse takes a bow. The dwarf almost falls off again. COMMENDATORE Whoa! Whoa! Stop it! The three girls rush to his aid and reach him just in time. They sing in the manner of the Tree Ladies later to be put into The Magic Flute. FIRST LADY -LRB- running and singing. -RRB- Be careful! SECOND LADY -LRB- running and singing. -RRB- Be careful! THIRD LADY -LRB- running and singing. -RRB- Be careful! ALL THREE TOGETHER -LRB- close harmony. -RRB- Hold tight now! They grab him. COMMENDATORE -LRB- angry. -RRB- Leave me alone! Stop it! I'm a famous horseman. OTTAVIO And I'm a famous horse! He gives the ladies a radiant smile. The three ladies sing, as before, in close harmony. FIRST LADY -LRB- singing. -RRB- He's adorable! SECOND LADY -LRB- singing. -RRB- Adorable! THIRD LADY -LRB- singing. -RRB- Adorable! An orchestral chord. The three ladies turn to Ottavio and sing to him. THREE LADIES -LRB- singing together. -RRB- Give me your hoof, my darling, And I'll give you my heart! Take me to your stable, And never more we'll part! OTTAVIO -LRB- singing : four male voices. -RRB- I'm shy and very bashful. I do n't know what to say. THREE LADIES -LRB- singing together. -RRB- Do n't hesitate a second. Just answer yes and neigh. Ottavio neighs loudly, and runs at the girls. COMMENDATORE -LRB- speaking. -RRB- Stop it. What are you doing? Remember who you are! You're a horse and they are whores. Boos from the audience. SCHIKANEDER -LRB- speaking. -RRB- This is ridiculous. I wo n't have any of it. You're turning my house into a circus! A trapeze sails in from above. On it stands a grand soprano wearing an elaborate Turkish costume, like a parody of Cavalieri's in Il Seraglio. She comes in singing a mad coloratura scale in the manner of Martern aller Arten. SCHIKANEDER -LRB- speaking. -RRB- Shut up. Women, women, women! I'm sick to death of them. He marches off stage. SOPRANO -LRB- singing dramatically. -RRB- Dash me! Bash me! Lash me! Flay me! Slay me! At last I will be freed by death! COMMENDATORE Shut up. SOPRANO -LRB- swinging and singing. -RRB- Kill me! Kill me! Kill me! Kill me! At last I shall be freed by death. At last I shall be freed by dea - The Commendatore pulls out his sword, reaches up and thrusts her through with it. The soprano collapses on the bar of the trapeze. The audience applauds. At the same moment eight dwarves march in bearing a huge cauldron of steaming water. They sing as they march to the sound of the march that was cut from Act III of Figaro. They are dressed as miniature copies of the chorus in that scene except that they are wearing cooks' hats. EIGHT DWARVES -LRB- singing. -RRB- We're going to make a soprano stew! We're going to make a soprano stew! And when you make a soprano stew! Any stupid soprano will do! Any stew - stew - stew - stew - stew! Any stewpid soprano will do! They set the giant pot down in the middle of the stage. The trapeze with the dead soprano is still swinging above the stage. We hear the chromatic scale from the Don Giovanni overture again, repeated and repeated, only now fast and tremolando. To this exciting vamp Schikaneder suddenly rides in on a real horse, waving a real sword. With this he cuts the string of the trapeze, and the soprano falls into the pot. A tremendous splash of water. Schikaneder rides out. More applause. All the dwarves produce long wooden cooking spoons and climb up the sides of the pot. The three girls produce labeled bottles from under their skirts. The first is SALT. FIRST LADY -LRB- singing. -RRB- Behold! PEPPER SECOND LADY -LRB- singing. -RRB- Behold! She sneezes. AND SCHNAPPS THIRD LADY -LRB- singing. -RRB- Behold! She hiccups. They throw them into the pot. COMMENDATORE -LRB- speaking to the dwarves. -RRB- How long does it take to cook a soprano? DWARVES -LRB- all together. -RRB- Five hours, five minutes, five seconds. COMMENDATORE -LRB- speaking. -RRB- I ca n't wait that long. I'm starving! OTTAVIO -LRB- speaking ; four voices. -RRB- So am I. Schikaneder marches in as Figaro. SCHIKANEDER -LRB- singing to the tune of Non piu ante. -RRB- In the pot, I have got a good dinner. Not a sausage or stew, but a singer. Not a sausage or stew but a singer. Is the treat that I'll eat for my meat! COMMENDATORE Oh shut up. I'm sick to death of that tune. CU, Mozart laughing delightedly with the audience. THE THREE GIRLS -LRB- singing again to the horse. -RRB- Give me your hoof, my darling, and I'll give you my heart. COMMENDATORE Shut up. I'm sick of that one too. All the dwarves climb up the rim of the pot. As they climb, they all hum together the opening of Eine Kleine Nachtmusik. COMMENDATORE And that one, too! The soprano rises, dripping with water in the middle of the pot. SOPRANO -LRB- singing. -RRB- Oil me! Broil me! Boil me! All the dwarves beat her back down into the pot with their long wooden spoons. SOPRANO -LRB- from inside the pot. -RRB- Soil me! Foil me! Spoil me! HORSE I ca n't eat her. Sopranos give me hiccups. I want some hay! FIRST LADY -LRB- singing to Schikaneder. -RRB- Hey! SECOND LADY -LRB- singing to Schikaneder. -RRB- Hey! THIRD LADY -LRB- singing to Schikaneder. -RRB- Hey! SCHIKANEDER Hey what? ALL THREE LADIES -LRB- singing to La oi daram. -RRB- Give him some hay, my darling, and I'll give you my heart! COMMENDATORE Shut up. SCHIKANEDER Leporello! We want some hay - prestissimo! Leporello - where are you? The table is raised in the air by Leporello sitting under it on a bale of hay. FIRST LADY -LRB- singing to horse. -RRB- Behold! SECOND LADY -LRB- singing to horse. -RRB- Behold! THIRD LADY -LRB- singing to horse. -RRB- Behold! Ottavio the horse gives a piercing neigh and runs down to the hay. COMMENDATORE -LRB- holding on. -RRB- Hey! Hey! Watch out! The vamp starts again vigorously. The horse's rear - end swings around on a hinge to turn his hind - quarters straight on to the audience. The rest of him stays sideways. His tail springs up in the air to reveal a lace handkerchief modestly hiding his arsehole. Schikaneder offers him a handful of hay. The horse eats it, and out the other end comes a long Viennese sausage. The audience roars with laughter. Another handful of hay and out of the other end falls a string of sausages. Then a large pie, crust and all. Then a shower of iced cakes! Suddenly - silence. Schikaneder produces an egg from his pocket. Ottavio the horse rears up in disgust. COMMENDATORE Whoa! Whoa, Ottavio! Whoa! Leporello pries open the horse's mouth. Schikaneder pops the egg into it. A breathless pause as a drum roll builds the tension, up and up and up, and then suddenly out of the horse's rear - end flies a single white dove. Wild applause. It flies into the audience. Immediately all the cast start humming the lyrical finale from Figaro : Tutti Contenti. More and more doves fly out from the wings and fill the theatre. Everybody picks up the sausages and cakes and begins to eat. The end of the sketch is unexpectedly lyrical and magical, and then, suddenly, the tempo changes and the coarse strains of Ich Mochte wohl Der Kaiser take over and the whole company is dancing, frantically. A general dance as the curtain falls. It rises immediately. The audience - including Mozart - is delighted. They applaud vigorously. Schikaneder takes a bow amongst his troupe. Among much whistling and clapping, he finally jumps off the stage and strides through the audience toward the table where Mozart sits with his family. On stage, a troupe of bag pipers immediately appears to play an old German tune. Some of the audience joins in singing it. SCHIKANEDER Well, how do you like that? Mozart is smiling ; he has been amused. Constanze has been less amused and is looking apprehensive. MOZART Wonderful! -LRB- indicating his baby son. -RRB- He liked the monkey, did n't you? SCHIKANEDER Yes, well, it's all good fun. MOZART I liked the horse. Schikaneder sits at the table, and drinks from a bottle of wine. SCHIKANEDER Is n't he marvelous? He cost me a bundle, that horse, but he's worth it. I tell you, if you'd played Don Giovanni here it would have been a great success. I'm not joking. These people are n't fools. You could do something marvelous for them. MOZART I'd like to try them someday. I'm not sure I'd be much good at it. SCHIKANEDER ` Course you would. You belong here, my boy, not the snobby Court. You could do anything you felt like here - the more fantastic the better! That's what people want, you know : fantasy. You do a big production, fill it with beautiful magic tricks and you'll be absolutely free to do anything you want. Of course, you'd have to put a fire in it, because I've got the best fire machine in the city and a big flood - I can do you the finest water effects you ever saw in your life. Oh, and a few trick animals. You'd have to use those. MOZART Animals? SCHIKANEDER I tell you I picked up a snake in Dresden last week - twelve foot long - folds up to six inches, just like a paper fan. It's a miracle. Mozart laughs. SCHIKANEDER I'm serious. You write a proper part for me with a couple of catchy songs, I'll guarantee you'll have a triumph - de - luxe. Mind you, it'll have to be in German. MOZART German! SCHIKANEDER Of course! What else do you think they speak here? MOZART No, no, I love that. I'd want it to be in German. I have n't done anything in German since Seraglio. SCHIKANEDER So there you are. What do you say? CONSTANZE How much will you pay him? SCHIKANEDER Ah. Well. Ah. -LRB- to Mozart. -RRB- I see you've got your manager with you. Well, Madame, how about half the receipts? MOZART Half the receipts! Stanzi! CONSTANZE I'm talking about now. How much will you give him now? Down payment? SCHIKANEDER Down payment? Who do you think I am? The Emperor? Whoops, I have to go. He rises in haste for his next number. SCHIKANEDER Stay where you are. You're going to like this next one. We'll speak again. Triumph - de - luxe, my boy! He winks at Mozart and disappears toward the stage. Mozart looks after him, enchanted. CONSTANZE You're not going to do this? MOZART Why not? Half the house! CONSTANZE When? We need money now. Either he pays now, or you do n't do it. MOZART Oh, Stanzi. CONSTANZE I do n't trust this man. And I did n't like what he did with your opera. It was common. MOZART -LRB- to Karl. -RRB- Well, you liked it, did n't you? Monkey - flunki - punki. CONSTANZE Half the house! You'll never see a penny. I want it here, in my hand. MOZART -LRB- dirty. -RRB- Stanzi - manzi, I'll put it in your hand! CONSTANZE Shut up! I'll not let you put anything in my hand until I see some money. He giggles like a child.","INT. SCHLUMBERG HOUSE - HALLWAY - DAY 1780'S Dogs are barking wickedly. Michael Schlumberg comes in from his salon. Mozart stands there looking very unwell and bewildered. He is also drunk, but making a careful attempt to keep his composure. SCHLUMBERG Herr Mozart. What a surprise. What can I do for you? MOZART Is my pupil still anxious to learn the art of music? SCHLUMBERG Well, your pupil is married and living in Mannheim, young man. MOZART Really? Perhaps your dear wife might care to profit from my instruction? SCHLUMBERG What is this, Mozart? What's the matter with you? MOZART Well. Since it appears nobody is eager to hire my services, could you favour me with a little money instead? SCHLUMBERG What for? MOZART If a man can not earn, he must borrow. SCHLUMBERG Well, this is hardly the way to go about it. MOZART No doubt, sir. But I am endowed with talent, and you with money. If I offer mine, you should offer yours. Pause. SCHLUMBERG I'm sorry. No. MOZART Please. I'll give it back, I promise. Please, sir. SCHLUMBERG My answer is no, Mozart. CU, Mozart. His voice becomes mechanical. MOZART Please. Please. Please. Please. Please. Please.","INT. THE IMPERIAL LIBRARY - DAY - 1790'S Von Swieten and Salieri stand close together. Several scholars and students are examining scrolls and manuscripts at the other end of the room. VON SWIETEN -LRB- keeping his voice down. -RRB- This is embarrassing, you know. You introduced Mozart to some of my friends and he's begging from practically all of them. It has to stop. SALIERI I agree, Baron. VON SWIETEN Ca n't you think of anyone who might commission some work from him? I've done my best. I got him to arrange some Bach for my Sunday concerts. He got a fee - what I could afford. Ca n't you think of anyone who might do something for him? SALIERI No, Baron, no. I'm afraid Mozart is a lost cause. He has managed to alienate practically the whole of Vienna. He is constantly drunk. He never pays his debts. I ca n't think of one person to whom I dare recommend him. VON SWIETEN How sad. It's tragic, is n't it? Such a talent. SALIERI Indeed. Just a moment - as a matter of fact I think I do know someone who could commission a work from him. A very appropriate person to do so. Yes. The opening measures of the Piano Concerto in D Minor steal in.","INT. THE COSTUME SHOP - VIENNA - DAY - 1790'S This is exactly the same shop which Mozart and Constanze visited with Leopold. Now Salieri's servant stands in it, waiting. We see a few other customers being served by the staff : renting masks, costumes, etc.. One of the staff emerges from the back of the shop carrying a large box, which he hands to Salieri's servant. The servant leaves the shop. Through the window we see him hurrying away through the snowy street full of passers - by, carriages, etc..","INT. SALIERI'S APARTMENT - DUSK - 1790'S The D Minor Concerto continues. Salieri, alone, eagerly opens the box from the costume shop and takes out the same dark cloak and hat that Leopold wore to the masquerade, only now attached to the hat is a dark mask whose mouth is cut into a frown, not a laugh. It presents a bitter and menacing expression. He puts on the cloak, the hat and the mask and turns his back. Suddenly we see the assembled and alarming image reflected in a full - length mirror. The music swells darkly.","EXT. A SNOWY STREET IN VIENNA - DUSK - 1790'S As the tutti of the D Minor Concerto continues, we see Salieri, dressed in this menacing costume, dark against the snow, stalking through a street which is otherwise lively with people going to various festivities. Some of them wear frivolous carnival clothes.","INT. MOZART'S LIVING ROOM - DUSK - 1790'S Mozart sits writing at a table. He appears now to be really quite sick. His face expresses pain from his stomach cramps. There is a gentle knock at the door. He rises, goes to he door and opens it. Immediately there is a SHOCK CUT : The dark, frowning mask stares at him and at us. The violent D Minor chord which opens Don Giovanni is heard. Salieri in costume stands in the doorway. SALIERI Herr Mozart? The second chord sounds and fades. Mozart stares in panic. SALIERI I have come to commission work from you. MOZART What work? SALIERI A Mass for the dead. MOZART What dead? Who is dead? SALIERI A man who deserved a Requiem Mass and never got one. MOZART Who are you? SALIERI I am only a messenger. Do you accept? You will be paid well. MOZART How much? Salieri extends his hand. In it is a bag of money. SALIERI Fifty ducats. Another fifty when I have the Mass.. Do you accept? Almost against his will, Mozart takes the money. MOZART How long will you give me? SALIERI Work fast. And be sure to tell no one what you do. You will see me again soon. He turns away. Mozart closes the front door. Instantly we hear the opening of the Requiem Mass -LRB- also in D Minor -RRB-. Mozart turns and looks up at the portrait of his father on the wall. The portrait stares back. Constanze opens the door from the bedroom. She sees him staring up. CONSTANZE Wolfi? Wolfi! He looks at her with startled eyes. The music breaks off. CONSTANZE Who was that? MOZART No one. CONSTANZE I heard voices. He gives a strange little giggle. CONSTANZE What's the matter? She sees the bag of money. CONSTANZE What's that? Oh! -LRB- pouncing on it. -RRB- Who gave you this? How much is it? Wolfi, who gave you this? MOZART I'm not telling you. CONSTANZE Why not? MOZART You'd think I was mad. He stares at her. She stares at him.","INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 Old Salieri is now wildly animated, totally driven by his confession to Vogler. OLD SALIERI My plan was so simple, it terrified me. First I must get the Death Mass and then achieve the death. Vogler stares at him in horror. VOGLER What? OLD SALIERI His funeral - imagine it! The Cathedral, all Vienna sitting there. His coffin, Mozart's little coffin in the middle. And suddenly in that silence, music. A divine music bursts out over them all, a great Mass of Death : Requiem Mass for Wolfgang Mozart, composed by his devoted friend Antonio Salieri. What sublimity! What depth! What passion in the music! Salieri has been touched by God at last. And God, forced to listen. Powerless - powerless to stop it. I at the end, for once, laughing at Him. Do you understand? Do you? VOGLER Yes. OLD SALIERI The only thing that worried me was the actual killing. How does one do that? How does one kill a man? It's one thing to dream about it. It's very different when you have to do it, with your own hands. He raises his own hands and stares at them. The raging Dies Irae from Mozart's Requiem Mass bursts upon us.","INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1790'S Mozart sits working frantically at this demonic music. His whole expression is one of wildness and engulfing fever. He pours wine down his throat, spilling it, and grimaces as it hits his stomach. All around him are manuscripts. There is a banging at the front door. Mozart does not hear it ; the music raves on. Another knocking comes, louder. Constanze appears from the bedroom and stares at her distracted husband. The knocking is repeated again, even more violently and insistently. CONSTANZE Wolfi. Wolfi! He looks at her. The music breaks off. Silence. An enormous bang at the door startles him. Constanze moves to open it. MOZART No. Do n't answer it! CONSTANZE Why? Mozart springs up. He is clearly terrified. MOZART Tell him I'm not here. Tell him I'm working on it. Come back later. He runs out of he room, into his workroom, and shuts he door. Now a little scared herself, Constanze goes to he front door and opens it cautiously. Schikaneder stands there, floridly dressed as usual. Lorl is seen peeking out from the kitchen. SCHIKANEDER Am I interrupting something? CONSTANZE Not at all. SCHIKANEDER -LRB- peering into he room. -RRB- Where's our friend? CONSTANZE He's not in. But he's working on it. He said to tell you. SCHIKANEDER I hope so. I need it immediately. He pushes her into the room. SCHIKANEDER Is he happy with it? He sees he manuscript on the table, and goes to it eagerly. SCHIKANEDER Is this it? He picks up a page without waiting for a reply. SCHIKANEDER What the devil is this? Requiem Mass? Does he think I'm in the funeral business? Mozart opens he workroom door. We see him as Schikaneder sees him : wild - eyed, extremely pale and strange. MOZART Leave that alone! SCHIKANEDER Wolfi! MOZART Put it down! SCHIKANEDER What is this? MOZART Put it down, I said! It's nothing for you. SCHIKANEDER Oh! I'm sorry! I'm sorry! What have you got for me? Is it finished? MOZART What? SCHIKANEDER What? The vaudeville, what'd you think? MOZART Yes. SCHIKANEDER Can I see it? MOZART No. SCHIKANEDER Why not? MOZART Because there's nothing to see. He giggles triumphantly. Schikaneder stares at him. SCHIKANEDER Look, I asked you if we could start rehearsal next week and you said yes. MOZART Well, we can. SCHIKANEDER So let me see it. Where is it? Mozart, with a bright, rather demented smile presents his head to Schikaneder. MOZART Here. It's all right here, in my noodle. The rest is just scribbling. Scribbling and bibbling. Bibbling and scribbling. Would you like a drink? He giggles. Schikaneder suddenly grabs his lapels. SCHIKANEDER Look, you little clown, do you know how many people I've hired for you? Do you know how many people are waiting? CONSTANZE Leave him alone! SCHIKANEDER I'm paying these people. Do you realize that? CONSTANZE He's doing his best. SCHIKANEDER I'm paying people just to wait for you. It's ridiculous! CONSTANZE You know what's ridiculous? Your libretto, that's what's ridiculous. Only an idiot would ask Wolfi to work on that stuff! SCHIKANEDER Oh yes? And what's so intelligent about writing a Requiem? CONSTANZE Money! Money! SCHIKANEDER You're mad! She's mad, Wolfi. CONSTANZE Oh yes, and who are you? He's worked for Kings. For the Emperor. -LRB- shouting. -RRB- Who are you? Schikaneder suddenly takes Mozart by the arms, and speaks to him with intense appeal. SCHIKANEDER Listen, Wolfi. Write it. Please. Just write it down. On paper. It's no good to anyone in your head. And fuck the Death Mass..","INT. SALIERI'S SALON - DAY - 1790'S A frightened and tearful Lorl sits before Salieri. SALIERI Now calm yourself. Calm. What's the matter with you? LORL I'm leaving. I'm not working there anymore. I'm scared! SALIERI Why? What has happened? LORL You do n't know what it's like. Herr Mozart frightens me. He drinks all day, then takes all that medicine and it makes him worse. SALIERI What medicine? LORL I do n't know. He has pains. SALIERI Where? LORL Here, in his stomach. They bend him right over. SALIERI Is he working? LORL I'm frightened, sir. Really! When he speaks, he does n't make any sense. You know he said he saw - he said he saw his father. And his father's dead. SALIERI Is he working? LORL I suppose so. He sits there all he time, doing some silly opera. SALIERI -LRB- startled. -RRB- Opera? Opera! LORL Please do n't ask me to go back again. I'm frightened! I'm very, very frightened. SALIERI -LRB- insistently. -RRB- Are you sure it's an opera? The Overture to The Magic Flute begins grandly. To the music of the slow introduction, we see :","INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1790'S The room, lit by a few candles, appears dirty. The camera shows us again Leopold's portrait on the wall, looking down upon a scene of disorder. Papers litter the table ; dirty dishes are piled in the fireplace ; on the forte - piano lies Mozart's Masonic apron, woven with symbols. To the more lyrical passage of the introduction, we see Mozart take up a candle and enter :","INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S We watch him stand beside Constanze, who lies asleep. Mozart now looks very ill ; his wife appears worn out. Tenderly he touches her hair. Then he moves to the cot where his son Karl lies asleep and kneels, pulls up the child's little blanket and for a moment lays his own head down beside the boy's. Constanze opens her eyes and stares at him. Mozart rises and returns to :","INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1790'S The Introduction ends and suddenly the brilliant fast fugue begins. Instantly Mozart starts to dance to it, all alone : gleefully, like a child. He looks up at his father's portrait, and makes a silly, rude gesture at it. He is, briefly, an irresponsible and happy boy again. Then suddenly there is a gentle knocking at the door. The music fades down. Warily, Mozart crosses and opens he door. The familiar dark chords from Don Giovanni cut across the happy music. It ends. Before him stands the masked stranger. MOZART I do n't have it yet. It's not finished. I'm sorry, but I need more time. SALIERI Are you neglecting my request? MOZART No, no! I promise you, I'll give you a wonderful piece - the best I ever can! He turns and looks. Constanze has come into the living room. Nervously, Mozart indicates her. MOZART This is my wife, Stanzi. I've been sick, but I'm all right now. Are n't I? CONSTANZE Oh yes, sir. He's all right. And he's working on it very hard. MOZART Give me two more weeks. Please. Salieri contemplates them both. SALIERI The sooner you finish, the better your reward. Work! He turns and goes down the stairs. Mozart shuts the door ; he closes his eyes in fear. CONSTANZE Wolfi, I think you really are going mad. You work like a slave for that idiot actor who wo n't give you a penny and here. This is not a ghost! This is a real man who puts down real money. Why on earth do n't you finish it? He will not look at her or reply. CONSTANZE Give me one reason I can understand. MOZART I ca n't write it! CONSTANZE Why not? MOZART It's killing me. He looks at her suddenly. CONSTANZE No, this is really awful. You're drunk, are n't you? Be honest - tell me - you've been drinking. And I'm so stupid I stay here and listen to you! Suddenly she starts to cry. CONSTANZE It's not fair! I worry about you all the time. I try to help you all I can and you just drink and talk nonsense and - and frighten me! It's not fair! Her tears flow. Mozart looks at her helplessly. MOZART Go back to bed. CONSTANZE Please! Let me sit here. Let me stay here with you. I promise I wo n't say all word. I'll just be here, so you know no one's going to hurt you. Please, please! She sits down tearfully, staring at him. We hear the Rex Tremendai Majestatis from the Requiem and see on the wall the portrait of Leopold Mozart looking down. The camera pans slowly downward from it back to the table. Mozart is writing the music. He looks up and sees that Constanze is fast asleep in her chair. Mozart gets up quietly. He puts on his hat and cloak, takes a bottle of wine and tiptoes from the house. Without stopping, the music changes from the heavy Requiem to the light - hearted patter of the Papa - Papa duet from The Magic Flute.","INT. SCHIKANEDER'S SUMMER HOUSE - NIGHT - 1790'S This little wooden structure stands in a courtyard in the tenement by the Weiden. Inside, we see a table, chairs, a forte - piano, bottles and a chaos of papers. Strewn about in the chairs are the three actresses, giggling. Schikaneder and Mozart, both drunk, are singing the duet of the two bird - people. The actor sings Papageno and the composer, in a soprano voice, sings Papagena at the keyboard. Absurdly, they end up rubbing noses and fall on each other's necks.","EXT. VIENNA STREET - NIGHT - 1790'S Mozart, drunk and happy, staggers back through the snow. There are a few people about. He goes into his apartment building.","INT. MOZART'S APARTMENT - DAY - 1790'S He comes through he door and stares across the living room at an open bedroom door. Puzzled, he crosses. The bedroom is also empty. We see Constanze's empty bed ; Karl's empty bed ; empty closets. MOZART Stanzi? Stanzi - marini - bini? He looks about him, puzzled.","INT. FRAU WEBER'S HOUSE - LIVING ROOM - DAY - 1790'S Frau Weber sits grimly talking. Mozart sits also, completely exhausted and passive under the rain of her constant speech. FRAU WEBER She's not coming back, you know. She's gone for good. I did it and I'm proud of it. ` Leave,' I said. ` Right away! Take he child and go, just go. Here's the money! Go to the Spa and get your health back - that's if you can.' I was shocked. Shocked to my foundation. Is that my girl? Can that be my Stanzi? The happy little moppet I brought up, that poor trembling thing? Oh, you monster! No one exists but you, do they? You and your music! Do you know how often she's sat in that very chair, weeping her eyes out of her head because of you? I warned her. ` Choose a man, not a baby,' I said. But would she listen? Who listens? ` He's just a silly boy,' she says. Silly, my arse. Selfish - that's all you are. Selfish! Selfish, selfish, selfish, selfish, selfish. And with a scream Madame Weber's voice turns into the shrill packing coloratura of the second act aria of the Queen of the Night, in The Magic Flute.","INT. SCHIKANEDER'S THEATRE - NIGHT - 1790'S On stage we see the QUEEN OF THE NIGHT fantastically costumed, furiously urging her daughter to kill Sarastro. As she sings, we see the interior of the theatre, now re - arranged from when we last visited it to watch the Cabaret. An audience of ordinary German citizens stands in the pit area, or sits : they are rapt and excited. The theatre also possesses boxes ; some of these show closed curtains - their inhabitants presumably engaged in private intimacies. In one of them sits Salieri. QUEEN OF THE NIGHT -LRB- singing furiously. -RRB- A hellish wrath within my heart is seething! Death and destruction Flame around my throne! If not by thee Sarastro's light be extinguished. Then be thou mine own daughter never more! Rejected be forever! So sundered be forever All the bonds of kin and blood! Hear! Hear! Hear God of Vengeance! Hear thy Mother's vow! Thunder and lightning. She disappears amidst tremendous applause from the audience.","EXT. OUTSIDE THE THEATRE - NIGHT - 1790'S On the poster for The Magic Flute, the name Emmanuel Schikaneder should appear very, very large and the name of Mozart quite small : I. & R. priv. Weiden Theatre. The Actors of the Imperial and Royal Privileged Theatre of the Weiden Have the honour to perform THE MAGIC FLUTE, A Grand Opera in Two Acts By Emmanuel Schikaneder -LRB- The Cast List -RRB-. The music is by Herr Wolfgang Amadeus Mozart. Herr Mozart out of respect for a gracious and honourable Public, and from friendship for the author of this piece, will today direct the orchestra in person. The book of the opera, furnished with two copperplates, of which is engraved Herr Schikaneder in the costume he wears for the role of Papageno, may be had at the box office for 30 kr. Prices of admission are as usual To begin at 7 o'clock","INT. STAGE, AUDITORIUM AND WINGS OF SCHIKANEDER'S THEATRE NIGHT -1790'S We CUT TO the scene immediately before Papageno's song, Ein Madchen oder Weibchen. Papageno, played by Schikaneder, dressed in his costume of feathers, is trying to get through a mysterious door. A voice calls from within. VOICE Go back! Papageno recoils. PAPAGENO Merciful Gods! If only I knew by which door I came in. -LRB- to audience. -RRB- Which was it? Was it this one? Come on, tell me! VOICE Go back! Papageno recoils. PAPAGENO Now, I ca n't go forward and I ca n't go back. Oh, this is awful! He weeps extravagantly. In the pit, Mozart indicates to the first violinist to take over as conductor. He slips from his place and goes stealthily backstage. We follow him. Over the scene we hear Papageno being addressed by the First Priest in stern tones. FIRST PRIEST -LRB- on stage. -RRB- Man, thou hast deserved to wander forever in the darkest chasms of the earth. The gentle Gods have remitted thy punishment, but yet thou shalt never feel the Divine Content of the consecrated ones. PAPAGENO Oh well, I'm not alone in that. Just give me a decent glass of wine - that's divine content enough for me. Laughter. An enormous goblet of wine appears out of the earth. We follow Mozart into the wings. Actors and actresses stand around in fantastic costumes. We see a flying chariot and parts of a huge snake lying about. Also the scenery door of a temple with the word ` Wisdom' inscribed on the pediment. Mozart walks to where there stands a keyboard glockenspiel with several manuals, and a musician waiting to play it. Silently Mozart indicates that he wishes to play the instrument himself. On stage Schikaneder is being addressed haughtily by the First Priest. FIRST PRIEST Man, hast thou no other desire on earth, but just to eat and drink? PAPAGENO -LRB- Schikaneder. -RRB- Well! Laughter from the audience. PAPAGENO Well, actually I do have a rather weird feeling in my heart. Perhaps it's just indigestion. But you know, I really would like - I really do want - something even nicer than food and drink. Now what on earth could that be? He stares at the audience and winks at them. They laugh. Now Papageno's aria -LRB- Ein Madchen oder Weibchen -RRB- begins. It is interpolated, as he pretends to play his magic bells, with the glockenspiel actually being played off - stage by Mozart. Schikaneder looks into the pit and does not see Mozart conducting. He looks into the wings and realizes the situation with amusement. He sings joyfully and the audience watches entranced. ANDANTE A sweetheart or a pretty little wife is Papageno's wish. A willing, billing, lovey dovey Would be My most tasty little dish. Be my most tasty little dish! Be my most tasty little dish! ALLEGRO Then that would be eating and drinking I'd live like a Prince without thinking. The wisdom of old would be mine - A woman's much better than wine! Then that would be eating and drinking! The wisdom of old would be mine - A woman's much better than wine. She's much better than wine! She's much better than wine! ANDANTE -LRB- encore, lightly, as before. -RRB- A sweetheart or a pretty little wife is Papageno's wish. A willing, billing, lovey dovey Would be My most tasty little dish. ALLEGRO I need to net one birdie only And I will stop feeling so lonely. But if she wo n't fly to my aid, Then into a ghost I must fade. I need to net one birdie only But if she wo n't fly to my aid, Then into a ghost I must fade. To a ghost I must fade! To a ghost I must fade! ANDANTE -LRB- encore. -RRB- A sweetheart or a pretty little wife is Papageno's wish. A willing, billing, lovey dovey Would be My most tasty little dish. ALLEGRO At present the girls only peck me. Their cruelty surely will wreck me. But one little beak in my own, And I'll up to heaven be flown! At present the girls only peck me. But one little beak in my own, And I'll up to heaven be flown. Up to heaven be flown! Up to heaven be flown! At certain moments we see the stage from Salieri's point of view : Schikaneder singing, then pretending to play ; and then we see Mozart playing the glockenspiel with great flourishes in the wings. Then, suddenly, the actor mimes playing, and no sound comes. He mimes again, but still nothing comes. He looks offstage in anxiety ; there is evidently some commotion. People are looking down on the floor. The song comes to a near - halt. Schikaneder stares. Then the comedian signals to the deputy conductor to pick up the song and finish it. At this moment Salieri gets up and hastily leaves his box.","INT. WINGS OF SCHIKANEDER'S THEATRE - NIGHT - 1790'S We see the actress playing Papagena, wearing an old tattered cloak and about to tie a little painted cloth representing a hideous old woman over her face. She is looking worriedly down at Mozart, who is lying unconscious on the floor. A few people around him are trying to revive him. One has put a wet handkerchief around his temples. Another is holding a small bottle of smelling salts. There are voices saying, ` Doctor! Take him to a dressing room. Someone call a carriage. Take him home.' Etc.. Papagena is urged to go on stage by a distracted stage manager. Suddenly we hear the voice of Salieri. SALIERI I'll take care of him. He steps forward. SALIERI I have a carriage. Excuse me. The actors step back respectfully. He stoops and picks up the frail composer in his arms. Mozart is quite limp and Salieri has to fling his arms around his own neck. All this is watched nervously by Schikaneder on stage whilst performing his scene with Papagena as an ugly old woman. UGLY OLD WOMAN Here I am, my angel. PAPAGENO -LRB- appalled. -RRB- What? Who the devil are you? UGLY OLD WOMAN I've taken pity on you, my angel. I heard your wish. PAPAGENO Oh. Well, thank you! How wonderful. Some people get all the luck. Audience laughter. The actress raises the little painted cloth with the ugly old face on it to show her own pretty young one to the audience. More laughter. UGLY OLD WOMAN Now you've got to promise me faithfully you'll remain true to me forever. Then you'll see how tenderly your little birdie will love you. PAPAGENO -LRB- nervous. -RRB- I ca n't wait. UGLY OLD WOMAN Well, promise then. PAPAGENO What do you mean - now? UGLY OLD WOMAN Of course now. Right away, before I get any older. Laughter. PAPAGENO Well, I do n't know! I mean you're a delicious, delightful, delectable little bird, but do n't you think you might be just a little tough? UGLY OLD WOMAN -LRB- amorously. -RRB- Oh, I'm tender enough for you, my boy. I'm tender enough for you. Laughter.","EXT. SCHIKANEDER'S THEATRE - NIGHT - 1790'S A waiting sedan chair. Mozart has recovered consciousness, but looks exceedingly ill. Salieri has set him down in the winter's night. Snow is falling. MOZART What happened? Is it over? SALIERI I'm taking you home. You're not well. MOZART No, no. I have to get back. I have - He starts to collapse again. Salieri helps him into the sedan. The door is shut. The chair sets off and Salieri strides beside it, through the mean street. A lantern with a candle swings from the chair.","INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1790'S The door opens. Salieri enters carrying the lantern from the sedan chair. He is followed by Mozart, carried in the arms of one of the porters. The room is now really in complete disarray. The table is piled high with music : the pages of the Requiem lie amongst many empty wine bottles. The porter carries Mozart into","INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S This room is miserably neglected. The bed is unmade, clothes lie about on the floor. A sock has been stuck into the broken pane of one window. The porter lays Mozart down on the bed as Salieri lights candles from the lantern to reveal plates of half - eaten food and other signs left by a man whose wife has departed. It is obviously very cold. Another very small bed nearby belongs to the child, Karl. SALIERI -LRB- handing the porter the lantern. -RRB- Thank you. Go. The porter leaves the room. Mozart stirs. MOZART -LRB- vaguely singing. -RRB- Papa! Papa! He opens his eyes and sees Salieri staring down at him. He smiles. SALIERI Come now. He helps him to sit up and takes off his coat and his shoes and puts a coverlet around him. SALIERI Where is your wife? MOZART Not here! She's not well, either. She went to the Spa. SALIERI You mean she's not coming back? MOZART You're so good to me. Truly. Thank you. SALIERI No, please. MOZART I mean to come to my opera. You are the only colleague who did. He struggles to loosen his cravat. Salieri does it for him. SALIERI I would never miss anything that you had written. You must know that. MOZART This is only a vaudeville. SALIERI Oh no. It is a sublime piece. The grandest operone. I tell you, you are the greatest composer known to me. MOZART Do you mean that? SALIERI I do. MOZART I have bad fancies. I do n't sleep well anymore. Then I drink too much, and think stupid things. SALIERI Are you ill? MOZART The doctor thinks I am. But - SALIERI What? MOZART I'm too young to be so sick. There is a violent knocking at the front door. Mozart starts and looks around wildly. SALIERI Shall I answer it? MOZART No! No, it's him! SALIERI Who? MOZART The man. He's here. SALIERI What man? The knocking increases in loudness, terrifying Mozart. MOZART Tell him to go away. Tell him I'm still working on it. Do n't let him in! Salieri moves to the door. MOZART Wait! Ask him if he'd give me some money now. Tell him if he would, that would help me finish it. SALIERI Finish what? MOZART He knows. He knows! Salieri leaves the room.","INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1790'S Salieri goes to the front door and opens it to reveal Schikaneder, who has obviously come straight from the theatre. He still wears his bird make - up and under his street cloak, his feathered costume is clearly seen. He has with him the three actresses, also looking anxious and also in make - up as the three attendants in The Magic Flute. SCHIKANEDER Herr Salieri. SALIERI Yes, I am looking after him. SCHIKANEDER Can we come in? SALIERI Well, he's sleeping now. Better not. SCHIKANEDER But he's all right? SALIERI Oh, yes. He's just exhausted. He became dizzy, that's all. We should let him rest. SCHIKANEDER Well, tell him we were here, wo n't you? SALIERI Of course. SCHIKANEDER And say everything went wonderfully. A triumph - de - luxe - say that! Tell him the audience shouted his name a hundred times. SALIERI Bene. SCHIKANEDER I'll call tomorrow. SALIERI Yes. -LRB- to the actresses. -RRB- And congratulations to all of you. It was superb. ACTRESSES Thank you! Thank you, Excellency! Schikaneder produces a bag of money. SCHIKANEDER Oh, by the way, give him this. This is his share. That should cheer him up, eh? SALIERI Yes, indeed. Goodnight to you all now. It was perfection - truly! ACTRESSES -LRB- delighted. -RRB- Goodnight, Your Excellency. Goodnight! They bob and curtsey. Schikaneder stares at Salieri, uneasily, vaguely suspicious. Salieri smiles back at him and shuts the door. He stays for a moment, thinking. He contemplates the money.","INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S Mozart is sitting up in bed, staring at the door. It opens. Salieri returns. He holds in his hand the bag of money. MOZART What happened? Salieri pours the coins out of the bag onto the coverlet. SALIERI He said to give you this. And if you finish the work by tomorrow night, he will pay you another hundred ducats. Mozart looks at the coins astonished. MOZART Another? But that's too soon! Tomorrow night? It's impossible! Did he say a hundred? SALIERI Yes. Can I - could I help you, in any way? MOZART Would you? Actually, you could. SALIERI My dear friend, it would be my greatest pleasure. MOZART But you'd have to swear not to tell a soul. I'm not allowed. SALIERI Of course. MOZART You know, it's all here in my head. It's just ready to be set down. But when I'm dizzy like this my eyes wo n't focus. I ca n't write. SALIERI Then, let us try together. I'd regard it as such an honour. Tell me, what is this work? MOZART A Mass.. A Mass for the Dead.","INT. A SMALL DANCE HALL - BADEN - NIGHT - 1790'S Trivial dance music is playing. Constanze is doing a waltz with a young OFFICER in military uniform. At the moment we see her, she stops abruptly, as if in panic. OFFICER What is it? CONSTANZE I want to go! OFFICER Where? CONSTANZE I want to go back to Vienna. OFFICER Now? CONSTANZE Yes! OFFICER Why? CONSTANZE I feel wrong. I feel wrong being here. OFFICER -LRB- laying a hand on her arm. -RRB- What are you talking about?","INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S Mozart is sitting up in bed, propped against pillows. The coins lie on the coverlet ; many candles burn in the necks of bottles. Salieri, without coat or wig, is seated at an improvised worktable. On it are blank sheets of music paper, quills, and ink. Also the score of the Requiem Mass as so far composed. Mozart is bright - eyed with a kind of fever. Salieri is also possessed with an obviously feverish desire to put down the notes as quickly as Mozart can dictate them. MOZART Where did I stop? SALIERI -LRB- consulting the manuscript. -RRB- The end of the Recordare - Statuens in parte dextra. MOZART So now the Confutatis. Confutatis Maledictis. When the wicked are confounded. Flammis acribus addictis. How would you translate that? SALIERI Consigned to flames of woe. MOZART Do you believe in it? SALIERI What? MOZART A fire which never dies. Burning one forever? SALIERI Oh, yes. MOZART Strange! SALIERI Come. Let's begin. He takes his pen. SALIERI Confutatis Maledictis. MOZART We ended in F Major? SALIERI Yes. MOZART So now - A minor. Suddenly. Salieri writes the key signature. MOZART The Fire. SALIERI What time? MOZART Common time. Salieri writes this, and continues now to write as swiftly and urgently as he can, at Mozart's dictation. He is obviously highly expert at doing this and hardly hesitates. His speed, however, can never be too fast for Mozart's impatient mind. MOZART Start with the voices. Basses first. Second beat of the first measure - A. -LRB- singing the note. -RRB- Con - fu - ta - tis. -LRB- speaking. -RRB- Second measure, second beat. -LRB- singing. -RRB- Ma - le - dic - tis. -LRB- speaking. -RRB- G - sharp, of course. SALIERI Yes. MOZART Third measure, second beat starting on E. -LRB- singing. -RRB- Flam - mis a - cri - bus ad - dic - tis. -LRB- speaking. -RRB- And fourth measure, fourth beat - D. -LRB- singing. -RRB- Ma - le - dic - tis, flam - mis a - cri - bus ad - dic - tis. -LRB- speaking. -RRB- Do you have that? SALIERI I think so. MOZART Sing it back. Salieri sings back the first six measures of the bass line. After the first two measures a chorus of basses fades in on the soundtrack and engulfs his voice. They stop. MOZART Good. Now the tenors. Fourth beat of the first measure - C. -LRB- singing. -RRB- Con - fu - ta - tis. -LRB- speaking. -RRB- Second measure, fourth beat on D. -LRB- singing. -RRB- Ma - le - dic - tis. -LRB- speaking. -RRB- All right? SALIERI Yes. MOZART Fourth measure, second beat - F. -LRB- singing. -RRB- Flam - mis a - cri - bus ad - dic - tis, flam - mis a - cri - bus ad - dic - tis. His voice is lost on the last words, as tenors engulf it and take over the soundtrack, singing their whole line from the beginning, right to the end of the sixth measure where the basses stopped, but he goes on mouthing the sounds with them. Salieri writes feverishly. We see his pen jotting down the notes as quickly as possible : the ink flicks onto the page. The music stops again. MOZART Now the orchestra. Second bassoon and bass trombone with the basses. Identical notes and rhythm. -LRB- He hurriedly hums the opening notes of the bass vocal line. -RRB- The first bassoon and tenor trombone - SALIERI -LRB- labouring to keep up. -RRB- Please! Just one moment. Mozart glares at him, irritated. His hands move impatiently. Salieri scribbles frantically. MOZART It could n't be simpler. SALIERI -LRB- finishing. -RRB- First bassoon and tenor trombone - what? MOZART With the tenors. SALIERI Also identical? MOZART Exactly. The instruments to go with the voices. Trumpets and timpani, tonic and dominant. He again hums the bass vocal line from the beginning, conducting. On the soundtrack, we hear the second bassoon and bass trombone play it with him and the first bassoon and tenor trombone come in on top, playing the tenor vocal line. We also hear the trumpets and timpani. The sound is bare and grim. It stops at the end of the sixth measure. Salieri stops writing. SALIERI And that's all? MOZART Oh no. Now for the Fire. -LRB- he smiles. -RRB- Strings in unison - ostinato on all - like this. He sings the urgent first measure of the ostinato. MOZART -LRB- speaking. -RRB- Second measure on B. He sings the second measure of the ostinato. MOZART -LRB- speaking. -RRB- Do you have me? SALIERI I think so. MOZART Show me. Salieri sings the first two measures of the string ostinato. MOZART -LRB- excitedly. -RRB- Good, good - yes! Put it down. And the next measures exactly the same, rising and rising - C to D to E, up to the dominant chord. Do you see? As Salieri writes, Mozart sings the ostinato from the beginning, but the unaccompanied strings overwhelm his voice on the soundtrack, playing the first six bars of their agitated accompaniment. They stop. SALIERI That's wonderful! MOZART Yes, yes - go on. The Voca Me. Suddenly sotto voce. Write that down : sotto voce, pianissimo. Voca me cum benedictis. Call me among the blessed. He is now sitting bolt upright, hushed and inspired. MOZART C Major. Sopranos and altos in thirds. Altos on C. Sopranos above. -LRB- singing the alto part. -RRB- Vo - ca, vo - ca me, vo - ca me cum be - ne - dic - tis. SALIERI Sopranos up to F on the second ` Voca'? MOZART Yes, and on ` dictis'. SALIERI Yes! He writes feverishly. MOZART And underneath, just violins - arpeggio. He sings the violin figure under the Voca Me -LRB- Bars 7,8,9 -RRB-. MOZART -LRB- speaking. -RRB- The descending scale in eighth notes, and then back suddenly to the fire again. He sings the ostinato phrase twice. MOZART -LRB- speaking. -RRB- And that's it. Do you have it? SALIERI You go fast! MOZART -LRB- urgently. -RRB- Do you have it? SALIERI Yes. MOZART Then let me hear it. All of it. The whole thing from the beginning - now! The entire Confutatis bursts over the room, as Mozart snatches the manuscript pages from Salieri and reads from it, singing. Salieri sits looking on in wondering astonishment. The music continues right through the following scenes, to the end of the movement.","EXT. A COUNTRY ROAD - WINTER NIGHT - 1790'S A carriage is driving fast through the night. Snow lies on the countryside.","INT. THE CARRIAGE NIGHT - 1790'S The carriage is filled with passengers. Among them Constanze and Karl, her young son. They are sleepless and sway to the motion of the vehicle.","INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S Mozart lying in bed exhausted, but still dictating urgently. We do not hear what he is saying to Salieri, who still sits writing assiduously. Mozart is looking very sick : sweat is pouring from his forehead.","EXT. A COUNTRY ROAD - WINTER NIGHT - 1790'S The carriage, moving through the night, to the sound of the music.","INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S Mozart still dictating ; Salieri still writing without stop.","EXT. VIENNA STREET - DAWN - 1790'S. The carriage has arrived. Constanze and her son alight with other passengers. Postillions attend to the horses. She takes her boy's hand. It is a cold wintry dawn. The music stutters to a close. End of the Confutatis.","INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S MOZART Do you want to rest a bit? SALIERI Oh no. I'm not tired at all. MOZART We'll stop for just a moment. Then we'll do the Lacrimosa. SALIERI I can keep going, I assure you. Shall we try? MOZART Would you stay with me while I sleep a little? SALIERI I'm not leaving you. MOZART I am so ashamed. SALIERI What for? MOZART I was foolish. I thought you did not care for my work - or me. Forgive me. Forgive me! Mozart closes his eyes. Salieri stares at him.","EXT. VIENNA STREET - WINTRY DAWN - 1790'S Constanze and Karl approach along the cobbled street, hand in hand toward their house. Snow lies in the street.","INT. MOZART'S APARTMENT - BEDROOM - DAWN - 1790'S Mozart lies asleep in the bed, holding the last pages of the manuscript. Salieri lies across from him on Karl's small bed in his shirt sleeves and waistcoat. The child's bed is obviously too small for him and he is forced in to a cramped position.","EXT. MOZART'S APARTMENT HOUSE - DAWN - 1790'S Constanze and Karl arrive at the door. They enter.","INT. MOZART'S APARTMENT - LIVING ROOM - DAWN - 1790'S It is as disordered as before, save that the table, previously littered with pages, is now completely bare. Constanze looks at it with surprise and enters the bedroom.","INT. MOZART'S APARTMENT - BEDROOM - DAWN - 1790'S Mozart is asleep in the bed. Salieri is dozing on the nearby child's bed. The room is full of the trailing smoke from guttering and guttered candles. Startled by Constanze's entrance and her young son, Salieri scrambles up. As he does so, he attempts to button his waistcoat, but does it ineptly, so that the vestment becomes bunched up, making him look absurd. CONSTANZE What are you doing here? SALIERI Your husband is ill, ma'am. He took sick. I brought him home. CONSTANZE Why you? SALIERI I was at hand. CONSTANZE Well, thank you very much. You can go now. SALIERI He needs me, ma'am. CONSTANZE No, he does n't. And I do n't want you here. Just go, please. SALIERI He asked me to stay. CONSTANZE And I'm asking you - She notices a movement from the bed. Mozart wakes. He sees Constanze and smiles with real joy. Forgetting Salieri, she goes to her husband. CONSTANZE Wolfi, I'm back. I'm still very angry with you, but I missed you so much. She throws herself on the bed. CONSTANZE I'll never leave you again. If you'll just try a little harder to be nice to me. And I'll try to do better, too. We must. We must! This was just silly and stupid. She hugs her husband desperately. He stares at her with obvious relief, not able to speak. Suddenly she sees the manuscript in his hand. CONSTANZE What is this? She looks at it and recognizes it. CONSTANZE Oh no, not this. Not this, Wolfi! You're not to work on this ever again! I've decided. She takes it from his weak hand. At the same moment Salieri reaches out his hand to take it and add it to the pile on the table. She stares at him, trying to understand - suspicious and frightened and at the same time unable to make a sound. Mozart makes a convulsive gesture to reclaim the pages. The coins brought by Salieri fall on the floor. Karl runs after them, laughing. CONSTANZE -LRB- to Salieri. -RRB- This is not his handwriting. SALIERI No. I was assisting him. He asked me. CONSTANZE He's not going to work on this anymore. It is making him ill. Please. She extends her hand for the Requiem, as she stands up. Salieri hesitates. CONSTANZE -LRB- hard. -RRB- Please. With extreme reluctance - it costs him agony to do it - Salieri hands over the score of the Requiem to her. CONSTANZE Thank you. She marches with the manuscript over to a large chest in the room, opens it, throws the manuscript inside, shuts the lid, locks it and pockets the key. Involuntarily Salieri stretches out his arms for the lost manuscript. SALIERI But - but - but - She turns and faces him. CONSTANZE Good night. He stares at her, stunned. CONSTANZE I regret we have no servants to show you out, Herr Salieri. Respect my wish and go. SALIERI Madame, I will respect his. He asked me to stay here. They look at each other in mutual hatred. She turns to the bed. Mozart appears to have gone to sleep again. CONSTANZE Wolfi? -LRB- louder. -RRB- Wolfi? She moves to the bed. The child is playing with the coins on the floor. Faintly we hear the start of the Lacrimosa from the Requiem. Salieri watches as she touches her husband's hand. As the music grows, we realize that Mozart is dead. CU, Constanze staring wide - eyed in dawning apprehension. CU, Salieri also comprehending hat he has been cheated. The music rises. CU, The child on the floor, playing with the money.","EXT. STEPHEN'S CATHEDRAL - VIENNA - A RAINY DAY - 1790'S The Lacrimosa continues through all of the following : a small group of people emerges from the side door into the raw, wet day, accompanying a cheap wooden coffin. The coffin is borne by a gravedigger and Schikaneder in mourning clothes. They load it onto a cart, drawn by a poor black horse. All the rest are in black, also : Salieri, Von Swieten, Constanze and her son, Karl, Madame Weber and her youngest daughter Sophie, and even Lorl, the maid. It is drizzling. The cart sets off. The group follows.","EXT. OUTSIDE THE CITY WALLS OF VIENNA - RAINY DAY - 1790'S The group has already passed beyond the city limits following the miserable cart. The Lacrimosa accompanies them with its measured thread. The drizzle of rain has now become heavy. One by one, the group breaks up and shelters under the trees. The cart moves on toward the cemetery, alone, followed by nobody, growing more and more distant. They watch it go. Salieri and Von Swieten shake hands mournfully, the water soaking their black tall hats. Schikaneder is in tears. Constanze is near collapse. Salieri moves to assist her, but she turns away from him, seeking the arm of Cavalieri. Madame Weber takes Karl's hand. The music builds to its climax on Dona Eis Pacem! We CUT back to :","INT. OLD SALIERI'S HOSPITAL ROOM - MORNING - 1823 Morning light fills the room. Old Salieri sits weeping convulsively, as the music stops. Tears stream down his face. Vogler watches him, amazed. VOGLER Why? Why? Why? Why add to your misery by confessing to murder? You did n't kill him. OLD SALIERI I did. VOGLER No, you did n't! OLD SALIERI I poisoned his life. VOGLER But not his body. OLD SALIERI What difference does that make? VOGLER My son, why should you want all Vienna to believe you a murderer? Is that your penance? Is it? OLD SALIERI No, Father. From now on no one will be able to speak of Mozart without thinking of me. Whenever they say Mozart with love, they'll have to say Salieri with loathing. And that's my immortality - at last! Our names will be tied together for eternity - his in fame and mine in infamy. At least it's better than the total oblivion he'd planned for me, your merciful God! VOGLER Oh my son, my poor son! OLD SALIERI Do n't pity me. Pity yourself. You serve a wicked God. He killed Mozart, not I. Took him, snatched him away, without pity. He destroyed His beloved rather than let a mediocrity like me get the smallest share in his glory. He does n't care. Understand that. God cares nothing for the man He denies and nothing either for the man He uses. He broke Mozart in half when He'd finished with him, and threw him away. Like an old, worn out flute.","EXT. CEMETERY OF ST. MARX - LATE AFTERNOON - 1790'S The rain has eased off. A LOCAL PRIEST with two boy acolytes is standing beside an open communal grave. Mozart's body is lifted out of the cheap pine box in a sack. We see that the grave contains twenty other such sacks. The gravedigger throws the one containing Mozart amongst the others. An assistant pours quicklime over the whole pile of them. The acolytes swing their censers. LOCAL PRIEST The Lord giveth. The Lord taketh away. Blessed be the name of the Lord.","INT. OLD SALIERI'S HOSPITAL ROOM - MORNING - 1823 OLD SALIERI Why did He do it? Why did n't He kill me? I had no value. What was the use, keeping me alive for thirty - two years of torture? Thirty - two years of honours and awards. He tears off the Civilian Medal and Chain with which the Emperor invested him and has been wearing the whole time and throws it across the room. OLD SALIERI Being bowed to and saluted, called ` distinguished - distinguished Salieri' - by men incapable of distinguishing! Thirty - two years of meaningless fame to end up alone in my room, watching myself become extinct. My music growing fainter, all the time fainter, until no one plays it at all. And his growing louder, filling the world with wonder. And everyone who loves my sacred art crying, Mozart! Bless you, Mozart. The door opens. An attendant comes in, cheerful and hearty. ATTENDANT Good morning, Professor! Time for the water closet. And then we've got your favourite breakfast for you - sugar - rolls. -LRB- to Vogler. -RRB- He loves those. Fresh sugar - rolls. Salieri ignores him and stares only at the priest, who stares back. OLD SALIERI Goodbye, Father. I'll speak for you. I speak for all mediocrities in the world. I am their champion. I am their patron saint. On their behalf I deny Him, your God of no mercy. Your God who tortures men with longings they can never fulfill. He may forgive me : I shall never forgive Him. He signs to the attendant, who wheels him in his chair out of the room. The priest stares after him.","INT. CORRIDOR OF THE HOSPITAL - MORNING The corridor is filled with patients in white linen smocks, all taking their morning exercise walk in the care of nurses and nuns. They form a long, wretched, strange procession - some of them are clearly very disturbed. As Old Salieri is pushed through them in his wheelchair, he lifts his hands to them in benediction. OLD SALIERI Mediocrities everywhere, now and to come : I absolve you all! Amen! Amen! Amen! Finally, he turns full - face to the camera and blesses us the audience, making the Sign of the Cross. Underneath we hear, stealing in and growing louder, the tremendous Masonic Funeral Music of Mozart. On the last four chords, we THE END"],"string":"[\n \"INT. STAIRCASE OUTSIDE OLD SALIERI'S SALON - NIGHT - 1823 Total darkness. We hear an old man's voice, distinct and in distress. It is OLD SALIERI. He uses a mixture of English and occasionally Italian. OLD SALIERI Mozart! Mozart! Mozart. Forgive me! Forgive your assassin! Mozart! A faint light illuminates the screen. Flickeringly, we see an eighteenth century balustrade and a flight of stone stairs. We are looking down into the wall of the staircase from the point of view of the landing. Up the stair is coming a branched candlestick held by Salieri's VALET. By his side is Salieri's COOK, bearing a large dish of sugared cakes and biscuits. Both men are desperately worried : the Valet is thin and middle - aged ; the Cook, plump and Italian. It is very cold. They wear shawls over their night - dresses and clogs on their feet. They wheeze as they climb. The candles throw their shadows up onto the peeling walls of the house, which is evidently an old one and in bad decay. A cat scuttles swiftly between their bare legs, as they reach the salon door. The Valet tries the handle. It is locked. Behind it the voice goes on, rising in volume. OLD SALIERI Show some mercy! I beg you. I beg you! Show mercy to a guilty man! The Valet knocks gently on the door. The voice stops. VALET Open the door, Signore! Please! Be good now! We've brought you something special. Something you're going to love. Silence. VALET Signore Salieri! Open the door. Come now. Be good! The voice of Old Salieri continues again, further off now, and louder. We hear a noise as if a window is being opened. OLD SALIERI Mozart! Mozart! I confess it! Listen! I confess! The two servants look at each other in alarm. Then the Valet hands the candlestick to the Cook and takes a sugared cake from the dish, scrambling as quickly as he can back down the stairs.\",\n \"EXT. THE STREET OUTSIDE SALIERI'S HOUSE - VIENNA - NIGHT The street is filled with people : ten cabs with drivers, five children, fifteen adults, two doormen, fifteen dancing couples and a sled and three dogs. It is a windy night. Snow is falling and whirling about. People are passing on foot, holding their cloaks tightly around them. Some of them are revelers in fancy dress : they wear masks on their faces or hanging around their necks, as if returning from parties. Now they are glancing up at the facade of the old house. The window above the street is open and Old Salieri stands there calling to the sky : a sharp - featured, white - haired Italian over seventy years old, wearing a stained dressing gown. OLD SALIERI Mozart! Mozart! I can not bear it any longer! I confess! I confess what I did! I'm guilty! I killed you! Sir I confess! I killed you! The door of the house bursts open. The Valet hobbles out, holding the sugared cake. The wind catches at his shawl. OLD SALIERI Mozart, perdonami! Forgive your assassin! Pietˆ! Pietˆ! Forgive your assassin! Forgive me! Forgive! Forgive! VALET -LRB- looking up to the window. -RRB- That's all right, Signore! He heard you! He forgave you! He wants you to go inside now and shut the window! Old Salieri stares down at him. Some of the passersby have now stopped and are watching this spectacle. VALET Come on, Signore! Look what I have for you! I ca n't give it to you from down here, can I? Old Salieri looks at him in contempt. Then he turns away back into the room, shutting the window with a bang. Through the glass, the old man stares down at the group of onlookers in the street. They stare back at him in confusion. BYSTANDER Who is that? VALET No one, sir. He'll be all right. Poor man. He's a little unhappy, you know. He makes a sign indicating ` crazy,' and goes back inside the house. The onlookers keep staring.\",\n \"INT. LANDING OUTSIDE OLD SALIERI'S SALON - NIGHT The Cook is standing holding the candlestick in one hand, the dish of cakes in the other. The Valet arrives, panting. VALET Did he open? The Cook, scared, shakes his head : no. The Valet again knocks on the door. VALET Here I am, Signore. Now open the door. He eats the sugared cake in his hand, elaborately and noisily. VALET Mmmm - this is good! This is the most delicious thing I ever ate, believe me! Signore, you do n't know what you're missing! Mmmm! We hear a thump from inside the bedroom. VALET Now that's enough, Signore! Open! We hear a terrible, throaty groaning. VALET If you do n't open this door, we're going to eat everything. There'll be nothing left for you. And I'm not going to bring you anything more. He looks down. From under the door we see a trickle of blood flowing. In horror, the two men stare at it. The dish of cakes falls from the Cook's hand and shatters. He sets the candlestick down on the floor. Both servants run at the door frantically - once, twice, three times - and the frail lock gives. The door flies open. Immediately, the stormy, frenzied opening of Mozart's Symphony No. 25 -LRB- the Little G Minor -RRB- begins. We see what the servants see.\",\n \"INT. OLD SALIERI'S SALON - NIGHT Old Salieri lies on the floor in a pool of blood, an open razor in his hand. He has cut his throat but is still alive. He gestures at them. They run to him. Barely, we glimpse the room - an old chair, old tables piled with books, a forte - piano, a chamber - pot on the floor - as the Valet and the Cook struggle to lift their old Master, and bind his bleeding throat with a napkin.\",\n \"INT. BALLROOM - NIGHT Twenty - five dancing couples, fifty guests, ten servants, full orchestra. As the music slows a little, we see a Masquerade Ball in progress. A crowded room of dancers is executing the slow portion of a dance fashionable in the early 1820's.\",\n \"EXT. STREET OUTSIDE SALIERI'S HOUSE - NIGHT As the fast music returns, we see Old Salieri being carried out of his house on a stretcher by two attendants, and placed in a horse - drawn wagon under the supervision of a middle - aged doctor in a tall hat. This is DOCTOR GULDEN. He gets in beside his patient. The driver whips up the horse, and the wagon dashes off through the still - falling snow.\",\n \"EXT. FOUR STREETS OF VIENNA AND\",\n \"INT. THE WAGON - NIGHT The wagon is galloping through the snowy streets of the city. Inside the conveyance we see Old Salieri wrapped in blankets, half - conscious, being held by the hospital attendants. Doctor Gulden stares at him grimly. The wagon arrives outside the General Hospital of Vienna.\",\n \"INT. A HOSPITAL CORRIDOR - LATE AFTERNOON A wide, white - washed corridor. Doctor Gulden is walking down it with a priest, a man of about forty, concerned, but somewhat self - important. This is Father VOGLER, Chaplain at the hospital. In the corridor as they walk, we note several patients - some of them visibly disturbed mentally. All patients wear white linen smocks. Doctor Gulden wears a dark frock - coat ; Vogler, a cassock. DOCTOR GULDEN He's going to live. It's much harder to cut your throat than most people imagine. They stop outside a door. DOCTOR GULDEN Here we are. Do you wish me to come in with you? VOGLER No, Doctor. Thank you. Vogler nods and opens the door.\",\n \"INT. OLD SALIERI'S HOSPITAL ROOM - LATE AFTERNOON A bare room - one of the best available in the General Hospital. It contains a bed, a table with candles, chairs, a small forte - piano of the early nineteenth century. As Vogler enters, Old Salieri is sitting in a wheel - chair, looking out the window. His back is to us. The priest closes the door quietly behind him. VOGLER Herr Salieri? Old Salieri turns around to look at him. We see that his throat is bandaged expertly. He wears hospital garb, and over it the Civilian Medal and Chain with which we will later see the EMPEROR invest him. OLD SALIERI What do you want? VOGLER I am Father Vogler. I am a Chaplain here. I thought you might like to talk to someone. OLD SALIERI About what? VOGLER You tried to take your life. You do remember that, do n't you? OLD SALIERI So? VOGLER In the sight of God that is a sin. OLD SALIERI What do you want? VOGLER Do you understand that you have sinned? Gravely. OLD SALIERI Leave me alone. VOGLER I can not leave alone a soul in pain. OLD SALIERI Do you know who I am? You never heard of me, did you? VOGLER That makes no difference. All men are equal in God's eyes. OLD SALIERI Are they? VOGLER Offer me your confession. I can offer you God's forgiveness. OLD SALIERI I do not seek forgiveness. VOGLER My son, there is something dreadful on your soul. Unburden it to me. I'm here only for you. Please talk to me. OLD SALIERI How well are you trained in music? VOGLER I know a little. I studied it in my youth. OLD SALIERI Where? VOGLER Here in Vienna. OLD SALIERI Then you must know this. He propels his wheelchair to the forte - piano, and plays an unrecognizable melody. VOGLER I ca n't say I do. What is it? OLD SALIERI I'm surprised you do n't know. It was a very popular tune in its day. I wrote it. How about this? He plays another tune. OLD SALIERI This one brought down the house when we played it first. He plays it with growing enthusiasm.\",\n \"INT. THE STAGE OF AN OPERA HOUSE - NIGHT - 1780'S We see the pretty soprano KATHERINA CAVALIERI, now about twenty - four, dressed in an elaborate mythological Persian costume, singing on stage. She's near the end of a very florid aria by Salieri. The audience applauds wildly.\",\n \"INT. OLD SALIERI'S HOSPITAL ROOM - LATE AFTERNOON - 1823 OLD SALIERI -LRB- taking his hands off the keys. -RRB- Well? VOGLER I regret it is not too familiar. OLD SALIERI Can you recall no melody of mine? I was the most famous composer in Europe when you were still a boy. I wrote forty operas alone. What about this little thing? Slyly he plays the opening measure of Mozart's Eine Kleine Nachtmusik. The priest nods, smiling suddenly, and hums a little with the music. VOGLER Oh, I know that! That's charming! I did n't know you wrote that. OLD SALIERI I did n't. That was Mozart. Wolfgang Amadeus Mozart. You know who that is? VOGLER Of course. The man you accuse yourself of killing. OLD SALIERI Ah - you've heard that? VOGLER All Vienna has heard that. OLD SALIERI -LRB- eagerly. -RRB- And do they believe it? VOGLER Is it true? OLD SALIERI Do you believe it? VOGLER Should I? A very long pause. Salieri stares above the priest, seemingly lost in his own private world. VOGLER For God's sake, my son, if you have anything to confess, do it now! Give yourself some peace! A further pause. VOGLER Do you hear me? OLD SALIERI He was murdered, Father! Mozart! Cruelly murdered. Pause. VOGLER -LRB- almost whispering. -RRB- Yes? Did you do it? Suddenly Old Salieri turns to him, a look of extreme innocence. OLD SALIERI He was my idol! I ca n't remember a time when I did n't know his name! When I was only fourteen he was already famous. Even in Legnago - the tiniest town in Italy - I knew of him.\",\n \"EXT. A SMALL TOWN SQUARE IN LOMBARDY, ITALY - DAY - 1780'S There are twelve children and twenty adults in the square. We see the fourteen - year - old Salieri blindfolded, playing a game of Blindman's Bluff with other Italian children, running about in the bright sunshine and laughing. OLD SALIERI -LRB- V.O. -RRB- I was still playing childish games when he was playing music for kings and emperors. Even the Pope in Rome!\",\n \"INT. A SALON IN THE VATICAN - DAY - 1780'S We see the six - year - old MOZART, also blindfolded, seated in a gilded chair on a pile of books, playing the harpsichord for the POPE and a suite of CARDINALS and other churchmen. Beside the little boy stands LEOPOLD, his father, smirking with pride. OLD SALIERI -LRB- V.O. -RRB- I admit I was jealous when I heard the tales they told about him. Not of the brilliant little prodigy himself, but of his father, who had taught him everything. The piece finishes. Leopold lowers the lid of the harpsichord and lifts up his little son to stand on it. Mozart removes the blindfold to show a pale little face with staring eyes. Both father and son bow. A Papal Chamberlain presents Leopold with a gold snuff box whilst the cardinals decorously applaud. Over this scene Old Salieri speaks. OLD SALIERI -LRB- V.O. -RRB- My father did not care for music. He wanted me only to be a merchant, like himself. As anonymous as he was. When I told how I wished I could be like Mozart, he would say, Why? Do you want to be a trained monkey? Would you like me to drag you around Europe doing tricks like a circus freak? How could I tell him what music meant to me?\",\n \"EXT. A COUNTRY CHURCH IN NORTH ITALY - DAY - 1780'S Serene music of the Italian Baroque - Pergolesi's Stabat Mater - sung by a choir of boys with organ accompaniment. We see the outside of the 17th - century church sitting in the wide landscape of Lombardy : sunlit fields, a dusty, white road, poplar trees.\",\n \"INT. THE CHURCH AT LEGNAGO - DAY - 1780'S The music continues and swells. We see the twelve - year - old Salieri seated between his plump and placid parents in the congregation, listening in rapture. His father is a heavy - looking, self - approving man, obviously indifferent to the music. A large and austere Christ on the cross hangs over the altar. Candles burn below his image. OLD SALIERI -LRB- V.O. -RRB- Even then a spray of sounded notes could make me dizzy, almost to falling. The boy falls forward on his knees. So do his parents and the other members of the congregation. He stares up at Christ who stares back at him. OLD SALIERI -LRB- V.O. -RRB- Whilst my father prayed earnestly to God to protect commerce, I would offer up secretly the proudest prayer a boy could think of. Lord, make me a great composer! Let me celebrate your glory through music - and be celebrated myself! Make me famous through the world, dear God! Make me immortal! After I die let people speak my name forever with love for what I wrote! In return I vow I will give you my chastity - my industry, my deepest humility, every hour of my life. And I will help my fellow man all I can. Amen and amen! The music swells to a crescendo. The candles flare. We see the Christ through the flames looking at the boy benignly. OLD SALIERI -LRB- V.O. -RRB- And do you know what happened? A miracle!\",\n \"INT. DINING ROOM IN THE SALIERI HOUSE - DAY - 1780'S CU, a large cooked fish on a thick china plate. Camera pulls back to show the Salieri family at dinner. Father Salieri sits at the head of the table, a napkin tucked into his chin. Mother Salieri is serving the fish into portions and handing them round. Two maiden aunts are in attendance, wearing black, and of course the young boy. Father Salieri receives his plate of fish and starts to eat greedily. Suddenly there is a gasp - he starts to choke violently on a fish bone. All the women get up and crowd around him, thumping and pummeling him, but it is in vain. Father Salieri collapses.\",\n \"INT. OLD SALIERI'S HOSPITAL ROOM - LATE AFTERNOON - 1823 OLD SALIERI Suddenly he was dead. Just like that! And my life changed forever. My mother said, Go. Study music if you really want to. Off with you! And off I went as quick as I could and never saw Italy again. Of course, I knew God had arranged it all ; that was obvious. One moment I was a frustrated boy in an obscure little town. The next I was here, in Vienna, city of musicians, sixteen years old and studying under Gluck! Gluck, Father. Do you know who he was? The greatest composer of his time. And he loved me! That was the wonder. He taught me everything he knew. And when I was ready, introduced me personally to the Emperor! Emperor Joseph - the musical king! Within a few years I was his court composer. Was n't that incredible? Imperial Composer to His Majesty! Actually the man had no ear at all, but what did it matter? He adored my music, that was enough. Night after night I sat right next to the Emperor of Austria, playing duets with him, correcting the royal sight - reading. Tell me, if you had been me, would n't you have thought God had accepted your vow? And believe me, I honoured it. I was a model of virtue. I kept my hands off women, worked hours every day teaching students, many of them for free, sitting on endless committees to help poor musicians - work and work and work, that was all my life. And it was wonderful! Everybody liked me. I liked myself. I was the most successful musician in Vienna. And the happiest. Till he came. Mozart.\",\n \"INT. THE ARCHBISHOP OF SALZBURG'S RESIDENCE - VIENNA - DAY 1780'S A grand room crowded with guests. A small group of Gypsy musicians is playing in the background. Thirteen members of the Archbishop's orchestra - all wind players, complete with 18th - century wind instruments : elaborate - looking bassoons, basset horns, etc. and wearing their employer's livery - are laying out music on stands at one end of the room. At the other end is a large gilded chair, bearing the arms of the ARCHBISHOP OF SALZBURG. A throng of people is standing, talking, and preparing to sit upon the rows of waiting chairs to hear a concert. OLD SALIERI -LRB- V.O. -RRB- One day he came to Vienna to play some of his music at the residence of his employer, the Prince - Archbishop of Salzburg. Eagerly I went there to seek him out. That night changed my life. We see Salieri, age thirty - one, a neat, carefully turned - cut man in decent black clothes and clean white linen, walking through the crowd of guests. We follow him. OLD SALIERI -LRB- V.O. -RRB- As I went through the salon, I played a game with myself. This man had written his first concerto at the age of four ; his first symphony at seven ; a full - scale opera at twelve. Did it show? Is talent like that written on the face? We see shots of assorted young men staring back at Salieri as he moves through the crowd. OLD SALIERI -LRB- V.O. -RRB- Which one of them could he be? Some of the men recognize Salieri and bow respectfully. Then suddenly a servant bearing a large tray of cakes and pastries stalks past. Instantly riveted by the sight of such delights, Salieri follows him out of the Grand Salon.\",\n \"INT. A PALACE CORRIDOR - DAY - 1780'S The servant marches along bearing his tray of pastries aloft. Salieri follows him. The servant turns into :\",\n \"INT. BUFFET ROOM IN THE PALACE - DAY - 1780'S Salieri's POV : several tables, dressed to the floor with cloths are loaded with many plates of confectionery. It is, in fact, Salieri's idea of paradise! The servant puts his tray down on one of the tables and withdraws from the room.\",\n \"INT. A PALACE CORRIDOR - DAY - 1780'S Salieri turns away so as not to be noticed by the servant. As soon as the man disappears, Salieri sneaks into the buffet room.\",\n \"INT. BUFFET ROOM IN THE PALACE - DAY - 1780'S Salieri enters the room and looks about him cautiously. He is salivating with anticipation as he stares at the feast of sweet things. His attention is attracted in particular by a huge pile of dark chocolate balls arranged in the shape of a pineapple. He reaches out a hand to steal one of the balls, but at the same moment he hears giggling coming toward him. He ducks down behind the pastry table. A girl - CONSTANZE - rushes into the room. She runs straight across it and hides herself behind one of the tables. After a beat of total silence, MOZART runs into the room, stops, and looks around. He is age twenty - six, wearing a fine wig and a brilliant coat with the insignia of the Archbishop of Salzburg upon it. He is puzzled ; Constanze has disappeared. Baffled, he turns and is about to leave the room, when Constanze suddenly squeaks from under the cloth like a tiny mouse. Instantly Mozart drops to all fours and starts crawling across the floor, meowing and hissing like a naughty cat. Watched by an astonished Salieri, Mozart disappears under the cloth and obviously pounces upon Constanze. We hear a high - pitched giggle, which is going to characterize Mozart throughout the film.\",\n \"INT. PALACE GRAND SALON - DAY - 1780'S The throng is mostly seated. The musicians are in their places, holding their various exotic - looking wind instruments ; the candles are all lit. A Majordomo appears and bangs his staff on the floor for attention. Immediately COLLOREDO, Prince - Archbishop of Salzburg enters. He is a small self - important figure of fifty in a wig, surmounted by a scarlet skullcap. He is followed by his Chamberlain, the Count ARCO. Everyone stands. The Archbishop goes to his throne and sits. His guests sit also. Arco gives the signal to start the music. Nothing happens. Instead, a wind musician gets up, approaches the Chamberlain and whispers in his ear. Arco in turn whispers to the Archbishop. ARCO Mozart is not here. COLLOREDO Where is he? ARCO They're looking for him, Your Grace.\",\n \"INT. A PALACE CORRIDOR - DAY - 1780'S Three servants are opening doors and looking into rooms going off the corridor.\",\n \"INT. PALACE GRAND SALON - DAY - 1780'S The guests are turning around and looking at the Archbishop. The musicians are watching. There is puzzlement and a murmur of comment. The Archbishop tightens his lip. COLLOREDO -LRB- to Arco. -RRB- We'll start without him.\",\n \"INT. PALACE BUFFET ROOM - DAY - 1780'S Mozart is on his knees before the tablecloth, which reaches to the floor. Under it is Constanze. We hear her giggling as he talks. MOZART Miaouw! Miaouw! Mouse - wouse? It's Puss - wuss, fangs - wangs. Paws - claws. Pounce - bounce! He grabs her ankle. She screams. He pulls her out by her leg. CONSTANZE Stop it. Stop it! They roll on the floor. He tickles her. CONSTANZE Stop it! MOZART I am! I am! I'm stopping it - slowly. You see! Look, I've stopped. Now we are going back. He tries to drag her back under the table. CONSTANZE No! No! No! MOZART Yes! Back! Back! Listen - do n't you know where you are? CONSTANZE Where? MOZART We are in the Residence of the Fartsbishop of Salzburg. CONSTANZE Fartsbishop! She laughs delightedly, then addresses an imaginary Archbishop. CONSTANZE Your Grace, I've got something to tell you. I want to complain about this man. MOZART Go ahead, tell him. Tell them all. They wo n't understand you anyway. CONSTANZE Why not? MOZART Because here everything goes backwards. People walk backwards, dance backwards, sing backwards, and talk backwards. CONSTANZE That's stupid. MOZART Why? People fart backwards. CONSTANZE Do you think that's funny? MOZART Yes, I think it's brilliant. You've been doing it for years. He gives a high pitched giggle. CONSTANZE Oh, ha, ha, ha. MOZART Sra - I'm - sick! Sra - I'm sick! CONSTANZE Yes, you are. You're very sick. MOZART No, no. Say it backwards, shit - wit. Sra - I'm - sick Say it backwards! CONSTANZE -LRB- working it out. -RRB- Sra - I'm - sick. Sick - kiss I'm - my Kiss my! Sra - I'm - sick - Kiss my arse! MOZART Em iram! Em iram! CONSTANZE No, I'm not playing this game. MOZART No, this is serious. Say it backwards. CONSTANZE No! MOZART Just say it - you'll see. It's very serious. Em iram! Em iram! CONSTANZE Iram - marry Em - marry me! No, no! You're a fiend. I'm not going to marry a fiend. A dirty fiend at that. MOZART Ui - vol - i - tub! CONSTANZE Tub - but i - tub - but I vol - love but I love ui - You. I love you! The mood becomes suddenly softer. She kisses him. They embrace. Then he spoils it. MOZART Tish - I'm tee. What's that? CONSTANZE What? MOZART Tish - I'm - tee. CONSTANZE Eat MOZART Yes. CONSTANZE Eat my - ah! Shocked, she strikes at him. At the same moment the music starts in the salon next door. We hear the opening of the Serenade for Thirteen Wind Instruments, K. MOZART My music! They've started! They've started without me! He leaps up, disheveled and rumpled and runs out of the room. Salieri watches in amazement and disgust.\",\n \"INT. PALACE CORRIDOR - DAY - 1780'S The music is louder. Mozart hastens towards the Grand Salon away from the buffet room, adjusting his dress as he goes.\",\n \"INT. GRAND SALON - DAY - 1780'S The opening of the Serenade is being tentatively conducted by the leader of the wind - musicians. Guests turn around as Mozart appears - bowing to the Archbishop - and walks with an attempt at dignity to the dais where the wind band is playing. The leader yields his place to the composer and Mozart smoothly takes over conducting. Constanze, deeply embarrassed, sneaks into the room and seats herself at the back.\",\n \"INT. PALACE BUFFET ROOM - DAY - 1780'S The music fades down. Salieri stands shocked from his inadvertent eavesdropping. After a second he moves almost in a trance toward the door ; the music dissolves.\",\n \"INT. GRAND SALON - DAY - 1780'S Mozart is conducting the Adagio from his Serenade -LRB- K. 361 -RRB-, guiding the thirteen wind instrumentalists. The squeezebox opening of the movement begins. Salieri appears at the door at the back of the salon. He stares in disbelief at Mozart. OLD SALIERI -LRB- V.O. -RRB- So that was he! That giggling, dirty - minded creature I'd just seen crawling on the floor. Mozart. The phenomenon whose legend had haunted my youth. Impossible. The music swells up and Salieri listens to it with eyes closed - amazed, transported - suddenly engulfed by the sound. Finally it fades down and away and changes into applause. Salieri opens his eyes. The audience is clearly delighted. Mozart bows to them, also delighted. Colloredo rises abruptly, and without looking at Mozart or applauding and leaves the Salon. Count Arco approaches the composer. Mozart turns to him, radiant. ARCO Follow me, please. The Archbishop would like a word. MOZART Certainly! He follows Arco out of the room, through a throng of admirers.\",\n \"INT. ANOTHER PALACE CORRIDOR - DAY - 1780'S Mozart and Arco walk side by side. They pass Salieri who is staring at Mozart in fascination. As they disappear, he steals toward the music stands, unable to help himself. MOZART Well, I think that went off remarkably well, do n't you? ARCO Indeed. MOZART These Viennese certainly know good music when they hear it. ARCO His Grace is very angry with you. MOZART What do you mean? They arrive at the door of Colloredo's private apartment. ARCO You are to come in here and ask his pardon. Arco opens the door.\",\n \"INT. ARCHBISHOP'S PRIVATE ROOM - DAY - 1780'S The Archbishop is sitting, chatting to quests. Among them are several ladies. Arco approaches him obsequiously. ARCO Your Grace. COLLOREDO Ah, Mozart. Why? MOZART Why what, sir? COLLOREDO Why do I have to be humiliated in front of my guests by one of my own servants? MOZART Humiliated? COLLOREDO How much provocation am I to endure from you? The more license I allow you, the more you take. The company watches this scene, deeply interested. MOZART If His Grace is not satisfied with me, he can dismiss me. COLLOREDO I wish you to return immediately to Salzburg. Your father is waiting for you there patiently. I will speak to you further when I come. MOZART No, Your Grace! I mean with all humility, no. I would rather you dismissed me. It's obvious I do n't satisfy. COLLOREDO Then try harder, Mozart. I have no intention of dismissing you. You will remain in my service and learn your place. Go now. He extends his hand to be kissed. Mozart does it with a furious grace, then leaves the room. As he opens the door we see :\",\n \"INT. PALACE CORRIDOR - DAY - 1780'S A group of people who have attended the concert, among them Constanze, are standing outside the private apartment. At sight of the composer they break into sustained applause. Mozart is suddenly delighted. He throws the door wide open so that the guests can see into the private apartment where the Archbishop sits - and he can see them. Colloredo is clearly discomfited by this reception of his employee. He smiles and bows uneasily, as they include him in the small ovation. Mozart stands in the corridor, out of the Archbishop's line of sight, bowing and giggling, and encouraging the applause for the Archbishop with conducting gestures. Suddenly irritated, Colloredo signs to Arco, who steps forward and shuts the door, ending the applause.\",\n \"INT. PALACE GRAND SALON - DAY - 1780'S Salieri, in this vast room, is standing and looking at the full score of the Serenade. He turns the pages back to the slow movement. Instantly, we again hear its lyrical strains. CU, Salieri, reading the score of the Adagio in helpless fascination. The music is played against his description of it. OLD SALIERI -LRB- V.O. -RRB- Extraordinary! On the page it looked nothing. The beginning simple, almost comic. Just a pulse - bassoons and basset horns - like a rusty squeezebox. Then suddenly - high above it - an oboe, a single note, hanging there unwavering, till a clarinet took over and sweetened it into a phrase of such delight! This was no composition by a performing monkey! This was a music I'd never heard. Filled with such longing, such unfulfillable longing, it had me trembling. It seemed to me that I was hearing a voice of God. Suddenly the music snaps off. Mozart stands before him as he lays down the score. MOZART Excuse me! He takes the score, bows, and struts briskly out of the room. Salieri stares uncomprehendingly after the jaunty little figure. OLD SALIERI -LRB- V.O. -RRB- But why?\",\n \"INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 OLD SALIERI Why? Would God choose an obscene child to be His instrument? It was not to be believed! This piece had to be an accident. It had to be!\",\n \"INT. PALACE DINING ROOM - DAY - 1780'S At the table sits the EMPEROR JOSEPH II, eating his frugal dinner and sipping goat's milk. He is an intelligent, dapper man of forty, wearing a military uniform. Around him but standing, are his Chamberlain, JOHANN VON STRACK : stiff and highly correct. COUNT ORSINI - ROSENBERG : a corpulent man of sixty, highly conscious of his position as Director of the Opera. BARON VON SWIETEN, the Imperial Librarian : a grave but kindly and educated man in his mid - fifties. FIRST KAPELLMEISTER GIUSEPPE BONNO : very Italian, cringing and time - serving, aged about seventy. And Salieri, wearing decorous black, as usual. At a side - table, two Imperial secretaries, using quill pens and inkstands, write down everything of importance that is said. JOSEPH How good is he, this Mozart? VON SWIETEN He's remarkable, Majesty. I heard an extraordinary serious opera of his last month. Idomeneo, King of Crete. ORSINI-ROSENBERG That? A most tiresome piece. I heard it, too. VON SWIETEN Tiresome? ORSINI-ROSENBERG A young man trying to impress beyond his abilities. Too much spice. Too many notes. VON SWIETEN Majesty, I thought it the most promising work I've heard in years. JOSEPH Ah - ha. Well then, we should make some effort to acquire him. We could use a good German composer in Vienna, surely? VON STRACK I agree, Majesty, but I'm afraid it's not possible. The young man is still in the pay of the Archbishop. JOSEPH Very small pay, I imagine. I'm sure he could be tempted with the right offer. Say, an opera in German for our National Theatre. VON SWIETEN Excellent, sire! ORSINI-ROSENBERG But not German, I beg your Majesty! Italian is the proper language for opera. All educated people agree on that. JOSEPH Ah - ha. What do you say, Chamberlain? VON STRACK In my opinion, it is time we had a piece in our own language, sir. Plain German. For plain people. He looks defiantly at Orsini - Rosenberg. JOSEPH Ah - ha. Kapellmeister? BONNO -LRB- Italian accent. -RRB- Majesty, I must agree with Herr Dirretore. Opera is an Italian art, solamente. German is - scusate - too bruta for singing, too rough. JOSEPH Ah - ha. Court Composer, what do you say? SALIERI I think it is an interesting notion to keep Mozart in Vienna, Majesty. It should really infuriate the Archbishop beyond measure - if that is your Majesty's intention. JOSEPH You are cattivo, Court Composer. -LRB- briskly, to Von Strack. -RRB- I want to meet this young man. Chamberlain, arrange a pleasant welcome for him. VON STRACK Yes, sir. JOSEPH Well. There it is.\",\n \"INT. BEDROOM IN SALIERI'S APARTMENT - DAY - 1780'S A somber room which serves both as a bedroom and a study. We see a four - poster bed. Also, a marble mantelpiece above which hangs a handsome cross in olivewood, bearing the figure of a severe Christ. Opposite this image sits Salieri at his desk, on which stands a pile of music paper, quill pens and ink. On one side of him is an open forte - piano on which he occasionally tries notes from the march he is composing, with some difficulty. He scratches notes out with his quill, and ruffles his hair - which we see without a powdered wig. There is a knock at the door. SALIERI Si. A servant admits LORL, a young lower - class girl, who appears carrying a basket in which is a box covered with a napkin. She has just come from the baker's shop. SALIERI Ah! Here she comes. Fraulein Lorl, good morning. LORL Good morning, sir. SALIERI What have you got for me today? Let me see. Greedily he unwraps the napkin and lifts the lid on the box. SALIERI Ah - ha! Siena macaroons - my favourites. Give my best thanks to the baker. LORL I will, sir. He takes a biscuit and eats. SALIERI Thank you. Are you well today, Fraulein Lorl? LORL Yes, thank you, sir. SALIERI Bene! Bene! She gives a little curtsey, flattered and giggling and is shown out. Salieri turns back to his work, chewing. He plays through a complete line of the march. He smiles, pleased with the result. SALIERI Grazie, Signore. He inclines his head to the Christ above the fireplace, and starts to play the whole march, including the phrase which pleased him.\",\n \"INT. A WIGMAKER'S SHOP - VIENNA - DAY - 1780'S The march continues on the forte - piano as we see Mozart, seated in front of a mirror, wearing an extravagant wig. On either side of him stands a SALESMAN, one of them holding another wig, equally extravagant. Mozart takes off the first wig, to reveal his own blonde hair, of which he is extremely proud, and hands it back. MOZART And the other one? The Salesman puts the second wig on his head. Mozart pulls a face of doubt in the mirror. MOZART And the other one? He takes it off and the other Salesman replaces it with the first wig on his head. MOZART Oh, they're both so beautiful, I ca n't decide. Why do n't I have two heads? He giggles. The music stops.\",\n \"INT. GRAND SALON - THE ROYAL PALACE - DAY - 1780'S A door opens. We glimpse in the next room the Emperor Joseph bidding goodbye to a group of military officers standing around a table. JOSEPH Good, good, good. He turns and comes into the salon, where another group awaits him. It consists of Von Strack, Orsini - Rosenberg, Bonno, Von Swieten and Salieri. The room contains several gilded chairs dotted about, and a forte - piano. JOSEPH Good morning, gentlemen. All bow and say, Good morning, Your Majesty! JOSEPH -LRB- to Von Strack. -RRB- Well, what do you have for me today? VON STRACK Your Majesty, Herr Mozart - JOSEPH Yes, what about him? VON STRACK He's here. JOSEPH Ah - ha. Well. There it is. Good. SALIERI Majesty, I hope you wo n't think it improper, but I have written a little March of Welcome in his honour. He produces a paper. JOSEPH What a charming idea. May I see? SALIERI -LRB- handing it over. -RRB- It's just a trifle, of course. JOSEPH May I try it? SALIERI Majesty. The Emperor goes to the instrument, sits and plays the first bars of it. Quite well. JOSEPH Delightful, Court Composer. Would you permit me to play it as he comes in? SALIERI You do me too much honour, Sire. JOSEPH Let's have some fun. -LRB- to the waiting Majordomo. -RRB- Bring in Herr Mozart, please. But slowly, slowly. I need a minute to practice. The Majordomo bows and goes. The Emperor addresses himself to the march. He plays a wrong note. SALIERI A - flat, Majesty. JOSEPH Ah - ha!\",\n \"INT. PALACE CORRIDOR - VIENNA - DAY - 1780'S Taking his instructions literally, the Majordomo is marching very slowly toward the salon door. He is followed by a bewildered Mozart, dressed very stylishly and wearing one of the wigs from the perruqier.\",\n \"INT. ROYAL PALACE GRAND SALON - DAY - 1780'S Joseph finishes the march. The door opens. MAJORDOMO Herr Mozart. Mozart comes in eagerly. Immediately the march begins, played by His Majesty. All the courtiers stand, listening with admiration. Joseph plays well, but applies himself fiercely to the manuscript. Mozart, still bewildered, regards the scene, but does not seem to pay attention to the music itself. It finishes and all clap obsequiously. ORSINI-ROSENBERG Bravo, Your Majesty! VON STRACK Well done, Sire! The Emperor rises, pleased with himself. He snatches the manuscript off the stand and holds it in his hand for the rest of the scene. JOSEPH Gentlemen, gentlemen, a little less enthusiasm, I beg you. Ah, Mozart. He extends his hand. Mozart throws himself to his knees, and to Joseph's discomfort kisses the royal hand with fervour. MOZART Your Majesty! JOSEPH No, no, please! It is not a holy relic. -LRB- raising Mozart up. -RRB- You know we have met already? In this very room. Perhaps you wo n't remember it, you were only six years old. -LRB- to the others. -RRB- He was giving the most brilliant little concert here. As he got off the stool, he slipped and fell. My sister Antoinette helped him up herself, and do you know what he did? Jumped straight into her arms and said, Will you marry me, yes or no? Embarrassed, Mozart bursts into a wild giggle. Joseph helps him out. JOSEPH You know all these gentlemen, I'm sure. Von Strack and Bonno nod. JOSEPH The Baron Von Swieten. VON SWIETEN I'm a great admirer of yours, young man. Welcome. MOZART Oh, thank you. JOSEPH The Director of our Opera. Count Orsini - Rosenberg. MOZART -LRB- bowing excitedly. -RRB- Oh sir, yes! The honour is mine. Absolutely. Orsini - Rosenberg nods without enthusiasm. JOSEPH And here is our illustrious Court Composer, Herr Salieri. SALIERI -LRB- taking his hand. -RRB- Finally! Such an immense joy. Diletto straordinario! MOZART I know your work well, Signore. Do you know I actually composed some variations on a melody of yours? SALIERI Really? MOZART Mio caro Adone. SALIERI Ah! MOZART A funny little tune, but it yielded some good things. JOSEPH And now he has returned the compliment. Herr Salieri composed that March of Welcome for you. MOZART -LRB- speaking expertly. -RRB- Really? Oh, grazie, Signore! Sono commosso! E un onore per mo eccezionale. Compositore brilliante e famossissimo! He bows elaborately. Salieri inclines himself, dryly. SALIERI My pleasure. JOSEPH Well, there it is. Now to business. Young man, we are going to commission an opera from you. What do you say? MOZART Majesty! JOSEPH -LRB- to the courtiers. -RRB- Did we vote in the end for German or Italian? ORSINI-ROSENBERG Well, actually, Sire, if you remember, we did finally incline to Italian. VON STRACK Did we? VON SWIETEN I do n't think it was really decided, Director. MOZART Oh, German! German! Please let it be German. JOSEPH Why so? MOZART Because I've already found the most wonderful libretto! ORSINI-ROSENBERG Oh? Have I seen it? MOZART I - I do n't think you have, Herr Director. Not yet. I mean, it's quite n - Of course, I'll show it to you immediately. ORSINI-ROSENBERG I think you'd better. JOSEPH Well, what is it about? Tell us the story. MOZART It's actually quite amusing, Majesty. It's set - the whole thing is set in a - in a - He stops short with a little giggle. JOSEPH Yes, where? MOZART In a Pasha's Harem, Majesty. A Seraglio. JOSEPH Ah - ha. ORSINI-ROSENBERG You mean in Turkey? MOZART Exactly. ORSINI-ROSENBERG Then why especially does it have to be in German? MOZART Well not especially. It can be in Turkish, if you really want. I do n't care. He giggles again. Orsini - Rosenberg looks at him sourly. VON SWIETEN -LRB- kindly. -RRB- My dear fellow, the language is not finally the point. Do you really think that subject is quite appropriate for a national theatre? MOZART Why not? It's charming. I mean, I do n't actually show concubines exposing their! their! It's not indecent! -LRB- to Joseph. -RRB- It's highly moral, Majesty. It's full of proper German virtues. I swear it. Absolutely! JOSEPH Well, I'm glad to hear that. SALIERI Excuse me, Sire, but what do you think these could be? Being a foreigner, I would love to learn. JOSEPH Cattivo again, Court Composer. Well, tell him, Mozart. Name us a German virtue. MOZART Love, Sire! SALIERI Ah, love! Well of course in Italy we know nothing about that. The Italian faction - Orsini - Rosenberg and Bonno - laugh discreetly. MOZART No, I do n't think you do. I mean watching Italian opera, all those male sopranos screeching. Stupid fat couples rolling their eyes about! That's not love - it's just rubbish. An embarrassed pause. Bonno giggles in nervous amusement. MOZART Majesty, you choose the language. It will be my task to set it to the finest music ever offered a monarch. Pause. Joseph is clearly pleased. JOSEPH Well, there it is. Let it be German. He nods - he has wanted this result all the time. He turns and makes for the door. All bow. Then he becomes aware of the manuscript in his hand. JOSEPH Ah, this is yours. Mozart does not take it. MOZART Keep it, Sire, if you want to. It is already here in my head. JOSEPH What? On one hearing only? MOZART I think so, Sire, yes. Pause. JOSEPH Show me. Mozart bows and hands the manuscript back to the Emperor. Then he goes to the forte - piano and seats himself. The others, except for Salieri, gather around the manuscript held by the King. Mozart plays the first half of the march with deadly accuracy. MOZART -LRB- to Salieri. -RRB- The rest is just the same, is n't it? He plays the first half again but stops in the middle of a phrase, which he repeats dubiously. MOZART That really does n't work, does it? All the courtiers look at Salieri. MOZART Did you try this? Would n't it be just a little more -? He plays another phrase. MOZART Or this - yes, this! Better. He plays another phrase. Gradually, he alters the music so that it turns into the celebrated march to be used later in The Marriage of Figaro, Non Piu Andrai. He plays it with increasing abandon and virtuosity. Salieri watches with a fixed smile on his face. The court watches, astonished. He finishes in great glory, takes his hands off the keys with a gesture of triumph - and grins.\",\n \"INT. BEDROOM IN SALIERI'S APARTMENT - DAY - 1780'S We see the olivewood cross. Salieri is sitting at his desk, staring at it. SALIERI Grazie, Signore. There is a knock at the door. He does not hear it, but sits on. Another knock, louder. SALIERI Yes? Lorl comes in. LORL Madame Cavalieri is here for her lesson, sir. SALIERI Bene. He gets up and enters :\",\n \"INT. MUSIC ROOM IN SALIERI'S APARTMENT - DAY - 1780'S KATHERINA CAVALIERI, a young, high - spirited soprano of twenty is waiting for him, dressed in a fashionable dress and wearing on her head an exotic turban of satin, with a feather. Lorl exits. CAVALIERI -LRB- curtseying to him. -RRB- Maestro. SALIERI Good morning. CAVALIERI -LRB- posing, in her turban. -RRB- Well? How do you like it? It's Turkish. My hairdresser tells me everything's going to be Turkish this year! SALIERI Really? What else did he tell you today? Give me some gossip. CAVALIERI Well, I heard you met Herr Mozart. SALIERI Oh? News travels fast in Vienna. CAVALIERI And he's been commissioned to write an opera. Is it true? SALIERI Yes. CAVALIERI Is there a part for me? SALIERI No. CAVALIERI How do you know? SALIERI Well even if there is, I do n't think you want to get involved with this one. CAVALIERI Why not? SALIERI Well, do you know where it's set, my dear? CAVALIERI Where? SALIERI In a harem. CAVALIERI What's that? SALIERI A brothel. CAVALIERI Oh! SALIERI A Turkish brothel. CAVALIERI Turkish? Oh, if it's Turkish, that's different. I want to be in it. SALIERI My dear, it will hardly enhance your reputation to be celebrated throughout Vienna as a singing prostitute for a Turk. He seats himself at the forte - piano. CAVALIERI Oh. Well perhaps you could introduce us anyway. SALIERI Perhaps. He plays a chord. She sings a scale, expertly. He strikes another chord. She starts another scale, then breaks off. CAVALIERI What does he look like? SALIERI You might be disappointed. CAVALIERI Why? SALIERI Looks and talent do n't always go together, Katherina. CAVALIERI -LRB- airily. -RRB- Looks do n't concern me, Maestro. Only talent interests a woman of taste. He strikes the chord again, firmly. Cavalieri sings her next scale, then another one, and another one, doing her exercises in earnest. As she hits a sustained high note the orchestral accompaniment in the middle of Martern Aller Arten from Il Seraglio comes in underneath and the music changes from exercises to the exceedingly florid aria. We DISSOLVE on the singer's face, and she is suddenly not merely turbaned, but painted and dressed totally in a Turkish manner, and we are on :\",\n \"INT. OPERA STAGE - VIENNA - 1780'S The heroine of the opera -LRB- Cavalieri -RRB- is in full cry addressing the Pasha with scorn and defiance. The house is full. Watching the performance - which is conducted by Mozart from the clavier in the midst of the orchestra - we note Von Strack, Orsini - Rosenberg, Bonno and Von Swieten, all grouped around the Emperor, in a box. In another box we see an overdressed, middle - aged woman and three girls, one of whom is Constanze. This is the formidable MADAME WEBER and her three daughters, Constanze, JOSEFA and SOPHIE. All are enraptured by the spectacle and Madame Weber is especially enraptured by being there at all. Not so, Salieri, who sits in another box, coldly watching the stage. Cavalieri is singing Martern aller Arten from the line Doch du bist entschlossen. CAVALIERI Since you are determined, Since you are determined, Calmly, with no ferment, Welcome - every pain and woe. Bind me then - compel me! Bind me then - compel me! Hurt me. Break me! Kill me! At last I shall be freed by death! After a few moments of this showy aria, with the composer and the singer staring at each other - he conducting elaborately for her benefit, and she following his beat with rapturous eyes - the music fades, and Salieri speaks over it. OLD SALIERI -LRB- V.O. -RRB- There she was. I had no idea where they met - or how - yet there she stood on stage for all to see. Showing off like the greedy songbird she was. Ten minutes of ghastly scales and arpeggios, whizzing up and down like fireworks at a fairground. Music up again for the last 30 bars of the aria. CAVALIERI -LRB- singing. -RRB- Be freed at last by death! Be freed at last by death! At last I shall be freed By! Death! Before the orchestral coda ends, cut to :\",\n \"INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 Through the window we see that night has fallen. OLD SALIERI Understand, I was in love with the girl. Or at least in lust. I was n't a saint. It took me the most tremendous effort to be faithful to my vow. I swear to you I never laid a finger on her. All the same, I could n't bear to think of anyone else touching her - least of all the Creature.\",\n \"INT. THE OPERA HOUSE - VIENNA - NIGHT - 1780'S The brilliant Turkish finale of Seraglio bursts over us. All the cast is lined up on stage. Mozart is conducting with happy excitement. CAST OF SERAGLIO -LRB- singing. -RRB- Pasha Selim May he Live forever! Ever, ever, ever, ever! Honour to his regal name! Honour to his regal name! May his noble brow emblazon Glory, fortune, joy and fame! Honour be to Pasha Selim Honour to his regal name! Honour to his regal name! The curtains fall. Much applause. The Emperor claps vigorously and - following his lead - so do the courtiers. The curtains part. Mozart applauds the singers who applaud him back. He skips up onto the stage amongst them. The curtains fall again as they all bow. In the auditorium, the chandeliers descend, filling it with light.\",\n \"INT. OPERA HOUSE STAGE - VIENNA - NIGHT - 1780'S The curtains are down, and an excited hubbub of singers in costume surround Mozart and Cavalieri, all excited and chattering. Suddenly a hush. The Emperor is seen approaching from the wings, lit by flunkies holding candles. Von Strack, Orsini - Rosenberg and Von Swieten, amongst others, follow him. Also Salieri. The singers line up. Joseph stops at Cavalieri who makes a deep curtsey. JOSEPH Bravo, Madame. You are an ornament to our stage. CAVALIERI Majesty. JOSEPH -LRB- to Salieri. -RRB- And to you, Court Composer. Your pupil has done you great credit.\",\n \"INT. BACKSTAGE CORRIDOR - VIENNA - NIGHT - 1780'S MADAME WEBER Let us pass, please! Let us pass at once! We're with the Emperor. FLUNKY I am sorry, Madame. It is not permitted. MADAME WEBER Do you know who I am? -LRB- pointing to Constanze. -RRB- This is my daughter. I am Frau Weber. We are favoured guests! FLUNKY I am sorry, Madame, but I have my orders. MADAME WEBER Call Herr Mozart! You call Herr Mozart immediately! This is insupportable! CONSTANZE Mother, please! MADAME WEBER Go ahead, Constanze. Just ignore this fellow. -LRB- pushing her. -RRB- Go ahead, dear! FLUNKY -LRB- barring the way. -RRB- I am sorry, Madame, but no! I can not let anyone pass. MADAME WEBER Young man, I am no stranger to theatres. I'm no stranger to insolence!\",\n \"INT. OPERA HOUSE STAGE - VIENNA - NIGHT - 1780'S All are applauding Cavalieri. The Emperor turns to Mozart. JOSEPH Well, Herr Mozart! A good effort. Decidedly that. An excellent effort! You've shown us something quite new today. Mozart bows frantically : he is over - excited. MOZART It is new, it is, is n't it, Sire? JOSEPH Yes, indeed. MOZART And German? JOSEPH Oh, yes. Absolutely. German. Unquestionably! MOZART So then you like it? You really like it, Your Majesty? JOSEPH Of course I do. It's very good. Of course now and then - just now and then - it gets a touch elaborate. MOZART What do you mean, Sire? JOSEPH Well, I mean occasionally it seems to have, how shall one say? -LRB- he stops in difficulty ; to Orsini - Rosenberg. -RRB- How shall one say, Director? ORSINI-ROSENBERG Too many notes, Your Majesty? JOSEPH Exactly. Very well put. Too many notes. MOZART I do n't understand. There are just as many notes, Majesty, as are required. Neither more nor less. JOSEPH My dear fellow, there are in fact only so many notes the ear can hear in the course of an evening. I think I'm right in saying that, are n't I, Court Composer? SALIERI Yes! yes! er, on the whole, yes, Majesty. MOZART -LRB- to Salieri. -RRB- But this is absurd! JOSEPH My dear, young man, do n't take it too hard. Your work is ingenious. It's quality work. And there are simply too many notes, that's all. Cut a few and it will be perfect. MOZART Which few did you have in mind, Majesty? Pause. General embarrassment. JOSEPH Well. There it is. Into this uncomfortable scene bursts a sudden eruption of noise and Madame Weber floods onto the stage, followed by her daughters. All turn to look at this amazing spectacle. MADAME WEBER Wolfi! Wolfi, my dear! She moves toward Mozart with arms outstretched in an absurd theatrical gesture, then sees the Emperor. She stares at him, mesmerized, her mouth open, unable even to curtsey. MADAME WEBER Oh! Mozart moves forward quickly. MOZART Majesty, this is Madame Weber. She is my landlady. JOSEPH Enchanted, Madame. MADAME WEBER Oh, Sire! such an honour! And, and, and these are my dear daughters. This is Constanze. She is the fiancee of Herr Mozart. Constanze curtsies. CU, of Cavalieri, astonished at the news. CU, of Salieri, watching her receive it. JOSEPH Really? How delightful. May I ask when you marry? MOZART Well - Well we have n't quite received my father's consent, Your Majesty. Not entirely. Not altogether. He giggles uncomfortably. JOSEPH Excuse me, but how old are you? MOZART Twenty - six. JOSEPH Well, my advice is to marry this charming young lady and stay with us in Vienna. MADAME WEBER You see? You see? I've told him that, Your Majesty, but he wo n't listen to me. Cavalieri is glaring at Mozart. Mozart looks hastily away from her. MADAME WEBER Oh, Your Majesty, you give such wonderful - such impeccable - such royal advice. I - I - May I? She attempts to kiss the royal hand, but faints instead. The Emperor contemplates her prone body and steps back a pace. JOSEPH Well. There it is. Strack. He nods pleasantly to all and leaves the stage, with his Chamberlain. All bow. Cavalieri turns with a savage look at Mozart and leaves the stage the opposite way, to her dressing room, tossing her plumed head. Salieri watches. Mozart stays for a second, indecisive whether to follow the soprano or help Madame Weber. CONSTANZE -LRB- to Mozart. -RRB- Get some water! He hurries away. The daughters gather around Madame Weber.\",\n \"INT. CAVALIERI'S DRESSING ROOM - NIGHT - 1780'S Katherina sits fuming at her mirror. A dresser is taking the pins out of her wig as she stares straight ahead of her. Mozart sticks his head round the door. MOZART Katherina! I'll tell you what I'm going to do. I'm going to write another aria for you. Something even more amazing for the second act. I have to get some water. Her mother is lying on the stage. CAVALIERI Do n't bother! MOZART What? CAVALIERI Do n't bother. MOZART I'll be right back. He dashes off.\",\n \"INT. OPERA HOUSE STAGE - VIENNA - NIGHT - 1780'S Constanze and Mozart make their way quickly through a crowd of actors in turbans and caftans, and stagehands carrying bits of the dismantled set of Seraglio. We see all the turmoil of backstage after a performance. A fireman passes Mozart carrying a small bucket of water. Mozart snatches it from him and pushes his way through the crowd to Madame Weber, who still lies prone on the stage. Mozart pushes through the crowd surrounding her and throws water on her face. She is instantly revived by the shock. Constanze assists her to rise. CONSTANZE Are you all right? Instead of being furious, Madame Weber smiles at them rapturously. MADAME WEBER Ah, what an evening! What a wise man we have for an Emperor. Oh, my children! -LRB- with sudden, hard briskness. -RRB- Now I want you to write your father exactly what His Majesty said. The activity continues to swirl around them. MOZART You should really go home now, Frau Weber. Your carriage must be waiting. MADAME WEBER But are n't you taking us? MOZART I have to talk to the singers. MADAME WEBER That's all right ; we'll wait for you. Just do n't take all night.\",\n \"INT. CAVALIERI'S DRESSING ROOM - NIGHT - 1780'S Cavalieri, still in costume, is marching up and down, very agitated. CAVALIERI Did you know? Had you heard? SALIERI What? CAVALIERI The marriage! SALIERI Well, what does it matter to you? CAVALIERI Nothing! He can marry who he pleases. I do n't give a damn. She catches him looking at her and tries to compose herself. CAVALIERI How was I? Tell me honestly. SALIERI You were sublime. CAVALIERI What did you think of the music? SALIERI Extremely clever. CAVALIERI Meaning you did n't like it. Mozart comes in unexpectedly. MOZART Oh - excuse me! CAVALIERI Is her mother still lying on the floor? MOZART No, she's fine. CAVALIERI I'm so relieved. She seats herself at her mirror and removes her wig. SALIERI Dear Mozart, my sincere congratulations. MOZART Did you like it, then? SALIERI How could I not? MOZART It really is the best music one can hear in Vienna today. Do n't you agree? CAVALIERI Is she a good fuck? MOZART What? CAVALIERI I assume she's the virtuoso in that department. There ca n't be any other reason you'd marry someone like that. Salieri looks astonished. There is a knock on the door. CAVALIERI Come in! The door opens. Constanze enters. CONSTANZE Excuse me, Wolfi. Mama is not feeling very well. Can we leave now? MOZART Of course. CAVALIERI No, no, no, no. You ca n't take him away now. This is his night. Wo n't you introduce us, Wolfgang? MOZART Excuse us, Fraulein. Good night, Signore. Mozart hurries Constanze out of the door. Cavalieri looks after them as they go, her voice breaking and rising out of control. CAVALIERI You really are full of surprises, are n't you? You are quite extraordinary, you little shit! She turns and collapses, crying with rage, into Salieri's arms. We focus on him. OLD SALIERI -LRB- V.O. -RRB- At that moment I knew beyond any doubt. He'd had her. The Creature had had my darling girl.\",\n \"INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1820'S The old man speaks passionately to the priest. OLD SALIERI It was incomprehensible. What was God up to? Here I was denying all my natural lust in order to deserve God's gift and there was Mozart indulging his in all directions - even though engaged to be married! - and no rebuke at all! Was it possible I was being tested? Was God expecting me to offer forgiveness in the face of every offense, no matter how painful? That was very possible. All the same, why him? Why use Mozart to teach me lessons in humility? My heart was filling up with such hatred for that little man. For the first time in my life I began to know really violent thoughts. I could n't stop them. VOGLER Did you try? OLD SALIERI Every day. Sometimes for hours I would pray!\",\n \"INT. SALIERI'S APARTMENT - BEDROOM - DAY - 1780'S The young Salieri is kneeling in desperation before the Cross. SALIERI Please! Please! Send him away, back to Salzburg. For his sake as well as mine. CU, Christ staring from the Cross.\",\n \"INT. AUDIENCE HALL - ARCHBISHOP'S PALACE - SALZBURG - DAY 1780'S We see Leopold kneeling now not to the Cross but to Archbishop Colloredo, sitting impassively on his throne. Count Arco stands beside him. Leopold is a desperate, once - handsome man of sixty, now far too much the subservient courtier. COLLOREDO No! I wo n't have him back. LEOPOLD But he needs to be here in Salzburg, Your Grace. He needs me and he needs you. Your protection, your understanding. COLLOREDO Hardly. LEOPOLD Oh sir, yes! He's about to make the worst mistake of his life. Some little Viennese slut is trying to trick him into marriage. I know my son. He is too simple to see the trap - and there is no one there who really cares for him. COLLOREDO I'm not surprised. Money seems to be more important to him than loyalty or friendship. He has sold himself to Vienna. Let Vienna look out for him. LEOPOLD Sir - COLLOREDO Your son is an unprincipled, spoiled, conceited brat. LEOPOLD Yes, sir, that's the truth. But do n't blame him. The fault is mine. I was too indulgent with him. But not again. Never again, I promise! I implore you - let me bring him back here. I'll make him give his word to serve you faithfully. COLLOREDO And how will you make him keep it? LEOPOLD Oh, sir, he's never disobeyed me in anything. Please, Your Grace, give him one more chance. COLLOREDO You have leave to try. LEOPOLD Oh, Your Grace - I thank Your Grace! I thank you! In deepest gratitude he kisses the Archbishop's hand. He motions Leopold to rise. We hear the first dark fortissimo chord which begins the Overture to Don Giovanni : the theme associated with the character of the Commendatore. LEOPOLD -LRB- V.O. -RRB- My dear son. The second fortissimo chord sounds.\",\n \"INT. A BAROQUE CHURCH - DAY - 1780'S We see a huge CU, of Mozart's head, looking front and down, as if reading his father's letter. We hear Leopold's voice over this image, no longer whining and anxious, but impressive. LEOPOLD -LRB- V.O. -RRB- I write to you with urgent news. I am coming to Vienna. Take no further steps toward marriage until we meet. You are too gullible to see your own danger. As you honour the father who has devoted his entire life to yours, do as I bid, and await my coming. MOZART I will. The camera pulls back to see that he is in fact kneeling beside Constanze. A PRIEST faces them. Behind them are Madame Weber, Josefa and Sophie Weber, and a very few others. Among them, a merry looking lady in bright clothes : the BARONESS WALDSTADTEN. PRIEST And will you, Constanze Weber, take this man, Wolfgang to be your lawful husband? CONSTANZE I will. PRIEST I now pronounce you man and wife. The opening kyrie of the great Mass in C Minor is heard. Mozart and Constanze kiss. They are in tears. Madame Weber and her daughters look on approvingly. The music swells and continues under the following :\",\n \"INT. A ROOM IN LEOPOLD'S HOUSE - SALZBURG - NIGHT - 1780'S There is a view of a castle in background. Leopold sits alone in his room. He is reading a letter from Wolfgang. At his feet are his trunks, half - packed for the journey he will not now take. We hear Mozart's voice reading the following letter and we see, as the camera roves around the room, mementos of the young prodigy's early life : the little forte - piano made for him ; the little violin made for him ; an Order presented to him. We see a little starling in a wicker cage. And we see portraits of the boy on the walls, concluding with the familiar family portrait of Wolfgang and his sister Nannerl seated at the keyboard with Leopold standing, and the picture of their mother on the wall behind them. MOZART -LRB- V.O. -RRB- Most beloved father, it is done. Do not blame me that I did not wait to see your dear face. I knew you would have tried to dissuade me from my truest happiness and I could not have borne it. Your every word is precious to me. Remember how you have always told me Vienna is the City of Musicians. To conquer here is to conquer Europe! With my wife I can do it. I vow I will become regular in my habits and productive as never before. She is wonderful, Papa, and I know that you will love her. And one day soon when I am a wealthy man, you will come and live with us, and we will be so happy. I long for that day, best of Papas, and kiss your hand a hundred thousand times. The music of the Mass fades as Leopold crumples the letter in his hand.\",\n \"EXT. THE IMPERIAL GARDENS - VIENNA - DAY - 1780'S Salieri stands waiting, hat in hand. Beside him stands a royal servant. Behind him, gardeners are glimpsed tending the shrubs and bushes along a grassy ride. Down this ride are seen cantering two people on horseback : the Emperor Joseph and his niece, the PRINCESS ELIZABETH. They are mounted on glossy horses. The Princess rides side - saddle. Running beside her is a panting groom. The Emperor rides elegantly ; his niece, a dumpy little Hapsburg girl of sixteen, like a sack of potatoes. As they draw level with Salieri they stop, and the groom holds the head of the Princess' horse. Salieri bows respectfully. JOSEPH Good morning, Court Composer. This is my niece, the Princess Elizabeth. SALIERI Your Highness. Out of breath, the Princess nods nervously. JOSEPH She has asked me to advise her on a suitable musical instructor. I think I've come up with an excellent idea. He smiles at Salieri. SALIERI Oh, Your Majesty, it would be such a tremendous honour! JOSEPH I'm thinking about Herr Mozart. What is your view? Salieri's face falls, almost imperceptibly. SALIERI An interesting idea, Majesty. But - JOSEPH Yes? SALIERI You already commissioned an opera from Mozart. JOSEPH And the result satisfies. SALIERI Yes, of course. My concern is to protect you from any suspicion of favouritism. JOSEPH Ah - ha. Favouritism. But I so want Mozart. SALIERI I'm sure there is a way, Majesty. Some kind of a little contest. I could perhaps put together a small Committee, and I could see to it naturally that it will select according to Your Majesty's wishes. JOSEPH You please me, Court Composer. A very clever idea. SALIERI -LRB- bowing. -RRB- Sire. JOSEPH Well. There it is. He rides on. The groom releases her horse's head, and runs on after the Princess.\",\n \"INT. CHAMBERLAIN VON STRACK'S STUDY - DAY - 1780'S Von Strack sits stiffly behind his gilded desk. Mozart stands before him, trembling with anger. MOZART What is this, Herr Chamberlain? VON STRACK What is what? MOZART Why do I have to submit samples of my work to some stupid committee? Just to teach a sixteen - year - old girl. VON STRACK Because His Majesty wishes it. MOZART Is the Emperor angry with me? VON STRACK On the contrary. MOZART Then why does n't he simply appoint me to the post? VON STRACK Mozart, you are not the only composer in Vienna. MOZART No, but I'm the best. VON STRACK A little modesty would suit you better. MOZART Who is on this committee? VON STRACK Kapellmeister Bonno, Count Orsini - Rosenberg and Court Composer Salieri. MOZART Naturally, the Italians! Of course! Always the Italians! VON STRACK Mozart - MOZART They hate my music. It terrifies them. The only sound Italians understand is banality. Tonic and dominant, tonic and dominant, from here to Resurrection! -LRB- singing angrily. -RRB- Ba - ba! Ba - ba! Ba - ba! Ba - ba! Anything else is morbid. VON STRACK Mozart - MOZART Show them one interesting modulation and they faint. Ohime! Morbidezza! Morbidezza! Italians are musical idiots and you want them to judge my music! VON STRACK Look, young man, the issue is simple. If you want this post, you must submit your stuff in the same way as all your colleagues. MOZART Must I? Well, I wo n't! I tell you straight : I will not!\",\n \"INT. MOZART'S APARTMENT - BEDROOM - VIENNA - DAY - 1780'S The room is very small and untidy. Constanze is marching up and down it, upset. Mozart is lying on the bed. CONSTANZE I think you're mad! You're really mad! MOZART Oh, leave me alone. CONSTANZE One royal pupil and the whole of Vienna will come flocking. We'd be set up for life! MOZART They'll come anyway. They love me here. CONSTANZE No, they will not. I know how things work in this city. MOZART Oh yes? You always know everything. CONSTANZE Well, I'm not borrowing any more money from my mother, and that's that! MOZART You borrowed money from your mother? CONSTANZE Yes! MOZART Well, do n't do that again! CONSTANZE How are we going to live, Wolfi? Do you want me to go into the streets and beg? MOZART Do n't be stupid. CONSTANZE All they want to see is your work. What's wrong with that? MOZART Shut up! Just shut up! I do n't need them. CONSTANZE This is n't pride. It's sheer stupidity! She glares at him, almost in tears.\",\n \"INT. SALIERI'S MUSIC ROOM - LATE AFTERNOON - 1780'S Salieri is giving a lesson to a girl student, who is singing the Italian art song, Caro Mio Ben. There is a knock on the door. SALIERI Yes. A SERVANT enters. SERVANT Excuse me, sir, there is a lady who insists on talking to you. SALIERI Who is she? SERVANT She did n't say. But she says it's urgent. SALIERI -LRB- to the pupil. -RRB- Excuse me, my dear. Salieri goes into the salon.\",\n \"INT. THE SALON - LATE AFTERNOON - 1780'S Constanze stands, closely veiled, holding a portfolio stuffed with manuscripts. The singing lesson ends, with two chords on the instrument. Salieri enters the salon. Constanze drops him a shy curtsey. CONSTANZE Excellency! SALIERI Madame. How can I help you? Shyly, she unveils. SALIERI Frau Mozart? CONSTANZE That's right, Your Excellency. I've come on behalf of my hus band. I'm - I'm bringing some samples of his work so he can be considered for the royal appointment. SALIERI How charming. But why did he not come himself? CONSTANZE He's terribly busy, sir. SALIERI I understand. He takes the portfolio and puts it on a table. SALIERI I will look at them, of course, the moment I can. It will be an honour. Please give him my warmest. CONSTANZE Would it be too much trouble, sir, to ask you to look at them now? While I wait. SALIERI I'm afraid I'm not at leisure this very moment. Just leave them with me. I assure you they will be quite safe. CONSTANZE I - I really can not do that, Your Excellency. You see, he does n't know I'm here. SALIERI Really? CONSTANZE My husband is a proud man, sir. He would be furious if he knew I'd come. SALIERI Then he did n't send you? CONSTANZE No, sir. This is my own idea. SALIERI I see. CONSTANZE Sir, we really need this job. We're desperate. My husband spends far more than he can ever earn. I do n't mean he's lazy - he's not at all - he works all day long. It's just! he's not practical. Money simply slips through his fingers, it's really ridiculous, Your Excellency. I know you help musicians. You're famous for it. Give him just this one post. We'd be forever indebted! A short pause. SALIERI Let me offer you some refreshment. Do you know what these are? He indicates a dish piled high with glazed chestnuts. SALIERI Cappezzoli di Venere. Nipples of Venus. Roman chestnuts in brandied sugar. Wo n't you try one? They're quite surprising. He offers her the dish. She takes one and puts it in her mouth. He watches carefully. CONSTANZE Oh! They're wonderful. He takes one himself. We notice on his finger a heavy gold signet - ring. CONSTANZE Thank you very much, Your Excellency. SALIERI Do n't keep calling me that. It puts me at such a distance. I was not born a Court Composer, you know. I'm from a small town, just like your husband. He smiles at her. She takes another chestnut. SALIERI Are you sure you ca n't leave that music, and come back again? I have other things you might like. CONSTANZE That's very tempting, but it's impossible, I'm afraid. Wolfi would be frantic if he found those were missing. You see, they're all originals. SALIERI Originals? CONSTANZE Yes. A pause. He puts out his hand and takes up the portfolio from the table. He opens it. He looks at the music. He is puzzled. SALIERI These are originals? CONSTANZE Yes, sir. He does n't make copies.\",\n \"INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 The old man faces the Priest. OLD SALIERI Astounding! It was actually beyond belief. These were first and only drafts of music yet they showed no corrections of any kind. Not one. Do you realize what that meant? Vogler stares at him. OLD SALIERI He'd simply put down music already finished in his head. Page after page of it, as if he was just taking dictation. And music finished as no music is ever finished.\",\n \"INT. SALIERI'S SALON - LATE AFTERNOON - 1780'S CU, The manuscript in Mozart's handwriting. The music begins to sound under the following : OLD SALIERI -LRB- V.O. -RRB- Displace one note and there would be diminishment. Displace one phrase, and the structure would fall. It was clear to me. That sound I had heard in the Archbishop's palace had been no accident. Here again was the very voice of God! I was staring through the cage of those meticulous ink - strokes at an absolute, inimitable beauty. The music swells. What we now hear is an amazing collage of great passages from Mozart's music, ravishing to Salieri and to us. The Court Composer, oblivious to Constanze, who sits happily chewing chestnuts, her mouth covered in sugar, walks around and around his salon, reading the pages and dropping them on the floor when he is done with them. We see his agonized and wondering face : he shudders as if in a rough and tumbling sea ; he experiences the point where beauty and great pain coalesce. More pages fall than he can read, scattering across the floor in a white cascade, as he circles the room. Finally, we hear the tremendous Qui Tollis from the Mass in C Minor. It seems to break over him like a wave and, unable to bear any more of it, he slams the portfolio shut. Instantly, the music breaks off, reverberating in his head. He stands shaking, staring wildly. Constanze gets up, perplexed. CONSTANZE Is it no good? A pause. SALIERI It is miraculous. CONSTANZE Oh yes. He's really proud of his work. Another pause. CONSTANZE So, will you help him? Salieri tries to recover himself. SALIERI Tomorrow night I dine with the Emperor. One word from me and the post is his. CONSTANZE Oh, thank you, sir! Overjoyed, she stops and kisses his hand. He raises her - and then clasps her to him clumsily. She pushes herself away. SALIERI Come back tonight. CONSTANZE Tonight? SALIERI Alone. CONSTANZE What for? SALIERI Some service deserves service in return. No? CONSTANZE What do you mean? SALIERI Is n't it obvious? They stare at one another : Constanze in total disbelief. SALIERI It's a post all Vienna seeks. If you want it for your husband, come tonight. CONSTANZE But! I'm a married woman! SALIERI Then do n't. It's up to you. Not to be vague, that is the price. He glares at her. SALIERI Yes. He rings a silver bell for a servant and abruptly leaves the roam. Constanze stares after him, horrified. The servant enters. Shocked and stunned, Constanze goes down an her knees and starts picking up the music from the floor.\",\n \"INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 CU, Father Vogler, horrified. OLD SALIERI Yes, Father. Yes! So much for my vow of chastity. What did it matter? Good, patient, hard - working, chaste - what did it matter? Had goodness made me a good composer? I realized it absolutely then - that moment : goodness is nothing in the furnace of art. And I was nothing to God. VOGLER -LRB- crying out. -RRB- You can not say that! OLD SALIERI No? Was Mozart a good man? VOGLER God's ways are not yours. And you are not here to question Him. Offer him the salt of penitence. He will give you back the bread of eternal life. He is all merciful. That is all you need to know. OLD SALIERI All I ever wanted was to sing to Him. That's His doing, is n't it? He gave me that longing - then made me mute. Why? Tell me that. If He did n't want me to serve Him with music, why implant the desire, like a lust in my body, then deny me the talent? Go on, tell me! Speak for Him! VOGLER My son, no one can speak for God. OLD SALIERI Oh? I thought you did so every day. So speak now. Answer me! VOGLER I do not claim to unravel the mysteries. I treasure them. As you should. OLD SALIERI -LRB- impatiently. -RRB- Oh yes, yes, yes, yes, yes! Always the same stale answers! -LRB- intimately to the priest. -RRB- There is no God of Mercy, Father. Just a God of torture.\",\n \"INT. SALIERI'S APARTMENT - BEDROOM - NIGHT - 1780'S Salieri sits at his desk, staring up at the cross. OLD SALIERI -LRB- V.O. -RRB- Evening came to that room. I sat there not knowing whether the girl would return or not. I prayed as I'd never prayed before. SALIERI Dear God, enter me now. Fill me with one piece of true music. One piece with your breath in it, so I know that you love me. Please. Just one. Show me one sign of your favour, and I will show mine to Mozart and his wife. I will get him the royal position, and if she comes, I'll receive her with all respect and send her home in joy. Enter me! Enter me! Please! Te imploro. Long, long silence. Salieri stares at the cross. Christ stares back at him impassively. Finally in this silence we hear a faint knocking at the door. Salieri stirs himself. A servant appears. SERVANT That lady is back, sir. SALIERI Show her in. Then go to bed. The Servant bows and leaves. We follow him through :\",\n \"INT. MUSIC ROOM IN SALIERI'S APARTMENT - NIGHT - 1780'S The Servant crosses it and enters :\",\n \"INT. SALON IN SALIERI'S APARTMENT - NIGHT - 1780'S Constanze is sitting on an upright chair, veiled as before, the portfolio of music on her lap. Through the far door leading from the hall, another servant is peering at her. The first servant joins him and shuts the door on the girl, leaving her alone. We stay with her. The clock ticks on the mantelpiece. We hear an old carriage pass in the street below. Nervously she lifts her veil and looks about her. Suddenly Salieri appears from the music room. He is pale and very tight. They regard each other. She smiles and rises to greet him, affecting a relaxed and warm manner, as if to put him at his ease. CONSTANZE Well, I'm here. My husband has gone to a concert. He did n't think I would enjoy it. A pause. CONSTANZE I do apologize for this afternoon. I behaved like a silly girl. Where shall we go? SALIERI What? CONSTANZE Should we stay here? It's a charming room. I love these candlesticks. Were they here earlier? I did n't notice them I suppose I was too nervous. As she talks, she extinguishes the candles in a pair of Venetian candelabra and subsequently other candles around the room. CONSTANZE Wolfgang was given some candlesticks by King George in England, but they were only wood. Oh, excuse me. Let's not talk about him. What do you think of this? It's real lace. Brussels. She turns and takes off her shawl. CONSTANZE Well, it's much too good for every day. I keep saying to Wolfi, do n't be so extravagant. Presents are lovely, but we ca n't afford them. It does n't do any good. The more I tell him, the more he spends. Oh, excuse me! There I go again. She picks up the portfolio. CONSTANZE Do you still want to look at this? Or do n't we need to bother anymore? I imagine we do n't, really. She looks at him inquiringly, and drops the portfolio on the floor ; pages of music pour out of it. Instantly we hear a massive chord, and the great Qui Tollis from the Mass in C Minor fills the room. To its grand and weighty sound, Constanze starts to undress, watched by the horrified Salieri. Between him and her, music is an active presence, hurting and baffling him. He opens his mouth in distress. The music pounds in his head. The candle flickers over her as she removes her clothes and prepares for his embrace. Suddenly he cries out. SALIERI Go! Go! Go! He snatches up the bell and shakes it frantically, not stopping until the two servants we saw earlier appear at the door. The music stops abruptly. They stare at the appalled and frightened Constanze, who is desperately trying to cover her nakedness. SALIERI Show this woman out! Constanze hurls herself at him. CONSTANZE You shit! You shit! You rotten shit! He seizes her wrists and thrusts her back. Then he leaves the room quickly, slamming the door behind him. Constanze turns and sees the two servants goggling at her in the room. CONSTANZE What are you staring at? Wildly, she picks up the candelabrum and throws it at them. It shatters on the floor.\",\n \"INT. SALIERI'S APARTMENT - BEDROOM - NIGHT - 1780'S CU, Salieri standing, his eyes shut, shaking in distress. He opens them and sees Christ across the room, staring at him from the wall. OLD SALIERI -LRB- V.O. -RRB- From now on, we are enemies, You and I!\",\n \"INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 The old man is reliving the experience. Vogler looks at him, horrified. OLD SALIERI Because You will not enter me, with all my need for you ; because You scorn my attempts at virtue ; because You choose for Your instrument a boastful, lustful, smutty infantile boy and give me for reward only the ability to recognize the Incarnation ; because You are unjust, unfair, unkind, I will block You! I swear it! I will hinder and harm Your creature on earth as far as I am able. I will ruin Your Incarnation.\",\n \"INT. SALIERI'S APARTMENT - BEDROOM - NIGHT - 1780'S CU, the fireplace. In it lies the olivewood Christ on the cross, burning. OLD SALIERI -LRB- V.O. -RRB- What use after all is Man, if not to teach God His lessons? The cross flames up and disintegrates. Salieri stares at it.\",\n \"INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1780'S The front door bursts open. Mozart stumbles in, followed by EMMANUEL SCHIKANEDER, three young actresses, and another man, all fairly drunk. Schikaneder -LRB- who appears everywhere accompanied by young girls -RRB- is a large, fleshy, extravagant man of about thirty - five. MOZART Stanzi! Stanzi! Stanzi - Manzi! The others laugh. MOZART Sssh! SCHIKANEDER -LRB- imitating Mozart. -RRB- Stanzi - Manzi - Banzi - Wanzi! MOZART Sssh! Stay here. He walks unsteadily to the bedroom door and opens it. SCHIKANEDER -LRB- to the girls, very tipsy. -RRB- Sssh! You're dishgrashful!\",\n \"INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1780'S Constanze lies in bed, her back turned to her husband, who comes into the room and shuts the door. MOZART -LRB- playfully. -RRB- Stanzi? How's my mouse? Mouse - wouse? I'm back - puss - wuss is back! She turns around abruptly. She looks dreadful ; her eyes red with weeping. Mozart is shocked. MOZART Stanzi! He approaches the bed and sits on it. Immediately she starts crying again, desperately. MOZART What's the matter? What is it? Stanzi! He holds her and she clings to him in a fierce embrace, crying a flood of tears. MOZART Stop it now. Stop it. I've brought some friends to meet you. They're next door waiting. Do we have anything to eat? They're all starving. CONSTANZE Tell them to go away. I do n't want to see anybody. MOZART What's the matter with you? CONSTANZE Tell them to go! MOZART Sssh. What is it? Tell me. CONSTANZE No! MOZART Yes! CONSTANZE I love you! I love you! She starts crying again, throwing her arms around his neck. CONSTANZE I love you. Please stay with me. I'm frightened.\",\n \"INT. THE ROYAL PALACE - DINING ROOM - DAY - 1780'S Joseph sits eating. A butler serves him goat's milk to drink. Joseph is holding a memorandum from Salieri in his hand. Salieri stands before him. JOSEPH I do n't think you understand me, Court Composer. SALIERI Majesty, I did. Believe me, it was a most agonizing. decision. But finally, I simply could not recommend Herr Mozart. JOSEPH Why not? SALIERI Well, Sire, I made some inquiries in a routine way. I was curious to know why he had so few pupils. It is rather alarming. JOSEPH Oh? With a gesture Joseph dismisses the butler, who bows and leaves the room. SALIERI Majesty, I do n't like to talk against a fellow musician. JOSEPH Of course not. SALIERI I have to tell you, Mozart is not entirely to be trusted alone with young ladies. JOSEPH Really? SALIERI As a matter of fact, one of my own pupils - a very young singer - told me she was - er - well! JOSEPH Yes? SALIERI Molested, Majesty. Twice, in the course of the same lesson. A pause. JOSEPH Ah - ha. Well. There it is.\",\n \"INT. SALIERI'S HOUSE - STAIRCASE - VIENNA - DAY - 1780'S Salieri has just returned from the palace and is coming up the staircase. He is met by his servant. SERVANT Sir, there is a Herr Mozart waiting for you in the salon. Salieri is plainly alarmed. SALIERI What does he want? SERVANT He did n't say, sir. I told him I did n't know when you would be back, but he insisted on waiting. SALIERI Come with me. And stay in the room. He mounts the stairs.\",\n \"INT. SALIERI'S APARTMENT - SALON - DAY - 1780'S Mozart is waiting for Salieri, holding a portfolio. Salieri approaches him nervously. Mozart stands not belligerently, but humbly. SALIERI Herr Mozart, what brings you here? MOZART Your Excellency, you requested some specimens of my work. Here they are. I do n't have to tell you how much I need your help. I truly appreciate your looking at these. I have pressures on me - financial pressures. As you know, I'm a married man now. SALIERI So you are. How is your pretty wife? MOZART She is well. She is - well, actually, I'm about to become a father! She only told me last night. You are the first to know. SALIERI I'm flattered. And congratulations to you, of course. MOZART So you see, this post is very important to me right now. Salieri looks at him in distress. SALIERI Why did n't you come to me yesterday, Mozart? This is a most painful situation. Yesterday I could have helped you. Today, I ca n't. MOZART Why? Here is the music. It's here. I am submitting it humbly. Is n't that what you wanted? SALIERI I have just come from the palace. The post has been filled. MOZART Filled? That's impossible! They have n't even seen my work. I need this post. Please, ca n't you help me? Please! SALIERI My dear Mozart, there is no one in the world I would rather help, but now it is too late. MOZART Whom did they choose? SALIERI Herr Sommer. MOZART Sommer? Herr Sommer? But the man's a fool! He's a total mediocrity. SALIERI No, no, no : he has yet to achieve mediocrity. MOZART But I ca n't lose this post, I simply ca n't! Excellency, please. Let's go to the palace, and you can explain to the Emperor that Herr Sommer is an awful choice. He could actually do musical harm to the Princess! SALIERI An implausible idea. Between you and me, no one in the world could do musical harm to the Princess Elizabeth. Mozart chuckles delightedly. Salieri offers him a glass of white dessert and a spoon. Mozart takes it absently and goes on talking. MOZART Look, I must have pupils. Without pupils I ca n't manage. SALIERI You do n't mean to tell me you are living in poverty? MOZART No, but I'm broke. I'm always broke. I do n't know why. SALIERI It has been said, my friend, that you are inclined to live somewhat above your means. MOZART How can anyone say that? We have no cook, no maid. We have no footman. Nothing at all! SALIERI How is that possible? You give concerts, do n't you? I hear they are quite successful. MOZART They're stupendously successful. You ca n't get a seat. The only problem is none will hire me. They all want to hear me play, but they wo n't let me teach their daughters. As if I was some kind of fiend. I'm not a fiend! SALIERI Of course not. MOZART Do you have a daughter? SALIERI I'm afraid not. MOZART Well, could you lend me some money till you have one? Then I'll teach her for free. That's a promise. Oh, I'm sorry. I'm being silly. Papa's right - I should put a padlock on my mouth. Seriously, is there any chance you could manage a loan? Only for six months, eight at most. After that I'll be the richest man in Vienna. I'll pay you back double. Anything. Name your terms. I'm not joking. I'm working on something that's going to explode like a bomb all over Europe! SALIERI Ah, how exciting! Tell me more. MOZART I'd better not. It's a bit of a secret. SALIERI Come, come, Mozart ; I'm interested. Truly. MOZART Actually, it's a big secret. Oh, this is delicious! What is it? SALIERI Cream cheese mixed with granulated sugar and suffused with rum. Crema al Mascarpone. MOZART Ah. Italian? SALIERI Forgive me. We all have patriotic feelings of some kind. MOZART Two thousand, two hundred florins is all I need A hundred? Fifty? SALIERI What exactly are you working on? MOZART I ca n't say. Really SALIERI I do n't think you should become known in Vienna as a debtor, Mozart. However, I know a very distinguished gentleman I could recommend to you. And he has a daughter. Will that do?\",\n \"INT. MICHAEL SCHLUMBERG'S HOUSE - MORNING - 1780'S Hysterical barking and howling. The hall is full of dogs, at least five, all jumping up and dashing about and making a terrific racket. Mozart, dandified in a new coat and a plumed hat for the occasion, has arrived to teach at the house of a prosperous merchant, MICHAEL SCHLUMBERG. Bluff, friendly and coarse - looking, he stands in his hall amidst the leaping and barking animals, greeting Mozart. SCHLUMBERG Quiet! Quiet! Quiet! Down there, damn you. -LRB- to Mozart. -RRB- Welcome to you. Pay no attention, they're impossible. Stop it, you willful things! Come this way. Just ignore them. They're perfectly harmless, just willful. I treat them just like my own children. MOZART And which one of them do you want me to teach? SCHLUMBERG What? Ha - ha! That's funny - I like it. Which one, eh? You're a funny fellow. -LRB- shouting. -RRB- Hannah! Come this way. He leads Mozart through the throng of dogs into a salon furnished with comfortable middle - class taste. SCHLUMBERG Hannah! FRAU SCHLUMBERG appears : an anxious woman in middle life. SCHLUMBERG -LRB- to Mozart. -RRB- You wo n't be teaching this one either. She's my wife. MOZART -LRB- bowing. -RRB- Madame. SCHLUMBERG This is Herr Mozart, my dear. The young man Herr Salieri recommended to teach our Gertrude. Where is she? FRAU SCHLUMBERG Upstairs. SCHLUMBERG Gertrude! FRAU SCHLUMBERG You ca n't be Herr Mozart! MOZART I'm afraid I am. SCHLUMBERG Of course, it's him. Who do you think it is? FRAU SCHLUMBERG I've heard about you for ages! I thought you must be an old man. SCHLUMBERG Gertrude! FRAU SCHLUMBERG It's such an honour for us to have you here, Herr Mozart. And for Gertrude. SCHLUMBERG People who know say the girl's got talent. You must judge for yourself. If you think she stinks, say so. FRAU SCHLUMBERG Michael, please! I'm sure you will find her most willing, Herr Mozart. She's really very excited. She's been preparing all morning. MOZART Really? FRAU SCHLUMBERG Ah, now! Here she comes. GERTRUDE SCHLUMBERG appears in the doorway : an awkward girl of fifteen in her best dress, her hair primped and curled. She is exceedingly nervous. MOZART Good morning, Fraulein Schlumberg. SCHLUMBERG Strudel, this is Herr Mozart. Say good morning. Gertrude giggles instead. FRAU SCHLUMBERG -LRB- to Mozart. -RRB- Perhaps a little refreshment first? A little coffee, or a little chocolate? MOZART I'd like a little wine, if you have it. FRAU SCHLUMBERG Wine? SCHLUMBERG Quite right. He's going to need it. -LRB- calling and clapping his hands. -RRB- Klaus! A bottle of wine. Prestissimo! Now let's go to it. I've been waiting all day for this. He leads the way into :\",\n \"INT. MUSIC ROOM - DAY - 1780'S A forte - piano is open and waiting. All the dogs follow him. After them come Mozart Frau and Fraulein Schlumberg. To Mozart's dismay, husband and wife seat themselves quite formally on a little narrow sofa, side by side. SCHLUMBERG -LRB- To the dogs. -RRB- Now sit down all of you and behave. Zeman, Mandi, absolutely quiet! -LRB- to a young beagle. -RRB- Especially you, Dudelsachs - not one sound from you. The dogs settle at their feet. Husband and wife smile encouragingly at each other. SCHLUMBERG Come on, then. Up and at it! Mozart gestures to the music bench. Reluctantly, the girl sits at the instrument. Mozart sits beside her. MOZART Now, please play me something. Just to give me an idea. Anything will do. GERTRUDE -LRB- to parents. -RRB- I do n't want you to stay. FRAU SCHLUMBERG That's all right, dear. Just go ahead, as if we were n't here. GERTRUDE But you are here. SCHLUMBERG Never mind, Strudel. It's part of music, getting used to an audience. Are n't I right, Herr Mozart? MOZART Well, yes! on the whole. I suppose. -LRB- to Gertrude. -RRB- How long have you been playing, Fraulein? FRAU SCHLUMBERG Just one year. MOZART Who was your teacher? FRAU SCHLUMBERG I was. But she quite outgrew the little I could show her. MOZART Thank you, Madame. -LRB- to Gertrude. -RRB- Come on now - courage. Play me something you know. In response the wretched girl just stares down at the keyboard without playing a note. An awkward pause. MOZART Perhaps it would be better if we were left alone. I think we're both a little shy. Husband and wife look at each other. SCHLUMBERG Nonsense. Strudel's not shy. She's just willful! You give into her now, you'll be sorry later. Strudel - play. Silence. The girl sits unmoving. Schlumberg bellows : SCHLUMBERG I said play! FRAU SCHLUMBERG Michael! MOZART Perhaps if I were to play a little first, it might encourage the Fraulein. -LRB- to the girl. -RRB- Why do n't you let me try the instrument? All right? Suddenly the girl rises. Mozart smiles at the parents. They smile nervously back. Mozart slides along the bench, raises his hands and preludes over the keys. Instantly a dog howls loudly. Startled, Mozart stops. Schlumberg leaps to his feet and goes over to the beagle. SCHLUMBERG Stop that, Dudelsachs! Stop it at once! -LRB- to Mozart. -RRB- Do n't let him disturb you. He'll be all right. He's just a little willful too. Please, please - play. I beg you. Mozart resumes playing. This time it is a lively piece, perhaps the Presto Finale from the K. 450. The dog howls immediately. SCHLUMBERG Stop it! STOP! Mozart stops. SCHLUMBERG No, not you. I was talking to the dog. You keep playing. It's most important. He always howls when he hears music. We've got to break them of the habit. Play, please. Please! Amazed, Mozart starts to play the Rondo again. The dog howls louder. SCHLUMBERG That's it. Now keep going, just keep going. -LRB- to the beagle. -RRB- Now you stop that noise, Dudelsachs, you stop it this instant! This instant, do you hear me? Keep going, Herr Mozart, that's it. Go on, go on! Mozart plays on. Suddenly the dog falls silent. Schlumberg smiles broadly. SCHLUMBERG Good, good, good! Very good dog! Very, very good Dudelsachs. -LRB- to his wife, snapping his fingers. -RRB- Quick, quick, dear, bring his biscuit. The wife scurries to get a jar of biscuits. A servant brings in an open bottle of wine and a full glass on a tray. He puts it down beside Mozart as Schlumberg addresses the silent dog with deepest affection. SCHLUMBERG Now guess who's going to get a nice reward? Clever, clever Dudi. He gives the biscuit to the dog who swallows it greedily. Mozart stops playing and stands up. SCHLUMBERG It's a miracle, Herr Mozart! MOZART -LRB- barely controlling himself. -RRB- Well, I'm a good teacher. The next time you wish me to instruct another of your dogs, please let me know. Goodbye, Fraulein, goodbye, Madame! goodbye, Sir! He bows to them and leaves the room. They look after him in puzzled astonishment. FRAU SCHLUMBERG What a strange young man. SCHLUMBERG Yes. He is a little strange.\",\n \"EXT. A BUSY STREET IN VIENNA - DAY - 1780'S A cheerful scene. We see Mozart strutting and beaming, making his way through the crowd of porters, carriers and hawkers, sellers of sausages and pastries, vendors of hats and ribbons. Horses and carriage clatter past him. His mood is best expressed by a bubbling version of Non piu Andrai played on the forte - piano. Still in the same mood, he enters the door of his own house.\",\n \"INT. MOZART'S HOUSE - HALLWAY - DAY - 1780'S Suddenly, he stops. He looks up the stairs. The grim opening chords from the Overture to Don Giovanni cut across the march from Figaro. What he sees, looking up the stairs, is a menacing figure in a long, grey cape and dark grey hat, standing on the landing. The light comes from behind the figure so that we see only its silhouette as it unfolds its arms towards Mozart in an alarming gesture of possession. It takes a beat in which the air of sinister mystery is held before Mozart realizes who it is. Then, as the music continues, he hastily sets down the bottle of wine and rushes joyfully up the stairs and hurls himself into the figure's arms. MOZART Papa! PAPA! Both men embrace. The music slowly fades.\",\n \"INT. MOZART'S LIVING ROOM - DAY - 1780'S A cramped, low - ceilinged little room which nobody has tidied for ages. We see music lying everywhere. Also there are many empty wine bottles ; musical instruments - among them a mandolin, a viola, a forte - piano with the black and white keys reversed - books and abandoned plates of food. Mozart clasps his father's arms. Leopold is now seen as an aging, travel - stained man in clothes that need repair. His face is lined, and he is obviously not in perfect health. MOZART Why are you here? LEOPOLD Am I not welcome? MOZART Of course, welcome! Welcome ten thousand times. Papa! my Papa! He kisses his hands. LEOPOLD You're very thin. Does she not feed you, this wife of yours? Mozart ducks away and fetches his father's bags from the landing. MOZART Feed? Well, of course she feeds me. She stuffs me like a goose all day long. She's the best cook in the world. I mean, since Mama. Just wait, you'll see. LEOPOLD Is she not here? MOZART I do n't know. Stanzi? Stanzi! Leopold looks about him at the mess in the room. LEOPOLD Do you always live like this? MOZART Oh, yes. Oh, I mean no - not exactly like this. I mean today - just today, Stanzi - I remember now. She had to go - yes! She had to help her mother. Yes, she's like that. Her mother's a very sweet woman, you'll see. He carries the bag across the room and opens the door of the bedroom. Constanze lies in bed. She sits up, startled. MOZART Oh! I did n't know you were home. Stanzi, this is my father. Constanze, who looks ill and tired, stares at Leopold. Leopold stares back from the doorway. MOZART We'll wait, we'll wait. Why do n't you get up now, darling? He closes the door again. MOZART She's very tired, poor creature. You know me : I'm a real pig. It's not so easy cleaning up after me. LEOPOLD Do n't you have a maid? MOZART Oh we could, if we wanted to, but Stanzi wo n't hear of it. She wants to do everything herself. LEOPOLD How is your financial situation? MOZART It could n't be better. LEOPOLD That's not what I hear. MOZART What do you mean? It's wonderful. Really, it's - it's marvelous! People love me here. LEOPOLD They say you're in debt. MOZART Who? Who says that? Now that's a malicious lie! LEOPOLD How many pupils do you have? MOZART Pupils? LEOPOLD Yes. MOZART Yes. LEOPOLD How many? MOZART I do n't know. It's not important. I mean, I do n't want pupils. They get in the way. I've got to have time for composition. LEOPOLD Composition does n't pay. You know that. MOZART This one will. He picks up some pages of manuscript. LEOPOLD What's that? MOZART Oh, let's not talk about it. LEOPOLD Why not? MOZART It's a secret. LEOPOLD You do n't have secrets from me. MOZART It's too dangerous, Papa. But they're going to love it. Ah, there she is! Constanze comes into the room. She is wearing a dressing gown and has made a perfunctory attempt to tidy her hair. We see that she is clearly pregnant. MOZART My Stanzi - look at her! Is n't she beautiful? Come on now, confess, Papa. Could you want a prettier girl for a daughter? CONSTANZE Stop it, Wolfi. I look dreadful. Welcome to our house, Herr Mozart. MOZART He's not Herr Mozart. Call him Papa. LEOPOLD I see that you're expecting. CONSTANZE Oh, yes. LEOPOLD When, may I ask? CONSTANZE In three months! Papa. MOZART Is n't that marvelous? We're delighted. LEOPOLD Why did n't you mention it in your letters? MOZART Did n't I? I thought I did. I'm sure I did. He gives a little giggle of embarrassment. CONSTANZE May I offer you some tea, Herr Mozart? MOZART Tea? Who wants tea? Let's go out! This calls for a feast. You do n't want tea, Papa. Let's go dancing. Papa loves parties, do n't you? CONSTANZE Wolfi! MOZART What? How can you be so boring? Tea! CONSTANZE Wolfi, I think your father's tired. I'll cook us something here. LEOPOLD Thank you. That'll be fine. Do n't spend any money on me. MOZART Why not? Oh, come, Papa! What better way could I spend it than on you? My kissable, missable, suddenly visible Papa! The jaunty tune of Ich Mochte Wohl Der Kaiser sein -LRB- K. 539 -RRB- sounds through all the following. This is an alternate song from Il Seraglio : a very extroverted tune for baritone and orchestra and a prominent part for bass drum. The vocal part should be arranged for trumpet.\",\n \"EXT. STREET IN VIENNA - DAY - 1780'S Mozart and Constanze with Leopold between them. We see couples shopping.\",\n \"INT. A COSTUME SHOP - VIENNA - DAY - 1780'S This is a shop where one can buy costumes for masquerades. It is filled with extravagant costumes of various kinds. Wolfgang is wearing a costume, a mask pushed up on his forehead ; Constanze is wearing a little white velvet mask. Amidst the merriment, Leopold is helped by two assistants to put on a dark grey cloak and a dark grey tricorne hat, to which is attached a full mask of dark grey. Its mouth is cut into a fixed upward smile. He turns and looks at his son through this mask.\",\n \"INT. A LARGE PARTY ROOM - VIENNA - NIGHT - 1780'S We are in the full whirl of a Masquerade Ball. Couples are dancing around dressed in fantastic costumes. The music of Ich Mochte Wohl Der Kaiser sein increases in volume and persists. We see the musicians thumping it out on a balustrade above the dancers. A steer is being roasted. Through the bobbing crowd we see a group, headed by the figure of Bacchus : this is Schikaneder in a Greek costume, wearing vine leaves in his hair. He is accompanied by his usual trio of actresses and three other men. Constanze as Columbine and Mozart as Harlequin are pulling Leopold by the hand of his dark cloak and smiling mask. This whole group threads its way across the crowded room and disappears through a door. As they go, they are watched by Salieri, standing alone in a corner, wearing ordinary evening clothes. He turns away hastily to avoid being seen by them. As soon as they disappear into the far room, Salieri goes quickly to a lady in the corner who is giving guests domino masks off a tray. He quickly takes a small black mask and puts it on.\",\n \"INT. A GROTTO ROOM NEXT DOOR - NIGHT - 1780'S A fantastic room designed as a rocky grotto, lit by candles. A forte - piano to one side is being played by Schikaneder : the music of Ich Mochte Wohl Der Kaiser sein cross - fades to another tune. This is Vivat Bacchus from Il Seraglio which Schikaneder, dressed as Bacchus, is humming as he plays. The music is actually accompanying a game of Forfeits, which has begun. Five couples -LRB- the group we have just seen -RRB- are dancing in the middle of a ring made by nine chairs. When the music stops they will each have to find a chair, and the one who fails must pay a forfeit. Constanze is dancing with Leopold ; Mozart is dancing with one of the actresses ; the two other actresses are dancing with two other gentlemen ; and two children dance together - a little boy and a little girl. The scene is watched by a circle of bystanders ; among them - from the doorway - is Salieri. Schikaneder stops playing. Immediately the couples scramble for the chairs. Leopold and Constanze meet on the same chair, bumping and pushing at each other to get sole possession of it. To the amusement of the people around, the chair over - balances and they both end up on the floor. Constanze immediately gets up again, sets the chair on its feet, and tries to pretend she was sitting in it all the time. But Schikaneder calls out from the forte - piano. SCHIKANEDER No, no! You both lost. You both lost. You both have to forfeit. And the penalty is you must exchange your wigs. People are delighted by the idea of this penalty. The children jump up and down with excitement. The three actresses immediately surround Leopold, reaching for his hat and mask and wig, whilst he tries to hold on to them. Mozart takes off Constanze's wig - an absurd affair with side - curls. Constanze laughingly surrenders it. LEOPOLD No, please! This is ridiculous! No, please! Despite his protests an actress takes off his hat, to which the smiling mask is attached, to reveal his outraged face showing a very different expression underneath. Another actress snatches off his wig to reveal very sparse hair on the old man's head. The third actress takes Constanze's wig from Mozart and attempts to put it on his father's head. LEOPOLD No, really! MOZART -LRB- calling to him. -RRB- This is just a game, Papa. Constanze echoes him with a touch of malice in her voice. CONSTANZE This is just a game, Papa! Laughingly, the bystanders take it up, especially the children. BYSTANDERS This is just a game, Papa! As Leopold glares furiously about him, the actress succeeds in getting Constanze's wig firmly onto his head. Everybody bursts into applause. Delightedly, Constanze puts on Leopold's wig, hat and mask : from the waist up she now looks like a weird parody of Leopold in the smiling grey mask, and he looks like a weird parody of her in the silly feminine wig. Schikaneder starts to play again, and the couples start to dance. Leopold angrily takes off Constanze's wig and leaves the circle ; his partner, Constanze, is left alone. Seeing this, Mozart leaves his partner and catches his father entreatingly by the arm. MOZART Oh no, Papa, please! Do n't spoil the fun. Come on. Here, take mine. He takes off his own wig and puts it on Leopold's uncovered head. The effect, if not as ridiculous, is still somewhat bizarre, since Wolfgang favours fairly elaborate wigs. He takes Constanze's wig from his father. As this happens, the music stops again. Mozart gently pushes his father down onto a nearby chair ; the others scramble for the other chairs ; and he is left as the Odd Man Out. He giggles. Schikaneder calls out to Leopold from the keyboard. SCHIKANEDER Herr Mozart, why do n't you name your son's penalty? Applause. MOZART Yes, Papa, name it. Name it. I'll do anything you say! LEOPOLD I want you to come back with me to Salzburg, my son. SCHIKANEDER What did he say? What did he say? MOZART Papa, the rule is you can only give penalties that can be performed in the room. LEOPOLD I'm tired of this game. Please play without me. MOZART But my penalty. I've got to have a penalty. All the bystanders are watching. SCHIKANEDER I've got a good one. I've got the perfect one for you. Come over here. Mozart runs over to the forte - piano, and Schikaneder surrenders his place at it. SCHIKANEDER Now, I want you to play our tune - sitting backwards. Applause. MOZART Oh, that's really too easy. Any child can do that. Amused sounds of disbelief. SCHIKANEDER And a fugue in the manner of Sebastian Bach. Renewed applause at this wicked extra penalty. Mozart smiles at Schikaneder - it is the sort of challenge he loves. He defiantly puts on Constanze's wig and seats himself with his back to the keyboard. Before the astonished eyes of the company he proceeds to execute this absurdly difficult task. His right hand plays the bass part, his left hand the treble, and with this added difficulty he improvises a brilliant fugue on the subject of the tune to which they have been dancing. Attracted by this astonishing feat, the players draw nearer to the instrument. So does Salieri, cautiously, with some of the bystanders. Constanze watches him approach. Only Leopold sits by himself, sulking. The fugue ends amidst terrific clapping. The guests call out to Mozart. GUESTS Another! Do another! Someone else. MOZART Give me a name. Who shall I do? Give me a name. GUESTS Gluck! Haydn! Frederic Handel! CONSTANZE Salieri! Do Salieri! SMASH CUT : Salieri's masked face whips around and looks at her. MOZART Now that's hard. That's very hard. For Salieri one has to face the right way around. Giggling, he turns around and sits at the keyboard. Then, watched by a highly amused group, he begins a wicked parody. He furrows his brow in mock concentration and closes his eyes. Then he begins to play the tune to which they danced, in the most obvious way imaginable, relying heavily on a totally and offensively unimaginative bass of tonic and dominant, endlessly repeated. The music is the very essence of banality. The bystanders rock with laughter. Mozart starts to giggle wildly. Through this excruciating scene, Salieri stares at Constanze, who suddenly turns her head and looks challengingly back at him. Mozart's parody reaches its coarse climax with him adding a fart noise instead of notes to end cadences. He builds this up, urged on in his clowning by everyone else, until suddenly he stops and cries out. The laughter cuts off. Mozart stands up, clutching his behind as if he has made a mess in his breeches. The momentary hush of alarm is followed by a howl of laughter. CU, Salieri staring in pain.\",\n \"INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 CU, The old man is shaking at the very recollection of his humiliation. OLD SALIERI Go on. Mock me. Laugh, laugh!\",\n \"INT. GROTTO - NIGHT - 1780'S A repetition of the shot of Mozart at the forte - piano, wearing Constanze's wig and emitting a shrill giggle.\",\n \"INT. SALIERI'S APARTMENT - BEDROOM - NIGHT - 1780'S Salieri sits at his desk. He holds in his hand the small black party mask and stares in hatred at the place on the wall where the crucifix used to hang. Faintly we see the mark of the cross. OLD SALIERI -LRB- V.O. -RRB- That was not Mozart laughing, Father. That was God. That was God! God laughing at me through that obscene giggle. Go on, Signore. Laugh. Rub my nose in it. Show my mediocrity for all to see. You wait! I will laugh at You! Before I leave this earth, I will laugh at You! Amen!\",\n \"INT. MOZART'S WORKROOM - DAY - 1780'S It is littered with manuscripts. In the middle stands a billiard table. The beautiful closing ensemble from Act IV of Figaro : Ah, Tutti contenti! Saremo cosi plays in the background. Standing at the billiard table, Mozart is dreamily hearing the music and playing shots on the table. From time to time he drifts over to a piece of manuscript paper and jots down notes. He is very much in his own world of composition and the billiard balls are an aid to creation. Presently, however, we hear a knocking at the door. CONSTANZE -LRB- outside the door. -RRB- Wolfi! Wolfgang! The music breaks off. MOZART What is it? He opens the door. CONSTANZE There's a young girl to see you. MOZART What does she want? CONSTANZE I do n't know. MOZART Well, ask her! CONSTANZE She wo n't talk to me. She says she has to speak to you. MOZART Oh, damn!\",\n \"INT. MOZART'S APARTMENT - LIVING ROOM - DAY - 1780'S Mozart comes out. Framed in the doorway from outside stands Lorl, the maid we noticed in Salieri's house. From his bedroom Leopold peeps out to watch. Mozart goes to the girl. Constanze follows. MOZART Yes? LORL Are you Herr Mozart? MOZART That's right. LORL My name is Lorl, sir. I'm a maidservant. I was asked to come here and offer my services to you. MOZART What? LORL They'll be paid for by a great admirer or yours who wishes to remain anon - anonymous. CONSTANZE What do you mean? What admirer? LORL I ca n't tell you that, ma'am. MOZART Are you saying that someone is paying you to be our maid and does n't want us to know who he is? LORL Yes. I can live in or out just as you wish. Mozart turns to his father. MOZART Papa, is this your idea? LEOPOLD Mine? The old man emerges from his bedroom. His son looks at him delightedly. MOZART Are you playing a trick on me? LEOPOLD I never saw this girl in my life. -LRB- to Lorl. -RRB- Is this a kind of joke? LORL Not at all, sir. And I was told to wait for an answer. LEOPOLD Young woman, this wo n't do at all. My son ca n't possibly accept such an offer, no matter how generous, unless he knows who is behind it. LORL But I really ca n't tell you, sir. LEOPOLD Oh, this is ridiculous. CONSTANZE What is ridiculous? Wolfi has many admirers in Vienna. They love him here. People send us gifts all the time. LEOPOLD But you ca n't take her without reference. It's unheard of! CONSTANZE Well, this is none of your business. -LRB- to Lorl. -RRB- Whoever sent you is going to pay, no? LORL That's right, ma'am. LEOPOLD So now we are going to let a perfect stranger into the house? Constanze looks furiously at him, then at Lorl. CONSTANZE Who is we? Who is letting who? -LRB- to Lorl. -RRB- Could you please wait outside? LORL Yes, ma'am. Lorl goes outside and closes the door. Constanze turns on Leopold. CONSTANZE Look, old man, you stay out of this. We spend a fortune on you, more than we can possibly afford, and all you do is criticize, morning to night. And then you think you can - MOZART Stanzi! CONSTANZE No, it's right he should hear. I'm sick to death of it. We ca n't do anything right for you, can we? LEOPOLD Never mind. You wo n't have to do anything for me ever again. I'm leaving! MOZART Papa! LEOPOLD Do n't worry, I'm not staying here to be a burden. MOZART No one calls you that. LEOPOLD She does. She says I sleep all day. CONSTANZE And so you do! The only time you come out is to eat. LEOPOLD And what do you expect? Who wants to walk out into a mess like this every day? CONSTANZE Oh, now I'm a bad housekeeper! LEOPOLD So you are! The place is a pigsty all the time. CONSTANZE -LRB- to Mozart. -RRB- Do you hear him? Do you? Explosively she opens the door. CONSTANZE -LRB- to Lorl. -RRB- When can you start? LORL Right away, ma'am. CONSTANZE Good! Come in. You'll start with that room there. -LRB- indicating Leopold's room. -RRB- It's filthy! She leads the maid into Leopold's room. Mozart steals back into his workroom and gently closes the door. Leopold is left alone. LEOPOLD Sorry, sorry! I'm sorry I spoke! I'm just a provincial from Salzburg. What do I know about smart Vienna? Parties all night, every night. Dancing and drinking like idiot children!\",\n \"INT. MOZART'S WORKROOM - DAY - 1780'S Mozart stands trying to blot out the noise of his father's shouting from the next room. LEOPOLD -LRB- O.S. -RRB- Dinner at eight! Dinner at ten! Dinner when anyone feels like it! If anyone feels like it! The ensemble of Ah, Tutti contenti! Saremo cosi from Act IV of Figaro resumes, coming to his aid and rising to greet the listener with its serene harmonies. Relieved, Mozart languidly picks up his cue and plays a shot on the billiard table : he is sucked back into his own world of sound.\",\n \"INT. SALIERI'S SALON - NIGHT - 1780'S The music fades. We see Lorl, dressed in a walking cloak, sitting before a desk, talking to someone confidentially. LORL They're out every night, sir. Till all hours. A hand comes into frame offering a plate of sugared biscuits. On its finger we see the gold signet ring belonging to Salieri. LORL -LRB- taking one. -RRB- Oh, thank you, sir. SALIERI Do any pupils come to the house? LORL Not that I've seen. SALIERI Then how does he pay for all this? Does he work at all? LORL Oh, yes, sir, all day long. He never leaves the house until evening. He just sits there, writing and writing. He does n't even eat. SALIERI Really? What is it he's writing? LORL Oh, I would n't know that, sir. SALIERI Of course not. You're a good girl. You're very kind to do this. Next time you're sure they'll be out of the house, let me know, will you? Confused, the girl hesitates. He hands her a pile of coins. LORL Oh, thank you, sir! She accepts them, delighted.\",\n \"EXT. MOZART'S HOUSE - VIENNA STREET - AFTERNOON - 1780'S The final movement of Mozart's Piano Concerto in E - flat -LRB- K. 482 -RRB- begins. To its lively music, the door of the house bursts open and a grand forte - piano augmented with a pedal is carried out of it by six men, who run off with it down the street. Following them immediately appear Wolfgang, Constanze and Leopold, all three dressed for an occasion. They climb into a waiting carriage which drives off after the forte - piano. As soon as it goes, Lorl appears in the doorway, peering slyly around to see that they are out of sight. Then she shuts the door and hurries off in the opposite direction.\",\n \"EXT. AN ORNAMENTAL GARDEN - VIENNA - AFTERNOON - 1780'S An outdoor concert is being given. Mozart is actually playing the final movement of his E - flat concerto with an orchestra. Listening to him is a sizable audience, including the Emperor, flanked by Strack and Von Swieten. The crowd is in a happy and appreciative mood : it is a delightful open - air scene. We hear the gayest and most complex passage. Leopold and Constanze listen to Mozart, who plays his own work brilliantly. We stay with this scene for a little while and then\",\n \"EXT. VIENNA STREET - AFTERNOON - 1780'S A carriage clopping through the streets. Lorl is sitting up on the box beside the driver. Inside the vehicle, we glimpse the figure of Salieri.\",\n \"EXT. AN ORNAMENTAL GARDEN - VIENNA - 1780'S We hear more of the concerto. Perhaps the slow interlude in the last movement of K. 482. Mozart is conducting and playing in a reflective mood. Abruptly we\",\n \"EXT. MOZART' S APARTMENT - AFTERNOON - 1780'S Lorl is opening the door admitting Salieri. They go in. The door shuts.\",\n \"INT. MOZART'S LIVING ROOM - AFTERNOON - 1780'S The room is considerably tidier as a result of Lorl's ministrations. Salieri stands looking about him with tremendous curiosity. LORL I think I've found out about the money, sir. SALIERI Yes what? She opens a drawer in a sideboard. Inside we see one gold snuff box : it is the one we saw Mozart being presented with as a child in the Vatican. LORL He kept seven snuff boxes in here. I could swear they were all gold. And now look there's only one left. And inside, sir, look - I counted them - tickets from the pawnshop. Six of them. Salieri turns to look around him. SALIERI Where does he work? LORL In there, sir. She points across the room to the workroom. Salieri crosses and goes in alone.\",\n \"INT. MOZART'S WORKROOM - AFTERNOON - 1780'S Salieri enters the private quarters of Amadeus. He is immensely excited. He moves slowly into the ` holy of holies' picking up objects with great reverence - a billiard ball ; a discarded wig ; a sock ; a buckle - then objects more important to him. Standing at Mozart's desk, strewn with manuscripts, he picks up Mozart's pen and strokes the feather. He touches the inkstand. He lays a finger on the candlestick with its half - expired candle. He touches each object as if it were the memento of a beloved. He is in awe. Finally his eye falls on the sheets of music themselves. Stealthily he picks them up. CU, The pages. We see words set to music. Against each line of notes is the name of a character : Contessa, Susanna, Cherubino. Then another page - the title page - written in Mozart's hand. Le Nozze di Figaro Comedia per musica tratta dal Francese in quattro atti. CU, The word Figaro. CU, Salieri. He stares amazed.\",\n \"EXT. ORNAMENTAL GARDEN - VIENNA - AFTERNOON - 1780'S Mozart is playing the cadenza and coda of Piano Concerto -LRB- K. 482 -RRB-. He completes the work with a flourish. There is loud applause. The Emperor rises and all follow suit. Mozart comes down to be greeted by him. JOSEPH Bravo, Mozart. Most charming. Yes, indeed. Clever man. MOZART Thank you, Sire! VON SWIETEN Well done, Mozart. Really quite fine. MOZART Baron! He sees his wife and father standing by in the crowd. Leopold is signaling insistently. MOZART Majesty, may I ask you to do me the greatest favour? JOSEPH What is it? MOZART May I introduce my father? He is on a short visit here and returning very soon to Salzburg. He would so much like to kiss your hand. It would make his whole stay so memorable for him. JOSEPH Ah! By all means. Leopold comes forward eagerly and fawningly kisses the royal hand. LEOPOLD Your Majesty. Constanze curtsies. JOSEPH Good evening. -LRB- to Leopold. -RRB- We have met before, Herr Mozart. LEOPOLD That's right, Your Majesty. Twenty years ago. No, twenty - two! twenty - three! And I remember word for word what you said to me. You said - you said - He searches his memory. JOSEPH Bravo? LEOPOLD No! Yes, ` bravo,' of course ` bravo'! Everybody always says ` bravo' when Wolfi plays. Like the King of England. When we played for the King of England, he got up at the end and said, ` Bravo! Bravo! Bravo!' three times. Three bravo's. And the Pope four! Four bravo's from the Holy Father, and one ` bellissimo.' All the courtiers around are looking at him. MOZART Father - LEOPOLD Hush! I'm talking to His Majesty. Your Majesty, I wish to express only one thing - that you who are the Father of us all, could teach our children the gratitude they owe to fathers. It is not for nothing that the Fifth Commandment tells us : ` Honour your Father and Mother, that your days may be long upon the earth.' JOSEPH Ah - ha. Well. There it is.\",\n \"INT. ORSINI-ROSENBERG'S STUDY - DAY - 1780'S The Director sits at his table with Salieri and Bonno. SALIERI I've just learned something that might be of interest to you, Herr Director. ORSINI-ROSENBERG Yes? SALIERI Mozart is writing a new opera. An Italian opera. ORSINI-ROSENBERG Italian? BONNO Aie! SALIERI And that's not all. He has chosen for his subject, Figaro. The Marriage of Figaro. ORSINI-ROSENBERG You mean that play? SALIERI Exactly. ORSINI-ROSENBERG He's setting that play to music? SALIERI Yes. ORSINI-ROSENBERG You must be mad. BONNO What is this Marriage of Figaro? ORSINI-ROSENBERG It's a French play, Kapellmeister. It has been banned by the Emperor. BONNO Hah! He crosses himself, wide - eyed with alarm. ORSINI-ROSENBERG Are you absolutely sure? SALIERI I've seen the manuscript. ORSINI-ROSENBERG Where? SALIERI Never mind.\",\n \"INT. CHAMBERLAIN VON STRACK'S STUDY - DAY - 1780'S VON STRACK I know we banned this play, but frankly I ca n't remember why. Can you refresh my memory, Herr Director? ORSINI-ROSENBERG For the same reason, Herr Chamberlain, that it was banned in France. VON STRACK Oh yes, yes. And that was? ORSINI-ROSENBERG Well, the play makes a hero out of a valet. He outwits his noble master and exposes him as a lecher. Do you see the implications? This would be, in a grander situation, as if a Chamberlain were to expose an Emperor. VON STRACK Ah.\",\n \"INT. THE EMPEROR'S STUDY - DAY - 1780'S The Emperor stands in the middle of the room in close conversation with Von Strack, Orsini - Rosenberg, Von Swieten, and Bonno. Salieri is not present. A door opens and a lackey announces : LACKEY Herr Mozart. They all turn. Mozart approaches, rather apprehensively, and kisses Joseph's hand. JOSEPH Sit down, gentlemen, please. They all sit, save Mozart. The room suddenly looks like a tribunal. Joseph is in a serious mood. JOSEPH Mozart, are you aware I have declared the French play of Figaro unsuitable for our theatre? MOZART Yes, Sire. JOSEPH Yet we hear you are making an opera from it. Is this true? MOZART Who told you this, Majesty? JOSEPH It is not your place to ask questions. Is it true? MOZART Well, yes, I admit it is. JOSEPH Would you tell me why? MOZART Well, Majesty, it is only a comedy. ORSINI-ROSENBERG What you think, Mozart, is scarcely the point. It is what His Majesty thinks that counts. MOZART But, Your Majesty - JOSEPH -LRB- motioning him to be silent. -RRB- Mozart, I am a tolerant man. I do not censor things lightly. When I do, I have good reason. Figaro is a bad play. It stirs up hatred between the classes. In France it has caused nothing but bitterness. My own dear sister Antoinette writes me that she is beginning to be frightened of her own people. I do not wish to see the same fears starting here. MOZART Sire, I swear to Your Majesty, there's nothing like that in the story. I have taken out everything that could give offense. I hate politics. JOSEPH I think you are rather innocent, my friend. In these dangerous times I can not afford to provoke our nobles or our people simply over a theatre piece. The others look at their king solemnly, all save Mozart. MOZART But, Majesty, this is just a frolic. It's a piece about love. JOSEPH Ah, love again. MOZART But it's new, it's entirely new. It's so new, people will go mad for it. For example, I have a scene in the second act - it starts as a duet, just a man and wife quarreling. Suddenly the wife's scheming little maid comes in unexpectedly - a very funny situation. Duet turns into trio. Then the husband's equally screaming valet comes in. Trio turns into quartet. Then a stupid old gardener - quartet becomes quintet, and so on. On and on, sextet, septet, octet! How long do you think I can sustain that? JOSEPH I have no idea. MOZART Guess! Guess, Majesty. Imagine the longest time such a thing could last, then double it. JOSEPH Well, six or seven minutes! maybe eight! MOZART Twenty, sire! How about twenty? Twenty minutes of continuous music. No recitatives. VON SWIETEN Mozart - MOZART -LRB- ignoring him. -RRB- Sire, only opera can do this. In a play, if more than one person speaks at the same time, it's just noise. No one can understand a word. But with music, with music you can have twenty individuals all talking at once, and it's not noise - it's a perfect harmony. Is n't that marvelous? VON SWIETEN Mozart, music is not the issue here. No one doubts your talent. It is your judgment of literature that's in question. Even with the politics taken out, this thing would still remain a vulgar farce. Why waste your spirit on such rubbish? Surely you can choose more elevated themes? MOZART Elevated? What does that mean? Elevated! The only thing a man should elevate is - oh, excuse me. I'm sorry. I'm stupid. But I am fed up to the teeth with elevated things! Old dead legends! How can we go on forever writing about gods and legends? VON SWIETEN -LRB- aroused. -RRB- Because they do. They go on forever - at least what they represent. The eternal in us, not the ephemeral. Opera is here to ennoble us. You and me, just as much as His Majesty. BONNO Bello! Bello, Barone. Veramente. MOZART Oh, bello, bello, bello! Come on now, be honest. Would n't you all rather listen to your hairdressers than Hercules? Or Horatius? Or Orpheus? All those old bores! people so lofty they sound as if they shit marble! VON SWIETEN What? VON STRACK Govern your tongue, sir! How dare you? Beat. All look at the Emperor. MOZART Forgive me, Majesty. I'm a vulgar man. But I assure you, my music is not. JOSEPH You are passionate, Mozart! But you do not persuade. MOZART Sire, the whole opera is finished. Do you know how much work went into it? BONNO His Majesty has been more than patient, Signore. MOZART How can I persuade you if you wo n't let me show it? ORSINI-ROSENBERG That will do, Herr Mozart! MOZART Just let me tell you how it begins. VON STRACK Herr Mozart - MOZART May I just do that, Majesty? Show you how it begins? Just that? A slight pause. Then Joseph nods. JOSEPH Please. Mozart falls on his knees. MOZART Look! There's a servant, down on his knees. Do you know why? Not from any oppression. No, he's simply measuring a space. Do you know what for? His bed. His wedding bed to see if it will fit. He giggles.\",\n \"INT. OPERA HOUSE - DAY - 1780'S Mozart sits on stage at a harpsichord rehearsing the singers taking the parts of Figaro and Susanna in the opening bars of the first act of The Marriage of Figaro. We watch Figaro measuring the space for his bed on the floor, singing and Susanna looking on, trying on the Countess' hat.\",\n \"INT. SALIERI'S SALON - DAY - 1780'S Orsini - Rosenberg and Bonno are sitting with Salieri. ORSINI-ROSENBERG Well, Mozart is already rehearsing. SALIERI Incredible. ORSINI-ROSENBERG The Emperor has given him permission. BONNO Si, si! Veramente. SALIERI Well, gentlemen, so be it. In that case I think we should help Mozart all we can and do our best to protect him against the Emperor's anger. ORSINI-ROSENBERG What anger? SALIERI About the ballet. ORSINI-ROSENBERG Ballet? What ballet? SALIERI Excuse me - did n't His Majesty specifically forbid ballet in his opera? ORSINI-ROSENBERG Yes, absolutely. Is there a ballet in Figaro? SALIERI Yes, in the third act.\",\n \"INT. THE OPERA HOUSE - DAY - 1780'S It is a full orchestral rehearsal. Mozart is conducting from the harpsichord with his hands ; he does not use a baton. The singers are all in practice clothes, not costumes. We are in the Act III and we hear the recitativo exchange just before the march begins. Orsini - Rosenberg and Bonno sit watching chairs. Suddenly the march starts. Peasants and friends start to dance in and at the same moment, Orsini - Rosenberg gets up and comes down to Mozart. He is accompanied by an anxious Bonno. ORSINI-ROSENBERG Mozart! Herr Mozart, may I have a word with you please. Right away. MOZART Certainly, Herr Director. He signals to the cast to break off. MOZART Five minutes, please! The company disperses, curious. The musicians look at Orsini - Rosenberg. ORSINI-ROSENBERG Did you not know that His Majesty has expressly forbidden ballet in his operas? MOZART Yes, but this is not a ballet. This is a dance at Figaro's wedding. ORSINI-ROSENBERG Exactly. A dance. MOZART But surely the Emperor did n't mean to prohibit dancing when it's part of the story. ORSINI-ROSENBERG It is dangerous for you to interpret His Majesty's edicts. Give me your score, please. Mozart hands him the score from which he is conducting. ORSINI-ROSENBERG Thank you. He rips out a page. Bonno watches in terror. MOZART What are you doing? He rips out three more. MOZART What are you doing, Herr Director? ORSINI-ROSENBERG Taking out what you should never have put in. He goes on tearing the pages determinedly.\",\n \"INT. SALIERI'S SALON - DAY - 1780'S A servant opens the door to announce. SERVANT Herr Mozart. Mozart brushes past him straight towards Salieri, who rises to greet him. The little man is near hysterics. MOZART Please! Please. I've no one else to turn to. Please! He grabs Salieri. SALIERI Wolfgang, what is it? Sta calmo, per favore. What's the matter? MOZART It's unbelievable! The Director has actually ripped out a huge section of my music. Pages of it. SALIERI Really? Why? MOZART I do n't know. They say I've got to re - write the opera, but it's perfect as it is. I ca n't rewrite what's perfect. Ca n't you talk to him? SALIERI Why bother with Orsini - Rosenberg? He's obviously no friend of yours. MOZART Oh, I could kill him! I mean really kill him. I actually threw the entire opera on the fire, he made me so angry! SALIERI You burned the score? MOZART Oh no! My wife took it out in time. SALIERI How fortunate. MOZART It's not fair that a man like that has power over our work. SALIERI But there are those who have power over him. I think I'll take this up with the Emperor. MOZART Oh, Excellency, would you? SALIERI With all my heart, Mozart. MOZART Thank you! Oh, thank you. He kisses Salieri's hand. SALIERI -LRB- withdrawing it ; imitating the Emperor. -RRB- No, no, no, Herr Mozart, please. It's not a holy relic. Mozart giggles with relief and gratitude.\",\n \"INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 OLD SALIERI I'm sure I do n't need to tell you I said nothing whatever to the Emperor. I went to the theatre ready to tell Mozart that His Majesty had flown into a rage when I mentioned the ballet, when suddenly, to my astonishment, in the middle of the third act, the Emperor - who never attended rehearsals - suddenly appeared.\",\n \"INT. OPERA HOUSE - DAY - 1780'S In the background the same recitativo before the March. The Emperor steals in surreptitiously with Von Strack, his finger to his lips. He motions everyone not to rise, and slips into a chair behind Salieri, Orsini - Rosenberg and Bonno. The three conspirators look at each other wide - eyed. The recitativo summons up the march, but instead there is silence. Mozart lays down his baton. The musicians lay down their instruments. The celebrants of Figaro's wedding come in with a few pitiful dance steps, in procession, only to come presently to a halt, lacking their music. The singers try to go on singing, but they have no cues from their conductor or from the accompaniment. Everyone on stage looks lost, though they attempt to go on with the story for a while. Consternation grows on the faces of the conspirators. Mozart glances back at the group seated in the theatre. Finally, the Emperor speaks, in a whisper. JOSEPH What is this? I do n't understand. Is it modern? BONNO Majesty, the Herr Director, he has removed a balleto that would have occurred at this place. JOSEPH Why? ORSINI-ROSENBERG It is your regulation, Sire. No ballet in your opera. Mozart strains to hear what they are saying but can not. JOSEPH Do you like this, Salieri? SALIERI It is not a question of liking, Your Majesty. Your own law decrees it, I'm afraid. JOSEPH Well, look at them. We do look at them. The spectacle on stage has now ground to a complete halt. JOSEPH No, no, no! This is nonsense. Let me hear the scene with the music. ORSINI-ROSENBERG But, Sire - JOSEPH Oblige me. Orsini - Rosenberg acknowledges his defeat. ORSINI-ROSENBERG Yes, Majesty. Orsini - Rosenberg rises and goes down to where Mozart sits anxiously with the musicians, watching his approach. ORSINI-ROSENBERG Can we see the scene with the music back, please? MOZART Oh yes, certainly. Certainly, Herr Director! He looks back deliriously at Salieri, trying to indicate his gratitude. Salieri acknowledges with a slight and subtle nod. Orsini - Rosenberg returns to his king. MOZART Ladies and gentlemen, we're going from where we stopped. The Count : Anches so. Right away, please! The singers scatter offstage to begin the scene again. JOSEPH -LRB- to Orsini - Rosenberg. -RRB- What I hoped by that edict, Director, was simply to prevent hours of dancing like in French opera. There it is endless, as you know. ORSINI-ROSENBERG Quite so, Majesty. CUT BACK TO Mozart at the forte - piano, raising his hands. The musicians raise their bows. With a flourish the happy composer begins a reprise of the scene which had been cut out. The music of the march begins faintly ; the celebrants of Figaro's wedding start to enter as the Count and the Countess sit in their chairs. In the theatre we see increasing pleasure on the Emperor's face, sullenness and defeat on the courtiers'. Then, suddenly, without interruption, on a crescendo repeat of the march, we\",\n \"INT. OPERA HOUSE - NIGHT - 1780'S The theatre is brilliantly lit for the first public performance of Figaro. Everybody is there : the Emperor, Von Strack, Bonno Orsini - Rosenberg, Von Swieten, even Madame Weber and her daughters in a box. The musicians all wear imperial livery ; the actors on stage are now in costume. Mozart, conducting, wears his Order of the Golden Spur. The company wheels in and around to the music of the restored march, which reaches a triumphant climax.\",\n \"INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 OLD SALIERI -LRB- to Vogler. -RRB- So Figaro was produced in spite of me. And in spite of me, a wonder was revealed. One of the true wonders of art. The restored third act was bold and brilliant. The fourth was a miracle. The descending scale of strings in the final ensemble -LRB- Ah, Tutti contenti. Saremo cosi -RRB- fades in.\",\n \"INT. OPERA HOUSE - NIGHT - 1780'S We see the tableau on stage with the Count kneeling to the Countess. All are singing. OLD SALIERI -LRB- V.O. -RRB- I saw a woman disguised in her maid's clothes hear her husband speak the first tender words he has offered her in years, only because he thinks she is someone else. I heard the music of true forgiveness filling the theatre, conferring on all who sat there a perfect absolution. God was singing through this little man to all the world - unstoppable - making my defeat more bitter with each passing bar. CU, Salieri in his box, tears on his cheeks. He watches the ensemble and we listen to it for a long moment. Finally it fades, but continues underneath the following :\",\n \"INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 OLD SALIERI And then suddenly - a miracle!\",\n \"INT. OPERA HOUSE - NIGHT - 1780'S The ensemble reaches its climax, and fades away to the very quiet, slow chords immediately preceding the boisterous final chord. Salieri becomes aware that some of the audience are asleep and many mare are apathetic. In the near silence we see the Emperor yawn behind his hand. Those nearby look at him. Orsini - Rosenberg smiles.\",\n \"INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 OLD SALIERI Father, did you know what that meant? With that yawn I saw my defeat turn into a victory. And Mozart was lucky the Emperor only yawned once. Three yawns and the opera would fail the same night ; two yawns, within a week at most. With one yawn the composer could still get -\",\n \"INT. SALIERI'S SALON - DAY - 1780'S Mozart is pacing up and down. Salieri is listening sympathetically. MOZART Nine performances! Nine! That's all it's had - and withdrawn. SALIERI I know ; it's outrageous. Still, if the public does n't like one's work one has to accept the fact gracefully. MOZART But what is it they do n't like? SALIERI Well, I can speak for the Emperor. You made too many demands on the royal ear. The poor man ca n't concentrate for more than an hour and you gave him four. MOZART What did you think of it yourself? Did you like it at all? SALIERI I think it's marvelous. Truly. MOZART It's the best opera yet written. I know it! Why did n't they come? SALIERI I think you overestimate our dear Viennese, my friend. Do you know you did n't even give them a good bang at the end of songs so they knew when to clap? MOZART I know, I know. Perhaps you should give me some lessons in that. SALIERI -LRB- fuming. -RRB- I would n't presume. All the same, if it would n't be imposing, I would like you to see my new piece. It would be a tremendous honour for me. MOZART Oh no, the honour would be all mine. SALIERI -LRB- bowing. -RRB- Grazie, mio caro, Wolfgang! MOZART Grazie, a lei, Signor Antonio! He bows too, giggling.\",\n \"INT. OPERA HOUSE - NIGHT - 1780'S A performance of Salieri's grand opera, Axur : King of Ormus. Deafening applause from a crowded house. We see the reception of the aria which we saw Cavalieri singing on the stage near the start of the film. Cavalieri, in a mythological Persian costume, is bowing to the rapturous throng ; below her is Salieri. We see the Emperor, Von Strack, Orsini - Rosenberg, Bonno and Von Swieten, all applauding. We hear great cries of ` Salieri! Salieri!' and ` Bravo!' and ` Brava!' CU, Salieri looking at the crowd with immense pleasure. Then suddenly at : CU, Mozart standing in a box and clapping wildly. Behind him, seated, are Schikaneder and the three girls we saw before in Mozart's apartment. CU, Salieri staring fixedly at Mozart, then Mozart still clapping, apparently with tremendous enthusiasm. OLD SALIERI -LRB- V.O. -RRB- What was this? I never saw him excited before by any music but his own. Could he mean it?\",\n \"INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 OLD SALIERI -LRB- to Vogler. -RRB- Would he actually tell me my music had moved him? Was I really going to hear that from his own lips? I found myself actually hurrying the tempo of the finale.\",\n \"INT. OPERA HOUSE - NIGHT - 1780'S Salieri conducting the last scene from Axur : King of Ormus. On stage we see a big scene of acclamation : the hero and heroine of the opera accepting the crown amidst the rejoicing of the people. The decor and costumes are mythological Persian. The music is utterly conventional and totally uninventive. CU, Mozart watching this in his box, with Schikaneder and the three actresses. He passes an open bottle of wine to them. He is evidently a little drunk, but keeps a poker face. The act comes to an end. Great applause in which Mozart joins in, standing and shouting ` Bravo! Bravo!' Then he leaves the box with Schikaneder and the girls.\",\n \"INT. CORRIDOR OF THE OPERA HOUSE - NIGHT - 1780'S MOZART -LRB- to Schikaneder. -RRB- Well? SCHIKANEDER -LRB- mock moved. -RRB- Sublime! Utterly sublime! MOZART That kind of music should be punishable by death. Schikaneder laughs.\",\n \"INT. STAGE OF THE OPERA HOUSE - NIGHT - 1780'S A crowd of people rings Salieri at a respectful distance. The Emperor is holding out the Civilian Medal and Chain. JOSEPH I believe that is the best opera yet written, my friends. Salieri, you are the brightest star in the musical firmament. You do honour to Vienna and to me. Salieri bows his head. Joseph places the chain around his neck. The crowd claps. Salieri makes to kiss his hand, but Joseph restrains him, and passes on. Cavalieri, smiling adoringly, gives him a deep curtsey, and he raises her up. The crowd all flock to Salieri with cries and words of approval. All want to shake his hand. They tug and pat him. But he has eyes for only one man - he looks about him, searching for him and then finds him. Mozart stands there. Eagerly Salieri moves to him. SALIERI Mozart. It was good of you to come. MOZART How could I not? SALIERI Did my work please you? MOZART How could it not, Excellency? SALIERI Yes? MOZART I never knew that music like that was possible. SALIERI You flatter me. MOZART Oh no! One hears such sounds and what can one say, but - Salieri! Salieri smiles.\",\n \"INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1780'S Explosive laughter as Mozart and Schikaneder enter the apartment, very pleased with themselves and accompanied by the three actresses. The front door opens, very gingerly. Mozart, still rather drunk, sticks his head into the room, anxious not to make a noise. He sees the strangers and breaks into a smile. MOZART Oh. Everybody's here! We've got guests. Good. I've brought some more. He opens the door wide to admit Schikaneder and the girls. MOZART We'll have a little party. Come in. Come in. You know Herr Schikaneder? -LRB- to a girl. -RRB- This is! a very nice girl. CONSTANZE -LRB- standing up. -RRB- Wolfi. MOZART Yes, my love? CONSTANZE These gentlemen are from Salzburg. MOZART Salzburg. We were just talking about Salzburg. -LRB- to the two men, jubilantly. -RRB- If you've come from my friend the Fartsbishop, you've arrived at just the right moment. Because I've got good news for him. I'm done with Vienna. It's over, finished, done with! Done with! Done with! CONSTANZE Wolfi! Your father is dead. MOZART What? CONSTANZE Your father is dead. The first loud chord of the Statue scene from Don Giovanni sounds. Mozart stares.\",\n \"INT. AN OPERA HOUSE - NIGHT - 1780'S The second chord sounds. On stage we see the huge figure of the Commendatore in robes and helmet, extending his arms and pointing in accusation.\",\n \"INT. AN OPERA HOUSE - NIGHT - 1780'S The second chord sounds. On stage we see a huge nailed fist crash through the wall of a painted dining room set. The giant armoured statue of the COMMENDATORE enters pointing his finger in accusation at Don Giovanni who sits at the supper table, staring - his servant Leporello quaking with fear under the table. THE COMMENDATORE -LRB- singing. -RRB- Don Giovanni! The figure advances on the libertine. We see Mozart conducting, pale and deeply involved. Music fades down a little. OLD SALIERI -LRB- V.O. -RRB- So rose the dreadful ghost in his next and blackest opera. There on the stage stood the figure of a dead commander calling out ` Repent! Repent!' The music swells. We see Salieri standing alone in the back of a box, unseen, in semi - darkness. We also see that the theatre is only half full. Music fades down. OLD SALIERI -LRB- V.O. -RRB- And I knew - only I understood - that the horrifying apparition was Leopold, raised from the dead. Wolfgang had actually summoned up his own father to accuse his son before all the world. It was terrifying and wonderful to watch. Music swells up again. We watch the scene on stage as the Commendatore addresses Giovanni. Then back to Salieri in the box. Music down again.\",\n \"INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 OLD SALIERI Now a madness began in me. The madness of a man splitting in half. Through my influence I saw to it Don Giovanni was played only five times in Vienna. But in secret I went to every one of those five - all alone - unable to help myself, worshipping sound I alone seemed to hear.\",\n \"INT. AN OPERA HOUSE - NIGHT - 1780'S OLD SALIERI -LRB- V.O. -RRB- And hour after hour, as I stood there, understanding even more clearly how that bitter old man was still possessing his poor son from beyond the grave, I began to see a way - a terrible way - I could finally triumph over God, my torturer. Music swells. On stage Don Giovanni is seized and gripped by the Statue's icy hand. Flames burst from obviously artificial rocks. Demons appear and drag the libertine down to Hell. The scene ends. CU, Salieri, staring wide - eyed.\",\n \"EXT. SCHIKANEDER'S THEATRE - VIENNA - NIGHT - 1780'S We see huge and attractive posters and billboards advertising Schikaneder's troupe. The camera concentrates on the one which reads as follows : EMMANUEL SCHIKANEDER, Impresario de luxe, The Celebrated SCHIKANEDER TROUPE OF PLAYERS IN An Evening of PARODY. Music! Mirth! Magic! ALL SONGS AND SPEECHES WRITTEN BY EMMANUEL SCHIKANEDER who personally will appear in every scene!\",\n \"INT. SCHIKANEDER'S THEATRE - NIGHT - 1780'S Noise ; smoke ; the audience is sitting at tables for an evening of vaudeville. Mozart, Constanze and their son Karl, now about two years old, and sitting on his mother's lap, are watching a parody scene by Schikaneder's troupe. They are rowdy, bawdy and silly, incorporating motifs, situations and tunes from Mozart's operas which we have seen and heard. Before them on the table are bottles of wine and beer, plates of sausages, etc.. THE PARODY On stage we see a set which parodies the dining room in Don Giovanni's palace, shown before. Schikaneder as Don Giovanni is dancing with the three actresses to the minuet from Don Giovanni -LRB- end of Act I -RRB-, played by a quartet of tipsy musicians. Leporello is handing around wine on a tray. Suddenly there is a tremendous knocking from outside. The music slithers to a stop. All look at each other in panic. Leporello drops his tray with a crash. All go quiet. One more knock is heard. Then all musicians, actresses, Don Giovanni and Leporello make a dash to hide under the table which is far too small to accommodate them all. The table rocks. Schikaneder is pushed out. He is terrified. He shakes elaborately. Three more knocks are heard ; louder. SCHIKANEDER Who is it? One more knock. SCHIKANEDER C - c - c - come in! In the pit a chromatic scale from the Overture to Don Giovanni turns into a anticipatory vamp. This grows more and more menacing until the whole flat representing the wall at the back falls down. An absurd pantomime horse gallops in. It has a ridiculous expression, and is manned by four men inside. Standing precariously on its back is a dwarf, wearing a miniature version of the armour and helmet worn by the Commendatore. He sings in a high, nasal voice : COMMENDATORE -LRB- singing. -RRB- Don Giovannnnnnnnnni! He tries to keep his balance as he trots in, but fails. He falls off onto the stage. He beats at the horse, trying to get back on. COMMENDATORE Down! Down! Bewildered, the horse looks about him, but can not see his small rider who is below his level of sight. COMMENDATORE I'm here! I'm here! The horse, amidst laughter from the audience, fails to locate him. Exasperated, the dwarf signals to someone in the wings. A tall man strides out carrying a see - saw ; on his shoulders stands another man. The dwarf stands on the lowered end of the see - saw. There is a drum roll and the man above jumps down onto the raised end and the Commendatore is abruptly catapulted back onto the horse, only backwards so that he is facing away from Don Giovanni. The two men bow to the applauding audience, and retire off - stage. The Commendatore tries to extend his arms in the proper menacing attitude, and at the same time turn around to face Don Giovanni. This he finds difficult. COMMENDATORE -LRB- singing. -RRB- Don Giovannnnnnnni! SCHIKANEDER Who the devil are you? What do you want? COMMENDATORE -LRB- singing. -RRB- I've come to dinnnnnner! SCHIKANEDER Dinner? How dare you? I am a nobleman. I only dine with people of my own height. COMMENDATORE Are you drunk? You invited me. And my horse. Here he is. Ottavio! The horse takes a bow. The dwarf almost falls off again. COMMENDATORE Whoa! Whoa! Stop it! The three girls rush to his aid and reach him just in time. They sing in the manner of the Tree Ladies later to be put into The Magic Flute. FIRST LADY -LRB- running and singing. -RRB- Be careful! SECOND LADY -LRB- running and singing. -RRB- Be careful! THIRD LADY -LRB- running and singing. -RRB- Be careful! ALL THREE TOGETHER -LRB- close harmony. -RRB- Hold tight now! They grab him. COMMENDATORE -LRB- angry. -RRB- Leave me alone! Stop it! I'm a famous horseman. OTTAVIO And I'm a famous horse! He gives the ladies a radiant smile. The three ladies sing, as before, in close harmony. FIRST LADY -LRB- singing. -RRB- He's adorable! SECOND LADY -LRB- singing. -RRB- Adorable! THIRD LADY -LRB- singing. -RRB- Adorable! An orchestral chord. The three ladies turn to Ottavio and sing to him. THREE LADIES -LRB- singing together. -RRB- Give me your hoof, my darling, And I'll give you my heart! Take me to your stable, And never more we'll part! OTTAVIO -LRB- singing : four male voices. -RRB- I'm shy and very bashful. I do n't know what to say. THREE LADIES -LRB- singing together. -RRB- Do n't hesitate a second. Just answer yes and neigh. Ottavio neighs loudly, and runs at the girls. COMMENDATORE -LRB- speaking. -RRB- Stop it. What are you doing? Remember who you are! You're a horse and they are whores. Boos from the audience. SCHIKANEDER -LRB- speaking. -RRB- This is ridiculous. I wo n't have any of it. You're turning my house into a circus! A trapeze sails in from above. On it stands a grand soprano wearing an elaborate Turkish costume, like a parody of Cavalieri's in Il Seraglio. She comes in singing a mad coloratura scale in the manner of Martern aller Arten. SCHIKANEDER -LRB- speaking. -RRB- Shut up. Women, women, women! I'm sick to death of them. He marches off stage. SOPRANO -LRB- singing dramatically. -RRB- Dash me! Bash me! Lash me! Flay me! Slay me! At last I will be freed by death! COMMENDATORE Shut up. SOPRANO -LRB- swinging and singing. -RRB- Kill me! Kill me! Kill me! Kill me! At last I shall be freed by death. At last I shall be freed by dea - The Commendatore pulls out his sword, reaches up and thrusts her through with it. The soprano collapses on the bar of the trapeze. The audience applauds. At the same moment eight dwarves march in bearing a huge cauldron of steaming water. They sing as they march to the sound of the march that was cut from Act III of Figaro. They are dressed as miniature copies of the chorus in that scene except that they are wearing cooks' hats. EIGHT DWARVES -LRB- singing. -RRB- We're going to make a soprano stew! We're going to make a soprano stew! And when you make a soprano stew! Any stupid soprano will do! Any stew - stew - stew - stew - stew! Any stewpid soprano will do! They set the giant pot down in the middle of the stage. The trapeze with the dead soprano is still swinging above the stage. We hear the chromatic scale from the Don Giovanni overture again, repeated and repeated, only now fast and tremolando. To this exciting vamp Schikaneder suddenly rides in on a real horse, waving a real sword. With this he cuts the string of the trapeze, and the soprano falls into the pot. A tremendous splash of water. Schikaneder rides out. More applause. All the dwarves produce long wooden cooking spoons and climb up the sides of the pot. The three girls produce labeled bottles from under their skirts. The first is SALT. FIRST LADY -LRB- singing. -RRB- Behold! PEPPER SECOND LADY -LRB- singing. -RRB- Behold! She sneezes. AND SCHNAPPS THIRD LADY -LRB- singing. -RRB- Behold! She hiccups. They throw them into the pot. COMMENDATORE -LRB- speaking to the dwarves. -RRB- How long does it take to cook a soprano? DWARVES -LRB- all together. -RRB- Five hours, five minutes, five seconds. COMMENDATORE -LRB- speaking. -RRB- I ca n't wait that long. I'm starving! OTTAVIO -LRB- speaking ; four voices. -RRB- So am I. Schikaneder marches in as Figaro. SCHIKANEDER -LRB- singing to the tune of Non piu ante. -RRB- In the pot, I have got a good dinner. Not a sausage or stew, but a singer. Not a sausage or stew but a singer. Is the treat that I'll eat for my meat! COMMENDATORE Oh shut up. I'm sick to death of that tune. CU, Mozart laughing delightedly with the audience. THE THREE GIRLS -LRB- singing again to the horse. -RRB- Give me your hoof, my darling, and I'll give you my heart. COMMENDATORE Shut up. I'm sick of that one too. All the dwarves climb up the rim of the pot. As they climb, they all hum together the opening of Eine Kleine Nachtmusik. COMMENDATORE And that one, too! The soprano rises, dripping with water in the middle of the pot. SOPRANO -LRB- singing. -RRB- Oil me! Broil me! Boil me! All the dwarves beat her back down into the pot with their long wooden spoons. SOPRANO -LRB- from inside the pot. -RRB- Soil me! Foil me! Spoil me! HORSE I ca n't eat her. Sopranos give me hiccups. I want some hay! FIRST LADY -LRB- singing to Schikaneder. -RRB- Hey! SECOND LADY -LRB- singing to Schikaneder. -RRB- Hey! THIRD LADY -LRB- singing to Schikaneder. -RRB- Hey! SCHIKANEDER Hey what? ALL THREE LADIES -LRB- singing to La oi daram. -RRB- Give him some hay, my darling, and I'll give you my heart! COMMENDATORE Shut up. SCHIKANEDER Leporello! We want some hay - prestissimo! Leporello - where are you? The table is raised in the air by Leporello sitting under it on a bale of hay. FIRST LADY -LRB- singing to horse. -RRB- Behold! SECOND LADY -LRB- singing to horse. -RRB- Behold! THIRD LADY -LRB- singing to horse. -RRB- Behold! Ottavio the horse gives a piercing neigh and runs down to the hay. COMMENDATORE -LRB- holding on. -RRB- Hey! Hey! Watch out! The vamp starts again vigorously. The horse's rear - end swings around on a hinge to turn his hind - quarters straight on to the audience. The rest of him stays sideways. His tail springs up in the air to reveal a lace handkerchief modestly hiding his arsehole. Schikaneder offers him a handful of hay. The horse eats it, and out the other end comes a long Viennese sausage. The audience roars with laughter. Another handful of hay and out of the other end falls a string of sausages. Then a large pie, crust and all. Then a shower of iced cakes! Suddenly - silence. Schikaneder produces an egg from his pocket. Ottavio the horse rears up in disgust. COMMENDATORE Whoa! Whoa, Ottavio! Whoa! Leporello pries open the horse's mouth. Schikaneder pops the egg into it. A breathless pause as a drum roll builds the tension, up and up and up, and then suddenly out of the horse's rear - end flies a single white dove. Wild applause. It flies into the audience. Immediately all the cast start humming the lyrical finale from Figaro : Tutti Contenti. More and more doves fly out from the wings and fill the theatre. Everybody picks up the sausages and cakes and begins to eat. The end of the sketch is unexpectedly lyrical and magical, and then, suddenly, the tempo changes and the coarse strains of Ich Mochte wohl Der Kaiser take over and the whole company is dancing, frantically. A general dance as the curtain falls. It rises immediately. The audience - including Mozart - is delighted. They applaud vigorously. Schikaneder takes a bow amongst his troupe. Among much whistling and clapping, he finally jumps off the stage and strides through the audience toward the table where Mozart sits with his family. On stage, a troupe of bag pipers immediately appears to play an old German tune. Some of the audience joins in singing it. SCHIKANEDER Well, how do you like that? Mozart is smiling ; he has been amused. Constanze has been less amused and is looking apprehensive. MOZART Wonderful! -LRB- indicating his baby son. -RRB- He liked the monkey, did n't you? SCHIKANEDER Yes, well, it's all good fun. MOZART I liked the horse. Schikaneder sits at the table, and drinks from a bottle of wine. SCHIKANEDER Is n't he marvelous? He cost me a bundle, that horse, but he's worth it. I tell you, if you'd played Don Giovanni here it would have been a great success. I'm not joking. These people are n't fools. You could do something marvelous for them. MOZART I'd like to try them someday. I'm not sure I'd be much good at it. SCHIKANEDER ` Course you would. You belong here, my boy, not the snobby Court. You could do anything you felt like here - the more fantastic the better! That's what people want, you know : fantasy. You do a big production, fill it with beautiful magic tricks and you'll be absolutely free to do anything you want. Of course, you'd have to put a fire in it, because I've got the best fire machine in the city and a big flood - I can do you the finest water effects you ever saw in your life. Oh, and a few trick animals. You'd have to use those. MOZART Animals? SCHIKANEDER I tell you I picked up a snake in Dresden last week - twelve foot long - folds up to six inches, just like a paper fan. It's a miracle. Mozart laughs. SCHIKANEDER I'm serious. You write a proper part for me with a couple of catchy songs, I'll guarantee you'll have a triumph - de - luxe. Mind you, it'll have to be in German. MOZART German! SCHIKANEDER Of course! What else do you think they speak here? MOZART No, no, I love that. I'd want it to be in German. I have n't done anything in German since Seraglio. SCHIKANEDER So there you are. What do you say? CONSTANZE How much will you pay him? SCHIKANEDER Ah. Well. Ah. -LRB- to Mozart. -RRB- I see you've got your manager with you. Well, Madame, how about half the receipts? MOZART Half the receipts! Stanzi! CONSTANZE I'm talking about now. How much will you give him now? Down payment? SCHIKANEDER Down payment? Who do you think I am? The Emperor? Whoops, I have to go. He rises in haste for his next number. SCHIKANEDER Stay where you are. You're going to like this next one. We'll speak again. Triumph - de - luxe, my boy! He winks at Mozart and disappears toward the stage. Mozart looks after him, enchanted. CONSTANZE You're not going to do this? MOZART Why not? Half the house! CONSTANZE When? We need money now. Either he pays now, or you do n't do it. MOZART Oh, Stanzi. CONSTANZE I do n't trust this man. And I did n't like what he did with your opera. It was common. MOZART -LRB- to Karl. -RRB- Well, you liked it, did n't you? Monkey - flunki - punki. CONSTANZE Half the house! You'll never see a penny. I want it here, in my hand. MOZART -LRB- dirty. -RRB- Stanzi - manzi, I'll put it in your hand! CONSTANZE Shut up! I'll not let you put anything in my hand until I see some money. He giggles like a child.\",\n \"INT. SCHLUMBERG HOUSE - HALLWAY - DAY 1780'S Dogs are barking wickedly. Michael Schlumberg comes in from his salon. Mozart stands there looking very unwell and bewildered. He is also drunk, but making a careful attempt to keep his composure. SCHLUMBERG Herr Mozart. What a surprise. What can I do for you? MOZART Is my pupil still anxious to learn the art of music? SCHLUMBERG Well, your pupil is married and living in Mannheim, young man. MOZART Really? Perhaps your dear wife might care to profit from my instruction? SCHLUMBERG What is this, Mozart? What's the matter with you? MOZART Well. Since it appears nobody is eager to hire my services, could you favour me with a little money instead? SCHLUMBERG What for? MOZART If a man can not earn, he must borrow. SCHLUMBERG Well, this is hardly the way to go about it. MOZART No doubt, sir. But I am endowed with talent, and you with money. If I offer mine, you should offer yours. Pause. SCHLUMBERG I'm sorry. No. MOZART Please. I'll give it back, I promise. Please, sir. SCHLUMBERG My answer is no, Mozart. CU, Mozart. His voice becomes mechanical. MOZART Please. Please. Please. Please. Please. Please.\",\n \"INT. THE IMPERIAL LIBRARY - DAY - 1790'S Von Swieten and Salieri stand close together. Several scholars and students are examining scrolls and manuscripts at the other end of the room. VON SWIETEN -LRB- keeping his voice down. -RRB- This is embarrassing, you know. You introduced Mozart to some of my friends and he's begging from practically all of them. It has to stop. SALIERI I agree, Baron. VON SWIETEN Ca n't you think of anyone who might commission some work from him? I've done my best. I got him to arrange some Bach for my Sunday concerts. He got a fee - what I could afford. Ca n't you think of anyone who might do something for him? SALIERI No, Baron, no. I'm afraid Mozart is a lost cause. He has managed to alienate practically the whole of Vienna. He is constantly drunk. He never pays his debts. I ca n't think of one person to whom I dare recommend him. VON SWIETEN How sad. It's tragic, is n't it? Such a talent. SALIERI Indeed. Just a moment - as a matter of fact I think I do know someone who could commission a work from him. A very appropriate person to do so. Yes. The opening measures of the Piano Concerto in D Minor steal in.\",\n \"INT. THE COSTUME SHOP - VIENNA - DAY - 1790'S This is exactly the same shop which Mozart and Constanze visited with Leopold. Now Salieri's servant stands in it, waiting. We see a few other customers being served by the staff : renting masks, costumes, etc.. One of the staff emerges from the back of the shop carrying a large box, which he hands to Salieri's servant. The servant leaves the shop. Through the window we see him hurrying away through the snowy street full of passers - by, carriages, etc..\",\n \"INT. SALIERI'S APARTMENT - DUSK - 1790'S The D Minor Concerto continues. Salieri, alone, eagerly opens the box from the costume shop and takes out the same dark cloak and hat that Leopold wore to the masquerade, only now attached to the hat is a dark mask whose mouth is cut into a frown, not a laugh. It presents a bitter and menacing expression. He puts on the cloak, the hat and the mask and turns his back. Suddenly we see the assembled and alarming image reflected in a full - length mirror. The music swells darkly.\",\n \"EXT. A SNOWY STREET IN VIENNA - DUSK - 1790'S As the tutti of the D Minor Concerto continues, we see Salieri, dressed in this menacing costume, dark against the snow, stalking through a street which is otherwise lively with people going to various festivities. Some of them wear frivolous carnival clothes.\",\n \"INT. MOZART'S LIVING ROOM - DUSK - 1790'S Mozart sits writing at a table. He appears now to be really quite sick. His face expresses pain from his stomach cramps. There is a gentle knock at the door. He rises, goes to he door and opens it. Immediately there is a SHOCK CUT : The dark, frowning mask stares at him and at us. The violent D Minor chord which opens Don Giovanni is heard. Salieri in costume stands in the doorway. SALIERI Herr Mozart? The second chord sounds and fades. Mozart stares in panic. SALIERI I have come to commission work from you. MOZART What work? SALIERI A Mass for the dead. MOZART What dead? Who is dead? SALIERI A man who deserved a Requiem Mass and never got one. MOZART Who are you? SALIERI I am only a messenger. Do you accept? You will be paid well. MOZART How much? Salieri extends his hand. In it is a bag of money. SALIERI Fifty ducats. Another fifty when I have the Mass.. Do you accept? Almost against his will, Mozart takes the money. MOZART How long will you give me? SALIERI Work fast. And be sure to tell no one what you do. You will see me again soon. He turns away. Mozart closes the front door. Instantly we hear the opening of the Requiem Mass -LRB- also in D Minor -RRB-. Mozart turns and looks up at the portrait of his father on the wall. The portrait stares back. Constanze opens the door from the bedroom. She sees him staring up. CONSTANZE Wolfi? Wolfi! He looks at her with startled eyes. The music breaks off. CONSTANZE Who was that? MOZART No one. CONSTANZE I heard voices. He gives a strange little giggle. CONSTANZE What's the matter? She sees the bag of money. CONSTANZE What's that? Oh! -LRB- pouncing on it. -RRB- Who gave you this? How much is it? Wolfi, who gave you this? MOZART I'm not telling you. CONSTANZE Why not? MOZART You'd think I was mad. He stares at her. She stares at him.\",\n \"INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 Old Salieri is now wildly animated, totally driven by his confession to Vogler. OLD SALIERI My plan was so simple, it terrified me. First I must get the Death Mass and then achieve the death. Vogler stares at him in horror. VOGLER What? OLD SALIERI His funeral - imagine it! The Cathedral, all Vienna sitting there. His coffin, Mozart's little coffin in the middle. And suddenly in that silence, music. A divine music bursts out over them all, a great Mass of Death : Requiem Mass for Wolfgang Mozart, composed by his devoted friend Antonio Salieri. What sublimity! What depth! What passion in the music! Salieri has been touched by God at last. And God, forced to listen. Powerless - powerless to stop it. I at the end, for once, laughing at Him. Do you understand? Do you? VOGLER Yes. OLD SALIERI The only thing that worried me was the actual killing. How does one do that? How does one kill a man? It's one thing to dream about it. It's very different when you have to do it, with your own hands. He raises his own hands and stares at them. The raging Dies Irae from Mozart's Requiem Mass bursts upon us.\",\n \"INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1790'S Mozart sits working frantically at this demonic music. His whole expression is one of wildness and engulfing fever. He pours wine down his throat, spilling it, and grimaces as it hits his stomach. All around him are manuscripts. There is a banging at the front door. Mozart does not hear it ; the music raves on. Another knocking comes, louder. Constanze appears from the bedroom and stares at her distracted husband. The knocking is repeated again, even more violently and insistently. CONSTANZE Wolfi. Wolfi! He looks at her. The music breaks off. Silence. An enormous bang at the door startles him. Constanze moves to open it. MOZART No. Do n't answer it! CONSTANZE Why? Mozart springs up. He is clearly terrified. MOZART Tell him I'm not here. Tell him I'm working on it. Come back later. He runs out of he room, into his workroom, and shuts he door. Now a little scared herself, Constanze goes to he front door and opens it cautiously. Schikaneder stands there, floridly dressed as usual. Lorl is seen peeking out from the kitchen. SCHIKANEDER Am I interrupting something? CONSTANZE Not at all. SCHIKANEDER -LRB- peering into he room. -RRB- Where's our friend? CONSTANZE He's not in. But he's working on it. He said to tell you. SCHIKANEDER I hope so. I need it immediately. He pushes her into the room. SCHIKANEDER Is he happy with it? He sees he manuscript on the table, and goes to it eagerly. SCHIKANEDER Is this it? He picks up a page without waiting for a reply. SCHIKANEDER What the devil is this? Requiem Mass? Does he think I'm in the funeral business? Mozart opens he workroom door. We see him as Schikaneder sees him : wild - eyed, extremely pale and strange. MOZART Leave that alone! SCHIKANEDER Wolfi! MOZART Put it down! SCHIKANEDER What is this? MOZART Put it down, I said! It's nothing for you. SCHIKANEDER Oh! I'm sorry! I'm sorry! What have you got for me? Is it finished? MOZART What? SCHIKANEDER What? The vaudeville, what'd you think? MOZART Yes. SCHIKANEDER Can I see it? MOZART No. SCHIKANEDER Why not? MOZART Because there's nothing to see. He giggles triumphantly. Schikaneder stares at him. SCHIKANEDER Look, I asked you if we could start rehearsal next week and you said yes. MOZART Well, we can. SCHIKANEDER So let me see it. Where is it? Mozart, with a bright, rather demented smile presents his head to Schikaneder. MOZART Here. It's all right here, in my noodle. The rest is just scribbling. Scribbling and bibbling. Bibbling and scribbling. Would you like a drink? He giggles. Schikaneder suddenly grabs his lapels. SCHIKANEDER Look, you little clown, do you know how many people I've hired for you? Do you know how many people are waiting? CONSTANZE Leave him alone! SCHIKANEDER I'm paying these people. Do you realize that? CONSTANZE He's doing his best. SCHIKANEDER I'm paying people just to wait for you. It's ridiculous! CONSTANZE You know what's ridiculous? Your libretto, that's what's ridiculous. Only an idiot would ask Wolfi to work on that stuff! SCHIKANEDER Oh yes? And what's so intelligent about writing a Requiem? CONSTANZE Money! Money! SCHIKANEDER You're mad! She's mad, Wolfi. CONSTANZE Oh yes, and who are you? He's worked for Kings. For the Emperor. -LRB- shouting. -RRB- Who are you? Schikaneder suddenly takes Mozart by the arms, and speaks to him with intense appeal. SCHIKANEDER Listen, Wolfi. Write it. Please. Just write it down. On paper. It's no good to anyone in your head. And fuck the Death Mass..\",\n \"INT. SALIERI'S SALON - DAY - 1790'S A frightened and tearful Lorl sits before Salieri. SALIERI Now calm yourself. Calm. What's the matter with you? LORL I'm leaving. I'm not working there anymore. I'm scared! SALIERI Why? What has happened? LORL You do n't know what it's like. Herr Mozart frightens me. He drinks all day, then takes all that medicine and it makes him worse. SALIERI What medicine? LORL I do n't know. He has pains. SALIERI Where? LORL Here, in his stomach. They bend him right over. SALIERI Is he working? LORL I'm frightened, sir. Really! When he speaks, he does n't make any sense. You know he said he saw - he said he saw his father. And his father's dead. SALIERI Is he working? LORL I suppose so. He sits there all he time, doing some silly opera. SALIERI -LRB- startled. -RRB- Opera? Opera! LORL Please do n't ask me to go back again. I'm frightened! I'm very, very frightened. SALIERI -LRB- insistently. -RRB- Are you sure it's an opera? The Overture to The Magic Flute begins grandly. To the music of the slow introduction, we see :\",\n \"INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1790'S The room, lit by a few candles, appears dirty. The camera shows us again Leopold's portrait on the wall, looking down upon a scene of disorder. Papers litter the table ; dirty dishes are piled in the fireplace ; on the forte - piano lies Mozart's Masonic apron, woven with symbols. To the more lyrical passage of the introduction, we see Mozart take up a candle and enter :\",\n \"INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S We watch him stand beside Constanze, who lies asleep. Mozart now looks very ill ; his wife appears worn out. Tenderly he touches her hair. Then he moves to the cot where his son Karl lies asleep and kneels, pulls up the child's little blanket and for a moment lays his own head down beside the boy's. Constanze opens her eyes and stares at him. Mozart rises and returns to :\",\n \"INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1790'S The Introduction ends and suddenly the brilliant fast fugue begins. Instantly Mozart starts to dance to it, all alone : gleefully, like a child. He looks up at his father's portrait, and makes a silly, rude gesture at it. He is, briefly, an irresponsible and happy boy again. Then suddenly there is a gentle knocking at the door. The music fades down. Warily, Mozart crosses and opens he door. The familiar dark chords from Don Giovanni cut across the happy music. It ends. Before him stands the masked stranger. MOZART I do n't have it yet. It's not finished. I'm sorry, but I need more time. SALIERI Are you neglecting my request? MOZART No, no! I promise you, I'll give you a wonderful piece - the best I ever can! He turns and looks. Constanze has come into the living room. Nervously, Mozart indicates her. MOZART This is my wife, Stanzi. I've been sick, but I'm all right now. Are n't I? CONSTANZE Oh yes, sir. He's all right. And he's working on it very hard. MOZART Give me two more weeks. Please. Salieri contemplates them both. SALIERI The sooner you finish, the better your reward. Work! He turns and goes down the stairs. Mozart shuts the door ; he closes his eyes in fear. CONSTANZE Wolfi, I think you really are going mad. You work like a slave for that idiot actor who wo n't give you a penny and here. This is not a ghost! This is a real man who puts down real money. Why on earth do n't you finish it? He will not look at her or reply. CONSTANZE Give me one reason I can understand. MOZART I ca n't write it! CONSTANZE Why not? MOZART It's killing me. He looks at her suddenly. CONSTANZE No, this is really awful. You're drunk, are n't you? Be honest - tell me - you've been drinking. And I'm so stupid I stay here and listen to you! Suddenly she starts to cry. CONSTANZE It's not fair! I worry about you all the time. I try to help you all I can and you just drink and talk nonsense and - and frighten me! It's not fair! Her tears flow. Mozart looks at her helplessly. MOZART Go back to bed. CONSTANZE Please! Let me sit here. Let me stay here with you. I promise I wo n't say all word. I'll just be here, so you know no one's going to hurt you. Please, please! She sits down tearfully, staring at him. We hear the Rex Tremendai Majestatis from the Requiem and see on the wall the portrait of Leopold Mozart looking down. The camera pans slowly downward from it back to the table. Mozart is writing the music. He looks up and sees that Constanze is fast asleep in her chair. Mozart gets up quietly. He puts on his hat and cloak, takes a bottle of wine and tiptoes from the house. Without stopping, the music changes from the heavy Requiem to the light - hearted patter of the Papa - Papa duet from The Magic Flute.\",\n \"INT. SCHIKANEDER'S SUMMER HOUSE - NIGHT - 1790'S This little wooden structure stands in a courtyard in the tenement by the Weiden. Inside, we see a table, chairs, a forte - piano, bottles and a chaos of papers. Strewn about in the chairs are the three actresses, giggling. Schikaneder and Mozart, both drunk, are singing the duet of the two bird - people. The actor sings Papageno and the composer, in a soprano voice, sings Papagena at the keyboard. Absurdly, they end up rubbing noses and fall on each other's necks.\",\n \"EXT. VIENNA STREET - NIGHT - 1790'S Mozart, drunk and happy, staggers back through the snow. There are a few people about. He goes into his apartment building.\",\n \"INT. MOZART'S APARTMENT - DAY - 1790'S He comes through he door and stares across the living room at an open bedroom door. Puzzled, he crosses. The bedroom is also empty. We see Constanze's empty bed ; Karl's empty bed ; empty closets. MOZART Stanzi? Stanzi - marini - bini? He looks about him, puzzled.\",\n \"INT. FRAU WEBER'S HOUSE - LIVING ROOM - DAY - 1790'S Frau Weber sits grimly talking. Mozart sits also, completely exhausted and passive under the rain of her constant speech. FRAU WEBER She's not coming back, you know. She's gone for good. I did it and I'm proud of it. ` Leave,' I said. ` Right away! Take he child and go, just go. Here's the money! Go to the Spa and get your health back - that's if you can.' I was shocked. Shocked to my foundation. Is that my girl? Can that be my Stanzi? The happy little moppet I brought up, that poor trembling thing? Oh, you monster! No one exists but you, do they? You and your music! Do you know how often she's sat in that very chair, weeping her eyes out of her head because of you? I warned her. ` Choose a man, not a baby,' I said. But would she listen? Who listens? ` He's just a silly boy,' she says. Silly, my arse. Selfish - that's all you are. Selfish! Selfish, selfish, selfish, selfish, selfish. And with a scream Madame Weber's voice turns into the shrill packing coloratura of the second act aria of the Queen of the Night, in The Magic Flute.\",\n \"INT. SCHIKANEDER'S THEATRE - NIGHT - 1790'S On stage we see the QUEEN OF THE NIGHT fantastically costumed, furiously urging her daughter to kill Sarastro. As she sings, we see the interior of the theatre, now re - arranged from when we last visited it to watch the Cabaret. An audience of ordinary German citizens stands in the pit area, or sits : they are rapt and excited. The theatre also possesses boxes ; some of these show closed curtains - their inhabitants presumably engaged in private intimacies. In one of them sits Salieri. QUEEN OF THE NIGHT -LRB- singing furiously. -RRB- A hellish wrath within my heart is seething! Death and destruction Flame around my throne! If not by thee Sarastro's light be extinguished. Then be thou mine own daughter never more! Rejected be forever! So sundered be forever All the bonds of kin and blood! Hear! Hear! Hear God of Vengeance! Hear thy Mother's vow! Thunder and lightning. She disappears amidst tremendous applause from the audience.\",\n \"EXT. OUTSIDE THE THEATRE - NIGHT - 1790'S On the poster for The Magic Flute, the name Emmanuel Schikaneder should appear very, very large and the name of Mozart quite small : I. & R. priv. Weiden Theatre. The Actors of the Imperial and Royal Privileged Theatre of the Weiden Have the honour to perform THE MAGIC FLUTE, A Grand Opera in Two Acts By Emmanuel Schikaneder -LRB- The Cast List -RRB-. The music is by Herr Wolfgang Amadeus Mozart. Herr Mozart out of respect for a gracious and honourable Public, and from friendship for the author of this piece, will today direct the orchestra in person. The book of the opera, furnished with two copperplates, of which is engraved Herr Schikaneder in the costume he wears for the role of Papageno, may be had at the box office for 30 kr. Prices of admission are as usual To begin at 7 o'clock\",\n \"INT. STAGE, AUDITORIUM AND WINGS OF SCHIKANEDER'S THEATRE NIGHT -1790'S We CUT TO the scene immediately before Papageno's song, Ein Madchen oder Weibchen. Papageno, played by Schikaneder, dressed in his costume of feathers, is trying to get through a mysterious door. A voice calls from within. VOICE Go back! Papageno recoils. PAPAGENO Merciful Gods! If only I knew by which door I came in. -LRB- to audience. -RRB- Which was it? Was it this one? Come on, tell me! VOICE Go back! Papageno recoils. PAPAGENO Now, I ca n't go forward and I ca n't go back. Oh, this is awful! He weeps extravagantly. In the pit, Mozart indicates to the first violinist to take over as conductor. He slips from his place and goes stealthily backstage. We follow him. Over the scene we hear Papageno being addressed by the First Priest in stern tones. FIRST PRIEST -LRB- on stage. -RRB- Man, thou hast deserved to wander forever in the darkest chasms of the earth. The gentle Gods have remitted thy punishment, but yet thou shalt never feel the Divine Content of the consecrated ones. PAPAGENO Oh well, I'm not alone in that. Just give me a decent glass of wine - that's divine content enough for me. Laughter. An enormous goblet of wine appears out of the earth. We follow Mozart into the wings. Actors and actresses stand around in fantastic costumes. We see a flying chariot and parts of a huge snake lying about. Also the scenery door of a temple with the word ` Wisdom' inscribed on the pediment. Mozart walks to where there stands a keyboard glockenspiel with several manuals, and a musician waiting to play it. Silently Mozart indicates that he wishes to play the instrument himself. On stage Schikaneder is being addressed haughtily by the First Priest. FIRST PRIEST Man, hast thou no other desire on earth, but just to eat and drink? PAPAGENO -LRB- Schikaneder. -RRB- Well! Laughter from the audience. PAPAGENO Well, actually I do have a rather weird feeling in my heart. Perhaps it's just indigestion. But you know, I really would like - I really do want - something even nicer than food and drink. Now what on earth could that be? He stares at the audience and winks at them. They laugh. Now Papageno's aria -LRB- Ein Madchen oder Weibchen -RRB- begins. It is interpolated, as he pretends to play his magic bells, with the glockenspiel actually being played off - stage by Mozart. Schikaneder looks into the pit and does not see Mozart conducting. He looks into the wings and realizes the situation with amusement. He sings joyfully and the audience watches entranced. ANDANTE A sweetheart or a pretty little wife is Papageno's wish. A willing, billing, lovey dovey Would be My most tasty little dish. Be my most tasty little dish! Be my most tasty little dish! ALLEGRO Then that would be eating and drinking I'd live like a Prince without thinking. The wisdom of old would be mine - A woman's much better than wine! Then that would be eating and drinking! The wisdom of old would be mine - A woman's much better than wine. She's much better than wine! She's much better than wine! ANDANTE -LRB- encore, lightly, as before. -RRB- A sweetheart or a pretty little wife is Papageno's wish. A willing, billing, lovey dovey Would be My most tasty little dish. ALLEGRO I need to net one birdie only And I will stop feeling so lonely. But if she wo n't fly to my aid, Then into a ghost I must fade. I need to net one birdie only But if she wo n't fly to my aid, Then into a ghost I must fade. To a ghost I must fade! To a ghost I must fade! ANDANTE -LRB- encore. -RRB- A sweetheart or a pretty little wife is Papageno's wish. A willing, billing, lovey dovey Would be My most tasty little dish. ALLEGRO At present the girls only peck me. Their cruelty surely will wreck me. But one little beak in my own, And I'll up to heaven be flown! At present the girls only peck me. But one little beak in my own, And I'll up to heaven be flown. Up to heaven be flown! Up to heaven be flown! At certain moments we see the stage from Salieri's point of view : Schikaneder singing, then pretending to play ; and then we see Mozart playing the glockenspiel with great flourishes in the wings. Then, suddenly, the actor mimes playing, and no sound comes. He mimes again, but still nothing comes. He looks offstage in anxiety ; there is evidently some commotion. People are looking down on the floor. The song comes to a near - halt. Schikaneder stares. Then the comedian signals to the deputy conductor to pick up the song and finish it. At this moment Salieri gets up and hastily leaves his box.\",\n \"INT. WINGS OF SCHIKANEDER'S THEATRE - NIGHT - 1790'S We see the actress playing Papagena, wearing an old tattered cloak and about to tie a little painted cloth representing a hideous old woman over her face. She is looking worriedly down at Mozart, who is lying unconscious on the floor. A few people around him are trying to revive him. One has put a wet handkerchief around his temples. Another is holding a small bottle of smelling salts. There are voices saying, ` Doctor! Take him to a dressing room. Someone call a carriage. Take him home.' Etc.. Papagena is urged to go on stage by a distracted stage manager. Suddenly we hear the voice of Salieri. SALIERI I'll take care of him. He steps forward. SALIERI I have a carriage. Excuse me. The actors step back respectfully. He stoops and picks up the frail composer in his arms. Mozart is quite limp and Salieri has to fling his arms around his own neck. All this is watched nervously by Schikaneder on stage whilst performing his scene with Papagena as an ugly old woman. UGLY OLD WOMAN Here I am, my angel. PAPAGENO -LRB- appalled. -RRB- What? Who the devil are you? UGLY OLD WOMAN I've taken pity on you, my angel. I heard your wish. PAPAGENO Oh. Well, thank you! How wonderful. Some people get all the luck. Audience laughter. The actress raises the little painted cloth with the ugly old face on it to show her own pretty young one to the audience. More laughter. UGLY OLD WOMAN Now you've got to promise me faithfully you'll remain true to me forever. Then you'll see how tenderly your little birdie will love you. PAPAGENO -LRB- nervous. -RRB- I ca n't wait. UGLY OLD WOMAN Well, promise then. PAPAGENO What do you mean - now? UGLY OLD WOMAN Of course now. Right away, before I get any older. Laughter. PAPAGENO Well, I do n't know! I mean you're a delicious, delightful, delectable little bird, but do n't you think you might be just a little tough? UGLY OLD WOMAN -LRB- amorously. -RRB- Oh, I'm tender enough for you, my boy. I'm tender enough for you. Laughter.\",\n \"EXT. SCHIKANEDER'S THEATRE - NIGHT - 1790'S A waiting sedan chair. Mozart has recovered consciousness, but looks exceedingly ill. Salieri has set him down in the winter's night. Snow is falling. MOZART What happened? Is it over? SALIERI I'm taking you home. You're not well. MOZART No, no. I have to get back. I have - He starts to collapse again. Salieri helps him into the sedan. The door is shut. The chair sets off and Salieri strides beside it, through the mean street. A lantern with a candle swings from the chair.\",\n \"INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1790'S The door opens. Salieri enters carrying the lantern from the sedan chair. He is followed by Mozart, carried in the arms of one of the porters. The room is now really in complete disarray. The table is piled high with music : the pages of the Requiem lie amongst many empty wine bottles. The porter carries Mozart into\",\n \"INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S This room is miserably neglected. The bed is unmade, clothes lie about on the floor. A sock has been stuck into the broken pane of one window. The porter lays Mozart down on the bed as Salieri lights candles from the lantern to reveal plates of half - eaten food and other signs left by a man whose wife has departed. It is obviously very cold. Another very small bed nearby belongs to the child, Karl. SALIERI -LRB- handing the porter the lantern. -RRB- Thank you. Go. The porter leaves the room. Mozart stirs. MOZART -LRB- vaguely singing. -RRB- Papa! Papa! He opens his eyes and sees Salieri staring down at him. He smiles. SALIERI Come now. He helps him to sit up and takes off his coat and his shoes and puts a coverlet around him. SALIERI Where is your wife? MOZART Not here! She's not well, either. She went to the Spa. SALIERI You mean she's not coming back? MOZART You're so good to me. Truly. Thank you. SALIERI No, please. MOZART I mean to come to my opera. You are the only colleague who did. He struggles to loosen his cravat. Salieri does it for him. SALIERI I would never miss anything that you had written. You must know that. MOZART This is only a vaudeville. SALIERI Oh no. It is a sublime piece. The grandest operone. I tell you, you are the greatest composer known to me. MOZART Do you mean that? SALIERI I do. MOZART I have bad fancies. I do n't sleep well anymore. Then I drink too much, and think stupid things. SALIERI Are you ill? MOZART The doctor thinks I am. But - SALIERI What? MOZART I'm too young to be so sick. There is a violent knocking at the front door. Mozart starts and looks around wildly. SALIERI Shall I answer it? MOZART No! No, it's him! SALIERI Who? MOZART The man. He's here. SALIERI What man? The knocking increases in loudness, terrifying Mozart. MOZART Tell him to go away. Tell him I'm still working on it. Do n't let him in! Salieri moves to the door. MOZART Wait! Ask him if he'd give me some money now. Tell him if he would, that would help me finish it. SALIERI Finish what? MOZART He knows. He knows! Salieri leaves the room.\",\n \"INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1790'S Salieri goes to the front door and opens it to reveal Schikaneder, who has obviously come straight from the theatre. He still wears his bird make - up and under his street cloak, his feathered costume is clearly seen. He has with him the three actresses, also looking anxious and also in make - up as the three attendants in The Magic Flute. SCHIKANEDER Herr Salieri. SALIERI Yes, I am looking after him. SCHIKANEDER Can we come in? SALIERI Well, he's sleeping now. Better not. SCHIKANEDER But he's all right? SALIERI Oh, yes. He's just exhausted. He became dizzy, that's all. We should let him rest. SCHIKANEDER Well, tell him we were here, wo n't you? SALIERI Of course. SCHIKANEDER And say everything went wonderfully. A triumph - de - luxe - say that! Tell him the audience shouted his name a hundred times. SALIERI Bene. SCHIKANEDER I'll call tomorrow. SALIERI Yes. -LRB- to the actresses. -RRB- And congratulations to all of you. It was superb. ACTRESSES Thank you! Thank you, Excellency! Schikaneder produces a bag of money. SCHIKANEDER Oh, by the way, give him this. This is his share. That should cheer him up, eh? SALIERI Yes, indeed. Goodnight to you all now. It was perfection - truly! ACTRESSES -LRB- delighted. -RRB- Goodnight, Your Excellency. Goodnight! They bob and curtsey. Schikaneder stares at Salieri, uneasily, vaguely suspicious. Salieri smiles back at him and shuts the door. He stays for a moment, thinking. He contemplates the money.\",\n \"INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S Mozart is sitting up in bed, staring at the door. It opens. Salieri returns. He holds in his hand the bag of money. MOZART What happened? Salieri pours the coins out of the bag onto the coverlet. SALIERI He said to give you this. And if you finish the work by tomorrow night, he will pay you another hundred ducats. Mozart looks at the coins astonished. MOZART Another? But that's too soon! Tomorrow night? It's impossible! Did he say a hundred? SALIERI Yes. Can I - could I help you, in any way? MOZART Would you? Actually, you could. SALIERI My dear friend, it would be my greatest pleasure. MOZART But you'd have to swear not to tell a soul. I'm not allowed. SALIERI Of course. MOZART You know, it's all here in my head. It's just ready to be set down. But when I'm dizzy like this my eyes wo n't focus. I ca n't write. SALIERI Then, let us try together. I'd regard it as such an honour. Tell me, what is this work? MOZART A Mass.. A Mass for the Dead.\",\n \"INT. A SMALL DANCE HALL - BADEN - NIGHT - 1790'S Trivial dance music is playing. Constanze is doing a waltz with a young OFFICER in military uniform. At the moment we see her, she stops abruptly, as if in panic. OFFICER What is it? CONSTANZE I want to go! OFFICER Where? CONSTANZE I want to go back to Vienna. OFFICER Now? CONSTANZE Yes! OFFICER Why? CONSTANZE I feel wrong. I feel wrong being here. OFFICER -LRB- laying a hand on her arm. -RRB- What are you talking about?\",\n \"INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S Mozart is sitting up in bed, propped against pillows. The coins lie on the coverlet ; many candles burn in the necks of bottles. Salieri, without coat or wig, is seated at an improvised worktable. On it are blank sheets of music paper, quills, and ink. Also the score of the Requiem Mass as so far composed. Mozart is bright - eyed with a kind of fever. Salieri is also possessed with an obviously feverish desire to put down the notes as quickly as Mozart can dictate them. MOZART Where did I stop? SALIERI -LRB- consulting the manuscript. -RRB- The end of the Recordare - Statuens in parte dextra. MOZART So now the Confutatis. Confutatis Maledictis. When the wicked are confounded. Flammis acribus addictis. How would you translate that? SALIERI Consigned to flames of woe. MOZART Do you believe in it? SALIERI What? MOZART A fire which never dies. Burning one forever? SALIERI Oh, yes. MOZART Strange! SALIERI Come. Let's begin. He takes his pen. SALIERI Confutatis Maledictis. MOZART We ended in F Major? SALIERI Yes. MOZART So now - A minor. Suddenly. Salieri writes the key signature. MOZART The Fire. SALIERI What time? MOZART Common time. Salieri writes this, and continues now to write as swiftly and urgently as he can, at Mozart's dictation. He is obviously highly expert at doing this and hardly hesitates. His speed, however, can never be too fast for Mozart's impatient mind. MOZART Start with the voices. Basses first. Second beat of the first measure - A. -LRB- singing the note. -RRB- Con - fu - ta - tis. -LRB- speaking. -RRB- Second measure, second beat. -LRB- singing. -RRB- Ma - le - dic - tis. -LRB- speaking. -RRB- G - sharp, of course. SALIERI Yes. MOZART Third measure, second beat starting on E. -LRB- singing. -RRB- Flam - mis a - cri - bus ad - dic - tis. -LRB- speaking. -RRB- And fourth measure, fourth beat - D. -LRB- singing. -RRB- Ma - le - dic - tis, flam - mis a - cri - bus ad - dic - tis. -LRB- speaking. -RRB- Do you have that? SALIERI I think so. MOZART Sing it back. Salieri sings back the first six measures of the bass line. After the first two measures a chorus of basses fades in on the soundtrack and engulfs his voice. They stop. MOZART Good. Now the tenors. Fourth beat of the first measure - C. -LRB- singing. -RRB- Con - fu - ta - tis. -LRB- speaking. -RRB- Second measure, fourth beat on D. -LRB- singing. -RRB- Ma - le - dic - tis. -LRB- speaking. -RRB- All right? SALIERI Yes. MOZART Fourth measure, second beat - F. -LRB- singing. -RRB- Flam - mis a - cri - bus ad - dic - tis, flam - mis a - cri - bus ad - dic - tis. His voice is lost on the last words, as tenors engulf it and take over the soundtrack, singing their whole line from the beginning, right to the end of the sixth measure where the basses stopped, but he goes on mouthing the sounds with them. Salieri writes feverishly. We see his pen jotting down the notes as quickly as possible : the ink flicks onto the page. The music stops again. MOZART Now the orchestra. Second bassoon and bass trombone with the basses. Identical notes and rhythm. -LRB- He hurriedly hums the opening notes of the bass vocal line. -RRB- The first bassoon and tenor trombone - SALIERI -LRB- labouring to keep up. -RRB- Please! Just one moment. Mozart glares at him, irritated. His hands move impatiently. Salieri scribbles frantically. MOZART It could n't be simpler. SALIERI -LRB- finishing. -RRB- First bassoon and tenor trombone - what? MOZART With the tenors. SALIERI Also identical? MOZART Exactly. The instruments to go with the voices. Trumpets and timpani, tonic and dominant. He again hums the bass vocal line from the beginning, conducting. On the soundtrack, we hear the second bassoon and bass trombone play it with him and the first bassoon and tenor trombone come in on top, playing the tenor vocal line. We also hear the trumpets and timpani. The sound is bare and grim. It stops at the end of the sixth measure. Salieri stops writing. SALIERI And that's all? MOZART Oh no. Now for the Fire. -LRB- he smiles. -RRB- Strings in unison - ostinato on all - like this. He sings the urgent first measure of the ostinato. MOZART -LRB- speaking. -RRB- Second measure on B. He sings the second measure of the ostinato. MOZART -LRB- speaking. -RRB- Do you have me? SALIERI I think so. MOZART Show me. Salieri sings the first two measures of the string ostinato. MOZART -LRB- excitedly. -RRB- Good, good - yes! Put it down. And the next measures exactly the same, rising and rising - C to D to E, up to the dominant chord. Do you see? As Salieri writes, Mozart sings the ostinato from the beginning, but the unaccompanied strings overwhelm his voice on the soundtrack, playing the first six bars of their agitated accompaniment. They stop. SALIERI That's wonderful! MOZART Yes, yes - go on. The Voca Me. Suddenly sotto voce. Write that down : sotto voce, pianissimo. Voca me cum benedictis. Call me among the blessed. He is now sitting bolt upright, hushed and inspired. MOZART C Major. Sopranos and altos in thirds. Altos on C. Sopranos above. -LRB- singing the alto part. -RRB- Vo - ca, vo - ca me, vo - ca me cum be - ne - dic - tis. SALIERI Sopranos up to F on the second ` Voca'? MOZART Yes, and on ` dictis'. SALIERI Yes! He writes feverishly. MOZART And underneath, just violins - arpeggio. He sings the violin figure under the Voca Me -LRB- Bars 7,8,9 -RRB-. MOZART -LRB- speaking. -RRB- The descending scale in eighth notes, and then back suddenly to the fire again. He sings the ostinato phrase twice. MOZART -LRB- speaking. -RRB- And that's it. Do you have it? SALIERI You go fast! MOZART -LRB- urgently. -RRB- Do you have it? SALIERI Yes. MOZART Then let me hear it. All of it. The whole thing from the beginning - now! The entire Confutatis bursts over the room, as Mozart snatches the manuscript pages from Salieri and reads from it, singing. Salieri sits looking on in wondering astonishment. The music continues right through the following scenes, to the end of the movement.\",\n \"EXT. A COUNTRY ROAD - WINTER NIGHT - 1790'S A carriage is driving fast through the night. Snow lies on the countryside.\",\n \"INT. THE CARRIAGE NIGHT - 1790'S The carriage is filled with passengers. Among them Constanze and Karl, her young son. They are sleepless and sway to the motion of the vehicle.\",\n \"INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S Mozart lying in bed exhausted, but still dictating urgently. We do not hear what he is saying to Salieri, who still sits writing assiduously. Mozart is looking very sick : sweat is pouring from his forehead.\",\n \"EXT. A COUNTRY ROAD - WINTER NIGHT - 1790'S The carriage, moving through the night, to the sound of the music.\",\n \"INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S Mozart still dictating ; Salieri still writing without stop.\",\n \"EXT. VIENNA STREET - DAWN - 1790'S. The carriage has arrived. Constanze and her son alight with other passengers. Postillions attend to the horses. She takes her boy's hand. It is a cold wintry dawn. The music stutters to a close. End of the Confutatis.\",\n \"INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S MOZART Do you want to rest a bit? SALIERI Oh no. I'm not tired at all. MOZART We'll stop for just a moment. Then we'll do the Lacrimosa. SALIERI I can keep going, I assure you. Shall we try? MOZART Would you stay with me while I sleep a little? SALIERI I'm not leaving you. MOZART I am so ashamed. SALIERI What for? MOZART I was foolish. I thought you did not care for my work - or me. Forgive me. Forgive me! Mozart closes his eyes. Salieri stares at him.\",\n \"EXT. VIENNA STREET - WINTRY DAWN - 1790'S Constanze and Karl approach along the cobbled street, hand in hand toward their house. Snow lies in the street.\",\n \"INT. MOZART'S APARTMENT - BEDROOM - DAWN - 1790'S Mozart lies asleep in the bed, holding the last pages of the manuscript. Salieri lies across from him on Karl's small bed in his shirt sleeves and waistcoat. The child's bed is obviously too small for him and he is forced in to a cramped position.\",\n \"EXT. MOZART'S APARTMENT HOUSE - DAWN - 1790'S Constanze and Karl arrive at the door. They enter.\",\n \"INT. MOZART'S APARTMENT - LIVING ROOM - DAWN - 1790'S It is as disordered as before, save that the table, previously littered with pages, is now completely bare. Constanze looks at it with surprise and enters the bedroom.\",\n \"INT. MOZART'S APARTMENT - BEDROOM - DAWN - 1790'S Mozart is asleep in the bed. Salieri is dozing on the nearby child's bed. The room is full of the trailing smoke from guttering and guttered candles. Startled by Constanze's entrance and her young son, Salieri scrambles up. As he does so, he attempts to button his waistcoat, but does it ineptly, so that the vestment becomes bunched up, making him look absurd. CONSTANZE What are you doing here? SALIERI Your husband is ill, ma'am. He took sick. I brought him home. CONSTANZE Why you? SALIERI I was at hand. CONSTANZE Well, thank you very much. You can go now. SALIERI He needs me, ma'am. CONSTANZE No, he does n't. And I do n't want you here. Just go, please. SALIERI He asked me to stay. CONSTANZE And I'm asking you - She notices a movement from the bed. Mozart wakes. He sees Constanze and smiles with real joy. Forgetting Salieri, she goes to her husband. CONSTANZE Wolfi, I'm back. I'm still very angry with you, but I missed you so much. She throws herself on the bed. CONSTANZE I'll never leave you again. If you'll just try a little harder to be nice to me. And I'll try to do better, too. We must. We must! This was just silly and stupid. She hugs her husband desperately. He stares at her with obvious relief, not able to speak. Suddenly she sees the manuscript in his hand. CONSTANZE What is this? She looks at it and recognizes it. CONSTANZE Oh no, not this. Not this, Wolfi! You're not to work on this ever again! I've decided. She takes it from his weak hand. At the same moment Salieri reaches out his hand to take it and add it to the pile on the table. She stares at him, trying to understand - suspicious and frightened and at the same time unable to make a sound. Mozart makes a convulsive gesture to reclaim the pages. The coins brought by Salieri fall on the floor. Karl runs after them, laughing. CONSTANZE -LRB- to Salieri. -RRB- This is not his handwriting. SALIERI No. I was assisting him. He asked me. CONSTANZE He's not going to work on this anymore. It is making him ill. Please. She extends her hand for the Requiem, as she stands up. Salieri hesitates. CONSTANZE -LRB- hard. -RRB- Please. With extreme reluctance - it costs him agony to do it - Salieri hands over the score of the Requiem to her. CONSTANZE Thank you. She marches with the manuscript over to a large chest in the room, opens it, throws the manuscript inside, shuts the lid, locks it and pockets the key. Involuntarily Salieri stretches out his arms for the lost manuscript. SALIERI But - but - but - She turns and faces him. CONSTANZE Good night. He stares at her, stunned. CONSTANZE I regret we have no servants to show you out, Herr Salieri. Respect my wish and go. SALIERI Madame, I will respect his. He asked me to stay here. They look at each other in mutual hatred. She turns to the bed. Mozart appears to have gone to sleep again. CONSTANZE Wolfi? -LRB- louder. -RRB- Wolfi? She moves to the bed. The child is playing with the coins on the floor. Faintly we hear the start of the Lacrimosa from the Requiem. Salieri watches as she touches her husband's hand. As the music grows, we realize that Mozart is dead. CU, Constanze staring wide - eyed in dawning apprehension. CU, Salieri also comprehending hat he has been cheated. The music rises. CU, The child on the floor, playing with the money.\",\n \"EXT. STEPHEN'S CATHEDRAL - VIENNA - A RAINY DAY - 1790'S The Lacrimosa continues through all of the following : a small group of people emerges from the side door into the raw, wet day, accompanying a cheap wooden coffin. The coffin is borne by a gravedigger and Schikaneder in mourning clothes. They load it onto a cart, drawn by a poor black horse. All the rest are in black, also : Salieri, Von Swieten, Constanze and her son, Karl, Madame Weber and her youngest daughter Sophie, and even Lorl, the maid. It is drizzling. The cart sets off. The group follows.\",\n \"EXT. OUTSIDE THE CITY WALLS OF VIENNA - RAINY DAY - 1790'S The group has already passed beyond the city limits following the miserable cart. The Lacrimosa accompanies them with its measured thread. The drizzle of rain has now become heavy. One by one, the group breaks up and shelters under the trees. The cart moves on toward the cemetery, alone, followed by nobody, growing more and more distant. They watch it go. Salieri and Von Swieten shake hands mournfully, the water soaking their black tall hats. Schikaneder is in tears. Constanze is near collapse. Salieri moves to assist her, but she turns away from him, seeking the arm of Cavalieri. Madame Weber takes Karl's hand. The music builds to its climax on Dona Eis Pacem! We CUT back to :\",\n \"INT. OLD SALIERI'S HOSPITAL ROOM - MORNING - 1823 Morning light fills the room. Old Salieri sits weeping convulsively, as the music stops. Tears stream down his face. Vogler watches him, amazed. VOGLER Why? Why? Why? Why add to your misery by confessing to murder? You did n't kill him. OLD SALIERI I did. VOGLER No, you did n't! OLD SALIERI I poisoned his life. VOGLER But not his body. OLD SALIERI What difference does that make? VOGLER My son, why should you want all Vienna to believe you a murderer? Is that your penance? Is it? OLD SALIERI No, Father. From now on no one will be able to speak of Mozart without thinking of me. Whenever they say Mozart with love, they'll have to say Salieri with loathing. And that's my immortality - at last! Our names will be tied together for eternity - his in fame and mine in infamy. At least it's better than the total oblivion he'd planned for me, your merciful God! VOGLER Oh my son, my poor son! OLD SALIERI Do n't pity me. Pity yourself. You serve a wicked God. He killed Mozart, not I. Took him, snatched him away, without pity. He destroyed His beloved rather than let a mediocrity like me get the smallest share in his glory. He does n't care. Understand that. God cares nothing for the man He denies and nothing either for the man He uses. He broke Mozart in half when He'd finished with him, and threw him away. Like an old, worn out flute.\",\n \"EXT. CEMETERY OF ST. MARX - LATE AFTERNOON - 1790'S The rain has eased off. A LOCAL PRIEST with two boy acolytes is standing beside an open communal grave. Mozart's body is lifted out of the cheap pine box in a sack. We see that the grave contains twenty other such sacks. The gravedigger throws the one containing Mozart amongst the others. An assistant pours quicklime over the whole pile of them. The acolytes swing their censers. LOCAL PRIEST The Lord giveth. The Lord taketh away. Blessed be the name of the Lord.\",\n \"INT. OLD SALIERI'S HOSPITAL ROOM - MORNING - 1823 OLD SALIERI Why did He do it? Why did n't He kill me? I had no value. What was the use, keeping me alive for thirty - two years of torture? Thirty - two years of honours and awards. He tears off the Civilian Medal and Chain with which the Emperor invested him and has been wearing the whole time and throws it across the room. OLD SALIERI Being bowed to and saluted, called ` distinguished - distinguished Salieri' - by men incapable of distinguishing! Thirty - two years of meaningless fame to end up alone in my room, watching myself become extinct. My music growing fainter, all the time fainter, until no one plays it at all. And his growing louder, filling the world with wonder. And everyone who loves my sacred art crying, Mozart! Bless you, Mozart. The door opens. An attendant comes in, cheerful and hearty. ATTENDANT Good morning, Professor! Time for the water closet. And then we've got your favourite breakfast for you - sugar - rolls. -LRB- to Vogler. -RRB- He loves those. Fresh sugar - rolls. Salieri ignores him and stares only at the priest, who stares back. OLD SALIERI Goodbye, Father. I'll speak for you. I speak for all mediocrities in the world. I am their champion. I am their patron saint. On their behalf I deny Him, your God of no mercy. Your God who tortures men with longings they can never fulfill. He may forgive me : I shall never forgive Him. He signs to the attendant, who wheels him in his chair out of the room. The priest stares after him.\",\n \"INT. CORRIDOR OF THE HOSPITAL - MORNING The corridor is filled with patients in white linen smocks, all taking their morning exercise walk in the care of nurses and nuns. They form a long, wretched, strange procession - some of them are clearly very disturbed. As Old Salieri is pushed through them in his wheelchair, he lifts his hands to them in benediction. OLD SALIERI Mediocrities everywhere, now and to come : I absolve you all! Amen! Amen! Amen! Finally, he turns full - face to the camera and blesses us the audience, making the Sign of the Cross. Underneath we hear, stealing in and growing louder, the tremendous Masonic Funeral Music of Mozart. On the last four chords, we THE END\"\n]"},"labels":{"kind":"list like","value":[0,0,0,1,0,0,0,0,1,1,0,1,0,1,0,1,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,1,0,0,1,0,0,0,0,0,1,0,0,0,1,0,0,1,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,0,0,1,1,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,1,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,1,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,1,0,0,1],"string":"[\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 1,\n 0,\n 1,\n 0,\n 1,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1\n]"},"summary":{"kind":"string","value":"An elderly Antonio Salieri confesses to the murder of his former colleague, Wolfgang Amadeus Mozart, and attempts to kill himself by slitting his throat. Two servants take him to a mental asylum where a priest, Father Vogler, implores him to confess. Salieri recounts how, even in his youth, he desired to be a composer, much to the chagrin of his father. He prays to God that, if he will make Salieri a famous composer, he will in return promise his faithfulness. Soon after, his father dies, which Salieri takes as a sign that God has accepted his vow. He is educated in Vienna and becomes court composer to Emperor Joseph II. Mozart arrives in Vienna to perform at the request of his employer, the Prince-Archbishop of Salzburg. Salieri attends the performance to meet Mozart and, despite Mozart's obscenity and immaturity, finds his talent to be transcendent. The Emperor desires to commission Mozart to write an opera and, despite the reservations of his advisers, summons him to the palace. Mozart happily accepts the job, much to the annoyance of Salieri. Mozart premieres Die Entführung aus dem Serail to mixed reviews from the Emperor. Salieri suspects that Mozart has slept with the star, Caterina Cavalieri, despite his engagement to Constanze Weber. The Emperor desires that Mozart instruct his niece, Princess Elisabeth, in music, but Salieri discourages him from doing so. Constanze visits Salieri to persuade him to make the Emperor reconsider, but she is unsuccessful. Salieri is enraged that God has bestowed upon Mozart the talent he has so desperately desired and vows to destroy Mozart. Mozart, meanwhile, struggles to find work and begins drinking. His father, Leopold Mozart, comes to visit him in Vienna. Constanze and Mozart take Leopold to a masked party (which Salieri also attends), where Mozart entertains the guests with musical antics. Leopold disapproves of his son's hedonism, and the family argues until Leopold leaves town. Salieri hires a young girl to pose as the Mozarts' maid while spying for him. She takes him to the Mozart residence, where he discovers that Mozart is working on an opera based on the play The Marriage of Figaro, which the Emperor has forbidden. When Mozart is summoned to court to explain, he manages to convince the Emperor to allow his opera to premiere, despite Salieri and the advisers' attempts at sabotage. Messengers arrive in Vienna with news of Leopold's death, and in response a grief-stricken Mozart pens Don Giovanni. Salieri recognizes the dead commander as symbolic of Leopold and hatches a plan. Wearing Leopold's party mask, Salieri visits Mozart and commissions a Requiem Mass. Salieri plots to kill Mozart once the piece is finished, then premiere it at Mozart's funeral, claiming the work as his own. At a parody of one of Mozart's own operas, Emanuel Schikaneder asks Mozart to write an opera for his theater. Mozart, desperate for money, obliges, despite Constanze's insistence that he finish the Requiem Mass. The couple fight and Constanze leaves with their young son, Karl. Mozart collapses during a performance of his finished work, The Magic Flute. Salieri takes him home and offers his assistance on the Requiem. Salieri transcribes Mozart's verbal commands, and they work through the night. The next morning, a gravely ill Mozart apologizes to Salieri for his previous behavior. A guilty Constanze returns home and locks the unfinished Requiem away, only to find that Mozart has died from overwork. Mozart is taken out of the city and unceremoniously buried in a mass grave. Having finished his tale, Salieri asks how a merciful God could destroy his own beloved just to keep a mediocrity like Salieri from sharing in his glory. As he is pushed down the hall in a wheelchair, Salieri declares himself \"the patron saint of mediocrities\" and mockingly absolves the other patients of their own inadequacies. Mozart's high-pitched laugh is heard as the screen fades to black."},"name":{"kind":"string","value":"Amadeus_(film)"}}},{"rowIdx":89,"cells":{"scenes":{"kind":"list like","value":["INT. BOSTON - OLD NORTH CHURCH - DAY The setting sun backlights a series of abstract colored images. Holy images of STAINED GLASS and lead. FOOTSTEPS ECHO across the marble floor. REVEAL - JULIE JAMES A little older, a little wiser, yet still very pretty, no doubt. But she's all alone in the house of the Lord. And those doleful eyes of hers clearly telegraph a very heavy burden still rests upon her soul. She reluctantly walks past the rows of empty pews toward a curtained CONFESSIONAL BOOTH.","INT. CONFESSIONAL BOOTH - DAY Julie slides the drapes shut behind her as she enters, kneeling before the CLOSED SCREEN. A beat - and the SCREEN SLIDES OPEN. A PRIEST enters the adjacent booth - barely visible through the WICKER MESH. Julie looks down, crosses herself, and begins. JULIE Bless me, Father, for I have sinned. -LRB- a beat. -RRB- It's been a year since my last confession. Julie swallows hard. This is difficult for her. JULIE -LRB- cont'd. -RRB- I've never told anyone this. Not my mom, not the poice, not even my friends - except for the ones who were there and they. well they're not around anymore. You see I. I. PRIEST Yes? JULIE I killed a man. Well, I thought I had. then. She balks at the memory of it. The priest bows his head in the shadows of the other side. JULIE -LRB- cont'd. -RRB- -LRB- emotional. -RRB- You've got to understand. It was all an accident. A terrible accident. It's been a whole year. I've tried to get past this, but I just ca n't. PRIEST Go on. JULIE I have these dreams. horrible dreams. And this man is always there with me. PRIEST -LRB- reassuring. -RRB- I know. JULIE You see, he was a killer. He murdered Helen and Barry, and he would have killed me too, if I had n't. gotten away with it. -LRB- regathering. -RRB- I do n't know, I guess I just need to deal with the fear, the guilt. to finally say his name. Ben Willis. His name was Ben Willis. The confession is cathartic for Julie. She looks relieved until, PRIEST I know. Julie stops. Looks through the screen. A chill shoots through her body. JULIE You know? But how could you. Clouds of icy steam shoot through the partition. Julie moves closer to the screen, trying to get a better look. PRIEST -LRB- growls. -RRB- I KNOW WHAT YOU DID LAST SUMMER! A STEEL HOOK smashes through the screen right in Julie's face! She SCREAMS!","INT. COLLEDGE LECTURE HALL - DAY Still screaming - Julie jumps back, seemingly knocked out of her chair. She fights the unseen demon. Sitting beside her, Julie's friend WILL BENSON reacts. He's a good - looking kid in a shy, humble kind of way. And he tries to help her, but she's too busy turning ten shades of red. The PROFESSOR lowers his glasses, makes it even worse. PROFESSOR Nice to see you find Political Science so stimulating - The lecture hall erupts with laughter. JULIE I'm sorry - Julie grabs her stuff and bolts.","EXT. CAMPUS - DAY Julie explodes out of the building. Hurries down a sidewalk. Will finally catches up. WILL Julie! Wait! You okay? JULIE I'm fine. WILL You sure? JULIE I'm fine. WILL You do n't seem fine. Julie realizes this is true. JULIE I had another dream, Will. Will takes this seriously. WILL The shower again? JULIE It was in a church. it was so real. I mean, I could feel his breath on me. WILL -LRB- caring. -RRB- I'm sorry. JULIE I thought I was over the dreams for good. I really did. I had n't had one for months. WILL It just takes time, Julie. It's gon na get better. JULIE It ca n't get worse. I mean, it's not like this was the first time I freaked out in class. I hardly ever get a full night's sleep, my grades suck, I'm this close from being thrown out of school. BLAM! BLAM! BLAM! EXPLOSIONS. Julie jumps out of her skin. It's just STUDENTS letting off FIRECRACKERS as they fly past on bicycles. Will and Julie are now thinking the same thing. JULIE -LRB- cont'd. -RRB- It was one year ago. WILL It's. the anniversary. That's what's going on. Take it easy on yourself. JULIE -LRB- weary. -RRB- I'm trying. I really am. Sometimes I do n't even know why I came up here in the first place. WILL -LRB- cheering her up. -RRB- To get out of Southport? JULIE -LRB- softens. -RRB- Right. Now I remember. He smiles at her. She smiles back. They stop in front of her apartment building. JULIE -LRB- cont'd. -RRB- Are you getting out of town on the fourth? WILL Nah. I'll probably just be here studying for finals. The joys of summer school. -LRB- beat. -RRB- Are you okay? JULIE I'm okay. WILL Are you sure? She touches his face affectionately. JULIE Thanks for the talk, Will. You're good to me. Will stands there akwardly - WILL Um. Okay. Bye. Will walks away. Julie watches him a beat, then turns down her walk - RAY steps out of the shadows. Julie practically faints. JULIE Oh, my god, Ray. You scared me. Recovering, she hugs Ray, genuinely glad to see him. He's a bit cold. RAY I got in early. I was excited. -LRB- re : the receding Will. -RRB- Who was that guy? JULIE Oh, that's Will. He's a friend. You'd like him. RAY Yeah. JULIE Ray, we're just friend. RAY Every guy in history who tried to pick up a girl did the good - friend thing first. JULIE Why are you being like this? It should be obvious Ray feels insecure in the college environs, but they're miscommunicating. RAY Hey, I'm sorry. You're right. Are you ready to go? I've got the old truck. You know the drill. Crab boil at Ollie's. Croaker Queen Pageant. It's only small - town fun, but it's still nice. People really miss you. I miss you. She looks at Ray, his compassionate demeanor. This is hard to say - JULIE -LRB- softly, but resolved. -RRB- Ray, I ca n't. RAY Ca n't what? JULIE I just feel like some part of me has n't healed up enough to go back. Like some critical piece is missing. Please understand. Ray is cold. This is what he's expected all along. RAY I understand something. JULIE It's not like that. It's not you. It's me. My head. I want to go back. I want to be with you. I want to be fine. I want everything to be like it used to be. -LRB- beat. -RRB- It just is n't. Ray is hurt and confused. JULIE -LRB- cont'd. -RRB- Hey, why do n't you stay up here? They have fireworks over the river. And. there's a million things to do. RAY I have to work, Julie. My boat's in Southport, remember? But, I get it. You need your space from Craokerland. And maybe from me, too. Ray starts walking away. RAY -LRB- cont'd. -RRB- You know where to find me. JULIE Ray? Ray? At least come up for a while. Ray keeps on walking. RAY It's okay. I'm just gon na go. Julie follows him out to the road. A group of LAUGHING STUDENTS block her way. JULIE Ray, I'm sorry. I did n't mean. -LRB- to herself. -RRB- I'm just scared. that's all. But Ray is already gone. Julie stares after him a beat, then turns quickly to her door. She clearly feels uncomfortable, exposed on the walk alone. She nervously pulls her keys. A can of mace dangles from the keychain.","EXT. JULIE'S APARTMENT - DAY Students throw FRISBEE in the street. Ray walks to his old truck, which is wedged between a new Sport Utility and a BMW. He clambers into the front seat. He thinks. Then, digs into his pocket and pulls out the unmistakable shape of an ENGAGEMENT RING BOX. He throws it in the glove box, starts the truck and drives away.","INT. JULIE'S APARTMENT DOORWAY - DAY Julie opens the door and steps inside. She locks three deadbolts. She stands there, alone, listening to the SILENCE. She does n't even have a cat. A faucet DRIPS in the kitchen.","INT. JULIE'S KITCHEN - DAY The faucet DRIPS. Julie turns the handle. No success. She checks the lock on each window. She stands for a moment. She picks up a bag of chips and eats a handful. She opens the fridge and takes out a can of nacho cheese sauce. She grabs a soft drink and a jar of bread - and - butter pickles. She gets some cookies from a shelf. She thinks. Opens the freezer, pulls out some fat - free sorbet. She takes the whole mess toward her bedroom.","INT. JULIE'S BEDROOM - DAY She hits the light switch. A bedside light goes on. It's a sparsely furnished room. The bed is pilled high with pillows. She checks the windows, then climbs into bed with the food. On the bedside table are pictures of family and friends. She looks at one of Helen and Barry. She looks around the room. It's depressing. Outside we hear young people having fun, slamming car doors, going places. She picks at the food, then puts it on the table. She turns off the bedside light and enjoys the golden late afternoon glow in the room.","INT. JULIE'S BEDROOM - NIGHT Julie, sound asleep, is curled into fetal position on the bed. There's a CLICK in the front hall. And ANOTHER. Julie's eyes shoot open. She listens. Another SOUND, almost like the front door being CLOSED. Her arm reaches for the bedside light. She hits the switch. The bulb POPS. JULIE -LRB- whispers. -RRB- Okay. Okay. Face your fears. She gets off the bed and stands still. JULIE -LRB- cont'd. -RRB- -LRB- whisper. -RRB- There's nothing. There's another NOISE down the hall. JULIE -LRB- cont'd. -RRB- -LRB- whisper. -RRB- Quiet. Julie silently scoots out of her bedroom toward the kitchen.","INT. JULIE'S KITCHEN - NIGHT She gets a large KNIFE. She listens. It sounds like somone's in the living room. She steps through the kitchen door. As she moves we see a shadow pass the other way down the hallway toward her bedroom.","INT. JULIE'S LIVING ROOM - NIGHT There's NO ONE there. JULIE -LRB- cont'd. -RRB- Okay, calm down, imagination. She relaxes until she sees that her front door is slightly AJAR, light from the hallway slanting through. JULIE -LRB- cont'd. -RRB- I ca n't take this anymore. I ca n't. Holding the knife in front of her, she tiptoes to the hallway. There's a soft RUSTLING coning from her bedroom. She gets a flashlight out of a drawer and starts down the hallway. JULIE -LRB- cont'd. -RRB- -LRB- fatalistic. -RRB- Let's just do it. She moves faster toward her bedroom. she listens outside the doorway. It sounds like someone's in the closet. She moves into the room.","INT. JULIE'S BEDROOM - NIGHT There's a noise in the darkened closet. Julie moves into position. She turns the flashlight ON and lunges for the closet.","INT THE CLOSET KARLA WILSON, 19, all grace and attitude, is on tiptoes reaching for a box of shoes. She SCREAMS. Julie SCREAMS. They both SCREAM together. Julie drops the knife and flashlight. KARLA I thought you were out of town! JULIE What are you doing in my closet? They hug, jumping up and down with relief. KARLA I thought you were out of town! JULIE What are you doing in my closet? KARLA i just wanted your black pants, but I'm not ready to die for them! Julie turns on the light in the hallway. Karla has her shoes in her hand and black pants draped over her arm. JULIE That was heart attack time, Karla. KARLA No. When I put these skinny pants on my body. Now, that's heart attack time. Karla looks down and sees the knife. She picks it up with two fingers - KARLA -LRB- cont'd. -RRB- And we're going to put away the utensils and you're coming with me. Julie flops down on her bed. JULIE I'm not going anywhere. I'm fat, ugly, and depressed. KARLA Yeah, right - whatever. JULIE I think I just really hurt Ray's feelings. KARLA -LRB- keeping it upbeat. -RRB- Listen to me, Julie. Ray's a great guy, nothing against old Ray, but he's so. Ray. I mean, he lives in Southport. Will's a nice guy, too, and he lives right down the street. Karla picks up the flashlight and goes into the closet. JULIE There's nothing between Will and me. KARLA -LRB- V.O. -RRB- Yet. Nothing yet. She emerges with clothes for Julie. Holds up one outfit. KARLA -LRB- cont'd. -RRB- What we got ta do is keep moving. No time to mope. I'm working at the club tonight. And you, dancing queen, are coming with me. JULIE No I'm not. Karla holds up another dress for Julie - strapless, sexy, the one. KARLA Fine, then be fat, ugly, and depressed. Karla is dancing around. Julie laughs at her friend and takes the dress when Karla hands it to her.","INT. THE CLUB - NIGHT It's a hopping college joint : crowded, loud MUSIC, a dance floor, and rivers of cheap booze. AT THE BAR Julie sits next to Karla as she waits for her drink order. A handsome young man slides in front of them. This is TYRELL MARTIN, 23, handsome, no pretention, a little dangerous, with a killer smile. TYRELL You know what I want to do to you. right now, do n't you? There's got ta be somewhere we can be alone. KARLA -LRB- playful. -RRB- I do n't think so. It's pretty crowded. TYRELL Just for a minute, baby. I got something I wan na tell you. He's looking for a dark corner or a storeroom or something. KARLA -LRB- teasing. -RRB- If you can say all you got ta say in a minute then I do n't wan na hear it. TYRELL I'll talk real slow. He's kissing her ear. She starts to giggle. The bartender sets down drinks on Karla's tray. KARLA -LRB- re : Julie. -RRB- Ask her to dance. Tyrell hesitates. KARLA -LRB- cont'd. -RRB- Go on. Karla cuts away through the crowd, delivering drinks. Tyrell turns to Julie. TYRELL You're the most beautiful woman in the bar tonight, Jules. JULIE Tyrell, you are an unstoppable force of nature. TYRELL That's right. It's how the species survives. You'll never convince me otherwise. -LRB- beat. -RRB- Wan na dance? Karla passes by - KARLA Say yes. JULIE No. KARLA No means yes. JULIE Tyrell, I appreciate it, but have you seen my people dance? We make the mouth face, we move the fingers - TYRELL -LRB- heading for the floor. -RRB- Worse comes to worse, you can stand there and watch me. KARLA Come on, I'll take a break and we'll all dance.","INT. THE CLUB - DANCE FLOOR - NIGHT is packed and thumping. Karla is dancing her way through the crowd. Tyrell and Julie follow behind her. Karla sees Will. He's dressed up and nervous. She smiles. KARLA -LRB- cont'd. -RRB- Whaddayou know? Will Benson lookin' fine. JULIE -LRB- suspicious, but having fun. -RRB- Karla! Did you tell him I'd be here? KARLA Nope. I told him that you absolutely, positively would not be here at this bar between ten o'clock and eleven o'clock tonight. And then he came anyway. WILL -LRB- shy to a fault. -RRB- This was not my idea. JULIE What? WILL I said, this. Do you want a drink? Will looks down at his feet. He and Julie stand there not quite knowing what to do. TYRELL Where I come from, you want to snatch the goodies, you got to at least talk to them first. Tyrell and Karla go for it on the dance floor, leaving Will and Julie alone. They look at each other. They look at everyone dancing. WILL How about a drink? Will is a few steps ahead as they move for the bar. Julie seems to be relaxing, having a good time. Then, she looks up into the balcony and sees, in a strobe light's FLASH - SOMEONE IN A SLICKER watching her intently. She squints for a better look, but he's gone. WILL -LRB- yelling over the din. -RRB- You okay? She's chalk white and crestfallen. Her whole affect is `` Will I ever have a normal time?'' She drifts amay toward the stairs to the balcony. WILL -LRB- cont'd. -RRB- Hey Julie? Will catches Karla and Tyrell's eyes. They're worried.","INT. THE CLUB - STAIRCASE - NIGHT Julie catches another glimps of THE SLICKER. She pushes her way through the crowd up the stairs.","INT. THE CLUB - BALCONY - NIGHT Julie looks all around - finally spotting the MAN IN THE SLICKER from behind, making his way to the other side. He slices through a crowd of students, and Julie keeps following. He turns down a service corridor. Julie follows, frightened, but unable to resist. She catches him at the end of the corridor. She reaches out and grabs the stranger's arm. JULIE Ben. The stranger turns around. It's only a club kid in a tacky vinyl raincoat and hat. She's shaken. SLICKER GUY Hye, baby. You following me up here? -LRB- a come - on. -RRB- Well, all right. Julie turns away and hurries down the hallway. Todd follows, but his figure quickly fades.","INT. JULIE'S APARTMENT - DAY With morning sun filtering through her blinds, Julie wakes up to the strange sound of THUMPING. She gets out of bed and slowly exits the room.","INT. JULIE'S HALLWAY TO KITCHEN - DAY The noise gets louder as she heads down the hall. ANGLE ON A CLOSET The noise is at its loudest - Julie reaches for a doorknob - and yanks open the door. ANGLE ON A CLOTHES DRYER rocking and banging inside the closet. Julie frowns. Julie spins, once again startled by Karla, who crosses to the dryer, flipping open the lid and then jumping back to catch the shoes as they pop out on the fly. JULIE -LRB- still sleepy. -RRB- That could break the machine. KARLA Julie, people who end up making rules like that end up beating their kids with wire hangers. It's a fact. The phone RINGS. Karla looks at her watch. KARLA -LRB- cont'd. -RRB- It's Tyrell. JULIE -LRB- resigned. -RRB- The number's unlisted. KARLA Would you relax? We've been dating three months. He ai n't stalking your butt. JULIE Okay, okay. You're right. KARLA I know it, and it feels good. -LRB- answering the phone. -RRB- Hi, Ty. A DJ for a local radio station BOOMS from the phone. MARK -LRB- V.O. -RRB- This is Mark in the Morning for Magic 96.7 Radio Station! Who am I speaking with? Julie watches her friend get excited. KARLA Mark in the Morning! Magic 96.7! Oh my God! I'm Karla. Karla Wilson. -LRB- to Julie. -RRB- Jules, it's Mark in the Morning. MARK -LRB- V.O. -RRB- Well, Karla, what're you doin' at home over the long fourth weekend? KARLA Well, I'm in school and - MARK -LRB- V.O. -RRB- How'd you like to win a Magic 96.7 Quicky Getaway? KARLA Yes! Julie hits the SPEAKERPHONE BUTTON and Karla hangs up. The DJ's voice echos through the appartment. MARK -LRB- V.O. -RRB- Good, then I hope you remember your geography, Karla, because all you have to do to win is tell me the capital of Brazil. Karla's smile abruptly fades. KARLA -LRB- into phone. -RRB- Brazil? Um. She looks to Julie, whose face is as blank as hers. KARLA -LRB- cont'd. -RRB- You do n't know?! You have to know. You know everything. MARK C'mon, Karla, one easy question, one great getaway! JULIE -LRB- shrugs. -RRB-. South America. Carnival. MARK -LRB- V.O. -RRB- Karla, we need an answer. No looking it up. KARLA Still here. thinking. -LRB- stalling. -RRB- You mean Brazil, the country? MARK -LRB- V.O. -RRB- Okay, Karla, five seconds. -LRB- counting down. -RRB- Five. Four. Julie has an idea. She scramles for the kitchen. Grabs a BAG OF FRESH - GROUND COFFEE from the FREEZER. MARK -LRB- cont'd, V.O. -RRB- Three. Two. Julie tosses the bag across the room to Karla. Karla reads the label : RIO BLEND - 100 % BRAZILIAN COFFEE. KARLA -LRB- blurting. -RRB- Rio de Janeiro! MARK -LRB- V.O. -RRB- Oh, no. Did you say Rio? KARLA -LRB- wincing. -RRB- No. Yes? BELLS and WHISTLES and triumphant MUSIC. MARK -LRB- V.O. -RRB- You just won Magic 96.7's Quickie Getaway. a trip for four to Tower Bay Island in the fabulous Bahamas. Karla and Julie jump up and down ecstatically. KARLA Waaaaahhhhhhhhhh! MARK -LRB- V.O. -RRB- We'll call you back with all the details. So what's your favorite radio station? KARLA AND JULIE Magic 96.7! Julie hangs up and joins Karla dancing on the couch. KARLA I won. I won. I won, I won, I won. -LRB- teasing. -RRB- Now, let's see. There's Tyrell, that's one. And, there's my parents. And I got some cousins. -LRB- beat. -RRB- Okay, Julie, you can come, but Mark said four tickets. That means you got ta get yourself a date. Julie thinks, she seems torn.","EXT. SOUTHPORT DOCKS - DAY A SMALL MOUND OF RED SNAPPER is DUMPED - wiggling and suffocating its way across the deck of a fishing boat. WE PULL AWAY TO REVEAL it's RAY who's just done the dumping. A coworker, DAVE, friendly, playful, and down - to - earth, calls out from the dock - DAVE Hey, Ray. phone! Ray takes the phone. WE INTERCUT. JULIE Hi. Ray is happy to hear her voice, but cautious. RAY -LRB- beat. -RRB- Hey. I'm really glad you called. I'm sorry. JULIE -LRB- compassoinate. -RRB- No, you do n't have to be sorry. I'm the one - RAY No, I should n't have left so fast. I was just. JULIE It's okay. Dave holds up two wriggling snappers. He dances them toward each other in a puppetlike mating ritual, making KISSING SOUNDS and narrating - DAVE -LRB- as the fish. -RRB- Julie, I love you. I know I'm only a humble fish, but if you really look at it, you're a fish, too. -LRB- girl voice. -RRB- Oh, Ray, you're right. Do me like a snapper. -LRB- mashing the fish together. -RRB- Hey, something smells like fish. Ray waves him away, concentrating on his call. JULIE Ray, Karla won a trip to the Bahamas! An island called Tower Bay. And she wants us to come with her. RAY What? The Bahamas? You're kidding. Dave's interest is piqued. JULIE We'd have a long weekend just to sit in the sun, drink fruity drinks, and swim, and. -LRB- sexy. -RRB- You know. RAY This weekend? Dave is watching Ray closely. Ray's expression hardens. RAY -LRB- hurt. -RRB- You'll go away with you're college friends, but you wo n't go away with me? DAVE Idiot. Idiot. Idiot. Karla is watching Julie. JULIE It's not you, it's Southport. And it's the Bahamas! And it's free! Karla is watching Julie. KARLA You got ta sell his butt on the Bahamas? JULIE Ray, come on. I want us to be together. Ray thinks. Dave looks at him like he's crazy. RAY -LRB- ca n't give in. -RRB- Julie, we're working a big run up here. It's been crazy. We probably have to go out again tonight. I do n't think I can do it. JULIE Will you try. for me, please? Dave moves one of the fish like it's been shot through the heart. RAY Okay, I'll try. But, listen. -LRB- martyrlike. -RRB- If I do n't make it up, then you go ahead and have a great time. JULIE Ray. please try. I really miss you. -LRB- beat. -RRB- Okay. Bye. She hangs up and Karla sits next to her. KARLA That boy has got fish on the brain. -LRB- sensitive. -RRB- Hey, cheer up, Charlie. -LRB- singing a rumba. -RRB- We're going to the Bahamas. Bahama Mama, yeah.","EXT. SOUTHPORT DOCKS - DAY Ray is staring unhappily at the little pile of snapper. Dave is staring at him in disbelief. DAVE Man, what is your problem? We have n't caught anything for days. Pull the big ugly stick out of your butt. She asked you to go to the Bahamas! Man, you got ta go. We'll both drive up. I got friends I can see up there. Ray realizes how right he is. RAY Stupid. Stupid. DAVE Stupid. What were you thinkng? Ray looks at Dave a contemplative beat, then walks over to his truck. He leans in the passenger side and pulls out the engagement ring box. Dave walks over. RAY You wan na see what I've been thinking? He holds up the box and slowly opens it. Dave is stunned. DAVE Jeez, Ray, fourth and forty, throw the bomb. RAY I should go up there. I should call her back, tell her I'm coming. DAVE No way, man. Surprise her. She'll be psyched. Ray is excited by the plan and Dave's right there with him.","EXT. COUNTRY HIGHWAY - NIGHT We stare out at a rain - soaked stretch of road. A PICKUP ROARS past, cruising along with its RADIO loud and windows rolled down.","INT. RAY'S PICKUP - NIGHT The music's even LOUDER in here. The mood is high. Two buddies going to propose to a girl. Dave adjusts the radio to another AM station - DAVE Man, I love AM radio. You got right - wing conspiracy, tips for pregnant womem, Single - A baseball games, and real country music. None of that new crap. He adjusts the dial again, tuning in a country song, `` MAMAS, DO N'T LET YOUR BABIES GROW UP TO BE COWBOYS,'' by Waylon Jennings and Willie Nelson. Dave starts singing along, extra LOUD and out of tune. DAVE -LRB- cont'd. -RRB- -LRB- singing. -RRB-''. Mamas, do n't let your babies grow up to be cowboys, do n't let'em pick guitars and drive them old trucks. Let'em be doctors and lawyers and such.'' Ray looks at his goofy friend singing and starts to get a little happy himself. Then, Ray sees something in the road ahead. He turns down the radio. They both stare - RAY'S POV : A CAR TURNED SIDEWAYS its HAZARDS blinking. Ray slows and creeps past the car. The driver's door is open. It appears EMPTY. A BODY is sprawled out in the road away from the car. Ray pulls over to the shoulder and stops. DAVE -LRB- nervous. -RRB- I do n't know, man. Maybe we should keep going, find a phone - RAY No. DAVE The guy looks dead. Ray has seen this before - RAY Maybe not. He throws open his door.","EXT. ROADWAY - NIGHT Ray steps from his truck. Looks back at the empty car, then turns toward the body. RAY -LRB- nervous. -RRB- Hey! Buddy, what's up? The body does n't move. BEHIND RAY and behind Dave, in the other car, a FIGURE IN A SLICKER sits up in the back seat and gets out of the car. Ray continues toward the body. RAYS POV - BODY FACE DOWN - WEARING A BLACK RAIN SLICKER. Ray moves closer to the all to familiar image. BEHIND RAY SLICKER FIGURE moves toward the unsuspecting Dave.","INT. RAY'S PICKUP - NIGHT Dave watches Ray in the road. He leans across the seat and rolls up Ray's window. Behind him, the SLICKER FIGURE gets closer, moving to the passenger side of the truck.","EXT. MEDIAN - NIGHT Ray nears the body. He kneels down. RAY Hey, can you hear me? Ray reaches toward the body.","INT. RAY'S PICKUP - NIGHT Something FLASHES IN THE SIDE - VIEW MIRROR.","EXT. ROAD - NIGHT Ray turns over the body. Something is n't right. Ray jumps back - CLOSE - SLICKER MANNEQUIN Its eerie smile mocking Ray who turns for the truck. RAY DAVE!","EXT. TRUCK - NIGHT Dave hears something. He turns to late. SPLLAATTT! THE FISHERMAN jams his hook through Dave's jaw and skull and YANKS DAVE OUT OF THE CAR WINDOW. RAY Dave? There's no answer from dead Dave. Ray tries to see around the headlights. He moves slowly toward the truck. The BRIGHTS and FOGS come on, blinding Ray. The truck's engine REVS. The truck rolls a few inches, adjusting a bead on Ray. Then, tires spinning, the truck launches straight at Ray. Ray runs at the truck. AT THE LAST MINUTE, he ducks behind the parked car. HIS TRUCK goes SCREAMING past. Ray backs around the car - AN EIGHTEEN - WHEELER goes barreling by in the other direction. Ray dives out of the way. IN THE ROAD Ray is exposed. He sees his truck closing fast. He's got nowhere to go. Then, at the very last second, RAY jumps off the edge of the road. His TRUCK SLAMS INTO THE BARRIER RIGHT WHERE RAY WAS STANDING. SPARKS FLY! METAL BUCKLES! Ray falls through the air. Lands hard on his leg. Tumbles down the hill, finally stopping with a crash. He lies motionless at the bottom of a ravine.","EXT. JULIE'S APARTMENT - DAY Karla exits the building. She watches Julie sitting on the curb. A truck turns onto the street. Julie looks hopeful, but - it's not Ray. Karla approaches her friend. KARLA Girl, it's gettin' down to the wire. Julie turns. JULIE He's not coming. I thought he was just. KARLA Julie, you left four messages. Four. JULIE But, he said he'd try. KARLA He said he'd try. Try is like maybe. Try is nothing! JULIE -LRB- appoligizing for him. -RRB- He does work hard. KARLA Work hard, huh? He's breaking your heart just because he can. -LRB- hesitant. -RRB- And I do n't want to have to say I told you so. JULIE Then, do n't. A Jeep Cherokee stops, and an ebullient Tyrell steps out wearing shorts and a Hawaiian shirt. TYRELL Hey, baby, we gon na get tropical or we gon na get tropical? The passenger door opens and Will Benson steps hesitantly around the Jeep. JULIE Oh! KARLA -LRB- re : Will. -RRB- Hey, sorry. -LRB- quick, playing it off. -RRB- He's my friend, too. And that ticket is not going to waste. Will reads Julie's expression. WILL Julie, is everything cool? Karla said. KARLA I said we start having fun. And that means now. Julie takes a last look up the street. She stands. TYRELL Is there a problem here? KARLA Where there's a Will, there's a way. Come on. JULIE -LRB- deciding. -RRB- You know what? This rocks. We're going to the Bahamas! Will is relieved. KARLA -LRB- getting into the spirit. -RRB- We goin' Bahamas, I'm Ty's Bahama Mama. We goin' Bahamas. She bops over to Tyrell.","EXT. MIDAIR - DAY A wide - body jet SCREAMS through the clouds.","INT. PLANE - DAY A nearly empty jet. Karla has her head on Tyrell's shoulder. Julie is reading a book. Will's knuckles are white from gripping the armrests in fear, and his eyes are clenched shut. Julie looks on with concern. JULIE Just take deep breaths and think of something happy from childhood. WILL What if I do n't have anything happy from childhood. Sorry, I ca n't relax going five hundred miles an hour, or four thousand, four hundred feet a minute. -LRB- calculating. -RRB- Which is over seven hundred feet a second. Imagine hitting something at seven hundred feet a second. JULIE Deep breaths - WILL -LRB- no deep breaths. -RRB- Fumes build up in the fuel tanks. You can by surface - to - air missiles over the internet. Planes use O - rings. which freeze in tap water. Planes fall from the sky for practically no reason at all. JULIE You've got a better chance of getting hit by lightning. WILL Right. Planes get hit by lightning. They get hit by meteors. They hit other planes. Tyrell shakes his head. TYRELL -LRB- exasperated. -RRB- Something is gon na hit your butt if you do n't quit complaining. KARLA -LRB- sypathetic. -RRB- Honey, some folks just ca n't fly. Will does n't move, frozen with fear of flying, but more closely bonded with the concerned Julie.","EXT. OCEAN VISTA - DAY Establishing. A Board of Tourism kind of shot. Blue water. Green islands. Golden sun. Puffy clouds. A BOAT CHUGS by with the words `` Tower Bay'' painted on the side. Tyrell THROWS UP over the side.","EXT. FERRY - DAY More of a small tub than a ferry. Julie, Karla, Will, and Tyrell are the only passengers. At the bow, Julie and Karla laugh and play `` King of the World.'' Julie in the prow, Karla behind her. JULIE -LRB- deadpan. -RRB- I'm the King of the World. KARLA -LRB- deadpan. -RRB- No, I'm the King of the World. They switch places. They look at each other and crack up laughing. Karla takes in the surroundings, the salt spray, the day - KARLA Remind me to study real hard so someday this is normal and all that back there is somethin' I do for a weekend once every ten years. JULIE -LRB- sharing the moment. -RRB- I will, and you remind me of the same thing. They throws their arms around each other and stare into the horizon. AT THE STERN Will talks to a very green Tyrell. WILL You just got ta breathe. Tyrell is trying to keep from puking - TYRELL Ca n't talk right now. WILL -LRB- slightly malicious. -RRB- See, it's not a macho thing. It's about equilibrium in your inner ear. You could've used a patch, but it's too late now. Get used to it. -LRB- then. -RRB- Some folks just ca n't sail. PAULSEN, the BOAT CAPTAIN, overhears as he passes - PAULSEN That's too bad, too, because it's the only way on or off the island. -LRB- slightly ominous. -RRB- Unless you have an accident. And then they call the Coast Guard. Julie and Karla have rejoined the men. JULIE It's pretty remote here. PAULSEN -LRB- smiles. -RRB- Yep. That's what the tourists pay for - sun, sea, and solitude. TYRELL Are we there yet? PAULSEN Few more minutes. We move off the boat and REVEAL the island. The intrepid vacationers excitedly take in the island.","EXT. TOWER BAY - DAY Establishing. An isolated tropical paradise with jungle growing to the beach.","EXT. RESORT DOCK - DAY The ferry pulls in to a canopied dock. A white - sand beach stretches in every direction. Beautiful tourists stroll about without a care in the world. Tyrell stamps his feet on the dock. TYRELL I feel like I'm still on that thing. A dockhand, DERRICK, glides past him toward the ladies. DERRICK That way for a complimentary Planter's Punch to get you readjusted. TYRELL -LRB- mile - wide smile. -RRB- I can get used to this. Derrick reaches for Julie's hand, clearly checking her out in the process. DERRICK Welcome, Fair Princess, to Tower Bay. -LRB- a wink. -RRB- I'm Derrick. At your service for the duration of your stay. Julie smiles politely. Will gently nudges her on. They walk away. PAULSEN -LRB- to Derrick, mocking. -RRB- I'm at your service, Princess. DERRICK -LRB- shrugs. -RRB- Season's over old man. So I got ta work fast. PAULSEN If Marine Radio's right about the weather, you're already out of time. He hangs a SIGN at the end of the gangplank. It reads : LAST DEPARTING FERRY - LINE FORMS HERE. Our guys are already at the end of the dock.","EXT. TOWER BAY HOTEL - DAY Establishing. An opulent, Carribean - style hacienda resort with all the accoutrements. The main building is two stories high with a tiled roof. A bell tower rises from one side. And, of course, it is surounded on all sides by suffocating fooliage. Julie and Karla take in the beauty of the resort. KARLA Check it out. TOW BIKINI GIRLS catch the eyes of Tyrell and Will. TYRELL Yes, ma'am. Karla THWACKS him on the back of the head, but they're all having fun. The path widens. The trees part. It's even nicer up close. They walk across a tiled plaza. Behind them, THREE YOUNG GUYS carry their GIRLFRIENDS piggyback, racing each other toward the departure dock. Our two arriving couples move on toward the entrace, passing a FENCED TENNIS COURT on the left. A GLASS - PANED ORCHID HOUSE straight ahead. And, on the right, A LUSH POOL with a built - in JACUZZI in the shallow end. An outdoor THATCHED ROOF BAR stands nearby - and just beyonk it, a small POOL HOUSE. A guy's unintelligible RASTA VOICE calls out - RASTA VOICE Anybudorsomethin'? They turn to see TITUS, white guy, dreads, full - Rasta demeanor. He's a phony, but sincere about it. Titus approaches Tyrell - TITUS My brother, can I interest you in the islands finest ganja? WILL -LRB- teasing. -RRB- Hey, Tyrell, we found you brother. TYRELL -LRB- wry. -RRB- Not possible. TITUS -LRB- undetered. -RRB- Who be wantin' the kind, the uber - sticky, the Bwana, The depth - charge, the Up - All - Night - Laughing - With - Your - Friends? Who wants it?'Cause Titus got it. WILL No, thanks. TITUS Come on, man. Everybody wants something. Will and Tyrell walk on. Undetered, Titus goes up to Karla and Julie. TITUS -LRB- cont'd. -RRB- How ` bout you, ladies? Lovely ladies. Titus moves his hips. TITUS -LRB- cont'd. -RRB- -LRB- lascivious. -RRB- Something I can do for you? Karla looks him up and down, wrinkles her nose - KARLA Take a bath, maybe. TITUS That's cold, but if that's how you want it. The group moves on. Titus watches them go - TITUS -LRB- cont'd. -RRB- -LRB- yelling after them. -RRB- Anybudorsomethin' you come and see me. OMIT SCENE 21 & SCENE 22 A23 EXT.. MAIN ENTRANCE - DAY Around TWENTY TO THIRTY GUESTS ARE ON THEIR WAY OUT as Julie and the others walk in. Julie smiles at an old PORTER helping the departing guests with their bags. He does n't smile back.","INT. HOTEL LOBBY - DAY The hotel is tastefully appointed with island decor. AN ORNATE METAL STAIRCASE leads UP to the ROOMS - and DOWN -LRB- AS THE SIGN SAYS -RRB- TO A FITNESS CENTER. In one direction, the foyer meets the entrance to a tropical RESTAURANT/BAR. And in the other, A LOOBY LOUNGE is visible - surrounded by four walls of BOOKS and HOTEL MEMORABILIA. In a dark corner of the room, a uniformed MAID named OLGA dusts off a massive WOODEN GLOBE. Julie smiles at the woman on their way through the lobby, but Olga shyly looks away. Arriving at the FRONT DESK, the four of them find it deserted. They wait patiently, then impatiently. ANGLE ON A DESK BELL as Karla slaps it with her palm. The bell RINGS for a long time then fades into SILENCE. KARLA Hello? Hello? JULIE Where is everyone? I'll ask - Julie turns to consult the maid. ANGLE ON THE GLOBE The big ball is spinning. But Olga is no longer in sight. Tyrell heads toward a DOOR beside the counter with a sign which reads : PRIVATE OFFICE. TYRELL I'll scare somebody up. He grabs the knob and pulls the door open to. RROWWWR? A PIT BULL ON A CHAIN JUMPS UP INTO HIS FACE - its toothy maw snapping shut about a half inch from his nose. TYRELL -LRB- cont'd. -RRB- Whoa! Julie and Karla laugh. Karla goes to hit the bell once more - ONLY TO HAVE HER HAND GRABBED IN THE PROCESS. Karla gasps. Pulls away. We see the hand belongs to the hotel manager - BROOKS, balding, 40s, talks slowly, and seems to have secrets he wo n't share with guests. BROOKS What can I do for you? KARLA Checking in. Karla Wilson. Will saunters away to look at the books in the lobby. BROOKS -LRB- condescending. -RRB- Ah, yes. Roll out the red carpet. Our contest winners are here at last. He scans a sheet as Tyrell stares at the pit bull. TYRELL Nice dog. BROOKS Not really. I've found peices of guys like you in his stool. Tyrell is put off by this aggressive comment. TYRELL What's your problem, buddy? BROOKS -LRB- innocent. -RRB- I do n't have a problem in the world. JULIE -LRB- covering. -RRB- It sure is a beautiful old hotel. BROOKS -LRB- proud. -RRB- Built in 1948 for a member of the Rockefeller clan. The tile work was imported from Spain. A lot of history in these walls. Judy Garland stayed here. Hemmingway fished for marlin right off that dock - TYRELL Okay, we get it. It's old. BROOKS It'll outlive you, I'm sure. Creepy thing to say. Slides a registration form. BROOKS -LRB- cont'd. -RRB- Wilson comma Karla. -LRB- sees something on the form. -RRB- Oh - KARLA Oh, what? Brooks covers - BROOKS You're in 201 and 202. KARLA -LRB- expecting this. -RRB- Is that bad? BROOKS -LRB- lying. -RRB- Not at all. Those are our honeymoon suites. Tyrell wraps his arms around Karla. Julie looks uncomfortably towards Will. JULIE Your what? BROOKS Honeymoon suites. I take it you kids have n't exchanged vows, yet? JULIE We have n't exchanged anything. KARLA Julie, we're talkin' suites! -LRB- excited. -RRB- That'll be just fine with us. BROOKS And, while you're here, our marginally trained, off - season staff of five will attend to your every need. KARLA Wait. Did you say off - season? BROOKS July fourth weekend. Storm season starts today. The clouds roll in like clockwork. JULIE Storm season? BROOKS It's our version of winter. -LRB- hands over the keys. -RRB- 201 and 202. There's Scrabble and Parcheesi in the lobby. Enjoy. And Brooks turns away through the office door. They walk toward their rooms. Will catches up with them.","INT. HOTEL HALLWAY - DAY They walk down the hallway. Karla seems annoyed. KARLA Ai n't nothin' free in this world. Everybody says it, and it's true. -LRB- dissapointed. -RRB- I wanted you all to have a good trip. TYRELL We will, baby. All this means is we got the whole island to ourselves. WILL And it's been blue skies all day. It might be perfect all weekend. JULIE It beets being on the mainland. KARLA Oooh, the mainland - TYRELL Somebody's gone tropical on us, baby. Tropical! The mood is improving. A SQUEEKING NOISE interupts. A BRASS LUGGAGE CART has appeared behind them. And ESTES, 60s, the weary Haitian porter, steps from behind it. ESTES -LRB- a Carribean accent. -RRB- 201 and 202. Who put you in? -LRB- hesitant. -RRB- Do n't use these much - JULIE -LRB- suspicious. -RRB- Why's that? He sees their happy, expectant faces and changes the subject. ESTES No real reason. -LRB- then. -RRB- Pretty fancy rooms for kids your age. KARLA We won a competition. ESTES Oh, yeah? What you have to do? TYRELL Guess the capital of Brazil - KARLA Rio, baby! ESTES Ahh, good for you, girl. -LRB- waiting for a cue. -RRB-. And, where would you like me to put the bags? A beat as Julie and Karla exchange a look. Then, Karla tosses one of the keys to Julie. KARLA -LRB- to Estes. -RRB- Their stuff in there. -LRB- grabbing Tyrell. -RRB-. and ours in here. JULIE Karla! You promised. KARLA -LRB- looking at Tyrell. -RRB- I also promised Tyrell. TYRELL Promised me what, baby? -LRB- joking around. -RRB- I made all my promises to William. Tyrell makes fake goo - goo eyes at Will. Estes looks away. TYRELL -LRB- cont'd. -RRB- Sweetie, you brought your nightie, did n't you? WILL Forward! A girl needs time to make up his mind. -LRB- to Julie, thoughtful. -RRB- Julie, look, if it's cool, I'll sleep on the couch and they can have their own room to practice for that real honeymoon. But Tyrell grabs Karla and drags her into the room. We here GIGGLES. WILL I'll take those. ESTES No, I've been doing this since before you were a dream in your father's eye. Estes grabs the bags and takes them into the room. Julie and Will are left staring at each other. WILL You sure it's okay with you? JULIE -LRB- noting his sweetness. -RRB- Sure. It's fine. As long as you do n't snore. WILL You can toss a shoe at me if it gets out of hand. She laughs and they go into the room.","INT. HOSPITAL EMERGENCY ROOM - NIGHT BEEP. BEEP. BEEP. Ray is hooked up to a heart monitor. Although he's asleep, we can tell he's bruised and generally beaten up. WE RACK to a DOCTOR checking on him through the glass.","INT. HOSPITAL ROOM - NIGHT We see a COP next to the doctor. COP He's beaten up pretty bad - DOCTOR Yes, but he seemed certain his friend was killed out on the highway by somebody named Ben Willis. -LRB- hisitant. -RRB- He said he has a hook on his hand. He said he was driving a BMW. As the cop stares at him deadpan, the doctor realizes how rediculous this must sound.","INT. HOSPITAL ROOM - NIGHT CLOSE UP : Ray's eyes pop open. He's listening.","INT. HOSPITAL ROOM - NIGHT The cop explains things to the doctor. COP There's no body. And there was no other vehical involved. -LRB- beat. -RRB- He fell asleep at the wheel. and ran his old truck into a guardrail. He got thrown way the hell down into a ditch. He's damn lucky. They walk back down the ICU. DOCTOR -LRB- nodding. -RRB- He suffered a severe head trauma - COP Probably once he rests up, it'll all come back to him. The doctor and cop approach the nurse's station. The NURSE is reading a magazine. She folds it away. Suddenly, the monitoring equpment goes OFF with a series of LOUD WARNINGS. NURSE -LRB- already moving. -RRB- That's your number twelve - The doctor, nurse, and country cop hurry back toward Ray's room. NURSE -LRB- cont'd. -RRB- -LRB- yelling. -RRB- Get me some help down here. We got a flatline, room twelve. THEIR POV - THROUGHT THE DOOR The wires and monitors are unhooked and Ray is GONE.","INT. HOTEL BAR - NIGHT A resort bar on the beach. Ocean breezes and surf SOUNDS come through the window. It's tiki galore, complete with a bamboo bar and fishing gear hanging from decorative nets from the ceiling. There's a KARAOKE STAGE in the corner. Will and Tyrell enter and head straight to the bar. A bored bar tender, NANCY, looks just like Jennifer Esposito, does n't look up from her paperback. NANCY You guys lost? TYRELL -LRB- re : the emptiness. -RRB- Tell me this ai n't the bar scene. NANCY Wan na drink? WILL We did n't get all dressed up for nothing. TYRELL Planter's Punch, Singapore Sling, or how about a Mai - Tai? NANCY How about some ID? They freeze. NANCY -LRB- cont'd. -RRB- Kidding. They nod. WILL The guy at the desk said the place would be quiet, not dead. NANCY Did n't anyone tell you this is - TYRELL The last day of the season. Yeah, we heard. WILL So why are you still here? NANCY That's none of your business. Tyrell sizes her up quickly. TYRELL What's the matter, boy trouble? NANCY Not anymore. TYRELL He leave you? NANCY No. I shot him. Will and Tyrell exchange a danger - Will - Robinson glance. NANCY -LRB- cont'd. -RRB- What you want is a Dark and Stormy : Vernon's rum, ginger beer, and a touch of Tabasco. Sailors drink it for luck in the hurricane season, trust me. ACROSS THE BAR Karla and Julie walk in talking quietly to one another. JULIE Am I bad? I mean, he's really great, and he's cute - KARLA He's cute. And he's got a crush on you. -LRB- off Julie's look. -RRB- But. JULIE -LRB- appologetic. -RRB- I miss Ray. I tried to call him. Karla looks at her. She's sincere, but firm. KARLA Ray made up his own mind. so, you're free to make up yours. Joining the men, but continuing her thought - KARLA -LRB- cont'd. -RRB- For the next foury - eight hours. -LRB- joking. -RRB- Your smile is a frown. turned upside down. She illustrates with her own big smile. TYRELL Pretty cool bar. KARLA They all start to look the same once you've worked in one. -LRB- to Nancy. -RRB- Am I right, sister? Nancy reaches out a hand and they touch just the tips of their fingers. JULIE -LRB- to Nancy. -RRB- I'm Julie. This is Karla. NANCY Nancy. -LRB- sarcastic. -RRB- Welcome to Tower Bay's most happenin' hotspot. Nancy continues making their cocktails. JULIE backs into something, turns and gasps - it's a statue of an OLD WHALER, complete with HARPOON, WHITE BEARD, and YELLOW SLICKER. She does n't let Karla see that it upset her. Nancy puts their drinks down in front of them. NANCY Four Dark and Stormies. They all pick up their drinks. KARLA -LRB- toasting. -RRB- To a great weekend - WILL Yeah, a great weekend. Forget the weather! KARLA & JULIE I'll drink to that! They drink and toast again. KARLA -LRB- to Nancy. -RRB- So what do you do around here for fun? Nancy looks straight at Will - NANCY Make fun of tourists mainly. -LRB- beat. -RRB- Or let them make fun of themselves. She flips a switch that lights the Karaoke stage. KARLA Karaoke - perfect. JULIE Do n't even think about it. KARLA Okay, I wo n't. She's already heading for the stage. TYRELL Go baby! Go! AT THE STAGE CLOSE ON the karaoke machine. Karla flips through a binder full of songs. KARLA Oh, this ai n't for me, baby, this is for somebody who really needs it. -LRB- finds one. -RRB- Ah - hah! One single with extra cheese! NANCY -LRB- it's true. -RRB- Everyone thinks their a singer. JULIE No way. KARLA Yes. JULIE No. KARLA Yes. JULIE Not me. no way. WILL Come on, it'll be fun. KARLA Ladies and gentlemen, please put your hands together for my friend, my very best friend, Julie James. But there will be no mercy. KARLA, TYRELL, & WILL -LRB- chanting in unison. -RRB- Ju - lie! Ju - lie! Ju - lie! Reluctantly she goes to the song book. She sees something particularily awful. JULIE You asked for it. -LRB- to Tyrell. -RRB- Song number thirty - nine. Tyrell nods and punches a few buttons. Julie takes the stage as sappy strings begin to swell. She looks at the MONITOR, then melodramatically at the crowd, and begins to sing - no, BELT - Gloria Gaynor's `` I WILL SURVIVE.'' JULIE -LRB- cont'd. -RRB- -LRB- singing. -RRB- First I was afraid. I was petrified. -LRB- continues singing under. -RRB- Will stands, clapping. Tyrell pounds his chest. Karla flips up her LIGHTER, swaying like a hard - core fan. And Julie continues, crooning out the chorus as the beat kicks in and the gang begins to dance. JULIE -LRB- cont'd. -RRB- -LRB- singing. -RRB- I will survive. I will survive. ANGLE ON THE KARAOKE MONITOR The schmaltzy lyrics keep scrolling by - white against black. But then. in the middle of the song. the color changes. RED CAPITAL \\ LETTERS BEGIN TO FILL THE SCREEN. JULIE -LRB- cont'd. -RRB- -LRB- singing - then trailing off. -RRB- And I still know. what you did. last summer. Her voice trails. Her smile abruptly fades. MICROPHONE falls to the floor. The room echoes with an electronic WHUMP. Everyone stops dancing, confused. CLOSE - JULIE trembling, shaking, a mess. Will jumps onstage. WILL Julie? What's wrong? JULIE It's. him. WILL What do you mean, Julie? JULIE He did something to the screen. it, it, said. Julie loos at the screen - the normal lyrics are still scrolling. She suddenly feels their eyes upon her. They're looking at her like she's having a nervous breakdown. JULIE -LRB- cont'd. -RRB- Nothing. Nothing, I'm sorry. Stung, she rushes off the stage. KARLA Julie. But it's to late. She's bolted from the bar.","INT. HOTEL - JULIE'S ROOM - NIGHT Julie steps into her room. Closes the door behind her. She falls back against it, trying to calm herself down. JULIE There's no way. just stop it right now. She looks around the cozy room. JULIE -LRB- cont'd. -RRB- Closet. Bed. Bathroom. No need to panic. Julie starts to undress, get ready for bed, the day of travel finally catching up with her. She grabs something to sleep in. Tosses it on the bed. And that's when she sees it, CLOSE - ENVELOPE propped on the pillows. Her name written across. She is frozen momentarily. Almost against her will, she moves toward the envelope. She reaches down and picks it up. She hesitates, then opens the envelope. She pulls out a SINGLE WHITE CARD. ANGLE ON THE CARD In bold print it reads : SURPRISE! DARKFIGURE appears over Julie's shoulder. Julie can feel the presence. She spins, scaring - WILL who YELLS and drops the flowers and champagne he was holding. The bottle bursts and covers them with spray. JULIE -LRB- realizing. -RRB- Oh, Will! I'm sorry. WILL It's my fault. I should n't have. I did n't think. She grabs a TOWEL off the bathroom door, trying to help him clean up the mess. JULIE No, no, no. This was really sweet. WILL I scared you - I crossed the line - JULIE No - it's not that. It's. I'm just a little on edge. I'm really sorry. WILL Hey, you do n't have to appologize to me. I'm the one. I understand. -LRB- covering the awkwardness. -RRB- I'm going to take a walk and dry off. JULIE Are you sure? I really appreciate it. He picks up a rose. Most of its petals on the floor. WILL I just really like you and I want you to feel good about everything. You know? I want you to be happy. He hands the rose to her. There's a moment between them. He reluctantly heads for the door.","EXT. HOTEL HALLWAY - NIGHT Will looks down at his wet pants. WILL -LRB- soto. -RRB- Dork. Passing Karla and Tyrell's room on his way down the hall, Will spots the DO NOT DISTURB SIGN. He hears an INCREDIBLE POUNDING from inside. He shakes his head and mopes down the hall.","INT. HOTEL - KARLA AND TYRELL'S ROOM - NIGHT Karla bounces playfully on their big bed as Tyrell crosses toward the windows. KARLA Tha's it. -LRB- bounce. -RRB- I've decided. -LRB- bounce. -RRB- I'm changing my major to finance. -LRB- bounce. -RRB- And going to Wall Street. TYRELL Why? KARLA'Cause that's the only way I'm ever gon na be able to afford a big bed like this. She falls back against the plush comforter, looking up at herself in a long MIRROR HANGING RIGHT OVER THE BED. Tyrell loves this and quickly moves beside her in the bed. She lets him get real close, then she jumps up - KARLA -LRB- cont'd. -RRB- Jacuzzi. Tyrell reaches for her, but she bounces off the bed. TYRELL Ah, baby, let's stay right here. Karla pulls her suit out of a bag and models it seductively and flirtatiously for Tyrell. KARLA I spent a hundred bucks on it. even if it's just so you can pull it off. Tyrell gets off the bed - TYRELL I like the sound of this.","EXT. HOTEL DOCKS - NIGHT Derrick, the dockhand, whistles in the darkness as he coils the bow rope of a service boat around a cleat on the dock. Ominous shadows play all along the dock. Out on the water there's a big SPLASH. The dockhand rises, looking out at the water with a sigh. DERRICK Damn. I should've brought my pole. He turns away. As he does, we see THE END OF THE DOCK where a sinister SLICKER FIGURE stands perfectly still, silhouetted by moonlight. Derrick paces down the dock the other way past a handfull of other tied - off staff and service boats. He picks up a hose and begins spraying down the hull of a Sunfish sailboat. He turns the hose off and begins coiling it, backing toward an EQUIPMENT SHACK. Suddenly, a HAND touches him on the back. He jumps and turns to see - TITUS standing there smoking a spliff. DERRICK Get lost, you scared me. TITUS Fish are all over the water. Come on, let us take a boat out. DERRICK Titus, you're so stoned, you'd end up in Spain. TITUS That's why you'll come with Titus, mon.. Derrick throws the hose in its place. DERRICK There's a storm comin', Titus. No boats are going out. TITUS Storm is what makes it interesting. Thass why all the fish are up. Less hook us a couple big ones. Derrick is now ignoring Titus. DERRICK I got work to do. Take the bake elsewhere. TITUS Up - tighteous and self - righteous. Titus glides away into the dark. Derrick watches him go. There's another SPLASH in the water near the dock. Derrick walks to where the splash was. He kneels down by the edge - watching BUBBLES RISE from the dark water below. DERRICK -LRB- to the fish. -RRB- Hello, little sea bass. You're lucky I'm busy or I'd hook you myself. WE PUSH IN AS HIS FACE GETS CLOSER TO THE WATER - AND THEN - RISING SLOWLY FROM THE DARK WATER DIRECTLY BEHIND THE DOCKHAND - A SINISTER SLICKER. Derrick hears A SPLASH - and just in time for. SPLAT! THE OLD HOOK IN THE EYE. THE FISHERMAN PULLS HIM DOWN. HE SCREAMS - BEN YANKS ON THE HOOK - AND DERRICK'S CRUMPLED BODY FALLS INTO THE WATER. ANGLE ON THE WATER as poor Derrick's BLOOD MIXES WITH BUBBLES.","EXT. POOL/JACUZZI - NIGHT Bubbles of a different kind. The JACUZZI sits in an enclosure at the shallow end of the SWIMMING POOL. And enjoying its warmth, Karla and Tyrell are liplocked in the churning tub. MUSIC plays on the boombox beside them. The tempurature rises and Ty's hands begin to wander. Still clad in her cute bikini, Karla pulls away - KARLA You sure you did n't pick up my hair tie? TYRELL -LRB- rubbing his bald head. -RRB- Hello? KARLA Okay, I just did n't wan na get my hair wet. TYRELL Baby, I finally got you alone in this Jacuzzi and I do n't wan na be discussin' hair care. She splashes him. KARLA Do n't you get feisty. Tyrell moves in for the kill. He wo n't take no for an answer. TYRELL Too late for that. We're miles from anywhere, baby. No one's gon na hear you scream. He goes in for a serious kiss. Things start to heat up - KARLA I used to be a lifeguard. I'd hate to have to blow my whistle. TYRELL -LRB- playful. -RRB- I'd hate for you to have to blow. your whistle. Tyrell is done talking. He pulls her over to him and the moment becomes more passionate. Karla opens her eyes in time to see - TITUS surface in the pool next to them. Karla SCREAMS. And not just because it was a surprise. Titus looks even uglier when he's wet. Titus opens his mouth, reveals a smoking PHILLY BLUNT on the end of his tounge. TITUS No water sports after midnight. Hotel policy. Titus eyes Karla in the Jacuzzi. Tyrell moves protectively in front of her. TYRELL What's the policy on burnin' herb? TITUS We got one for that, too. It's do n't try until you buy. -LRB- beat. -RRB- You do n't buy any, you do n't get any. Titus blows a cloud of smoke on them both, rolls the joint back into his mouth, and swims off. Tyrell is angry, but Karla pulls him back. A dejected Will appears in his bathing suit, a towel over his arm. Tyrell sees him coming. TYRELL There's ten people on this whole island and they're all gon na end up in this Jacuzzi with us. WILL -LRB- getting in. -RRB- How's the water? TYRELL Crowded. KARLA Ty! Will slips into the water ignoring Tyrell's look. WILL Ahh, that feels great. KARLA -LRB- considerate. -RRB- How's Julie? WILL Alone. In the room. -LRB- to Karla. -RRB- Got any advise? TYRELL -LRB- annoyed. -RRB- Yeah. Find another Jacuzzi. Karla shoots Tyrell a look. KARLA -LRB- to Will. -RRB- Your not out yet, slugger. You got ta just get back up there and keep swingin'.","EXT. JULIE'S APARTMENT - NIGHT Ray is at a telephone booth up the street from Julie's apartment. He looks exausted. Blood seeps through his shirt. He's in pain. RAY I need an international operator.","INT. HOTEL LOBBY - NIGHT In the empty night lobby, behind the desk THE TELEPHONE RINGS and RINGS. We push in on the phone RINGING unanswered in the night. Nobody is around to answer it.","INT. HOTEL - JULIE'S ROOM - NIGHT The DOOR CREAKS OPEN once again to her room. And from a STRANGER'S POV - WE SLOWLY CREEP INSIDE. A CLOUD OF STEAM billows from the open BATHROOM. THE SOUND OF A SHOWER is heard. We MOVE TOWARD IT.","INT. SHOWER Eyes closed, Julie stands with her face right under the showerhead, trying to relax. Something softly goes THUMP. Julie opens her eyes. Turns off the shower. Stands there, frozen, listening. JULIE -LRB- calling out. -RRB- Will? No reply. AT THE BATHROOM DOORWAY In a robe with a towel on her head, Julie peeks into her room. Nobody there. She sighs, and crosses back to the bathroom sink. AT THE SINK Julie looks to a spot where her toothbrush should be. She frowns. Looks around. Some of her things are missing. She peers into the fogged - up bathroom mirror. She whips the TOWEL off her head and WIPES IT ACROSS THE MIRROR, MAKING THE BEDROOM BEHIND HER VISIBLE. Ready to spit, she looks down. AND IN THAT INSTANT - WE SEE A SHADOWY FIGURE PASS BEHIND HER IN THE BEDROOM. She looks back up. and HE'S GONE. Julie turns on the water to rinse. ANGLE ON THE BEDROOM DOOR as it SLOWLY CREAKS SHUT, the SOUND DROWNED OUT by the SINK.","INT. BATHROOM Julie turns off the water - and KLUNK - KLUNK - and NOISE at her door. The sound STOPS.","INT. JULIE'S BEDROOM She steps out of the bathroom, crossing toward the door. JULIE Will? No answer. She peers through the PEEPHOLE. JULIE -LRB- cont'd. -RRB- Is that you? She unlocks and opens it. Nobody there. Julie quickly closes the door and relocks it, her heart rate just begining to rise again as. KLUNK - KLUNK. She hears it again. Then, the sound STOPS. But standing at the door - she realizes that's not where it came from. Her eyes immediately go to. THE CLOSET Damn. That's where it came from. She slowy pads across the room in her slippers toward the door. Trembling. she reaches for the handle. AND TUGS IT OPEN! There's NOTHING. She stares a beat. DRIP DRIP DRIP. She sees something on the floor of the closet. She touches a finger to it. IT'S BLOOD. She looks up. THE DOCKHAND comes dropping down at her, dangling, enmeshed in barbed wire. He's dying before our eyes. Blood bubbling from his mouth. His body twitching. Julie stares at the body. She's almost catatonic. She blinks. She blinks again. Suddenly, in DEATH CONVULSIONS, his arms fly toward her - She SCREAMS -","EXT. POOL - JACUZZI - NIGHT Karla and Tyrell are drying off beside Will as their hysterical friend comes racing across the pool plaza. JULIE It's happening again! There's a body! Will cathes her in his arms and she sobs uncontrollably. WILL What? What are you talking about? Where? JULIE It's in my room! They can see she's not fooling around.","INT. HOTEL - JULIE'S ROOM - NIGHT Everyone is gathered in the center of Julie's room. Julie is held tight by Will. Brooks, the hotel manager, conducts the investigation. Brooks approaches the closet door. Julie holds her breath. He throws it open. A long beat. BROOKS I do n't find this at all funny. Julie steps in - stares into the empty closet. She ca n't believe her eyes. She searches their faces, looking for someone to believe her. JULIE There was a body! I swear it! WILL -LRB- delicately. -RRB- Julie, you said you were tired. Waybe you were dreaming. JULIE -LRB- sharp. -RRB- I was n't dreaming. BROOKS I knew you people were goining to be trouble. I knew from the first time I laid eyes on you. Julie grabs Brooks by his robe. JULIE Listen to me. He's here. BROOKS Who? Who is here? She does n't know where to start. Nancy pokes her head around the door. NANCY What's going on? TYRELL Julie thinks there's a dead guy in the closet. NANCY Cool. TYRELL The rest of us see bathrobes. JULIE -LRB- sharp. -RRB- I am not crazy, Tyrell. He was right there. TYRELL -LRB- not taking it seriously. -RRB- Fine. Show me the body. Will wanders over to the closet and checks it out. KARLA Think about this, Julie. What did you actually see? JULIE The dockhand guy. Hanging by his neck from up there. BROOKS -LRB- case closed. -RRB- In the morning we'll talk to Derrick, the `` dockhand guy,'' and put the whole thing to rest. -LRB- looks to Nancy. -RRB- Now, let's slow down on the Dark and Stormies and get some sleep. NANCY Do n't look at me - JULIE I want off this island. BROOKS -LRB- tired. -RRB- Not possible, I'm afraid. The last ferry left hours ago. And we got a storm coming. There wo n't be another one for days. TYRELL There's a storm coming? BROOKS ` Tis the season, like I told you. It's a big one. Julie goes for the phone. JULIE Then I'll call the mainland for a charter. BROOKS Phones went down a few minutes ago. She picks up the phone, listens, then dangles it from her hand. JULIE It's dead. An exasperated Brooks heads for the door. BROOKS Duh. The next couple of days is gon na be rough, but we'll make it. KARLA What about a radio? BROOKS Sorry. Emergencies only. KARLA What the hell would you call this? BROOKS I'd call this four spoiled city kids who would n't know a hurricane if it blew up their butts. -LRB- beat. -RRB- All we can do now is batten down and ride it out. If things get really bad, there's a storm shelter. And Brooks is gone. Outside the window, it starts to rain. There's a CLAP of thunder. JULIE looks out the window with glazed - over eyes.","EXT. HOTEL - NIGHT And we PULL AWAY from Julie's face through the glass - SLOWLY TILTING above her room to another TINY WINDOW in the bell tower. A candle burns, and lighning flashes illuminate the haggard face of Estes, the porter.","INT. HOTEL TOWER ROOM - NIGHT It's a claustrophobic room. Estes turns away from the window, shirtless in his uniform pants. A beaded cord hangs around his neck, small fishhook dangling from it. Beside the candle, he picks up a leather bag and dumps out a handful of voodoo icons : roots, coins, sea glass, chicken's foot. He sets them on a divination tray. He opens vials and sprinkles powder and assorted liquids into a small wooden bowl. He opens a drawer and extracts a toothbrush. He dips the brush in the bowl - covering its bristles with a sticky goo. He holds the brush over the candle's flame. The old man watches it SIZZLE. ESTES picks up A STRAW FIGURE and impales it on his fishhook necklace. His eyes roll back in his head. He enters a trance.","INT. HOTEL CORRIDOR - NIGHT Olga, the maid, pushes her laundry cart toward the end of a long, dimly lit hall. She sees a pile of dirty linens outside of a room - ROOM 228. She stops, perplexed. There's nobody staying in this room. She picks them up and stuff them in her cart. Then she knocks on the door. OLGA Housekeeping. -LRB- beat. -RRB- Housekeeping. She knocks again and notices her hand leaving bloody marks on the door. She looks at her other hand. Her arms and hands are covered in blood. She turns back to the linens. Something bloody is wrapped inside of them. She paws at the sheets, trying to unravel the mystery - The door the Room 228 slowly cracks open. A STEEL HOOK reaches out and slices into her apron. It tugs. She turns, and she starts to SCREAM, she is yanked into the room. A DO NOT DISTURB sign flips over the handle and the door SLAMS shut. We hear her SCREAMS from inside.","EXT. PAWN SHOP - NIGHT Establishing. Bars on the windows. Neon PAWN fickering. Hand - painted sign reads : Se Habla Ingles.","INT. PAWN SHOP - NIGHT CLOSE ON AN ENGAGEMENT RING Ray's engagement ring. The pawn shop owner, MAC, cowboy hat, knows his job, holds it up to the viewing loop next to his eye. MAC Jeez, that's a full carat - RAY How much? MAC Well, there's some flaws in her. RAY How much? Mac looks around his shop at the usual jumble of crap : vacuum cleaners, golf clubs, guitar amps. MAC Do n't really have the market for something like this. -LRB- like it hurts him. -RRB- I can go two. two - fifty. RAY Make it three hundred. And throw that in, too. REVEAL -.38 REVOLVER encased in a glass cabinet. MAC Hell, that's worth three, easy. And you got your waiting period. RAY I'm not waiting. So give me the gun and keep the ring. Mac barely hasitates, he knows he's getting a steal - MAC Fine, buddy. THE GUN AND THE RING go down on the counter next to each other. Mac pulls out some forms. MAC -LRB- cont'd. -RRB- Fill these out. Leave the dates blank. Ray starts writing. Mac is overcome by a moment of humanity. MAC -LRB- cont'd. -RRB- Buddy, are you sure this is the way you want to go? Ray gives him a steely stare - RAY Is it loaded? Mac shakes his head. RAY -LRB- cont'd. -RRB- Load it. Off Mac's sadness at young people today.","INT. HOTEL - KARLA AND TYRELL'S ROOM - DAY We move into the hotel room and gradually reveal FOUR SETS OF FEET at the end of one bed. They are crammed into a king - size bed together. Julie is awake. She gets out of bed and moves toward the window. It's raining outside. The wind is blowing. The storm has arrived. Karla pulls a sleeping hand off her chest. The hand belongs to Will. She pinches the hand. Will starts. Tyrell kicks his feet around, trying to get some room. TYRELL This ai n't the romantic weekend I had in mind. Karla kisses Tyrell on the cheek. KARLA -LRB- to Julie. -RRB- You get any sleep at all? JULIE Some. Tyrell glares at Julie by the window. Sees the incredible rain. TYRELL Oh, look. Another day in paradise with Julie - your - tour - director. Miss Psychotic Episode. KARLA Hey - TYRELL -LRB- calling to Julie. -RRB- See any dead bodies out there? Any fresh kill? How ` bout Freddy, Jason? Julie ignores him, staring out the window. WILL Leave her alone. Angry at her boyfriend, Karla gets out of bed and joins Julie. TYRELL I'm just saying what all of you are thinking. It's bad enough gettin' rained out without having to hold her hand the whole time. WILL You do n't have to be a jerk. Karla pulls Julie close in a show of support for her friend whose mind everyone believes has been inventing dead bodies. JULIE It's okay. He does n't believe me. That's his right. I'm starting to think I'm crazy, too. KARLA Hey, slow down, turn off the little motor up in there. What do you say we go to the gym and work off a little stress? Julie does n't look to enthusiastic.","INT. HOTEL FITNESS ROOM - DAY Karla and Julie enter the gym. It has Nautilus machines, treadmills, Life - cycles, free weights, tanning beds, speed and heavy bags. Karla walks over and does a full roundhouse - spinning and planting her foot dead center of the heavy bag. JULIE Nice move. KARLA I'll be givin' your fisherman some of that and see how he likes it. Julie smiles at her friend bravado. She steps over to a stairmaster and starts her workout.","INT. HOTEL CORRIDOR - DAY Will and Tyrell step out of the room into the long, empty corridor. They cross to a balcony overlooking the lobby. The whole place seems deserted. TYRELL Where is everybody? WILL -LRB- gallows humor. -RRB- They're all dead. Dead, I tell you. -LRB- ghostly. -RRB- Ahhhh, we're all deaaaddddd. Tyrellll, joinnnn usss. Will's voice echoes across the lobby. Tyrell is maybe a little nervous, but hiding it. TYRELL Shut up. They walk down the steps to the lobby.","INT. HOTEL LOBBY - DAY They cross the lobby. WILL -LRB- calling out. -RRB- Hello? -LRB- worried. -RRB- There's nobody here, Tyrell. Tyrell's already out the front entrance.","EXT. HOTEL - DAY Will and Tyrell exit the hotel and make their way down the steps outside and go splashing across the flooded grounds. Debris from the storm is scattered all around them. TYRELL They're around. They just do n't care about us'cause we're the contest winners. -LRB- beat. -RRB- Let's go find Stoner Boy. Make his lazy butt hook us up with fishing poles or Ping - Pong paddles or something. WILL -LRB- nervous. -RRB- You know, the greenhouse effect has caused the gulf stream to shift and almost every meteorological expert expects a dramatic increase in tropical depression - TYRELL Hey - shut up, okay? Tyrell keeps walking. Will looks around at the wind - and - water - swept vista. Not much of a day for activities. WILL -LRB- sotto. -RRB- I do n't like to fish. Tyrell moves across the grounds. He looks back. Will is stopped in his tracks, looking up at - IN THE WINDOW OF THE BELL TOWER - ESTES, staring down at them. TYRELL -LRB- calling to Will. -RRB- You coming? Will trots after him, but he takes a glance back at the window. Estes is gone.","INT. HOTEL FITNESS ROOM - DAY Julie has finished on the stairmaster. Both she and Karla are sweaty after a good workout. Their moods have improved. KARLA Come on, Vampira. I got just the thing for you. Karla leads Julie over to the tanning beds. JULIE Cancer in a box. KARLA No, this is the safe sun. -LRB- joking. -RRB- It's better than a day at the beach. Julie is reluctant. KARLA -LRB- cont'd. -RRB- Come on, a little photosynthesis and you'll feel like a new - JULIE Houseplant. Karla opens the canopy of the tanning bed. KARLA Exactly. Julie peels off her sweats. Lies down in her underwear. Straps on a small pair of GOGGLES. Karla lowers the canopy over Julie. ANGLE ON A WALL TIMER Karla sets the DIAL. KARLA -LRB- cont'd. -RRB- Set to three seventy - five, bake for one hour. JULIE Karla! KARLA Just kidding. ULTRA - VIOLET TUBES come to life - Julie is bathed in purple light.","EXT. HOTEL GROUNDS - DAY Tyrell looks across the grounds and sees, at the far end of the tennis court, TITUS'S POOL SUPPLY CART half - obscured by the heavy fooliage surrounding the court. Tyrell walks away from Will toward the cart. He hears the jam - box on the cart playing `` TRENCHTOWN ROCK'' by Bob Marley. `` One good thing about music. when it hits you feel no pain.''","EXT. HOTEL TENNIS COURT - DAY The open door of the entrance CLANGS against the fence in the wind. Tyrell decides to cut through the court to the far entrance and the cart.","INT. HOTEL TENNIS COURT - DAY Tyrell walks across the court to the sagging net. There is a RUSTLING in the foliage around the court. SOMETHING moving fast and quietly. TYRELL -LRB- calling out. -RRB- Hey, Bong Marley. Come here. The door SLAMS shut behind him. Tyrell looks back at the door. The latch seems to have stuck and it's no longer swinging. Tyrell turns back toward the other door and sees The PIT BULL standing in the doorway. Tyrell stares at the dog. The dog GROWLS at Tyrell, low and menacing. TYRELL I'm gon na kill you, Bong Boy. Simultaneously, Tyrell turns and the dog lunges forward. Tyrell sprints to the door - it's LOCKED by a length of metal slipped into the coupling. He turns to see the dog bounding at him - Tyrell leaps up the fence just as the pit bull lunges for him. The dog catches his pant leg. Tyrell kicks him away and frantically scrambles up. The dog relentlessly barks and snaps as Tyrell climbs the fence. WILL looks in at the dog angrily charging the chain - link. He looks up at Tyrell. WILL Come on. Jump. I've got you. He reaches out to try and catch Tyrell. ON THE FENCE Tyrell finally looses his grip and falls back, landing on top of Will. He rolls quickly to his feet. TYRELL Thanks. -LRB- furious. -RRB- I got ta find me a pool boy.","INT. HOTEL FITNESS ROOM - DAY Karla hammers the bag with a series of quick punches. She finally stops to catch her breath and hears a THUMPING from the other room.","INT. BASEMENT HALLWAY - DAY Karla sticks her head out the door to the gym, listening. At the end of the hall AN OPEN DOOR is visible, a single BARE BULB lighting the room. Karla moves curiously toward it.","INT. BASEMENT ROOM - DAY Karla slowly sticks her head around the corner just as the THUMPING NOISE SOUNDS LOUNDLY. She reacts - A THUMPING DRYER in a small laundry room. Karla relaxes. KARLA -LRB- doing Julie. -RRB- Gee, Karla. That'll break the machine. She approaches the MACHINE, which is rocking with the noise. KARLA -LRB- cont'd. -RRB- Damn. How many pairs you got in there? She opens the dryer door and jumps back. A BLOODY SHOE flies out and into her arms. She looks down a beat, and SCREAMS bloody murder. A hot spray of blood gushes from the machine. REVEAL - OLGA'S DISMEMBERED BODY tumbling inside the dryer. Karla SCREAMS again. Then she hears the SOUND of heavy boots coming down the hall. She runs to the door and locks it. She's trapped in a bloody basement cell. Suddenly somebody POUNDS on the door. Karla SCREAMS. She runs across the room, shoving a folding table toward a row of BASEMENT WINDOWS. The door is hit again and again. Somebody is throwing their shoulder against it. Karla bangs hysterically on the windows, leaving bloody handprints on the panes.","INT. TANNING ROOM - DAY Julie's eyes suddenly open through the GOGGLES. She thumbs off her WALKMAN. JULIE You say something? Nothing. And just as Julie lies down again, Karla's frantic SCREAMS echo down the hall. Julie goes to push open the canopy. As she does, the CANOPY LID is JAMMED DOWN ON TOP OF HER. A CHAIN shoots through the handles. Julie is locked on the grill. JULIE -LRB- cont'd. -RRB- Karla! Somebody? Hey, this is n't funny. Suddenly the lights go off. Julie thrashes around, trying to free herself. JULIE'S POV - THROUGH THE PURPLE LIGHT She sees someone walking around in the room. The person steps closer. Julie could almost reach out and touch him. She begins to SCREAM!","EXT. HOTEL POOL - DAY Tyrell angrily makes his way past the outdoor pool bar as Will follows. Tyrell spots a tray of empty bottles. He picks one up and smashes it in half on the ground. He holds out the jagged bottle to Will. TYRELL Take this. WILL And do what with it? Tyrell breaks another bottle in half. TYRELL Julienne of pool boy. They move toward the nearby POOL HOUSE.","EXT. POOL HOUSE - DAY Tyrell and Will stop outside the door. There's MUSIC from inside. More Bob Marley - `` Lively Up Yourself.'' TYRELL -LRB- cont'd. -RRB- I'm gon na throw the door. Get ready. Tyrell opens the door and charges in. Will's right behind him.","INT. HOTEL POOL HOUSE - DAY They spill into the room. A light fog hangs in the air. The two of them begin to COUGH and CHOKE. Titus sits on the floor facing away from them, facing a window through which gray light pierces the gloom. Titus does n't move. He's too still. In front of him is a large BONG that still SMOKES SLIGHTLY. TYRELL Hey, pool boy. Tyrell closes the distance and kicks Titus in the back. Titus falls over like a block of wood, rictus already setting in. His hands are bound behind him. The cord is tied off to some pipes against the wall. HIS FINGERNAILS SCRATHCED GROOVES into the floor, scrabbling for the window and fresh air. Will points out two empty one - gallon PLASTIC BOTTLES. ANGLE ON THE BOTTLES One is labeled CHLORINE, the other MURIATIC ACID. Will pulls Tyrell from the pool house.","EXT. HOTEL POOL HOUSE - DAY The two of them collapse, COUGHING and CHOKING. TYRELL What the -? Will splashes a puddle of rainwater on his face - WILL That's chlorine and muriatic acid. Put the two together and you get cyanide. Tyrell rolls over on his back next to Will, practically coughing up a lung. TYRELL Cyanide? Like poison gas? -LRB- reality dawning. -RRB- You mean, somebody really killed him. Omigod. Think. Think. Suddenly, they both hear KARLA SCREAMING. They sprint for the main building.","EXT. BASEMENT WINDOW - DAY Tyrell and Will follow Karla's CRIES to a narrow srip of basement window which runs along the side of the hotel. Her palms have bloodied one of the windows. TYRELL Get back -","INT. HOTEL LAUNDRY ROOM - DAY Karla ducks down on the table just as the window EXPLODES inward. Tyrell kicks in the pane and looks in. TYRELL -LRB- cont'd. -RRB- Give me your hand! She reaches for him. He pulls her up and out through the window.","EXT. BASEMENT WINDOW - DAY Karla tumbles to the ground with only one thing to say. KARLA -LRB- screaming. -RRB- Julie!","INT. TANNING ROOM - DAY Tyrell and Will suddenly burst through the door. ANGLE ON THE TANNING BED Where Julie is just visible, her fingers madly groping for a way out. JULIE Oh, God, get me out. Get me out. Will struggles to open the bed, but the chain holds strong. Tyrell grabs a nearby dumbbell. TYRELL Hang on. ANGLE ON THE CHAIN Tyrell slams the barbell down, shattering the fiberglass handles. A few of the ultraviolet tubes POP as Will yanks up on the cover. They help Julie up, her eyes adjusting to non - purple light. JULIE -LRB- almost relieved. -RRB- I'm not crazy. I'm not crazy. He's here. -LRB- already moving for the door. -RRB- We've got to get to the radio and call for help. KARLA I think we can classify this as an emergency situation. They head for the manager's office.","INT. HOTEL - BROOKS'S OFFICE - DAY They burst into the middle of the room before seeing that Brooks's head has a machete sticking out of it. TYRELL Yo, Brooks, listen up -. -LRB- reacting. -RRB- Whoa - Tyrell, Will, and Karla look at the radio, which is smashed on the floor next to Brooks. Julie stares in shock at the reverse wall, at A STUFFED MARLIN with the words `` I STILL KNOW'' written on it in blood. Karla SCREAMS - TYRELL Somebody. is a sick, fingerpainting psycho. KARLA We got ta get out of here. Now. THE POWER CUTS OUT and the hotel plunges into darkness. Julie SCREAMS and runs from the hotel. WILL Julie!","EXT. HOTEL - DAY Julie runs down the steps and cuts through the blowing palms.","EXT. HOTEL DOCKS - DAY Julie is at the end of the dock. Tears are streaming down her face, her chest heaving. The others catch up with her. Karla realizes the boats are gone. Everyone is freaking out. KARLA There were boats here? Refresh my memory, there were boats. Tyrell picks up the end of a cut mooring line - TYRELL They were cut loose. WILL Julie? Wan na tell us what is going on here? They look at Julie. Their escape is cut off by water. They're scared. JULIE -LRB- freaking out. -RRB- We're all going to die. He's going to kill us one by one. TYRELL Who? JULIE Ben Willis. KARLA -LRB- not this again. -RRB- Oh, stop it! He's dead. You killed him. Now, get over it. We got ta think here. JULIE They never found the body. Her voice is low and urgent, an impromptu confessional. JULIE -LRB- cont'd. -RRB- Two summers ago. We lied to the authorities. We hit Ben Willis with our car. Ray, me, Barry, and Helen. We threw the body in the water to cover it up - KARLA Julie. JULIE Only he was n't dead. He killed Barry and Helen last July Fourth. Tyrell begins backing away from Julie. He picks up a piece of driftwood from the dock. JULIE -LRB- cont'd. -RRB- I thought Ray and I killed him on the boat, but we did n't and now he's back to finish up the job. Tyrell holds up the log as a weapon. He's angry and afraid - TYRELL We're on an island, miles from anywhere. I do n't give a crap about you're fisherman. There's dead bodies pilling up everywhere and there's one guy missing - Will moves closer to Tyrell - WILL The porter. what's his name? Old Asbestos - TYRELL Estes! That's exactly who it is. That old guy knows something. We can sit here and wait for him to pick us off or we can go find him first. Tyrell turns and heads down the dock. Will goes with him. Karla takes a few hesitant steps after them, then turns back toward Julie, who has n't moved. KARLA Julie, we have to do something. Julie sees her friend caught in the middle, sees her suffering. She reluctantly starts for Karla - JULIE -LRB- sotto. -RRB- It's not him.","INT. GREYHOUND BUS - NIGHT Standard bus folks : old people in Panama hats, buzz - cut military geeks on holiday. Ray sits in a seat. He's in pain and does not look good. He pops a handful of pills into his mouth and washes them down with an Orange Crush - A dignified OLD LADY has been watching him - OLD LADY People live healthy in Miami. -LRB- sincere, but unsettling. -RRB- It's the future down there every day of the week. The future. Ray slumps back, waiting for the pills to work. RAY I'll keep that in mind.","INT. HOTEL TOWER ROOM - DUSK The door to Estes's room BANGS inward. Tyrell, Will, Karla, and Julie charge into the room. TYRELL Yo, Freak Boy - The cluttered room is empty. WILL He's not here. Tyrell and Will begin roughly searching through Estes's possessions. TYRELL We're gon na find some weird crap in here. In the corner there is a curtain used as a partition. Julie pulls the curtain back and discovers A SMALL, HEAVY CABINET sitting in the corner. It seems to glow from inside while casting an evil pall over the room. Julie moves toward it and hesitates before opening the doors. Inside - is a small voodoo shrine. A candle has burned low before it. Hanging before the altar is THE LITTLE STRAW MAN impaled on a fishhook. JULIE Voodoo. TYRELL I told you. Julie looks closer. She sees her toothbrush, a hair tie, assorted other knickknacks belonging to her friends. TYRELL -LRB- to Karla. -RRB- Missing a hair tie? Karla looks in. Tyrell snatches the straw man up. TYRELL We found our guy. THUNDER rumbles across the sky like the judgement of God.","INT. HOTEL CORRIDOR - NIGHT Julie, Karla, Tyrell, and Will walk quickly down the corridor. They have grabbed some of their things. TYRELL We got ta find flashlights, torches, guns if they got'em, anything that'll help. Will and Tyrell eye the stairs leading down to the lobby. TYRELL Wait. Maybe he's down there collecting the body parts. Will and Tyrell exchange a glance, an `` are you man enough?'' kind of glance. WILL Let's go.","INT. HOTEL LOBBY - NIGHT The men head into the kitchen and bar area. WILL We'll only be a second, okay? TYRELL Yeah, wait right here, it's the safest place. Karla is terrified and waits by the stairs, but something catches Julie's eye. She walks across the lobby. KARLA Julie, where are you going? Julie keeps walking. She sees historical pictures of the hotel : work crews during construction ; the first limbo contest ; fishermen standing next to sailfish and marlin. Near the pictures, Julie sees the globe. It's spinning slowly. Julie hesitates, then walks toward the globe. It stops spinning. She looks down at it. CLOSE ON - THE GLOBE and Julie's hand finding Brazil. We see the capital is not Rio, but Brazilia. This is dawning on Julie when we hear - ESTES -LRB- v.o. -RRB- Brasilia. She jumps out of her skin. Estes was standing right there in the shadows. ESTES -LRB- cont'd. -RRB- That's the capital of Brazil, not Rio. Karla SCREAMS. Tyrell comes flying across the lobby past Karla. He dives on Estes, tackling him to the floor. Will is right behind him. WILL/ESTES/TYRELL Let go. I got him. That's me. It's him. We got you. JULIE Leave him alone. Tyrell holds up battered Estes - TYRELL Here's youre killer - ESTES No - WILL We found your voodoo crap - ESTES No - They shake Estes, finally giving him a chance to speak. ESTES -LRB- cont'd. -RRB- I found the bodies this morning. I tried to use the radio, but he already destroyed it. JULIE Let him go. I believe him. KARLA Come on, Julie. You saw his room. ESTES I have n't hurt anyone. I stole those things to help you. To protect you. JULIE He's telling the truth. He could've easily killed me. He did n't. -LRB- beat while this sinks in. -RRB- Look, we did n't even answer the radio question right. This whole thing was a setup. KARLA What do you mean? JULIE Rio is n't the capital of Brazil. It was the wrong answer. Sorry, we lose. TYRELL -LRB- starting to lose it. -RRB- You've got all these theories but where is he? Where? Where's your fisherman killer? JULIE I do n't know. TYRELL -LRB- losing it. -RRB- You never do. The guy at the nightclub, the body in your room last night. Little notes that only mean something to you. How do we even know you're not the one behind this - Estes steps forward - JULIE -LRB- to Tyrell. -RRB- How do we know you're not? ESTES -LRB- to Julie. -RRB- I know who you're talking about. He used to work here at the hotel. -LRB- beat. -RRB- And I've seen him around again. Out in the woods by the orchard. They look at Estes. Is he telling the truth? ESTES I ca n't remeber his name, but I do n't forget a face. -LRB- beseeching. -RRB- I can show you. They stare a beat - WILL How do we know you're not setting us up? ESTES Where else you gon na go, son? They look to the office, the gym. The sense of death surrounding them. KARLA I know I do n't want to stay in here. JULIE We'll be better off in the open. If we stick together, maybe we can kill this creep for good. TYRELL Show us. They begin moving for the door.","EXT. FERRY DOCKS - NIGHT Establish. The rain pounds a fleet of fishing boats. The boats are securely battened down in the weather. Ray limps past, heading for a small building at the end of the dock. Its sign reads : Island Ferry, Jack Paulsen - proprieter.","INT. PAULSEN'S BOAT HOUSE - NIGHT A gear - strewn office. Paulsen watches an episode of Party of Five. There is a loud KNOCKING at the door. PAULSEN What the. Paulsen slowly gets up. He cracks the door open. Ray stands silhouetted against the rain. RAY I need to get to Tower Bay Island. Paulsen senses something is n't right. PAULSEN We're closed. Ray pushes his way in - RAY I need to get there, now. Paulsen looks at him standing there drenched. PAULSEN Did you happen to notice what's going on outside? Ray pulls out the gun and points it at Paulsen - RAY I'm not looking for a weather report, I'm looking for a boat. So which one's yours?","EXT. WOODS TRAIL - NIGHT Estes, Will, Tyrell, Julie, and Karla walk along a trail through the heart of the island. The storm has abated for a few minutes. It's windy, dark, and spooky. The kind of place you'd take people if you wanted to scare them with a classic ghost story. That is just what Estes is doing. ESTES He worked here for many years. He had a nice family. A pretty wife and two little ones. A boy and a girl. They'd be about your age, now. They continue along the path. Estes looks at them in the dark, slowing for just a second. ESTES -LRB- cont'd. -RRB- One day his wife went missing. Maid found blood all over the honeymoon suite - Room 201. There are strange NOISES out in the woods. ESTES -LRB- cont'd. -RRB- Eventually, they found her body. Pieces. A leg in the swamp. An arm washed up on Three Mile Beach. -LRB- beat. -RRB- And the head they found much later. A huge branch is blown from a tree and comes crashing down through the underbrush, scaring them. Estes calmly steps around it. ESTES -LRB- cont'd. -RRB- Careful - JULIE -LRB- softly. -RRB- Did he do it? ESTES People say she was running around on him. People say he caught her in bed with other men. People say a lot of things. -LRB- beat. -RRB- He disappeared, taking the two small ones with him. At least they were never found. The winding path leads to a small orchard. They hang on his every word. ESTES -LRB- cont'd. -RRB- We're here. In the center of the orchard is a cemetery. They move off the path into the safety of the woods. There seems to be activity around the place. It's silent and eerie. Julie stares, fascinated. She is slowly drawn toward the house. Karla grabs for her arm. KARLA Be careful, Julie. JULIE I've got to see. She leads, they follow, circling the house. Julie rounds a corner of the shack and stops. She sees - TWO TOMBSTONES The first stone reads : SARAH WILLIS -LRB- birth/death -RRB- The second stone reads : SUSIE WILLIS -LRB- birth/death -RRB- Beyond them A FRESHLY DUG GRAVE and the group moves slowly toward it. The headstone, partially obscured by the mound of dirt, comes into view. The third headstone reads : JULIE JAMES born September 6, 1979 died July 4, 1998 \"A Lying Whore\" `` A Lying Whore'' is scratched with a knife. KARLA -LRB- realizing. -RRB-. Today's July fourth. Will goes to comfort Julie - JULIE I'm not dying on this island, Will. -LRB- louder. -RRB- Do you hear me? Julie shouts into the darkness. JULIE -LRB- cont'd. -RRB- You want me, Ben Willis? Come and get me. I'm right here. She kicks over her headstone - JULIE -LRB- cont'd. -RRB- My grave stays empty! She looks defiantly down the path. KARLA Julie, the boats are gone, the phones are down. There's no way off this place. JULIE Then, we fight - Will looks around. Estes is gone. WILL Where'd Estes go? TYRELL What is up with that weirdo? WILL I'll go find him. KARLA Why? He ca n't help us. WILL He's probably the only one who can help us. TYRELL I'll come with you. KARLA Are you crazy? We're not staying here on our own. WILL It's okay. He could n't have gone far. I'll catch up with you later. Will disappears into the darkness. KARLA Maybe we should just wait here? Hide in a tree? TYRELL I'm not hiding up no tree. -LRB- to Julie. -RRB- I'm with her. Let's arm ourselves to the teeth and kick this psycho's butt.","INT. HOTEL KITCHEN - NIGHT They move cautiously into the kitchen. Blue emergency lights flicker above them. It's a big room with plenty of nooks and crannies for somebody to be hiding in. Tyrell picks up a couple of different knives. He hefts them in his hand. TYRELL What I need is a gun. Not a steak knife. Karla grabs a paring knife - TYRELL -LRB- cont'd. -RRB- You gon na clean vegetables? You gon na stir - fry? You need something that'll get his attention. He picks up a huge butcher's knife and cuts the air with it. He then roughly empties other drawers looking for more weapons. Karla looks to Julie, something on her mind. Julie catches the look. KARLA -LRB- hurt. -RRB- I'm your best friend. You could have told me the truth about what happened. I would've understood. JULIE -LRB- sad. -RRB- Karla, I just wanted the whole thing to be over. I did n't want to involve anybody else. KARLA It's too late for that. Julie steps over to Karla. JULIE I'm so sorry. I brought this on everyone. It's my fault. Tyrell picks up on the mood swing. He moves closer to them. He's sympathetic. TYRELL Forget that. You did n't do nothing. This fisherman's a piece of scum. -LRB- hard for him to admit. -RRB- I should've been listening to you. I'm sorry. Julie smiles for a second. TYRELL -LRB- cont'd. -RRB- Now, let's take a look at the pantry. KARLA You think that's a good place to hide? TYRELL I do n't know, but I'm starving.","EXT. BEACH - NIGHT Will runs from the trees and finds himself by an old house. He sees Estes by the ocean, near a boat. WILL Hey Estes. -LRB- beat. -RRB- Estes? Where'd you go? Estes does n't answer right away - he keeps his back to Will. WILL -LRB- cont'd. -RRB- You abandoning us? How come you did n't tell us you had a boat? Estes picks up the boat's oar. He speaks low, almost inaudibly. ESTES This has to end. Now. WILL What -? Estes swings the oar, cracking Will's head hard.","INT. HOTEL KITCHEN - NIGHT Tyrell, Julie, and Karla approach the pantry - a huge steel door.","INT. HOTEL KITCHEN - CONTINUOUS Tyrell steps inside. TYRELL Steel door. Food. Perfect. He starts looking for something to eat - CLANK. There's a soft CLATTERING from somewhere in the room. Everyone freezes, staring into the darkness. Tyrell puts a finger to his lips, then creeps down an aisle, listening. There's nothing but SILENCE. He moves toward the first aisle. He jumps out. The aisle is empty. JULIE AND KARLA move down an aisle behind him. Tyrell ducks around to the second aisle. He slices the air, ready to pounce. This aisle is empty. JULIE AND KARLA nervously move another aisle down. Tyrell moves stealthily toward the third aisle. This is it. He lunges forward into the row. Empty, also. There's a small SOUND. A MOUSE scampers off under the shelves. Tyrell turns and smiles at Karla and Julie - TYRELL It's just a - A ROLLING PIN bashes him on the back of the head. Tyrell hits the floor, unconscious. JULIE AND KARLA SCREAM KARLA Ty! A DARK FIGURE jumps down from the shelves. Tyrell puts his arms up - TYRELL -LRB- yelling for mercy. -RRB- Do n't kill me - JULIE Wait, it's Nancy - Nancy, the bartender steps out of the shadows brandishing her rolling pin.","INT. HOTEL KITCHEN - NIGHT Tyrell stands at the sink, where Karla holds a towel full of ice to his head. Nancy, the bartender, looks on apologetically. NANCY I'm sorry, but you could've been the one doing all of this - TYRELL And so could you - crazy fool. NANCY You stumbled into my hiding place. TYRELL Must have missed the sign. NANCY Excuse me, but this island did n't have a murder rate until you people showed up. -LRB- chilled. -RRB- I've never seen a dead body before. JULIE Get used to it. NANCY Who's doing this? TYRELL -LRB- friendly. -RRB- Do n't even get her started. It's a long, long story and you probably would n't believe a word of it. Tyrell moves as he talks, fed up and exhasted. He crosses past the stove and under a huge hanging rack of pots and pans. TYRELL -LRB- cont'd. -RRB- I mean, all I know for sure is this is the worst vacation of my life. I'm tired, and I'm hungry, and I personally have n't seen one damn psycho killer. THWACK! A STEEL HOOK sinks deep into the base of Tyrell's shaved skull, a look of abject surprise on his face. The women freeze as Tyrell dances like a marionette before being hoisted up and hung on the rack like a used saucepan. THE FISHERMAN is in the vent above the stove. He stares out at them from the hood of his slicker. Ben jumps from the range onto the floor. Karla is in shock. Julie yanks her and they flee. As she goes, Julie picks up A LOOSE KNIFE and hides it in her back pocket.","EXT. OFFSHORE ON FERRY - NIGHT Ray pilots the boat through the dark, choppy water. He's navigating by compass, maps spread before him. He sees something off the bow - A BOAT drifting on the fast sea. The words `` Tower Bay'' are painted on the side. Ray pulls alongside and discovers the boat is empty. He reaches for the radio. RAY -LRB- into radio. -RRB- Come in. This is Summer Breeze requesting emergency assistance for Tower Bay island. I repeat. This is Summer Breeze. Ray guns the boat away.","INT. HOTEL FOYER - NIGHT Julie, Karla, and Nancy run into the lobby. The storm is WAILING outside the front doors. They pause for a second. Behind them we hear the rapid THUD - THUD - THUD of Ben's boots. Nancy goes straight to a desk and pulls out a flashlight. She points to the main staircase. NANCY I know where we can hide.","INT. HOTEL STAIRCASE - CONTINUOUS The women run up the stairs. Behind them, we hear Ben's FOOTFALLS echoing.","INT. HOTEL CORRIDOR - CONTINUOUS On the top floor, they race toward the end of a dark hallway. At the far end of the hall, Nancy illuminates a section of the ceiling. NANCY Give me a boost up - Julie helps Nancy reach a pull cord in the ceiling. A WOODEN LADDER pulls down. Nancy quickly climbs up. BEN WILLIS enters the hallway and continues toward them. ON THE LADDER Karla slips, nearly knocking Julie to the floor. They both scramble upwards - Ben hits the ladder - Just as Julie reaches the top rung she SCREAMS - BEN'S HOOK IS ON HER FOOT! Nancy appears in the opening and throws a brick down at Ben. It hits him in the chest and knocks him back. Julie makes it into the attic. They pull the ladder up behind them like a drawbridge.","INT. HOTEL ATTIC - NIGHT Julie, Karla, and Nancy surround the hatch they've just shut. They fumble with it - JULIE There's no way to lock it. KARLA What do we do? From below comes LAUGHTER. There's a tug on the hatch, cracking it open. The girls pull it back shut, but it's hard to get a grip. There's more tugging, the hatch bending down ; they can see Ben. Then, the rope SNAPS. The hatch slams shut. NANCY There's no way to grip this thing. Suddenly the STEEL TIP of the HOOK pokes through the crack. It wriggles around. Turning. And begins to pull the hatch down. They try to hold it. But it's no use. They let go and jump away. The attic is lit by a cathedral window. It's crosshatched with wooden beams and pink insulation. NANCY Watch your step. THUNK! Karla's foot goes through a gap between two beams.","INT. HOTEL - KARLA AND TYRELL'S ROOM - NIGHT KARLA'S FOOT dangles through the ceiling.","INT. HOTEL ATTIC - NIGHT Julie helps Karla back up onto a beam. NANCY -LRB- cont'd. -RRB- Stay on the beams! Karla and Julie follow her precarious progress. Ben climbs off the ladder to a beam. He watches them leap from beam to beam. His hook glints in the light. Julie, Karla, and Nancy move toward the cathedral window. They turn. They are cut off. They spread out against the wall looking for an opening to get back to the hatch. Ben feints toward Nancy then swipes at Julie - He misses. She leaps away. She looks down. Instead of insulation, she sees a WINDOW INTO THE HONEYMOON SUITE She sees her bed through a one - way mirror. Julie stares, momentarily transfixed. Karla is edging her way around the side of Ben. BEN -LRB- re : the mirror. -RRB- You'd be amazed by what you'd see. My wife with every man on the island, for example. -LRB- to Julie. -RRB- And you, sexy. I loved watching you. JULIE You sick freak. Ben suddenly whirls and lunges at Karla. He grabs her, but they both lose their balance, teetering for a moment on one of the beams, before falling - They CRASH through the mirror -","INT. HOTEL - KARLA AND TYRELL'S ROOM - NIGHT Karla and Ben hit the bed in a rain of glass. Karla bounces to her feet and dives out of the way as Ben swings his hook.","EXT. ROOM BALCONY - NIGHT Karla backs onto the porch. She backs up against the railing.","EXT. ATTIC WINDOW - NIGHT Julie and Nancy reach the CATHEDRAL WINDOW. They open it and look out.","EXT. ROOM BALCONY - JULIE'S POV - NIGHT and Ben advancing toward Karla, whose back is against the railing. Karla looks behind her, sees THE GLASS ROOF OF THE ORCHID HOUSE which does n't look nealy strong enough to suppor her. Ben advances, swining the hook. Karla leaps over the railing and onto the glass.","EXT. GREENHOUSE ROOF - NIGHT Karla keeps a wary eye on Ben as she gingerly backs up on the glass. The GLASS begins CRACKING, subtle crack lines splintering out from her footsteps. Ben lunges and swipes at her with his hook. Karla leans away from the attack and loses her balance, slipping onto her back on the glass. She lifts her head. Starts to move. CRACK. The glass is fracuring beneath her. She looks through the glass. KARLA'S POV - THE ORCHIDS BELOW She tries to slide toward a support. The glass CREAKS and MOANS as she moves across the room. KARLA -LRB- to herself. -RRB- Oh, god, no - She's almost to the support when THE ROOF EXPLODES taking Karla down into the orchid house.","INT. ORCHID HOUSE - NIGHT The roof shatters in an explosion of flying glass. Karla land on her back. She's unconsious -","INT. ATTIC WINDOW - NIGHT Julie and Nancy look at the empty space which once was a roof supporting Karla - JULIE -LRB- screaming. -RRB- Karla! Ben turns and looks up at Nancy and Julie. Then, he sprints from the balcony. Julie and Nancy duck back into the attic.","INT. HOTEL CORRIDOR - NIGHT Julie and Nancy climb down into the hallway. They are cautious, expecting Ben at every turn.","INT. HOTEL LOBBY - NIGHT They hurry across the lobby.","INT. ORCHID HOUSE - NIGHT A sprawling, steam - filled room, dense with vegetation of all sorts and shelf after shelf of beautiful orchids. Karla lies unconscious. Slowly, she opens her eyes. There's a rustling in the flowers. She tries to get up, but ca n't yet. She waits in terror as BIRDS fly up and out of the hole she's made in the roof. Karla tries to stand and her leg gives way. She tests her knee - KARLA Oww. Karla starts hobbling. She reaches the door - it's locked from the other side. There is a thick glass window set in the middle of the door. The cranes startle again, something upsetting them. Karla spins to look. Nothing.","INT. HOTEL/ORCHID HOUSE - NIGHT Julie and Nancy arrive at the door. Karla pounds on the other side - points to the lock. KARLA It's locked! Nancy sees a KEY RING by the door. NANCY It's got ta be one of these. Nancy tries the first of many keys. Something catches Julie's eye. She moves in for a closer look. Her eyes go wide - ORCHID HOUSE - JULIE'S POV A powerful BOLT OF LIGHTNING cracks. Fills the room with a pulse of bright light. BEN IS STANDING INSIDE AND HE'S HEADING STRAIGHT FOR KARLA. JULIE -LRB- terrified. -RRB- He's inside. Karla spins. Sees him. Her terrified scream blends with the cranes, now SHRIEKING VIOLENTLY. KARLA Please! Hurry!","INT. HOTEL/ORCHID HOUSE - NIGHT Nancy fumbles with the keys. Drops them. Julie tries to keep calm. JULIE Come on.","INT. HOTEL/ORCHID HOUSE - NIGHT Ben closes fast, slicing the tops off orchids as he goes. He skewers a bud on the tip of his hook. Karla pounds on the door. KARLA -LRB- frantic. -RRB- Hurry! Nancy fumbles for the right key but the lock is old. JULIE Nancy. NANCY -LRB- crying. -RRB- It's jammed! The key is stuck. KARLA -LRB- through glass. -RRB- Come on! She's running out of time. Julie sees a FIRE AXE encased in the glass safety box. JULIE -LRB- determined. -RRB- No way! Julie smashes the glass with her elbow. Grabs the axe. JULIE -LRB- to Nancy. -RRB- Move! Julie hammers the door with the axe. Wood splinters. Glass cracks. Ben is almost on top of Karla now. Julie swings. The axe breaks the glass, pulls the frame out. Julie drops the axe. They grab Karla. Pull her through. Ben swings. The hook rips Karla's shoe, but Julie and Nancy pull her through. Julie and Ben are face to face. Julie has the axe in her hands. She stares him down. JULIE Come on, gim me a shot - Ben rips off his hook, eyeing Julie. KARLA -LRB- shouting. -RRB- Julie, come on. They flee. Ben tries the door, realizes it had locked behind him. He ca n't fit through the circular window. He throws his shoulder against the door. And again. And again. The door frame starts to give -","EXT. STORM SHELTER - NIGHT Julie, Karla, and Nancy approach the iron door to the underground storm cellar. Julie carries the axe. NANCY It's over there. They struggle together to open the heavy door.","INT. STORM SHELTER - NIGHT Stairs lead down into darkness. Karla hesitates - KARLA I do n't know. JULIE Come on, you can make it. Julie gets in, pulling Karla in behind her. They pull the door closed behind them. NANCY There's a light somewhere.","INT. STORM SHELTER - NIGHT The darkness is complete. We hear MOVEMENT. KARLA Julie? JULIE I'm right here. Grab my hand. NANCY This place has emergency power. Just ease you way down the stairs and I'll find the light. JULIE Okay. I'm at the bottom. Karla, just get my hand. KARLA I'm holding your hand! JULIE No, you're not. KARLA Nancy? Nancy pulls the chain on an overhead bulb. The lights go on, illuminating THE DEAD CORPSES of Brooks, Derrick, Olga, and Titus - whose hand Karla is holding. The women SCREAM! They muddle together, trying to collect themselves. Suddenly, there is a POUNDING on the iron door. They SCREAM. Then, Julie remembers the axe. She motions the others to stay back - JULIE All right - The iron hatch is slowly opening. Julie gets the axe into possition - WILL pokes his head through. He's clutching a piece of wood as a weapon. WILL It's you guys, thank god. Is everyone okay? They are ecstatic to see him. They bound up the concrete stairs - KARLA Help's here. Help's here.","EXT. HOTEL WALKWAY - NIGHT Will is already on the move toward the hotel. WILL Come on. We're gon na be okay. JULIE Did you get help? Will shakes his head. He's walking woozily. JULIE -LRB- cont'd. -RRB- What happened? WILL Estes came after me with a gaffing hook. JULIE He's in it with Willis? WILL I guess so. Julie points out that his chest and stomach are covered in blood, too. JULIE Your stomach, you're hurt - Will looks down, clutches himself, and keeps moving. WILL When I was coming back I saw your slicker friend looking for you guys down by the water. -LRB- beat. -RRB- Let's hurry and get inside.","EXT. BEACH - NIGHT Ray guns the boat straight up onto the beach. He leaps from the boat.","INT. HOTEL BAR - NIGHT Will slumps down on the bar floor. He's floating in and out of consciousness. Julie leans over him, concerned. JULIE Oh, my god, you're bleeding to death. She looks back towards Nancy - JULIE -LRB- cont'd. -RRB- We need a first - aid kit. NANCY -LRB- already moving. -RRB- I saw one in the lobby. Karla starts, then hesitates. Will moans, looks at her. NANCY -LRB- cont'd. -RRB- I'll come with you. WILL You'll be okay. It's over. Karla and Nancy rush from the bar. Julie looks tenderly at Will. He looks back at her. She pulls some hair off his forehead. He smiles weakly. JULIE Will, just hold on. We'll get you fixed up.","INT. HOTEL LOBBY - NIGHT Karla and Nancy go to the area near the check - in and behind the desk. NANCY Look up there. I'll look over here. Karla looks behind the desk. Nancy is searching the shelves.","INT. HOTEL BAR - NIGHT Julie tenderly searches the area around Will's stomach. She's fussing with the clothes, looking for the wound. JULIE You've got blood everywhere, but I ca n't find the wound. Will takes her head in his hands, looks her in the eye. WILL That's because it's not my blood. The slow change in Julie as she realizes. She starts to run. Will roughly grabs her. WILL -LRB- cont'd. -RRB- It's time you woke up, Julie. His voice switches to that of a familiar radio disk jockey. WILL -LRB- cont'd. -RRB- -LRB- as Mark in the Morning. -RRB- AND START CONTEMPLATING THE ULTIMATE MAGIC GETAWAY! He drags her out of the bar.","INT. HOTEL LOBBY - NIGHT Nancy sees a white metal box sitting on a shelf. She reaches for it. It's a first aid kit. ANOTHER HAND reaches over and lands on top of her hand. She jumps and sees Estes right behind her. Karla SCREAMS. ESTES Will. He's in on it. He's - Suddenly Estes's expression changes to surprise, and A SPEAR TIP appears in the front of his chest. Nancy screams and looks over Estes's shoulder to see BEN WILLIS standing there holding a spear gun. Estes topples over on top of Nancy, pinning her underneath his dying, convulsing body. Nancy struggles to get loose. NANCY Help me. Karla rushes to Nancy. She tugs on her arm, trying to pull her free. The fisherman strides toward them. He raises his hook. He swings at Karla's head. THE HOOK CATCHES on a beam. Karla struggle with Nancy. KARLA Come on, come on. Ben tries to free his hook hand. Karla looks up at him. He calmly puts his foot onto Estes's back and steps down with all of his weight, driving THE SPEAR TIP deep into Nancy who expires with a sigh. KARLA -LRB- cont'd. -RRB- Damn you. Karla, blind with rage, attacks the fisherman. He kicks out with a boot and sends Karla fying onto A GLASS TABLE in the lobby area. The table explodes. Karla is finished. The fisherman works his hook free from the post. Karla is unmoving and looks quite dead.","EXT. WOOD TRAIL - NIGHT Will pulls Julie along a muddy path in the rain. He's got her by the hair. She's slipping and falling. WILL Look at the bright side, Jules. We finally get to spend some quality time together. Julie's trying to get to the knife she's stashed in her back pocket. JULIE Why are you doing this to me? WILL Me, me, me. It's always about you. I'm having bad dreams. I ca n't sleep. I'm not doing well in school. I'm having trouble with my boyfriend. JULIE I trusted you. WILL We had a connection, did n't we? I can tell you one thing, though. Ray did n't trust me. He was right. He's dead, but he was right. They come into the orchard. They are covered in mud. Julie stumbles again. Goes to her knees. Works the knife free and slashes up at Will. She slices him across the face. He steps back, feels the blood. WILL -LRB- cont'd. -RRB- What'd you have to do that for? There is a creepy pause. Will stares at his own blood. She catches her breath. Then suddenly, Will knocks the knife from her hand. He lifts her by the hair. Enraged, he puches her in the face. She goes down.","EXT. ORCHARD - NIGHT Will has Julie in a choke hold. He drags her toward the open graves. Julie is losing energy, slowly giving up. JULIE Why? WILL Why? Come on, Julie. Think. You'll get it. Will Benson - Ben's son. He shoves her. She falls backward into the arms of Ben Willis. WILL -LRB- cont'd. -RRB- Hi, Dad. Julie WAILS, struggling wildly in Ben's grasp. JULIE OMIGOD - BEN That's my boy. Ben holds her back to look at her. He throws back the hood of his slicker. We see his face clearly for the first time. JULIE No, no, no - Ben pulls off his hook and strokes Julie's cheek with his stump. BEN Shush, now. No more screaming. No more running. Time to die. RAY -LRB- v.o. -RRB- Let go of her! Now! Ben and Will spin to see RAY like the hero from a western, step out from behind a tree. Ben starts to laugh. Will joins him. WILL You got ta be kiddin' me. BEN What're you gon na do, boy? Call us names? RAY Let her go. Now. Ray raises the.38 caliber handgun. He COCKS the hammer. Ben does n't let go of Julie. Lightning fast, he slaps his hook back on and gets the point to Julie's neck. BEN Think about it, boy. You're no killer. -LRB- beat. -RRB- That's my job. Ray hesitates, his finger on the trigger. He does look scared. Ben takes a step toward Ray. Then another, pushing Julie in front of him. Will moves closer, too. RAY Stop right there. Ray's finger squeezing down the trigger. BEN You do n't have it in you. Suddenly, Will dives for Ray. Ray gets a shot off, tagging Ben in the shoulder. The gun goes flying. Julie spins and hits Ben in the face. He knocks her into her own grave. Mud begins to slide in on her. She tries to scramble out. Will and Ray wrestle, punching each other repeatedly in the face. Will has Ray down and his hands around his kneck. He looks him in the eye. WILL We have n't missed you down here, Ray boy. I got to know Julie real well. Will gets the better of Ray. He's stronger. He yanks him up - choking him. Ray is begging to check out. WILL -LRB- cont'd. -RRB- Think of all the things I'm gon na do to her. -LRB- beat. -RRB- Dad, finish him. Ben charges toward Ray's back. He pulls back the hook for a roundhouse slashing - At the last second, Ray dips, elbows Will. THE HOOK goes straight into Will's chest. The fisherman has hooked his own son. Father and son make final eye contact, the son's eyes go blank. Ben stares in shock as Will expires, falling back into the mud. Ben SCREAMS in rage. Ray is tired. THWACK. Ben begins beating Ray. He puches him. He straight - arms him with the hook. He knocks him again and again and Ray is beaten, giving up. Ben has Ray against a tombstone. The hook slowly inches toward his eye. BEN Gon na blind you first. The hook is touching the eyelid - A GUNSHOT rings out. A look of wonder crosses Ben's face. He slowly turns away from Ray. JULIE stands behind him holding the gun. JULIE Just. Die. BLAM. BLAM. BLAM. She empties the gun into Ben, who flies backward into Julie's grave. As he tumbles, Ben releases the dirt stacked beside the grave. A MUDDY LANDSLIDE slowly covers Ben up. Ben's face is covering over. His mouth starting to fill with dirt - BEN You ca n't kill me. His face is completely covered. His mouth still moving. BEN -LRB- cont'd. -RRB- I'll always be with you. The dirt covers him. It continues to fill, until just the GLEAMING METAL HOOK waves futilely out of the dirt. Then, is stops wiggling. Julie goes to Ray.","EXT. HOTEL - NIGHT Ray and Julie limp across the grounds of the hotel. They are moving past some shrubbery when A DARK FIGURE jumps out. Julie yells. She and Ray jump back. KARLA stops in the middle of her kamikaze attack, knife held out. KARLA Oh, god, it's you - JULIE You're okay. Thank god. KARLA Is he? They nod. They go to her - jubilant group hug time. They compose themselves. KARLA -LRB- cont'd. -RRB- You know, it's true what they say about package vacations. You get what you pay for. -LRB- beat. -RRB- Now, how about we get off this piece of crap island. The first rays of the morning sun appear. Ray looks adoringly at Julie as the beautific light catches her face. Ray kisses her. She kisses him back. They are silhouetted against a beautiful orange sunrise. JULIE -LRB- smiling. -RRB- We do n't have to tell anyone it rained the whole time. It can just be our little secret. The three of them throw their arms around each other's shoulders and they start walking for the beach as. A COAST GUARD HELICOPTER rises into view.","EXT. HOUSE - DAY Establish. The sun setting over a quaint street in a college town. SUPERTITLE : FOUR MONTHS LATER Julie pedals her bicycle down the street. She has a book bag over her shoulder. It feels like one of the first days of school. She rides the bike up to a small house on the perfect street. She rolls the bike right up to the front door.","INT. HOUSE - DAY Julie lets herself into the house. She leans her bike against another bike in the hallway. It's a perfect day. Birds CHIRPING. WIND in the willows. There's another NOISE. from inside her house. She goes perfectly still. And listens. Behind her, by the kitchen, the shadow of a FIGURE moves. She whirls. NOTHING She creeps down the hallway toward her kitchen. She pauses - The dark figure almost knocks into her. She SCREAMS. It's Ray. He's holding a disemboweled toaster. JULIE Ray. what are you doing? RAY -LRB- toaster. -RRB- Oh. it's not working right. You're home early. -LRB- sees she's shaken. -RRB- Did I scare you? JULIE Never do that again. RAY -LRB- tender. -RRB- Hey - I did n't know you were here. It's okay. -LRB- beat. -RRB- We got the refrigerator in. Come see. She sees the love in his eyes. She hugs him. JULIE I love it here. RAY It's gon na be great.","INT. STAIRWAY - NIGHT Julie climbs to the top of the stairs. She passes Ray in the bathroom. She pauses in the doorway -","INT. BATHROOM - CONTINUOUS Ray is at the sink in boxer shorts. He's using an electric Waterpic devicice that has just been opened, a gift from the party. It makes a low WHIRRING sound. RAY -LRB- seeing her. -RRB- Checking the locks again? JULIE You know me to well. Julie smile and walks to the bedroom.","INT. BEDROOM - CONTINUOUS Julie climbs into bed with a book. The bedroom is clean and orderly. The windows are closed. The closet door is shut. The room is decorated simply : a high antique bed ; unopened boxes ; a highboy ; an antique mirror leaning against the wall. A stuffed bear sits in a chair. There is a CLATTER from another room. Julie freezes. She waits. She hears it again. She climbs out of bed.","INT. SECOND BEDROOM - NIGHT Julie walks into the dark spare bedroom. The CLATTERING SOUND comes from the open window. The wind is blowing the blinds. Julie relaxes. She shuts the window. As she leaves the room, we notice the dirty imprint of a boot below the window.","INT. BATHROOM - NIGHT Julie passes Ray who is still absorbed with the new toy. Behind him, the door softly closes. The lock twists. Ray is oblivious, happy being the dental - hygene pacesetter of the household.","INT. MASTER BEDROOM - NIGHT Julie enters the room. She looks at the closet door. It is open a crack. She hesitates, trying to remember if it was open before - it was n't. Julie approaches the closet. She catches her refelction in the mirror next to the closet. She peers into the crack of the closet. She ca n't see anything. She throws open the closet door. NOTHING She looks around the room. JULIE What is my problem? She sits down on the bed. We see her bare feet from under the bed. She smiles, relaxes. She looks in the mirror leaning against the wall. Something has caught her eye. She freezes. She turns slowly back to the reflection in the mirror. She sees the glint of steel - A HOOK - CRASH ZOOM INTO REFLECTION - THE FISHERMAN CROUCHING UNDER HER BED Julie turns too late - The fisherman lunges out and grabs her legs. Julie screams. She goes down - Her nails scrape into the wooden floor as she is dragged under the bed. THE END"],"string":"[\n \"INT. BOSTON - OLD NORTH CHURCH - DAY The setting sun backlights a series of abstract colored images. Holy images of STAINED GLASS and lead. FOOTSTEPS ECHO across the marble floor. REVEAL - JULIE JAMES A little older, a little wiser, yet still very pretty, no doubt. But she's all alone in the house of the Lord. And those doleful eyes of hers clearly telegraph a very heavy burden still rests upon her soul. She reluctantly walks past the rows of empty pews toward a curtained CONFESSIONAL BOOTH.\",\n \"INT. CONFESSIONAL BOOTH - DAY Julie slides the drapes shut behind her as she enters, kneeling before the CLOSED SCREEN. A beat - and the SCREEN SLIDES OPEN. A PRIEST enters the adjacent booth - barely visible through the WICKER MESH. Julie looks down, crosses herself, and begins. JULIE Bless me, Father, for I have sinned. -LRB- a beat. -RRB- It's been a year since my last confession. Julie swallows hard. This is difficult for her. JULIE -LRB- cont'd. -RRB- I've never told anyone this. Not my mom, not the poice, not even my friends - except for the ones who were there and they. well they're not around anymore. You see I. I. PRIEST Yes? JULIE I killed a man. Well, I thought I had. then. She balks at the memory of it. The priest bows his head in the shadows of the other side. JULIE -LRB- cont'd. -RRB- -LRB- emotional. -RRB- You've got to understand. It was all an accident. A terrible accident. It's been a whole year. I've tried to get past this, but I just ca n't. PRIEST Go on. JULIE I have these dreams. horrible dreams. And this man is always there with me. PRIEST -LRB- reassuring. -RRB- I know. JULIE You see, he was a killer. He murdered Helen and Barry, and he would have killed me too, if I had n't. gotten away with it. -LRB- regathering. -RRB- I do n't know, I guess I just need to deal with the fear, the guilt. to finally say his name. Ben Willis. His name was Ben Willis. The confession is cathartic for Julie. She looks relieved until, PRIEST I know. Julie stops. Looks through the screen. A chill shoots through her body. JULIE You know? But how could you. Clouds of icy steam shoot through the partition. Julie moves closer to the screen, trying to get a better look. PRIEST -LRB- growls. -RRB- I KNOW WHAT YOU DID LAST SUMMER! A STEEL HOOK smashes through the screen right in Julie's face! She SCREAMS!\",\n \"INT. COLLEDGE LECTURE HALL - DAY Still screaming - Julie jumps back, seemingly knocked out of her chair. She fights the unseen demon. Sitting beside her, Julie's friend WILL BENSON reacts. He's a good - looking kid in a shy, humble kind of way. And he tries to help her, but she's too busy turning ten shades of red. The PROFESSOR lowers his glasses, makes it even worse. PROFESSOR Nice to see you find Political Science so stimulating - The lecture hall erupts with laughter. JULIE I'm sorry - Julie grabs her stuff and bolts.\",\n \"EXT. CAMPUS - DAY Julie explodes out of the building. Hurries down a sidewalk. Will finally catches up. WILL Julie! Wait! You okay? JULIE I'm fine. WILL You sure? JULIE I'm fine. WILL You do n't seem fine. Julie realizes this is true. JULIE I had another dream, Will. Will takes this seriously. WILL The shower again? JULIE It was in a church. it was so real. I mean, I could feel his breath on me. WILL -LRB- caring. -RRB- I'm sorry. JULIE I thought I was over the dreams for good. I really did. I had n't had one for months. WILL It just takes time, Julie. It's gon na get better. JULIE It ca n't get worse. I mean, it's not like this was the first time I freaked out in class. I hardly ever get a full night's sleep, my grades suck, I'm this close from being thrown out of school. BLAM! BLAM! BLAM! EXPLOSIONS. Julie jumps out of her skin. It's just STUDENTS letting off FIRECRACKERS as they fly past on bicycles. Will and Julie are now thinking the same thing. JULIE -LRB- cont'd. -RRB- It was one year ago. WILL It's. the anniversary. That's what's going on. Take it easy on yourself. JULIE -LRB- weary. -RRB- I'm trying. I really am. Sometimes I do n't even know why I came up here in the first place. WILL -LRB- cheering her up. -RRB- To get out of Southport? JULIE -LRB- softens. -RRB- Right. Now I remember. He smiles at her. She smiles back. They stop in front of her apartment building. JULIE -LRB- cont'd. -RRB- Are you getting out of town on the fourth? WILL Nah. I'll probably just be here studying for finals. The joys of summer school. -LRB- beat. -RRB- Are you okay? JULIE I'm okay. WILL Are you sure? She touches his face affectionately. JULIE Thanks for the talk, Will. You're good to me. Will stands there akwardly - WILL Um. Okay. Bye. Will walks away. Julie watches him a beat, then turns down her walk - RAY steps out of the shadows. Julie practically faints. JULIE Oh, my god, Ray. You scared me. Recovering, she hugs Ray, genuinely glad to see him. He's a bit cold. RAY I got in early. I was excited. -LRB- re : the receding Will. -RRB- Who was that guy? JULIE Oh, that's Will. He's a friend. You'd like him. RAY Yeah. JULIE Ray, we're just friend. RAY Every guy in history who tried to pick up a girl did the good - friend thing first. JULIE Why are you being like this? It should be obvious Ray feels insecure in the college environs, but they're miscommunicating. RAY Hey, I'm sorry. You're right. Are you ready to go? I've got the old truck. You know the drill. Crab boil at Ollie's. Croaker Queen Pageant. It's only small - town fun, but it's still nice. People really miss you. I miss you. She looks at Ray, his compassionate demeanor. This is hard to say - JULIE -LRB- softly, but resolved. -RRB- Ray, I ca n't. RAY Ca n't what? JULIE I just feel like some part of me has n't healed up enough to go back. Like some critical piece is missing. Please understand. Ray is cold. This is what he's expected all along. RAY I understand something. JULIE It's not like that. It's not you. It's me. My head. I want to go back. I want to be with you. I want to be fine. I want everything to be like it used to be. -LRB- beat. -RRB- It just is n't. Ray is hurt and confused. JULIE -LRB- cont'd. -RRB- Hey, why do n't you stay up here? They have fireworks over the river. And. there's a million things to do. RAY I have to work, Julie. My boat's in Southport, remember? But, I get it. You need your space from Craokerland. And maybe from me, too. Ray starts walking away. RAY -LRB- cont'd. -RRB- You know where to find me. JULIE Ray? Ray? At least come up for a while. Ray keeps on walking. RAY It's okay. I'm just gon na go. Julie follows him out to the road. A group of LAUGHING STUDENTS block her way. JULIE Ray, I'm sorry. I did n't mean. -LRB- to herself. -RRB- I'm just scared. that's all. But Ray is already gone. Julie stares after him a beat, then turns quickly to her door. She clearly feels uncomfortable, exposed on the walk alone. She nervously pulls her keys. A can of mace dangles from the keychain.\",\n \"EXT. JULIE'S APARTMENT - DAY Students throw FRISBEE in the street. Ray walks to his old truck, which is wedged between a new Sport Utility and a BMW. He clambers into the front seat. He thinks. Then, digs into his pocket and pulls out the unmistakable shape of an ENGAGEMENT RING BOX. He throws it in the glove box, starts the truck and drives away.\",\n \"INT. JULIE'S APARTMENT DOORWAY - DAY Julie opens the door and steps inside. She locks three deadbolts. She stands there, alone, listening to the SILENCE. She does n't even have a cat. A faucet DRIPS in the kitchen.\",\n \"INT. JULIE'S KITCHEN - DAY The faucet DRIPS. Julie turns the handle. No success. She checks the lock on each window. She stands for a moment. She picks up a bag of chips and eats a handful. She opens the fridge and takes out a can of nacho cheese sauce. She grabs a soft drink and a jar of bread - and - butter pickles. She gets some cookies from a shelf. She thinks. Opens the freezer, pulls out some fat - free sorbet. She takes the whole mess toward her bedroom.\",\n \"INT. JULIE'S BEDROOM - DAY She hits the light switch. A bedside light goes on. It's a sparsely furnished room. The bed is pilled high with pillows. She checks the windows, then climbs into bed with the food. On the bedside table are pictures of family and friends. She looks at one of Helen and Barry. She looks around the room. It's depressing. Outside we hear young people having fun, slamming car doors, going places. She picks at the food, then puts it on the table. She turns off the bedside light and enjoys the golden late afternoon glow in the room.\",\n \"INT. JULIE'S BEDROOM - NIGHT Julie, sound asleep, is curled into fetal position on the bed. There's a CLICK in the front hall. And ANOTHER. Julie's eyes shoot open. She listens. Another SOUND, almost like the front door being CLOSED. Her arm reaches for the bedside light. She hits the switch. The bulb POPS. JULIE -LRB- whispers. -RRB- Okay. Okay. Face your fears. She gets off the bed and stands still. JULIE -LRB- cont'd. -RRB- -LRB- whisper. -RRB- There's nothing. There's another NOISE down the hall. JULIE -LRB- cont'd. -RRB- -LRB- whisper. -RRB- Quiet. Julie silently scoots out of her bedroom toward the kitchen.\",\n \"INT. JULIE'S KITCHEN - NIGHT She gets a large KNIFE. She listens. It sounds like somone's in the living room. She steps through the kitchen door. As she moves we see a shadow pass the other way down the hallway toward her bedroom.\",\n \"INT. JULIE'S LIVING ROOM - NIGHT There's NO ONE there. JULIE -LRB- cont'd. -RRB- Okay, calm down, imagination. She relaxes until she sees that her front door is slightly AJAR, light from the hallway slanting through. JULIE -LRB- cont'd. -RRB- I ca n't take this anymore. I ca n't. Holding the knife in front of her, she tiptoes to the hallway. There's a soft RUSTLING coning from her bedroom. She gets a flashlight out of a drawer and starts down the hallway. JULIE -LRB- cont'd. -RRB- -LRB- fatalistic. -RRB- Let's just do it. She moves faster toward her bedroom. she listens outside the doorway. It sounds like someone's in the closet. She moves into the room.\",\n \"INT. JULIE'S BEDROOM - NIGHT There's a noise in the darkened closet. Julie moves into position. She turns the flashlight ON and lunges for the closet.\",\n \"INT THE CLOSET KARLA WILSON, 19, all grace and attitude, is on tiptoes reaching for a box of shoes. She SCREAMS. Julie SCREAMS. They both SCREAM together. Julie drops the knife and flashlight. KARLA I thought you were out of town! JULIE What are you doing in my closet? They hug, jumping up and down with relief. KARLA I thought you were out of town! JULIE What are you doing in my closet? KARLA i just wanted your black pants, but I'm not ready to die for them! Julie turns on the light in the hallway. Karla has her shoes in her hand and black pants draped over her arm. JULIE That was heart attack time, Karla. KARLA No. When I put these skinny pants on my body. Now, that's heart attack time. Karla looks down and sees the knife. She picks it up with two fingers - KARLA -LRB- cont'd. -RRB- And we're going to put away the utensils and you're coming with me. Julie flops down on her bed. JULIE I'm not going anywhere. I'm fat, ugly, and depressed. KARLA Yeah, right - whatever. JULIE I think I just really hurt Ray's feelings. KARLA -LRB- keeping it upbeat. -RRB- Listen to me, Julie. Ray's a great guy, nothing against old Ray, but he's so. Ray. I mean, he lives in Southport. Will's a nice guy, too, and he lives right down the street. Karla picks up the flashlight and goes into the closet. JULIE There's nothing between Will and me. KARLA -LRB- V.O. -RRB- Yet. Nothing yet. She emerges with clothes for Julie. Holds up one outfit. KARLA -LRB- cont'd. -RRB- What we got ta do is keep moving. No time to mope. I'm working at the club tonight. And you, dancing queen, are coming with me. JULIE No I'm not. Karla holds up another dress for Julie - strapless, sexy, the one. KARLA Fine, then be fat, ugly, and depressed. Karla is dancing around. Julie laughs at her friend and takes the dress when Karla hands it to her.\",\n \"INT. THE CLUB - NIGHT It's a hopping college joint : crowded, loud MUSIC, a dance floor, and rivers of cheap booze. AT THE BAR Julie sits next to Karla as she waits for her drink order. A handsome young man slides in front of them. This is TYRELL MARTIN, 23, handsome, no pretention, a little dangerous, with a killer smile. TYRELL You know what I want to do to you. right now, do n't you? There's got ta be somewhere we can be alone. KARLA -LRB- playful. -RRB- I do n't think so. It's pretty crowded. TYRELL Just for a minute, baby. I got something I wan na tell you. He's looking for a dark corner or a storeroom or something. KARLA -LRB- teasing. -RRB- If you can say all you got ta say in a minute then I do n't wan na hear it. TYRELL I'll talk real slow. He's kissing her ear. She starts to giggle. The bartender sets down drinks on Karla's tray. KARLA -LRB- re : Julie. -RRB- Ask her to dance. Tyrell hesitates. KARLA -LRB- cont'd. -RRB- Go on. Karla cuts away through the crowd, delivering drinks. Tyrell turns to Julie. TYRELL You're the most beautiful woman in the bar tonight, Jules. JULIE Tyrell, you are an unstoppable force of nature. TYRELL That's right. It's how the species survives. You'll never convince me otherwise. -LRB- beat. -RRB- Wan na dance? Karla passes by - KARLA Say yes. JULIE No. KARLA No means yes. JULIE Tyrell, I appreciate it, but have you seen my people dance? We make the mouth face, we move the fingers - TYRELL -LRB- heading for the floor. -RRB- Worse comes to worse, you can stand there and watch me. KARLA Come on, I'll take a break and we'll all dance.\",\n \"INT. THE CLUB - DANCE FLOOR - NIGHT is packed and thumping. Karla is dancing her way through the crowd. Tyrell and Julie follow behind her. Karla sees Will. He's dressed up and nervous. She smiles. KARLA -LRB- cont'd. -RRB- Whaddayou know? Will Benson lookin' fine. JULIE -LRB- suspicious, but having fun. -RRB- Karla! Did you tell him I'd be here? KARLA Nope. I told him that you absolutely, positively would not be here at this bar between ten o'clock and eleven o'clock tonight. And then he came anyway. WILL -LRB- shy to a fault. -RRB- This was not my idea. JULIE What? WILL I said, this. Do you want a drink? Will looks down at his feet. He and Julie stand there not quite knowing what to do. TYRELL Where I come from, you want to snatch the goodies, you got to at least talk to them first. Tyrell and Karla go for it on the dance floor, leaving Will and Julie alone. They look at each other. They look at everyone dancing. WILL How about a drink? Will is a few steps ahead as they move for the bar. Julie seems to be relaxing, having a good time. Then, she looks up into the balcony and sees, in a strobe light's FLASH - SOMEONE IN A SLICKER watching her intently. She squints for a better look, but he's gone. WILL -LRB- yelling over the din. -RRB- You okay? She's chalk white and crestfallen. Her whole affect is `` Will I ever have a normal time?'' She drifts amay toward the stairs to the balcony. WILL -LRB- cont'd. -RRB- Hey Julie? Will catches Karla and Tyrell's eyes. They're worried.\",\n \"INT. THE CLUB - STAIRCASE - NIGHT Julie catches another glimps of THE SLICKER. She pushes her way through the crowd up the stairs.\",\n \"INT. THE CLUB - BALCONY - NIGHT Julie looks all around - finally spotting the MAN IN THE SLICKER from behind, making his way to the other side. He slices through a crowd of students, and Julie keeps following. He turns down a service corridor. Julie follows, frightened, but unable to resist. She catches him at the end of the corridor. She reaches out and grabs the stranger's arm. JULIE Ben. The stranger turns around. It's only a club kid in a tacky vinyl raincoat and hat. She's shaken. SLICKER GUY Hye, baby. You following me up here? -LRB- a come - on. -RRB- Well, all right. Julie turns away and hurries down the hallway. Todd follows, but his figure quickly fades.\",\n \"INT. JULIE'S APARTMENT - DAY With morning sun filtering through her blinds, Julie wakes up to the strange sound of THUMPING. She gets out of bed and slowly exits the room.\",\n \"INT. JULIE'S HALLWAY TO KITCHEN - DAY The noise gets louder as she heads down the hall. ANGLE ON A CLOSET The noise is at its loudest - Julie reaches for a doorknob - and yanks open the door. ANGLE ON A CLOTHES DRYER rocking and banging inside the closet. Julie frowns. Julie spins, once again startled by Karla, who crosses to the dryer, flipping open the lid and then jumping back to catch the shoes as they pop out on the fly. JULIE -LRB- still sleepy. -RRB- That could break the machine. KARLA Julie, people who end up making rules like that end up beating their kids with wire hangers. It's a fact. The phone RINGS. Karla looks at her watch. KARLA -LRB- cont'd. -RRB- It's Tyrell. JULIE -LRB- resigned. -RRB- The number's unlisted. KARLA Would you relax? We've been dating three months. He ai n't stalking your butt. JULIE Okay, okay. You're right. KARLA I know it, and it feels good. -LRB- answering the phone. -RRB- Hi, Ty. A DJ for a local radio station BOOMS from the phone. MARK -LRB- V.O. -RRB- This is Mark in the Morning for Magic 96.7 Radio Station! Who am I speaking with? Julie watches her friend get excited. KARLA Mark in the Morning! Magic 96.7! Oh my God! I'm Karla. Karla Wilson. -LRB- to Julie. -RRB- Jules, it's Mark in the Morning. MARK -LRB- V.O. -RRB- Well, Karla, what're you doin' at home over the long fourth weekend? KARLA Well, I'm in school and - MARK -LRB- V.O. -RRB- How'd you like to win a Magic 96.7 Quicky Getaway? KARLA Yes! Julie hits the SPEAKERPHONE BUTTON and Karla hangs up. The DJ's voice echos through the appartment. MARK -LRB- V.O. -RRB- Good, then I hope you remember your geography, Karla, because all you have to do to win is tell me the capital of Brazil. Karla's smile abruptly fades. KARLA -LRB- into phone. -RRB- Brazil? Um. She looks to Julie, whose face is as blank as hers. KARLA -LRB- cont'd. -RRB- You do n't know?! You have to know. You know everything. MARK C'mon, Karla, one easy question, one great getaway! JULIE -LRB- shrugs. -RRB-. South America. Carnival. MARK -LRB- V.O. -RRB- Karla, we need an answer. No looking it up. KARLA Still here. thinking. -LRB- stalling. -RRB- You mean Brazil, the country? MARK -LRB- V.O. -RRB- Okay, Karla, five seconds. -LRB- counting down. -RRB- Five. Four. Julie has an idea. She scramles for the kitchen. Grabs a BAG OF FRESH - GROUND COFFEE from the FREEZER. MARK -LRB- cont'd, V.O. -RRB- Three. Two. Julie tosses the bag across the room to Karla. Karla reads the label : RIO BLEND - 100 % BRAZILIAN COFFEE. KARLA -LRB- blurting. -RRB- Rio de Janeiro! MARK -LRB- V.O. -RRB- Oh, no. Did you say Rio? KARLA -LRB- wincing. -RRB- No. Yes? BELLS and WHISTLES and triumphant MUSIC. MARK -LRB- V.O. -RRB- You just won Magic 96.7's Quickie Getaway. a trip for four to Tower Bay Island in the fabulous Bahamas. Karla and Julie jump up and down ecstatically. KARLA Waaaaahhhhhhhhhh! MARK -LRB- V.O. -RRB- We'll call you back with all the details. So what's your favorite radio station? KARLA AND JULIE Magic 96.7! Julie hangs up and joins Karla dancing on the couch. KARLA I won. I won. I won, I won, I won. -LRB- teasing. -RRB- Now, let's see. There's Tyrell, that's one. And, there's my parents. And I got some cousins. -LRB- beat. -RRB- Okay, Julie, you can come, but Mark said four tickets. That means you got ta get yourself a date. Julie thinks, she seems torn.\",\n \"EXT. SOUTHPORT DOCKS - DAY A SMALL MOUND OF RED SNAPPER is DUMPED - wiggling and suffocating its way across the deck of a fishing boat. WE PULL AWAY TO REVEAL it's RAY who's just done the dumping. A coworker, DAVE, friendly, playful, and down - to - earth, calls out from the dock - DAVE Hey, Ray. phone! Ray takes the phone. WE INTERCUT. JULIE Hi. Ray is happy to hear her voice, but cautious. RAY -LRB- beat. -RRB- Hey. I'm really glad you called. I'm sorry. JULIE -LRB- compassoinate. -RRB- No, you do n't have to be sorry. I'm the one - RAY No, I should n't have left so fast. I was just. JULIE It's okay. Dave holds up two wriggling snappers. He dances them toward each other in a puppetlike mating ritual, making KISSING SOUNDS and narrating - DAVE -LRB- as the fish. -RRB- Julie, I love you. I know I'm only a humble fish, but if you really look at it, you're a fish, too. -LRB- girl voice. -RRB- Oh, Ray, you're right. Do me like a snapper. -LRB- mashing the fish together. -RRB- Hey, something smells like fish. Ray waves him away, concentrating on his call. JULIE Ray, Karla won a trip to the Bahamas! An island called Tower Bay. And she wants us to come with her. RAY What? The Bahamas? You're kidding. Dave's interest is piqued. JULIE We'd have a long weekend just to sit in the sun, drink fruity drinks, and swim, and. -LRB- sexy. -RRB- You know. RAY This weekend? Dave is watching Ray closely. Ray's expression hardens. RAY -LRB- hurt. -RRB- You'll go away with you're college friends, but you wo n't go away with me? DAVE Idiot. Idiot. Idiot. Karla is watching Julie. JULIE It's not you, it's Southport. And it's the Bahamas! And it's free! Karla is watching Julie. KARLA You got ta sell his butt on the Bahamas? JULIE Ray, come on. I want us to be together. Ray thinks. Dave looks at him like he's crazy. RAY -LRB- ca n't give in. -RRB- Julie, we're working a big run up here. It's been crazy. We probably have to go out again tonight. I do n't think I can do it. JULIE Will you try. for me, please? Dave moves one of the fish like it's been shot through the heart. RAY Okay, I'll try. But, listen. -LRB- martyrlike. -RRB- If I do n't make it up, then you go ahead and have a great time. JULIE Ray. please try. I really miss you. -LRB- beat. -RRB- Okay. Bye. She hangs up and Karla sits next to her. KARLA That boy has got fish on the brain. -LRB- sensitive. -RRB- Hey, cheer up, Charlie. -LRB- singing a rumba. -RRB- We're going to the Bahamas. Bahama Mama, yeah.\",\n \"EXT. SOUTHPORT DOCKS - DAY Ray is staring unhappily at the little pile of snapper. Dave is staring at him in disbelief. DAVE Man, what is your problem? We have n't caught anything for days. Pull the big ugly stick out of your butt. She asked you to go to the Bahamas! Man, you got ta go. We'll both drive up. I got friends I can see up there. Ray realizes how right he is. RAY Stupid. Stupid. DAVE Stupid. What were you thinkng? Ray looks at Dave a contemplative beat, then walks over to his truck. He leans in the passenger side and pulls out the engagement ring box. Dave walks over. RAY You wan na see what I've been thinking? He holds up the box and slowly opens it. Dave is stunned. DAVE Jeez, Ray, fourth and forty, throw the bomb. RAY I should go up there. I should call her back, tell her I'm coming. DAVE No way, man. Surprise her. She'll be psyched. Ray is excited by the plan and Dave's right there with him.\",\n \"EXT. COUNTRY HIGHWAY - NIGHT We stare out at a rain - soaked stretch of road. A PICKUP ROARS past, cruising along with its RADIO loud and windows rolled down.\",\n \"INT. RAY'S PICKUP - NIGHT The music's even LOUDER in here. The mood is high. Two buddies going to propose to a girl. Dave adjusts the radio to another AM station - DAVE Man, I love AM radio. You got right - wing conspiracy, tips for pregnant womem, Single - A baseball games, and real country music. None of that new crap. He adjusts the dial again, tuning in a country song, `` MAMAS, DO N'T LET YOUR BABIES GROW UP TO BE COWBOYS,'' by Waylon Jennings and Willie Nelson. Dave starts singing along, extra LOUD and out of tune. DAVE -LRB- cont'd. -RRB- -LRB- singing. -RRB-''. Mamas, do n't let your babies grow up to be cowboys, do n't let'em pick guitars and drive them old trucks. Let'em be doctors and lawyers and such.'' Ray looks at his goofy friend singing and starts to get a little happy himself. Then, Ray sees something in the road ahead. He turns down the radio. They both stare - RAY'S POV : A CAR TURNED SIDEWAYS its HAZARDS blinking. Ray slows and creeps past the car. The driver's door is open. It appears EMPTY. A BODY is sprawled out in the road away from the car. Ray pulls over to the shoulder and stops. DAVE -LRB- nervous. -RRB- I do n't know, man. Maybe we should keep going, find a phone - RAY No. DAVE The guy looks dead. Ray has seen this before - RAY Maybe not. He throws open his door.\",\n \"EXT. ROADWAY - NIGHT Ray steps from his truck. Looks back at the empty car, then turns toward the body. RAY -LRB- nervous. -RRB- Hey! Buddy, what's up? The body does n't move. BEHIND RAY and behind Dave, in the other car, a FIGURE IN A SLICKER sits up in the back seat and gets out of the car. Ray continues toward the body. RAYS POV - BODY FACE DOWN - WEARING A BLACK RAIN SLICKER. Ray moves closer to the all to familiar image. BEHIND RAY SLICKER FIGURE moves toward the unsuspecting Dave.\",\n \"INT. RAY'S PICKUP - NIGHT Dave watches Ray in the road. He leans across the seat and rolls up Ray's window. Behind him, the SLICKER FIGURE gets closer, moving to the passenger side of the truck.\",\n \"EXT. MEDIAN - NIGHT Ray nears the body. He kneels down. RAY Hey, can you hear me? Ray reaches toward the body.\",\n \"INT. RAY'S PICKUP - NIGHT Something FLASHES IN THE SIDE - VIEW MIRROR.\",\n \"EXT. ROAD - NIGHT Ray turns over the body. Something is n't right. Ray jumps back - CLOSE - SLICKER MANNEQUIN Its eerie smile mocking Ray who turns for the truck. RAY DAVE!\",\n \"EXT. TRUCK - NIGHT Dave hears something. He turns to late. SPLLAATTT! THE FISHERMAN jams his hook through Dave's jaw and skull and YANKS DAVE OUT OF THE CAR WINDOW. RAY Dave? There's no answer from dead Dave. Ray tries to see around the headlights. He moves slowly toward the truck. The BRIGHTS and FOGS come on, blinding Ray. The truck's engine REVS. The truck rolls a few inches, adjusting a bead on Ray. Then, tires spinning, the truck launches straight at Ray. Ray runs at the truck. AT THE LAST MINUTE, he ducks behind the parked car. HIS TRUCK goes SCREAMING past. Ray backs around the car - AN EIGHTEEN - WHEELER goes barreling by in the other direction. Ray dives out of the way. IN THE ROAD Ray is exposed. He sees his truck closing fast. He's got nowhere to go. Then, at the very last second, RAY jumps off the edge of the road. His TRUCK SLAMS INTO THE BARRIER RIGHT WHERE RAY WAS STANDING. SPARKS FLY! METAL BUCKLES! Ray falls through the air. Lands hard on his leg. Tumbles down the hill, finally stopping with a crash. He lies motionless at the bottom of a ravine.\",\n \"EXT. JULIE'S APARTMENT - DAY Karla exits the building. She watches Julie sitting on the curb. A truck turns onto the street. Julie looks hopeful, but - it's not Ray. Karla approaches her friend. KARLA Girl, it's gettin' down to the wire. Julie turns. JULIE He's not coming. I thought he was just. KARLA Julie, you left four messages. Four. JULIE But, he said he'd try. KARLA He said he'd try. Try is like maybe. Try is nothing! JULIE -LRB- appoligizing for him. -RRB- He does work hard. KARLA Work hard, huh? He's breaking your heart just because he can. -LRB- hesitant. -RRB- And I do n't want to have to say I told you so. JULIE Then, do n't. A Jeep Cherokee stops, and an ebullient Tyrell steps out wearing shorts and a Hawaiian shirt. TYRELL Hey, baby, we gon na get tropical or we gon na get tropical? The passenger door opens and Will Benson steps hesitantly around the Jeep. JULIE Oh! KARLA -LRB- re : Will. -RRB- Hey, sorry. -LRB- quick, playing it off. -RRB- He's my friend, too. And that ticket is not going to waste. Will reads Julie's expression. WILL Julie, is everything cool? Karla said. KARLA I said we start having fun. And that means now. Julie takes a last look up the street. She stands. TYRELL Is there a problem here? KARLA Where there's a Will, there's a way. Come on. JULIE -LRB- deciding. -RRB- You know what? This rocks. We're going to the Bahamas! Will is relieved. KARLA -LRB- getting into the spirit. -RRB- We goin' Bahamas, I'm Ty's Bahama Mama. We goin' Bahamas. She bops over to Tyrell.\",\n \"EXT. MIDAIR - DAY A wide - body jet SCREAMS through the clouds.\",\n \"INT. PLANE - DAY A nearly empty jet. Karla has her head on Tyrell's shoulder. Julie is reading a book. Will's knuckles are white from gripping the armrests in fear, and his eyes are clenched shut. Julie looks on with concern. JULIE Just take deep breaths and think of something happy from childhood. WILL What if I do n't have anything happy from childhood. Sorry, I ca n't relax going five hundred miles an hour, or four thousand, four hundred feet a minute. -LRB- calculating. -RRB- Which is over seven hundred feet a second. Imagine hitting something at seven hundred feet a second. JULIE Deep breaths - WILL -LRB- no deep breaths. -RRB- Fumes build up in the fuel tanks. You can by surface - to - air missiles over the internet. Planes use O - rings. which freeze in tap water. Planes fall from the sky for practically no reason at all. JULIE You've got a better chance of getting hit by lightning. WILL Right. Planes get hit by lightning. They get hit by meteors. They hit other planes. Tyrell shakes his head. TYRELL -LRB- exasperated. -RRB- Something is gon na hit your butt if you do n't quit complaining. KARLA -LRB- sypathetic. -RRB- Honey, some folks just ca n't fly. Will does n't move, frozen with fear of flying, but more closely bonded with the concerned Julie.\",\n \"EXT. OCEAN VISTA - DAY Establishing. A Board of Tourism kind of shot. Blue water. Green islands. Golden sun. Puffy clouds. A BOAT CHUGS by with the words `` Tower Bay'' painted on the side. Tyrell THROWS UP over the side.\",\n \"EXT. FERRY - DAY More of a small tub than a ferry. Julie, Karla, Will, and Tyrell are the only passengers. At the bow, Julie and Karla laugh and play `` King of the World.'' Julie in the prow, Karla behind her. JULIE -LRB- deadpan. -RRB- I'm the King of the World. KARLA -LRB- deadpan. -RRB- No, I'm the King of the World. They switch places. They look at each other and crack up laughing. Karla takes in the surroundings, the salt spray, the day - KARLA Remind me to study real hard so someday this is normal and all that back there is somethin' I do for a weekend once every ten years. JULIE -LRB- sharing the moment. -RRB- I will, and you remind me of the same thing. They throws their arms around each other and stare into the horizon. AT THE STERN Will talks to a very green Tyrell. WILL You just got ta breathe. Tyrell is trying to keep from puking - TYRELL Ca n't talk right now. WILL -LRB- slightly malicious. -RRB- See, it's not a macho thing. It's about equilibrium in your inner ear. You could've used a patch, but it's too late now. Get used to it. -LRB- then. -RRB- Some folks just ca n't sail. PAULSEN, the BOAT CAPTAIN, overhears as he passes - PAULSEN That's too bad, too, because it's the only way on or off the island. -LRB- slightly ominous. -RRB- Unless you have an accident. And then they call the Coast Guard. Julie and Karla have rejoined the men. JULIE It's pretty remote here. PAULSEN -LRB- smiles. -RRB- Yep. That's what the tourists pay for - sun, sea, and solitude. TYRELL Are we there yet? PAULSEN Few more minutes. We move off the boat and REVEAL the island. The intrepid vacationers excitedly take in the island.\",\n \"EXT. TOWER BAY - DAY Establishing. An isolated tropical paradise with jungle growing to the beach.\",\n \"EXT. RESORT DOCK - DAY The ferry pulls in to a canopied dock. A white - sand beach stretches in every direction. Beautiful tourists stroll about without a care in the world. Tyrell stamps his feet on the dock. TYRELL I feel like I'm still on that thing. A dockhand, DERRICK, glides past him toward the ladies. DERRICK That way for a complimentary Planter's Punch to get you readjusted. TYRELL -LRB- mile - wide smile. -RRB- I can get used to this. Derrick reaches for Julie's hand, clearly checking her out in the process. DERRICK Welcome, Fair Princess, to Tower Bay. -LRB- a wink. -RRB- I'm Derrick. At your service for the duration of your stay. Julie smiles politely. Will gently nudges her on. They walk away. PAULSEN -LRB- to Derrick, mocking. -RRB- I'm at your service, Princess. DERRICK -LRB- shrugs. -RRB- Season's over old man. So I got ta work fast. PAULSEN If Marine Radio's right about the weather, you're already out of time. He hangs a SIGN at the end of the gangplank. It reads : LAST DEPARTING FERRY - LINE FORMS HERE. Our guys are already at the end of the dock.\",\n \"EXT. TOWER BAY HOTEL - DAY Establishing. An opulent, Carribean - style hacienda resort with all the accoutrements. The main building is two stories high with a tiled roof. A bell tower rises from one side. And, of course, it is surounded on all sides by suffocating fooliage. Julie and Karla take in the beauty of the resort. KARLA Check it out. TOW BIKINI GIRLS catch the eyes of Tyrell and Will. TYRELL Yes, ma'am. Karla THWACKS him on the back of the head, but they're all having fun. The path widens. The trees part. It's even nicer up close. They walk across a tiled plaza. Behind them, THREE YOUNG GUYS carry their GIRLFRIENDS piggyback, racing each other toward the departure dock. Our two arriving couples move on toward the entrace, passing a FENCED TENNIS COURT on the left. A GLASS - PANED ORCHID HOUSE straight ahead. And, on the right, A LUSH POOL with a built - in JACUZZI in the shallow end. An outdoor THATCHED ROOF BAR stands nearby - and just beyonk it, a small POOL HOUSE. A guy's unintelligible RASTA VOICE calls out - RASTA VOICE Anybudorsomethin'? They turn to see TITUS, white guy, dreads, full - Rasta demeanor. He's a phony, but sincere about it. Titus approaches Tyrell - TITUS My brother, can I interest you in the islands finest ganja? WILL -LRB- teasing. -RRB- Hey, Tyrell, we found you brother. TYRELL -LRB- wry. -RRB- Not possible. TITUS -LRB- undetered. -RRB- Who be wantin' the kind, the uber - sticky, the Bwana, The depth - charge, the Up - All - Night - Laughing - With - Your - Friends? Who wants it?'Cause Titus got it. WILL No, thanks. TITUS Come on, man. Everybody wants something. Will and Tyrell walk on. Undetered, Titus goes up to Karla and Julie. TITUS -LRB- cont'd. -RRB- How ` bout you, ladies? Lovely ladies. Titus moves his hips. TITUS -LRB- cont'd. -RRB- -LRB- lascivious. -RRB- Something I can do for you? Karla looks him up and down, wrinkles her nose - KARLA Take a bath, maybe. TITUS That's cold, but if that's how you want it. The group moves on. Titus watches them go - TITUS -LRB- cont'd. -RRB- -LRB- yelling after them. -RRB- Anybudorsomethin' you come and see me. OMIT SCENE 21 & SCENE 22 A23 EXT.. MAIN ENTRANCE - DAY Around TWENTY TO THIRTY GUESTS ARE ON THEIR WAY OUT as Julie and the others walk in. Julie smiles at an old PORTER helping the departing guests with their bags. He does n't smile back.\",\n \"INT. HOTEL LOBBY - DAY The hotel is tastefully appointed with island decor. AN ORNATE METAL STAIRCASE leads UP to the ROOMS - and DOWN -LRB- AS THE SIGN SAYS -RRB- TO A FITNESS CENTER. In one direction, the foyer meets the entrance to a tropical RESTAURANT/BAR. And in the other, A LOOBY LOUNGE is visible - surrounded by four walls of BOOKS and HOTEL MEMORABILIA. In a dark corner of the room, a uniformed MAID named OLGA dusts off a massive WOODEN GLOBE. Julie smiles at the woman on their way through the lobby, but Olga shyly looks away. Arriving at the FRONT DESK, the four of them find it deserted. They wait patiently, then impatiently. ANGLE ON A DESK BELL as Karla slaps it with her palm. The bell RINGS for a long time then fades into SILENCE. KARLA Hello? Hello? JULIE Where is everyone? I'll ask - Julie turns to consult the maid. ANGLE ON THE GLOBE The big ball is spinning. But Olga is no longer in sight. Tyrell heads toward a DOOR beside the counter with a sign which reads : PRIVATE OFFICE. TYRELL I'll scare somebody up. He grabs the knob and pulls the door open to. RROWWWR? A PIT BULL ON A CHAIN JUMPS UP INTO HIS FACE - its toothy maw snapping shut about a half inch from his nose. TYRELL -LRB- cont'd. -RRB- Whoa! Julie and Karla laugh. Karla goes to hit the bell once more - ONLY TO HAVE HER HAND GRABBED IN THE PROCESS. Karla gasps. Pulls away. We see the hand belongs to the hotel manager - BROOKS, balding, 40s, talks slowly, and seems to have secrets he wo n't share with guests. BROOKS What can I do for you? KARLA Checking in. Karla Wilson. Will saunters away to look at the books in the lobby. BROOKS -LRB- condescending. -RRB- Ah, yes. Roll out the red carpet. Our contest winners are here at last. He scans a sheet as Tyrell stares at the pit bull. TYRELL Nice dog. BROOKS Not really. I've found peices of guys like you in his stool. Tyrell is put off by this aggressive comment. TYRELL What's your problem, buddy? BROOKS -LRB- innocent. -RRB- I do n't have a problem in the world. JULIE -LRB- covering. -RRB- It sure is a beautiful old hotel. BROOKS -LRB- proud. -RRB- Built in 1948 for a member of the Rockefeller clan. The tile work was imported from Spain. A lot of history in these walls. Judy Garland stayed here. Hemmingway fished for marlin right off that dock - TYRELL Okay, we get it. It's old. BROOKS It'll outlive you, I'm sure. Creepy thing to say. Slides a registration form. BROOKS -LRB- cont'd. -RRB- Wilson comma Karla. -LRB- sees something on the form. -RRB- Oh - KARLA Oh, what? Brooks covers - BROOKS You're in 201 and 202. KARLA -LRB- expecting this. -RRB- Is that bad? BROOKS -LRB- lying. -RRB- Not at all. Those are our honeymoon suites. Tyrell wraps his arms around Karla. Julie looks uncomfortably towards Will. JULIE Your what? BROOKS Honeymoon suites. I take it you kids have n't exchanged vows, yet? JULIE We have n't exchanged anything. KARLA Julie, we're talkin' suites! -LRB- excited. -RRB- That'll be just fine with us. BROOKS And, while you're here, our marginally trained, off - season staff of five will attend to your every need. KARLA Wait. Did you say off - season? BROOKS July fourth weekend. Storm season starts today. The clouds roll in like clockwork. JULIE Storm season? BROOKS It's our version of winter. -LRB- hands over the keys. -RRB- 201 and 202. There's Scrabble and Parcheesi in the lobby. Enjoy. And Brooks turns away through the office door. They walk toward their rooms. Will catches up with them.\",\n \"INT. HOTEL HALLWAY - DAY They walk down the hallway. Karla seems annoyed. KARLA Ai n't nothin' free in this world. Everybody says it, and it's true. -LRB- dissapointed. -RRB- I wanted you all to have a good trip. TYRELL We will, baby. All this means is we got the whole island to ourselves. WILL And it's been blue skies all day. It might be perfect all weekend. JULIE It beets being on the mainland. KARLA Oooh, the mainland - TYRELL Somebody's gone tropical on us, baby. Tropical! The mood is improving. A SQUEEKING NOISE interupts. A BRASS LUGGAGE CART has appeared behind them. And ESTES, 60s, the weary Haitian porter, steps from behind it. ESTES -LRB- a Carribean accent. -RRB- 201 and 202. Who put you in? -LRB- hesitant. -RRB- Do n't use these much - JULIE -LRB- suspicious. -RRB- Why's that? He sees their happy, expectant faces and changes the subject. ESTES No real reason. -LRB- then. -RRB- Pretty fancy rooms for kids your age. KARLA We won a competition. ESTES Oh, yeah? What you have to do? TYRELL Guess the capital of Brazil - KARLA Rio, baby! ESTES Ahh, good for you, girl. -LRB- waiting for a cue. -RRB-. And, where would you like me to put the bags? A beat as Julie and Karla exchange a look. Then, Karla tosses one of the keys to Julie. KARLA -LRB- to Estes. -RRB- Their stuff in there. -LRB- grabbing Tyrell. -RRB-. and ours in here. JULIE Karla! You promised. KARLA -LRB- looking at Tyrell. -RRB- I also promised Tyrell. TYRELL Promised me what, baby? -LRB- joking around. -RRB- I made all my promises to William. Tyrell makes fake goo - goo eyes at Will. Estes looks away. TYRELL -LRB- cont'd. -RRB- Sweetie, you brought your nightie, did n't you? WILL Forward! A girl needs time to make up his mind. -LRB- to Julie, thoughtful. -RRB- Julie, look, if it's cool, I'll sleep on the couch and they can have their own room to practice for that real honeymoon. But Tyrell grabs Karla and drags her into the room. We here GIGGLES. WILL I'll take those. ESTES No, I've been doing this since before you were a dream in your father's eye. Estes grabs the bags and takes them into the room. Julie and Will are left staring at each other. WILL You sure it's okay with you? JULIE -LRB- noting his sweetness. -RRB- Sure. It's fine. As long as you do n't snore. WILL You can toss a shoe at me if it gets out of hand. She laughs and they go into the room.\",\n \"INT. HOSPITAL EMERGENCY ROOM - NIGHT BEEP. BEEP. BEEP. Ray is hooked up to a heart monitor. Although he's asleep, we can tell he's bruised and generally beaten up. WE RACK to a DOCTOR checking on him through the glass.\",\n \"INT. HOSPITAL ROOM - NIGHT We see a COP next to the doctor. COP He's beaten up pretty bad - DOCTOR Yes, but he seemed certain his friend was killed out on the highway by somebody named Ben Willis. -LRB- hisitant. -RRB- He said he has a hook on his hand. He said he was driving a BMW. As the cop stares at him deadpan, the doctor realizes how rediculous this must sound.\",\n \"INT. HOSPITAL ROOM - NIGHT CLOSE UP : Ray's eyes pop open. He's listening.\",\n \"INT. HOSPITAL ROOM - NIGHT The cop explains things to the doctor. COP There's no body. And there was no other vehical involved. -LRB- beat. -RRB- He fell asleep at the wheel. and ran his old truck into a guardrail. He got thrown way the hell down into a ditch. He's damn lucky. They walk back down the ICU. DOCTOR -LRB- nodding. -RRB- He suffered a severe head trauma - COP Probably once he rests up, it'll all come back to him. The doctor and cop approach the nurse's station. The NURSE is reading a magazine. She folds it away. Suddenly, the monitoring equpment goes OFF with a series of LOUD WARNINGS. NURSE -LRB- already moving. -RRB- That's your number twelve - The doctor, nurse, and country cop hurry back toward Ray's room. NURSE -LRB- cont'd. -RRB- -LRB- yelling. -RRB- Get me some help down here. We got a flatline, room twelve. THEIR POV - THROUGHT THE DOOR The wires and monitors are unhooked and Ray is GONE.\",\n \"INT. HOTEL BAR - NIGHT A resort bar on the beach. Ocean breezes and surf SOUNDS come through the window. It's tiki galore, complete with a bamboo bar and fishing gear hanging from decorative nets from the ceiling. There's a KARAOKE STAGE in the corner. Will and Tyrell enter and head straight to the bar. A bored bar tender, NANCY, looks just like Jennifer Esposito, does n't look up from her paperback. NANCY You guys lost? TYRELL -LRB- re : the emptiness. -RRB- Tell me this ai n't the bar scene. NANCY Wan na drink? WILL We did n't get all dressed up for nothing. TYRELL Planter's Punch, Singapore Sling, or how about a Mai - Tai? NANCY How about some ID? They freeze. NANCY -LRB- cont'd. -RRB- Kidding. They nod. WILL The guy at the desk said the place would be quiet, not dead. NANCY Did n't anyone tell you this is - TYRELL The last day of the season. Yeah, we heard. WILL So why are you still here? NANCY That's none of your business. Tyrell sizes her up quickly. TYRELL What's the matter, boy trouble? NANCY Not anymore. TYRELL He leave you? NANCY No. I shot him. Will and Tyrell exchange a danger - Will - Robinson glance. NANCY -LRB- cont'd. -RRB- What you want is a Dark and Stormy : Vernon's rum, ginger beer, and a touch of Tabasco. Sailors drink it for luck in the hurricane season, trust me. ACROSS THE BAR Karla and Julie walk in talking quietly to one another. JULIE Am I bad? I mean, he's really great, and he's cute - KARLA He's cute. And he's got a crush on you. -LRB- off Julie's look. -RRB- But. JULIE -LRB- appologetic. -RRB- I miss Ray. I tried to call him. Karla looks at her. She's sincere, but firm. KARLA Ray made up his own mind. so, you're free to make up yours. Joining the men, but continuing her thought - KARLA -LRB- cont'd. -RRB- For the next foury - eight hours. -LRB- joking. -RRB- Your smile is a frown. turned upside down. She illustrates with her own big smile. TYRELL Pretty cool bar. KARLA They all start to look the same once you've worked in one. -LRB- to Nancy. -RRB- Am I right, sister? Nancy reaches out a hand and they touch just the tips of their fingers. JULIE -LRB- to Nancy. -RRB- I'm Julie. This is Karla. NANCY Nancy. -LRB- sarcastic. -RRB- Welcome to Tower Bay's most happenin' hotspot. Nancy continues making their cocktails. JULIE backs into something, turns and gasps - it's a statue of an OLD WHALER, complete with HARPOON, WHITE BEARD, and YELLOW SLICKER. She does n't let Karla see that it upset her. Nancy puts their drinks down in front of them. NANCY Four Dark and Stormies. They all pick up their drinks. KARLA -LRB- toasting. -RRB- To a great weekend - WILL Yeah, a great weekend. Forget the weather! KARLA & JULIE I'll drink to that! They drink and toast again. KARLA -LRB- to Nancy. -RRB- So what do you do around here for fun? Nancy looks straight at Will - NANCY Make fun of tourists mainly. -LRB- beat. -RRB- Or let them make fun of themselves. She flips a switch that lights the Karaoke stage. KARLA Karaoke - perfect. JULIE Do n't even think about it. KARLA Okay, I wo n't. She's already heading for the stage. TYRELL Go baby! Go! AT THE STAGE CLOSE ON the karaoke machine. Karla flips through a binder full of songs. KARLA Oh, this ai n't for me, baby, this is for somebody who really needs it. -LRB- finds one. -RRB- Ah - hah! One single with extra cheese! NANCY -LRB- it's true. -RRB- Everyone thinks their a singer. JULIE No way. KARLA Yes. JULIE No. KARLA Yes. JULIE Not me. no way. WILL Come on, it'll be fun. KARLA Ladies and gentlemen, please put your hands together for my friend, my very best friend, Julie James. But there will be no mercy. KARLA, TYRELL, & WILL -LRB- chanting in unison. -RRB- Ju - lie! Ju - lie! Ju - lie! Reluctantly she goes to the song book. She sees something particularily awful. JULIE You asked for it. -LRB- to Tyrell. -RRB- Song number thirty - nine. Tyrell nods and punches a few buttons. Julie takes the stage as sappy strings begin to swell. She looks at the MONITOR, then melodramatically at the crowd, and begins to sing - no, BELT - Gloria Gaynor's `` I WILL SURVIVE.'' JULIE -LRB- cont'd. -RRB- -LRB- singing. -RRB- First I was afraid. I was petrified. -LRB- continues singing under. -RRB- Will stands, clapping. Tyrell pounds his chest. Karla flips up her LIGHTER, swaying like a hard - core fan. And Julie continues, crooning out the chorus as the beat kicks in and the gang begins to dance. JULIE -LRB- cont'd. -RRB- -LRB- singing. -RRB- I will survive. I will survive. ANGLE ON THE KARAOKE MONITOR The schmaltzy lyrics keep scrolling by - white against black. But then. in the middle of the song. the color changes. RED CAPITAL \\\\ LETTERS BEGIN TO FILL THE SCREEN. JULIE -LRB- cont'd. -RRB- -LRB- singing - then trailing off. -RRB- And I still know. what you did. last summer. Her voice trails. Her smile abruptly fades. MICROPHONE falls to the floor. The room echoes with an electronic WHUMP. Everyone stops dancing, confused. CLOSE - JULIE trembling, shaking, a mess. Will jumps onstage. WILL Julie? What's wrong? JULIE It's. him. WILL What do you mean, Julie? JULIE He did something to the screen. it, it, said. Julie loos at the screen - the normal lyrics are still scrolling. She suddenly feels their eyes upon her. They're looking at her like she's having a nervous breakdown. JULIE -LRB- cont'd. -RRB- Nothing. Nothing, I'm sorry. Stung, she rushes off the stage. KARLA Julie. But it's to late. She's bolted from the bar.\",\n \"INT. HOTEL - JULIE'S ROOM - NIGHT Julie steps into her room. Closes the door behind her. She falls back against it, trying to calm herself down. JULIE There's no way. just stop it right now. She looks around the cozy room. JULIE -LRB- cont'd. -RRB- Closet. Bed. Bathroom. No need to panic. Julie starts to undress, get ready for bed, the day of travel finally catching up with her. She grabs something to sleep in. Tosses it on the bed. And that's when she sees it, CLOSE - ENVELOPE propped on the pillows. Her name written across. She is frozen momentarily. Almost against her will, she moves toward the envelope. She reaches down and picks it up. She hesitates, then opens the envelope. She pulls out a SINGLE WHITE CARD. ANGLE ON THE CARD In bold print it reads : SURPRISE! DARKFIGURE appears over Julie's shoulder. Julie can feel the presence. She spins, scaring - WILL who YELLS and drops the flowers and champagne he was holding. The bottle bursts and covers them with spray. JULIE -LRB- realizing. -RRB- Oh, Will! I'm sorry. WILL It's my fault. I should n't have. I did n't think. She grabs a TOWEL off the bathroom door, trying to help him clean up the mess. JULIE No, no, no. This was really sweet. WILL I scared you - I crossed the line - JULIE No - it's not that. It's. I'm just a little on edge. I'm really sorry. WILL Hey, you do n't have to appologize to me. I'm the one. I understand. -LRB- covering the awkwardness. -RRB- I'm going to take a walk and dry off. JULIE Are you sure? I really appreciate it. He picks up a rose. Most of its petals on the floor. WILL I just really like you and I want you to feel good about everything. You know? I want you to be happy. He hands the rose to her. There's a moment between them. He reluctantly heads for the door.\",\n \"EXT. HOTEL HALLWAY - NIGHT Will looks down at his wet pants. WILL -LRB- soto. -RRB- Dork. Passing Karla and Tyrell's room on his way down the hall, Will spots the DO NOT DISTURB SIGN. He hears an INCREDIBLE POUNDING from inside. He shakes his head and mopes down the hall.\",\n \"INT. HOTEL - KARLA AND TYRELL'S ROOM - NIGHT Karla bounces playfully on their big bed as Tyrell crosses toward the windows. KARLA Tha's it. -LRB- bounce. -RRB- I've decided. -LRB- bounce. -RRB- I'm changing my major to finance. -LRB- bounce. -RRB- And going to Wall Street. TYRELL Why? KARLA'Cause that's the only way I'm ever gon na be able to afford a big bed like this. She falls back against the plush comforter, looking up at herself in a long MIRROR HANGING RIGHT OVER THE BED. Tyrell loves this and quickly moves beside her in the bed. She lets him get real close, then she jumps up - KARLA -LRB- cont'd. -RRB- Jacuzzi. Tyrell reaches for her, but she bounces off the bed. TYRELL Ah, baby, let's stay right here. Karla pulls her suit out of a bag and models it seductively and flirtatiously for Tyrell. KARLA I spent a hundred bucks on it. even if it's just so you can pull it off. Tyrell gets off the bed - TYRELL I like the sound of this.\",\n \"EXT. HOTEL DOCKS - NIGHT Derrick, the dockhand, whistles in the darkness as he coils the bow rope of a service boat around a cleat on the dock. Ominous shadows play all along the dock. Out on the water there's a big SPLASH. The dockhand rises, looking out at the water with a sigh. DERRICK Damn. I should've brought my pole. He turns away. As he does, we see THE END OF THE DOCK where a sinister SLICKER FIGURE stands perfectly still, silhouetted by moonlight. Derrick paces down the dock the other way past a handfull of other tied - off staff and service boats. He picks up a hose and begins spraying down the hull of a Sunfish sailboat. He turns the hose off and begins coiling it, backing toward an EQUIPMENT SHACK. Suddenly, a HAND touches him on the back. He jumps and turns to see - TITUS standing there smoking a spliff. DERRICK Get lost, you scared me. TITUS Fish are all over the water. Come on, let us take a boat out. DERRICK Titus, you're so stoned, you'd end up in Spain. TITUS That's why you'll come with Titus, mon.. Derrick throws the hose in its place. DERRICK There's a storm comin', Titus. No boats are going out. TITUS Storm is what makes it interesting. Thass why all the fish are up. Less hook us a couple big ones. Derrick is now ignoring Titus. DERRICK I got work to do. Take the bake elsewhere. TITUS Up - tighteous and self - righteous. Titus glides away into the dark. Derrick watches him go. There's another SPLASH in the water near the dock. Derrick walks to where the splash was. He kneels down by the edge - watching BUBBLES RISE from the dark water below. DERRICK -LRB- to the fish. -RRB- Hello, little sea bass. You're lucky I'm busy or I'd hook you myself. WE PUSH IN AS HIS FACE GETS CLOSER TO THE WATER - AND THEN - RISING SLOWLY FROM THE DARK WATER DIRECTLY BEHIND THE DOCKHAND - A SINISTER SLICKER. Derrick hears A SPLASH - and just in time for. SPLAT! THE OLD HOOK IN THE EYE. THE FISHERMAN PULLS HIM DOWN. HE SCREAMS - BEN YANKS ON THE HOOK - AND DERRICK'S CRUMPLED BODY FALLS INTO THE WATER. ANGLE ON THE WATER as poor Derrick's BLOOD MIXES WITH BUBBLES.\",\n \"EXT. POOL/JACUZZI - NIGHT Bubbles of a different kind. The JACUZZI sits in an enclosure at the shallow end of the SWIMMING POOL. And enjoying its warmth, Karla and Tyrell are liplocked in the churning tub. MUSIC plays on the boombox beside them. The tempurature rises and Ty's hands begin to wander. Still clad in her cute bikini, Karla pulls away - KARLA You sure you did n't pick up my hair tie? TYRELL -LRB- rubbing his bald head. -RRB- Hello? KARLA Okay, I just did n't wan na get my hair wet. TYRELL Baby, I finally got you alone in this Jacuzzi and I do n't wan na be discussin' hair care. She splashes him. KARLA Do n't you get feisty. Tyrell moves in for the kill. He wo n't take no for an answer. TYRELL Too late for that. We're miles from anywhere, baby. No one's gon na hear you scream. He goes in for a serious kiss. Things start to heat up - KARLA I used to be a lifeguard. I'd hate to have to blow my whistle. TYRELL -LRB- playful. -RRB- I'd hate for you to have to blow. your whistle. Tyrell is done talking. He pulls her over to him and the moment becomes more passionate. Karla opens her eyes in time to see - TITUS surface in the pool next to them. Karla SCREAMS. And not just because it was a surprise. Titus looks even uglier when he's wet. Titus opens his mouth, reveals a smoking PHILLY BLUNT on the end of his tounge. TITUS No water sports after midnight. Hotel policy. Titus eyes Karla in the Jacuzzi. Tyrell moves protectively in front of her. TYRELL What's the policy on burnin' herb? TITUS We got one for that, too. It's do n't try until you buy. -LRB- beat. -RRB- You do n't buy any, you do n't get any. Titus blows a cloud of smoke on them both, rolls the joint back into his mouth, and swims off. Tyrell is angry, but Karla pulls him back. A dejected Will appears in his bathing suit, a towel over his arm. Tyrell sees him coming. TYRELL There's ten people on this whole island and they're all gon na end up in this Jacuzzi with us. WILL -LRB- getting in. -RRB- How's the water? TYRELL Crowded. KARLA Ty! Will slips into the water ignoring Tyrell's look. WILL Ahh, that feels great. KARLA -LRB- considerate. -RRB- How's Julie? WILL Alone. In the room. -LRB- to Karla. -RRB- Got any advise? TYRELL -LRB- annoyed. -RRB- Yeah. Find another Jacuzzi. Karla shoots Tyrell a look. KARLA -LRB- to Will. -RRB- Your not out yet, slugger. You got ta just get back up there and keep swingin'.\",\n \"EXT. JULIE'S APARTMENT - NIGHT Ray is at a telephone booth up the street from Julie's apartment. He looks exausted. Blood seeps through his shirt. He's in pain. RAY I need an international operator.\",\n \"INT. HOTEL LOBBY - NIGHT In the empty night lobby, behind the desk THE TELEPHONE RINGS and RINGS. We push in on the phone RINGING unanswered in the night. Nobody is around to answer it.\",\n \"INT. HOTEL - JULIE'S ROOM - NIGHT The DOOR CREAKS OPEN once again to her room. And from a STRANGER'S POV - WE SLOWLY CREEP INSIDE. A CLOUD OF STEAM billows from the open BATHROOM. THE SOUND OF A SHOWER is heard. We MOVE TOWARD IT.\",\n \"INT. SHOWER Eyes closed, Julie stands with her face right under the showerhead, trying to relax. Something softly goes THUMP. Julie opens her eyes. Turns off the shower. Stands there, frozen, listening. JULIE -LRB- calling out. -RRB- Will? No reply. AT THE BATHROOM DOORWAY In a robe with a towel on her head, Julie peeks into her room. Nobody there. She sighs, and crosses back to the bathroom sink. AT THE SINK Julie looks to a spot where her toothbrush should be. She frowns. Looks around. Some of her things are missing. She peers into the fogged - up bathroom mirror. She whips the TOWEL off her head and WIPES IT ACROSS THE MIRROR, MAKING THE BEDROOM BEHIND HER VISIBLE. Ready to spit, she looks down. AND IN THAT INSTANT - WE SEE A SHADOWY FIGURE PASS BEHIND HER IN THE BEDROOM. She looks back up. and HE'S GONE. Julie turns on the water to rinse. ANGLE ON THE BEDROOM DOOR as it SLOWLY CREAKS SHUT, the SOUND DROWNED OUT by the SINK.\",\n \"INT. BATHROOM Julie turns off the water - and KLUNK - KLUNK - and NOISE at her door. The sound STOPS.\",\n \"INT. JULIE'S BEDROOM She steps out of the bathroom, crossing toward the door. JULIE Will? No answer. She peers through the PEEPHOLE. JULIE -LRB- cont'd. -RRB- Is that you? She unlocks and opens it. Nobody there. Julie quickly closes the door and relocks it, her heart rate just begining to rise again as. KLUNK - KLUNK. She hears it again. Then, the sound STOPS. But standing at the door - she realizes that's not where it came from. Her eyes immediately go to. THE CLOSET Damn. That's where it came from. She slowy pads across the room in her slippers toward the door. Trembling. she reaches for the handle. AND TUGS IT OPEN! There's NOTHING. She stares a beat. DRIP DRIP DRIP. She sees something on the floor of the closet. She touches a finger to it. IT'S BLOOD. She looks up. THE DOCKHAND comes dropping down at her, dangling, enmeshed in barbed wire. He's dying before our eyes. Blood bubbling from his mouth. His body twitching. Julie stares at the body. She's almost catatonic. She blinks. She blinks again. Suddenly, in DEATH CONVULSIONS, his arms fly toward her - She SCREAMS -\",\n \"EXT. POOL - JACUZZI - NIGHT Karla and Tyrell are drying off beside Will as their hysterical friend comes racing across the pool plaza. JULIE It's happening again! There's a body! Will cathes her in his arms and she sobs uncontrollably. WILL What? What are you talking about? Where? JULIE It's in my room! They can see she's not fooling around.\",\n \"INT. HOTEL - JULIE'S ROOM - NIGHT Everyone is gathered in the center of Julie's room. Julie is held tight by Will. Brooks, the hotel manager, conducts the investigation. Brooks approaches the closet door. Julie holds her breath. He throws it open. A long beat. BROOKS I do n't find this at all funny. Julie steps in - stares into the empty closet. She ca n't believe her eyes. She searches their faces, looking for someone to believe her. JULIE There was a body! I swear it! WILL -LRB- delicately. -RRB- Julie, you said you were tired. Waybe you were dreaming. JULIE -LRB- sharp. -RRB- I was n't dreaming. BROOKS I knew you people were goining to be trouble. I knew from the first time I laid eyes on you. Julie grabs Brooks by his robe. JULIE Listen to me. He's here. BROOKS Who? Who is here? She does n't know where to start. Nancy pokes her head around the door. NANCY What's going on? TYRELL Julie thinks there's a dead guy in the closet. NANCY Cool. TYRELL The rest of us see bathrobes. JULIE -LRB- sharp. -RRB- I am not crazy, Tyrell. He was right there. TYRELL -LRB- not taking it seriously. -RRB- Fine. Show me the body. Will wanders over to the closet and checks it out. KARLA Think about this, Julie. What did you actually see? JULIE The dockhand guy. Hanging by his neck from up there. BROOKS -LRB- case closed. -RRB- In the morning we'll talk to Derrick, the `` dockhand guy,'' and put the whole thing to rest. -LRB- looks to Nancy. -RRB- Now, let's slow down on the Dark and Stormies and get some sleep. NANCY Do n't look at me - JULIE I want off this island. BROOKS -LRB- tired. -RRB- Not possible, I'm afraid. The last ferry left hours ago. And we got a storm coming. There wo n't be another one for days. TYRELL There's a storm coming? BROOKS ` Tis the season, like I told you. It's a big one. Julie goes for the phone. JULIE Then I'll call the mainland for a charter. BROOKS Phones went down a few minutes ago. She picks up the phone, listens, then dangles it from her hand. JULIE It's dead. An exasperated Brooks heads for the door. BROOKS Duh. The next couple of days is gon na be rough, but we'll make it. KARLA What about a radio? BROOKS Sorry. Emergencies only. KARLA What the hell would you call this? BROOKS I'd call this four spoiled city kids who would n't know a hurricane if it blew up their butts. -LRB- beat. -RRB- All we can do now is batten down and ride it out. If things get really bad, there's a storm shelter. And Brooks is gone. Outside the window, it starts to rain. There's a CLAP of thunder. JULIE looks out the window with glazed - over eyes.\",\n \"EXT. HOTEL - NIGHT And we PULL AWAY from Julie's face through the glass - SLOWLY TILTING above her room to another TINY WINDOW in the bell tower. A candle burns, and lighning flashes illuminate the haggard face of Estes, the porter.\",\n \"INT. HOTEL TOWER ROOM - NIGHT It's a claustrophobic room. Estes turns away from the window, shirtless in his uniform pants. A beaded cord hangs around his neck, small fishhook dangling from it. Beside the candle, he picks up a leather bag and dumps out a handful of voodoo icons : roots, coins, sea glass, chicken's foot. He sets them on a divination tray. He opens vials and sprinkles powder and assorted liquids into a small wooden bowl. He opens a drawer and extracts a toothbrush. He dips the brush in the bowl - covering its bristles with a sticky goo. He holds the brush over the candle's flame. The old man watches it SIZZLE. ESTES picks up A STRAW FIGURE and impales it on his fishhook necklace. His eyes roll back in his head. He enters a trance.\",\n \"INT. HOTEL CORRIDOR - NIGHT Olga, the maid, pushes her laundry cart toward the end of a long, dimly lit hall. She sees a pile of dirty linens outside of a room - ROOM 228. She stops, perplexed. There's nobody staying in this room. She picks them up and stuff them in her cart. Then she knocks on the door. OLGA Housekeeping. -LRB- beat. -RRB- Housekeeping. She knocks again and notices her hand leaving bloody marks on the door. She looks at her other hand. Her arms and hands are covered in blood. She turns back to the linens. Something bloody is wrapped inside of them. She paws at the sheets, trying to unravel the mystery - The door the Room 228 slowly cracks open. A STEEL HOOK reaches out and slices into her apron. It tugs. She turns, and she starts to SCREAM, she is yanked into the room. A DO NOT DISTURB sign flips over the handle and the door SLAMS shut. We hear her SCREAMS from inside.\",\n \"EXT. PAWN SHOP - NIGHT Establishing. Bars on the windows. Neon PAWN fickering. Hand - painted sign reads : Se Habla Ingles.\",\n \"INT. PAWN SHOP - NIGHT CLOSE ON AN ENGAGEMENT RING Ray's engagement ring. The pawn shop owner, MAC, cowboy hat, knows his job, holds it up to the viewing loop next to his eye. MAC Jeez, that's a full carat - RAY How much? MAC Well, there's some flaws in her. RAY How much? Mac looks around his shop at the usual jumble of crap : vacuum cleaners, golf clubs, guitar amps. MAC Do n't really have the market for something like this. -LRB- like it hurts him. -RRB- I can go two. two - fifty. RAY Make it three hundred. And throw that in, too. REVEAL -.38 REVOLVER encased in a glass cabinet. MAC Hell, that's worth three, easy. And you got your waiting period. RAY I'm not waiting. So give me the gun and keep the ring. Mac barely hasitates, he knows he's getting a steal - MAC Fine, buddy. THE GUN AND THE RING go down on the counter next to each other. Mac pulls out some forms. MAC -LRB- cont'd. -RRB- Fill these out. Leave the dates blank. Ray starts writing. Mac is overcome by a moment of humanity. MAC -LRB- cont'd. -RRB- Buddy, are you sure this is the way you want to go? Ray gives him a steely stare - RAY Is it loaded? Mac shakes his head. RAY -LRB- cont'd. -RRB- Load it. Off Mac's sadness at young people today.\",\n \"INT. HOTEL - KARLA AND TYRELL'S ROOM - DAY We move into the hotel room and gradually reveal FOUR SETS OF FEET at the end of one bed. They are crammed into a king - size bed together. Julie is awake. She gets out of bed and moves toward the window. It's raining outside. The wind is blowing. The storm has arrived. Karla pulls a sleeping hand off her chest. The hand belongs to Will. She pinches the hand. Will starts. Tyrell kicks his feet around, trying to get some room. TYRELL This ai n't the romantic weekend I had in mind. Karla kisses Tyrell on the cheek. KARLA -LRB- to Julie. -RRB- You get any sleep at all? JULIE Some. Tyrell glares at Julie by the window. Sees the incredible rain. TYRELL Oh, look. Another day in paradise with Julie - your - tour - director. Miss Psychotic Episode. KARLA Hey - TYRELL -LRB- calling to Julie. -RRB- See any dead bodies out there? Any fresh kill? How ` bout Freddy, Jason? Julie ignores him, staring out the window. WILL Leave her alone. Angry at her boyfriend, Karla gets out of bed and joins Julie. TYRELL I'm just saying what all of you are thinking. It's bad enough gettin' rained out without having to hold her hand the whole time. WILL You do n't have to be a jerk. Karla pulls Julie close in a show of support for her friend whose mind everyone believes has been inventing dead bodies. JULIE It's okay. He does n't believe me. That's his right. I'm starting to think I'm crazy, too. KARLA Hey, slow down, turn off the little motor up in there. What do you say we go to the gym and work off a little stress? Julie does n't look to enthusiastic.\",\n \"INT. HOTEL FITNESS ROOM - DAY Karla and Julie enter the gym. It has Nautilus machines, treadmills, Life - cycles, free weights, tanning beds, speed and heavy bags. Karla walks over and does a full roundhouse - spinning and planting her foot dead center of the heavy bag. JULIE Nice move. KARLA I'll be givin' your fisherman some of that and see how he likes it. Julie smiles at her friend bravado. She steps over to a stairmaster and starts her workout.\",\n \"INT. HOTEL CORRIDOR - DAY Will and Tyrell step out of the room into the long, empty corridor. They cross to a balcony overlooking the lobby. The whole place seems deserted. TYRELL Where is everybody? WILL -LRB- gallows humor. -RRB- They're all dead. Dead, I tell you. -LRB- ghostly. -RRB- Ahhhh, we're all deaaaddddd. Tyrellll, joinnnn usss. Will's voice echoes across the lobby. Tyrell is maybe a little nervous, but hiding it. TYRELL Shut up. They walk down the steps to the lobby.\",\n \"INT. HOTEL LOBBY - DAY They cross the lobby. WILL -LRB- calling out. -RRB- Hello? -LRB- worried. -RRB- There's nobody here, Tyrell. Tyrell's already out the front entrance.\",\n \"EXT. HOTEL - DAY Will and Tyrell exit the hotel and make their way down the steps outside and go splashing across the flooded grounds. Debris from the storm is scattered all around them. TYRELL They're around. They just do n't care about us'cause we're the contest winners. -LRB- beat. -RRB- Let's go find Stoner Boy. Make his lazy butt hook us up with fishing poles or Ping - Pong paddles or something. WILL -LRB- nervous. -RRB- You know, the greenhouse effect has caused the gulf stream to shift and almost every meteorological expert expects a dramatic increase in tropical depression - TYRELL Hey - shut up, okay? Tyrell keeps walking. Will looks around at the wind - and - water - swept vista. Not much of a day for activities. WILL -LRB- sotto. -RRB- I do n't like to fish. Tyrell moves across the grounds. He looks back. Will is stopped in his tracks, looking up at - IN THE WINDOW OF THE BELL TOWER - ESTES, staring down at them. TYRELL -LRB- calling to Will. -RRB- You coming? Will trots after him, but he takes a glance back at the window. Estes is gone.\",\n \"INT. HOTEL FITNESS ROOM - DAY Julie has finished on the stairmaster. Both she and Karla are sweaty after a good workout. Their moods have improved. KARLA Come on, Vampira. I got just the thing for you. Karla leads Julie over to the tanning beds. JULIE Cancer in a box. KARLA No, this is the safe sun. -LRB- joking. -RRB- It's better than a day at the beach. Julie is reluctant. KARLA -LRB- cont'd. -RRB- Come on, a little photosynthesis and you'll feel like a new - JULIE Houseplant. Karla opens the canopy of the tanning bed. KARLA Exactly. Julie peels off her sweats. Lies down in her underwear. Straps on a small pair of GOGGLES. Karla lowers the canopy over Julie. ANGLE ON A WALL TIMER Karla sets the DIAL. KARLA -LRB- cont'd. -RRB- Set to three seventy - five, bake for one hour. JULIE Karla! KARLA Just kidding. ULTRA - VIOLET TUBES come to life - Julie is bathed in purple light.\",\n \"EXT. HOTEL GROUNDS - DAY Tyrell looks across the grounds and sees, at the far end of the tennis court, TITUS'S POOL SUPPLY CART half - obscured by the heavy fooliage surrounding the court. Tyrell walks away from Will toward the cart. He hears the jam - box on the cart playing `` TRENCHTOWN ROCK'' by Bob Marley. `` One good thing about music. when it hits you feel no pain.''\",\n \"EXT. HOTEL TENNIS COURT - DAY The open door of the entrance CLANGS against the fence in the wind. Tyrell decides to cut through the court to the far entrance and the cart.\",\n \"INT. HOTEL TENNIS COURT - DAY Tyrell walks across the court to the sagging net. There is a RUSTLING in the foliage around the court. SOMETHING moving fast and quietly. TYRELL -LRB- calling out. -RRB- Hey, Bong Marley. Come here. The door SLAMS shut behind him. Tyrell looks back at the door. The latch seems to have stuck and it's no longer swinging. Tyrell turns back toward the other door and sees The PIT BULL standing in the doorway. Tyrell stares at the dog. The dog GROWLS at Tyrell, low and menacing. TYRELL I'm gon na kill you, Bong Boy. Simultaneously, Tyrell turns and the dog lunges forward. Tyrell sprints to the door - it's LOCKED by a length of metal slipped into the coupling. He turns to see the dog bounding at him - Tyrell leaps up the fence just as the pit bull lunges for him. The dog catches his pant leg. Tyrell kicks him away and frantically scrambles up. The dog relentlessly barks and snaps as Tyrell climbs the fence. WILL looks in at the dog angrily charging the chain - link. He looks up at Tyrell. WILL Come on. Jump. I've got you. He reaches out to try and catch Tyrell. ON THE FENCE Tyrell finally looses his grip and falls back, landing on top of Will. He rolls quickly to his feet. TYRELL Thanks. -LRB- furious. -RRB- I got ta find me a pool boy.\",\n \"INT. HOTEL FITNESS ROOM - DAY Karla hammers the bag with a series of quick punches. She finally stops to catch her breath and hears a THUMPING from the other room.\",\n \"INT. BASEMENT HALLWAY - DAY Karla sticks her head out the door to the gym, listening. At the end of the hall AN OPEN DOOR is visible, a single BARE BULB lighting the room. Karla moves curiously toward it.\",\n \"INT. BASEMENT ROOM - DAY Karla slowly sticks her head around the corner just as the THUMPING NOISE SOUNDS LOUNDLY. She reacts - A THUMPING DRYER in a small laundry room. Karla relaxes. KARLA -LRB- doing Julie. -RRB- Gee, Karla. That'll break the machine. She approaches the MACHINE, which is rocking with the noise. KARLA -LRB- cont'd. -RRB- Damn. How many pairs you got in there? She opens the dryer door and jumps back. A BLOODY SHOE flies out and into her arms. She looks down a beat, and SCREAMS bloody murder. A hot spray of blood gushes from the machine. REVEAL - OLGA'S DISMEMBERED BODY tumbling inside the dryer. Karla SCREAMS again. Then she hears the SOUND of heavy boots coming down the hall. She runs to the door and locks it. She's trapped in a bloody basement cell. Suddenly somebody POUNDS on the door. Karla SCREAMS. She runs across the room, shoving a folding table toward a row of BASEMENT WINDOWS. The door is hit again and again. Somebody is throwing their shoulder against it. Karla bangs hysterically on the windows, leaving bloody handprints on the panes.\",\n \"INT. TANNING ROOM - DAY Julie's eyes suddenly open through the GOGGLES. She thumbs off her WALKMAN. JULIE You say something? Nothing. And just as Julie lies down again, Karla's frantic SCREAMS echo down the hall. Julie goes to push open the canopy. As she does, the CANOPY LID is JAMMED DOWN ON TOP OF HER. A CHAIN shoots through the handles. Julie is locked on the grill. JULIE -LRB- cont'd. -RRB- Karla! Somebody? Hey, this is n't funny. Suddenly the lights go off. Julie thrashes around, trying to free herself. JULIE'S POV - THROUGH THE PURPLE LIGHT She sees someone walking around in the room. The person steps closer. Julie could almost reach out and touch him. She begins to SCREAM!\",\n \"EXT. HOTEL POOL - DAY Tyrell angrily makes his way past the outdoor pool bar as Will follows. Tyrell spots a tray of empty bottles. He picks one up and smashes it in half on the ground. He holds out the jagged bottle to Will. TYRELL Take this. WILL And do what with it? Tyrell breaks another bottle in half. TYRELL Julienne of pool boy. They move toward the nearby POOL HOUSE.\",\n \"EXT. POOL HOUSE - DAY Tyrell and Will stop outside the door. There's MUSIC from inside. More Bob Marley - `` Lively Up Yourself.'' TYRELL -LRB- cont'd. -RRB- I'm gon na throw the door. Get ready. Tyrell opens the door and charges in. Will's right behind him.\",\n \"INT. HOTEL POOL HOUSE - DAY They spill into the room. A light fog hangs in the air. The two of them begin to COUGH and CHOKE. Titus sits on the floor facing away from them, facing a window through which gray light pierces the gloom. Titus does n't move. He's too still. In front of him is a large BONG that still SMOKES SLIGHTLY. TYRELL Hey, pool boy. Tyrell closes the distance and kicks Titus in the back. Titus falls over like a block of wood, rictus already setting in. His hands are bound behind him. The cord is tied off to some pipes against the wall. HIS FINGERNAILS SCRATHCED GROOVES into the floor, scrabbling for the window and fresh air. Will points out two empty one - gallon PLASTIC BOTTLES. ANGLE ON THE BOTTLES One is labeled CHLORINE, the other MURIATIC ACID. Will pulls Tyrell from the pool house.\",\n \"EXT. HOTEL POOL HOUSE - DAY The two of them collapse, COUGHING and CHOKING. TYRELL What the -? Will splashes a puddle of rainwater on his face - WILL That's chlorine and muriatic acid. Put the two together and you get cyanide. Tyrell rolls over on his back next to Will, practically coughing up a lung. TYRELL Cyanide? Like poison gas? -LRB- reality dawning. -RRB- You mean, somebody really killed him. Omigod. Think. Think. Suddenly, they both hear KARLA SCREAMING. They sprint for the main building.\",\n \"EXT. BASEMENT WINDOW - DAY Tyrell and Will follow Karla's CRIES to a narrow srip of basement window which runs along the side of the hotel. Her palms have bloodied one of the windows. TYRELL Get back -\",\n \"INT. HOTEL LAUNDRY ROOM - DAY Karla ducks down on the table just as the window EXPLODES inward. Tyrell kicks in the pane and looks in. TYRELL -LRB- cont'd. -RRB- Give me your hand! She reaches for him. He pulls her up and out through the window.\",\n \"EXT. BASEMENT WINDOW - DAY Karla tumbles to the ground with only one thing to say. KARLA -LRB- screaming. -RRB- Julie!\",\n \"INT. TANNING ROOM - DAY Tyrell and Will suddenly burst through the door. ANGLE ON THE TANNING BED Where Julie is just visible, her fingers madly groping for a way out. JULIE Oh, God, get me out. Get me out. Will struggles to open the bed, but the chain holds strong. Tyrell grabs a nearby dumbbell. TYRELL Hang on. ANGLE ON THE CHAIN Tyrell slams the barbell down, shattering the fiberglass handles. A few of the ultraviolet tubes POP as Will yanks up on the cover. They help Julie up, her eyes adjusting to non - purple light. JULIE -LRB- almost relieved. -RRB- I'm not crazy. I'm not crazy. He's here. -LRB- already moving for the door. -RRB- We've got to get to the radio and call for help. KARLA I think we can classify this as an emergency situation. They head for the manager's office.\",\n \"INT. HOTEL - BROOKS'S OFFICE - DAY They burst into the middle of the room before seeing that Brooks's head has a machete sticking out of it. TYRELL Yo, Brooks, listen up -. -LRB- reacting. -RRB- Whoa - Tyrell, Will, and Karla look at the radio, which is smashed on the floor next to Brooks. Julie stares in shock at the reverse wall, at A STUFFED MARLIN with the words `` I STILL KNOW'' written on it in blood. Karla SCREAMS - TYRELL Somebody. is a sick, fingerpainting psycho. KARLA We got ta get out of here. Now. THE POWER CUTS OUT and the hotel plunges into darkness. Julie SCREAMS and runs from the hotel. WILL Julie!\",\n \"EXT. HOTEL - DAY Julie runs down the steps and cuts through the blowing palms.\",\n \"EXT. HOTEL DOCKS - DAY Julie is at the end of the dock. Tears are streaming down her face, her chest heaving. The others catch up with her. Karla realizes the boats are gone. Everyone is freaking out. KARLA There were boats here? Refresh my memory, there were boats. Tyrell picks up the end of a cut mooring line - TYRELL They were cut loose. WILL Julie? Wan na tell us what is going on here? They look at Julie. Their escape is cut off by water. They're scared. JULIE -LRB- freaking out. -RRB- We're all going to die. He's going to kill us one by one. TYRELL Who? JULIE Ben Willis. KARLA -LRB- not this again. -RRB- Oh, stop it! He's dead. You killed him. Now, get over it. We got ta think here. JULIE They never found the body. Her voice is low and urgent, an impromptu confessional. JULIE -LRB- cont'd. -RRB- Two summers ago. We lied to the authorities. We hit Ben Willis with our car. Ray, me, Barry, and Helen. We threw the body in the water to cover it up - KARLA Julie. JULIE Only he was n't dead. He killed Barry and Helen last July Fourth. Tyrell begins backing away from Julie. He picks up a piece of driftwood from the dock. JULIE -LRB- cont'd. -RRB- I thought Ray and I killed him on the boat, but we did n't and now he's back to finish up the job. Tyrell holds up the log as a weapon. He's angry and afraid - TYRELL We're on an island, miles from anywhere. I do n't give a crap about you're fisherman. There's dead bodies pilling up everywhere and there's one guy missing - Will moves closer to Tyrell - WILL The porter. what's his name? Old Asbestos - TYRELL Estes! That's exactly who it is. That old guy knows something. We can sit here and wait for him to pick us off or we can go find him first. Tyrell turns and heads down the dock. Will goes with him. Karla takes a few hesitant steps after them, then turns back toward Julie, who has n't moved. KARLA Julie, we have to do something. Julie sees her friend caught in the middle, sees her suffering. She reluctantly starts for Karla - JULIE -LRB- sotto. -RRB- It's not him.\",\n \"INT. GREYHOUND BUS - NIGHT Standard bus folks : old people in Panama hats, buzz - cut military geeks on holiday. Ray sits in a seat. He's in pain and does not look good. He pops a handful of pills into his mouth and washes them down with an Orange Crush - A dignified OLD LADY has been watching him - OLD LADY People live healthy in Miami. -LRB- sincere, but unsettling. -RRB- It's the future down there every day of the week. The future. Ray slumps back, waiting for the pills to work. RAY I'll keep that in mind.\",\n \"INT. HOTEL TOWER ROOM - DUSK The door to Estes's room BANGS inward. Tyrell, Will, Karla, and Julie charge into the room. TYRELL Yo, Freak Boy - The cluttered room is empty. WILL He's not here. Tyrell and Will begin roughly searching through Estes's possessions. TYRELL We're gon na find some weird crap in here. In the corner there is a curtain used as a partition. Julie pulls the curtain back and discovers A SMALL, HEAVY CABINET sitting in the corner. It seems to glow from inside while casting an evil pall over the room. Julie moves toward it and hesitates before opening the doors. Inside - is a small voodoo shrine. A candle has burned low before it. Hanging before the altar is THE LITTLE STRAW MAN impaled on a fishhook. JULIE Voodoo. TYRELL I told you. Julie looks closer. She sees her toothbrush, a hair tie, assorted other knickknacks belonging to her friends. TYRELL -LRB- to Karla. -RRB- Missing a hair tie? Karla looks in. Tyrell snatches the straw man up. TYRELL We found our guy. THUNDER rumbles across the sky like the judgement of God.\",\n \"INT. HOTEL CORRIDOR - NIGHT Julie, Karla, Tyrell, and Will walk quickly down the corridor. They have grabbed some of their things. TYRELL We got ta find flashlights, torches, guns if they got'em, anything that'll help. Will and Tyrell eye the stairs leading down to the lobby. TYRELL Wait. Maybe he's down there collecting the body parts. Will and Tyrell exchange a glance, an `` are you man enough?'' kind of glance. WILL Let's go.\",\n \"INT. HOTEL LOBBY - NIGHT The men head into the kitchen and bar area. WILL We'll only be a second, okay? TYRELL Yeah, wait right here, it's the safest place. Karla is terrified and waits by the stairs, but something catches Julie's eye. She walks across the lobby. KARLA Julie, where are you going? Julie keeps walking. She sees historical pictures of the hotel : work crews during construction ; the first limbo contest ; fishermen standing next to sailfish and marlin. Near the pictures, Julie sees the globe. It's spinning slowly. Julie hesitates, then walks toward the globe. It stops spinning. She looks down at it. CLOSE ON - THE GLOBE and Julie's hand finding Brazil. We see the capital is not Rio, but Brazilia. This is dawning on Julie when we hear - ESTES -LRB- v.o. -RRB- Brasilia. She jumps out of her skin. Estes was standing right there in the shadows. ESTES -LRB- cont'd. -RRB- That's the capital of Brazil, not Rio. Karla SCREAMS. Tyrell comes flying across the lobby past Karla. He dives on Estes, tackling him to the floor. Will is right behind him. WILL/ESTES/TYRELL Let go. I got him. That's me. It's him. We got you. JULIE Leave him alone. Tyrell holds up battered Estes - TYRELL Here's youre killer - ESTES No - WILL We found your voodoo crap - ESTES No - They shake Estes, finally giving him a chance to speak. ESTES -LRB- cont'd. -RRB- I found the bodies this morning. I tried to use the radio, but he already destroyed it. JULIE Let him go. I believe him. KARLA Come on, Julie. You saw his room. ESTES I have n't hurt anyone. I stole those things to help you. To protect you. JULIE He's telling the truth. He could've easily killed me. He did n't. -LRB- beat while this sinks in. -RRB- Look, we did n't even answer the radio question right. This whole thing was a setup. KARLA What do you mean? JULIE Rio is n't the capital of Brazil. It was the wrong answer. Sorry, we lose. TYRELL -LRB- starting to lose it. -RRB- You've got all these theories but where is he? Where? Where's your fisherman killer? JULIE I do n't know. TYRELL -LRB- losing it. -RRB- You never do. The guy at the nightclub, the body in your room last night. Little notes that only mean something to you. How do we even know you're not the one behind this - Estes steps forward - JULIE -LRB- to Tyrell. -RRB- How do we know you're not? ESTES -LRB- to Julie. -RRB- I know who you're talking about. He used to work here at the hotel. -LRB- beat. -RRB- And I've seen him around again. Out in the woods by the orchard. They look at Estes. Is he telling the truth? ESTES I ca n't remeber his name, but I do n't forget a face. -LRB- beseeching. -RRB- I can show you. They stare a beat - WILL How do we know you're not setting us up? ESTES Where else you gon na go, son? They look to the office, the gym. The sense of death surrounding them. KARLA I know I do n't want to stay in here. JULIE We'll be better off in the open. If we stick together, maybe we can kill this creep for good. TYRELL Show us. They begin moving for the door.\",\n \"EXT. FERRY DOCKS - NIGHT Establish. The rain pounds a fleet of fishing boats. The boats are securely battened down in the weather. Ray limps past, heading for a small building at the end of the dock. Its sign reads : Island Ferry, Jack Paulsen - proprieter.\",\n \"INT. PAULSEN'S BOAT HOUSE - NIGHT A gear - strewn office. Paulsen watches an episode of Party of Five. There is a loud KNOCKING at the door. PAULSEN What the. Paulsen slowly gets up. He cracks the door open. Ray stands silhouetted against the rain. RAY I need to get to Tower Bay Island. Paulsen senses something is n't right. PAULSEN We're closed. Ray pushes his way in - RAY I need to get there, now. Paulsen looks at him standing there drenched. PAULSEN Did you happen to notice what's going on outside? Ray pulls out the gun and points it at Paulsen - RAY I'm not looking for a weather report, I'm looking for a boat. So which one's yours?\",\n \"EXT. WOODS TRAIL - NIGHT Estes, Will, Tyrell, Julie, and Karla walk along a trail through the heart of the island. The storm has abated for a few minutes. It's windy, dark, and spooky. The kind of place you'd take people if you wanted to scare them with a classic ghost story. That is just what Estes is doing. ESTES He worked here for many years. He had a nice family. A pretty wife and two little ones. A boy and a girl. They'd be about your age, now. They continue along the path. Estes looks at them in the dark, slowing for just a second. ESTES -LRB- cont'd. -RRB- One day his wife went missing. Maid found blood all over the honeymoon suite - Room 201. There are strange NOISES out in the woods. ESTES -LRB- cont'd. -RRB- Eventually, they found her body. Pieces. A leg in the swamp. An arm washed up on Three Mile Beach. -LRB- beat. -RRB- And the head they found much later. A huge branch is blown from a tree and comes crashing down through the underbrush, scaring them. Estes calmly steps around it. ESTES -LRB- cont'd. -RRB- Careful - JULIE -LRB- softly. -RRB- Did he do it? ESTES People say she was running around on him. People say he caught her in bed with other men. People say a lot of things. -LRB- beat. -RRB- He disappeared, taking the two small ones with him. At least they were never found. The winding path leads to a small orchard. They hang on his every word. ESTES -LRB- cont'd. -RRB- We're here. In the center of the orchard is a cemetery. They move off the path into the safety of the woods. There seems to be activity around the place. It's silent and eerie. Julie stares, fascinated. She is slowly drawn toward the house. Karla grabs for her arm. KARLA Be careful, Julie. JULIE I've got to see. She leads, they follow, circling the house. Julie rounds a corner of the shack and stops. She sees - TWO TOMBSTONES The first stone reads : SARAH WILLIS -LRB- birth/death -RRB- The second stone reads : SUSIE WILLIS -LRB- birth/death -RRB- Beyond them A FRESHLY DUG GRAVE and the group moves slowly toward it. The headstone, partially obscured by the mound of dirt, comes into view. The third headstone reads : JULIE JAMES born September 6, 1979 died July 4, 1998 \\\"A Lying Whore\\\" `` A Lying Whore'' is scratched with a knife. KARLA -LRB- realizing. -RRB-. Today's July fourth. Will goes to comfort Julie - JULIE I'm not dying on this island, Will. -LRB- louder. -RRB- Do you hear me? Julie shouts into the darkness. JULIE -LRB- cont'd. -RRB- You want me, Ben Willis? Come and get me. I'm right here. She kicks over her headstone - JULIE -LRB- cont'd. -RRB- My grave stays empty! She looks defiantly down the path. KARLA Julie, the boats are gone, the phones are down. There's no way off this place. JULIE Then, we fight - Will looks around. Estes is gone. WILL Where'd Estes go? TYRELL What is up with that weirdo? WILL I'll go find him. KARLA Why? He ca n't help us. WILL He's probably the only one who can help us. TYRELL I'll come with you. KARLA Are you crazy? We're not staying here on our own. WILL It's okay. He could n't have gone far. I'll catch up with you later. Will disappears into the darkness. KARLA Maybe we should just wait here? Hide in a tree? TYRELL I'm not hiding up no tree. -LRB- to Julie. -RRB- I'm with her. Let's arm ourselves to the teeth and kick this psycho's butt.\",\n \"INT. HOTEL KITCHEN - NIGHT They move cautiously into the kitchen. Blue emergency lights flicker above them. It's a big room with plenty of nooks and crannies for somebody to be hiding in. Tyrell picks up a couple of different knives. He hefts them in his hand. TYRELL What I need is a gun. Not a steak knife. Karla grabs a paring knife - TYRELL -LRB- cont'd. -RRB- You gon na clean vegetables? You gon na stir - fry? You need something that'll get his attention. He picks up a huge butcher's knife and cuts the air with it. He then roughly empties other drawers looking for more weapons. Karla looks to Julie, something on her mind. Julie catches the look. KARLA -LRB- hurt. -RRB- I'm your best friend. You could have told me the truth about what happened. I would've understood. JULIE -LRB- sad. -RRB- Karla, I just wanted the whole thing to be over. I did n't want to involve anybody else. KARLA It's too late for that. Julie steps over to Karla. JULIE I'm so sorry. I brought this on everyone. It's my fault. Tyrell picks up on the mood swing. He moves closer to them. He's sympathetic. TYRELL Forget that. You did n't do nothing. This fisherman's a piece of scum. -LRB- hard for him to admit. -RRB- I should've been listening to you. I'm sorry. Julie smiles for a second. TYRELL -LRB- cont'd. -RRB- Now, let's take a look at the pantry. KARLA You think that's a good place to hide? TYRELL I do n't know, but I'm starving.\",\n \"EXT. BEACH - NIGHT Will runs from the trees and finds himself by an old house. He sees Estes by the ocean, near a boat. WILL Hey Estes. -LRB- beat. -RRB- Estes? Where'd you go? Estes does n't answer right away - he keeps his back to Will. WILL -LRB- cont'd. -RRB- You abandoning us? How come you did n't tell us you had a boat? Estes picks up the boat's oar. He speaks low, almost inaudibly. ESTES This has to end. Now. WILL What -? Estes swings the oar, cracking Will's head hard.\",\n \"INT. HOTEL KITCHEN - NIGHT Tyrell, Julie, and Karla approach the pantry - a huge steel door.\",\n \"INT. HOTEL KITCHEN - CONTINUOUS Tyrell steps inside. TYRELL Steel door. Food. Perfect. He starts looking for something to eat - CLANK. There's a soft CLATTERING from somewhere in the room. Everyone freezes, staring into the darkness. Tyrell puts a finger to his lips, then creeps down an aisle, listening. There's nothing but SILENCE. He moves toward the first aisle. He jumps out. The aisle is empty. JULIE AND KARLA move down an aisle behind him. Tyrell ducks around to the second aisle. He slices the air, ready to pounce. This aisle is empty. JULIE AND KARLA nervously move another aisle down. Tyrell moves stealthily toward the third aisle. This is it. He lunges forward into the row. Empty, also. There's a small SOUND. A MOUSE scampers off under the shelves. Tyrell turns and smiles at Karla and Julie - TYRELL It's just a - A ROLLING PIN bashes him on the back of the head. Tyrell hits the floor, unconscious. JULIE AND KARLA SCREAM KARLA Ty! A DARK FIGURE jumps down from the shelves. Tyrell puts his arms up - TYRELL -LRB- yelling for mercy. -RRB- Do n't kill me - JULIE Wait, it's Nancy - Nancy, the bartender steps out of the shadows brandishing her rolling pin.\",\n \"INT. HOTEL KITCHEN - NIGHT Tyrell stands at the sink, where Karla holds a towel full of ice to his head. Nancy, the bartender, looks on apologetically. NANCY I'm sorry, but you could've been the one doing all of this - TYRELL And so could you - crazy fool. NANCY You stumbled into my hiding place. TYRELL Must have missed the sign. NANCY Excuse me, but this island did n't have a murder rate until you people showed up. -LRB- chilled. -RRB- I've never seen a dead body before. JULIE Get used to it. NANCY Who's doing this? TYRELL -LRB- friendly. -RRB- Do n't even get her started. It's a long, long story and you probably would n't believe a word of it. Tyrell moves as he talks, fed up and exhasted. He crosses past the stove and under a huge hanging rack of pots and pans. TYRELL -LRB- cont'd. -RRB- I mean, all I know for sure is this is the worst vacation of my life. I'm tired, and I'm hungry, and I personally have n't seen one damn psycho killer. THWACK! A STEEL HOOK sinks deep into the base of Tyrell's shaved skull, a look of abject surprise on his face. The women freeze as Tyrell dances like a marionette before being hoisted up and hung on the rack like a used saucepan. THE FISHERMAN is in the vent above the stove. He stares out at them from the hood of his slicker. Ben jumps from the range onto the floor. Karla is in shock. Julie yanks her and they flee. As she goes, Julie picks up A LOOSE KNIFE and hides it in her back pocket.\",\n \"EXT. OFFSHORE ON FERRY - NIGHT Ray pilots the boat through the dark, choppy water. He's navigating by compass, maps spread before him. He sees something off the bow - A BOAT drifting on the fast sea. The words `` Tower Bay'' are painted on the side. Ray pulls alongside and discovers the boat is empty. He reaches for the radio. RAY -LRB- into radio. -RRB- Come in. This is Summer Breeze requesting emergency assistance for Tower Bay island. I repeat. This is Summer Breeze. Ray guns the boat away.\",\n \"INT. HOTEL FOYER - NIGHT Julie, Karla, and Nancy run into the lobby. The storm is WAILING outside the front doors. They pause for a second. Behind them we hear the rapid THUD - THUD - THUD of Ben's boots. Nancy goes straight to a desk and pulls out a flashlight. She points to the main staircase. NANCY I know where we can hide.\",\n \"INT. HOTEL STAIRCASE - CONTINUOUS The women run up the stairs. Behind them, we hear Ben's FOOTFALLS echoing.\",\n \"INT. HOTEL CORRIDOR - CONTINUOUS On the top floor, they race toward the end of a dark hallway. At the far end of the hall, Nancy illuminates a section of the ceiling. NANCY Give me a boost up - Julie helps Nancy reach a pull cord in the ceiling. A WOODEN LADDER pulls down. Nancy quickly climbs up. BEN WILLIS enters the hallway and continues toward them. ON THE LADDER Karla slips, nearly knocking Julie to the floor. They both scramble upwards - Ben hits the ladder - Just as Julie reaches the top rung she SCREAMS - BEN'S HOOK IS ON HER FOOT! Nancy appears in the opening and throws a brick down at Ben. It hits him in the chest and knocks him back. Julie makes it into the attic. They pull the ladder up behind them like a drawbridge.\",\n \"INT. HOTEL ATTIC - NIGHT Julie, Karla, and Nancy surround the hatch they've just shut. They fumble with it - JULIE There's no way to lock it. KARLA What do we do? From below comes LAUGHTER. There's a tug on the hatch, cracking it open. The girls pull it back shut, but it's hard to get a grip. There's more tugging, the hatch bending down ; they can see Ben. Then, the rope SNAPS. The hatch slams shut. NANCY There's no way to grip this thing. Suddenly the STEEL TIP of the HOOK pokes through the crack. It wriggles around. Turning. And begins to pull the hatch down. They try to hold it. But it's no use. They let go and jump away. The attic is lit by a cathedral window. It's crosshatched with wooden beams and pink insulation. NANCY Watch your step. THUNK! Karla's foot goes through a gap between two beams.\",\n \"INT. HOTEL - KARLA AND TYRELL'S ROOM - NIGHT KARLA'S FOOT dangles through the ceiling.\",\n \"INT. HOTEL ATTIC - NIGHT Julie helps Karla back up onto a beam. NANCY -LRB- cont'd. -RRB- Stay on the beams! Karla and Julie follow her precarious progress. Ben climbs off the ladder to a beam. He watches them leap from beam to beam. His hook glints in the light. Julie, Karla, and Nancy move toward the cathedral window. They turn. They are cut off. They spread out against the wall looking for an opening to get back to the hatch. Ben feints toward Nancy then swipes at Julie - He misses. She leaps away. She looks down. Instead of insulation, she sees a WINDOW INTO THE HONEYMOON SUITE She sees her bed through a one - way mirror. Julie stares, momentarily transfixed. Karla is edging her way around the side of Ben. BEN -LRB- re : the mirror. -RRB- You'd be amazed by what you'd see. My wife with every man on the island, for example. -LRB- to Julie. -RRB- And you, sexy. I loved watching you. JULIE You sick freak. Ben suddenly whirls and lunges at Karla. He grabs her, but they both lose their balance, teetering for a moment on one of the beams, before falling - They CRASH through the mirror -\",\n \"INT. HOTEL - KARLA AND TYRELL'S ROOM - NIGHT Karla and Ben hit the bed in a rain of glass. Karla bounces to her feet and dives out of the way as Ben swings his hook.\",\n \"EXT. ROOM BALCONY - NIGHT Karla backs onto the porch. She backs up against the railing.\",\n \"EXT. ATTIC WINDOW - NIGHT Julie and Nancy reach the CATHEDRAL WINDOW. They open it and look out.\",\n \"EXT. ROOM BALCONY - JULIE'S POV - NIGHT and Ben advancing toward Karla, whose back is against the railing. Karla looks behind her, sees THE GLASS ROOF OF THE ORCHID HOUSE which does n't look nealy strong enough to suppor her. Ben advances, swining the hook. Karla leaps over the railing and onto the glass.\",\n \"EXT. GREENHOUSE ROOF - NIGHT Karla keeps a wary eye on Ben as she gingerly backs up on the glass. The GLASS begins CRACKING, subtle crack lines splintering out from her footsteps. Ben lunges and swipes at her with his hook. Karla leans away from the attack and loses her balance, slipping onto her back on the glass. She lifts her head. Starts to move. CRACK. The glass is fracuring beneath her. She looks through the glass. KARLA'S POV - THE ORCHIDS BELOW She tries to slide toward a support. The glass CREAKS and MOANS as she moves across the room. KARLA -LRB- to herself. -RRB- Oh, god, no - She's almost to the support when THE ROOF EXPLODES taking Karla down into the orchid house.\",\n \"INT. ORCHID HOUSE - NIGHT The roof shatters in an explosion of flying glass. Karla land on her back. She's unconsious -\",\n \"INT. ATTIC WINDOW - NIGHT Julie and Nancy look at the empty space which once was a roof supporting Karla - JULIE -LRB- screaming. -RRB- Karla! Ben turns and looks up at Nancy and Julie. Then, he sprints from the balcony. Julie and Nancy duck back into the attic.\",\n \"INT. HOTEL CORRIDOR - NIGHT Julie and Nancy climb down into the hallway. They are cautious, expecting Ben at every turn.\",\n \"INT. HOTEL LOBBY - NIGHT They hurry across the lobby.\",\n \"INT. ORCHID HOUSE - NIGHT A sprawling, steam - filled room, dense with vegetation of all sorts and shelf after shelf of beautiful orchids. Karla lies unconscious. Slowly, she opens her eyes. There's a rustling in the flowers. She tries to get up, but ca n't yet. She waits in terror as BIRDS fly up and out of the hole she's made in the roof. Karla tries to stand and her leg gives way. She tests her knee - KARLA Oww. Karla starts hobbling. She reaches the door - it's locked from the other side. There is a thick glass window set in the middle of the door. The cranes startle again, something upsetting them. Karla spins to look. Nothing.\",\n \"INT. HOTEL/ORCHID HOUSE - NIGHT Julie and Nancy arrive at the door. Karla pounds on the other side - points to the lock. KARLA It's locked! Nancy sees a KEY RING by the door. NANCY It's got ta be one of these. Nancy tries the first of many keys. Something catches Julie's eye. She moves in for a closer look. Her eyes go wide - ORCHID HOUSE - JULIE'S POV A powerful BOLT OF LIGHTNING cracks. Fills the room with a pulse of bright light. BEN IS STANDING INSIDE AND HE'S HEADING STRAIGHT FOR KARLA. JULIE -LRB- terrified. -RRB- He's inside. Karla spins. Sees him. Her terrified scream blends with the cranes, now SHRIEKING VIOLENTLY. KARLA Please! Hurry!\",\n \"INT. HOTEL/ORCHID HOUSE - NIGHT Nancy fumbles with the keys. Drops them. Julie tries to keep calm. JULIE Come on.\",\n \"INT. HOTEL/ORCHID HOUSE - NIGHT Ben closes fast, slicing the tops off orchids as he goes. He skewers a bud on the tip of his hook. Karla pounds on the door. KARLA -LRB- frantic. -RRB- Hurry! Nancy fumbles for the right key but the lock is old. JULIE Nancy. NANCY -LRB- crying. -RRB- It's jammed! The key is stuck. KARLA -LRB- through glass. -RRB- Come on! She's running out of time. Julie sees a FIRE AXE encased in the glass safety box. JULIE -LRB- determined. -RRB- No way! Julie smashes the glass with her elbow. Grabs the axe. JULIE -LRB- to Nancy. -RRB- Move! Julie hammers the door with the axe. Wood splinters. Glass cracks. Ben is almost on top of Karla now. Julie swings. The axe breaks the glass, pulls the frame out. Julie drops the axe. They grab Karla. Pull her through. Ben swings. The hook rips Karla's shoe, but Julie and Nancy pull her through. Julie and Ben are face to face. Julie has the axe in her hands. She stares him down. JULIE Come on, gim me a shot - Ben rips off his hook, eyeing Julie. KARLA -LRB- shouting. -RRB- Julie, come on. They flee. Ben tries the door, realizes it had locked behind him. He ca n't fit through the circular window. He throws his shoulder against the door. And again. And again. The door frame starts to give -\",\n \"EXT. STORM SHELTER - NIGHT Julie, Karla, and Nancy approach the iron door to the underground storm cellar. Julie carries the axe. NANCY It's over there. They struggle together to open the heavy door.\",\n \"INT. STORM SHELTER - NIGHT Stairs lead down into darkness. Karla hesitates - KARLA I do n't know. JULIE Come on, you can make it. Julie gets in, pulling Karla in behind her. They pull the door closed behind them. NANCY There's a light somewhere.\",\n \"INT. STORM SHELTER - NIGHT The darkness is complete. We hear MOVEMENT. KARLA Julie? JULIE I'm right here. Grab my hand. NANCY This place has emergency power. Just ease you way down the stairs and I'll find the light. JULIE Okay. I'm at the bottom. Karla, just get my hand. KARLA I'm holding your hand! JULIE No, you're not. KARLA Nancy? Nancy pulls the chain on an overhead bulb. The lights go on, illuminating THE DEAD CORPSES of Brooks, Derrick, Olga, and Titus - whose hand Karla is holding. The women SCREAM! They muddle together, trying to collect themselves. Suddenly, there is a POUNDING on the iron door. They SCREAM. Then, Julie remembers the axe. She motions the others to stay back - JULIE All right - The iron hatch is slowly opening. Julie gets the axe into possition - WILL pokes his head through. He's clutching a piece of wood as a weapon. WILL It's you guys, thank god. Is everyone okay? They are ecstatic to see him. They bound up the concrete stairs - KARLA Help's here. Help's here.\",\n \"EXT. HOTEL WALKWAY - NIGHT Will is already on the move toward the hotel. WILL Come on. We're gon na be okay. JULIE Did you get help? Will shakes his head. He's walking woozily. JULIE -LRB- cont'd. -RRB- What happened? WILL Estes came after me with a gaffing hook. JULIE He's in it with Willis? WILL I guess so. Julie points out that his chest and stomach are covered in blood, too. JULIE Your stomach, you're hurt - Will looks down, clutches himself, and keeps moving. WILL When I was coming back I saw your slicker friend looking for you guys down by the water. -LRB- beat. -RRB- Let's hurry and get inside.\",\n \"EXT. BEACH - NIGHT Ray guns the boat straight up onto the beach. He leaps from the boat.\",\n \"INT. HOTEL BAR - NIGHT Will slumps down on the bar floor. He's floating in and out of consciousness. Julie leans over him, concerned. JULIE Oh, my god, you're bleeding to death. She looks back towards Nancy - JULIE -LRB- cont'd. -RRB- We need a first - aid kit. NANCY -LRB- already moving. -RRB- I saw one in the lobby. Karla starts, then hesitates. Will moans, looks at her. NANCY -LRB- cont'd. -RRB- I'll come with you. WILL You'll be okay. It's over. Karla and Nancy rush from the bar. Julie looks tenderly at Will. He looks back at her. She pulls some hair off his forehead. He smiles weakly. JULIE Will, just hold on. We'll get you fixed up.\",\n \"INT. HOTEL LOBBY - NIGHT Karla and Nancy go to the area near the check - in and behind the desk. NANCY Look up there. I'll look over here. Karla looks behind the desk. Nancy is searching the shelves.\",\n \"INT. HOTEL BAR - NIGHT Julie tenderly searches the area around Will's stomach. She's fussing with the clothes, looking for the wound. JULIE You've got blood everywhere, but I ca n't find the wound. Will takes her head in his hands, looks her in the eye. WILL That's because it's not my blood. The slow change in Julie as she realizes. She starts to run. Will roughly grabs her. WILL -LRB- cont'd. -RRB- It's time you woke up, Julie. His voice switches to that of a familiar radio disk jockey. WILL -LRB- cont'd. -RRB- -LRB- as Mark in the Morning. -RRB- AND START CONTEMPLATING THE ULTIMATE MAGIC GETAWAY! He drags her out of the bar.\",\n \"INT. HOTEL LOBBY - NIGHT Nancy sees a white metal box sitting on a shelf. She reaches for it. It's a first aid kit. ANOTHER HAND reaches over and lands on top of her hand. She jumps and sees Estes right behind her. Karla SCREAMS. ESTES Will. He's in on it. He's - Suddenly Estes's expression changes to surprise, and A SPEAR TIP appears in the front of his chest. Nancy screams and looks over Estes's shoulder to see BEN WILLIS standing there holding a spear gun. Estes topples over on top of Nancy, pinning her underneath his dying, convulsing body. Nancy struggles to get loose. NANCY Help me. Karla rushes to Nancy. She tugs on her arm, trying to pull her free. The fisherman strides toward them. He raises his hook. He swings at Karla's head. THE HOOK CATCHES on a beam. Karla struggle with Nancy. KARLA Come on, come on. Ben tries to free his hook hand. Karla looks up at him. He calmly puts his foot onto Estes's back and steps down with all of his weight, driving THE SPEAR TIP deep into Nancy who expires with a sigh. KARLA -LRB- cont'd. -RRB- Damn you. Karla, blind with rage, attacks the fisherman. He kicks out with a boot and sends Karla fying onto A GLASS TABLE in the lobby area. The table explodes. Karla is finished. The fisherman works his hook free from the post. Karla is unmoving and looks quite dead.\",\n \"EXT. WOOD TRAIL - NIGHT Will pulls Julie along a muddy path in the rain. He's got her by the hair. She's slipping and falling. WILL Look at the bright side, Jules. We finally get to spend some quality time together. Julie's trying to get to the knife she's stashed in her back pocket. JULIE Why are you doing this to me? WILL Me, me, me. It's always about you. I'm having bad dreams. I ca n't sleep. I'm not doing well in school. I'm having trouble with my boyfriend. JULIE I trusted you. WILL We had a connection, did n't we? I can tell you one thing, though. Ray did n't trust me. He was right. He's dead, but he was right. They come into the orchard. They are covered in mud. Julie stumbles again. Goes to her knees. Works the knife free and slashes up at Will. She slices him across the face. He steps back, feels the blood. WILL -LRB- cont'd. -RRB- What'd you have to do that for? There is a creepy pause. Will stares at his own blood. She catches her breath. Then suddenly, Will knocks the knife from her hand. He lifts her by the hair. Enraged, he puches her in the face. She goes down.\",\n \"EXT. ORCHARD - NIGHT Will has Julie in a choke hold. He drags her toward the open graves. Julie is losing energy, slowly giving up. JULIE Why? WILL Why? Come on, Julie. Think. You'll get it. Will Benson - Ben's son. He shoves her. She falls backward into the arms of Ben Willis. WILL -LRB- cont'd. -RRB- Hi, Dad. Julie WAILS, struggling wildly in Ben's grasp. JULIE OMIGOD - BEN That's my boy. Ben holds her back to look at her. He throws back the hood of his slicker. We see his face clearly for the first time. JULIE No, no, no - Ben pulls off his hook and strokes Julie's cheek with his stump. BEN Shush, now. No more screaming. No more running. Time to die. RAY -LRB- v.o. -RRB- Let go of her! Now! Ben and Will spin to see RAY like the hero from a western, step out from behind a tree. Ben starts to laugh. Will joins him. WILL You got ta be kiddin' me. BEN What're you gon na do, boy? Call us names? RAY Let her go. Now. Ray raises the.38 caliber handgun. He COCKS the hammer. Ben does n't let go of Julie. Lightning fast, he slaps his hook back on and gets the point to Julie's neck. BEN Think about it, boy. You're no killer. -LRB- beat. -RRB- That's my job. Ray hesitates, his finger on the trigger. He does look scared. Ben takes a step toward Ray. Then another, pushing Julie in front of him. Will moves closer, too. RAY Stop right there. Ray's finger squeezing down the trigger. BEN You do n't have it in you. Suddenly, Will dives for Ray. Ray gets a shot off, tagging Ben in the shoulder. The gun goes flying. Julie spins and hits Ben in the face. He knocks her into her own grave. Mud begins to slide in on her. She tries to scramble out. Will and Ray wrestle, punching each other repeatedly in the face. Will has Ray down and his hands around his kneck. He looks him in the eye. WILL We have n't missed you down here, Ray boy. I got to know Julie real well. Will gets the better of Ray. He's stronger. He yanks him up - choking him. Ray is begging to check out. WILL -LRB- cont'd. -RRB- Think of all the things I'm gon na do to her. -LRB- beat. -RRB- Dad, finish him. Ben charges toward Ray's back. He pulls back the hook for a roundhouse slashing - At the last second, Ray dips, elbows Will. THE HOOK goes straight into Will's chest. The fisherman has hooked his own son. Father and son make final eye contact, the son's eyes go blank. Ben stares in shock as Will expires, falling back into the mud. Ben SCREAMS in rage. Ray is tired. THWACK. Ben begins beating Ray. He puches him. He straight - arms him with the hook. He knocks him again and again and Ray is beaten, giving up. Ben has Ray against a tombstone. The hook slowly inches toward his eye. BEN Gon na blind you first. The hook is touching the eyelid - A GUNSHOT rings out. A look of wonder crosses Ben's face. He slowly turns away from Ray. JULIE stands behind him holding the gun. JULIE Just. Die. BLAM. BLAM. BLAM. She empties the gun into Ben, who flies backward into Julie's grave. As he tumbles, Ben releases the dirt stacked beside the grave. A MUDDY LANDSLIDE slowly covers Ben up. Ben's face is covering over. His mouth starting to fill with dirt - BEN You ca n't kill me. His face is completely covered. His mouth still moving. BEN -LRB- cont'd. -RRB- I'll always be with you. The dirt covers him. It continues to fill, until just the GLEAMING METAL HOOK waves futilely out of the dirt. Then, is stops wiggling. Julie goes to Ray.\",\n \"EXT. HOTEL - NIGHT Ray and Julie limp across the grounds of the hotel. They are moving past some shrubbery when A DARK FIGURE jumps out. Julie yells. She and Ray jump back. KARLA stops in the middle of her kamikaze attack, knife held out. KARLA Oh, god, it's you - JULIE You're okay. Thank god. KARLA Is he? They nod. They go to her - jubilant group hug time. They compose themselves. KARLA -LRB- cont'd. -RRB- You know, it's true what they say about package vacations. You get what you pay for. -LRB- beat. -RRB- Now, how about we get off this piece of crap island. The first rays of the morning sun appear. Ray looks adoringly at Julie as the beautific light catches her face. Ray kisses her. She kisses him back. They are silhouetted against a beautiful orange sunrise. JULIE -LRB- smiling. -RRB- We do n't have to tell anyone it rained the whole time. It can just be our little secret. The three of them throw their arms around each other's shoulders and they start walking for the beach as. A COAST GUARD HELICOPTER rises into view.\",\n \"EXT. HOUSE - DAY Establish. The sun setting over a quaint street in a college town. SUPERTITLE : FOUR MONTHS LATER Julie pedals her bicycle down the street. She has a book bag over her shoulder. It feels like one of the first days of school. She rides the bike up to a small house on the perfect street. She rolls the bike right up to the front door.\",\n \"INT. HOUSE - DAY Julie lets herself into the house. She leans her bike against another bike in the hallway. It's a perfect day. Birds CHIRPING. WIND in the willows. There's another NOISE. from inside her house. She goes perfectly still. And listens. Behind her, by the kitchen, the shadow of a FIGURE moves. She whirls. NOTHING She creeps down the hallway toward her kitchen. She pauses - The dark figure almost knocks into her. She SCREAMS. It's Ray. He's holding a disemboweled toaster. JULIE Ray. what are you doing? RAY -LRB- toaster. -RRB- Oh. it's not working right. You're home early. -LRB- sees she's shaken. -RRB- Did I scare you? JULIE Never do that again. RAY -LRB- tender. -RRB- Hey - I did n't know you were here. It's okay. -LRB- beat. -RRB- We got the refrigerator in. Come see. She sees the love in his eyes. She hugs him. JULIE I love it here. RAY It's gon na be great.\",\n \"INT. STAIRWAY - NIGHT Julie climbs to the top of the stairs. She passes Ray in the bathroom. She pauses in the doorway -\",\n \"INT. BATHROOM - CONTINUOUS Ray is at the sink in boxer shorts. He's using an electric Waterpic devicice that has just been opened, a gift from the party. It makes a low WHIRRING sound. RAY -LRB- seeing her. -RRB- Checking the locks again? JULIE You know me to well. Julie smile and walks to the bedroom.\",\n \"INT. BEDROOM - CONTINUOUS Julie climbs into bed with a book. The bedroom is clean and orderly. The windows are closed. The closet door is shut. The room is decorated simply : a high antique bed ; unopened boxes ; a highboy ; an antique mirror leaning against the wall. A stuffed bear sits in a chair. There is a CLATTER from another room. Julie freezes. She waits. She hears it again. She climbs out of bed.\",\n \"INT. SECOND BEDROOM - NIGHT Julie walks into the dark spare bedroom. The CLATTERING SOUND comes from the open window. The wind is blowing the blinds. Julie relaxes. She shuts the window. As she leaves the room, we notice the dirty imprint of a boot below the window.\",\n \"INT. BATHROOM - NIGHT Julie passes Ray who is still absorbed with the new toy. Behind him, the door softly closes. The lock twists. Ray is oblivious, happy being the dental - hygene pacesetter of the household.\",\n \"INT. MASTER BEDROOM - NIGHT Julie enters the room. She looks at the closet door. It is open a crack. She hesitates, trying to remember if it was open before - it was n't. Julie approaches the closet. She catches her refelction in the mirror next to the closet. She peers into the crack of the closet. She ca n't see anything. She throws open the closet door. NOTHING She looks around the room. JULIE What is my problem? She sits down on the bed. We see her bare feet from under the bed. She smiles, relaxes. She looks in the mirror leaning against the wall. Something has caught her eye. She freezes. She turns slowly back to the reflection in the mirror. She sees the glint of steel - A HOOK - CRASH ZOOM INTO REFLECTION - THE FISHERMAN CROUCHING UNDER HER BED Julie turns too late - The fisherman lunges out and grabs her legs. Julie screams. She goes down - Her nails scrape into the wooden floor as she is dragged under the bed. THE END\"\n]"},"labels":{"kind":"list like","value":[0,1,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,1,0,1,1,1,0,0,0,1,1,0,0,0,0,0,0,0,1,1,0,0,0,0,1,1,0,0,0,0,0,0,0,1,0,0,0,1,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,1,0,1,0,1,0,0,1,0,0,0,1,1,0,0,0,0,1,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,1,0,0,1,0,1,0,0,1,0,1,1,0,1,1,1,1,0,0,1],"string":"[\n 0,\n 1,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 1,\n 0,\n 1,\n 1,\n 1,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 1,\n 1,\n 0,\n 1,\n 1,\n 1,\n 1,\n 0,\n 0,\n 1\n]"},"summary":{"kind":"string","value":"Julie James wakes up screaming in her college class from a dream involving the terrifying, vengeful fisherman, Ben Willis. Julie is attending summer classes in Boston, in avoidance of returning to her hometown of Southport. All the while, she suffers from the painful memories and nightmares, trying to cope with the accident and brutal murders of her friends, Helen Shivers and Barry Cox, from the summer before. Julie’s friend and roommate, Karla Wilson, receives a phone call from a local radio station, asking her to participate in a contest to win an all-expenses-paid vacation to the Bahamas for the Fourth of July weekend. The contest is that Karla must guess the capital of Brazil. Her answer is “Rio de Janeiro” and radio host tells her she is correct and she is given four tickets for the trip. Julie invites her boyfriend, Ray, but he declines. He is hurt by her earlier refusal to visit him in Southport, but is able to go away with her college friends. It is revealed that Ray plans to propose to Julie, and he changes his mind about the trip, planning to show up as a surprise. That evening, Ray and his co-worker, Dave, drive to Boston to meet Julie. On the way, they stop due to a car in the middle of the road. As Ray gets out to inspect the scene, Ben Willis appears and impales Dave through the mouth with his hook. Ben Willis takes Ray’s truck and chases him down the road. Ray manages to get away, but is injured from falling down a hill. The next morning, Julie is waiting outside her apartment for Ray to show up, but Karla convinces her that he is blowing her off. At that moment, Tyrell, Karla’s boyfriend, arrives in his Jeep with their friend, Will Benson. Knowing Will has a crush on Julie, Karla explains to Julie that she didn’t want her fourth ticket to go to waste, so she invited Will. Julie is not thrilled about Will going, but gets in the car anyway. As the group arrives in the Bahamas, on the island of Tower Bay, they find that other guest are leaving due to the fact that hurricane season has begun. As they are shown up to their rooms, much to her surprise, Julie finds that she is sharing her room with Will. That evening, the group heads to the hotel’s bar, Julie is talked into singing karaoke. She sings along at first, but immediately stops when the words, “I STILL KNOW WHAT YOU DID LAST SUMMER” roll onto the screen. Terrified, she leaves the group and runs back to her room and is soon met by Will who laid out a surprise for her including flowers and a love note. Julie takes a shower after she kindly sidesteps Will's affection for her while Tyrell and Karla (and soon-after Will) decide to get into the hot tub. While Julie is in the bathroom, she notices that her toothbrush has gone missing. Feeling something is wrong, she searches the room and finds Darick, the dockhand, hanging dead in the closet after Ben Willis slashed his head with his hook. After this gruesome discovery she runs out and grabs Tyrell, Karla, and Will and with the hotel manager present, they search the room, but there are no signs of Darick. The hotel manager does not believe her story and Julie attempts to call the cops, but finds that the phone lines are dead due to incoming hurricane. The group and the hotel staff prepare for storm. Meanwhile, Ben Willis makes his way into the hotel and kills the maid, Olga by slicing her cheek and stabbing her in the back with his hook. Later on, the poolboy Titus Telsco was the next victim to Ben when he impales Titus with a pair of garden shears after pinning his hand with his hook. The following day, the group finds that members of the hotel staff and the manager have been murdered and that the two-way radio, their only way of contact, has been destroyed. Isolated, Julie is forced to tell the others about the previous summer. Tyrell then suspects that Estes, the boat hand porter, is the murderer, since he is the only one who cannot be found. The group goes to Estes’ apartment, searching for clues. While there, they find Julie’s missing toothbrush and Karla’s hair tie, concluding Estes has been using voodoo to protect them. Estes appears and states the capital of Brazil is not Rio, revealing that the trip has been a set-up. He then leads the group to a graveyard in the forest where they find two graves of Ben Willis’ wife and daughter. There is also an empty grave and tombstone with Julie’s name. Estes explains that Ben Willis once had two children, a boy and a girl, and murdered his cheating wife in the hotel room that Julie is staying in. In anger, Julie shouts that she will not be killed by Ben and that they will fight against him. At that moment, the group notices that Estes has gone missing, but Will volunteers to go find him. Julie, Karla, and Tyrell head back to hotel to gather supplies to defend themselves. They head to the kitchen to find something to eat, and find Nancy, the hotel bartender, hiding in the freezer. Meanwhile, Will finds Estes to help them but he attacks Will while Ray take a boat to the island. Meanwhile, the fisherman appears in the kitchen and kills Tyrell, stabbing his hook through Tyrell’s throat. The girls are then chased to the hotel attic, where Karla is attacked by Ben and they both fall through the attic to the hotel bedroom below. After a brief struggle, Karla runs from the hotel room and jumps onto the greenhouse below. Julie and Nancy are able to rescue Karla just in time and run to the storm cellar to take refuge. Nancy turns on the light and they find that the storm cellar is storage for all of the dead bodies. Suddenly, Will bursts in and convinces the girls to head back to the hotel, stating that he saw the fisherman out on the beach. Back at the hotel, Julie sees that Will is bleeding from his stomach, so Nancy takes Karla to find a First Aid kit. While retrieving the kit, Nancy and Karla find Estes has been stabbed with a harpoon spear and is slowly dying and falls on top of Nancy. Ben Willis appears and impales Nancy to Estes, and presumably kills Karla as well. Back in the lobby, Julie is tending to Will, unable to find a wound in which the blood is coming from. Will states that she cannot find a wound because it is not his blood. It is then that Will asks Julie what her favorite radio station is, revealing he was the radio host caller. Will grabs her and drags her to the graveyard in the forest. Julie cries and asks him why he is doing all of this, to which Will states his name is Will Benson, Benson = Ben’s son. Ben Willis appears and confirms that Will is his child and attempts to murder Julie, when Ray shows up. Ray is attacked by Will, and a fight ensues. Just as Ben is about to stab Ray, Ray moves and Ben inadvertently stabs and kills Will. Ben shouts in anger from killing his own son, Julie fires a gun, shooting Ben in the chest. Ben then falls dead into the empty grave made for Julie. Ray comforts Julie now that he is dead. Back at the hotel, Karla is found alive and the three are rescued by the Coast Guard. Sometime later, Ray and Julie have married and are in their newly purchased home. Ray is brushing his teeth before bed and Julie is in their bedroom. She hears a noise and searches the house. Finding nothing out of place, she returns to her room, convincing herself that she’s fine. The bathroom door has been quietly shut and locked, while Ray is occupied. Julie sits down on her bed and looks into her mirror, noticing Ben Willis under her bed. The fisherman grabs her foot with his hook and pulls her under the bed."},"name":{"kind":"string","value":"I_Still_Know_What_You_Did_Last_Summer"}}},{"rowIdx":90,"cells":{"scenes":{"kind":"list like","value":["EXT. NIGHT. HOUSING PROJECTS -- MOSCOW SMASH CUT MOTION - flat out - it's us - we're running - stumbling - breathing rushed - blood in the snow. We are JASON BOURNE and we're running down an alley. Supered below : MOSCOW BLUE LIGHTS - from the distance - strobing through the night - rushing toward us - POLICE CARS - three of them - SIRENS HOWLING as they bear down - closer - faster - until they whip past the alley. Up against the wall - BOURNE is hidden in the shadows. BOURNE is badly wounded - shot through the shoulder - bruises and broken bones from the final car chase in SUPREMACY. With a GROAN, he lifts himself up, staggers across a park toward a PHARMACY.","INT. NIGHT. PHARMACY -- MOSCOW ROWS of MEDICINE and FIRST AID supplies, and in the background, a DOOR being jimmied. It's BOURNE. The ALARM goes off. MACRO ON - MEDICINE BOTTLE VICODIN, as BOURNE grabs it. Then PENICILLIN. Then SURGICAL SUPPLIES : Scalpel. Forceps. Sutures. Cotton gauze. Betadine. BOURNE finds a large sink. Rests his gun there. Lays out SURGICAL SUPPLIES. Checks out his back in the mirror. Opens the capsules of penicillin and pours the powder directly into the wound. Begins treating himself.","EXT. NIGHT. PHARMACY -- MOSCOW A POLICE CAR pulls up to the curb, lights flashing. One POLICEMAN goes to the jimmied DOOR. SECOND POLICEMAN sees blood and footprints. He motions to his partner to follow.","INT. NIGHT. PHARMACY BATHROOM -- MOSCOW BOURNE finishing up - splashes water on his face - he seems a man on a mission. He looks up - A MIRROR. His face. `` 415'' written on a building. DISEMBODIED VOICE -LRB- HIRSCH. -RRB- Welcome to the program. POV Bourne walks down a corridor -LRB- corridor # 1 -RRB-.","INT. NIGHT PHARMACY -- MOSCOW The cops approaching. Daniels leading Bourne down the corridor. DISEMBODIED VOICE -LRB- V.O. -RRB- You'll be saving American lives. A black sack is thrown over Bourne's head, then : -LRB- STOCK -RRB- A torrent of quick shots of Bourne's kills : the Professor, Jarda, the blonde guy in Paris, Mr. And Mrs. Neski. And finally. BANG - Marie hit in the head. The car off the bridge. She sinks away dead.","INT. NIGHT PHARMACY -- MOSCOW The POLICE enter the back room, guns drawn. POLICEMAN #1 Put your hands on your head and turn around slowly! BOURNE snaps out of it, does n't move. POLICEMAN # 1 -LRB- older -RRB- approaches him. When BOURNE does n't respond to his questions, the POLICEMAN starts forward. BOURNE turns and in one motion grabs his gun from the sink and disables the POLICEMAN. BOURNE freezes POLICEMAN # 2 with his gun and a look. BOURNE -LRB- in Russian. -RRB- Give me your gun and radio. POLICEMAN # 2's gun and radio skittle across the floor. BOURNE -LRB- in Russian. -RRB- My argument is not with you. BOURNE smashes the radio and takes the gun. BOURNE exits. BLACK SCREEN A TITLE fades in - THE BOURNE ULTIMATUM SUPER : Six Weeks Later","EXT. DAY. LANGLEY, VA Establishing shot - CIA Headquarters","INT. CIA -- DAY A workman installs a nameplate that reads : Ezra Kramer, Director, CIA.","INT. KRAMER'S OFFICE -- DAY Kramer listens to a recording with Landy and Cronin. There are unhung pictures and a few other items that indicate he has just moved into this job. Two other senior CIA officials sit in on the meeting. Kramer looks at a file on Bourne and Abbott. BOURNE -LRB- V.O. -RRB- So we got in the way? Is that why Neski died? Is that why you killed Marie? Kramer glances at a photo of Marie in the file. ABBOTT -LRB- V.O. -RRB- You killed Marie the minute you climbed into her car. The minute you entered her life she was dead! Kramer looks at Abbott's official photo. BOURNE -LRB- V.O. -RRB- I told you people to leave me alone! I fell off the grid. I was half way around the world. ABBOTT -LRB- V.O. -RRB- There's no place it wo n't catch up to you. It's how every story ends. It's what you are, Jason. A killer! You always will be. THUMP! CRONIN We think that's Bourne hitting him on the head and then - He makes a gun with his hand, i.e. Bourne putting his gun to Abbott's head. ABBOTT -LRB- V.O. -RRB- Go ahead! Go on! Do it! BOURNE -LRB- V.O. -RRB- She would n't want me to. That's the only reason your alive. The tape clicks off. KRAMER Who's `` she?'' CRONIN puts a picture of MARIE in front of KRAMER. LANDY His girlfriend, Marie. She was killed in India three weeks ago. Kramer looks down at another image. Abbott dead after his suicide. KRAMER A dirty section chief in league with a corrupt Russian Billionaire commits suicide when confronted by Jason Bourne. You could n't make this stuff up. -LRB- holds up the photo of Abbot dead. -RRB- You watched this happen? Landy nods. Kramer shakes his head in disgust at the whole situation. KRAMER Bourne's last confirmed location is Moscow, three days ago? LANDY Right. KRAMER So what does he do now? LANDY I think he's looking for something he has n't found. KRAMER Like what? What's he after? LANDY I'm not sure. Maybe he has n't gotten his memory back yet. Not all of it. A look from Kramer. KRAMER Pam, what I need to know is, what kind of a threat is he to us? LANDY If he just wanted to hurt us he could have sent this tape to CNN. KRAMER Maybe he still will. Maybe he gave it to you because he wants to throw you in the opposite direction of his real plan. I do n't know. I just know my number one rule is `` the only way to stay safe is to assume the worst.'' As far as I'm concerned Bourne is a serious threat until proven otherwise.","EXT. TURIN, ITALY - ESTABLISHING SHOT SUPER : TURIN, ITALY","INT. DAY. ITALIAN CAFE BACKROOM -- TURIN ROSS interviews DANIELS, a TAPE RECORDER on the table between them. ROSS shows DANIELS some of the evidence he's assembled. WANTED POSTERS of JASON BOURNE. ROSS -LRB- with poster. -RRB-. This one's three years ago - had half of Interpol after him - disappeared. Turned up in Naples - Berlin - Moscow - disappeared again. -LRB- Daniels says nothing. -RRB- The girl he was on he run with - Marie Kreutz - she turned up dead halfway around the world, from a sniper's bullet. -LRB- beat. -RRB- What connects the dots? Is it Treadstone? DANIELS Turn off that tape recorder.","INT. DAY. MARTIN'S APARTMENT -- PARIS The charm of old Paris captured in the workings of an elevator operating in a wrought - iron shaft. A WORK TABLE, covered with sheet music, music paper, pencils. And, sitting on the upright piano against the wall, a framed PHOTO of MARIE. A KNOCK on a door beautifully, heavily lacquered with centuries of paint. MARTIN KREUTZ, late 20s, opens the door and finds BOURNE. A long look between them - like two lost brothers who recognize each other - each has been waiting for this moment for a long time.","INT. CONTINUOUS. MARTIN'S APARTMENT Martin looks out the window. MARTIN Where is my sister? BOURNE She's dead. She was killed. MARTIN I knew it was going to end this way. It was always going to end this way. BOURNE I did n't believe that. MARTIN Why did she die? BOURNE She was shot. A man came for me. MARTIN And then you killed him. Bourne nods. MARTIN Now what? BOURNE Someone started all this. and I'm going to find them. Bourne looks at him for a beat and leaves.","EXT. SUBWAY -- DAY Bourne climbs the stairs. Bourne rounds a corner and stops, sees a bodyguard at a door up the street hail a car then go back inside. Bourne walks up to the door, the bodyguard comes out again. Bourne knocks him aside. Grabs the man behind him, ELLATRACHE. BOURNE -LRB- in French. -RRB- Who started Treadstone? The bodyguard comes back, gun out - ELLATRACHE -LRB- in French, to bodyguard. -RRB- It's OK! -LRB- in French, to Bourne. -RRB- They're still looking for you. You are taking a big risk coming here. Bourne shoves him against the wall, hard. BOURNE -LRB- in French. -RRB- Just tell me what I want to know! ELLATRACHE -LRB- in French. -RRB- I just provided them weapons. I do n't know who started - BOURNE -LRB- in French. -RRB- You know something. Tell me where to start looking. ELLATRACHE -LRB- in French. -RRB- There's a journalist in London. Simon Ross. He seems to know a lot about you. He has a source inside the program. Someone there from the beginning. What should I tell them if they contact me? BOURNE -LRB- in English. -RRB- They give me the name I want, or I burn their entire house down to get it.","EXT. DAY. HEATHROW AIRPORT -- LONDON ROSS hurries to catch a TAXI as he talks on his cell phone. ROSS This is big - a skein of lies - you pull at it and it just keeps coming - I'll fill you in when I get home. And it's not finished, either. -LRB- beat. -RRB- They're calling it ` Blackbriar'. Follow this SEQUENCE as.","INT. DAY. CIA SUBSTATION -- LONDON A LISTENING STATION in England scoops up MILLIONS of CELL PHONE CALLS. Sifts through BILLIONS of words. One word EMERGES from the CHATTER. BLACKBRIAR A TECHNICIAN sends the data to NSA back in the States. Where another COMPUTER gathers up the rest of the phone call. As we listen. TECH#3 `` Blackbriar'' echelon hit. NSA, please confirm receipt.","EXT. DAY. CIA HEADQUARTERS -- LANGLEY And there in the CRI HUB, another TECHNICIAN receives the DATA. Stops SUPERVISOR and reports. TECHNICIAN #1 Sir, we intercepted a call from London, keyword `` Blackbriar.'' SUPERVISOR Okay, send it to CRI right now.","EXT. DAY. THE SKYLINE -- NEW YORK CITY NOAH VOSEN, deft and confident, arrives at CRI Headquarters.","INT. DAY. CRI OFFICES -- NEW YORK CITY As VOSEN steps out of the elevator and into his office, he is met by his # 2, WILLS. WILLS We tracked the phone. Registered to a London reporter named Simon Ross. He works at the Guardian newspaper. They enter a hallway through double doors towards the HUB. VOSEN You tracking him? As they pass through, colleague hands WILLS a file. WILLS Yeah, thanks Mike. We have a survey team covering him at work. and a sneak and peek's on their way to his apartment. VOSEN Well, who talked to him? How did he find out about Blackbriar? WILLS We do n't know, we pulled his background and ran a cross check on any known anomalies, but we've come up with nothing. But, I think if we follow Ross, we are going to be able. VOSEN Right. Ross is easy. I want the source. They enter the HUB.","EXT. DAY. GARE DU NORD -- PARIS BOURNE buys a newspaper, enters the station and gets on the EUROSTAR.","INT. DAY. CRI DATA ROOM (was 25E) VOSEN and WILLIS listen to the phone call. ROSS -LRB- VOICEOVER. -RRB- Have you heard of an Operation Blackbriar? I'm going to try and get my head around this, see you first thing. VOSEN turns. VOSEN Is that all? WILLS Yeah. VOSEN I want rendition protocols and I want the asset put on standby, just in case.","INT. DAY -- CRI HUB VOSEN steps out from DATA ROOM. addresses the HUB. VOSEN People, listen up, this is a full priority situation WILLS Jimmy, give me Ross's profile on one. -LRB- points at the big screen on the wall. -RRB- ROSS'S information come up on the center screen. VOSEN Our target is a British national, Simon Ross, a reporter. I want all his phones, his blackberry, his apartment, his car, bank accounts, credit cards, travel patterns. I want to know what he's going to think before he does. Every dirty little secret he has. And most of all, we want the name and real time location of his source. This is NSA priority level 4, any questions? No response from the HUB. VOSEN -LRB- CONT'D. -RRB- All right, let's get to it.","EXT. DAY. EUROSTAR -- ENGLAND The EUROSTAR winds it's way to London.","INT. DAY. EUROSTAR BOURNE reads The Guardian. He sees an article written by Simon Ross. Title : `` RENEGADE ASSASSIN LOSE IN EUROPE''. It mentions BOURNE. There is a photo of Marie - FLASHBACK Marie smiles at him. Marie shot. Marie fades into the depths, dead. Bourne burns Marie's stuff","INT. DAY. EUROSTAR BOURNE comes out of the flashback. He is still carrying the pain of her loss Bourne finds Ross's name on the masthead, then goes to the name just below it in the news department.","EXT. DAY GUARDIAN NEWSPAPER -- LONDON Ross crosses a busy London street - heads to Guardian office building. A CRI TEAM watches from a parked car.","INT. DAY -- CRI HUB TECH # 1 watches the data arrive. TECH#1 Copy that. Mr. Vosen, subject is entering his office. VOSEN watches the feed. VOSEN Where's my picture please? TECH#2 Coming online. Online. Now. A surveillance picture flashes onscreen - ROSS works in his office. HUB chatter about ROSS phone. TECH#3 Take an hour to get his phone. VOSEN That's too long. Off VOSEN.","INT. DAY. GUARDIAN EDITOR OFFICE -- LONDON ROSS reports to his EDITOR. EDITOR So how do we know he's not spinning for someone? ROSS There's more. He was scared. EDITOR Scared of what? ROSS Blackbriar. A REPORTER sticks her head in. REPORTER Sorry, a call for you. ROSS Who is it? REPORTER Wo n't give hie name. ROSS leaves to pick up the call.","INT. CONTINUOUS. GUARDIAN -- NEWSROOM ROSS crosses the busy newsroom. REPORTER He's on my line. ROSS picks up the phone. Ross -LRB- CONT'D. -RRB- Simon Ross.","INT. DAY. CRI HUB -- NEW YORK CITY VOSEN watches as ROSS takes phone call. VOSEN Why are n't we hearing this? WILLS That's a hard line, Jimmy, why do n't we have it? JIMMY We have his line, sir, but he's not on it. WILLS looks confused.","INT. DAY GUARDIAN -- NEWSROOM ROSS listens. BOURNE -LRB- V.O. -RRB- Waterloo Station, south entrance, thirty minutes. ROSS Who is this? BOURNE -LRB- V.O. -RRB- This is Jason Bourne.","INT. DAY -- EUROSTAR TRAVELING Bourne You want to talk to me. Come alone. BOURNE hangs up.","INT. DAY. GUARDIAN -- NEWSROOM ROSS looks bewildered - hangs up the phone - gathers his stuff - puts his notebook in his pocket and leaves. SURVEY ONE -LRB- V.O. -RRB- Are you getting an image? VOSEN Where's he going? WILLS Okay, he is on the move. Target is mobile. The HUB reacts. WILLS Okay, people, look sharp, give me eyeballs on the street.","INT. DAY. BUILDING -- ACROSS FROM GUARDIAN SURVEY ONE has panned down to the entrance of the GUARDIAN building. Because ROSS is on the move. SURVEY ONE Subject is on the move. Go mobile One and Two. WILLS Where's that audio on the street? I want to know where he's going.","EXT. CONTINUOUS. LONDON STREET ROSS hails a BLACK TAXI. The SILVER VAN pulls out behind him.","INT. DAY. NEW YORK HUB VOSEN watches as the feed from the SILVER VAN comes through. MOBILE 2 -LRB- over radio. -RRB- We have the subject confirmed. VOSEN Where is he heading? MOBILE 2 Waterloo Station.","EXT. DAY. WATERLOO STATION -- LONDON BOURNE arrives on the EUROSTAR. Enters the station.","EXT. CONTINUOUS. STREET As the taxi moves away, the SILVER VAN pulls out behind it. A CYCLE COURIER momentarily blocks its path. Looking in on ROSS sifting through documents in the back seat. HUB -LRB- V.O. -RRB- Stand by at Waterloo.","EXT. DAY. WATERLOO STATION -- LONDON BOURNE moving toward the rendezvous.","INT/EXT. DAY. BLACK CAB -- YORK ROAD ROSS pays the DRIVER, exits. Checks his watch. Looks around. Is n't sure what his next move is -","INT. DAY. CRI HUB TECHNICIANS searching for ROSS on the busy street. TECHNICIAN #2 Mobile One - give us eyes on the subject.","EXT. DAY. YORK ROAD -- LONDON MOBILE ONE - two people from the van - take up a position in an open stairwell three floors up. They focus a camera down on Ross.","EXT. DAY. ENTRANCE -- WATERLOO STATION BOURNE buys a cell phone. Activates the SIM card on the new phone. Dumps the pay - as - you - go package in a bin. Rounds a corner. Out of sight.","INT. CONTINUOUS. CRI HUB -- NEW YORK CITY Screens come alive with a POV of ROSS. VOSEN studies the monitors. ROSS arrives at Waterloo, pays TAXI. TECHNICIAN #1 Sir, subject just arrived at the south entrance to Waterloo Station.","INT. DAY. WATERLOO -- ENTRANCE ROSS moves to the entrance. Behind him, inside the tube station portico, BOURNE arrives. Sees ROSS. Sees the two survey teams. MOBILE ONE up the stair well and MOBILE TWO at street level. Commuters coming up the escalators. BOURNE joins them - moving towards Ross. Closer. Right on him. ROSS oblivious. Looking out onto the street. BOURNE brushes past him and PUTS THE PHONE IN HIS POCKET. ROSS feels the contact. Checking himself - he's okay. But now a phone is ringing - looks around, must be someone else. But the vibration's coming from his jacket pocket. ROSS takes out the phone - not his - puzzled. ROSS hits `` answer.'' ROSS Hello? BOURNE -LRB- O.S. -RRB- Do n't ask questions. Just listen.","INT. CONTINUOUS. NEW YORK HUB VOSEN watching. VOSEN What's he doing? I thought we blocked his cell? Who the hell is he talking to? WILLS Jimmy, I need that phone! VOSEN -LRB- beat. -RRB- Activate the asset. WILLS Sir, we have n't yet become operational - VOSEN I said activate the asset. I want options. Wills keys in a CODE.","EXT. DAY. BMW -- LONDON STREET PAZ, 20s, cool and predatory, drives and waits for instructions. His PHONE buzzes. He reads the code. Accelerates toward Waterloo Station.","EXT. CONTINUOUS. FOOTBRIDGE BOURNE reaches the top of the stairwell on the other side of the road. His POV to the left - a LONDON BUS is approaching. To the right - a young man in a hooded top - speaking on his cell - walking toward a BUS STOP. A plan is forming.","INT. CONTINUOUS. WHITE VAN SURVEY TWO - camera zooming in on ROSS. SURVEY TWO What's the ROE on this one? PANNING TO REVEAL","INT. CONTINUOUS. NEW YORK HUB VOSEN thinking it over as he watches the image of ROSS.","EXT. DAY. YORK ROAD -- TUBE -- BUS STOP ROSS looking around. Then - BOURNE -LRB- O.S. -RRB- To your left. Blue hooded top. Walking towards the bus stop ROSS has clocked him. The HOODY walks to the bus stop. One hands - free EARBUD swaying down by his side as he moves to a seat. Sitting down. Checking his watch. ROSS shifting nervously from one foot to another. BOURNE -LRB- o.s. ; CONT'D. -RRB- Go to the bus stop, sit next to him. Head down. The LONDON BUS approaching. ROSS begins to move.","INT. DAY. CRI HUB -- NEW YORK Things are beginning to happen. TECHNICIAN #1 Target is on the move. WILLS Okay, who's the guy in the blue hood? Screen POV. ROSS standing next to the HOODY - head down. Trying to play it cool - ROSS in clear view of the cameras. `` Speaking'' with the HOODY. Camera zooming in. VOSEN Okay, there, he's talking to the guy with the hood. Take them down. Just then - A BUS pulling up to the bus stop, blocking both SURVEYS' views. Rifle mics picking up the bus chatter, instead of ROSS. VOSEN. Annoyed now. VOSEN Watch that bus! The bus! - do n't lose them! Stay triangular and do n't get blocked. The crackle of the survey teams as they try and reframe. POV SCREEN - SURVEY ONE seeing the bus clear. The HOODY has gone. POV ANOTHER SCREEN - SURVEY TWO - camera finally catching up, picking out the HOODY on the bus as it begins to pull away. VOSEN? says. Grab Team B. Grab the hoody and stay with Ross. TECH'S giving orders.","EXT. ACROSS FROM YORK ROAD -- DAY SURVEY TWO - three men racing across the road on foot. Weaving through heavy traffic.","EXT. DAY. FOOTBRIDGE AREA BOURNE watching his plan unfold. Only a few seconds to get ROSS out of there. BOURNE Take the footbridge. Go to the West Entrance. I'll meet you at the newsstand.","EXT. DAY. YORK ROAD -- CONTINUOUS ROSS rearing this - Moving away - The BUS moves up to the traffic light. The AGENTS moving across the street.","INT. DAY. NEW YORK -- ENCRYPTED AREA -- CONTINUOUS VOSEN looking at the screens. Pointing. VOSEN No, no, look. Ross is not on the bus. Split up the team - get the guy on the bus and send someone to stay on Ross.","EXT DAY. YORK ROAD -- CONTINUOUS One AGENT peeling off, to keep ROSS in check. The other two AGENTS racing to the bus as it pulls away from the lights. Kicking the doors open, leaping on. GUNS drawn. So quick. Passengers screaming. AGENT ONE -LRB- to Hoody. -RRB- You. On the floor. Down. Pushing the HOODY to the floor. AGENT TWO Driver, stop the bus! On the HOODY. The HOOD is pulled back. An innocent YOUNG MAN - terrified, bewildered.","EXT. DAY. FOOTBRIDGE AREA ROSS on the move across the walkway.","INT. DAY. STAIRWELL SURVEY ONE moving up the steps, only to meet - BOURNE coming down. Three quick moves and he's down - slumped against a wall - just another drunk to step over in the rush hour. Pulls the feed. Takes the earbud. Then back up and falls into step behind ROSS. Listening in to the chaos he has caused - an ocean away.","INT. DAY. NEW YORK HUB TECHIES scrambling to restore the feed. VOSEN staring. TECHNICIAN #2 We've lost signal. TECHNICIAN #1 What happened to Survey One? VOSEN I do n't like this. Patch me through to Met surveillance.","INT/EXT. DAY. CAR -- LONDON STREETS PAZ parked up - gets the call - pulls out into the traffic. Slicing through to the target area. Waterloo up ahead.","EXT. DAY. WATERLOO A SECOND SURVEY TEAM - out of their vehicles. Furtively they lock and load their side arms. Fanning out towards the station.","EXT. DAY. WEST ENTRANCE WATERLOO - NEWSTAND Bourne stops Ross, surprising him. BOURNE Why do you know so much about me? ROSS What? BOURNE The article. You talked to someone from Treadstone. Someone there at the beginning. What's his name? ROSS I ca n't tell you that. Who's following me? BOURNE Whoever they are it's trouble. ROSS Are they Blackbriar? BOURNE Blackbriar, what's Blackbriar? ROSS I do n't know. I heard the name this morning for the first time. Whatever it is, my source said it started with you. BOURNE What? What are you talking about? ROSS Look, just help me get away from these people. and we can talk more. we can - BOURNE -LRB- spotting approaching operatives. -RRB- We have to move. Bourne moves Ross toward the concourse. BOURNE Answer your phone.","INT. DAY. CRI HUB SCREENS coming alive again. They are through to MET SURVEILLANCE - the AREA around WATERLOO. TECHNICIAN #1 Last sighted heading to the West entrance. VOSEN He's got to be close. Seal the entrances.","EXT. DAY. WATERLOO The new SURVEY team moves towards different entrances - Ready to beat out the quarry.","EXT. DAY. WEST ENTRANCE CAMERAS suddenly alive. Movement across the footbridge. The net's been thrown.","INT. CONTINUOUS. CONCOURSE -- WATERLOO Into the station concourse. ROSS moving fast. Fighting through the crowds of faces. Each one a killer in ROSS' tormented mind. BOURNE on the periphery looking out across the throng, picking out the inconsistencies. One AGENT, then another approaching. He dials. BOURNE -LRB- O.C. -RRB- Three o'clock. Female. Blonde black top. ROSS Has she seen me? BOURNE Not yet. Dip left past the photo kiosk. ROSS spinning round. Dipping left. BLACK TOP passing in the background missing him. BOURNE crossing close behind - marshalling the pieces at breakneck speed. BOURNE -LRB- CONT'D. -RRB- Straight ahead. News kiosk. ROSS turning. Weaving through the commuters. BOURNE seeing cameras turn. ROSS heading into their path. BOURNE -LRB- CONT'D. -RRB- Change of plan. Stop. Tie your shoelace. BOURNE seeing ROSS dip out of view as a group of TOURISTS block the CCTV's line of sight.","INT. DAY. CRI HUB That same scene - scores of TOURISTS - from VOSEN's point of view. The TECHS try to get another angle.","EXT. DAY. CONCOURSE -- WATERLOO ROSS looking through the sea of legs as he finishes tying his laces. Cameras sweeping past. ROSS Are we clear? BOURNE Clear. News kiosk. Straight ahead. ROSS on the move. Sweating. Paranoid. Seeing a BIN MAN coming toward him - reaching into his trolley. ROSS Straight toward me. Bin man? BOURNE Negative. ROSS He's got a gun. BOURNE Negative. Keep straight ahead. But ROSS swerves out of his path as the BIN MAN pulls out - a bunch of keys. CCTV CAMERAS turn - ZOOMING IN ON ROSS.","INT. DAY. CRI HUB -- NEW YORK Ross' face on all screens. TECH#1 We got a hit. Middle of the concourse. VOSEN pacing. VOSEN We're losing him! We can not afford to lose him! Frenzied teching as they capture and transmit an image of Ross to.","EXT. DAY. TAXI RANK -- WATERLOO PAZ flipping open his phone. A voice crackling in his earpiece. VOICE Waterloo concourse. Subject heading east. Paz jamming the wheel hard right. Doing a high speed U - turn. Heading towards the east side of the station.","EXT. DAY. CONCOURSE BOURNE realizes ROSS has been seen. Sees the AGENTS starting to form the box. BOURNE Get into cover. Now! ROSS moving faster. VOSEN What's the status of the asset? WILLS In place in one minute. VOSEN Alright, I want to take him now. Get him out of there and have the asset cover it. WILLS gives orders.","INT. CAR TRAVELLING-- MEPHAM STREET -- DAY. PAZ pulling into a side street. Out towards a series of arches that lead underneath the terminal. In his ear. VOICE Target moving towards the stores. ANOTHER VOICE Asset in play. ETA thirty seconds. All exits covered. PAZ through the archway. Grabbing a station plan. Studying it. Through a subterranean maze of corridors. Up steps. Through doors. On his way to the kill zone.","EXT. CONCOURSE-- CONTINUOUS -- DAY ROSS moving through crowds around the departures board. BOURNE hearing that last exchange in his earpiece too. Asset in play? BOURNE Keep moving. BOURNE's POV : AGENTS closing the box. The departures board. Platform 7. A train waiting. BOURNE -LRB- CONT'D. -RRB- Faster. Commuters waiting for the platform BOURNE -LRB- CONT'D. -RRB- The front. Suddenly - CLICK - PLATFORM 7 displays. A wave of commuters flooding away - sweeping the AGENTS back with them towards platform 7. BOURNE -LRB- CONT'D. -RRB- GET IN THE STORE. BOURNE'S bought them thirty seconds.","INT. TUNNELS ABOVE THE CONCOURSE -- DAY PAZ on the move. Earpiece crackling. Through a door. Taking a left down another tunnel. Opens another security door and moves up some steps. Towards a ladder.","EXT. CONCOURSE WATERLOO -- SIMULTANEOUSLY -- DAY The AGENTS regrouping. Speaking into their radios. Voice He's in the store - still moving east. ROSS out into the open again. In front of him another STORE COMPLEX. BOURNE INSIDE! BOURNE searching the concourse. Something bothering him. The threat level clicking another notch. 102A/B INT. MAINTENANCE AREA - SIMULTANEOUSLY - DAY 102A/B PAZ heads up some stairs to a service platform. Climbs a ladder.","EXT. CONCOURSE -- CONTINUOUS -- DAY ROSS into the store complex. To one side is a service doorway. BOURNE sees the AGENTS approaching. Looks the other way - up at the hoardings above. Something's not right. Treadstone instinct. BOURNE Service doorway - Now!","INT. NEW YORK HUB -- SIMULTANEOUS -- DAY An image of Ross as he enters the store complex appears on the screen. TECHY 2 Store. Three means of egress. VOSEN Close him down.","INT. STORE COMPLEX -- SIMULTANEOUSLY -- DAY ROSS through narrow store corridors. Sheer panic now. Two of the AGENTS move in after him. BOURNE behind them. BANG - takes the first out silently. BOURNE Keep moving. ROSS moving out to the light as another AGENT follows. BOURNE -LRB- CONT'D. -RRB- Through the store room. ROSS travelling through. The second AGENT right behind as - BOURNE steps out from behind the store room door. The dull snap of bones as second AGENT falls to the floor.","INT. DAY -- CRI HUB On a screen VOSEN watches, transfixed, as BOURNE takes out all his agents and then grabs ROBB. VOSEN Jesus Christ, that's Jason Bourne. WILLS Maybe he's the source? VOSEN It does n't matter, the asset now has 2 targets. Take them both out. WILLS taps in the order.","INT. MAINTENANCE AREA-- DAY PAZ moves cross a narrow walkway. Now he's behind a mechanical ` tri - panel' hoarding. The kind that displays a different advert every 15 seconds. He waits for the change and then - - A huge field of vision across the concourse stretching out down below him - a sniper's heaven. PAZ pulling open the motor - casing from the side panel, goes to work on it. Slowing the rotation. Rearranging the large triangular prisms to give him just the right time - gap to pull the trigger - and just enough cover to disappear. He takes out rifle parts from his rucksack. Starts to assemble them.","INT. BEHIND THRESHERS (BEHIND THE SILVER METAL DOOR) BOURNE I'm going to get you to safety but you have to stay calm do exactly what I say. ROSS -LRB- fear - induced autopilot. -RRB- Sure, okay. BOURNE No, listen to me : Exactly what I say this time. Understand? Ross snaps to focus. Looks Bourne in the eye. ROSS Yes. BOURNE Stay here while I look for an escape. Ross nods.","INT. MAINTENANCE AREA PAZ puts together the rifle.","INT. WATERLOO STATION BOURNE exits from the silver door behind Threshers. He stays on the phone with Ross. Hidden from the view of the CCTV cameras by the thick crowd, Bourne sees the approaching agents abruptly pulling back. ROSS -LRB- PHONE V.O. ; CONT'D. -RRB- I can see the entrance from here I can make it out - BOURNE No, stay behind that door.","INT. HUB CCTV view of the silver door behind Threshers that ROSS is behind -LRB- not Bourne -RRB-. Wills is on phone. WILLS There. That silver door. Bourne's behind that door? TECH Confirmed. WILLS Okay, pull the agents back and give Bourne's location to the asset.","INT. MAINTENANCE AREA On his cell phone Paz receives a text indicating Bourne's location. Paz finds the silver door and aims his rifle at it. SCOPE POV A shape barely visible moving behind the window. -LRB- It's Ross but Paz and the Hub think it's Bourne.","INT. BEHIND THRESHERS / WATERLOO CONCOURSE-- DAY Bourne spots the agents pulling back per Wills' orders. ROSS -LRB- INTO PHONE. -RRB- If I run now I can make it - BOURNE -LRB- INTO PHONE. -RRB- No. Something's not right.","INT. MAINTENANCE AREA Paz awaiting his shot - SCOPE POV The door comes open slightly, but from this angle Paz does n't have a clean shot at his target -LRB- who he thinks is Bourne -RRB-.","INT. CONCOURSE -- WATERLOO Bourne searches the rafters, looking for any threats from above. ROSS -LRB- TEL.. V.O. -RRB- I'm going to go for it, okay? BOURNE Do n't move until I tell you. Bourne is distracted by the last of the agents disappearing. Something is definitely wrong - ROSS I'm going to go for it. BOURNE No, No not now. Ross suddenly sprints out from behind the door - SCOPE POV Paz sees the shape emerge -","INT. MAINTENANCE AREA -- DAY PAZ fires -","INT. WATERLOO -- SERIES OF ANGLES But it's Ross, not Bourne. Ross is hit by Paz's shot. He falls, inches from the silver door, dead. Blood has splattered on the door.","INT. PAZ'S NEST Paz snaps his head back to the scope, realizing he's shot the wrong person. Then he catches a glimpse of Bourne - Bourne ducks behind the gathering crowd, out of Paz's line of sight, and goes to the body.","INT. HUB Vosen and Wills stare at the screen. At the image of Ross, dead on the concourse. The room - normally full of chatter has gone dead silent. Vosen puts his head in his hands. This is a monumental screw up and everyone here knows it. He just had the wrong man killed. VOSEN Oh. shit. Then suddenly Vosen snaps back to focus : VOSEN -LRB- CONT'D. -RRB- Get the asset out of there. WILLS What about Bourne? On the HUB MONITORS we see Police moving in. Vosen does n't need to see anymore. VOSEN Get him out of there - NOW!","INT. WATERLOO -- DAY Bourne feels Ross' body for something. PAZ'S NEST Paz is frustrated by the order. He's itching to get another shot off at Bourne, but after a beat, packs up quickly, as ordered.","INT. WATERLOO -- DAY Back in Waterloo, Cops run in from all sides.","INT. DAY. WATERLOO STATION On the screens and in real life, the aftermath of the hit. PARAMEDICS try helplessly to deal with ROSS - killed instantly by the head shot meant for BOURNE. POLICE arrive and seal off the crime scene.","EXT. CONCOURSE WATERLOO -- SIMULTANEOUSLY -- DAY BOURNE on the move. Fast - Past platforms. On his way up to the Tri Panel. Up stairs. On to a walkway. To his right he sees a figure disappearing. PAZ. BOURNE hammers down the walk - way in pursuit.","EXT. PLATFORM AREA -- DAY BOURNE tailing PAZ down on to a parallel platform. PAZ dipping down into the underground entrance. 115/116 INT. TUBE STATION - WATERLOO - DAY 115/116 PAZ moving deliberately through the evening rush hour - blending in. BOURNE in pursuit. Chasing on instinct. There. A glimpse of PAZ at the bottom of an escalator. BOURNE fights past people. PAZ disappears into the crowd. BOURNE rushes to catch him. Rounding a corner. A long walkway - at the end, two staircases lead to different tube lines. BOURNE hesitates - measures the choice. The sound of a train fills the station - BOURNE - Fast downstairs. Watches - just as PAZ gets onto the car at another door. BOURNE lunges to get on the train. But the doors close. BOURNE'S POV Watching PAZ from the platform as he SAGS down onto a seat, nauseated, his skin clammy, his head pounding. He takes out the PILLS and dry - swallows them. Looks up. CLOSE ON - BOURNE Watching PAZ. As if he's looking in the MIRROR at his old self. The self before THE BOURNE IDENTITY. CLOSE ON - PAZ He looks straight ahead, just another commuter. BACK ON - BOURNE Watching PAZ, as the train pulls away. Then BOURNE is immediately in motion.","INT. DAY. DIRECTOR'S OFFICE -- CIA -- LANGLEY, VA KRAMER Hello. VOSEN It's Vosen. We have a situation.","EXT. NIGHT. DANIELS OFFICE -- MADRID Establishing Sewell and Marbury.","INT. NIGHT. DANIELS OFFICE DANIELS watches news of ROSS murder on TV. DANIELS panics, opens his safe, packs up papers, takes Blackbriar FILE. Sets alarm. Leaves.","EXT. NIGHT. INTERNET CAFE -- LONDON. BOURNE sits at a computer, the ROSS notebook open in front of him. He pages through it, finding names, places, `` HOW DID THIS ALL START?'' - and Blackbriar. He Googles `` Sewell and Marbury'' - finds Paris, Berlin, Madrid. BOURNE continues to search and finds receipt from Madrid. BOURNE leaves.","EXT. DAY. POSH HOTEL -- NEW YORK CITY LANDY steps out of a TAXI.","INT. DAY. POSH HOTEL -- NEW YORK CITY Vosen's sitting. VOSEN -LRB- to waiter. -RRB- Sparkling. And a `` Heart - Healthy'' omelet with goat cheese and peppers. Landy arrives. VOSEN You're late. Traffic? WAITER -LRB- handing her the menu. -RRB- Ma'am? LANDY Nothing for me. Vosen looks at her, surprised. VOSEN I'm buying. She shakes her head, no. She sits, without taking her coat off. She's not staying long. VOSEN When the Director called, it was suggested we bring you on - LANDY Suggested? -LRB- beat. -RRB- Are you sure it was just a suggestion? VOSEN Funny how different things look depending on where you sit. I look at this as doing a favor for you. Giving you an opportunity to complete some unfinished business. LANDY Meaning? VOSEN Jason Bourne. LANDY Bourne's finished. VOSEN Really? LANDY It was finished the moment I realized I was chasing him for something he did n't do. The case is closed. VOSEN So what do you make of this? -LRB- handing her surveillance photos of Bourne in Paris. -RRB- French intel picked up Bourne meeting Pierre Elattrache on Tuesday. He threatened to burn our house down if you did n't tell him who started Treadstone. That's a big problem, would n't you agree? LANDY This does n't feel like Bourne to me. VOSEN Why's it so hard for you to believe? LANDY Probably because it's coming from you, Noah. VOSEN Lets try and be adults okay? We all thought he was done, off the grid. But Bourne's back. Maybe he's a threat. We both want the same thing here. LANDY So what happened at Waterloo? VOSEN We have a leak. Bourne showed up in our surveillance. We had very little time to react. LANDY And the reporter ended up dead? VOSEN Bourne saw us coming. Landy looks at him, suspicious. LANDY So what was he doing? VOSEN? says. We do n't know. But just the fact that he was there means he's up to something, do n't you think? Maybe he's the source? LANDY The real question is how you managed to get in a fire fight in the middle of a public train station. VOSEN Do n't second guess an operation from an armchair, Pam. It's not fair. LANDY I'm going to the office now. I'll make my own introductions. Off VOSEN.","EXT. DAY. ATOCHA TRAIN STATION -- MADRID AN AVE train pulling into the vast station. BOURNE stepping out, walking up the platform. Moving out through the station.","INT. DAY -- CRI HUB TWO NEW TECHS plus the three we met before. All watching VOSEN lead LANDY and CRONIN into the room. WILLS This is Pamela Landy. She's gon na be quarterbacking our search effort. I think what we oughta do, just to get started, let's go around the room, say who you are and what your spec is. LANDY stepping in before this gets going - LANDY Let's do names later. -LRB- she's got the floor. -RRB- What's Bourne's last fixed position? -LRB- impatient. -RRB- Anybody. TECH#3 London. Twelve hundred Zulu. LANDY Status? Wounded? Armed? TECH#2 Alive. Mobile. Unknown. LANDY Where are your grids coming from? TECH#1 NSA Tactical. LANDY You have an Echelon package? TECH#1 Yes. LANDY Why is n't it on? TECH#1 We were waiting. LANDY For what? -LRB- no takers. -RRB- You're nine hours behind the toughest target you've ever tracked. I want everyone to sit down, strap in, and turn on all you've got. -LRB- beat. -RRB- That would mean now. That lights it. They're moving. LANDY -LRB- CONT'D. -RRB- Thank you. VOSEN watches. LANDY -LRB- CONT'D. -RRB- I want everything you've got on Ross on screen one. LANDY watches as the screen lights up with ROSS information.","EXT. DAY. SEWELL AND MARBURY -- MADRID Bourne arrives, begins to recon the area. He goes to the front door finds `` Sewell and Marbury'' and rings the bell. No answer. Two cops come around a corner. Bourne sees them, notes the side of the building and leaves.","INT. DAY. CRI HUB -- NEW YORK CITY TECH#1 Sir, we just hacked Ross's email account at the Guardian and found a round trip ticket to Turin, yesterday. 0800 arrival, 12:05 departure. LANDY I think we can be pretty certain that Bourne's not your source then? VOSEN How? LANDY Ross's call to his editor, where he said he just met the source on Blackbriar, took place just after his flight landed. His met his source in Turin. VOSEN So? LANDY So, what, Bourne met Ross for breakfast and then, at noon the same day Bourne calls Ross to demand a meet at Waterloo? CRONIN -LRB- Needling Wills. -RRB- Maybe they were even on the same flight? VOSEN Cross check the secure cell phone usage of everyone with Blackbriar SCI clearance against all calls in and out of Turin during the morning Ross was there TECHNICIANS start pounding keyboards. LANDY The guy you're after is a CIA operative with clearance above Top Secret. He was committing treason by talking to Ross. Do you really think, while doing that, he used a cell phone he knows we can track? TECH 3 -LRB- JIMMY. -RRB- Zero results on the cross check. VOSEN stares daggers at her. WILLS Do you have a better idea? LANDY Yeah, I'd look at all the people whose cell phones were switched off the entire period Ross was in Turin. WILLS Do it Jimmy. TECHNICIANS start tapping. LANDY -LRB- looks at Cronin. -RRB- I mean if your people use their cell phones as much as mine do, the list should be pretty small TECHNICIAN 3 JIMMY Three names : Tom Brewster, Jack Boulin, Neal Daniels. The names display on the screen : Tom Brewster, Jack Boulin Neal Daniels. The HUB employees ca n't help but be impressed by LANDY. WILLS and VOSEN notice their response. LANDY Now check everything in Ross's apartment against those names. Look for common patterns, look for - CRONIN Initials. Bring that up on main. LANDY turns. CRONIN is leaning down in front of a computer screen. Point to something for the tech - who puts it on the big screen, blown up. In a set of handwritten notes by ROSS it says `` per N.D. `` next to several scrawls. LANDY Neal Daniels. He's Station Chief in Madrid now, is n't he? WILLS Jesus Christ. VOSEN Call the RSO at the Embassy and have them take Daniels into custody if he's there. If he's not, get a grab team to the Calle Norte safe house. Send them in heavy and tell them we'll assist with entry. LANDY `` Heavy?'' Daniels is n't - VOSEN I'm worried about Bourne. If he's not Ross's source, then he must be after Ross's source - just like us. Off LANDY.","EXT. MADRID STREETS -- NIGHT BOURNE in a TAXI turning a corner into a narrow street. The rain has slowed, but the streets are still quiet. BOURNE gets out and walks past the SEWELL and MARBURY front door, picks the lock and gains entry.","INT. SEWELL AND MARBURY. -- NIGHT BOURNE up the stairs. Finds the office. Jimmies the door. Disables the alarm. All the signs of a hurried exit. A half filled cup of coffee - cigarette burned down in an ashtray but not snubbed out - a light left on - files and documents, some shredded, some not.","INT. HUB Vosen paces back and forth. The hub is MUCH quieter than it was in the Waterloo scenes. TECH 1. says. -LRB- LUCY. -RRB- Parque Vasquez is clean. No sign of subject. VOSEN Team two, ETA Callee Norte? FILTERED V.O. -LRB- KILEY. -RRB- Three minutes.","EXT. MADRID STREETS -- NIGHT A BLACK CAR moving briskly through traffic and -","INT. MOVING BLACK CAR -- NIGHT HAMMOND at the wheel. KILEY with the map. Shutting off his phone.","INT. SEWELL AND MARBURY -- NIGHT BOURNE checks the office. Soon he finds a photo of Daniels with Albert Hirsch.","EXT. HOSPITAL ANNEX -- OVERCAST DAY -- FLASHBACK Bourne arrives at a nondescript steel door with two CCTV cameras covering it. He sees 415 written above the door.","INT. SEWELL AND MARBURY -- NIGHT The flashback overwhelms Bourne.","INT. SRD CORRIDOR -- DAY -- FLASHBACK POV shots of Bourne walking down the long corridor with Daniels. Other shots revealing that Bourne is in Army dress greens -LRB- without hat -RRB-. Daniels knocks and leads Bourne into -","INT. SEWELL AND MARBURY -- NIGHT Bourne is driven to his knees.","INT. TANK ROOM -- FLASHBACK Bourne is dragged into a room with a large water tank. His hands have been bound behind his back, the sack's drawstring pulled tight, and he has been weighted down. Bourne is shoved into the water. UNDERWATER SHOT - FLASHBACK Bourne falls into the water. SPLASH. He starts to sink. The wet sack allows us to see the outlines of his face. Also POVs as Bourne sinks. SERIES OF SHOTS FROM ABOVE AND BELOW WATER - FLASHBACK Bourne struggles wildly at first. Tries to get out of his restraints. But to no avail. SRD men watch him from the edge of the tank. Perhaps also on monitors. Expressionless. UNDERWATER SHOT - FLASHBACK Bourne fights every human instinct to draw a breath. Also shot from Bourne's POV : HIRSCH -LRB- FILTERED, EERIE. -RRB- You're going to drown. There is nothing you can do to prevent this. Stop struggling and accept it. Finally Bourne ca n't hold his breath for an instant longer. His mouth opens. Water rushes in. He convulses, begins to drown.","INT. TANK ROOM -- FLASHBACK Bourne's body goes limp. SRD men watch. No reaction. UNDERWATER SHOT - FLASHBACK Bourne goes limp. POV of him blacking out.","INT. SEWELL AND MARBURY -- NIGHT BOURNE comes out of the FLASHBACK. As he staggers across the room, he notices a car arriving on the monitor.","EXT. STREET A car approaches.","INT. SEWELL AND MARBURY Bourne snaps out of it and sees the car on a security monitor.","EXT. STREET. Agents get out of car and approach building.","INT. DAY -- CRI HUB TECH#3 Sir, they're at the front door. VOSEN watches.","EXT. NIGHT. MADRID SAFEHOUSE HAMMOND AND KILEY enter the building.","INT. NIGHT. SAFEHOUSE BOURNE runs water into the TEA KETTLE - sets the trap.","INT. NIGHT. SAFEHOUSE HAMMOND and KILEY enter. HAMMOND We're in. BOURNE listens from his hiding spot.","INT. DAY. CRI HUB LANDY paces. VOSEN Okay, put it live.","INT. NIGHT. SAFEHOUSE HAMMOND moves quickly into the room - gun raised. HAMMOND at the alarm box. HAMMOND Alarm's down.","INT. DAY -- CRI HUB VOSEN That has to be Bourne. VOSEN already moving to the monitor.","INT. NIGHT. MADRID SAFEHOUSE HAMMOND and KILEY - move cautiously from room to room - they've done it before. HAMMOND -LRB- into mike. -RRB- Safe's cleaned out.","INT. CRI/GRID ROOM VOSEN pacing impatiently around the speakerphone - VOSEN Shit. Track the passports.","INT. NIGHT/RAIN -- SAFEHOUSE KILEY gestures to a light moving under a door. Kiley crouching. leaning in. hand on the knob, and - Pulls the closet DOOR OPEN - Nothing. Sink, dishes. a small kitchen. And. on the stove. a tea kettle and a spoon. Which is the last thing they'll remember, because. BOURNE - coming around the corner fast - full stop and - BOURNE lays out HAMMOND. KILEY turns to find BOURNE - who takes him out too. Then it stops. BOURNE yanks the headsets. Closes the PHONE.","INT. DAY. CRI HUB The SCREENS go black. Silence. VOSEN Goddamn it! Get a back - up team in there!","INT. MADRID SAFEHOUSE - NIGHT TEA KETTLE payoff.","INT. HUB VOSEN How long till back - up arrives? The hub scrambles to answer that. Landy paces in the background. Suspicious of Vosen. VOSEN How long? -LRB- beat, loud, to the entire hub. -RRB- Stop! Hang on. I have an idea.","INT. NIGHT. MADRID SAFEHOUSE ON A SECURITY MONITOR - BOURNE sees another figure moving up the stairs. Checking his watch, reloading his gun. Twisting into the path to shoot as the door opens, hesitating because - It's NICKY. A beat - long unbroken. BOURNE What are you doing here? NICKY I was posted here after Berlin. BOURNE Where's Daniels? The office PHONE goes. Bourne waving her to it. She picks it up. He hits the speaker phone.","INT. HUB NICKY -LRB- V.O. -RRB- Hello. VOSEN Who is this? NICKY -LRB- V.O. -RRB- This is Nicky Parsons. Who's this? Landy reacts to her voice. Both Vosen and Landy strongly suspect Bourne is there and listening. Vosen reads her `` Duress Challenge'' identity check off the screen. It reads : Challenge : `` Sparrow'' Response if Under Duress : `` Ruby'' Response if Normal : `` Everest'' VOSEN Nicky, I need to do an ID challenge first. Code in : `` Sparrow.'' Vosen looks at the screen to check her response. NICKY Response : `` Everest''. VOSEN Nicky, this is Noah Vosen. How long have you been on site? NICKY -LRB- V.O. -RRB- I just walked in. VOSEN We have two officers on site. Are you in contact with them? NICKY -LRB- V.O. -RRB- They're down. Unconscious, but alive. VOSEN Is there any sign of Daniels? NICKY -LRB- V.O. -RRB- No. LANDY Nicky, this is Pam Landy. We have reason to believe there is a connection between Neal Daniels and Jason Bourne. NICKY -LRB- V.O. -RRB- Bourne, are you still looking for Bourne? I thought the case was closed. LANDY No, some people are convinced he's still a threat. I disagree but to find out I need to talk to him. VOSEN seething because LANDY has interrupted him. VOSEN Hold on Nicky. Vosen hits the mute button. VOSEN What are you doing? You know Bourne's probably listening. Landy does n't answer. Vosen to Wills : VOSEN How long till back up arrives. Wills holds up three fingers. Vosen unmutes. VOSEN -LRB- CONT'D. -RRB- -LRB- into microphone again. -RRB- Listen, Nicky. I want you to stay put and secure the premises. It could be an hour until another team arrives. LANDY piercing VOSEN with a look.","INT. SAFEHOUSE - NIGHT BOURNE continues to hold the gun in her face - NICKY is very calm considering the predicament she is in. NICKY Okay. DIAL TONE as the line gets closed at the other end. NICKY They know you're here. BOURNE How long do I have? NICKY Three minutes.","EXT. NIGHT. MADRID STREET FLASH : TWO SEDANS squeal around a corner. CRI reinforcements.","INT. NIGHT. CRI SEDAN -- MADRID STREET DELTA DUDE 2 minutes to safehouse.","INT. NIGHT. MADRID SAFEHOUSE NICKY My car's outside. I know where Daniels is. BOURNE lowers his gun, grabs the phone and dials `` 1 - 1 - 2'' SPANISH OPERATOR -LRB- SUBTITLE. -RRB- Emergency operator. Where is your emergency? BOURNE answers her in perfect Spanish with a perfect Madrid accent, but worked up, like a civilian would be. BOURNE -LRB- SUBTITLE. -RRB- 334 Calle Norte. I hear gunfire. And men shouting. I think they're Americans - BOURNE pushes the phone off the desk - fires four shots into the ceiling - calmly moves Nicky towards the back door.","INT. HUB VOSEN You `` disagree'' he's a threat? He just took out two more of my men. Not to mention his ultimatum to Ellatrache? LANDY The only way this has a happy ending, Noah, is if we find a way to bring Bourne in voluntarily. VOSEN He wants revenge, Pam. The only realistic way to deal with this is to eliminate the threat.","INT. NIGHT. BACKSTAIRS BOURNE and NICKY rapidly descend. BOURNE Okay, where is Daniels headed? NICKY 8 o'clock this morning, he wired $ 100,000. to a numbered bank account in Tangier. BOURNE Okay, Tangier is about 300 miles away, we can make the morning ferry. NICKY And then what?","EXT. NIGHT -- MADRID SAFEHOUSE STREET Bourne and Nicky exit on to the street. Suddenly they hear tires squealing nearby. NICKY They're coming. They continue to walk down the street towards Nicky's car.","INT. HUB Vosen and Landy are watching this live. As they cross the street two MADRID POLICE CARS come around the corner the wrong way and screech to a stop. Vosen reacts.","EXT. MADRID -- NIGHT Four cops jump out and take aim at the AGENTS. SPANISH POLICE Manos Arriba! Manos Arriba! More sirens closing in. A third police car appears. Then a fourth.","INT. HUB Vosen ca n't believe it -","EXT. MADRID -- NIGHT The agents drop their guns and surrender. BOURNE and NICKY continue around a corner - they get in her VW GOLF and drive away.","INT. HUB Vosen stares at Landy. A beat, then she walks out. VOSEN Issue a standing kill order on Jason Bourne, effective immediately. 139B - C INT. NIGHT - VOSEN'S OFFICE - CRI 139B - C VOSEN on the phone. VOSEN We lost Bourne. KRAMER You still think he's after Daniels? VOSEN Yeah. Nicky's just the means. But if we find Daniels, we'll find Bourne. KRAMER Daniels knows way too much. Daniels knows everything. We ca n't let them meet. VOSEN I'll take care of it. KRAMER Good. -LRB- beat. -RRB- And fill Hirsch in. Just in case.","INT. NIGHT. TRUCK STOP -- SPAIN BOURNE and NICKY sit over coffee. A long silence. then : NICKY What are you after, Jason? Why are you looking for Daniels? BOURNE Do you know who this is? Bourne puts the photo of Daniels and Hirsch on the table between them. She looks at the photo, points. NICKY That's Daniels. -LRB- points at Hirsch. -RRB- I do n't know who that is. BOURNE I have to get back to the beginning. or I'll never be free of this. NICKY Who is he? BOURNE I think he started Treadstone. I remember meeting him. I remember the first day. -LRB- beat. -RRB- Daniels brought me to him. Nicky looks back at him. not sure what to say. NICKY What happened? BOURNE An initiation. I guess. FLASHBACK QUICK FLASH : Bourne, head in sack, is held underwater, struggling desperately for breath -","INT. NIGHT. TRUCK STOP -- SPAIN Bourne comes out of the flashback. Nicky is looking at him. NICKY Jason. that was n't some one - off initiation. Daniels said they did that to you over and over again. That's how they. She does n't finish. And Bourne does n't ask her to. Just a long pause. BOURNE Why are you helping me? NICKY It was difficult for me. with you. BOURNE looks up. Another long pause. NICKY -LRB- CONT'D. -RRB- You really do n't remember anything? BOURNE No. NICKY'S face. Two SPANISH COPS enter the cafe. BOURNE -LRB- CONT'D. -RRB- We should move. They get up and leave.","INT. VOSEN'S OFFICE -- DAY Vosen goes to his safe. VOSEN -LRB- to voiceprint mic. -RRB- Noah Vosen. Then he puts his thumb into a print reader. The safe door pops open. He pulls out a file marked `` Top Secret.''","INT. DAY. LANDY'S OFFICE -- CRI CRONIN makes his way down the hallway. LANDY works at her desk. CRONIN enters. CRONIN They tracked Daniels' passport to a hotel in Tangier. They're holding up a bank transfer he made to keep him in place while they move an asset in from Casablanca. Off LANDY. This just keeps getting worse.","INT. VOSEN'S OFFICE Landy enters without knocking. LANDY Since when do you have authorization for lethal action against Daniels? VOSEN Since he cleaned out a Blackbriar safe and fled to Morocco! LANDY So grab him - VOSEN I do n't have the people on the ground to do that and I'm not going to risk that file falling into the wrong hands. LANDY What's going on? What's Daniels got? VOSEN What's he got? He ran all of Blackbriar's operations in Southern Europe and North Africa. LANDY I think the world's well aware we have a rendition and lethal action capability at this point, Noah. VOSEN For Christ's sake, Pam, he's got our entire playbook. Names, dates, ghost sites, how we train our assets. LANDY You still do n't have the authority to kill him. VOSEN Oh, yes I do, Pam. Vosen holds up the file we saw him pull out of his safe. It is labeled `` Blackbriar : Lethal Action Protocol.'' VOSEN That's what makes us special. No red tape. No more getting badguys in our sights and then watching them escape while we wait for some bureaucrat to issue the order. Landy opens up the file. Sees the words `` instantaneous lethal action is authorized when.'' LANDY You just decide? No oversight. No checks and balances. VOSEN Come on, Pam, you've seen the raw intel. You know how real the threat is. We ca n't afford to have our hands tied like that anymore.","EXT. DAY. FERRY -- ESTABLISHING BOURNE and NICKY ride the ferry from Gibraltar to Morocco.","EXT. DAY. TANGIER HARBOR They arrive and pass through CUSTOMS.","EXT. DAY. TANGIER DANIELS drives.","EXT. DAY. TANGIER DESH arrives, grabs a TAXI.","INT. DAY. PENSIONE -- TANGIER BOURNE and NICKY enter a shabby room. Turn on the fluorescent lights. BOURNE tosses his BACKPACK on the bed. NICKY plugs her LAPTOP into the USB port. ON THE SCREEN, as NICKY hacks into the system. BLACKBRIAR.","INT. LANDY'S OFFICE -- DAY Landy on the phone. LANDY It's Pamela Landy for him. Would you tell him it's urgent?","INT. KRAMER'S OFFICE -- DAY The phone buzzes. Kramer picks it up. ASSISTANT -LRB- PHONE V.O. -RRB- It's Pam Landy. She says it's urgent. On Kramer. the wheels turning. KRAMER Tell her I'm unreachable. Kramer hangs up.","INT. LANDY'S OFFICE -- DAY Landy receives the news. The wheels turning in her head. She hangs up. A pensive moment, then she gets up and heads for -","INT. DAY -- CRI HUB LANDY AND CRONIN enter the hub - VOSEN is in the middle of giving the kill order. VOSEN Give me the subject's location. TECHNICIAN #2 Subject is currently on foot and now entering Hotel Velazquez. 45 Route Commerce, Tangier. VOSEN Get an elevation and a floor plan, tic - tac - toe. Locate the room. Give the asset Daniels's location and the route between Daniel's hotel and the bank.","INT. TAXI DESH looks down at his beeping cellphone. It has a MAP on the screen.","INT. HOTEL Nicky at her computer. SHE LOGS IN WITH HER USER I.D. Bourne looks on. TIGHT ON MONITOR : 3 - D IMAGE OF HOTEL WITH DANIEL'S ICON PINPOINTED","INT. HUB Vosen and Wills. Landy still pacing VOSEN Do we have that room yet? TECH 2 -LRB- ARKI. -RRB- Yes sir Room 117. VOSEN Get the hotel's trunk line. Run all calls through here with an iso on 117 TIGHT ON COMPUTER MONITOR : DESH'S ICON STOPS MOVING. MEDIUM CLOSE UP ON TECH TECH Sir, the asset is acquiring the materials.","INT. LOCK-UP GARAGE. DAY DESH opens a lock - up and goes in. He comes out with a scooter and drives off.","INT. HOTEL Nicky types on computer. Enters search parameter : NEAL DANIELS. ACCESS DENIED. NICKY His location's being blocked. BOURNE Now they found Daniels, do you know where he is? NICKY They'll get one of the operatives to terminate him. BOURNE Find out who.","INT. LOCK-UP GARAGE. DAY Desh works on a bomb. NICKY -LRB- O.C. -RRB- Desh.","INT. HOTEL DESH BOUKSANI's profile. BOURNE Tell him you're going to meet him and that you have a new phone for him. NICKY If you stop Desh they'll just get someone else. BOURNE We're not going to stop him. We're going to follow him. He'll take us right to Daniels.","INT. LOCK-UP GARAGE. DAY CU DESH -LRB- AND INSERT PHONE -RRB- HE RECEIVES NEW ROUTING INFORMATION FROM NICKY. `` Meet me Tangier Cafe Paris'' The bomb is finished on the Work table.","EXT. LOCK-UP GARAGE. DAY Desh takes the scooter out.","EXT. TANGIER ESTABLISHING","EXT. STREET. Bourne and Nicky walk. Desh rides his scooter. TIGHT ON COMPUTER SCREEN : DESH'S ICON TURNS OFF COURSE.","INT. HUB TECH -LRB- LUCY. -RRB- Sir, the asset is deviating. VOSEN Find out why.","EXT. ACROSS FROM CAFE DE PARIS. DAY BOURNE, recalculating. Looking around him. A scooter is pulling up and the driver walks toward BOURNE. TIGHT ON COMPUTER SCREEN : DESH'S ICON IS NOW STATIONARY","INT. HUB TECH -LRB- LUCY. -RRB- Asset unscheduled stop.","EXT. CAFE DE PARIS NICKY SITS, Desh walks up and snatches the phone off of the table. A scooter is pulling up and the driver walks toward BOURNE. He brushes past him, taking the key. Keeping DESH in sight as he returns to his Vespa and pulls out in to traffic. TIGHT ON COMPUTER SCREEN : DESH'S ICON IS MOVING AGAIN TECH Sir, the asset is on the move, in route to subject.","INT. HUB - DAY TECH #1 Sir, the asset is back on course. VOSEN looks up. WILLS Sir, we have an unauthorized breach. Someone with active system knowledge has penetrated out protocols. Information was passed to the asset at 14.11. -LRB- beat. -RRB- The trace is confirmed and valid. It comes from a computer belonging to Nicky Parsons. VOSEN looks over at Landy. his wheels turning. A series of cuts between them. VOSEN Where did the course deviation occur? TECH -LRB- LUCY. -RRB- South to Rue Belgique. Stationery at Place de France. VOSEN That's where Parson's is. He pauses, deciding what course to take. Landy watches. VOSEN When we're finished with Daniels send the asset after her. We find Parsons, we find Bourne. LANDY -LRB- OVERLAPPING. -RRB- -LRB- going to Vosen, firm. -RRB- Noah, what are you doing? VOSEN Not now. LANDY Now. I want to know what's going on. VOSEN Not now. LANDY I'm asking on what basis you're continuing this operation. VOSEN On the basis that Nicky Parsons has compromised a covert operation. She is up to her neck in it. LANDY This is about Daniels, not Nicky! VOSEN She has betrayed us! LANDY You do n't know the circumstances! VOSEN She's in league with Jason Bourne for Chrissake! LANDY You do n't have the authority to kill her or Bourne! VOSEN Yes, I do Pam, it's right here and it's legal. VOSEN slams a document on the desk. INSERT SHOT : `` Blackbriar : Lethal Action Protocol.'' LANDY She's one of our own. You start down this path. where does it end?! VOSEN It ends when we've won. LANDY turns and storms out. VOSEN Notify the asset of the additional target. BRYAN Yes, sir. BRYAN codes in a kill order on NICKY.","EXT. DAY. TANGIER As he rides his VESPA, DESH receives additional target information. Pictures of BOURNE and NICKY. DESH glances in his rearview mirror - spots BOURNE.","INT. DAY. HUB -- MEDIUM CLOSE UP: VOSEN Have the bank release the funds. A TECH calls DANIELS.","INT. DAY. VELASQUEZ HOTEL DANIELS answers phone. BANK OFFICER -LRB- FRENCH, SUBTITLED. -RRB- Mr. Daniels, Bank of Tangier. Your funds are now available. Daniels leaves.","EXT. DAY. TANGIER STREET DESH parks the motorbike and walks around the corner, BOURNE follows. DANIELS' car coming down the street. BOURNE stops and sees the car - realizes the danger. BOURNE turns back to see DESH with the detonator in his hand. BOURNE locks eyes with DESH. Before BOURNE can react - DESH detonates. BOOM! DANIELS is DEAD. BOURNE is thrown across the street by the blast. He lays MOTIONLESS. DESH POV. He looks back to see BOURNE not moving, lying in the street. DESH gets on his motorbike and heads off to kill NICKY.","EXT. PETIT SOCCO -- CONTINUOUS NICKY still at that café waiting. Taking out her phone - puzzled. She answers. Looking around. NICKY Code in? -LRB- no reply. -RRB- Code in? Nothing. Just the noise of traffic.","EXT. VESPA TRAVELLING DESH on the move towards Petit Socco. On the cell - making that ` silent call'.","EXT. AVENUE D'ESPAGNE -- THAT MOMENT BOURNE'S too late - hearing the ` line busy' tone. Knows this tactic. And those POLICEMEN are getting closer.","INT. NEW YORK HUB -- ENCRYPED AREA -- CONTINUOUS Frenzied teching. A screen comes alive. TECHY We have a trace. TECHY 2 Target heading north. Rue des Chretiens. Intercept ETA six minutes. VOSEN Okay, that's it. Bar her cell. Tie it off.","EXT. RUE D'ESPAGNE -- CONTINUOUS DESH is disappearing from view. And the POLICEMEN are surrounding BOURNE. Demanding to see his papers. BOURNE speaking in Spanish - fishing for his papers. Looking back up the street. Forming a plan. Checking his watch. More POLICE arriving now. And DESH has disappeared out of sight. No time for this. BOURNE breaks away. Through the crowds into the traffic. Police whistles - shouting. Confusion. The chase is on. Three policemen turning into his path. No choice. BOURNE taking them down. Sprinting out across the road. A KID and his moped. Caught up in the police dragnet. BOURNE leaping on the bike - kick - starting it. Away into traffic as two squad cars turn and make chase. BOURNE weaving through traffic. One hand on the bike the other on the cell, desperately trying to call NICKY. But now, at least he's got a dial tone.","EXT. PETIT SOCCO -- CONTINUOUS NICKY grabbing the cell. Answering. NICKY Bourne? BOURNE Nicky? Listen to me. You need to - The line goes dead. Looking at the screen - ` SERVICE DENIED' Really spooked now - looking around. Time to move. Dismantling the phone instinctively - scattering it's components. She starts to make her way out of the square.","EXT. STREETS -- CONTINUOUS DESH through the streets - getting closer - heading towards the PETIT SOCCO.","EXT. MOPED TRAVELLING BOURNE picking up the pace. Three more police cars out of a side road just missing him. BOURNE choosing his exit. Up ahead - a narrow alleyway - taking it. The squad cars crunching to a halt, behind him.","EXT. PETIT SOCCO -- CONTINUOUS DESH crossing the SQUARE weaving through a sea of push bikes. Parking his Vespa at the corner of RUE DES CHRETIENS. Travelling on foot.","EXT. RUE DE CHRETIENS -- CONTINUOUS NICKY - trying to keep calm. Checking each alley. Moving on.","EXT. PETIT SOCCO -- CONTINUOUS BOURNE arriving - seeing NICKY has left. Seeing DESH'S Vespa parked up. More police - on foot now. BOURNE parking up. Seeing the crowded streets. Looking up to the rooftops. He needs to get higher. Starts running up steps.","INT./EXT. RIAD/ROOFTOPS -- CONTINUOUS BOURNE into a riad. Through a courtyard - up more stairs - up a ladder. Out onto the rooftops. Scanning the skyline. A beat. Has he misjudged? No, there in the distance at the top of a narrow street - NICKY walking slowly and behind DESH. Moving quickly. BOURNE tailing him - trying to close the gap. Dipping down through another riad - through an alley. Up more stairs. Back up onto another roof. He's gained a few metres on DESH. Desh goes up to the rooftops now. Bourne has him in sight - DESH is prepping his gun with a silencer. DESH speeding up. BOURNE sees NICKY down below amongst the crowds. In Desh's sights. BOURNE knows he has to gain more ground. CABLE CAM shot - Two trained assassins leaping across the narrow streets - silently effortlessly - the cops down below searching the alleyways, oblivious to the chase unfolding above them. BOURNE nearly on terms with him - then - DESH dipping down again into the street below. Avoiding the police - he melts into the crowds. STEADYCAM SHOT - following BOURNE as he heads downstairs. More stairs. Through a corridor then a courtyard - bursting out of a door into the street - A police checkpoint. Right in his path. Bourne forced to dog leg and take another route. BOURNE'S lost him - for the moment.","EXT. RUE DE CHRETIENS -- CONTINUOUS NICKY - walking fast up the Rue des Chretiens. Wondering why there are so many police around. Suddenly stopping - seeing DESH - knows instantly that he is coming for her. Now we see NICKY'S skills. Has to think on her fee t - TREADSTONE MINDSET - Checking the alleyways. Slipping out of sight. NICKY looking to the rooftops - taking the advantage. Up some steps - into a riad. Desh tracking her.","EXT. RUE DE CHRETIENS -- CONTINUOUS BOURNE seeing Desh again - further up the street. Heading in that direction.","INT. RIAD -- CONTINUOUS NICKY through one hallway - then another. Moving up all the time.","EXT. RIAD -- CONTINUOUS DESH arriving at the steps. Looks up to where Nicky is going. Takes the entrance to the next building. Anticipates her next move. Aiming to cut her off.","EXT. RIAD ROOFTOP NICKY up steps. Out onto the rooftops. Looking for a path across them. Scrabbling across the roof of this crumbling riad. Knows she ca n't go back down. She makes it across to the next building. Where Desh is.","EXT. ANOTHER ROOFTOP -- CONTINUOUS BOURNE up high. Seeing NICKY on that other roof. He ca n't get across to her. Moving fast now. Down steps. Into the riad courtyard.","INT. RIAD BOURNE entering the hallway. Moving up the stairs. Towards Nicky. And towards Desh. Meanwhile NICKY moving down. Looking out into the courtyard below. The sound of POLICE getting nearer. BOURNE hearing the POLICE too as he moves up onto a landing. BOURNE into a main room - something stirring on a couch - a girl and her little sister having a siesta. In another room two small boys fast asleep. TV playing. One wakes. A noise on the stairs above. Quickly arranging a mirror - getting line of sight - Bourne dipping into a corner. It's NICKY. She gives him a look - DESH is in here somewhere. The door goes below them. The noise of Police entering the Riad. NICKY signalling to BOURNE - this way. They climb narrow stairs to the next floor. Down below Police begin searching rooms. Waking the sleeping family. Shouting, crying. Commotion.","INT./EXT. -- NARROW STAIRWELL BOURNE and NICKY creeping up the steps. Then - suddenly NICKY spinning round as two silenced bullets speed past her - And DESH bursting out of a landing toilet. On to Bourne. Full on Treadstone fighting in the narrow stairwell. Crashing into a tiny disused lift cage - silent constrained - vicious. Downstairs a young POLICEMAN hears the noise - heading for the lift. NICKY seeing the handle turn. Thinking quickly. She sends the lift up to the next floor. The POLICEMAN stepping back from the door - directing the other cops out to the courtyard. People are spilling out into the atrium. It's pandemonium.","EXT. ROOFTOP -- CONTINUOUS Bourne and Desh spill out of the elevator and onto the roof. BOURNE kicking the gun - spinning across the floor - he and DESH facing each other. DESH with BOURNE - straight over the edge. DESH still on top - just. A brutal exchange. Matching each other's moves like shadows. Relentless. Rolling - falling onto another roof level. And another. The two men tiring now. DESH grabbing for the bag. The pills. BOURNE kicking them away. BOURNE has the upper hand now. DESH'S reaction's slowing. No longer the match he was. BOURNE drags him to the ground. He's finished. Bourne's won. DESH - shivering - convulsing. In the struggle, BOURNE strangles Desh. BOURNE and NICKY hide DESH's body. BOURNE Alright, we need to be dead. You need to code that in. NICKY CODES into DESH'S PDA - BOTH OBJECTIVES ACHIEVED. In the CRI HUB the message comes up. VOSEN and LANDY believe NICKY and BOURNE are both DEAD.","INT. DAY. HUB -- CRI -- NEW YORK The code from DESH remains on screen - BOTH OBJECTIVES ACHIEVED - like an EPITAPH for BOURNE and NICKY. VOSEN packs his briefcase. Turns to WILLS. VOSEN I want to be sure. Have the station chief in Rabat confirm the deaths and do a sub - rosa check. And keep and eye on Landy. Off WILLS.","INT. DAY. LANDY'S OFFICE -- DAY Cronin enters. CRONIN The hub just got word Bourne and Nicky are dead. Landy looks at him. LANDY Confirmed? CRONIN Not yet. Landy looks away. thinking. Wheels turning. LANDY Get me a copy of Bourne's personnel file.","EXT. DUSK. PENSIONE Bourne and Nicky enter.","INT. DUSK PENSIONE -- WASHROOM -- TANGIER BOURNE scrubs the blood from his hands. REVEAL Nicky watching him from the bedroom.","INT. DUSK. LANDY'S OFFICE (LONELY LANDY) Landy sits at her desk reviewing files on Treadstone. Open on her desk we see the file she will be looking at in the Supremacy phone call. The way she examines the papers we get the sense she thinks something is missing, some piece, some file.","INT. DUSK. PENSIONE -- WASHROOM Bourne scrubbing the blood from his hands. Nicky comes in, touches his shoulder. There's a tenderness to it, a re - assurance. For a moment it looks like Bourne might react. but the moment passes.","INT. DUSK. LANDY'S OFFICE (LONELY LANDY) Landy opens a new file. Bourne's operations.","INT. DUSK. PENSIONE -- WASHROOM Bourne is toweling off. BOURNE I can see all their faces. But I ca n't remember any names.","INT. DUSK. LANDY'S OFFICE (LONELY LANDY) Landy looks at Bourne's kills. The faces Bourne remembers. But there names are here, and who they were, why they were killed.","INT. NIGHT. PENSIONE -- BEDROOM/SITTING ROOM Bourne and Nicky sitting together. BOURNE I was starting to remember who they were. in India. with Marie. A beat. NICKY It's just going to lead to more killing, Jason. Are you sure you want that? Bourne takes her words in. But who he is is eating him alive from the inside. BOURNE I've killed people and I've tried to apologize for what I've done, for what I am. None of it makes it better. Another moment passes between them. then : BOURNE They're going to come for you again. You are going to have to run now. She gets up.","INT. BATHROOM Nicky dies her hair BLACK. Starts cutting it shorter.","EXT. NIGHT. TANGIER BUS STATION Bourne walks with a now dark - haired Nicky. They exchange looks for a long beat. She turns towards the bus. BOURNE It gets easier.","INT. LANDY'S OFFICE. NIGHT Landy finds a denotation in Bourne's file that he was `` recruited to Treadstone by Neal Daniels.'' Further down the page it says `` Bourne was inducted into Treadstone at the Special Research Department facility at 415 E 71st, New York, NY.'' Then `` Facility closed by order of Director, June 2002.''","INT. TANGIER MORGUE Bourne looks at the tattered remains of Daniels' body and belongings. He goes through his briefcase and finds a nearly destroyed piece of paper with `` Noah Vosen - Director of Operations - CRI'' written on it. Bourne slips the morgue attendant a bribe.","INT. VOSEN'S OFFICE -- DAY Vosen is shaving. WILLS Station chief in Rabat just called, they found a body. Bourne? VOSEN Desh.","INT. AIRPLANE -- DAY On final approach to JFK. Bourne looks out the window to see the Verizano Narrows bridge. And beyond it, Manhattan. Bourne is coming home.","EXT. NEW YORK Establishes skyline.","INT. LANDY'S OFFICE. DAY CRONIN Pam, You need to see this. Landy follows CRONIN into -","INT. CRONIN'S OFFICE -- DAY BOURNE'S PASSPORT is displayed on the computer monitor. CRONIN -LRB- CONT'D. -RRB- This passport just cleared Immigration at JFK ten minutes ago. It's an early Treadstone identity registered to Jason Bourne but he never used it and it never went to the grid. Bourne's alive. LANDY They do n't know. CRONIN No, if they knew Vosen would n't be in his office right now.","INT. AIRPORT TERMINAL Bourne moves through the airport. LANDY -LRB- O.S. -RRB- It's a hell of a risk. CRONIN -LRB- O.S. -RRB- Yeah. Maybe Bourne wants us to know, just like Naples, maybe he's communicating.","INT. CRONIN'S OFFICE CRONIN Maybe he's trying to communicate with you. LANDY Maybe we should communicate back. Because I think I know what Bourne's looking for. SERIES OF SHOTS Bourne over the 59th Street Bridge - arrives at CRI - goes into the adjacent building -","INT. OFFICE BUILDING ACROSS FROM CRI -- DAY Bourne uses his monocular to zoom in on a file Vosen is looking at - he sees the word `` Blackbriar.'' Vosen puts the file back in the safe.","INT. DAY. LANDY'S OFFICE -- CRI -- NEW YORK LANDY'S cell phone rings. She answers it. LANDY Pamela Landy.","INT. UNDEFINED SPACE BOURNE I hear you're still looking for me.","INT. LANDY'S OFFICE LANDY puts down her pencil. CRONIN watches. LANDY Bourne?","INT. VOSEN'S OFFICE His phone rings. He picks it up. WILLS -LRB- TEL.. V.O. -RRB- Get in here! Bourne called Landy! Vosen jumps up, sprints toward the hub -","INT. LANDY'S OFFICE -- DAY LANDY I guess I owe you an apology.","INT. HUB -- BACK ROOM Vosen rushes in - BOURNE -LRB- V.O. -RRB- Is that official? VOSEN -LRB- OVERLAPPING. -RRB- Are we triangulating?! LANDY -LRB- V.O. -RRB- No. Off the record. You know how it is. BACK ROOM TECH -LRB- OVERLAPPING. -RRB- Trying - BOURNE -LRB- V.O. -RRB- Good - bye.","INT. LANDY'S OFFICE LANDY Wait. Wait. She opens a file on her desk.","INT. UNDEFINED SPACE Bourne listening - LANDY David Webb. That's your real name.","INT. HUB -- BACK ROOM VOSEN Why the hell did she give him that? LANDY -LRB- V.O. -RRB- You were born 4/15/71 in Nixa, Missouri.","INT. LANDY'S OFFICE LANDY Why do n't you come in, and we'll talk about it? -LRB- beat. -RRB- Bourne?","INT. UNDEFINED SPACE BOURNE Get some rest, Pam.","INT. HUB -- BACK ROOM BOURNE -LRB- V.O. -RRB- You look tired. Vosen realizes - VOSEN -LRB- rushing out. -RRB- He's got line of sight on us!","INT. LANDY'S OFFICE She spins to look for Bourne -","INT. HUB Vosen moving across the floor. VOSEN This is a national security emergency. We have an imminent threat.","INT. LANDY'S OFFICE -- DAY Landy takes out her gun. Checks it.","INT. HUB VOSEN Jason Bourne is alive and at large in New York City. We believe in one thousand yards of this building. I want an immediate twelve block lockdown of the area. Send a FLASH message to Langley, prep for local backup assistance.","EXT. CRI -- DAY HIGH ANGLE : Landy leaves CRI.","INT. HUB -- DAY Wills walks over to Vosen. The look in his eye indicates that he thinks there's something odd about this : WILLS Landy just left the building. Vosen looks at Wills. A beat, Vosen's suspicion building, though he ca n't quite put his finger on what he suspects. VOSEN Check Landy's phone. Is she using it?","EXT. NYC STREETS -- DAY Landy receives a text message.","INT. HUB -- DAY Vosen leans in to the Hub's back monitoring room. VOSEN Nothing? No calls since Bourne -? BACK ROOM TECH Wait a minute. Wait. She just got a text.","EXT. NYC STREETS -- DAY Landy heads for someplace - now with purpose.","INT. DAY. CRI HUB VOSEN confers with WILLS. VOSEN What the hell do you mean we ca n't read it? TECH Working on it - VOSEN -LRB- frustrated. -RRB- How do you know a text came if you ca n't read it -. -LRB- to Wills. -RRB- Are we on Landy? TECH Six men. More on the way. VOSEN I want that goddamn text. We need to get out in front of her! TECH Seconds. VOSEN paces anxiously. TECH -LRB- CONT'D. -RRB- Got it! TECH points at big screen : `` Tudor City Pl & 42nd. Ten minutes. Come alone. Come on foot.'' VOSEN Surround it. Anyone not on Landy goes to Tudor City. Now! -LRB- to Wills. -RRB- Get the trucks. We're going mobile.","EXT. MANHATTAN -- DAY LANDY walks east toward Tudor City. She looks around her for any signs of surveillance but finds nothing out of the ordinary.","EXT. CRI BUILDING -- DAY Vosen and AGENTS come running out of the front door. Others leave through a side entrance. They jump in sedans.","EXT. STREET. Landy still being trailed by foot.","INT. VOSEN'S SUV Vosen and agents race to Tudor city. An electronic map on the dash. AGENT 3 Copy, we're going to take a left at 41st. One block, settle at the corner. VOSEN Get the map up. AGENT 4 It's a bad place to pick, it's too exposed. VOSEN He would n't have chosen it if he did n't have a reason.","EXT. MANHATTAN LANDY walks east through the crowded streets.","EXT. MANHATTAN BOURNE walks down the street, enters a building.","EXT. TUDOR CITY ROOFTOP Spotter on a rooftop.","EXT. MANHATTAN -- DAY LANDY is on the east side now, walking toward Tudor City. An agents trails her on foot. Another parallels her from across the street.","EXT. TUTOR CITY OUTSKIRTS SERIES OF SHOTS : CRI cars arrive, careful to stay several blocks from the meet site. They jump out and try to set up surreptitious surveillance posts. AGENT 3 -LRB- V.O. -RRB- Okay folks here we go, box at two hundred meters. Let's lock it down.","INT. STAIRWAY Bourne climbs stairs.","EXT. TUDOR CITY Landy walks, agents are everywhere looking for her. Vosen is still in car.","INT. VOSEN'S SUV VOSEN As soon as you have eyes on Landy, I want to know.","EXT. TUTOR CITY She becomes clear to AGENT 3. AGENT 3 Okay, here we go.","INT. STAIRWAY Bourne climbs stairs. Walks down a dank hallway.","INT. VOSEN'S SUV VOSEN Copy that, I see her. Landy stands on a corner waiting for Bourne. VOSEN -LRB- CONT'D. -RRB- Any sign of Bourne?","INT. AMBIGUOUS SPACE TIGHT SHOT on Bourne's face. FAST TILT to TIGHT ON his hands, pulling up what seems like a piece of clear tape. We ca n't tell where we are or what he's doing.","EXT. TUDOR CITY Landy looks around.","INT. AMBIGUOUS SPACE TIGHT ON Bourne's hands placing the clear tape on a piece of clear plastic. Again we ca n't tell what's going on.","EXT. TUTOR CITY Agents watch Landy.","INT. VOSEN'S SUV -- DAY Vosen's cell phone rings. VOSEN Noah Vosen. BOURNE -LRB- V.O. -RRB- This is Jason Bourne. VOSEN reels for a beat. Then quickly scans the streets, trying to see if he can spot BOURNE. VOSEN How did you get this number? BOURNE -LRB- V.O. -RRB- You did n't actually think I was coming to Tudor City, did you? VOSEN No, I guess not. But if it's me you want to talk to maybe we can arrange a meet. BOURNE -LRB- V.O. -RRB- Where are you right now? VOSEN In my office. BOURNE -LRB- V.O. -RRB- I doubt that. If you were in your office -","INT. VOSEN'S OFFICE -- DAY REVEAL that BOURNE is inside VOSEN'S office. BOURNE We'd be having this conversation face - to - face. BOURNE hangs up. Puts a portable dictaphone up to VOSEN'S SAFE and his play : VOSEN -LRB- TAPE V.O. -RRB- Noah Vosen. As he places the plastic slide we saw in the ECUs into the fingerprint reader. The safe pops open -","INT. DAY. VOSEN SUV VOSEN stunned. Is it possible? Is it a trick?","INT. DAY. VOSEN'S OFFICE From the safe, BOURNE scoops out the `` TREADSTONE : Blackbriar'' folder Bourne saw Vosen putting into his safe.'' He flips it open. He scans down the page. His eye stopping at the words `` US Citizen.'' He flips to another page - another photo, and again `` US Citizen.'' BOURNE shoves the folders in his backpack and leaves.","INT. VOSEN'S SUV -- DAY VOSEN This is a code ten abort, I want everybody back in the vehicles this is a code ten abort! Back to the vehicles immediately, back to CRI immediately.","INT. SERVICE STAIRS Bourne rushes down with his back pack.","INT. VOSEN'S OFFICE Wills grabs the phone and hits a speed - dial : WILLS Bourne got into your safe!","EXT. MANHATTAN Bourne onto the street with back pack.","EXT. MANHATTAN -- DAY SERIES OF SHOTS - VOSEN'S SUV races, lights and sirens, across town. 2 -RRB- Other CRI cars race back across town.","EXT. MANHATTAN -- DAY BOURNE walks out of a building, backpack over his shoulder. CAMERA BEGINS TO CRANE UP. BOURNE walks around a corner near CRI. He hears a siren turn on a few blocks away. Then another. He starts to run.","INT. CRONIN'S CAR -- DAY A SEDAN pulls to a stop as a door comes open. CRONIN'S inside. REVEAL Landy on the sidewalk. She jumps in. LANDY What just happened? CRONIN Bourne got into Vosen's safe. LANDY What?! Cronin pulls out. CRONIN Where to? LANDY 415 East 71st Street. Cronin puts it together. CRONIN 4.15.71. Jesus, Pam.","EXT. MIDTOWN WEST -- DAY BOURNE walking away from CRI. Agents leaving a building. Getting into unmarked sedans and peeling out.","INT. VOSEN'S SUV -- DAY As Vosen races across town. VOSEN I want the entire building searched. Every room. Every hallway. Every closet. Every goddamm airduct. Do you understand? I want him found!","INT. CRI CAR -- DAY The passenger side agent sees BOURNE, points - BOURNE cuts to the south side of the road so the passenger - side agent does n't have a shot, while controlling the car makes it almost impossible for the driver to fire accurately.","EXT. 41 STREET -- DAY The westbound car cuts sharply and drives up on the sidewalk. But Bourne is too fast. He's already past them. The passenger side agent jumps out. But he's still got to get around the door and then move a few steps to get a bead over the hood of his car on Bourne. The other CRI car races the wrong way on the street but gets immobilized and trapped by the onrushing tunnel traffic.","INT. VOSEN'S SUV -- DAY Vosen and Wills race West on 41st. SERIES OF SHOTS CRI cars close in - on 42nd, on 39th, on 10th Ave.","EXT. MIDTOWN WEST -- DAY Bourne races through the tunnel traffic and onto 40th street. He rushes east toward the spaghetti of concrete ramps leading into and out of Port Authority. He runs across 10th Avenue as a third CRI car screams up the street at him.","INT. VOSEN'S SUV -- DAY Several radios blare. CRI AGENT -LRB- RADIO V.O. -RRB- He's heading for Port Authority! Subject up the ramp, eastbound into Port Authority. VOSEN -LRB- to Tac Team Leader. -RRB- Lethal force is authorized. TACTICAL TEAM LEADER I told - VOSEN Tell them again!","EXT. PORT AUTHORITY -- DAY Bourne runs up a one lane outgoing ramp.","INT. CRI CAR -- DAY The driver pilots his car up the ramp behind Bourne. He jams the accelerator down. He'll be on top of Bourne - running him over - in seconds -","EXT. PORT AUTHORITY -- DAY A New Jersey - bound bus exits the complex and heads around the corner of the ramp - it skids to a stop when it sees Bourne and the CRI car giving chase heading right at the bus.","INT. CRI CAR -- DAY The driver has to skid to a stop to avoid hitting the bus. Bourne slides between the side of the bus and concrete guard rail. The driver calls it in - SERIES OF SHOTS Cops and CRI cars close in on Port Authority. One agent jumps out of his car on 8th Avenue and rushes for the stairs. TACTICAL TEAM LEADER -LRB- V.O. -RRB- Block every exit. I want a full perimeter on Port Authority -","EXT. ROOFTOP PARKING LOT -- PORT AUTHORITY Bourne races up a set of stairs the rooftop parking lot. He surveys every aspect of his environment on the fly -LRB- which includes his taking a quick peak over the concrete railing at the east end of the roof. Next Bourne rushes toward the parked cars. Smashes the window of one to set off its alarm. Then a second and a third, setting off their alarms. The fourth window Bourne smashes in does n't set off an alarm. Bourne pulls the door open and climbs in. Inside the car Bourne reaches under the dash and yanks handful of wires off the steering column and starts to expertly hotwire the car.","INT. VOSEN'S SUV -- DAY TACTICAL TEAM LEADER -LRB- into radio. -RRB- Box him in! Box him in! SERIES OF SHOTS Agents race up stairwells. Two CRI cars careen up the ramp to the passenger parking -LRB- a separate ramp to the bus ramp we saw Bourne on earlier. -RRB- A third CRI car races through the parking level just below the roof and up the circular ramp to the roof.","INT. VOSEN'S SUV -- DAY TACTICAL TEAM LEADER -LRB- to Vosen. -RRB- He's on the roof. He's trapped.","EXT. ROOFTOP PARKING LOT -- PORT AUTHORITY Bourne works to hotwire the car. A CRI car gets to the roof. Two agents come from the elevator lobby. The three car alarms distract them. They search for Bourne, but ca n't find him at first. Bourne gets the car engine on - but, given the wonders of modern anti - theft technology his steering wheel is still locked. A second CRI car arrives. Bourne slams the car into low gear and backs up at high speed. He smashes into the car across the aisle from him. With a sharp metallic snap the wheel in Bourne's car is suddenly free, he jams the car into drive pulls out into lane and stops. Three CRI cars here now. Two head straight for him. A third blocks the exit ramp. Bourne checks the rearview and sees two more agents pour from the elevator lobby, one carrying the serious firepower of an M - 4 -LRB- an M - 16 variant whose bullets can penetrate metal and concrete -RRB-. They move into position to get a bead on him. Bourne assesses. But he does n't move. The agents swarm toward him. What the hell is he doing? Why is he waiting?","INT. VOSEN'S SUV -- DAY TACTICAL TEAM LEADER We've got him! He's got nowhere to run! VOSEN Take him out!","EXT. ROOFTOP PARKING LOT -- PORT AUTHORITY The agents clear their obstructions and drop their barrels toward Bourne - But before they can get a bead - Bourne slams the car into reverse again. Petal to the metal in reverse - The agents open fire. Bourne ducks the lead slugs ripping through the windshield. But there's no dodging the shower of broken glass. As Bourne disappears below the dashboard, the CRI agent adjusts his fire into the car's grill. Virtually blind, Bourne races the hard - pressed vehicle backwards as the agent's fire decimates the car's driveline. Bourne slips the car into neutral and takes a quick peek behind him. Steers still speeding but quickly dying car towards a small gap between two parked cars at the edge of the parking structure. Bourne's car splits the gap between the parked cars, hits the base of a low angled wall that slams the back of his car up and over the wall. Bourne is pounded as his car jounces onto the wall, a second later the front end seesaws over the top, the sudden angle change exposes for an instant the bottom of Bourne's car, to the shooters. Several rounds rip through the floorboard and tear past Bourne's head just before his car drops upside down for 25 feet and slams onto a row of parked cars. The impact rips Bourne from the seat and slams him hard against the roof. Bourne struggles out of the car, knowing he has only a moment before the armed agents will fire down into his over - turned car. CRI AGENT Ho - ly shit!","INT. VOSEN'S SUV -- DAY VOSEN -LRB- practically screaming into his handheld. -RRB- He did what?!","EXT. ROOFTOP PARKING LOT -- PORT AUTHORITY The CRI agents race to the spot where Bourne's car disappeared over the railing and reflexively fire into Bourne's car but they're too late! Bourne's already out. He disappears from sight under the covered parking structure. LEAD CRI AGENT Get down there! Get down!","INT. VOSEN'S SUV -- DAY As it speeds toward the spaghetti of ramps leading in and out of Port Authority - two blocks away. TACTICAL TEAM LEADER Who has eyeball on him?! Who has eyeball?!","EXT. ROOFTOP PARKING LOT -- PORT AUTHORITY One of the agents scrambles over the edge and starts to climb down. Other agents race for the stairs. TACTICAL TEAM LEADER -LRB- V.O. -RRB- Do n't tell me -","INT. VOSEN'S SUV -- DAY TACTICAL TEAM LEADER - you've lost him! Who's on street level?! Street level backup?! Clearly there is no one down there. Bourne's car jump from the roof has completely flat - footed them. VOSEN -LRB- to Wills. -RRB- Get NYPD backup! And FBI, DEA, any other federal assets we can draft!","INT/EXT. CIRCULAR RAMP Two CRI cars race down from the roof to try to get to the level Bourne's on.","INT./EXT. PARKING GARAGE -- TWO LEVELS BELOW ROOFTOP Bourne cuts off a guy cruising for a parking space and pulls him from his car and races away as the agent from the roof lands hard behind him. Bourne's race to the exit is cut off as a 3rd CRI sedan slides into view and it's occupants open fire on Bourne in a head on charge. The just stolen vehicle takes heavy fire as Bourne reacts instantaneously ; thumbing on the cruise control, shouldering his door open, and slamming the gas pedal to the floor as he dives out of the car. The agents react as Bourne's sedan torpedoes them head on. Hit hard they're taken out of the fight as metal collapses, glass shatters, and airbags explode. Bourne tumbles to a stop at the rear of a parked car as his car implodes against the oncoming agents. Instantly Bourne is on his feet, moving between the parked cars to engage another CRI sedan traveling parallel to the course of the wrecked one. The agents in this sedan are distracted by the still echoing crash and are caught off - guard as Bourne steps out and points his gun at the driver. The driver ducks and floors his gas pedal in a desperate effort to save his own life. As the sedan suddenly accelerates, Bourne deliberately shifts his aim to the sedan's front tire and fires. The tire explodes and the car suddenly veers left and slams into a parked car, pitching the driver violently against the unyielding interior of the sedan. An instant later Bourne rips the radio off the dazed drivers belt just before he cold cocks him with it. With the wreck still echoing through the garage Bourne has to deal with the arrival of the first NYPD sedan. Bourne takes on the persona of an alarmed witness as the on edge cop climbs out of his car but Bourne's performance is cut short as the agent running from his drop from the roof, arrives and opens fire. The police officer goes down in the hail of gunfire as Bourne turns and expertly drops the gunman with a single shot. The increasing volume of squealing tires alerts Bourne to a new threat, he pulls the officer into some cover and grabs the officer's radio. BOURNE 10 - 13. Shots fired. Officer down. Port Authority parking lot. Level four. Bourne rips a piece of his sweater off and ties a makeshift tourniquet for the officer. Then he hands the cop his radio back. BOURNE -LRB- CONT'D. -RRB- Stay out of sight until one of your own arrive. Bourne disappears. We pick him up as he jumps into the cops car and guns the engine and heads for the exits. CRI agents are confused for a second - until they pick up the NYPD car exiting Port Authority on one of the ramps. But that's all the time Bourne needs -","EXT. CROSSTOWN STREET -- DAY Bourne turns on his lights and siren and speeds east, followed closely by a CRI sedan. As cars yield to Bourne's siren a taxi tries to jump into Bourne's wake but a CRI sedan punches the taxi back to the right. It ricochets off several parked cars before regaining control.","EXT. CROSSTOWN STREET -- DAY Bourne struggles to keep his over - matched vehicle ahead of the more powerful CRI Sedan which tries to spin Bourne out by hitting his bumper. Bourne tacks right quickly and barely avoids a stopped car. The CRI sedan flanking Bourne's slams into the rear of that car, spinning it 180 degrees into the path of the trailing CRI sedan which destroys itself in the resulting collision and blocks the path of the other CRI sedan.","INT. BOURNE'S CAR -- DAY Bourne is home free. He looks around and spots a sign that indicates a right turn and says `` To Holland Tunnel / US 95.'' Bourne turns right - Suddenly the window next to his head explodes as two more shots rip through his door to tear a jagged wound into the top of Bourne's leg. REVEAL Paz, his SUV racing along the curb lane. As Bourne's car crosses in front of a small car stopped at the intersection Paz swerves his car into that car and punches it into the side of Bourne's car. Bourne's car is knocked spinning, Paz keeps charging forward and slams into the back of Bourne's car. With his front tires spinning wildly Bourne fights to straighten his car as another CRI sedan appears and tries to box Bourne's car by sliding into his path.","EXT. MANHATTAN STREET -- DAY Bourne just manages to punch his car into the right rear of the CRI Sedan and race down the Avenue with Paz and the slightly damaged sedan in pursuit. Paz gains on him and Bourne is forced to swerve violently to deny Paz the kill shot he is all too capable of. Just ahead of Bourne, two government SUVs slide into the intersection completely blocking his path. Bourne instantly spins his car 180 degrees and continues on, barreling into the roadblock backwards. As Bourne's car plows through the SUV's he whips the wheel and his car spins through a reverse 180 as Paz and the other sedan race through the wreckage in Bourne's wake. Paz and the CRI sedan are all over Bourne as he slides a right hand turn onto South St. as Paz and the CRI sedan overwhelm Bourne's battered vehicle.","INT. BOURNE'S CAR -- DAY On his police radio, Bourne singles out an NYPD officer -LRB- call sign Alpha - 2503 -RRB- racing toward the intersection just ahead. Bourne slows, then speeds up quickly to time it right : The CRI car almost hits his bumper, then has to accelerate through the upcoming intersection. As he does, the cop car Bourne was listening to on the radio slams broadside into the CRI sedan drafting the bumper of the mangled cop car. Swerving wildly Paz avoids the pileup and slams his heavy SUV into the back of Bourne's car, pushing him into the oncoming traffic. Several cars swerve left and right as Paz pushes Bourne sideways onto the ramped end of a K - Rail dividing the street ahead. The nearly upended car grinds down the K - Rail until the rear of Bourne's car strikes an obstruction which punches it back into the lane as it slams against the front of Paz's SUV, knocking the SUV sideways, into a row of parked cars. Bourne's car hits parked cars on the other side of the road. SMOKE and STEAM - SIRENS - CHAOS BOURNE kicks the window out of the police car. Gun up. Ready - NEARBY PAZ in the car. Still. Bloody from the crash, really fucked up. He comes to. and Bourne is there. Gun pointed at his head. The two assassins look at each other. then Bourne lowers his gun. and disappears. ON PAZ - as the wheels start to turn.","INT. HUB WILLS The asset lost Bourne. We lost him. Vosen reacts -","EXT. UPPER EAST SIDE -- LATE AFTERNOON Bourne exits from the subway. Bourne walks north.","INT. HUB Wills pacing. Bourne's profile is up on Screen 2. It says `` David Webb -LRB- AKA Jason Bourne -RRB-'' on the profile. A tech comes to Wills. TECH Sir, this may be nothing but, look at Bourne's birthday. Wills looks at the profile. Bourne's birthdate is listed as 9/13/70. WILLS What about it? TECH Well, Landy told Bourne his birthday was 4/15/71 so. Wills gets it instantly. WILLS Everything stops. -LRB- to the room now. -RRB- EVERYTHING STOPS! LISTEN UP! -LRB- they're listening. -RRB- New assignment. Numbers. Four. Fifteen. Seventy - one. What do they mean? Wills grabs his headset -","EXT. CRASH SITE -- DAY A CRI agent approaches Vosen. CRI AGENT Landy gave Bourne a false birthday. Wills thinks it's a code. It sinks in for Vosen. oh. shit.","EXT. SEVENTH AVENUE -- DAY BOURNE emerges into the crowed street, headed uptown.","INT. HUB Wills watches the techs work. TECH #3 - if you plug them in as variants of latitude and longitude you get Cameroon - Peru - Colombia - TECH #2 - San Francisco's got a four - one - five area code - TECH #1 - 41571 is the zip code for Varney, Kentucky - TECH #4 - there's no 415 West 71st Street, but there is a 415 East 71st - TECH #1 - if it's a substitution code, we're way short on variables, which I -. -LRB- no chance to finish as -. -RRB- WILLS - hang on - wait - Seventy First Street? Like what? Like York and First? TECH #4 That's correct. Wills like he's been hit. Like hard. As we cut to -","INT. VOSEN'S SUV -- DAY They race uptown. WILLS She gave him the facility. She gave him - VOSEN -LRB- into cell phone. -RRB- I know. -LRB- to driver. -RRB- Go! Go! Drive! -LRB- into cell phone. -RRB- We're already on our way. Turn the teams around. Bring them in behind me.","INT. VOSEN'S SUV -- LATE AFTERNOON Vosen steely eyed as they race uptown. He dials a number -","EXT. UPPER EAST SIDE -- LATE AFTERNOON Bourne reaches 71st street and 2nd Ave. He looks up at the sign.","INT. HIRSCH'S OFFICE (NEW BUILDING OF HOSPITAL) -- LATE AFTERNOON Hirsch's office is located in the SRD's `` front office'', which is located covertly on a floor of the new building of the hospital. He is the longtime head of SRD and a powerful behind - the - scenes official at CIA. THE CAMERA FINDS DR. HIRSCH, 70, is, put simply, not a man to be trifled with. He's a 45 year CIA veteran. One of the great brains in the Agency's history, but also a man who knows how to wield power silently, invisibly, and to tremendous effect. His phone buzzes. DR. HIRSCH -LRB- INTO PHONE. -RRB- Hello.","INT. VOSEN'S SUV -- LATE AFTERNOON VOSEN at the other end of the line - VOSEN -LRB- INTO PHONE. -RRB- Bourne knows everything. I think he's heading for you right now. Dead pause.","INT. HIRSCH'S OFFICE (NEW BUILDING OF HOSPITAL)-- DAY HIRSCH -LRB- INTO PHONE. -RRB- He's coming home, Noah. There's a wistfulness in the way he says it. But also the sense that this was absolutely inevitable. And he's calm about it, does n't show any fear, does n't reach for a gun. HIRSCH -LRB- INTO PHONE. -RRB- How long do I have? VOSEN Not long. Get out of there. HIRSCH No. I'm going to stay. VOSEN Are you crazy, he'll - HIRSCH He'll come to the training wing. That's what he knows. I'll keep him in play until you arrive.","EXT. NEW YORK -- HOSPITAL -- LATE AFTERNOON Bourne arrives at the `` Johnston Medical Center.'' He looks up to see `` 415''. FLASHBACK The image of `` 415'' that has been haunting his dreams.","EXT. NEW YORK -- HOSPITAL -- LATE AFTERNOON This is the place. When he looks down Landy steps out of the lobby to meet him on the sidewalk. BOURNE They'll kill you for giving me this place. LANDY 4/15/71 is n't much of a code. My guess is Vosen's already on his way. BOURNE Why'd you do it? LANDY This is n't us, David. What they turned you into, what they're doing with Blackbriar. This has to stop. BOURNE Then stop it. Everything you need is in there. Bourne hands her the black bag and enters the hospital. LANDY David. Come in with me. It's better if we do this together. BOURNE -LRB- shakes head. -RRB- This is where it started for me, this is where it ends. She watches the doors close behind him. Landy lets him go.","EXT. NYC STREETS -- LATE AFTERNOON QUICK SHOTS of six different CRI sedans and SUVs rushing toward the hospital.","EXT. HOSPITAL -- LATE AFTERNOON Landy looks in the backpack. - She unzips the backpack and looks in at the the Blackbriar Operations File. - A cover page inside : `` utmost secrecy''. `` potentially explosive public reaction would jeopardize the program''. - Another page : `` Terminated'' stamped across the photos of victims. Next to the victim from the inciting incident, the words : `` US citizen''. LANDY Oh, my God. - A third page, more photos, no `` terminated'' on these. Future victims. `` US citizen'' stamped next to each one.","INT. HOSPITAL -- LATE AFERNOON Bourne uses the card reader he took from Vosen's safe to enter a `` restricted access elevator.'' A guard comes. Bourne aims his pistol at him as the elevator door closes.","EXT. FIRST AVENUE -- OUTSIDE HOSPITAL -- LATE AFTERNOON Landy walks down the street. She looks up to spot two black sedans speeding east on 71st, turns south - two SUVs coming up York. Shit -","INT. VOSEN'S SUV -- LATE AFTERNOON A block south of the hospital, stuck in traffic, Vosen points. VOSEN Landy! Right there! She's got Bourne's backpack!","INT. 8TH FLOOR ELEVATOR LOBBY -- LATE AFTERNOON Bourne flips up the elevator stop button and uses the access card to enter a secure corridor -","INT. LOBBY -- LATE AFTERNOON Landy runs across the lobby.","EXT. FIRST AVENUE -- LATE AFTERNOON Vosen's SUV careens to a stop behind a bunch of traffic. Still a half block from the entry door but it's close enough -","INT. CORRRIDOR Bourne rushes down a nondescript corridor -","INT. HOSPITAL LOBBY -- LATE AFTERNOON Vosen and CRI agents rush into the lobby. VOSEN -LRB- to a group of six agents. -RRB- I'll find Landy. You get to the training wing and get Bourne! A security guard comes over. VOSEN Do you know who I am? -LRB- the guard nods. -RRB- Where's your security room?","INT. HOSPITAL CORRIDOR Landy looks around. Finds an open office. She pushes open the door and runs to the fax machine. She starts faxing the Blackbriar documents Bourne took from Vosen's safe.","INT. SECURITY ROOM -- LATE AFTERNOON Vosen enters. VOSEN I want to see all your footage for the last three minutes.","INT. SRD TRAINING WING (OLD BUILDING OF HOSPITAL) -- LATE AFTERNOON Bourne stares down the corridor from his dreams, the corridor Daniels lead him down in his flashback. We see Bourne go into - FLASHBACK That first day, Bourne's POV being led down this corridor by Daniels. BACK TO SCENE Bourne moves down the corridor.","INT. SRD TRAINING WING (OLD BUILDING OF HOSPITAL) -- LATE AFTERNOON Bourne reaches the end of the hall. He looks around `` flashback style'' - FLASHBACK Bourne was standing at this door.","INT. OFFICE -- LATE AFTERNOON Vosen enters the room. The last pages have been faxed. LANDY You better get a good lawyer. She exits. BACK TO SCENE Then spins, gun up - Hirsch is there, halfway down the corridor behind him. HIRSCH Put the gun down. I would n't be here if I did n't want to talk. BOURNE I've spent three years running. Three years trying to find out who I was. Hirsch moves toward Bourne, completely unfazed by the gun. HIRSCH You still do n't have it all back, do you? You have n't filled in all the pieces? BOURNE Let's start with the moment you found out I would n't execute Wombosi. The amnesia was n't the issue, it was the fact that I did n't pull the trigger. HIRSCH One lapse meant your conditioning had failed. Bourne grabs Hirsch and slams him against the wall BOURNE It was always you, behind Conklin, behind Abbott. They were just following orders. Bourne grabs Hirsch and pushes him to the wall. Searches him for weapons. HIRSCH -LRB- completely calm. -RRB- I'm unarmed, Jason. BOURNE -LRB- shoving Hirsch hard against the wall. -RRB- `` David.'' I'm David Webb. CLOSE ON Bourne's face - HIRSCH You were David Webb, but not anymore.","INT. SRD TRAINING WING CORRIDOR -- LATE AFERNOON Bourne stands with Hirsch. BOURNE Why me? Why did you pick me? A beat. HIRSCH You really do n't remember, do you? -LRB- beat. -RRB- You picked us, Jason. BOURNE What does that mean? HIRSCH You volunteered. Hirsch uses his free hand to hit the keypad on the wall. The `` room in use'' sign lights up. Bourne looks up `` flashback style'' - FLASHBACK Bourne remembers that keypad, that `` room in use'' sign from the first day.","INT. ROOM WHERE BOURNE FIRST MET HIRSCH Bourne and Hirsch enter. HIRSCH You volunteered right here. You did n't even blink, Jason. You just handed me these. Hirsch removes a pair of dog tags from his jacket pocket. Holds them out to Bourne. Bourne takes the dog tags. Stares at them. INSERT of the dog tags : Webb, David 946610190 O Negative Catholic FLASHBACK Bourne hands over his dog tags. HIRSCH -LRB- CONT'D. -RRB- Has everything been explained to you. BOURNE Yes, sir. PRESENT DAY HIRSCH You were a soldier ready to serve his country. Just like thousands of others, except you were a prodigy with languages. and a perfect shot. FLASHBACK HIRSCH -LRB- CONT'D. -RRB- Your missions will save American lives. PRESENT DAY BOURNE You said I'd be saving American lives. Instead you just turned me into a killer. Bourne raises the gun to Hirsch. HIRSCH You could have left at any time. And you knew exactly what it meant for you if you chose to stay. FLASHBACK HIRSCH When we're finished with you, you'll no longer be David Webb. BOURNE I'll be whoever you need me to be, sir. PRESENT DAY HIRSCH Stop running from the truth, Jason. You chose to come here! You chose to stay! And no matter how much you want to forget it. eventually you're going to have to face how you chose, right there, to become Jason Bourne! Bourne sitting in a chair, looking terrible. Hirsch looks at him from behind the desk. HIRSCH -LRB- CONT'D. -RRB- You have n't slept for a long time have you David? Have you made a decision? This ca n't go on, you know. You have to decide. BOURNE Who is he? HIRSCH We've been through that. BOURNE What did he do? HIRSCH It does n't matter. -LRB- beat. -RRB- You came to us. You volunteered. You said you'd do anything it takes to save American lives. You're not a liar are you? Or too weak to see this through? This is it. Let go of David Webb. Will you give yourself to this program? Bourne looks down, a gun in his hand. He gets to his feet swiftly and fires the pistol several times into a hooded figure. The man slumps over. Bourne stares at what he's done. HIRSCH -LRB- CONT'D. -RRB- You're no longer David Webb. From now on you'll be known as Jason Bourne. Welcome to the program. Daniels pulls the hood off the figure to show that he is dead. Just then Kramer walks through the door. KRAMER He's ready. Send him to Operations. PRESENT And now, in real time, Bourne comes out of the flashback. He stares back at Hirsch. HIRSCH Do you remember now? Bourne lowers the gun. BOURNE I remember. I remember everything. HIRSCH You ca n't outrun what you did, Jason. You made yourself into who you are. BOURNE I'm done running. That's why I'm here. To end you, to shut this down. I'm no longer Jason Bourne. HIRSCH So now you're going to kill me? BOURNE No. You do n't deserve the star they give you on the wall at Langley. Just then Bourne spins - agents arrive at the door. It's locked.","INT. HALLWAY The agents fire at the door handle to get it open.","INT. ROOM WHERE BOURNE FIRST MET HIRSCH Bourne looks out a window. Sees the layout of a roof several stories below. Then he turns and shoots out the room's mirrored observation window. Bourne dives through it just as agents rush in and open fire at him. SERIES OF SHOTS Bourne races through corridors, loosing the CRI agents.","EXT. ROOF -- NIGHT Bourne runs out onto the roof. Rushes across it to look over the edge. It's a straight drop to the FDR - 12 stories down. He races to another ledge - the East River below him. But he has to clear a 10 foot supporting wall at the base of the building to hit the water. He backs up to get a running leap. As he does, he turns and sees Paz, who is holding a gun on him. PAZ Why did n't you take the shot? Bourne looks at him. BOURNE Do you even know why you're trying to kill me? Look at what they make you give. Bourne turns and runs off the roof. Paz fires into the air. FOLLOW Bourne as he drops fourteen stories into the freezing river - MULTIPLE ANGLES - Bourne goes into the river. UNDERWATER Bourne in a dead man's float. as his clothes soak through he begins to sink. PULL BACK. farther and farther from Bourne's dead still sinking. as OVERLAPPING, INTERWEAVING VOICE OVERS begin : ANCHOR 1 -LRB- V.O. -RRB- FBI agents arrested several senior CIA officials today in connection with the broadening scandal enveloping Washington today - ANCHOR 2 -LRB- V.O. -RRB- Assassination program code - named `` Blackbriar'' was exposed by a former assassin named David Webb - - ANCHOR 3 -LRB- V.O. -RRB- Program reportedly targeting US Citizens in some cases. ANCHOR 4 -LRB- V.O. -RRB- CIA Director Ezra Kramer produced explosive documents for the Senate Committee indicating `` Blackbriar'' was authorized at the highest levels of government.","INT. BAR -- URUGUAY -- SUNSET Nicky goes to the bar of at a low end tourist bar with several other customers. She stands there, eyes fixed on a TV behind the bar : ANCHOR 5 -LRB- V.O., CONT'D. -RRB- Webb, who was known inside the intelligence community, as `` Jason Bourne'' jumped from the fourteenth floor of the CIA facility where he was trained in New York into the East River below. While experts say it would be nearly impossible to survive the fall, despite two weeks of efforts, his body has still not been recovered. PUSH in on the smile that develops on Nicky's face. As we CUE the Moby `` Extreme Ways'' sting - UNDERWATER Bourne's body sinking toward the bottom. when all of a sudden it comes to life - arms together, legs kick powerfully - And Bourne swims away. THE END"],"string":"[\n \"EXT. NIGHT. HOUSING PROJECTS -- MOSCOW SMASH CUT MOTION - flat out - it's us - we're running - stumbling - breathing rushed - blood in the snow. We are JASON BOURNE and we're running down an alley. Supered below : MOSCOW BLUE LIGHTS - from the distance - strobing through the night - rushing toward us - POLICE CARS - three of them - SIRENS HOWLING as they bear down - closer - faster - until they whip past the alley. Up against the wall - BOURNE is hidden in the shadows. BOURNE is badly wounded - shot through the shoulder - bruises and broken bones from the final car chase in SUPREMACY. With a GROAN, he lifts himself up, staggers across a park toward a PHARMACY.\",\n \"INT. NIGHT. PHARMACY -- MOSCOW ROWS of MEDICINE and FIRST AID supplies, and in the background, a DOOR being jimmied. It's BOURNE. The ALARM goes off. MACRO ON - MEDICINE BOTTLE VICODIN, as BOURNE grabs it. Then PENICILLIN. Then SURGICAL SUPPLIES : Scalpel. Forceps. Sutures. Cotton gauze. Betadine. BOURNE finds a large sink. Rests his gun there. Lays out SURGICAL SUPPLIES. Checks out his back in the mirror. Opens the capsules of penicillin and pours the powder directly into the wound. Begins treating himself.\",\n \"EXT. NIGHT. PHARMACY -- MOSCOW A POLICE CAR pulls up to the curb, lights flashing. One POLICEMAN goes to the jimmied DOOR. SECOND POLICEMAN sees blood and footprints. He motions to his partner to follow.\",\n \"INT. NIGHT. PHARMACY BATHROOM -- MOSCOW BOURNE finishing up - splashes water on his face - he seems a man on a mission. He looks up - A MIRROR. His face. `` 415'' written on a building. DISEMBODIED VOICE -LRB- HIRSCH. -RRB- Welcome to the program. POV Bourne walks down a corridor -LRB- corridor # 1 -RRB-.\",\n \"INT. NIGHT PHARMACY -- MOSCOW The cops approaching. Daniels leading Bourne down the corridor. DISEMBODIED VOICE -LRB- V.O. -RRB- You'll be saving American lives. A black sack is thrown over Bourne's head, then : -LRB- STOCK -RRB- A torrent of quick shots of Bourne's kills : the Professor, Jarda, the blonde guy in Paris, Mr. And Mrs. Neski. And finally. BANG - Marie hit in the head. The car off the bridge. She sinks away dead.\",\n \"INT. NIGHT PHARMACY -- MOSCOW The POLICE enter the back room, guns drawn. POLICEMAN #1 Put your hands on your head and turn around slowly! BOURNE snaps out of it, does n't move. POLICEMAN # 1 -LRB- older -RRB- approaches him. When BOURNE does n't respond to his questions, the POLICEMAN starts forward. BOURNE turns and in one motion grabs his gun from the sink and disables the POLICEMAN. BOURNE freezes POLICEMAN # 2 with his gun and a look. BOURNE -LRB- in Russian. -RRB- Give me your gun and radio. POLICEMAN # 2's gun and radio skittle across the floor. BOURNE -LRB- in Russian. -RRB- My argument is not with you. BOURNE smashes the radio and takes the gun. BOURNE exits. BLACK SCREEN A TITLE fades in - THE BOURNE ULTIMATUM SUPER : Six Weeks Later\",\n \"EXT. DAY. LANGLEY, VA Establishing shot - CIA Headquarters\",\n \"INT. CIA -- DAY A workman installs a nameplate that reads : Ezra Kramer, Director, CIA.\",\n \"INT. KRAMER'S OFFICE -- DAY Kramer listens to a recording with Landy and Cronin. There are unhung pictures and a few other items that indicate he has just moved into this job. Two other senior CIA officials sit in on the meeting. Kramer looks at a file on Bourne and Abbott. BOURNE -LRB- V.O. -RRB- So we got in the way? Is that why Neski died? Is that why you killed Marie? Kramer glances at a photo of Marie in the file. ABBOTT -LRB- V.O. -RRB- You killed Marie the minute you climbed into her car. The minute you entered her life she was dead! Kramer looks at Abbott's official photo. BOURNE -LRB- V.O. -RRB- I told you people to leave me alone! I fell off the grid. I was half way around the world. ABBOTT -LRB- V.O. -RRB- There's no place it wo n't catch up to you. It's how every story ends. It's what you are, Jason. A killer! You always will be. THUMP! CRONIN We think that's Bourne hitting him on the head and then - He makes a gun with his hand, i.e. Bourne putting his gun to Abbott's head. ABBOTT -LRB- V.O. -RRB- Go ahead! Go on! Do it! BOURNE -LRB- V.O. -RRB- She would n't want me to. That's the only reason your alive. The tape clicks off. KRAMER Who's `` she?'' CRONIN puts a picture of MARIE in front of KRAMER. LANDY His girlfriend, Marie. She was killed in India three weeks ago. Kramer looks down at another image. Abbott dead after his suicide. KRAMER A dirty section chief in league with a corrupt Russian Billionaire commits suicide when confronted by Jason Bourne. You could n't make this stuff up. -LRB- holds up the photo of Abbot dead. -RRB- You watched this happen? Landy nods. Kramer shakes his head in disgust at the whole situation. KRAMER Bourne's last confirmed location is Moscow, three days ago? LANDY Right. KRAMER So what does he do now? LANDY I think he's looking for something he has n't found. KRAMER Like what? What's he after? LANDY I'm not sure. Maybe he has n't gotten his memory back yet. Not all of it. A look from Kramer. KRAMER Pam, what I need to know is, what kind of a threat is he to us? LANDY If he just wanted to hurt us he could have sent this tape to CNN. KRAMER Maybe he still will. Maybe he gave it to you because he wants to throw you in the opposite direction of his real plan. I do n't know. I just know my number one rule is `` the only way to stay safe is to assume the worst.'' As far as I'm concerned Bourne is a serious threat until proven otherwise.\",\n \"EXT. TURIN, ITALY - ESTABLISHING SHOT SUPER : TURIN, ITALY\",\n \"INT. DAY. ITALIAN CAFE BACKROOM -- TURIN ROSS interviews DANIELS, a TAPE RECORDER on the table between them. ROSS shows DANIELS some of the evidence he's assembled. WANTED POSTERS of JASON BOURNE. ROSS -LRB- with poster. -RRB-. This one's three years ago - had half of Interpol after him - disappeared. Turned up in Naples - Berlin - Moscow - disappeared again. -LRB- Daniels says nothing. -RRB- The girl he was on he run with - Marie Kreutz - she turned up dead halfway around the world, from a sniper's bullet. -LRB- beat. -RRB- What connects the dots? Is it Treadstone? DANIELS Turn off that tape recorder.\",\n \"INT. DAY. MARTIN'S APARTMENT -- PARIS The charm of old Paris captured in the workings of an elevator operating in a wrought - iron shaft. A WORK TABLE, covered with sheet music, music paper, pencils. And, sitting on the upright piano against the wall, a framed PHOTO of MARIE. A KNOCK on a door beautifully, heavily lacquered with centuries of paint. MARTIN KREUTZ, late 20s, opens the door and finds BOURNE. A long look between them - like two lost brothers who recognize each other - each has been waiting for this moment for a long time.\",\n \"INT. CONTINUOUS. MARTIN'S APARTMENT Martin looks out the window. MARTIN Where is my sister? BOURNE She's dead. She was killed. MARTIN I knew it was going to end this way. It was always going to end this way. BOURNE I did n't believe that. MARTIN Why did she die? BOURNE She was shot. A man came for me. MARTIN And then you killed him. Bourne nods. MARTIN Now what? BOURNE Someone started all this. and I'm going to find them. Bourne looks at him for a beat and leaves.\",\n \"EXT. SUBWAY -- DAY Bourne climbs the stairs. Bourne rounds a corner and stops, sees a bodyguard at a door up the street hail a car then go back inside. Bourne walks up to the door, the bodyguard comes out again. Bourne knocks him aside. Grabs the man behind him, ELLATRACHE. BOURNE -LRB- in French. -RRB- Who started Treadstone? The bodyguard comes back, gun out - ELLATRACHE -LRB- in French, to bodyguard. -RRB- It's OK! -LRB- in French, to Bourne. -RRB- They're still looking for you. You are taking a big risk coming here. Bourne shoves him against the wall, hard. BOURNE -LRB- in French. -RRB- Just tell me what I want to know! ELLATRACHE -LRB- in French. -RRB- I just provided them weapons. I do n't know who started - BOURNE -LRB- in French. -RRB- You know something. Tell me where to start looking. ELLATRACHE -LRB- in French. -RRB- There's a journalist in London. Simon Ross. He seems to know a lot about you. He has a source inside the program. Someone there from the beginning. What should I tell them if they contact me? BOURNE -LRB- in English. -RRB- They give me the name I want, or I burn their entire house down to get it.\",\n \"EXT. DAY. HEATHROW AIRPORT -- LONDON ROSS hurries to catch a TAXI as he talks on his cell phone. ROSS This is big - a skein of lies - you pull at it and it just keeps coming - I'll fill you in when I get home. And it's not finished, either. -LRB- beat. -RRB- They're calling it ` Blackbriar'. Follow this SEQUENCE as.\",\n \"INT. DAY. CIA SUBSTATION -- LONDON A LISTENING STATION in England scoops up MILLIONS of CELL PHONE CALLS. Sifts through BILLIONS of words. One word EMERGES from the CHATTER. BLACKBRIAR A TECHNICIAN sends the data to NSA back in the States. Where another COMPUTER gathers up the rest of the phone call. As we listen. TECH#3 `` Blackbriar'' echelon hit. NSA, please confirm receipt.\",\n \"EXT. DAY. CIA HEADQUARTERS -- LANGLEY And there in the CRI HUB, another TECHNICIAN receives the DATA. Stops SUPERVISOR and reports. TECHNICIAN #1 Sir, we intercepted a call from London, keyword `` Blackbriar.'' SUPERVISOR Okay, send it to CRI right now.\",\n \"EXT. DAY. THE SKYLINE -- NEW YORK CITY NOAH VOSEN, deft and confident, arrives at CRI Headquarters.\",\n \"INT. DAY. CRI OFFICES -- NEW YORK CITY As VOSEN steps out of the elevator and into his office, he is met by his # 2, WILLS. WILLS We tracked the phone. Registered to a London reporter named Simon Ross. He works at the Guardian newspaper. They enter a hallway through double doors towards the HUB. VOSEN You tracking him? As they pass through, colleague hands WILLS a file. WILLS Yeah, thanks Mike. We have a survey team covering him at work. and a sneak and peek's on their way to his apartment. VOSEN Well, who talked to him? How did he find out about Blackbriar? WILLS We do n't know, we pulled his background and ran a cross check on any known anomalies, but we've come up with nothing. But, I think if we follow Ross, we are going to be able. VOSEN Right. Ross is easy. I want the source. They enter the HUB.\",\n \"EXT. DAY. GARE DU NORD -- PARIS BOURNE buys a newspaper, enters the station and gets on the EUROSTAR.\",\n \"INT. DAY. CRI DATA ROOM (was 25E) VOSEN and WILLIS listen to the phone call. ROSS -LRB- VOICEOVER. -RRB- Have you heard of an Operation Blackbriar? I'm going to try and get my head around this, see you first thing. VOSEN turns. VOSEN Is that all? WILLS Yeah. VOSEN I want rendition protocols and I want the asset put on standby, just in case.\",\n \"INT. DAY -- CRI HUB VOSEN steps out from DATA ROOM. addresses the HUB. VOSEN People, listen up, this is a full priority situation WILLS Jimmy, give me Ross's profile on one. -LRB- points at the big screen on the wall. -RRB- ROSS'S information come up on the center screen. VOSEN Our target is a British national, Simon Ross, a reporter. I want all his phones, his blackberry, his apartment, his car, bank accounts, credit cards, travel patterns. I want to know what he's going to think before he does. Every dirty little secret he has. And most of all, we want the name and real time location of his source. This is NSA priority level 4, any questions? No response from the HUB. VOSEN -LRB- CONT'D. -RRB- All right, let's get to it.\",\n \"EXT. DAY. EUROSTAR -- ENGLAND The EUROSTAR winds it's way to London.\",\n \"INT. DAY. EUROSTAR BOURNE reads The Guardian. He sees an article written by Simon Ross. Title : `` RENEGADE ASSASSIN LOSE IN EUROPE''. It mentions BOURNE. There is a photo of Marie - FLASHBACK Marie smiles at him. Marie shot. Marie fades into the depths, dead. Bourne burns Marie's stuff\",\n \"INT. DAY. EUROSTAR BOURNE comes out of the flashback. He is still carrying the pain of her loss Bourne finds Ross's name on the masthead, then goes to the name just below it in the news department.\",\n \"EXT. DAY GUARDIAN NEWSPAPER -- LONDON Ross crosses a busy London street - heads to Guardian office building. A CRI TEAM watches from a parked car.\",\n \"INT. DAY -- CRI HUB TECH # 1 watches the data arrive. TECH#1 Copy that. Mr. Vosen, subject is entering his office. VOSEN watches the feed. VOSEN Where's my picture please? TECH#2 Coming online. Online. Now. A surveillance picture flashes onscreen - ROSS works in his office. HUB chatter about ROSS phone. TECH#3 Take an hour to get his phone. VOSEN That's too long. Off VOSEN.\",\n \"INT. DAY. GUARDIAN EDITOR OFFICE -- LONDON ROSS reports to his EDITOR. EDITOR So how do we know he's not spinning for someone? ROSS There's more. He was scared. EDITOR Scared of what? ROSS Blackbriar. A REPORTER sticks her head in. REPORTER Sorry, a call for you. ROSS Who is it? REPORTER Wo n't give hie name. ROSS leaves to pick up the call.\",\n \"INT. CONTINUOUS. GUARDIAN -- NEWSROOM ROSS crosses the busy newsroom. REPORTER He's on my line. ROSS picks up the phone. Ross -LRB- CONT'D. -RRB- Simon Ross.\",\n \"INT. DAY. CRI HUB -- NEW YORK CITY VOSEN watches as ROSS takes phone call. VOSEN Why are n't we hearing this? WILLS That's a hard line, Jimmy, why do n't we have it? JIMMY We have his line, sir, but he's not on it. WILLS looks confused.\",\n \"INT. DAY GUARDIAN -- NEWSROOM ROSS listens. BOURNE -LRB- V.O. -RRB- Waterloo Station, south entrance, thirty minutes. ROSS Who is this? BOURNE -LRB- V.O. -RRB- This is Jason Bourne.\",\n \"INT. DAY -- EUROSTAR TRAVELING Bourne You want to talk to me. Come alone. BOURNE hangs up.\",\n \"INT. DAY. GUARDIAN -- NEWSROOM ROSS looks bewildered - hangs up the phone - gathers his stuff - puts his notebook in his pocket and leaves. SURVEY ONE -LRB- V.O. -RRB- Are you getting an image? VOSEN Where's he going? WILLS Okay, he is on the move. Target is mobile. The HUB reacts. WILLS Okay, people, look sharp, give me eyeballs on the street.\",\n \"INT. DAY. BUILDING -- ACROSS FROM GUARDIAN SURVEY ONE has panned down to the entrance of the GUARDIAN building. Because ROSS is on the move. SURVEY ONE Subject is on the move. Go mobile One and Two. WILLS Where's that audio on the street? I want to know where he's going.\",\n \"EXT. CONTINUOUS. LONDON STREET ROSS hails a BLACK TAXI. The SILVER VAN pulls out behind him.\",\n \"INT. DAY. NEW YORK HUB VOSEN watches as the feed from the SILVER VAN comes through. MOBILE 2 -LRB- over radio. -RRB- We have the subject confirmed. VOSEN Where is he heading? MOBILE 2 Waterloo Station.\",\n \"EXT. DAY. WATERLOO STATION -- LONDON BOURNE arrives on the EUROSTAR. Enters the station.\",\n \"EXT. CONTINUOUS. STREET As the taxi moves away, the SILVER VAN pulls out behind it. A CYCLE COURIER momentarily blocks its path. Looking in on ROSS sifting through documents in the back seat. HUB -LRB- V.O. -RRB- Stand by at Waterloo.\",\n \"EXT. DAY. WATERLOO STATION -- LONDON BOURNE moving toward the rendezvous.\",\n \"INT/EXT. DAY. BLACK CAB -- YORK ROAD ROSS pays the DRIVER, exits. Checks his watch. Looks around. Is n't sure what his next move is -\",\n \"INT. DAY. CRI HUB TECHNICIANS searching for ROSS on the busy street. TECHNICIAN #2 Mobile One - give us eyes on the subject.\",\n \"EXT. DAY. YORK ROAD -- LONDON MOBILE ONE - two people from the van - take up a position in an open stairwell three floors up. They focus a camera down on Ross.\",\n \"EXT. DAY. ENTRANCE -- WATERLOO STATION BOURNE buys a cell phone. Activates the SIM card on the new phone. Dumps the pay - as - you - go package in a bin. Rounds a corner. Out of sight.\",\n \"INT. CONTINUOUS. CRI HUB -- NEW YORK CITY Screens come alive with a POV of ROSS. VOSEN studies the monitors. ROSS arrives at Waterloo, pays TAXI. TECHNICIAN #1 Sir, subject just arrived at the south entrance to Waterloo Station.\",\n \"INT. DAY. WATERLOO -- ENTRANCE ROSS moves to the entrance. Behind him, inside the tube station portico, BOURNE arrives. Sees ROSS. Sees the two survey teams. MOBILE ONE up the stair well and MOBILE TWO at street level. Commuters coming up the escalators. BOURNE joins them - moving towards Ross. Closer. Right on him. ROSS oblivious. Looking out onto the street. BOURNE brushes past him and PUTS THE PHONE IN HIS POCKET. ROSS feels the contact. Checking himself - he's okay. But now a phone is ringing - looks around, must be someone else. But the vibration's coming from his jacket pocket. ROSS takes out the phone - not his - puzzled. ROSS hits `` answer.'' ROSS Hello? BOURNE -LRB- O.S. -RRB- Do n't ask questions. Just listen.\",\n \"INT. CONTINUOUS. NEW YORK HUB VOSEN watching. VOSEN What's he doing? I thought we blocked his cell? Who the hell is he talking to? WILLS Jimmy, I need that phone! VOSEN -LRB- beat. -RRB- Activate the asset. WILLS Sir, we have n't yet become operational - VOSEN I said activate the asset. I want options. Wills keys in a CODE.\",\n \"EXT. DAY. BMW -- LONDON STREET PAZ, 20s, cool and predatory, drives and waits for instructions. His PHONE buzzes. He reads the code. Accelerates toward Waterloo Station.\",\n \"EXT. CONTINUOUS. FOOTBRIDGE BOURNE reaches the top of the stairwell on the other side of the road. His POV to the left - a LONDON BUS is approaching. To the right - a young man in a hooded top - speaking on his cell - walking toward a BUS STOP. A plan is forming.\",\n \"INT. CONTINUOUS. WHITE VAN SURVEY TWO - camera zooming in on ROSS. SURVEY TWO What's the ROE on this one? PANNING TO REVEAL\",\n \"INT. CONTINUOUS. NEW YORK HUB VOSEN thinking it over as he watches the image of ROSS.\",\n \"EXT. DAY. YORK ROAD -- TUBE -- BUS STOP ROSS looking around. Then - BOURNE -LRB- O.S. -RRB- To your left. Blue hooded top. Walking towards the bus stop ROSS has clocked him. The HOODY walks to the bus stop. One hands - free EARBUD swaying down by his side as he moves to a seat. Sitting down. Checking his watch. ROSS shifting nervously from one foot to another. BOURNE -LRB- o.s. ; CONT'D. -RRB- Go to the bus stop, sit next to him. Head down. The LONDON BUS approaching. ROSS begins to move.\",\n \"INT. DAY. CRI HUB -- NEW YORK Things are beginning to happen. TECHNICIAN #1 Target is on the move. WILLS Okay, who's the guy in the blue hood? Screen POV. ROSS standing next to the HOODY - head down. Trying to play it cool - ROSS in clear view of the cameras. `` Speaking'' with the HOODY. Camera zooming in. VOSEN Okay, there, he's talking to the guy with the hood. Take them down. Just then - A BUS pulling up to the bus stop, blocking both SURVEYS' views. Rifle mics picking up the bus chatter, instead of ROSS. VOSEN. Annoyed now. VOSEN Watch that bus! The bus! - do n't lose them! Stay triangular and do n't get blocked. The crackle of the survey teams as they try and reframe. POV SCREEN - SURVEY ONE seeing the bus clear. The HOODY has gone. POV ANOTHER SCREEN - SURVEY TWO - camera finally catching up, picking out the HOODY on the bus as it begins to pull away. VOSEN? says. Grab Team B. Grab the hoody and stay with Ross. TECH'S giving orders.\",\n \"EXT. ACROSS FROM YORK ROAD -- DAY SURVEY TWO - three men racing across the road on foot. Weaving through heavy traffic.\",\n \"EXT. DAY. FOOTBRIDGE AREA BOURNE watching his plan unfold. Only a few seconds to get ROSS out of there. BOURNE Take the footbridge. Go to the West Entrance. I'll meet you at the newsstand.\",\n \"EXT. DAY. YORK ROAD -- CONTINUOUS ROSS rearing this - Moving away - The BUS moves up to the traffic light. The AGENTS moving across the street.\",\n \"INT. DAY. NEW YORK -- ENCRYPTED AREA -- CONTINUOUS VOSEN looking at the screens. Pointing. VOSEN No, no, look. Ross is not on the bus. Split up the team - get the guy on the bus and send someone to stay on Ross.\",\n \"EXT DAY. YORK ROAD -- CONTINUOUS One AGENT peeling off, to keep ROSS in check. The other two AGENTS racing to the bus as it pulls away from the lights. Kicking the doors open, leaping on. GUNS drawn. So quick. Passengers screaming. AGENT ONE -LRB- to Hoody. -RRB- You. On the floor. Down. Pushing the HOODY to the floor. AGENT TWO Driver, stop the bus! On the HOODY. The HOOD is pulled back. An innocent YOUNG MAN - terrified, bewildered.\",\n \"EXT. DAY. FOOTBRIDGE AREA ROSS on the move across the walkway.\",\n \"INT. DAY. STAIRWELL SURVEY ONE moving up the steps, only to meet - BOURNE coming down. Three quick moves and he's down - slumped against a wall - just another drunk to step over in the rush hour. Pulls the feed. Takes the earbud. Then back up and falls into step behind ROSS. Listening in to the chaos he has caused - an ocean away.\",\n \"INT. DAY. NEW YORK HUB TECHIES scrambling to restore the feed. VOSEN staring. TECHNICIAN #2 We've lost signal. TECHNICIAN #1 What happened to Survey One? VOSEN I do n't like this. Patch me through to Met surveillance.\",\n \"INT/EXT. DAY. CAR -- LONDON STREETS PAZ parked up - gets the call - pulls out into the traffic. Slicing through to the target area. Waterloo up ahead.\",\n \"EXT. DAY. WATERLOO A SECOND SURVEY TEAM - out of their vehicles. Furtively they lock and load their side arms. Fanning out towards the station.\",\n \"EXT. DAY. WEST ENTRANCE WATERLOO - NEWSTAND Bourne stops Ross, surprising him. BOURNE Why do you know so much about me? ROSS What? BOURNE The article. You talked to someone from Treadstone. Someone there at the beginning. What's his name? ROSS I ca n't tell you that. Who's following me? BOURNE Whoever they are it's trouble. ROSS Are they Blackbriar? BOURNE Blackbriar, what's Blackbriar? ROSS I do n't know. I heard the name this morning for the first time. Whatever it is, my source said it started with you. BOURNE What? What are you talking about? ROSS Look, just help me get away from these people. and we can talk more. we can - BOURNE -LRB- spotting approaching operatives. -RRB- We have to move. Bourne moves Ross toward the concourse. BOURNE Answer your phone.\",\n \"INT. DAY. CRI HUB SCREENS coming alive again. They are through to MET SURVEILLANCE - the AREA around WATERLOO. TECHNICIAN #1 Last sighted heading to the West entrance. VOSEN He's got to be close. Seal the entrances.\",\n \"EXT. DAY. WATERLOO The new SURVEY team moves towards different entrances - Ready to beat out the quarry.\",\n \"EXT. DAY. WEST ENTRANCE CAMERAS suddenly alive. Movement across the footbridge. The net's been thrown.\",\n \"INT. CONTINUOUS. CONCOURSE -- WATERLOO Into the station concourse. ROSS moving fast. Fighting through the crowds of faces. Each one a killer in ROSS' tormented mind. BOURNE on the periphery looking out across the throng, picking out the inconsistencies. One AGENT, then another approaching. He dials. BOURNE -LRB- O.C. -RRB- Three o'clock. Female. Blonde black top. ROSS Has she seen me? BOURNE Not yet. Dip left past the photo kiosk. ROSS spinning round. Dipping left. BLACK TOP passing in the background missing him. BOURNE crossing close behind - marshalling the pieces at breakneck speed. BOURNE -LRB- CONT'D. -RRB- Straight ahead. News kiosk. ROSS turning. Weaving through the commuters. BOURNE seeing cameras turn. ROSS heading into their path. BOURNE -LRB- CONT'D. -RRB- Change of plan. Stop. Tie your shoelace. BOURNE seeing ROSS dip out of view as a group of TOURISTS block the CCTV's line of sight.\",\n \"INT. DAY. CRI HUB That same scene - scores of TOURISTS - from VOSEN's point of view. The TECHS try to get another angle.\",\n \"EXT. DAY. CONCOURSE -- WATERLOO ROSS looking through the sea of legs as he finishes tying his laces. Cameras sweeping past. ROSS Are we clear? BOURNE Clear. News kiosk. Straight ahead. ROSS on the move. Sweating. Paranoid. Seeing a BIN MAN coming toward him - reaching into his trolley. ROSS Straight toward me. Bin man? BOURNE Negative. ROSS He's got a gun. BOURNE Negative. Keep straight ahead. But ROSS swerves out of his path as the BIN MAN pulls out - a bunch of keys. CCTV CAMERAS turn - ZOOMING IN ON ROSS.\",\n \"INT. DAY. CRI HUB -- NEW YORK Ross' face on all screens. TECH#1 We got a hit. Middle of the concourse. VOSEN pacing. VOSEN We're losing him! We can not afford to lose him! Frenzied teching as they capture and transmit an image of Ross to.\",\n \"EXT. DAY. TAXI RANK -- WATERLOO PAZ flipping open his phone. A voice crackling in his earpiece. VOICE Waterloo concourse. Subject heading east. Paz jamming the wheel hard right. Doing a high speed U - turn. Heading towards the east side of the station.\",\n \"EXT. DAY. CONCOURSE BOURNE realizes ROSS has been seen. Sees the AGENTS starting to form the box. BOURNE Get into cover. Now! ROSS moving faster. VOSEN What's the status of the asset? WILLS In place in one minute. VOSEN Alright, I want to take him now. Get him out of there and have the asset cover it. WILLS gives orders.\",\n \"INT. CAR TRAVELLING-- MEPHAM STREET -- DAY. PAZ pulling into a side street. Out towards a series of arches that lead underneath the terminal. In his ear. VOICE Target moving towards the stores. ANOTHER VOICE Asset in play. ETA thirty seconds. All exits covered. PAZ through the archway. Grabbing a station plan. Studying it. Through a subterranean maze of corridors. Up steps. Through doors. On his way to the kill zone.\",\n \"EXT. CONCOURSE-- CONTINUOUS -- DAY ROSS moving through crowds around the departures board. BOURNE hearing that last exchange in his earpiece too. Asset in play? BOURNE Keep moving. BOURNE's POV : AGENTS closing the box. The departures board. Platform 7. A train waiting. BOURNE -LRB- CONT'D. -RRB- Faster. Commuters waiting for the platform BOURNE -LRB- CONT'D. -RRB- The front. Suddenly - CLICK - PLATFORM 7 displays. A wave of commuters flooding away - sweeping the AGENTS back with them towards platform 7. BOURNE -LRB- CONT'D. -RRB- GET IN THE STORE. BOURNE'S bought them thirty seconds.\",\n \"INT. TUNNELS ABOVE THE CONCOURSE -- DAY PAZ on the move. Earpiece crackling. Through a door. Taking a left down another tunnel. Opens another security door and moves up some steps. Towards a ladder.\",\n \"EXT. CONCOURSE WATERLOO -- SIMULTANEOUSLY -- DAY The AGENTS regrouping. Speaking into their radios. Voice He's in the store - still moving east. ROSS out into the open again. In front of him another STORE COMPLEX. BOURNE INSIDE! BOURNE searching the concourse. Something bothering him. The threat level clicking another notch. 102A/B INT. MAINTENANCE AREA - SIMULTANEOUSLY - DAY 102A/B PAZ heads up some stairs to a service platform. Climbs a ladder.\",\n \"EXT. CONCOURSE -- CONTINUOUS -- DAY ROSS into the store complex. To one side is a service doorway. BOURNE sees the AGENTS approaching. Looks the other way - up at the hoardings above. Something's not right. Treadstone instinct. BOURNE Service doorway - Now!\",\n \"INT. NEW YORK HUB -- SIMULTANEOUS -- DAY An image of Ross as he enters the store complex appears on the screen. TECHY 2 Store. Three means of egress. VOSEN Close him down.\",\n \"INT. STORE COMPLEX -- SIMULTANEOUSLY -- DAY ROSS through narrow store corridors. Sheer panic now. Two of the AGENTS move in after him. BOURNE behind them. BANG - takes the first out silently. BOURNE Keep moving. ROSS moving out to the light as another AGENT follows. BOURNE -LRB- CONT'D. -RRB- Through the store room. ROSS travelling through. The second AGENT right behind as - BOURNE steps out from behind the store room door. The dull snap of bones as second AGENT falls to the floor.\",\n \"INT. DAY -- CRI HUB On a screen VOSEN watches, transfixed, as BOURNE takes out all his agents and then grabs ROBB. VOSEN Jesus Christ, that's Jason Bourne. WILLS Maybe he's the source? VOSEN It does n't matter, the asset now has 2 targets. Take them both out. WILLS taps in the order.\",\n \"INT. MAINTENANCE AREA-- DAY PAZ moves cross a narrow walkway. Now he's behind a mechanical ` tri - panel' hoarding. The kind that displays a different advert every 15 seconds. He waits for the change and then - - A huge field of vision across the concourse stretching out down below him - a sniper's heaven. PAZ pulling open the motor - casing from the side panel, goes to work on it. Slowing the rotation. Rearranging the large triangular prisms to give him just the right time - gap to pull the trigger - and just enough cover to disappear. He takes out rifle parts from his rucksack. Starts to assemble them.\",\n \"INT. BEHIND THRESHERS (BEHIND THE SILVER METAL DOOR) BOURNE I'm going to get you to safety but you have to stay calm do exactly what I say. ROSS -LRB- fear - induced autopilot. -RRB- Sure, okay. BOURNE No, listen to me : Exactly what I say this time. Understand? Ross snaps to focus. Looks Bourne in the eye. ROSS Yes. BOURNE Stay here while I look for an escape. Ross nods.\",\n \"INT. MAINTENANCE AREA PAZ puts together the rifle.\",\n \"INT. WATERLOO STATION BOURNE exits from the silver door behind Threshers. He stays on the phone with Ross. Hidden from the view of the CCTV cameras by the thick crowd, Bourne sees the approaching agents abruptly pulling back. ROSS -LRB- PHONE V.O. ; CONT'D. -RRB- I can see the entrance from here I can make it out - BOURNE No, stay behind that door.\",\n \"INT. HUB CCTV view of the silver door behind Threshers that ROSS is behind -LRB- not Bourne -RRB-. Wills is on phone. WILLS There. That silver door. Bourne's behind that door? TECH Confirmed. WILLS Okay, pull the agents back and give Bourne's location to the asset.\",\n \"INT. MAINTENANCE AREA On his cell phone Paz receives a text indicating Bourne's location. Paz finds the silver door and aims his rifle at it. SCOPE POV A shape barely visible moving behind the window. -LRB- It's Ross but Paz and the Hub think it's Bourne.\",\n \"INT. BEHIND THRESHERS / WATERLOO CONCOURSE-- DAY Bourne spots the agents pulling back per Wills' orders. ROSS -LRB- INTO PHONE. -RRB- If I run now I can make it - BOURNE -LRB- INTO PHONE. -RRB- No. Something's not right.\",\n \"INT. MAINTENANCE AREA Paz awaiting his shot - SCOPE POV The door comes open slightly, but from this angle Paz does n't have a clean shot at his target -LRB- who he thinks is Bourne -RRB-.\",\n \"INT. CONCOURSE -- WATERLOO Bourne searches the rafters, looking for any threats from above. ROSS -LRB- TEL.. V.O. -RRB- I'm going to go for it, okay? BOURNE Do n't move until I tell you. Bourne is distracted by the last of the agents disappearing. Something is definitely wrong - ROSS I'm going to go for it. BOURNE No, No not now. Ross suddenly sprints out from behind the door - SCOPE POV Paz sees the shape emerge -\",\n \"INT. MAINTENANCE AREA -- DAY PAZ fires -\",\n \"INT. WATERLOO -- SERIES OF ANGLES But it's Ross, not Bourne. Ross is hit by Paz's shot. He falls, inches from the silver door, dead. Blood has splattered on the door.\",\n \"INT. PAZ'S NEST Paz snaps his head back to the scope, realizing he's shot the wrong person. Then he catches a glimpse of Bourne - Bourne ducks behind the gathering crowd, out of Paz's line of sight, and goes to the body.\",\n \"INT. HUB Vosen and Wills stare at the screen. At the image of Ross, dead on the concourse. The room - normally full of chatter has gone dead silent. Vosen puts his head in his hands. This is a monumental screw up and everyone here knows it. He just had the wrong man killed. VOSEN Oh. shit. Then suddenly Vosen snaps back to focus : VOSEN -LRB- CONT'D. -RRB- Get the asset out of there. WILLS What about Bourne? On the HUB MONITORS we see Police moving in. Vosen does n't need to see anymore. VOSEN Get him out of there - NOW!\",\n \"INT. WATERLOO -- DAY Bourne feels Ross' body for something. PAZ'S NEST Paz is frustrated by the order. He's itching to get another shot off at Bourne, but after a beat, packs up quickly, as ordered.\",\n \"INT. WATERLOO -- DAY Back in Waterloo, Cops run in from all sides.\",\n \"INT. DAY. WATERLOO STATION On the screens and in real life, the aftermath of the hit. PARAMEDICS try helplessly to deal with ROSS - killed instantly by the head shot meant for BOURNE. POLICE arrive and seal off the crime scene.\",\n \"EXT. CONCOURSE WATERLOO -- SIMULTANEOUSLY -- DAY BOURNE on the move. Fast - Past platforms. On his way up to the Tri Panel. Up stairs. On to a walkway. To his right he sees a figure disappearing. PAZ. BOURNE hammers down the walk - way in pursuit.\",\n \"EXT. PLATFORM AREA -- DAY BOURNE tailing PAZ down on to a parallel platform. PAZ dipping down into the underground entrance. 115/116 INT. TUBE STATION - WATERLOO - DAY 115/116 PAZ moving deliberately through the evening rush hour - blending in. BOURNE in pursuit. Chasing on instinct. There. A glimpse of PAZ at the bottom of an escalator. BOURNE fights past people. PAZ disappears into the crowd. BOURNE rushes to catch him. Rounding a corner. A long walkway - at the end, two staircases lead to different tube lines. BOURNE hesitates - measures the choice. The sound of a train fills the station - BOURNE - Fast downstairs. Watches - just as PAZ gets onto the car at another door. BOURNE lunges to get on the train. But the doors close. BOURNE'S POV Watching PAZ from the platform as he SAGS down onto a seat, nauseated, his skin clammy, his head pounding. He takes out the PILLS and dry - swallows them. Looks up. CLOSE ON - BOURNE Watching PAZ. As if he's looking in the MIRROR at his old self. The self before THE BOURNE IDENTITY. CLOSE ON - PAZ He looks straight ahead, just another commuter. BACK ON - BOURNE Watching PAZ, as the train pulls away. Then BOURNE is immediately in motion.\",\n \"INT. DAY. DIRECTOR'S OFFICE -- CIA -- LANGLEY, VA KRAMER Hello. VOSEN It's Vosen. We have a situation.\",\n \"EXT. NIGHT. DANIELS OFFICE -- MADRID Establishing Sewell and Marbury.\",\n \"INT. NIGHT. DANIELS OFFICE DANIELS watches news of ROSS murder on TV. DANIELS panics, opens his safe, packs up papers, takes Blackbriar FILE. Sets alarm. Leaves.\",\n \"EXT. NIGHT. INTERNET CAFE -- LONDON. BOURNE sits at a computer, the ROSS notebook open in front of him. He pages through it, finding names, places, `` HOW DID THIS ALL START?'' - and Blackbriar. He Googles `` Sewell and Marbury'' - finds Paris, Berlin, Madrid. BOURNE continues to search and finds receipt from Madrid. BOURNE leaves.\",\n \"EXT. DAY. POSH HOTEL -- NEW YORK CITY LANDY steps out of a TAXI.\",\n \"INT. DAY. POSH HOTEL -- NEW YORK CITY Vosen's sitting. VOSEN -LRB- to waiter. -RRB- Sparkling. And a `` Heart - Healthy'' omelet with goat cheese and peppers. Landy arrives. VOSEN You're late. Traffic? WAITER -LRB- handing her the menu. -RRB- Ma'am? LANDY Nothing for me. Vosen looks at her, surprised. VOSEN I'm buying. She shakes her head, no. She sits, without taking her coat off. She's not staying long. VOSEN When the Director called, it was suggested we bring you on - LANDY Suggested? -LRB- beat. -RRB- Are you sure it was just a suggestion? VOSEN Funny how different things look depending on where you sit. I look at this as doing a favor for you. Giving you an opportunity to complete some unfinished business. LANDY Meaning? VOSEN Jason Bourne. LANDY Bourne's finished. VOSEN Really? LANDY It was finished the moment I realized I was chasing him for something he did n't do. The case is closed. VOSEN So what do you make of this? -LRB- handing her surveillance photos of Bourne in Paris. -RRB- French intel picked up Bourne meeting Pierre Elattrache on Tuesday. He threatened to burn our house down if you did n't tell him who started Treadstone. That's a big problem, would n't you agree? LANDY This does n't feel like Bourne to me. VOSEN Why's it so hard for you to believe? LANDY Probably because it's coming from you, Noah. VOSEN Lets try and be adults okay? We all thought he was done, off the grid. But Bourne's back. Maybe he's a threat. We both want the same thing here. LANDY So what happened at Waterloo? VOSEN We have a leak. Bourne showed up in our surveillance. We had very little time to react. LANDY And the reporter ended up dead? VOSEN Bourne saw us coming. Landy looks at him, suspicious. LANDY So what was he doing? VOSEN? says. We do n't know. But just the fact that he was there means he's up to something, do n't you think? Maybe he's the source? LANDY The real question is how you managed to get in a fire fight in the middle of a public train station. VOSEN Do n't second guess an operation from an armchair, Pam. It's not fair. LANDY I'm going to the office now. I'll make my own introductions. Off VOSEN.\",\n \"EXT. DAY. ATOCHA TRAIN STATION -- MADRID AN AVE train pulling into the vast station. BOURNE stepping out, walking up the platform. Moving out through the station.\",\n \"INT. DAY -- CRI HUB TWO NEW TECHS plus the three we met before. All watching VOSEN lead LANDY and CRONIN into the room. WILLS This is Pamela Landy. She's gon na be quarterbacking our search effort. I think what we oughta do, just to get started, let's go around the room, say who you are and what your spec is. LANDY stepping in before this gets going - LANDY Let's do names later. -LRB- she's got the floor. -RRB- What's Bourne's last fixed position? -LRB- impatient. -RRB- Anybody. TECH#3 London. Twelve hundred Zulu. LANDY Status? Wounded? Armed? TECH#2 Alive. Mobile. Unknown. LANDY Where are your grids coming from? TECH#1 NSA Tactical. LANDY You have an Echelon package? TECH#1 Yes. LANDY Why is n't it on? TECH#1 We were waiting. LANDY For what? -LRB- no takers. -RRB- You're nine hours behind the toughest target you've ever tracked. I want everyone to sit down, strap in, and turn on all you've got. -LRB- beat. -RRB- That would mean now. That lights it. They're moving. LANDY -LRB- CONT'D. -RRB- Thank you. VOSEN watches. LANDY -LRB- CONT'D. -RRB- I want everything you've got on Ross on screen one. LANDY watches as the screen lights up with ROSS information.\",\n \"EXT. DAY. SEWELL AND MARBURY -- MADRID Bourne arrives, begins to recon the area. He goes to the front door finds `` Sewell and Marbury'' and rings the bell. No answer. Two cops come around a corner. Bourne sees them, notes the side of the building and leaves.\",\n \"INT. DAY. CRI HUB -- NEW YORK CITY TECH#1 Sir, we just hacked Ross's email account at the Guardian and found a round trip ticket to Turin, yesterday. 0800 arrival, 12:05 departure. LANDY I think we can be pretty certain that Bourne's not your source then? VOSEN How? LANDY Ross's call to his editor, where he said he just met the source on Blackbriar, took place just after his flight landed. His met his source in Turin. VOSEN So? LANDY So, what, Bourne met Ross for breakfast and then, at noon the same day Bourne calls Ross to demand a meet at Waterloo? CRONIN -LRB- Needling Wills. -RRB- Maybe they were even on the same flight? VOSEN Cross check the secure cell phone usage of everyone with Blackbriar SCI clearance against all calls in and out of Turin during the morning Ross was there TECHNICIANS start pounding keyboards. LANDY The guy you're after is a CIA operative with clearance above Top Secret. He was committing treason by talking to Ross. Do you really think, while doing that, he used a cell phone he knows we can track? TECH 3 -LRB- JIMMY. -RRB- Zero results on the cross check. VOSEN stares daggers at her. WILLS Do you have a better idea? LANDY Yeah, I'd look at all the people whose cell phones were switched off the entire period Ross was in Turin. WILLS Do it Jimmy. TECHNICIANS start tapping. LANDY -LRB- looks at Cronin. -RRB- I mean if your people use their cell phones as much as mine do, the list should be pretty small TECHNICIAN 3 JIMMY Three names : Tom Brewster, Jack Boulin, Neal Daniels. The names display on the screen : Tom Brewster, Jack Boulin Neal Daniels. The HUB employees ca n't help but be impressed by LANDY. WILLS and VOSEN notice their response. LANDY Now check everything in Ross's apartment against those names. Look for common patterns, look for - CRONIN Initials. Bring that up on main. LANDY turns. CRONIN is leaning down in front of a computer screen. Point to something for the tech - who puts it on the big screen, blown up. In a set of handwritten notes by ROSS it says `` per N.D. `` next to several scrawls. LANDY Neal Daniels. He's Station Chief in Madrid now, is n't he? WILLS Jesus Christ. VOSEN Call the RSO at the Embassy and have them take Daniels into custody if he's there. If he's not, get a grab team to the Calle Norte safe house. Send them in heavy and tell them we'll assist with entry. LANDY `` Heavy?'' Daniels is n't - VOSEN I'm worried about Bourne. If he's not Ross's source, then he must be after Ross's source - just like us. Off LANDY.\",\n \"EXT. MADRID STREETS -- NIGHT BOURNE in a TAXI turning a corner into a narrow street. The rain has slowed, but the streets are still quiet. BOURNE gets out and walks past the SEWELL and MARBURY front door, picks the lock and gains entry.\",\n \"INT. SEWELL AND MARBURY. -- NIGHT BOURNE up the stairs. Finds the office. Jimmies the door. Disables the alarm. All the signs of a hurried exit. A half filled cup of coffee - cigarette burned down in an ashtray but not snubbed out - a light left on - files and documents, some shredded, some not.\",\n \"INT. HUB Vosen paces back and forth. The hub is MUCH quieter than it was in the Waterloo scenes. TECH 1. says. -LRB- LUCY. -RRB- Parque Vasquez is clean. No sign of subject. VOSEN Team two, ETA Callee Norte? FILTERED V.O. -LRB- KILEY. -RRB- Three minutes.\",\n \"EXT. MADRID STREETS -- NIGHT A BLACK CAR moving briskly through traffic and -\",\n \"INT. MOVING BLACK CAR -- NIGHT HAMMOND at the wheel. KILEY with the map. Shutting off his phone.\",\n \"INT. SEWELL AND MARBURY -- NIGHT BOURNE checks the office. Soon he finds a photo of Daniels with Albert Hirsch.\",\n \"EXT. HOSPITAL ANNEX -- OVERCAST DAY -- FLASHBACK Bourne arrives at a nondescript steel door with two CCTV cameras covering it. He sees 415 written above the door.\",\n \"INT. SEWELL AND MARBURY -- NIGHT The flashback overwhelms Bourne.\",\n \"INT. SRD CORRIDOR -- DAY -- FLASHBACK POV shots of Bourne walking down the long corridor with Daniels. Other shots revealing that Bourne is in Army dress greens -LRB- without hat -RRB-. Daniels knocks and leads Bourne into -\",\n \"INT. SEWELL AND MARBURY -- NIGHT Bourne is driven to his knees.\",\n \"INT. TANK ROOM -- FLASHBACK Bourne is dragged into a room with a large water tank. His hands have been bound behind his back, the sack's drawstring pulled tight, and he has been weighted down. Bourne is shoved into the water. UNDERWATER SHOT - FLASHBACK Bourne falls into the water. SPLASH. He starts to sink. The wet sack allows us to see the outlines of his face. Also POVs as Bourne sinks. SERIES OF SHOTS FROM ABOVE AND BELOW WATER - FLASHBACK Bourne struggles wildly at first. Tries to get out of his restraints. But to no avail. SRD men watch him from the edge of the tank. Perhaps also on monitors. Expressionless. UNDERWATER SHOT - FLASHBACK Bourne fights every human instinct to draw a breath. Also shot from Bourne's POV : HIRSCH -LRB- FILTERED, EERIE. -RRB- You're going to drown. There is nothing you can do to prevent this. Stop struggling and accept it. Finally Bourne ca n't hold his breath for an instant longer. His mouth opens. Water rushes in. He convulses, begins to drown.\",\n \"INT. TANK ROOM -- FLASHBACK Bourne's body goes limp. SRD men watch. No reaction. UNDERWATER SHOT - FLASHBACK Bourne goes limp. POV of him blacking out.\",\n \"INT. SEWELL AND MARBURY -- NIGHT BOURNE comes out of the FLASHBACK. As he staggers across the room, he notices a car arriving on the monitor.\",\n \"EXT. STREET A car approaches.\",\n \"INT. SEWELL AND MARBURY Bourne snaps out of it and sees the car on a security monitor.\",\n \"EXT. STREET. Agents get out of car and approach building.\",\n \"INT. DAY -- CRI HUB TECH#3 Sir, they're at the front door. VOSEN watches.\",\n \"EXT. NIGHT. MADRID SAFEHOUSE HAMMOND AND KILEY enter the building.\",\n \"INT. NIGHT. SAFEHOUSE BOURNE runs water into the TEA KETTLE - sets the trap.\",\n \"INT. NIGHT. SAFEHOUSE HAMMOND and KILEY enter. HAMMOND We're in. BOURNE listens from his hiding spot.\",\n \"INT. DAY. CRI HUB LANDY paces. VOSEN Okay, put it live.\",\n \"INT. NIGHT. SAFEHOUSE HAMMOND moves quickly into the room - gun raised. HAMMOND at the alarm box. HAMMOND Alarm's down.\",\n \"INT. DAY -- CRI HUB VOSEN That has to be Bourne. VOSEN already moving to the monitor.\",\n \"INT. NIGHT. MADRID SAFEHOUSE HAMMOND and KILEY - move cautiously from room to room - they've done it before. HAMMOND -LRB- into mike. -RRB- Safe's cleaned out.\",\n \"INT. CRI/GRID ROOM VOSEN pacing impatiently around the speakerphone - VOSEN Shit. Track the passports.\",\n \"INT. NIGHT/RAIN -- SAFEHOUSE KILEY gestures to a light moving under a door. Kiley crouching. leaning in. hand on the knob, and - Pulls the closet DOOR OPEN - Nothing. Sink, dishes. a small kitchen. And. on the stove. a tea kettle and a spoon. Which is the last thing they'll remember, because. BOURNE - coming around the corner fast - full stop and - BOURNE lays out HAMMOND. KILEY turns to find BOURNE - who takes him out too. Then it stops. BOURNE yanks the headsets. Closes the PHONE.\",\n \"INT. DAY. CRI HUB The SCREENS go black. Silence. VOSEN Goddamn it! Get a back - up team in there!\",\n \"INT. MADRID SAFEHOUSE - NIGHT TEA KETTLE payoff.\",\n \"INT. HUB VOSEN How long till back - up arrives? The hub scrambles to answer that. Landy paces in the background. Suspicious of Vosen. VOSEN How long? -LRB- beat, loud, to the entire hub. -RRB- Stop! Hang on. I have an idea.\",\n \"INT. NIGHT. MADRID SAFEHOUSE ON A SECURITY MONITOR - BOURNE sees another figure moving up the stairs. Checking his watch, reloading his gun. Twisting into the path to shoot as the door opens, hesitating because - It's NICKY. A beat - long unbroken. BOURNE What are you doing here? NICKY I was posted here after Berlin. BOURNE Where's Daniels? The office PHONE goes. Bourne waving her to it. She picks it up. He hits the speaker phone.\",\n \"INT. HUB NICKY -LRB- V.O. -RRB- Hello. VOSEN Who is this? NICKY -LRB- V.O. -RRB- This is Nicky Parsons. Who's this? Landy reacts to her voice. Both Vosen and Landy strongly suspect Bourne is there and listening. Vosen reads her `` Duress Challenge'' identity check off the screen. It reads : Challenge : `` Sparrow'' Response if Under Duress : `` Ruby'' Response if Normal : `` Everest'' VOSEN Nicky, I need to do an ID challenge first. Code in : `` Sparrow.'' Vosen looks at the screen to check her response. NICKY Response : `` Everest''. VOSEN Nicky, this is Noah Vosen. How long have you been on site? NICKY -LRB- V.O. -RRB- I just walked in. VOSEN We have two officers on site. Are you in contact with them? NICKY -LRB- V.O. -RRB- They're down. Unconscious, but alive. VOSEN Is there any sign of Daniels? NICKY -LRB- V.O. -RRB- No. LANDY Nicky, this is Pam Landy. We have reason to believe there is a connection between Neal Daniels and Jason Bourne. NICKY -LRB- V.O. -RRB- Bourne, are you still looking for Bourne? I thought the case was closed. LANDY No, some people are convinced he's still a threat. I disagree but to find out I need to talk to him. VOSEN seething because LANDY has interrupted him. VOSEN Hold on Nicky. Vosen hits the mute button. VOSEN What are you doing? You know Bourne's probably listening. Landy does n't answer. Vosen to Wills : VOSEN How long till back up arrives. Wills holds up three fingers. Vosen unmutes. VOSEN -LRB- CONT'D. -RRB- -LRB- into microphone again. -RRB- Listen, Nicky. I want you to stay put and secure the premises. It could be an hour until another team arrives. LANDY piercing VOSEN with a look.\",\n \"INT. SAFEHOUSE - NIGHT BOURNE continues to hold the gun in her face - NICKY is very calm considering the predicament she is in. NICKY Okay. DIAL TONE as the line gets closed at the other end. NICKY They know you're here. BOURNE How long do I have? NICKY Three minutes.\",\n \"EXT. NIGHT. MADRID STREET FLASH : TWO SEDANS squeal around a corner. CRI reinforcements.\",\n \"INT. NIGHT. CRI SEDAN -- MADRID STREET DELTA DUDE 2 minutes to safehouse.\",\n \"INT. NIGHT. MADRID SAFEHOUSE NICKY My car's outside. I know where Daniels is. BOURNE lowers his gun, grabs the phone and dials `` 1 - 1 - 2'' SPANISH OPERATOR -LRB- SUBTITLE. -RRB- Emergency operator. Where is your emergency? BOURNE answers her in perfect Spanish with a perfect Madrid accent, but worked up, like a civilian would be. BOURNE -LRB- SUBTITLE. -RRB- 334 Calle Norte. I hear gunfire. And men shouting. I think they're Americans - BOURNE pushes the phone off the desk - fires four shots into the ceiling - calmly moves Nicky towards the back door.\",\n \"INT. HUB VOSEN You `` disagree'' he's a threat? He just took out two more of my men. Not to mention his ultimatum to Ellatrache? LANDY The only way this has a happy ending, Noah, is if we find a way to bring Bourne in voluntarily. VOSEN He wants revenge, Pam. The only realistic way to deal with this is to eliminate the threat.\",\n \"INT. NIGHT. BACKSTAIRS BOURNE and NICKY rapidly descend. BOURNE Okay, where is Daniels headed? NICKY 8 o'clock this morning, he wired $ 100,000. to a numbered bank account in Tangier. BOURNE Okay, Tangier is about 300 miles away, we can make the morning ferry. NICKY And then what?\",\n \"EXT. NIGHT -- MADRID SAFEHOUSE STREET Bourne and Nicky exit on to the street. Suddenly they hear tires squealing nearby. NICKY They're coming. They continue to walk down the street towards Nicky's car.\",\n \"INT. HUB Vosen and Landy are watching this live. As they cross the street two MADRID POLICE CARS come around the corner the wrong way and screech to a stop. Vosen reacts.\",\n \"EXT. MADRID -- NIGHT Four cops jump out and take aim at the AGENTS. SPANISH POLICE Manos Arriba! Manos Arriba! More sirens closing in. A third police car appears. Then a fourth.\",\n \"INT. HUB Vosen ca n't believe it -\",\n \"EXT. MADRID -- NIGHT The agents drop their guns and surrender. BOURNE and NICKY continue around a corner - they get in her VW GOLF and drive away.\",\n \"INT. HUB Vosen stares at Landy. A beat, then she walks out. VOSEN Issue a standing kill order on Jason Bourne, effective immediately. 139B - C INT. NIGHT - VOSEN'S OFFICE - CRI 139B - C VOSEN on the phone. VOSEN We lost Bourne. KRAMER You still think he's after Daniels? VOSEN Yeah. Nicky's just the means. But if we find Daniels, we'll find Bourne. KRAMER Daniels knows way too much. Daniels knows everything. We ca n't let them meet. VOSEN I'll take care of it. KRAMER Good. -LRB- beat. -RRB- And fill Hirsch in. Just in case.\",\n \"INT. NIGHT. TRUCK STOP -- SPAIN BOURNE and NICKY sit over coffee. A long silence. then : NICKY What are you after, Jason? Why are you looking for Daniels? BOURNE Do you know who this is? Bourne puts the photo of Daniels and Hirsch on the table between them. She looks at the photo, points. NICKY That's Daniels. -LRB- points at Hirsch. -RRB- I do n't know who that is. BOURNE I have to get back to the beginning. or I'll never be free of this. NICKY Who is he? BOURNE I think he started Treadstone. I remember meeting him. I remember the first day. -LRB- beat. -RRB- Daniels brought me to him. Nicky looks back at him. not sure what to say. NICKY What happened? BOURNE An initiation. I guess. FLASHBACK QUICK FLASH : Bourne, head in sack, is held underwater, struggling desperately for breath -\",\n \"INT. NIGHT. TRUCK STOP -- SPAIN Bourne comes out of the flashback. Nicky is looking at him. NICKY Jason. that was n't some one - off initiation. Daniels said they did that to you over and over again. That's how they. She does n't finish. And Bourne does n't ask her to. Just a long pause. BOURNE Why are you helping me? NICKY It was difficult for me. with you. BOURNE looks up. Another long pause. NICKY -LRB- CONT'D. -RRB- You really do n't remember anything? BOURNE No. NICKY'S face. Two SPANISH COPS enter the cafe. BOURNE -LRB- CONT'D. -RRB- We should move. They get up and leave.\",\n \"INT. VOSEN'S OFFICE -- DAY Vosen goes to his safe. VOSEN -LRB- to voiceprint mic. -RRB- Noah Vosen. Then he puts his thumb into a print reader. The safe door pops open. He pulls out a file marked `` Top Secret.''\",\n \"INT. DAY. LANDY'S OFFICE -- CRI CRONIN makes his way down the hallway. LANDY works at her desk. CRONIN enters. CRONIN They tracked Daniels' passport to a hotel in Tangier. They're holding up a bank transfer he made to keep him in place while they move an asset in from Casablanca. Off LANDY. This just keeps getting worse.\",\n \"INT. VOSEN'S OFFICE Landy enters without knocking. LANDY Since when do you have authorization for lethal action against Daniels? VOSEN Since he cleaned out a Blackbriar safe and fled to Morocco! LANDY So grab him - VOSEN I do n't have the people on the ground to do that and I'm not going to risk that file falling into the wrong hands. LANDY What's going on? What's Daniels got? VOSEN What's he got? He ran all of Blackbriar's operations in Southern Europe and North Africa. LANDY I think the world's well aware we have a rendition and lethal action capability at this point, Noah. VOSEN For Christ's sake, Pam, he's got our entire playbook. Names, dates, ghost sites, how we train our assets. LANDY You still do n't have the authority to kill him. VOSEN Oh, yes I do, Pam. Vosen holds up the file we saw him pull out of his safe. It is labeled `` Blackbriar : Lethal Action Protocol.'' VOSEN That's what makes us special. No red tape. No more getting badguys in our sights and then watching them escape while we wait for some bureaucrat to issue the order. Landy opens up the file. Sees the words `` instantaneous lethal action is authorized when.'' LANDY You just decide? No oversight. No checks and balances. VOSEN Come on, Pam, you've seen the raw intel. You know how real the threat is. We ca n't afford to have our hands tied like that anymore.\",\n \"EXT. DAY. FERRY -- ESTABLISHING BOURNE and NICKY ride the ferry from Gibraltar to Morocco.\",\n \"EXT. DAY. TANGIER HARBOR They arrive and pass through CUSTOMS.\",\n \"EXT. DAY. TANGIER DANIELS drives.\",\n \"EXT. DAY. TANGIER DESH arrives, grabs a TAXI.\",\n \"INT. DAY. PENSIONE -- TANGIER BOURNE and NICKY enter a shabby room. Turn on the fluorescent lights. BOURNE tosses his BACKPACK on the bed. NICKY plugs her LAPTOP into the USB port. ON THE SCREEN, as NICKY hacks into the system. BLACKBRIAR.\",\n \"INT. LANDY'S OFFICE -- DAY Landy on the phone. LANDY It's Pamela Landy for him. Would you tell him it's urgent?\",\n \"INT. KRAMER'S OFFICE -- DAY The phone buzzes. Kramer picks it up. ASSISTANT -LRB- PHONE V.O. -RRB- It's Pam Landy. She says it's urgent. On Kramer. the wheels turning. KRAMER Tell her I'm unreachable. Kramer hangs up.\",\n \"INT. LANDY'S OFFICE -- DAY Landy receives the news. The wheels turning in her head. She hangs up. A pensive moment, then she gets up and heads for -\",\n \"INT. DAY -- CRI HUB LANDY AND CRONIN enter the hub - VOSEN is in the middle of giving the kill order. VOSEN Give me the subject's location. TECHNICIAN #2 Subject is currently on foot and now entering Hotel Velazquez. 45 Route Commerce, Tangier. VOSEN Get an elevation and a floor plan, tic - tac - toe. Locate the room. Give the asset Daniels's location and the route between Daniel's hotel and the bank.\",\n \"INT. TAXI DESH looks down at his beeping cellphone. It has a MAP on the screen.\",\n \"INT. HOTEL Nicky at her computer. SHE LOGS IN WITH HER USER I.D. Bourne looks on. TIGHT ON MONITOR : 3 - D IMAGE OF HOTEL WITH DANIEL'S ICON PINPOINTED\",\n \"INT. HUB Vosen and Wills. Landy still pacing VOSEN Do we have that room yet? TECH 2 -LRB- ARKI. -RRB- Yes sir Room 117. VOSEN Get the hotel's trunk line. Run all calls through here with an iso on 117 TIGHT ON COMPUTER MONITOR : DESH'S ICON STOPS MOVING. MEDIUM CLOSE UP ON TECH TECH Sir, the asset is acquiring the materials.\",\n \"INT. LOCK-UP GARAGE. DAY DESH opens a lock - up and goes in. He comes out with a scooter and drives off.\",\n \"INT. HOTEL Nicky types on computer. Enters search parameter : NEAL DANIELS. ACCESS DENIED. NICKY His location's being blocked. BOURNE Now they found Daniels, do you know where he is? NICKY They'll get one of the operatives to terminate him. BOURNE Find out who.\",\n \"INT. LOCK-UP GARAGE. DAY Desh works on a bomb. NICKY -LRB- O.C. -RRB- Desh.\",\n \"INT. HOTEL DESH BOUKSANI's profile. BOURNE Tell him you're going to meet him and that you have a new phone for him. NICKY If you stop Desh they'll just get someone else. BOURNE We're not going to stop him. We're going to follow him. He'll take us right to Daniels.\",\n \"INT. LOCK-UP GARAGE. DAY CU DESH -LRB- AND INSERT PHONE -RRB- HE RECEIVES NEW ROUTING INFORMATION FROM NICKY. `` Meet me Tangier Cafe Paris'' The bomb is finished on the Work table.\",\n \"EXT. LOCK-UP GARAGE. DAY Desh takes the scooter out.\",\n \"EXT. TANGIER ESTABLISHING\",\n \"EXT. STREET. Bourne and Nicky walk. Desh rides his scooter. TIGHT ON COMPUTER SCREEN : DESH'S ICON TURNS OFF COURSE.\",\n \"INT. HUB TECH -LRB- LUCY. -RRB- Sir, the asset is deviating. VOSEN Find out why.\",\n \"EXT. ACROSS FROM CAFE DE PARIS. DAY BOURNE, recalculating. Looking around him. A scooter is pulling up and the driver walks toward BOURNE. TIGHT ON COMPUTER SCREEN : DESH'S ICON IS NOW STATIONARY\",\n \"INT. HUB TECH -LRB- LUCY. -RRB- Asset unscheduled stop.\",\n \"EXT. CAFE DE PARIS NICKY SITS, Desh walks up and snatches the phone off of the table. A scooter is pulling up and the driver walks toward BOURNE. He brushes past him, taking the key. Keeping DESH in sight as he returns to his Vespa and pulls out in to traffic. TIGHT ON COMPUTER SCREEN : DESH'S ICON IS MOVING AGAIN TECH Sir, the asset is on the move, in route to subject.\",\n \"INT. HUB - DAY TECH #1 Sir, the asset is back on course. VOSEN looks up. WILLS Sir, we have an unauthorized breach. Someone with active system knowledge has penetrated out protocols. Information was passed to the asset at 14.11. -LRB- beat. -RRB- The trace is confirmed and valid. It comes from a computer belonging to Nicky Parsons. VOSEN looks over at Landy. his wheels turning. A series of cuts between them. VOSEN Where did the course deviation occur? TECH -LRB- LUCY. -RRB- South to Rue Belgique. Stationery at Place de France. VOSEN That's where Parson's is. He pauses, deciding what course to take. Landy watches. VOSEN When we're finished with Daniels send the asset after her. We find Parsons, we find Bourne. LANDY -LRB- OVERLAPPING. -RRB- -LRB- going to Vosen, firm. -RRB- Noah, what are you doing? VOSEN Not now. LANDY Now. I want to know what's going on. VOSEN Not now. LANDY I'm asking on what basis you're continuing this operation. VOSEN On the basis that Nicky Parsons has compromised a covert operation. She is up to her neck in it. LANDY This is about Daniels, not Nicky! VOSEN She has betrayed us! LANDY You do n't know the circumstances! VOSEN She's in league with Jason Bourne for Chrissake! LANDY You do n't have the authority to kill her or Bourne! VOSEN Yes, I do Pam, it's right here and it's legal. VOSEN slams a document on the desk. INSERT SHOT : `` Blackbriar : Lethal Action Protocol.'' LANDY She's one of our own. You start down this path. where does it end?! VOSEN It ends when we've won. LANDY turns and storms out. VOSEN Notify the asset of the additional target. BRYAN Yes, sir. BRYAN codes in a kill order on NICKY.\",\n \"EXT. DAY. TANGIER As he rides his VESPA, DESH receives additional target information. Pictures of BOURNE and NICKY. DESH glances in his rearview mirror - spots BOURNE.\",\n \"INT. DAY. HUB -- MEDIUM CLOSE UP: VOSEN Have the bank release the funds. A TECH calls DANIELS.\",\n \"INT. DAY. VELASQUEZ HOTEL DANIELS answers phone. BANK OFFICER -LRB- FRENCH, SUBTITLED. -RRB- Mr. Daniels, Bank of Tangier. Your funds are now available. Daniels leaves.\",\n \"EXT. DAY. TANGIER STREET DESH parks the motorbike and walks around the corner, BOURNE follows. DANIELS' car coming down the street. BOURNE stops and sees the car - realizes the danger. BOURNE turns back to see DESH with the detonator in his hand. BOURNE locks eyes with DESH. Before BOURNE can react - DESH detonates. BOOM! DANIELS is DEAD. BOURNE is thrown across the street by the blast. He lays MOTIONLESS. DESH POV. He looks back to see BOURNE not moving, lying in the street. DESH gets on his motorbike and heads off to kill NICKY.\",\n \"EXT. PETIT SOCCO -- CONTINUOUS NICKY still at that café waiting. Taking out her phone - puzzled. She answers. Looking around. NICKY Code in? -LRB- no reply. -RRB- Code in? Nothing. Just the noise of traffic.\",\n \"EXT. VESPA TRAVELLING DESH on the move towards Petit Socco. On the cell - making that ` silent call'.\",\n \"EXT. AVENUE D'ESPAGNE -- THAT MOMENT BOURNE'S too late - hearing the ` line busy' tone. Knows this tactic. And those POLICEMEN are getting closer.\",\n \"INT. NEW YORK HUB -- ENCRYPED AREA -- CONTINUOUS Frenzied teching. A screen comes alive. TECHY We have a trace. TECHY 2 Target heading north. Rue des Chretiens. Intercept ETA six minutes. VOSEN Okay, that's it. Bar her cell. Tie it off.\",\n \"EXT. RUE D'ESPAGNE -- CONTINUOUS DESH is disappearing from view. And the POLICEMEN are surrounding BOURNE. Demanding to see his papers. BOURNE speaking in Spanish - fishing for his papers. Looking back up the street. Forming a plan. Checking his watch. More POLICE arriving now. And DESH has disappeared out of sight. No time for this. BOURNE breaks away. Through the crowds into the traffic. Police whistles - shouting. Confusion. The chase is on. Three policemen turning into his path. No choice. BOURNE taking them down. Sprinting out across the road. A KID and his moped. Caught up in the police dragnet. BOURNE leaping on the bike - kick - starting it. Away into traffic as two squad cars turn and make chase. BOURNE weaving through traffic. One hand on the bike the other on the cell, desperately trying to call NICKY. But now, at least he's got a dial tone.\",\n \"EXT. PETIT SOCCO -- CONTINUOUS NICKY grabbing the cell. Answering. NICKY Bourne? BOURNE Nicky? Listen to me. You need to - The line goes dead. Looking at the screen - ` SERVICE DENIED' Really spooked now - looking around. Time to move. Dismantling the phone instinctively - scattering it's components. She starts to make her way out of the square.\",\n \"EXT. STREETS -- CONTINUOUS DESH through the streets - getting closer - heading towards the PETIT SOCCO.\",\n \"EXT. MOPED TRAVELLING BOURNE picking up the pace. Three more police cars out of a side road just missing him. BOURNE choosing his exit. Up ahead - a narrow alleyway - taking it. The squad cars crunching to a halt, behind him.\",\n \"EXT. PETIT SOCCO -- CONTINUOUS DESH crossing the SQUARE weaving through a sea of push bikes. Parking his Vespa at the corner of RUE DES CHRETIENS. Travelling on foot.\",\n \"EXT. RUE DE CHRETIENS -- CONTINUOUS NICKY - trying to keep calm. Checking each alley. Moving on.\",\n \"EXT. PETIT SOCCO -- CONTINUOUS BOURNE arriving - seeing NICKY has left. Seeing DESH'S Vespa parked up. More police - on foot now. BOURNE parking up. Seeing the crowded streets. Looking up to the rooftops. He needs to get higher. Starts running up steps.\",\n \"INT./EXT. RIAD/ROOFTOPS -- CONTINUOUS BOURNE into a riad. Through a courtyard - up more stairs - up a ladder. Out onto the rooftops. Scanning the skyline. A beat. Has he misjudged? No, there in the distance at the top of a narrow street - NICKY walking slowly and behind DESH. Moving quickly. BOURNE tailing him - trying to close the gap. Dipping down through another riad - through an alley. Up more stairs. Back up onto another roof. He's gained a few metres on DESH. Desh goes up to the rooftops now. Bourne has him in sight - DESH is prepping his gun with a silencer. DESH speeding up. BOURNE sees NICKY down below amongst the crowds. In Desh's sights. BOURNE knows he has to gain more ground. CABLE CAM shot - Two trained assassins leaping across the narrow streets - silently effortlessly - the cops down below searching the alleyways, oblivious to the chase unfolding above them. BOURNE nearly on terms with him - then - DESH dipping down again into the street below. Avoiding the police - he melts into the crowds. STEADYCAM SHOT - following BOURNE as he heads downstairs. More stairs. Through a corridor then a courtyard - bursting out of a door into the street - A police checkpoint. Right in his path. Bourne forced to dog leg and take another route. BOURNE'S lost him - for the moment.\",\n \"EXT. RUE DE CHRETIENS -- CONTINUOUS NICKY - walking fast up the Rue des Chretiens. Wondering why there are so many police around. Suddenly stopping - seeing DESH - knows instantly that he is coming for her. Now we see NICKY'S skills. Has to think on her fee t - TREADSTONE MINDSET - Checking the alleyways. Slipping out of sight. NICKY looking to the rooftops - taking the advantage. Up some steps - into a riad. Desh tracking her.\",\n \"EXT. RUE DE CHRETIENS -- CONTINUOUS BOURNE seeing Desh again - further up the street. Heading in that direction.\",\n \"INT. RIAD -- CONTINUOUS NICKY through one hallway - then another. Moving up all the time.\",\n \"EXT. RIAD -- CONTINUOUS DESH arriving at the steps. Looks up to where Nicky is going. Takes the entrance to the next building. Anticipates her next move. Aiming to cut her off.\",\n \"EXT. RIAD ROOFTOP NICKY up steps. Out onto the rooftops. Looking for a path across them. Scrabbling across the roof of this crumbling riad. Knows she ca n't go back down. She makes it across to the next building. Where Desh is.\",\n \"EXT. ANOTHER ROOFTOP -- CONTINUOUS BOURNE up high. Seeing NICKY on that other roof. He ca n't get across to her. Moving fast now. Down steps. Into the riad courtyard.\",\n \"INT. RIAD BOURNE entering the hallway. Moving up the stairs. Towards Nicky. And towards Desh. Meanwhile NICKY moving down. Looking out into the courtyard below. The sound of POLICE getting nearer. BOURNE hearing the POLICE too as he moves up onto a landing. BOURNE into a main room - something stirring on a couch - a girl and her little sister having a siesta. In another room two small boys fast asleep. TV playing. One wakes. A noise on the stairs above. Quickly arranging a mirror - getting line of sight - Bourne dipping into a corner. It's NICKY. She gives him a look - DESH is in here somewhere. The door goes below them. The noise of Police entering the Riad. NICKY signalling to BOURNE - this way. They climb narrow stairs to the next floor. Down below Police begin searching rooms. Waking the sleeping family. Shouting, crying. Commotion.\",\n \"INT./EXT. -- NARROW STAIRWELL BOURNE and NICKY creeping up the steps. Then - suddenly NICKY spinning round as two silenced bullets speed past her - And DESH bursting out of a landing toilet. On to Bourne. Full on Treadstone fighting in the narrow stairwell. Crashing into a tiny disused lift cage - silent constrained - vicious. Downstairs a young POLICEMAN hears the noise - heading for the lift. NICKY seeing the handle turn. Thinking quickly. She sends the lift up to the next floor. The POLICEMAN stepping back from the door - directing the other cops out to the courtyard. People are spilling out into the atrium. It's pandemonium.\",\n \"EXT. ROOFTOP -- CONTINUOUS Bourne and Desh spill out of the elevator and onto the roof. BOURNE kicking the gun - spinning across the floor - he and DESH facing each other. DESH with BOURNE - straight over the edge. DESH still on top - just. A brutal exchange. Matching each other's moves like shadows. Relentless. Rolling - falling onto another roof level. And another. The two men tiring now. DESH grabbing for the bag. The pills. BOURNE kicking them away. BOURNE has the upper hand now. DESH'S reaction's slowing. No longer the match he was. BOURNE drags him to the ground. He's finished. Bourne's won. DESH - shivering - convulsing. In the struggle, BOURNE strangles Desh. BOURNE and NICKY hide DESH's body. BOURNE Alright, we need to be dead. You need to code that in. NICKY CODES into DESH'S PDA - BOTH OBJECTIVES ACHIEVED. In the CRI HUB the message comes up. VOSEN and LANDY believe NICKY and BOURNE are both DEAD.\",\n \"INT. DAY. HUB -- CRI -- NEW YORK The code from DESH remains on screen - BOTH OBJECTIVES ACHIEVED - like an EPITAPH for BOURNE and NICKY. VOSEN packs his briefcase. Turns to WILLS. VOSEN I want to be sure. Have the station chief in Rabat confirm the deaths and do a sub - rosa check. And keep and eye on Landy. Off WILLS.\",\n \"INT. DAY. LANDY'S OFFICE -- DAY Cronin enters. CRONIN The hub just got word Bourne and Nicky are dead. Landy looks at him. LANDY Confirmed? CRONIN Not yet. Landy looks away. thinking. Wheels turning. LANDY Get me a copy of Bourne's personnel file.\",\n \"EXT. DUSK. PENSIONE Bourne and Nicky enter.\",\n \"INT. DUSK PENSIONE -- WASHROOM -- TANGIER BOURNE scrubs the blood from his hands. REVEAL Nicky watching him from the bedroom.\",\n \"INT. DUSK. LANDY'S OFFICE (LONELY LANDY) Landy sits at her desk reviewing files on Treadstone. Open on her desk we see the file she will be looking at in the Supremacy phone call. The way she examines the papers we get the sense she thinks something is missing, some piece, some file.\",\n \"INT. DUSK. PENSIONE -- WASHROOM Bourne scrubbing the blood from his hands. Nicky comes in, touches his shoulder. There's a tenderness to it, a re - assurance. For a moment it looks like Bourne might react. but the moment passes.\",\n \"INT. DUSK. LANDY'S OFFICE (LONELY LANDY) Landy opens a new file. Bourne's operations.\",\n \"INT. DUSK. PENSIONE -- WASHROOM Bourne is toweling off. BOURNE I can see all their faces. But I ca n't remember any names.\",\n \"INT. DUSK. LANDY'S OFFICE (LONELY LANDY) Landy looks at Bourne's kills. The faces Bourne remembers. But there names are here, and who they were, why they were killed.\",\n \"INT. NIGHT. PENSIONE -- BEDROOM/SITTING ROOM Bourne and Nicky sitting together. BOURNE I was starting to remember who they were. in India. with Marie. A beat. NICKY It's just going to lead to more killing, Jason. Are you sure you want that? Bourne takes her words in. But who he is is eating him alive from the inside. BOURNE I've killed people and I've tried to apologize for what I've done, for what I am. None of it makes it better. Another moment passes between them. then : BOURNE They're going to come for you again. You are going to have to run now. She gets up.\",\n \"INT. BATHROOM Nicky dies her hair BLACK. Starts cutting it shorter.\",\n \"EXT. NIGHT. TANGIER BUS STATION Bourne walks with a now dark - haired Nicky. They exchange looks for a long beat. She turns towards the bus. BOURNE It gets easier.\",\n \"INT. LANDY'S OFFICE. NIGHT Landy finds a denotation in Bourne's file that he was `` recruited to Treadstone by Neal Daniels.'' Further down the page it says `` Bourne was inducted into Treadstone at the Special Research Department facility at 415 E 71st, New York, NY.'' Then `` Facility closed by order of Director, June 2002.''\",\n \"INT. TANGIER MORGUE Bourne looks at the tattered remains of Daniels' body and belongings. He goes through his briefcase and finds a nearly destroyed piece of paper with `` Noah Vosen - Director of Operations - CRI'' written on it. Bourne slips the morgue attendant a bribe.\",\n \"INT. VOSEN'S OFFICE -- DAY Vosen is shaving. WILLS Station chief in Rabat just called, they found a body. Bourne? VOSEN Desh.\",\n \"INT. AIRPLANE -- DAY On final approach to JFK. Bourne looks out the window to see the Verizano Narrows bridge. And beyond it, Manhattan. Bourne is coming home.\",\n \"EXT. NEW YORK Establishes skyline.\",\n \"INT. LANDY'S OFFICE. DAY CRONIN Pam, You need to see this. Landy follows CRONIN into -\",\n \"INT. CRONIN'S OFFICE -- DAY BOURNE'S PASSPORT is displayed on the computer monitor. CRONIN -LRB- CONT'D. -RRB- This passport just cleared Immigration at JFK ten minutes ago. It's an early Treadstone identity registered to Jason Bourne but he never used it and it never went to the grid. Bourne's alive. LANDY They do n't know. CRONIN No, if they knew Vosen would n't be in his office right now.\",\n \"INT. AIRPORT TERMINAL Bourne moves through the airport. LANDY -LRB- O.S. -RRB- It's a hell of a risk. CRONIN -LRB- O.S. -RRB- Yeah. Maybe Bourne wants us to know, just like Naples, maybe he's communicating.\",\n \"INT. CRONIN'S OFFICE CRONIN Maybe he's trying to communicate with you. LANDY Maybe we should communicate back. Because I think I know what Bourne's looking for. SERIES OF SHOTS Bourne over the 59th Street Bridge - arrives at CRI - goes into the adjacent building -\",\n \"INT. OFFICE BUILDING ACROSS FROM CRI -- DAY Bourne uses his monocular to zoom in on a file Vosen is looking at - he sees the word `` Blackbriar.'' Vosen puts the file back in the safe.\",\n \"INT. DAY. LANDY'S OFFICE -- CRI -- NEW YORK LANDY'S cell phone rings. She answers it. LANDY Pamela Landy.\",\n \"INT. UNDEFINED SPACE BOURNE I hear you're still looking for me.\",\n \"INT. LANDY'S OFFICE LANDY puts down her pencil. CRONIN watches. LANDY Bourne?\",\n \"INT. VOSEN'S OFFICE His phone rings. He picks it up. WILLS -LRB- TEL.. V.O. -RRB- Get in here! Bourne called Landy! Vosen jumps up, sprints toward the hub -\",\n \"INT. LANDY'S OFFICE -- DAY LANDY I guess I owe you an apology.\",\n \"INT. HUB -- BACK ROOM Vosen rushes in - BOURNE -LRB- V.O. -RRB- Is that official? VOSEN -LRB- OVERLAPPING. -RRB- Are we triangulating?! LANDY -LRB- V.O. -RRB- No. Off the record. You know how it is. BACK ROOM TECH -LRB- OVERLAPPING. -RRB- Trying - BOURNE -LRB- V.O. -RRB- Good - bye.\",\n \"INT. LANDY'S OFFICE LANDY Wait. Wait. She opens a file on her desk.\",\n \"INT. UNDEFINED SPACE Bourne listening - LANDY David Webb. That's your real name.\",\n \"INT. HUB -- BACK ROOM VOSEN Why the hell did she give him that? LANDY -LRB- V.O. -RRB- You were born 4/15/71 in Nixa, Missouri.\",\n \"INT. LANDY'S OFFICE LANDY Why do n't you come in, and we'll talk about it? -LRB- beat. -RRB- Bourne?\",\n \"INT. UNDEFINED SPACE BOURNE Get some rest, Pam.\",\n \"INT. HUB -- BACK ROOM BOURNE -LRB- V.O. -RRB- You look tired. Vosen realizes - VOSEN -LRB- rushing out. -RRB- He's got line of sight on us!\",\n \"INT. LANDY'S OFFICE She spins to look for Bourne -\",\n \"INT. HUB Vosen moving across the floor. VOSEN This is a national security emergency. We have an imminent threat.\",\n \"INT. LANDY'S OFFICE -- DAY Landy takes out her gun. Checks it.\",\n \"INT. HUB VOSEN Jason Bourne is alive and at large in New York City. We believe in one thousand yards of this building. I want an immediate twelve block lockdown of the area. Send a FLASH message to Langley, prep for local backup assistance.\",\n \"EXT. CRI -- DAY HIGH ANGLE : Landy leaves CRI.\",\n \"INT. HUB -- DAY Wills walks over to Vosen. The look in his eye indicates that he thinks there's something odd about this : WILLS Landy just left the building. Vosen looks at Wills. A beat, Vosen's suspicion building, though he ca n't quite put his finger on what he suspects. VOSEN Check Landy's phone. Is she using it?\",\n \"EXT. NYC STREETS -- DAY Landy receives a text message.\",\n \"INT. HUB -- DAY Vosen leans in to the Hub's back monitoring room. VOSEN Nothing? No calls since Bourne -? BACK ROOM TECH Wait a minute. Wait. She just got a text.\",\n \"EXT. NYC STREETS -- DAY Landy heads for someplace - now with purpose.\",\n \"INT. DAY. CRI HUB VOSEN confers with WILLS. VOSEN What the hell do you mean we ca n't read it? TECH Working on it - VOSEN -LRB- frustrated. -RRB- How do you know a text came if you ca n't read it -. -LRB- to Wills. -RRB- Are we on Landy? TECH Six men. More on the way. VOSEN I want that goddamn text. We need to get out in front of her! TECH Seconds. VOSEN paces anxiously. TECH -LRB- CONT'D. -RRB- Got it! TECH points at big screen : `` Tudor City Pl & 42nd. Ten minutes. Come alone. Come on foot.'' VOSEN Surround it. Anyone not on Landy goes to Tudor City. Now! -LRB- to Wills. -RRB- Get the trucks. We're going mobile.\",\n \"EXT. MANHATTAN -- DAY LANDY walks east toward Tudor City. She looks around her for any signs of surveillance but finds nothing out of the ordinary.\",\n \"EXT. CRI BUILDING -- DAY Vosen and AGENTS come running out of the front door. Others leave through a side entrance. They jump in sedans.\",\n \"EXT. STREET. Landy still being trailed by foot.\",\n \"INT. VOSEN'S SUV Vosen and agents race to Tudor city. An electronic map on the dash. AGENT 3 Copy, we're going to take a left at 41st. One block, settle at the corner. VOSEN Get the map up. AGENT 4 It's a bad place to pick, it's too exposed. VOSEN He would n't have chosen it if he did n't have a reason.\",\n \"EXT. MANHATTAN LANDY walks east through the crowded streets.\",\n \"EXT. MANHATTAN BOURNE walks down the street, enters a building.\",\n \"EXT. TUDOR CITY ROOFTOP Spotter on a rooftop.\",\n \"EXT. MANHATTAN -- DAY LANDY is on the east side now, walking toward Tudor City. An agents trails her on foot. Another parallels her from across the street.\",\n \"EXT. TUTOR CITY OUTSKIRTS SERIES OF SHOTS : CRI cars arrive, careful to stay several blocks from the meet site. They jump out and try to set up surreptitious surveillance posts. AGENT 3 -LRB- V.O. -RRB- Okay folks here we go, box at two hundred meters. Let's lock it down.\",\n \"INT. STAIRWAY Bourne climbs stairs.\",\n \"EXT. TUDOR CITY Landy walks, agents are everywhere looking for her. Vosen is still in car.\",\n \"INT. VOSEN'S SUV VOSEN As soon as you have eyes on Landy, I want to know.\",\n \"EXT. TUTOR CITY She becomes clear to AGENT 3. AGENT 3 Okay, here we go.\",\n \"INT. STAIRWAY Bourne climbs stairs. Walks down a dank hallway.\",\n \"INT. VOSEN'S SUV VOSEN Copy that, I see her. Landy stands on a corner waiting for Bourne. VOSEN -LRB- CONT'D. -RRB- Any sign of Bourne?\",\n \"INT. AMBIGUOUS SPACE TIGHT SHOT on Bourne's face. FAST TILT to TIGHT ON his hands, pulling up what seems like a piece of clear tape. We ca n't tell where we are or what he's doing.\",\n \"EXT. TUDOR CITY Landy looks around.\",\n \"INT. AMBIGUOUS SPACE TIGHT ON Bourne's hands placing the clear tape on a piece of clear plastic. Again we ca n't tell what's going on.\",\n \"EXT. TUTOR CITY Agents watch Landy.\",\n \"INT. VOSEN'S SUV -- DAY Vosen's cell phone rings. VOSEN Noah Vosen. BOURNE -LRB- V.O. -RRB- This is Jason Bourne. VOSEN reels for a beat. Then quickly scans the streets, trying to see if he can spot BOURNE. VOSEN How did you get this number? BOURNE -LRB- V.O. -RRB- You did n't actually think I was coming to Tudor City, did you? VOSEN No, I guess not. But if it's me you want to talk to maybe we can arrange a meet. BOURNE -LRB- V.O. -RRB- Where are you right now? VOSEN In my office. BOURNE -LRB- V.O. -RRB- I doubt that. If you were in your office -\",\n \"INT. VOSEN'S OFFICE -- DAY REVEAL that BOURNE is inside VOSEN'S office. BOURNE We'd be having this conversation face - to - face. BOURNE hangs up. Puts a portable dictaphone up to VOSEN'S SAFE and his play : VOSEN -LRB- TAPE V.O. -RRB- Noah Vosen. As he places the plastic slide we saw in the ECUs into the fingerprint reader. The safe pops open -\",\n \"INT. DAY. VOSEN SUV VOSEN stunned. Is it possible? Is it a trick?\",\n \"INT. DAY. VOSEN'S OFFICE From the safe, BOURNE scoops out the `` TREADSTONE : Blackbriar'' folder Bourne saw Vosen putting into his safe.'' He flips it open. He scans down the page. His eye stopping at the words `` US Citizen.'' He flips to another page - another photo, and again `` US Citizen.'' BOURNE shoves the folders in his backpack and leaves.\",\n \"INT. VOSEN'S SUV -- DAY VOSEN This is a code ten abort, I want everybody back in the vehicles this is a code ten abort! Back to the vehicles immediately, back to CRI immediately.\",\n \"INT. SERVICE STAIRS Bourne rushes down with his back pack.\",\n \"INT. VOSEN'S OFFICE Wills grabs the phone and hits a speed - dial : WILLS Bourne got into your safe!\",\n \"EXT. MANHATTAN Bourne onto the street with back pack.\",\n \"EXT. MANHATTAN -- DAY SERIES OF SHOTS - VOSEN'S SUV races, lights and sirens, across town. 2 -RRB- Other CRI cars race back across town.\",\n \"EXT. MANHATTAN -- DAY BOURNE walks out of a building, backpack over his shoulder. CAMERA BEGINS TO CRANE UP. BOURNE walks around a corner near CRI. He hears a siren turn on a few blocks away. Then another. He starts to run.\",\n \"INT. CRONIN'S CAR -- DAY A SEDAN pulls to a stop as a door comes open. CRONIN'S inside. REVEAL Landy on the sidewalk. She jumps in. LANDY What just happened? CRONIN Bourne got into Vosen's safe. LANDY What?! Cronin pulls out. CRONIN Where to? LANDY 415 East 71st Street. Cronin puts it together. CRONIN 4.15.71. Jesus, Pam.\",\n \"EXT. MIDTOWN WEST -- DAY BOURNE walking away from CRI. Agents leaving a building. Getting into unmarked sedans and peeling out.\",\n \"INT. VOSEN'S SUV -- DAY As Vosen races across town. VOSEN I want the entire building searched. Every room. Every hallway. Every closet. Every goddamm airduct. Do you understand? I want him found!\",\n \"INT. CRI CAR -- DAY The passenger side agent sees BOURNE, points - BOURNE cuts to the south side of the road so the passenger - side agent does n't have a shot, while controlling the car makes it almost impossible for the driver to fire accurately.\",\n \"EXT. 41 STREET -- DAY The westbound car cuts sharply and drives up on the sidewalk. But Bourne is too fast. He's already past them. The passenger side agent jumps out. But he's still got to get around the door and then move a few steps to get a bead over the hood of his car on Bourne. The other CRI car races the wrong way on the street but gets immobilized and trapped by the onrushing tunnel traffic.\",\n \"INT. VOSEN'S SUV -- DAY Vosen and Wills race West on 41st. SERIES OF SHOTS CRI cars close in - on 42nd, on 39th, on 10th Ave.\",\n \"EXT. MIDTOWN WEST -- DAY Bourne races through the tunnel traffic and onto 40th street. He rushes east toward the spaghetti of concrete ramps leading into and out of Port Authority. He runs across 10th Avenue as a third CRI car screams up the street at him.\",\n \"INT. VOSEN'S SUV -- DAY Several radios blare. CRI AGENT -LRB- RADIO V.O. -RRB- He's heading for Port Authority! Subject up the ramp, eastbound into Port Authority. VOSEN -LRB- to Tac Team Leader. -RRB- Lethal force is authorized. TACTICAL TEAM LEADER I told - VOSEN Tell them again!\",\n \"EXT. PORT AUTHORITY -- DAY Bourne runs up a one lane outgoing ramp.\",\n \"INT. CRI CAR -- DAY The driver pilots his car up the ramp behind Bourne. He jams the accelerator down. He'll be on top of Bourne - running him over - in seconds -\",\n \"EXT. PORT AUTHORITY -- DAY A New Jersey - bound bus exits the complex and heads around the corner of the ramp - it skids to a stop when it sees Bourne and the CRI car giving chase heading right at the bus.\",\n \"INT. CRI CAR -- DAY The driver has to skid to a stop to avoid hitting the bus. Bourne slides between the side of the bus and concrete guard rail. The driver calls it in - SERIES OF SHOTS Cops and CRI cars close in on Port Authority. One agent jumps out of his car on 8th Avenue and rushes for the stairs. TACTICAL TEAM LEADER -LRB- V.O. -RRB- Block every exit. I want a full perimeter on Port Authority -\",\n \"EXT. ROOFTOP PARKING LOT -- PORT AUTHORITY Bourne races up a set of stairs the rooftop parking lot. He surveys every aspect of his environment on the fly -LRB- which includes his taking a quick peak over the concrete railing at the east end of the roof. Next Bourne rushes toward the parked cars. Smashes the window of one to set off its alarm. Then a second and a third, setting off their alarms. The fourth window Bourne smashes in does n't set off an alarm. Bourne pulls the door open and climbs in. Inside the car Bourne reaches under the dash and yanks handful of wires off the steering column and starts to expertly hotwire the car.\",\n \"INT. VOSEN'S SUV -- DAY TACTICAL TEAM LEADER -LRB- into radio. -RRB- Box him in! Box him in! SERIES OF SHOTS Agents race up stairwells. Two CRI cars careen up the ramp to the passenger parking -LRB- a separate ramp to the bus ramp we saw Bourne on earlier. -RRB- A third CRI car races through the parking level just below the roof and up the circular ramp to the roof.\",\n \"INT. VOSEN'S SUV -- DAY TACTICAL TEAM LEADER -LRB- to Vosen. -RRB- He's on the roof. He's trapped.\",\n \"EXT. ROOFTOP PARKING LOT -- PORT AUTHORITY Bourne works to hotwire the car. A CRI car gets to the roof. Two agents come from the elevator lobby. The three car alarms distract them. They search for Bourne, but ca n't find him at first. Bourne gets the car engine on - but, given the wonders of modern anti - theft technology his steering wheel is still locked. A second CRI car arrives. Bourne slams the car into low gear and backs up at high speed. He smashes into the car across the aisle from him. With a sharp metallic snap the wheel in Bourne's car is suddenly free, he jams the car into drive pulls out into lane and stops. Three CRI cars here now. Two head straight for him. A third blocks the exit ramp. Bourne checks the rearview and sees two more agents pour from the elevator lobby, one carrying the serious firepower of an M - 4 -LRB- an M - 16 variant whose bullets can penetrate metal and concrete -RRB-. They move into position to get a bead on him. Bourne assesses. But he does n't move. The agents swarm toward him. What the hell is he doing? Why is he waiting?\",\n \"INT. VOSEN'S SUV -- DAY TACTICAL TEAM LEADER We've got him! He's got nowhere to run! VOSEN Take him out!\",\n \"EXT. ROOFTOP PARKING LOT -- PORT AUTHORITY The agents clear their obstructions and drop their barrels toward Bourne - But before they can get a bead - Bourne slams the car into reverse again. Petal to the metal in reverse - The agents open fire. Bourne ducks the lead slugs ripping through the windshield. But there's no dodging the shower of broken glass. As Bourne disappears below the dashboard, the CRI agent adjusts his fire into the car's grill. Virtually blind, Bourne races the hard - pressed vehicle backwards as the agent's fire decimates the car's driveline. Bourne slips the car into neutral and takes a quick peek behind him. Steers still speeding but quickly dying car towards a small gap between two parked cars at the edge of the parking structure. Bourne's car splits the gap between the parked cars, hits the base of a low angled wall that slams the back of his car up and over the wall. Bourne is pounded as his car jounces onto the wall, a second later the front end seesaws over the top, the sudden angle change exposes for an instant the bottom of Bourne's car, to the shooters. Several rounds rip through the floorboard and tear past Bourne's head just before his car drops upside down for 25 feet and slams onto a row of parked cars. The impact rips Bourne from the seat and slams him hard against the roof. Bourne struggles out of the car, knowing he has only a moment before the armed agents will fire down into his over - turned car. CRI AGENT Ho - ly shit!\",\n \"INT. VOSEN'S SUV -- DAY VOSEN -LRB- practically screaming into his handheld. -RRB- He did what?!\",\n \"EXT. ROOFTOP PARKING LOT -- PORT AUTHORITY The CRI agents race to the spot where Bourne's car disappeared over the railing and reflexively fire into Bourne's car but they're too late! Bourne's already out. He disappears from sight under the covered parking structure. LEAD CRI AGENT Get down there! Get down!\",\n \"INT. VOSEN'S SUV -- DAY As it speeds toward the spaghetti of ramps leading in and out of Port Authority - two blocks away. TACTICAL TEAM LEADER Who has eyeball on him?! Who has eyeball?!\",\n \"EXT. ROOFTOP PARKING LOT -- PORT AUTHORITY One of the agents scrambles over the edge and starts to climb down. Other agents race for the stairs. TACTICAL TEAM LEADER -LRB- V.O. -RRB- Do n't tell me -\",\n \"INT. VOSEN'S SUV -- DAY TACTICAL TEAM LEADER - you've lost him! Who's on street level?! Street level backup?! Clearly there is no one down there. Bourne's car jump from the roof has completely flat - footed them. VOSEN -LRB- to Wills. -RRB- Get NYPD backup! And FBI, DEA, any other federal assets we can draft!\",\n \"INT/EXT. CIRCULAR RAMP Two CRI cars race down from the roof to try to get to the level Bourne's on.\",\n \"INT./EXT. PARKING GARAGE -- TWO LEVELS BELOW ROOFTOP Bourne cuts off a guy cruising for a parking space and pulls him from his car and races away as the agent from the roof lands hard behind him. Bourne's race to the exit is cut off as a 3rd CRI sedan slides into view and it's occupants open fire on Bourne in a head on charge. The just stolen vehicle takes heavy fire as Bourne reacts instantaneously ; thumbing on the cruise control, shouldering his door open, and slamming the gas pedal to the floor as he dives out of the car. The agents react as Bourne's sedan torpedoes them head on. Hit hard they're taken out of the fight as metal collapses, glass shatters, and airbags explode. Bourne tumbles to a stop at the rear of a parked car as his car implodes against the oncoming agents. Instantly Bourne is on his feet, moving between the parked cars to engage another CRI sedan traveling parallel to the course of the wrecked one. The agents in this sedan are distracted by the still echoing crash and are caught off - guard as Bourne steps out and points his gun at the driver. The driver ducks and floors his gas pedal in a desperate effort to save his own life. As the sedan suddenly accelerates, Bourne deliberately shifts his aim to the sedan's front tire and fires. The tire explodes and the car suddenly veers left and slams into a parked car, pitching the driver violently against the unyielding interior of the sedan. An instant later Bourne rips the radio off the dazed drivers belt just before he cold cocks him with it. With the wreck still echoing through the garage Bourne has to deal with the arrival of the first NYPD sedan. Bourne takes on the persona of an alarmed witness as the on edge cop climbs out of his car but Bourne's performance is cut short as the agent running from his drop from the roof, arrives and opens fire. The police officer goes down in the hail of gunfire as Bourne turns and expertly drops the gunman with a single shot. The increasing volume of squealing tires alerts Bourne to a new threat, he pulls the officer into some cover and grabs the officer's radio. BOURNE 10 - 13. Shots fired. Officer down. Port Authority parking lot. Level four. Bourne rips a piece of his sweater off and ties a makeshift tourniquet for the officer. Then he hands the cop his radio back. BOURNE -LRB- CONT'D. -RRB- Stay out of sight until one of your own arrive. Bourne disappears. We pick him up as he jumps into the cops car and guns the engine and heads for the exits. CRI agents are confused for a second - until they pick up the NYPD car exiting Port Authority on one of the ramps. But that's all the time Bourne needs -\",\n \"EXT. CROSSTOWN STREET -- DAY Bourne turns on his lights and siren and speeds east, followed closely by a CRI sedan. As cars yield to Bourne's siren a taxi tries to jump into Bourne's wake but a CRI sedan punches the taxi back to the right. It ricochets off several parked cars before regaining control.\",\n \"EXT. CROSSTOWN STREET -- DAY Bourne struggles to keep his over - matched vehicle ahead of the more powerful CRI Sedan which tries to spin Bourne out by hitting his bumper. Bourne tacks right quickly and barely avoids a stopped car. The CRI sedan flanking Bourne's slams into the rear of that car, spinning it 180 degrees into the path of the trailing CRI sedan which destroys itself in the resulting collision and blocks the path of the other CRI sedan.\",\n \"INT. BOURNE'S CAR -- DAY Bourne is home free. He looks around and spots a sign that indicates a right turn and says `` To Holland Tunnel / US 95.'' Bourne turns right - Suddenly the window next to his head explodes as two more shots rip through his door to tear a jagged wound into the top of Bourne's leg. REVEAL Paz, his SUV racing along the curb lane. As Bourne's car crosses in front of a small car stopped at the intersection Paz swerves his car into that car and punches it into the side of Bourne's car. Bourne's car is knocked spinning, Paz keeps charging forward and slams into the back of Bourne's car. With his front tires spinning wildly Bourne fights to straighten his car as another CRI sedan appears and tries to box Bourne's car by sliding into his path.\",\n \"EXT. MANHATTAN STREET -- DAY Bourne just manages to punch his car into the right rear of the CRI Sedan and race down the Avenue with Paz and the slightly damaged sedan in pursuit. Paz gains on him and Bourne is forced to swerve violently to deny Paz the kill shot he is all too capable of. Just ahead of Bourne, two government SUVs slide into the intersection completely blocking his path. Bourne instantly spins his car 180 degrees and continues on, barreling into the roadblock backwards. As Bourne's car plows through the SUV's he whips the wheel and his car spins through a reverse 180 as Paz and the other sedan race through the wreckage in Bourne's wake. Paz and the CRI sedan are all over Bourne as he slides a right hand turn onto South St. as Paz and the CRI sedan overwhelm Bourne's battered vehicle.\",\n \"INT. BOURNE'S CAR -- DAY On his police radio, Bourne singles out an NYPD officer -LRB- call sign Alpha - 2503 -RRB- racing toward the intersection just ahead. Bourne slows, then speeds up quickly to time it right : The CRI car almost hits his bumper, then has to accelerate through the upcoming intersection. As he does, the cop car Bourne was listening to on the radio slams broadside into the CRI sedan drafting the bumper of the mangled cop car. Swerving wildly Paz avoids the pileup and slams his heavy SUV into the back of Bourne's car, pushing him into the oncoming traffic. Several cars swerve left and right as Paz pushes Bourne sideways onto the ramped end of a K - Rail dividing the street ahead. The nearly upended car grinds down the K - Rail until the rear of Bourne's car strikes an obstruction which punches it back into the lane as it slams against the front of Paz's SUV, knocking the SUV sideways, into a row of parked cars. Bourne's car hits parked cars on the other side of the road. SMOKE and STEAM - SIRENS - CHAOS BOURNE kicks the window out of the police car. Gun up. Ready - NEARBY PAZ in the car. Still. Bloody from the crash, really fucked up. He comes to. and Bourne is there. Gun pointed at his head. The two assassins look at each other. then Bourne lowers his gun. and disappears. ON PAZ - as the wheels start to turn.\",\n \"INT. HUB WILLS The asset lost Bourne. We lost him. Vosen reacts -\",\n \"EXT. UPPER EAST SIDE -- LATE AFTERNOON Bourne exits from the subway. Bourne walks north.\",\n \"INT. HUB Wills pacing. Bourne's profile is up on Screen 2. It says `` David Webb -LRB- AKA Jason Bourne -RRB-'' on the profile. A tech comes to Wills. TECH Sir, this may be nothing but, look at Bourne's birthday. Wills looks at the profile. Bourne's birthdate is listed as 9/13/70. WILLS What about it? TECH Well, Landy told Bourne his birthday was 4/15/71 so. Wills gets it instantly. WILLS Everything stops. -LRB- to the room now. -RRB- EVERYTHING STOPS! LISTEN UP! -LRB- they're listening. -RRB- New assignment. Numbers. Four. Fifteen. Seventy - one. What do they mean? Wills grabs his headset -\",\n \"EXT. CRASH SITE -- DAY A CRI agent approaches Vosen. CRI AGENT Landy gave Bourne a false birthday. Wills thinks it's a code. It sinks in for Vosen. oh. shit.\",\n \"EXT. SEVENTH AVENUE -- DAY BOURNE emerges into the crowed street, headed uptown.\",\n \"INT. HUB Wills watches the techs work. TECH #3 - if you plug them in as variants of latitude and longitude you get Cameroon - Peru - Colombia - TECH #2 - San Francisco's got a four - one - five area code - TECH #1 - 41571 is the zip code for Varney, Kentucky - TECH #4 - there's no 415 West 71st Street, but there is a 415 East 71st - TECH #1 - if it's a substitution code, we're way short on variables, which I -. -LRB- no chance to finish as -. -RRB- WILLS - hang on - wait - Seventy First Street? Like what? Like York and First? TECH #4 That's correct. Wills like he's been hit. Like hard. As we cut to -\",\n \"INT. VOSEN'S SUV -- DAY They race uptown. WILLS She gave him the facility. She gave him - VOSEN -LRB- into cell phone. -RRB- I know. -LRB- to driver. -RRB- Go! Go! Drive! -LRB- into cell phone. -RRB- We're already on our way. Turn the teams around. Bring them in behind me.\",\n \"INT. VOSEN'S SUV -- LATE AFTERNOON Vosen steely eyed as they race uptown. He dials a number -\",\n \"EXT. UPPER EAST SIDE -- LATE AFTERNOON Bourne reaches 71st street and 2nd Ave. He looks up at the sign.\",\n \"INT. HIRSCH'S OFFICE (NEW BUILDING OF HOSPITAL) -- LATE AFTERNOON Hirsch's office is located in the SRD's `` front office'', which is located covertly on a floor of the new building of the hospital. He is the longtime head of SRD and a powerful behind - the - scenes official at CIA. THE CAMERA FINDS DR. HIRSCH, 70, is, put simply, not a man to be trifled with. He's a 45 year CIA veteran. One of the great brains in the Agency's history, but also a man who knows how to wield power silently, invisibly, and to tremendous effect. His phone buzzes. DR. HIRSCH -LRB- INTO PHONE. -RRB- Hello.\",\n \"INT. VOSEN'S SUV -- LATE AFTERNOON VOSEN at the other end of the line - VOSEN -LRB- INTO PHONE. -RRB- Bourne knows everything. I think he's heading for you right now. Dead pause.\",\n \"INT. HIRSCH'S OFFICE (NEW BUILDING OF HOSPITAL)-- DAY HIRSCH -LRB- INTO PHONE. -RRB- He's coming home, Noah. There's a wistfulness in the way he says it. But also the sense that this was absolutely inevitable. And he's calm about it, does n't show any fear, does n't reach for a gun. HIRSCH -LRB- INTO PHONE. -RRB- How long do I have? VOSEN Not long. Get out of there. HIRSCH No. I'm going to stay. VOSEN Are you crazy, he'll - HIRSCH He'll come to the training wing. That's what he knows. I'll keep him in play until you arrive.\",\n \"EXT. NEW YORK -- HOSPITAL -- LATE AFTERNOON Bourne arrives at the `` Johnston Medical Center.'' He looks up to see `` 415''. FLASHBACK The image of `` 415'' that has been haunting his dreams.\",\n \"EXT. NEW YORK -- HOSPITAL -- LATE AFTERNOON This is the place. When he looks down Landy steps out of the lobby to meet him on the sidewalk. BOURNE They'll kill you for giving me this place. LANDY 4/15/71 is n't much of a code. My guess is Vosen's already on his way. BOURNE Why'd you do it? LANDY This is n't us, David. What they turned you into, what they're doing with Blackbriar. This has to stop. BOURNE Then stop it. Everything you need is in there. Bourne hands her the black bag and enters the hospital. LANDY David. Come in with me. It's better if we do this together. BOURNE -LRB- shakes head. -RRB- This is where it started for me, this is where it ends. She watches the doors close behind him. Landy lets him go.\",\n \"EXT. NYC STREETS -- LATE AFTERNOON QUICK SHOTS of six different CRI sedans and SUVs rushing toward the hospital.\",\n \"EXT. HOSPITAL -- LATE AFTERNOON Landy looks in the backpack. - She unzips the backpack and looks in at the the Blackbriar Operations File. - A cover page inside : `` utmost secrecy''. `` potentially explosive public reaction would jeopardize the program''. - Another page : `` Terminated'' stamped across the photos of victims. Next to the victim from the inciting incident, the words : `` US citizen''. LANDY Oh, my God. - A third page, more photos, no `` terminated'' on these. Future victims. `` US citizen'' stamped next to each one.\",\n \"INT. HOSPITAL -- LATE AFERNOON Bourne uses the card reader he took from Vosen's safe to enter a `` restricted access elevator.'' A guard comes. Bourne aims his pistol at him as the elevator door closes.\",\n \"EXT. FIRST AVENUE -- OUTSIDE HOSPITAL -- LATE AFTERNOON Landy walks down the street. She looks up to spot two black sedans speeding east on 71st, turns south - two SUVs coming up York. Shit -\",\n \"INT. VOSEN'S SUV -- LATE AFTERNOON A block south of the hospital, stuck in traffic, Vosen points. VOSEN Landy! Right there! She's got Bourne's backpack!\",\n \"INT. 8TH FLOOR ELEVATOR LOBBY -- LATE AFTERNOON Bourne flips up the elevator stop button and uses the access card to enter a secure corridor -\",\n \"INT. LOBBY -- LATE AFTERNOON Landy runs across the lobby.\",\n \"EXT. FIRST AVENUE -- LATE AFTERNOON Vosen's SUV careens to a stop behind a bunch of traffic. Still a half block from the entry door but it's close enough -\",\n \"INT. CORRRIDOR Bourne rushes down a nondescript corridor -\",\n \"INT. HOSPITAL LOBBY -- LATE AFTERNOON Vosen and CRI agents rush into the lobby. VOSEN -LRB- to a group of six agents. -RRB- I'll find Landy. You get to the training wing and get Bourne! A security guard comes over. VOSEN Do you know who I am? -LRB- the guard nods. -RRB- Where's your security room?\",\n \"INT. HOSPITAL CORRIDOR Landy looks around. Finds an open office. She pushes open the door and runs to the fax machine. She starts faxing the Blackbriar documents Bourne took from Vosen's safe.\",\n \"INT. SECURITY ROOM -- LATE AFTERNOON Vosen enters. VOSEN I want to see all your footage for the last three minutes.\",\n \"INT. SRD TRAINING WING (OLD BUILDING OF HOSPITAL) -- LATE AFTERNOON Bourne stares down the corridor from his dreams, the corridor Daniels lead him down in his flashback. We see Bourne go into - FLASHBACK That first day, Bourne's POV being led down this corridor by Daniels. BACK TO SCENE Bourne moves down the corridor.\",\n \"INT. SRD TRAINING WING (OLD BUILDING OF HOSPITAL) -- LATE AFTERNOON Bourne reaches the end of the hall. He looks around `` flashback style'' - FLASHBACK Bourne was standing at this door.\",\n \"INT. OFFICE -- LATE AFTERNOON Vosen enters the room. The last pages have been faxed. LANDY You better get a good lawyer. She exits. BACK TO SCENE Then spins, gun up - Hirsch is there, halfway down the corridor behind him. HIRSCH Put the gun down. I would n't be here if I did n't want to talk. BOURNE I've spent three years running. Three years trying to find out who I was. Hirsch moves toward Bourne, completely unfazed by the gun. HIRSCH You still do n't have it all back, do you? You have n't filled in all the pieces? BOURNE Let's start with the moment you found out I would n't execute Wombosi. The amnesia was n't the issue, it was the fact that I did n't pull the trigger. HIRSCH One lapse meant your conditioning had failed. Bourne grabs Hirsch and slams him against the wall BOURNE It was always you, behind Conklin, behind Abbott. They were just following orders. Bourne grabs Hirsch and pushes him to the wall. Searches him for weapons. HIRSCH -LRB- completely calm. -RRB- I'm unarmed, Jason. BOURNE -LRB- shoving Hirsch hard against the wall. -RRB- `` David.'' I'm David Webb. CLOSE ON Bourne's face - HIRSCH You were David Webb, but not anymore.\",\n \"INT. SRD TRAINING WING CORRIDOR -- LATE AFERNOON Bourne stands with Hirsch. BOURNE Why me? Why did you pick me? A beat. HIRSCH You really do n't remember, do you? -LRB- beat. -RRB- You picked us, Jason. BOURNE What does that mean? HIRSCH You volunteered. Hirsch uses his free hand to hit the keypad on the wall. The `` room in use'' sign lights up. Bourne looks up `` flashback style'' - FLASHBACK Bourne remembers that keypad, that `` room in use'' sign from the first day.\",\n \"INT. ROOM WHERE BOURNE FIRST MET HIRSCH Bourne and Hirsch enter. HIRSCH You volunteered right here. You did n't even blink, Jason. You just handed me these. Hirsch removes a pair of dog tags from his jacket pocket. Holds them out to Bourne. Bourne takes the dog tags. Stares at them. INSERT of the dog tags : Webb, David 946610190 O Negative Catholic FLASHBACK Bourne hands over his dog tags. HIRSCH -LRB- CONT'D. -RRB- Has everything been explained to you. BOURNE Yes, sir. PRESENT DAY HIRSCH You were a soldier ready to serve his country. Just like thousands of others, except you were a prodigy with languages. and a perfect shot. FLASHBACK HIRSCH -LRB- CONT'D. -RRB- Your missions will save American lives. PRESENT DAY BOURNE You said I'd be saving American lives. Instead you just turned me into a killer. Bourne raises the gun to Hirsch. HIRSCH You could have left at any time. And you knew exactly what it meant for you if you chose to stay. FLASHBACK HIRSCH When we're finished with you, you'll no longer be David Webb. BOURNE I'll be whoever you need me to be, sir. PRESENT DAY HIRSCH Stop running from the truth, Jason. You chose to come here! You chose to stay! And no matter how much you want to forget it. eventually you're going to have to face how you chose, right there, to become Jason Bourne! Bourne sitting in a chair, looking terrible. Hirsch looks at him from behind the desk. HIRSCH -LRB- CONT'D. -RRB- You have n't slept for a long time have you David? Have you made a decision? This ca n't go on, you know. You have to decide. BOURNE Who is he? HIRSCH We've been through that. BOURNE What did he do? HIRSCH It does n't matter. -LRB- beat. -RRB- You came to us. You volunteered. You said you'd do anything it takes to save American lives. You're not a liar are you? Or too weak to see this through? This is it. Let go of David Webb. Will you give yourself to this program? Bourne looks down, a gun in his hand. He gets to his feet swiftly and fires the pistol several times into a hooded figure. The man slumps over. Bourne stares at what he's done. HIRSCH -LRB- CONT'D. -RRB- You're no longer David Webb. From now on you'll be known as Jason Bourne. Welcome to the program. Daniels pulls the hood off the figure to show that he is dead. Just then Kramer walks through the door. KRAMER He's ready. Send him to Operations. PRESENT And now, in real time, Bourne comes out of the flashback. He stares back at Hirsch. HIRSCH Do you remember now? Bourne lowers the gun. BOURNE I remember. I remember everything. HIRSCH You ca n't outrun what you did, Jason. You made yourself into who you are. BOURNE I'm done running. That's why I'm here. To end you, to shut this down. I'm no longer Jason Bourne. HIRSCH So now you're going to kill me? BOURNE No. You do n't deserve the star they give you on the wall at Langley. Just then Bourne spins - agents arrive at the door. It's locked.\",\n \"INT. HALLWAY The agents fire at the door handle to get it open.\",\n \"INT. ROOM WHERE BOURNE FIRST MET HIRSCH Bourne looks out a window. Sees the layout of a roof several stories below. Then he turns and shoots out the room's mirrored observation window. Bourne dives through it just as agents rush in and open fire at him. SERIES OF SHOTS Bourne races through corridors, loosing the CRI agents.\",\n \"EXT. ROOF -- NIGHT Bourne runs out onto the roof. Rushes across it to look over the edge. It's a straight drop to the FDR - 12 stories down. He races to another ledge - the East River below him. But he has to clear a 10 foot supporting wall at the base of the building to hit the water. He backs up to get a running leap. As he does, he turns and sees Paz, who is holding a gun on him. PAZ Why did n't you take the shot? Bourne looks at him. BOURNE Do you even know why you're trying to kill me? Look at what they make you give. Bourne turns and runs off the roof. Paz fires into the air. FOLLOW Bourne as he drops fourteen stories into the freezing river - MULTIPLE ANGLES - Bourne goes into the river. UNDERWATER Bourne in a dead man's float. as his clothes soak through he begins to sink. PULL BACK. farther and farther from Bourne's dead still sinking. as OVERLAPPING, INTERWEAVING VOICE OVERS begin : ANCHOR 1 -LRB- V.O. -RRB- FBI agents arrested several senior CIA officials today in connection with the broadening scandal enveloping Washington today - ANCHOR 2 -LRB- V.O. -RRB- Assassination program code - named `` Blackbriar'' was exposed by a former assassin named David Webb - - ANCHOR 3 -LRB- V.O. -RRB- Program reportedly targeting US Citizens in some cases. ANCHOR 4 -LRB- V.O. -RRB- CIA Director Ezra Kramer produced explosive documents for the Senate Committee indicating `` Blackbriar'' was authorized at the highest levels of government.\",\n \"INT. BAR -- URUGUAY -- SUNSET Nicky goes to the bar of at a low end tourist bar with several other customers. She stands there, eyes fixed on a TV behind the bar : ANCHOR 5 -LRB- V.O., CONT'D. -RRB- Webb, who was known inside the intelligence community, as `` Jason Bourne'' jumped from the fourteenth floor of the CIA facility where he was trained in New York into the East River below. While experts say it would be nearly impossible to survive the fall, despite two weeks of efforts, his body has still not been recovered. PUSH in on the smile that develops on Nicky's face. As we CUE the Moby `` Extreme Ways'' sting - UNDERWATER Bourne's body sinking toward the bottom. when all of a sudden it comes to life - arms together, legs kick powerfully - And Bourne swims away. THE END\"\n]"},"labels":{"kind":"list like","value":[1,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,1,0,0,0,0,0,0,0,0,1,0,0,0,1,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,1,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,1,0,0,0,1,1],"string":"[\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 1\n]"},"summary":{"kind":"string","value":"Following his pursuit by Kirill, Jason Bourne (Matt Damon) eludes Moscow police while wounded through a train station and deals with more flashbacks of when he first joined Operation Treadstone. Six weeks later, CIA Deputy Director Pamela Landy (Joan Allen) divulges the audiotaped confession of Ward Abbott, the late former head of Treadstone, to Director Ezra Kramer (Scott Glenn). Meanwhile, in Turin, journalist Simon Ross (Paddy Considine) of The Guardian meets an informant to learn about Bourne and Operation Blackbriar, the program succeeding Treadstone. The CIA tracks Ross as he returns to London, after his mention of \"Blackbriar\" during a cell phone call to his editor is detected by the ECHELON system. Bourne reappears in Paris to inform Martin Kreutz (Daniel Brühl), the brother of his girlfriend Marie Helena Kreutz (Franka Potente), of her assassination in India, also in the previous film. Bourne reads Ross's articles and arranges a meeting with him at London Waterloo station. Bourne realizes that the CIA is following Ross and helps him evade capture for a while, but when he panics and ignores Bourne's instructions, Ross is shot and killed by Blackbriar assassin Paz (Édgar Ramírez) on orders of Deputy Director Noah Vosen (David Strathairn). Vosen's team, reluctantly assisted by Landy, analyzes Ross's notes and identifies his source as Neal Daniels (Colin Stinton), a CIA Station chief involved with Treadstone and Blackbriar. Bourne makes his way to Daniels' office in Madrid but finds it empty. He incapacitates gunmen sent by Vosen and Landy. Nicky Parsons (Julia Stiles), a former Treadstone operative who shares a history with Bourne, tells him that Daniels has fled to Tangier and aids his escape from an arriving CIA unit. Nicky learns that Blackbriar \"asset\" Desh Bouksani (Joey Ansah) has been tasked with killing Daniels. Vosen sees that Nicky accessed information about Daniels and sends Bouksani after Nicky and Bourne as well, a decision with which Landy fiercely disagrees. Bourne follows Bouksani to Daniels but fails to prevent Daniels's death by a planted bomb. However, Bourne manages to kill Bouksani before he can kill Nicky. After sending Nicky into hiding, Bourne examines the contents of Daniels' briefcase and finds the address of the deep-cover CIA bureau in New York City, where Vosen directs Blackbriar. Bourne travels to New York. Landy receives a phone call from Bourne, which is intercepted by Vosen. When Landy tells him that his real name is David Webb and gives him the birth date \"4-15-71\", Bourne tells Landy to \"get some rest\" because she looks tired, tipping off that he is in New York and watching her from an overlooking building. Vosen intercepts a text to Landy from Bourne of a location to meet up, and leaves his office with a tactical team. Bourne, however, waits for them all to leave, enters Vosen's office, and takes classified Blackbriar documents. When he realizes that he has been tricked, Vosen sends Paz after Bourne, but the resulting car chase ends with Bourne forcing Paz's car to crash into a concrete barrier. Bourne holds the injured Paz at gunpoint, but spares his life. Bourne arrives at a hospital at 415 East 71st Street, having figured out Landy's coded message. Outside, Bourne meets Landy and gives her the Blackbriar files before going inside. Vosen also figures out Landy's code and warns Dr. Albert Hirsch (Albert Finney), who ran Treadstone's behavior modification program, that Bourne is coming. He follows Landy inside the building but is too late to stop her from faxing the Blackbriar documents out. Meanwhile, Hirsch is confronted by Bourne on an upper floor, who now remembers that he volunteered for Treadstone. As Bourne flees to the roof, he is confronted by Paz, who asks, \"Why didn't you take the shot?\" Bourne asks Paz if he knows why he's supposed to kill him, and repeats the dying words of The Professor in The Bourne Identity: \"Look at us. Look at what they make you give.\" Paz lowers his gun, but Vosen appears and shoots at Bourne as he jumps into the East River. Some time later, Nicky watches a news broadcast about the exposure of Operation Blackbriar, the arrests of Hirsch and Vosen, a criminal investigation against Kramer, and the whereabouts of David Webb, a.k.a. Jason Bourne. Upon hearing that his body has not been found after a three-day search of the river, Nicky smiles. Bourne is shown swimming away in the East River."},"name":{"kind":"string","value":"The_Bourne_Ultimatum_(film)"}}},{"rowIdx":91,"cells":{"scenes":{"kind":"list like","value":["EXT. SUBURBAN HOUSING DEVELOPMENT - DAY A big, yellow SCHOOL BUS pulls up to a corner and discharges a group of TEENAGERS. It's one of those fantastic spring afternoons and the kids take to their freedom like they were just sprung from Leavenworth. KIDS G'night, Joe. Have a good weekend, etc.. The BUS DRIVER does n't answer but nods and smiles as they deboard. He is a pleasant looking elderly man, wearing a khaki work shirt, a matching cap and chewing on an unlit, twenty - five cent stogie. The DOORS fold shut, the GEARS GRIND and the bus continues along its route.","INT. SCHOOL BUS - DAY While there are only about a dozen kids on the bus, the noise level is deafening. GIRLS are yapping, GUYS are horsing around, someone is fiddling with a ghetto - blaster, trying to decide among several loud stations.","EXT. SUBURBAN STREET - DAY The bus turns a corner, taking them out of the development and past some older, less identical looking residences spaced more widely apart.","INT. SCHOOL BUS - DAY The Driver downshifts the old heap, pulls the wheel over to the curb and reaches over to push the door lever open. KIDS file out down he aisle, some of them wishing him well as they leave. ANOTHER ANGLE as the gears grind again and the bus pulls away. We see that there are only a few KIDS remaining : TWO GIRLS sit together toward the center and a lone, nerdy - looking BOY sits at the rear. The DRIVER is in front of an aluminum divider and, except for the top of his cap, can not be seen. END MAIN TITLE SEQUENCE ON THE THREE KIDS The two girls are pretty, teen - fashionable and just a little immature. One of them turns back to look over her shoulder. CLOSER ANGLE - THE BOY Poor kid. About 17, four - eyes, bad skin, lousy posture and an obvious inferiority complex. He's sweating profussely and he stands slightly to unlatch and lower the window. He pulls down on it with all his strength but it is hopelessly stuck. He sits back down and sighs. Suddenly, he feels the girl's stare. he does n't turn but sends his eyes over to see who's goggling at him. ON GIRLS - JESSE'S POV The first girl turns back to her friend to whisper something. The friend turns around to see for herself.","INT. BUS The boy stares forward now and catches her glance directly. The girls shift quickly in their seats to face forard and let out with an uncontrollable rush of mean giggles. The boy is clearly embarrassed now and looks down at the books in his lap. We hear the engine REVVING - the bus seems to be picking up speed. One of the girls stands, ready to get off. GIRL'S POV OUT WINDOW : EXT.. STREET A MOTHER, her PRE - SCHOOL CHILD on a TRICYCLE and their DOG wait for the bus to discharge the girl.","EXT. STREET The bus speeds past the waiting group, to their amazement.","INT. BUS The standind girl's jaw drops open as they shoot by a familiar looking intersection and continue to pick up speed. FIRST GIRL -LRB- to her friend. -RRB- Hey! -LRB- calling to driver. -RRB- Hey, that war our stop! The bus turns a sharp corner and the first girl almost falls. The second girl grips onto the seatback and lifts herself to her feet. SECOND GIRL -LRB- calling to the driver. -RRB- Hey, Joe! Our stop! HER POV - THE FRONT OF THE BUS The unseen driver ignores the calls and continues picking up speed. We might notice that his hat has changed ; in place of the cap, we can see the top of a BATTERED OLD FEDORA. SECOND GIRL -LRB- O.C. -RRB- Hey, let us off!","EXT. TWO-LANE STREET - DAY The sky has suddenly turned ; a wave of threatening clouds sweeps overhead and the WIND is churning a planting of roadside weeping willows into a tangled mess of yellow tendrils. The bus WHINES near the top end of third, all of its FLASHERS are going like the dashboard was having a major coronary. It passes the last house and heads into open terrain. IN THE BUS THE SECOND GIRL steps into the aisle and starts making her way toward the front of the coach. SECOND GIRL -LRB- under her breath. -RRB- Deaf old fart. She stops suddenly and GASPS as she watches THE DRIVER'S ARM emerge to throw the floorshift into fourth. His hand is clad in a strange GLOVE that tip his fingers with a menacing set of RAZOR - SHARP, STEEL TALONS. His sleeve is charred and smoking. The bus SWERVES WILDLY as it skids around a corner, throwing its few passengers into collision courses with the walls and each other. A FLASH OF LIGHTNING crashes through the air.","EXT. DESERT LANDSCAPE As the lightning subsides, the sky is dark. The BUS SCREAMS along, banging through rocks and ditches, CRASHING through a wall of overgrown brambles. Thick clouds of steam pour out from under he hood and stream back along toward the rear of the vehicle. ON THE BOY holding o to his seatback and watching out the window in terror as trees TEAR loose from the ground i the bus ` wake. We hear a LOUD RUMBLING and the bus begins to shake as if the planet itself is splitting in two. ON THE BUS Skidding across the desert landscape, being THROWN to and fro laterally, at the mercy of the shuddering landscape. ON A FRONT WHEEL as the tire smacks into a jagged boulder, SNAPPING the wheel from its axle. ON THE FRONT END BOUNCING to a violent halt, the bumer digging a long trench into the earth. IN THE BUS THE KIDS pick themselves up from the floor. It is very hot and smoky inside. They have moved closer together now, sweating, scared. Frantically, the boy tries to open a window, but it will not budge. He looks out the window and gasps.","EXT. POV FROM WINDOW THE GROUND below begins to SPLIT apart and tumble into a deep fissure that is encirling the bus. ON THE MOOR, THE BUS CENTER The land is IMPLODING all around it ; huge chunks of the earth's crust are shearing themselves loose from the edges of the fissure and tumbling into oblivion. In moments, the bus is stranded on the narrow tip of a towering ridge of crumbling stone. The bus teeters precariously, tasting the smoky abyss in every direction. INSIDE THE SECOND GIRL is on al fours in the aisle. She looks up toward the driver's seat. SECOND GIRL -LRB- seeing something hideous. -RRB- Jesus! She scrambles to her feet and begins backing off. The floor of the bus shifts dangerously, throwing the girl into the edge of one of the seats. ON THE DRIVER as he makes his way toward the back. We don' g see his face but he is dressed in a filthy green and red sweater. In the B.G., the dashboard instruments are sparking and sending thick black fumes toward the ceiling. SMOKE is rising off his body as if he just stepped out of some horrible fire. A small patch of skin on his hand sizzles and pops and drips a molten glob of flesh that burns a small hole in a seat cushion. His Razor - Talons sweep along the tops of the seat - backs CUTTING deep gashes into the green vinyl upholstery and SCRAPING horribly over the tubular steel support poles. ON THE BOY Terrified. Lookign first at the awful talons, then out the window at the DEADLY DROP and back at the bus driver. ON THE GIRLS Sweating, panicking. They back away, going from window to window, trying desperately to pull them down. They're all locked tight. One reaches for the emergence door leer at the rear of the bus. It comes off in her hand. The kids huddle together, petrified, screaming, as the driver is upon her. CU : DRIVER He lifts the awful, talonned glove in f.g. Behind, obscured by smoke, we see, for an instant, his fce - the face of FREDDY. he raises his weapon arm higher and STRIKES.","INT. WALSH HOUSE - KITCHEN - MORNING CLOSE on a steel blade cutting into red flesh. We PULL BACK and see that it is MOM, slicing a tomato at the kitchen counter. This is an all - American family ; along with a MOM, there's a DAD and a kid sister named NGELA and they ll are having breakfast together. A moment later, there is a muffled, OFF - CAMERA SCREAM. Mom looks up. We can also make out the RINGING of an alarm clock in another part of the house. ANGELA jumps slightly at the scream. She's a pretty little eleven - year old, genuinely cute, not precocious. ANGELA -LRB- to Mom. -RRB- Why ca n't Jesse wake up like every - body else? MOM -LRB- hushed. -RRB- Shhh. He must've had another night - mare.","INT. WALSH HOUSE - JESSE'S ROOM - MORNING ON JESSE'S BED. An alarm clock RINGS LOUDLY. JESSE WALSH -LRB- 17 -RRB- is sitting up in bed. He's sweaty and scared and disoriented as he slams his hand down on the alarm and tries to shake the nightmare out of his head. We see that he's the boy on the bus only he's not half - bad looking - far from nerdy. he has no skin problems and he does n't wear glasses and his body's in good shape. As he gets out of bed, still shaky from the dream, and we see that his bedroom is littered with cardboard cartons - most of them open and half - empty. He trips over a carton on his way to his jeans.","INT. WALSH HOUSE - KITCHEN - MORNING Mom is at the stove cooking eggs for her family. She looks up, worried, as Jesse comes in and heads for the refrigerator. JESSE -LRB- mumbles. -RRB- ` Morning. MOM -LRB- putting on a smile. -RRB- ` Morning, honey. Jesse pours himself a GLASS OF MILK from the fridge. He joins Dad and Angela family at the breakfast table. DAD You got your room straightened out yet? JESSE -LRB- yawns. -RRB- It's getting there. DAD We've only been living here six weeks now. I want that room unpacked by tonight. MOM comes over with some eggs for Dad. MOM -LRB- to Jesse. -RRB- Want some eggs. Angela, what are you doing? ON ANGELA She is struggling to put her hand deep into a box of FU - MAN CHEWS breakfast cereal. ANGELA -LRB- frustrated. -RRB- I'm trying to get the Fu - Man Fingers! Printed on the box is a cartoon caricature of the Oriental doctor pointing to a bowl of his product with one of his long, sharp fingernails. there's a burst above the product name that reads : `` FREE INSIDE - FU - MAN FINGERS'' and shows a drawing of a hand wearing several extra - long, red plastic fingernails on its fingertips. Mom lets Angela go o with her search and turns back to Jesse, waiting for his answer. MOM Jess? JESSE Huh? MOM Eggs? Jesse rubs his temples. He was away for a minute but he's back now. JESSE Oh. uh, no, just some milk, Mom. MOM You okay? Dad eyes him suspicously. JESSE Yeah, I'm fine. Just really hot upstairs. MOM -LRB- nods. -RRB- I know it's warm. -LRB- to Dad. -RRB- I wish you'd call someone to check out the air conditioning, Ken. DAD -LRB- defensively. -RRB- I know what's wrong with the air coditioning - just needs a shot of freon, is all. JESSE Dad's fixin' something again. Hit the deck! DAD Do n't be a smart ass. A short silence as they all look back to their plates. MOM -LRB- to Jesse. -RRB- So, school going alright? JESSE -LRB- shrugs. -RRB- Okay, I guess. MOM Making friends? Jesse is looking around for some escape - this interrogation is getting a little too personal. JESSE Yeah, you know how it is. ON ANGELA She grabs onto the prize at the botto of the box and gives a yank. A bagful of Fu Man Fingers come out in her hand along with half the box of cereal. SOUND OVER : DOORBELL RINGING Mom turns to answer the door, but Jesse immediately jumps up and cuts her off. JESSE That's Lisa - I got ta get to school. DAD -LRB- calling after him. -RRB- Who's Lisa? But Jesse is gone ; just a kitchen door, swinging in his wake.","INT. WALSH HOUSE - FOYER - DAY as JESSE opens the front door to LISA POLETTI -LRB- 17 -RRB-. She is facing the street and she turns around when she hears the door open. Not a knock - out but real pretty, with an intelligence and sweetness about her - she is truly lovely. LISA Hi. She smiles and Jesse's eyes light up.","EXT. WALSH HOUSE - DAY They walk to JESSE'S CAR - a beat - up, blue Falcon parked curbside. JESSE -LRB- gratefully. -RRB- your timing was perfect - I was getting the third degree in there. LISA How come? JESSE Ah, nothing. Jesse opens Lisa's car door for her. She steps in and sits down. IN THE CAR The interior is worse than the body. The upholstery is torn to shreds, the dashboard is cracked and peeling and there's a big hole where the radio used to be. A cheap, A.M. transistor radio hangs by its wrist strap from the rear - view mirror. Jesse hops in and shifts around to get comfortable, and reaches under the dash to pull out a couple of bare wires. Lisa watches him routinely twist the wires together, amused. LISA Are n't you afraid somebody could steal your car like that? JESSE -LRB- preposterously. -RRB- Look at this car. Are you kidding? He sits up again and reaches for a toggle switch that has been crudely drilled into the dash. He flicks the switch. Jesse moves his finger to another alien button in the dash and pushes it. The STARTER turns over slowly, the engine BACKFIRES and the car starts noisily. Jesse gives her the `` thumbs up'' as if he were a World War I Ace and puts the car into gear. It BUCKS and FARTS and rumbles up the street.","EXT. POOL - REAR, WALSH HOUSE - DAY DAD floats on a FOAM CHAIR in the middle of the rather run - down pool, sipping coffee from a MUG bearing the word `` DAD''. He looks over his domain with satisfaction and inhales a deep breath of fresh, suburban sir. MOM comes out the back door. She looks just a bit worried. MOM Ken, should n't you be getting to the office? It's almost nine. KEN As soon as i finish my coffee. I'm enjoying my pool right now. -LRB- sips his coffee. -RRB- I love our new house. Do n't you? MOM -LRB- sighs heavily. -RRB- Of course I do, Ken. KEN What's the problem, Shirl? MOM -LRB- pointing behind her. -RRB- It's just I'll be a lot happier when you finish taking down those bars. CAMERA PANS UP AND ZOOMS IN to reveal BARS ON THE UPPER WINDOWS - this is the old Thompson house, replete with the security paraphernalia that kept Nancy Thompson prisoner five years prior. MOM -LRB- O.C. -RRB- People that lived here before must have been truly paranoid.","EXT. HIGH SCHOOL - DAY Establishing shot of school, shot from parking lot with JESSE'S CAR in f.g. School is in session, so the only students we see are TWO CLASS - CUTTERS leaning against a car passing a JOINT.","EXT. HIGHT SCHOOL PRACTICE FIELD - DAY An intramural SOFTBALL GAME is in progress. COACH SCHNEIDER, a nasty looking ex - Marine, stands behind home plate as an umpire. JESSE is covering second base. RONNY GRADY, a tough - looking wise - ass type, steps up to the plate. He knocks the mud off his sneakers with his bat and takes his stance. ON JESSE He glances over to the adjacent field. HIS POV The GIRLS are in the middle of archery instruction. LISA is there, mighty tempting looking in her little, powder blue gym suit, a quiver strapped to her shoulder and a longbow in her hand. KERRY, a dizzy, Bloomingdale's - punk, steps up alongside Lisa as the latter catches Jesse's stare. SCHNEIDER -LRB- O.C. -RRB- Strike! KERRY -LRB- to Lisa, re Jesse. -RRB- He made any moves yet? Lisa smiles and waves to Jesse. LISA -LRB- aside to Kerry. -RRB- I only know him a few weeks, Kerry. ON JESSE He waves back. BACK TO LISA AND KERRY KERRY I think he needs a push start. Lisa turns to face the target, slides an arrow into the nocking point, draws back the bowstring and lets the arrow go. ON THE TARGET It's a bull's - eye. CRACK! GRADY gets hold of a perfect pitch and sends it flying over the head of the PITCHER. BACK TO JESSE BOOM! The ball skids off the side of his head and the kid collapses. HIS TEAMMATES rush to his side and help Jesse to his feet. He's more embarrassed than hurt and he waves away any over - attention. COACH SHNEIDER joins the circle of bodies around him. SCHNEIDER You okay? JESSE Yeah, I'm fine. SCHNEIDER -LRB- walking away. -RRB- Well, pay attention, next time! Jesse re - takes his position on the base. GRADY -LRB- O.C. -RRB- Maybe you oughta try something a little more your speed, Walsh. Like knitting. Jesse just now realizes that it was Grady who scored a double off his skull. He's standing just off the bag, harassing Jesse while waiting to be hit home. JESSE -LRB- flipping him the bird. -RRB- Knit this, Grady. GRADY sneers and gives him the `` JACK - OFF'' sign. JESSE tosses an `` ITALIAN SALUTE'', slapping one hand into the crook of his arm and throwing up `` THE FINGER'' for good measure. GRADY grabs his own crotch and points to it obscenely. ON THE PITCHER He sends one over the plate, the BATTER catches it dead - center and POUNDS it back to left field. GRADY makes a break for third, only to be forced back by teh LEFT FIELDER tossing the ball to the THIRD BASEMAN. ON JESSE His glove up to receive the throw as Grady STEAMS towards him. The ball snaps into Jesse's mitt and Grady turns on his ankles to shoot back to third. Jesse and the third baseman toss the ball between, each time moving closer in toward Grady. Grady switches directions with the ball, trapped between them. GRADY dives into a HEAD - FIRST SLIDE, trying to sneak past Jesse. JESSE swoops down and tags him out. Thorougly aggravated, Grady rises to his feet by reaching out and grabbing onto Jesse's gym shorts and yanking them down to his ankles, revealing jesse's bare buns - in - a - jockstrap to the world. JESSE lunges for Grady, trips over his shorts and the two of them begin rolling around in the dirt, duking it out. ON THE GIRLS IN THE NEXT FIELD watching the wrestling match with ausement. ON LISA AND KERRY Lisa tries like hell to repress some laughter. KERRY Cut ass. ON SCNEIDER pushing his way through a crowd of laughing, cheering SPECTATORS and jumping in to break up the scuffle. He lifts both boys up by their necks. SCHNEIDER Okay boys, assume the position!","INT. COACH'S OFFICE - DAY Schneider is at his desk. TWO BOYS carrying gym bags pass outside the Coach's office. They wave to him through the WIRE - GLASS WINDOWS. BOYS ` Night Coach. Schneider gives them a cold glance. He checks his watch, gets up and goes to a window to look outside. HIS POV - THE PRACTICE FIELD JESSE and GRADY, side by side in the center of the baseball diamond. They are in `` front - leaning rest'' position, the cruel and painful frozen pushup that ends halfway to the ground with elbows bent. We do n't know how long they've been out there but it's probably hours. It seems just a little darker out and a lonely wind is blowing around their arms and legs. In the B.G., KIDS are filing out of the building - some sop to look out at the two boys, point and snicker. We see LISA among the kids. She stops for a moment and views the scene with concern. ON JESSE AND GRADY They are dirty, their shirts are ripped and Jesse has a tiny bruise over his cheek. And they're tired too. The muscles in their arms are twitching convulsively and they talk to each other between groans and through teeth clenched with pain. We hear the OFF - CAMERA SOUND of several busses pulling out. JESSE How much longer you figure he'll keep us out here? GRADY Could be all night. -LRB- nodding in the Coach's direction. -RRB- Guy gets his rocks off like this. Hangs out in queer S & M joints downtown. Likes prettyboys like you. JESSE Get outa here. Grady does n't pursue it. Instead, he looks around and tries to think of some small - talk. GRADY -LRB- finally. -RRB- So, what about you and that Poletti girl? JESSE What about it? GRADY You two got a thing going, or what? JESSE She's a neighbor, I drive her to school. GRADY She giving you any carfare for the ride? JESSE You got a problem with me, Grady? GRADY -LRB- shrugs. -RRB- Naw. Just killing time. SOUND OVER : A WHISTLE BLOWING ON THE COACH Dressed in his street clothes, crossing the field toward the faculty parking lot. He pulls the whistle from his mouth. SCHNEIDER -LRB- to the boys. -RRB- Okay boys, hit the showers.","INT. BOYS LOCKER ROOM - DAY JESSE and GRADY stand at opposite ends of a row of lockers and change into their street clothes. Their movements are slow and cumbersome - like a pair of creaky old men. GRADY -LRB- finally. -RRB- So, you live around here. JESSE -LRB- sighs wearily. -RRB- Not too far. My folks bought a place over on Elm Street. Grady stops buttoning his shirt and looks up at Jesse. GRADY Elm Street? You telling me you moved in to that big white house with the bars on the windows? JESSE Yeah, why? Grady shakes his head and tucks his shirtails in. GRADY Shit, you can tell your old man he's a real chump. JESSE What the hell are you talking about? GRADY They've only been trying to unload that dump for five years. That place is bad news. Some chick was locked in there by her mother and she went crazy. She watched her boyfriend get butchered by some maniac in the house across the street. Her poor drunken momma took her own life right inside your front door. Jesse stares dubiously at Grady. JESSE -LRB- with a nervous laugh. -RRB- You're full of shit. Jesse pulls his knapsack from the locker shelf, slams the door shut and walks away. ON GRADY He smiles mischievously and shuts his own locker door.","EXT. SCHOOL PARKING LOT - DAY JESSE'S CAR is parked among a handful of others. LISA leans against the front fender, waithing patiently. HER POV JESSE steps out of the building and spots her. he hurries across the lot. ON LISA as Jesse approaches. JESSE -LRB- surprised to see her. -RRB- Hi! You did n't have to wait. LISA That's okay, I wanted to. He raises an eyebrow as he opens the door for her. He likes that. ANOTHER ANGLE as Jesse slides in beside her and STARTS the engine. She looks him over. He looks like he's been through the mill a couple of times. LISA You okay? JESSE Yeah, yeah, sure. LISA Let me look at your eye. Jesse lifts his chin to show off the tiny bruise over his cheekbone. He looks almost a little proud of it - like it's an old war wound. Lisa touches it tenderly. LISA You should n't be fighting with that jerk. JESSE Who, Grady? Grady's alright, he's just a hothead. LISA You mean a shithead. JESSE -LRB- laughs. -RRB- Yeah. He guns the engine and they pull away.","EXT. WALSH HOUSE - ESTABLISHING SHOT - NIGHT It's very late. The house is dark and even the crickets have hit the sack.","INT. JESSE'S BEDROOM - NIGHT JESSE's having trouble sleeping. He turns over on different sides and punches up his pillow a couple of times, stares into space and finally sits up. He gets out of bed, pulls on a pair of pants and exits. KITCHEN He enters. The room is lit only by the glow of a three quarter moon. He regains his composure and steps over to the sink to pull off an absurd length of paper toweling. We see it just when Jesse does ; a GROTESQUE FACE has been peering into the window all this time. It disappears from view on Jesse's DOUBLE TAKE. Jesse stops for a moment to slow down his heart. He takes a deep breath and steps up to the back door. He opens the door.","EXT. SIDE OF WALSH HOUSE - NIGHT Jesse opens the gate and enters. It is really quiet ; not even night - sounds. He strains to see past the shrubbery that surrounds the house. JESSE -LRB- hoarse whisper. -RRB- Grady? He looks around. JESSE It better be you, you son of a bitch! We hear an awful sound from somewhere - WOOD RIPPIGNG. Jesse makes his way cautiously along the side of the house. He notices a red - orange LIGHT is flickering from behind a cellar window. He gets down on his hands and knees to investigate. THE CELLAR - HIS POV An INTRUDER is bent over by the furnace, lit only by a raging fire in the fire - box. He puts his hand right into the flames and begins digging for something way in the back of the furnace. We ca n't see his face but he is dressed in a filthy green and red striped sweater and a battered hat. He pulls out a bundle of rags, sets it on top of the furnace and proceeds to unwrap it. ON JESSE JESSE -LRB- petrified. -RRB- Holy shit. He stands up and looks around frantically. He does n't know what to do. JESSE -LRB- near tears. -RRB- Holy shit. He hurries out the gate that leads to the front of the house.","INT. WALSH HOUSE - NIGHT Jesse enters the house and scans the foyer. He heads toward the cellar door. It is ajar - the LOCKHAS BEEN SPLINTERED AS IF BY A HUGE WRECKING BAR - and we can hear the ROAR of the furnace from below. He sticks his head inside the cellar door and peeks down. HIS POV The SHADOW OF A FIGURE ; movement on the cellar walls. ON JESSE Breathing heavily. Brain whirring. SLAM! He pulls the basement door closed and holds it shut tight, practically hyper - ventilating. JESSE -LRB- screaming. -RRB- Dad! He looks around frantically. JESSE DAD! Something inside starts to pull the cellar door open. Jesse tries to hold it shut, but the inexorable force continues to inch it open. Jesse lets go and bolts toward the foyer. FREDDY is standing in his path, a sick smile on his scarred face. He flashes his razor - knives at Jesse. FREDDY -LRB- sinisterly. -RRB- Daddy ca n't help you now. Jesse tries to make a break for it but Freddy is too fast. His un - taloned hand gets an iron grip on Jesse's shirt collar. FREDDY I've been waiting five years for you, Jesse. We got special work to do, you and me. Things are really gon na heat up. Jesse struggles to get free. Freddy tightens his iron grip and fans his talons threateningly. Jesse's head stretches back from the chocking pain. FREDDY We'll do real good together, you and me. Freddy hurls Jesse against the wall. FREDDY You got the body. -LRB- doffs his hat. -RRB- I got the brains. With that, Freddy removes his hat. There is no skull under there - just a pulsating mass of blody BRAIN MATTER. JESSE lets out an agonized SCREAM.","INT. JESSE'S BEDROOM - NIGHT ON JESSE, still in bed but his entire body arched backwards over the mattress. His scream continues until he collapses back down into the sheets. ON HIS DOOR It flies open and DAD crashes into the room, followed by MOM. They go to his bedside and stare at him as he pants and coughs his way back to consciousness. MOM -LRB- to Dad. -RRB- Maybe we should call a doctor. JESSE No. I'm okay. He sits up to prove it. JESSE Really. Just a bad dream.","INT. HIGH SCHOOL BIOLOGY CLASSROOM - DAY A rather bored looking group of STUDENTS is listening with little interest to the droning of their teacher, MR ABLE, who is lecturing them from the front of the room. MR. ABLE So, to review, the solid waste, those nutrients that are not absorbed in the lining of the stomach, the large intestine, the small intestine - the alimentary canal - are passed out through the colon. SOUND OVER : A FAKE FART LAUGHTER from the class. ABLE looks up crossly from his notes until the laughs trail off. MR. ABLE -LRB- O.C. -RRB- -LRB- continues. -RRB- The liquid nutrients are then carried through an elaborate system of filtering, aided by the pancreas, liver and gall bladder. TWO GIRLS at the back of the room look at each other. One puts her finger in her mouth and pretends to gag. As Able DRONES on in the B.G., we're ON JESSE He's having a hell of a time keeping his eyes open. His head bobs intermittently as he starts to nod out. ON GRADY He nudges a CLASSMATE at the next desk to look over toward Jesse. They snicker. ON JESSE, THEIR POV nodding out BACK TO ABLE MR. ABLE Or collected in the bladder to be expelled at a later time. And this entire process is kept moving through `` the circulatory system'', the center of which is. -LRB- a beat. -RRB-. the heart. On the beat, he reaches under his lab table and plunks a BLOODY CALF'S HEART down right in the center of it. We hear DISGUSTED GROANS from the class. MR. ABLE Four chambers, just like the human heart, really. Able describes the path by sticking his index finger into each orifice. MR ABLE From the body, through the right auricle, to the right ventricle and out the pulmonary artery to the lungs. BACK TO JESSE, ASLEEP A particularly ugly and ferocious looking SNAKE is wrapping itself around his arm, making its way toward Jesse's face. CLOSE ON JESSE As he wakes up slowly and looks down groggily toward his arm. THE SNAKE opens wide and emitsa long demonic hiss. Jesse screams and hastily begins pulling the reptile away from him. ON ABLE Standing next to Jesse, he pulls the snake off his arm and drops it into a nearby tank. MR. ABLE If you want to play with animals, Mr. Walsh, join the circus. GUFFAWS from the class. JESSE looks around, bewildered and embarrassed. He spots GRADY, grinning widely.","INT. THE WALSH HOUSE - LIVING ROOM - EARLY EVENING Comfortable and very suburban. A major color T.V. takes up the wall opposite a pair of His and Hers Barcaloungers. DAD is watching The Six O'clock News on the tube and fanning himself with a T.V. Guide. MOM sits on the couch with ANGELA, helping her with a jigsaw puzzle. TWO PARAKEETS are fluttering around inside a cage near the entry into the dining room. JESSE bounces down the stairway, a rolled towel tucked under his arm. DAD stares at him angrily then turns back to the game. JESSE CROSSES in front of the set on his way out of the room. DAD Where are you going? JESSE Just out for a while. DAD -LRB- shaking his head. -RRB- I told you I want that room unpacked. JESSE -LRB- begging. -RRB- Oh, come on Dad. DAD No. -LRB- pointing toward the stairway. -RRB- Upstairs. Jesse's about to protest but Dad cuts him off. DAD -LRB- firmly. -RRB- Now. Jesse turns around, mumbles something under his breath and stomps back upstairs.","EXT. LISA'S HOUSE - POOLSIDE -EARLY EVENING A pair of glass sliders lead from the house onto a stretch of patio that surrounds a gorgeous built - in swimming pool. The patio is dotted with all the amenities of backyard recreation : a gas bar - b - que grill, a wet - bar, plenty of pipe furniture and even a pair of free - standing cabanas. The entire set - up is contained by a six - foot, chain link security fence. LISA steps out of the cabana, wearing a swim suit. She tosses her towel onto a nearby chair and crosses to the diving board. ON THE BOARD She bounces lightly and jumps off, cutting gracefully through the water and coming up in the center of the pool. MRS. POLETTI, a pleasant looking woman in her late 40's, slides open the patio doors and pokes her head out. MRS. POLETTI -LRB- calling. -RRB- There's a Jesse on the phone. LISA -LRB- O.C. -RRB- Okay. thanks. LISA swims to the edge of the pool and hoists herself up. She throws the towel over her shoulders and picks up a wireless phone from a low table. LISA Jesse, hi. -LRB- a beat, diappointed. -RRB- Oh. that's okay. Sorry you ca n't make it. -LRB- a beat. -RRB- No, I understand. Parents can be real pains. I'll see you in the morning, then. She hangs up and frowns.","INT. WALSH HOUSE - JESSE'S ROOM - NIGHT JESSE stands at the foot of the bed, surveying the job unhappily and trying to figure out where to start. Finally, he pulls a SHOE BOX from inside a larger carton, places it on his desk and lifts the lid. It's full of cassette tapes. He rifles through them, selecting one and popping it inot a PORTABLE CASSETTE PLAYER on the desk. He pushes the `` play'' button. The tape is ROCK AND ROLL. The music gets him moving a bit. He surveys the room, then goes to A CARTON NEAR THE BOOKSHELVES. He reaches deep into the near - empty carton and pulls out a stack of books which he plops on the shelves next to other books already unpacked. He tosses the carton aside. He's getting into the music now as he spins around to face the bureau. He opens a SMALL POX on the bureau while be - bopping along and pulls out a PAIR OF SUNGLASSES which he puts on, practically dancing. He dumps the contents of the box haphazardly into a bureau drawer. JESSE opens a large bureau drawer. He grbs a nearby box and dumps it into the large drawer, smoothing it over perfunctorily with his hands. A Stetson cowboy hat is on top. He drops it on his head and pulls it down low over his eyes. ON A FULL LENGTH MIRROR Jesse steps into frame to get a look at himself. He likes what he sees as he mimes a guitar riff along with the music. In one smooth move, in rhythm with the music, he seings around and moves to the desk. He dumps a SMALL BOX OF PENCILS AND SUPPLIES into the desk drawer. As an afterthought, he grabs a couple of pencils out of the drawer and drums a few beats on the desk with them. He shoves the pencils up his nostrils, tucks his thumbs under his armpits and waves his elbows like he's doing the `` Funky Chicken''. Silly stuff that one owuld only do behind closed doors. He spins around, throwing his arms out and stopping ddead in his tracks. HIS POV LISA and MOM are standing in his doorway. Mom looks horrified. Lisa represses a giggle. Mom reaches over and knocks timidly on the open door. Jesse hastily pulls the pencils out of his nose and dives for the stereo to turn it off. Beet - red, he tosses the hat and sun glasses onto the bed and tries to look nonchalant. JESSE -LRB- embarrassed. -RRB- Hi. Jesse looks to Mom who takes the hint and turns to leave. Lisa takes a step into the room. LISA -LRB- when Mom is out of range. -RRB- I told her you invited me over. I guess I should have called, huh? Behind the embarrassment, he's glad to see her. He puts the pencils in the desk drawer and shuts it. JESSE No, that's okay. I was just. unpacking. LISA I know. Lisa casually steps over to a carton and peeks in. LISA I figured you might like some help. JESSE -LRB- pleasantly surprised. -RRB- Yeah? JESSE'S ROOM - LATER The room is shaping up nicely with only a few boxes remaining. Jesse pulls a bundle wrapped in newspapers from a carton. He tears away the paper, revealing a baseball trophy. He places it on a conspicuous corner of his dresser. Lisa reaches into the box, retrieves an aerosol can and looks at it. ON THE CAN A medicated spray for JOCK ITCH. LISA -LRB- O.C. -RRB- Where does this go? JESSE grabs the can from her hand and puts it down on the dresser behind the trophy. JESSE -LRB- mortified. -RRB- There's a box of sweaters over there if you want to put them up in the closet. Lisa is anxious to pitch in. She nods good - naturedly and steps over to her assignment. INSIDE THE CLOSET As Lisa opens the door and pulls an overhead chain to switch on the light. ANOTHER ANGLE as she drags a chair over, lifts a pile of sweaters from an open box, steps up on the chair and stacks them on a shelf. She starts to step back down when something catches her attention in the back corner of the shelf. She reaches in and pulls out a small, red leatherbound book. LISA What's this? Jesse steps over to look at it. ON THE BOOK about two - thirds the size of an average paperback, it has a matching leather thong that snaps into a small latch on the front and opens the book. LISA -LRB- reading. -RRB- `` Nancy Thompson, 1428 Elm.''. -LRB- looking up at him. -RRB- Hey, this thing is five years old. Jesse steps over and looks over her shoulder. JESSE You know her? LISA -LRB- shaking her head. -RRB- Uh - uh. Before my time. She turns a few pages. LISA -LRB- reading. -RRB- `` February 17th - My birtday. Daddy came by today with a big ol' stuffed bear for me. He took me to dinner and a movie and when we got back, he and Mother had another one of their fights. He left angry. I wish they would stop fighting.'' Jesse waves the diary away, uninterested. He crosses back to continue unpacking. LISA I think it's sad. JESSE -LRB- cynically. -RRB- Traumas of a ten - year old. Lisa leafs through a few more pages, stops and begins reading with widening eyes. She glances at Jesse and smiles impishly. LISA -LRB- reading. -RRB- `` March 7th - Glen asked me to sleep with him again. I ca n't yet - I like him, I want to make him happy but I'm not sure that I love him. I ca n't sleep with someone I do n't love.'' JESSE That's typical. I hope she did n't expect to make the best seller list with this thing. Lisa ignores him and scans the page. LISA -LRB- finding something. -RRB- Wow, listen to this! -LRB- reading. -RRB- `` Sometimes, when I'm lying here in bed, I can see Glen, in his window across the way, getting ready for bed. His body is slim and smooth and I know I should n't watch but that part of me that wants him forces me to. That's when I weaken. That's when I want to go to him.'' Jesse is suddenly interested. He walks over and Lisa hands him the diary with the page open to that entry. He reads it and quickly turns the page. He frowns and turns another, then another. JESSE That's it? -LRB- another couple of pages. -RRB- Wait, she skipped a week. -LRB- reading. -RRB- `` March 15 - he comes to me at night. Horrible. Ugly. Dirty. Under the sheets with me, tearing at my night - gown with his steel claw.'' Jesse's voice trails off on `` claw'' and a chill of vague recognition goes through him. He checks the cover of te book and flips back a few pages. Lisa moves closer to read over his shoulder. Jesse composes himself and looks back at the book. JESSE -LRB- reading. -RRB- `` His name is Fred and he keeps taking me to the boiler room. He wants to kill me.'' Jesse almost shivers. He turns the page, and he freezes. LISA What is it? ON THE DIARY Jesse shows her the page. There is one sentence scrawled across the next entry. Lisa reads it. LISA `` Tina is dead.'' ON JESSE AND LISA They look at each other, spooked. He turns the page. JESSE -LRB- reading. -RRB- `` Rod's been killed - he got Rod. Just Glen and me now. Ca n't fall asleep!'' LISA Wow. Jesse's face turns ashen as he looks up at Lisa. LISA Are you okay. JESSE -LRB- nodding ; covering. -RRB- Something Grady told me today about the people that lived here last. Girl went crazy - saw her boyfriend killed in the house across the street. He is interrupted by Mom, poking her head into the room. MOM -LRB- cheerfully. -RRB- How's it going? Jesse instinctively hides the diary behind his back. JESSE Okay. She looks over the room, impressed at the progress. MOM Looks great! Thought you might want to take a break - got some cold cider downstairs. Jesse looks at Lisa to see what she wants to do. Lisa looks over at Jese's alarm clock. THe time is 8 P.M. LISA -LRB- standing up. -RRB- No. thanks. I better get back. -LRB- to Jesse. -RRB- Got a major paper due the end of this week. MOM -LRB- ducking back out. -RRB- Well, it's there if you change your mind. Jesse waits for her to leave. JESSE -LRB- to Lisa. -RRB- Are you sure? LISA -LRB- nods sourly. -RRB- World History. -LRB- brightening. -RRB- But, I'll see you in the morning, right? Jesse nods. LISA -LRB- pointing to the diary. -RRB- Hot stuff. Let me know how it turns out. Jesse opens the door for her. JESSE I'll walk you downstairs.","INT. WALSH HOUSE - LIVING ROOM - NIGHT MOM wraps the night - cover over the BIRD CAGE. She steps past ANGELA on the couch and crosses in front of DAD, in his recliver, vegetating in front of the tube. SHe sits and loosens her collar a bit. ON DAD He shifts uncomfortably and wipes some beaded sweat from his upper lip. MOM -LRB- to Dad. -RRB- A little warm in here, huh? Dad gets up from his chair. His shirt is sticky with perspiration. Jesse steps in from the dining room, a glass of milk in his hand. ON ANGELA looking up at Jesse. She puts a finger to her lips. ANGELA Shhh. The birds are sleeping. Jesse notices the intense heat in the room immediately. His eyes widen portentiously. ON DAD at the thermostat. DAD -LRB- astounded. -RRB- It's 97 degrees in here! He pulls off the coverplate and starts fiddling with the coil. Suddenly, a LOUD SQUAWK from the other side of the room makes everyone look up. Jesse puts his milk down on he T.V. and hurries over to the cage, ripping the cover away. ON THE BIRD CAGE Another series of HORRIBLE CRIES as one of the budgies proceeds to rip up the neck of the other one with his sharp beak. Jesse throws open the door and tries to pull the attacking bird off his victim. the vicious one continues the rabid attacks on Jesse's hand, drawing blood. As Jesse pulls his arm out, the bird flies out into the living room, roaring a repetitive WAR - CRY that is eerie and unnatural for something that size. MOM and DAD jump to their feet. ANGELA starts screaming at the top of her lungs. ON THE BIRD It circles around the ceiling and then DIVES for Dad, cutting a deep gash under his eye. It seems much larger than it was before - maybe twice its original size. DAD -LRB- screaming. -RRB- Get a broom or something! ANGLE : LIVING ROOM Mom dashes out of the room. THE BIRD swoops down, heading for Angela but crashing into the shade of a table lamp, knocking it to the floor. It flutters to the ceiling and hovers near a light fixture. Its beak and most of its head is covered in blood and it opens its mouth to emit a gutteral growl. MOM returns with a broom and hands it to Dad. As Dad approaches and lifts the broom to his shoulder, the bird screams agai and dives for Jesse. Jesse throws his arm out to block the attack. The bird reverses direction and Dad swings in mid - air with the broom. He misses, demolishing the remaining table lamp instead. ON THE BIRD It hovers again in the air, seemingly without any means of support, PUFFING UP, GROWING ANGRIER, MORE DEMONIC. Then, just as it seems ready for a last lethal attack, there is a loud BANG and the bird literally EXPLODES into FLAMES in mid - air. The family looks at one another in horror and disbelief. The only sound in the room is ANGELA, attached to her mother's leg and whimpering quietly.","INT. WALSH HOUSE - KITCHEN - NIGHT CRASH! DAD dumps an odd assortment of home handyan tools on the kitchen table. He picks through them, selecting a pipe wrench and a screw driver. He crosses to the stove. We see Mom in the B.G., standing, not quite cowering, still in shock from the bird attack. Jesse is leaning on the counter, next to the range, watching his father's determined moves. Dad leans into the appliance and attempts to pull it away from the wall, probably tearing six or seven ligaments in the process. After several tries, he stops and looks up at his son. DAD Help me with this thing! JESSE It's not the gas, Dad! DAD -LRB- angrily. -RRB- Do n't tell me it's not the gas! He yanks on the stove with more vehemence. DAD Do n't tell me it's not the gas! Your mother thought she smelled gas. MOM -LRB- timidly. -RRB- I was n't sure, Ken. DAD -LRB- to Mom. -RRB- Alright then, what is it? Bird rabies? That cheap seed you've been buying? MOM -LRB- resenting that. -RRB- Oh, please. DAD What is it then? There's got to be an explanation. Animals just do n't burst into flames for no reason! JESSE Well it sure is n't leaky gas pipes. Dad stands up suddenly, CRACKING his head on the edge of the range hood. MOM -LRB- concerned. -RRB- Ken! As he groans in pain, he's suddenly hit with a revelation. He points an accusatory finger at Jesse. DAD You set this all up, did n't you? One of your sick jokes? JESSE What are you talking about? DAD You know what I'm talking about. What did you use, a fire cracker? A cherry bomb? Jesse is angry now. JESSE I do n't have to listen to this! He storms out of the kitchen. DAD Come back here! MOM -LRB- upset. -RRB- Ken! Dad looks blankly at the wrench in his trembling hand. DAD I do n't know. I do n't know, Shirl. He used to be a good kid.","EXT. JESSE'S HOUSE - NIGHT Dark again, sleeping soundly.","INT. WALSH HOME - SECOND FLOOR HALLWAY - NIGHT Jesse emerges from his room and eases the door shut as quietly as possible. He stops to listen for any signs of his parents being awake. SOUND OVER : SNORES FROM BEHIND THEIR BEDROOM DOOR He steps lightly past their room adn toward the head of the stairs. WE FOLLOW Jesse as he descends the stairs into the darkened foyer. THE CELLAR DOOR Jesse stops there, momentarily losing his nerve. He finally turns the knob and opens the door.","INT. WALSH HOME - CELLAR - NIGHT Jesse pulls an overhead chain, flooding the cellar with light. It's just as he saw it in his dream but devoid of any intruders. he steps up the the furnace, squats down and opens the firebox door. He reaches in. To his horror, he feels something and pulls out an object, wrapped in rags. ON THE OBJECT as he unwraps it. An old, beat leather glove with a row of rusty knife blades protruding from the fingers. Suddenly, the furnace switches on with a ROAR. FLAMES are leaping out of the firebox. FREDDY -LRB- O.C. -RRB- -LRB- laughingly. -RRB- Hot enough for you? JESSE reels around. FREDDY is just across the room. FREDDY -LRB- re : the glove. -RRB- Go ahead, Jesse. Try it on for size! Jesse looks at the glove. The blades are no longer rusted but gleaming and sharp. he throws the weapon to the floor. Freddy moves in closer. JESSE What do you want? FREDDY I need you to finish my work. Let me teach you, Jesse. We'll have fun. You like my little trick with the bird? Freddy advances. Jesse steps behind a stack of cartons. FREDDY Kill for me. -LRB- laughing. -RRB- c'mon Jesse. Come to Freddy. Jesse pushes over a stack of cartons in his path and dives for the steps. Halfway up he misses his footing and slips, tumbling back down. ANOTHER ANGLE As Jesse comes to at the foot of the cellar steps. The furnace has stopped and Freddy is gone. As he gets to his feet, he notices. THE GLOVE on te floor, where he dropped it as shiny and new as the day it was made.","INT. WALSH HOUSE - KITCHEN - MORNING MOM, DAD, and ANGELA are all at the breakfast table, picking at their food ; none of them is particularly hungry this morning. JESSE enters and heads wordlessly to a coffee pot on the stove. he pours himself a cup and turns abound to face his family. Jesse and Dad are making an extra effort to avoid each other's eye contact. ON ANGELA She's still feeling bad, drawing little circles in a puddle of maple syrup with a corner of her waffle. JESSE -LRB- to Dad, suddenly. -RRB- Why did it take them five years to sell this house, Dad? Dad shrugs his shoulders uncomfortably. DAD I do n't know. COuld n't get the right price, I suppose. JESSE And you do n't know anything about a murder across the street and a crazy girl who lived here - who saw the whole thing? Mom looks at Dad. This is all news to her. DAD -LRB- testily. -RRB- I do n't know. -LRB- a beat, coming clean. -RRB- They told me something about it, yeah. What difference does it make? He feels Mom's stare and finally turns to her. DAD Oh, come on, Shirl, how'd you think we got such a good deal? -LRB- to Jesse. -RRB- Listen - all old houses have stories. JESSE Did they tell you she went totally out of her mind - that they had to put her away? And that her mother killed herself in our living room? ON ANGELA She slides up to Mom. ANGELA Mommy, I'm scared. MOM -LRB- comforting her. -RRB- Shhhhh. Jesse and Daddy are just making believe, sweetheart. -LRB- to Jesse. -RRB- I do n't think we should be talking about this now. Dad turns back to Jesse. DAD -LRB- indicating Angela. -RRB- You see what you're doing? Now I do n't want to hear another word about it. There's nothing wrong with this house! ON MOM he looks up from Angela and sniffs the air. MOM Something burning? Mom and Dad oth look toward the counter - top. THE TOASTER, THEIR POV GLOWING RED - HOT and then, not just smokey toast but FLAMES leaping out of the bread slots. Mom gasps and Dad jumps to his feet, grabs a dish - towel and begins beating out the fire. JESSE turns white as he watches the scene. Dad turns white as he watches the scene. DAD turns away from the smoldering toaster, tosses the towel aside and heads back toward the table. DAD Craziest damn thing I ever saw - was n't even plugged in. Jesse puts his cut down hard on the counter and walks out. THe screen door slams behind him. Mom looks at Dad, horrified as Anglea clings to ehr side.","EXT. MC DONALD'S PARKING LOT - DAY IN JESSE'S CAR As JESSE unrolls the bundle of rags he found the night before and lets the finger knives drop with a CLATTER on the seat between himself and LISA. On Lisa's side of the dashboard we see the remnants of a big, fast - food breakfast ; Egg McMuffin, danish, orange juice and coffee. Jesse nurses a cup of joe as Lisa picks up the glove and examines it with interest. LISA This is amazing! Your dream told you where this was? JESSE -LRB- nods. -RRB- Only it was more like, you know, sleep - walking. All I know is I woke up on the cellar floor next to it. He reaches into his knapsack and pulls out the diary. JESSE Forget about going back to sleep after that. I was up all night. -LRB- more intense. -RRB- I finished reading this. It gets real crazy towards the end, after all the death stuff. But then she said some - thing really freaky - about her mother taking her down to the basement to show her the glove. ON LISA She's totally sucked in to the story, wide - eyes and waiting for more. She offers a french fry to Jesse. He shakes his head. She pops it into her mouth and nods for Jesse to go on. JESSE That's when she started talking about Fred Krueger. LISA Who? JESSE Fred Krueger. The guy in her dream who's coming to kill her. Seems he was a real guy, ten years before who went around kidnapping kids and killing them. ON LISA She emits a long, windy whistle.","INT. SCHOOL CORRIDOR - DAY KIDS are at their lockers, taking off their jackets and getting together everything they'll need for the day. ON JESSE AND LISA As they walk down the hall together. LISA Maybe you were having a premonition or something. You know, like those guys who help the police solve crimes and find missing people. You ever had anything like this happen before? Jesse thinks about it. JESSE -LRB- finally. -RRB- No. Never. -LRB- a beat. -RRB- You think that's what it is? LISA -LRB- thoughtfully. -RRB- I do n't know. They stop in the middle of the corridor. LISA Can I look at that diary for a little while? Jesse raises his eyebrows vaguely, reaches in his bag and hands over the book. LISA -LRB- taking it. -RRB- Thanks. Before she can go on, they are interrupted by a squeaky voice to their side. At the sound of it, Lisa displays annoyed recognition. KERRY -LRB- O.C. -RRB- Hi, guys. LISA Hi, Kerry. KERRY -LRB- to Lisa. -RRB- I got your invitation yesterday. Thanks. -LRB- a beat. -RRB- Any cute guys gon na be there? LISA -LRB- tired sigh. -RRB- All of them. KERRY Yor dad picking the music again? LISA -LRB- smiles. -RRB- Mom's trying to keep him upstairs. Jesse looks at Lisa quizzically. LISA -LRB- to Jesse. -RRB- Last party I had, Dad insisted on playing nothing but Benny Goodman records all night. The class bell RINGS. Lisa leans over and kisses Jesse. LISA I'll see you later, okay? The kiss takes him by surprise as she walks off with Kerry. JESSE -LRB- calling after her. -RRB- I may be late. Baseball practice!","EXT. HIGH SCHOOL PRACTICE FIELD - DAY The school TEAM has been split up into two sides. There's an air of excitement about - like it's a close game, drawing to an end. GRADY is on third, waiting to be hit home. The PITCHER winds and throws. ON THE BATTER A swing and a miss. SCHNEIDER calls him out. He tosses the bat aside, disgustedly. JESSE is on deck. As he approaches the plate : A TEAMATE -LRB- O.C. -RRB- Last out. Up to you, Walsh. ON GRADY He sneers like they might as well just concede the game now and go home early. The PITCHER sends one right down the middle. JESSE lets it go and Schneider calls a strike. He chokes up a bit on the bat and takes his stance. Another perfect pitch and Jesse lets it go again. SCHNEIDER Strike! Grady slaps himself in the face and shakes his head pitifully. The PITCHER throws another. This time, Jese catches it perfectly, SLAMMING it down the middle for a solid hit. GRADY scores amid cheers and slaps on the back. JESSE holds up at first.","INT. BOY'S LOCKER ROOM - DAY JESSE is at the end of a row of lockers. He pulls off his shirt and tosses it in the locker, takes down a towel and sets it down on the bench next to him. Several BOYS pass by on their way to their lockers or the showers, giving Jesse the thumbs - up. BOYS Good game, Walsh. Way to go, Walsh. etc.. GRADY approaches and goes to his own locker, down a few from Jesse's. Jesse plops down on the bench and slowly pulls off his sneakers. He stops to rub his aching shoulders. GRADY -LRB- finally. -RRB- You hit that ball pretty good, Walsh. JESSE It was okay. GRADY Who told you to choke up that way? JESSE My Dad. He played in the minors for a while, when he got out of college. GRADY -LRB- impressed. -RRB- No shit. They continue undressing in silence. As Jesse speaks, COACH SCHNEIDER steps up behind them. JESSE Schneider should n't have called you out on that double. GRADY Yeah, well, Schneider's got a stick up his ass today. JESSE -LRB- laughs. -RRB- Schneider's always got a stick up his ass. Schneider smiles wickedly as he places his hands on the two boys' shoulders.","EXT. ATHLETIC FIELD - DAY JESSE and GRADY trudge along at somewhere between a job and a stumble. They talk to each other with words that are punctuated by huffs, puffs and side - stitches. JESSE -LRB- cautiously. -RRB- You remember your dreams, Grady? GRADY Only the wet ones. Jesse shoots him a condescending sneer and decides not to pursue it.","EXT. SCHOOL PARKING LOT - DAY The lot is practically empty with most of the students on heir way home by now. Jesse's car is parked in the center. LISA is leaning on the car, waiting with a stack of books at her side. She looks up as Jesse approaches. JESSE Sorry. Schneider id it to me again. LISA I just got here myself. Went to the Public Library. -LRB- proudly. -RRB- Cut four classes! He opens the door for her. She picks up the books and climbs in. Jesse runs around to the other side and slides in beside her. JESSE -LRB- indicating the books. -RRB- What's all this. LISA Research. -LRB- she kisses him. -RRB- Hi. -LRB- an intriguing wink. -RRB- C'mon, let's go for a ride.","EXT. HIGHWAY - DAY The blue Falcon rolls down the highway. INSIDE JESSE is driving as LISA re - stacks some of the books on her lap and begins leafing through one. LISA I'm convinced you've had a genuine psychic vision. Jesse looks over at her inquisitively. LISA At first I was n't sure because you said that you never had anyting like last night happen before. But I found out that most people have the potential for tuning in to `` the other world'' and neve do. It has something to do with the environment - like they have to be in a place that's sending signals. JESSE Like a haunted house, right? I do n't believe in ghosts. LISA You do n't have to. You just have to believe in energy. She shifts in her seat to face him. LISA -LRB- intensely. -RRB- Look, you got electricity in your body, right? JESSE Yeah, I know. synapses neurong. LISA And heat and chemical reactions. Where does it all go when you die? JESSE I do n't know - into the air I suppose. LISA -LRB- pointing up ahead. -RRB- Make a left at this corner. Jesse turns at the intersection. LISA What about `` essential energy'' the soul. Does that go into the air too? You think there's a good energy and a bab energy? JESSE -LRB- confussed. -RRB- I do n't know. -LRB- a beat. -RRB- Where are we going? LISA -LRB- smiles mysteriously. -RRB- It's a surprise.","EXT. ABANDONED POWER PLANT - DAY An old generating plant, big enough to have served what was once a small town but rundown and obsolete now. the place is charred and the grounds are littered with rubble - as if there'd been a fire there long ago. The entrance to the plant is boarded up and plastered with `` NO TRESPASSING'' signs. Many of the boards are missing, providing easy access for the scores of vandals who had torn through there at one time or another. There are no windows at ground level but the top of the building is lined with many multi - paned frames ; all of them are either cracked or missing. JESSE'S CAR pulls into frame and he and LISA get out and look the place over. JESSE What is this place? LISA -LRB- excidedly. -RRB- Remember in the diary - Nancy said that she kept finding herself in a boiler room? Fred Krueger worked here. It's an old power - plant - a steam generator! She pulls out several papers and hands them to Jesse. LISA Here. JESSE What's this? ON THE PAPERS Xeroxes of newspaper articles. The HEADLINE reads : `` SPRINGWOOD SLASHER ARRESTED!'' LISA -LRB- O.C. -RRB- I did some reading up on our friend, Fred Krueger. Jesse leafs through the papers. Each one is a front page from a local newspaper. HEADLINE : `` KRUEGER FREED ON TECHNICALITY! D.A. RESIGNS'' HEADLINE : `` JUSTICE DONE - KRUEGER KILLED BY MOB! SPRINGWOOD SLASHER DIES IN HELLISH INFERNO'' Jesse sucks in his breath.","INT. ENTRANCEWAY, ABANDONED POWERPLANT - DAY Jesse and Lisa climb between a pair of boards and step inside. ON LISA She walks toward the center of the plant, fascinated.","INT. POWERPLANT We can see the remnants of a large boiler room. Big steel pipes jut out of the floor in a tangle of elbows and valves and a clutter of debris. A one - story holdig tank rises above a concrete pit and is met on top by a mze of catwalks, just under the windows. Although most of the ceiling has burned away, the interior is surprisingly intact for a derelict building and the overhead light distracts form any intrinsic creepiness the place would possess after dark. Jesse steps in behind her. LISA -LRB- solemnly. -RRB- He kidnapped twenty kids and brought them all here to die. She gives herself a chill but shakes it off and turns to Jesse. LISA So, you feeling anything? JESSE What do you mean? LISA I thought you might be able to make a connection. Jesse shrugs his shoulders and puts his hands to the side of his mouth. JESSE -LRB- calling. -RRB- Any ghosts in here? LISA C'mon, cut it out. JESSE Well, what am I supposed to do? LISA I do n't know. Concentrate or some - thing. Jesse shifts his legs and stares up at the ceiling. He closes his eyes. JESSE -LRB- still concentrating. -RRB- I feel like a jerk. LISA Shhh. Just concentrate. Jesse walks around in a small circle, keeping hsi head up and his eyes closed. LISA Anything? JESSE -LRB- shakes his head. -RRB- Uh - uh. -LRB- a beat. -RRB- Wait. He walks slowly across the room, almost in a trance, until he comes to a board leaning up against the foot of the mesh - iron stairway that leads up to the catwalks. ON THE BOARD As his hand reaches over to touch it. ON LISA stepping over next to Jesse. ANOTHER ANGLE He pulls the board away. A LARGE RAT, in her nest, WITH HER YOUNG, SNARLS at him. Jesse and Lisa jump into each other's arms.","EXT. ABANDONED POWERPLANT - LATE AFTERNOON JESSE and LISA walk along the outskirts of the building to a pretty cluster of shade trees nearby. Lisa hoists herself up on a boulder and looks at the building. JESSE Disappointed? LISA About what? JESSE About not finding any bogey men? LISA -LRB- smiles. -RRB- I'll get over it. She is disappointed - She wanted to find some bogey men. Jesse comes up close to her and they stare at each other. LISA -LRB- finally. -RRB- You are sensitive. I mean you sensed that the rat was there. And I can feel something about you. Sometimes I feel like I know what you're thinking. Jesse moves in closer an puts his arms on her shoulders. JESSE -LRB- suggestively. -RRB- Yeah? LISA -LRB- ignoring the suggestion. -RRB- Maybe it only happens when you're sleeping - that's the way it was with Nancy, was n't it? JESSE Now, there's an idea we can take off on. Maybe we should drive out to the beach tonight and lay out a couple of blankets and. -LRB- winks. -RRB- Until I fall asleep. LISA -LRB- slyly. -RRB- Maybe we can do that. Strictly scientific, of course. Jesse moves in until their lips are almost touching. JESSE Nancy went bonkers from this thing. You would n't be afraid of being out on the beach with a potential lunatic? LISA Ghostbusters are fearless. They kiss. Not little friendly pecks like before - this is the real thing. Jesse drops his arms to her waist and she opens her legs so that he can get in real close. Suddenly, Jesse groans in pain and stands upright, tearing from their embrace. For the briefest instant, we can see protrusions grow and subside on his forehead and the side of his face. LISA What is it - What's wrong? JESSE -LRB- holding his stomach. -RRB- Whoa! LISA What is it? JESSE I do n't know - a sharp pain. Lisa watches his helplessly. Finally, the agony lifts from Jesse's face. He straightens up. JESSE It's gone now. LISA Oh, Jesse. Lisa puts her arms around him. LISA Jesse, this is no good. You've got to get some sleep, Jesse. You've got to get some sleep.","INT. WALSH HOUSE - JESSE'S ROOM - NIGHT Jesse is in bed, tossing restlessly adn panting heavily. He is drenched with sweat and continues to perspire profusely as he sits up and turns on his bedside lamp. A thunderhead is RUMBLING somewhere nearby. The PLASTIC SHADE OF THE LAMP is melting. He scans the room picking out various indications of the intense heat that is surrounding him ; A CANDLE on his bookshelf collapses into a puddle of wax, the LAMINATED TOP OF THE NIGHT - TABLE is bubbling, an UNSHEATHED RECORD ALBUM hangs over the corner of the desk, his PORTABLE STEREO has caved in the center - a Daliesque tableau. SOUND OVER : SCRAPING Jesse gets out of bed, crossing to the desk. The scraping sound intensifes. CLOSE ON THE DRAWER as Jesse opens it. Inside, THE GLOVE, fingers moving, independently, unattached, scraping little cuts in the bottom of the drawer. ON JESSE slamming the drawer shut. SOUND OVER : A SWISHING SOUND, FOLLOWED BY A THUMP, AGAIN AND AGAIN UPSTAIRS HALLWAY JESSE, barefoot and wearing only a pair of jeans and an unbuttoned shirt, steps up to the door to Angela's room. The sound is coming from inside. He opens the door. ANGELA is standing in the middle of the floor, in her nightgown, seemingly oblivious to the heat. She is jumping rope and chanting : ANGELA One, two, Freddy's coming for you. ON JESSE, PETRIFIED ANGELA -LRB- O.C. -RRB- Three, four, better lock your door. ON ANGELA She sees her brother staring at her. She does n't stop jumping but smiles and continues her jingle : ANGELA Five, six, grab your crucifix. Jesse SLAMS the door shut. KITCHEN Jesse enters, looks out the windows. A huge bolt of LIGHTNING RIPS through the night sky ; a multiple flash f blue light strobes through the kitchen followed by a CRACK of intense THUNDER. ANOTHER FLASH OF LIGHTNING cuts across the kitchen itself, SHATTERING SOME DISHES on the counter - top, leaving a plume of BLACK SMOKE.","EXT. DOWNTOWN STREET - NIGHT The rain continues to come down in buckets. Jesse enters shot and walks, unprotected in his drenched jeans and shirt and seemingly without any knowledge of where he is going. The streets are totally empty.","EXT. DON'S PLACE - NIGHT A seedy tavern on a badly lit corner. JESSE steps into frame. He stares at the place before stepping up to he door.","INT. DON'S PLACE - NIGHT The toughest looking bar in the entire city. The place is packed with PROSTITUTES, PIMPS, TRAVELING SALESMEN, a couple of TRANSVESTITES and a generous delegation of the leather and chain contingency. Jesse enters and crosses to the bar amid a few stares. He sits on a stool. The bartender draws a cold beer and presents it to Jesse. As the bartender turns away, Jesse reaches for the glass. A HAND slaps down on his wrist and holds it tightly. He looks up. COACH SCHNEIDER is standing over him. He's wearing a muscle shirt, a gold chain around his neck and he has a sick grin on his face.","INT. GYMNASIUM - NIGHT JESSE is barefoot, jogging arund the outer edge of the gym floor and looking as if he's about to collapse from exhaustion. ON SCHNEIDER Leaning against a wall of the gym, watching Jesse run. As Jesse comes around for another lap, Schneider reaches out and grabs him, throwing him into a wall of folding wooden bleachers. Jesse is dazed, ready to drop. SCHNEIDER -LRB- barking. -RRB- Hit the showers.","INT. BOYS LOCKER ROOM - SHOWER ROOM - NIGHT Jesse turns on one of the faucets and lets the hot water hit him full on.","INT. COACH'S OFFICE - NIGHT SCNEIDER turns to a huge, padlocked cabinet on the wall. He unlocks it and opens the doors. It is filled with a variety of athletic equipment : dumbbells, jump - ropes and volley balls, etc.. Schneider selects a pair of jump - ropes from the cabinet and sets them down on his desk. A distinct PING makes him look up. He goes to the door and looks out into the hall. SHOWER ROOM Jesse continues showering.","INT. COACH'S OFFICE Schneider turns back to his office. There is ANOTHER PING. A TENNIS RACQUET hanging on the wall has two broken strings. TWO MORE STRINGS SMOKE, THEN SNAP with a ping. A BASKETBALL leaps off a shelf of the equipmnt cabinet and bounce on the floor at Schneider's feet. Schneider bends down to pick it up and TWO MORE BALLS jump out onto the floor. A FOURTH BALL flies out and knocks over a TROPHY on his desk. Schneider hits the deck when a DUMBBELL streaks across the office and SLAMS into the window, cracking the thick wired glass. ON SCHNEIDER he makes his way to the cabinet by crawling along the floor as BASKETBALLS, VOLLEYBALLS, even a MEDICINE BALL fly over his head. He reaches up to close the cabinet doors. ANOTHER ANGLE A JUMP - ROPE on the desk unravels like a harpoon line and wraps an end of itself around Schneider's wrist. The other end pulls hard and yanks Schneider off balance. He reaches up to close the cabinet doors. ANOTHER ANGLE A JUMP - ROPE on the desk unravels like a harpoon line and wraps an end of itself around Schneider's wrist. The other end pulls hard and yanks Schneider off balance. As he reaches with his free arm to unwrap his wrist, the SECOND ROPE rockets off the desk top and secures itself to his other wrist. hThe office door opens by itself. The ropes drag Schneider screaming from the room. SHOWER ROOM JESSE turns as the shower head next to the one he is using, gurgles and suddenly comes on full. And suddenly, all the showers are on, spewing water and steam. We hear Schneider's screams as he is dragged into the room, through great puddles of water and against the tiled wall opposite Jesse. The showers on this side are OFF. The boy watches in horror as the ropes shoot up to two adjacent shower nozzles and hoist the Coach into a helpless spread - eagle, facing the wall. His clothes shear from his body like sheets of tissue paper. A STACK OF TOWELS Comes to life, snapping in mid - air at Schneider's butt and back. As they hit him, they draw blood. ON JESSE as the room fills with great clouds of steam until he is nearly obscured ; just a dark human form in the corner of the shower room. ANOTHER ANGLE ON SCHNEIDER as a figure in a green and red sweater and a battered fedora, cuts through the clouds, CACKLING and throwing his weapon - arm back like a World Series pitcher about to lob a fast ball. Schneider screams painfully as the knives cut four long tears in him, starting at the top of his naked back, cutting through his flesh. The weapon arm STRIKES AGAIN. Schneider screams, goes limp. WIDE - ANGLE : SCHNEIDER BLOOD begins to flow out of all the shower heads on Schneider's side. Schneider hangs limply from the shower heads. ON THE MURDERER CAMERA DOLLIES IN FAST to reveal it is JESSE. He screams. Jesse lifts his hand into frame. He is wearing Freddy's bloodied glove. JESSE No. Oh God, no. He slowly drops to his knees, sloshing in a crimson puddle, and stares up to the heavens. JESSE -LRB- screaming. -RRB- No!","INT. WALSH HOUSE - FOYER - NIGHT We hear the DOORBELL RINGING repeatedly until the lights flick on and DAD hurries to the door, wrapping a robe over his pajamas. HIS POV AS HE OPENS THE DOOR TWO POLICEMEN in rain slickers stand on either side of Jesse. he is naked but is wrapped in a blanket. His hair is soaked and dripping over his face. 1st POLICEMAN This belong to you? Dad ca n't believe what he's looking at. He just nods his head. The 2nd Policeman gives Jesse a slight push across the threshold. He stumbles into the house. 1st POLICEMAN We found him wandering out on the Highway, naked. Keep a leash on him, will ya? KITCHEN - A TEA KETTLE WHISTLING MOM takes the kettle from the stove and pours it into a mug. She steeps the teabag as she crosses to the table and JESSE Wide awake, holding the blanket tightly around his neck, takes the cup from his mother. DAD paces the floor angrily. DAD Okay, we're gon na put our cards on the table, here and now. There's not going to be any retribution - no fire and brimstone. I only have two questions and you'll answer them and we'll all go to bed, okay? Jesse nods weakly. DAD Okay. What are you taking and who are you getting it from? Jesse snorts and shakes his head ironically. JESSE I'm not taking drugs, Dad. -LRB- to Mom. -RRB- Can I go to bed now? MOM -LRB- touches his cheek tenderly. -RRB- Sure. go ahead. Dad tries to burn a hole through him with his eyes as Jesse gets up from the table and leaves the room. As the double - hinged doors slap clsoed behind him, Dad turns to Mom without a change of expression. DAD -LRB- no question about it. -RRB- He's on something.","EXT. WALSH HOUSE - MORNING DAD is standing on a ladder, unbolting a set of security bars from the windows. He watches from above as JESSE runs out the door, followed by MOM. MOM Jesse, please, let's talk about this! JESSE -LRB- pleading. -RRB- I'm okay. Just leave me alone. Jesse walks over to his car and climbs in. Mom turns to Dad who is watching the scene curiously. MOM He needs professional help. I think we should take him to a psychiatrist. DAD -LRB- incensed. -RRB- Are you nuts or something? What the hell is that going to do? MOM I do n't know! I just know he needs help and we do n't know how to give it to him. Dad shifts on the ladder and begins to protest. MOM -LRB- squelching it. -RRB- Do n't fight me on this. She stomps back toward the house. DAD -LRB- calling after her. -RRB- He needs a kick in the but, is what he needs. He needs a methodone clinic! She throws back a dirty look. MOM Oh, blow it out your ass, Ken. With that, Dad loses his footing on the ladder and drops down several rungs.","EXT. ROAD - DAY Jesse's car travels slowly and turns onto a tree - lined street. INSIDE JESSE drives silently with LISA looking over at him, upset. LISA -LRB- upset. -RRB- Will you stop and tell me what's wrong? JESSE -LRB- staring straight ahead. -RRB- I'm fine. Nothing's wrong. LISA -LRB- undeterred. -RRB- you did n't say more than two words to me the whole way here. You had another nightmare, did n't you? JESSE yeah, I had a bad night. LISA You want to talk about it? JESSE My Dad thinks I'm on drugs, my Mom thinks I'm crazy and I'm not sure I do n't agree with her.","EXT. HIGH SCHOOL - DAY as Jesse's car pulls into the lot. ANOTHER ANGLE as they turn a corner. Jesse jams on the brakes. THEIR POV - THE GYMNASIUM WING in the distance. A crowd of STUDENTS is gathered in a ring about three - deep outside the doors leading to the practice fields. IN THE CAR JESSE Oh God. He throws open the door, jumps out and runs toward the crowd. Bewildered, Lisa does likewise, running after him. As they get closer, they can see that the entire area is cordoned of with red plastic ribbons. SEVERAL POLICEMEN and OFFICIALS are coming in and out of the building. A TEACHER is trying to disperse the students, clapping his hands together and pushing through the rubber - neckers. TEACHER Okay gang, let's move along. Jesse stops at the edge of the barricade cranes his neck to see what's going on. GRADY spots Jesse and runs over to his side. Jesse is turning white as he watches the scene and listens to Grady's recap : GRADY Holy shit, man. Where have you been? Fuckin' Schneider got wasted last night. Jesse swallows hard to regain his composure. Lisa arrives at his side. JESSE Oh Jesus. I'm gon na be sick. GRADY -LRB- ignores him. -RRB- He must've been working late and some fruitcake came in and sliced him up like a kielbasa. In the shower! Left bloody footprints all over the. Jesse clamps his hand over his mouth and breaks for some bushes against the building. Grady looks at a horrified Lisa and gives a puzzled shrug.","INT. SCHOOL CAFETERIA - DAY ON THE FOOD LINE LISA and KERRY are on the lunch line, sliding their trays along the rails. Kerry is wearing a walkman with the volume truned way up - we can almost make out the song. KERRY That was something this morning, huh? About Schneider, I mean. Lisa nods and takes a plate of macaroni and cheese from one of the KITCHEN STAFF. She does n't want to talk about it. KERRY Jesse sure took it bad, did n't he? Lisa shrugs and moves her tray away from Kerry's, toward the CASHIER. Kerry picks up a piece of cake from a shelf and slides ehr tray down until she's next to Lisa again. IN THE DINING ROOM JESSE is sitting at a table, a tray of food in front of him, untouched. He glances up at GRADY as he sits down next to him and starts digging in. GRADY -LRB- with his mouth full. -RRB- Look, I'm sorry about Schneider, man. I did n't know you were so close. Jesse does n't qualify that with a response. GRADY You want to go out to a movie or something tonight? Get your mind off things? Jesse shakes his head. Lisa comes over to the table with her tray and sits down next to Jesse. Kerry follows and sits next to Grady. KERRY Hi, guys. -LRB- to Grady, coquettishly. -RRB- Hi, Ronny. You going to Lisa's party tomorrow night? GRADY -LRB- without looking up from his food. -RRB- I ca n't. I'm grounded. KERRY How come? GRADY For throwin' my grandmother down a flight of stairs. Kerry, taking him seriously, nods gravely. Lisa looks at Jesse's tray of untouched food. LISA -LRB- to Jesse. -RRB- You should eat something - you'll feel better. JESSE I'm not hungry. LISA I wish you'd talk to me. We can figure it out, you know. We can figure it out together. JESSE There's nothing to figure out. GRADY -LRB- to Lisa, disgustedly. -RRB- You're wasting your time, the guy's a basket case. JESSE Shut up, Grady. Grady pushes his tray aside. GRADY You want me to shut up? Fine, I'll shut up, that's fine. See you around, buddy. Grady gets up and storms away from the table. Lisa, deeply pained, looks at Jesse. Jesse avoids her stare until he just drops his head into his hands and tries not to cry in front of his friends. He composes himself quickly and digs his fork into his lunch, choking down some macaroni.","INT. LISA'S HOUSE - KITCHEN - NIGHT LISA, her MOTHER and FATHER are sitting, eating dinner. Lisa's mind is not at the table with her. MRS. POLETTI -LRB- to Lisa. -RRB- Bought some nice strawberries at the farm today. We can have some short cake for your friends tomorrow. Lisa looks up an dsmiles blandly. MRS. POLETTI I also wangled a promise out of your father. ON MR. POLETTI He scowls slightly. LISA -LRB- politely. -RRB- What's that? MRS. POLETTI We're gon na stay out of your way tomorrow night. LISA You're going out? MRS. POLETTI We're going to bed. She looks at her husband. MRS. POLETTI Early.","EXT. WALSH HOUSE - NIGHT Quiet. The lights inside are all out.","INT. WALSH HOUSE - BASEMENT - NIGHT We hear FOOTSTEPS and we TRAVEL with the sound along the floor to the foot of the basement steps. INTRUDER'S POV as he climbs the steps and approaches the door to the main part of the house. THE CAMERA is moving faster now, leaping the top steps and CRASHING through the doorway and onto the foyer floor. It crosses the FOYER adn begins climbing the stairs to the bedroom level. It stops at Angela's room and opens the door. ANGELA sleeps soundly, peacefully. It crosses over to the bed, a menacing SHADOW creeps over her form. The taloned glove pulls down on the blankets and she shifts position in the center of the bed, innocent and vulnerable. We see the SHADOW of the intruder on the wall. it moves in close to the sleeping child and emits a guttural, inhuman VOICE : INTRUDER -LRB- O.C. -RRB- Wake up, little girl. Her eyes flutter open. She looks up at the intruder and smiles. ANGELA -LRB- sleepily. -RRB- What time is it? ANOTHER ANGLE We now see that it's JESSE standing over her. he's in his underpants, drenched with sweat and hunched over as if all the muscles in his body were twisted around each other. The sound of Angela's voice softens him. He slowly straghtens up and looks about the room as if wondering how he got there. JESSE -LRB- himself again. -RRB- It's late. go back to sleep. She nods and closes her eyes. Jesse starts to pull the covers back over her and stops suddenly. HIS POV His right hand is wearing the GLOVE.","INT. WALSH HOUSE - JESSE'S ROOM - NIGHT The desk lamp and a late movie on the T.V. are the only sources of light in the room. We see that the bed is rumpled and empty and we PAN across the room, to JESSE, sitting on the floor in front of the door, knees up against his chest, trying with all his strength to stay awake. He has a mug of black coffee in his hand and a pot of java at his side. He tops off his cup and reaches into the breast pocket of his shirt, withdrawing a small vial of pills. A BOTTLE OF NO - DOZ He rips the cap off with his teeth and dumps half the bottle into his coffee.","EXT. WALSH HOUSE - MORNING A dark, dreary day. There are no morning sounds except for the SQUEAKING of an old rattle - trap bicycle as an overweight PAPER BOY swings by and lobs the morning edition over the lawn. The paper skids off the front steps and into the garden.","INT. WALSH HOUSE - FOYER - MORNING JESSE walks down the steps. He looks ragged and exhausted and worse that ever. OUTSIDE THE KITCHEN He stops before going through the double - hinged door to push his hair back and forces a well rested, easy - going guise. IN THE KITCHEN DAD and ANGELA are sitting at the table. MOM is pouring some coffee into a couple of cups. JESSE enters. JESSE Morning. MOM How'd you sleep, honey, okay? JESSE Fine. Mom gives him a quick glance. MOM You're looking a little better today. DAD looks at Jesse's pale skin, the light stubble on his chin and his dark, bloodshot eyes and turns to Mom as if she's nuts.","EXT. LISA'S HOUSE - POOLSIDE - NIGHT The entire pool area has been done up to the max. Japanese lanterns have been strung up above the fence, a long table, covered with festively arranged salads and condiments, stretches across the patio in front of the sliders and a Benny Goodman dance tune is blaring through some outdoor speakers. An all - too - bright underwater light makes the blue water shimmer crystal - clear. A score of nubile GIRLS in scanty swimsuits and athletic GUYS in cut - offs and trunks, scamper around, eating, swimming and horsing around. ON MR. POLETTI Standing over the gas grill, wearing a `` Kiss the Cook'' chefs hat and apron, cooking up a mess of hanburgers and hot dogs. ON MRS. POLETTI AND LISA stepping out of the house through the sliders, carrying more plates of food outside. A BOY bounces once on the diving board and CANNONBALLS into the center of the pool, SPLASHING everything within a fifteen foot radius including, MR. POLETTI who spins around from the grill, annoyed. MR. POLETTI Hey, watch it there! LISA turns to her mother, mortified. Mrs. Poletti hands her the platter she is holding and gives Lisa a reassuring squeeze on the shoulder before leaving her side and crossing toward her husband. Lisa turns her attention to JESSE, at the far corner of the patio, sitting in a lounger, alone. He looks worried and detached. She looks back toward the grill. MRS. POLETTI is pulling her husband away, against his will. He finally relents and beckons a BOY over. He turns his spatula over to him, surrenders his chef's hat and allows Lisa's mom to escort him back toward the house. JESSE, LISA'S POV He finally gets up and crosses toward the cabanas, going inside and shutting the door. BACK TO LISA as her mother and father approach. MRS. POLETTI We're going up to bed now. LISA -LRB- gratefully. -RRB- Thanks, Mom. Mr. Poletti clearly does n't like this arrangement. He looks behind him at all the horny young boys and turns back to Lisa. MR. POLETTI -LRB- sternly. -RRB- Twelve - thiry, Miss.. No later. LISA -LRB- nods agreeably. -RRB- Twelve - thirty. I promise. Mrs. Poletti takes her husband by the arm again and leads him up to the sliders. He turns around before going through. MR. POLETTI And do n't forget to lock the gate. LISA -LRB- nods. -RRB- Goodnight, Daddy. Mr. Poletti is half - led, half - pushed through the doorway. mrs. Poletti pulls the slider closed behind them.","INT. CABANA - NIGHT A roomy dressing area with an open shower stall at the back. There's a wide, wooden bench along one wall, covered with clothing and towels. JESSE stands in the center of the room, putting his pants on. He is shirtless and shoeless. SOUND OVER : A KNOCK ON THE DOOR LISA -LRB- O.S. -RRB- Jesse? Jesse hesitates, uncomfortable. JESSE Be out in a minute.","EXT. CABANA Lisa waits for Jesse. Finally, he unlatches the door. his shirt is on, unbuttoned. Lisa steps into the cabana.","INT. CABANA Lisa shuts the door behind her. The two look at each other a moment. Then Jesse looks away and continues buttoning his shirt. JESSE I think I better go. I'm just not into it tonight. I'm sorry. LISA Why wo n't you talk to me? JESSE Will you leave me alone? Please. Jesse crosses to the bench and sits to put on his shoes. LISA You're not being fair to me. I'm worried about you and I want to help you get through this thing. JESSE What are you gon na do? How are you gon na help? I'm losing my mind. -LRB- breaking down. -RRB- I do n't want to have you watch me fall apart. Lisa goes to Jesse. She puts a comforting arm on his shoulder. LISA It's okay, Jesse. Jesse takes her hand and holds it tight. She sits beside him. JESSE -LRB- choked. -RRB- I'm afraid to go to sleep, I'm afraid to stay awake - I'm ruining your party. They're gon na put me away for sure. LISA We'll figure it out together. We'll stay up all night if we have to. I wo n't let anything happen to you. They look into each others eyes. Lisa kisses him ever so gently, then again. he kisses her. Their kisses grow hungrier. Love conquers fear and they embrace fully, kissing passionately. POOLSIDE THREE BOYS are huddled together, looking up at the Poletti's bedroom window. BOY ONE Any second, now. THE BEDROOM WINDOW, THEIR POV The lights FLICK OUT. BOY ONE -LRB- O.C. -RRB- -LRB- quietly. -RRB- Party time. ON THE WET BAR Someone reaches over to the stereo, pops out the Benny Goodman cassette and flicks the radio on. Van Halen BLASTS out of the speakers. ON KERRY In the pool, up to her neck with a HUNK. They both look up as the music changes. The top of her bathing suit floats up to the surface. KERRY Oh, wow, Van Halen.","INT. LISA'S HOUSE - THE POLETTI'S BEDROOM - NIGHT At the sound of the music, Mr. Poletti sits up in bed, angrily. Mrs. Poletti puts an arm on his shoulder. MRS. POLETTI -LRB- quietly. -RRB- Let them have their fun, Honey. Mrs. poletti pulls out a pair of earplugs and hands them to Mr. Poletti, who grumbles, sticks them in his ear and drops back down into his pillow.","EXT. LISA'S HOUSE - POOLSIDE - NIGHT Somebody switches off the lights to general applause. BACK TO KERRY AND THE HUNK They are in a steamy embrace when the underwater lights go out. The rest of her suit pops up out of the water. ON SOME BUSHES as a COUPLE pulls out a red wagon, stashed in the shrubbery and loaded with beer.","INT. CABANA - NIGHT JESSE and LISA rolling around on the floor, a lot of heavy petting ; not doing it but serious, heated stuff just the same. HIS HAND, wrapped around Lisa's wrist, pinning it gently to the floor. ON LISA Her eyes closed ; feeling him - definitely feeling him. CLOSE TWO - SHOT, JESSE Jesse is about to take down Lisa's swimsuit top when an ungodly long iridescent serpent - like TONGUE flicks a foot out of his mouth, wiggles and flicks back in. Jesse moans lasciviously, not his own voice. ANOTHER ANGLE Jesse pushes himself away from Lisa and scrambles to his feet. Lisa, unaware of what happened, is puzzled and upset. ON LISA sitting up on the floor. LISA What's wrong? Jesse tucks in his shirt and buttons his pants. he is visibly shaken. JESSE I'll see you. Lisa just looks at him, helplessly. He slips out the cabana door and shuts it. ON LISA she gets up slowly. She's profoundly worried.","INT. GRADY'S BEDROOM - NIGHT Grady is sleeping on his back, dead to the world. Suddenly, a hand clamps down over his mouth. A light flicks on. LONGER ANGLE : GRADY'S BEDROOM It's JESSE. A window is open in the B.G., teh curtains in disarray. He lifts his hand from Grady's mouth and Grady scrambles out of bed. GRADY -LRB- hoarsely. -RRB- Jesus Christ, you scared the shit out of me! JESSE I'm sorry. GRADY What are you doing here? JESSE You got ta let me stay here tonight, Grady. GRADY Are you nuts or something? JESSE Listen to me, Grady, this is serious. Something really weird is happening. It started out like just bad dreams but it's getting real bad. Grady is tired and cranky and he does n't want ot hear this. GRADY Aw, will you get out of here! Go and take a sleeping pill or something. He flops back down on his bed and puts his arm over his eyes. GRADY In fact, take a whole bottle and do the world a favor. Jesse sits on the edge of the bed. JESSE I killed Schneider, Grady. Grady lifts his arm from his eyes and stares at Jesse preposterously. JESSE -LRB- nods. -RRB- Only it was n't me - I was there but it was like something inside of me, moving me around. Then last night it made me go into my sister's room and tonight, with Lisa in the cabana. We were. on the floor - I felt it happening again. He grabs Grady's arm. JESSE It wanted me to kill them, Grady! Grady continues his dumbfounded stare. GRADY -LRB- finally. -RRB- You're fucked in the head. JESSE I'm scared, Grady. I know it sounds crazy. But, there's something trying to get into my body. GRADY -LRB- sneers. -RRB- The only thing trying to get into your body is female and waiting for you on a cabana floor. And you want to sleep with me. Go figure. JESSE Look, I do n't care if you believe me or not. GRADY I believe you. You had some scary dreams, okay? JESSE -LRB- frustrated. -RRB- No! -LRB- shakes his head. -RRB- I do n't know - everything's all mixed up. -LRB- suddenly angry. -RRB- What difference does it make? I'm in trouble here. I need your help. Grady lets that sink in. GRADY -LRB- softer. -RRB- Okay, schmuck. What do you want me to do? JESSE Just watch me. If anything weird happens - like if I start dreaming weird or try to walk out of here, you got ta try to bring me out of it. his me over the head if you have to. Just do n't let me leave. Grady looks down at the floor, sighs, and nods his head. JESSE And Grady. Grady looks up. JESSE Do n't fall asleep!","EXT. LISA'S HOUSE - POOLSIDE - NIGHT The underwater lights are still off, the music has calmed down a bit and most of the KIDS are more into necking than swimming. TWO BODIES are rolled up in a blanket together. From a short SQUEAL, we can deduce that it's KERRY and her HUNK. The BAR - B - QUE BOY has remained steadfast at his post although his GIRLFRIEND has joined him and he's paying more attention to her than the hotdogs on the grill. ON LISA She sitting on one of the lounges, her eyes are red from crying. She's being comforted by a girlfriend, PATTY. PATTY Why do n't you just call him? LISA -LRB- tearfully. -RRB- He wo n't talk to me. PATTY Well, you're not doing him or yourself any good sitting here and worrying. Lisa looks at her friend. LISA I shoud go see him, but. I do n't know, the party and all. PATTY -LRB- encouragingly. -RRB- Go ahead. I'll hold down the fort. LISA -LRB- getting up. -RRB- Thanks, Patty. You're a pal.","INT. GRADY'S BEDROOM - NIGHT Grady is sitting up in bed, staring at the T.V.. He turns to JESSE, slumped in a nearby chair, asleep. Grady switches off the TV with the remote. GRADY Sweet dreams, buddy. Grady turns off the READING LIGHT by the bed. He gives a final look at Jesse before he pushes the whole thing out of his mind with a disgusted wave of his arm and lays back down. ON JESSE Suddenly, his eyes open widely. JESSE Grady? Grady MUMBLES an obscenity and turns over on his side to face Jesse. GRADY What? JESSE It's happening again. Grady turns the reading light back on in time to see Jesse DOUBLE OVER and curl up in obviously incredible pain, falling to his knees. He flails out as if 1000 volts were going through his body and begins to choke on his tongue. Grady scrambles out of bed and dances around Jesse, not knowing what to do. ON JESSE'S HAND as he raises it and his fingers spread widely apart. Four steel RAZOR - KNIVES tear out from withing the tips of Jesse's fingers like long, bloody switchblades! GRADY stands by helplessly as Jesse WRITHES. And then it is like some crazed beast in Jesse's gut, tearing its way out of his skin like someone stepping through a thick, latex film. As his skin peels away, thousands of capillaries pull apart, spraying blood everywhere in a fine, almost powdery mist. The transformation is almost complete when FRED KRUEGER's body steps out of the red cloud. All that is left of Jesse is his SCREAMING FACE, plastered like a grisly ruber mask over Freddy's own disfigured features. Grady backs away toward the door. GRADY -LRB- screaming. -RRB- No! No! No! ON FREDDY He stands up with an evil smile, all there now, and puts on his battered hat. ANGLE : GRADY'S BEDROOM Grady tries desperately to get out, but the door wo n't open. Freddy cackles evilly as he cuts off Grady's screams by grabbing his throat with his unarmed hand. he pushes Grady up against the door and lifts him off the floor like he was hanging a picture. We hear MUFFLED CALLS from outside the door - the off - camera cries of concerned PARENTS. THE DOORKNOB RATTLES as they try to get in the room to check on their son. BOOM, BOOM, BOOM! a fist, hammering against the door behind Grady's head - his father trying to get in. MR. GRADY -LRB- O.C. -RRB- What's going on? Open the door, Ronny! FREDDY draws back his knife - hand and prepares to plunge it into Grady's stomach like he was spearing a pot roast. OUTSIDE THE DOOR MR. and MRS. GRADY, in their nightclothes. Mrs. Grady stands with her hands over her mouth as Mr. Grady grabs the know again and BANGS his fist repeatedly against teh door. ON FREDDY Throwing force into his cutting arm. We CUT before impact to : OUTSIDE THE DOOR We hear Grady SCREAM as the steel blades cut through his body and poke out through the door like it was made of balsa. They wiggle slightly to pull free and are retracted with an ungodly SQUEAK. Mrs. Grady screams. MR. GRADY My God. Mr. Grady throws his shoulder with all his might against the door. A second excruciating SCREAM inside, and the knives cut through the door, inches from Mr. Grady's head. When they pull out, blood is soaking through the knife holes - it looks as if the door itself is bleeding. ON GRADY breathing his last few gasps. ON GRADY'S PARENTS They watch in stunned horror. ON GRADY He sinks slowly to the floor, dead. Freddy watches as his victim slides into a heap on the floor. Only we see now that it is n't Freddy anymore but Jesse again, panting exhaustedly and dripping Grady's blood from just under his elbow to the sharp points of the razor - tipped glove he wears on his hand. THE DOOR is budging open against Grady's body - a little more with each crash of Mr. Grady's shoulder against the other side. Jesse is coming to - himself again, and he views what he has done to his best friend with terror crazed eyes. is eye catches his own reflection in a full length mirror on the wall. The image reflected is of FREDDY. JESSE No! -LRB- backing away from the body. -RRB- No! No! No! -LRB- screaming toward the mirror. -RRB- You son of a bitch! You killed him! Jesse hurls the glove at the mirror, cracking it. Freddy's mocking image, however, remains. The last SOUND we hear is a demonic mix of Jesse's own screams and Freddy's cackling laugh.","INT. LISA'S HOUSE - FOYER - NIGHT Lisa has changed into a white shirt and a pair of cut - offs. She hurries downstairs, buttoning up her shirt and crosses the foyer floor to the door. She opens the door and JESSE collapses in her arms. He is bloody, bruised and his clothes are torn and dirty. LISA -LRB- frenzied. -RRB- Jesse, God - what happened? JESSE -LRB- hyperventilating. -RRB- I killed him! I killed him! She draws him in close, trying to comfort him. She looks at his bloody arms. LISA Oh, Christ, you're hurt. JESSE -LRB- weeping now. -RRB- I killed Grady. I killed Grady, Lisa. I killed Schneider. Oh my God, he's inside me. Lisa looks around, frantically as she holds Jesse tightly against her body. LISA Who, Jesse? JESSE he's just waiting to take me. When I sleep. LISA Who? Who's doing this to you? He looks at her as if she should know. JESSE Fred Krueger. -LRB- psychotically. -RRB- He's been trying to get hold of me, to use me. He needs me to get out of his world into ours. He's gon na take me again. LISA No, Jesse. This is n't happening. It's got ta be everything you've taken in - Schneider and the diary and the glove - only it's all mixed up. He pushes away from her, frustrated. JESSE No! Christ, how can I make you understand? He tried to make me kill Angela last night! Look at the blood on my hands! He begins to sob. JESSE Oh, God. I did that to Grady. -LRB- suddenly coherent, realizing. -RRB- He owns me. Lisa puts her arms around him. SHe strokes his head, trying to calm him. LISA I'm not gon na let anyone take you from me. There's got to be a reason. We'll figure it out together. Suddenly, something makes Lisa stop. LISA Wait a minute! She leads Jesse toward the study entryway and opens the door. LISA Wait in here for me. I'll be right back. Jesse goes into the study. Lisa hurries off.","EXT. LISA'S HOUSE - POOLSIDE - NIGHT THE BAR - B - QUE BOY has left his post entirely. He is sitting on a nearby bench with his GIRLFRIEND on his lap and his chef's hat askew on the back of his head. Suddenly, the girl points toward the grill. GIRLFRIEND Hey, look! The kid looks over. HIS POV - THE GRILL A platter of hot dogs on an attached cutting board. The hot dogs are exploding, bursting into flames, one by one until the whole plate is engulfed. BAR-B-QUE Holy Shit! He jumps up, picks up the flaming platter with his hands and tosses it like a hot potato onto the cooking grid, slamming the lid down with a CRASH. Some of the WITNESSES hoot and laugh and there's a scattering of applause. Before Bar - b - que can take a bow for his bravery, his attention is drawn to the sound of rapid POPPING. HIS POV The WAGON OF BEER on the ground near some bushes. The pull tabs are popping off and geisers of brew are shooting up toward the sky.","INT. LISA'S HOUSE - STUDY - NIGHT LISA opens up the DIARY. JESSE looks over her shoulder. LISA Something Nancy said - her last entry. -LRB- reading. -RRB- `` He is evil itself. I know now that I brought him into my world. We all did, gave him all the energy he needed. Our screams were all he needed. Now I will take it back - Deny him.'' She looks up at Jesse. LISA She was n't crazy. -LRB- he holds up the book. -RRB- All this really happened. -LRB- a beat. -RRB- You can fight him. Jesse looks confussed. LISA Remember what I said? About good energy and bad energy? He thrives on bad energy. Hate, anger, fear. He is bad energy. -LRB- a beat. -RRB- You've been afraid of him. Jesse suddenly winces in painand puts his hand to his stomach. JESSE -LRB- panicking. -RRB- Oh, God, he's coming back! -LRB- to Lisa. -RRB- Get out of here, Lisa! The window SLAMS shut and LOCKS. LISA frightened, looks behind her and back to Jesse, frantically. LISA Fight it, Jesse! FRONT DOOR, FOYER The deadbolt turns with a loud SNAP.","INT. LISA'S HOUSE - THE POLETTI'S BEDROOM - NIGHT Their bedroom door LATCHES firmly. MR. POLETTI sits up with a start. MR. POLETTI What was that?","EXT. GATE - LISA'S HOUSE - POOLSIDE - NIGHT A large padlock swings around and SNAPS shut.","INT. LISA'S HOUSE - STUDY - NIGHT JESSE is doubled over in pain. Lisa has her hands on his shoulders, shaking him, trying to bring him out of it. The heat has become intense in teh room ; they are both sweating profusely and their clothes cling to their wet bodies. LISA You created him - you can destroy him. He lives off your fear. Fight him, Jesse! JESSE -LRB- painfully. -RRB- I ca n't! Tiny bubbles are rising to the top of the aquarium tank and the angelfish float on the surface of the water, poached.","INT. LISA'S HOUSE - THE POLETTI'S BEDROOM - NIGHT MR. POLETTI is standing inside the door in an open robe, tugging on the knob as MRS POLETTI joins him at his side. He, too is drenched with sweat and the heat has steamed up all the interior windows. MRS. POLETTI What is it? MR. POLETTI The lock's jammed! Suddenly, there is a BLAST OF MUSIC as a bedside CLOCK RADIO comes to life an immediatly begins melting in the center. The music GROANS to a stop after less than a bar and the amber dial - lamp dies.","EXT. LISA'S HOUSE - POOLSIDE - NIGHT KERRY and HUNK in the pool again. Steam is rising off the surface and the water seems a bit rough for a swimming pool. Kerry calls out to no one in particular. KERRY Hey, can somebody turn down the heater?","INT. LISA'S HOUSE - STUDY - NIGHT JESSE is writhing on the floor as LISA jumps around him, helplessly. LISA You're not afraid of him! He does n't even exist. ON THE T.V. as it, too, comes to life with a BLAST OF SOUND, SPARKS violently and dies. ON THE AQUARIUM as the water comes to a boil, the glass SHATTERS and the carpeting is flooded with a wave of steaming water and dead marine life.","EXT. LISA'S HOUSE - POOLSIDE - NIGHT as the Japanese lanterns begin to brighten considerably - as if there's a power surge in the line. Each of the bulbs begin to burst, scattering a group of screaming TEENAGERS from beneath them.","INT. STUDY ON LISA, JESSE'S POV Horrified. ON THE DESK FRONT as a hand comes up into frame - FREDDY'S hand. It scrapes up the wooden panel and grips the desktop, cutting four deep notches into the scrolled edge - molding. ON LISA She GASPS. FREDDY is standing in front of her. FREDDY -LRB- laughting hideously. -RRB- He ca n't fight me. -LRB- raising his eyebrows. -RRB- I'm him. Freddy approaches, flashing his razor - knives like a set of Tiffany rings. Lisa looks about the room for some escape. Freddy swings. Lisa counters by pulling an afghan from the back of one of the chairs and catching it in his blades. She reaches behind her for something to hit him with and comes up with a heavy brass lamp from the top of the desk. She SMASHES him over the head with it. The impact throws him back long enough for her to slip by him and run out of the study. She slams the door behind her. Freddy recovers quickly from the blow and, angry now, takes after her.","INT. LISA'S HOUSE - THE POLETTI BEDROOM - NIGHT Mr. Poletti is banging on the door and wrenching the knob. MR. POLETTI Lisa!","INT. LISA'S HOUSE - FOYER - NIGHT as LISA runs through the room, rounds the newel post of the stairway and skids across the parquet floor to the front door. She grabs the knob and pulls. Locked. LISA -LRB- screaming for help. -RRB- Jesse! Panic - stricken, she turns to run. FREDDY LEAPS across the room at LISA. She tries to run past him but collides with him instead. They both go down on the waxed floor. LISA tries to scramble away. FREDDY grabs her foot and sinks his teeth into her bare calf. She SCREAMS in pain. LISA kicks him in the head with her other foot. FREDDY strikes at her leg with his talons, but she twists away and he wedges the blades deep into the oak floor. She squirms free as Freddy pull s and pulls on his weapon to un - stick it from the floor. She runs toward the kitchen.","EXT. LISA'S HOUSE - POOLSIDE - NIGHT KERRY and HUNK in the middle of the pool. The surface is choked with steam and their bodies are lobster - red. They are trying to get to the stairway at the low end but the water has become even more turbulant and much hotter and randowm waves keep pushing them back, panting, toward the deep end. Kerry goes under and Hunk picks her up to hold her head up above the water. HUNK Help! ON THE PATIO several BOYS rush to the fence to pull down a life - hook hanging there on a bracket. Other TEENS stand around, wondering what's happening.","INT. LISA'S HOUSE - KITCHEN - NIGHT LISA is devastatingly frightened as she crashes through the doors and quickly scans the room. She runs to the sliding glass doors leading out to the pool area and hurls aside the draperies. ON the other side of the glass, FIVE KIDS tug frantically or the door and bang on the glass, trying to get in. BACK TO LISA She turns toward the counter and spots A WOODEN KNIFE - BLOCK a good selection of gourmet cutlery. FREDDY crashes into the room. ON LISA jumping toward the knives. She grabs for the thickest handle and unsheathes it from the block. This is one hell of a KNIFE - a fourteen inch long blade of carbon steel - all it needs is a blood - gutter to move it from the kitchen to the battlefield. THE SLIDERS The FIVE KIDS outside the glass doors stare, aghast. KITCHEN Freddy stops in the center of the room as she swings around, holding the knife in her fist defensively. LISA Jesse, help! FREDDY I'm Jesse now, Lisa. He chuckles as he raises his own weapon and rhythmically clicks the blades together. he's up for a feisty victim. Lisa tries to get up the courage to send the knife home. ON FREDDY His expression changes suddenly. FREDDY -LRB- Jesse's voice, pleading. -RRB- Kill me! Please kill me! ON LISA She is devastated by teh sound of Jesse's voice coming from within this monster. ON FREDDY himself again. FREDDY -LRB- mockingly. -RRB- Go agead, Lisa. Kill him! Kill him! He steps toward her and she swings with the knife. He jumps back, inches from the blade. He laughs and moves for her again. This time she swings and hits her mark, driving the knife deep into Freddy's shoulder. She PLUNGES the blade in, again and again, pushing him back across the room. The knife cuts long gashes but they do not bleed and with each puncture of the blade, Freddy lets out a horrible laugh : FREDDY -LRB- Jesse's voice. -RRB- Lisa. Lisa. I love you. I love you! Stunned, she steps back into the center of the room. She raises the knife again but she is crying hysterically and just does n't have it in her. Freddy catches her wrist with his bare hand and squeezes it with all his strength. Lisa begins quaking and her knees weaken. She closes her eyes. LISA -LRB- tearfully. -RRB- Please, God. She drops the knife : it sticks into the linoleum. ON FREDDY He starts to mouth a parting death - word but suddenly stops. TWO SHOT - LISA AND FREDDY Lisa opens her eyes. He is stell standing there, poised for the kill but he is staring at her with an odd expression - perhaps a glint of recognition. Lisa stares back, wondering why she is n't dead yet. CLOSE ON FREDDY A frown of confusion distorts his ugly face and his lower lip quivers slightly. Suddenly, he throws her aside like a fisherman tossing acks an undersized flounder. FREDDY -LRB- as Jesse. -RRB- Nooo. ON LISA SMASHING into the wall with force. She slides down to the floor, semi - conscious. BACK TO FREDDY he emits an agonized SCREAM and LUNGES, not at her but DIVING through the glass doors to the pool area.","EXT. LISA'S HOUSE - POOLSIDE - NIGHT REVERSE ANGLE as the glass shatters into a million shimmering pieces and Freddy is gone - vanishing before our eyes. The pool has stopped swirling although it continues to simmer. KERRY, HUNK and LIFEHOOK BOY cough and shake as they are helped out of the water and wrapped in towels by some FRIENDS. Many of the TEENS are huddled in little groups. Some are crying, others just look at the remnants of the party in disbelief. TEENS What happened? Where'd he go. Etc.. Several BRAVE BOYS approach the shattered sliders with cautious curiosity.","INT. LISA'S HOUSE - UPSTAIRS HALLWAY - NIGHT MR. and MRS. POLETTI listen to the uncomfortable silence. they look at the door as it UNLATCHES with a soft SNAP. Wary, they do n't move.","EXT. LISA'S HOUSE - POOLSIDE - NIGHT One BRAVE BOY in the group kneels down and touches his hand on the patio, looking or some explanation for the shattered glass. ON THE TAPE DECK as the cassette pops itself in and switches on GLENN MILLER. BACK TO PATIO Everyone looks around, spooked. Suddenly, there is a huge RIPPING sound and FREDDY violently CRASHES up through the concrete! ON THE KIDS Screaming at the sight of the monster. ON THE POOL as it begins to churn and boil. THE RAZOR - KNIVES fan open Brave Boy screams as Freddy swipes the knives toward his throat. Before contact, we","INT. LISA'S HOUSE - FOYER - NIGHT as Mr. Poletti scrambles down the stairs with Mrs. poletti close behind.","EXT. LISA'S HOUSE - POOLSIDE - NIGTH as FREDDY grabs another teen and throws him into the overheated pool. he SCREAMS as he hits the water.","INT. LISA'S HOUSE - KITCHEN - NIGHT ON THE DOOR as MR. POLETTI bursts through, followed by his wife. She screams when she sees LISA -LRB- groggily. -RRB- He could n't do it, Momma. MR. POLETTI looks up at the sound of the OFF - SCREEN SCREAMING. He rushes across the room to the sliders.","EXT. POOLSIDE Total CHAOS has taken over. KIDS are running in every direction, screaming as FREDDY lashes out indiscriminately. A SCREAMING GIRL is PUSHED INTO THE POOL by the stampeding kids and is SUCKED UNDER. TWO BOYS vault the WALL. One perches on top, holding a hand out to help HIS GIRL over. BOY Come on! FREDDY races at them and SLASHES THE GIRL. She drops. The BOY clambers over the wall. ON A FLEEING KID THE FLEEING KID runs toward camera -LRB- no othe rkids in shot -RRB-. As he runs, he BEGINS TO SLOW DOWN, as if being held back by an invisible force. Suddenly, FREDDY APPEARS AND, AT NORMAL SPEED, SLASHES THE KID.","EXT. CHAIN LINK FENCE - POOLSIDE SEVERAL KIDS breaks for the gate. The PADLOCK is secure. ONE KID grabs onto the chain - link fence to climb it. The links SMOKE AND SIZZLE, and the kid lets go with a scream. His HANDS are branded with the pattern of the steel links.","INT. LISA'S HOUSE - KITCHEN - NIGHT Mr. Poletti turns whit, not believing his eyes. He backs away from the sliders. MR. POLETTI My God! He backs off some more only taking his eyes off the scene to glance at his wife and daughter. MR. POLETTI Get her out of here! MRS. POLETTI looks back at her husband, questioningly. MR. POLETTI -LRB- urgently. -RRB- Get her out of here! She starts to help Lisa to her feet. MR. POLETTI turns on his heels and runs through the kitchen doors.","EXT. LISA'S HOUSE - POOLSIDE - NIGHT Freddy stands in the center of the patio, swinging with his claw as a few DO - GOODERS circle him and try to calm him down like he was just some ordinary homicidal maniac. At Freddy's feet, another hapless VICTIM. ONE DO - GOODER who's watched too many police dramas on T.V. jockeys around Freddy and throws out some hostage control lines. DO-GOODER Now calm down - we want to help you. Freddy displays his blades like a rabid cat, ready to strike. FREDDY Help yourself, fucker. Behind them, a row of shrubs suddenly combusts. Freddy grabs him by the wrist, laughs and, swinging him around like he were throwing the Hammer, sends him with a bone - splitting CRASH into THE GAS GRILL The force of the impact shears the grill from its pedestal and causes a huge column of FIRE to shoot up into the heavens.","INT. LISA'S HOUSE - STUDY - NIGHT MR. POLETTI swings one of the chairs into the gun case SHATTERING the glass door.","EXT. LISA'S HOUSE - POOLSIDE - NIGHT The KIDS are trapped inside the pool area, frozen with fear, hysterical. With the gas - fire raging to one side, he screams out like an evangelist on angel dust. FREDDY You are all my children! SOUND OVER : A SHOT RINGS OUT BLOWING AWAY a dish of potato salad on a table at Freddy's side. Several teens dive for cover. ON MR. POLETTI standing in the frame of the shattered sliders. he is holding a pump - action shotgun. as he brings the gun down to give it a second pump. MR. POLETTI Shit! He raises the weapon again, but LISA rushes out and pushes the barrel of the gun down. MR. POLETTI FIRES into the patio. MR. POLETTI -LRB- furious. -RRB- What are you doing? ON FREDDY he looks toward the doors and makes eye contact with Lisa. Suddenly, he turns on his hells and walks THROUGH THE BRICK WALL as if it were n't there. The very top of his head and his hat are higher than the top of the wall and remain solid as he moves through and out the other side. There is SMOKE AND SCORCH on the bricks where he passed. SILENCE and stunned faces. Frightened whimpers here and there. MR. POLETTI Where did he go? ON LISA She puts her hand to her mouth - she knows. MRS. POLETTI has come onto the patio now and joins her daughter and husband. Lisa turns and runs into the house. MRS. POLETTI Where are you going? Lisa is already gone. MR POLETTI -LRB- calling her back. -RRB- Lisa! JESSE'S CAR - EXT.. POLETTI HOUSE - NIGHT LISA opens the door and gets into the driver's seat. SOUND OVER : POLICE SIRENS APPROACHING","INT. JESSE'S CAR She looks at the make - shift switches and tries to remember how Jesse. She flicks the toggle and pushes the starter button. Nothing. She remembers the two wires under the dash and twists them together. She pushes the starter button. The starter GROANS. It does n't seem like it's going to start. ON LISA LISA -LRB- frantically. -RRB- Please work, please. The car back - fires and starts. She puts it into gear and pulls out.","EXT. DARK HIGHWAY - NIGHT as the old FALCON tears down the highway.","INT. JESSE'S CAR LISA is at the wheel, squinting through the darkness, trying to hold the road.","EXT. ABANDONED POWERHOUSE - NIGHT Lisa pulls up to the building and shuts the engine off. INSIDE She hastily tears a strip of cloth from her shirt and ties it around the wound on her leg. She gets out of the car. She steps up to the front of the building. HER POV The entrance is ringed by A PAIR OF MANGY WILD DOGS WITH EERIE, UNNATURAL FACES who growl threateningly as she approaches. She shows no fear as she steps right up to the enterance. THey snap at her hands but she does n't pull them out of the way. They part, allowing her to pass through.","INT. POWERHOUSE - NIGHT LISA walks in cautiously. The powerhouse looks fare different than it did in daylight - mysterious, dangerous, brewing, almost alive. Steam is leaking from between rusty rivets and torn gaskets and we hear the POUNDING of ancient expansion tanks belching out rancid air. The interior is bathed in an electric blue light that intermittently washes pale as hot white arcs flash in distant corners of the building. She walks in deeper, carelessly touching her fingers to a large steam pipe and retracting her hand quickly from its blistering sting. She stops at the center of the room. Suddenly, a twinge of pain on her face and she looks down at ehr leg. now, serious pain as she bends over and frenziedly pulls up on the make - shift bandage. ON HER WOUND It is SWARMING with big, black, carpenter ants. She screams and brushes them away with her hands, quaking with disgust. As abruptly as they appeared, they are gone ; the blood - soaked bandage is intact, covering the wound. She bhacks away from teh sump and begins climbing the rusted metal stairway up to the catwalk. SOUND OVER : SCRAPING METAL She stops midway and looks around, frightened. A few seconds to regain her courage and she steps onto the walkway. A RAT - the one she met before - scurries at her. It stops, stares at her evilly, hisses unnaturally. Lisa screams. Suddenly, a CAT pounces on the rat. The cat looks up at Lisa with ONLY THE TAIL OF THE RAT STICKING OUT OF ITS MOUTH. Its eyes are demonic, its teeth crooked yellow fangs. It growls like a beast five times its size. The cat takes another chomp on the rat, and the rat's tail disappears down its gullet. ANOTHER ANGLE LISA jumps down off the sairway onto the catwalk and starts to run. She CLANGS over the steel - mesh flooring. A section of the catwalk gives way beneath her feet and LISA plummets as if she were dropped through a trap door. Her arms flail over her head, but her hand manages to grab around a section of handrail that's still solid. ANOTHER ANGLE we see the catwalk is intact - it looks as if her knees just gave out but she continues to hold on to the railing for dear life. She tests the flooring by feeling it before attempting to rise ore release her grip. She rises and turns around. FREDDY is there. Lisa SCREAMS. FREDDY Had your chance. -LRB- raising his talons. -RRB- Die now! He slashes at her. She ducks and runs back toward the stairway. The STAIRWAY IS RED HOT, SMOKING. FREDDY closes in. FREDDY Come to me, Lisa - I'm waiting for you. Lisa stops short, looks around desperately. There is nowhere to go. LISA Oh, God, Jesse - I know you're there! Stop him! FREDDY Jesse's dead, Lisa. Freddy's here. Freddy strikes, cutting Lisa's shoulder. LISA -LRB- screams. -RRB- Jesse! Freddy closes in on her. She is trapped, finished. FREDDY -LRB- smiles perversely. -RRB- Wan na join your little friend? LISA Where's Jesse? FREDDY There is no Jesse. I'm Jesse now. LISA I want him back. Jesse, talk to me. Jesse! Freddy raises his talons for the kill. The sharp oints are within an inch of her eyes. Lisa, terrified, summons up all her energy, all her might, and looks Freddy in the eye. LISA I love you, Jesse! Freddy stares at ehr, talons frozen in mid - air. The horrible hand quivers, as if against an unseen force. And then - The wounds on Freddy's shoulder and chest rip open. He looks down at them, surprised. They bleed real, human blood. LONGER ANGLE Lisa breaks past him and starts to run but stops suddenly, a few paces from Freddy. She turns to look at him leaning weakly against the railing, with an expression of confusion on his face that is almost pathetic. he touches his wounds, surprised. Lisa is no longer afraid - she's angry now. She looks him straight in the eye. His razor - knives click together like they're running low on batteries. Freddy beckons her over with the knife on his index finger. FREDDY -LRB- Jesse's voice. -RRB- Come and get me, Lisa. Freddy laughs wickedly. LISA moves a step toward Freddy. LISA I'm not afraid of you. You could n't kill me. He's in there and I want him back. I'm gon na take him away from you and you're going straight back to hell, you son - of - a - bitch! FREDDY -LRB- getting angry. -RRB- Jesse's dead! I sliced ` im real good! Lisa moves closer to Freddy. LISA Come back to me, Jesse. She locks her gaze on Freddy's eyes and looks right through him. LISA I love you, Jesse. Come back to me. FREDDY He's dead, you bitch. Freddy seems to be in a good deal of pain. He drops to one knee. Lisa moves closer. He tries to move away from her. FREDDY -LRB- threateningly. -RRB- I'll kill you now. LISA -LRB- ignoring him. -RRB- He ca n't hold you Jesse. He's losing his grip - you can get out. FREDDY He'll die with me! She kneels beside Freddy, takes off his hat and begins to lovingly stroke his head. he seems to be writhing a bit and emits several frightened moans. FREDDY He'll die with both of us! She gathers all her nerve and moves in closer. He lifts his deadly hand and presses it into her chest. She flinches in pain but continues to come in close until her mouth is almost touching his. he moves his blades onto her back, trying to push them into her flesh, but he is too weak to do much damage. TIGHTER ANGLE Locked in this strange embrace, she presses her lips against his with as much passion as she can muster and KISSES HIM. LONGER ANGLE : FREDDY & LISA There is a moment of quiet. Then smoke starts to rise off of Freddy. He pushes her away with an excruciating SCREAM. The sound of the POUNDING machinery is becoming deafening. The electric FLASHES are firing more rapidly and arcing across the Power Plant. The room is RAPIDLY HEATING UP. A SMALL FLAME shoots along the railing. SMALL FIRES begin to break out on the catwalk around Freddy. ANGLE : PAINTED SURFACE The PAINT BEGINS TO SMOKE AND BUBBLE with the heat. As the heat increases it INTO FLAME. ON PIPES STEAM begins shooting up from every pipe joint. ANOTHER ANGLE : PIPES STEAM shoots out of the valves. heavy iron VALVE WHEELS SPIN OFF THEIR STEMS and roll down the FLAMING CATWALKS. ON LISA Surrounded by flames and smoke, she watches it all with fear and amazement. CLOSE ON FREDDY His flesh is starting to melt. LONGER ANGLE : FREDDY He bursts into DENSE, ALL - ENGULFING FLAME. The power plant is going crazy : the steaming, smoking, and flaming all reach their high peak. Pipes are bursting with steam : valve wheels flying off. Andthen everything begins to slow down, ease off. The flames are dying down around the charred corpse, and we can see it is no longer moving. The little fires around him are also dying down. And the smoke, the steam, and the deafening noise abate. ON FREDDY'S CORPSE The fires are out now. there is only some smoke. And the terrible heat has turned to COOL BLUE LIGHT. The still smoldering corpse, with its back to us, begins to stir. LONGER ANGLE : CATWALK Lisa backs away, terrified. The corpse turns to her - it is Jesse, his clothes smoldering, his body singed and blackened with soot. But alive, coming around as if it were all just a bad dream. LISA moves to him and cradles him in her arms. FADE OUT","EXT. WALSH HOUSE - DAY A SHINY NEW SCHOOL BUS rolls down the street. It pulls up by the curb near the Walsh House. JESSE, his RIGHT ARM IN A SLING but otherwise fresh and happy, kisses MOM goodbye at the FRONT DOOR. He hurries down to the bus, gets in. The DOORS fold shut, the GEARS GRIND and the bus continues along its route.","INT. SCHOOL BUS - DAY There are about a DOZEN KIDS in the bus, playing radios, having a good time, etc.. LISA, in the back, waves to Jesse and smiles. She wears a BANDAGE on her shoulder where Freddy slashed her. Jesse, in the front smiles and waves back. Jesse makes his way down the aisle to Lisa, greeting a few kids, slapping a hand or two. ON JESSE & LISA Jesse plops down next to her, gives her a quick kiss, puts his good arm around her. JESSE Hi. LISA Hi. Lisa chuckles. JESSE What's so funny? LISA We must look like a couple of escapees from a veterans' hospital. Jesse smiles and shakes his head. JESSE I ca n't believe we actually - Lisa puts a finger to her mouth to cut him off - no need to tell about unpleasant things. Jesse smiles again - she's right. he kisses her. Jesse moves his head away from hers for the big kiss. Lisa's eyes are closed, ready to receive it. She opens her eyes. They are pupil - less, blood - streaked, demonic. With an EVIL ROAR, a huge SERPENT TONGUE FLICKS OUT of her mouth and attacks Jesse who screams.","EXT. DESERT LANDSCAPE - DAY The bus WHINES near the top end of third, all of its FLASHERS firing wildly. It races away through the desert in a cloud of dust. FADE OUT"],"string":"[\n \"EXT. SUBURBAN HOUSING DEVELOPMENT - DAY A big, yellow SCHOOL BUS pulls up to a corner and discharges a group of TEENAGERS. It's one of those fantastic spring afternoons and the kids take to their freedom like they were just sprung from Leavenworth. KIDS G'night, Joe. Have a good weekend, etc.. The BUS DRIVER does n't answer but nods and smiles as they deboard. He is a pleasant looking elderly man, wearing a khaki work shirt, a matching cap and chewing on an unlit, twenty - five cent stogie. The DOORS fold shut, the GEARS GRIND and the bus continues along its route.\",\n \"INT. SCHOOL BUS - DAY While there are only about a dozen kids on the bus, the noise level is deafening. GIRLS are yapping, GUYS are horsing around, someone is fiddling with a ghetto - blaster, trying to decide among several loud stations.\",\n \"EXT. SUBURBAN STREET - DAY The bus turns a corner, taking them out of the development and past some older, less identical looking residences spaced more widely apart.\",\n \"INT. SCHOOL BUS - DAY The Driver downshifts the old heap, pulls the wheel over to the curb and reaches over to push the door lever open. KIDS file out down he aisle, some of them wishing him well as they leave. ANOTHER ANGLE as the gears grind again and the bus pulls away. We see that there are only a few KIDS remaining : TWO GIRLS sit together toward the center and a lone, nerdy - looking BOY sits at the rear. The DRIVER is in front of an aluminum divider and, except for the top of his cap, can not be seen. END MAIN TITLE SEQUENCE ON THE THREE KIDS The two girls are pretty, teen - fashionable and just a little immature. One of them turns back to look over her shoulder. CLOSER ANGLE - THE BOY Poor kid. About 17, four - eyes, bad skin, lousy posture and an obvious inferiority complex. He's sweating profussely and he stands slightly to unlatch and lower the window. He pulls down on it with all his strength but it is hopelessly stuck. He sits back down and sighs. Suddenly, he feels the girl's stare. he does n't turn but sends his eyes over to see who's goggling at him. ON GIRLS - JESSE'S POV The first girl turns back to her friend to whisper something. The friend turns around to see for herself.\",\n \"INT. BUS The boy stares forward now and catches her glance directly. The girls shift quickly in their seats to face forard and let out with an uncontrollable rush of mean giggles. The boy is clearly embarrassed now and looks down at the books in his lap. We hear the engine REVVING - the bus seems to be picking up speed. One of the girls stands, ready to get off. GIRL'S POV OUT WINDOW : EXT.. STREET A MOTHER, her PRE - SCHOOL CHILD on a TRICYCLE and their DOG wait for the bus to discharge the girl.\",\n \"EXT. STREET The bus speeds past the waiting group, to their amazement.\",\n \"INT. BUS The standind girl's jaw drops open as they shoot by a familiar looking intersection and continue to pick up speed. FIRST GIRL -LRB- to her friend. -RRB- Hey! -LRB- calling to driver. -RRB- Hey, that war our stop! The bus turns a sharp corner and the first girl almost falls. The second girl grips onto the seatback and lifts herself to her feet. SECOND GIRL -LRB- calling to the driver. -RRB- Hey, Joe! Our stop! HER POV - THE FRONT OF THE BUS The unseen driver ignores the calls and continues picking up speed. We might notice that his hat has changed ; in place of the cap, we can see the top of a BATTERED OLD FEDORA. SECOND GIRL -LRB- O.C. -RRB- Hey, let us off!\",\n \"EXT. TWO-LANE STREET - DAY The sky has suddenly turned ; a wave of threatening clouds sweeps overhead and the WIND is churning a planting of roadside weeping willows into a tangled mess of yellow tendrils. The bus WHINES near the top end of third, all of its FLASHERS are going like the dashboard was having a major coronary. It passes the last house and heads into open terrain. IN THE BUS THE SECOND GIRL steps into the aisle and starts making her way toward the front of the coach. SECOND GIRL -LRB- under her breath. -RRB- Deaf old fart. She stops suddenly and GASPS as she watches THE DRIVER'S ARM emerge to throw the floorshift into fourth. His hand is clad in a strange GLOVE that tip his fingers with a menacing set of RAZOR - SHARP, STEEL TALONS. His sleeve is charred and smoking. The bus SWERVES WILDLY as it skids around a corner, throwing its few passengers into collision courses with the walls and each other. A FLASH OF LIGHTNING crashes through the air.\",\n \"EXT. DESERT LANDSCAPE As the lightning subsides, the sky is dark. The BUS SCREAMS along, banging through rocks and ditches, CRASHING through a wall of overgrown brambles. Thick clouds of steam pour out from under he hood and stream back along toward the rear of the vehicle. ON THE BOY holding o to his seatback and watching out the window in terror as trees TEAR loose from the ground i the bus ` wake. We hear a LOUD RUMBLING and the bus begins to shake as if the planet itself is splitting in two. ON THE BUS Skidding across the desert landscape, being THROWN to and fro laterally, at the mercy of the shuddering landscape. ON A FRONT WHEEL as the tire smacks into a jagged boulder, SNAPPING the wheel from its axle. ON THE FRONT END BOUNCING to a violent halt, the bumer digging a long trench into the earth. IN THE BUS THE KIDS pick themselves up from the floor. It is very hot and smoky inside. They have moved closer together now, sweating, scared. Frantically, the boy tries to open a window, but it will not budge. He looks out the window and gasps.\",\n \"EXT. POV FROM WINDOW THE GROUND below begins to SPLIT apart and tumble into a deep fissure that is encirling the bus. ON THE MOOR, THE BUS CENTER The land is IMPLODING all around it ; huge chunks of the earth's crust are shearing themselves loose from the edges of the fissure and tumbling into oblivion. In moments, the bus is stranded on the narrow tip of a towering ridge of crumbling stone. The bus teeters precariously, tasting the smoky abyss in every direction. INSIDE THE SECOND GIRL is on al fours in the aisle. She looks up toward the driver's seat. SECOND GIRL -LRB- seeing something hideous. -RRB- Jesus! She scrambles to her feet and begins backing off. The floor of the bus shifts dangerously, throwing the girl into the edge of one of the seats. ON THE DRIVER as he makes his way toward the back. We don' g see his face but he is dressed in a filthy green and red sweater. In the B.G., the dashboard instruments are sparking and sending thick black fumes toward the ceiling. SMOKE is rising off his body as if he just stepped out of some horrible fire. A small patch of skin on his hand sizzles and pops and drips a molten glob of flesh that burns a small hole in a seat cushion. His Razor - Talons sweep along the tops of the seat - backs CUTTING deep gashes into the green vinyl upholstery and SCRAPING horribly over the tubular steel support poles. ON THE BOY Terrified. Lookign first at the awful talons, then out the window at the DEADLY DROP and back at the bus driver. ON THE GIRLS Sweating, panicking. They back away, going from window to window, trying desperately to pull them down. They're all locked tight. One reaches for the emergence door leer at the rear of the bus. It comes off in her hand. The kids huddle together, petrified, screaming, as the driver is upon her. CU : DRIVER He lifts the awful, talonned glove in f.g. Behind, obscured by smoke, we see, for an instant, his fce - the face of FREDDY. he raises his weapon arm higher and STRIKES.\",\n \"INT. WALSH HOUSE - KITCHEN - MORNING CLOSE on a steel blade cutting into red flesh. We PULL BACK and see that it is MOM, slicing a tomato at the kitchen counter. This is an all - American family ; along with a MOM, there's a DAD and a kid sister named NGELA and they ll are having breakfast together. A moment later, there is a muffled, OFF - CAMERA SCREAM. Mom looks up. We can also make out the RINGING of an alarm clock in another part of the house. ANGELA jumps slightly at the scream. She's a pretty little eleven - year old, genuinely cute, not precocious. ANGELA -LRB- to Mom. -RRB- Why ca n't Jesse wake up like every - body else? MOM -LRB- hushed. -RRB- Shhh. He must've had another night - mare.\",\n \"INT. WALSH HOUSE - JESSE'S ROOM - MORNING ON JESSE'S BED. An alarm clock RINGS LOUDLY. JESSE WALSH -LRB- 17 -RRB- is sitting up in bed. He's sweaty and scared and disoriented as he slams his hand down on the alarm and tries to shake the nightmare out of his head. We see that he's the boy on the bus only he's not half - bad looking - far from nerdy. he has no skin problems and he does n't wear glasses and his body's in good shape. As he gets out of bed, still shaky from the dream, and we see that his bedroom is littered with cardboard cartons - most of them open and half - empty. He trips over a carton on his way to his jeans.\",\n \"INT. WALSH HOUSE - KITCHEN - MORNING Mom is at the stove cooking eggs for her family. She looks up, worried, as Jesse comes in and heads for the refrigerator. JESSE -LRB- mumbles. -RRB- ` Morning. MOM -LRB- putting on a smile. -RRB- ` Morning, honey. Jesse pours himself a GLASS OF MILK from the fridge. He joins Dad and Angela family at the breakfast table. DAD You got your room straightened out yet? JESSE -LRB- yawns. -RRB- It's getting there. DAD We've only been living here six weeks now. I want that room unpacked by tonight. MOM comes over with some eggs for Dad. MOM -LRB- to Jesse. -RRB- Want some eggs. Angela, what are you doing? ON ANGELA She is struggling to put her hand deep into a box of FU - MAN CHEWS breakfast cereal. ANGELA -LRB- frustrated. -RRB- I'm trying to get the Fu - Man Fingers! Printed on the box is a cartoon caricature of the Oriental doctor pointing to a bowl of his product with one of his long, sharp fingernails. there's a burst above the product name that reads : `` FREE INSIDE - FU - MAN FINGERS'' and shows a drawing of a hand wearing several extra - long, red plastic fingernails on its fingertips. Mom lets Angela go o with her search and turns back to Jesse, waiting for his answer. MOM Jess? JESSE Huh? MOM Eggs? Jesse rubs his temples. He was away for a minute but he's back now. JESSE Oh. uh, no, just some milk, Mom. MOM You okay? Dad eyes him suspicously. JESSE Yeah, I'm fine. Just really hot upstairs. MOM -LRB- nods. -RRB- I know it's warm. -LRB- to Dad. -RRB- I wish you'd call someone to check out the air conditioning, Ken. DAD -LRB- defensively. -RRB- I know what's wrong with the air coditioning - just needs a shot of freon, is all. JESSE Dad's fixin' something again. Hit the deck! DAD Do n't be a smart ass. A short silence as they all look back to their plates. MOM -LRB- to Jesse. -RRB- So, school going alright? JESSE -LRB- shrugs. -RRB- Okay, I guess. MOM Making friends? Jesse is looking around for some escape - this interrogation is getting a little too personal. JESSE Yeah, you know how it is. ON ANGELA She grabs onto the prize at the botto of the box and gives a yank. A bagful of Fu Man Fingers come out in her hand along with half the box of cereal. SOUND OVER : DOORBELL RINGING Mom turns to answer the door, but Jesse immediately jumps up and cuts her off. JESSE That's Lisa - I got ta get to school. DAD -LRB- calling after him. -RRB- Who's Lisa? But Jesse is gone ; just a kitchen door, swinging in his wake.\",\n \"INT. WALSH HOUSE - FOYER - DAY as JESSE opens the front door to LISA POLETTI -LRB- 17 -RRB-. She is facing the street and she turns around when she hears the door open. Not a knock - out but real pretty, with an intelligence and sweetness about her - she is truly lovely. LISA Hi. She smiles and Jesse's eyes light up.\",\n \"EXT. WALSH HOUSE - DAY They walk to JESSE'S CAR - a beat - up, blue Falcon parked curbside. JESSE -LRB- gratefully. -RRB- your timing was perfect - I was getting the third degree in there. LISA How come? JESSE Ah, nothing. Jesse opens Lisa's car door for her. She steps in and sits down. IN THE CAR The interior is worse than the body. The upholstery is torn to shreds, the dashboard is cracked and peeling and there's a big hole where the radio used to be. A cheap, A.M. transistor radio hangs by its wrist strap from the rear - view mirror. Jesse hops in and shifts around to get comfortable, and reaches under the dash to pull out a couple of bare wires. Lisa watches him routinely twist the wires together, amused. LISA Are n't you afraid somebody could steal your car like that? JESSE -LRB- preposterously. -RRB- Look at this car. Are you kidding? He sits up again and reaches for a toggle switch that has been crudely drilled into the dash. He flicks the switch. Jesse moves his finger to another alien button in the dash and pushes it. The STARTER turns over slowly, the engine BACKFIRES and the car starts noisily. Jesse gives her the `` thumbs up'' as if he were a World War I Ace and puts the car into gear. It BUCKS and FARTS and rumbles up the street.\",\n \"EXT. POOL - REAR, WALSH HOUSE - DAY DAD floats on a FOAM CHAIR in the middle of the rather run - down pool, sipping coffee from a MUG bearing the word `` DAD''. He looks over his domain with satisfaction and inhales a deep breath of fresh, suburban sir. MOM comes out the back door. She looks just a bit worried. MOM Ken, should n't you be getting to the office? It's almost nine. KEN As soon as i finish my coffee. I'm enjoying my pool right now. -LRB- sips his coffee. -RRB- I love our new house. Do n't you? MOM -LRB- sighs heavily. -RRB- Of course I do, Ken. KEN What's the problem, Shirl? MOM -LRB- pointing behind her. -RRB- It's just I'll be a lot happier when you finish taking down those bars. CAMERA PANS UP AND ZOOMS IN to reveal BARS ON THE UPPER WINDOWS - this is the old Thompson house, replete with the security paraphernalia that kept Nancy Thompson prisoner five years prior. MOM -LRB- O.C. -RRB- People that lived here before must have been truly paranoid.\",\n \"EXT. HIGH SCHOOL - DAY Establishing shot of school, shot from parking lot with JESSE'S CAR in f.g. School is in session, so the only students we see are TWO CLASS - CUTTERS leaning against a car passing a JOINT.\",\n \"EXT. HIGHT SCHOOL PRACTICE FIELD - DAY An intramural SOFTBALL GAME is in progress. COACH SCHNEIDER, a nasty looking ex - Marine, stands behind home plate as an umpire. JESSE is covering second base. RONNY GRADY, a tough - looking wise - ass type, steps up to the plate. He knocks the mud off his sneakers with his bat and takes his stance. ON JESSE He glances over to the adjacent field. HIS POV The GIRLS are in the middle of archery instruction. LISA is there, mighty tempting looking in her little, powder blue gym suit, a quiver strapped to her shoulder and a longbow in her hand. KERRY, a dizzy, Bloomingdale's - punk, steps up alongside Lisa as the latter catches Jesse's stare. SCHNEIDER -LRB- O.C. -RRB- Strike! KERRY -LRB- to Lisa, re Jesse. -RRB- He made any moves yet? Lisa smiles and waves to Jesse. LISA -LRB- aside to Kerry. -RRB- I only know him a few weeks, Kerry. ON JESSE He waves back. BACK TO LISA AND KERRY KERRY I think he needs a push start. Lisa turns to face the target, slides an arrow into the nocking point, draws back the bowstring and lets the arrow go. ON THE TARGET It's a bull's - eye. CRACK! GRADY gets hold of a perfect pitch and sends it flying over the head of the PITCHER. BACK TO JESSE BOOM! The ball skids off the side of his head and the kid collapses. HIS TEAMMATES rush to his side and help Jesse to his feet. He's more embarrassed than hurt and he waves away any over - attention. COACH SHNEIDER joins the circle of bodies around him. SCHNEIDER You okay? JESSE Yeah, I'm fine. SCHNEIDER -LRB- walking away. -RRB- Well, pay attention, next time! Jesse re - takes his position on the base. GRADY -LRB- O.C. -RRB- Maybe you oughta try something a little more your speed, Walsh. Like knitting. Jesse just now realizes that it was Grady who scored a double off his skull. He's standing just off the bag, harassing Jesse while waiting to be hit home. JESSE -LRB- flipping him the bird. -RRB- Knit this, Grady. GRADY sneers and gives him the `` JACK - OFF'' sign. JESSE tosses an `` ITALIAN SALUTE'', slapping one hand into the crook of his arm and throwing up `` THE FINGER'' for good measure. GRADY grabs his own crotch and points to it obscenely. ON THE PITCHER He sends one over the plate, the BATTER catches it dead - center and POUNDS it back to left field. GRADY makes a break for third, only to be forced back by teh LEFT FIELDER tossing the ball to the THIRD BASEMAN. ON JESSE His glove up to receive the throw as Grady STEAMS towards him. The ball snaps into Jesse's mitt and Grady turns on his ankles to shoot back to third. Jesse and the third baseman toss the ball between, each time moving closer in toward Grady. Grady switches directions with the ball, trapped between them. GRADY dives into a HEAD - FIRST SLIDE, trying to sneak past Jesse. JESSE swoops down and tags him out. Thorougly aggravated, Grady rises to his feet by reaching out and grabbing onto Jesse's gym shorts and yanking them down to his ankles, revealing jesse's bare buns - in - a - jockstrap to the world. JESSE lunges for Grady, trips over his shorts and the two of them begin rolling around in the dirt, duking it out. ON THE GIRLS IN THE NEXT FIELD watching the wrestling match with ausement. ON LISA AND KERRY Lisa tries like hell to repress some laughter. KERRY Cut ass. ON SCNEIDER pushing his way through a crowd of laughing, cheering SPECTATORS and jumping in to break up the scuffle. He lifts both boys up by their necks. SCHNEIDER Okay boys, assume the position!\",\n \"INT. COACH'S OFFICE - DAY Schneider is at his desk. TWO BOYS carrying gym bags pass outside the Coach's office. They wave to him through the WIRE - GLASS WINDOWS. BOYS ` Night Coach. Schneider gives them a cold glance. He checks his watch, gets up and goes to a window to look outside. HIS POV - THE PRACTICE FIELD JESSE and GRADY, side by side in the center of the baseball diamond. They are in `` front - leaning rest'' position, the cruel and painful frozen pushup that ends halfway to the ground with elbows bent. We do n't know how long they've been out there but it's probably hours. It seems just a little darker out and a lonely wind is blowing around their arms and legs. In the B.G., KIDS are filing out of the building - some sop to look out at the two boys, point and snicker. We see LISA among the kids. She stops for a moment and views the scene with concern. ON JESSE AND GRADY They are dirty, their shirts are ripped and Jesse has a tiny bruise over his cheek. And they're tired too. The muscles in their arms are twitching convulsively and they talk to each other between groans and through teeth clenched with pain. We hear the OFF - CAMERA SOUND of several busses pulling out. JESSE How much longer you figure he'll keep us out here? GRADY Could be all night. -LRB- nodding in the Coach's direction. -RRB- Guy gets his rocks off like this. Hangs out in queer S & M joints downtown. Likes prettyboys like you. JESSE Get outa here. Grady does n't pursue it. Instead, he looks around and tries to think of some small - talk. GRADY -LRB- finally. -RRB- So, what about you and that Poletti girl? JESSE What about it? GRADY You two got a thing going, or what? JESSE She's a neighbor, I drive her to school. GRADY She giving you any carfare for the ride? JESSE You got a problem with me, Grady? GRADY -LRB- shrugs. -RRB- Naw. Just killing time. SOUND OVER : A WHISTLE BLOWING ON THE COACH Dressed in his street clothes, crossing the field toward the faculty parking lot. He pulls the whistle from his mouth. SCHNEIDER -LRB- to the boys. -RRB- Okay boys, hit the showers.\",\n \"INT. BOYS LOCKER ROOM - DAY JESSE and GRADY stand at opposite ends of a row of lockers and change into their street clothes. Their movements are slow and cumbersome - like a pair of creaky old men. GRADY -LRB- finally. -RRB- So, you live around here. JESSE -LRB- sighs wearily. -RRB- Not too far. My folks bought a place over on Elm Street. Grady stops buttoning his shirt and looks up at Jesse. GRADY Elm Street? You telling me you moved in to that big white house with the bars on the windows? JESSE Yeah, why? Grady shakes his head and tucks his shirtails in. GRADY Shit, you can tell your old man he's a real chump. JESSE What the hell are you talking about? GRADY They've only been trying to unload that dump for five years. That place is bad news. Some chick was locked in there by her mother and she went crazy. She watched her boyfriend get butchered by some maniac in the house across the street. Her poor drunken momma took her own life right inside your front door. Jesse stares dubiously at Grady. JESSE -LRB- with a nervous laugh. -RRB- You're full of shit. Jesse pulls his knapsack from the locker shelf, slams the door shut and walks away. ON GRADY He smiles mischievously and shuts his own locker door.\",\n \"EXT. SCHOOL PARKING LOT - DAY JESSE'S CAR is parked among a handful of others. LISA leans against the front fender, waithing patiently. HER POV JESSE steps out of the building and spots her. he hurries across the lot. ON LISA as Jesse approaches. JESSE -LRB- surprised to see her. -RRB- Hi! You did n't have to wait. LISA That's okay, I wanted to. He raises an eyebrow as he opens the door for her. He likes that. ANOTHER ANGLE as Jesse slides in beside her and STARTS the engine. She looks him over. He looks like he's been through the mill a couple of times. LISA You okay? JESSE Yeah, yeah, sure. LISA Let me look at your eye. Jesse lifts his chin to show off the tiny bruise over his cheekbone. He looks almost a little proud of it - like it's an old war wound. Lisa touches it tenderly. LISA You should n't be fighting with that jerk. JESSE Who, Grady? Grady's alright, he's just a hothead. LISA You mean a shithead. JESSE -LRB- laughs. -RRB- Yeah. He guns the engine and they pull away.\",\n \"EXT. WALSH HOUSE - ESTABLISHING SHOT - NIGHT It's very late. The house is dark and even the crickets have hit the sack.\",\n \"INT. JESSE'S BEDROOM - NIGHT JESSE's having trouble sleeping. He turns over on different sides and punches up his pillow a couple of times, stares into space and finally sits up. He gets out of bed, pulls on a pair of pants and exits. KITCHEN He enters. The room is lit only by the glow of a three quarter moon. He regains his composure and steps over to the sink to pull off an absurd length of paper toweling. We see it just when Jesse does ; a GROTESQUE FACE has been peering into the window all this time. It disappears from view on Jesse's DOUBLE TAKE. Jesse stops for a moment to slow down his heart. He takes a deep breath and steps up to the back door. He opens the door.\",\n \"EXT. SIDE OF WALSH HOUSE - NIGHT Jesse opens the gate and enters. It is really quiet ; not even night - sounds. He strains to see past the shrubbery that surrounds the house. JESSE -LRB- hoarse whisper. -RRB- Grady? He looks around. JESSE It better be you, you son of a bitch! We hear an awful sound from somewhere - WOOD RIPPIGNG. Jesse makes his way cautiously along the side of the house. He notices a red - orange LIGHT is flickering from behind a cellar window. He gets down on his hands and knees to investigate. THE CELLAR - HIS POV An INTRUDER is bent over by the furnace, lit only by a raging fire in the fire - box. He puts his hand right into the flames and begins digging for something way in the back of the furnace. We ca n't see his face but he is dressed in a filthy green and red striped sweater and a battered hat. He pulls out a bundle of rags, sets it on top of the furnace and proceeds to unwrap it. ON JESSE JESSE -LRB- petrified. -RRB- Holy shit. He stands up and looks around frantically. He does n't know what to do. JESSE -LRB- near tears. -RRB- Holy shit. He hurries out the gate that leads to the front of the house.\",\n \"INT. WALSH HOUSE - NIGHT Jesse enters the house and scans the foyer. He heads toward the cellar door. It is ajar - the LOCKHAS BEEN SPLINTERED AS IF BY A HUGE WRECKING BAR - and we can hear the ROAR of the furnace from below. He sticks his head inside the cellar door and peeks down. HIS POV The SHADOW OF A FIGURE ; movement on the cellar walls. ON JESSE Breathing heavily. Brain whirring. SLAM! He pulls the basement door closed and holds it shut tight, practically hyper - ventilating. JESSE -LRB- screaming. -RRB- Dad! He looks around frantically. JESSE DAD! Something inside starts to pull the cellar door open. Jesse tries to hold it shut, but the inexorable force continues to inch it open. Jesse lets go and bolts toward the foyer. FREDDY is standing in his path, a sick smile on his scarred face. He flashes his razor - knives at Jesse. FREDDY -LRB- sinisterly. -RRB- Daddy ca n't help you now. Jesse tries to make a break for it but Freddy is too fast. His un - taloned hand gets an iron grip on Jesse's shirt collar. FREDDY I've been waiting five years for you, Jesse. We got special work to do, you and me. Things are really gon na heat up. Jesse struggles to get free. Freddy tightens his iron grip and fans his talons threateningly. Jesse's head stretches back from the chocking pain. FREDDY We'll do real good together, you and me. Freddy hurls Jesse against the wall. FREDDY You got the body. -LRB- doffs his hat. -RRB- I got the brains. With that, Freddy removes his hat. There is no skull under there - just a pulsating mass of blody BRAIN MATTER. JESSE lets out an agonized SCREAM.\",\n \"INT. JESSE'S BEDROOM - NIGHT ON JESSE, still in bed but his entire body arched backwards over the mattress. His scream continues until he collapses back down into the sheets. ON HIS DOOR It flies open and DAD crashes into the room, followed by MOM. They go to his bedside and stare at him as he pants and coughs his way back to consciousness. MOM -LRB- to Dad. -RRB- Maybe we should call a doctor. JESSE No. I'm okay. He sits up to prove it. JESSE Really. Just a bad dream.\",\n \"INT. HIGH SCHOOL BIOLOGY CLASSROOM - DAY A rather bored looking group of STUDENTS is listening with little interest to the droning of their teacher, MR ABLE, who is lecturing them from the front of the room. MR. ABLE So, to review, the solid waste, those nutrients that are not absorbed in the lining of the stomach, the large intestine, the small intestine - the alimentary canal - are passed out through the colon. SOUND OVER : A FAKE FART LAUGHTER from the class. ABLE looks up crossly from his notes until the laughs trail off. MR. ABLE -LRB- O.C. -RRB- -LRB- continues. -RRB- The liquid nutrients are then carried through an elaborate system of filtering, aided by the pancreas, liver and gall bladder. TWO GIRLS at the back of the room look at each other. One puts her finger in her mouth and pretends to gag. As Able DRONES on in the B.G., we're ON JESSE He's having a hell of a time keeping his eyes open. His head bobs intermittently as he starts to nod out. ON GRADY He nudges a CLASSMATE at the next desk to look over toward Jesse. They snicker. ON JESSE, THEIR POV nodding out BACK TO ABLE MR. ABLE Or collected in the bladder to be expelled at a later time. And this entire process is kept moving through `` the circulatory system'', the center of which is. -LRB- a beat. -RRB-. the heart. On the beat, he reaches under his lab table and plunks a BLOODY CALF'S HEART down right in the center of it. We hear DISGUSTED GROANS from the class. MR. ABLE Four chambers, just like the human heart, really. Able describes the path by sticking his index finger into each orifice. MR ABLE From the body, through the right auricle, to the right ventricle and out the pulmonary artery to the lungs. BACK TO JESSE, ASLEEP A particularly ugly and ferocious looking SNAKE is wrapping itself around his arm, making its way toward Jesse's face. CLOSE ON JESSE As he wakes up slowly and looks down groggily toward his arm. THE SNAKE opens wide and emitsa long demonic hiss. Jesse screams and hastily begins pulling the reptile away from him. ON ABLE Standing next to Jesse, he pulls the snake off his arm and drops it into a nearby tank. MR. ABLE If you want to play with animals, Mr. Walsh, join the circus. GUFFAWS from the class. JESSE looks around, bewildered and embarrassed. He spots GRADY, grinning widely.\",\n \"INT. THE WALSH HOUSE - LIVING ROOM - EARLY EVENING Comfortable and very suburban. A major color T.V. takes up the wall opposite a pair of His and Hers Barcaloungers. DAD is watching The Six O'clock News on the tube and fanning himself with a T.V. Guide. MOM sits on the couch with ANGELA, helping her with a jigsaw puzzle. TWO PARAKEETS are fluttering around inside a cage near the entry into the dining room. JESSE bounces down the stairway, a rolled towel tucked under his arm. DAD stares at him angrily then turns back to the game. JESSE CROSSES in front of the set on his way out of the room. DAD Where are you going? JESSE Just out for a while. DAD -LRB- shaking his head. -RRB- I told you I want that room unpacked. JESSE -LRB- begging. -RRB- Oh, come on Dad. DAD No. -LRB- pointing toward the stairway. -RRB- Upstairs. Jesse's about to protest but Dad cuts him off. DAD -LRB- firmly. -RRB- Now. Jesse turns around, mumbles something under his breath and stomps back upstairs.\",\n \"EXT. LISA'S HOUSE - POOLSIDE -EARLY EVENING A pair of glass sliders lead from the house onto a stretch of patio that surrounds a gorgeous built - in swimming pool. The patio is dotted with all the amenities of backyard recreation : a gas bar - b - que grill, a wet - bar, plenty of pipe furniture and even a pair of free - standing cabanas. The entire set - up is contained by a six - foot, chain link security fence. LISA steps out of the cabana, wearing a swim suit. She tosses her towel onto a nearby chair and crosses to the diving board. ON THE BOARD She bounces lightly and jumps off, cutting gracefully through the water and coming up in the center of the pool. MRS. POLETTI, a pleasant looking woman in her late 40's, slides open the patio doors and pokes her head out. MRS. POLETTI -LRB- calling. -RRB- There's a Jesse on the phone. LISA -LRB- O.C. -RRB- Okay. thanks. LISA swims to the edge of the pool and hoists herself up. She throws the towel over her shoulders and picks up a wireless phone from a low table. LISA Jesse, hi. -LRB- a beat, diappointed. -RRB- Oh. that's okay. Sorry you ca n't make it. -LRB- a beat. -RRB- No, I understand. Parents can be real pains. I'll see you in the morning, then. She hangs up and frowns.\",\n \"INT. WALSH HOUSE - JESSE'S ROOM - NIGHT JESSE stands at the foot of the bed, surveying the job unhappily and trying to figure out where to start. Finally, he pulls a SHOE BOX from inside a larger carton, places it on his desk and lifts the lid. It's full of cassette tapes. He rifles through them, selecting one and popping it inot a PORTABLE CASSETTE PLAYER on the desk. He pushes the `` play'' button. The tape is ROCK AND ROLL. The music gets him moving a bit. He surveys the room, then goes to A CARTON NEAR THE BOOKSHELVES. He reaches deep into the near - empty carton and pulls out a stack of books which he plops on the shelves next to other books already unpacked. He tosses the carton aside. He's getting into the music now as he spins around to face the bureau. He opens a SMALL POX on the bureau while be - bopping along and pulls out a PAIR OF SUNGLASSES which he puts on, practically dancing. He dumps the contents of the box haphazardly into a bureau drawer. JESSE opens a large bureau drawer. He grbs a nearby box and dumps it into the large drawer, smoothing it over perfunctorily with his hands. A Stetson cowboy hat is on top. He drops it on his head and pulls it down low over his eyes. ON A FULL LENGTH MIRROR Jesse steps into frame to get a look at himself. He likes what he sees as he mimes a guitar riff along with the music. In one smooth move, in rhythm with the music, he seings around and moves to the desk. He dumps a SMALL BOX OF PENCILS AND SUPPLIES into the desk drawer. As an afterthought, he grabs a couple of pencils out of the drawer and drums a few beats on the desk with them. He shoves the pencils up his nostrils, tucks his thumbs under his armpits and waves his elbows like he's doing the `` Funky Chicken''. Silly stuff that one owuld only do behind closed doors. He spins around, throwing his arms out and stopping ddead in his tracks. HIS POV LISA and MOM are standing in his doorway. Mom looks horrified. Lisa represses a giggle. Mom reaches over and knocks timidly on the open door. Jesse hastily pulls the pencils out of his nose and dives for the stereo to turn it off. Beet - red, he tosses the hat and sun glasses onto the bed and tries to look nonchalant. JESSE -LRB- embarrassed. -RRB- Hi. Jesse looks to Mom who takes the hint and turns to leave. Lisa takes a step into the room. LISA -LRB- when Mom is out of range. -RRB- I told her you invited me over. I guess I should have called, huh? Behind the embarrassment, he's glad to see her. He puts the pencils in the desk drawer and shuts it. JESSE No, that's okay. I was just. unpacking. LISA I know. Lisa casually steps over to a carton and peeks in. LISA I figured you might like some help. JESSE -LRB- pleasantly surprised. -RRB- Yeah? JESSE'S ROOM - LATER The room is shaping up nicely with only a few boxes remaining. Jesse pulls a bundle wrapped in newspapers from a carton. He tears away the paper, revealing a baseball trophy. He places it on a conspicuous corner of his dresser. Lisa reaches into the box, retrieves an aerosol can and looks at it. ON THE CAN A medicated spray for JOCK ITCH. LISA -LRB- O.C. -RRB- Where does this go? JESSE grabs the can from her hand and puts it down on the dresser behind the trophy. JESSE -LRB- mortified. -RRB- There's a box of sweaters over there if you want to put them up in the closet. Lisa is anxious to pitch in. She nods good - naturedly and steps over to her assignment. INSIDE THE CLOSET As Lisa opens the door and pulls an overhead chain to switch on the light. ANOTHER ANGLE as she drags a chair over, lifts a pile of sweaters from an open box, steps up on the chair and stacks them on a shelf. She starts to step back down when something catches her attention in the back corner of the shelf. She reaches in and pulls out a small, red leatherbound book. LISA What's this? Jesse steps over to look at it. ON THE BOOK about two - thirds the size of an average paperback, it has a matching leather thong that snaps into a small latch on the front and opens the book. LISA -LRB- reading. -RRB- `` Nancy Thompson, 1428 Elm.''. -LRB- looking up at him. -RRB- Hey, this thing is five years old. Jesse steps over and looks over her shoulder. JESSE You know her? LISA -LRB- shaking her head. -RRB- Uh - uh. Before my time. She turns a few pages. LISA -LRB- reading. -RRB- `` February 17th - My birtday. Daddy came by today with a big ol' stuffed bear for me. He took me to dinner and a movie and when we got back, he and Mother had another one of their fights. He left angry. I wish they would stop fighting.'' Jesse waves the diary away, uninterested. He crosses back to continue unpacking. LISA I think it's sad. JESSE -LRB- cynically. -RRB- Traumas of a ten - year old. Lisa leafs through a few more pages, stops and begins reading with widening eyes. She glances at Jesse and smiles impishly. LISA -LRB- reading. -RRB- `` March 7th - Glen asked me to sleep with him again. I ca n't yet - I like him, I want to make him happy but I'm not sure that I love him. I ca n't sleep with someone I do n't love.'' JESSE That's typical. I hope she did n't expect to make the best seller list with this thing. Lisa ignores him and scans the page. LISA -LRB- finding something. -RRB- Wow, listen to this! -LRB- reading. -RRB- `` Sometimes, when I'm lying here in bed, I can see Glen, in his window across the way, getting ready for bed. His body is slim and smooth and I know I should n't watch but that part of me that wants him forces me to. That's when I weaken. That's when I want to go to him.'' Jesse is suddenly interested. He walks over and Lisa hands him the diary with the page open to that entry. He reads it and quickly turns the page. He frowns and turns another, then another. JESSE That's it? -LRB- another couple of pages. -RRB- Wait, she skipped a week. -LRB- reading. -RRB- `` March 15 - he comes to me at night. Horrible. Ugly. Dirty. Under the sheets with me, tearing at my night - gown with his steel claw.'' Jesse's voice trails off on `` claw'' and a chill of vague recognition goes through him. He checks the cover of te book and flips back a few pages. Lisa moves closer to read over his shoulder. Jesse composes himself and looks back at the book. JESSE -LRB- reading. -RRB- `` His name is Fred and he keeps taking me to the boiler room. He wants to kill me.'' Jesse almost shivers. He turns the page, and he freezes. LISA What is it? ON THE DIARY Jesse shows her the page. There is one sentence scrawled across the next entry. Lisa reads it. LISA `` Tina is dead.'' ON JESSE AND LISA They look at each other, spooked. He turns the page. JESSE -LRB- reading. -RRB- `` Rod's been killed - he got Rod. Just Glen and me now. Ca n't fall asleep!'' LISA Wow. Jesse's face turns ashen as he looks up at Lisa. LISA Are you okay. JESSE -LRB- nodding ; covering. -RRB- Something Grady told me today about the people that lived here last. Girl went crazy - saw her boyfriend killed in the house across the street. He is interrupted by Mom, poking her head into the room. MOM -LRB- cheerfully. -RRB- How's it going? Jesse instinctively hides the diary behind his back. JESSE Okay. She looks over the room, impressed at the progress. MOM Looks great! Thought you might want to take a break - got some cold cider downstairs. Jesse looks at Lisa to see what she wants to do. Lisa looks over at Jese's alarm clock. THe time is 8 P.M. LISA -LRB- standing up. -RRB- No. thanks. I better get back. -LRB- to Jesse. -RRB- Got a major paper due the end of this week. MOM -LRB- ducking back out. -RRB- Well, it's there if you change your mind. Jesse waits for her to leave. JESSE -LRB- to Lisa. -RRB- Are you sure? LISA -LRB- nods sourly. -RRB- World History. -LRB- brightening. -RRB- But, I'll see you in the morning, right? Jesse nods. LISA -LRB- pointing to the diary. -RRB- Hot stuff. Let me know how it turns out. Jesse opens the door for her. JESSE I'll walk you downstairs.\",\n \"INT. WALSH HOUSE - LIVING ROOM - NIGHT MOM wraps the night - cover over the BIRD CAGE. She steps past ANGELA on the couch and crosses in front of DAD, in his recliver, vegetating in front of the tube. SHe sits and loosens her collar a bit. ON DAD He shifts uncomfortably and wipes some beaded sweat from his upper lip. MOM -LRB- to Dad. -RRB- A little warm in here, huh? Dad gets up from his chair. His shirt is sticky with perspiration. Jesse steps in from the dining room, a glass of milk in his hand. ON ANGELA looking up at Jesse. She puts a finger to her lips. ANGELA Shhh. The birds are sleeping. Jesse notices the intense heat in the room immediately. His eyes widen portentiously. ON DAD at the thermostat. DAD -LRB- astounded. -RRB- It's 97 degrees in here! He pulls off the coverplate and starts fiddling with the coil. Suddenly, a LOUD SQUAWK from the other side of the room makes everyone look up. Jesse puts his milk down on he T.V. and hurries over to the cage, ripping the cover away. ON THE BIRD CAGE Another series of HORRIBLE CRIES as one of the budgies proceeds to rip up the neck of the other one with his sharp beak. Jesse throws open the door and tries to pull the attacking bird off his victim. the vicious one continues the rabid attacks on Jesse's hand, drawing blood. As Jesse pulls his arm out, the bird flies out into the living room, roaring a repetitive WAR - CRY that is eerie and unnatural for something that size. MOM and DAD jump to their feet. ANGELA starts screaming at the top of her lungs. ON THE BIRD It circles around the ceiling and then DIVES for Dad, cutting a deep gash under his eye. It seems much larger than it was before - maybe twice its original size. DAD -LRB- screaming. -RRB- Get a broom or something! ANGLE : LIVING ROOM Mom dashes out of the room. THE BIRD swoops down, heading for Angela but crashing into the shade of a table lamp, knocking it to the floor. It flutters to the ceiling and hovers near a light fixture. Its beak and most of its head is covered in blood and it opens its mouth to emit a gutteral growl. MOM returns with a broom and hands it to Dad. As Dad approaches and lifts the broom to his shoulder, the bird screams agai and dives for Jesse. Jesse throws his arm out to block the attack. The bird reverses direction and Dad swings in mid - air with the broom. He misses, demolishing the remaining table lamp instead. ON THE BIRD It hovers again in the air, seemingly without any means of support, PUFFING UP, GROWING ANGRIER, MORE DEMONIC. Then, just as it seems ready for a last lethal attack, there is a loud BANG and the bird literally EXPLODES into FLAMES in mid - air. The family looks at one another in horror and disbelief. The only sound in the room is ANGELA, attached to her mother's leg and whimpering quietly.\",\n \"INT. WALSH HOUSE - KITCHEN - NIGHT CRASH! DAD dumps an odd assortment of home handyan tools on the kitchen table. He picks through them, selecting a pipe wrench and a screw driver. He crosses to the stove. We see Mom in the B.G., standing, not quite cowering, still in shock from the bird attack. Jesse is leaning on the counter, next to the range, watching his father's determined moves. Dad leans into the appliance and attempts to pull it away from the wall, probably tearing six or seven ligaments in the process. After several tries, he stops and looks up at his son. DAD Help me with this thing! JESSE It's not the gas, Dad! DAD -LRB- angrily. -RRB- Do n't tell me it's not the gas! He yanks on the stove with more vehemence. DAD Do n't tell me it's not the gas! Your mother thought she smelled gas. MOM -LRB- timidly. -RRB- I was n't sure, Ken. DAD -LRB- to Mom. -RRB- Alright then, what is it? Bird rabies? That cheap seed you've been buying? MOM -LRB- resenting that. -RRB- Oh, please. DAD What is it then? There's got to be an explanation. Animals just do n't burst into flames for no reason! JESSE Well it sure is n't leaky gas pipes. Dad stands up suddenly, CRACKING his head on the edge of the range hood. MOM -LRB- concerned. -RRB- Ken! As he groans in pain, he's suddenly hit with a revelation. He points an accusatory finger at Jesse. DAD You set this all up, did n't you? One of your sick jokes? JESSE What are you talking about? DAD You know what I'm talking about. What did you use, a fire cracker? A cherry bomb? Jesse is angry now. JESSE I do n't have to listen to this! He storms out of the kitchen. DAD Come back here! MOM -LRB- upset. -RRB- Ken! Dad looks blankly at the wrench in his trembling hand. DAD I do n't know. I do n't know, Shirl. He used to be a good kid.\",\n \"EXT. JESSE'S HOUSE - NIGHT Dark again, sleeping soundly.\",\n \"INT. WALSH HOME - SECOND FLOOR HALLWAY - NIGHT Jesse emerges from his room and eases the door shut as quietly as possible. He stops to listen for any signs of his parents being awake. SOUND OVER : SNORES FROM BEHIND THEIR BEDROOM DOOR He steps lightly past their room adn toward the head of the stairs. WE FOLLOW Jesse as he descends the stairs into the darkened foyer. THE CELLAR DOOR Jesse stops there, momentarily losing his nerve. He finally turns the knob and opens the door.\",\n \"INT. WALSH HOME - CELLAR - NIGHT Jesse pulls an overhead chain, flooding the cellar with light. It's just as he saw it in his dream but devoid of any intruders. he steps up the the furnace, squats down and opens the firebox door. He reaches in. To his horror, he feels something and pulls out an object, wrapped in rags. ON THE OBJECT as he unwraps it. An old, beat leather glove with a row of rusty knife blades protruding from the fingers. Suddenly, the furnace switches on with a ROAR. FLAMES are leaping out of the firebox. FREDDY -LRB- O.C. -RRB- -LRB- laughingly. -RRB- Hot enough for you? JESSE reels around. FREDDY is just across the room. FREDDY -LRB- re : the glove. -RRB- Go ahead, Jesse. Try it on for size! Jesse looks at the glove. The blades are no longer rusted but gleaming and sharp. he throws the weapon to the floor. Freddy moves in closer. JESSE What do you want? FREDDY I need you to finish my work. Let me teach you, Jesse. We'll have fun. You like my little trick with the bird? Freddy advances. Jesse steps behind a stack of cartons. FREDDY Kill for me. -LRB- laughing. -RRB- c'mon Jesse. Come to Freddy. Jesse pushes over a stack of cartons in his path and dives for the steps. Halfway up he misses his footing and slips, tumbling back down. ANOTHER ANGLE As Jesse comes to at the foot of the cellar steps. The furnace has stopped and Freddy is gone. As he gets to his feet, he notices. THE GLOVE on te floor, where he dropped it as shiny and new as the day it was made.\",\n \"INT. WALSH HOUSE - KITCHEN - MORNING MOM, DAD, and ANGELA are all at the breakfast table, picking at their food ; none of them is particularly hungry this morning. JESSE enters and heads wordlessly to a coffee pot on the stove. he pours himself a cup and turns abound to face his family. Jesse and Dad are making an extra effort to avoid each other's eye contact. ON ANGELA She's still feeling bad, drawing little circles in a puddle of maple syrup with a corner of her waffle. JESSE -LRB- to Dad, suddenly. -RRB- Why did it take them five years to sell this house, Dad? Dad shrugs his shoulders uncomfortably. DAD I do n't know. COuld n't get the right price, I suppose. JESSE And you do n't know anything about a murder across the street and a crazy girl who lived here - who saw the whole thing? Mom looks at Dad. This is all news to her. DAD -LRB- testily. -RRB- I do n't know. -LRB- a beat, coming clean. -RRB- They told me something about it, yeah. What difference does it make? He feels Mom's stare and finally turns to her. DAD Oh, come on, Shirl, how'd you think we got such a good deal? -LRB- to Jesse. -RRB- Listen - all old houses have stories. JESSE Did they tell you she went totally out of her mind - that they had to put her away? And that her mother killed herself in our living room? ON ANGELA She slides up to Mom. ANGELA Mommy, I'm scared. MOM -LRB- comforting her. -RRB- Shhhhh. Jesse and Daddy are just making believe, sweetheart. -LRB- to Jesse. -RRB- I do n't think we should be talking about this now. Dad turns back to Jesse. DAD -LRB- indicating Angela. -RRB- You see what you're doing? Now I do n't want to hear another word about it. There's nothing wrong with this house! ON MOM he looks up from Angela and sniffs the air. MOM Something burning? Mom and Dad oth look toward the counter - top. THE TOASTER, THEIR POV GLOWING RED - HOT and then, not just smokey toast but FLAMES leaping out of the bread slots. Mom gasps and Dad jumps to his feet, grabs a dish - towel and begins beating out the fire. JESSE turns white as he watches the scene. Dad turns white as he watches the scene. DAD turns away from the smoldering toaster, tosses the towel aside and heads back toward the table. DAD Craziest damn thing I ever saw - was n't even plugged in. Jesse puts his cut down hard on the counter and walks out. THe screen door slams behind him. Mom looks at Dad, horrified as Anglea clings to ehr side.\",\n \"EXT. MC DONALD'S PARKING LOT - DAY IN JESSE'S CAR As JESSE unrolls the bundle of rags he found the night before and lets the finger knives drop with a CLATTER on the seat between himself and LISA. On Lisa's side of the dashboard we see the remnants of a big, fast - food breakfast ; Egg McMuffin, danish, orange juice and coffee. Jesse nurses a cup of joe as Lisa picks up the glove and examines it with interest. LISA This is amazing! Your dream told you where this was? JESSE -LRB- nods. -RRB- Only it was more like, you know, sleep - walking. All I know is I woke up on the cellar floor next to it. He reaches into his knapsack and pulls out the diary. JESSE Forget about going back to sleep after that. I was up all night. -LRB- more intense. -RRB- I finished reading this. It gets real crazy towards the end, after all the death stuff. But then she said some - thing really freaky - about her mother taking her down to the basement to show her the glove. ON LISA She's totally sucked in to the story, wide - eyes and waiting for more. She offers a french fry to Jesse. He shakes his head. She pops it into her mouth and nods for Jesse to go on. JESSE That's when she started talking about Fred Krueger. LISA Who? JESSE Fred Krueger. The guy in her dream who's coming to kill her. Seems he was a real guy, ten years before who went around kidnapping kids and killing them. ON LISA She emits a long, windy whistle.\",\n \"INT. SCHOOL CORRIDOR - DAY KIDS are at their lockers, taking off their jackets and getting together everything they'll need for the day. ON JESSE AND LISA As they walk down the hall together. LISA Maybe you were having a premonition or something. You know, like those guys who help the police solve crimes and find missing people. You ever had anything like this happen before? Jesse thinks about it. JESSE -LRB- finally. -RRB- No. Never. -LRB- a beat. -RRB- You think that's what it is? LISA -LRB- thoughtfully. -RRB- I do n't know. They stop in the middle of the corridor. LISA Can I look at that diary for a little while? Jesse raises his eyebrows vaguely, reaches in his bag and hands over the book. LISA -LRB- taking it. -RRB- Thanks. Before she can go on, they are interrupted by a squeaky voice to their side. At the sound of it, Lisa displays annoyed recognition. KERRY -LRB- O.C. -RRB- Hi, guys. LISA Hi, Kerry. KERRY -LRB- to Lisa. -RRB- I got your invitation yesterday. Thanks. -LRB- a beat. -RRB- Any cute guys gon na be there? LISA -LRB- tired sigh. -RRB- All of them. KERRY Yor dad picking the music again? LISA -LRB- smiles. -RRB- Mom's trying to keep him upstairs. Jesse looks at Lisa quizzically. LISA -LRB- to Jesse. -RRB- Last party I had, Dad insisted on playing nothing but Benny Goodman records all night. The class bell RINGS. Lisa leans over and kisses Jesse. LISA I'll see you later, okay? The kiss takes him by surprise as she walks off with Kerry. JESSE -LRB- calling after her. -RRB- I may be late. Baseball practice!\",\n \"EXT. HIGH SCHOOL PRACTICE FIELD - DAY The school TEAM has been split up into two sides. There's an air of excitement about - like it's a close game, drawing to an end. GRADY is on third, waiting to be hit home. The PITCHER winds and throws. ON THE BATTER A swing and a miss. SCHNEIDER calls him out. He tosses the bat aside, disgustedly. JESSE is on deck. As he approaches the plate : A TEAMATE -LRB- O.C. -RRB- Last out. Up to you, Walsh. ON GRADY He sneers like they might as well just concede the game now and go home early. The PITCHER sends one right down the middle. JESSE lets it go and Schneider calls a strike. He chokes up a bit on the bat and takes his stance. Another perfect pitch and Jesse lets it go again. SCHNEIDER Strike! Grady slaps himself in the face and shakes his head pitifully. The PITCHER throws another. This time, Jese catches it perfectly, SLAMMING it down the middle for a solid hit. GRADY scores amid cheers and slaps on the back. JESSE holds up at first.\",\n \"INT. BOY'S LOCKER ROOM - DAY JESSE is at the end of a row of lockers. He pulls off his shirt and tosses it in the locker, takes down a towel and sets it down on the bench next to him. Several BOYS pass by on their way to their lockers or the showers, giving Jesse the thumbs - up. BOYS Good game, Walsh. Way to go, Walsh. etc.. GRADY approaches and goes to his own locker, down a few from Jesse's. Jesse plops down on the bench and slowly pulls off his sneakers. He stops to rub his aching shoulders. GRADY -LRB- finally. -RRB- You hit that ball pretty good, Walsh. JESSE It was okay. GRADY Who told you to choke up that way? JESSE My Dad. He played in the minors for a while, when he got out of college. GRADY -LRB- impressed. -RRB- No shit. They continue undressing in silence. As Jesse speaks, COACH SCHNEIDER steps up behind them. JESSE Schneider should n't have called you out on that double. GRADY Yeah, well, Schneider's got a stick up his ass today. JESSE -LRB- laughs. -RRB- Schneider's always got a stick up his ass. Schneider smiles wickedly as he places his hands on the two boys' shoulders.\",\n \"EXT. ATHLETIC FIELD - DAY JESSE and GRADY trudge along at somewhere between a job and a stumble. They talk to each other with words that are punctuated by huffs, puffs and side - stitches. JESSE -LRB- cautiously. -RRB- You remember your dreams, Grady? GRADY Only the wet ones. Jesse shoots him a condescending sneer and decides not to pursue it.\",\n \"EXT. SCHOOL PARKING LOT - DAY The lot is practically empty with most of the students on heir way home by now. Jesse's car is parked in the center. LISA is leaning on the car, waiting with a stack of books at her side. She looks up as Jesse approaches. JESSE Sorry. Schneider id it to me again. LISA I just got here myself. Went to the Public Library. -LRB- proudly. -RRB- Cut four classes! He opens the door for her. She picks up the books and climbs in. Jesse runs around to the other side and slides in beside her. JESSE -LRB- indicating the books. -RRB- What's all this. LISA Research. -LRB- she kisses him. -RRB- Hi. -LRB- an intriguing wink. -RRB- C'mon, let's go for a ride.\",\n \"EXT. HIGHWAY - DAY The blue Falcon rolls down the highway. INSIDE JESSE is driving as LISA re - stacks some of the books on her lap and begins leafing through one. LISA I'm convinced you've had a genuine psychic vision. Jesse looks over at her inquisitively. LISA At first I was n't sure because you said that you never had anyting like last night happen before. But I found out that most people have the potential for tuning in to `` the other world'' and neve do. It has something to do with the environment - like they have to be in a place that's sending signals. JESSE Like a haunted house, right? I do n't believe in ghosts. LISA You do n't have to. You just have to believe in energy. She shifts in her seat to face him. LISA -LRB- intensely. -RRB- Look, you got electricity in your body, right? JESSE Yeah, I know. synapses neurong. LISA And heat and chemical reactions. Where does it all go when you die? JESSE I do n't know - into the air I suppose. LISA -LRB- pointing up ahead. -RRB- Make a left at this corner. Jesse turns at the intersection. LISA What about `` essential energy'' the soul. Does that go into the air too? You think there's a good energy and a bab energy? JESSE -LRB- confussed. -RRB- I do n't know. -LRB- a beat. -RRB- Where are we going? LISA -LRB- smiles mysteriously. -RRB- It's a surprise.\",\n \"EXT. ABANDONED POWER PLANT - DAY An old generating plant, big enough to have served what was once a small town but rundown and obsolete now. the place is charred and the grounds are littered with rubble - as if there'd been a fire there long ago. The entrance to the plant is boarded up and plastered with `` NO TRESPASSING'' signs. Many of the boards are missing, providing easy access for the scores of vandals who had torn through there at one time or another. There are no windows at ground level but the top of the building is lined with many multi - paned frames ; all of them are either cracked or missing. JESSE'S CAR pulls into frame and he and LISA get out and look the place over. JESSE What is this place? LISA -LRB- excidedly. -RRB- Remember in the diary - Nancy said that she kept finding herself in a boiler room? Fred Krueger worked here. It's an old power - plant - a steam generator! She pulls out several papers and hands them to Jesse. LISA Here. JESSE What's this? ON THE PAPERS Xeroxes of newspaper articles. The HEADLINE reads : `` SPRINGWOOD SLASHER ARRESTED!'' LISA -LRB- O.C. -RRB- I did some reading up on our friend, Fred Krueger. Jesse leafs through the papers. Each one is a front page from a local newspaper. HEADLINE : `` KRUEGER FREED ON TECHNICALITY! D.A. RESIGNS'' HEADLINE : `` JUSTICE DONE - KRUEGER KILLED BY MOB! SPRINGWOOD SLASHER DIES IN HELLISH INFERNO'' Jesse sucks in his breath.\",\n \"INT. ENTRANCEWAY, ABANDONED POWERPLANT - DAY Jesse and Lisa climb between a pair of boards and step inside. ON LISA She walks toward the center of the plant, fascinated.\",\n \"INT. POWERPLANT We can see the remnants of a large boiler room. Big steel pipes jut out of the floor in a tangle of elbows and valves and a clutter of debris. A one - story holdig tank rises above a concrete pit and is met on top by a mze of catwalks, just under the windows. Although most of the ceiling has burned away, the interior is surprisingly intact for a derelict building and the overhead light distracts form any intrinsic creepiness the place would possess after dark. Jesse steps in behind her. LISA -LRB- solemnly. -RRB- He kidnapped twenty kids and brought them all here to die. She gives herself a chill but shakes it off and turns to Jesse. LISA So, you feeling anything? JESSE What do you mean? LISA I thought you might be able to make a connection. Jesse shrugs his shoulders and puts his hands to the side of his mouth. JESSE -LRB- calling. -RRB- Any ghosts in here? LISA C'mon, cut it out. JESSE Well, what am I supposed to do? LISA I do n't know. Concentrate or some - thing. Jesse shifts his legs and stares up at the ceiling. He closes his eyes. JESSE -LRB- still concentrating. -RRB- I feel like a jerk. LISA Shhh. Just concentrate. Jesse walks around in a small circle, keeping hsi head up and his eyes closed. LISA Anything? JESSE -LRB- shakes his head. -RRB- Uh - uh. -LRB- a beat. -RRB- Wait. He walks slowly across the room, almost in a trance, until he comes to a board leaning up against the foot of the mesh - iron stairway that leads up to the catwalks. ON THE BOARD As his hand reaches over to touch it. ON LISA stepping over next to Jesse. ANOTHER ANGLE He pulls the board away. A LARGE RAT, in her nest, WITH HER YOUNG, SNARLS at him. Jesse and Lisa jump into each other's arms.\",\n \"EXT. ABANDONED POWERPLANT - LATE AFTERNOON JESSE and LISA walk along the outskirts of the building to a pretty cluster of shade trees nearby. Lisa hoists herself up on a boulder and looks at the building. JESSE Disappointed? LISA About what? JESSE About not finding any bogey men? LISA -LRB- smiles. -RRB- I'll get over it. She is disappointed - She wanted to find some bogey men. Jesse comes up close to her and they stare at each other. LISA -LRB- finally. -RRB- You are sensitive. I mean you sensed that the rat was there. And I can feel something about you. Sometimes I feel like I know what you're thinking. Jesse moves in closer an puts his arms on her shoulders. JESSE -LRB- suggestively. -RRB- Yeah? LISA -LRB- ignoring the suggestion. -RRB- Maybe it only happens when you're sleeping - that's the way it was with Nancy, was n't it? JESSE Now, there's an idea we can take off on. Maybe we should drive out to the beach tonight and lay out a couple of blankets and. -LRB- winks. -RRB- Until I fall asleep. LISA -LRB- slyly. -RRB- Maybe we can do that. Strictly scientific, of course. Jesse moves in until their lips are almost touching. JESSE Nancy went bonkers from this thing. You would n't be afraid of being out on the beach with a potential lunatic? LISA Ghostbusters are fearless. They kiss. Not little friendly pecks like before - this is the real thing. Jesse drops his arms to her waist and she opens her legs so that he can get in real close. Suddenly, Jesse groans in pain and stands upright, tearing from their embrace. For the briefest instant, we can see protrusions grow and subside on his forehead and the side of his face. LISA What is it - What's wrong? JESSE -LRB- holding his stomach. -RRB- Whoa! LISA What is it? JESSE I do n't know - a sharp pain. Lisa watches his helplessly. Finally, the agony lifts from Jesse's face. He straightens up. JESSE It's gone now. LISA Oh, Jesse. Lisa puts her arms around him. LISA Jesse, this is no good. You've got to get some sleep, Jesse. You've got to get some sleep.\",\n \"INT. WALSH HOUSE - JESSE'S ROOM - NIGHT Jesse is in bed, tossing restlessly adn panting heavily. He is drenched with sweat and continues to perspire profusely as he sits up and turns on his bedside lamp. A thunderhead is RUMBLING somewhere nearby. The PLASTIC SHADE OF THE LAMP is melting. He scans the room picking out various indications of the intense heat that is surrounding him ; A CANDLE on his bookshelf collapses into a puddle of wax, the LAMINATED TOP OF THE NIGHT - TABLE is bubbling, an UNSHEATHED RECORD ALBUM hangs over the corner of the desk, his PORTABLE STEREO has caved in the center - a Daliesque tableau. SOUND OVER : SCRAPING Jesse gets out of bed, crossing to the desk. The scraping sound intensifes. CLOSE ON THE DRAWER as Jesse opens it. Inside, THE GLOVE, fingers moving, independently, unattached, scraping little cuts in the bottom of the drawer. ON JESSE slamming the drawer shut. SOUND OVER : A SWISHING SOUND, FOLLOWED BY A THUMP, AGAIN AND AGAIN UPSTAIRS HALLWAY JESSE, barefoot and wearing only a pair of jeans and an unbuttoned shirt, steps up to the door to Angela's room. The sound is coming from inside. He opens the door. ANGELA is standing in the middle of the floor, in her nightgown, seemingly oblivious to the heat. She is jumping rope and chanting : ANGELA One, two, Freddy's coming for you. ON JESSE, PETRIFIED ANGELA -LRB- O.C. -RRB- Three, four, better lock your door. ON ANGELA She sees her brother staring at her. She does n't stop jumping but smiles and continues her jingle : ANGELA Five, six, grab your crucifix. Jesse SLAMS the door shut. KITCHEN Jesse enters, looks out the windows. A huge bolt of LIGHTNING RIPS through the night sky ; a multiple flash f blue light strobes through the kitchen followed by a CRACK of intense THUNDER. ANOTHER FLASH OF LIGHTNING cuts across the kitchen itself, SHATTERING SOME DISHES on the counter - top, leaving a plume of BLACK SMOKE.\",\n \"EXT. DOWNTOWN STREET - NIGHT The rain continues to come down in buckets. Jesse enters shot and walks, unprotected in his drenched jeans and shirt and seemingly without any knowledge of where he is going. The streets are totally empty.\",\n \"EXT. DON'S PLACE - NIGHT A seedy tavern on a badly lit corner. JESSE steps into frame. He stares at the place before stepping up to he door.\",\n \"INT. DON'S PLACE - NIGHT The toughest looking bar in the entire city. The place is packed with PROSTITUTES, PIMPS, TRAVELING SALESMEN, a couple of TRANSVESTITES and a generous delegation of the leather and chain contingency. Jesse enters and crosses to the bar amid a few stares. He sits on a stool. The bartender draws a cold beer and presents it to Jesse. As the bartender turns away, Jesse reaches for the glass. A HAND slaps down on his wrist and holds it tightly. He looks up. COACH SCHNEIDER is standing over him. He's wearing a muscle shirt, a gold chain around his neck and he has a sick grin on his face.\",\n \"INT. GYMNASIUM - NIGHT JESSE is barefoot, jogging arund the outer edge of the gym floor and looking as if he's about to collapse from exhaustion. ON SCHNEIDER Leaning against a wall of the gym, watching Jesse run. As Jesse comes around for another lap, Schneider reaches out and grabs him, throwing him into a wall of folding wooden bleachers. Jesse is dazed, ready to drop. SCHNEIDER -LRB- barking. -RRB- Hit the showers.\",\n \"INT. BOYS LOCKER ROOM - SHOWER ROOM - NIGHT Jesse turns on one of the faucets and lets the hot water hit him full on.\",\n \"INT. COACH'S OFFICE - NIGHT SCNEIDER turns to a huge, padlocked cabinet on the wall. He unlocks it and opens the doors. It is filled with a variety of athletic equipment : dumbbells, jump - ropes and volley balls, etc.. Schneider selects a pair of jump - ropes from the cabinet and sets them down on his desk. A distinct PING makes him look up. He goes to the door and looks out into the hall. SHOWER ROOM Jesse continues showering.\",\n \"INT. COACH'S OFFICE Schneider turns back to his office. There is ANOTHER PING. A TENNIS RACQUET hanging on the wall has two broken strings. TWO MORE STRINGS SMOKE, THEN SNAP with a ping. A BASKETBALL leaps off a shelf of the equipmnt cabinet and bounce on the floor at Schneider's feet. Schneider bends down to pick it up and TWO MORE BALLS jump out onto the floor. A FOURTH BALL flies out and knocks over a TROPHY on his desk. Schneider hits the deck when a DUMBBELL streaks across the office and SLAMS into the window, cracking the thick wired glass. ON SCHNEIDER he makes his way to the cabinet by crawling along the floor as BASKETBALLS, VOLLEYBALLS, even a MEDICINE BALL fly over his head. He reaches up to close the cabinet doors. ANOTHER ANGLE A JUMP - ROPE on the desk unravels like a harpoon line and wraps an end of itself around Schneider's wrist. The other end pulls hard and yanks Schneider off balance. He reaches up to close the cabinet doors. ANOTHER ANGLE A JUMP - ROPE on the desk unravels like a harpoon line and wraps an end of itself around Schneider's wrist. The other end pulls hard and yanks Schneider off balance. As he reaches with his free arm to unwrap his wrist, the SECOND ROPE rockets off the desk top and secures itself to his other wrist. hThe office door opens by itself. The ropes drag Schneider screaming from the room. SHOWER ROOM JESSE turns as the shower head next to the one he is using, gurgles and suddenly comes on full. And suddenly, all the showers are on, spewing water and steam. We hear Schneider's screams as he is dragged into the room, through great puddles of water and against the tiled wall opposite Jesse. The showers on this side are OFF. The boy watches in horror as the ropes shoot up to two adjacent shower nozzles and hoist the Coach into a helpless spread - eagle, facing the wall. His clothes shear from his body like sheets of tissue paper. A STACK OF TOWELS Comes to life, snapping in mid - air at Schneider's butt and back. As they hit him, they draw blood. ON JESSE as the room fills with great clouds of steam until he is nearly obscured ; just a dark human form in the corner of the shower room. ANOTHER ANGLE ON SCHNEIDER as a figure in a green and red sweater and a battered fedora, cuts through the clouds, CACKLING and throwing his weapon - arm back like a World Series pitcher about to lob a fast ball. Schneider screams painfully as the knives cut four long tears in him, starting at the top of his naked back, cutting through his flesh. The weapon arm STRIKES AGAIN. Schneider screams, goes limp. WIDE - ANGLE : SCHNEIDER BLOOD begins to flow out of all the shower heads on Schneider's side. Schneider hangs limply from the shower heads. ON THE MURDERER CAMERA DOLLIES IN FAST to reveal it is JESSE. He screams. Jesse lifts his hand into frame. He is wearing Freddy's bloodied glove. JESSE No. Oh God, no. He slowly drops to his knees, sloshing in a crimson puddle, and stares up to the heavens. JESSE -LRB- screaming. -RRB- No!\",\n \"INT. WALSH HOUSE - FOYER - NIGHT We hear the DOORBELL RINGING repeatedly until the lights flick on and DAD hurries to the door, wrapping a robe over his pajamas. HIS POV AS HE OPENS THE DOOR TWO POLICEMEN in rain slickers stand on either side of Jesse. he is naked but is wrapped in a blanket. His hair is soaked and dripping over his face. 1st POLICEMAN This belong to you? Dad ca n't believe what he's looking at. He just nods his head. The 2nd Policeman gives Jesse a slight push across the threshold. He stumbles into the house. 1st POLICEMAN We found him wandering out on the Highway, naked. Keep a leash on him, will ya? KITCHEN - A TEA KETTLE WHISTLING MOM takes the kettle from the stove and pours it into a mug. She steeps the teabag as she crosses to the table and JESSE Wide awake, holding the blanket tightly around his neck, takes the cup from his mother. DAD paces the floor angrily. DAD Okay, we're gon na put our cards on the table, here and now. There's not going to be any retribution - no fire and brimstone. I only have two questions and you'll answer them and we'll all go to bed, okay? Jesse nods weakly. DAD Okay. What are you taking and who are you getting it from? Jesse snorts and shakes his head ironically. JESSE I'm not taking drugs, Dad. -LRB- to Mom. -RRB- Can I go to bed now? MOM -LRB- touches his cheek tenderly. -RRB- Sure. go ahead. Dad tries to burn a hole through him with his eyes as Jesse gets up from the table and leaves the room. As the double - hinged doors slap clsoed behind him, Dad turns to Mom without a change of expression. DAD -LRB- no question about it. -RRB- He's on something.\",\n \"EXT. WALSH HOUSE - MORNING DAD is standing on a ladder, unbolting a set of security bars from the windows. He watches from above as JESSE runs out the door, followed by MOM. MOM Jesse, please, let's talk about this! JESSE -LRB- pleading. -RRB- I'm okay. Just leave me alone. Jesse walks over to his car and climbs in. Mom turns to Dad who is watching the scene curiously. MOM He needs professional help. I think we should take him to a psychiatrist. DAD -LRB- incensed. -RRB- Are you nuts or something? What the hell is that going to do? MOM I do n't know! I just know he needs help and we do n't know how to give it to him. Dad shifts on the ladder and begins to protest. MOM -LRB- squelching it. -RRB- Do n't fight me on this. She stomps back toward the house. DAD -LRB- calling after her. -RRB- He needs a kick in the but, is what he needs. He needs a methodone clinic! She throws back a dirty look. MOM Oh, blow it out your ass, Ken. With that, Dad loses his footing on the ladder and drops down several rungs.\",\n \"EXT. ROAD - DAY Jesse's car travels slowly and turns onto a tree - lined street. INSIDE JESSE drives silently with LISA looking over at him, upset. LISA -LRB- upset. -RRB- Will you stop and tell me what's wrong? JESSE -LRB- staring straight ahead. -RRB- I'm fine. Nothing's wrong. LISA -LRB- undeterred. -RRB- you did n't say more than two words to me the whole way here. You had another nightmare, did n't you? JESSE yeah, I had a bad night. LISA You want to talk about it? JESSE My Dad thinks I'm on drugs, my Mom thinks I'm crazy and I'm not sure I do n't agree with her.\",\n \"EXT. HIGH SCHOOL - DAY as Jesse's car pulls into the lot. ANOTHER ANGLE as they turn a corner. Jesse jams on the brakes. THEIR POV - THE GYMNASIUM WING in the distance. A crowd of STUDENTS is gathered in a ring about three - deep outside the doors leading to the practice fields. IN THE CAR JESSE Oh God. He throws open the door, jumps out and runs toward the crowd. Bewildered, Lisa does likewise, running after him. As they get closer, they can see that the entire area is cordoned of with red plastic ribbons. SEVERAL POLICEMEN and OFFICIALS are coming in and out of the building. A TEACHER is trying to disperse the students, clapping his hands together and pushing through the rubber - neckers. TEACHER Okay gang, let's move along. Jesse stops at the edge of the barricade cranes his neck to see what's going on. GRADY spots Jesse and runs over to his side. Jesse is turning white as he watches the scene and listens to Grady's recap : GRADY Holy shit, man. Where have you been? Fuckin' Schneider got wasted last night. Jesse swallows hard to regain his composure. Lisa arrives at his side. JESSE Oh Jesus. I'm gon na be sick. GRADY -LRB- ignores him. -RRB- He must've been working late and some fruitcake came in and sliced him up like a kielbasa. In the shower! Left bloody footprints all over the. Jesse clamps his hand over his mouth and breaks for some bushes against the building. Grady looks at a horrified Lisa and gives a puzzled shrug.\",\n \"INT. SCHOOL CAFETERIA - DAY ON THE FOOD LINE LISA and KERRY are on the lunch line, sliding their trays along the rails. Kerry is wearing a walkman with the volume truned way up - we can almost make out the song. KERRY That was something this morning, huh? About Schneider, I mean. Lisa nods and takes a plate of macaroni and cheese from one of the KITCHEN STAFF. She does n't want to talk about it. KERRY Jesse sure took it bad, did n't he? Lisa shrugs and moves her tray away from Kerry's, toward the CASHIER. Kerry picks up a piece of cake from a shelf and slides ehr tray down until she's next to Lisa again. IN THE DINING ROOM JESSE is sitting at a table, a tray of food in front of him, untouched. He glances up at GRADY as he sits down next to him and starts digging in. GRADY -LRB- with his mouth full. -RRB- Look, I'm sorry about Schneider, man. I did n't know you were so close. Jesse does n't qualify that with a response. GRADY You want to go out to a movie or something tonight? Get your mind off things? Jesse shakes his head. Lisa comes over to the table with her tray and sits down next to Jesse. Kerry follows and sits next to Grady. KERRY Hi, guys. -LRB- to Grady, coquettishly. -RRB- Hi, Ronny. You going to Lisa's party tomorrow night? GRADY -LRB- without looking up from his food. -RRB- I ca n't. I'm grounded. KERRY How come? GRADY For throwin' my grandmother down a flight of stairs. Kerry, taking him seriously, nods gravely. Lisa looks at Jesse's tray of untouched food. LISA -LRB- to Jesse. -RRB- You should eat something - you'll feel better. JESSE I'm not hungry. LISA I wish you'd talk to me. We can figure it out, you know. We can figure it out together. JESSE There's nothing to figure out. GRADY -LRB- to Lisa, disgustedly. -RRB- You're wasting your time, the guy's a basket case. JESSE Shut up, Grady. Grady pushes his tray aside. GRADY You want me to shut up? Fine, I'll shut up, that's fine. See you around, buddy. Grady gets up and storms away from the table. Lisa, deeply pained, looks at Jesse. Jesse avoids her stare until he just drops his head into his hands and tries not to cry in front of his friends. He composes himself quickly and digs his fork into his lunch, choking down some macaroni.\",\n \"INT. LISA'S HOUSE - KITCHEN - NIGHT LISA, her MOTHER and FATHER are sitting, eating dinner. Lisa's mind is not at the table with her. MRS. POLETTI -LRB- to Lisa. -RRB- Bought some nice strawberries at the farm today. We can have some short cake for your friends tomorrow. Lisa looks up an dsmiles blandly. MRS. POLETTI I also wangled a promise out of your father. ON MR. POLETTI He scowls slightly. LISA -LRB- politely. -RRB- What's that? MRS. POLETTI We're gon na stay out of your way tomorrow night. LISA You're going out? MRS. POLETTI We're going to bed. She looks at her husband. MRS. POLETTI Early.\",\n \"EXT. WALSH HOUSE - NIGHT Quiet. The lights inside are all out.\",\n \"INT. WALSH HOUSE - BASEMENT - NIGHT We hear FOOTSTEPS and we TRAVEL with the sound along the floor to the foot of the basement steps. INTRUDER'S POV as he climbs the steps and approaches the door to the main part of the house. THE CAMERA is moving faster now, leaping the top steps and CRASHING through the doorway and onto the foyer floor. It crosses the FOYER adn begins climbing the stairs to the bedroom level. It stops at Angela's room and opens the door. ANGELA sleeps soundly, peacefully. It crosses over to the bed, a menacing SHADOW creeps over her form. The taloned glove pulls down on the blankets and she shifts position in the center of the bed, innocent and vulnerable. We see the SHADOW of the intruder on the wall. it moves in close to the sleeping child and emits a guttural, inhuman VOICE : INTRUDER -LRB- O.C. -RRB- Wake up, little girl. Her eyes flutter open. She looks up at the intruder and smiles. ANGELA -LRB- sleepily. -RRB- What time is it? ANOTHER ANGLE We now see that it's JESSE standing over her. he's in his underpants, drenched with sweat and hunched over as if all the muscles in his body were twisted around each other. The sound of Angela's voice softens him. He slowly straghtens up and looks about the room as if wondering how he got there. JESSE -LRB- himself again. -RRB- It's late. go back to sleep. She nods and closes her eyes. Jesse starts to pull the covers back over her and stops suddenly. HIS POV His right hand is wearing the GLOVE.\",\n \"INT. WALSH HOUSE - JESSE'S ROOM - NIGHT The desk lamp and a late movie on the T.V. are the only sources of light in the room. We see that the bed is rumpled and empty and we PAN across the room, to JESSE, sitting on the floor in front of the door, knees up against his chest, trying with all his strength to stay awake. He has a mug of black coffee in his hand and a pot of java at his side. He tops off his cup and reaches into the breast pocket of his shirt, withdrawing a small vial of pills. A BOTTLE OF NO - DOZ He rips the cap off with his teeth and dumps half the bottle into his coffee.\",\n \"EXT. WALSH HOUSE - MORNING A dark, dreary day. There are no morning sounds except for the SQUEAKING of an old rattle - trap bicycle as an overweight PAPER BOY swings by and lobs the morning edition over the lawn. The paper skids off the front steps and into the garden.\",\n \"INT. WALSH HOUSE - FOYER - MORNING JESSE walks down the steps. He looks ragged and exhausted and worse that ever. OUTSIDE THE KITCHEN He stops before going through the double - hinged door to push his hair back and forces a well rested, easy - going guise. IN THE KITCHEN DAD and ANGELA are sitting at the table. MOM is pouring some coffee into a couple of cups. JESSE enters. JESSE Morning. MOM How'd you sleep, honey, okay? JESSE Fine. Mom gives him a quick glance. MOM You're looking a little better today. DAD looks at Jesse's pale skin, the light stubble on his chin and his dark, bloodshot eyes and turns to Mom as if she's nuts.\",\n \"EXT. LISA'S HOUSE - POOLSIDE - NIGHT The entire pool area has been done up to the max. Japanese lanterns have been strung up above the fence, a long table, covered with festively arranged salads and condiments, stretches across the patio in front of the sliders and a Benny Goodman dance tune is blaring through some outdoor speakers. An all - too - bright underwater light makes the blue water shimmer crystal - clear. A score of nubile GIRLS in scanty swimsuits and athletic GUYS in cut - offs and trunks, scamper around, eating, swimming and horsing around. ON MR. POLETTI Standing over the gas grill, wearing a `` Kiss the Cook'' chefs hat and apron, cooking up a mess of hanburgers and hot dogs. ON MRS. POLETTI AND LISA stepping out of the house through the sliders, carrying more plates of food outside. A BOY bounces once on the diving board and CANNONBALLS into the center of the pool, SPLASHING everything within a fifteen foot radius including, MR. POLETTI who spins around from the grill, annoyed. MR. POLETTI Hey, watch it there! LISA turns to her mother, mortified. Mrs. Poletti hands her the platter she is holding and gives Lisa a reassuring squeeze on the shoulder before leaving her side and crossing toward her husband. Lisa turns her attention to JESSE, at the far corner of the patio, sitting in a lounger, alone. He looks worried and detached. She looks back toward the grill. MRS. POLETTI is pulling her husband away, against his will. He finally relents and beckons a BOY over. He turns his spatula over to him, surrenders his chef's hat and allows Lisa's mom to escort him back toward the house. JESSE, LISA'S POV He finally gets up and crosses toward the cabanas, going inside and shutting the door. BACK TO LISA as her mother and father approach. MRS. POLETTI We're going up to bed now. LISA -LRB- gratefully. -RRB- Thanks, Mom. Mr. Poletti clearly does n't like this arrangement. He looks behind him at all the horny young boys and turns back to Lisa. MR. POLETTI -LRB- sternly. -RRB- Twelve - thiry, Miss.. No later. LISA -LRB- nods agreeably. -RRB- Twelve - thirty. I promise. Mrs. Poletti takes her husband by the arm again and leads him up to the sliders. He turns around before going through. MR. POLETTI And do n't forget to lock the gate. LISA -LRB- nods. -RRB- Goodnight, Daddy. Mr. Poletti is half - led, half - pushed through the doorway. mrs. Poletti pulls the slider closed behind them.\",\n \"INT. CABANA - NIGHT A roomy dressing area with an open shower stall at the back. There's a wide, wooden bench along one wall, covered with clothing and towels. JESSE stands in the center of the room, putting his pants on. He is shirtless and shoeless. SOUND OVER : A KNOCK ON THE DOOR LISA -LRB- O.S. -RRB- Jesse? Jesse hesitates, uncomfortable. JESSE Be out in a minute.\",\n \"EXT. CABANA Lisa waits for Jesse. Finally, he unlatches the door. his shirt is on, unbuttoned. Lisa steps into the cabana.\",\n \"INT. CABANA Lisa shuts the door behind her. The two look at each other a moment. Then Jesse looks away and continues buttoning his shirt. JESSE I think I better go. I'm just not into it tonight. I'm sorry. LISA Why wo n't you talk to me? JESSE Will you leave me alone? Please. Jesse crosses to the bench and sits to put on his shoes. LISA You're not being fair to me. I'm worried about you and I want to help you get through this thing. JESSE What are you gon na do? How are you gon na help? I'm losing my mind. -LRB- breaking down. -RRB- I do n't want to have you watch me fall apart. Lisa goes to Jesse. She puts a comforting arm on his shoulder. LISA It's okay, Jesse. Jesse takes her hand and holds it tight. She sits beside him. JESSE -LRB- choked. -RRB- I'm afraid to go to sleep, I'm afraid to stay awake - I'm ruining your party. They're gon na put me away for sure. LISA We'll figure it out together. We'll stay up all night if we have to. I wo n't let anything happen to you. They look into each others eyes. Lisa kisses him ever so gently, then again. he kisses her. Their kisses grow hungrier. Love conquers fear and they embrace fully, kissing passionately. POOLSIDE THREE BOYS are huddled together, looking up at the Poletti's bedroom window. BOY ONE Any second, now. THE BEDROOM WINDOW, THEIR POV The lights FLICK OUT. BOY ONE -LRB- O.C. -RRB- -LRB- quietly. -RRB- Party time. ON THE WET BAR Someone reaches over to the stereo, pops out the Benny Goodman cassette and flicks the radio on. Van Halen BLASTS out of the speakers. ON KERRY In the pool, up to her neck with a HUNK. They both look up as the music changes. The top of her bathing suit floats up to the surface. KERRY Oh, wow, Van Halen.\",\n \"INT. LISA'S HOUSE - THE POLETTI'S BEDROOM - NIGHT At the sound of the music, Mr. Poletti sits up in bed, angrily. Mrs. Poletti puts an arm on his shoulder. MRS. POLETTI -LRB- quietly. -RRB- Let them have their fun, Honey. Mrs. poletti pulls out a pair of earplugs and hands them to Mr. Poletti, who grumbles, sticks them in his ear and drops back down into his pillow.\",\n \"EXT. LISA'S HOUSE - POOLSIDE - NIGHT Somebody switches off the lights to general applause. BACK TO KERRY AND THE HUNK They are in a steamy embrace when the underwater lights go out. The rest of her suit pops up out of the water. ON SOME BUSHES as a COUPLE pulls out a red wagon, stashed in the shrubbery and loaded with beer.\",\n \"INT. CABANA - NIGHT JESSE and LISA rolling around on the floor, a lot of heavy petting ; not doing it but serious, heated stuff just the same. HIS HAND, wrapped around Lisa's wrist, pinning it gently to the floor. ON LISA Her eyes closed ; feeling him - definitely feeling him. CLOSE TWO - SHOT, JESSE Jesse is about to take down Lisa's swimsuit top when an ungodly long iridescent serpent - like TONGUE flicks a foot out of his mouth, wiggles and flicks back in. Jesse moans lasciviously, not his own voice. ANOTHER ANGLE Jesse pushes himself away from Lisa and scrambles to his feet. Lisa, unaware of what happened, is puzzled and upset. ON LISA sitting up on the floor. LISA What's wrong? Jesse tucks in his shirt and buttons his pants. he is visibly shaken. JESSE I'll see you. Lisa just looks at him, helplessly. He slips out the cabana door and shuts it. ON LISA she gets up slowly. She's profoundly worried.\",\n \"INT. GRADY'S BEDROOM - NIGHT Grady is sleeping on his back, dead to the world. Suddenly, a hand clamps down over his mouth. A light flicks on. LONGER ANGLE : GRADY'S BEDROOM It's JESSE. A window is open in the B.G., teh curtains in disarray. He lifts his hand from Grady's mouth and Grady scrambles out of bed. GRADY -LRB- hoarsely. -RRB- Jesus Christ, you scared the shit out of me! JESSE I'm sorry. GRADY What are you doing here? JESSE You got ta let me stay here tonight, Grady. GRADY Are you nuts or something? JESSE Listen to me, Grady, this is serious. Something really weird is happening. It started out like just bad dreams but it's getting real bad. Grady is tired and cranky and he does n't want ot hear this. GRADY Aw, will you get out of here! Go and take a sleeping pill or something. He flops back down on his bed and puts his arm over his eyes. GRADY In fact, take a whole bottle and do the world a favor. Jesse sits on the edge of the bed. JESSE I killed Schneider, Grady. Grady lifts his arm from his eyes and stares at Jesse preposterously. JESSE -LRB- nods. -RRB- Only it was n't me - I was there but it was like something inside of me, moving me around. Then last night it made me go into my sister's room and tonight, with Lisa in the cabana. We were. on the floor - I felt it happening again. He grabs Grady's arm. JESSE It wanted me to kill them, Grady! Grady continues his dumbfounded stare. GRADY -LRB- finally. -RRB- You're fucked in the head. JESSE I'm scared, Grady. I know it sounds crazy. But, there's something trying to get into my body. GRADY -LRB- sneers. -RRB- The only thing trying to get into your body is female and waiting for you on a cabana floor. And you want to sleep with me. Go figure. JESSE Look, I do n't care if you believe me or not. GRADY I believe you. You had some scary dreams, okay? JESSE -LRB- frustrated. -RRB- No! -LRB- shakes his head. -RRB- I do n't know - everything's all mixed up. -LRB- suddenly angry. -RRB- What difference does it make? I'm in trouble here. I need your help. Grady lets that sink in. GRADY -LRB- softer. -RRB- Okay, schmuck. What do you want me to do? JESSE Just watch me. If anything weird happens - like if I start dreaming weird or try to walk out of here, you got ta try to bring me out of it. his me over the head if you have to. Just do n't let me leave. Grady looks down at the floor, sighs, and nods his head. JESSE And Grady. Grady looks up. JESSE Do n't fall asleep!\",\n \"EXT. LISA'S HOUSE - POOLSIDE - NIGHT The underwater lights are still off, the music has calmed down a bit and most of the KIDS are more into necking than swimming. TWO BODIES are rolled up in a blanket together. From a short SQUEAL, we can deduce that it's KERRY and her HUNK. The BAR - B - QUE BOY has remained steadfast at his post although his GIRLFRIEND has joined him and he's paying more attention to her than the hotdogs on the grill. ON LISA She sitting on one of the lounges, her eyes are red from crying. She's being comforted by a girlfriend, PATTY. PATTY Why do n't you just call him? LISA -LRB- tearfully. -RRB- He wo n't talk to me. PATTY Well, you're not doing him or yourself any good sitting here and worrying. Lisa looks at her friend. LISA I shoud go see him, but. I do n't know, the party and all. PATTY -LRB- encouragingly. -RRB- Go ahead. I'll hold down the fort. LISA -LRB- getting up. -RRB- Thanks, Patty. You're a pal.\",\n \"INT. GRADY'S BEDROOM - NIGHT Grady is sitting up in bed, staring at the T.V.. He turns to JESSE, slumped in a nearby chair, asleep. Grady switches off the TV with the remote. GRADY Sweet dreams, buddy. Grady turns off the READING LIGHT by the bed. He gives a final look at Jesse before he pushes the whole thing out of his mind with a disgusted wave of his arm and lays back down. ON JESSE Suddenly, his eyes open widely. JESSE Grady? Grady MUMBLES an obscenity and turns over on his side to face Jesse. GRADY What? JESSE It's happening again. Grady turns the reading light back on in time to see Jesse DOUBLE OVER and curl up in obviously incredible pain, falling to his knees. He flails out as if 1000 volts were going through his body and begins to choke on his tongue. Grady scrambles out of bed and dances around Jesse, not knowing what to do. ON JESSE'S HAND as he raises it and his fingers spread widely apart. Four steel RAZOR - KNIVES tear out from withing the tips of Jesse's fingers like long, bloody switchblades! GRADY stands by helplessly as Jesse WRITHES. And then it is like some crazed beast in Jesse's gut, tearing its way out of his skin like someone stepping through a thick, latex film. As his skin peels away, thousands of capillaries pull apart, spraying blood everywhere in a fine, almost powdery mist. The transformation is almost complete when FRED KRUEGER's body steps out of the red cloud. All that is left of Jesse is his SCREAMING FACE, plastered like a grisly ruber mask over Freddy's own disfigured features. Grady backs away toward the door. GRADY -LRB- screaming. -RRB- No! No! No! ON FREDDY He stands up with an evil smile, all there now, and puts on his battered hat. ANGLE : GRADY'S BEDROOM Grady tries desperately to get out, but the door wo n't open. Freddy cackles evilly as he cuts off Grady's screams by grabbing his throat with his unarmed hand. he pushes Grady up against the door and lifts him off the floor like he was hanging a picture. We hear MUFFLED CALLS from outside the door - the off - camera cries of concerned PARENTS. THE DOORKNOB RATTLES as they try to get in the room to check on their son. BOOM, BOOM, BOOM! a fist, hammering against the door behind Grady's head - his father trying to get in. MR. GRADY -LRB- O.C. -RRB- What's going on? Open the door, Ronny! FREDDY draws back his knife - hand and prepares to plunge it into Grady's stomach like he was spearing a pot roast. OUTSIDE THE DOOR MR. and MRS. GRADY, in their nightclothes. Mrs. Grady stands with her hands over her mouth as Mr. Grady grabs the know again and BANGS his fist repeatedly against teh door. ON FREDDY Throwing force into his cutting arm. We CUT before impact to : OUTSIDE THE DOOR We hear Grady SCREAM as the steel blades cut through his body and poke out through the door like it was made of balsa. They wiggle slightly to pull free and are retracted with an ungodly SQUEAK. Mrs. Grady screams. MR. GRADY My God. Mr. Grady throws his shoulder with all his might against the door. A second excruciating SCREAM inside, and the knives cut through the door, inches from Mr. Grady's head. When they pull out, blood is soaking through the knife holes - it looks as if the door itself is bleeding. ON GRADY breathing his last few gasps. ON GRADY'S PARENTS They watch in stunned horror. ON GRADY He sinks slowly to the floor, dead. Freddy watches as his victim slides into a heap on the floor. Only we see now that it is n't Freddy anymore but Jesse again, panting exhaustedly and dripping Grady's blood from just under his elbow to the sharp points of the razor - tipped glove he wears on his hand. THE DOOR is budging open against Grady's body - a little more with each crash of Mr. Grady's shoulder against the other side. Jesse is coming to - himself again, and he views what he has done to his best friend with terror crazed eyes. is eye catches his own reflection in a full length mirror on the wall. The image reflected is of FREDDY. JESSE No! -LRB- backing away from the body. -RRB- No! No! No! -LRB- screaming toward the mirror. -RRB- You son of a bitch! You killed him! Jesse hurls the glove at the mirror, cracking it. Freddy's mocking image, however, remains. The last SOUND we hear is a demonic mix of Jesse's own screams and Freddy's cackling laugh.\",\n \"INT. LISA'S HOUSE - FOYER - NIGHT Lisa has changed into a white shirt and a pair of cut - offs. She hurries downstairs, buttoning up her shirt and crosses the foyer floor to the door. She opens the door and JESSE collapses in her arms. He is bloody, bruised and his clothes are torn and dirty. LISA -LRB- frenzied. -RRB- Jesse, God - what happened? JESSE -LRB- hyperventilating. -RRB- I killed him! I killed him! She draws him in close, trying to comfort him. She looks at his bloody arms. LISA Oh, Christ, you're hurt. JESSE -LRB- weeping now. -RRB- I killed Grady. I killed Grady, Lisa. I killed Schneider. Oh my God, he's inside me. Lisa looks around, frantically as she holds Jesse tightly against her body. LISA Who, Jesse? JESSE he's just waiting to take me. When I sleep. LISA Who? Who's doing this to you? He looks at her as if she should know. JESSE Fred Krueger. -LRB- psychotically. -RRB- He's been trying to get hold of me, to use me. He needs me to get out of his world into ours. He's gon na take me again. LISA No, Jesse. This is n't happening. It's got ta be everything you've taken in - Schneider and the diary and the glove - only it's all mixed up. He pushes away from her, frustrated. JESSE No! Christ, how can I make you understand? He tried to make me kill Angela last night! Look at the blood on my hands! He begins to sob. JESSE Oh, God. I did that to Grady. -LRB- suddenly coherent, realizing. -RRB- He owns me. Lisa puts her arms around him. SHe strokes his head, trying to calm him. LISA I'm not gon na let anyone take you from me. There's got to be a reason. We'll figure it out together. Suddenly, something makes Lisa stop. LISA Wait a minute! She leads Jesse toward the study entryway and opens the door. LISA Wait in here for me. I'll be right back. Jesse goes into the study. Lisa hurries off.\",\n \"EXT. LISA'S HOUSE - POOLSIDE - NIGHT THE BAR - B - QUE BOY has left his post entirely. He is sitting on a nearby bench with his GIRLFRIEND on his lap and his chef's hat askew on the back of his head. Suddenly, the girl points toward the grill. GIRLFRIEND Hey, look! The kid looks over. HIS POV - THE GRILL A platter of hot dogs on an attached cutting board. The hot dogs are exploding, bursting into flames, one by one until the whole plate is engulfed. BAR-B-QUE Holy Shit! He jumps up, picks up the flaming platter with his hands and tosses it like a hot potato onto the cooking grid, slamming the lid down with a CRASH. Some of the WITNESSES hoot and laugh and there's a scattering of applause. Before Bar - b - que can take a bow for his bravery, his attention is drawn to the sound of rapid POPPING. HIS POV The WAGON OF BEER on the ground near some bushes. The pull tabs are popping off and geisers of brew are shooting up toward the sky.\",\n \"INT. LISA'S HOUSE - STUDY - NIGHT LISA opens up the DIARY. JESSE looks over her shoulder. LISA Something Nancy said - her last entry. -LRB- reading. -RRB- `` He is evil itself. I know now that I brought him into my world. We all did, gave him all the energy he needed. Our screams were all he needed. Now I will take it back - Deny him.'' She looks up at Jesse. LISA She was n't crazy. -LRB- he holds up the book. -RRB- All this really happened. -LRB- a beat. -RRB- You can fight him. Jesse looks confussed. LISA Remember what I said? About good energy and bad energy? He thrives on bad energy. Hate, anger, fear. He is bad energy. -LRB- a beat. -RRB- You've been afraid of him. Jesse suddenly winces in painand puts his hand to his stomach. JESSE -LRB- panicking. -RRB- Oh, God, he's coming back! -LRB- to Lisa. -RRB- Get out of here, Lisa! The window SLAMS shut and LOCKS. LISA frightened, looks behind her and back to Jesse, frantically. LISA Fight it, Jesse! FRONT DOOR, FOYER The deadbolt turns with a loud SNAP.\",\n \"INT. LISA'S HOUSE - THE POLETTI'S BEDROOM - NIGHT Their bedroom door LATCHES firmly. MR. POLETTI sits up with a start. MR. POLETTI What was that?\",\n \"EXT. GATE - LISA'S HOUSE - POOLSIDE - NIGHT A large padlock swings around and SNAPS shut.\",\n \"INT. LISA'S HOUSE - STUDY - NIGHT JESSE is doubled over in pain. Lisa has her hands on his shoulders, shaking him, trying to bring him out of it. The heat has become intense in teh room ; they are both sweating profusely and their clothes cling to their wet bodies. LISA You created him - you can destroy him. He lives off your fear. Fight him, Jesse! JESSE -LRB- painfully. -RRB- I ca n't! Tiny bubbles are rising to the top of the aquarium tank and the angelfish float on the surface of the water, poached.\",\n \"INT. LISA'S HOUSE - THE POLETTI'S BEDROOM - NIGHT MR. POLETTI is standing inside the door in an open robe, tugging on the knob as MRS POLETTI joins him at his side. He, too is drenched with sweat and the heat has steamed up all the interior windows. MRS. POLETTI What is it? MR. POLETTI The lock's jammed! Suddenly, there is a BLAST OF MUSIC as a bedside CLOCK RADIO comes to life an immediatly begins melting in the center. The music GROANS to a stop after less than a bar and the amber dial - lamp dies.\",\n \"EXT. LISA'S HOUSE - POOLSIDE - NIGHT KERRY and HUNK in the pool again. Steam is rising off the surface and the water seems a bit rough for a swimming pool. Kerry calls out to no one in particular. KERRY Hey, can somebody turn down the heater?\",\n \"INT. LISA'S HOUSE - STUDY - NIGHT JESSE is writhing on the floor as LISA jumps around him, helplessly. LISA You're not afraid of him! He does n't even exist. ON THE T.V. as it, too, comes to life with a BLAST OF SOUND, SPARKS violently and dies. ON THE AQUARIUM as the water comes to a boil, the glass SHATTERS and the carpeting is flooded with a wave of steaming water and dead marine life.\",\n \"EXT. LISA'S HOUSE - POOLSIDE - NIGHT as the Japanese lanterns begin to brighten considerably - as if there's a power surge in the line. Each of the bulbs begin to burst, scattering a group of screaming TEENAGERS from beneath them.\",\n \"INT. STUDY ON LISA, JESSE'S POV Horrified. ON THE DESK FRONT as a hand comes up into frame - FREDDY'S hand. It scrapes up the wooden panel and grips the desktop, cutting four deep notches into the scrolled edge - molding. ON LISA She GASPS. FREDDY is standing in front of her. FREDDY -LRB- laughting hideously. -RRB- He ca n't fight me. -LRB- raising his eyebrows. -RRB- I'm him. Freddy approaches, flashing his razor - knives like a set of Tiffany rings. Lisa looks about the room for some escape. Freddy swings. Lisa counters by pulling an afghan from the back of one of the chairs and catching it in his blades. She reaches behind her for something to hit him with and comes up with a heavy brass lamp from the top of the desk. She SMASHES him over the head with it. The impact throws him back long enough for her to slip by him and run out of the study. She slams the door behind her. Freddy recovers quickly from the blow and, angry now, takes after her.\",\n \"INT. LISA'S HOUSE - THE POLETTI BEDROOM - NIGHT Mr. Poletti is banging on the door and wrenching the knob. MR. POLETTI Lisa!\",\n \"INT. LISA'S HOUSE - FOYER - NIGHT as LISA runs through the room, rounds the newel post of the stairway and skids across the parquet floor to the front door. She grabs the knob and pulls. Locked. LISA -LRB- screaming for help. -RRB- Jesse! Panic - stricken, she turns to run. FREDDY LEAPS across the room at LISA. She tries to run past him but collides with him instead. They both go down on the waxed floor. LISA tries to scramble away. FREDDY grabs her foot and sinks his teeth into her bare calf. She SCREAMS in pain. LISA kicks him in the head with her other foot. FREDDY strikes at her leg with his talons, but she twists away and he wedges the blades deep into the oak floor. She squirms free as Freddy pull s and pulls on his weapon to un - stick it from the floor. She runs toward the kitchen.\",\n \"EXT. LISA'S HOUSE - POOLSIDE - NIGHT KERRY and HUNK in the middle of the pool. The surface is choked with steam and their bodies are lobster - red. They are trying to get to the stairway at the low end but the water has become even more turbulant and much hotter and randowm waves keep pushing them back, panting, toward the deep end. Kerry goes under and Hunk picks her up to hold her head up above the water. HUNK Help! ON THE PATIO several BOYS rush to the fence to pull down a life - hook hanging there on a bracket. Other TEENS stand around, wondering what's happening.\",\n \"INT. LISA'S HOUSE - KITCHEN - NIGHT LISA is devastatingly frightened as she crashes through the doors and quickly scans the room. She runs to the sliding glass doors leading out to the pool area and hurls aside the draperies. ON the other side of the glass, FIVE KIDS tug frantically or the door and bang on the glass, trying to get in. BACK TO LISA She turns toward the counter and spots A WOODEN KNIFE - BLOCK a good selection of gourmet cutlery. FREDDY crashes into the room. ON LISA jumping toward the knives. She grabs for the thickest handle and unsheathes it from the block. This is one hell of a KNIFE - a fourteen inch long blade of carbon steel - all it needs is a blood - gutter to move it from the kitchen to the battlefield. THE SLIDERS The FIVE KIDS outside the glass doors stare, aghast. KITCHEN Freddy stops in the center of the room as she swings around, holding the knife in her fist defensively. LISA Jesse, help! FREDDY I'm Jesse now, Lisa. He chuckles as he raises his own weapon and rhythmically clicks the blades together. he's up for a feisty victim. Lisa tries to get up the courage to send the knife home. ON FREDDY His expression changes suddenly. FREDDY -LRB- Jesse's voice, pleading. -RRB- Kill me! Please kill me! ON LISA She is devastated by teh sound of Jesse's voice coming from within this monster. ON FREDDY himself again. FREDDY -LRB- mockingly. -RRB- Go agead, Lisa. Kill him! Kill him! He steps toward her and she swings with the knife. He jumps back, inches from the blade. He laughs and moves for her again. This time she swings and hits her mark, driving the knife deep into Freddy's shoulder. She PLUNGES the blade in, again and again, pushing him back across the room. The knife cuts long gashes but they do not bleed and with each puncture of the blade, Freddy lets out a horrible laugh : FREDDY -LRB- Jesse's voice. -RRB- Lisa. Lisa. I love you. I love you! Stunned, she steps back into the center of the room. She raises the knife again but she is crying hysterically and just does n't have it in her. Freddy catches her wrist with his bare hand and squeezes it with all his strength. Lisa begins quaking and her knees weaken. She closes her eyes. LISA -LRB- tearfully. -RRB- Please, God. She drops the knife : it sticks into the linoleum. ON FREDDY He starts to mouth a parting death - word but suddenly stops. TWO SHOT - LISA AND FREDDY Lisa opens her eyes. He is stell standing there, poised for the kill but he is staring at her with an odd expression - perhaps a glint of recognition. Lisa stares back, wondering why she is n't dead yet. CLOSE ON FREDDY A frown of confusion distorts his ugly face and his lower lip quivers slightly. Suddenly, he throws her aside like a fisherman tossing acks an undersized flounder. FREDDY -LRB- as Jesse. -RRB- Nooo. ON LISA SMASHING into the wall with force. She slides down to the floor, semi - conscious. BACK TO FREDDY he emits an agonized SCREAM and LUNGES, not at her but DIVING through the glass doors to the pool area.\",\n \"EXT. LISA'S HOUSE - POOLSIDE - NIGHT REVERSE ANGLE as the glass shatters into a million shimmering pieces and Freddy is gone - vanishing before our eyes. The pool has stopped swirling although it continues to simmer. KERRY, HUNK and LIFEHOOK BOY cough and shake as they are helped out of the water and wrapped in towels by some FRIENDS. Many of the TEENS are huddled in little groups. Some are crying, others just look at the remnants of the party in disbelief. TEENS What happened? Where'd he go. Etc.. Several BRAVE BOYS approach the shattered sliders with cautious curiosity.\",\n \"INT. LISA'S HOUSE - UPSTAIRS HALLWAY - NIGHT MR. and MRS. POLETTI listen to the uncomfortable silence. they look at the door as it UNLATCHES with a soft SNAP. Wary, they do n't move.\",\n \"EXT. LISA'S HOUSE - POOLSIDE - NIGHT One BRAVE BOY in the group kneels down and touches his hand on the patio, looking or some explanation for the shattered glass. ON THE TAPE DECK as the cassette pops itself in and switches on GLENN MILLER. BACK TO PATIO Everyone looks around, spooked. Suddenly, there is a huge RIPPING sound and FREDDY violently CRASHES up through the concrete! ON THE KIDS Screaming at the sight of the monster. ON THE POOL as it begins to churn and boil. THE RAZOR - KNIVES fan open Brave Boy screams as Freddy swipes the knives toward his throat. Before contact, we\",\n \"INT. LISA'S HOUSE - FOYER - NIGHT as Mr. Poletti scrambles down the stairs with Mrs. poletti close behind.\",\n \"EXT. LISA'S HOUSE - POOLSIDE - NIGTH as FREDDY grabs another teen and throws him into the overheated pool. he SCREAMS as he hits the water.\",\n \"INT. LISA'S HOUSE - KITCHEN - NIGHT ON THE DOOR as MR. POLETTI bursts through, followed by his wife. She screams when she sees LISA -LRB- groggily. -RRB- He could n't do it, Momma. MR. POLETTI looks up at the sound of the OFF - SCREEN SCREAMING. He rushes across the room to the sliders.\",\n \"EXT. POOLSIDE Total CHAOS has taken over. KIDS are running in every direction, screaming as FREDDY lashes out indiscriminately. A SCREAMING GIRL is PUSHED INTO THE POOL by the stampeding kids and is SUCKED UNDER. TWO BOYS vault the WALL. One perches on top, holding a hand out to help HIS GIRL over. BOY Come on! FREDDY races at them and SLASHES THE GIRL. She drops. The BOY clambers over the wall. ON A FLEEING KID THE FLEEING KID runs toward camera -LRB- no othe rkids in shot -RRB-. As he runs, he BEGINS TO SLOW DOWN, as if being held back by an invisible force. Suddenly, FREDDY APPEARS AND, AT NORMAL SPEED, SLASHES THE KID.\",\n \"EXT. CHAIN LINK FENCE - POOLSIDE SEVERAL KIDS breaks for the gate. The PADLOCK is secure. ONE KID grabs onto the chain - link fence to climb it. The links SMOKE AND SIZZLE, and the kid lets go with a scream. His HANDS are branded with the pattern of the steel links.\",\n \"INT. LISA'S HOUSE - KITCHEN - NIGHT Mr. Poletti turns whit, not believing his eyes. He backs away from the sliders. MR. POLETTI My God! He backs off some more only taking his eyes off the scene to glance at his wife and daughter. MR. POLETTI Get her out of here! MRS. POLETTI looks back at her husband, questioningly. MR. POLETTI -LRB- urgently. -RRB- Get her out of here! She starts to help Lisa to her feet. MR. POLETTI turns on his heels and runs through the kitchen doors.\",\n \"EXT. LISA'S HOUSE - POOLSIDE - NIGHT Freddy stands in the center of the patio, swinging with his claw as a few DO - GOODERS circle him and try to calm him down like he was just some ordinary homicidal maniac. At Freddy's feet, another hapless VICTIM. ONE DO - GOODER who's watched too many police dramas on T.V. jockeys around Freddy and throws out some hostage control lines. DO-GOODER Now calm down - we want to help you. Freddy displays his blades like a rabid cat, ready to strike. FREDDY Help yourself, fucker. Behind them, a row of shrubs suddenly combusts. Freddy grabs him by the wrist, laughs and, swinging him around like he were throwing the Hammer, sends him with a bone - splitting CRASH into THE GAS GRILL The force of the impact shears the grill from its pedestal and causes a huge column of FIRE to shoot up into the heavens.\",\n \"INT. LISA'S HOUSE - STUDY - NIGHT MR. POLETTI swings one of the chairs into the gun case SHATTERING the glass door.\",\n \"EXT. LISA'S HOUSE - POOLSIDE - NIGHT The KIDS are trapped inside the pool area, frozen with fear, hysterical. With the gas - fire raging to one side, he screams out like an evangelist on angel dust. FREDDY You are all my children! SOUND OVER : A SHOT RINGS OUT BLOWING AWAY a dish of potato salad on a table at Freddy's side. Several teens dive for cover. ON MR. POLETTI standing in the frame of the shattered sliders. he is holding a pump - action shotgun. as he brings the gun down to give it a second pump. MR. POLETTI Shit! He raises the weapon again, but LISA rushes out and pushes the barrel of the gun down. MR. POLETTI FIRES into the patio. MR. POLETTI -LRB- furious. -RRB- What are you doing? ON FREDDY he looks toward the doors and makes eye contact with Lisa. Suddenly, he turns on his hells and walks THROUGH THE BRICK WALL as if it were n't there. The very top of his head and his hat are higher than the top of the wall and remain solid as he moves through and out the other side. There is SMOKE AND SCORCH on the bricks where he passed. SILENCE and stunned faces. Frightened whimpers here and there. MR. POLETTI Where did he go? ON LISA She puts her hand to her mouth - she knows. MRS. POLETTI has come onto the patio now and joins her daughter and husband. Lisa turns and runs into the house. MRS. POLETTI Where are you going? Lisa is already gone. MR POLETTI -LRB- calling her back. -RRB- Lisa! JESSE'S CAR - EXT.. POLETTI HOUSE - NIGHT LISA opens the door and gets into the driver's seat. SOUND OVER : POLICE SIRENS APPROACHING\",\n \"INT. JESSE'S CAR She looks at the make - shift switches and tries to remember how Jesse. She flicks the toggle and pushes the starter button. Nothing. She remembers the two wires under the dash and twists them together. She pushes the starter button. The starter GROANS. It does n't seem like it's going to start. ON LISA LISA -LRB- frantically. -RRB- Please work, please. The car back - fires and starts. She puts it into gear and pulls out.\",\n \"EXT. DARK HIGHWAY - NIGHT as the old FALCON tears down the highway.\",\n \"INT. JESSE'S CAR LISA is at the wheel, squinting through the darkness, trying to hold the road.\",\n \"EXT. ABANDONED POWERHOUSE - NIGHT Lisa pulls up to the building and shuts the engine off. INSIDE She hastily tears a strip of cloth from her shirt and ties it around the wound on her leg. She gets out of the car. She steps up to the front of the building. HER POV The entrance is ringed by A PAIR OF MANGY WILD DOGS WITH EERIE, UNNATURAL FACES who growl threateningly as she approaches. She shows no fear as she steps right up to the enterance. THey snap at her hands but she does n't pull them out of the way. They part, allowing her to pass through.\",\n \"INT. POWERHOUSE - NIGHT LISA walks in cautiously. The powerhouse looks fare different than it did in daylight - mysterious, dangerous, brewing, almost alive. Steam is leaking from between rusty rivets and torn gaskets and we hear the POUNDING of ancient expansion tanks belching out rancid air. The interior is bathed in an electric blue light that intermittently washes pale as hot white arcs flash in distant corners of the building. She walks in deeper, carelessly touching her fingers to a large steam pipe and retracting her hand quickly from its blistering sting. She stops at the center of the room. Suddenly, a twinge of pain on her face and she looks down at ehr leg. now, serious pain as she bends over and frenziedly pulls up on the make - shift bandage. ON HER WOUND It is SWARMING with big, black, carpenter ants. She screams and brushes them away with her hands, quaking with disgust. As abruptly as they appeared, they are gone ; the blood - soaked bandage is intact, covering the wound. She bhacks away from teh sump and begins climbing the rusted metal stairway up to the catwalk. SOUND OVER : SCRAPING METAL She stops midway and looks around, frightened. A few seconds to regain her courage and she steps onto the walkway. A RAT - the one she met before - scurries at her. It stops, stares at her evilly, hisses unnaturally. Lisa screams. Suddenly, a CAT pounces on the rat. The cat looks up at Lisa with ONLY THE TAIL OF THE RAT STICKING OUT OF ITS MOUTH. Its eyes are demonic, its teeth crooked yellow fangs. It growls like a beast five times its size. The cat takes another chomp on the rat, and the rat's tail disappears down its gullet. ANOTHER ANGLE LISA jumps down off the sairway onto the catwalk and starts to run. She CLANGS over the steel - mesh flooring. A section of the catwalk gives way beneath her feet and LISA plummets as if she were dropped through a trap door. Her arms flail over her head, but her hand manages to grab around a section of handrail that's still solid. ANOTHER ANGLE we see the catwalk is intact - it looks as if her knees just gave out but she continues to hold on to the railing for dear life. She tests the flooring by feeling it before attempting to rise ore release her grip. She rises and turns around. FREDDY is there. Lisa SCREAMS. FREDDY Had your chance. -LRB- raising his talons. -RRB- Die now! He slashes at her. She ducks and runs back toward the stairway. The STAIRWAY IS RED HOT, SMOKING. FREDDY closes in. FREDDY Come to me, Lisa - I'm waiting for you. Lisa stops short, looks around desperately. There is nowhere to go. LISA Oh, God, Jesse - I know you're there! Stop him! FREDDY Jesse's dead, Lisa. Freddy's here. Freddy strikes, cutting Lisa's shoulder. LISA -LRB- screams. -RRB- Jesse! Freddy closes in on her. She is trapped, finished. FREDDY -LRB- smiles perversely. -RRB- Wan na join your little friend? LISA Where's Jesse? FREDDY There is no Jesse. I'm Jesse now. LISA I want him back. Jesse, talk to me. Jesse! Freddy raises his talons for the kill. The sharp oints are within an inch of her eyes. Lisa, terrified, summons up all her energy, all her might, and looks Freddy in the eye. LISA I love you, Jesse! Freddy stares at ehr, talons frozen in mid - air. The horrible hand quivers, as if against an unseen force. And then - The wounds on Freddy's shoulder and chest rip open. He looks down at them, surprised. They bleed real, human blood. LONGER ANGLE Lisa breaks past him and starts to run but stops suddenly, a few paces from Freddy. She turns to look at him leaning weakly against the railing, with an expression of confusion on his face that is almost pathetic. he touches his wounds, surprised. Lisa is no longer afraid - she's angry now. She looks him straight in the eye. His razor - knives click together like they're running low on batteries. Freddy beckons her over with the knife on his index finger. FREDDY -LRB- Jesse's voice. -RRB- Come and get me, Lisa. Freddy laughs wickedly. LISA moves a step toward Freddy. LISA I'm not afraid of you. You could n't kill me. He's in there and I want him back. I'm gon na take him away from you and you're going straight back to hell, you son - of - a - bitch! FREDDY -LRB- getting angry. -RRB- Jesse's dead! I sliced ` im real good! Lisa moves closer to Freddy. LISA Come back to me, Jesse. She locks her gaze on Freddy's eyes and looks right through him. LISA I love you, Jesse. Come back to me. FREDDY He's dead, you bitch. Freddy seems to be in a good deal of pain. He drops to one knee. Lisa moves closer. He tries to move away from her. FREDDY -LRB- threateningly. -RRB- I'll kill you now. LISA -LRB- ignoring him. -RRB- He ca n't hold you Jesse. He's losing his grip - you can get out. FREDDY He'll die with me! She kneels beside Freddy, takes off his hat and begins to lovingly stroke his head. he seems to be writhing a bit and emits several frightened moans. FREDDY He'll die with both of us! She gathers all her nerve and moves in closer. He lifts his deadly hand and presses it into her chest. She flinches in pain but continues to come in close until her mouth is almost touching his. he moves his blades onto her back, trying to push them into her flesh, but he is too weak to do much damage. TIGHTER ANGLE Locked in this strange embrace, she presses her lips against his with as much passion as she can muster and KISSES HIM. LONGER ANGLE : FREDDY & LISA There is a moment of quiet. Then smoke starts to rise off of Freddy. He pushes her away with an excruciating SCREAM. The sound of the POUNDING machinery is becoming deafening. The electric FLASHES are firing more rapidly and arcing across the Power Plant. The room is RAPIDLY HEATING UP. A SMALL FLAME shoots along the railing. SMALL FIRES begin to break out on the catwalk around Freddy. ANGLE : PAINTED SURFACE The PAINT BEGINS TO SMOKE AND BUBBLE with the heat. As the heat increases it INTO FLAME. ON PIPES STEAM begins shooting up from every pipe joint. ANOTHER ANGLE : PIPES STEAM shoots out of the valves. heavy iron VALVE WHEELS SPIN OFF THEIR STEMS and roll down the FLAMING CATWALKS. ON LISA Surrounded by flames and smoke, she watches it all with fear and amazement. CLOSE ON FREDDY His flesh is starting to melt. LONGER ANGLE : FREDDY He bursts into DENSE, ALL - ENGULFING FLAME. The power plant is going crazy : the steaming, smoking, and flaming all reach their high peak. Pipes are bursting with steam : valve wheels flying off. Andthen everything begins to slow down, ease off. The flames are dying down around the charred corpse, and we can see it is no longer moving. The little fires around him are also dying down. And the smoke, the steam, and the deafening noise abate. ON FREDDY'S CORPSE The fires are out now. there is only some smoke. And the terrible heat has turned to COOL BLUE LIGHT. The still smoldering corpse, with its back to us, begins to stir. LONGER ANGLE : CATWALK Lisa backs away, terrified. The corpse turns to her - it is Jesse, his clothes smoldering, his body singed and blackened with soot. But alive, coming around as if it were all just a bad dream. LISA moves to him and cradles him in her arms. FADE OUT\",\n \"EXT. WALSH HOUSE - DAY A SHINY NEW SCHOOL BUS rolls down the street. It pulls up by the curb near the Walsh House. JESSE, his RIGHT ARM IN A SLING but otherwise fresh and happy, kisses MOM goodbye at the FRONT DOOR. He hurries down to the bus, gets in. The DOORS fold shut, the GEARS GRIND and the bus continues along its route.\",\n \"INT. SCHOOL BUS - DAY There are about a DOZEN KIDS in the bus, playing radios, having a good time, etc.. LISA, in the back, waves to Jesse and smiles. She wears a BANDAGE on her shoulder where Freddy slashed her. Jesse, in the front smiles and waves back. Jesse makes his way down the aisle to Lisa, greeting a few kids, slapping a hand or two. ON JESSE & LISA Jesse plops down next to her, gives her a quick kiss, puts his good arm around her. JESSE Hi. LISA Hi. Lisa chuckles. JESSE What's so funny? LISA We must look like a couple of escapees from a veterans' hospital. Jesse smiles and shakes his head. JESSE I ca n't believe we actually - Lisa puts a finger to her mouth to cut him off - no need to tell about unpleasant things. Jesse smiles again - she's right. he kisses her. Jesse moves his head away from hers for the big kiss. Lisa's eyes are closed, ready to receive it. She opens her eyes. They are pupil - less, blood - streaked, demonic. With an EVIL ROAR, a huge SERPENT TONGUE FLICKS OUT of her mouth and attacks Jesse who screams.\",\n \"EXT. DESERT LANDSCAPE - DAY The bus WHINES near the top end of third, all of its FLASHERS firing wildly. It races away through the desert in a cloud of dust. FADE OUT\"\n]"},"labels":{"kind":"list like","value":[0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,1,0,0,0,0,0,1,0,0,0,1,1,1,0,0,1,0,1,0,0,0,0,0,0,0,0,0,0,0,1,0,0,1,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,1,0,1,0,0,1,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,1,0],"string":"[\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 1,\n 1,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 1,\n 0\n]"},"summary":{"kind":"string","value":"Five years after Freddy Krueger's apparent defeat, the Walshes have moved into the Thompsons' former home. Their teenage son, Jesse, has a nightmare about being stalked by a killer driving a school bus. He wakes up and attributes the dream to the unusual heat in the room. Jesse goes to school with his friend Lisa, whom he is interested in romantically, but is too shy to flirt with her. After getting into a fight with a boy named Grady during gym class, Coach Schneider has them stay after class and they become friends. Lisa comes to visit Jesse after school and they discover a diary from Nancy Thompson detailing her nightmares, which are strikingly similar to Jesse's. Small fires happen around the house, which culminates in the spontaneous combustion of their pet birds. Jesse's father accuses him of sabotage. The following night, Jesse has a nightmare where he encounters Freddy, who tells him to kill for him. The dreams grow more intense and Jesse unsuccessfully attempts different measures to keep himself awake. He eventually begins wandering the streets at night. One night, while dreaming, he is caught by Schneider ordering a drink in a gay bar and is made to run laps at school as punishment. After sending Jesse to the showers, Schneider is attacked by an unseen force that drags him to the showers. Jesse vanishes into the steam and Freddy emerges, killing Schneider by slashing his back. Later, Jesse is horrified to see the glove on his hand. He is escorted home by police after being found wandering the streets naked, and his parents begin to suspect that Jesse may be on drugs or mentally disturbed. Lisa takes Jesse to an abandoned factory where Freddy Krueger worked, but they find nothing there. The following night, Jesse goes to Lisa's pool party and kisses her in the cabana. Afterwards, his body begins to change and he leaves in a panic. He goes to Grady's house, confesses to killing Schneider, and instructs Grady to watch him as he sleeps and to stop him if he tries to leave. When Grady eventually falls asleep, Freddy emerges from Jesse's body and kills Grady. Freddy then changes back to Jesse, who finds himself looking at Freddy's laughing reflection in Grady's mirror. He flees before Grady's parents enter the room. Returning to Lisa's house, Jesse tells her what is going on. Lisa realizes that Jesse's terror is giving Freddy his strength, but he cannot stop fearing him and transforms again. He locks her parents in their bedroom and attacks Lisa, but realizes he cannot harm her due to Jesse's influence. He goes outside where he begins to slaughter the partygoers. Lisa's father emerges with a shotgun, but Lisa stops him from shooting Freddy, who escapes in a ball of flame. She drives to the factory, facing sudden nightmares and having to control her fear before confronting Freddy. She pleads with Jesse to fight Freddy, but Freddy's hold is too strong. When Lisa confesses her love for Jesse and kisses Freddy, Jesse begins to fight back. Freddy combusts and turns to ash, from which Jesse emerges. Later, as Jesse, Lisa, and Lisa's friend Kerry are taking the bus to school, Jesse begins to notice similarities to his original nightmare and panics. After Lisa calms Jesse down, Kerry says that it is all over just before Freddy's clawed arm bursts through her chest. Freddy laughs as the bus drives into the field, just as in Jesse's first nightmare."},"name":{"kind":"string","value":"A_Nightmare_on_Elm_Street_2:_Freddys_Revenge"}}},{"rowIdx":92,"cells":{"scenes":{"kind":"list like","value":["THUNDERHEART A DRUM. Beating slow. And deep. Like a heart.","EXT. THE GREAT PLAINS SOUTH DAKOTA - DAWN Something is rising from the Black Hills. A sphere of light, too red to be the sun. A sphere of contained fire, undulating in crimson and ochre, and rising slowly, majestically, to the pulse. To the DRUM. It is the sun. But it is a Paha Sapa sunrise. A Black Hills sunrise. And it is spectacular. The DRUM, pounds deeper, bigger, as the sun gets higher. Stronger. Igniting a vast landscape of gentle slopes and foothills ; throwing shadows on the plains that look like, as the Indians say, an old man dancing. The grass is golden. And high. The wind moves through it, snakes through it. Slowly. BEGIN CREDITS. Voices ; a TRADITIONAL INDIAN SONG -LRB- Lakota -RRB-, summoning Wakan Tanka - The Great Mystery. And now, rising up over one of the small land waves, a head comes into view. Shoulders. A man, running in ghostly SLOW MOTION, his long black hair trailing in the wind. The INDIAN MAN wears only buckskin pants and a bone choker around his neck. Legs and arms churning, the man runs with antelope grace, backlit by the sunrise, bounding toward us. Running. his heart pounding. SONG RISING. DRUM POUNDING. FIVE MORE VOICES in high - pitched tremolo join the song. And then the runner soars, like an eagle from a bluff, airborne, flying over a small dip, arms outstretched, and it would be a wondrous thing if there were not a fine, crimson, mist all around him and if slow motion was not suddenly overtaken by LIVE SPEED, revealing the brutal force of gunfire which has slammed the Indian into the air, throwing him. Slamming him hard into the grass. And it is over as quickly and violently as a deer shot dead. LAKOTA SONG ends abruptly. LONG SHOT - THE GREAT PLAINS the sun burns like lava at the horizon. DRUM beats like a heart. And Somewhere off in a distant cottonwood, an OWL. Then Silence. Deep, disturbing stillness.","EXT. CAPITAL BELTWAY - WASHINGTON. D.C - DAY ROCK N'ROLL shatters the silence. Cars - a multicolored metallic criss - cross reflecting off a building made of mirrors - races past an electronic billboard that blinks in red skyhigh digital : PRUDENTIAL LIFE INSURANCE. 7:59. 73 degrees. The D.C. Superhighway. And off behind it, in the distance, Capital Hill holds imposing vigil, the massive cast iron dome of The Capital, catching the sun. But everything is soon smothered by a METRO BUS, hogging the far lane of the Beltway, leaning on its HORN. Good morning. And the rock n'roll is everybody's radio, everybody's tempo. CARBON MONOXIDE WAVE shimmers across the beltway hugging then releasing a solitary vehicle that we stay with. move with. A black Nissan 240 SX, hard - waxed.","INT. 240 SX - TRAVELING Behind the wheel - an intense young man with close - cropped black hair, eyes hidden by sunglasses. Whatever he does for a living, he does in a suit -LRB- not expensive but well - fit. But we might also note that any extra suit cash has gone instead into the silver - plated watch on his left wrist -RRB-. Lean as a rake, sallow in the cheeks, there is something insatiable about him - a hungry energy that wo n't let him go. RAY LEVOI, late 20's, early 30's, pulls out of a threatening traffic jam and races on the narrow right between thirty cars and a cement girder.","EXT. T STREET - OUTSIDE WEST-CENTRAL The black SX has jumped off an exit and has entered the light - industrial section of Washington. It pulls up near a loading dock behind an old gray building and several parked cars and vans. Ray steps out, smooths his jacket, locks and SETS HIS CAR ALARM. Another young man - chubby, clean - shaven ; in a nicer suit than Ray's - steps out from a parked Miata, and approaches Ray. CARL PODJWICK balances a coffee, a U.S.A. Today and a black eel - skin briefcase. CARL Hey. RAY Hey. Nice tie. CARL Do n't get too attached. They start walking briskly toward the loading dock. RAY Ya got the paper? They mount steps. CARL Yeah. RAY You're my hero, Carl. CARL Heroes ai n't supposed to shake. I'm shakin', man, look at me. RAY Breathe, Carl. Four, nice, deep ones. They stop at the door of a service elevator and Carl breathes. Expanding his chest, exhaling. Ray adjusts Carl's tie for him, his collar. He speaks quietly. Quickly. RAY Anyone stops us going in, we're with the Bowen - Hamilton Textile Company. We have rug samples. CARL Rug samples. RAY We are one - dimensional, boring peddlers of fine carpet, Carl. Carl nods. Ray hesitates, adjusts his own collar and enters the service elevator. Carl follows. Door closes. BEGIN CREDITS END.","INT. GRAY BUILDING - FENCING OPERATION Carl follows Ray into the big sparse room of unfinished sheetrock walls. There is nothing in here but cardboard boxes, and two people ; a bearded HISPANIC MAN standing behind a counter, writing on a clipboard. The other is a middle - aged BLACK MAN in a purple silk shirt sitting in a chair with a newspaper held open. He barely looks over the top of the Wall Street Journal. BLACK MAN Hey, look who's here. RAY Louis, my man, what's happenin'? Ray walks up to the counter. Carl lingers, fidgeting. Ray sets his briefcase on the counter and click - clicks it open. The Hispanic fence man looks inside, and begins pulling out stacks of treasury checks. FENCE MAN Clean ones? RAY Immaculate. Ray gestures to Carl and he nervously sets his briefcase on the counter, fumbles with the first latch. The second. He flips it open. The fence man casts his eyes down at a neat cache of Grade A Treasury. A lot of it. Then his eyes rise to Carl. FENCE MAN What ya got there, seventy - five thousand? CARL A hundred and ten. Count it. LOUIS -LRB- BLACK MAN. -RRB- Have the girl count it, we ca n't sit around here countin' bonds, we got things to do here. The fence man pushes an intercom button and yells into a speaker. FENCE MAN SALLLLY! Carl's eyes flit to Ray. Ray's eyes flit to Carl. Louis crushes his newspaper down and lifts a big Colt Python from his lap just as - A section of sheetrock kicks open and THREE FEDERAL OFFICERS bust out, each clutching a handgun, SHOUTING inaudibly. LOUIS F.B.I! Get your face on the fuckin' floor! MOVE! Carl startled, does an almost effeminate dip down to one knee, but that knee is swept out from under him, slapping him flat onto plywood where he is instantly frisked down by the fence man who is wielding a 9 mm handgun. But the white collar criminal is more stunned by the fact that - Ray is walking across the floor with his hands in his pockets over to the Mr. Coffee. He pours one, and adds some milk. Turns and watches the bust while opening a packet of Sweet n'Low. RAY Slam dunk. LOUIS Beauty. Beauty. Ray rests his weight against the coffee station, takes a careful sip. Carl is yanked to his feet by the fence man and he stands there, looking at Ray, baffled. Completely shocked. CARL Jesus Christ, Larry, what the fu - Larry. That's not even your name, is it? What's your real name, you fucking scumbag? RAY Do n't have one, Carl. I have a number, man. Just like the numbers on those treasury checks. You stole from your own country, Carl. Shame on you. Coffee in hand, Ray walks briskly toward the door. LOUIS Sugar Ray. Ray turns. Louis takes a few steps toward him, putting his gun back in his waistband. LOUIS They want ya Home. Upstairs wants to see ya. Ray stands frozen, holding the door knob, and digesting what are apparently influential words. LOUIS Make sure ya spell my name right. Ray just stares for a moment. Then hurries out the door. Carl, being arm - gripped by two agents and photographed like a trout, gazes bewildered at the door. CARL -LRB- incredulous. -RRB- We just spent four months together. I thought he was my friend. what the fuck, man? -LRB- even more incredulous. -RRB- He had dinner at my mother's. CAMERA FLASHES at him, an agent on either side, striking a natural pose.","EXT. J. EDGAR HOOVER BUILDING - ESTABLISHING - DAY The huge, imposing, mausoleum - like Hoover building, bordered by artificial turf, hemmed by cherry trees in blossom. Turning out to be a nice day on Pennsylvania Avenue.","INT. FBI DIRECTOR'S CONFERENCE ROOM - DAY 8x10 BLACK AND WHITE PHOTOS dealt like cards onto a table, one on top of another. 1 - an aerial shot of some wasteland. 2 - a closer bird's eye of the same, what looks like a NASA photo of Mars. 3 - a vast expanse of the Great Plains. ROBERT F. TULLY, Number - Two - in - Command, deals a fourth photo onto the table. He is an understated, fatherly man, well - manicured in cotton pencil - striped shirt, white - tab collar and tie. The photos and maps and files a foot deep on the huge table are neatly organized. INTERCOM SA Levoi, Sir. TULLY Please. Seated, at the far end of the table, engrossed in the deep spread of information, SA -LRB- Special Agent -RRB- FRANK COUTURE is about to break the record for longest single ash on the end of a cigarette and the smoke forces his eyes into tight, concentrating, slits. `` COOCH'' as they call him in the Bureau has seen thirty years in some rough `` provinces''. He has survived the Hoover era and is a legend in the Sessions era but survival has honed an edge. An edge with a touch of ironic cop humor. Ray enters, walks into a firm shake. TULLY Ray. RAY Mister Tully. TULLY Do you want a coffee? RAY No. No, no. Thank you. Ray sits nervously across from Cooch who looks up from the photos and studies the younger man through reading glasses and cigarette smoke, and he looks at him like he does n't know who the hell he is or why he's sitting there. TULLY Levoi, Cooch. Raymond Levoi, Criminal Division. COOCH Oh, yeah - right. Cooch sticks his cigarette in his left hand, shakes with his right. TULLY Ray this is - RAY / TULLY Frank Couture. TULLY That's right. COUTURE Hello, Ray. The handshake is still locked. Cooch is still squinting at the younger agent. Ray obviously knows something about Agent Couture. RAY It's an honor. Tully leans back in his chair, crosses his legs casually. TULLY Ray, we're taking you off the street. We need you out in South Dakota. Ray's enthusiasm suddenly deflates. RAY South Dakota. -LRB- confused. -RRB- Did I do something unsatisfactory, Sir? COOCH No, Ray. You're gon na have to blame that on your grandmother. Ray looks completely baffled now, swinging a look from Cooch to Tully. TULLY Interesting bloodline you have, Ray. -LRB- scanning file. -RRB- French, Scots - Irish, Italian,. and one - eighth American Indian. COOCH Sioux Indian, right? RAY I'm not that sure. Yeah, I think - TULLY - yes, Teton Sioux. Father's side. Ray nods, looks from Tully to Cooch. What's going on here? TULLY Ray, there's been a homicide out in an area known as The Badlands. Indian Reservation. COOCH It's not the first. There's been several. And our field office in Rapid City is getting a lot of heat. none of the investigations have turned up jack shit. TULLY The main problem is, Ray, these people are extremely distrustful of outsiders, non - Indians. Relations have not been amicable. COOCH Different culture. Hard to penetrate. The Indians do n't like white cops poking around. And that's why we're in a position where we have to bring in an American Indian agent. Tully straightens the edges of a bureau memorandum. TULLY With an Indian representative out there, we hope to keep hostilities dormant ; this is a COINTELPRO, Selective Operations Unit, and it'll be easier on Agent Couture if you can gain the people's trust and maybe - RAY Woh, excuse me, Sir. I see what you're saying. I've got a little Indian blood, that's true. But -. -LRB- laughing. -RRB- I am not an. an Indian. I ca n't just go in and - TULLY - your father was part Sioux. A beat. Ray lowers his eyes to the photos. RAY I did n't know him, Sir. He passed away when I was six. COOCH Seven. Ray looks up at Cooch. Another uneasy beat. Cooch lights a cigarette as if lighting a cigarette was a science. COOCH Do n't worry about it, Ray. As long as the people have proof that we sent them one of their own, no one's gon na ask you to weave baskets or make it rain. Ray sits before the files and photos, looking unsure. He has come to garner a promotion but has just been sent to The Graveyard. Or in the FBI argot, Indian Country. Tully pivots his leather chair in a full circle and slaps an assignment folder down in front of the young agent.","EXT. THE GREAT PLAINS - SOUTH DAKOTA - DAWN The very landscape from opening image. Gentle waves of land, rolling out to touch the Black Hills. The sun rises up out of the distant silhouette like a waking God. HEARTBEAT DRUM. Hypnotic. And then a car blows by, throwing up gravel and agate and gypsum. ZOOOOM! Right by us. Gone. When a dense screen of red dust clears, an old, bent, metal sign at roadside becomes visible. It reads, through punched and rusted bullet holes : `` Entering Bear Creek Indian Reservation.'' HEARTBEAT DRUM calls in the high - pitched, mournful voices of LAKOTA SINGERS. The same haunting song.","INT. LE BARON - MOVING Cooch is at the wheel. Ray, passenger. His lap is a desk for several folders, and he works through them as they drive. Both agents eat a sandwich as they travel. RAY Eight murders in less than a year. All of them Indian. All of them unsolved. Is the law a non - entity out here or what? Cooch opens a folder that sits between them, and taking his eyes off the road for a dangerous five seconds, locates some photos, and hands them to Ray. Ray's expression tells us they are not pretty. COOCH Those are two agents who went into a reservation a few years ago to serve a warrant. They were executed at close range. That one there is a police officer killed by the Mohawks up in Canada more recently. RAY Jesus. COOCH The agents who have worked out here say its like going into Nam. Unfamiliar terrain, foreign language, foreign customs. and you never know when you might walk into a few rounds. They hold a lot of old anger for the white man out here. Ray considers this as he looks out at the unfamiliar terrain while on the RADIO, a D.J. speaks in LAKOTA LANGUAGE. Ray. back at Cooch, studying his face. RAY Were you in Nam? COOCH Airborne. That's where they used to get us agents from. Now we get'em from Carnegie - Melon, Ivy League. Accountants and computer whiz - kids. Yuppies with guns. -LRB- lights a smoke. -RRB- That's scary shit. Ray smiles, sets the AC on high. RAY Not as scary as a Hoover man with a computer. Cooch throws a quick look Ray's way. And a smile. He appreciates the sting of a right off a left. COOCH Hey, hey, hey. J. Edgar would've loved you. He'd love anybody who joined the bureau to, what was it? `` To enforce the laws of my country and protect her interests''? RAY You crashed my file? COOCH No. I consulted it. We're going into Indian Country, I wan na know what kind of individual is covering my ass. Do n't you? Ray has finished his sandwich. He wipes his hands on a kerchief while taking in the sight of chalky buttes cramming roadside. RAY You've been in the bureau for thirty years. You survived The Hoov, the Black Panthers and Abscam. I do n't see any bullet holes. That's good enough for me. Cooch looks at Ray, amused. He likes this guy. And then he notices a look of growing consternation on his partner's face. RAY'S POV - MOVING as they drive through the first settlement, a little, broken and scattered community, littered with wrecked cars on blocks, and overpopulated with hungry dogs. HEARTBEAT DRUM softly under. SIX INDIAN CHILDREN with dirty but beautiful faces and long blue black hair run alongside the car, curious. One of them YELLS SOMETHING we do n't understand. PAST the trading post - a white man's store - where SIX OGLALA SIOUX - four men, two women sit like wax figures, only their eyes moving to light on the freshly waxed government car. A little house has a tipi erected beside it. And a satellite dish. The house beside that one has been half chopped away to feed the wood stove. Poverty.","EXT. BEAR CREEK COMMUNITY - RESERVATION - DAY The federal car drives out of the community and further into vast bluffs and strange rock formations where it is swallowed, leaving the ramshackle village in dust. A lone dog - all its ribs showing - chases, BARKING.","EXT. BADLANDS - SHORT TIME LATER We are on the Moon. Or Israel. But not America. Not any America we've ever seen. A thirty - mile eroded landscape of dunes and crevices, soft rock strata and fossils. Barren. And eerie. A LAKOTA DEATH SONG underscores the otherworldly ambiance of this place as - SHOES scuff through the gumbo and multi - colored stones. Two pair of black, spit - shined, lace - ups. Three. Tripping. Scuffing. And then a fourth pair. But they are not loafers. They are Georgio Brutini's and they belong to - Ray, as he and Cooch follow two Special Agents from the regional office. SA MILES is about Cooch's age, balding. SA SHERMAN is closer to Ray's age but instead of a suit like the rest, he favors an army - green jacket. Neither is a South Dakota shit - kicker but transplanted field agents. All four shield their eyes with dark glasses, and here in the Badlands it is wise because the sun makes dunes shimmy and craters become faces. It plays mischief on the eye, making Ray and Sherman nearly trip on - A DEAD BODY lying face down in the rainbow sand. Dried blood and horse flies cover his blown out torso. The agents stand over him, breathless from the rugged walk. COOCH Who found him? MILES Indian kids. Hunting fossils. Cooch studies the body from where he stands. Sherman hands a file over to Ray. COOCH Okay. I think Agent Levoi and I can proceed from here. What are your call signals? SHERMAN PX - 10 and 11. Anything we can do to help you out, just radio. COOCH Good. Thanks, Guys. The agents start back through the Badlands. Ray is already squatting a safe distance from the body, covering his nose with a kerchief while looking in the file. Cooch takes a bended knee on the other side of the body. Flies buzz on and around the corpse. RAY Leo Fast Elk. Thirty seven. single. Member of the Tribal Council. Cooch makes a note then slowly circles the body. He holds a hand out to Ray and the younger agent turns the file over. COOCH Looks like Fast Elk was n't fast enough to outrun that load. What do you make of the damage? Ray gets closer, swats at Flies with the folder. RAY Six rounds. 357. COOCH That's what it looks like, does n't it? But that's what a ten gauge, choke - bored, shotgun will look like when it hits your lower back from five feet away. Ray looks up impressed. Cooch rises and walks off gingerly, scanning the surroundings. RAY Somebody was serious about doing this guy, that's for sure. COOCH Ray. Cooch is standing ten feet away, staring at the ground. Ray walks over, carefully. He follows Cooch's frown down at the twisted layers of earth. ON THE GROUND a circle has been etched deep in the soft gumbo, and in the center of the circle, a white eagle plume sticks straight up, dancing in the wind. Cooch and Ray each lower themselves to their haunches to study the strange sight. Cooch puts his reading glasses on, stares at it. Then lights a cigarette. Ray hefts up a camera and begins CLICKING off shots. He starts moving around it, taking shots at different angles. And then the sound of a DISTANT MOTOR draws both agent's attention. way out in the bizarre moonscape of eroded rock and earth, a lone figure on a motorcycle bounces and grinds, born out of a silvery heat mirage. It's fifty yards off but heading straight for us. The HEARTBEAT DRUM. REVERSE - RAY AND COOCH try to make the figure out. IN THE BADLANDS the archaic mud - caked Harley chugs and stalls, spits and choices, and begins an incredible drive straight up the steep side of this natural wonder. At the throttle is an imposing figure. WALTER CROW HORSE is a portly Indian in his late - thirties with a black reservation hat worn low over a face that seems to have been cast from a bust of Sitting Bull. Sitting Bull with aviator shades. Denim jacket over checkered shirt. Faded jeans. Well broken duct - taped boots. His hair is worn long in tight duel braids. The rusted bike bajas up and down slopes, finally stalling out, twenty feet or so from the murder site. Crow Horse swings his bulk off the bike like dismounting a horse. He looks around suspiciously then pulls a rolled - up blanket from the carrier rack. LEO LITTLE SKY lies in death. Crow Horse's boots move in stealthily, creaking like saddle leather. He squats and looks at the corpse. then looks around with animal alertness. He reaches into the front pocket of his jacket and pulls out some Bull Durham tobacco. He pinches some and offers it to the four directions around the body. He then unrolls the blanket, begins to move the dead man. sense something and wheels to see Cooch standing behind him, one hand behind his back where his gun must be, and the other hand holding up open wallet. The sun hits his badge. COOCH Good morning. Crow Horse hawks his eyes onto a big rock, a full second before Ray steps out, his.45 drawn but held at ease. Crow Horse slowly raises his arms as Ray moves up to him, studying him. COOCH Taking ol' Leo somewhere? CROW HORSE Leo's been out here too long, man. I'm taking him to ceremonial burial. RAY This is a restricted area. COOCH Check him out, Ray. Ray frisks the Indian, finds an old leather wallet, and then a gun. A.38. COOCH Nice piece. You come back here to cover your tracks, Geronimo? What's your name? CROW HORSE It ai n't Geronimo. COOCH Who are you? CROW HORSE I think maybe you guys got off the wrong exit, yeah? This is the Bear Creek Indian Reservation. Cooch walks around to the front of Crow Horse, and studies him. COOCH I know where I am. I'm on federal land, doing a federal investigation, and if you do n't wan na cooperate you can take a ride in a federal car, and spend the rest of the day in a little room, answering federal questions. It's your call. Who are you? CROW HORSE I'm a full blood Oglala Sioux, born and raised on this reservation. COOCH You're a wise - ass. Ray check his wallet. RAY I did. COOCH Who the fuck is he? RAY - a fucking cop. A pause. A long, dead of South Dakota, Badlands pause. Cooch turns and looks at Ray who holds up the open wallet, revealing a badge. Like Cooch's it shines in the sun. RAY Walter Crow Horse. Tribal Police. Cooch stands staring at the Indian. then takes a few steps over to Ray and grabs the wallet. He examines it. Then looks at Crow Horse and laughs. COOCH He's a fucking cop. The Indian cop has plenty of time to get up on his own but he kneels there, tauntingly, waiting for Ray to help him. Ray walks over and offers a hand. Crow Horse takes it, and pulls himself up, looking square into Ray's sunglasses. Cooch walks over and hands the officer his wallet, and his.23. Crow Horse takes the items, eyeing the older agent. CROW HORSE We got the wire ya was comin'. You're the Indian official, yeah? COOCH No. No, that's Ray, here. Ray, uh. -LRB- searching his imagination. -RRB- Ray. Little Weasel. Ray does a take but quickly recovers, meeting Crow Horse's scrutinizing gaze. Crow Horse nods to Ray, and Ray nods back in case it's the Indian thing to do. Crow Horse nods again. Ray nods again. CROW HORSE Leo's got ta get to burial, Brother. He's got ta make the journey. COOCH What journey? CROW HORSE Tell him, Ray. Ray stares at Crow Horse, uneasy. The wind sings through the Badlands. RAY Leo has to take the journey, Cooch. COOCH We'll have to give Leo a refund. Because he's got ta go to the M.E.. In case you do n't know, Officer, violation of the Major Crimes Act on - CROW HORSE - an Indian Reservation is within the jurisdiction of the Federal Bureau of Intimidation. I know that. COOCH Good. Thank you. Crow Horse says something in Sioux to Ray. Ray just stares. CROW HORSE I said when can Leo be taken to ceremony? RAY After we've completed our investigation. Crow Horse is staring at Ray. CROW HORSE That's a nice suit. Ray looks offended. Cooch puts a hand on Crow Horse's shoulder and walks him toward his beat - up motorcycle. COOCH Somebody must be doing something somewhere in your jurisdiction, Officer Crow Foot. CROW HORSE You ai n't gon na cut his hands off and send'em to Washinton, are ya? They done that to one of our girls once. Leo did quillwork, he's gon na need his hands. Crow Horse turns and looks at Ray. Ray is quick this time. RAY Leo's gon na need his hands, Cooch. He does quillwork. COOCH I think Leo's retired from quillwork for the moment. CROW HORSE Respect the dead, Hoss. Because when - COOCH - did you understand me when I said that - CROW HORSE -LRB- walking away. -RRB- - violation of the Major Crimes Act on an Indian Reservation is within the jurisdiction of the Federal Bureau of Instigation. I know that. COOCH Goodbye. Crow Horse appears to be getting on his bike when suddenly he moves like a cat and lays his knife to the dead man's head. He cuts away a patch of hair. COOCH What the hell you doing?! CROW HORSE His mother needs a piece of his hair. It's for the Keeping of the Souls Ceremony. -LRB- wrapping lock of hair. -RRB- Has to be kept for four days. Cooch and Ray stand there, watching Crow Horse mount his bike and push off down a nasty slope back through the Badlands. He starts his motor. It dies. Then starts again. COOCH Keeping of the souls. Do they still burn their dead or something? RAY Beats the hell outta me. Ray and Cooch look off across the Badlands, as far out of their element as they can be. CLOSE ON - THE WHITE EAGLE PLUME in the circle in the sand, fluttering in the wind. The gold spit - shined Le Baron eases to a crawl, passing an old wooden sign. `` Leaving Bear Creak Indian Reservation.'' And immediately pulling in front of a squat old bar with a burned out neon Miller light. DWIGHT YOAKUM croons `` Youuuuuu - Got - Your Little - Ways'' on the jukebox from inside. The Buffalo Butte bar has several cracked and sun - bleached buffalo skulls hanging off the edge of its flat roof and big faded white letters painted across the front read : `` No Indians Allowed.'' -LRB- This sign actually exists today in the res - line border town of Scenic, South Dakota -RRB-. The car pulls up beside a pick - up and parks. Ray and Cooch step out, careful to walk wide around a PITBULL in the bed of the truck. A WHITE LOCAL walks out of the bar and looks askance at the suits. As the two feds approach the bar, Cooch looks up at the warning sign. Ray sees it too. COOCH Sorry, Ray. You're gon na have to wait in the car. I'll bring you out a cheeseburger. The young agent smiles, amused, starts to enter the bar but - VOICE -LRB- O.S. -RRB- Hey! Ray spins quickly, paranoid about entering. But the man calling to them is - An Indian himself. TRIBAL PRESIDENT OLIVER CLEAR MOON, a small man in his late fifties who peers out at the agents through fat bifocals. He wears a straw cowboy hat, red windbreaker and his hair is cut short, or `` bobtailed'' as the Indians say. Clear Moon is walking away from a parked pick - up truck, toward the white men, eyeing the two with deep curiosity. CLEAR MOON -LRB- heavy Indian accent. -RRB- You made it. Was - te. Cooch discreetly peeks into a folder as he walks toward the man COOCH You must be. President Clear Bone. CLEAR MOON Clear Moon. -LRB- pointing to the sky. -RRB- Moon. You must be the Sioux. He is pointing his long, skinny finger at Cooch. COOCH No. That's Ray here. Ray. RAY -LRB- quickly. -RRB- Ray Levoi, Sir. Pleasure. Clear Moon beholds the young agent with hopeful eyes, a smile breaking across his flaccid brown skin. He takes Ray's hand in a respectful double - clutch and grips him tightly. almost desperately. CLEAR MOON It's about time they sent us one of our own. Was - te. He keeps pumping Ray's hand, looking into his face with great admiration. Cooch looks on with amusement. CLEAR MOON Things are no good here. It is like war zone. We need an official who understands what is good for the Indian people. Who knows Indian way. Clear Moon has not released Ray's arm as he leads them to a string of seedy motel units across the street. RAY I thought we were staying on the reservation. CLEAR MOON Yes. Rooms thirteen and fourteen are on Indian land. RAY I see. CLEAR MOON Are you hungry? I have some nice raw kidney in the truck. RAY Oh, I'm set, Sir. I'm set. COOCH He's starving, Mr. Clear Moon. Get him some raw kidney. He has n't had any Indian food in days. And Clear Moon guides them through the front door of room 13. Ray looks over his shoulder threateningly at Cooch who winks and pats his back.","EXT. RESERVATION LINE - NIGHT A lone headlight appears out of the black. HEARTBEAT DRUM. But faster. Relentless. A `` res'' car, a dented, rusted, peeling old station wagon, drives slowly toward the reservation. Then suddenly, someone steps in front of the car. A BIG MAN in cowboy boots and blue jeans.","INT. MOTEL - ROOM 13 - NIGHT Ray lies in bed. Awake. He is hanging off the bed with a file open on the floor and using the moon to light photos and memorandums. And then he hears LAUGHTER outside. And GLASS BREAK. He gets out of bed quickly, snatching up his pants, putting their on, and going to the window. SEVERAL LOCALS out in front of the bar help a middle - aged INDIAN MAN out of the station wagon. WHITE LOCAL Where you goin'? Back to the res? A young local bends down behind the Indian while another shoves him, sending him tripping over the bent man and onto his back in the dirt. WHITE LOCAL What ya doin'? You drunk? MORE LOCALS come out from the bar, beers and drinks and interested in what's going on. REVERSE - RAY at the window, observes. Cooch enters from the connecting room, puffy - eyed but quickly buttoning his shirt. He shares Ray's view. COOCH Let's take a walk. Ray is transfixed.","EXT. BUFFALO BUTTE BAR - NIGHT The Indian man, is pushed into a stumble, and caught by another white man as a little game of catch takes place. Cooch, stepping into the circle, shirt half unbuttoned, hair a mess, looks on. Then steps in front of a big local and catches the Indian as he comes stumbling. He holds onto him, looking at the faces that turn his way. Ray steps up beside him, looking tense. COOCH What's goin' on here? -LRB- a beat. -RRB- I ca n't walk across the goddamn street without some breed - ass fallin' all over me? And then Cooch shoves the Indian with all his might back across the road. The locals resume their fun, and Cooch looks at a local man and shares a chattering laugh that makes Ray do a serious take. COOCH Watch out now, he wants a kiss, Ray, wants a kiss - The Indian ends up stumbling back toward Ray, and Ray catches him this time. The man maintains a perfect vacant expression and keeps acting as though nothing of the sort is happening. But he is dizzy, and exhausted, and Ray keeps him from falling. Cooch looks at Ray. Their eyes meet. Ray shoves the man forward. This time, instead of catching him, the local on the receiving end, hauls off and punches him in the face. The Indian drops. Cooch runs in, grabs the Indian under the arms and drags him back to his car. COOCH Go ahead, skin, get your ass back on your sacred land. Get outta here. He shoves him behind the wheel as the locals crowd around. They do n't see Cooch throw the wheel stick in drive, and lean into the man's ear. COOCH Get outta here. Drive. Cooch slams the door, and kicks it, and the vehicle lurches forward. A beer can clanks off the rear window, and rolls clanking into the middle of the road. Ray stands there with the locals as they all watch the car drive off across the reservation line. Cooch, belly sticking out of his unbuttoned shirt, and a breathless smile on his face, heads to the bar without breaking stride. This man has done `` underground'' before.","INT. BUFFALO BUTTE BAR - NIGHT - SHORT TIME LATER Cooch and Ray sit in a booth with DENNIS VAUGHN, a strapping local man, ranch - raised, and gentlemanly. In fact, downright likeable. DENNIS So what type of salesmen are you gentlemen anyway? RAY Liquor. We heard they like their drink on the reservation, and we were gon na see if we could n't unload some surplus on the way to Nebraska. COOCH Now keep that between us, Dennis, cuz I do n't know what kinda Johnny Law they got here. DENNIS Hey, Brooks, come over here. I want you to meet a coupla fellas from Denver. BROOKS, a small, older man with a feed store cap and a clean cowboy shirt, comes over with a beer and a pensive look on his face. He pulls up a chair and positions himself at the end of the booth. DENNIS Liquor salesmen. Be nice to them, maybe they'll give you a sample of some of that gin you like. -LRB- to Ray. -RRB- He likes that Russian shit that - BROOKS They ai n't liquor salesmen. They're FBI. Cooch and Ray do n't flinch. Dennis does. He looks between the two, cautiously. COOCH Brooks, what's a perceptive fellow like you, doing in a joint like this? Let me buy you a glass of some of that Russian shit you like. DENNIS FBI? What you investigatin'? COOCH A murder. On the reservation. DENNIS Again. Figures, man. BROOKS You'll never find out who did it. COOCH You underestimate me, Brooks. BROOKS No. You underestimate these grass niggers. They're killing each other. That's all they do. Get drunk and kill each other. Then cover for each other. Who gives a damn really as long as they stay on their reservation. You ask me, the government should n't care one particle. DENNIS You know how in your big cities, you got your niggers and you got your Puerto Ricans? Well out here we got Indians. That's just the way it is. COOCH The only good Indian is a dead Indian, does that old adage still hold true out here? Cooch laughs good - naturedly. Ray smiles. But Brooks looks offended. BROOKS That set - to you saw out front, was nothin' more than a message we were sendin' to the sonsabitches that are divertin' water from the river. DENNIS We got rights. We got a ranch just up here. Ray catches this. Glances a look off Cooch who works on a cold draught beer. RAY Did any of you gentlemen know Leo Fast Elk? Both men shake their heads. Get quiet. BROOKS You fellas are here to investigate a Indian crime, you should keep to Indian land, and talk to them, not us. But you wan na drink here and shoot stick here, that's your right, and we respect that. -LRB- to Dennis. -RRB- Come on, Son, we're up on the table. DENNIS You fellas wan na play doubles? Cooch shakes his head, distracted, and the two locals leave, enroute for the pool table. Ray watches them go, curious.","EXT. BUFFALO BUTTE BAR - NIGHT Ray and Cooch, cross the street back to the motel. It is black and chillingly still. RAY Water. Worth killing for out here, I'd think. COOCH Get the plate numbers off everyone of these cars. RAY I already did. Cooch looks at Ray, impressed. RAY Could n't sleep. COOCH Good. They stop in front of their rooms and Cooch pulls a small tape recorder from his waistband. A micro - cassette recorder that he examines in the dim door light. RECORDER -LRB- locals. -RRB- - out here we got our Indians. And that's the way it is. Cooch shuts it off. COOCH By the time you get to the main village, sun'll be up. I want you to fraternize. Socialize. Penetrate. Infiltrate. Eat some raw kidney, and get these Indians talking. I'm gon na Powwow with Big Chief Clear Moon and find out more about Leo. He hands Ray the recorder. RAY Done. Cooch starts for his room but in a long, exaggerated country step as he breaks into the HANK WILLIAMS tune that has all but driven him insane inside the joint. Ray watches him go, and cracks a laugh.","INT. LE BARON - TRAVELING - SUNRISE Ray's at the wheel, looks intense as he studies the vast expanse of slopes and rock formations and the rising sphere of flame that lights the road in strange color. He is reading a name list that he traps against the wheel. RAY Hobert Standing - Buffalo - That - Walks - Dreamer. -LRB- a dry run. -RRB- Hello, I'm looking for Hobert Standing - Buffalo - That - Walks. Dreamer. Ray pulls up a long dirt drive and parks.","EXT. OLD TRAILER - ACROSS FROM BADLANDS – SUNRISE Ray walks to the front door of a war - torn trailer that is halfway swallowed by weeds and plants. It is static out here. Dead still. Ray approaches the front door. There is a huge hole in it. He knocks above the hole. After a moment, the door opens a crack. A dark, weather - beaten face barely shows. RAY Good morning. I'm looking for Hobert - Buffalo - Dreaming. -LRB- cheat sheet. -RRB- Hobert Standing - Buffalo - That - Walks - The door closes. Locks. RAY - Dreamer. Ray stands there for a moment then lowers himself to look through the huge hole in the door. RAY Sir? A tattered chair is pushed against the door, covering the hole. Ray stands up, turns on the steps. And before he can let out a flustered sigh, he spots something across the dirt road. Something that makes him remove his shades, look again. Whatever it is, it does n't make him happy, and he is hurrying across the road.","EXT. BADLANDS - DAY A motorcycle, parked between the road and the badlands. We've seen the ancient bike before. Ray walks past it, looking at it. He pushes his shades up on the bridge of his nose and looks down into the moonscape. Walter Crow Horse is down there, on his haunches, `` feel tracking'', laying his fingers inside tracks and reading them. He does n't even look up at the sound of the FBI agent's footsteps. CROW HORSE Ray Little Weasel. FBI. I like the way ya sneaked up on me. Must be Indian. The wind whistles and moans through the Badlands as Crow Horse continues feel tracking. RAY What are you - CROW HORSE Watch out! Ray draws back. RAY What?! CROW HORSE You're steppin' on sign. Crow Horse lowers his face to the ground and blows some scattered dust out of a print. Lightly lays his fingers inside RAY Hey. -LRB- ignored. -RRB- Hey, you, listen up - CROW HORSE - Leo was n't killed here. He was dumped here. Out of a vehicle. Bald tread. Muffler held on with baling wire. Crow Horse checks out another track. CROW HORSE The man you want. stepped outta the car, dragged Leo out, laid him down. Then walked over here and made a circle in the earth with a stick. I ca n't find the stick. He stuck an eagle plume in the circle, got back in his car, dustin' his own prints with a pine bough for about six feet, but he missed a print, right here, see. He got in his car and went Hell - bent - for - Holy - Sunday outta here. He ditched that pine bough three miles across the flat, in the Little Bear River, it floated down to Thundershield Gap. The car hit paved road, and was outta here. Crow Horse rises, points down the road. CROW HORSE The killin' was done where Leo's mother lives. But he was driven here into these Badlands. Ray is frowning at the big Indian, trying to get a fix on this CROW HORSE Big sonuvabuck. Based on the depth of that print, pressure releases. I'd say he goes two - ten, two - fifteen - RAY Bullshit. CROW HORSE - Well, maybe two - seventeen. RAY You're trying to tell me you can read all that from a track? CROW HORSE No. Not just a track. You got ta listen to the trees, man. To the leaves. To this sand, you FBI's kicked all up. You got ta listen to the earth. RAY Is that right? Well, listen to this : drag your ass. This is a restricted area. CROW HORSE No, this is the home of the Oglala Sioux and I want the dog - fucker who killed Leo. Whether you get him or I get him, I just want him. Shit's been goin' on too long. RAY You've got no jurisdiction. CROW HORSE You got no know - how. About Indian Way. Or about Jack Shit for that matter. RAY Maybe you're not aware of this, Crow Horse, but I just flew in from a place called the Twentieth Century where we have such things as electrostatic tracking methods, psycholingusitics, DNA fingerprinting ; I do n't have to crawl around with the scorpions and talk to the fucking trees to get answers. Leo was killed right here. CROW HORSE Go back to the M.E., take a look inside Leo's exit wounds and tell me how chicken feed got in there. Trust me, there ai n't chickens in the Badlands. His mother's place is - RAY - his mother never lived here. She was from up in North Dakota. CROW HORSE I'm talkin' his spiritual mother. Maisy Blue Legs. RAY His spiritual mother. CROW HORSE To us Indians, our spiritual relatives are as close as family. I've got seven mothers on this reservation. Sisters. Brothers. You ai n't one of them. RAY Thank God. Now listen to me, asshole. I'm giving you a break. But if my partner finds out you're here, you're gon na be reading rat tracks in Sioux Falls Maximum Security. CROW HORSE Easy. Easy. I'm goin'. Crow Horse walks back up toward the road. Ray lets him leave then crouches where Crow Horse was, begins looking at tracks. CROW HORSE -LRB- O.S. -RRB- Hey, Little Weasel. Ray turns, and sees Crow Horse perched on a high bank - the one Ray came down - and he's in a tracking stance. CROW HORSE You weigh one sixty - three, yeah? Not a beer drinker. You're one of these tofu and pilaf characters. Pack your gun, under your coat - left shoulder. But you got backup ; a little.32,.38 maybe, in a ankle holster that gives you a right foot drag, Shoes are too tight at the toe but, man, they look cool. And that's what counts. Ray just stands frozen, blown away. Crow Horse rises, dusting off his hands, and heading to his vehicle. RAY Crow Horse. The Indian turns. The wind moans. Ray scrutinizes him, deliberating. RAY Fuck you. Crow Horse grins and waves, and ambles away. DOWN IN THE BADLANDS Ray stands, sweating under his suit jacket, and not sure if he's amazed or pissed off.","EXT MAISY BLUE LEGS HOUSE – BLACK TAIL DISTRICT - DAY A trailer sits off from the river in beaten solitude. There are two junked cars and one burned black. Wind blows across deep bald tire tracks. Ray walks slowly beside them, surveying, following them to a place where they become puckers and skids next to a dilapidated outhouse. There is a shotgun blast in the side of it. Ray studies it, enters the outhouse. Exits, and walks the rutted gumbo earth to where it meets rolling hills of golden grass. He stands here, mesmerized. CHICKENS scratch around in the dirt. Like so many far - off res homesteads, this is a haunting place. Made more so by a persistent SQUEAKING, a rusty, metallic squeal coming from - A WATER PUMP across the yard, where MAISY BLUE LEGS, a Sioux elder, works the handle. She wears thick bifocals and keeps her hair under a bandanna. No water comes forth from the pump, and she tries again and again until she breaks a sweat. And then she sees the waal ` cu standing out there. Urgently, she turns and starts back to her trailer with an empty coffee can. Ray starts after her. RAY Mrs. Blue Legs? Can I ask you a few questions - MAISY -LRB- 1/3 res speed. -RRB- - go away. Leave us alone. RAY Ma'am, Please - She mounts the metal steps. Ray is losing her. He gets a foot on the bottom step, and attempts something he does not want to do. RAY Mrs. Blue Legs. I'm Indian. Halfway through the screendoor, Maisy turns and looks at the young man in suit and shades. RAY I'm Sioux. Maisy lowers her bifocals, studies him. Then walks in, slaps the door shut, and locks it. A towel hung as a shade folds down. Ray lingers at the bottom of the steps. RAY Yeah, right. And he walks around the side of the trailer, looking at the ground. In the gaping space between the trailer blocks, and the grass, there is much junk stored, and Ray kneels to look. He is drawn to a pair of cowboy boots, caked with dried mud. He picks up a boot, looks at the sole, then touches the mud. His fingers break through the hardened crust and come back moist and blue. He looks at this sniffs it. There is a tense, water - torture like tempo coming from the old pump where water barely drips onto a hub cap in the dirt. Ray sets the boot down. Goes to grab the other boot and - a WESTERN DIAMOND BACK RATTLER coils out from the shade of the boot, RATTLING and HISSING from white mouth and three - inch fangs, and Ray has done a backflip and roll, slapping his shoulder holster and pulling lead and BLAM! BLAAAM! he unloads two, and the reptile is so dead, there's not even enough snake left to make a truck - stop key chain. He kneels there, flushed in the face, holding his breath and double - clutching his gun. The SHOTS ECHO through the Badlands like the aftermath of dynamite. From inside the trailer, he can hear CRYING. A low moaning. Praying softly. RAY Shit. Mrs. Blue Legs! It's okay! Then his RADIO CRACKS IN. RADIO -LRB- COOCH. -RRB- X21, give me a 20. RAY -LRB- yelling. -RRB- Black Tail District, X22. You ready for this? Leo was n't killed in the Badlands. I. I found the location. COOCH Maisy Blue Legs place? RAY How'd you know? COOCH I got one up on ya. RAY Go ahead. COOCH I've got the doer. I know who he is. Ray looks relieved. COOCH Meet me at base. Over. RAY Cooch. You're my hero. Ray looks down at the dead snake, still rushed from it, and he hurries out of there. IN THE SHADE OF THE TRAILER the snake's RATTLE moves spasmodically, still kicking with reflex.","EXT. LOOKS TWICE HOUSE - BEAR CREEK RES - NIGHT CLOSE ON an AMERICAN FLAG, flapping in the hot night wind. But something is wrong about the image. The flag is hung upside lit by - A full moon that also illuminates an overgrown field that fronts a small, one - level house where the flag hangs. Three old cars decorate the front yard. A busted screendoor creaks in the wind, and somewhere off in the hills, a DOG BARKS away his boredom. COOCH -LRB- O.S. -RRB- Jimmy Looks Twice.","INT. LE BARON SA Couture and SA Levoi sit inside the car, staking out this little place far down a dirt road on the outskirts of the settlement. Cooch has the suspect's file on his knee. RAY Who is he? COOCH One of the leaders of the Warriors of All Red Nations. Militant organization. He hands an open file over to Ray. CLOSE ON - FILE PHOTO : a raging fire and six long - haired, fist - raising Indians, yelling at the camera. COOCH -LRB- O.S. -RRB- The progressive Indians do n't like them because they want everybody to go back to the old Indian ways, and the old way Indians do n't like them because they use violence to get attention. RAY SHUFFLES TO PHOTO 2 - a big Indian in a wheel chair, holding a rifle. He is shirtless under a vest and on his muscular right shoulder there is a clearly defined tattoo of a circle with an eagle feather through it. PHOTO 3 - a Close Up of the tattoo. PHOTO 4 - a propaganda flyer with the letters W.A.R.N. and the same symbol - perfect circle, pierced by a white eagle feather. RAY White eagle feather through the circle. That's their symbol. COOCH That's right. Ray shuffles through more of the same with great interest. RAY They obviously wanted it to be known that they offed Leo. Some kind of statement. COOCH Jimmy Looks Twice put Leo's head through a glass door of the tribal offices three months ago. And threatened him several times since. President Clear Moon and the regional FBI feel he made good on that threat. Cooch takes a long, tight breath then turns around in his seat, coming up with an M - 16. Ray lifts one of his own. He looks out the car window. RAY I'd just like five minutes alone with the motherfucker who hung that flag upside down. COOCH Easy, Cowboy. No vendettas on my ship. Now : remember what I told you about Nam? Watch the grass, watch the trees, watch the shit house, be on your toes, and if we get committed, do n't hesitate to empty that sucker. RAY Alright. Alright. Cooch whacks a top clip into the M - 16. Ray slams a clip in his. COOCH It's show time. Car doors open in skillful silence. LOOKS TWICE HOUSE - CLOSER - NIGHT and Ray maneuver toward the house, rifles ready. Cooch gets under the picture window, sneaks a look. Nothing. He follows Ray around the side. off in a backfield, lit by a hot fire, a small round hut covered in patchwork quilts, canvas and buffalo hide. A strange mist floats around it, and from inside, voices are heard - A DRUMMING AND CHANTING in LAKOTA. And EAGLE SOUNDS. Dozens of shrill whistles. Are there birds inside this thing? REVERSE - RAY and Cooch, kneeling in the weeds, look dumbfounded. And more than a little unnerved. RAY -LRB- whispering. -RRB- What the hell is that? NEAR THE INIPI LODGE An INDIAN YOUTH DOOR TENDER with shoulder length hair falling over a T - shirt, steps out of the dark and walks to the fire. He prods it with a broken pitch fork. He turns to get some more wood and walks right into an M - 16, trained chest level. Ray stares him down. RAY On the ground. The boy drops boot camp fast. Cooch moves up on the sweat lodge, looking quizzically at it, trying to figure out how to open it. He grabs a canvas flap at the front and after a moment's hesitation and a look at Ray, he tears the flap away. A BLAST OF 200 DEGREE STEAM explodes forth and Cooch dances back, throwing up his rifle. VOICE -LRB- O.S. -RRB- -LRB- inside lodge. -RRB- Mitakue Oyasin! GRANDPA SAMUEL REACHES, a rail - thin Sioux elder, appears through the steam like a vision. Bent in the tiny doorway, he searches out the interruption. Cooch aims the M - 16 at the old man. COOCH This is the FBI! Come on out of there nice and slow. Let's move it! Hands on your head! Grandpa Reaches crawls out first, ignoring the `` Hands on your head'' order from Cooch. His eyes move back and forth between the two agents. FIVE MORE INDIANS, from 16 - 45 come out, looking confused. Cooch makes the towel - wrapped men spread out in a line. The old man is speaking to the others in LAKOTA, and Ray steps up to him, cuts him off. RAY Hands on your head, Sir. Come on, come on. The archaic figure just looks through him. Starts to walk away. Ray takes his thin arm. He locks eyes with the old man. Slowly, he obeys, raising his hands and laying them on his head. From the lodge, the last man emerges. It's Crazy Horse reborn out of the burning sage. JIMMY LOOKS TWICE is in his mid - thirties - big, well over two - hundred pounds. But lean. His braids fall nearly to his hips. His face is handsome but at the moment, twisted in a full - blood's scowl. LOOKS TWICE -LRB- outraged. -RRB- What are you doing? COOCH James Looks Twice? LOOKS TWICE That's right. What are you doing here? This is a religious ceremony you're desecrating. Looks Twice shoots hawk - like black eyes onto Ray. RAY We're FBI, James. We just need to ask you a few questions. LOOKS TWICE We are in the middle of a sweat lodge ceremony. Do you drag people out of your churches when they're in the middle of prayer? COOCH Let's take a walk, Jimmy. Come on. Cooch takes a careful step behind Jimmy and cuffs him. Looks Twice speaks to the others in LAKOTA, and they disband, heading to a shade arbor where their clothes hang. As Cooch starts marching Looks Twice toward the house, Ray keeps an eye on the departing. One of them stops halfway to the fence and turns. Grandpa Reaches looks at Ray with eyes that have seen one hundred and one hard years in Indian Country. RAY Go ahead. You can all go home. And he follows Cooch and the cuffed Jimmy to the house. COOCH We just wan na take a look around your place, Jimmy. We're not here to bust your balls. AT THE BACK OF THE HOUSE Cooch leads the half - naked suspect to the backdoor. Cooch show : a warrant, tries the door but it is locked. LOOKS TWICE What's this about? COOCH Your good friend Leo Fast Elk. LOOKS TWICE You think I killed him? Cuz he was an apple? Well, let me tell you something about Leo, Man - COOCH - do n't `` man'' me, Jimmy. Where's the key? Jimmy does n't answer. He glares with hatred into Cooch's eyes. COOCH Ray, use the federal master key. Ray steps up, gets ready to throw a frontkick at the door. LOOKS TWICE No. Do n't do that. Do n't deface the property, man. The key's in there. With his hands cuffed, he can only jerk his head toward a big hole in the wall down near the foundation. Cooch quickly drops to a knee and checks out the hole. LOOKS TWICE Inside. in the coffee can. Cooch reaches in, probes. COOCH There's no coffee can in - Something horrifying happens so fast, Cooch has no time to react. Whatever has taken his arm has done so with such force, his body jolts like he's touched raw voltage. The South Dakota BADGER rips through his leather jacket - we get a glimpse of its striped face and yellowed teeth - through his shirt. Through flesh, and deeper, GROWLING insanely while COOCH HOLLERS in shock tries to pull free and - Jimmy Looks Twice spins from the porch with a skillfully executed back kick, knocking Ray off the step and to the ground. The Indian bolts like a deer into the darkness. Ray rolls in the grass, throwing his M - 16 up. He hesitates. But only for a moment before FIRING and decimating the corner gutter, a junked car, several trees. But no sign of Jimmy. Cooch falls back in the grass badly mauled. His arm has been ripped open down to the bone. COOCH Jesus. Jesus. Ray starts toward Cooch. COOCH Get him. Ray takes off, crashing through weeds, into a stream, wading through mud. He throws his flashlight left and right. He crosses the river, shines the light in a field of wild sage. Nothing. He runs like a sprinter, looking everywhere. But as he enters an - OPEN FIELD all he finds is Jimmy's towel. He picks it up and looks around the area, breathing heavily. And then suddenly, something leaps up out of the grass. Ray swings his M - 16 up, ready to blast. But it is a DEER, taking off into a mystical blue night. THE DRUM. Beating fast. Heavy. TURTLESHELL RATTLE. EAGLE BONE WHISTLES. IN THE YARD Cooch traps his bleeding arm between his knees to stanch the blood. He speaks quietly but firm into his radio, trying to stay in control. COOCH -LRB- into radio. -RRB- Assault on federal officers. Suspect has left the area. One officer down. Issue a Fugitive Alert immediately. Over. RADIO Has the officer been shot, X - 22? COOCH No, the officer's been bitten by a fucking badger, okay? Get a Fugitive Alert fucking now! Over.","EXT. BEAR CREEK RESERVATION - LANDSCAPE - SUNRISE A mind - blowing Aurora. Living clouds. The incredible mesa. PULLING BACK slowly to the dirt road where a line of federal aerials high, enter Indian Country. HEARTBEAT DRUM. But a fast heartbeat. A relentless pulse throughout - AN FBI SATURATION SEARCH FOUR AGENTS surround a little tar - paper shack, rifles up and ready. Two go in, and flush out an OLD WOMAN, an OLD MAN, and some TEN CHILDREN. DOGS. A SMALL TRAILER that has thirty junked cars in its yard and serves as a reservation parts store is crawling with FEDERAL MARSHALS ; car doors are being opened, trunks. TRACKING DOGS run through the cars. WARPATH DRUMS. - A BELL UH 1 - B `` HUEY'' HELICOPTER chutters low over the grasslands, over the Badlands, flattening wheat. It swings down over the main settlement. CHILDREN gather in the street to look up at it but then run when - - SIX FEDERAL CARS come down the main road. They pass by - - THE FRONT PORCH OF THE TRADING POST where Ray stands, talking to the elders. A few of the same from earlier but several new ones. He is sweat - drenched, and has shed his jacket and tie. He is showing them photos of Jimmy but getting no response. And then, for a little iodine on top of that, a MOTORCYCLE ENGINE, spitting and choking and coughing comes around the corner, Walter Crow Horse, manning the handlebars. He pulls up to Ray and just looks at him. DRUMS FADE. CROW HORSE You're an easy man to track, Ray. Ya walk like a penguin with a hard - on. RAY Is that right? What are the trees saying today? CROW HORSE They're sayin' that nobody's gon na talk to you cuz they do n't give away one of their own. But they did say there's somebody way across the Little Walking River who wants to talk to you. Ray soaks sweat off his forehead as he eyes the Indian on this one. He sees himself in the polaroid shades. CROW HORSE He sent me to find ya. He says he's got information. RAY Let's go. Ray quickly leaves the porch.","EXT. GRANDPA SAM REACHES TRAILER - OUTSIDE SETTLEMENT - DAY Silent. The unnerving silence of the Great Plains filled only by FLYS, big horseflies, buzzing around drying sage that hangs from the rafters of a shade arbor. A GOAT stands under it, just gazing across - the vast spread of grass and dry land where an ancient Airstream trailer sits lop - sided. Sheets are hung as curtains. Six old cars - two from the early 50' a - sit stripped to the hubs on blocks in the overgrown grass. The air is dry and heavy and the only sound is - FLYS. Ray swats at them as he steps over a truck seat that lies in the grass, stuffing and springs hanging out. Crow Horse walk. a few steps ahead, toward the trailer. CROW HORSE -LRB- with reverence. -RRB- Grandpa Samuel Reaches. Heavy duty medicine. RAY Medicine. As in medicine man? Crow Horse nods slowly, looking at Ray in a very serious manner RAY Why does he wan na see me? CROW HORSE Good question. Hardly sees anybody anymore. Has n't left this place in twenty years. Did you bring some tobacco? Crow Horse stops walking, making Ray do the same. CROW HORSE When you go see an elder, you always bring some tobacco as a gift. Ray reaches into his shirt pocket and fishes out a pack of Marlboro. Crow Horse glances at it, and shrug - nods. They continue on toward the trailer.","INT. GRANDPA REACHES TRAILER Grandpa Samuel Reaches sits in a taped and tuckered easy chair, his alert black eyes moving from side to side. We recognize him from the sweat lodge ceremony at Looks Twice' although today he wears a straw cowboy hat giving him a more youthful look despite a face like a map of the Badlands. He wears a vest over a western shirt, baggy work slacks, old cowboy boots. His brown wrinkled hands run over the top of the Marlboro pack as if he's reading braille. Crow Horse sits across from him on a stool. Ray leans on one of the plain green walls, looking uncomfortable. A three foot adhesive fly strip hangs from the ceiling, thick with dead ones. There is a black and white TV with Sesame Street wailing, honking and guffawing through static. Grandpa fixes his eyes on Ray for only split seconds at a time but one gets the feeling he's doing an incredibly deep reading of the young man. Slowly, he sits up - focusing intensely on Ray. He begins to speak. A hoarse, strained, string of LAKOTA, spoken like it used to be, gesturing toward Ray. When he finishes, he sits back in his chair. Ray looks intrigued. RAY What did he say? CROW HORSE He wants to know if you ever watch the Cookie Monster. He says the Cookie Monster is not to be trusted - a trickster. Ray looks puzzled. Crow Horse laughs bull - wild as Grandpa takes up a fly swatter and takes out a big horsefly. The old man begins speaking Indian again. CROW HORSE He says there's something wrong with Big Bird - he's crazy. -LRB- stops laughing. -RRB- He says you stopped the Inipi ceremony last night? Crow Horse turns a questioning look at Ray. Ray does n't flinch. CROW HORSE But he is not unhappy with you because he knows you. RAY He knows me? CROW HORSE He says he saw you in a vision some time ago. Crow Horse stops translating suddenly even though the old man continues speaking. Crow Horse looks concerned, and ASKS A QUESTION IN LAKOTA. We do n't know what he's asking but the tone is absolute amazement. This question triggers an exchange between he and Grandpa, the old one getting angry. Grandpa wins. CROW HORSE I guess he had this vision some time ago, in the Moon of the Popping Trees - uh, back in the winter. He says you come from Wasi ` cu city in the East but that your people. way back. are of the Minniconjou Sioux. But you yourself do n't know that. Ray's brow is drawn tense as he stares at the old Indian, absorbing the translation. Grandpa speaks more fervently now, incorporating Indian sign. Each time Grandpa does the hard Sioux HAND SLAP, Ray blinks. CROW HORSE He says he knew you'd be coming to Bear Creek. He was told. It is the will of Tunkasilia - the grandfather that you come here. He says let's smoke the caanunpa the sacred pipe, symbol of truth. So that there will be no lies between us. The old man has taken a long wooden stem and a red stone bowl from a beaded pipe bag. He joins the two together then begins offering a pinch of tobacco to the Four Directions. While this goes on, Ray fidgets. RAY What's he smoke in that? CROW HORSE Sacred herbs. Tobacco. Do n't worry, we do n't smoke no Mexican agriculture in The Pipe. That's a white man's myth. This is a sacrament. The old man is offering the pipe to Ray. GRANDPA Mltaku Oyasin. Ray looks at Grandpa. The old man offers the pipe again. CROW HORSE You do n't smoke with him, it means you're hiding something. Ray takes the pipe, looks at it. then passes it to Crow Horse. The big Indian takes it from Ray, giving him a long eye, then offering the pipe to The Directions before smoking. Crow Horse puffs hard, eyes closed, then slowly releases some smoke upward. Ray watches it climb and fade. The old man then takes up an old turtle shell rattle. He speaks. CROW HORSE He says Wakan. Sacred. Five hundred year old turtleshell rattle, passed down from the Grandfathers. Heavy duty. He shakes the rattle very slightly, moving it in front of Ray. He speaks just above a whisper. CROW HORSE He says, it is good. The Spirits are here. The Spirits want to know what you're doing here? Ray smirks. RAY Tell him I'm trying to find the man who murdered Leo Fast Elk. Ask him if he knows where he is. Crow Horse asks the old man in Lakota. No answer. The pipe is back to grandpa, and he offers it to the Directions, to the Earth then upward before smoking himself. He begins to speak again. Passionately. In long glottal Sioux sentences, adding sign, fingers crossing, brushing an arm, a slap here and there, He is working himself into an excited state, and Ray keeps looking at Crow Horse, very interested in the old man's answer. Finally Grandpa's breath comes up short and wheezing, he ends his oratory with a solid hand slap. RAY What did he say? CROW HORSE He said he does n't know. RAY He just did the Gettysburg Address in Sioux. What did he say? Crow Horse ignores him. Grandpa speaks again. More hand language. The old man is staring at Ray while whispering to Crow Horse. He strokes his badger claw necklace. Crow Horse looks at Ray and seems hesitant to translate this new piece of information. CROW HORSE Uh. Grandpa likes to trade ; no one stops by here without gettin' stuck in the old Indian barter. He, uh. he likes your shades. Grandpa smiles toothlessly. Ray who has his driving glasses in hand, lifts them to say `` these?'' but Grandpa sees it as an accepted deal, and swiftly removes his necklace. He holds it out. Ray slowly, hesitantly surrenders his sunglasses, and takes the necklace. Crow Horse bursts into laughter and so does Grandpa, enjoying a good trade. He draws a hand through the air in a sort of horizontal karate chop, meaning done deal. Ray looks confused. Out of his element. And out of his shades. Another fly gets snagged on sticky tape.","EXT. GRANDPA REACHES TRAILER Crow Horse is hurrying toward his bike, Ray with him. RAY What was he saying? CROW HORSE Why should I tell you. RAY Because he was talking to me. Crow Horse keeps walking. RAY Does he know something? Crow Horse stops walking and eyes Ray, deliberating. CROW HORSE The old man saw an owl. Over there in the dry wash. Last week. RAY And. CROW HORSE He saw an owl. A silent moment. Ray tries to figure out what he's missing here. RAY So what? CROW HORSE The owl is a messenger. When one shows itself to a Sioux. it means someone's gon na die. The owl told him about Leo. Ray stares vacantly. RAY The owl told him about Leo. That's incredible. I guess we just broke the back of this investigation, did n't we? Evidence does n't get any harder than that - not for my money. Is there anyway we can seduce this owl into Federal Court? CROW HORSE He also said `` listen to the water.'' RAY Listen to the water. Listen to the owl. He also said, do n't trust the fucking Cookie Monster. CROW HORSE Go back to your DNA finger - printin'. Crow Horse KICK STARTS his bike and burns off down the drive Ray feels the presence of the old man, standing behind the busted screen door. Just watching. OVER THIS, A SCREAMING. A HIGH - PITCHED, CHILLING, SCREAM that takes us straight into - SLACK TAIL POWWOW GROUNDS - RES - LATER CLOSE ON A TERRIFYING FACE - painted in blazing red and yellow, black around the eyes. A ridge of feathers high along the hairline, and a mouth open, tongue trilling - SCREAMING. A WACIPI is going down. A Powow. Held in the center of a huge arbor. This DANCER, a traditional Kit Fox dancer, is dressed in authentic costume and is dancing with TEN OTHERS dressed in various traditional garb and paints. Under the arbor, TWO HUNDRED INDIANS in modern clothing sit on blankets or in lawn chairs, watching the dancing. A group of SINGERS sit around a big drum, beating on it, and wailing the song that keeps the dancers hopping. SIXTY CARS -LRB- res beaters -RRB- are parked off around the arbor, less interested kids sitting on them, smoking cigarettes. A few actually have MTV hair - cuts. Drifting through the cars and people are Special Agents Couture, Miles, Sherman and Levoi. They stroll through, incongruously, checking out faces. Vehicles. Ray slows his step and takes in - THE POWWOW CIRCLE as the dance ends. WEAK APPLAUSE. The POWWOW CALLER, a big Sioux with a crew - cut and cowboy shirt, speaks through a scratchy P.A. system. CALLER Was - te Yelo! Let's have five more veterans. Five more veterans. Hoka Hey! An OLD - INDIAN MAN sitting in a lawn chair, removes his cowboy hat and reaches down toward a blanket. He brings up his VFW hat, adorned with medals and puts it on. Slowly, he rises, and shuffles out to the center pole along with - FOUR OTHER VETERANS who have exchanged cowboy hats for veteran's caps. There is even a traditional dancer in there, wearing a veteran cap. As a mournful WAR SONG is banged out by the singers, a flag is unrolled by the veterans. An American Flag. Unrolled, and set on the mast. And together, all five Indian men, hoist - THE AMERICAN FLAG high. Slowly it climbs. Proudly. It blows in the hot South Dakota wind. OUTSIDE THE ARBOR Ray stands, watching this. And then the SONG ENDS. A loud, angry voice breaks across the P.A.. AT THE CROW'S NEST -LRB- CALLER'S BOOTH -RRB- ANDERSON CHASING HAWK, a young Indian in ribbon shirt and long hair has taken possession of the microphone. SIX W.A.R.N. MEMBERS stand behind him. He speaks loud, firm, with the sharp gestures of an old way Chief. CHASING HAWK What is that that you honor there, uncles? After all the Wasi ` cu country has done to you, after all he still does to you, you honor that flag?! That flag has been desecrated by the United States, because they have not honored what that flag represents! The veterans just stand under the flag, solemn, looking at Chasing Hawk. The flag undulates soundlessly. CHASING HAWK -LRB- O.S. -RRB- To them, we are the Bank of America. Whenever they get into a little difficulty, they go to The Bank, withdraw a little land, withdraw a little oil - OUTSIDE THE ARBOR the four FBI agents stand, watching. MILES Okay. Here we go. COOCH Who's this guy? SHERMAN Anderson Chasing Hawk. Second in command behind Jimmy. AT THE CROW'S NEST Chasing Hawk hands the mic over to another Warrior. MAGGIE EAGLE BEAR would be the most beautiful woman Ray has even seen if she was not the meanest - looking. Her thick black hair falls over a denim jacket down below her horse - hair belt. Her faded jeans are stuffed into worn cowboy boots. And she is full of fire. She begins speaking in LAKOTA. Fluently. And with hand sign, like the old man. OUTSIDE THE ARBOR the agents stand. Cooch is writing into a small notebook. SHERMAN Magedelana Eagle Bear. Eagle's claws and a bear's balls. MILES She keeps an AR - 15 assault rifle in her truck. And she'll use it. As Ray watches her, someone approaches in a less hostile manner. It is President Clear Moon, looking very upset. He holds the hand of a LITTLE GIRL, dressed in traditional dancing garb. He approaches Ray. RAY Mr. Clear Moon. CLEAR MOON Our police are afraid of them. Please get them out of here. Clear Moon gestures for the little girl to run off. He leans in close to Ray. CLEAR MOON They're going to kill me next. That's what I hear. These new Indians are destroying everything. Our people are a quiet people. RAY They can lead us to Jimmy. Just let them go. We're tightening the net on him. We know he's on the reservation. Clear Moon is looking past Ray at the Warriors. They are approaching the agents, and Clear Moon looks at Ray with great concern. CLEAR MOON Help us. And he slowly retreats to his lawn chair under the arbor. Chasing Hawk, Maggie and the other Warriors strut up to the agents. All but one who is bound to a wheelchair. We've seen RICHARD YELLOW BIRD, the big Cheyenne who wears a Red Power baseball cap, an earring, and thick bifocals - in one of the file photos. His arms are plastered with tattoos. AGENT SHERMAN Where's Jimmy? We thought he'd be dancing today. The warriors make a show of not acknowledging the FBI presence. They have walked over here just to walk by them. That is there statement. But Yellow Bird stops cranking the wheels of his chair and stop : long enough to look up at Ray. YELLOW BIRD Are you the Washington Redskin? Even the agents crack grins at this bit of Indian wit. All but Ray who just stands there, arms folded across his chest, considering the crippled activist. AGENT MILES Say hello to Richard Yellow Bird, Ray. Yellow Bird sits there, staring up at him through thick glasses But then Maggie Eagle Bear takes the handles of Yellow Bird's wheel chair. She looks at Ray with eyes that are choke - cherry black, eyes that look right through him. He returns the glare. And then she pushes Yellowbird forward and leaves the feds alone. Ray turns to Cooch who is lighting a cigarette, and concentrating on the movements of this group as they wander under the arbor, visiting people. LAKOTA SINGERS start up. COOCH Ray, get to Jimmy's place and keep it tight. I'm gon na get a tail on his Warriors. IN THE POWWOW CENTER the under ten year - old `` fancy dance'' - TWENTY - FIVE INDIAN CHILDREN, whirling and stomping and dancing. JIMMY LOOKS TWICE HOUSE - NIGHT The battered old house sits under a full moon. The upside down flag moves slightly in the cross winds. ACROSS THE ROAD several junked cars. Among them a black, rusted out VW van with a smashed windshield. A PACK OF RES DOGS sniff at its tires.","INT. JIMMY'S VAN In the dim light, a boot. A black cowboy boot. Up on the dash. Bluejeans. T - shirt. Second hand leather. And a black cowboy hat. Ray is staking out Jimmy's house. Across the passenger seat and console is an M - 16 rifle. On his belt, a.357 Red Hawk. He yawns. From outside, he hears a sound. POV : down below the van, a small, patchy RES DOG with a missing leg is looking up at him with his tongue long and salivating. RAY breaks off a piece of sandwich and drops it down to him just as - HEADLIGHTS catch his face. He slides down low, watching an old pick - up truck creak onto the dirt road, leading to Jimmy's. POV : the truck parks. Someone jumps out, gracefully. Indian. Long braid. Quick steps. Front door. Inside. RAY lifts his radio. RAY X22. Read. RADIO Go ahead, Ray. RAY I have a pick - up truck. No plates. Subject - Indian - entering suspect's house. Over. RADIO Okay, Ray. I'm coming in. If he starts to leave the area, move in. And hold him. Over. Ray sets his radio down, unclips the leather guard on his handgun. Picks up the Big Mac.","EXT. LOOKS TWICE HOUSE - NIGHT The front door creaks open, and the subject dashes back out. In the dark we can not latch onto features. Suddenly the junker van comes alive, guns onto the dirt road, racing toward the running Indian who gets the door of the truck open but freezes in the van's highbeams as - Ray leaps out, M - 16 in hand. RAY FBI, freeze, Motherfucker - drop it, drop it! Ray maneuvers in Quantico fashion, keeping the rifle on the Indian's back. The Indian drops what he's holding. And turns around. It's not a he. We've seen her before. At the Powwow. Maggie Eagle Bear. Her hair is pulled back tight, braided. Ray moves in toward her, surprised at first, but still cautious RAY Turn around, put your hands on the roof of the truck. She does what he tells her. As Ray moves in on her, he notices an INDIAN CHILD sitting in the passenger seat, looking out into the highbeams, frightened. Ray toes Maggie's legs out wider, frisks her one - handed, pats down her boots. MAGGIE You're the Indian FBI. RAY That's right. Turn around. Maggie turns around, looks Ray in the eye. He looks self - conscious in the cowboy hat. MAGGIE The people are glad they sent you. They usually send in guys who come at ya with highbeams, screamin' `` drop it, Motherfucker'', stick a gun in your face, frisk ya down. Even if ya got a child with ya. No, it's good to have ya. It's gon na be was - te times on the res. Ray is looking down at what she dropped. A bundle lying in the grass. He bends down, starts to untie it. MAGGIE I was gon na warn ya about messin' with somebody's medicine bundle but I forgot you know all about that stuff. IN THE BUNDLE - an eagle skull, tobacco strings, sage, sweet grass, and several white eagle feathers. RAY This Jimmy's? MAGGIE You're not gon na catch him. He can shape - shift into different animals. Bear. Elk. Porcupine. RAY Is that like an hereditary thing, Magdelana, or can one take classes? MAGGIE Jimmy did n't kill Leo. Why do you wan na do this? RAY He tried to kill him twice before. That's a good place to start do n't ya think? Leo was on the other side, was n't he? MAGGIE - Leo was an apple, that's right. Red on the outside, white on the inside. And Jimmy hated him. Kicked his ass a coupla times. But he did n't kill him. RAY Who did? MAGGIE You're the FBI. That's your job, is n't it? Ya know how many of our Warrior brothers got killed out here? I never saw any investigating then. Why now? What's going down here? RAY A Fugitive Alert for a murder suspect. Before somebody else gets a shotgun blast in the spine. MAGGIE Try the Fort Laramie Treaty. All over again. Ray does n't have a clue as to what this radical bullshit is about. RAY Look. You and I can stand here in a culture clash til the sun comes up, talking about what's right and what's wrong. You're from the reservation. It's a different world. MAGGIE I'm from Minneapolis. Fifth Street. I did four years at Dartmouth before I ever set foot on this res. So I know about the other world, Ray. If this information does n't throw Ray, the use of his first name does. MAGGIE Are you gon na keep that medicine bundle or are you gon na respect its power? Ray is holding the medicine bundle. He deliberates, then hands it over. She takes it with careful hands, casting a somewhat surprised look up at him. MAGGIE Thank you. RAY When you see Jimmy, tell him the sooner he turns himself back into a human being and gives himself in. the sooner we back off this reservation. Okay? Maggie gets in the truck, starts it up. She looks out at him, studying him. Trying to figure him out. HEADLIGHTS are coming fast from down the main road. MAGGIE Grandpa Reaches says you come from heavy Indian blood. I used to think Grandpa was gettin' senile. Now I know he is. RAY Move it, Magdelana. Maggie drives forward, turning down another little wagon road, and bumping into the black night only moments before, Cooch's Le Baron pulls in. SA Miles and Sherman's vehicle pull in behind it. The regional feds fall in behind Cooch, everyone, packing rifles. COOCH Ray, you alright? Ray turns, nodding. An FBI van pulls in from the other direction and FOUR AGENTS empty out, wearing FBI windbreakers and heavily - armed. AGENT SHERMAN What do we got, Ray? RAY It was just Eagle Bear. I questioned and released her. COOCH What'd she say? RAY She talks a lot of shit. We're not doing our job. Jimmy's innocent. `` What's the FBI really doing here.'' Some shit about the Fort Laramie Treaty. Cooch nods. The agents form a tight unit out below the upside down flag. RAY She took something from the house. What she called a medicine bundle. Most likely Jimmy's. COOCH Let's see it. RAY I gave it back to her. AGENT SHERMAN Why? RAY If it is Jimmy's, she's taking it to him. We'll have a runner. But I borrowed a little mojo. Ray reaches inside his pant leg, down around his boot and carefully removes a white eagle feather. He gingerly tucks it in a plastic bag. COOCH Way to go, Raymond. Miles, take that to lab. Sherman, I want you to go back to base and produce some written material. Something that indicates that our girl Maggie is leaking information to us. And make sure that material finds its way into the hands of the Warrior Movement. Sherman and Miles, take off. Cooch, an impressive master of COINTELPRO, now turns to the van squad. COOCH You gentlemen missed that medicine basket. Go back through the house, and make sure you missed nothing else. And lay some wire, too. Let's do it. The van squad moves toward the house, leaving Cooch and Ray alone in the highbeams that light the yard. COOCH That's good goddamn work, Ray. Let the salmon run. Let'em run Upriver. RAY Why we setting Eagle Bear up as an informant? COOCH Her own people start to suspect her, it creates discord from within. The Warriors do n't know who to trust, they start infighting, and Jimmy loses his support. Ray nods, impressed. Cooch bends down near the road, touches the dirt. COOCH Her oil pan is shot. RAY Cooch. What's the Fort Laramie Treaty? COOCH Jesus, I do n't know. You tell me. You're the Indian. Cooch wipes the oil on a handkerchief as he rises, smiling playfully at Ray. He starts back toward his car. Some sort of bird is COOING in the night. COOCH Get a tail on her, Ray. Ray looks up at the upside down flag. Then watches Cooch walking way. RAY Cooch. -LRB- a quiet, tired laugh. -RRB- Where the fuck did they send us? COOCH A long way from home. You be careful out there. Cooch, standing there with his glasses on and his right arm bandaged, looks tired, too. He gets in his car. In the yard, Ray starts for the van, the res dog, trying to follow. He chases it away. And then as he gets closer to the van, he looks up to investigate the COOING SOUND. AT THE TOP OF THE FLAG POLE there is a shadow. What looks to be a large bird. It just hovers. In the shadows. DOWN BELOW Ray looks up at the pole, watching. Then walking on.","EXT. BEAR CREEK RES - SUNRISE Mind - blowing sunrise of airbrush red. Clusters of lodge - pole pine. The spectacular mesa. PAINT HORSES graze in a field, a few out in the center of the road. AT GRANDPA REACHES TRAILER the old man comes down the front steps in a frail walk, carrying a paper plate. He steps down into the sage clusters that grow just off his trailer, and offers the plate up toward the sky. He then stoops, and scrapes a half - eaten English muffin, some potato chips and half a banana onto the Earth in a neat pile. He straightens his back the best he can, looks up again, and prays softly. THE BADLANDS possess an otherworldly beauty at this magic hour, a maze of shadows and rainbows. In the distance we can not mistake the frame of Walter Crow Horse. He's out there, long hair blowing against the white bluffs. Stalking. Tracking. ON THE VILLAGE ROAD a puppy chases a hen in a klutzy, innocent manner then bumps into the tire of a parked car. Taking a shot at doghood, he hikes his leg, squirts a hubcap belonging to - Cooch's Le Baron. Cooch leans on the hood, drinking a coffee from a foam - plastic cup, and supervising SIX G - MEN who have a map spread out over the hood and are discussing it. MAGGIE EAGLE BEAR'S HOUSE is way out in a remote corner of the res, a little home, trailer and tipi right on the river. The river is rushing hard this morning, catching the light of the sun. Maggie's truck is parked in front. Out at the river, Maggie, her hair long and unbrushed, and wearing an extra large T - shirt and nothing else is hauling water in buckets from the river. THREE INDIAN CHILDREN are with her, helping her. Near the house, an OLD WOMAN in bifocal glasses, feeds some chickens, and a cat that gathers with the chickens and eats feed.","INT. OLD VAN – NEAR MAGGIE'S Ray, still in his field clothes sits, training binoculars on the distant house. He opens a carton of milk, drinks some. Then hears a whimpering. In the passenger seat sits the three legged res dog. Ray has taken him with him. He drinks some milk, then opens the carton up fully and sticks it out so the dog can lap it up. Ray laughs in disbelief, shaking his head. RAY For all I know, you're Jimmy. And you're just waiting for a shot at my jugular. Drink, Jimmy. Milk is good for you - The dog is lapping the milk, desperately. And then a ROARING. A motorcycle. IN THE SIDE MIRROR : Crow Horse, racing up on the left of the van. Ray pulls his hat down low, and sits back. The motorcycle passes on the left, slowing enough so that Crow Horse can flip Ray the middle finger. Then he races on, far down the road. Ray sits there, shaking his head. He'll let it go. Bullshit. He starts the car.","EXT. TRIBAL POLICE SHOOTING RANGE - DAWN Crow Horse guns in, sliding in dirt up to the run - down, low budget shooting range - six plastic milk jugs on sticks, jammed in the mud. A moment later, the van hammers in. Parks. Ray gets out. He's removed his hat so as not to invite any crap from Crow Horse. CROW HORSE Do n't be mad. That was just an old traditional gesture that means hello, how are you. RAY I see. Forgive my cultural ignorance. Ray executes a hard, slapping, `` up your ass'' gesture. RAY Have a nice day. Crow Horse bursts into laughter in his raspy, staccato laugh. He walks off a few steps, picks up a spent shell and pitches it. His laughter simmers and he gets serious. CROW HORSE Jimmy did n't do it, Ray. I checked it out. You can stop taggin' my sister. RAY She's your sister? RAY AND CROW HORSE Spiritual sister. RAY Gotchya. We just nailed a genetic match between the eagle feather left at the murder site and one in Jimmy's medicine bundle. It came from a white eagle. Same bird. Crow Horse fingers an eagle feather that hangs from his hat band. CROW HORSE So did this one. Wambli is a rare and sacred creature. When someone finds a dead one, the feathers get around the res. We share everything. A lot of power in the eagle feathers. But you think that's bullshit too, do n't - RAY -LRB- ala Crow Horse. -RRB- - Leo Fast Elk was sitting in the outhouse at Maisy Blue Legs when a car pulled into the yard. He came out, approached the vehicle then saw that the man behind the wheel was Jimmy. He tried to get back into the trailer, but the car came highballing at him. He started running for the open grass. With the car moving, Jimmy hung his shotgun out the window, took aim - missed once, hitting the shitter - fired again, and severed Leo's spine. Leo fell, rolled, and came to a stop in the grass. And some chicken feed. Stale chicken feed with four days mold. -LRB- a beat. -RRB- Electromagnetic printing. Crow Horse stares, a little surprised. CROW HORSE Was - te. ` Cept for one thing. Jimmy Looks Twice was nowhere near there. Ya see, when Jimmy was twelve years old, his mother and father was killed in a car wreck right down there near Elk Mountain. RAY I do n't see the connection. CROW HORSE The connection is, it did a head number on him. He's petrified of cars. Wo n't drive. I've known him all my life, and he's never gotten behind the wheel of a vehicle. He rides passenger and he rides horses, and that's it. The man that shot Leo down was behind the wheel of a moving car. Ray absorbs this with great interest. RAY That's not solid. CROW HORSE You want solid? That one, single, print he left in the Badlands - the one the FBI missed and then stepped all over - it belongs to a man who walks heels first. Like a white man. Jimmy has a serious Ind'n walk - ball of the foot first. The man who murdered Leo walked like a Wasi ` cu. Ray lets a pent - up sigh escape. RAY You're saying a white guy did it. Crow Horse chews this over, unable to hide a nagging frustration. He shakes his head. CROW HORSE When Leo was dumped out there in the Badlands, he was dropped on his back. Our man made an effort to turn him over, onto his face. It's an old Ind'n belief that if a dead man is turned face down, his spirit wo n't leave. And in the killer's case, it wo n't come back and jump all over his shit. That's an Ind'n thing a white man would n't know. The two of them stand there, thinking this over. Ray takes out his notebook and starts writing. Crow Horse walks away, turns to face the propped up targets. CROW HORSE And that's the way it is. Write it down. To punctuate, Crow Horse slaps leather, draws his.38, and begins blasting at the milk bottles. He hits the bank. A tree. One of the posts. But not a single target. When he is done, he looks over his gun, disappointed. Starts reloading. Ray starts laughing, looking at the missed targets CROW HORSE You laugh all you want, Breed. Sunset tonight, I get my man. Ray looks at Crow Horse, sees that he's serious, and follows him toward his motorcycle. RAY Alright, Crow Horse. I'm listening. I'm listening to the trees, to the stones. Who is it? Crow Horse turns toward Ray, and creates a long dramatic pause. CROW HORSE Damned if I know. And he hauls his bulk onto his motorbike. CROW HORSE But the Old One. He did a Yuwipi ceremony last night. Crow Horse winks at Ray as he slams the kickstart. To no avail. RAY The old man? He's gon na tell you who killed Leo? CROW HORSE Go catch Jimmy, Ray. Really. He's gettin' away. Go ahead, go get him. I'm late. RAY Hey. Hey, those are my sunglasses you're wearing. CROW HORSE Grandpa traded with me. -LRB- flips the bird. -RRB- Goodbye. And Crow Horse nails his kick start. The BIKE ROARS alive and the Indian works the throttle hard, leaving gravel and black exhaust. Ray stands there, drifting between logic and instinct. He looks at his watch, then starts at a slow, thoughtful shuffle toward his car.","EXT. GRANDPA REACHES TRAILER - SHORT TIME LATER The dust - buzzard broncs and bounces down Grandpa's driveway, coming to a stop near the wrecked cars. Crow Horse dismounts and unhooks a carton of smokes from the back. A moment later, the junker van pulls in, bouncing and shaking. Crow Horse stares at the approaching vehicle, his eyes hidden behind Ray's former shades. He cracks a slow smile because - Ray is stepping quickly from the van, and carrying two packs of Marlboros.","INT. GRANDPA REACHES TRAILER Grandpa sits in his chair, his black eyes moving smoothly from side to side. Smoke enshrouds his ancient face, giving the sense of another time and place. He speaks LAKOTA. Crow Horse, sitting on a stool across from him, holds The Pipe. He passes it to Ray who sits in a busted lawn chair next to him. The room is dark as the sun sets out the window in red and purple. Ray looks at the pipe. Grandpa will not speak until Ray smokes. And so he does, drawing on the stem, awkwardly. HEARTBEAT DRUM as Grandpa speaks Indian. CROW HORSE He says, back behind Red Deer Table, where the Elk - People - used - to - live. there are strange creatures from another world who eat stones. and who will kill anyone who crosses into this place. Ray looks at Crow Horse, searching for a hint of lightness. But there is only great reverence as he watches Ray blow smoke upward. CROW HORSE He says, in the Yuwipi ceremony last night, he saw you. going back into the land beyond Red Deer Table. I was with you. But that was all the Spirits let him see so he does n't know if you were killed or not. But he thinks you probably were. Ray smirks as he passes the pipe to Grandpa. Crow Horse looks nervous. Grandpa offers the pipe to the directions and then disengages the bowl from the stem. He speaks again. Crow Horse translates. CROW HORSE Go to the land where the Elk - People - used - to - live and you will find the answers you came here looking for. But you must go as two. That is the vision. I have spoken. And this is so. Grandpa leans closer to Crow Horse and whispers some Lakota. CROW HORSE He wants to trade. -LRB- a beat. -RRB- He likes your watch. Ray looks at Crow Horse, nervous. RAY I ca n't do that. -LRB- explaining. -RRB- It's a Rolex. CROW HORSE A what? And Grandpa is already holding out something to offer. It is a cigarette. Grandpa offers it again. RAY I'm sorry, this is -. -LRB- loud to Grandpa. -RRB- - this is very, very expensive. It's -. -LRB- to Crow Horse. -RRB- Tell him this is an expensive watch. Crow Horse tells the Old Man. Grandpa speaks Indian. CROW HORSE He says, you need to go on Indian time. He says your watch is ruining your life anyway. Ray buries his hands in his jacket pocket. No way. Crow Horse signs to Grandpa `` no.'' Grandpa gets up, crosses between the two young men, up to the TV set. He turns it on. WHEEL OF FORTUNE explodes in PINGS AND PONGS and a WOMAN'S SHRILL SCREAM.","EXT. GRANDPA REACHES TRAILER - DAY Crow Horse and Ray walk down the steps. WHEEL OF FORTUNE is heard from within. CROW HORSE Red Deer Table, Ray. RAY Do n't tell me : heavy duty. CROW HORSE Heavy, heavy duty. Taku Wakan. Wanagi Spirits. It's one of those few places we'd never go to as kids. Still do n't. Some of the old people say Crazy Horse is buried back there. We have to go Ray. Together. Like his vision. They step into the yard and Ray stops, turning to Crow Horse RAY Walter. When I fill out my 302, do I say that evil spirits are killing everybody on the reservation? CROW HORSE Ray - RAY - no. No offense to the old man. I appreciate you trying to help. But I put my ass on the line coming out here, man. CROW HORSE What'd you expect to hear? RAY Not Native American myths and legends. I'm with the FBI, Walter, remember? Not National Geographic. CROW HORSE What you call myths, we call our history. RAY It's not real. CROW HORSE What's real to you? Wall Street? Capital Hill? Now they are myths. RAY I ca n't be dicking around here. That's all I'm saying. I do n't carry crystals, I do n't wan na come back in another life. I just wan na do my job, and do it right, and get the fuck outta here. CROW HORSE You ai n't no Indian. You're a Sal Mineo Indian. Crow Horse drives `` Indian'' home with a hard finger in Ray's chest. Ray knocks his hand away, explosively. Crow Horse is ready. GRANDPA -LRB- O.S. -RRB- Knock it off! The old man is standing at the top of the steps. Ray and Crow Horse are YELLING OVER EACH OTHER, and hands are up. GRANDPA Will ya knock it off? You're actin' like a couple of old women. Ray stands there, one hand up in defense, another poised to throw a punch. Bewildered, he stares at the old Indian holding onto the porch railing. GRANDPA For cryin' out loud. Knock it off. RAY He speaks English. CROW HORSE Only when he's really pissed off. GRANDPA Come inside. Watch TV. And Grandpa goes back in, screendoor slapping shut behind him. Ray is just staring, his jaw dropped. Crow Horse starts laughing. Harder than he has yet, and Ray starts walking toward his car in fuck - this steps. He gets into the car, closes the door and looks out the open window at Crow Horse. The Indian moves first. CROW HORSE Do n't accuse nothin' of not bein' real, Little Weasel. Cuz the only thing around here that ai n't real is you. Ray lifts his arm off the door, and springs his middle finger up at Crow Horse. He holds it there for a long moment just looking at the big Indian. RAY Take care of yourself, Walter. CROW HORSE Likewise. Ray checks the time on his watch then guns away. Crow Horse stands there, watching him go. Eventually he shuffles back toward the trailer.","EXT. BUFFALO BUTTE MOTEL - NIGHT Room 14 has been transformed into a major COINTELPRO base ; four computer terminals are set up, card tables spread with photos, boxes of files stacked on the bed, and SIX AGENTS, manning the computers, thumbing through files. THE CONNECTING ROOM -LRB- RAY'S ROOM -RRB- A meeting takes place around a table of paperwork and coffee cups, and a.45 laid atop a file. Cooch, SA Miles, SA Sherman, TWO OTHER REGIONAL AGENTS and Ray. SA SHERMAN We've gotten word that Jimmy has been trying to hook up with Maggie Eagle Bear. but some of the Warriors have been sending word to Jimmy that she may be an FBI operative. So he does n't know where to go. Cooch taps some ashes into an empty coffee cup. They sizzle in cold residue. COOCH Bingo. It's working. SHERMAN He's out of room. All the reservation exits have been watchdogged. We got him. I give it twelve hours. RAY Well we better use those twelve hours to apprehend the right man. The agents all look at Ray. A pin can be heard falling to the cheap carpet. COOCH The right man? Talk to me, Ray. RAY Whoever dusted Leo, dusted him from the driver's seat of a moving car then drove those eight miles to the Badlands. Jimmy Looks Twice has never been behind the wheel of a car. It's a known fact out here that he's petrified of driving. His parents were killed in a car wreck. Cooch nods, lights another smoke, intrigued. SHERMAN That's not very solid. RAY There was also a print found in the Badlands that indicated diagetic locomotion. Heels first. Jimmy's walking pattern does n't match. He has a distinct Indian walk. SA MILES Indian walk? You been smoking hooch in the peace pipe, Ray? LAUGHTER. Except for Cooch who just stares at Ray, digesting what he has said. RAY They do n't smoke hooch in The Pipe, Miles. They smoke something called kinickinick, it's like a tobacco. Sherman looks at Cooch. SA SHERMAN Well, you're right about X21 being a Washington Redskin, that's for sure. What else, Ray? COOCH You boys want a soda? SA MILES Oh, yeah, a Coke. You buying? COOCH No, Ray's buying. Sherman? Coke? SHERMAN Oh. no. No, Cooch, I'm working on a coffee here. Indian walk? Cooch nods to Ray and Ray follows, gathering up some paperwork He looks determined as a terrier.","EXT. BUFFALO BUTTE MOTEL - NIGHT Ray and Cooch throw long, slim shadows on their way to an archaic Coke machine. COOCH Genetic ditto on evidence found at the site with evidence you found in his belongings. An incontrovertible motive. And definite footprints on Jimmy Looks Twice at Maisy Blue Legs house. RAY When did we get that? COOCH Today. And now you - there's a dog in the van - RAY - I know. I fed it, and I ca n't get rid of - COOCH You were n't sent here to go off on your own detail, Ray. You were sent here to assist in a Selective Operations Unit. These regional agents are inept - that's why they were sent out here to The Graveyard, to Indian Country. I need you behind me, Ray. Not pulling against me. RAY I'm not trying to pull against you, Cooch. I've just been having nightmares about the way Leo was killed. COOCH Your first homicide, that's gon na happen, Ray. RAY I just wan na make sure no one else gets done in that way because we were in bed with the wrong doer. COOCH Ray. I never get into bed with somebody unless I know for sure. Just the way I was raised. Ray studies him with a smile building. Cooch shrugs, sips some soda. RAY Alright. Alright. COOCH -LRB- lightly. -RRB- Yeah, alright, alright - fuck you - give a yuppie a badge and he wants to take over the world. Go get a tail on Eagle Bear, and stay with her. Cuz Jimmy's gon na show. And I want you to make the collar. Ray nods, starting for the van. COOCH Ray. He turns. Cooch looks at him for a time. It is a warm look. COOCH I'll sleep around a little. RAY Thanks, Cooch. COOCH And get rid of the dog. Ray gets in and pulls the dog out. The dog sits at roadside, tilting its head at him, confused. And he pulls out. It runs after him.","EXT. DIRT ROAD NEAR EAGLE BEAR'S - RES - NIGHT The van sits parked down the road from Maggie's dimly - lit home. Ray sits behind the wheel, watching the house. LOCUSTS make a steady and unnerving sound. It is black. Black under big sky. Ray lets his head sag out the open window and he takes in the vastness. POV : stars. Millions of stars. And an incredible full moon. It hangs huge over distant fields, a perfect sphere. The top half of the moon is yellow, the bottom half a lava red. REVERSE - RAY stares at it, lost in thought. From Maggie's house, he hears someone SINGING. Singing a traditional SUNDANCE SONG while they haul water from the creek. A WOMAN'S VOICE, trilling out the beautiful but haunting `` hey - o - hey - o - hey - o - hey - ohhhhh.'' Ray just sits, listening. And then something draws his attention to his rearview mirror. The res dog, lying in the back seat is GROWLING. Lip curled back, growling low. Ray looks at him, looks out the window. Blackness. Nothing but the sound of locusts. And a slight crosswind in the wheat fields. The dog stops growling. And Ray fixes his gaze on the house again, lifting a pair of binoculars and - BOOOOOOM! The rear windshield is SHATTERED by an explosion. Ray throws himself low across the passenger seat - BOOOOOM! The driver's side window and part of the door explodes. RES ROAD NEAR EAGLE BEAR'S The federal van is HAMMERED BY GUNFIRE. All the windows, shattered, the metal doors splayed. Someone is going for the kill, THE PASSENGER DOOR is thrown open just as its window implodes, and Ray slides out belly first, gripping his M - 16 and crawling like a dog soldier into tall wheat at roadside as the car, the road, the wheat, the dirt, the night are slammed by gunfire. The res dog overtakes Ray and vanishes in the wheat. Ray vanishes, too. It is quiet for a moment, then Ray, pops up ten feet away, and UNLOADS THE M - 16, in a left to right, clean sweep before dropping again. He lies there, listening. The LOCUST HAVE GONE QUIET. His breath is heavy. His heart's got to be pounding through the dirt he lays in. RAY -LRB- whispering. -RRB- Motherfucker. LONG SHOT - THE ROAD the decimated van, aerial still high. The distant lights of Maggie's house. And the giant Moon, hovering over it all. HEARTBEAT DRUM into - SAME ROAD -- RES - DAWN TWENTY FEDS comb the dirt road, the wheat fields, picking up shells with gloved hands, scanning the vast distance. IN THE FRONT YARD of Maggie's, FOUR INDIAN CHILDREN stand with the Old Woman, watching.","INT. LE BARON – TRAVELING – ANOTHER DIRT ROAD Cooch, flushed in the face, mans the wheel. He wears only a T - shirt which indicates, a desperate rush to the scene. His eyes scan the surrounding homes and fields. In the passenger seat, Ray sits, drinking a coffee. He looks haggard. COOCH Bastards. RAY All I could think of was. not here. I do n't wan na eat it on an Indian Reservation, three thousand miles from home. COOCH He's out there. He's out there playing Sitting Bull with us. I want the motherfucker so bad I'm getting a bleeding ulcer. Ray turns around in his seat, looking off across dry land. RAY It may have been Maggie's way of saying `` get off my ass.'' COOCH She's that subtle? RAY Eagle's claws and a bear's balls that's what her profile says. COOCH Well, she's running now, too. These fucking people like to run, do n't - RAY - Cooch. Woh. Stop. He does. Ray is turned around in his seat, staring off into the distance.","EXT. DIRT ROAD The Le Baron whines backward, and off the road, into some grass Ray steps out, keeping his gaze fixed. Cooch bails from the driver's side, joins him. HEARTBEAT DRUM. RAY'S POV : Four - hundred feet across a flat area of sandstone and grass clusters, something shimmers in the undulations of the harsh morning sun. Something of pea green and rusty metal. glass catches sunlight and makes prisms. A car. An old res car, sitting in a long, chasm in barely a foot of green water.","EXT. DRY WASH - SHORT TIME LATER - PAY Ray and Cooch go through the car, around the car, with gloved hands and grease pencils and plastic bags, sweating in the hot sun. COOCH Tread matches. It's the car. RAY Yes. Excited, Ray walks off, scanning the area. COOCH But this does n't make any sense, Ray. If it's just been sitting in this dry wash for seven days. why the hell did n't we find it? Ray picks up a handful of stones, sifts them in his hands. RAY Because this is n't a dry wash. Cooch watches him slosh shoes first through a rut where the water shimmers a foot deep or less. RAY It's the Little Walking River. Ray turns, shucking up mud. RAY And it was full of water when I drove by here three days ago. Full. I mean. a river. COOCH The Little Walking River. You're right. This is part of it. So whoever sunk this car did n't compensate for drought. Goddamn. Ray does n't hear Cooch. He stares past the SAC at the long wide chasm, wet in some places, arid in others, and what he hears must be an echo in his head. RAY Listen to the water. Cooch is listening to a TRANSMISSION across his radio and he walks off a few feet, exchanging information with the REGIONALS. Ray stands, ankle deep in stagnant water, his face sweat - soaked, his eyes transfixed on heat undulations.","EXT. BUFFALO BUTTE MOTEL - ROOM 13 - DAY A flat - bed tow truck drives past the motel with the killer's car on it. Behind the truck is a fed car which stops at the motel, and the Le Baron which also pulls in. Miles and Sherman get out from the first car, Ray and Cooch bail from the Le Baron. With RADIOS TRANSMITTING, the agents walk, dusty and tired, into room 14. Ray hesitates, snagged by the sight of - A motorcycle parked in front of the Buffalo Butte Bar. Parked with pick - up trucks and station wagons. It's the mud - caked old Barley. Parked right under the NO INDIANS sign. He puzzles over this.","INT. BUFFALO BUTTE BAR - DAY Dark. Even during the day. Cigarette smoke. Sawdust. On the archaic juke box, RANDY TRAVIS sings `` Old 8x10'' while behind the bar, the BAR OWNER, an old man with long white hair and beard, busies himself with leather work. SEVERAL WHITE LOCALS sit on the old water drum bar stools. Heads lift, turn when Ray enters in his `` fraternizing'' clothes - jeans and boots, leather jacket. He scuffs up thick sawdust as he heads to the furthest booth back where - Crow Horse sits, alone over a bourbon and a beer. Ray approaches carefully, upset by the sight. He slides into the booth and point blanks the Indian. CROW HORSE Agent Little Weasel, Federal Bura of your Imagination. RAY Jesus Christ. You're hammered. What are you doing? CROW HORSE You're right about the old man. His power's long dried up. He's supposed to be a medicine man but he wo n't go see the people. He says we changed, and we do n't listen. Well, he do n't go out and talk no more. I have n't had a drink in three years but I just turned my sobriety chip into that man behind the bar, and this Hoss is gettin' watered. RAY Cut the shit. You should n't be in here, Man. CROW HORSE Cuz I'm a skin? RAY Cuz you're a cop. CROW HORSE Not no more. RAY What are you talking about? CROW HORSE You tell me. You tell me who went to the B.I.A. - Bureau of Indian Annihilation and said I was messin' with your case, man. I do n't give a goddamn about your case. RAY And I do n't give a goddamn about whether you wear a badge or not, Crow Horse, but I did n't cut you. Crow Horse shimmers his black eyes onto Ray. CROW HORSE Still after Jimmy? RAY They found prints at Blue Legs' place. CROW HORSE Yeah. Jimmy's prints are there. But they cross over Benjamin Black Star's prints. And he was n't there until six o'clock the mornin' after to get eggs from the chickens. So Jimmy was n't there til the next day. Follow? Ray just looks vacantly at Crow Horse. Crow Horse resents the vacancy. CROW HORSE Look, man. you better bust Jimmy and get out before somebody shoots up more than your car next time. Ray glares at him. RAY Next time I'll be ready. You get the word to who ever it is. CROW HORSE I ca n't, Hoss. I do n't talk to FBI's. Ray does n't blink. CROW HORSE You think you was sent here cuz you're a good cop? RAY No. I was sent here cuz I'm Indian. And a good cop. Crow Horse leans toward Ray and speaks more quietly. CROW HORSE You ever think that maybe you was sent here cuz the FBI's need one good reason to take out the entire Warrior Movement. And what better reason than one of their men, gettin' blown away on the res. A low - rent, expendable public servant sent in to take a bullet for his country. Ray is fuming. He ca n't believe what he's hearing, what's being insinuated, but he's giving it thought and it's getting him angry. He smashes a hand down on the table. RAY I'm sick of your shit - RANCHER -LRB- O.S. -RRB- I'm sick of the two of ya timber niggers spewin' off. Standing over the booth is a long, tall RANCHER'S SON. Rangey with red curly hair tucked under a BLACK HILLS CLASSIC cap, and arms built by tractor work. And behind him, TWO OLDER RANCHERS fall in. And ANOTHER YOUNG MAN, grinning with amusement. Ray and Crow Horse look up. CROW HORSE Sorry, we do n't speak United States. RANCHER'S SON Yeah, well I do. Get the Jesus up, and get the Jesus out or I'm gon na go out to my truck and come back with my hardware. RAY Woh, hold on there, Jack, you're - RANCHER'S SON - do n't `` jack'' me, Squanto. I'll bury your lazy ass right here. Ray realizes now that they think he's Indian, too. Crow Horse sees this revelation and complicates it by suddenly speaking LAKOTA to Ray. The rancher grabs Ray by the cheeks. RANCHER'S SON I'm talkin' to - Ray decks him. Backhands him in the solar plexus then, lays a burner of a Quantico roundhouse to his ear, knocking him across the bar, over a mop and bucket and into sawdust. The others start to fall at him but someone has jumped in, holding them back, and sticking himself in the way. It is Brooks. The old timer Ray met his first night here. BROOKS No! No, you butt holes! He ai n't skin! He AI N'T SKIN! CROW HORSE Yeah he's In ` dn. Miniconjou Sioux. The rancher's son who is coming back with a broken beer bottle, slows his step and shifts his eyes from Brooks to the young fed There is a lot of heavy breathing. But no talking just yet. The young rancher eyes Ray. RANCHER'S SON You ai n't Indian? Ray just stands tense, staring at him. And it's strange. Because he has n't really looked like he has any Indian blood up to this moment. But dressed the way he is, and his eyes glaring, face drawing tense, he might pass for a breed although that's probably the Italian. But Ray does n't answer the question. Crow Horse starts laughing. Drunkenly. OLDER RANCHER What's so damn funny? CROW HORSE Well, it's just that the cavalry used to always threaten the Lakota. The cavalry ai n't around anymore. The Lakota still are. RANCHER'S SON I got no trouble tellin' where you come from, Fat Red. Crow Horse rises and walks unsteadily across the floor, leaving the bar. Brooks is whispering to the others, apparently about who Ray is. The bar man comes up to Ray, holding a tray, on which sits a shot and a beer. Ray looks at it for a moment. BAR MAN Sorry. On the house. Ray knocks the tray out of his hand, spilling beer and whiskey all over the bar man and the locals around him. And he walks out, leaving the locals confused.","INT. LE BARON - TRAVELING - RES - DAY Ray looks strung - out as he drives. If it's not the conflict at the Butte, it's the dangerous seed Crow Horse planted, and it is playing with his mind. He is on his RADIO. RAY No plates. No registration. Serial numbers removed. And all prints washed off by the river. That's great. This is turning out to be a walk in the park, do you know that? RADIO -LRB- woman agent. -RRB- Come back? RAY Never mind. But before he hangs the radio. IT CUTS BACK IN. RADIO Ray. X22. RAY I read, Cooch. RADIO Remember that upside down flag back at Jimmy's house? Somebody took it down. RAY Good. RADIO They took it down, set fire to it, and threw it on the doorstep of room 13 at the Buffalo Butte Motel. Your room. Ray seethes quietly as he drives. RADIO We traced the number of the truck that dumped it, and it belongs to one Maggie Sanders, also known as Maggie Eagle Bear. She's been all over the res, riling up the traditionals, telling them not to break, and to keep Jimmy in hiding. She's a problem now. And she's yours. Get her off the reservation. Ray keeps driving.","EXT. WOUNDED KNEE MEMORIAL - DAY Maggie's old pick - up is parked near an arch gate of the tiny cemetery where a tall monument is fenced off from other graves There are tobacco offerings and other medicines hanging on the fence and on the monument. It is a quiet place. Still. Maggie stands before the unkempt monument in her denim jacket, her hair blowing across her face in the wind. She PRAYS IN LAKOTA. Behind her TEN CHILDREN from the Bear Creek School stand, heads bowed respectfully. Two of them sit on the lap of Richard Yellow Bird who looks on from his wheelchair, praying quietly with Maggie. When Maggie completes her prayer, she ties some tobacco to the monument then turns and faces the children. One of them, a LITTLE GIRL - heavy - set - raises a hand that we might note is deformed. As many of the children we have seen on the res, are. LITTLE GIRL Are they all right under here? MAGGIE Two - hundred and sixty - seven men, women, old people. And little ones like you. Many killed running along that road you see there. LITTLE BOY Where were they runnin' to? MAGGIE A place called The Stronghold. -LRB- a beat. -RRB- They died for a dream. But you live. You are their great - great grandchildren and you live. We have to honor their dream. Of protecting the Mother Earth. And being proud of being Indian. LITTLE BOY My mother told me that they call us Indians cuz Columbus was lookin' for India when he discovered our country. Maggie smiles at the boy. MAGGIE Yeah, well, let me tell you something, Henry : just be glad he was n't looking for Turkey. The CHILDREN LAUGH. All but one boy, who is n't paying attention. He is staring up at a hill, off in the distance. MAGGIE'S POV : on the hill, a figure stands, hands in his pockets, hair blowing in the wind. Ray. REVERSE - MAGGIE keeping her eyes on the Wasi ` cu, but addressing Yellow Bird. MAGGIE Richard. Sing the Honoring Song with them. I'll be right back. ON THE HILL Ray stands, watching Maggie walking into the wind, toward him. Behind her an HONORING SONG, sung by ten children haunts the still air. He does n't budge as she mounts the gentle bluff and joins him there. MAGGIE We're praying at the grave. Do you wan na join us? A long silence. The voices carry in the wind. RAY No, Maggie. But you're gon na have to join me for a ride. I'm taking you to Rapid City. Maggie looks at him. They lock eyes. MAGGIE So much power. I see it in your eyes. This. hunger for power. Or for what you think is power. As if exhausted by the thought, Maggie sits down on the bluff, looking out at the children who are still singing the song. As she speaks, she begins digging her fingers in the earth. Ray stands over her. RAY You burned an American flag today. And left it for me. MAGGIE - You desecrated it, it had to be burned. RAY I desecrated it? MAGGIE You forced an innocent man to run like an animal. You've tried to poison my people's hearts against me with your manipulation, with letters I never wrote. you've been watching me eat, work, raise my family. wash myself in the river. And now you're here, arresting me at a sacred place. -LRB- a beat. -RRB- In your eyes, that's power. Maggie lifts herself onto her knees and looks down into the small hole she's dug. She picks up a little pine cone. MAGGIE So I plant this tree for you. And I take all this stuff that you've laid on me and my people, and I put it in this hole with this pine cone. -LRB- she covers it. -RRB- And I bury it. Cuz ya know what it is, Ray? Bullshit. And shit is fertilizer. -LRB- she stands. -RRB- And The Mother will turn your lies into something that lives. Maggie rises, dusting off her hands. She looks him in the soul. MAGGIE That's what power is, in the Indian way. -LRB- holds her hands out to be cuffed. -RRB- Take me to Rapid, Ray. I'm the enemy. Ray just stares at her, struggling with what he's feeling, what he's hearing. What he's supposed to be feeling. Silence hangs between the two of them. RAY If I told you. that I think Jimmy's innocent. but I'm in over my head. would you believe me? Maggie looks at him, considering. Then toward the long dark silhouette of a mountain range across the plains. MAGGIE See those Black Hills out there, Ray? When the people lost the land in 1868, the government took everything but those hills. They allowed us to keep those Black Hills, to live there. Signed a treaty. Until they found gold. Then they told us we had to leave because of National interest. They broke that treaty. Anyone who fought or spoke out against it, wound up dead or in jail. And the people wound up here. On a reservation. While she looks off at Paha Sapa, Ray stares at her profile. MAGGIE While up there, in the Black Hills. they carved the faces of four presidents. She looks at Ray with an ironic smile, and she catches him transfixed. MAGGIE Your relatives must've taught you something. RAY NO. -LRB- after thought. -RRB- My father never told anybody he had Indian blood. But he still used a few Indian words around the house. He called me Washee. Said it meant. good boy. Maggie starts giggling. RAY What? MAGGIE Wa - shee is like. a dumpling. Like tallow we put in stew. I think he was calling you chubby boy. RAY Great. Maggie is laughing as she looks back at the children who are no longer singing. Ray reaches inside his jacket and takes out five polaroids. He shuffles them as he ponders. He hands one to Maggie who has caught herself opening up too much to the Wasi ` cu. RAY You ever see that car before? Maggie looks at the first photo and says nothing. She hands it back quickly. Ray wo n't take it. RAY Who's it belong to? Maggie ignores him. Ray studies her reaction. RAY Help me, Maggie. Maggie is looking away. She picks a long blade of grass and smoothes it in her hands. Ray looks at her a moment longer then rises, dusting off his jeans, and standing there. He thinks for a long moment, pinches the bridge of his nose, then looks out at the Black Hills, pensive. RAY I did n't see you today, Maggie. -LRB- a beat. -RRB- Goodbye. Maggie watches him go. Looks away. Then watches him again. MAGGIE Goodbye. Wa - shee. Ray stops. She stands on the bluff, her hair riding the wind and her eyes searing. And then her lips do something that might qualify as half a smile. A sense of humor rising up through anger. Survival humor. Ray looks at her for a long moment. And then he walks on, leaving her there.","INT. LE BARON - PARKED AT WOUNDED KNEE - DAY Ray sits behind the wheel, going through files on his lap, photographs of Indians. And thinking hard. RAY Anyone who fought or spoke out against it. wound up dead or in jail. Ray looks out the window toward the monument. RAY -LRB- to himself, flustered. -RRB- That was 1868, Maggie. Exhausted, Ray lays his head back on the seat, and lets a long, constricted breath free. THUNDER ROLLS like the slow, deep roar of some giant bear up in the hills. He opens his eyes, looks out the window. POV : rain is coming down, and Maggie is getting the children into the back of her truck. She helps them get a tarp over their heads. Then as Yellow Bird pulls himself into the cab of the truck, she hefts the wheelchair and two boys load it in. She gets in, starts up, and rolls off down the sloping road.","EXT. LE BARON - WOUNDED KNEE – STRANGE TWILIGHT Ray steps out of the car into the rain and closes the door. He stares at the burial grounds. Then slowly, he starts toward them as if magnetically drawn. HEARTBEAT DRUM. A shroud of mist lays over the cemetery, growing thicker as the rain falls harder. DRUM BEATS DEEPER. Ray is walking toward the memorial, getting drenched. Then he hears something strange. HOOFBEATS. RAY'S POV : coming down the dirt road, toward him, a HORSEMAN drives his mount at a fast trot. The rider is only a vague image in the mist, his face hidden. As he rides closer, we can make out a shotgun in his hand. And he throws it up, takes aim. REVERSE - RAY paralyzed for a moment. And then going for his gun. But it's not there. He's left it in the car. He breaks into a run. But there's a shorter distance now between the horseman and the car and Ray has no choice but to turn and flee. His boots slap wet pavement, and his breath draws heavy and desperate as he bounds off the road and races down a grassy slope, looking over his shoulder, panicking. His legs and arms churning, his face contorted. And then someone passes him out, running just as hard. AN INDIAN WOMAN in 1890 Winter rags, clutching a BABY to her breast and CRYING. SCREAMING. Ray looks at her, incredulous as he runs. But he keeps running. The rider is right behind him. He FIRES. The GUNSHOT CRACKS the sky like thunder. BOOOOM!","INT. LE BARON – TWILIGHT Ray jumps awake. Cooch is POUNDING on the window. And the three - legged dog inside is BARKING. Ray quickly rolls the window down, letting in THUNDER. Cooch starts to say something then takes note of Ray's peaked face. Sweat runs down his temples, beads at his nose. COOCH Jesus, you alright? RAY Yeah. I. I fell asleep. I ca n't believe it. I - COOCH Never turn your radio off! I thought I was gon na find you scalped! Damn it! RAY Sorry, Cooch. I lost Eagle Bear - COOCH - never mind Eagle Bear. We've got Jimmy nailed. Let's go! And Cooch runs to his car. Ray fires the car's big engine and takes off behind Cooch who is driving a fed Chevy. CRAZY HEARTBEAT DRUM INTO -","EXT. GRANDPA REACHES TRATLER - LATE DAY The rain pelts Grandpa's little Airstream trailer, wind snaps at sheet plastic in the windows. An ancient sewing wheel CREAKS RUSTY in the wind. Three clean, late - model fed cars pull down the muddy drive as two SWAT vehicles pull in from another road. The Le Baron pulls in, and Ray bails out with the others. When he sees where he is, he looks distraught. Agents are running behind junked cars, positioning themselves around the trailer.","INT. GRANDPA REACHES TRAILER – LATE DAY The holy man is sitting in his chair, smacking Flies with a swatter. Tonight he wears a black reservation hat and stares vacantly at the TV where RONALD MACDONALD swings a giant baseball bat, and falls on his face, bouncing back up. And then BOOM! The door is open and Cooch leads Miles, Sherman and Ray inside. Cooch has a gun on the old man. COOCH HANDS ON YOUR HEAD! The old man slowly removes his hat and hangs it on a knee. Carefully he places his wrinkled hands on his thinning white hair. His eyes seek out Ray who stands in the doorway, M - 16 in hand, looking concerned. He stares at Ray. Cooch storms into a back bedroom, Miles moves to a window. Sherman stands over the old man. SHERMAN Where is he, Sam? Where's Jimmy? Grandpa looks at Sherman, ignores him, looks back at Ray. SHERMAN He's a medicine man, Ray. The `` spiritual leader'' of the Warriors. That right, Sam? With RADIO TRANSMISSIONS crackling through the house, Cooch comes back down the hall, and heads to the door. COOCH Trailer's clean, let's go. Ray starts to follow but he sees Sherman pick something up from near Grandpa. The 500 year - old turtleshell rattle. Grandpa's eyes widen slightly. SHERMAN You been the one making it rain like that, out there, Sam? RAY Hey, put that down. SHERMAN Can you make Jimmy outrun an M - 16, Sam? RAY Sherman! Sherman drops the turtleshell rattle on the linoleum floor. Then drives his heel into it, CRUSHING the fragile turtleshell. Ray grabs him and slams him into the tin wall. Miles gets between them, grabbing Sherman. MILES EASY, MEN! HEY! - RADIO HE'S ON THE ROOF! HE'S ON THE FUCKING ROOF! COME ON GUYS, COME ON, GUYS! They're out the door, leaving the old man to sit looking down at the shattered rattle. He closes his eyes.","EXT. GRANDPA REACHES TRAILER In a blizzard of rain, Jimmy Looks Twice in a cowboy shirt, jeans and boots, leaps off the top of the Airstream, clutching his medicine bundle. FLOODLIGHTS HIT him from all directions. BULLHORNS screaming at him. He tries to turn a corner and runs right into a fed. Ray, having run out the back door has slammed right into him. He has his rifle on him, and they stare each other down for a split second before he is converged on. Guns at his back, at his head. He is swept off his feet, face down, and frisked. He looks up at Ray, desperately. LOOKS TWICE Brother, the old man told me about you. Listen to me : what was Leo trying to tell me? He wanted to meet me at Maisy - Another fed, pushes his face into the mud, cuffs him behind his back. FED Save your speeches for prison, Jimmy. With two FIVE MAN SWAT TEAMS swarming the area, and six agents pushing Jimmy toward a car, Cooch stands there in the pouring rain, looking relieved. Ray stands near him, looking abhorred. COOCH Damn. That's one hard running Indian. Ray watches Jimmy as he is shoved into the back of Miles and Sherman's car and driven away. He is twisting around in his seat to look at Ray. Desperately. The SWAT teams disband, return to their vehicles. COOCH It's over, Ray. I aged five years. But it's over. At least I'm gon na look like I'm ready for the advisory desk. Let's go get a beer. Cooch heads to his car and Ray starts shuffling toward his as if he is dared by it all. He is looking at the trailer and there on the rickety porch is Grandpa. He comes down the steps slowly, holding his hat on against the wind. He watches the cars pulling out. Ray walks over to him, looking sick. RAY Look. I'm not who you think I am. -LRB- a long beat. -RRB- I'm sorry. And after a moment of locking gazes, he starts for his car, GRANDPA Out back that way. is a placed called Wounded Knee. Ray turns. GRANDPA I was one years old there when our people were shot down. My mother hid me in the snow in a blanket. One of those killed was a Holy Man called Wakiyan Cante - Thunder Heart. They killed him while he was running for The Stronghold. It is his blood - the same blood that spilled on the grass and snow at Wounded Knee - that runs through your heart like a buffalo. Ray frowns, disturbed by this story. The old man is speaking with conviction. With power. GRANDPA Thunder Heart has come. Sent here to a troubled place to help his people. That's what I am told. Maybe you're right and I am mistaken. Your mind is young, mine is old. If so, so be it. Ho Hecetu Yelo. I'll speak no more. Ray stands, almost paralyzed, digesting this. He turns and looks into the old man's sharp eyes. Grandpa has closed his eyes, and as he is pulverized by the rain, he turns his face toward it and from way down in his belly, he begins to SING IN LAKOTA. And it is too much. Too weird. He wheels and hurries to the car. Gets in, and beats a fast path out of the old man's lonesome patch of land. BLUE HEAT LIGHTNING knifes the sky. THUNDER ROLLS, and rumbles into POOL BALLS -","EXT. BUFFALO BUTTE MOTEL AND BAR - LATE DAY The agents have taken over both sides of the streets, gathered in front of the bar and the motel, putting firearms into cases, removing flak jackets. POOL BALLS knock from inside the bar while outside, A DAKOTAN takes a piss near a truck while his GIRLFRIEND stands at his back, yelling at him. CHARLIE DANIELS sings country on the juke Ray heads to room 13, starts unlocking the door. Cooch comes up behind him. COOCH Buffalo burgers and cold beer, Raymond. Do n't worry about the sign out front. you do n't have to be Indian anymore. Cooch throws a mock punch at Ray and he mock blocks, tired. He musters a smile. But he is n't all there. COOCH You have a fever. You okay? Ray nods. Cooch lets a few agents walk past, LAUGHING. He speaks quietly. COOCH Listen : when we get back tomorrow, you're gon na find Tully laying a promotion on you. S.A.C.. He wants to prove that his yuppie agents are making good. He's offering you New York. Tell him you want Atlanta. RAY Why? COOCH Cuz I want New York. Ray tries to break a smile again. Cooch cups his arm. RAY Cooch. They sent us out here because the place was being neglected. Now, all of a sudden, there's two five man SWAT teams out there tonight. Bell Huey choppers flying all over the place. Federal occupation to catch one guy. Why, Cooch? What's going on? Cooch stares at Ray. The younger agent looks like he indeed has a fever. COOCH National security, Ray. Get some sleep. Tomorrow, we fly. Cooch hurries across the rain - swept street. Ray steps inside and closes the door.","INT. ROOM 13 - BUFFALO BUTTE MOTEL Ray closes the door, and stands there. He seems to be having trouble breathing. He looks down at his boots. There is something on the floor. Something that has been slipped under the door earlier. He just stares down at it. Then slowly stoops. CLOSE ON : the polaroid of the res car he gave to Maggie earlier. She has returned it. He turns it over. Written across the white backing of the photo, in dark black marker is the name - YELLOW BIRD. Ray stares at this for a moment then hurries over to boxes of files on the bed. He rummages like a nervous thief and comes up with a folder. He flips through it, casting off files and 302's and profiles and finally stopping on - The 8x10 BLACK AND WHITE of Richard Yellow Bird seen earlier. Sitting in his wheelchair, Red Power cap on, tattoos marring big arms. And under it a DOUBLE MUG SHOT stamped LEAVENWORTH PRISON. Under that ANOTHER PRISON MUG SHOT stamped SIOUX FALLS PRISON. And under that a - THIRD MUG SHOT stamped `` PAROLED.'' Ray, his eyes fixed on this one, takes a few steps and sits on the end of the bed. He then stuffs the file back in a box, and takes off toward the door.","EXT. RESERVATION ROAD - SUNSET The Le Baron throws up loose rock and red dust, driving toward a place where the sun begins a slow drop behind the Black Hills. HORSES run out of the road. HEARTBEAT DRUM.","EXT. MULE DEER DISTRICT – RES - SUNSET A tarpaper shack. Outhouse. Clothesline on which jerked meat hangs. No cars. A lonely, unnerving place. Le Baron pulls in. Ray gets out, adjusting the gun at the back of his waistband. He starts for the shack. Ray raps a fist on the splintered plywood door. Knocks again. He checks out a boarded - up window. The door finally opens. Just a crack. Tiny black eyes peer out into the fading light. RAY I'm looking for Richard Yellow Bird. Ray sticks his open badge, gold eagle wings, near the crack. The door closes. Then unlatches and opens. Yellow Bird sits there in his wheelchair, tiny tobacco bundles in his lap. He's been tying them. YELLOW BIRD The Washington Redskin. Thought you'd be gone by now. He pivots his chair to allow Ray room to enter.","INT. YELLOW BIRD SHACK Yellow Bird, in a T - shirt that reveals twenty different ink tattoos, rolls himself across the warped floorboards to a cheese crate where his eye glasses sit. He puts the thick bifocals on and focuses resentfully on Ray in the ochre flicker of the dirty room. YELLOW BIRD What ya want? RAY Must be a bitch getting around in that wheelchair. How long you been in it? YELLOW BIRD Since I got a iron pipe put across my knees, man. Fight with three wasi ` cus, ya know. RAY At Sioux Falls Pen? YELLOW BIRD No, that was Leavenworth. This -. -LRB- shows a scar. -RRB- was Sioux Falls. What ya want? RAY Leavenworth a tough joint? Ray walks across the room, his eyes on a covert mission. YELLOW BIRD You ever try solitary confinement? RAY No. Ca n't say that I have, Richard. Richard do you know why I'm here? YELLOW BIRD Washington sent ya. I know that. RAY Yes, Washington sent me, Richard. They sent me here because this whole thing has been fucked. Do you know what I mean when I say this whole thing has been fucked, Richard? Yellow Bird stares at Ray. RAY An arrangement was made between you. and us. Do you remember that arrangement? Yellow Bird looks at Ray, strangely, shaking his head. Ray starts to look like maybe the game's not working. Like maybe this does n't add up. But - YELLOW BIRD I'm here, ai n't I? Ray lets a tense breath out. RAY Not for long, Richard. You got early parole under the stipulation that you would help us in a situation, and you did n't deliver. YELLOW BIRD What the fuck you talkin' about? Ray sits in a busted chair, reaches down to his ankle holster and pulls out a.38. He holds it, resting it on the arm of the chair. He strains to look out through the boarded window. Yellow Bird fidgets in his chair. RAY Get up out of the chair, Richard. YELLOW BIRD What's with you people? Why do ya have to fuck with my head all the time? I came through, man. RAY Get up out of the chair, and walk toward the backdoor, Richard. YELLOW BIRD -LRB- not moving. -RRB- I get thrown in solitary until I do n't know my own fuckin' name, and then you people tell me I can beat nine years if I help you. I helped you! RAY Get up! Yellow Bird stands. He takes a step forward. Limping. He's got leg problems but he can walk. Heels first. And bowed. But he can walk. He is shaking. YELLOW BIRD They said I'd never see FBI again, and I'm livin' with you fuckers. I do n't feed ya information on the Warriors, it's back to the pen. I do n't do this, back to the pen. Your word against my word. Against a con Indian's word. I really got a chance, man, right? RAY They sent me here, Richard because they said you did n't hold up your end of the arrangement, and I have to transport you back to Leavenworth. YELLOW BIRD -LRB- crying. -RRB- What the fuck, man? What do you people want? I did what you wasi ` cu's told me to do. RAY Leo Fast Elk. is alive. Yellow Bird wheels. YELLOW BIRD No way. No fuckin' way. RAY How the hell do you know? YELLOW BIRD I blew his back out with a buffalo gun, that's how I know! Now you're gon na say I did n't, so you can throw me back in solitary? Ray is trying hard not to reveal his horror at this confession, at this understanding of the machinery. He sits there with his gun, blinking away sweat that beads at his brow. Yellow Bird is weeping in a highpitched voice that does n't match his great bulk. RAY The men who came to see you at Leavenworth. The one's who made the arrangement. who were they? Maybe I can talk to them. YELLOW BIRD Miles. Three other suits. That's all I know'em as - suits. Were you there? RAY You turned Leo over on his face. But the coyotes must've turned him back over, man, cuz his spirit is out. It's out, and it knows. YELLOW BIRD What do you know about spirits? You ai n't no In ` dn. RAY Leo knew something heavy and was trying to tell Jimmy. But you must not know how serious it was or you would have delivered. Do you realize what Leo could have told Jimmy?! Do you?! YELLOW BIRD I took him out before he got the chance. He did n't say nothin' about Tashka Sha. And now his spirit is in the dirt. Forever. RAY What's Tashka Sha, speak English, speak English! YELLOW BIRD Red Deer Table! What's with you, man? Ray grabs onto these words, rolls them silently on his lips And now Yellow Bird is getting suspicious of the fed. YELLOW BIRD Wait a minute. Wait - what are you doin'? You ai n't a FBI. You ai n't the law. Let me see your - Ray snaps out his gun, straight - armed. RAY I'm the fucking law! Yellow Bird jumps back, raising his hands. RAY Keep talking, Yellow Bird. YELLOW BIRD All I know. is I did what I did. and I ai n't in solitary, gettin' pumped up with downer, gettin' beat to shit. But I tell you what, Suit. Take me back. Cuz I ca n't take this shit no more. And then HEADLIGHTS pierce the gaps in the boarded windows. Yellow Bird collapses against the wall, bangs his head off it. He lets a long, pained, cry escape from under his breath and he begins a slow slide down the wall, to the floor. Ray peers out the cracks in the boards. YELLOW BIRD Man, I do n't know who the fuck I am no more. Ray gets up, putting his gun away and heading to the door. He stops and looks back at the Indian, sitting on the floor, clutching his knees, staring into the kerosene flicker. RAY You and me both. Yellow Bird looks at him, his glasses foggy, his face contorted And Ray leaves.","EXT. YELLOW BIRD'S SHACK - NIGHT Ray steps out into the falling night. There is a car parked there. With a high aerial. Ray raises a hand in a slight wave, walks on. At the fed car, A REGIONAL AGENT behind the wheel, waves a hand. Watches Ray get into the Le Baron. Ray gets in the car and takes off. LE BARON - TRAVELING Ray drives like a crazy man through the dark reservation. Through miles of open land and strange rock formations. And he looks trapped. HEADLIGHTS flicker in his rearview. He sees this. Slams the gas pedal.","EXT. RES ROADS - NIGHT The Le Baron races at 85 down the dirt stretch. A moment later a car rattles by at 90.","INT. LE BARON - TRAVELING Ray reaches over to the passenger seat and pulls up the M - 16. He lays it across his lap. Looks in the rearview again. Then makes a sudden sharp turn. He pulls off the road quickly, throwing up dust into the already foggy night, the car goes out of control.","EXT. WOUNDED KNEE MEMORIAL - NIGHT The car that was following drives right past the narrow layby, hidden by grassy slopes and keeps flying down the long stretch.","INT. LE BARON Ray skids through the dirt, trying to stop - he ca n't - and the Le Baron fishtails, smashing into a chain - link fence. And coming to a stop. Breathing as if he's been running not driving, Ray looks behind him to make sure he lost the car. He did. When he turns back to his wheel, he sees - THROUGH THE CHAINLINK FENCE lit by his headlights : THE WOUNDED KNEE gravesite. He is right up on the arch, and the tall stone marker beyond it.","EXT. WOUNDED KNEE MEMORIAL - NIGHT The Le Baron just sits parked, headlights making the night fog crawl up from the base of the old tomb, along the fence. The driver's door opens slowly. And Ray steps out. He walks through the arch. Into the small fenced area. Up to the stone which is overgrown with stubborn weeds, half - hidden in mist. Ray studies the tomb. POV : THE NAMES ON THE STONE ARE CHISELED VERTICALLY : CHIEF STANDING BEAR MR. HIGH HAWK AFRAID OF BEAR Weeds are grown up over the rest of the names. Ray's hands clear them, grab at them and rip them away from more names : PRETTY HAWK BLUE AMERICAN SHERMAN HORN CLOUD With frantic abandon, Ray is ripping weeds away. He drops to his knees, clearing weeds. STRONG FOX THUNDER HEART MOVING DOWN and then suddenly back up to the name : THUNDER HEART REVERSE ON - RAY kneeling in the weeds, the wind getting restless around him, screaming the way plains winds do but only these winds are filled with a whistling. What sounds like EAGLE BONE WHISTLES, piping shrill. Ray kneels before the marker, staring at the name on the stone, his hair thrown around by the wind that drives across the grass, whistling eagles, building to an unbearable, pitch. Ray stares at the name as if he is looking through a small hole into another world. A world that frightens him. He gets up and backs away from the stone, through the gate. And gets back in his car, quickly. He takes off.","EXT. MAGGIE EAGLE BEAR'S HOUSE - NIGHT The little home on the river. Dark. Empty. Ray runs up the steps, pounds at the door. No answer. Pounds again. RAY Maggie! He keeps knocking. Nothing. He hurries back down the steps, starts around the back of the house and something attacks him, leaps at him from the dark, knocking him off his feet, into the grass. Hits him again. But as quickly as he falls, he rolls, throwing up his hands and blocking a savage kick aimed for his face. He traps the boot, twists it and drops the attacker onto his back. In a matter of seconds, he is on top of the man, sticking his gun in his throat. He grabs a flashlight from his jacket and shines it in the man's face. Crow Horse. Breathing like a wild animal. CROW HORSE Five - hundred year old turtleshell rattle. RAY Crow Horse, listen - CROW HORSE Where's Maggie? Where'd ya take her. RAY Nowhere. I'm trying to find her. CROW HORSE You got Jimmy. Let her go. RAY Crow Horse, listen. You have to come with me. CROW HORSE Why? So you can get rid of me, too? RAY No. So we can do what the old man said. Red Deer Table, Walter. We have to go. Crow Horse lies there, breathing heavy. Ray on top of him, still clutching his gun.","INT. LE BARON - TRAVELING - NIGHT Ray and Crow Horse are quiet as they eat up the dirt roads. CROW HORSE Maybe the old man's visions are still strong. Ray nods, concentrating. After a time : RAY Do they come in dreams, these visions? CROW HORSE Oh yeah. Dreams. Sometimes durin' sickness. Vision quest. Sweat Lodge. Ya never know when. RAY Just before we caught Jimmy. I had a dream that I was being chased. And I was running with other people. Old - fashion Indian people. I got shot in the back. Like Leo. When Crow Horse does n't respond, Ray looks over and finds him staring. He looks back to the road. And when he looks back at Crow Horse, he is still staring at him. CROW HORSE Where was this? RAY At Wounded Knee. I mean, that's where I was, and that's where the dream was. Why? CROW HORSE You were running with the old ones. At The Knee. Heavy duty. RAY Well, it was just a dream, I - CROW HORSE Sonuvabuck! What's with you, Man? Who are you? RAY What do you mean? CROW HORSE Nothin'. Forget it. Crow Horse looks out the window as if to avoid Ray who is confused by the Indian's smoldering. After a moment, Crow Horse looks at him. CROW HORSE You had a vision. You had yourself a vision. A man waits a long time for a vision. Might go his whole lifetime and never get one. And along comes some instant Indian with a Mastercard and brand - new shoes, has himself a vision. RAY Sorry. CROW HORSE I'm a full - blood Oglala. RAY We've driven a long way. Where is this place? CROW HORSE Maybe it was just a dream. Ya know, just one of them, what do ya call'em, fitful dreams? RAY Yeah. Fitful dreams. Crow Horse feels better. He looks out the window, nodding. But it does n't last long. CROW HORSE Bullshit. You had a vision. You got sign from the old ones. RAY What the hell do you want me to do?! CROW HORSE Stop. Ray brakes. Crow Horse is looking past him. Ray turns. The spectacular mesa that we have admired with every sunrise, looms massive now that we are under it. Moonlight falls on it. And the HEARTBEAT DRUM pulses from it.","EXT. WHERE-THE-ELK-PEOPLE-USED-TO-LIVE - NIGHT The land behind Red Deer Table is Badlands. Badlands pierced by a few rutted old wagon roads. At a place between two grotesque buttes, Crow Horse stops, looking uneasy. He digs into his pocket, pulls out some loose tobacco and spills it on the ground. Then he walks on. Ray observes this, starting forward, then stopping long enough to fish a cigarette out from his pocket and drop it next to Crow Horse's offering. THROUGH THE BADLANDS Ray and Crow Horse walk, carefully under a full moon, scanning the area. Crow Horse stops, checks out some tracks. Ray walks on, looking up at the table. He shines his flashlight up and it illuminates - A RED RIBBON, tied on stakes on a ridge. Ten stakes. Twenty stakes. Ribbons blowing in the wind. RAY What's that? CROW HORSE Ai n't prayer flags, that's for sure. Ray sweeps the light along, walking faster, and then something frightening occurs. Something. some unseen thing snags him by the leg, sucking him into the Earth with a horrible GUSHING SOUND. Ray is drawn into a hole up to his hips, a bluish - black slime, oozing out around him. Crow Horse grabs him, struggling to pull him up. He does, stumbling back and stepping into a hole himself. The two men are wheeling, throwing flashlight beams around, slapping through a wet jelly, and finally getting their bearings. Ray touches the ground where a blue - black chemical solution oozes out with water from the aquifer below. His flashlight scans - TWENTY DRILLED HOLES IN THE EARTH. A uranium strip - mining grid laid out in a 50 x 60 pattern. The far side is fenced by flagged stakes. RAY Jesus. Oil? CROW HORSE Uranium. Test holes. Somebody came in from the Nebraska side, and did some shotgun testin'. They're gettin' ready to suck this baby dry. RAY 1868. CROW HORSE What? RAY That's what we're doing here. National interest. National security. Only this time it's not gold. It's uranium. CROW HORSE We're standin' on broken treaty ground, Ray. This ai n't supposed to be here. It'll poison the water. RAY Leo knew about it. Tried to tell Jimmy, get the Warriors involved. CROW HORSE So they took care of Leo. RAY Listen to the water. the river keeps goin' down then rising again. Ray goes to another hole and sticks his arm in up to the elbow, sniffs the solution. CROW HORSE They're drainin' our water table. That's our life, man. Ray is looking past Crow Horse at - Something strange in the moonlight. COYOTES. Some forty yards away, on a flat stretch of stoney ground. Six Coyotes, dancing in the shadows of rock formations. MOVING IN ON THEM as Ray walks forward, they circle. scatter. run back. circle again. Look straight at Ray, eyes glowing. And run. REVERSE - RAY and Crow Horse walk toward them. To the place they just left. A place in the dirt, they were digging up. When they reach it, they stare down into the dirt. A BODY lies there, face down. Denim jacket and a shock of black hair, thrown into tangles and dirt. It was buried. Until the coyote caught wind. Crow Horse bends down, touches the jacket. turns the body over And almost vomits when he sees Maggie Eagle Bear. RAY looks down in disbelief. RAY No. No. Ray steps back, his boots squishing in solution and sealant and soiled water. He covers his mouth, stopping himself from getting sick. And then he explodes, YELLING. LONG SHOT - RED DEER TABLE in the moonlight. And RAY'S YELLING ECHOING up out of the rocks","EXT. BEAR CREEK VILLAGE - NIGHT The sordid little village the feds first drove through sits sleepy on the rim of sunrise. A DOG BARKS hollow as the Crow Horse motorcycle chutters down and coasts up in front of one of the little homes - rundown but it has a satellite dish and a decent car like so many. The Le Baron pulls up behind it.","INT. LE BARON - NIGHT Crow Horse walks over to Ray's window, his jeans and boots muddy. No one speaks for a long moment, the night filled by crickets. And that one dog. RAY This Clear Moon's house? CROW HORSE Yeah. It's time to beat the drum. You better wait here. He do n't trust the white man. Crow Horse crosses the street. Ray sits there, and he looks almost hurt by this statement. But he is the white man. But he is Indian. He lets a long breath escape, rubs at a temple. He takes out a smoke. Tries to light it. His hands are shaking too badly. But he gets it lit, and sits tense, looking in his rearview.","INT. CLEAR MOON HOUSE - NIGHT Oliver Clear Moon sits in a chair, his strong Indian mouth, beginning to tighten at the jowls. Across from him, Crow Horse sits on the edge of a couch. MRS. CLEAR MOON, a rotund, gentle woman brings him a coffee. A TEENAGE GIRL in a men's extra - large T - shirt stands in the hall, looking at him. Clear Moon in pajamas, rises, and with a coffee in hand, starts walking in slow steps toward the kitchen. He loses control before he gets there and hurls the cup across the room into the sink, smashing it. He wheels and faces Crow Horse. He SPEAKS LAKOTA. Asking questions. Crow Horse SPEAKS LAKOTA. Answering him. Mrs. Clear Moon, understanding, shakes her head in disbelief and her eyes begin to well. Oliver, walking back to his chair, sits, and thinks for a moment. MORE LAKOTA. He gets up, goes to a drawer and rummages. He sits again, and tosses something onto the coffee table. It is a badge. A tribal police badge.","INT. LE BARON - PARKED - CLEAR MOON'S - DAWN Ray nervously awaits Crow Horse's words as he appears at the window again. The Indian shows hope in his tired eyes. CROW HORSE Alright. Shit's comin' down. He's callin' council fire. All the old chiefs and the warriors, too. I got ta be at Grandpa's place in two hours. We need to get the tribe together. We need to block this thing. RAY What we need. is Richard Yellow Bird. Crow Horse looks at Ray who stares dead ahead.","EXT. YELLOW BIRD'S SHACK - RES - DAWN The shack is just as Ray left it earlier, kerosene flickers dancing yellow through the gapped boards. Ray and Crow Horse with guns drawn, approach the front door. CROW HORSE I thought it was a rare case of a brother getting a break in the courts. We did an honorin' song for him and everything. RAY He's looking at a few hundred years in Leavenworth. He's not gon na come out without a fight. Crow Horse snakes around toward the rear of the shack. Ray knocks at the front door. It is unlatched and it creaks open a little. Ray pushes it open and sees -","INT. YELLOW BIRD SHACK An empty wheelchair.","EXT. YELLOW BIRD SHACK Ray steps away from the door, looking around the vast plains as the sun comes up out of the Black Hills. He is roadblocked, and it shows in his eyes. It's all getting too big. Crow Horse leans against the shack, watching Ray. And then RADIO STATIC from inside the Le Baron. Ray pivots and stares at it as if someone is inside the car. His call signal is being paged. But he just stands there, looking at it. RADIO X21. Read. X21. Ray reaches inside the car and lifts the handset. He takes a breath before pressing it to his lips. RAY X21. Come back. RADIO Ray. What's your 20? Ray looks at Crow Horse who looks equally spooked. The agent clears his throat. RAY Reservation. A long, unnerving pause. No response from the other side. RADIO What are you doing on the reservation? RAY I'm on my way back in. Over. Ray holds the handset down at his side, looking over the top of the car toward the Black Hills. CROW HORSE Ray. Ray, do n't let go now, Man. Ray. RAY You go to the council fire. I'm going back in. CROW HORSE Ray. Ray swings in behind the wheel, starts the car, and barrels off recklessly down the rutted road, leaving Crow Horse behind. CROW HORSE Ray! The Le Baron is already out to where sight reaches farther than sound and silent white dust mushrooms skyward.","EXT. BUFFALO BUTTE MOTEL - MORNING A RAVEN is sentinel on a telephone wire that crosses the road from the bar to motel. A few trucks remain parked in front of the joint. Ray approaches room 13, looking shell - shocked. His boots leave blue mud prints all the way to the door. He unlocks it.","INT. BUFFALO BUTTE MOTEL - ROOM Ray has cast off his field clothes and is halfway into one of his cleaner suits. He looks haggard but still buoyant, his eyes piercing. The connecting door creaks open and Cooch walks in. The SAC is freshly showered and he is fidgeting with a Windsor knot. He studies his number two man, says nothing for a moment but is obviously holding something down. His face is a red hue. COOCH -LRB- extra casual. -RRB- Could n't sleep, Ray? Ray looks at Cooch. When he speaks, his voice is dry. RAY No. Cooch crosses the room, and picks up Ray's jeans which look like they went through a sandlot tackle match in a mud hole. Ray tucks his clean shirt in ; watching Cooch. RAY I had to finish something with Crow Horse. Cooch walks up to Ray slowly and takes his face in his hand, turning it toward lamp light to study the bruise along his left eye, a residual from a Crow Horse hook. COOCH That's where you were. You had to go back and have it out with the Indian law. Ray nods, and Cooch slowly breaks a smile. An insecure smile but a smile just the same. He starts to laugh. COOCH You fucking hot head, we can get in trouble for that. Cooch laughs in amusement and Ray's face crinkles into a grin as he lowers his eyes, wiping a paper towel over his face. And then, suddenly, Ray lunges at Cooch. He slams the Agent in Charge against the hollow wall, and holds him there. His eyes wild. RAY Why did n't you tell me what we were doing here? Cooch is stunned. RAY We're running a cover - up and you did n't - Cooch suddenly explodes, throwing Ray off of him and sending him reeling back against the sink. He points a finger at his charge. COOCH You ever put your hands on me again and you'll be doing the books for a baitshop in the fucking Everglades, Mister. RAY You did n't tell me about Red Deer Table - COOCH - what the hell is Red Deer Table? RAY What is it? It's genocide, that's what it is. It's a Pay Zone for some U.S. corporation and a Dead Zone for the people here. Uranium, Cooch. Cooch's eyes go frighteningly cold. He ca n't believe what he's hearing. COOCH Jesus Christ. What are you doing? What the hell were you doing out there? Ray says nothing. He just stands there, against the sink, breathing like a fighter against the turnbuckle. COOCH This was a Selective Operations Unit, Agent Levoi. There is classified information pertaining to our national security. You do n't question that, you do n't go digging into that shit - that's insubordination. Jesus Christ - RAY - if they mine uranium there, these people will have no place left to go. COOCH We were sworn in on the Constitution to protect federal matters, Ray. I do n't know about uranium, I do n't know about Red Dog Table - all I know is we did our job. It's over. RAY We neutralized anybody with a voice. Leo, Jimmy. Eagle Bear. Anyone who was standing in the way of the land. Is that it? COOCH No. We neutralized enemies of the United States. Anti - American radicals who have killed federal officers out here! Ray turns to the sink, turns the faucet on to get some water on his face. The water only trickles into the basin. COOCH Jesus, Ray. You think I do n't like the Indians? Not true. These were noble people but their day is gone. They're a conquered nation. They want all of America back but they ca n't even keep the garbage out of their own front yards. It's sad, Ray. But it's just the way it is. We have to function as a colonial police force out here. Ray leans on the sink, watching the water start to spurt free. He shuts it off. Turns to look at Cooch. And it is then the door opens - some knocking after the door is already opened - and SA Miles enters. MILES You gentlemen ready - hi, Ray. COOCH Yeah, we're ready. Ray does n't turn from the sink.","EXT. RESERVATION ROAD - TOWARD GRANDPA REACHES - MORNING Crow Horse chugs along on his motorbike toward the council, his long hair and eagle feather trailing in the wind.","EXT. BUFFALO BUTTE MOTEL - MORNING Two federal vehicles are waiting in front of Cooch's Chevy and Ray's Le Baron. One is an FBI van where Sherman helps THREE AGENTS load file boxes and computers. Cooch walks with Ray toward the Le Baron, looking at him as the go. Ray looks better as he breathes the morning air. As they pass the second fed car, the back window power glides down, and someone looks out with a friendly smile. CLEAR MOON Ah, there you are. The Sioux. Ray stops dead. Beholds the Tribal President who wears a western cut jacket and a strained expression behind his smile. He hole a hand out to Ray. CLEAR MOON You got the troublemakers off our land. Good, Was - te. Ray stares at him, speechless. Horrified. What is he doing here? What about the council fire? Ray somehow nods. Then walks on to the Le Baron. Cooch gets behind the wheel of the car that Clear Moon sits in. Clear Moon's eyes follow Ray to the car.","EXT. RES ROAD - TO GRANDPA REACHES Crow Horse guns past a little shack. As he does, he looks in his side mirror then out across the grasslands. Then quickly IN HIS MIRROR : a car has pulled out from behind the shack. CROW HORSE observes this. Then twists the fuel throttle hard.","INT. LE BARON Ray gets behind the wheel, looks at his watch. He is panicking. He starts the car, reverses, slams into drive. RAY'S POV : swerving and reckless as he races forward. Sherman, walking around to one of the cars has to run out of the way. The other agents clear out, looking in confusion as Ray cuts a hard U - sweeps PAST THE BAR, SMASHES INTO AND THROUGH the old hitching post - and HEADS TOWARD the reservation which lies vast before him.","EXT. BUFFALO BUTTE MOTEL With agents scrambling about, looking after the car, Cooch gets out, looking into the dust Ray left behind. HEARTBEAT DRUM. COOCH RAY! Sherman appears beside Cooch aiming a questioning look. When Cooch quickly gets back behind the wheel, Sherman pulls his radio up and starts yelling into it. Cooch reaches out the window and grabs his radio arm. COOCH No, damn it. You call teams in and this is gon na be a fucking media event. Get me three cars, six agents, block all reservation exits. It's under control. And Cooch squeals out with a petrified Clear Moon in the backseat, inquiring nervously.","EXT. ROAD TO GRANDPA REACHES Crow Horse passes by an abandoned horse trailer. When he does, another car pulls out. And follows. The first car passes by. Crow Horse sees he's being followed. He cranks his throttle and the engine grinds then dies. He heels his kickstart on the fly, and keeps it alive. But his old horse is no match for the big engines coming up fast behind him.","INT. LE BARON - TRAVELING Ray is leaving little transitional developments and trailers behind. His eyes bore into the road before him, looking for a sign of Crow Horse, and in the rearview for a sign of his FBI mentor.","EXT. ROAD TO GRANDPA REACHES - BADLANDS Crow Horse has the throttle open. But the two cars are coming up on both sides, trying to sandwich him. To his right the Badlands loom deep, a drop into a caliche netherworld of jagged rock. He throws the bike right, trying to ride the thin ribbon of shoulder. THE FIRST CAR floors it, and swipes him, and the bike goes over the edge, launched into - THE BADLANDS where it does a violent triple flip, throwing Crow Horse then smashing into a tent shaped dune. A RIFLE sticks out from a window and punches the Badlands with THREE SHOTS.","EXT. ROAD TO GRANDPA REACHES The Le Baron rifles past the abandoned horse trailer. Black smoke drifts in a wind ahead. Ray veers onto the shoulder, barely gets the car in park before bailing and running wildly down into the Badlands.","EXT. BADLANDS Ray runs, stumbles through the rock and gypsum, searching the area. He runs around the burning motorcycle, looking left and right. RAY Crow Horse! CROW HORSE lies on his back in the Badlands, eyes open, fixed unmoving on the sky. Ray comes out of the flame - waves, running with his.45 held high. He throws himself to his knees beside the injured Indian. RAY Crow Horse! Crow Horse rolls his eyes toward the FBI agent. He has a gash behind his ear, and pink sand clings to the blood. He lifts his head, tries to form words. CROW HORSE Ai n't no Council Fire, Brother. Clear Moon. RAY I know. Come on. We got ta get off the reservation or we're dead. CROW HORSE Hoka Hey. It's a good day to die. RAY Bullshit, let's get outta here, Ray gets an arm under the big Indian, helps him up out of a jagged crevice. CROW HORSE Grandpa.","EXT. RESERVATION ROAD Cooch's car speeds down the stretch. Followed by Sherman's. The FBI van. All at one - hundred and five. Gravel and dirt flies.","INT. LE BARON - TRAVELING With Crow Horse half - passed out in the passenger seat, Ray keeps the wheel steady. And then his RADIO STATICS. RADIO X21, please read. Ray. Ray. X21, please read. This is Cooch. Please come in, Ray. Where are you? Ray just stares down at the radio, keeps the pedal floored. The throws the wheel left.","EXT. GRANDPA REACHES TRAILER The Le Baron fish - tails in a cloud of dust and Ray leaps out of the car, runs toward the little trailer, gun in hand. The windows are all busted, and the door is wide open. Ray runs in. Then straight back out, shaking his head to Crow Horse. Crow Horse hangs his head out the passenger window. RAY He's gone. CROW HORSE He has n't left this place in twenty years. They got him. Ray starts to get back in then hesitates. He looks out across the plains to see - THREE FED CARS in the distance, fast approaching, dust rising. Ray gets in quickly.","EXT. RESERVATION EXIT Cooch's car is parked in a roadblock. Clear Moon stands near him, and addresses UNIFORMED TRIBAL POLICE as they spill out from a van, carrying rifles and shotguns. COOCH -LRB- into radio. -RRB- X21. Ray. Ray, please come in. Cooch has torn his tie away, his shirt is open, and he is sweat soaked. Miles gets out of a car that pulls up. MILES We have a renegade agent, Cooch? He gets off the reservation. COOCH - he's not getting off the reservation. And Cooch gets back in the car, drives off.","INT. LE BARON - TRAVELING With Ray driving like a maniac, Crow Horse is turned around in his seat, watching the federal cars spreading out, the chopper moving in. CROW HORSE They got us sealed. What are we gon na do? RAY We're going for The Stronghold. Crow Horse looks at him. RADIO -LRB- Cooch. -RRB- Ray. Can you hear me? You are fucked. There's no way out of this. If you wo n't listen to your own laws, then listen to this :. -LRB- static : a new voice. -RRB- This is President Clear Moon. This nation does not want your sympathy. You can not use this reservation as a sanctuary. Stop where you are now. Ray and Crow Horse exchange a look. RADIO -LRB- Cooch. -RRB- Whatever you are trying to do is futile, Raymond. You have nothing. Nothing. Ray picks up the mic as he cranes to keep an eye on the rearview. RAY Yellow bird. is gon na sing. RADIO -LRB- Cooch. -RRB- Yellow Bird committed suicide at three o'clock this morning. Some gung - ho agent from D.C. pushed him into a corner. You're playing a losing game. Pull over. Ray takes the mic and for some reason, he's putting it inside his jacket near his shoulder where he keeps his leather. Crow Horse looks at him, puzzled. And then the sound comes forth, the static crackling of a micro - cassette recorder. RECORDER -LRB- Ray. -RRB- How the hell do you know? -LRB- Yellow Bird. -RRB- I blew his back out with a buffalo gun, that's how I know. And now you're gon na say I did n't and put me back in solitary?! Ray keeps the tape running into the radio as he drives through rugged Badlands. Crow Horse, stunned by the voice, eyes Ray as the tape rolls.","INT. CHEVY - TRAVELING Cooch and Clear Moon stare in horror at the radio. RADIO -LRB- Yellow Bird. -RRB- You people tol' me I could beat nine years if I helped you. I helped you! -LRB- rewinding. -RRB- I could beat nine years if I helped you. I helped you! Cooch is shaking his head in vitrified disbelief. He slams the pedal almost through the floor.","INT. LE BARON - TRAVELING The tape ends and Ray now lifts the mic to his mouth. RAY -LRB- into mic. -RRB- Fuck you. And he too, buries the accelerator.","EXT. BADLANDS ROAD – TO THE STRONGHOLD The Le Baron burns forward and we SWEEP UP TO A MIND - BLOWING AERIAL VIEW of the Badlands as four fed cars spread out in formation, following.","INT. LE BARON - TRAVELING Crow Horse is turned around, looking at the pursuit. RAY Walter. Crow Horse turns, sees what Ray is looking at. POV : The Stronghold - a narrow opening in hulking rock formations. Large enough for a car to get in, and keep followers out. CROW HORSE That's it. The Stronghold. Get us in there, we got a chance. RAY We're in there. We're in there - just ahead, the earth is gone. A wavering heat pond turns out to be a crevice and they nose down into it, burying the front end in sand and rock. WINDSHIELD SHATTERS.","EXT. THE STRONGHOLD The Le Baron is stuck, wheels spinning out. Ray and Cooch bail. Guns drawn, they start running for the Stronghold. AT THE EDGE OF THE ARROYO the caravan slides in recklessly, two of the fed cars coming dangerously close to going over the edge. The regional officers and six Clear Moon goons empty out, running down the dip, rifles and shotguns ready. Three more field agents come down from another direction, followed by Cooch. Sherman hands a bullhorn to him. COOCH -LRB- via bullhorn. -RRB- FREEZE! NOW! The sound of FIFTEEN PRIMING FIREARMS stops Ray and Crow Horse in their tracks. Just twenty feet from The Stronghold. Crow Horse, windless, stumbles to a knee. Ray turns slowly, facing the small army. COOCH DROP IT. Crow Horse, rises, sucking wind, and ditches his gun in the Badlands. Ray holds onto his.45 a moment longer. Then drops it. He stares at - THE WALL OF MEN Cooch, SA Miles, SA Sherman, Six regional officers, six Clear Moon goons. And now, coming out of the backseat of Cooch's Chevy, Oliver Clear Moon, walking tentatively, cautiously. Cooch lowers the bullhorn. He takes the opportunity to stare at Ray. To let Ray stare at him. The older agent looks broken. COOCH Crow Horse, get your face in the dirt. Ray. come forward. Let it go. Let's just let it go. AT THE STRONGHOLD ENTRANCE Crow Horse lowers himself to a knee then lies face down. Ray just stands there, the wind against him. COOCH -LRB- O.S. -RRB- Come on, Ray. Come forward. RAY No way, Cooch. Ray refuses to move. COOCH sweating, tries to keep control. All around him, hands are on guns. Cooch is walking toward Ray. COOCH Ray. I'm coming to talk to you. I'm gon na walk you out of here. And we're gon na get the hell outta this place. Cooch walks toward him, a gun hanging at one side, bullhorn at the other. The agents behind him, around him, all raise rifles, all take aim. Sherman, looking sick, gets to a knee and sets aim. The sound of clacking steel, all around. But Cooch seems disturbed by the sound. Because its coming from above. He raises an eye from the rifle sight to see - ALONG THE EDGE OF THE BUTTE FIFTEEN INDIANS, training rifles and shotguns down below. SHERMAN looks up from his rifle, bewildered. Then alarmed. ALONG THE EDGE OF THE BUTTE We PAN across fifteen Indians - old people, women, kids. Their weapons are weak but many. And at the end of the row, Maisy Blue Legs rises, clutching a rifle. And PAST HER, ANOTHER. TRADITIONAL PEOPLE, many from the trading post porch, rise to the edge, armed. Silent. Twenty, twenty - five, thirty traditionals, forming a line along the ridge, a line that runs in a circle, broken by the Stronghold entrance, then starting again on the next butte. Thirty - five, forty of them. And more, standing along the opposite craggy rock, some wearing tractor caps, some cowboy hats, some just long hair blowing in the wind. Fifty, sixty, SEVENTY - FIVE RESERVATION PEOPLE forming a circle on the rocks ; it's Little Big Horn revisited. A fourteen year - old boy struggles to keep a huge shotgun at his shoulder. DOWN BELOW Clear Moon's mouth is as dry as Badlands soil. Cooch is panicking, his eyes running along the high edge. RAY stands equally astonished, assessing the back - up. CROW HORSE lifts himself, stands, taking in the sight. AT THE EDGE OF THE BUTTE stepping stiffly but steadily through the line of armed locals, pushing his way to the very edge so as to look down, Grandpa Sam Reaches. The wind makes feathery tails out of his long thinning strips of white hair. DOWN BELOW Ray looks up at the old man, then turns to face Cooch. RAY You're right, Cooch. It's over. Cooch slowly, lets the bullhorn fall. Then the rifle. He looks back at Sherman who does the same, and all the way down the line, everyone dropping their arms under the threat of a lot more guns from above. And now Ray walks forward, collecting his gun. Anderson Chasing Hawk, one of the Warriors, runs down to Ray, breathless. CHASING HAWK All the exits are blocked. There's two more fed cars tryin' to get in. And some press. Ray notices that Cooch is staring at him, hard. He shakes his head slowly. Strongly. COOCH Ray. RAY Let the press through. Chasing Hawk takes off, running, and Cooch watches in consternation. Ray just stands eye to eye with him, holding his ground. UP TO ARIEL VIEW - OVER STRONGHOLD And along the ridge, Grandpa and the locals do n't budge, watching every move. CLIMBING HIGHER, we rise above the circle of proud Sioux to see, on the inside of the Stronghold, thirty old trucks and res cars. CLIMBING HIGHER into and through the fast - moving clouds that the Lakota call The Grandfathers as the HEARTBEAT DRUM and LAKOTA SINGERS takes over all sound.","EXT. BEAR CREEK RESERVATION - MAIN SETTLEMENT - LATER The HIGH WINDS of THREE MEDIA HELICOPTERS are delighting a storm of Indian children and BARKING DOGS, running through the streets past junked cars on blocks. Over on a little plot of grass and dirt, a pair of hands are digging a small hole. Ray lays a pine cone in the hole and looks down at it for a moment. before hand - plowing the dirt back over it and patting it flat. He rises, knocking dirt off his knees and hands. Crow Horse walks over, bandaged and favoring wounds, and Ray falls in with him, walking down the middle of the village road. His eyes are tired. But hopeful. CROW HORSE The people are already talkin' about their vote for a new tribal prez. They wan na vote for Jimmy. Ray nods, encouraged as they walk along. His eyes follow the helicopters. RAY What about the water. CROW HORSE You bought her some time, Kola. Ai n't never gon na be over. but you bought her some time. RAY Some Indian time? They reach the dusty, dented Le Baron and stand there, looking at each other. CROW HORSE Indian time. Crow Horse offers a hand to Ray. He takes it in a white man's shake then follows Walter's cue into the Indian `` allies'' grip and slap. They hold it there, looking into each other's eyes. CROW HORSE -LRB- concerned. -RRB- Where ya gon na go, Ray? Ray ponders for a moment. RAY I'll have to see what the visions say about that one. CROW HORSE You did n't have another vision. Ray shrugs. Crow Horse discreetly gestures below his belt. CROW HORSE Yeah, right here. Ray cracks a smile, a long time coming. RAY You take care. CROW HORSE If you ever need a place to come back to and listen to the trees a little. we'll be here. Ray stands looking at him, searching for words. CROW HORSE Ai n't no word in Sioux for goodbye. Ray goes to get in his car. But he sees someone sitting across the street on the trading post porch. The old man. Ray considers him for a moment then walks over. They lock eyes. Grandpa stares at Ray as if he's never seen him before, and then arcs a brow. He touches his sleeve at the wrist. Ray rolls his sleeve back to reveal his Rolex. Grandpa smiles and Ray strips it off. He hands it to the old man and his face crinkles into caliche earth. Grandpa holds the watch up in the light, admires it then puts it in his shirt pocket. He moves a flat hand through the air in the `` done deal'' sign language. Ray, a little surprised that he gets nothing in the trade, returns the smile and walks away. He gets to his car and wipes away two inches of dust from the broken windshield.","INT. LE BARON After THREE TRIES, he gets the engine started. He pulls his gun off his waistband, goes to lay it on the passenger seat and finds something there. Grandpa's sacred caanunpa. The Pipe. Symbol of truth. Ray looks out the window at the old man who is watching him with those sharp black eyes. Ray lifts his hand, holds it flat, and does the Sioux done deal sign.","EXT. BEAR CREEK RESERVATION - DAY The Le Baron eats up the dirt road at a moderate, gravel crunching pace. It slows as it passes Maggie Eagle Bear's quiet home on the river. Children walk with the old woman, carrying buckets from the river. The Le Baron slows to a crawl, then drives on. THE TRADING POST PORCH where the elders sit, watching the dust blow. CROW HORSE -LRB- V.O. -RRB- -LRB- voice lingering. -RRB- We will be here. CROW HORSE walking off down the road. He stops, and looks over his shoulder, trying to glimpse the distance. THE LE BARON driving off the res, under big sky as it ascends a rough hill, waddles through potholes, negotiates with some horses in the road and rolls on toward the reservation line where the sun throws shadows that look like an old man dancing. AT THE PLACE IN THE ROAD where West goes to Rapid City, and East back to Bear Creek, Ray stops like the bullet - punched sign orders. He does n't go West. Does n't go East. He sits there. Fishes a smoke out from a pocket, clicks a lighter, and fires up. He sits there, smoking. Deliberating. SUDDEN CUT TO BLACK. And after a long silent beat, A DRUM. Like a heart. END CREDITS. THE END"],"string":"[\n \"THUNDERHEART A DRUM. Beating slow. And deep. Like a heart.\",\n \"EXT. THE GREAT PLAINS SOUTH DAKOTA - DAWN Something is rising from the Black Hills. A sphere of light, too red to be the sun. A sphere of contained fire, undulating in crimson and ochre, and rising slowly, majestically, to the pulse. To the DRUM. It is the sun. But it is a Paha Sapa sunrise. A Black Hills sunrise. And it is spectacular. The DRUM, pounds deeper, bigger, as the sun gets higher. Stronger. Igniting a vast landscape of gentle slopes and foothills ; throwing shadows on the plains that look like, as the Indians say, an old man dancing. The grass is golden. And high. The wind moves through it, snakes through it. Slowly. BEGIN CREDITS. Voices ; a TRADITIONAL INDIAN SONG -LRB- Lakota -RRB-, summoning Wakan Tanka - The Great Mystery. And now, rising up over one of the small land waves, a head comes into view. Shoulders. A man, running in ghostly SLOW MOTION, his long black hair trailing in the wind. The INDIAN MAN wears only buckskin pants and a bone choker around his neck. Legs and arms churning, the man runs with antelope grace, backlit by the sunrise, bounding toward us. Running. his heart pounding. SONG RISING. DRUM POUNDING. FIVE MORE VOICES in high - pitched tremolo join the song. And then the runner soars, like an eagle from a bluff, airborne, flying over a small dip, arms outstretched, and it would be a wondrous thing if there were not a fine, crimson, mist all around him and if slow motion was not suddenly overtaken by LIVE SPEED, revealing the brutal force of gunfire which has slammed the Indian into the air, throwing him. Slamming him hard into the grass. And it is over as quickly and violently as a deer shot dead. LAKOTA SONG ends abruptly. LONG SHOT - THE GREAT PLAINS the sun burns like lava at the horizon. DRUM beats like a heart. And Somewhere off in a distant cottonwood, an OWL. Then Silence. Deep, disturbing stillness.\",\n \"EXT. CAPITAL BELTWAY - WASHINGTON. D.C - DAY ROCK N'ROLL shatters the silence. Cars - a multicolored metallic criss - cross reflecting off a building made of mirrors - races past an electronic billboard that blinks in red skyhigh digital : PRUDENTIAL LIFE INSURANCE. 7:59. 73 degrees. The D.C. Superhighway. And off behind it, in the distance, Capital Hill holds imposing vigil, the massive cast iron dome of The Capital, catching the sun. But everything is soon smothered by a METRO BUS, hogging the far lane of the Beltway, leaning on its HORN. Good morning. And the rock n'roll is everybody's radio, everybody's tempo. CARBON MONOXIDE WAVE shimmers across the beltway hugging then releasing a solitary vehicle that we stay with. move with. A black Nissan 240 SX, hard - waxed.\",\n \"INT. 240 SX - TRAVELING Behind the wheel - an intense young man with close - cropped black hair, eyes hidden by sunglasses. Whatever he does for a living, he does in a suit -LRB- not expensive but well - fit. But we might also note that any extra suit cash has gone instead into the silver - plated watch on his left wrist -RRB-. Lean as a rake, sallow in the cheeks, there is something insatiable about him - a hungry energy that wo n't let him go. RAY LEVOI, late 20's, early 30's, pulls out of a threatening traffic jam and races on the narrow right between thirty cars and a cement girder.\",\n \"EXT. T STREET - OUTSIDE WEST-CENTRAL The black SX has jumped off an exit and has entered the light - industrial section of Washington. It pulls up near a loading dock behind an old gray building and several parked cars and vans. Ray steps out, smooths his jacket, locks and SETS HIS CAR ALARM. Another young man - chubby, clean - shaven ; in a nicer suit than Ray's - steps out from a parked Miata, and approaches Ray. CARL PODJWICK balances a coffee, a U.S.A. Today and a black eel - skin briefcase. CARL Hey. RAY Hey. Nice tie. CARL Do n't get too attached. They start walking briskly toward the loading dock. RAY Ya got the paper? They mount steps. CARL Yeah. RAY You're my hero, Carl. CARL Heroes ai n't supposed to shake. I'm shakin', man, look at me. RAY Breathe, Carl. Four, nice, deep ones. They stop at the door of a service elevator and Carl breathes. Expanding his chest, exhaling. Ray adjusts Carl's tie for him, his collar. He speaks quietly. Quickly. RAY Anyone stops us going in, we're with the Bowen - Hamilton Textile Company. We have rug samples. CARL Rug samples. RAY We are one - dimensional, boring peddlers of fine carpet, Carl. Carl nods. Ray hesitates, adjusts his own collar and enters the service elevator. Carl follows. Door closes. BEGIN CREDITS END.\",\n \"INT. GRAY BUILDING - FENCING OPERATION Carl follows Ray into the big sparse room of unfinished sheetrock walls. There is nothing in here but cardboard boxes, and two people ; a bearded HISPANIC MAN standing behind a counter, writing on a clipboard. The other is a middle - aged BLACK MAN in a purple silk shirt sitting in a chair with a newspaper held open. He barely looks over the top of the Wall Street Journal. BLACK MAN Hey, look who's here. RAY Louis, my man, what's happenin'? Ray walks up to the counter. Carl lingers, fidgeting. Ray sets his briefcase on the counter and click - clicks it open. The Hispanic fence man looks inside, and begins pulling out stacks of treasury checks. FENCE MAN Clean ones? RAY Immaculate. Ray gestures to Carl and he nervously sets his briefcase on the counter, fumbles with the first latch. The second. He flips it open. The fence man casts his eyes down at a neat cache of Grade A Treasury. A lot of it. Then his eyes rise to Carl. FENCE MAN What ya got there, seventy - five thousand? CARL A hundred and ten. Count it. LOUIS -LRB- BLACK MAN. -RRB- Have the girl count it, we ca n't sit around here countin' bonds, we got things to do here. The fence man pushes an intercom button and yells into a speaker. FENCE MAN SALLLLY! Carl's eyes flit to Ray. Ray's eyes flit to Carl. Louis crushes his newspaper down and lifts a big Colt Python from his lap just as - A section of sheetrock kicks open and THREE FEDERAL OFFICERS bust out, each clutching a handgun, SHOUTING inaudibly. LOUIS F.B.I! Get your face on the fuckin' floor! MOVE! Carl startled, does an almost effeminate dip down to one knee, but that knee is swept out from under him, slapping him flat onto plywood where he is instantly frisked down by the fence man who is wielding a 9 mm handgun. But the white collar criminal is more stunned by the fact that - Ray is walking across the floor with his hands in his pockets over to the Mr. Coffee. He pours one, and adds some milk. Turns and watches the bust while opening a packet of Sweet n'Low. RAY Slam dunk. LOUIS Beauty. Beauty. Ray rests his weight against the coffee station, takes a careful sip. Carl is yanked to his feet by the fence man and he stands there, looking at Ray, baffled. Completely shocked. CARL Jesus Christ, Larry, what the fu - Larry. That's not even your name, is it? What's your real name, you fucking scumbag? RAY Do n't have one, Carl. I have a number, man. Just like the numbers on those treasury checks. You stole from your own country, Carl. Shame on you. Coffee in hand, Ray walks briskly toward the door. LOUIS Sugar Ray. Ray turns. Louis takes a few steps toward him, putting his gun back in his waistband. LOUIS They want ya Home. Upstairs wants to see ya. Ray stands frozen, holding the door knob, and digesting what are apparently influential words. LOUIS Make sure ya spell my name right. Ray just stares for a moment. Then hurries out the door. Carl, being arm - gripped by two agents and photographed like a trout, gazes bewildered at the door. CARL -LRB- incredulous. -RRB- We just spent four months together. I thought he was my friend. what the fuck, man? -LRB- even more incredulous. -RRB- He had dinner at my mother's. CAMERA FLASHES at him, an agent on either side, striking a natural pose.\",\n \"EXT. J. EDGAR HOOVER BUILDING - ESTABLISHING - DAY The huge, imposing, mausoleum - like Hoover building, bordered by artificial turf, hemmed by cherry trees in blossom. Turning out to be a nice day on Pennsylvania Avenue.\",\n \"INT. FBI DIRECTOR'S CONFERENCE ROOM - DAY 8x10 BLACK AND WHITE PHOTOS dealt like cards onto a table, one on top of another. 1 - an aerial shot of some wasteland. 2 - a closer bird's eye of the same, what looks like a NASA photo of Mars. 3 - a vast expanse of the Great Plains. ROBERT F. TULLY, Number - Two - in - Command, deals a fourth photo onto the table. He is an understated, fatherly man, well - manicured in cotton pencil - striped shirt, white - tab collar and tie. The photos and maps and files a foot deep on the huge table are neatly organized. INTERCOM SA Levoi, Sir. TULLY Please. Seated, at the far end of the table, engrossed in the deep spread of information, SA -LRB- Special Agent -RRB- FRANK COUTURE is about to break the record for longest single ash on the end of a cigarette and the smoke forces his eyes into tight, concentrating, slits. `` COOCH'' as they call him in the Bureau has seen thirty years in some rough `` provinces''. He has survived the Hoover era and is a legend in the Sessions era but survival has honed an edge. An edge with a touch of ironic cop humor. Ray enters, walks into a firm shake. TULLY Ray. RAY Mister Tully. TULLY Do you want a coffee? RAY No. No, no. Thank you. Ray sits nervously across from Cooch who looks up from the photos and studies the younger man through reading glasses and cigarette smoke, and he looks at him like he does n't know who the hell he is or why he's sitting there. TULLY Levoi, Cooch. Raymond Levoi, Criminal Division. COOCH Oh, yeah - right. Cooch sticks his cigarette in his left hand, shakes with his right. TULLY Ray this is - RAY / TULLY Frank Couture. TULLY That's right. COUTURE Hello, Ray. The handshake is still locked. Cooch is still squinting at the younger agent. Ray obviously knows something about Agent Couture. RAY It's an honor. Tully leans back in his chair, crosses his legs casually. TULLY Ray, we're taking you off the street. We need you out in South Dakota. Ray's enthusiasm suddenly deflates. RAY South Dakota. -LRB- confused. -RRB- Did I do something unsatisfactory, Sir? COOCH No, Ray. You're gon na have to blame that on your grandmother. Ray looks completely baffled now, swinging a look from Cooch to Tully. TULLY Interesting bloodline you have, Ray. -LRB- scanning file. -RRB- French, Scots - Irish, Italian,. and one - eighth American Indian. COOCH Sioux Indian, right? RAY I'm not that sure. Yeah, I think - TULLY - yes, Teton Sioux. Father's side. Ray nods, looks from Tully to Cooch. What's going on here? TULLY Ray, there's been a homicide out in an area known as The Badlands. Indian Reservation. COOCH It's not the first. There's been several. And our field office in Rapid City is getting a lot of heat. none of the investigations have turned up jack shit. TULLY The main problem is, Ray, these people are extremely distrustful of outsiders, non - Indians. Relations have not been amicable. COOCH Different culture. Hard to penetrate. The Indians do n't like white cops poking around. And that's why we're in a position where we have to bring in an American Indian agent. Tully straightens the edges of a bureau memorandum. TULLY With an Indian representative out there, we hope to keep hostilities dormant ; this is a COINTELPRO, Selective Operations Unit, and it'll be easier on Agent Couture if you can gain the people's trust and maybe - RAY Woh, excuse me, Sir. I see what you're saying. I've got a little Indian blood, that's true. But -. -LRB- laughing. -RRB- I am not an. an Indian. I ca n't just go in and - TULLY - your father was part Sioux. A beat. Ray lowers his eyes to the photos. RAY I did n't know him, Sir. He passed away when I was six. COOCH Seven. Ray looks up at Cooch. Another uneasy beat. Cooch lights a cigarette as if lighting a cigarette was a science. COOCH Do n't worry about it, Ray. As long as the people have proof that we sent them one of their own, no one's gon na ask you to weave baskets or make it rain. Ray sits before the files and photos, looking unsure. He has come to garner a promotion but has just been sent to The Graveyard. Or in the FBI argot, Indian Country. Tully pivots his leather chair in a full circle and slaps an assignment folder down in front of the young agent.\",\n \"EXT. THE GREAT PLAINS - SOUTH DAKOTA - DAWN The very landscape from opening image. Gentle waves of land, rolling out to touch the Black Hills. The sun rises up out of the distant silhouette like a waking God. HEARTBEAT DRUM. Hypnotic. And then a car blows by, throwing up gravel and agate and gypsum. ZOOOOM! Right by us. Gone. When a dense screen of red dust clears, an old, bent, metal sign at roadside becomes visible. It reads, through punched and rusted bullet holes : `` Entering Bear Creek Indian Reservation.'' HEARTBEAT DRUM calls in the high - pitched, mournful voices of LAKOTA SINGERS. The same haunting song.\",\n \"INT. LE BARON - MOVING Cooch is at the wheel. Ray, passenger. His lap is a desk for several folders, and he works through them as they drive. Both agents eat a sandwich as they travel. RAY Eight murders in less than a year. All of them Indian. All of them unsolved. Is the law a non - entity out here or what? Cooch opens a folder that sits between them, and taking his eyes off the road for a dangerous five seconds, locates some photos, and hands them to Ray. Ray's expression tells us they are not pretty. COOCH Those are two agents who went into a reservation a few years ago to serve a warrant. They were executed at close range. That one there is a police officer killed by the Mohawks up in Canada more recently. RAY Jesus. COOCH The agents who have worked out here say its like going into Nam. Unfamiliar terrain, foreign language, foreign customs. and you never know when you might walk into a few rounds. They hold a lot of old anger for the white man out here. Ray considers this as he looks out at the unfamiliar terrain while on the RADIO, a D.J. speaks in LAKOTA LANGUAGE. Ray. back at Cooch, studying his face. RAY Were you in Nam? COOCH Airborne. That's where they used to get us agents from. Now we get'em from Carnegie - Melon, Ivy League. Accountants and computer whiz - kids. Yuppies with guns. -LRB- lights a smoke. -RRB- That's scary shit. Ray smiles, sets the AC on high. RAY Not as scary as a Hoover man with a computer. Cooch throws a quick look Ray's way. And a smile. He appreciates the sting of a right off a left. COOCH Hey, hey, hey. J. Edgar would've loved you. He'd love anybody who joined the bureau to, what was it? `` To enforce the laws of my country and protect her interests''? RAY You crashed my file? COOCH No. I consulted it. We're going into Indian Country, I wan na know what kind of individual is covering my ass. Do n't you? Ray has finished his sandwich. He wipes his hands on a kerchief while taking in the sight of chalky buttes cramming roadside. RAY You've been in the bureau for thirty years. You survived The Hoov, the Black Panthers and Abscam. I do n't see any bullet holes. That's good enough for me. Cooch looks at Ray, amused. He likes this guy. And then he notices a look of growing consternation on his partner's face. RAY'S POV - MOVING as they drive through the first settlement, a little, broken and scattered community, littered with wrecked cars on blocks, and overpopulated with hungry dogs. HEARTBEAT DRUM softly under. SIX INDIAN CHILDREN with dirty but beautiful faces and long blue black hair run alongside the car, curious. One of them YELLS SOMETHING we do n't understand. PAST the trading post - a white man's store - where SIX OGLALA SIOUX - four men, two women sit like wax figures, only their eyes moving to light on the freshly waxed government car. A little house has a tipi erected beside it. And a satellite dish. The house beside that one has been half chopped away to feed the wood stove. Poverty.\",\n \"EXT. BEAR CREEK COMMUNITY - RESERVATION - DAY The federal car drives out of the community and further into vast bluffs and strange rock formations where it is swallowed, leaving the ramshackle village in dust. A lone dog - all its ribs showing - chases, BARKING.\",\n \"EXT. BADLANDS - SHORT TIME LATER We are on the Moon. Or Israel. But not America. Not any America we've ever seen. A thirty - mile eroded landscape of dunes and crevices, soft rock strata and fossils. Barren. And eerie. A LAKOTA DEATH SONG underscores the otherworldly ambiance of this place as - SHOES scuff through the gumbo and multi - colored stones. Two pair of black, spit - shined, lace - ups. Three. Tripping. Scuffing. And then a fourth pair. But they are not loafers. They are Georgio Brutini's and they belong to - Ray, as he and Cooch follow two Special Agents from the regional office. SA MILES is about Cooch's age, balding. SA SHERMAN is closer to Ray's age but instead of a suit like the rest, he favors an army - green jacket. Neither is a South Dakota shit - kicker but transplanted field agents. All four shield their eyes with dark glasses, and here in the Badlands it is wise because the sun makes dunes shimmy and craters become faces. It plays mischief on the eye, making Ray and Sherman nearly trip on - A DEAD BODY lying face down in the rainbow sand. Dried blood and horse flies cover his blown out torso. The agents stand over him, breathless from the rugged walk. COOCH Who found him? MILES Indian kids. Hunting fossils. Cooch studies the body from where he stands. Sherman hands a file over to Ray. COOCH Okay. I think Agent Levoi and I can proceed from here. What are your call signals? SHERMAN PX - 10 and 11. Anything we can do to help you out, just radio. COOCH Good. Thanks, Guys. The agents start back through the Badlands. Ray is already squatting a safe distance from the body, covering his nose with a kerchief while looking in the file. Cooch takes a bended knee on the other side of the body. Flies buzz on and around the corpse. RAY Leo Fast Elk. Thirty seven. single. Member of the Tribal Council. Cooch makes a note then slowly circles the body. He holds a hand out to Ray and the younger agent turns the file over. COOCH Looks like Fast Elk was n't fast enough to outrun that load. What do you make of the damage? Ray gets closer, swats at Flies with the folder. RAY Six rounds. 357. COOCH That's what it looks like, does n't it? But that's what a ten gauge, choke - bored, shotgun will look like when it hits your lower back from five feet away. Ray looks up impressed. Cooch rises and walks off gingerly, scanning the surroundings. RAY Somebody was serious about doing this guy, that's for sure. COOCH Ray. Cooch is standing ten feet away, staring at the ground. Ray walks over, carefully. He follows Cooch's frown down at the twisted layers of earth. ON THE GROUND a circle has been etched deep in the soft gumbo, and in the center of the circle, a white eagle plume sticks straight up, dancing in the wind. Cooch and Ray each lower themselves to their haunches to study the strange sight. Cooch puts his reading glasses on, stares at it. Then lights a cigarette. Ray hefts up a camera and begins CLICKING off shots. He starts moving around it, taking shots at different angles. And then the sound of a DISTANT MOTOR draws both agent's attention. way out in the bizarre moonscape of eroded rock and earth, a lone figure on a motorcycle bounces and grinds, born out of a silvery heat mirage. It's fifty yards off but heading straight for us. The HEARTBEAT DRUM. REVERSE - RAY AND COOCH try to make the figure out. IN THE BADLANDS the archaic mud - caked Harley chugs and stalls, spits and choices, and begins an incredible drive straight up the steep side of this natural wonder. At the throttle is an imposing figure. WALTER CROW HORSE is a portly Indian in his late - thirties with a black reservation hat worn low over a face that seems to have been cast from a bust of Sitting Bull. Sitting Bull with aviator shades. Denim jacket over checkered shirt. Faded jeans. Well broken duct - taped boots. His hair is worn long in tight duel braids. The rusted bike bajas up and down slopes, finally stalling out, twenty feet or so from the murder site. Crow Horse swings his bulk off the bike like dismounting a horse. He looks around suspiciously then pulls a rolled - up blanket from the carrier rack. LEO LITTLE SKY lies in death. Crow Horse's boots move in stealthily, creaking like saddle leather. He squats and looks at the corpse. then looks around with animal alertness. He reaches into the front pocket of his jacket and pulls out some Bull Durham tobacco. He pinches some and offers it to the four directions around the body. He then unrolls the blanket, begins to move the dead man. sense something and wheels to see Cooch standing behind him, one hand behind his back where his gun must be, and the other hand holding up open wallet. The sun hits his badge. COOCH Good morning. Crow Horse hawks his eyes onto a big rock, a full second before Ray steps out, his.45 drawn but held at ease. Crow Horse slowly raises his arms as Ray moves up to him, studying him. COOCH Taking ol' Leo somewhere? CROW HORSE Leo's been out here too long, man. I'm taking him to ceremonial burial. RAY This is a restricted area. COOCH Check him out, Ray. Ray frisks the Indian, finds an old leather wallet, and then a gun. A.38. COOCH Nice piece. You come back here to cover your tracks, Geronimo? What's your name? CROW HORSE It ai n't Geronimo. COOCH Who are you? CROW HORSE I think maybe you guys got off the wrong exit, yeah? This is the Bear Creek Indian Reservation. Cooch walks around to the front of Crow Horse, and studies him. COOCH I know where I am. I'm on federal land, doing a federal investigation, and if you do n't wan na cooperate you can take a ride in a federal car, and spend the rest of the day in a little room, answering federal questions. It's your call. Who are you? CROW HORSE I'm a full blood Oglala Sioux, born and raised on this reservation. COOCH You're a wise - ass. Ray check his wallet. RAY I did. COOCH Who the fuck is he? RAY - a fucking cop. A pause. A long, dead of South Dakota, Badlands pause. Cooch turns and looks at Ray who holds up the open wallet, revealing a badge. Like Cooch's it shines in the sun. RAY Walter Crow Horse. Tribal Police. Cooch stands staring at the Indian. then takes a few steps over to Ray and grabs the wallet. He examines it. Then looks at Crow Horse and laughs. COOCH He's a fucking cop. The Indian cop has plenty of time to get up on his own but he kneels there, tauntingly, waiting for Ray to help him. Ray walks over and offers a hand. Crow Horse takes it, and pulls himself up, looking square into Ray's sunglasses. Cooch walks over and hands the officer his wallet, and his.23. Crow Horse takes the items, eyeing the older agent. CROW HORSE We got the wire ya was comin'. You're the Indian official, yeah? COOCH No. No, that's Ray, here. Ray, uh. -LRB- searching his imagination. -RRB- Ray. Little Weasel. Ray does a take but quickly recovers, meeting Crow Horse's scrutinizing gaze. Crow Horse nods to Ray, and Ray nods back in case it's the Indian thing to do. Crow Horse nods again. Ray nods again. CROW HORSE Leo's got ta get to burial, Brother. He's got ta make the journey. COOCH What journey? CROW HORSE Tell him, Ray. Ray stares at Crow Horse, uneasy. The wind sings through the Badlands. RAY Leo has to take the journey, Cooch. COOCH We'll have to give Leo a refund. Because he's got ta go to the M.E.. In case you do n't know, Officer, violation of the Major Crimes Act on - CROW HORSE - an Indian Reservation is within the jurisdiction of the Federal Bureau of Intimidation. I know that. COOCH Good. Thank you. Crow Horse says something in Sioux to Ray. Ray just stares. CROW HORSE I said when can Leo be taken to ceremony? RAY After we've completed our investigation. Crow Horse is staring at Ray. CROW HORSE That's a nice suit. Ray looks offended. Cooch puts a hand on Crow Horse's shoulder and walks him toward his beat - up motorcycle. COOCH Somebody must be doing something somewhere in your jurisdiction, Officer Crow Foot. CROW HORSE You ai n't gon na cut his hands off and send'em to Washinton, are ya? They done that to one of our girls once. Leo did quillwork, he's gon na need his hands. Crow Horse turns and looks at Ray. Ray is quick this time. RAY Leo's gon na need his hands, Cooch. He does quillwork. COOCH I think Leo's retired from quillwork for the moment. CROW HORSE Respect the dead, Hoss. Because when - COOCH - did you understand me when I said that - CROW HORSE -LRB- walking away. -RRB- - violation of the Major Crimes Act on an Indian Reservation is within the jurisdiction of the Federal Bureau of Instigation. I know that. COOCH Goodbye. Crow Horse appears to be getting on his bike when suddenly he moves like a cat and lays his knife to the dead man's head. He cuts away a patch of hair. COOCH What the hell you doing?! CROW HORSE His mother needs a piece of his hair. It's for the Keeping of the Souls Ceremony. -LRB- wrapping lock of hair. -RRB- Has to be kept for four days. Cooch and Ray stand there, watching Crow Horse mount his bike and push off down a nasty slope back through the Badlands. He starts his motor. It dies. Then starts again. COOCH Keeping of the souls. Do they still burn their dead or something? RAY Beats the hell outta me. Ray and Cooch look off across the Badlands, as far out of their element as they can be. CLOSE ON - THE WHITE EAGLE PLUME in the circle in the sand, fluttering in the wind. The gold spit - shined Le Baron eases to a crawl, passing an old wooden sign. `` Leaving Bear Creak Indian Reservation.'' And immediately pulling in front of a squat old bar with a burned out neon Miller light. DWIGHT YOAKUM croons `` Youuuuuu - Got - Your Little - Ways'' on the jukebox from inside. The Buffalo Butte bar has several cracked and sun - bleached buffalo skulls hanging off the edge of its flat roof and big faded white letters painted across the front read : `` No Indians Allowed.'' -LRB- This sign actually exists today in the res - line border town of Scenic, South Dakota -RRB-. The car pulls up beside a pick - up and parks. Ray and Cooch step out, careful to walk wide around a PITBULL in the bed of the truck. A WHITE LOCAL walks out of the bar and looks askance at the suits. As the two feds approach the bar, Cooch looks up at the warning sign. Ray sees it too. COOCH Sorry, Ray. You're gon na have to wait in the car. I'll bring you out a cheeseburger. The young agent smiles, amused, starts to enter the bar but - VOICE -LRB- O.S. -RRB- Hey! Ray spins quickly, paranoid about entering. But the man calling to them is - An Indian himself. TRIBAL PRESIDENT OLIVER CLEAR MOON, a small man in his late fifties who peers out at the agents through fat bifocals. He wears a straw cowboy hat, red windbreaker and his hair is cut short, or `` bobtailed'' as the Indians say. Clear Moon is walking away from a parked pick - up truck, toward the white men, eyeing the two with deep curiosity. CLEAR MOON -LRB- heavy Indian accent. -RRB- You made it. Was - te. Cooch discreetly peeks into a folder as he walks toward the man COOCH You must be. President Clear Bone. CLEAR MOON Clear Moon. -LRB- pointing to the sky. -RRB- Moon. You must be the Sioux. He is pointing his long, skinny finger at Cooch. COOCH No. That's Ray here. Ray. RAY -LRB- quickly. -RRB- Ray Levoi, Sir. Pleasure. Clear Moon beholds the young agent with hopeful eyes, a smile breaking across his flaccid brown skin. He takes Ray's hand in a respectful double - clutch and grips him tightly. almost desperately. CLEAR MOON It's about time they sent us one of our own. Was - te. He keeps pumping Ray's hand, looking into his face with great admiration. Cooch looks on with amusement. CLEAR MOON Things are no good here. It is like war zone. We need an official who understands what is good for the Indian people. Who knows Indian way. Clear Moon has not released Ray's arm as he leads them to a string of seedy motel units across the street. RAY I thought we were staying on the reservation. CLEAR MOON Yes. Rooms thirteen and fourteen are on Indian land. RAY I see. CLEAR MOON Are you hungry? I have some nice raw kidney in the truck. RAY Oh, I'm set, Sir. I'm set. COOCH He's starving, Mr. Clear Moon. Get him some raw kidney. He has n't had any Indian food in days. And Clear Moon guides them through the front door of room 13. Ray looks over his shoulder threateningly at Cooch who winks and pats his back.\",\n \"EXT. RESERVATION LINE - NIGHT A lone headlight appears out of the black. HEARTBEAT DRUM. But faster. Relentless. A `` res'' car, a dented, rusted, peeling old station wagon, drives slowly toward the reservation. Then suddenly, someone steps in front of the car. A BIG MAN in cowboy boots and blue jeans.\",\n \"INT. MOTEL - ROOM 13 - NIGHT Ray lies in bed. Awake. He is hanging off the bed with a file open on the floor and using the moon to light photos and memorandums. And then he hears LAUGHTER outside. And GLASS BREAK. He gets out of bed quickly, snatching up his pants, putting their on, and going to the window. SEVERAL LOCALS out in front of the bar help a middle - aged INDIAN MAN out of the station wagon. WHITE LOCAL Where you goin'? Back to the res? A young local bends down behind the Indian while another shoves him, sending him tripping over the bent man and onto his back in the dirt. WHITE LOCAL What ya doin'? You drunk? MORE LOCALS come out from the bar, beers and drinks and interested in what's going on. REVERSE - RAY at the window, observes. Cooch enters from the connecting room, puffy - eyed but quickly buttoning his shirt. He shares Ray's view. COOCH Let's take a walk. Ray is transfixed.\",\n \"EXT. BUFFALO BUTTE BAR - NIGHT The Indian man, is pushed into a stumble, and caught by another white man as a little game of catch takes place. Cooch, stepping into the circle, shirt half unbuttoned, hair a mess, looks on. Then steps in front of a big local and catches the Indian as he comes stumbling. He holds onto him, looking at the faces that turn his way. Ray steps up beside him, looking tense. COOCH What's goin' on here? -LRB- a beat. -RRB- I ca n't walk across the goddamn street without some breed - ass fallin' all over me? And then Cooch shoves the Indian with all his might back across the road. The locals resume their fun, and Cooch looks at a local man and shares a chattering laugh that makes Ray do a serious take. COOCH Watch out now, he wants a kiss, Ray, wants a kiss - The Indian ends up stumbling back toward Ray, and Ray catches him this time. The man maintains a perfect vacant expression and keeps acting as though nothing of the sort is happening. But he is dizzy, and exhausted, and Ray keeps him from falling. Cooch looks at Ray. Their eyes meet. Ray shoves the man forward. This time, instead of catching him, the local on the receiving end, hauls off and punches him in the face. The Indian drops. Cooch runs in, grabs the Indian under the arms and drags him back to his car. COOCH Go ahead, skin, get your ass back on your sacred land. Get outta here. He shoves him behind the wheel as the locals crowd around. They do n't see Cooch throw the wheel stick in drive, and lean into the man's ear. COOCH Get outta here. Drive. Cooch slams the door, and kicks it, and the vehicle lurches forward. A beer can clanks off the rear window, and rolls clanking into the middle of the road. Ray stands there with the locals as they all watch the car drive off across the reservation line. Cooch, belly sticking out of his unbuttoned shirt, and a breathless smile on his face, heads to the bar without breaking stride. This man has done `` underground'' before.\",\n \"INT. BUFFALO BUTTE BAR - NIGHT - SHORT TIME LATER Cooch and Ray sit in a booth with DENNIS VAUGHN, a strapping local man, ranch - raised, and gentlemanly. In fact, downright likeable. DENNIS So what type of salesmen are you gentlemen anyway? RAY Liquor. We heard they like their drink on the reservation, and we were gon na see if we could n't unload some surplus on the way to Nebraska. COOCH Now keep that between us, Dennis, cuz I do n't know what kinda Johnny Law they got here. DENNIS Hey, Brooks, come over here. I want you to meet a coupla fellas from Denver. BROOKS, a small, older man with a feed store cap and a clean cowboy shirt, comes over with a beer and a pensive look on his face. He pulls up a chair and positions himself at the end of the booth. DENNIS Liquor salesmen. Be nice to them, maybe they'll give you a sample of some of that gin you like. -LRB- to Ray. -RRB- He likes that Russian shit that - BROOKS They ai n't liquor salesmen. They're FBI. Cooch and Ray do n't flinch. Dennis does. He looks between the two, cautiously. COOCH Brooks, what's a perceptive fellow like you, doing in a joint like this? Let me buy you a glass of some of that Russian shit you like. DENNIS FBI? What you investigatin'? COOCH A murder. On the reservation. DENNIS Again. Figures, man. BROOKS You'll never find out who did it. COOCH You underestimate me, Brooks. BROOKS No. You underestimate these grass niggers. They're killing each other. That's all they do. Get drunk and kill each other. Then cover for each other. Who gives a damn really as long as they stay on their reservation. You ask me, the government should n't care one particle. DENNIS You know how in your big cities, you got your niggers and you got your Puerto Ricans? Well out here we got Indians. That's just the way it is. COOCH The only good Indian is a dead Indian, does that old adage still hold true out here? Cooch laughs good - naturedly. Ray smiles. But Brooks looks offended. BROOKS That set - to you saw out front, was nothin' more than a message we were sendin' to the sonsabitches that are divertin' water from the river. DENNIS We got rights. We got a ranch just up here. Ray catches this. Glances a look off Cooch who works on a cold draught beer. RAY Did any of you gentlemen know Leo Fast Elk? Both men shake their heads. Get quiet. BROOKS You fellas are here to investigate a Indian crime, you should keep to Indian land, and talk to them, not us. But you wan na drink here and shoot stick here, that's your right, and we respect that. -LRB- to Dennis. -RRB- Come on, Son, we're up on the table. DENNIS You fellas wan na play doubles? Cooch shakes his head, distracted, and the two locals leave, enroute for the pool table. Ray watches them go, curious.\",\n \"EXT. BUFFALO BUTTE BAR - NIGHT Ray and Cooch, cross the street back to the motel. It is black and chillingly still. RAY Water. Worth killing for out here, I'd think. COOCH Get the plate numbers off everyone of these cars. RAY I already did. Cooch looks at Ray, impressed. RAY Could n't sleep. COOCH Good. They stop in front of their rooms and Cooch pulls a small tape recorder from his waistband. A micro - cassette recorder that he examines in the dim door light. RECORDER -LRB- locals. -RRB- - out here we got our Indians. And that's the way it is. Cooch shuts it off. COOCH By the time you get to the main village, sun'll be up. I want you to fraternize. Socialize. Penetrate. Infiltrate. Eat some raw kidney, and get these Indians talking. I'm gon na Powwow with Big Chief Clear Moon and find out more about Leo. He hands Ray the recorder. RAY Done. Cooch starts for his room but in a long, exaggerated country step as he breaks into the HANK WILLIAMS tune that has all but driven him insane inside the joint. Ray watches him go, and cracks a laugh.\",\n \"INT. LE BARON - TRAVELING - SUNRISE Ray's at the wheel, looks intense as he studies the vast expanse of slopes and rock formations and the rising sphere of flame that lights the road in strange color. He is reading a name list that he traps against the wheel. RAY Hobert Standing - Buffalo - That - Walks - Dreamer. -LRB- a dry run. -RRB- Hello, I'm looking for Hobert Standing - Buffalo - That - Walks. Dreamer. Ray pulls up a long dirt drive and parks.\",\n \"EXT. OLD TRAILER - ACROSS FROM BADLANDS – SUNRISE Ray walks to the front door of a war - torn trailer that is halfway swallowed by weeds and plants. It is static out here. Dead still. Ray approaches the front door. There is a huge hole in it. He knocks above the hole. After a moment, the door opens a crack. A dark, weather - beaten face barely shows. RAY Good morning. I'm looking for Hobert - Buffalo - Dreaming. -LRB- cheat sheet. -RRB- Hobert Standing - Buffalo - That - Walks - The door closes. Locks. RAY - Dreamer. Ray stands there for a moment then lowers himself to look through the huge hole in the door. RAY Sir? A tattered chair is pushed against the door, covering the hole. Ray stands up, turns on the steps. And before he can let out a flustered sigh, he spots something across the dirt road. Something that makes him remove his shades, look again. Whatever it is, it does n't make him happy, and he is hurrying across the road.\",\n \"EXT. BADLANDS - DAY A motorcycle, parked between the road and the badlands. We've seen the ancient bike before. Ray walks past it, looking at it. He pushes his shades up on the bridge of his nose and looks down into the moonscape. Walter Crow Horse is down there, on his haunches, `` feel tracking'', laying his fingers inside tracks and reading them. He does n't even look up at the sound of the FBI agent's footsteps. CROW HORSE Ray Little Weasel. FBI. I like the way ya sneaked up on me. Must be Indian. The wind whistles and moans through the Badlands as Crow Horse continues feel tracking. RAY What are you - CROW HORSE Watch out! Ray draws back. RAY What?! CROW HORSE You're steppin' on sign. Crow Horse lowers his face to the ground and blows some scattered dust out of a print. Lightly lays his fingers inside RAY Hey. -LRB- ignored. -RRB- Hey, you, listen up - CROW HORSE - Leo was n't killed here. He was dumped here. Out of a vehicle. Bald tread. Muffler held on with baling wire. Crow Horse checks out another track. CROW HORSE The man you want. stepped outta the car, dragged Leo out, laid him down. Then walked over here and made a circle in the earth with a stick. I ca n't find the stick. He stuck an eagle plume in the circle, got back in his car, dustin' his own prints with a pine bough for about six feet, but he missed a print, right here, see. He got in his car and went Hell - bent - for - Holy - Sunday outta here. He ditched that pine bough three miles across the flat, in the Little Bear River, it floated down to Thundershield Gap. The car hit paved road, and was outta here. Crow Horse rises, points down the road. CROW HORSE The killin' was done where Leo's mother lives. But he was driven here into these Badlands. Ray is frowning at the big Indian, trying to get a fix on this CROW HORSE Big sonuvabuck. Based on the depth of that print, pressure releases. I'd say he goes two - ten, two - fifteen - RAY Bullshit. CROW HORSE - Well, maybe two - seventeen. RAY You're trying to tell me you can read all that from a track? CROW HORSE No. Not just a track. You got ta listen to the trees, man. To the leaves. To this sand, you FBI's kicked all up. You got ta listen to the earth. RAY Is that right? Well, listen to this : drag your ass. This is a restricted area. CROW HORSE No, this is the home of the Oglala Sioux and I want the dog - fucker who killed Leo. Whether you get him or I get him, I just want him. Shit's been goin' on too long. RAY You've got no jurisdiction. CROW HORSE You got no know - how. About Indian Way. Or about Jack Shit for that matter. RAY Maybe you're not aware of this, Crow Horse, but I just flew in from a place called the Twentieth Century where we have such things as electrostatic tracking methods, psycholingusitics, DNA fingerprinting ; I do n't have to crawl around with the scorpions and talk to the fucking trees to get answers. Leo was killed right here. CROW HORSE Go back to the M.E., take a look inside Leo's exit wounds and tell me how chicken feed got in there. Trust me, there ai n't chickens in the Badlands. His mother's place is - RAY - his mother never lived here. She was from up in North Dakota. CROW HORSE I'm talkin' his spiritual mother. Maisy Blue Legs. RAY His spiritual mother. CROW HORSE To us Indians, our spiritual relatives are as close as family. I've got seven mothers on this reservation. Sisters. Brothers. You ai n't one of them. RAY Thank God. Now listen to me, asshole. I'm giving you a break. But if my partner finds out you're here, you're gon na be reading rat tracks in Sioux Falls Maximum Security. CROW HORSE Easy. Easy. I'm goin'. Crow Horse walks back up toward the road. Ray lets him leave then crouches where Crow Horse was, begins looking at tracks. CROW HORSE -LRB- O.S. -RRB- Hey, Little Weasel. Ray turns, and sees Crow Horse perched on a high bank - the one Ray came down - and he's in a tracking stance. CROW HORSE You weigh one sixty - three, yeah? Not a beer drinker. You're one of these tofu and pilaf characters. Pack your gun, under your coat - left shoulder. But you got backup ; a little.32,.38 maybe, in a ankle holster that gives you a right foot drag, Shoes are too tight at the toe but, man, they look cool. And that's what counts. Ray just stands frozen, blown away. Crow Horse rises, dusting off his hands, and heading to his vehicle. RAY Crow Horse. The Indian turns. The wind moans. Ray scrutinizes him, deliberating. RAY Fuck you. Crow Horse grins and waves, and ambles away. DOWN IN THE BADLANDS Ray stands, sweating under his suit jacket, and not sure if he's amazed or pissed off.\",\n \"EXT MAISY BLUE LEGS HOUSE – BLACK TAIL DISTRICT - DAY A trailer sits off from the river in beaten solitude. There are two junked cars and one burned black. Wind blows across deep bald tire tracks. Ray walks slowly beside them, surveying, following them to a place where they become puckers and skids next to a dilapidated outhouse. There is a shotgun blast in the side of it. Ray studies it, enters the outhouse. Exits, and walks the rutted gumbo earth to where it meets rolling hills of golden grass. He stands here, mesmerized. CHICKENS scratch around in the dirt. Like so many far - off res homesteads, this is a haunting place. Made more so by a persistent SQUEAKING, a rusty, metallic squeal coming from - A WATER PUMP across the yard, where MAISY BLUE LEGS, a Sioux elder, works the handle. She wears thick bifocals and keeps her hair under a bandanna. No water comes forth from the pump, and she tries again and again until she breaks a sweat. And then she sees the waal ` cu standing out there. Urgently, she turns and starts back to her trailer with an empty coffee can. Ray starts after her. RAY Mrs. Blue Legs? Can I ask you a few questions - MAISY -LRB- 1/3 res speed. -RRB- - go away. Leave us alone. RAY Ma'am, Please - She mounts the metal steps. Ray is losing her. He gets a foot on the bottom step, and attempts something he does not want to do. RAY Mrs. Blue Legs. I'm Indian. Halfway through the screendoor, Maisy turns and looks at the young man in suit and shades. RAY I'm Sioux. Maisy lowers her bifocals, studies him. Then walks in, slaps the door shut, and locks it. A towel hung as a shade folds down. Ray lingers at the bottom of the steps. RAY Yeah, right. And he walks around the side of the trailer, looking at the ground. In the gaping space between the trailer blocks, and the grass, there is much junk stored, and Ray kneels to look. He is drawn to a pair of cowboy boots, caked with dried mud. He picks up a boot, looks at the sole, then touches the mud. His fingers break through the hardened crust and come back moist and blue. He looks at this sniffs it. There is a tense, water - torture like tempo coming from the old pump where water barely drips onto a hub cap in the dirt. Ray sets the boot down. Goes to grab the other boot and - a WESTERN DIAMOND BACK RATTLER coils out from the shade of the boot, RATTLING and HISSING from white mouth and three - inch fangs, and Ray has done a backflip and roll, slapping his shoulder holster and pulling lead and BLAM! BLAAAM! he unloads two, and the reptile is so dead, there's not even enough snake left to make a truck - stop key chain. He kneels there, flushed in the face, holding his breath and double - clutching his gun. The SHOTS ECHO through the Badlands like the aftermath of dynamite. From inside the trailer, he can hear CRYING. A low moaning. Praying softly. RAY Shit. Mrs. Blue Legs! It's okay! Then his RADIO CRACKS IN. RADIO -LRB- COOCH. -RRB- X21, give me a 20. RAY -LRB- yelling. -RRB- Black Tail District, X22. You ready for this? Leo was n't killed in the Badlands. I. I found the location. COOCH Maisy Blue Legs place? RAY How'd you know? COOCH I got one up on ya. RAY Go ahead. COOCH I've got the doer. I know who he is. Ray looks relieved. COOCH Meet me at base. Over. RAY Cooch. You're my hero. Ray looks down at the dead snake, still rushed from it, and he hurries out of there. IN THE SHADE OF THE TRAILER the snake's RATTLE moves spasmodically, still kicking with reflex.\",\n \"EXT. LOOKS TWICE HOUSE - BEAR CREEK RES - NIGHT CLOSE ON an AMERICAN FLAG, flapping in the hot night wind. But something is wrong about the image. The flag is hung upside lit by - A full moon that also illuminates an overgrown field that fronts a small, one - level house where the flag hangs. Three old cars decorate the front yard. A busted screendoor creaks in the wind, and somewhere off in the hills, a DOG BARKS away his boredom. COOCH -LRB- O.S. -RRB- Jimmy Looks Twice.\",\n \"INT. LE BARON SA Couture and SA Levoi sit inside the car, staking out this little place far down a dirt road on the outskirts of the settlement. Cooch has the suspect's file on his knee. RAY Who is he? COOCH One of the leaders of the Warriors of All Red Nations. Militant organization. He hands an open file over to Ray. CLOSE ON - FILE PHOTO : a raging fire and six long - haired, fist - raising Indians, yelling at the camera. COOCH -LRB- O.S. -RRB- The progressive Indians do n't like them because they want everybody to go back to the old Indian ways, and the old way Indians do n't like them because they use violence to get attention. RAY SHUFFLES TO PHOTO 2 - a big Indian in a wheel chair, holding a rifle. He is shirtless under a vest and on his muscular right shoulder there is a clearly defined tattoo of a circle with an eagle feather through it. PHOTO 3 - a Close Up of the tattoo. PHOTO 4 - a propaganda flyer with the letters W.A.R.N. and the same symbol - perfect circle, pierced by a white eagle feather. RAY White eagle feather through the circle. That's their symbol. COOCH That's right. Ray shuffles through more of the same with great interest. RAY They obviously wanted it to be known that they offed Leo. Some kind of statement. COOCH Jimmy Looks Twice put Leo's head through a glass door of the tribal offices three months ago. And threatened him several times since. President Clear Moon and the regional FBI feel he made good on that threat. Cooch takes a long, tight breath then turns around in his seat, coming up with an M - 16. Ray lifts one of his own. He looks out the car window. RAY I'd just like five minutes alone with the motherfucker who hung that flag upside down. COOCH Easy, Cowboy. No vendettas on my ship. Now : remember what I told you about Nam? Watch the grass, watch the trees, watch the shit house, be on your toes, and if we get committed, do n't hesitate to empty that sucker. RAY Alright. Alright. Cooch whacks a top clip into the M - 16. Ray slams a clip in his. COOCH It's show time. Car doors open in skillful silence. LOOKS TWICE HOUSE - CLOSER - NIGHT and Ray maneuver toward the house, rifles ready. Cooch gets under the picture window, sneaks a look. Nothing. He follows Ray around the side. off in a backfield, lit by a hot fire, a small round hut covered in patchwork quilts, canvas and buffalo hide. A strange mist floats around it, and from inside, voices are heard - A DRUMMING AND CHANTING in LAKOTA. And EAGLE SOUNDS. Dozens of shrill whistles. Are there birds inside this thing? REVERSE - RAY and Cooch, kneeling in the weeds, look dumbfounded. And more than a little unnerved. RAY -LRB- whispering. -RRB- What the hell is that? NEAR THE INIPI LODGE An INDIAN YOUTH DOOR TENDER with shoulder length hair falling over a T - shirt, steps out of the dark and walks to the fire. He prods it with a broken pitch fork. He turns to get some more wood and walks right into an M - 16, trained chest level. Ray stares him down. RAY On the ground. The boy drops boot camp fast. Cooch moves up on the sweat lodge, looking quizzically at it, trying to figure out how to open it. He grabs a canvas flap at the front and after a moment's hesitation and a look at Ray, he tears the flap away. A BLAST OF 200 DEGREE STEAM explodes forth and Cooch dances back, throwing up his rifle. VOICE -LRB- O.S. -RRB- -LRB- inside lodge. -RRB- Mitakue Oyasin! GRANDPA SAMUEL REACHES, a rail - thin Sioux elder, appears through the steam like a vision. Bent in the tiny doorway, he searches out the interruption. Cooch aims the M - 16 at the old man. COOCH This is the FBI! Come on out of there nice and slow. Let's move it! Hands on your head! Grandpa Reaches crawls out first, ignoring the `` Hands on your head'' order from Cooch. His eyes move back and forth between the two agents. FIVE MORE INDIANS, from 16 - 45 come out, looking confused. Cooch makes the towel - wrapped men spread out in a line. The old man is speaking to the others in LAKOTA, and Ray steps up to him, cuts him off. RAY Hands on your head, Sir. Come on, come on. The archaic figure just looks through him. Starts to walk away. Ray takes his thin arm. He locks eyes with the old man. Slowly, he obeys, raising his hands and laying them on his head. From the lodge, the last man emerges. It's Crazy Horse reborn out of the burning sage. JIMMY LOOKS TWICE is in his mid - thirties - big, well over two - hundred pounds. But lean. His braids fall nearly to his hips. His face is handsome but at the moment, twisted in a full - blood's scowl. LOOKS TWICE -LRB- outraged. -RRB- What are you doing? COOCH James Looks Twice? LOOKS TWICE That's right. What are you doing here? This is a religious ceremony you're desecrating. Looks Twice shoots hawk - like black eyes onto Ray. RAY We're FBI, James. We just need to ask you a few questions. LOOKS TWICE We are in the middle of a sweat lodge ceremony. Do you drag people out of your churches when they're in the middle of prayer? COOCH Let's take a walk, Jimmy. Come on. Cooch takes a careful step behind Jimmy and cuffs him. Looks Twice speaks to the others in LAKOTA, and they disband, heading to a shade arbor where their clothes hang. As Cooch starts marching Looks Twice toward the house, Ray keeps an eye on the departing. One of them stops halfway to the fence and turns. Grandpa Reaches looks at Ray with eyes that have seen one hundred and one hard years in Indian Country. RAY Go ahead. You can all go home. And he follows Cooch and the cuffed Jimmy to the house. COOCH We just wan na take a look around your place, Jimmy. We're not here to bust your balls. AT THE BACK OF THE HOUSE Cooch leads the half - naked suspect to the backdoor. Cooch show : a warrant, tries the door but it is locked. LOOKS TWICE What's this about? COOCH Your good friend Leo Fast Elk. LOOKS TWICE You think I killed him? Cuz he was an apple? Well, let me tell you something about Leo, Man - COOCH - do n't `` man'' me, Jimmy. Where's the key? Jimmy does n't answer. He glares with hatred into Cooch's eyes. COOCH Ray, use the federal master key. Ray steps up, gets ready to throw a frontkick at the door. LOOKS TWICE No. Do n't do that. Do n't deface the property, man. The key's in there. With his hands cuffed, he can only jerk his head toward a big hole in the wall down near the foundation. Cooch quickly drops to a knee and checks out the hole. LOOKS TWICE Inside. in the coffee can. Cooch reaches in, probes. COOCH There's no coffee can in - Something horrifying happens so fast, Cooch has no time to react. Whatever has taken his arm has done so with such force, his body jolts like he's touched raw voltage. The South Dakota BADGER rips through his leather jacket - we get a glimpse of its striped face and yellowed teeth - through his shirt. Through flesh, and deeper, GROWLING insanely while COOCH HOLLERS in shock tries to pull free and - Jimmy Looks Twice spins from the porch with a skillfully executed back kick, knocking Ray off the step and to the ground. The Indian bolts like a deer into the darkness. Ray rolls in the grass, throwing his M - 16 up. He hesitates. But only for a moment before FIRING and decimating the corner gutter, a junked car, several trees. But no sign of Jimmy. Cooch falls back in the grass badly mauled. His arm has been ripped open down to the bone. COOCH Jesus. Jesus. Ray starts toward Cooch. COOCH Get him. Ray takes off, crashing through weeds, into a stream, wading through mud. He throws his flashlight left and right. He crosses the river, shines the light in a field of wild sage. Nothing. He runs like a sprinter, looking everywhere. But as he enters an - OPEN FIELD all he finds is Jimmy's towel. He picks it up and looks around the area, breathing heavily. And then suddenly, something leaps up out of the grass. Ray swings his M - 16 up, ready to blast. But it is a DEER, taking off into a mystical blue night. THE DRUM. Beating fast. Heavy. TURTLESHELL RATTLE. EAGLE BONE WHISTLES. IN THE YARD Cooch traps his bleeding arm between his knees to stanch the blood. He speaks quietly but firm into his radio, trying to stay in control. COOCH -LRB- into radio. -RRB- Assault on federal officers. Suspect has left the area. One officer down. Issue a Fugitive Alert immediately. Over. RADIO Has the officer been shot, X - 22? COOCH No, the officer's been bitten by a fucking badger, okay? Get a Fugitive Alert fucking now! Over.\",\n \"EXT. BEAR CREEK RESERVATION - LANDSCAPE - SUNRISE A mind - blowing Aurora. Living clouds. The incredible mesa. PULLING BACK slowly to the dirt road where a line of federal aerials high, enter Indian Country. HEARTBEAT DRUM. But a fast heartbeat. A relentless pulse throughout - AN FBI SATURATION SEARCH FOUR AGENTS surround a little tar - paper shack, rifles up and ready. Two go in, and flush out an OLD WOMAN, an OLD MAN, and some TEN CHILDREN. DOGS. A SMALL TRAILER that has thirty junked cars in its yard and serves as a reservation parts store is crawling with FEDERAL MARSHALS ; car doors are being opened, trunks. TRACKING DOGS run through the cars. WARPATH DRUMS. - A BELL UH 1 - B `` HUEY'' HELICOPTER chutters low over the grasslands, over the Badlands, flattening wheat. It swings down over the main settlement. CHILDREN gather in the street to look up at it but then run when - - SIX FEDERAL CARS come down the main road. They pass by - - THE FRONT PORCH OF THE TRADING POST where Ray stands, talking to the elders. A few of the same from earlier but several new ones. He is sweat - drenched, and has shed his jacket and tie. He is showing them photos of Jimmy but getting no response. And then, for a little iodine on top of that, a MOTORCYCLE ENGINE, spitting and choking and coughing comes around the corner, Walter Crow Horse, manning the handlebars. He pulls up to Ray and just looks at him. DRUMS FADE. CROW HORSE You're an easy man to track, Ray. Ya walk like a penguin with a hard - on. RAY Is that right? What are the trees saying today? CROW HORSE They're sayin' that nobody's gon na talk to you cuz they do n't give away one of their own. But they did say there's somebody way across the Little Walking River who wants to talk to you. Ray soaks sweat off his forehead as he eyes the Indian on this one. He sees himself in the polaroid shades. CROW HORSE He sent me to find ya. He says he's got information. RAY Let's go. Ray quickly leaves the porch.\",\n \"EXT. GRANDPA SAM REACHES TRAILER - OUTSIDE SETTLEMENT - DAY Silent. The unnerving silence of the Great Plains filled only by FLYS, big horseflies, buzzing around drying sage that hangs from the rafters of a shade arbor. A GOAT stands under it, just gazing across - the vast spread of grass and dry land where an ancient Airstream trailer sits lop - sided. Sheets are hung as curtains. Six old cars - two from the early 50' a - sit stripped to the hubs on blocks in the overgrown grass. The air is dry and heavy and the only sound is - FLYS. Ray swats at them as he steps over a truck seat that lies in the grass, stuffing and springs hanging out. Crow Horse walk. a few steps ahead, toward the trailer. CROW HORSE -LRB- with reverence. -RRB- Grandpa Samuel Reaches. Heavy duty medicine. RAY Medicine. As in medicine man? Crow Horse nods slowly, looking at Ray in a very serious manner RAY Why does he wan na see me? CROW HORSE Good question. Hardly sees anybody anymore. Has n't left this place in twenty years. Did you bring some tobacco? Crow Horse stops walking, making Ray do the same. CROW HORSE When you go see an elder, you always bring some tobacco as a gift. Ray reaches into his shirt pocket and fishes out a pack of Marlboro. Crow Horse glances at it, and shrug - nods. They continue on toward the trailer.\",\n \"INT. GRANDPA REACHES TRAILER Grandpa Samuel Reaches sits in a taped and tuckered easy chair, his alert black eyes moving from side to side. We recognize him from the sweat lodge ceremony at Looks Twice' although today he wears a straw cowboy hat giving him a more youthful look despite a face like a map of the Badlands. He wears a vest over a western shirt, baggy work slacks, old cowboy boots. His brown wrinkled hands run over the top of the Marlboro pack as if he's reading braille. Crow Horse sits across from him on a stool. Ray leans on one of the plain green walls, looking uncomfortable. A three foot adhesive fly strip hangs from the ceiling, thick with dead ones. There is a black and white TV with Sesame Street wailing, honking and guffawing through static. Grandpa fixes his eyes on Ray for only split seconds at a time but one gets the feeling he's doing an incredibly deep reading of the young man. Slowly, he sits up - focusing intensely on Ray. He begins to speak. A hoarse, strained, string of LAKOTA, spoken like it used to be, gesturing toward Ray. When he finishes, he sits back in his chair. Ray looks intrigued. RAY What did he say? CROW HORSE He wants to know if you ever watch the Cookie Monster. He says the Cookie Monster is not to be trusted - a trickster. Ray looks puzzled. Crow Horse laughs bull - wild as Grandpa takes up a fly swatter and takes out a big horsefly. The old man begins speaking Indian again. CROW HORSE He says there's something wrong with Big Bird - he's crazy. -LRB- stops laughing. -RRB- He says you stopped the Inipi ceremony last night? Crow Horse turns a questioning look at Ray. Ray does n't flinch. CROW HORSE But he is not unhappy with you because he knows you. RAY He knows me? CROW HORSE He says he saw you in a vision some time ago. Crow Horse stops translating suddenly even though the old man continues speaking. Crow Horse looks concerned, and ASKS A QUESTION IN LAKOTA. We do n't know what he's asking but the tone is absolute amazement. This question triggers an exchange between he and Grandpa, the old one getting angry. Grandpa wins. CROW HORSE I guess he had this vision some time ago, in the Moon of the Popping Trees - uh, back in the winter. He says you come from Wasi ` cu city in the East but that your people. way back. are of the Minniconjou Sioux. But you yourself do n't know that. Ray's brow is drawn tense as he stares at the old Indian, absorbing the translation. Grandpa speaks more fervently now, incorporating Indian sign. Each time Grandpa does the hard Sioux HAND SLAP, Ray blinks. CROW HORSE He says he knew you'd be coming to Bear Creek. He was told. It is the will of Tunkasilia - the grandfather that you come here. He says let's smoke the caanunpa the sacred pipe, symbol of truth. So that there will be no lies between us. The old man has taken a long wooden stem and a red stone bowl from a beaded pipe bag. He joins the two together then begins offering a pinch of tobacco to the Four Directions. While this goes on, Ray fidgets. RAY What's he smoke in that? CROW HORSE Sacred herbs. Tobacco. Do n't worry, we do n't smoke no Mexican agriculture in The Pipe. That's a white man's myth. This is a sacrament. The old man is offering the pipe to Ray. GRANDPA Mltaku Oyasin. Ray looks at Grandpa. The old man offers the pipe again. CROW HORSE You do n't smoke with him, it means you're hiding something. Ray takes the pipe, looks at it. then passes it to Crow Horse. The big Indian takes it from Ray, giving him a long eye, then offering the pipe to The Directions before smoking. Crow Horse puffs hard, eyes closed, then slowly releases some smoke upward. Ray watches it climb and fade. The old man then takes up an old turtle shell rattle. He speaks. CROW HORSE He says Wakan. Sacred. Five hundred year old turtleshell rattle, passed down from the Grandfathers. Heavy duty. He shakes the rattle very slightly, moving it in front of Ray. He speaks just above a whisper. CROW HORSE He says, it is good. The Spirits are here. The Spirits want to know what you're doing here? Ray smirks. RAY Tell him I'm trying to find the man who murdered Leo Fast Elk. Ask him if he knows where he is. Crow Horse asks the old man in Lakota. No answer. The pipe is back to grandpa, and he offers it to the Directions, to the Earth then upward before smoking himself. He begins to speak again. Passionately. In long glottal Sioux sentences, adding sign, fingers crossing, brushing an arm, a slap here and there, He is working himself into an excited state, and Ray keeps looking at Crow Horse, very interested in the old man's answer. Finally Grandpa's breath comes up short and wheezing, he ends his oratory with a solid hand slap. RAY What did he say? CROW HORSE He said he does n't know. RAY He just did the Gettysburg Address in Sioux. What did he say? Crow Horse ignores him. Grandpa speaks again. More hand language. The old man is staring at Ray while whispering to Crow Horse. He strokes his badger claw necklace. Crow Horse looks at Ray and seems hesitant to translate this new piece of information. CROW HORSE Uh. Grandpa likes to trade ; no one stops by here without gettin' stuck in the old Indian barter. He, uh. he likes your shades. Grandpa smiles toothlessly. Ray who has his driving glasses in hand, lifts them to say `` these?'' but Grandpa sees it as an accepted deal, and swiftly removes his necklace. He holds it out. Ray slowly, hesitantly surrenders his sunglasses, and takes the necklace. Crow Horse bursts into laughter and so does Grandpa, enjoying a good trade. He draws a hand through the air in a sort of horizontal karate chop, meaning done deal. Ray looks confused. Out of his element. And out of his shades. Another fly gets snagged on sticky tape.\",\n \"EXT. GRANDPA REACHES TRAILER Crow Horse is hurrying toward his bike, Ray with him. RAY What was he saying? CROW HORSE Why should I tell you. RAY Because he was talking to me. Crow Horse keeps walking. RAY Does he know something? Crow Horse stops walking and eyes Ray, deliberating. CROW HORSE The old man saw an owl. Over there in the dry wash. Last week. RAY And. CROW HORSE He saw an owl. A silent moment. Ray tries to figure out what he's missing here. RAY So what? CROW HORSE The owl is a messenger. When one shows itself to a Sioux. it means someone's gon na die. The owl told him about Leo. Ray stares vacantly. RAY The owl told him about Leo. That's incredible. I guess we just broke the back of this investigation, did n't we? Evidence does n't get any harder than that - not for my money. Is there anyway we can seduce this owl into Federal Court? CROW HORSE He also said `` listen to the water.'' RAY Listen to the water. Listen to the owl. He also said, do n't trust the fucking Cookie Monster. CROW HORSE Go back to your DNA finger - printin'. Crow Horse KICK STARTS his bike and burns off down the drive Ray feels the presence of the old man, standing behind the busted screen door. Just watching. OVER THIS, A SCREAMING. A HIGH - PITCHED, CHILLING, SCREAM that takes us straight into - SLACK TAIL POWWOW GROUNDS - RES - LATER CLOSE ON A TERRIFYING FACE - painted in blazing red and yellow, black around the eyes. A ridge of feathers high along the hairline, and a mouth open, tongue trilling - SCREAMING. A WACIPI is going down. A Powow. Held in the center of a huge arbor. This DANCER, a traditional Kit Fox dancer, is dressed in authentic costume and is dancing with TEN OTHERS dressed in various traditional garb and paints. Under the arbor, TWO HUNDRED INDIANS in modern clothing sit on blankets or in lawn chairs, watching the dancing. A group of SINGERS sit around a big drum, beating on it, and wailing the song that keeps the dancers hopping. SIXTY CARS -LRB- res beaters -RRB- are parked off around the arbor, less interested kids sitting on them, smoking cigarettes. A few actually have MTV hair - cuts. Drifting through the cars and people are Special Agents Couture, Miles, Sherman and Levoi. They stroll through, incongruously, checking out faces. Vehicles. Ray slows his step and takes in - THE POWWOW CIRCLE as the dance ends. WEAK APPLAUSE. The POWWOW CALLER, a big Sioux with a crew - cut and cowboy shirt, speaks through a scratchy P.A. system. CALLER Was - te Yelo! Let's have five more veterans. Five more veterans. Hoka Hey! An OLD - INDIAN MAN sitting in a lawn chair, removes his cowboy hat and reaches down toward a blanket. He brings up his VFW hat, adorned with medals and puts it on. Slowly, he rises, and shuffles out to the center pole along with - FOUR OTHER VETERANS who have exchanged cowboy hats for veteran's caps. There is even a traditional dancer in there, wearing a veteran cap. As a mournful WAR SONG is banged out by the singers, a flag is unrolled by the veterans. An American Flag. Unrolled, and set on the mast. And together, all five Indian men, hoist - THE AMERICAN FLAG high. Slowly it climbs. Proudly. It blows in the hot South Dakota wind. OUTSIDE THE ARBOR Ray stands, watching this. And then the SONG ENDS. A loud, angry voice breaks across the P.A.. AT THE CROW'S NEST -LRB- CALLER'S BOOTH -RRB- ANDERSON CHASING HAWK, a young Indian in ribbon shirt and long hair has taken possession of the microphone. SIX W.A.R.N. MEMBERS stand behind him. He speaks loud, firm, with the sharp gestures of an old way Chief. CHASING HAWK What is that that you honor there, uncles? After all the Wasi ` cu country has done to you, after all he still does to you, you honor that flag?! That flag has been desecrated by the United States, because they have not honored what that flag represents! The veterans just stand under the flag, solemn, looking at Chasing Hawk. The flag undulates soundlessly. CHASING HAWK -LRB- O.S. -RRB- To them, we are the Bank of America. Whenever they get into a little difficulty, they go to The Bank, withdraw a little land, withdraw a little oil - OUTSIDE THE ARBOR the four FBI agents stand, watching. MILES Okay. Here we go. COOCH Who's this guy? SHERMAN Anderson Chasing Hawk. Second in command behind Jimmy. AT THE CROW'S NEST Chasing Hawk hands the mic over to another Warrior. MAGGIE EAGLE BEAR would be the most beautiful woman Ray has even seen if she was not the meanest - looking. Her thick black hair falls over a denim jacket down below her horse - hair belt. Her faded jeans are stuffed into worn cowboy boots. And she is full of fire. She begins speaking in LAKOTA. Fluently. And with hand sign, like the old man. OUTSIDE THE ARBOR the agents stand. Cooch is writing into a small notebook. SHERMAN Magedelana Eagle Bear. Eagle's claws and a bear's balls. MILES She keeps an AR - 15 assault rifle in her truck. And she'll use it. As Ray watches her, someone approaches in a less hostile manner. It is President Clear Moon, looking very upset. He holds the hand of a LITTLE GIRL, dressed in traditional dancing garb. He approaches Ray. RAY Mr. Clear Moon. CLEAR MOON Our police are afraid of them. Please get them out of here. Clear Moon gestures for the little girl to run off. He leans in close to Ray. CLEAR MOON They're going to kill me next. That's what I hear. These new Indians are destroying everything. Our people are a quiet people. RAY They can lead us to Jimmy. Just let them go. We're tightening the net on him. We know he's on the reservation. Clear Moon is looking past Ray at the Warriors. They are approaching the agents, and Clear Moon looks at Ray with great concern. CLEAR MOON Help us. And he slowly retreats to his lawn chair under the arbor. Chasing Hawk, Maggie and the other Warriors strut up to the agents. All but one who is bound to a wheelchair. We've seen RICHARD YELLOW BIRD, the big Cheyenne who wears a Red Power baseball cap, an earring, and thick bifocals - in one of the file photos. His arms are plastered with tattoos. AGENT SHERMAN Where's Jimmy? We thought he'd be dancing today. The warriors make a show of not acknowledging the FBI presence. They have walked over here just to walk by them. That is there statement. But Yellow Bird stops cranking the wheels of his chair and stop : long enough to look up at Ray. YELLOW BIRD Are you the Washington Redskin? Even the agents crack grins at this bit of Indian wit. All but Ray who just stands there, arms folded across his chest, considering the crippled activist. AGENT MILES Say hello to Richard Yellow Bird, Ray. Yellow Bird sits there, staring up at him through thick glasses But then Maggie Eagle Bear takes the handles of Yellow Bird's wheel chair. She looks at Ray with eyes that are choke - cherry black, eyes that look right through him. He returns the glare. And then she pushes Yellowbird forward and leaves the feds alone. Ray turns to Cooch who is lighting a cigarette, and concentrating on the movements of this group as they wander under the arbor, visiting people. LAKOTA SINGERS start up. COOCH Ray, get to Jimmy's place and keep it tight. I'm gon na get a tail on his Warriors. IN THE POWWOW CENTER the under ten year - old `` fancy dance'' - TWENTY - FIVE INDIAN CHILDREN, whirling and stomping and dancing. JIMMY LOOKS TWICE HOUSE - NIGHT The battered old house sits under a full moon. The upside down flag moves slightly in the cross winds. ACROSS THE ROAD several junked cars. Among them a black, rusted out VW van with a smashed windshield. A PACK OF RES DOGS sniff at its tires.\",\n \"INT. JIMMY'S VAN In the dim light, a boot. A black cowboy boot. Up on the dash. Bluejeans. T - shirt. Second hand leather. And a black cowboy hat. Ray is staking out Jimmy's house. Across the passenger seat and console is an M - 16 rifle. On his belt, a.357 Red Hawk. He yawns. From outside, he hears a sound. POV : down below the van, a small, patchy RES DOG with a missing leg is looking up at him with his tongue long and salivating. RAY breaks off a piece of sandwich and drops it down to him just as - HEADLIGHTS catch his face. He slides down low, watching an old pick - up truck creak onto the dirt road, leading to Jimmy's. POV : the truck parks. Someone jumps out, gracefully. Indian. Long braid. Quick steps. Front door. Inside. RAY lifts his radio. RAY X22. Read. RADIO Go ahead, Ray. RAY I have a pick - up truck. No plates. Subject - Indian - entering suspect's house. Over. RADIO Okay, Ray. I'm coming in. If he starts to leave the area, move in. And hold him. Over. Ray sets his radio down, unclips the leather guard on his handgun. Picks up the Big Mac.\",\n \"EXT. LOOKS TWICE HOUSE - NIGHT The front door creaks open, and the subject dashes back out. In the dark we can not latch onto features. Suddenly the junker van comes alive, guns onto the dirt road, racing toward the running Indian who gets the door of the truck open but freezes in the van's highbeams as - Ray leaps out, M - 16 in hand. RAY FBI, freeze, Motherfucker - drop it, drop it! Ray maneuvers in Quantico fashion, keeping the rifle on the Indian's back. The Indian drops what he's holding. And turns around. It's not a he. We've seen her before. At the Powwow. Maggie Eagle Bear. Her hair is pulled back tight, braided. Ray moves in toward her, surprised at first, but still cautious RAY Turn around, put your hands on the roof of the truck. She does what he tells her. As Ray moves in on her, he notices an INDIAN CHILD sitting in the passenger seat, looking out into the highbeams, frightened. Ray toes Maggie's legs out wider, frisks her one - handed, pats down her boots. MAGGIE You're the Indian FBI. RAY That's right. Turn around. Maggie turns around, looks Ray in the eye. He looks self - conscious in the cowboy hat. MAGGIE The people are glad they sent you. They usually send in guys who come at ya with highbeams, screamin' `` drop it, Motherfucker'', stick a gun in your face, frisk ya down. Even if ya got a child with ya. No, it's good to have ya. It's gon na be was - te times on the res. Ray is looking down at what she dropped. A bundle lying in the grass. He bends down, starts to untie it. MAGGIE I was gon na warn ya about messin' with somebody's medicine bundle but I forgot you know all about that stuff. IN THE BUNDLE - an eagle skull, tobacco strings, sage, sweet grass, and several white eagle feathers. RAY This Jimmy's? MAGGIE You're not gon na catch him. He can shape - shift into different animals. Bear. Elk. Porcupine. RAY Is that like an hereditary thing, Magdelana, or can one take classes? MAGGIE Jimmy did n't kill Leo. Why do you wan na do this? RAY He tried to kill him twice before. That's a good place to start do n't ya think? Leo was on the other side, was n't he? MAGGIE - Leo was an apple, that's right. Red on the outside, white on the inside. And Jimmy hated him. Kicked his ass a coupla times. But he did n't kill him. RAY Who did? MAGGIE You're the FBI. That's your job, is n't it? Ya know how many of our Warrior brothers got killed out here? I never saw any investigating then. Why now? What's going down here? RAY A Fugitive Alert for a murder suspect. Before somebody else gets a shotgun blast in the spine. MAGGIE Try the Fort Laramie Treaty. All over again. Ray does n't have a clue as to what this radical bullshit is about. RAY Look. You and I can stand here in a culture clash til the sun comes up, talking about what's right and what's wrong. You're from the reservation. It's a different world. MAGGIE I'm from Minneapolis. Fifth Street. I did four years at Dartmouth before I ever set foot on this res. So I know about the other world, Ray. If this information does n't throw Ray, the use of his first name does. MAGGIE Are you gon na keep that medicine bundle or are you gon na respect its power? Ray is holding the medicine bundle. He deliberates, then hands it over. She takes it with careful hands, casting a somewhat surprised look up at him. MAGGIE Thank you. RAY When you see Jimmy, tell him the sooner he turns himself back into a human being and gives himself in. the sooner we back off this reservation. Okay? Maggie gets in the truck, starts it up. She looks out at him, studying him. Trying to figure him out. HEADLIGHTS are coming fast from down the main road. MAGGIE Grandpa Reaches says you come from heavy Indian blood. I used to think Grandpa was gettin' senile. Now I know he is. RAY Move it, Magdelana. Maggie drives forward, turning down another little wagon road, and bumping into the black night only moments before, Cooch's Le Baron pulls in. SA Miles and Sherman's vehicle pull in behind it. The regional feds fall in behind Cooch, everyone, packing rifles. COOCH Ray, you alright? Ray turns, nodding. An FBI van pulls in from the other direction and FOUR AGENTS empty out, wearing FBI windbreakers and heavily - armed. AGENT SHERMAN What do we got, Ray? RAY It was just Eagle Bear. I questioned and released her. COOCH What'd she say? RAY She talks a lot of shit. We're not doing our job. Jimmy's innocent. `` What's the FBI really doing here.'' Some shit about the Fort Laramie Treaty. Cooch nods. The agents form a tight unit out below the upside down flag. RAY She took something from the house. What she called a medicine bundle. Most likely Jimmy's. COOCH Let's see it. RAY I gave it back to her. AGENT SHERMAN Why? RAY If it is Jimmy's, she's taking it to him. We'll have a runner. But I borrowed a little mojo. Ray reaches inside his pant leg, down around his boot and carefully removes a white eagle feather. He gingerly tucks it in a plastic bag. COOCH Way to go, Raymond. Miles, take that to lab. Sherman, I want you to go back to base and produce some written material. Something that indicates that our girl Maggie is leaking information to us. And make sure that material finds its way into the hands of the Warrior Movement. Sherman and Miles, take off. Cooch, an impressive master of COINTELPRO, now turns to the van squad. COOCH You gentlemen missed that medicine basket. Go back through the house, and make sure you missed nothing else. And lay some wire, too. Let's do it. The van squad moves toward the house, leaving Cooch and Ray alone in the highbeams that light the yard. COOCH That's good goddamn work, Ray. Let the salmon run. Let'em run Upriver. RAY Why we setting Eagle Bear up as an informant? COOCH Her own people start to suspect her, it creates discord from within. The Warriors do n't know who to trust, they start infighting, and Jimmy loses his support. Ray nods, impressed. Cooch bends down near the road, touches the dirt. COOCH Her oil pan is shot. RAY Cooch. What's the Fort Laramie Treaty? COOCH Jesus, I do n't know. You tell me. You're the Indian. Cooch wipes the oil on a handkerchief as he rises, smiling playfully at Ray. He starts back toward his car. Some sort of bird is COOING in the night. COOCH Get a tail on her, Ray. Ray looks up at the upside down flag. Then watches Cooch walking way. RAY Cooch. -LRB- a quiet, tired laugh. -RRB- Where the fuck did they send us? COOCH A long way from home. You be careful out there. Cooch, standing there with his glasses on and his right arm bandaged, looks tired, too. He gets in his car. In the yard, Ray starts for the van, the res dog, trying to follow. He chases it away. And then as he gets closer to the van, he looks up to investigate the COOING SOUND. AT THE TOP OF THE FLAG POLE there is a shadow. What looks to be a large bird. It just hovers. In the shadows. DOWN BELOW Ray looks up at the pole, watching. Then walking on.\",\n \"EXT. BEAR CREEK RES - SUNRISE Mind - blowing sunrise of airbrush red. Clusters of lodge - pole pine. The spectacular mesa. PAINT HORSES graze in a field, a few out in the center of the road. AT GRANDPA REACHES TRAILER the old man comes down the front steps in a frail walk, carrying a paper plate. He steps down into the sage clusters that grow just off his trailer, and offers the plate up toward the sky. He then stoops, and scrapes a half - eaten English muffin, some potato chips and half a banana onto the Earth in a neat pile. He straightens his back the best he can, looks up again, and prays softly. THE BADLANDS possess an otherworldly beauty at this magic hour, a maze of shadows and rainbows. In the distance we can not mistake the frame of Walter Crow Horse. He's out there, long hair blowing against the white bluffs. Stalking. Tracking. ON THE VILLAGE ROAD a puppy chases a hen in a klutzy, innocent manner then bumps into the tire of a parked car. Taking a shot at doghood, he hikes his leg, squirts a hubcap belonging to - Cooch's Le Baron. Cooch leans on the hood, drinking a coffee from a foam - plastic cup, and supervising SIX G - MEN who have a map spread out over the hood and are discussing it. MAGGIE EAGLE BEAR'S HOUSE is way out in a remote corner of the res, a little home, trailer and tipi right on the river. The river is rushing hard this morning, catching the light of the sun. Maggie's truck is parked in front. Out at the river, Maggie, her hair long and unbrushed, and wearing an extra large T - shirt and nothing else is hauling water in buckets from the river. THREE INDIAN CHILDREN are with her, helping her. Near the house, an OLD WOMAN in bifocal glasses, feeds some chickens, and a cat that gathers with the chickens and eats feed.\",\n \"INT. OLD VAN – NEAR MAGGIE'S Ray, still in his field clothes sits, training binoculars on the distant house. He opens a carton of milk, drinks some. Then hears a whimpering. In the passenger seat sits the three legged res dog. Ray has taken him with him. He drinks some milk, then opens the carton up fully and sticks it out so the dog can lap it up. Ray laughs in disbelief, shaking his head. RAY For all I know, you're Jimmy. And you're just waiting for a shot at my jugular. Drink, Jimmy. Milk is good for you - The dog is lapping the milk, desperately. And then a ROARING. A motorcycle. IN THE SIDE MIRROR : Crow Horse, racing up on the left of the van. Ray pulls his hat down low, and sits back. The motorcycle passes on the left, slowing enough so that Crow Horse can flip Ray the middle finger. Then he races on, far down the road. Ray sits there, shaking his head. He'll let it go. Bullshit. He starts the car.\",\n \"EXT. TRIBAL POLICE SHOOTING RANGE - DAWN Crow Horse guns in, sliding in dirt up to the run - down, low budget shooting range - six plastic milk jugs on sticks, jammed in the mud. A moment later, the van hammers in. Parks. Ray gets out. He's removed his hat so as not to invite any crap from Crow Horse. CROW HORSE Do n't be mad. That was just an old traditional gesture that means hello, how are you. RAY I see. Forgive my cultural ignorance. Ray executes a hard, slapping, `` up your ass'' gesture. RAY Have a nice day. Crow Horse bursts into laughter in his raspy, staccato laugh. He walks off a few steps, picks up a spent shell and pitches it. His laughter simmers and he gets serious. CROW HORSE Jimmy did n't do it, Ray. I checked it out. You can stop taggin' my sister. RAY She's your sister? RAY AND CROW HORSE Spiritual sister. RAY Gotchya. We just nailed a genetic match between the eagle feather left at the murder site and one in Jimmy's medicine bundle. It came from a white eagle. Same bird. Crow Horse fingers an eagle feather that hangs from his hat band. CROW HORSE So did this one. Wambli is a rare and sacred creature. When someone finds a dead one, the feathers get around the res. We share everything. A lot of power in the eagle feathers. But you think that's bullshit too, do n't - RAY -LRB- ala Crow Horse. -RRB- - Leo Fast Elk was sitting in the outhouse at Maisy Blue Legs when a car pulled into the yard. He came out, approached the vehicle then saw that the man behind the wheel was Jimmy. He tried to get back into the trailer, but the car came highballing at him. He started running for the open grass. With the car moving, Jimmy hung his shotgun out the window, took aim - missed once, hitting the shitter - fired again, and severed Leo's spine. Leo fell, rolled, and came to a stop in the grass. And some chicken feed. Stale chicken feed with four days mold. -LRB- a beat. -RRB- Electromagnetic printing. Crow Horse stares, a little surprised. CROW HORSE Was - te. ` Cept for one thing. Jimmy Looks Twice was nowhere near there. Ya see, when Jimmy was twelve years old, his mother and father was killed in a car wreck right down there near Elk Mountain. RAY I do n't see the connection. CROW HORSE The connection is, it did a head number on him. He's petrified of cars. Wo n't drive. I've known him all my life, and he's never gotten behind the wheel of a vehicle. He rides passenger and he rides horses, and that's it. The man that shot Leo down was behind the wheel of a moving car. Ray absorbs this with great interest. RAY That's not solid. CROW HORSE You want solid? That one, single, print he left in the Badlands - the one the FBI missed and then stepped all over - it belongs to a man who walks heels first. Like a white man. Jimmy has a serious Ind'n walk - ball of the foot first. The man who murdered Leo walked like a Wasi ` cu. Ray lets a pent - up sigh escape. RAY You're saying a white guy did it. Crow Horse chews this over, unable to hide a nagging frustration. He shakes his head. CROW HORSE When Leo was dumped out there in the Badlands, he was dropped on his back. Our man made an effort to turn him over, onto his face. It's an old Ind'n belief that if a dead man is turned face down, his spirit wo n't leave. And in the killer's case, it wo n't come back and jump all over his shit. That's an Ind'n thing a white man would n't know. The two of them stand there, thinking this over. Ray takes out his notebook and starts writing. Crow Horse walks away, turns to face the propped up targets. CROW HORSE And that's the way it is. Write it down. To punctuate, Crow Horse slaps leather, draws his.38, and begins blasting at the milk bottles. He hits the bank. A tree. One of the posts. But not a single target. When he is done, he looks over his gun, disappointed. Starts reloading. Ray starts laughing, looking at the missed targets CROW HORSE You laugh all you want, Breed. Sunset tonight, I get my man. Ray looks at Crow Horse, sees that he's serious, and follows him toward his motorcycle. RAY Alright, Crow Horse. I'm listening. I'm listening to the trees, to the stones. Who is it? Crow Horse turns toward Ray, and creates a long dramatic pause. CROW HORSE Damned if I know. And he hauls his bulk onto his motorbike. CROW HORSE But the Old One. He did a Yuwipi ceremony last night. Crow Horse winks at Ray as he slams the kickstart. To no avail. RAY The old man? He's gon na tell you who killed Leo? CROW HORSE Go catch Jimmy, Ray. Really. He's gettin' away. Go ahead, go get him. I'm late. RAY Hey. Hey, those are my sunglasses you're wearing. CROW HORSE Grandpa traded with me. -LRB- flips the bird. -RRB- Goodbye. And Crow Horse nails his kick start. The BIKE ROARS alive and the Indian works the throttle hard, leaving gravel and black exhaust. Ray stands there, drifting between logic and instinct. He looks at his watch, then starts at a slow, thoughtful shuffle toward his car.\",\n \"EXT. GRANDPA REACHES TRAILER - SHORT TIME LATER The dust - buzzard broncs and bounces down Grandpa's driveway, coming to a stop near the wrecked cars. Crow Horse dismounts and unhooks a carton of smokes from the back. A moment later, the junker van pulls in, bouncing and shaking. Crow Horse stares at the approaching vehicle, his eyes hidden behind Ray's former shades. He cracks a slow smile because - Ray is stepping quickly from the van, and carrying two packs of Marlboros.\",\n \"INT. GRANDPA REACHES TRAILER Grandpa sits in his chair, his black eyes moving smoothly from side to side. Smoke enshrouds his ancient face, giving the sense of another time and place. He speaks LAKOTA. Crow Horse, sitting on a stool across from him, holds The Pipe. He passes it to Ray who sits in a busted lawn chair next to him. The room is dark as the sun sets out the window in red and purple. Ray looks at the pipe. Grandpa will not speak until Ray smokes. And so he does, drawing on the stem, awkwardly. HEARTBEAT DRUM as Grandpa speaks Indian. CROW HORSE He says, back behind Red Deer Table, where the Elk - People - used - to - live. there are strange creatures from another world who eat stones. and who will kill anyone who crosses into this place. Ray looks at Crow Horse, searching for a hint of lightness. But there is only great reverence as he watches Ray blow smoke upward. CROW HORSE He says, in the Yuwipi ceremony last night, he saw you. going back into the land beyond Red Deer Table. I was with you. But that was all the Spirits let him see so he does n't know if you were killed or not. But he thinks you probably were. Ray smirks as he passes the pipe to Grandpa. Crow Horse looks nervous. Grandpa offers the pipe to the directions and then disengages the bowl from the stem. He speaks again. Crow Horse translates. CROW HORSE Go to the land where the Elk - People - used - to - live and you will find the answers you came here looking for. But you must go as two. That is the vision. I have spoken. And this is so. Grandpa leans closer to Crow Horse and whispers some Lakota. CROW HORSE He wants to trade. -LRB- a beat. -RRB- He likes your watch. Ray looks at Crow Horse, nervous. RAY I ca n't do that. -LRB- explaining. -RRB- It's a Rolex. CROW HORSE A what? And Grandpa is already holding out something to offer. It is a cigarette. Grandpa offers it again. RAY I'm sorry, this is -. -LRB- loud to Grandpa. -RRB- - this is very, very expensive. It's -. -LRB- to Crow Horse. -RRB- Tell him this is an expensive watch. Crow Horse tells the Old Man. Grandpa speaks Indian. CROW HORSE He says, you need to go on Indian time. He says your watch is ruining your life anyway. Ray buries his hands in his jacket pocket. No way. Crow Horse signs to Grandpa `` no.'' Grandpa gets up, crosses between the two young men, up to the TV set. He turns it on. WHEEL OF FORTUNE explodes in PINGS AND PONGS and a WOMAN'S SHRILL SCREAM.\",\n \"EXT. GRANDPA REACHES TRAILER - DAY Crow Horse and Ray walk down the steps. WHEEL OF FORTUNE is heard from within. CROW HORSE Red Deer Table, Ray. RAY Do n't tell me : heavy duty. CROW HORSE Heavy, heavy duty. Taku Wakan. Wanagi Spirits. It's one of those few places we'd never go to as kids. Still do n't. Some of the old people say Crazy Horse is buried back there. We have to go Ray. Together. Like his vision. They step into the yard and Ray stops, turning to Crow Horse RAY Walter. When I fill out my 302, do I say that evil spirits are killing everybody on the reservation? CROW HORSE Ray - RAY - no. No offense to the old man. I appreciate you trying to help. But I put my ass on the line coming out here, man. CROW HORSE What'd you expect to hear? RAY Not Native American myths and legends. I'm with the FBI, Walter, remember? Not National Geographic. CROW HORSE What you call myths, we call our history. RAY It's not real. CROW HORSE What's real to you? Wall Street? Capital Hill? Now they are myths. RAY I ca n't be dicking around here. That's all I'm saying. I do n't carry crystals, I do n't wan na come back in another life. I just wan na do my job, and do it right, and get the fuck outta here. CROW HORSE You ai n't no Indian. You're a Sal Mineo Indian. Crow Horse drives `` Indian'' home with a hard finger in Ray's chest. Ray knocks his hand away, explosively. Crow Horse is ready. GRANDPA -LRB- O.S. -RRB- Knock it off! The old man is standing at the top of the steps. Ray and Crow Horse are YELLING OVER EACH OTHER, and hands are up. GRANDPA Will ya knock it off? You're actin' like a couple of old women. Ray stands there, one hand up in defense, another poised to throw a punch. Bewildered, he stares at the old Indian holding onto the porch railing. GRANDPA For cryin' out loud. Knock it off. RAY He speaks English. CROW HORSE Only when he's really pissed off. GRANDPA Come inside. Watch TV. And Grandpa goes back in, screendoor slapping shut behind him. Ray is just staring, his jaw dropped. Crow Horse starts laughing. Harder than he has yet, and Ray starts walking toward his car in fuck - this steps. He gets into the car, closes the door and looks out the open window at Crow Horse. The Indian moves first. CROW HORSE Do n't accuse nothin' of not bein' real, Little Weasel. Cuz the only thing around here that ai n't real is you. Ray lifts his arm off the door, and springs his middle finger up at Crow Horse. He holds it there for a long moment just looking at the big Indian. RAY Take care of yourself, Walter. CROW HORSE Likewise. Ray checks the time on his watch then guns away. Crow Horse stands there, watching him go. Eventually he shuffles back toward the trailer.\",\n \"EXT. BUFFALO BUTTE MOTEL - NIGHT Room 14 has been transformed into a major COINTELPRO base ; four computer terminals are set up, card tables spread with photos, boxes of files stacked on the bed, and SIX AGENTS, manning the computers, thumbing through files. THE CONNECTING ROOM -LRB- RAY'S ROOM -RRB- A meeting takes place around a table of paperwork and coffee cups, and a.45 laid atop a file. Cooch, SA Miles, SA Sherman, TWO OTHER REGIONAL AGENTS and Ray. SA SHERMAN We've gotten word that Jimmy has been trying to hook up with Maggie Eagle Bear. but some of the Warriors have been sending word to Jimmy that she may be an FBI operative. So he does n't know where to go. Cooch taps some ashes into an empty coffee cup. They sizzle in cold residue. COOCH Bingo. It's working. SHERMAN He's out of room. All the reservation exits have been watchdogged. We got him. I give it twelve hours. RAY Well we better use those twelve hours to apprehend the right man. The agents all look at Ray. A pin can be heard falling to the cheap carpet. COOCH The right man? Talk to me, Ray. RAY Whoever dusted Leo, dusted him from the driver's seat of a moving car then drove those eight miles to the Badlands. Jimmy Looks Twice has never been behind the wheel of a car. It's a known fact out here that he's petrified of driving. His parents were killed in a car wreck. Cooch nods, lights another smoke, intrigued. SHERMAN That's not very solid. RAY There was also a print found in the Badlands that indicated diagetic locomotion. Heels first. Jimmy's walking pattern does n't match. He has a distinct Indian walk. SA MILES Indian walk? You been smoking hooch in the peace pipe, Ray? LAUGHTER. Except for Cooch who just stares at Ray, digesting what he has said. RAY They do n't smoke hooch in The Pipe, Miles. They smoke something called kinickinick, it's like a tobacco. Sherman looks at Cooch. SA SHERMAN Well, you're right about X21 being a Washington Redskin, that's for sure. What else, Ray? COOCH You boys want a soda? SA MILES Oh, yeah, a Coke. You buying? COOCH No, Ray's buying. Sherman? Coke? SHERMAN Oh. no. No, Cooch, I'm working on a coffee here. Indian walk? Cooch nods to Ray and Ray follows, gathering up some paperwork He looks determined as a terrier.\",\n \"EXT. BUFFALO BUTTE MOTEL - NIGHT Ray and Cooch throw long, slim shadows on their way to an archaic Coke machine. COOCH Genetic ditto on evidence found at the site with evidence you found in his belongings. An incontrovertible motive. And definite footprints on Jimmy Looks Twice at Maisy Blue Legs house. RAY When did we get that? COOCH Today. And now you - there's a dog in the van - RAY - I know. I fed it, and I ca n't get rid of - COOCH You were n't sent here to go off on your own detail, Ray. You were sent here to assist in a Selective Operations Unit. These regional agents are inept - that's why they were sent out here to The Graveyard, to Indian Country. I need you behind me, Ray. Not pulling against me. RAY I'm not trying to pull against you, Cooch. I've just been having nightmares about the way Leo was killed. COOCH Your first homicide, that's gon na happen, Ray. RAY I just wan na make sure no one else gets done in that way because we were in bed with the wrong doer. COOCH Ray. I never get into bed with somebody unless I know for sure. Just the way I was raised. Ray studies him with a smile building. Cooch shrugs, sips some soda. RAY Alright. Alright. COOCH -LRB- lightly. -RRB- Yeah, alright, alright - fuck you - give a yuppie a badge and he wants to take over the world. Go get a tail on Eagle Bear, and stay with her. Cuz Jimmy's gon na show. And I want you to make the collar. Ray nods, starting for the van. COOCH Ray. He turns. Cooch looks at him for a time. It is a warm look. COOCH I'll sleep around a little. RAY Thanks, Cooch. COOCH And get rid of the dog. Ray gets in and pulls the dog out. The dog sits at roadside, tilting its head at him, confused. And he pulls out. It runs after him.\",\n \"EXT. DIRT ROAD NEAR EAGLE BEAR'S - RES - NIGHT The van sits parked down the road from Maggie's dimly - lit home. Ray sits behind the wheel, watching the house. LOCUSTS make a steady and unnerving sound. It is black. Black under big sky. Ray lets his head sag out the open window and he takes in the vastness. POV : stars. Millions of stars. And an incredible full moon. It hangs huge over distant fields, a perfect sphere. The top half of the moon is yellow, the bottom half a lava red. REVERSE - RAY stares at it, lost in thought. From Maggie's house, he hears someone SINGING. Singing a traditional SUNDANCE SONG while they haul water from the creek. A WOMAN'S VOICE, trilling out the beautiful but haunting `` hey - o - hey - o - hey - o - hey - ohhhhh.'' Ray just sits, listening. And then something draws his attention to his rearview mirror. The res dog, lying in the back seat is GROWLING. Lip curled back, growling low. Ray looks at him, looks out the window. Blackness. Nothing but the sound of locusts. And a slight crosswind in the wheat fields. The dog stops growling. And Ray fixes his gaze on the house again, lifting a pair of binoculars and - BOOOOOOM! The rear windshield is SHATTERED by an explosion. Ray throws himself low across the passenger seat - BOOOOOM! The driver's side window and part of the door explodes. RES ROAD NEAR EAGLE BEAR'S The federal van is HAMMERED BY GUNFIRE. All the windows, shattered, the metal doors splayed. Someone is going for the kill, THE PASSENGER DOOR is thrown open just as its window implodes, and Ray slides out belly first, gripping his M - 16 and crawling like a dog soldier into tall wheat at roadside as the car, the road, the wheat, the dirt, the night are slammed by gunfire. The res dog overtakes Ray and vanishes in the wheat. Ray vanishes, too. It is quiet for a moment, then Ray, pops up ten feet away, and UNLOADS THE M - 16, in a left to right, clean sweep before dropping again. He lies there, listening. The LOCUST HAVE GONE QUIET. His breath is heavy. His heart's got to be pounding through the dirt he lays in. RAY -LRB- whispering. -RRB- Motherfucker. LONG SHOT - THE ROAD the decimated van, aerial still high. The distant lights of Maggie's house. And the giant Moon, hovering over it all. HEARTBEAT DRUM into - SAME ROAD -- RES - DAWN TWENTY FEDS comb the dirt road, the wheat fields, picking up shells with gloved hands, scanning the vast distance. IN THE FRONT YARD of Maggie's, FOUR INDIAN CHILDREN stand with the Old Woman, watching.\",\n \"INT. LE BARON – TRAVELING – ANOTHER DIRT ROAD Cooch, flushed in the face, mans the wheel. He wears only a T - shirt which indicates, a desperate rush to the scene. His eyes scan the surrounding homes and fields. In the passenger seat, Ray sits, drinking a coffee. He looks haggard. COOCH Bastards. RAY All I could think of was. not here. I do n't wan na eat it on an Indian Reservation, three thousand miles from home. COOCH He's out there. He's out there playing Sitting Bull with us. I want the motherfucker so bad I'm getting a bleeding ulcer. Ray turns around in his seat, looking off across dry land. RAY It may have been Maggie's way of saying `` get off my ass.'' COOCH She's that subtle? RAY Eagle's claws and a bear's balls that's what her profile says. COOCH Well, she's running now, too. These fucking people like to run, do n't - RAY - Cooch. Woh. Stop. He does. Ray is turned around in his seat, staring off into the distance.\",\n \"EXT. DIRT ROAD The Le Baron whines backward, and off the road, into some grass Ray steps out, keeping his gaze fixed. Cooch bails from the driver's side, joins him. HEARTBEAT DRUM. RAY'S POV : Four - hundred feet across a flat area of sandstone and grass clusters, something shimmers in the undulations of the harsh morning sun. Something of pea green and rusty metal. glass catches sunlight and makes prisms. A car. An old res car, sitting in a long, chasm in barely a foot of green water.\",\n \"EXT. DRY WASH - SHORT TIME LATER - PAY Ray and Cooch go through the car, around the car, with gloved hands and grease pencils and plastic bags, sweating in the hot sun. COOCH Tread matches. It's the car. RAY Yes. Excited, Ray walks off, scanning the area. COOCH But this does n't make any sense, Ray. If it's just been sitting in this dry wash for seven days. why the hell did n't we find it? Ray picks up a handful of stones, sifts them in his hands. RAY Because this is n't a dry wash. Cooch watches him slosh shoes first through a rut where the water shimmers a foot deep or less. RAY It's the Little Walking River. Ray turns, shucking up mud. RAY And it was full of water when I drove by here three days ago. Full. I mean. a river. COOCH The Little Walking River. You're right. This is part of it. So whoever sunk this car did n't compensate for drought. Goddamn. Ray does n't hear Cooch. He stares past the SAC at the long wide chasm, wet in some places, arid in others, and what he hears must be an echo in his head. RAY Listen to the water. Cooch is listening to a TRANSMISSION across his radio and he walks off a few feet, exchanging information with the REGIONALS. Ray stands, ankle deep in stagnant water, his face sweat - soaked, his eyes transfixed on heat undulations.\",\n \"EXT. BUFFALO BUTTE MOTEL - ROOM 13 - DAY A flat - bed tow truck drives past the motel with the killer's car on it. Behind the truck is a fed car which stops at the motel, and the Le Baron which also pulls in. Miles and Sherman get out from the first car, Ray and Cooch bail from the Le Baron. With RADIOS TRANSMITTING, the agents walk, dusty and tired, into room 14. Ray hesitates, snagged by the sight of - A motorcycle parked in front of the Buffalo Butte Bar. Parked with pick - up trucks and station wagons. It's the mud - caked old Barley. Parked right under the NO INDIANS sign. He puzzles over this.\",\n \"INT. BUFFALO BUTTE BAR - DAY Dark. Even during the day. Cigarette smoke. Sawdust. On the archaic juke box, RANDY TRAVIS sings `` Old 8x10'' while behind the bar, the BAR OWNER, an old man with long white hair and beard, busies himself with leather work. SEVERAL WHITE LOCALS sit on the old water drum bar stools. Heads lift, turn when Ray enters in his `` fraternizing'' clothes - jeans and boots, leather jacket. He scuffs up thick sawdust as he heads to the furthest booth back where - Crow Horse sits, alone over a bourbon and a beer. Ray approaches carefully, upset by the sight. He slides into the booth and point blanks the Indian. CROW HORSE Agent Little Weasel, Federal Bura of your Imagination. RAY Jesus Christ. You're hammered. What are you doing? CROW HORSE You're right about the old man. His power's long dried up. He's supposed to be a medicine man but he wo n't go see the people. He says we changed, and we do n't listen. Well, he do n't go out and talk no more. I have n't had a drink in three years but I just turned my sobriety chip into that man behind the bar, and this Hoss is gettin' watered. RAY Cut the shit. You should n't be in here, Man. CROW HORSE Cuz I'm a skin? RAY Cuz you're a cop. CROW HORSE Not no more. RAY What are you talking about? CROW HORSE You tell me. You tell me who went to the B.I.A. - Bureau of Indian Annihilation and said I was messin' with your case, man. I do n't give a goddamn about your case. RAY And I do n't give a goddamn about whether you wear a badge or not, Crow Horse, but I did n't cut you. Crow Horse shimmers his black eyes onto Ray. CROW HORSE Still after Jimmy? RAY They found prints at Blue Legs' place. CROW HORSE Yeah. Jimmy's prints are there. But they cross over Benjamin Black Star's prints. And he was n't there until six o'clock the mornin' after to get eggs from the chickens. So Jimmy was n't there til the next day. Follow? Ray just looks vacantly at Crow Horse. Crow Horse resents the vacancy. CROW HORSE Look, man. you better bust Jimmy and get out before somebody shoots up more than your car next time. Ray glares at him. RAY Next time I'll be ready. You get the word to who ever it is. CROW HORSE I ca n't, Hoss. I do n't talk to FBI's. Ray does n't blink. CROW HORSE You think you was sent here cuz you're a good cop? RAY No. I was sent here cuz I'm Indian. And a good cop. Crow Horse leans toward Ray and speaks more quietly. CROW HORSE You ever think that maybe you was sent here cuz the FBI's need one good reason to take out the entire Warrior Movement. And what better reason than one of their men, gettin' blown away on the res. A low - rent, expendable public servant sent in to take a bullet for his country. Ray is fuming. He ca n't believe what he's hearing, what's being insinuated, but he's giving it thought and it's getting him angry. He smashes a hand down on the table. RAY I'm sick of your shit - RANCHER -LRB- O.S. -RRB- I'm sick of the two of ya timber niggers spewin' off. Standing over the booth is a long, tall RANCHER'S SON. Rangey with red curly hair tucked under a BLACK HILLS CLASSIC cap, and arms built by tractor work. And behind him, TWO OLDER RANCHERS fall in. And ANOTHER YOUNG MAN, grinning with amusement. Ray and Crow Horse look up. CROW HORSE Sorry, we do n't speak United States. RANCHER'S SON Yeah, well I do. Get the Jesus up, and get the Jesus out or I'm gon na go out to my truck and come back with my hardware. RAY Woh, hold on there, Jack, you're - RANCHER'S SON - do n't `` jack'' me, Squanto. I'll bury your lazy ass right here. Ray realizes now that they think he's Indian, too. Crow Horse sees this revelation and complicates it by suddenly speaking LAKOTA to Ray. The rancher grabs Ray by the cheeks. RANCHER'S SON I'm talkin' to - Ray decks him. Backhands him in the solar plexus then, lays a burner of a Quantico roundhouse to his ear, knocking him across the bar, over a mop and bucket and into sawdust. The others start to fall at him but someone has jumped in, holding them back, and sticking himself in the way. It is Brooks. The old timer Ray met his first night here. BROOKS No! No, you butt holes! He ai n't skin! He AI N'T SKIN! CROW HORSE Yeah he's In ` dn. Miniconjou Sioux. The rancher's son who is coming back with a broken beer bottle, slows his step and shifts his eyes from Brooks to the young fed There is a lot of heavy breathing. But no talking just yet. The young rancher eyes Ray. RANCHER'S SON You ai n't Indian? Ray just stands tense, staring at him. And it's strange. Because he has n't really looked like he has any Indian blood up to this moment. But dressed the way he is, and his eyes glaring, face drawing tense, he might pass for a breed although that's probably the Italian. But Ray does n't answer the question. Crow Horse starts laughing. Drunkenly. OLDER RANCHER What's so damn funny? CROW HORSE Well, it's just that the cavalry used to always threaten the Lakota. The cavalry ai n't around anymore. The Lakota still are. RANCHER'S SON I got no trouble tellin' where you come from, Fat Red. Crow Horse rises and walks unsteadily across the floor, leaving the bar. Brooks is whispering to the others, apparently about who Ray is. The bar man comes up to Ray, holding a tray, on which sits a shot and a beer. Ray looks at it for a moment. BAR MAN Sorry. On the house. Ray knocks the tray out of his hand, spilling beer and whiskey all over the bar man and the locals around him. And he walks out, leaving the locals confused.\",\n \"INT. LE BARON - TRAVELING - RES - DAY Ray looks strung - out as he drives. If it's not the conflict at the Butte, it's the dangerous seed Crow Horse planted, and it is playing with his mind. He is on his RADIO. RAY No plates. No registration. Serial numbers removed. And all prints washed off by the river. That's great. This is turning out to be a walk in the park, do you know that? RADIO -LRB- woman agent. -RRB- Come back? RAY Never mind. But before he hangs the radio. IT CUTS BACK IN. RADIO Ray. X22. RAY I read, Cooch. RADIO Remember that upside down flag back at Jimmy's house? Somebody took it down. RAY Good. RADIO They took it down, set fire to it, and threw it on the doorstep of room 13 at the Buffalo Butte Motel. Your room. Ray seethes quietly as he drives. RADIO We traced the number of the truck that dumped it, and it belongs to one Maggie Sanders, also known as Maggie Eagle Bear. She's been all over the res, riling up the traditionals, telling them not to break, and to keep Jimmy in hiding. She's a problem now. And she's yours. Get her off the reservation. Ray keeps driving.\",\n \"EXT. WOUNDED KNEE MEMORIAL - DAY Maggie's old pick - up is parked near an arch gate of the tiny cemetery where a tall monument is fenced off from other graves There are tobacco offerings and other medicines hanging on the fence and on the monument. It is a quiet place. Still. Maggie stands before the unkempt monument in her denim jacket, her hair blowing across her face in the wind. She PRAYS IN LAKOTA. Behind her TEN CHILDREN from the Bear Creek School stand, heads bowed respectfully. Two of them sit on the lap of Richard Yellow Bird who looks on from his wheelchair, praying quietly with Maggie. When Maggie completes her prayer, she ties some tobacco to the monument then turns and faces the children. One of them, a LITTLE GIRL - heavy - set - raises a hand that we might note is deformed. As many of the children we have seen on the res, are. LITTLE GIRL Are they all right under here? MAGGIE Two - hundred and sixty - seven men, women, old people. And little ones like you. Many killed running along that road you see there. LITTLE BOY Where were they runnin' to? MAGGIE A place called The Stronghold. -LRB- a beat. -RRB- They died for a dream. But you live. You are their great - great grandchildren and you live. We have to honor their dream. Of protecting the Mother Earth. And being proud of being Indian. LITTLE BOY My mother told me that they call us Indians cuz Columbus was lookin' for India when he discovered our country. Maggie smiles at the boy. MAGGIE Yeah, well, let me tell you something, Henry : just be glad he was n't looking for Turkey. The CHILDREN LAUGH. All but one boy, who is n't paying attention. He is staring up at a hill, off in the distance. MAGGIE'S POV : on the hill, a figure stands, hands in his pockets, hair blowing in the wind. Ray. REVERSE - MAGGIE keeping her eyes on the Wasi ` cu, but addressing Yellow Bird. MAGGIE Richard. Sing the Honoring Song with them. I'll be right back. ON THE HILL Ray stands, watching Maggie walking into the wind, toward him. Behind her an HONORING SONG, sung by ten children haunts the still air. He does n't budge as she mounts the gentle bluff and joins him there. MAGGIE We're praying at the grave. Do you wan na join us? A long silence. The voices carry in the wind. RAY No, Maggie. But you're gon na have to join me for a ride. I'm taking you to Rapid City. Maggie looks at him. They lock eyes. MAGGIE So much power. I see it in your eyes. This. hunger for power. Or for what you think is power. As if exhausted by the thought, Maggie sits down on the bluff, looking out at the children who are still singing the song. As she speaks, she begins digging her fingers in the earth. Ray stands over her. RAY You burned an American flag today. And left it for me. MAGGIE - You desecrated it, it had to be burned. RAY I desecrated it? MAGGIE You forced an innocent man to run like an animal. You've tried to poison my people's hearts against me with your manipulation, with letters I never wrote. you've been watching me eat, work, raise my family. wash myself in the river. And now you're here, arresting me at a sacred place. -LRB- a beat. -RRB- In your eyes, that's power. Maggie lifts herself onto her knees and looks down into the small hole she's dug. She picks up a little pine cone. MAGGIE So I plant this tree for you. And I take all this stuff that you've laid on me and my people, and I put it in this hole with this pine cone. -LRB- she covers it. -RRB- And I bury it. Cuz ya know what it is, Ray? Bullshit. And shit is fertilizer. -LRB- she stands. -RRB- And The Mother will turn your lies into something that lives. Maggie rises, dusting off her hands. She looks him in the soul. MAGGIE That's what power is, in the Indian way. -LRB- holds her hands out to be cuffed. -RRB- Take me to Rapid, Ray. I'm the enemy. Ray just stares at her, struggling with what he's feeling, what he's hearing. What he's supposed to be feeling. Silence hangs between the two of them. RAY If I told you. that I think Jimmy's innocent. but I'm in over my head. would you believe me? Maggie looks at him, considering. Then toward the long dark silhouette of a mountain range across the plains. MAGGIE See those Black Hills out there, Ray? When the people lost the land in 1868, the government took everything but those hills. They allowed us to keep those Black Hills, to live there. Signed a treaty. Until they found gold. Then they told us we had to leave because of National interest. They broke that treaty. Anyone who fought or spoke out against it, wound up dead or in jail. And the people wound up here. On a reservation. While she looks off at Paha Sapa, Ray stares at her profile. MAGGIE While up there, in the Black Hills. they carved the faces of four presidents. She looks at Ray with an ironic smile, and she catches him transfixed. MAGGIE Your relatives must've taught you something. RAY NO. -LRB- after thought. -RRB- My father never told anybody he had Indian blood. But he still used a few Indian words around the house. He called me Washee. Said it meant. good boy. Maggie starts giggling. RAY What? MAGGIE Wa - shee is like. a dumpling. Like tallow we put in stew. I think he was calling you chubby boy. RAY Great. Maggie is laughing as she looks back at the children who are no longer singing. Ray reaches inside his jacket and takes out five polaroids. He shuffles them as he ponders. He hands one to Maggie who has caught herself opening up too much to the Wasi ` cu. RAY You ever see that car before? Maggie looks at the first photo and says nothing. She hands it back quickly. Ray wo n't take it. RAY Who's it belong to? Maggie ignores him. Ray studies her reaction. RAY Help me, Maggie. Maggie is looking away. She picks a long blade of grass and smoothes it in her hands. Ray looks at her a moment longer then rises, dusting off his jeans, and standing there. He thinks for a long moment, pinches the bridge of his nose, then looks out at the Black Hills, pensive. RAY I did n't see you today, Maggie. -LRB- a beat. -RRB- Goodbye. Maggie watches him go. Looks away. Then watches him again. MAGGIE Goodbye. Wa - shee. Ray stops. She stands on the bluff, her hair riding the wind and her eyes searing. And then her lips do something that might qualify as half a smile. A sense of humor rising up through anger. Survival humor. Ray looks at her for a long moment. And then he walks on, leaving her there.\",\n \"INT. LE BARON - PARKED AT WOUNDED KNEE - DAY Ray sits behind the wheel, going through files on his lap, photographs of Indians. And thinking hard. RAY Anyone who fought or spoke out against it. wound up dead or in jail. Ray looks out the window toward the monument. RAY -LRB- to himself, flustered. -RRB- That was 1868, Maggie. Exhausted, Ray lays his head back on the seat, and lets a long, constricted breath free. THUNDER ROLLS like the slow, deep roar of some giant bear up in the hills. He opens his eyes, looks out the window. POV : rain is coming down, and Maggie is getting the children into the back of her truck. She helps them get a tarp over their heads. Then as Yellow Bird pulls himself into the cab of the truck, she hefts the wheelchair and two boys load it in. She gets in, starts up, and rolls off down the sloping road.\",\n \"EXT. LE BARON - WOUNDED KNEE – STRANGE TWILIGHT Ray steps out of the car into the rain and closes the door. He stares at the burial grounds. Then slowly, he starts toward them as if magnetically drawn. HEARTBEAT DRUM. A shroud of mist lays over the cemetery, growing thicker as the rain falls harder. DRUM BEATS DEEPER. Ray is walking toward the memorial, getting drenched. Then he hears something strange. HOOFBEATS. RAY'S POV : coming down the dirt road, toward him, a HORSEMAN drives his mount at a fast trot. The rider is only a vague image in the mist, his face hidden. As he rides closer, we can make out a shotgun in his hand. And he throws it up, takes aim. REVERSE - RAY paralyzed for a moment. And then going for his gun. But it's not there. He's left it in the car. He breaks into a run. But there's a shorter distance now between the horseman and the car and Ray has no choice but to turn and flee. His boots slap wet pavement, and his breath draws heavy and desperate as he bounds off the road and races down a grassy slope, looking over his shoulder, panicking. His legs and arms churning, his face contorted. And then someone passes him out, running just as hard. AN INDIAN WOMAN in 1890 Winter rags, clutching a BABY to her breast and CRYING. SCREAMING. Ray looks at her, incredulous as he runs. But he keeps running. The rider is right behind him. He FIRES. The GUNSHOT CRACKS the sky like thunder. BOOOOM!\",\n \"INT. LE BARON – TWILIGHT Ray jumps awake. Cooch is POUNDING on the window. And the three - legged dog inside is BARKING. Ray quickly rolls the window down, letting in THUNDER. Cooch starts to say something then takes note of Ray's peaked face. Sweat runs down his temples, beads at his nose. COOCH Jesus, you alright? RAY Yeah. I. I fell asleep. I ca n't believe it. I - COOCH Never turn your radio off! I thought I was gon na find you scalped! Damn it! RAY Sorry, Cooch. I lost Eagle Bear - COOCH - never mind Eagle Bear. We've got Jimmy nailed. Let's go! And Cooch runs to his car. Ray fires the car's big engine and takes off behind Cooch who is driving a fed Chevy. CRAZY HEARTBEAT DRUM INTO -\",\n \"EXT. GRANDPA REACHES TRATLER - LATE DAY The rain pelts Grandpa's little Airstream trailer, wind snaps at sheet plastic in the windows. An ancient sewing wheel CREAKS RUSTY in the wind. Three clean, late - model fed cars pull down the muddy drive as two SWAT vehicles pull in from another road. The Le Baron pulls in, and Ray bails out with the others. When he sees where he is, he looks distraught. Agents are running behind junked cars, positioning themselves around the trailer.\",\n \"INT. GRANDPA REACHES TRAILER – LATE DAY The holy man is sitting in his chair, smacking Flies with a swatter. Tonight he wears a black reservation hat and stares vacantly at the TV where RONALD MACDONALD swings a giant baseball bat, and falls on his face, bouncing back up. And then BOOM! The door is open and Cooch leads Miles, Sherman and Ray inside. Cooch has a gun on the old man. COOCH HANDS ON YOUR HEAD! The old man slowly removes his hat and hangs it on a knee. Carefully he places his wrinkled hands on his thinning white hair. His eyes seek out Ray who stands in the doorway, M - 16 in hand, looking concerned. He stares at Ray. Cooch storms into a back bedroom, Miles moves to a window. Sherman stands over the old man. SHERMAN Where is he, Sam? Where's Jimmy? Grandpa looks at Sherman, ignores him, looks back at Ray. SHERMAN He's a medicine man, Ray. The `` spiritual leader'' of the Warriors. That right, Sam? With RADIO TRANSMISSIONS crackling through the house, Cooch comes back down the hall, and heads to the door. COOCH Trailer's clean, let's go. Ray starts to follow but he sees Sherman pick something up from near Grandpa. The 500 year - old turtleshell rattle. Grandpa's eyes widen slightly. SHERMAN You been the one making it rain like that, out there, Sam? RAY Hey, put that down. SHERMAN Can you make Jimmy outrun an M - 16, Sam? RAY Sherman! Sherman drops the turtleshell rattle on the linoleum floor. Then drives his heel into it, CRUSHING the fragile turtleshell. Ray grabs him and slams him into the tin wall. Miles gets between them, grabbing Sherman. MILES EASY, MEN! HEY! - RADIO HE'S ON THE ROOF! HE'S ON THE FUCKING ROOF! COME ON GUYS, COME ON, GUYS! They're out the door, leaving the old man to sit looking down at the shattered rattle. He closes his eyes.\",\n \"EXT. GRANDPA REACHES TRAILER In a blizzard of rain, Jimmy Looks Twice in a cowboy shirt, jeans and boots, leaps off the top of the Airstream, clutching his medicine bundle. FLOODLIGHTS HIT him from all directions. BULLHORNS screaming at him. He tries to turn a corner and runs right into a fed. Ray, having run out the back door has slammed right into him. He has his rifle on him, and they stare each other down for a split second before he is converged on. Guns at his back, at his head. He is swept off his feet, face down, and frisked. He looks up at Ray, desperately. LOOKS TWICE Brother, the old man told me about you. Listen to me : what was Leo trying to tell me? He wanted to meet me at Maisy - Another fed, pushes his face into the mud, cuffs him behind his back. FED Save your speeches for prison, Jimmy. With two FIVE MAN SWAT TEAMS swarming the area, and six agents pushing Jimmy toward a car, Cooch stands there in the pouring rain, looking relieved. Ray stands near him, looking abhorred. COOCH Damn. That's one hard running Indian. Ray watches Jimmy as he is shoved into the back of Miles and Sherman's car and driven away. He is twisting around in his seat to look at Ray. Desperately. The SWAT teams disband, return to their vehicles. COOCH It's over, Ray. I aged five years. But it's over. At least I'm gon na look like I'm ready for the advisory desk. Let's go get a beer. Cooch heads to his car and Ray starts shuffling toward his as if he is dared by it all. He is looking at the trailer and there on the rickety porch is Grandpa. He comes down the steps slowly, holding his hat on against the wind. He watches the cars pulling out. Ray walks over to him, looking sick. RAY Look. I'm not who you think I am. -LRB- a long beat. -RRB- I'm sorry. And after a moment of locking gazes, he starts for his car, GRANDPA Out back that way. is a placed called Wounded Knee. Ray turns. GRANDPA I was one years old there when our people were shot down. My mother hid me in the snow in a blanket. One of those killed was a Holy Man called Wakiyan Cante - Thunder Heart. They killed him while he was running for The Stronghold. It is his blood - the same blood that spilled on the grass and snow at Wounded Knee - that runs through your heart like a buffalo. Ray frowns, disturbed by this story. The old man is speaking with conviction. With power. GRANDPA Thunder Heart has come. Sent here to a troubled place to help his people. That's what I am told. Maybe you're right and I am mistaken. Your mind is young, mine is old. If so, so be it. Ho Hecetu Yelo. I'll speak no more. Ray stands, almost paralyzed, digesting this. He turns and looks into the old man's sharp eyes. Grandpa has closed his eyes, and as he is pulverized by the rain, he turns his face toward it and from way down in his belly, he begins to SING IN LAKOTA. And it is too much. Too weird. He wheels and hurries to the car. Gets in, and beats a fast path out of the old man's lonesome patch of land. BLUE HEAT LIGHTNING knifes the sky. THUNDER ROLLS, and rumbles into POOL BALLS -\",\n \"EXT. BUFFALO BUTTE MOTEL AND BAR - LATE DAY The agents have taken over both sides of the streets, gathered in front of the bar and the motel, putting firearms into cases, removing flak jackets. POOL BALLS knock from inside the bar while outside, A DAKOTAN takes a piss near a truck while his GIRLFRIEND stands at his back, yelling at him. CHARLIE DANIELS sings country on the juke Ray heads to room 13, starts unlocking the door. Cooch comes up behind him. COOCH Buffalo burgers and cold beer, Raymond. Do n't worry about the sign out front. you do n't have to be Indian anymore. Cooch throws a mock punch at Ray and he mock blocks, tired. He musters a smile. But he is n't all there. COOCH You have a fever. You okay? Ray nods. Cooch lets a few agents walk past, LAUGHING. He speaks quietly. COOCH Listen : when we get back tomorrow, you're gon na find Tully laying a promotion on you. S.A.C.. He wants to prove that his yuppie agents are making good. He's offering you New York. Tell him you want Atlanta. RAY Why? COOCH Cuz I want New York. Ray tries to break a smile again. Cooch cups his arm. RAY Cooch. They sent us out here because the place was being neglected. Now, all of a sudden, there's two five man SWAT teams out there tonight. Bell Huey choppers flying all over the place. Federal occupation to catch one guy. Why, Cooch? What's going on? Cooch stares at Ray. The younger agent looks like he indeed has a fever. COOCH National security, Ray. Get some sleep. Tomorrow, we fly. Cooch hurries across the rain - swept street. Ray steps inside and closes the door.\",\n \"INT. ROOM 13 - BUFFALO BUTTE MOTEL Ray closes the door, and stands there. He seems to be having trouble breathing. He looks down at his boots. There is something on the floor. Something that has been slipped under the door earlier. He just stares down at it. Then slowly stoops. CLOSE ON : the polaroid of the res car he gave to Maggie earlier. She has returned it. He turns it over. Written across the white backing of the photo, in dark black marker is the name - YELLOW BIRD. Ray stares at this for a moment then hurries over to boxes of files on the bed. He rummages like a nervous thief and comes up with a folder. He flips through it, casting off files and 302's and profiles and finally stopping on - The 8x10 BLACK AND WHITE of Richard Yellow Bird seen earlier. Sitting in his wheelchair, Red Power cap on, tattoos marring big arms. And under it a DOUBLE MUG SHOT stamped LEAVENWORTH PRISON. Under that ANOTHER PRISON MUG SHOT stamped SIOUX FALLS PRISON. And under that a - THIRD MUG SHOT stamped `` PAROLED.'' Ray, his eyes fixed on this one, takes a few steps and sits on the end of the bed. He then stuffs the file back in a box, and takes off toward the door.\",\n \"EXT. RESERVATION ROAD - SUNSET The Le Baron throws up loose rock and red dust, driving toward a place where the sun begins a slow drop behind the Black Hills. HORSES run out of the road. HEARTBEAT DRUM.\",\n \"EXT. MULE DEER DISTRICT – RES - SUNSET A tarpaper shack. Outhouse. Clothesline on which jerked meat hangs. No cars. A lonely, unnerving place. Le Baron pulls in. Ray gets out, adjusting the gun at the back of his waistband. He starts for the shack. Ray raps a fist on the splintered plywood door. Knocks again. He checks out a boarded - up window. The door finally opens. Just a crack. Tiny black eyes peer out into the fading light. RAY I'm looking for Richard Yellow Bird. Ray sticks his open badge, gold eagle wings, near the crack. The door closes. Then unlatches and opens. Yellow Bird sits there in his wheelchair, tiny tobacco bundles in his lap. He's been tying them. YELLOW BIRD The Washington Redskin. Thought you'd be gone by now. He pivots his chair to allow Ray room to enter.\",\n \"INT. YELLOW BIRD SHACK Yellow Bird, in a T - shirt that reveals twenty different ink tattoos, rolls himself across the warped floorboards to a cheese crate where his eye glasses sit. He puts the thick bifocals on and focuses resentfully on Ray in the ochre flicker of the dirty room. YELLOW BIRD What ya want? RAY Must be a bitch getting around in that wheelchair. How long you been in it? YELLOW BIRD Since I got a iron pipe put across my knees, man. Fight with three wasi ` cus, ya know. RAY At Sioux Falls Pen? YELLOW BIRD No, that was Leavenworth. This -. -LRB- shows a scar. -RRB- was Sioux Falls. What ya want? RAY Leavenworth a tough joint? Ray walks across the room, his eyes on a covert mission. YELLOW BIRD You ever try solitary confinement? RAY No. Ca n't say that I have, Richard. Richard do you know why I'm here? YELLOW BIRD Washington sent ya. I know that. RAY Yes, Washington sent me, Richard. They sent me here because this whole thing has been fucked. Do you know what I mean when I say this whole thing has been fucked, Richard? Yellow Bird stares at Ray. RAY An arrangement was made between you. and us. Do you remember that arrangement? Yellow Bird looks at Ray, strangely, shaking his head. Ray starts to look like maybe the game's not working. Like maybe this does n't add up. But - YELLOW BIRD I'm here, ai n't I? Ray lets a tense breath out. RAY Not for long, Richard. You got early parole under the stipulation that you would help us in a situation, and you did n't deliver. YELLOW BIRD What the fuck you talkin' about? Ray sits in a busted chair, reaches down to his ankle holster and pulls out a.38. He holds it, resting it on the arm of the chair. He strains to look out through the boarded window. Yellow Bird fidgets in his chair. RAY Get up out of the chair, Richard. YELLOW BIRD What's with you people? Why do ya have to fuck with my head all the time? I came through, man. RAY Get up out of the chair, and walk toward the backdoor, Richard. YELLOW BIRD -LRB- not moving. -RRB- I get thrown in solitary until I do n't know my own fuckin' name, and then you people tell me I can beat nine years if I help you. I helped you! RAY Get up! Yellow Bird stands. He takes a step forward. Limping. He's got leg problems but he can walk. Heels first. And bowed. But he can walk. He is shaking. YELLOW BIRD They said I'd never see FBI again, and I'm livin' with you fuckers. I do n't feed ya information on the Warriors, it's back to the pen. I do n't do this, back to the pen. Your word against my word. Against a con Indian's word. I really got a chance, man, right? RAY They sent me here, Richard because they said you did n't hold up your end of the arrangement, and I have to transport you back to Leavenworth. YELLOW BIRD -LRB- crying. -RRB- What the fuck, man? What do you people want? I did what you wasi ` cu's told me to do. RAY Leo Fast Elk. is alive. Yellow Bird wheels. YELLOW BIRD No way. No fuckin' way. RAY How the hell do you know? YELLOW BIRD I blew his back out with a buffalo gun, that's how I know! Now you're gon na say I did n't, so you can throw me back in solitary? Ray is trying hard not to reveal his horror at this confession, at this understanding of the machinery. He sits there with his gun, blinking away sweat that beads at his brow. Yellow Bird is weeping in a highpitched voice that does n't match his great bulk. RAY The men who came to see you at Leavenworth. The one's who made the arrangement. who were they? Maybe I can talk to them. YELLOW BIRD Miles. Three other suits. That's all I know'em as - suits. Were you there? RAY You turned Leo over on his face. But the coyotes must've turned him back over, man, cuz his spirit is out. It's out, and it knows. YELLOW BIRD What do you know about spirits? You ai n't no In ` dn. RAY Leo knew something heavy and was trying to tell Jimmy. But you must not know how serious it was or you would have delivered. Do you realize what Leo could have told Jimmy?! Do you?! YELLOW BIRD I took him out before he got the chance. He did n't say nothin' about Tashka Sha. And now his spirit is in the dirt. Forever. RAY What's Tashka Sha, speak English, speak English! YELLOW BIRD Red Deer Table! What's with you, man? Ray grabs onto these words, rolls them silently on his lips And now Yellow Bird is getting suspicious of the fed. YELLOW BIRD Wait a minute. Wait - what are you doin'? You ai n't a FBI. You ai n't the law. Let me see your - Ray snaps out his gun, straight - armed. RAY I'm the fucking law! Yellow Bird jumps back, raising his hands. RAY Keep talking, Yellow Bird. YELLOW BIRD All I know. is I did what I did. and I ai n't in solitary, gettin' pumped up with downer, gettin' beat to shit. But I tell you what, Suit. Take me back. Cuz I ca n't take this shit no more. And then HEADLIGHTS pierce the gaps in the boarded windows. Yellow Bird collapses against the wall, bangs his head off it. He lets a long, pained, cry escape from under his breath and he begins a slow slide down the wall, to the floor. Ray peers out the cracks in the boards. YELLOW BIRD Man, I do n't know who the fuck I am no more. Ray gets up, putting his gun away and heading to the door. He stops and looks back at the Indian, sitting on the floor, clutching his knees, staring into the kerosene flicker. RAY You and me both. Yellow Bird looks at him, his glasses foggy, his face contorted And Ray leaves.\",\n \"EXT. YELLOW BIRD'S SHACK - NIGHT Ray steps out into the falling night. There is a car parked there. With a high aerial. Ray raises a hand in a slight wave, walks on. At the fed car, A REGIONAL AGENT behind the wheel, waves a hand. Watches Ray get into the Le Baron. Ray gets in the car and takes off. LE BARON - TRAVELING Ray drives like a crazy man through the dark reservation. Through miles of open land and strange rock formations. And he looks trapped. HEADLIGHTS flicker in his rearview. He sees this. Slams the gas pedal.\",\n \"EXT. RES ROADS - NIGHT The Le Baron races at 85 down the dirt stretch. A moment later a car rattles by at 90.\",\n \"INT. LE BARON - TRAVELING Ray reaches over to the passenger seat and pulls up the M - 16. He lays it across his lap. Looks in the rearview again. Then makes a sudden sharp turn. He pulls off the road quickly, throwing up dust into the already foggy night, the car goes out of control.\",\n \"EXT. WOUNDED KNEE MEMORIAL - NIGHT The car that was following drives right past the narrow layby, hidden by grassy slopes and keeps flying down the long stretch.\",\n \"INT. LE BARON Ray skids through the dirt, trying to stop - he ca n't - and the Le Baron fishtails, smashing into a chain - link fence. And coming to a stop. Breathing as if he's been running not driving, Ray looks behind him to make sure he lost the car. He did. When he turns back to his wheel, he sees - THROUGH THE CHAINLINK FENCE lit by his headlights : THE WOUNDED KNEE gravesite. He is right up on the arch, and the tall stone marker beyond it.\",\n \"EXT. WOUNDED KNEE MEMORIAL - NIGHT The Le Baron just sits parked, headlights making the night fog crawl up from the base of the old tomb, along the fence. The driver's door opens slowly. And Ray steps out. He walks through the arch. Into the small fenced area. Up to the stone which is overgrown with stubborn weeds, half - hidden in mist. Ray studies the tomb. POV : THE NAMES ON THE STONE ARE CHISELED VERTICALLY : CHIEF STANDING BEAR MR. HIGH HAWK AFRAID OF BEAR Weeds are grown up over the rest of the names. Ray's hands clear them, grab at them and rip them away from more names : PRETTY HAWK BLUE AMERICAN SHERMAN HORN CLOUD With frantic abandon, Ray is ripping weeds away. He drops to his knees, clearing weeds. STRONG FOX THUNDER HEART MOVING DOWN and then suddenly back up to the name : THUNDER HEART REVERSE ON - RAY kneeling in the weeds, the wind getting restless around him, screaming the way plains winds do but only these winds are filled with a whistling. What sounds like EAGLE BONE WHISTLES, piping shrill. Ray kneels before the marker, staring at the name on the stone, his hair thrown around by the wind that drives across the grass, whistling eagles, building to an unbearable, pitch. Ray stares at the name as if he is looking through a small hole into another world. A world that frightens him. He gets up and backs away from the stone, through the gate. And gets back in his car, quickly. He takes off.\",\n \"EXT. MAGGIE EAGLE BEAR'S HOUSE - NIGHT The little home on the river. Dark. Empty. Ray runs up the steps, pounds at the door. No answer. Pounds again. RAY Maggie! He keeps knocking. Nothing. He hurries back down the steps, starts around the back of the house and something attacks him, leaps at him from the dark, knocking him off his feet, into the grass. Hits him again. But as quickly as he falls, he rolls, throwing up his hands and blocking a savage kick aimed for his face. He traps the boot, twists it and drops the attacker onto his back. In a matter of seconds, he is on top of the man, sticking his gun in his throat. He grabs a flashlight from his jacket and shines it in the man's face. Crow Horse. Breathing like a wild animal. CROW HORSE Five - hundred year old turtleshell rattle. RAY Crow Horse, listen - CROW HORSE Where's Maggie? Where'd ya take her. RAY Nowhere. I'm trying to find her. CROW HORSE You got Jimmy. Let her go. RAY Crow Horse, listen. You have to come with me. CROW HORSE Why? So you can get rid of me, too? RAY No. So we can do what the old man said. Red Deer Table, Walter. We have to go. Crow Horse lies there, breathing heavy. Ray on top of him, still clutching his gun.\",\n \"INT. LE BARON - TRAVELING - NIGHT Ray and Crow Horse are quiet as they eat up the dirt roads. CROW HORSE Maybe the old man's visions are still strong. Ray nods, concentrating. After a time : RAY Do they come in dreams, these visions? CROW HORSE Oh yeah. Dreams. Sometimes durin' sickness. Vision quest. Sweat Lodge. Ya never know when. RAY Just before we caught Jimmy. I had a dream that I was being chased. And I was running with other people. Old - fashion Indian people. I got shot in the back. Like Leo. When Crow Horse does n't respond, Ray looks over and finds him staring. He looks back to the road. And when he looks back at Crow Horse, he is still staring at him. CROW HORSE Where was this? RAY At Wounded Knee. I mean, that's where I was, and that's where the dream was. Why? CROW HORSE You were running with the old ones. At The Knee. Heavy duty. RAY Well, it was just a dream, I - CROW HORSE Sonuvabuck! What's with you, Man? Who are you? RAY What do you mean? CROW HORSE Nothin'. Forget it. Crow Horse looks out the window as if to avoid Ray who is confused by the Indian's smoldering. After a moment, Crow Horse looks at him. CROW HORSE You had a vision. You had yourself a vision. A man waits a long time for a vision. Might go his whole lifetime and never get one. And along comes some instant Indian with a Mastercard and brand - new shoes, has himself a vision. RAY Sorry. CROW HORSE I'm a full - blood Oglala. RAY We've driven a long way. Where is this place? CROW HORSE Maybe it was just a dream. Ya know, just one of them, what do ya call'em, fitful dreams? RAY Yeah. Fitful dreams. Crow Horse feels better. He looks out the window, nodding. But it does n't last long. CROW HORSE Bullshit. You had a vision. You got sign from the old ones. RAY What the hell do you want me to do?! CROW HORSE Stop. Ray brakes. Crow Horse is looking past him. Ray turns. The spectacular mesa that we have admired with every sunrise, looms massive now that we are under it. Moonlight falls on it. And the HEARTBEAT DRUM pulses from it.\",\n \"EXT. WHERE-THE-ELK-PEOPLE-USED-TO-LIVE - NIGHT The land behind Red Deer Table is Badlands. Badlands pierced by a few rutted old wagon roads. At a place between two grotesque buttes, Crow Horse stops, looking uneasy. He digs into his pocket, pulls out some loose tobacco and spills it on the ground. Then he walks on. Ray observes this, starting forward, then stopping long enough to fish a cigarette out from his pocket and drop it next to Crow Horse's offering. THROUGH THE BADLANDS Ray and Crow Horse walk, carefully under a full moon, scanning the area. Crow Horse stops, checks out some tracks. Ray walks on, looking up at the table. He shines his flashlight up and it illuminates - A RED RIBBON, tied on stakes on a ridge. Ten stakes. Twenty stakes. Ribbons blowing in the wind. RAY What's that? CROW HORSE Ai n't prayer flags, that's for sure. Ray sweeps the light along, walking faster, and then something frightening occurs. Something. some unseen thing snags him by the leg, sucking him into the Earth with a horrible GUSHING SOUND. Ray is drawn into a hole up to his hips, a bluish - black slime, oozing out around him. Crow Horse grabs him, struggling to pull him up. He does, stumbling back and stepping into a hole himself. The two men are wheeling, throwing flashlight beams around, slapping through a wet jelly, and finally getting their bearings. Ray touches the ground where a blue - black chemical solution oozes out with water from the aquifer below. His flashlight scans - TWENTY DRILLED HOLES IN THE EARTH. A uranium strip - mining grid laid out in a 50 x 60 pattern. The far side is fenced by flagged stakes. RAY Jesus. Oil? CROW HORSE Uranium. Test holes. Somebody came in from the Nebraska side, and did some shotgun testin'. They're gettin' ready to suck this baby dry. RAY 1868. CROW HORSE What? RAY That's what we're doing here. National interest. National security. Only this time it's not gold. It's uranium. CROW HORSE We're standin' on broken treaty ground, Ray. This ai n't supposed to be here. It'll poison the water. RAY Leo knew about it. Tried to tell Jimmy, get the Warriors involved. CROW HORSE So they took care of Leo. RAY Listen to the water. the river keeps goin' down then rising again. Ray goes to another hole and sticks his arm in up to the elbow, sniffs the solution. CROW HORSE They're drainin' our water table. That's our life, man. Ray is looking past Crow Horse at - Something strange in the moonlight. COYOTES. Some forty yards away, on a flat stretch of stoney ground. Six Coyotes, dancing in the shadows of rock formations. MOVING IN ON THEM as Ray walks forward, they circle. scatter. run back. circle again. Look straight at Ray, eyes glowing. And run. REVERSE - RAY and Crow Horse walk toward them. To the place they just left. A place in the dirt, they were digging up. When they reach it, they stare down into the dirt. A BODY lies there, face down. Denim jacket and a shock of black hair, thrown into tangles and dirt. It was buried. Until the coyote caught wind. Crow Horse bends down, touches the jacket. turns the body over And almost vomits when he sees Maggie Eagle Bear. RAY looks down in disbelief. RAY No. No. Ray steps back, his boots squishing in solution and sealant and soiled water. He covers his mouth, stopping himself from getting sick. And then he explodes, YELLING. LONG SHOT - RED DEER TABLE in the moonlight. And RAY'S YELLING ECHOING up out of the rocks\",\n \"EXT. BEAR CREEK VILLAGE - NIGHT The sordid little village the feds first drove through sits sleepy on the rim of sunrise. A DOG BARKS hollow as the Crow Horse motorcycle chutters down and coasts up in front of one of the little homes - rundown but it has a satellite dish and a decent car like so many. The Le Baron pulls up behind it.\",\n \"INT. LE BARON - NIGHT Crow Horse walks over to Ray's window, his jeans and boots muddy. No one speaks for a long moment, the night filled by crickets. And that one dog. RAY This Clear Moon's house? CROW HORSE Yeah. It's time to beat the drum. You better wait here. He do n't trust the white man. Crow Horse crosses the street. Ray sits there, and he looks almost hurt by this statement. But he is the white man. But he is Indian. He lets a long breath escape, rubs at a temple. He takes out a smoke. Tries to light it. His hands are shaking too badly. But he gets it lit, and sits tense, looking in his rearview.\",\n \"INT. CLEAR MOON HOUSE - NIGHT Oliver Clear Moon sits in a chair, his strong Indian mouth, beginning to tighten at the jowls. Across from him, Crow Horse sits on the edge of a couch. MRS. CLEAR MOON, a rotund, gentle woman brings him a coffee. A TEENAGE GIRL in a men's extra - large T - shirt stands in the hall, looking at him. Clear Moon in pajamas, rises, and with a coffee in hand, starts walking in slow steps toward the kitchen. He loses control before he gets there and hurls the cup across the room into the sink, smashing it. He wheels and faces Crow Horse. He SPEAKS LAKOTA. Asking questions. Crow Horse SPEAKS LAKOTA. Answering him. Mrs. Clear Moon, understanding, shakes her head in disbelief and her eyes begin to well. Oliver, walking back to his chair, sits, and thinks for a moment. MORE LAKOTA. He gets up, goes to a drawer and rummages. He sits again, and tosses something onto the coffee table. It is a badge. A tribal police badge.\",\n \"INT. LE BARON - PARKED - CLEAR MOON'S - DAWN Ray nervously awaits Crow Horse's words as he appears at the window again. The Indian shows hope in his tired eyes. CROW HORSE Alright. Shit's comin' down. He's callin' council fire. All the old chiefs and the warriors, too. I got ta be at Grandpa's place in two hours. We need to get the tribe together. We need to block this thing. RAY What we need. is Richard Yellow Bird. Crow Horse looks at Ray who stares dead ahead.\",\n \"EXT. YELLOW BIRD'S SHACK - RES - DAWN The shack is just as Ray left it earlier, kerosene flickers dancing yellow through the gapped boards. Ray and Crow Horse with guns drawn, approach the front door. CROW HORSE I thought it was a rare case of a brother getting a break in the courts. We did an honorin' song for him and everything. RAY He's looking at a few hundred years in Leavenworth. He's not gon na come out without a fight. Crow Horse snakes around toward the rear of the shack. Ray knocks at the front door. It is unlatched and it creaks open a little. Ray pushes it open and sees -\",\n \"INT. YELLOW BIRD SHACK An empty wheelchair.\",\n \"EXT. YELLOW BIRD SHACK Ray steps away from the door, looking around the vast plains as the sun comes up out of the Black Hills. He is roadblocked, and it shows in his eyes. It's all getting too big. Crow Horse leans against the shack, watching Ray. And then RADIO STATIC from inside the Le Baron. Ray pivots and stares at it as if someone is inside the car. His call signal is being paged. But he just stands there, looking at it. RADIO X21. Read. X21. Ray reaches inside the car and lifts the handset. He takes a breath before pressing it to his lips. RAY X21. Come back. RADIO Ray. What's your 20? Ray looks at Crow Horse who looks equally spooked. The agent clears his throat. RAY Reservation. A long, unnerving pause. No response from the other side. RADIO What are you doing on the reservation? RAY I'm on my way back in. Over. Ray holds the handset down at his side, looking over the top of the car toward the Black Hills. CROW HORSE Ray. Ray, do n't let go now, Man. Ray. RAY You go to the council fire. I'm going back in. CROW HORSE Ray. Ray swings in behind the wheel, starts the car, and barrels off recklessly down the rutted road, leaving Crow Horse behind. CROW HORSE Ray! The Le Baron is already out to where sight reaches farther than sound and silent white dust mushrooms skyward.\",\n \"EXT. BUFFALO BUTTE MOTEL - MORNING A RAVEN is sentinel on a telephone wire that crosses the road from the bar to motel. A few trucks remain parked in front of the joint. Ray approaches room 13, looking shell - shocked. His boots leave blue mud prints all the way to the door. He unlocks it.\",\n \"INT. BUFFALO BUTTE MOTEL - ROOM Ray has cast off his field clothes and is halfway into one of his cleaner suits. He looks haggard but still buoyant, his eyes piercing. The connecting door creaks open and Cooch walks in. The SAC is freshly showered and he is fidgeting with a Windsor knot. He studies his number two man, says nothing for a moment but is obviously holding something down. His face is a red hue. COOCH -LRB- extra casual. -RRB- Could n't sleep, Ray? Ray looks at Cooch. When he speaks, his voice is dry. RAY No. Cooch crosses the room, and picks up Ray's jeans which look like they went through a sandlot tackle match in a mud hole. Ray tucks his clean shirt in ; watching Cooch. RAY I had to finish something with Crow Horse. Cooch walks up to Ray slowly and takes his face in his hand, turning it toward lamp light to study the bruise along his left eye, a residual from a Crow Horse hook. COOCH That's where you were. You had to go back and have it out with the Indian law. Ray nods, and Cooch slowly breaks a smile. An insecure smile but a smile just the same. He starts to laugh. COOCH You fucking hot head, we can get in trouble for that. Cooch laughs in amusement and Ray's face crinkles into a grin as he lowers his eyes, wiping a paper towel over his face. And then, suddenly, Ray lunges at Cooch. He slams the Agent in Charge against the hollow wall, and holds him there. His eyes wild. RAY Why did n't you tell me what we were doing here? Cooch is stunned. RAY We're running a cover - up and you did n't - Cooch suddenly explodes, throwing Ray off of him and sending him reeling back against the sink. He points a finger at his charge. COOCH You ever put your hands on me again and you'll be doing the books for a baitshop in the fucking Everglades, Mister. RAY You did n't tell me about Red Deer Table - COOCH - what the hell is Red Deer Table? RAY What is it? It's genocide, that's what it is. It's a Pay Zone for some U.S. corporation and a Dead Zone for the people here. Uranium, Cooch. Cooch's eyes go frighteningly cold. He ca n't believe what he's hearing. COOCH Jesus Christ. What are you doing? What the hell were you doing out there? Ray says nothing. He just stands there, against the sink, breathing like a fighter against the turnbuckle. COOCH This was a Selective Operations Unit, Agent Levoi. There is classified information pertaining to our national security. You do n't question that, you do n't go digging into that shit - that's insubordination. Jesus Christ - RAY - if they mine uranium there, these people will have no place left to go. COOCH We were sworn in on the Constitution to protect federal matters, Ray. I do n't know about uranium, I do n't know about Red Dog Table - all I know is we did our job. It's over. RAY We neutralized anybody with a voice. Leo, Jimmy. Eagle Bear. Anyone who was standing in the way of the land. Is that it? COOCH No. We neutralized enemies of the United States. Anti - American radicals who have killed federal officers out here! Ray turns to the sink, turns the faucet on to get some water on his face. The water only trickles into the basin. COOCH Jesus, Ray. You think I do n't like the Indians? Not true. These were noble people but their day is gone. They're a conquered nation. They want all of America back but they ca n't even keep the garbage out of their own front yards. It's sad, Ray. But it's just the way it is. We have to function as a colonial police force out here. Ray leans on the sink, watching the water start to spurt free. He shuts it off. Turns to look at Cooch. And it is then the door opens - some knocking after the door is already opened - and SA Miles enters. MILES You gentlemen ready - hi, Ray. COOCH Yeah, we're ready. Ray does n't turn from the sink.\",\n \"EXT. RESERVATION ROAD - TOWARD GRANDPA REACHES - MORNING Crow Horse chugs along on his motorbike toward the council, his long hair and eagle feather trailing in the wind.\",\n \"EXT. BUFFALO BUTTE MOTEL - MORNING Two federal vehicles are waiting in front of Cooch's Chevy and Ray's Le Baron. One is an FBI van where Sherman helps THREE AGENTS load file boxes and computers. Cooch walks with Ray toward the Le Baron, looking at him as the go. Ray looks better as he breathes the morning air. As they pass the second fed car, the back window power glides down, and someone looks out with a friendly smile. CLEAR MOON Ah, there you are. The Sioux. Ray stops dead. Beholds the Tribal President who wears a western cut jacket and a strained expression behind his smile. He hole a hand out to Ray. CLEAR MOON You got the troublemakers off our land. Good, Was - te. Ray stares at him, speechless. Horrified. What is he doing here? What about the council fire? Ray somehow nods. Then walks on to the Le Baron. Cooch gets behind the wheel of the car that Clear Moon sits in. Clear Moon's eyes follow Ray to the car.\",\n \"EXT. RES ROAD - TO GRANDPA REACHES Crow Horse guns past a little shack. As he does, he looks in his side mirror then out across the grasslands. Then quickly IN HIS MIRROR : a car has pulled out from behind the shack. CROW HORSE observes this. Then twists the fuel throttle hard.\",\n \"INT. LE BARON Ray gets behind the wheel, looks at his watch. He is panicking. He starts the car, reverses, slams into drive. RAY'S POV : swerving and reckless as he races forward. Sherman, walking around to one of the cars has to run out of the way. The other agents clear out, looking in confusion as Ray cuts a hard U - sweeps PAST THE BAR, SMASHES INTO AND THROUGH the old hitching post - and HEADS TOWARD the reservation which lies vast before him.\",\n \"EXT. BUFFALO BUTTE MOTEL With agents scrambling about, looking after the car, Cooch gets out, looking into the dust Ray left behind. HEARTBEAT DRUM. COOCH RAY! Sherman appears beside Cooch aiming a questioning look. When Cooch quickly gets back behind the wheel, Sherman pulls his radio up and starts yelling into it. Cooch reaches out the window and grabs his radio arm. COOCH No, damn it. You call teams in and this is gon na be a fucking media event. Get me three cars, six agents, block all reservation exits. It's under control. And Cooch squeals out with a petrified Clear Moon in the backseat, inquiring nervously.\",\n \"EXT. ROAD TO GRANDPA REACHES Crow Horse passes by an abandoned horse trailer. When he does, another car pulls out. And follows. The first car passes by. Crow Horse sees he's being followed. He cranks his throttle and the engine grinds then dies. He heels his kickstart on the fly, and keeps it alive. But his old horse is no match for the big engines coming up fast behind him.\",\n \"INT. LE BARON - TRAVELING Ray is leaving little transitional developments and trailers behind. His eyes bore into the road before him, looking for a sign of Crow Horse, and in the rearview for a sign of his FBI mentor.\",\n \"EXT. ROAD TO GRANDPA REACHES - BADLANDS Crow Horse has the throttle open. But the two cars are coming up on both sides, trying to sandwich him. To his right the Badlands loom deep, a drop into a caliche netherworld of jagged rock. He throws the bike right, trying to ride the thin ribbon of shoulder. THE FIRST CAR floors it, and swipes him, and the bike goes over the edge, launched into - THE BADLANDS where it does a violent triple flip, throwing Crow Horse then smashing into a tent shaped dune. A RIFLE sticks out from a window and punches the Badlands with THREE SHOTS.\",\n \"EXT. ROAD TO GRANDPA REACHES The Le Baron rifles past the abandoned horse trailer. Black smoke drifts in a wind ahead. Ray veers onto the shoulder, barely gets the car in park before bailing and running wildly down into the Badlands.\",\n \"EXT. BADLANDS Ray runs, stumbles through the rock and gypsum, searching the area. He runs around the burning motorcycle, looking left and right. RAY Crow Horse! CROW HORSE lies on his back in the Badlands, eyes open, fixed unmoving on the sky. Ray comes out of the flame - waves, running with his.45 held high. He throws himself to his knees beside the injured Indian. RAY Crow Horse! Crow Horse rolls his eyes toward the FBI agent. He has a gash behind his ear, and pink sand clings to the blood. He lifts his head, tries to form words. CROW HORSE Ai n't no Council Fire, Brother. Clear Moon. RAY I know. Come on. We got ta get off the reservation or we're dead. CROW HORSE Hoka Hey. It's a good day to die. RAY Bullshit, let's get outta here, Ray gets an arm under the big Indian, helps him up out of a jagged crevice. CROW HORSE Grandpa.\",\n \"EXT. RESERVATION ROAD Cooch's car speeds down the stretch. Followed by Sherman's. The FBI van. All at one - hundred and five. Gravel and dirt flies.\",\n \"INT. LE BARON - TRAVELING With Crow Horse half - passed out in the passenger seat, Ray keeps the wheel steady. And then his RADIO STATICS. RADIO X21, please read. Ray. Ray. X21, please read. This is Cooch. Please come in, Ray. Where are you? Ray just stares down at the radio, keeps the pedal floored. The throws the wheel left.\",\n \"EXT. GRANDPA REACHES TRAILER The Le Baron fish - tails in a cloud of dust and Ray leaps out of the car, runs toward the little trailer, gun in hand. The windows are all busted, and the door is wide open. Ray runs in. Then straight back out, shaking his head to Crow Horse. Crow Horse hangs his head out the passenger window. RAY He's gone. CROW HORSE He has n't left this place in twenty years. They got him. Ray starts to get back in then hesitates. He looks out across the plains to see - THREE FED CARS in the distance, fast approaching, dust rising. Ray gets in quickly.\",\n \"EXT. RESERVATION EXIT Cooch's car is parked in a roadblock. Clear Moon stands near him, and addresses UNIFORMED TRIBAL POLICE as they spill out from a van, carrying rifles and shotguns. COOCH -LRB- into radio. -RRB- X21. Ray. Ray, please come in. Cooch has torn his tie away, his shirt is open, and he is sweat soaked. Miles gets out of a car that pulls up. MILES We have a renegade agent, Cooch? He gets off the reservation. COOCH - he's not getting off the reservation. And Cooch gets back in the car, drives off.\",\n \"INT. LE BARON - TRAVELING With Ray driving like a maniac, Crow Horse is turned around in his seat, watching the federal cars spreading out, the chopper moving in. CROW HORSE They got us sealed. What are we gon na do? RAY We're going for The Stronghold. Crow Horse looks at him. RADIO -LRB- Cooch. -RRB- Ray. Can you hear me? You are fucked. There's no way out of this. If you wo n't listen to your own laws, then listen to this :. -LRB- static : a new voice. -RRB- This is President Clear Moon. This nation does not want your sympathy. You can not use this reservation as a sanctuary. Stop where you are now. Ray and Crow Horse exchange a look. RADIO -LRB- Cooch. -RRB- Whatever you are trying to do is futile, Raymond. You have nothing. Nothing. Ray picks up the mic as he cranes to keep an eye on the rearview. RAY Yellow bird. is gon na sing. RADIO -LRB- Cooch. -RRB- Yellow Bird committed suicide at three o'clock this morning. Some gung - ho agent from D.C. pushed him into a corner. You're playing a losing game. Pull over. Ray takes the mic and for some reason, he's putting it inside his jacket near his shoulder where he keeps his leather. Crow Horse looks at him, puzzled. And then the sound comes forth, the static crackling of a micro - cassette recorder. RECORDER -LRB- Ray. -RRB- How the hell do you know? -LRB- Yellow Bird. -RRB- I blew his back out with a buffalo gun, that's how I know. And now you're gon na say I did n't and put me back in solitary?! Ray keeps the tape running into the radio as he drives through rugged Badlands. Crow Horse, stunned by the voice, eyes Ray as the tape rolls.\",\n \"INT. CHEVY - TRAVELING Cooch and Clear Moon stare in horror at the radio. RADIO -LRB- Yellow Bird. -RRB- You people tol' me I could beat nine years if I helped you. I helped you! -LRB- rewinding. -RRB- I could beat nine years if I helped you. I helped you! Cooch is shaking his head in vitrified disbelief. He slams the pedal almost through the floor.\",\n \"INT. LE BARON - TRAVELING The tape ends and Ray now lifts the mic to his mouth. RAY -LRB- into mic. -RRB- Fuck you. And he too, buries the accelerator.\",\n \"EXT. BADLANDS ROAD – TO THE STRONGHOLD The Le Baron burns forward and we SWEEP UP TO A MIND - BLOWING AERIAL VIEW of the Badlands as four fed cars spread out in formation, following.\",\n \"INT. LE BARON - TRAVELING Crow Horse is turned around, looking at the pursuit. RAY Walter. Crow Horse turns, sees what Ray is looking at. POV : The Stronghold - a narrow opening in hulking rock formations. Large enough for a car to get in, and keep followers out. CROW HORSE That's it. The Stronghold. Get us in there, we got a chance. RAY We're in there. We're in there - just ahead, the earth is gone. A wavering heat pond turns out to be a crevice and they nose down into it, burying the front end in sand and rock. WINDSHIELD SHATTERS.\",\n \"EXT. THE STRONGHOLD The Le Baron is stuck, wheels spinning out. Ray and Cooch bail. Guns drawn, they start running for the Stronghold. AT THE EDGE OF THE ARROYO the caravan slides in recklessly, two of the fed cars coming dangerously close to going over the edge. The regional officers and six Clear Moon goons empty out, running down the dip, rifles and shotguns ready. Three more field agents come down from another direction, followed by Cooch. Sherman hands a bullhorn to him. COOCH -LRB- via bullhorn. -RRB- FREEZE! NOW! The sound of FIFTEEN PRIMING FIREARMS stops Ray and Crow Horse in their tracks. Just twenty feet from The Stronghold. Crow Horse, windless, stumbles to a knee. Ray turns slowly, facing the small army. COOCH DROP IT. Crow Horse, rises, sucking wind, and ditches his gun in the Badlands. Ray holds onto his.45 a moment longer. Then drops it. He stares at - THE WALL OF MEN Cooch, SA Miles, SA Sherman, Six regional officers, six Clear Moon goons. And now, coming out of the backseat of Cooch's Chevy, Oliver Clear Moon, walking tentatively, cautiously. Cooch lowers the bullhorn. He takes the opportunity to stare at Ray. To let Ray stare at him. The older agent looks broken. COOCH Crow Horse, get your face in the dirt. Ray. come forward. Let it go. Let's just let it go. AT THE STRONGHOLD ENTRANCE Crow Horse lowers himself to a knee then lies face down. Ray just stands there, the wind against him. COOCH -LRB- O.S. -RRB- Come on, Ray. Come forward. RAY No way, Cooch. Ray refuses to move. COOCH sweating, tries to keep control. All around him, hands are on guns. Cooch is walking toward Ray. COOCH Ray. I'm coming to talk to you. I'm gon na walk you out of here. And we're gon na get the hell outta this place. Cooch walks toward him, a gun hanging at one side, bullhorn at the other. The agents behind him, around him, all raise rifles, all take aim. Sherman, looking sick, gets to a knee and sets aim. The sound of clacking steel, all around. But Cooch seems disturbed by the sound. Because its coming from above. He raises an eye from the rifle sight to see - ALONG THE EDGE OF THE BUTTE FIFTEEN INDIANS, training rifles and shotguns down below. SHERMAN looks up from his rifle, bewildered. Then alarmed. ALONG THE EDGE OF THE BUTTE We PAN across fifteen Indians - old people, women, kids. Their weapons are weak but many. And at the end of the row, Maisy Blue Legs rises, clutching a rifle. And PAST HER, ANOTHER. TRADITIONAL PEOPLE, many from the trading post porch, rise to the edge, armed. Silent. Twenty, twenty - five, thirty traditionals, forming a line along the ridge, a line that runs in a circle, broken by the Stronghold entrance, then starting again on the next butte. Thirty - five, forty of them. And more, standing along the opposite craggy rock, some wearing tractor caps, some cowboy hats, some just long hair blowing in the wind. Fifty, sixty, SEVENTY - FIVE RESERVATION PEOPLE forming a circle on the rocks ; it's Little Big Horn revisited. A fourteen year - old boy struggles to keep a huge shotgun at his shoulder. DOWN BELOW Clear Moon's mouth is as dry as Badlands soil. Cooch is panicking, his eyes running along the high edge. RAY stands equally astonished, assessing the back - up. CROW HORSE lifts himself, stands, taking in the sight. AT THE EDGE OF THE BUTTE stepping stiffly but steadily through the line of armed locals, pushing his way to the very edge so as to look down, Grandpa Sam Reaches. The wind makes feathery tails out of his long thinning strips of white hair. DOWN BELOW Ray looks up at the old man, then turns to face Cooch. RAY You're right, Cooch. It's over. Cooch slowly, lets the bullhorn fall. Then the rifle. He looks back at Sherman who does the same, and all the way down the line, everyone dropping their arms under the threat of a lot more guns from above. And now Ray walks forward, collecting his gun. Anderson Chasing Hawk, one of the Warriors, runs down to Ray, breathless. CHASING HAWK All the exits are blocked. There's two more fed cars tryin' to get in. And some press. Ray notices that Cooch is staring at him, hard. He shakes his head slowly. Strongly. COOCH Ray. RAY Let the press through. Chasing Hawk takes off, running, and Cooch watches in consternation. Ray just stands eye to eye with him, holding his ground. UP TO ARIEL VIEW - OVER STRONGHOLD And along the ridge, Grandpa and the locals do n't budge, watching every move. CLIMBING HIGHER, we rise above the circle of proud Sioux to see, on the inside of the Stronghold, thirty old trucks and res cars. CLIMBING HIGHER into and through the fast - moving clouds that the Lakota call The Grandfathers as the HEARTBEAT DRUM and LAKOTA SINGERS takes over all sound.\",\n \"EXT. BEAR CREEK RESERVATION - MAIN SETTLEMENT - LATER The HIGH WINDS of THREE MEDIA HELICOPTERS are delighting a storm of Indian children and BARKING DOGS, running through the streets past junked cars on blocks. Over on a little plot of grass and dirt, a pair of hands are digging a small hole. Ray lays a pine cone in the hole and looks down at it for a moment. before hand - plowing the dirt back over it and patting it flat. He rises, knocking dirt off his knees and hands. Crow Horse walks over, bandaged and favoring wounds, and Ray falls in with him, walking down the middle of the village road. His eyes are tired. But hopeful. CROW HORSE The people are already talkin' about their vote for a new tribal prez. They wan na vote for Jimmy. Ray nods, encouraged as they walk along. His eyes follow the helicopters. RAY What about the water. CROW HORSE You bought her some time, Kola. Ai n't never gon na be over. but you bought her some time. RAY Some Indian time? They reach the dusty, dented Le Baron and stand there, looking at each other. CROW HORSE Indian time. Crow Horse offers a hand to Ray. He takes it in a white man's shake then follows Walter's cue into the Indian `` allies'' grip and slap. They hold it there, looking into each other's eyes. CROW HORSE -LRB- concerned. -RRB- Where ya gon na go, Ray? Ray ponders for a moment. RAY I'll have to see what the visions say about that one. CROW HORSE You did n't have another vision. Ray shrugs. Crow Horse discreetly gestures below his belt. CROW HORSE Yeah, right here. Ray cracks a smile, a long time coming. RAY You take care. CROW HORSE If you ever need a place to come back to and listen to the trees a little. we'll be here. Ray stands looking at him, searching for words. CROW HORSE Ai n't no word in Sioux for goodbye. Ray goes to get in his car. But he sees someone sitting across the street on the trading post porch. The old man. Ray considers him for a moment then walks over. They lock eyes. Grandpa stares at Ray as if he's never seen him before, and then arcs a brow. He touches his sleeve at the wrist. Ray rolls his sleeve back to reveal his Rolex. Grandpa smiles and Ray strips it off. He hands it to the old man and his face crinkles into caliche earth. Grandpa holds the watch up in the light, admires it then puts it in his shirt pocket. He moves a flat hand through the air in the `` done deal'' sign language. Ray, a little surprised that he gets nothing in the trade, returns the smile and walks away. He gets to his car and wipes away two inches of dust from the broken windshield.\",\n \"INT. LE BARON After THREE TRIES, he gets the engine started. He pulls his gun off his waistband, goes to lay it on the passenger seat and finds something there. Grandpa's sacred caanunpa. The Pipe. Symbol of truth. Ray looks out the window at the old man who is watching him with those sharp black eyes. Ray lifts his hand, holds it flat, and does the Sioux done deal sign.\",\n \"EXT. BEAR CREEK RESERVATION - DAY The Le Baron eats up the dirt road at a moderate, gravel crunching pace. It slows as it passes Maggie Eagle Bear's quiet home on the river. Children walk with the old woman, carrying buckets from the river. The Le Baron slows to a crawl, then drives on. THE TRADING POST PORCH where the elders sit, watching the dust blow. CROW HORSE -LRB- V.O. -RRB- -LRB- voice lingering. -RRB- We will be here. CROW HORSE walking off down the road. He stops, and looks over his shoulder, trying to glimpse the distance. THE LE BARON driving off the res, under big sky as it ascends a rough hill, waddles through potholes, negotiates with some horses in the road and rolls on toward the reservation line where the sun throws shadows that look like an old man dancing. AT THE PLACE IN THE ROAD where West goes to Rapid City, and East back to Bear Creek, Ray stops like the bullet - punched sign orders. He does n't go West. Does n't go East. He sits there. Fishes a smoke out from a pocket, clicks a lighter, and fires up. He sits there, smoking. Deliberating. SUDDEN CUT TO BLACK. And after a long silent beat, A DRUM. Like a heart. END CREDITS. THE END\"\n]"},"labels":{"kind":"list like","value":[0,0,0,0,0,0,0,1,0,0,0,1,0,0,1,0,0,0,0,0,0,0,1,0,0,0,1,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,1,0,0,0,1,0,0,0,0,0,0,1,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0],"string":"[\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0\n]"},"summary":{"kind":"string","value":"After Leo Fast Elk, a tribal council member of a Native American reservation in South Dakota, is murdered, FBI Agent William Dawes assigns Agent Ray Lavoi to help investigate. Lavoi is chosen for his mixed Sioux heritage, which might assist in the inquiry as they interview local townspeople. Ray is partnered with Agent Frank \"Cooch\" Coutelle, who has diligently worked with tribal council president Jack Milton to apprehend a prime suspect: Aboriginal Rights Movement radical Jimmy Looks Twice. Though he is mocked and ridiculed by the locals (being called a \"Washington Redskin\"), including tribal police officer Walter Crow Horse, Ray finds that he has an unaccountable standing with some of the tribal elders such as Grandpa Sam Reaches. The natives recognize Ray as \"Thunderheart\": a Native American hero slain at the Wounded Knee Massacre in the past, and now reincarnated to deliver them from their current troubles. While helping Cooch track down the suspect, Ray meets Maggie Eagle Bear, a Native American political activist and schoolteacher. After experiencing the harrowing conditions and violence from Milton's pro-government faction on the res, Ray gradually becomes sensitized to Indian issues. Much to Cooch's anger, Ray comes to suspect a conspiracy and cover-up involving the reservation and Leo's murder. After being told to find 'the source', Ray and Crow Horse come across a government-sponsored plan to strip mine uranium on the reservation. The mining is polluting the water supply and fueling the bloody conflict between the reservation's anti-government ruling council and Milton's pro-government natives. While the land is not owned by Milton, he receives kickbacks from the leases; Ray and Crow Horse discover Maggie's body at the site. Ray finds Leo's murderer, former convict Richard Yellow Hawk, who confesses Cooch's part in the scandal of having been sent to silence the opposition and help broker the land deal. Yellow Hawk is then murdered, but Ray recorded his confession, forcing a showdown between Cooch, Milton, and his pro-government collaborators, and Ray, Crow Horse, and the anti-government activists. Cooch is apprehended after being cornered and outnumbered by the armed resistance. Ray, disillusioned by the corruption, leaves the FBI."},"name":{"kind":"string","value":"Thunderheart"}}},{"rowIdx":93,"cells":{"scenes":{"kind":"list like","value":["EXT. LATE AFTERNOON SKY Blue sky, a few puffs of cloud, pierced by slanting rays of sunlight. Late afternoon on a perfect day. SUPER TITLE : `` HOUSTON, TEXAS. JULY 4, 2020.'' As we hear, after a few more beats, an ASTRONAUT'S VOICE. PHIL T minus ten, nine, eight, start ignition sequence, five, four, three, two, one, ignition. Liftoff! A tiny red streak zips into the sky, then bursts with a faint, ludicrous POP. A bottle rocket. We hear CHILDREN'S LAUGHTER, excited SHOUTS.","EXT. LAWN PARTY. LUKE GRAHAM'S HOUSE. LATE AFTERNOON DESCENDING, we see PHIL OHLMYER, late 20's, kneeling, with a gaggle of eager CHILDREN around him. Phil, an astronaut, has got an impressive array of fireworks lined up, and is using an empty longneck as his launching tube. CHILDREN -LRB- all at once. -RRB- My turn! My turn! No, I was next! No, me! Uncle Phil, Uncle Phil, can I do one? I want to do one! PHIL Guys, guys, please! This is risky stuff here. And I'm a highly trained professional. Derisive GROANS from the kids, more SHOUTS. Phil grins. There's little danger NASA will ever use him on a recruiting poster : he's messy, very hyper. Phil waves his hands for silence. PHIL Okay, okay! Uncle Phil will launch another booster. Another astronaut, RENEE COTE, a tall, very fit French woman, is walking by with a fresh six - pack. She tosses a beer and Phil catches it. PHIL just as soon as he completes his fuel intake. ANGLE FOLLOWS COTE Who grins, walking away from Phil and the kids, as we begin to get a better sense of the scope of this party. We are in the big back yard of a middle - class home in a Houston suburb. DOZENS OF PEOPLE - astronauts, NASA personnel, and their families - are gathered around picnic tables or spread - out blankets. Lots of red, white and blue bunting, lots of balloons. We hear snatches of MUSIC, mostly country - flavored, from dueling boomboxes. Futuristic Frisbees are being tossed about. A banner, strung between trees, reads `` BON VOYAGE, MARS ONE!'' WILLIS It'll take us six months just to get to Mars. Another year on the surface, then six months back. That's two years. Passing the banner, Cote lobs a beer to another astronaut, NICHOLAS WILLIS, who snags it neatly. He's got his other arm around the waist of a PRETTY GIRL. As Cote moves OUT OF FRAME, ANGLE LINGERS on these two. Willis, a very young astronaut, early 20s, is recruiting poster material, and knows it all too well. WILLIS I guess what I'm trying to say is, since this is my last night on Earth, it's gon na be a very precious memory to me. Y' know? PRETTY GIRL Nice try, Nick. As the Pretty Girl slips out of his grasp, laughing, and walks away, Willis shrugs philosophically. He pops open his beer, swigs it. ANGLE FOLLOWS THE PRETTY GIRL As she swerves around an open - pit barbecue, where other ASTRONAUTS are gathered. Cote has paused here, too, distributing the last of her beers. SERGEI KIROV, a Russian cosmonaut, is watching some kids nearby as they play a game of wiffle ball. He turns, grinning beerily at the chef. KIROV Hey, Woody, our Mars One crew wo n't be heading back to Earth till ten days after you guys land at our base camp with Mars Two. That's a pretty good long rendezvous. WOODY BLAKE, late 30s, is a big, rangy guy in a cowboy hat over a Hawaiian shirt and a `` KISS THE CHEF'' apron. An entire pig is turning on a spit over the flames, and Woody is basting this as he smiles at Malik. WOODY What are you suggesting, Sergei? KIROV Maybe you should bring a baseball bat. Yes? American baseball? Our two crews could have ourselves a little Solar System Series. WOODY Please. Half you guys are foreigners. We'd crush you. KIROV No, no, we have equal crews. Three men, one woman. Same handicap. He grins teasingly at Cote, who makes a face at him. WOODY Easy now, you're talking about my wife. -LRB- seeing her approach. -RRB- And Terri just happens to be one helluva shortstop. DR. TERRI FISHER, early 30s, passes by with a platter of corn - on - the - cob. Short, sturdy body, a face made attractive by its alert, questing intelligence. She pauses to kiss Woody's cheek ; there's a wonderful, sexy spark between them. Then she glances at Kirov, all business now. TERRI Fast pitch, no steals, batter calls his own strikes. Thousand bucks make it interesting? He's a bit rattled by her cockiness, and looks at Cote, who smiles, nods her cool agreement. COTE Eh bien. Winner take all. TERRI Good. -LRB- smiles sweetly at Kirov. -RRB- Bring some balls. The other men ooooh at this, busting on Kirov and Cote, as Terri moves on. Woody, watching her go, has a thousand - watt grin. WOODY You wan na know the sad part? Technically I outrank her. But if we want any peace at all on Mars Two, I'm gon na be saying a lot of `` Yes, dears.'' The others laugh. ANGLE FOLLOWS TERRI as she dodges a PACK OF KIDS - they run by her, shrieking happily - before she finally reaches a picnic table, where ASTRONAUTS' WIVES are opening containers of baked beans, coleslaw, and potato salad. 1ST WIFE just not sure how I feel about NASA allowing couples to go on this type of mission together. One of the other women raises a warning eyebrow, and the 1st Wife turns, sees Terri setting down her platter. 1ST WIFE -LRB- embarrassed. -RRB- Nothing personal, Terri. It's just that, well, it's kind of a funny feeling for those of us staying behind. TERRI -LRB- carefully neutral. -RRB- All the research shows that marriage will provide stability on these long duration trips. 2ND WIFE Then they have n't studied some of the couples I've known. Laughter at this. Terri smiles politely - she does n't really have much in common with these women - before moving on. ANGLE LINGERS on the wives, who watch her go with a slight tinge of jealousy. One of them is looking around. 3RD WIFE Anybody seen Jim McConnell? 4TH WIFE I do n't think he's coming. 1ST WIFE God, that poor man. How's he doing? 2ND WIFE Totally losing it, from what I hear. Ca n't sleep, ca n't eat. Visits her grave almost every day. -LRB- lowers her voice. -RRB- They say he could lose mission status. 3RD WIFE Oh, that's so sad. That is just so tragic. You go to a routine physical one day, and wham. 4TH WIFE After all those years of training, too. It was their whole dream. 1ST WIFE Must be a pretty funny feeling for Luke Graham. Y' know? Now he's gon na be in the history books. First man on Mars. She shakes her head, awed by the thought. The others nod in agreement, following her glance. In the distance, a lone MALE FIGURE stands by the garage, his back to them, facing the parked cars, vans, and SUVs which stretch down the driveway and along the street. Another figure, a WOMAN, can be seen approaching him. CLOSER ANGLE FOLLOWS the moving woman - DEBRA GRAHAM, early 30s, very attractive - until she reaches her husband. LUKE GRAHAM, mid 30s, has the lean, fit body of an astronaut, the restless intellect of a scientist. He's unaware of her approach until she touches his shoulder. He looks at her with an apologetic smile. DEBRA He's not coming, Luke. LUKE Jim deserves this, too. All his friends are here. And it's my last night. DEBRA -LRB- gently. -RRB- Your last night with us, too. He looks at her, moved. She summons a smile. He slides his arms around her waist, kisses her forehead. LUKE I love you, Deb. DEBRA I love you too, baby. But maybe you should spend some time with Bobby. LUKE Yeah. I will. Where is he? DEBRA Up in his fort. He kisses her again, then goes. Debra's eyes follow him, with a mixture of pride and sadness. ANGLE FOLLOWS Luke away from the garage, into","EXT. THE BACK YARD. LATE AFTERNOON Luke moves through the crowd. Phil and the kids are still shooting off rockets. Red streaks arc high overhead. In the back corner of the yard, where it's quieter, he passes Willis, who's sitting on a blanket, murmuring soulfully to PRETTY GIRL # 2. WILLIS Deep space is so lonesome. So cold. But I guess I'll have my memories to keep me warm. Luke shakes his head. Willis is incorrigible. Finally he reaches a tall redwood playset. He looks up the ladder. A SMALL BOY sits on the platform of the tower, arms around his knees, staring up at the stars. A telescope rests nearby on a tripod. He looks lonely. Luke climbs up, sits down on the wooden deck next to him. BOBBY, 7, glances over at his dad, his idol, then back at the sky. BOBBY Who's gon na read to me now, at bedtime? Luke is surprised by the question. A pause. LUKE Mommy will. BOBBY I like when you do it. Now we're never gon na finish our book. His voice is unexpectedly fierce. He's fighting back tears. Luke is moved. Another brief silence. LUKE Well, I'll tell you what. I've been thinking about that. And what I thought was - how ` bout if I bring along my own copy? -LRB- Bobby looks at him. -RRB- Then every night, wherever I am, I'll read a little bit more of it. And I'll know that you and Mommy, wherever you are, you're reading it too. That way, it'll feel like we're still reading it together.'Cause I do n't know about you, but I'm pretty anxious to find out how ` ol Ben Gunn got marooned on that island. What d'you say? Bobby manages a smile. He nods, feeling a little better. Luke is proud of his son's courage. LUKE Good deal. Can I have a hug? Bobby's arms go around his father's neck. He hugs Luke fiercely, and Luke hugs him back. His eyes, over the thin young shoulders, are brimming with love and impending absence. Then, from the distance, the sound of an APPROACHING CAR. They both turn. An open Jeep is coming down the street. Its DRIVER is alone. Luke's expression changes. Recognition, then happiness.","EXT. LUKE'S STREET. LATE AFTERNOON The Jeep stops, its electric engine WHIRRING down. The Driver climbs out wearily, reaching into the back seat, and comes out with a champagne bottle, hastily decorated with ribbon. The PARTY SOUNDS are drifting this way, and he hesitates a moment, seeming to gather himself. He starts gamely towards the party, then pauses again. Debra Graham stands nearby on the front lawn, waiting. She smiles tentatively. JIM MCCONNELL, early 40s, manages a smile in return. He has dark circles under his eyes, and his clothes look slept in. Yet we sense, even through his sadness, a kind of quiet competence in this man, an unforced authority ; he's a natural leader. Debra hurries forward, into his arms, and he hugs her. They separate, looking at each other. Her eyes are shining. DEBRA We were afraid you would n't come. MCCONNELL I caught a whiff of your barbecue. After that I was helpless. DEBRA All the way out in Galveston? MCCONNELL Something like that. -LRB- she smiles. -RRB- It's his night, Deb. I did n't want to spoil it. DEBRA Spoil it? He's been going crazy looking for you. Over her shoulder he sees Luke approaching, his arm around Bobby. The two men look at each other, the bond between them so strong it needs no words. Finally Luke smiles. LUKE C'mon. A whole lot of folks here are gon na be mighty glad to see you. McConnell comes towards him, accompanied by Debra, and together the four of them move OUT OF FRAME, heading towards the party. ANGLE HOLDS on the parking area, as we.","EXT. SAME VIEW. NIGHT (HOURS LATER) All the parked cars and vans are gone now, except for two : McConnell's Jeep and Woody's classic ` Vette. Willis, one of the last to go, is just departing on his motorcycle. Perched behind him, arms around his waist, is PRETTY GIRL # 3. They zoom away, through the darkened neighborhood.","EXT. BACK YARD. NIGHT The yard is nearly deserted. The `` Bon Voyage'' banner has torn loose at one end and flutters limply. Here and there a napkin blows across the ground. In the distance, THREE FIGURES sit on the ground, by the waning fire of the barbecue pit, sipping beers. CLOSER ON THIS TRIO As Woody shoves another piece of wood into the flames. For a moment he, McConnell, and Luke are silent, staring at the sparks as they rise towards the stars - red and gold dots mingling with the silver ones. WOODY -LRB- abruptly. -RRB- I wish we were all going. Together. The intensity in his voice surprises the others, and even Woody himself. Luke glances at McConnell. An awkward beat. LUKE Then you've got a short memory. Think back to how we were by the second week of lunar training. WOODY Oh, you're not gon na bring that up again - LUKE -LRB- laughing. -RRB- I'm trying to remember, let's see, which one of us scored the lowest ranking up there? WOODY You just ca n't let that go - LUKE Oh, man, three commanders, on the same ship? If they sent us off to Mars together, there would n't be enough fuel to lift all those egos. WOODY -LRB- laughs. -RRB- Bullshit, we would've made a great crew. MCCONNELL That was never gon na happen. I was always teamed with Maggie, and we were mostly chalkboard jockies. You know? Systems. Payloads. LUKE Listen to him. Mr. Cover - of - Time Magazine! WOODY Yeah, who landed the crippled Block II Shuttle? LUKE Yeah, and who scored highest on the lunar rankings? WOODY Let it go, Luke. MCCONNELL -LRB- smiles. -RRB- Sure, I made a little noise. But putting the first footprints on Mars? Nah. That's for guys who. -LRB- looks at Luke. -RRB-. wrote their Ph.D. thesis on how to colonize the place. And guys who. -LRB- looks at Woody. -RRB-. read too much science fiction as a kid and still wear little Flash Gordon rocketships around their necks. He grabs playfully at Woody's neck. Woody smacks his hand away, laughing. WOODY You read the same damn science fiction books that I did! You're just not man enough to wear jewelry! He pulls from his shirt a little Flash Gordon rocketship emblem hanging on a chain, and waggles this tauntingly at McConnell, as Luke and McConnell laugh. WOODY You want Flash. You know you want him. Well you'll have to come through me! Luke grabs Woody's arm to give McConnell a better shot at the emblem, but Woody cuffs his hands away, laughing. McConnell, watching their horseplay, shakes his head. MCCONNELL God, she would've loved to see you two clowns. Just one more time. He tries to smile, but his face reddens. Then all at once his chest is heaving as he struggles to control his emotions. Woody sees this, reaches out a reassuring hand, but McConnell shakes him off, rises abruptly. He turns his back on them, walking away a few steps. Woody and Luke exchange a worried glance.","EXT. LUKE'S STREET. LATER THAT NIGHT McConnell and Luke watch as Woody starts up his Corvette. McConnell has regained his composure. LUKE Hey, Woodrow, is n't it about time you donated this thing to a museum? Woody revs the engine, which ROARS lustily. He grins. WOODY Internal combustion, boys. Accept no substitutes. Luke laughs. Woody looks at McConnell. WOODY Jim, if there's ever. if there's anything Terri and I can do - MCCONNELL I'm okay. Really. Thanks. Woody reaches out to shake Luke's hand. WOODY See you when I get to Mars, Luke. Do n't solve all the mysteries of the universe, okay? Leave a little something for the next guys. LUKE I'll see what I can do. Just make sure you bring some fresh beer. WOODY You got it. With a final glance at McConnell, Woody slips the car into gear. McConnell and Luke watch as he drives away. A silence. Luke glances at his old friend, growing more serious. We sense he's been waiting all night for a chance to say this. LUKE Should've been your mission, Jim. Yours and Maggie's. McConnell, looking after Woody's car, becomes very still. LUKE None of us ever wanted Mars the way you two did. Not even Woody. Twelve years of hoping for this assignment, training for it - MCCONNELL That's all over now. LUKE If Maggie had n't gotten sick - if you had n't pulled yourself out of the rotation to take care of her - McConnell turns to him, his eyes flashing danger. He will not tolerate pity. Luke sees this but presses on. LUKE No, I'm gon na say this. I have to say it. -LRB- pause. -RRB- I wanted Mars One. Hell, I battled you for it every step of the way. Never wanted to beat anybody so bad in my life. But not like this. Jim, I'd give this all up in a second, if it would bring Maggie back to us. McConnell is deeply moved, and for a moment does n't trust his own voice. MCCONNELL I know that, Luke. You do n't have to say it. Mars is yours now. Go get it. LUKE -LRB- pause. -RRB- Take care of yourself. MCCONNELL Yeah. You too. Luke nods. They grab hands for a second, then let go. Luke walks back towards his house. McConnell watches him for a moment, then turns, walks over to his Jeep. He opens his door, then pauses. He turns. Looks up at -","EXT. NIGHT SKY A tiny reddish dot hovers there, glowing steadily. Mars itself, a tantalizing prize. But for him now, more distant than ever. For him, perhaps, never to be attained. CLOSE ON MCCONNELL'S FACE As we see these thoughts going through him. After a moment he looks down at HIS SHOES And the sandy verge of the front yard. MCCONNELL'S EYES Are a map of complex emotions : regret, injured pride, infinite yearning. Gently, a bit self - consciously, HE LIFTS ONE SHOE And sets it down again, making a careful, deliberate footprint in the sandy soil.","EXT. MARS. CHRYSE PLANITIA. DAY Instantly we're hurled into an immense, stunning LANDSCAPE, mysterious and vivid as a fever dream. Dazzling sunlight. A vast plain of rust - orange soil. Countless craters. Boulders the size of houses, tossed about by the hands of gods. Twin moons hanging in a salmon - pink sky. On the horizon, towering, craggy peaks. And, at center - the only sign of life - a small, mysterious, moving puff of dust.","EXT. MARS. DAY CLOSER ANGLE as a small, Sojourner - like, multi - wheeled robotic vehicle ambles INTO FRAME, jouncing along the orange Martian soil, pausing to snuffle its sensors towards the occasionally interesting rock. Lettering on its side reads `` ARES - 8.'' SUPER TITLE : `` MARS. PLAINS OF CYDONIA. EIGHT MONTHS LATER.'' Suddenly Ares - 8 pauses. Its video lens WHIRRS out, fine - tuning focus, as it becomes intrigued by something OFFSCREEN - a higher, more distant target. The little fellow almost quivers with excitement.","EXT. MARS. TIU VALLIS. DAY A one - man ATV ROVER waits in the background, in a dry streambed, as Luke, in an EVA spacesuit, swings a clawed rock hammer against a multi - layered, sedimentary rock face. Reddish dust coats his bulky white suit. Despite that bulk, he moves easily in the light Martian gravity -LRB- 1/3 Earth's -RRB-. A hunk of rock breaks off, and Luke examines it more closely, holding it up to his clear faceplate. He's very happy, absorbed in this work, when his RADIO CRACKLES. COTE Luke, you read me? LUKE Yeah, Renee. COTE Luke, I just got ARES - 8 on line and. Well, we think you're gon na wan na see this for yourself. Luke, though reluctant to break off work, is intrigued. LUKE Copy that. As Luke turns away, headed for the rover WE PULL WIDE To REVEAL a STAGGERING PROSPECT, seen for the first time : Valles Marineris, that planet - creasing slash. So wide, so deep, it boggles the mind : on earth it would reach from New York to L.A.","INT. MARS ONE HAB. DAY The crew of Mars One - Kirov, Willis, and Cote - have joined Luke, gathered around some display monitors. They're in NASA jumpsuits ; the Hab has artificial atmosphere, enhanced gravity, and heat. All are captivated by what they see. ON A VIDEO SCREEN We see a low - angle image of an elongated, rubble and dirt - covered MOUNTAIN. Hard to tell scale, but it looks huge. What's most striking, however, is a WHITE PEAK barely protruding through the rubble two - thirds of the way along the mountain's ridgeline. Its whiteness is in clear contrast to the typical rust - orange of the surrounding rubble ; what's more, this strange little peak also displays an oddly - smooth, multi - planed symmetry. LUKE What the hell is that? COTE No idea, boss. LUKE Where is it? Cote glances at the others. They're all smirking, as if they share some secret joke Luke's not yet in on. WILLIS You do n't wan na know. LUKE C'mon, what's so funny? Gim me the coordinates. He leans over to read a digital gauge, but Cote covers it with her hand, enjoying the tease. COTE Latitude 41 degrees north, longitude 9 degrees west. LUKE The Plains of Cydonia. So? -LRB- pause. -RRB- Oh no. You're not telling me - They all laugh as the other shoe drops. Luke's expression is incredulous, exasperated. COTE Oui. Exactement! It's Kirov's fault, he picked today's sector. KIROV Hey, c'mon! We've got a scientific duty to check that thing out. Luke sits, taking over the Ares remote control from Cote. They all watch as he fine tunes the image, trying without success to coax more resolution. LUKE Great. That's great. The first anomaly we hit, and it's got ta be in the one place guaranteed to make NASA look ridiculous. You know how many books have been written about that damned mountain? COTE The Egyptians put it there. KIROV No, the Amazons. WILLIS No, it was little green men! LUKE And all because a couple of lousy impact craters happen to look like eye sockets. If this gets out, we'll have every UFO kook on Earth spouting off on the six o'clock news. C'mon, people, gim me a read here. Is that a cinder cone? KIROV Nah, too smooth. Too angular. Volcanic upwelling? COTE No fissures. No caldera. LUKE It's an upwelling, for sure. But maybe not volcanic. The others look at him, puzzled. Luke leans in closer, with growing excitement. He points to the screen. LUKE Look at the color. And see how shiny it is? I could swear that's ice. COTE This far south? WILLIS Impossible. You ca n't have ice at this latitude. Not unless. They look at each other, Luke's excitement now leaping from one to another of them. They're almost trembling. WILLIS Oh my God. LUKE How far away is it? KIROV Sixteen kilometers northeast. Take us twenty minutes to get there. LUKE -LRB- considers a moment. -RRB- Let's send a packet to Micker. Then we'll go check it out.","EXT. MARS ONE BASE CAMP. DAY AIRLOCK DOORS Slide back, REVEALING the crew in EVA suits, carrying gear. They walk over to. THE FOUR - MAN ROVER The astronauts climb in through the hatch. The last one in pulls it shut behind him and locks the latches. We see Cote and Luke check their screens and press some buttons. Luke puts the rover in drive. WIDER ANGLE, PULLING UP AND AWAY As the rover moves off across the rocky surface, dust kicking up from the wheels, we get our first exterior glimpse of the Mars One Base Camp. The main HAB UNIT looks like a huge tuna can with a conical top section ; it connects to a separate, inflated - bubble GREENHOUSE. There's also an OXYGEN STILL, PROPELLANT PLANT, and, on the other side, a couple hundred meters distant, the massive ERV -LRB- Earth Return Vehicle -RRB-, which arrived as a separate, unmanned flight. Rows of SOLAR PANELS, arrayed on the ground, and an AMERICAN FLAG on a thin pole, about man - height, complete the scene.","EXT. INTERNATIONAL SPACE STATION (ISP). EARTH ORBIT. DAY A vast, impressive, MULTI - SECTIONED SPACECRAFT is drifting majestically above Earth. The main hull displays both NASA and U.N. flag decals. SUPER TITLE : `` INTERNATIONAL SPACE STATION. MARS MISSION CONTROL ROOM -LRB- MMCR -RRB-. 20 MINUTE TIME LAG.'' We MOVE IN towards another of the station's segments, which is dedicated entirely -LRB- as we see from more labels and insignias -RRB- to the Mars Program : Control Room, Training and Living Quarters, and a Vehicle Docking and Launch Area, where Mars Two is already positioned for its eventual flight. We hear LUKE'S EXCITED VOICE, over speakers. LUKE This is a truly anomalous formation. Looks like nothing we've seen so far. The structure appears to be crystalline, at least from the angle displayed by ARES - 8.","INT. MMCR. DAY On a large CENTER DISPLAY SCREEN, we see Luke and the Mars One crew, sitting around their kitchen table in the Hab, finishing lunch while taping this VIDEO MESSAGE. LUKE -LRB- grins. -RRB- We're all trying not to go too nuts up here, but - we think there's a good chance this could be an extrusion from some subsurface, geothermal column of water. And if we're right. He looks at his crew. They beam like cats who ate canaries. LUKE then we've found the key to permanent human colonization. IN THE MMCR There's an EXCITED BUZZ among the assembled TECHNICIANS, FLIGHT ENGINEERS, and SCIENTISTS. This would be a fantastic, epochal discovery. MCCONNELL Sits at the center console, wearing a headset. He's now the Mars One CAPCOM -LRB- Capsule Communicator -RRB-, and his manner is brisk, efficient, all - business. A TECHNICIAN leans in for instructions. MCCONNELL Tell geology and hydrology we need to scramble on this. Full - court press. The technician nods, hurries away. McConnell, sharing the intense excitement of those around him, stares up at THE SCREEN Where Luke and his crew are still smiling, well knowing the excitement their bombshell will create. LUKE Anyway, we'are going out to take a closer look at it, try to get an idea of its composition. -LRB- checks his watch. -RRB- By the time you receive this, we should be just about on - site.","EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY The rover is a hundred meters away and moving fast TOWARDS CAMERA. We BOOM DOWN to REVEAL Ares - 8, still faithfully holding its point, like an Irish Setter, with its video snout WHIRRING OUT. The rover drives up and slows to a stop nearby. The hatch door cracks open and some dust vents out. The door opens all the way and the astronauts climb out. They all look up in awe. We hear their voices ON RADIOS. KIROV Jesus Christ. THE MYSTERIOUS PEAK Gleams in the sun, dazzling white, its facets as planed and smooth as if an architect had drawn them. It pierces through the topmost rubble at the near end of the big mountain - an isolated, butte - like giant, stretching two miles from left to right in front of them. THE ASTRONAUTS Walk towards the mountain. There's a very deep, very low, staccato tone intruding over their headsets. LUKE Anyone else hear that? COTE Yeah. What is it? WILLIS Sounds like our antenna's out of phase. LUKE Can you fix it? WILLIS Hey, skip, I can fix anything. LUKE Big talker. Renee, Sergei, let's break out the radar, see what this thing's made of. As they go to their jobs, the deep, barely audible rumbling tone continues.","INT. SPACE STATION. CORRIDOR OUTSIDE MMCR. DAY MULTINATIONAL CREWMEMBERS walk by, in the artificial gravity of the busy station, as RAY BECK, mid - 50s, approaches from the opposite direction. Beck is the tough, crewcut, PR - savvy head of the NASA Mars Program -LRB- ID'd by his name tag -RRB-, and just now he's leading a covey of U.N. AMBASSADORS on a tour. The ambassadors, of both sexes, many nations, and all races, look as excited as schoolkids. BECK and this is the Mars Mission Control Room, nicknamed `` Micker.'' I understand a comm packet is incoming from Mars One Base Camp, so you may find this interesting. He opens the doors, ushering his flock inside.","INT. MMCR. DAY The ambassadors enter, oohing and ahhing over the impressive array of gadgetry and personnel, and especially over the big screen. Some of them start taking souvenir snaphots. The NIGERIAN AMBASSADOR turns to Beck, whispering curiously. AMBASSADOR That man over there. He's in charge? BECK FOLLOWS HIS GLANCE TO MCCONNELL Who is surrounded by a KNOT OF TECHNICIANS, to whom he is giving quiet, precise instructions. They hover, then depart, like so many eager bees. BECK Smiles indulgently at the ambassador's misunderstanding. BECK No, actually, that's Jim McConnell, the CAPCOM. Our voice link to the astronauts? Jim's been with the manned Mars program since its inception. One of our real pioneers. AMBASSADOR Will he be going to Mars, too? BECK Ah, no. This is as close as he gets. ON THE SCREEN Luke and his crew have finished eating, and are clearing away their dishes and leftovers. LUKE anyway, that's about it. We'll send another packet when we get back. Cote clears her throat, gives Luke a look. The others can barely conceal their grins. LUKE Oh, right. One more thing. Today is a very special day for a good friend of ours, and I know he's there right now. McConnell looks at the screen, worried. What's Luke up to? LUKE Now, he hates it when any fuss is made, so I wo n't mention his name. A look of relief comes over McConnell. LUKE because the last thing in the world I'd ever want to do is embarrass someone like Jim McConnell. McConnell winces - Dear God, no - as, on the screen, Kirov appears from OFF CAMERA holding a cupcake with a burning candle stuck in it, and the Mars One crew starts SINGING `` Happy Birthday'' to him. Loudly. And very off - key. LUKE C'mon, you Micker weasels, sing! Soon most everyone in MMCR is singing along - even some of the jolly ambassadors - with the noticeable exception of Beck, who stiffens unhappily. McConnell is mortified. LUKE -LRB- sings a line, then, to CAMERA :. -RRB- Hey, Ray! Take a look at him! Is he all red with one of those fake `` I'm - a - good - sport'' grins? Beck looks over at McConnell, who indeed is red in the face with a fake `` I'm - a - good - sport'' grin. LUKE And hey, you guys, check out Ray! Does he have on one of his `` This - was n't - in - my - mission - plan'' faces? Indeed, Beck's smile is thin, sour, disapproving. LUKE Nothing you can do about it, Ray! We're a hundred million miles away! Luke and the crew finish singing the song. Luke raises the cupcake in a toast. LUKE Happy Birthday, Jimbo! Make a wish! He and his crew lean in, blow out the candle. They laugh and applaud, then wave goodbye. LUKE Catch you again soon. Take care, buddy. End of transmission. Luke reaches out, turns OFF the CAMERA, and the display screen GOES BLACK. Beck turns, his gaze locking with McConnell's. He's annoyed, as if this violation of protocol were somehow McConnell's fault. McConnell returns his stare coolly.","EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY Cote stands by a display screen mounted on the rover. Kirov has a big radar gun on a tripod, pointing at the mountain. Luke turns to Cote. LUKE Well? What's under there? COTE -LRB- puzzled. -RRB- Je ne sais pas. I. I think there's something wrong with the equipment. LUKE What? COTE I mean, it ca n't be right. It says. it says there's metal under there. Luke does n't understand. He walks up to look at the display screen. COTE -LRB- points. -RRB- There's ten, twelve meters of rubble and sand, and then. solid metal. LUKE That does n't make any sense. You're reading a vein of ore. COTE -LRB- shakes her head. -RRB- No. It's under the whole mountain. The deep pulsing tone continues. Luke frowns. LUKE Nick, could the problem with the antenna be interfering? WILLIS Could be. LUKE -LRB- to Cote and Kirov. -RRB- Try it closer and up the power. I'll watch the screen.","INT. MMCR. DAY McConnell is taping an audio message to be sent to Mars as the rest of MMCR looks on. Beck is gone. So are the U. N. ambassadors. MCCONNELL Ah, we're all pretty stoked about that formation you spotted, Mars One. The folks in the geology and hydrology back rooms are going over your images and comparing them to every photomap they've got.","EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY Cote and Kirov are close to the foot of the mountain, resetting the radar gun on its tripod. The deep vibrating tone continues. Luke is some distance away, by the rover. He looks at Willis, who's still working on the rover's antenna. LUKE Nick, how we coming on that antenna? WILLIS Goin' as fast as I can, boss. Cote and Kirov are having some trouble with the switches on the radar gun. They turn towards Luke and Willis. KIROV Hey, Nick. Come show me how stupid I am. I ca n't get this to work. Willis looks at Luke. Luke nods - Go help them. Willis starts towards the radar gun.","INT. MMCR. DAY McConnell is handed a slip of paper, glances at it. MCCONNELL Medical wants me to remind you that you're three days late on your blood tests. I know they're a bore, but you've got to get them done, or else. or else I do n't know what. Just do them, okay?","EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY Willis, Cote, and Kirov get the radar gun up and running. KIROV All set here, chief. Luke sidles over to the display screen on the rover. LUKE Okay. Crank up the juice and let's see what's in this sucker.","INT. MMCR. DAY McConnell checks over his clipboard list of updates. MCCONNELL I think that's about it for business. But on a personal note, be advised that, ah, none of you can sing worth a damn. LAUGHTER in the MMCR.","EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY Luke watches the screen on the rover, as, by the mound. KIROV Flips a switch on the radar gun, then swivels its muzzle slowly across the near slope of the mountain. We hear and feel the radar signal. The immediate result is that the pulsing tone we've been hearing suddenly stops. LUKE Looks up from the display screen. A puzzled expression. LUKE Why did that stop? A split - second later, he gets his answer. We hear a WHOOSH, a mighty rushing of wind, as A GIGANTIC, TRANSLUCENT CYLINDER Starts to swirl and rise, straight up from the top or the mountain, at its center. As it swirls, the cylinder picks up debris - pebbles, sand - from the sediment - encrusted surface of the slopes. THE FOUR ASTRONAUTS Stare up at this spectacle, awed. A cyclone? Some kind of energy wave? They have no idea. At the moment they're too fascinated to even be scared. TILTING UP - FROM THEIR POV We see the whirling cylinder rise, higher and higher, perfectly straight, until in just moments it's as tall as a skyscraper. As it rises, it gains speed and power, narrowing at its top into a conical vortex. It's sucking up so much dirt, so many rocks - even small boulders now - that the accumulating debris begins to darken its swirling, translucent outer `` skin''. THE ASTRONAUTS Exchange amazed glances. Ca n't believe their eyes.","INT. MMCR. DAY McConnell still hovers by the microphone. MCCONNELL Honestly, Luke, if you guys do n't have anything better to do with your time, I can make some suggestions to mission medical. There are worse things than blood tests. LAUGHTER and GROANS from the staff in MMCR.","EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY Luke, still staring in fascination, becomes aware of sand and pebbles flashing past his helmet. From behind. He turns. SAND PATTERS AGAINST HIS FACEPLATE As the nearby landscape BLURS. The vacuuming effect is becoming more general across the area. More violent. LUKE IS ALARMED And the spell is broken. He keys his throat mike, his lips moving, but no sound can be heard over the ROARING WIND. He waves his arms, motioning for the others to back away, towards the rover. Wind whips at their EVA suits as they obey him, retreating. Luke, backing away himself, is afraid to take his eyes off the cylinder. Then he sees that one man - Willis - has n't moved. In fact he's busily snapping photographs of the cylinder. Luke hurries over to him, tugs his sleeve. WILLIS LOWERS HIS CAMERA But still stares up, transfixed, like a man face to face with a cobra. Luke follows the young astronaut's frightened gaze, and his own eyes widen as he sees THE TOP OF THE VORTEX Beginning to tilt down, then coil sideways. Suddenly they're looking into the huge open `` mouth'' of it, as sand and rocks fly into the swirling darkness. The monstrous, gaping maw slithers down over the rim of the mountain, turning this way, then that. Seeking them. And then, with horrifying precision, it locks in on the little group of astronauts. And lunges towards them.","EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY Luke and Willis turn, running as hard as they can towards the rover. But the suction is so great, it's as if they're held back by wires. The ground itself is SHAKING, RUMBLING, as earthquakes begin to open fissures across the plain. The ROAR of the vortex, the GROANING of the earth, are like an onrushing freight train. AHEAD OF THEM In the maelstrom of flying debris, they can barely make out Cote and Kirov, still retreating, leaning back with all their strength against the suction, while staring up, aghast. Suddenly a hurtling rock, the size of a basketball, smashes into Cote's helmet from behind, crushing it and killing her instantly. Blood sprays into the wind, immediately crystallizing, in the sub - zero atmosphere, into red pellets. LUKE, HORRIFIED, FLINGS HIS ARM UP As bloody hail patters against his faceplate and forearm. An instant later he sees KIROV Snatched up by the wind, then swept past him, in a terrifying blur, arms and legs flailing, mouth open in a silent scream as he vanishes. THE GROUND AT LUKE'S FEET Abruptly opens, and he slides into a fissure. Scrabbling frantically with his gloved hands, he manages to momentarily arrest his fall, gripping the edge of the fault line, with his helmet and one elbow thrust over its lip. The air is almost solidly choked with debris, deadly boulders bound over him, and torrents of cascading sand are burying him alive. CLOSE ON LUKE Barely conscious, as he watches, for a horrifying final instant, as. HIS LAST CREWMAN, WILLIS Is sucked bodily into the black maw of the vortex, spinning and tumbling like a rag doll. CLOSE ON WILLIS'S FACE His features grotesquely distorted by the forces tearing at him, before suddenly his faceplate is sprayed with blood, and. DISTANT ANGLE - LUKE'S POV Willis's spacesuit explodes, his entire body disintegrating into a million bits, which instantly disappear into the hellish maelstrom. And then that maelstrom itself, just as abruptly. STOPS. Vanishes. There is an instant, ringing SILENCE, as awesome in its own way as the roaring storm itself had been. WIDE ANGLE On the plain, as the last pebbles, released from suction, pitter down, bouncing. Swirls of dust and sand drift away, settling gently. The harsh orange landscape is once again calm, peaceful. And then, from the direction of the nearby mountain, we hear another sound : the deep bass pulsing rumble returns.","INT. MMCR. DAY As McConnell finishes his message to Luke. MCCONNELL Oh, and I talked to Debra. She and Bobby are doing fine. Said to tell you, they're, ah, they're on their `` third time through the book, page -. -LRB- glances at a note. -RRB- - page 125.'' They send their love and say take care of yourself. Same from us here, buddy. Till next time, then. End of transmission.","EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY MOVING ANGLE, the CAMERA EXPLORING ground zero, as the bass, pulsing rumble continues. WE PASS the Rover, canted sideways into a little crater, with its canopy missing, one axle fractured, but miraculously still with all four wheels. WE PASS faithful little ARES - 8, lying on its side, partially crushed under a boulder. It gives a final, pitiful WHINE, its video snout slowly extending, then dies. And finally we come to the area where the fissure had been, and see THE FISSURE HAS BEEN FILLED IN Leaving only a slender crease of umber sand. No sign of Luke. The pulsing rumble continues, over, as we see","EXT. AERIAL VIEW. DAY An extraordinary sight, seen from high in the air, looking back down. Staring up at us from the bottom of a shallow crater, scoured clean of its aeons of accumulated silt and rubble, is a structure resembling a vast humanoid Face. The surface is gleaming white, apparently metallic. The features are suggested by intricately interlocking planes, slopes, ramps. The `` eyes'' - hatches of some kind? - are closed, and the overall expression is eerily calm, but terrible in its power, like some ancient tribal mask. We see the Face clearly for only a few beats before thick, scudding clouds OBSCURE it, but the deep, pulsing rumble continues, low and insistent.","INT. MARS TWO (DOCKED). COCKPIT. DAY We're inside the Mars Two spacecraft, which is still in its docked position alongside the Space Station. Woody Blake, wearing a NASA jumpsuit, floats up into the cockpit in Zero - G, studying a thick manual. WOODY -LRB- reads. -RRB- `` Problem : Hatch door malfunction, backup power fail, manual override fail. Solution : Replace circuit breaker 907B.'' He straps into the pilot's seat, staring at an electrical junction box at one end of the console. WOODY Okay. Piece of cake. He swings open the housing, revealing a bewildering tangle of fuses and wires. He sighs heavily, as Terri drifts up beside him, also in a jumpsuit, and straps into the co - pilot's seat. WOODY God, who dreams up these nightmares? TERRI Do n't try to change the subject. WOODY I'm not! We're talking about your sister's wedding, right? TERRI Very funny. We're talking about dancing lessons. Before my sister's wedding. WOODY Honey, do you mind? I've got a catastrophic power failure here. He peers into the housing with exaggerated concern. But Terri's not so easily sidetracked. TERRI Woody, we're a married couple. Would it kill you to invite me out on the floor once in awhile? WOODY I danced with you at our wedding. TERRI I'm not talking about shuffling your feet around while you grab my butt. I mean real dancing. Cha - cha, rhumba, jitterbug - WOODY Face it, honey, some couples dance, some go to Mars. That's life. TERRI I'm serious. We've got two more months in this training rotation, but just as soon as we get home, we're starting lessons. If we never dance, people will think there's something wrong. WOODY If they see me dance, they'll know there's something wrong. Reaching past him, she pulls out the required breaker. As he reacts, surprised, she smiles, despite her exasperation. TERRI You are such a lug. Overhead, an intercom CRACKLES. We hear PHIL. PHIL'S VOICE Cockpit, this is Control. TERRI Control, this is Cockpit. PHIL'S VOICE Uh, Terri, they want us all back in the Station. Report to Micker. TERRI Who says report to Micker? PHIL'S VOICE The little men who live in my head. WOODY Phil, c'mon! We just started this drill. PHIL Woody, it was Ray Beck. He told me to round up the team. Now. Woody and Terri exchange a worried look. What's wrong?","INT. SPACE STATION. MMCR. DAY A crisis atmosphere prevails. The big room is more crowded than we've ever seen it, with ENGINEERS and MANAGERS hurrying by, huddling in tense, conferring knots, or muttering feverishly into microphones. On the center screen, a giant image of Mars. A frantic flow of green numbers crawls above and below this, and the site of the Mars One Base Camp is marked in blinking red. WOODY AND HIS CREW Are staring up at this screen, appalled. McConnell and Beck stand nearby, briefing them. BECK Then, at 1417, the X - band continuous data stream from Mars went silent. All data - med, environmental, everything - suddenly stopped. While we were trying to figure out what the hell went wrong, we got a signal from the folks at the Large Array at Soccoro. MCCONNELL At the same moment we lost the data stream, they picked up an intense burst of energy from Mars. WOODY What do you mean, `` intense''? MCCONNELL -LRB- hesitates. -RRB- Catastrophic. Looks are exchanged among the Mars Two crew. TERRI What about the crew? BECK The level of energy in the pulse. did n't seem survivable. WOODY What about the REMO? It went into Mars orbit last week. Maybe that could give us some clue. MCCONNELL Good thinking, Woody. That's just what we tried next. He leans over, punches buttons on a keyboard. ON THE CENTER SCREEN An orange dot can be seen in its orbital ellipse around Mars, leaving a glowing electronic trail. This dot gets isolated in a viewing box, then enlarged and rotated into the computer - animated image of a small, ugly, industrial - looking unmanned cargo craft, labelled `` REMO.'' MCCONNELL The Resupply Module checked out fine. No instrument failures, no change in status. Orbit holding steady. But there was something else. The REMO'S computer contained an uplink message - a very faint, highly distorted transmission from Mars One Base Camp. TERRI Someone's alive. MCCONNELL Yes. PHIL How? BECK The message is almost indecipherable. Two teams are still working on it. You better see for yourselves.","INT. MMCR. DAY FINGERS press buttons on a console. McConnell, Woody, Terri, and Phil are crowded around a monitor with Beck and two weary TECHNICIANS. TECHNICIAN Still concentrating on the audio. We managed to bring out a couple more words, but we've got a long way to go. WOODY Show us whatever you've got. The technician nods, then gestures to his assistant who hits a play button. CLOSE ON A MONITOR Black for a moment, then static. Out of this static comes a faint image of Luke, sitting alone at the Hab kitchen table. He looks awful - dried blood on his face, bloodshot eyes. The image is blurry, heavily streaked, and most of what he says is lost in waves of static. LUKE make this quick. may be only ch -. -LRB- long section of static. -RRB-. to the site, when we. hit us just as we. - thers are all dead. Woody, Terri and Phil look at each other - Oh, God. LUKE -LRB- following more static. -RRB-. low sound that we could n't understand. Then all of a sudden there was this terrib. -LRB- another long burst of static. -RRB-. - stems are holding up for now, but I do n't know how long I can. The monitor screen GOES BLACK.","INT. MMCR. DAY TECHNICIAN That's it. Woody and his crew stare at the screen, stunned. This is a catastrophe almost too huge to grasp.","INT. SPACE STATION. DAY As Beck leads McConnell and the other shaken astronauts down a corridor, Phil pauses, seeing. A SOBBING TECHNICIAN At her desk. TWO CO - WORKERS are trying to comfort her. One of these women looks up, and her reddened eyes meet. PHIL'S EYES He looks back at her, haunted. TERRI What did Luke mean by a `` low sound?''","INT. SPACE STATION. DAY In an otherwise empty lounge, the astronauts clutch Styrofoam coffee cups. Beck stands nearby. Through a large viewport behind them, stars glitter against the inky blackness. BECK If this was a earthquake, as we're now assuming, there's usually an auditory component. WOODY But that energy pulse they picked up in New Mexico. PHIL Electromagnetic emission. Not uncommon with large - scale geophysical phenomena. WOODY -LRB- incredulous. -RRB- Causing this kind of damage? I do n't buy it. We're missing something here. McConnell and Woody exchange a glance. Woody's right. TERRI Luke must be in pretty bad shape if he has n't blasted out of there in the Earth Return Vehicle. That thing's designed so even one crew member could fly it back to Earth. MCCONNELL Even if Luke was in great shape, he could n't get home. That energy pulse would've fried the ERV'S computers. WOODY Other than the computers, how do we think the ERV fared? BECK Well, so far our modelling says it should be in pretty good shape. WOODY Which means it's gon na be up to us to get new motherboards, drives, and software to Mars. As fast as we can. McConnell looks at him, nods. They're on the same wavelength. But Beck is more cautious. BECK Whoa, slow down. It's gon na take us weeks just to analyze this data. MCCONNELL Right, but meanwhile, we've got ta be working up a mission plan. WOODY Luke needs us now. BECK Luke may already be dead. And even if he's not, it's doubtful he's going to be able to transmit again. So we would n't know whether it's safe to land until you were almost there. PHIL What about SIMA? Terri looks at Phil - SIMA? PHIL The Saturn Imaging Probe. It's going to slingshot around Mars on its way through the solar system. It could be retasked to take pictures, read radiation levels at Mars One Base Camp. WOODY Good idea Phil. If SIMA tells us Luke has n't survived and it's not safe to land, we swing around Mars and come right back home. MCCONNELL Yes. We can design the mission to have a free return capability. It's a long trip, but if you do n't land it's the best option. BECK We're getting ahead of ourselves. You're forgetting the bigger problem. -LRB- they look at him. -RRB- The orbits are all wrong. Our first decent launch window is almost eight months from now. MCCONNELL But we can go earlier and get there faster if we reconfigure the payload for extra fuel. We've modelled that, Ray. I've modelled it. BECK On paper, yeah. But those stresses have never been tested in space. MCCONNELL The ship can take it. BECK I was n't thinking of just the ship. A tense beat. Again we sense the test of wills between these two tough - minded men, once good friends. MCCONNELL I know the protocols for a Mars Recovery Mission better than anybody, because I helped design them. And I'm saying these guys can do it. WOODY He's right, Ray. We've got a real shot. A pause with beck weighing the odds. He looks at Woody. BECK Give me an updated mission plan by 0800 tomorrow. Then I'll put it in the works. MCCONNELL You'll have it by 0600. He looks at Woody, Phil and Terri, who are just as eager. MCCONNELL Let's get to work. McConnell exits followed by Terri and Phil, but as Beck starts out, too, Woody stops him. WOODY Chief, could I have a word? Beck looks at him a moment, nods.","INT. SPACE STATION. MMCR. DAY In a quiet corner, Woody and Beck are alone. WOODY I've no longer got the right crew. BECK -LRB- surprised. -RRB- What do you mean? Bjornstrom can be up here on the next shuttle. WOODY Bjornstrom is a geologist. He's good, but not for this. My people just lost eight months of training. This is a different mission, with a different objective. BECK I have n't been given authorization for a mission yet. WOODY But when you are, it ought to be given the best chance for success. I want McConnell to fly right seat. Beck's expression hardens. BECK He's no longer on mission status. WOODY Yeah. Because you washed him out. BECK He washed himself out. He only had to pass a few more psych evaluations, but he refused to take them. WOODY Ray, he's the best pilot I ever saw, and you've got him benched at a desk. BECK Everybody has to pass the psych prelims. No exceptions. Jim knew that. WOODY Maggie was his wife. He did n't want to lie on a couch and share her with strangers. BECK That was his call. But I had to make one too. It was tough as hell, but I'd do it again. WOODY His wife wasted away in front of his eyes. What was he supposed to do? Suck it up? Get with the program? What was his crime? That he was upset? That he cried? BECK I could n't trust him! Beck and Woody stare at each other. A long tense beat. BECK -LRB- his voice softer. -RRB- Not in a crisis. I'm sorry Woody, but Jim lost his edge. Are you gon na stand there and tell me Jim McConnell is the same man he was two years ago? You want me to bet four more lives on that? This stops Woody, just for a beat. Then makes him press on harder, with even greater intensity. WOODY When Maggie died, yeah, it knocked the shit out of him. It knocked the hell out of all of us. But you know and I know that he's still the best we've got. He and Maggie wrote the book on Mars. He's got more hours in the sims than the rest of us put together. Ray, we can do this. Give me McConnell as co - pilot, and we will bring Luke home. And that's a promise. Beck looks back at him, his features taunt.","INT. SPACE STATION. MMCR. DAY Woody, Terri, and Phil stand at the edge of the big control room, waiting and watching, in a tense silence, as IN THE DISTANCE, FROM THEIR POV Beck and McConnell are huddled together at the CAPCOM's console. Other personnel have moved away, giving them room. Both men are seated, leaning forward, with McConnell listening intently, while Beck does most of the talking, very quietly. After a moment McConnell looks up in surprise. His eyes search the room till they find WOODY'S FACE Woody looks back at him, nods : C'mon, man. Take it. MCCONNELL'S OWN FACE Is a study in conflicting emotions. But after a moment he masters his feelings, turns back toward Beck. A few more quiet words are exchanged, then Beck offers his hand. McConnell hesitates, then shakes it. Both men rise, and McConnell turns again to look towards WOODY, TERRI, AND PHIL Who react with relief, glad that he's now a part of their crew. Woody grins, giving him a thumb's up. CLOSE ON MCCONNELL'S FACE As he smiles. Then he starts towards them, with a new energy in his step, a new sense of confidence and purpose. And as he WALKS TOWARDS US, PASSING OUT OF FRAME.","EXT. DEEP SPACE. MARS RECOVERY. DAY An infinite canopy of stars. After a moment, some of them begin to be BLOTTED OUT as A SPACESHIP Glides INTO VIEW. `` MARS RECOVERY'' -LRB- formerly Mars Two -RRB- looks much like its sister craft on Mars : a conical cockpit mounted above a `` tuna can'' crew Hab module. SUPER TITLE : `` MARS RECOVERY. MISSION DAY 172.'' The entire lower deck forms a segmented section of the hull that rotates on bearings to provide artificial gravity ; we see window ports spinning past, then an American flag emblem. Behind this lower deck, in an extending network of struts, like the abdomen of a dragonfly, are the three huge round PROPELLANT TANKS. Then vast, delicate - looking rectangular SOLAR PANELS, which sweep out to either side of the ship ; these also bear the dish of the earth - pointing HI - GAIN ANTENNA. And finally comes the great mass of the ENGINE BELLS, housed within a curving AEROSHELL ; three hatches in the aeroshell can open to allow the main thrusters to fire through for a mid - course burn. CAMERA DRIFTS CLOSER To the forward section of the ship, APPROACHING a viewport in the EVA airlock chamber. Inside, we can see Phil leaning forward, concentrating on some task.","INT. EVA AIRLOCK. DAY. A BUNCH OF M&MS Are floating in mid - air, forming an intricate 3D pattern. In the EVA airlock, it's zero G. Phil, strapped into a chair by a galley counter, is just completing this weightless puzzle by placing a final blue M&M. He looks bored, sluggish. In the b.g., Terri is hunched over a microscope. McConnell emerges from the core tunnel, behind them, coming up from the lower Hab, then pushes off from the ladder, floating towards Phil. He grins, admiring Phil's obsessive handiwork. MCCONNELL What's that? PHIL That. is the exact chemical composition of my ideal woman. MCCONNELL Used to be. He plucks out a couple of the M&M s as he drifts by. PHIL Hey! McConnell grins, snacking on the M&M s. MCCONNELL Now what is it? Phil looks sadly at his floating model. PHIL A frog. McConnell and Terri laugh as Phil starts scarfing down the rest of the M&M s. Swooping at them with both hands. TERRI I guess now we have our answer to the effects of long - term interplanetary travel on the human mind. The answer is Phil. MCCONNELL -LRB- smiles. -RRB- I'm gon na get an update on SIMA. It should be just about close enough to start capturing some surface images. He's drifted to another short ladder, and now grabs it, starts up to the cockpit, atop the Hab.","INT. COCKPIT. DAY As McConnell appears in the cockpit, he sees Woody by the forward instrumentation panel, looking at a monitor. The cockpit is also zero G. MCCONNELL Hey, Skip. WOODY Take a look. McConnell pulls himself forward. ANGLE ON MONITOR MARS completely fills the screen. Surface details are clearly visible. Something is moving down there, an amorphous brown swirl.","INT. COCKPIT. DAY WOODY What do you make of that? MCCONNELL Dust storm. Southern hemisphere, coming from the east. Big fella, too. WOODY Headed for Chryse Planitia. MCCONNELL Yup. Could get a little hairy just about landing time. McConnell pulls back from the screen, looks at Woody. WOODY We'll have to be ready to move fast. Maybe even advance our ETA. Those things can cover the whole planet, and last up to a year. A beat. They both hope he's wrong. MCCONNELL When does SIMA do her fly - by? WOODY Tomorrow morning, about 0600. That's when we find out whether we came all this way for nothing. They exchange a glance. Woody's right, but the thought is too terrible to dwell on. McConnell looks back at Mars. MCCONNELL -LRB- softly. -RRB- My money's on Luke.","INT. MARS RECOVERY. EVA AIRLOCK. NEXT MORNING CLOSE ON A DIGITAL CLOCK Just turning over to read `` 0545.'' TERRI Pulls her gaze away from these numbers. Judging from her redrimmed eyes, it's been a long, anxious night. Restlessly, looking to distract herself, she reaches for a test tube of blood, straps it into a centrifuge, sets it spinning. Nearby is her electron microscope. MCCONNELL -LRB- LOWER HAB -RRB- Lies on his cot in his own cubicle, with the door closed. The lower hab has artificial gravity -LRB- AG -RRB- and McConnell can move normally. Hands behind his head, he stares at his bureau. PHOTO OF A WOMAN Rests there, in its leather travel frame. Beautiful, smiling, dark - haired : MAGGIE MCCONNELL. Her face glows with intelligence and energy. MCCONNELL Shifts his eyes. The clock on his bulkhead reads `` 0546.'' PHIL -LRB- LOWER HAB -RRB- Stands in the communal bathroom, still in his pajamas, a towel around his shoulders, brushing his teeth. He glances at another digital clock, which reads `` 0547.'' Shakes his head impatiently. He looks back into the mirror, then is surprised to hear MUSIC lilting incongruously over the loudspeakers : Elvis Presley's `` Blue Moon.''","INT. EVA AIRLOCK. DAY Phil floats in through the connecting tunnel, then stops himself at a handhold. He grins, charmed by the sight of WOODY AND TERRI DANCING Like a weightless Fred and Ginger. Woody is surprisingly good at this. Enthusiastic, unselfconscious. He sweeps Terri gallantly about the little cabin, pushing off from every handy surface, even guiding her into some passable twirls and dips. She laughs, shaking her head. PHIL What brought this on? WOODY Zero - G. My last chance to be graceful. Once we're in Mars gravity, it's back to shuffling my feet and grabbing her butt. TERRI I'll take what I can get. She grins, kisses his ear, as Phil turns, sees MCCONNELL Who has now arrived, is also watching the dancing couple. A twinge of sadness crosses his features. But when his eyes meet Phil's, he shakes off the feeling and manages a smile : Are n't they something? Over the music, they hear a CHIRP from the SHIP'S COMPUTER, then an announcement. COMPUTER Attention. Incoming packet. They all look at each other. This is it! Woody spins over to a console, shuts off the music. MCCONNELL It's SIMA.","INT. COCKPIT. DAY. MINUTES LATER The crew is gathered around a display screen. The lights are dim, reflecting up off their faces. By their expressions, we can tell the news is not good. CLOSE ON THE SCREEN It's a color, high - resolution satellite image of the Mars One Base Camp. Ghostly, dust - covered. No signs of life. WOODY Looks deserted. PHIL It's still standing, though. So is the ERV. And look, there's the greenhouse. MCCONNELL We know Luke survived for at least a few hours. Question is, are there any signs of recent activity? They all scan the screen. Phil spots something. PHIL There. He grabs a stylus and touches the screen. They all look. CLOSE ON THE SCREEN Using where the stylus touches the screen as the focal point, the image enlarges. THREE LONGISH DIRT PILES appear, some fifty meters from the hab. PHIL What the hell are those? McConnell gets it first. MCCONNELL Graves. They all realize he's right. They sit back, stunned. But then Phil has another thought. PHIL Hold on. There's only three. That means - TERRI Phil - PHIL It means Luke must still be - TERRI No. It just means there was nobody left to bury him. This quiets everyone for a long moment. WOODY Check the radiation levels. Phil keys in some commands and data pops up onscreen. PHIL Normal. WOODY Go to the disaster site. Phil uses the stylus to bring MORE IMAGES into view. The frame moves over the terrain in the direction of the Face, first in SWIFT BLURS, then slowing. Scattered rock debris come into view. The IMAGE ARRIVES where the mountain was, and they see. Debris in every direction, NEAT SPIRALS of it now, dropped uncannily into place, like some massive earth sculpture. As if - but this makes no sense - it had been swirled towards a LARGE CRATER. The crater itself is a perfect circle. They FOCUS on the CENTER OF THE CRATER, but the image gets distorted by STATIC. MCCONNELL What's wrong? PHIL I do n't know. Magnetic interference? Phil tweaks the stylus, but the image wo n't clear up. WOODY Go to infrared. Phil works the keyboard. THE SCREEN Goes to INFRARED, reading heat, The middle of the IMAGE, where the Face is, is still distorted, refusing focus. THE ASTRONAUTS Sit back, exasperated. PHIL Must be a problem with SIMA. I do n't see how an earthquake, six months ago, could give us this kind of distortion. MCCONNELL That was no quake. He leans closer, staring intently. WOODY Then what the hell was it? McConnell shakes his head. But his every sense is engaged ; he's like a predator just sighting his prey for the first time. We see in his eyes an utter determination to unlock this secret.","EXT. SPACE. DAY Mars Recovery is speeding ever closer to Mars, which now looms large, a dusty red mysterious sphere.","INT. MARS RECOVERY. LOWER HAB. DAY McConnell and crew are eating dinner while they watch a taped message from MMCR. CLOSE ON MONITOR SCREEN As Ray Beck addresses them. Other NASA STAFFERS, twenty or more, have crowded in behind him, and we sense their great hopefulness and high spirits ; the whole team's triumph is tantalizingly close now. BECK We're going to continue analyzing this data and try to determine what the problem is with those images. Frankly, we're just as stumped as you guys, but we'll keep on it. -LRB- glancing around. -RRB- We agree that the evidence of the graves is inconclusive and that a ground search is advisable. Be aware there are little sand storms kicking up near Mars One Base, but the big one you spotted is turning south. It should n't be a factor. Beck takes a breath, smiles. BECK We're all pretty excited here and we're sure you must be feeling the same. Enjoy your meal and get a good night's sleep. We anticipate that tomorrow morning you will be Go for Mars Orbital Insertion.","INT. MARS RECOVERY. LOWER HAB. DAY WHOOPS OF JOY from McConnell's crew. Woody and Terri high five each other. BECK God bless you and goodnight. End of transmission. The monitor screen GOES BLACK.","INT. MARS RECOVERY. LOWER HAB. NIGHT The lighting is subdued for a sleep period, but everyone's too restless. There's a low HUM of equipment.","INT. EVA AIRLOCK. NIGHT Terri and Phil are playing computer Monopoly under a single light. Terri is using touch - screen technology to move her piece. She glances at Phil. He has spread some M&M s out, letting them drift in mid - air as he performs his ritual weeding out of the red ones. She shakes her head. TERRI What if you opened up your meal packs and found that, instead of putting in everything but red ones, they'd made a mistake and put in only red ones? PHIL Hey, that's a funny notion. And what if in your meal packs, instead of brown rice, there were spring - loaded spikes that shot into your eyes? TERRI -LRB- pause. -RRB- How did you ever pass the psych evaluation? PHIL When you're schizophrenic, they take the higher score. He touches the screen to roll the dice.","INT. MARS RECOVERY. LOWER HAB. NIGHT McConnell, in his cubicle, looks away from the photo of Maggie. Haunted by memories. He rises, flips through the CDs in a storage case, pulls one out. He holds this carefully, hesitating, then feeds it into his computer. Immediately his screen saver vanishes and we see HOME VIDEO OF A PARTY An impromptu celebration, a bunch of friends gathered in a semi - darkened living room. The footage is HANDHELD, a bit jerky. People have paper plates of food, beers in hand, everyone is a little tipsy. Debra is there, Terri, Phil, Cote, Kirov, others. They're watching a STILL PHOTO SEQUENCE, shown on a large screen TV, with commentary by Luke and Woody. THE FIRST PHOTO Is of a small boy -LRB- YOUNG MCCONNELL -RRB- in his pajamas, kneeling in front of a Christmas tree. He's grinning ecstatically as he holds up a brand new model rocket. LUKE Jim's first ship was seriously underpowered. LAUGHTER at this. Some AD LIB CRACKS about the painfully bad haircut and the pajamas. THE SECOND PHOTO Is of a gawky - looking teenage girl -LRB- YOUNG MAGGIE -RRB-, standing on a porch at night, posing a bit self - consciously by a telescope on its tripod. WOODY Maggie was always starstruck. More LAUGHTER, plus some digs about the nerdy eyeglasses and braces. VIDEOCAMERA swings around the room, REVEALING the adult JIM and MAGGIE. They sit side by side on the hearth, leaning into each other, looking very happy. MAGGIE I'll get you guys for this. More LAUGHTER. Everyone's having a great time. The VIDEOCAMERA swings back towards the TV screen as THIRD PHOTO APPEARS Jim and Maggie, young adults, standing on the wing of a fighter jet. Both in Air Force flight suits, helmets in hand. Suntanned, cocky, flashing radiant smiles. LUKE When they met at the Air Force Academy, it was `` love at first flight.'' GROANS and LAUGHTER from the offscreen watchers. WOODY After that, NASA training was tough. All Jim could think about was exploring a heavenly body. More ribald LAUGHTER, as FOURTH PHOTO APPEARS Maggie and Jim, tethered together, floating weightlessly in space suits. LUKE But Maggie, as you can see, kept him on a short leash. Until. A FIFTH PHOTO Shows McConnell, in a dress uniform, leaning in to kiss Maggie, who wears a white bridal gown. WOODY Mission accomplished! ANGLE ON MCCONNELL, IN THE PRESENT As he smiles at this, hearing the renewed LAUGHTER and CHEERS, the AD - LIBBED DIGS from the video. He becomes aware he's not alone. He looks up. WOODY Stands in the doorway of his cubicle. Their eyes meet. They both smile, turning back to the video. Remembering. IN THE VIDEO Luke and Woody have stepped forward, INTO SHOT, standing at the sides of the TV, where the last photo lingers. Luke waves his hands, hushing everybody. LUKE Today we celebrate a new chapter in their story. And guys, it's a pretty historic one. Both men raise champagne flutes. WOODY Let's hear it for the newly - announced Captain and Co - Captain of Mars One. To Jim and Maggie! CHEERS at this, repeats of `` Jim and Maggie!'' Luke grins, giving a little signal, and we see A FINAL PHOTO Of Maggie in Jim's arms, both of them in goofy tropical vacation wear, smiling. Evidently a photo taken in the surf somewhere, but here it's been crudely superimposed onto a Martian landscape. Laughter greets this unlikely image. LUKE When you guys land, it'll prove once and for all there's no intelligent life on Mars. More hoots of LAUGHTER, CATCALLS, but Maggie jumps in to protest, as the VIDEOCAMERA SWINGS TO HER AND JIM. Terri sits nearby. MAGGIE Hey, c'mon, what if I'm right? ASSORTED VOICES Oh no, here we go! Do n't get her started! Somebody put on some music! MAGGIE It's our sister planet! PHIL Oh brother! LAUGHTER at this, and Maggie joins in. She's a good sport. TERRI Maggie, why does this have to be about us? Mars is a great opportunity for pure science. MAGGIE We'll do the science. And we'll do it very well. That's what we've trained for. But what if there's more? In all our myths, in every human culture, Mars has always held a special attraction. What if that means something? Only we do n't understand it yet. The mood of the party is changing, as everyone is caught up in Maggie's spell. She has a radiant simplicity. The VIDEO CAMERA DRIFTS IN ON HER ; we are caught up, too. MAGGIE The universe is not chaos. It's connection. Life reaches out for life. She looks at McConnell, smiles. He takes her hand. MAGGIE This is what we were born for, is n't it? To stand on a new world, and look beyond it to the next one. It's who we are. A silence ; the guests are enchanted by the purity of her passion. She smiles, suddenly self - conscious. She had n't meant to get so carried away. IN THE PRESENT - MCCONNELL Reaches out, gently taps the keyboard, FREEZING the screen. He and Woody, their eyes shining, stare at her image. A beat. WOODY You okay? MCCONNELL Yeah. I'm good to go. Woody glances at him. It's true. Rather than being saddened, McConnell seems to have taken on new strength. A renewed sense of wonder. MCCONNELL After all these years. Can you believe it? Tomorrow we'll be standing on Mars. Woody nods, smiles. WOODY You know what? She may have been right. McConnell looks at him. WOODY If that was n't a quake down there, then something else caused it. Or planned it. You're thinking the same thing. MCCONNELL It's never been out of my mind. WOODY Jesus. You realize what this means? McConnell nods. Looks again at Maggie's face on the screen. MCCONNELL She knew, Woody. She was the only one of us that ever thought there might be something down there. WOODY Yeah, and we're not leaving until we find out. Deal? McConnell nods. They clasp hands briefly. Deal. Then Woody turns. Before leaving, he hesitates just a moment, turning back. One last thought, and he does n't know he's going to say it until it comes out. WOODY Maggie was the best of us. McConnell looks at him, silent but grateful. Woody goes. McConnell turns back, looking at her smiling face, frozen on the screen.","INT. COCKPIT. NIGHT MARS LOOMS AHEAD OF US. As seen through the cockpit windows. Huge, beautiful, MUCH CLOSER now. We can make out swirling pink clouds, large surface features. It's just before Martian dawn, the next morning. MCCONNELL Range 6783 and closing. 35 minutes till Mars Orbital Capture. WOODY Okay, people let's look sharp. If we overshoot, there's no coming back. PHIL -LRB- O.S. -RRB- Yeah, and drifting through eternity will ruin your whole day. In the cockpit, Woody and McConnell are in the pilot and co - pilot's wearing space suits but not yet helmets. AS CAMERA PULLS BACK AND AWAY, we see them making instrument adjustments in preparation for MOI. TERRI -LRB- O.S. -RRB- Delta V systems initialized. WOODY Charge primary APU. TERRI -LRB- O.S. -RRB- Engaged. Charged. WOODY Select HPU fuel cells for run. TERRI -LRB- O.S. -RRB- Engaged. MCCONNELL Tie main bus to systems. PHIL -LRB- O.S. -RRB- Power ready. MCCONNELL Select H2/O2 HPU and fuel cells for open. PHIL -LRB- O.S. -RRB- H2/O2 control valves open. CAMERA TURNS, PUSHING DOWN INTO.","INT. EVA AIRLOCK. NIGHT Where Phil and Terri sit side by side at a pair of computers, relaying cockpit commands to the systems. WOODY -LRB- O.S. -RRB- Charge flow. TERRI Charged and on - line WOODY -LRB- O.S. -RRB- Reset PW. TERRI Set MCCONNELL Transfer protocol data from EVA station. PHIL Transferred. Awaiting track confirmation. There's a sudden LOUD, BRITTLE POP from somewhere overhead, and Phil's gloved hand, hovering over a computer screen, is punctured through and through. The screen itself is holed and spiderwebbed with a loud CRACK! PHIL Uhhh! PHIL HOLDS UP HIS HAND As he and Terri stare at it, dumbfounded. Thick droplets of blood leak out and begin to swirl away, sucked up towards the venting puncture in the hull over head. The astronauts' helmets dangle up there, awaiting use. TERRI What in God's - Suddenly we hear HIGH PITCHED ALARMS SOUNDING, then the PINGING OF MORE TINY MISSILES, slashing across the ship's outer skin. WOODY AND MCCONNELL Are staring back from the cockpit, reacting in astonishment to Phil's drifting blood and to the alarms. Then Woody suddenly understands. WOODY Micrometeoroids MCCONNELL -LRB- scanning sensors. -RRB- Breach hits in the hull! ANGLES ON TERRI AND PHIL As she seizes his wounded hand, tries to stop the bleeding. He's staring at a gauge. PHIL Outgassing! Losing pressure! TERRI Woody, seal the breech! ANGLE ON WOODY As he unbuckles, dives from the cockpit back down into the EVA, and floats quickly over to a storage hatch. He yanks this open pulling out a PATCH GUN Then spins around in zero - G, as his eyes track THE RISING DROPLETS OF BLOOD Which give a telltale hint of the puncture's location, somewhere up among the dangling helmets on the `` ceiling.'' WOODY PUSHES OFF Rising to this area, and shoves aside a helmet with a shattered faceplate - its label reads `` MCCONNELL'' - to REVEAL A BREECH IN THE HULL. Jagged metal edges, dangling insulation. The blood droplets are whirling out through here, going into the vacuum of space. Quickly Woody stuffs the muzzle of the patch gun into the puncture, firing a thick grey sealant. We hear MORE PINGS, ECHOING LOUDLY, but after a few seconds they DIMINISH, then abruptly STOP. The KLAXONS continue to wail. WOODY Kill those alarms! McConnell punches buttons, MUTING THE ALARMS, and they all strain to listen, faces tense and sweating. A long beat. But the meteor shower has passed by, as abruptly as it appeared. The astronauts turn, becoming aware of a strange phenomenon. PHIL'S BLOOD DROPLETS Have stopped in place, wobbling eerily as perfect spheres in the zero - G. Then suddenly they start moving again, faster and faster, in a new direction. Down through the open core tunnel that leads to the lower Hab. MCCONNELL Stares at a gauge that confirms what's happening. MCCONNELL Still outgassing in the lower Hab! There must be another hole down there, even bigger. PHIL Losing pressure fast! We're gon na decompress! WOODY Computer, how long until zero atmosphere? COMPUTER -LRB- after a beat. -RRB- Four minutes, nine seconds. PHIL If we get below 20 % atmosphere, the power will shut down! TERRI Are you sure? PHIL Positive! A vacuum inside the ship would cause a total electrical failure. The nav computers will fry! MCCONNELL -LRB- to Woody. -RRB- We'll lose all control. We wo n't be able to fire the engines to capture Mars orbit. Just then a computer screen flickers, freezes. Phil punches keys with his good hand. What he sees shocks him. PHIL It's already starting. The primary L - 1 hub has been smashed. The systems are crashing. Woody looks back at his crew, struggling to project more calm than he really feels. WOODY Everybody switch to suit oxygen. We beat this in the simulator, we can do it here. Jim, you've got the ship. I'm going EVA. They stare at him, stunned by their immense task. WOODY C'mon, people, let's go! Let's work the problem!","INT. EVA AIRLOCK. MOMENTS LATER Terri, now helmeted, is putting Woody's helmet on him, but something's in the way, chafing his neck. He reaches into his suit, pulls out. THE CHAIN From around his neck, with his little Flash Gordon rocketship dangling. WOODY HANDS THIS TO TERRI As they share a brief, loving glance, but there's no time for words. She tightens his helmet ring, and he brushes his gloved fingertips on her faceplate. Then he hurries towards the inner hatch door, where McConnell is throwing airlock switches. Woody and McConnell exchange a look. At the EVA computer panel, Phil is shutting down non - essential power drains, trying to get the main computer system back on line. His wounded hand makes this difficult and painful. PHIL Jesus, it's still bleeding. TERRI Keep the pressure on! COMPUTER Eighty percent atmosphere.","INT./EXT. AIRLOCK. NIGHT The outer airlock door is now open, revealing stars, as Woody drifts through it into space. He's now wearing the MMU, an oversized jet pack like the ones used by the shuttle astronauts.","INT. EVA ROOM. NIGHT MCCONNELL'S HELMET. With its shattered faceplate - now useless - drifts past Terri as she is wrapping med tape around gauze pads on Phil's glove. MCCONNELL Floats up to them, checking on Phil's work at the computer. TERRI Jim, you've got ta get your spare helmet from storage. MCCONNELL No time. Phil, can you keep the nav computers on - line? PHIL I ca n't get this damn machine to re - initialize! And the automated systems just went down. We ca n't shut down the hab rotation from here. MCCONNELL I'll do it from below. TERRI We're losing pressure. You could embolize. COMPUTER Seventy percent atmosphere. McConnell looks at her, knows she's right. But he starts off anyway. Phil reaches out his good hand. PHIL Jim, I've got an idea. If you guys can save enough atmosphere, I'll disconnect the power in the main computer bay, then jump start the systems. I'll do a hard boot. This is a radical, incredibly risky notion. McConnell stares hard at Phil. So does Terri. MCCONNELL Has that ever been tested? PHIL Are you kidding? These machines are much too valuable. McConnell looks from Terri to Phil. It's life and death. MCCONNELL Do it. Then he turns, and the CAMERA FOLLOWS MCCONNELL as he pushes away from the console and dives down into the core tunnel, heading towards the","INT. LOWER HAB where he emerges from the core into the rotating Hab deck, and pushes himself down a ladder toward the floor. He accelerates as he gets closer to the floor, then rights himself with a twist and lands on his feet - now in gravity.","EXT. MARS RECOVERY. NIGHT Woody, in the MMU, is hovering over the lower segment of the Hab hull, and right away we see his problem. He ca n't reach the damaged spot because it's spinning past him, spewing vapor. WOODY -LRB- over radio. -RRB- Jim, how we doin' on the AG?","INT. LOWER HAB. NIGHT McConnell runs to a computer terminal and starts clicking with the mouse. MCCONNELL Just one goddamn second. Come on, c'mon. COMPUTER Voice print identification. MCCONNELL McConnell! COMPUTER -LRB- a beat. -RRB- Accepted. Shutting down artificial gravitational rotation. McConnell hears a sound up at the core tunnel. He turns, it's Terri. She holds an small 0 - 2 cannister, marked with a red cross. MCCONNELL Hang on! McConnell grabs onto a counter edge as.","EXT. SPACE. NIGHT Attitude control thrusters on the hull begin firing in pulses. The rotation of the lower Hab deck immediately starts to slow down. The great red ball of Mars drifts by.","INT. CORE TUNNEL. NIGHT Terri, lurching, grabs a ladder strut, and watches from the tunnel as. MCCONNELL Is also jarred by the firing of the thrusters. The rotation slows until the Hab is still. Zero - G. McConnell floats. He and Terri can hear the terrifying sound of air whistling out into space through the breach hole. COMPUTER Sixty per cent atmosphere. WOODY -LRB- V.O. -RRB- Get some light on the hole so I can locate it. MCCONNELL I've got a better idea. -LRB- shouts to Terri. -RRB- Stay there! He starts rooting through Phil's storage area - bags of M&M s, comic books - looking for what he needs.","INT. COCKPIT. NIGHT Phil is now strapped into the pilot's seat. He's scared, sweating hard, but concentrating fiercely as his one good hand works a battery - powered screwdriver. He's removing the panel of the main computer bay. Over the intercom, he can hear the merciless struggle going on elsewhere. WOODY -LRB- V.O. -RRB- I'm topside, Jim, do you know which sector? MCCONNELL -LRB- V.O. -RRB- I'm workin' on it!","EXT. SPACE. NIGHT The lower Hab deck is no longer revolving. Woody pops his thrusters and drifts over the metallic skin. But there's such a vast area to search! WOODY Jesus, uh, OK, this is gon na be like searching for a needle in a haystack.","INT. LOWER HAB NIGHT McConnell locates a can of Dr. Pepper, shakes this violently, then tosses it up to Terri, who's still in the tunnel mouth. She catches the drifting can, confused. When McConnell speaks again, he's gasping for air. MCCONNELL Shake out the liquid. TERRI Jim, I do n't - MCCONNELL Shake it out near the hull! Terri shakes out soda from the open can. She and McConnell watch the brown stream of fluid swirl up into the air, caught by escaping oxygen. It rises towards the `` ceiling'' of the outer hull, like a miniature tornado.","EXT. SPACE. NIGHT Woody still drifts over the hull, searching intently as his frustration builds. WOODY C'mon, c'mon, where are you? COMPUTER -LRB- V.O. -RRB- Fifty per cent atmosphere.","INT. LOWER HAB. NIGHT Terri, staring at the ceiling, sees something remarkable. THE SODA STREAM Swirling ever tighter, has formed a whirlpool that's now being sucked out through the breach hole in the hull. She can now see the ugly puncture for the first time. MCCONNELL -LRB- gasping. -RRB- Woody, the breech is in sector four! Sector four, copy that? WOODY -LRB- V.O. -RRB- Copy, I' heading there now. Terri turns, excited by McConnell's triumph ; she's just in time to see him collapse to the floor below her, as he starts to lose consciousness. He's deathly pale.","EXT. SPACE. NIGHT Woody spots a tiny geyser of brownish ice crystals spouting out of the hull of the lower Hab. It's some distance away from him, but clearly visible. WOODY -LRB- to himself, marveling. -RRB- Sonofabitch. You never did that in the simulator.","INT. LOWER HAB. NIGHT Terri pushes off from the ladder, drifting weightlessly down to McConnell. She opens the valve of the oxygen cannister, pushing the plastic mask over McConnell's face. He sucks in air, color returning to his skin as he revives.","INT. COCKPIT. NIGHT CLOSE ON THE COMPUTER'S GUTS. An incredible tangle of tubes, wires, chips, as Phil's gloved fingers - both hands now - probe desperately through them. PHIL Where are you, you little bastard, where are you? PHIL WINCES WITH PAIN. As he moves his hands and forearms deep inside the computer bay. Around him, several of the smaller screens and gauges are starting to malfunction, the data streams breaking apart, streaking into electronic snow. He shoots a tense glance at THE NAVIGATIONAL MONITOR Which is flickering crazily. It shows the ship moving much closer to its critical MOI point, indicated by a flashing red triangle aimed down at the Martian surface. COMPUTER Forty percent atmosphere.","EXT. SPACE. NIGHT Woody, popping his thrusters, moves as fast as he can towards the protruding finger of crystal, but he's not there yet. All of a sudden Woody's thrusters cut out. The ship is moving by, a meter beneath him. Woody punches his arm controls. Nothing. Then just as the outer edge of the hab starts to pass him, the thrusters kick back in. Woody grabs the edge, starts to move to the hole. Woody lets out a breath. WOODY -LRB- to himself. -RRB- Whoa.","INT. LOWER HAB. NIGHT McConnell, holding his breath, grabs a patch gun from a storage locker. Terri's still got the 0 - 2 cannister. He nods to her, and together they push off from the floor, leaping weightlessly up to the other side of the Hab, the `` ceiling.'' They reach the gaping puncture, which they now see has been only partially dammed by the soda ice.","INT. COCKPIT. NIGHT VERY CLOSE ON THE COMPUTER'S INTERIOR As Phil's gloved fingers finally locate the plug he's been searching for. He hopes. And grip it firmly. PHIL Gotcha! PHIL TAKES A DEEP BREATH. Says a silent prayer. Then he yanks the plug. SHRILL WHINES, ELECTRONIC CRACKLES from all around him, as the systems are abruptly shut down, in a way they were never meant to be mishandled. Terrifyingly, a couple of the monitors arc to each other as they die. Dodging sparks, Phil stares at THE NAVIGATIONAL MONITOR As it also flickers and dies. Now they're flying blind. COMPUTER Thirty percent atmosphere.","EXT. SPACE. NIGHT Woody arrives at the ice finger, knocks away the big crystal, then pulls his patch equipment from a pouch.","INT. LOWER HAB. NIGHT In the Hab, Terri uses the base of the 0 - 2 cannister to smash away the interior ice chunk, then McConnell, who's getting wobbly again, blasts the hole with the epoxy gun. As he works, Terri gives him another hit of air. COMPUTER Twenty percent atmosphere. The lights flicker out in the Hab.","EXT. SPACE. NIGHT Outside, Woody slaps a big square patch over the hole, rips off the backing. CLOSE ON THE PATCH As it changes color and shrinks, drawing itself down into the metal of the hull.","INT. COCKPIT. NIGHT VERY CLOSE ON THE COMPUTER'S INTERIOR. As Phil's fingers re - connect the same plug. PHIL PULLS HIS HAND OUT From inside the computer bay. He's trembling, sweat - streaked inside his faceplate. Blood has soaked through his gauze pads. His good hand hovers over the red main power switch. The moment of truth. PHIL OK. OK now. With a dramatic click, he throws the switch, hard - booting the computer system back on. He stares at the screens. Nothing happens! PHIL Come on. Come on! Frightened, furious, Phil bangs on the switch with his cordless screwdriver. When all else fails, hit something.","INT. LOWER HAB. NIGHT Feeble starlight from the viewports. McConnell and Terri, drifting side by side, stare at one another, expecting to die within seconds. It feels like an agonizing eternity. COMPUTER Twenty percent atmosphere. McConnell's eyes widen, as he realizes this is the same as the last reading. COMPUTER Pressure stabilizing. Atmosphere level increasing. Terri and McConnell look at each other. Tears of relief in her eyes. He is exhausted, nearly spent, but manages a grin. She holds the 0 - 2 mask up to his face, and as he grips it, breathing deeply, they hug one another.","INT. COCKPIT. NIGHT The lights and computer screens are flickering back on. All of them! The cockpit lights up like a Christmas tree. Phil bounces up and down like a madman, babbling in triumph. PHIL Yes! Awriiiight! Had it all the way. Yes! Forgetting his injury, he pounds his gloved fist on the console in triumph. PHIL Shit! He wrings his injured hand, then his gaze is caught by THE NAVIGATIONAL MONITOR Which pops back on, showing the ship and the MOI point coming perilously close together. PHIL'S EYES WIDEN IN FEAR As he keys his mike urgently. PHIL Get back in here, guys!","EXT. SPACE. NIGHT Woody floats above the repaired hole, scanning the nearby surface of the hull. WOODY Jim, there's a lot of scarring. I'd better check for other punctures while I'm out here. MCCONNELL -LRB- V.O. -RRB- Negative, negative. Woody, get back inside. We've got ta start the checklist for orbital insertion. WOODY -LRB- a beat ; reluctantly. -RRB- Copy, I'm heading there now. Woody jets back towards the open EVA hatch. But as he reaches this, about to re - enter the ship, he's captured momentarily by a breathtakingly beautiful sight below him. SUNRISE OVER MARS As the huge planet is REVEALED in all its red, unearthly glory. It's so close now that individual features can be seen with the naked eye - the vast chasm of Valles Marineris, and then Olympus Mons, poking all the way up through the Martian atmosphere. A stunning, alluring spectacle. WOODY Stares down at Mars, enthralled, as sunlight floods the side of the spaceship, sparkles off his visor. Dawn, after a very long night indeed. He whispers lovingly, under his breath. WOODY Hey, Beautiful. Then he stirs himself out of his reverie and hurries through the EVA hatch. CAMERA DRIFTS QUICKLY BACK and down along the hull as stark sunlight flares off the big propellant tanks, three in a row, and the thick silver tubes that join them. There's a good deal of scarring and denting from the meteor shower. Then, as the ship begins to MOVE OUT OF FRAME. WE MOVE IN CLOSER On one of these tubes, a feeder line to the engine bells, we see a scatter of tiny, undetected holes, about the size of the eraser at the end of a pencil. So small, so apparently harmless.","INT. EVA AIRLOCK. DAY As Woody enters, stripped from the MMU, dripping with sweat, McConnell is waiting for him. For a moment the two men just look at each other, then they surge forward into a fierce hug. WOODY -LRB- whispers. -RRB- Know what? You've got enough left. McConnell looks at him, understands. Terri sits nearby, where she has just finished stitching up Phil's hand. As Woody goes to her, she rises from her seat and looks at him tears of relief and pride in her eyes. TERRI Piece of cake? WOODY Well. Easier than the cha - cha. He scoops her into his arms ; they kiss passionately. Phil is blinking ; something seems to be getting into his own eyes. His voice catches for a moment. PHIL I do n't know what you're getting so cocky about. We scored better times in the sim at least twice. MCCONNELL -LRB- grins. -RRB- How's his hand? Terri separates from Woody, looks down at Phil. TERRI Seems OK. Couple of the tendons are going to be a little tight for awhile. Try to close your fingers, Phil, nice and slowly. Phil starts curling up his fingers. The middle digit remains extended in the universal gesture. They all consider this for a moment. Then Phil looks up cheerfully. PHIL Well, at least I'll still be able to drive. After a split - second they get it, and the whole crew roars with LAUGHTER, which builds and builds ; they're almost giddy with the relief of the tension.","EXT. DEEP SPACE. DAY MARS RECOVERY Sails INTO VIEW, with small attitude thrusters firing as the great ship maneuvers into position for its orbital - capture burn. Mars looks very large, blood - red. The entire spectacle is majestic, awe - inspiring. WOODY OK, we're ready to light this candle. Go/No Go for braking burn and MOI. Engines?","INT. COCKPIT. DAY All four astronauts are strapped in, fully suited and helmeted. Mars looms through the cockpit windows. The atmosphere is electric with excitement. MCCONNELL Go. WOODY Systems. TERRI Go. WOODY Nav. PHIL Go. WOODY We are Go for the burn. I'm fueling the engines. He flips three switches, in rapid sequence, and.","EXT. MARS RECOVERY. DAY As we MOVE IN on the damaged fuel line, we see a tiny but steady spray of fuel venting from the hole caused by the meterorite. This freezes into eerie streamers and chunks, which slowly drift away from the ship. They're quite beautiful. PHIL -LRB- V.O. -RRB- Optimum angle of entry minus seven degrees. Six. Five.","INT. COCKPIT. DAY Woody looks at the others for moment - everyone is set, looking good - then reaches for a last switch. PHIL Four. Three. Woody hesitates, then glances at McConnell. WOODY Jim? McConnell, moved by this honor, nods. He reaches out to throw the switch himself. MCCONNELL Let's go to Mars. As the countdown indicator reaches `` 0000.00.00'', a final signal PINGS, and he flips the switch.","EXT. MARS RECOVERY. DAY In total silence, the engines ignite. The second they do, the streamers of frozen fuel explode in a white flash.","INT. COCKPIT. DAY With alarms sounding, the four astronauts are slammed violently forward, against their restraints. WOODY What the - MCCONNELL Shut down engines! He and Woody both reach out, straining against the incredible G - forces, and manage to grab a red emergency lever, yanking it down hard.","EXT. MARS RECOVERY. DAY Too late! IN SLOW MOTION, we see a terrifyingly violent chain reaction. The fuel tanks themselves explode, one after another. The supporting metal struts are vaporized. The solar panels are snapped off. Two of the huge engine bells are smashed sideways, out of alignment, while the third, trailing pieces of the cowling, goes hurtling off, PAST CAMERA, like a flaming cannon ball. The entire aft section of the ship, including much of the lower Hab, instantly becomes a shredded, charred tangle of metal, and even worse, the explosion causes what's left of the ship - mainly the EVA chamber and cockpit - to tumble end over end, cartwheeling down towards Mars.","INT. COCKPIT. DAY In the windows, Mars goes crazily in and out of view. The astronauts, flung this way, then that, are all fighting against unconsciousness. WOODY Engines negative! No response! I've got no attitude control! MCCONNELL Manual separation! Blow the bolts! WOODY Negative! The CM does n't have enough thrust to correct this rotation! PHIL We're too steep! Falling into the atmosphere!","EXT. MARS RECOVERY. DAY From further away, the charred remainder of the ship can be seen spinning down towards Mars, which now fills the screen, looming as large as Earth, when seen from the space shuttle. The ship's motion is mercifully slowing as it hits the outer atmosphere, but just as clearly this steep, unplanned angle of entry dooms it. PHIL Christ, at this angle we'll burn up!","INT. COCKPIT. DAY ON A COMPUTER. Their ANGLE OF ENTRY is shown - much too direct - with an indicated swerve into blinking red disaster. Warnings flash : CRITICAL ENTRY! PULL OUT! WOODY How much time've we got? PHIL I do n't know! Three minutes? I do n't know! McConnell's mind is racing furiously, desperately. MCCONNELL Where's the REMO? PHIL The Resupply Module? Why? That's not - MCCONNELL Where is it?! Phil punches buttons. ON THE SCREEN a second ellipse appears : a blinking orange dot labelled `` REMO.'' It appears to be soon intersecting with their own trajectory. PHIL Uh, it's close. MCCONNELL Damn it, how close?! PHIL -LRB- shaken. -RRB- I - I do n't know. It'll take time. MCCONNELL We do n't have time! Figure it out! Now! Phil frantically types in commands on the computer. WOODY Jim, we're dead stick, there's no way to maneuver this ship into a link - up! MCCONNELL Not the ship. Just us. We have to go EVA. They look at him, stunned. Leave the ship? PHIL You want us to transfer in suits? TERRI Jesus, Jim - if we do n't make it - if we miss the REMO. MCCONNELL There's no other choice! Phil, how close?! PHIL One kilometer, that's the best I can do! They stare at Woody. We feel the full, terrible weight of his responsibility. Four lives hang on his call. WOODY Prepare to abandon ship.","EXT. SPACE. DAY The astronauts are outside the ship, tethered to each other with long shock cords. Other cords, clipped to their suits, trail gear bags. Phil clutches a silver metallic case - his precious computer repair kit. Woody is in the MMU. They're all rotating at the same speed as the ship behind them. WOODY On my mark, seven percent left thruster. Three, two, one, fire. All four astronauts fire a brief, simultaneous burst from the tiny attitude control thrusters in their suits. This stops their rotation, bringing their travel under control. The ship continues spinning in the background. Woody takes a final look at the charred, doomed Mars Recovery. The only home they've known for six months. He exchanges a silent glance with the others. They all expect to be dead in the next few minutes. Woody takes a breath, nods. WOODY Okay. Let's go. He pops the big thrusters on the MMU and starts heading away from the ship. The cord between Woody and the others pulls taut and they start to follow. WIDE SHOT Of Woody leading them away from the crippled spaceship, against the magnificent backdrop of the blood - red planet below. Four tiny figures, all alone in space. ANGLE ON MCCONNELL AND THE OTHERS As Phil looks back, his eyes searching the stars. TERRI What're you looking for? PHIL -LRB- softly, sadly. -RRB- Earth. TERRI -LRB- beat. -RRB- Hey. When we get back? We really will have to try this in the sim. He tries to smile. So does she. MCCONNELL How we doin' on fuel, Woody? Woody eyes a small display screen on his forearm. WOODY I'm at fifty percent. -LRB- looking down. -RRB- But I do n't see the REMO. THEIR POV Everyone is looking back at the curve of Mars against black space, expecting to see the REMO coming up behind them. TERRI Happens to glance directly below. TERRI There she is! THEIR POV The black outline of the little cargo craft drifts against the red of Mars. WOODY Jesus. She's not where I thought she'd be. PHIL We're going to miss her. WOODY Looks again at his display screen, frustrated. MCCONNELL What do you think? WOODY We ca n't catch it. Not like this. MCCONNELL -LRB- thinking quickly. -RRB- Use the tether. From a compartment on the side of the MMU, Woody pulls out. THE TETHER GUN About the size of a large flare gun. There's a carabiner - like hook five inches in diameter on the front of the gun. MCCONNELL We'll only have one, maybe two shots before she's out of reach. WOODY It'll be better if I leave you the gun while I run out to the REMO. I've got enough fuel left for that. MCCONNELL You'll be going too fast. WOODY I'll aim to overshoot, then brake like hell ; arc it in. McConnell looks at him. They both know how risky this is, and they also know it's their only chance. Woody flips a switch on the gun and pulls on the hook. Off it comes, trailing wire. Woody clips the hook to the MMU, then hands McConnell the gun. WOODY Seeya in a few. McConnell nods. Woody and Terri exchange a look - tender, loving - then Woody turns around and fires the MMU jets at full throttle. As Woody pulls away, line unspools from the tether gun. WOODY AND THE REMO Woody is chasing the REMO from above. It's as if he were in an airplane, trying to land on a car racing along a freeway. Woody is picking up speed quickly. Maybe too quickly. He checks his armpad display screen. WOODY Okay. I'm on path to overshoot. I'm gon na take the edge off. Woody starts braking with the MMU thrusters as hard as he can. CLOSE ON THE THRUSTERS Glowing with orange flame. They suddenly cut off. WOODY'S EYES Show alarm. He checks his display. WOODY I'm out. Coming in hot. Still long. -LRB- beat. -RRB- Abandoning the unit. I'll brake with suit jets. Woody hits some buttons and the MMU's latches snap open. He grabs the hook connected to the tether line, then pushes himself free of the MMU, starts firing his small suit jets. WOODY'S POV He's still going very quickly. WITH MCCONNELL, TERRI AND PHIL Floating close together. The tether line is still unspooling from the gun. They watch Woody, below and ahead of them, as he races towards the REMO. Terri's heart is in her throat. TERRI Oh Jesus. Jesus. McConnell reaches a glove out, touching her arm. BACK ON WOODY Still speeding towards the REMO. His suit jets cut out. WOODY Suit jets gone. But I'm gon na make contact. MCCONNELL, TERRI AND PHIL Stare at Woody's distant figure. INTERCUT - MCCONNELL At what velocity? WOODY Impact's gon na be a little rough. MCCONNELL At what velocity? WOODY -LRB- beat. -RRB- Thirty - two. A look between McConnell and Terri ; her face is stricken. MCCONNELL I'm gon na use the gun to slow you. WOODY No! You slow me and I'll fall short. MCCONNELL It's too fast, Woody. WOODY No choice. I'll be okay. Here we go. WOODY AND THE REMO Woody's coming down on the module at over thirty kilometers an hour. He holds the hook out in front of him with one hand while grabbing the tether line with the other, and WHAM! - he crashes into the REMO. WOODY'S HAND Slams the hook against a receiver on the hull of the REMO. IT CONNECTS - WOODY Tries to hold onto the tether line but his momentum is too much. HIS GLOVED HANDS Are ripped from the line. WOODY Slides over the hull of the REMO. HIS HANDS Grasp in vain for something to grab onto. They drag and bump and then finally his fingers close on. empty space. WOODY Is past the REMO, freefalling toward Mars. BACK ON MCCONNELL, TERRI AND PHIL As Terri screams. TERRI Woody! McConnell hits a button on the tether gun and starts to reel them quickly in towards the REMO. WOODY Tries his suit jets again - they're empty. HIS POV Falling away from the REMO. MCCONNELL AND THE OTHERS Are being reeled towards the REMO by the tether line. Another couple hundred meters to go. MCCONNELL Woody, what's your status? INTERCUTTING - WOODY -LRB- after a beat. -RRB- Uh, well, no suit jets and I'm still carrying a good deal of velocity. MCCONNELL As soon as we get hooked up, I'll come get you. WOODY -LRB- after a beat. -RRB- Uh, I'd have to say negative on that, Jim. MCCONNELL Negative on the transmission? WOODY No, I heard you. Negative on the maneuver. I am not retrievable. McConnell and Terri share a quick, anguished look. TERRI Woody, that's not possible. You're not going that fast. WOODY It comes down to the amount of fuel, honey. The suit jets were designed for attitude control, not travel. Retrieval just wo n't work. PHIL It has to work! WOODY Hey, believe me, I do n't like it any more than you do. TERRI Woody - WOODY Run the numbers, Jim. MCCONNELL I am. McConnell finishes looking over the numbers on his display pad. Terri is staring at him. When McConnell's eyes meet hers, they are red - rimmed. Haunted. MCCONNELL Woody, you hang tight. We'll get into the REMO, fire her up, drop her into a lower orbit and come scoop you up. WOODY Sounds good, Jim. TERRI It's gon na take half an hour to get the REMO reoriented! Woody'll be. He'll be in the atmosphere by then! MCCONNELL Then we'll have to get her moving faster. TERRI We do n't have time! WOODY You listen to Jim, honey. It's a good plan. TERRI No! We are going to - PHIL Oh Jesus, look! The ship! Phil points. McConnell and Terri look. THE MARS RECOVERY COCKPIT Is now several kilometers below and behind them. It's glowing red. then orange. then white. Then it erupts into a giant fireball, devoured by friction with Mars' atmosphere. MCCONNELL, TERRI AND PHIL IN DEEP SPACE Are all staring at this, awed, when McConnell happens to look up again. He sees something alarming. MCCONNELL Look out! THEIR POV They are drifting quickly into the REMO. MCCONNELL Brakes! ALL THREE Fire their suit jets, slowing themselves down. They bang into the REMO at about one - tenth the speed Woody did. They find handholds and grab on. McConnell hits a button on the tether gun. THE HOOK Releases from the REMO's hull. McConnell hits another button and it is reeled all the way into the gun. Phil is already scrabbling at a latch on the REMO's outer airlock door. MCCONNELL Okay, let's get inside! Phil, start dumping the cargo, or there wo n't be room for us. PHIL But we need those supplies for - MCCONNELL Dump the cargo. Hang on, Woody! WOODY Is looking back at the REMO. Smiles with relief to see that Terri has reached it safely. WOODY Will do, Jim. He turns to look at. MARS Right below him, filling his field of view. A long beat. WOODY -LRB- softly. -RRB- Hey, Beautiful. BACK AT THE REMO Terri makes a snap decision. She grabs the tether gun from McConnell's surprised hands, then pushes off from the REMO. McConnell lunges after her, his gloved hand straining. MCCONNELL Terri, no! But it's too late. She's already out of reach, and now fires her suit jets, pulling quickly away from the REMO. MCCONNELL Is reaching to activate his own jets, when PHIL'S HAND Grabs at his wrist, restraining this suicidal courage. They stare at each other. McConnell wrenches his hand free, half - maddened, agonized, staring after Terri. MCCONNELL Goddammit, Terri, it wo n't work! But Terri keeps on going. WOODY Looks back at the REMO, as he continues to fall towards Mars. Sees the small figure of his wife heading towards him. WOODY Terri, what are you doing? INTERCUT - TERRI I'll tell you what I'm not doing, Woody. I'm not going to watch you die. WOODY Terri - TERRI You'd do the same for me. AT THE REMO Phil is watching as Terri drops towards the distant twinkle of Woody's suit lights. The airlock door hangs open. Phil looks at McConnell, anguished. MCCONNELL Get inside. Dump the cargo, then start the systems. -LRB- Phil hesitates. -RRB- Now. INTERCUTTING BETWEEN WOODY AND TERRI As Woody keys his mike. Tries to steady his voice. WOODY No. I would n't come for you. Not if it just was n't possible. TERRI I can do it! WOODY No, Terri, you ca n't! You do n't have enough fuel to get me, stop us both, and get us back. Hell, you come any farther and you wo n't have enough to get back yourself. No response from Terri. WOODY Listen to me, goddammit! You have to stop! You have to stop now! MCCONNELL He's right, Terri. It's no use. Terri looks at her armpad display. CLOSE ON DISPLAY SCREEN As her fuel indicator drops from 50 percent to 49 to. TERRI Releases her thumb from the toggle control. HER SUIT JETS Stop firing. TERRI Drifts, staring towards Woody. TERRI AND WOODY Are on the same trajectory, going the same speed, and only about a hundred meters apart. But it might as well be infinity. WOODY Okay, honey? You got ta go back now. TERRI The hell I do. Terri raises up the tether gun and pulls the trigger. THE HOOK Comes shooting out of the gun, wire spooling out behind it. WOODY Watches as it comes shooting down toward him. PLATE POV - MOVING - AS Woody gets larger and larger, the hook gets closer and closer, and then SNAP! - the hook stops. ANGLE ON THE TETHER GUN The wire has run all the way out. WOODY Looks at the drifting hook, ten agonizing meters away from him. His only life preserver. TERRI Hits the button and the wire starts winching fast back into the gun. WOODY What are you doing? TERRI I'm gon na jet a little closer and try again. WOODY Terri, you spend any fuel getting closer, you wo n't get back, and if anyone tries to get you, they'll die too. No response from Terri. THE HOOK Is whipping back toward Terri and the gun. Woody's voice cracks ; he's very close to tears. Pleading now. WOODY Honey, please go back. Go back and help everyone get down to the surface. The hook slams back against the muzzle of the gun. Terri resets the gun quickly, in an anguished fury. TERRI I am not losing you. WOODY I ca n't let you do it. I ca n't. I'm sorry. TERRI Looks at Woody, two hundred meters away, sensing something different in his voice now, a terrible resolve. TERRI Woody? WOODY Raises his hands to his helmet ring. His eyes shining. WOODY I love you, Terri. God how I love you. He unscrews the ring, pops the seal. The outrush of air pushes his helmet all the way off. Woody shuts his eyes and opens his mouth. TERRI Woody, nooooooo!! Ice crystals bloom with Woody's last breath. There's nothing to suck in. He does n't fight it. He lets death come. ANGLE ON TERRI Tears streaming, chest heaving, frantic. TERRI Woody, oh Woody, please God, no! HER THUMB Hovers over her suit jet toggle control. McConnell's voice, from the distance, sounds very tired. Like he's aged fifty years in the blink of an eye. MCCONNELL Come back, Terri. Terri's thumb is still poised. Death would be better. ANGLE ON MCCONNELL Outside the REMO. The hatch is still open. We see Phil inside, staring out anxiously towards Terri. MCCONNELL -LRB- quietly, simply. -RRB- He's gone. He sees no movement from the distant, small figure of Terri. MCCONNELL Please, Terri. -LRB- long beat. -RRB- We need you. TERRI'S THUMB Pushes the toggle control. to one side, not forward. TERRI'S FACE Inside her helmet, is streaming with tears. She turns herself around, reluctantly. Heads slowly back towards the REMO.","INT. INTERNATIONAL SPACE STATION. MMCR. DAY On the big screen at MMCR, a glowing green icon labelled `` MARS RECOVERY'' is shown in orbit, as a stream of computer figures crawls beside it. SUPER TITLE : `` SPACE STATION. MMCR. 20 MINUTE TIME LAG'' Beck stands by the NEW CAPCOM, as the latter repeats headset data. NEW CAPCOM Okay, they're Go for the burn and MOI. Should be initiating the burn just about. now. Suddenly the data stream goes crazy. It shivers, streaks, breaks up. then stops. The blinking green icon representing Mars Recovery glows brighter. then vanishes. A moment of stunned silence in the big room. Then a rising babble of scared, confused voices. RAY BECK Takes a step forward, staring helplessly at the screen. His face goes pale, stricken. His worst nightmare is taking place, right before his eyes - and for the second mission in a row.","EXT. REMO. MARS ORBIT. NIGHT The REMO is now on the night side of Mars. Cargo boxes, packing cases and assorted equipment containers float outside. The hatch is sealed.","INT. REMO. MARS ORBIT. NIGHT McConnell hovers by a bulkhead. He's anguished, haunted by the image of Woody's death. We see him struggling to overcome his grief and shock, trying to force himself to concentrate on the critical tasks at hand. In front of him, a panel has been opened ; he's facing SMALL UTILITY MONITOR Already glowing, surrounded by coded switches, indicator lights, com ports. MCCONNELL Stares at these, thinking hard, remembering. He's holding a palm - sized computer, already wired into this panel. He begins tapping the keys, but then stops himself. Reconsiders. He turns, looking back at TERRI AND PHIL Hunched on what would be the floor if the REMO were on land. They grip stowage straps to keep from drifting. Clearly this tiny, rude cargo craft was never designed for manned operation. It's claustrophobic, bitterly cold. PHIL'S FACE Is a map of torment. He is shivering, both from cold and fear, barely holding himself together. He hugs his computer supply case like a scared child would hug a teddy bear. TERRI Is worse. A thousand - yard stare. She's in shock. MCCONNELL Knows he has to occupy them. Speaks softly. MCCONNELL Phil? -LRB- no response. -RRB- Hey, Phil? Phil looks up at him dully. MCCONNELL We're going in blind. We'll deploy the chutes by laptop. I need to get on the data bus, put in a software patch, and try to soften this tin can's landing. I could use your help with the patch. After a moment Phil releases his strap, pushes towards McConnell. He stares numbly at the monitor for a few beats, then takes the little computer from McConnell. He begins to tap the keys, slowly at first, but then with more confidence. MCCONNELL That's great. Good job. -LRB- turning to Terri. -RRB- Hey, Terri, I was wondering. Think maybe we could rig some kind of seatbelts out of those cargo straps? Terri hesitates a moment, then looks at the strap in her hand, as if she's never seen it before. Dully she reaches for another one, begins looping them together. MCCONNELL Studies both of their faces intently. Knows that he ca n't push them too hard, too fast. They're moving like robots, but at least they're moving.","EXT. REMO. MARS ORBIT. NIGHT. (MINUTES LATER) Small thrusters are firing, getting the REMO into position for entry into the atmosphere. Then all the jets fire in unison, braking the REMO, as it falls away from us, towards Mars at night.","INT. REMO. HIGH ATMOSPHERE. NIGHT The astronauts, restrained on the floor by Terri's jury - rigged strap system, hold on for dear life. The buffeting through the atmosphere is shaking them violently. BEHIND THEIR FACEPLATES We see the effect of the incredible g - forces : faces distorted, unable to focus their eyes. Each of them thinking, once again : Now I'm going to die.","EXT. MARS ONE BASE CAMP. NIGHT The Mars One Base Camp looms in the foreground, like some desolate, otherwordly ghost town. And then, in the night sky beyond it, we see an eerie and beautiful sight : a bright streak of red as the REMO slashes down into the Martian atmosphere, like a shooting star, finally disappearing behind distant mountains. Then all is stillness again, deathly stillness and silence.","INT. INTERNATIONAL SPACE STATION. VIEWPORT. DAY Beck stands by a viewport, staring out into space. He's just lost four good friends, and also knows he is seeing, in this disaster, the probable end of the Mars Program, and the certain end of his own career. He does n't, at first, even hear the nearby VOICE. NEW CAPCOM Ray? We've got some new data, just coming in. Beck looks up, his eyes red - rimmed. The CapCom shifts uneasily. He's holding a computer printout. NEW CAPCOM We just - it does n't make any sense. We're not sure how to read this. BECK Data? NEW CAPCOM Yes sir. Telemetry reports the REMO has left its orbit and reached the Martian surface. BECK -LRB- pause. -RRB- Crashed? NEW CAPCOM No sir. Under power. Beck snatches the paper, staring at it. For the first time we see some life coming back into him. BECK When? NEW CAPCOM Sixty - three minutes after Mars Recovery went off - line. Sir, the graph reads like a controlled descent. But that does n't make any - Beck suddenly understands. And it's a joy to see his face, the tears of happiness that spring into his eyes. BECK They used the REMO as a lander. The CapCom stares back at him, feeling the same surge of hope. BECK It's McConnell, it's got to be! Nobody else could have pulled this off. Son of a bitch! They're alive.","EXT. MARTIAN SURFACE. MARS ONE BASE CAMP. DAY POV ANGLE - WIDE As we see the Mars One Base Camp : silent, very still. In the distance, the massive ERV still looms, perched for takeoff, the bottom rungs of its ladder buried. PANNING We see that sand has drifted high against the Hab, as well as the sides of the partially - deflated tunnel and greenhouse, and the four - man rover. The oxygen still and propellant plant are almost buried. Solar panels, some of them punctured by micrometeors, FLAP and CREAK eerily in the slight breeze. And finally, CLOSER TO CAMERA We see the camp's American flag, still on its toppled pole, but nearly obliterated by sand. ANGLE ON MCCONNELL, TERRI, AND PHIL Who are spooked by this desolation. They've paused at the edge of the camp. They have dragged along with them from their landing site a crude sledge, improvised from the REMO's hatch cover and some cargo straps. On this, their meager supplies. McConnell, glancing at the others, knows he's got to keep their spirits up. He kneels, digs out the flag pole. Brushing off the sand, he rights this and re - plants it firmly in the ground, packing the sand down with his boot. He stands for a moment looking at the flag, his eyes moist. Despite the cost, they have made it to Mars. When he turns, Terri and Phil are looking at him, moved. MCCONNELL Better? PHIL -LRB- pause. -RRB- Damn right. MCCONNELL Terri, let's see if that oxygen still is operational. Phil, you better check out the ERV. I'll take the Hab. If you find Luke's - He catches himself. Phil and Terri look at him. MCCONNELL Just keep in touch.","EXT. ERV. DAY Phil steps from the umber sand onto the ERV's ladder, begins to climb. The four - man rover is nearby, sand drifted high against its tires.","EXT. OXYGEN STILL. DAY Terri kneels by the oxygen still, begins to scoop away sand with her gloved hands. She still looks numb.","EXT. HAB. DAY MCCONNELL -LRB- on radio. -RRB- I'm at the main airlock door. He unlatches a panel, grips the emergency lever inside, tugs it. After a seeming eternity, the door groans and creaks open. Little puffs of dust and sand swirl about, settle. MCCONNELL Entering Hab.","EXT. ERV. DAY Perched atop the ERV's ladder, Phil, using a battery - powered drill, is just removing the final screw from the hatch cover. He lifts off the heavy cover, lets it tumble to the sand. PHIL I've got ERV access. I'm going in. Terri, you okay?","EXT. OXYGEN STILL. DAY Terri is still scooping sand. She's just cleared the first row of gauges. TERRI Yeah. This is gon na take awhile to get back to 100 % capacity.","INT. MARS ONE HAB. DAY McConnell walks through the kitchen, which we recognize. He pauses to look at the table from which Luke and his crew taped their final, fateful message. HIS BIRTHDAY CUPCAKE Still sits there, eerily, with its stub of burned - out candle. Half - finished, frozen cups of coffee. Suddenly, out of the corner of his eye, he catches a flash of white. He spins, startled, and sees HIS OWN REFLECTION. In his white pressure suit, staring back at him from the screen of a video monitor. Above this is perched the camera the Mars One astronauts used for their comm packets. MCCONNELL SHIVERS This place is filled with ghosts.","INT. ERV COCKPIT. DAY Phil, in the pilot's seat of the ERV, pushes a computer's power button. The screen flickers weakly to life, startling him a bit, but all he sees on it are white streaks, crazy static. PHIL ERV appears structurally intact. Computers are fried, just as we thought.","EXT. OXYGEN STILL. DAY Terri has cleared more gauges, valves. She sits back on her heels, studying the tangle of pipes. TERRI Copy that. I've got busted filters here, clogged intakes. Helluva cleanup job, but so far no major damage.","INT. GREENHOUSE. DAY AN INNER AIRLOCK DOOR WHOOSHES OPEN, AND MCCONNELL ENTERS. THEN STOPS, ASTONISHED. HIS POV On a fantastic, almost jungle - like atmosphere. The plants have been allowed - encouraged? - to grow wildly. Some are even pushing against the inflated roof. Water condenses on the leaves and the roof, then is captured and routed through pipes of every shape and size, dripping into a clever assortment of collection jars. Liquid water. MCCONNELL Reaches into a bucket, touches the water. His glove comes up before his wondering eyes, dripping. Grasping the implication, he looks down at his forearm instrument pad. Blinking red letters read `` 25 deg. C.'' And something else - the puffy white material of his suit is starting to slightly deflate, revealing his arm's shape. There's air pressure in here! MCCONNELL Punches in more numbers, and gets the readout : `` Nitr. 78 % / 02 20 % / C02 1 % / Trace gasses 1 %.'' MCCONNELL Slowly reaches up, unsealing the neck ring of his helmet. He hesitates, then lifts it off. Takes a deep, quenching lungful of pure air. Holds it in. Lets it slowly out. For a moment he does n't trust his own voice. Then speaks softly towards his helmet. MCCONNELL I'm in the greenhouse. You better. you better come see this for yourselves.","INT. ERV. DAY Phil, still sitting at the cockpit controls, turns. Through a side viewport he can just make out the greenhouse. PHIL What is it? There's no answer. He rises.","EXT. OXYGEN STILL. DAY Terri rises, concerned, and turns. Through the distant, translucent wall of the greenhouse, McConnell's shadowy figure can be seen, moving slowly. TERRI Jim?","INT. GREENHOUSE. DAY McConnell sets down his helmet, starts exploring, pushing through fronds as he makes his way down an aisle. The dripping foliage is so dense it almost chokes his path. Everywhere he looks, he has the sense of a scrounged - together, recycled, jury - rigged environment, where a great deal of ingenuity has come into play. He pauses, looking up. Overhead, a bellows, stitched together from pieces of plastic tarp, slowly inhales and exhales, pumping air into a vent in the upper deck of the Hab. Its power comes from a crude water wheel, a buckets - and - strut assemblage, tidily sutured with duct tape, like some giant Erector set. As McConnell turns away from this, still marvelling, a ragged figure leaps through the foliage! It smashes into him, with a HARSH SCREECH, knocking him to the ground. McConnell, on his back, straddled by his attacker, fights back as best he can. A blur of flailing arms and fists, as he tries to push the creature away. Staring up, he catches a glimpse of the almost unrecognizable LUKE GRAHAM Whose frightened eyes glare back at him through a swaying curtain of dreadlocks. His skin is creased, weathered, above a scraggly beard. His clothes are tattered, patched together. In one fist he grips a rock hammer, which he swings high overhead, about to drive the claw through McConnell's skull. McConnell grabs his arm desperately, trying to fend him off. MCCONNELL Luke, it's me! Jim McConnell! We see a flash of uncertainty in Luke's eyes. Then he yanks his arm free, and his hammer arcs up even higher, trembles in the air. LUKE You're not here! MCCONNELL Luke, it's Jim! LUKE No, no, you're not. you ca n't be here. MCCONNELL Your wife is Debra! Your son is Bobby! You were reading Treasure Island with him! As he stares down at McConnell, Luke's eyes finally light up with recognition. but before he can move, he is seized from behind and flung backwards to the ground, the hammer ripped from his grasp, as Terri and Phil pinion his arms. McConnell scrambles to his feet. MCCONNELL Do n't hurt him! McConnell kneels beside Luke, signalling to Terri and Phil that it's okay to let him go. They stand back, pulling off their helmets. Everyone is panting, out of breath. Luke sits up, slowly studying their features, one after another, as if still not quite certain whether they might vanish. His voice is hoarse, rusty from disuse. LUKE Phil. Terri. Luke looks with incomprehension at McConnell. LUKE Jim. I do n't understand. You're not supposed to be here. Why are you here? Where's Woody? MCCONNELL He did n't make it Luke. Luke stares at McConnell, trying to absorb everything. He looks to Terri, who looks down. LUKE Oh no. Luke shakes his head in dismay. He seems to shrink in on himself. It's all too much for him to take in. McConnell kneels and puts his arm around Luke, comforting him.","INT. ELSEWHERE IN THE GREENHOUSE. DAY (MINUTES LATER) Luke sits on the side of his cot, in the little tented sleeping area he's created in one corner of the greenhouse. Nearby, his hotplate, pots, and some freshly harvested vegetables and greens. The others crouch around him. MCCONNELL Luke, what happened here? A flash of fear in Luke's eyes. LUKE -LRB- whispers. -RRB- We fired the radar. It came. They all died. MCCONNELL What came? LUKE They all died, but I was spared. Why? Had to be for a reason. Then, all of a sudden, I knew why I was spared. His voice drops to a conspiratorial whisper. LUKE So somebody would be left to figure out the secret. He taps his forehead, significantly, then nods once or twice. The others exchange an uneasy glance. MCCONNELL Luke, we still do n't understand. LUKE Come. Comecomecome. He rises quickly and scuttles off, waving an impatient hand, without waiting to see if they'll follow. McConnell, Terri and Phil stare after him for a long moment. Phil breaks the silence. PHIL Is it just me? Or is he about two mealpacks short of a picnic? TERRI Long term exposure to low gravity can have an adverse impact on the brain. He could be suffering from a form of asphyxia. MCCONNELL Or maybe his whole crew died and he's been marooned alone on Mars. Let's give him time to adjust. McConnell and Terri follow in the direction Luke went. Phil, trailing, mutters to himself. PHIL Greatgreatgreat.","EXT. MARS ONE BASE CAMP. DAY Luke, now in a patched - up pressure suit and grubby - looking helmet, stands peering down unhappily at the improvised sledge, with its meager supplies. McConnell, Terri, and Phil walk up behind him, wearing their helmets again. They hear Luke over his RADIO. LUKE So. let me be sure I understand this. Your ship blew up, with all its supplies. Then you emptied the cargo out of the REMO, and it was totalled on landing. You've got no food, no water, no spare oxygen, nothing but what I see here? McConnell and the others are silent, embarrassed. Then McConnell nods. Luke looks at him, a cracked grin. LUKE What kinda rescue mission is this? MCCONNELL That kind. He points to the computer repair case, as Phil lifts it off a sledge. Luke turns, looks at the case, then Phil. PHIL Check it out. New nav boards for the ERV. I got four round - trip tickets, baby, right in here. LUKE -LRB- softly. -RRB- Four. In some mysterious way, this reminder of Woody's death seems to bring him fully back into himself. He takes Terri by the shoulders, deeply saddened. She meets his gaze. LUKE Terri. I'm so sorry. He was a good man. TERRI Thanks, Luke. LUKE When there's time, we'll talk. She nods, grateful. A beat. He looks at the others. LUKE This way. He starts off across the sand, and they follow.","EXT. GRAVE SITE. DAY They stand looking down at the three long mounds of dirt, as Luke completes his account of the disaster. LUKE When I came to and dug myself out of the sand, my faceplate was cracked. Leaking badly. I barely made it back to Base. It was weeks before I could work up the nerve to go back out there and look for their. He has to pause, collect himself. LUKE Renee was the only one I could find. But it did n't seem right, somehow, to dig just one grave. There is an emotional silence. Luke turns, takes a few steps. He stares into the distance, observing the swirling dust around them. McConnell hesitates, notices Luke's gaze. MCCONNELL Has it been blowing like this for a while? -LRB- Luke nods. -RRB- We saw a big storm from space. But Micker said it was turning south. Luke looks off into the distance, studies something only he seems to see. LUKE If it holds course. McConnell pulls his gaze away from the horizon, looks at Luke. MCCONNELL This - whatever it was - this force. You say it came directly out of the top of the mountain? LUKE You do n't believe me. That's okay. But I'm not crazy, Jim. McConnell is n't quite sure how to reply to this. MCCONNELL What did you mean by its `` secret?'' What secret? LUKE -LRB- pause. -RRB- You better see for yourselves.","INT. MARS ONE HAB. DAY McConnell, Terri, and Phil follow Luke into the Science Lab area of the Hab, then stop in their tracks. Their helmets are off. It's very cold in here ; their breath is frosty. THEIR POV - The Lab is crammed with rock and sand samples from many locations, all tagged and labelled. There are drawings and diagrams covering the walls : Martian landscapes, annotated maps, and over and over, obsessively repeated, drawings of the vortex that destroyed the Mars One crew. LUKE See, where they made their mistake was, they must've planned for it to be visible from Earth. The others turn, looking at him. Luke is aiming an electric space heater at his computer. As the coils glow red, he rubs his hands together, poised over the keyboard. MCCONNELL Who's `` they''? Luke reacts to their blank stares. He has a kind of jittery feverish intensity, a secret excitement. LUKE Do n't you understand? Hundreds of millions of years have gone by. You've got erosion, sand storms, lava flows, meteor impacts - hell, in that much time, the whole surface would've changed. So no wonder we never saw it before. Well, I mean, we saw it, but not like they meant us too. Too much dirt on it. The others exchange worried glances. Is he totally nuts? TERRI Saw what? LUKE This. On the computer screen they're looking at. CLOSE ON THE MONITOR Pictures of the Face after the disaster, seen from ground - level, in telephoto views. Rising out of a ring of rock and dirt rubble is the shiny - white profile of a gigantic face. The white is smooth, impenetrable. It has the scale of a mountain, but the planes and angles are clearly unnatural. MCCONNELL, PHIL AND TERRI -LRB- INT. MARS ONE HAB. -RRB- They are stunned. Can hardly believe their eyes. PHIL Jesus. TERRI What is that? LUKE I do n't know. But whatever it is, somebody built it. And not us. A few moments of silence while they try to absorb this. MCCONNELL What about the sound? That signal you heard before the explosion? LUKE Good, Jim, good. That's the key. A click of the mouse and they all HEAR, over speakers, the DEEP PULSING BASS TONE. LUKE Hear the pauses? That's what made me realize it's a pattern - a repeating pattern. MCCONNELL Mathematical? Luke is trembling with excitement. His words tumble out very quickly. He's been waiting so long to share this. LUKE That's what I thought. There are distinct blocks in the pattern, and within each block the tones come in groups of three. Threethreethree. For months I struggled to analyze it, trying different constructs. Then I thought about dimensions. MCCONNELL X - Y - Z coordinates. LUKE Right! Three groups equals three dimensions. So I tried assigning different graphic values to each block, group and tone. And finally I got. this. He types another command. They all look at the monitor, the glow reflecting on their faces. They are amazed again. CLOSE ON THE MONITOR Where we see the beautiful interlocking chain, the universally familiar double helix, of a DNA molecule - the elegant blueprint of life. BACK TO SCENE -LRB- INT. MARS ONE HAB. -RRB- PHIL My God. Is that what I think it is? TERRI DNA. that's a model of DNA! LUKE You see it, too. Thank God. I was afraid I was just suffering from a form of asphyxia. She glances at him, surprised that he overheard her earlier diagnosis. But he smiles, not offended. PHIL So, okay, so - somebody left this thing here, somebody - other than human. But what the hell is it? LUKE My guess is, it's a signature. A self - portrait of whatever species created the Face. MCCONNELL But that DNA looks human. TERRI No way. It's missing the last pair of chromosomes. See? MCCONNELL Yeah, but it's close. Damn close. TERRI The difference between a man and an ape is less than three percent of genetic material. But that three percent gives you Mozart. Einstein. PHIL Or Jack the Ripper. They look at him. Then all four turn, stare again at the slowly rotating DNA, pondering its awesome mystery. MCCONNELL When he finally speaks, never takes his eyes off the screen. We can read in them the almost overwhelming grip this mystery has on his imagination. MCCONNELL It's been a long day. Let's get a couple hours sleep, then tackle this thing when we're fresher. Phil, your first priority will be to get the motherboards over to the ERV. Concentrate on getting communications up first. -LRB- Phil nods. -RRB- Soon as we've got the juice, we'll send a packet to Micker, tell them Luke's OK, and that. everything else that's happened. The rest of us will take an inventory of supplies, see where we stand. Okay? The others nod in weary agreement. As they start out, towards the relative warmth of the greenhouse, Terri looks at Luke, at his scraggly beard and his long, lank hair. She smiles, brushing some locks off his forehead. TERRI C'mon. There's a pair of scissors in my medkit.","INT. MARS ONE HAB. ANOTHER SECTION. NEXT MORNING As in the Science Area, this space has enough thin oxygen for the astronauts to remain unhelmeted. McConnell and Luke are still going through what few supplies were salvaged from the REMO. Luke pauses, rubbing the unfamiliar smoothness of his cheek. His beard is gone, his hair neatly trimmed. McConnell enjoys Luke's own wonder at his transformation. MCCONNELL How do you feel? LUKE Like I just got back my other three percent. McConnell smiles. Terri enters through the hatch, removing her helmet. TERRI The backup generator is salvageable, and two of the solar panels. I'm pretty sure I can get the oxygen still back into production, too. So we're not in such bad shape, considering. LUKE Good work, Terri. McConnell, rummaging through Phil's backpack, drops an already - opened bag of M&M s. The CANDIES scatter and bounce all over the floor. MCCONNELL Look at that. Phil's idea of absolute essentials. Luke and Terri smile. McConnell scoops up the fallen M&M s. He slows down as he does it, looking at the scatter of little round CANDIES. Something tugging at the back of his mind.","INT. MARS RECOVERY. EVA AIRLOCK. DAY Phil's intricately designed M&M model of his `` ideal woman'', floating weightlessly, as McConnell drifts past it, plucking away a couple pieces of the candy. Phil reacting, in good - natured annoyance. The gap in the design left by McConnell's theft.","INT. MARS ONE HAB. ANOTHER SECTION. DAY CLOSE ON MCCONNELL As he trembles with excitement. With sudden comprehension. MCCONNELL It's not a signature. LUKE -LRB- puzzled. -RRB- What? MCCONNELL That noise from the Face. It's not a signature. It's a test. Luke and Terri stare at him.","INT. MARS ONE HAB. MOMENTS LATER McConnell sits in front of the computer back in the science lab area, staring once again at the mysterious DNA model. Luke and Terri stand behind him. McConnell's energy, his new certainty, is almost electrifying. MCCONNELL It's asking us for the right answer. It wants us to put in the missing pair of chromosomes. LUKE But why? MCCONNELL To prove that we're human. Terri and Luke look at each other, starting to understand. LUKE We fired radar into that thing. Concentrated sound waves. MCCONNELL Which it interpreted as a wrong answer. Yes! It's like a, a security alarm. When it gets an incorrect response, it defends itself.","INT. ERV COCKPIT. DAY Phil is listening in on radio. He's got panels open, wires dangling, as he works his ongoing repair. He keys his mike, uneasily. PHIL So what happens when it gets the right answer?","INT. MARS ONE HAB. DAY As McConnell looks at Luke and Terri. MCCONNELL -LRB- hesitates. -RRB- I do n't know. But we've got to find out. -LRB- to Luke, pointing. -RRB- Can you work this the other way? Figure out which tones would be equivalent to the missing chromosomes? Then dub them into your recording of the signal? LUKE I think so, yes. MCCONNELL What about the radar gun? Will it accept that input? Can we transmit a completed signal back to the Face? Luke stares at him, startled by what he's implying.","INT. ERV COCKPIT. DAY Phil is also growing increasingly nervous. PHIL Whoa, whoa, hold on, Jim. What if you're wrong? Whoever goes out there. I mean, what if you're wrong? Three people have already died over that thing.","INT. MARS ONE HAB. DAY As Luke and Terri look tensely at McConnell. TERRI Four. McConnell looks at her. MCCONNELL Terri, if we leave here without getting some answers, they all died in vain. Terri shakes her head. TERRI We just do n't know enough about that - that thing out there to take any more chances. MCCONNELL What are we here for, if not to take chances? His passion startles them ; they've never seen him so emotional. He points at the computer screen. MCCONNELL This means we're not alone. It means we're on the brink of the greatest discovery in mankind's history. But we've still got to prove it. Who knows when someone else will get back here? Or if they ever will? You know what Congress is like. They'll say it's too dangerous, too much loss of life, let's go back to unmanned flights. We could be the last explorers to come here for decades. We're it, guys. -LRB- pause. -RRB- We're it. LUKE -LRB- quietly. -RRB- We do n't have to go out there. There's a better way. They look at him, surprised.","EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY The familiar, plucky little figure of ARES - 8 wheels across ocher sand, with the radar gun jury - rigged onto its back. Ares' video snout WHIRRS out, extending. The familiar bass rumble of the Face is very loud from here. LUKE Checking video feed.","INT. MARS ONE HAB. LATE DAY McConnell, Terri, and Phil have gathered around Luke as he pushes buttons, and a monitor CRACKLES to life. White streaks, then a blurry image, which he tries to enhance. Finally the image starts to sharpen. LUKE There! ON THE MONITOR They see the familiar stark white profile of the FACE, shot from ground level, in a SLOWLY APPROACHING ANGLE. THE FOUR ASTRONAUTS Stare at the ominous sight. They're all more nervous than they want to show. Luke's fingers delicately work a joystick as he maneuvers the remote surveyor. MCCONNELL How close do we need to get? LUKE I'm not sure. Maybe we better stop by that boulder.","EXT. MARS. THE FACE. LATE DAY Ares - 8 whines to a stop by a large boulder, which partially shields it from the Face, looming beyond. The radar gun swivels, locating its target. Then stops, ready to fire.","INT. MARS ONE HAB. LATE DAY Luke looks at Terri, Phil, and McConnell. Phil shuts the lid of the box holding the new nav boards, snaps it protectively down. He nods. Terri takes a deep breath, then she nods. Luke's hand hovers over the red firing button ; a moment of awesome uncertainty and danger. He looks at McConnell, who finally gives a nod of command. Then Luke hits the button.","EXT. MARS. THE FACE. LATE DAY From the radar gun on Ares - 8's back, a sharp, high - pitched electronic burst is emitted, pulsating like a tuning fork as it's fired towards the Face. After a few seconds it stops. For a moment nothing happens. Then the deep bass rumbling stops as well. The only remaining sound is of WIND, stirring up dust on the Martian plains. ANGLE ON THE FACE As suddenly a huge, curved segment of the white surface begins to rise from the earth, like a gigantic hangar door, sliding out of sight into an upper sheath of some kind. The movement is measured, stately, utterly silent. As the segment rises, it reveals a blinding white light : the interior of the Face. No inside details can be seen.","INT. MARS ONE HAB. DAY McConnell, Luke, Terri and Phil stare at this phenomenon, awed. They're barely breathing. PHIL Oh my God. LUKE It worked. It worked! MCCONNELL Check for radiation. Luke punches buttons, waits anxiously for a readout. LUKE Normal. Seismic. normal. Anemometer steady. No sign of the vortex. PHIL I do n't know what we did, but guys - does that look to you like a hostile gesture? TERRI No. More like an invitation. LUKE Or another test. McConnell is staring at the mysterious opening. On his face, a growing look of determination. MCCONNELL Luke, the four - man rover. Does it still work? The others look at him, their expressions changing as they realize what he's implying.","EXT. MARS ONE BASE CAMP. LATE DAY McConnell, once again helmeted, emerges from the Hab airlock. Luke, Terri and Phil are coming out behind him. The wind has picked up, and fine dust is blowing. They stop, staring off in astonishment towards A FRIGHTENING SIGHT The entire sky has darkened from its customary salmon into purplish - black at the horizon, with bloody streaks above. The DUST STORM has turned their way ; it's now sixty kilometers away and closing. The main body of it reaches two thousand meters above the surface and stretches out along a thousand - kilometer front. THE ASTRONAUTS Stare at this unholy juggernaut, alarmed. McConnell turns to Luke, whose expression is grim. MCCONNELL How long before it hits? LUKE An hour? Maybe less. MCCONNELL How bad? LUKE A storm like that? It could go planetary. And last a year. McConnell stares at him. LUKE It'll sock us in, Jim. We wo n't be able to take off. If that happens, with what few supplies we've got left? We'll starve to death. McConnell turns, staring off towards the killer storm. The others look at him with questioning gazes. He turns again. There's the four - man rover, ready to go. Waiting. MCCONNELL Phil, how much longer to prep the ERV? PHIL Maybe forty - five minutes. It'll be tight, but we can make it. MCCONNELL Then there's still time for us to get out there and back. He looks a question at Luke and Terri, one after the other. Their eyes, tense but excited, signal agreement. MCCONNELL Stay here. Continue the repair. If something goes wrong, you get out of here before that storm hits. PHIL Go back. alone? MCCONNELL If we're not back in forty - five minutes, I want you to prep and launch. -LRB- looks at his armpad display. -RRB- That's 1950 hours. PHIL Jim - MCCONNELL It's not a suggestion, it's an order. You understand? PHIL -LRB- reluctantly. -RRB- I understand. But - MCCONNELL You understand what? PHIL If you're not back by 1950, I prep and launch. McConnell nods, satisfied. Looks at Terri and Luke. MCCONNELL Let's go. They start towards the four - man rover. Dust is swirling more thickly through the air, and the WIND IS LOUDER NOW. Phil stands watching them go, a lone, rather forlorn figure.","EXT. PLAINS OF CYDONIA. DUSK In a WIDE SHOT, we see the rover approaching the Face, across the plains. The sky beyond the Face is almost black, as the storm approaches from that direction. It's marching relentlessly across the planet, with flashes of lightning now rippling up and down its face, and even small tornadoes spinning off near its purple - black base.","INT. ERV COCKPIT. DUSK Phil has panels off. He's reaching into the guts of the main computer, working feverishly. His repair kit is beside him.","EXT. MARS. THE FACE. DUSK In a HIGH SHOT, we look down across the side of the Face and its vast, open doorway, out of which the bright white light is streaming. Into this corridor of light, we see the rover arrive, slewing to a stop, throwing sand from its wheels. GROUND LEVEL SHOT Looking at the cavernous vertical gap in the side of the Face. The opening towers to a dizzying height above us ; the white light strains our eyes. The three astronauts ENTER FRAME as we see them, from behind, staring up. ON THE ASTRONAUTS' AWED FACES As they are stunned by the immensity of the scene, the cosmic mystery before them. Luke and Terri look at McConnell. Another moment of critical decision. He keys his mike. MCCONNELL Phil, do you read me?","INT. ERV COCKPIT. DUSK Phil keys his own mike. PHIL Yeah, Jim. Your signal's breaking up a little in the storm, but I read you.","EXT. THE FACE. DUSK McConnell stares into the bright opening. Bathed in its light. MCCONNELL We're at the Face. We're gon na need a few minutes here. Same deadline, launch at 1950. With or without us. Do you copy? PHIL -LRB- pause. -RRB- Copy that. Terri and Luke exchange a tense glance. TERRI Jim, are you sure you want to do this? MCCONNELL I'm not sure of anything anymore. But I did n't come a hundred million miles just to turn back in the last ten feet. Luke smiles. The three of them stare into the portal. McConnell, between the others, reaches out and grips each of them by a gloved hand. They take a sort of collective breath. Then they walk forward together, into the light.","INT. THE FACE. DUSK The astronauts continue forward, each of them extending a free hand. The light is too dazzling for them to gauge distances, textures, colors - anything at all. They ca n't see walls, ceiling, even a floor. MCCONNELL Surface seems firm and level. LUKE Roger that. Texture is smooth. TERRI I've got good footing and no obstructions. Let's check our - Behind them, there is an abrupt WHOOOSH, like a giant airlock sealing shut. They turn, startled and nervous. Letting go of each other's hands, Luke and Terri run back the way they came, but almost immediately are stopped by a wall of some sort. The vast hangar - type door has closed behind them. TERRI It's solid again! We're trapped. MCCONNELL Do n't move! Keep this orientation. The three scared, helmeted faces seem to float in the brightness, some twenty feet apart. MCCONNELL -LRB- keys his mike. -RRB- Phil? Phil, can you still hear me?","INT. ERV COCKPIT. DUSK Phil, saying a silent prayer, reaches over and turns on the main computer. It works! He's immensely relieved. PHIL Computers are online! Ready to load software. But guys - we're losing visibility here. He glances out the cockpit window at the blowing dust. Then realizes that he's hearing only silence over his radio. PHIL Guys? Jim? Luke? Terri? Is anyone there? No answer. Phil stares at his radio in dread. PHIL Do n't leave me.","INT. FACE. DUSK McConnell is staring at his spacesuit's sleeve. He can see that the suit material is starting to deflate, revealing the shape of his arm, just as it did in Luke's greenhouse. He hesitates, then begins to unscrew the sealing ring on his right glove. Terri and Luke see this. TERRI -LRB- alarmed. -RRB- Jim, what're you doing? You'll depressurize! MCCONNELL I do n't think so. McConnell makes the final twist on his glove and there's the hiss of rushing air. LUKE Jim, seal it! MCCONNELL No. That was air going into my suit, not out. Look at your own suits - they're not rigid anymore. We've got pressure in here. Luke looks at his sleeve. McConnell's right. TERRI Above Mars atmospheric? That's impossible. MCCONNELL We're millions of miles from Earth and we're inside a gigantic white face. What's impossible? Terri types on her arm keypad. She's amazed. TERRI There's six psi in here. -LRB- taps more keys. -RRB- Nitrogen and oxygen. LUKE Otherwise known as air? Terri nods. McConnell starts unscrewing his helmet ring. Luke follows suit. TERRI Hey, there may be some lethal trace gasses I have n't picked up yet, or. or. oh, the hell with it. Terri starts taking off her helmet. In a few moments, all three helmets are off. They hold them, glowing softly, against their chests, as they breathe deeply and gratefully. Air. And then, at this very moment, as if they have just passed another kind of test. HIGH, STRIATED WALL Appears through the glare, soaring up before their startled eyes. White, metallic, composed of complexly - linked bands, plates, ramps. It's part of a STRUCTURE whose overall height and breadth keep us from understanding its purpose. But the hatch opening slowly in its side, at the top of an approach ramp, is unmistakable. Radiant white light streams out from within, forming a glowing tunnel, down towards the astronauts. THE ASTRONAUTS BLINK Raising their gloves against the dazzling glow. At the end of this tunnel of light, inside the hatch frame A SHAPE MATERIALIZES And slowly resolves itself into a glowing humanoid form, which we somehow sense is female. She appears benign, wondrous. This glowing MARTIAN - a holograph - regards the astronauts for a few moments, then beckons to them, as if to say `` Enter.'' All her motions are both calm and calming - precise, unhurried, gracious. MCCONNELL, LUKE AND TERRI Look at each other. They're awed into silence, and still tense, but now more out of excitement and anticipation than fear. Their eyes agree : Let's go. They walk forward slowly, carrying their helmets, up the ramp and into the tunnel of light, following the Martian, who retreats before them. They go through the hatch and disappear inside.","INT. MARTIAN STRUCTURE. DUSK Following the Martian, they find themselves in a round, open space, defined by light, with a smooth matte - metallic floor, but without apparent walls. The Martian stops, turns, facing them. The astronauts stop, too, uncertain what they're meant to do. Then the Martian gestures again. A cylindrical holographic column appears, rising from the floor in front of the astronauts. Inside it, a swirl of eerie lights, millions of them, like cosmic fireflies. MCCONNELL, LUKE, AND TERRI Set down their helmets, then cautiously converge around this column, forming a loose triangle. As they stare into it, the myriad lights are reflected off their own eyes and their spacesuits. IN THE HOLOGRAPHIC COLUMN The whirling lights resolve into images, which relate to them the story of ancient Mars : A BLUE PLANET we do not recognize. All is peaceful, beautiful. INTERCUT MCCONNELL -LRB- softly. -RRB- Is that what I think it is? LUKE Yeah. It's Mars. SUDDENLY A HUGE ASTEROID Tumbles through space towards the planet. TERRI Oh my God. ON THE PLANET - CLOSER VIEW As thousands of small rocketships lift away from the surface, heading in a stream out of the solar system. THE ASTEROID IMPACTS And a wall of fire and debris scours the planet. Oceans boil and vaporize. Two gigantic hunks are blasted out of the planet, spinning in flames. MCCONNELL, LUKE, AND TERRI Involuntarily flinch, bathed in the fiery images. THE PLANET IS NOW DEAD As dust storms roil across its cold, lifeless surface. The flaming hunks of molten rock cool into twin moons. THE ASTRONAUTS Stare at this devastation, deeply moved. IN DEEP SPACE The stream of Martian ships grows smaller and smaller as it continues on its epic voyage towards a new solar system. Then we zero in on ONE PARTICULAR ROCKETSHIP As it peels off and goes in another direction. Graphics show a model of what the ship contains : the familiar double helix of DNA. The ship heads towards another blue planet in our solar system. EARTH As it was then. More clouds than now, more ocean, and the landforms all wedged together. TERRI Her voice is soft. TERRI Earth, when it was still Pangaea. Before the continents separated. THE LONE MARTIAN SHIP Makes a fiery streak through Earth's atmosphere and plunges into the ocean. Instantly the image of the DNA double helix grows, filling the entire holographic column, then it begins to spin and pulse, disintegrating into a phantasmagoric whirl of new images. MCCONNELL, LUKE, AND TERRI Cry out, stunned by the strobelike power of the display as LIVING FORMS Flash into the holographic column, swimming, growing, crawling, leaping, flying : one - celled microscopic organisms, plankton, plants of all kinds, insects, then fish, dinosaurs, birds, small mammals, larger mammals - the entire stunning panorama of evolution, distilled into a single explosive sequence, as the images wash over the dazzled, awestruck FACES OF THE ASTRONAUTS Until finally the images whirl away, the holographic column dissolves, leaving only a circle of glowing, concentric, colored rings on the floor. The astronauts are left staring at each other across the open space where the column had been. THE MARTIAN Now comes forward with outstretched arms and completes their circle, taking the fourth position. McConnell is opposite her glowing form, and Terri and Luke are at either side. The Martian reaches her arms out, inviting them to link hands. As they do so, the Martian seems to be staring directly into McConnell's eyes. MCCONNELL Is in wondrous awe, his whole face radiant with joy. It's the first time we've ever seen him utterly without sadness or reserve. Staring at the Martian, he understands. MCCONNELL They're us. We're them. LUKE We're Martians? MCCONNELL That's what she means. TERRI Oh my God. The Cambrian explosion. McConnell and Luke look at her. TERRI Almost six hundred million years ago, there was a sudden expansion of life on Earth. The first multi - celled plants and animals appeared. No one has ever understood why. LUKE They seeded Earth. We hear a BELL - LIKE TONE, a single lingering high note, and simultaneously the outermost ring of the circle on the floor begins to glow brightly. It is an intense chromium yellow. THE ASTRONAUTS Step back, startled, unlinking their hands, and look at the circle of colored rings. These shade from yellow, on the outer rim, to a deeper yellow, then orange, then finally reds. Inside the final, deep red ring is a circle of indigo blue, about a meter across. Small points of light glitter here, like stars against a midnight sky. THE MARTIAN Steps closer to McConnell. She has picked him out in particular. Now she beckons for him to move inside the circle of colored rings, to stand on the indigo core. MCCONNELL Looks back at her, nods his understanding. For the first time she seems to smile. Benevolence, reassurance. Then as abruptly as she first appeared, she fades away. Vanishes. Luke and Terri look at McConnell, confused. There is a sudden, static - filled CRACKLE from their helmets, nearby on the floor. PHIL -LRB- over radio. -RRB-. in, please. Can you. me? Terri picks up her helmet, leans into its mike. TERRI Phil, we're here! We read you. Even through the scratchy interference, they can hear the relief in Phil's voice. And then the desperation. PHIL Thank God! Listen, this storm is really -. -LRB- loud static. -RRB- - few more minutes, I ca n't -. -LRB- more static. -RRB- You've got ta get back to the ship! And then they hear only STATIC. His signal is lost. TERRI Phil? Phil? Suddenly the BELL - LIKE TONE REPEATS, at a lower register, with a more sustained note, and simultaneously, the last of the yellow circles of light begins to fade, as THE FIRST ORANGE BAND Begins to glow brighter. McConnell turns, looking at this new color, then looks back at Luke and Terri. MCCONNELL We are in a ship. This is a ship. And the countdown has already started. Terri looks at Luke, alarmed. LUKE He's right. TERRI Then let's get the hell out of here! She scoops up Luke's helmet, tosses it to him. As he catches it, she's already starting back out, in the direction they came from, and Luke follows her. Until they both become aware that McConnell is n't with them. They turn back. He's still rooted to the spot, his gaze locked on the indigo core of the colored rings. LUKE Jim. McConnell does n't turn. LUKE Jim, we got ta go. MCCONNELL I'm not coming with you. TERRI -LRB- stunned. -RRB- What? Coming back, she sees how calm he is. How certain. TERRI What are you talking about? We've got to get home. MCCONNELL That's where I'm going. Do n't you see? That's what all this is for. -LRB- McConnell gestures at the ship around them. -RRB- You were right Terri. This is an invitation. To follow them. To follow them home. He looks into their faces. Terri is trying to grasp this idea, still incredulous. Luke has the beginning of a half smile. MCCONNELL I have to go. This is the mission now. To find out who we are. Is n't that why we came here? Like Maggie said, `` To stand on a new world and look beyond it to the next one.'' Luke nods at the memory of Maggie's words. Terri remembers too. McConnell's passionate conviction is affecting them both. MCCONNELL You know, when you think about it - I was n't even supposed to be here - all the accidents, everything that got us to this point, it's just. it's just. I just know it's right. Terri looks at Luke. Luke is smiling. He understands. MCCONNELL I'm okay. I know what I'm doing. But you're running out of time. You've got ta get back to the ERV and get off this planet. Now please go. Luke steps closer, looking at his old friend. LUKE I once felt like I was taking your turn. But now I think maybe you're taking mine. Guess I'm a little jealous. They clasp hands for a moment. But in this moment is a lifetime of camaraderie, an eternity of farewell. LUKE Thanks for saving my life. MCCONNELL My pleasure. Luke nods, deeply moved. He turns away, picking up his helmet, as Terri comes closer, looking at McConnell, a long unspoken beat. Her eyes are glistening. TERRI I wish Woody were here to see this. He would've wanted to go too, Jim. Terri smiles. She is starting on the road to recovery. She's going to be okay. MCCONNELL He's here, Terri. We would n't have made it without him. Terri nods. She digs into one of her suit's pockets, pulls something out. She hands it to McConnell, and his fist closes around it. TERRI Take care, Jim. McConnell smiles. Terri smiles back at him. Then she turns, picks up her helmet, and crosses to where Luke has paused, looking back. LUKE Hey, Jim? MCCONNELL Yeah? LUKE Have a great ride. MCCONNELL Always do. Luke and Terri exchange a final silent farewell with him, then hurry away, into the darkness. MCCONNELL Looks down at what Terri gave him. IT'S WOODY'S NECK CHAIN With the little Flash Gordon rocketship. MCCONNELL Grips this tightly as he looks up.","EXT. MARS. THE FACE. PLAINS OF CYDONIA. NIGHT The hanger - like hatch has reopened, and Luke and Terri, helmeted again, emerge from the Face. The leading edge of the dust storm is upon them. They ca n't see much more than a few meters. As they reach the rover, they hear, even in this chaos, that the deep pulsing tone of the Face has started again. They look at each other, uncertain what this means. But McConnell is now beyond their help. Luke keys his mike. LUKE Phil? Phil, do you read? -LRB- to Terri. -RRB- He's not reading. TERRI I can barely read you. Let's get the hell out of here!","INT. ERV COCKPIT. NIGHT PHIL Is anyone there? Can anyone read me? Phil gets no response. He is shaking, almost crying. He hesitates, then starts hitting some keys. CLOSE ON HIS COMPUTER DISPLAY Which reads : `` PRE - LAUNCH CHECKLIST.''","INT. MARTIAN SPACESHIP. NIGHT McConnell has shed his backpack, with its unneeded oxygen tank. He steps cautiously onto the colored rings. Nothing seems to happen. Moving further, he takes his place on the indigo circle at their core. He looks at THE GLOWING TAKE - OFF COUNTDOWN INDICATOR As it dips from orange into red ; the BELL TONES are continuous now, very deep and rapid.","EXT. PLAINS OF CYDONIA. NIGHT The rover, with Luke and Terri inside, races away towards the safety of the ERV, as the maelstrom boils over the Face behind them. The sky is purplish black, thick with flying debris and eerie lightning flashes. Towering billows of dust chase them over the plain, nearly enveloping them as they speed towards us, passing OUT OF FRAME.","INT. MARTIAN SPACESHIP. NIGHT McConnell reacts, surprised, as suddenly A TRANSPARENT, GLASS - LIKE CYLINDER Begins to rise around him, swiftly and smoothly, coming up from the circumference of the indigo circle. Then a second, identical cylinder - the top half - drops down from somewhere overhead. The two sections meet and fuse in a flash of light, containing McConnell inside them, as neatly as if he were in a giant, transparent mailing tube. MCCONNELL Fights against a stab of claustrophobia. Is he being imprisoned? Or somehow protected? Either way, he's virtually immobilized. In this tight space in his bulky suit, he ca n't even move his arms. Only his head and neck can still shift.","INT. ERV COCKPIT. NIGHT Phil is going over his final pre - launch checklist, flipping switches and pressing buttons. He looks at his DIGITAL CLOCK Which reads `` 1350.'' PHIL IS STRICKEN, TORMENTED His finger hovers over a `` Fire'' button. He licks his lips nervously, squeezes his eyes shut, and hits the button. CLOSE ON COMPUTER DISPLAY And the words : `` IGNITION SEQUENCE INITIATED''","INT. MARTIAN SPACESHIP. NIGHT McConnell is straining inside the cylinder that surrounds him, when something catches his attention. He arches his neck, looking down. A COBALT - BLUE TRANSPARENT LIQUID Is beginning to fill the cylinder! It swirls in, from some unknown source, rising rapidly ; already his lower boots are covered. MCCONNELL'S EYES Widen in alarm. He strains against the sides of the cylinder but HIS GLOVED HANDS Slide helplessly across the smooth surface. MCCONNELL Looks down again. THE COBALT LIQUID Is up to his knees. Now his thighs. MCCONNELL Cranes his neck, staring up. Can he wedge himself higher, can he somehow climb to safety? ABOVE HIM The entire `` ceiling'' of the Face is becoming translucent. He can see the dust storm, boiling overhead. And now, rising into this, are fiery coils of energy from the Face itself. These swirl and twist in every direction, like angry water snakes ; battered by the fierce winds. Two vast forces on a collision course.","INT. ROVER. NIGHT Luke drives the rover through the blinding storm, as Terri stares at a dashboard computer screen. They have to shout to be heard over the ROARING WIND. TERRI I've lost the Base Camp beacon! Luke looks over alarmed. CLOSE ON A DIAL As the needle spins freely, giving no direction whatsoever. TERRI No good! We're driving blind. LUKE I'll try to keep on a straight line! It's our only chance. TERRI Do n't worry! I've worked with Phil for four years! I know Jim gave him a direct order, but he wo n't leave without us.","EXT. PLAINS OF CYDONIA. NIGHT The Rover races towards us, the front of the storm chasing it from behind, then completely overtaking the Rover. It disappears from view!","INT. ERV COCKPIT. NIGHT Phil sits in the pilot's seat. He is looking at a computer graphic that shows the engines readying to launch. With resignation, he keys his mike. PHIL This is ERV, do you read? ERV to Rover, do you read? Phil waits a second, then reaches slowly for a blinking red switch that reads `` LAUNCH.'' He hesitates, then actually has his fingers on it, about to flip it, when he hears a crackle of static on the radio. Phil keys his mike. PHIL This is ERV, do you read? LUKE -LRB- very faint. -RRB- Save the fuel, Phil. We're coming in. And Phil chokes back a sob. Blinking back the tears, he tries to compose himself, then keys his mike. PHIL Uh, Phil's not here right now. He left for Earth five minutes ago. Please leave your message at the beep.","EXT. THE FACE. NIGHT FROM GROUND LEVEL we see that the coils of energy are rising from the forehead of the Face, from its `` third eye,'' spinning and looping faster and faster, starting to form a vortex. But unlike the wind vortex that killed the Mars One crew, this is a vortex of fire. As we watch, more fiery streaks begin to emerge from the sides of the Face, from the chin, cheeks and temples. These all rush upwards, like lava flowing uphill, gathering in intensity as they leap free of the Face itself and spiral into the atmosphere. The peak of the forming vortex is already piercing the lowest layer of storm clouds, causing a dark counter - swirl.","EXT. MARS ONE BASE CAMP. NIGHT Phil stands at the bottom of the ERV's ladder, gripping it to steady himself, staring into the swirling dust. THE ROVER appears out of the dust and sand, the immense storm seeming to chase it from behind. Luke and Terri climb out, struggle towards him through the wind. Phil grips their hands, helping them over to the ladder. He looks back, confused. PHIL Where's Jim? TERRI He got another ride. Phil stares at her, bewildered. LUKE Tell you on the way. Let's go!","INT. MARTIAN SHIP. NIGHT LOOKING DOWN INTO THE CYLINDER, we see that the cobalt - blue fluid has risen to McConnell's upper chest. Now it's at his shoulders! It pours into his suit through his neck ring. He strains on tiptoes, craning his head back, trying to keep his unhelmeted face above the rising liquid. He sucks in deep desperate gulps of air, his head thrashing from side to side. Then suddenly the fluid is over his mouth, his nose, his forehead. His whole body is submerged! The level of fluid continues to rise towards the unseen top of the cylinder. MCCONNELL Squeezes his eyes shut, holding his breath. Not so much fighting this anymore as simply floating in place, waiting for his inevitable death.","EXT. PLAINS OF CYDONIA. NIGHT WIDEVIEW FROM ABOVE, as the energy vortex bends from side to side, pushing back the swirling storm that surrounds the Face. As the vortex coalesces its energy into a cylindrical shape, we see through its center to a rising form - the Martian ship. It is a flattened convex circle whose matte - metallic angles replicate the `` Face'' imagery.","EXT. PLAINS OF CYDONIA. NIGHT. SIDEVIEW FROM INSIDE THE FACE As the Face burns away around us, the Martian ship begins to rise and spin.","EXT. PLAINS OF CYDONIA. NIGHT The vortex is now a tight, rapidly spinning cylinder. As it draws more and more power from the disintegrating Face, the Martian ship in its center spins faster and faster.","INT. MARTIAN SHIP. NIGHT MCCONNELL'S FACE Is spinning and shaking too, more and more violently, as the huge buildup of G - forces tears at his body. We're reminded of Nick Willis just before the vortex exploded him ; is the same thing about to happen to McConnell? His eyes remain tightly shut, bubbles are streaming from his lips. His last breath is nearly exhausted, it's being shaken from his lungs.","INT. MARTIAN SPACESHIP. NIGHT As we MOVE IN CLOSER ON HIS FACE, we suddenly see, with him, a SERIES of rapid - fire, almost subliminal IMAGES FROM THE PAST. We recognize each one. Previously, though, we saw them as still photos ; now they have movement, life, and we view them from new and slightly different angles. These images INTERCUT with glimpses of McConnell's pale, shaking, near - death face in the present. THE YOUNG MCCONNELL Under the Christmas tree, lifts his new model rocket from its box. He turns to us, smiling joyfully. A blinding white flash, and he disappears. THE TEENAGED MAGGIE Is on her porch, under a night sky, bending down to the eyepiece of a TELESCOPE. She looks up at us with a shy, proud smile. A blinding white flash and she's gone. MAGGIE AND MCCONNELL In flight suits, holding their helmets, stand on the wing of a fighter jet. The radiant young couple turn to each other, kissing. A blinding white flash and they vanish. MAGGIE MCCONNELL In an astronaut's pressure suit, drifts rapidly towards us, reeling in along a tether. A man's gloved hand is outstretched, reaching for her. As she grips the hand, we see her triumphant expression through her faceplate. A blinding flash ; she's gone. MCCONNELL'S FACE - IN THE PRESENT Is shaking savagely ; he is very near death. And then, all at once, the SHAKING STOPS. Time itself seems to stop. McConnell opens his eyes, staring STRAIGHT AT US. And then, fully accepting his fate, he throws his head back, opens his mouth and takes in a deep lungful of the fluid. He can breathe it. His eyes widen in surprise and understanding. He can breathe it! This fluid will keep him alive! His whole body relaxes, the tension draining from his head and shoulders, as he fully trusts this launch for the first time. And then, with his eyes wide open, he sees, from memory, one final image. BRIDAL VEIL IS LIFTED And REVEALS, in CLOSEUP, the beautiful face, the shining eyes of MAGGIE McCONNELL. Beatific, eternal. She gazes directly INTO CAMERA, then smiles. MCCONNELL Smiles back.","EXT. PLAINS OF CYDONIA. NIGHT WIDE VIEW, FROM ABOVE, as the energy vortex changes from red - orange to blue - white. It ROARS with terrifying power as its top starts to bend, angling like a telescope towards a specific point in the stars. Then the Martian ship - a rounded darker form, little more than a blip within the vast, blue - white column of energy - shoots away from the surface, leaving only a blacked crater where the Face had been.","EXT. MARS. HIGH ATMOSPHERE. NIGHT ANGLE FROM DEEP SPACE, LOOKING DOWN, as the Martian ship, riding its blue - white column of energy, streaks up into the vast blackness, like a narrowly focused spotlight piercing the night. Down below, we can see the dust storm in all its vastness still boiling orange and brown across the planet's surface, which it now completely covers. As the Martian ship flashes by us, it passes another ship, much smaller and slower, rising through the storm clouds on a different trajectory. We recognize the familiar, comfortable sight of the ERV. PUSHING IN QUICKLY ON THIS. We see three figures in the cockpit.","INT. ERV COCKPIT. NIGHT Luke, Terri and Phil are strapped in, with their acceleration just starting to level off, when suddenly their cockpit interior is starkly bathed in white light. They wince at the unearthly radiance, shielding their faceplates with gloved hands. TERRI Dear God. Look at that. Through their cockpit window, they watch the Martian ship hurtle by them at a hundred times their speed. PHIL Is that him? Luke nods. Their eyes are glistening. Luke's voice is a whisper, both of prayer and farewell. LUKE Godspeed Jim McConnell.","EXT. SPACE Looking through the cockpit window we see the Martian ship receding into the infinite distance of space - a long blue - white scratch that in moments begins to fade. Finally it is a tiny point of light, taking its place amongst the limitless expanse of the star - filled heavens. THE END"],"string":"[\n \"EXT. LATE AFTERNOON SKY Blue sky, a few puffs of cloud, pierced by slanting rays of sunlight. Late afternoon on a perfect day. SUPER TITLE : `` HOUSTON, TEXAS. JULY 4, 2020.'' As we hear, after a few more beats, an ASTRONAUT'S VOICE. PHIL T minus ten, nine, eight, start ignition sequence, five, four, three, two, one, ignition. Liftoff! A tiny red streak zips into the sky, then bursts with a faint, ludicrous POP. A bottle rocket. We hear CHILDREN'S LAUGHTER, excited SHOUTS.\",\n \"EXT. LAWN PARTY. LUKE GRAHAM'S HOUSE. LATE AFTERNOON DESCENDING, we see PHIL OHLMYER, late 20's, kneeling, with a gaggle of eager CHILDREN around him. Phil, an astronaut, has got an impressive array of fireworks lined up, and is using an empty longneck as his launching tube. CHILDREN -LRB- all at once. -RRB- My turn! My turn! No, I was next! No, me! Uncle Phil, Uncle Phil, can I do one? I want to do one! PHIL Guys, guys, please! This is risky stuff here. And I'm a highly trained professional. Derisive GROANS from the kids, more SHOUTS. Phil grins. There's little danger NASA will ever use him on a recruiting poster : he's messy, very hyper. Phil waves his hands for silence. PHIL Okay, okay! Uncle Phil will launch another booster. Another astronaut, RENEE COTE, a tall, very fit French woman, is walking by with a fresh six - pack. She tosses a beer and Phil catches it. PHIL just as soon as he completes his fuel intake. ANGLE FOLLOWS COTE Who grins, walking away from Phil and the kids, as we begin to get a better sense of the scope of this party. We are in the big back yard of a middle - class home in a Houston suburb. DOZENS OF PEOPLE - astronauts, NASA personnel, and their families - are gathered around picnic tables or spread - out blankets. Lots of red, white and blue bunting, lots of balloons. We hear snatches of MUSIC, mostly country - flavored, from dueling boomboxes. Futuristic Frisbees are being tossed about. A banner, strung between trees, reads `` BON VOYAGE, MARS ONE!'' WILLIS It'll take us six months just to get to Mars. Another year on the surface, then six months back. That's two years. Passing the banner, Cote lobs a beer to another astronaut, NICHOLAS WILLIS, who snags it neatly. He's got his other arm around the waist of a PRETTY GIRL. As Cote moves OUT OF FRAME, ANGLE LINGERS on these two. Willis, a very young astronaut, early 20s, is recruiting poster material, and knows it all too well. WILLIS I guess what I'm trying to say is, since this is my last night on Earth, it's gon na be a very precious memory to me. Y' know? PRETTY GIRL Nice try, Nick. As the Pretty Girl slips out of his grasp, laughing, and walks away, Willis shrugs philosophically. He pops open his beer, swigs it. ANGLE FOLLOWS THE PRETTY GIRL As she swerves around an open - pit barbecue, where other ASTRONAUTS are gathered. Cote has paused here, too, distributing the last of her beers. SERGEI KIROV, a Russian cosmonaut, is watching some kids nearby as they play a game of wiffle ball. He turns, grinning beerily at the chef. KIROV Hey, Woody, our Mars One crew wo n't be heading back to Earth till ten days after you guys land at our base camp with Mars Two. That's a pretty good long rendezvous. WOODY BLAKE, late 30s, is a big, rangy guy in a cowboy hat over a Hawaiian shirt and a `` KISS THE CHEF'' apron. An entire pig is turning on a spit over the flames, and Woody is basting this as he smiles at Malik. WOODY What are you suggesting, Sergei? KIROV Maybe you should bring a baseball bat. Yes? American baseball? Our two crews could have ourselves a little Solar System Series. WOODY Please. Half you guys are foreigners. We'd crush you. KIROV No, no, we have equal crews. Three men, one woman. Same handicap. He grins teasingly at Cote, who makes a face at him. WOODY Easy now, you're talking about my wife. -LRB- seeing her approach. -RRB- And Terri just happens to be one helluva shortstop. DR. TERRI FISHER, early 30s, passes by with a platter of corn - on - the - cob. Short, sturdy body, a face made attractive by its alert, questing intelligence. She pauses to kiss Woody's cheek ; there's a wonderful, sexy spark between them. Then she glances at Kirov, all business now. TERRI Fast pitch, no steals, batter calls his own strikes. Thousand bucks make it interesting? He's a bit rattled by her cockiness, and looks at Cote, who smiles, nods her cool agreement. COTE Eh bien. Winner take all. TERRI Good. -LRB- smiles sweetly at Kirov. -RRB- Bring some balls. The other men ooooh at this, busting on Kirov and Cote, as Terri moves on. Woody, watching her go, has a thousand - watt grin. WOODY You wan na know the sad part? Technically I outrank her. But if we want any peace at all on Mars Two, I'm gon na be saying a lot of `` Yes, dears.'' The others laugh. ANGLE FOLLOWS TERRI as she dodges a PACK OF KIDS - they run by her, shrieking happily - before she finally reaches a picnic table, where ASTRONAUTS' WIVES are opening containers of baked beans, coleslaw, and potato salad. 1ST WIFE just not sure how I feel about NASA allowing couples to go on this type of mission together. One of the other women raises a warning eyebrow, and the 1st Wife turns, sees Terri setting down her platter. 1ST WIFE -LRB- embarrassed. -RRB- Nothing personal, Terri. It's just that, well, it's kind of a funny feeling for those of us staying behind. TERRI -LRB- carefully neutral. -RRB- All the research shows that marriage will provide stability on these long duration trips. 2ND WIFE Then they have n't studied some of the couples I've known. Laughter at this. Terri smiles politely - she does n't really have much in common with these women - before moving on. ANGLE LINGERS on the wives, who watch her go with a slight tinge of jealousy. One of them is looking around. 3RD WIFE Anybody seen Jim McConnell? 4TH WIFE I do n't think he's coming. 1ST WIFE God, that poor man. How's he doing? 2ND WIFE Totally losing it, from what I hear. Ca n't sleep, ca n't eat. Visits her grave almost every day. -LRB- lowers her voice. -RRB- They say he could lose mission status. 3RD WIFE Oh, that's so sad. That is just so tragic. You go to a routine physical one day, and wham. 4TH WIFE After all those years of training, too. It was their whole dream. 1ST WIFE Must be a pretty funny feeling for Luke Graham. Y' know? Now he's gon na be in the history books. First man on Mars. She shakes her head, awed by the thought. The others nod in agreement, following her glance. In the distance, a lone MALE FIGURE stands by the garage, his back to them, facing the parked cars, vans, and SUVs which stretch down the driveway and along the street. Another figure, a WOMAN, can be seen approaching him. CLOSER ANGLE FOLLOWS the moving woman - DEBRA GRAHAM, early 30s, very attractive - until she reaches her husband. LUKE GRAHAM, mid 30s, has the lean, fit body of an astronaut, the restless intellect of a scientist. He's unaware of her approach until she touches his shoulder. He looks at her with an apologetic smile. DEBRA He's not coming, Luke. LUKE Jim deserves this, too. All his friends are here. And it's my last night. DEBRA -LRB- gently. -RRB- Your last night with us, too. He looks at her, moved. She summons a smile. He slides his arms around her waist, kisses her forehead. LUKE I love you, Deb. DEBRA I love you too, baby. But maybe you should spend some time with Bobby. LUKE Yeah. I will. Where is he? DEBRA Up in his fort. He kisses her again, then goes. Debra's eyes follow him, with a mixture of pride and sadness. ANGLE FOLLOWS Luke away from the garage, into\",\n \"EXT. THE BACK YARD. LATE AFTERNOON Luke moves through the crowd. Phil and the kids are still shooting off rockets. Red streaks arc high overhead. In the back corner of the yard, where it's quieter, he passes Willis, who's sitting on a blanket, murmuring soulfully to PRETTY GIRL # 2. WILLIS Deep space is so lonesome. So cold. But I guess I'll have my memories to keep me warm. Luke shakes his head. Willis is incorrigible. Finally he reaches a tall redwood playset. He looks up the ladder. A SMALL BOY sits on the platform of the tower, arms around his knees, staring up at the stars. A telescope rests nearby on a tripod. He looks lonely. Luke climbs up, sits down on the wooden deck next to him. BOBBY, 7, glances over at his dad, his idol, then back at the sky. BOBBY Who's gon na read to me now, at bedtime? Luke is surprised by the question. A pause. LUKE Mommy will. BOBBY I like when you do it. Now we're never gon na finish our book. His voice is unexpectedly fierce. He's fighting back tears. Luke is moved. Another brief silence. LUKE Well, I'll tell you what. I've been thinking about that. And what I thought was - how ` bout if I bring along my own copy? -LRB- Bobby looks at him. -RRB- Then every night, wherever I am, I'll read a little bit more of it. And I'll know that you and Mommy, wherever you are, you're reading it too. That way, it'll feel like we're still reading it together.'Cause I do n't know about you, but I'm pretty anxious to find out how ` ol Ben Gunn got marooned on that island. What d'you say? Bobby manages a smile. He nods, feeling a little better. Luke is proud of his son's courage. LUKE Good deal. Can I have a hug? Bobby's arms go around his father's neck. He hugs Luke fiercely, and Luke hugs him back. His eyes, over the thin young shoulders, are brimming with love and impending absence. Then, from the distance, the sound of an APPROACHING CAR. They both turn. An open Jeep is coming down the street. Its DRIVER is alone. Luke's expression changes. Recognition, then happiness.\",\n \"EXT. LUKE'S STREET. LATE AFTERNOON The Jeep stops, its electric engine WHIRRING down. The Driver climbs out wearily, reaching into the back seat, and comes out with a champagne bottle, hastily decorated with ribbon. The PARTY SOUNDS are drifting this way, and he hesitates a moment, seeming to gather himself. He starts gamely towards the party, then pauses again. Debra Graham stands nearby on the front lawn, waiting. She smiles tentatively. JIM MCCONNELL, early 40s, manages a smile in return. He has dark circles under his eyes, and his clothes look slept in. Yet we sense, even through his sadness, a kind of quiet competence in this man, an unforced authority ; he's a natural leader. Debra hurries forward, into his arms, and he hugs her. They separate, looking at each other. Her eyes are shining. DEBRA We were afraid you would n't come. MCCONNELL I caught a whiff of your barbecue. After that I was helpless. DEBRA All the way out in Galveston? MCCONNELL Something like that. -LRB- she smiles. -RRB- It's his night, Deb. I did n't want to spoil it. DEBRA Spoil it? He's been going crazy looking for you. Over her shoulder he sees Luke approaching, his arm around Bobby. The two men look at each other, the bond between them so strong it needs no words. Finally Luke smiles. LUKE C'mon. A whole lot of folks here are gon na be mighty glad to see you. McConnell comes towards him, accompanied by Debra, and together the four of them move OUT OF FRAME, heading towards the party. ANGLE HOLDS on the parking area, as we.\",\n \"EXT. SAME VIEW. NIGHT (HOURS LATER) All the parked cars and vans are gone now, except for two : McConnell's Jeep and Woody's classic ` Vette. Willis, one of the last to go, is just departing on his motorcycle. Perched behind him, arms around his waist, is PRETTY GIRL # 3. They zoom away, through the darkened neighborhood.\",\n \"EXT. BACK YARD. NIGHT The yard is nearly deserted. The `` Bon Voyage'' banner has torn loose at one end and flutters limply. Here and there a napkin blows across the ground. In the distance, THREE FIGURES sit on the ground, by the waning fire of the barbecue pit, sipping beers. CLOSER ON THIS TRIO As Woody shoves another piece of wood into the flames. For a moment he, McConnell, and Luke are silent, staring at the sparks as they rise towards the stars - red and gold dots mingling with the silver ones. WOODY -LRB- abruptly. -RRB- I wish we were all going. Together. The intensity in his voice surprises the others, and even Woody himself. Luke glances at McConnell. An awkward beat. LUKE Then you've got a short memory. Think back to how we were by the second week of lunar training. WOODY Oh, you're not gon na bring that up again - LUKE -LRB- laughing. -RRB- I'm trying to remember, let's see, which one of us scored the lowest ranking up there? WOODY You just ca n't let that go - LUKE Oh, man, three commanders, on the same ship? If they sent us off to Mars together, there would n't be enough fuel to lift all those egos. WOODY -LRB- laughs. -RRB- Bullshit, we would've made a great crew. MCCONNELL That was never gon na happen. I was always teamed with Maggie, and we were mostly chalkboard jockies. You know? Systems. Payloads. LUKE Listen to him. Mr. Cover - of - Time Magazine! WOODY Yeah, who landed the crippled Block II Shuttle? LUKE Yeah, and who scored highest on the lunar rankings? WOODY Let it go, Luke. MCCONNELL -LRB- smiles. -RRB- Sure, I made a little noise. But putting the first footprints on Mars? Nah. That's for guys who. -LRB- looks at Luke. -RRB-. wrote their Ph.D. thesis on how to colonize the place. And guys who. -LRB- looks at Woody. -RRB-. read too much science fiction as a kid and still wear little Flash Gordon rocketships around their necks. He grabs playfully at Woody's neck. Woody smacks his hand away, laughing. WOODY You read the same damn science fiction books that I did! You're just not man enough to wear jewelry! He pulls from his shirt a little Flash Gordon rocketship emblem hanging on a chain, and waggles this tauntingly at McConnell, as Luke and McConnell laugh. WOODY You want Flash. You know you want him. Well you'll have to come through me! Luke grabs Woody's arm to give McConnell a better shot at the emblem, but Woody cuffs his hands away, laughing. McConnell, watching their horseplay, shakes his head. MCCONNELL God, she would've loved to see you two clowns. Just one more time. He tries to smile, but his face reddens. Then all at once his chest is heaving as he struggles to control his emotions. Woody sees this, reaches out a reassuring hand, but McConnell shakes him off, rises abruptly. He turns his back on them, walking away a few steps. Woody and Luke exchange a worried glance.\",\n \"EXT. LUKE'S STREET. LATER THAT NIGHT McConnell and Luke watch as Woody starts up his Corvette. McConnell has regained his composure. LUKE Hey, Woodrow, is n't it about time you donated this thing to a museum? Woody revs the engine, which ROARS lustily. He grins. WOODY Internal combustion, boys. Accept no substitutes. Luke laughs. Woody looks at McConnell. WOODY Jim, if there's ever. if there's anything Terri and I can do - MCCONNELL I'm okay. Really. Thanks. Woody reaches out to shake Luke's hand. WOODY See you when I get to Mars, Luke. Do n't solve all the mysteries of the universe, okay? Leave a little something for the next guys. LUKE I'll see what I can do. Just make sure you bring some fresh beer. WOODY You got it. With a final glance at McConnell, Woody slips the car into gear. McConnell and Luke watch as he drives away. A silence. Luke glances at his old friend, growing more serious. We sense he's been waiting all night for a chance to say this. LUKE Should've been your mission, Jim. Yours and Maggie's. McConnell, looking after Woody's car, becomes very still. LUKE None of us ever wanted Mars the way you two did. Not even Woody. Twelve years of hoping for this assignment, training for it - MCCONNELL That's all over now. LUKE If Maggie had n't gotten sick - if you had n't pulled yourself out of the rotation to take care of her - McConnell turns to him, his eyes flashing danger. He will not tolerate pity. Luke sees this but presses on. LUKE No, I'm gon na say this. I have to say it. -LRB- pause. -RRB- I wanted Mars One. Hell, I battled you for it every step of the way. Never wanted to beat anybody so bad in my life. But not like this. Jim, I'd give this all up in a second, if it would bring Maggie back to us. McConnell is deeply moved, and for a moment does n't trust his own voice. MCCONNELL I know that, Luke. You do n't have to say it. Mars is yours now. Go get it. LUKE -LRB- pause. -RRB- Take care of yourself. MCCONNELL Yeah. You too. Luke nods. They grab hands for a second, then let go. Luke walks back towards his house. McConnell watches him for a moment, then turns, walks over to his Jeep. He opens his door, then pauses. He turns. Looks up at -\",\n \"EXT. NIGHT SKY A tiny reddish dot hovers there, glowing steadily. Mars itself, a tantalizing prize. But for him now, more distant than ever. For him, perhaps, never to be attained. CLOSE ON MCCONNELL'S FACE As we see these thoughts going through him. After a moment he looks down at HIS SHOES And the sandy verge of the front yard. MCCONNELL'S EYES Are a map of complex emotions : regret, injured pride, infinite yearning. Gently, a bit self - consciously, HE LIFTS ONE SHOE And sets it down again, making a careful, deliberate footprint in the sandy soil.\",\n \"EXT. MARS. CHRYSE PLANITIA. DAY Instantly we're hurled into an immense, stunning LANDSCAPE, mysterious and vivid as a fever dream. Dazzling sunlight. A vast plain of rust - orange soil. Countless craters. Boulders the size of houses, tossed about by the hands of gods. Twin moons hanging in a salmon - pink sky. On the horizon, towering, craggy peaks. And, at center - the only sign of life - a small, mysterious, moving puff of dust.\",\n \"EXT. MARS. DAY CLOSER ANGLE as a small, Sojourner - like, multi - wheeled robotic vehicle ambles INTO FRAME, jouncing along the orange Martian soil, pausing to snuffle its sensors towards the occasionally interesting rock. Lettering on its side reads `` ARES - 8.'' SUPER TITLE : `` MARS. PLAINS OF CYDONIA. EIGHT MONTHS LATER.'' Suddenly Ares - 8 pauses. Its video lens WHIRRS out, fine - tuning focus, as it becomes intrigued by something OFFSCREEN - a higher, more distant target. The little fellow almost quivers with excitement.\",\n \"EXT. MARS. TIU VALLIS. DAY A one - man ATV ROVER waits in the background, in a dry streambed, as Luke, in an EVA spacesuit, swings a clawed rock hammer against a multi - layered, sedimentary rock face. Reddish dust coats his bulky white suit. Despite that bulk, he moves easily in the light Martian gravity -LRB- 1/3 Earth's -RRB-. A hunk of rock breaks off, and Luke examines it more closely, holding it up to his clear faceplate. He's very happy, absorbed in this work, when his RADIO CRACKLES. COTE Luke, you read me? LUKE Yeah, Renee. COTE Luke, I just got ARES - 8 on line and. Well, we think you're gon na wan na see this for yourself. Luke, though reluctant to break off work, is intrigued. LUKE Copy that. As Luke turns away, headed for the rover WE PULL WIDE To REVEAL a STAGGERING PROSPECT, seen for the first time : Valles Marineris, that planet - creasing slash. So wide, so deep, it boggles the mind : on earth it would reach from New York to L.A.\",\n \"INT. MARS ONE HAB. DAY The crew of Mars One - Kirov, Willis, and Cote - have joined Luke, gathered around some display monitors. They're in NASA jumpsuits ; the Hab has artificial atmosphere, enhanced gravity, and heat. All are captivated by what they see. ON A VIDEO SCREEN We see a low - angle image of an elongated, rubble and dirt - covered MOUNTAIN. Hard to tell scale, but it looks huge. What's most striking, however, is a WHITE PEAK barely protruding through the rubble two - thirds of the way along the mountain's ridgeline. Its whiteness is in clear contrast to the typical rust - orange of the surrounding rubble ; what's more, this strange little peak also displays an oddly - smooth, multi - planed symmetry. LUKE What the hell is that? COTE No idea, boss. LUKE Where is it? Cote glances at the others. They're all smirking, as if they share some secret joke Luke's not yet in on. WILLIS You do n't wan na know. LUKE C'mon, what's so funny? Gim me the coordinates. He leans over to read a digital gauge, but Cote covers it with her hand, enjoying the tease. COTE Latitude 41 degrees north, longitude 9 degrees west. LUKE The Plains of Cydonia. So? -LRB- pause. -RRB- Oh no. You're not telling me - They all laugh as the other shoe drops. Luke's expression is incredulous, exasperated. COTE Oui. Exactement! It's Kirov's fault, he picked today's sector. KIROV Hey, c'mon! We've got a scientific duty to check that thing out. Luke sits, taking over the Ares remote control from Cote. They all watch as he fine tunes the image, trying without success to coax more resolution. LUKE Great. That's great. The first anomaly we hit, and it's got ta be in the one place guaranteed to make NASA look ridiculous. You know how many books have been written about that damned mountain? COTE The Egyptians put it there. KIROV No, the Amazons. WILLIS No, it was little green men! LUKE And all because a couple of lousy impact craters happen to look like eye sockets. If this gets out, we'll have every UFO kook on Earth spouting off on the six o'clock news. C'mon, people, gim me a read here. Is that a cinder cone? KIROV Nah, too smooth. Too angular. Volcanic upwelling? COTE No fissures. No caldera. LUKE It's an upwelling, for sure. But maybe not volcanic. The others look at him, puzzled. Luke leans in closer, with growing excitement. He points to the screen. LUKE Look at the color. And see how shiny it is? I could swear that's ice. COTE This far south? WILLIS Impossible. You ca n't have ice at this latitude. Not unless. They look at each other, Luke's excitement now leaping from one to another of them. They're almost trembling. WILLIS Oh my God. LUKE How far away is it? KIROV Sixteen kilometers northeast. Take us twenty minutes to get there. LUKE -LRB- considers a moment. -RRB- Let's send a packet to Micker. Then we'll go check it out.\",\n \"EXT. MARS ONE BASE CAMP. DAY AIRLOCK DOORS Slide back, REVEALING the crew in EVA suits, carrying gear. They walk over to. THE FOUR - MAN ROVER The astronauts climb in through the hatch. The last one in pulls it shut behind him and locks the latches. We see Cote and Luke check their screens and press some buttons. Luke puts the rover in drive. WIDER ANGLE, PULLING UP AND AWAY As the rover moves off across the rocky surface, dust kicking up from the wheels, we get our first exterior glimpse of the Mars One Base Camp. The main HAB UNIT looks like a huge tuna can with a conical top section ; it connects to a separate, inflated - bubble GREENHOUSE. There's also an OXYGEN STILL, PROPELLANT PLANT, and, on the other side, a couple hundred meters distant, the massive ERV -LRB- Earth Return Vehicle -RRB-, which arrived as a separate, unmanned flight. Rows of SOLAR PANELS, arrayed on the ground, and an AMERICAN FLAG on a thin pole, about man - height, complete the scene.\",\n \"EXT. INTERNATIONAL SPACE STATION (ISP). EARTH ORBIT. DAY A vast, impressive, MULTI - SECTIONED SPACECRAFT is drifting majestically above Earth. The main hull displays both NASA and U.N. flag decals. SUPER TITLE : `` INTERNATIONAL SPACE STATION. MARS MISSION CONTROL ROOM -LRB- MMCR -RRB-. 20 MINUTE TIME LAG.'' We MOVE IN towards another of the station's segments, which is dedicated entirely -LRB- as we see from more labels and insignias -RRB- to the Mars Program : Control Room, Training and Living Quarters, and a Vehicle Docking and Launch Area, where Mars Two is already positioned for its eventual flight. We hear LUKE'S EXCITED VOICE, over speakers. LUKE This is a truly anomalous formation. Looks like nothing we've seen so far. The structure appears to be crystalline, at least from the angle displayed by ARES - 8.\",\n \"INT. MMCR. DAY On a large CENTER DISPLAY SCREEN, we see Luke and the Mars One crew, sitting around their kitchen table in the Hab, finishing lunch while taping this VIDEO MESSAGE. LUKE -LRB- grins. -RRB- We're all trying not to go too nuts up here, but - we think there's a good chance this could be an extrusion from some subsurface, geothermal column of water. And if we're right. He looks at his crew. They beam like cats who ate canaries. LUKE then we've found the key to permanent human colonization. IN THE MMCR There's an EXCITED BUZZ among the assembled TECHNICIANS, FLIGHT ENGINEERS, and SCIENTISTS. This would be a fantastic, epochal discovery. MCCONNELL Sits at the center console, wearing a headset. He's now the Mars One CAPCOM -LRB- Capsule Communicator -RRB-, and his manner is brisk, efficient, all - business. A TECHNICIAN leans in for instructions. MCCONNELL Tell geology and hydrology we need to scramble on this. Full - court press. The technician nods, hurries away. McConnell, sharing the intense excitement of those around him, stares up at THE SCREEN Where Luke and his crew are still smiling, well knowing the excitement their bombshell will create. LUKE Anyway, we'are going out to take a closer look at it, try to get an idea of its composition. -LRB- checks his watch. -RRB- By the time you receive this, we should be just about on - site.\",\n \"EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY The rover is a hundred meters away and moving fast TOWARDS CAMERA. We BOOM DOWN to REVEAL Ares - 8, still faithfully holding its point, like an Irish Setter, with its video snout WHIRRING OUT. The rover drives up and slows to a stop nearby. The hatch door cracks open and some dust vents out. The door opens all the way and the astronauts climb out. They all look up in awe. We hear their voices ON RADIOS. KIROV Jesus Christ. THE MYSTERIOUS PEAK Gleams in the sun, dazzling white, its facets as planed and smooth as if an architect had drawn them. It pierces through the topmost rubble at the near end of the big mountain - an isolated, butte - like giant, stretching two miles from left to right in front of them. THE ASTRONAUTS Walk towards the mountain. There's a very deep, very low, staccato tone intruding over their headsets. LUKE Anyone else hear that? COTE Yeah. What is it? WILLIS Sounds like our antenna's out of phase. LUKE Can you fix it? WILLIS Hey, skip, I can fix anything. LUKE Big talker. Renee, Sergei, let's break out the radar, see what this thing's made of. As they go to their jobs, the deep, barely audible rumbling tone continues.\",\n \"INT. SPACE STATION. CORRIDOR OUTSIDE MMCR. DAY MULTINATIONAL CREWMEMBERS walk by, in the artificial gravity of the busy station, as RAY BECK, mid - 50s, approaches from the opposite direction. Beck is the tough, crewcut, PR - savvy head of the NASA Mars Program -LRB- ID'd by his name tag -RRB-, and just now he's leading a covey of U.N. AMBASSADORS on a tour. The ambassadors, of both sexes, many nations, and all races, look as excited as schoolkids. BECK and this is the Mars Mission Control Room, nicknamed `` Micker.'' I understand a comm packet is incoming from Mars One Base Camp, so you may find this interesting. He opens the doors, ushering his flock inside.\",\n \"INT. MMCR. DAY The ambassadors enter, oohing and ahhing over the impressive array of gadgetry and personnel, and especially over the big screen. Some of them start taking souvenir snaphots. The NIGERIAN AMBASSADOR turns to Beck, whispering curiously. AMBASSADOR That man over there. He's in charge? BECK FOLLOWS HIS GLANCE TO MCCONNELL Who is surrounded by a KNOT OF TECHNICIANS, to whom he is giving quiet, precise instructions. They hover, then depart, like so many eager bees. BECK Smiles indulgently at the ambassador's misunderstanding. BECK No, actually, that's Jim McConnell, the CAPCOM. Our voice link to the astronauts? Jim's been with the manned Mars program since its inception. One of our real pioneers. AMBASSADOR Will he be going to Mars, too? BECK Ah, no. This is as close as he gets. ON THE SCREEN Luke and his crew have finished eating, and are clearing away their dishes and leftovers. LUKE anyway, that's about it. We'll send another packet when we get back. Cote clears her throat, gives Luke a look. The others can barely conceal their grins. LUKE Oh, right. One more thing. Today is a very special day for a good friend of ours, and I know he's there right now. McConnell looks at the screen, worried. What's Luke up to? LUKE Now, he hates it when any fuss is made, so I wo n't mention his name. A look of relief comes over McConnell. LUKE because the last thing in the world I'd ever want to do is embarrass someone like Jim McConnell. McConnell winces - Dear God, no - as, on the screen, Kirov appears from OFF CAMERA holding a cupcake with a burning candle stuck in it, and the Mars One crew starts SINGING `` Happy Birthday'' to him. Loudly. And very off - key. LUKE C'mon, you Micker weasels, sing! Soon most everyone in MMCR is singing along - even some of the jolly ambassadors - with the noticeable exception of Beck, who stiffens unhappily. McConnell is mortified. LUKE -LRB- sings a line, then, to CAMERA :. -RRB- Hey, Ray! Take a look at him! Is he all red with one of those fake `` I'm - a - good - sport'' grins? Beck looks over at McConnell, who indeed is red in the face with a fake `` I'm - a - good - sport'' grin. LUKE And hey, you guys, check out Ray! Does he have on one of his `` This - was n't - in - my - mission - plan'' faces? Indeed, Beck's smile is thin, sour, disapproving. LUKE Nothing you can do about it, Ray! We're a hundred million miles away! Luke and the crew finish singing the song. Luke raises the cupcake in a toast. LUKE Happy Birthday, Jimbo! Make a wish! He and his crew lean in, blow out the candle. They laugh and applaud, then wave goodbye. LUKE Catch you again soon. Take care, buddy. End of transmission. Luke reaches out, turns OFF the CAMERA, and the display screen GOES BLACK. Beck turns, his gaze locking with McConnell's. He's annoyed, as if this violation of protocol were somehow McConnell's fault. McConnell returns his stare coolly.\",\n \"EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY Cote stands by a display screen mounted on the rover. Kirov has a big radar gun on a tripod, pointing at the mountain. Luke turns to Cote. LUKE Well? What's under there? COTE -LRB- puzzled. -RRB- Je ne sais pas. I. I think there's something wrong with the equipment. LUKE What? COTE I mean, it ca n't be right. It says. it says there's metal under there. Luke does n't understand. He walks up to look at the display screen. COTE -LRB- points. -RRB- There's ten, twelve meters of rubble and sand, and then. solid metal. LUKE That does n't make any sense. You're reading a vein of ore. COTE -LRB- shakes her head. -RRB- No. It's under the whole mountain. The deep pulsing tone continues. Luke frowns. LUKE Nick, could the problem with the antenna be interfering? WILLIS Could be. LUKE -LRB- to Cote and Kirov. -RRB- Try it closer and up the power. I'll watch the screen.\",\n \"INT. MMCR. DAY McConnell is taping an audio message to be sent to Mars as the rest of MMCR looks on. Beck is gone. So are the U. N. ambassadors. MCCONNELL Ah, we're all pretty stoked about that formation you spotted, Mars One. The folks in the geology and hydrology back rooms are going over your images and comparing them to every photomap they've got.\",\n \"EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY Cote and Kirov are close to the foot of the mountain, resetting the radar gun on its tripod. The deep vibrating tone continues. Luke is some distance away, by the rover. He looks at Willis, who's still working on the rover's antenna. LUKE Nick, how we coming on that antenna? WILLIS Goin' as fast as I can, boss. Cote and Kirov are having some trouble with the switches on the radar gun. They turn towards Luke and Willis. KIROV Hey, Nick. Come show me how stupid I am. I ca n't get this to work. Willis looks at Luke. Luke nods - Go help them. Willis starts towards the radar gun.\",\n \"INT. MMCR. DAY McConnell is handed a slip of paper, glances at it. MCCONNELL Medical wants me to remind you that you're three days late on your blood tests. I know they're a bore, but you've got to get them done, or else. or else I do n't know what. Just do them, okay?\",\n \"EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY Willis, Cote, and Kirov get the radar gun up and running. KIROV All set here, chief. Luke sidles over to the display screen on the rover. LUKE Okay. Crank up the juice and let's see what's in this sucker.\",\n \"INT. MMCR. DAY McConnell checks over his clipboard list of updates. MCCONNELL I think that's about it for business. But on a personal note, be advised that, ah, none of you can sing worth a damn. LAUGHTER in the MMCR.\",\n \"EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY Luke watches the screen on the rover, as, by the mound. KIROV Flips a switch on the radar gun, then swivels its muzzle slowly across the near slope of the mountain. We hear and feel the radar signal. The immediate result is that the pulsing tone we've been hearing suddenly stops. LUKE Looks up from the display screen. A puzzled expression. LUKE Why did that stop? A split - second later, he gets his answer. We hear a WHOOSH, a mighty rushing of wind, as A GIGANTIC, TRANSLUCENT CYLINDER Starts to swirl and rise, straight up from the top or the mountain, at its center. As it swirls, the cylinder picks up debris - pebbles, sand - from the sediment - encrusted surface of the slopes. THE FOUR ASTRONAUTS Stare up at this spectacle, awed. A cyclone? Some kind of energy wave? They have no idea. At the moment they're too fascinated to even be scared. TILTING UP - FROM THEIR POV We see the whirling cylinder rise, higher and higher, perfectly straight, until in just moments it's as tall as a skyscraper. As it rises, it gains speed and power, narrowing at its top into a conical vortex. It's sucking up so much dirt, so many rocks - even small boulders now - that the accumulating debris begins to darken its swirling, translucent outer `` skin''. THE ASTRONAUTS Exchange amazed glances. Ca n't believe their eyes.\",\n \"INT. MMCR. DAY McConnell still hovers by the microphone. MCCONNELL Honestly, Luke, if you guys do n't have anything better to do with your time, I can make some suggestions to mission medical. There are worse things than blood tests. LAUGHTER and GROANS from the staff in MMCR.\",\n \"EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY Luke, still staring in fascination, becomes aware of sand and pebbles flashing past his helmet. From behind. He turns. SAND PATTERS AGAINST HIS FACEPLATE As the nearby landscape BLURS. The vacuuming effect is becoming more general across the area. More violent. LUKE IS ALARMED And the spell is broken. He keys his throat mike, his lips moving, but no sound can be heard over the ROARING WIND. He waves his arms, motioning for the others to back away, towards the rover. Wind whips at their EVA suits as they obey him, retreating. Luke, backing away himself, is afraid to take his eyes off the cylinder. Then he sees that one man - Willis - has n't moved. In fact he's busily snapping photographs of the cylinder. Luke hurries over to him, tugs his sleeve. WILLIS LOWERS HIS CAMERA But still stares up, transfixed, like a man face to face with a cobra. Luke follows the young astronaut's frightened gaze, and his own eyes widen as he sees THE TOP OF THE VORTEX Beginning to tilt down, then coil sideways. Suddenly they're looking into the huge open `` mouth'' of it, as sand and rocks fly into the swirling darkness. The monstrous, gaping maw slithers down over the rim of the mountain, turning this way, then that. Seeking them. And then, with horrifying precision, it locks in on the little group of astronauts. And lunges towards them.\",\n \"EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY Luke and Willis turn, running as hard as they can towards the rover. But the suction is so great, it's as if they're held back by wires. The ground itself is SHAKING, RUMBLING, as earthquakes begin to open fissures across the plain. The ROAR of the vortex, the GROANING of the earth, are like an onrushing freight train. AHEAD OF THEM In the maelstrom of flying debris, they can barely make out Cote and Kirov, still retreating, leaning back with all their strength against the suction, while staring up, aghast. Suddenly a hurtling rock, the size of a basketball, smashes into Cote's helmet from behind, crushing it and killing her instantly. Blood sprays into the wind, immediately crystallizing, in the sub - zero atmosphere, into red pellets. LUKE, HORRIFIED, FLINGS HIS ARM UP As bloody hail patters against his faceplate and forearm. An instant later he sees KIROV Snatched up by the wind, then swept past him, in a terrifying blur, arms and legs flailing, mouth open in a silent scream as he vanishes. THE GROUND AT LUKE'S FEET Abruptly opens, and he slides into a fissure. Scrabbling frantically with his gloved hands, he manages to momentarily arrest his fall, gripping the edge of the fault line, with his helmet and one elbow thrust over its lip. The air is almost solidly choked with debris, deadly boulders bound over him, and torrents of cascading sand are burying him alive. CLOSE ON LUKE Barely conscious, as he watches, for a horrifying final instant, as. HIS LAST CREWMAN, WILLIS Is sucked bodily into the black maw of the vortex, spinning and tumbling like a rag doll. CLOSE ON WILLIS'S FACE His features grotesquely distorted by the forces tearing at him, before suddenly his faceplate is sprayed with blood, and. DISTANT ANGLE - LUKE'S POV Willis's spacesuit explodes, his entire body disintegrating into a million bits, which instantly disappear into the hellish maelstrom. And then that maelstrom itself, just as abruptly. STOPS. Vanishes. There is an instant, ringing SILENCE, as awesome in its own way as the roaring storm itself had been. WIDE ANGLE On the plain, as the last pebbles, released from suction, pitter down, bouncing. Swirls of dust and sand drift away, settling gently. The harsh orange landscape is once again calm, peaceful. And then, from the direction of the nearby mountain, we hear another sound : the deep bass pulsing rumble returns.\",\n \"INT. MMCR. DAY As McConnell finishes his message to Luke. MCCONNELL Oh, and I talked to Debra. She and Bobby are doing fine. Said to tell you, they're, ah, they're on their `` third time through the book, page -. -LRB- glances at a note. -RRB- - page 125.'' They send their love and say take care of yourself. Same from us here, buddy. Till next time, then. End of transmission.\",\n \"EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY MOVING ANGLE, the CAMERA EXPLORING ground zero, as the bass, pulsing rumble continues. WE PASS the Rover, canted sideways into a little crater, with its canopy missing, one axle fractured, but miraculously still with all four wheels. WE PASS faithful little ARES - 8, lying on its side, partially crushed under a boulder. It gives a final, pitiful WHINE, its video snout slowly extending, then dies. And finally we come to the area where the fissure had been, and see THE FISSURE HAS BEEN FILLED IN Leaving only a slender crease of umber sand. No sign of Luke. The pulsing rumble continues, over, as we see\",\n \"EXT. AERIAL VIEW. DAY An extraordinary sight, seen from high in the air, looking back down. Staring up at us from the bottom of a shallow crater, scoured clean of its aeons of accumulated silt and rubble, is a structure resembling a vast humanoid Face. The surface is gleaming white, apparently metallic. The features are suggested by intricately interlocking planes, slopes, ramps. The `` eyes'' - hatches of some kind? - are closed, and the overall expression is eerily calm, but terrible in its power, like some ancient tribal mask. We see the Face clearly for only a few beats before thick, scudding clouds OBSCURE it, but the deep, pulsing rumble continues, low and insistent.\",\n \"INT. MARS TWO (DOCKED). COCKPIT. DAY We're inside the Mars Two spacecraft, which is still in its docked position alongside the Space Station. Woody Blake, wearing a NASA jumpsuit, floats up into the cockpit in Zero - G, studying a thick manual. WOODY -LRB- reads. -RRB- `` Problem : Hatch door malfunction, backup power fail, manual override fail. Solution : Replace circuit breaker 907B.'' He straps into the pilot's seat, staring at an electrical junction box at one end of the console. WOODY Okay. Piece of cake. He swings open the housing, revealing a bewildering tangle of fuses and wires. He sighs heavily, as Terri drifts up beside him, also in a jumpsuit, and straps into the co - pilot's seat. WOODY God, who dreams up these nightmares? TERRI Do n't try to change the subject. WOODY I'm not! We're talking about your sister's wedding, right? TERRI Very funny. We're talking about dancing lessons. Before my sister's wedding. WOODY Honey, do you mind? I've got a catastrophic power failure here. He peers into the housing with exaggerated concern. But Terri's not so easily sidetracked. TERRI Woody, we're a married couple. Would it kill you to invite me out on the floor once in awhile? WOODY I danced with you at our wedding. TERRI I'm not talking about shuffling your feet around while you grab my butt. I mean real dancing. Cha - cha, rhumba, jitterbug - WOODY Face it, honey, some couples dance, some go to Mars. That's life. TERRI I'm serious. We've got two more months in this training rotation, but just as soon as we get home, we're starting lessons. If we never dance, people will think there's something wrong. WOODY If they see me dance, they'll know there's something wrong. Reaching past him, she pulls out the required breaker. As he reacts, surprised, she smiles, despite her exasperation. TERRI You are such a lug. Overhead, an intercom CRACKLES. We hear PHIL. PHIL'S VOICE Cockpit, this is Control. TERRI Control, this is Cockpit. PHIL'S VOICE Uh, Terri, they want us all back in the Station. Report to Micker. TERRI Who says report to Micker? PHIL'S VOICE The little men who live in my head. WOODY Phil, c'mon! We just started this drill. PHIL Woody, it was Ray Beck. He told me to round up the team. Now. Woody and Terri exchange a worried look. What's wrong?\",\n \"INT. SPACE STATION. MMCR. DAY A crisis atmosphere prevails. The big room is more crowded than we've ever seen it, with ENGINEERS and MANAGERS hurrying by, huddling in tense, conferring knots, or muttering feverishly into microphones. On the center screen, a giant image of Mars. A frantic flow of green numbers crawls above and below this, and the site of the Mars One Base Camp is marked in blinking red. WOODY AND HIS CREW Are staring up at this screen, appalled. McConnell and Beck stand nearby, briefing them. BECK Then, at 1417, the X - band continuous data stream from Mars went silent. All data - med, environmental, everything - suddenly stopped. While we were trying to figure out what the hell went wrong, we got a signal from the folks at the Large Array at Soccoro. MCCONNELL At the same moment we lost the data stream, they picked up an intense burst of energy from Mars. WOODY What do you mean, `` intense''? MCCONNELL -LRB- hesitates. -RRB- Catastrophic. Looks are exchanged among the Mars Two crew. TERRI What about the crew? BECK The level of energy in the pulse. did n't seem survivable. WOODY What about the REMO? It went into Mars orbit last week. Maybe that could give us some clue. MCCONNELL Good thinking, Woody. That's just what we tried next. He leans over, punches buttons on a keyboard. ON THE CENTER SCREEN An orange dot can be seen in its orbital ellipse around Mars, leaving a glowing electronic trail. This dot gets isolated in a viewing box, then enlarged and rotated into the computer - animated image of a small, ugly, industrial - looking unmanned cargo craft, labelled `` REMO.'' MCCONNELL The Resupply Module checked out fine. No instrument failures, no change in status. Orbit holding steady. But there was something else. The REMO'S computer contained an uplink message - a very faint, highly distorted transmission from Mars One Base Camp. TERRI Someone's alive. MCCONNELL Yes. PHIL How? BECK The message is almost indecipherable. Two teams are still working on it. You better see for yourselves.\",\n \"INT. MMCR. DAY FINGERS press buttons on a console. McConnell, Woody, Terri, and Phil are crowded around a monitor with Beck and two weary TECHNICIANS. TECHNICIAN Still concentrating on the audio. We managed to bring out a couple more words, but we've got a long way to go. WOODY Show us whatever you've got. The technician nods, then gestures to his assistant who hits a play button. CLOSE ON A MONITOR Black for a moment, then static. Out of this static comes a faint image of Luke, sitting alone at the Hab kitchen table. He looks awful - dried blood on his face, bloodshot eyes. The image is blurry, heavily streaked, and most of what he says is lost in waves of static. LUKE make this quick. may be only ch -. -LRB- long section of static. -RRB-. to the site, when we. hit us just as we. - thers are all dead. Woody, Terri and Phil look at each other - Oh, God. LUKE -LRB- following more static. -RRB-. low sound that we could n't understand. Then all of a sudden there was this terrib. -LRB- another long burst of static. -RRB-. - stems are holding up for now, but I do n't know how long I can. The monitor screen GOES BLACK.\",\n \"INT. MMCR. DAY TECHNICIAN That's it. Woody and his crew stare at the screen, stunned. This is a catastrophe almost too huge to grasp.\",\n \"INT. SPACE STATION. DAY As Beck leads McConnell and the other shaken astronauts down a corridor, Phil pauses, seeing. A SOBBING TECHNICIAN At her desk. TWO CO - WORKERS are trying to comfort her. One of these women looks up, and her reddened eyes meet. PHIL'S EYES He looks back at her, haunted. TERRI What did Luke mean by a `` low sound?''\",\n \"INT. SPACE STATION. DAY In an otherwise empty lounge, the astronauts clutch Styrofoam coffee cups. Beck stands nearby. Through a large viewport behind them, stars glitter against the inky blackness. BECK If this was a earthquake, as we're now assuming, there's usually an auditory component. WOODY But that energy pulse they picked up in New Mexico. PHIL Electromagnetic emission. Not uncommon with large - scale geophysical phenomena. WOODY -LRB- incredulous. -RRB- Causing this kind of damage? I do n't buy it. We're missing something here. McConnell and Woody exchange a glance. Woody's right. TERRI Luke must be in pretty bad shape if he has n't blasted out of there in the Earth Return Vehicle. That thing's designed so even one crew member could fly it back to Earth. MCCONNELL Even if Luke was in great shape, he could n't get home. That energy pulse would've fried the ERV'S computers. WOODY Other than the computers, how do we think the ERV fared? BECK Well, so far our modelling says it should be in pretty good shape. WOODY Which means it's gon na be up to us to get new motherboards, drives, and software to Mars. As fast as we can. McConnell looks at him, nods. They're on the same wavelength. But Beck is more cautious. BECK Whoa, slow down. It's gon na take us weeks just to analyze this data. MCCONNELL Right, but meanwhile, we've got ta be working up a mission plan. WOODY Luke needs us now. BECK Luke may already be dead. And even if he's not, it's doubtful he's going to be able to transmit again. So we would n't know whether it's safe to land until you were almost there. PHIL What about SIMA? Terri looks at Phil - SIMA? PHIL The Saturn Imaging Probe. It's going to slingshot around Mars on its way through the solar system. It could be retasked to take pictures, read radiation levels at Mars One Base Camp. WOODY Good idea Phil. If SIMA tells us Luke has n't survived and it's not safe to land, we swing around Mars and come right back home. MCCONNELL Yes. We can design the mission to have a free return capability. It's a long trip, but if you do n't land it's the best option. BECK We're getting ahead of ourselves. You're forgetting the bigger problem. -LRB- they look at him. -RRB- The orbits are all wrong. Our first decent launch window is almost eight months from now. MCCONNELL But we can go earlier and get there faster if we reconfigure the payload for extra fuel. We've modelled that, Ray. I've modelled it. BECK On paper, yeah. But those stresses have never been tested in space. MCCONNELL The ship can take it. BECK I was n't thinking of just the ship. A tense beat. Again we sense the test of wills between these two tough - minded men, once good friends. MCCONNELL I know the protocols for a Mars Recovery Mission better than anybody, because I helped design them. And I'm saying these guys can do it. WOODY He's right, Ray. We've got a real shot. A pause with beck weighing the odds. He looks at Woody. BECK Give me an updated mission plan by 0800 tomorrow. Then I'll put it in the works. MCCONNELL You'll have it by 0600. He looks at Woody, Phil and Terri, who are just as eager. MCCONNELL Let's get to work. McConnell exits followed by Terri and Phil, but as Beck starts out, too, Woody stops him. WOODY Chief, could I have a word? Beck looks at him a moment, nods.\",\n \"INT. SPACE STATION. MMCR. DAY In a quiet corner, Woody and Beck are alone. WOODY I've no longer got the right crew. BECK -LRB- surprised. -RRB- What do you mean? Bjornstrom can be up here on the next shuttle. WOODY Bjornstrom is a geologist. He's good, but not for this. My people just lost eight months of training. This is a different mission, with a different objective. BECK I have n't been given authorization for a mission yet. WOODY But when you are, it ought to be given the best chance for success. I want McConnell to fly right seat. Beck's expression hardens. BECK He's no longer on mission status. WOODY Yeah. Because you washed him out. BECK He washed himself out. He only had to pass a few more psych evaluations, but he refused to take them. WOODY Ray, he's the best pilot I ever saw, and you've got him benched at a desk. BECK Everybody has to pass the psych prelims. No exceptions. Jim knew that. WOODY Maggie was his wife. He did n't want to lie on a couch and share her with strangers. BECK That was his call. But I had to make one too. It was tough as hell, but I'd do it again. WOODY His wife wasted away in front of his eyes. What was he supposed to do? Suck it up? Get with the program? What was his crime? That he was upset? That he cried? BECK I could n't trust him! Beck and Woody stare at each other. A long tense beat. BECK -LRB- his voice softer. -RRB- Not in a crisis. I'm sorry Woody, but Jim lost his edge. Are you gon na stand there and tell me Jim McConnell is the same man he was two years ago? You want me to bet four more lives on that? This stops Woody, just for a beat. Then makes him press on harder, with even greater intensity. WOODY When Maggie died, yeah, it knocked the shit out of him. It knocked the hell out of all of us. But you know and I know that he's still the best we've got. He and Maggie wrote the book on Mars. He's got more hours in the sims than the rest of us put together. Ray, we can do this. Give me McConnell as co - pilot, and we will bring Luke home. And that's a promise. Beck looks back at him, his features taunt.\",\n \"INT. SPACE STATION. MMCR. DAY Woody, Terri, and Phil stand at the edge of the big control room, waiting and watching, in a tense silence, as IN THE DISTANCE, FROM THEIR POV Beck and McConnell are huddled together at the CAPCOM's console. Other personnel have moved away, giving them room. Both men are seated, leaning forward, with McConnell listening intently, while Beck does most of the talking, very quietly. After a moment McConnell looks up in surprise. His eyes search the room till they find WOODY'S FACE Woody looks back at him, nods : C'mon, man. Take it. MCCONNELL'S OWN FACE Is a study in conflicting emotions. But after a moment he masters his feelings, turns back toward Beck. A few more quiet words are exchanged, then Beck offers his hand. McConnell hesitates, then shakes it. Both men rise, and McConnell turns again to look towards WOODY, TERRI, AND PHIL Who react with relief, glad that he's now a part of their crew. Woody grins, giving him a thumb's up. CLOSE ON MCCONNELL'S FACE As he smiles. Then he starts towards them, with a new energy in his step, a new sense of confidence and purpose. And as he WALKS TOWARDS US, PASSING OUT OF FRAME.\",\n \"EXT. DEEP SPACE. MARS RECOVERY. DAY An infinite canopy of stars. After a moment, some of them begin to be BLOTTED OUT as A SPACESHIP Glides INTO VIEW. `` MARS RECOVERY'' -LRB- formerly Mars Two -RRB- looks much like its sister craft on Mars : a conical cockpit mounted above a `` tuna can'' crew Hab module. SUPER TITLE : `` MARS RECOVERY. MISSION DAY 172.'' The entire lower deck forms a segmented section of the hull that rotates on bearings to provide artificial gravity ; we see window ports spinning past, then an American flag emblem. Behind this lower deck, in an extending network of struts, like the abdomen of a dragonfly, are the three huge round PROPELLANT TANKS. Then vast, delicate - looking rectangular SOLAR PANELS, which sweep out to either side of the ship ; these also bear the dish of the earth - pointing HI - GAIN ANTENNA. And finally comes the great mass of the ENGINE BELLS, housed within a curving AEROSHELL ; three hatches in the aeroshell can open to allow the main thrusters to fire through for a mid - course burn. CAMERA DRIFTS CLOSER To the forward section of the ship, APPROACHING a viewport in the EVA airlock chamber. Inside, we can see Phil leaning forward, concentrating on some task.\",\n \"INT. EVA AIRLOCK. DAY. A BUNCH OF M&MS Are floating in mid - air, forming an intricate 3D pattern. In the EVA airlock, it's zero G. Phil, strapped into a chair by a galley counter, is just completing this weightless puzzle by placing a final blue M&M. He looks bored, sluggish. In the b.g., Terri is hunched over a microscope. McConnell emerges from the core tunnel, behind them, coming up from the lower Hab, then pushes off from the ladder, floating towards Phil. He grins, admiring Phil's obsessive handiwork. MCCONNELL What's that? PHIL That. is the exact chemical composition of my ideal woman. MCCONNELL Used to be. He plucks out a couple of the M&M s as he drifts by. PHIL Hey! McConnell grins, snacking on the M&M s. MCCONNELL Now what is it? Phil looks sadly at his floating model. PHIL A frog. McConnell and Terri laugh as Phil starts scarfing down the rest of the M&M s. Swooping at them with both hands. TERRI I guess now we have our answer to the effects of long - term interplanetary travel on the human mind. The answer is Phil. MCCONNELL -LRB- smiles. -RRB- I'm gon na get an update on SIMA. It should be just about close enough to start capturing some surface images. He's drifted to another short ladder, and now grabs it, starts up to the cockpit, atop the Hab.\",\n \"INT. COCKPIT. DAY As McConnell appears in the cockpit, he sees Woody by the forward instrumentation panel, looking at a monitor. The cockpit is also zero G. MCCONNELL Hey, Skip. WOODY Take a look. McConnell pulls himself forward. ANGLE ON MONITOR MARS completely fills the screen. Surface details are clearly visible. Something is moving down there, an amorphous brown swirl.\",\n \"INT. COCKPIT. DAY WOODY What do you make of that? MCCONNELL Dust storm. Southern hemisphere, coming from the east. Big fella, too. WOODY Headed for Chryse Planitia. MCCONNELL Yup. Could get a little hairy just about landing time. McConnell pulls back from the screen, looks at Woody. WOODY We'll have to be ready to move fast. Maybe even advance our ETA. Those things can cover the whole planet, and last up to a year. A beat. They both hope he's wrong. MCCONNELL When does SIMA do her fly - by? WOODY Tomorrow morning, about 0600. That's when we find out whether we came all this way for nothing. They exchange a glance. Woody's right, but the thought is too terrible to dwell on. McConnell looks back at Mars. MCCONNELL -LRB- softly. -RRB- My money's on Luke.\",\n \"INT. MARS RECOVERY. EVA AIRLOCK. NEXT MORNING CLOSE ON A DIGITAL CLOCK Just turning over to read `` 0545.'' TERRI Pulls her gaze away from these numbers. Judging from her redrimmed eyes, it's been a long, anxious night. Restlessly, looking to distract herself, she reaches for a test tube of blood, straps it into a centrifuge, sets it spinning. Nearby is her electron microscope. MCCONNELL -LRB- LOWER HAB -RRB- Lies on his cot in his own cubicle, with the door closed. The lower hab has artificial gravity -LRB- AG -RRB- and McConnell can move normally. Hands behind his head, he stares at his bureau. PHOTO OF A WOMAN Rests there, in its leather travel frame. Beautiful, smiling, dark - haired : MAGGIE MCCONNELL. Her face glows with intelligence and energy. MCCONNELL Shifts his eyes. The clock on his bulkhead reads `` 0546.'' PHIL -LRB- LOWER HAB -RRB- Stands in the communal bathroom, still in his pajamas, a towel around his shoulders, brushing his teeth. He glances at another digital clock, which reads `` 0547.'' Shakes his head impatiently. He looks back into the mirror, then is surprised to hear MUSIC lilting incongruously over the loudspeakers : Elvis Presley's `` Blue Moon.''\",\n \"INT. EVA AIRLOCK. DAY Phil floats in through the connecting tunnel, then stops himself at a handhold. He grins, charmed by the sight of WOODY AND TERRI DANCING Like a weightless Fred and Ginger. Woody is surprisingly good at this. Enthusiastic, unselfconscious. He sweeps Terri gallantly about the little cabin, pushing off from every handy surface, even guiding her into some passable twirls and dips. She laughs, shaking her head. PHIL What brought this on? WOODY Zero - G. My last chance to be graceful. Once we're in Mars gravity, it's back to shuffling my feet and grabbing her butt. TERRI I'll take what I can get. She grins, kisses his ear, as Phil turns, sees MCCONNELL Who has now arrived, is also watching the dancing couple. A twinge of sadness crosses his features. But when his eyes meet Phil's, he shakes off the feeling and manages a smile : Are n't they something? Over the music, they hear a CHIRP from the SHIP'S COMPUTER, then an announcement. COMPUTER Attention. Incoming packet. They all look at each other. This is it! Woody spins over to a console, shuts off the music. MCCONNELL It's SIMA.\",\n \"INT. COCKPIT. DAY. MINUTES LATER The crew is gathered around a display screen. The lights are dim, reflecting up off their faces. By their expressions, we can tell the news is not good. CLOSE ON THE SCREEN It's a color, high - resolution satellite image of the Mars One Base Camp. Ghostly, dust - covered. No signs of life. WOODY Looks deserted. PHIL It's still standing, though. So is the ERV. And look, there's the greenhouse. MCCONNELL We know Luke survived for at least a few hours. Question is, are there any signs of recent activity? They all scan the screen. Phil spots something. PHIL There. He grabs a stylus and touches the screen. They all look. CLOSE ON THE SCREEN Using where the stylus touches the screen as the focal point, the image enlarges. THREE LONGISH DIRT PILES appear, some fifty meters from the hab. PHIL What the hell are those? McConnell gets it first. MCCONNELL Graves. They all realize he's right. They sit back, stunned. But then Phil has another thought. PHIL Hold on. There's only three. That means - TERRI Phil - PHIL It means Luke must still be - TERRI No. It just means there was nobody left to bury him. This quiets everyone for a long moment. WOODY Check the radiation levels. Phil keys in some commands and data pops up onscreen. PHIL Normal. WOODY Go to the disaster site. Phil uses the stylus to bring MORE IMAGES into view. The frame moves over the terrain in the direction of the Face, first in SWIFT BLURS, then slowing. Scattered rock debris come into view. The IMAGE ARRIVES where the mountain was, and they see. Debris in every direction, NEAT SPIRALS of it now, dropped uncannily into place, like some massive earth sculpture. As if - but this makes no sense - it had been swirled towards a LARGE CRATER. The crater itself is a perfect circle. They FOCUS on the CENTER OF THE CRATER, but the image gets distorted by STATIC. MCCONNELL What's wrong? PHIL I do n't know. Magnetic interference? Phil tweaks the stylus, but the image wo n't clear up. WOODY Go to infrared. Phil works the keyboard. THE SCREEN Goes to INFRARED, reading heat, The middle of the IMAGE, where the Face is, is still distorted, refusing focus. THE ASTRONAUTS Sit back, exasperated. PHIL Must be a problem with SIMA. I do n't see how an earthquake, six months ago, could give us this kind of distortion. MCCONNELL That was no quake. He leans closer, staring intently. WOODY Then what the hell was it? McConnell shakes his head. But his every sense is engaged ; he's like a predator just sighting his prey for the first time. We see in his eyes an utter determination to unlock this secret.\",\n \"EXT. SPACE. DAY Mars Recovery is speeding ever closer to Mars, which now looms large, a dusty red mysterious sphere.\",\n \"INT. MARS RECOVERY. LOWER HAB. DAY McConnell and crew are eating dinner while they watch a taped message from MMCR. CLOSE ON MONITOR SCREEN As Ray Beck addresses them. Other NASA STAFFERS, twenty or more, have crowded in behind him, and we sense their great hopefulness and high spirits ; the whole team's triumph is tantalizingly close now. BECK We're going to continue analyzing this data and try to determine what the problem is with those images. Frankly, we're just as stumped as you guys, but we'll keep on it. -LRB- glancing around. -RRB- We agree that the evidence of the graves is inconclusive and that a ground search is advisable. Be aware there are little sand storms kicking up near Mars One Base, but the big one you spotted is turning south. It should n't be a factor. Beck takes a breath, smiles. BECK We're all pretty excited here and we're sure you must be feeling the same. Enjoy your meal and get a good night's sleep. We anticipate that tomorrow morning you will be Go for Mars Orbital Insertion.\",\n \"INT. MARS RECOVERY. LOWER HAB. DAY WHOOPS OF JOY from McConnell's crew. Woody and Terri high five each other. BECK God bless you and goodnight. End of transmission. The monitor screen GOES BLACK.\",\n \"INT. MARS RECOVERY. LOWER HAB. NIGHT The lighting is subdued for a sleep period, but everyone's too restless. There's a low HUM of equipment.\",\n \"INT. EVA AIRLOCK. NIGHT Terri and Phil are playing computer Monopoly under a single light. Terri is using touch - screen technology to move her piece. She glances at Phil. He has spread some M&M s out, letting them drift in mid - air as he performs his ritual weeding out of the red ones. She shakes her head. TERRI What if you opened up your meal packs and found that, instead of putting in everything but red ones, they'd made a mistake and put in only red ones? PHIL Hey, that's a funny notion. And what if in your meal packs, instead of brown rice, there were spring - loaded spikes that shot into your eyes? TERRI -LRB- pause. -RRB- How did you ever pass the psych evaluation? PHIL When you're schizophrenic, they take the higher score. He touches the screen to roll the dice.\",\n \"INT. MARS RECOVERY. LOWER HAB. NIGHT McConnell, in his cubicle, looks away from the photo of Maggie. Haunted by memories. He rises, flips through the CDs in a storage case, pulls one out. He holds this carefully, hesitating, then feeds it into his computer. Immediately his screen saver vanishes and we see HOME VIDEO OF A PARTY An impromptu celebration, a bunch of friends gathered in a semi - darkened living room. The footage is HANDHELD, a bit jerky. People have paper plates of food, beers in hand, everyone is a little tipsy. Debra is there, Terri, Phil, Cote, Kirov, others. They're watching a STILL PHOTO SEQUENCE, shown on a large screen TV, with commentary by Luke and Woody. THE FIRST PHOTO Is of a small boy -LRB- YOUNG MCCONNELL -RRB- in his pajamas, kneeling in front of a Christmas tree. He's grinning ecstatically as he holds up a brand new model rocket. LUKE Jim's first ship was seriously underpowered. LAUGHTER at this. Some AD LIB CRACKS about the painfully bad haircut and the pajamas. THE SECOND PHOTO Is of a gawky - looking teenage girl -LRB- YOUNG MAGGIE -RRB-, standing on a porch at night, posing a bit self - consciously by a telescope on its tripod. WOODY Maggie was always starstruck. More LAUGHTER, plus some digs about the nerdy eyeglasses and braces. VIDEOCAMERA swings around the room, REVEALING the adult JIM and MAGGIE. They sit side by side on the hearth, leaning into each other, looking very happy. MAGGIE I'll get you guys for this. More LAUGHTER. Everyone's having a great time. The VIDEOCAMERA swings back towards the TV screen as THIRD PHOTO APPEARS Jim and Maggie, young adults, standing on the wing of a fighter jet. Both in Air Force flight suits, helmets in hand. Suntanned, cocky, flashing radiant smiles. LUKE When they met at the Air Force Academy, it was `` love at first flight.'' GROANS and LAUGHTER from the offscreen watchers. WOODY After that, NASA training was tough. All Jim could think about was exploring a heavenly body. More ribald LAUGHTER, as FOURTH PHOTO APPEARS Maggie and Jim, tethered together, floating weightlessly in space suits. LUKE But Maggie, as you can see, kept him on a short leash. Until. A FIFTH PHOTO Shows McConnell, in a dress uniform, leaning in to kiss Maggie, who wears a white bridal gown. WOODY Mission accomplished! ANGLE ON MCCONNELL, IN THE PRESENT As he smiles at this, hearing the renewed LAUGHTER and CHEERS, the AD - LIBBED DIGS from the video. He becomes aware he's not alone. He looks up. WOODY Stands in the doorway of his cubicle. Their eyes meet. They both smile, turning back to the video. Remembering. IN THE VIDEO Luke and Woody have stepped forward, INTO SHOT, standing at the sides of the TV, where the last photo lingers. Luke waves his hands, hushing everybody. LUKE Today we celebrate a new chapter in their story. And guys, it's a pretty historic one. Both men raise champagne flutes. WOODY Let's hear it for the newly - announced Captain and Co - Captain of Mars One. To Jim and Maggie! CHEERS at this, repeats of `` Jim and Maggie!'' Luke grins, giving a little signal, and we see A FINAL PHOTO Of Maggie in Jim's arms, both of them in goofy tropical vacation wear, smiling. Evidently a photo taken in the surf somewhere, but here it's been crudely superimposed onto a Martian landscape. Laughter greets this unlikely image. LUKE When you guys land, it'll prove once and for all there's no intelligent life on Mars. More hoots of LAUGHTER, CATCALLS, but Maggie jumps in to protest, as the VIDEOCAMERA SWINGS TO HER AND JIM. Terri sits nearby. MAGGIE Hey, c'mon, what if I'm right? ASSORTED VOICES Oh no, here we go! Do n't get her started! Somebody put on some music! MAGGIE It's our sister planet! PHIL Oh brother! LAUGHTER at this, and Maggie joins in. She's a good sport. TERRI Maggie, why does this have to be about us? Mars is a great opportunity for pure science. MAGGIE We'll do the science. And we'll do it very well. That's what we've trained for. But what if there's more? In all our myths, in every human culture, Mars has always held a special attraction. What if that means something? Only we do n't understand it yet. The mood of the party is changing, as everyone is caught up in Maggie's spell. She has a radiant simplicity. The VIDEO CAMERA DRIFTS IN ON HER ; we are caught up, too. MAGGIE The universe is not chaos. It's connection. Life reaches out for life. She looks at McConnell, smiles. He takes her hand. MAGGIE This is what we were born for, is n't it? To stand on a new world, and look beyond it to the next one. It's who we are. A silence ; the guests are enchanted by the purity of her passion. She smiles, suddenly self - conscious. She had n't meant to get so carried away. IN THE PRESENT - MCCONNELL Reaches out, gently taps the keyboard, FREEZING the screen. He and Woody, their eyes shining, stare at her image. A beat. WOODY You okay? MCCONNELL Yeah. I'm good to go. Woody glances at him. It's true. Rather than being saddened, McConnell seems to have taken on new strength. A renewed sense of wonder. MCCONNELL After all these years. Can you believe it? Tomorrow we'll be standing on Mars. Woody nods, smiles. WOODY You know what? She may have been right. McConnell looks at him. WOODY If that was n't a quake down there, then something else caused it. Or planned it. You're thinking the same thing. MCCONNELL It's never been out of my mind. WOODY Jesus. You realize what this means? McConnell nods. Looks again at Maggie's face on the screen. MCCONNELL She knew, Woody. She was the only one of us that ever thought there might be something down there. WOODY Yeah, and we're not leaving until we find out. Deal? McConnell nods. They clasp hands briefly. Deal. Then Woody turns. Before leaving, he hesitates just a moment, turning back. One last thought, and he does n't know he's going to say it until it comes out. WOODY Maggie was the best of us. McConnell looks at him, silent but grateful. Woody goes. McConnell turns back, looking at her smiling face, frozen on the screen.\",\n \"INT. COCKPIT. NIGHT MARS LOOMS AHEAD OF US. As seen through the cockpit windows. Huge, beautiful, MUCH CLOSER now. We can make out swirling pink clouds, large surface features. It's just before Martian dawn, the next morning. MCCONNELL Range 6783 and closing. 35 minutes till Mars Orbital Capture. WOODY Okay, people let's look sharp. If we overshoot, there's no coming back. PHIL -LRB- O.S. -RRB- Yeah, and drifting through eternity will ruin your whole day. In the cockpit, Woody and McConnell are in the pilot and co - pilot's wearing space suits but not yet helmets. AS CAMERA PULLS BACK AND AWAY, we see them making instrument adjustments in preparation for MOI. TERRI -LRB- O.S. -RRB- Delta V systems initialized. WOODY Charge primary APU. TERRI -LRB- O.S. -RRB- Engaged. Charged. WOODY Select HPU fuel cells for run. TERRI -LRB- O.S. -RRB- Engaged. MCCONNELL Tie main bus to systems. PHIL -LRB- O.S. -RRB- Power ready. MCCONNELL Select H2/O2 HPU and fuel cells for open. PHIL -LRB- O.S. -RRB- H2/O2 control valves open. CAMERA TURNS, PUSHING DOWN INTO.\",\n \"INT. EVA AIRLOCK. NIGHT Where Phil and Terri sit side by side at a pair of computers, relaying cockpit commands to the systems. WOODY -LRB- O.S. -RRB- Charge flow. TERRI Charged and on - line WOODY -LRB- O.S. -RRB- Reset PW. TERRI Set MCCONNELL Transfer protocol data from EVA station. PHIL Transferred. Awaiting track confirmation. There's a sudden LOUD, BRITTLE POP from somewhere overhead, and Phil's gloved hand, hovering over a computer screen, is punctured through and through. The screen itself is holed and spiderwebbed with a loud CRACK! PHIL Uhhh! PHIL HOLDS UP HIS HAND As he and Terri stare at it, dumbfounded. Thick droplets of blood leak out and begin to swirl away, sucked up towards the venting puncture in the hull over head. The astronauts' helmets dangle up there, awaiting use. TERRI What in God's - Suddenly we hear HIGH PITCHED ALARMS SOUNDING, then the PINGING OF MORE TINY MISSILES, slashing across the ship's outer skin. WOODY AND MCCONNELL Are staring back from the cockpit, reacting in astonishment to Phil's drifting blood and to the alarms. Then Woody suddenly understands. WOODY Micrometeoroids MCCONNELL -LRB- scanning sensors. -RRB- Breach hits in the hull! ANGLES ON TERRI AND PHIL As she seizes his wounded hand, tries to stop the bleeding. He's staring at a gauge. PHIL Outgassing! Losing pressure! TERRI Woody, seal the breech! ANGLE ON WOODY As he unbuckles, dives from the cockpit back down into the EVA, and floats quickly over to a storage hatch. He yanks this open pulling out a PATCH GUN Then spins around in zero - G, as his eyes track THE RISING DROPLETS OF BLOOD Which give a telltale hint of the puncture's location, somewhere up among the dangling helmets on the `` ceiling.'' WOODY PUSHES OFF Rising to this area, and shoves aside a helmet with a shattered faceplate - its label reads `` MCCONNELL'' - to REVEAL A BREECH IN THE HULL. Jagged metal edges, dangling insulation. The blood droplets are whirling out through here, going into the vacuum of space. Quickly Woody stuffs the muzzle of the patch gun into the puncture, firing a thick grey sealant. We hear MORE PINGS, ECHOING LOUDLY, but after a few seconds they DIMINISH, then abruptly STOP. The KLAXONS continue to wail. WOODY Kill those alarms! McConnell punches buttons, MUTING THE ALARMS, and they all strain to listen, faces tense and sweating. A long beat. But the meteor shower has passed by, as abruptly as it appeared. The astronauts turn, becoming aware of a strange phenomenon. PHIL'S BLOOD DROPLETS Have stopped in place, wobbling eerily as perfect spheres in the zero - G. Then suddenly they start moving again, faster and faster, in a new direction. Down through the open core tunnel that leads to the lower Hab. MCCONNELL Stares at a gauge that confirms what's happening. MCCONNELL Still outgassing in the lower Hab! There must be another hole down there, even bigger. PHIL Losing pressure fast! We're gon na decompress! WOODY Computer, how long until zero atmosphere? COMPUTER -LRB- after a beat. -RRB- Four minutes, nine seconds. PHIL If we get below 20 % atmosphere, the power will shut down! TERRI Are you sure? PHIL Positive! A vacuum inside the ship would cause a total electrical failure. The nav computers will fry! MCCONNELL -LRB- to Woody. -RRB- We'll lose all control. We wo n't be able to fire the engines to capture Mars orbit. Just then a computer screen flickers, freezes. Phil punches keys with his good hand. What he sees shocks him. PHIL It's already starting. The primary L - 1 hub has been smashed. The systems are crashing. Woody looks back at his crew, struggling to project more calm than he really feels. WOODY Everybody switch to suit oxygen. We beat this in the simulator, we can do it here. Jim, you've got the ship. I'm going EVA. They stare at him, stunned by their immense task. WOODY C'mon, people, let's go! Let's work the problem!\",\n \"INT. EVA AIRLOCK. MOMENTS LATER Terri, now helmeted, is putting Woody's helmet on him, but something's in the way, chafing his neck. He reaches into his suit, pulls out. THE CHAIN From around his neck, with his little Flash Gordon rocketship dangling. WOODY HANDS THIS TO TERRI As they share a brief, loving glance, but there's no time for words. She tightens his helmet ring, and he brushes his gloved fingertips on her faceplate. Then he hurries towards the inner hatch door, where McConnell is throwing airlock switches. Woody and McConnell exchange a look. At the EVA computer panel, Phil is shutting down non - essential power drains, trying to get the main computer system back on line. His wounded hand makes this difficult and painful. PHIL Jesus, it's still bleeding. TERRI Keep the pressure on! COMPUTER Eighty percent atmosphere.\",\n \"INT./EXT. AIRLOCK. NIGHT The outer airlock door is now open, revealing stars, as Woody drifts through it into space. He's now wearing the MMU, an oversized jet pack like the ones used by the shuttle astronauts.\",\n \"INT. EVA ROOM. NIGHT MCCONNELL'S HELMET. With its shattered faceplate - now useless - drifts past Terri as she is wrapping med tape around gauze pads on Phil's glove. MCCONNELL Floats up to them, checking on Phil's work at the computer. TERRI Jim, you've got ta get your spare helmet from storage. MCCONNELL No time. Phil, can you keep the nav computers on - line? PHIL I ca n't get this damn machine to re - initialize! And the automated systems just went down. We ca n't shut down the hab rotation from here. MCCONNELL I'll do it from below. TERRI We're losing pressure. You could embolize. COMPUTER Seventy percent atmosphere. McConnell looks at her, knows she's right. But he starts off anyway. Phil reaches out his good hand. PHIL Jim, I've got an idea. If you guys can save enough atmosphere, I'll disconnect the power in the main computer bay, then jump start the systems. I'll do a hard boot. This is a radical, incredibly risky notion. McConnell stares hard at Phil. So does Terri. MCCONNELL Has that ever been tested? PHIL Are you kidding? These machines are much too valuable. McConnell looks from Terri to Phil. It's life and death. MCCONNELL Do it. Then he turns, and the CAMERA FOLLOWS MCCONNELL as he pushes away from the console and dives down into the core tunnel, heading towards the\",\n \"INT. LOWER HAB where he emerges from the core into the rotating Hab deck, and pushes himself down a ladder toward the floor. He accelerates as he gets closer to the floor, then rights himself with a twist and lands on his feet - now in gravity.\",\n \"EXT. MARS RECOVERY. NIGHT Woody, in the MMU, is hovering over the lower segment of the Hab hull, and right away we see his problem. He ca n't reach the damaged spot because it's spinning past him, spewing vapor. WOODY -LRB- over radio. -RRB- Jim, how we doin' on the AG?\",\n \"INT. LOWER HAB. NIGHT McConnell runs to a computer terminal and starts clicking with the mouse. MCCONNELL Just one goddamn second. Come on, c'mon. COMPUTER Voice print identification. MCCONNELL McConnell! COMPUTER -LRB- a beat. -RRB- Accepted. Shutting down artificial gravitational rotation. McConnell hears a sound up at the core tunnel. He turns, it's Terri. She holds an small 0 - 2 cannister, marked with a red cross. MCCONNELL Hang on! McConnell grabs onto a counter edge as.\",\n \"EXT. SPACE. NIGHT Attitude control thrusters on the hull begin firing in pulses. The rotation of the lower Hab deck immediately starts to slow down. The great red ball of Mars drifts by.\",\n \"INT. CORE TUNNEL. NIGHT Terri, lurching, grabs a ladder strut, and watches from the tunnel as. MCCONNELL Is also jarred by the firing of the thrusters. The rotation slows until the Hab is still. Zero - G. McConnell floats. He and Terri can hear the terrifying sound of air whistling out into space through the breach hole. COMPUTER Sixty per cent atmosphere. WOODY -LRB- V.O. -RRB- Get some light on the hole so I can locate it. MCCONNELL I've got a better idea. -LRB- shouts to Terri. -RRB- Stay there! He starts rooting through Phil's storage area - bags of M&M s, comic books - looking for what he needs.\",\n \"INT. COCKPIT. NIGHT Phil is now strapped into the pilot's seat. He's scared, sweating hard, but concentrating fiercely as his one good hand works a battery - powered screwdriver. He's removing the panel of the main computer bay. Over the intercom, he can hear the merciless struggle going on elsewhere. WOODY -LRB- V.O. -RRB- I'm topside, Jim, do you know which sector? MCCONNELL -LRB- V.O. -RRB- I'm workin' on it!\",\n \"EXT. SPACE. NIGHT The lower Hab deck is no longer revolving. Woody pops his thrusters and drifts over the metallic skin. But there's such a vast area to search! WOODY Jesus, uh, OK, this is gon na be like searching for a needle in a haystack.\",\n \"INT. LOWER HAB NIGHT McConnell locates a can of Dr. Pepper, shakes this violently, then tosses it up to Terri, who's still in the tunnel mouth. She catches the drifting can, confused. When McConnell speaks again, he's gasping for air. MCCONNELL Shake out the liquid. TERRI Jim, I do n't - MCCONNELL Shake it out near the hull! Terri shakes out soda from the open can. She and McConnell watch the brown stream of fluid swirl up into the air, caught by escaping oxygen. It rises towards the `` ceiling'' of the outer hull, like a miniature tornado.\",\n \"EXT. SPACE. NIGHT Woody still drifts over the hull, searching intently as his frustration builds. WOODY C'mon, c'mon, where are you? COMPUTER -LRB- V.O. -RRB- Fifty per cent atmosphere.\",\n \"INT. LOWER HAB. NIGHT Terri, staring at the ceiling, sees something remarkable. THE SODA STREAM Swirling ever tighter, has formed a whirlpool that's now being sucked out through the breach hole in the hull. She can now see the ugly puncture for the first time. MCCONNELL -LRB- gasping. -RRB- Woody, the breech is in sector four! Sector four, copy that? WOODY -LRB- V.O. -RRB- Copy, I' heading there now. Terri turns, excited by McConnell's triumph ; she's just in time to see him collapse to the floor below her, as he starts to lose consciousness. He's deathly pale.\",\n \"EXT. SPACE. NIGHT Woody spots a tiny geyser of brownish ice crystals spouting out of the hull of the lower Hab. It's some distance away from him, but clearly visible. WOODY -LRB- to himself, marveling. -RRB- Sonofabitch. You never did that in the simulator.\",\n \"INT. LOWER HAB. NIGHT Terri pushes off from the ladder, drifting weightlessly down to McConnell. She opens the valve of the oxygen cannister, pushing the plastic mask over McConnell's face. He sucks in air, color returning to his skin as he revives.\",\n \"INT. COCKPIT. NIGHT CLOSE ON THE COMPUTER'S GUTS. An incredible tangle of tubes, wires, chips, as Phil's gloved fingers - both hands now - probe desperately through them. PHIL Where are you, you little bastard, where are you? PHIL WINCES WITH PAIN. As he moves his hands and forearms deep inside the computer bay. Around him, several of the smaller screens and gauges are starting to malfunction, the data streams breaking apart, streaking into electronic snow. He shoots a tense glance at THE NAVIGATIONAL MONITOR Which is flickering crazily. It shows the ship moving much closer to its critical MOI point, indicated by a flashing red triangle aimed down at the Martian surface. COMPUTER Forty percent atmosphere.\",\n \"EXT. SPACE. NIGHT Woody, popping his thrusters, moves as fast as he can towards the protruding finger of crystal, but he's not there yet. All of a sudden Woody's thrusters cut out. The ship is moving by, a meter beneath him. Woody punches his arm controls. Nothing. Then just as the outer edge of the hab starts to pass him, the thrusters kick back in. Woody grabs the edge, starts to move to the hole. Woody lets out a breath. WOODY -LRB- to himself. -RRB- Whoa.\",\n \"INT. LOWER HAB. NIGHT McConnell, holding his breath, grabs a patch gun from a storage locker. Terri's still got the 0 - 2 cannister. He nods to her, and together they push off from the floor, leaping weightlessly up to the other side of the Hab, the `` ceiling.'' They reach the gaping puncture, which they now see has been only partially dammed by the soda ice.\",\n \"INT. COCKPIT. NIGHT VERY CLOSE ON THE COMPUTER'S INTERIOR As Phil's gloved fingers finally locate the plug he's been searching for. He hopes. And grip it firmly. PHIL Gotcha! PHIL TAKES A DEEP BREATH. Says a silent prayer. Then he yanks the plug. SHRILL WHINES, ELECTRONIC CRACKLES from all around him, as the systems are abruptly shut down, in a way they were never meant to be mishandled. Terrifyingly, a couple of the monitors arc to each other as they die. Dodging sparks, Phil stares at THE NAVIGATIONAL MONITOR As it also flickers and dies. Now they're flying blind. COMPUTER Thirty percent atmosphere.\",\n \"EXT. SPACE. NIGHT Woody arrives at the ice finger, knocks away the big crystal, then pulls his patch equipment from a pouch.\",\n \"INT. LOWER HAB. NIGHT In the Hab, Terri uses the base of the 0 - 2 cannister to smash away the interior ice chunk, then McConnell, who's getting wobbly again, blasts the hole with the epoxy gun. As he works, Terri gives him another hit of air. COMPUTER Twenty percent atmosphere. The lights flicker out in the Hab.\",\n \"EXT. SPACE. NIGHT Outside, Woody slaps a big square patch over the hole, rips off the backing. CLOSE ON THE PATCH As it changes color and shrinks, drawing itself down into the metal of the hull.\",\n \"INT. COCKPIT. NIGHT VERY CLOSE ON THE COMPUTER'S INTERIOR. As Phil's fingers re - connect the same plug. PHIL PULLS HIS HAND OUT From inside the computer bay. He's trembling, sweat - streaked inside his faceplate. Blood has soaked through his gauze pads. His good hand hovers over the red main power switch. The moment of truth. PHIL OK. OK now. With a dramatic click, he throws the switch, hard - booting the computer system back on. He stares at the screens. Nothing happens! PHIL Come on. Come on! Frightened, furious, Phil bangs on the switch with his cordless screwdriver. When all else fails, hit something.\",\n \"INT. LOWER HAB. NIGHT Feeble starlight from the viewports. McConnell and Terri, drifting side by side, stare at one another, expecting to die within seconds. It feels like an agonizing eternity. COMPUTER Twenty percent atmosphere. McConnell's eyes widen, as he realizes this is the same as the last reading. COMPUTER Pressure stabilizing. Atmosphere level increasing. Terri and McConnell look at each other. Tears of relief in her eyes. He is exhausted, nearly spent, but manages a grin. She holds the 0 - 2 mask up to his face, and as he grips it, breathing deeply, they hug one another.\",\n \"INT. COCKPIT. NIGHT The lights and computer screens are flickering back on. All of them! The cockpit lights up like a Christmas tree. Phil bounces up and down like a madman, babbling in triumph. PHIL Yes! Awriiiight! Had it all the way. Yes! Forgetting his injury, he pounds his gloved fist on the console in triumph. PHIL Shit! He wrings his injured hand, then his gaze is caught by THE NAVIGATIONAL MONITOR Which pops back on, showing the ship and the MOI point coming perilously close together. PHIL'S EYES WIDEN IN FEAR As he keys his mike urgently. PHIL Get back in here, guys!\",\n \"EXT. SPACE. NIGHT Woody floats above the repaired hole, scanning the nearby surface of the hull. WOODY Jim, there's a lot of scarring. I'd better check for other punctures while I'm out here. MCCONNELL -LRB- V.O. -RRB- Negative, negative. Woody, get back inside. We've got ta start the checklist for orbital insertion. WOODY -LRB- a beat ; reluctantly. -RRB- Copy, I'm heading there now. Woody jets back towards the open EVA hatch. But as he reaches this, about to re - enter the ship, he's captured momentarily by a breathtakingly beautiful sight below him. SUNRISE OVER MARS As the huge planet is REVEALED in all its red, unearthly glory. It's so close now that individual features can be seen with the naked eye - the vast chasm of Valles Marineris, and then Olympus Mons, poking all the way up through the Martian atmosphere. A stunning, alluring spectacle. WOODY Stares down at Mars, enthralled, as sunlight floods the side of the spaceship, sparkles off his visor. Dawn, after a very long night indeed. He whispers lovingly, under his breath. WOODY Hey, Beautiful. Then he stirs himself out of his reverie and hurries through the EVA hatch. CAMERA DRIFTS QUICKLY BACK and down along the hull as stark sunlight flares off the big propellant tanks, three in a row, and the thick silver tubes that join them. There's a good deal of scarring and denting from the meteor shower. Then, as the ship begins to MOVE OUT OF FRAME. WE MOVE IN CLOSER On one of these tubes, a feeder line to the engine bells, we see a scatter of tiny, undetected holes, about the size of the eraser at the end of a pencil. So small, so apparently harmless.\",\n \"INT. EVA AIRLOCK. DAY As Woody enters, stripped from the MMU, dripping with sweat, McConnell is waiting for him. For a moment the two men just look at each other, then they surge forward into a fierce hug. WOODY -LRB- whispers. -RRB- Know what? You've got enough left. McConnell looks at him, understands. Terri sits nearby, where she has just finished stitching up Phil's hand. As Woody goes to her, she rises from her seat and looks at him tears of relief and pride in her eyes. TERRI Piece of cake? WOODY Well. Easier than the cha - cha. He scoops her into his arms ; they kiss passionately. Phil is blinking ; something seems to be getting into his own eyes. His voice catches for a moment. PHIL I do n't know what you're getting so cocky about. We scored better times in the sim at least twice. MCCONNELL -LRB- grins. -RRB- How's his hand? Terri separates from Woody, looks down at Phil. TERRI Seems OK. Couple of the tendons are going to be a little tight for awhile. Try to close your fingers, Phil, nice and slowly. Phil starts curling up his fingers. The middle digit remains extended in the universal gesture. They all consider this for a moment. Then Phil looks up cheerfully. PHIL Well, at least I'll still be able to drive. After a split - second they get it, and the whole crew roars with LAUGHTER, which builds and builds ; they're almost giddy with the relief of the tension.\",\n \"EXT. DEEP SPACE. DAY MARS RECOVERY Sails INTO VIEW, with small attitude thrusters firing as the great ship maneuvers into position for its orbital - capture burn. Mars looks very large, blood - red. The entire spectacle is majestic, awe - inspiring. WOODY OK, we're ready to light this candle. Go/No Go for braking burn and MOI. Engines?\",\n \"INT. COCKPIT. DAY All four astronauts are strapped in, fully suited and helmeted. Mars looms through the cockpit windows. The atmosphere is electric with excitement. MCCONNELL Go. WOODY Systems. TERRI Go. WOODY Nav. PHIL Go. WOODY We are Go for the burn. I'm fueling the engines. He flips three switches, in rapid sequence, and.\",\n \"EXT. MARS RECOVERY. DAY As we MOVE IN on the damaged fuel line, we see a tiny but steady spray of fuel venting from the hole caused by the meterorite. This freezes into eerie streamers and chunks, which slowly drift away from the ship. They're quite beautiful. PHIL -LRB- V.O. -RRB- Optimum angle of entry minus seven degrees. Six. Five.\",\n \"INT. COCKPIT. DAY Woody looks at the others for moment - everyone is set, looking good - then reaches for a last switch. PHIL Four. Three. Woody hesitates, then glances at McConnell. WOODY Jim? McConnell, moved by this honor, nods. He reaches out to throw the switch himself. MCCONNELL Let's go to Mars. As the countdown indicator reaches `` 0000.00.00'', a final signal PINGS, and he flips the switch.\",\n \"EXT. MARS RECOVERY. DAY In total silence, the engines ignite. The second they do, the streamers of frozen fuel explode in a white flash.\",\n \"INT. COCKPIT. DAY With alarms sounding, the four astronauts are slammed violently forward, against their restraints. WOODY What the - MCCONNELL Shut down engines! He and Woody both reach out, straining against the incredible G - forces, and manage to grab a red emergency lever, yanking it down hard.\",\n \"EXT. MARS RECOVERY. DAY Too late! IN SLOW MOTION, we see a terrifyingly violent chain reaction. The fuel tanks themselves explode, one after another. The supporting metal struts are vaporized. The solar panels are snapped off. Two of the huge engine bells are smashed sideways, out of alignment, while the third, trailing pieces of the cowling, goes hurtling off, PAST CAMERA, like a flaming cannon ball. The entire aft section of the ship, including much of the lower Hab, instantly becomes a shredded, charred tangle of metal, and even worse, the explosion causes what's left of the ship - mainly the EVA chamber and cockpit - to tumble end over end, cartwheeling down towards Mars.\",\n \"INT. COCKPIT. DAY In the windows, Mars goes crazily in and out of view. The astronauts, flung this way, then that, are all fighting against unconsciousness. WOODY Engines negative! No response! I've got no attitude control! MCCONNELL Manual separation! Blow the bolts! WOODY Negative! The CM does n't have enough thrust to correct this rotation! PHIL We're too steep! Falling into the atmosphere!\",\n \"EXT. MARS RECOVERY. DAY From further away, the charred remainder of the ship can be seen spinning down towards Mars, which now fills the screen, looming as large as Earth, when seen from the space shuttle. The ship's motion is mercifully slowing as it hits the outer atmosphere, but just as clearly this steep, unplanned angle of entry dooms it. PHIL Christ, at this angle we'll burn up!\",\n \"INT. COCKPIT. DAY ON A COMPUTER. Their ANGLE OF ENTRY is shown - much too direct - with an indicated swerve into blinking red disaster. Warnings flash : CRITICAL ENTRY! PULL OUT! WOODY How much time've we got? PHIL I do n't know! Three minutes? I do n't know! McConnell's mind is racing furiously, desperately. MCCONNELL Where's the REMO? PHIL The Resupply Module? Why? That's not - MCCONNELL Where is it?! Phil punches buttons. ON THE SCREEN a second ellipse appears : a blinking orange dot labelled `` REMO.'' It appears to be soon intersecting with their own trajectory. PHIL Uh, it's close. MCCONNELL Damn it, how close?! PHIL -LRB- shaken. -RRB- I - I do n't know. It'll take time. MCCONNELL We do n't have time! Figure it out! Now! Phil frantically types in commands on the computer. WOODY Jim, we're dead stick, there's no way to maneuver this ship into a link - up! MCCONNELL Not the ship. Just us. We have to go EVA. They look at him, stunned. Leave the ship? PHIL You want us to transfer in suits? TERRI Jesus, Jim - if we do n't make it - if we miss the REMO. MCCONNELL There's no other choice! Phil, how close?! PHIL One kilometer, that's the best I can do! They stare at Woody. We feel the full, terrible weight of his responsibility. Four lives hang on his call. WOODY Prepare to abandon ship.\",\n \"EXT. SPACE. DAY The astronauts are outside the ship, tethered to each other with long shock cords. Other cords, clipped to their suits, trail gear bags. Phil clutches a silver metallic case - his precious computer repair kit. Woody is in the MMU. They're all rotating at the same speed as the ship behind them. WOODY On my mark, seven percent left thruster. Three, two, one, fire. All four astronauts fire a brief, simultaneous burst from the tiny attitude control thrusters in their suits. This stops their rotation, bringing their travel under control. The ship continues spinning in the background. Woody takes a final look at the charred, doomed Mars Recovery. The only home they've known for six months. He exchanges a silent glance with the others. They all expect to be dead in the next few minutes. Woody takes a breath, nods. WOODY Okay. Let's go. He pops the big thrusters on the MMU and starts heading away from the ship. The cord between Woody and the others pulls taut and they start to follow. WIDE SHOT Of Woody leading them away from the crippled spaceship, against the magnificent backdrop of the blood - red planet below. Four tiny figures, all alone in space. ANGLE ON MCCONNELL AND THE OTHERS As Phil looks back, his eyes searching the stars. TERRI What're you looking for? PHIL -LRB- softly, sadly. -RRB- Earth. TERRI -LRB- beat. -RRB- Hey. When we get back? We really will have to try this in the sim. He tries to smile. So does she. MCCONNELL How we doin' on fuel, Woody? Woody eyes a small display screen on his forearm. WOODY I'm at fifty percent. -LRB- looking down. -RRB- But I do n't see the REMO. THEIR POV Everyone is looking back at the curve of Mars against black space, expecting to see the REMO coming up behind them. TERRI Happens to glance directly below. TERRI There she is! THEIR POV The black outline of the little cargo craft drifts against the red of Mars. WOODY Jesus. She's not where I thought she'd be. PHIL We're going to miss her. WOODY Looks again at his display screen, frustrated. MCCONNELL What do you think? WOODY We ca n't catch it. Not like this. MCCONNELL -LRB- thinking quickly. -RRB- Use the tether. From a compartment on the side of the MMU, Woody pulls out. THE TETHER GUN About the size of a large flare gun. There's a carabiner - like hook five inches in diameter on the front of the gun. MCCONNELL We'll only have one, maybe two shots before she's out of reach. WOODY It'll be better if I leave you the gun while I run out to the REMO. I've got enough fuel left for that. MCCONNELL You'll be going too fast. WOODY I'll aim to overshoot, then brake like hell ; arc it in. McConnell looks at him. They both know how risky this is, and they also know it's their only chance. Woody flips a switch on the gun and pulls on the hook. Off it comes, trailing wire. Woody clips the hook to the MMU, then hands McConnell the gun. WOODY Seeya in a few. McConnell nods. Woody and Terri exchange a look - tender, loving - then Woody turns around and fires the MMU jets at full throttle. As Woody pulls away, line unspools from the tether gun. WOODY AND THE REMO Woody is chasing the REMO from above. It's as if he were in an airplane, trying to land on a car racing along a freeway. Woody is picking up speed quickly. Maybe too quickly. He checks his armpad display screen. WOODY Okay. I'm on path to overshoot. I'm gon na take the edge off. Woody starts braking with the MMU thrusters as hard as he can. CLOSE ON THE THRUSTERS Glowing with orange flame. They suddenly cut off. WOODY'S EYES Show alarm. He checks his display. WOODY I'm out. Coming in hot. Still long. -LRB- beat. -RRB- Abandoning the unit. I'll brake with suit jets. Woody hits some buttons and the MMU's latches snap open. He grabs the hook connected to the tether line, then pushes himself free of the MMU, starts firing his small suit jets. WOODY'S POV He's still going very quickly. WITH MCCONNELL, TERRI AND PHIL Floating close together. The tether line is still unspooling from the gun. They watch Woody, below and ahead of them, as he races towards the REMO. Terri's heart is in her throat. TERRI Oh Jesus. Jesus. McConnell reaches a glove out, touching her arm. BACK ON WOODY Still speeding towards the REMO. His suit jets cut out. WOODY Suit jets gone. But I'm gon na make contact. MCCONNELL, TERRI AND PHIL Stare at Woody's distant figure. INTERCUT - MCCONNELL At what velocity? WOODY Impact's gon na be a little rough. MCCONNELL At what velocity? WOODY -LRB- beat. -RRB- Thirty - two. A look between McConnell and Terri ; her face is stricken. MCCONNELL I'm gon na use the gun to slow you. WOODY No! You slow me and I'll fall short. MCCONNELL It's too fast, Woody. WOODY No choice. I'll be okay. Here we go. WOODY AND THE REMO Woody's coming down on the module at over thirty kilometers an hour. He holds the hook out in front of him with one hand while grabbing the tether line with the other, and WHAM! - he crashes into the REMO. WOODY'S HAND Slams the hook against a receiver on the hull of the REMO. IT CONNECTS - WOODY Tries to hold onto the tether line but his momentum is too much. HIS GLOVED HANDS Are ripped from the line. WOODY Slides over the hull of the REMO. HIS HANDS Grasp in vain for something to grab onto. They drag and bump and then finally his fingers close on. empty space. WOODY Is past the REMO, freefalling toward Mars. BACK ON MCCONNELL, TERRI AND PHIL As Terri screams. TERRI Woody! McConnell hits a button on the tether gun and starts to reel them quickly in towards the REMO. WOODY Tries his suit jets again - they're empty. HIS POV Falling away from the REMO. MCCONNELL AND THE OTHERS Are being reeled towards the REMO by the tether line. Another couple hundred meters to go. MCCONNELL Woody, what's your status? INTERCUTTING - WOODY -LRB- after a beat. -RRB- Uh, well, no suit jets and I'm still carrying a good deal of velocity. MCCONNELL As soon as we get hooked up, I'll come get you. WOODY -LRB- after a beat. -RRB- Uh, I'd have to say negative on that, Jim. MCCONNELL Negative on the transmission? WOODY No, I heard you. Negative on the maneuver. I am not retrievable. McConnell and Terri share a quick, anguished look. TERRI Woody, that's not possible. You're not going that fast. WOODY It comes down to the amount of fuel, honey. The suit jets were designed for attitude control, not travel. Retrieval just wo n't work. PHIL It has to work! WOODY Hey, believe me, I do n't like it any more than you do. TERRI Woody - WOODY Run the numbers, Jim. MCCONNELL I am. McConnell finishes looking over the numbers on his display pad. Terri is staring at him. When McConnell's eyes meet hers, they are red - rimmed. Haunted. MCCONNELL Woody, you hang tight. We'll get into the REMO, fire her up, drop her into a lower orbit and come scoop you up. WOODY Sounds good, Jim. TERRI It's gon na take half an hour to get the REMO reoriented! Woody'll be. He'll be in the atmosphere by then! MCCONNELL Then we'll have to get her moving faster. TERRI We do n't have time! WOODY You listen to Jim, honey. It's a good plan. TERRI No! We are going to - PHIL Oh Jesus, look! The ship! Phil points. McConnell and Terri look. THE MARS RECOVERY COCKPIT Is now several kilometers below and behind them. It's glowing red. then orange. then white. Then it erupts into a giant fireball, devoured by friction with Mars' atmosphere. MCCONNELL, TERRI AND PHIL IN DEEP SPACE Are all staring at this, awed, when McConnell happens to look up again. He sees something alarming. MCCONNELL Look out! THEIR POV They are drifting quickly into the REMO. MCCONNELL Brakes! ALL THREE Fire their suit jets, slowing themselves down. They bang into the REMO at about one - tenth the speed Woody did. They find handholds and grab on. McConnell hits a button on the tether gun. THE HOOK Releases from the REMO's hull. McConnell hits another button and it is reeled all the way into the gun. Phil is already scrabbling at a latch on the REMO's outer airlock door. MCCONNELL Okay, let's get inside! Phil, start dumping the cargo, or there wo n't be room for us. PHIL But we need those supplies for - MCCONNELL Dump the cargo. Hang on, Woody! WOODY Is looking back at the REMO. Smiles with relief to see that Terri has reached it safely. WOODY Will do, Jim. He turns to look at. MARS Right below him, filling his field of view. A long beat. WOODY -LRB- softly. -RRB- Hey, Beautiful. BACK AT THE REMO Terri makes a snap decision. She grabs the tether gun from McConnell's surprised hands, then pushes off from the REMO. McConnell lunges after her, his gloved hand straining. MCCONNELL Terri, no! But it's too late. She's already out of reach, and now fires her suit jets, pulling quickly away from the REMO. MCCONNELL Is reaching to activate his own jets, when PHIL'S HAND Grabs at his wrist, restraining this suicidal courage. They stare at each other. McConnell wrenches his hand free, half - maddened, agonized, staring after Terri. MCCONNELL Goddammit, Terri, it wo n't work! But Terri keeps on going. WOODY Looks back at the REMO, as he continues to fall towards Mars. Sees the small figure of his wife heading towards him. WOODY Terri, what are you doing? INTERCUT - TERRI I'll tell you what I'm not doing, Woody. I'm not going to watch you die. WOODY Terri - TERRI You'd do the same for me. AT THE REMO Phil is watching as Terri drops towards the distant twinkle of Woody's suit lights. The airlock door hangs open. Phil looks at McConnell, anguished. MCCONNELL Get inside. Dump the cargo, then start the systems. -LRB- Phil hesitates. -RRB- Now. INTERCUTTING BETWEEN WOODY AND TERRI As Woody keys his mike. Tries to steady his voice. WOODY No. I would n't come for you. Not if it just was n't possible. TERRI I can do it! WOODY No, Terri, you ca n't! You do n't have enough fuel to get me, stop us both, and get us back. Hell, you come any farther and you wo n't have enough to get back yourself. No response from Terri. WOODY Listen to me, goddammit! You have to stop! You have to stop now! MCCONNELL He's right, Terri. It's no use. Terri looks at her armpad display. CLOSE ON DISPLAY SCREEN As her fuel indicator drops from 50 percent to 49 to. TERRI Releases her thumb from the toggle control. HER SUIT JETS Stop firing. TERRI Drifts, staring towards Woody. TERRI AND WOODY Are on the same trajectory, going the same speed, and only about a hundred meters apart. But it might as well be infinity. WOODY Okay, honey? You got ta go back now. TERRI The hell I do. Terri raises up the tether gun and pulls the trigger. THE HOOK Comes shooting out of the gun, wire spooling out behind it. WOODY Watches as it comes shooting down toward him. PLATE POV - MOVING - AS Woody gets larger and larger, the hook gets closer and closer, and then SNAP! - the hook stops. ANGLE ON THE TETHER GUN The wire has run all the way out. WOODY Looks at the drifting hook, ten agonizing meters away from him. His only life preserver. TERRI Hits the button and the wire starts winching fast back into the gun. WOODY What are you doing? TERRI I'm gon na jet a little closer and try again. WOODY Terri, you spend any fuel getting closer, you wo n't get back, and if anyone tries to get you, they'll die too. No response from Terri. THE HOOK Is whipping back toward Terri and the gun. Woody's voice cracks ; he's very close to tears. Pleading now. WOODY Honey, please go back. Go back and help everyone get down to the surface. The hook slams back against the muzzle of the gun. Terri resets the gun quickly, in an anguished fury. TERRI I am not losing you. WOODY I ca n't let you do it. I ca n't. I'm sorry. TERRI Looks at Woody, two hundred meters away, sensing something different in his voice now, a terrible resolve. TERRI Woody? WOODY Raises his hands to his helmet ring. His eyes shining. WOODY I love you, Terri. God how I love you. He unscrews the ring, pops the seal. The outrush of air pushes his helmet all the way off. Woody shuts his eyes and opens his mouth. TERRI Woody, nooooooo!! Ice crystals bloom with Woody's last breath. There's nothing to suck in. He does n't fight it. He lets death come. ANGLE ON TERRI Tears streaming, chest heaving, frantic. TERRI Woody, oh Woody, please God, no! HER THUMB Hovers over her suit jet toggle control. McConnell's voice, from the distance, sounds very tired. Like he's aged fifty years in the blink of an eye. MCCONNELL Come back, Terri. Terri's thumb is still poised. Death would be better. ANGLE ON MCCONNELL Outside the REMO. The hatch is still open. We see Phil inside, staring out anxiously towards Terri. MCCONNELL -LRB- quietly, simply. -RRB- He's gone. He sees no movement from the distant, small figure of Terri. MCCONNELL Please, Terri. -LRB- long beat. -RRB- We need you. TERRI'S THUMB Pushes the toggle control. to one side, not forward. TERRI'S FACE Inside her helmet, is streaming with tears. She turns herself around, reluctantly. Heads slowly back towards the REMO.\",\n \"INT. INTERNATIONAL SPACE STATION. MMCR. DAY On the big screen at MMCR, a glowing green icon labelled `` MARS RECOVERY'' is shown in orbit, as a stream of computer figures crawls beside it. SUPER TITLE : `` SPACE STATION. MMCR. 20 MINUTE TIME LAG'' Beck stands by the NEW CAPCOM, as the latter repeats headset data. NEW CAPCOM Okay, they're Go for the burn and MOI. Should be initiating the burn just about. now. Suddenly the data stream goes crazy. It shivers, streaks, breaks up. then stops. The blinking green icon representing Mars Recovery glows brighter. then vanishes. A moment of stunned silence in the big room. Then a rising babble of scared, confused voices. RAY BECK Takes a step forward, staring helplessly at the screen. His face goes pale, stricken. His worst nightmare is taking place, right before his eyes - and for the second mission in a row.\",\n \"EXT. REMO. MARS ORBIT. NIGHT The REMO is now on the night side of Mars. Cargo boxes, packing cases and assorted equipment containers float outside. The hatch is sealed.\",\n \"INT. REMO. MARS ORBIT. NIGHT McConnell hovers by a bulkhead. He's anguished, haunted by the image of Woody's death. We see him struggling to overcome his grief and shock, trying to force himself to concentrate on the critical tasks at hand. In front of him, a panel has been opened ; he's facing SMALL UTILITY MONITOR Already glowing, surrounded by coded switches, indicator lights, com ports. MCCONNELL Stares at these, thinking hard, remembering. He's holding a palm - sized computer, already wired into this panel. He begins tapping the keys, but then stops himself. Reconsiders. He turns, looking back at TERRI AND PHIL Hunched on what would be the floor if the REMO were on land. They grip stowage straps to keep from drifting. Clearly this tiny, rude cargo craft was never designed for manned operation. It's claustrophobic, bitterly cold. PHIL'S FACE Is a map of torment. He is shivering, both from cold and fear, barely holding himself together. He hugs his computer supply case like a scared child would hug a teddy bear. TERRI Is worse. A thousand - yard stare. She's in shock. MCCONNELL Knows he has to occupy them. Speaks softly. MCCONNELL Phil? -LRB- no response. -RRB- Hey, Phil? Phil looks up at him dully. MCCONNELL We're going in blind. We'll deploy the chutes by laptop. I need to get on the data bus, put in a software patch, and try to soften this tin can's landing. I could use your help with the patch. After a moment Phil releases his strap, pushes towards McConnell. He stares numbly at the monitor for a few beats, then takes the little computer from McConnell. He begins to tap the keys, slowly at first, but then with more confidence. MCCONNELL That's great. Good job. -LRB- turning to Terri. -RRB- Hey, Terri, I was wondering. Think maybe we could rig some kind of seatbelts out of those cargo straps? Terri hesitates a moment, then looks at the strap in her hand, as if she's never seen it before. Dully she reaches for another one, begins looping them together. MCCONNELL Studies both of their faces intently. Knows that he ca n't push them too hard, too fast. They're moving like robots, but at least they're moving.\",\n \"EXT. REMO. MARS ORBIT. NIGHT. (MINUTES LATER) Small thrusters are firing, getting the REMO into position for entry into the atmosphere. Then all the jets fire in unison, braking the REMO, as it falls away from us, towards Mars at night.\",\n \"INT. REMO. HIGH ATMOSPHERE. NIGHT The astronauts, restrained on the floor by Terri's jury - rigged strap system, hold on for dear life. The buffeting through the atmosphere is shaking them violently. BEHIND THEIR FACEPLATES We see the effect of the incredible g - forces : faces distorted, unable to focus their eyes. Each of them thinking, once again : Now I'm going to die.\",\n \"EXT. MARS ONE BASE CAMP. NIGHT The Mars One Base Camp looms in the foreground, like some desolate, otherwordly ghost town. And then, in the night sky beyond it, we see an eerie and beautiful sight : a bright streak of red as the REMO slashes down into the Martian atmosphere, like a shooting star, finally disappearing behind distant mountains. Then all is stillness again, deathly stillness and silence.\",\n \"INT. INTERNATIONAL SPACE STATION. VIEWPORT. DAY Beck stands by a viewport, staring out into space. He's just lost four good friends, and also knows he is seeing, in this disaster, the probable end of the Mars Program, and the certain end of his own career. He does n't, at first, even hear the nearby VOICE. NEW CAPCOM Ray? We've got some new data, just coming in. Beck looks up, his eyes red - rimmed. The CapCom shifts uneasily. He's holding a computer printout. NEW CAPCOM We just - it does n't make any sense. We're not sure how to read this. BECK Data? NEW CAPCOM Yes sir. Telemetry reports the REMO has left its orbit and reached the Martian surface. BECK -LRB- pause. -RRB- Crashed? NEW CAPCOM No sir. Under power. Beck snatches the paper, staring at it. For the first time we see some life coming back into him. BECK When? NEW CAPCOM Sixty - three minutes after Mars Recovery went off - line. Sir, the graph reads like a controlled descent. But that does n't make any - Beck suddenly understands. And it's a joy to see his face, the tears of happiness that spring into his eyes. BECK They used the REMO as a lander. The CapCom stares back at him, feeling the same surge of hope. BECK It's McConnell, it's got to be! Nobody else could have pulled this off. Son of a bitch! They're alive.\",\n \"EXT. MARTIAN SURFACE. MARS ONE BASE CAMP. DAY POV ANGLE - WIDE As we see the Mars One Base Camp : silent, very still. In the distance, the massive ERV still looms, perched for takeoff, the bottom rungs of its ladder buried. PANNING We see that sand has drifted high against the Hab, as well as the sides of the partially - deflated tunnel and greenhouse, and the four - man rover. The oxygen still and propellant plant are almost buried. Solar panels, some of them punctured by micrometeors, FLAP and CREAK eerily in the slight breeze. And finally, CLOSER TO CAMERA We see the camp's American flag, still on its toppled pole, but nearly obliterated by sand. ANGLE ON MCCONNELL, TERRI, AND PHIL Who are spooked by this desolation. They've paused at the edge of the camp. They have dragged along with them from their landing site a crude sledge, improvised from the REMO's hatch cover and some cargo straps. On this, their meager supplies. McConnell, glancing at the others, knows he's got to keep their spirits up. He kneels, digs out the flag pole. Brushing off the sand, he rights this and re - plants it firmly in the ground, packing the sand down with his boot. He stands for a moment looking at the flag, his eyes moist. Despite the cost, they have made it to Mars. When he turns, Terri and Phil are looking at him, moved. MCCONNELL Better? PHIL -LRB- pause. -RRB- Damn right. MCCONNELL Terri, let's see if that oxygen still is operational. Phil, you better check out the ERV. I'll take the Hab. If you find Luke's - He catches himself. Phil and Terri look at him. MCCONNELL Just keep in touch.\",\n \"EXT. ERV. DAY Phil steps from the umber sand onto the ERV's ladder, begins to climb. The four - man rover is nearby, sand drifted high against its tires.\",\n \"EXT. OXYGEN STILL. DAY Terri kneels by the oxygen still, begins to scoop away sand with her gloved hands. She still looks numb.\",\n \"EXT. HAB. DAY MCCONNELL -LRB- on radio. -RRB- I'm at the main airlock door. He unlatches a panel, grips the emergency lever inside, tugs it. After a seeming eternity, the door groans and creaks open. Little puffs of dust and sand swirl about, settle. MCCONNELL Entering Hab.\",\n \"EXT. ERV. DAY Perched atop the ERV's ladder, Phil, using a battery - powered drill, is just removing the final screw from the hatch cover. He lifts off the heavy cover, lets it tumble to the sand. PHIL I've got ERV access. I'm going in. Terri, you okay?\",\n \"EXT. OXYGEN STILL. DAY Terri is still scooping sand. She's just cleared the first row of gauges. TERRI Yeah. This is gon na take awhile to get back to 100 % capacity.\",\n \"INT. MARS ONE HAB. DAY McConnell walks through the kitchen, which we recognize. He pauses to look at the table from which Luke and his crew taped their final, fateful message. HIS BIRTHDAY CUPCAKE Still sits there, eerily, with its stub of burned - out candle. Half - finished, frozen cups of coffee. Suddenly, out of the corner of his eye, he catches a flash of white. He spins, startled, and sees HIS OWN REFLECTION. In his white pressure suit, staring back at him from the screen of a video monitor. Above this is perched the camera the Mars One astronauts used for their comm packets. MCCONNELL SHIVERS This place is filled with ghosts.\",\n \"INT. ERV COCKPIT. DAY Phil, in the pilot's seat of the ERV, pushes a computer's power button. The screen flickers weakly to life, startling him a bit, but all he sees on it are white streaks, crazy static. PHIL ERV appears structurally intact. Computers are fried, just as we thought.\",\n \"EXT. OXYGEN STILL. DAY Terri has cleared more gauges, valves. She sits back on her heels, studying the tangle of pipes. TERRI Copy that. I've got busted filters here, clogged intakes. Helluva cleanup job, but so far no major damage.\",\n \"INT. GREENHOUSE. DAY AN INNER AIRLOCK DOOR WHOOSHES OPEN, AND MCCONNELL ENTERS. THEN STOPS, ASTONISHED. HIS POV On a fantastic, almost jungle - like atmosphere. The plants have been allowed - encouraged? - to grow wildly. Some are even pushing against the inflated roof. Water condenses on the leaves and the roof, then is captured and routed through pipes of every shape and size, dripping into a clever assortment of collection jars. Liquid water. MCCONNELL Reaches into a bucket, touches the water. His glove comes up before his wondering eyes, dripping. Grasping the implication, he looks down at his forearm instrument pad. Blinking red letters read `` 25 deg. C.'' And something else - the puffy white material of his suit is starting to slightly deflate, revealing his arm's shape. There's air pressure in here! MCCONNELL Punches in more numbers, and gets the readout : `` Nitr. 78 % / 02 20 % / C02 1 % / Trace gasses 1 %.'' MCCONNELL Slowly reaches up, unsealing the neck ring of his helmet. He hesitates, then lifts it off. Takes a deep, quenching lungful of pure air. Holds it in. Lets it slowly out. For a moment he does n't trust his own voice. Then speaks softly towards his helmet. MCCONNELL I'm in the greenhouse. You better. you better come see this for yourselves.\",\n \"INT. ERV. DAY Phil, still sitting at the cockpit controls, turns. Through a side viewport he can just make out the greenhouse. PHIL What is it? There's no answer. He rises.\",\n \"EXT. OXYGEN STILL. DAY Terri rises, concerned, and turns. Through the distant, translucent wall of the greenhouse, McConnell's shadowy figure can be seen, moving slowly. TERRI Jim?\",\n \"INT. GREENHOUSE. DAY McConnell sets down his helmet, starts exploring, pushing through fronds as he makes his way down an aisle. The dripping foliage is so dense it almost chokes his path. Everywhere he looks, he has the sense of a scrounged - together, recycled, jury - rigged environment, where a great deal of ingenuity has come into play. He pauses, looking up. Overhead, a bellows, stitched together from pieces of plastic tarp, slowly inhales and exhales, pumping air into a vent in the upper deck of the Hab. Its power comes from a crude water wheel, a buckets - and - strut assemblage, tidily sutured with duct tape, like some giant Erector set. As McConnell turns away from this, still marvelling, a ragged figure leaps through the foliage! It smashes into him, with a HARSH SCREECH, knocking him to the ground. McConnell, on his back, straddled by his attacker, fights back as best he can. A blur of flailing arms and fists, as he tries to push the creature away. Staring up, he catches a glimpse of the almost unrecognizable LUKE GRAHAM Whose frightened eyes glare back at him through a swaying curtain of dreadlocks. His skin is creased, weathered, above a scraggly beard. His clothes are tattered, patched together. In one fist he grips a rock hammer, which he swings high overhead, about to drive the claw through McConnell's skull. McConnell grabs his arm desperately, trying to fend him off. MCCONNELL Luke, it's me! Jim McConnell! We see a flash of uncertainty in Luke's eyes. Then he yanks his arm free, and his hammer arcs up even higher, trembles in the air. LUKE You're not here! MCCONNELL Luke, it's Jim! LUKE No, no, you're not. you ca n't be here. MCCONNELL Your wife is Debra! Your son is Bobby! You were reading Treasure Island with him! As he stares down at McConnell, Luke's eyes finally light up with recognition. but before he can move, he is seized from behind and flung backwards to the ground, the hammer ripped from his grasp, as Terri and Phil pinion his arms. McConnell scrambles to his feet. MCCONNELL Do n't hurt him! McConnell kneels beside Luke, signalling to Terri and Phil that it's okay to let him go. They stand back, pulling off their helmets. Everyone is panting, out of breath. Luke sits up, slowly studying their features, one after another, as if still not quite certain whether they might vanish. His voice is hoarse, rusty from disuse. LUKE Phil. Terri. Luke looks with incomprehension at McConnell. LUKE Jim. I do n't understand. You're not supposed to be here. Why are you here? Where's Woody? MCCONNELL He did n't make it Luke. Luke stares at McConnell, trying to absorb everything. He looks to Terri, who looks down. LUKE Oh no. Luke shakes his head in dismay. He seems to shrink in on himself. It's all too much for him to take in. McConnell kneels and puts his arm around Luke, comforting him.\",\n \"INT. ELSEWHERE IN THE GREENHOUSE. DAY (MINUTES LATER) Luke sits on the side of his cot, in the little tented sleeping area he's created in one corner of the greenhouse. Nearby, his hotplate, pots, and some freshly harvested vegetables and greens. The others crouch around him. MCCONNELL Luke, what happened here? A flash of fear in Luke's eyes. LUKE -LRB- whispers. -RRB- We fired the radar. It came. They all died. MCCONNELL What came? LUKE They all died, but I was spared. Why? Had to be for a reason. Then, all of a sudden, I knew why I was spared. His voice drops to a conspiratorial whisper. LUKE So somebody would be left to figure out the secret. He taps his forehead, significantly, then nods once or twice. The others exchange an uneasy glance. MCCONNELL Luke, we still do n't understand. LUKE Come. Comecomecome. He rises quickly and scuttles off, waving an impatient hand, without waiting to see if they'll follow. McConnell, Terri and Phil stare after him for a long moment. Phil breaks the silence. PHIL Is it just me? Or is he about two mealpacks short of a picnic? TERRI Long term exposure to low gravity can have an adverse impact on the brain. He could be suffering from a form of asphyxia. MCCONNELL Or maybe his whole crew died and he's been marooned alone on Mars. Let's give him time to adjust. McConnell and Terri follow in the direction Luke went. Phil, trailing, mutters to himself. PHIL Greatgreatgreat.\",\n \"EXT. MARS ONE BASE CAMP. DAY Luke, now in a patched - up pressure suit and grubby - looking helmet, stands peering down unhappily at the improvised sledge, with its meager supplies. McConnell, Terri, and Phil walk up behind him, wearing their helmets again. They hear Luke over his RADIO. LUKE So. let me be sure I understand this. Your ship blew up, with all its supplies. Then you emptied the cargo out of the REMO, and it was totalled on landing. You've got no food, no water, no spare oxygen, nothing but what I see here? McConnell and the others are silent, embarrassed. Then McConnell nods. Luke looks at him, a cracked grin. LUKE What kinda rescue mission is this? MCCONNELL That kind. He points to the computer repair case, as Phil lifts it off a sledge. Luke turns, looks at the case, then Phil. PHIL Check it out. New nav boards for the ERV. I got four round - trip tickets, baby, right in here. LUKE -LRB- softly. -RRB- Four. In some mysterious way, this reminder of Woody's death seems to bring him fully back into himself. He takes Terri by the shoulders, deeply saddened. She meets his gaze. LUKE Terri. I'm so sorry. He was a good man. TERRI Thanks, Luke. LUKE When there's time, we'll talk. She nods, grateful. A beat. He looks at the others. LUKE This way. He starts off across the sand, and they follow.\",\n \"EXT. GRAVE SITE. DAY They stand looking down at the three long mounds of dirt, as Luke completes his account of the disaster. LUKE When I came to and dug myself out of the sand, my faceplate was cracked. Leaking badly. I barely made it back to Base. It was weeks before I could work up the nerve to go back out there and look for their. He has to pause, collect himself. LUKE Renee was the only one I could find. But it did n't seem right, somehow, to dig just one grave. There is an emotional silence. Luke turns, takes a few steps. He stares into the distance, observing the swirling dust around them. McConnell hesitates, notices Luke's gaze. MCCONNELL Has it been blowing like this for a while? -LRB- Luke nods. -RRB- We saw a big storm from space. But Micker said it was turning south. Luke looks off into the distance, studies something only he seems to see. LUKE If it holds course. McConnell pulls his gaze away from the horizon, looks at Luke. MCCONNELL This - whatever it was - this force. You say it came directly out of the top of the mountain? LUKE You do n't believe me. That's okay. But I'm not crazy, Jim. McConnell is n't quite sure how to reply to this. MCCONNELL What did you mean by its `` secret?'' What secret? LUKE -LRB- pause. -RRB- You better see for yourselves.\",\n \"INT. MARS ONE HAB. DAY McConnell, Terri, and Phil follow Luke into the Science Lab area of the Hab, then stop in their tracks. Their helmets are off. It's very cold in here ; their breath is frosty. THEIR POV - The Lab is crammed with rock and sand samples from many locations, all tagged and labelled. There are drawings and diagrams covering the walls : Martian landscapes, annotated maps, and over and over, obsessively repeated, drawings of the vortex that destroyed the Mars One crew. LUKE See, where they made their mistake was, they must've planned for it to be visible from Earth. The others turn, looking at him. Luke is aiming an electric space heater at his computer. As the coils glow red, he rubs his hands together, poised over the keyboard. MCCONNELL Who's `` they''? Luke reacts to their blank stares. He has a kind of jittery feverish intensity, a secret excitement. LUKE Do n't you understand? Hundreds of millions of years have gone by. You've got erosion, sand storms, lava flows, meteor impacts - hell, in that much time, the whole surface would've changed. So no wonder we never saw it before. Well, I mean, we saw it, but not like they meant us too. Too much dirt on it. The others exchange worried glances. Is he totally nuts? TERRI Saw what? LUKE This. On the computer screen they're looking at. CLOSE ON THE MONITOR Pictures of the Face after the disaster, seen from ground - level, in telephoto views. Rising out of a ring of rock and dirt rubble is the shiny - white profile of a gigantic face. The white is smooth, impenetrable. It has the scale of a mountain, but the planes and angles are clearly unnatural. MCCONNELL, PHIL AND TERRI -LRB- INT. MARS ONE HAB. -RRB- They are stunned. Can hardly believe their eyes. PHIL Jesus. TERRI What is that? LUKE I do n't know. But whatever it is, somebody built it. And not us. A few moments of silence while they try to absorb this. MCCONNELL What about the sound? That signal you heard before the explosion? LUKE Good, Jim, good. That's the key. A click of the mouse and they all HEAR, over speakers, the DEEP PULSING BASS TONE. LUKE Hear the pauses? That's what made me realize it's a pattern - a repeating pattern. MCCONNELL Mathematical? Luke is trembling with excitement. His words tumble out very quickly. He's been waiting so long to share this. LUKE That's what I thought. There are distinct blocks in the pattern, and within each block the tones come in groups of three. Threethreethree. For months I struggled to analyze it, trying different constructs. Then I thought about dimensions. MCCONNELL X - Y - Z coordinates. LUKE Right! Three groups equals three dimensions. So I tried assigning different graphic values to each block, group and tone. And finally I got. this. He types another command. They all look at the monitor, the glow reflecting on their faces. They are amazed again. CLOSE ON THE MONITOR Where we see the beautiful interlocking chain, the universally familiar double helix, of a DNA molecule - the elegant blueprint of life. BACK TO SCENE -LRB- INT. MARS ONE HAB. -RRB- PHIL My God. Is that what I think it is? TERRI DNA. that's a model of DNA! LUKE You see it, too. Thank God. I was afraid I was just suffering from a form of asphyxia. She glances at him, surprised that he overheard her earlier diagnosis. But he smiles, not offended. PHIL So, okay, so - somebody left this thing here, somebody - other than human. But what the hell is it? LUKE My guess is, it's a signature. A self - portrait of whatever species created the Face. MCCONNELL But that DNA looks human. TERRI No way. It's missing the last pair of chromosomes. See? MCCONNELL Yeah, but it's close. Damn close. TERRI The difference between a man and an ape is less than three percent of genetic material. But that three percent gives you Mozart. Einstein. PHIL Or Jack the Ripper. They look at him. Then all four turn, stare again at the slowly rotating DNA, pondering its awesome mystery. MCCONNELL When he finally speaks, never takes his eyes off the screen. We can read in them the almost overwhelming grip this mystery has on his imagination. MCCONNELL It's been a long day. Let's get a couple hours sleep, then tackle this thing when we're fresher. Phil, your first priority will be to get the motherboards over to the ERV. Concentrate on getting communications up first. -LRB- Phil nods. -RRB- Soon as we've got the juice, we'll send a packet to Micker, tell them Luke's OK, and that. everything else that's happened. The rest of us will take an inventory of supplies, see where we stand. Okay? The others nod in weary agreement. As they start out, towards the relative warmth of the greenhouse, Terri looks at Luke, at his scraggly beard and his long, lank hair. She smiles, brushing some locks off his forehead. TERRI C'mon. There's a pair of scissors in my medkit.\",\n \"INT. MARS ONE HAB. ANOTHER SECTION. NEXT MORNING As in the Science Area, this space has enough thin oxygen for the astronauts to remain unhelmeted. McConnell and Luke are still going through what few supplies were salvaged from the REMO. Luke pauses, rubbing the unfamiliar smoothness of his cheek. His beard is gone, his hair neatly trimmed. McConnell enjoys Luke's own wonder at his transformation. MCCONNELL How do you feel? LUKE Like I just got back my other three percent. McConnell smiles. Terri enters through the hatch, removing her helmet. TERRI The backup generator is salvageable, and two of the solar panels. I'm pretty sure I can get the oxygen still back into production, too. So we're not in such bad shape, considering. LUKE Good work, Terri. McConnell, rummaging through Phil's backpack, drops an already - opened bag of M&M s. The CANDIES scatter and bounce all over the floor. MCCONNELL Look at that. Phil's idea of absolute essentials. Luke and Terri smile. McConnell scoops up the fallen M&M s. He slows down as he does it, looking at the scatter of little round CANDIES. Something tugging at the back of his mind.\",\n \"INT. MARS RECOVERY. EVA AIRLOCK. DAY Phil's intricately designed M&M model of his `` ideal woman'', floating weightlessly, as McConnell drifts past it, plucking away a couple pieces of the candy. Phil reacting, in good - natured annoyance. The gap in the design left by McConnell's theft.\",\n \"INT. MARS ONE HAB. ANOTHER SECTION. DAY CLOSE ON MCCONNELL As he trembles with excitement. With sudden comprehension. MCCONNELL It's not a signature. LUKE -LRB- puzzled. -RRB- What? MCCONNELL That noise from the Face. It's not a signature. It's a test. Luke and Terri stare at him.\",\n \"INT. MARS ONE HAB. MOMENTS LATER McConnell sits in front of the computer back in the science lab area, staring once again at the mysterious DNA model. Luke and Terri stand behind him. McConnell's energy, his new certainty, is almost electrifying. MCCONNELL It's asking us for the right answer. It wants us to put in the missing pair of chromosomes. LUKE But why? MCCONNELL To prove that we're human. Terri and Luke look at each other, starting to understand. LUKE We fired radar into that thing. Concentrated sound waves. MCCONNELL Which it interpreted as a wrong answer. Yes! It's like a, a security alarm. When it gets an incorrect response, it defends itself.\",\n \"INT. ERV COCKPIT. DAY Phil is listening in on radio. He's got panels open, wires dangling, as he works his ongoing repair. He keys his mike, uneasily. PHIL So what happens when it gets the right answer?\",\n \"INT. MARS ONE HAB. DAY As McConnell looks at Luke and Terri. MCCONNELL -LRB- hesitates. -RRB- I do n't know. But we've got to find out. -LRB- to Luke, pointing. -RRB- Can you work this the other way? Figure out which tones would be equivalent to the missing chromosomes? Then dub them into your recording of the signal? LUKE I think so, yes. MCCONNELL What about the radar gun? Will it accept that input? Can we transmit a completed signal back to the Face? Luke stares at him, startled by what he's implying.\",\n \"INT. ERV COCKPIT. DAY Phil is also growing increasingly nervous. PHIL Whoa, whoa, hold on, Jim. What if you're wrong? Whoever goes out there. I mean, what if you're wrong? Three people have already died over that thing.\",\n \"INT. MARS ONE HAB. DAY As Luke and Terri look tensely at McConnell. TERRI Four. McConnell looks at her. MCCONNELL Terri, if we leave here without getting some answers, they all died in vain. Terri shakes her head. TERRI We just do n't know enough about that - that thing out there to take any more chances. MCCONNELL What are we here for, if not to take chances? His passion startles them ; they've never seen him so emotional. He points at the computer screen. MCCONNELL This means we're not alone. It means we're on the brink of the greatest discovery in mankind's history. But we've still got to prove it. Who knows when someone else will get back here? Or if they ever will? You know what Congress is like. They'll say it's too dangerous, too much loss of life, let's go back to unmanned flights. We could be the last explorers to come here for decades. We're it, guys. -LRB- pause. -RRB- We're it. LUKE -LRB- quietly. -RRB- We do n't have to go out there. There's a better way. They look at him, surprised.\",\n \"EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY The familiar, plucky little figure of ARES - 8 wheels across ocher sand, with the radar gun jury - rigged onto its back. Ares' video snout WHIRRS out, extending. The familiar bass rumble of the Face is very loud from here. LUKE Checking video feed.\",\n \"INT. MARS ONE HAB. LATE DAY McConnell, Terri, and Phil have gathered around Luke as he pushes buttons, and a monitor CRACKLES to life. White streaks, then a blurry image, which he tries to enhance. Finally the image starts to sharpen. LUKE There! ON THE MONITOR They see the familiar stark white profile of the FACE, shot from ground level, in a SLOWLY APPROACHING ANGLE. THE FOUR ASTRONAUTS Stare at the ominous sight. They're all more nervous than they want to show. Luke's fingers delicately work a joystick as he maneuvers the remote surveyor. MCCONNELL How close do we need to get? LUKE I'm not sure. Maybe we better stop by that boulder.\",\n \"EXT. MARS. THE FACE. LATE DAY Ares - 8 whines to a stop by a large boulder, which partially shields it from the Face, looming beyond. The radar gun swivels, locating its target. Then stops, ready to fire.\",\n \"INT. MARS ONE HAB. LATE DAY Luke looks at Terri, Phil, and McConnell. Phil shuts the lid of the box holding the new nav boards, snaps it protectively down. He nods. Terri takes a deep breath, then she nods. Luke's hand hovers over the red firing button ; a moment of awesome uncertainty and danger. He looks at McConnell, who finally gives a nod of command. Then Luke hits the button.\",\n \"EXT. MARS. THE FACE. LATE DAY From the radar gun on Ares - 8's back, a sharp, high - pitched electronic burst is emitted, pulsating like a tuning fork as it's fired towards the Face. After a few seconds it stops. For a moment nothing happens. Then the deep bass rumbling stops as well. The only remaining sound is of WIND, stirring up dust on the Martian plains. ANGLE ON THE FACE As suddenly a huge, curved segment of the white surface begins to rise from the earth, like a gigantic hangar door, sliding out of sight into an upper sheath of some kind. The movement is measured, stately, utterly silent. As the segment rises, it reveals a blinding white light : the interior of the Face. No inside details can be seen.\",\n \"INT. MARS ONE HAB. DAY McConnell, Luke, Terri and Phil stare at this phenomenon, awed. They're barely breathing. PHIL Oh my God. LUKE It worked. It worked! MCCONNELL Check for radiation. Luke punches buttons, waits anxiously for a readout. LUKE Normal. Seismic. normal. Anemometer steady. No sign of the vortex. PHIL I do n't know what we did, but guys - does that look to you like a hostile gesture? TERRI No. More like an invitation. LUKE Or another test. McConnell is staring at the mysterious opening. On his face, a growing look of determination. MCCONNELL Luke, the four - man rover. Does it still work? The others look at him, their expressions changing as they realize what he's implying.\",\n \"EXT. MARS ONE BASE CAMP. LATE DAY McConnell, once again helmeted, emerges from the Hab airlock. Luke, Terri and Phil are coming out behind him. The wind has picked up, and fine dust is blowing. They stop, staring off in astonishment towards A FRIGHTENING SIGHT The entire sky has darkened from its customary salmon into purplish - black at the horizon, with bloody streaks above. The DUST STORM has turned their way ; it's now sixty kilometers away and closing. The main body of it reaches two thousand meters above the surface and stretches out along a thousand - kilometer front. THE ASTRONAUTS Stare at this unholy juggernaut, alarmed. McConnell turns to Luke, whose expression is grim. MCCONNELL How long before it hits? LUKE An hour? Maybe less. MCCONNELL How bad? LUKE A storm like that? It could go planetary. And last a year. McConnell stares at him. LUKE It'll sock us in, Jim. We wo n't be able to take off. If that happens, with what few supplies we've got left? We'll starve to death. McConnell turns, staring off towards the killer storm. The others look at him with questioning gazes. He turns again. There's the four - man rover, ready to go. Waiting. MCCONNELL Phil, how much longer to prep the ERV? PHIL Maybe forty - five minutes. It'll be tight, but we can make it. MCCONNELL Then there's still time for us to get out there and back. He looks a question at Luke and Terri, one after the other. Their eyes, tense but excited, signal agreement. MCCONNELL Stay here. Continue the repair. If something goes wrong, you get out of here before that storm hits. PHIL Go back. alone? MCCONNELL If we're not back in forty - five minutes, I want you to prep and launch. -LRB- looks at his armpad display. -RRB- That's 1950 hours. PHIL Jim - MCCONNELL It's not a suggestion, it's an order. You understand? PHIL -LRB- reluctantly. -RRB- I understand. But - MCCONNELL You understand what? PHIL If you're not back by 1950, I prep and launch. McConnell nods, satisfied. Looks at Terri and Luke. MCCONNELL Let's go. They start towards the four - man rover. Dust is swirling more thickly through the air, and the WIND IS LOUDER NOW. Phil stands watching them go, a lone, rather forlorn figure.\",\n \"EXT. PLAINS OF CYDONIA. DUSK In a WIDE SHOT, we see the rover approaching the Face, across the plains. The sky beyond the Face is almost black, as the storm approaches from that direction. It's marching relentlessly across the planet, with flashes of lightning now rippling up and down its face, and even small tornadoes spinning off near its purple - black base.\",\n \"INT. ERV COCKPIT. DUSK Phil has panels off. He's reaching into the guts of the main computer, working feverishly. His repair kit is beside him.\",\n \"EXT. MARS. THE FACE. DUSK In a HIGH SHOT, we look down across the side of the Face and its vast, open doorway, out of which the bright white light is streaming. Into this corridor of light, we see the rover arrive, slewing to a stop, throwing sand from its wheels. GROUND LEVEL SHOT Looking at the cavernous vertical gap in the side of the Face. The opening towers to a dizzying height above us ; the white light strains our eyes. The three astronauts ENTER FRAME as we see them, from behind, staring up. ON THE ASTRONAUTS' AWED FACES As they are stunned by the immensity of the scene, the cosmic mystery before them. Luke and Terri look at McConnell. Another moment of critical decision. He keys his mike. MCCONNELL Phil, do you read me?\",\n \"INT. ERV COCKPIT. DUSK Phil keys his own mike. PHIL Yeah, Jim. Your signal's breaking up a little in the storm, but I read you.\",\n \"EXT. THE FACE. DUSK McConnell stares into the bright opening. Bathed in its light. MCCONNELL We're at the Face. We're gon na need a few minutes here. Same deadline, launch at 1950. With or without us. Do you copy? PHIL -LRB- pause. -RRB- Copy that. Terri and Luke exchange a tense glance. TERRI Jim, are you sure you want to do this? MCCONNELL I'm not sure of anything anymore. But I did n't come a hundred million miles just to turn back in the last ten feet. Luke smiles. The three of them stare into the portal. McConnell, between the others, reaches out and grips each of them by a gloved hand. They take a sort of collective breath. Then they walk forward together, into the light.\",\n \"INT. THE FACE. DUSK The astronauts continue forward, each of them extending a free hand. The light is too dazzling for them to gauge distances, textures, colors - anything at all. They ca n't see walls, ceiling, even a floor. MCCONNELL Surface seems firm and level. LUKE Roger that. Texture is smooth. TERRI I've got good footing and no obstructions. Let's check our - Behind them, there is an abrupt WHOOOSH, like a giant airlock sealing shut. They turn, startled and nervous. Letting go of each other's hands, Luke and Terri run back the way they came, but almost immediately are stopped by a wall of some sort. The vast hangar - type door has closed behind them. TERRI It's solid again! We're trapped. MCCONNELL Do n't move! Keep this orientation. The three scared, helmeted faces seem to float in the brightness, some twenty feet apart. MCCONNELL -LRB- keys his mike. -RRB- Phil? Phil, can you still hear me?\",\n \"INT. ERV COCKPIT. DUSK Phil, saying a silent prayer, reaches over and turns on the main computer. It works! He's immensely relieved. PHIL Computers are online! Ready to load software. But guys - we're losing visibility here. He glances out the cockpit window at the blowing dust. Then realizes that he's hearing only silence over his radio. PHIL Guys? Jim? Luke? Terri? Is anyone there? No answer. Phil stares at his radio in dread. PHIL Do n't leave me.\",\n \"INT. FACE. DUSK McConnell is staring at his spacesuit's sleeve. He can see that the suit material is starting to deflate, revealing the shape of his arm, just as it did in Luke's greenhouse. He hesitates, then begins to unscrew the sealing ring on his right glove. Terri and Luke see this. TERRI -LRB- alarmed. -RRB- Jim, what're you doing? You'll depressurize! MCCONNELL I do n't think so. McConnell makes the final twist on his glove and there's the hiss of rushing air. LUKE Jim, seal it! MCCONNELL No. That was air going into my suit, not out. Look at your own suits - they're not rigid anymore. We've got pressure in here. Luke looks at his sleeve. McConnell's right. TERRI Above Mars atmospheric? That's impossible. MCCONNELL We're millions of miles from Earth and we're inside a gigantic white face. What's impossible? Terri types on her arm keypad. She's amazed. TERRI There's six psi in here. -LRB- taps more keys. -RRB- Nitrogen and oxygen. LUKE Otherwise known as air? Terri nods. McConnell starts unscrewing his helmet ring. Luke follows suit. TERRI Hey, there may be some lethal trace gasses I have n't picked up yet, or. or. oh, the hell with it. Terri starts taking off her helmet. In a few moments, all three helmets are off. They hold them, glowing softly, against their chests, as they breathe deeply and gratefully. Air. And then, at this very moment, as if they have just passed another kind of test. HIGH, STRIATED WALL Appears through the glare, soaring up before their startled eyes. White, metallic, composed of complexly - linked bands, plates, ramps. It's part of a STRUCTURE whose overall height and breadth keep us from understanding its purpose. But the hatch opening slowly in its side, at the top of an approach ramp, is unmistakable. Radiant white light streams out from within, forming a glowing tunnel, down towards the astronauts. THE ASTRONAUTS BLINK Raising their gloves against the dazzling glow. At the end of this tunnel of light, inside the hatch frame A SHAPE MATERIALIZES And slowly resolves itself into a glowing humanoid form, which we somehow sense is female. She appears benign, wondrous. This glowing MARTIAN - a holograph - regards the astronauts for a few moments, then beckons to them, as if to say `` Enter.'' All her motions are both calm and calming - precise, unhurried, gracious. MCCONNELL, LUKE AND TERRI Look at each other. They're awed into silence, and still tense, but now more out of excitement and anticipation than fear. Their eyes agree : Let's go. They walk forward slowly, carrying their helmets, up the ramp and into the tunnel of light, following the Martian, who retreats before them. They go through the hatch and disappear inside.\",\n \"INT. MARTIAN STRUCTURE. DUSK Following the Martian, they find themselves in a round, open space, defined by light, with a smooth matte - metallic floor, but without apparent walls. The Martian stops, turns, facing them. The astronauts stop, too, uncertain what they're meant to do. Then the Martian gestures again. A cylindrical holographic column appears, rising from the floor in front of the astronauts. Inside it, a swirl of eerie lights, millions of them, like cosmic fireflies. MCCONNELL, LUKE, AND TERRI Set down their helmets, then cautiously converge around this column, forming a loose triangle. As they stare into it, the myriad lights are reflected off their own eyes and their spacesuits. IN THE HOLOGRAPHIC COLUMN The whirling lights resolve into images, which relate to them the story of ancient Mars : A BLUE PLANET we do not recognize. All is peaceful, beautiful. INTERCUT MCCONNELL -LRB- softly. -RRB- Is that what I think it is? LUKE Yeah. It's Mars. SUDDENLY A HUGE ASTEROID Tumbles through space towards the planet. TERRI Oh my God. ON THE PLANET - CLOSER VIEW As thousands of small rocketships lift away from the surface, heading in a stream out of the solar system. THE ASTEROID IMPACTS And a wall of fire and debris scours the planet. Oceans boil and vaporize. Two gigantic hunks are blasted out of the planet, spinning in flames. MCCONNELL, LUKE, AND TERRI Involuntarily flinch, bathed in the fiery images. THE PLANET IS NOW DEAD As dust storms roil across its cold, lifeless surface. The flaming hunks of molten rock cool into twin moons. THE ASTRONAUTS Stare at this devastation, deeply moved. IN DEEP SPACE The stream of Martian ships grows smaller and smaller as it continues on its epic voyage towards a new solar system. Then we zero in on ONE PARTICULAR ROCKETSHIP As it peels off and goes in another direction. Graphics show a model of what the ship contains : the familiar double helix of DNA. The ship heads towards another blue planet in our solar system. EARTH As it was then. More clouds than now, more ocean, and the landforms all wedged together. TERRI Her voice is soft. TERRI Earth, when it was still Pangaea. Before the continents separated. THE LONE MARTIAN SHIP Makes a fiery streak through Earth's atmosphere and plunges into the ocean. Instantly the image of the DNA double helix grows, filling the entire holographic column, then it begins to spin and pulse, disintegrating into a phantasmagoric whirl of new images. MCCONNELL, LUKE, AND TERRI Cry out, stunned by the strobelike power of the display as LIVING FORMS Flash into the holographic column, swimming, growing, crawling, leaping, flying : one - celled microscopic organisms, plankton, plants of all kinds, insects, then fish, dinosaurs, birds, small mammals, larger mammals - the entire stunning panorama of evolution, distilled into a single explosive sequence, as the images wash over the dazzled, awestruck FACES OF THE ASTRONAUTS Until finally the images whirl away, the holographic column dissolves, leaving only a circle of glowing, concentric, colored rings on the floor. The astronauts are left staring at each other across the open space where the column had been. THE MARTIAN Now comes forward with outstretched arms and completes their circle, taking the fourth position. McConnell is opposite her glowing form, and Terri and Luke are at either side. The Martian reaches her arms out, inviting them to link hands. As they do so, the Martian seems to be staring directly into McConnell's eyes. MCCONNELL Is in wondrous awe, his whole face radiant with joy. It's the first time we've ever seen him utterly without sadness or reserve. Staring at the Martian, he understands. MCCONNELL They're us. We're them. LUKE We're Martians? MCCONNELL That's what she means. TERRI Oh my God. The Cambrian explosion. McConnell and Luke look at her. TERRI Almost six hundred million years ago, there was a sudden expansion of life on Earth. The first multi - celled plants and animals appeared. No one has ever understood why. LUKE They seeded Earth. We hear a BELL - LIKE TONE, a single lingering high note, and simultaneously the outermost ring of the circle on the floor begins to glow brightly. It is an intense chromium yellow. THE ASTRONAUTS Step back, startled, unlinking their hands, and look at the circle of colored rings. These shade from yellow, on the outer rim, to a deeper yellow, then orange, then finally reds. Inside the final, deep red ring is a circle of indigo blue, about a meter across. Small points of light glitter here, like stars against a midnight sky. THE MARTIAN Steps closer to McConnell. She has picked him out in particular. Now she beckons for him to move inside the circle of colored rings, to stand on the indigo core. MCCONNELL Looks back at her, nods his understanding. For the first time she seems to smile. Benevolence, reassurance. Then as abruptly as she first appeared, she fades away. Vanishes. Luke and Terri look at McConnell, confused. There is a sudden, static - filled CRACKLE from their helmets, nearby on the floor. PHIL -LRB- over radio. -RRB-. in, please. Can you. me? Terri picks up her helmet, leans into its mike. TERRI Phil, we're here! We read you. Even through the scratchy interference, they can hear the relief in Phil's voice. And then the desperation. PHIL Thank God! Listen, this storm is really -. -LRB- loud static. -RRB- - few more minutes, I ca n't -. -LRB- more static. -RRB- You've got ta get back to the ship! And then they hear only STATIC. His signal is lost. TERRI Phil? Phil? Suddenly the BELL - LIKE TONE REPEATS, at a lower register, with a more sustained note, and simultaneously, the last of the yellow circles of light begins to fade, as THE FIRST ORANGE BAND Begins to glow brighter. McConnell turns, looking at this new color, then looks back at Luke and Terri. MCCONNELL We are in a ship. This is a ship. And the countdown has already started. Terri looks at Luke, alarmed. LUKE He's right. TERRI Then let's get the hell out of here! She scoops up Luke's helmet, tosses it to him. As he catches it, she's already starting back out, in the direction they came from, and Luke follows her. Until they both become aware that McConnell is n't with them. They turn back. He's still rooted to the spot, his gaze locked on the indigo core of the colored rings. LUKE Jim. McConnell does n't turn. LUKE Jim, we got ta go. MCCONNELL I'm not coming with you. TERRI -LRB- stunned. -RRB- What? Coming back, she sees how calm he is. How certain. TERRI What are you talking about? We've got to get home. MCCONNELL That's where I'm going. Do n't you see? That's what all this is for. -LRB- McConnell gestures at the ship around them. -RRB- You were right Terri. This is an invitation. To follow them. To follow them home. He looks into their faces. Terri is trying to grasp this idea, still incredulous. Luke has the beginning of a half smile. MCCONNELL I have to go. This is the mission now. To find out who we are. Is n't that why we came here? Like Maggie said, `` To stand on a new world and look beyond it to the next one.'' Luke nods at the memory of Maggie's words. Terri remembers too. McConnell's passionate conviction is affecting them both. MCCONNELL You know, when you think about it - I was n't even supposed to be here - all the accidents, everything that got us to this point, it's just. it's just. I just know it's right. Terri looks at Luke. Luke is smiling. He understands. MCCONNELL I'm okay. I know what I'm doing. But you're running out of time. You've got ta get back to the ERV and get off this planet. Now please go. Luke steps closer, looking at his old friend. LUKE I once felt like I was taking your turn. But now I think maybe you're taking mine. Guess I'm a little jealous. They clasp hands for a moment. But in this moment is a lifetime of camaraderie, an eternity of farewell. LUKE Thanks for saving my life. MCCONNELL My pleasure. Luke nods, deeply moved. He turns away, picking up his helmet, as Terri comes closer, looking at McConnell, a long unspoken beat. Her eyes are glistening. TERRI I wish Woody were here to see this. He would've wanted to go too, Jim. Terri smiles. She is starting on the road to recovery. She's going to be okay. MCCONNELL He's here, Terri. We would n't have made it without him. Terri nods. She digs into one of her suit's pockets, pulls something out. She hands it to McConnell, and his fist closes around it. TERRI Take care, Jim. McConnell smiles. Terri smiles back at him. Then she turns, picks up her helmet, and crosses to where Luke has paused, looking back. LUKE Hey, Jim? MCCONNELL Yeah? LUKE Have a great ride. MCCONNELL Always do. Luke and Terri exchange a final silent farewell with him, then hurry away, into the darkness. MCCONNELL Looks down at what Terri gave him. IT'S WOODY'S NECK CHAIN With the little Flash Gordon rocketship. MCCONNELL Grips this tightly as he looks up.\",\n \"EXT. MARS. THE FACE. PLAINS OF CYDONIA. NIGHT The hanger - like hatch has reopened, and Luke and Terri, helmeted again, emerge from the Face. The leading edge of the dust storm is upon them. They ca n't see much more than a few meters. As they reach the rover, they hear, even in this chaos, that the deep pulsing tone of the Face has started again. They look at each other, uncertain what this means. But McConnell is now beyond their help. Luke keys his mike. LUKE Phil? Phil, do you read? -LRB- to Terri. -RRB- He's not reading. TERRI I can barely read you. Let's get the hell out of here!\",\n \"INT. ERV COCKPIT. NIGHT PHIL Is anyone there? Can anyone read me? Phil gets no response. He is shaking, almost crying. He hesitates, then starts hitting some keys. CLOSE ON HIS COMPUTER DISPLAY Which reads : `` PRE - LAUNCH CHECKLIST.''\",\n \"INT. MARTIAN SPACESHIP. NIGHT McConnell has shed his backpack, with its unneeded oxygen tank. He steps cautiously onto the colored rings. Nothing seems to happen. Moving further, he takes his place on the indigo circle at their core. He looks at THE GLOWING TAKE - OFF COUNTDOWN INDICATOR As it dips from orange into red ; the BELL TONES are continuous now, very deep and rapid.\",\n \"EXT. PLAINS OF CYDONIA. NIGHT The rover, with Luke and Terri inside, races away towards the safety of the ERV, as the maelstrom boils over the Face behind them. The sky is purplish black, thick with flying debris and eerie lightning flashes. Towering billows of dust chase them over the plain, nearly enveloping them as they speed towards us, passing OUT OF FRAME.\",\n \"INT. MARTIAN SPACESHIP. NIGHT McConnell reacts, surprised, as suddenly A TRANSPARENT, GLASS - LIKE CYLINDER Begins to rise around him, swiftly and smoothly, coming up from the circumference of the indigo circle. Then a second, identical cylinder - the top half - drops down from somewhere overhead. The two sections meet and fuse in a flash of light, containing McConnell inside them, as neatly as if he were in a giant, transparent mailing tube. MCCONNELL Fights against a stab of claustrophobia. Is he being imprisoned? Or somehow protected? Either way, he's virtually immobilized. In this tight space in his bulky suit, he ca n't even move his arms. Only his head and neck can still shift.\",\n \"INT. ERV COCKPIT. NIGHT Phil is going over his final pre - launch checklist, flipping switches and pressing buttons. He looks at his DIGITAL CLOCK Which reads `` 1350.'' PHIL IS STRICKEN, TORMENTED His finger hovers over a `` Fire'' button. He licks his lips nervously, squeezes his eyes shut, and hits the button. CLOSE ON COMPUTER DISPLAY And the words : `` IGNITION SEQUENCE INITIATED''\",\n \"INT. MARTIAN SPACESHIP. NIGHT McConnell is straining inside the cylinder that surrounds him, when something catches his attention. He arches his neck, looking down. A COBALT - BLUE TRANSPARENT LIQUID Is beginning to fill the cylinder! It swirls in, from some unknown source, rising rapidly ; already his lower boots are covered. MCCONNELL'S EYES Widen in alarm. He strains against the sides of the cylinder but HIS GLOVED HANDS Slide helplessly across the smooth surface. MCCONNELL Looks down again. THE COBALT LIQUID Is up to his knees. Now his thighs. MCCONNELL Cranes his neck, staring up. Can he wedge himself higher, can he somehow climb to safety? ABOVE HIM The entire `` ceiling'' of the Face is becoming translucent. He can see the dust storm, boiling overhead. And now, rising into this, are fiery coils of energy from the Face itself. These swirl and twist in every direction, like angry water snakes ; battered by the fierce winds. Two vast forces on a collision course.\",\n \"INT. ROVER. NIGHT Luke drives the rover through the blinding storm, as Terri stares at a dashboard computer screen. They have to shout to be heard over the ROARING WIND. TERRI I've lost the Base Camp beacon! Luke looks over alarmed. CLOSE ON A DIAL As the needle spins freely, giving no direction whatsoever. TERRI No good! We're driving blind. LUKE I'll try to keep on a straight line! It's our only chance. TERRI Do n't worry! I've worked with Phil for four years! I know Jim gave him a direct order, but he wo n't leave without us.\",\n \"EXT. PLAINS OF CYDONIA. NIGHT The Rover races towards us, the front of the storm chasing it from behind, then completely overtaking the Rover. It disappears from view!\",\n \"INT. ERV COCKPIT. NIGHT Phil sits in the pilot's seat. He is looking at a computer graphic that shows the engines readying to launch. With resignation, he keys his mike. PHIL This is ERV, do you read? ERV to Rover, do you read? Phil waits a second, then reaches slowly for a blinking red switch that reads `` LAUNCH.'' He hesitates, then actually has his fingers on it, about to flip it, when he hears a crackle of static on the radio. Phil keys his mike. PHIL This is ERV, do you read? LUKE -LRB- very faint. -RRB- Save the fuel, Phil. We're coming in. And Phil chokes back a sob. Blinking back the tears, he tries to compose himself, then keys his mike. PHIL Uh, Phil's not here right now. He left for Earth five minutes ago. Please leave your message at the beep.\",\n \"EXT. THE FACE. NIGHT FROM GROUND LEVEL we see that the coils of energy are rising from the forehead of the Face, from its `` third eye,'' spinning and looping faster and faster, starting to form a vortex. But unlike the wind vortex that killed the Mars One crew, this is a vortex of fire. As we watch, more fiery streaks begin to emerge from the sides of the Face, from the chin, cheeks and temples. These all rush upwards, like lava flowing uphill, gathering in intensity as they leap free of the Face itself and spiral into the atmosphere. The peak of the forming vortex is already piercing the lowest layer of storm clouds, causing a dark counter - swirl.\",\n \"EXT. MARS ONE BASE CAMP. NIGHT Phil stands at the bottom of the ERV's ladder, gripping it to steady himself, staring into the swirling dust. THE ROVER appears out of the dust and sand, the immense storm seeming to chase it from behind. Luke and Terri climb out, struggle towards him through the wind. Phil grips their hands, helping them over to the ladder. He looks back, confused. PHIL Where's Jim? TERRI He got another ride. Phil stares at her, bewildered. LUKE Tell you on the way. Let's go!\",\n \"INT. MARTIAN SHIP. NIGHT LOOKING DOWN INTO THE CYLINDER, we see that the cobalt - blue fluid has risen to McConnell's upper chest. Now it's at his shoulders! It pours into his suit through his neck ring. He strains on tiptoes, craning his head back, trying to keep his unhelmeted face above the rising liquid. He sucks in deep desperate gulps of air, his head thrashing from side to side. Then suddenly the fluid is over his mouth, his nose, his forehead. His whole body is submerged! The level of fluid continues to rise towards the unseen top of the cylinder. MCCONNELL Squeezes his eyes shut, holding his breath. Not so much fighting this anymore as simply floating in place, waiting for his inevitable death.\",\n \"EXT. PLAINS OF CYDONIA. NIGHT WIDEVIEW FROM ABOVE, as the energy vortex bends from side to side, pushing back the swirling storm that surrounds the Face. As the vortex coalesces its energy into a cylindrical shape, we see through its center to a rising form - the Martian ship. It is a flattened convex circle whose matte - metallic angles replicate the `` Face'' imagery.\",\n \"EXT. PLAINS OF CYDONIA. NIGHT. SIDEVIEW FROM INSIDE THE FACE As the Face burns away around us, the Martian ship begins to rise and spin.\",\n \"EXT. PLAINS OF CYDONIA. NIGHT The vortex is now a tight, rapidly spinning cylinder. As it draws more and more power from the disintegrating Face, the Martian ship in its center spins faster and faster.\",\n \"INT. MARTIAN SHIP. NIGHT MCCONNELL'S FACE Is spinning and shaking too, more and more violently, as the huge buildup of G - forces tears at his body. We're reminded of Nick Willis just before the vortex exploded him ; is the same thing about to happen to McConnell? His eyes remain tightly shut, bubbles are streaming from his lips. His last breath is nearly exhausted, it's being shaken from his lungs.\",\n \"INT. MARTIAN SPACESHIP. NIGHT As we MOVE IN CLOSER ON HIS FACE, we suddenly see, with him, a SERIES of rapid - fire, almost subliminal IMAGES FROM THE PAST. We recognize each one. Previously, though, we saw them as still photos ; now they have movement, life, and we view them from new and slightly different angles. These images INTERCUT with glimpses of McConnell's pale, shaking, near - death face in the present. THE YOUNG MCCONNELL Under the Christmas tree, lifts his new model rocket from its box. He turns to us, smiling joyfully. A blinding white flash, and he disappears. THE TEENAGED MAGGIE Is on her porch, under a night sky, bending down to the eyepiece of a TELESCOPE. She looks up at us with a shy, proud smile. A blinding white flash and she's gone. MAGGIE AND MCCONNELL In flight suits, holding their helmets, stand on the wing of a fighter jet. The radiant young couple turn to each other, kissing. A blinding white flash and they vanish. MAGGIE MCCONNELL In an astronaut's pressure suit, drifts rapidly towards us, reeling in along a tether. A man's gloved hand is outstretched, reaching for her. As she grips the hand, we see her triumphant expression through her faceplate. A blinding flash ; she's gone. MCCONNELL'S FACE - IN THE PRESENT Is shaking savagely ; he is very near death. And then, all at once, the SHAKING STOPS. Time itself seems to stop. McConnell opens his eyes, staring STRAIGHT AT US. And then, fully accepting his fate, he throws his head back, opens his mouth and takes in a deep lungful of the fluid. He can breathe it. His eyes widen in surprise and understanding. He can breathe it! This fluid will keep him alive! His whole body relaxes, the tension draining from his head and shoulders, as he fully trusts this launch for the first time. And then, with his eyes wide open, he sees, from memory, one final image. BRIDAL VEIL IS LIFTED And REVEALS, in CLOSEUP, the beautiful face, the shining eyes of MAGGIE McCONNELL. Beatific, eternal. She gazes directly INTO CAMERA, then smiles. MCCONNELL Smiles back.\",\n \"EXT. PLAINS OF CYDONIA. NIGHT WIDE VIEW, FROM ABOVE, as the energy vortex changes from red - orange to blue - white. It ROARS with terrifying power as its top starts to bend, angling like a telescope towards a specific point in the stars. Then the Martian ship - a rounded darker form, little more than a blip within the vast, blue - white column of energy - shoots away from the surface, leaving only a blacked crater where the Face had been.\",\n \"EXT. MARS. HIGH ATMOSPHERE. NIGHT ANGLE FROM DEEP SPACE, LOOKING DOWN, as the Martian ship, riding its blue - white column of energy, streaks up into the vast blackness, like a narrowly focused spotlight piercing the night. Down below, we can see the dust storm in all its vastness still boiling orange and brown across the planet's surface, which it now completely covers. As the Martian ship flashes by us, it passes another ship, much smaller and slower, rising through the storm clouds on a different trajectory. We recognize the familiar, comfortable sight of the ERV. PUSHING IN QUICKLY ON THIS. We see three figures in the cockpit.\",\n \"INT. ERV COCKPIT. NIGHT Luke, Terri and Phil are strapped in, with their acceleration just starting to level off, when suddenly their cockpit interior is starkly bathed in white light. They wince at the unearthly radiance, shielding their faceplates with gloved hands. TERRI Dear God. Look at that. Through their cockpit window, they watch the Martian ship hurtle by them at a hundred times their speed. PHIL Is that him? Luke nods. Their eyes are glistening. Luke's voice is a whisper, both of prayer and farewell. LUKE Godspeed Jim McConnell.\",\n \"EXT. SPACE Looking through the cockpit window we see the Martian ship receding into the infinite distance of space - a long blue - white scratch that in moments begins to fade. Finally it is a tiny point of light, taking its place amongst the limitless expanse of the star - filled heavens. THE END\"\n]"},"labels":{"kind":"list like","value":[0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,1,0,1,0,0,0,0,0,0,0,0,0,1,0,1,0,0,0,1,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,0,0,0,0,0,0,0,1,0,0,1,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0],"string":"[\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0\n]"},"summary":{"kind":"string","value":"In 2020, the Mars I mission launches for planet Mars, commanded by Luke Graham (Don Cheadle). Upon arrival, the team discovers a bright white formation in the Cydonia region, which they suspect is an extrusion from a subsurface geothermal column of water, useful to future human colonization. After reporting this to the Earth-orbiting World Space Station, they go to investigate the formation and hear a low sound on their communications system. Radar initially reports that the formation is metal, but when they increase power to the radar, a large vortex appears and kills everyone except Luke. After the vortex subsides, the formation is revealed to be part of a large humanoid face. The space station observes an electromagnetic pulse from Mars and receives a distress message from Luke. Realizing that the pulse would've damaged the ERV (\"Earth Return Vehicle\") computers, they repurpose the Mars II mission into a rescue. Months later, Mars Rescue, consisting of Commander Woody Blake (Tim Robbins), his wife Terri Fisher (Connie Nielsen), recent widower Jim McConnell (Gary Sinise), and technician Phil Ohlmyer (Jerry O'Connell), enters Mars orbit. They discover that all satellite imagery of the formation is covered with static. Micrometeoroids breach the hull, and the crew are forced to abandon ship and take refuge in the REMO (\"Resupply Module\") orbiting Mars. Woody launches himself at the module and manages to attach a tether to it, but is knocked off into space. Terri tries to rescue Woody, but knowing that she would run out of fuel before reaching him, Woody removes his helmet, killing himself to save her. The survivors arrive on the surface of Mars, and begin repairing the ERV. They find Luke living in a greenhouse, who shows them pictures of the fac, and reveals that the pulses in the low sound they heard represented a 3D model of human-like DNA, but missing a pair of chromosomes. Jim determines they must complete the sequence to pass a test, and they send a rover to broadcast the completed signal via radar. Following the transmission, an opening appears in the side of the structure. With a massive dust storm approaching Jim, Terri, and Luke head to the formation, while Phil stays to repair the ERV. Phil is ordered to launch, with or without them, before the storm hits. The three astronauts enter the opening, which seals behind them. A three-dimensional projection of the solar system depicts the planet Mars, covered with water, being struck by a large asteroid and rendered uninhabitable. A projected humanoid alient reveals that the natives of Mars evacuated in spaceships, one in which was sent to seed Earth with DNA in the hopes that it would create lifeforms who could one day land on Mars and be recognized as descendants. An invitation is offered for one astronaut to follow the Martians to their new home. Jim accepts the invitation, bidding farewell to Terri and Luke, and is sealed inside a small capsule. Terri and Luke race back to the ERV arrive just as Phil is about to take off. They barely escape the dust storm into space as Jim's capsule is launched from the crumbling formation and past them toward the Martians' home."},"name":{"kind":"string","value":"Mission_to_Mars"}}},{"rowIdx":94,"cells":{"scenes":{"kind":"list like","value":["INT. WAREHOUSE - EARLY MORNING CAMERA -LRB- STEADICAM -RRB- holds on a man in a suit, sitting behind a desk, on the phone : BARRY EGAN -LRB- Adam Sandler -RRB- BARRY yes I'm still on hold. OPERATOR And what was this? BARRY I'm looking at your advertisement for the airline promotion and giveaway? OPERATOR This is `` Fly With Us?'' BARRY It's hard to understand because it says in addition to but I ca n't exactly understand in addition to what because there's actually nothing to add it too. OPERATOR I think that's a type - o then, that would be a mistake. BARRY So, just to clarify, I'm sorry : Ten purchases of any of your Healthy Choice products equals five hundred miles and then with the coupon the same purchases would value one thousand miles - OPERATOR That's it. BARRY Do you realize that the monetary value of this promotion and the prize is potentially worth more than the purchases? OPERATOR I do n't know. I mean : I do n't know. OC DISTANT SOUND OF A CAR SKIDDING TO A STOP, SOME VAGUE, DISTANT SCREAMING IS HEARD. THEN SILENCE. Barry hears this, gets distracted, then back to the phone call ; BARRY Can I call you back if I have any further questions? Can I get your extension? OPERATOR It's extension 215 if you want to try me back. BARRY Ok. Thank you. He hangs up the phone and walks through his warehouse. It's fairly non - descript place, boxing materials, etc.. Products seem to be mainly silly novelties -LRB- pens that light up, key chains, novelty toilet plungers, etc -RRB- He lifts a LOADING DOOR and LIGHT POURS INSIDE, WASHES OUT THE FRAME. he's silhouette. CAMERA follows him out. stays overexposed and over his shoulder as he looks down towards the street. his business is situated at the end of a common driveway, shared with a few other nondescript places and an Auto mechanic. distant SOUND of a car SPEEDING and SKIDDING. hold, then :. a JEEP CHEROKEE comes FLIPPING into FRAME, far off at the mouth of the alley, on the street. The JEEP ends up landing RIGHT SIDE UP. HOLD. Barry flinches a little, stares. the JEEP sits idle for a moment. then it drives off. then : A speeding, small TOYOTA comes into view at the mouth of the alley, screeching to a halt. The passenger side door opens and a small, wooden HARMONIUM -LRB- like a portable organ -RRB- is placed on the ground. The TOYOTA speeds away. a moment or two later another NON - DESCRIPT CAR flies past very fast. BEAT. Barry squints, looks at the small HARMONIUM sitting alone in the middle of the street. He hesitates, looks around, holds, then walks back inside his warehouse.","INT. BARRY'S WAREHOUSE - THAT MOMENT Barry on the phone again ; BARRY I'm not exactly sure what that means. VOICE If they break or something. What is it, plastic? BARRY It's a plastic, yeah. VOICE Right. Alright, lem me call you first thing tomorrow, I'm gon na run the numbers, see what's what and I'll give you a call back - BARRY Did you have my home phone number? VOICE For what? BARRY If you wanted to call me back I could. VOICE I'm fine, I have your work number. BARRY Ok. because of the time difference if you needed to call me early? VOICE It's fine. I can just get you at your office. BARRY Ok. VOICE Ok, bye, bye. BARRY Bye. He hangs up the phone and walks outside, CAMERA follows him again, out to the alley, over his shoulder. he looks down the length of the alley at the Harmonium. HOLD, THEN : A small FORD ESCORT pulls into the driveway, around the Harmonium, parks. a young woman named LENA LEONARD -LRB- Emily Watson -RRB- exits the car and starts to walk down the length of the alley towards him. CAMERA stays over his shoulder and turns into a profile 2 - shot ; LENA Hi. Do you work at the mechanic? BARRY No. LENA They're not open yet? BARRY They do n't get opened until eight. BEAT. Barry gently steps back and out of the FRAME. LENA Is it ok if I leave my car you think? BARRY I do n't know. LENA I thought they opened at seven. -LRB- beat. -RRB- If I left my car would it be ok? BARRY I do n't know. LENA Do you know them. BARRY Not very well. LENA Can I ask you, can I trust to leave my keys with you and give them to you so that when they get here you could give them to them? BARRY Ok. LENA You think it's ok where I left it, right there? BARRY I think that'll be fine. Lena hands him her keys, he steps back into FRAME, THEN : LENA There's a piano in the street. BARRY Yeah. BEAT. LENA Ok. Maybe I'll see you later. Thank you for your help. BARRY Thank you. LENA Maybe I'll see you later, when I pick up my car? BARRY Ok. She walks away. he starts back inside the warehouse, hesitates, watches her go. right before she reaches the end of the alley, she glances back quickly, over her shoulder. he dodges inside real quick. HOLD THE EMPTY FRAME. then he steps back out. looks off at the Harmonium. and the empty street. he looks around some more. then he makes the long walk down the street. ON THE STREET. Barry stares at the Harmonium a little bit, looks around, both ways, then casually picks it up and walks back towards his business. He brings it into his office and places it on his desk. He tries a few keys. pressing down. there's no sound. He presses his hand on the foot pedal and presses a key and a small note is made. BEAT. he does it again. and holds the note. CUT TO BLACK.","INT. WAREHOUSE - OFFICE - EARLY MORNING Barry enters the warehouse with harmonium and runs into his office. He places it on the desk and hits a key : no sound. Barry goes to his knees and unlatched the bellows. He pumps the bellow, reaches up, presses a note, and another. then stands up into CU. and presses the 5 note melody. SUDDENLY : THE SOUND OF THE POD BAY DOOR SLIDING. Barry spins around, scared shitless, sees : LANCE, who enters the warehouse, Barry rushes out to greet him ; LANCE Hey, good morning, Barry. BARRY Hey. Lance. can I. LANCE You ok? BARRY Yes I'm fine. LANCE Why you wearin' a suit? BARRY Um. I bought one. I thought maybe it would be nice to get dressed for work, can I show you something? LANCE Yeah. you got here early huh? BARRY yes. They enter into the office, Lance sees the harmonium ; LANCE What is this? BARRY I do n't know. I think it's a piano. a small piano. LANCE That's not a piano. I have a piano at home. where'd you get it? Lance walks around behind the harmonium. leaving Barry alone. towards the warehouse. he starts to back up a little. BARRY Well. it was dropped on the street. Sal, Ernesto and Rico all start to come into work behind Barry. he sees them : CAMERA pushes in on Barry. LANCE -LRB- OC. -RRB- Why is it here? Barry. Barry? BARRY it just. I do n't know. I do n't know. LAND IN CU. ON BARRY. CUT TO BLACK. TITLE CARD Punch - drunk Love Movie -LRB- maybe color blooms/overture here -RRB-","INT. WAREHOUSE/MAIN AREA - DAY CAMERA pushes in slow as Barry and Lance talk to TWO CUSTOMERS about the plungers which are on display in front of them. They speak all over each other doing shop talk, etc ; CUSTOMER You do guaranteed sale? etc.. BARRY We back our plungers 100 % and we do ask for a 30 to 60 day display on the floor. In the b.g., RICO over the laud speaker says : RICO Barry, your sister's on line one. Barry does n't move. BARRY Yes. we do ask for. 30 to 60 days. CUSTOMER I think you have a call? Rico turns around, without loudspeaker ; RICO Barry, your sister is on line one. They look at him a moment. BARRY I'm just gon na grab this call real quick? ANGLE, REVERSE. Barry turns and heads for the phone nearby at Rico's station ; BARRY -LRB- into phone. -RRB-. This is Barry. RHONDA Hey it's me, it's Rhonda. Are you coming to the party tonight? BARRY Hi, Rhonda, yes I am. RHONDA Bye. She hangs up. BARRY Ok. Yes I'll see you tonight. Barry takes a few steps back to the Customers : BARRY Sorry about that : One thing I wanted to point out, Dave, is that we've just received a large order from the Rio Hotel and Casino in Las Vegas where we're going to be supplying their hotel rooms with the dice and money plunger, so these babies are really moving well right now. RICO -LRB- over loudspeaker. -RRB- Barry, your sister's on line two. Barry, your sister's on line two. Barry tries again to ignore it. BARRY With the Aqua Blast Whales and Speed Boats we're gon na ask for a display at eye level for the little kids. RICO Barry - BARRY - excuse me. Barry walks back to the phone ; BARRY This is Barry. KAREN Hey it's me, what are you doing? BARRY Hello, Karen. I'm just working. KAREN Yeah but what are you doing? BARRY I'm just working. I have some customers here. KAREN So you ca n't talk to me? BARRY I have a few people here, I ca n't really chat right now. KAREN `` chat?'' Did you just say `` chat?'' BARRY Well, I ca n't talk though - KAREN You just fucking said `` chat,'' that is so - what are you now? `` chat.'' I'm just calling to make sure you show up at this party tonight. BARRY Yes, I'll be there. KAREN Fine. You get back to chatting with your precious customers. BARRY Ok, bye - bye. Barry snaps out of this, turns, claps his hands in confidence and walks back to the customers and says : BARRY Sorry about that. CUSTOMER I did n't know you had a sister? BARRY Well yes I do. -LRB- beat. -RRB- But one more thing I wanted to tell you guys about the new plungers is that we're making the handles now in a non - breakable material called. He takes one of the plungers and to demonstrate smacks it on the table. it SMASHES and rice falls out everywhere. BARRY Ok. this is one of the old ones, I think. Lance do we have any new plungers around? Lance moves to get a new plunger. BARRY That was a little embarrassing and that was one of the old handles so let me get a new one to show you - RICO -LRB- loudspeaker. -RRB- Barry, your sister is on line one. Barry holds, then ; CUSTOMER How many sisters do you have? BARRY I have seven. CUSTOMER #2 Holy shit. You have seven sisters? BARRY They're calling because we're having a party tonight for my sister and the they're just calling. can you hang on for just two more minutes? Barry walks this time into his office. CAMERA tracks with Barry to his office, seeing him try and shake this off. He EXITS FRAME.","INT. WAREHOUSE - OFFICE - THAT MOMENT Barry enters, takes a quick moment to size up the harmonium. He picks up the phone and through the conversation gently moves the harmonium to a different spot on the desk ; BARRY This is Barry. KATHLEEN What are you doing? BARRY Hi, Kathleen, I'm just working. KATHLEEN Are you going to the party tonight? BARRY Yes I am. KATHLEEN What are you doing? BARRY Nothing. KATHLEEN Right now, you're doing nothing? BARRY I'm just talking on the phone to you and standing. KATHLEEN What time are you gon na be there? BARRY Seven o'clock. KATHLEEN You ca n't be late. BARRY I wo n't. KATHLEEN I'm serious. BARRY I know. KATHLEEN Seriously. BARRY Ok. KATHLEEN You ca n't be late though. BARRY I know. KATHLEEN You ca n't just not show up like you do, you have to go. BARRY I know. KATHLEEN Seriously. BARRY I know. KATHLEEN You ca n't just stay in your house. BARRY I know. KATHLEEN Yeah but I'm serious. BARRY Ok. KATHLEEN I'll see you there. BARRY I'll see you there. KATHLEEN Do n't puss out. BARRY I wo n't. Barry plays the 5 note melody on the Harmonium -LRB- carries over into next scene. -RRB-","INT./EXT. WAREHOUSE - LATER (BRIDGE/BREAK MUSIC WISE) Barry and his workers are having lunch. A LUNCH TRUCK is parked by the driveway. Barry sees the CAR that Lena brought by at the start of the movie. OC CALL from one of the workers ; WORKER Telephone Barry on line one. A mechanic passes by at this moment, keeps walking past ; BARRY What's wrong with her car? MECHANIC Wha? BARRY Is that car gon na be ok? MECHANIC It's fine. The mechanic keeps walking. Barry enters.","INT. WAREHOUSE/NEAR LANCE'S DESK - LATE AFTERNOON Barry and the boys are prepping some boxes for shipping. Ernesto walks over, says ; ERNESTO Barry, your sister's here. Barry stands up fast, stumbles back a bit over some boxes, recovers, ELIZABETH enters : ELIZABETH Hey, how are you? BARRY I'm fine, hi, how are you? ELIZABETH I'm just stopping by to say hello. BARRY Hello. ELIZABETH So you're coming tonight, right? BARRY Yes, indeed, yes I am. ELIZABETH There's this girl, this friend of mine from work that I think is really cute and really cool and I want you to meet her so I was thinking about bringing her to the party tonight. BARRY Oh yeah no I do n't want to do that. ELIZABETH Why? BARRY Well I do n't want to do something like that. ELIZABETH She's my friend and you should meet her. You'd like her. BARRY Yeah, but please do n't do that. ELIZABETH I'm not really asking you, I'm telling you. BARRY Yeah but please do n't do that : everyone would be looking at me. ELIZABETH It's a free country, we can look at you if we want to. BARRY Yes but I get tense and I feel like I ca n't be myself if that happens. ELIZABETH That's your fault not mine. BARRY I do n't think I'm going to the party. ELIZABETH So it's ok if I bring her. BARRY Please do n't. ELIZABETH She's really cute and she's really nice. BARRY please, I just do n't want it. ELIZABETH wait a minute : why is this about you now? Why is it always about you? BARRY Yeah, no, it's not, it's just - ELIZABETH I'm trying to be your friend. BARRY I know. ELIZABETH I'm trying to get you a girlfriend. BARRY Well, yeah, thank you, but - ELIZABETH - but since you're not going I guess none of this matters and I'll bring her anyway. BEAT. HOLD. She stares him down. ELIZABETH All I'm trying to do is be your friend. She leaves. HOLD ON BARRY. He air punches/twitch.","INT. WAREHOUSE - LATER/BLUE HOUR - NIGHT Barry is alone, closing up. He takes a look at the Harmonium and presses it, makes a sound. a little bit more. makes a few notes. END SCORE QUE as it blends and fades into the notes that Barry plays. BEAT. He closes its small cover, does something on his desk and then : His face gets bright red, he holds back tears, opens his mouth and has a serious but small burst of overwhelming emotion and then it's over.","INT. SUPERMARKET - NIGHT CU. BIRTHDAY CARD. Barry's hands reaches in and picks a birthday card. ANGLE, WIDER, THAT MOMENT. Barry grabs the card and starts to push his cart. but he pushes it straight into a SIX YEAR OLD KID who's pushing a cart around. they slam into each other. Barry apologizes. the KID just takes off. Barry's cart now has a slightly damaged wheel that wobbles like crazy. ANGLE, FROZEN FOOD AISLE. CAMERA tracks left to right with Barry as he heads for the Healthy Choice Frozen Dinner. He grabs one. CU. BARRY. LOW ANGLE. He looks at box. BARRY'S POV - THE BOX Slow zoom in. The sticker reads : `` Fly Away With Us! The More You Buy The More You Earn.'' ANGLE, SOUP SECTION. CAMERA tracks along right to left with Barry as he moves towards some SOUP. He grabs one, inspects it. then puts it back. CU. SOUP CAN. It's put back on the shelf : TILT down to price : 79 cents. Barry turns his cart around and SMACKS right into someone else again, screwing up another wheel on his cart. ANGLE, BARRY. CAMERA, tracks alongside him, left to right as he comes across : PUDDING. The price : 4 / $ 1.00. MED. BARRY in the middle of the aisle. He reacts. smiles. holds. thinks. looks around, then starts to load up on the pudding. ANGLE, BARRY. He pushes TWO SHOPPING CARTS FULL OF PUDDING over to the STORE MANAGER who's on his knees, stacking milk. Barry kneels down, CAMERA PUSHES INTO A CU. as he speaks sotto ; MANAGER Hello. BARRY Hello, sir. My name is Barry Egan and I'd like to ask if you have any more Healthy Choice pudding in the back?","INT. SUSAN'S HOUSE - NIGHT The door opens slowly and Barry peers his head around and into the house very cautiously, CAMERA PUSHES IN and PANS slightly LEFT to reveal : THE KITCHEN. Barry's SEVEN SISTERS are all there, preparing dinner and talking away. they turn and see him ; SUSAN There he is! Do you remember when we used to call you gay and you'd get all mad? KATHLEEN - we were calling you gay and you got so mad that you threw a hammer through the sliding glass door - do you remember? BARRY I do n't really remember that. KATHLEEN Yes you do. We were calling you Gay Boy and you got so mad. BARRY Yes, yes, right. SUSAN We're trying to remember why you had the hammer in the first place? BARRY um. KATHLEEN The hammer that you threw. why did you have it? SUSAN You do n't remember - you had the hammer and you threw it -? BARRY I remember, yes. SUSAN Why did you have it? Another sister, RHONDA, enters from behind, Barry jumps, says : RHONDA He was building a ramp for the dog. KATHLEEN He was making a ramp for the dog! That's right! SUSAN That's right. ramp for the dog. And you just threw the hammer. BARRY -LRB- to Rhonda. -RRB- Happy Birthday, Rhonda. RHONDA Thank you. Thank you so much, Barry. She gives him a very quick hug and kiss and sets the cake next to a bigger, cooler looking cake. Mia approaches holding a baby. Barry tries to say hello to the baby, but Mia slowly turns the baby out of Barry's grasp. making herself the center of his attention ; KITCHEN/DINING ROOM, THAT MOMENT Barry gets slightly turned around trying to reach the baby. and ends up in a doorway that leads to the dining room, revealing himself to : ELIZABETH, KAREN, NICOLE AND ANNA. There are also : THREE BROTHER IN LAW'S -LRB- WALTER, LARRY AND STEVE -RRB- ELIZABETH Hey. I was just telling everyone about how I was gon na bring this girl for you but you would n't let me do it. BARRY Hello everyone. KAREN steps up and greets him ; KAREN Did you think that we'd all be looking at you? BARRY No, no, no. KAREN Well it's just not true. We would n't be looking at you - why are you wearing this suit? Did you say hello to your brother in law's? STEVE/LARRY Hi, Barry. How ya doin? Good, good. KAREN Say hello to them, that's right, good, good. Ok. Come on, we're gon na eat now. let's go. Barry shakes hands and hello's with the brother in law's. He's left alone for a moment with Walter and Elizabeth ; WALTER How you doin' Barry? BARRY Hi Walter. WALTER How's business? BARRY Business is very food, thanks. ELIZABETH What's very food? BARRY What? ELIZABETH You just said very food. BARRY Did I say that? WALTER Yeah. BARRY That was weird. I meant good. WALTER Maybe you said that because you're hungry. Walter moves to help everyone. they're moving to set the table. CAMERA CLOSES IN ON BARRY AND ELIZABETH alone for a beat : ELIZABETH You're lucky. She could n't come anyway - BARRY Well I'm glad you did n't, thank you. ELIZABETH She could n't come I said. Are you nervous? BARRY No. ELIZABETH You look nervous. BARRY I'm not, I'm very happy. RHONDA passes ; RHONDA Come on homo - boy, we're eating now. Elizabeth leaves, HOLD ON BARRY. CAMERA PUSHES IN TOWARDS EVERYONE SETTING THE TABLE. CAMERA ROTATES AROUND. everyone is still chatting a bit about `` Barry gay boy,'' and `` the girl that was gon na be here that Barry would n't allow.'' ANGLE, REVERSE. Barry is standing in front of the floor to ceiling sliding glass doors. in an INSTANT, he TURNS AND THROWS HIS FIST STRAIGHT THROUGH THREE OF THEM, THEY SHATTER. he turns back, they are all staring straight at him in silence. HOLD, THEN : In unison they all go ape shit : GROUP WHAT THE FUCK IS YOUR PROBLEM. GODDAMNIT BARRY. YOU FUCKIN' MANIAC. ETC.. ETC..","INT. SUSAN'S HOUSE - HALLWAY - LATER It's later and WALTER and BARRY walk down a small hall and into a kids room. They're OC for a few moments as the CAMERA slowly pushes in and towards the room. Following sotto ; WALTER What's up? BARRY Well I'm sorry. Before. WALTER Mhm. BARRY And I'm sorry that I did that. WALTER It's alright. BARRY I wanted to ask you because you're a doctor, right? WALTER Yeah. BARRY I do n't like the way I am sometimes. -LRB- beat. -RRB- Can you help me? WALTER Barry, I'm a dentist, what kind of help do you think I can give you? BARRY I know that. Maybe you know other doctors? WALTER Like a psychiatrist? BARRY I do n't have anyone to talk to things about and I understand it's confidential with a doctor - I'm embarrassed about that and I do n't want my sisters to know? WALTER You want a number for a psychiatrist, I can get you one, that's not a problem. but what exactly is wrong? BARRY I do n't know if there's anything wrong with me because I do n't know how other people are. Sometimes I cry a lot. for no reason. Barry starts to cry. Walter just stares at his. HOLD. Barry stops, recuperates, then leaves. as he does ; BARRY Please do n't tell my sisters.","INT. BARRY'S APARTMENT - LATER CU. HEALTHY CHOICE COUPON. Barry's scissors cut out a coupon and reveal an image beneath in another section of the newspaper. it's the sexy LEG of a woman. BARRY very casually pushes some papers aside and looks at the ad. HOLD ON HIS FACE. He looks. then : MOMENTS LATER, BARRY ON THE PHONE. He listens ; OPERATOR GIRL -LRB- OC. -RRB- Hi, this is Janice The Operator, who's this? BARRY Hello, how are you? OPERATOR GIRL -LRB- OC. -RRB- Hi, is this your first time calling? BARRY Yes it is. OPERATOR GIRL -LRB- OC. -RRB- Can I have your credit card number, followed by the expiration date? BARRY Can I ask how much is this? OPERATOR GIRL -LRB- OC. -RRB- - it's $ 2.99 per minute for the first half hour and $ 1.99 per minute after that. BARRY and this is confidential? OPERATOR GIRL -LRB- OC. -RRB- What do you mean? BARRY It's. confidential, the call, my information is private. OPERATOR GIRL -LRB- OC. -RRB- Of course. Would you like to talk to a girl? I can connect you with a beautiful girl if I can just get your credit card number followed by the expiration date? BARRY 3407 2627 3444 8095 expiration 05/04. OPERATOR GIRL -LRB- OC. -RRB- And your billing address and the name as it appears on the card? BARRY 1274 Moorpark. Sherman Oaks, California. # 4. 91403. OPERATOR GIRL -LRB- OC. -RRB- And your name? BARRY Barry Egan. OPERATOR GIRL -LRB- OC. -RRB- And your Social Security number. BARRY What's that for? OPERATOR GIRL -LRB- OC. -RRB- It's just for verification through the credit card company. BARRY - and this is confidential? OPERATOR GIRL -LRB- OC. -RRB- Of course, it's just for us to verify your credit card information. It's completely confidential and it appears on your credit card billing statement as D&D Mattress Man. BARRY 337. I'm sorry. OPERATOR GIRL -LRB- OC. -RRB- It's ok, take your time. BARRY 337 - 09 - 9876. But I do n't want anyone to know my name. OPERATOR GIRL -LRB- OC. -RRB- No one will know your name. BARRY Can you say that my name is Jack? OPERATOR GIRL -LRB- OC. -RRB- You want her to call you Jack? BARRY I just do n't want anyone to know it's me. OPERATOR GIRL -LRB- OC. -RRB- That's fine. Can I have a telephone number, area code first on where we can call you back? BARRY No I just. I do n't want to, I just want to be connected to talk to a girl. OPERATOR GIRL -LRB- OC. -RRB- It's a call back service - a girl will call you back. BARRY I thought I was just gon na be connected to talk to a girl - that's fine, ok, I'm sorry, it's, um. 818.","INT. BARRY'S APARTMENT - MOMENTS LATER Barry waiting at his dining room table. HOLD. The PHONE RINGS. He picks it up ; BARRY Hello, this is Back. SEXY VOICE Hi, is this Jack? BARRY Yes. SEXY VOICE This is Georgia. BARRY Hi. This is Jack. SEXY VOICE So what are you doing tonight, Jack? BARRY Nothing. SEXY VOICE Nothing, huh, do you know what I'm doing? BARRY No. SEXY VOICE I'm just laying on my bed. BARRY Where are you? SEXY VOICE I'm in my bedroom. BARRY No, I mean, what city, what state are you in? SEXY VOICE Are you watching a porno movie? BARRY No. SEXY VOICE Do you like porno movies? BARRY Sure. SEXY VOICE Yeah? So. Jack. are you stroking that big fat fucking cock of yours? He walks into something. BARRY no. SEXY VOICE Yeah? So what are you doing, then? BARRY just talking to you. SEXY VOICE Are your pants off? BARRY No. SEXY VOICE I'm wearing a t - shirt and panties. BARRY Really? SEXY VOICE Yeah. And looking at myself in the mirror. Do you wan na know what I look like? BARRY It does n't matter. SEXY VOICE What do you mean it does n't matter? BARRY Well. I have no way of knowing. So it does n't matter. SEXY VOICE I do n't lie, Jack. I'm about 5' 8, blonde 34,28,34. Pretty thin, I work out. My pussy's shaved. My friends say I'm pretty cute, so. BARRY Really? SEXY VOICE What do you mean, `` really?'' Yeah. Really. What about you? BARRY It does n't matter. SEXY VOICE Yeah. you're married are n't you, Jack? BARRY No. SEXY VOICE You have a girlfriend? BARRY yes. SEXY VOICE Where is she? BARRY She's. not here. she went out. She went out of town, she travels a lot. Barry holds his head in his hands for minute, then stands out of it -","INT. BARRY'S APARTMENT - MOMENTS LATER SEXY VOICE I'm horny, Jack, what about you? BARRY yeah. SEXY VOICE Does Jack like to Jack Off? BARRY Sometimes when I'm lonely. SEXY VOICE yeah. well you have me now. BARRY You sound very cute, very nice. SEXY VOICE Thank you. What do you do, Barry? BARRY I have my own business. I work. I work hard at doing my business. SEXY VOICE Yeah. do you do well, do you make alotta money? BARRY I do pretty good, I think. I wish I was making more, doing a little bit better. I can, t get over a certain hump. I will. I will crack something soon I think and really do better. I'd like to diversify. but I'm doing great, I think, as a start. SEXY VOICE So. are you stroking it, yet, honey? BARRY No. SEXY VOICE Well why do n't you take your pants off and stroke it for me? BARRY Ok. SEXY VOICE Yeah. that's it. God I Am So Horny. I wish I was there to help you. I wish I was there for you, Barry.","INT. BARRY'S BATHROOM/BEDROOM - LATER It's a little bit later and Barry stands in his bathroom, washes his face. HOLD. then he dries his face, walks into his bedroom, gets into bed wearing T - shirt and underwear. he crawls in, curls up in fetal position.","INT. SAME EXACT ANGLE - MORNING Sun comes in now. Barry is somehow dressed in a FULL ADIDAS SWEAT SUIT complete with SNEAKERS. He wakes up, looks down and sees this, confused ; BARRY Whassis?","INT. KITCHEN - MOMENTS LATER Barry is dressed for work in another suit now. He grabs some stuff and heads for the door when the phone rings ; BARRY Hello? SEXY VOICE Hey. What are you doing? How are you? BARRY I'm fine. Who is this? SEXY VOICE Georgia. BEAT. BARRY Hi. what. what's up? SEXY VOICE It's ok that I'm calling, right, I mean? It's ok. BARRY Yeah. No. It's ok. What's goin' on? SEXY VOICE I just wanted to call and talk to you, thank you for last night, try and get you before you went to work and say, `` hey.'' BEAT. BARRY I'm going to work. SEXY VOICE Uhhh. I am sooo tired. I stayed up too late last night, what about you, when did you go to sleep? BARRY Not very late. SEXY VOICE You're going to work now? BARRY Yes. SEXY VOICE Can I ask you a question? BARRY Uh - huh. SEXY VOICE Remember last night I was talking to you and I was telling you about my apartment, my rent -? -LRB- beat. -RRB- Do you remember? BARRY Yes. SEXY VOICE This is really weird and really embarrassing for me but. uh. -LRB- beat. -RRB- I was wondering if you could help me out with a little bit of money. BARRY Me? SEXY VOICE Yeah. BARRY I ca n't really. Yeah, no. I mean. I ca n't afford it. SEXY VOICE You do n't even know how much it is. BARRY I know but I. how much is it? SEXY VOICE Like seven - fifty. Seven hundred fifty? BARRY Yes, no, yes. I ca n't. I ca n't afford that. I'm sorry. Sorry. SEXY VOICE Really? Please? BARRY You have trouble, financial trouble? SEXY VOICE Yeah. It's so hard these days and I really need it. BARRY Yes I ca n't. I do n't make enough money to be able to do that. SEXY VOICE I thought you had your own business. You said you were gon na diversify and all that stuff. BEAT. Barry steps back a little. SEXY VOICE So you think you can? BARRY No. I'm sorry. SEXY VOICE Should I call back and talk to your girlfriend? BARRY what? SEXY VOICE I was wondering if it's better to ask your girlfriend for the money? It could be really easy. I mean, I have all your information, credit card information and billing stuff - Barry hangs up the phone real fast. HOLD. He does n't move.","INT. BARRY'S WORK/WAREHOUSE - MORNING/LATER CAMERA -LRB- HAND HELD -RRB- behind Barry, as he walks through the warehouse, greets the boys, says hello to Lance, etc.. Lance, taking his cue from Barry, is a bit more dressed up today. LANCE Good morning, Barry. BARRY Hi, Lance. LANCE What's with all this pudding, what is this? CAMERA sees that all the pudding Barry bought has been stacked neatly in a corner. Barry stops dead in his tracks to explain ; BARRY That's part of a very interesting airline promotion giveaway that's really tremendous. I'm going to start a collection of pudding and coupons that can be redeemed for frequent flyer miles through Healthy Choice and American Airlines - LANCE You're goin' on a trip? BARRY No. but airline miles are just like a currency these days. LANCE You should go on a trip. BARRY No thanks. LANCE So what should I do with the pudding? BARRY Let's just leave it there for now. Barry goes into his office and looks at the Harmonium. BEAT. He presses some keys, makes a little more noise with it. -LRB- a quarter of some sort of melody starts here. -RRB- ANGLE, MOMENTS LATER. Barry is cutting up his CREDIT CARD with some scissors. He throws it away. ANGLE, MOMENTS LATER. Barry paces around a little bit. CAMERA stays inside and watches him as he walks outside for a moment, looks around. he sees something outside, hesitates, then dodges back inside the warehouse - - once inside, he takes a horrendous, hurtful fall over something. He stands up quick ; BARRY This is not supposed to be here. Seriously. Carlos, Carlos, this is really not supposed to be here. I do n't mean to be a dick ; but that's gon na hurt someone. It already did hurt someone : It hurt me, so please let's move that. He backs away, then steps OUT OF FRAME. a moment later ELIZABETH -LRB- his sister -RRB- and LENA -LRB- from the opening -RRB- enter the warehouse, walking towards Barry ; ELIZABETH -LRB- to Lena. -RRB- He's wearing a suit again, I do n't know why he's wearing a suit, he does n't usually dress like that - LENA It's fine. CAMERA pushes in towards LENA and blends to 30fps. she smiles, looks ahead, CAMERA slowly pans a 180 around to become her POV. Barry is standing near the harmonium, fiddling around. He looks up, sees Elizabeth and Lena walking towards him and tenses. they meet in the middle of the warehouse ; ELIZABETH Hey, what are you doing? Why are you wearing a suit again? BARRY I do n't know. LENA Hi. BARRY Hi. LENA Do you remember me, I left my car, yesterday. BARRY Yes I do. ELIZABETH This is Lena, she's a good friend of mine from work. We were in the neighborhood and she had to pick up her car and we're getting breakfast before we go in, so did you want to go? We're gon na go and eat, let's go. BARRY Yeah I ca n't. ELIZABETH Why? BARRY I have work, I ca n't leave. ELIZABETH Seriously, though : We're going to eat, I said. BARRY I'm sorry. LENA It's ok. That's alright. ELIZABETH Are you learning how to play the piano? What is that? BARRY It's not a piano. LANCE! LANCE! MAKE SURE THAT YOU CALL THAT GUY IN TOLEDO. LANCE -LRB- OC. -RRB- WHICH? BARRY I'll tell you later. ELIZABETH You do n't wan na come to eat with us? WORKER VOICE TELEPHONE BARRY ON LINE TWO! ELIZABETH What's all this pudding? BARRY I do n't know. Can you hang on a second? CAMERA follows Barry as he walks back to his little office, picks up the phone ; BARRY Hello? SEXY VOICE We got disconnected before. BARRY No. No. We got disconnect - why? you're calling me at work. how did you get this number -? SEXY VOICE See the thing is I could make it really easy on you - I already have your credit card number, your information, address and stuff. This is so awkward asking like this, I'm sorry - BARRY This makes me very uncomfortable. SEXY VOICE I need help. BEAT. SEXY VOICE Should I just ask your girlfriend? -LRB- beat. -RRB- Maybe I should call back and talk to your girlfriend? BARRY I do n't have a girlfriend - SEXY VOICE - you said you did. BARRY I know I did. But I do n't. SEXY VOICE You lied to me? BARRY I did n't lie. SEXY VOICE Why did you tell me you did, then? BARRY This is. illegal. I'll call the police. SEXY VOICE No you wo n't. ANGLE, ELIZABETH AND LENA LENA I'll go pay for my car. ELIZABETH Are you sure? LENA Yeah. ELIZABETH He's being weird, I'm sorry. I have no idea why he's being weird and dressed in a suit - LENA It's not bad, it's ok. ELIZABETH - he's so strange I do n't know if you really even would want to go out with him, someone like him, I said I'd try, but it's just - LENA It's ok, it's alright. I'll come right back, I'll just go pay for my car. ELIZABETH Sorry. She leaves. Elizabeth heads for Barry's office ; ANGLE, BARRY on the phone SEXY VOICE Come on, I thought we had fun, rich boy - BARRY This is not cool. SEXY VOICE It was cool last night. BARRY I have to go. SEXY VOICE Are you telling me no? BARRY No I'm sorry, now I have to get off the phone. SEXY VOICE this is your mistake. Elizabeth comes walking into his office, starts whispering to him as he's on the phone ; ELIZABETH Hey, hey, you should ask her out - what do you think, she's cute, right? BARRY -LRB- into phone. -RRB- I'm gon na call you back. He starts to hang up the phone, turns to Elizabeth as we hear ; SEXY VOICE -LRB- trailing off. -RRB-. MOTHERFUCKER, NO. BARRY She is. I think, why did you come here like this? ELIZABETH It's not cool? BARRY It's fine, but - ELIZABETH - do you think you'll ask her out? BARRY I feel really on the spot now. ELIZABETH Are you gon na do it? BARRY I do n't do that. I do n't - things like that. ELIZABETH You do n't do anything, why are you being scared? BARRY I'm not being scared, you're just going to rag me if I do this - ELIZABETH I'm not gon na rag you. Why would I do this just to rag you? BARRY I do n't know. ELIZABETH I'll leave then, I'll go to get something from my car, go away so you do n't feel pressure. Can I ask you a serious question : BARRY What? ELIZABETH Did you ask Walter to get you a shrink? -LRB- beat. -RRB- Barry, did you ask Walter to get you a shrink? What's wrong with you? Are you ok? BARRY I did n't ask him that. He's lying. ELIZABETH You're being weird again, see. Come on. Please do n't be weird. ANGLE, BARRY AND ELIZABETH, MOMENTS LATER They walk out and as they do, Lena comes back in with her keys in her hand, Elizabeth keeps walking past ; ELIZABETH I got ta grab something from my car. LENA We should be going - ELIZABETH -LRB- over her shoulder. -RRB- Yeah, no, I have to get something from my car, I said. Barry and Lena about to be alone as Lance walks up ; LANCE Which guy in Toledo are you talking about? BARRY I'll tell you. the guy. with. just talk to me later about it, ok? LANCE You talkin' to me about Ramada Inn? BARRY I have to talk to you in a second about that, Lance, ok? He walks away, Lena turns to him ; LENA I'm sorry I could n't come to your sister's birthday party last night, Elizabeth had invited me and I could n't make it - BARRY It's fine. It was fun, though. LENA It must be weird for you to have so many sisters? BARRY No. Not at all. It's nice. WORKER -LRB- OC. -RRB- Telephone, Barry Line One! Barry turns instantly and walks away. he turns back as he walks. TWO SHOT - track left with him. BARRY -LRB- turns back. -RRB- One second, sorry. IN THE OFFICE, THAT MOMENT He picks up the phone. BARRY Hello? SEXY VOICE Hang up again and see the trouble it's gon na make. Barry instantly hangs up the phone, turns around and walks back to Lena ; LENA Business is good, you're busy? BARRY Yeah, not really. LENA I saw a picture of you. BARRY Yes. LENA Elizabeth has a picture of you guys - your sisters and you, it's a lot of family, it must be nice. BARRY Do you have brothers or sisters? LENA No. I'm the exact opposite - BARRY That must be nice. That must be really, really, really great. LENA It's terrible, no. No response from Barry. -LRB- cut to reverse 2 - shot as they look -RRB- LENA What do you do with all this pudding? BARRY That's not mine it's one of the guys that works here. That pudding's not mine. BEAT. In the b.g., two WORKERS are dealing with getting a large crate on top of a large stack of crates, they're using a fork lift. in an instant the large CRATE tumbles to the ground and SMASHES. Barry attempts to not notice this ; LENA Oh My God. BARRY It's ok. That's ok. How long have you worked with Elizabeth? The workers start calling out and apologizing for this to Barry, who keeps looking straight ahead to Lena ; LENA Six months, maybe five, five or six months. do you wan na check that? BARRY -LRB- to the guys. -RRB- Are you guys hurt? WORKERS/LANCE No, no, we're ok. Barry, sorry - BARRY -LRB- back to Lena. -RRB- So you do what she does, the same work, the same job? LENA I do, but I do field consultations mainly too which is cool because I get to travel. I travel. A lot of the time. I'm going to Hawaii on Friday. BARRY That's great - Hawaii. I was thinking about going there. LENA Really? BARRY I was, yeah, I was thinking about going there for business - LENA - well, if you're gon na go - BARRY - I'm probably not gon na go though. LENA - oh that's too bad, it's so great over there and if you were there we could say hello to each other or something - BARRY - yeah that would be great, if I was gon na go but I'm not exactly sure, I have so much goin on here - A lot depends on this thing I might do here and if that happens I ca n't go and if it does n't happen then I probably will, but I doubt it. There's another LOUD CRASH as they try to reposition the box that's fallen, giving way to something else that FALLS. In other words, to correct the mistake they've already made, they have to sacrifice another CRATE that CRASHES. She looks, Barry just flinches, tries to stay looking straight ahead ; CAMERA -LRB- HAND HELD -RRB- with Elizabeth, comes walking back in. says to Barry : ELIZABETH I ca n't find that thing in my car, I ca n't find it so I'll just get it and give it to you later. So? LENA -LRB- to Elizabeth. -RRB- You ready? ELIZABETH Are you coming to eat with us? BARRY Yeah I ca n't. ELIZABETH -LRB- at the crates. -RRB- OH MY GOD. Look at that. LENA -LRB- to Barry. -RRB- It was great to meet you again. To see you again, thanks for helping me yesterday - BARRY Ok. ELIZABETH -LRB- to Barry. -RRB- What's all this pudding? BARRY It's not mine. ELIZABETH Why's it here? BARRY I have no idea. LENA -LRB- to Elizabeth. -RRB- Are you ready? ELIZABETH -LRB- to Barry. -RRB- Will you call me later to talk about asking Walter for the shrink? And we can talk about - he said you have this crying problem or something? LENA Bye, Barry. BARRY Goodbye. ELIZABETH Call me later. Lena and Elizabeth leave. CAMERA leads them as they walk ; Sound starts to drop out, we see Barry and the boys cleaning up the boxes in the back. move into a CU on Lena. Music Cue. Score. treated piano, small rhythm/melodic -LRB- notes of harmonium so far -RRB- / gentle. ELIZABETH So I'll meet you at the restaraunt? LENA Ok. Lena gets into her car. Elizabeth keeps walking. She waits until Elizabeth is out of sight at the mouth of the driveway and then she gets back out of her car and walks straight back into the warehouse.","INT. WAREHOUSE - THAT MOMENT She comes walking in and over to Barry ; LENA I'm going to go and eat tomorrow night do you want to go with me? BARRY Sure. LENA Do you want to pick me up? BARRY Sure. LENA Can I write down my address and phone number for you? BARRY Sure. They do a small search for a piece of paper, get it all written down and sorted out and then - as they do this there is even more CRASHING AND SMASHING in the b.g., by the boys - Barry and Lena settle up and say so long. BARRY This is funny. LENA Yeah. BARRY I did n't ask anyone for a shrink, that was someone else. Also : This pudding is not mine. Also : I'm wearing a suit because I had a very important business meeting this morning and I do n't have a crying problem. LENA Ok. BARRY Alright? LENA Hi. BARRY Hi. She walks off. CAMERA leads her out, holds a CU. as she smiles to herself - lead her a bit more until she's outside, and she gets in her car - CU. BARRY. He smiles, looks around, holds back his emotion so it looks like he'll explode. tenses, smiles, tears, looks around. HOLD. End Music Que. LANCE -LRB- OC. -RRB- Barry, Line One, Telephone! Barry walks in. HOLD. He picks up the phone. BARRY Hello? SEXY VOICE You've just made a war that you can not afford. She hangs up real quick. HOLD. Barry and his harmonium. CUT TO BLACK. Title Card : Provo, Utah","INT. STEVENS BROTHERS HOUSE - DAY CAMERA behind a BLONDE GIRLS HEAD -LRB- LATISHA -RRB-. She speaks to two blonde brothers, DAVID and JIM. In the b.g., walking around holding a BABY is NATE. -LRB- Maybe a girlfriend or wife or two -RRB-. DAVID I'll do it. JIM I'll do it too. DAVID But it's got ta wait until my knee is better. I ca n't risk it. LATISHA You have to do it now. JIM If we drive there it's a problem. LATISHA Dean will loan you one of his cars. JIM Which one? LATISHA You have to talk to him - DAVID How do you know he's rich? LATISHA Because I know, I just know. I mean, I talked to him, I know. Nate emerges a bit from the b.g. NATE Where are you guys going? DAVID California. Los Angeles. NATE When are you leaving? DAVID Right now. LATISHA Let's go talk to Dean.","INT. LOCAL BAR/PROVO - LATER LATISHA, DAVID, JIM and NATE enter and meet DEAN TRUMBELL, listening to AFTER EDEN play onstage, standing in the middle of the room. DEAN Hey guys. DAVID/JIM/NATE Hey, Dean. LATISHA So they'll go. DEAN I'm only paying two of you guys. DAVID That's cool. DEAN When can you leave? DAVID As soon as you want. DEAN I want you to go right away, I think that's best. I also need you to check out a car for me down there that this guy is selling. They walk towards a back room, as they do they pass a REGULAR JOE who bumps into Dean accidentally, Dean explodes ; DEAN You wan na fuck around, asshole? You wan na get tough, wan na see me kick some motherfuck around here? REGULAR JOE Take it easy, man, relax. Do n't - DEAN I'll relax your fucking head - this is my personal space, man, this is my personal fucking space, you do n't violate that, you do n't do that. REGULAR JOE I've got a glass in my hand why do n't you chill out? DEAN You've got a glass? Dean takes a BEER BOTTLE and SMASHES it in half on the bar, holds it up to the guy - DEAN YEAH. YOU'VE GOT A GLASS, NOW I'VE GOT A GLASS. I'VE GOT A GLASS TOO MOTHERFUCK.","INT. LOCAL BAR/PROVO - MOMENTS LATER They're all walking towards a back room of the bar, they walk past a COUPLE that is fighting. The WOMAN is screaming at the top of her lungs at the MAN ; WOMAN I WILL CRUSH YOU. I WILL FUCKING CRUSH YOU AND YOUR FRIENDS. Dean gets in the middle of it ; DEAN Take it easy, take it easy you guys in here, I need to talk to you later, Tommy - I wan na know if you wan na book the boys - He motions over his shoulder to Ashes to Ashes. MAN I'll talk to you later. WOMAN YOU WO N'T FUCKIN' TALK TO HIM LATER, I WILL CRUSH YOU. I WILL CRUSH YOU, ASSHOLE.","INT. DEAN'S OFFICE/UPSTAIRS/BACKROOM - MOMENTS LATER They enter into an upstairs office area. It has a couple desks and off to the side, in a small, partitioned off room is The Phone Sex Area ; a GIRL on the phone. -LRB- We hear bits of her call, e.g. `` Me? I'm in Florida. Laying on my bed.'' -RRB- There are posters for Ashes to Ashes, filing cabinets, posters of CARS, lots of various small business items like order forms and pamphlets, etc.. Dean collects a piece of paper and hands it to David/Nate/Jim ; DEAN Your expenses are your own. DAVID I thought Latisha said you would - DEAN - she did n't know what she was talking about - DAVID It's. whatever. that's not cool. DEAN David, Do n't. Just. Seriously. It does n't make sense if you think about it in a fair deal like sense. Ok? It's business. Seriously. One hundred dollars for two days work is a lot more than your family is making sitting around your house. I'm serious now. Ok. Please. Now. Just stop. He hands him a set of KEYS and goes through the info ; DEAN keys for the track. You have to gas it up and save the receipts on that. His address. We have a business address too if you need that - but hit him at his house first, see what this little bad boy is all about and shake him up - give him a little doe - see - doe - LATISHA Uch. Shut up, Dean. DEAN What's the problem? LATISHA You do n't need to talk all macho, `` shake him out, little bad boy.'' Whatever - you're not an action hero, tough guy, you're not a gangster - He makes a very SUDDEN AND QUICK MOVE towards her and she FLINCHES. DEAN Flinchy. That's what I thought. Shut up. -LRB- to Greg. -RRB- Call me when you see this guy - check him out see what's what. She asked him for seven fifty when she was on the phone with him, so - just call me when you get there. He hands him another piece of paper and a photo ; DEAN This is this place called Ace Vintage, you got ta find it, I do n't know exactly where this is and I do n't understand these maps so just go there and check it out. It's a'61 AC Cobra that this old guy says is fine, but I need to figure out why he's only asking 23 for it. So take a look, the whole thing, call me about that, if it seems alright then I'll head down there and check it out. DAVID Ok. DEAN That's it. DAVID Can we maybe ask for more money on this? LATISHA Why? DAVID because it's California? I mean it's like a nine or ten hour drive. It's not like going to Salt Lake and getting the Mormon's, it's different. After a long, long staring contest with David, Dean SUDDENLY AND VERY VIOLENTLY PUTS HIS FIST THROUGH THE WALL. then turns to David. Latisha rolls her eyes. David, Nate and Jim leave.","EXT. UTAH STREET/TRUCK/MOVING - DAY/MAGIC HOUR CAMERA behind the heads of Nate, Jim, Dave as they drive down the street. they call their brother `` Mike D'' on the phone and say, `` what's up, we're goin' to Los Angeles, you wan na go?''","EXT. UTAH STREET/TRUCK/MOVING - MOMENTS LATER CAMERA PANS left and picks up the fourth brother MIKE D as he walks from work and gets in the car. CAMERA HOLDS behind the heads of the four blonde brothers as they drive off.","EXT/INT. LENA'S APARTMENT COMPLEX - EVENING This is a SPLIT SCREEN SEQUENCE shot with TWO CAMERAS. THE LEFT SIDE OF THE SCREEN holds Lena. She waits in her small, nondescript apartment doing the things you do while waiting for someone else. She sits, stands, sits, stands. THE RIGHT SIDE OF THE THE SCREEN travels -LRB- STEADICAM -RRB- with Barry as he walks into the RECEPTION AREA. There is a SECURITY GUARD -LRB- black, female -RRB- who asks him his name, where he's going and to sign in. The Security Guard calls up to Lena's place. and we watch Lena answer the phone. The Security Guard gives Barry some very complicated directions. we follow/lead Barry as he makes his way through the maze/up elevators/down corridors looking for Lena's apartment. Finally, he arrives, knocks ; LENA Who is it? BARRY It's Barry. As she opens the door, THE SPLIT SCREEN SLIDES AWAY AND THE IMAGES GIVE WAY TO THE ONE OF LENA standing ; LENA Hi.","INT. RESTAURANT - NIGHT Lena and Barry at a table. They talk -LRB- see notes. -RRB- LENA So I want to tell you something, I got ta tell you : I saw a picture of you guys, your sisters and you and I saw your picture and I really wanted to meet you. -LRB- beat. -RRB- I came to drop my car off there on purpose, to try and meet you. Barry leans a little bit out of FRAME. BARRY really? That's nice. are you lying? LENA I thought I should tell you. I did n't want to get too far along on going out and be hiding something - BEAT. He leans slightly back in FRAME. BARRY That's very nice. Thank you. Thank you for saying that. -LRB- beat. -RRB- You're friends with my sister? LENA Yeah. BARRY How long have you known her? LENA About six months. BARRY You like her? LENA Yeah. Yeah we get along well. -LRB- beat. -RRB- You did n't get along with her very well? BARRY Did you really come to meet me on purpose or are you lying about that? LENA No, no. I did. BARRY That's nice. It's nice. -LRB- beat. -RRB- I've been looking around a lot lately at promotional giveaways, cross promotional work by some companies. Do you remember all that pudding? LENA Yeah. BARRY So that pudding was bought, I bought that pudding because of a pretty interesting promotion that's sponsored by Healthy Choice and American Airlines. It's designed to encourage airline travel and obviously designed to encourage buying Healthy Choice products. They make frozen meals, deli meats, pasta sauce, breads, soups and ice creams, this sort of thing. LENA Yeah? BARRY I'm sorry. I lost my thoughts, what I was saying. LENA You were talking about the promotion - BARRY - the promotion says : buy any 10 Healthy Choice products and get 500 miles of airline travel or 1,000 for purchases made with a special coupon. So in the supermarket, you notice their products, first you notice they have a Teriyaki Chicken Dinner at $ 1.79 - that's a pretty good deal. but then I noticed they had soup at 89 cents a can. and you start to do the math and you start to notice that it's a really amazing deal because I stumbled across the pudding at 25 cents a cup. Now the crucial thing is the bar codes on the label. That's those little bar codes, you know? The universal product codes? LENA Yeah. BARRY That's what's used to redeem the mileage, so in noticing the pudding, each cup had an individual bar code - in other words : Two dollars and fifty cents for ten cups of pudding is 500 miles. Add in the coupon : it's one thousand. You see? LENA Yeah. BARRY You see? LENA Yeah, no, I see - BARRY You see if you spent $ 3,000 dollars on pudding you could earn over one million frequent flyer miles. LENA That's insane. That is really, really crazy. That's just crazy if you spend three thousand dollars on pudding. BARRY yeah. LENA So that was your pudding? BARRY No. LENA I'm sorry. I thought you said - BARRY No I did n't say that. LENA I thought you said you bought all that pudding - BARRY My friend Carlos is doing it who works with me. It's his. It's his pudding, he's doing it. It's not mine. He's crazy. I told him not to do it. He's the one who's insane. He only spent about one hundred dollars so far though - LENA Your sister was telling me a pretty funny story about you, when you guys were kids and you were building a ramp for your dog and you threw a hammer through a window? Is that right? You threw a hammer through a sliding glass door? Barry starts to WELL WITH TEARS, which he hides very quickly, holds a hand up to his face as if he's touching his nose, and then he smiles ; BARRY I do n't remember that, she might be lying. I have to go the bathroom. He gets up and goes.","INT. BATHROOM - MOMENTS LATER Barry walks in and goes a little crazy. He's mad at himself and he HITS a stall. it seems loose already and falls straight to the floor. This makes him go crazier and he continues to BEAT and KICK the shit out of the bathroom/stall. HOLD. He collects himself and then he hesitates, looks around, tries to collect the bathroom but it's in ruins, he exits.","INT. RESTARAUNT - MOMENTS LATER Barry comes back and sits down, seems a little better. Tries to be a little flirtatious for half a moment before : the MANAGER comes over, leans in carefully ; MANAGER Hello. LENA & BARRY Hi. MANAGER Sir, can I talk to you? BARRY Why? MANAGER Just have you for one second, please. He looks to Lena, excuses himself. ANGLE, OFF TO THE SIDE. The Manager and Barry step away, in a quiet section of the restaraunt, 2 - shot, profile, in sotto ; SLOW ZOOM IN. MANAGER Sir, the bathroom was just torn apart. BARRY Yeah. MANAGER Did you do it? BARRY No. MANAGER You did n't just smash up the bathroom? BARRY No. MANAGER Well who did? BARRY I do n't know. MANAGER You're hand is bleeding. BARRY I cut myself. MANAGER How? BARRY On my knife. MANAGER Sir, a young man saw you coming out of the bathroom. BARRY I did n't do that. BEAT. BARRY Why? what? MANAGER Your hand is bleeding. BARRY I know. MANAGER I'm gon na have to ask you to leave. BARRY Why? MANAGER Sir, I have no way of proving that you demolished the bathroom - BARRY I did n't do it. MANAGER Alright, well you're gon na have to leave. You're gon na have to go. BARRY Yeah, but I did n't do anything. MANAGER I'm gon na call the police then, sir. BARRY Please do n't do this to me. MANAGER The police are on their way. BARRY Sorry. He starts to move back. BARRY Can I pay you here? Can I pay you for our drinks and salad? MANAGER That's fine. Barry takes out some money and hands it over. BARRY Keep the change, please. ANGLE, BACK AT THE TABLE. They walk back to the table and Barry whispers down to her, very close, STEADICAM -LRB- leads them out - continuous -RRB- BARRY We should go I think, I do n't like it here. LENA Ok. They head out of the restaraunt. LENA Is everything ok? BARRY Yes. LENA What happened? BARRY Nothing. LENA What did he want? BARRY Nothing. They walk a bit. BARRY I have a better idea of where we can go. LENA Ok. They walk some more. BARRY There's a better place for us to eat. LENA Did something happen ; are you alright? BARRY Yes I'm fine. Everything is ok. It's fine. Everything is fine. They walk some more and get in the car.","INT. BARRY'S CAR - DRIVING - NIGHT 75mm OVER ONTO BARRY. 75mm OVER ONTO LENA. Rear process or poor man's process. LENA So. how is your harmonium doing? Barry looks at her. LENA Your portable reed organ. the piano. BARRY Well, it's fine. Thank you. LENA Did you pick it up from the street? BARRY What? LENA Did you take it from the street in front of your work? BARRY yes I did? LENA Are you learning how to play it? BARRY Yes? I'm trying. LENA Oh that's great. BEAT. LENA So you must travel a lot with all that pudding you bought? BARRY Yes no not really.","INT. LENA'S APARTMENT - LATER Lena and Barry finishing up the date ; BARRY Ok. well. I'm gon na go. LENA yeah. BARRY It was nice to see you again, to see your face again, to go out with you - LENA I'll be around and back in town in a few days - BARRY Yeah. LENA If you come to Hawaii - BARRY Yeah, I do n't know, we'll see about that. LENA You do n't think you'll go - BARRY I do n't know. LENA Ok. Well call me when you get back, I mean, I'll call you when I get back. I'll be back for three weeks and then I go away for a month after that. So maybe in that time. BARRY Ok. Have a good trip. They do a shake hands/kiss on cheek goodbye. CAMERA IN THE HALLWAY with Barry as he walks away. CAMERA follows him as he swiftly walks away.","INT. RECEPTION AREA/LENA'S BUILDING Barry steps out of the elevator and walks to the exit, passing a RECEPTION DESK WOMAN. we hear the PHONE RINGING. she calls out ; RECEPTION WOMAN Are you Barry? BARRY Yes. RECEPTION WOMAN It's for you. Barry walks towards the phone ; BARRY This is Barry. LENA -LRB- OC. -RRB- This is Lena. BARRY Hi. LENA -LRB- OC. -RRB- I just wanted you to know, wherever you're going or whatever you're doing right now I want you to know that I wanted to kiss you just then. BARRY Really? LENA Yeah. BARRY So what do I do then?","INT. MAZE OF CORRIDORS - MOMENTS LATER Barry is walking up and around, looking for the spot. Two or three shots of various, him getting a little/slightly lost. running/walking.","INT. HALLWAY - THAT MOMENT CAMERA pushes down towards him as he walks towards the door. He knocks, she opens up, CAMERA SLIDES right in and lands as they KISS and then the kiss turns into a small hug and then they talk, real close. HOLD. BARRY That was good. LENA Yeah. BARRY I'll see you later. LENA Ok. BARRY I do n't freak out very often. LENA What do you mean? BARRY I do n't, no matter what my sisters say, ok? LENA I do n't know what you mean. BARRY I do n't freak out. LENA Ok. BARRY Have a good trip. LENA Thank you. CAMERA behind Barry as he walks away. HOLD BEHIND HIM FOR A BIT LONGER THEN EXPECTED ;","INT. BARRY'S APARTMENT/GARAGE CAMERA inside the garage. Barry pulls inside and parks his car. ANGLE, BEHIND THE CAR. Brake lights turned off, Barry steps out.","INT. BARRY'S APARTMENT/KITCHEN - THAT MOMENT CAMERA on Barry's trash can, the kitchen light comes on. SLOW PUSH IN. He enters FRAME and lifts the trash bag out.","EXT. BARRY'S APARTMENT - LATER CAMERA is behind Barry now in a new location. he's walking from his garage where he's just parked his car over to his garbage area as he throws something out. he looks up and sees. Jim and Nate driving the Toyota Pick Up Truck. he cruises past slowly. keeps going. then makes a u - turn. Barry turns around and DAVID and MIKE D are right there. DAVID Hey. BARRY Hi. DAVID I need to talk to you for a second. BARRY What? DAVID You got ta give me some money. Barry starts to walk away. David walks alongside him, casually. Barry looks over and sees the car has pulled up. DAVID You made a phone call and you said you'd help a girl out and then you did n't. I'm here to get the money. BARRY Wait a minute - DAVID No, no, no, no c'mon man, do n't make it a thing - BARRY Please do n't do this. DAVID It's just you need to give me the money. do you have it right now? MIKE D violently PUSHES BARRY STRAIGHT TO THE GROUND. BARRY Whoa. whoa. wait, wait - do n't please. DAVID How much money do you have in your pockets? BARRY Just take it, take the money in my pockets, take it, it's fine - They grab the money from his pockets as they hold him down on the ground ; BARRY It's three hundred and twenty dollars, just take it. DAVID What do you have in the house? BARRY Nothing. I mean, really. change, nothing. that's the cash I have. DAVID You have an ATM? BARRY Yes. DAVID Is this where you live? BARRY Yes. DAVID You have another house somewhere or something? BARRY No. MIKE D This is three hundred and twenty. Let's just go to your ATM and that'll be it - BARRY I did n't promise her money. She said that it was confidential, this is n't fair - Mike D pushes Barry's face. MIKE D Shut up, be quiet. Be quiet. BARRY - do n't - DAVID HEY. You made a fucking sex call and now you're gon na pay. It's not a big thing - just give us some money and then it's over - we'll just walk down to the ATM and get your money out - BARRY Alright, alright. They pick him up and then ; BARRY How do you want to do this? MIKE D Let's just go to the corner, we saw a place on the corner, you'll just get your max out and that's it - you get out what you can and that's it -","EXT. GROCERY STORE/BANK PARKING LOT - NIGHT CU. BARRY at the ATM. Various CU's as he puts his card in, presses his info, etc.. He looks over his shoulder ; ANGLE, THE BROTHERS. CAMERA SLOWLY PUSHES IN on the three of them watching Barry. CU. 's MONEY comes out of ATM. Card comes out. Receipt comes out. Barry grabs the money. DAVID Ok. This is what you get when you're a pervert - you said you'd help someone out and you did n't so we're just getting some money for her and that's that. BARRY You know, please, I just wan na say that I did n't say I would help her out ; I was very clear about it. I do n't think that this is fair. wait, wait, wait, ouch, ouch. MIKE D walks up out of nowhere and straight towards Barry - throws a PUNCH straight to his FACE. Barry stumbles a bit, goes down to the ground. he NOTICES IN A QUICK FLASH : Their UTAH license plate. MIKE D You do n't challenge what my brother's saying, you do n't say that - . Barry makes a mad run for it.","EXT. STREETS & ALLEYS - NIGHT ANGLE, BARRY. - VARIOUS ALLEY WAY/STREET SHOTS. He turns some corners. makes his way down a side street and through an alley or two. and then he's running like a mad man as fast as he can down the street.","EXT. STREET NEAR ATM - NIGHT CAMERA tracks profile with him. The Boys pull up along side him slowly. Barry looks over. Mike D calls out from the passenger window ; MIKE D Where the fuck are you going? Barry starts to slow down. CAMERA behind. as he slows, we push in. land. he turns into CU. and walks back the opposite direction.","INT. BARRY'S BEDROOM - NEXT MORNING CAMERA holds on Barry as he wakes up. He's dressed in a FULL BASKETBALL OUTFIT. Lakers shirt, shorts, high tops, etc.. Small bandage over his ARM. He looks down at the outfit ; BARRY what the hell?","INT. WAREHOUSE/BARRY'S OFFICE - MORNING CAMERA DOLLIES/ZOOM in real quick to Barry at the Harmonium. A few more notes are played, something starting to sort of sound like a melody. but still a little broken. HOLD. SCORE begins here -LRB- ref.notes -RRB-","INT. WAREHOUSE/BARRY'S OFFICE - MOMENTS LATER Barry brings Lance in and closes the door, speaks sotto, then ; LANCE What's up? BARRY I think I got in trouble. A little bit of trouble. LANCE What happened? BARRY I made a call. -LRB- beat. -RRB-. and, uh. BEAT. Barry looks over Lance's shoulder and sees THE PUDDING stacked up. He stares for a moment ; BARRY ok. ok. I got ta get some pudding to go somewhere. One of the WORKER'S pops his head in, says ; WORKER Telephone on Line One, Barry. He picks up the phone ; BARRY Hello? RHONDA -LRB- OC. -RRB- I need to talk to you about your behavior the other night - Barry hands up the phone real fast. BARRY -LRB- to Lance. -RRB- Ok. Well. I'm gon na go out of town. I'm going to go out of town just for two days. LANCE Where you goin? BARRY I'm going to go to Hawaii but you ca n't tell my sisters that. LANCE Wow, you're goin' to Hawaii, that's great - you're goin -? BARRY Yeah but you ca n't tell my sisters that. LANCE Ok. BARRY Alright : And I have to go and buy some more pudding for this trip to Hawaii and as I just said that out loud I'm realizing it sounds a little strange but it's not. So can you come and help me out? LANCE Ok.","EXT. WAREHOUSE - MOMENTS LATER Barry and Lance exit the warehouse and get into Barry's car -","INT. SMART AND FINAL - DAY Barry and Lance are filling up an EXTRA LARGE SHOPPING CART with PUDDING as Barry explains, CAMERA pushes in ; BARRY I saw the Teriyaki Chicken first and that was $ 1.79 and then the Soup which made a real deal but then to come across the pudding. it's just tremendous when you think about how most people just do n't look. they do n't. they're not looking at the fine print, Lance.","INT. SMART AND FINAL/CHECK OUT - MOMENTS LATER They're unloading the pudding which comes in packets of three, but Barry and Lance are taking them out of those packets and handing them to the CHECK OUT GIRL one by one. BARRY -LRB- to Girl. -RRB- They need to be scanned individually. They each have a bar code, so I need it scanned individually so that each and every cup appears on the receipt. CHECK OUT GIRL What is this, man? BARRY I'm sorry. CHECK OUT GIRL Are you serious with this? BARRY Yes. Sorry. CHECK OUT GIRL Well. what do you want, then? BARRY Each pudding cup has to be scanned individually so that. it's for a giveaway. a product giveaway by this company. CHECK OUT GIRL This is a bunch of bullshit. BARRY I'm sorry, I know. I know that it's. BEAT. She scans them over and over and over. then : BARRY I'm sorry, I'm really sorry. She scans and scans and scans and scans. BARRY Sorry. I'm sorry, ma'am.","EXT. SMART AND FINAL - DAY Barry and Lance pushing the shopping carts. Barry looks across the parking lot and sees : A TOYOTA PICK UP coming slowly towards him and Lance. Barry starts to move steady/swiftly towards his car. Lance tries to keep up. Barry gets nervous, looks left and right. The Toyota passes and it's nothing. Barry and Lance load the pudding in his car as Barry acts as if nothing happened. He turns and sees a BABY in a shopping cart and he reacts ; BARRY God Damn They're So Beautiful.","INT. SUPERMARKET - DAY Barry and Lance stack pudding in, Barry says ; BARRY You know you can get places in the world with pudding. That's funny. LANCE Yeah. BARRY That's funny.","EXT. PARKING LOT/ANOTHER SMART AND FINAL. Barry and Lance walk together towards another Smart and Final. they walk towards the SLIDING DOORS. that do not slide open. Barry walks face first into the doors and quickly turns around and heads back to the car. BARRY I guess they're not open today. CAMERA holds the long walk back to the car. Barry glances both directions. cautious and careful. sees nothing. BARRY That's fine. I think I have enough. He walks a little faster and gets in the car. HOLD. SLOW ZOOM IN. SOUND DROPS out. he just sits, then, to Lance ; BARRY I get really sick of myself sometimes.","INT. BARRY'S WAREHOUSE - DAY CAMERA pushes in quick, Barry on the phone ; BARRY No, no, no, no, no. What do you mean? It does n't state anywhere about six to eight weeks. OPERATOR VOICE It takes that much time to process the order and make sure it's valid - BARRY I had this whole thing in my head, I was gon na be able to get this to you today - I have to leave today - OPERATOR VOICE I'm sorry. BARRY How am I supposed to know what to do if you do n't say it - if it's not in your rules and regulations in your fine print how am I supposed to know how to be with this - OPERATOR VOICE It takes time to process - BARRY No, no, no, no, nO, NO, NO! Barry drops the phone to the ground, spins around and PUTS HIS FIST THROUGH THE WALL. then drops down, lower his head. CAMERA HOLD CU. as he stops himself, tries to breath ; BARRY Do n't do that. Do n't do that. That's not right. Calm down now, please. Please. Ok. Ok. Calm down now please. HOLD. `` He Needs Me,'' starts. He closes his eyes.","INT. WAREHOUSE AREA - MOMENTS LATER Barry walks over to Lance ; BARRY Ok : the pudding is gon na take six to eight weeks to process so that is n't gon na work for today, I'll just take a bath on that today. Ok. But here's the thing I got ta tell you : BEAT. He looks around at the pudding. BARRY now : this pudding? LANCE Yeah. BARRY Let's just figure that out later -. -LRB- beat. -RRB- Ok. I got ta go. I'm just gon na go now and I'll call you from there, you're in charge'till I get back. And do n't tell my sisters anything? He exits.","INT. LOADING AREA/PLANE - DAY CAMERA -LRB- STEADICAM -RRB- follows him from the ticket handoff down the corridor onto the plane.","INT. PLANE - DAY CAMERA holds 2 - shot on Barry and a BUSINESS GUY sitting together, just before take off. HOLD, THEN : BARRY I've never been on a plane before. BEAT. There's the SOUND of the plane starting to move. BARRY What's that sound?","INT. PLANE - IN FLIGHT - LATER Barry sits. BEAT. HOLD. We hear the sound of a BABY CRYING. He looks across the aisle and sees : A small, THREE YEAR OLD CHILD crying, behind held by its FATHER. The baby stops crying for a moment, calming down, breathing heavy, looks around with wide eyes. CU. BARRY. HE WELLS WITH TEARS AND A SMILE, CRINGES IN HIS FACE AND WE SEE THE BUILD UP OF EMOTION, HIS VEINS POP FROM HIS FACE AND THEN HE SMILES LIKE CRAZY, SMILING AND SMILING AND SMILING, BRIGHT RED AND PAINFUL.","INT. HAWAII AIRPORT - LATE AFTERNOON He walks along the airport, looking out onto planes and palm trees and people, etc..","EXT. AIRPORT/CURB - TAXI AREA - THAT MOMENT Barry hops into a TAXI. The CAB DRIVER asks : CAB DRIVER Where? Barry HOLDS a moment, then realizes he does n't know, SNAPS INTO A CONTORTION, STARTS TO TEAR and almost SNAP and then nothing.","INT. WAKIKI STREET/PHONE BOOTH - LATER Barry on the phone amid a crowd of people passing ; ELIZABETH Hey. What are you doing? BARRY Nothing. I'm just at work and I'm wondering, you know your friend Lena?","INT. ELIZABETH'S APARTMENT - THAT MOMENT CAMERA with Elizabeth ; ELIZABETH What about her? You did n't ask her out, you're such a pussy - BARRY she did n't, I did n't ask her out? ELIZABETH You're so scared. BARRY Do you know where she's staying in Hawaii? ELIZABETH Oh My God, yeah, I know exactly where she is, why? BARRY she forgot her purse at my work and I wanted to get it back to her. ELIZABETH No she did n't ; that's a lie. BARRY I. please do n't do this. ELIZABETH What? Tell me why you wan na know - BARRY I just want to know where she's staying. ELIZABETH Tell me why. BEAT. HOLD ON BARRY. BARRY There is no reason for you to treat me like you do - you're killing me, you are killing me with the way that you are towards me - ELIZABETH - what are you talking about, come on - BARRY - all I want is the number of where she's staying and that should be god damn good enough, now stop treating me this way, please - Just Give Me The Number Elizabeth Please Now I think I will kill you if you do n't.","INT. WAKIKI STREET/PHONE BOOTH - MOMENTS LATER Barry on the phone ; HOTEL OPERATOR Sheraton Wakiki, how may I direct your call? BARRY Lena Leonard's room please. HOTEL OPERATOR I'll connect you. BEAT. A MAN answers the phone ; MAN'S VOICE Hello? BARRY Hello. Is Lena there? MAN'S VOICE You have the wrong room. He hangs up. Barry dials the number again. HOTEL OPERATOR Sheraton Wakiki, how may I direct your call? BARRY I just called, I got connected to the wrong room. I'm looking for Lena Leonard and there should n't be a man in the room I'm calling. BEAT. He's put on hold a moment, then it rings, then : LENA Hello? BARRY Lena? LENA Yeah? BARRY It's Barry. LENA HI. WHERE ARE YOU? ARE YOU HERE? BARRY Yes. LENA OH WOW. YEAH. THAT'S GREAT. YOU CAME, YOU CAME. What are you doing? BARRY I'm calling you, I'm standing in my hotel room, I came because I have my business trip - LENA Well let's do something do you want to do something, can you meet me? BARRY You do n't have a boyfriend or anything do you? LENA No. What do you mean? BARRY I just wanted to know. When was the last time you had a boyfriend? LENA About six months ago. Why? BARRY I just wanted to make sure. LENA When was the last time you had a girlfriend? BARRY Where you married? LENA yeah. BARRY Ok. So you were married for how long? LENA Do you want to meet me and talk about this stuff? BARRY Ok. Where are you from originally?","INT. ROYAL HAWAIIAN/LOBBY - LATER Barry is standing, waiting. HOLD. he looks across the lobby and sees : Lena. she's walking towards him with a smile on her face. Barry smiles and walks towards her. she walks towards him. he extends his arm out for a handshake as they get closer. she opens her arms for a hug as they get closer. They shake/hug/kiss on the cheek. then on the mouth. They start making out in the lobby of the hotel.","EXT. ROYAL HAWAIIAN - PATIO/BAR AREA - MAGIC HOUR CAMERA roams through the Mai Tai bar on the beach and finds them ; -LRB- Ladies K playing here. -RRB- LENA You got me out of my hotel room. You came and got me out of my room. BARRY Yeah. yeah. LENA It's so nice. BARRY This really looks like Hawaii here. They look at each other. HOLD, THEN : ANGLE, MOMENTS LATER. They walk back towards the hotel. CAMERA -LRB- STEADICAM -RRB- behind them as they move -","INT. ROYAL HAWAIIAN/HALLWAY - MOMENTS LATER CAMERA follows behind them as they walk. IRIS into their hands. she reaches over and holds his hand.","INT. ROYAL HAWAIIAN HOTEL ROOM - MOMENTS LATER They're in bed making out with their clothes on and a light on. they hold a second. BARRY Do you wan na have sex? LENA Yeah. They take their shirts off. LENA Press together. It feels good. She cups his face with her hands and tenses ; LENA Oh my god, you are so adorable. I just. god dammit. BARRY What's that? What is that that you're doing? LENA I just. your face is so adorable and your cheek and your skin, I wan na bite it. I wan na bite your cheek and chew on it. god damn cute. fuck. BARRY I know what you mean, I know what you mean, I get this feeling - LENA what? BARRY IIIIIIIIIII do n't want to hurt anything ever, but what I'm talking about is - have you ever held a little puppy or a little kitten and it's just the cutest, softest, most precious thing in the world and out of the blue you get this feeling in your gut and all you wan na do is squeeze it. Just fuckin squeeze the shit out of it. To take a little puppy and smash its skull. just so precious, so beautiful. Just so god damn wonderful and cute you wan na smack it and kick it and love it. Fuck. I do n't know. I do n't know. And you, you. I'm looking at you and I just. your face is so beautiful I just wan na smash it, just smash it with a sledgehammer and squeeze it. you're so pretty. They kiss and kiss and kiss ; LENA I know. I know. I know. I just wan na chew your face and scoop out your beautiful, beautiful eyes with an ice cream scooper and eat'em and chew'em and suck on'em. Fuck. BARRY This is funny. LENA Yeah. BARRY This is nice. They kiss and make out some more, then : DRUM ROLL into SNARE","INT. TOYOTA - MOVING - DAWN CAMERA on Mike D and Nate driving. HOLD. Martin rumbles out of a half sleep and says ; NATE That guy had more money to give up. JIM and DAVE wake up a bit in the back seat and listen ; NATE Long way to drive just for seven hundred something bucks. Dean does n't have to know. HOLD. SILENCE for a moment. MIKE D We're not that far. I mean, if we're going to, we're not that far.","EXT. HIGHWAY - NIGHT (BLUE SKY - CRACK OF DAWN DEAL) The Toyota exits the freeway - CAMERA TRACKS right with it as it makes a turn at the base of the off ramp. goes under a bridge and then makes a turn getting back onto the freeway heading in the opposite direction.","INT. HAWAIIAN HOTEL ROOM - NIGHT/NEAR DAWN - LATER It's dark and Barry and Lena are asleep in bed together. Barry gets up, in a haze. Lena moves and opens her eyes. She watches him as he gets up and casually goes to the corner of the room and starts talking gently to the wall. BARRY -LRB- sotto, calm. -RRB- You know you're not supposed to do that. Because I told you. Seriously. Please. Not that day. Ok. LENA Barry? He does n't respond. He's asleep. He moves to the closet and gets one of the HOTEL ROBES and puts it on and then he looks right at her and says : BARRY I was talkin' to you last Thursday about that. He gets the robe tied tight around his waste and then gets the COMPLIMENTARY SLIPPERS and puts them on. Then he gets back into the bed and closes his eyes.","INT. KAHALA HOTEL - MORNING CAMERA pushes in slow towards Lena as she's on the phone. CAMERA pushes in on Barry as he sits across the room, listening in his robe. They stare at each other the whole time. ELIZABETH -LRB- OC. -RRB- They need to see the new 484's to make sure it works with their OC. LENA Ok. What should I do about Eric? ELIZABETH -LRB- OC. -RRB- Just tell him to call me. LENA Ok. ELIZABETH -LRB- OC. -RRB- So. did my brother call you? LENA No. ELIZABETH -LRB- OC. -RRB- I have no idea what he's doing then. I'm sorry that did n't work out. LENA It's fine. ELIZABETH -LRB- OC. -RRB- You would n't want to go out with him anyway, honestly, he's such a freak sometimes. LENA He did seem a little strange. ELIZABETH -LRB- OC. -RRB- Well. he's not that strange, do n't say that. LENA I'm sorry. You're right. ELIZABETH -LRB- OC. -RRB- I think he's weird, but that's me. LENA Should I call you later? ELIZABETH -LRB- OC. -RRB- I'll just see you when you get back here. LENA Ok. They hang up and Lena looks to Barry and smiles. LENA Where do you have to go? BARRY For what? LENA For work. BARRY I do n't have any business here. I came here for you, I did n't have any business.","EXT. TOYOTA - DRIVING - DAY (MELODY/SLIGHT) CAMERA follows behind The Stevens Brothers car, then gets up along side them as they drive back.","INT. KAHALA LOBBY - DAY (SCORE BACK TO RHYTHMIC) Barry and Lena walk out to the valet, leaving the hotel. -LRB- STEADICAM -RRB- behind them.","INT. HONOLULU AIRPORT/SECURITY - DAY (CONTD. UNTIL NOTED) Lena and Barry go through the x - ray thing. STEADICAM.","INT. AIRPORT/HONOLULU - AT THE GATE/WAITING AREA Side by side on the return flight sit Lena and Barry. BARRY How many times have you been on an airplane? LENA I think maybe over a hundred. BARRY That's right you travel so much. LENA Yeah. BEAT. The plane starts to move. BARRY How much do you travel? You travel all the time? She nods her head, looks at him. BEAT. HOLD. BARRY I forgot about that. LENA Can I come home with you when we get there? BARRY Yeah. LENA It's ok to ask that. BARRY I thought that you were anyway. CU. BARRY'S FACE. He looks to Lena. DRUM HIT LOUD. THEN AGAIN. THEN AGAIN. and we're in the score cue for. CUT TO BLACK. It's BLACK FOR A FEW MOMENTS.","INT. BARRY'S GARAGE - NIGHT It's dark. The garage door opens and we see Barry and Lena in his car. they're about to pull in. THE TOYOTA PICK UP carrying The Stevens Brothers pulls in real fast behind them and rear - ends them. CAMERA pushes in real fast. Barry turns and sees Lena's head has been injured. he looks behind and sees TWO OF THE BROTHERS EMERGING FROM THE CAR. he gets out quick, heads right for them. MIKE D Get on the ground, man - get on the fucking - Barry goes absolutely APE SHIT on MIKE D and NATE. it's a mess of VIOLENCE and BRAWLING and Barry seems to get the best of both NATE and MIKE D. the two other brothers half get involved/stay in the car. CAMERA pushes in on LENA -LRB- 30fps -RRB- as she notices Barry going pretty fucking crazy. ANGLE. BARRY. As he walks and gets back in the car. CAMERA is attached to the open door and closes as Barry closes the door. BARRY Are you ok? LENA I'm fine are you ok? BARRY Yes I'm sorry. LENA What is this? BARRY Let's go to the hospital. They drive off.","INT. HOSPITAL - LATER Lena is getting a bandage applied to her head by an intern. It's very calm and she's very matter - of - fact as it happens. Barry stands nearby. and OFFICER is asking her a few questions ; LENA people are just crazy in this world, I think. POLICE and he came up on the driver side. LENA The first man came on the driver side. POLICE right. the blonde one? LENA They were all blonde. CAMERA moves over with Barry as he starts to back away from the scene. CAMERA watches him as he walks off and away, down the hall. out of the hospital. HOLD on the back of Lena's head as she gets bandaged and questioned.","INT. BARRY'S WAREHOUSE - NIGHT CAMERA pushes in from outside, to inside. he's opened up and is using the phone. SEXY VOICE RECORDING - some of the horniest girls around - stay on the line and an operator will be right with you. remember, have your credit card ready and know that Mastercard is my favorite credit card. LATISHA picks up doing a fake voice as an `` Operator.'' LATISHA -LRB- OC. -RRB- This is Janice the operator, who's this? BARRY My name is Barry Egan and I spoke to you. you called me, you remember?","INT. PROVO - BAR - BACK ROOM AREA - THAT MOMENT CAMERA pushes in on Latisha as she looks for what to say : LATISHA no. I do n't. I do n't remember you. Who's this? BARRY That's not true. That's not true at all. You said that your name was Georgia and you said our conversation was confidential and I trusted you and you kept calling and asking me for money, c'mon now I want to talk to your owner, your supervisor, whoever runs this, you understand. Please connect me now. LATISHA Can you hang on a second? She puts him on hold and dials another number, she's real nervous, holding it in -","INT. DEAN'S MATTRESS/FURNITURE STORE - THAT MOMENT Dean also seems to own a mattress/furniture store in Provo. Somebody walks towards him, says : WORKER Dean, line one. Dean walks back to the phone and picks it up ; DEAN Hello? LATISHA Hey, it's me. This guy from L.A., Barry Egan is calling on the other line and saying all this stuff, he wants to talk to a supervisor or whatever - DEAN What did you say? LATISHA Nothing. DEAN Put him through. LATISHA No, no. This is bad, something might have happened, we should just - DEAN Shut up, just put him on the phone, it does n't matter, just shut up - INTERCUT NOW WITH BARRY/LATISHA/DEAN ; She clicks over to him ; LATISHA Ok, sir. I'm gon na put you through to my supervisor. BARRY Fine, thank you. LATISHA Ok. You're connected. DEAN Who is this? BARRY Hello, my name is Barry Egan and I called your service - DEAN Why do n't you shut the fuck up? BARRY What? DEAN I said calm down and shut the fuck up. What's your problem? BARRY I have n't even told you what's happened. Your girl that you have that works there for you threatened me and two men just chased me - extorted money - DEAN Go fuck yourself that shit does n't have anything to do with me - this is a legitimate bossiness. BARRY YOU GO FUCK YOURSELF. YOU GO FUCK YOURSELF. YOU GO FUCK YOURSELF. MY LOVE WAS HURT, SHE GOT HURT. I AM IN LOVE WITH HER AND YOU HURT YOU AND YOU ARE GON NA FUCKING GET HURT. YOU DO N'T TOUCH HER, I LOVE HER. DEAN CALM DOWN SHUT THE FUCK UP AND CALM DOWN SHUT SHUT SHUT UP SHUT UP - They stop screaming. Then : DEAN Now are you threatening me, dick? BARRY You are bad. You are a bad person. you are a bad person and you have no right to take people's confidence in your service - DEAN You better watch your mouth, cunt, you're gon na get hurt. BARRY NO. NO. DO N'T YOU SAY THAT. DEAN I'll say whatever I want - BARRY YOU FUCK OFF. YOU FUCK OFF AND DIE I WILL HURT YOU FOR HURTING HER. YOU HURT HER. DEAN You just told me to fuck off. That was n't good. You're dead. Dean hangs up the phone. ANGLE, BARRY. He turns away and walks quickly out of his office with the phone receiver to his ear. the base of the phone slides off the desk. and then the receiver RIPS from the base and he starts to run.","EXT. WAREHOUSE - NIGHT Barry runs down the alley way, much the same he ran down with the harmonium at the beginning of the movie. this time he has the phone in his hand. he runs.","INT. HOSPITAL/RECEPTION AREA - NIGHT Barry returns looking for Lena. She's not there. He looks around. does some math in his head. then :","INT. HOSPITAL/PAY PHONE CAMERA rounds a corner and discovers Barry on a pay phone. the other end is ringing. -LRB- Sound/Prop Dept.Note : This must be a working phone to call 801 - 555 - 1212 -RRB- OPERATOR What city? BARRY Somewhere in Utah. OPERATOR What's the listing? BARRY D&D Mattress Man.","EXT. STREET/MATTRESS STORE - DAY CU. on Barry. -LRB- UTAH CAB behind him -RRB- pan him around to reveal ; Dean's furniture store.","INT. MATTRESS STORE - DAY He enters. and EMPLOYEE approaches ; EMPLOYEE May I help you? BARRY I'm looking for the Mattress Man. EMPLOYEE Who? BARRY Whoever owns this. EMPLOYEE In the back. Barry walks towards the back. he rounds a corner. to reveal : DEAN is in a back room, he's getting his hair cut by LATISHA. he turns and looks at Barry, who stands there with the phone in his hand. They stare at each other. BARRY I'm a nice and reasonable man. I did n't do anything wrong. Please do n't make me hurt you. And I'm telling you : that if you ever hurt me or if you hurt someone that I love. I will hurt you many, many, many times over. because it's not right to take people's trust. DEAN You came all the way from Los Angeles to tell me that? BARRY Yes I did. Dean does n't respond. BARRY Can we agree that that is that? DEAN That's that. BARRY Thank you. Barry hands him the phone. Barry exits. as he's about to go out the doors, Dean screams ; DEAN NOW GET THE FUCK OUTTA HERE MAN. CAMERA, PUSHES IN VERY SLIGHTLY ON Barry as he exits the doors -LRB- 30fps -RRB-","INT. WAREHOUSE - DAY Barry comes running into the warehouse. Lance and all the workers are there. he runs past them. LANCE/WORKERS are you ok? What's goin' on? Barry? Barry? BARRY I'm fine. I'm fine. yes I'm fine. LANCE Where you been? BARRY Well I had to go to Utah. but now I'm here and I'll be right back.","INT. LENA'S APARTMENT - CORRIDOR/VARIOUS Various : Barry gets out of the elevators carrying the harmonium. he makes the left turn this time. Barry runs down the hallway with the harmonium. -LRB- long lens, steadicam from behind, in front, etc. -RRB-","INT. LENA'S APARTMENT/HALLWAY - THAT MOMENT He bursts through the door. He places the harmonium down on the ground. He rings the bell. she answers. he says : BARRY Lena I'm so sorry. I'm so sorry that I left you at the hospital. I called a phone sex line. I called a phone sex line before I met you and then these four blond brothers came after me and you got hurt and I'm sorry - and I had to leave because I do n't want you to get hurt again and now I'm here and I'm back and I have a lot of pudding that I can redeem in six to eight weeks and if you give me that much time I can get enough miles to fly with you wherever you have to go if you have to travel for your job because I do n't want to be anywhere without you. can you please let me redeem the mileage? LENA You left me at the hospital. BARRY I'm sorry. LENA You ca n't do that. BARRY Ok. BEAT. BARRY If you give me six to eight weeks I can redeem the mileage and then I can with you wherever you have to travel. LENA So here we go. CAMERA PUSHES IN AS MY KISS. REVERSE, BARRY. CAMERA slowly pushes in as he hugs Lena. LAND IN CU. FADE OUT."],"string":"[\n \"INT. WAREHOUSE - EARLY MORNING CAMERA -LRB- STEADICAM -RRB- holds on a man in a suit, sitting behind a desk, on the phone : BARRY EGAN -LRB- Adam Sandler -RRB- BARRY yes I'm still on hold. OPERATOR And what was this? BARRY I'm looking at your advertisement for the airline promotion and giveaway? OPERATOR This is `` Fly With Us?'' BARRY It's hard to understand because it says in addition to but I ca n't exactly understand in addition to what because there's actually nothing to add it too. OPERATOR I think that's a type - o then, that would be a mistake. BARRY So, just to clarify, I'm sorry : Ten purchases of any of your Healthy Choice products equals five hundred miles and then with the coupon the same purchases would value one thousand miles - OPERATOR That's it. BARRY Do you realize that the monetary value of this promotion and the prize is potentially worth more than the purchases? OPERATOR I do n't know. I mean : I do n't know. OC DISTANT SOUND OF A CAR SKIDDING TO A STOP, SOME VAGUE, DISTANT SCREAMING IS HEARD. THEN SILENCE. Barry hears this, gets distracted, then back to the phone call ; BARRY Can I call you back if I have any further questions? Can I get your extension? OPERATOR It's extension 215 if you want to try me back. BARRY Ok. Thank you. He hangs up the phone and walks through his warehouse. It's fairly non - descript place, boxing materials, etc.. Products seem to be mainly silly novelties -LRB- pens that light up, key chains, novelty toilet plungers, etc -RRB- He lifts a LOADING DOOR and LIGHT POURS INSIDE, WASHES OUT THE FRAME. he's silhouette. CAMERA follows him out. stays overexposed and over his shoulder as he looks down towards the street. his business is situated at the end of a common driveway, shared with a few other nondescript places and an Auto mechanic. distant SOUND of a car SPEEDING and SKIDDING. hold, then :. a JEEP CHEROKEE comes FLIPPING into FRAME, far off at the mouth of the alley, on the street. The JEEP ends up landing RIGHT SIDE UP. HOLD. Barry flinches a little, stares. the JEEP sits idle for a moment. then it drives off. then : A speeding, small TOYOTA comes into view at the mouth of the alley, screeching to a halt. The passenger side door opens and a small, wooden HARMONIUM -LRB- like a portable organ -RRB- is placed on the ground. The TOYOTA speeds away. a moment or two later another NON - DESCRIPT CAR flies past very fast. BEAT. Barry squints, looks at the small HARMONIUM sitting alone in the middle of the street. He hesitates, looks around, holds, then walks back inside his warehouse.\",\n \"INT. BARRY'S WAREHOUSE - THAT MOMENT Barry on the phone again ; BARRY I'm not exactly sure what that means. VOICE If they break or something. What is it, plastic? BARRY It's a plastic, yeah. VOICE Right. Alright, lem me call you first thing tomorrow, I'm gon na run the numbers, see what's what and I'll give you a call back - BARRY Did you have my home phone number? VOICE For what? BARRY If you wanted to call me back I could. VOICE I'm fine, I have your work number. BARRY Ok. because of the time difference if you needed to call me early? VOICE It's fine. I can just get you at your office. BARRY Ok. VOICE Ok, bye, bye. BARRY Bye. He hangs up the phone and walks outside, CAMERA follows him again, out to the alley, over his shoulder. he looks down the length of the alley at the Harmonium. HOLD, THEN : A small FORD ESCORT pulls into the driveway, around the Harmonium, parks. a young woman named LENA LEONARD -LRB- Emily Watson -RRB- exits the car and starts to walk down the length of the alley towards him. CAMERA stays over his shoulder and turns into a profile 2 - shot ; LENA Hi. Do you work at the mechanic? BARRY No. LENA They're not open yet? BARRY They do n't get opened until eight. BEAT. Barry gently steps back and out of the FRAME. LENA Is it ok if I leave my car you think? BARRY I do n't know. LENA I thought they opened at seven. -LRB- beat. -RRB- If I left my car would it be ok? BARRY I do n't know. LENA Do you know them. BARRY Not very well. LENA Can I ask you, can I trust to leave my keys with you and give them to you so that when they get here you could give them to them? BARRY Ok. LENA You think it's ok where I left it, right there? BARRY I think that'll be fine. Lena hands him her keys, he steps back into FRAME, THEN : LENA There's a piano in the street. BARRY Yeah. BEAT. LENA Ok. Maybe I'll see you later. Thank you for your help. BARRY Thank you. LENA Maybe I'll see you later, when I pick up my car? BARRY Ok. She walks away. he starts back inside the warehouse, hesitates, watches her go. right before she reaches the end of the alley, she glances back quickly, over her shoulder. he dodges inside real quick. HOLD THE EMPTY FRAME. then he steps back out. looks off at the Harmonium. and the empty street. he looks around some more. then he makes the long walk down the street. ON THE STREET. Barry stares at the Harmonium a little bit, looks around, both ways, then casually picks it up and walks back towards his business. He brings it into his office and places it on his desk. He tries a few keys. pressing down. there's no sound. He presses his hand on the foot pedal and presses a key and a small note is made. BEAT. he does it again. and holds the note. CUT TO BLACK.\",\n \"INT. WAREHOUSE - OFFICE - EARLY MORNING Barry enters the warehouse with harmonium and runs into his office. He places it on the desk and hits a key : no sound. Barry goes to his knees and unlatched the bellows. He pumps the bellow, reaches up, presses a note, and another. then stands up into CU. and presses the 5 note melody. SUDDENLY : THE SOUND OF THE POD BAY DOOR SLIDING. Barry spins around, scared shitless, sees : LANCE, who enters the warehouse, Barry rushes out to greet him ; LANCE Hey, good morning, Barry. BARRY Hey. Lance. can I. LANCE You ok? BARRY Yes I'm fine. LANCE Why you wearin' a suit? BARRY Um. I bought one. I thought maybe it would be nice to get dressed for work, can I show you something? LANCE Yeah. you got here early huh? BARRY yes. They enter into the office, Lance sees the harmonium ; LANCE What is this? BARRY I do n't know. I think it's a piano. a small piano. LANCE That's not a piano. I have a piano at home. where'd you get it? Lance walks around behind the harmonium. leaving Barry alone. towards the warehouse. he starts to back up a little. BARRY Well. it was dropped on the street. Sal, Ernesto and Rico all start to come into work behind Barry. he sees them : CAMERA pushes in on Barry. LANCE -LRB- OC. -RRB- Why is it here? Barry. Barry? BARRY it just. I do n't know. I do n't know. LAND IN CU. ON BARRY. CUT TO BLACK. TITLE CARD Punch - drunk Love Movie -LRB- maybe color blooms/overture here -RRB-\",\n \"INT. WAREHOUSE/MAIN AREA - DAY CAMERA pushes in slow as Barry and Lance talk to TWO CUSTOMERS about the plungers which are on display in front of them. They speak all over each other doing shop talk, etc ; CUSTOMER You do guaranteed sale? etc.. BARRY We back our plungers 100 % and we do ask for a 30 to 60 day display on the floor. In the b.g., RICO over the laud speaker says : RICO Barry, your sister's on line one. Barry does n't move. BARRY Yes. we do ask for. 30 to 60 days. CUSTOMER I think you have a call? Rico turns around, without loudspeaker ; RICO Barry, your sister is on line one. They look at him a moment. BARRY I'm just gon na grab this call real quick? ANGLE, REVERSE. Barry turns and heads for the phone nearby at Rico's station ; BARRY -LRB- into phone. -RRB-. This is Barry. RHONDA Hey it's me, it's Rhonda. Are you coming to the party tonight? BARRY Hi, Rhonda, yes I am. RHONDA Bye. She hangs up. BARRY Ok. Yes I'll see you tonight. Barry takes a few steps back to the Customers : BARRY Sorry about that : One thing I wanted to point out, Dave, is that we've just received a large order from the Rio Hotel and Casino in Las Vegas where we're going to be supplying their hotel rooms with the dice and money plunger, so these babies are really moving well right now. RICO -LRB- over loudspeaker. -RRB- Barry, your sister's on line two. Barry, your sister's on line two. Barry tries again to ignore it. BARRY With the Aqua Blast Whales and Speed Boats we're gon na ask for a display at eye level for the little kids. RICO Barry - BARRY - excuse me. Barry walks back to the phone ; BARRY This is Barry. KAREN Hey it's me, what are you doing? BARRY Hello, Karen. I'm just working. KAREN Yeah but what are you doing? BARRY I'm just working. I have some customers here. KAREN So you ca n't talk to me? BARRY I have a few people here, I ca n't really chat right now. KAREN `` chat?'' Did you just say `` chat?'' BARRY Well, I ca n't talk though - KAREN You just fucking said `` chat,'' that is so - what are you now? `` chat.'' I'm just calling to make sure you show up at this party tonight. BARRY Yes, I'll be there. KAREN Fine. You get back to chatting with your precious customers. BARRY Ok, bye - bye. Barry snaps out of this, turns, claps his hands in confidence and walks back to the customers and says : BARRY Sorry about that. CUSTOMER I did n't know you had a sister? BARRY Well yes I do. -LRB- beat. -RRB- But one more thing I wanted to tell you guys about the new plungers is that we're making the handles now in a non - breakable material called. He takes one of the plungers and to demonstrate smacks it on the table. it SMASHES and rice falls out everywhere. BARRY Ok. this is one of the old ones, I think. Lance do we have any new plungers around? Lance moves to get a new plunger. BARRY That was a little embarrassing and that was one of the old handles so let me get a new one to show you - RICO -LRB- loudspeaker. -RRB- Barry, your sister is on line one. Barry holds, then ; CUSTOMER How many sisters do you have? BARRY I have seven. CUSTOMER #2 Holy shit. You have seven sisters? BARRY They're calling because we're having a party tonight for my sister and the they're just calling. can you hang on for just two more minutes? Barry walks this time into his office. CAMERA tracks with Barry to his office, seeing him try and shake this off. He EXITS FRAME.\",\n \"INT. WAREHOUSE - OFFICE - THAT MOMENT Barry enters, takes a quick moment to size up the harmonium. He picks up the phone and through the conversation gently moves the harmonium to a different spot on the desk ; BARRY This is Barry. KATHLEEN What are you doing? BARRY Hi, Kathleen, I'm just working. KATHLEEN Are you going to the party tonight? BARRY Yes I am. KATHLEEN What are you doing? BARRY Nothing. KATHLEEN Right now, you're doing nothing? BARRY I'm just talking on the phone to you and standing. KATHLEEN What time are you gon na be there? BARRY Seven o'clock. KATHLEEN You ca n't be late. BARRY I wo n't. KATHLEEN I'm serious. BARRY I know. KATHLEEN Seriously. BARRY Ok. KATHLEEN You ca n't be late though. BARRY I know. KATHLEEN You ca n't just not show up like you do, you have to go. BARRY I know. KATHLEEN Seriously. BARRY I know. KATHLEEN You ca n't just stay in your house. BARRY I know. KATHLEEN Yeah but I'm serious. BARRY Ok. KATHLEEN I'll see you there. BARRY I'll see you there. KATHLEEN Do n't puss out. BARRY I wo n't. Barry plays the 5 note melody on the Harmonium -LRB- carries over into next scene. -RRB-\",\n \"INT./EXT. WAREHOUSE - LATER (BRIDGE/BREAK MUSIC WISE) Barry and his workers are having lunch. A LUNCH TRUCK is parked by the driveway. Barry sees the CAR that Lena brought by at the start of the movie. OC CALL from one of the workers ; WORKER Telephone Barry on line one. A mechanic passes by at this moment, keeps walking past ; BARRY What's wrong with her car? MECHANIC Wha? BARRY Is that car gon na be ok? MECHANIC It's fine. The mechanic keeps walking. Barry enters.\",\n \"INT. WAREHOUSE/NEAR LANCE'S DESK - LATE AFTERNOON Barry and the boys are prepping some boxes for shipping. Ernesto walks over, says ; ERNESTO Barry, your sister's here. Barry stands up fast, stumbles back a bit over some boxes, recovers, ELIZABETH enters : ELIZABETH Hey, how are you? BARRY I'm fine, hi, how are you? ELIZABETH I'm just stopping by to say hello. BARRY Hello. ELIZABETH So you're coming tonight, right? BARRY Yes, indeed, yes I am. ELIZABETH There's this girl, this friend of mine from work that I think is really cute and really cool and I want you to meet her so I was thinking about bringing her to the party tonight. BARRY Oh yeah no I do n't want to do that. ELIZABETH Why? BARRY Well I do n't want to do something like that. ELIZABETH She's my friend and you should meet her. You'd like her. BARRY Yeah, but please do n't do that. ELIZABETH I'm not really asking you, I'm telling you. BARRY Yeah but please do n't do that : everyone would be looking at me. ELIZABETH It's a free country, we can look at you if we want to. BARRY Yes but I get tense and I feel like I ca n't be myself if that happens. ELIZABETH That's your fault not mine. BARRY I do n't think I'm going to the party. ELIZABETH So it's ok if I bring her. BARRY Please do n't. ELIZABETH She's really cute and she's really nice. BARRY please, I just do n't want it. ELIZABETH wait a minute : why is this about you now? Why is it always about you? BARRY Yeah, no, it's not, it's just - ELIZABETH I'm trying to be your friend. BARRY I know. ELIZABETH I'm trying to get you a girlfriend. BARRY Well, yeah, thank you, but - ELIZABETH - but since you're not going I guess none of this matters and I'll bring her anyway. BEAT. HOLD. She stares him down. ELIZABETH All I'm trying to do is be your friend. She leaves. HOLD ON BARRY. He air punches/twitch.\",\n \"INT. WAREHOUSE - LATER/BLUE HOUR - NIGHT Barry is alone, closing up. He takes a look at the Harmonium and presses it, makes a sound. a little bit more. makes a few notes. END SCORE QUE as it blends and fades into the notes that Barry plays. BEAT. He closes its small cover, does something on his desk and then : His face gets bright red, he holds back tears, opens his mouth and has a serious but small burst of overwhelming emotion and then it's over.\",\n \"INT. SUPERMARKET - NIGHT CU. BIRTHDAY CARD. Barry's hands reaches in and picks a birthday card. ANGLE, WIDER, THAT MOMENT. Barry grabs the card and starts to push his cart. but he pushes it straight into a SIX YEAR OLD KID who's pushing a cart around. they slam into each other. Barry apologizes. the KID just takes off. Barry's cart now has a slightly damaged wheel that wobbles like crazy. ANGLE, FROZEN FOOD AISLE. CAMERA tracks left to right with Barry as he heads for the Healthy Choice Frozen Dinner. He grabs one. CU. BARRY. LOW ANGLE. He looks at box. BARRY'S POV - THE BOX Slow zoom in. The sticker reads : `` Fly Away With Us! The More You Buy The More You Earn.'' ANGLE, SOUP SECTION. CAMERA tracks along right to left with Barry as he moves towards some SOUP. He grabs one, inspects it. then puts it back. CU. SOUP CAN. It's put back on the shelf : TILT down to price : 79 cents. Barry turns his cart around and SMACKS right into someone else again, screwing up another wheel on his cart. ANGLE, BARRY. CAMERA, tracks alongside him, left to right as he comes across : PUDDING. The price : 4 / $ 1.00. MED. BARRY in the middle of the aisle. He reacts. smiles. holds. thinks. looks around, then starts to load up on the pudding. ANGLE, BARRY. He pushes TWO SHOPPING CARTS FULL OF PUDDING over to the STORE MANAGER who's on his knees, stacking milk. Barry kneels down, CAMERA PUSHES INTO A CU. as he speaks sotto ; MANAGER Hello. BARRY Hello, sir. My name is Barry Egan and I'd like to ask if you have any more Healthy Choice pudding in the back?\",\n \"INT. SUSAN'S HOUSE - NIGHT The door opens slowly and Barry peers his head around and into the house very cautiously, CAMERA PUSHES IN and PANS slightly LEFT to reveal : THE KITCHEN. Barry's SEVEN SISTERS are all there, preparing dinner and talking away. they turn and see him ; SUSAN There he is! Do you remember when we used to call you gay and you'd get all mad? KATHLEEN - we were calling you gay and you got so mad that you threw a hammer through the sliding glass door - do you remember? BARRY I do n't really remember that. KATHLEEN Yes you do. We were calling you Gay Boy and you got so mad. BARRY Yes, yes, right. SUSAN We're trying to remember why you had the hammer in the first place? BARRY um. KATHLEEN The hammer that you threw. why did you have it? SUSAN You do n't remember - you had the hammer and you threw it -? BARRY I remember, yes. SUSAN Why did you have it? Another sister, RHONDA, enters from behind, Barry jumps, says : RHONDA He was building a ramp for the dog. KATHLEEN He was making a ramp for the dog! That's right! SUSAN That's right. ramp for the dog. And you just threw the hammer. BARRY -LRB- to Rhonda. -RRB- Happy Birthday, Rhonda. RHONDA Thank you. Thank you so much, Barry. She gives him a very quick hug and kiss and sets the cake next to a bigger, cooler looking cake. Mia approaches holding a baby. Barry tries to say hello to the baby, but Mia slowly turns the baby out of Barry's grasp. making herself the center of his attention ; KITCHEN/DINING ROOM, THAT MOMENT Barry gets slightly turned around trying to reach the baby. and ends up in a doorway that leads to the dining room, revealing himself to : ELIZABETH, KAREN, NICOLE AND ANNA. There are also : THREE BROTHER IN LAW'S -LRB- WALTER, LARRY AND STEVE -RRB- ELIZABETH Hey. I was just telling everyone about how I was gon na bring this girl for you but you would n't let me do it. BARRY Hello everyone. KAREN steps up and greets him ; KAREN Did you think that we'd all be looking at you? BARRY No, no, no. KAREN Well it's just not true. We would n't be looking at you - why are you wearing this suit? Did you say hello to your brother in law's? STEVE/LARRY Hi, Barry. How ya doin? Good, good. KAREN Say hello to them, that's right, good, good. Ok. Come on, we're gon na eat now. let's go. Barry shakes hands and hello's with the brother in law's. He's left alone for a moment with Walter and Elizabeth ; WALTER How you doin' Barry? BARRY Hi Walter. WALTER How's business? BARRY Business is very food, thanks. ELIZABETH What's very food? BARRY What? ELIZABETH You just said very food. BARRY Did I say that? WALTER Yeah. BARRY That was weird. I meant good. WALTER Maybe you said that because you're hungry. Walter moves to help everyone. they're moving to set the table. CAMERA CLOSES IN ON BARRY AND ELIZABETH alone for a beat : ELIZABETH You're lucky. She could n't come anyway - BARRY Well I'm glad you did n't, thank you. ELIZABETH She could n't come I said. Are you nervous? BARRY No. ELIZABETH You look nervous. BARRY I'm not, I'm very happy. RHONDA passes ; RHONDA Come on homo - boy, we're eating now. Elizabeth leaves, HOLD ON BARRY. CAMERA PUSHES IN TOWARDS EVERYONE SETTING THE TABLE. CAMERA ROTATES AROUND. everyone is still chatting a bit about `` Barry gay boy,'' and `` the girl that was gon na be here that Barry would n't allow.'' ANGLE, REVERSE. Barry is standing in front of the floor to ceiling sliding glass doors. in an INSTANT, he TURNS AND THROWS HIS FIST STRAIGHT THROUGH THREE OF THEM, THEY SHATTER. he turns back, they are all staring straight at him in silence. HOLD, THEN : In unison they all go ape shit : GROUP WHAT THE FUCK IS YOUR PROBLEM. GODDAMNIT BARRY. YOU FUCKIN' MANIAC. ETC.. ETC..\",\n \"INT. SUSAN'S HOUSE - HALLWAY - LATER It's later and WALTER and BARRY walk down a small hall and into a kids room. They're OC for a few moments as the CAMERA slowly pushes in and towards the room. Following sotto ; WALTER What's up? BARRY Well I'm sorry. Before. WALTER Mhm. BARRY And I'm sorry that I did that. WALTER It's alright. BARRY I wanted to ask you because you're a doctor, right? WALTER Yeah. BARRY I do n't like the way I am sometimes. -LRB- beat. -RRB- Can you help me? WALTER Barry, I'm a dentist, what kind of help do you think I can give you? BARRY I know that. Maybe you know other doctors? WALTER Like a psychiatrist? BARRY I do n't have anyone to talk to things about and I understand it's confidential with a doctor - I'm embarrassed about that and I do n't want my sisters to know? WALTER You want a number for a psychiatrist, I can get you one, that's not a problem. but what exactly is wrong? BARRY I do n't know if there's anything wrong with me because I do n't know how other people are. Sometimes I cry a lot. for no reason. Barry starts to cry. Walter just stares at his. HOLD. Barry stops, recuperates, then leaves. as he does ; BARRY Please do n't tell my sisters.\",\n \"INT. BARRY'S APARTMENT - LATER CU. HEALTHY CHOICE COUPON. Barry's scissors cut out a coupon and reveal an image beneath in another section of the newspaper. it's the sexy LEG of a woman. BARRY very casually pushes some papers aside and looks at the ad. HOLD ON HIS FACE. He looks. then : MOMENTS LATER, BARRY ON THE PHONE. He listens ; OPERATOR GIRL -LRB- OC. -RRB- Hi, this is Janice The Operator, who's this? BARRY Hello, how are you? OPERATOR GIRL -LRB- OC. -RRB- Hi, is this your first time calling? BARRY Yes it is. OPERATOR GIRL -LRB- OC. -RRB- Can I have your credit card number, followed by the expiration date? BARRY Can I ask how much is this? OPERATOR GIRL -LRB- OC. -RRB- - it's $ 2.99 per minute for the first half hour and $ 1.99 per minute after that. BARRY and this is confidential? OPERATOR GIRL -LRB- OC. -RRB- What do you mean? BARRY It's. confidential, the call, my information is private. OPERATOR GIRL -LRB- OC. -RRB- Of course. Would you like to talk to a girl? I can connect you with a beautiful girl if I can just get your credit card number followed by the expiration date? BARRY 3407 2627 3444 8095 expiration 05/04. OPERATOR GIRL -LRB- OC. -RRB- And your billing address and the name as it appears on the card? BARRY 1274 Moorpark. Sherman Oaks, California. # 4. 91403. OPERATOR GIRL -LRB- OC. -RRB- And your name? BARRY Barry Egan. OPERATOR GIRL -LRB- OC. -RRB- And your Social Security number. BARRY What's that for? OPERATOR GIRL -LRB- OC. -RRB- It's just for verification through the credit card company. BARRY - and this is confidential? OPERATOR GIRL -LRB- OC. -RRB- Of course, it's just for us to verify your credit card information. It's completely confidential and it appears on your credit card billing statement as D&D Mattress Man. BARRY 337. I'm sorry. OPERATOR GIRL -LRB- OC. -RRB- It's ok, take your time. BARRY 337 - 09 - 9876. But I do n't want anyone to know my name. OPERATOR GIRL -LRB- OC. -RRB- No one will know your name. BARRY Can you say that my name is Jack? OPERATOR GIRL -LRB- OC. -RRB- You want her to call you Jack? BARRY I just do n't want anyone to know it's me. OPERATOR GIRL -LRB- OC. -RRB- That's fine. Can I have a telephone number, area code first on where we can call you back? BARRY No I just. I do n't want to, I just want to be connected to talk to a girl. OPERATOR GIRL -LRB- OC. -RRB- It's a call back service - a girl will call you back. BARRY I thought I was just gon na be connected to talk to a girl - that's fine, ok, I'm sorry, it's, um. 818.\",\n \"INT. BARRY'S APARTMENT - MOMENTS LATER Barry waiting at his dining room table. HOLD. The PHONE RINGS. He picks it up ; BARRY Hello, this is Back. SEXY VOICE Hi, is this Jack? BARRY Yes. SEXY VOICE This is Georgia. BARRY Hi. This is Jack. SEXY VOICE So what are you doing tonight, Jack? BARRY Nothing. SEXY VOICE Nothing, huh, do you know what I'm doing? BARRY No. SEXY VOICE I'm just laying on my bed. BARRY Where are you? SEXY VOICE I'm in my bedroom. BARRY No, I mean, what city, what state are you in? SEXY VOICE Are you watching a porno movie? BARRY No. SEXY VOICE Do you like porno movies? BARRY Sure. SEXY VOICE Yeah? So. Jack. are you stroking that big fat fucking cock of yours? He walks into something. BARRY no. SEXY VOICE Yeah? So what are you doing, then? BARRY just talking to you. SEXY VOICE Are your pants off? BARRY No. SEXY VOICE I'm wearing a t - shirt and panties. BARRY Really? SEXY VOICE Yeah. And looking at myself in the mirror. Do you wan na know what I look like? BARRY It does n't matter. SEXY VOICE What do you mean it does n't matter? BARRY Well. I have no way of knowing. So it does n't matter. SEXY VOICE I do n't lie, Jack. I'm about 5' 8, blonde 34,28,34. Pretty thin, I work out. My pussy's shaved. My friends say I'm pretty cute, so. BARRY Really? SEXY VOICE What do you mean, `` really?'' Yeah. Really. What about you? BARRY It does n't matter. SEXY VOICE Yeah. you're married are n't you, Jack? BARRY No. SEXY VOICE You have a girlfriend? BARRY yes. SEXY VOICE Where is she? BARRY She's. not here. she went out. She went out of town, she travels a lot. Barry holds his head in his hands for minute, then stands out of it -\",\n \"INT. BARRY'S APARTMENT - MOMENTS LATER SEXY VOICE I'm horny, Jack, what about you? BARRY yeah. SEXY VOICE Does Jack like to Jack Off? BARRY Sometimes when I'm lonely. SEXY VOICE yeah. well you have me now. BARRY You sound very cute, very nice. SEXY VOICE Thank you. What do you do, Barry? BARRY I have my own business. I work. I work hard at doing my business. SEXY VOICE Yeah. do you do well, do you make alotta money? BARRY I do pretty good, I think. I wish I was making more, doing a little bit better. I can, t get over a certain hump. I will. I will crack something soon I think and really do better. I'd like to diversify. but I'm doing great, I think, as a start. SEXY VOICE So. are you stroking it, yet, honey? BARRY No. SEXY VOICE Well why do n't you take your pants off and stroke it for me? BARRY Ok. SEXY VOICE Yeah. that's it. God I Am So Horny. I wish I was there to help you. I wish I was there for you, Barry.\",\n \"INT. BARRY'S BATHROOM/BEDROOM - LATER It's a little bit later and Barry stands in his bathroom, washes his face. HOLD. then he dries his face, walks into his bedroom, gets into bed wearing T - shirt and underwear. he crawls in, curls up in fetal position.\",\n \"INT. SAME EXACT ANGLE - MORNING Sun comes in now. Barry is somehow dressed in a FULL ADIDAS SWEAT SUIT complete with SNEAKERS. He wakes up, looks down and sees this, confused ; BARRY Whassis?\",\n \"INT. KITCHEN - MOMENTS LATER Barry is dressed for work in another suit now. He grabs some stuff and heads for the door when the phone rings ; BARRY Hello? SEXY VOICE Hey. What are you doing? How are you? BARRY I'm fine. Who is this? SEXY VOICE Georgia. BEAT. BARRY Hi. what. what's up? SEXY VOICE It's ok that I'm calling, right, I mean? It's ok. BARRY Yeah. No. It's ok. What's goin' on? SEXY VOICE I just wanted to call and talk to you, thank you for last night, try and get you before you went to work and say, `` hey.'' BEAT. BARRY I'm going to work. SEXY VOICE Uhhh. I am sooo tired. I stayed up too late last night, what about you, when did you go to sleep? BARRY Not very late. SEXY VOICE You're going to work now? BARRY Yes. SEXY VOICE Can I ask you a question? BARRY Uh - huh. SEXY VOICE Remember last night I was talking to you and I was telling you about my apartment, my rent -? -LRB- beat. -RRB- Do you remember? BARRY Yes. SEXY VOICE This is really weird and really embarrassing for me but. uh. -LRB- beat. -RRB- I was wondering if you could help me out with a little bit of money. BARRY Me? SEXY VOICE Yeah. BARRY I ca n't really. Yeah, no. I mean. I ca n't afford it. SEXY VOICE You do n't even know how much it is. BARRY I know but I. how much is it? SEXY VOICE Like seven - fifty. Seven hundred fifty? BARRY Yes, no, yes. I ca n't. I ca n't afford that. I'm sorry. Sorry. SEXY VOICE Really? Please? BARRY You have trouble, financial trouble? SEXY VOICE Yeah. It's so hard these days and I really need it. BARRY Yes I ca n't. I do n't make enough money to be able to do that. SEXY VOICE I thought you had your own business. You said you were gon na diversify and all that stuff. BEAT. Barry steps back a little. SEXY VOICE So you think you can? BARRY No. I'm sorry. SEXY VOICE Should I call back and talk to your girlfriend? BARRY what? SEXY VOICE I was wondering if it's better to ask your girlfriend for the money? It could be really easy. I mean, I have all your information, credit card information and billing stuff - Barry hangs up the phone real fast. HOLD. He does n't move.\",\n \"INT. BARRY'S WORK/WAREHOUSE - MORNING/LATER CAMERA -LRB- HAND HELD -RRB- behind Barry, as he walks through the warehouse, greets the boys, says hello to Lance, etc.. Lance, taking his cue from Barry, is a bit more dressed up today. LANCE Good morning, Barry. BARRY Hi, Lance. LANCE What's with all this pudding, what is this? CAMERA sees that all the pudding Barry bought has been stacked neatly in a corner. Barry stops dead in his tracks to explain ; BARRY That's part of a very interesting airline promotion giveaway that's really tremendous. I'm going to start a collection of pudding and coupons that can be redeemed for frequent flyer miles through Healthy Choice and American Airlines - LANCE You're goin' on a trip? BARRY No. but airline miles are just like a currency these days. LANCE You should go on a trip. BARRY No thanks. LANCE So what should I do with the pudding? BARRY Let's just leave it there for now. Barry goes into his office and looks at the Harmonium. BEAT. He presses some keys, makes a little more noise with it. -LRB- a quarter of some sort of melody starts here. -RRB- ANGLE, MOMENTS LATER. Barry is cutting up his CREDIT CARD with some scissors. He throws it away. ANGLE, MOMENTS LATER. Barry paces around a little bit. CAMERA stays inside and watches him as he walks outside for a moment, looks around. he sees something outside, hesitates, then dodges back inside the warehouse - - once inside, he takes a horrendous, hurtful fall over something. He stands up quick ; BARRY This is not supposed to be here. Seriously. Carlos, Carlos, this is really not supposed to be here. I do n't mean to be a dick ; but that's gon na hurt someone. It already did hurt someone : It hurt me, so please let's move that. He backs away, then steps OUT OF FRAME. a moment later ELIZABETH -LRB- his sister -RRB- and LENA -LRB- from the opening -RRB- enter the warehouse, walking towards Barry ; ELIZABETH -LRB- to Lena. -RRB- He's wearing a suit again, I do n't know why he's wearing a suit, he does n't usually dress like that - LENA It's fine. CAMERA pushes in towards LENA and blends to 30fps. she smiles, looks ahead, CAMERA slowly pans a 180 around to become her POV. Barry is standing near the harmonium, fiddling around. He looks up, sees Elizabeth and Lena walking towards him and tenses. they meet in the middle of the warehouse ; ELIZABETH Hey, what are you doing? Why are you wearing a suit again? BARRY I do n't know. LENA Hi. BARRY Hi. LENA Do you remember me, I left my car, yesterday. BARRY Yes I do. ELIZABETH This is Lena, she's a good friend of mine from work. We were in the neighborhood and she had to pick up her car and we're getting breakfast before we go in, so did you want to go? We're gon na go and eat, let's go. BARRY Yeah I ca n't. ELIZABETH Why? BARRY I have work, I ca n't leave. ELIZABETH Seriously, though : We're going to eat, I said. BARRY I'm sorry. LENA It's ok. That's alright. ELIZABETH Are you learning how to play the piano? What is that? BARRY It's not a piano. LANCE! LANCE! MAKE SURE THAT YOU CALL THAT GUY IN TOLEDO. LANCE -LRB- OC. -RRB- WHICH? BARRY I'll tell you later. ELIZABETH You do n't wan na come to eat with us? WORKER VOICE TELEPHONE BARRY ON LINE TWO! ELIZABETH What's all this pudding? BARRY I do n't know. Can you hang on a second? CAMERA follows Barry as he walks back to his little office, picks up the phone ; BARRY Hello? SEXY VOICE We got disconnected before. BARRY No. No. We got disconnect - why? you're calling me at work. how did you get this number -? SEXY VOICE See the thing is I could make it really easy on you - I already have your credit card number, your information, address and stuff. This is so awkward asking like this, I'm sorry - BARRY This makes me very uncomfortable. SEXY VOICE I need help. BEAT. SEXY VOICE Should I just ask your girlfriend? -LRB- beat. -RRB- Maybe I should call back and talk to your girlfriend? BARRY I do n't have a girlfriend - SEXY VOICE - you said you did. BARRY I know I did. But I do n't. SEXY VOICE You lied to me? BARRY I did n't lie. SEXY VOICE Why did you tell me you did, then? BARRY This is. illegal. I'll call the police. SEXY VOICE No you wo n't. ANGLE, ELIZABETH AND LENA LENA I'll go pay for my car. ELIZABETH Are you sure? LENA Yeah. ELIZABETH He's being weird, I'm sorry. I have no idea why he's being weird and dressed in a suit - LENA It's not bad, it's ok. ELIZABETH - he's so strange I do n't know if you really even would want to go out with him, someone like him, I said I'd try, but it's just - LENA It's ok, it's alright. I'll come right back, I'll just go pay for my car. ELIZABETH Sorry. She leaves. Elizabeth heads for Barry's office ; ANGLE, BARRY on the phone SEXY VOICE Come on, I thought we had fun, rich boy - BARRY This is not cool. SEXY VOICE It was cool last night. BARRY I have to go. SEXY VOICE Are you telling me no? BARRY No I'm sorry, now I have to get off the phone. SEXY VOICE this is your mistake. Elizabeth comes walking into his office, starts whispering to him as he's on the phone ; ELIZABETH Hey, hey, you should ask her out - what do you think, she's cute, right? BARRY -LRB- into phone. -RRB- I'm gon na call you back. He starts to hang up the phone, turns to Elizabeth as we hear ; SEXY VOICE -LRB- trailing off. -RRB-. MOTHERFUCKER, NO. BARRY She is. I think, why did you come here like this? ELIZABETH It's not cool? BARRY It's fine, but - ELIZABETH - do you think you'll ask her out? BARRY I feel really on the spot now. ELIZABETH Are you gon na do it? BARRY I do n't do that. I do n't - things like that. ELIZABETH You do n't do anything, why are you being scared? BARRY I'm not being scared, you're just going to rag me if I do this - ELIZABETH I'm not gon na rag you. Why would I do this just to rag you? BARRY I do n't know. ELIZABETH I'll leave then, I'll go to get something from my car, go away so you do n't feel pressure. Can I ask you a serious question : BARRY What? ELIZABETH Did you ask Walter to get you a shrink? -LRB- beat. -RRB- Barry, did you ask Walter to get you a shrink? What's wrong with you? Are you ok? BARRY I did n't ask him that. He's lying. ELIZABETH You're being weird again, see. Come on. Please do n't be weird. ANGLE, BARRY AND ELIZABETH, MOMENTS LATER They walk out and as they do, Lena comes back in with her keys in her hand, Elizabeth keeps walking past ; ELIZABETH I got ta grab something from my car. LENA We should be going - ELIZABETH -LRB- over her shoulder. -RRB- Yeah, no, I have to get something from my car, I said. Barry and Lena about to be alone as Lance walks up ; LANCE Which guy in Toledo are you talking about? BARRY I'll tell you. the guy. with. just talk to me later about it, ok? LANCE You talkin' to me about Ramada Inn? BARRY I have to talk to you in a second about that, Lance, ok? He walks away, Lena turns to him ; LENA I'm sorry I could n't come to your sister's birthday party last night, Elizabeth had invited me and I could n't make it - BARRY It's fine. It was fun, though. LENA It must be weird for you to have so many sisters? BARRY No. Not at all. It's nice. WORKER -LRB- OC. -RRB- Telephone, Barry Line One! Barry turns instantly and walks away. he turns back as he walks. TWO SHOT - track left with him. BARRY -LRB- turns back. -RRB- One second, sorry. IN THE OFFICE, THAT MOMENT He picks up the phone. BARRY Hello? SEXY VOICE Hang up again and see the trouble it's gon na make. Barry instantly hangs up the phone, turns around and walks back to Lena ; LENA Business is good, you're busy? BARRY Yeah, not really. LENA I saw a picture of you. BARRY Yes. LENA Elizabeth has a picture of you guys - your sisters and you, it's a lot of family, it must be nice. BARRY Do you have brothers or sisters? LENA No. I'm the exact opposite - BARRY That must be nice. That must be really, really, really great. LENA It's terrible, no. No response from Barry. -LRB- cut to reverse 2 - shot as they look -RRB- LENA What do you do with all this pudding? BARRY That's not mine it's one of the guys that works here. That pudding's not mine. BEAT. In the b.g., two WORKERS are dealing with getting a large crate on top of a large stack of crates, they're using a fork lift. in an instant the large CRATE tumbles to the ground and SMASHES. Barry attempts to not notice this ; LENA Oh My God. BARRY It's ok. That's ok. How long have you worked with Elizabeth? The workers start calling out and apologizing for this to Barry, who keeps looking straight ahead to Lena ; LENA Six months, maybe five, five or six months. do you wan na check that? BARRY -LRB- to the guys. -RRB- Are you guys hurt? WORKERS/LANCE No, no, we're ok. Barry, sorry - BARRY -LRB- back to Lena. -RRB- So you do what she does, the same work, the same job? LENA I do, but I do field consultations mainly too which is cool because I get to travel. I travel. A lot of the time. I'm going to Hawaii on Friday. BARRY That's great - Hawaii. I was thinking about going there. LENA Really? BARRY I was, yeah, I was thinking about going there for business - LENA - well, if you're gon na go - BARRY - I'm probably not gon na go though. LENA - oh that's too bad, it's so great over there and if you were there we could say hello to each other or something - BARRY - yeah that would be great, if I was gon na go but I'm not exactly sure, I have so much goin on here - A lot depends on this thing I might do here and if that happens I ca n't go and if it does n't happen then I probably will, but I doubt it. There's another LOUD CRASH as they try to reposition the box that's fallen, giving way to something else that FALLS. In other words, to correct the mistake they've already made, they have to sacrifice another CRATE that CRASHES. She looks, Barry just flinches, tries to stay looking straight ahead ; CAMERA -LRB- HAND HELD -RRB- with Elizabeth, comes walking back in. says to Barry : ELIZABETH I ca n't find that thing in my car, I ca n't find it so I'll just get it and give it to you later. So? LENA -LRB- to Elizabeth. -RRB- You ready? ELIZABETH Are you coming to eat with us? BARRY Yeah I ca n't. ELIZABETH -LRB- at the crates. -RRB- OH MY GOD. Look at that. LENA -LRB- to Barry. -RRB- It was great to meet you again. To see you again, thanks for helping me yesterday - BARRY Ok. ELIZABETH -LRB- to Barry. -RRB- What's all this pudding? BARRY It's not mine. ELIZABETH Why's it here? BARRY I have no idea. LENA -LRB- to Elizabeth. -RRB- Are you ready? ELIZABETH -LRB- to Barry. -RRB- Will you call me later to talk about asking Walter for the shrink? And we can talk about - he said you have this crying problem or something? LENA Bye, Barry. BARRY Goodbye. ELIZABETH Call me later. Lena and Elizabeth leave. CAMERA leads them as they walk ; Sound starts to drop out, we see Barry and the boys cleaning up the boxes in the back. move into a CU on Lena. Music Cue. Score. treated piano, small rhythm/melodic -LRB- notes of harmonium so far -RRB- / gentle. ELIZABETH So I'll meet you at the restaraunt? LENA Ok. Lena gets into her car. Elizabeth keeps walking. She waits until Elizabeth is out of sight at the mouth of the driveway and then she gets back out of her car and walks straight back into the warehouse.\",\n \"INT. WAREHOUSE - THAT MOMENT She comes walking in and over to Barry ; LENA I'm going to go and eat tomorrow night do you want to go with me? BARRY Sure. LENA Do you want to pick me up? BARRY Sure. LENA Can I write down my address and phone number for you? BARRY Sure. They do a small search for a piece of paper, get it all written down and sorted out and then - as they do this there is even more CRASHING AND SMASHING in the b.g., by the boys - Barry and Lena settle up and say so long. BARRY This is funny. LENA Yeah. BARRY I did n't ask anyone for a shrink, that was someone else. Also : This pudding is not mine. Also : I'm wearing a suit because I had a very important business meeting this morning and I do n't have a crying problem. LENA Ok. BARRY Alright? LENA Hi. BARRY Hi. She walks off. CAMERA leads her out, holds a CU. as she smiles to herself - lead her a bit more until she's outside, and she gets in her car - CU. BARRY. He smiles, looks around, holds back his emotion so it looks like he'll explode. tenses, smiles, tears, looks around. HOLD. End Music Que. LANCE -LRB- OC. -RRB- Barry, Line One, Telephone! Barry walks in. HOLD. He picks up the phone. BARRY Hello? SEXY VOICE You've just made a war that you can not afford. She hangs up real quick. HOLD. Barry and his harmonium. CUT TO BLACK. Title Card : Provo, Utah\",\n \"INT. STEVENS BROTHERS HOUSE - DAY CAMERA behind a BLONDE GIRLS HEAD -LRB- LATISHA -RRB-. She speaks to two blonde brothers, DAVID and JIM. In the b.g., walking around holding a BABY is NATE. -LRB- Maybe a girlfriend or wife or two -RRB-. DAVID I'll do it. JIM I'll do it too. DAVID But it's got ta wait until my knee is better. I ca n't risk it. LATISHA You have to do it now. JIM If we drive there it's a problem. LATISHA Dean will loan you one of his cars. JIM Which one? LATISHA You have to talk to him - DAVID How do you know he's rich? LATISHA Because I know, I just know. I mean, I talked to him, I know. Nate emerges a bit from the b.g. NATE Where are you guys going? DAVID California. Los Angeles. NATE When are you leaving? DAVID Right now. LATISHA Let's go talk to Dean.\",\n \"INT. LOCAL BAR/PROVO - LATER LATISHA, DAVID, JIM and NATE enter and meet DEAN TRUMBELL, listening to AFTER EDEN play onstage, standing in the middle of the room. DEAN Hey guys. DAVID/JIM/NATE Hey, Dean. LATISHA So they'll go. DEAN I'm only paying two of you guys. DAVID That's cool. DEAN When can you leave? DAVID As soon as you want. DEAN I want you to go right away, I think that's best. I also need you to check out a car for me down there that this guy is selling. They walk towards a back room, as they do they pass a REGULAR JOE who bumps into Dean accidentally, Dean explodes ; DEAN You wan na fuck around, asshole? You wan na get tough, wan na see me kick some motherfuck around here? REGULAR JOE Take it easy, man, relax. Do n't - DEAN I'll relax your fucking head - this is my personal space, man, this is my personal fucking space, you do n't violate that, you do n't do that. REGULAR JOE I've got a glass in my hand why do n't you chill out? DEAN You've got a glass? Dean takes a BEER BOTTLE and SMASHES it in half on the bar, holds it up to the guy - DEAN YEAH. YOU'VE GOT A GLASS, NOW I'VE GOT A GLASS. I'VE GOT A GLASS TOO MOTHERFUCK.\",\n \"INT. LOCAL BAR/PROVO - MOMENTS LATER They're all walking towards a back room of the bar, they walk past a COUPLE that is fighting. The WOMAN is screaming at the top of her lungs at the MAN ; WOMAN I WILL CRUSH YOU. I WILL FUCKING CRUSH YOU AND YOUR FRIENDS. Dean gets in the middle of it ; DEAN Take it easy, take it easy you guys in here, I need to talk to you later, Tommy - I wan na know if you wan na book the boys - He motions over his shoulder to Ashes to Ashes. MAN I'll talk to you later. WOMAN YOU WO N'T FUCKIN' TALK TO HIM LATER, I WILL CRUSH YOU. I WILL CRUSH YOU, ASSHOLE.\",\n \"INT. DEAN'S OFFICE/UPSTAIRS/BACKROOM - MOMENTS LATER They enter into an upstairs office area. It has a couple desks and off to the side, in a small, partitioned off room is The Phone Sex Area ; a GIRL on the phone. -LRB- We hear bits of her call, e.g. `` Me? I'm in Florida. Laying on my bed.'' -RRB- There are posters for Ashes to Ashes, filing cabinets, posters of CARS, lots of various small business items like order forms and pamphlets, etc.. Dean collects a piece of paper and hands it to David/Nate/Jim ; DEAN Your expenses are your own. DAVID I thought Latisha said you would - DEAN - she did n't know what she was talking about - DAVID It's. whatever. that's not cool. DEAN David, Do n't. Just. Seriously. It does n't make sense if you think about it in a fair deal like sense. Ok? It's business. Seriously. One hundred dollars for two days work is a lot more than your family is making sitting around your house. I'm serious now. Ok. Please. Now. Just stop. He hands him a set of KEYS and goes through the info ; DEAN keys for the track. You have to gas it up and save the receipts on that. His address. We have a business address too if you need that - but hit him at his house first, see what this little bad boy is all about and shake him up - give him a little doe - see - doe - LATISHA Uch. Shut up, Dean. DEAN What's the problem? LATISHA You do n't need to talk all macho, `` shake him out, little bad boy.'' Whatever - you're not an action hero, tough guy, you're not a gangster - He makes a very SUDDEN AND QUICK MOVE towards her and she FLINCHES. DEAN Flinchy. That's what I thought. Shut up. -LRB- to Greg. -RRB- Call me when you see this guy - check him out see what's what. She asked him for seven fifty when she was on the phone with him, so - just call me when you get there. He hands him another piece of paper and a photo ; DEAN This is this place called Ace Vintage, you got ta find it, I do n't know exactly where this is and I do n't understand these maps so just go there and check it out. It's a'61 AC Cobra that this old guy says is fine, but I need to figure out why he's only asking 23 for it. So take a look, the whole thing, call me about that, if it seems alright then I'll head down there and check it out. DAVID Ok. DEAN That's it. DAVID Can we maybe ask for more money on this? LATISHA Why? DAVID because it's California? I mean it's like a nine or ten hour drive. It's not like going to Salt Lake and getting the Mormon's, it's different. After a long, long staring contest with David, Dean SUDDENLY AND VERY VIOLENTLY PUTS HIS FIST THROUGH THE WALL. then turns to David. Latisha rolls her eyes. David, Nate and Jim leave.\",\n \"EXT. UTAH STREET/TRUCK/MOVING - DAY/MAGIC HOUR CAMERA behind the heads of Nate, Jim, Dave as they drive down the street. they call their brother `` Mike D'' on the phone and say, `` what's up, we're goin' to Los Angeles, you wan na go?''\",\n \"EXT. UTAH STREET/TRUCK/MOVING - MOMENTS LATER CAMERA PANS left and picks up the fourth brother MIKE D as he walks from work and gets in the car. CAMERA HOLDS behind the heads of the four blonde brothers as they drive off.\",\n \"EXT/INT. LENA'S APARTMENT COMPLEX - EVENING This is a SPLIT SCREEN SEQUENCE shot with TWO CAMERAS. THE LEFT SIDE OF THE SCREEN holds Lena. She waits in her small, nondescript apartment doing the things you do while waiting for someone else. She sits, stands, sits, stands. THE RIGHT SIDE OF THE THE SCREEN travels -LRB- STEADICAM -RRB- with Barry as he walks into the RECEPTION AREA. There is a SECURITY GUARD -LRB- black, female -RRB- who asks him his name, where he's going and to sign in. The Security Guard calls up to Lena's place. and we watch Lena answer the phone. The Security Guard gives Barry some very complicated directions. we follow/lead Barry as he makes his way through the maze/up elevators/down corridors looking for Lena's apartment. Finally, he arrives, knocks ; LENA Who is it? BARRY It's Barry. As she opens the door, THE SPLIT SCREEN SLIDES AWAY AND THE IMAGES GIVE WAY TO THE ONE OF LENA standing ; LENA Hi.\",\n \"INT. RESTAURANT - NIGHT Lena and Barry at a table. They talk -LRB- see notes. -RRB- LENA So I want to tell you something, I got ta tell you : I saw a picture of you guys, your sisters and you and I saw your picture and I really wanted to meet you. -LRB- beat. -RRB- I came to drop my car off there on purpose, to try and meet you. Barry leans a little bit out of FRAME. BARRY really? That's nice. are you lying? LENA I thought I should tell you. I did n't want to get too far along on going out and be hiding something - BEAT. He leans slightly back in FRAME. BARRY That's very nice. Thank you. Thank you for saying that. -LRB- beat. -RRB- You're friends with my sister? LENA Yeah. BARRY How long have you known her? LENA About six months. BARRY You like her? LENA Yeah. Yeah we get along well. -LRB- beat. -RRB- You did n't get along with her very well? BARRY Did you really come to meet me on purpose or are you lying about that? LENA No, no. I did. BARRY That's nice. It's nice. -LRB- beat. -RRB- I've been looking around a lot lately at promotional giveaways, cross promotional work by some companies. Do you remember all that pudding? LENA Yeah. BARRY So that pudding was bought, I bought that pudding because of a pretty interesting promotion that's sponsored by Healthy Choice and American Airlines. It's designed to encourage airline travel and obviously designed to encourage buying Healthy Choice products. They make frozen meals, deli meats, pasta sauce, breads, soups and ice creams, this sort of thing. LENA Yeah? BARRY I'm sorry. I lost my thoughts, what I was saying. LENA You were talking about the promotion - BARRY - the promotion says : buy any 10 Healthy Choice products and get 500 miles of airline travel or 1,000 for purchases made with a special coupon. So in the supermarket, you notice their products, first you notice they have a Teriyaki Chicken Dinner at $ 1.79 - that's a pretty good deal. but then I noticed they had soup at 89 cents a can. and you start to do the math and you start to notice that it's a really amazing deal because I stumbled across the pudding at 25 cents a cup. Now the crucial thing is the bar codes on the label. That's those little bar codes, you know? The universal product codes? LENA Yeah. BARRY That's what's used to redeem the mileage, so in noticing the pudding, each cup had an individual bar code - in other words : Two dollars and fifty cents for ten cups of pudding is 500 miles. Add in the coupon : it's one thousand. You see? LENA Yeah. BARRY You see? LENA Yeah, no, I see - BARRY You see if you spent $ 3,000 dollars on pudding you could earn over one million frequent flyer miles. LENA That's insane. That is really, really crazy. That's just crazy if you spend three thousand dollars on pudding. BARRY yeah. LENA So that was your pudding? BARRY No. LENA I'm sorry. I thought you said - BARRY No I did n't say that. LENA I thought you said you bought all that pudding - BARRY My friend Carlos is doing it who works with me. It's his. It's his pudding, he's doing it. It's not mine. He's crazy. I told him not to do it. He's the one who's insane. He only spent about one hundred dollars so far though - LENA Your sister was telling me a pretty funny story about you, when you guys were kids and you were building a ramp for your dog and you threw a hammer through a window? Is that right? You threw a hammer through a sliding glass door? Barry starts to WELL WITH TEARS, which he hides very quickly, holds a hand up to his face as if he's touching his nose, and then he smiles ; BARRY I do n't remember that, she might be lying. I have to go the bathroom. He gets up and goes.\",\n \"INT. BATHROOM - MOMENTS LATER Barry walks in and goes a little crazy. He's mad at himself and he HITS a stall. it seems loose already and falls straight to the floor. This makes him go crazier and he continues to BEAT and KICK the shit out of the bathroom/stall. HOLD. He collects himself and then he hesitates, looks around, tries to collect the bathroom but it's in ruins, he exits.\",\n \"INT. RESTARAUNT - MOMENTS LATER Barry comes back and sits down, seems a little better. Tries to be a little flirtatious for half a moment before : the MANAGER comes over, leans in carefully ; MANAGER Hello. LENA & BARRY Hi. MANAGER Sir, can I talk to you? BARRY Why? MANAGER Just have you for one second, please. He looks to Lena, excuses himself. ANGLE, OFF TO THE SIDE. The Manager and Barry step away, in a quiet section of the restaraunt, 2 - shot, profile, in sotto ; SLOW ZOOM IN. MANAGER Sir, the bathroom was just torn apart. BARRY Yeah. MANAGER Did you do it? BARRY No. MANAGER You did n't just smash up the bathroom? BARRY No. MANAGER Well who did? BARRY I do n't know. MANAGER You're hand is bleeding. BARRY I cut myself. MANAGER How? BARRY On my knife. MANAGER Sir, a young man saw you coming out of the bathroom. BARRY I did n't do that. BEAT. BARRY Why? what? MANAGER Your hand is bleeding. BARRY I know. MANAGER I'm gon na have to ask you to leave. BARRY Why? MANAGER Sir, I have no way of proving that you demolished the bathroom - BARRY I did n't do it. MANAGER Alright, well you're gon na have to leave. You're gon na have to go. BARRY Yeah, but I did n't do anything. MANAGER I'm gon na call the police then, sir. BARRY Please do n't do this to me. MANAGER The police are on their way. BARRY Sorry. He starts to move back. BARRY Can I pay you here? Can I pay you for our drinks and salad? MANAGER That's fine. Barry takes out some money and hands it over. BARRY Keep the change, please. ANGLE, BACK AT THE TABLE. They walk back to the table and Barry whispers down to her, very close, STEADICAM -LRB- leads them out - continuous -RRB- BARRY We should go I think, I do n't like it here. LENA Ok. They head out of the restaraunt. LENA Is everything ok? BARRY Yes. LENA What happened? BARRY Nothing. LENA What did he want? BARRY Nothing. They walk a bit. BARRY I have a better idea of where we can go. LENA Ok. They walk some more. BARRY There's a better place for us to eat. LENA Did something happen ; are you alright? BARRY Yes I'm fine. Everything is ok. It's fine. Everything is fine. They walk some more and get in the car.\",\n \"INT. BARRY'S CAR - DRIVING - NIGHT 75mm OVER ONTO BARRY. 75mm OVER ONTO LENA. Rear process or poor man's process. LENA So. how is your harmonium doing? Barry looks at her. LENA Your portable reed organ. the piano. BARRY Well, it's fine. Thank you. LENA Did you pick it up from the street? BARRY What? LENA Did you take it from the street in front of your work? BARRY yes I did? LENA Are you learning how to play it? BARRY Yes? I'm trying. LENA Oh that's great. BEAT. LENA So you must travel a lot with all that pudding you bought? BARRY Yes no not really.\",\n \"INT. LENA'S APARTMENT - LATER Lena and Barry finishing up the date ; BARRY Ok. well. I'm gon na go. LENA yeah. BARRY It was nice to see you again, to see your face again, to go out with you - LENA I'll be around and back in town in a few days - BARRY Yeah. LENA If you come to Hawaii - BARRY Yeah, I do n't know, we'll see about that. LENA You do n't think you'll go - BARRY I do n't know. LENA Ok. Well call me when you get back, I mean, I'll call you when I get back. I'll be back for three weeks and then I go away for a month after that. So maybe in that time. BARRY Ok. Have a good trip. They do a shake hands/kiss on cheek goodbye. CAMERA IN THE HALLWAY with Barry as he walks away. CAMERA follows him as he swiftly walks away.\",\n \"INT. RECEPTION AREA/LENA'S BUILDING Barry steps out of the elevator and walks to the exit, passing a RECEPTION DESK WOMAN. we hear the PHONE RINGING. she calls out ; RECEPTION WOMAN Are you Barry? BARRY Yes. RECEPTION WOMAN It's for you. Barry walks towards the phone ; BARRY This is Barry. LENA -LRB- OC. -RRB- This is Lena. BARRY Hi. LENA -LRB- OC. -RRB- I just wanted you to know, wherever you're going or whatever you're doing right now I want you to know that I wanted to kiss you just then. BARRY Really? LENA Yeah. BARRY So what do I do then?\",\n \"INT. MAZE OF CORRIDORS - MOMENTS LATER Barry is walking up and around, looking for the spot. Two or three shots of various, him getting a little/slightly lost. running/walking.\",\n \"INT. HALLWAY - THAT MOMENT CAMERA pushes down towards him as he walks towards the door. He knocks, she opens up, CAMERA SLIDES right in and lands as they KISS and then the kiss turns into a small hug and then they talk, real close. HOLD. BARRY That was good. LENA Yeah. BARRY I'll see you later. LENA Ok. BARRY I do n't freak out very often. LENA What do you mean? BARRY I do n't, no matter what my sisters say, ok? LENA I do n't know what you mean. BARRY I do n't freak out. LENA Ok. BARRY Have a good trip. LENA Thank you. CAMERA behind Barry as he walks away. HOLD BEHIND HIM FOR A BIT LONGER THEN EXPECTED ;\",\n \"INT. BARRY'S APARTMENT/GARAGE CAMERA inside the garage. Barry pulls inside and parks his car. ANGLE, BEHIND THE CAR. Brake lights turned off, Barry steps out.\",\n \"INT. BARRY'S APARTMENT/KITCHEN - THAT MOMENT CAMERA on Barry's trash can, the kitchen light comes on. SLOW PUSH IN. He enters FRAME and lifts the trash bag out.\",\n \"EXT. BARRY'S APARTMENT - LATER CAMERA is behind Barry now in a new location. he's walking from his garage where he's just parked his car over to his garbage area as he throws something out. he looks up and sees. Jim and Nate driving the Toyota Pick Up Truck. he cruises past slowly. keeps going. then makes a u - turn. Barry turns around and DAVID and MIKE D are right there. DAVID Hey. BARRY Hi. DAVID I need to talk to you for a second. BARRY What? DAVID You got ta give me some money. Barry starts to walk away. David walks alongside him, casually. Barry looks over and sees the car has pulled up. DAVID You made a phone call and you said you'd help a girl out and then you did n't. I'm here to get the money. BARRY Wait a minute - DAVID No, no, no, no c'mon man, do n't make it a thing - BARRY Please do n't do this. DAVID It's just you need to give me the money. do you have it right now? MIKE D violently PUSHES BARRY STRAIGHT TO THE GROUND. BARRY Whoa. whoa. wait, wait - do n't please. DAVID How much money do you have in your pockets? BARRY Just take it, take the money in my pockets, take it, it's fine - They grab the money from his pockets as they hold him down on the ground ; BARRY It's three hundred and twenty dollars, just take it. DAVID What do you have in the house? BARRY Nothing. I mean, really. change, nothing. that's the cash I have. DAVID You have an ATM? BARRY Yes. DAVID Is this where you live? BARRY Yes. DAVID You have another house somewhere or something? BARRY No. MIKE D This is three hundred and twenty. Let's just go to your ATM and that'll be it - BARRY I did n't promise her money. She said that it was confidential, this is n't fair - Mike D pushes Barry's face. MIKE D Shut up, be quiet. Be quiet. BARRY - do n't - DAVID HEY. You made a fucking sex call and now you're gon na pay. It's not a big thing - just give us some money and then it's over - we'll just walk down to the ATM and get your money out - BARRY Alright, alright. They pick him up and then ; BARRY How do you want to do this? MIKE D Let's just go to the corner, we saw a place on the corner, you'll just get your max out and that's it - you get out what you can and that's it -\",\n \"EXT. GROCERY STORE/BANK PARKING LOT - NIGHT CU. BARRY at the ATM. Various CU's as he puts his card in, presses his info, etc.. He looks over his shoulder ; ANGLE, THE BROTHERS. CAMERA SLOWLY PUSHES IN on the three of them watching Barry. CU. 's MONEY comes out of ATM. Card comes out. Receipt comes out. Barry grabs the money. DAVID Ok. This is what you get when you're a pervert - you said you'd help someone out and you did n't so we're just getting some money for her and that's that. BARRY You know, please, I just wan na say that I did n't say I would help her out ; I was very clear about it. I do n't think that this is fair. wait, wait, wait, ouch, ouch. MIKE D walks up out of nowhere and straight towards Barry - throws a PUNCH straight to his FACE. Barry stumbles a bit, goes down to the ground. he NOTICES IN A QUICK FLASH : Their UTAH license plate. MIKE D You do n't challenge what my brother's saying, you do n't say that - . Barry makes a mad run for it.\",\n \"EXT. STREETS & ALLEYS - NIGHT ANGLE, BARRY. - VARIOUS ALLEY WAY/STREET SHOTS. He turns some corners. makes his way down a side street and through an alley or two. and then he's running like a mad man as fast as he can down the street.\",\n \"EXT. STREET NEAR ATM - NIGHT CAMERA tracks profile with him. The Boys pull up along side him slowly. Barry looks over. Mike D calls out from the passenger window ; MIKE D Where the fuck are you going? Barry starts to slow down. CAMERA behind. as he slows, we push in. land. he turns into CU. and walks back the opposite direction.\",\n \"INT. BARRY'S BEDROOM - NEXT MORNING CAMERA holds on Barry as he wakes up. He's dressed in a FULL BASKETBALL OUTFIT. Lakers shirt, shorts, high tops, etc.. Small bandage over his ARM. He looks down at the outfit ; BARRY what the hell?\",\n \"INT. WAREHOUSE/BARRY'S OFFICE - MORNING CAMERA DOLLIES/ZOOM in real quick to Barry at the Harmonium. A few more notes are played, something starting to sort of sound like a melody. but still a little broken. HOLD. SCORE begins here -LRB- ref.notes -RRB-\",\n \"INT. WAREHOUSE/BARRY'S OFFICE - MOMENTS LATER Barry brings Lance in and closes the door, speaks sotto, then ; LANCE What's up? BARRY I think I got in trouble. A little bit of trouble. LANCE What happened? BARRY I made a call. -LRB- beat. -RRB-. and, uh. BEAT. Barry looks over Lance's shoulder and sees THE PUDDING stacked up. He stares for a moment ; BARRY ok. ok. I got ta get some pudding to go somewhere. One of the WORKER'S pops his head in, says ; WORKER Telephone on Line One, Barry. He picks up the phone ; BARRY Hello? RHONDA -LRB- OC. -RRB- I need to talk to you about your behavior the other night - Barry hands up the phone real fast. BARRY -LRB- to Lance. -RRB- Ok. Well. I'm gon na go out of town. I'm going to go out of town just for two days. LANCE Where you goin? BARRY I'm going to go to Hawaii but you ca n't tell my sisters that. LANCE Wow, you're goin' to Hawaii, that's great - you're goin -? BARRY Yeah but you ca n't tell my sisters that. LANCE Ok. BARRY Alright : And I have to go and buy some more pudding for this trip to Hawaii and as I just said that out loud I'm realizing it sounds a little strange but it's not. So can you come and help me out? LANCE Ok.\",\n \"EXT. WAREHOUSE - MOMENTS LATER Barry and Lance exit the warehouse and get into Barry's car -\",\n \"INT. SMART AND FINAL - DAY Barry and Lance are filling up an EXTRA LARGE SHOPPING CART with PUDDING as Barry explains, CAMERA pushes in ; BARRY I saw the Teriyaki Chicken first and that was $ 1.79 and then the Soup which made a real deal but then to come across the pudding. it's just tremendous when you think about how most people just do n't look. they do n't. they're not looking at the fine print, Lance.\",\n \"INT. SMART AND FINAL/CHECK OUT - MOMENTS LATER They're unloading the pudding which comes in packets of three, but Barry and Lance are taking them out of those packets and handing them to the CHECK OUT GIRL one by one. BARRY -LRB- to Girl. -RRB- They need to be scanned individually. They each have a bar code, so I need it scanned individually so that each and every cup appears on the receipt. CHECK OUT GIRL What is this, man? BARRY I'm sorry. CHECK OUT GIRL Are you serious with this? BARRY Yes. Sorry. CHECK OUT GIRL Well. what do you want, then? BARRY Each pudding cup has to be scanned individually so that. it's for a giveaway. a product giveaway by this company. CHECK OUT GIRL This is a bunch of bullshit. BARRY I'm sorry, I know. I know that it's. BEAT. She scans them over and over and over. then : BARRY I'm sorry, I'm really sorry. She scans and scans and scans and scans. BARRY Sorry. I'm sorry, ma'am.\",\n \"EXT. SMART AND FINAL - DAY Barry and Lance pushing the shopping carts. Barry looks across the parking lot and sees : A TOYOTA PICK UP coming slowly towards him and Lance. Barry starts to move steady/swiftly towards his car. Lance tries to keep up. Barry gets nervous, looks left and right. The Toyota passes and it's nothing. Barry and Lance load the pudding in his car as Barry acts as if nothing happened. He turns and sees a BABY in a shopping cart and he reacts ; BARRY God Damn They're So Beautiful.\",\n \"INT. SUPERMARKET - DAY Barry and Lance stack pudding in, Barry says ; BARRY You know you can get places in the world with pudding. That's funny. LANCE Yeah. BARRY That's funny.\",\n \"EXT. PARKING LOT/ANOTHER SMART AND FINAL. Barry and Lance walk together towards another Smart and Final. they walk towards the SLIDING DOORS. that do not slide open. Barry walks face first into the doors and quickly turns around and heads back to the car. BARRY I guess they're not open today. CAMERA holds the long walk back to the car. Barry glances both directions. cautious and careful. sees nothing. BARRY That's fine. I think I have enough. He walks a little faster and gets in the car. HOLD. SLOW ZOOM IN. SOUND DROPS out. he just sits, then, to Lance ; BARRY I get really sick of myself sometimes.\",\n \"INT. BARRY'S WAREHOUSE - DAY CAMERA pushes in quick, Barry on the phone ; BARRY No, no, no, no, no. What do you mean? It does n't state anywhere about six to eight weeks. OPERATOR VOICE It takes that much time to process the order and make sure it's valid - BARRY I had this whole thing in my head, I was gon na be able to get this to you today - I have to leave today - OPERATOR VOICE I'm sorry. BARRY How am I supposed to know what to do if you do n't say it - if it's not in your rules and regulations in your fine print how am I supposed to know how to be with this - OPERATOR VOICE It takes time to process - BARRY No, no, no, no, nO, NO, NO! Barry drops the phone to the ground, spins around and PUTS HIS FIST THROUGH THE WALL. then drops down, lower his head. CAMERA HOLD CU. as he stops himself, tries to breath ; BARRY Do n't do that. Do n't do that. That's not right. Calm down now, please. Please. Ok. Ok. Calm down now please. HOLD. `` He Needs Me,'' starts. He closes his eyes.\",\n \"INT. WAREHOUSE AREA - MOMENTS LATER Barry walks over to Lance ; BARRY Ok : the pudding is gon na take six to eight weeks to process so that is n't gon na work for today, I'll just take a bath on that today. Ok. But here's the thing I got ta tell you : BEAT. He looks around at the pudding. BARRY now : this pudding? LANCE Yeah. BARRY Let's just figure that out later -. -LRB- beat. -RRB- Ok. I got ta go. I'm just gon na go now and I'll call you from there, you're in charge'till I get back. And do n't tell my sisters anything? He exits.\",\n \"INT. LOADING AREA/PLANE - DAY CAMERA -LRB- STEADICAM -RRB- follows him from the ticket handoff down the corridor onto the plane.\",\n \"INT. PLANE - DAY CAMERA holds 2 - shot on Barry and a BUSINESS GUY sitting together, just before take off. HOLD, THEN : BARRY I've never been on a plane before. BEAT. There's the SOUND of the plane starting to move. BARRY What's that sound?\",\n \"INT. PLANE - IN FLIGHT - LATER Barry sits. BEAT. HOLD. We hear the sound of a BABY CRYING. He looks across the aisle and sees : A small, THREE YEAR OLD CHILD crying, behind held by its FATHER. The baby stops crying for a moment, calming down, breathing heavy, looks around with wide eyes. CU. BARRY. HE WELLS WITH TEARS AND A SMILE, CRINGES IN HIS FACE AND WE SEE THE BUILD UP OF EMOTION, HIS VEINS POP FROM HIS FACE AND THEN HE SMILES LIKE CRAZY, SMILING AND SMILING AND SMILING, BRIGHT RED AND PAINFUL.\",\n \"INT. HAWAII AIRPORT - LATE AFTERNOON He walks along the airport, looking out onto planes and palm trees and people, etc..\",\n \"EXT. AIRPORT/CURB - TAXI AREA - THAT MOMENT Barry hops into a TAXI. The CAB DRIVER asks : CAB DRIVER Where? Barry HOLDS a moment, then realizes he does n't know, SNAPS INTO A CONTORTION, STARTS TO TEAR and almost SNAP and then nothing.\",\n \"INT. WAKIKI STREET/PHONE BOOTH - LATER Barry on the phone amid a crowd of people passing ; ELIZABETH Hey. What are you doing? BARRY Nothing. I'm just at work and I'm wondering, you know your friend Lena?\",\n \"INT. ELIZABETH'S APARTMENT - THAT MOMENT CAMERA with Elizabeth ; ELIZABETH What about her? You did n't ask her out, you're such a pussy - BARRY she did n't, I did n't ask her out? ELIZABETH You're so scared. BARRY Do you know where she's staying in Hawaii? ELIZABETH Oh My God, yeah, I know exactly where she is, why? BARRY she forgot her purse at my work and I wanted to get it back to her. ELIZABETH No she did n't ; that's a lie. BARRY I. please do n't do this. ELIZABETH What? Tell me why you wan na know - BARRY I just want to know where she's staying. ELIZABETH Tell me why. BEAT. HOLD ON BARRY. BARRY There is no reason for you to treat me like you do - you're killing me, you are killing me with the way that you are towards me - ELIZABETH - what are you talking about, come on - BARRY - all I want is the number of where she's staying and that should be god damn good enough, now stop treating me this way, please - Just Give Me The Number Elizabeth Please Now I think I will kill you if you do n't.\",\n \"INT. WAKIKI STREET/PHONE BOOTH - MOMENTS LATER Barry on the phone ; HOTEL OPERATOR Sheraton Wakiki, how may I direct your call? BARRY Lena Leonard's room please. HOTEL OPERATOR I'll connect you. BEAT. A MAN answers the phone ; MAN'S VOICE Hello? BARRY Hello. Is Lena there? MAN'S VOICE You have the wrong room. He hangs up. Barry dials the number again. HOTEL OPERATOR Sheraton Wakiki, how may I direct your call? BARRY I just called, I got connected to the wrong room. I'm looking for Lena Leonard and there should n't be a man in the room I'm calling. BEAT. He's put on hold a moment, then it rings, then : LENA Hello? BARRY Lena? LENA Yeah? BARRY It's Barry. LENA HI. WHERE ARE YOU? ARE YOU HERE? BARRY Yes. LENA OH WOW. YEAH. THAT'S GREAT. YOU CAME, YOU CAME. What are you doing? BARRY I'm calling you, I'm standing in my hotel room, I came because I have my business trip - LENA Well let's do something do you want to do something, can you meet me? BARRY You do n't have a boyfriend or anything do you? LENA No. What do you mean? BARRY I just wanted to know. When was the last time you had a boyfriend? LENA About six months ago. Why? BARRY I just wanted to make sure. LENA When was the last time you had a girlfriend? BARRY Where you married? LENA yeah. BARRY Ok. So you were married for how long? LENA Do you want to meet me and talk about this stuff? BARRY Ok. Where are you from originally?\",\n \"INT. ROYAL HAWAIIAN/LOBBY - LATER Barry is standing, waiting. HOLD. he looks across the lobby and sees : Lena. she's walking towards him with a smile on her face. Barry smiles and walks towards her. she walks towards him. he extends his arm out for a handshake as they get closer. she opens her arms for a hug as they get closer. They shake/hug/kiss on the cheek. then on the mouth. They start making out in the lobby of the hotel.\",\n \"EXT. ROYAL HAWAIIAN - PATIO/BAR AREA - MAGIC HOUR CAMERA roams through the Mai Tai bar on the beach and finds them ; -LRB- Ladies K playing here. -RRB- LENA You got me out of my hotel room. You came and got me out of my room. BARRY Yeah. yeah. LENA It's so nice. BARRY This really looks like Hawaii here. They look at each other. HOLD, THEN : ANGLE, MOMENTS LATER. They walk back towards the hotel. CAMERA -LRB- STEADICAM -RRB- behind them as they move -\",\n \"INT. ROYAL HAWAIIAN/HALLWAY - MOMENTS LATER CAMERA follows behind them as they walk. IRIS into their hands. she reaches over and holds his hand.\",\n \"INT. ROYAL HAWAIIAN HOTEL ROOM - MOMENTS LATER They're in bed making out with their clothes on and a light on. they hold a second. BARRY Do you wan na have sex? LENA Yeah. They take their shirts off. LENA Press together. It feels good. She cups his face with her hands and tenses ; LENA Oh my god, you are so adorable. I just. god dammit. BARRY What's that? What is that that you're doing? LENA I just. your face is so adorable and your cheek and your skin, I wan na bite it. I wan na bite your cheek and chew on it. god damn cute. fuck. BARRY I know what you mean, I know what you mean, I get this feeling - LENA what? BARRY IIIIIIIIIII do n't want to hurt anything ever, but what I'm talking about is - have you ever held a little puppy or a little kitten and it's just the cutest, softest, most precious thing in the world and out of the blue you get this feeling in your gut and all you wan na do is squeeze it. Just fuckin squeeze the shit out of it. To take a little puppy and smash its skull. just so precious, so beautiful. Just so god damn wonderful and cute you wan na smack it and kick it and love it. Fuck. I do n't know. I do n't know. And you, you. I'm looking at you and I just. your face is so beautiful I just wan na smash it, just smash it with a sledgehammer and squeeze it. you're so pretty. They kiss and kiss and kiss ; LENA I know. I know. I know. I just wan na chew your face and scoop out your beautiful, beautiful eyes with an ice cream scooper and eat'em and chew'em and suck on'em. Fuck. BARRY This is funny. LENA Yeah. BARRY This is nice. They kiss and make out some more, then : DRUM ROLL into SNARE\",\n \"INT. TOYOTA - MOVING - DAWN CAMERA on Mike D and Nate driving. HOLD. Martin rumbles out of a half sleep and says ; NATE That guy had more money to give up. JIM and DAVE wake up a bit in the back seat and listen ; NATE Long way to drive just for seven hundred something bucks. Dean does n't have to know. HOLD. SILENCE for a moment. MIKE D We're not that far. I mean, if we're going to, we're not that far.\",\n \"EXT. HIGHWAY - NIGHT (BLUE SKY - CRACK OF DAWN DEAL) The Toyota exits the freeway - CAMERA TRACKS right with it as it makes a turn at the base of the off ramp. goes under a bridge and then makes a turn getting back onto the freeway heading in the opposite direction.\",\n \"INT. HAWAIIAN HOTEL ROOM - NIGHT/NEAR DAWN - LATER It's dark and Barry and Lena are asleep in bed together. Barry gets up, in a haze. Lena moves and opens her eyes. She watches him as he gets up and casually goes to the corner of the room and starts talking gently to the wall. BARRY -LRB- sotto, calm. -RRB- You know you're not supposed to do that. Because I told you. Seriously. Please. Not that day. Ok. LENA Barry? He does n't respond. He's asleep. He moves to the closet and gets one of the HOTEL ROBES and puts it on and then he looks right at her and says : BARRY I was talkin' to you last Thursday about that. He gets the robe tied tight around his waste and then gets the COMPLIMENTARY SLIPPERS and puts them on. Then he gets back into the bed and closes his eyes.\",\n \"INT. KAHALA HOTEL - MORNING CAMERA pushes in slow towards Lena as she's on the phone. CAMERA pushes in on Barry as he sits across the room, listening in his robe. They stare at each other the whole time. ELIZABETH -LRB- OC. -RRB- They need to see the new 484's to make sure it works with their OC. LENA Ok. What should I do about Eric? ELIZABETH -LRB- OC. -RRB- Just tell him to call me. LENA Ok. ELIZABETH -LRB- OC. -RRB- So. did my brother call you? LENA No. ELIZABETH -LRB- OC. -RRB- I have no idea what he's doing then. I'm sorry that did n't work out. LENA It's fine. ELIZABETH -LRB- OC. -RRB- You would n't want to go out with him anyway, honestly, he's such a freak sometimes. LENA He did seem a little strange. ELIZABETH -LRB- OC. -RRB- Well. he's not that strange, do n't say that. LENA I'm sorry. You're right. ELIZABETH -LRB- OC. -RRB- I think he's weird, but that's me. LENA Should I call you later? ELIZABETH -LRB- OC. -RRB- I'll just see you when you get back here. LENA Ok. They hang up and Lena looks to Barry and smiles. LENA Where do you have to go? BARRY For what? LENA For work. BARRY I do n't have any business here. I came here for you, I did n't have any business.\",\n \"EXT. TOYOTA - DRIVING - DAY (MELODY/SLIGHT) CAMERA follows behind The Stevens Brothers car, then gets up along side them as they drive back.\",\n \"INT. KAHALA LOBBY - DAY (SCORE BACK TO RHYTHMIC) Barry and Lena walk out to the valet, leaving the hotel. -LRB- STEADICAM -RRB- behind them.\",\n \"INT. HONOLULU AIRPORT/SECURITY - DAY (CONTD. UNTIL NOTED) Lena and Barry go through the x - ray thing. STEADICAM.\",\n \"INT. AIRPORT/HONOLULU - AT THE GATE/WAITING AREA Side by side on the return flight sit Lena and Barry. BARRY How many times have you been on an airplane? LENA I think maybe over a hundred. BARRY That's right you travel so much. LENA Yeah. BEAT. The plane starts to move. BARRY How much do you travel? You travel all the time? She nods her head, looks at him. BEAT. HOLD. BARRY I forgot about that. LENA Can I come home with you when we get there? BARRY Yeah. LENA It's ok to ask that. BARRY I thought that you were anyway. CU. BARRY'S FACE. He looks to Lena. DRUM HIT LOUD. THEN AGAIN. THEN AGAIN. and we're in the score cue for. CUT TO BLACK. It's BLACK FOR A FEW MOMENTS.\",\n \"INT. BARRY'S GARAGE - NIGHT It's dark. The garage door opens and we see Barry and Lena in his car. they're about to pull in. THE TOYOTA PICK UP carrying The Stevens Brothers pulls in real fast behind them and rear - ends them. CAMERA pushes in real fast. Barry turns and sees Lena's head has been injured. he looks behind and sees TWO OF THE BROTHERS EMERGING FROM THE CAR. he gets out quick, heads right for them. MIKE D Get on the ground, man - get on the fucking - Barry goes absolutely APE SHIT on MIKE D and NATE. it's a mess of VIOLENCE and BRAWLING and Barry seems to get the best of both NATE and MIKE D. the two other brothers half get involved/stay in the car. CAMERA pushes in on LENA -LRB- 30fps -RRB- as she notices Barry going pretty fucking crazy. ANGLE. BARRY. As he walks and gets back in the car. CAMERA is attached to the open door and closes as Barry closes the door. BARRY Are you ok? LENA I'm fine are you ok? BARRY Yes I'm sorry. LENA What is this? BARRY Let's go to the hospital. They drive off.\",\n \"INT. HOSPITAL - LATER Lena is getting a bandage applied to her head by an intern. It's very calm and she's very matter - of - fact as it happens. Barry stands nearby. and OFFICER is asking her a few questions ; LENA people are just crazy in this world, I think. POLICE and he came up on the driver side. LENA The first man came on the driver side. POLICE right. the blonde one? LENA They were all blonde. CAMERA moves over with Barry as he starts to back away from the scene. CAMERA watches him as he walks off and away, down the hall. out of the hospital. HOLD on the back of Lena's head as she gets bandaged and questioned.\",\n \"INT. BARRY'S WAREHOUSE - NIGHT CAMERA pushes in from outside, to inside. he's opened up and is using the phone. SEXY VOICE RECORDING - some of the horniest girls around - stay on the line and an operator will be right with you. remember, have your credit card ready and know that Mastercard is my favorite credit card. LATISHA picks up doing a fake voice as an `` Operator.'' LATISHA -LRB- OC. -RRB- This is Janice the operator, who's this? BARRY My name is Barry Egan and I spoke to you. you called me, you remember?\",\n \"INT. PROVO - BAR - BACK ROOM AREA - THAT MOMENT CAMERA pushes in on Latisha as she looks for what to say : LATISHA no. I do n't. I do n't remember you. Who's this? BARRY That's not true. That's not true at all. You said that your name was Georgia and you said our conversation was confidential and I trusted you and you kept calling and asking me for money, c'mon now I want to talk to your owner, your supervisor, whoever runs this, you understand. Please connect me now. LATISHA Can you hang on a second? She puts him on hold and dials another number, she's real nervous, holding it in -\",\n \"INT. DEAN'S MATTRESS/FURNITURE STORE - THAT MOMENT Dean also seems to own a mattress/furniture store in Provo. Somebody walks towards him, says : WORKER Dean, line one. Dean walks back to the phone and picks it up ; DEAN Hello? LATISHA Hey, it's me. This guy from L.A., Barry Egan is calling on the other line and saying all this stuff, he wants to talk to a supervisor or whatever - DEAN What did you say? LATISHA Nothing. DEAN Put him through. LATISHA No, no. This is bad, something might have happened, we should just - DEAN Shut up, just put him on the phone, it does n't matter, just shut up - INTERCUT NOW WITH BARRY/LATISHA/DEAN ; She clicks over to him ; LATISHA Ok, sir. I'm gon na put you through to my supervisor. BARRY Fine, thank you. LATISHA Ok. You're connected. DEAN Who is this? BARRY Hello, my name is Barry Egan and I called your service - DEAN Why do n't you shut the fuck up? BARRY What? DEAN I said calm down and shut the fuck up. What's your problem? BARRY I have n't even told you what's happened. Your girl that you have that works there for you threatened me and two men just chased me - extorted money - DEAN Go fuck yourself that shit does n't have anything to do with me - this is a legitimate bossiness. BARRY YOU GO FUCK YOURSELF. YOU GO FUCK YOURSELF. YOU GO FUCK YOURSELF. MY LOVE WAS HURT, SHE GOT HURT. I AM IN LOVE WITH HER AND YOU HURT YOU AND YOU ARE GON NA FUCKING GET HURT. YOU DO N'T TOUCH HER, I LOVE HER. DEAN CALM DOWN SHUT THE FUCK UP AND CALM DOWN SHUT SHUT SHUT UP SHUT UP - They stop screaming. Then : DEAN Now are you threatening me, dick? BARRY You are bad. You are a bad person. you are a bad person and you have no right to take people's confidence in your service - DEAN You better watch your mouth, cunt, you're gon na get hurt. BARRY NO. NO. DO N'T YOU SAY THAT. DEAN I'll say whatever I want - BARRY YOU FUCK OFF. YOU FUCK OFF AND DIE I WILL HURT YOU FOR HURTING HER. YOU HURT HER. DEAN You just told me to fuck off. That was n't good. You're dead. Dean hangs up the phone. ANGLE, BARRY. He turns away and walks quickly out of his office with the phone receiver to his ear. the base of the phone slides off the desk. and then the receiver RIPS from the base and he starts to run.\",\n \"EXT. WAREHOUSE - NIGHT Barry runs down the alley way, much the same he ran down with the harmonium at the beginning of the movie. this time he has the phone in his hand. he runs.\",\n \"INT. HOSPITAL/RECEPTION AREA - NIGHT Barry returns looking for Lena. She's not there. He looks around. does some math in his head. then :\",\n \"INT. HOSPITAL/PAY PHONE CAMERA rounds a corner and discovers Barry on a pay phone. the other end is ringing. -LRB- Sound/Prop Dept.Note : This must be a working phone to call 801 - 555 - 1212 -RRB- OPERATOR What city? BARRY Somewhere in Utah. OPERATOR What's the listing? BARRY D&D Mattress Man.\",\n \"EXT. STREET/MATTRESS STORE - DAY CU. on Barry. -LRB- UTAH CAB behind him -RRB- pan him around to reveal ; Dean's furniture store.\",\n \"INT. MATTRESS STORE - DAY He enters. and EMPLOYEE approaches ; EMPLOYEE May I help you? BARRY I'm looking for the Mattress Man. EMPLOYEE Who? BARRY Whoever owns this. EMPLOYEE In the back. Barry walks towards the back. he rounds a corner. to reveal : DEAN is in a back room, he's getting his hair cut by LATISHA. he turns and looks at Barry, who stands there with the phone in his hand. They stare at each other. BARRY I'm a nice and reasonable man. I did n't do anything wrong. Please do n't make me hurt you. And I'm telling you : that if you ever hurt me or if you hurt someone that I love. I will hurt you many, many, many times over. because it's not right to take people's trust. DEAN You came all the way from Los Angeles to tell me that? BARRY Yes I did. Dean does n't respond. BARRY Can we agree that that is that? DEAN That's that. BARRY Thank you. Barry hands him the phone. Barry exits. as he's about to go out the doors, Dean screams ; DEAN NOW GET THE FUCK OUTTA HERE MAN. CAMERA, PUSHES IN VERY SLIGHTLY ON Barry as he exits the doors -LRB- 30fps -RRB-\",\n \"INT. WAREHOUSE - DAY Barry comes running into the warehouse. Lance and all the workers are there. he runs past them. LANCE/WORKERS are you ok? What's goin' on? Barry? Barry? BARRY I'm fine. I'm fine. yes I'm fine. LANCE Where you been? BARRY Well I had to go to Utah. but now I'm here and I'll be right back.\",\n \"INT. LENA'S APARTMENT - CORRIDOR/VARIOUS Various : Barry gets out of the elevators carrying the harmonium. he makes the left turn this time. Barry runs down the hallway with the harmonium. -LRB- long lens, steadicam from behind, in front, etc. -RRB-\",\n \"INT. LENA'S APARTMENT/HALLWAY - THAT MOMENT He bursts through the door. He places the harmonium down on the ground. He rings the bell. she answers. he says : BARRY Lena I'm so sorry. I'm so sorry that I left you at the hospital. I called a phone sex line. I called a phone sex line before I met you and then these four blond brothers came after me and you got hurt and I'm sorry - and I had to leave because I do n't want you to get hurt again and now I'm here and I'm back and I have a lot of pudding that I can redeem in six to eight weeks and if you give me that much time I can get enough miles to fly with you wherever you have to go if you have to travel for your job because I do n't want to be anywhere without you. can you please let me redeem the mileage? LENA You left me at the hospital. BARRY I'm sorry. LENA You ca n't do that. BARRY Ok. BEAT. BARRY If you give me six to eight weeks I can redeem the mileage and then I can with you wherever you have to travel. LENA So here we go. CAMERA PUSHES IN AS MY KISS. REVERSE, BARRY. CAMERA slowly pushes in as he hugs Lena. LAND IN CU. FADE OUT.\"\n]"},"labels":{"kind":"list like","value":[1,1,0,1,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,1,0,0,0,0,0,0,0,0,1,0,1,0,1,0,0,0,0,0,0,0,1],"string":"[\n 1,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1\n]"},"summary":{"kind":"string","value":"Barry Egan is a single man who owns a company that markets themed toilet plungers and other novelty items. He has seven overbearing sisters who ridicule and emotionally abuse him regularly and leads a lonely life punctuated by fits of rage and social anxiety. In the span of one morning, he witnesses an inexplicable car accident, picks up an abandoned harmonium from the street, and encounters Lena Leonard, a coworker of one of his sisters, Elizabeth. Lena had orchestrated this meeting after seeing him in a family picture belonging to Elizabeth. Barry goes to his sister's birthday party, where the rest of his sisters ridicule him. They bring up the times when they would call him \"gay boy\" until he got mad. They bring up an incident from when he was younger when he threw a hammer through their sliding glass window. He reacts angrily, shattering his sister's windows. He talks to his brother-in-law where he asks if he can give him the phone number to a therapist. Coping with his loneliness, Barry calls a phone-sex line, but the operator attempts to extort money and sends her four henchmen, who are brothers, to collect. This complicates his budding relationship with Lena, as well as his plan to exploit a loophole in a Healthy Choice promotion and amass a million frequent flyer miles by buying large quantities of pudding. After Lena leaves for Hawaii on a business trip, Barry decides to follow her. He arrives and calls Elizabeth to find out where Lena is staying. When his sister starts abusing him again, Barry snaps and demands she give him the information, which she does. Lena is overjoyed to see Barry. They spend time together and make love. At first, Barry explains that he is in Hawaii on a business trip by coincidence, but he soon admits that he came only for her. When Barry's sister calls Lena in Hawaii, Lena tells her that she hasn't had any contact with Barry, loyally preserving his and their privacy. The romance develops further, and Barry finally feels some relief from the emotional isolation he has endured. After they return home, the four brothers ram their car into Barry's, leaving Lena mildly injured. With his new-found freedom from loneliness in jeopardy, a surprisingly aggressive and poised Barry adeptly fights off all four of the goons in a matter of seconds, using a tire iron as a weapon. Wanting to make sure Lena is never hurt again, Barry leaves Lena at the hospital and tries to end the harassment by calling the phone-sex line back and speaking to the \"supervisor\", who turns out to be Dean Trumbell, who is also the owner of a mattress store. Barry travels to the mattress store in Provo, Utah, to confront Dean face to face. Dean, at first trying to intimidate Barry, finds Barry more intimidating after Barry tells him that he is in love and it makes him stronger than anyone else. An end to the harassment is implied once Dean learns that Barry has come all the way from LA to confront him instead of going to the police, though Dean tries to save face by getting in the last word. Barry returns to Lena's apartment, and tells her everything, about the phone-sex episode, and Dean's goons, and begs her for forgiveness, pledging his loyalty and to use his frequent-flier miles to accompany her on all future business trips in just six to eight weeks after his pudding miles are processed. She was upset he left the hospital but eventually agrees, and they embrace happily. Some time later, Lena approaches Barry in his office while he plays the harmonium. She puts her arms around him and says, \"So, here we go.\""},"name":{"kind":"string","value":"Punch-Drunk_Love"}}},{"rowIdx":95,"cells":{"scenes":{"kind":"list like","value":["The following is very loosely based on some shit that actually happened. OVER BLACK We hear the roar of a V8 engine, piped out through some throaty, fucked up muffler, as","EXT. HIGHWAY - DAY An'89 Mustang bursts like a shot over a rise in the highway. It's got a rusted two - tone paint job, Maryland plates, and bald tires that scream as it peels off an exit and into the","EXT. SUBURBS - DAY The car fast approaches a stop sign, dangerously blows through the intersection.","INT. MUSTANG - DAY - MOVING We do n't see the DRIVER, only the redlining RPMs, Vans slip - ons working the pedals, wristwatch being checked. The wheel cranks right as the car turns onto a - One way street. A minivan flies right at us. The Mustang hops up onto the curb to avoid it, clips a trash can and - Garbage explodes like confetti. The wipers engage, brushing the trash aside. The car whips another turn and","EXT. SUBURBS - DAY The Mustang fishtails around a corner and skids away. TIRES SCREECH Brake pads smoke. The Mustang stops outside","EXT. HOUSE - DAY The Driver jumps out of the car. As he rushes to the front door, we see the urgent package he is delivering. TWO LARGE PIZZAS Before he can ring the bell, the door opens and two smug 15 - YEAR - OLDS stare out. 15-YEAR-OLD That's 34 minutes. You're 4 minutes late. Pizza's free. REVEAL our guy staring back at the kids. This is WILL -LRB- 25 -RRB-, probably good looking in another life. Right now, he is tired and unamused, wearing a red `` Giorgio's Trattoria'' hat and a sweaty matching t - shirt. WILL Gim me a break. You guys live two towns away. It's pretty much fucking impossible to get here in 30 minutes. OTHER 15-YEAR-OLD Exactly. That's why we ordered from your shitty `` trattoria.'' WILL This is gon na come out of my paycheck. You sure you do n't want to take the moral high ground? OTHER 15-YEAR-OLD We'd rather take the pizzas. Will takes a calming breath. Hands over the pizzas. WILL Ok. You guys are pretty smart. You figured out a way to beat the system. -LRB- PEEKS INSIDE. -RRB- Got the house to yourselves? 15-YEAR-OLD That's right. WILL Not bad. Any jailbait in there? Little pizza and a rainbow party? The kids shakes their heads. WILL Seriously? Well, two hustlers like yourselves got ta have the place stocked with beer and whippits and shit, right? Just call the girls up and let them know the party's on. 15-YEAR-OLD Man, we do n't have any of that stuff. Will makes a show of mulling this over. WILL I really should n't do this. but you seem like a couple of good dudes. I'll tell you what, you give me the money that your mom left you for the pizzas, and I'll grab you some beers. -LRB- BEAT. -RRB- But I get to keep the change as a tip. Deal? The kids look at each other. One hesitantly pulls out some cash. Will snatches it and heads off. WILL I'll see you in like 20 minutes. The kids look uncertain. As if sensing this, Will stops before getting into his ride. WILL You boys like Budweiser, right? 15-YEAR-OLD Uh, yeah, totally. OTHER 15-YEAR-OLD Love that shit!","INT. MUSTANG - DAY - MOVING The sun sets. Will cruises back into his own middle - class town in suburban Maryland. A six pack of Budweiser rests in the passenger seat. Will stops at a light. Checks out a PRETTY YOUNG THING in the Jeep beside him. She catches him looking, rolls her eyes. The light turns and the Jeep skids away. Will self consciously removes his `` Giorgio's'' cap.","INT. GIORGIO'S TRATTORIA - NIGHT Will enters and nods at CHRISTOPHER -LRB- 40s -RRB-, the manager. His balding head is nearly translucent from absorbing a day's worth of pizza grease. WILL Yo, Chris. Let me cash the fuck out. Will hands over some cash to Christopher. CHRISTOPHER You have a pretty good shift? WILL For sure. I mean, the part where I had to drop off all those pizzas kinda sucked, but the rest was cool. CHRISTOPHER Oh, yeah?'Cause, I got some kids calling in saying you ripped them off. Promised to buy them beer or something. WILL I actually did buy the beer, but it would have been illegal to give it to them, right? So I'm gon na do the responsible thing and drink it myself. CHRISTOPHER That's real funny. But I'm trying to run a business here. WILL What kind of business promises to deliver anywhere in 30 minutes? It's ridiculous. CHRISTOPHER I do n't wan na hear another one of your bullshit excuses. You're fired. WILL Come on. If I did n't need this job, I would n't be doing this shitty job. Chris is unmoving. WILL Fuck! Whatever! Will storms off. As he gets to the door - CHRISTOPHER You know, you were an okay driver half the time. And you're not a Puerto Rican. Which means something to me. WILL That's poignant. CHRISTOPHER I guess I could rehire you, on a provisional basis. Of course, this would be at the slightly reduced `` new company rate.'' WILL Are you fucking serious? CHRISTOPHER I do n't know. Is there anyone else left in town for you to work for? Will shakes his head. Swallows what's left of his pride. WILL When do I start?","EXT. SMALL APARTMENT BUILDING - NIGHT Will sits on the darkened front stoop. He tosses an empty can into the bushes and gets to work on his fourth beer. He looks over at a parked Hyundai Elantra. A YOUNG MAN sits in the passenger seat with a pensive look on his face. He makes a sudden, surprised gasp. The homely YOUNG WOMAN who was just blowing him sits up from his lap and rearranges herself in the driver seat. She leans over for a goodbye kiss. The Young Man obliges with much fanfare. The Young Man gets out and the car pulls away. This is CHET -LRB- 25 -RRB-, a clean cut guy dressed in the Gap Premium Collection. He heads toward the building, high off his BJ, humming Outkast's `` Ms. Jackson.'' He stops when he notices Will in the shadows. CHET What the hell? Have you just been sitting there? WILL Yep. Caught the whole show. Really classy move at the end. You know, the kiss. Putting your tongue in her mouth right after you fucked it. CHET Hey, a nice girl decides to pleasure me on a weeknight, in her car no less. I'm not gon na make her feel like an untouchable. I'm gon na make her feel like a lady. WILL What manners. May I offer you some alcohol, sir. To wash the taste of yourself out of your mouth. Will offers his beer. Chet takes a slug, gurgles for effect. CHET By the way, she said she had a friend. Maybe we can go on our first double date since you tried to talk Jackie Fortunato and her cousin into having a four - way with us. WILL I misread their body language. It happens. Will picks up some rented movies sitting beside him. WILL Come on. Let's go inside, drink your beer and watch shit get crazy. -LRB- FANS MOVIES. -RRB- Old favorites. You choose. Lethal Weapon, Lethal Weapon 2. was gon na get the third Lethal Weapon, but decided on a porn. So it's really between the first two. CHET I choose sleep. I got ta teach a class at eight. WILL You're a sub. Just call in sick. Like the real teacher did. CHET Come on, man, you know I got promoted to full - time last month. You bought me a laser pointer. Will heaves a sigh. WILL Yeah, I know. I guess I'm just having a hard time accepting you as `` the man.'' You know, flunking kids, giving out spite detentions to girls you wan na fuck, laser pointing at shit. CHET I also get healthcare and my summers off. It's not perfect, but it's a career. Will grudgingly stands up. WILL I guess that's just the difference between you and me. He holds up the Lethal Weapon DVDs. WILL I'm like Riggs. Cruising the streets. No rules, no attachments. Every other day some asshole is trying to take my badge. You're fucking Murtaugh. Always worried about your pension. Well, guess what, it gets old after the first movie. CHET I just got head. I'm totally Riggs. Will shakes his head, turns and walks off.","INT. STUDIO APARTMENT - DAY Will wakes up, legs dangling over the edge of a tiny couch. His TV is still on, displaying the menu screen from a porn. Will looks down at his coffee table. Clears some magazines to reveal a file folder. Flips the cover - It's full of college applications, drafts of admissions essays, a junior college transcript. Will thumbs through one of the glossy applications. The kids look young. Very young. Will glances over at a picture on his wall : he and Chet at high school graduation, looking just as young. They have their arms around a pretty girl squeezed between them. Will and the girl look very high and very happy. Will shuts the folder, slides it back under the coffee table debris. He looks over at a clock : it is already 2:00 PM. WILL Fuck.","INT. MUSTANG - DAY Will jumps in and starts the engine. As he tucks his `` Giorgio's'' cap onto his head, he catches his reflection in the rear - view mirror. WILL You asshole. You titanic asshole. Come on down and get your prize. He makes his fingers into a gun, puts it to his head. pulls the trigger and BOOM! WE'RE IN","EXT. OPEN FIELD - DAY A watermelon explodes in a shower of red, juicy bits. Loud, dumb laughter echoes. Standing 20 yards away is DWAYNE -LRB- 32 -RRB-, an intense, meaty guy in a sleeveless Baltimore Ravens t - shirt. On his left bicep is a tattoo of the Tasmanian Devil flipping the bird. DWAYNE Fruit motherfuckin' salad! Crouched beside him is JAY -LRB- 27 -RRB-, tall and awkward, in a wool surplus cap. He carefully rigs homemade explosives to another watermelon, then looks up at Dwayne. His eyes are magnified into saucers by his thick glasses. There's a peculiar eagerness to please in them. JAY This one's gon na blow even bigger. DWAYNE Boy, if you were n't such a skinny little bitch you coulda been in the military or something. JAY Whatever. I do n't need the military. I taught myself how to do this shit. DWAYNE I hear that. I taught myself how to eat pussy. And cut my own hair. Jay jogs the watermelon a safe distance away. He returns and pulls out a detonator. Dwayne snatches it. DWAYNE This one's all me. -LRB- makes `` radio'' sounds. -RRB- Mr. President, we have enemies at the gate. Give me the order. -LRB- more `` radio'' sounds. -RRB- Fuck that, sir. I do n't negotiate with terrorists! Dwayne presses a button and BOOM! The explosion is so powerful that it sprinkles our guys' smiling faces with fruit juice.","INT. KITCHEN, NICE HOUSE - DAY Large and early - 90s chic. Dwayne and Jay have the fridge open, fixing themselves a cold cut plate. Dwayne is debating the amount of meat on the plate. adds some more. DWAYNE Wan na make sure I get enough calories. JAY I thought you wanted to get diesel for the summer. Bang that towel girl at the community pool. DWAYNE It's obvious you do n't know shit - all about physical fitness. You got ta bulk up first, then you slim down. I'm clearly in the bulk up phase. I told you to watch Pumping Iron like a month ago. If you'd listened to me, maybe you'd know what the fuck I'm talking about. -LRB- BEAT. -RRB- Grab some RC Cola.","INT. LIVING ROOM, NICE HOUSE - DAY The shades are drawn. We hear a girl scream bloody murder! The guys are watching FRIDAY THE 13TH PART 3. in 3D. They both wear cheap cardboard glasses. Jay jumps back as Jason wields a 3D ax. JAY Shit, man! It's so real! Dwayne reaches out, `` touching'' the 3D images. He stands and starts humping the air. DWAYNE Check it out. I ai n't afraid of Jason. I'm fucking him. -LRB- THRUSTING HARDER. -RRB- You like that, Jason!? In the mask! Jay cracks up. The lights flick on. GRIZZLED VOICE. -LRB- O.S. -RRB- Who are you two fags fucking? Standing by the switch is Dwayne's dad, JERRY -LRB- 70s -RRB-. Most people just call him `` THE MAJOR.'' The faded USMC tattoo on his thick forearm explains why. JAY Afternoon, Major. Dwayne flops back onto the couch. DWAYNE Dad, we're watching a flick. We got 45 minutes and a potential 3D sex scene left. You're sorta coming in at the worst possible moment. 10. MAJOR I bought that TV set so I could watch my programs, not so you and your friend could louse up my couch. DWAYNE You got ta learn how to share the common space. MAJOR The only thing common in this house is you. You remind me of your damn mother. Fat, dumb, and in my way. The Major grabs Dwayne and pulls him up off the couch. He gets right in his face. scary, intense. Dwayne turns to Jay. DWAYNE Let's get outta here. This movie sucks anyway. Jay gets up and files out the door. Dwayne goes to take the cold cut plate. The Major grabs his arm. MAJOR I paid for the damn cold cuts, too. Maybe if you had a job, or a fucking prospect, or a clue how to find any of the above, I'd let you eat'em. DWAYNE -LRB- QUIETLY. -RRB- You know, you can be a real sonofabitch, dad. MAJOR That's what it takes, boy. In the Corps, men like you wore dresses to keep us entertained. DWAYNE That's pretty fucking disturbing! Dwayne storms off.","EXT. NICE HOUSE - DAY Dwayne and Jay head out, passing a brand new pickup truck in the driveway. Dwayne spits on it. DWAYNE Fuck The Major! The guys get in a shitty Ford Aerostar minivan and peel out. 11.","INT. DIVE STRIP CLUB - DAY R. Kelly's `` Ignition -LRB- Remix -RRB-'' pumps. Large, fake breasts, sparkling with cheap body glitter and pierced at the nipples, shake before us. Their owner, JUICY -LRB- 27 -RRB-, a petite Latina, phones in a lap dance as Dwayne pours his heart out to her. Somewhere in the background, Jay hangs at the bar, all alone. DWAYNE - and he thinks he knows me. He do n't know shit. I got ideas he could never dream of. I got plans bigger than his fucking house. -LRB- BEAT. -RRB- He did n't even raise me. My mother did. That was a good woman. JUICY Oh yeah? What happened to her? Dwayne shifts, uncomfortably, at the sore subject. DWAYNE She passed on. JUICY I hope you're not one of those guys that comes here looking to get mothered. DWAYNE I would n't mind nursing on them titties, mamacita. JUICY Sure. Whatever you say. Maybe just keep quiet for a while, forget about your old man and let me do my thing. DWAYNE I wish I could forget about that asshole for good. I'm just waiting around for him to drop dead. Do n't wan na mess with my inheritance. This piques Juicy's interest. JUICY What kinda inheritance? 12. DWAYNE When my dad got outta the service, he started buying lotto tickets. He'd play his dog tag numbers. In' 91, the fucker won five million bucks. INSERT PHOTO : The Major holding a giant cardboard check. DWAYNE He had some health problems a few years back, and since then he's been burning through the money like an NBA draft pick. Probably only got a million or two left. But it's mine as soon as he kicks. Behind inch - long fake eyelashes, Juicy's shrewd eyes narrow, mind working. She straddles Dwayne, tightly. JUICY You know, with a million bucks, you could have anything. Be like a king. -LRB- almost a moan. -RRB- King Dwayne. DWAYNE That's right. And maybe I'll make you my queen. Let you polish my royal scepter. JUICY Practice makes perfect. Juicy pantomimes a long, slow chicken head. Dwayne is blissed out. She smiles at him, sticky sweet. JUICY Let me ask you a question. do you really hate your daddy? DWAYNE Hate him like the Steelers. JUICY Then maybe I can help you get that money now. Before he spends another penny. Dwayne looks confused. Juicy puts his hands on her breasts, emboldening him. JUICY I know a guy in Baltimore. He could help you out. Probably do it for. -LRB- sizing him up. -RRB-. 100Gs. 13. DWAYNE Do what? Juicy leans in, whispers softly in Dwayne's ear - JUICY Kill your mean old dad. On Dwayne's face as this new possibility pinballs around his mind, setting off a flood of different emotions. JUICY So, what do you think. you ready for your crown?","INT. MUSTANG - NIGHT - MOVING Will has one pizza left in the back of his car. He pulls over outside an office building.","INT. LAW FIRM, OFFICE BUILDING - NIGHT Rows of cubicles. Speckled with late night STRAGGLERS, bleary eyes, too busy generating detailed lists of places they'd rather be to notice the pizza boy walking along. Will stops before one such work station, looks on for a beat. WILL Rio? KATE -LRB- 25 -RRB- turns from the glow of her computer screen. She has short, messy hair and a sarcastic smile. This is the girl from the picture in Will's apartment. KATE That's the plan. Five days, six nights. Culture. Beaches. Acceptable probability of kidnapping. I leave in the morning. Kate looks back at her computer, logged onto an Expedia checkout page for a Rio vacation. She moves the mouse pointer from the `` proceed'' key. closes the window. KATE This morning I loaded up an African Safari and a cruise to Alaska. WILL Oh, the places you'll go. KATE Fuck Expedia. Travel Advisor. Making it seem so easy. 14. WILL It is. Just do it. Get away for a while. KATE Even if I could afford that. they fired two other paralegals last week. Now's not the time to be putting in for vacation days. WILL Ok. Done. I've got my dose of the actual working world. Can we eat? Will lays a pizza down on her desk. KATE How do you keep sneaking up here past the security guard? WILL He's there like half the time. The other half I smile at him. I'm relatively certain he's a homosexual. KATE Interesting theory. Kate opens the pizza box, grabs a slice. KATE Maybe I should set him up with Tom Small. He came out to me today on Facebook. WILL That kid beat the hell out of me and Chet in grammar school. Wow. KATE Tell me about it. He fingered me at junior prom while they were playing `` No Scrubs.'' WILL -LRB- WINCES. -RRB- Really? What a fucking scrub. Will grabs a slice. They eat quietly for a beat. KATE So, I've got some news. 15. WILL I thought the Tom Small stuff was enough of a headline, but go ahead. KATE I'm getting back together with Mark. Will's delicious pizza suddenly tastes like shit. He does his best to swallow it down. WILL But you. you broke up with him. ended the relationship. Finality was had. KATE Yeah, but we were talking and - WILL Forget it. I do n't want to know. KATE You sound like Chet. WILL Woah, do n't compare me to your brother. KATE Well, neither one of you seems to care that I do n't have a life. Mark's not perfect. but a relationship is better than working late every Friday because I have nowhere else to be. WILL Sure. I get it. Here we are. Friday night. Nowhere to be. Kate shoves Will, good - naturedly. KATE You know what I mean. Will shrugs, quietly devastated. Goes back to his pizza.","INT. SPORTS BAR - NIGHT Most of the PATRONS are fixated on an Orioles game blaring from a large flat - screen TV. At a booth in back, Dwayne and Jay are in deep conversation. 16. JAY I do n't wan na stick my nose into a family matter. but killing your old man? That's pretty messed up. I mean, unless you think it is n't. DWAYNE What we have here is a classic `` lesser of two evils'' debate. You got one evil : me shaving a few years off The Major's shitty life. Then you got the other evil : The Major ruining my entire awesome life by blowing through my inheritance. Maybe I'm biased, but mine sure as shit seems like the lesser. JAY I guess I. sorta see where you're coming from. And you have been waiting around forever for that money. You deserve it, Dwayne. Dwayne nods, seriously. DWAYNE You know, there's a reason I sleep'til noon everyday. And it ai n't'cause I'm lazy. It's on account of me having so many goddamn dreams. Big ones. And once that money's mine, they're all gon na come true. Dwayne takes a long sip of beer, contemplative. DWAYNE Like I had this one dream last night. I was cruising through town in a Lamborghini Diablo. The wind was blowing through my hair, ruffling my open shirt. There was a hot little piece of ass sitting next to me. And in the back seat, Jay. was you. Strapped. Wearing a pair of Oakleys. JAY Wow. I did n't know you dreamt about me, Dwayne. DWAYNE It was only this once, Jay. To be honest, I did n't know what to make of it. So I consulted my dream book, and found out it means this : you're my road dog. You got my back. That's why I want to make you my partner. JAY In what? DWAYNE In crime. And business. You see, it ai n't just about the inheritance money. It's about what I'm gon na do with it. Dwayne leans across the table. DWAYNE I'm about to clue you in on something. And then you'll understand the true magnitude of what's at stake here. Are you ready? JAY Yes. I'm totally ready. DWAYNE Then answer me this. what's this town missing? I'll give you a hint. It's a cash business, crawling with sexy bitches. JAY -LRB- BEAT. -RRB- A Chinese food restaurant? DWAYNE No. A tanning salon. -LRB- BEAT. -RRB- Think about it. All that green. All that brown flesh. Jay nods, thinking about. He smiles. DWAYNE It's also the perfect front for a prostitution ring. JAY Yeah, of course. Because of the booths. DWAYNE Yes. And because of the bitches. -LRB- BEAT. -RRB- It can all be ours. 30 percent for you, 70 percent for me. You just got ta help me out here. 18. Jay looks conflicted. Dwayne goes dark, like a spurned lover. DWAYNE I'm starting to wonder if my dream book was wrong about you. Maybe you sitting behind me does n't mean you're my road dog. Maybe it means you're plotting to stab me in the back, like some snake in the grass. JAY That's crazy. I'd never do something like that. The dream book was right! Jay looks Dwayne in the eyes, knows it's all or nothing. JAY Ok. I'll do it. But I'm not shooting him or anything. I'll hold him while you shoot him. That's it. Dwayne chuckles. DWAYNE Here's a fact : they do n't build prisons for criminals, they build them for idiots. Shit, they got three different types of CSI on TV, just laying out how the police do their business. and still, idiots like you think you can just go out and do a murder yourself. -LRB- BEAT. -RRB- If you wan na be a millionaire, you got ta think like one. And millionaires do n't kill people. They hire assassins. Which I did. We got ta pay him on Tuesday. JAY What? Why would you do that? DWAYNE I was presented with an opportunity. I took it. 100 thousand bucks for a highly trained assassin is a steal. JAY But we do n't have that kinda money. DWAYNE Now we're addressing the real problem : how do we get the 100 grand?'Cause once we get that, we get the million. And once we get the million, we will literally own this town and every single thing in it. JAY I guess we could just. rob a bank. One of these local banks with nothing but a dipshit security guard. DWAYNE Again, not quite thinking like a millionaire. JAY Okay, then let's hire someone to rob a bank. Dwayne thinks about this for a second. DWAYNE Fuck hiring them, we could just force someone to rob a bank for us. Like with blackmail, or death threats, or - JAY -LRB- ALMOST INVOLUNTARILY. -RRB- A bomb. Everyone's scared of a bomb. DWAYNE I was gon na say hypnotism. but I like that. It's out of the fucking box. We just strap one to some motherfucker's chest, like we did to those watermelons. Think you can you build some kinda bomb vest? JAY Yeah, I mean. camel jockeys do it in caves. I got a garage workshop. DWAYNE I'm pretty sure this is exactly how a millionaire would do it. And the beauty of it is : we do n't lose any sleep,'cause no one gets hurt. JAY Except The Major. DWAYNE Yeah. The Major dies. But no one gets hurt. Dwayne smiles. But a nagging thought interrupts him - 20. DWAYNE There's just one problem. Where do we get our guy?'Cause if we do a kidnapping, then we're right back where we started. doing shit that's gon na get us caught. -LRB- MIND WORKING. -RRB- What we need is someone to come to us. to a place where we can control the situation. Someone without any connection to us. The guys stare at each other, stumped. Until something catches Dwayne's attention. a local commercial playing on the flat - screen. A PIZZA CHEF slides a pizza into a box - PIZZA CHEF -LRB- ON TV. -RRB- We'll deliver anywhere in 30 minutes or less! Or your pizza is free! Giorgio's Trattoria, where the customer gets what they want. pronto! The guys look at each other. DWAYNE Sometimes fate just takes out its cock and slaps you in the face with it.","INT. CHET'S APARTMENT - DAY A hand grabs a beer from the fridge. VOICE. -LRB- O.S. -RRB- You're not trying to draw a psycho pension. you really are crazy! Will heads into the living room with the beer. The voice belongs to Danny Glover. The guys are watching Lethal Weapon. Murtaugh -LRB- Danny Glover -RRB- has just stopped Riggs -LRB- Mel Gibson -RRB- from killing himself. Riggs looks at him, crazily, before - RIGGS -LRB- ON TV. -RRB- I'm hungry. I'm gon na get something to eat. Chet looks over at Will. He is drunk, and in a dark mood. CHET Maybe you should pace yourself. It's noon on a Saturday. WILL Fridge is full, man. We're all good. 21. Will drains half his beer. WILL Let me ask you a question. You remember Tom Small? CHET Yeah, he used to kick our asses. WILL Turns out he was probably jerking off to it afterwards. He's gay. CHET I hope he chokes on a dick. I never liked him. WILL Your sister did. She let him finger blast her. Big time. Chet pauses the movie. CHET What the fuck are you talking about? I do n't want that shit in my head. WILL Sorry. Kate told me about it last night. I thought you should know. CHET You two were swapping stories about getting fingered? That's pretty cute. Chet chuckles. Will ignores him, sips his beer. WILL The point I'm trying to make is this : Tom Small was an asshole. He was totally wrong for your sister. Just like every other guy she's ever dated. Right through to that Mark dude she's gon na get back together with. Un - be - fuck - me - lievable. CHET Whatever. Why the fuck are we talking about who my sister goes out with? At a loss, Will shrugs. Chet turns back to the TV, presses play. Lethal Weapon resumes. Something blows up. Chet pauses the movie and stares at Will for a beat. 22. CHET You sneaky son of a bitch. you want to fuck my sister, do n't you? WILL Chet, I really do n't. CHET My twin sister! ? Which is basically like fucking me! WILL Hey, if you guys had that twin ESP shit this would be a completely different situation. There'd be logistical problems. CHET We look exactly alike! WILL You look like a lot of people. You're a normal looking dude. CHET This is so fucked up I ca n't even begin to process it. How long has this been going on? WILL If I had to put my finger on it. middle school - ish. CHET So all those sleepovers, they were just some kind of opportunity for you to peek in Kate's bedroom? WILL It might have happened a few times. Most of them were accidental. CHET You're a peeping Tom. You realize that, do n't you? You're a sexual fucking deviant. WILL Fuck you. I'm as normal as they come. Your sister is attractive. She excites me, in a sexual way. Fucking sue me. Ca n't we just be adults about it? 23. CHET You? An adult? Sort of stretching the term. WILL Hey, let's not say shit we ca n't take back. CHET Take back? Will, you got kicked out of junior college for punching a professor that made fun of some poem you wrote. WILL That poem was about your sister! CHET That is, literally, the saddest thing I have ever heard. Like retards playing freeze tag sad. No wonder you deliver pizzas for a living. WILL Fuck you! Maybe I was just hanging out with you for your sister. You were always a whiny little bitch. And you stuttered. All the kids used to call you `` Chutter.'' CHET Whatever. I only started hanging out with you because you had a Nintendo. WILL Did you see my Nintendo naked? Because I saw your sister changing into her swimsuit at your thirteenth birthday pool party. And it was the highlight of the whole shitty event. Chet bites his lip. CHET Okay. You wan na do this? WILL I think we already are. CHET Well, you know who I saw naked? Jenny Rifkin. While I was nailing her. The week after she dumped you. Why do you think every time you wan na bet on whose cock's bigger I'm always willing to go in?'Cause I know mine's bigger.'Cause she told me! WILL Wow. wow. You pulled a Judas on Jenny fucking Rifkin. That is messed up. Almost as messed up as how I sold your Cal Ripken signed ball for 200 bucks. CHET My grandpa left me that ball in his will! You helped me look for it for a month! WILL Now you know why we never found it. Will bows. WILL We done here? Chet's face is red with anger. CHET Not quite yet. There's actually a mystery I wan na solve for you. -LRB- BEAT. -RRB- I was the one who told John Tanner about how your mom fucked that lifeguard. And I always felt awful about it, because even though he swore secrecy, he told everyone else in town. And then your parents wound up getting divorced. But now. I do n't give a shit. WILL What!? You ruined. my fucking life! Will takes a swing at Chet. He dodges it and puts Will in some sort of choke hold. CHET Krav Maga, bitch. I bet your poetry professor did n't know this shit. WILL Get offa me! CHET You threw the first punch! 25. WILL I'm gon na break this hold and then kick your skinny ass! CHET Try it! Will flexes and tries to break the choke hold. no luck. He wrenches his back away from Chet and screams - WILL What the fuck is that!? CHET My knuckle in your spine! No holds barred you backstabbing fuck! WILL I'm gon na pass out. CHET Good! WILL -LRB- face bright red. -RRB- I love her, Chet. I love Kate. Chet lets Will go. He drops to the floor, panting. CHET Let me tell you something. And it's the truest thing you'll ever hear, from the person who knows you best in the world. you're not good enough for my sister. And you never will be. You're the lowest common denominator, Will. You're the square root of fucking zero. Will gets to his feet. WILL Fuck you. Chutter! -LRB- GRABS DICK. -RRB- Square this! CHET Get out of my house. You're a shitty friend. WILL Right back at you. Will storms out. 26.","EXT. CHET'S APARTMENT BUILDING - DAY Will screeches away in his car.","INT. STUDIO APARTMENT - NIGHT A day or so has passed. Will sits on his couch, an unshaven mess, watching Lethal Weapon 2. Murtaugh and Riggs laugh and joke around. Best buds. Will looks like he might cry. He goes for his beer, knocks it over. He stares at the growing puddle of beer. then grabs the folder with his college applications and uses them to sop it up.","INT. GIORGIO'S TRATTORIA - NIGHT Will sits at a table, looking out through the misty window. Christopher boxes a pizza and drops it in front of him. CHRISTOPHER Come on, wake up and get to work. Christopher hands him the order slip. Will checks the address. WILL Where the fuck is this? CHRISTOPHER How should I know? It's 30 minutes away or the pizza comes out of your paycheck. Tick tock.","EXT. HIGHWAY - NIGHT Will's Mustang travels down a dark, empty stretch of highway. The lone working taillight fades as the car disappears into the distance.","EXT. SIDE OF THE HIGHWAY - NIGHT The Mustang stops at the mouth of a driveway. Overgrown shrubbery blocks anything beyond it from view. All that Will can see is a red and white radio tower jutting into the sky, beacon light flashing atop it. Will checks the address, then drives through the open gate.","EXT. RADIO TOWER - NIGHT The Mustang parks at the end of the driveway. Will gets out. There is a large storage shed and, across a clearing, a radio tower built on top of a small office structure. 27. The office door is ajar. Florescent light glows from inside. WILL Hello? DWAYNE. -LRB- O.S. -RRB- -LRB- calling back from beyond door. -RRB- Hey, bud! Sorry for the hike! The county's got us doing repairs at the ass end of the night! This puts Will at ease. He heads toward the office. As he gets close, a figure appears in the doorway. It is Dwayne WEARING A SCARY FUCKING GORILLA MASK WILL What the - Will hears something behind him and whirls around - To find Jay, also in a gorilla mask, charging at him. WILL Holy fuck! Will makes a run for it. But the guys are on top of him in no time. He madly fights them off and dashes for his car. DWAYNE Stop! We got a gun, you asshole! Will breaks toward the cover of the shrubbery. DWAYNE Fuck! Get him! Jay is right on Will's tail. Without breaking stride, Jay picks up a large branch and wings it at him. Will is hit in the legs and stumbles over himself. Jay leaps on top of him and locks his skinny legs around Will's body. WILL What the hell!? -LRB- at a loss. -RRB- Rape! Jay wrestles something from his pocket. A chloroform soaked rag. He presses it hard against Will's mouth and nose. Will soon goes limp. Dwayne appears, looming above them. He pulls his gorilla mask back and smiles. 28. DWAYNE Step one. Blurry vision coming into focus. Two gorillas.","EXT. RADIO TOWER - DAY Whereas the masks looked scary at night, they look ridiculous now. Will is propped up on the hood of his car, staring at his captors. His mouth is duct taped, hands bound behind his back. He wears his `` Giorgio's'' cap and a buttoned up olive green Army jacket. DWAYNE You thought we were gon na rape you. -LRB- CHUCKLES. -RRB- Idiot. Will mumbles something through the duct tape. DWAYNE Just shut up. The tape is there for a reason.'Cause this next part is gon na take a measure of calm. Are you with me? Can you be calm? Will nods. Dwayne holds up his driver license. DWAYNE Will Dixon, of 112 North Whatever - The - Fuck Street, right now you are wearing an explosive vest. Will looks down at the jacket he is wearing, tries to get his hands loose so he can tear it open. DWAYNE Calm the fuck down! Will stiffens. For emphasis, Dwayne reveals the gun tucked down the front of his pants like a big metal cock. DWAYNE Now stay still and my associate will show you. Jay carefully unbuttons the Army jacket. Will is, in fact, wearing an explosive vest. It is a cobbled together but intimidating looking contraption, crisscrossed by multicolored wires. There is a thick lock at the hinge, with a digital display and a keypad. Will begins to hyperventilate. 29. JAY Take it easy, man. You're fine. I built this thing. It's pretty stable. DWAYNE For a fucking bomb. So do n't trip over your shoelaces or anything. That thing's full of C - 4. And the C is for chaos. JAY Actually, the C stands for `` composite.'' But, yeah, I'd try not to slam into stuff. DWAYNE Can I take that tape off now, pizza boy? Will nods. Dwayne rips the duct tape off his mouth. WILL Help! Dwayne chuckles. DWAYNE You know where you are? You might as well be in space, motherfucker. Nobody can hear you scream. WILL Why are you doing this to me? I do n't have any money. DWAYNE Not yet. But you're gon na go get us some. WILL Okay. Sure, man. Whatever you say. I'll go sell my car. I'll get you like a thousand bucks. DWAYNE I want 100 thousand. WILL Where the fuck am I supposed to get that much money? DWAYNE The Donner - Wells National Bank on Charles Road. 30. JAY Across the street from the Olive Garden. DWAYNE Yeah, the one across the street from the Olive Garden. WILL Do you guys have an account or something? Dwayne shakes his head like Will is an idiot. DWAYNE No, I do n't have an account! You're gon na rob it! WILL How the fuck am I supposed to rob a bank? DWAYNE Figure it out. You got a bomb strapped to your chest. That's a start. It'll scare the fuck outta people. Maybe use your brain and go get a gun. Borrow one from a friend for all I care. It ai n't rocket science. WILL Then do it yourself. DWAYNE I would, but I'm already wearing this gorilla mask and you're already wearing that bomb. -LRB- TO JAY. -RRB- Tell him about the vest. Jay turns to Will. JAY You seem like a pretty trustworthy guy. I mean, you got a job and all. But just in case you were gon na try to take the vest off, we booby trapped it to shit. There's also a remote detonator on the back, so we can trigger it by dialing a number. DWAYNE And it's on speed dial. So do what you got ta do, but we'll be watching. You go anywhere near a police station, and Fourth of July comes early this year. Dwayne nods at the timer on the side of the vest. DWAYNE It's 9:00 AM. You got 8 hours. He hands Will a slip of paper. DWAYNE Once you have the money, call this number and you'll be given instructions on where to drop it. You do good, we give you the six - digit combination that stops the timer and opens the lock. Tomorrow morning, you can go back to delivering pizza, the mail, whatever the fuck you want. -LRB- BEAT. -RRB- Now let me demonstrate what happens if you do n't get us the money. Dwayne looks over to where an oversized stuffed bear, rigged with its own bomb vest, sits on a tree stump 20 yards away. Dwayne mimes answering a phone - DWAYNE Hey, Teddy Ruxpin. what's that? You do n't have the money? It was too tough to rob the bank, so you just went back to your bear cave and cried like a bitch? Well, guess what my stuffed friend. time is up. Jay pushes a button on a detonator. Teddy Ruxpin explodes. All that remains is a cloud of stuffing. Will is frozen in fear. DWAYNE I liked that bear. I do n't even know you. Dwayne throws Will his car keys. DWAYNE Go on. Get outta here. WILL Guys, can we please just talk about this? 32. DWAYNE Yeah, of course we can. Dwayne pulls out the gun and fires two shots at Will's feet. Jay jumps backward, as does Will, who hits the hood of his car, slides across it and onto the ground by the driver side. DWAYNE Be careful! Will awkwardly gets to his feet and arranges himself in the car, adjusting to the weight of the bomb. As he starts the engine and backs away - DWAYNE That's right! Get the fuck out of here! You're wasting time! Once the car is gone, Jay yanks off his gorilla mask. Dwayne stays primate. JAY What the hell, Dwayne? You told me that was a replica gun. DWAYNE It was. Then I paid a Mexican 50 bucks to put a firing pin in it. Now it goes boom. JAY We did n't discuss a loaded gun! Especially not with the bomb around! Dwayne gets right in Jay's face. The plastic eyes of his mask betray no emotion. DWAYNE Do n't you ever question me. I'm fucking this bitch. You're just holding the camera. JAY -LRB- VOICE FALTERS. -RRB- Sure, Dwayne. whatever you say. DWAYNE Good.'Cause this ai n't the Marines. This is cash money. You hesitate, you fuck up. and I will leave you behind. A tense beat. Dwayne pulls his mask off. He looks oddly calm. DWAYNE Let's go get some breakfast. 33.","EXT. HIGHWAY - DAY Will's car flies down the road. It screeches to a stop, tires smoking. Will jumps out, stumbles to the shoulder and pukes. He drops to his knees. WILL Oh, god! Holy shit! Fuck me! Someone please fucking help me! Nothing but the wind. Will fights back tears. He gets to his feet, wipes his mouth. He takes out his cell phone, scrolls through the contacts. He pauses on Chet's name. presses send. The line goes to voicemail. Will looks at the bomb's timer : 7 hours, 47 minutes and counting. He hurries to his car.","INT. CLASSROOM, JUNIOR HIGH SCHOOL - DAY A laser dot dances around the middle of a United States map. Chet is teaching a history lesson to a bunch of SEVENTH GRADERS that look very mature and very bored. As he indicates with his laser pointer - CHET This whole region here, about 830 thousand square miles, was part of the initial Louisiana Purchase. SEVENTH GRADER -LRB- COUGHING. -RRB- Nice laser. The class giggles. Chet, embarrassed, puts away the pointer. There is a knock at the door. Chet turns to see Will's face in the door's window pane. He looks back to his class. CHET Take out your workbooks. Chapter 3. Chet opens the door. CHET What do you want? WILL We got ta talk. CHET I'm working here. Do not mess with me at work. 34. WILL Chet, for the love of god, just talk to me in private for one minute. Chet sighs.","INT. HALLWAY, JUNIOR HIGH SCHOOL - DAY Chet leads a jumpy Will into","INT. EMPTY CLASSROOM, JUNIOR HIGH SCHOOL - DAY Chet shuts the door behind them. Will paces. CHET You wan na apologize, do n't you? You look like shit. You've probably been up for days thinking about what an asshole you were. Well, it's gon na take a lot more than some pathetic groveling - WILL -LRB- SUDDENLY. -RRB- Chet! Shut up! I do n't wan na apologize to you! CHET Then what do you want? Because we do n't have anything left to say to each other. Will swallows hard. WILL Here goes. And this is gon na sound crazy. Because it is fucking crazy. But last night two guys in masks jumped me and strapped a bomb to my chest, and now I have less than eight hours to rob a bank. Chet just stares at Will, unimpressed. CHET You're hysterical. Got me. Great joke. I'm going back to work now. Will steps in Chet's way. He unbuttons his jacket, revealing the bomb. CHET What the fuck? Is that real? Will nods. 35. Chet jumps backward, stumbles over a desk and scurries on his ass to the other end of the classroom. He presses himself flat against the wall. CHET Stay away from me! What the fuck are you involved in!? Terrorism!? WILL Chet, do you really think I'm a terrorist? CHET Yes! One of the dumb ones! The ones they convince to wear the bombs! WILL I am not fucking around here. Two guys did this to me. And if I do n't rob that bank in time this thing is gon na blow. CHET Seriously? WILL Seriously. CHET And your first idea was to come to a school filled with young children? WILL I did n't - CHET Just back the fuck away from me with that thing. Will backs all the way up, so that the guys are on opposite ends of the classroom. WILL Listen, I think the vest is safe for now. These guys do n't want me to blow myself up on accident before I get their money. CHET Oh, so you figure the two psychopaths that rigged a bomb to your chest made sure it was safe? There's no margin for error in their fucking bomb vest design!? 36. WILL I do n't know! All I do know is that this is real. This is happening. And I'm sure you hate me as much as I hate you right now, but I have nowhere else to go. CHET For what? WILL For help, Chet. I need your help. Please. I ca n't do this alone. Chet looks Will over. His desperation is palpable. Chet bites his lip, weighing the situation. CHET Damn it! -LRB- takes a breath. -RRB- I'd like to tell you to get fucked, but you know what the problem is. I'm a better man than you. And someday, I might actually forgive you. So if I let you blow up, or whatever, that shit might come back and eat at my conscience, and totally affect my relationships with other people. Like my wife and kids and shit. WILL That's a. very rational way to look at the situation. -LRB- GENUINELY. -RRB- And you're right, about being a better guy than me. Chet takes a step toward Will. CHET Are you sure that thing is n't gon na blow at any second? Will just looks at Chet. unable to offer any assurance. After a beat - CHET Could you just walk a few feet in front of me for a while? WILL I can do that. Will opens the door, stops, looks back at Chet. 37. WILL Thank you. Will heads out. Chet takes a breath, bracing himself.","INT. HALLWAY, JUNIOR HIGH SCHOOL - DAY Will walks down the empty hallway. He glances back over his shoulder, where Chet walks several feet behind him. CHET Yes, I'm still here. I really am this stupid. Just pay attention to where you're going. WILL I think I can handle it. CHET These floors get waxed once a week. On Tuesday, which today is. You hit a slick patch, trip and fall, and I got a classroom full of kids wearing their skin inside out. WILL Chet, I'm fucking nervous enough as it is. Please. I do n't need you back seat driving me right now. CHET Obviously. Will stops, turns back toward Chet. WILL Just for the record, this is n't a nuclear weapon strapped to my chest. And there are metal lockers on either side of the hallway. If I fall, and if this thing goes off, I'm probably not taking out the whole school. CHET Do you really want to debate this? Will sighs, turns back around. A second later, the school bell rings and kids flood the hallway, changing classes. Will freezes. Multiple kids shove past him. Chet sweats bullets, gives Will a look of death. After a beat, the hallway empties again. 38. CHET You're an asshole. WILL Whatever. It's over. Will continues walking. He tries to lighten the mood - WILL Who was the chick in the white jeans? CHET Kristi Evans. Why? WILL You know why. CHET Oh, come on. Just keep walking. The guys' voices fade as they continue down the hallway. WILL Come on yourself. You knew exactly who I was talking about. CHET Fuck you. She's in the eighth grade. WILL I bet you love it when she calls you Mr. Chet. CHET She does n't call me `` Mr. Chet.'' She's not a foreigner.","EXT. JUNIOR HIGH SCHOOL - DAY The guys get to Will's car. Chet wraps up a call on his cell - CHET thanks so much, Mrs. Davis. I'll call you after I talk to the doctor. Chet hangs up. He is standing by the passenger door. He looks over the roof of the car at Will. CHET So, this is it? WILL This is what? 39. CHET Once I step inside this car, I'm basically in a steel coffin with you and. that thing. And if it goes off, all they're gon na find in there are two charred bodies and pieces of a bomb. They'll assume we were driving to a government building to blow it up. It'll be all over the news. Next thing you now, some militia or Islam group is claiming us as members. My family will be humiliated. WILL We'll also be dead, in that particular situation, so it wo n't really matter. CHET Exactly! Will sighs. WILL I get it. Take your time, man. Will gets in the car and shuts the door. He looks out at Chet, who stands uncertainly by the passenger side. CHET This is the world's biggest favor, you motherfucker. You did n't even help me move last winter. Chet reluctantly hops in.","INT. MUSTANG - DAY Will fires up the engine. CHET Given the situation, I think you should obey all traffic safety laws. WILL Fine. Will pulls out of the school parking lot. WILL Okay, so where are we going? CHET I have no idea. I just got in your car. I thought you had a plan. 40. WILL Well, I do n't! I've been sorta preoccupied with this crushing fear of death! CHET No plan. I ca n't say I'm surprised. WILL Your plan is probably better. Just condescend me until I explode. Will goes to turn on the radio. Chet grabs his hand. CHET Maybe we should turn on the radio. See if the signal sets the bomb off. That would be an interesting experiment. Will heaves a frustrated sigh. Chet eases up. CHET Listen, let's just go back to my place. Figure out our options. Maybe you can get the vest off or something. I just do n't want to do anything stupid. WILL Unless we have to. The car hits a rough pothole. Chet's heart skips a beat - CHET Holy fucking shit! - and he throws himself against the passenger side window, as far from Will as the confines of the car will allow. Will slams the brakes. WILL Stop it! You're scaring the fuck out of me! CHET Okay. Okay. Fuck! Chet makes the sign of the cross. CHET I'm cool now. Will continues driving. Chet discreetly unlocks the passenger side door. 41. WILL Why did you do that? CHET Do what? WILL I saw you. CHET It's in case I have to jump out. WILL If I survive the day, and you do n't because you jumped out of a moving car and broke your neck, I'm gon na laugh my ass off. CHET And if abandoning ship saves my life, then that laugh will be mine. The guys continue driving in silence. SUPER COUNTDOWN : 6 hours, 59 minutes.","INT. BATHROOM, CHET'S APARTMENT - DAY The door is shut. Will sits on the toilet lid. He has the jacket off and we get our first complete look at the vest. The actual structure is composed of hollow metal tubes. The wiring that runs throughout the vest is messy and complicated, purposely so, to scare anyone out of fucking with it. Will is in the process of trying to contort his arm so he can slide the vest off. no luck. WILL It's too tight! He is calling off toward the KITCHEN Where Chet is crouched in a corner, at the furthest point in the furthest room from the bathroom. He uses his laptop to look for websites on disarming a bomb. CHET What if we try to separate your shoulder? 42. WILL. -LRB- O.S. -RRB- Fuck you! CHET Well, all these sites say different shit. There's not a lot of consensus in the bomb disarming community. Will emerges from the bathroom, sliding the jacket back on. WILL This is pointless. Chet shuts his laptop. CHET I agree. We got ta call the cops, have them fly in the bomb squad or something. WILL We ca n't. These guys said they'd be following me. And I do n't have a clue what they look like. For all I know, they're outside right now. They see the cops show up, they blow the vest and cut their losses. Will stares at Chet, hopelessly overwhelmed. WILL What do I do, man? What do I do now? CHET I do n't know, Will. I guess you got ta rob the bank. WILL I have n't been inside a bank in three years! How the fuck am I supposed to rob one!? They would n't even give me a savings account! Will drops onto the couch and puts his head in his hands, fighting hysterics. Chet offers a stock reassurance - CHET It's gon na be okay. WILL No, it's not! I'm gon na blow up! That's way worse than getting stabbed or shot. At least some people survive that. No one survives being blown up. No one is ever like, `` Yeah, I heard Steve got blown up, tough break, but how's he doing now? Is he still in the Rec basketball league?'' No of course he is n't,'cause there's nothing left of Steve except a stain on the wall and a pair of fucking high tops! Chet looks on as his friend begins to sob. It's a crushing sight. Chet strides across the apartment - CHET Pull yourself together! - and attempts to give him one of those `` get a grip'' slaps. But Will flinches and Chet slaps him right on the ear. WILL Ow! Fuck! I think you popped my eardrum. CHET Sorry. Shit. I did n't mean to do that. But just listen to me now. You're not gon na die. You wan na know why? Because you know exactly how to rob a bank. WILL What are you talking about? CHET Point Break. WILL The movie? CHET Yes. That movie is like a how - to guide for bank robberies. You just bust in. Masks. Guns. Move fast. Stick to the tellers and do n't bother with the vault. WILL Yeah. I guess it's pretty simple, right? And it's just a local bank. The Donner - Wells on Charles Road. CHET Really? I applied for a job there like a year ago. 44. WILL You wanted to be a teller? CHET Yeah, so what? It's a good job. You get benefits. WILL Like what, a name tag? CHET What kind of benefits do you get? Free toppings? WILL That's really clever. No one ever said that shit to me before. Anyway, this is perfect. You know the whole layout of the bank. CHET Not exactly. They did n't hand me the security schematics with the application. But I sat in the waiting area for like 20 minutes. I know what the place looks like. WILL How many guards? CHET One. I think. WILL That's a start. CHET It's a great start. You can do it. Will pauses. WILL You're gon na do it with me, right? CHET I was actually gon na stick to giving tips, ideas. motivational speeches. More of a consultant or advisory role. WILL Jesus Christ, Chet. Please. I'm begging you here. I need you on this. If I do it alone, I'm dead. 45. CHET Are you gon na cry again? WILL That was a moment of weakness. -LRB- BEAT. -RRB- Yes. I'll fucking cry again if that's what it takes. CHET I should make you blow me. WILL Sure. Whip that shit out. I'm actually kinda curious. I wan na see if Jenny Rifkin lied to you. She obviously lied to me. Chet cracks a smile. WILL All these guys want is 100 grand. We can do this. CHET We're gon na rob a bank for 100 grand? Just leave the rest of the money sitting there? Why? WILL I do n't know. I guess they're very modest criminals. Who the fuck cares? Wait. you said `` we'' right? Chet heaves a sigh. CHET I'm putting my life on the line for 100 grand. what does 100 grand even buy these days? THE GRILLE OF A MURDERED OUT 1997 NISSAN SENTRA As the car pulls into","EXT. BACK PARKING LOT, DIVE STRIP CLUB - DAY Where Juicy waits by the service entrance, smoking a cigarette. She spots the car and runs over. It parks and the door opens. A glassy - eyed African - American man. -LRB- 30s -RRB- steps out. His muscled body is covered in calligraphic prison ink. This is VAUGHN. 46. Juicy throws her arms around him. JUICY I missed you so much, baby. VAUGHN You do n't got enough dicks to keep you warm in that place? JUICY You know it's not like that. Those guys get Juicy, but you get Marisol. VAUGHN Well, Marisol. what I want is to get my money, kill that old ass man, then get the fuck out of here. JUICY Then that's how it's gon na go. We're just waiting on a call. Vaughn stares at her. VAUGHN This is my impatient face. JUICY Well, I think I can keep you entertained. Juicy gets in the open driver side door and makes a show of crawling over into the passenger seat.","INT. WALMART - DAY Fluorescent lights and pop music. Will and Chet roam the aisles with a full shopping basket. They turn into the `` Sports & Fitness'' section, where they find a variety of air pistols. They are incredibly realistic, though clear and with orange nozzles. WILL Should we go with the handguns. or the Uzis? CHET Handguns. WILL That's such a Murtaugh choice. 47. A check out conveyor belt, as the guys' purchases drift past : air pistols, spray paint, ski masks, leather gloves, several 5 - Hour Energy drinks. The tough REGISTER WOMAN looks at the guys with abject disgust. REGISTER WOMAN You sure you do n't want to grab some condoms? WILL Uh, no. Why? REGISTER WOMAN Because this is usually what men buy before they rape someone, and I want to make sure you all use protection. WILL Lady, we're just. buying some stuff. REGISTER WOMAN Is that cash or credit for your rape kit? Will looks in his empty wallet, takes out a credit card. Chet grabs his hand. CHET We'll pay cash.","INT. MINIVAN - DAY The van is parked. Dwayne sits behind the wheel. Metallica's `` Ride the Lightning'' begins to play loudly. DWAYNE You really fucked up this mix tape. Dwayne ejects the tape, tosses it at Jay in the passenger seat. DWAYNE We're not speed freaks knocking off a 7 - Eleven. We're masterminding a heist here. JAY Sorry, Dwayne. That song just means a lot to me. Dwayne shakes his head. He turns and looks out the windshield : they're parked in the Walmart lot, watching the store entrance. DWAYNE I wish he would hurry his shit up. 48. JAY You worried about that other guy he's with? DWAYNE No, man. He picked him up at a school. So long as there ai n't any cops, he can take the whole town with him. I just want my money. Dwayne surveys the area. Something catches his attention : the bland strip mall across the street. There's a Blockbuster, Subway, and an empty space in between. Dwayne smiles. JAY What? You want me to run over to Subway, get us a couple sandwiches? DWAYNE If you had any vision, Jay, you'd know exactly what I'm thinking about right now. And it's not a sandwich. -LRB- BEAT. -RRB- Look how well trafficked that shopping mall is. It's the perfect place for the tanning salon. Jay checks it out, nods. JAY Oh, you're totally right. DWAYNE I've been thinking about it, and I want you to start off working the counter. Sounds like a demotion, I know, but it's an important position. Because we're gon na be using code words and shit. For example, if a customer walks in and says he wants a tan, that just means he wants a tan. But if he says he wants a `` deluxe tan,'' that means a blow job and you got ta get one of the girls in there to suck him off. You with me? JAY So far. But what if he wants a fuck? DWAYNE There's gon na be codes for everything : missionary, anal, black chicks. I got it all written down back home in my files. I'm not gon na bother getting into it with you right now, because you're supposed to be on lookout and you're no good at multitasking. JAY Okay.'Cause they're about to get away. Dwayne spots the Mustang pulling away. DWAYNE Fuck. He throws the van into gear.","INT. MUSTANG - DAY - MOVING Will navigates the streets. Chet is in the back seat, where he has newspaper spread out and is spray painting the air pistols, and much of the car, black. WILL Be careful, you're getting paint everywhere. CHET Are you really worried about your upholstery right now? WILL Yes, because if I survive this shit I'm quitting my job. That means I'll probably have to give up my place and I'll be sleeping in the back of my car, which you're covering in toxic paint. Chet touches up one of the guns, goes to flip it over. WILL That side is n't dry yet. You're about to ruin it. CHET It says it's fast drying. WILL Fast is n't the same as instant. You got ta let it sit for like 20 minutes. CHET How would you know? You do a lot of graffiti? 50. WILL No, but I spray painted my bike last year after I got my license suspended. I did n't let it dry properly and I fucked it up. CHET We do n't have time to sit around and literally watch paint dry. Are n't we going straight to the bank? WILL I was actually thinking we need to stop and steal a car first. Chet drops the spray paint, whirls on Will. CHET What? No way! We've got a car. WILL Yeah, my car. I'm not gon na use it as a getaway vehicle. They can trace the plates. Even if we do get away, we'll be arrested. CHET Well, I ca n't hotwire a fucking automobile, and neither can you. WILL That's why I was thinking we'd steal one from your parents' friends. The Fishers. Remember how they used to pay us to clean their garage? They leave the keys in there. And they have a Datsun. That's a fast car. CHET I'm not stealing the Fishers' Datsun. Let's steal a car from your parents' friends. Will seethes. He whips the car over to the side of the road and gets in Chet's face. WILL What friends? My parents do n't have any. My dad moved away after your big mouth ruined his marriage and humiliated him, and no one wanted to hang out with the mom who everyone knew fucked a lifeguard. 51. CHET You never should have told me! I was 13 years old. I could n't process that kind of information. I had to tell someone else. -LRB- shakes his head. -RRB- Fuck. I really am sorry about it. Okay? Despite what I said before. I was just a kid, but I messed up. WILL Okay. Chet looks at Will, expectantly. CHET That's it? You're not gon na apologize for selling my Cal Ripken ball? WILL Sure. I'm sorry. I'm sorry that my family was going through a rough patch and I was smoking a ton of weed and listening to the Wu Tang Clan all the time. And that I needed some extra dough to indulge my habit. Which, in hindsight, was probably just a cry for help. But you never even noticed. CHET Thanks. Now I feel even worse. Will sits there, stewing for a moment. Then he softens - WILL I should n't have stolen the ball. I knew it was wrong and I regretted it like the next day. I actually tried to buy it back but the guy wanted twice as much. I had to smoke even more weed just to get past the whole shitty incident. I guess that's why they call it a downward spiral. CHET I appreciate that you tried to buy it back. So, thanks. An awkward moment passes. CHET We should probably get going. Will turns back around, goes to pull out without looking and - 52. A horn blares as a speeding delivery truck barrels right at them. Will slams the brakes, barely avoiding a collision. CHET Fuck! Fuck! I just want this goddamn day to be over! As Chet continues to freak - SUPER COUNTDOWN : 5 hours, 15 minutes.","EXT. THE FISHERS' GARAGE - DAY Will keeps watch of the house. Chet squeezes through a garage window he has pried open.","INT. THE FISHERS' GARAGE - DAY Chet drops ungracefully to the floor, right beside a well maintained 1977 Datsun 240Z. Chet hurries over and unlocks the side door. Will enters, hauling the Walmart bag of supplies. He goes right for a set of hooks on the wall. WILL The keys are n't here. They always used to leave the keys out. CHET Yeah. When we were teenagers. This is fucked. WILL Let's just find them. The guys ransack the garage. Chet knocks over a shelf full of clutter. CHET Sorry. Will goes to the car and tries the handle. It's open. He scours the interior. CHET You hear that? WILL What? Chet peeks through the glass pane in the door. 53. CHET Mr. Fisher is coming! As he looks for an escape - CHET Oh shit, oh shit. Are the keys in there? WILL No! Will hops out of the car. He rifles through the Walmart bag. CHET What are you doing? Will pulls the ski masks out of the bag, along with one of the freshly painted air pistols. WILL I'm doing what I have to. Will puts a ski mask on, then throws one to Chet. The door opens and MR. FISHER. -LRB- 60s -RRB- enters. Chet quickly pulls down his mask. It's backwards. Will levels the pistol - MR. FISHER Oh, Jesus! Mr. Fisher braces himself against a wall. Chet fumbles to turn his mask around. Will affects a deep voice - WILL Where are the car keys? MR. FISHER They're in my pocket! I'm just reaching in my pocket for the keys! WILL Quiet down and do it already. Mr. Fisher reaches into his pocket and produces the keys. They jingle as he holds them out in his trembling hand. Will snatches them. WILL Now listen, I do n't want you to report this car stolen or anything until later tonight. Let's say 5 o'clock. 6 to be safe. 54. MR. FISHER Sure. Anything you say. Will seems unconvinced. He looks to Chet, who shrugs. Will turns back to Mr. Fisher and gestures violently with the gun - WILL If you fuck with us, I swear, I will. I will shoot your son. Taylor. I know where he works. At the fucking travel agency. He's the douchebag with the bangs. MR. FISHER. -LRB- STUNNED. -RRB- Please no. I wo n't do anything. I wo n't. Just leave Taylor alone. WILL I'm gon na trust you. But if you call the police, there's gon na be an undertaker styling his stupid fucking bangs! -LRB- BEAT. -RRB- Now open the garage door. Mr. Fisher hits a switch that raises the garage door. Chet grabs their stuff and gets in the passenger side. Will backs toward the driver side. WILL The car's insured, right? Mr. Fisher nods. WILL Okay. I feel better. Worse comes to worst, something happens to it, you can get a Honda. This thing does n't even have airbags. MR. FISHER Please, just go. Will slides into the car and starts it up.","EXT. THE FISHERS' GARAGE - DAY The car peels away.","INT. DATSUN - DAY - MOVING The guys yank off their ski masks. 55. CHET That old man's got a heart condition! You could have killed him! WILL My hand was forced! Chet tries to get comfortable in the seat. CHET Awesome. I'm stuck inside an even smaller car with you and a bomb. Will works the manual transmission. He steps on the gas. WILL This thing's got some pickup. CHET Could you just take it easy, we're doing fine on time. WILL I know. but there's one last stop we have to make. CHET Do you have to take a piss first? Because I do. Will nervously drums his fingers on the steering wheel, trying to figure out how to say - WILL I need to see your sister. CHET Are you for real? Did you really just ask me that? You salt - in - an - open - wound motherfucker! WILL Chet, as if it is n't apparent, I may die today. I'll probably die today. And if there's one small thing that's clear to me now, it's that I've wasted two and a half decades as a pussy, watching everything I want pass me by. I do n't wan na peace out of this world as a pussy. I need to tell her how I feel. CHET You're really gon na turn this into some sort of dying wish bullshit? 56. WILL Yes, I really am. It means that much to me. I am not fucking around here. CHET I do n't think you are. I mean, apparently, you love my sister so much that you're willing to put her life in danger by going to see her with a bomb strapped to your chest. WILL She wo n't be in danger. I promise. I got it all worked out. And you can even take a piss while I'm inside.","EXT. OFFICE BUILDING - DAY The Datsun pulls around and parks in back. PULL BACK TO REVEAL the minivan parking across the street.","INT. MINIVAN - DAY Dwayne and Jay watch Will hurry out of the Datsun. DWAYNE Where the fuck is he going? What's in there? Some sort of FBI headquarters? I told that guy not to fuck around! Dwayne pulls out his cell phone, punches in the speed dial code. His finger hovers above the send button. DWAYNE Maybe I should give that bomb a call. JAY No! Let me just go see what he's up to. Dwayne smirks. DWAYNE I was just fucking around. Are you gay for this guy or something? JAY I just wan na get the money, Dwayne. Same as you. DWAYNE All right. Then man up and go check it out. As Jay reaches for the door handle - 57. DWAYNE Do n't even tell me you're about to do a reconnaissance without a cover. What's you cover? JAY I do n't know. I'm from the telephone company? DWAYNE Yeah, nice fucking uniform. Dwayne rummages in the back of the car, produces a shopping bag and starts filling it with random clothes strewn across the car. He shoves the bag at Jay. DWAYNE You're a personal shopper. You're delivering the latest fashions to Mr. Quilby in marketing. Got it? Jay nods, hops out with the bag and slams the door. Dwayne looks down at the cell phone in his hand, twirls it as he hums a revival song. sings the lyrics, softly - DWAYNE `` He's got the whole world in his hands. He's got whole fucking world in his hands.''","INT. STAIRWELL, OFFICE BUILDING - DAY Will runs up the stairs, a phone pressed to his ear - WILL no, I'm here right now. KATE. -LRB- O.S. -RRB- -LRB- OVER PHONE. -RRB- Why are you acting so strange? WILL Because strange shit is going on. I'll explain everything. Just meet me where I texted you. KATE. -LRB- O.S. -RRB- WILL - WILL Please. Just do it. 58.","EXT. ROOF, OFFICE BUILDING - DAY You can see the entire shitty town from up here. The access door opens and Kate emerges, wind tousling her short hair. KATE -LRB- CALLING OUT. -RRB- Will? Will waves at her from where he is standing, way across on the other side of the roof. Kate starts toward him. WILL Stop! Will takes out his cell phone and dials. Kate's phone rings. She answers it, confused. KATE What are you doing? We STAY on Will. We can see Kate, standing 30 feet away, but her voice comes over Will's cell phone, with a delay that is slightly jarring. WILL Just do n't come any closer. KATE Why not? What's going on? WILL I'm gon na give you the short version of an incredibly complicated and fucked up situation, so please be cool. -LRB- BEAT. -RRB- Some very bad guys strapped a bomb to my chest and they are forcing me to commit a crime. KATE Will, I swear, if this is - WILL I wish I was joking, but I'm not. I know it's a lot to swallow, but you got ta take it on face value, because there's a timer attached to this thing and it's counting down. Kate's voice falters - KATE Oh my god, Will. we'll get help. I'll get you help. 59. WILL I did n't come here for help. I'm taking care of it. I came here because, should things not work out today as I would like them to, I want you to know why I was doing the things I did. KATE Please, just let me call someone. Let me do something. This is crazy! WILL I do n't disagree with you. It's fucking nuts. But that's not even what this is about. -LRB- STRUGGLING. -RRB- Do you remember when you found that picture in my car of you, me and Chet, with Chet cut out of it? KATE Will, I ca n't remember about some stupid picture while you're - WILL I need you to remember about the picture, and about how I stop by your office every Friday, and how I've always hated all your boyfriends, and how the two girls I've ever seriously dated have looked like less attractive versions of you. -LRB- BEAT. -RRB- Do you see where I'm going with this? I love you Kate. I have for a very long time. Kate is barely holding it together. KATE Will, this is a lot you're putting on me! You just told me people are trying to kill you or something, and now you say you love me. What the fuck is going on? WILL A whole lot of shit. I'm sorry to do this to you, but I was afraid I'd never get the chance to tell you. And I know you have feelings for me, too. Maybe you feel for me the way you feel for a good friend, or - if the world fucking hates me - a brother. But what I hope is that you do n't really know how you feel for me, and that maybe when you figure it out you'll realize it's the same way I feel for you. Does that make any sense? KATE Yes. I mean, I've known you forever. It's not an easy thing to figure out. WILL I do n't need an answer now. Just think about it. And no matter what you decide, you're too good for assholes like Mark and the rest of them. Kate manages a small, stifled laugh. KATE Okay. I will process all of this. It's just, the bomb - WILL It's distracting. I know. Anyway, I'd love to stay and talk some more, but I ca n't. I got ta ask you to leave now, because I'm running out of time. Kate nods. Will hangs up the phone. She turns back toward the access door, stops. She yells across the roof at Will - KATE If I had time to think about it. I'd probably tell you that I've always felt very strongly for you. And I've never thought of you as a brother. Will smiles, yells back - WILL That's a huge relief. Do n't say anything else. I just really do n't want to die now. KATE Try not to. Please. Kate turns and continues to the access door. 61.","INT. STAIRWELL, OFFICE BUILDING - DAY Jay paces about the landing that leads up to the roof. He hears the door opening and hurries down to the entrance for the nearest floor. He tries the door, but it's locked. Kate enters the stairwell from the roof access door and spots Jay trying to force the door open. She is holding back tears. He just looks incredibly confused. JAY I'm, uh. I'm a personal shopper. I'm looking for Mr. Quilby. KATE I'm sorry, I do n't know who that is. Kate continues down the stairs, tears coming now. Jay waits a beat, then hurries down and tries the door on the next level, which is open.","INT. MINIVAN - DAY Jay jumps in the van, huffing and puffing. DWAYNE So? JAY It was just his girlfriend or something. DWAYNE Getting one last blow job in case he do n't make it. I kinda like this guy.","INT. DATSUN - DAY Will, galvanized by the exchange, hops inside. CHET Did you tell her how you saw her naked when she was 13? That always works. WILL I said my piece. She's gon na think about it. CHET Shut up. She was freaked out. WILL Yes. By the bomb. CHET By you. 62. WILL Would it be so bad if we ended up together? You and I would be family. CHET I do n't want you in the family. You bring very little to the table. I want her to be with someone awesome. A pro quarterback. A war hero. At the very least, someone I've never watched porn with. WILL Well, now it's up to her. CHET Not if I set that bomb off myself. WILL Then you'd probably never get to rob a bank. Will throws the car into gear and pulls away. SUPER COUNTDOWN : 4 hours, 10 minutes.","EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY The Datsun is parked in the half - full lot. The guys lean against the driver side, with their backs to the bank and the car providing cover. They each have a spray painted air pistol tucked into their pants. WILL You go for the money. I'll cover the crowd. In and out. Chet clasps his hands around his stomach. CHET I'm not feeling so good. I drank like three of those 5 - Hour Energy drinks. WILL It's just nerves. Let's pull our shit together and do this thing. Chet reigns it in. The guys slide on the leather gloves and rolled up ski masks. They turn and stride toward the bank. The guys stop as they get to the door. They pull the ski masks down and take out their air pistols. 63. CHET What should I call you in there, like if I need to ask you to do something? WILL Call me Tivon. You'll be Darius. CHET I can tell you're not a black guy through the ski mask. WILL Fine. Then you'll be Luis and I'm Cruz. We're two loco motherfuckers and that's the way we got ta roll when we get in there.","INT. DONNER-WELLS NATIONAL BANK - DAY It's business as usual for a dozen CUSTOMERS and about as many EMPLOYEES. They all just want to get done with their shit and go home, when - Will and Chet burst through the bank doors, guns in hand. WILL Everybody put your hands in the air! CHET No, get on the ground! WILL Actually, listen to him and get on the fucking ground! Will and Chet are on an adrenaline high, waving their guns everywhere. People scream. WILL Shut up! Please! Will frantically scans the panicked crowd for - The SECURITY GUARD -LRB- 40s -RRB-, rail thin and jumpy. Will points his gun right at him. WILL You, just stand right there and do n't do shit! The rest of you get the fuck down! Spread your arms and legs! Why is no one listening to me!? SECURITY GUARD Just take it easy, man! 64. WILL Do n't be a hero, cowboy! SECURITY GUARD What the fuck does that mean? I'm not a hero! Or a cowboy! As people drop to the ground, whispering nervously to one ANOTHER - Chet rushes the TELLERS standing behind the bulletproof glass partition. CHET All of you, back away from the counter and get out here! Anyone pushes a button and one of these people gets totally shot! The Tellers hurry into the main area of the bank and get onto their stomachs. Will looks to the Guard. WILL Very slowly, take out your gun and toss it away. The Guard takes out his gun, lays it on the ground and shoves it away. The gun slides across the waxed floor and - Right into the outstretched hand of a sobbing MOM -LRB- 40s -RRB-, whose DAUGHTER -LRB- 11 -RRB- lies beside her in a soccer uniform. MOM Oh, god! I do n't want the gun! WILL -LRB- TO GUARD. -RRB- What the fuck!? Did you do that on purpose!? SECURITY GUARD It was an accident! CHET Are you guys working together? MOM No! Please take this gun away! WILL Just toss it, lady! 65. The Mom slides the gun away like it were on fire. It skids all the way across the floor, slams hard against a wall and BLAM! MAN'S VOICE. -LRB- O.S. -RRB- Ah! A FAT MAN has been shot. He clutches his thigh. FAT MAN I think she got the femoral artery! MOM I'm sorry! It was an accident! FAT MAN Fuck you! Who slides a gun like that!? DAUGHTER Mommy, what's happening!? MOM Christi, be quiet. These men are dangerous. Chet turns ashen. He moves close to Will, whispers urgently - CHET This is fucked. That dude is gon na bleed out and we're gon na go to prison. WILL Just calm down. FAT MAN Why is no one getting me help!? WILL Is anyone here a doctor? Nothing. Just the heavy breathing of many frightened people. Will hurries over to the Fat Man, who is bent over, hugging his leg. WILL Sir, let me see where you're hit. FAT MAN Just call me an ambulance! WILL Calm down, sir. 66. The Fat Man sits up, removes his hand from his leg. Will nervously takes a look. There is only a small amount of blood. WILL It's just a flesh wound. You're gon na be okay. FAT MAN But it hurts so bad. WILL You got shot, man. It's not supposed to feel good. But you're gon na be fine. And you'll have a great story to tell everyone. FAT MAN This is an awful story! This is n't a bank error in my favor! I got shot! WILL Point taken. Luis, how we doing on the money? Chet snaps back to attention - CHET Oh, shit. Sorry, Cruz. Chet picks out the most harmless looking teller, a mousy 20 - something girl, and helps her up off the ground. He checks her name tag : SANDRA. CHET Hey, Sandra. I know you're probably scared right now, but if you go grab us 100 grand in a bag, we'll get out of here. This will all be over and you'll be fine. You trust me? Sandra nods. Chet smiles, reassuringly. She hurries behind the counter, starts filling a bank bag with cash, as - FAT MAN My leg really hurts! WILL Can you please hurry up, Sandra!? Sandra emerges from behind the partition with the bank bag. Will grabs it. He takes a last look at the people spread across the floor. 67. WILL I'm really sorry, everyone. I know we probably fucked up your day. -LRB- looks to Fat Man. -RRB- I'm thinking of you in particular, sir. Actually, you know what. Will crosses to the Fat Man, offers the bank bag. WILL Quickly. Peel a few bills. On me. Anyone rats him to the cops and I'm coming for you. I remember faces. The Fat Man hesitantly reaches for the bag. Opens it - Red Dye explodes all over his face. He shrieks. Chet whirls on the teller. CHET What the fuck was that about, Sandra? I thought we had something going! What happened to trust? SANDRA I'm sorry! They make us do it! WILL Could you kindly fill another bag? Not a bank bag. A fucking garbage bag. And Luis, will you watch her this time? Sandra hurries back behind the partition with Chet. He dumps out the contents of a trash can, grabs the bag and watches closely as Sandra stuffs it with cash. CHET Okay. That should be enough. Chet grabs the bag and hustles out toward Will. They are home free, until - They hear the wail of approaching sirens outside. They stop cold, panicked. Will whirls on the Tellers. WILL Fuck! Which one of you assholes tripped the alarm!? Was it you, Sandra!? SANDRA No! It was Mark! He pushed the button when you guys came in! Another teller, MARK, looks up from the floor. 68. MARK Sandra, you bitch! Now they're gon na kill us both! SANDRA Fuck you, Mark! You're the manager! Will loses his shit - WILL Fuck both of you! Fuck all of you! I'm a regular guy! Just like you! I'm a regular guy and you fucked me! Thank you for fucking a regular guy! People are freaked out. Sandra is crying, thinking she will probably get shot now. Chet grabs Will and pulls him toward the door. CHET Let's just get the fuck out of here. The guys slam through the doors, out into","EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY Just as a lone police cruiser screeches into the lot. Will and Chet make a run for it, but the cruiser cuts them off. OFFICER ZURMAN -LRB- 21 -RRB-, a jittery rookie, jumps out of the cruiser and levels his gun. The guys reflexively level theirs. OFFICER ZURMAN Drop your weapons! CHET Do n't shoot us! OFFICER ZURMAN Drop the guns or I'll have to! Chet looks at Will with utter desperation. In the distance, they hear the sirens of more cops approaching. Will tosses his gun, rips open his jacket and grabs a cluster of wires. WILL Fuck you! You just brought a gun to a bomb fight, officer! I pull these wires out and we all go! You got ten seconds to drop your gun and - Zurman does n't stick around for the rest. He turns and sprints away. 69. As the guys make for the Datsun - CHET That was awesome. WILL He was tempting a desperate motherfucker. The guys jump in the Datsun and peel out as two more police cruisers race toward the bank. The cruisers change course and give chase. The Datsun blows right by the parked","INT. MINIVAN - DAY Dwayne watches as the cars speed off into the distance. DWAYNE Holy shit! Our boy is causing some serious mayhem! JAY He's gon na get caught or killed. Dwayne whirls on Jay, punches him hard in the shoulder. DWAYNE Shut the fuck up! If you jinx this with your negativity, I'm gon na strap a bomb to your chest next. Jay massages his shoulder, pissed. JAY Oh, yeah, who's gon na build it? DWAYNE You are!","EXT. STREET - DAY Whiplash blur as the three cars race by, one after the other. Airborne leaves flutter in their wake.","INT./EXT. DATSUN - DAY - MOVING Chet freaks out as they hurtle toward lunchtime traffic. Will weaves in and out of cars. CHET Shit! This is not cool! Will is wild eyed, punching the gas. Chet's head is on a swivel. Behind them : police cruisers in hot pursuit. Up ahead : the world rushing at them at 80 mph, populated by nothing but potential collisions that will result in a fiery death. 70. CHET Maybe we should pull over and surrender. WILL I can outrun these guys. They're not the FBI, they're local cops. Just shut up and let me concentrate. I do this for a living. As they clip the side - view mirror off a Kia - CHET You do n't do anything like this for a living! I am not a pizza, I am a man! The cruisers are gaining ground, throttles wide open. Will downshifts, spiking the RPMs into the red, as he banks a hard right and","EXT. TOWN CENTER - DAY The Datsun explodes onto a crowded street. PEDESTRIANS crossing an intersection jump out of its way. The cruisers take the turn into town. One makes it. The other slams into parked cars.","INT./EXT. DATSUN - DAY - MOVING Will jumps the curb to avoid slow - moving traffic, slams into a newspaper dispenser. It flips up onto the hood and crashes into the windshield, where it stays lodged. WILL Holy fuck! Will veers back into the street and blindly plows ahead as cars he can not see swerve to avoid him. He finally slams the brakes, the momentum knocking the dispenser loose and launching it onto the sidewalk, scattering Pedestrians. Chet whirls around to see the cruiser flying right at them. CHET Go! Go! Go! Will steps on the gas. The light ahead turns red. CHET Stop! Stop! Stop! 71. Will rolls the dice and blows through the intersection. He's lucky. The cruiser behind him is not. It's T - boned by traffic in a brutal, crunching collision.","INT./EXT. DATSUN - DAY - MOVING The cruiser wreckage disappears in the rear - view mirror as Will floors it toward a green light. WILL That guy got fucked up. In the rushing moment as they cross the intersection, Chet glimpses the other cruiser barreling toward his side of the car from the perpendicular street. He has a millisecond, maybe, to process their impending doom, and then - The cruiser smashes into the back passenger side of the car.","EXT. TOWN CENTER - DAY The Datsun is sent spinning like a fucking top. Its ruined back wheel catches, sending the car tumbling onto its roof.","INT./EXT. DATSUN - DAY - MOVING Madness. The guys scream as the car continues to slide, upside down, out of control. As it slams into a row of parking meters, the world goes BLACK Will blinks back to reality. He's hanging, inverted, by his seat belt. The car is a pool of shattered glass. It twinkles up at him. Hours could have passed, but it's only been seconds. He sucks in air. Satisfied that he is, in fact, still alive, he looks over at - A battered and bruised Chet, head drooping straight back. WILL Chet? Are you okay? Chet!? CHET -LRB- ROUSING. -RRB- Oh my god. WILL Talk to me. CHET I thought you were gon na blow up. Will's hands go to the bomb. still intact. 72. WILL No. Luckily your side took most of the impact. CHET Awesome. WILL We got ta keep moving. Will unclicks his seat belt and falls to the roof of the car. He moves to Chet, unclicks his belt and helps him down.","EXT. TOWN CENTER - DAY Will emerges from the overturned car. He drags Chet out, along with the bag of cash. He glances up to see the OFFICER who crashed into them stumbling out of his own ruined car, which has turned a fire hydrant into a geyser. Another cruiser races to the scene. WILL Oh, fuck, man. Come on. Will pulls Chet to his feet and they take off, rounding a CORNER INTO","EXT. ALLEY - DAY As Will huffs and puffs - WILL Chet. I do n't know how to tell you this. but you got a piece of the car in you. CHET What!? WILL In your back. Chet glances back to see a jagged piece of metal sticking out of his shoulder blade. CHET Ah! Get it out! WILL I will. CHET Do it now! 73. WILL All right. Without breaking stride, Will yanks the piece of metal out of Chet's back. He screams. CHET Is it rusty? Am I gon na get tetanus? Behind them, two Officers turn into the alley in full sprint. They are way faster than the guys and soon gain on them. Will can barely keep up with Chet. CHET Why are you moving so slowly? WILL It's a combination of cheap sneakers and this heavy fucking bomb on my chest! They burst out of the alley, onto","EXT. STREET - DAY The guys frantically search for an escape, spot - A bus pulling up to a stop down the street. They sprint for the the bus, peeling off their ski masks and waving as it lazily rolls away from the stop. WILL Hey! Over here! The bus slows and the guys trip over each other to board it.","INT. BUS - DAY - MOVING The guys fall into seats, gasping for air, a complete mess. Will looks out the window to see the Officers emerge from the alley and look around for them.","EXT. TOWN CENTER - DAY A crowd has grown around the crash sites. Fire trucks and ambulances are on the scene. Dwayne and Jay make their way through the crowd, trying to see what's what. Dwayne approaches a RANDOM LOCAL. DWAYNE You hear what happened to the guys they were after? 74. RANDOM LOCAL Sounds like they got away. Dwayne and Jay beam.","EXT. RESIDENTIAL STREET - DAY The guys are covered in sweat as they hike along, eyes on the lookout. They arrive at Will's parked Mustang. Will hugs the car. WILL I never thought I'd see you again. CHET I thought you hated this car. WILL It's actually not that bad. You know, as compared to that Datsun. The Mustang's got more comfortable seats. And it never would have flipped over.","INT. MUSTANG - DAY The guys get in. They sit there for a moment, silent except for their heavy breathing. Will's eyes go to the garbage bag sitting between them. WILL There's a 100 grand in there. 100 fucking grand. Which we stole. From a bank. CHET I told a bunch of people I was gon na shoot someone. I was like `` you fucking move, and I will kill you where you stand!'' WILL I threatened to blow up a cop. -LRB- BEAT. -RRB- And you never said `` I will kill you where you stand.'' CHET I know. But shit did get pretty crazy. WILL Yeah, it did. Will starts to get a little emotional. 75. WILL You know, there's no one I would have rather taken down a fucking bank with. I mean that. Chet smiles. CHET Me, neither. WILL And as for all that shit I said. and all that shit I did. I hope you can forgive me. We've been friends for so long, and I guess you hurt the people you're closest to the most. CHET I messed up, too. I'm a dude who slept with his best friend's ex - girlfriend, and destroyed his parents' marriage, and sat on the sidelines watching his downward spiral. I'm a shitty human being. But I'm glad you know that now, because you can accept me for who I am. WILL I do. I accept you. Because you accept me. Will goes in for a hug. Chet gets lost in the moment, before recoiling. CHET Woah! You still got a bomb on you. WILL You're right. Let's take care of that. But you owe me a hug. Will pulls the slip of paper Dwayne gave him from his pocket. WILL It's all gravy from here. Will takes out his cell and dials the number. INTERCUT WITH:","EXT. TOWN CENTER - DAY Dwayne and Jay cross toward a McDonald's. Dwayne stops and answers his vibrating cell phone. 76. DWAYNE This who I think it is? WILL. -LRB- O.S. -RRB- Ca n't you hear the ticking in the background? DWAYNE You know, you're a pretty funny guy. WILL. -LRB- O.S. -RRB- Thanks. I'm happy to entertain a complete psychopath. DWAYNE Now wait a second, you're the murderer. WILL. -LRB- O.S. -RRB- What's that supposed to mean? DWAYNE One of those cops who wrecked his car chasing you. he ai n't breathing no more. Will goes white, covers the phone and whispers to Chet - WILL We killed a cop. CHET You were driving! I'm just an accomplice! WILL They're gon na hunt us down and kill us. Cops do n't take this shit lightly. CHET I bet he had like eight kids. We have to find them and support his family forever. Dwayne is holding back laughter. Finally bursts out. WILL. -LRB- O.S. -RRB- What's so fucking funny! ? DWAYNE I'm just messin' with you. You did n't kill anyone. How'd a moron like you manage to rob a bank? WILL. -LRB- O.S. -RRB- Jesus! Can we just get this over with? Where do you want the money? 77. DWAYNE There's a boarded up gas station out on Commerce Avenue, past the highway. Be there in 30 minutes. WILL. -LRB- O.S. -RRB- I'll be there in ten. DWAYNE Then you'll be standing around with your dick in one hand, and my money in the other. Dwayne hangs up. He dials another number - DWAYNE Yo, Juicy, wrangle your boy. Money's on its way.","EXT. ROAD - DAY The Mustang shrieks past us. SUPER COUNTDOWN : 2 hours, 58 minutes.","INT. MCDONALD'S - DAY Dwayne and Jay sit at a table with a fast food feast spread out. Dwayne eats a Big Mac, a look of utter satisfaction on his face, a man whom the gods have finally smiled down upon. DWAYNE I remember the summer after my mother passed was the first year they had the Monopoly game at McDonald's. I musta come here three times a day trying to collect all the game pieces. Packed on 20 pounds, got acne from all the grease. The Major said I was the fattest, ugliest 13 - year - old he ever laid eyes on. But I did n't care, I just wanted to win the money and get the fuck out of there. So, one night, I followed this skinny register kid home, jumped him. I kept whaling on him, asking him where they were hiding the Park Place piece. The million dollar prize. But he did n't know shit. A year later, The Major won the lotto. I asked him for a Sega Genesis. He bought me one of those paddles with the ball attached. 78. Dwayne goes for a fry, sees his carton is empty and grabs a handful of Jay's. DWAYNE I'm not ashamed to admit that I've gone through some dark times since then. Depression. Addiction to a variety of shit, which I wo n't go into. I know you must think that's pretty silly, especially since you manage to get through the day and you do n't got shit going on as compared to me. But that's just the way it is. That's life. Jay looks pretty affected that Dwayne is opening up to him. JAY You know, I've been pretty low, too. if you ever want to talk about that kinda stuff. DWAYNE No. I do n't. My whole point I was trying to make before you interrupted me was that that shit is all in the past.'Cause I did it. I finally pulled it off. JAY We pulled it off, Dwayne. The two us. We're a good team. DWAYNE Are we? Would you do anything to protect me, my money, my empire? JAY Yeah, sure. -LRB- NERVOUS. -RRB- I mean, like what kinda stuff are we talking about? Dwayne takes out his cell, keys in the speed dial code and slides the cell across the table to Jay. DWAYNE Would you push the button? JAY Why would you want me to do that? DWAYNE It's just a question, Jay. Would you? If I asked you? I mean, it's no different than those watermelons. JAY Watermelons are n't alive. DWAYNE Yeah, they are. Not the ones you blew up, though. Dwayne stares hard at Jay. A tense beat. JAY No one gets hurt. right, Dwayne? DWAYNE Oh, yeah. I forgot about that part. Dwayne cracks a smile. DWAYNE Anyway, he has n't even made the drop yet. I'm gon na go take a shit. Stay away from the bathroom. Someone could get hurt. Dwayne heads off. Jay eyes the cell phone he has left behind.","EXT. BOARDED UP GAS STATION - DAY Weeds have overtaken the abandoned place. Will leans against his parked car, waiting. Chet is nowhere to be seen. Will spots Vaughn's Sentra approach. It pulls into the station and Vaughn steps. He could not look more menacing. Juicy hangs back in the passenger seat. WILL Where are the other guys? VAUGHN I'm the only guy. -LRB- BEAT. -RRB- You got it? Will picks up the garbage bag at his feet and walks it over to Vaughn. He opens it, looks in. VAUGHN What the fuck did you do. rob a bank? 80. WILL -LRB- INCREDULOUS. -RRB- Yes. Vaughn grins. WILL Now where's the code? VAUGHN I do n't have any code. Vaughn turns to leave. Will grabs his arm. Vaughn stops, looks purposefully down at Will's hand. Will draws back. WILL Listen, man, I just want the code. VAUGHN I do n't know what the fuck you're talking about. WILL The code for the fucking bomb! Will opens his jacket. Vaughn takes a sudden step back. VAUGHN What kind of stupid motherfucker wears a bomb to a drop? WILL Your boss put this on me. VAUGHN I am my boss. WILL Then give me the code! VAUGHN Motherfucker, I do n't know no goddamn code. Whoever told you I did, lied to you. Now step the fuck off, or I'll shoot you in the face so you do n't explode and mess up my boots. Vaughn goes to leave again. Will runs ahead of him and gets in his way. WILL If you do n't have the code, I want that money back. 81. VAUGHN The only way you're getting this money back is if you kill me. WILL You do n't know what I've gone through for that money! In an instant, Vaughn has his gun out, aimed at Will's head. VAUGHN Do I look sympathetic? Now step the fuck aside.","INT. SENTRA - DAY Juicy looks on with interest as Vaughn holds Will at gunpoint. Then she spots","EXT. BOARDED UP GAS STATION - DAY Chet creeping up behind Vaughn, from wherever he was hiding, clutching a large metal pipe. Juicy jumps out of the Sentra. JUICY Vaughn, look out! Vaughn whirls around toward Chet, just in time to have his gun arm smashed by the pipe. The weapon drops from his hand. Chet takes another swing, cracking Vaughn across the face. He howls, blood spraying, and topples over. Chet goes for another swing, when - Juicy jumps on him, wildly biting and clawing. Will grabs the back of Juicy's track jacket for leverage and flings her away. She hits the back of the Sentra and careens clear across the trunk. WILL Let's go! Will grabs the money. Chet kicks Vaughn's gun into the bushes. The guys break for the Mustang and get in. Juicy gets to her feet, runs right by a dazed Vaughn and after the car, which pulls out into the road and leaves her behind, screaming and cursing.","INT. MUSTANG - DAY - MOVING Will's mind is racing. 82. WILL What the fuck was that? CHET They tried to screw us. You're a liability. They were just gon na let you blow up. WILL Not with the money they wo n't.","INT. JAY'S GARAGE WORKSHOP - DAY A tidy space, filled with various half - finished devices, action figures and heavy metal posters. A low mechanical hum registers. Dwayne sits on a stool in the center of the garage, while Jay carefully trims his hair with an electric clipper. Dwayne holds up a mirror to check out his work. DWAYNE Never comes out this nice when I do it myself. You might wan na take some more off the top, though. I wan na look real professional when I go down to the morgue to identify the body. Dwayne's phone chimes from a nearby counter. He grabs it, looks at the incoming number, slightly concerned. He answers - DWAYNE You drop the money yet? INTERCUT WITH:","INT. MUSTANG - DAY - MOVING Will yells into the phone - WILL No! I've still got the money! And I cracked your friend's face open! DWAYNE. -LRB- O.S. -RRB- Why the fuck would you do that!? WILL You lied! You said I'd get the code! Dwayne is panicked, covers badly - DWAYNE I gave him the code. He told me he committed it to memory. He was probably just embarrassed that he forgot it. I'll call him up and - WILL. -LRB- O.S. -RRB- You did n't give him shit! I want the code now or you'll never see this money! DWAYNE Hold on there, big man. You got a bomb on you. I got a cell phone that detonates it. You're not exactly negotiating from a position of leverage. WILL. -LRB- O.S. -RRB- I'm holding the money. I blow up, and it blows up. Who has the leverage now? Go ahead and push the button, you idiot. Chet freaks out - CHET Do n't tell him to push the button! Pull over! Pull over! Dwayne is getting pissed off. DWAYNE Why do n't you watch what the fuck you say! I own you! I tell you to rob a bank, and you rob a bank. I tell you to give me the money, and you give me the goddamn money and hope I show you some mercy. WILL. -LRB- O.S. -RRB- I'm tired of this bullshit. I'm already dead, right? So fuck you. At least I'll die rich. I ca n't say the same for you. The line goes dead. Dwayne tears off his haircut smock. DWAYNE That piece of shit hung up on me!","INT. MUSTANG - DAY - MOVING Chet grabs the wheel and forces Will to pull over. CHET Get me out of this car! 84.","EXT. ROAD - DAY Chet jumps out while the Mustang is still slowing down. He runs 20 yards away. Will turns the car off and gets out. CHET That was colossally stupid! WILL It was a negotiation tactic. He'll call back and I wo n't answer. Then he'll call back and I will answer, and he'll realize the only way he gets the money is if he gives me the code. CHET Sure! That seems like a perfectly logical pattern of thought! I bet that's exactly what he'll do!","INT. JAY'S GARAGE WORKSHOP - DAY Dwayne tries Will's phone again. It goes to voicemail. He explodes like a pack of Mentos in a two - liter of Diet Coke. Throws his cell across the room. Overturns a work table. DWAYNE Does this guy know who the fuck I am!? Jay retreats into a corner. Dwayne's a big boy, and he soon tires himself out, hunches over, panting. JAY Dwayne. you never told me you were n't going to give him the code. DWAYNE We're not amateurs. He was a loose end. I let him live, someday I woulda been walking out of my mansion and. bam! FBI, CIA, NSA, all converging on my front lawn,'cause a loose end turned state's evidence and they got what they need to put me away. Dwayne shakes his head. Starts digging through the mess he's made. finds his phone. DWAYNE Fuck it, Jay. I'll just kill The Major myself. Dwayne keys in the speed dial code. 85. JAY Do n't do it. Dwayne looks down at the send button. DWAYNE You know what they say about a tree falling in the forest? Maybe the same thing applies to blowing up some motherfucker across town. Maybe it does n't even make a sound. Dwayne hits send. DWAYNE Boom. But Dwayne notices something. the phone in his hand is ringing. He puts it to his ear. The line connects - FEMALE VOICE. -LRB- O.S. -RRB- Hello. who is this. hello? Dwayne snaps the phone shut, looks to Jay, who tries to will the beads of sweat back into his pores. DWAYNE Who did I just call, Jay?'Cause she sounded cute for a bomb. JAY -LRB- SWALLOWS HARD. -RRB- Gina Kim. My seventh grade crush. Or whoever lives in Gina Kim's house now. DWAYNE Where's the number for the bomb? JAY In my head. I switched it out of your phone while you were taking a shit. You're out of control, Dwayne. DWAYNE I'm in perfect control! Dwayne charges Jay. Jay holds up the hair clippers like a weapon, flicks them on. Dwayne rips the cord out of the wall, uses it to yank the clippers from Jay's hand, then whips him with the cord. JAY Stop it! 86. Dwayne goes to whip Jay again, but Jay moves like a jack rabbit and delivers a fierce kidney shot. Dwayne stumbles backward, falls onto the couch, groans - DWAYNE You asshole. I make you my partner and you pull this shit. JAY I'm tired of you pushing me around all the time! What kinda partner does that!? DWAYNE Fuck you. I'm gon na piss blood, are n't I? JAY That's what it said on the internet. Dwayne's phone rings in his pocket. DWAYNE Go on. Get it out for me. I can barely move. Jay pulls the cell from Dwayne's pocket. opens it and puts it to his ear so he can answer - DWAYNE Glad you came to your senses. INTERCUT WITH:","EXT. BOARDED UP GAS STATION - DAY Vaughn has a rag pressed to his swollen, bloody face. Juicy is nearby, banged up and dirty. Vaughn yells into his cell - VAUGHN Who the fuck do you think you're talking to!? DWAYNE. -LRB- O.S. -RRB- I honestly do n't know. VAUGHN Let me give you a hint : your boy just jumped me, tossed my bitch like a rag doll and split with the cash. Dwayne realizes who's on the other line, recovers - DWAYNE That guy's not my boy. He's a dick. I'm sorry for all the, uh, confusion. 87. VAUGHN. -LRB- O.S. -RRB- Confusion? The only motherfucker that's confused is you. Apparently, you think you can fuck me and survive the day. DWAYNE I was n't fucking you, I was fucking him. You got ta understand, you're like a pawn in a much larger game I'm playing here. VAUGHN. -LRB- O.S. -RRB- Did you just call me a pawn, you stupid fuck!? DWAYNE I did n't mean it like that. I'm just juggling a whole lot of shit. VAUGHN. -LRB- O.S. -RRB- I want my money. Right now. DWAYNE That may not be possible. -LRB- DELICATELY. -RRB- I just want to put this out there, to keep you in the loop. but I may need to bump the hit. Vaughn paces, furious. VAUGHN This is n't a reservation at Sizzler! You do n't `` bump'' it! I want you to bring me my money right now, to where I am standing in this shit hole town, bleeding from the motherfucking face! DWAYNE. -LRB- O.S. -RRB- I do n't exactly have the money. give me some time and - VAUGHN The deal's off! You just became the hit! Vaughn hangs up, tosses the bloody rag to the ground and screams in frustration. JUICY He lives with his daddy. You already got the address. 88.","INT. JAY'S GARAGE WORKSHOP - DAY Dwayne looks down at his phone. DWAYNE That's it. The assassin's gon na kill me now. I'm gon na die. Game fucking over. Dwayne cradles his arms around his wounded kidney, rocks back and forth, wallowing in defeat. JAY We can still get him the money. Try the pizza guy back. DWAYNE Why? So he can fuck around again, and I wind up dead, anyway? No. I'd rather just sit here. I want to die right here on this couch. JAY No. We're gon na get that money. Just like we planned. All we got ta do is get the leverage back. DWAYNE How do we do that? Pizza boy's obviously got some kinda death wish. Jay gathers his resolve. JAY We take the girl. The one he went to see. Then he wo n't try shit. Dwayne looks up at Jay with something not unlike awe. DWAYNE That's actually. that's a great fucking idea, Jay. It's the best idea anyone's had all day. Dwayne lowers his head. He removes the gun from his belt. holds it out to Jay. Jay takes it. Feels its weight. Then offers it back. JAY I was just trying to figure out how you would do it, Dwayne. Dwayne takes the gun. Struggles to stand. Jay helps him. 89. DWAYNE Ok. Then let's do it right. We leave nothing to chance. Because if we go to prison for this, I wo n't be able to watch out for you. JAY Ok, Dwayne. Dwayne looks over at a frame backpack hanging from a hook on the wall. PVC piping bulges from it. DWAYNE You should probably bring the flamethrower, buddy. There's gon na be some evidence to dispose of.","EXT. SIDE OF THE ROAD - DAY Will and Chet sit on the ground, still 20 yards apart. Chet checks his watch. CHET It's been half an hour. WILL He'll call. CHET In another 30 minutes I'm calling the bomb squad. Chet gestures to the vast emptiness all around them. CHET These guys obviously are n't watching you anymore. WILL You know, even if they get the bomb squad here in time, and they can somehow get this thing off me, we still got ta answer for the robbery. CHET I'll take the heat with you, Will. WILL Nah. I'll tell them I forced you into it. That you did n't have a choice. CHET Thanks, man. 90. Will looks at Chet for a beat. WILL That's it? You're not gon na think about it a little longer? After all we went through. tear down the relationship, rebuild it. you're gon na let me go to prison alone? CHET You offered. WILL It was a test. Your grade : F minus. You know what the `` F'' is for? CHET To fuck myself? WILL You passed that test. Failed the important one. As the guys continue to argue - SUPER COUNTDOWN : 1 hour, 28 minutes.","INT. LAW FIRM, OFFICE BUILDING - DAY Kate walks down a hallway, turns into an office. Two figures rush past from the intersecting hallway and duck behind a corner. Kate emerges from the office and continues into","INT. WOMEN'S BATHROOM, OFFICE BUILDING - DAY Kate goes to the mirror, checks herself out. She's been crying. She splashes water on her face, then enters a stall. The bathroom door opens and Dwayne and Jay enter. Dwayne pulls something hairy from his pocket. Inside the stall, Kate reaches for some toilet paper. from underneath the barrier, she notices two pairs of dirty, masculine sneakers. Her breath goes shallow. She takes out her cell, quietly opens it. She presses the first 9 in `` 911,'' but her keypad volume is on and the phone makes a dull, electronic beep that echoes in the quiet bathroom. DWAYNE. -LRB- O.S. -RRB- Why do n't you just slide the phone under the door, so I do n't have to kick it open and see you with your panties down. 91. Kate slides the phone out. One of the sneakers crushes it. She gets off the toilet, arranges her clothing and steps out out of the stall. She gasps at - The two ominous men standing there in gorilla masks. Dwayne's gun is plainly visible, tucked into the front of his pants. DWAYNE What's the quietest way out of the building?'Cause I might get excited in a confrontation, and you might wind up shot in the face.","EXT. LIVING ROOM, NICE HOUSE - DAY The Major is watching reruns of Three's Company. He does n't laugh or remotely smile at any of it. The subtle click of a door opening does not escape his finely tuned senses. MAJOR Dwayne? Nothing. The Major gets up and goes to a desk, rifles through a drawer and pulls something out. A simple pen. He clutches it like a weapon.","INT. HALLWAY, NICE HOUSE - DAY The Major creeps along. VAUGHN. -LRB- O.S. -RRB- Just stay where you are, old man. The Major turns to find Vaughn pointing a gun at him. VAUGHN I'm looking for your son. MAJOR Even if I knew where he was, I would n't tell you nothing. VAUGHN Do n't be stupid. MAJOR You know, I saved a black man's life in the shit. So if I took yours I'd be even. VAUGHN I see where your son gets his common sense. But you might want to readjust your attitude, because I ai n't fucking around. I want Dwayne. I do n't know why you'd want to protect him, the motherfucker hired me to kill you. If this news has any effect at all on The Major, he does n't show it. VAUGHN Just tell me where he is! Vaughn pulls back the hammer of his gun. MAJOR You think I'm scared of death? There's a whole generation of gooks that think I'm the grim reaper. Vaughn shakes his head. Almost imperceptibly, The Major repositions the hand with the pen in it. Vaughn is about to squeeze the trigger - But The Major beats him to it, clicking the pen, which is actually a pen gun. It fires a.22 caliber round into Vaughn's neck. He drops the gun and clutches the geyser of blood. The Major charges Vaughn, jumps on him and wrestles him to the ground, trying to jam the pen into the wound in his neck. MAJOR I'll ride you all the way to hell! I know exactly how to get there! Vaughn reaches for his gun. His fingers curl around it and he whips it across The Major's face, knocking him backwards. Vaughn scrambles to his feet, gun pointed at the felled Major. VAUGHN What now, old man!? You ca n't kill me! None of y' all can kill me! The Major looks up at Vaughn, once again face to face with a loaded weapon. MAJOR Go on and - BANG! The Major goes limp, one searing hole in his chest. 93. Vaughn clasps a hand to his neck to staunch the flow of blood. He steps over the The Major's body and continues upstairs.","INT. BATHROOM, NICE HOUSE - DAY Vaughn rifles through the cabinets, dumps all of the first aid supplies into the sink. He gets to work on his wound.","INT. DWAYNE'S ROOM, NICE HOUSE - DAY The locked door is kicked open. Vaughn, neck crudely bandaged, flicks on the lights and looks around the childish room. Chinese Fighting Fish swim in a large tank, seem to stop and look out at him like guard dogs. Vaughn ransacks the place. He finds a desk drawer locked. Takes out his gun and blows it open. Vaughn pulls a stuffed file folder out of the drawer. Flips through it. It's full of details about Dwayne's plan, the tanning salon, etc.. VAUGHN Motherfucker has lost his mind. He finds a map of the town in the file. Three locations are highlighted : the bank, the boarded up gas station, and the radio tower. PUSH IN on the radio tower. Vaughn stuffs the map into his pocket. He stops before leaving the room, turns and shatters the fish tank with the butt of his gun. Water spills out and the Chinese Fighting Fish flop onto the floor. As Vaughn lifts a boot to stomp them -","EXT. ROAD - DAY Will and Chet are still arguing - CHET Look at the upshot, while you're behind bars you can finally finish your degree. If I was there, too, it would just be a distraction. WILL Great idea, Chet. Thanks a lot. I'll just sit here and figure out a fucking major. Will stews. After a beat, his hand goes to his pocket. It's vibrating. He pulls out his cell. WILL Hey, it's them. 94. Will answers - WILL You ready to talk now? INTERCUT WITH:","INT. MINIVAN - DAY - MOVING Dwayne drives with his cell pressed to his ear. Jay keeps watch on Kate in back. She is blindfolded, hands bound behind her back with duct tape. DWAYNE -LRB- INTO PHONE. -RRB- Yeah, I'm ready to talk. I want my money. Meet me back at the radio tower in 50 minutes. WILL. -LRB- O.S. -RRB- I've barely got an hour left! DWAYNE That's the point. I want you on a short leash. WILL. -LRB- O.S. -RRB- Fuck that. Give me the code first. Then you can have your money. You'll just have to trust me when I say that I do n't want it. DWAYNE Yeah, I'm sure. You just wan na go back to your fantastic life. Your great job. And that blonde bitch with the sexy voice. Will's mind jumps to the only logical conclusion. Roller coaster stomach drop. His voice cracks as he asks a useless QUESTION - WILL What the fuck is that supposed to mean? DWAYNE. -LRB- O.S. -RRB- It means that girl you paid a visit to today is sitting in the back of my van right now. And it ai n't exactly consensual. WILL Fuck you! You crossed a line! 95. Dwayne just laughs, maniacally. DWAYNE There are no lines! There's just me and you and 100 thousand dollars. Once we get that shit in order, you can have her back, and your life, too. So you're gon na show up where I say, when I say. Alone. And if you try anything stupid, the two of you will be delivering pizzas to Saint Peter. WILL Let me talk to her. DWAYNE You got ten seconds. Dwayne hands the phone back to Jay, who puts it to Kate's ear. She is trembling. KATE Will? WILL. -LRB- O.S. -RRB- Kate, I'm so sorry. KATE It's okay. I'm fine. I'm just really - Dwayne snatches the phone. DWAYNE She's just really gon na die if you fuck this up. Will absorbs this like a blow to the chest. The line disconnects. WILL Fuck! CHET What happened? WILL They have Kate. CHET What the fuck does that mean!? WILL They took her, man. They must have followed us to her office. 96. CHET Damn it! You had to go see her! WILL I'm sorry. I messed up. I finally messed up worse than I could have possibly imagined. CHET We got ta get her back, Will. These guys are crazy. WILL We still got the money. As long as we have that, she's alive. Come on. Chet grabs the bag of cash. They hustle into the car and it peels out, leaving behind a swirling cloud of dust. As the sun begins to set - SUPER COUNTDOWN : 58 minutes.","EXT. HIGHWAY - NIGHT Two menacing headlights come at us on the empty road. They BELONG TO","INT. SENTRA - NIGHT - MOVING Vaughn holds up Dwayne's map as he drives. He seems to be on the right road, headed for the radio tower. He crumples the map and throws it in back.","EXT. SIDE OF THE HIGHWAY - NIGHT The Mustang stops by the gate to the radio tower. Chet jumps out and disappears into the bushes.","EXT. RADIO TOWER - NIGHT The Mustang pulls up. Will gets out and looks around the deserted place. He holds up the money bag. WILL I'm here! In the shadow of the nearby shed, the minivan is revealed as its interior lights come on. The door opens and Dwayne emerges, in his mask. DWAYNE How much time you got left? 97. Will takes off the jacket and tosses it to the ground. He looks at the timer. WILL Ten minutes. DWAYNE Damn. Maybe we should just wait around for the money shot. The guys meet in a clearing. Dwayne nods at the bag. DWAYNE That the money? WILL Maybe. Where's the girl? Dwayne grins. DWAYNE In the van. Maybe. WILL Get her out here. You're wasting time. Will grips the bag close to him. Dwayne whistles. The minivan door opens and Jay steps out. Strapped to his back is the frame pack we saw at his workshop. A long tube connects the pack to the handle of a metal pipe - like device in his hand. Jay helps Kate, still bound and blindfolded, out of the van. They approach Dwayne and take up position behind him. KATE Will, are you there? WILL I'm here. It's gon na be okay. DWAYNE This is a fucking tearjerker. WILL Just let her come over here. DWAYNE I will. But you should know, my associate over there is packing a flamethrower. Jay aims the metal device he has been holding. He hits a button and a pilot light comes on. 98. JAY -LRB- FLAT. -RRB- Just do what we say. Do n't mess around or anything. DWAYNE Unless either of you can outrun a 25 - foot flame. -LRB- gestures to gun in his belt. -RRB- Or a bullet. Dwayne roughly pulls Kate away from Jay and shoves her forward. Will grabs her, pulls her blindfold off and pushes her behind him. WILL Get back. DWAYNE I gave you the girl. Now give me the money. WILL How about we get the code out of the way first, since this bomb happens to be ticking so close to all of us. DWAYNE Fair enough. Dwayne pulls a slip of paper from his pocket. DWAYNE -LRB- TAUNTING. -RRB- You ready to be a free man? WILL Just give it to me! DWAYNE 448921. Will keys in the numbers. The timer freezes and the lock at the hinge opens. Will carefully extricates himself from the vest. He lays it down on the ground and steps away from it. His shirt is drenched in sweat from where the bomb sat. Will takes a final look at the money bag, then throws it to Dwayne. He looks inside, smiles. Jay takes a peak. DWAYNE It's so fucking pretty, ai n't it? JAY Yeah. It's awesome. 99. Dwayne looks up at Will. DWAYNE Okay, you can get out of here now. WILL I actually have this sneaking suspicion that once we turn around, you're gon na put a bullet in both of our backs - and this is just a guess - burn our bodies. DWAYNE They say great minds think alike. And in this case, so do we. WILL I figured as much. That's why I got a gun pointed at you, too. -LRB- LOUDLY. -RRB- I got a sniper in the bushes locked on you right now. DWAYNE Do I look that dumb? WILL I ca n't tell, you're wearing a mask. Before Dwayne can react, he stops and blinks, something shining in his eyes. JAY Hey. on your forehead. Dwayne's eyes turn upward, just barely making out the red dot that dances on his forehead. DWAYNE Son of a bitch. Well played. In the bushes, hidden from sight, Chet carefully aims his laser pointer at Dwayne's forehead. Will grins at Dwayne. WILL We're gon na walk out of here now. If you shoot, my sniper shoots. I ca n't guarantee he'll get both of you. But he'll definitely get you. As Will turns away - 100. VAUGHN. -LRB- O.S. -RRB- Hold the fuck up. Vaughn emerges from the darkness. He looks at Will. VAUGHN Was n't expecting to see you here. Without warning, Vaughn cracks Will over the head with the butt of his gun. He goes down hard. Kate screams. Vaughn points the gun at her and she shuts up. Dwayne steps forward with the bag. DWAYNE It's all good. We got your money. VAUGHN Nice mask, Dwayne. Now throw the money over here. Dwayne complies. As soon as the bag lands, Vaughn aims the gun at him. DWAYNE Hold up. You do n't have to do this. I just paid you. Kate looks on, terrified, an unconscious Will at her side. Vaughn's eyes burn a hole through Dwayne. VAUGHN I've been hit with a pipe, shot with a pen, and wasted my whole motherfucking day. all because of you and this job. DWAYNE I do n't know what you're talking about. Just take the money. VAUGHN I will. And then I'm gon na tie up the two loose ends in the gorilla masks. DWAYNE I'm not a loose end! VAUGHN You're a fucking idiot. You are as loose as ends get. Panicked, Dwayne's eyes flash over to Jay, who tightens his grip on the flamethrower handle. Jay catches Dwayne's eye. Dwayne nods. Vaughn sees this. 101. VAUGHN What the - Jay rears up with the flamethrower. Vaughn could n't be more surprised to see the device Jay is holding spit a massive ball of fire at him. Vaughn dives to the ground, fires off two wild shots, one of WHICH - Nails Dwayne in the shoulder, spinning him backward and knocking him off his feet. Kate recoils in horror as : Vaughn scurries madly on the ground, intermittently firing, while Jay screams and tries to torch him with the 25 - foot flame. A hand touches Kate's shoulder and she whirls around to find - KATE Chet!? What are you doing here!? CHET Not now. We got ta take off. -LRB- LOOKS AROUND. -RRB- Where's Will? Kate looks to the empty spot beside her where Will just was. Flames inches from him, Vaughn lines up a desperate shot - Good news : the bullet only grazes Jay's side. Bad news : it keeps going and punches through the flamethrower backpack, which happens to be filled with gasoline, which happens to have an incredibly low flash point. So the spark from, say, a bullet, would cause AN ERUPTION OF FLAMES Meanwhile, Will pops up behind Chet and Kate, clutching the garbage bag. WILL I got the money. Let's get the fuck out of here. They take off toward Will's car. Dwayne groggily comes to. no SOUND, just a ringing. The first thing he sees : Vaughn storming toward him, god - knows - what spewing from his mouth. Vaughn levels his gun - It does n't make a sound for two reasons. The second being that it's out of bullets. Dwayne fumbles for his own hardware. Muzzle flash. 102. Vaughn drops to his knees. Pulse snatched from him. SOUND SLAMS BACK to the tune of Jay's screams. Dwayne looks over to see his friend in flames, flailing his arms and shrieking. Dwayne's head snaps to the other side, where he sees the Mustang's tires peel. He tears off his mask, frantically looks around. The money is gone. DWAYNE No! Jay disentangles himself from the backpack, the source of the flames, but his clothes are now ablaze. In his frenzy, he somehow manages to string together two coherent words - JAY Dwayne! Help! Dwayne gets to his feet as the Mustang roars down the driveway. He looks to Jay, then to his minivan. Dwayne's face : Two roads diverge in a wood. Which to take? DWAYNE Goddamn it, Jay! Dwayne sprints over to Jay, rips off his jacket and uses it to beat the flames down. DWAYNE Stop, drop and roll! Jay hits the deck. Dwayne continues fighting the flames, finally falls on top of Jay with the jacket spread and smothers the last of them out. Jay looks up at Dwayne with puppy dog eyes. JAY You came back for me. you said you never would. DWAYNE You did n't hesitate back there, Jay. You did good. Jay smiles. Flames overtake the field all around them. DWAYNE I'm gon na go put a bullet in that motherfucker and get our money. Think you can get outta here? JAY Yeah. Go get him. 103. Dwayne hurries toward the minivan. Jay stumbles up to his feet and limps off toward the woods.","EXT. HIGHWAY - NIGHT The Mustang travels away from the rising flames.","INT. MUSTANG - NIGHT - MOVING Will's face is a mess of dirt, sweat and dried blood. He and Chet stare ahead, completely shell - shocked. Kate looks from one of them to the other. KATE Uh. I just got kidnapped. CHET Yeah, that was totally Will's fault. In case you want to factor that in while you're mulling over the whole relationship thing. WILL I'm very sorry about the kidnapping. This is me, taking responsibility for it. Growing up. Like a viable life partner. CHET This man has spied on you in the nude before! WILL What? No, I did n't. CHET He's lying. He's trying to build a relationship on a foundation of lies. And it wo n't stand. KATE I just got kidnapped! Can we talk about that!? Something catches Will's attention : a set of headlights rapidly growing larger in the rear - view mirror.","INT. MINIVAN - NIGHT - MOVING Dwayne's speedometer is buried past 100 mph. His eyes burn with intensity. 104.","INT. MUSTANG - NIGHT - MOVING Will hits the gas. WILL Oh, shit. One of those dudes is definitely not dead! Chet and Kate look out the back window. Chet screams - CHET Hurry up! He's already on us!","EXT. HIGHWAY - NIGHT Dwayne's car pulls even with the Mustang.","INT. MUSTANG - NIGHT - MOVING Will looks over at Dwayne, who pulls out his gun and takes aim. He flashes a sick grin - DWAYNE I own this town. Before Dwayne can get a shot off -","EXT. HIGHWAY - NIGHT An explosion rocks the minivan from inside. The back end is lifted off the ground and the car tumbles over itself. It lands on its roof and skids into a ditch.","INT. MUSTANG - NIGHT - MOVING Chet and Kate watch the burning wreck disappear out the back window. They are equal parts confused and happy to be alive. KATE What the hell was that? WILL That was the bomb I carried around all day. I reactivated it and put it in the back of his van. I guess his time was up. CHET `` His time was up?'' Were you thinking that up the whole day? WILL I was prepared, yes. I ca n't help it if I'm the kind of guy who thinks about the future. 105. CHET -LRB- TO KATE. -RRB- He's not that kind of guy. He does n't think about the future. Ever. KATE What exactly happened since I saw you this afternoon? WILL Primarily, we robbed a bank. KATE What!? So you're, like, fugitives? What do we do now? CHET Yeah, Will. What does the future hold? WILL Nothing good if we stay in town and they pin this on us. Kate, I think you should put in for that vacation time. Right now. If anyone gives you a problem, tell them to fuck off. There's 100 grand in that trash bag by your feet. A third of it's yours. Kate opens the bag. smiles through the dirt and grime. KATE Will, that's - CHET Fucked up. Why does she get a share? WILL Why do you get a share? Chet stews. Will catches Kate's eyes in the rear - view. WILL Airport's 30 minutes away. Pick a destination. This time it's not a practice run.","EXT. HIGHWAY - DAY The car zooms off. SUPER COUNTDOWN : 0 hours, 0 minutes. 106.","EXT. DITCH - NIGHT Wind fans the flames of the burning minivan. The shattered windshield sprouts another crack. then another, as - Dwayne's foot kicks it out. He drags himself from the smoldering steel carcass. He is a charred, blood splattered mess, but he is alive.","EXT. HIGHWAY - NIGHT Dwayne is propped up against a sign, lingering on the edge of consciousness. The headlights of a lone pickup truck approach. Dwayne feebly waves the truck down for a ride.","INT. NICE HOUSE - NIGHT The door opens and Dwayne stumbles through. He has made it home. He drops like a puppet whose strings have been cut. From where his head has landed on the floor, Dwayne sees something odd. long red streaks. He crawls forward on all fours to investigate. It is a trail of sticky red blood. Dwayne follows it until he comes upon its source. the crumpled body of his father, lying face down. Dwayne's face : shock and confusion and joy. DWAYNE Dad? Dwayne inches closer, pokes the body. Nothing. DWAYNE Dad, are you - The body emits a low groan. Dwayne rolls it over. His father's face is white, he's lost a lot of blood, but he is n't totally spent yet. He struggles to speak - MAJOR Dwayne. DWAYNE What happened to you? MAJOR Some guy. said you hired him to kill me. DWAYNE Dad, I. I'd never. 107. MAJOR Look at you. lip quivering like you're getting fucked. be a man. DWAYNE I am a man! I killed you, did n't I? Now I'm gon na use your money to open a tanning salon where they let you fuck the chicks. This stirs something in The Major. MAJOR You mean. like those whorehouses. in ` Nam. I used to tell you about? Dwayne softens at the recollection. DWAYNE Those were great bedtime stories. The Major nods. Opens his hand. Reveals a cordless phone. Dwayne looks to the bloody streaks down the hall, leading to the phone table. The Major dragged himself the whole way. MAJOR Medics are late. probably a couple lazy spicks. you tell'em I said so. all right, son? DWAYNE Sure thing, pop. The Major looks up at Dwayne's bruised face, as if for the first time. MAJOR Hell of thing. I think I may. actually respect you now. Dwayne's eyes well up. He reaches out, cradles his father as he expires. It's like a very bloody, white trash version of the Pietà. Dwayne sobs uncontrollably, until - He drops his father and pound - pound - pounds his chest in some approximation of a life saving resuscitation. DWAYNE Get up, you pussy! Come on, soldier! PULL AWAY as Dwayne pounds the body and distant sirens grow nearer. FADE OUT: 108. BLACK. THE DARKNESS RIPPLES. Into waves. It's the ocean, long past sunset. PULL BACK to find a lone figure staring out at it, sitting on","EXT. BEACH - NIGHT Will. Shirtless. Could be anywhere. Chet approaches and sits beside him. CHET Fucking nine dollars to use the internet. WILL And? CHET Police think it was that black guy. They found some kind of map in his car. And I'm sure racial profiling played a part. WILL But nothing about us? CHET Nope. Guess it's time to head back. WILL I was thinking we'd stick around a little a longer. CHET Why? So you have more time to delude my sister? WILL Yes. And it'd be easier if you gave us five fucking minutes alone. Chet stares out at the ocean for a beat. CHET You really think she's into you? WILL -LRB- SWALLOWS HARD. -RRB- I kissed her last night. No tongue. Then you walked in. Chet just nods. Will gets up. 109. CHET You're gon na go fuck my sister now, are n't you? WILL I'll be thinking of you the whole time. CHET At the very least. be a considerate lover. Give pleasure, before taking pleasure. WILL I think I'm reading you. And I will try my best. Will heads up a trail that leads to a hotel bungalow. Kate opens the door, steps out onto the porch. Will stops, looks back at Chet. He whistles. Chet turns. WILL You're Riggs! You always have been! Chet smiles, shakes his head as - Will reaches the porch. He stands close to Kate. His nerves clock overtime. WILL I lied and told your brother I kissed you. I thought it would make this easier. KATE Here's an idea : pretend you have a bomb strapped to your chest. Tick, TICK - Will closes the gap and kisses her. After a beat - KATE Is Chet watching us? WILL Probably. We should go inside. I promised him I'd satisfy you. Kate laughs, leads him inside and the door shuts to - BLACK 110. CREDITS ROLL. But they are pushed to one side of the screen, as the other side is filled with - A lo - fi, 2001 - style light tunnel. It deposits us in the furthest reaches of the galaxy, where we find - A tanning bed. Rotating in orbit. Dwayne's voice booms and REVERBERATES - DWAYNE GRAND OPENING SPECTACULARRR! The tanning bed explodes, like a star gone supernova. From the light and fire and chaos. emerges a logo : MAJOR TAN A bad MATCH CUT takes us to the same logo. Camera ZOOMS OUT unsteadily to reveal it is a banner above a strip mall storefront. We are watching a local commercial with appropriately poor production value.","INT. MAJOR TAN - DAY (LOCAL COMMERCIAL) Dwayne walks backward down a hallway while addressing camera and trying not to trip - DWAYNE Here at Major Tan, our specially trained technicians are hard at work developing new technologies that harness the power of the sun, to ensure a cutting - edge tanning experience. Dwayne enters a tanning room. A man in a lab coat stares down at a clipboard, on which a complicated scientific equation is written. DWAYNE How's it looking? The man turns : it's Jay. His smiling face is speckled with healing burn wounds. JAY It's our most advanced tanning bed yet! He gestures to a very ordinary looking tanning bed. 111. DWAYNE Hey, do n't just take this scientist's word for it. The proof. Dwayne snaps his fingers. A BAD SPECIAL EFFECT makes him disappear, then reappear with a totally orange tan. DWAYNE is in the tan. We follow Dwayne back out into the hallway. DWAYNE But Major Tan is n't just about looking good. It's also about feeling good. Dwayne gestures to another room. The door opens and Juicy saunters out in a bikini. A beat later, a RANDOM GUY exits. RANDOM GUY That `` Deluxe Tan'' was fantastic!","EXT. MAJOR TAN - DAY (LOCAL COMMERCIAL) Dwayne stands outside the store. DWAYNE So come on down to Major Tan. where we're proud to be a family business. PULL BACK TO REVEAL. The Major beside Dwayne. He's only about four feet tall now, on account of the wheelchair. But he's grinning like a jackal, in a POW - MIA cap. A SUPERED LOGO appears : Military Discounts Available! As father and son smile and wave at us - END COMMERCIAL."],"string":"[\n \"The following is very loosely based on some shit that actually happened. OVER BLACK We hear the roar of a V8 engine, piped out through some throaty, fucked up muffler, as\",\n \"EXT. HIGHWAY - DAY An'89 Mustang bursts like a shot over a rise in the highway. It's got a rusted two - tone paint job, Maryland plates, and bald tires that scream as it peels off an exit and into the\",\n \"EXT. SUBURBS - DAY The car fast approaches a stop sign, dangerously blows through the intersection.\",\n \"INT. MUSTANG - DAY - MOVING We do n't see the DRIVER, only the redlining RPMs, Vans slip - ons working the pedals, wristwatch being checked. The wheel cranks right as the car turns onto a - One way street. A minivan flies right at us. The Mustang hops up onto the curb to avoid it, clips a trash can and - Garbage explodes like confetti. The wipers engage, brushing the trash aside. The car whips another turn and\",\n \"EXT. SUBURBS - DAY The Mustang fishtails around a corner and skids away. TIRES SCREECH Brake pads smoke. The Mustang stops outside\",\n \"EXT. HOUSE - DAY The Driver jumps out of the car. As he rushes to the front door, we see the urgent package he is delivering. TWO LARGE PIZZAS Before he can ring the bell, the door opens and two smug 15 - YEAR - OLDS stare out. 15-YEAR-OLD That's 34 minutes. You're 4 minutes late. Pizza's free. REVEAL our guy staring back at the kids. This is WILL -LRB- 25 -RRB-, probably good looking in another life. Right now, he is tired and unamused, wearing a red `` Giorgio's Trattoria'' hat and a sweaty matching t - shirt. WILL Gim me a break. You guys live two towns away. It's pretty much fucking impossible to get here in 30 minutes. OTHER 15-YEAR-OLD Exactly. That's why we ordered from your shitty `` trattoria.'' WILL This is gon na come out of my paycheck. You sure you do n't want to take the moral high ground? OTHER 15-YEAR-OLD We'd rather take the pizzas. Will takes a calming breath. Hands over the pizzas. WILL Ok. You guys are pretty smart. You figured out a way to beat the system. -LRB- PEEKS INSIDE. -RRB- Got the house to yourselves? 15-YEAR-OLD That's right. WILL Not bad. Any jailbait in there? Little pizza and a rainbow party? The kids shakes their heads. WILL Seriously? Well, two hustlers like yourselves got ta have the place stocked with beer and whippits and shit, right? Just call the girls up and let them know the party's on. 15-YEAR-OLD Man, we do n't have any of that stuff. Will makes a show of mulling this over. WILL I really should n't do this. but you seem like a couple of good dudes. I'll tell you what, you give me the money that your mom left you for the pizzas, and I'll grab you some beers. -LRB- BEAT. -RRB- But I get to keep the change as a tip. Deal? The kids look at each other. One hesitantly pulls out some cash. Will snatches it and heads off. WILL I'll see you in like 20 minutes. The kids look uncertain. As if sensing this, Will stops before getting into his ride. WILL You boys like Budweiser, right? 15-YEAR-OLD Uh, yeah, totally. OTHER 15-YEAR-OLD Love that shit!\",\n \"INT. MUSTANG - DAY - MOVING The sun sets. Will cruises back into his own middle - class town in suburban Maryland. A six pack of Budweiser rests in the passenger seat. Will stops at a light. Checks out a PRETTY YOUNG THING in the Jeep beside him. She catches him looking, rolls her eyes. The light turns and the Jeep skids away. Will self consciously removes his `` Giorgio's'' cap.\",\n \"INT. GIORGIO'S TRATTORIA - NIGHT Will enters and nods at CHRISTOPHER -LRB- 40s -RRB-, the manager. His balding head is nearly translucent from absorbing a day's worth of pizza grease. WILL Yo, Chris. Let me cash the fuck out. Will hands over some cash to Christopher. CHRISTOPHER You have a pretty good shift? WILL For sure. I mean, the part where I had to drop off all those pizzas kinda sucked, but the rest was cool. CHRISTOPHER Oh, yeah?'Cause, I got some kids calling in saying you ripped them off. Promised to buy them beer or something. WILL I actually did buy the beer, but it would have been illegal to give it to them, right? So I'm gon na do the responsible thing and drink it myself. CHRISTOPHER That's real funny. But I'm trying to run a business here. WILL What kind of business promises to deliver anywhere in 30 minutes? It's ridiculous. CHRISTOPHER I do n't wan na hear another one of your bullshit excuses. You're fired. WILL Come on. If I did n't need this job, I would n't be doing this shitty job. Chris is unmoving. WILL Fuck! Whatever! Will storms off. As he gets to the door - CHRISTOPHER You know, you were an okay driver half the time. And you're not a Puerto Rican. Which means something to me. WILL That's poignant. CHRISTOPHER I guess I could rehire you, on a provisional basis. Of course, this would be at the slightly reduced `` new company rate.'' WILL Are you fucking serious? CHRISTOPHER I do n't know. Is there anyone else left in town for you to work for? Will shakes his head. Swallows what's left of his pride. WILL When do I start?\",\n \"EXT. SMALL APARTMENT BUILDING - NIGHT Will sits on the darkened front stoop. He tosses an empty can into the bushes and gets to work on his fourth beer. He looks over at a parked Hyundai Elantra. A YOUNG MAN sits in the passenger seat with a pensive look on his face. He makes a sudden, surprised gasp. The homely YOUNG WOMAN who was just blowing him sits up from his lap and rearranges herself in the driver seat. She leans over for a goodbye kiss. The Young Man obliges with much fanfare. The Young Man gets out and the car pulls away. This is CHET -LRB- 25 -RRB-, a clean cut guy dressed in the Gap Premium Collection. He heads toward the building, high off his BJ, humming Outkast's `` Ms. Jackson.'' He stops when he notices Will in the shadows. CHET What the hell? Have you just been sitting there? WILL Yep. Caught the whole show. Really classy move at the end. You know, the kiss. Putting your tongue in her mouth right after you fucked it. CHET Hey, a nice girl decides to pleasure me on a weeknight, in her car no less. I'm not gon na make her feel like an untouchable. I'm gon na make her feel like a lady. WILL What manners. May I offer you some alcohol, sir. To wash the taste of yourself out of your mouth. Will offers his beer. Chet takes a slug, gurgles for effect. CHET By the way, she said she had a friend. Maybe we can go on our first double date since you tried to talk Jackie Fortunato and her cousin into having a four - way with us. WILL I misread their body language. It happens. Will picks up some rented movies sitting beside him. WILL Come on. Let's go inside, drink your beer and watch shit get crazy. -LRB- FANS MOVIES. -RRB- Old favorites. You choose. Lethal Weapon, Lethal Weapon 2. was gon na get the third Lethal Weapon, but decided on a porn. So it's really between the first two. CHET I choose sleep. I got ta teach a class at eight. WILL You're a sub. Just call in sick. Like the real teacher did. CHET Come on, man, you know I got promoted to full - time last month. You bought me a laser pointer. Will heaves a sigh. WILL Yeah, I know. I guess I'm just having a hard time accepting you as `` the man.'' You know, flunking kids, giving out spite detentions to girls you wan na fuck, laser pointing at shit. CHET I also get healthcare and my summers off. It's not perfect, but it's a career. Will grudgingly stands up. WILL I guess that's just the difference between you and me. He holds up the Lethal Weapon DVDs. WILL I'm like Riggs. Cruising the streets. No rules, no attachments. Every other day some asshole is trying to take my badge. You're fucking Murtaugh. Always worried about your pension. Well, guess what, it gets old after the first movie. CHET I just got head. I'm totally Riggs. Will shakes his head, turns and walks off.\",\n \"INT. STUDIO APARTMENT - DAY Will wakes up, legs dangling over the edge of a tiny couch. His TV is still on, displaying the menu screen from a porn. Will looks down at his coffee table. Clears some magazines to reveal a file folder. Flips the cover - It's full of college applications, drafts of admissions essays, a junior college transcript. Will thumbs through one of the glossy applications. The kids look young. Very young. Will glances over at a picture on his wall : he and Chet at high school graduation, looking just as young. They have their arms around a pretty girl squeezed between them. Will and the girl look very high and very happy. Will shuts the folder, slides it back under the coffee table debris. He looks over at a clock : it is already 2:00 PM. WILL Fuck.\",\n \"INT. MUSTANG - DAY Will jumps in and starts the engine. As he tucks his `` Giorgio's'' cap onto his head, he catches his reflection in the rear - view mirror. WILL You asshole. You titanic asshole. Come on down and get your prize. He makes his fingers into a gun, puts it to his head. pulls the trigger and BOOM! WE'RE IN\",\n \"EXT. OPEN FIELD - DAY A watermelon explodes in a shower of red, juicy bits. Loud, dumb laughter echoes. Standing 20 yards away is DWAYNE -LRB- 32 -RRB-, an intense, meaty guy in a sleeveless Baltimore Ravens t - shirt. On his left bicep is a tattoo of the Tasmanian Devil flipping the bird. DWAYNE Fruit motherfuckin' salad! Crouched beside him is JAY -LRB- 27 -RRB-, tall and awkward, in a wool surplus cap. He carefully rigs homemade explosives to another watermelon, then looks up at Dwayne. His eyes are magnified into saucers by his thick glasses. There's a peculiar eagerness to please in them. JAY This one's gon na blow even bigger. DWAYNE Boy, if you were n't such a skinny little bitch you coulda been in the military or something. JAY Whatever. I do n't need the military. I taught myself how to do this shit. DWAYNE I hear that. I taught myself how to eat pussy. And cut my own hair. Jay jogs the watermelon a safe distance away. He returns and pulls out a detonator. Dwayne snatches it. DWAYNE This one's all me. -LRB- makes `` radio'' sounds. -RRB- Mr. President, we have enemies at the gate. Give me the order. -LRB- more `` radio'' sounds. -RRB- Fuck that, sir. I do n't negotiate with terrorists! Dwayne presses a button and BOOM! The explosion is so powerful that it sprinkles our guys' smiling faces with fruit juice.\",\n \"INT. KITCHEN, NICE HOUSE - DAY Large and early - 90s chic. Dwayne and Jay have the fridge open, fixing themselves a cold cut plate. Dwayne is debating the amount of meat on the plate. adds some more. DWAYNE Wan na make sure I get enough calories. JAY I thought you wanted to get diesel for the summer. Bang that towel girl at the community pool. DWAYNE It's obvious you do n't know shit - all about physical fitness. You got ta bulk up first, then you slim down. I'm clearly in the bulk up phase. I told you to watch Pumping Iron like a month ago. If you'd listened to me, maybe you'd know what the fuck I'm talking about. -LRB- BEAT. -RRB- Grab some RC Cola.\",\n \"INT. LIVING ROOM, NICE HOUSE - DAY The shades are drawn. We hear a girl scream bloody murder! The guys are watching FRIDAY THE 13TH PART 3. in 3D. They both wear cheap cardboard glasses. Jay jumps back as Jason wields a 3D ax. JAY Shit, man! It's so real! Dwayne reaches out, `` touching'' the 3D images. He stands and starts humping the air. DWAYNE Check it out. I ai n't afraid of Jason. I'm fucking him. -LRB- THRUSTING HARDER. -RRB- You like that, Jason!? In the mask! Jay cracks up. The lights flick on. GRIZZLED VOICE. -LRB- O.S. -RRB- Who are you two fags fucking? Standing by the switch is Dwayne's dad, JERRY -LRB- 70s -RRB-. Most people just call him `` THE MAJOR.'' The faded USMC tattoo on his thick forearm explains why. JAY Afternoon, Major. Dwayne flops back onto the couch. DWAYNE Dad, we're watching a flick. We got 45 minutes and a potential 3D sex scene left. You're sorta coming in at the worst possible moment. 10. MAJOR I bought that TV set so I could watch my programs, not so you and your friend could louse up my couch. DWAYNE You got ta learn how to share the common space. MAJOR The only thing common in this house is you. You remind me of your damn mother. Fat, dumb, and in my way. The Major grabs Dwayne and pulls him up off the couch. He gets right in his face. scary, intense. Dwayne turns to Jay. DWAYNE Let's get outta here. This movie sucks anyway. Jay gets up and files out the door. Dwayne goes to take the cold cut plate. The Major grabs his arm. MAJOR I paid for the damn cold cuts, too. Maybe if you had a job, or a fucking prospect, or a clue how to find any of the above, I'd let you eat'em. DWAYNE -LRB- QUIETLY. -RRB- You know, you can be a real sonofabitch, dad. MAJOR That's what it takes, boy. In the Corps, men like you wore dresses to keep us entertained. DWAYNE That's pretty fucking disturbing! Dwayne storms off.\",\n \"EXT. NICE HOUSE - DAY Dwayne and Jay head out, passing a brand new pickup truck in the driveway. Dwayne spits on it. DWAYNE Fuck The Major! The guys get in a shitty Ford Aerostar minivan and peel out. 11.\",\n \"INT. DIVE STRIP CLUB - DAY R. Kelly's `` Ignition -LRB- Remix -RRB-'' pumps. Large, fake breasts, sparkling with cheap body glitter and pierced at the nipples, shake before us. Their owner, JUICY -LRB- 27 -RRB-, a petite Latina, phones in a lap dance as Dwayne pours his heart out to her. Somewhere in the background, Jay hangs at the bar, all alone. DWAYNE - and he thinks he knows me. He do n't know shit. I got ideas he could never dream of. I got plans bigger than his fucking house. -LRB- BEAT. -RRB- He did n't even raise me. My mother did. That was a good woman. JUICY Oh yeah? What happened to her? Dwayne shifts, uncomfortably, at the sore subject. DWAYNE She passed on. JUICY I hope you're not one of those guys that comes here looking to get mothered. DWAYNE I would n't mind nursing on them titties, mamacita. JUICY Sure. Whatever you say. Maybe just keep quiet for a while, forget about your old man and let me do my thing. DWAYNE I wish I could forget about that asshole for good. I'm just waiting around for him to drop dead. Do n't wan na mess with my inheritance. This piques Juicy's interest. JUICY What kinda inheritance? 12. DWAYNE When my dad got outta the service, he started buying lotto tickets. He'd play his dog tag numbers. In' 91, the fucker won five million bucks. INSERT PHOTO : The Major holding a giant cardboard check. DWAYNE He had some health problems a few years back, and since then he's been burning through the money like an NBA draft pick. Probably only got a million or two left. But it's mine as soon as he kicks. Behind inch - long fake eyelashes, Juicy's shrewd eyes narrow, mind working. She straddles Dwayne, tightly. JUICY You know, with a million bucks, you could have anything. Be like a king. -LRB- almost a moan. -RRB- King Dwayne. DWAYNE That's right. And maybe I'll make you my queen. Let you polish my royal scepter. JUICY Practice makes perfect. Juicy pantomimes a long, slow chicken head. Dwayne is blissed out. She smiles at him, sticky sweet. JUICY Let me ask you a question. do you really hate your daddy? DWAYNE Hate him like the Steelers. JUICY Then maybe I can help you get that money now. Before he spends another penny. Dwayne looks confused. Juicy puts his hands on her breasts, emboldening him. JUICY I know a guy in Baltimore. He could help you out. Probably do it for. -LRB- sizing him up. -RRB-. 100Gs. 13. DWAYNE Do what? Juicy leans in, whispers softly in Dwayne's ear - JUICY Kill your mean old dad. On Dwayne's face as this new possibility pinballs around his mind, setting off a flood of different emotions. JUICY So, what do you think. you ready for your crown?\",\n \"INT. MUSTANG - NIGHT - MOVING Will has one pizza left in the back of his car. He pulls over outside an office building.\",\n \"INT. LAW FIRM, OFFICE BUILDING - NIGHT Rows of cubicles. Speckled with late night STRAGGLERS, bleary eyes, too busy generating detailed lists of places they'd rather be to notice the pizza boy walking along. Will stops before one such work station, looks on for a beat. WILL Rio? KATE -LRB- 25 -RRB- turns from the glow of her computer screen. She has short, messy hair and a sarcastic smile. This is the girl from the picture in Will's apartment. KATE That's the plan. Five days, six nights. Culture. Beaches. Acceptable probability of kidnapping. I leave in the morning. Kate looks back at her computer, logged onto an Expedia checkout page for a Rio vacation. She moves the mouse pointer from the `` proceed'' key. closes the window. KATE This morning I loaded up an African Safari and a cruise to Alaska. WILL Oh, the places you'll go. KATE Fuck Expedia. Travel Advisor. Making it seem so easy. 14. WILL It is. Just do it. Get away for a while. KATE Even if I could afford that. they fired two other paralegals last week. Now's not the time to be putting in for vacation days. WILL Ok. Done. I've got my dose of the actual working world. Can we eat? Will lays a pizza down on her desk. KATE How do you keep sneaking up here past the security guard? WILL He's there like half the time. The other half I smile at him. I'm relatively certain he's a homosexual. KATE Interesting theory. Kate opens the pizza box, grabs a slice. KATE Maybe I should set him up with Tom Small. He came out to me today on Facebook. WILL That kid beat the hell out of me and Chet in grammar school. Wow. KATE Tell me about it. He fingered me at junior prom while they were playing `` No Scrubs.'' WILL -LRB- WINCES. -RRB- Really? What a fucking scrub. Will grabs a slice. They eat quietly for a beat. KATE So, I've got some news. 15. WILL I thought the Tom Small stuff was enough of a headline, but go ahead. KATE I'm getting back together with Mark. Will's delicious pizza suddenly tastes like shit. He does his best to swallow it down. WILL But you. you broke up with him. ended the relationship. Finality was had. KATE Yeah, but we were talking and - WILL Forget it. I do n't want to know. KATE You sound like Chet. WILL Woah, do n't compare me to your brother. KATE Well, neither one of you seems to care that I do n't have a life. Mark's not perfect. but a relationship is better than working late every Friday because I have nowhere else to be. WILL Sure. I get it. Here we are. Friday night. Nowhere to be. Kate shoves Will, good - naturedly. KATE You know what I mean. Will shrugs, quietly devastated. Goes back to his pizza.\",\n \"INT. SPORTS BAR - NIGHT Most of the PATRONS are fixated on an Orioles game blaring from a large flat - screen TV. At a booth in back, Dwayne and Jay are in deep conversation. 16. JAY I do n't wan na stick my nose into a family matter. but killing your old man? That's pretty messed up. I mean, unless you think it is n't. DWAYNE What we have here is a classic `` lesser of two evils'' debate. You got one evil : me shaving a few years off The Major's shitty life. Then you got the other evil : The Major ruining my entire awesome life by blowing through my inheritance. Maybe I'm biased, but mine sure as shit seems like the lesser. JAY I guess I. sorta see where you're coming from. And you have been waiting around forever for that money. You deserve it, Dwayne. Dwayne nods, seriously. DWAYNE You know, there's a reason I sleep'til noon everyday. And it ai n't'cause I'm lazy. It's on account of me having so many goddamn dreams. Big ones. And once that money's mine, they're all gon na come true. Dwayne takes a long sip of beer, contemplative. DWAYNE Like I had this one dream last night. I was cruising through town in a Lamborghini Diablo. The wind was blowing through my hair, ruffling my open shirt. There was a hot little piece of ass sitting next to me. And in the back seat, Jay. was you. Strapped. Wearing a pair of Oakleys. JAY Wow. I did n't know you dreamt about me, Dwayne. DWAYNE It was only this once, Jay. To be honest, I did n't know what to make of it. So I consulted my dream book, and found out it means this : you're my road dog. You got my back. That's why I want to make you my partner. JAY In what? DWAYNE In crime. And business. You see, it ai n't just about the inheritance money. It's about what I'm gon na do with it. Dwayne leans across the table. DWAYNE I'm about to clue you in on something. And then you'll understand the true magnitude of what's at stake here. Are you ready? JAY Yes. I'm totally ready. DWAYNE Then answer me this. what's this town missing? I'll give you a hint. It's a cash business, crawling with sexy bitches. JAY -LRB- BEAT. -RRB- A Chinese food restaurant? DWAYNE No. A tanning salon. -LRB- BEAT. -RRB- Think about it. All that green. All that brown flesh. Jay nods, thinking about. He smiles. DWAYNE It's also the perfect front for a prostitution ring. JAY Yeah, of course. Because of the booths. DWAYNE Yes. And because of the bitches. -LRB- BEAT. -RRB- It can all be ours. 30 percent for you, 70 percent for me. You just got ta help me out here. 18. Jay looks conflicted. Dwayne goes dark, like a spurned lover. DWAYNE I'm starting to wonder if my dream book was wrong about you. Maybe you sitting behind me does n't mean you're my road dog. Maybe it means you're plotting to stab me in the back, like some snake in the grass. JAY That's crazy. I'd never do something like that. The dream book was right! Jay looks Dwayne in the eyes, knows it's all or nothing. JAY Ok. I'll do it. But I'm not shooting him or anything. I'll hold him while you shoot him. That's it. Dwayne chuckles. DWAYNE Here's a fact : they do n't build prisons for criminals, they build them for idiots. Shit, they got three different types of CSI on TV, just laying out how the police do their business. and still, idiots like you think you can just go out and do a murder yourself. -LRB- BEAT. -RRB- If you wan na be a millionaire, you got ta think like one. And millionaires do n't kill people. They hire assassins. Which I did. We got ta pay him on Tuesday. JAY What? Why would you do that? DWAYNE I was presented with an opportunity. I took it. 100 thousand bucks for a highly trained assassin is a steal. JAY But we do n't have that kinda money. DWAYNE Now we're addressing the real problem : how do we get the 100 grand?'Cause once we get that, we get the million. And once we get the million, we will literally own this town and every single thing in it. JAY I guess we could just. rob a bank. One of these local banks with nothing but a dipshit security guard. DWAYNE Again, not quite thinking like a millionaire. JAY Okay, then let's hire someone to rob a bank. Dwayne thinks about this for a second. DWAYNE Fuck hiring them, we could just force someone to rob a bank for us. Like with blackmail, or death threats, or - JAY -LRB- ALMOST INVOLUNTARILY. -RRB- A bomb. Everyone's scared of a bomb. DWAYNE I was gon na say hypnotism. but I like that. It's out of the fucking box. We just strap one to some motherfucker's chest, like we did to those watermelons. Think you can you build some kinda bomb vest? JAY Yeah, I mean. camel jockeys do it in caves. I got a garage workshop. DWAYNE I'm pretty sure this is exactly how a millionaire would do it. And the beauty of it is : we do n't lose any sleep,'cause no one gets hurt. JAY Except The Major. DWAYNE Yeah. The Major dies. But no one gets hurt. Dwayne smiles. But a nagging thought interrupts him - 20. DWAYNE There's just one problem. Where do we get our guy?'Cause if we do a kidnapping, then we're right back where we started. doing shit that's gon na get us caught. -LRB- MIND WORKING. -RRB- What we need is someone to come to us. to a place where we can control the situation. Someone without any connection to us. The guys stare at each other, stumped. Until something catches Dwayne's attention. a local commercial playing on the flat - screen. A PIZZA CHEF slides a pizza into a box - PIZZA CHEF -LRB- ON TV. -RRB- We'll deliver anywhere in 30 minutes or less! Or your pizza is free! Giorgio's Trattoria, where the customer gets what they want. pronto! The guys look at each other. DWAYNE Sometimes fate just takes out its cock and slaps you in the face with it.\",\n \"INT. CHET'S APARTMENT - DAY A hand grabs a beer from the fridge. VOICE. -LRB- O.S. -RRB- You're not trying to draw a psycho pension. you really are crazy! Will heads into the living room with the beer. The voice belongs to Danny Glover. The guys are watching Lethal Weapon. Murtaugh -LRB- Danny Glover -RRB- has just stopped Riggs -LRB- Mel Gibson -RRB- from killing himself. Riggs looks at him, crazily, before - RIGGS -LRB- ON TV. -RRB- I'm hungry. I'm gon na get something to eat. Chet looks over at Will. He is drunk, and in a dark mood. CHET Maybe you should pace yourself. It's noon on a Saturday. WILL Fridge is full, man. We're all good. 21. Will drains half his beer. WILL Let me ask you a question. You remember Tom Small? CHET Yeah, he used to kick our asses. WILL Turns out he was probably jerking off to it afterwards. He's gay. CHET I hope he chokes on a dick. I never liked him. WILL Your sister did. She let him finger blast her. Big time. Chet pauses the movie. CHET What the fuck are you talking about? I do n't want that shit in my head. WILL Sorry. Kate told me about it last night. I thought you should know. CHET You two were swapping stories about getting fingered? That's pretty cute. Chet chuckles. Will ignores him, sips his beer. WILL The point I'm trying to make is this : Tom Small was an asshole. He was totally wrong for your sister. Just like every other guy she's ever dated. Right through to that Mark dude she's gon na get back together with. Un - be - fuck - me - lievable. CHET Whatever. Why the fuck are we talking about who my sister goes out with? At a loss, Will shrugs. Chet turns back to the TV, presses play. Lethal Weapon resumes. Something blows up. Chet pauses the movie and stares at Will for a beat. 22. CHET You sneaky son of a bitch. you want to fuck my sister, do n't you? WILL Chet, I really do n't. CHET My twin sister! ? Which is basically like fucking me! WILL Hey, if you guys had that twin ESP shit this would be a completely different situation. There'd be logistical problems. CHET We look exactly alike! WILL You look like a lot of people. You're a normal looking dude. CHET This is so fucked up I ca n't even begin to process it. How long has this been going on? WILL If I had to put my finger on it. middle school - ish. CHET So all those sleepovers, they were just some kind of opportunity for you to peek in Kate's bedroom? WILL It might have happened a few times. Most of them were accidental. CHET You're a peeping Tom. You realize that, do n't you? You're a sexual fucking deviant. WILL Fuck you. I'm as normal as they come. Your sister is attractive. She excites me, in a sexual way. Fucking sue me. Ca n't we just be adults about it? 23. CHET You? An adult? Sort of stretching the term. WILL Hey, let's not say shit we ca n't take back. CHET Take back? Will, you got kicked out of junior college for punching a professor that made fun of some poem you wrote. WILL That poem was about your sister! CHET That is, literally, the saddest thing I have ever heard. Like retards playing freeze tag sad. No wonder you deliver pizzas for a living. WILL Fuck you! Maybe I was just hanging out with you for your sister. You were always a whiny little bitch. And you stuttered. All the kids used to call you `` Chutter.'' CHET Whatever. I only started hanging out with you because you had a Nintendo. WILL Did you see my Nintendo naked? Because I saw your sister changing into her swimsuit at your thirteenth birthday pool party. And it was the highlight of the whole shitty event. Chet bites his lip. CHET Okay. You wan na do this? WILL I think we already are. CHET Well, you know who I saw naked? Jenny Rifkin. While I was nailing her. The week after she dumped you. Why do you think every time you wan na bet on whose cock's bigger I'm always willing to go in?'Cause I know mine's bigger.'Cause she told me! WILL Wow. wow. You pulled a Judas on Jenny fucking Rifkin. That is messed up. Almost as messed up as how I sold your Cal Ripken signed ball for 200 bucks. CHET My grandpa left me that ball in his will! You helped me look for it for a month! WILL Now you know why we never found it. Will bows. WILL We done here? Chet's face is red with anger. CHET Not quite yet. There's actually a mystery I wan na solve for you. -LRB- BEAT. -RRB- I was the one who told John Tanner about how your mom fucked that lifeguard. And I always felt awful about it, because even though he swore secrecy, he told everyone else in town. And then your parents wound up getting divorced. But now. I do n't give a shit. WILL What!? You ruined. my fucking life! Will takes a swing at Chet. He dodges it and puts Will in some sort of choke hold. CHET Krav Maga, bitch. I bet your poetry professor did n't know this shit. WILL Get offa me! CHET You threw the first punch! 25. WILL I'm gon na break this hold and then kick your skinny ass! CHET Try it! Will flexes and tries to break the choke hold. no luck. He wrenches his back away from Chet and screams - WILL What the fuck is that!? CHET My knuckle in your spine! No holds barred you backstabbing fuck! WILL I'm gon na pass out. CHET Good! WILL -LRB- face bright red. -RRB- I love her, Chet. I love Kate. Chet lets Will go. He drops to the floor, panting. CHET Let me tell you something. And it's the truest thing you'll ever hear, from the person who knows you best in the world. you're not good enough for my sister. And you never will be. You're the lowest common denominator, Will. You're the square root of fucking zero. Will gets to his feet. WILL Fuck you. Chutter! -LRB- GRABS DICK. -RRB- Square this! CHET Get out of my house. You're a shitty friend. WILL Right back at you. Will storms out. 26.\",\n \"EXT. CHET'S APARTMENT BUILDING - DAY Will screeches away in his car.\",\n \"INT. STUDIO APARTMENT - NIGHT A day or so has passed. Will sits on his couch, an unshaven mess, watching Lethal Weapon 2. Murtaugh and Riggs laugh and joke around. Best buds. Will looks like he might cry. He goes for his beer, knocks it over. He stares at the growing puddle of beer. then grabs the folder with his college applications and uses them to sop it up.\",\n \"INT. GIORGIO'S TRATTORIA - NIGHT Will sits at a table, looking out through the misty window. Christopher boxes a pizza and drops it in front of him. CHRISTOPHER Come on, wake up and get to work. Christopher hands him the order slip. Will checks the address. WILL Where the fuck is this? CHRISTOPHER How should I know? It's 30 minutes away or the pizza comes out of your paycheck. Tick tock.\",\n \"EXT. HIGHWAY - NIGHT Will's Mustang travels down a dark, empty stretch of highway. The lone working taillight fades as the car disappears into the distance.\",\n \"EXT. SIDE OF THE HIGHWAY - NIGHT The Mustang stops at the mouth of a driveway. Overgrown shrubbery blocks anything beyond it from view. All that Will can see is a red and white radio tower jutting into the sky, beacon light flashing atop it. Will checks the address, then drives through the open gate.\",\n \"EXT. RADIO TOWER - NIGHT The Mustang parks at the end of the driveway. Will gets out. There is a large storage shed and, across a clearing, a radio tower built on top of a small office structure. 27. The office door is ajar. Florescent light glows from inside. WILL Hello? DWAYNE. -LRB- O.S. -RRB- -LRB- calling back from beyond door. -RRB- Hey, bud! Sorry for the hike! The county's got us doing repairs at the ass end of the night! This puts Will at ease. He heads toward the office. As he gets close, a figure appears in the doorway. It is Dwayne WEARING A SCARY FUCKING GORILLA MASK WILL What the - Will hears something behind him and whirls around - To find Jay, also in a gorilla mask, charging at him. WILL Holy fuck! Will makes a run for it. But the guys are on top of him in no time. He madly fights them off and dashes for his car. DWAYNE Stop! We got a gun, you asshole! Will breaks toward the cover of the shrubbery. DWAYNE Fuck! Get him! Jay is right on Will's tail. Without breaking stride, Jay picks up a large branch and wings it at him. Will is hit in the legs and stumbles over himself. Jay leaps on top of him and locks his skinny legs around Will's body. WILL What the hell!? -LRB- at a loss. -RRB- Rape! Jay wrestles something from his pocket. A chloroform soaked rag. He presses it hard against Will's mouth and nose. Will soon goes limp. Dwayne appears, looming above them. He pulls his gorilla mask back and smiles. 28. DWAYNE Step one. Blurry vision coming into focus. Two gorillas.\",\n \"EXT. RADIO TOWER - DAY Whereas the masks looked scary at night, they look ridiculous now. Will is propped up on the hood of his car, staring at his captors. His mouth is duct taped, hands bound behind his back. He wears his `` Giorgio's'' cap and a buttoned up olive green Army jacket. DWAYNE You thought we were gon na rape you. -LRB- CHUCKLES. -RRB- Idiot. Will mumbles something through the duct tape. DWAYNE Just shut up. The tape is there for a reason.'Cause this next part is gon na take a measure of calm. Are you with me? Can you be calm? Will nods. Dwayne holds up his driver license. DWAYNE Will Dixon, of 112 North Whatever - The - Fuck Street, right now you are wearing an explosive vest. Will looks down at the jacket he is wearing, tries to get his hands loose so he can tear it open. DWAYNE Calm the fuck down! Will stiffens. For emphasis, Dwayne reveals the gun tucked down the front of his pants like a big metal cock. DWAYNE Now stay still and my associate will show you. Jay carefully unbuttons the Army jacket. Will is, in fact, wearing an explosive vest. It is a cobbled together but intimidating looking contraption, crisscrossed by multicolored wires. There is a thick lock at the hinge, with a digital display and a keypad. Will begins to hyperventilate. 29. JAY Take it easy, man. You're fine. I built this thing. It's pretty stable. DWAYNE For a fucking bomb. So do n't trip over your shoelaces or anything. That thing's full of C - 4. And the C is for chaos. JAY Actually, the C stands for `` composite.'' But, yeah, I'd try not to slam into stuff. DWAYNE Can I take that tape off now, pizza boy? Will nods. Dwayne rips the duct tape off his mouth. WILL Help! Dwayne chuckles. DWAYNE You know where you are? You might as well be in space, motherfucker. Nobody can hear you scream. WILL Why are you doing this to me? I do n't have any money. DWAYNE Not yet. But you're gon na go get us some. WILL Okay. Sure, man. Whatever you say. I'll go sell my car. I'll get you like a thousand bucks. DWAYNE I want 100 thousand. WILL Where the fuck am I supposed to get that much money? DWAYNE The Donner - Wells National Bank on Charles Road. 30. JAY Across the street from the Olive Garden. DWAYNE Yeah, the one across the street from the Olive Garden. WILL Do you guys have an account or something? Dwayne shakes his head like Will is an idiot. DWAYNE No, I do n't have an account! You're gon na rob it! WILL How the fuck am I supposed to rob a bank? DWAYNE Figure it out. You got a bomb strapped to your chest. That's a start. It'll scare the fuck outta people. Maybe use your brain and go get a gun. Borrow one from a friend for all I care. It ai n't rocket science. WILL Then do it yourself. DWAYNE I would, but I'm already wearing this gorilla mask and you're already wearing that bomb. -LRB- TO JAY. -RRB- Tell him about the vest. Jay turns to Will. JAY You seem like a pretty trustworthy guy. I mean, you got a job and all. But just in case you were gon na try to take the vest off, we booby trapped it to shit. There's also a remote detonator on the back, so we can trigger it by dialing a number. DWAYNE And it's on speed dial. So do what you got ta do, but we'll be watching. You go anywhere near a police station, and Fourth of July comes early this year. Dwayne nods at the timer on the side of the vest. DWAYNE It's 9:00 AM. You got 8 hours. He hands Will a slip of paper. DWAYNE Once you have the money, call this number and you'll be given instructions on where to drop it. You do good, we give you the six - digit combination that stops the timer and opens the lock. Tomorrow morning, you can go back to delivering pizza, the mail, whatever the fuck you want. -LRB- BEAT. -RRB- Now let me demonstrate what happens if you do n't get us the money. Dwayne looks over to where an oversized stuffed bear, rigged with its own bomb vest, sits on a tree stump 20 yards away. Dwayne mimes answering a phone - DWAYNE Hey, Teddy Ruxpin. what's that? You do n't have the money? It was too tough to rob the bank, so you just went back to your bear cave and cried like a bitch? Well, guess what my stuffed friend. time is up. Jay pushes a button on a detonator. Teddy Ruxpin explodes. All that remains is a cloud of stuffing. Will is frozen in fear. DWAYNE I liked that bear. I do n't even know you. Dwayne throws Will his car keys. DWAYNE Go on. Get outta here. WILL Guys, can we please just talk about this? 32. DWAYNE Yeah, of course we can. Dwayne pulls out the gun and fires two shots at Will's feet. Jay jumps backward, as does Will, who hits the hood of his car, slides across it and onto the ground by the driver side. DWAYNE Be careful! Will awkwardly gets to his feet and arranges himself in the car, adjusting to the weight of the bomb. As he starts the engine and backs away - DWAYNE That's right! Get the fuck out of here! You're wasting time! Once the car is gone, Jay yanks off his gorilla mask. Dwayne stays primate. JAY What the hell, Dwayne? You told me that was a replica gun. DWAYNE It was. Then I paid a Mexican 50 bucks to put a firing pin in it. Now it goes boom. JAY We did n't discuss a loaded gun! Especially not with the bomb around! Dwayne gets right in Jay's face. The plastic eyes of his mask betray no emotion. DWAYNE Do n't you ever question me. I'm fucking this bitch. You're just holding the camera. JAY -LRB- VOICE FALTERS. -RRB- Sure, Dwayne. whatever you say. DWAYNE Good.'Cause this ai n't the Marines. This is cash money. You hesitate, you fuck up. and I will leave you behind. A tense beat. Dwayne pulls his mask off. He looks oddly calm. DWAYNE Let's go get some breakfast. 33.\",\n \"EXT. HIGHWAY - DAY Will's car flies down the road. It screeches to a stop, tires smoking. Will jumps out, stumbles to the shoulder and pukes. He drops to his knees. WILL Oh, god! Holy shit! Fuck me! Someone please fucking help me! Nothing but the wind. Will fights back tears. He gets to his feet, wipes his mouth. He takes out his cell phone, scrolls through the contacts. He pauses on Chet's name. presses send. The line goes to voicemail. Will looks at the bomb's timer : 7 hours, 47 minutes and counting. He hurries to his car.\",\n \"INT. CLASSROOM, JUNIOR HIGH SCHOOL - DAY A laser dot dances around the middle of a United States map. Chet is teaching a history lesson to a bunch of SEVENTH GRADERS that look very mature and very bored. As he indicates with his laser pointer - CHET This whole region here, about 830 thousand square miles, was part of the initial Louisiana Purchase. SEVENTH GRADER -LRB- COUGHING. -RRB- Nice laser. The class giggles. Chet, embarrassed, puts away the pointer. There is a knock at the door. Chet turns to see Will's face in the door's window pane. He looks back to his class. CHET Take out your workbooks. Chapter 3. Chet opens the door. CHET What do you want? WILL We got ta talk. CHET I'm working here. Do not mess with me at work. 34. WILL Chet, for the love of god, just talk to me in private for one minute. Chet sighs.\",\n \"INT. HALLWAY, JUNIOR HIGH SCHOOL - DAY Chet leads a jumpy Will into\",\n \"INT. EMPTY CLASSROOM, JUNIOR HIGH SCHOOL - DAY Chet shuts the door behind them. Will paces. CHET You wan na apologize, do n't you? You look like shit. You've probably been up for days thinking about what an asshole you were. Well, it's gon na take a lot more than some pathetic groveling - WILL -LRB- SUDDENLY. -RRB- Chet! Shut up! I do n't wan na apologize to you! CHET Then what do you want? Because we do n't have anything left to say to each other. Will swallows hard. WILL Here goes. And this is gon na sound crazy. Because it is fucking crazy. But last night two guys in masks jumped me and strapped a bomb to my chest, and now I have less than eight hours to rob a bank. Chet just stares at Will, unimpressed. CHET You're hysterical. Got me. Great joke. I'm going back to work now. Will steps in Chet's way. He unbuttons his jacket, revealing the bomb. CHET What the fuck? Is that real? Will nods. 35. Chet jumps backward, stumbles over a desk and scurries on his ass to the other end of the classroom. He presses himself flat against the wall. CHET Stay away from me! What the fuck are you involved in!? Terrorism!? WILL Chet, do you really think I'm a terrorist? CHET Yes! One of the dumb ones! The ones they convince to wear the bombs! WILL I am not fucking around here. Two guys did this to me. And if I do n't rob that bank in time this thing is gon na blow. CHET Seriously? WILL Seriously. CHET And your first idea was to come to a school filled with young children? WILL I did n't - CHET Just back the fuck away from me with that thing. Will backs all the way up, so that the guys are on opposite ends of the classroom. WILL Listen, I think the vest is safe for now. These guys do n't want me to blow myself up on accident before I get their money. CHET Oh, so you figure the two psychopaths that rigged a bomb to your chest made sure it was safe? There's no margin for error in their fucking bomb vest design!? 36. WILL I do n't know! All I do know is that this is real. This is happening. And I'm sure you hate me as much as I hate you right now, but I have nowhere else to go. CHET For what? WILL For help, Chet. I need your help. Please. I ca n't do this alone. Chet looks Will over. His desperation is palpable. Chet bites his lip, weighing the situation. CHET Damn it! -LRB- takes a breath. -RRB- I'd like to tell you to get fucked, but you know what the problem is. I'm a better man than you. And someday, I might actually forgive you. So if I let you blow up, or whatever, that shit might come back and eat at my conscience, and totally affect my relationships with other people. Like my wife and kids and shit. WILL That's a. very rational way to look at the situation. -LRB- GENUINELY. -RRB- And you're right, about being a better guy than me. Chet takes a step toward Will. CHET Are you sure that thing is n't gon na blow at any second? Will just looks at Chet. unable to offer any assurance. After a beat - CHET Could you just walk a few feet in front of me for a while? WILL I can do that. Will opens the door, stops, looks back at Chet. 37. WILL Thank you. Will heads out. Chet takes a breath, bracing himself.\",\n \"INT. HALLWAY, JUNIOR HIGH SCHOOL - DAY Will walks down the empty hallway. He glances back over his shoulder, where Chet walks several feet behind him. CHET Yes, I'm still here. I really am this stupid. Just pay attention to where you're going. WILL I think I can handle it. CHET These floors get waxed once a week. On Tuesday, which today is. You hit a slick patch, trip and fall, and I got a classroom full of kids wearing their skin inside out. WILL Chet, I'm fucking nervous enough as it is. Please. I do n't need you back seat driving me right now. CHET Obviously. Will stops, turns back toward Chet. WILL Just for the record, this is n't a nuclear weapon strapped to my chest. And there are metal lockers on either side of the hallway. If I fall, and if this thing goes off, I'm probably not taking out the whole school. CHET Do you really want to debate this? Will sighs, turns back around. A second later, the school bell rings and kids flood the hallway, changing classes. Will freezes. Multiple kids shove past him. Chet sweats bullets, gives Will a look of death. After a beat, the hallway empties again. 38. CHET You're an asshole. WILL Whatever. It's over. Will continues walking. He tries to lighten the mood - WILL Who was the chick in the white jeans? CHET Kristi Evans. Why? WILL You know why. CHET Oh, come on. Just keep walking. The guys' voices fade as they continue down the hallway. WILL Come on yourself. You knew exactly who I was talking about. CHET Fuck you. She's in the eighth grade. WILL I bet you love it when she calls you Mr. Chet. CHET She does n't call me `` Mr. Chet.'' She's not a foreigner.\",\n \"EXT. JUNIOR HIGH SCHOOL - DAY The guys get to Will's car. Chet wraps up a call on his cell - CHET thanks so much, Mrs. Davis. I'll call you after I talk to the doctor. Chet hangs up. He is standing by the passenger door. He looks over the roof of the car at Will. CHET So, this is it? WILL This is what? 39. CHET Once I step inside this car, I'm basically in a steel coffin with you and. that thing. And if it goes off, all they're gon na find in there are two charred bodies and pieces of a bomb. They'll assume we were driving to a government building to blow it up. It'll be all over the news. Next thing you now, some militia or Islam group is claiming us as members. My family will be humiliated. WILL We'll also be dead, in that particular situation, so it wo n't really matter. CHET Exactly! Will sighs. WILL I get it. Take your time, man. Will gets in the car and shuts the door. He looks out at Chet, who stands uncertainly by the passenger side. CHET This is the world's biggest favor, you motherfucker. You did n't even help me move last winter. Chet reluctantly hops in.\",\n \"INT. MUSTANG - DAY Will fires up the engine. CHET Given the situation, I think you should obey all traffic safety laws. WILL Fine. Will pulls out of the school parking lot. WILL Okay, so where are we going? CHET I have no idea. I just got in your car. I thought you had a plan. 40. WILL Well, I do n't! I've been sorta preoccupied with this crushing fear of death! CHET No plan. I ca n't say I'm surprised. WILL Your plan is probably better. Just condescend me until I explode. Will goes to turn on the radio. Chet grabs his hand. CHET Maybe we should turn on the radio. See if the signal sets the bomb off. That would be an interesting experiment. Will heaves a frustrated sigh. Chet eases up. CHET Listen, let's just go back to my place. Figure out our options. Maybe you can get the vest off or something. I just do n't want to do anything stupid. WILL Unless we have to. The car hits a rough pothole. Chet's heart skips a beat - CHET Holy fucking shit! - and he throws himself against the passenger side window, as far from Will as the confines of the car will allow. Will slams the brakes. WILL Stop it! You're scaring the fuck out of me! CHET Okay. Okay. Fuck! Chet makes the sign of the cross. CHET I'm cool now. Will continues driving. Chet discreetly unlocks the passenger side door. 41. WILL Why did you do that? CHET Do what? WILL I saw you. CHET It's in case I have to jump out. WILL If I survive the day, and you do n't because you jumped out of a moving car and broke your neck, I'm gon na laugh my ass off. CHET And if abandoning ship saves my life, then that laugh will be mine. The guys continue driving in silence. SUPER COUNTDOWN : 6 hours, 59 minutes.\",\n \"INT. BATHROOM, CHET'S APARTMENT - DAY The door is shut. Will sits on the toilet lid. He has the jacket off and we get our first complete look at the vest. The actual structure is composed of hollow metal tubes. The wiring that runs throughout the vest is messy and complicated, purposely so, to scare anyone out of fucking with it. Will is in the process of trying to contort his arm so he can slide the vest off. no luck. WILL It's too tight! He is calling off toward the KITCHEN Where Chet is crouched in a corner, at the furthest point in the furthest room from the bathroom. He uses his laptop to look for websites on disarming a bomb. CHET What if we try to separate your shoulder? 42. WILL. -LRB- O.S. -RRB- Fuck you! CHET Well, all these sites say different shit. There's not a lot of consensus in the bomb disarming community. Will emerges from the bathroom, sliding the jacket back on. WILL This is pointless. Chet shuts his laptop. CHET I agree. We got ta call the cops, have them fly in the bomb squad or something. WILL We ca n't. These guys said they'd be following me. And I do n't have a clue what they look like. For all I know, they're outside right now. They see the cops show up, they blow the vest and cut their losses. Will stares at Chet, hopelessly overwhelmed. WILL What do I do, man? What do I do now? CHET I do n't know, Will. I guess you got ta rob the bank. WILL I have n't been inside a bank in three years! How the fuck am I supposed to rob one!? They would n't even give me a savings account! Will drops onto the couch and puts his head in his hands, fighting hysterics. Chet offers a stock reassurance - CHET It's gon na be okay. WILL No, it's not! I'm gon na blow up! That's way worse than getting stabbed or shot. At least some people survive that. No one survives being blown up. No one is ever like, `` Yeah, I heard Steve got blown up, tough break, but how's he doing now? Is he still in the Rec basketball league?'' No of course he is n't,'cause there's nothing left of Steve except a stain on the wall and a pair of fucking high tops! Chet looks on as his friend begins to sob. It's a crushing sight. Chet strides across the apartment - CHET Pull yourself together! - and attempts to give him one of those `` get a grip'' slaps. But Will flinches and Chet slaps him right on the ear. WILL Ow! Fuck! I think you popped my eardrum. CHET Sorry. Shit. I did n't mean to do that. But just listen to me now. You're not gon na die. You wan na know why? Because you know exactly how to rob a bank. WILL What are you talking about? CHET Point Break. WILL The movie? CHET Yes. That movie is like a how - to guide for bank robberies. You just bust in. Masks. Guns. Move fast. Stick to the tellers and do n't bother with the vault. WILL Yeah. I guess it's pretty simple, right? And it's just a local bank. The Donner - Wells on Charles Road. CHET Really? I applied for a job there like a year ago. 44. WILL You wanted to be a teller? CHET Yeah, so what? It's a good job. You get benefits. WILL Like what, a name tag? CHET What kind of benefits do you get? Free toppings? WILL That's really clever. No one ever said that shit to me before. Anyway, this is perfect. You know the whole layout of the bank. CHET Not exactly. They did n't hand me the security schematics with the application. But I sat in the waiting area for like 20 minutes. I know what the place looks like. WILL How many guards? CHET One. I think. WILL That's a start. CHET It's a great start. You can do it. Will pauses. WILL You're gon na do it with me, right? CHET I was actually gon na stick to giving tips, ideas. motivational speeches. More of a consultant or advisory role. WILL Jesus Christ, Chet. Please. I'm begging you here. I need you on this. If I do it alone, I'm dead. 45. CHET Are you gon na cry again? WILL That was a moment of weakness. -LRB- BEAT. -RRB- Yes. I'll fucking cry again if that's what it takes. CHET I should make you blow me. WILL Sure. Whip that shit out. I'm actually kinda curious. I wan na see if Jenny Rifkin lied to you. She obviously lied to me. Chet cracks a smile. WILL All these guys want is 100 grand. We can do this. CHET We're gon na rob a bank for 100 grand? Just leave the rest of the money sitting there? Why? WILL I do n't know. I guess they're very modest criminals. Who the fuck cares? Wait. you said `` we'' right? Chet heaves a sigh. CHET I'm putting my life on the line for 100 grand. what does 100 grand even buy these days? THE GRILLE OF A MURDERED OUT 1997 NISSAN SENTRA As the car pulls into\",\n \"EXT. BACK PARKING LOT, DIVE STRIP CLUB - DAY Where Juicy waits by the service entrance, smoking a cigarette. She spots the car and runs over. It parks and the door opens. A glassy - eyed African - American man. -LRB- 30s -RRB- steps out. His muscled body is covered in calligraphic prison ink. This is VAUGHN. 46. Juicy throws her arms around him. JUICY I missed you so much, baby. VAUGHN You do n't got enough dicks to keep you warm in that place? JUICY You know it's not like that. Those guys get Juicy, but you get Marisol. VAUGHN Well, Marisol. what I want is to get my money, kill that old ass man, then get the fuck out of here. JUICY Then that's how it's gon na go. We're just waiting on a call. Vaughn stares at her. VAUGHN This is my impatient face. JUICY Well, I think I can keep you entertained. Juicy gets in the open driver side door and makes a show of crawling over into the passenger seat.\",\n \"INT. WALMART - DAY Fluorescent lights and pop music. Will and Chet roam the aisles with a full shopping basket. They turn into the `` Sports & Fitness'' section, where they find a variety of air pistols. They are incredibly realistic, though clear and with orange nozzles. WILL Should we go with the handguns. or the Uzis? CHET Handguns. WILL That's such a Murtaugh choice. 47. A check out conveyor belt, as the guys' purchases drift past : air pistols, spray paint, ski masks, leather gloves, several 5 - Hour Energy drinks. The tough REGISTER WOMAN looks at the guys with abject disgust. REGISTER WOMAN You sure you do n't want to grab some condoms? WILL Uh, no. Why? REGISTER WOMAN Because this is usually what men buy before they rape someone, and I want to make sure you all use protection. WILL Lady, we're just. buying some stuff. REGISTER WOMAN Is that cash or credit for your rape kit? Will looks in his empty wallet, takes out a credit card. Chet grabs his hand. CHET We'll pay cash.\",\n \"INT. MINIVAN - DAY The van is parked. Dwayne sits behind the wheel. Metallica's `` Ride the Lightning'' begins to play loudly. DWAYNE You really fucked up this mix tape. Dwayne ejects the tape, tosses it at Jay in the passenger seat. DWAYNE We're not speed freaks knocking off a 7 - Eleven. We're masterminding a heist here. JAY Sorry, Dwayne. That song just means a lot to me. Dwayne shakes his head. He turns and looks out the windshield : they're parked in the Walmart lot, watching the store entrance. DWAYNE I wish he would hurry his shit up. 48. JAY You worried about that other guy he's with? DWAYNE No, man. He picked him up at a school. So long as there ai n't any cops, he can take the whole town with him. I just want my money. Dwayne surveys the area. Something catches his attention : the bland strip mall across the street. There's a Blockbuster, Subway, and an empty space in between. Dwayne smiles. JAY What? You want me to run over to Subway, get us a couple sandwiches? DWAYNE If you had any vision, Jay, you'd know exactly what I'm thinking about right now. And it's not a sandwich. -LRB- BEAT. -RRB- Look how well trafficked that shopping mall is. It's the perfect place for the tanning salon. Jay checks it out, nods. JAY Oh, you're totally right. DWAYNE I've been thinking about it, and I want you to start off working the counter. Sounds like a demotion, I know, but it's an important position. Because we're gon na be using code words and shit. For example, if a customer walks in and says he wants a tan, that just means he wants a tan. But if he says he wants a `` deluxe tan,'' that means a blow job and you got ta get one of the girls in there to suck him off. You with me? JAY So far. But what if he wants a fuck? DWAYNE There's gon na be codes for everything : missionary, anal, black chicks. I got it all written down back home in my files. I'm not gon na bother getting into it with you right now, because you're supposed to be on lookout and you're no good at multitasking. JAY Okay.'Cause they're about to get away. Dwayne spots the Mustang pulling away. DWAYNE Fuck. He throws the van into gear.\",\n \"INT. MUSTANG - DAY - MOVING Will navigates the streets. Chet is in the back seat, where he has newspaper spread out and is spray painting the air pistols, and much of the car, black. WILL Be careful, you're getting paint everywhere. CHET Are you really worried about your upholstery right now? WILL Yes, because if I survive this shit I'm quitting my job. That means I'll probably have to give up my place and I'll be sleeping in the back of my car, which you're covering in toxic paint. Chet touches up one of the guns, goes to flip it over. WILL That side is n't dry yet. You're about to ruin it. CHET It says it's fast drying. WILL Fast is n't the same as instant. You got ta let it sit for like 20 minutes. CHET How would you know? You do a lot of graffiti? 50. WILL No, but I spray painted my bike last year after I got my license suspended. I did n't let it dry properly and I fucked it up. CHET We do n't have time to sit around and literally watch paint dry. Are n't we going straight to the bank? WILL I was actually thinking we need to stop and steal a car first. Chet drops the spray paint, whirls on Will. CHET What? No way! We've got a car. WILL Yeah, my car. I'm not gon na use it as a getaway vehicle. They can trace the plates. Even if we do get away, we'll be arrested. CHET Well, I ca n't hotwire a fucking automobile, and neither can you. WILL That's why I was thinking we'd steal one from your parents' friends. The Fishers. Remember how they used to pay us to clean their garage? They leave the keys in there. And they have a Datsun. That's a fast car. CHET I'm not stealing the Fishers' Datsun. Let's steal a car from your parents' friends. Will seethes. He whips the car over to the side of the road and gets in Chet's face. WILL What friends? My parents do n't have any. My dad moved away after your big mouth ruined his marriage and humiliated him, and no one wanted to hang out with the mom who everyone knew fucked a lifeguard. 51. CHET You never should have told me! I was 13 years old. I could n't process that kind of information. I had to tell someone else. -LRB- shakes his head. -RRB- Fuck. I really am sorry about it. Okay? Despite what I said before. I was just a kid, but I messed up. WILL Okay. Chet looks at Will, expectantly. CHET That's it? You're not gon na apologize for selling my Cal Ripken ball? WILL Sure. I'm sorry. I'm sorry that my family was going through a rough patch and I was smoking a ton of weed and listening to the Wu Tang Clan all the time. And that I needed some extra dough to indulge my habit. Which, in hindsight, was probably just a cry for help. But you never even noticed. CHET Thanks. Now I feel even worse. Will sits there, stewing for a moment. Then he softens - WILL I should n't have stolen the ball. I knew it was wrong and I regretted it like the next day. I actually tried to buy it back but the guy wanted twice as much. I had to smoke even more weed just to get past the whole shitty incident. I guess that's why they call it a downward spiral. CHET I appreciate that you tried to buy it back. So, thanks. An awkward moment passes. CHET We should probably get going. Will turns back around, goes to pull out without looking and - 52. A horn blares as a speeding delivery truck barrels right at them. Will slams the brakes, barely avoiding a collision. CHET Fuck! Fuck! I just want this goddamn day to be over! As Chet continues to freak - SUPER COUNTDOWN : 5 hours, 15 minutes.\",\n \"EXT. THE FISHERS' GARAGE - DAY Will keeps watch of the house. Chet squeezes through a garage window he has pried open.\",\n \"INT. THE FISHERS' GARAGE - DAY Chet drops ungracefully to the floor, right beside a well maintained 1977 Datsun 240Z. Chet hurries over and unlocks the side door. Will enters, hauling the Walmart bag of supplies. He goes right for a set of hooks on the wall. WILL The keys are n't here. They always used to leave the keys out. CHET Yeah. When we were teenagers. This is fucked. WILL Let's just find them. The guys ransack the garage. Chet knocks over a shelf full of clutter. CHET Sorry. Will goes to the car and tries the handle. It's open. He scours the interior. CHET You hear that? WILL What? Chet peeks through the glass pane in the door. 53. CHET Mr. Fisher is coming! As he looks for an escape - CHET Oh shit, oh shit. Are the keys in there? WILL No! Will hops out of the car. He rifles through the Walmart bag. CHET What are you doing? Will pulls the ski masks out of the bag, along with one of the freshly painted air pistols. WILL I'm doing what I have to. Will puts a ski mask on, then throws one to Chet. The door opens and MR. FISHER. -LRB- 60s -RRB- enters. Chet quickly pulls down his mask. It's backwards. Will levels the pistol - MR. FISHER Oh, Jesus! Mr. Fisher braces himself against a wall. Chet fumbles to turn his mask around. Will affects a deep voice - WILL Where are the car keys? MR. FISHER They're in my pocket! I'm just reaching in my pocket for the keys! WILL Quiet down and do it already. Mr. Fisher reaches into his pocket and produces the keys. They jingle as he holds them out in his trembling hand. Will snatches them. WILL Now listen, I do n't want you to report this car stolen or anything until later tonight. Let's say 5 o'clock. 6 to be safe. 54. MR. FISHER Sure. Anything you say. Will seems unconvinced. He looks to Chet, who shrugs. Will turns back to Mr. Fisher and gestures violently with the gun - WILL If you fuck with us, I swear, I will. I will shoot your son. Taylor. I know where he works. At the fucking travel agency. He's the douchebag with the bangs. MR. FISHER. -LRB- STUNNED. -RRB- Please no. I wo n't do anything. I wo n't. Just leave Taylor alone. WILL I'm gon na trust you. But if you call the police, there's gon na be an undertaker styling his stupid fucking bangs! -LRB- BEAT. -RRB- Now open the garage door. Mr. Fisher hits a switch that raises the garage door. Chet grabs their stuff and gets in the passenger side. Will backs toward the driver side. WILL The car's insured, right? Mr. Fisher nods. WILL Okay. I feel better. Worse comes to worst, something happens to it, you can get a Honda. This thing does n't even have airbags. MR. FISHER Please, just go. Will slides into the car and starts it up.\",\n \"EXT. THE FISHERS' GARAGE - DAY The car peels away.\",\n \"INT. DATSUN - DAY - MOVING The guys yank off their ski masks. 55. CHET That old man's got a heart condition! You could have killed him! WILL My hand was forced! Chet tries to get comfortable in the seat. CHET Awesome. I'm stuck inside an even smaller car with you and a bomb. Will works the manual transmission. He steps on the gas. WILL This thing's got some pickup. CHET Could you just take it easy, we're doing fine on time. WILL I know. but there's one last stop we have to make. CHET Do you have to take a piss first? Because I do. Will nervously drums his fingers on the steering wheel, trying to figure out how to say - WILL I need to see your sister. CHET Are you for real? Did you really just ask me that? You salt - in - an - open - wound motherfucker! WILL Chet, as if it is n't apparent, I may die today. I'll probably die today. And if there's one small thing that's clear to me now, it's that I've wasted two and a half decades as a pussy, watching everything I want pass me by. I do n't wan na peace out of this world as a pussy. I need to tell her how I feel. CHET You're really gon na turn this into some sort of dying wish bullshit? 56. WILL Yes, I really am. It means that much to me. I am not fucking around here. CHET I do n't think you are. I mean, apparently, you love my sister so much that you're willing to put her life in danger by going to see her with a bomb strapped to your chest. WILL She wo n't be in danger. I promise. I got it all worked out. And you can even take a piss while I'm inside.\",\n \"EXT. OFFICE BUILDING - DAY The Datsun pulls around and parks in back. PULL BACK TO REVEAL the minivan parking across the street.\",\n \"INT. MINIVAN - DAY Dwayne and Jay watch Will hurry out of the Datsun. DWAYNE Where the fuck is he going? What's in there? Some sort of FBI headquarters? I told that guy not to fuck around! Dwayne pulls out his cell phone, punches in the speed dial code. His finger hovers above the send button. DWAYNE Maybe I should give that bomb a call. JAY No! Let me just go see what he's up to. Dwayne smirks. DWAYNE I was just fucking around. Are you gay for this guy or something? JAY I just wan na get the money, Dwayne. Same as you. DWAYNE All right. Then man up and go check it out. As Jay reaches for the door handle - 57. DWAYNE Do n't even tell me you're about to do a reconnaissance without a cover. What's you cover? JAY I do n't know. I'm from the telephone company? DWAYNE Yeah, nice fucking uniform. Dwayne rummages in the back of the car, produces a shopping bag and starts filling it with random clothes strewn across the car. He shoves the bag at Jay. DWAYNE You're a personal shopper. You're delivering the latest fashions to Mr. Quilby in marketing. Got it? Jay nods, hops out with the bag and slams the door. Dwayne looks down at the cell phone in his hand, twirls it as he hums a revival song. sings the lyrics, softly - DWAYNE `` He's got the whole world in his hands. He's got whole fucking world in his hands.''\",\n \"INT. STAIRWELL, OFFICE BUILDING - DAY Will runs up the stairs, a phone pressed to his ear - WILL no, I'm here right now. KATE. -LRB- O.S. -RRB- -LRB- OVER PHONE. -RRB- Why are you acting so strange? WILL Because strange shit is going on. I'll explain everything. Just meet me where I texted you. KATE. -LRB- O.S. -RRB- WILL - WILL Please. Just do it. 58.\",\n \"EXT. ROOF, OFFICE BUILDING - DAY You can see the entire shitty town from up here. The access door opens and Kate emerges, wind tousling her short hair. KATE -LRB- CALLING OUT. -RRB- Will? Will waves at her from where he is standing, way across on the other side of the roof. Kate starts toward him. WILL Stop! Will takes out his cell phone and dials. Kate's phone rings. She answers it, confused. KATE What are you doing? We STAY on Will. We can see Kate, standing 30 feet away, but her voice comes over Will's cell phone, with a delay that is slightly jarring. WILL Just do n't come any closer. KATE Why not? What's going on? WILL I'm gon na give you the short version of an incredibly complicated and fucked up situation, so please be cool. -LRB- BEAT. -RRB- Some very bad guys strapped a bomb to my chest and they are forcing me to commit a crime. KATE Will, I swear, if this is - WILL I wish I was joking, but I'm not. I know it's a lot to swallow, but you got ta take it on face value, because there's a timer attached to this thing and it's counting down. Kate's voice falters - KATE Oh my god, Will. we'll get help. I'll get you help. 59. WILL I did n't come here for help. I'm taking care of it. I came here because, should things not work out today as I would like them to, I want you to know why I was doing the things I did. KATE Please, just let me call someone. Let me do something. This is crazy! WILL I do n't disagree with you. It's fucking nuts. But that's not even what this is about. -LRB- STRUGGLING. -RRB- Do you remember when you found that picture in my car of you, me and Chet, with Chet cut out of it? KATE Will, I ca n't remember about some stupid picture while you're - WILL I need you to remember about the picture, and about how I stop by your office every Friday, and how I've always hated all your boyfriends, and how the two girls I've ever seriously dated have looked like less attractive versions of you. -LRB- BEAT. -RRB- Do you see where I'm going with this? I love you Kate. I have for a very long time. Kate is barely holding it together. KATE Will, this is a lot you're putting on me! You just told me people are trying to kill you or something, and now you say you love me. What the fuck is going on? WILL A whole lot of shit. I'm sorry to do this to you, but I was afraid I'd never get the chance to tell you. And I know you have feelings for me, too. Maybe you feel for me the way you feel for a good friend, or - if the world fucking hates me - a brother. But what I hope is that you do n't really know how you feel for me, and that maybe when you figure it out you'll realize it's the same way I feel for you. Does that make any sense? KATE Yes. I mean, I've known you forever. It's not an easy thing to figure out. WILL I do n't need an answer now. Just think about it. And no matter what you decide, you're too good for assholes like Mark and the rest of them. Kate manages a small, stifled laugh. KATE Okay. I will process all of this. It's just, the bomb - WILL It's distracting. I know. Anyway, I'd love to stay and talk some more, but I ca n't. I got ta ask you to leave now, because I'm running out of time. Kate nods. Will hangs up the phone. She turns back toward the access door, stops. She yells across the roof at Will - KATE If I had time to think about it. I'd probably tell you that I've always felt very strongly for you. And I've never thought of you as a brother. Will smiles, yells back - WILL That's a huge relief. Do n't say anything else. I just really do n't want to die now. KATE Try not to. Please. Kate turns and continues to the access door. 61.\",\n \"INT. STAIRWELL, OFFICE BUILDING - DAY Jay paces about the landing that leads up to the roof. He hears the door opening and hurries down to the entrance for the nearest floor. He tries the door, but it's locked. Kate enters the stairwell from the roof access door and spots Jay trying to force the door open. She is holding back tears. He just looks incredibly confused. JAY I'm, uh. I'm a personal shopper. I'm looking for Mr. Quilby. KATE I'm sorry, I do n't know who that is. Kate continues down the stairs, tears coming now. Jay waits a beat, then hurries down and tries the door on the next level, which is open.\",\n \"INT. MINIVAN - DAY Jay jumps in the van, huffing and puffing. DWAYNE So? JAY It was just his girlfriend or something. DWAYNE Getting one last blow job in case he do n't make it. I kinda like this guy.\",\n \"INT. DATSUN - DAY Will, galvanized by the exchange, hops inside. CHET Did you tell her how you saw her naked when she was 13? That always works. WILL I said my piece. She's gon na think about it. CHET Shut up. She was freaked out. WILL Yes. By the bomb. CHET By you. 62. WILL Would it be so bad if we ended up together? You and I would be family. CHET I do n't want you in the family. You bring very little to the table. I want her to be with someone awesome. A pro quarterback. A war hero. At the very least, someone I've never watched porn with. WILL Well, now it's up to her. CHET Not if I set that bomb off myself. WILL Then you'd probably never get to rob a bank. Will throws the car into gear and pulls away. SUPER COUNTDOWN : 4 hours, 10 minutes.\",\n \"EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY The Datsun is parked in the half - full lot. The guys lean against the driver side, with their backs to the bank and the car providing cover. They each have a spray painted air pistol tucked into their pants. WILL You go for the money. I'll cover the crowd. In and out. Chet clasps his hands around his stomach. CHET I'm not feeling so good. I drank like three of those 5 - Hour Energy drinks. WILL It's just nerves. Let's pull our shit together and do this thing. Chet reigns it in. The guys slide on the leather gloves and rolled up ski masks. They turn and stride toward the bank. The guys stop as they get to the door. They pull the ski masks down and take out their air pistols. 63. CHET What should I call you in there, like if I need to ask you to do something? WILL Call me Tivon. You'll be Darius. CHET I can tell you're not a black guy through the ski mask. WILL Fine. Then you'll be Luis and I'm Cruz. We're two loco motherfuckers and that's the way we got ta roll when we get in there.\",\n \"INT. DONNER-WELLS NATIONAL BANK - DAY It's business as usual for a dozen CUSTOMERS and about as many EMPLOYEES. They all just want to get done with their shit and go home, when - Will and Chet burst through the bank doors, guns in hand. WILL Everybody put your hands in the air! CHET No, get on the ground! WILL Actually, listen to him and get on the fucking ground! Will and Chet are on an adrenaline high, waving their guns everywhere. People scream. WILL Shut up! Please! Will frantically scans the panicked crowd for - The SECURITY GUARD -LRB- 40s -RRB-, rail thin and jumpy. Will points his gun right at him. WILL You, just stand right there and do n't do shit! The rest of you get the fuck down! Spread your arms and legs! Why is no one listening to me!? SECURITY GUARD Just take it easy, man! 64. WILL Do n't be a hero, cowboy! SECURITY GUARD What the fuck does that mean? I'm not a hero! Or a cowboy! As people drop to the ground, whispering nervously to one ANOTHER - Chet rushes the TELLERS standing behind the bulletproof glass partition. CHET All of you, back away from the counter and get out here! Anyone pushes a button and one of these people gets totally shot! The Tellers hurry into the main area of the bank and get onto their stomachs. Will looks to the Guard. WILL Very slowly, take out your gun and toss it away. The Guard takes out his gun, lays it on the ground and shoves it away. The gun slides across the waxed floor and - Right into the outstretched hand of a sobbing MOM -LRB- 40s -RRB-, whose DAUGHTER -LRB- 11 -RRB- lies beside her in a soccer uniform. MOM Oh, god! I do n't want the gun! WILL -LRB- TO GUARD. -RRB- What the fuck!? Did you do that on purpose!? SECURITY GUARD It was an accident! CHET Are you guys working together? MOM No! Please take this gun away! WILL Just toss it, lady! 65. The Mom slides the gun away like it were on fire. It skids all the way across the floor, slams hard against a wall and BLAM! MAN'S VOICE. -LRB- O.S. -RRB- Ah! A FAT MAN has been shot. He clutches his thigh. FAT MAN I think she got the femoral artery! MOM I'm sorry! It was an accident! FAT MAN Fuck you! Who slides a gun like that!? DAUGHTER Mommy, what's happening!? MOM Christi, be quiet. These men are dangerous. Chet turns ashen. He moves close to Will, whispers urgently - CHET This is fucked. That dude is gon na bleed out and we're gon na go to prison. WILL Just calm down. FAT MAN Why is no one getting me help!? WILL Is anyone here a doctor? Nothing. Just the heavy breathing of many frightened people. Will hurries over to the Fat Man, who is bent over, hugging his leg. WILL Sir, let me see where you're hit. FAT MAN Just call me an ambulance! WILL Calm down, sir. 66. The Fat Man sits up, removes his hand from his leg. Will nervously takes a look. There is only a small amount of blood. WILL It's just a flesh wound. You're gon na be okay. FAT MAN But it hurts so bad. WILL You got shot, man. It's not supposed to feel good. But you're gon na be fine. And you'll have a great story to tell everyone. FAT MAN This is an awful story! This is n't a bank error in my favor! I got shot! WILL Point taken. Luis, how we doing on the money? Chet snaps back to attention - CHET Oh, shit. Sorry, Cruz. Chet picks out the most harmless looking teller, a mousy 20 - something girl, and helps her up off the ground. He checks her name tag : SANDRA. CHET Hey, Sandra. I know you're probably scared right now, but if you go grab us 100 grand in a bag, we'll get out of here. This will all be over and you'll be fine. You trust me? Sandra nods. Chet smiles, reassuringly. She hurries behind the counter, starts filling a bank bag with cash, as - FAT MAN My leg really hurts! WILL Can you please hurry up, Sandra!? Sandra emerges from behind the partition with the bank bag. Will grabs it. He takes a last look at the people spread across the floor. 67. WILL I'm really sorry, everyone. I know we probably fucked up your day. -LRB- looks to Fat Man. -RRB- I'm thinking of you in particular, sir. Actually, you know what. Will crosses to the Fat Man, offers the bank bag. WILL Quickly. Peel a few bills. On me. Anyone rats him to the cops and I'm coming for you. I remember faces. The Fat Man hesitantly reaches for the bag. Opens it - Red Dye explodes all over his face. He shrieks. Chet whirls on the teller. CHET What the fuck was that about, Sandra? I thought we had something going! What happened to trust? SANDRA I'm sorry! They make us do it! WILL Could you kindly fill another bag? Not a bank bag. A fucking garbage bag. And Luis, will you watch her this time? Sandra hurries back behind the partition with Chet. He dumps out the contents of a trash can, grabs the bag and watches closely as Sandra stuffs it with cash. CHET Okay. That should be enough. Chet grabs the bag and hustles out toward Will. They are home free, until - They hear the wail of approaching sirens outside. They stop cold, panicked. Will whirls on the Tellers. WILL Fuck! Which one of you assholes tripped the alarm!? Was it you, Sandra!? SANDRA No! It was Mark! He pushed the button when you guys came in! Another teller, MARK, looks up from the floor. 68. MARK Sandra, you bitch! Now they're gon na kill us both! SANDRA Fuck you, Mark! You're the manager! Will loses his shit - WILL Fuck both of you! Fuck all of you! I'm a regular guy! Just like you! I'm a regular guy and you fucked me! Thank you for fucking a regular guy! People are freaked out. Sandra is crying, thinking she will probably get shot now. Chet grabs Will and pulls him toward the door. CHET Let's just get the fuck out of here. The guys slam through the doors, out into\",\n \"EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY Just as a lone police cruiser screeches into the lot. Will and Chet make a run for it, but the cruiser cuts them off. OFFICER ZURMAN -LRB- 21 -RRB-, a jittery rookie, jumps out of the cruiser and levels his gun. The guys reflexively level theirs. OFFICER ZURMAN Drop your weapons! CHET Do n't shoot us! OFFICER ZURMAN Drop the guns or I'll have to! Chet looks at Will with utter desperation. In the distance, they hear the sirens of more cops approaching. Will tosses his gun, rips open his jacket and grabs a cluster of wires. WILL Fuck you! You just brought a gun to a bomb fight, officer! I pull these wires out and we all go! You got ten seconds to drop your gun and - Zurman does n't stick around for the rest. He turns and sprints away. 69. As the guys make for the Datsun - CHET That was awesome. WILL He was tempting a desperate motherfucker. The guys jump in the Datsun and peel out as two more police cruisers race toward the bank. The cruisers change course and give chase. The Datsun blows right by the parked\",\n \"INT. MINIVAN - DAY Dwayne watches as the cars speed off into the distance. DWAYNE Holy shit! Our boy is causing some serious mayhem! JAY He's gon na get caught or killed. Dwayne whirls on Jay, punches him hard in the shoulder. DWAYNE Shut the fuck up! If you jinx this with your negativity, I'm gon na strap a bomb to your chest next. Jay massages his shoulder, pissed. JAY Oh, yeah, who's gon na build it? DWAYNE You are!\",\n \"EXT. STREET - DAY Whiplash blur as the three cars race by, one after the other. Airborne leaves flutter in their wake.\",\n \"INT./EXT. DATSUN - DAY - MOVING Chet freaks out as they hurtle toward lunchtime traffic. Will weaves in and out of cars. CHET Shit! This is not cool! Will is wild eyed, punching the gas. Chet's head is on a swivel. Behind them : police cruisers in hot pursuit. Up ahead : the world rushing at them at 80 mph, populated by nothing but potential collisions that will result in a fiery death. 70. CHET Maybe we should pull over and surrender. WILL I can outrun these guys. They're not the FBI, they're local cops. Just shut up and let me concentrate. I do this for a living. As they clip the side - view mirror off a Kia - CHET You do n't do anything like this for a living! I am not a pizza, I am a man! The cruisers are gaining ground, throttles wide open. Will downshifts, spiking the RPMs into the red, as he banks a hard right and\",\n \"EXT. TOWN CENTER - DAY The Datsun explodes onto a crowded street. PEDESTRIANS crossing an intersection jump out of its way. The cruisers take the turn into town. One makes it. The other slams into parked cars.\",\n \"INT./EXT. DATSUN - DAY - MOVING Will jumps the curb to avoid slow - moving traffic, slams into a newspaper dispenser. It flips up onto the hood and crashes into the windshield, where it stays lodged. WILL Holy fuck! Will veers back into the street and blindly plows ahead as cars he can not see swerve to avoid him. He finally slams the brakes, the momentum knocking the dispenser loose and launching it onto the sidewalk, scattering Pedestrians. Chet whirls around to see the cruiser flying right at them. CHET Go! Go! Go! Will steps on the gas. The light ahead turns red. CHET Stop! Stop! Stop! 71. Will rolls the dice and blows through the intersection. He's lucky. The cruiser behind him is not. It's T - boned by traffic in a brutal, crunching collision.\",\n \"INT./EXT. DATSUN - DAY - MOVING The cruiser wreckage disappears in the rear - view mirror as Will floors it toward a green light. WILL That guy got fucked up. In the rushing moment as they cross the intersection, Chet glimpses the other cruiser barreling toward his side of the car from the perpendicular street. He has a millisecond, maybe, to process their impending doom, and then - The cruiser smashes into the back passenger side of the car.\",\n \"EXT. TOWN CENTER - DAY The Datsun is sent spinning like a fucking top. Its ruined back wheel catches, sending the car tumbling onto its roof.\",\n \"INT./EXT. DATSUN - DAY - MOVING Madness. The guys scream as the car continues to slide, upside down, out of control. As it slams into a row of parking meters, the world goes BLACK Will blinks back to reality. He's hanging, inverted, by his seat belt. The car is a pool of shattered glass. It twinkles up at him. Hours could have passed, but it's only been seconds. He sucks in air. Satisfied that he is, in fact, still alive, he looks over at - A battered and bruised Chet, head drooping straight back. WILL Chet? Are you okay? Chet!? CHET -LRB- ROUSING. -RRB- Oh my god. WILL Talk to me. CHET I thought you were gon na blow up. Will's hands go to the bomb. still intact. 72. WILL No. Luckily your side took most of the impact. CHET Awesome. WILL We got ta keep moving. Will unclicks his seat belt and falls to the roof of the car. He moves to Chet, unclicks his belt and helps him down.\",\n \"EXT. TOWN CENTER - DAY Will emerges from the overturned car. He drags Chet out, along with the bag of cash. He glances up to see the OFFICER who crashed into them stumbling out of his own ruined car, which has turned a fire hydrant into a geyser. Another cruiser races to the scene. WILL Oh, fuck, man. Come on. Will pulls Chet to his feet and they take off, rounding a CORNER INTO\",\n \"EXT. ALLEY - DAY As Will huffs and puffs - WILL Chet. I do n't know how to tell you this. but you got a piece of the car in you. CHET What!? WILL In your back. Chet glances back to see a jagged piece of metal sticking out of his shoulder blade. CHET Ah! Get it out! WILL I will. CHET Do it now! 73. WILL All right. Without breaking stride, Will yanks the piece of metal out of Chet's back. He screams. CHET Is it rusty? Am I gon na get tetanus? Behind them, two Officers turn into the alley in full sprint. They are way faster than the guys and soon gain on them. Will can barely keep up with Chet. CHET Why are you moving so slowly? WILL It's a combination of cheap sneakers and this heavy fucking bomb on my chest! They burst out of the alley, onto\",\n \"EXT. STREET - DAY The guys frantically search for an escape, spot - A bus pulling up to a stop down the street. They sprint for the the bus, peeling off their ski masks and waving as it lazily rolls away from the stop. WILL Hey! Over here! The bus slows and the guys trip over each other to board it.\",\n \"INT. BUS - DAY - MOVING The guys fall into seats, gasping for air, a complete mess. Will looks out the window to see the Officers emerge from the alley and look around for them.\",\n \"EXT. TOWN CENTER - DAY A crowd has grown around the crash sites. Fire trucks and ambulances are on the scene. Dwayne and Jay make their way through the crowd, trying to see what's what. Dwayne approaches a RANDOM LOCAL. DWAYNE You hear what happened to the guys they were after? 74. RANDOM LOCAL Sounds like they got away. Dwayne and Jay beam.\",\n \"EXT. RESIDENTIAL STREET - DAY The guys are covered in sweat as they hike along, eyes on the lookout. They arrive at Will's parked Mustang. Will hugs the car. WILL I never thought I'd see you again. CHET I thought you hated this car. WILL It's actually not that bad. You know, as compared to that Datsun. The Mustang's got more comfortable seats. And it never would have flipped over.\",\n \"INT. MUSTANG - DAY The guys get in. They sit there for a moment, silent except for their heavy breathing. Will's eyes go to the garbage bag sitting between them. WILL There's a 100 grand in there. 100 fucking grand. Which we stole. From a bank. CHET I told a bunch of people I was gon na shoot someone. I was like `` you fucking move, and I will kill you where you stand!'' WILL I threatened to blow up a cop. -LRB- BEAT. -RRB- And you never said `` I will kill you where you stand.'' CHET I know. But shit did get pretty crazy. WILL Yeah, it did. Will starts to get a little emotional. 75. WILL You know, there's no one I would have rather taken down a fucking bank with. I mean that. Chet smiles. CHET Me, neither. WILL And as for all that shit I said. and all that shit I did. I hope you can forgive me. We've been friends for so long, and I guess you hurt the people you're closest to the most. CHET I messed up, too. I'm a dude who slept with his best friend's ex - girlfriend, and destroyed his parents' marriage, and sat on the sidelines watching his downward spiral. I'm a shitty human being. But I'm glad you know that now, because you can accept me for who I am. WILL I do. I accept you. Because you accept me. Will goes in for a hug. Chet gets lost in the moment, before recoiling. CHET Woah! You still got a bomb on you. WILL You're right. Let's take care of that. But you owe me a hug. Will pulls the slip of paper Dwayne gave him from his pocket. WILL It's all gravy from here. Will takes out his cell and dials the number. INTERCUT WITH:\",\n \"EXT. TOWN CENTER - DAY Dwayne and Jay cross toward a McDonald's. Dwayne stops and answers his vibrating cell phone. 76. DWAYNE This who I think it is? WILL. -LRB- O.S. -RRB- Ca n't you hear the ticking in the background? DWAYNE You know, you're a pretty funny guy. WILL. -LRB- O.S. -RRB- Thanks. I'm happy to entertain a complete psychopath. DWAYNE Now wait a second, you're the murderer. WILL. -LRB- O.S. -RRB- What's that supposed to mean? DWAYNE One of those cops who wrecked his car chasing you. he ai n't breathing no more. Will goes white, covers the phone and whispers to Chet - WILL We killed a cop. CHET You were driving! I'm just an accomplice! WILL They're gon na hunt us down and kill us. Cops do n't take this shit lightly. CHET I bet he had like eight kids. We have to find them and support his family forever. Dwayne is holding back laughter. Finally bursts out. WILL. -LRB- O.S. -RRB- What's so fucking funny! ? DWAYNE I'm just messin' with you. You did n't kill anyone. How'd a moron like you manage to rob a bank? WILL. -LRB- O.S. -RRB- Jesus! Can we just get this over with? Where do you want the money? 77. DWAYNE There's a boarded up gas station out on Commerce Avenue, past the highway. Be there in 30 minutes. WILL. -LRB- O.S. -RRB- I'll be there in ten. DWAYNE Then you'll be standing around with your dick in one hand, and my money in the other. Dwayne hangs up. He dials another number - DWAYNE Yo, Juicy, wrangle your boy. Money's on its way.\",\n \"EXT. ROAD - DAY The Mustang shrieks past us. SUPER COUNTDOWN : 2 hours, 58 minutes.\",\n \"INT. MCDONALD'S - DAY Dwayne and Jay sit at a table with a fast food feast spread out. Dwayne eats a Big Mac, a look of utter satisfaction on his face, a man whom the gods have finally smiled down upon. DWAYNE I remember the summer after my mother passed was the first year they had the Monopoly game at McDonald's. I musta come here three times a day trying to collect all the game pieces. Packed on 20 pounds, got acne from all the grease. The Major said I was the fattest, ugliest 13 - year - old he ever laid eyes on. But I did n't care, I just wanted to win the money and get the fuck out of there. So, one night, I followed this skinny register kid home, jumped him. I kept whaling on him, asking him where they were hiding the Park Place piece. The million dollar prize. But he did n't know shit. A year later, The Major won the lotto. I asked him for a Sega Genesis. He bought me one of those paddles with the ball attached. 78. Dwayne goes for a fry, sees his carton is empty and grabs a handful of Jay's. DWAYNE I'm not ashamed to admit that I've gone through some dark times since then. Depression. Addiction to a variety of shit, which I wo n't go into. I know you must think that's pretty silly, especially since you manage to get through the day and you do n't got shit going on as compared to me. But that's just the way it is. That's life. Jay looks pretty affected that Dwayne is opening up to him. JAY You know, I've been pretty low, too. if you ever want to talk about that kinda stuff. DWAYNE No. I do n't. My whole point I was trying to make before you interrupted me was that that shit is all in the past.'Cause I did it. I finally pulled it off. JAY We pulled it off, Dwayne. The two us. We're a good team. DWAYNE Are we? Would you do anything to protect me, my money, my empire? JAY Yeah, sure. -LRB- NERVOUS. -RRB- I mean, like what kinda stuff are we talking about? Dwayne takes out his cell, keys in the speed dial code and slides the cell across the table to Jay. DWAYNE Would you push the button? JAY Why would you want me to do that? DWAYNE It's just a question, Jay. Would you? If I asked you? I mean, it's no different than those watermelons. JAY Watermelons are n't alive. DWAYNE Yeah, they are. Not the ones you blew up, though. Dwayne stares hard at Jay. A tense beat. JAY No one gets hurt. right, Dwayne? DWAYNE Oh, yeah. I forgot about that part. Dwayne cracks a smile. DWAYNE Anyway, he has n't even made the drop yet. I'm gon na go take a shit. Stay away from the bathroom. Someone could get hurt. Dwayne heads off. Jay eyes the cell phone he has left behind.\",\n \"EXT. BOARDED UP GAS STATION - DAY Weeds have overtaken the abandoned place. Will leans against his parked car, waiting. Chet is nowhere to be seen. Will spots Vaughn's Sentra approach. It pulls into the station and Vaughn steps. He could not look more menacing. Juicy hangs back in the passenger seat. WILL Where are the other guys? VAUGHN I'm the only guy. -LRB- BEAT. -RRB- You got it? Will picks up the garbage bag at his feet and walks it over to Vaughn. He opens it, looks in. VAUGHN What the fuck did you do. rob a bank? 80. WILL -LRB- INCREDULOUS. -RRB- Yes. Vaughn grins. WILL Now where's the code? VAUGHN I do n't have any code. Vaughn turns to leave. Will grabs his arm. Vaughn stops, looks purposefully down at Will's hand. Will draws back. WILL Listen, man, I just want the code. VAUGHN I do n't know what the fuck you're talking about. WILL The code for the fucking bomb! Will opens his jacket. Vaughn takes a sudden step back. VAUGHN What kind of stupid motherfucker wears a bomb to a drop? WILL Your boss put this on me. VAUGHN I am my boss. WILL Then give me the code! VAUGHN Motherfucker, I do n't know no goddamn code. Whoever told you I did, lied to you. Now step the fuck off, or I'll shoot you in the face so you do n't explode and mess up my boots. Vaughn goes to leave again. Will runs ahead of him and gets in his way. WILL If you do n't have the code, I want that money back. 81. VAUGHN The only way you're getting this money back is if you kill me. WILL You do n't know what I've gone through for that money! In an instant, Vaughn has his gun out, aimed at Will's head. VAUGHN Do I look sympathetic? Now step the fuck aside.\",\n \"INT. SENTRA - DAY Juicy looks on with interest as Vaughn holds Will at gunpoint. Then she spots\",\n \"EXT. BOARDED UP GAS STATION - DAY Chet creeping up behind Vaughn, from wherever he was hiding, clutching a large metal pipe. Juicy jumps out of the Sentra. JUICY Vaughn, look out! Vaughn whirls around toward Chet, just in time to have his gun arm smashed by the pipe. The weapon drops from his hand. Chet takes another swing, cracking Vaughn across the face. He howls, blood spraying, and topples over. Chet goes for another swing, when - Juicy jumps on him, wildly biting and clawing. Will grabs the back of Juicy's track jacket for leverage and flings her away. She hits the back of the Sentra and careens clear across the trunk. WILL Let's go! Will grabs the money. Chet kicks Vaughn's gun into the bushes. The guys break for the Mustang and get in. Juicy gets to her feet, runs right by a dazed Vaughn and after the car, which pulls out into the road and leaves her behind, screaming and cursing.\",\n \"INT. MUSTANG - DAY - MOVING Will's mind is racing. 82. WILL What the fuck was that? CHET They tried to screw us. You're a liability. They were just gon na let you blow up. WILL Not with the money they wo n't.\",\n \"INT. JAY'S GARAGE WORKSHOP - DAY A tidy space, filled with various half - finished devices, action figures and heavy metal posters. A low mechanical hum registers. Dwayne sits on a stool in the center of the garage, while Jay carefully trims his hair with an electric clipper. Dwayne holds up a mirror to check out his work. DWAYNE Never comes out this nice when I do it myself. You might wan na take some more off the top, though. I wan na look real professional when I go down to the morgue to identify the body. Dwayne's phone chimes from a nearby counter. He grabs it, looks at the incoming number, slightly concerned. He answers - DWAYNE You drop the money yet? INTERCUT WITH:\",\n \"INT. MUSTANG - DAY - MOVING Will yells into the phone - WILL No! I've still got the money! And I cracked your friend's face open! DWAYNE. -LRB- O.S. -RRB- Why the fuck would you do that!? WILL You lied! You said I'd get the code! Dwayne is panicked, covers badly - DWAYNE I gave him the code. He told me he committed it to memory. He was probably just embarrassed that he forgot it. I'll call him up and - WILL. -LRB- O.S. -RRB- You did n't give him shit! I want the code now or you'll never see this money! DWAYNE Hold on there, big man. You got a bomb on you. I got a cell phone that detonates it. You're not exactly negotiating from a position of leverage. WILL. -LRB- O.S. -RRB- I'm holding the money. I blow up, and it blows up. Who has the leverage now? Go ahead and push the button, you idiot. Chet freaks out - CHET Do n't tell him to push the button! Pull over! Pull over! Dwayne is getting pissed off. DWAYNE Why do n't you watch what the fuck you say! I own you! I tell you to rob a bank, and you rob a bank. I tell you to give me the money, and you give me the goddamn money and hope I show you some mercy. WILL. -LRB- O.S. -RRB- I'm tired of this bullshit. I'm already dead, right? So fuck you. At least I'll die rich. I ca n't say the same for you. The line goes dead. Dwayne tears off his haircut smock. DWAYNE That piece of shit hung up on me!\",\n \"INT. MUSTANG - DAY - MOVING Chet grabs the wheel and forces Will to pull over. CHET Get me out of this car! 84.\",\n \"EXT. ROAD - DAY Chet jumps out while the Mustang is still slowing down. He runs 20 yards away. Will turns the car off and gets out. CHET That was colossally stupid! WILL It was a negotiation tactic. He'll call back and I wo n't answer. Then he'll call back and I will answer, and he'll realize the only way he gets the money is if he gives me the code. CHET Sure! That seems like a perfectly logical pattern of thought! I bet that's exactly what he'll do!\",\n \"INT. JAY'S GARAGE WORKSHOP - DAY Dwayne tries Will's phone again. It goes to voicemail. He explodes like a pack of Mentos in a two - liter of Diet Coke. Throws his cell across the room. Overturns a work table. DWAYNE Does this guy know who the fuck I am!? Jay retreats into a corner. Dwayne's a big boy, and he soon tires himself out, hunches over, panting. JAY Dwayne. you never told me you were n't going to give him the code. DWAYNE We're not amateurs. He was a loose end. I let him live, someday I woulda been walking out of my mansion and. bam! FBI, CIA, NSA, all converging on my front lawn,'cause a loose end turned state's evidence and they got what they need to put me away. Dwayne shakes his head. Starts digging through the mess he's made. finds his phone. DWAYNE Fuck it, Jay. I'll just kill The Major myself. Dwayne keys in the speed dial code. 85. JAY Do n't do it. Dwayne looks down at the send button. DWAYNE You know what they say about a tree falling in the forest? Maybe the same thing applies to blowing up some motherfucker across town. Maybe it does n't even make a sound. Dwayne hits send. DWAYNE Boom. But Dwayne notices something. the phone in his hand is ringing. He puts it to his ear. The line connects - FEMALE VOICE. -LRB- O.S. -RRB- Hello. who is this. hello? Dwayne snaps the phone shut, looks to Jay, who tries to will the beads of sweat back into his pores. DWAYNE Who did I just call, Jay?'Cause she sounded cute for a bomb. JAY -LRB- SWALLOWS HARD. -RRB- Gina Kim. My seventh grade crush. Or whoever lives in Gina Kim's house now. DWAYNE Where's the number for the bomb? JAY In my head. I switched it out of your phone while you were taking a shit. You're out of control, Dwayne. DWAYNE I'm in perfect control! Dwayne charges Jay. Jay holds up the hair clippers like a weapon, flicks them on. Dwayne rips the cord out of the wall, uses it to yank the clippers from Jay's hand, then whips him with the cord. JAY Stop it! 86. Dwayne goes to whip Jay again, but Jay moves like a jack rabbit and delivers a fierce kidney shot. Dwayne stumbles backward, falls onto the couch, groans - DWAYNE You asshole. I make you my partner and you pull this shit. JAY I'm tired of you pushing me around all the time! What kinda partner does that!? DWAYNE Fuck you. I'm gon na piss blood, are n't I? JAY That's what it said on the internet. Dwayne's phone rings in his pocket. DWAYNE Go on. Get it out for me. I can barely move. Jay pulls the cell from Dwayne's pocket. opens it and puts it to his ear so he can answer - DWAYNE Glad you came to your senses. INTERCUT WITH:\",\n \"EXT. BOARDED UP GAS STATION - DAY Vaughn has a rag pressed to his swollen, bloody face. Juicy is nearby, banged up and dirty. Vaughn yells into his cell - VAUGHN Who the fuck do you think you're talking to!? DWAYNE. -LRB- O.S. -RRB- I honestly do n't know. VAUGHN Let me give you a hint : your boy just jumped me, tossed my bitch like a rag doll and split with the cash. Dwayne realizes who's on the other line, recovers - DWAYNE That guy's not my boy. He's a dick. I'm sorry for all the, uh, confusion. 87. VAUGHN. -LRB- O.S. -RRB- Confusion? The only motherfucker that's confused is you. Apparently, you think you can fuck me and survive the day. DWAYNE I was n't fucking you, I was fucking him. You got ta understand, you're like a pawn in a much larger game I'm playing here. VAUGHN. -LRB- O.S. -RRB- Did you just call me a pawn, you stupid fuck!? DWAYNE I did n't mean it like that. I'm just juggling a whole lot of shit. VAUGHN. -LRB- O.S. -RRB- I want my money. Right now. DWAYNE That may not be possible. -LRB- DELICATELY. -RRB- I just want to put this out there, to keep you in the loop. but I may need to bump the hit. Vaughn paces, furious. VAUGHN This is n't a reservation at Sizzler! You do n't `` bump'' it! I want you to bring me my money right now, to where I am standing in this shit hole town, bleeding from the motherfucking face! DWAYNE. -LRB- O.S. -RRB- I do n't exactly have the money. give me some time and - VAUGHN The deal's off! You just became the hit! Vaughn hangs up, tosses the bloody rag to the ground and screams in frustration. JUICY He lives with his daddy. You already got the address. 88.\",\n \"INT. JAY'S GARAGE WORKSHOP - DAY Dwayne looks down at his phone. DWAYNE That's it. The assassin's gon na kill me now. I'm gon na die. Game fucking over. Dwayne cradles his arms around his wounded kidney, rocks back and forth, wallowing in defeat. JAY We can still get him the money. Try the pizza guy back. DWAYNE Why? So he can fuck around again, and I wind up dead, anyway? No. I'd rather just sit here. I want to die right here on this couch. JAY No. We're gon na get that money. Just like we planned. All we got ta do is get the leverage back. DWAYNE How do we do that? Pizza boy's obviously got some kinda death wish. Jay gathers his resolve. JAY We take the girl. The one he went to see. Then he wo n't try shit. Dwayne looks up at Jay with something not unlike awe. DWAYNE That's actually. that's a great fucking idea, Jay. It's the best idea anyone's had all day. Dwayne lowers his head. He removes the gun from his belt. holds it out to Jay. Jay takes it. Feels its weight. Then offers it back. JAY I was just trying to figure out how you would do it, Dwayne. Dwayne takes the gun. Struggles to stand. Jay helps him. 89. DWAYNE Ok. Then let's do it right. We leave nothing to chance. Because if we go to prison for this, I wo n't be able to watch out for you. JAY Ok, Dwayne. Dwayne looks over at a frame backpack hanging from a hook on the wall. PVC piping bulges from it. DWAYNE You should probably bring the flamethrower, buddy. There's gon na be some evidence to dispose of.\",\n \"EXT. SIDE OF THE ROAD - DAY Will and Chet sit on the ground, still 20 yards apart. Chet checks his watch. CHET It's been half an hour. WILL He'll call. CHET In another 30 minutes I'm calling the bomb squad. Chet gestures to the vast emptiness all around them. CHET These guys obviously are n't watching you anymore. WILL You know, even if they get the bomb squad here in time, and they can somehow get this thing off me, we still got ta answer for the robbery. CHET I'll take the heat with you, Will. WILL Nah. I'll tell them I forced you into it. That you did n't have a choice. CHET Thanks, man. 90. Will looks at Chet for a beat. WILL That's it? You're not gon na think about it a little longer? After all we went through. tear down the relationship, rebuild it. you're gon na let me go to prison alone? CHET You offered. WILL It was a test. Your grade : F minus. You know what the `` F'' is for? CHET To fuck myself? WILL You passed that test. Failed the important one. As the guys continue to argue - SUPER COUNTDOWN : 1 hour, 28 minutes.\",\n \"INT. LAW FIRM, OFFICE BUILDING - DAY Kate walks down a hallway, turns into an office. Two figures rush past from the intersecting hallway and duck behind a corner. Kate emerges from the office and continues into\",\n \"INT. WOMEN'S BATHROOM, OFFICE BUILDING - DAY Kate goes to the mirror, checks herself out. She's been crying. She splashes water on her face, then enters a stall. The bathroom door opens and Dwayne and Jay enter. Dwayne pulls something hairy from his pocket. Inside the stall, Kate reaches for some toilet paper. from underneath the barrier, she notices two pairs of dirty, masculine sneakers. Her breath goes shallow. She takes out her cell, quietly opens it. She presses the first 9 in `` 911,'' but her keypad volume is on and the phone makes a dull, electronic beep that echoes in the quiet bathroom. DWAYNE. -LRB- O.S. -RRB- Why do n't you just slide the phone under the door, so I do n't have to kick it open and see you with your panties down. 91. Kate slides the phone out. One of the sneakers crushes it. She gets off the toilet, arranges her clothing and steps out out of the stall. She gasps at - The two ominous men standing there in gorilla masks. Dwayne's gun is plainly visible, tucked into the front of his pants. DWAYNE What's the quietest way out of the building?'Cause I might get excited in a confrontation, and you might wind up shot in the face.\",\n \"EXT. LIVING ROOM, NICE HOUSE - DAY The Major is watching reruns of Three's Company. He does n't laugh or remotely smile at any of it. The subtle click of a door opening does not escape his finely tuned senses. MAJOR Dwayne? Nothing. The Major gets up and goes to a desk, rifles through a drawer and pulls something out. A simple pen. He clutches it like a weapon.\",\n \"INT. HALLWAY, NICE HOUSE - DAY The Major creeps along. VAUGHN. -LRB- O.S. -RRB- Just stay where you are, old man. The Major turns to find Vaughn pointing a gun at him. VAUGHN I'm looking for your son. MAJOR Even if I knew where he was, I would n't tell you nothing. VAUGHN Do n't be stupid. MAJOR You know, I saved a black man's life in the shit. So if I took yours I'd be even. VAUGHN I see where your son gets his common sense. But you might want to readjust your attitude, because I ai n't fucking around. I want Dwayne. I do n't know why you'd want to protect him, the motherfucker hired me to kill you. If this news has any effect at all on The Major, he does n't show it. VAUGHN Just tell me where he is! Vaughn pulls back the hammer of his gun. MAJOR You think I'm scared of death? There's a whole generation of gooks that think I'm the grim reaper. Vaughn shakes his head. Almost imperceptibly, The Major repositions the hand with the pen in it. Vaughn is about to squeeze the trigger - But The Major beats him to it, clicking the pen, which is actually a pen gun. It fires a.22 caliber round into Vaughn's neck. He drops the gun and clutches the geyser of blood. The Major charges Vaughn, jumps on him and wrestles him to the ground, trying to jam the pen into the wound in his neck. MAJOR I'll ride you all the way to hell! I know exactly how to get there! Vaughn reaches for his gun. His fingers curl around it and he whips it across The Major's face, knocking him backwards. Vaughn scrambles to his feet, gun pointed at the felled Major. VAUGHN What now, old man!? You ca n't kill me! None of y' all can kill me! The Major looks up at Vaughn, once again face to face with a loaded weapon. MAJOR Go on and - BANG! The Major goes limp, one searing hole in his chest. 93. Vaughn clasps a hand to his neck to staunch the flow of blood. He steps over the The Major's body and continues upstairs.\",\n \"INT. BATHROOM, NICE HOUSE - DAY Vaughn rifles through the cabinets, dumps all of the first aid supplies into the sink. He gets to work on his wound.\",\n \"INT. DWAYNE'S ROOM, NICE HOUSE - DAY The locked door is kicked open. Vaughn, neck crudely bandaged, flicks on the lights and looks around the childish room. Chinese Fighting Fish swim in a large tank, seem to stop and look out at him like guard dogs. Vaughn ransacks the place. He finds a desk drawer locked. Takes out his gun and blows it open. Vaughn pulls a stuffed file folder out of the drawer. Flips through it. It's full of details about Dwayne's plan, the tanning salon, etc.. VAUGHN Motherfucker has lost his mind. He finds a map of the town in the file. Three locations are highlighted : the bank, the boarded up gas station, and the radio tower. PUSH IN on the radio tower. Vaughn stuffs the map into his pocket. He stops before leaving the room, turns and shatters the fish tank with the butt of his gun. Water spills out and the Chinese Fighting Fish flop onto the floor. As Vaughn lifts a boot to stomp them -\",\n \"EXT. ROAD - DAY Will and Chet are still arguing - CHET Look at the upshot, while you're behind bars you can finally finish your degree. If I was there, too, it would just be a distraction. WILL Great idea, Chet. Thanks a lot. I'll just sit here and figure out a fucking major. Will stews. After a beat, his hand goes to his pocket. It's vibrating. He pulls out his cell. WILL Hey, it's them. 94. Will answers - WILL You ready to talk now? INTERCUT WITH:\",\n \"INT. MINIVAN - DAY - MOVING Dwayne drives with his cell pressed to his ear. Jay keeps watch on Kate in back. She is blindfolded, hands bound behind her back with duct tape. DWAYNE -LRB- INTO PHONE. -RRB- Yeah, I'm ready to talk. I want my money. Meet me back at the radio tower in 50 minutes. WILL. -LRB- O.S. -RRB- I've barely got an hour left! DWAYNE That's the point. I want you on a short leash. WILL. -LRB- O.S. -RRB- Fuck that. Give me the code first. Then you can have your money. You'll just have to trust me when I say that I do n't want it. DWAYNE Yeah, I'm sure. You just wan na go back to your fantastic life. Your great job. And that blonde bitch with the sexy voice. Will's mind jumps to the only logical conclusion. Roller coaster stomach drop. His voice cracks as he asks a useless QUESTION - WILL What the fuck is that supposed to mean? DWAYNE. -LRB- O.S. -RRB- It means that girl you paid a visit to today is sitting in the back of my van right now. And it ai n't exactly consensual. WILL Fuck you! You crossed a line! 95. Dwayne just laughs, maniacally. DWAYNE There are no lines! There's just me and you and 100 thousand dollars. Once we get that shit in order, you can have her back, and your life, too. So you're gon na show up where I say, when I say. Alone. And if you try anything stupid, the two of you will be delivering pizzas to Saint Peter. WILL Let me talk to her. DWAYNE You got ten seconds. Dwayne hands the phone back to Jay, who puts it to Kate's ear. She is trembling. KATE Will? WILL. -LRB- O.S. -RRB- Kate, I'm so sorry. KATE It's okay. I'm fine. I'm just really - Dwayne snatches the phone. DWAYNE She's just really gon na die if you fuck this up. Will absorbs this like a blow to the chest. The line disconnects. WILL Fuck! CHET What happened? WILL They have Kate. CHET What the fuck does that mean!? WILL They took her, man. They must have followed us to her office. 96. CHET Damn it! You had to go see her! WILL I'm sorry. I messed up. I finally messed up worse than I could have possibly imagined. CHET We got ta get her back, Will. These guys are crazy. WILL We still got the money. As long as we have that, she's alive. Come on. Chet grabs the bag of cash. They hustle into the car and it peels out, leaving behind a swirling cloud of dust. As the sun begins to set - SUPER COUNTDOWN : 58 minutes.\",\n \"EXT. HIGHWAY - NIGHT Two menacing headlights come at us on the empty road. They BELONG TO\",\n \"INT. SENTRA - NIGHT - MOVING Vaughn holds up Dwayne's map as he drives. He seems to be on the right road, headed for the radio tower. He crumples the map and throws it in back.\",\n \"EXT. SIDE OF THE HIGHWAY - NIGHT The Mustang stops by the gate to the radio tower. Chet jumps out and disappears into the bushes.\",\n \"EXT. RADIO TOWER - NIGHT The Mustang pulls up. Will gets out and looks around the deserted place. He holds up the money bag. WILL I'm here! In the shadow of the nearby shed, the minivan is revealed as its interior lights come on. The door opens and Dwayne emerges, in his mask. DWAYNE How much time you got left? 97. Will takes off the jacket and tosses it to the ground. He looks at the timer. WILL Ten minutes. DWAYNE Damn. Maybe we should just wait around for the money shot. The guys meet in a clearing. Dwayne nods at the bag. DWAYNE That the money? WILL Maybe. Where's the girl? Dwayne grins. DWAYNE In the van. Maybe. WILL Get her out here. You're wasting time. Will grips the bag close to him. Dwayne whistles. The minivan door opens and Jay steps out. Strapped to his back is the frame pack we saw at his workshop. A long tube connects the pack to the handle of a metal pipe - like device in his hand. Jay helps Kate, still bound and blindfolded, out of the van. They approach Dwayne and take up position behind him. KATE Will, are you there? WILL I'm here. It's gon na be okay. DWAYNE This is a fucking tearjerker. WILL Just let her come over here. DWAYNE I will. But you should know, my associate over there is packing a flamethrower. Jay aims the metal device he has been holding. He hits a button and a pilot light comes on. 98. JAY -LRB- FLAT. -RRB- Just do what we say. Do n't mess around or anything. DWAYNE Unless either of you can outrun a 25 - foot flame. -LRB- gestures to gun in his belt. -RRB- Or a bullet. Dwayne roughly pulls Kate away from Jay and shoves her forward. Will grabs her, pulls her blindfold off and pushes her behind him. WILL Get back. DWAYNE I gave you the girl. Now give me the money. WILL How about we get the code out of the way first, since this bomb happens to be ticking so close to all of us. DWAYNE Fair enough. Dwayne pulls a slip of paper from his pocket. DWAYNE -LRB- TAUNTING. -RRB- You ready to be a free man? WILL Just give it to me! DWAYNE 448921. Will keys in the numbers. The timer freezes and the lock at the hinge opens. Will carefully extricates himself from the vest. He lays it down on the ground and steps away from it. His shirt is drenched in sweat from where the bomb sat. Will takes a final look at the money bag, then throws it to Dwayne. He looks inside, smiles. Jay takes a peak. DWAYNE It's so fucking pretty, ai n't it? JAY Yeah. It's awesome. 99. Dwayne looks up at Will. DWAYNE Okay, you can get out of here now. WILL I actually have this sneaking suspicion that once we turn around, you're gon na put a bullet in both of our backs - and this is just a guess - burn our bodies. DWAYNE They say great minds think alike. And in this case, so do we. WILL I figured as much. That's why I got a gun pointed at you, too. -LRB- LOUDLY. -RRB- I got a sniper in the bushes locked on you right now. DWAYNE Do I look that dumb? WILL I ca n't tell, you're wearing a mask. Before Dwayne can react, he stops and blinks, something shining in his eyes. JAY Hey. on your forehead. Dwayne's eyes turn upward, just barely making out the red dot that dances on his forehead. DWAYNE Son of a bitch. Well played. In the bushes, hidden from sight, Chet carefully aims his laser pointer at Dwayne's forehead. Will grins at Dwayne. WILL We're gon na walk out of here now. If you shoot, my sniper shoots. I ca n't guarantee he'll get both of you. But he'll definitely get you. As Will turns away - 100. VAUGHN. -LRB- O.S. -RRB- Hold the fuck up. Vaughn emerges from the darkness. He looks at Will. VAUGHN Was n't expecting to see you here. Without warning, Vaughn cracks Will over the head with the butt of his gun. He goes down hard. Kate screams. Vaughn points the gun at her and she shuts up. Dwayne steps forward with the bag. DWAYNE It's all good. We got your money. VAUGHN Nice mask, Dwayne. Now throw the money over here. Dwayne complies. As soon as the bag lands, Vaughn aims the gun at him. DWAYNE Hold up. You do n't have to do this. I just paid you. Kate looks on, terrified, an unconscious Will at her side. Vaughn's eyes burn a hole through Dwayne. VAUGHN I've been hit with a pipe, shot with a pen, and wasted my whole motherfucking day. all because of you and this job. DWAYNE I do n't know what you're talking about. Just take the money. VAUGHN I will. And then I'm gon na tie up the two loose ends in the gorilla masks. DWAYNE I'm not a loose end! VAUGHN You're a fucking idiot. You are as loose as ends get. Panicked, Dwayne's eyes flash over to Jay, who tightens his grip on the flamethrower handle. Jay catches Dwayne's eye. Dwayne nods. Vaughn sees this. 101. VAUGHN What the - Jay rears up with the flamethrower. Vaughn could n't be more surprised to see the device Jay is holding spit a massive ball of fire at him. Vaughn dives to the ground, fires off two wild shots, one of WHICH - Nails Dwayne in the shoulder, spinning him backward and knocking him off his feet. Kate recoils in horror as : Vaughn scurries madly on the ground, intermittently firing, while Jay screams and tries to torch him with the 25 - foot flame. A hand touches Kate's shoulder and she whirls around to find - KATE Chet!? What are you doing here!? CHET Not now. We got ta take off. -LRB- LOOKS AROUND. -RRB- Where's Will? Kate looks to the empty spot beside her where Will just was. Flames inches from him, Vaughn lines up a desperate shot - Good news : the bullet only grazes Jay's side. Bad news : it keeps going and punches through the flamethrower backpack, which happens to be filled with gasoline, which happens to have an incredibly low flash point. So the spark from, say, a bullet, would cause AN ERUPTION OF FLAMES Meanwhile, Will pops up behind Chet and Kate, clutching the garbage bag. WILL I got the money. Let's get the fuck out of here. They take off toward Will's car. Dwayne groggily comes to. no SOUND, just a ringing. The first thing he sees : Vaughn storming toward him, god - knows - what spewing from his mouth. Vaughn levels his gun - It does n't make a sound for two reasons. The second being that it's out of bullets. Dwayne fumbles for his own hardware. Muzzle flash. 102. Vaughn drops to his knees. Pulse snatched from him. SOUND SLAMS BACK to the tune of Jay's screams. Dwayne looks over to see his friend in flames, flailing his arms and shrieking. Dwayne's head snaps to the other side, where he sees the Mustang's tires peel. He tears off his mask, frantically looks around. The money is gone. DWAYNE No! Jay disentangles himself from the backpack, the source of the flames, but his clothes are now ablaze. In his frenzy, he somehow manages to string together two coherent words - JAY Dwayne! Help! Dwayne gets to his feet as the Mustang roars down the driveway. He looks to Jay, then to his minivan. Dwayne's face : Two roads diverge in a wood. Which to take? DWAYNE Goddamn it, Jay! Dwayne sprints over to Jay, rips off his jacket and uses it to beat the flames down. DWAYNE Stop, drop and roll! Jay hits the deck. Dwayne continues fighting the flames, finally falls on top of Jay with the jacket spread and smothers the last of them out. Jay looks up at Dwayne with puppy dog eyes. JAY You came back for me. you said you never would. DWAYNE You did n't hesitate back there, Jay. You did good. Jay smiles. Flames overtake the field all around them. DWAYNE I'm gon na go put a bullet in that motherfucker and get our money. Think you can get outta here? JAY Yeah. Go get him. 103. Dwayne hurries toward the minivan. Jay stumbles up to his feet and limps off toward the woods.\",\n \"EXT. HIGHWAY - NIGHT The Mustang travels away from the rising flames.\",\n \"INT. MUSTANG - NIGHT - MOVING Will's face is a mess of dirt, sweat and dried blood. He and Chet stare ahead, completely shell - shocked. Kate looks from one of them to the other. KATE Uh. I just got kidnapped. CHET Yeah, that was totally Will's fault. In case you want to factor that in while you're mulling over the whole relationship thing. WILL I'm very sorry about the kidnapping. This is me, taking responsibility for it. Growing up. Like a viable life partner. CHET This man has spied on you in the nude before! WILL What? No, I did n't. CHET He's lying. He's trying to build a relationship on a foundation of lies. And it wo n't stand. KATE I just got kidnapped! Can we talk about that!? Something catches Will's attention : a set of headlights rapidly growing larger in the rear - view mirror.\",\n \"INT. MINIVAN - NIGHT - MOVING Dwayne's speedometer is buried past 100 mph. His eyes burn with intensity. 104.\",\n \"INT. MUSTANG - NIGHT - MOVING Will hits the gas. WILL Oh, shit. One of those dudes is definitely not dead! Chet and Kate look out the back window. Chet screams - CHET Hurry up! He's already on us!\",\n \"EXT. HIGHWAY - NIGHT Dwayne's car pulls even with the Mustang.\",\n \"INT. MUSTANG - NIGHT - MOVING Will looks over at Dwayne, who pulls out his gun and takes aim. He flashes a sick grin - DWAYNE I own this town. Before Dwayne can get a shot off -\",\n \"EXT. HIGHWAY - NIGHT An explosion rocks the minivan from inside. The back end is lifted off the ground and the car tumbles over itself. It lands on its roof and skids into a ditch.\",\n \"INT. MUSTANG - NIGHT - MOVING Chet and Kate watch the burning wreck disappear out the back window. They are equal parts confused and happy to be alive. KATE What the hell was that? WILL That was the bomb I carried around all day. I reactivated it and put it in the back of his van. I guess his time was up. CHET `` His time was up?'' Were you thinking that up the whole day? WILL I was prepared, yes. I ca n't help it if I'm the kind of guy who thinks about the future. 105. CHET -LRB- TO KATE. -RRB- He's not that kind of guy. He does n't think about the future. Ever. KATE What exactly happened since I saw you this afternoon? WILL Primarily, we robbed a bank. KATE What!? So you're, like, fugitives? What do we do now? CHET Yeah, Will. What does the future hold? WILL Nothing good if we stay in town and they pin this on us. Kate, I think you should put in for that vacation time. Right now. If anyone gives you a problem, tell them to fuck off. There's 100 grand in that trash bag by your feet. A third of it's yours. Kate opens the bag. smiles through the dirt and grime. KATE Will, that's - CHET Fucked up. Why does she get a share? WILL Why do you get a share? Chet stews. Will catches Kate's eyes in the rear - view. WILL Airport's 30 minutes away. Pick a destination. This time it's not a practice run.\",\n \"EXT. HIGHWAY - DAY The car zooms off. SUPER COUNTDOWN : 0 hours, 0 minutes. 106.\",\n \"EXT. DITCH - NIGHT Wind fans the flames of the burning minivan. The shattered windshield sprouts another crack. then another, as - Dwayne's foot kicks it out. He drags himself from the smoldering steel carcass. He is a charred, blood splattered mess, but he is alive.\",\n \"EXT. HIGHWAY - NIGHT Dwayne is propped up against a sign, lingering on the edge of consciousness. The headlights of a lone pickup truck approach. Dwayne feebly waves the truck down for a ride.\",\n \"INT. NICE HOUSE - NIGHT The door opens and Dwayne stumbles through. He has made it home. He drops like a puppet whose strings have been cut. From where his head has landed on the floor, Dwayne sees something odd. long red streaks. He crawls forward on all fours to investigate. It is a trail of sticky red blood. Dwayne follows it until he comes upon its source. the crumpled body of his father, lying face down. Dwayne's face : shock and confusion and joy. DWAYNE Dad? Dwayne inches closer, pokes the body. Nothing. DWAYNE Dad, are you - The body emits a low groan. Dwayne rolls it over. His father's face is white, he's lost a lot of blood, but he is n't totally spent yet. He struggles to speak - MAJOR Dwayne. DWAYNE What happened to you? MAJOR Some guy. said you hired him to kill me. DWAYNE Dad, I. I'd never. 107. MAJOR Look at you. lip quivering like you're getting fucked. be a man. DWAYNE I am a man! I killed you, did n't I? Now I'm gon na use your money to open a tanning salon where they let you fuck the chicks. This stirs something in The Major. MAJOR You mean. like those whorehouses. in ` Nam. I used to tell you about? Dwayne softens at the recollection. DWAYNE Those were great bedtime stories. The Major nods. Opens his hand. Reveals a cordless phone. Dwayne looks to the bloody streaks down the hall, leading to the phone table. The Major dragged himself the whole way. MAJOR Medics are late. probably a couple lazy spicks. you tell'em I said so. all right, son? DWAYNE Sure thing, pop. The Major looks up at Dwayne's bruised face, as if for the first time. MAJOR Hell of thing. I think I may. actually respect you now. Dwayne's eyes well up. He reaches out, cradles his father as he expires. It's like a very bloody, white trash version of the Pietà. Dwayne sobs uncontrollably, until - He drops his father and pound - pound - pounds his chest in some approximation of a life saving resuscitation. DWAYNE Get up, you pussy! Come on, soldier! PULL AWAY as Dwayne pounds the body and distant sirens grow nearer. FADE OUT: 108. BLACK. THE DARKNESS RIPPLES. Into waves. It's the ocean, long past sunset. PULL BACK to find a lone figure staring out at it, sitting on\",\n \"EXT. BEACH - NIGHT Will. Shirtless. Could be anywhere. Chet approaches and sits beside him. CHET Fucking nine dollars to use the internet. WILL And? CHET Police think it was that black guy. They found some kind of map in his car. And I'm sure racial profiling played a part. WILL But nothing about us? CHET Nope. Guess it's time to head back. WILL I was thinking we'd stick around a little a longer. CHET Why? So you have more time to delude my sister? WILL Yes. And it'd be easier if you gave us five fucking minutes alone. Chet stares out at the ocean for a beat. CHET You really think she's into you? WILL -LRB- SWALLOWS HARD. -RRB- I kissed her last night. No tongue. Then you walked in. Chet just nods. Will gets up. 109. CHET You're gon na go fuck my sister now, are n't you? WILL I'll be thinking of you the whole time. CHET At the very least. be a considerate lover. Give pleasure, before taking pleasure. WILL I think I'm reading you. And I will try my best. Will heads up a trail that leads to a hotel bungalow. Kate opens the door, steps out onto the porch. Will stops, looks back at Chet. He whistles. Chet turns. WILL You're Riggs! You always have been! Chet smiles, shakes his head as - Will reaches the porch. He stands close to Kate. His nerves clock overtime. WILL I lied and told your brother I kissed you. I thought it would make this easier. KATE Here's an idea : pretend you have a bomb strapped to your chest. Tick, TICK - Will closes the gap and kisses her. After a beat - KATE Is Chet watching us? WILL Probably. We should go inside. I promised him I'd satisfy you. Kate laughs, leads him inside and the door shuts to - BLACK 110. CREDITS ROLL. But they are pushed to one side of the screen, as the other side is filled with - A lo - fi, 2001 - style light tunnel. It deposits us in the furthest reaches of the galaxy, where we find - A tanning bed. Rotating in orbit. Dwayne's voice booms and REVERBERATES - DWAYNE GRAND OPENING SPECTACULARRR! The tanning bed explodes, like a star gone supernova. From the light and fire and chaos. emerges a logo : MAJOR TAN A bad MATCH CUT takes us to the same logo. Camera ZOOMS OUT unsteadily to reveal it is a banner above a strip mall storefront. We are watching a local commercial with appropriately poor production value.\",\n \"INT. MAJOR TAN - DAY (LOCAL COMMERCIAL) Dwayne walks backward down a hallway while addressing camera and trying not to trip - DWAYNE Here at Major Tan, our specially trained technicians are hard at work developing new technologies that harness the power of the sun, to ensure a cutting - edge tanning experience. Dwayne enters a tanning room. A man in a lab coat stares down at a clipboard, on which a complicated scientific equation is written. DWAYNE How's it looking? The man turns : it's Jay. His smiling face is speckled with healing burn wounds. JAY It's our most advanced tanning bed yet! He gestures to a very ordinary looking tanning bed. 111. DWAYNE Hey, do n't just take this scientist's word for it. The proof. Dwayne snaps his fingers. A BAD SPECIAL EFFECT makes him disappear, then reappear with a totally orange tan. DWAYNE is in the tan. We follow Dwayne back out into the hallway. DWAYNE But Major Tan is n't just about looking good. It's also about feeling good. Dwayne gestures to another room. The door opens and Juicy saunters out in a bikini. A beat later, a RANDOM GUY exits. RANDOM GUY That `` Deluxe Tan'' was fantastic!\",\n \"EXT. MAJOR TAN - DAY (LOCAL COMMERCIAL) Dwayne stands outside the store. DWAYNE So come on down to Major Tan. where we're proud to be a family business. PULL BACK TO REVEAL. The Major beside Dwayne. He's only about four feet tall now, on account of the wheelchair. But he's grinning like a jackal, in a POW - MIA cap. A SUPERED LOGO appears : Military Discounts Available! As father and son smile and wave at us - END COMMERCIAL.\"\n]"},"labels":{"kind":"list like","value":[0,0,0,0,0,1,0,1,0,1,0,0,0,1,0,1,0,0,1,0,0,0,1,0,0,0,1,0,0,0,1,0,1,0,1,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,0,0,0,0,1,0,0,0,0,1,0,1,0,1,0,0,0,0,0,1,0,0,0,0,0,0,0,1,0,0,0,0,0,1,1],"string":"[\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1\n]"},"summary":{"kind":"string","value":"Marijuana-smoking, Grand Rapids slacker pizza delivery driver Nick (Jesse Eisenberg) has trouble completing the \"30 Minutes or Less\" policy and is reprimanded by his boss Chris (Brett Gelman). Nick's school teacher friend Chet (Aziz Ansari) discovers that Nick slept with his twin sister, Kate (Dilshad Vadsaria), on the night of their high school graduation, causing Nick and Chet to end their friendship. Separately, Dwayne Mikowlski (Danny McBride) and Travis Cord (Nick Swardson) are miserable living under the shadow of Dwayne's domineering father, The Major (Fred Ward), who about 10 years prior won over $10 million in the lottery. Dwayne confides in lap-dancer Juicy (Bianca Kajlich) about his contempt for his father and Dwayne's presumed inheritance. At Travis's suggestion, he and Dwayne devise a plot to kidnap a complete stranger and strap a remote-controlled bomb to his chest. They order a pizza and wait for a driver to come to their hideout. When Nick arrives, Dwayne and Travis assault him and knock him unconscious. When Nick wakes up, he finds a vest rigged with explosives strapped and buckled onto his torso, with both a timer and a cellular phone-activated trigger. Dwayne and Travis tell him his situation: the bomb will detonate unless he robs a bank within ten hours. They also threaten to detonate the bomb if Nick notifies the police. He goes to Chet's school job and alerts him of the situation, to which he reluctantly accepts. En route to the bank, Nick manages to quit his job and then goes to see Kate for the last time. Nick and Chet hold up the bank and obtain money while the bank manager pulls the alarm, forcing Nick and Chet to flee quickly. Dwayne says he and Travis will meet Nick at an abandoned rail yard to make the exchange. Dwayne and Travis go to a restaurant instead as Dwayne calls up Juicy to get her hit-man ally and to head to the rail yard. Juicy and the hit man Chango (Michael Peña) arrive to pick up the money. Nick hands Chango the money and expects Chango to give him the code which will deactivate the bomb. However, Chet appears and strikes Chango with a metal bar while Nick incapacitates Juicy. The two grab the money and escape. Overly frustrated by the turn of events and when Nick refuses to answer the phone again, Dwayne activates the speed dial number on his phone for the bomb to explode, but Travis alters the numbers. Rethinking their plan, he and Dwayne head to Kate's apartment in their masks and kidnap her. Chango breaks into the Major's house to find information regarding Dwayne's location and finds a hand-drawn map to the scrapyard. While there, the Major attacks him with a pen gun. The Major is then shot by Chango after a struggle. Upon applying some peroxide, Chango uses the information he found in Dwayne's room to head to the scrapyard. Dwayne threatens to kill Kate unless Nick meets up with him at the scrapyard. At the scrapyard, Dwayne gives Nick the code 69 69 69 to deactivate and unbuckle the bomb with just minutes to spare. Dwayne has them at gunpoint but Nick has Chet fake having a sniper on them by pointing with his laser pointer. After believing him, Dwayne and Travis drop their weapons and leave with the money. However, Nick is knocked out by Chango who now has Dwayne at gunpoint, demanding the money. Dwayne gives him the money but Chango decides to still kill him and is torched with a flamethrower by Travis. While being burned on the ground, Chango wounds Dwayne and shoots the gas tank on Travis's back, causing it to explode. Nick takes the money and leaves with Kate and Chet. Dwayne chases after Nick and steals the money and when he has Nick at gunpoint as he’s about shoot at him the bomb hits 00:00:00 his van explodes, seemingly killing him. Nick reveals he reactivated the bomb and put it in Dwayne's van. While Chet looks at the money, it squirts blue dye on his face. In a post-credits scene, Dwayne (who survived the explosion), Travis, the Major recuperating in a wheelchair, and Juicy are seen in an advertisement for their new family business called \"Major Tan: Tanning Salon\"."},"name":{"kind":"string","value":"30_Minutes_or_Less"}}},{"rowIdx":96,"cells":{"scenes":{"kind":"list like","value":["INT. CARGO PLANE. MILITARY AIRBASE. ISRAEL - DAY A strange ROARING sound. CLOSE ON A YOUNG WOMAN. in darkness. Light begins to spill on her from the right - revealing her face, lost in thought. This is RACHEL SINGER - pretty, painfully young looking. A surgical dressing covers half her face. As we pull back a little we see that two YOUNG MEN sit either side of her. They are STEPHAN GOLD -LRB- thirties -RRB- thick - set, capable, and DAVID PERETZ -LRB- late twenties -RRB-, dark - haired and pale - faced. The three faces in the darkness, each looking straight ahead - something from a Caravaggio painting. The roaring, which we realise is the sound of ENGINES, gradually runs down into silence. The light from the bay door which is opening off - screen begins to flood the scene with HARSH DAYLIGHT, revealing the inside of a CARGO PLANE. Stephan turns to look at the growing light. Then he turns to Rachel. STEPHAN Breathe. He stands. Rachel turns to look at David but he is standing too, his face a mask. Rachel gathers herself, then stands and turns to follow the other two, walking towards the light. As the three approach the opening and descend the ramp of the bay door, we hear a woman's voice : SARAH -LRB- V.O. -RRB- We should never forget how young they were.","EXT. AIRBASE RUNWAY. ISRAEL - DAY TRACKING THE THREE. as they walk across the tarmac - first Stephan. SARAH -LRB- V.O. ; CONT'D. -RRB- My father, Stephan Gold, was the youngest Unit Commander in Mossad. David is next. SARAH -LRB- V.O. ; CONT'D. -RRB- David Peretz had his twenty - ninth birthday while on the mission. Then Rachel. SARAH -LRB- V.O. ; CONT'D. -RRB- My mother was even younger. Only twenty - five. RACHEL'S P.O.V Silhouetted against the bright light is a group of waiting MILITARY and MOSSAD DIGNITARIES. Their hands are raised in applause. SARAH -LRB- V.O. ; CONT'D. -RRB- Despite their youth they'd had the courage to confront an unimaginable evil. The three walk towards their welcoming party. Rachel blinks against the sunlight, takes out a pair of sunglasses and slips them on.","INT. FUNCTION ROOM. HOTEL NEAR TEL AVIV - DAY CLOSE ON OLDER RACHEL. now 56. Handsome, impeccably groomed. A long crooked SCAR runs down one side of her face. SARAH -LRB- O.S. -RRB- a man whose sadistic experiments left thousands disfigured or dead, who became known by a name which defiles the annals of medicine : The Surgeon of Birkenau. She's wearing tinted glasses, staring at us, listening to Sarah speak. REVERSE Rachel's daughter - SARAH - stands at a podium, reading the Dedication to a rather large audience who have come for the launch of her first book. She's 31, and clearly her mother's daughter. The cover image from the book is projected on a screen behind Sarah - a black and white photograph of a young Rachel, David and Stephan. Above their faces, the title - In Our Hands. SARAH Their mission had been to return him to Israel to stand trial. Instead it ended with his death on the streets of East Berlin.","EXT. MILITARY AIRBASE. ISRAEL - DAY - THE PAST CLOSE ON YOUNG RACHEL. as she waits behind David and Stephan, face bleached out by the sunlight. She stares at the ground. SARAH -LRB- V.O. -RRB- But this was not what was celebrated. It was their youth itself that became a symbol. Here were the children who had faced Israel's greatest nightmare, her greatest pain. David and Stephan have moved out of shot and Rachel reaches the DIGNITARIES. Still looking down, she manages a smile, a bob of her head, reaches out to shake the first hand.","INT. FUNCTION ROOM. HOTEL NEAR TEL AVIV. DAY CLOSE ON OLDER RACHEL. lost in the memory. SARAH -LRB- O.S. -RRB- and in the simple act of facing the Monster, had helped to vanquish it. Sarah, has finished reading and looks for her mother in the audience. SARAH -LRB- O.S. ; CONT'D. -RRB- This book is dedicated to my inspiration. My mother, Rachel Singer. People around Rachel begin to applaud, the sound almost startling her. Automatically she gives the same bob of the head, acknowledging the applause. Sarah, cheeks burning with a mixture of embarrassment and emotion, has n't finished yet. She locks eyes with her mother. SARAH -LRB- CONT'D. -RRB- Mother, I'm so very proud to be your daughter. More applause. Rachel manages to smile.","INT. FUNCTION ROOM. HOTEL NEAR TEL AVIV - LATER The room is now alive with the excited chatter of the guests. Rachel moves against the tide of the audience with a fixed social smile, murmuring thanks to well - wishers, trying to get out, trying not to look like she's trying to get out.","EXT. TEL AVIV. HOTEL NEAR TEL AVIV. PATIO - CONTINUOUS She emerges onto the empty patio, slides the glass door shut behind her, muffling the chatter from the room beyond. She lights a cigarette, inhales greedily, trying to calm down. She stares at the sun blazing over the Mediterranean ahead of her. Her glasses darken against the reflected glare. As if sensing something she turns to see a SMALL BOY - her GRANDSON - watching her from behind the glass of the patio door, something UNNERVING in his direct gaze. Rachel stares back at him in silence. Sarah appears behind the boy, her son, and scoops him up into a hug. Still the boy stares at his grandmother, who gives a tight smile and turns back to the sea. Another guest walks up to Sarah and she nods, smiling, at what he is saying to her but her eyes slide back to her mother, standing on the other side of the glass.","INT./EXT. APARTMENT BLOCK. TEL AVIV SUBURB - DAY A shabby, dimly - lit stairwell in a run - down section of the city. A YOUNG MOSSAD AGENT knocks at one of the apartment doors. After a moment it is answered by OLDER DAVID, now 62. YOUNG AGENT David Peretz? DAVID Yes. YOUNG AGENT You were expecting me? David looks at this young version of himself. DAVID Yes. I was expecting you. YOUNG AGENT Would you come with me sir? David stares at him, then walks back into the apartment. The door almost swings shut and the Agent catches it, considering walking in after him. But before he can, David re - emerges carrying his jacket. DAVID Let's go. TITLES BEGIN - We TRACK with David, CLOSE on his face as the two men begin the long walk down the staircase. He does n't say anything to his companion, does n't look around him, and we HOLD on that face as his mind tries to catch up, tries to work something out, to decide.","EXT. STREET - CONTINUOUS The apartment block stands on stilts. Abandoned furniture is piled around the columns supporting the building. Still on David as the two men walk out from the darkness into the street that services the run - down estate. David follows as the agent moves ahead towards a larger road. They cross a busy carriageway, and wait for a moment on the central reservation for a break in the traffic. Parked on the far side of the road, two identical cars, their windows tinted. The Agent moves to the leading car, opens the driver's door and gets in. David stops in the road, opens the rear passenger door and throws his jacket inside. He pauses for a moment and turns to look back at the second car.","INT. CAR - CONTINUOUS A MAN sits in the back of the car, silhouetted against the brightness outside. This is OLDER Stephan, now 63. He watches as David straightens up, hands on hips, squinting up at the sun.","EXT. STREET. TEL AVIV SUBURB - CONTINUOUS DAVID -LRB- Indistinctly. -RRB- Sorry. The Agent turns. YOUNG AGENT What, sir? DAVID -LRB- Beat. -RRB- I - I think I. He stands like that for a moment and then suddenly STEPS OUT INTO THE ROAD in front of an on - coming TRUCK. The impact sweeps him out of the frame. The shocked Agent scrambles out of the vehicle as other cars screech to a halt in front of David's lifeless body. TITLES END.","EXT. TERRACE. HOTEL NEAR TEL AVIV - NIGHT A celebratory dinner for the book launch is in progress - publishers, journalists, local dignitaries. Rachel is re - joining the table, taking her place beside her daughter amidst the dinner party chatter. Sarah watches her. SARAH When are you going to stop? RACHEL Stop what? SARAH The smoking. RACHEL Soon. SARAH I hope so. Do it for your grandson. SARAH Are you sure you have to go back home tomorrow? RACHEL It's all arranged, I'm afraid. SARAH But we'll have breakfast before you go? I thought maybe we could take a walk on the beach? -LRB- Trying to sound casual. -RRB- I'd like you to see more of him. A WAITER leans over with WINE for Rachel. She covers her glass. RACHEL -LRB- To Sarah, ill - at - ease. -RRB- Well, I'll be back. We can. maybe in the holidays or. MIRIAM, a PUBLISHER appears at her shoulder with a copy of Sarah's book. MIRIAM I've marked the place. I thought perhaps from chapter eleven? RACHEL Yes, thank you. Rachel nods absently, flicking through the pages of the book. Sarah realizes, with a small stab of pain, that she has no idea what that means. SARAH If you'd rather read something else, mother. RACHEL No, that's fine. Rachel is barely listening. She is staring at a black and white photograph in the book. We see that the photograph is of a YOUNG MAN in NAZI UNIFORM. It's titled : DIETER VOGEL, `` The Surgeon of Birkenau.'' MIRIAM You must be very proud. Rachel looks up at her, realizes what Miriam is talking about. RACHEL -LRB- A little automatic. -RRB-. It's a wonderful achievement. I'm very proud of her. MIRIAM And I'm sure you were invaluable in the research. SARAH -LRB- Keeping it light. -RRB- Actually, my mother withstood all interrogation. My father was the talker. -LRB- Trying a joke. -RRB- I'm the only journalist in Israel she wo n't speak to. Miriam laughs obligingly but Sarah instantly regrets the remark. There is a sudden excited MURMUR from the table. The women look over to where Stephan approaches the table. He is in a motorised WHEELCHAIR. The Mossad Agent attends discreetly in the background. Rachel's face hardens. RACHEL I thought he could n't come. SARAH -LRB- Standing up, surprised. -RRB- So did I. Several of the local POLITICOS have stood up to greet Stephan, who is all smiles and handshakes. STEPHAN -LRB- To the politicos. -RRB- Please, sit, sit. My God, it must be election season. There's good - natured laughter from the table. Sarah joins her father, kissing his cheek. SARAH You came. STEPHAN I came. So you're the famous author I've heard so much about? Rachel watches as he takes a place at the table, picks up a copy of the book and examines the cover photograph, holding his glasses a little from his eyes to focus. STEPHAN -LRB- CONT'D. -RRB- -LRB- Without looking. -RRB- Rachel. RACHEL Stephan. STEPHAN -LRB- To Sarah. -RRB- Now you're the expert, maybe you could tell me something. -LRB- Pointing to himself. -RRB- Who's this handsome devil on the cover? More polite laughter from the table. STEPHAN -LRB- CONT'D. -RRB- It went well? SARAH'S HUSBAND She was wonderful. STEPHAN That's good. Good, good. That's very good. Rachel takes a sip of water and notices Stephen's hands, crumbling some bread - they're SHAKING. She looks up at his face, reads the hidden STRAIN there. He senses her gaze and meets it, and for a second his smile falters and SOMETHING LIKE PANIC flickers in his eyes. Rachel stares back at him, disturbed. Miriam stands, tapping her glass with her fork. MIRIAM I just want thank you all for coming to help us celebrate the launch of this wonderful book. I'm sure we're all particularly thrilled to have two of the heroes of this story at the table. And even more thrilled that one of them has agreed to read for us. Applause. She gestures to Rachel who stands, still looking at Stephan. The table quietens down. Rachel opens the book at the marked place and hesitates, only now realising what she is about to read. Then. RACHEL -LRB- reading. -RRB- `` On the evening of the 31st of December, it began to rain more heavily. So isolated had they become from the outside world that it was only when she looked out of the window that Rachel remembered it was New Year's Eve.","INT. KITCHEN. BERLIN SAFE HOUSE - NIGHT - THE PAST Young Rachel stands in the small kitchen. Rain lashes on the window. She stares out at some FIREWORKS exploding nearby, then turns away and begins to gather three METAL SAUCEPANS from the shelves. We TRACK with her as she walks into the. LIVING ROOM And begins to place the pots on the floor to catch the rainwater which is dripping through various points in the ceiling. As she positions the last pot we REVOLVE around her to get our first view of the far wall. And there, tied to a radiator, is DIETER VOGEL, now 50. He's bound, his mouth taped, apparently asleep. Rachel does n't, of course, react to this sight. Instead she begins to clear away some pieces of BROKEN GLASS BOWL from the floor. We TRACK with her as she walks back down the short hallway into the kitchen, drops the pieces of bowl into the bin. From the living room comes the three distinct PINGS of rainwater dripping in the pots. She stops suddenly, puzzled. It's a moment before she works out what she's noticed - something has changed in the sound of the rainwater next door. There are only two drips instead of three. She walks back towards the living room. RACHEL'S P.O.V - through the living room door we can see that one of the pots has been overturned. Rachel slows to a stop. A sudden wave of adrenalin causes her to turn but. it's too late. Vogel steps out of the alcove he's been standing in so that he is directly in front of her. Before she can even cry out he has slashed her face open with a SHARD OF GLASS. Instinctively she cups her hands to her ripped face. Vogel grabs her by the hair and stepping behind her, tries to worm his other hand underneath her raised arms to reach her throat with the glass. Her training kicking in, Rachel uses a krav magah move to grab and twist Vogel's forearm, breaking his hold on her and turning the arm until, with a yell of pain, Vogel drops the shard. He swings wildly at her, but Rachel ducks the fist and drives the palm of her hand up into his face. Vogel stumbles back, surprised by her speed and the sudden pain of the blow. Rachel is about to press home the attack but is blinded by blood from her wound washing into her eyes. As she wipes her eyes clear, Vogel grabs a LAMP from a small chest of drawers in the hall and smashes it into her face. She falls. Vogel begins to run, but, driven by adrenaline and desperation, Rachel scrambles onto all fours and lunges at him, catching hold of his trouser leg as he moves towards the front door. Vogel stumbles, manages to pull a leg free and stamps down on Rachel who lets go with a moan. He stamps again, steps free and kicks her hard in the head. Rachel rolls with the force of the kick and comes to a rest, losing consciousness. RACHEL'S P.O.V - LOW ANGLE - Fluttering in and out of darkness - Vogel's feet as he stands beside us, breathing hard. Then he turns and hurries to the front door. and out.","EXT. WALKWAY. BERLIN SAFE HOUSE - NIGHT. Vogel hurries along the walkway and sets off DOWN THE SPIRAL STAIRCASE of the apartment building.","INT. BERLIN SAFE HOUSE. NIGHT. Rachel lies motionless. Then a cough. And another. And finally she rolls over, holding her gaping cheek with one hand, and drags herself towards the CHEST OF DRAWERS.","EXT. STAIRWELL - NIGHT Vogel runs down the spiral staircase.","INT. HALLWAY - NIGHT With difficulty, Rachel pulls out a GUN fitted with a silencer. and pulls herself towards the door.","EXT. STAIRWELL - NIGHT Vogel's dwindling figure as he nears the bottom of the stairs.","EXT. WALKWAY - NIGHT Streaming blood from her face, Rachel heaves herself out of the apartment towards the railings guarding the walkway. We hear the clatter of Vogel's feet on the stairs below. She raises the gun to the railings, to take aim.","EXT. COURTYARD - NIGHT Bursting from the stairwell, Vogel starts to run across the courtyard towards the street.","EXT. WALKWAY/COURTYARD - NIGHT Rachel's aim follows Vogel's lunge for the gateway. RACHEL'S P.O.V There is a lurid flash of fireworks from nearby and for a moment we see Vogel lit, about to make it to the gate and disappear forever. Rachel FIRES. A single shot. And, improbably, incredibly, the tiny figure of Vogel drops. Rachel hangs over the banisters far above us, gun in hand, staring at us with disbelief.","EXT. TERRACE. HOTEL NEAR TEL AVIV - NIGHT Rachel finishes reading and puts the book down. Nobody moves. The air of bonhomie has been replaced by an uneasy silence. Not knowing what else to do, one of the guests begins to clap and the others hurriedly join in. Rachel does n't acknowledge the applause. Stephan is staring at her with a STRANGE INTENSITY.","INT./EXT. STEPHEN'S CAR. TEL AVIV - NIGHT Stephan and Rachel sit in the back of the car. Behind a screen the young Mossad Agent we saw earlier sits in the front next to the Driver. Tel Aviv races by in neon smears. The air is charged with tension. RACHEL -LRB- Of the driver. -RRB- He's driving too fast. Stephan ignores her. She turns to the window, watches as they streak past another car. RACHEL -LRB- CONT'D. -RRB- This is ridiculous. What's so important? Tell me where we're going? STEPHAN We're going to David's apartment. Rachel turns to him, startled. RACHEL David? STEPHAN I keep track of people Rachel. It's my job. -LRB- Beat. -RRB- I know he came to see you yesterday. RACHEL -LRB- contemptuous. -RRB- What's this? The jealous ex - husband or the intelligence officer? STEPHAN A little of both. What did he want? RACHEL Fuck you. STEPHAN What did he tell you? Something about his intensity unnerves her. RACHEL He did n't tell me anything. -LRB- Off his look. -RRB- He did n't! He told me where he'd been travelling, that he'd been teaching. We spoke for a few minutes and then I had to go. Stephan is still staring at her, reading her. RACHEL -LRB- CONT'D. -RRB- -LRB- Bristling. -RRB- If you do n't believe me ask him yourself. And then he ca n't keep it from his face - and she knows. Something terrible has happened.","INT. LIVING ROOM. DAVID'S APARTMENT - NIGHT Stephan sits in the middle of the squalid living room, lost in thought. BEDROOM Rachel walks slowly though the room, taking it all in - the little islands of occupation, the places where David sat, read, slept. Piles of newspapers. Used cups. A mound of laundry. ON Rachel as she looks about her, looking for something, some sign from the man she knew. But there's nothing personal here. These are the rooms of a man who had no real home. BATHROOM Rachel walks in and switches on the light. She stares around the dirty bathroom. CLOSE ON YOUNG DAVID. turning to face us, the beautiful smile. BACK ON OLDER RACHEL. as she begins to cry. LIVING ROOM - CONTINUOUS Stephan sits listening to her breaking down. LIVING ROOM - LATER Rachel sits on the couch. RACHEL Why did he do it? Stephan looks at her, considering. He takes out a sheet of PRINTED PAPER, hands it to her. She reads some of the first page, then looks up at him. And now we see it on her face too. Fear.","EXT. STAIRWELL OUTSIDE DAVID'S APARTMENT - NIGHT The Mossad Agent sits on the stairs, smoking. As the door behind him opens he stands aside and watches Rachel SWEEP past him down the stairs, without giving him a glance.","INT. RACHEL'S HOTEL - NIGHT Rachel is packing, folding clothes neatly, precisely, silently - all the time a terrible tension in her movements. She tries to close a drawer but it sticks, She keeps trying, then in a sudden rush of fury yanks the drawer free and hurls it across the room. She stands breathing hard.","EXT. PATIO TERRACE/BEACH. HOTEL NEAR TEL AVIV - DAY The next day. Tables under umbrellas are ranged along the terrace. Sarah and her husband are on the beach below, playing with their son, laughing. As if feeling our gaze, she looks up at us, shielding her eyes against the sun. REVERSE Rachel sits at a table with Stephan, watching her daughter. Stephan takes out an ENVELOPE and passes it to her. She opens it and examines the contents - an AIR - PLANE TICKET and TWO PASSPORTS. Stephan takes out a small BLACK CASE and slides it across the table towards her. She turns to look at it with disgust, KNOWING WHAT IT IS. Then she takes it and puts it in her handbag. STEPHAN My car's waiting outside. It can take you to the airport. Rachel turns back to stare at her daughter. ON THE BEACH Sarah, playing with her son, glances up once more at her mother on the patio. SARAH'S P.O.V Rachel stands, an elegant woman at breakfast, her dark glasses, her suit. She raises a hand and waves. Puzzled, Sarah waves back, then watches as her mother begins to walk away from her.","INT. LOBBY/STREET - DAY PULLING RACHEL. as she walks from the bright light of the patio into the relative darkness of the hotel lobby, suitcase in hand, face set, steely. We TRACK with her as she emerges from the shadow of the hotel back into the bright sunshine of the street and starts to walk along the sidewalk. After a moment a CAR purrs alongside. She ignores it for a moment, keeps on walking, the car cruising beside her. Finally, almost angrily, she stops and gets in. The YOUNG AGENT sits in the back seat next to her. The car pulls smoothly away.","EXT. TEL AVIV AIRPORT - DAY Rachel climbs from the car and walks towards the building, pulling her wheeled suitcase. The young agent has climbed out and moves swiftly ahead of her, waiting as she passes into the departure building.","INT. AIRPORT PASSPORT CONTROL - DAY Rachel looks down at her passport. We see her PHOTOGRAPH and name - RACHEL SINGER. She hardly reacts as the agent ushers her to the front of the queue. An Officer takes her passport, and as he checks it, we see.","INT. CHECK-POINT CONTROL BOOTH. EAST BERLIN - DAY - THE PAST the passport again. We're now looking at the black and white image of YOUNG RACHEL. The name beneath it is ELSA ROGET. The passport is slid back across the counter and we find ourselves in.","EXT. CHECK-POINT. EAST BERLIN - DAY Rachel takes her passport back from the BORDER GUARD and walks forward, past the barrier into EAST GERMANY. RACHEL'S P.O.V A CROWD of people are waiting beyond the check - point for their loved ones. They're all looking eagerly at us. Only one YOUNG MAN has his back to us, turning away to light a cigarette. Then he turns - Young David - a fine, sensitive face, darkly shadowed eyes. This is the SHOT we saw earlier. A moment when we see how anxious he is to play his part right. Then he smiles his beautiful smile. Supered TITLES read `` East Berlin, 1965.'' Rachel walks up to him and after a fractional hesitation they embrace. DAVID -LRB- In German. -RRB- How was your trip? RACHEL -LRB- German. -RRB- Fine. Everyone sends their love. DAVID You've cut your hair. HIGH ANGLE David takes her suitcase, and they begin to walk away, hand in hand, along the BERLIN WALL. Finally. DAVID I'm David. Rachel nods, embarrassed. RACHEL Rachel.","EXT. ANOTHER STREET - DAY They have turned into another, quieter street. David lets go of her hand, and they walk on.","EXT. COURTYARD/BALCONY. APARTMENT BUILDING - DAY A figure leans over the railing on the crumbling balcony at the top of the building, smoking a cigarette, watching. This is YOUNG STEPHAN. HIGH SHOT - POV David and Rachel are coming through the iron gate into the run - down looking courtyard. A MIDDLE - AGED WOMAN - the building's only other occupant - watches the couple as the pass, David murmuring a greeting.","INT./EXT. STAIRWELL - DAY A brief glimpse of the couple climbing the winding stairs - a view we have seen before.","INT. EAST BERLIN - SAFE HOUSE. DAY The place looks like a squat. YOUNG Stephan sits playing idly at a battered old upright piano, a cigarette in his mouth. He looks up as David and Rachel walk in and stand framed in the doorway, looking every inch the young married couple. Stephan looks at them for a beat, then starts to play the first few bars of Mendelssohn's wedding march. The other two blush furiously, not amused. Rachel takes her case from David. RACHEL Where do I sleep? STEPHAN You're in my room. He waits just long enough to enjoy her reaction. STEPHAN -LRB- CONT'D. -RRB- I'm moving in with him. -LRB- Beat. -RRB- You're at the end there. She nods and walks off.","INT. KITCHEN - LATER Stephan is smoking. David sits at the table. He is using a file to create a notch at the bottom of a thin strip of sprung steel. Both men can hear the BATH RUNNING in the bathroom, both very aware of this new female presence in the house they've been sharing together for the last month. STEPHAN What do you think of your new wife? David frowns at the steel strip, seeming preoccupied. DAVID Too young. Stephan watches him, amused. STEPHAN Pretty. David shrugs. STEPHAN -LRB- CONT'D. -RRB- You did n't notice. He begins to sort his possessions out. STEPHAN -LRB- CONT'D. -RRB- You know what I've noticed? You do n't notice women. I've noticed that. How long have I known you? DAVID -LRB- examining the steel. -RRB- I do n't know. STEPHAN Two years. All the places we've been to. You do n't look at women. Before I get into that bed, is there anything you have to tell me? David sighs, blows on the steel strip and holds it up for Stephan to examine. We hear the bathroom door open and there is a quick glimpse of Rachel wrapped in a towel as she slips past the door heading for her room. The two men watch her pass. Stephan turns and catches David's expression. STEPHAN Well, well. I think he just noticed.","INT. SAFE HOUSE - RACHEL'S ROOM - NIGHT Rachel sits on her bed drying her hair. She stops, listening to the indistinct murmur of the men's voices from the room next door. Rachel leans towards the wall, trying to hear more but the voices fall silent.","INT. SAFEHOUSE - MORNING David, holding a kitchen knife, MOVES TO STAB Stephan. Stephan uses a krav magah move to disarm him. The knife clatters to the floor as he twists David's arm behind his back. There's an element of showing off and Stephan uses a little more force than is necessary. David winces but does n't say anything. Stephan turns to Rachel who has been watching. STEPHAN Yes? Rachel nods and they change places. David picks up the knife and repeats the `` attack'' move on her. She disarms him easily. STEPHAN -LRB- CONT'D. -RRB- Now an attack from behind. David takes his position, grabbing Rachel from behind, but he's so awkward with her the attack seems a little tentative. Stephan talks as Rachel practises breaking free from the hold. STEPHAN -LRB- CONT'D. -RRB- Where have you come from? RACHEL Argentina. STEPHAN Really? Whereabouts? RACHEL Cordoba. STEPHAN What were you doing there? RACHEL My husband is an Industrial Chemist. Stephan glances at David, amused. STEPHAN He does look like a chemist. David grabs Rachel again, once more holding back a little. STEPHAN -LRB- CONT'D. -RRB- She's not going to fucking break, David. Move. He takes David's place. STEPHAN -LRB- CONT'D. -RRB- What were you doing before this? RACHEL Before Argentina we lived in Hungary where my husband studied. Stephan is smiling. She realizes he's talking about Mossad. RACHEL -LRB- CONT'D. -RRB- Oh. Liaison. STEPHAN And what did you do in Liaison? RACHEL -LRB- Beat. -RRB- Translator. Stephan looks even more amused. STEPHAN So, first time in the field. Rachel feels herself blush a little angrily. Stephan grabs her from behind and Rachel executes a perfect break, twisting Stephen's arm. Stephan winces, surprised. STEPHAN -LRB- CONT'D. -RRB- Good. That's. good. David gives the slightest of smiles. DAVID Welcome to Metsada.","INT. BERLIN SAFE HOUSE - RACHEL'S BEDROOM. NIGHT. Rachel lies in bed, restlessly playing with a locket around her neck. Giving up on trying to sleep, Rachel rises from the bed, throws on a robe and pads out of the room.","INT. BERLIN SAFE HOUSE - LIVING ROOM. CONTINUOUS. and into the living room. She sits down at the table, stares at a FILE before her. She hesitates then opens it, forces herself to look at the terrible PHOTOGRAPHS inside - a pile of severed legs, bodies covered in mustard gas wounds, phosphorus burns, a naked woman, barely a skeleton, held up by two Nazi nurses, a row of DEAD BABIES, rulers laid beside them to indicate dimensions. Rachel stares at this last image, overwhelmed. HALLWAY David stands watching her through the half open door. He makes a small move - perhaps to go to her - then stops himself and slips back into the darkness.","EXT. STREET - MORNING A tram trundles down the wide Berlin street. Rachel and David are walking to Vogel's surgery, holding hands. She's pale, very frightened. David walks, trying, and failing, to think of anything to say to her. He suddenly notices an odd sound. It's Rachel, humming tunelessly to herself, very low. Something about this pierces him. He gives her hand a squeeze.","EXT. CLINIC - DAY The two stand in the doorway, at the foot of the stairs leading into the clinic, their husband and wife routine. DAVID -LRB- In German. -RRB- I'll be waiting for you. She nods, trying to smile. RACHEL -LRB- her throat is tight. -RRB- I wo n't. be long. They kiss. She turns to go, looking so young and lost. David hesitates, staring after her, then walks quickly away. Rachel walks up the steps towards the entrance.","INT. WAITING ROOM. DAY. A large NOTICE BOARD covered with photographs of grateful smiling MOTHERS holding their NEWBORN BABIES - row upon row of new life. Rachel sits staring at the board. She turns her attention to the frosted glass door to the doctor's surgery. Indistinct shadows move on the other side. She turns to look at the other two women sitting looking through magazines, then back to the door. A shadow darkens as it approaches the glass, then the door opens and a NURSE leans out. -LRB- All dialogue at the clinic is in German, subtitled. -RRB- NURSE Frau Roget? With a smile, the Nurse gestures for Rachel to enter.","INT. EXAMINATION ROOM. DAY. Rachel stands behind a SCREEN, trying to control her nerves. All we can hear is the sound of RUNNING WATER and Rachel's tense breathing. Finally she takes off her skirt and unbuttons her blouse with trembling fingers. She puts on the gown, and slips out of her underpants, stumbling as she steps out of them. We TRACK with her as she walks out from behind the screen into the large brightly lit room. She walks towards the GYNAECOLOGICAL CHAIR at the centre of the room. On the far wall, behind a screen, someone stands washing their hands at a basin. As she walks, Rachel passes a tray of MEDICAL INSTRUMENTS, her glance lingering on it. She reaches the chair and climbs onto it. A pause and then, tentatively, she lifts her feet into the stirrups, tugging the gown to cover herself as best she can. She tries to steady her breathing, focussing on the ceiling. A bright LIGHT shines down on her. We hear footsteps approach. Rachel closes her eyes. VOGEL Good morning, Frau Roget. I'm Doctor Bernhardt. Rachel opens her eyes. Vogel is sitting on a small stool, taking a speculum from the tray of instruments, his back to us. RACHEL Good morning, doctor. He turns and smiles at us - and he has a wonderful, warm smile, the air of a gruff but kindly Uncle. VOGEL Alright now, just relax. We're going to do a little examination. If you feel at all uncomfortable, you just say. Alright? She manages to nod. VOGEL -LRB- CONT'D. -RRB- Alright, this is my hand. and this is the speculum. It's going to feel cold. Rachel reacts as Vogel pushes the speculum into place, opens it and begins the examination. She stares up into the light. VOGEL -LRB- CONT'D. -RRB- Can I ask how old you are? RACHEL Twenty five. VOGEL And how long have you and your husband been trying for a baby? RACHEL Nearly two years. VOGEL Uhuh. Well, the ovaries look fine. Alright, let's see. your cervix is slightly retroverted. Tilted backwards? Rachel raises her hand to her LOCKET NECKLACE and begins to fiddle with it. RACHEL Really? The angle from which we next see VOGEL, and the way the image of his face freezes in black and white, tells us clearly that this locket conceals a CAMERA DEVICE. VOGEL Mmm. But that generally should n't affect fertility. RACHEL Oh, good. VOGEL You have a slight accent, Frau Roget. Where are you from? RACHEL Argentina. We just moved here. A few months ago. VOGEL Whereabouts in Argentina? Buenos Aires? He looks up at her and Rachel instinctively moves her hand away from the locket. She finds herself nodding. Vogel looks away again. Rachel bites down on a wave of panic. VOGEL -LRB- CONT'D. -RRB- Oh, Buenos Aires. Beautiful. I went once, when I was young. We went to the Opera house I remember. What's it called again? Rachel stares at the light. Beat. RACHEL Teatro Colon. He turns back to her, holding a swab, the warm smile. VOGEL That's right. Beautiful. This might sting a little, dear. Rachel winces. VOGEL -LRB- CONT'D. -RRB- I'm sorry. Now, there's a couple of tests we need to run, make sure there are no problems. Is that alright? Rachel nods. He pats her hand. VOGEL -LRB- CONT'D. -RRB- Brave girl.","EXT. CLINIC - DAY Rachel walks out and finds David waiting, smoking. He takes her hand and they walk off without speaking.","EXT. QUIET STREET - DAY The two turn the corner, out of sight of the clinic. David glances at her. She looks pale, shaken. He feels a wave of sudden tenderness for her, opens his mouth to say something then catches himself. CLOSE on their hands. After a moment David LETS GO. They walk on.","INT. BAR - DAY Stephan sits at a table. Rachel and David appear beside him and join him. There is an awkward silence for a moment. Stephan sips his coffee. STEPHAN -LRB- in German. -RRB- So. Everything? RACHEL -LRB- in German, abruptly. -RRB- Next appointment is on Wednesday. She looks at David but he is staring at the table. Like Stephan he is uncomfortable with the thought of what Rachel has been through. She takes his hand. He looks up, surprised, searches her face. But then Rachel lets go and walks off towards the toilets. David looks down at the SILVER LOCKET lying in his palm.","EXT. STREET - DAY Stephan walks down the street. A SMARTLY DRESSED MAN walks towards him, absently jingling his CAR KEYS in his hand. As he nears Stephan, the man fumbles the keys and they drop. Stephan dips down to pick them up and hands them back to the man with a smile. SMARTLY DRESSED MAN Vielen dank! STEPHAN Bitte sehr. The two continue on their way, and we follow the smartly dressed man, closing in on his hand, in which he now holds his keys AND THE LOCKET. We see him tuck it into his jacket pocket as he walks on.","EXT. RAILWAY STATION - FOOTBRIDGE - EARLY EVENING The FOOTBRIDGE which crosses over a closed RAILWAY STATION below. On either side of the bridge runs a barbed wire topped FENCE. A few PEDESTRIANS cross the bridge in the early evening gloom, intent on getting home. David and Stephan appear, walking over the bridge towards us. David's eyes flick to the tracks ahead and below as a TRAIN begins to thunder by. Stephan begins to COUNT softly to himself as the train runs below his feet. STEPHAN One, two, three, four, five, six. DAVID -LRB- O.S. -RRB- It's a ghost station.","INT. KITCHEN. SAFE-HOUSE - EVENING A hand - drawn plan of a RAILWAY STATION is on the table. David indicates the tracks on the plan. DAVID West Berlin trains pass through East Berlin on this track, but do n't stop. STEPHAN Usually. He raises a lighter to the cigarette in his mouth.","EXT. RAILWAY BRIDGE - EVENING As the train disappears into the gloom and Stephan slows to light his cigarette. Beside him David's eyes flick to the STATION PLATFORM in between the tracks below, eerily lit in the gathering dusk. DAVID'S P.O.V - several BORDER GUARDS patrol the abandoned platform. DAVID -LRB- V.O. -RRB- The station's guarded at all times. We're TRACKING PAST the entrance to stairs leading down from the bridge onto the platform below. We see it's been sealed off with a locked gate. Another BORDER GUARD stands on the stairs below, staring up at us as we pass.","INT. KITCHEN. SAFEHOUSE - EVENING AT KITCHEN TABLE David indicates the point on the plan. DAVID and the stairs to the platform are sealed off.","EXT. RAILWAY BRIDGE - EVENING The two men have walked on past the mid - point of the bridge. David glances at the far track. DAVID'S P.O.V - the track runs along the far side of the platform. On the other side of the track is a barbed - wire topped WIRE FENCE. DAVID -LRB- V.O. -RRB- Our train driver makes an unscheduled stop on the near track. STEPHAN -LRB- V.O. -RRB- The last two carriages will be around.","INT. KITCHEN SAFEHOUSE - EVENING Stephan indicates a point on the track. STEPHAN here. And they will be empty. Once that train has stopped, the guards wo n't be able to see this fence. And on the other side of the fence is.","EXT. THE RAILWAY BRIDGE - EVENING The two men are at the top of the stairs on the other side of the bridge now. Stephan glances to his right. STEPHEN'S P.O.V - TRACKING as we descend the stairs. We can see that on the other side of that high wire fence is a CAR PARK and a long, low building. STEPHAN -LRB- V.O. -RRB- a postal depot. We see that car park is lined with the yellow VANS of Deutsche Post. Several FEMALE POSTAL WORKERS in dark skirts and white blouses stand around the car park on their breaks, smoking and chatting. As we watch one of the vans trundles out of the OPEN FACTORY GATE. STEPHAN -LRB- V.O. -RRB- The vans come and go all day long.","INT. KITCHEN. SAFEHOUSE - EVENING David rolls up the plan. DAVID We're just one more parcel. Once we're in West Berlin there'll be transport to Templehof airbase and a private charter. Stephan stubs out his cigarette. STEPHAN That's the wrapping. Now all we need is the present. Rachel realises both men are looking at her.","INT. LIVING ROOM. BERLIN SAFE HOUSE - EVENING Rachel runs the hem of a partially - made WHITE GARMENT through a SEWING MACHINE. She finishes and takes it over to where Stephan stands waiting. It's unfinished, but a fairly good approximation of a MEDIC'S WHITE COAT. RACHEL Try this on. Stephan puts it on. She tugs at the coat, straightens the unfinished collar, runs her hands down the front to smooth it out. RACHEL -LRB- CONT'D. -RRB- -LRB- re : the coat. -RRB- How does it feel? STEPHAN -LRB- Flirting. -RRB- Nice. Rachel ignores this, begins to pin the cuff of one of the sleeves. STEPHAN -LRB- CONT'D. -RRB- Here you are, Mossad agent, all those years of training, the highest levels of marksmanship and krav magah, first big mission. sewing. Rachel resists a smile, brandishes the pin. RACHEL Black belt in dressmaking. He holds up his hands in surrender. STEPHAN I never argue with an armed woman.","INT. KITCHEN. SAFEHOUSE - LATER Rachel and Stephan sit as David serves the dinner. Rachel examines her dish. RACHEL -LRB- Politely. -RRB- What is it? DAVID -LRB- Beat. -RRB- It does n't have a name. Stephan tastes his. STEPHAN -LRB- Grimacing. -RRB- Shit. David lifts his spoon, blows on it. DAVID -LRB- Solemn. -RRB- Now it does. They laugh a little, settle into eating. David stares at his bowl, deciding whether or not to say something. Finally. DAVID -LRB- CONT'D. -RRB- It's my birthday. They look up at him in surprise.","INT. BAR - LATER Tinny music plays. The place is almost empty. In the back of the bar the three sit in a corner drinking beer - just young people, laughing, a little drunk. They could be students. Rachel is reciting something from memory. RACHEL Uh, at ten - study the Mishnah, at fifteen - study the Talmud. By eighteen - stand under the wedding canopy. STEPHAN We're too late for all of those. They laugh. RACHEL Uh. twenty. In your twenties you are to `` pursue your life's goals.'' STEPHAN -LRB- Flirtatious. -RRB- What are you pursuing Rachel? Rachel thinks about it, shrugs. RACHEL I do n't know. I'm waiting to find out. STEPHAN -LRB- smiles to himself. -RRB- Youth. RACHEL What about you, grandfather? Have you got a goal? STEPHAN -LRB- Smiling. -RRB- Oh yes. We believe in goals in my family. We're very driven men. My father was Director of Collections by the time he was fifty. RACHEL So what's your goal? STEPHAN Director of Collections by forty. They laugh. RACHEL -LRB- To David. -RRB- What about you David. What `` life goal'' are you pursuing? David smiles, stares at his drink. DAVID This is it. Rachel laughs, looks around at their less than glamorous surroundings. RACHEL This is it? This is all you want? David laughs. He would obviously rather change the subject but Rachel is a little drunk, a little curious. RACHEL Seriously, what do you want out of life? DAVID -LRB- Beat, shrugs. -RRB- I want this. I want to get Vogel. I want him to be put on trial and I want the world to watch so everyone knows what he did. I want them all to know the truth. He looks up at their faces, embarrassed at having darkened the atmosphere. DAVID And. I want another drink. He gets up and walks off to the bar. Rachel stares after him. Stephan watches her. STEPHAN Forget about it. RACHEL Forget about what? STEPHAN I've spent two years with him, and I do n't know him. Nobody knows him. He's alone. Rachel thinks this over. RACHEL What about family? Stephan stares at her. She realises what this means. RACHEL -LRB- CONT'D. -RRB- All of them? STEPHAN -LRB- O.S. -RRB- All of them. He looks over at David standing at the bar. STEPHAN -LRB- CONT'D. -RRB- Maybe it's not always a blessing to survive.","EXT. STREET/PARK - DAY A tram passes, revealing Stephan walking across the scrubby, desolate park, jingling car keys in his hand. Suddenly he drops them. He's about to pick them up when a man dips down and hands them back to him. We recognize the moment. STEPHAN Vielen dank! SMARTLY DRESSED MAN Bitte sehr. Stephan walks on. In his hand he is now holding a small METAL TUBE.","INT. EXAMINATION ROOM. CLINIC - DAY. From Rachel's POV we are watching Vogel as he prepares his instruments. She has come for her second examination. VOGEL This is my hand. This is the speculum. Rachel flinches as she feels the speculum. VOGEL -LRB- CONT'D. -RRB- How did you find me? RACHEL -LRB- beat. -RRB- What? VOGEL Who told you about me? RACHEL Who. told us? VOGEL Were you referred by a doctor, or? RACHEL -LRB- trying to conceal her relief. -RRB- Oh, Doctor Eisenberg. VOGEL Ah - ha. How is the old Jew? RACHEL Very good. Vogel busies himself for a moment. VOGEL Any history of infertility in your family Frau Roget? RACHEL No. VOGEL Are your periods irregular? Rachel stares up at the light. RACHEL Yes. VOGEL Yes. I think we've found the problem. Rachel stares at him - she did n't know there was a problem. VOGEL -LRB- CONT'D. -RRB- It's very common. Your ovarian follicles. well, inside you're still immature. We need to help you with this. There's something we can use, a little injection. Do you want to proceed? Rachel nods, dumbly. Vogel nods, turns back to his tray of instruments, begins preparing an injection. Vogel turns back to her with the HYPODERMIC NEEDLE. Instinctively Rachel stiffens. He injects her. VOGEL -LRB- CONT'D. -RRB- -LRB- As he works. -RRB- How many brothers and sisters do you have? RACHEL -LRB- Stiff. -RRB- None. VOGEL An only child? Rachel nods. Vogel smiles, not unkindly. VOGEL -LRB- CONT'D. -RRB- And yet you say there's no family history of fertility problems? RACHEL -LRB- Beat. -RRB- I lost my mother in the war. Vogel stares at her. Then, to her dismay, he TAKES HER HAND, and pats it with such a sad, sympathetic look, that she feels her eyes prick with tears. Then he lets go and turns back to the examination.","EXT. CLINIC - DAY Rachel comes out to find David waiting for her again. Once more he takes her hand and they walk off.","EXT. QUIET STREET - DAY As they turn into the quiet street, David lets go of her hand. Rachel stops. She looks shaken. David watches her. DAVID Are you alright? She nods. Suddenly Rachel takes his hand again. David stares straight ahead but he DOES N'T PULL FREE and they walk on like that.","INT. SAFE HOUSE - LIVING ROOM - EVENING Rachel and David walk into the room and find Stephan waiting for them. STEPHAN Identity is confirmed. We have a green light. Rachel and David stare at him.","EXT. ANOTHER STREET - DAY We are looking at a yellow DEUTSCHE POST van. Stephan and David are walking towards it. Stephan stops by the van, shielding David as he drops the length of thin steel we saw him working on earlier, from his sleeve - an improvised SLIM JIM. With professional ease he slips the Jim between the window and the weather shield. In seconds he has the door open and the two climb in.","INT. KITCHEN. SAFE HOUSE - NIGHT Rachel comes out of the bathroom in her nightclothes, with her hair wet around her. She looks into the kitchen. David is sitting smoking. Rachel pauses in the doorway and then walks in. A small two bar electric fire provides the only light in the room. Rachel kneels down in front of it to dry her hair. David looks at her as Rachel spreads her hair around her shoulders. She looks very beautiful. She starts to comb her hair. On impulse, Rachel HOLDS OUT the comb to David. David takes it. He starts to comb, pulling it slowly through her hair. Then stops. The atmosphere is suddenly charged. DAVID It's a brave thing you're doing. RACHEL I'm not brave. I'm terrified. DAVID But you're doing it anyway. Because you know how important it is. Another stroke and then he stops again, stares at the comb in his hand. DAVID You're very brave. RACHEL -LRB- Beat. -RRB- David. Rachel turns round and stares at him, overcome with longing. She leans in to KISS HIM. For a moment David hesitates, but then it's as if something inside him closes and he pulls back from Rachel, his face cold. Without a word he gets up and walks out. Rachel sits, crushed.","INT. LIVING ROOM. BERLIN SAFE HOUSE - LATER. Rachel, sits at the piano in her robe, picking out notes. She's been crying. Stephan stands watching her from the doorway, holding a drink - something slightly predatory about him. He crosses to her, sits down beside her and starts to match her notes. They work out a nonsense tune between them.","INT. KITCHEN - CONTINUOUS David listens as they play.","INT. LIVING ROOM - CONTINUOUS Rachel picks up Stephen's drink and takes a sip. STEPHAN It's whiskey. Defiantly Rachel drains the glass, grimaces a little. Stephan watches her. He continues to play, moving the melody up in octaves until his hand is beside hers, then covering hers. Rachel brushes him away. He puts his hand back and starts to caress her wrist. STEPHAN -LRB- CONT'D. -RRB- You're so beautiful. He begins to kiss her neck. Rachel stares ahead, pretending it is n't happening. Then she gives in, turning to him.","INT. RACHEL'S BEDROOM - MORNING Rachel stands at the mirror, dressing in a DARK SKIRT and WHITE BLOUSE, trying to control all the emotions she is feeling. Behind her Stephan lies in the bed watching her. Neither speaks.","EXT. COURTYARD/STREET - LATE AFTERNOON Rachel and David cross the courtyard to the gate. David holds it open for Rachel. As they turn into the street, David takes her hand. Both stare fixedly ahead, only too aware of what happened the night before.","INT. EXAMINATION ROOM. LATER Rachel is in the chair for what she knows will - whatever happens - be the last time. VOGEL Alright, this is my hand. And this is the speculum. RACHEL Okay. Vogel begins the exam. From beneath her GOWN Rachel slips a HYPODERMIC NEEDLE. VOGEL You had intercourse last night? RACHEL -LRB- Tight. -RRB- Yes. VOGEL Good. You're at the most fertile stage of your cycle. This is very good timing. He turns to his tray of implements. VOGEL -LRB- CONT'D. -RRB- I think we are going to see results. All you have to do is have faith. Ask any of my patients. RACHEL What about your patients in Birkenau? Vogel looks up in shock. Rachel grabs a fistful of his hair and pulls his head to one side. With her other hand she jams the needle into the side of his neck, and begins to depress the syringe. Vogel gives a grunt of surprise, opens his mouth to speak but no sound comes. He grabs vaguely for Rachel's throat with one hand, struggles with the needle with his other, eyes dull with fury, fighting the drug racing through him. Rachel fights to hold him, bucking on the chair, pinned beneath his weight, struggling for breath. Weakening, VOGEL manages to pull the needle free and it drops to the floor. INSERT OF SYRINGE. which we see still contains some FLUID. A rope of spittle drools from Vogel's contorted mouth onto her face. Then his eyelids flutter and close and he collapses onto her. Rachel pulls his hand from her throat, gasps for air. Finally she pushes him to the ground. She leaps up and deliberately knocks the tray of medical instruments to the floor. RACHEL -LRB- CONT'D. -RRB- Help! The Nurse runs in, reacts at the sight of the prone VOGEL. RACHEL -LRB- CONT'D. -RRB- He collapsed! NURSE My God! What happened?! RACHEL -LRB- overlapping. -RRB- I do n't know! I do n't know! He just clutched his chest and collapsed! The Nurse grabs for the phone and dials. NURSE -LRB- into the phone. -RRB- I need an ambulance! Karl - Gustav - Strasse. The clinic. My husband has had a heart attack. Rachel reacts to this revelation. EMERGENCY OPERATOR -LRB- O.S. -RRB- -LRB- Over phone. -RRB- Your name please? NURSE It's Frau Bernhardt, please, please hurry!","EXT. REAR OF CLINIC - CONTINUOUS Stephan kneels in a recess of the building, by the open NETWORK JUNCTION BOX of the clinic. He's wearing HEADPHONES, alligator - clipped to two cables in the box. EMERGENCY OPERATOR -LRB- O.S. -RRB- -LRB- Over phones. -RRB- The ambulance is already on the way, madam. Stephan un - clips the phones and pockets them. He straightens up, closes the junction box and walks calmly away, through a gate in the wall, into the next courtyard. HIGH SHOT As Stephan races up some steps, along a balcony, and into the building.","INT./EXT. APARTMENT BUILDING - CONTINUOUS TRACKING with Stephan through the hallway, out of the door and onto the street.","EXT. AMBULANCE DISPATCH - CONTINUOUS An AMBULANCE, sirens wailing, starts out of the dispatch, and swings onto the street.","EXT. STREET OUTSIDE CLINIC - CONTINUOUS Stephan rounds the corner of the street and walks TOWARDS THE CLINIC. He checks his watch as he turns into an alley opposite the entrance.","INT. EXAMINATION ROOM. LATE AFTERNOON Rachel finishing dressing, looks anxiously at the nurse as she crouches by her unconscious husband, monitoring his breathing.","EXT. STREET - CONTINUOUS The AMBULANCE speeds on.","EXT. STREET NEAR CLINIC - CONTINUOUS Stephan pulls back some rusty doors. Parked in the small courtyard beyond is the van we saw before, now decorated with AMBULANCE DECALS and LIGHTS. David drives the car forward as Stephan climbs into the passenger side.","INT. EXAMINATION ROOM. LATE AFTERNOON Rachel paces outside the door, looking down the corridor. The nurse wipes away a tear, tense and frightened. NURSE -LRB- to no one in particular. -RRB- Oh god! Come on, come on! Hurry!","INT. THE CLINIC - CONTINUOUS A SIREN approaches and Rachel moves to the door. RACHEL They're here. Stay with him. I'll go and get them. The nurse nods gratefully.","EXT. CLINIC - CONTINUOUS a vehicle pulling up. Whether it's the real ambulance or the fake one, we're not sure.","INT. LOBBY. CLINIC - CONTINUOUS. Rachel runs past the concerned patients in the waiting area to see. David and Stephan, coming up the stairs, holding a stretcher.","INT. EXAMINATION ROOM. MOMENTS LATER Rachel leads them in. Stephan crouches down beside Vogel and takes his pulse. STEPHAN We need to take him to the hospital. He and David open up the stretcher and transfer Vogel to it with some efficiency. NURSE Oh God! STEPHAN He's going to be alright. Rachel and the nurse follow David and Stephan as they carry the stretcher out through the waiting room.","INT. LOBBY. CLINIC - CONTINUOUS We hear the siren of the real ambulance starting up not - so - very - far - away down the street as David and Stephan push the stretcher towards the doors. The nurse follows, but David stops her. DAVID I'm sorry, Madam, but you'll need to meet us at the hospital. NURSE But. I want to travel with him. DAVID Not possible I'm afraid. New regulations. We begin to register that the siren is growing louder with every second. As Stephan and David carry the stretcher down the stairs, Rachel takes the nurse's hand to detain her. RACHEL Do n't worry, he's in good hands now. He's going to be fine. NURSE Thank you. thank you. RACHEL You should get your things, go to the hospital to meet him. The Nurse nods tearfully, starts to back towards her office, watching as they disappear.","EXT. CLINIC - LATE AFTERNOON. David closes the rear door of the van and the two jump in and drive off as Rachel comes out of the building. She begins to walk briskly away. Behind her, the real ambulance is pulling up at the clinic. She does n't turn back.","EXT. COURTYARD/STREET NEAR CLINIC - LATE AFTERNOON The DEUTSCHE POST VAN that David and Stephan stole earlier pulls out into the street. Behind it we catch a glimpse of the now abandoned ambulance. David quickly closes the gate and climbs in.","EXT. STREET NEAR CLINIC - MOMENTS LATER Stephan draws up alongside Rachel and she climbs in as the door is opened for her.","INT. BACK OF VAN - MOMENTS LATER The winter evening is gathering outside. David and Rachel are in the back of the van. David has taken off the white coat. David checks his watch. STEPHAN -LRB- Tense. -RRB- I know, I know. He accelerates. Rachel grabs hold of the back of the seat to avoid falling. She looks down at the stretcher - Vogel lies unconscious. One of his hands jolts free and drops onto her foot. Gingerly she steps free.","EXT. DEUTSCHE POST DEPOT - NIGHT HIGH ANGLE The depot car park is dark - rows of postal vans parked up. An eerie silence. Through the high fence behind the vans we can make out the tracks and dimly lit STATION PLATFORM beyond - GUARDS patrolling in the little pools of light. As we watch a POSTAL WORKER comes out of the depot and walks through the carpark and out of the gate, his shift finished. INSIDE THE VAN P.O.V - THROUGH VAN WINDSCREEN We're watching the WORKER walk in front of us and leave the car park. In the dark of the back of the van, Rachel crouches, watching him leave. She turns back to where Stephan and David wait by the van doors, bolt cutters in their hands. On the floor of the van lies Vogel's unconscious form. They wait in absolute silence, listening to the fading footsteps of the worker. David checks his watch, holds up a single finger to Stephan. Moments later we hear the sound of an approaching TRAIN. Stephan raises a hand and counts them down - five, four, three, two, one. The two men open the van doors and run at a crouch to the base of the foot - bridge stanchion, as the train roars from the darkness and begins to pass them, screening the two men from the GUARDS ON THE PLATFORM. Rachel closes the rear door behind them and runs along the line of the fence to the other end of the yard and crouches down by a junction box, screened from the platform, standing watch. She looks over to Stephen and David in the shadows of the bridge stanchion. Again silence falls. Then faintly we hear another engine approach. Moments later another train begins to roar past. Instantly the two men rise from the shadows and begin to CUT through the wire fence, working with fierce concentration. STEPHAN -LRB- Softly. -RRB- One, two, three, four, five, six. AT THE JUNCTION BOX Rachel checks the car park behind for workers. AT THE FENCE The train is almost past. The two men work feverishly, snipping through the remaining links, working their way towards each other - forming a four foot long split in the fence. They sprint for the stanchion again. STEPHAN -LRB- As he runs. -RRB- Twenty, twenty one, twenty two. As they dive for cover the last carriages of the train pass. A guard on the platform glances over but sees nothing but darkness and the vague outline of the postal vans beyond the fence. He continues walking down the platform. AT THE VAN Rachel holds her breath, but nothing disturbs the new silence. Along the fence she can just make out the two men crouched in the shadows. Stephan raises his hand in an OK, signalling they're ready. Rachel suddenly hears FOOTSTEPS echoing in the car park. Through the window of a van, she can see a POSTAL WORKER emerging from the depot and crossing the car park. As she watches he takes out a cigarette, starts to light it but then stops. He is staring over at the footbridge, as if he can faintly make out those dark shapes at the base. He takes a few steps forward, puzzled. A little closer and he might really see something. Rachel looks to the PLATFORM - the two guards visible there are talking to each other, looking the other way. She takes her chance - moves up behind the parked vans. ON THE WORKER. as he takes a few steps closer to where Stephan and David are crouched. RACHEL -LRB- O.S. -RRB- -LRB- calling. -RRB- Do you have a light? The man turns and takes in this pretty postal worker, who has emerged BEHIND HIM. He smiles and walks back towards her. He lights her cigarette, studies her face. WORKER You new? RACHEL First shift. The girls said it was okay to come out for a smoke. AT THE FENCE David and Stephan lie listening to the murmured conversation. WORKER Yeah, it's okay. Are you working until midnight? RACHEL Yes. WORKER After the late shift most of us go to the Vetter. Do you know it? David checks his watch again, nods at Stephan. We hear another APPROACHING TRAIN. ON RACHEL. smiling, pretending to be listening to the Worker. WORKER it's just on the corner. You should come along. She glances through the fence and down the track to where the train's LIGHT can be seen approaching in the gloom. This is it. INSIDE THE VAN The inert body of Vogel, lying on the floor. His hands, bound at the wrist, suddenly twitch involuntarily. IN THE TRAIN - DRIVER'S CAB - CONTINUOUS POV - the Border Guards on the platform. The driver begins to BRAKE. ON THE PLATFORM The Border Guards watch in surprise as the train slows. AT THE FENCE As it passes them, the train screens Stephan and David from the platform. The two men rise and swiftly begin to cut the remaining section of fence. As the train comes to a halt the last carriages stop directly opposite them, empty and dark. They're almost there. ON THE PLATFORM In the distance, at the head of the train, the driver can be seen stepping down and gesturing to the guards, pointing up ahead. DRIVER There's something on the tracks up here! The Guards peer doubtfully into the gloom ahead. One sets off to investigate. ON RACHEL. getting rid of the Worker. RACHEL Well, maybe I'll see you there? I finish in half an hour. Why do n't you go and get me a drink ready? The Worker ca n't believe his luck. WORKER Half an hour then. He starts to move towards the gate. Suddenly the VAN HORN BLARES, shattering the silence of the car park. AT THE FENCE Stephan and David turn back to the van. ON RACHEL She turns, shocked. The Worker too turns back in surprise. IN THE VAN Vogel, hands still tied has wormed his way over the seats and is pressing frantically on the HORN. He claws at the tape over his mouth, manages to pull it free. Stephan leaps into the van and is upon him in seconds. Vogel manages to give a HOARSE YELL, then Stephan uses a krav magah move to silence him. ON THE PLATFORM The remaining Border Guard is staring over at the darkened car park, trying to work out what he just heard. ON RACHEL WORKER What was that? AT THE FENCE David watches in dismay as a Guard comes into view at the far end of the platform, entering a GUARD HUT. He lifts a TELEPHONE inside. DAVID -LRB- Softly. -RRB- Fuck. He heads for the van at a crouching run. ON RACHEL Rachel indicates the vans closest to them. RACHEL I think it came from over here? WORKER No, it was one of those. He steps past her, peering at the shadowy vans ahead. Rachel stares at him wondering if she can take him down silently. BORDER GUARD -LRB- O.S. -RRB- Stay where you are! She turns to see two BORDER GUARDS approaching the side gate of the car park. ON THE PLATFORM. as the Border Guard comes back from checking the lines ahead. BORDER GUARD There's nothing there. Get moving now! His part of the mission completed, the Driver climbs back into his cab. ON RACHEL. as one of the Guards approaches her, pistol drawn. The second guard fans past, walking slowly towards the bridge. The first guard SHINES A TORCH into Rachel's face. FIRST GUARD What are you doing here? RACHEL I work here. I'm on a break. FIRST GUARD Show me your papers, both of you. The Worker nervously fumbles for his papers, passes them to the Guard who inspects them. AT THE FENCE David watches Rachel offer her papers to the Guard as the train starts to rumble back into life. He moves back towards the van. AT THE VAN STEPHAN -LRB- hissing. -RRB- We have to go! David stares over at Rachel. Stephan grabs Vogel. STEPHAN We can make it. Help me with him. ON RACHEL FIRST GUARD -LRB- Handing them back. -RRB- You can go. The Worker gratefully hurries away. Rachel is watching tensely as the Second Guard closes on the van. AT THE VAN Stephan watches the train pulling away, THEIR LAST CHANCE. He has pulled Vogel's body to the door. STEPHAN -LRB- Hissing. -RRB- We're going! Now! David shakes his head. DAVID Not without her. He moves up the blind side of the van. IN FRONT OF THE VAN The Second Guard takes a few more steps and stops in surprise - the OPENING in the fence VISIBLE NOW. SECOND GUARD -LRB- Startled. -RRB- Hey! Over here! David appears behind him and downs him, fast. A Guard on the platform has turned to see the opening in the fence, and yells out. ON RACHEL As the Guard beside her turns his attention to his comrade, Rachel grabs the guard's gun hand, sweeping it away from her, at the same time stepping in close and punching the guard's throat with her other hand. As he staggers back choking, she twists the gun free. ON THE PLATFORM Another guard hits an ALARM. A SIREN begins to sound. ON RACHEL About to head back to the van. A shot rings out and a BULLET suddenly strikes the ground beside her. She looks up to see a GUARD has appeared up on the bridge, rifle aimed at her. Other Guards open FIRE, jumping down onto the tracks and advancing towards the cut fence. Acting on instinct, Rachel returns fire with the pistol, and takes cover behind the wall. AT THE VAN Stephan has jumped into the driver's seat and starts the engine. David scrambles into the back, barely making it before Stephan is peeling out, the back door hanging open. ON RACHEL. as more guards appear at the side - gate behind her - she's caught between them now. She watches in dismay as the van heads for the exit. Suddenly it brakes. IN THE VAN Stephan throws the gear into reverse. ON RACHEL and the van begins to reverse with a scream of tyres towards Rachel. The Guards at the side - gate open fire on the van hurtling towards them, bullets pocking the rear doors. The side door is flung open and Rachel dives in, just as Stephan roars forward again.","INT. VAN - CONTINUOUS P.O.V - THROUGH WINDSCREEN The Guard from the bridge has run down the stairs and is now between us and the exit. As we watch he raises his rifle. STEPHAN Down! The three duck as the Guard fires, punching a neat hole in the windscreen. Seconds later the van thuds into him, sending him flying.","EXT. VAN - CONTINUOUS as it roars out of the depot gates, bullets flying past it.","EXT. ROAD NEAR STATION - NIGHT STEPHAN'S P.O.V On the road ahead a Border Guard Jeep appears, driving directly towards them. Stephan has no choice - he floors it. At the last second the jeep tries to pull right but the van catches its rear side and barrels straight through, the jeep spinning off and smashing into the wall. IN THE VAN Stephan fights to keep the van under control, screeches into a turn and off down the road. STEPHAN Is he dead? -LRB- Beat. -RRB- Is he dead? RACHEL Who? STEPHAN The Guard! The one who saw your face! Is he dead? RACHEL No. Stephen's grim silence says everything. He glances back at the unconscious Vogel lying between the other two. STEPHAN How did he come round? How the fuck did he come round? You gave him the full injection? Rachel hesitates. STEPHAN Did you give him the. RACHEL I do n't know! I thought I. STEPHAN Jesus Christ! Stephan ca n't believe it's all fallen apart so quickly. STEPHAN We could have gone! DAVID It's not over. STEPHEN We could have fucking! DAVID WE STILL HAVE HIM! IT'S NOT OVER! We still have him. Stephan glares at David but does n't say anything. The van roars on.","INT. SAFE HOUSE. CORRIDOR - NIGHT Rachel sits on the floor looking towards the living room, staring at something. RACHEL'S P.O.V. three POTS have been placed under drips from the ceiling inside the room. We hear the three distinct notes of the water drops. Rachel stares dully at the water dripping, feeling exhausted and numb. A key scrapes and Rachel turns to the door as Stephan and David walk in, hair soaked from the rain. RACHEL -LRB- Standing up. -RRB- What did he say? Stephan stalks past, ignoring her. RACHEL You made contact? David nods. David looks after Stephan who's walked on into the living room in grim silence. RACHEL What did he say? DAVID It's going to take time. They need to open up a new route, they need to find political help. Maybe the Americans. Two weeks. maybe three. Rachel reacts with dismay. Rachel moves after David towards the living room. The camera continues after her. DAVID We work four shifts guarding him. We feed him at the end of each shift. We never leave him alone. STEPHAN -LRB- turns to Rachel, hard. -RRB- And you're compromised. You do n't leave the fucking house. DAVID We can do this. We just need to stay focussed. The three turn to stare at something off - screen. The camera continues into the room to find Vogel's body slumped on the floor, bound to the radiator, mouth taped, slumped, unconscious. We continue towards him. closing on his face. CLOSER. Then his eyes open and he looks at us.","INT. BEDROOM/LIVING ROOM. SAFE HOUSE. - DAY Rachel's EYES OPEN and she lies in bed listening to the muffled sound of Vogel CURSING and YELLING in German next door - a breakfast ritual that has been going on for days. IN THE LIVING ROOM VOGEL -LRB- In German. -RRB-. Fucking assholes! Fucking pig shit food! Fuck you! Fuck you! Fuck. David and Stephan are wrestling with an enraged Vogel, trying to feed him. A BOWL clatters to the floor. Vogel's shouts are muffled as his mouth is taped again. BEDROOM He continues to swear at his captors as best he can through his gag. Rachel tries to block out the sound with her blanket. KITCHEN Rachel walks in and finds a flushed David wiping oatmeal off his trousers, the empty bowl on the bench beside him. DAVID -LRB- Off her look. -RRB- At this rate he's going to starve himself to death before we can get him back. LIVING ROOM - LATER Rachel sits in the armchair near the end of her shift, watching Vogel who is slumped asleep. He looks dishevelled, the oatmeal he refused to eat smeared down his chin. She ca n't delay the moment anymore. She takes a bowl of prepared oatmeal from the table beside her and walks towards Vogel, stirring the bowl with an unsteady hand. She kneels down in front of him. In the silence, we hear rain falling heavily outside. Vogel wakes, stays slumped, staring at her with dull eyes. She takes the napkin that was covering the bowl and wipes the food from his chin. Finally she removes the tape from his mouth. Vogel watches her without moving. She offers him a spoon of oatmeal, waiting for the sudden yelling and abuse. He says nothing, just opens his mouth obediently. Rachel feeds him a spoonful of oatmeal. He speaks to Rachel in German, subtitled. VOGEL My wife. Rachel ignores him, feeds him another spoonful. VOGEL -LRB- CONT'D. -RRB- Is she hurt? Another spoonful, and another. VOGEL -LRB- CONT'D. -RRB- Is she alright? An ALARM CLOCK on the table, rings - the end of her shift. She wipes his mouth, tears some tape from the roll. Vogel closes his eyes, a look of such genuine suffering it stops Rachel. VOGEL -LRB- CONT'D. -RRB- Please? Tell me she's alright. Rachel puts the tape over his mouth and stands. David walks in and takes his place in the ARMCHAIR facing Vogel. Rachel begins to leave. She looks back at Vogel who is staring after her, eyes pleading. She hesitates then gives a small nod and turns to walk out of the room, passing Stephan who has been standing in the doorway, watching her. KITCHEN - CONTINUOUS Rachel starts to wash the oatmeal bowl. Stephan follows her in. STEPHAN You ca n't talk to him. RACHEL I did n't say anything. STEPHAN You ca n't listen to him. RACHEL I know. I just. STEPHAN -LRB- overlapping. -RRB- I'm not angry - He rubs her back. Rachel stiffens a little. STEPHAN -LRB- CONT'D. -RRB- - I'm just telling you - we do n't talk to him. We do n't listen to him. He is n't there. He is n't a human being. He. He stops himself. STEPHAN -LRB- CONT'D. -RRB- We have a date. Ten days time. The Americans are going to help. Rachel looks at him, relieved. RACHEL Good. He smiles, stares at her, moves a little closer but Rachel has already side - stepped him and walked away. MONTAGE LIVING ROOM - DAY Stephan sits on the armchair in front of Vogel, taking the GUN apart, cleaning it. LIVING ROOM - DAY Vogel thrashes around on the floor as best he can, David holding him down. Stephan tries to force oatmeal into him. He spits it back out. KITCHEN - DAY Rachel is cleaning, trying to keep busy, trying to keep the encroaching decay of the kitchen at bay, scrubbing and scrubbing. HALLWAY - MORNING An exhausted David, finishing his shift, walks out of the living room as Stephan walks out of his bedroom to take his place. Rachel walks out of the bathroom and into her bedroom, for a moment the three criss - crossing each other's paths. Rachel's bedroom door closes. Both men avoid looking at each other as they pass it. HALLWAY - MORNING Stephan and David are carrying a struggling, cursing Vogel towards the bathroom. Before they can get there Vogel pisses himself, the urine puddling on the floor at their feet. STEPHAN Fuck! Stephan drops Vogel in disgust jumping back out of the way. Vogel lies in the pool, staring up at him, eyes triumphant.","INT. SAFEHOUSE. LIVING ROOM - DAY Vogel leans against the wall, staring blankly at the window, sunk into a profound depression. He looks filthy, jaw dark with beard growth. Rachel watches him from the doorway. LATER Rachel is washing Vogel's face with a towel. He pays no attention, continuing to stare out of the window. Rachel picks up a bowl of shaving cream, strips the tape off VOGEL's mouth, and begins to brush the cream over his face. She produces a RAZOR and carefully begins to shave his cheeks. She stops suddenly, a TEAR is running down Vogel's cheek, cutting a line through the soap. He turns his eyes to her. VOGEL Why do n't you just kill me now? Rachel pauses for a moment. VOGEL -LRB- CONT'D. -RRB- How can you keep me waiting to die like this! Rachel keeps on shaving. VOGEL I know what you want. You want to hand me over to the others, let there be some fucking sham of a trial. Then, when they kill me, you can tell yourself that there was no blood on your hands. Rachel switches to the other cheek. Vogel's getting more animated, tears in his eyes, a kind of bizarre indignation. VOGEL -LRB- CONT'D. -RRB- But that is n't true. There will be blood on your hands. You will be my murderer! You fucking hypocrite. You fucking. Rachel tilts his chin up a little and puts the razor to his throat. He falls silent, tenses, waiting. Then. VOGEL -LRB- CONT'D. -RRB- -LRB- Softly. -RRB- Yes. Do it. You want to do it. Rachel finishes with a trembling hand. Vogel slumps back against the wall, the tension in his body easing away. He gives her a long, calculating look. And as we watch some CHANGE seems to come over him, some new fire beginning to kindle in him - a sense of cold contempt for Rachel and with it, perhaps, a fresh determination to survive this. VOGEL -LRB- CONT'D. -RRB- That's right. I'd forgotten. You Jews never knew how to kill. Only how to die. Rachel wipes the razor clean on the towel, SLAPS fresh tape onto Vogel's mouth and gets up.","INT. KITCHEN - MORNING Rachel is cleaning the kitchen again, clearing some of the mess of dishes into the sink. She moves a dirty pan which has been left overnight and stops, staring at the COCKROACH which is crawling inside. A sudden wave of NAUSEA hits her. BATHROOM - MOMENTS LATER Rachel crouches at the toilet, vomiting. She finishes, rinses her mouth, looks at her pale reflection. She opens the door and steps out. Vogel stands DIRECTLY IN FRONT OF HER. Rachel stands frozen - a split second of total panic. Then Stephan steps into sight behind Vogel, gun in hand - the morning bathroom visit. Rachel flattens herself against the hall wall, quickly wiping her mouth dry, as Stephan pushes Vogel past her towards the bathroom.","EXT. STREET - EVENING Stephan is walking back home. A POLICE CAR SIREN wails somewhere nearby and Stephan hurriedly cuts into an alley, waiting in the shadows until the siren has faded away. Then he hurries on his way. LIVING ROOM - EVENING Rachel uncovers the dish of prepared oatmeal and kneels down beside a sleeping Vogel. She removes the tape. Vogel wakes, breathes out, watches her. After a moment. VOGEL I was dreaming about my wife. She feeds him some more. VOGEL -LRB- CONT'D. -RRB- One of the great regrets of my life is that we were unable to have children. My wife would have made a wonderful mother. Vogel watches her, then suddenly SPEAKS IN ENGLISH. VOGEL -LRB- CONT'D. -RRB- It's a great blessing. Rachel stares at him. VOGEL -LRB- CONT'D. -RRB- You should try lemons. For the morning sickness. Rachel ca n't move. VOGEL -LRB- CONT'D. -RRB- They say it helps. Rachel struggles to hold it together, feeds him another spoonful. VOGEL -LRB- CONT'D. -RRB- What's your name? -LRB- Beat. -RRB- Sarah? Hannah? Rachel? Esther? -LRB- Beat. -RRB- You Jews stay close to your roots, do n't you? It's a good thing. Very good. Rachel spoons in another mouthful. VOGEL -LRB- CONT'D. -RRB- I loved the bible as a child. Retribution. Higher justice. Rachel shovels in another mouthful. He chews it thoughtfully, examines her face. VOGEL -LRB- CONT'D. -RRB- Yes. I understand you perfectly. -LRB- Beat. -RRB- You were n't lying at the clinic when you told me about your mother were you? About her death? Rachel loads the spoon with more oatmeal, determined not to show any emotion. VOGEL -LRB- CONT'D. -RRB- I'm very sorry for your loss. It almost takes her breath away. She tears the tape and puts it over his mouth, gets up and walks away, determined not to show him any emotion. Vogel watches her go. HALLWAY - MOMENTS LATER Rachel makes it out into the hallway before she feels the tears running down her face. She gives in to them, turns and finds David behind her. DAVID What happened? What's the matter? She ca n't speak at first. RACHEL Nothing. He. nothing. She wipes her face. RACHEL -LRB- CONT'D. -RRB- He can understand us. DAVID What? RACHEL He can understand every word we're saying. He just spoke to me. Her face contorts as she tries to compose herself. David reaches out to hold her. DAVID It's alright. It's alright. It's nearly over. He pulls her close, holds her, rests his forehead against hers. They stand like that, eyes closed. The moment hangs. RACHEL -LRB- Suddenly. -RRB- Why did n't you go? At the station. You could have got away. Why did n't you? She looks up at him. He stares into her eyes. Beat. Then, suddenly he kisses her. It's what she's waited so long for and she's stunned for a moment, then puts her arms around his neck, returning the kiss hungrily. They are helpless with desire for one another. There is a sudden scratch of a key at the front door and, instinctively, the two break apart. Stephan enters, hair wet from the rain. He stops, seeing them, sensing the atmosphere. They stare back at him. Rachel steps away a little, wiping her face. RACHEL -LRB- CONT'D. -RRB- What did they say? Stephan stares at them in silence. He unbuttons his coat. DAVID Stephan? STEPHAN It's not happening. They stare at him aghast - this is the last thing they wanted to hear. DAVID What the fuck does that mean? STEPHAN The Americans have pulled out. -LRB- To Rachel. -RRB- Has he been fed? DAVID So. so what does that mean? RACHEL Oh God. STEPHAN Did you feed him? DAVID What does that mean? What's the plan now? RACHEL -LRB- rising panic. -RRB- We just need to get him to the airfield, there must be some other way, some. Stephan starts down the hallway towards her, angry. STEPHAN I said has he? David instinctively steps in front of Rachel, raises a hand. DAVID -LRB- overlapping. -RRB- I'm asking you. STEPHAN -LRB- overlapping. -RRB- I'm talking to her! Supposedly it's her shift now, but instead of doing what she's supposed to be doing she's out here with you! -LRB- To Rachel. -RRB- Now answer the fucking question : Did you feed him? RACHEL YES! I fed him! Stephan stands glaring at her, then turns abruptly away. STEPHAN -LRB- Beat. -RRB- There's no plan. There's no fucking plan. They said the operation is being `` re - evaluated.'' He turns to David. STEPHAN You know what that means? They're going to cut us loose. They stare at him shocked. STEPHAN It's a fucking mess and they're backing away from it quickly as they can. RACHEL -LRB- CONT'D. -RRB- -LRB- Beat. -RRB- No. STEPHAN It's happening. I can feel it. RACHEL They ca n't just leave us! STEPHAN Yes they can! Because we fucked it all up! We fucked it all up and now we're on our own! Suddenly we hear someone KNOCKING on the front door. The three FREEZE, staring at each other. Silence. DAVID Were you followed? Stephan stares at the door, thrown. DAVID -LRB- CONT'D. -RRB- Could you have been? There is another KNOCK at the door. Stephan turns to the chest of drawers and takes out the GUN. RACHEL Stephan? Stephan is hurriedly screwing the SILENCER onto the GUN. There's another KNOCK at the door. RACHEL -LRB- CONT'D. -RRB- Stephan! Stephan walks into the living room and aims the gun at Vogel. Vogel instinctively squirms away, falling to one side, wriggling back as far as he can. RACHEL -LRB- CONT'D. -RRB- What are you doing? STEPHAN If it's them, he dies. Vogel lies, breathing hard through his nose, eyes on the gun aimed at him. David suddenly steps in between the two, the gun now pointing at his chest. STEPHAN -LRB- CONT'D. -RRB- Move. DAVID You're not doing this. STEPHAN He's not getting away from me. DAVID This is n't the mission. STEPHAN I decide what the mission is! If I say he dies, he dies. DAVID We're finishing this mission. We're taking him back. STEPHAN Get out of the way! There is another KNOCK at the door. David and Stephan stare at each other, the tension building. Abruptly Rachel turns and walks down the hallway towards the door. Stephan calls after her. STEPHAN Rachel. Rachel! From the hallway we hear the sound of the door being opened - the murmur of conversation. The two men stand frozen, listening. Vogel lies, breathing hard through his nose. We hear the door close. The three listen as footsteps approach down the hall. Rachel walks back in. A long beat. RACHEL -LRB- Dully. -RRB- It was the lady from the bottom apartment. She invited us to her New Year's Eve party. She turns and walks back out. The others stay where they are, frozen. We hear a PIANO PLAYING as we. KITCHEN - DAY As the piano music plays we see David and Stephan practise krav magah moves - careful, controlled, but under it all an edge of real tension between them. LIVING ROOM Vogel is tied in his usual place. Stephan sits in a dangerous mood. He's playing the piano. A lyrical rendering of Deutschland Uber Alles. Vogel is watching him. KITCHEN As the music continues the two men's workout grows more intense - the punches and blocks build in speed, faster and faster, both men breathing hard with the exertion, neither willing to stop, a real violence simmering under the surface.","INT. LIVING ROOM - DAY Stephan knows he's watched and avoids Vogel's gaze until he can stand it no longer and looks. KITCHEN David is the first to break through the blocks - his fist stopping inches from Stephen's face. The two men freeze, staring at each other, breathing hard. The music crashes to a halt. LIVING ROOM Stephan is staring at Vogel. He begins to play the anthem more discordantly, hitting the keys more violently, as if the music is possessing him. Then suddenly he stops, stands up and walks away from the keyboard. Stares at Vogel. Vogel is very aware of the sudden change in atmosphere, a sense of impending violence. Stephan does n't move. The moment hangs. LATER David is taking over the shift from Stephan. They pass each other in the doorway without a word. David stops, staring. Vogel lies in his usual place. A SACK has been placed over his head, hooding him. The effect is deeply sinister. KITCHEN - MOMENTS LATER Stephan sits eating with Rachel. David walks in and throws the SACK on the table. Stephan glances at it, continues eating. DAVID What are you doing? STEPHAN It's your shift. DAVID -LRB- To Rachel. -RRB- Did you know about this? RACHEL About what? DAVID -LRB- To Stephan. -RRB- His mouth's taped. You want him to suffocate? STEPHAN I was sick of seeing his face. Go back in. DAVID Do n't do that again. Stephan gets up and walks calmly towards David as if shooing him back out the room. STEPHAN You do n't give orders David. It's your shift now so you can go back in there. He has his hands on David's chest, gently pushing him back. David takes his hold of the hands, pulling them free and suddenly there's a flurry of violent movement as Stephan yanks his arms free of David and the two men shove at each other. RACHEL Stop it! They stop, breathing hard. DAVID We're not animals. Just remember what we are. Remember what we're not. He walks back out. Stephan sits back at the table, starts eating again. He glances at Rachel, but she wo n't look at him. After a moment she gets up and walks out.","INT. SITTING ROOM - CONTINUOUS David looks up from his chair to see in the hallway. Something purposeful in her manner alerts him. HALLWAY - CONTINUOUS David appears in time to see Rachel is putting on her overcoat. DAVID What are you doing? Rachel does n't look at him. RACHEL I have to get out. DAVID -LRB- Gently. -RRB- Rachel. Rachel tries to unbolt the door. David bars her. Rachel tries to talk calmly but she's fighting panic. RACHEL Get out of my way, please. I'm just going to go out for a few minutes. That's all I want to do. Stephan walks out of the kitchen, taking in the scene. DAVID She wants to go out. RACHEL -LRB- appealing. -RRB- No one will see me. Tell him, David. I just want to walk. I just want to get some. air. Please. Stephan shakes his head. Rachel tries to unlock the door, but David has hold of it. She struggles against him. STEPHAN Do n't be stupid. He takes her arm. Rachel jerks free. RACHEL GET OFF ME! Then she slumps against the door, her back to them. She's crying brokenly. A beat as the two men stand over her, not attempting to comfort her any further. Stephan turns and walks away. David leans his head against the door, waiting for her to stop.","INT. SAFEHOUSE - LIVING ROOM. EVENING. It's raining heavily outside and water is dripping through the cracks in the ceiling. David kneels next to VOGEL with a bowl of oatmeal and strips the tape from his mouth. VOGEL Thank you. David. David does n't react. Vogel hums a tune to himself in between spoonfuls, watching David, his mood strange. VOGEL -LRB- CONT'D. -RRB- David and Stephan and Rachel. He gives a soft laugh, finding something amusing in the sound of the names. VOGEL -LRB- CONT'D. -RRB- If I had a choice I'd prefer Rachel to feed me. So gentle. in another life, the makings of a Nurse, I think. in another life. David continues to feed, careful to appear immune to Vogel. VOGEL -LRB- CONT'D. -RRB- How is she today? VOGEL -LRB- CONT'D. -RRB- You should let her get more rest. It's a dangerous time, the first month or two of the pregnancy. David stares at him, unable to hide his shock. VOGEL -LRB- CONT'D. -RRB- -LRB- Beat. -RRB- You did n't know? Vogel absorbs this thoughtfully. VOGEL -LRB- CONT'D. -RRB- You're not the father then? -LRB- Beat. -RRB- I thought it would be you. I thought. I do n't know. The way you look at her. The way she looks at you. David stirs the oatmeal, trying to think about what he's just discovered. Vogel does n't take his eyes off him. VOGEL -LRB- CONT'D. -RRB- Women can be like that, they like to make you dance first, I remember. -LRB- As though to himself. -RRB- So, she chose the other one? He shakes his head, shrugs. VOGEL -LRB- CONT'D. -RRB- That must be hard, watching them together, right in front of you. And you not saying a word. Like the Poet says - `` Great souls suffer in silence.'' I would n't have taken Stephan as a family man. Too ambitious, too? Whereas you? David, I see you with children. DAVID -LRB- Quietly. -RRB- Shut up. Vogel stares at him. This is the first time someone has spoken to him in weeks. He's quick to hide his sense of triumph. VOGEL I am expressing my sympathy. For your suffering. DAVID What does a monster like you know about suffering? VOGEL I'm a doctor, David. David stares at him. DAVID A doctor. -LRB- beat. -RRB- You blind children trying to change the colour of their eyes. You inject people with petrol. You. you replace people's hands and legs and you watch as they. He stops himself. DAVID -LRB- CONT'D. -RRB- This is n't medicine. This is disease. This is sickness. Vogel seems to consider this. VOGEL So we were all insane? Is that the answer? DAVID -LRB- Beat. -RRB- There's no answer. I'm not looking for an answer. I'm not looking for. He forces himself to be silent, tries to regain control of himself. He offers Vogel another spoonful, but his hand trembles a little with the violence of his emotions. VOGEL You're trembling. David pushes the spoon into Vogel's mouth, starts to load another spoonful. VOGEL -LRB- CONT'D. -RRB- It's strange. Here I am - the victim, kidnapped, bound, soon to be murdered, but I think you are the one that is afraid, David. -LRB- Beat. -RRB- Afraid of the monster. He leans closer to David. VOGEL -LRB- CONT'D. -RRB- -LRB- Softly. -RRB- Boo. They stare at each other, eye to eye. Vogel senses a new brittleness in David. His tone becomes more assured. VOGEL -LRB- CONT'D. -RRB- Yes. Do you know why it was easy to exterminate you people? Your weakness. I saw it. Every day I saw it. Every one of them, thinking only of how to avoid being flogged, or kicked, or killed. Only thinking of themselves. David looks up at him with a strange, crooked smile, eyes glittering. VOGEL -LRB- CONT'D. -RRB- Why do you think it only took four soldiers to lead a thousand people to the gas chambers? Entire families? Because not one, out of thousands, had the courage to resist, the courage to be the first to fall. Not one would sacrifice himself. Even when we took their children from them. I knew then that you people had no right to live, no right to. He may have begun his speech hoping to get a reaction from David but he has lost himself in his rant and so rather than triumph we see only a moment of startled fear in his eyes as David suddenly swings the bowl violently at his head, SHATTERING IT on the pipe to which he is tied. He grabs Vogel by the collar and begins to punch him, hard, again and again. Vogel slides sideways, limp. And still David punches him in a murderous rage, possessed, wanting to break his skull open, to kill him. Rachel and Stephan run in, with Rachel reaching him first. She throws her arms around him, trying to stop him, but - instinctively - he throws a punch behind him. It connects, splitting her lip and sending her flying to the ground. Stephan runs at him, knocking him to the floor, and remains lying on him, the two of them breathing hard, the assault finally over. VOGEL slumps forward, held up only by the rope at his wrists binding him to the pipe on the wall. Stephan is still struggling with David, who's panting, adrenalised, staring wildly at Vogel's slumped body. STEPHAN Out. We're going out. He begins to drag him out. Stephan nods in the direction of VOGEL. STEPHAN -LRB- CONT'D. -RRB- -LRB- to Rachel. -RRB- Are you going to be alright? Rachel nods. As she hears the door close, she turns to stare at Vogel. He's barely conscious, his face smeared with blood.","INT. SAFEHOUSE - BATHROOM. NIGHT. Rachel drenches a cloth under the tap.","INT. SAFEHOUSE - LIVING ROOM. MOMENTS LATER Rachel cleans the blood from VOGEL's face. He has his eyes closed. VOGEL -LRB- Mumbling, in German. -RRB- Thank you. She tears off a new strip of tape and places it over VOGEL's mouth, gently. She notices the rain leaking in through the ceiling and walks off towards the kitchen. We hold on Vogel, apparently sleeping. Then his tied hand reaches out, straining and manages to reach one of the SHARDS of broken bowl. KITCHEN - CONTINUOUS Rachel gathers three METAL SAUCEPANS. She stops for a moment looking at FIREWORKS flashing in the sky. She remembers - it's New Years Eve. We TRACK with her as she walks into the living room and begins to place the pots on the floor to catch the rainwater which is dripping through various points in the ceiling. CLOSE ON VOGEL'S HANDS As he uses the shard to saw through his ropes. ON RACHEL. as she finishes with the pots and notices the pieces of shattered bowl scattered around Vogel. She kneels down in front of him and collects up the pieces. She glances up at Vogel, checking him. He is still slumped, eyes closed. We TRACK with her as she walks back into the kitchen. From the living room comes the three distinct PINGS of rainwater dripping in the pots. She drops the pieces of bowl into the bin and stops, puzzled. It's a moment before she works out what she's noticed - something has changed in the sound of the rainwater next door. There only two drips instead of three. She walks back towards the living room. RACHEL'S P.O.V - through the living room door we can see that one of the pots has been overturned. Rachel slows to a stop. A sudden wave of adrenalin causes her to turn but. it's too late. Vogel steps out of the alcove he's been standing in so that he is directly in front of her. Before she can even cry out he has slashed her face open with a SHARD OF GLASS. Instinctively she cups her hands to her ripped face. Vogel grabs her by the hair and stepping behind her, tries to worm his other hand underneath her raised arms to reach her throat with the glass. Her training kicking in, Rachel uses a krav magah move to grab and twist Vogel's forearm, breaking his hold on her and turning the arm until, with a yell of pain, Vogel drops the shard. He swings wildly at her, but Rachel ducks the fist and drives the palm of her hand up into his face. Vogel stumbles back, surprised by her speed and the sudden pain of the blow. Rachel is about to press home the attack but is blinded by blood from her wound washing into her eyes. As she wipes her eyes clear, Vogel grabs a LAMP from a small chest of drawers in the hall and smashes it into her face. She falls. Vogel begins to run, but, driven by adrenaline and desperation, Rachel scrambles onto all fours and lunges at him, catching hold of his trouser leg as he moves towards the front door. Vogel stumbles, manages to pull a leg free and stamps down on Rachel who lets go with a moan. He stamps again, steps free and kicks her hard in the head. Rachel rolls with the force of the kick and comes to a rest, losing consciousness. RACHEL'S P.O.V - LOW ANGLE - Fluttering in and out of darkness - Vogel's feet as he stands beside us, breathing hard. Then he turns and hurries to the front door. and out.","EXT. WALKWAY. BERLIN SAFE HOUSE - NIGHT. Vogel hurries along the walkway and sets off down the spiral staircase of the apartment building.","INT. HALLWAY - NIGHT. Rachel lies motionless. We wait for her to cough as we saw her do before. But she does n't. She just continues to lie still.","EXT. STAIRCASE - CONTINUOUS Below us Vogel clatters on down the stairs, flight after flight.","INT. HALLWAY - CONTINUOUS No movement from Rachel.","EXT. STAIRWELL/COURTYARD - CONTINUOUS Vogel clears the stairs and bursts into the courtyard. There is a lurid flash of fireworks from nearby and for a moment we see Vogel lit, as he passes the point where earlier we saw him drop to the ground. He reaches the gate and goes through, his shadow disappearing on the pavement. He's gone.","INT. BERLIN SAFEHOUSE - LIVING ROOM. NIGHT Rachel holds a blood - soaked tea towel to her cheek, trying to staunch the flow. David sits, staring ahead, in shock. Stephan bursts in, out of breath. STEPHAN Nothing. Not a trace. Nothing at all. He hurries to the drawers and takes out the gun, puts it into his waistband. STEPHAN -LRB- CONT'D. -RRB- He might go to the house, might try and get a message to the wife. DAVID -LRB- Without looking up. -RRB- He's not going back to the house. He's gone. Fifteen years, it took them to find him. And he's gone. And no - one's going to find him again. STEPHAN So we what? We. are you going to make the phone call? Are you going to tell them how he got a fucking piece of broken bowl? Wonderful. But do n't try and take me down with you. I've done nothing wrong. Remember that! Stephan kicks at the chair, at the drawers. STEPHAN -LRB- CONT'D. -RRB- -LRB- muttering tensely. -RRB- This ca n't happen! This is never going to go away. RACHEL I take responsibility. It was my shift. DAVID -LRB- Quietly. -RRB- This happened because of me. I let him go. And no - one's ever going to find him again. He closes his eyes, struggling with the enormity of his guilt. Stephan drops the gun onto the table, sits down. Outside we hear more fireworks. Suddenly. STEPHAN No - one's ever going to find him again. Something in his voice causes Rachel to look up at him. STEPHAN -LRB- CONT'D. -RRB- -LRB- Beat. -RRB- What if he did n't escape? RACHEL What are you talking about? STEPHAN Only four people know what happened in this room. Us, and him. And he's not talking. No one will ever hear from him again. RACHEL -LRB- Realizing what he means. -RRB- No. STEPHAN Nobody needs to know what happened here. RACHEL He escaped. STEPHAN That's the truth. But that does n't have to be the truth we take home. The truth can be anything we want it to be. The truth is Vogel tried to escape, you struggled with him and got hurt. The truth is, seconds before he got away, Rachel got the gun and shot him. The truth is we got rid of him. got rid of the body. got rid of every trace of the Surgeon of Birkenau. RACHEL We ca n't lie about this! STEPHAN No, you know what? We have to. We have to! This is. this is n't about us. This is about Israel. This is a national humiliation! We ca n't be seen to fail. And in the end, Vogel rots away his life in some jungle, looking over his shoulder, waiting for the bullet? Who's to say? He looks at them both, trying to convince them, trying to convince himself. STEPHAN -LRB- CONT'D. -RRB- Maybe that's a worse fate. Maybe that's. The important thing is justice. justice is seen to be done! Rachel turns to David, waiting, expecting him to say something. But David looks like he's been barely listening, lost in his own thoughts. He notices Rachel staring at him. DAVID He's gone. What does it matter? -LRB- Beat. -RRB- He's gone. Stephan seizes on this, sensing he's close to convincing them. STEPHAN -LRB- Seizing. -RRB- He's right. It makes no difference. No difference. All we have to agree is that we never talk about this. No matter what happens, we never tell anyone. The truth stays in this room. Between us. Agreed? Rachel looks at David again, wanting some kind of sign. STEPHAN -LRB- CONT'D. -RRB- -LRB- To Rachel. -RRB- Agreed? Say it. -LRB- Silence. -RRB- I need to hear you say it! She's still staring at David. He's still avoiding her gaze. STEPHAN -LRB- CONT'D. -RRB- -LRB- To Rachel. -RRB- Say it. Say. DAVID Agreed. Silence. Rachel closes her eyes. Instead of relief she feels a kind of immense disappointment. RACHEL David? STEPHAN Rachel? Say it. It's an oath. Say it. We CLOSE on Rachel. The moment that will change her life forever. From outside comes the sound of some REVELLERS on the street cheering, more fireworks. We hear some people chanting a countdown to the New Year. REVELLERS -LRB- O.S. -RRB- -LRB- From outside. -RRB-. vier, drei, zwei, ein! But just before the expected barrage of fireworks we.","EXT. DAVID'S APARTMENT - 1997 - NIGHT. The young Mossad Agent stands smoking outside David's door. This is the scene we saw earlier. From within we can hear indistinct shouting.","INT. DAVID'S APARTMENT - LIVING ROOM - CONTINUOUS. Rachel is holding the PRINTED SHEET - the point at which we left this scene earlier. RACHEL -LRB- crying out. -RRB- How could this happen? You said he would never speak! You said he'd never. STEPHAN We do n't know it's him. RACHEL Oh God! Oh God! STEPHAN If you read it. RACHEL He's alive! He's in the Ukraine! What else is there to read? STEPHAN This is a little internet story. -LRB- Grabbing the paper, reading. -RRB-. `` a psychiatric patient claiming to be the Surgeon of Birkenau.'' Some crazy old man. No - one is paying this any attention. Yet. RACHEL -LRB- as if her mind was elsewhere. -RRB- How did you find it? STEPHAN David comes back after all this time, I want to know why. I had his apartment searched. This was on his computer. Rachel stares at him. STEPHAN -LRB- CONT'D. -RRB- He did n't say anything to you last night? Rachel does n't answer. STEPHAN -LRB- CONT'D. -RRB- Rachel? RACHEL No! Beat. RACHEL -LRB- CONT'D. -RRB- -LRB- quietly. -RRB- Why would he do this? STEPHAN Because he could n't handle it. I told him we had to deal with it and he could n't handle it. He thought it was all going to come out and he panicked. He trails off, thinking about what happened down on the road. Rachel stares at him. His previous words have just sunk in. RACHEL -LRB- Suddenly. -RRB- Deal with it? -LRB- Beat. -RRB- What does that mean? Deal with it? Stephan stares at her. RACHEL -LRB- CONT'D. -RRB- What did you tell him to do? STEPHAN -LRB- Simply. -RRB- I told him to find Vogel. I told him to finish it. Rachel stares at him. She stands up, starts to walk away, comes back, slaps him hard across the face. RACHEL -LRB- quiet rage. -RRB- Did you know he'd been ill? Did you? You knew, did n't you? You killed him. YOU killed him! You knew he was n't strong enough. STEPHAN -LRB- overlapping. -RRB- FUCK DAVID! I do n't want to hear about David! David took the coward's way out! RACHEL You could have left it alone! It's an old man in a hospital! You said - nobody will believe it! No - one will notice! STEPHAN There's a journalist. This stops her. STEPHAN -LRB- CONT'D. -RRB- A Ukrainian. He's heard about it and he's going to interview Vogel. -LRB- Beat. -RRB- Then it all comes apart. -LRB- Beat. -RRB- We do n't have the name of the hospital. You have to find out where he is. Rachel stares at him. RACHEL What are you talking about? STEPHAN David's taken himself out of the equation. -LRB- Indicating his chair. -RRB- I ca n't do it. You're the only one left. RACHEL Are you insane? STEPHAN We ca n't. RACHEL I'm not. Look at me! I'm not capable of. This is insane. I ca n't do this. STEPHAN -LRB- Beat. Simply. -RRB- You have to, Rachel. Because for thirty years you've been taking the credit for it. -LRB- Beat, carefully. -RRB- And there's Sarah. It's as if he's struck her. Beat. RACHEL I wo n't do this. She walks out.","EXT. STAIRWELL OUTSIDE DAVID'S APARTMENT - NIGHT And into the stairwell. As before, the Mossad agent stands to let her pass, and watches as she sweeps down the stairs.","INT. RACHEL'S HOTEL - MORNING The scene we saw earlier. Rachel is packing, folding clothes neatly, precisely, silently - but all the time there's a terrible tension about her movements. She tries to close a drawer but it sticks, She keeps trying, then in a sudden rush of fury yanks the drawer free and hurls it across the room. She stands breathing hard. Then something we did n't see - her gaze settles on a photograph beside her table - SARAH holding her son, smiling at us. Rachel stares at the photograph, her breathing slowing.","EXT. PATIO TERRACE. HOTEL NEAR TEL AVIV - DAY Stephan sits amongst the remains of a meal. Sarah and her husband are on the beach below, playing with their son. Stephan watches them. He senses a presence and turns to find Rachel behind him. She sits down, stares down at the beach through her dark glasses. Stephan watches, almost holding his breath, working through lightning calculations of how to handle her. But Rachel is the first to speak. RACHEL -LRB- Beat. -RRB- I always knew this would happen. I knew we'd be punished. I knew we'd have to pay. STEPHAN -LRB- Quietly. -RRB- I thought I'd already been punished. RACHEL God does n't plant car bombs. STEPHAN I was n't referring to the wheelchair. They look at each other. STEPHAN -LRB- CONT'D. -RRB- If I could go back, Rachel, I'd change it all. If I could give you back a chance to be happy, to be. He stops. She is staring back at him coldly, unmoved. He shrugs, letting that go. STEPHAN -LRB- CONT'D. -RRB- But there's one thing I would never change. She looks over to where Sarah is playing with her son, laughing. RACHEL -LRB- Instantly. -RRB- She is n't going to find out. She shakes her head, as if the idea itself were impossible. RACHEL -LRB- CONT'D. -RRB- She can never find out. Stephan stares at her, KNOWING THAT HE HAS HER, that it's already decided. He takes out the envelope and slides it across the table towards her. She examines the ticket and passports inside. Then he slides her the BLACK CASE. We've seen this part of the scene before. She stares at it with disgust, knowing what it is. Then she takes it and puts it in her handbag. STEPHAN My car's waiting outside. It can take you to the airport. She stands up, an elegant woman at lunch, her dark glasses, her suit. She looks down to Sarah, raises a hand in farewell. Sarah, not understanding, waves a hand in response, calls something which is lost under the sound of the sea. STEPHAN -LRB- CONT'D. -RRB- Go down to her. Say goodbye to her. Rachel stands stock still, staring down at her daughter. RACHEL How can I? -LRB- Beat. -RRB- How can I? She turns and walks away. ON THE BEACH Sarah stands, shading her eyes, watching the small figure of her mother walking away from her.","EXT. CITY CENTRE. KIEV. UKRAINE - DAY. A tram wipes through the frame to reveal Rachel walking across a busy street towards the stark facade of an imposing 1960's building. A TITLE reads : Kiev, Ukraine","INT. OFFICE BUILDING - DAY The public area of the building - a main reception desk, a little cafe, a sweeping staircase leading up to the floor above. Rachel is at the reception desk. NEWSPAPER BUILDING - MEZZANINE LEVEL - CONTINUOUS Rachel crosses to a TABAC KIOSK, glancing back to some glass doors behind her. A sign indicates the offices of the UKRAINIAN EVENING NEWS. We can see a RECEPTIONIST at her desk. A young man walks through the entrance, and she throws a knowing glance up at him as he passes. Rachel takes in the ALARM PAD beside the receptionist. RACHEL -LRB- turning to the Kiosk Owner. -RRB- Cigarettes please. GROUND FLOOR CAFE. OFFICE BUILDING - DAY Rachel sits, silhouetted against the large window. Rachel opens her pack and lights a cigarette. A WAITER approaches. WAITER -LRB- In Russian. -RRB- What can I get you? RACHEL Just a coffee. She stares out at the stream of people passing in and out of the building.","INT. HANGAR - DAY - THE PAST Late sixties. Young Rachel, Stephan and David are giving a talk to a group of young Israeli soldiers. This is a well - rehearsed routine, something they have probably done many times. RACHEL At that moment, I do n't think I was thinking about myself at all. I was thinking about my mother. I was thinking about how she had suffered in Europe. The FACES of the soldiers, moved by this. One raises a hand. SOLDIER The same question to Mr. Peretz. The others look at David, waiting for him to make his usual response. But David does n't move. Stephan looks along the row. David sits staring straight ahead. The silence GROWS. And we realize he's NOT GOING TO ANSWER.","INT. RACHEL AND STEPHEN'S HOUSE - BEDROOM - EVENING The house is cold, white, aggressively modern. Rachel sits in her underwear, drunk, a bottle and glass of wine on her dressing table. Stephan is dressing behind her. STEPHAN -LRB- Calmly. -RRB- Fuck him. He examines his reflection in the mirror. STEPHAN Fuck him. A DOORBELL rings downstairs. He walks out to answer it, taking the wine bottle from her as he goes. STEPHAN -LRB- CONT'D. -RRB- Hurry up. Rachel finishes her glass, starts to apply some eye makeup. She senses something and turns to find YOUNG SARAH -LRB- four -RRB- watching her from the doorway. She stares back at her dully. RACHEL Go to bed, Sarah. LIVING ROOM - EVENING A cocktail party in progress - Stephan is mingling with the guests - Mossad high - fliers, Military, politicians. She watches him handle them - just the right mix of deference and charm. Rachel stands against a wall, drunk, watching him as he laughs sycophantically at something one of the politicians has said. He crosses over to an attractive BLONDE WOMAN and greets her. As Rachel watches he runs a hand down the woman's back - an unmistakably INTIMATE gesture. Rachel watches - depressed by how little this makes her feel. She begins to mix herself another drink, sees someone across the room, and her face changes. ON DAVID He's standing alone drinking, nervous. Rachel appears beside him. RACHEL My own party and you're the only friend I have. She turns, leans against the wall, scans the party, watches Stephan working the room. RACHEL -LRB- CONT'D. -RRB- all Stephen's friends. Stephen's girlfriends. She turns to see what David's reaction to this is, but he continues to watch Stephan. RACHEL -LRB- CONT'D. -RRB- And what kind of a friend are you? I call you last night and. RACHEL -LRB- CONT'D. -RRB- I thought the silence was for the audience, I did n't know you'd really lost your voice. David suddenly takes her hand and pulls her round the corner. AROUND THE CORNER He turns to her, his face alive with an energy that we have n't seen before - fear or excitement? DAVID Why do you call me? RACHEL What? DAVID You call me, at night, when you're drunk. Why do you call me? RACHEL What are you? DAVID Do you want us to fuck around behind his back? Like he fucks around behind yours? Is that what you want? Rachel stares at him, upset and angry. RACHEL I want a friend DAVID I do n't want to be your friend. -LRB- Beat. -RRB- I'm leaving. RACHEL Good. I do n't know why you bothered coming if your just going to. DAVID -LRB- interrupting. -RRB- Come with me. She realises he is n't talking about the party. Beat. RACHEL Where. whare are you going? DAVID It does n't matter. Away from Israel, away from this. poison. I ca n't stand what it is doing to us. Come with me. We'll go to Spain. Or Italy. We can save ourselves. WIFE -LRB- O.S. -RRB- This is such a beautiful photograph, Rachel. You look like a pair of Angels. A YOUNG ISRAELI and his WIFE are admiring a photograph the Wife has picked up from the table - a portrait of Rachel and Sarah. RACHEL -LRB- Mouth dry. -RRB- Thank you. WIFE -LRB- showing it to David. -RRB- Is n't it lovely? David does n't answer, is still staring at Rachel. The husband senses a scene, takes the photograph. HUSBAND -LRB- Smoothly. -RRB- You know you have to excuse us. -LRB- to his wife. -RRB-. we must catch Michael. His wife is confused. HUSBAND -LRB- CONT'D. -RRB- -LRB- leading her away. -RRB-. before he leaves, you remember? Rachel is staring at David, shaking her head, eyes glittering with tears. RACHEL You ca n't do this to me now. We had our chance. We said we would live with it. This is me living with it. David takes her hands. DAVID I'm in love with you, Rachel. I want my life back so I can live it with you. Come with me. RACHEL You can start again. You do n't have a child. You do n't have anyone. DAVID I thought I did. -LRB- beat. -RRB- Why ca n't we be happy? RACHEL -LRB- after a beat, quietly. -RRB- Because we did a terrible thing. He nods, finally, and lets go of her hand. Beat. Then he Beat. Then he says. turns and walks away from her through the crowd to the door, and is gone. She moves to follow him, then stops. says. Rachel turns and finds STEPHAN standing against the wall, waiting. They stare at each other. STEPHAN. -LRB- flat. -RRB- There you are. He leads her back towards the party. says.","INT. NEWSPAPER BUILDING - GROUND FL. CAFE - EARLY EVENING Rachel sits, still smoking, though it's dark outside now. There is a sound of chatter from above her and she looks up to see JOURNALISTS spilling out from the offices above, coming down the stairs towards her. Rachel eases a PHOTOCOPIED SHEET from her bag and examines it. INSERT SHEET A photocopy of a JOURNALIST'S BY - LINE - a long, rather mournful face, the name YURI TITOV. She checks the face, slips the sheet back in the bag, looks up, studying the men descending towards her. Moments later she has found him - chatting to a colleague. He reaches the ground floor and walking past her, goes to the bar for a coffee. Rachel finds herself staring at him - the man WHO COULD DESTROY HER LIFE. Yuri seems to sense someone watching him and looks to where Rachel was sitting. But there's no - one there.","INT. NEWSPAPER OFFICE LOBBY. CONTINUOUS. The PRETTY RECEPTIONIST stands chatting to her BOYFRIEND, a young journalist. He is holding her coat for. She starts to put it on and the Boyfriend gives a brief bark and play - bites at her neck. She laughs, pushing him away. Rachel hurries in. RACHEL -LRB- Russian. -RRB- Am I late? I'm sorry. Can I place an advertisement? RECEPTIONIST -LRB- gathering her things. -RRB- 100 grivna for twenty words. 5 grivna a word after that. Rachel proffers an envelope. RACHEL -LRB- CONT'D. -RRB- Here. The girl takes it. RECEPTIONIST Thanks. Rachel fishes in her bag and hands over a 100 GRIVNA NOTE. RACHEL This should cover it. The girl drops the envelope onto her desk, and slips the money into a small DESKTOP DRAWER UNIT, as Rachel leaves.","INT. NEWSPAPER OFFICE - MEZZANINE LEVEL. CONTINUOUS. Rachel pauses outside the doors, zipping her bag, watching the receptionist tap a code into the alarm key - pad before letting herself and the Boyfriend out. She locks the door after them and the two walk past Rachel who smiles a goodbye. She watches them go.","INT. NEWSPAPER BUILDING - GROUND FLOOR CAFE - NIGHT The place is dark now, eerily lit by the street lights outside. An ELDERLY SECURITY GUARD trudges past, whistling softly.","INT. NEWSPAPER OFFICE - LOBBY. CONTINUOUS. We're looking through the glass doors to the shadowy mezzanine level beyond. A DARK FIGURE stands silhouetted at the door. We hear the scrape of tools working on the lock. There is a click, the doors open and Rachel slips inside. The alarm begins to BEEP. Rachel takes out a TORCH. A quick twist and the beam becomes ULTRAVIOLET. As Rachel moves swiftly towards the alarm box, the beam from the torch sweeps across the girl's desk, and we see Rachel's envelope glowing a deep PURPLE. We may also notice that the desktop drawer unit where the girl placed the money is smudged with purple FINGERPRINTS. Rachel opens the alarm box and shines her beam onto the keypad. We see four PURPLE FINGERPRINTS, one deeply pigmented, the other three progressively less so. Rachel takes a deep breath and punches the four marked keys in what she hopes is the correct order. The alarm falls silent. She moves quickly out of the lobby, down the corridor.","INT. NEWSPAPER OFFICE - MAIN ROOM. CONTINUOUS. and into the main press room. Using her torch on its regular setting, Rachel scours the desks for information. On one desk is a photograph of the journalist we just met - YURI - HOLDING A LARGE FISH in triumph. Rachel dives into the desk's FILING UNIT and begins to rifle through the files. Presently, she finds an OLD PICTURE OF VOGEL. He wears SS uniform, the same shot we have seen before. Behind it, a stack of SCRIBBLED NOTES. She begins to scan them.","INT. NEWSPAPER BUILDING - MEZZANINE LEVEL - CONTINUOUS The Receptionist and her drunk BOYFRIEND stand at the doors to the newspaper office, trying to open them. It takes them a moment, as - unaware that it was unlocked - the girl has accidentally locked it. Her boyfriend tussles with her playfully, keen for her to let him try instead, but she swats him away, turns the key again and finally they're in.","INT. NEWSPAPER OFFICE - MAIN ROOM. NIGHT. Rachel, unaware, is still reading through the notes. She takes out paper and pen and copies down the information she needs.","INT. NEWSPAPER OFFICE - LOBBY. NIGHT. The receptionist stands by the alarm box, drunk and confused, as the Boyfriend, impatient and equally drunk, comes up close behind her and reaches round to clumsily unbutton her coat. RECEPTIONIST -LRB- Whispering. -RRB- That's weird. The coat undone, the Boyfriend reaches round and snakes his hands up inside her sweater. She ignores him. RECEPTIONIST -LRB- CONT'D. -RRB- I set the alarm. BOYFRIEND What? RECEPTIONIST The alarm's not on. BOYFRIEND Who gives a shit? He moves his hands from her breasts to grab her around the waist and pull her away from the alarm box.","INT. NEWSPAPER OFFICE - MAIN ROOM. CONTINUOUS. Rachel is still at the desk reading. Suddenly the main LIGHTS are switched on and the Receptionist and the Boyfriend stagger into sight. Rachel stands frozen, COMPLETELY VISIBLE. The girl and boyfriend stand kissing, too engrossed in each other to see the woman standing only ten feet from them. The Receptionist pulls free, laughing, makes it back to the entrance and switches the lights off, plunging the room into darkness. Rachel moves behind a column. Laughing softly, the Boyfriend leads the girl over to a desk. He opens a drawer, searches through it, triumphantly produces a PETTY CASH TIN. BOYFRIEND The loot! He starts to take some cash from the box. RECEPTIONIST -LRB- Laughing. -RRB- You ca n't! BOYFRIEND I'll put in an i - o - u. He scribbles on a piece of paper. BOYFRIEND -LRB- CONT'D. -RRB- `` Andrei borrowed money to take Katia to Club Oxygen.'' He drops the note in the tin. RECEPTIONIST You're going to get fired. He kisses her. BOYFRIEND You're worth it. RECEPTIONIST You're going to get me fired! BOYFRIEND -LRB- Kissing her. -RRB- I'm worth it. They kiss again, slowly backing up against the desk Rachel was searching. The two struggle with their clothes. BEHIND THE COLUMN Rachel has no way of reaching the door. She closes her eyes as the young couple begin to have sex on the desk. Then she opens her eyes and notices something. RACHEL'S P.O.V - CLOSE on her TORCH which is still on the desk. The Boyfriend seems to be staring RIGHT AT IT. Rachel watches, holding her breath. ON BOYFRIEND. as we realise he is staring STRAIGHT THROUGH the torch, lost in the moment. Next moment the couple change positions and some books and the torch are swept from the desk and clatter to the floor. The TORCH ROLLS across the carpet to the shadowy entrance of the cubicle. BEHIND THE COLUMN Rachel stares at the torch, wondering if she can reach it before they can see her. But at the moment the desktop tryst reaches its noisy conclusion. AT THE DESK The Boyfriend does up his trousers and pulls on his coat. The Receptionist adjusts her dress. She notices the fallen items and begins to pick them up, following the trail to the torch. BEHIND THE COLUMN Rachel stands frozen as the Receptionist stoops down directly IN FRONT OF HER and picks up the torch. The Boyfriend notices. BOYFRIEND What are you doing? RECEPTIONIST I'm tidying up. BOYFRIEND Are you working? Are you at work now? RECEPTIONIST -LRB- Laughing. -RRB- No, I'm not working. BOYFRIEND So leave them. She drops the objects and follows her Boyfriend out. Shaking, Rachel picks up her torch and replaces the items she is still holding from Yuri's file into the filing cabinet. From OS, we hear the BEEP BEEP BEEP of the alarm being reset. Rachel's heart sinks. OS, we hear office doors close, and the KEY TURNING in the lock. Rachel's eyes alight on A MOTION SENSOR, blinking in the corner of the room. She waits. And eventually - no choice - she runs for the door. The motion sensor lights up and the alarm strikes up loudly with a warning BEEP - BEEP - BEEP.","INT. NEWSPAPER OFFICE - LOBBY. CONTINUOUS. Frantic, Rachel dashes to the alarm box, the insistent beep - beep - beep even louder here. Rachel runs for the door, yanks it open and bolts out. Moments later, the alarm CLANGS into action.","EXT. BACK OF BUILDING - NIGHT Rachel bursts out of a fire exit, the siren blaring and disappears into the night.","EXT. RACHEL'S CAR. KIEV STREET - NIGHT Rachel's car drives off down the road.","INT. CAR. UKRAINIAN ROAD - NIGHT. Rachel has pulled over and is on her cell - phone to Stephan. RACHEL He's at the BABENKO Hospital.","INT. STEPHAN'S OFFICE - NIGHT Stephan is alone, working at his computer. He taps in the name, searches, clicks on the link to a map. STEPHAN -LRB- CONT'D. -RRB- It's outside Vinnycja. About a hundred and fifty miles south - west of you. What name is he going under? Rachel checks her notes. RACHEL -LRB- O.S. -RRB- Ivan Schevchuk. He's the right age. STEPHAN When is he supposed to interview him?","INT. CAR - NIGHT RACHEL Tomorrow. There's silence from the other end. Both know what this means. STEPHAN -LRB- O.S. -RRB- This will be over soon. And when it is. Rachel hangs up.","EXT. ROAD - MORNING A car drives through the wintry landscape.","INT./EXT. HIRE CAR. ROAD - MORNING A forest of fir trees pass as she drives. Rachel's mind is elsewhere. The car drifts to the wrong side, then swerves as she corrects. STUDENT -LRB- O.S. -RRB- What were you thinking at that moment?","INT. UNIVERSITY LECTURE HALL. TEL AVIV - EVENING The night before David's suicide. RACHEL is being interviewed by a FEMALE FACULTY MEMBER. Projected on a screen behind is an image of the young Rachel, Stephan and David. The audience consists of mainly female students, hands raised. STUDENT Did you think you were going to die? Rachel seems to consider this carefully, although we know by now that this is a question she's been asked thousands of times and has a carefully rehearsed answer to. RACHEL I'll tell you something. At that moment, when I was on the floor, I was n't thinking about myself at all. I was thinking about my mother. And what she had suffered in Europe. I think that was what gave me the strength to get up again. The audience listen, moved. Rachel looks out and then FREEZES - Older David sits near the back of the room. LECTURER Well, I'm sure you'll all join me in thanking Ms Singer. As the audience applaud enthusiastically Rachel smiles, trying to regain her composure but her eyes are drawn back to David, standing in the shadows, watching her intently.","INT. AUDITORIUM - LATER The place is empty now, only David and Rachel sitting in the seats. David looks like a man who's been up on speed for too long, eyes strangely bright in his exhausted face. Neither of them seems to be able to bridge the divide DAVID You look well. Rachel ignores this. She's waiting for an explanation. She's waiting for an explanation. says. RACHEL Does Stephan know you're here? DAVID I expect so. -LRB- Beat. -RRB- I read about him. How is he? RACHEL -LRB- shrugs. -RRB- The same. Different. Resigned to life at a desk. He likes to play the tragic hero. She stops herself, ashamed. RACHEL -LRB- CONT'D. -RRB- Things became. very bad between us. We try to stay civil for Sarah. DAVID Have you met anyone else? Rachel stares at him. How can he even ask this? RACHEL No. Thank you for asking. There was someone. but he left. And I never heard from him again. -LRB- beat, hard. -RRB- What are you doing here, David? DAVID I wrote you letters. RACHEL Pity you did n't send any of them DAVID Rachel. RACHEL -LRB- overlapping. -RRB- What is it? Thirty years? She's suddenly so angry, she starts to gather her things to go. DAVID I wanted to see you. RACHEL -LRB- overlapping. -RRB- All that time. Not a single word? DAVID Do n't go. She stops. DAVID I was ill for a while, Rachel. -LRB- A beat. -RRB- I spent some time in. in a kind of hospital RACHEL Where? DAVID Mexico RACHEL What were you doing in Mexico? DAVID Different jobs. Some teaching. Whatever I could get. Beat. DAVID I travelled a lot. The States. Most of South America. North Africa. I kept moving. -LRB- beat. -RRB- Looking for him RACHEL Who? He does n't answer and she looks up, suddenly realising who he means. She feels a sudden, instinctive rush of fear. RACHEL -LRB- CONT'D. -RRB- Why? -LRB- beat. -RRB- What would you have done if you had found him? He's watching her intently DAVID I would have told the truth. I would have gone to the newspaper, and said `` this is the Surgeon of Birkenau.'' I could have finally seen him face trial. Rachel listens to this, mesmerised. RACHEL And what would have happened to us? DAVID We'd be free. Whatever happened to us, it seemed to me we'd be free. Rachel stares at him without answering DAVID Do n't you agree? Are n't you tired of lying? Is n't that what you would have done - if you'd found him? RACHEL But it is n't just us. -LRB- Beat. -RRB- It's Sarah. Beat. Something changes in David's face, something fading away. He sits slowly back RACHEL -LRB- CONT'D. -RRB- She has n't done anything wrong. DAVID -LRB- Quietly. -RRB- No. RACHEL If the truth had come out she would be destroyed. -LRB- Beat. -RRB- So. no, I would n't have told the truth. -LRB- A long beat. -RRB- But you never found him She looks at him, waiting for him to contradict this. DAVID No I never did. The LECTURER appears at the doors to the auditorium. LECTURER Ms Singer? RACHEL -LRB- Relieved. -RRB- Yes. Thank you. She stands up again, the spell is broken. RACHEL -LRB- CONT'D. -RRB- There's a car for me. -LRB- Putting on her coat. -RRB- Did you hear about Sarah's book? After a moment, David nods. RACHEL The launch is tomorrow. Perhaps you could come? I do n't know if Stephan will be there or not, but. DAVID -LRB- suddenly. -RRB- If we could go back. if I'd waited for you. if you'd come. would it have been different? RACHEL We ca n't go back. A beat. DAVID I'm sorry. RACHEL Come tomorrow. We'll talk then? David gives a smile that might be an assent. Or might not. Rachel nods, walks quickly out of the auditorium. David sits as the light banks above switch off one at a time, watches the line of shadow moving towards him.","EXT. ROAD. UKRAINE - DAY - THE PRESENT A car roars past and is gone, revealing Rachel standing amongst the trees beside her car, a cigarette forgotten in her hand, absorbing what it was David was asking her. Finally she drops the cigarette and climbs back into her car.","INT. CAR - DAY CLOSE ON RACHEL. driving, lost in thought. She drives into some grounds. RACHEL'S P.O.V THROUGH WINDSCREEN The BABENKO HOSPITAL - a huge, imposing building stands in wintry grounds. A long drive leads up to the car park and the entrance. I/E. CAR - CONTINUOUS Rachel stares up at the building as she drives towards it.","INT. BABENKO HOSPITAL - RECEPTION. CONTINUOUS. The large lobby area, vast pillars. A few stairs lead up from this to a waiting area, separated from the corridors beyond by BARS AND LOCKED GATES. Rachel approaches a young male REGISTRAR at RECEPTION. RACHEL -LRB- Russian. -RRB- Good morning. I'm here to visit Mr. Schevchuk? The man squints at her, checks his register an squints at her again. REGISTRAR You're from the newspaper? Because I have a man's name here. RACHEL Oh, no, no. I'm Mr Schevchuk's niece. Anna Barova. I've been before, do you remember? A moment's scrutiny, then a shrug. REGISTRAR Well, our visiting hours have n't changed, I'm afraid. Eleven till one. He points to a PLAQUE that reads : VISITING HOURS : 11:00 am - 1:00 am, 5:00 pm - 8:00 pm Sarah glances at her watch. It's 10.25. REGISTRAR -LRB- CONT'D. -RRB- Take a seat? He points to a waiting area. Rachel walks up the few stairs past a large PILLAR and takes a seat, trying to think of her next step. She glances to her left, through the bars, and sees an OLD WOMAN in a patient's gown staring blankly at her from the far end of the corridor. A DOCTOR appears and leads the Old Woman away, still staring. Rachel looks away, unnerved. Someone has just walked in and is talking to the Receptionist. Rachel's view is obscured by the pillar and she leans slightly to see who it is. RACHEL'S P.O.V - YURI stands showing his press card to the Registrar. AT RECEPTION The Registrar passes the press card back. REGISTRAR Mr. Schevchuk is in room 414. Visiting time starts at eleven o'clock. You can take a seat over there. Yuri walks across the lobby, towards where Rachel is waiting, but as he clears the pillar we see her seat is EMPTY. ON THE OTHER SIDE OF THE PILLAR. Rachel waits for Yuri to pass and then slips back out of the lobby.","EXT. BABENKO HOSPITAL - CONTINUOUS. Rachel emerges - panicking. Time is almost up. What can she do?","EXT/INT. CAR. REAR OF HOSPITAL - MOMENTS LATER Rachel's car is speeding down a narrow road that runs behind the hospital. Two stone arches frame the road, where the building meets the hillside. RACHEL'S P.O.V - high fences - the forbidding facade of the hospital - rows of barred windows. Rachel is scanning the building, looking for some way in.","EXT/INT. CAR/REAR ENTRANCE - MOMENTS LATER Suddenly we pass a central arched entrance. A man is opening large double METAL DOORS for A LAUNDRY VAN to leave the hospital. It takes Rachel a few moments to register it. Then she BRAKES.","EXT. BACK OF HOSPITAL - MOMENTS LATER The LAUNDRY VAN is driving through the doors. It stops, engine idling, and the DRIVER begins to climb down to close the doors after him. Before he clears the side of the truck, Rachel slips into the darkness. The DRIVER, oblivious, reaches the doors and begins to swing them shut.","INT. BABENKO HOSPITAL - DAY Rachel runs up the staircase from the service area of the hospital.","INT. CORRIDOR. BABENKO HOSPITAL - DAY Long and bleak with rows of BARRED DOORS. Rachel runs on.","INT. WAITING AREA. BABENKO HOSPITAL -DAY. Yuri is writing in a notebook. The clock says : 10:50.","INT. ANOTHER CORRIDOR. BABENKO HOSPITAL - DAY Rachel reaches a junction - the vast, white corridors stretching away from her in different directions, like a nightmarish maze. She stares about her, picks a corridor and begins to run again.","INT. CORRIDOR/CENTRAL STAIRWELL - DAY Rachel reaches a MAP on the wall and scans it, frantically trying to locate the room she needs. She hurries on to an ancient looking ELEVATOR and gets in, jabs at the fourth floor button. With a groan of its motor the elevator begins to rise. CORRIDOR RACHEL'S P.O.V - TRACKING past rows of NUMBERED DOORS. Finally we reach it - ROOM 414. Rachel stares at the door.","INT. TOILETS. BABENKO HOSPITAL - DAY Rachel sits in a CUBICLE. She takes the BLACK CASE from her handbag and opens it. Inside is a pen. She lifts this and the false bottom of the case away to reveal a HYPODERMIC NEEDLE and an AMPULE of a clear liquid. With trembling hands she begins to prepare the injection. She ca n't quite believe what she is about to do.","INT. ROOM 414 - CONTINUOUS Rachel enters the room. The curtains are drawn and Rachel hesitates for a moment, her eyes adjusting to the gloom. A MAN sits in a chair, angled towards the window, his back to us. An IV drip hangs on a stand, its tube running into a cannula on the back of a withered hand which hangs from the chair. The only sound is the faint, rasping breath of the man. Rachel moves a little closer. On the bottom of the bed hangs a medical chart. The name reads Ivan Schevchuk. Rachel moves closer, carefully taking the HYPODERMIC NEEDLE from her pocket.","INT. BABENKO HOSPITAL - RECEPTION. DAY. A NURSE is unlocking the gate at the waiting area for Yuri. He walks through them and over to the ELEVATOR.","INT. ROOM 414 - DAY Rachel stands by the IV drip and tube. She can inject directly into the tube - and it will be over. She holds the tube, rests the tip of the needle against it. She struggles with herself. Just one tiny push. She ca n't do it. She stands frozen for a moment then slowly lowers the needle. Beside her, the steady breathing alters. The Man stirs and a cadaverous face half turns towards us. Rachel and Schevchuk stare at each other. The face is ancient, lined. but IT IS N'T THE FACE OF VOGEL. IVAN SCHEVCHUK -LRB- Weakly. -RRB- Are you the journalist? -LRB- Beat. -RRB- Do you know who I am? RACHEL -LRB- Beat, meaning it. -RRB- No. No, I do n't. IVAN SCHEVCHUK My name is Dieter Vogel. I am the Surgeon of Birkenau. -LRB- Beat. -RRB- Have you heard of me? RACHEL Yes. I've heard of you. Schevchuk looks at his withered hands. IVAN SCHEVCHUK -LRB- Simply. -RRB- I have killed thousands. You can take my photograph. The last photograph of the Surgeon of Birkenau? He struggles to raise his arm in the Nazi salute, a pathetic sick man. Rachel sits down at Schevchuk's desk, feeling suddenly exhausted.","INT. ELEVATOR - DAY Yuri stands in the elevator waiting for the doors to close. NURSE Hold the doors please. Yuri holds the doors, as the Nurse approaches, escorting an ELDERLY WOMAN with a walker - the two moving at a snails pace. Yuri watches, amused.","INT. ROOM 414 - DAY We CLOSE on Rachel, lost in thought. Beside her Schevchuk rambles on. IVAN SCHEVCHUK -LRB- O.S. -RRB- It comes down to blood. We were n't afraid of power. It was our destiny. The slave races had bred with apes. But we Aryans are descendants of the Theozoa who come from another planet. We were born to rule and to. He dissolves into a fit of weak coughing. Rachel stares at a NOTEPAD AND PEN on the desk beside her.","INT. CORRIDOR - DAY Yuri walks towards Schevchuk's room. He pays no attention to Rachel as he passes her, sitting on a bench, dialling her cell phone. She listens to the other end ring.","INT. TEL AVIV - STEPHAN'S OFFICE - CONTINUOUS Stephan is talking to a couple of OFFICIALS. His cell phone rings. STEPHAN -LRB- Answering. -RRB- Yes? RACHEL -LRB- O.S. -RRB- -LRB- Beat. -RRB- It is n't him. Stephan nods, a fixed smile on his face, covers the mouthpiece. STEPHAN -LRB- gesturing to Officials. -RRB- A family matter. Would you give me a moment? The two OFFICIALS leave the office, closing the door behind them. Stephan takes a a beat to calm his breathing. STEPHAN -LRB- CONT'D. -RRB- -LRB- Into phone. -RRB- You're sure?","INT. CORRIDOR. BABENKO HOSPITAL - DAY RACHEL It is n't him. It's over. STEPHAN -LRB- O.S. -RRB- Thank God. Thank God. This is wonderful. This is. and you're okay? Rachel? You're alright, yes? Rachel stares at the wall. Silence. STEPHAN -LRB- O.S. ; CONT'D. -RRB- Rachel? RACHEL You were wrong. STEPHAN -LRB- O.S. -RRB- Well, thank God I was, but. RACHEL About David. You were wrong about him. ON STEPHAN. smiling and gesturing `` one minute'' to the two officials on the other side of the glass partition. STEPHAN About David? RACHEL -LRB- O.S. -RRB- He did n't kill himself because he was afraid the story would come out. This gets Stephan's attention. ON RACHEL RACHEL When he came to see me, he was asking me for something. STEPHAN -LRB- O.S. -RRB- What? RACHEL My permission. And I did n't give it. I would n't let him tell the truth and he was tired of living with the lie. ON STEPHAN. mind whirring. He can sense something. STEPHAN Truth is a luxury, Rachel. Some people have to put other things first - their country, their people. their children. ON RACHEL Struggling not to cry. STEPHAN -LRB- O.S. -RRB- Sarah's so proud of you, Rachel. You have to think about her. RACHEL -LRB- Crying. -RRB- I want her to be proud of me. Stephan is desperate to talk her down from the ledge. STEPHAN -LRB- O.S. -RRB- -LRB- Soothing. -RRB- Of course you do. RACHEL I want to do something to make her proud of me. ON STEPHAN STEPHAN Rachel? Rachel? RACHEL -LRB- O.S. -RRB- People have to know the truth, Stephan. David was right. ON RACHEL STEPHAN -LRB- O.S. -RRB- Listen to me. RACHEL Goodbye. STEPHAN -LRB- O.S. -RRB- Rachel, listen to me! She hangs up. ON STEPHAN. listening to the dial tone, panic overwhelming him. There's a knock at the door and an ASSISTANT appears. ASSISTANT Sir? Stephan does n't move. ON RACHEL She sits for a moment, then stands up.","INT. CORRIDOR. HOSPITAL - CONTINUOUS LONG SHOT From the other end of the corridor, as the small figure of Rachel steps away from the bench. She straightens her scarf and wipes her eyes, then begins to walk towards us. REVERSE - ON RACHEL - OVER THE SHOULDER As she walks towards the end of the corridor.","INT. ANOTHER CORRIDOR. BABENKO HOSPITAL - DAY PULLING RACHEL As she moves down another corridor. She reaches an opening on her left, which reveals a STAIRCASE winding around a central lift shaft, caged in frosted glass panels. She glances through it as she passes. And just for a second we see an ELDERLY MAN walking down the stairs. Rachel has walked on a few steps before it registers, and she stops - VOGEL. She walks back to the opening. The figure seems to have retraced their steps, because they are now walking FURTHER UP the staircase, on the other side of the lift shaft - a shadowy figure through the frosted glass which quickly disappears from sight. Rachel stares after him, frozen. What did she just see?","INT. STAIRWELL. HOSPITAL - DAY She begins to climb the stairs.","INT. REC ROOM - DAY Rachel comes through double doors and finds herself in a long REC ROOM - PATIENTS and some STAFF grouped around the room. Rachel begins to walk through the room - elderly men all around her, playing cards, reading, some sitting staring vacantly. She walks through them, staring at faces. Is he here? Is he amongst this ordinary world? She feels her pace quicken as she's drawn on through the room. It's as if she's back at that terrible night. Vogel's ahead of her somewhere, escaping all over again. She FLASHES through DOUBLE DOORS into a junction area - a long, empty corridor leading away from her on the right, ahead another set of double doors. She bursts through these doors and finds herself in.","INT. LOCKER ROOM/BATHROOM - DAY A long, white tiled corridor of a room. A row of windows down the right, under which sit WASHBASINS. There's a row of LOCKERS and DOORS along the left. Rachel walks on, feeling increasingly as if she's in a dream. She's deep into the room before she realises it's a dead - end - there's no exit ahead of her. VOGEL -LRB- a dull rasp. -RRB- Why did you come? She turns and freezes. Vogel has emerged from one of the doorways on the left. Now he's between her and the doors on the far side of the room. VOGEL -LRB- CONT'D. -RRB- Why did you have to come? You did n't have to follow me. He begins to advance slowly towards her. VOGEL -LRB- CONT'D. -RRB- Was it Schevchuk? Did he talk? Rachel stands frozen as he creeps closer. He reaches out a hand as if to reassure her, a ghastly attempt at reasonableness. VOGEL I can stop him. I wo n't tell him anymore. -LRB- Almost pleading. -RRB- Nobody needs to know. As if the spell has broken Rachel makes a sudden dart for the doors. But before she can pass him, Vogel has moved with surprising speed and, almost before Rachel has seen the SCISSORS in his other hand, he has stabbed them into her shoulder. She reels over against the opposite wall, dislodging a GLASS SHELF which shatters into a WASHBASIN behind her. Vogel goes after her, pinning her against the basin, one hand on her throat, the other hand trying to stab her again. Rachel manages to grab the scissor hand and the two struggle frantically. The scissors inch closer to her FACE, to her EYE. Her other hand emerges from the basin behind her holding a piece of the broken glass shelf, which she whips across Vogel's face. He gives a horrible shriek and lets her go, clutching at his cheek. Rachel collapses gasping to the floor. Moaning, Vogel stumbles to a basin, blood dripping down onto the white porcelain from his slashed face. He suddenly notices Rachel has made it to her knees and is trying to crawl towards the door, He walks after her, pulls back her head, gets ready to stab the scissors into her throat. VOGEL You Jews never knew how to kill. Only how to die. Then he gives a gasp of pain, eyes closed, his whole body doubling with the pain, hands weakly scrabbling at the PIECE OF GLASS Rachel has stabbed into his thigh. He falls, almost on top of Rachel, and she finds herself pressed against his contorted face as he hisses and spits in agony. His hand searches blindly for the dropped scissors. Rachel grapples with him, almost embracing him, apparently trying to prevent him for reaching it. His searching hand locates the scissors and his eyes open in triumph, staring straight into Rachel's. He raises the scissors above his head. Then he stabs Rachel in the stomach. Rachel jack - knifes, as if she's been punched. Then. nothing. Both lie still. The only sound is Vogel's rasping breathing. Slowly Vogel gathers himself, drops the scissors, gets onto his knees - the victor. He climbs to his feet and begins to limp towards the door.","INT. CORRIDOR - DAY PULLING VOGEL. as he walks down the corridor, breathing hard, trying to make it back to his room, back to safety. Suddenly he staggers against the wall. Something's wrong, something in his back. He twists around trying to locate the source of the strange sensation. And there it is - the HYPODERMIC NEEDLE Rachel has stuck between his shoulders. He touches it with his fingertips, eyes wide with horror, feeling the rush of lethal chemicals through his blood. He twists again trying to pull the needle free but his legs are already giving way and he collapses to the floor. Moments later he's dead.","INT. WASHROOM - CONTINUOUS Rachel manages to turn over, starts to drag herself up. MUSIC begins.","INT. ROOM 414 - DAY As the music continues we see Yuri putting his coat on. He's evidently finished his fruitless interview with Schevchuk, who is sitting slumped by the window. Yuri turns, about to leave, when he suddenly notices a NOTE upon the desk, ADDRESSED TO HIM. Surprised, he picks up the note and begins to read it. INSERT We see the first line - `` My name is Rachel Singer.''","EXT. BABENKO HOSPITAL - CONTINUOUS The road at the back of the hospital. The music continues as we TRACK with Rachel, staring steadily ahead, walking slowly down the long road, her coat pulled around her. In the distance, framed between the arches, her abandoned car. Blood begins to spot the ground behind her. YOUNG RACHEL'S P.O.V - THE PAST We are in darkness. Then a DOOR opens ahead of us and slides to one side revealing an oval of brilliant white light. Slowly we TRACK FORWARD towards the harsh light. OLDER RACHEL. walking on towards her car. MILITARY AIRBASE. ISRAEL - THE PAST YOUNG RACHEL'S P.O.V - We're at the top of an AIRPLANE STAIRWAY, which leads down to the runway below, and two lines of waiting DIGNITARIES, applauding. OLDER RACHEL Walking on - a small lone figure against the white of the snow. MILITARY AIRBASE. ISRAEL - THE PAST The three YOUNG PEOPLE begin their descent down the stairs towards the WELCOME PARTY. OLDER RACHEL. tiny, framed within the two arches. Still moving towards the car. MILITARY AIRBASE. ISRAEL - THE PAST We CLOSE on Young Rachel as she blinks against the harsh sunlight, takes out a pair of sunglasses and slips them on. Then she steps forward to accept her reward. FADE OUT"],"string":"[\n \"INT. CARGO PLANE. MILITARY AIRBASE. ISRAEL - DAY A strange ROARING sound. CLOSE ON A YOUNG WOMAN. in darkness. Light begins to spill on her from the right - revealing her face, lost in thought. This is RACHEL SINGER - pretty, painfully young looking. A surgical dressing covers half her face. As we pull back a little we see that two YOUNG MEN sit either side of her. They are STEPHAN GOLD -LRB- thirties -RRB- thick - set, capable, and DAVID PERETZ -LRB- late twenties -RRB-, dark - haired and pale - faced. The three faces in the darkness, each looking straight ahead - something from a Caravaggio painting. The roaring, which we realise is the sound of ENGINES, gradually runs down into silence. The light from the bay door which is opening off - screen begins to flood the scene with HARSH DAYLIGHT, revealing the inside of a CARGO PLANE. Stephan turns to look at the growing light. Then he turns to Rachel. STEPHAN Breathe. He stands. Rachel turns to look at David but he is standing too, his face a mask. Rachel gathers herself, then stands and turns to follow the other two, walking towards the light. As the three approach the opening and descend the ramp of the bay door, we hear a woman's voice : SARAH -LRB- V.O. -RRB- We should never forget how young they were.\",\n \"EXT. AIRBASE RUNWAY. ISRAEL - DAY TRACKING THE THREE. as they walk across the tarmac - first Stephan. SARAH -LRB- V.O. ; CONT'D. -RRB- My father, Stephan Gold, was the youngest Unit Commander in Mossad. David is next. SARAH -LRB- V.O. ; CONT'D. -RRB- David Peretz had his twenty - ninth birthday while on the mission. Then Rachel. SARAH -LRB- V.O. ; CONT'D. -RRB- My mother was even younger. Only twenty - five. RACHEL'S P.O.V Silhouetted against the bright light is a group of waiting MILITARY and MOSSAD DIGNITARIES. Their hands are raised in applause. SARAH -LRB- V.O. ; CONT'D. -RRB- Despite their youth they'd had the courage to confront an unimaginable evil. The three walk towards their welcoming party. Rachel blinks against the sunlight, takes out a pair of sunglasses and slips them on.\",\n \"INT. FUNCTION ROOM. HOTEL NEAR TEL AVIV - DAY CLOSE ON OLDER RACHEL. now 56. Handsome, impeccably groomed. A long crooked SCAR runs down one side of her face. SARAH -LRB- O.S. -RRB- a man whose sadistic experiments left thousands disfigured or dead, who became known by a name which defiles the annals of medicine : The Surgeon of Birkenau. She's wearing tinted glasses, staring at us, listening to Sarah speak. REVERSE Rachel's daughter - SARAH - stands at a podium, reading the Dedication to a rather large audience who have come for the launch of her first book. She's 31, and clearly her mother's daughter. The cover image from the book is projected on a screen behind Sarah - a black and white photograph of a young Rachel, David and Stephan. Above their faces, the title - In Our Hands. SARAH Their mission had been to return him to Israel to stand trial. Instead it ended with his death on the streets of East Berlin.\",\n \"EXT. MILITARY AIRBASE. ISRAEL - DAY - THE PAST CLOSE ON YOUNG RACHEL. as she waits behind David and Stephan, face bleached out by the sunlight. She stares at the ground. SARAH -LRB- V.O. -RRB- But this was not what was celebrated. It was their youth itself that became a symbol. Here were the children who had faced Israel's greatest nightmare, her greatest pain. David and Stephan have moved out of shot and Rachel reaches the DIGNITARIES. Still looking down, she manages a smile, a bob of her head, reaches out to shake the first hand.\",\n \"INT. FUNCTION ROOM. HOTEL NEAR TEL AVIV. DAY CLOSE ON OLDER RACHEL. lost in the memory. SARAH -LRB- O.S. -RRB- and in the simple act of facing the Monster, had helped to vanquish it. Sarah, has finished reading and looks for her mother in the audience. SARAH -LRB- O.S. ; CONT'D. -RRB- This book is dedicated to my inspiration. My mother, Rachel Singer. People around Rachel begin to applaud, the sound almost startling her. Automatically she gives the same bob of the head, acknowledging the applause. Sarah, cheeks burning with a mixture of embarrassment and emotion, has n't finished yet. She locks eyes with her mother. SARAH -LRB- CONT'D. -RRB- Mother, I'm so very proud to be your daughter. More applause. Rachel manages to smile.\",\n \"INT. FUNCTION ROOM. HOTEL NEAR TEL AVIV - LATER The room is now alive with the excited chatter of the guests. Rachel moves against the tide of the audience with a fixed social smile, murmuring thanks to well - wishers, trying to get out, trying not to look like she's trying to get out.\",\n \"EXT. TEL AVIV. HOTEL NEAR TEL AVIV. PATIO - CONTINUOUS She emerges onto the empty patio, slides the glass door shut behind her, muffling the chatter from the room beyond. She lights a cigarette, inhales greedily, trying to calm down. She stares at the sun blazing over the Mediterranean ahead of her. Her glasses darken against the reflected glare. As if sensing something she turns to see a SMALL BOY - her GRANDSON - watching her from behind the glass of the patio door, something UNNERVING in his direct gaze. Rachel stares back at him in silence. Sarah appears behind the boy, her son, and scoops him up into a hug. Still the boy stares at his grandmother, who gives a tight smile and turns back to the sea. Another guest walks up to Sarah and she nods, smiling, at what he is saying to her but her eyes slide back to her mother, standing on the other side of the glass.\",\n \"INT./EXT. APARTMENT BLOCK. TEL AVIV SUBURB - DAY A shabby, dimly - lit stairwell in a run - down section of the city. A YOUNG MOSSAD AGENT knocks at one of the apartment doors. After a moment it is answered by OLDER DAVID, now 62. YOUNG AGENT David Peretz? DAVID Yes. YOUNG AGENT You were expecting me? David looks at this young version of himself. DAVID Yes. I was expecting you. YOUNG AGENT Would you come with me sir? David stares at him, then walks back into the apartment. The door almost swings shut and the Agent catches it, considering walking in after him. But before he can, David re - emerges carrying his jacket. DAVID Let's go. TITLES BEGIN - We TRACK with David, CLOSE on his face as the two men begin the long walk down the staircase. He does n't say anything to his companion, does n't look around him, and we HOLD on that face as his mind tries to catch up, tries to work something out, to decide.\",\n \"EXT. STREET - CONTINUOUS The apartment block stands on stilts. Abandoned furniture is piled around the columns supporting the building. Still on David as the two men walk out from the darkness into the street that services the run - down estate. David follows as the agent moves ahead towards a larger road. They cross a busy carriageway, and wait for a moment on the central reservation for a break in the traffic. Parked on the far side of the road, two identical cars, their windows tinted. The Agent moves to the leading car, opens the driver's door and gets in. David stops in the road, opens the rear passenger door and throws his jacket inside. He pauses for a moment and turns to look back at the second car.\",\n \"INT. CAR - CONTINUOUS A MAN sits in the back of the car, silhouetted against the brightness outside. This is OLDER Stephan, now 63. He watches as David straightens up, hands on hips, squinting up at the sun.\",\n \"EXT. STREET. TEL AVIV SUBURB - CONTINUOUS DAVID -LRB- Indistinctly. -RRB- Sorry. The Agent turns. YOUNG AGENT What, sir? DAVID -LRB- Beat. -RRB- I - I think I. He stands like that for a moment and then suddenly STEPS OUT INTO THE ROAD in front of an on - coming TRUCK. The impact sweeps him out of the frame. The shocked Agent scrambles out of the vehicle as other cars screech to a halt in front of David's lifeless body. TITLES END.\",\n \"EXT. TERRACE. HOTEL NEAR TEL AVIV - NIGHT A celebratory dinner for the book launch is in progress - publishers, journalists, local dignitaries. Rachel is re - joining the table, taking her place beside her daughter amidst the dinner party chatter. Sarah watches her. SARAH When are you going to stop? RACHEL Stop what? SARAH The smoking. RACHEL Soon. SARAH I hope so. Do it for your grandson. SARAH Are you sure you have to go back home tomorrow? RACHEL It's all arranged, I'm afraid. SARAH But we'll have breakfast before you go? I thought maybe we could take a walk on the beach? -LRB- Trying to sound casual. -RRB- I'd like you to see more of him. A WAITER leans over with WINE for Rachel. She covers her glass. RACHEL -LRB- To Sarah, ill - at - ease. -RRB- Well, I'll be back. We can. maybe in the holidays or. MIRIAM, a PUBLISHER appears at her shoulder with a copy of Sarah's book. MIRIAM I've marked the place. I thought perhaps from chapter eleven? RACHEL Yes, thank you. Rachel nods absently, flicking through the pages of the book. Sarah realizes, with a small stab of pain, that she has no idea what that means. SARAH If you'd rather read something else, mother. RACHEL No, that's fine. Rachel is barely listening. She is staring at a black and white photograph in the book. We see that the photograph is of a YOUNG MAN in NAZI UNIFORM. It's titled : DIETER VOGEL, `` The Surgeon of Birkenau.'' MIRIAM You must be very proud. Rachel looks up at her, realizes what Miriam is talking about. RACHEL -LRB- A little automatic. -RRB-. It's a wonderful achievement. I'm very proud of her. MIRIAM And I'm sure you were invaluable in the research. SARAH -LRB- Keeping it light. -RRB- Actually, my mother withstood all interrogation. My father was the talker. -LRB- Trying a joke. -RRB- I'm the only journalist in Israel she wo n't speak to. Miriam laughs obligingly but Sarah instantly regrets the remark. There is a sudden excited MURMUR from the table. The women look over to where Stephan approaches the table. He is in a motorised WHEELCHAIR. The Mossad Agent attends discreetly in the background. Rachel's face hardens. RACHEL I thought he could n't come. SARAH -LRB- Standing up, surprised. -RRB- So did I. Several of the local POLITICOS have stood up to greet Stephan, who is all smiles and handshakes. STEPHAN -LRB- To the politicos. -RRB- Please, sit, sit. My God, it must be election season. There's good - natured laughter from the table. Sarah joins her father, kissing his cheek. SARAH You came. STEPHAN I came. So you're the famous author I've heard so much about? Rachel watches as he takes a place at the table, picks up a copy of the book and examines the cover photograph, holding his glasses a little from his eyes to focus. STEPHAN -LRB- CONT'D. -RRB- -LRB- Without looking. -RRB- Rachel. RACHEL Stephan. STEPHAN -LRB- To Sarah. -RRB- Now you're the expert, maybe you could tell me something. -LRB- Pointing to himself. -RRB- Who's this handsome devil on the cover? More polite laughter from the table. STEPHAN -LRB- CONT'D. -RRB- It went well? SARAH'S HUSBAND She was wonderful. STEPHAN That's good. Good, good. That's very good. Rachel takes a sip of water and notices Stephen's hands, crumbling some bread - they're SHAKING. She looks up at his face, reads the hidden STRAIN there. He senses her gaze and meets it, and for a second his smile falters and SOMETHING LIKE PANIC flickers in his eyes. Rachel stares back at him, disturbed. Miriam stands, tapping her glass with her fork. MIRIAM I just want thank you all for coming to help us celebrate the launch of this wonderful book. I'm sure we're all particularly thrilled to have two of the heroes of this story at the table. And even more thrilled that one of them has agreed to read for us. Applause. She gestures to Rachel who stands, still looking at Stephan. The table quietens down. Rachel opens the book at the marked place and hesitates, only now realising what she is about to read. Then. RACHEL -LRB- reading. -RRB- `` On the evening of the 31st of December, it began to rain more heavily. So isolated had they become from the outside world that it was only when she looked out of the window that Rachel remembered it was New Year's Eve.\",\n \"INT. KITCHEN. BERLIN SAFE HOUSE - NIGHT - THE PAST Young Rachel stands in the small kitchen. Rain lashes on the window. She stares out at some FIREWORKS exploding nearby, then turns away and begins to gather three METAL SAUCEPANS from the shelves. We TRACK with her as she walks into the. LIVING ROOM And begins to place the pots on the floor to catch the rainwater which is dripping through various points in the ceiling. As she positions the last pot we REVOLVE around her to get our first view of the far wall. And there, tied to a radiator, is DIETER VOGEL, now 50. He's bound, his mouth taped, apparently asleep. Rachel does n't, of course, react to this sight. Instead she begins to clear away some pieces of BROKEN GLASS BOWL from the floor. We TRACK with her as she walks back down the short hallway into the kitchen, drops the pieces of bowl into the bin. From the living room comes the three distinct PINGS of rainwater dripping in the pots. She stops suddenly, puzzled. It's a moment before she works out what she's noticed - something has changed in the sound of the rainwater next door. There are only two drips instead of three. She walks back towards the living room. RACHEL'S P.O.V - through the living room door we can see that one of the pots has been overturned. Rachel slows to a stop. A sudden wave of adrenalin causes her to turn but. it's too late. Vogel steps out of the alcove he's been standing in so that he is directly in front of her. Before she can even cry out he has slashed her face open with a SHARD OF GLASS. Instinctively she cups her hands to her ripped face. Vogel grabs her by the hair and stepping behind her, tries to worm his other hand underneath her raised arms to reach her throat with the glass. Her training kicking in, Rachel uses a krav magah move to grab and twist Vogel's forearm, breaking his hold on her and turning the arm until, with a yell of pain, Vogel drops the shard. He swings wildly at her, but Rachel ducks the fist and drives the palm of her hand up into his face. Vogel stumbles back, surprised by her speed and the sudden pain of the blow. Rachel is about to press home the attack but is blinded by blood from her wound washing into her eyes. As she wipes her eyes clear, Vogel grabs a LAMP from a small chest of drawers in the hall and smashes it into her face. She falls. Vogel begins to run, but, driven by adrenaline and desperation, Rachel scrambles onto all fours and lunges at him, catching hold of his trouser leg as he moves towards the front door. Vogel stumbles, manages to pull a leg free and stamps down on Rachel who lets go with a moan. He stamps again, steps free and kicks her hard in the head. Rachel rolls with the force of the kick and comes to a rest, losing consciousness. RACHEL'S P.O.V - LOW ANGLE - Fluttering in and out of darkness - Vogel's feet as he stands beside us, breathing hard. Then he turns and hurries to the front door. and out.\",\n \"EXT. WALKWAY. BERLIN SAFE HOUSE - NIGHT. Vogel hurries along the walkway and sets off DOWN THE SPIRAL STAIRCASE of the apartment building.\",\n \"INT. BERLIN SAFE HOUSE. NIGHT. Rachel lies motionless. Then a cough. And another. And finally she rolls over, holding her gaping cheek with one hand, and drags herself towards the CHEST OF DRAWERS.\",\n \"EXT. STAIRWELL - NIGHT Vogel runs down the spiral staircase.\",\n \"INT. HALLWAY - NIGHT With difficulty, Rachel pulls out a GUN fitted with a silencer. and pulls herself towards the door.\",\n \"EXT. STAIRWELL - NIGHT Vogel's dwindling figure as he nears the bottom of the stairs.\",\n \"EXT. WALKWAY - NIGHT Streaming blood from her face, Rachel heaves herself out of the apartment towards the railings guarding the walkway. We hear the clatter of Vogel's feet on the stairs below. She raises the gun to the railings, to take aim.\",\n \"EXT. COURTYARD - NIGHT Bursting from the stairwell, Vogel starts to run across the courtyard towards the street.\",\n \"EXT. WALKWAY/COURTYARD - NIGHT Rachel's aim follows Vogel's lunge for the gateway. RACHEL'S P.O.V There is a lurid flash of fireworks from nearby and for a moment we see Vogel lit, about to make it to the gate and disappear forever. Rachel FIRES. A single shot. And, improbably, incredibly, the tiny figure of Vogel drops. Rachel hangs over the banisters far above us, gun in hand, staring at us with disbelief.\",\n \"EXT. TERRACE. HOTEL NEAR TEL AVIV - NIGHT Rachel finishes reading and puts the book down. Nobody moves. The air of bonhomie has been replaced by an uneasy silence. Not knowing what else to do, one of the guests begins to clap and the others hurriedly join in. Rachel does n't acknowledge the applause. Stephan is staring at her with a STRANGE INTENSITY.\",\n \"INT./EXT. STEPHEN'S CAR. TEL AVIV - NIGHT Stephan and Rachel sit in the back of the car. Behind a screen the young Mossad Agent we saw earlier sits in the front next to the Driver. Tel Aviv races by in neon smears. The air is charged with tension. RACHEL -LRB- Of the driver. -RRB- He's driving too fast. Stephan ignores her. She turns to the window, watches as they streak past another car. RACHEL -LRB- CONT'D. -RRB- This is ridiculous. What's so important? Tell me where we're going? STEPHAN We're going to David's apartment. Rachel turns to him, startled. RACHEL David? STEPHAN I keep track of people Rachel. It's my job. -LRB- Beat. -RRB- I know he came to see you yesterday. RACHEL -LRB- contemptuous. -RRB- What's this? The jealous ex - husband or the intelligence officer? STEPHAN A little of both. What did he want? RACHEL Fuck you. STEPHAN What did he tell you? Something about his intensity unnerves her. RACHEL He did n't tell me anything. -LRB- Off his look. -RRB- He did n't! He told me where he'd been travelling, that he'd been teaching. We spoke for a few minutes and then I had to go. Stephan is still staring at her, reading her. RACHEL -LRB- CONT'D. -RRB- -LRB- Bristling. -RRB- If you do n't believe me ask him yourself. And then he ca n't keep it from his face - and she knows. Something terrible has happened.\",\n \"INT. LIVING ROOM. DAVID'S APARTMENT - NIGHT Stephan sits in the middle of the squalid living room, lost in thought. BEDROOM Rachel walks slowly though the room, taking it all in - the little islands of occupation, the places where David sat, read, slept. Piles of newspapers. Used cups. A mound of laundry. ON Rachel as she looks about her, looking for something, some sign from the man she knew. But there's nothing personal here. These are the rooms of a man who had no real home. BATHROOM Rachel walks in and switches on the light. She stares around the dirty bathroom. CLOSE ON YOUNG DAVID. turning to face us, the beautiful smile. BACK ON OLDER RACHEL. as she begins to cry. LIVING ROOM - CONTINUOUS Stephan sits listening to her breaking down. LIVING ROOM - LATER Rachel sits on the couch. RACHEL Why did he do it? Stephan looks at her, considering. He takes out a sheet of PRINTED PAPER, hands it to her. She reads some of the first page, then looks up at him. And now we see it on her face too. Fear.\",\n \"EXT. STAIRWELL OUTSIDE DAVID'S APARTMENT - NIGHT The Mossad Agent sits on the stairs, smoking. As the door behind him opens he stands aside and watches Rachel SWEEP past him down the stairs, without giving him a glance.\",\n \"INT. RACHEL'S HOTEL - NIGHT Rachel is packing, folding clothes neatly, precisely, silently - all the time a terrible tension in her movements. She tries to close a drawer but it sticks, She keeps trying, then in a sudden rush of fury yanks the drawer free and hurls it across the room. She stands breathing hard.\",\n \"EXT. PATIO TERRACE/BEACH. HOTEL NEAR TEL AVIV - DAY The next day. Tables under umbrellas are ranged along the terrace. Sarah and her husband are on the beach below, playing with their son, laughing. As if feeling our gaze, she looks up at us, shielding her eyes against the sun. REVERSE Rachel sits at a table with Stephan, watching her daughter. Stephan takes out an ENVELOPE and passes it to her. She opens it and examines the contents - an AIR - PLANE TICKET and TWO PASSPORTS. Stephan takes out a small BLACK CASE and slides it across the table towards her. She turns to look at it with disgust, KNOWING WHAT IT IS. Then she takes it and puts it in her handbag. STEPHAN My car's waiting outside. It can take you to the airport. Rachel turns back to stare at her daughter. ON THE BEACH Sarah, playing with her son, glances up once more at her mother on the patio. SARAH'S P.O.V Rachel stands, an elegant woman at breakfast, her dark glasses, her suit. She raises a hand and waves. Puzzled, Sarah waves back, then watches as her mother begins to walk away from her.\",\n \"INT. LOBBY/STREET - DAY PULLING RACHEL. as she walks from the bright light of the patio into the relative darkness of the hotel lobby, suitcase in hand, face set, steely. We TRACK with her as she emerges from the shadow of the hotel back into the bright sunshine of the street and starts to walk along the sidewalk. After a moment a CAR purrs alongside. She ignores it for a moment, keeps on walking, the car cruising beside her. Finally, almost angrily, she stops and gets in. The YOUNG AGENT sits in the back seat next to her. The car pulls smoothly away.\",\n \"EXT. TEL AVIV AIRPORT - DAY Rachel climbs from the car and walks towards the building, pulling her wheeled suitcase. The young agent has climbed out and moves swiftly ahead of her, waiting as she passes into the departure building.\",\n \"INT. AIRPORT PASSPORT CONTROL - DAY Rachel looks down at her passport. We see her PHOTOGRAPH and name - RACHEL SINGER. She hardly reacts as the agent ushers her to the front of the queue. An Officer takes her passport, and as he checks it, we see.\",\n \"INT. CHECK-POINT CONTROL BOOTH. EAST BERLIN - DAY - THE PAST the passport again. We're now looking at the black and white image of YOUNG RACHEL. The name beneath it is ELSA ROGET. The passport is slid back across the counter and we find ourselves in.\",\n \"EXT. CHECK-POINT. EAST BERLIN - DAY Rachel takes her passport back from the BORDER GUARD and walks forward, past the barrier into EAST GERMANY. RACHEL'S P.O.V A CROWD of people are waiting beyond the check - point for their loved ones. They're all looking eagerly at us. Only one YOUNG MAN has his back to us, turning away to light a cigarette. Then he turns - Young David - a fine, sensitive face, darkly shadowed eyes. This is the SHOT we saw earlier. A moment when we see how anxious he is to play his part right. Then he smiles his beautiful smile. Supered TITLES read `` East Berlin, 1965.'' Rachel walks up to him and after a fractional hesitation they embrace. DAVID -LRB- In German. -RRB- How was your trip? RACHEL -LRB- German. -RRB- Fine. Everyone sends their love. DAVID You've cut your hair. HIGH ANGLE David takes her suitcase, and they begin to walk away, hand in hand, along the BERLIN WALL. Finally. DAVID I'm David. Rachel nods, embarrassed. RACHEL Rachel.\",\n \"EXT. ANOTHER STREET - DAY They have turned into another, quieter street. David lets go of her hand, and they walk on.\",\n \"EXT. COURTYARD/BALCONY. APARTMENT BUILDING - DAY A figure leans over the railing on the crumbling balcony at the top of the building, smoking a cigarette, watching. This is YOUNG STEPHAN. HIGH SHOT - POV David and Rachel are coming through the iron gate into the run - down looking courtyard. A MIDDLE - AGED WOMAN - the building's only other occupant - watches the couple as the pass, David murmuring a greeting.\",\n \"INT./EXT. STAIRWELL - DAY A brief glimpse of the couple climbing the winding stairs - a view we have seen before.\",\n \"INT. EAST BERLIN - SAFE HOUSE. DAY The place looks like a squat. YOUNG Stephan sits playing idly at a battered old upright piano, a cigarette in his mouth. He looks up as David and Rachel walk in and stand framed in the doorway, looking every inch the young married couple. Stephan looks at them for a beat, then starts to play the first few bars of Mendelssohn's wedding march. The other two blush furiously, not amused. Rachel takes her case from David. RACHEL Where do I sleep? STEPHAN You're in my room. He waits just long enough to enjoy her reaction. STEPHAN -LRB- CONT'D. -RRB- I'm moving in with him. -LRB- Beat. -RRB- You're at the end there. She nods and walks off.\",\n \"INT. KITCHEN - LATER Stephan is smoking. David sits at the table. He is using a file to create a notch at the bottom of a thin strip of sprung steel. Both men can hear the BATH RUNNING in the bathroom, both very aware of this new female presence in the house they've been sharing together for the last month. STEPHAN What do you think of your new wife? David frowns at the steel strip, seeming preoccupied. DAVID Too young. Stephan watches him, amused. STEPHAN Pretty. David shrugs. STEPHAN -LRB- CONT'D. -RRB- You did n't notice. He begins to sort his possessions out. STEPHAN -LRB- CONT'D. -RRB- You know what I've noticed? You do n't notice women. I've noticed that. How long have I known you? DAVID -LRB- examining the steel. -RRB- I do n't know. STEPHAN Two years. All the places we've been to. You do n't look at women. Before I get into that bed, is there anything you have to tell me? David sighs, blows on the steel strip and holds it up for Stephan to examine. We hear the bathroom door open and there is a quick glimpse of Rachel wrapped in a towel as she slips past the door heading for her room. The two men watch her pass. Stephan turns and catches David's expression. STEPHAN Well, well. I think he just noticed.\",\n \"INT. SAFE HOUSE - RACHEL'S ROOM - NIGHT Rachel sits on her bed drying her hair. She stops, listening to the indistinct murmur of the men's voices from the room next door. Rachel leans towards the wall, trying to hear more but the voices fall silent.\",\n \"INT. SAFEHOUSE - MORNING David, holding a kitchen knife, MOVES TO STAB Stephan. Stephan uses a krav magah move to disarm him. The knife clatters to the floor as he twists David's arm behind his back. There's an element of showing off and Stephan uses a little more force than is necessary. David winces but does n't say anything. Stephan turns to Rachel who has been watching. STEPHAN Yes? Rachel nods and they change places. David picks up the knife and repeats the `` attack'' move on her. She disarms him easily. STEPHAN -LRB- CONT'D. -RRB- Now an attack from behind. David takes his position, grabbing Rachel from behind, but he's so awkward with her the attack seems a little tentative. Stephan talks as Rachel practises breaking free from the hold. STEPHAN -LRB- CONT'D. -RRB- Where have you come from? RACHEL Argentina. STEPHAN Really? Whereabouts? RACHEL Cordoba. STEPHAN What were you doing there? RACHEL My husband is an Industrial Chemist. Stephan glances at David, amused. STEPHAN He does look like a chemist. David grabs Rachel again, once more holding back a little. STEPHAN -LRB- CONT'D. -RRB- She's not going to fucking break, David. Move. He takes David's place. STEPHAN -LRB- CONT'D. -RRB- What were you doing before this? RACHEL Before Argentina we lived in Hungary where my husband studied. Stephan is smiling. She realizes he's talking about Mossad. RACHEL -LRB- CONT'D. -RRB- Oh. Liaison. STEPHAN And what did you do in Liaison? RACHEL -LRB- Beat. -RRB- Translator. Stephan looks even more amused. STEPHAN So, first time in the field. Rachel feels herself blush a little angrily. Stephan grabs her from behind and Rachel executes a perfect break, twisting Stephen's arm. Stephan winces, surprised. STEPHAN -LRB- CONT'D. -RRB- Good. That's. good. David gives the slightest of smiles. DAVID Welcome to Metsada.\",\n \"INT. BERLIN SAFE HOUSE - RACHEL'S BEDROOM. NIGHT. Rachel lies in bed, restlessly playing with a locket around her neck. Giving up on trying to sleep, Rachel rises from the bed, throws on a robe and pads out of the room.\",\n \"INT. BERLIN SAFE HOUSE - LIVING ROOM. CONTINUOUS. and into the living room. She sits down at the table, stares at a FILE before her. She hesitates then opens it, forces herself to look at the terrible PHOTOGRAPHS inside - a pile of severed legs, bodies covered in mustard gas wounds, phosphorus burns, a naked woman, barely a skeleton, held up by two Nazi nurses, a row of DEAD BABIES, rulers laid beside them to indicate dimensions. Rachel stares at this last image, overwhelmed. HALLWAY David stands watching her through the half open door. He makes a small move - perhaps to go to her - then stops himself and slips back into the darkness.\",\n \"EXT. STREET - MORNING A tram trundles down the wide Berlin street. Rachel and David are walking to Vogel's surgery, holding hands. She's pale, very frightened. David walks, trying, and failing, to think of anything to say to her. He suddenly notices an odd sound. It's Rachel, humming tunelessly to herself, very low. Something about this pierces him. He gives her hand a squeeze.\",\n \"EXT. CLINIC - DAY The two stand in the doorway, at the foot of the stairs leading into the clinic, their husband and wife routine. DAVID -LRB- In German. -RRB- I'll be waiting for you. She nods, trying to smile. RACHEL -LRB- her throat is tight. -RRB- I wo n't. be long. They kiss. She turns to go, looking so young and lost. David hesitates, staring after her, then walks quickly away. Rachel walks up the steps towards the entrance.\",\n \"INT. WAITING ROOM. DAY. A large NOTICE BOARD covered with photographs of grateful smiling MOTHERS holding their NEWBORN BABIES - row upon row of new life. Rachel sits staring at the board. She turns her attention to the frosted glass door to the doctor's surgery. Indistinct shadows move on the other side. She turns to look at the other two women sitting looking through magazines, then back to the door. A shadow darkens as it approaches the glass, then the door opens and a NURSE leans out. -LRB- All dialogue at the clinic is in German, subtitled. -RRB- NURSE Frau Roget? With a smile, the Nurse gestures for Rachel to enter.\",\n \"INT. EXAMINATION ROOM. DAY. Rachel stands behind a SCREEN, trying to control her nerves. All we can hear is the sound of RUNNING WATER and Rachel's tense breathing. Finally she takes off her skirt and unbuttons her blouse with trembling fingers. She puts on the gown, and slips out of her underpants, stumbling as she steps out of them. We TRACK with her as she walks out from behind the screen into the large brightly lit room. She walks towards the GYNAECOLOGICAL CHAIR at the centre of the room. On the far wall, behind a screen, someone stands washing their hands at a basin. As she walks, Rachel passes a tray of MEDICAL INSTRUMENTS, her glance lingering on it. She reaches the chair and climbs onto it. A pause and then, tentatively, she lifts her feet into the stirrups, tugging the gown to cover herself as best she can. She tries to steady her breathing, focussing on the ceiling. A bright LIGHT shines down on her. We hear footsteps approach. Rachel closes her eyes. VOGEL Good morning, Frau Roget. I'm Doctor Bernhardt. Rachel opens her eyes. Vogel is sitting on a small stool, taking a speculum from the tray of instruments, his back to us. RACHEL Good morning, doctor. He turns and smiles at us - and he has a wonderful, warm smile, the air of a gruff but kindly Uncle. VOGEL Alright now, just relax. We're going to do a little examination. If you feel at all uncomfortable, you just say. Alright? She manages to nod. VOGEL -LRB- CONT'D. -RRB- Alright, this is my hand. and this is the speculum. It's going to feel cold. Rachel reacts as Vogel pushes the speculum into place, opens it and begins the examination. She stares up into the light. VOGEL -LRB- CONT'D. -RRB- Can I ask how old you are? RACHEL Twenty five. VOGEL And how long have you and your husband been trying for a baby? RACHEL Nearly two years. VOGEL Uhuh. Well, the ovaries look fine. Alright, let's see. your cervix is slightly retroverted. Tilted backwards? Rachel raises her hand to her LOCKET NECKLACE and begins to fiddle with it. RACHEL Really? The angle from which we next see VOGEL, and the way the image of his face freezes in black and white, tells us clearly that this locket conceals a CAMERA DEVICE. VOGEL Mmm. But that generally should n't affect fertility. RACHEL Oh, good. VOGEL You have a slight accent, Frau Roget. Where are you from? RACHEL Argentina. We just moved here. A few months ago. VOGEL Whereabouts in Argentina? Buenos Aires? He looks up at her and Rachel instinctively moves her hand away from the locket. She finds herself nodding. Vogel looks away again. Rachel bites down on a wave of panic. VOGEL -LRB- CONT'D. -RRB- Oh, Buenos Aires. Beautiful. I went once, when I was young. We went to the Opera house I remember. What's it called again? Rachel stares at the light. Beat. RACHEL Teatro Colon. He turns back to her, holding a swab, the warm smile. VOGEL That's right. Beautiful. This might sting a little, dear. Rachel winces. VOGEL -LRB- CONT'D. -RRB- I'm sorry. Now, there's a couple of tests we need to run, make sure there are no problems. Is that alright? Rachel nods. He pats her hand. VOGEL -LRB- CONT'D. -RRB- Brave girl.\",\n \"EXT. CLINIC - DAY Rachel walks out and finds David waiting, smoking. He takes her hand and they walk off without speaking.\",\n \"EXT. QUIET STREET - DAY The two turn the corner, out of sight of the clinic. David glances at her. She looks pale, shaken. He feels a wave of sudden tenderness for her, opens his mouth to say something then catches himself. CLOSE on their hands. After a moment David LETS GO. They walk on.\",\n \"INT. BAR - DAY Stephan sits at a table. Rachel and David appear beside him and join him. There is an awkward silence for a moment. Stephan sips his coffee. STEPHAN -LRB- in German. -RRB- So. Everything? RACHEL -LRB- in German, abruptly. -RRB- Next appointment is on Wednesday. She looks at David but he is staring at the table. Like Stephan he is uncomfortable with the thought of what Rachel has been through. She takes his hand. He looks up, surprised, searches her face. But then Rachel lets go and walks off towards the toilets. David looks down at the SILVER LOCKET lying in his palm.\",\n \"EXT. STREET - DAY Stephan walks down the street. A SMARTLY DRESSED MAN walks towards him, absently jingling his CAR KEYS in his hand. As he nears Stephan, the man fumbles the keys and they drop. Stephan dips down to pick them up and hands them back to the man with a smile. SMARTLY DRESSED MAN Vielen dank! STEPHAN Bitte sehr. The two continue on their way, and we follow the smartly dressed man, closing in on his hand, in which he now holds his keys AND THE LOCKET. We see him tuck it into his jacket pocket as he walks on.\",\n \"EXT. RAILWAY STATION - FOOTBRIDGE - EARLY EVENING The FOOTBRIDGE which crosses over a closed RAILWAY STATION below. On either side of the bridge runs a barbed wire topped FENCE. A few PEDESTRIANS cross the bridge in the early evening gloom, intent on getting home. David and Stephan appear, walking over the bridge towards us. David's eyes flick to the tracks ahead and below as a TRAIN begins to thunder by. Stephan begins to COUNT softly to himself as the train runs below his feet. STEPHAN One, two, three, four, five, six. DAVID -LRB- O.S. -RRB- It's a ghost station.\",\n \"INT. KITCHEN. SAFE-HOUSE - EVENING A hand - drawn plan of a RAILWAY STATION is on the table. David indicates the tracks on the plan. DAVID West Berlin trains pass through East Berlin on this track, but do n't stop. STEPHAN Usually. He raises a lighter to the cigarette in his mouth.\",\n \"EXT. RAILWAY BRIDGE - EVENING As the train disappears into the gloom and Stephan slows to light his cigarette. Beside him David's eyes flick to the STATION PLATFORM in between the tracks below, eerily lit in the gathering dusk. DAVID'S P.O.V - several BORDER GUARDS patrol the abandoned platform. DAVID -LRB- V.O. -RRB- The station's guarded at all times. We're TRACKING PAST the entrance to stairs leading down from the bridge onto the platform below. We see it's been sealed off with a locked gate. Another BORDER GUARD stands on the stairs below, staring up at us as we pass.\",\n \"INT. KITCHEN. SAFEHOUSE - EVENING AT KITCHEN TABLE David indicates the point on the plan. DAVID and the stairs to the platform are sealed off.\",\n \"EXT. RAILWAY BRIDGE - EVENING The two men have walked on past the mid - point of the bridge. David glances at the far track. DAVID'S P.O.V - the track runs along the far side of the platform. On the other side of the track is a barbed - wire topped WIRE FENCE. DAVID -LRB- V.O. -RRB- Our train driver makes an unscheduled stop on the near track. STEPHAN -LRB- V.O. -RRB- The last two carriages will be around.\",\n \"INT. KITCHEN SAFEHOUSE - EVENING Stephan indicates a point on the track. STEPHAN here. And they will be empty. Once that train has stopped, the guards wo n't be able to see this fence. And on the other side of the fence is.\",\n \"EXT. THE RAILWAY BRIDGE - EVENING The two men are at the top of the stairs on the other side of the bridge now. Stephan glances to his right. STEPHEN'S P.O.V - TRACKING as we descend the stairs. We can see that on the other side of that high wire fence is a CAR PARK and a long, low building. STEPHAN -LRB- V.O. -RRB- a postal depot. We see that car park is lined with the yellow VANS of Deutsche Post. Several FEMALE POSTAL WORKERS in dark skirts and white blouses stand around the car park on their breaks, smoking and chatting. As we watch one of the vans trundles out of the OPEN FACTORY GATE. STEPHAN -LRB- V.O. -RRB- The vans come and go all day long.\",\n \"INT. KITCHEN. SAFEHOUSE - EVENING David rolls up the plan. DAVID We're just one more parcel. Once we're in West Berlin there'll be transport to Templehof airbase and a private charter. Stephan stubs out his cigarette. STEPHAN That's the wrapping. Now all we need is the present. Rachel realises both men are looking at her.\",\n \"INT. LIVING ROOM. BERLIN SAFE HOUSE - EVENING Rachel runs the hem of a partially - made WHITE GARMENT through a SEWING MACHINE. She finishes and takes it over to where Stephan stands waiting. It's unfinished, but a fairly good approximation of a MEDIC'S WHITE COAT. RACHEL Try this on. Stephan puts it on. She tugs at the coat, straightens the unfinished collar, runs her hands down the front to smooth it out. RACHEL -LRB- CONT'D. -RRB- -LRB- re : the coat. -RRB- How does it feel? STEPHAN -LRB- Flirting. -RRB- Nice. Rachel ignores this, begins to pin the cuff of one of the sleeves. STEPHAN -LRB- CONT'D. -RRB- Here you are, Mossad agent, all those years of training, the highest levels of marksmanship and krav magah, first big mission. sewing. Rachel resists a smile, brandishes the pin. RACHEL Black belt in dressmaking. He holds up his hands in surrender. STEPHAN I never argue with an armed woman.\",\n \"INT. KITCHEN. SAFEHOUSE - LATER Rachel and Stephan sit as David serves the dinner. Rachel examines her dish. RACHEL -LRB- Politely. -RRB- What is it? DAVID -LRB- Beat. -RRB- It does n't have a name. Stephan tastes his. STEPHAN -LRB- Grimacing. -RRB- Shit. David lifts his spoon, blows on it. DAVID -LRB- Solemn. -RRB- Now it does. They laugh a little, settle into eating. David stares at his bowl, deciding whether or not to say something. Finally. DAVID -LRB- CONT'D. -RRB- It's my birthday. They look up at him in surprise.\",\n \"INT. BAR - LATER Tinny music plays. The place is almost empty. In the back of the bar the three sit in a corner drinking beer - just young people, laughing, a little drunk. They could be students. Rachel is reciting something from memory. RACHEL Uh, at ten - study the Mishnah, at fifteen - study the Talmud. By eighteen - stand under the wedding canopy. STEPHAN We're too late for all of those. They laugh. RACHEL Uh. twenty. In your twenties you are to `` pursue your life's goals.'' STEPHAN -LRB- Flirtatious. -RRB- What are you pursuing Rachel? Rachel thinks about it, shrugs. RACHEL I do n't know. I'm waiting to find out. STEPHAN -LRB- smiles to himself. -RRB- Youth. RACHEL What about you, grandfather? Have you got a goal? STEPHAN -LRB- Smiling. -RRB- Oh yes. We believe in goals in my family. We're very driven men. My father was Director of Collections by the time he was fifty. RACHEL So what's your goal? STEPHAN Director of Collections by forty. They laugh. RACHEL -LRB- To David. -RRB- What about you David. What `` life goal'' are you pursuing? David smiles, stares at his drink. DAVID This is it. Rachel laughs, looks around at their less than glamorous surroundings. RACHEL This is it? This is all you want? David laughs. He would obviously rather change the subject but Rachel is a little drunk, a little curious. RACHEL Seriously, what do you want out of life? DAVID -LRB- Beat, shrugs. -RRB- I want this. I want to get Vogel. I want him to be put on trial and I want the world to watch so everyone knows what he did. I want them all to know the truth. He looks up at their faces, embarrassed at having darkened the atmosphere. DAVID And. I want another drink. He gets up and walks off to the bar. Rachel stares after him. Stephan watches her. STEPHAN Forget about it. RACHEL Forget about what? STEPHAN I've spent two years with him, and I do n't know him. Nobody knows him. He's alone. Rachel thinks this over. RACHEL What about family? Stephan stares at her. She realises what this means. RACHEL -LRB- CONT'D. -RRB- All of them? STEPHAN -LRB- O.S. -RRB- All of them. He looks over at David standing at the bar. STEPHAN -LRB- CONT'D. -RRB- Maybe it's not always a blessing to survive.\",\n \"EXT. STREET/PARK - DAY A tram passes, revealing Stephan walking across the scrubby, desolate park, jingling car keys in his hand. Suddenly he drops them. He's about to pick them up when a man dips down and hands them back to him. We recognize the moment. STEPHAN Vielen dank! SMARTLY DRESSED MAN Bitte sehr. Stephan walks on. In his hand he is now holding a small METAL TUBE.\",\n \"INT. EXAMINATION ROOM. CLINIC - DAY. From Rachel's POV we are watching Vogel as he prepares his instruments. She has come for her second examination. VOGEL This is my hand. This is the speculum. Rachel flinches as she feels the speculum. VOGEL -LRB- CONT'D. -RRB- How did you find me? RACHEL -LRB- beat. -RRB- What? VOGEL Who told you about me? RACHEL Who. told us? VOGEL Were you referred by a doctor, or? RACHEL -LRB- trying to conceal her relief. -RRB- Oh, Doctor Eisenberg. VOGEL Ah - ha. How is the old Jew? RACHEL Very good. Vogel busies himself for a moment. VOGEL Any history of infertility in your family Frau Roget? RACHEL No. VOGEL Are your periods irregular? Rachel stares up at the light. RACHEL Yes. VOGEL Yes. I think we've found the problem. Rachel stares at him - she did n't know there was a problem. VOGEL -LRB- CONT'D. -RRB- It's very common. Your ovarian follicles. well, inside you're still immature. We need to help you with this. There's something we can use, a little injection. Do you want to proceed? Rachel nods, dumbly. Vogel nods, turns back to his tray of instruments, begins preparing an injection. Vogel turns back to her with the HYPODERMIC NEEDLE. Instinctively Rachel stiffens. He injects her. VOGEL -LRB- CONT'D. -RRB- -LRB- As he works. -RRB- How many brothers and sisters do you have? RACHEL -LRB- Stiff. -RRB- None. VOGEL An only child? Rachel nods. Vogel smiles, not unkindly. VOGEL -LRB- CONT'D. -RRB- And yet you say there's no family history of fertility problems? RACHEL -LRB- Beat. -RRB- I lost my mother in the war. Vogel stares at her. Then, to her dismay, he TAKES HER HAND, and pats it with such a sad, sympathetic look, that she feels her eyes prick with tears. Then he lets go and turns back to the examination.\",\n \"EXT. CLINIC - DAY Rachel comes out to find David waiting for her again. Once more he takes her hand and they walk off.\",\n \"EXT. QUIET STREET - DAY As they turn into the quiet street, David lets go of her hand. Rachel stops. She looks shaken. David watches her. DAVID Are you alright? She nods. Suddenly Rachel takes his hand again. David stares straight ahead but he DOES N'T PULL FREE and they walk on like that.\",\n \"INT. SAFE HOUSE - LIVING ROOM - EVENING Rachel and David walk into the room and find Stephan waiting for them. STEPHAN Identity is confirmed. We have a green light. Rachel and David stare at him.\",\n \"EXT. ANOTHER STREET - DAY We are looking at a yellow DEUTSCHE POST van. Stephan and David are walking towards it. Stephan stops by the van, shielding David as he drops the length of thin steel we saw him working on earlier, from his sleeve - an improvised SLIM JIM. With professional ease he slips the Jim between the window and the weather shield. In seconds he has the door open and the two climb in.\",\n \"INT. KITCHEN. SAFE HOUSE - NIGHT Rachel comes out of the bathroom in her nightclothes, with her hair wet around her. She looks into the kitchen. David is sitting smoking. Rachel pauses in the doorway and then walks in. A small two bar electric fire provides the only light in the room. Rachel kneels down in front of it to dry her hair. David looks at her as Rachel spreads her hair around her shoulders. She looks very beautiful. She starts to comb her hair. On impulse, Rachel HOLDS OUT the comb to David. David takes it. He starts to comb, pulling it slowly through her hair. Then stops. The atmosphere is suddenly charged. DAVID It's a brave thing you're doing. RACHEL I'm not brave. I'm terrified. DAVID But you're doing it anyway. Because you know how important it is. Another stroke and then he stops again, stares at the comb in his hand. DAVID You're very brave. RACHEL -LRB- Beat. -RRB- David. Rachel turns round and stares at him, overcome with longing. She leans in to KISS HIM. For a moment David hesitates, but then it's as if something inside him closes and he pulls back from Rachel, his face cold. Without a word he gets up and walks out. Rachel sits, crushed.\",\n \"INT. LIVING ROOM. BERLIN SAFE HOUSE - LATER. Rachel, sits at the piano in her robe, picking out notes. She's been crying. Stephan stands watching her from the doorway, holding a drink - something slightly predatory about him. He crosses to her, sits down beside her and starts to match her notes. They work out a nonsense tune between them.\",\n \"INT. KITCHEN - CONTINUOUS David listens as they play.\",\n \"INT. LIVING ROOM - CONTINUOUS Rachel picks up Stephen's drink and takes a sip. STEPHAN It's whiskey. Defiantly Rachel drains the glass, grimaces a little. Stephan watches her. He continues to play, moving the melody up in octaves until his hand is beside hers, then covering hers. Rachel brushes him away. He puts his hand back and starts to caress her wrist. STEPHAN -LRB- CONT'D. -RRB- You're so beautiful. He begins to kiss her neck. Rachel stares ahead, pretending it is n't happening. Then she gives in, turning to him.\",\n \"INT. RACHEL'S BEDROOM - MORNING Rachel stands at the mirror, dressing in a DARK SKIRT and WHITE BLOUSE, trying to control all the emotions she is feeling. Behind her Stephan lies in the bed watching her. Neither speaks.\",\n \"EXT. COURTYARD/STREET - LATE AFTERNOON Rachel and David cross the courtyard to the gate. David holds it open for Rachel. As they turn into the street, David takes her hand. Both stare fixedly ahead, only too aware of what happened the night before.\",\n \"INT. EXAMINATION ROOM. LATER Rachel is in the chair for what she knows will - whatever happens - be the last time. VOGEL Alright, this is my hand. And this is the speculum. RACHEL Okay. Vogel begins the exam. From beneath her GOWN Rachel slips a HYPODERMIC NEEDLE. VOGEL You had intercourse last night? RACHEL -LRB- Tight. -RRB- Yes. VOGEL Good. You're at the most fertile stage of your cycle. This is very good timing. He turns to his tray of implements. VOGEL -LRB- CONT'D. -RRB- I think we are going to see results. All you have to do is have faith. Ask any of my patients. RACHEL What about your patients in Birkenau? Vogel looks up in shock. Rachel grabs a fistful of his hair and pulls his head to one side. With her other hand she jams the needle into the side of his neck, and begins to depress the syringe. Vogel gives a grunt of surprise, opens his mouth to speak but no sound comes. He grabs vaguely for Rachel's throat with one hand, struggles with the needle with his other, eyes dull with fury, fighting the drug racing through him. Rachel fights to hold him, bucking on the chair, pinned beneath his weight, struggling for breath. Weakening, VOGEL manages to pull the needle free and it drops to the floor. INSERT OF SYRINGE. which we see still contains some FLUID. A rope of spittle drools from Vogel's contorted mouth onto her face. Then his eyelids flutter and close and he collapses onto her. Rachel pulls his hand from her throat, gasps for air. Finally she pushes him to the ground. She leaps up and deliberately knocks the tray of medical instruments to the floor. RACHEL -LRB- CONT'D. -RRB- Help! The Nurse runs in, reacts at the sight of the prone VOGEL. RACHEL -LRB- CONT'D. -RRB- He collapsed! NURSE My God! What happened?! RACHEL -LRB- overlapping. -RRB- I do n't know! I do n't know! He just clutched his chest and collapsed! The Nurse grabs for the phone and dials. NURSE -LRB- into the phone. -RRB- I need an ambulance! Karl - Gustav - Strasse. The clinic. My husband has had a heart attack. Rachel reacts to this revelation. EMERGENCY OPERATOR -LRB- O.S. -RRB- -LRB- Over phone. -RRB- Your name please? NURSE It's Frau Bernhardt, please, please hurry!\",\n \"EXT. REAR OF CLINIC - CONTINUOUS Stephan kneels in a recess of the building, by the open NETWORK JUNCTION BOX of the clinic. He's wearing HEADPHONES, alligator - clipped to two cables in the box. EMERGENCY OPERATOR -LRB- O.S. -RRB- -LRB- Over phones. -RRB- The ambulance is already on the way, madam. Stephan un - clips the phones and pockets them. He straightens up, closes the junction box and walks calmly away, through a gate in the wall, into the next courtyard. HIGH SHOT As Stephan races up some steps, along a balcony, and into the building.\",\n \"INT./EXT. APARTMENT BUILDING - CONTINUOUS TRACKING with Stephan through the hallway, out of the door and onto the street.\",\n \"EXT. AMBULANCE DISPATCH - CONTINUOUS An AMBULANCE, sirens wailing, starts out of the dispatch, and swings onto the street.\",\n \"EXT. STREET OUTSIDE CLINIC - CONTINUOUS Stephan rounds the corner of the street and walks TOWARDS THE CLINIC. He checks his watch as he turns into an alley opposite the entrance.\",\n \"INT. EXAMINATION ROOM. LATE AFTERNOON Rachel finishing dressing, looks anxiously at the nurse as she crouches by her unconscious husband, monitoring his breathing.\",\n \"EXT. STREET - CONTINUOUS The AMBULANCE speeds on.\",\n \"EXT. STREET NEAR CLINIC - CONTINUOUS Stephan pulls back some rusty doors. Parked in the small courtyard beyond is the van we saw before, now decorated with AMBULANCE DECALS and LIGHTS. David drives the car forward as Stephan climbs into the passenger side.\",\n \"INT. EXAMINATION ROOM. LATE AFTERNOON Rachel paces outside the door, looking down the corridor. The nurse wipes away a tear, tense and frightened. NURSE -LRB- to no one in particular. -RRB- Oh god! Come on, come on! Hurry!\",\n \"INT. THE CLINIC - CONTINUOUS A SIREN approaches and Rachel moves to the door. RACHEL They're here. Stay with him. I'll go and get them. The nurse nods gratefully.\",\n \"EXT. CLINIC - CONTINUOUS a vehicle pulling up. Whether it's the real ambulance or the fake one, we're not sure.\",\n \"INT. LOBBY. CLINIC - CONTINUOUS. Rachel runs past the concerned patients in the waiting area to see. David and Stephan, coming up the stairs, holding a stretcher.\",\n \"INT. EXAMINATION ROOM. MOMENTS LATER Rachel leads them in. Stephan crouches down beside Vogel and takes his pulse. STEPHAN We need to take him to the hospital. He and David open up the stretcher and transfer Vogel to it with some efficiency. NURSE Oh God! STEPHAN He's going to be alright. Rachel and the nurse follow David and Stephan as they carry the stretcher out through the waiting room.\",\n \"INT. LOBBY. CLINIC - CONTINUOUS We hear the siren of the real ambulance starting up not - so - very - far - away down the street as David and Stephan push the stretcher towards the doors. The nurse follows, but David stops her. DAVID I'm sorry, Madam, but you'll need to meet us at the hospital. NURSE But. I want to travel with him. DAVID Not possible I'm afraid. New regulations. We begin to register that the siren is growing louder with every second. As Stephan and David carry the stretcher down the stairs, Rachel takes the nurse's hand to detain her. RACHEL Do n't worry, he's in good hands now. He's going to be fine. NURSE Thank you. thank you. RACHEL You should get your things, go to the hospital to meet him. The Nurse nods tearfully, starts to back towards her office, watching as they disappear.\",\n \"EXT. CLINIC - LATE AFTERNOON. David closes the rear door of the van and the two jump in and drive off as Rachel comes out of the building. She begins to walk briskly away. Behind her, the real ambulance is pulling up at the clinic. She does n't turn back.\",\n \"EXT. COURTYARD/STREET NEAR CLINIC - LATE AFTERNOON The DEUTSCHE POST VAN that David and Stephan stole earlier pulls out into the street. Behind it we catch a glimpse of the now abandoned ambulance. David quickly closes the gate and climbs in.\",\n \"EXT. STREET NEAR CLINIC - MOMENTS LATER Stephan draws up alongside Rachel and she climbs in as the door is opened for her.\",\n \"INT. BACK OF VAN - MOMENTS LATER The winter evening is gathering outside. David and Rachel are in the back of the van. David has taken off the white coat. David checks his watch. STEPHAN -LRB- Tense. -RRB- I know, I know. He accelerates. Rachel grabs hold of the back of the seat to avoid falling. She looks down at the stretcher - Vogel lies unconscious. One of his hands jolts free and drops onto her foot. Gingerly she steps free.\",\n \"EXT. DEUTSCHE POST DEPOT - NIGHT HIGH ANGLE The depot car park is dark - rows of postal vans parked up. An eerie silence. Through the high fence behind the vans we can make out the tracks and dimly lit STATION PLATFORM beyond - GUARDS patrolling in the little pools of light. As we watch a POSTAL WORKER comes out of the depot and walks through the carpark and out of the gate, his shift finished. INSIDE THE VAN P.O.V - THROUGH VAN WINDSCREEN We're watching the WORKER walk in front of us and leave the car park. In the dark of the back of the van, Rachel crouches, watching him leave. She turns back to where Stephan and David wait by the van doors, bolt cutters in their hands. On the floor of the van lies Vogel's unconscious form. They wait in absolute silence, listening to the fading footsteps of the worker. David checks his watch, holds up a single finger to Stephan. Moments later we hear the sound of an approaching TRAIN. Stephan raises a hand and counts them down - five, four, three, two, one. The two men open the van doors and run at a crouch to the base of the foot - bridge stanchion, as the train roars from the darkness and begins to pass them, screening the two men from the GUARDS ON THE PLATFORM. Rachel closes the rear door behind them and runs along the line of the fence to the other end of the yard and crouches down by a junction box, screened from the platform, standing watch. She looks over to Stephen and David in the shadows of the bridge stanchion. Again silence falls. Then faintly we hear another engine approach. Moments later another train begins to roar past. Instantly the two men rise from the shadows and begin to CUT through the wire fence, working with fierce concentration. STEPHAN -LRB- Softly. -RRB- One, two, three, four, five, six. AT THE JUNCTION BOX Rachel checks the car park behind for workers. AT THE FENCE The train is almost past. The two men work feverishly, snipping through the remaining links, working their way towards each other - forming a four foot long split in the fence. They sprint for the stanchion again. STEPHAN -LRB- As he runs. -RRB- Twenty, twenty one, twenty two. As they dive for cover the last carriages of the train pass. A guard on the platform glances over but sees nothing but darkness and the vague outline of the postal vans beyond the fence. He continues walking down the platform. AT THE VAN Rachel holds her breath, but nothing disturbs the new silence. Along the fence she can just make out the two men crouched in the shadows. Stephan raises his hand in an OK, signalling they're ready. Rachel suddenly hears FOOTSTEPS echoing in the car park. Through the window of a van, she can see a POSTAL WORKER emerging from the depot and crossing the car park. As she watches he takes out a cigarette, starts to light it but then stops. He is staring over at the footbridge, as if he can faintly make out those dark shapes at the base. He takes a few steps forward, puzzled. A little closer and he might really see something. Rachel looks to the PLATFORM - the two guards visible there are talking to each other, looking the other way. She takes her chance - moves up behind the parked vans. ON THE WORKER. as he takes a few steps closer to where Stephan and David are crouched. RACHEL -LRB- O.S. -RRB- -LRB- calling. -RRB- Do you have a light? The man turns and takes in this pretty postal worker, who has emerged BEHIND HIM. He smiles and walks back towards her. He lights her cigarette, studies her face. WORKER You new? RACHEL First shift. The girls said it was okay to come out for a smoke. AT THE FENCE David and Stephan lie listening to the murmured conversation. WORKER Yeah, it's okay. Are you working until midnight? RACHEL Yes. WORKER After the late shift most of us go to the Vetter. Do you know it? David checks his watch again, nods at Stephan. We hear another APPROACHING TRAIN. ON RACHEL. smiling, pretending to be listening to the Worker. WORKER it's just on the corner. You should come along. She glances through the fence and down the track to where the train's LIGHT can be seen approaching in the gloom. This is it. INSIDE THE VAN The inert body of Vogel, lying on the floor. His hands, bound at the wrist, suddenly twitch involuntarily. IN THE TRAIN - DRIVER'S CAB - CONTINUOUS POV - the Border Guards on the platform. The driver begins to BRAKE. ON THE PLATFORM The Border Guards watch in surprise as the train slows. AT THE FENCE As it passes them, the train screens Stephan and David from the platform. The two men rise and swiftly begin to cut the remaining section of fence. As the train comes to a halt the last carriages stop directly opposite them, empty and dark. They're almost there. ON THE PLATFORM In the distance, at the head of the train, the driver can be seen stepping down and gesturing to the guards, pointing up ahead. DRIVER There's something on the tracks up here! The Guards peer doubtfully into the gloom ahead. One sets off to investigate. ON RACHEL. getting rid of the Worker. RACHEL Well, maybe I'll see you there? I finish in half an hour. Why do n't you go and get me a drink ready? The Worker ca n't believe his luck. WORKER Half an hour then. He starts to move towards the gate. Suddenly the VAN HORN BLARES, shattering the silence of the car park. AT THE FENCE Stephan and David turn back to the van. ON RACHEL She turns, shocked. The Worker too turns back in surprise. IN THE VAN Vogel, hands still tied has wormed his way over the seats and is pressing frantically on the HORN. He claws at the tape over his mouth, manages to pull it free. Stephan leaps into the van and is upon him in seconds. Vogel manages to give a HOARSE YELL, then Stephan uses a krav magah move to silence him. ON THE PLATFORM The remaining Border Guard is staring over at the darkened car park, trying to work out what he just heard. ON RACHEL WORKER What was that? AT THE FENCE David watches in dismay as a Guard comes into view at the far end of the platform, entering a GUARD HUT. He lifts a TELEPHONE inside. DAVID -LRB- Softly. -RRB- Fuck. He heads for the van at a crouching run. ON RACHEL Rachel indicates the vans closest to them. RACHEL I think it came from over here? WORKER No, it was one of those. He steps past her, peering at the shadowy vans ahead. Rachel stares at him wondering if she can take him down silently. BORDER GUARD -LRB- O.S. -RRB- Stay where you are! She turns to see two BORDER GUARDS approaching the side gate of the car park. ON THE PLATFORM. as the Border Guard comes back from checking the lines ahead. BORDER GUARD There's nothing there. Get moving now! His part of the mission completed, the Driver climbs back into his cab. ON RACHEL. as one of the Guards approaches her, pistol drawn. The second guard fans past, walking slowly towards the bridge. The first guard SHINES A TORCH into Rachel's face. FIRST GUARD What are you doing here? RACHEL I work here. I'm on a break. FIRST GUARD Show me your papers, both of you. The Worker nervously fumbles for his papers, passes them to the Guard who inspects them. AT THE FENCE David watches Rachel offer her papers to the Guard as the train starts to rumble back into life. He moves back towards the van. AT THE VAN STEPHAN -LRB- hissing. -RRB- We have to go! David stares over at Rachel. Stephan grabs Vogel. STEPHAN We can make it. Help me with him. ON RACHEL FIRST GUARD -LRB- Handing them back. -RRB- You can go. The Worker gratefully hurries away. Rachel is watching tensely as the Second Guard closes on the van. AT THE VAN Stephan watches the train pulling away, THEIR LAST CHANCE. He has pulled Vogel's body to the door. STEPHAN -LRB- Hissing. -RRB- We're going! Now! David shakes his head. DAVID Not without her. He moves up the blind side of the van. IN FRONT OF THE VAN The Second Guard takes a few more steps and stops in surprise - the OPENING in the fence VISIBLE NOW. SECOND GUARD -LRB- Startled. -RRB- Hey! Over here! David appears behind him and downs him, fast. A Guard on the platform has turned to see the opening in the fence, and yells out. ON RACHEL As the Guard beside her turns his attention to his comrade, Rachel grabs the guard's gun hand, sweeping it away from her, at the same time stepping in close and punching the guard's throat with her other hand. As he staggers back choking, she twists the gun free. ON THE PLATFORM Another guard hits an ALARM. A SIREN begins to sound. ON RACHEL About to head back to the van. A shot rings out and a BULLET suddenly strikes the ground beside her. She looks up to see a GUARD has appeared up on the bridge, rifle aimed at her. Other Guards open FIRE, jumping down onto the tracks and advancing towards the cut fence. Acting on instinct, Rachel returns fire with the pistol, and takes cover behind the wall. AT THE VAN Stephan has jumped into the driver's seat and starts the engine. David scrambles into the back, barely making it before Stephan is peeling out, the back door hanging open. ON RACHEL. as more guards appear at the side - gate behind her - she's caught between them now. She watches in dismay as the van heads for the exit. Suddenly it brakes. IN THE VAN Stephan throws the gear into reverse. ON RACHEL and the van begins to reverse with a scream of tyres towards Rachel. The Guards at the side - gate open fire on the van hurtling towards them, bullets pocking the rear doors. The side door is flung open and Rachel dives in, just as Stephan roars forward again.\",\n \"INT. VAN - CONTINUOUS P.O.V - THROUGH WINDSCREEN The Guard from the bridge has run down the stairs and is now between us and the exit. As we watch he raises his rifle. STEPHAN Down! The three duck as the Guard fires, punching a neat hole in the windscreen. Seconds later the van thuds into him, sending him flying.\",\n \"EXT. VAN - CONTINUOUS as it roars out of the depot gates, bullets flying past it.\",\n \"EXT. ROAD NEAR STATION - NIGHT STEPHAN'S P.O.V On the road ahead a Border Guard Jeep appears, driving directly towards them. Stephan has no choice - he floors it. At the last second the jeep tries to pull right but the van catches its rear side and barrels straight through, the jeep spinning off and smashing into the wall. IN THE VAN Stephan fights to keep the van under control, screeches into a turn and off down the road. STEPHAN Is he dead? -LRB- Beat. -RRB- Is he dead? RACHEL Who? STEPHAN The Guard! The one who saw your face! Is he dead? RACHEL No. Stephen's grim silence says everything. He glances back at the unconscious Vogel lying between the other two. STEPHAN How did he come round? How the fuck did he come round? You gave him the full injection? Rachel hesitates. STEPHAN Did you give him the. RACHEL I do n't know! I thought I. STEPHAN Jesus Christ! Stephan ca n't believe it's all fallen apart so quickly. STEPHAN We could have gone! DAVID It's not over. STEPHEN We could have fucking! DAVID WE STILL HAVE HIM! IT'S NOT OVER! We still have him. Stephan glares at David but does n't say anything. The van roars on.\",\n \"INT. SAFE HOUSE. CORRIDOR - NIGHT Rachel sits on the floor looking towards the living room, staring at something. RACHEL'S P.O.V. three POTS have been placed under drips from the ceiling inside the room. We hear the three distinct notes of the water drops. Rachel stares dully at the water dripping, feeling exhausted and numb. A key scrapes and Rachel turns to the door as Stephan and David walk in, hair soaked from the rain. RACHEL -LRB- Standing up. -RRB- What did he say? Stephan stalks past, ignoring her. RACHEL You made contact? David nods. David looks after Stephan who's walked on into the living room in grim silence. RACHEL What did he say? DAVID It's going to take time. They need to open up a new route, they need to find political help. Maybe the Americans. Two weeks. maybe three. Rachel reacts with dismay. Rachel moves after David towards the living room. The camera continues after her. DAVID We work four shifts guarding him. We feed him at the end of each shift. We never leave him alone. STEPHAN -LRB- turns to Rachel, hard. -RRB- And you're compromised. You do n't leave the fucking house. DAVID We can do this. We just need to stay focussed. The three turn to stare at something off - screen. The camera continues into the room to find Vogel's body slumped on the floor, bound to the radiator, mouth taped, slumped, unconscious. We continue towards him. closing on his face. CLOSER. Then his eyes open and he looks at us.\",\n \"INT. BEDROOM/LIVING ROOM. SAFE HOUSE. - DAY Rachel's EYES OPEN and she lies in bed listening to the muffled sound of Vogel CURSING and YELLING in German next door - a breakfast ritual that has been going on for days. IN THE LIVING ROOM VOGEL -LRB- In German. -RRB-. Fucking assholes! Fucking pig shit food! Fuck you! Fuck you! Fuck. David and Stephan are wrestling with an enraged Vogel, trying to feed him. A BOWL clatters to the floor. Vogel's shouts are muffled as his mouth is taped again. BEDROOM He continues to swear at his captors as best he can through his gag. Rachel tries to block out the sound with her blanket. KITCHEN Rachel walks in and finds a flushed David wiping oatmeal off his trousers, the empty bowl on the bench beside him. DAVID -LRB- Off her look. -RRB- At this rate he's going to starve himself to death before we can get him back. LIVING ROOM - LATER Rachel sits in the armchair near the end of her shift, watching Vogel who is slumped asleep. He looks dishevelled, the oatmeal he refused to eat smeared down his chin. She ca n't delay the moment anymore. She takes a bowl of prepared oatmeal from the table beside her and walks towards Vogel, stirring the bowl with an unsteady hand. She kneels down in front of him. In the silence, we hear rain falling heavily outside. Vogel wakes, stays slumped, staring at her with dull eyes. She takes the napkin that was covering the bowl and wipes the food from his chin. Finally she removes the tape from his mouth. Vogel watches her without moving. She offers him a spoon of oatmeal, waiting for the sudden yelling and abuse. He says nothing, just opens his mouth obediently. Rachel feeds him a spoonful of oatmeal. He speaks to Rachel in German, subtitled. VOGEL My wife. Rachel ignores him, feeds him another spoonful. VOGEL -LRB- CONT'D. -RRB- Is she hurt? Another spoonful, and another. VOGEL -LRB- CONT'D. -RRB- Is she alright? An ALARM CLOCK on the table, rings - the end of her shift. She wipes his mouth, tears some tape from the roll. Vogel closes his eyes, a look of such genuine suffering it stops Rachel. VOGEL -LRB- CONT'D. -RRB- Please? Tell me she's alright. Rachel puts the tape over his mouth and stands. David walks in and takes his place in the ARMCHAIR facing Vogel. Rachel begins to leave. She looks back at Vogel who is staring after her, eyes pleading. She hesitates then gives a small nod and turns to walk out of the room, passing Stephan who has been standing in the doorway, watching her. KITCHEN - CONTINUOUS Rachel starts to wash the oatmeal bowl. Stephan follows her in. STEPHAN You ca n't talk to him. RACHEL I did n't say anything. STEPHAN You ca n't listen to him. RACHEL I know. I just. STEPHAN -LRB- overlapping. -RRB- I'm not angry - He rubs her back. Rachel stiffens a little. STEPHAN -LRB- CONT'D. -RRB- - I'm just telling you - we do n't talk to him. We do n't listen to him. He is n't there. He is n't a human being. He. He stops himself. STEPHAN -LRB- CONT'D. -RRB- We have a date. Ten days time. The Americans are going to help. Rachel looks at him, relieved. RACHEL Good. He smiles, stares at her, moves a little closer but Rachel has already side - stepped him and walked away. MONTAGE LIVING ROOM - DAY Stephan sits on the armchair in front of Vogel, taking the GUN apart, cleaning it. LIVING ROOM - DAY Vogel thrashes around on the floor as best he can, David holding him down. Stephan tries to force oatmeal into him. He spits it back out. KITCHEN - DAY Rachel is cleaning, trying to keep busy, trying to keep the encroaching decay of the kitchen at bay, scrubbing and scrubbing. HALLWAY - MORNING An exhausted David, finishing his shift, walks out of the living room as Stephan walks out of his bedroom to take his place. Rachel walks out of the bathroom and into her bedroom, for a moment the three criss - crossing each other's paths. Rachel's bedroom door closes. Both men avoid looking at each other as they pass it. HALLWAY - MORNING Stephan and David are carrying a struggling, cursing Vogel towards the bathroom. Before they can get there Vogel pisses himself, the urine puddling on the floor at their feet. STEPHAN Fuck! Stephan drops Vogel in disgust jumping back out of the way. Vogel lies in the pool, staring up at him, eyes triumphant.\",\n \"INT. SAFEHOUSE. LIVING ROOM - DAY Vogel leans against the wall, staring blankly at the window, sunk into a profound depression. He looks filthy, jaw dark with beard growth. Rachel watches him from the doorway. LATER Rachel is washing Vogel's face with a towel. He pays no attention, continuing to stare out of the window. Rachel picks up a bowl of shaving cream, strips the tape off VOGEL's mouth, and begins to brush the cream over his face. She produces a RAZOR and carefully begins to shave his cheeks. She stops suddenly, a TEAR is running down Vogel's cheek, cutting a line through the soap. He turns his eyes to her. VOGEL Why do n't you just kill me now? Rachel pauses for a moment. VOGEL -LRB- CONT'D. -RRB- How can you keep me waiting to die like this! Rachel keeps on shaving. VOGEL I know what you want. You want to hand me over to the others, let there be some fucking sham of a trial. Then, when they kill me, you can tell yourself that there was no blood on your hands. Rachel switches to the other cheek. Vogel's getting more animated, tears in his eyes, a kind of bizarre indignation. VOGEL -LRB- CONT'D. -RRB- But that is n't true. There will be blood on your hands. You will be my murderer! You fucking hypocrite. You fucking. Rachel tilts his chin up a little and puts the razor to his throat. He falls silent, tenses, waiting. Then. VOGEL -LRB- CONT'D. -RRB- -LRB- Softly. -RRB- Yes. Do it. You want to do it. Rachel finishes with a trembling hand. Vogel slumps back against the wall, the tension in his body easing away. He gives her a long, calculating look. And as we watch some CHANGE seems to come over him, some new fire beginning to kindle in him - a sense of cold contempt for Rachel and with it, perhaps, a fresh determination to survive this. VOGEL -LRB- CONT'D. -RRB- That's right. I'd forgotten. You Jews never knew how to kill. Only how to die. Rachel wipes the razor clean on the towel, SLAPS fresh tape onto Vogel's mouth and gets up.\",\n \"INT. KITCHEN - MORNING Rachel is cleaning the kitchen again, clearing some of the mess of dishes into the sink. She moves a dirty pan which has been left overnight and stops, staring at the COCKROACH which is crawling inside. A sudden wave of NAUSEA hits her. BATHROOM - MOMENTS LATER Rachel crouches at the toilet, vomiting. She finishes, rinses her mouth, looks at her pale reflection. She opens the door and steps out. Vogel stands DIRECTLY IN FRONT OF HER. Rachel stands frozen - a split second of total panic. Then Stephan steps into sight behind Vogel, gun in hand - the morning bathroom visit. Rachel flattens herself against the hall wall, quickly wiping her mouth dry, as Stephan pushes Vogel past her towards the bathroom.\",\n \"EXT. STREET - EVENING Stephan is walking back home. A POLICE CAR SIREN wails somewhere nearby and Stephan hurriedly cuts into an alley, waiting in the shadows until the siren has faded away. Then he hurries on his way. LIVING ROOM - EVENING Rachel uncovers the dish of prepared oatmeal and kneels down beside a sleeping Vogel. She removes the tape. Vogel wakes, breathes out, watches her. After a moment. VOGEL I was dreaming about my wife. She feeds him some more. VOGEL -LRB- CONT'D. -RRB- One of the great regrets of my life is that we were unable to have children. My wife would have made a wonderful mother. Vogel watches her, then suddenly SPEAKS IN ENGLISH. VOGEL -LRB- CONT'D. -RRB- It's a great blessing. Rachel stares at him. VOGEL -LRB- CONT'D. -RRB- You should try lemons. For the morning sickness. Rachel ca n't move. VOGEL -LRB- CONT'D. -RRB- They say it helps. Rachel struggles to hold it together, feeds him another spoonful. VOGEL -LRB- CONT'D. -RRB- What's your name? -LRB- Beat. -RRB- Sarah? Hannah? Rachel? Esther? -LRB- Beat. -RRB- You Jews stay close to your roots, do n't you? It's a good thing. Very good. Rachel spoons in another mouthful. VOGEL -LRB- CONT'D. -RRB- I loved the bible as a child. Retribution. Higher justice. Rachel shovels in another mouthful. He chews it thoughtfully, examines her face. VOGEL -LRB- CONT'D. -RRB- Yes. I understand you perfectly. -LRB- Beat. -RRB- You were n't lying at the clinic when you told me about your mother were you? About her death? Rachel loads the spoon with more oatmeal, determined not to show any emotion. VOGEL -LRB- CONT'D. -RRB- I'm very sorry for your loss. It almost takes her breath away. She tears the tape and puts it over his mouth, gets up and walks away, determined not to show him any emotion. Vogel watches her go. HALLWAY - MOMENTS LATER Rachel makes it out into the hallway before she feels the tears running down her face. She gives in to them, turns and finds David behind her. DAVID What happened? What's the matter? She ca n't speak at first. RACHEL Nothing. He. nothing. She wipes her face. RACHEL -LRB- CONT'D. -RRB- He can understand us. DAVID What? RACHEL He can understand every word we're saying. He just spoke to me. Her face contorts as she tries to compose herself. David reaches out to hold her. DAVID It's alright. It's alright. It's nearly over. He pulls her close, holds her, rests his forehead against hers. They stand like that, eyes closed. The moment hangs. RACHEL -LRB- Suddenly. -RRB- Why did n't you go? At the station. You could have got away. Why did n't you? She looks up at him. He stares into her eyes. Beat. Then, suddenly he kisses her. It's what she's waited so long for and she's stunned for a moment, then puts her arms around his neck, returning the kiss hungrily. They are helpless with desire for one another. There is a sudden scratch of a key at the front door and, instinctively, the two break apart. Stephan enters, hair wet from the rain. He stops, seeing them, sensing the atmosphere. They stare back at him. Rachel steps away a little, wiping her face. RACHEL -LRB- CONT'D. -RRB- What did they say? Stephan stares at them in silence. He unbuttons his coat. DAVID Stephan? STEPHAN It's not happening. They stare at him aghast - this is the last thing they wanted to hear. DAVID What the fuck does that mean? STEPHAN The Americans have pulled out. -LRB- To Rachel. -RRB- Has he been fed? DAVID So. so what does that mean? RACHEL Oh God. STEPHAN Did you feed him? DAVID What does that mean? What's the plan now? RACHEL -LRB- rising panic. -RRB- We just need to get him to the airfield, there must be some other way, some. Stephan starts down the hallway towards her, angry. STEPHAN I said has he? David instinctively steps in front of Rachel, raises a hand. DAVID -LRB- overlapping. -RRB- I'm asking you. STEPHAN -LRB- overlapping. -RRB- I'm talking to her! Supposedly it's her shift now, but instead of doing what she's supposed to be doing she's out here with you! -LRB- To Rachel. -RRB- Now answer the fucking question : Did you feed him? RACHEL YES! I fed him! Stephan stands glaring at her, then turns abruptly away. STEPHAN -LRB- Beat. -RRB- There's no plan. There's no fucking plan. They said the operation is being `` re - evaluated.'' He turns to David. STEPHAN You know what that means? They're going to cut us loose. They stare at him shocked. STEPHAN It's a fucking mess and they're backing away from it quickly as they can. RACHEL -LRB- CONT'D. -RRB- -LRB- Beat. -RRB- No. STEPHAN It's happening. I can feel it. RACHEL They ca n't just leave us! STEPHAN Yes they can! Because we fucked it all up! We fucked it all up and now we're on our own! Suddenly we hear someone KNOCKING on the front door. The three FREEZE, staring at each other. Silence. DAVID Were you followed? Stephan stares at the door, thrown. DAVID -LRB- CONT'D. -RRB- Could you have been? There is another KNOCK at the door. Stephan turns to the chest of drawers and takes out the GUN. RACHEL Stephan? Stephan is hurriedly screwing the SILENCER onto the GUN. There's another KNOCK at the door. RACHEL -LRB- CONT'D. -RRB- Stephan! Stephan walks into the living room and aims the gun at Vogel. Vogel instinctively squirms away, falling to one side, wriggling back as far as he can. RACHEL -LRB- CONT'D. -RRB- What are you doing? STEPHAN If it's them, he dies. Vogel lies, breathing hard through his nose, eyes on the gun aimed at him. David suddenly steps in between the two, the gun now pointing at his chest. STEPHAN -LRB- CONT'D. -RRB- Move. DAVID You're not doing this. STEPHAN He's not getting away from me. DAVID This is n't the mission. STEPHAN I decide what the mission is! If I say he dies, he dies. DAVID We're finishing this mission. We're taking him back. STEPHAN Get out of the way! There is another KNOCK at the door. David and Stephan stare at each other, the tension building. Abruptly Rachel turns and walks down the hallway towards the door. Stephan calls after her. STEPHAN Rachel. Rachel! From the hallway we hear the sound of the door being opened - the murmur of conversation. The two men stand frozen, listening. Vogel lies, breathing hard through his nose. We hear the door close. The three listen as footsteps approach down the hall. Rachel walks back in. A long beat. RACHEL -LRB- Dully. -RRB- It was the lady from the bottom apartment. She invited us to her New Year's Eve party. She turns and walks back out. The others stay where they are, frozen. We hear a PIANO PLAYING as we. KITCHEN - DAY As the piano music plays we see David and Stephan practise krav magah moves - careful, controlled, but under it all an edge of real tension between them. LIVING ROOM Vogel is tied in his usual place. Stephan sits in a dangerous mood. He's playing the piano. A lyrical rendering of Deutschland Uber Alles. Vogel is watching him. KITCHEN As the music continues the two men's workout grows more intense - the punches and blocks build in speed, faster and faster, both men breathing hard with the exertion, neither willing to stop, a real violence simmering under the surface.\",\n \"INT. LIVING ROOM - DAY Stephan knows he's watched and avoids Vogel's gaze until he can stand it no longer and looks. KITCHEN David is the first to break through the blocks - his fist stopping inches from Stephen's face. The two men freeze, staring at each other, breathing hard. The music crashes to a halt. LIVING ROOM Stephan is staring at Vogel. He begins to play the anthem more discordantly, hitting the keys more violently, as if the music is possessing him. Then suddenly he stops, stands up and walks away from the keyboard. Stares at Vogel. Vogel is very aware of the sudden change in atmosphere, a sense of impending violence. Stephan does n't move. The moment hangs. LATER David is taking over the shift from Stephan. They pass each other in the doorway without a word. David stops, staring. Vogel lies in his usual place. A SACK has been placed over his head, hooding him. The effect is deeply sinister. KITCHEN - MOMENTS LATER Stephan sits eating with Rachel. David walks in and throws the SACK on the table. Stephan glances at it, continues eating. DAVID What are you doing? STEPHAN It's your shift. DAVID -LRB- To Rachel. -RRB- Did you know about this? RACHEL About what? DAVID -LRB- To Stephan. -RRB- His mouth's taped. You want him to suffocate? STEPHAN I was sick of seeing his face. Go back in. DAVID Do n't do that again. Stephan gets up and walks calmly towards David as if shooing him back out the room. STEPHAN You do n't give orders David. It's your shift now so you can go back in there. He has his hands on David's chest, gently pushing him back. David takes his hold of the hands, pulling them free and suddenly there's a flurry of violent movement as Stephan yanks his arms free of David and the two men shove at each other. RACHEL Stop it! They stop, breathing hard. DAVID We're not animals. Just remember what we are. Remember what we're not. He walks back out. Stephan sits back at the table, starts eating again. He glances at Rachel, but she wo n't look at him. After a moment she gets up and walks out.\",\n \"INT. SITTING ROOM - CONTINUOUS David looks up from his chair to see in the hallway. Something purposeful in her manner alerts him. HALLWAY - CONTINUOUS David appears in time to see Rachel is putting on her overcoat. DAVID What are you doing? Rachel does n't look at him. RACHEL I have to get out. DAVID -LRB- Gently. -RRB- Rachel. Rachel tries to unbolt the door. David bars her. Rachel tries to talk calmly but she's fighting panic. RACHEL Get out of my way, please. I'm just going to go out for a few minutes. That's all I want to do. Stephan walks out of the kitchen, taking in the scene. DAVID She wants to go out. RACHEL -LRB- appealing. -RRB- No one will see me. Tell him, David. I just want to walk. I just want to get some. air. Please. Stephan shakes his head. Rachel tries to unlock the door, but David has hold of it. She struggles against him. STEPHAN Do n't be stupid. He takes her arm. Rachel jerks free. RACHEL GET OFF ME! Then she slumps against the door, her back to them. She's crying brokenly. A beat as the two men stand over her, not attempting to comfort her any further. Stephan turns and walks away. David leans his head against the door, waiting for her to stop.\",\n \"INT. SAFEHOUSE - LIVING ROOM. EVENING. It's raining heavily outside and water is dripping through the cracks in the ceiling. David kneels next to VOGEL with a bowl of oatmeal and strips the tape from his mouth. VOGEL Thank you. David. David does n't react. Vogel hums a tune to himself in between spoonfuls, watching David, his mood strange. VOGEL -LRB- CONT'D. -RRB- David and Stephan and Rachel. He gives a soft laugh, finding something amusing in the sound of the names. VOGEL -LRB- CONT'D. -RRB- If I had a choice I'd prefer Rachel to feed me. So gentle. in another life, the makings of a Nurse, I think. in another life. David continues to feed, careful to appear immune to Vogel. VOGEL -LRB- CONT'D. -RRB- How is she today? VOGEL -LRB- CONT'D. -RRB- You should let her get more rest. It's a dangerous time, the first month or two of the pregnancy. David stares at him, unable to hide his shock. VOGEL -LRB- CONT'D. -RRB- -LRB- Beat. -RRB- You did n't know? Vogel absorbs this thoughtfully. VOGEL -LRB- CONT'D. -RRB- You're not the father then? -LRB- Beat. -RRB- I thought it would be you. I thought. I do n't know. The way you look at her. The way she looks at you. David stirs the oatmeal, trying to think about what he's just discovered. Vogel does n't take his eyes off him. VOGEL -LRB- CONT'D. -RRB- Women can be like that, they like to make you dance first, I remember. -LRB- As though to himself. -RRB- So, she chose the other one? He shakes his head, shrugs. VOGEL -LRB- CONT'D. -RRB- That must be hard, watching them together, right in front of you. And you not saying a word. Like the Poet says - `` Great souls suffer in silence.'' I would n't have taken Stephan as a family man. Too ambitious, too? Whereas you? David, I see you with children. DAVID -LRB- Quietly. -RRB- Shut up. Vogel stares at him. This is the first time someone has spoken to him in weeks. He's quick to hide his sense of triumph. VOGEL I am expressing my sympathy. For your suffering. DAVID What does a monster like you know about suffering? VOGEL I'm a doctor, David. David stares at him. DAVID A doctor. -LRB- beat. -RRB- You blind children trying to change the colour of their eyes. You inject people with petrol. You. you replace people's hands and legs and you watch as they. He stops himself. DAVID -LRB- CONT'D. -RRB- This is n't medicine. This is disease. This is sickness. Vogel seems to consider this. VOGEL So we were all insane? Is that the answer? DAVID -LRB- Beat. -RRB- There's no answer. I'm not looking for an answer. I'm not looking for. He forces himself to be silent, tries to regain control of himself. He offers Vogel another spoonful, but his hand trembles a little with the violence of his emotions. VOGEL You're trembling. David pushes the spoon into Vogel's mouth, starts to load another spoonful. VOGEL -LRB- CONT'D. -RRB- It's strange. Here I am - the victim, kidnapped, bound, soon to be murdered, but I think you are the one that is afraid, David. -LRB- Beat. -RRB- Afraid of the monster. He leans closer to David. VOGEL -LRB- CONT'D. -RRB- -LRB- Softly. -RRB- Boo. They stare at each other, eye to eye. Vogel senses a new brittleness in David. His tone becomes more assured. VOGEL -LRB- CONT'D. -RRB- Yes. Do you know why it was easy to exterminate you people? Your weakness. I saw it. Every day I saw it. Every one of them, thinking only of how to avoid being flogged, or kicked, or killed. Only thinking of themselves. David looks up at him with a strange, crooked smile, eyes glittering. VOGEL -LRB- CONT'D. -RRB- Why do you think it only took four soldiers to lead a thousand people to the gas chambers? Entire families? Because not one, out of thousands, had the courage to resist, the courage to be the first to fall. Not one would sacrifice himself. Even when we took their children from them. I knew then that you people had no right to live, no right to. He may have begun his speech hoping to get a reaction from David but he has lost himself in his rant and so rather than triumph we see only a moment of startled fear in his eyes as David suddenly swings the bowl violently at his head, SHATTERING IT on the pipe to which he is tied. He grabs Vogel by the collar and begins to punch him, hard, again and again. Vogel slides sideways, limp. And still David punches him in a murderous rage, possessed, wanting to break his skull open, to kill him. Rachel and Stephan run in, with Rachel reaching him first. She throws her arms around him, trying to stop him, but - instinctively - he throws a punch behind him. It connects, splitting her lip and sending her flying to the ground. Stephan runs at him, knocking him to the floor, and remains lying on him, the two of them breathing hard, the assault finally over. VOGEL slumps forward, held up only by the rope at his wrists binding him to the pipe on the wall. Stephan is still struggling with David, who's panting, adrenalised, staring wildly at Vogel's slumped body. STEPHAN Out. We're going out. He begins to drag him out. Stephan nods in the direction of VOGEL. STEPHAN -LRB- CONT'D. -RRB- -LRB- to Rachel. -RRB- Are you going to be alright? Rachel nods. As she hears the door close, she turns to stare at Vogel. He's barely conscious, his face smeared with blood.\",\n \"INT. SAFEHOUSE - BATHROOM. NIGHT. Rachel drenches a cloth under the tap.\",\n \"INT. SAFEHOUSE - LIVING ROOM. MOMENTS LATER Rachel cleans the blood from VOGEL's face. He has his eyes closed. VOGEL -LRB- Mumbling, in German. -RRB- Thank you. She tears off a new strip of tape and places it over VOGEL's mouth, gently. She notices the rain leaking in through the ceiling and walks off towards the kitchen. We hold on Vogel, apparently sleeping. Then his tied hand reaches out, straining and manages to reach one of the SHARDS of broken bowl. KITCHEN - CONTINUOUS Rachel gathers three METAL SAUCEPANS. She stops for a moment looking at FIREWORKS flashing in the sky. She remembers - it's New Years Eve. We TRACK with her as she walks into the living room and begins to place the pots on the floor to catch the rainwater which is dripping through various points in the ceiling. CLOSE ON VOGEL'S HANDS As he uses the shard to saw through his ropes. ON RACHEL. as she finishes with the pots and notices the pieces of shattered bowl scattered around Vogel. She kneels down in front of him and collects up the pieces. She glances up at Vogel, checking him. He is still slumped, eyes closed. We TRACK with her as she walks back into the kitchen. From the living room comes the three distinct PINGS of rainwater dripping in the pots. She drops the pieces of bowl into the bin and stops, puzzled. It's a moment before she works out what she's noticed - something has changed in the sound of the rainwater next door. There only two drips instead of three. She walks back towards the living room. RACHEL'S P.O.V - through the living room door we can see that one of the pots has been overturned. Rachel slows to a stop. A sudden wave of adrenalin causes her to turn but. it's too late. Vogel steps out of the alcove he's been standing in so that he is directly in front of her. Before she can even cry out he has slashed her face open with a SHARD OF GLASS. Instinctively she cups her hands to her ripped face. Vogel grabs her by the hair and stepping behind her, tries to worm his other hand underneath her raised arms to reach her throat with the glass. Her training kicking in, Rachel uses a krav magah move to grab and twist Vogel's forearm, breaking his hold on her and turning the arm until, with a yell of pain, Vogel drops the shard. He swings wildly at her, but Rachel ducks the fist and drives the palm of her hand up into his face. Vogel stumbles back, surprised by her speed and the sudden pain of the blow. Rachel is about to press home the attack but is blinded by blood from her wound washing into her eyes. As she wipes her eyes clear, Vogel grabs a LAMP from a small chest of drawers in the hall and smashes it into her face. She falls. Vogel begins to run, but, driven by adrenaline and desperation, Rachel scrambles onto all fours and lunges at him, catching hold of his trouser leg as he moves towards the front door. Vogel stumbles, manages to pull a leg free and stamps down on Rachel who lets go with a moan. He stamps again, steps free and kicks her hard in the head. Rachel rolls with the force of the kick and comes to a rest, losing consciousness. RACHEL'S P.O.V - LOW ANGLE - Fluttering in and out of darkness - Vogel's feet as he stands beside us, breathing hard. Then he turns and hurries to the front door. and out.\",\n \"EXT. WALKWAY. BERLIN SAFE HOUSE - NIGHT. Vogel hurries along the walkway and sets off down the spiral staircase of the apartment building.\",\n \"INT. HALLWAY - NIGHT. Rachel lies motionless. We wait for her to cough as we saw her do before. But she does n't. She just continues to lie still.\",\n \"EXT. STAIRCASE - CONTINUOUS Below us Vogel clatters on down the stairs, flight after flight.\",\n \"INT. HALLWAY - CONTINUOUS No movement from Rachel.\",\n \"EXT. STAIRWELL/COURTYARD - CONTINUOUS Vogel clears the stairs and bursts into the courtyard. There is a lurid flash of fireworks from nearby and for a moment we see Vogel lit, as he passes the point where earlier we saw him drop to the ground. He reaches the gate and goes through, his shadow disappearing on the pavement. He's gone.\",\n \"INT. BERLIN SAFEHOUSE - LIVING ROOM. NIGHT Rachel holds a blood - soaked tea towel to her cheek, trying to staunch the flow. David sits, staring ahead, in shock. Stephan bursts in, out of breath. STEPHAN Nothing. Not a trace. Nothing at all. He hurries to the drawers and takes out the gun, puts it into his waistband. STEPHAN -LRB- CONT'D. -RRB- He might go to the house, might try and get a message to the wife. DAVID -LRB- Without looking up. -RRB- He's not going back to the house. He's gone. Fifteen years, it took them to find him. And he's gone. And no - one's going to find him again. STEPHAN So we what? We. are you going to make the phone call? Are you going to tell them how he got a fucking piece of broken bowl? Wonderful. But do n't try and take me down with you. I've done nothing wrong. Remember that! Stephan kicks at the chair, at the drawers. STEPHAN -LRB- CONT'D. -RRB- -LRB- muttering tensely. -RRB- This ca n't happen! This is never going to go away. RACHEL I take responsibility. It was my shift. DAVID -LRB- Quietly. -RRB- This happened because of me. I let him go. And no - one's ever going to find him again. He closes his eyes, struggling with the enormity of his guilt. Stephan drops the gun onto the table, sits down. Outside we hear more fireworks. Suddenly. STEPHAN No - one's ever going to find him again. Something in his voice causes Rachel to look up at him. STEPHAN -LRB- CONT'D. -RRB- -LRB- Beat. -RRB- What if he did n't escape? RACHEL What are you talking about? STEPHAN Only four people know what happened in this room. Us, and him. And he's not talking. No one will ever hear from him again. RACHEL -LRB- Realizing what he means. -RRB- No. STEPHAN Nobody needs to know what happened here. RACHEL He escaped. STEPHAN That's the truth. But that does n't have to be the truth we take home. The truth can be anything we want it to be. The truth is Vogel tried to escape, you struggled with him and got hurt. The truth is, seconds before he got away, Rachel got the gun and shot him. The truth is we got rid of him. got rid of the body. got rid of every trace of the Surgeon of Birkenau. RACHEL We ca n't lie about this! STEPHAN No, you know what? We have to. We have to! This is. this is n't about us. This is about Israel. This is a national humiliation! We ca n't be seen to fail. And in the end, Vogel rots away his life in some jungle, looking over his shoulder, waiting for the bullet? Who's to say? He looks at them both, trying to convince them, trying to convince himself. STEPHAN -LRB- CONT'D. -RRB- Maybe that's a worse fate. Maybe that's. The important thing is justice. justice is seen to be done! Rachel turns to David, waiting, expecting him to say something. But David looks like he's been barely listening, lost in his own thoughts. He notices Rachel staring at him. DAVID He's gone. What does it matter? -LRB- Beat. -RRB- He's gone. Stephan seizes on this, sensing he's close to convincing them. STEPHAN -LRB- Seizing. -RRB- He's right. It makes no difference. No difference. All we have to agree is that we never talk about this. No matter what happens, we never tell anyone. The truth stays in this room. Between us. Agreed? Rachel looks at David again, wanting some kind of sign. STEPHAN -LRB- CONT'D. -RRB- -LRB- To Rachel. -RRB- Agreed? Say it. -LRB- Silence. -RRB- I need to hear you say it! She's still staring at David. He's still avoiding her gaze. STEPHAN -LRB- CONT'D. -RRB- -LRB- To Rachel. -RRB- Say it. Say. DAVID Agreed. Silence. Rachel closes her eyes. Instead of relief she feels a kind of immense disappointment. RACHEL David? STEPHAN Rachel? Say it. It's an oath. Say it. We CLOSE on Rachel. The moment that will change her life forever. From outside comes the sound of some REVELLERS on the street cheering, more fireworks. We hear some people chanting a countdown to the New Year. REVELLERS -LRB- O.S. -RRB- -LRB- From outside. -RRB-. vier, drei, zwei, ein! But just before the expected barrage of fireworks we.\",\n \"EXT. DAVID'S APARTMENT - 1997 - NIGHT. The young Mossad Agent stands smoking outside David's door. This is the scene we saw earlier. From within we can hear indistinct shouting.\",\n \"INT. DAVID'S APARTMENT - LIVING ROOM - CONTINUOUS. Rachel is holding the PRINTED SHEET - the point at which we left this scene earlier. RACHEL -LRB- crying out. -RRB- How could this happen? You said he would never speak! You said he'd never. STEPHAN We do n't know it's him. RACHEL Oh God! Oh God! STEPHAN If you read it. RACHEL He's alive! He's in the Ukraine! What else is there to read? STEPHAN This is a little internet story. -LRB- Grabbing the paper, reading. -RRB-. `` a psychiatric patient claiming to be the Surgeon of Birkenau.'' Some crazy old man. No - one is paying this any attention. Yet. RACHEL -LRB- as if her mind was elsewhere. -RRB- How did you find it? STEPHAN David comes back after all this time, I want to know why. I had his apartment searched. This was on his computer. Rachel stares at him. STEPHAN -LRB- CONT'D. -RRB- He did n't say anything to you last night? Rachel does n't answer. STEPHAN -LRB- CONT'D. -RRB- Rachel? RACHEL No! Beat. RACHEL -LRB- CONT'D. -RRB- -LRB- quietly. -RRB- Why would he do this? STEPHAN Because he could n't handle it. I told him we had to deal with it and he could n't handle it. He thought it was all going to come out and he panicked. He trails off, thinking about what happened down on the road. Rachel stares at him. His previous words have just sunk in. RACHEL -LRB- Suddenly. -RRB- Deal with it? -LRB- Beat. -RRB- What does that mean? Deal with it? Stephan stares at her. RACHEL -LRB- CONT'D. -RRB- What did you tell him to do? STEPHAN -LRB- Simply. -RRB- I told him to find Vogel. I told him to finish it. Rachel stares at him. She stands up, starts to walk away, comes back, slaps him hard across the face. RACHEL -LRB- quiet rage. -RRB- Did you know he'd been ill? Did you? You knew, did n't you? You killed him. YOU killed him! You knew he was n't strong enough. STEPHAN -LRB- overlapping. -RRB- FUCK DAVID! I do n't want to hear about David! David took the coward's way out! RACHEL You could have left it alone! It's an old man in a hospital! You said - nobody will believe it! No - one will notice! STEPHAN There's a journalist. This stops her. STEPHAN -LRB- CONT'D. -RRB- A Ukrainian. He's heard about it and he's going to interview Vogel. -LRB- Beat. -RRB- Then it all comes apart. -LRB- Beat. -RRB- We do n't have the name of the hospital. You have to find out where he is. Rachel stares at him. RACHEL What are you talking about? STEPHAN David's taken himself out of the equation. -LRB- Indicating his chair. -RRB- I ca n't do it. You're the only one left. RACHEL Are you insane? STEPHAN We ca n't. RACHEL I'm not. Look at me! I'm not capable of. This is insane. I ca n't do this. STEPHAN -LRB- Beat. Simply. -RRB- You have to, Rachel. Because for thirty years you've been taking the credit for it. -LRB- Beat, carefully. -RRB- And there's Sarah. It's as if he's struck her. Beat. RACHEL I wo n't do this. She walks out.\",\n \"EXT. STAIRWELL OUTSIDE DAVID'S APARTMENT - NIGHT And into the stairwell. As before, the Mossad agent stands to let her pass, and watches as she sweeps down the stairs.\",\n \"INT. RACHEL'S HOTEL - MORNING The scene we saw earlier. Rachel is packing, folding clothes neatly, precisely, silently - but all the time there's a terrible tension about her movements. She tries to close a drawer but it sticks, She keeps trying, then in a sudden rush of fury yanks the drawer free and hurls it across the room. She stands breathing hard. Then something we did n't see - her gaze settles on a photograph beside her table - SARAH holding her son, smiling at us. Rachel stares at the photograph, her breathing slowing.\",\n \"EXT. PATIO TERRACE. HOTEL NEAR TEL AVIV - DAY Stephan sits amongst the remains of a meal. Sarah and her husband are on the beach below, playing with their son. Stephan watches them. He senses a presence and turns to find Rachel behind him. She sits down, stares down at the beach through her dark glasses. Stephan watches, almost holding his breath, working through lightning calculations of how to handle her. But Rachel is the first to speak. RACHEL -LRB- Beat. -RRB- I always knew this would happen. I knew we'd be punished. I knew we'd have to pay. STEPHAN -LRB- Quietly. -RRB- I thought I'd already been punished. RACHEL God does n't plant car bombs. STEPHAN I was n't referring to the wheelchair. They look at each other. STEPHAN -LRB- CONT'D. -RRB- If I could go back, Rachel, I'd change it all. If I could give you back a chance to be happy, to be. He stops. She is staring back at him coldly, unmoved. He shrugs, letting that go. STEPHAN -LRB- CONT'D. -RRB- But there's one thing I would never change. She looks over to where Sarah is playing with her son, laughing. RACHEL -LRB- Instantly. -RRB- She is n't going to find out. She shakes her head, as if the idea itself were impossible. RACHEL -LRB- CONT'D. -RRB- She can never find out. Stephan stares at her, KNOWING THAT HE HAS HER, that it's already decided. He takes out the envelope and slides it across the table towards her. She examines the ticket and passports inside. Then he slides her the BLACK CASE. We've seen this part of the scene before. She stares at it with disgust, knowing what it is. Then she takes it and puts it in her handbag. STEPHAN My car's waiting outside. It can take you to the airport. She stands up, an elegant woman at lunch, her dark glasses, her suit. She looks down to Sarah, raises a hand in farewell. Sarah, not understanding, waves a hand in response, calls something which is lost under the sound of the sea. STEPHAN -LRB- CONT'D. -RRB- Go down to her. Say goodbye to her. Rachel stands stock still, staring down at her daughter. RACHEL How can I? -LRB- Beat. -RRB- How can I? She turns and walks away. ON THE BEACH Sarah stands, shading her eyes, watching the small figure of her mother walking away from her.\",\n \"EXT. CITY CENTRE. KIEV. UKRAINE - DAY. A tram wipes through the frame to reveal Rachel walking across a busy street towards the stark facade of an imposing 1960's building. A TITLE reads : Kiev, Ukraine\",\n \"INT. OFFICE BUILDING - DAY The public area of the building - a main reception desk, a little cafe, a sweeping staircase leading up to the floor above. Rachel is at the reception desk. NEWSPAPER BUILDING - MEZZANINE LEVEL - CONTINUOUS Rachel crosses to a TABAC KIOSK, glancing back to some glass doors behind her. A sign indicates the offices of the UKRAINIAN EVENING NEWS. We can see a RECEPTIONIST at her desk. A young man walks through the entrance, and she throws a knowing glance up at him as he passes. Rachel takes in the ALARM PAD beside the receptionist. RACHEL -LRB- turning to the Kiosk Owner. -RRB- Cigarettes please. GROUND FLOOR CAFE. OFFICE BUILDING - DAY Rachel sits, silhouetted against the large window. Rachel opens her pack and lights a cigarette. A WAITER approaches. WAITER -LRB- In Russian. -RRB- What can I get you? RACHEL Just a coffee. She stares out at the stream of people passing in and out of the building.\",\n \"INT. HANGAR - DAY - THE PAST Late sixties. Young Rachel, Stephan and David are giving a talk to a group of young Israeli soldiers. This is a well - rehearsed routine, something they have probably done many times. RACHEL At that moment, I do n't think I was thinking about myself at all. I was thinking about my mother. I was thinking about how she had suffered in Europe. The FACES of the soldiers, moved by this. One raises a hand. SOLDIER The same question to Mr. Peretz. The others look at David, waiting for him to make his usual response. But David does n't move. Stephan looks along the row. David sits staring straight ahead. The silence GROWS. And we realize he's NOT GOING TO ANSWER.\",\n \"INT. RACHEL AND STEPHEN'S HOUSE - BEDROOM - EVENING The house is cold, white, aggressively modern. Rachel sits in her underwear, drunk, a bottle and glass of wine on her dressing table. Stephan is dressing behind her. STEPHAN -LRB- Calmly. -RRB- Fuck him. He examines his reflection in the mirror. STEPHAN Fuck him. A DOORBELL rings downstairs. He walks out to answer it, taking the wine bottle from her as he goes. STEPHAN -LRB- CONT'D. -RRB- Hurry up. Rachel finishes her glass, starts to apply some eye makeup. She senses something and turns to find YOUNG SARAH -LRB- four -RRB- watching her from the doorway. She stares back at her dully. RACHEL Go to bed, Sarah. LIVING ROOM - EVENING A cocktail party in progress - Stephan is mingling with the guests - Mossad high - fliers, Military, politicians. She watches him handle them - just the right mix of deference and charm. Rachel stands against a wall, drunk, watching him as he laughs sycophantically at something one of the politicians has said. He crosses over to an attractive BLONDE WOMAN and greets her. As Rachel watches he runs a hand down the woman's back - an unmistakably INTIMATE gesture. Rachel watches - depressed by how little this makes her feel. She begins to mix herself another drink, sees someone across the room, and her face changes. ON DAVID He's standing alone drinking, nervous. Rachel appears beside him. RACHEL My own party and you're the only friend I have. She turns, leans against the wall, scans the party, watches Stephan working the room. RACHEL -LRB- CONT'D. -RRB- all Stephen's friends. Stephen's girlfriends. She turns to see what David's reaction to this is, but he continues to watch Stephan. RACHEL -LRB- CONT'D. -RRB- And what kind of a friend are you? I call you last night and. RACHEL -LRB- CONT'D. -RRB- I thought the silence was for the audience, I did n't know you'd really lost your voice. David suddenly takes her hand and pulls her round the corner. AROUND THE CORNER He turns to her, his face alive with an energy that we have n't seen before - fear or excitement? DAVID Why do you call me? RACHEL What? DAVID You call me, at night, when you're drunk. Why do you call me? RACHEL What are you? DAVID Do you want us to fuck around behind his back? Like he fucks around behind yours? Is that what you want? Rachel stares at him, upset and angry. RACHEL I want a friend DAVID I do n't want to be your friend. -LRB- Beat. -RRB- I'm leaving. RACHEL Good. I do n't know why you bothered coming if your just going to. DAVID -LRB- interrupting. -RRB- Come with me. She realises he is n't talking about the party. Beat. RACHEL Where. whare are you going? DAVID It does n't matter. Away from Israel, away from this. poison. I ca n't stand what it is doing to us. Come with me. We'll go to Spain. Or Italy. We can save ourselves. WIFE -LRB- O.S. -RRB- This is such a beautiful photograph, Rachel. You look like a pair of Angels. A YOUNG ISRAELI and his WIFE are admiring a photograph the Wife has picked up from the table - a portrait of Rachel and Sarah. RACHEL -LRB- Mouth dry. -RRB- Thank you. WIFE -LRB- showing it to David. -RRB- Is n't it lovely? David does n't answer, is still staring at Rachel. The husband senses a scene, takes the photograph. HUSBAND -LRB- Smoothly. -RRB- You know you have to excuse us. -LRB- to his wife. -RRB-. we must catch Michael. His wife is confused. HUSBAND -LRB- CONT'D. -RRB- -LRB- leading her away. -RRB-. before he leaves, you remember? Rachel is staring at David, shaking her head, eyes glittering with tears. RACHEL You ca n't do this to me now. We had our chance. We said we would live with it. This is me living with it. David takes her hands. DAVID I'm in love with you, Rachel. I want my life back so I can live it with you. Come with me. RACHEL You can start again. You do n't have a child. You do n't have anyone. DAVID I thought I did. -LRB- beat. -RRB- Why ca n't we be happy? RACHEL -LRB- after a beat, quietly. -RRB- Because we did a terrible thing. He nods, finally, and lets go of her hand. Beat. Then he Beat. Then he says. turns and walks away from her through the crowd to the door, and is gone. She moves to follow him, then stops. says. Rachel turns and finds STEPHAN standing against the wall, waiting. They stare at each other. STEPHAN. -LRB- flat. -RRB- There you are. He leads her back towards the party. says.\",\n \"INT. NEWSPAPER BUILDING - GROUND FL. CAFE - EARLY EVENING Rachel sits, still smoking, though it's dark outside now. There is a sound of chatter from above her and she looks up to see JOURNALISTS spilling out from the offices above, coming down the stairs towards her. Rachel eases a PHOTOCOPIED SHEET from her bag and examines it. INSERT SHEET A photocopy of a JOURNALIST'S BY - LINE - a long, rather mournful face, the name YURI TITOV. She checks the face, slips the sheet back in the bag, looks up, studying the men descending towards her. Moments later she has found him - chatting to a colleague. He reaches the ground floor and walking past her, goes to the bar for a coffee. Rachel finds herself staring at him - the man WHO COULD DESTROY HER LIFE. Yuri seems to sense someone watching him and looks to where Rachel was sitting. But there's no - one there.\",\n \"INT. NEWSPAPER OFFICE LOBBY. CONTINUOUS. The PRETTY RECEPTIONIST stands chatting to her BOYFRIEND, a young journalist. He is holding her coat for. She starts to put it on and the Boyfriend gives a brief bark and play - bites at her neck. She laughs, pushing him away. Rachel hurries in. RACHEL -LRB- Russian. -RRB- Am I late? I'm sorry. Can I place an advertisement? RECEPTIONIST -LRB- gathering her things. -RRB- 100 grivna for twenty words. 5 grivna a word after that. Rachel proffers an envelope. RACHEL -LRB- CONT'D. -RRB- Here. The girl takes it. RECEPTIONIST Thanks. Rachel fishes in her bag and hands over a 100 GRIVNA NOTE. RACHEL This should cover it. The girl drops the envelope onto her desk, and slips the money into a small DESKTOP DRAWER UNIT, as Rachel leaves.\",\n \"INT. NEWSPAPER OFFICE - MEZZANINE LEVEL. CONTINUOUS. Rachel pauses outside the doors, zipping her bag, watching the receptionist tap a code into the alarm key - pad before letting herself and the Boyfriend out. She locks the door after them and the two walk past Rachel who smiles a goodbye. She watches them go.\",\n \"INT. NEWSPAPER BUILDING - GROUND FLOOR CAFE - NIGHT The place is dark now, eerily lit by the street lights outside. An ELDERLY SECURITY GUARD trudges past, whistling softly.\",\n \"INT. NEWSPAPER OFFICE - LOBBY. CONTINUOUS. We're looking through the glass doors to the shadowy mezzanine level beyond. A DARK FIGURE stands silhouetted at the door. We hear the scrape of tools working on the lock. There is a click, the doors open and Rachel slips inside. The alarm begins to BEEP. Rachel takes out a TORCH. A quick twist and the beam becomes ULTRAVIOLET. As Rachel moves swiftly towards the alarm box, the beam from the torch sweeps across the girl's desk, and we see Rachel's envelope glowing a deep PURPLE. We may also notice that the desktop drawer unit where the girl placed the money is smudged with purple FINGERPRINTS. Rachel opens the alarm box and shines her beam onto the keypad. We see four PURPLE FINGERPRINTS, one deeply pigmented, the other three progressively less so. Rachel takes a deep breath and punches the four marked keys in what she hopes is the correct order. The alarm falls silent. She moves quickly out of the lobby, down the corridor.\",\n \"INT. NEWSPAPER OFFICE - MAIN ROOM. CONTINUOUS. and into the main press room. Using her torch on its regular setting, Rachel scours the desks for information. On one desk is a photograph of the journalist we just met - YURI - HOLDING A LARGE FISH in triumph. Rachel dives into the desk's FILING UNIT and begins to rifle through the files. Presently, she finds an OLD PICTURE OF VOGEL. He wears SS uniform, the same shot we have seen before. Behind it, a stack of SCRIBBLED NOTES. She begins to scan them.\",\n \"INT. NEWSPAPER BUILDING - MEZZANINE LEVEL - CONTINUOUS The Receptionist and her drunk BOYFRIEND stand at the doors to the newspaper office, trying to open them. It takes them a moment, as - unaware that it was unlocked - the girl has accidentally locked it. Her boyfriend tussles with her playfully, keen for her to let him try instead, but she swats him away, turns the key again and finally they're in.\",\n \"INT. NEWSPAPER OFFICE - MAIN ROOM. NIGHT. Rachel, unaware, is still reading through the notes. She takes out paper and pen and copies down the information she needs.\",\n \"INT. NEWSPAPER OFFICE - LOBBY. NIGHT. The receptionist stands by the alarm box, drunk and confused, as the Boyfriend, impatient and equally drunk, comes up close behind her and reaches round to clumsily unbutton her coat. RECEPTIONIST -LRB- Whispering. -RRB- That's weird. The coat undone, the Boyfriend reaches round and snakes his hands up inside her sweater. She ignores him. RECEPTIONIST -LRB- CONT'D. -RRB- I set the alarm. BOYFRIEND What? RECEPTIONIST The alarm's not on. BOYFRIEND Who gives a shit? He moves his hands from her breasts to grab her around the waist and pull her away from the alarm box.\",\n \"INT. NEWSPAPER OFFICE - MAIN ROOM. CONTINUOUS. Rachel is still at the desk reading. Suddenly the main LIGHTS are switched on and the Receptionist and the Boyfriend stagger into sight. Rachel stands frozen, COMPLETELY VISIBLE. The girl and boyfriend stand kissing, too engrossed in each other to see the woman standing only ten feet from them. The Receptionist pulls free, laughing, makes it back to the entrance and switches the lights off, plunging the room into darkness. Rachel moves behind a column. Laughing softly, the Boyfriend leads the girl over to a desk. He opens a drawer, searches through it, triumphantly produces a PETTY CASH TIN. BOYFRIEND The loot! He starts to take some cash from the box. RECEPTIONIST -LRB- Laughing. -RRB- You ca n't! BOYFRIEND I'll put in an i - o - u. He scribbles on a piece of paper. BOYFRIEND -LRB- CONT'D. -RRB- `` Andrei borrowed money to take Katia to Club Oxygen.'' He drops the note in the tin. RECEPTIONIST You're going to get fired. He kisses her. BOYFRIEND You're worth it. RECEPTIONIST You're going to get me fired! BOYFRIEND -LRB- Kissing her. -RRB- I'm worth it. They kiss again, slowly backing up against the desk Rachel was searching. The two struggle with their clothes. BEHIND THE COLUMN Rachel has no way of reaching the door. She closes her eyes as the young couple begin to have sex on the desk. Then she opens her eyes and notices something. RACHEL'S P.O.V - CLOSE on her TORCH which is still on the desk. The Boyfriend seems to be staring RIGHT AT IT. Rachel watches, holding her breath. ON BOYFRIEND. as we realise he is staring STRAIGHT THROUGH the torch, lost in the moment. Next moment the couple change positions and some books and the torch are swept from the desk and clatter to the floor. The TORCH ROLLS across the carpet to the shadowy entrance of the cubicle. BEHIND THE COLUMN Rachel stares at the torch, wondering if she can reach it before they can see her. But at the moment the desktop tryst reaches its noisy conclusion. AT THE DESK The Boyfriend does up his trousers and pulls on his coat. The Receptionist adjusts her dress. She notices the fallen items and begins to pick them up, following the trail to the torch. BEHIND THE COLUMN Rachel stands frozen as the Receptionist stoops down directly IN FRONT OF HER and picks up the torch. The Boyfriend notices. BOYFRIEND What are you doing? RECEPTIONIST I'm tidying up. BOYFRIEND Are you working? Are you at work now? RECEPTIONIST -LRB- Laughing. -RRB- No, I'm not working. BOYFRIEND So leave them. She drops the objects and follows her Boyfriend out. Shaking, Rachel picks up her torch and replaces the items she is still holding from Yuri's file into the filing cabinet. From OS, we hear the BEEP BEEP BEEP of the alarm being reset. Rachel's heart sinks. OS, we hear office doors close, and the KEY TURNING in the lock. Rachel's eyes alight on A MOTION SENSOR, blinking in the corner of the room. She waits. And eventually - no choice - she runs for the door. The motion sensor lights up and the alarm strikes up loudly with a warning BEEP - BEEP - BEEP.\",\n \"INT. NEWSPAPER OFFICE - LOBBY. CONTINUOUS. Frantic, Rachel dashes to the alarm box, the insistent beep - beep - beep even louder here. Rachel runs for the door, yanks it open and bolts out. Moments later, the alarm CLANGS into action.\",\n \"EXT. BACK OF BUILDING - NIGHT Rachel bursts out of a fire exit, the siren blaring and disappears into the night.\",\n \"EXT. RACHEL'S CAR. KIEV STREET - NIGHT Rachel's car drives off down the road.\",\n \"INT. CAR. UKRAINIAN ROAD - NIGHT. Rachel has pulled over and is on her cell - phone to Stephan. RACHEL He's at the BABENKO Hospital.\",\n \"INT. STEPHAN'S OFFICE - NIGHT Stephan is alone, working at his computer. He taps in the name, searches, clicks on the link to a map. STEPHAN -LRB- CONT'D. -RRB- It's outside Vinnycja. About a hundred and fifty miles south - west of you. What name is he going under? Rachel checks her notes. RACHEL -LRB- O.S. -RRB- Ivan Schevchuk. He's the right age. STEPHAN When is he supposed to interview him?\",\n \"INT. CAR - NIGHT RACHEL Tomorrow. There's silence from the other end. Both know what this means. STEPHAN -LRB- O.S. -RRB- This will be over soon. And when it is. Rachel hangs up.\",\n \"EXT. ROAD - MORNING A car drives through the wintry landscape.\",\n \"INT./EXT. HIRE CAR. ROAD - MORNING A forest of fir trees pass as she drives. Rachel's mind is elsewhere. The car drifts to the wrong side, then swerves as she corrects. STUDENT -LRB- O.S. -RRB- What were you thinking at that moment?\",\n \"INT. UNIVERSITY LECTURE HALL. TEL AVIV - EVENING The night before David's suicide. RACHEL is being interviewed by a FEMALE FACULTY MEMBER. Projected on a screen behind is an image of the young Rachel, Stephan and David. The audience consists of mainly female students, hands raised. STUDENT Did you think you were going to die? Rachel seems to consider this carefully, although we know by now that this is a question she's been asked thousands of times and has a carefully rehearsed answer to. RACHEL I'll tell you something. At that moment, when I was on the floor, I was n't thinking about myself at all. I was thinking about my mother. And what she had suffered in Europe. I think that was what gave me the strength to get up again. The audience listen, moved. Rachel looks out and then FREEZES - Older David sits near the back of the room. LECTURER Well, I'm sure you'll all join me in thanking Ms Singer. As the audience applaud enthusiastically Rachel smiles, trying to regain her composure but her eyes are drawn back to David, standing in the shadows, watching her intently.\",\n \"INT. AUDITORIUM - LATER The place is empty now, only David and Rachel sitting in the seats. David looks like a man who's been up on speed for too long, eyes strangely bright in his exhausted face. Neither of them seems to be able to bridge the divide DAVID You look well. Rachel ignores this. She's waiting for an explanation. She's waiting for an explanation. says. RACHEL Does Stephan know you're here? DAVID I expect so. -LRB- Beat. -RRB- I read about him. How is he? RACHEL -LRB- shrugs. -RRB- The same. Different. Resigned to life at a desk. He likes to play the tragic hero. She stops herself, ashamed. RACHEL -LRB- CONT'D. -RRB- Things became. very bad between us. We try to stay civil for Sarah. DAVID Have you met anyone else? Rachel stares at him. How can he even ask this? RACHEL No. Thank you for asking. There was someone. but he left. And I never heard from him again. -LRB- beat, hard. -RRB- What are you doing here, David? DAVID I wrote you letters. RACHEL Pity you did n't send any of them DAVID Rachel. RACHEL -LRB- overlapping. -RRB- What is it? Thirty years? She's suddenly so angry, she starts to gather her things to go. DAVID I wanted to see you. RACHEL -LRB- overlapping. -RRB- All that time. Not a single word? DAVID Do n't go. She stops. DAVID I was ill for a while, Rachel. -LRB- A beat. -RRB- I spent some time in. in a kind of hospital RACHEL Where? DAVID Mexico RACHEL What were you doing in Mexico? DAVID Different jobs. Some teaching. Whatever I could get. Beat. DAVID I travelled a lot. The States. Most of South America. North Africa. I kept moving. -LRB- beat. -RRB- Looking for him RACHEL Who? He does n't answer and she looks up, suddenly realising who he means. She feels a sudden, instinctive rush of fear. RACHEL -LRB- CONT'D. -RRB- Why? -LRB- beat. -RRB- What would you have done if you had found him? He's watching her intently DAVID I would have told the truth. I would have gone to the newspaper, and said `` this is the Surgeon of Birkenau.'' I could have finally seen him face trial. Rachel listens to this, mesmerised. RACHEL And what would have happened to us? DAVID We'd be free. Whatever happened to us, it seemed to me we'd be free. Rachel stares at him without answering DAVID Do n't you agree? Are n't you tired of lying? Is n't that what you would have done - if you'd found him? RACHEL But it is n't just us. -LRB- Beat. -RRB- It's Sarah. Beat. Something changes in David's face, something fading away. He sits slowly back RACHEL -LRB- CONT'D. -RRB- She has n't done anything wrong. DAVID -LRB- Quietly. -RRB- No. RACHEL If the truth had come out she would be destroyed. -LRB- Beat. -RRB- So. no, I would n't have told the truth. -LRB- A long beat. -RRB- But you never found him She looks at him, waiting for him to contradict this. DAVID No I never did. The LECTURER appears at the doors to the auditorium. LECTURER Ms Singer? RACHEL -LRB- Relieved. -RRB- Yes. Thank you. She stands up again, the spell is broken. RACHEL -LRB- CONT'D. -RRB- There's a car for me. -LRB- Putting on her coat. -RRB- Did you hear about Sarah's book? After a moment, David nods. RACHEL The launch is tomorrow. Perhaps you could come? I do n't know if Stephan will be there or not, but. DAVID -LRB- suddenly. -RRB- If we could go back. if I'd waited for you. if you'd come. would it have been different? RACHEL We ca n't go back. A beat. DAVID I'm sorry. RACHEL Come tomorrow. We'll talk then? David gives a smile that might be an assent. Or might not. Rachel nods, walks quickly out of the auditorium. David sits as the light banks above switch off one at a time, watches the line of shadow moving towards him.\",\n \"EXT. ROAD. UKRAINE - DAY - THE PRESENT A car roars past and is gone, revealing Rachel standing amongst the trees beside her car, a cigarette forgotten in her hand, absorbing what it was David was asking her. Finally she drops the cigarette and climbs back into her car.\",\n \"INT. CAR - DAY CLOSE ON RACHEL. driving, lost in thought. She drives into some grounds. RACHEL'S P.O.V THROUGH WINDSCREEN The BABENKO HOSPITAL - a huge, imposing building stands in wintry grounds. A long drive leads up to the car park and the entrance. I/E. CAR - CONTINUOUS Rachel stares up at the building as she drives towards it.\",\n \"INT. BABENKO HOSPITAL - RECEPTION. CONTINUOUS. The large lobby area, vast pillars. A few stairs lead up from this to a waiting area, separated from the corridors beyond by BARS AND LOCKED GATES. Rachel approaches a young male REGISTRAR at RECEPTION. RACHEL -LRB- Russian. -RRB- Good morning. I'm here to visit Mr. Schevchuk? The man squints at her, checks his register an squints at her again. REGISTRAR You're from the newspaper? Because I have a man's name here. RACHEL Oh, no, no. I'm Mr Schevchuk's niece. Anna Barova. I've been before, do you remember? A moment's scrutiny, then a shrug. REGISTRAR Well, our visiting hours have n't changed, I'm afraid. Eleven till one. He points to a PLAQUE that reads : VISITING HOURS : 11:00 am - 1:00 am, 5:00 pm - 8:00 pm Sarah glances at her watch. It's 10.25. REGISTRAR -LRB- CONT'D. -RRB- Take a seat? He points to a waiting area. Rachel walks up the few stairs past a large PILLAR and takes a seat, trying to think of her next step. She glances to her left, through the bars, and sees an OLD WOMAN in a patient's gown staring blankly at her from the far end of the corridor. A DOCTOR appears and leads the Old Woman away, still staring. Rachel looks away, unnerved. Someone has just walked in and is talking to the Receptionist. Rachel's view is obscured by the pillar and she leans slightly to see who it is. RACHEL'S P.O.V - YURI stands showing his press card to the Registrar. AT RECEPTION The Registrar passes the press card back. REGISTRAR Mr. Schevchuk is in room 414. Visiting time starts at eleven o'clock. You can take a seat over there. Yuri walks across the lobby, towards where Rachel is waiting, but as he clears the pillar we see her seat is EMPTY. ON THE OTHER SIDE OF THE PILLAR. Rachel waits for Yuri to pass and then slips back out of the lobby.\",\n \"EXT. BABENKO HOSPITAL - CONTINUOUS. Rachel emerges - panicking. Time is almost up. What can she do?\",\n \"EXT/INT. CAR. REAR OF HOSPITAL - MOMENTS LATER Rachel's car is speeding down a narrow road that runs behind the hospital. Two stone arches frame the road, where the building meets the hillside. RACHEL'S P.O.V - high fences - the forbidding facade of the hospital - rows of barred windows. Rachel is scanning the building, looking for some way in.\",\n \"EXT/INT. CAR/REAR ENTRANCE - MOMENTS LATER Suddenly we pass a central arched entrance. A man is opening large double METAL DOORS for A LAUNDRY VAN to leave the hospital. It takes Rachel a few moments to register it. Then she BRAKES.\",\n \"EXT. BACK OF HOSPITAL - MOMENTS LATER The LAUNDRY VAN is driving through the doors. It stops, engine idling, and the DRIVER begins to climb down to close the doors after him. Before he clears the side of the truck, Rachel slips into the darkness. The DRIVER, oblivious, reaches the doors and begins to swing them shut.\",\n \"INT. BABENKO HOSPITAL - DAY Rachel runs up the staircase from the service area of the hospital.\",\n \"INT. CORRIDOR. BABENKO HOSPITAL - DAY Long and bleak with rows of BARRED DOORS. Rachel runs on.\",\n \"INT. WAITING AREA. BABENKO HOSPITAL -DAY. Yuri is writing in a notebook. The clock says : 10:50.\",\n \"INT. ANOTHER CORRIDOR. BABENKO HOSPITAL - DAY Rachel reaches a junction - the vast, white corridors stretching away from her in different directions, like a nightmarish maze. She stares about her, picks a corridor and begins to run again.\",\n \"INT. CORRIDOR/CENTRAL STAIRWELL - DAY Rachel reaches a MAP on the wall and scans it, frantically trying to locate the room she needs. She hurries on to an ancient looking ELEVATOR and gets in, jabs at the fourth floor button. With a groan of its motor the elevator begins to rise. CORRIDOR RACHEL'S P.O.V - TRACKING past rows of NUMBERED DOORS. Finally we reach it - ROOM 414. Rachel stares at the door.\",\n \"INT. TOILETS. BABENKO HOSPITAL - DAY Rachel sits in a CUBICLE. She takes the BLACK CASE from her handbag and opens it. Inside is a pen. She lifts this and the false bottom of the case away to reveal a HYPODERMIC NEEDLE and an AMPULE of a clear liquid. With trembling hands she begins to prepare the injection. She ca n't quite believe what she is about to do.\",\n \"INT. ROOM 414 - CONTINUOUS Rachel enters the room. The curtains are drawn and Rachel hesitates for a moment, her eyes adjusting to the gloom. A MAN sits in a chair, angled towards the window, his back to us. An IV drip hangs on a stand, its tube running into a cannula on the back of a withered hand which hangs from the chair. The only sound is the faint, rasping breath of the man. Rachel moves a little closer. On the bottom of the bed hangs a medical chart. The name reads Ivan Schevchuk. Rachel moves closer, carefully taking the HYPODERMIC NEEDLE from her pocket.\",\n \"INT. BABENKO HOSPITAL - RECEPTION. DAY. A NURSE is unlocking the gate at the waiting area for Yuri. He walks through them and over to the ELEVATOR.\",\n \"INT. ROOM 414 - DAY Rachel stands by the IV drip and tube. She can inject directly into the tube - and it will be over. She holds the tube, rests the tip of the needle against it. She struggles with herself. Just one tiny push. She ca n't do it. She stands frozen for a moment then slowly lowers the needle. Beside her, the steady breathing alters. The Man stirs and a cadaverous face half turns towards us. Rachel and Schevchuk stare at each other. The face is ancient, lined. but IT IS N'T THE FACE OF VOGEL. IVAN SCHEVCHUK -LRB- Weakly. -RRB- Are you the journalist? -LRB- Beat. -RRB- Do you know who I am? RACHEL -LRB- Beat, meaning it. -RRB- No. No, I do n't. IVAN SCHEVCHUK My name is Dieter Vogel. I am the Surgeon of Birkenau. -LRB- Beat. -RRB- Have you heard of me? RACHEL Yes. I've heard of you. Schevchuk looks at his withered hands. IVAN SCHEVCHUK -LRB- Simply. -RRB- I have killed thousands. You can take my photograph. The last photograph of the Surgeon of Birkenau? He struggles to raise his arm in the Nazi salute, a pathetic sick man. Rachel sits down at Schevchuk's desk, feeling suddenly exhausted.\",\n \"INT. ELEVATOR - DAY Yuri stands in the elevator waiting for the doors to close. NURSE Hold the doors please. Yuri holds the doors, as the Nurse approaches, escorting an ELDERLY WOMAN with a walker - the two moving at a snails pace. Yuri watches, amused.\",\n \"INT. ROOM 414 - DAY We CLOSE on Rachel, lost in thought. Beside her Schevchuk rambles on. IVAN SCHEVCHUK -LRB- O.S. -RRB- It comes down to blood. We were n't afraid of power. It was our destiny. The slave races had bred with apes. But we Aryans are descendants of the Theozoa who come from another planet. We were born to rule and to. He dissolves into a fit of weak coughing. Rachel stares at a NOTEPAD AND PEN on the desk beside her.\",\n \"INT. CORRIDOR - DAY Yuri walks towards Schevchuk's room. He pays no attention to Rachel as he passes her, sitting on a bench, dialling her cell phone. She listens to the other end ring.\",\n \"INT. TEL AVIV - STEPHAN'S OFFICE - CONTINUOUS Stephan is talking to a couple of OFFICIALS. His cell phone rings. STEPHAN -LRB- Answering. -RRB- Yes? RACHEL -LRB- O.S. -RRB- -LRB- Beat. -RRB- It is n't him. Stephan nods, a fixed smile on his face, covers the mouthpiece. STEPHAN -LRB- gesturing to Officials. -RRB- A family matter. Would you give me a moment? The two OFFICIALS leave the office, closing the door behind them. Stephan takes a a beat to calm his breathing. STEPHAN -LRB- CONT'D. -RRB- -LRB- Into phone. -RRB- You're sure?\",\n \"INT. CORRIDOR. BABENKO HOSPITAL - DAY RACHEL It is n't him. It's over. STEPHAN -LRB- O.S. -RRB- Thank God. Thank God. This is wonderful. This is. and you're okay? Rachel? You're alright, yes? Rachel stares at the wall. Silence. STEPHAN -LRB- O.S. ; CONT'D. -RRB- Rachel? RACHEL You were wrong. STEPHAN -LRB- O.S. -RRB- Well, thank God I was, but. RACHEL About David. You were wrong about him. ON STEPHAN. smiling and gesturing `` one minute'' to the two officials on the other side of the glass partition. STEPHAN About David? RACHEL -LRB- O.S. -RRB- He did n't kill himself because he was afraid the story would come out. This gets Stephan's attention. ON RACHEL RACHEL When he came to see me, he was asking me for something. STEPHAN -LRB- O.S. -RRB- What? RACHEL My permission. And I did n't give it. I would n't let him tell the truth and he was tired of living with the lie. ON STEPHAN. mind whirring. He can sense something. STEPHAN Truth is a luxury, Rachel. Some people have to put other things first - their country, their people. their children. ON RACHEL Struggling not to cry. STEPHAN -LRB- O.S. -RRB- Sarah's so proud of you, Rachel. You have to think about her. RACHEL -LRB- Crying. -RRB- I want her to be proud of me. Stephan is desperate to talk her down from the ledge. STEPHAN -LRB- O.S. -RRB- -LRB- Soothing. -RRB- Of course you do. RACHEL I want to do something to make her proud of me. ON STEPHAN STEPHAN Rachel? Rachel? RACHEL -LRB- O.S. -RRB- People have to know the truth, Stephan. David was right. ON RACHEL STEPHAN -LRB- O.S. -RRB- Listen to me. RACHEL Goodbye. STEPHAN -LRB- O.S. -RRB- Rachel, listen to me! She hangs up. ON STEPHAN. listening to the dial tone, panic overwhelming him. There's a knock at the door and an ASSISTANT appears. ASSISTANT Sir? Stephan does n't move. ON RACHEL She sits for a moment, then stands up.\",\n \"INT. CORRIDOR. HOSPITAL - CONTINUOUS LONG SHOT From the other end of the corridor, as the small figure of Rachel steps away from the bench. She straightens her scarf and wipes her eyes, then begins to walk towards us. REVERSE - ON RACHEL - OVER THE SHOULDER As she walks towards the end of the corridor.\",\n \"INT. ANOTHER CORRIDOR. BABENKO HOSPITAL - DAY PULLING RACHEL As she moves down another corridor. She reaches an opening on her left, which reveals a STAIRCASE winding around a central lift shaft, caged in frosted glass panels. She glances through it as she passes. And just for a second we see an ELDERLY MAN walking down the stairs. Rachel has walked on a few steps before it registers, and she stops - VOGEL. She walks back to the opening. The figure seems to have retraced their steps, because they are now walking FURTHER UP the staircase, on the other side of the lift shaft - a shadowy figure through the frosted glass which quickly disappears from sight. Rachel stares after him, frozen. What did she just see?\",\n \"INT. STAIRWELL. HOSPITAL - DAY She begins to climb the stairs.\",\n \"INT. REC ROOM - DAY Rachel comes through double doors and finds herself in a long REC ROOM - PATIENTS and some STAFF grouped around the room. Rachel begins to walk through the room - elderly men all around her, playing cards, reading, some sitting staring vacantly. She walks through them, staring at faces. Is he here? Is he amongst this ordinary world? She feels her pace quicken as she's drawn on through the room. It's as if she's back at that terrible night. Vogel's ahead of her somewhere, escaping all over again. She FLASHES through DOUBLE DOORS into a junction area - a long, empty corridor leading away from her on the right, ahead another set of double doors. She bursts through these doors and finds herself in.\",\n \"INT. LOCKER ROOM/BATHROOM - DAY A long, white tiled corridor of a room. A row of windows down the right, under which sit WASHBASINS. There's a row of LOCKERS and DOORS along the left. Rachel walks on, feeling increasingly as if she's in a dream. She's deep into the room before she realises it's a dead - end - there's no exit ahead of her. VOGEL -LRB- a dull rasp. -RRB- Why did you come? She turns and freezes. Vogel has emerged from one of the doorways on the left. Now he's between her and the doors on the far side of the room. VOGEL -LRB- CONT'D. -RRB- Why did you have to come? You did n't have to follow me. He begins to advance slowly towards her. VOGEL -LRB- CONT'D. -RRB- Was it Schevchuk? Did he talk? Rachel stands frozen as he creeps closer. He reaches out a hand as if to reassure her, a ghastly attempt at reasonableness. VOGEL I can stop him. I wo n't tell him anymore. -LRB- Almost pleading. -RRB- Nobody needs to know. As if the spell has broken Rachel makes a sudden dart for the doors. But before she can pass him, Vogel has moved with surprising speed and, almost before Rachel has seen the SCISSORS in his other hand, he has stabbed them into her shoulder. She reels over against the opposite wall, dislodging a GLASS SHELF which shatters into a WASHBASIN behind her. Vogel goes after her, pinning her against the basin, one hand on her throat, the other hand trying to stab her again. Rachel manages to grab the scissor hand and the two struggle frantically. The scissors inch closer to her FACE, to her EYE. Her other hand emerges from the basin behind her holding a piece of the broken glass shelf, which she whips across Vogel's face. He gives a horrible shriek and lets her go, clutching at his cheek. Rachel collapses gasping to the floor. Moaning, Vogel stumbles to a basin, blood dripping down onto the white porcelain from his slashed face. He suddenly notices Rachel has made it to her knees and is trying to crawl towards the door, He walks after her, pulls back her head, gets ready to stab the scissors into her throat. VOGEL You Jews never knew how to kill. Only how to die. Then he gives a gasp of pain, eyes closed, his whole body doubling with the pain, hands weakly scrabbling at the PIECE OF GLASS Rachel has stabbed into his thigh. He falls, almost on top of Rachel, and she finds herself pressed against his contorted face as he hisses and spits in agony. His hand searches blindly for the dropped scissors. Rachel grapples with him, almost embracing him, apparently trying to prevent him for reaching it. His searching hand locates the scissors and his eyes open in triumph, staring straight into Rachel's. He raises the scissors above his head. Then he stabs Rachel in the stomach. Rachel jack - knifes, as if she's been punched. Then. nothing. Both lie still. The only sound is Vogel's rasping breathing. Slowly Vogel gathers himself, drops the scissors, gets onto his knees - the victor. He climbs to his feet and begins to limp towards the door.\",\n \"INT. CORRIDOR - DAY PULLING VOGEL. as he walks down the corridor, breathing hard, trying to make it back to his room, back to safety. Suddenly he staggers against the wall. Something's wrong, something in his back. He twists around trying to locate the source of the strange sensation. And there it is - the HYPODERMIC NEEDLE Rachel has stuck between his shoulders. He touches it with his fingertips, eyes wide with horror, feeling the rush of lethal chemicals through his blood. He twists again trying to pull the needle free but his legs are already giving way and he collapses to the floor. Moments later he's dead.\",\n \"INT. WASHROOM - CONTINUOUS Rachel manages to turn over, starts to drag herself up. MUSIC begins.\",\n \"INT. ROOM 414 - DAY As the music continues we see Yuri putting his coat on. He's evidently finished his fruitless interview with Schevchuk, who is sitting slumped by the window. Yuri turns, about to leave, when he suddenly notices a NOTE upon the desk, ADDRESSED TO HIM. Surprised, he picks up the note and begins to read it. INSERT We see the first line - `` My name is Rachel Singer.''\",\n \"EXT. BABENKO HOSPITAL - CONTINUOUS The road at the back of the hospital. The music continues as we TRACK with Rachel, staring steadily ahead, walking slowly down the long road, her coat pulled around her. In the distance, framed between the arches, her abandoned car. Blood begins to spot the ground behind her. YOUNG RACHEL'S P.O.V - THE PAST We are in darkness. Then a DOOR opens ahead of us and slides to one side revealing an oval of brilliant white light. Slowly we TRACK FORWARD towards the harsh light. OLDER RACHEL. walking on towards her car. MILITARY AIRBASE. ISRAEL - THE PAST YOUNG RACHEL'S P.O.V - We're at the top of an AIRPLANE STAIRWAY, which leads down to the runway below, and two lines of waiting DIGNITARIES, applauding. OLDER RACHEL Walking on - a small lone figure against the white of the snow. MILITARY AIRBASE. ISRAEL - THE PAST The three YOUNG PEOPLE begin their descent down the stairs towards the WELCOME PARTY. OLDER RACHEL. tiny, framed within the two arches. Still moving towards the car. MILITARY AIRBASE. ISRAEL - THE PAST We CLOSE on Young Rachel as she blinks against the harsh sunlight, takes out a pair of sunglasses and slips them on. Then she steps forward to accept her reward. FADE OUT\"\n]"},"labels":{"kind":"list like","value":[0,0,1,0,1,0,0,1,1,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,1,0,0,1,0,0,0,1,0,1,0,0,1,0,1,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,1,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,1,1,0,0,0,0,1,0,0,1,0],"string":"[\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 1,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0\n]"},"summary":{"kind":"string","value":"In 1997, Rachel is honoured by her daughter Sarah during a release party in Tel Aviv for Sarah's book based on the account Rachel, Stefan and David gave of the events in 1965. Concurrently, David is escorted from his apartment by an Israeli government agent for a debriefing. David recognises Stefan waiting in another vehicle and unable to face their lie, he commits suicide by stepping in front of an oncoming truck. In 1965, a young Mossad agent Rachel Singer on her first field assignment arrives in East Berlin to meet with more experienced agents David Peretz and Stefan Gold. Their mission is to capture Nazi war criminal Dieter Vogel—infamously known as \"The Surgeon of Birkenau\" for his medical experiments on Jews during World War II—and bring him to Israel to face justice. Rachel and David present themselves as a married couple from Argentina and Rachel becomes a patient at Vogel's obstetrics and gynaecology clinic. At a doctor appointment, Rachel injects Vogel with a sedative during an examination and induces the nurse to believe that he has suffered a heart attack. Stefan and David arrive dressed as paramedics and make off with the unconscious Vogel in an ambulance. They attempt to leave by train, but Vogel awakens and sounds the horn of the van where he is being held, alerting guards to their presence. In the ensuing shootout, David sacrifices his chance to escape in order to save the compromised Rachel. The agents have no choice but to bring Vogel to their apartment and plan a new extraction. The agents take turns monitoring and feeding Vogel while leaving him chained to the wall heater. During his shift, David becomes violently enraged after Vogel explains his beliefs that Jews have many weaknesses, such as selfishness, making them easily subdued. David smashes a glass plate over Vogel's head and repeatedly beats him, only to be stopped and restrained by Stefan. Later on, Stefan and David go out, leaving Rachel home to monitor Vogel by herself. After managing to cut through his bonds using a shard of the broken plate, Vogel ambushes Rachel with the shard, leaving her with a permanent scar on her face and escapes. Panicking and hoping to avoid humiliation, Stefan convinces Rachel and David to go along with the fiction that Vogel was killed. They agree to lie and use the cover story that Rachel shot and killed Vogel as he attempted to flee. In the following years, the agents become venerated as national heroes for their roles in the mission. At a dinner after their daughter's book release party, Stefan takes Rachel aside to set a meeting to discuss new information he has obtained. Later, at David's flat, Stefan provides evidence that Vogel is in a Mental Hospital in Ukraine, and is soon scheduled to be interviewed by a local journalist. Stefan claims David killed himself because he was a coward. Rachel refutes Stefan's explanation, recalling an encounter with David a day before his suicide, in which he revealed his shame about the lie and disclosed that he had spent years unsuccessfully searching the world for Vogel so he could finally be brought to justice. He was further disheartened by Rachel's admission that she would continue propagating the lie to protect those closest to her, particularly her daughter. Nevertheless, Rachel finally feels compelled to travel to Kiev. She investigates the journalist's lead and is able to travel to the asylum. She reaches the room just minutes before the journalist and discovers the man claiming to be Vogel is not him. Describing the encounter to Stefan over the phone, Rachel declares she will not continue to lie about the 1965 mission. She leaves a note for the journalist and suddenly spots the real Vogel among the other patients and follows him to an isolated area of the hospital. After a confrontation in which Vogel stabs her twice with scissors, Rachel kills Vogel by plunging a poisoned syringe into his back. Later Rachel's note is discovered and read by the journalist. It describes the truth of the mission, ready to be relayed to the world."},"name":{"kind":"string","value":"The_Debt_(2011_film)"}}},{"rowIdx":97,"cells":{"scenes":{"kind":"list like","value":["EXT. PARK - DAY Brief shot of duel. RODERICK -LRB- V.O. -RRB- My father, who was well - known to the best circles in this kingdom under the name of roaring Harry James, was killed in a duel, when I was fifteen years old.","EXT. GARDEN - DAY Mrs. James, talking with a suitor ; Roderick, at a distance. RODERICK -LRB- V.O. -RRB- My mother, after her husband's death, and her retirement, lived in such a way as to defy slander. She refused all offers of marriage, declaring that she lived now for her son only, and for the memory of her departed saint.","EXT. STREET - DAY Mother and son walking together. RODERICK -LRB- V.O. -RRB- My mother was the most beautiful women of her day. But if she was proud of her beauty, to do her justice, she was still more proud of her son, and has said a thousand times to me that I was the handsomest fellow in the world.","EXT. CHURCH - DAY Mother and son entering church. RODERICK -LRB- V.O. -RRB- The good soul's pleasure was to dress me ; and on Sundays and Holidays, I turned out in a velvet coat with a silver - hilted sword by my side, and a gold garter at my knee as fine as any lord in the land. As we walked to church on Sundays, even the most envious souls would allow that there was not a prettier pair in the kingdom.","EXT. FIELD - DAY A picnic. The Dugan family. Roderick. RODERICK -LRB- V.O. -RRB- My uncle's family consisted of ten children, and one of them was the cause of all my early troubles ; this was the belle of the family, my cousin, Miss Dorothy Dugan, by name.","EXT. DUGAN MANOR HOUSE - DAY A sprawling run - down Irish manor house with large garden, stables, barn and farm. Idealized images of Dorothy. RODERICK -LRB- V.O. -RRB- Ah! That first affair, how well one remembers it! What a noble discovery it is that the boy makes when he finds himself actually and truly in love with some one! A lady who is skilled in dancing or singing never can perfect herself without a deal of study in private. So it is with the dear creatures who are skilled in coquetting. Dorothy, for instance, was always practicing, and she would take poor me to rehearse her accomplishments upon. Dorothy talking with the exciseman. RODERICK -LRB- V.O. -RRB- or the exciseman, when he came his rounds. Dorothy talking to the steward. RODERICK -LRB- V.O. -RRB- or the steward. Dorothy sitting under a tree with the curate, reading a book. RODERICK -LRB- V.O. -RRB- or the poor curate. Dorothy talking to the apothecary's lad. RODERICK -LRB- V.O. -RRB- or the young apothecary's lad from Dugan's Town whom I recollect beating once for that very reason. Roderick, fighting with apothecary's lad. RODERICK -LRB- V.O. -RRB- The torments of jealousy she made me endure were horrible.","EXT. FIELD - DAY Dorothy, like a greyhound released from days of confinement, and given the freedom of the fields at last, runs at top - speed, left and right, back and forth, returning every moment to Roderick. She runs and runs until she is out of breath, and then laughs at the astonishment which keeps Roderick motionless and staring at her. After catching her breath, and wiping her forehead, she challenges Roderick to a race. RODERICK I accept, but I insist on a wager. The loser must do whatever the winner pleases. DOROTHY Agreed. RODERICK Do you see the gate at the end of the field? The first to touch it will be the winner. They line up together and start on a count of three. Dorothy uses all her strength, but Roderick holds back, and Dorothy touches the gate five or six paces ahead of him. RODERICK -LRB- V.O. -RRB- I was certain to win, but I meant to lose to see what she would order me to do. Dorothy catches her breath, thinking of the penalty. Then she goes behind the trees and, a few second later, comes out and says : DOROTHY Your penalty is to find a cherry - colored ribbon which I have hidden somewhere on my person. You are free to look for it anywhere you will, and I will think very little of you if you do not find it. They sit down on the grass. Roderick searches her pockets, the fold of her short bodice and her skirt, then her shoes ; then he turns up her skirt, slowly and circumspectly, as high as her garters, which she wears upon the knee. He unfastens them and finds nothing ; he draws down her skirt and gropes under her armpits. The tickling makes her laugh. RODERICK I feel the ribbon. DOROTHY Then you must get it. Roderick has to unlace her bodice and touch her pretty breasts, over which his hand must pass to reach it. DOROTHY Why are you shaking? RODERICK With pleasure at finding the ribbon.","EXT. FIELD - DAY Military review. One hundred English troops, a few mounted officers, a small military band, fifty local people. The Dugan family, Roderick and his mother, Captains Best and Grogan. Roderick admires the troops in their splendid uniforms. RODERICK -LRB- V.O. -RRB- About this time, the United Kingdom was in a state of great excitement from the threat generally credited of a French invasion. The noblemen and people of condition in that and all other parts of the kingdom showed their loyalty by raising regiments of horse and foot to resist the invaders. How I envied them. The whole country was alive with war's alarums ; the three kingdoms ringing with military music, while poor I was obliged to stay at home in my fustian jacket and sigh for fame in secret.","INT. BALLROOM AT FENCIBLES - NIGHT Dorothy and Roderick entering. RODERICK -LRB- V.O. -RRB- Once, the officers of the Kilwangen regiment gave a grand ball to which Dorothy persuaded my to take her. Several cuts depicting the evening. Dorothy ignores Roderick ; dances, chats, laughs, drinks punch, and finally, strolls outside with Captain Best. Roderick makes a half - hearted try at dancing with Miss Clancy. RODERICK -LRB- V.O. -RRB- I have endured torments in my life, but none like that. Some of the prettiest girls there offered to console me, for I was the best dancer in the room, but I was too wretched, and so remained alone all night in a state of agony. I did not care for drink, or know the dreadful comfort of it in those days ; but I thought of killing myself and Dorothy, and most certainly of making away with Captain Best.","EXT. FENCIBLES BALLROOM - DAWN The guests leaving and saying their goodbyes. RODERICK -LRB- V.O. -RRB- At last, and at morning, the ball was over.","EXT. ROAD - DAWN Dorothy and Roderick on horseback together. DOROTHY Sure it's a bitter night, Roderick dear, and you'll catch cold without a handkerchief to your neck. To this sympathetic remark, from the pillion, the saddle made no reply. DOROTHY Did you and Miss Clancy have a pleasant evening, Roderick? You were together, I saw, all night. To this, the saddle only replies by grinding his teeth, and giving a lash to Daisy. DOROTHY Oh! Mercy, you make Daisy rear and throw me, you careless creature, you. The pillion had by this got her arm around the saddle's waist, and gave it the gentlest squeeze in the world. RODERICK I hate Miss Clancy, you know I do! And I only danced with her because - because - the person with whom I intended to dance chose to be engaged the whole night. DOROTHY I had not been in the room five minutes before I was engaged for every single set. RODERICK Were you obliged to dance five times with Captain Best, and then stroll out with him into the garden? DOROTHY I do n't care a fig for Captain Best ; he dances prettily to be sure, and is a pleasant rattle of a man. He looks well in his regimentals, too ; and if he chose to ask me to dance, how could I refuse him? RODERICK But you refused me, Dorothy. DOROTHY Oh! I can dance with you any day, and to dance with your own cousin at a ball as if you could find no other partner. Besides, Roderick, Captain Best's a man, and you are only a boy, and you have n't a guinea in the world. RODERICK If ever I meet him again, you shall see which is the best man of the two. I'll fight him with sword or with pistol, captain as he is. DOROTHY But Captain Best is already known as a valiant soldier, and is famous as a man of fashion in London. It is mighty well of you to fight farmers' boys, but to fight an Englishman is a very different matter. Roderick falls silent.","EXT. SMALL BRIDGE OVER A STREAM - DAWN They come to an old, high bridge, over a stream, sufficiently deep and rocky. DOROTHY Suppose, now, Roderick, you, who are such a hero, was passing over the bridge and the enemy on the other side. RODERICK I'd draw my sword, and cut my way through them. DOROTHY What, with me on the pillion? Would you kill poor me? RODERICK Well, then, I'll tell you what I'd do. I'd jump Daisy into the river, and swim you both across, where no enemy could follow us. DOROTHY Jump twenty feet! You would n't dare to do any such thing on Daisy. There's the captain's horse, Black George, I've heard say that Captain Bes - She never finished the word for, maddened by the continual recurrence of that odious monosyllable, Roderick shouts : RODERICK Hold tight to my waist! And, giving Daisy the spur, springs with Dorothy over the parapet, into the deeper water below. The horse's head sinks under, the girl screams as she sinks, and screams as she rises. Roderick lands her, half - fainting, on the shore.","INT. MOTHER'S HOUSE - BEDROOM - DAY Various cuts showing illness and convalescence. Roderick feverish : the doctor taking his pulse. Mother brings a tray of food. RODERICK -LRB- V.O. -RRB- I went home, and was ill speedily of a fever, which kept me to my bed for a week. Dorothy visiting him. RODERICK -LRB- V.O. -RRB- Dorothy visited me only once, but I quitted my couch still more violently in love than I had been ever before.","EXT. DUGAN MANOR HOUSE - DAY The air is fresh and bright, and the birds sing loud amidst the green trees. Roderick is elated, and springs down the road, as brisk as a young fawn. He encounters an orderly whistling `` Roast Beef of Old England,'' as he cleans down a cavalry horse. RODERICK Whose horse, fellow, is that? ORDERLY Feller, indeed! The horse belongs to my captain, and he's a better fellow nor you any day. RODERICK -LRB- V.O. -RRB- I did not stop to break his bones, as I would on another occasion, for a horrible suspicion had come across me, and I made for the garden as quickly as I could. Roderick see Captain Best and Dorothy pacing the path together. Her arm is under his, and he is fondling and squeezing her little hand which lies closely nestling against his arm. Some distance beyond them is Captain Grogan, who is paying court to Dorothy's sister, Mysie. RODERICK -LRB- V.O. -RRB- The fact is that, during the week of my illness, no other than Captain Best was staying at Castle Dugan, and making love to Miss Dorothy in form. CAPTAIN BEST No, Dorothy, except for you and four others, I vow before all the gods, my heart had never felt the soft flame. DOROTHY Ah, you men, you men, John, your passion is not equal to ours. We are like - like some plant I've read of - we bear but one flower, and then we die! CAPTAIN BEST Do you mean you never felt an inclination for another? DOROTHY Never, my John, but for thee! How can you ask me such a question? Raising her hand to his lips. CAPTAIN BEST Darling Dorothea! Roderick rushes into view, drawing his little sword. RODERICK -LRB- V.O. -RRB- I pulled out a knot of cherry - colored ribbons, which she had given me out of her breast, and which somehow I always wore upon me, and flung them in Captain Best's face, and rushed out with my little sword drawn. RODERICK She's a liar - she's a liar, Captain Best! Draw, sir, and defend yourself, if you are a man! Roderick leaps at Captain Best, and collars him, while Dorothy makes the air echo with her screams. Captain Grogan and Mysie hasten up. Though Roderick is a full growth of six feet, he is small by the side of the enormous English captain. Best turns very red at the attack upon him, and slips back clutching at his sword. Dorothy, in an agony of terror, flings herself round him, screaming : DOROTHY Captain Best, for Heaven's sake, spare the child - he is but an infant. CAPTAIN BEST And ought to be whipped for his impudence, but never fear, Miss Dugan, I shall not touch him, your favorite is safe from me. So saying, he stoops down and picks up the bunch of ribbons, which Roderick had flung at Dorothy's feet, and handing it to her, says in a sarcastic tone : CAPTAIN BEST When ladies make presents to gentlemen, it is time for other gentlemen to retire. DOROTHY Good heavens, Best! He is but a boy and do n't signify any more than my parrot or lap - dog. May n't I give a bit of ribbon to my own cousin? RODERICK -LRB- roaring. -RRB- I'm a man, and will prove it. CAPTAIN BEST You are perfectly welcome, miss, as many yards as you like. DOROTHY Monster! Your father was a tailor, and you are always thinking of the shop. But I'll have my revenge, I will! Roddy, will you see me insulted? RODERICK Indeed, Miss Dorothy, I intend to have his blood as sure as my name's Roderick. CAPTAIN BEST I'll send for the usher to cane you, little boy, but as for you, miss, I have the honor to wish you a good day. Best takes off his hat with much ceremony, and makes a low bow, and is just walking off, when Michael, Roderick's cousin, comes up, whose ear has likewise been caught by the scream. MICHAEL Hoity - toity! John Best, what's the matter here? CAPTAIN BEST I'll tell you what it is, Mr. Dugan. I have had enough of Miss Dugan here and your Irish ways. I ai n't used to'em, sir. MICHAEL -LRB- good - humoredly. -RRB- Well, well! What is it? We'll make you used to our ways, or adopt English ones. CAPTAIN BEST It's not the English way, for ladies to have two lovers, and, so, Mr. Dugan, I'll thank you to pay me the sum you owe me, and I resign all claims to this young lady. If she has a fancy for school - boys, let her take'em, sir. MICHAEL Pooh! Pooh! Best, you are joking. CAPTAIN BEST I never was more in earnest. Best exits. MICHAEL -LRB- in a towering rage. -RRB- You - you! Hang you for a meddling brat, your hand is in everybody's pie. What business had you to come brawling and quarreling here, with a gentleman who has fifteen hundred a - year? Michael runs after Best. DOROTHY -LRB- gasps. -RRB- Oh, I shall die ; I know I shall. I shall never leave this spot. CAPTAIN GROGAN -LRB- whisper to Dorothy. -RRB- The Captain is gone. Dorothy, giving him an indignant look, jumps up and walks towards the house. CAPTAIN GROGAN -LRB- in a soothing tone to Roderick. -RRB- This is a pretty way to recommend yourself to the family. RODERICK -LRB- shouts after Michael. -RRB- The man that marries Dorothy Dugan must first kill me - do you mind that? MICHAEL -LRB- shouting back from a distance. -RRB- Pooh, sir. Kill you - flog you, you mean! I'll send for Nick the huntsman to do it. CAPTAIN GROGAN You are a gallant lad, and I like your spirit. But what Dugan says is true. It's a hard thing to give a lad counsel who is in such a far - gone state as you ; but, believe me, I know the world, and if you will but follow my advice, you wo n't regret having taken it. Dorothy Dugan has not a penny ; you are not a whit richer. And, my poor boy, do n't you see - though it's a hard matter to see - that she's a flirt, and does not care a pin for you or Best either? RODERICK Dorothy might love me or not, as she likes, but Best will have to fight me before he marries her! CAPTAIN GROGAN Faith, I think you are a lad that's likely to keep your word. He looks hard at Roderick for a second to two, then he walks away, humming a tune, looking back at Roderick as he goes through the old gate out of the garden. When Grogan is gone, Roderick is quite alone, and he flings himself down on the bench where Dorothy had made believe to faint, and had left her handkerchief and the ribbons and, taking them up, hides his face in them, and bursts into a passion of tears. RODERICK -LRB- V.O. -RRB- I must have sat for some hours bemoaning myself on the garden - bench, for the dinner - bell clanged as usual at three o'clock, which wakened me from my reverie.","EXT. DUGAN MANOR HOUSE - DAY As Roderick passes the courtyard, he sees the Captain's saddle still hanging up at the stable - door, and his odious red - coated brute of a servant, swaggering with the scullion - girls and kitchen people. MAID The Englishman's still there, Master Roderick. He's there in the parlor. Go in, and do n't let ` im browbeat you, Master Roderick.","INT. DUGAN MANOR HOUSE - DINING ROOM - DAY Roderick enters and takes his place at the bottom of the big table ; the butler speedily brings him a cover. UNCLE Hello, Roddy, my boy! Up and well? That's right. AUNT He'd better be home with his mother. UNCLE Do n't mind her. It's the cold goose she ate for breakfast - did n't agree with her. Take a glass of spirits, Mrs. Dugan, to Roderick's health. It is evident that his uncle does n't know of what happened, but Michael, who is at dinner too, and Harry, and almost all the girls, look exceedingly black and the captain foolish ; and Miss Dorothy, who is again by his side, ready to cry. Captain Grogan sits smiling, and Roderick looks on as cold as stone. His uncle is in high good - humor. UNCLE Dorothy, divide that merry thought with the captain! See who'll be married first. Jack Best, my dear boy, never mind a clean glass for the claret, we're short of crystal at Castle Dugan ; take Dorothy's and the wine will taste none the worse. Mrs. Dugan and ladies, if you please ; this is a sort of toast that is drunk a great deal too seldom in my family, and you'll please to receive it with all the honors. Here's to Captain and Mrs. John Best, and long life to them. Kiss her, Jack, you rogue ; for faith, you've got a treasure. RODERICK -LRB- spring up. -RRB- His already?! HARRY Hold your tongue, you fool - hold your tongue! RODERICK -LRB- shouting. -RRB- He has already been slapped in the face this morning, Captain John Best ; he's already been called a coward, Captain John Best ; and this is the way I'll drink his health. Here's your health, Captain John Best. Roderick flings a glass of claret into his face. The next moment, he is under the table, tripped up by Harry, who hits him a violent cuff on the head ; as he goes down, he hardly has time to hear the general screaming and scurrying that is taking place above him, being so fully occupied with kicks, and thumps and curses, with which Harry is belaboring him. HARRY You fool! You great blundering marplot - you silly beggarly brat -. -LRB- a thump at each. -RRB- Hold your tongue! When Roderick gets up from under the table, the ladies are all gone ; but he has the satisfaction of seeing the captain's nose is bleeding, as his is - Best is cut across the bridge, and his beauty spoiled forever. UNCLE In Heaven's name, what does all the row mean? Is the boy in fever again? HARRY -LRB- turning to his father. -RRB- The fact is, sir, that the young monkey has fallen in love with Dorothy, and finding her and the captain mighty sweet in the garden today, he was for murdering Jack Best. CAPTAIN BEST -LRB- bristling up. -RRB- And, I'll tell you what, Mr. Dugan, I've been insulted grossly in this house. I ai n't at all satisfied with these here ways of going on. I'm an Englishman, I am, and a man of property ; and I - I - HARRY If you're insulted, and not satisfied, remember there's two of us, Best. On which, the captain falls to washing his nose in water, and answering never a word. RODERICK -LRB- in dignified tone. -RRB- Mr. Best may also have satisfaction any time he pleases, by calling on Roderick James, Esquire, of Jamesville. His uncle bursts out laughing, and in this laugh, Captain Grogan joins. RODERICK Captain Grogan, I beg you to understand that, for my cousin Harry, who has been my best friend through life, I could put up with rough treatment from him ; yet, even that sort of treatment I will bear from him no longer ; and any other person who ventures on the like will not like the cost. Mr. Best knows that fact very well ; and, if he's man, he'll know where to find me. UNCLE It is getting late, and your mother will be anxious about you. One of you had better go home with him. -LRB- turning to his sons. -RRB- Or the lad may be playing more pranks. HARRY Both of us ride home with Best here. CAPTAIN BEST I'm not afraid of highwaymen. My man is armed, and so am I. HARRY You know the use of arms very well, Best, and no one can doubt your courage ; but Michael and I will see you home for all that. UNCLE Why, you'll not be home till morning, boys. Kilwangan's a good ten miles from here. HARRY We'll sleep in Best's quarters. We're going to stop a week there. And, in another week, my boy. And here, Harry whispers something in the Captain's ear. CAPTAIN GROGAN I'll go home with the boy.","EXT. ROAD - LATE DAY Grogan walks with Roderick. CAPTAIN GROGAN A pretty day's work of it you have made, Master Roderick. Knowing your uncle to be distressed for money, and try and break off a match which will bring fifteen hundred a - year into the family? Best has promised to pay off the four thousand pounds which is bothering your uncle so. He takes a girl without a penny - a girl that has been flinging herself at the head of every man in these parts these ten years past, and missing them all, and a boy who ought to be attached to your uncle as to your father. RODERICK And so I am. CAPTAIN GROGAN And this is the return you make for his kindness! Did n't he harbor you in his house when your father died, and has n't he given you and your mother, rent - free, your fine house of Jamesville yonder? RODERICK Mark this, come what will of it, I swear I will fight the man who pretends to the hand of Dorothy Dugan. I'll follow him if it's into the church, and meet him there. I'll have his blood, or he shall have mine. Will you take my message to him, and arrange the meeting? CAPTAIN GROGAN Well, if it must be, it must. For a young fellow, you are the most bloodthirsty I ever saw. No officer, bearing His Majesty's commission, can receive a glass of wine on his nose, without resenting it - fight you must, and Best is a huge, strong fellow. RODERICK He'll give the better mark. I am not afraid of him. CAPTAIN GROGAN In faith, I believe you are not ; for a lad I never saw more game in my life. Give me a kiss, my dear boy. You're after my own soul. As long as Jack Grogan lives, you shall never want a friend or a second. They embrace. RODERICK -LRB- V.O. -RRB- Poor fellow! He was shot six months afterwards, at Minden, and I lost thereby a kind friend. But we do n't know what is in store for us, and that's a blessing.","EXT. HOUSE - LATE DAY Mother greeting Roderick and Captain Grogan. RODERICK -LRB- V.O. -RRB- In spite of my precautions to secrecy, I half - suspected that my mother knew all from the manner in which she embraced me on my arrival, and received our guest, Captain Grogan. His mother looks a little anxious and flushed and, every now and then, gazes very hard into the Captain's face. RODERICK -LRB- V.O. -RRB- But she would not say a word about the quarrel, for she had a noble spirit, and would as lief have seen any one of her kindred hanged as shirking from the field of honor.","INT. MOTHER'S HOUSE - RODERICK'S BEDROOM - DAY Roderick waking up. RODERICK -LRB- V.O. -RRB- I never slept sounder in my life, though I woke a little earlier than usual, and you may be sure my first thought was of the event of the day, for which I was fully prepared. Roderick at table with paper and ink. RODERICK -LRB- V.O. -RRB- And now I sat down and wrote a couple of letters ; they might be the last, thought I, that I should ever write in my life. See him write : `` Dearest Mother.''","INT. MOTHER'S HOUSE - KITCHEN - DAY RODERICK -LRB- V.O. -RRB- Then I went down to breakfast, where my mother was waiting for me, you may be sure. We did not say a single word about what was taking place. Roderick eats his breakfast with a good appetite ; but in helping himself to salt, spills it, on which his mother starts up with a scream. MOTHER Thank God, it's fallen towards me! And then, her heart being too full, she leaves the room. RODERICK -LRB- V.O. -RRB- Ah! They have their faults, those mothers ; but are there any other women like them? There is an elegant, silver - mounted sword that hangs on the mantelpiece under the picture of Roderick's late father. A pair of pistols hang on each side of the picture. Roderick takes down the sword and pistols, which are bright and well - oiled, and collects flints, balls and gunpowder.","EXT. MOTHER'S HOUSE - DAY Captain Grogan and Orderly arrive. RODERICK Have you taken my message to him? CAPTAIN GROGAN The meeting is arranged. Captain Best is waiting for you now. RODERICK My mare is saddled and ready ; who's the captain's second? CAPTAIN GROGAN Your cousins go out with him. Roderick and Grogan, and the Orderly ride off. RODERICK -LRB- V.O. -RRB- I did n't take leave of Mrs. James. The curtains of her bedroom - windows were down, and they did n't move as we mounted and trotted off.","EXT. COUNTRY ROAD - DAY They ride their horses at a leisurely pace. CAPTAIN GROGAN That's a very handsome sword you have there. RODERICK It was with this sword that my late father, Harry James, God rest his soul, met Sir Huddelstone Fuddelstone, the Hampshire baronet, and was fatally run through the neck. He was quite in the wrong, having insulted Lady Fuddelstone, when in liquor, at the Brentford Assembly. But, like a gentleman, he scorned to apologize. CAPTAIN GROGAN And now you risk the same fate. If you are killed, your mother is all alone in the world. RODERICK I am Harry James' son, and will act as becomes my name and quality.","EXT. FOREST CLEARING - DAY Harry, Michael and the Captain are already there. Best, flaming in red regimentals, a big a monster as ever led a grenadier company. The party are laughing together. RODERICK -LRB- to Captain Grogan. -RRB- I hope to spoil this sport, and trust to see this sword of mine in that big bully's body. CAPTAIN GROGAN Oh, it's with pistols we fight. You are no match for Best with the sword. RODERICK I'll match any man with the sword. CAPTAIN GROGAN But swords are today impossible ; Captain Best is - is lame. He knocked his knee against the swinging park gate last night, as he was riding home, and can scarce move it now. RODERICK Not against Castle Dugan gate, that has been off the hinges these ten years. CAPTAIN GROGAN It must have been some other gate. They alight from their horses, and join and salute the other gentlemen. CAPTAIN GROGAN I have just explained to Mister James that Captain Best is lame, and that swords are impossible. HARRY Oh, yes! Dead lame. Harry comes up to shake Roderick by the hand, while Captain Best takes off his hat, and turns extremely red. HARRY And very lucky for you, Roderick, my boy. You were a dead man else, for he is a devil of a fellow - is n't he, Grogan? CAPTAIN GROGAN A regular Turk. I never yet knew the man who stood to Captain Best. HARRY Hang the business. I hate it. I'm ashamed of it. Say you're sorry, Roderick. You can easily say that. CAPTAIN BEST If the young feller will go to Dublin, as proposed. RODERICK I'm not sorry - I'll not apologize - and I'll as soon go to Dublin as to hell! Grogan takes him aside. CAPTAIN GROGAN Look here, Roderick, my boy ; this is silly business. The girl will marry Best, mark my words ; and as sure as she does, you'll forget her. You are but a boy. Best is willing to consider you as such. Dublin's a fine place, and if you have a mind to take a ride thither and see the town for a month, here are twenty guineas at your service. Make Best an apology, and be off. RODERICK A man of honor dies, but never apologizes. I'll see the captain hanged before I apologize. HARRY -LRB- with a laugh to Grogan. -RRB- There's nothing else for it. Take your ground, Grogan - twelve paces, I suppose? CAPTAIN BEST -LRB- in a big voice. -RRB- Ten, sir, and make them short ones, do you hear, Captain Grogan? HARRY Do n't bully, Mr. Best. Here are the pistols. -LRB- with some emotion to Roderick. -RRB- God bless you, my boy ; and when I count three, fire. RODERICK This is not one of my pistols. HARRY They are all right, never fear. It's one of mine. Yours will serve, if they are needed, for the next round. CAPTAIN GROGAN Roderick, fire at his neck - hit him there under the gorget ; see how the fool shows himself open. Michael, who has not spoken a word, Harry, and the Captain retire to one side, and Harry gives the signal. It is slowly given, and Roderick has the leisure to cover his man well. Captain Best changes color and trembles as the numbers are given. At `` three'' both pistols go off. Best gives a most horrible groan, staggers backwards and falls. THE SECONDS -LRB- crying out. -RRB- He's down! He's down! Running towards him, Harry lifts him up - Michael takes his head. MICHAEL He's hit here, in the neck. Laying open his coat, blood is seen gurgling from under his gorget. HARRY How is it with you? The unfortunate man does not answer, but when the support of Harry's arm is withdrawn from his back, groans once more and falls backwards. MICHAEL -LRB- with a scowl. -RRB- The young fellow has begun well. You had better ride off, young sir, before the police are up. They had wind of the business before we left Kilwangan. RODERICK Is he quite dead? MICHAEL Quite dead. CAPTAIN GROGAN Then the world's rid of a coward. It's all over with him, Roddy - he does n't stir. He gives the huge prostrate body a scornful kick with his foot. HARRY We are not cowards, Grogan, whatever he was! Let's get the boy off as quick as we may. Your man shall go for a cart, and take away the body of this unhappy gentleman. This has been a sad day's work for our family, Roderick James, and you have robbed us of fifteen - hundred a - year. RODERICK It was Dorothy did it. Roderick takes the ribbons she gave him out of his waistcoat, and the letter, and flings them down on the body of Captain Best. RODERICK There! Take her those ribbons. She'll know what they mean ; that's all that's left of her of two lovers she had and ruined. MICHAEL And now, in Heaven's name, get the youngster out of the way. HARRY I'll go with you. They mount up and gallop off.","EXT. MOTHER'S HOUSE - DAY Upon seeing Roderick and Harry ride up, his mother, who has been waiting outside, rushes to her son with wild screams of joy. He dismounts, and she kisses and embraces him. RODERICK -LRB- V.O. -RRB- I need not tell you how great was my mother's pride and exultation when she heard from Harry's lips the account of my behavior at the duel.","INT. MOTHER'S HOUSE - PARLOR - DAY Still much excitement and hustle and bustle. HARRY The boy must go into hiding, for a short time anyway. Dublin is the best place for him to go, and there wait until matters are blown over. MOTHER Dublin? But the poor lad has never been away from home. He will be as safe here as in Dublin. HARRY I wish that were true, Auntie dear, but I'm afraid the bailiffs may already be on their way from Kilwangan.","INT. RODERICK'S BEDROOM - DAY His mother is rushing about and packing a valise. Harry sits on the bed. RODERICK -LRB- V.O. -RRB- Harry persisted in the necessity of instant departure, in which argument, as I was anxious to see the world, I must confess, I sided with him ; and my mother was brought to see that, in our small house, in the midst of a village, escape would be impossible, and capture would be impossible to avoid.","INT. MOTHER'S BEDROOM - DAY His mother takes out a stocking from her escritoire, and gives Roderick twenty golden guineas. MOTHER -LRB- gravely. -RRB- Roderick, my darling, my wild boy, I have forebodings that our separation is to be a long one. I spent most of all night consulting the cards regarding your fate in the duel, and all signs betoke a separation. Here is twenty guineas - all that I have in the world - and I want you to keep your father's sword and pistols, which you have known to use so like a man.","EXT. MOTHER'S HOUSE - DAY Roderick's departure. RODERICK -LRB- V.O. -RRB- She hurried my departure now, though her heart, I know, was full, and almost in half - an - hour from my arrival at home, I was once more on the road again, with the wide world, as it were, before me. Roderick waves. His mother cries.","EXT. HIGH ROAD TO DUBLIN - DAY RODERICK -LRB- V.O. -RRB- No lad of seventeen is very sad who has liberty for the first time, and twenty guineas in his pocket ; and I rode away, thinking, I confess, not so much of the kind of mother left alone, and of the home behind me, as of tomorrow, and all the wonders it would bring. Roderick happily riding down the road. RODERICK -LRB- V.O. -RRB- I had no doubts of the future ; thinking that a man of my person, parts, and courage, could make his way anywhere. So I rode on, singing to myself, or chatting with the passersby ; and all the girls along the road said, `` God save me, for a clever gentleman.'' Farm girls in the fields flirting with him. RODERICK -LRB- V.O. -RRB- As for thoughts of Dorothy Dugan, there seemed to be a gap of a half - a - score of years.","EXT. ROAD TO DUBLIN - DAY A well - armed gentleman dressed in green, and a gold cord, with a patch on his eye, and riding a powerful mare, puts his horse alongside. ARMED GENTLEMAN Good day to you, young sir. RODERICK Good morning. ARMED GENTLEMAN Where are you bound for? RODERICK -LRB- after a long look at his companion. -RRB- That is none of your business. ARMED GENTLEMAN Is your mother not afraid on account of the highwayman to let one so young as you travel? RODERICK -LRB- pulling out a pistol. -RRB- Not at all, sir. I have a pair of good pistols that have already done execution, and are ready to do it again. At this, a pock - marked man coming up, the well - armed gentleman spurs into his bay mare, and leaves Roderick.","EXT. ROAD TO DUBLIN - DAY RODERICK -LRB- V.O. -RRB- A little later on, as I rode towards Kilcullen, I saw a crowd of peasant people assembled round a one - horse chair, and my friend in green, as I thought, making off half - a - mile up the hill. A footman howls, at the top of his voice. FOOTMAN Stop thief! But the country fellows only laugh at his distress, and make all sorts of jokes at the adventure which had just befallen. COUNTRY FELLOW #1 Sure, you might have kept him off with your blunderbush! COUNTRY FELLOW #2 O the coward! To let the Captain bate you, and he only one eye! COUNTRY FELLOW #3 The next time my lady travels, she'd better leave you at home! RODERICK What is this noise, fellows? Roderick rides up amongst them, and seeing the lady in the carriage, very pale and frightened, gives a slash of his whip, and bids the red - shanked ruffians keep off. Pulling off his hat, and bringing his mare up in a prance to the chair - window. RODERICK What has happened, madam, to annoy your ladyship? MRS. O'REILLY Oh, I am grateful to you, sir. I am the wife of Captain O'Reilly hastening to join him at Dublin. My chair was stopped by a highwayman ; this great oaf of a servant - man fell down on his knees, armed as he was, and though there were thirty people in the next field, working, when the ruffian attacked, not one of them would help but, on the contrary, wished him `` good luck.'' COUNTRY FELLOW #1 Sure, he's the friend of the poor, and good luck to him. COUNTRY FELLOW #2 Was it any business of ours? RODERICK -LRB- shouting. -RRB- Be off to your work, you pack of rascals, or you will have a good taste of my thong. -LRB- to Mrs. O'Reilly. -RRB- Have you lost much? MRS. O'REILLY Everything - my purse, containing upwards of a hundred guineas, my jewels, my snuff - boxes, watches. And all because this blundering coward fell to his knees. FOOTMAN Be fair, ma'am, them was n't so much. Did n't he return you the thirteen pence in copper, and the watch, saying it was only pinchbeck? MRS. O'REILLY Do n't be insolent, or I'll report you to the Captain. FOOTMAN Sorry, ma'am. He shuffles a few steps away and frowns in the direction that the Captain has vanished. MRS. O'REILLY That fool did n't know what was the meaning of a hundred - pound bill, which was in the pocket - book that the fellow took from me. RODERICK I am riding to Dublin myself, and if your ladyship will allow me the honor of riding with you, I shall do my best to protect you from further mishap. MRS. O'REILLY But I should n't like to put you to such trouble, Mister? RODERICK O'Higgins. Mohawk O'Higgins.","EXT. ROADSIDE INN - DAY They stop at the inn. RODERICK -LRB- very gallantly. -RRB- As you have been robbed of your purse, may I have permission to lend your ladyship a couple of pieces to pay any expenses which you might incur before reaching your home? MRS. O'REILLY -LRB- smiling. -RRB- That's very kind of you, Mr. O'Higgins. He gives her two gold pieces.","INT. INN - DAY Roderick and Mrs. O'Reilly finishing their meal. We will hear dialogue underneath Roderick's voice over. RODERICK -LRB- V.O. -RRB- How different was her lively rattle to the vulgar wenches at Kilwangan assemblies. In every sentence, she mentioned a lord or a person of quality. To the lady's question about my birth and parentage, I replied that I was a young gentleman of large fortune, that I was going to Dublin for my studies, and that my mother allowed me five hundred per annum. MRS. O'REILLY You must be very cautious with regard to the company you should meet in Dublin, where rogues and adventurers of all countries abound. I hope you will do me the honor of accepting lodgings in my own house, where Captain O'Reilly will welcome with delight, my gallant young preserver. Paying the bill. RODERICK -LRB- V.O. -RRB- Perhaps had I been a little older in the world's experience, I should have begun to see that Madame O'Reilly was not the person of fashion she pretended to be ; but, as it was, I took all her stories for truth, and, when the landlord brought the bill for dinner, paid it with the air of a lord. Indeed, she made no motion to produce the two pieces I had lent her.","EXT. DUBLIN - STREET - NIGHT They ride by. RODERICK -LRB- V.O. -RRB- And so we rode on slowly towards Dublin, into which city we made our entrance at nightfall. The rattle and splendor of the coaches, the flare of the linkboys, the number and magnificence of the houses, struck me with the greatest wonder ; though I was careful to disguise this feeling.","EXT. O'REILLY HOUSE - DUBLIN - NIGHT RODERICK -LRB- V.O. -RRB- We stopped at length at a house of rather mean appearance, and were let into a passage which had a great smell of supper and punch.","INT. O'REILLY HOUSE - DINING ROOM - NIGHT Captain O'Reilly, a stout red - faced man, without a periwig, and in a rather tattered nightgown and cap. Roderick and Mrs. O'Reilly. CAPTAIN O'REILLY Mr. O'Higgins, I can not say how grateful I am for your timely assistance to my wife. RODERICK I am only sorry that I was unable to prevent the villain from carrying off all her ladyship's money and pearls. CAPTAIN O'REILLY Mr. O'Higgins, we are in your debt, and rest assured, sir, you have friends in this house whenever you are in Dublin. -LRB- pours a glass. -RRB- Mister O'Higgins, I wonder if I know your good father? RODERICK Which O'Higgins do you know? For I have never heard your name mentioned in my family. CAPTAIN O'REILLY Oh, I am thinking of the O'Higgins of Redmondstown. General O'Higgins was a close friend of my wife's dear father, Colonel Granby Somerset. RODERICK Ah - I see. No, I'm afraid mine are the O'Higgins of Watertown. CAPTAIN O'REILLY I have heard of them. There are relics of some mutton - chops and onions on a cracked dish before them. CAPTAIN O'REILLY My love, I wish I had known of your coming, for Bob Moriaty and I just finished the most delicious venison pasty, which His Grace the Lord Lieutenant, sent us, with a flash of sillery from his own cellar. You know the wine, my dear? But as bygones are bygones, and no help for them, what say ye to a fine lobster and a bottle of as good claret as any in Ireland? Betty, clear these things from the table, and make the mistress and our young friend welcome to our home. Captain O'Reilly searches his pockets for some money to give to Betty. CAPTAIN O'REILLY I'm sorry, Mr. O'Higgins, but I do n't seem to have any small change. May I borrow a ten - penny piece to give to the girl? MRS. O'REILLY I have some money, my dear. Here, Betty, go to the fishmonger and bring back our supper, and mind you get the right change. She takes out one of the golden guineas Roderick gave to her.","INT. DINNING ROOM - LATER They are eating. RODERICK -LRB- V.O. -RRB- Our supper was seasoned, if not by any great elegance, at least by a plentiful store of anecdotes, concerning the highest personages of the city, with whom, according to himself, the captain lived on terms of the utmost intimacy. Not to be behind hand with him, I spoke of my own estates and property as if I was as rich as a duke.","INT. O'REILLY HOUSE - BEDROOM - NIGHT The couple wishing Roderick goodnight. RODERICK -LRB- V.O. -RRB- Had I been an English lad, the appearance of the chamber I occupied might, indeed, have aroused instantly my suspicion and distrust. But we are not particular in Ireland on the score of neatness, hence the disorder of my bed - chamber did not strike me so much. Broken door. RODERICK -LRB- V.O. -RRB- Was there a lock to the door, or a hasp to fasten it to? Dress lying over bed. RODERICK -LRB- V.O. -RRB- Though my counterpane was evidently a greased brocade dress of Mrs. O'Reilly. Cracked mirror. RODERICK -LRB- V.O. -RRB- And my cracked toilet - glass not much bigger than a half - crown, yet I was used to these sort of ways in Irish houses, and still thought myself to be in that of a man of fashion. Drawers, full of junk. RODERICK -LRB- V.O. -RRB- There was no lock to the drawers, which, when they did open, were full of my hostess' rouge - pots, shoes, stays, and rags.","INT. BEDROOM - O'REILLY HOUSE - NIGHT In the middle of the night, Mrs. O'Reilly comes to Roderick's room on a flimsy pretext, and in the course of events, he has his first woman.","INT. COACH - DAY Roderick, Captain and Mrs. O'Reilly. CAPTAIN O'REILLY I need n't ask whether you had a comfortable bed. Young Fred Pimpleton slept in it for seven months, during which he did me the honor to stay with me, and if he was satisfied, I do n't know who else would n't be.","EXT. PROMENADE - PHOENIX PARK - DAY Roderick, Captain and Mrs. O'Reilly, their friends. Various cuts. RODERICK -LRB- V.O. -RRB- After breakfast, we drove out to Phoenix Park, where numbers of the young gentry were known to Mrs. O'Reilly, to all of whom she presented me in such a complimentary way that, before half an hour, I had got to be considered as a gentleman of great expectations and large property.","INT. O'REILLY HOUSE - NIGHT RODERICK -LRB- V.O. -RRB- I had little notion then that I had got amongst a set of impostors - that Captain O'Reilly was only an adventurer, and his lady a person of no credit. The fact was, a young man could hardly have fallen into worse hands than those in which I now found myself. An evening of gambling. RODERICK -LRB- V.O. -RRB- Their friends were always welcome on payment of a certain moderate sum for their dinner after which, you may be sure, that cards were not wanting, and that the company who played did not play for love merely. Various cuts of the characters present. RODERICK -LRB- V.O. -RRB- What could happen to a man but misfortune from associating with such company? And in a very, very short time I became their prey. Roderick loses two hundred guineas to Captain O'Reilly in a single hand. We see Captain O'Reilly cheat, but Roderick does not. He pays him the 18 gold guineas, remaining from the sum his mother gave him. RODERICK I shall have to write out a note for the rest of it, Captain O'Reilly.","EXT. STREET - OUTSIDE O'REILLY HOUSE - DAWN Roderick exits to the street. The sound of the gambling can still be heard in the street. He is soon joined by Councillor Mulligan. COUNCILLOR MULLIGAN Master Roderick, you appear a young fellow of birth and fortune ; let me whisper in your ear that you have fallen into very bad hands - it's a regular gang of swindlers ; and a gentleman of your rank and quality should never be seen in such company. The captain has been a gentleman's gentleman, and his lady of no higher rank. Go home, pack your valise, pay the little trifle you owe me, mount your mare, and ride back again to your parents - it's the very best thing you can do. Roderick does not reply, and walks slowly away from him down the street.","INT. O'REILLY HOUSE - RODERICK'S BEDROOM - EARLY MORNING Roderick enters. RODERICK -LRB- V.O. -RRB- Into a pretty nest of villains, indeed, was I plunged! When I returned to my bed - chamber, a few hours later, it seemed as if all my misfortunes were to break on me at once. Valise open, wardrobe lying on the ground, and Roderick's keys in the possession of O'Reilly and his wife. CAPTAIN O'REILLY Whom have I been harboring in my house? Who are you, sirrah? RODERICK Sirrah! Sirrah, I am as good a gentleman as any in Ireland! CAPTAIN O'REILLY You're an impostor, young man, a schemer, a deceiver! RODERICK Repeat the words again, and I run you through the body. CAPTAIN O'REILLY Tut, tut! I can play at fencing as well as you, Mr. Roderick James. Ah! You change color, do you? Your secret is known, is it? You come like a viper into the bosom of innocent families ; you represent yourself as the heir to my friends the O'Higgins of Castle O'Higgins ; I introduce you to the nobility and gentry of this methropolis ; I take you to my tradesmen, who give you credit. I accept your note for near two hundred pounds, and what do I find? A fraud. He holds up the name, Roderick James, printed on the linen. CAPTAIN O'REILLY Not Master O'Higgins of Watertown, but Roderick James of the devil only knows where. Captain O'Reilly gathers up the linen clothes, silver toilet articles, and the rest of Roderick's gear. RODERICK Hark ye, Mr. O'Reilly, I will tell you why I was obliged to alter my name, which is James and the best name in Ireland. I changed it, sir, because, on the day before I came to Dublin, I killed a man in deadly combat - an Englishman, sir, and a Captain in His Majesty's service ; and if you offer to let or hinder me in the slightest way, the same arm which destroyed him is ready to punish you. So saying, Roderick draws his sword like lightning, and giving a `` ha, ha!'' and a stamp with his foot, lunges it within an inch of O'Reilly's heart, who starts back and turns deadly pale, while his wife, with a scream, flings herself between them. MRS. O'REILLY Dearest Roderick - be pacified. O'Reilly, you do n't want the poor child's blood. Let him escape - in Heaven's name, let him go. CAPTAIN O'REILLY -LRB- sulkily. -RRB- He may go hang for me, and he's better be off quickly, for I shall go to the magistrate if I see him again. O'Reilly exits. His wife sits down on the bed and begins to cry.","EXT. DUBLIN STREET - DAY Roderick riding down the street, with his valise. RODERICK -LRB- V.O. -RRB- Where was now a home for the descendant of the James? I was expelled from Dublin by a persecution occasioned, I must confess, by my own imprudence. I had no time to wait and choose. No place of refuge to fly to.","INT. ALE HOUSE - DAY RODERICK -LRB- V.O. -RRB- There was a score of recruiting parties in the town beating up for men to join our gallant armies in America and Germany. Roderick approaches a Captain and a Sergeant, who quickly make him welcome. RODERICK I will tell you frankly, sir. I am a young gentleman in difficulties ; I have killed an officer in a duel, and I am anxious to get out of the country. RODERICK -LRB- V.O. -RRB- But I need n't have troubled myself with any explanations ; King George was in too much want of men to heed from whence they came - and a fellow of my inches was always welcome. Indeed, I could not have chosen my time better. A transport was lying at Dunleary, waiting for a wind.","EXT. BRITISH WARSHIP AT SEA - DAY RODERICK -LRB- V.O. -RRB- I never had a taste for any thing but genteel company, and hate all descriptions of low life. Hence my account of the society in which I at present found myself must of necessity be short. The reminiscences of the horrid black - hole of a place in which we soldiers were confined, of the wretched creatures with whom I was now forced to keep company, of the plowmen, poachers, pickpockets, who had taken refuge from poverty, or the law, as, in truth, I had done myself, is enough to make me ashamed even now. Roderick sits very disconsolately over a platter of rancid bacon and moldy biscuit, which is served to him at mess. When it comes to his turn to be helped to drink, he is served, like the rest, with dirty tin noggin, containing somewhat more than half a pint of rum and water. The beaker is so greasy and filthy that he can not help turning round to the messman and saying : RODERICK Fellow, get me a glass! At which, all the wretches round him burst into a roar of laughter, the very loudest among them being Mr. Toole, a red - haired monster of a man. MR. TOOLE Get the gentleman a towel for his hands, and serve him a basin of turtle - soup. Roars the monster, who is sitting, or rather squatting, on the deck opposite him, and as he speaks, he suddenly seizes Roderick's beaker of grog and empties it in midst of another burst of applause. LINK-BOY -LRB- whispers. -RRB- If you want to vex him, ask him about his wife, the washerwoman, who bates him. RODERICK Is it a towel of your wife's washing, Mr. Toole? I'm told she wiped your face often with one. LINK-BOY -LRB- whispers. -RRB- Ask him why he would n't see her yesterday, when she came to the ship. RODERICK -LRB- V.O. -RRB- And so I put to him some other foolish jokes about soapsuds, hen - pecking, and flat - irons, which set the man into a fury, and succeeded in raising a quarrel between us. Roderick and Toole fight with cudgels. Roderick gives him a thump across his head which lays him lifeless on the floor. RODERICK -LRB- V.O. -RRB- This victory over the cock of the vile dunghill obtained me respect among the wretches among whom I formed part.","EXT. MILITARY DRILL FIELD - CUXHAVEN - DAY RODERICK -LRB- V.O. -RRB- Our passage was very favorable, and in two days we landed at Cuxhaven, and before I had been a month in the Electorate, I was transported into a tall and proper young soldier, and, having a natural aptitude for military exercise, was soon as accomplished at the drill as the oldest sergeant in the regiment. Various cuts. Roderick learning the soldierly arts, musket drill, manual of arms, bayonet, marching.","EXT. MILITARY COURTYARD - CUXHAVEN - DAY The Cuxhaven troops are drawn up to receive a new regiment, arrived from England. Roderick sees, marching at the head of his company, his old friend, Captain Grogan, who gives him a wink. RODERICK -LRB- V.O. -RRB- Six weeks after we arrived in Cuxhaven, we were reinforced by Gales regiment of foot from England, and I promise you the sight of Grogan's face was most welcome to me, for it assured me that a friend was near me.","INT. GROGAN'S QUARTERS - DAY Roderick and Grogan. RODERICK -LRB- V.O. -RRB- Grogan gave me a wink of recognition, but offered no public token of acquaintance and it was not until two days afterwards that he called me into his quarters, and then, shaking hands with me cordially, gave me news which I wanted, of my family. CAPTAIN GROGAN I had news of you in Dublin. Faith, you've begun early, like your father's son, but I think you could not do better than as you have done. But why did you not write home to your poor mother? She has sent half - a - dozen letters to you in Dublin. RODERICK I suppose she addressed them to me in my real name, by which I never thought to ask for them at the post office. CAPTAIN GROGAN We must write to her today, and you can tell her that you are safe and married to `` Brown Bess.'' Roderick sighs when Grogan says the word `` married,'' on which Grogan says with a laugh : CAPTAIN GROGAN I see you are thinking of a certain young lady at Duganstown. RODERICK Is Miss Dugan well? CAPTAIN GROGAN There's only six Miss Dugans now. poor Dorothy. RODERICK Good heavens! Whatever? Has she died of grief? CAPTAIN GROGAN She took on so at your going away that she was obliged to console herself with a husband. She is now Mrs. John Best. RODERICK Mrs. John Best! Was there another Mr. John Best?! CAPTAIN GROGAN No, the very same one, my boy. He recovered from his wound. The ball you hit him with was not likely to hurt him. It was only made of tow. Do you think the Dugans would let you kill fifteen hundred a - year out of the family? The plan of the duel was all arranged in order to get you out of the way, for the cowardly Englishman could never be brought to marry from fear of you. But hit him you certainly did, Roderick, and with a fine thick plugget of tow, and the fellow was so frightened that he was an hour in coming to. We told your mother the story afterwards, and a pretty scene she made. RODERICK The coward! CAPTAIN GROGAN He has paid off your uncle's mortgage. He gave Dorothy a coach - and - six. That coward of a fellow has been making of your uncle's family. Faith, the business was well done. Your cousins, Michael and Harry, never let him out of their sight, though he was for deserting to England, until the marriage was completed, and the happy couple off on their road to Dublin. Are you in want of cash, my boy? You may draw upon me, for I got a couple of hundred out of Master Best for my share and, while they last, you shall never want.","EXT. VARIOUS LOCATIONS - BRITISH ON THE MARCH - DAY Roderick on the march. RODERICK -LRB- V.O. -RRB- Our regiment, which was quartered about Stade and Luneberg, speedily had got orders to march southwards towards the Rhine, where we would fight the famous battle of Minden. It would require a greater philosopher and historian than I am to explain the causes of the famous Seven Years' War in which Europe was engaged, and, indeed, its origin has always appeared to me to be so complicated, and the books written about it so amazingly hard to understand, that I have seldom been much wiser at the end of a chapter than at the beginning, and so shall not trouble you with any personal disquisitions concerning the matter. Various cuts featuring Roderick ; marching, cooking at open fires, gambling, resting in a farm yard, officers riding by ; shivering in his blanket.","EXT. BATTLEFIELD OF MINDEN - BATTLE FRAGMENT - DAY Roderick and his company. RODERICK -LRB- V.O. -RRB- Were these memoirs not characterized by truth, I might easily make myself the hero of some strange and popular adventures.","EXT. MINDEN - BATTLE FRAGMENTS - DAY Officers ride by in smoke. Troops marching to the attack. RODERICK -LRB- V.O. -RRB- But I saw no one of the higher ranks that day than my colonel and a couple of orderly officers riding by in the smoke - no one on our side, that is. A poor corporal is not generally invited into the company of commanders and the great. Roderick advancing. RODERICK -LRB- V.O. -RRB- But, in revenge, I saw, I promise you, some very good company on the French part, for their regiments of Lorraine and Royal Cravate were charging us all day ; and in the sort of melee high and low are pretty equally received. I hate bragging, but I can not help saying that I made a very close acquaintance with the colonel of the Cravates. Roderick firing his musket. He bayonets a French colonel, amidst shouts and curses. RODERICK -LRB- V.O. -RRB- And finished off a poor little ensign, so young, slender, and small, that a blow from my pigtail would have dispatched him. Roderick kills a French ensign with a blows from the butt of his musket. RODERICK -LRB- V.O. -RRB- And in the poor ensign's pocket found a purse of fourteen louis d'or, and a silver box of sugar - plums, of which the former present was very agreeable to me. Roderick taking money and the box of sugar - plums from the ensign. RODERICK -LRB- V.O. -RRB- If people would tell their stories of battles in this simple way, I think the cause of truth would not suffer by it. All I know of this famous fight of Minden, except from books, is told here above. Captain Grogan is shot, cries out, and falls. A brother captain turns to Lieutenant Lakenham. CAPTAIN Grogan's down ; Lakenham, there's your company. RODERICK -LRB- V.O. -RRB- That was all the epitaph my brave patron got. Roderick kneels above Grogan. CAPTAIN GROGAN I should have left you a hundred guineas, Roderick, but for a cursed run of ill - luck last night at faro. He gives Roderick a faint squeeze of the hand ; and, as the word is given to advance, Roderick leaves him. RODERICK -LRB- V.O. -RRB- When we came back to our ground, which we presently did, he was lying still, but he was dead. Some of our people had already torn off his epaulets, and, no doubt, had rifled his purse.","EXT. VARIOUS ROUGH RURAL LOCATIONS - DAY Short cuts to voice over. Roderick and British troops rape, pillage and burn. RODERICK -LRB- V.O. -RRB- After the death of my protector, Captain Grogan, I am forced to confess that I fell into the very worst of courses and company. In a foreign country, with the enemy before us, and the people continually under contribution from one side or the other, numberless irregularities were permitted to the troops. It is well for gentlemen to talk of the age of chivalry ; but remember the starving brutes whom they lead - men nursed in poverty, entirely ignorant, made to take pride in deeds of blood - men who can have no amusement but in drunkenness, debauch, and plunder. It is with these shocking instruments that your great warriors and kings have been doing their murderous work in the world.","EXT. BATTLEFIELD - WARBURG - BATTLE FRAGMENTS - DAY RODERICK -LRB- V.O. -RRB- The year in which George II died, our regiment had the honor to be present at the Battle of Warburg, where Prince Ferdinand once more completely defeated the Frenchmen. Lieutenant Lakenham is shot, falls, and cries for help. RODERICK -LRB- V.O. -RRB- During the action, my lieutenant, Mr. Lakenham, of Lakenham, was struck by a musket - ball in the side. He had shown no want of courage in this or any other occasion where he had been called upon to act against the French ; but this was his first wound, and the young gentleman was exceedingly frightened by it. LAKENHAM Here, you, Roderick James. I will pay you five guineas if you will carry me into the town which is hard by those woods. Roderick and another man take him up in a cloak, and carry him towards the nearby town of Warburg.","EXT. A FARMHOUSE - GERMAN STREET - WARBURG - DAY In order to get into the house, Roderick and the other man are obliged to fire into the locks with their pieces, which summons brings the inhabitants of the house to the door ; a very pretty and black - eyed, young woman, and her old, half - blinded father. They are at first unwilling to accommodate the guest, but Mr. Lakenham, speaking to them in German, and taking a couple of guineas out of a very full purse, speedily convinces the people that they have only to deal with a person of honor.","INT. WARBURG FARMHOUSE - BEDROOM - DAY They carry Lieutenant Lakenham to bed and receive their five guineas. RODERICK -LRB- V.O. -RRB- We put the patient to bed, and he paid me the stipulated reward. A young surgeon, who desired nothing better than to take himself out of the fire of the musketry, came presently to dress the wound. In his German jargon, Roderick pays some deserved compliments to the black - eyed beauty of Warburg, thinking, with no small envy, how comfortable it would be to be billeted there.","EXT. STREET - WARBURG - OUTSIDE THE FARMHOUSE - DAY He starts back to the regiment, with his comrade, when the man interrupts his reverie by suggesting they divide the five guineas. PRIVATE I should get half. RODERICK Your share is one guinea. Roderick gives him one guinea. PRIVATE He gave you five guineas, and I bloody well expect half. RODERICK Go to the devil. The private lifting his musket, hits Roderick a blow with the butt - end of it, which sends him stunned to the ground, allowing his comrade to take the other four guineas from his pocket. Recovering his senses, Roderick bleeding, with a large wound in the head, has barely time to stagger back to the house where he had just left the lieutenant, when he falls fainting at the door, just as the surgeon exits.","INT. WARBURG FARMHOUSE - BEDROOM - DAY Roderick is carried by the surgeon and the black - eyed girl, into another bed in the room where the Lieutenant has been laid. LAKENHAM -LRB- languidly, in pain. -RRB- Who are you putting into that bed? LISCHEN We have the Corporal, wounded, to you bringing. LAKENHAM A corporal? Turn him out. Schicken sie Herrn Koporal weg!","INT. WARBURG FARMHOUSE - BEDROOM - NIGHT AND DAY Lischen brings Roderick a refreshing drink ; and, as he takes it, he presses the kind hand that gave it to him ; nor does this token of his gratitude seem unwelcome. RODERICK -LRB- V.O. -RRB- I found Lischen the tenderest of nurses. Whenever any delicacy was to be provided for the wounded lieutenant, a share was always sent to the bed opposite his, and to the avaricious man's no small annoyance. Lischen serving food. Various cuts, representing different days. Lakenham behaving as rottenly as Roderick describes : RODERICK -LRB- V.O. -RRB- Nor was I the only person in the house to whom the worthy gentleman was uncivil. He ordered the fair Lischen hither and thither, made impertinent love to her, abused her soups, quarreled with her omelettes, and grudged the money which was laid out for his maintenance, so that our hostess detested him as much as, I think, without vanity, as she regarded me. Roderick making lover to Lischen while Lieutenant Lakenham sulks in the next bed. RODERICK -LRB- V.O. -RRB- For if truth must be told, I had made very deep love to her during my stay under her roof, as is always my way with women, of whatever age or degree of beauty. Do not think me very cruel and heartless, ladies ; this heart of Lischen's was like many a town, which had been stormed and occupied several times before I came to invest it, Roderick sitting up in bed. Lischen has just served him his supper. Enter a British officer, an aide who carries a notebook, and a surgeon. In a brief scene to be written, we learn that a sudden movement on the part of the French requires the British army to follow them. The town is to be evacuated, except for some Prussian line - of - communication troops, whose surgeons are to visit the wounded in the place ; and, when they are well, they are to be drafted to their regiments. RODERICK -LRB- V.O. -RRB- I began to reflect how pleasant my quarters were to me, and that I was much better here than crawling under an odious tent with a parcel of tipsy soldiers, or going the night - rounds, or rising long before daybreak for drill. I determined that I never would join mine again.","EXT. VIEW OUT OF WARBURG FARMHOUSE WINDOW - DAY Roderick stands by the window, watching English troops and wagons leaving the town.","INT. WARBURG FARMHOUSE - BEDROOM - DAY Roderick walks into Lakenham's room attired in his full regimentals, and with his hat cocked over his left eye. RODERICK I'm promoted Lieutenant. I've come to take my leave of you. I intend to have your papers and purse. LAKENHAM You great scoundrel! You mutinous dog! What do you mean by dressing yourself in my regimentals? As sure as my name's Lakenham, when we get back to the regiment, I'll have your soul cut out of your body. With this, Roderick puts his hand under his pillow, at which Lakenham gives a scream that might have called the whole garrison about his ears. Roderick threatens him with a knife at his throat. RODERICK Hark ye, sir! No more noise, or you are a dead man! Roderick, taking his handkerchief, binds it tight round his mouth, and, pulling forward the sleeves of his shirt, ties them in a knot together, and so leaves him, removing the papers and the purse, and wishing him politely a good day.","EXT. WARBURG FARMHOUSE - STREET - DAY Lischen, waiting outside the house, with a saddled horse, throws her arms around him, and makes the tenderest adieu. Roderick mounts his newly - purchased animal, waves his hat gallantly, and, prances away down the street.","EXT. ROAD - DAY Roderick happily riding along a wooded country road, rounds a blind bend and sees suddenly before him, about two hundred yards away, a company of Prussian infantry resting along the sides of the road, together with a dozen mounted dragoons. A quick calculation tells him that is is better to proceed than to turn back, and he rides into their midst, approaching a group of officers. He presents himself as Lieutenant Lakenham and asks for directions to join his regiment. He is told that he is riding in the wrong direction, and is shown a map. During the explanation, Captain Galgenstein approaches with an open, smiling countenance, introduces himself, and says he, too, is bound for the same place, and asks if Roderick will honor him with his company. To avoid suspicion, Roderick readily accepts the offer, and the two men mount up, and ride off together.","EXT. ROAD - GERMANY - DAY Roderick and Galgenstein riding together. Dialogue under voice over. RODERICK -LRB- V.O. -RRB- My companion treated me with great civility, and asked me a thousand questions about England, which I answered as best I might. But this best, I am bound to say, was bad enough. I knew nothing about England, and I invented a thousand stories which I told him ; described the king and the ministers to him, said the British ambassador in Berlin was my uncle, and promised my acquaintance a letter of recommendation to him. CAPTAIN GALGENSTEIN What is your uncle's name? RODERICK -LRB- slowly. -RRB- O'Grady. CAPTAIN GALGENSTEIN -LRB- with a laugh. -RRB- Oh, yes, of course, Ambassador O'Grady.","EXT. DESOLATE GERMAN ROAD - DAY Roderick and Captain Galgenstein. Their horses' heads together, jogging on. They pass a party of recruits under the armed guard of a red - coated Hanoverian sergeant. He exchanges signs of recognition with Captain Galgenstein. CAPTAIN GALGENSTEIN It hurts my feelings to be obliged to commune with such wretches, but the stern necessities of war demand men continually, and hence these recruiters whom you see market in human flesh. They get five - and - twenty thaler a man from our government for every man they bring in. For fine men - for men like you. -LRB- he adds laughing. -RRB- They would go as high as hundred.","EXT. DESOLATE GERMAN INN - LATE AFTERNOON Roderick and Captain Galgenstein approach a very lonely - looking place. CAPTAIN GALGENSTEIN This is a very good inn. Shall we stop for dinner? RODERICK This may be a very good inn for Germany, but it would not pass in old Ireland. Corbach is only a league off, let us push on for Corbach. CAPTAIN GALGENSTEIN Do you want to see the loveliest woman in Europe? Roderick smiles. CAPTAIN GALGENSTEIN Ah! You sly rogue, I see that will influence you. RODERICK The place seems more a farm than an inn - yard. CAPTAIN GALGENSTEIN The people are great farmers, as well as inn - keepers. They enter by a great gate into a court, walled round, and at on end of which is the building, a dingy ruinous place. A couple of covered wagons are in the courtyard ; their horses are littered under a shed hard by. Lounging about the place are some men, and a pair of sergeants in the Prussian uniform, who both touch their hats to the captain. The inn has something foreboding about it, and the men shut the great yard - gates as soon as they enter. CAPTAIN GALGENSTEIN -LRB- explaining the gate. -RRB- Parties of French horsemen are about the country, and one can not take too many precautions against such villains. The two sergeant take charge of the horses ; the captain orders one of them to take Roderick's valise to his bedroom. Roderick promises the sergeant a glass of schnapps for his pains. They enter into supper.","INT. GERMAN INN - LATE AFTERNOON A dish of fried eggs and bacon is ordered from a hideous old wench that comes to serve them, in place of the lovely creature which had been expected ; and the captain, laughing, says : CAPTAIN GALGENSTEIN Well, our meal is a frugal one, but a soldier has many a time a worse. Taking off his hat, sword - belt, and gloves, with great ceremony, Galgenstein sits down to eat. Roderick puts his weapons securely on the old chest of drawers where the captain's is laid. The hideous old woman brings in a pot of very sour wine, at which, and at her ugliness, Roderick feels a considerable ill - humor. RODERICK -LRB- when she leaves. -RRB- Where's the beauty you promised me? CAPTAIN GALGENSTEIN -LRB- laughing and looking hard at Roderick. -RRB- It was my joke. I was tired, and did not care to go farther. There's not prettier woman here than that. If she wo n't suit your fancy, my friend, then you must wait awhile. This increases Roderick's ill - humor. RODERICK -LRB- sternly. -RRB- Upon my word, sir, I think you have acted very coolly. CAPTAIN GALGENSTEIN I have acted as I think fit. RODERICK Sir, I'm a British officer. CAPTAIN GALGENSTEIN It's a lie! You're a deserter! You're an impostor, sir ; Your lies and folly have confirmed this to me. You pretend to carry dispatches to a general who has been dead these ten months ; you have an uncle who is an ambassador and whose name you do n't know. Will you join and take the bounty, sir, or will you be given up? RODERICK Neither! Springing at him like a tiger. But, agile as he is, Galgenstein is equally on his guard. He takes two pistols out of his pockets, fires one off, and says, from the other end of the table where he stands dodging Roderick, as it were. CAPTAIN GALGENSTEIN Advance a step, and I send this bullet into your brains! The door is flung open, and the two sergeants enter, armed with musket and bayonet to aid their captain. The game is up. Roderick flings down a knife with which he had armed himself, for the old hag, on bringing in the wine, had removed his sword. RODERICK I volunteer.","EXT. A ROAD - DAY Prussian troops on the march. Roderick is now one of them. Captain Galgenstein rides by. RODERICK -LRB- V.O. -RRB- At the close of the Seven Years' War, the Prussian army, so renowned for its disciplined valor, was officered and under - officered by native Prussians, it is true, but was composed for the most part of men hired or stolen, like myself, from almost every nation in Europe. The deserting to and fro was prodigious.","EXT. A FIELD - DAY Prussian punishment gauntlet. RODERICK -LRB- V.O. -RRB- The life the private soldier led was a frightful one to any but the men of iron courage and endurance. The punishment was incessant.","EXT. VARIOUS RURAL LOCATIONS - DAY RODERICK -LRB- V.O. -RRB- I was not near so unhappy, in spite of all, as I had been on my first enlisting in Ireland. At least, there will be no one of my acquaintance who will witness my shame, and that is the point which I have always cared for most. Rape, pillage and burn. Brief thematic repeat of British army version. RODERICK -LRB- V.O. -RRB- I reasoned with myself thus : `` Now you are caught, there is no use in repining - make the best of your situation, and get all the pleasure you can out of it. There are a thousand opportunities of plunder, offered to the soldier in war time, out of which he can get both pleasure and profit ; make use of these, and be happy.''","EXT. BATTLEFIELD - FRAGMENT Prussians against Austrians, or French, or Saxons. Roderick fighting. RODERICK -LRB- V.O. -RRB- I do not intend to make a history of battles in the Prussian any more than in the English service. I did my duty in them as well as another, and there was not a braver, cleverer, handsomer, and, I must own, wickeder soldier in the Prussian army.","EXT. BATTLEFIELD - ACTION - DAY RODERICK I had formed myself to the condition of the proper fighting beast ; on a day of action, I was savage and happy. Roderick saves Captain Galgenstein's life.","EXT. FIELD - DAY Roderick is decorated by Colonel Bulow for his heroism in saving Captain Galgenstein. Colonel Bulow gives Roderick two Frederic d'or in front of the regiment. COLONEL BULOW You are a gallant soldier, and have evidently come of good stock ; but you are idle, dissolute, and unprincipled ; you have done a deal of harm to the men ; and, for all your talents and bravery, I am sure you will come to no good. RODERICK I hope Colonel Bulow is mistaken regarding my character. I have fallen into bad company, it is true ; but I have only done as other soldiers have done ; and, above all, I have never had a kind friend and protector before, to whom I might show that I was worthy of better things. The Colonel may say I am a ruined lad, and send me to the devil ; but be sure of this, I would go to the devil to serve the regiment. Captain Galgenstein looks pleased with Roderick's performance. BERLIN - 1763 RODERICK -LRB- V.O. -RRB- Soon after the war ended, our regiment was garrisoned in the capital, the least dull, perhaps, of all the towns of Prussia ; but that does not say much for its gaiety.","INT. ANTE-ROOM - CAPTAIN GALGENSTEIN'S OFFICE - DAY Roderick enters and approaches the Captain's sergeant. RODERICK Private Roderick James. First Hanoverian Guards. Captain Galgenstein sent for me. PRUSSIAN SERGEANT You may wait. RODERICK Thank you, sir. Roderick stands stiffly. We can make out the sound of loud talking behind the closed door. Enter a private huffing and puffing. PRIVATE Sergeant, the wagon has arrived with the Captain's furniture, but the driver says he is not supposed to unload it. Is it possible for you to talk to him? Exit the sergeant, muttering. Roderick, now alone in the office, walks closer to the door so that he can hear what is being said. MINISTER GALGENSTEIN -LRB- O.S. -RRB- Give him his discharge! Bon Dieu! You are a model of probity! You'll never succeed to my place, my dear nephew, if you are no wiser than you are just now. Make the fellow as useful to you as you please. You say he has a good manner and a frank countenance, that he can lie with assurance, and fight, you say, on a pinch. The scoundrel does not want for good qualities. As long as you have the regiment in terrorem over him, you can do as you like with him. Once let him loose, and the lad is likely to give you the slip. Keep on promising him ; promise to make him a general, if you like. What the deuce do I care? There are spies enough to be had in this town without him. Roderick hears the sergeant returning and walks back to the door. Then the office door opens, Captain Galgenstein looks out, sees Roderick, smiles and say : CAPTAIN GALGENSTEIN Good morning, Private James. Please come in. I should like you to meet my uncle, Herr Minister of Police Galgenstein. RODERICK How do you do, sir? The Minister nods. RODERICK -LRB- V.O. -RRB- The captain was the nephew and heir of the Minister of Police, Herr Galgenstein, a relationship which, no doubt, aided in the younger gentlemen's promotion. CAPTAIN GALGENSTEIN Your loyalty to me and your service to the regiment has pleased me very well - and now there is another occasion on which you may make yourself useful to us ; if you succeed, depend on it, your reward will be your discharge from the army, and a bounty of 100 guineas. RODERICK What is the service, sir? CAPTAIN GALGENSTEIN There is lately come to Berlin a gentleman in the service of the Empress Queen, who calls himself the Chevalier de Belle Fast, and wears the red riband and star of the pope's order of the Spur. He is made for good society, polished, obliging, a libertine, without prejudices, fond of women, of good food, of high play, prudent and discreet. The Captain smiles at Roderick. CAPTAIN GALGENSTEIN He speaks Italian and French indifferently ; but we have some reason to fancy this Monsieur de Belle Fast is a native of your country of Ireland, and that he has come here as a spy. The Captain rises and begins to pace back and forth. CAPTAIN GALGENSTEIN Naturally, your knowledge of English makes you an ideal choice to go into his service. Of course, you will not know a word of English ; and if the Chevalier asks as to the particularity of your accent, say you are Hungarian. The servant who came with him will be turned away today, and the person to whom he has applied for a faithful fellow will recommend you. Roderick nods. CAPTAIN GALGENSTEIN You are a Hungarian ; you served in the army, and left on account of weakness in the loins. He gambles a great deal, and wins. Do you know the cards well? RODERICK Only a very little, as soldiers do. CAPTAIN GALGENSTEIN I had thought you more expert. You must find out if the Chevalier cheats. He sees the English and Austrian envoys continually, and the young men of either ministry sup repeatedly at his house. Find out what they talk of, for how much each plays, especially if any of them play on parole. If you are able to, read his private letters, though about those which go to the post, you need not trouble yourself - we look at them there. But never see him write a note without finding out to whom it goes, and by what channel or messenger. He sleeps with the keys of his dispatch - box with a string around his neck - twenty frederics, if you get an impression of the keys. MINISTER GALGENSTEIN Does this assignment interest you? RODERICK Yes, Minister, I am interested in any work in which I can be of service to Captain Galgenstein. The Minister studies Roderick, coldly.","EXT. CHEVALIER DE BELLE FAST'S HOUSE - BERLIN - DAY Roderick, now dressed in civilian clothes, admires a beautiful carriage, waiting at the door. Then he enters.","INT. CHEVALIER DE BELLE FAST'S APARTMENT - DAY CHEVALIER You are the young man who M. de Seebach recommended? RODERICK Yes, sir. Here is my letter. Roderick bows, and hands him a letter from that gentleman, with which the Captain had taken care to provide him. As the Chevalier reads the letter, Roderick has the leisure to examine him. He is a man of sixty years of age, dressed superbly, wearing rings, diamonds and laces. One of his eyes is closed with a black patch, and he wears a little white and red paint, and a pair of moustachios, which fall over his lip. The Chevalier is seated at a table near the window to read the letter. CHEVALIER Your name is Lazlo Zilagyi? RODERICK Yes, sir. CHEVALIER You come highly recommended by Herr Seebach. RODERICK Herr Seebach was a very kind employer. CHEVALIER For whom else have you worked? RODERICK No one, sir. Before that I served in the army but had to leave due to weakness of the loins. CHEVALIER Who else can give me information about you? RODERICK Only the agency of servants. The Chevalier puts the letter down, looks at Roderick for a few seconds, and then smiles. CHEVALIER You will do. I will give you 30. a day. I do not provide your clothing ; you will sleep at home, and you will be at my orders every morning at seven o'clock. He notices Roderick begin to tremble and look peculiar. CHEVALIER Is there something wrong? He goes up to Roderick. RODERICK -LRB- V.O. -RRB- It was very imprudent of me ; but when I saw the splendor of his appearance, the nobleness of his manner, I felt it impossible to keep disguise with him. You, who have never been out of your country know little what it is to hear a friendly voice in captivity ; and there's a many a man that will understand the cause of the burst of feeling which was about to take place. The Chevalier takes Roderick by the shoulder. RODERICK -LRB- as he speaks, bursting into tears. -RRB- Sir, I have a confession to make. I am an Irishman, and my name is Roderick James. I was abducted into the Prussian army two years ago, and now I have been put into your service by my Captain and his uncle, the Minister of Police, to serve as a watch upon your actions, of which I am to give information to the same quarter. For this odious service, I have been promised my discharge, and a hundred guineas. Sobbing, Roderick falls into his arms. CHEVALIER The rascals! They think to catch me, do they? Why, young man, my chief conspiracy is a faro - bank. But the king is so jealous, that he will see a spy in every person who comes to his miserable capital, in the great sandy desert here.","EXT. BERLIN - PARK - DAY Roderick and the Chevalier walking. RODERICK -LRB- V.O. -RRB- And I think he was as much affected as I was at thus finding one of his kindred ; for he, too, was an exile from home, and a friendly voice, a look, brought the old country back to his memory again, and the old days of his boyhood. CHEVALIER I'd give five years of my life to see the old country again, the greenfields, and the river, and the old round tower, and the burying place.","EXT. BERLIN - STREET - DAY Roderick and the Chevalier walking. CHEVALIER My lad, I have been in every service ; and, between ourselves, owe money in every capital in Europe. I have been a rolling stone. Play - play has been my ruin! That and beauty. The women have made a fool of me, my dear boy. I am a soft - hearted creature, and this minute, at sixty - two, have no more command of myself than when Peggy O'Dwyer made a fool of me at sixteen.","EXT. BERLIN - LAKE WANNSEE - DAY Roderick and the Chevalier walking along the bank. CHEVALIER The cards are now my only livelihood. Sometimes I am in luck, and then I lay out my money in these trinkets you see. It's property, look you, and the only way I have found of keeping a little about me. When the luck goes against me, why, my dear, my diamonds go to the pawnbrokers and I wear paste. Do you understand the cards? RODERICK I can play as soldiers do, but have no great skill. CHEVALIER We will practice in the mornings, my boy, and I'll put you up to a thing or two worth knowing.","INT. CHEVALIER'S ROOMS - BERLIN - DAY Quick cuts - Roderick being taught the profession of cards and the dice - box.","EXT. GARDEN HOUSE - BERLIN - DAY Roderick, Minister Galgenstein, and Captain Galgenstein. RODERICK -LRB- V.O. -RRB- I carried my little reports to Captain Galgenstein at the Garden house outside the town where he gave me rendezvous. These reports, of course, were arranged between me and the Chevalier beforehand. I was instructed, and it is always the best way, to tell as much truth as my story would possible bear. Dialogue comes up from under voice over. RODERICK He goes to church regularly - he is very religious, and after hearing mass comes home to breakfast. Then he takes an airing in his chariot till dinner, which is served at noon. After dinner, he writes his letters, if he has any letters to write ; but he has very little to do in this way. His letters are to the Austrian envoy, with whom he corresponds, but who does not acknowledge him ; and being written in English, or course, I look over his shoulder. He generally writes for money. He makes his party with Calsabigi, the lottery contractor, the Russian attaches, two from the English embassy, my lords Deuceace and Punter, who play a jeu d'enfer, and a few more. He wins often, but not always. Lord Deuceace is a very fine player. The Chevalier Elliott, the English Minister, sometimes comes, on which occasion the secretaries do not play.","INT. CHEVALIER'S APARTMENTS - NIGHT The Chevalier is at play against several gentlemen, including the Prince of Turbingen, while Roderick signals the cards. RODERICK -LRB- V.O. -RRB- It was agreed that I should keep my character of valet, that in the presence of strangers I should not know a word of English, that I should keep good lookout on the trumps when I was serving the champagne and punch about ; and, having a remarkably fine eyesight, and a great natural aptitude, I was speedily able to give my dear benefactor much assistance against his opponents at the green table. Several cuts of playing and cheating to illustrate voice over. RODERICK -LRB- V.O. -RRB- Simplicity was our secret. Everything successful is simple. If, for instance, I wiped the dust off a chair with my napkin, it was to show that the enemy was strong in diamonds ; if I pushed it, he had an ace, king ; if I said, `` Punch or wine, my lord?'' hearts was meant. If `` Wine or punch?'' clubs. If I blew my nose, it was to indicate that there was another confederate employed by the adversary ; and then, I warrant you, some pretty trials of skill would take place. The Prince of Turbingen, although so young, had a very great skill and cleverness with the cards in every way ; and it was only from hearing Ritter von Brandenburg, who came with him, yawn three times when the Chevalier had the ace of trumps, that I knew we were Greek to Greek, as it were. The Prince loses a big hand, and, in a fury, throws down his cards. He stares at the table, then at the Chevalier. PRINCE Chevalier, though I can not say how, I believe you have cheated me. CHEVALIER I deny your Grace's accusations, and beg you to say how you have been cheated? PRINCE -LRB- glaring at Roderick. -RRB- I do n't know. CHEVALIER Your Grace owes me seventy thousand frederics, which I have honorably won. PRINCE Chevalier, if you will have your money now, you must fight for it. If you will be patient, maybe I will pay you something another time. CHEVALIER Your Grace, if I am so tame as to take this, then I must give up an honorable and lucrative occupation. PRINCE I have said all there is to be said. I am at your disposal for whatever purposes you wish. Good night. He exits.","EXT. GARDEN HOUSE - DAY Roderick, Captain Galgenstein and Minister Galgenstein. MINISTER GALGENSTEIN Was he cheated? RODERICK In so far as I can tell these things - no. I believe the Chevalier won the money fairly. MINISTER GALGENSTEIN Hmm - mmmm. CAPTAIN GALGENSTEIN What are the Chevalier's intentions? RODERICK I am not sure. The Prince told him quite clearly that if he wished to have the money, he would have to fight for it. MINISTER GALGENSTEIN A meeting with the Prince of Turbingen is impossible. RODERICK The Prince left him only that choice. The Captain and the Minister walk a few steps away and speak in whispers. Then they return to Roderick. MINISTER GALGENSTEIN Will you be able to return here tomorrow without arousing suspicion?","INT. CHEVALIER'S APARTMENTS - DAY CHEVALIER Tell them I intend to demand satisfaction from the Prince. RODERICK But they will prevent a meeting at whatever the cost. CHEVALIER Have no fear. It will come out well for me. RODERICK I believe they will deport you. CHEVALIER I have faced that problem before. RODERICK But, if they send you away, then what is to become of me? CHEVALIER -LRB- with a smile. -RRB- Make your mind easy, you shall not be left behind, I warrant you. Do take a last look at your barracks, make your mind easy, say a farewell to your friends in Berlin. The dear souls, how they will weep when they hear you are out of the country, and, out of it, you shall go. RODERICK But how, sir?","EXT. GARDEN HOUSE - BERLIN - DAY Roderick, Captain Galgenstein and Minister Galgenstein. MINISTER GALGENSTEIN The King has determined to send the Chevalier out of the country. RODERICK When is he to go? CAPTAIN GALGENSTEIN Has he sent the challenge yet? RODERICK Not yet, but I believe he intends to. MINISTER GALGENSTEIN Then this must be done tomorrow. RODERICK What is to be done? CAPTAIN GALGENSTEIN You say he drives after breakfast and before dinner. When he comes out to his carriage a couple of gendarmes will mount the box, and the coachman will get his orders to move on. RODERICK And his baggage? CAPTAIN GALGENSTEIN Oh! That will be sent after him. I have a fancy to look into that red box which contains his papers, you say ; and at noon, after parade, shall be at the inn. You will not say a word to any one there regarding the affair, and will wait for me at the Chevalier's rooms until my arrival. We must force that box. You are a clumsy hound, or you would have got the key long ago.","EXT. CHEVALIER'S APARTMENTS - DAY Action as per voice over. RODERICK -LRB- V.O. -RRB- At ten o'clock the next morning, the carriage of the Chevalier de Belle Fast drew up as usual at the door of his hotel, and the Chevalier came down the stairs in his usual stately manner. Looking around and not finding his servant to open the door. CHEVALIER Where is my rascal, Lazlo? PRUSSIAN OFFICER -LRB- standing by the carriage. -RRB- I will let down the steps for your honor. No sooner does the Chevalier enter than the officer jumps in after him, another mounts the box by the coachman, and the latter begins to drive. CHEVALIER Good gracious! What is this? PRUSSIAN OFFICER -LRB- touching his hat. -RRB- You are going to drive to the frontier. CHEVALIER It is shameful - infamous! I insist upon being put down at the Austrian ambassador's house. PRUSSIAN OFFICER I have orders to gag your honor if you cry out, and to give you this purse containing ten thousand frederics if you do not. CHEVALIER Ten thousand? But the scoundrel owes me seventy thousand. PRUSSIAN OFFICER Your honor must lower his voice. CHEVALIER -LRB- whispering. -RRB- All Europe shall hear of this! PRUSSIAN OFFICER As you please. Both lapse into silence.","EXT. ROAD - DAY The coach drives by. Suddenly - `` boom,'' the alarm cannon begins to roar.","INT. COACH - DAY PRUSSIAN OFFICER Do not be alarmed. The alarm cannon only signals a deserter. Chevalier nods.","EXT. ROAD - DAY The coach drives by and action as described. RODERICK -LRB- V.O. -RRB- Hearing the sound of the alarm cannon, the common people came out along the road, with fowling - pieces and pitch - forks, in hopes to catch the truant. The gendarmes looked very anxious to be on the lookout for him too. The price of a deserter was fifty crowns to those who brought him in.","EXT. SAXON CUSTOM-HOUSE - DAY The black and white barriers came in view at last hard by Bruck, and opposite them the green and yellow of Saxony. The Saxon custom - house officers came out. CHEVALIER I have no luggage. PRUSSIAN OFFICER The gentleman has nothing contraband. The Prussian officers, grinning, hand the Chevalier the purse and take their leave of their prisoner with much respect. The Chevalier de Belle Fast gives them three frederic a - piece. CHEVALIER Gentlemen, I wish you a good day. Will you please go to the house from whence we set out this morning, and tell my man there to send my baggage on to Three Kings at Dresden? RODERICK -LRB- V.O. -RRB- Then ordering fresh horses, the Chevalier set off on his journey for that capital. I need not tell you that I was the Chevalier.","INT. ROOM - HOTEL DES TROIS COURONNES - DAY Roderick reading a letter over his breakfast in bed. CHEVALIER -LRB- V.O. -RRB- From the Chevalier de Belle Fast to Roderick James, Esquire, Gentilhomme Anglais. At the Hotel des trois Couronnes, Dresden, Saxe. My dear Roderick - This comes to you by a sure hand, no other than Mr. Lumpit, of the English mission, who is acquainted, as all Berlin will be directly, with our wonderful story. They only know half as yet ; they only know that a deserter went off in my clothes, and all are in admiration of your cleverness and valor.","INT. CHEVALIER'S ROOM - DAY Action as per description in letter. CHEVALIER -LRB- V.O. -RRB- As I lay in my bed two and a half hours after your departure, in comes your ex - captain, Galgenstein. CAPTAIN GALGENSTEIN -LRB- in his imperious Dutch manner. -RRB- Roderick! Are you there? No answer. CAPTAIN GALGENSTEIN The rogue is gone out. Action as per voice over. CHEVALIER -LRB- V.O. -RRB- Straightaway he makes for the red box where I keep my love letters, my glass eye which I used to wear, my two sets of Paris teeth, and my other private matters that you know of. He first tries a bunch of keys, but none of them fit the English lock. Then he takes out of his pocket a chisel and hammer, and falls to work like a professional burglar, actually bursting open the little box! Now was my time to act! I advance towards him armed with an immense water - jug. I come noiselessly up to him just as he has broken the box, and, with all my might, I deal him such a blow over the head as smashes the water - jug to bits, and sends the captain with a snort lifeless to the ground. Then I ring all the bells in the house ; and shout, and swear, and scream, `` Thieves! - Thieves! - Landlord! - Murder! - Fire!'' until the whole household comes tumbling up the stairs. CHEVALIER Where is my servant? Who dares to rob me in open day? Look at the villain whom I find in the act of breaking my chest open! Send for the police, send for his Excellency the Austrian Minister! All Europe shall know of this insult! LANDLORD Dear heaven! We saw you go away three hours ago. CHEVALIER Me! Why, man, I have been in bed all morning. I am ill - I have taken physic - I have not left the house this morning! Where is that scoundrel, Lazlo? But, stop! Where are my clothes and wig? CHAMBERMAID I have it - I have it! Lazlo is off in your honor's dress. CHEVALIER And my money - my money! Where is my purse with forty - eight frederics in it? But we have one of the villains left, Officers, seize him. LANDLORD -LRB- more and more astonished. -RRB- It's the young Herr Galgenstein. CHEVALIER What! A gentleman breaking open my trunk with hammer and chisel - impossible! CHEVALIER -LRB- V.O. -RRB- Herr Galgenstein was returning to life by this time, with a swelling on his skull as big as a saucepan ; and the officers carried him off, and, to make a long story short, poor Galgenstein is now on his way to Spandau ; and his uncle, the Minister of Police Galgenstein, has brought me five hundred louis, with a humble request that I would leave Berlin forthwith, and hush up this painful matter.","INT. GERMAN PALACE - BALLROOM - NIGHT Roderick, the Chevalier and the Duke of Wurttemberg. RODERICK -LRB- V.O. -RRB- The Chevalier de Belle Fast was in particularly good order with the Duke of Wurttemberg, whose court was, at this period, the most brilliant in all Europe. The Duke of Wurttemberg chatting with ballet dancers, who will perform at the party. RODERICK -LRB- V.O. -RRB- He spent fabulous sums on the ballets and operas. All the ballerinas were pretty, and they all boasted that they had all at least once made their amorous sovereign happy. Roderick and the Chevalier kissing hands, hobnobbing with the nobility, and dancing minuets. RODERICK -LRB- V.O. -RRB- There was not a party of the nobility to which the two Irish gentlemen were not invited, and admired, nor where we did not make the brave, the high - born and the beautiful talk to us. There was no man in Europe more gay in spirits, more splendid in personal accomplishment, than young Roderick James.","EXT. GERMAN STREET - DAWN Roderick and the Chevalier in a comfortable coach, on their way home to bed, pass troops marching out on early parade.","INT. COACH - DAWN Roderick sinks back into the comfortable cushion and yawns. RODERICK -LRB- V.O. -RRB- What a delightful life did we now lead! I knew I was born a gentleman, from the kindly way in which I took to the business, as business certainly it is.","INT. BEDROOM - GERMANY - DAY Roderick in a tub, being washed by a servant. RODERICK -LRB- V.O. -RRB- For though it seems all pleasure, yet I assure any low - bred persons who may chance to read this, that we, their betters, have to work as well as they ; though I did not rise until noon, yet had I not been up at play until long past midnight?","INT. ANOTHER BEDROOM - GERMANY - DAY His hair being done. RODERICK -LRB- V.O. -RRB- I came into it at once, and as if I had never done anything else all my life. I had a gentleman to wait upon me, a French friseur to dress my hair of a morning.","INT. DINING ROOM - NIGHT A candle - lit supper. RODERICK -LRB- V.O. -RRB- I knew the taste of chocolate as by intuition almost, and could distinguish between the right Spanish and the French before I had been a week in my new position. INSERTS - JEWELRY Action and cuts as voice over. RODERICK -LRB- V.O. -RRB- I had rings on my fingers, watches in both my fobs, trinkets, and snuff - boxes, of all sorts, and each outvying the other in elegance.","INT. RECEPTION ROOM - GERMANY - DAY As described. RODERICK -LRB- V.O. -RRB- I had the finest natural taste for lace and china of any man I ever knew.","EXT. STABLES - GERMANY - DAY Buying horses. RODERICK -LRB- V.O. -RRB- I could judge a horse as well as any dealer in Germany. I could not spell, but I could speak German and French cleverly.","INT. DRESSING ROOM - GERMANY - DAY Roderick being fitted for clothes. RODERICK -LRB- V.O. -RRB- I had at least twelve suits of clothes ; three richly embroidered with gold, two laced with silver ; one of French grey, silver - laced and lined with chinchilla. I had damask morning robes, to which a peacock's tail is as sober as a Quaker's drab skirt.","INT. ORANGERY - DAY Action as voice over. RODERICK -LRB- V.O. -RRB- I took lessons on the guitar, and sang French catches exquisitely. Where, in fact, was there a more accomplished gentleman than Roderick James?","INT. GAMING ROOM - GERMANY - NIGHT Action as per voice over. RODERICK -LRB- V.O. -RRB- How have we had the best blood, and the brightest eyes, too, of Europe throbbing round the table as I and the Chevalier have held the cards and the bank against some terrible player, who was matching some thousands out of his millions against our all which was there on the baize!","INT. GAMING ROOM - GERMANY - NIGHT Roderick dealing a faro bank. RODERICK -LRB- V.O. -RRB- Our principles were : play grandly, honorably. Be not, of course, cast down at losing ; but, above all, be not eager at winning, as mean souls are.","INT. GAMING ROOM - GERMANY - NIGHT Action as voice over. RODERICK -LRB- V.O. -RRB- When the Duke of Courland brought fourteen lackeys each with bags of florins, and challenged our bank to play against the sealed bags, what did we ask? CHEVALIER Sir, we have but eighty thousand florins in bank, or two hundred thousand at three months ; if your highness' bags do not contain more than eight thousand, we will meet you. Playing. RODERICK -LRB- V.O. -RRB- And we did, and after eleven hours play, in which our bank was at one time reduced to two hundred and three ducats, we won seventeen thousand florins off him. Four crowned heads look on at the game, and an imperial princess, when Roderick turns up the ace of hearts, bursts into tears.","INT. MASQUERADE BALL - NIGHT Roderick and a girl. RODERICK -LRB- V.O. -RRB- Nor need I mention my successes among the fairer portion of the creation. One of the most accomplished, the tallest, the most athletic, and the handsomest gentleman in Europe, as I was then, a young fellow of my figure could not fail of having advantages, which a person of my spirit knew very well how to us.","INT. BOUDOIR - NIGHT Making love to a masked lady. RODERICK -LRB- V.O. -RRB- Charming Schuvaloff.","INT. COACH - NIGHT RODERICK -LRB- V.O. -RRB- Black - eyed Sczortarska.","INT. BOUDOIR - NIGHT RODERICK -LRB- V.O. -RRB- Dark Valdez. RODERICK Do you expect me to believe that your lover brought you here tonight? VALDEZ Yes. He brought me in his carriage, and he will call for me at midnight. RODERICK And he does n't care about me? VALDEZ He is only curious to know who you are. RODERICK If his love were like mine, he would not permit you to come here. VALDEZ He loves me, as I love you. RODERICK Will he wish to know the details of this night? VALDEZ He will believe that it will please me if he asks about it, and I shall tell him everything except some circumstances which might humiliate him.","EXT. GARDEN - NIGHT RODERICK -LRB- V.O. -RRB- Tender Hegenheim.","INT. BOUDOIR - NIGHT RODERICK -LRB- V.O. -RRB- Brilliant Langeac. Roderick takes from his portfolio a little jacket of very fine transparent skin, eight inches long and closed at one end, and which by way of a pouch string at its open end, has a narrow pink ribbon. He displays it to her, she looks at it, and laughs. LANGEAC I will put in on you myself. She puts it on, out of shot. LANGEAC There you are, dressed by my hand. It is nearly the same thing ; but despite the fineness and transparency of the skin, the little fellow pleases me less well in costume. It seems that this covering degrades him, or degrades me - one of the other. RODERICK Both, my angel. It was Love who invented these little jackets : for he had to ally himself with Precaution.","INT. ROOM OFF A BALLROOM - NIGHT Roderick making love to the Countess von Trotha. Enter the Count, in the uniform of a Colonel. COUNT I entered here, monsieur, at a bad moment for you ; it seems that you love this lady. RODERICK Certainly, monseigneur, does not Your Excellency consider her worthy of love? COUNT Perfectly so ; and what is more, I will tell you that I love her, and that I am not of a humor to put up with rivals. RODERICK Very well! Now that I know it, I will no longer love her. COUNT Then you yield to me. RODERICK On the instant. Everyone must yield to such a nobleman as you. COUNT Very well ; but a man who yields takes to his legs. RODERICK That is a trifle strong. COUNT Take to your legs, low Irish dog. Roderick smiles at him. RODERICK Your Excellency has wantonly insulted me. That being so, I conclude that you hate me, Monseigneur, and that hence you would be glad to remove me from the number of the living. In this wish, I can and will satisfy Your Excellency.","EXT. BEAUTIFUL GARDEN - EARLY MORNING Roderick's sword duel with the Count. Details to be worked out.","INT. BILLIARD ROOM - NIGHT Roderick watches the Chevalier play with a Prussian officer, Lieutenant Dascher. RODERICK -LRB- V.O. -RRB- It was my unrivaled skill with sword and pistol, and readiness to use them, that maintained the reputation of the firm. Towards the end of the game, Dascher, seeing that he is losing, makes an unfair stroke, so obvious that the marker tells him so to his face. Lieutenant Dascher, for whom the stroke wins the game, takes the money which is in the stake bag, and puts it in his pocket, paying no attention to the marker's adjurations, or to Roderick's. Roderick, who is without his sword, reaches for a billiard cue and swings it at Dascher's face. He wards off the blow with his arm, drawing his sword and runs at Roderick, who is unarmed. The marker, a sturdy young man, catches Dascher around the waist and prevents murder. DASCHER I see that you are without your sword, but I believe you are a man of mettle. Will you give me satisfaction? RODERICK I shall be delighted ; but you have lost and you must pay me the money before we meet, for, after all, you can not pay me when you are dead. ANOTHER OFFICER I will undertake to pay you the 20 louis, but only tomorrow morning at the meeting.","EXT. FIELD - DAY On the field, there are six people waiting with Dascher, and his seconds. Dascher takes 20 louis from his pocket and hands them to Roderick, saying : DASCHER I may have been mistaken, but I mean to make you pay deadly for your brutality. Roderick takes the money and puts it in his purse with the utmost calm, making no reply to the other's boasting. RODERICK -LRB- privately. -RRB- It is distasteful to kill a scoundrel - that should be work for a hangman. CHEVALIER To risk one's life against such people is an imposition. RODERICK -LRB- laughs. -RRB- I risk nothing, for I am certain to kill him. CHEVALIER Certain? RODERICK Perfectly certain, because I shall make him tremble. He takes his station between two trees, about four paces apart, and draws a pair of dueling pistols. RODERICK You have only to pace yourself at ten paces difference, and fire first. The space between these two trees is the place where I choose to walk back and forth. You may walk too, if you wish, when it is my turn to fire. No one could have explained his intentions more clearly or spoken more calmly. DASCHER But we must decide who is to have the first shot. RODERICK There is no need of that. I never fire first ; and, in any case, you have that right. Dascher places himself at the specified distance. Roderick walks slowly back and forth between the two trees without looking at him. Dascher takes aim and fires, missing. RODERICK -LRB- with the greatest composure. -RRB- You missed me, sir. I was sure you would. Try again. The others think he is mad, and had expected some kind of discussion between the parties, but not a bit of it. Dascher takes careful aim and fires a second shot, again missing Roderick. Without a word, but in a firm and confident manner, Roderick fires his first shot into the air. Dascher looks amazed. Then, aiming at Dascher with his second pistol, he hits him in the center of the forehead and stretches him out dead on the ground.","EXT. ROAD - DAY Roderick and Chevalier traveling in their coach. RODERICK -LRB- V.O. -RRB- Thus is will be seen that our life, for all its splendor was one of extreme difficulty and danger, requiring high talents and courage for success, and sudden and unexpected departures. They meet a four - wheel carriage, drawn by two horses, carrying a master and a servant. The driver of the four - wheel carriage wants Roderick's driver to make way for him. Roderick's driver protests that if he does, he will upset his master in the ditch, but the other insists. Roderick addresses the master, a handsome young man, and asks him to order his driver to make way for him. RODERICK I am posting, monsieur, and furthermore I am a foreigner. STRANGER Monsieur, here in Saxony, the post has no special right, and if you are a foreigner, you must admit that you have no greater claim than mine, since I am in my own country. At that, Roderick gets out and holding his drawn - sword tells the stranger to get out, or to make way for him. The stranger replies, with a smile, that he has no sword and that, in any case, he will not fight for such a silly reason. He tells Roderick to get back in his chaise, and he makes way for him.","INT. GAMING ROOM - NIGHT Roderick and the Chevalier running a faro bank when an important lady suffers a huge loss. RODERICK -LRB- V.O. -RRB- The ladies were passionately fond of play, and hence would often arise no small trouble to us ; for the truth most be told, that the ladies loved to play, but not to pay. The point of honor is not understood by the charming sex ; and it was with the greatest difficulty that we could keep them from the table, could get their money if they lost or, if they paid, prevent them from using the most furious and extraordinary means of revenge.","EXT. ROAD - DAWN RODERICK -LRB- V.O. -RRB- On this evening, the lady of high rank, after I had won a considerable sum in diamonds and pearls from her, sent her lover with a band of cut - throats to waylay me. Roderick and the Chevalier are sound asleep in their carriage when they are awakened by a violent jolt, upon which the carriage overturns in the middle of the road. The Chevalier is underneath, and screams from the pain in his right arm, which he thinks is broken. Their servant forces the door open to help them out, telling them that the two postilions have fled. Roderick easily gets out of the carriage through the door, which is above him, but the Chevalier, unable to move because of his disabled arm, has to be pulled out. His piercing shrieks make Roderick laugh, because of the strange oaths with which he interlards his prayers. From the carriage, Roderick takes his dueling pistols, and sword. Roderick tells his servant to mount and to looking for armed peasants in the vicinity ; money in hand, he leaves. The Chevalier has lain down on the hard ground, groaning and in no condition to resist robbers. Roderick makes his own preparations to sell his fortune and his life at the highest price. His carriage is close to the ditch, and he unhitches the horses, tieing them to the wheels and the pole in a circle, and stations himself behind them with weapons. In this predicament, Roderick can not help laughing at the poor Chevalier, who is writhing like a dying dolphin on a seashore, and uttering the most pitiful execrations, when a mare, whose back was turned to him, take it into her empty head to empty her bladder on him. There is nothing to be done ; he has to put up with the whole stinking rain, and to forgive Roderick's laughter, which he has not the strength to hold in. The chill wind and the silence are suddenly broken by an attack, which is half - hearted and uncertain, by the lady's lover, and his hesitant band of six cut - throats. Some falter and run away as soon as Roderick fires his pistol. The leader and two heartier followers engage Roderick. During the fight, they mortally wound the helpless Chevalier and two of them are killed. After they flee, Roderick kneels by the Chevalier, who utters some appropriate last words, then dies. His servant finally arrives at full gallop, shouting at the top of his voice, and followed by a band of peasants, each with his lantern, come to his rescue. There are ten or twelve of them, all armed with muskets, and all ready to obey his orders.","EXT. SPA - HOTEL - DAY Roderick's carriage arrives. RODERICK -LRB- V.O. -RRB- After making suitable arrangements for the Chevalier's burial, in proper accord with his church, I traveled to Spa, which was now in season, alone, to continue my profession which formerly had the support of my friend and mentor.","INT. GAMING ROOM - NIGHT Crowds surround Roderick. RODERICK -LRB- V.O. -RRB- I was by this time one of the best - known characters in Europe ; and the fame of my exploits, my duels, my courage at play, would bring crowds round me in any public society where I appeared.","INT. CASINO - NIGHT Attractive women alone, while men are at the gaming table. RODERICK -LRB- V.O. -RRB- The passion for play is stronger than the passion for gallantry ; the gamester at Spa has neither time to stop to consider the merits of a woman, nor the courage to make sacrifices for her.","EXT. GARDEN IN SPA - DAY The Countess of Cosgrove walks beside her husband, Sir William Cosgrove, who is in a wheelchair. They are accompanied by their young son, Lord Brookside, and two servants. RODERICK -LRB- V.O. -RRB- In evoking the recollections of these days, I have nothing but pleasure. I would if I could say as much of a lady who will henceforth play a considerable part in the drama of my life - I mean the Countess of Cosgrove, whose fatal acquaintance I made at Spa, very soon after the tragic events which caused me to quit Germany. Closer shot of the Countess. RODERICK -LRB- V.O. -RRB- Victoria, Countess of Cosgrove. A Countess and a Viscountess in her own right. Closer shot of Sir William Cosgrove. RODERICK -LRB- V.O. -RRB- She was the wife of her cousin, the Right Honorable Sir William Reginald Cosgrove, Knight of the Bath, and Minister to George II and George III of several of the smaller courts of Europe. Closer shot of young Lord Brookside, walking behind them in the care of his governor. RODERICK -LRB- V.O. -RRB- She was the mother to Viscount Brookside - a melancholy, deserted, little boy, about whom his father was more than indifferent, and whom his mother never saw.","INT. GAMING ROOM - NIGHT Shots of Sir William Cosgrove being wheeled in, and at play with Roderick, and some other gentlemen. RODERICK -LRB- V.O. -RRB- I made Sir William Cosgrove's acquaintance as usual at the play - table. One could not but admire the spirit and gallantry with which he pursued his favorite pastime ; for, though worn out with gout and a myriad of diseases, a cripple wheeled about in a chair, and suffering pangs of agony, yet you would see him every morning, and every evening at his post behind the delightful green cloth. SIR WILLIAM Hang it, Mr. Roderick James, you have no more manners than a barber, and I think my black footman has been better educated than you ; but you are a young fellow of originality and pluck, and I like you, sir. because you seem determined to go to the devil by a way of your own. Laughter at the table. RODERICK I am obliged to observe, Sir William Cosgrove, that since you are bound for the next world much sooner than I am, I will depend on you to get comfortable quarters arranged for me. Laughter. SIR WILLIAM Indeed, you are right, sir. Look at me. Marriage has added forty years to my life. I am dying, a worn - out cripple, at the age of fifty. When I took off Lady Cosgrove, there was no man of my years who looked so young as myself. Fool that I was! I had enough with my pensions, perfect freedom, the best society in Europe - and I gave up all these, and married and was miserable. Take a warning from me, Mr. Roderick, and stick to the trumps. Do anything, but marry. RODERICK Would you have me spend my life all alone? SIR WILLIAM In truth, sir, yes, but, if you must marry, then marry a virtuous drudge. RODERICK -LRB- laughing. -RRB- The milkmaid's daughter? SIR WILLIAM Well, why not a milkmaid's daughter? No man of sense need restrict himself or deny himself a single amusement for his wife's sake ; on the contrary, if he selects the animal properly, he will choose such a one as shall be no bar to his pleasure, but a comfort in his hours of annoyance. For instance, I have got the gout ; who tends me? A hired valet who robs me whenever he has the power. My wife never comes near me. What friend have I? None in the wide world. Men of the world, as you and I are, do n't make friends, and we are fools for our pains. Polite laughter at the table. SIR WILLIAM My lady is a weak woman, but she is my mistress. She is a fool, but she has got the better of one of the best heads in Christendom. She is enormously rich, but somehow I have never been so poor, as since I married her. I thought to better myself, and she has made me miserable and killed me, and she will do as much for my successor when I'm gone. There is a reflective silence at the table. RODERICK Has her ladyship a very large income? This question causes Sir William to burst out into a yelling laugh, joined by the rest of the table, and makes Roderick blush not a little at his gaucherie.","EXT. ORNAMENTAL GARDEN - SPA - NIGHT A beautiful scene, lit by the flambeaux, held by a dozen footmen. A small orchestra, playing in a Temple of Love, some dancers, people gambling and lounging along a line of trees. Roderick approaches the Countess. RODERICK -LRB- V.O. -RRB- Despite my friend's strong warning. I resolves to become acquainted with his lady. Sir William Cosgrove was dying. His widow would be a rich prize. Why should I not win her, and, with her, the means of making in the world that figure which my genius and inclination desired? When I determine, I look upon the thing as done. RODERICK Charming lady, tell me the truth and earn my gratitude. Have you a lover? The countess laughs. COUNTESS No. RODERICK Have you had one? COUNTESS Never. RODERICK But, for a time. a passing fancy? COUNTESS Not even that. RODERICK How can I believe that there is not a man who has inspired desires in you? COUNTESS Not one. RODERICK Have you not a man whom you value? COUNTESS That man has, perhaps, not yet been born. RODERICK What! You have not met a man worthy of your attention? COUNTESS Many worthy of attention ; but valuing is something more. I could value only someone whom I loved. RODERICK Then you have never loved? Your heart is empty. COUNTESS Your word `` empty'' makes me laugh. Is it fortunate, or unfortunate? If it is fortunate, I congratulate myself. If it is unfortunate, I do not care, for I am not aware of it. RODERICK It is nonetheless a misfortune, and you will know it when you love. COUNTESS But if, when I love, I am unhappy, I will know that my empty heart was my good fortune. RODERICK That is true, but it seems to me impossible that you should be unhappy in love. COUNTESS It is only too possible. Love requires a mutual harmony which is difficult, and it is even more difficult to make it last. RODERICK I agree ; but God put us on earth to take that risk. COUNTESS A man may need to do that, and find it amusing ; but a girl is bound by other laws. RODERICK I believe you, and I see I must hasten to leave, for otherwise I shall become the unhappiest of men. COUNTESS How so? RODERICK By loving you, with no hope of possessing you. She laughs. COUNTESS You want my heart? RODERICK It is my only object. COUNTESS To make me wretched in two weeks. RODERICK To love you until death. To subscribe to all your commands. COUNTESS The amusing thing is that you deceive me without knowing, if it is true that you love me. RODERICK Deceiving someone without knowing it is something new for me. If I do not know it, I am innocent. COUNTESS But you deceive me nonetheless if I believe you, for it will not be in your power to love me when you love me no longer. Roderick laughs and kisses her. COUNTESS Be so good as to tell me with whom you think you are? RODERICK With a woman who is completely charming, be she a princess or a woman of the lowest condition, and who, regardless of her rank, will show me some kindness, tonight. She laughs. COUNTESS And if she does not choose to show you some kindness? RODERICK Then I will respectfully take leave of her. COUNTESS You will do as you please. It seems to me that such a matter can hardly be discussed until after people know each other. Do you not agree? RODERICK Yes - but I am afraid of being deceived. COUNTESS Poor man. And, for that reason, you want to begin where people end? RODERICK I ask only a payment on account today - after that, you will find me undemanding, obedient and discreet. She laughs. He kisses her again. They exit.","EXT. ROAD - SPA - NIGHT Coach and four moves slowly along.","INT. COACH - NIGHT They kiss. She gently struggles as he tries to undo her dress. He stops. RODERICK Will we always leave it at this? COUNTESS Always, my dear one, never any further. Love is a child to be pacified with trifles. A full diet can only kill it. RODERICK I know better than you do. Love wants a more substantial fare, and if it is stubbornly withheld, it withers away. COUNTESS Our abstinence makes our love immortal. If I loved you a quarter of an hour ago, now I should love you even more. But I should love you less if you exhausted my joy by satisfying all my desires. RODERICK Let us give each other complete happiness, and let us be sure that as many times as we satisfy our desires, they will each time be born anew. COUNTESS My husband has convinced me of the contrary. RODERICK Sir William Cosgrove is a man who is dying, and yet I envy him more than any man in Christendom. He enjoys a privilege of which I am deprived. He may take you in his arms whenever he pleases, and no veil keeps his senses, his eyes, his soul from enjoying your beauty. She silences him with her fingertips. COUNTESS Shall I tell you something - I believed what was called love came after the union - and I was surprised when my husband, making me a woman, made me know it only by pain, unaccompanied by any pleasure. I saw that my imaginings had stood me in better stead. And so we became only friends, seldom sleeping together and arousing no curiosity in each other, yet on good terms for a while, as whenever he wanted me, I was at his service, but since the offering was not seasoned with love, he found it tasteless, and seldom demanded it. RODERICK O, my dearest love. Enough! I beg you. Stop believing in your experience. You have never known love. My very soul is leaving me! Catch it on your lips, and give me yours! They kiss ardently. RODERICK -LRB- V.O. -RRB- To make a long story short, her ladyship and I were in love six hours after we met ; and after I once got into her ladyship's good graces, I found innumerable occasions to improve my intimacy, and was scarcely ever out of her company.","EXT. COUNTESS' HOUSE - SPA - DUSK Action as per voice over. RODERICK -LRB- V.O. -RRB- I shall never forget the astonishment of Sir William Cosgrove when, on one summer evening, as he was issuing out to the play - table, in his sedan - chair, her ladyship's barouche and four came driving into the courtyard of the house which they inhabited and, in that carriage, by her ladyship's side, sat no other than `` the vulgar Irish adventurer,'' as she was pleased to call me. Sir William makes the most courtly of bows and grins, and waves his hat in as graceful a manner as his multiplicity of illness permits, and her ladyship and Roderick reply to the salutation with the utmost politeness and elegance on their part.","INT. RODERICK'S APARTMENT - SPA - NIGHT Making ardent love. COUNTESS Without you, my dearest, I might have died without ever knowing love. Inexpressible love! God of nature! Bitterness than which nothing is sweeter, sweetness than which nothing is more bitter. Divine monster which can only be defined by paradoxes. RODERICK Let me give a thousand kisses to that heavenly mouth which has told me that I am happy. COUNTESS As soon as I saw you loved me, I was pleased, and I gave you every opportunity to fall more in love with me, being certain that, for my part, I would never love you. But after our first kiss, I found that I had no power over myself. I did not know that one kiss could matter so much. RODERICK -LRB- V.O. -RRB- We then spent an hour in the most eloquent silence except that, from time to time, her ladyship cried out : `` Oh, my God. Is it true - I am not dreaming?''","INT. GAMING ROOM - NIGHT Roderick enters and approaches a table at which Sir William Cosgrove, who is drunk, is at play with several other jovial fellows. RODERICK -LRB- V.O. -RRB- Sir William Cosgrove, with his complication of ills, was dying before us by inches. He was continually tinkered up by doctors, and, what with my usual luck, he might be restored to health and live I do n't know how many years. If Cosgrove would not die, where was the use of my pursing his lady? But my fears were to prove groundless, for on that very night, patient nature would claim her account. SIR WILLIAM Good evening, Mr. James, have you done with my lady? RODERICK I beg your pardon? SIR WILLIAM Come, come, sir. I am a man who would rather be known as a cuckold than a fool. RODERICK I think, Sir William Cosgrove, you have had too much drink. Your chaplin, Mr. Hunt, has introduced me into the company of your lady to advise me on a religious matter, of which she is a considerable expert. Sir William Cosgrove greets this line with a yell of laughter. His laugh is not jovial or agreeable, but rather painful and sardonic, and ends in a violent fit of coughing. SIR WILLIAM Gentlemen, see this amiable youth! He has been troubled by religious scruples, and has flown for refuge to my chaplin, Mr. Hunt, who has asked for advise from my wife, Lady Cosgrove, and between them both, they are confirming my ingenious young friend in his faith. Did you ever hear of such doctors and such a disciple? RODERICK Faith, sir, if I want to learn good principles, it's surely better I should apply for them to your lady, and your chaplin than to you? SIR WILLIAM -LRB- laughing, but pretty red. -RRB- He wants to step into my shoes! He wants to step into my shoes! Roderick stares at him coldly. RODERICK Well, if my intentions are what you think they are - if I do wish to step into your shoes, what then? I have no other intentions than you had yourself. Lady Cosgrove's wealth may be great, but am I not of a generous nature enough to use it worthily? Her rank is lofty, but not so lofty as my ambition. I will be sworn to muster just as much regard for my Lady Cosgrove as you ever showed her ; and if I win her, and wear her when you are dead and gone, corbleu, knight, do you think that it will be the fear of your ghost will deter me? SIR WILLIAM Is it not a pleasure, gentlemen, for me, as I am drawing near the goal, to find my home such a happy one ; my wife so fond of me, that she is even now thinking of appointing a successor? Is n't it a comfort to see her ; like a prudent housewife, getting everything ready for her husband's departure? RODERICK I hope that you are not thinking of leaving us soon, knight? SIR WILLIAM Not so soon, my dear, as you may fancy perhaps. Why, man, I have been given over many times these four years, and there was always a candidate or two waiting to apply for the situation. Who knows how long I may keep you waiting. RODERICK Sir, let those laugh that win. SIR WILLIAM I am sorry for you Mr. James. I'm grieved to keep you or any gentleman waiting. Had you not better to arrange with my doctor or get the cook to flavor my omelette with arsenic? What are the odds, gentlemen, that I do n't live to see Mr. James hang yet? There is laughter around the table, and Sir William starts dealing the cards. VOICE Dies at Spa, in the Kingdom of Belgium, the Right Honorable Sir William Cosgrove, Knight of the Bath, Member of Parliament for Cosgrove and Devonshire and many years His Majesty's representative at various European courts. He hath left behind him a name which is endeared to all his friends for his manifold virtues and talents, a reputation justly acquired in the service of His Majesty, and an inconsolable widow to deplore his loss. Sir Williams keels over dead.","INT. CHURCH - DAY The wedding of Roderick and the Countess. The service is preformed by Reverend Hunt, her ladyship's chaplain. RODERICK -LRB- V.O. -RRB- A year from that day, on the fifteenth of May, in the year 1773, I had the honor and happiness to lead to the altar Victoria, Countess of Cosgrove, widow of the late Right Honorable Sir William Cosgrove, K.B. I had procured His Majesty's gracious permission to add the name of my lovely lady to my own, and, henceforward, assumed the title of James Cosgrove.","EXT. A GARDEN - LONDON - DAY The Wedding reception. Roderick and the Countess are approached by young Lord Brookside, aged 12. COUNTESS My Lord Brookside, come and embrace your papa! Brookside walks slowly towards them, and shakes his fist in Roderick's face. BROOKSIDE He, my father! I would as soon call one of your ladyship's footmen, papa! Roderick laughs, as the Countess unsuccessfully tries to get the boy to shake hands. COUNTESS Lord Brookside, you have offended your father. BROOKSIDE Mother, you have offended my father. RODERICK -LRB- V.O. -RRB- It was a declaration of war to me, as I saw at once ; though I declare I was willing enough to have lived with him on terms of friendliness. But as men serve me, I serve them. Who can blame me for my after - quarrels with this young reprobate, or lay upon my shoulders the evils which afterwards befell?","EXT. ROAD - DAY Three carriages, each with four horses, proceed along the picturesque track. RODERICK -LRB- V.O. -RRB- After we had received the congratulations of our friends in London - I and Victoria set off to visit our country estate, Castle Hackton, where I had never as yet set foot.","INT. CARRIAGE - DAY Roderick and his Lady. RODERICK -LRB- V.O. -RRB- The first days of a marriage are commonly very trying ; and I have known couples, who lived together like turtle - doves for the rest of their lives, peck each other's eyes out almost during the honeymoon. I did not escape the common lot. In our journey westwards, my Lady Cosgrove chose to quarrel with me because I had pulled out a pipe of tobacco. Lady Cosgrove was a haughty woman, and I hate pride, and I promise you that, in this instant, I overcame this vice in her. Roderick blows smoke into the Countess' face. She is shocked into an apprehensive silence.","INT. COACH - DAY Young Lord Brookside with his governor, glowering and petulant. A parrot, in a cage, on his lap.","EXT. ROAD - DAY As the carriages drive past, there is a band, floral arches, flags, church bells ringing. The parson and the farmers assemble in their best by the roadside, and the school - children and the laboring people are loud in their `` hurrahs'' for her ladyship. Roderick flings pennies among the cheering tenants, from two bags of coppers, stored in the carriage for the occasion.","EXT. CASTLE HACKTON - DAY Fifty, or so, servants have turned out to greet their mistress, and their new master. The land steward, who is the senior servant, introduces the others - the clerk of the kitchen, clerk of the stables, head gardener, ladies in waiting, butler, valet, chef, cook. RODERICK -LRB- V.O. -RRB- I had not arrived at the pitch of prosperity, and having, at thirty years of age, by my own merits and energy, raised myself to one of the highest social positions that any man in England could occupy, I determined to enjoy myself as becomes a man of quality for the remainder of my life.","INT. STABLES - DAY Roderick and his beautiful horses.","EXT. A STREAM - DAY Roderick and some companions fishing.","EXT. FIELDS - DAY Roderick and his friends riding.","EXT. FIELDS - DAY Roderick and friends shooting.","INT. CASTLE HACKTON - DAY Roderick having his portrait painted by a miniaturist. RODERICK -LRB- V.O. -RRB- But it was not meant for me to finish my life as a man of quality and position. Indeed, I am one of those born clever enough at gaining a fortune, but incapable of keeping one ; for the qualities and energy, which lead a man to accept the first, are often the very causes of his ruin in the latter case ; indeed, I know of no other reason for the misfortunes which finally befell me.","INT. CASTLE HACKTON - COUNTESS' BEDROOM - DAY RODERICK -LRB- V.O. -RRB- At the end of the year, Lady Cosgrove presented me with a son ; Patrick Cosgrove, I called him, in compliment to my royal ancestry, but what more had I to leave him than a noble name?","EXT. COSGROVE HOUSE - LONDON - DAY Two coaches pull up, and the Countess and Roderick exit. Servants remove their luggage and baby Patrick. RODERICK -LRB- V.O. -RRB- We spent the season in London at our house in Berkeley Square.","INT. COSGROVE HOUSE - BEDROOM - NIGHT The Countess alone and depressed. RODERICK -LRB- V.O. -RRB- Her ladyship and I lived, for a while, pretty separate when in London. She preferred quiet, or, to say the truth, I preferred it, being a great friend to a modest, tranquil behavior in woman and a taste for the domestic pleasures.","INT. COSGROVE HOUSE - LONDON - DAY Several cuts of the Countess, caring for the infant, Patrick. RODERICK -LRB- V.O. -RRB- Besides, she was a mother, and had great comfort in the dressing, educating, and dandling of our little Patrick for whose sake it was fit that she should give up the pleasures and frivolities of the world ; so she left that part of the duty of every family of distinction to be performed by me.","INT. THEATER LOBBY - NIGHT Roderick arriving with a party of friends, escorting a beautiful woman.","INT. COSGROVE HOUSE - LONDON - DAY Countess crying and having an argument with Roderick. Live dialogue under voice over. RODERICK -LRB- V.O. -RRB- Her ladyship's conversations with me were characterized by a stupid despair, or a silly blundering attempt at forced cheerfulness, still more disagreeable ; hence, our intercourse was but trifling, and my temptations to carry her into the world or to remain in her society of necessity exceedingly small.","INT. COSGROVE HOUSE - DRAWING ROOM - LONDON - NIGHT A drunken Roderick rudely demands his lady to entertain their guests. She rushes from the room in tears. Dialogue starts scene, goes under for voice over, then ends scene. RODERICK -LRB- V.O. -RRB- She would try my temper, at home, too, in a thousand ways. When requested by me to entertain the company with conversation, wit, and learning, of which she was a mistress ; or music, of which she was an accomplished performer, she would, as often as not, begin to cry, and leave the room. My company from this, of course, fancied I was a tyrant over her ; whereas, I was only a severe and careful guardian of a silly, bad - tempered and weak - minded lady.","EXT. PARK - DAY Roderick strolling arm - in - arm with his Countess. RODERICK -LRB- V.O. -RRB- Despite the utter distaste with which I now regarded Lady Cosgrove, and, although I took no particular pains to disguise my feelings in general, yet she was of such a mean spirit that she pursued me with her regard, and would kindle up at the smallest kind word I spoke to her.","INT. COSGROVE STUDY - DAY Roderick and accountant. Her ladyship is signing various documents, and orders for payment. RODERICK -LRB- V.O. -RRB- And, in these fits of love, she was the most easy creature in the world to be persuaded, and would have signed away her whole property, had it been possible. And, I must confess, it was with very little attention on my part that I could bring her into good humor, and, up to the very last day of our being together, would be reconciled to me, and fondle me, if I addressed her a single kind word. Such is female inconsistency.","INT. COSGROVE HOUSE - DAY Roderick and the Countess fighting about her refusal to sign some papers. Live dialogue under voice over. RODERICK -LRB- V.O. -RRB- She was luckily very fond of her youngest son, and through him I had a wholesome and effectual hold on her ; for if in any of her tantrums or fits of haughtiness, she pretended to have the upper - hand, to assert her authority against mine, to refuse to sign such papers as I might think necessary for the distribution of our large and complicated property. Roderick picks up baby Patrick. RODERICK -LRB- V.O. -RRB- I would have Master Patrick carried off to Chiswick for a couple of days ; and I warrant me his lady - mother could hold out no longer and would agree to anything I proposed. The Countess rushes to the window to see the child being put into a carriage.","INT. COSGROVE HOUSE - DAY Another quarrel. RODERICK -LRB- V.O. -RRB- Lady Cosgrove and I did not quarrel more than fashionable people do, and, for the first three years, I never struck my wife but when I was in liquor.","INT. COSGROVE HOUSE - DAY Roderick throws a knife at young Brookside. The knife digs into an expensive antique chest, just missing the young Brookside's head. RODERICK -LRB- V.O. -RRB- When I flung the carving - knife at Brookside, I was drunk, as everybody present can testify, but as for having any systematic scheme against the poor lad, I can declare solemnly that, beyond merely hating him, I am guilty of no evil towards him.","INT. COSGROVE HOUSE - DAY The Countess discovers Roderick making love to the child's nurse. RODERICK -LRB- V.O. -RRB- Do what one would to please her, my lady would never be happy or in good humor. And soon she added a mean, detestable jealousy to all her other faults, and would weep and wring her hands, and threaten to commit suicide, and I know not what. She screams and shouts something about suicide. Her son, Brookside, comes running in and consoles her. RODERICK -LRB- V.O. -RRB- Her death would have been no comfort to me, as I leave any person of common prudence to imagine ; for that scoundrel of a young Brookside who was about to become my greatest plague and annoyance, would have inherited every penny of the property.","INT. COSGROVE HOUSE - LONDON - RODERICK'S STUDY - DAY Roderick, bored and distracted, sits before a stack of bills and papers, with his accountant. RODERICK -LRB- V.O. -RRB- Humble people envy us great men, and fancy that our lives are all pleasure. But the troubles of poverty, the rascality of agents, the quibbles of lawyers are endless. My life at this period seemed to consist of nothing but drafts of letters and money - brokers relative to the raising of money, and the insuring of Lady Cosgrove's life, and innumerable correspondence with upholsterers, decorators, cooks, horsekeepers, bailiffs, and stewards.","EXT. CASTLE HACKTON - GARDENS - DAY Various cuts. Birthday fete for Patrick who is now five years old. Gaily colored tents, ponies, a puppet show, expensive presents. RODERICK -LRB- V.O. -RRB- My own dear boy, Patrick, was now five years old, and was the most polite and engaging child ever seen ; it was a pleasure to treat him with kindness and distinction ; the little fellow was the pink of fashion, beauty, and good breeding. In fact, he could not have been otherwise, with the care both his parents bestowed upon him, and the attentions which were lavished upon him in every way. Brookside and Roderick. RODERICK -LRB- V.O. -RRB- Whereas, young Brookside had grown to be a very nasty and disrespectful fellow indeed. In my company, he preserved the most rigid silence, and a haughty, scornful demeanor, which was so much the more disagreeable because there was nothing in his behavior I could actually take hold of to find fault with, although his whole conduct was insolent and supercilious to the highest degree.","INT. CASTLE HACKTON - LIBRARY - DAY Brookside sitting alone reading a book. RODERICK -LRB- V.O. -RRB- In addition to this, the lad was fond of spending the chief part of his time occupied with the musty old books, which he took out of the library, and which I hate to see a young man of spirit pouring over.","INT. CASTLE HACKTON - DAY Brookside and the Countess. RODERICK -LRB- V.O. -RRB- The insubordination of that boy was dreadful. He used to quote passages of `` Hamlet'' to his mother, which made her very angry. Brookside quoting `` Hamlet.'' The Countess begins to cry and leaves the room.","INT. CASTLE HACKTON - RODERICK'S STUDY Roderick caning young Brookside. RODERICK -LRB- V.O. -RRB- As it is best to nip vice in the bud, and for a master of a family to exercise his authority in such a manner as that there may be no question about it, I took every opportunity of coming to close quarters with Master Brookside.","INT. CASTLE HACKTON - DINING ROOM - NIGHT Many guests around the table. RODERICK -LRB- V.O. -RRB- He always chose the days when company, or the clergy, or gentry of the neighborhood were present, to make violent, sarcastic, and insolent speeches. Brookside begins to fondle and caress Patrick. BROOKSIDE Dear child, what a pity it is I am not dead for your sake! The Cosgroves would then have a worthy representative, and enjoy all the benefits of the illustrious blood of the James' of Duganstown, would they not, Mr. James Cosgrove?","INT. RODERICK'S STUDY - NIGHT Roderick caning Brookside again. The boy bears the punishment without crying.","EXT. CASTLE HACKTON - DAY Roderick's reunion with his mother. Present are the Countess, Patrick, Lord Brookside and others. Mrs. James flings herself into her son's arms with a scream, and with transports of joy, which can only be comprehended by women who have held, in their arms, an only child, after a twelve - year absence from him.","INT. CASTLE HACKTON - DAY Roderick and mother feeding Patrick.","EXT. CASTLE HACKTON - GARDEN - DAY Roderick and mother playing with Patrick in the garden.","INT. CASTLE HACKTON - DINING ROOM - NIGHT Mother at dinner with the family, in a strained atmosphere.","INT. PATRICK'S BEDROOM - NIGHT Roderick and his mother talk in whispers near the bed of the sleeping Patrick. MOTHER Ah, Roderick, it's a blessing to see that my darling boy has attained a position I always knew was his due, and for which I pinched myself to educate him. Little Patrick is a darling boy, and you live in great splendor, but how long will it last? Your lady - wife knows she has a treasure she could n't have had, had she taken a duke to marry her, but if, one day, she should tire of my wild Roderick and his old - fashioned Irish ways, or if she should die, what future would there be for my son and grandson?","INT. RODERICK'S STUDY - CASTLE HACKTON - NIGHT Roderick and his mother. MOTHER You have not a penny of your own, and can not transact any business without the Countess' signature. Upon her death, the entire estate would go to young Brookside, who bears you little affection. You could be penniless tomorrow, and darling Patrick at the mercy of his stepbrother.","INT. MOTHER'S ROOM - CASTLE HACKTON - NIGHT Roderick and his mother. MOTHER I shall tell you a secret - I shall not rest until I see you Earl of Duganstown, and my grandson, a Lord Viscount. She smooths down Roderick's hair. MOTHER This head would become a coronet.","EXT. CASTLE HACKTON - GARDEN - DAY Roderick and Mother slowly walking and talking. Young Patrick, ahead of them sitting in a small cart, pulled by a lamb. MOTHER These things entail considerable expense, and you will need your lady's blessing, but the young boy forms the great bond of union between you and her ladyship, and there is no plan of ambition you could propose in which she would not join for the poor lad's benefit, and no expense she will not eagerly incur, if it might be any means be shown to tend to his advancement. You have important friends, and they can tell you how these things are done.","INT. LONDON GAMING ROOM - NIGHT Standing away from the play tables, Roderick chats with Lord West, a fat giant of a man. RODERICK -LRB- V.O. -RRB- And, to be sure, I did know someone who knew precisely how these things were done, and this was the distinguished solicitor and former Government Minister, Lord West, whose acquaintance I made, as I had so many others, at the gaming table. LORD WEST Do you happen to know Gustavus Adolphus, the thirteenth Earl of Crabs? RODERICK By name only. LORD WEST Well, sir, this nobleman is one of the gentlemen of His Majesty's closet, and one with whom our revered monarch is on terms of considerable intimacy. I should say you would be wise to fix upon this nobleman your chief reliance for the advancement of your claim to the Viscounty which you propose to get.","INT. LONDON CLUB - DAY Roderick having lunch with Lord West and the Earl of Crabs. RODERICK -LRB- V.O. -RRB- And for a five - hundred guinea fee, paid to his City law - firm, Lord West kindly arranged a meeting with that old scamp and swindler, Gustavus Adolphus, the thirteenth Earl of Crabs. EARL OF CRABS Mr. Cosgrove, when I take up a person, he or she is safe. There is no question about them any more. My friends are the best people. I do n't mean the most virtuous, or, indeed, the least virtuous, or the cleverest, or the stupidest, or the richest, or the best born, but the `` best'' - in a word, people about whom there is no question. I can not promise you how long it will take. You can appreciate it is not an easy matter. But any gentlemen with an estate, and ten - thousand a - year should have a peerage.","INT. DRAWING ROOM - EARL OF CRABS - DAY Roderick being introduced to three noblemen, including the Duke of Rutland. RODERICK -LRB- V.O. -RRB- The striving after this peerage, I consider to have been one of the most unlucky dealings at this period. I made unheard of sacrifices to bring it about. I can tell you bribes were administered, and in high places too - so near the royal person of His Majesty that you would be astonished were I to mention what great personages condescended to receive our loans.","INT. DRAWING ROOM - NIGHT Roderick gives a beautiful diamond to a fat princess on her birthday. He is applauded by the other guests. RODERICK -LRB- V.O. -RRB- I lavished money here, and diamonds there.","EXT. FARMLAND - DAY Roderick and the seller, riding over a prospective property. A broker shows them a survey map of the property. RODERICK -LRB- V.O. -RRB- I bought lands at ten times there value.","INT. SALON - LONDON - NIGHT A musical evening. RODERICK -LRB- V.O. -RRB- I gave repeated entertainments to those friends to my claims who, being about the royal person, were likely to advance it.","INT. STATELY HOME - DAY Roderick buying pictures. RODERICK -LRB- V.O. -RRB- I purchased pictures and articles of vertu at ruinous prices.","EXT. RACES - DAY Roderick laughing and paying a bet. RODERICK -LRB- V.O. -RRB- I lost many a bet to the royal dukes, His Majesty's brothers.","EXT. FIELD - DAY Reviewing the company of troops. Roderick, the Earl of Crabs, the Countess, Patrick and Brookside, several princes and noblemen and the Duke of Rutland. RODERICK -LRB- V.O. -RRB- One of the main causes of expense which this ambition of mine entailed upon me was the fitting out and arming of a company of infantry from the Hackton estates, which I offered to my gracious sovereign for the campaign against the American rebels. These troops, superbly equipped and clothed, were embarked at Portsmouth in the year 1778.","INT. ST. JAMES - RECEPTION ROOM - DAY George III meeting people and stopping to talk to Roderick. Present also is the Duke of Rutland. RODERICK -LRB- V.O. -RRB- And the patriotism of the gentlemen who raised them was so acceptable at court that, on being presented by my Lord Crabs, His Majesty condescended to notice me particularly and said : GEORGE III That's right, Mr. Cosgrove, raise another company, and go with them, too!","INT. COFFEE HOUSE - NIGHT RODERICK -LRB- V.O. -RRB- Crabs was really one of the most entertaining fellows in the world, and I took a sincere pleasure in his company, besides the interest and desire I had in cultivating the society of the most important personages of the realm. Roderick clumsily tries to engage in conversation with the famed Dr. Johnson, on the subject of a book or play, of the day, and is rebuffed for his trouble. JOHNSON If I were you, Mr. Cosgrove, I should mind my horses and tailors and not trouble myself about letters. Laughter, Roderick bristles. RODERICK Dr. Johnson, I think you misbehave most grossly, treating my opinions with no more respect than those of a schoolboy. You fancy, sir, you know a great deal more than me, because you quote your `` Aristotle'' and `` Plato,'' but can you tell me which horse will win at Epsom Downs next week? Can you shoot the ace of spades ten times without missing? If so, talk about Aristotle and Plato with me. BOSWELL -LRB- roars. -RRB- Do you know who you're speaking to?! JOHNSON Hold your tongue, Mr. Boswell, I had no right to brag of my Greek, gentlemen, and he has answered me very well. RODERICK -LRB- pleased. -RRB- Do you know ever a rhyme for Aristotle? GOLDSMITH -LRB- laughing. -RRB- Port, if you please. JOHNSON Waiter, bring on of Captain James' rhymes for Aristotle. RODERICK -LRB- V.O. -RRB- And we had six rhymes for Aristotle before we left the coffee house that evening.","INT. LONDON CLUB - NIGHT EARL OF CRABS Henri, this is Mr. James Cosgrove, who wishes to arrange a dinner party next week for sixty guests. HENRI I am at your service, Mr. Cosgrove. How much do you wish to spend? RODERICK As much as possible. HENRI As much as possible? RODERICK Yes, for I wish to entertain splendidly. HENRI All the same, you must name an amount. RODERICK It is entirely up to you. I want the best. EARL OF CRABS May I suggest five hundred guineas? RODERICK Will that be enough? HENRI Last month, the Duke of Suffolk spent no more. RODERICK All right, five hundred guineas.","INT. CASTLE HACKTON - RODERICK'S STUDY - DAY Roderick is seated at a large table, stacked high with bills and letters ; his accountant is seated next to him, aided by a bookkeeper. Roderick looks at each bill and his accountant explains the charge. RODERICK -LRB- V.O. -RRB- The life I was leading was that of a happy man, but I was not happy.","INT. CASTLE HACKTON - LONG GALLERY - DAY Roderick, walking with big strides, leads Brookside by his ear. Little Patrick runs alongside, pleading for his brother. PATRICK Papa, please do n't flog Brookside today. It was n't his fault - really is was n't. Roderick ignores him. RODERICK -LRB- V.O. -RRB- By now, young Brookside was of so wild, savage, and insubordinate a nature that I never had the least regard for him. As he grew up to be a man, his hatred for me assumed an intensity quite wicked to think of and which, I promise you, I returned with interest. He drags Brookside into his study, slamming the door behind him.","INT. LIBRARY - DAY Roderick alone. Brookside enters with a pistol. BROOKSIDE -LRB- grinding his teeth. -RRB- Look you now, Mister Roderick James, from this moment on, I will submit to no further chastisement from you! Do you understand that? RODERICK Give me that pistol. BROOKSIDE Take heed, Mister James. I will shoot you if you lay hands on me now, or ever again. Is that entirely clear to you, sir? Roderick stares hard at him, then he laughs and sits down. RODERICK -LRB- V.O. -RRB- I decided, at once, to give up that necessary part of his education. In truth, he then became the most violent, daring, disobedient, scapegrace, that ever caused an affectionate parent pain ; he was certainly the most incorrigible.","INT. CASTLE HACKTON - BROOKSIDE'S ROOM - DAY Brookside smashing a chair over the head of his governor, Reverend Hunt. RODERICK -LRB- V.O. -RRB- Twice or thrice, Reverend Hunt attempted to punish my Lord Brookside ; but I promise you the rogue was too strong for him, and leveled the Oxford man to the ground with a chair, greatly to the delight of little Patrick, who cried out : `` Bravo, Brooksy! Thump him, thump him!''","EXT. CASTLE HACKTON - GARDEN - DAY Brookside and Patrick. RODERICK -LRB- V.O. -RRB- With the child, Brookside was, strange to say, pretty tractable. He took a liking to the little fellow - I like him the more, he said, because he was `` half a Cosgrove.''","INT. CASTLE HACKTON - BALLROOM - NIGHT RODERICK -LRB- V.O. -RRB- Another day, it was Patrick's birthday, we were giving a grand ball and gala at Hackton, and it was time for my Patrick to make his appearance among us. There is a great crowding and tittering as the child comes in, led by his half - brother, who walks into the dancing - room in his stockinged feet, leading little Patrick by the hand, paddling about in the great shoes of the older. BROOKSIDE -LRB- very loudly. -RRB- Do n't you think he fits my shoes very well, Sir Richard Wargrave? Upon which, the company begins to look at each other and to titter, and his mother comes up to Lord Brookside with great dignity, seizes the child to her breast, and says : COUNTESS From the manner in which I love this child, my lord, you ought to know how I would have loved his elder brother, had he proved worthy of any mother's affection. Brookside is stunned by his mother's words. BROOKSIDE Madam, I have borne as long as mortal could endure the ill - treatment of the insolent Irish upstart, whom you have taken into your bed. It is not only the lowness of his birth, and the general brutality of his manners which disgusts me, but the shameful nature of his conduct towards your ladyship, his brutal and ungentlemanlike behavior, his open infidelity, his habits of extravagance, intoxication, his shameless robberies and swindling of my property and yours. It is these insults to you which shock and annoy me more than the ruffian's infamous conduct to myself. I would have stood by your ladyship, as I promised, but you seem to have taken latterly your husband's part ; and, as I can not personally chastise this low - bred ruffian, who, to our shame be it spoken, is the husband of my mother, and as I can not bear to witness his treatment of you, and loathe his horrible society as if it were the plague, I am determined to quit my native country, at least during his detested life, or during my own. Bursting into tears, Lady Cosgrove leaves the room. Roderick loses control, and rushes at Brookside, knocking down Lords, Dukes and Generals, left and right, who try to interfere. The company is scandalizes by the entire incident.","INT. LONDON CLUB - NIGHT Action as per voice over. Roderick is shunned. RODERICK -LRB- V.O. -RRB- If I had murdered my lord, I could scarcely have been received with more shameful obloquy and slander than now followed me in town and country. My friends fell away from me, and a legend arose of my cruelty to my stepson.","INT. ST. JAMES - DAY RODERICK -LRB- V.O. -RRB- My reception at court was scarcely more cordial. On paying my respects to my sovereign at St. James, His Majesty pointedly asked me when I had news of Lord Brookside. On which I replied, with no ordinary presence of mind : RODERICK Sire, my Lord Brookside has set sail to fight the rebels against Your Majesty's crown in America. Does Your Majesty desire that I should send another company to aid him? The King stares at Roderick, turns on his heel and quickly leaves the presence - chamber. Roderick is approached by the Duke of Rutland, who takes him aside into an alcove. DUKE OF RUTLAND -LRB- speaking very quietly. -RRB- Let me tell you, sir, that your conduct has been very odiously represented to the King, and has formed the subject of royal comment. The King has said, influenced by these representations, that you are the most disreputable man in the three kingdoms, and a dishonor to your name and country. Roderick begins to sputter. DUKE OF RUTLAND Hear me out, please. It has been intimated to His Majesty that you had raised the American Company for the sole purpose of getting the young Viscount to command it, and so get rid of him. And, further, that you had paid the very man in the company, who was ordered to dispatch him in the first general action. RODERICK Thus it is that my loyalty is rewarded, and my sacrifices in favor of my country viewed! DUKE OF RUTLAND As for your ambitious hopes regarding the Irish peerages, His Majesty has also let it be known that you have been led astray by that Lord Crabs, who likes to take money, but who has no more influence to get a coronet than to procure a Pope's tiara. And, if you have it in mind to call upon Lord Crabs, you will be disappointed. He left for the continent on Tuesday, and may be away for several months.","INT. LORD WEST'S OFFICE - DAY Roderick and Lord West. RODERICK I insist upon being allowed to appear before His Majesty and clear myself of the imputations against me, to point out my services to the government, and to ask when the reward, that had been promised me, the title held by my ancestors, is again to be revived in my person. There is a sleepy coolness in the fat Lord West. He hears Roderick with half - shut eyes. When he finishes his violent speech, which he has made striding about the room, Lord West opens one eye, smiles, and says : LORD WEST -LRB- gently. -RRB- Have you done, Mr. Cosgrove? RODERICK Yes! LORD WEST Well, Mr. Cosgrove, I'll answer you point by point. The King is exceedingly averse to make peers, as you know. Your claim, as you call them, have been laid before him, and His Majesty's gracious reply was, that you were the most impudent man in his dominions, and merited a halter, rather than a coronet. As for withdrawing your support from us, you are perfectly welcome to carry yourself whithersoever you please. And, now, as I have a great deal of occupation, perhaps you will do me the favor to retire, or tell me if there is anything else in the world in which I can oblige you. So saying, Lord West raises his hand lazily to the bell, and bows Roderick out.","INT. CASTLE HACKTON - RODERICK'S STUDY - DAY Roderick and his accountant going over the bills which he has heaped on the table. RODERICK -LRB- V.O. -RRB- The news of His Majesty's disregard were not long in getting around, and, in a very short time, all the bills came down upon me together - all the bills I had been contracting for the years of my marriage. I wo n't cite their amount ; it was frightful. I was bound up in an inextricable toil of bills and debts, or mortgages and insurances, and all the horrible evils attendant upon them.","EXT. CASTLE HACKTON - GROUNDS - DAY Roderick walking alone. RODERICK -LRB- V.O. -RRB- Was it my own want of style, or my want of a fortune? I know not. Now I was arrived at the height of my ambition, but both my skill and my luck seemed to be deserting me. Everything I touched, crumbled in my hands ; every speculation I had, failed ; every agent I trusted, deceived me. My income was saddled with hundreds of annuities, and thousands of lawyers' charges, and I felt the net drawing closer and closer around me, and no means to extricate myself from its toils. All my schemes had turned out failures.","INT. LONDON GAMING CLUB - NIGHT Roderick at the gaming table. RODERICK -LRB- V.O. -RRB- My wife's moody despondency made my house and home not over - pleasant ; hence, I was driven a good deal abroad, where as play was the fashion in every club, tavern, and assembly, I, of course, was obliged to resume my old habit, and to commence as an amateur those games at which I was once unrivaled in Europe. Roderick loses a large amount of money. RODERICK -LRB- V.O. -RRB- I had a run of ill - luck at play, and was forced to meet my losses by the most shameful sacrifices to the money - lenders, and was compelled to borrow largely upon my wife's annuities, ensuring her ladyship's life, which was the condition for every loan against her property.","INT. LONDON OFFICE - INSURANCE BROKER - DAY Roderick and the broker. BROKER Your wife's life is as well known among the insurance societies in London, as any woman in Christendom, and, I'm sorry to say there is not one of them willing to place another policy against her ladyship's life. One of them even had the impudence to suggest that your treatment of the Countess did not render her life worth a year's purchase.","EXT. STUD FARM - DAY Roderick buying a horse. RODERICK -LRB- V.O. -RRB- In the midst of my difficulties, I promised to buy a little horse for my dear little Patrick, which was to be a present for his eighth birthday, that was now coming on. I may have had my faults, but no man shall dare to say of me that I was not a good and tender father. Roderick admires the horse. RODERICK -LRB- V.O. -RRB- It was a beautiful little animal, and stood me in a good sum. I never regarded money for that dear child.","EXT. ROAD - DAY The horse kicks off one of the horse - boys who tries to ride him. RODERICK -LRB- V.O. -RRB- But the horse was a bit wild, and he kicked off one of the horse - boys who rode him at first, and broke the lad's leg.","EXT. ROAD - DAY Roderick riding the horse. The horse - boy lies in the back of a wagon. RODERICK -LRB- V.O. -RRB- But he was a beautiful animal and would make a fine horse for Patrick after he had a bit of breaking - in.","EXT. ROAD - NEAR CASTLE HACKTON - DAY Roderick dismounts and gives the horse to one of the horse - boys. RODERICK Timmy, take the injured lad to see the doctor, and then bring the horse to Doolan's farm, and tell him to break him in thoroughly. Tell him it's for little Patrick, and that I'll be over to see him next week. HORSE-BOY Yes, sir. RODERICK One more thing, and listen well, I do n't want little Patrick to know where the horse is being kept. It's going to be surprise for his birthday.","EXT. CASTLE HACKTON - DAY Patrick rushes out to greet his father. PATRICK Hello, papa! Roderick picks him up in his arms, and kisses him. PATRICK Did you buy the horse, papa? RODERICK Now, just have a little patience, my boy. Your birthday is n't until next week. PATRICK But I will have it on my birthday, wo n't I? RODERICK Well, we'll just have to wait and see, wo n't we? He walks up the steps holding Patrick, who hugs and kisses him. RODERICK -LRB- V.O. -RRB- My son, little Patrick Cosgrove, was a prince ; his breeding and manners, even at his early age, showed him to be worthy of the two noble families from whom he was descended, and I do n't know what high hopes I had for the boy, and indulged in a thousand fond anticipations as to his future success and figure in the world, but stern Fate had determined that I should leave none of my race behind me.","INT. CASTLE HACKTON - DINING ROOM - NIGHT Roderick is drunk. Patrick is brought in by his governor, Hunt, to say good night. His kisses his mother first, then approaches Roderick. PATRICK -LRB- kissing him. -RRB- Good night, papa. RODERICK Good night, my little darling. PATRICK Papa? RODERICK Yes? PATRICK One of the boys in the stable told Nelly that you've already bought my horse, and that it's at Doolan's farm, where Mick the groom is breaking it in. Is that true, papa? RODERICK -LRB- angered. -RRB- What the devil? What kind of fools do we have here? Pottle, who told the lad this story? HUNT I do n't know, sir. PATRICK Then it's true! It's true! Oh, thank you, papa! Thank you! He hugs his father. COUNTESS Promise me, Patrick, that you will not ride the horse except in the company of your father. PATRICK -LRB- unconvincingly. -RRB- I promise, mama. RODERICK I promise your lordship a good flogging if you even so much as go to Doolan's farm to see him. PATRICK Yes, papa.","INT. RODERICK'S BEDROOM - DAY Roderick is awakened by his valet and Hunt, the governor. RODERICK Yes? VALET I'm sorry to disturb you, sir, but Mr. Hunt has something important to tell you. RODERICK Yes? HUNT I think Master Patrick has disobeyed your orders and stolen off to Doolan's farm. When I went to the lad's room this morning, his bed was empty. One of the cooks said she saw him go away before daybreak. He must have slipped through my room while I was asleep.","EXT. CASTLE HACKTON - STABLES - DAY Roderick, in a rage, taking a great horse - whip, gallops off after the child.","EXT. ROAD - CASTLE HACKTON - DAY Roderick comes upon a sad procession of farmers, moaning and howling, the black horse led by the hand, and, on a door that some of them carry, little Patrick. He lies in his little boots and spurs, and his little coat of scarlet and gold. His face is quite white, and he smiles as he holds a hand out to Roderick and says painfully : PATRICK You wo n't whip me, will you, papa? Roderick bursts out into tears in reply.","INT. PATRICK'S BEDROOM - NIGHT Some doctors around the bed, Roderick and the Countess anxiously waiting upon them. RODERICK -LRB- V.O. -RRB- The doctors were called, but what does a doctor avail in a contest with the grim, invincible enemy? Such as came could only confirm our despair by their account of the poor child's case. His spine was injured, the lower half of him was dead when they laid him in bed at home. The rest did not last long, God help me! He remained yet for two days with us, and a sad comfort it was to think he was in no pain.","INT. PATRICK'S BEDROOM - DAY Roderick, Countess and Patrick. PATRICK -LRB- weakly. -RRB- Papa, I beg you and mama to pardon me for any acts of disobedience I have been guilty of towards you. COUNTESS -LRB- weeping. -RRB- Oh, my little angel, you have done nothing for which you need pardon. PATRICK Where is Brooksy? I would like to see him. RODERICK Your bother is in America fighting the rebels. PATRICK Is he all right, papa? RODERICK Yes, he's fine. PATRICK Brooksy was better than you, papa, he used not to swear so, and he taught me many good things while you were away. Patrick takes a hand of his mother and of Roderick, in each of his little clammy ones. PATRICK I beg you not to quarrel so, but to love each other, so that we might meet again in heaven where Brooksy told me quarrelsome people never go. His mother is much affected by these admonitions, and Roderick is too. Patrick gives Roderick a ring from his finger, and a locket to his mother. He says that these gifts are so that they will not forget him. RODERICK -LRB- V.O. -RRB- At last, after two days, he died. There he lay, the hope of my family, the pride of my manhood, the link which kept me and my Lady Cosgrove together.","EXT. CHURCH - GRAVEYARD - DAY Funeral. RODERICK -LRB- V.O. -RRB- I wo n't tell you with what splendor we buried him, but what avail are undertakers' feathers and heralds' trumpery.","EXT. CASTLE HACKTON - STABLE - DAY Roderick enters the stable and, after a few seconds, we hear a pistol shot. He exits rapidly, the smoking pistol still in his hand.","INT. CASTLE HACKTON - VARIOUS - DAY AND NIGHT The Countess : Praying. Waking up screaming. Fits of crying. Severely depressed. RODERICK -LRB- V.O. -RRB- Lady Cosgrove, always vaporish and nervous, after our blessed boy's catastrophe, became more agitated than ever, and plunged into devotion with so much fervor that you would have fancied her almost distracted at times. Countess sees visions. RODERICK -LRB- V.O. -RRB- She imagined she saw visions. She said an angel from heaven told her that Patrick's death was a punishment to her for her neglect of her firstborn. Then she would declare that Brookside was dead.","INT. RODERICK'S STUDY - DAY Roderick and his accountant. Bills, bills, bills. RODERICK -LRB- V.O. -RRB- By now, my financial affairs were near to ruin. I could not get a guinea from any money - dealer in London. Our rents were in the hands of receivers by this time, and it was as much as I could do to get enough money from the rascals to pay my wine - merchants their bills. Our property was hampered, and often as I applied to my lawyers and agents for money, would come a reply demanding money of me for debts and pretended claims which the rapacious rascals said they had on me.","EXT. CASTLE HACKTON - DAY Mother arrives. Roderick greets her. Servants unload her bags. RODERICK -LRB- V.O. -RRB- My mother was the only person who, in my misfortune, remained faithful to me - indeed, she has always spoken of me in my true light, as a martyr to the rascality of others, and a victim of my own generous and confiding temper.","INT. CASTLE HACKTON - DAY Mother supervising kitchen staff. RODERICK -LRB- V.O. -RRB- She was an invaluable person to me in my house, which would have been at rack and ruin before, but for her spirit of order and management and her excellent economy in the government of my rapidly dwindling household staff.","EXT. CASTLE HACKTON - GARDEN - DAY Roderick and his mother. RODERICK -LRB- V.O. -RRB- If anything could have saved me from the consequences of villainy in others, it would have been the admirable prudence of that worthy creature.","INT. CASTLE HACKTON - DRAWING ROOM - NIGHT Action as per voice over. RODERICK -LRB- V.O. -RRB- She never went to bed until all the house was quiet and all the candles out ; you may fancy that this was a matter of some difficulty with a man of my habits who had commonly a dozen of jovial fellows to drink with me every night, and who seldom, for my part, went to bed sober.","INT. CASTLE HACKTON - RODERICK'S BEDROOM - NIGHT Actions as per voice over. RODERICK -LRB- V.O. -RRB- Many and many a night, when I was unconscious of her attention, has that good soul pulled my boots off, and seen me laid by my servants snug in bed, and carried off the candle herself.","INT. CASTLE HACKTON - RODERICK'S BEDROOM - DAY Action as per voice over. RODERICK -LRB- V.O. -RRB- and been the first in the morning, too, to bring me my drink of small beer. It was my mother's pride that I could drink more than any man in the country.","INT. RODERICK'S STUDY - NIGHT Roderick and his mother holding a letter before a fire, which slowly brings out the writing in lemon juice between the widely - spaced lines of directions to her milliner. RODERICK -LRB- V.O. -RRB- My mother discovered that always, before my lady - wife chose to write letters to her milliner, she had need of lemons to make her drink, as she said, and this fact, being mentioned to me, kind of set me a - thinking. RODERICK -LRB- reading letter aloud. -RRB- `` This day, three years ago, my last hope and pleasure in life was taken from me, and my dear child was called to Heaven. Where is his neglected brother, whom I suffered to grow up unheeded by my side, and whom the tyranny of the monster to whom I am united drove to exile, and, perhaps to death? I pray the child is still alive and safe. Charles Brookside! Come to the aide of a wretched mother, who acknowledges her crime, her coldness towards you, and now bitterly pays for her error! What sufferings, what humiliations have I had to endure! I am a prisoner in my own halls. I should fear poison, but then I know the wretch has a sordid interest in keeping me alive, and that my death would be the signal for his ruin. But I dare not stir without my odious, hideous, vulgar gaoler, the horrid Irish woman, who purses my every step. I am locked into my chamber at night, like a felon, and only suffered to leave it when ordered into the presence of my lord, to be present at his orgies with his boon - companions, and to hear his odious converse as he lapses into the disgusting madness of intoxication.''","INT. CASTLE HACKTON - DINING ROOM - NIGHT Roderick, and the Countess and mother, at a silent dinner. RODERICK -LRB- V.O. -RRB- It was not possible to recover the name for whom the note was intended, but it was clear that, to add to all my perplexities, three years after my poor child's death, my wife, whose vagaries of temper and wayward follies I had borne with for twelve years, wanted to leave me. I decided it best not to reveal to her ladyship our discovery, that we might still intercept and uncover further schemes with might be afoot.","INT. CASTLE HACKTON - VARIOUS - DAY AND NIGHT A few cuts showing Mother keeping an eye on the Countess. RODERICK -LRB- V.O. -RRB- Yet I was bound to be on my guard that she should not give me the slip. Had she left me, I was ruined the next day. I set my mother to keep sharp watch over the moods of her ladyship, and you may be sure that her assistance and surveillance were invaluable to me. If I had paid twenty spies to watch her lady, I should not have been half so well served as by the disinterested care and watchfulness of my excellent mother.","EXT. CASTLE HACKTON - GARDENS - DAY Roderick walking with the Countess. RODERICK -LRB- V.O. -RRB- My Lady Cosgrove's relationship with me was a singular one. Her life was passed in a series of crack - brained sort of alternation between love and hatred for me. We would quarrel for a fortnight, then we should be friends for a month together sometimes. One day, I was joking her, and asking her whether she would take the water again, whether she had found another lover, and so forth. She suddenly burst out into tears, and, after a while, said to me : COUNTESS Roderick, you know well enough that I have never loved but you! Was I ever so wretched that a kind word from you did not make me happy? Ever so angry, but the least offer of good - will on your part did not bring me to your side? Did I not give a sufficient proof of my affection for you in bestowing one of the finest fortunes of England upon you? Have I repined or rebuked you for the way you have wasted it? No, I loved you too much and too fondly ; I have always loved you. From the first moment I saw you, I saw your bad qualities, and trembled at your violence ; but I could not help loving you. I married you, though I knew I was sealing my own fate in doing so, and in spite of reason and duty. What sacrifice do you want from me? I am ready to make any, so you will but love me, or, if not, that at least, you will gently us me. Roderick kisses her. RODERICK -LRB- V.O. -RRB- I was in a particularly good humor that day, and we had a sort of reconciliation.","INT. CASTLE HACKTON - NIGHT Roderick and his mother. MOTHER Depend on it, artful hussy has some other scheme in her head now. RODERICK -LRB- V.O. -RRB- The old lady was right, and I swallowed the bait which her ladyship had prepared to entrap me as simply as any gudgeon takes a hook.","EXT. CASTLE HACKTON - DAY Arrival of Mr. Newcombe, the money - broker. RODERICK -LRB- V.O. -RRB- I had hired a money - broker especially to find some means of my making a loan. After several months without success, it was with some considerable interest that I received his visit.","INT. RODERICK'S STUDY - DAY Roderick and the money - broker, Mr. Newcombe. NEWCOMBE I have good news for you, Mr. Cosgrove. The firm of Bracegirdle and Chatwick, in the city of London, are prepared to lend you 20,000 pounds, pledged against your interest in the Edric mines. They will redeem the encumbrances against the property, which amount to some 10,000 pounds, and take a twenty - year working lease on the mines. They will lend you the 20,000 pounds against the lease income, which they will apply to the loan as it comes in, and they will make a charge of 18 % per annum interest on the outstanding loan balance. RODERICK Mr. Newcombe, I have made some difficult loans during the past few years, at very onerous terms, but 18 % a year interest seems very stiff indeed. NEWCOMBE Considering your financial circumstances, Mr. Cosgrove, it has been impossible to find anyone at all prepared to do any business with you. I think you may count yourself lucky to have this opportunity. But, obviously, if you would reject this offer, I shall keep trying to find a better one. RODERICK -LRB- after a pause. -RRB- I am prepared to accept the terms, Mr. Newcombe. NEWCOMBE There are a few other points we should discuss. The loan agreement can only be executed by her ladyship's signature, and provided that Bracegirdle and Chatwick can be assured of her ladyship's freewill in giving her signature. RODERICK Provided that they can be assured of her ladyship's freewill? Are you serious? NEWCOMBE May I be quite frank with you? RODERICK Yes, of course. NEWCOMBE Mister Bracegirdle said to me that he had heard her ladyship lives in some fear of her life, and meditated a separation, in which case, she might later repudiate any documents signed by herself while in durance, and subject them, at any rate, to a doubtful and expensive litigation. They were quite insistent on this point, and said they must have absolute assurance of her ladyship's perfect freewill in the transaction before they would advance a shilling of their capital. RODERICK I see. NEWCOMBE When I asked them in what form they would accept her ladyship's assurances, they said that they were only prepared to accept them if her ladyship confirms her written consent by word of mouth, in their presence, at their counting - house in Birchin Lane, London. I requested they come here, and save her ladyship and yourself the inconvenience of the trip to London, but they declined, saying that they did not wish to incur the risk of a visit to Castle Hackton to negotiate, as they were aware of how other respectable parties, such as Messrs. Sharp and Salomon had been treated here.","INT. CASTLE HACKTON - DAY Roderick and his mother. MOTHER Depend on it, there is some artifice. When once you get into that wicked town, you are not safe. There are scores of writs out against you for debt. If you are taken in London, and thrown into prison, your case is hopeless. RODERICK Mother dear, we are now living off our own beef and mutton. We have to watch Lady Cosgrove within and the bailiffs without. There are certain situations in which people can not dictate their own terms ; and faith, we are so pressed now for money, that I would sign a bond with old Nick himself, if he would provide a good round sum. With this money, we can settle our principal debts and make a fresh start. MOTHER Roderick, you must listen to me. As soon as they have you in London, they will get the better of my poor innocent lad ; and the first thing that I shall hear of you will be that you are in trouble. You will be a victim of your own generous and confiding nature.","INT. CASTLE HACKTON - COUNTESS' BEDROOM Roderick and the Countess. COUNTESS Why go, Roderick? I am happy here, as long as you are kind to me, as you now are. We ca n't appear in London as we ought ; the little money you will get will be spent, like all the rest has been. Let us stay here and be content. She takes his hand and kisses it.","INT. CASTLE HACKTON - DAY Mother and Roderick. MOTHER Humph! I believe she is at the bottom of it - the wicked schemer.","EXT. COUNTRY ROAD - DAY Roderick's carriage moving along. RODERICK -LRB- V.O. -RRB- We did not start in state, you may be sure. We did not let the country know we were going, or leave notice of adieu with our neighbors. The famous Mr. James Cosgrove and his noble wife traveled in a hack - chaise and pair.","INT. COACH - DAY The Countess lays her head on Roderick's shoulder and smiles. RODERICK -LRB- V.O. -RRB- When a man is going to the devil, how easy and pleasant a journey it is! The thought of the money quite put me in a good humor, and my wife, as she lay on my shoulder in the post - chaise, going to London, said it was the happiest ride she had taken since our marriage.","EXT. INN - DUSK The carriage stops and they disembark. RODERICK -LRB- V.O. -RRB- One night we stayed at Reading.","INT. INN - NIGHT Roderick and his wife at dinner. RODERICK -LRB- V.O. -RRB- My lady and I agreed that, with the money, we would go to France, and wait there for better times, and that night, over our supper, formed a score of plans both for pleasure and retrenchment. You would have thought it was Darby and Joan together over their supper.","INT. BEDROOM - NIGHT Roderick and his wife making love. RODERICK -LRB- V.O. -RRB- O woman! Woman! When I recollect Lady Cosgrove's smiles and blandishments, how happy she seemed to be on that night! What an air of innocent confidence appeared in her behavior, and what affectionate names she called me! I am lost in wonder at the depth of her hypocrisy. Who can be surprised that an unsuspecting person like myself should have been a victim to such a consummate deceiver?","EXT. GRAY'S INN OFFICE - DAY The coach drives up. RODERICK -LRB- V.O. -RRB- We were in London at three o'clock, an half - an - hour before the time appointed.","INT. STAIRCASE - DAY Roderick and the Countess looking for the office. RODERICK -LRB- V.O. -RRB- I easily found out Mr. Tapewell's apartment : a gloomy den it was, and in an unlucky hour, I entered it. They climb up dirty backstairs, lit by a feeble lamp, and the dim sky of a dismal London afternoon. The Countess seems agitated and faint. When they get to the door, she stops in front of it. COUNTESS Roderick - do n't go in. I am sure there is danger. There's time yet, let us go back - anywhere! The Countess has put herself before the door in a theatrical attitude and takes Roderick's hand. He pushes her away to one side. RODERICK Lady Cosgrove, you are an old fool. COUNTESS Old fool! She jumps at the bell, which is quickly answered by a moldy - looking gentleman in an unpowered wig. COUNTESS Say Lady Cosgrove is here! She stalks down the passage, muttering : `` Old Fool.''","INT. MR. TAPEWELL'S OFFICE - DAY Tapewell is in his musty room, surrounded by his parchments and tin boxes. He advances and bows, begs her ladyship to be seated, and points towards a chair for Roderick, which he takes, rather wondering at the lawyer's insolence. The lawyer retreats to a side - door, saying he will be back in a moment. In the next moment, he reenters, bringing with him another layer, six constables in red waist - coats, with bludgeons and pistols, and Lord Brookside. Lady Cosgrove flings herself into the arms of her son, crying and whimpering and calling him her savior, her preserver, her gallant knight. Then, turning to Roderick, she pours out a flood of invective which quite astonishes him. COUNTESS Oh fool as I am, I have outwitted the most crafty and treacherous monster under the sun. Yes, I was a fool when I married you, and gave up other and nobler hearts for your sake - yes, I was a fool when I forgot my name and lineage to unite myself with a base - born adventurer - a fool to bear, without repining, the most monstrous tyranny that ever woman suffered ; to allow my property to be squandered ; to see women as base and low - born as yourself. TAPEWELL For heaven's sake, be calm. Tapewell bounds back behind the constables, seeing a threatening look in Roderick's eye. The Countess continues in a strain of incoherent fury, screaming against Roderick, and against his mother, and always beginning and ending the sentence with the word `` fool.'' RODERICK You did n't tell all, my lady - I said `` old'' fool. BROOKSIDE I have no doubt that you said and did, sir, everything that a blackguard could say or do. This lady is now safe under the protection of her relations and the law, and need fear your infamous persecutions no longer. RODERICK But you are not safe, and as sure as I am a man of honor, I will have your heart's blood. TAPEWELL Take down his words, constables ; swear the peace against him. BROOKSIDE I would not sully my sword with the blood of such a ruffian. If the scoundrel remains in London another day, he will be seized as a common swindler. RODERICK Where's the man who will seize me? He draws his sword, placing his back to the door. RODERICK Let the scoundrel come! You - you cowardly braggart, come first, if you have the soul of a man! The Countess and the bailiffs move away. TAPEWELL We are not going to seize you! My dear sir, we do n't wish to seize you ; we will give you a handsome sum to leave the country, only leave her ladyship in peace. BROOKSIDE And the country will be rid of such a villain. As Brookside says this, he backs into the next room. The lawyer follows him, leaving Roderick alone in the company of the constables who are all armed to the teeth. RODERICK -LRB- V.O. -RRB- I was no longer the man I was at twenty, when I should have charged the ruffians, sword in hand, and sent at least one of them to his account. I was broken in spirit, regularly caught in the toils, utterly baffled and beaten by that woman. Was she relenting at the door, when she paused and begged me to turn back? Had she not a lingering love for me still? Her conduct showed it, as I came to reflect on it. It was my only chance now left in the world, so I put down my sword upon the lawyers desk. Roderick puts his sword down on the lawyer's desk. RODERICK Gentlemen, I shall have no violence ; you may tell Mr. Tapewell I am quite ready to speak with him when he is at leisure. Roderick sits down and folds his arms quite peaceably.","EXT. COFFEE HOUSE - NEAR GRAY'S INN - DAY","INT. RODERICK'S ROOM IN COFFEE HOUSE - DAY RODERICK -LRB- V.O. -RRB- I was instructed to take a lodging for the night in a coffee house near Gray's Inn, and anxiously expected a visit from Mr. Tapewell. Tapewell talking to Roderick. TAPEWELL I have been authorized by Lady Cosgrove and her advisors to pay you an annuity of 300 pounds a year, specifically on the condition of you remaining abroad out of the three kingdoms, and to be stopped on the instant of your return. I advise you to accept it without delay for you know, as well as I do, that your stay in London will infallibly plunge you in gaol, as there are innumerable writs taken out against you here and in the west of England, and that your credit is so blown upon that you could not hope to raise a shilling. I will leave you the night to consider this proposal, but if you refuse, the family will proceed against you in London, and have you arrested. If you accede, a quarter salary will be paid to you at any foreign port you should prefer. RODERICK Mr. Tapewell, I do not require a night to consider this proposal. What other choice has a poor, lonely and broken - hearted man? I shall take the annuity, and leave the country. MR. TAPEWELL I am very glad to hear that you have come to this decision, Mr. Cosgrove. I think you are very wise. There is a knock at the door and Roderick opens it. Brookside enters with four constables armed with pistols. The dialogue for this scene has to be written. Brookside has gone against the bargain, and has decided to have Roderick arrested upon one of the many writs out against him for debt. Mr. Tapewell is surprised and complains weakly that Brookside is acting in bad faith. Brookside brushes aside his objections. Roderick is defeated, and meekly sits down in a chair. The following lines are read over Roderick being shackled and led out of the room. NARRATOR Mr. James Cosgrove's personal narrative finishes here, for the hand of death interrupted the ingenious author soon after the period which this memoir was compiled, after he had lived nineteen years an inmate of the Fleet Prison, where the prison records state he died of delirium tremens.","EXT. FLEET PRISON - DAY His mother, now very old and hobbled with arthritis, enters the prison, carrying a basket on her arm. NARRATOR His faithful old mother joined him in his lonely exile, and had a bedroom in Fleet Market over the way. She would come and stay the whole day with him in prison working.","INT. CASTLE HACKTON - COUNTESS' STUDY Signing a payment draft, the Countess sighs and gazes out of the large window. NARRATOR The Countess was never out of love with her husband, and, as long as she lived, James enjoyed his income of 300 pounds per year and was, perhaps, as happy in prison, as at any period of his existence.","INT. CASTLE HACKTON - STUDY - DAY Brookside tearing up the payment draft presented to him by his accountant. NARRATOR When her ladyship died, her son sternly cut off the annuity, devoting the sum to charities, which, he said, would make a nobler use of it than the scoundrel who had enjoyed it hitherto.","INT. FLEET PRISON - DAY Roderick, now grey - haired, blacking boots. NARRATOR When the famous character lost his income, his spirit entirely failed. He was removed into the pauper's ward, where he was known to black boots for wealthier prisoners, and where he was detected in stealing a tobacco box.","INT. FLEET PRISON - DAY Roderick and his mother. Action as per voice over. NARRATOR His mother attained a prodigious old age, and the inhabitants of the place in her time can record, with accuracy, the daily disputes which used to take place between mother and son, until the latter, from habits of intoxication, falling into a state of almost imbecility, was tended by his tough old parent as a baby almost, and would cry if deprived of his necessary glass of brandy. TITLE CARD It was in the reign of George III that the above - named personages lived and quarreled ; good or bad, handsome or ugly, rich or poor, they are all equal now. FADE OUT. THE END"],"string":"[\n \"EXT. PARK - DAY Brief shot of duel. RODERICK -LRB- V.O. -RRB- My father, who was well - known to the best circles in this kingdom under the name of roaring Harry James, was killed in a duel, when I was fifteen years old.\",\n \"EXT. GARDEN - DAY Mrs. James, talking with a suitor ; Roderick, at a distance. RODERICK -LRB- V.O. -RRB- My mother, after her husband's death, and her retirement, lived in such a way as to defy slander. She refused all offers of marriage, declaring that she lived now for her son only, and for the memory of her departed saint.\",\n \"EXT. STREET - DAY Mother and son walking together. RODERICK -LRB- V.O. -RRB- My mother was the most beautiful women of her day. But if she was proud of her beauty, to do her justice, she was still more proud of her son, and has said a thousand times to me that I was the handsomest fellow in the world.\",\n \"EXT. CHURCH - DAY Mother and son entering church. RODERICK -LRB- V.O. -RRB- The good soul's pleasure was to dress me ; and on Sundays and Holidays, I turned out in a velvet coat with a silver - hilted sword by my side, and a gold garter at my knee as fine as any lord in the land. As we walked to church on Sundays, even the most envious souls would allow that there was not a prettier pair in the kingdom.\",\n \"EXT. FIELD - DAY A picnic. The Dugan family. Roderick. RODERICK -LRB- V.O. -RRB- My uncle's family consisted of ten children, and one of them was the cause of all my early troubles ; this was the belle of the family, my cousin, Miss Dorothy Dugan, by name.\",\n \"EXT. DUGAN MANOR HOUSE - DAY A sprawling run - down Irish manor house with large garden, stables, barn and farm. Idealized images of Dorothy. RODERICK -LRB- V.O. -RRB- Ah! That first affair, how well one remembers it! What a noble discovery it is that the boy makes when he finds himself actually and truly in love with some one! A lady who is skilled in dancing or singing never can perfect herself without a deal of study in private. So it is with the dear creatures who are skilled in coquetting. Dorothy, for instance, was always practicing, and she would take poor me to rehearse her accomplishments upon. Dorothy talking with the exciseman. RODERICK -LRB- V.O. -RRB- or the exciseman, when he came his rounds. Dorothy talking to the steward. RODERICK -LRB- V.O. -RRB- or the steward. Dorothy sitting under a tree with the curate, reading a book. RODERICK -LRB- V.O. -RRB- or the poor curate. Dorothy talking to the apothecary's lad. RODERICK -LRB- V.O. -RRB- or the young apothecary's lad from Dugan's Town whom I recollect beating once for that very reason. Roderick, fighting with apothecary's lad. RODERICK -LRB- V.O. -RRB- The torments of jealousy she made me endure were horrible.\",\n \"EXT. FIELD - DAY Dorothy, like a greyhound released from days of confinement, and given the freedom of the fields at last, runs at top - speed, left and right, back and forth, returning every moment to Roderick. She runs and runs until she is out of breath, and then laughs at the astonishment which keeps Roderick motionless and staring at her. After catching her breath, and wiping her forehead, she challenges Roderick to a race. RODERICK I accept, but I insist on a wager. The loser must do whatever the winner pleases. DOROTHY Agreed. RODERICK Do you see the gate at the end of the field? The first to touch it will be the winner. They line up together and start on a count of three. Dorothy uses all her strength, but Roderick holds back, and Dorothy touches the gate five or six paces ahead of him. RODERICK -LRB- V.O. -RRB- I was certain to win, but I meant to lose to see what she would order me to do. Dorothy catches her breath, thinking of the penalty. Then she goes behind the trees and, a few second later, comes out and says : DOROTHY Your penalty is to find a cherry - colored ribbon which I have hidden somewhere on my person. You are free to look for it anywhere you will, and I will think very little of you if you do not find it. They sit down on the grass. Roderick searches her pockets, the fold of her short bodice and her skirt, then her shoes ; then he turns up her skirt, slowly and circumspectly, as high as her garters, which she wears upon the knee. He unfastens them and finds nothing ; he draws down her skirt and gropes under her armpits. The tickling makes her laugh. RODERICK I feel the ribbon. DOROTHY Then you must get it. Roderick has to unlace her bodice and touch her pretty breasts, over which his hand must pass to reach it. DOROTHY Why are you shaking? RODERICK With pleasure at finding the ribbon.\",\n \"EXT. FIELD - DAY Military review. One hundred English troops, a few mounted officers, a small military band, fifty local people. The Dugan family, Roderick and his mother, Captains Best and Grogan. Roderick admires the troops in their splendid uniforms. RODERICK -LRB- V.O. -RRB- About this time, the United Kingdom was in a state of great excitement from the threat generally credited of a French invasion. The noblemen and people of condition in that and all other parts of the kingdom showed their loyalty by raising regiments of horse and foot to resist the invaders. How I envied them. The whole country was alive with war's alarums ; the three kingdoms ringing with military music, while poor I was obliged to stay at home in my fustian jacket and sigh for fame in secret.\",\n \"INT. BALLROOM AT FENCIBLES - NIGHT Dorothy and Roderick entering. RODERICK -LRB- V.O. -RRB- Once, the officers of the Kilwangen regiment gave a grand ball to which Dorothy persuaded my to take her. Several cuts depicting the evening. Dorothy ignores Roderick ; dances, chats, laughs, drinks punch, and finally, strolls outside with Captain Best. Roderick makes a half - hearted try at dancing with Miss Clancy. RODERICK -LRB- V.O. -RRB- I have endured torments in my life, but none like that. Some of the prettiest girls there offered to console me, for I was the best dancer in the room, but I was too wretched, and so remained alone all night in a state of agony. I did not care for drink, or know the dreadful comfort of it in those days ; but I thought of killing myself and Dorothy, and most certainly of making away with Captain Best.\",\n \"EXT. FENCIBLES BALLROOM - DAWN The guests leaving and saying their goodbyes. RODERICK -LRB- V.O. -RRB- At last, and at morning, the ball was over.\",\n \"EXT. ROAD - DAWN Dorothy and Roderick on horseback together. DOROTHY Sure it's a bitter night, Roderick dear, and you'll catch cold without a handkerchief to your neck. To this sympathetic remark, from the pillion, the saddle made no reply. DOROTHY Did you and Miss Clancy have a pleasant evening, Roderick? You were together, I saw, all night. To this, the saddle only replies by grinding his teeth, and giving a lash to Daisy. DOROTHY Oh! Mercy, you make Daisy rear and throw me, you careless creature, you. The pillion had by this got her arm around the saddle's waist, and gave it the gentlest squeeze in the world. RODERICK I hate Miss Clancy, you know I do! And I only danced with her because - because - the person with whom I intended to dance chose to be engaged the whole night. DOROTHY I had not been in the room five minutes before I was engaged for every single set. RODERICK Were you obliged to dance five times with Captain Best, and then stroll out with him into the garden? DOROTHY I do n't care a fig for Captain Best ; he dances prettily to be sure, and is a pleasant rattle of a man. He looks well in his regimentals, too ; and if he chose to ask me to dance, how could I refuse him? RODERICK But you refused me, Dorothy. DOROTHY Oh! I can dance with you any day, and to dance with your own cousin at a ball as if you could find no other partner. Besides, Roderick, Captain Best's a man, and you are only a boy, and you have n't a guinea in the world. RODERICK If ever I meet him again, you shall see which is the best man of the two. I'll fight him with sword or with pistol, captain as he is. DOROTHY But Captain Best is already known as a valiant soldier, and is famous as a man of fashion in London. It is mighty well of you to fight farmers' boys, but to fight an Englishman is a very different matter. Roderick falls silent.\",\n \"EXT. SMALL BRIDGE OVER A STREAM - DAWN They come to an old, high bridge, over a stream, sufficiently deep and rocky. DOROTHY Suppose, now, Roderick, you, who are such a hero, was passing over the bridge and the enemy on the other side. RODERICK I'd draw my sword, and cut my way through them. DOROTHY What, with me on the pillion? Would you kill poor me? RODERICK Well, then, I'll tell you what I'd do. I'd jump Daisy into the river, and swim you both across, where no enemy could follow us. DOROTHY Jump twenty feet! You would n't dare to do any such thing on Daisy. There's the captain's horse, Black George, I've heard say that Captain Bes - She never finished the word for, maddened by the continual recurrence of that odious monosyllable, Roderick shouts : RODERICK Hold tight to my waist! And, giving Daisy the spur, springs with Dorothy over the parapet, into the deeper water below. The horse's head sinks under, the girl screams as she sinks, and screams as she rises. Roderick lands her, half - fainting, on the shore.\",\n \"INT. MOTHER'S HOUSE - BEDROOM - DAY Various cuts showing illness and convalescence. Roderick feverish : the doctor taking his pulse. Mother brings a tray of food. RODERICK -LRB- V.O. -RRB- I went home, and was ill speedily of a fever, which kept me to my bed for a week. Dorothy visiting him. RODERICK -LRB- V.O. -RRB- Dorothy visited me only once, but I quitted my couch still more violently in love than I had been ever before.\",\n \"EXT. DUGAN MANOR HOUSE - DAY The air is fresh and bright, and the birds sing loud amidst the green trees. Roderick is elated, and springs down the road, as brisk as a young fawn. He encounters an orderly whistling `` Roast Beef of Old England,'' as he cleans down a cavalry horse. RODERICK Whose horse, fellow, is that? ORDERLY Feller, indeed! The horse belongs to my captain, and he's a better fellow nor you any day. RODERICK -LRB- V.O. -RRB- I did not stop to break his bones, as I would on another occasion, for a horrible suspicion had come across me, and I made for the garden as quickly as I could. Roderick see Captain Best and Dorothy pacing the path together. Her arm is under his, and he is fondling and squeezing her little hand which lies closely nestling against his arm. Some distance beyond them is Captain Grogan, who is paying court to Dorothy's sister, Mysie. RODERICK -LRB- V.O. -RRB- The fact is that, during the week of my illness, no other than Captain Best was staying at Castle Dugan, and making love to Miss Dorothy in form. CAPTAIN BEST No, Dorothy, except for you and four others, I vow before all the gods, my heart had never felt the soft flame. DOROTHY Ah, you men, you men, John, your passion is not equal to ours. We are like - like some plant I've read of - we bear but one flower, and then we die! CAPTAIN BEST Do you mean you never felt an inclination for another? DOROTHY Never, my John, but for thee! How can you ask me such a question? Raising her hand to his lips. CAPTAIN BEST Darling Dorothea! Roderick rushes into view, drawing his little sword. RODERICK -LRB- V.O. -RRB- I pulled out a knot of cherry - colored ribbons, which she had given me out of her breast, and which somehow I always wore upon me, and flung them in Captain Best's face, and rushed out with my little sword drawn. RODERICK She's a liar - she's a liar, Captain Best! Draw, sir, and defend yourself, if you are a man! Roderick leaps at Captain Best, and collars him, while Dorothy makes the air echo with her screams. Captain Grogan and Mysie hasten up. Though Roderick is a full growth of six feet, he is small by the side of the enormous English captain. Best turns very red at the attack upon him, and slips back clutching at his sword. Dorothy, in an agony of terror, flings herself round him, screaming : DOROTHY Captain Best, for Heaven's sake, spare the child - he is but an infant. CAPTAIN BEST And ought to be whipped for his impudence, but never fear, Miss Dugan, I shall not touch him, your favorite is safe from me. So saying, he stoops down and picks up the bunch of ribbons, which Roderick had flung at Dorothy's feet, and handing it to her, says in a sarcastic tone : CAPTAIN BEST When ladies make presents to gentlemen, it is time for other gentlemen to retire. DOROTHY Good heavens, Best! He is but a boy and do n't signify any more than my parrot or lap - dog. May n't I give a bit of ribbon to my own cousin? RODERICK -LRB- roaring. -RRB- I'm a man, and will prove it. CAPTAIN BEST You are perfectly welcome, miss, as many yards as you like. DOROTHY Monster! Your father was a tailor, and you are always thinking of the shop. But I'll have my revenge, I will! Roddy, will you see me insulted? RODERICK Indeed, Miss Dorothy, I intend to have his blood as sure as my name's Roderick. CAPTAIN BEST I'll send for the usher to cane you, little boy, but as for you, miss, I have the honor to wish you a good day. Best takes off his hat with much ceremony, and makes a low bow, and is just walking off, when Michael, Roderick's cousin, comes up, whose ear has likewise been caught by the scream. MICHAEL Hoity - toity! John Best, what's the matter here? CAPTAIN BEST I'll tell you what it is, Mr. Dugan. I have had enough of Miss Dugan here and your Irish ways. I ai n't used to'em, sir. MICHAEL -LRB- good - humoredly. -RRB- Well, well! What is it? We'll make you used to our ways, or adopt English ones. CAPTAIN BEST It's not the English way, for ladies to have two lovers, and, so, Mr. Dugan, I'll thank you to pay me the sum you owe me, and I resign all claims to this young lady. If she has a fancy for school - boys, let her take'em, sir. MICHAEL Pooh! Pooh! Best, you are joking. CAPTAIN BEST I never was more in earnest. Best exits. MICHAEL -LRB- in a towering rage. -RRB- You - you! Hang you for a meddling brat, your hand is in everybody's pie. What business had you to come brawling and quarreling here, with a gentleman who has fifteen hundred a - year? Michael runs after Best. DOROTHY -LRB- gasps. -RRB- Oh, I shall die ; I know I shall. I shall never leave this spot. CAPTAIN GROGAN -LRB- whisper to Dorothy. -RRB- The Captain is gone. Dorothy, giving him an indignant look, jumps up and walks towards the house. CAPTAIN GROGAN -LRB- in a soothing tone to Roderick. -RRB- This is a pretty way to recommend yourself to the family. RODERICK -LRB- shouts after Michael. -RRB- The man that marries Dorothy Dugan must first kill me - do you mind that? MICHAEL -LRB- shouting back from a distance. -RRB- Pooh, sir. Kill you - flog you, you mean! I'll send for Nick the huntsman to do it. CAPTAIN GROGAN You are a gallant lad, and I like your spirit. But what Dugan says is true. It's a hard thing to give a lad counsel who is in such a far - gone state as you ; but, believe me, I know the world, and if you will but follow my advice, you wo n't regret having taken it. Dorothy Dugan has not a penny ; you are not a whit richer. And, my poor boy, do n't you see - though it's a hard matter to see - that she's a flirt, and does not care a pin for you or Best either? RODERICK Dorothy might love me or not, as she likes, but Best will have to fight me before he marries her! CAPTAIN GROGAN Faith, I think you are a lad that's likely to keep your word. He looks hard at Roderick for a second to two, then he walks away, humming a tune, looking back at Roderick as he goes through the old gate out of the garden. When Grogan is gone, Roderick is quite alone, and he flings himself down on the bench where Dorothy had made believe to faint, and had left her handkerchief and the ribbons and, taking them up, hides his face in them, and bursts into a passion of tears. RODERICK -LRB- V.O. -RRB- I must have sat for some hours bemoaning myself on the garden - bench, for the dinner - bell clanged as usual at three o'clock, which wakened me from my reverie.\",\n \"EXT. DUGAN MANOR HOUSE - DAY As Roderick passes the courtyard, he sees the Captain's saddle still hanging up at the stable - door, and his odious red - coated brute of a servant, swaggering with the scullion - girls and kitchen people. MAID The Englishman's still there, Master Roderick. He's there in the parlor. Go in, and do n't let ` im browbeat you, Master Roderick.\",\n \"INT. DUGAN MANOR HOUSE - DINING ROOM - DAY Roderick enters and takes his place at the bottom of the big table ; the butler speedily brings him a cover. UNCLE Hello, Roddy, my boy! Up and well? That's right. AUNT He'd better be home with his mother. UNCLE Do n't mind her. It's the cold goose she ate for breakfast - did n't agree with her. Take a glass of spirits, Mrs. Dugan, to Roderick's health. It is evident that his uncle does n't know of what happened, but Michael, who is at dinner too, and Harry, and almost all the girls, look exceedingly black and the captain foolish ; and Miss Dorothy, who is again by his side, ready to cry. Captain Grogan sits smiling, and Roderick looks on as cold as stone. His uncle is in high good - humor. UNCLE Dorothy, divide that merry thought with the captain! See who'll be married first. Jack Best, my dear boy, never mind a clean glass for the claret, we're short of crystal at Castle Dugan ; take Dorothy's and the wine will taste none the worse. Mrs. Dugan and ladies, if you please ; this is a sort of toast that is drunk a great deal too seldom in my family, and you'll please to receive it with all the honors. Here's to Captain and Mrs. John Best, and long life to them. Kiss her, Jack, you rogue ; for faith, you've got a treasure. RODERICK -LRB- spring up. -RRB- His already?! HARRY Hold your tongue, you fool - hold your tongue! RODERICK -LRB- shouting. -RRB- He has already been slapped in the face this morning, Captain John Best ; he's already been called a coward, Captain John Best ; and this is the way I'll drink his health. Here's your health, Captain John Best. Roderick flings a glass of claret into his face. The next moment, he is under the table, tripped up by Harry, who hits him a violent cuff on the head ; as he goes down, he hardly has time to hear the general screaming and scurrying that is taking place above him, being so fully occupied with kicks, and thumps and curses, with which Harry is belaboring him. HARRY You fool! You great blundering marplot - you silly beggarly brat -. -LRB- a thump at each. -RRB- Hold your tongue! When Roderick gets up from under the table, the ladies are all gone ; but he has the satisfaction of seeing the captain's nose is bleeding, as his is - Best is cut across the bridge, and his beauty spoiled forever. UNCLE In Heaven's name, what does all the row mean? Is the boy in fever again? HARRY -LRB- turning to his father. -RRB- The fact is, sir, that the young monkey has fallen in love with Dorothy, and finding her and the captain mighty sweet in the garden today, he was for murdering Jack Best. CAPTAIN BEST -LRB- bristling up. -RRB- And, I'll tell you what, Mr. Dugan, I've been insulted grossly in this house. I ai n't at all satisfied with these here ways of going on. I'm an Englishman, I am, and a man of property ; and I - I - HARRY If you're insulted, and not satisfied, remember there's two of us, Best. On which, the captain falls to washing his nose in water, and answering never a word. RODERICK -LRB- in dignified tone. -RRB- Mr. Best may also have satisfaction any time he pleases, by calling on Roderick James, Esquire, of Jamesville. His uncle bursts out laughing, and in this laugh, Captain Grogan joins. RODERICK Captain Grogan, I beg you to understand that, for my cousin Harry, who has been my best friend through life, I could put up with rough treatment from him ; yet, even that sort of treatment I will bear from him no longer ; and any other person who ventures on the like will not like the cost. Mr. Best knows that fact very well ; and, if he's man, he'll know where to find me. UNCLE It is getting late, and your mother will be anxious about you. One of you had better go home with him. -LRB- turning to his sons. -RRB- Or the lad may be playing more pranks. HARRY Both of us ride home with Best here. CAPTAIN BEST I'm not afraid of highwaymen. My man is armed, and so am I. HARRY You know the use of arms very well, Best, and no one can doubt your courage ; but Michael and I will see you home for all that. UNCLE Why, you'll not be home till morning, boys. Kilwangan's a good ten miles from here. HARRY We'll sleep in Best's quarters. We're going to stop a week there. And, in another week, my boy. And here, Harry whispers something in the Captain's ear. CAPTAIN GROGAN I'll go home with the boy.\",\n \"EXT. ROAD - LATE DAY Grogan walks with Roderick. CAPTAIN GROGAN A pretty day's work of it you have made, Master Roderick. Knowing your uncle to be distressed for money, and try and break off a match which will bring fifteen hundred a - year into the family? Best has promised to pay off the four thousand pounds which is bothering your uncle so. He takes a girl without a penny - a girl that has been flinging herself at the head of every man in these parts these ten years past, and missing them all, and a boy who ought to be attached to your uncle as to your father. RODERICK And so I am. CAPTAIN GROGAN And this is the return you make for his kindness! Did n't he harbor you in his house when your father died, and has n't he given you and your mother, rent - free, your fine house of Jamesville yonder? RODERICK Mark this, come what will of it, I swear I will fight the man who pretends to the hand of Dorothy Dugan. I'll follow him if it's into the church, and meet him there. I'll have his blood, or he shall have mine. Will you take my message to him, and arrange the meeting? CAPTAIN GROGAN Well, if it must be, it must. For a young fellow, you are the most bloodthirsty I ever saw. No officer, bearing His Majesty's commission, can receive a glass of wine on his nose, without resenting it - fight you must, and Best is a huge, strong fellow. RODERICK He'll give the better mark. I am not afraid of him. CAPTAIN GROGAN In faith, I believe you are not ; for a lad I never saw more game in my life. Give me a kiss, my dear boy. You're after my own soul. As long as Jack Grogan lives, you shall never want a friend or a second. They embrace. RODERICK -LRB- V.O. -RRB- Poor fellow! He was shot six months afterwards, at Minden, and I lost thereby a kind friend. But we do n't know what is in store for us, and that's a blessing.\",\n \"EXT. HOUSE - LATE DAY Mother greeting Roderick and Captain Grogan. RODERICK -LRB- V.O. -RRB- In spite of my precautions to secrecy, I half - suspected that my mother knew all from the manner in which she embraced me on my arrival, and received our guest, Captain Grogan. His mother looks a little anxious and flushed and, every now and then, gazes very hard into the Captain's face. RODERICK -LRB- V.O. -RRB- But she would not say a word about the quarrel, for she had a noble spirit, and would as lief have seen any one of her kindred hanged as shirking from the field of honor.\",\n \"INT. MOTHER'S HOUSE - RODERICK'S BEDROOM - DAY Roderick waking up. RODERICK -LRB- V.O. -RRB- I never slept sounder in my life, though I woke a little earlier than usual, and you may be sure my first thought was of the event of the day, for which I was fully prepared. Roderick at table with paper and ink. RODERICK -LRB- V.O. -RRB- And now I sat down and wrote a couple of letters ; they might be the last, thought I, that I should ever write in my life. See him write : `` Dearest Mother.''\",\n \"INT. MOTHER'S HOUSE - KITCHEN - DAY RODERICK -LRB- V.O. -RRB- Then I went down to breakfast, where my mother was waiting for me, you may be sure. We did not say a single word about what was taking place. Roderick eats his breakfast with a good appetite ; but in helping himself to salt, spills it, on which his mother starts up with a scream. MOTHER Thank God, it's fallen towards me! And then, her heart being too full, she leaves the room. RODERICK -LRB- V.O. -RRB- Ah! They have their faults, those mothers ; but are there any other women like them? There is an elegant, silver - mounted sword that hangs on the mantelpiece under the picture of Roderick's late father. A pair of pistols hang on each side of the picture. Roderick takes down the sword and pistols, which are bright and well - oiled, and collects flints, balls and gunpowder.\",\n \"EXT. MOTHER'S HOUSE - DAY Captain Grogan and Orderly arrive. RODERICK Have you taken my message to him? CAPTAIN GROGAN The meeting is arranged. Captain Best is waiting for you now. RODERICK My mare is saddled and ready ; who's the captain's second? CAPTAIN GROGAN Your cousins go out with him. Roderick and Grogan, and the Orderly ride off. RODERICK -LRB- V.O. -RRB- I did n't take leave of Mrs. James. The curtains of her bedroom - windows were down, and they did n't move as we mounted and trotted off.\",\n \"EXT. COUNTRY ROAD - DAY They ride their horses at a leisurely pace. CAPTAIN GROGAN That's a very handsome sword you have there. RODERICK It was with this sword that my late father, Harry James, God rest his soul, met Sir Huddelstone Fuddelstone, the Hampshire baronet, and was fatally run through the neck. He was quite in the wrong, having insulted Lady Fuddelstone, when in liquor, at the Brentford Assembly. But, like a gentleman, he scorned to apologize. CAPTAIN GROGAN And now you risk the same fate. If you are killed, your mother is all alone in the world. RODERICK I am Harry James' son, and will act as becomes my name and quality.\",\n \"EXT. FOREST CLEARING - DAY Harry, Michael and the Captain are already there. Best, flaming in red regimentals, a big a monster as ever led a grenadier company. The party are laughing together. RODERICK -LRB- to Captain Grogan. -RRB- I hope to spoil this sport, and trust to see this sword of mine in that big bully's body. CAPTAIN GROGAN Oh, it's with pistols we fight. You are no match for Best with the sword. RODERICK I'll match any man with the sword. CAPTAIN GROGAN But swords are today impossible ; Captain Best is - is lame. He knocked his knee against the swinging park gate last night, as he was riding home, and can scarce move it now. RODERICK Not against Castle Dugan gate, that has been off the hinges these ten years. CAPTAIN GROGAN It must have been some other gate. They alight from their horses, and join and salute the other gentlemen. CAPTAIN GROGAN I have just explained to Mister James that Captain Best is lame, and that swords are impossible. HARRY Oh, yes! Dead lame. Harry comes up to shake Roderick by the hand, while Captain Best takes off his hat, and turns extremely red. HARRY And very lucky for you, Roderick, my boy. You were a dead man else, for he is a devil of a fellow - is n't he, Grogan? CAPTAIN GROGAN A regular Turk. I never yet knew the man who stood to Captain Best. HARRY Hang the business. I hate it. I'm ashamed of it. Say you're sorry, Roderick. You can easily say that. CAPTAIN BEST If the young feller will go to Dublin, as proposed. RODERICK I'm not sorry - I'll not apologize - and I'll as soon go to Dublin as to hell! Grogan takes him aside. CAPTAIN GROGAN Look here, Roderick, my boy ; this is silly business. The girl will marry Best, mark my words ; and as sure as she does, you'll forget her. You are but a boy. Best is willing to consider you as such. Dublin's a fine place, and if you have a mind to take a ride thither and see the town for a month, here are twenty guineas at your service. Make Best an apology, and be off. RODERICK A man of honor dies, but never apologizes. I'll see the captain hanged before I apologize. HARRY -LRB- with a laugh to Grogan. -RRB- There's nothing else for it. Take your ground, Grogan - twelve paces, I suppose? CAPTAIN BEST -LRB- in a big voice. -RRB- Ten, sir, and make them short ones, do you hear, Captain Grogan? HARRY Do n't bully, Mr. Best. Here are the pistols. -LRB- with some emotion to Roderick. -RRB- God bless you, my boy ; and when I count three, fire. RODERICK This is not one of my pistols. HARRY They are all right, never fear. It's one of mine. Yours will serve, if they are needed, for the next round. CAPTAIN GROGAN Roderick, fire at his neck - hit him there under the gorget ; see how the fool shows himself open. Michael, who has not spoken a word, Harry, and the Captain retire to one side, and Harry gives the signal. It is slowly given, and Roderick has the leisure to cover his man well. Captain Best changes color and trembles as the numbers are given. At `` three'' both pistols go off. Best gives a most horrible groan, staggers backwards and falls. THE SECONDS -LRB- crying out. -RRB- He's down! He's down! Running towards him, Harry lifts him up - Michael takes his head. MICHAEL He's hit here, in the neck. Laying open his coat, blood is seen gurgling from under his gorget. HARRY How is it with you? The unfortunate man does not answer, but when the support of Harry's arm is withdrawn from his back, groans once more and falls backwards. MICHAEL -LRB- with a scowl. -RRB- The young fellow has begun well. You had better ride off, young sir, before the police are up. They had wind of the business before we left Kilwangan. RODERICK Is he quite dead? MICHAEL Quite dead. CAPTAIN GROGAN Then the world's rid of a coward. It's all over with him, Roddy - he does n't stir. He gives the huge prostrate body a scornful kick with his foot. HARRY We are not cowards, Grogan, whatever he was! Let's get the boy off as quick as we may. Your man shall go for a cart, and take away the body of this unhappy gentleman. This has been a sad day's work for our family, Roderick James, and you have robbed us of fifteen - hundred a - year. RODERICK It was Dorothy did it. Roderick takes the ribbons she gave him out of his waistcoat, and the letter, and flings them down on the body of Captain Best. RODERICK There! Take her those ribbons. She'll know what they mean ; that's all that's left of her of two lovers she had and ruined. MICHAEL And now, in Heaven's name, get the youngster out of the way. HARRY I'll go with you. They mount up and gallop off.\",\n \"EXT. MOTHER'S HOUSE - DAY Upon seeing Roderick and Harry ride up, his mother, who has been waiting outside, rushes to her son with wild screams of joy. He dismounts, and she kisses and embraces him. RODERICK -LRB- V.O. -RRB- I need not tell you how great was my mother's pride and exultation when she heard from Harry's lips the account of my behavior at the duel.\",\n \"INT. MOTHER'S HOUSE - PARLOR - DAY Still much excitement and hustle and bustle. HARRY The boy must go into hiding, for a short time anyway. Dublin is the best place for him to go, and there wait until matters are blown over. MOTHER Dublin? But the poor lad has never been away from home. He will be as safe here as in Dublin. HARRY I wish that were true, Auntie dear, but I'm afraid the bailiffs may already be on their way from Kilwangan.\",\n \"INT. RODERICK'S BEDROOM - DAY His mother is rushing about and packing a valise. Harry sits on the bed. RODERICK -LRB- V.O. -RRB- Harry persisted in the necessity of instant departure, in which argument, as I was anxious to see the world, I must confess, I sided with him ; and my mother was brought to see that, in our small house, in the midst of a village, escape would be impossible, and capture would be impossible to avoid.\",\n \"INT. MOTHER'S BEDROOM - DAY His mother takes out a stocking from her escritoire, and gives Roderick twenty golden guineas. MOTHER -LRB- gravely. -RRB- Roderick, my darling, my wild boy, I have forebodings that our separation is to be a long one. I spent most of all night consulting the cards regarding your fate in the duel, and all signs betoke a separation. Here is twenty guineas - all that I have in the world - and I want you to keep your father's sword and pistols, which you have known to use so like a man.\",\n \"EXT. MOTHER'S HOUSE - DAY Roderick's departure. RODERICK -LRB- V.O. -RRB- She hurried my departure now, though her heart, I know, was full, and almost in half - an - hour from my arrival at home, I was once more on the road again, with the wide world, as it were, before me. Roderick waves. His mother cries.\",\n \"EXT. HIGH ROAD TO DUBLIN - DAY RODERICK -LRB- V.O. -RRB- No lad of seventeen is very sad who has liberty for the first time, and twenty guineas in his pocket ; and I rode away, thinking, I confess, not so much of the kind of mother left alone, and of the home behind me, as of tomorrow, and all the wonders it would bring. Roderick happily riding down the road. RODERICK -LRB- V.O. -RRB- I had no doubts of the future ; thinking that a man of my person, parts, and courage, could make his way anywhere. So I rode on, singing to myself, or chatting with the passersby ; and all the girls along the road said, `` God save me, for a clever gentleman.'' Farm girls in the fields flirting with him. RODERICK -LRB- V.O. -RRB- As for thoughts of Dorothy Dugan, there seemed to be a gap of a half - a - score of years.\",\n \"EXT. ROAD TO DUBLIN - DAY A well - armed gentleman dressed in green, and a gold cord, with a patch on his eye, and riding a powerful mare, puts his horse alongside. ARMED GENTLEMAN Good day to you, young sir. RODERICK Good morning. ARMED GENTLEMAN Where are you bound for? RODERICK -LRB- after a long look at his companion. -RRB- That is none of your business. ARMED GENTLEMAN Is your mother not afraid on account of the highwayman to let one so young as you travel? RODERICK -LRB- pulling out a pistol. -RRB- Not at all, sir. I have a pair of good pistols that have already done execution, and are ready to do it again. At this, a pock - marked man coming up, the well - armed gentleman spurs into his bay mare, and leaves Roderick.\",\n \"EXT. ROAD TO DUBLIN - DAY RODERICK -LRB- V.O. -RRB- A little later on, as I rode towards Kilcullen, I saw a crowd of peasant people assembled round a one - horse chair, and my friend in green, as I thought, making off half - a - mile up the hill. A footman howls, at the top of his voice. FOOTMAN Stop thief! But the country fellows only laugh at his distress, and make all sorts of jokes at the adventure which had just befallen. COUNTRY FELLOW #1 Sure, you might have kept him off with your blunderbush! COUNTRY FELLOW #2 O the coward! To let the Captain bate you, and he only one eye! COUNTRY FELLOW #3 The next time my lady travels, she'd better leave you at home! RODERICK What is this noise, fellows? Roderick rides up amongst them, and seeing the lady in the carriage, very pale and frightened, gives a slash of his whip, and bids the red - shanked ruffians keep off. Pulling off his hat, and bringing his mare up in a prance to the chair - window. RODERICK What has happened, madam, to annoy your ladyship? MRS. O'REILLY Oh, I am grateful to you, sir. I am the wife of Captain O'Reilly hastening to join him at Dublin. My chair was stopped by a highwayman ; this great oaf of a servant - man fell down on his knees, armed as he was, and though there were thirty people in the next field, working, when the ruffian attacked, not one of them would help but, on the contrary, wished him `` good luck.'' COUNTRY FELLOW #1 Sure, he's the friend of the poor, and good luck to him. COUNTRY FELLOW #2 Was it any business of ours? RODERICK -LRB- shouting. -RRB- Be off to your work, you pack of rascals, or you will have a good taste of my thong. -LRB- to Mrs. O'Reilly. -RRB- Have you lost much? MRS. O'REILLY Everything - my purse, containing upwards of a hundred guineas, my jewels, my snuff - boxes, watches. And all because this blundering coward fell to his knees. FOOTMAN Be fair, ma'am, them was n't so much. Did n't he return you the thirteen pence in copper, and the watch, saying it was only pinchbeck? MRS. O'REILLY Do n't be insolent, or I'll report you to the Captain. FOOTMAN Sorry, ma'am. He shuffles a few steps away and frowns in the direction that the Captain has vanished. MRS. O'REILLY That fool did n't know what was the meaning of a hundred - pound bill, which was in the pocket - book that the fellow took from me. RODERICK I am riding to Dublin myself, and if your ladyship will allow me the honor of riding with you, I shall do my best to protect you from further mishap. MRS. O'REILLY But I should n't like to put you to such trouble, Mister? RODERICK O'Higgins. Mohawk O'Higgins.\",\n \"EXT. ROADSIDE INN - DAY They stop at the inn. RODERICK -LRB- very gallantly. -RRB- As you have been robbed of your purse, may I have permission to lend your ladyship a couple of pieces to pay any expenses which you might incur before reaching your home? MRS. O'REILLY -LRB- smiling. -RRB- That's very kind of you, Mr. O'Higgins. He gives her two gold pieces.\",\n \"INT. INN - DAY Roderick and Mrs. O'Reilly finishing their meal. We will hear dialogue underneath Roderick's voice over. RODERICK -LRB- V.O. -RRB- How different was her lively rattle to the vulgar wenches at Kilwangan assemblies. In every sentence, she mentioned a lord or a person of quality. To the lady's question about my birth and parentage, I replied that I was a young gentleman of large fortune, that I was going to Dublin for my studies, and that my mother allowed me five hundred per annum. MRS. O'REILLY You must be very cautious with regard to the company you should meet in Dublin, where rogues and adventurers of all countries abound. I hope you will do me the honor of accepting lodgings in my own house, where Captain O'Reilly will welcome with delight, my gallant young preserver. Paying the bill. RODERICK -LRB- V.O. -RRB- Perhaps had I been a little older in the world's experience, I should have begun to see that Madame O'Reilly was not the person of fashion she pretended to be ; but, as it was, I took all her stories for truth, and, when the landlord brought the bill for dinner, paid it with the air of a lord. Indeed, she made no motion to produce the two pieces I had lent her.\",\n \"EXT. DUBLIN - STREET - NIGHT They ride by. RODERICK -LRB- V.O. -RRB- And so we rode on slowly towards Dublin, into which city we made our entrance at nightfall. The rattle and splendor of the coaches, the flare of the linkboys, the number and magnificence of the houses, struck me with the greatest wonder ; though I was careful to disguise this feeling.\",\n \"EXT. O'REILLY HOUSE - DUBLIN - NIGHT RODERICK -LRB- V.O. -RRB- We stopped at length at a house of rather mean appearance, and were let into a passage which had a great smell of supper and punch.\",\n \"INT. O'REILLY HOUSE - DINING ROOM - NIGHT Captain O'Reilly, a stout red - faced man, without a periwig, and in a rather tattered nightgown and cap. Roderick and Mrs. O'Reilly. CAPTAIN O'REILLY Mr. O'Higgins, I can not say how grateful I am for your timely assistance to my wife. RODERICK I am only sorry that I was unable to prevent the villain from carrying off all her ladyship's money and pearls. CAPTAIN O'REILLY Mr. O'Higgins, we are in your debt, and rest assured, sir, you have friends in this house whenever you are in Dublin. -LRB- pours a glass. -RRB- Mister O'Higgins, I wonder if I know your good father? RODERICK Which O'Higgins do you know? For I have never heard your name mentioned in my family. CAPTAIN O'REILLY Oh, I am thinking of the O'Higgins of Redmondstown. General O'Higgins was a close friend of my wife's dear father, Colonel Granby Somerset. RODERICK Ah - I see. No, I'm afraid mine are the O'Higgins of Watertown. CAPTAIN O'REILLY I have heard of them. There are relics of some mutton - chops and onions on a cracked dish before them. CAPTAIN O'REILLY My love, I wish I had known of your coming, for Bob Moriaty and I just finished the most delicious venison pasty, which His Grace the Lord Lieutenant, sent us, with a flash of sillery from his own cellar. You know the wine, my dear? But as bygones are bygones, and no help for them, what say ye to a fine lobster and a bottle of as good claret as any in Ireland? Betty, clear these things from the table, and make the mistress and our young friend welcome to our home. Captain O'Reilly searches his pockets for some money to give to Betty. CAPTAIN O'REILLY I'm sorry, Mr. O'Higgins, but I do n't seem to have any small change. May I borrow a ten - penny piece to give to the girl? MRS. O'REILLY I have some money, my dear. Here, Betty, go to the fishmonger and bring back our supper, and mind you get the right change. She takes out one of the golden guineas Roderick gave to her.\",\n \"INT. DINNING ROOM - LATER They are eating. RODERICK -LRB- V.O. -RRB- Our supper was seasoned, if not by any great elegance, at least by a plentiful store of anecdotes, concerning the highest personages of the city, with whom, according to himself, the captain lived on terms of the utmost intimacy. Not to be behind hand with him, I spoke of my own estates and property as if I was as rich as a duke.\",\n \"INT. O'REILLY HOUSE - BEDROOM - NIGHT The couple wishing Roderick goodnight. RODERICK -LRB- V.O. -RRB- Had I been an English lad, the appearance of the chamber I occupied might, indeed, have aroused instantly my suspicion and distrust. But we are not particular in Ireland on the score of neatness, hence the disorder of my bed - chamber did not strike me so much. Broken door. RODERICK -LRB- V.O. -RRB- Was there a lock to the door, or a hasp to fasten it to? Dress lying over bed. RODERICK -LRB- V.O. -RRB- Though my counterpane was evidently a greased brocade dress of Mrs. O'Reilly. Cracked mirror. RODERICK -LRB- V.O. -RRB- And my cracked toilet - glass not much bigger than a half - crown, yet I was used to these sort of ways in Irish houses, and still thought myself to be in that of a man of fashion. Drawers, full of junk. RODERICK -LRB- V.O. -RRB- There was no lock to the drawers, which, when they did open, were full of my hostess' rouge - pots, shoes, stays, and rags.\",\n \"INT. BEDROOM - O'REILLY HOUSE - NIGHT In the middle of the night, Mrs. O'Reilly comes to Roderick's room on a flimsy pretext, and in the course of events, he has his first woman.\",\n \"INT. COACH - DAY Roderick, Captain and Mrs. O'Reilly. CAPTAIN O'REILLY I need n't ask whether you had a comfortable bed. Young Fred Pimpleton slept in it for seven months, during which he did me the honor to stay with me, and if he was satisfied, I do n't know who else would n't be.\",\n \"EXT. PROMENADE - PHOENIX PARK - DAY Roderick, Captain and Mrs. O'Reilly, their friends. Various cuts. RODERICK -LRB- V.O. -RRB- After breakfast, we drove out to Phoenix Park, where numbers of the young gentry were known to Mrs. O'Reilly, to all of whom she presented me in such a complimentary way that, before half an hour, I had got to be considered as a gentleman of great expectations and large property.\",\n \"INT. O'REILLY HOUSE - NIGHT RODERICK -LRB- V.O. -RRB- I had little notion then that I had got amongst a set of impostors - that Captain O'Reilly was only an adventurer, and his lady a person of no credit. The fact was, a young man could hardly have fallen into worse hands than those in which I now found myself. An evening of gambling. RODERICK -LRB- V.O. -RRB- Their friends were always welcome on payment of a certain moderate sum for their dinner after which, you may be sure, that cards were not wanting, and that the company who played did not play for love merely. Various cuts of the characters present. RODERICK -LRB- V.O. -RRB- What could happen to a man but misfortune from associating with such company? And in a very, very short time I became their prey. Roderick loses two hundred guineas to Captain O'Reilly in a single hand. We see Captain O'Reilly cheat, but Roderick does not. He pays him the 18 gold guineas, remaining from the sum his mother gave him. RODERICK I shall have to write out a note for the rest of it, Captain O'Reilly.\",\n \"EXT. STREET - OUTSIDE O'REILLY HOUSE - DAWN Roderick exits to the street. The sound of the gambling can still be heard in the street. He is soon joined by Councillor Mulligan. COUNCILLOR MULLIGAN Master Roderick, you appear a young fellow of birth and fortune ; let me whisper in your ear that you have fallen into very bad hands - it's a regular gang of swindlers ; and a gentleman of your rank and quality should never be seen in such company. The captain has been a gentleman's gentleman, and his lady of no higher rank. Go home, pack your valise, pay the little trifle you owe me, mount your mare, and ride back again to your parents - it's the very best thing you can do. Roderick does not reply, and walks slowly away from him down the street.\",\n \"INT. O'REILLY HOUSE - RODERICK'S BEDROOM - EARLY MORNING Roderick enters. RODERICK -LRB- V.O. -RRB- Into a pretty nest of villains, indeed, was I plunged! When I returned to my bed - chamber, a few hours later, it seemed as if all my misfortunes were to break on me at once. Valise open, wardrobe lying on the ground, and Roderick's keys in the possession of O'Reilly and his wife. CAPTAIN O'REILLY Whom have I been harboring in my house? Who are you, sirrah? RODERICK Sirrah! Sirrah, I am as good a gentleman as any in Ireland! CAPTAIN O'REILLY You're an impostor, young man, a schemer, a deceiver! RODERICK Repeat the words again, and I run you through the body. CAPTAIN O'REILLY Tut, tut! I can play at fencing as well as you, Mr. Roderick James. Ah! You change color, do you? Your secret is known, is it? You come like a viper into the bosom of innocent families ; you represent yourself as the heir to my friends the O'Higgins of Castle O'Higgins ; I introduce you to the nobility and gentry of this methropolis ; I take you to my tradesmen, who give you credit. I accept your note for near two hundred pounds, and what do I find? A fraud. He holds up the name, Roderick James, printed on the linen. CAPTAIN O'REILLY Not Master O'Higgins of Watertown, but Roderick James of the devil only knows where. Captain O'Reilly gathers up the linen clothes, silver toilet articles, and the rest of Roderick's gear. RODERICK Hark ye, Mr. O'Reilly, I will tell you why I was obliged to alter my name, which is James and the best name in Ireland. I changed it, sir, because, on the day before I came to Dublin, I killed a man in deadly combat - an Englishman, sir, and a Captain in His Majesty's service ; and if you offer to let or hinder me in the slightest way, the same arm which destroyed him is ready to punish you. So saying, Roderick draws his sword like lightning, and giving a `` ha, ha!'' and a stamp with his foot, lunges it within an inch of O'Reilly's heart, who starts back and turns deadly pale, while his wife, with a scream, flings herself between them. MRS. O'REILLY Dearest Roderick - be pacified. O'Reilly, you do n't want the poor child's blood. Let him escape - in Heaven's name, let him go. CAPTAIN O'REILLY -LRB- sulkily. -RRB- He may go hang for me, and he's better be off quickly, for I shall go to the magistrate if I see him again. O'Reilly exits. His wife sits down on the bed and begins to cry.\",\n \"EXT. DUBLIN STREET - DAY Roderick riding down the street, with his valise. RODERICK -LRB- V.O. -RRB- Where was now a home for the descendant of the James? I was expelled from Dublin by a persecution occasioned, I must confess, by my own imprudence. I had no time to wait and choose. No place of refuge to fly to.\",\n \"INT. ALE HOUSE - DAY RODERICK -LRB- V.O. -RRB- There was a score of recruiting parties in the town beating up for men to join our gallant armies in America and Germany. Roderick approaches a Captain and a Sergeant, who quickly make him welcome. RODERICK I will tell you frankly, sir. I am a young gentleman in difficulties ; I have killed an officer in a duel, and I am anxious to get out of the country. RODERICK -LRB- V.O. -RRB- But I need n't have troubled myself with any explanations ; King George was in too much want of men to heed from whence they came - and a fellow of my inches was always welcome. Indeed, I could not have chosen my time better. A transport was lying at Dunleary, waiting for a wind.\",\n \"EXT. BRITISH WARSHIP AT SEA - DAY RODERICK -LRB- V.O. -RRB- I never had a taste for any thing but genteel company, and hate all descriptions of low life. Hence my account of the society in which I at present found myself must of necessity be short. The reminiscences of the horrid black - hole of a place in which we soldiers were confined, of the wretched creatures with whom I was now forced to keep company, of the plowmen, poachers, pickpockets, who had taken refuge from poverty, or the law, as, in truth, I had done myself, is enough to make me ashamed even now. Roderick sits very disconsolately over a platter of rancid bacon and moldy biscuit, which is served to him at mess. When it comes to his turn to be helped to drink, he is served, like the rest, with dirty tin noggin, containing somewhat more than half a pint of rum and water. The beaker is so greasy and filthy that he can not help turning round to the messman and saying : RODERICK Fellow, get me a glass! At which, all the wretches round him burst into a roar of laughter, the very loudest among them being Mr. Toole, a red - haired monster of a man. MR. TOOLE Get the gentleman a towel for his hands, and serve him a basin of turtle - soup. Roars the monster, who is sitting, or rather squatting, on the deck opposite him, and as he speaks, he suddenly seizes Roderick's beaker of grog and empties it in midst of another burst of applause. LINK-BOY -LRB- whispers. -RRB- If you want to vex him, ask him about his wife, the washerwoman, who bates him. RODERICK Is it a towel of your wife's washing, Mr. Toole? I'm told she wiped your face often with one. LINK-BOY -LRB- whispers. -RRB- Ask him why he would n't see her yesterday, when she came to the ship. RODERICK -LRB- V.O. -RRB- And so I put to him some other foolish jokes about soapsuds, hen - pecking, and flat - irons, which set the man into a fury, and succeeded in raising a quarrel between us. Roderick and Toole fight with cudgels. Roderick gives him a thump across his head which lays him lifeless on the floor. RODERICK -LRB- V.O. -RRB- This victory over the cock of the vile dunghill obtained me respect among the wretches among whom I formed part.\",\n \"EXT. MILITARY DRILL FIELD - CUXHAVEN - DAY RODERICK -LRB- V.O. -RRB- Our passage was very favorable, and in two days we landed at Cuxhaven, and before I had been a month in the Electorate, I was transported into a tall and proper young soldier, and, having a natural aptitude for military exercise, was soon as accomplished at the drill as the oldest sergeant in the regiment. Various cuts. Roderick learning the soldierly arts, musket drill, manual of arms, bayonet, marching.\",\n \"EXT. MILITARY COURTYARD - CUXHAVEN - DAY The Cuxhaven troops are drawn up to receive a new regiment, arrived from England. Roderick sees, marching at the head of his company, his old friend, Captain Grogan, who gives him a wink. RODERICK -LRB- V.O. -RRB- Six weeks after we arrived in Cuxhaven, we were reinforced by Gales regiment of foot from England, and I promise you the sight of Grogan's face was most welcome to me, for it assured me that a friend was near me.\",\n \"INT. GROGAN'S QUARTERS - DAY Roderick and Grogan. RODERICK -LRB- V.O. -RRB- Grogan gave me a wink of recognition, but offered no public token of acquaintance and it was not until two days afterwards that he called me into his quarters, and then, shaking hands with me cordially, gave me news which I wanted, of my family. CAPTAIN GROGAN I had news of you in Dublin. Faith, you've begun early, like your father's son, but I think you could not do better than as you have done. But why did you not write home to your poor mother? She has sent half - a - dozen letters to you in Dublin. RODERICK I suppose she addressed them to me in my real name, by which I never thought to ask for them at the post office. CAPTAIN GROGAN We must write to her today, and you can tell her that you are safe and married to `` Brown Bess.'' Roderick sighs when Grogan says the word `` married,'' on which Grogan says with a laugh : CAPTAIN GROGAN I see you are thinking of a certain young lady at Duganstown. RODERICK Is Miss Dugan well? CAPTAIN GROGAN There's only six Miss Dugans now. poor Dorothy. RODERICK Good heavens! Whatever? Has she died of grief? CAPTAIN GROGAN She took on so at your going away that she was obliged to console herself with a husband. She is now Mrs. John Best. RODERICK Mrs. John Best! Was there another Mr. John Best?! CAPTAIN GROGAN No, the very same one, my boy. He recovered from his wound. The ball you hit him with was not likely to hurt him. It was only made of tow. Do you think the Dugans would let you kill fifteen hundred a - year out of the family? The plan of the duel was all arranged in order to get you out of the way, for the cowardly Englishman could never be brought to marry from fear of you. But hit him you certainly did, Roderick, and with a fine thick plugget of tow, and the fellow was so frightened that he was an hour in coming to. We told your mother the story afterwards, and a pretty scene she made. RODERICK The coward! CAPTAIN GROGAN He has paid off your uncle's mortgage. He gave Dorothy a coach - and - six. That coward of a fellow has been making of your uncle's family. Faith, the business was well done. Your cousins, Michael and Harry, never let him out of their sight, though he was for deserting to England, until the marriage was completed, and the happy couple off on their road to Dublin. Are you in want of cash, my boy? You may draw upon me, for I got a couple of hundred out of Master Best for my share and, while they last, you shall never want.\",\n \"EXT. VARIOUS LOCATIONS - BRITISH ON THE MARCH - DAY Roderick on the march. RODERICK -LRB- V.O. -RRB- Our regiment, which was quartered about Stade and Luneberg, speedily had got orders to march southwards towards the Rhine, where we would fight the famous battle of Minden. It would require a greater philosopher and historian than I am to explain the causes of the famous Seven Years' War in which Europe was engaged, and, indeed, its origin has always appeared to me to be so complicated, and the books written about it so amazingly hard to understand, that I have seldom been much wiser at the end of a chapter than at the beginning, and so shall not trouble you with any personal disquisitions concerning the matter. Various cuts featuring Roderick ; marching, cooking at open fires, gambling, resting in a farm yard, officers riding by ; shivering in his blanket.\",\n \"EXT. BATTLEFIELD OF MINDEN - BATTLE FRAGMENT - DAY Roderick and his company. RODERICK -LRB- V.O. -RRB- Were these memoirs not characterized by truth, I might easily make myself the hero of some strange and popular adventures.\",\n \"EXT. MINDEN - BATTLE FRAGMENTS - DAY Officers ride by in smoke. Troops marching to the attack. RODERICK -LRB- V.O. -RRB- But I saw no one of the higher ranks that day than my colonel and a couple of orderly officers riding by in the smoke - no one on our side, that is. A poor corporal is not generally invited into the company of commanders and the great. Roderick advancing. RODERICK -LRB- V.O. -RRB- But, in revenge, I saw, I promise you, some very good company on the French part, for their regiments of Lorraine and Royal Cravate were charging us all day ; and in the sort of melee high and low are pretty equally received. I hate bragging, but I can not help saying that I made a very close acquaintance with the colonel of the Cravates. Roderick firing his musket. He bayonets a French colonel, amidst shouts and curses. RODERICK -LRB- V.O. -RRB- And finished off a poor little ensign, so young, slender, and small, that a blow from my pigtail would have dispatched him. Roderick kills a French ensign with a blows from the butt of his musket. RODERICK -LRB- V.O. -RRB- And in the poor ensign's pocket found a purse of fourteen louis d'or, and a silver box of sugar - plums, of which the former present was very agreeable to me. Roderick taking money and the box of sugar - plums from the ensign. RODERICK -LRB- V.O. -RRB- If people would tell their stories of battles in this simple way, I think the cause of truth would not suffer by it. All I know of this famous fight of Minden, except from books, is told here above. Captain Grogan is shot, cries out, and falls. A brother captain turns to Lieutenant Lakenham. CAPTAIN Grogan's down ; Lakenham, there's your company. RODERICK -LRB- V.O. -RRB- That was all the epitaph my brave patron got. Roderick kneels above Grogan. CAPTAIN GROGAN I should have left you a hundred guineas, Roderick, but for a cursed run of ill - luck last night at faro. He gives Roderick a faint squeeze of the hand ; and, as the word is given to advance, Roderick leaves him. RODERICK -LRB- V.O. -RRB- When we came back to our ground, which we presently did, he was lying still, but he was dead. Some of our people had already torn off his epaulets, and, no doubt, had rifled his purse.\",\n \"EXT. VARIOUS ROUGH RURAL LOCATIONS - DAY Short cuts to voice over. Roderick and British troops rape, pillage and burn. RODERICK -LRB- V.O. -RRB- After the death of my protector, Captain Grogan, I am forced to confess that I fell into the very worst of courses and company. In a foreign country, with the enemy before us, and the people continually under contribution from one side or the other, numberless irregularities were permitted to the troops. It is well for gentlemen to talk of the age of chivalry ; but remember the starving brutes whom they lead - men nursed in poverty, entirely ignorant, made to take pride in deeds of blood - men who can have no amusement but in drunkenness, debauch, and plunder. It is with these shocking instruments that your great warriors and kings have been doing their murderous work in the world.\",\n \"EXT. BATTLEFIELD - WARBURG - BATTLE FRAGMENTS - DAY RODERICK -LRB- V.O. -RRB- The year in which George II died, our regiment had the honor to be present at the Battle of Warburg, where Prince Ferdinand once more completely defeated the Frenchmen. Lieutenant Lakenham is shot, falls, and cries for help. RODERICK -LRB- V.O. -RRB- During the action, my lieutenant, Mr. Lakenham, of Lakenham, was struck by a musket - ball in the side. He had shown no want of courage in this or any other occasion where he had been called upon to act against the French ; but this was his first wound, and the young gentleman was exceedingly frightened by it. LAKENHAM Here, you, Roderick James. I will pay you five guineas if you will carry me into the town which is hard by those woods. Roderick and another man take him up in a cloak, and carry him towards the nearby town of Warburg.\",\n \"EXT. A FARMHOUSE - GERMAN STREET - WARBURG - DAY In order to get into the house, Roderick and the other man are obliged to fire into the locks with their pieces, which summons brings the inhabitants of the house to the door ; a very pretty and black - eyed, young woman, and her old, half - blinded father. They are at first unwilling to accommodate the guest, but Mr. Lakenham, speaking to them in German, and taking a couple of guineas out of a very full purse, speedily convinces the people that they have only to deal with a person of honor.\",\n \"INT. WARBURG FARMHOUSE - BEDROOM - DAY They carry Lieutenant Lakenham to bed and receive their five guineas. RODERICK -LRB- V.O. -RRB- We put the patient to bed, and he paid me the stipulated reward. A young surgeon, who desired nothing better than to take himself out of the fire of the musketry, came presently to dress the wound. In his German jargon, Roderick pays some deserved compliments to the black - eyed beauty of Warburg, thinking, with no small envy, how comfortable it would be to be billeted there.\",\n \"EXT. STREET - WARBURG - OUTSIDE THE FARMHOUSE - DAY He starts back to the regiment, with his comrade, when the man interrupts his reverie by suggesting they divide the five guineas. PRIVATE I should get half. RODERICK Your share is one guinea. Roderick gives him one guinea. PRIVATE He gave you five guineas, and I bloody well expect half. RODERICK Go to the devil. The private lifting his musket, hits Roderick a blow with the butt - end of it, which sends him stunned to the ground, allowing his comrade to take the other four guineas from his pocket. Recovering his senses, Roderick bleeding, with a large wound in the head, has barely time to stagger back to the house where he had just left the lieutenant, when he falls fainting at the door, just as the surgeon exits.\",\n \"INT. WARBURG FARMHOUSE - BEDROOM - DAY Roderick is carried by the surgeon and the black - eyed girl, into another bed in the room where the Lieutenant has been laid. LAKENHAM -LRB- languidly, in pain. -RRB- Who are you putting into that bed? LISCHEN We have the Corporal, wounded, to you bringing. LAKENHAM A corporal? Turn him out. Schicken sie Herrn Koporal weg!\",\n \"INT. WARBURG FARMHOUSE - BEDROOM - NIGHT AND DAY Lischen brings Roderick a refreshing drink ; and, as he takes it, he presses the kind hand that gave it to him ; nor does this token of his gratitude seem unwelcome. RODERICK -LRB- V.O. -RRB- I found Lischen the tenderest of nurses. Whenever any delicacy was to be provided for the wounded lieutenant, a share was always sent to the bed opposite his, and to the avaricious man's no small annoyance. Lischen serving food. Various cuts, representing different days. Lakenham behaving as rottenly as Roderick describes : RODERICK -LRB- V.O. -RRB- Nor was I the only person in the house to whom the worthy gentleman was uncivil. He ordered the fair Lischen hither and thither, made impertinent love to her, abused her soups, quarreled with her omelettes, and grudged the money which was laid out for his maintenance, so that our hostess detested him as much as, I think, without vanity, as she regarded me. Roderick making lover to Lischen while Lieutenant Lakenham sulks in the next bed. RODERICK -LRB- V.O. -RRB- For if truth must be told, I had made very deep love to her during my stay under her roof, as is always my way with women, of whatever age or degree of beauty. Do not think me very cruel and heartless, ladies ; this heart of Lischen's was like many a town, which had been stormed and occupied several times before I came to invest it, Roderick sitting up in bed. Lischen has just served him his supper. Enter a British officer, an aide who carries a notebook, and a surgeon. In a brief scene to be written, we learn that a sudden movement on the part of the French requires the British army to follow them. The town is to be evacuated, except for some Prussian line - of - communication troops, whose surgeons are to visit the wounded in the place ; and, when they are well, they are to be drafted to their regiments. RODERICK -LRB- V.O. -RRB- I began to reflect how pleasant my quarters were to me, and that I was much better here than crawling under an odious tent with a parcel of tipsy soldiers, or going the night - rounds, or rising long before daybreak for drill. I determined that I never would join mine again.\",\n \"EXT. VIEW OUT OF WARBURG FARMHOUSE WINDOW - DAY Roderick stands by the window, watching English troops and wagons leaving the town.\",\n \"INT. WARBURG FARMHOUSE - BEDROOM - DAY Roderick walks into Lakenham's room attired in his full regimentals, and with his hat cocked over his left eye. RODERICK I'm promoted Lieutenant. I've come to take my leave of you. I intend to have your papers and purse. LAKENHAM You great scoundrel! You mutinous dog! What do you mean by dressing yourself in my regimentals? As sure as my name's Lakenham, when we get back to the regiment, I'll have your soul cut out of your body. With this, Roderick puts his hand under his pillow, at which Lakenham gives a scream that might have called the whole garrison about his ears. Roderick threatens him with a knife at his throat. RODERICK Hark ye, sir! No more noise, or you are a dead man! Roderick, taking his handkerchief, binds it tight round his mouth, and, pulling forward the sleeves of his shirt, ties them in a knot together, and so leaves him, removing the papers and the purse, and wishing him politely a good day.\",\n \"EXT. WARBURG FARMHOUSE - STREET - DAY Lischen, waiting outside the house, with a saddled horse, throws her arms around him, and makes the tenderest adieu. Roderick mounts his newly - purchased animal, waves his hat gallantly, and, prances away down the street.\",\n \"EXT. ROAD - DAY Roderick happily riding along a wooded country road, rounds a blind bend and sees suddenly before him, about two hundred yards away, a company of Prussian infantry resting along the sides of the road, together with a dozen mounted dragoons. A quick calculation tells him that is is better to proceed than to turn back, and he rides into their midst, approaching a group of officers. He presents himself as Lieutenant Lakenham and asks for directions to join his regiment. He is told that he is riding in the wrong direction, and is shown a map. During the explanation, Captain Galgenstein approaches with an open, smiling countenance, introduces himself, and says he, too, is bound for the same place, and asks if Roderick will honor him with his company. To avoid suspicion, Roderick readily accepts the offer, and the two men mount up, and ride off together.\",\n \"EXT. ROAD - GERMANY - DAY Roderick and Galgenstein riding together. Dialogue under voice over. RODERICK -LRB- V.O. -RRB- My companion treated me with great civility, and asked me a thousand questions about England, which I answered as best I might. But this best, I am bound to say, was bad enough. I knew nothing about England, and I invented a thousand stories which I told him ; described the king and the ministers to him, said the British ambassador in Berlin was my uncle, and promised my acquaintance a letter of recommendation to him. CAPTAIN GALGENSTEIN What is your uncle's name? RODERICK -LRB- slowly. -RRB- O'Grady. CAPTAIN GALGENSTEIN -LRB- with a laugh. -RRB- Oh, yes, of course, Ambassador O'Grady.\",\n \"EXT. DESOLATE GERMAN ROAD - DAY Roderick and Captain Galgenstein. Their horses' heads together, jogging on. They pass a party of recruits under the armed guard of a red - coated Hanoverian sergeant. He exchanges signs of recognition with Captain Galgenstein. CAPTAIN GALGENSTEIN It hurts my feelings to be obliged to commune with such wretches, but the stern necessities of war demand men continually, and hence these recruiters whom you see market in human flesh. They get five - and - twenty thaler a man from our government for every man they bring in. For fine men - for men like you. -LRB- he adds laughing. -RRB- They would go as high as hundred.\",\n \"EXT. DESOLATE GERMAN INN - LATE AFTERNOON Roderick and Captain Galgenstein approach a very lonely - looking place. CAPTAIN GALGENSTEIN This is a very good inn. Shall we stop for dinner? RODERICK This may be a very good inn for Germany, but it would not pass in old Ireland. Corbach is only a league off, let us push on for Corbach. CAPTAIN GALGENSTEIN Do you want to see the loveliest woman in Europe? Roderick smiles. CAPTAIN GALGENSTEIN Ah! You sly rogue, I see that will influence you. RODERICK The place seems more a farm than an inn - yard. CAPTAIN GALGENSTEIN The people are great farmers, as well as inn - keepers. They enter by a great gate into a court, walled round, and at on end of which is the building, a dingy ruinous place. A couple of covered wagons are in the courtyard ; their horses are littered under a shed hard by. Lounging about the place are some men, and a pair of sergeants in the Prussian uniform, who both touch their hats to the captain. The inn has something foreboding about it, and the men shut the great yard - gates as soon as they enter. CAPTAIN GALGENSTEIN -LRB- explaining the gate. -RRB- Parties of French horsemen are about the country, and one can not take too many precautions against such villains. The two sergeant take charge of the horses ; the captain orders one of them to take Roderick's valise to his bedroom. Roderick promises the sergeant a glass of schnapps for his pains. They enter into supper.\",\n \"INT. GERMAN INN - LATE AFTERNOON A dish of fried eggs and bacon is ordered from a hideous old wench that comes to serve them, in place of the lovely creature which had been expected ; and the captain, laughing, says : CAPTAIN GALGENSTEIN Well, our meal is a frugal one, but a soldier has many a time a worse. Taking off his hat, sword - belt, and gloves, with great ceremony, Galgenstein sits down to eat. Roderick puts his weapons securely on the old chest of drawers where the captain's is laid. The hideous old woman brings in a pot of very sour wine, at which, and at her ugliness, Roderick feels a considerable ill - humor. RODERICK -LRB- when she leaves. -RRB- Where's the beauty you promised me? CAPTAIN GALGENSTEIN -LRB- laughing and looking hard at Roderick. -RRB- It was my joke. I was tired, and did not care to go farther. There's not prettier woman here than that. If she wo n't suit your fancy, my friend, then you must wait awhile. This increases Roderick's ill - humor. RODERICK -LRB- sternly. -RRB- Upon my word, sir, I think you have acted very coolly. CAPTAIN GALGENSTEIN I have acted as I think fit. RODERICK Sir, I'm a British officer. CAPTAIN GALGENSTEIN It's a lie! You're a deserter! You're an impostor, sir ; Your lies and folly have confirmed this to me. You pretend to carry dispatches to a general who has been dead these ten months ; you have an uncle who is an ambassador and whose name you do n't know. Will you join and take the bounty, sir, or will you be given up? RODERICK Neither! Springing at him like a tiger. But, agile as he is, Galgenstein is equally on his guard. He takes two pistols out of his pockets, fires one off, and says, from the other end of the table where he stands dodging Roderick, as it were. CAPTAIN GALGENSTEIN Advance a step, and I send this bullet into your brains! The door is flung open, and the two sergeants enter, armed with musket and bayonet to aid their captain. The game is up. Roderick flings down a knife with which he had armed himself, for the old hag, on bringing in the wine, had removed his sword. RODERICK I volunteer.\",\n \"EXT. A ROAD - DAY Prussian troops on the march. Roderick is now one of them. Captain Galgenstein rides by. RODERICK -LRB- V.O. -RRB- At the close of the Seven Years' War, the Prussian army, so renowned for its disciplined valor, was officered and under - officered by native Prussians, it is true, but was composed for the most part of men hired or stolen, like myself, from almost every nation in Europe. The deserting to and fro was prodigious.\",\n \"EXT. A FIELD - DAY Prussian punishment gauntlet. RODERICK -LRB- V.O. -RRB- The life the private soldier led was a frightful one to any but the men of iron courage and endurance. The punishment was incessant.\",\n \"EXT. VARIOUS RURAL LOCATIONS - DAY RODERICK -LRB- V.O. -RRB- I was not near so unhappy, in spite of all, as I had been on my first enlisting in Ireland. At least, there will be no one of my acquaintance who will witness my shame, and that is the point which I have always cared for most. Rape, pillage and burn. Brief thematic repeat of British army version. RODERICK -LRB- V.O. -RRB- I reasoned with myself thus : `` Now you are caught, there is no use in repining - make the best of your situation, and get all the pleasure you can out of it. There are a thousand opportunities of plunder, offered to the soldier in war time, out of which he can get both pleasure and profit ; make use of these, and be happy.''\",\n \"EXT. BATTLEFIELD - FRAGMENT Prussians against Austrians, or French, or Saxons. Roderick fighting. RODERICK -LRB- V.O. -RRB- I do not intend to make a history of battles in the Prussian any more than in the English service. I did my duty in them as well as another, and there was not a braver, cleverer, handsomer, and, I must own, wickeder soldier in the Prussian army.\",\n \"EXT. BATTLEFIELD - ACTION - DAY RODERICK I had formed myself to the condition of the proper fighting beast ; on a day of action, I was savage and happy. Roderick saves Captain Galgenstein's life.\",\n \"EXT. FIELD - DAY Roderick is decorated by Colonel Bulow for his heroism in saving Captain Galgenstein. Colonel Bulow gives Roderick two Frederic d'or in front of the regiment. COLONEL BULOW You are a gallant soldier, and have evidently come of good stock ; but you are idle, dissolute, and unprincipled ; you have done a deal of harm to the men ; and, for all your talents and bravery, I am sure you will come to no good. RODERICK I hope Colonel Bulow is mistaken regarding my character. I have fallen into bad company, it is true ; but I have only done as other soldiers have done ; and, above all, I have never had a kind friend and protector before, to whom I might show that I was worthy of better things. The Colonel may say I am a ruined lad, and send me to the devil ; but be sure of this, I would go to the devil to serve the regiment. Captain Galgenstein looks pleased with Roderick's performance. BERLIN - 1763 RODERICK -LRB- V.O. -RRB- Soon after the war ended, our regiment was garrisoned in the capital, the least dull, perhaps, of all the towns of Prussia ; but that does not say much for its gaiety.\",\n \"INT. ANTE-ROOM - CAPTAIN GALGENSTEIN'S OFFICE - DAY Roderick enters and approaches the Captain's sergeant. RODERICK Private Roderick James. First Hanoverian Guards. Captain Galgenstein sent for me. PRUSSIAN SERGEANT You may wait. RODERICK Thank you, sir. Roderick stands stiffly. We can make out the sound of loud talking behind the closed door. Enter a private huffing and puffing. PRIVATE Sergeant, the wagon has arrived with the Captain's furniture, but the driver says he is not supposed to unload it. Is it possible for you to talk to him? Exit the sergeant, muttering. Roderick, now alone in the office, walks closer to the door so that he can hear what is being said. MINISTER GALGENSTEIN -LRB- O.S. -RRB- Give him his discharge! Bon Dieu! You are a model of probity! You'll never succeed to my place, my dear nephew, if you are no wiser than you are just now. Make the fellow as useful to you as you please. You say he has a good manner and a frank countenance, that he can lie with assurance, and fight, you say, on a pinch. The scoundrel does not want for good qualities. As long as you have the regiment in terrorem over him, you can do as you like with him. Once let him loose, and the lad is likely to give you the slip. Keep on promising him ; promise to make him a general, if you like. What the deuce do I care? There are spies enough to be had in this town without him. Roderick hears the sergeant returning and walks back to the door. Then the office door opens, Captain Galgenstein looks out, sees Roderick, smiles and say : CAPTAIN GALGENSTEIN Good morning, Private James. Please come in. I should like you to meet my uncle, Herr Minister of Police Galgenstein. RODERICK How do you do, sir? The Minister nods. RODERICK -LRB- V.O. -RRB- The captain was the nephew and heir of the Minister of Police, Herr Galgenstein, a relationship which, no doubt, aided in the younger gentlemen's promotion. CAPTAIN GALGENSTEIN Your loyalty to me and your service to the regiment has pleased me very well - and now there is another occasion on which you may make yourself useful to us ; if you succeed, depend on it, your reward will be your discharge from the army, and a bounty of 100 guineas. RODERICK What is the service, sir? CAPTAIN GALGENSTEIN There is lately come to Berlin a gentleman in the service of the Empress Queen, who calls himself the Chevalier de Belle Fast, and wears the red riband and star of the pope's order of the Spur. He is made for good society, polished, obliging, a libertine, without prejudices, fond of women, of good food, of high play, prudent and discreet. The Captain smiles at Roderick. CAPTAIN GALGENSTEIN He speaks Italian and French indifferently ; but we have some reason to fancy this Monsieur de Belle Fast is a native of your country of Ireland, and that he has come here as a spy. The Captain rises and begins to pace back and forth. CAPTAIN GALGENSTEIN Naturally, your knowledge of English makes you an ideal choice to go into his service. Of course, you will not know a word of English ; and if the Chevalier asks as to the particularity of your accent, say you are Hungarian. The servant who came with him will be turned away today, and the person to whom he has applied for a faithful fellow will recommend you. Roderick nods. CAPTAIN GALGENSTEIN You are a Hungarian ; you served in the army, and left on account of weakness in the loins. He gambles a great deal, and wins. Do you know the cards well? RODERICK Only a very little, as soldiers do. CAPTAIN GALGENSTEIN I had thought you more expert. You must find out if the Chevalier cheats. He sees the English and Austrian envoys continually, and the young men of either ministry sup repeatedly at his house. Find out what they talk of, for how much each plays, especially if any of them play on parole. If you are able to, read his private letters, though about those which go to the post, you need not trouble yourself - we look at them there. But never see him write a note without finding out to whom it goes, and by what channel or messenger. He sleeps with the keys of his dispatch - box with a string around his neck - twenty frederics, if you get an impression of the keys. MINISTER GALGENSTEIN Does this assignment interest you? RODERICK Yes, Minister, I am interested in any work in which I can be of service to Captain Galgenstein. The Minister studies Roderick, coldly.\",\n \"EXT. CHEVALIER DE BELLE FAST'S HOUSE - BERLIN - DAY Roderick, now dressed in civilian clothes, admires a beautiful carriage, waiting at the door. Then he enters.\",\n \"INT. CHEVALIER DE BELLE FAST'S APARTMENT - DAY CHEVALIER You are the young man who M. de Seebach recommended? RODERICK Yes, sir. Here is my letter. Roderick bows, and hands him a letter from that gentleman, with which the Captain had taken care to provide him. As the Chevalier reads the letter, Roderick has the leisure to examine him. He is a man of sixty years of age, dressed superbly, wearing rings, diamonds and laces. One of his eyes is closed with a black patch, and he wears a little white and red paint, and a pair of moustachios, which fall over his lip. The Chevalier is seated at a table near the window to read the letter. CHEVALIER Your name is Lazlo Zilagyi? RODERICK Yes, sir. CHEVALIER You come highly recommended by Herr Seebach. RODERICK Herr Seebach was a very kind employer. CHEVALIER For whom else have you worked? RODERICK No one, sir. Before that I served in the army but had to leave due to weakness of the loins. CHEVALIER Who else can give me information about you? RODERICK Only the agency of servants. The Chevalier puts the letter down, looks at Roderick for a few seconds, and then smiles. CHEVALIER You will do. I will give you 30. a day. I do not provide your clothing ; you will sleep at home, and you will be at my orders every morning at seven o'clock. He notices Roderick begin to tremble and look peculiar. CHEVALIER Is there something wrong? He goes up to Roderick. RODERICK -LRB- V.O. -RRB- It was very imprudent of me ; but when I saw the splendor of his appearance, the nobleness of his manner, I felt it impossible to keep disguise with him. You, who have never been out of your country know little what it is to hear a friendly voice in captivity ; and there's a many a man that will understand the cause of the burst of feeling which was about to take place. The Chevalier takes Roderick by the shoulder. RODERICK -LRB- as he speaks, bursting into tears. -RRB- Sir, I have a confession to make. I am an Irishman, and my name is Roderick James. I was abducted into the Prussian army two years ago, and now I have been put into your service by my Captain and his uncle, the Minister of Police, to serve as a watch upon your actions, of which I am to give information to the same quarter. For this odious service, I have been promised my discharge, and a hundred guineas. Sobbing, Roderick falls into his arms. CHEVALIER The rascals! They think to catch me, do they? Why, young man, my chief conspiracy is a faro - bank. But the king is so jealous, that he will see a spy in every person who comes to his miserable capital, in the great sandy desert here.\",\n \"EXT. BERLIN - PARK - DAY Roderick and the Chevalier walking. RODERICK -LRB- V.O. -RRB- And I think he was as much affected as I was at thus finding one of his kindred ; for he, too, was an exile from home, and a friendly voice, a look, brought the old country back to his memory again, and the old days of his boyhood. CHEVALIER I'd give five years of my life to see the old country again, the greenfields, and the river, and the old round tower, and the burying place.\",\n \"EXT. BERLIN - STREET - DAY Roderick and the Chevalier walking. CHEVALIER My lad, I have been in every service ; and, between ourselves, owe money in every capital in Europe. I have been a rolling stone. Play - play has been my ruin! That and beauty. The women have made a fool of me, my dear boy. I am a soft - hearted creature, and this minute, at sixty - two, have no more command of myself than when Peggy O'Dwyer made a fool of me at sixteen.\",\n \"EXT. BERLIN - LAKE WANNSEE - DAY Roderick and the Chevalier walking along the bank. CHEVALIER The cards are now my only livelihood. Sometimes I am in luck, and then I lay out my money in these trinkets you see. It's property, look you, and the only way I have found of keeping a little about me. When the luck goes against me, why, my dear, my diamonds go to the pawnbrokers and I wear paste. Do you understand the cards? RODERICK I can play as soldiers do, but have no great skill. CHEVALIER We will practice in the mornings, my boy, and I'll put you up to a thing or two worth knowing.\",\n \"INT. CHEVALIER'S ROOMS - BERLIN - DAY Quick cuts - Roderick being taught the profession of cards and the dice - box.\",\n \"EXT. GARDEN HOUSE - BERLIN - DAY Roderick, Minister Galgenstein, and Captain Galgenstein. RODERICK -LRB- V.O. -RRB- I carried my little reports to Captain Galgenstein at the Garden house outside the town where he gave me rendezvous. These reports, of course, were arranged between me and the Chevalier beforehand. I was instructed, and it is always the best way, to tell as much truth as my story would possible bear. Dialogue comes up from under voice over. RODERICK He goes to church regularly - he is very religious, and after hearing mass comes home to breakfast. Then he takes an airing in his chariot till dinner, which is served at noon. After dinner, he writes his letters, if he has any letters to write ; but he has very little to do in this way. His letters are to the Austrian envoy, with whom he corresponds, but who does not acknowledge him ; and being written in English, or course, I look over his shoulder. He generally writes for money. He makes his party with Calsabigi, the lottery contractor, the Russian attaches, two from the English embassy, my lords Deuceace and Punter, who play a jeu d'enfer, and a few more. He wins often, but not always. Lord Deuceace is a very fine player. The Chevalier Elliott, the English Minister, sometimes comes, on which occasion the secretaries do not play.\",\n \"INT. CHEVALIER'S APARTMENTS - NIGHT The Chevalier is at play against several gentlemen, including the Prince of Turbingen, while Roderick signals the cards. RODERICK -LRB- V.O. -RRB- It was agreed that I should keep my character of valet, that in the presence of strangers I should not know a word of English, that I should keep good lookout on the trumps when I was serving the champagne and punch about ; and, having a remarkably fine eyesight, and a great natural aptitude, I was speedily able to give my dear benefactor much assistance against his opponents at the green table. Several cuts of playing and cheating to illustrate voice over. RODERICK -LRB- V.O. -RRB- Simplicity was our secret. Everything successful is simple. If, for instance, I wiped the dust off a chair with my napkin, it was to show that the enemy was strong in diamonds ; if I pushed it, he had an ace, king ; if I said, `` Punch or wine, my lord?'' hearts was meant. If `` Wine or punch?'' clubs. If I blew my nose, it was to indicate that there was another confederate employed by the adversary ; and then, I warrant you, some pretty trials of skill would take place. The Prince of Turbingen, although so young, had a very great skill and cleverness with the cards in every way ; and it was only from hearing Ritter von Brandenburg, who came with him, yawn three times when the Chevalier had the ace of trumps, that I knew we were Greek to Greek, as it were. The Prince loses a big hand, and, in a fury, throws down his cards. He stares at the table, then at the Chevalier. PRINCE Chevalier, though I can not say how, I believe you have cheated me. CHEVALIER I deny your Grace's accusations, and beg you to say how you have been cheated? PRINCE -LRB- glaring at Roderick. -RRB- I do n't know. CHEVALIER Your Grace owes me seventy thousand frederics, which I have honorably won. PRINCE Chevalier, if you will have your money now, you must fight for it. If you will be patient, maybe I will pay you something another time. CHEVALIER Your Grace, if I am so tame as to take this, then I must give up an honorable and lucrative occupation. PRINCE I have said all there is to be said. I am at your disposal for whatever purposes you wish. Good night. He exits.\",\n \"EXT. GARDEN HOUSE - DAY Roderick, Captain Galgenstein and Minister Galgenstein. MINISTER GALGENSTEIN Was he cheated? RODERICK In so far as I can tell these things - no. I believe the Chevalier won the money fairly. MINISTER GALGENSTEIN Hmm - mmmm. CAPTAIN GALGENSTEIN What are the Chevalier's intentions? RODERICK I am not sure. The Prince told him quite clearly that if he wished to have the money, he would have to fight for it. MINISTER GALGENSTEIN A meeting with the Prince of Turbingen is impossible. RODERICK The Prince left him only that choice. The Captain and the Minister walk a few steps away and speak in whispers. Then they return to Roderick. MINISTER GALGENSTEIN Will you be able to return here tomorrow without arousing suspicion?\",\n \"INT. CHEVALIER'S APARTMENTS - DAY CHEVALIER Tell them I intend to demand satisfaction from the Prince. RODERICK But they will prevent a meeting at whatever the cost. CHEVALIER Have no fear. It will come out well for me. RODERICK I believe they will deport you. CHEVALIER I have faced that problem before. RODERICK But, if they send you away, then what is to become of me? CHEVALIER -LRB- with a smile. -RRB- Make your mind easy, you shall not be left behind, I warrant you. Do take a last look at your barracks, make your mind easy, say a farewell to your friends in Berlin. The dear souls, how they will weep when they hear you are out of the country, and, out of it, you shall go. RODERICK But how, sir?\",\n \"EXT. GARDEN HOUSE - BERLIN - DAY Roderick, Captain Galgenstein and Minister Galgenstein. MINISTER GALGENSTEIN The King has determined to send the Chevalier out of the country. RODERICK When is he to go? CAPTAIN GALGENSTEIN Has he sent the challenge yet? RODERICK Not yet, but I believe he intends to. MINISTER GALGENSTEIN Then this must be done tomorrow. RODERICK What is to be done? CAPTAIN GALGENSTEIN You say he drives after breakfast and before dinner. When he comes out to his carriage a couple of gendarmes will mount the box, and the coachman will get his orders to move on. RODERICK And his baggage? CAPTAIN GALGENSTEIN Oh! That will be sent after him. I have a fancy to look into that red box which contains his papers, you say ; and at noon, after parade, shall be at the inn. You will not say a word to any one there regarding the affair, and will wait for me at the Chevalier's rooms until my arrival. We must force that box. You are a clumsy hound, or you would have got the key long ago.\",\n \"EXT. CHEVALIER'S APARTMENTS - DAY Action as per voice over. RODERICK -LRB- V.O. -RRB- At ten o'clock the next morning, the carriage of the Chevalier de Belle Fast drew up as usual at the door of his hotel, and the Chevalier came down the stairs in his usual stately manner. Looking around and not finding his servant to open the door. CHEVALIER Where is my rascal, Lazlo? PRUSSIAN OFFICER -LRB- standing by the carriage. -RRB- I will let down the steps for your honor. No sooner does the Chevalier enter than the officer jumps in after him, another mounts the box by the coachman, and the latter begins to drive. CHEVALIER Good gracious! What is this? PRUSSIAN OFFICER -LRB- touching his hat. -RRB- You are going to drive to the frontier. CHEVALIER It is shameful - infamous! I insist upon being put down at the Austrian ambassador's house. PRUSSIAN OFFICER I have orders to gag your honor if you cry out, and to give you this purse containing ten thousand frederics if you do not. CHEVALIER Ten thousand? But the scoundrel owes me seventy thousand. PRUSSIAN OFFICER Your honor must lower his voice. CHEVALIER -LRB- whispering. -RRB- All Europe shall hear of this! PRUSSIAN OFFICER As you please. Both lapse into silence.\",\n \"EXT. ROAD - DAY The coach drives by. Suddenly - `` boom,'' the alarm cannon begins to roar.\",\n \"INT. COACH - DAY PRUSSIAN OFFICER Do not be alarmed. The alarm cannon only signals a deserter. Chevalier nods.\",\n \"EXT. ROAD - DAY The coach drives by and action as described. RODERICK -LRB- V.O. -RRB- Hearing the sound of the alarm cannon, the common people came out along the road, with fowling - pieces and pitch - forks, in hopes to catch the truant. The gendarmes looked very anxious to be on the lookout for him too. The price of a deserter was fifty crowns to those who brought him in.\",\n \"EXT. SAXON CUSTOM-HOUSE - DAY The black and white barriers came in view at last hard by Bruck, and opposite them the green and yellow of Saxony. The Saxon custom - house officers came out. CHEVALIER I have no luggage. PRUSSIAN OFFICER The gentleman has nothing contraband. The Prussian officers, grinning, hand the Chevalier the purse and take their leave of their prisoner with much respect. The Chevalier de Belle Fast gives them three frederic a - piece. CHEVALIER Gentlemen, I wish you a good day. Will you please go to the house from whence we set out this morning, and tell my man there to send my baggage on to Three Kings at Dresden? RODERICK -LRB- V.O. -RRB- Then ordering fresh horses, the Chevalier set off on his journey for that capital. I need not tell you that I was the Chevalier.\",\n \"INT. ROOM - HOTEL DES TROIS COURONNES - DAY Roderick reading a letter over his breakfast in bed. CHEVALIER -LRB- V.O. -RRB- From the Chevalier de Belle Fast to Roderick James, Esquire, Gentilhomme Anglais. At the Hotel des trois Couronnes, Dresden, Saxe. My dear Roderick - This comes to you by a sure hand, no other than Mr. Lumpit, of the English mission, who is acquainted, as all Berlin will be directly, with our wonderful story. They only know half as yet ; they only know that a deserter went off in my clothes, and all are in admiration of your cleverness and valor.\",\n \"INT. CHEVALIER'S ROOM - DAY Action as per description in letter. CHEVALIER -LRB- V.O. -RRB- As I lay in my bed two and a half hours after your departure, in comes your ex - captain, Galgenstein. CAPTAIN GALGENSTEIN -LRB- in his imperious Dutch manner. -RRB- Roderick! Are you there? No answer. CAPTAIN GALGENSTEIN The rogue is gone out. Action as per voice over. CHEVALIER -LRB- V.O. -RRB- Straightaway he makes for the red box where I keep my love letters, my glass eye which I used to wear, my two sets of Paris teeth, and my other private matters that you know of. He first tries a bunch of keys, but none of them fit the English lock. Then he takes out of his pocket a chisel and hammer, and falls to work like a professional burglar, actually bursting open the little box! Now was my time to act! I advance towards him armed with an immense water - jug. I come noiselessly up to him just as he has broken the box, and, with all my might, I deal him such a blow over the head as smashes the water - jug to bits, and sends the captain with a snort lifeless to the ground. Then I ring all the bells in the house ; and shout, and swear, and scream, `` Thieves! - Thieves! - Landlord! - Murder! - Fire!'' until the whole household comes tumbling up the stairs. CHEVALIER Where is my servant? Who dares to rob me in open day? Look at the villain whom I find in the act of breaking my chest open! Send for the police, send for his Excellency the Austrian Minister! All Europe shall know of this insult! LANDLORD Dear heaven! We saw you go away three hours ago. CHEVALIER Me! Why, man, I have been in bed all morning. I am ill - I have taken physic - I have not left the house this morning! Where is that scoundrel, Lazlo? But, stop! Where are my clothes and wig? CHAMBERMAID I have it - I have it! Lazlo is off in your honor's dress. CHEVALIER And my money - my money! Where is my purse with forty - eight frederics in it? But we have one of the villains left, Officers, seize him. LANDLORD -LRB- more and more astonished. -RRB- It's the young Herr Galgenstein. CHEVALIER What! A gentleman breaking open my trunk with hammer and chisel - impossible! CHEVALIER -LRB- V.O. -RRB- Herr Galgenstein was returning to life by this time, with a swelling on his skull as big as a saucepan ; and the officers carried him off, and, to make a long story short, poor Galgenstein is now on his way to Spandau ; and his uncle, the Minister of Police Galgenstein, has brought me five hundred louis, with a humble request that I would leave Berlin forthwith, and hush up this painful matter.\",\n \"INT. GERMAN PALACE - BALLROOM - NIGHT Roderick, the Chevalier and the Duke of Wurttemberg. RODERICK -LRB- V.O. -RRB- The Chevalier de Belle Fast was in particularly good order with the Duke of Wurttemberg, whose court was, at this period, the most brilliant in all Europe. The Duke of Wurttemberg chatting with ballet dancers, who will perform at the party. RODERICK -LRB- V.O. -RRB- He spent fabulous sums on the ballets and operas. All the ballerinas were pretty, and they all boasted that they had all at least once made their amorous sovereign happy. Roderick and the Chevalier kissing hands, hobnobbing with the nobility, and dancing minuets. RODERICK -LRB- V.O. -RRB- There was not a party of the nobility to which the two Irish gentlemen were not invited, and admired, nor where we did not make the brave, the high - born and the beautiful talk to us. There was no man in Europe more gay in spirits, more splendid in personal accomplishment, than young Roderick James.\",\n \"EXT. GERMAN STREET - DAWN Roderick and the Chevalier in a comfortable coach, on their way home to bed, pass troops marching out on early parade.\",\n \"INT. COACH - DAWN Roderick sinks back into the comfortable cushion and yawns. RODERICK -LRB- V.O. -RRB- What a delightful life did we now lead! I knew I was born a gentleman, from the kindly way in which I took to the business, as business certainly it is.\",\n \"INT. BEDROOM - GERMANY - DAY Roderick in a tub, being washed by a servant. RODERICK -LRB- V.O. -RRB- For though it seems all pleasure, yet I assure any low - bred persons who may chance to read this, that we, their betters, have to work as well as they ; though I did not rise until noon, yet had I not been up at play until long past midnight?\",\n \"INT. ANOTHER BEDROOM - GERMANY - DAY His hair being done. RODERICK -LRB- V.O. -RRB- I came into it at once, and as if I had never done anything else all my life. I had a gentleman to wait upon me, a French friseur to dress my hair of a morning.\",\n \"INT. DINING ROOM - NIGHT A candle - lit supper. RODERICK -LRB- V.O. -RRB- I knew the taste of chocolate as by intuition almost, and could distinguish between the right Spanish and the French before I had been a week in my new position. INSERTS - JEWELRY Action and cuts as voice over. RODERICK -LRB- V.O. -RRB- I had rings on my fingers, watches in both my fobs, trinkets, and snuff - boxes, of all sorts, and each outvying the other in elegance.\",\n \"INT. RECEPTION ROOM - GERMANY - DAY As described. RODERICK -LRB- V.O. -RRB- I had the finest natural taste for lace and china of any man I ever knew.\",\n \"EXT. STABLES - GERMANY - DAY Buying horses. RODERICK -LRB- V.O. -RRB- I could judge a horse as well as any dealer in Germany. I could not spell, but I could speak German and French cleverly.\",\n \"INT. DRESSING ROOM - GERMANY - DAY Roderick being fitted for clothes. RODERICK -LRB- V.O. -RRB- I had at least twelve suits of clothes ; three richly embroidered with gold, two laced with silver ; one of French grey, silver - laced and lined with chinchilla. I had damask morning robes, to which a peacock's tail is as sober as a Quaker's drab skirt.\",\n \"INT. ORANGERY - DAY Action as voice over. RODERICK -LRB- V.O. -RRB- I took lessons on the guitar, and sang French catches exquisitely. Where, in fact, was there a more accomplished gentleman than Roderick James?\",\n \"INT. GAMING ROOM - GERMANY - NIGHT Action as per voice over. RODERICK -LRB- V.O. -RRB- How have we had the best blood, and the brightest eyes, too, of Europe throbbing round the table as I and the Chevalier have held the cards and the bank against some terrible player, who was matching some thousands out of his millions against our all which was there on the baize!\",\n \"INT. GAMING ROOM - GERMANY - NIGHT Roderick dealing a faro bank. RODERICK -LRB- V.O. -RRB- Our principles were : play grandly, honorably. Be not, of course, cast down at losing ; but, above all, be not eager at winning, as mean souls are.\",\n \"INT. GAMING ROOM - GERMANY - NIGHT Action as voice over. RODERICK -LRB- V.O. -RRB- When the Duke of Courland brought fourteen lackeys each with bags of florins, and challenged our bank to play against the sealed bags, what did we ask? CHEVALIER Sir, we have but eighty thousand florins in bank, or two hundred thousand at three months ; if your highness' bags do not contain more than eight thousand, we will meet you. Playing. RODERICK -LRB- V.O. -RRB- And we did, and after eleven hours play, in which our bank was at one time reduced to two hundred and three ducats, we won seventeen thousand florins off him. Four crowned heads look on at the game, and an imperial princess, when Roderick turns up the ace of hearts, bursts into tears.\",\n \"INT. MASQUERADE BALL - NIGHT Roderick and a girl. RODERICK -LRB- V.O. -RRB- Nor need I mention my successes among the fairer portion of the creation. One of the most accomplished, the tallest, the most athletic, and the handsomest gentleman in Europe, as I was then, a young fellow of my figure could not fail of having advantages, which a person of my spirit knew very well how to us.\",\n \"INT. BOUDOIR - NIGHT Making love to a masked lady. RODERICK -LRB- V.O. -RRB- Charming Schuvaloff.\",\n \"INT. COACH - NIGHT RODERICK -LRB- V.O. -RRB- Black - eyed Sczortarska.\",\n \"INT. BOUDOIR - NIGHT RODERICK -LRB- V.O. -RRB- Dark Valdez. RODERICK Do you expect me to believe that your lover brought you here tonight? VALDEZ Yes. He brought me in his carriage, and he will call for me at midnight. RODERICK And he does n't care about me? VALDEZ He is only curious to know who you are. RODERICK If his love were like mine, he would not permit you to come here. VALDEZ He loves me, as I love you. RODERICK Will he wish to know the details of this night? VALDEZ He will believe that it will please me if he asks about it, and I shall tell him everything except some circumstances which might humiliate him.\",\n \"EXT. GARDEN - NIGHT RODERICK -LRB- V.O. -RRB- Tender Hegenheim.\",\n \"INT. BOUDOIR - NIGHT RODERICK -LRB- V.O. -RRB- Brilliant Langeac. Roderick takes from his portfolio a little jacket of very fine transparent skin, eight inches long and closed at one end, and which by way of a pouch string at its open end, has a narrow pink ribbon. He displays it to her, she looks at it, and laughs. LANGEAC I will put in on you myself. She puts it on, out of shot. LANGEAC There you are, dressed by my hand. It is nearly the same thing ; but despite the fineness and transparency of the skin, the little fellow pleases me less well in costume. It seems that this covering degrades him, or degrades me - one of the other. RODERICK Both, my angel. It was Love who invented these little jackets : for he had to ally himself with Precaution.\",\n \"INT. ROOM OFF A BALLROOM - NIGHT Roderick making love to the Countess von Trotha. Enter the Count, in the uniform of a Colonel. COUNT I entered here, monsieur, at a bad moment for you ; it seems that you love this lady. RODERICK Certainly, monseigneur, does not Your Excellency consider her worthy of love? COUNT Perfectly so ; and what is more, I will tell you that I love her, and that I am not of a humor to put up with rivals. RODERICK Very well! Now that I know it, I will no longer love her. COUNT Then you yield to me. RODERICK On the instant. Everyone must yield to such a nobleman as you. COUNT Very well ; but a man who yields takes to his legs. RODERICK That is a trifle strong. COUNT Take to your legs, low Irish dog. Roderick smiles at him. RODERICK Your Excellency has wantonly insulted me. That being so, I conclude that you hate me, Monseigneur, and that hence you would be glad to remove me from the number of the living. In this wish, I can and will satisfy Your Excellency.\",\n \"EXT. BEAUTIFUL GARDEN - EARLY MORNING Roderick's sword duel with the Count. Details to be worked out.\",\n \"INT. BILLIARD ROOM - NIGHT Roderick watches the Chevalier play with a Prussian officer, Lieutenant Dascher. RODERICK -LRB- V.O. -RRB- It was my unrivaled skill with sword and pistol, and readiness to use them, that maintained the reputation of the firm. Towards the end of the game, Dascher, seeing that he is losing, makes an unfair stroke, so obvious that the marker tells him so to his face. Lieutenant Dascher, for whom the stroke wins the game, takes the money which is in the stake bag, and puts it in his pocket, paying no attention to the marker's adjurations, or to Roderick's. Roderick, who is without his sword, reaches for a billiard cue and swings it at Dascher's face. He wards off the blow with his arm, drawing his sword and runs at Roderick, who is unarmed. The marker, a sturdy young man, catches Dascher around the waist and prevents murder. DASCHER I see that you are without your sword, but I believe you are a man of mettle. Will you give me satisfaction? RODERICK I shall be delighted ; but you have lost and you must pay me the money before we meet, for, after all, you can not pay me when you are dead. ANOTHER OFFICER I will undertake to pay you the 20 louis, but only tomorrow morning at the meeting.\",\n \"EXT. FIELD - DAY On the field, there are six people waiting with Dascher, and his seconds. Dascher takes 20 louis from his pocket and hands them to Roderick, saying : DASCHER I may have been mistaken, but I mean to make you pay deadly for your brutality. Roderick takes the money and puts it in his purse with the utmost calm, making no reply to the other's boasting. RODERICK -LRB- privately. -RRB- It is distasteful to kill a scoundrel - that should be work for a hangman. CHEVALIER To risk one's life against such people is an imposition. RODERICK -LRB- laughs. -RRB- I risk nothing, for I am certain to kill him. CHEVALIER Certain? RODERICK Perfectly certain, because I shall make him tremble. He takes his station between two trees, about four paces apart, and draws a pair of dueling pistols. RODERICK You have only to pace yourself at ten paces difference, and fire first. The space between these two trees is the place where I choose to walk back and forth. You may walk too, if you wish, when it is my turn to fire. No one could have explained his intentions more clearly or spoken more calmly. DASCHER But we must decide who is to have the first shot. RODERICK There is no need of that. I never fire first ; and, in any case, you have that right. Dascher places himself at the specified distance. Roderick walks slowly back and forth between the two trees without looking at him. Dascher takes aim and fires, missing. RODERICK -LRB- with the greatest composure. -RRB- You missed me, sir. I was sure you would. Try again. The others think he is mad, and had expected some kind of discussion between the parties, but not a bit of it. Dascher takes careful aim and fires a second shot, again missing Roderick. Without a word, but in a firm and confident manner, Roderick fires his first shot into the air. Dascher looks amazed. Then, aiming at Dascher with his second pistol, he hits him in the center of the forehead and stretches him out dead on the ground.\",\n \"EXT. ROAD - DAY Roderick and Chevalier traveling in their coach. RODERICK -LRB- V.O. -RRB- Thus is will be seen that our life, for all its splendor was one of extreme difficulty and danger, requiring high talents and courage for success, and sudden and unexpected departures. They meet a four - wheel carriage, drawn by two horses, carrying a master and a servant. The driver of the four - wheel carriage wants Roderick's driver to make way for him. Roderick's driver protests that if he does, he will upset his master in the ditch, but the other insists. Roderick addresses the master, a handsome young man, and asks him to order his driver to make way for him. RODERICK I am posting, monsieur, and furthermore I am a foreigner. STRANGER Monsieur, here in Saxony, the post has no special right, and if you are a foreigner, you must admit that you have no greater claim than mine, since I am in my own country. At that, Roderick gets out and holding his drawn - sword tells the stranger to get out, or to make way for him. The stranger replies, with a smile, that he has no sword and that, in any case, he will not fight for such a silly reason. He tells Roderick to get back in his chaise, and he makes way for him.\",\n \"INT. GAMING ROOM - NIGHT Roderick and the Chevalier running a faro bank when an important lady suffers a huge loss. RODERICK -LRB- V.O. -RRB- The ladies were passionately fond of play, and hence would often arise no small trouble to us ; for the truth most be told, that the ladies loved to play, but not to pay. The point of honor is not understood by the charming sex ; and it was with the greatest difficulty that we could keep them from the table, could get their money if they lost or, if they paid, prevent them from using the most furious and extraordinary means of revenge.\",\n \"EXT. ROAD - DAWN RODERICK -LRB- V.O. -RRB- On this evening, the lady of high rank, after I had won a considerable sum in diamonds and pearls from her, sent her lover with a band of cut - throats to waylay me. Roderick and the Chevalier are sound asleep in their carriage when they are awakened by a violent jolt, upon which the carriage overturns in the middle of the road. The Chevalier is underneath, and screams from the pain in his right arm, which he thinks is broken. Their servant forces the door open to help them out, telling them that the two postilions have fled. Roderick easily gets out of the carriage through the door, which is above him, but the Chevalier, unable to move because of his disabled arm, has to be pulled out. His piercing shrieks make Roderick laugh, because of the strange oaths with which he interlards his prayers. From the carriage, Roderick takes his dueling pistols, and sword. Roderick tells his servant to mount and to looking for armed peasants in the vicinity ; money in hand, he leaves. The Chevalier has lain down on the hard ground, groaning and in no condition to resist robbers. Roderick makes his own preparations to sell his fortune and his life at the highest price. His carriage is close to the ditch, and he unhitches the horses, tieing them to the wheels and the pole in a circle, and stations himself behind them with weapons. In this predicament, Roderick can not help laughing at the poor Chevalier, who is writhing like a dying dolphin on a seashore, and uttering the most pitiful execrations, when a mare, whose back was turned to him, take it into her empty head to empty her bladder on him. There is nothing to be done ; he has to put up with the whole stinking rain, and to forgive Roderick's laughter, which he has not the strength to hold in. The chill wind and the silence are suddenly broken by an attack, which is half - hearted and uncertain, by the lady's lover, and his hesitant band of six cut - throats. Some falter and run away as soon as Roderick fires his pistol. The leader and two heartier followers engage Roderick. During the fight, they mortally wound the helpless Chevalier and two of them are killed. After they flee, Roderick kneels by the Chevalier, who utters some appropriate last words, then dies. His servant finally arrives at full gallop, shouting at the top of his voice, and followed by a band of peasants, each with his lantern, come to his rescue. There are ten or twelve of them, all armed with muskets, and all ready to obey his orders.\",\n \"EXT. SPA - HOTEL - DAY Roderick's carriage arrives. RODERICK -LRB- V.O. -RRB- After making suitable arrangements for the Chevalier's burial, in proper accord with his church, I traveled to Spa, which was now in season, alone, to continue my profession which formerly had the support of my friend and mentor.\",\n \"INT. GAMING ROOM - NIGHT Crowds surround Roderick. RODERICK -LRB- V.O. -RRB- I was by this time one of the best - known characters in Europe ; and the fame of my exploits, my duels, my courage at play, would bring crowds round me in any public society where I appeared.\",\n \"INT. CASINO - NIGHT Attractive women alone, while men are at the gaming table. RODERICK -LRB- V.O. -RRB- The passion for play is stronger than the passion for gallantry ; the gamester at Spa has neither time to stop to consider the merits of a woman, nor the courage to make sacrifices for her.\",\n \"EXT. GARDEN IN SPA - DAY The Countess of Cosgrove walks beside her husband, Sir William Cosgrove, who is in a wheelchair. They are accompanied by their young son, Lord Brookside, and two servants. RODERICK -LRB- V.O. -RRB- In evoking the recollections of these days, I have nothing but pleasure. I would if I could say as much of a lady who will henceforth play a considerable part in the drama of my life - I mean the Countess of Cosgrove, whose fatal acquaintance I made at Spa, very soon after the tragic events which caused me to quit Germany. Closer shot of the Countess. RODERICK -LRB- V.O. -RRB- Victoria, Countess of Cosgrove. A Countess and a Viscountess in her own right. Closer shot of Sir William Cosgrove. RODERICK -LRB- V.O. -RRB- She was the wife of her cousin, the Right Honorable Sir William Reginald Cosgrove, Knight of the Bath, and Minister to George II and George III of several of the smaller courts of Europe. Closer shot of young Lord Brookside, walking behind them in the care of his governor. RODERICK -LRB- V.O. -RRB- She was the mother to Viscount Brookside - a melancholy, deserted, little boy, about whom his father was more than indifferent, and whom his mother never saw.\",\n \"INT. GAMING ROOM - NIGHT Shots of Sir William Cosgrove being wheeled in, and at play with Roderick, and some other gentlemen. RODERICK -LRB- V.O. -RRB- I made Sir William Cosgrove's acquaintance as usual at the play - table. One could not but admire the spirit and gallantry with which he pursued his favorite pastime ; for, though worn out with gout and a myriad of diseases, a cripple wheeled about in a chair, and suffering pangs of agony, yet you would see him every morning, and every evening at his post behind the delightful green cloth. SIR WILLIAM Hang it, Mr. Roderick James, you have no more manners than a barber, and I think my black footman has been better educated than you ; but you are a young fellow of originality and pluck, and I like you, sir. because you seem determined to go to the devil by a way of your own. Laughter at the table. RODERICK I am obliged to observe, Sir William Cosgrove, that since you are bound for the next world much sooner than I am, I will depend on you to get comfortable quarters arranged for me. Laughter. SIR WILLIAM Indeed, you are right, sir. Look at me. Marriage has added forty years to my life. I am dying, a worn - out cripple, at the age of fifty. When I took off Lady Cosgrove, there was no man of my years who looked so young as myself. Fool that I was! I had enough with my pensions, perfect freedom, the best society in Europe - and I gave up all these, and married and was miserable. Take a warning from me, Mr. Roderick, and stick to the trumps. Do anything, but marry. RODERICK Would you have me spend my life all alone? SIR WILLIAM In truth, sir, yes, but, if you must marry, then marry a virtuous drudge. RODERICK -LRB- laughing. -RRB- The milkmaid's daughter? SIR WILLIAM Well, why not a milkmaid's daughter? No man of sense need restrict himself or deny himself a single amusement for his wife's sake ; on the contrary, if he selects the animal properly, he will choose such a one as shall be no bar to his pleasure, but a comfort in his hours of annoyance. For instance, I have got the gout ; who tends me? A hired valet who robs me whenever he has the power. My wife never comes near me. What friend have I? None in the wide world. Men of the world, as you and I are, do n't make friends, and we are fools for our pains. Polite laughter at the table. SIR WILLIAM My lady is a weak woman, but she is my mistress. She is a fool, but she has got the better of one of the best heads in Christendom. She is enormously rich, but somehow I have never been so poor, as since I married her. I thought to better myself, and she has made me miserable and killed me, and she will do as much for my successor when I'm gone. There is a reflective silence at the table. RODERICK Has her ladyship a very large income? This question causes Sir William to burst out into a yelling laugh, joined by the rest of the table, and makes Roderick blush not a little at his gaucherie.\",\n \"EXT. ORNAMENTAL GARDEN - SPA - NIGHT A beautiful scene, lit by the flambeaux, held by a dozen footmen. A small orchestra, playing in a Temple of Love, some dancers, people gambling and lounging along a line of trees. Roderick approaches the Countess. RODERICK -LRB- V.O. -RRB- Despite my friend's strong warning. I resolves to become acquainted with his lady. Sir William Cosgrove was dying. His widow would be a rich prize. Why should I not win her, and, with her, the means of making in the world that figure which my genius and inclination desired? When I determine, I look upon the thing as done. RODERICK Charming lady, tell me the truth and earn my gratitude. Have you a lover? The countess laughs. COUNTESS No. RODERICK Have you had one? COUNTESS Never. RODERICK But, for a time. a passing fancy? COUNTESS Not even that. RODERICK How can I believe that there is not a man who has inspired desires in you? COUNTESS Not one. RODERICK Have you not a man whom you value? COUNTESS That man has, perhaps, not yet been born. RODERICK What! You have not met a man worthy of your attention? COUNTESS Many worthy of attention ; but valuing is something more. I could value only someone whom I loved. RODERICK Then you have never loved? Your heart is empty. COUNTESS Your word `` empty'' makes me laugh. Is it fortunate, or unfortunate? If it is fortunate, I congratulate myself. If it is unfortunate, I do not care, for I am not aware of it. RODERICK It is nonetheless a misfortune, and you will know it when you love. COUNTESS But if, when I love, I am unhappy, I will know that my empty heart was my good fortune. RODERICK That is true, but it seems to me impossible that you should be unhappy in love. COUNTESS It is only too possible. Love requires a mutual harmony which is difficult, and it is even more difficult to make it last. RODERICK I agree ; but God put us on earth to take that risk. COUNTESS A man may need to do that, and find it amusing ; but a girl is bound by other laws. RODERICK I believe you, and I see I must hasten to leave, for otherwise I shall become the unhappiest of men. COUNTESS How so? RODERICK By loving you, with no hope of possessing you. She laughs. COUNTESS You want my heart? RODERICK It is my only object. COUNTESS To make me wretched in two weeks. RODERICK To love you until death. To subscribe to all your commands. COUNTESS The amusing thing is that you deceive me without knowing, if it is true that you love me. RODERICK Deceiving someone without knowing it is something new for me. If I do not know it, I am innocent. COUNTESS But you deceive me nonetheless if I believe you, for it will not be in your power to love me when you love me no longer. Roderick laughs and kisses her. COUNTESS Be so good as to tell me with whom you think you are? RODERICK With a woman who is completely charming, be she a princess or a woman of the lowest condition, and who, regardless of her rank, will show me some kindness, tonight. She laughs. COUNTESS And if she does not choose to show you some kindness? RODERICK Then I will respectfully take leave of her. COUNTESS You will do as you please. It seems to me that such a matter can hardly be discussed until after people know each other. Do you not agree? RODERICK Yes - but I am afraid of being deceived. COUNTESS Poor man. And, for that reason, you want to begin where people end? RODERICK I ask only a payment on account today - after that, you will find me undemanding, obedient and discreet. She laughs. He kisses her again. They exit.\",\n \"EXT. ROAD - SPA - NIGHT Coach and four moves slowly along.\",\n \"INT. COACH - NIGHT They kiss. She gently struggles as he tries to undo her dress. He stops. RODERICK Will we always leave it at this? COUNTESS Always, my dear one, never any further. Love is a child to be pacified with trifles. A full diet can only kill it. RODERICK I know better than you do. Love wants a more substantial fare, and if it is stubbornly withheld, it withers away. COUNTESS Our abstinence makes our love immortal. If I loved you a quarter of an hour ago, now I should love you even more. But I should love you less if you exhausted my joy by satisfying all my desires. RODERICK Let us give each other complete happiness, and let us be sure that as many times as we satisfy our desires, they will each time be born anew. COUNTESS My husband has convinced me of the contrary. RODERICK Sir William Cosgrove is a man who is dying, and yet I envy him more than any man in Christendom. He enjoys a privilege of which I am deprived. He may take you in his arms whenever he pleases, and no veil keeps his senses, his eyes, his soul from enjoying your beauty. She silences him with her fingertips. COUNTESS Shall I tell you something - I believed what was called love came after the union - and I was surprised when my husband, making me a woman, made me know it only by pain, unaccompanied by any pleasure. I saw that my imaginings had stood me in better stead. And so we became only friends, seldom sleeping together and arousing no curiosity in each other, yet on good terms for a while, as whenever he wanted me, I was at his service, but since the offering was not seasoned with love, he found it tasteless, and seldom demanded it. RODERICK O, my dearest love. Enough! I beg you. Stop believing in your experience. You have never known love. My very soul is leaving me! Catch it on your lips, and give me yours! They kiss ardently. RODERICK -LRB- V.O. -RRB- To make a long story short, her ladyship and I were in love six hours after we met ; and after I once got into her ladyship's good graces, I found innumerable occasions to improve my intimacy, and was scarcely ever out of her company.\",\n \"EXT. COUNTESS' HOUSE - SPA - DUSK Action as per voice over. RODERICK -LRB- V.O. -RRB- I shall never forget the astonishment of Sir William Cosgrove when, on one summer evening, as he was issuing out to the play - table, in his sedan - chair, her ladyship's barouche and four came driving into the courtyard of the house which they inhabited and, in that carriage, by her ladyship's side, sat no other than `` the vulgar Irish adventurer,'' as she was pleased to call me. Sir William makes the most courtly of bows and grins, and waves his hat in as graceful a manner as his multiplicity of illness permits, and her ladyship and Roderick reply to the salutation with the utmost politeness and elegance on their part.\",\n \"INT. RODERICK'S APARTMENT - SPA - NIGHT Making ardent love. COUNTESS Without you, my dearest, I might have died without ever knowing love. Inexpressible love! God of nature! Bitterness than which nothing is sweeter, sweetness than which nothing is more bitter. Divine monster which can only be defined by paradoxes. RODERICK Let me give a thousand kisses to that heavenly mouth which has told me that I am happy. COUNTESS As soon as I saw you loved me, I was pleased, and I gave you every opportunity to fall more in love with me, being certain that, for my part, I would never love you. But after our first kiss, I found that I had no power over myself. I did not know that one kiss could matter so much. RODERICK -LRB- V.O. -RRB- We then spent an hour in the most eloquent silence except that, from time to time, her ladyship cried out : `` Oh, my God. Is it true - I am not dreaming?''\",\n \"INT. GAMING ROOM - NIGHT Roderick enters and approaches a table at which Sir William Cosgrove, who is drunk, is at play with several other jovial fellows. RODERICK -LRB- V.O. -RRB- Sir William Cosgrove, with his complication of ills, was dying before us by inches. He was continually tinkered up by doctors, and, what with my usual luck, he might be restored to health and live I do n't know how many years. If Cosgrove would not die, where was the use of my pursing his lady? But my fears were to prove groundless, for on that very night, patient nature would claim her account. SIR WILLIAM Good evening, Mr. James, have you done with my lady? RODERICK I beg your pardon? SIR WILLIAM Come, come, sir. I am a man who would rather be known as a cuckold than a fool. RODERICK I think, Sir William Cosgrove, you have had too much drink. Your chaplin, Mr. Hunt, has introduced me into the company of your lady to advise me on a religious matter, of which she is a considerable expert. Sir William Cosgrove greets this line with a yell of laughter. His laugh is not jovial or agreeable, but rather painful and sardonic, and ends in a violent fit of coughing. SIR WILLIAM Gentlemen, see this amiable youth! He has been troubled by religious scruples, and has flown for refuge to my chaplin, Mr. Hunt, who has asked for advise from my wife, Lady Cosgrove, and between them both, they are confirming my ingenious young friend in his faith. Did you ever hear of such doctors and such a disciple? RODERICK Faith, sir, if I want to learn good principles, it's surely better I should apply for them to your lady, and your chaplin than to you? SIR WILLIAM -LRB- laughing, but pretty red. -RRB- He wants to step into my shoes! He wants to step into my shoes! Roderick stares at him coldly. RODERICK Well, if my intentions are what you think they are - if I do wish to step into your shoes, what then? I have no other intentions than you had yourself. Lady Cosgrove's wealth may be great, but am I not of a generous nature enough to use it worthily? Her rank is lofty, but not so lofty as my ambition. I will be sworn to muster just as much regard for my Lady Cosgrove as you ever showed her ; and if I win her, and wear her when you are dead and gone, corbleu, knight, do you think that it will be the fear of your ghost will deter me? SIR WILLIAM Is it not a pleasure, gentlemen, for me, as I am drawing near the goal, to find my home such a happy one ; my wife so fond of me, that she is even now thinking of appointing a successor? Is n't it a comfort to see her ; like a prudent housewife, getting everything ready for her husband's departure? RODERICK I hope that you are not thinking of leaving us soon, knight? SIR WILLIAM Not so soon, my dear, as you may fancy perhaps. Why, man, I have been given over many times these four years, and there was always a candidate or two waiting to apply for the situation. Who knows how long I may keep you waiting. RODERICK Sir, let those laugh that win. SIR WILLIAM I am sorry for you Mr. James. I'm grieved to keep you or any gentleman waiting. Had you not better to arrange with my doctor or get the cook to flavor my omelette with arsenic? What are the odds, gentlemen, that I do n't live to see Mr. James hang yet? There is laughter around the table, and Sir William starts dealing the cards. VOICE Dies at Spa, in the Kingdom of Belgium, the Right Honorable Sir William Cosgrove, Knight of the Bath, Member of Parliament for Cosgrove and Devonshire and many years His Majesty's representative at various European courts. He hath left behind him a name which is endeared to all his friends for his manifold virtues and talents, a reputation justly acquired in the service of His Majesty, and an inconsolable widow to deplore his loss. Sir Williams keels over dead.\",\n \"INT. CHURCH - DAY The wedding of Roderick and the Countess. The service is preformed by Reverend Hunt, her ladyship's chaplain. RODERICK -LRB- V.O. -RRB- A year from that day, on the fifteenth of May, in the year 1773, I had the honor and happiness to lead to the altar Victoria, Countess of Cosgrove, widow of the late Right Honorable Sir William Cosgrove, K.B. I had procured His Majesty's gracious permission to add the name of my lovely lady to my own, and, henceforward, assumed the title of James Cosgrove.\",\n \"EXT. A GARDEN - LONDON - DAY The Wedding reception. Roderick and the Countess are approached by young Lord Brookside, aged 12. COUNTESS My Lord Brookside, come and embrace your papa! Brookside walks slowly towards them, and shakes his fist in Roderick's face. BROOKSIDE He, my father! I would as soon call one of your ladyship's footmen, papa! Roderick laughs, as the Countess unsuccessfully tries to get the boy to shake hands. COUNTESS Lord Brookside, you have offended your father. BROOKSIDE Mother, you have offended my father. RODERICK -LRB- V.O. -RRB- It was a declaration of war to me, as I saw at once ; though I declare I was willing enough to have lived with him on terms of friendliness. But as men serve me, I serve them. Who can blame me for my after - quarrels with this young reprobate, or lay upon my shoulders the evils which afterwards befell?\",\n \"EXT. ROAD - DAY Three carriages, each with four horses, proceed along the picturesque track. RODERICK -LRB- V.O. -RRB- After we had received the congratulations of our friends in London - I and Victoria set off to visit our country estate, Castle Hackton, where I had never as yet set foot.\",\n \"INT. CARRIAGE - DAY Roderick and his Lady. RODERICK -LRB- V.O. -RRB- The first days of a marriage are commonly very trying ; and I have known couples, who lived together like turtle - doves for the rest of their lives, peck each other's eyes out almost during the honeymoon. I did not escape the common lot. In our journey westwards, my Lady Cosgrove chose to quarrel with me because I had pulled out a pipe of tobacco. Lady Cosgrove was a haughty woman, and I hate pride, and I promise you that, in this instant, I overcame this vice in her. Roderick blows smoke into the Countess' face. She is shocked into an apprehensive silence.\",\n \"INT. COACH - DAY Young Lord Brookside with his governor, glowering and petulant. A parrot, in a cage, on his lap.\",\n \"EXT. ROAD - DAY As the carriages drive past, there is a band, floral arches, flags, church bells ringing. The parson and the farmers assemble in their best by the roadside, and the school - children and the laboring people are loud in their `` hurrahs'' for her ladyship. Roderick flings pennies among the cheering tenants, from two bags of coppers, stored in the carriage for the occasion.\",\n \"EXT. CASTLE HACKTON - DAY Fifty, or so, servants have turned out to greet their mistress, and their new master. The land steward, who is the senior servant, introduces the others - the clerk of the kitchen, clerk of the stables, head gardener, ladies in waiting, butler, valet, chef, cook. RODERICK -LRB- V.O. -RRB- I had not arrived at the pitch of prosperity, and having, at thirty years of age, by my own merits and energy, raised myself to one of the highest social positions that any man in England could occupy, I determined to enjoy myself as becomes a man of quality for the remainder of my life.\",\n \"INT. STABLES - DAY Roderick and his beautiful horses.\",\n \"EXT. A STREAM - DAY Roderick and some companions fishing.\",\n \"EXT. FIELDS - DAY Roderick and his friends riding.\",\n \"EXT. FIELDS - DAY Roderick and friends shooting.\",\n \"INT. CASTLE HACKTON - DAY Roderick having his portrait painted by a miniaturist. RODERICK -LRB- V.O. -RRB- But it was not meant for me to finish my life as a man of quality and position. Indeed, I am one of those born clever enough at gaining a fortune, but incapable of keeping one ; for the qualities and energy, which lead a man to accept the first, are often the very causes of his ruin in the latter case ; indeed, I know of no other reason for the misfortunes which finally befell me.\",\n \"INT. CASTLE HACKTON - COUNTESS' BEDROOM - DAY RODERICK -LRB- V.O. -RRB- At the end of the year, Lady Cosgrove presented me with a son ; Patrick Cosgrove, I called him, in compliment to my royal ancestry, but what more had I to leave him than a noble name?\",\n \"EXT. COSGROVE HOUSE - LONDON - DAY Two coaches pull up, and the Countess and Roderick exit. Servants remove their luggage and baby Patrick. RODERICK -LRB- V.O. -RRB- We spent the season in London at our house in Berkeley Square.\",\n \"INT. COSGROVE HOUSE - BEDROOM - NIGHT The Countess alone and depressed. RODERICK -LRB- V.O. -RRB- Her ladyship and I lived, for a while, pretty separate when in London. She preferred quiet, or, to say the truth, I preferred it, being a great friend to a modest, tranquil behavior in woman and a taste for the domestic pleasures.\",\n \"INT. COSGROVE HOUSE - LONDON - DAY Several cuts of the Countess, caring for the infant, Patrick. RODERICK -LRB- V.O. -RRB- Besides, she was a mother, and had great comfort in the dressing, educating, and dandling of our little Patrick for whose sake it was fit that she should give up the pleasures and frivolities of the world ; so she left that part of the duty of every family of distinction to be performed by me.\",\n \"INT. THEATER LOBBY - NIGHT Roderick arriving with a party of friends, escorting a beautiful woman.\",\n \"INT. COSGROVE HOUSE - LONDON - DAY Countess crying and having an argument with Roderick. Live dialogue under voice over. RODERICK -LRB- V.O. -RRB- Her ladyship's conversations with me were characterized by a stupid despair, or a silly blundering attempt at forced cheerfulness, still more disagreeable ; hence, our intercourse was but trifling, and my temptations to carry her into the world or to remain in her society of necessity exceedingly small.\",\n \"INT. COSGROVE HOUSE - DRAWING ROOM - LONDON - NIGHT A drunken Roderick rudely demands his lady to entertain their guests. She rushes from the room in tears. Dialogue starts scene, goes under for voice over, then ends scene. RODERICK -LRB- V.O. -RRB- She would try my temper, at home, too, in a thousand ways. When requested by me to entertain the company with conversation, wit, and learning, of which she was a mistress ; or music, of which she was an accomplished performer, she would, as often as not, begin to cry, and leave the room. My company from this, of course, fancied I was a tyrant over her ; whereas, I was only a severe and careful guardian of a silly, bad - tempered and weak - minded lady.\",\n \"EXT. PARK - DAY Roderick strolling arm - in - arm with his Countess. RODERICK -LRB- V.O. -RRB- Despite the utter distaste with which I now regarded Lady Cosgrove, and, although I took no particular pains to disguise my feelings in general, yet she was of such a mean spirit that she pursued me with her regard, and would kindle up at the smallest kind word I spoke to her.\",\n \"INT. COSGROVE STUDY - DAY Roderick and accountant. Her ladyship is signing various documents, and orders for payment. RODERICK -LRB- V.O. -RRB- And, in these fits of love, she was the most easy creature in the world to be persuaded, and would have signed away her whole property, had it been possible. And, I must confess, it was with very little attention on my part that I could bring her into good humor, and, up to the very last day of our being together, would be reconciled to me, and fondle me, if I addressed her a single kind word. Such is female inconsistency.\",\n \"INT. COSGROVE HOUSE - DAY Roderick and the Countess fighting about her refusal to sign some papers. Live dialogue under voice over. RODERICK -LRB- V.O. -RRB- She was luckily very fond of her youngest son, and through him I had a wholesome and effectual hold on her ; for if in any of her tantrums or fits of haughtiness, she pretended to have the upper - hand, to assert her authority against mine, to refuse to sign such papers as I might think necessary for the distribution of our large and complicated property. Roderick picks up baby Patrick. RODERICK -LRB- V.O. -RRB- I would have Master Patrick carried off to Chiswick for a couple of days ; and I warrant me his lady - mother could hold out no longer and would agree to anything I proposed. The Countess rushes to the window to see the child being put into a carriage.\",\n \"INT. COSGROVE HOUSE - DAY Another quarrel. RODERICK -LRB- V.O. -RRB- Lady Cosgrove and I did not quarrel more than fashionable people do, and, for the first three years, I never struck my wife but when I was in liquor.\",\n \"INT. COSGROVE HOUSE - DAY Roderick throws a knife at young Brookside. The knife digs into an expensive antique chest, just missing the young Brookside's head. RODERICK -LRB- V.O. -RRB- When I flung the carving - knife at Brookside, I was drunk, as everybody present can testify, but as for having any systematic scheme against the poor lad, I can declare solemnly that, beyond merely hating him, I am guilty of no evil towards him.\",\n \"INT. COSGROVE HOUSE - DAY The Countess discovers Roderick making love to the child's nurse. RODERICK -LRB- V.O. -RRB- Do what one would to please her, my lady would never be happy or in good humor. And soon she added a mean, detestable jealousy to all her other faults, and would weep and wring her hands, and threaten to commit suicide, and I know not what. She screams and shouts something about suicide. Her son, Brookside, comes running in and consoles her. RODERICK -LRB- V.O. -RRB- Her death would have been no comfort to me, as I leave any person of common prudence to imagine ; for that scoundrel of a young Brookside who was about to become my greatest plague and annoyance, would have inherited every penny of the property.\",\n \"INT. COSGROVE HOUSE - LONDON - RODERICK'S STUDY - DAY Roderick, bored and distracted, sits before a stack of bills and papers, with his accountant. RODERICK -LRB- V.O. -RRB- Humble people envy us great men, and fancy that our lives are all pleasure. But the troubles of poverty, the rascality of agents, the quibbles of lawyers are endless. My life at this period seemed to consist of nothing but drafts of letters and money - brokers relative to the raising of money, and the insuring of Lady Cosgrove's life, and innumerable correspondence with upholsterers, decorators, cooks, horsekeepers, bailiffs, and stewards.\",\n \"EXT. CASTLE HACKTON - GARDENS - DAY Various cuts. Birthday fete for Patrick who is now five years old. Gaily colored tents, ponies, a puppet show, expensive presents. RODERICK -LRB- V.O. -RRB- My own dear boy, Patrick, was now five years old, and was the most polite and engaging child ever seen ; it was a pleasure to treat him with kindness and distinction ; the little fellow was the pink of fashion, beauty, and good breeding. In fact, he could not have been otherwise, with the care both his parents bestowed upon him, and the attentions which were lavished upon him in every way. Brookside and Roderick. RODERICK -LRB- V.O. -RRB- Whereas, young Brookside had grown to be a very nasty and disrespectful fellow indeed. In my company, he preserved the most rigid silence, and a haughty, scornful demeanor, which was so much the more disagreeable because there was nothing in his behavior I could actually take hold of to find fault with, although his whole conduct was insolent and supercilious to the highest degree.\",\n \"INT. CASTLE HACKTON - LIBRARY - DAY Brookside sitting alone reading a book. RODERICK -LRB- V.O. -RRB- In addition to this, the lad was fond of spending the chief part of his time occupied with the musty old books, which he took out of the library, and which I hate to see a young man of spirit pouring over.\",\n \"INT. CASTLE HACKTON - DAY Brookside and the Countess. RODERICK -LRB- V.O. -RRB- The insubordination of that boy was dreadful. He used to quote passages of `` Hamlet'' to his mother, which made her very angry. Brookside quoting `` Hamlet.'' The Countess begins to cry and leaves the room.\",\n \"INT. CASTLE HACKTON - RODERICK'S STUDY Roderick caning young Brookside. RODERICK -LRB- V.O. -RRB- As it is best to nip vice in the bud, and for a master of a family to exercise his authority in such a manner as that there may be no question about it, I took every opportunity of coming to close quarters with Master Brookside.\",\n \"INT. CASTLE HACKTON - DINING ROOM - NIGHT Many guests around the table. RODERICK -LRB- V.O. -RRB- He always chose the days when company, or the clergy, or gentry of the neighborhood were present, to make violent, sarcastic, and insolent speeches. Brookside begins to fondle and caress Patrick. BROOKSIDE Dear child, what a pity it is I am not dead for your sake! The Cosgroves would then have a worthy representative, and enjoy all the benefits of the illustrious blood of the James' of Duganstown, would they not, Mr. James Cosgrove?\",\n \"INT. RODERICK'S STUDY - NIGHT Roderick caning Brookside again. The boy bears the punishment without crying.\",\n \"EXT. CASTLE HACKTON - DAY Roderick's reunion with his mother. Present are the Countess, Patrick, Lord Brookside and others. Mrs. James flings herself into her son's arms with a scream, and with transports of joy, which can only be comprehended by women who have held, in their arms, an only child, after a twelve - year absence from him.\",\n \"INT. CASTLE HACKTON - DAY Roderick and mother feeding Patrick.\",\n \"EXT. CASTLE HACKTON - GARDEN - DAY Roderick and mother playing with Patrick in the garden.\",\n \"INT. CASTLE HACKTON - DINING ROOM - NIGHT Mother at dinner with the family, in a strained atmosphere.\",\n \"INT. PATRICK'S BEDROOM - NIGHT Roderick and his mother talk in whispers near the bed of the sleeping Patrick. MOTHER Ah, Roderick, it's a blessing to see that my darling boy has attained a position I always knew was his due, and for which I pinched myself to educate him. Little Patrick is a darling boy, and you live in great splendor, but how long will it last? Your lady - wife knows she has a treasure she could n't have had, had she taken a duke to marry her, but if, one day, she should tire of my wild Roderick and his old - fashioned Irish ways, or if she should die, what future would there be for my son and grandson?\",\n \"INT. RODERICK'S STUDY - CASTLE HACKTON - NIGHT Roderick and his mother. MOTHER You have not a penny of your own, and can not transact any business without the Countess' signature. Upon her death, the entire estate would go to young Brookside, who bears you little affection. You could be penniless tomorrow, and darling Patrick at the mercy of his stepbrother.\",\n \"INT. MOTHER'S ROOM - CASTLE HACKTON - NIGHT Roderick and his mother. MOTHER I shall tell you a secret - I shall not rest until I see you Earl of Duganstown, and my grandson, a Lord Viscount. She smooths down Roderick's hair. MOTHER This head would become a coronet.\",\n \"EXT. CASTLE HACKTON - GARDEN - DAY Roderick and Mother slowly walking and talking. Young Patrick, ahead of them sitting in a small cart, pulled by a lamb. MOTHER These things entail considerable expense, and you will need your lady's blessing, but the young boy forms the great bond of union between you and her ladyship, and there is no plan of ambition you could propose in which she would not join for the poor lad's benefit, and no expense she will not eagerly incur, if it might be any means be shown to tend to his advancement. You have important friends, and they can tell you how these things are done.\",\n \"INT. LONDON GAMING ROOM - NIGHT Standing away from the play tables, Roderick chats with Lord West, a fat giant of a man. RODERICK -LRB- V.O. -RRB- And, to be sure, I did know someone who knew precisely how these things were done, and this was the distinguished solicitor and former Government Minister, Lord West, whose acquaintance I made, as I had so many others, at the gaming table. LORD WEST Do you happen to know Gustavus Adolphus, the thirteenth Earl of Crabs? RODERICK By name only. LORD WEST Well, sir, this nobleman is one of the gentlemen of His Majesty's closet, and one with whom our revered monarch is on terms of considerable intimacy. I should say you would be wise to fix upon this nobleman your chief reliance for the advancement of your claim to the Viscounty which you propose to get.\",\n \"INT. LONDON CLUB - DAY Roderick having lunch with Lord West and the Earl of Crabs. RODERICK -LRB- V.O. -RRB- And for a five - hundred guinea fee, paid to his City law - firm, Lord West kindly arranged a meeting with that old scamp and swindler, Gustavus Adolphus, the thirteenth Earl of Crabs. EARL OF CRABS Mr. Cosgrove, when I take up a person, he or she is safe. There is no question about them any more. My friends are the best people. I do n't mean the most virtuous, or, indeed, the least virtuous, or the cleverest, or the stupidest, or the richest, or the best born, but the `` best'' - in a word, people about whom there is no question. I can not promise you how long it will take. You can appreciate it is not an easy matter. But any gentlemen with an estate, and ten - thousand a - year should have a peerage.\",\n \"INT. DRAWING ROOM - EARL OF CRABS - DAY Roderick being introduced to three noblemen, including the Duke of Rutland. RODERICK -LRB- V.O. -RRB- The striving after this peerage, I consider to have been one of the most unlucky dealings at this period. I made unheard of sacrifices to bring it about. I can tell you bribes were administered, and in high places too - so near the royal person of His Majesty that you would be astonished were I to mention what great personages condescended to receive our loans.\",\n \"INT. DRAWING ROOM - NIGHT Roderick gives a beautiful diamond to a fat princess on her birthday. He is applauded by the other guests. RODERICK -LRB- V.O. -RRB- I lavished money here, and diamonds there.\",\n \"EXT. FARMLAND - DAY Roderick and the seller, riding over a prospective property. A broker shows them a survey map of the property. RODERICK -LRB- V.O. -RRB- I bought lands at ten times there value.\",\n \"INT. SALON - LONDON - NIGHT A musical evening. RODERICK -LRB- V.O. -RRB- I gave repeated entertainments to those friends to my claims who, being about the royal person, were likely to advance it.\",\n \"INT. STATELY HOME - DAY Roderick buying pictures. RODERICK -LRB- V.O. -RRB- I purchased pictures and articles of vertu at ruinous prices.\",\n \"EXT. RACES - DAY Roderick laughing and paying a bet. RODERICK -LRB- V.O. -RRB- I lost many a bet to the royal dukes, His Majesty's brothers.\",\n \"EXT. FIELD - DAY Reviewing the company of troops. Roderick, the Earl of Crabs, the Countess, Patrick and Brookside, several princes and noblemen and the Duke of Rutland. RODERICK -LRB- V.O. -RRB- One of the main causes of expense which this ambition of mine entailed upon me was the fitting out and arming of a company of infantry from the Hackton estates, which I offered to my gracious sovereign for the campaign against the American rebels. These troops, superbly equipped and clothed, were embarked at Portsmouth in the year 1778.\",\n \"INT. ST. JAMES - RECEPTION ROOM - DAY George III meeting people and stopping to talk to Roderick. Present also is the Duke of Rutland. RODERICK -LRB- V.O. -RRB- And the patriotism of the gentlemen who raised them was so acceptable at court that, on being presented by my Lord Crabs, His Majesty condescended to notice me particularly and said : GEORGE III That's right, Mr. Cosgrove, raise another company, and go with them, too!\",\n \"INT. COFFEE HOUSE - NIGHT RODERICK -LRB- V.O. -RRB- Crabs was really one of the most entertaining fellows in the world, and I took a sincere pleasure in his company, besides the interest and desire I had in cultivating the society of the most important personages of the realm. Roderick clumsily tries to engage in conversation with the famed Dr. Johnson, on the subject of a book or play, of the day, and is rebuffed for his trouble. JOHNSON If I were you, Mr. Cosgrove, I should mind my horses and tailors and not trouble myself about letters. Laughter, Roderick bristles. RODERICK Dr. Johnson, I think you misbehave most grossly, treating my opinions with no more respect than those of a schoolboy. You fancy, sir, you know a great deal more than me, because you quote your `` Aristotle'' and `` Plato,'' but can you tell me which horse will win at Epsom Downs next week? Can you shoot the ace of spades ten times without missing? If so, talk about Aristotle and Plato with me. BOSWELL -LRB- roars. -RRB- Do you know who you're speaking to?! JOHNSON Hold your tongue, Mr. Boswell, I had no right to brag of my Greek, gentlemen, and he has answered me very well. RODERICK -LRB- pleased. -RRB- Do you know ever a rhyme for Aristotle? GOLDSMITH -LRB- laughing. -RRB- Port, if you please. JOHNSON Waiter, bring on of Captain James' rhymes for Aristotle. RODERICK -LRB- V.O. -RRB- And we had six rhymes for Aristotle before we left the coffee house that evening.\",\n \"INT. LONDON CLUB - NIGHT EARL OF CRABS Henri, this is Mr. James Cosgrove, who wishes to arrange a dinner party next week for sixty guests. HENRI I am at your service, Mr. Cosgrove. How much do you wish to spend? RODERICK As much as possible. HENRI As much as possible? RODERICK Yes, for I wish to entertain splendidly. HENRI All the same, you must name an amount. RODERICK It is entirely up to you. I want the best. EARL OF CRABS May I suggest five hundred guineas? RODERICK Will that be enough? HENRI Last month, the Duke of Suffolk spent no more. RODERICK All right, five hundred guineas.\",\n \"INT. CASTLE HACKTON - RODERICK'S STUDY - DAY Roderick is seated at a large table, stacked high with bills and letters ; his accountant is seated next to him, aided by a bookkeeper. Roderick looks at each bill and his accountant explains the charge. RODERICK -LRB- V.O. -RRB- The life I was leading was that of a happy man, but I was not happy.\",\n \"INT. CASTLE HACKTON - LONG GALLERY - DAY Roderick, walking with big strides, leads Brookside by his ear. Little Patrick runs alongside, pleading for his brother. PATRICK Papa, please do n't flog Brookside today. It was n't his fault - really is was n't. Roderick ignores him. RODERICK -LRB- V.O. -RRB- By now, young Brookside was of so wild, savage, and insubordinate a nature that I never had the least regard for him. As he grew up to be a man, his hatred for me assumed an intensity quite wicked to think of and which, I promise you, I returned with interest. He drags Brookside into his study, slamming the door behind him.\",\n \"INT. LIBRARY - DAY Roderick alone. Brookside enters with a pistol. BROOKSIDE -LRB- grinding his teeth. -RRB- Look you now, Mister Roderick James, from this moment on, I will submit to no further chastisement from you! Do you understand that? RODERICK Give me that pistol. BROOKSIDE Take heed, Mister James. I will shoot you if you lay hands on me now, or ever again. Is that entirely clear to you, sir? Roderick stares hard at him, then he laughs and sits down. RODERICK -LRB- V.O. -RRB- I decided, at once, to give up that necessary part of his education. In truth, he then became the most violent, daring, disobedient, scapegrace, that ever caused an affectionate parent pain ; he was certainly the most incorrigible.\",\n \"INT. CASTLE HACKTON - BROOKSIDE'S ROOM - DAY Brookside smashing a chair over the head of his governor, Reverend Hunt. RODERICK -LRB- V.O. -RRB- Twice or thrice, Reverend Hunt attempted to punish my Lord Brookside ; but I promise you the rogue was too strong for him, and leveled the Oxford man to the ground with a chair, greatly to the delight of little Patrick, who cried out : `` Bravo, Brooksy! Thump him, thump him!''\",\n \"EXT. CASTLE HACKTON - GARDEN - DAY Brookside and Patrick. RODERICK -LRB- V.O. -RRB- With the child, Brookside was, strange to say, pretty tractable. He took a liking to the little fellow - I like him the more, he said, because he was `` half a Cosgrove.''\",\n \"INT. CASTLE HACKTON - BALLROOM - NIGHT RODERICK -LRB- V.O. -RRB- Another day, it was Patrick's birthday, we were giving a grand ball and gala at Hackton, and it was time for my Patrick to make his appearance among us. There is a great crowding and tittering as the child comes in, led by his half - brother, who walks into the dancing - room in his stockinged feet, leading little Patrick by the hand, paddling about in the great shoes of the older. BROOKSIDE -LRB- very loudly. -RRB- Do n't you think he fits my shoes very well, Sir Richard Wargrave? Upon which, the company begins to look at each other and to titter, and his mother comes up to Lord Brookside with great dignity, seizes the child to her breast, and says : COUNTESS From the manner in which I love this child, my lord, you ought to know how I would have loved his elder brother, had he proved worthy of any mother's affection. Brookside is stunned by his mother's words. BROOKSIDE Madam, I have borne as long as mortal could endure the ill - treatment of the insolent Irish upstart, whom you have taken into your bed. It is not only the lowness of his birth, and the general brutality of his manners which disgusts me, but the shameful nature of his conduct towards your ladyship, his brutal and ungentlemanlike behavior, his open infidelity, his habits of extravagance, intoxication, his shameless robberies and swindling of my property and yours. It is these insults to you which shock and annoy me more than the ruffian's infamous conduct to myself. I would have stood by your ladyship, as I promised, but you seem to have taken latterly your husband's part ; and, as I can not personally chastise this low - bred ruffian, who, to our shame be it spoken, is the husband of my mother, and as I can not bear to witness his treatment of you, and loathe his horrible society as if it were the plague, I am determined to quit my native country, at least during his detested life, or during my own. Bursting into tears, Lady Cosgrove leaves the room. Roderick loses control, and rushes at Brookside, knocking down Lords, Dukes and Generals, left and right, who try to interfere. The company is scandalizes by the entire incident.\",\n \"INT. LONDON CLUB - NIGHT Action as per voice over. Roderick is shunned. RODERICK -LRB- V.O. -RRB- If I had murdered my lord, I could scarcely have been received with more shameful obloquy and slander than now followed me in town and country. My friends fell away from me, and a legend arose of my cruelty to my stepson.\",\n \"INT. ST. JAMES - DAY RODERICK -LRB- V.O. -RRB- My reception at court was scarcely more cordial. On paying my respects to my sovereign at St. James, His Majesty pointedly asked me when I had news of Lord Brookside. On which I replied, with no ordinary presence of mind : RODERICK Sire, my Lord Brookside has set sail to fight the rebels against Your Majesty's crown in America. Does Your Majesty desire that I should send another company to aid him? The King stares at Roderick, turns on his heel and quickly leaves the presence - chamber. Roderick is approached by the Duke of Rutland, who takes him aside into an alcove. DUKE OF RUTLAND -LRB- speaking very quietly. -RRB- Let me tell you, sir, that your conduct has been very odiously represented to the King, and has formed the subject of royal comment. The King has said, influenced by these representations, that you are the most disreputable man in the three kingdoms, and a dishonor to your name and country. Roderick begins to sputter. DUKE OF RUTLAND Hear me out, please. It has been intimated to His Majesty that you had raised the American Company for the sole purpose of getting the young Viscount to command it, and so get rid of him. And, further, that you had paid the very man in the company, who was ordered to dispatch him in the first general action. RODERICK Thus it is that my loyalty is rewarded, and my sacrifices in favor of my country viewed! DUKE OF RUTLAND As for your ambitious hopes regarding the Irish peerages, His Majesty has also let it be known that you have been led astray by that Lord Crabs, who likes to take money, but who has no more influence to get a coronet than to procure a Pope's tiara. And, if you have it in mind to call upon Lord Crabs, you will be disappointed. He left for the continent on Tuesday, and may be away for several months.\",\n \"INT. LORD WEST'S OFFICE - DAY Roderick and Lord West. RODERICK I insist upon being allowed to appear before His Majesty and clear myself of the imputations against me, to point out my services to the government, and to ask when the reward, that had been promised me, the title held by my ancestors, is again to be revived in my person. There is a sleepy coolness in the fat Lord West. He hears Roderick with half - shut eyes. When he finishes his violent speech, which he has made striding about the room, Lord West opens one eye, smiles, and says : LORD WEST -LRB- gently. -RRB- Have you done, Mr. Cosgrove? RODERICK Yes! LORD WEST Well, Mr. Cosgrove, I'll answer you point by point. The King is exceedingly averse to make peers, as you know. Your claim, as you call them, have been laid before him, and His Majesty's gracious reply was, that you were the most impudent man in his dominions, and merited a halter, rather than a coronet. As for withdrawing your support from us, you are perfectly welcome to carry yourself whithersoever you please. And, now, as I have a great deal of occupation, perhaps you will do me the favor to retire, or tell me if there is anything else in the world in which I can oblige you. So saying, Lord West raises his hand lazily to the bell, and bows Roderick out.\",\n \"INT. CASTLE HACKTON - RODERICK'S STUDY - DAY Roderick and his accountant going over the bills which he has heaped on the table. RODERICK -LRB- V.O. -RRB- The news of His Majesty's disregard were not long in getting around, and, in a very short time, all the bills came down upon me together - all the bills I had been contracting for the years of my marriage. I wo n't cite their amount ; it was frightful. I was bound up in an inextricable toil of bills and debts, or mortgages and insurances, and all the horrible evils attendant upon them.\",\n \"EXT. CASTLE HACKTON - GROUNDS - DAY Roderick walking alone. RODERICK -LRB- V.O. -RRB- Was it my own want of style, or my want of a fortune? I know not. Now I was arrived at the height of my ambition, but both my skill and my luck seemed to be deserting me. Everything I touched, crumbled in my hands ; every speculation I had, failed ; every agent I trusted, deceived me. My income was saddled with hundreds of annuities, and thousands of lawyers' charges, and I felt the net drawing closer and closer around me, and no means to extricate myself from its toils. All my schemes had turned out failures.\",\n \"INT. LONDON GAMING CLUB - NIGHT Roderick at the gaming table. RODERICK -LRB- V.O. -RRB- My wife's moody despondency made my house and home not over - pleasant ; hence, I was driven a good deal abroad, where as play was the fashion in every club, tavern, and assembly, I, of course, was obliged to resume my old habit, and to commence as an amateur those games at which I was once unrivaled in Europe. Roderick loses a large amount of money. RODERICK -LRB- V.O. -RRB- I had a run of ill - luck at play, and was forced to meet my losses by the most shameful sacrifices to the money - lenders, and was compelled to borrow largely upon my wife's annuities, ensuring her ladyship's life, which was the condition for every loan against her property.\",\n \"INT. LONDON OFFICE - INSURANCE BROKER - DAY Roderick and the broker. BROKER Your wife's life is as well known among the insurance societies in London, as any woman in Christendom, and, I'm sorry to say there is not one of them willing to place another policy against her ladyship's life. One of them even had the impudence to suggest that your treatment of the Countess did not render her life worth a year's purchase.\",\n \"EXT. STUD FARM - DAY Roderick buying a horse. RODERICK -LRB- V.O. -RRB- In the midst of my difficulties, I promised to buy a little horse for my dear little Patrick, which was to be a present for his eighth birthday, that was now coming on. I may have had my faults, but no man shall dare to say of me that I was not a good and tender father. Roderick admires the horse. RODERICK -LRB- V.O. -RRB- It was a beautiful little animal, and stood me in a good sum. I never regarded money for that dear child.\",\n \"EXT. ROAD - DAY The horse kicks off one of the horse - boys who tries to ride him. RODERICK -LRB- V.O. -RRB- But the horse was a bit wild, and he kicked off one of the horse - boys who rode him at first, and broke the lad's leg.\",\n \"EXT. ROAD - DAY Roderick riding the horse. The horse - boy lies in the back of a wagon. RODERICK -LRB- V.O. -RRB- But he was a beautiful animal and would make a fine horse for Patrick after he had a bit of breaking - in.\",\n \"EXT. ROAD - NEAR CASTLE HACKTON - DAY Roderick dismounts and gives the horse to one of the horse - boys. RODERICK Timmy, take the injured lad to see the doctor, and then bring the horse to Doolan's farm, and tell him to break him in thoroughly. Tell him it's for little Patrick, and that I'll be over to see him next week. HORSE-BOY Yes, sir. RODERICK One more thing, and listen well, I do n't want little Patrick to know where the horse is being kept. It's going to be surprise for his birthday.\",\n \"EXT. CASTLE HACKTON - DAY Patrick rushes out to greet his father. PATRICK Hello, papa! Roderick picks him up in his arms, and kisses him. PATRICK Did you buy the horse, papa? RODERICK Now, just have a little patience, my boy. Your birthday is n't until next week. PATRICK But I will have it on my birthday, wo n't I? RODERICK Well, we'll just have to wait and see, wo n't we? He walks up the steps holding Patrick, who hugs and kisses him. RODERICK -LRB- V.O. -RRB- My son, little Patrick Cosgrove, was a prince ; his breeding and manners, even at his early age, showed him to be worthy of the two noble families from whom he was descended, and I do n't know what high hopes I had for the boy, and indulged in a thousand fond anticipations as to his future success and figure in the world, but stern Fate had determined that I should leave none of my race behind me.\",\n \"INT. CASTLE HACKTON - DINING ROOM - NIGHT Roderick is drunk. Patrick is brought in by his governor, Hunt, to say good night. His kisses his mother first, then approaches Roderick. PATRICK -LRB- kissing him. -RRB- Good night, papa. RODERICK Good night, my little darling. PATRICK Papa? RODERICK Yes? PATRICK One of the boys in the stable told Nelly that you've already bought my horse, and that it's at Doolan's farm, where Mick the groom is breaking it in. Is that true, papa? RODERICK -LRB- angered. -RRB- What the devil? What kind of fools do we have here? Pottle, who told the lad this story? HUNT I do n't know, sir. PATRICK Then it's true! It's true! Oh, thank you, papa! Thank you! He hugs his father. COUNTESS Promise me, Patrick, that you will not ride the horse except in the company of your father. PATRICK -LRB- unconvincingly. -RRB- I promise, mama. RODERICK I promise your lordship a good flogging if you even so much as go to Doolan's farm to see him. PATRICK Yes, papa.\",\n \"INT. RODERICK'S BEDROOM - DAY Roderick is awakened by his valet and Hunt, the governor. RODERICK Yes? VALET I'm sorry to disturb you, sir, but Mr. Hunt has something important to tell you. RODERICK Yes? HUNT I think Master Patrick has disobeyed your orders and stolen off to Doolan's farm. When I went to the lad's room this morning, his bed was empty. One of the cooks said she saw him go away before daybreak. He must have slipped through my room while I was asleep.\",\n \"EXT. CASTLE HACKTON - STABLES - DAY Roderick, in a rage, taking a great horse - whip, gallops off after the child.\",\n \"EXT. ROAD - CASTLE HACKTON - DAY Roderick comes upon a sad procession of farmers, moaning and howling, the black horse led by the hand, and, on a door that some of them carry, little Patrick. He lies in his little boots and spurs, and his little coat of scarlet and gold. His face is quite white, and he smiles as he holds a hand out to Roderick and says painfully : PATRICK You wo n't whip me, will you, papa? Roderick bursts out into tears in reply.\",\n \"INT. PATRICK'S BEDROOM - NIGHT Some doctors around the bed, Roderick and the Countess anxiously waiting upon them. RODERICK -LRB- V.O. -RRB- The doctors were called, but what does a doctor avail in a contest with the grim, invincible enemy? Such as came could only confirm our despair by their account of the poor child's case. His spine was injured, the lower half of him was dead when they laid him in bed at home. The rest did not last long, God help me! He remained yet for two days with us, and a sad comfort it was to think he was in no pain.\",\n \"INT. PATRICK'S BEDROOM - DAY Roderick, Countess and Patrick. PATRICK -LRB- weakly. -RRB- Papa, I beg you and mama to pardon me for any acts of disobedience I have been guilty of towards you. COUNTESS -LRB- weeping. -RRB- Oh, my little angel, you have done nothing for which you need pardon. PATRICK Where is Brooksy? I would like to see him. RODERICK Your bother is in America fighting the rebels. PATRICK Is he all right, papa? RODERICK Yes, he's fine. PATRICK Brooksy was better than you, papa, he used not to swear so, and he taught me many good things while you were away. Patrick takes a hand of his mother and of Roderick, in each of his little clammy ones. PATRICK I beg you not to quarrel so, but to love each other, so that we might meet again in heaven where Brooksy told me quarrelsome people never go. His mother is much affected by these admonitions, and Roderick is too. Patrick gives Roderick a ring from his finger, and a locket to his mother. He says that these gifts are so that they will not forget him. RODERICK -LRB- V.O. -RRB- At last, after two days, he died. There he lay, the hope of my family, the pride of my manhood, the link which kept me and my Lady Cosgrove together.\",\n \"EXT. CHURCH - GRAVEYARD - DAY Funeral. RODERICK -LRB- V.O. -RRB- I wo n't tell you with what splendor we buried him, but what avail are undertakers' feathers and heralds' trumpery.\",\n \"EXT. CASTLE HACKTON - STABLE - DAY Roderick enters the stable and, after a few seconds, we hear a pistol shot. He exits rapidly, the smoking pistol still in his hand.\",\n \"INT. CASTLE HACKTON - VARIOUS - DAY AND NIGHT The Countess : Praying. Waking up screaming. Fits of crying. Severely depressed. RODERICK -LRB- V.O. -RRB- Lady Cosgrove, always vaporish and nervous, after our blessed boy's catastrophe, became more agitated than ever, and plunged into devotion with so much fervor that you would have fancied her almost distracted at times. Countess sees visions. RODERICK -LRB- V.O. -RRB- She imagined she saw visions. She said an angel from heaven told her that Patrick's death was a punishment to her for her neglect of her firstborn. Then she would declare that Brookside was dead.\",\n \"INT. RODERICK'S STUDY - DAY Roderick and his accountant. Bills, bills, bills. RODERICK -LRB- V.O. -RRB- By now, my financial affairs were near to ruin. I could not get a guinea from any money - dealer in London. Our rents were in the hands of receivers by this time, and it was as much as I could do to get enough money from the rascals to pay my wine - merchants their bills. Our property was hampered, and often as I applied to my lawyers and agents for money, would come a reply demanding money of me for debts and pretended claims which the rapacious rascals said they had on me.\",\n \"EXT. CASTLE HACKTON - DAY Mother arrives. Roderick greets her. Servants unload her bags. RODERICK -LRB- V.O. -RRB- My mother was the only person who, in my misfortune, remained faithful to me - indeed, she has always spoken of me in my true light, as a martyr to the rascality of others, and a victim of my own generous and confiding temper.\",\n \"INT. CASTLE HACKTON - DAY Mother supervising kitchen staff. RODERICK -LRB- V.O. -RRB- She was an invaluable person to me in my house, which would have been at rack and ruin before, but for her spirit of order and management and her excellent economy in the government of my rapidly dwindling household staff.\",\n \"EXT. CASTLE HACKTON - GARDEN - DAY Roderick and his mother. RODERICK -LRB- V.O. -RRB- If anything could have saved me from the consequences of villainy in others, it would have been the admirable prudence of that worthy creature.\",\n \"INT. CASTLE HACKTON - DRAWING ROOM - NIGHT Action as per voice over. RODERICK -LRB- V.O. -RRB- She never went to bed until all the house was quiet and all the candles out ; you may fancy that this was a matter of some difficulty with a man of my habits who had commonly a dozen of jovial fellows to drink with me every night, and who seldom, for my part, went to bed sober.\",\n \"INT. CASTLE HACKTON - RODERICK'S BEDROOM - NIGHT Actions as per voice over. RODERICK -LRB- V.O. -RRB- Many and many a night, when I was unconscious of her attention, has that good soul pulled my boots off, and seen me laid by my servants snug in bed, and carried off the candle herself.\",\n \"INT. CASTLE HACKTON - RODERICK'S BEDROOM - DAY Action as per voice over. RODERICK -LRB- V.O. -RRB- and been the first in the morning, too, to bring me my drink of small beer. It was my mother's pride that I could drink more than any man in the country.\",\n \"INT. RODERICK'S STUDY - NIGHT Roderick and his mother holding a letter before a fire, which slowly brings out the writing in lemon juice between the widely - spaced lines of directions to her milliner. RODERICK -LRB- V.O. -RRB- My mother discovered that always, before my lady - wife chose to write letters to her milliner, she had need of lemons to make her drink, as she said, and this fact, being mentioned to me, kind of set me a - thinking. RODERICK -LRB- reading letter aloud. -RRB- `` This day, three years ago, my last hope and pleasure in life was taken from me, and my dear child was called to Heaven. Where is his neglected brother, whom I suffered to grow up unheeded by my side, and whom the tyranny of the monster to whom I am united drove to exile, and, perhaps to death? I pray the child is still alive and safe. Charles Brookside! Come to the aide of a wretched mother, who acknowledges her crime, her coldness towards you, and now bitterly pays for her error! What sufferings, what humiliations have I had to endure! I am a prisoner in my own halls. I should fear poison, but then I know the wretch has a sordid interest in keeping me alive, and that my death would be the signal for his ruin. But I dare not stir without my odious, hideous, vulgar gaoler, the horrid Irish woman, who purses my every step. I am locked into my chamber at night, like a felon, and only suffered to leave it when ordered into the presence of my lord, to be present at his orgies with his boon - companions, and to hear his odious converse as he lapses into the disgusting madness of intoxication.''\",\n \"INT. CASTLE HACKTON - DINING ROOM - NIGHT Roderick, and the Countess and mother, at a silent dinner. RODERICK -LRB- V.O. -RRB- It was not possible to recover the name for whom the note was intended, but it was clear that, to add to all my perplexities, three years after my poor child's death, my wife, whose vagaries of temper and wayward follies I had borne with for twelve years, wanted to leave me. I decided it best not to reveal to her ladyship our discovery, that we might still intercept and uncover further schemes with might be afoot.\",\n \"INT. CASTLE HACKTON - VARIOUS - DAY AND NIGHT A few cuts showing Mother keeping an eye on the Countess. RODERICK -LRB- V.O. -RRB- Yet I was bound to be on my guard that she should not give me the slip. Had she left me, I was ruined the next day. I set my mother to keep sharp watch over the moods of her ladyship, and you may be sure that her assistance and surveillance were invaluable to me. If I had paid twenty spies to watch her lady, I should not have been half so well served as by the disinterested care and watchfulness of my excellent mother.\",\n \"EXT. CASTLE HACKTON - GARDENS - DAY Roderick walking with the Countess. RODERICK -LRB- V.O. -RRB- My Lady Cosgrove's relationship with me was a singular one. Her life was passed in a series of crack - brained sort of alternation between love and hatred for me. We would quarrel for a fortnight, then we should be friends for a month together sometimes. One day, I was joking her, and asking her whether she would take the water again, whether she had found another lover, and so forth. She suddenly burst out into tears, and, after a while, said to me : COUNTESS Roderick, you know well enough that I have never loved but you! Was I ever so wretched that a kind word from you did not make me happy? Ever so angry, but the least offer of good - will on your part did not bring me to your side? Did I not give a sufficient proof of my affection for you in bestowing one of the finest fortunes of England upon you? Have I repined or rebuked you for the way you have wasted it? No, I loved you too much and too fondly ; I have always loved you. From the first moment I saw you, I saw your bad qualities, and trembled at your violence ; but I could not help loving you. I married you, though I knew I was sealing my own fate in doing so, and in spite of reason and duty. What sacrifice do you want from me? I am ready to make any, so you will but love me, or, if not, that at least, you will gently us me. Roderick kisses her. RODERICK -LRB- V.O. -RRB- I was in a particularly good humor that day, and we had a sort of reconciliation.\",\n \"INT. CASTLE HACKTON - NIGHT Roderick and his mother. MOTHER Depend on it, artful hussy has some other scheme in her head now. RODERICK -LRB- V.O. -RRB- The old lady was right, and I swallowed the bait which her ladyship had prepared to entrap me as simply as any gudgeon takes a hook.\",\n \"EXT. CASTLE HACKTON - DAY Arrival of Mr. Newcombe, the money - broker. RODERICK -LRB- V.O. -RRB- I had hired a money - broker especially to find some means of my making a loan. After several months without success, it was with some considerable interest that I received his visit.\",\n \"INT. RODERICK'S STUDY - DAY Roderick and the money - broker, Mr. Newcombe. NEWCOMBE I have good news for you, Mr. Cosgrove. The firm of Bracegirdle and Chatwick, in the city of London, are prepared to lend you 20,000 pounds, pledged against your interest in the Edric mines. They will redeem the encumbrances against the property, which amount to some 10,000 pounds, and take a twenty - year working lease on the mines. They will lend you the 20,000 pounds against the lease income, which they will apply to the loan as it comes in, and they will make a charge of 18 % per annum interest on the outstanding loan balance. RODERICK Mr. Newcombe, I have made some difficult loans during the past few years, at very onerous terms, but 18 % a year interest seems very stiff indeed. NEWCOMBE Considering your financial circumstances, Mr. Cosgrove, it has been impossible to find anyone at all prepared to do any business with you. I think you may count yourself lucky to have this opportunity. But, obviously, if you would reject this offer, I shall keep trying to find a better one. RODERICK -LRB- after a pause. -RRB- I am prepared to accept the terms, Mr. Newcombe. NEWCOMBE There are a few other points we should discuss. The loan agreement can only be executed by her ladyship's signature, and provided that Bracegirdle and Chatwick can be assured of her ladyship's freewill in giving her signature. RODERICK Provided that they can be assured of her ladyship's freewill? Are you serious? NEWCOMBE May I be quite frank with you? RODERICK Yes, of course. NEWCOMBE Mister Bracegirdle said to me that he had heard her ladyship lives in some fear of her life, and meditated a separation, in which case, she might later repudiate any documents signed by herself while in durance, and subject them, at any rate, to a doubtful and expensive litigation. They were quite insistent on this point, and said they must have absolute assurance of her ladyship's perfect freewill in the transaction before they would advance a shilling of their capital. RODERICK I see. NEWCOMBE When I asked them in what form they would accept her ladyship's assurances, they said that they were only prepared to accept them if her ladyship confirms her written consent by word of mouth, in their presence, at their counting - house in Birchin Lane, London. I requested they come here, and save her ladyship and yourself the inconvenience of the trip to London, but they declined, saying that they did not wish to incur the risk of a visit to Castle Hackton to negotiate, as they were aware of how other respectable parties, such as Messrs. Sharp and Salomon had been treated here.\",\n \"INT. CASTLE HACKTON - DAY Roderick and his mother. MOTHER Depend on it, there is some artifice. When once you get into that wicked town, you are not safe. There are scores of writs out against you for debt. If you are taken in London, and thrown into prison, your case is hopeless. RODERICK Mother dear, we are now living off our own beef and mutton. We have to watch Lady Cosgrove within and the bailiffs without. There are certain situations in which people can not dictate their own terms ; and faith, we are so pressed now for money, that I would sign a bond with old Nick himself, if he would provide a good round sum. With this money, we can settle our principal debts and make a fresh start. MOTHER Roderick, you must listen to me. As soon as they have you in London, they will get the better of my poor innocent lad ; and the first thing that I shall hear of you will be that you are in trouble. You will be a victim of your own generous and confiding nature.\",\n \"INT. CASTLE HACKTON - COUNTESS' BEDROOM Roderick and the Countess. COUNTESS Why go, Roderick? I am happy here, as long as you are kind to me, as you now are. We ca n't appear in London as we ought ; the little money you will get will be spent, like all the rest has been. Let us stay here and be content. She takes his hand and kisses it.\",\n \"INT. CASTLE HACKTON - DAY Mother and Roderick. MOTHER Humph! I believe she is at the bottom of it - the wicked schemer.\",\n \"EXT. COUNTRY ROAD - DAY Roderick's carriage moving along. RODERICK -LRB- V.O. -RRB- We did not start in state, you may be sure. We did not let the country know we were going, or leave notice of adieu with our neighbors. The famous Mr. James Cosgrove and his noble wife traveled in a hack - chaise and pair.\",\n \"INT. COACH - DAY The Countess lays her head on Roderick's shoulder and smiles. RODERICK -LRB- V.O. -RRB- When a man is going to the devil, how easy and pleasant a journey it is! The thought of the money quite put me in a good humor, and my wife, as she lay on my shoulder in the post - chaise, going to London, said it was the happiest ride she had taken since our marriage.\",\n \"EXT. INN - DUSK The carriage stops and they disembark. RODERICK -LRB- V.O. -RRB- One night we stayed at Reading.\",\n \"INT. INN - NIGHT Roderick and his wife at dinner. RODERICK -LRB- V.O. -RRB- My lady and I agreed that, with the money, we would go to France, and wait there for better times, and that night, over our supper, formed a score of plans both for pleasure and retrenchment. You would have thought it was Darby and Joan together over their supper.\",\n \"INT. BEDROOM - NIGHT Roderick and his wife making love. RODERICK -LRB- V.O. -RRB- O woman! Woman! When I recollect Lady Cosgrove's smiles and blandishments, how happy she seemed to be on that night! What an air of innocent confidence appeared in her behavior, and what affectionate names she called me! I am lost in wonder at the depth of her hypocrisy. Who can be surprised that an unsuspecting person like myself should have been a victim to such a consummate deceiver?\",\n \"EXT. GRAY'S INN OFFICE - DAY The coach drives up. RODERICK -LRB- V.O. -RRB- We were in London at three o'clock, an half - an - hour before the time appointed.\",\n \"INT. STAIRCASE - DAY Roderick and the Countess looking for the office. RODERICK -LRB- V.O. -RRB- I easily found out Mr. Tapewell's apartment : a gloomy den it was, and in an unlucky hour, I entered it. They climb up dirty backstairs, lit by a feeble lamp, and the dim sky of a dismal London afternoon. The Countess seems agitated and faint. When they get to the door, she stops in front of it. COUNTESS Roderick - do n't go in. I am sure there is danger. There's time yet, let us go back - anywhere! The Countess has put herself before the door in a theatrical attitude and takes Roderick's hand. He pushes her away to one side. RODERICK Lady Cosgrove, you are an old fool. COUNTESS Old fool! She jumps at the bell, which is quickly answered by a moldy - looking gentleman in an unpowered wig. COUNTESS Say Lady Cosgrove is here! She stalks down the passage, muttering : `` Old Fool.''\",\n \"INT. MR. TAPEWELL'S OFFICE - DAY Tapewell is in his musty room, surrounded by his parchments and tin boxes. He advances and bows, begs her ladyship to be seated, and points towards a chair for Roderick, which he takes, rather wondering at the lawyer's insolence. The lawyer retreats to a side - door, saying he will be back in a moment. In the next moment, he reenters, bringing with him another layer, six constables in red waist - coats, with bludgeons and pistols, and Lord Brookside. Lady Cosgrove flings herself into the arms of her son, crying and whimpering and calling him her savior, her preserver, her gallant knight. Then, turning to Roderick, she pours out a flood of invective which quite astonishes him. COUNTESS Oh fool as I am, I have outwitted the most crafty and treacherous monster under the sun. Yes, I was a fool when I married you, and gave up other and nobler hearts for your sake - yes, I was a fool when I forgot my name and lineage to unite myself with a base - born adventurer - a fool to bear, without repining, the most monstrous tyranny that ever woman suffered ; to allow my property to be squandered ; to see women as base and low - born as yourself. TAPEWELL For heaven's sake, be calm. Tapewell bounds back behind the constables, seeing a threatening look in Roderick's eye. The Countess continues in a strain of incoherent fury, screaming against Roderick, and against his mother, and always beginning and ending the sentence with the word `` fool.'' RODERICK You did n't tell all, my lady - I said `` old'' fool. BROOKSIDE I have no doubt that you said and did, sir, everything that a blackguard could say or do. This lady is now safe under the protection of her relations and the law, and need fear your infamous persecutions no longer. RODERICK But you are not safe, and as sure as I am a man of honor, I will have your heart's blood. TAPEWELL Take down his words, constables ; swear the peace against him. BROOKSIDE I would not sully my sword with the blood of such a ruffian. If the scoundrel remains in London another day, he will be seized as a common swindler. RODERICK Where's the man who will seize me? He draws his sword, placing his back to the door. RODERICK Let the scoundrel come! You - you cowardly braggart, come first, if you have the soul of a man! The Countess and the bailiffs move away. TAPEWELL We are not going to seize you! My dear sir, we do n't wish to seize you ; we will give you a handsome sum to leave the country, only leave her ladyship in peace. BROOKSIDE And the country will be rid of such a villain. As Brookside says this, he backs into the next room. The lawyer follows him, leaving Roderick alone in the company of the constables who are all armed to the teeth. RODERICK -LRB- V.O. -RRB- I was no longer the man I was at twenty, when I should have charged the ruffians, sword in hand, and sent at least one of them to his account. I was broken in spirit, regularly caught in the toils, utterly baffled and beaten by that woman. Was she relenting at the door, when she paused and begged me to turn back? Had she not a lingering love for me still? Her conduct showed it, as I came to reflect on it. It was my only chance now left in the world, so I put down my sword upon the lawyers desk. Roderick puts his sword down on the lawyer's desk. RODERICK Gentlemen, I shall have no violence ; you may tell Mr. Tapewell I am quite ready to speak with him when he is at leisure. Roderick sits down and folds his arms quite peaceably.\",\n \"EXT. COFFEE HOUSE - NEAR GRAY'S INN - DAY\",\n \"INT. RODERICK'S ROOM IN COFFEE HOUSE - DAY RODERICK -LRB- V.O. -RRB- I was instructed to take a lodging for the night in a coffee house near Gray's Inn, and anxiously expected a visit from Mr. Tapewell. Tapewell talking to Roderick. TAPEWELL I have been authorized by Lady Cosgrove and her advisors to pay you an annuity of 300 pounds a year, specifically on the condition of you remaining abroad out of the three kingdoms, and to be stopped on the instant of your return. I advise you to accept it without delay for you know, as well as I do, that your stay in London will infallibly plunge you in gaol, as there are innumerable writs taken out against you here and in the west of England, and that your credit is so blown upon that you could not hope to raise a shilling. I will leave you the night to consider this proposal, but if you refuse, the family will proceed against you in London, and have you arrested. If you accede, a quarter salary will be paid to you at any foreign port you should prefer. RODERICK Mr. Tapewell, I do not require a night to consider this proposal. What other choice has a poor, lonely and broken - hearted man? I shall take the annuity, and leave the country. MR. TAPEWELL I am very glad to hear that you have come to this decision, Mr. Cosgrove. I think you are very wise. There is a knock at the door and Roderick opens it. Brookside enters with four constables armed with pistols. The dialogue for this scene has to be written. Brookside has gone against the bargain, and has decided to have Roderick arrested upon one of the many writs out against him for debt. Mr. Tapewell is surprised and complains weakly that Brookside is acting in bad faith. Brookside brushes aside his objections. Roderick is defeated, and meekly sits down in a chair. The following lines are read over Roderick being shackled and led out of the room. NARRATOR Mr. James Cosgrove's personal narrative finishes here, for the hand of death interrupted the ingenious author soon after the period which this memoir was compiled, after he had lived nineteen years an inmate of the Fleet Prison, where the prison records state he died of delirium tremens.\",\n \"EXT. FLEET PRISON - DAY His mother, now very old and hobbled with arthritis, enters the prison, carrying a basket on her arm. NARRATOR His faithful old mother joined him in his lonely exile, and had a bedroom in Fleet Market over the way. She would come and stay the whole day with him in prison working.\",\n \"INT. CASTLE HACKTON - COUNTESS' STUDY Signing a payment draft, the Countess sighs and gazes out of the large window. NARRATOR The Countess was never out of love with her husband, and, as long as she lived, James enjoyed his income of 300 pounds per year and was, perhaps, as happy in prison, as at any period of his existence.\",\n \"INT. CASTLE HACKTON - STUDY - DAY Brookside tearing up the payment draft presented to him by his accountant. NARRATOR When her ladyship died, her son sternly cut off the annuity, devoting the sum to charities, which, he said, would make a nobler use of it than the scoundrel who had enjoyed it hitherto.\",\n \"INT. FLEET PRISON - DAY Roderick, now grey - haired, blacking boots. NARRATOR When the famous character lost his income, his spirit entirely failed. He was removed into the pauper's ward, where he was known to black boots for wealthier prisoners, and where he was detected in stealing a tobacco box.\",\n \"INT. FLEET PRISON - DAY Roderick and his mother. Action as per voice over. NARRATOR His mother attained a prodigious old age, and the inhabitants of the place in her time can record, with accuracy, the daily disputes which used to take place between mother and son, until the latter, from habits of intoxication, falling into a state of almost imbecility, was tended by his tough old parent as a baby almost, and would cry if deprived of his necessary glass of brandy. TITLE CARD It was in the reign of George III that the above - named personages lived and quarreled ; good or bad, handsome or ugly, rich or poor, they are all equal now. FADE OUT. THE END\"\n]"},"labels":{"kind":"list like","value":[1,1,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,0,1,0,1,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,0,0,0,1,1,0,1,0,0,1,0,0,1,1,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0],"string":"[\n 1,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0\n]"},"summary":{"kind":"string","value":"An omniscient (though unreliable[6]) narrator (voiced by Michael Hordern) informs us that in 1750s Ireland, the father of Redmond Barry (Ryan O'Neal) is killed in a duel over a disputed horse sale. The widow (Marie Kean), disdaining offers of marriage, devotes herself to her only son. As a teenager, Barry falls in love with his older cousin, Nora Brady (Gay Hamilton). Though she seduces him, she later drops Barry (who has no money) for the well-off English Captain John Quin (Leonard Rossiter). Nora and her family plan to relieve their poverty with an advantageous marriage, but Barry refuses to accept the situation and shoots Quin in a duel. Barry flees to Dublin, but en route is robbed of purse and equipment by Captain Feeney (Arthur O'Sullivan), a famous highwayman. Broke, Barry joins the British army, whereupon he reunites with Captain Grogan (Godfrey Quigley), a family friend, who informs him that, in fact, he did not kill Quin — Barry's dueling pistol was loaded with tow. The duel was staged by Nora's family to get rid of Barry so that their family finances would be secured through the marriage of Nora and Quin. Barry's regiment is sent to Germany to fight in the Seven Years' War, where Captain Grogan is fatally wounded by the French in a skirmish at the Battle of Minden. Barry deserts the army, stealing an officer courier's uniform, horse, and identification papers. En route to neutral Holland he encounters the Prussian Captain Potzdorf (Hardy Krüger), who, seeing through his disguise, offers him the choice of being turned back over to the British where he will be shot as a deserter, or enlisting in the Prussian army. Barry enlists in his second army and later receives a special commendation from Frederick the Great for saving Potzdorf's life in a battle. After the war ends in 1763, Barry is employed by Captain Potzdorf's uncle in the Prussian Ministry of Police to become the servant of the Chevalier de Balibari (Patrick Magee), a professional gambler. The Prussians suspect he is a spy and send Barry as an undercover agent to verify this. Barry reveals himself to the Chevalier right away and they become confederates cheating at cards. After he and the Chevalier cheat the Prince of Tübingen at the cardtable, the Prince accuses the Chevalier (without proof) and refuses to pay his debt unless the Chevalier demands satisfaction. When Barry relays this to his Prussian handlers, they (still suspecting that the Chevalier is a spy) are wary of allowing another meeting between the Chevalier and the Prince. So, the Prussians arrange for the Chevalier to be expelled from the country. Barry conveys this plan to the Chevalier, who flees in the night. The next morning, Barry, under disguise as the Chevalier, is escorted from Prussian territory by Prussian officers. For the next few years, Barry and the Chevalier travel the spas and parlors of Europe, profiting from their gambling with Barry enforcing reluctant debtors with a duel. Seeing that his life is going nowhere, Barry decides to marry into wealth. At a gambling table in Belgium, he encounters the beautiful and wealthy Countess of Lyndon (Marisa Berenson). He seduces and later marries her after the death of her elderly husband, Sir Charles Lyndon (Frank Middlemass)."},"name":{"kind":"string","value":"Barry_Lyndon"}}},{"rowIdx":98,"cells":{"scenes":{"kind":"list like","value":["JAWS 3-D AN UNDERWATER WONDERLAND Crystal green. Beautiful fish of all colors and faces swarm happily by. A spectacular undersea garden blooms like plants touched by springtime. A quick - silver surface of color mirrors lush reef growth. SURREALISTIC CREATURES Swim, creep, crawl, stalk, hide in their endless quest to survive. FISH A beautiful aquarium of peace and tranquility. TERROR The fish suddenly explode in panic, darting in all different directions, swimming instinctively for their threatened lives. GROUPER 300 pounds. Awesome and ugly, swimming away as fast as it can go. ANOTHER ANGLE - GROUPER As we come closer on it. Closer. It glances back, eyes wide with fear of impending death. It reverses course, ATTACKING CAMERA, and the grouper gets TORN IN HALF Shredded by some unseen monster. There's a violent THRASHING SOUND and clouding of the ocean, then quiet again as chunks of tissue float in the bloody brine. GROUPER'S HEAD Drifts along, torn from its body. Bug eyes open wide in death. CAMERA Swoops around, moving quickly again. On the surface, high above, something attracts its attention. It goes to investigate. UNDERWATER SHOT OF WATER SKIERS Speeding over the surface. CAMERA Let's now refer to it as SHARK, even though we do not see it. It starts after the skiers. WATER SKIERS Tanned, healthy, all - American boys and girls. They come SHOOTING across the water in formation. SHARK POV Follows after them, curious as to what's going on. SKIERS Start forming a PYRAMID, climbing up onto each other. One of the girls is KELLY. She's blonde and adorable and is climbing onto TOD's broad shoulders. TOD The space shuttle has landed! KELLY Hold still, damn it! TOD What're you doing later? KELLY Taking my boyfriend to the airport. TOD -LRB- smiling. -RRB- I thought I was your boyfriend. SHARK POV Following along, piqued. SKIERS The pyramid is formed. The COACH in one of the speed - boats speaks through his bullhorn. COACH Looking good, kids. Real good. That's the way. Keep it nice and tight. TOD Keep it nice and tight, Kelly. KELLY -LRB- giggling. -RRB- I do n't talk that way. TOD Remember, skiers stay up longer. KELLY Shut up, Tod! Be serious! TOD I am serious. SHARK POV As it follows the skiers' wake.","INT. PRESS TENT - ARNOLD CALVIN Slick corporate vice president. Sea Kingdom is his baby. He points to a large SCALE MODEL of the park as he talks to the crowd of press people and V.I.P.'s. CALVIN Two years in the making, at a cost of seven million dollars, our new Under the Sea Kingdom is an exploration of earth's inner space, capturing the excitement and adventure of man beneath the sea. No other amusement park offer exhibits like. -LRB- points. -RRB-. Monsters of the Deep fun tunnel, with giant squids, manta rays, and moray eels. -LRB- points. -RRB- We've added to the fantasy of lost underwater treasure ships for kiddies, sunk in. -LRB- points. -RRB-. a reproduction of incredible coral reefs and caves where we've imported thousands of rare beautiful tropical fish. -LRB- points. -RRB- And in this enclosed exhibit is Shark Encounter, where moving walkways take you safely through shark - infested waters. A pretty woman REPORTER has a question. REPORTER What kind of sharks, Mister Calvin? CALVIN Doctor Allen is our Marine Biologist and Mammalogist, formerly in charge of the state's Conservation Marine Laboratory. I think she can answer better than I. They all turn to KATHRYN Dark hair, mid - twenties. The brain matches the beauty. She is far more comfortable in the company of her dolphins. KATHRYN Domesticated sharks, mostly. Mako. Tiger. Nurse. Sand. REPORTER Do n't they attack each other? KATHRYN Contrary to popular belief, when sharks are well fed, they will not hunt. CALVIN -LRB- smiling. -RRB- And we keep them well fed, so be kind what you say about us, or. They all chuckle. Except Kathryn. REPORTER You do n't have a Great White. KATHRYN No. And I really do have to get back to my own mammals, so, if you'll excuse me, please. CALVIN Yes, of course. Thank you for stopping by, Doctor. Kathryn gets out of there. REPORTER It seems what you've created here is a combination Art Nouveau and Jules Verne. CALVIN Exactly. WATER SKIERS Up in their pyramid formation. The Coach gives them praise through his bullhorn. COACH Great, gang. Beautiful! Making me proud of you. KELLY Fighting for her balance, her legs are wobbly. KELLY Watch it, I'm gon na fall. I'm gon na go! TOD Balance, Kelly. Bal - lance! JILL No, Kelly. Not now! TOD Lean back! KELLY Ahhhhh! BILL You fall, I'll kill you. I swear I'll drown you. KELLY Oh, God. I ca n't. The Coach does n't know what's going on. COACH -LRB- V.O. -RRB- Now tomorrow, there's gon na be this great big banner that we break through here - so now is n't the time to fall, Kelly. That's all Kelly needed to hear. KELLY Ahh. ahhh. ohhhh. SKIERS NO! TIMBER! Kelly falls, sending the entire pyramid pitching into the water. TOD Aw. shit! SHARK POV Up ahead, shadows thrashing through the water. The shark rises to see what's going on. SKIERS IN WATER Start reassembling as the speedboat idles, Evinrude RUMBLING. The Coach barks at them through the bullhorn. COACH What the hell was that all about? Kelly! The skiers grab hold of their lines, looking at Kelly. KELLY -LRB- guiltily. -RRB- Sorry, guys. STEVE She did it again. COACH Concentrate out there! We ca n't have mistakes tomorrow! They're about ready to go again. The boat starts to pull away. SKIERS In their starting positions. They come RISING out of the water as SHARK Comes trailing in their wake, just seconds behind. We see the tip of a giant triangular FIN cutting through the water, following them. The fin is like a monstrous gray sail. Up ahead, we see a giant set of GATES Start closing, coming down. SHARK POV It swims under the closing, heavy wire mesh gates. Gon na be a tight squeeze. WHAM - THUMP There's a shuddering vibration as the gate hits on something BIG. The shark swims away as the gate CLANGS. DAISY AND BOBBY DOLPHIN Going through their `` paces.'' Kathryn is in the water with them. She blows a whistle and uses hand signals, giving affectionate rewards. KATHRYN -LRB- to dolphins. -RRB- What, Daisy? What do you want? Tell me. The dolphin `` talks'' back to her. KATHRYN -LRB- to other dolphin. -RRB- Come here, Bobby. Come on, give me a kiss. The dolphin gives her -LRB- and audience -RRB- a big wet kiss. KATHRYN Thank you. MIKE -LRB- O.S. -RRB- Want another one? She turns to him and smiles. KATHRYN Sure do. -LRB- to dolphin. -RRB- Kiss me again, Bobby. MIKE AND KATHRYN Laughing. Take each other in their arms. A soft, tender kiss, which the dolphins and penguin appreciate. MICHAEL BRODY is late twenties. Tan and fit. Head engineer. KATHRYN Well, not much longer to go. MIKE What is it, 97 days? KATHRYN -LRB- laughing. -RRB- Till this opens, not our wedding. MIKE Hope I make it through both. KATHRYN -LRB- kissing him. -RRB- You will. I'll see to it. Mike points to the nervous, chittering dolphins. MIKE Look, Kathryn. They're jealous. KATHRYN They're acting very strange suddenly. MIKE Pre - opening jitters. KATHRYN I guess. Mike's BEEPER goes off. He sighs and speaks into it. MIKE Brody here. VOICE Mike, we're having a problem with the gate.","INT. CONTROL ROOM This is Mission Control underwater. All the inner workings of Sea Kingdom are monitored down here. The two OPERATORS watch the dials and gauges and 20 TV screens. MIKE -LRB- V.O. -RRB- What kind of trouble? OPERATOR It's not closing, Mike. MIKE -LRB- V.O. -RRB- That's impossible. OPERATOR I know. But we show it's not closing. MIKE -LRB- V.O. -RRB- Okay, okay. We'll get someone on it. MIKE AND KATHRYN MIKE Damn it. I ca n't understand! -LRB- to her. -RRB- I got ta go, hon. KATHRYN Do n't forget you have your brother. MIKE Yeah. KATHRYN See you later. They kiss and Mike turns at a RUMBLING SOUND. CRANE Comes lumbering towards the water's edge. Seated high on the boom with a camera is PHILIP HUTTON A very refined, well - educated, aristocratic Englishman, 30. IKE directs the crane and SHELLY drives. If you did n't know better, you might suspect there's something between the three of them. PHILIP Bring the crane over. Come down. Easy down. MIKE Hey. Mike comes over to them. MIKE Hutton, how the hell did you get my crane? PHILIP Calvin said it was all right. MIKE Yeah, well I did n't! PHILIP Well, we're not going to hurt it, old boy. -LRB- to Kathryn. -RRB- I say, love, is Flipper ready to go? KATHRYN Go where? PHILIP On the telly. We're to film him for the evening news. KATHRYN Nobody told me. PHILIP I just did. Can you make them do tricks? KATHRYN They're not tricks. They're behavior patterns. PHILIP Fine. Have them do some. KATHRYN I do n't know. They're nervous and skittish right now. PHILIP Yes, are n't we all. Kathryn turns in disgust, looking at Michael. KATHRYN That macho pompous English - MIKE Do n't let him get you. Just continue your patterns and pretend he's not around. KATHRYN My imagination is n't that good. MIKE Honey, I got ta go. KATHRYN Okay, bye. Another soft kiss. As Mike passes Philip, he slaps the crane and calls up to Philip who's readying his camera. MIKE Make sure you put this back. PHILIP Aww, ca n't I keep it? Mike stares at him. Takes an angry beat. Philip still looking into the lens. Mike leaves. Philip calls to Kathryn. PHILIP Okay now. Have Flipper flip or something. KATHRYN Make this quick! She turns to her dolphins. WATER SKIERS They're up in the pyramid once again, riding smooth. All but Kelly. KELLY Ahhh, ahhh. TOD Now what? KELLY Got ta sneeze. TOD Do n't you dare. KELLY Ca n't help it. ahh. JILL No, Kelly! We're almost in! KELLY Ahhhh. UNDERWATER - SHARK POV Staying right below the skiers. It starts to rise.","EXT. PRESS TENT The media munch on hors d'oeuvres and champagne. From their vantage point, Calvin points out the skiers for them. CALVIN In addition to the aerobatics that our skiers are performing, they'll be doing the comedy ski show `` The Hatfields and McCoys,'' choreographed by world - famous skier Janet Turner. SKIERS Coming onto shore now. The Coach speaks to them through the horn. COACH Beautiful. Hold it, hold it. Kelly's hanging on, eyes tearing, mouth ready to explode in a sneeze. COACH Get ready. Here we go now. Make me proud of you. SKIER Release. They let go of their ropes and come out of the pyramid, gliding in to shore as Kelly lets out a huge SNEEZE and stumbles onto shore. TOD God bless you. UNDERWATER - SHARK Swoops in close, then turns and heads back out. No fun here. MIKE IN ZODIAC BOAT Comes speeding up to a WORKBOAT deck. Mike does a hot dog 180 - degree spin through the water and eases up to the workboat where SINGER holds a crackling walkie - talkie. MIKE What happened? SINGER I do n't know. It's off the track. MIKE Give me the walkie. Singer does. Mike talks into it. MIKE Overman! OVERMAN'S VOICE We get time and a half for this? MIKE No, Overman. OVERMAN'S VOICE Then we'll be done in a minute. Singer leans into the walkie - talkie. SINGER Let's go, guys. I got a date tonight. OVERMAN'S VOICE She have a friend? MIKE Yeah, but you do n't. Get to work. UNDERWATER - DIVERS OVERMAN and HARRIS. They are arc - welding on the GATE. The sparks flash brilliantly through the water. They replace a pin, HAMMERING it in place. MIKE IN HIS BOAT MIKE Stay on top of it. SINGER Right. KATHRYN POPPING OUT OF WATER She calls to Philip, who holds his camera but is n't filming the background. The dolphins dart about. KATHRYN It's no use. They wo n't come into the lagoon. PHILIP Well then, can you have them jump to the camera over here? KATHRYN Wait a minute. These are n't kangaroos, Mr. Hutton. They're dolphins. PHILIP I thought they were clever. KATHRYN I can have them walk backwards. PHILIP No, no. That wo n't do. KATHRYN I told you, something's upset them. PHILIP Well, I have to get this into the networks. If you ca n't do it, you ca n't do it, that's all. KATHRYN I'm sorry. PHILIP Well, we'll just try again, dear. Keep working on it. Maybe you'll get it one of these years. -LRB- to his men. -RRB- Pack up, boys. Flipper's a flop. KATHRYN Watches with scorn as the start the crane up and leave. Kathryn goes into the water, a look of determination. KATHRYN IN WATER Stands to her knees, BLOWING a whistle and SLAPPING the water hard. BOBBY and DAISY Look at her and respond in a cute but frustrating way. KATHRYN No! That is wrong! What is the matter with you? Again, she blows the whistle and slaps the water three times as MIKE PULLS UP In his Zodiac. MIKE -LRB- smiling. -RRB- You called, Doctor? KATHRYN Everything's going wrong. I'm having more trouble with Bobby than I ever have before. I ca n't get him to respond. MIKE How come? KATHRYN I do n't know. I ca n't understand it. Something's bothering them. MIKE And what else is bothering you? KATHRYN Hutton. He really pisses me off. MIKE Yeah, you really do n't like him. KATHRYN I do n't like what he does. MIKE It's his work. KATHRYN He does n't need the money. He inherited a fortune. He kills for kicks. TV battles between non - predator fish and divers. The diver always wins. MIKE Okay, forget him now. I'm going to pick up Sean. Take a ride? KATHRYN I ca n't leave now. We taking Sean out? MIKE Sure. Want to try that new Italian place? KATHRYN No, you do n't need all that starch. You're getting too fat. MIKE Not enough loving. KATHRYN Get out of here! She playfully splashes water at him. He yells and heads to shore. MIKE We'll have sushi. She smiles and shakes her head. WORKBOAT DECK As Overman and Harris pull themselves out of the water. They hand Singer the equipment and start getting out of their tanks. OVERMAN It's Miller time! HARRIS You buying? OVERMAN Sure am. HARRIS -LRB- to Singer. -RRB- Coming with us? Overman's buying. SINGER No, I'll take the money instead. Overman looks around the deck. OVERMAN You see the three - quarter socket? HARRIS Yeah. Down there. OVERMAN Shit. SINGER Way to go, guys. OVERMAN You two go ahead. I'll meet you at Captain Kidd's. SINGER Okay. Singer and Harris put the equipment into the boat as Overman puts his mask back on. OVERMAN Dives back into the water. UNDERWATER - OVERMAN The diver enjoys this freedom ; not encumbered with weights and tanks, he swipes at passing fish as he descends into the deep. But suddenly, all the fish that were curiously inspecting him turn and scatter. ANOTHER ANGLE - OVERMAN Looks about, apprehensive eyes peering through his mask. He looks again and continues diving. SHARK'S POV - OVERMAN As we come MOVING IN on him from behind. Overman turns. His face freezes in a horrifying SCREAM of terror. OVERMAN As a MONSTROUS unseen force plows into him, and there is a vicious thrashing and explosion of water. 727 ON APPROACH It comes in like a giant bird, flaps down out, gear down. It lands in our laps and continues past.","INT. AIRPORT Arriving passenger SEAN BRODY moves with the others. Sean is a junior in college. Athletic, good looking, he looks around and sees his brother rushing up to him. MIKE -LRB- O.S. -RRB- Sean! MIKE AND SEAN A warm, macho, brotherly hugging and punching exchange. MIKE Hey, what's goin' on, little brother! SEAN Damn! You sonuvabitch! Look at you! MIKE Look great, do n't I? SEAN Got a job for me? MIKE Yeah, we'll find something for you. Shoveling shark shit or something. SEAN -LRB- apprehensive. -RRB- Sharks? MIKE -LRB- reassuringly. -RRB- In a restaurant. You sit there and they swim around you. SEAN I'll go to McDonalds. WITH THEM ON THE TRAM MIKE How'd you do in school? SEAN Great. I got one B, two C's, and eight incompletes. MIKE Hey, I'm proud of you, kid. SEAN So was Dad. He shows Mike a INSERT - POLAROID PHOTOGRAPH OF SHERIFF BRODY Grimacing as usual, his hair G.I. crewcut. SEAN -LRB- V.O. -RRB- Took it this morning. MIKE -LRB- V.O. -RRB- He needs a haircut. SEAN -LRB- V.O. -RRB- Yeah, right. MIKE AND SEAN MIKE How is he? Still fighting crime? SEAN Last week he broke up a major counterfeiting ring. Gang of kids were using slugs in the Pac - Man games. MIKE -LRB- laughing. -RRB- Big bust! He confiscate their water pistols? SEAN Booked them all at Baskin - Robbins. MIKE -LRB- appreciating. -RRB- That's Dad. Mike throws an arm around Sean and hugs him. MIKE He taught us good, though, did n't he, Sean? We were lucky to grow up the way we did. SEAN Who's grown up? MIKE Gee, it's good to see you! SEAN I want to see Kathryn. MIKE Just find your own. Like Dad says, there's plenty of fish in the sea. They laugh.","INT. AIRPORT - KELLY Moving through the terminal, licking an ice cream cone, she sees Mike and Sean and comes running over. KELLY Mike! Mike and Sean stop. KELLY Give me a ride? MIKE Sure. KELLY ` Preciate it. Mike's BEEPER gives off a faint signal. MIKE -LRB- harassed. -RRB- What do they want now? He looks around for a phone. MIKE Kelly, this is my brother Sean. Do n't let him get lost. Mike heads for the phones in the b.g. as Sean and Kelly study each other, liking what they see. KELLY So, you just get here? SEAN Yeah, from Boston. KELLY I was seeing this guy off. He flew in from Dallas. Wants to marry me. He's okay, but Texans are so possessive. SEAN Massachussettans are n't. KELLY ` Course they're also so rich. SEAN Massachussettans are n't. KELLY How long you staying? SEAN I do n't know, it depends. KELLY You like Florida? Sean looks at her, in her shorts and tank top. SEAN I have n't seen that much, but so far it looks great. KELLY -LRB- suggestively. -RRB- Well, wait till you see the rest. They smile at each other. MIKE ON PHONE Whatever he's hearing is n't good. SEAN AND KELLY The romance continues to build. KELLY You gon na work at The Kingdom? SEAN Depends on big brother. KELLY I'm a water - skier. SEAN Are you really? KELLY Sure am. SEAN That's too bad. I do n't like water. I do n't like being around in. I never go in it. KELLY How come? SEAN Goes back to when I was a kid. Mike's okay, he's gotten over his fears, but I have n't. I ca n't even drink it. Mike comes over in a hurry. MIKE Come on, let's go. SEAN Something wrong? MIKE You know Overman? KELLY Musclehead? MIKE He's missing. KELLY Hope with none of my girl friends.","EXT. AIRPORT - DAY Mike and Sean and Kelly walk to the parking lot. MIKE Kelly, could you look after Sean for a while? Show him around for me? KELLY Sure. No problem. MIKE Thanks. SEAN Yeah, thanks. The brothers wink at each other. KATHRYN RIDING WHALE She takes it through a series of moves, not noticing Mike and Sean and Kelly pull up in the Blazer. SEAN Hi - yo - Silver! KATHRYN Sees them and leaps off the whale. KATHRYN Sean! She hops out of the tank and warmly embraces Sean. KATHRYN MMMM. It's good to see you again. SEAN -LRB- meaning Mike. -RRB- You really gon na marry this guy? KATHRYN Well, I ca n't wait for you forever. SEAN Why not? Younger guys are in. MIKE Okay, you two, have a good life without me. I got ta go. SEAN Do n't hurry back. Mike leaves. Kelly turns to Kathryn. KELLY Doctor Allen, you think I could ride the whale sometime? KATHRYN Sure, Kelly. KELLY That'd be great. I was a seal once, in another life, and whales were always my closest friends. They look at her. Uh - huh.","EXT. BREAKWATER - LATER Mike's there with Harris and Calvin. MIKE Why did n't you stay with him? You never let a diver go down alone! HARRIS We were done, Mike. He left a piece of equipment down there and went back for it. CALVIN And has n't been seen since. HARRIS I waited for him. When he did n't show, I went back. There's no sign of him. His gear's still on deck. I went in looking for him. All I found was this. We see the missing three - quarter socket wrench. MIKE I do n't understand. Overman's too good a diver to disappear. CALVIN Have you checked the bars? The guy's irresponsible ; he's done this before. HARRIS Yes, Mr. Calvin. We've called all over. Nobody's seen him and his truck's still here. CALVIN I want him found. He could be in the bars, he could be shacking up. He could be out to sea MIKE I'll need more men to look. CALVIN Ca n't help you, Mike. Do n't have the manpower. MIKE We're going to have to cover the entire lagoon. CALVIN I know, but you're just going to have to find another way. So you better start. Calvin leaves. SUBMARINE AT DOCK A small two - seater, bobbing on the surface near the dolphin pen. Kathryn turns to RUTH, one of her assistants. KATHRYN I think they'll come out now. RUTH They still seem nervous. KATHRYN I know. Mike turns to Kathryn. MIKE They're coming with us? KATHRYN We play hide and seek all the time. They find a lot of things. Mike looks at the tiny sub. MIKE -LRB- skeptically. -RRB- Where's the rubber band? KATHRYN Look, Michael. you do n't have to come. MIKE I do n't have a choice. She understands. KATHRYN Well, let's go then. They ease into the sub. MIKE How many coupons is this ride?","INT. SUB He squeezes into the front seat. She's behind him. MIKE What do I do now? KATHRYN Take a deep breath and hold it. MIKE That's cute, Kathryn. Real cute. KATHRYN -LRB- smiling. -RRB- Just put your mask on. He inserts his respirator while she starts the engine. She puts her mask on. KATHRYN Control, we're preparing to leave the dock now with the sub.","INT. CONTROL ROOM One of the CONTROLLERS responds. CONTROLLER Roger. We'll keep an eye out for you.","INT. SUB Kathryn pulls the canopy CLOSED. It shuts with a BANG. The sub starts filling with water. MIKE Watching through his mask as the water surrounds him. The claustrophobia sets in. SUB Eases away from the dock and starts its journey, sinking from view. UNDERWATER - SUB Drifts down into the lagoon, spotlight on, scanning the beautiful underwater garden. CAMERA - POV Something is FOLLOWING IT.","INT. SUB Mike looks very apprehensive, and Kathryn knows it. He holds on tight. KATHRYN Honey. you all right? MIKE No. KATHRYN Are you scared? MIKE Yes. They settle into the water. SUDDENLY, from NO PLACE BOBBY AND DAISY DOLPHIN Come SWOOPING INTO IT, their faces at the sub's window, scaring the shit out of Mike. MIKE -LRB- reacting. -RRB- Damn it! KATHRYN -LRB- smiling up. -RRB- Hi, baby. MIKE Baby goddamn scared me to death! KATHRYN They just wanted to say hello. MIKE -LRB- low, to himself. -RRB-. Friggin' fish. He takes a deep breath and holds on. MIKE Let's head to the gate and work our way back. KATHRYN That's a lot of ground to cover. MIKE I know, I built it. I've just never seen it this way. WALRUS EXHIBIT Sean and Kelly are peering into the tank. A big old, whiskery WALRUS shoots up, SPITTING water on them. The kids get a bath. SEAN AND KELLY Dripping wet, laughing. So is the walrus. SEAN Well, I needed a cold shower. KELLY Come on! Check this out! Kelly takes Sean's hand, and they skip away.","EXT. SUB - SERIES OF SHOTS Moves through an underwater coral forest with an unlit glass TUNNEL extending through it. The dolphins follow. SUB - HEAD - ON A slow - moving fish, sneaking past the fake cave openings. The spotlight searches, lighting the shades of pink, white, and lavender formations. MIKE AND KATHRYN Eyes searching as she turns the spotlight. KATHRYN It's romantic down here. MIKE Oh, yeah. Very. KATHRYN You know, on our honeymoon, we should go scuba diving. MIKE Let's not talk about that now, okay? SPANISH GALLEON Wrecked in 1982, it looks like it's been down here for centuries. Masts broken, cannons rusting, wood eaten away. The sub circles it. PANNING GALLEON The sub comes in low. Nothing there, other than `` priceless gold and treasure.'' The sub moves in close as DOLPHINS POP OUT Frightening both of them. KATHRYN Now I'm getting paranoid!","INT. CONTROL ROOM Underwater, with enormous windows overlooking the lagoon. On one entire wall is a schematic showing the electrical system of Sea Kingdom, lights flickering on it. There are also banks of instrument panels and TV monitor screens. In the b.g. is a lock which connects the lagoon with the control room. A crew of men and a woman are working in the room. Outside, the submarine appears. A man at one of the control panels throws a switch activating radio communication between the control room and the sub as a BUZZER sounds. WOMAN Any luck? MIKE'S VOICE Not yet. WOMAN We have n't seen anything either. Not a sign of him. MIKE'S VOICE Let us know. STADIUM STANDS Sean and Kelly sit in the top row now. They're the only ones there. SEAN This is where to be. High and dry. KELLY And alone. They kiss.","INT. SUB Kathryn works the controls, but the sub starts SINKING! MIKE -LRB- apprehensive. -RRB- What's wrong? KATHRYN Nothing. She's flicking all the switches. The sub hits the bottom hard. He watches her try the controls again. MIKE If nothing's wrong, why are we stopping here? KATHRYN Electrical connection malfunctioning. MIKE You sound like Houston Mission Control. What the hell does it mean? KATHRYN That we swim. MIKE -LRB- aghast. -RRB- Swim where? Out there? Oh, no, forget it, not me! You go, I'm staying. KATHRYN Michael, the sub's dead. MIKE Yeah, and so will I be if I start swimming in that blackass jungle. KATHRYN Okay, stay. We'll come back for you. She gets ready to leave. MIKE Where are you going? KATHRYN Up. MIKE And leave me down here? KATHRYN -LRB- getting impatient. -RRB- Make up your mind. MIKE What mind? If I had a mind, I'd never have let you talk me into this. KATHRYN I talked you into this? MIKE I'd have fallen in love with a pilot or a mountain climber. KATHRYN Are you coming? MIKE No, I do n't want to leave now. I'm having too good a time. Of course I'm coming! You'd think you're gon na leave me? They start to evacuate. MIKE -LRB- continuing. -RRB- You would, would n't you? I'd end up whale shit, you would n't care. KATHRYN Get your reserve bottle and let's go.","EXT. SUB Mike and Kathryn emerge and start swimming but the DOLPHINS Wo n't let them go into the direction they want. Bobby and Daisy keep bumping them, refusing to let them go. Mike is getting pissed. He pushes Bobby ; Kathryn PUNCHES Mike. KATHRYN Grabs Mike and points in the direction they were heading. GREAT WHITE SHARK Ten feet of killer, coming at them. MIKE Utter fear, his eyes terrified as he stares at the shark. FLASH CUT - JAWS I Young Michael Brody being yanked from the water an instant before the Great White can eat him up. MIKE, KATHRYN AND DOLPHINS Mike gaping at the o.s. shark as Kathryn grabs onto Daisy's fin and pulls her to Mike. She gestures for him to take the fin. He does n't respond, looks at the shark. THE WHITE Coming closer, a chilling monster. MIKE, KATHRYN AND DOLPHINS Kathryn grabs Mike's hand and forcibly puts it on Daisy's dorsal fin, taps Daisy. The dolphin and Mike are gone in a flash. Looking at the shark, Kathryn feels for Bobby's fin, taps his head. As quickly as Mike went, she is gone from view. RACE FOR SAFETY SEQUENCE Shots alternating between the dolphins, their speed reduced by the weight of pulling Mike and Kathryn, and the Great White in pursuit of them, getting closer and closer.","EXT. DOLPHIN PEN GATE The dolphins carry Mike and Kathryn through the narrow opening. The instant they are inside, the Great White hurtles into FRAME and BANGS against the gate sides, too big to get through. MIKE AND KATHRYN SURFACE Scramble for dear life out of the water, rolling onto the dock. They lie there, gasping, chests heaving. Mike slides over to Kathryn. KATHRYN You all right? MIKE I think so. I'm not sure. Are you? KATHRYN I'm okay. He holds her close. She's trembling. KATHRYN Michael. MIKE It's all right, baby. We're safe. DAISY AND BOBBY DOLPHIN Break the surface, chatting away. Mike and Kathryn look at them and smile. MIKE Thanks, guys. The dolphins almost answer `` that's okay, but watch it next time.'' Mike helps Kathryn to her feet, and they walk away, arms around each other. KATHRYN How the hell did it get in here? MIKE God, they're horrible. I hate them. Did you see its eyes? How black they are? The look in them? KATHRYN Do n't think about it. It's over. MIKE It's never over. Here comes another six years of bad dreams. DOLPHINS Watch them walk away, then DIVE back into the water. UNDERWATER The shark is looking for something to eat. Finds it. Gulp.","EXT. FLORIDA FESTIVAL TENT - SUNSET Calvin's called an emergency meeting. Mike, Kathryn, Philip. Calvin's eating his dinner through SCENE. Ike and Shelly stand in b.g. There's a heated discussion. CALVIN What you're saying is we have a Great White shark in the lagoon. MIKE And a missing man. PHILIP Unhappy combination. Most likely one's inside the other. KATHRYN Sharks are man - biters, Mister Hutton. Not man - eaters - PHILIP -LRB- cutting her off. -RRB- That's a load of codswopple. A Great White does n't fear man. It does n't fear beast. It's an orgy of food and blood. KATHRYN I think we can capture it. I'd like to try. PHILIP That's preposterous! CALVIN Go on, Doctor. KATHRYN No one's ever caught a Great White except indirectly in fishing nets. I want to dart it and keep it alive. CALVIN It would make a marvelous attraction ; the only Great White in captivity. KATHRYN -LRB- confidently. -RRB- I can get it. PHILIP You can get killed! KATHRYN I've handled sharks before. Bigger than this one. PHILIP Calvin, let me go down there and kill the bastard. KATHRYN No! PHILIP -LRB- continuing to Calvin. -RRB- It'll chop up half a million dollars of your tropical fish in two minutes. KATHRYN Calvin, I insist I be allowed to capture it! PHILIP Three hundred million years of evolution have created the greatest butcher the world's ever known. KATHRYN It's one of the world's greatest creatures. PHILIP A shark could have a hundred embryos in its sack. You know how many are born? Maybe five. They eat each other before birth! They're born killers! KATHRYN The only Great White in captivity, Calvin. All those people standing in line. CALVIN All right, Kathryn. Go ahead and get it. KATHRYN I will. PHILIP Well, then I'm going to film it. KATHRYN Like hell! PHILIP -LRB- to Calvin. -RRB- Make a lovely item for `` Good Morning, America'' CALVIN Absolutely. Good idea. KATHRYN -LRB- to Calvin. -RRB- With those camera lights and. CALVIN -LRB- interrupting. -RRB- He's going with you, Doctor. KATHRYN No, it will be too much distraction. I do n't want that many people in the water. I'll go in, give it a belly shot, and get out. CALVIN And Philip will be there to film it. Now that's the end of it! Kathryn bites her lip, realizing. She turns to Calvin. KATHRYN I want that shark alive. PHILIP So do I, love. CALVIN Well, you'd better get started! He walks away. Kathryn stares at Philip, who smiles and moves off with his men. Mike comes up to Kathryn. MIKE You're going down there again? KATHRYN Yes. MIKE After what happened to us? KATHRYN I know I can capture it. MIKE Kathryn, you're crazy. Really crazy. A suicidal maniac.","EXT. LAGOON The WORKBOAT comes through the darkening fog. It's very moody. Back lit, all that stuff. ON WORKBOAT RUTH AND BRIAN Are preparing a large syringe. RUTH Twelve cc's BRIAN That should do it. OVER TO PHILIP AND SHELLY Preparing their cameras. PHILIP We'll shoot this with an.18, boys. SHELLY That bugger moves fast. PHILIP Give me a 400 - foot magazine ; we may be down there for a while. SHELLY -LRB- smiling. -RRB- I would n't mind going down with her. PHILIP She is a lovely bit of crumpet at that. OVER TO MIKE Welding some kind of object. Ike comes up to him. Ike's in his diving suit. IKE Are n't you suiting up, mate? MIKE No. IKE Well, do n't worry about your fiancee. We'll watch over her. MIKE She can take care of herself. She does n't need you. IKE Never know down there. Helps to have a friend, sometimes. MIKE How many sharks have you killed? IKE Me? I do n't know. Twenty, thirty. I love them, think they're the greatest. He walks away. Mike looks out at the water, staring at it. FLASH - FROM JAWS I Young Mike Brody sees the lifeguard taken by the shark. BACK TO MIKE He comes out of it in a gasping sweat. KATHRYN -LRB- V.O. -RRB- Well, how do I look? He turns. MIKE What? KATHRYN Wears an iron CHAIN LINK SUIT over her diving suit. She has a light - hearted nervousness. KATHRYN Do you like it? She models it for him. MIKE Oh, yeah. Really nice. Who's your designer? Sassoon Shark? KATHRYN I got it on sale. -LRB- touches links. -RRB- A real steel. MIKE Here. KATHRYN What's that? MIKE Bracelets. It's what he's been welding. Forearm protectors which he places on her. KATHRYN Fine piece of engineering. MIKE Should protect you a little, from the compression. If that thing gets ahold of you. KATHRYN Thank you. She kisses him. He takes her in his arms. MIKE Kathryn. KATHRYN Yes? He looks at her. Wants to tell her to take that damn suit off. To get off this boat and forget the fucking shark. To go home with him, to bed. MIKE I love you. She smiles. KATHRYN Love you too. Mike nods and takes his beeper. MIKE Okay, hit it.","INT. CONTROL ROOM The team of OPERATORS are at the instrument panel, all the monitor screens are on. They flick some switches. MIKE -LRB- V.O. -RRB- Let us know as soon as you have anything. OPERATOR Right, Mike. LAGOON Like a flower of sunshine unfolding, lights pop on from beneath the water, illuminating the lagoon. WORKBOAT Mike and Kathryn watch the lights come on. MIKE Would n't this whole thing be a little safer in the daytime? KATHRYN It's easier to lure sharks at night. MIKE Why?'Cause they're hungrier? PHILIP -LRB- V.O. -RRB- They're always hungry. They eat anything. Philip enters. He's wearing a bright orange diving suit. PHILIP -LRB- continuing ; touches her suit. -RRB-. even steel. Mike looks again at her protective suit. She looks at Philip. KATHRYN You look like an orange worm. PHILIP Shark bait. Draws them over for closeups. KATHRYN What in hell is that? She points to a HAND GRENADE Strapped on his waist, right by his large knife. PHILIP Lunch for Whitey. Something to munch on in case things get dicey. KATHRYN We're taking that shark alive! PHILIP Let's hope he knows that. KATHRYN I know it and I will not go down into this lagoon as long as you carry that! PHILIP Why? KATHRYN Because I do n't trust you, that's why. MIKE You set that thing off down there, you do n't know what will happen. PHILIP Precisely. KATHRYN I insist you get rid of that bomb. PHILIP Afraid I ca n't do that. KATHRYN You're supposed to film it, not turn it to hash! PHILIP Look, Doctor, this is n't one of your pet porpoises we're after. It's a torpedo of muscle. Murderous expertise! I've seen bleeding sharks try to eat themselves! Do n't be so concerned about them. Worry about yourself. He turns to go. MIKE Hutton! He stops. Turns. MIKE You heard the lady. Take it off. Tense pause. Philip stares at Mike. At Kathryn. Then his hand moves to the grenade. He unclips it, holds it in his hand, and FLINGS IT TO MIKE Who catches it. Philip walks away, smirking. Mike makes a move after him, but Kathryn stops him.","INT. CONTROL ROOM One of the Operators sees something on a screen. He focuses in on it. TV SCREEN It's the shark. OPERATOR We see him, Mike. Between the stadium and the ski show island. MIKE -LRB- V.O. -RRB- All right, hit those lights too. MORE LIGHTS Start popping on. WORKBOAT Mike turns to Kathryn. Tightens her tank straps. She holds a large SPEAR GUN. MIKE Change your mind? KATHRYN No. MIKE You amaze me. I'm more scared than you. KATHRYN No, you're not. Mike pulls her face mask down and `` kisses'' her over it. She goes over the side. PHILIP AND IKE In their tanks and masks, ready to go. Mike comes over to Philip. Gives him back the grenade. MIKE Here. Do n't let anything happen to her. Philip smiles and nods, clips the grenade to his waist and dives, taking us UNDERWATER Kathryn and Philip and Ike all start kicking down. MIKE ON WORKBOAT Watches the bubbles break the surface. He turns to Shelly. MIKE This is ridiculous. We should blow the mother's head off. SHELLY Could n't agree more. UNDERWATER As the three kick downward. Philip and Ike prepare to film. Kathryn notices Philip checking his power - head and reacts sharply. He notices and gives her a mocking salute, making her angrier yet. Turning, she starts toward the circling shark. THE SHARK SEQUENCE Intercutting between Kathryn, Philip and Ike and, on the deck of the workboat, Mike and Shelly. Kathryn moves toward the shark until it starts to circle her, Philip and Ike beginning to film. Her expert maneuvering is not lost on Philip, and he watches with interest - Mike, on the boat deck, watches what he can with apprehension - as Kathryn slowly lures the shark toward her. Suddenly, it darts in at her and she jabs the spear at it -LRB- into the audience -RRB-, causing it to veer away. Kathryn seems surprised by this. The shark begins to circle her again, CAMERA PANNING with her as she keeps an eye on it. Philip and Ike keep filming, Mike keeps watching tensely on the deck as Kathryn positions herself, holding the spear extended, moving it back and forth. Abruptly, the shark darts in, moving so precipitously that it goes all the way to Kathryn. She ducks and the shark's jaws clamp shut on her air tanks. Philip reacts to this and starts forward to help her as the shark begins to shake her violently from side to side. Letting go of the spear, she tries to hit the shark in the eye but has no success. Philip shows up, and she waves him off. He can not believe her reaction but does n't draw his powerhead, only hitting the shark on the head with the camera. This makes it let go of Kathryn's tanks and back off fast. Philip shoving it aside as it passes him, drawing his powerhead just to be safe. The shark does not attack him though, but retreats. Philip looks at Kathryn. She is shaken up, but the chain - mail suit has protected her from injury. She waves him back irritably. Shaking his head either at her or her stupidity, he backs off to Ike, keeping a wary eye on the shark as Kathryn kicks up to the surface to get another spear. On deck, Mike tries to speak to her as she grabs the spear, but she is under again before he can say a word. Kathryn grimly sets herself again. Seeing this, Philip casts his eyes heavenward, as though thinking, `` Dear God, the woman's suicidal.'' She jabs the spear toward the still lingering shark. Finally, after making a few nervous passes, it goes for her. This time, she is able to shoot the sedating spearhead into its stomach, then kicks up toward the surface as fast as she can, the shark starting after her. SURFACE As she breaks through. KATHRYN Michael! Mike and Shelly rush there, reach down, and grab her hands to haul her up. As they do, the shark comes after her. They yank her over the railing an instant before it lunges out of the water and almost bites her feet off, jaws slamming shut in close shot as it misses, its body crashing back into the water. Kathryn looks at Mike, her face decidedly pale. She attempts to smile. KATHRYN -LRB- meekly. -RRB-. I told you I'd get it. The shark bellies up. MIKE I can use a shot of what he's got. KATHRYN Me, too. Her legs go watery, and she leans against the railing. Mike embraces her.","INT. TANK ROOM - UP ANGLE ON CEILING The roof has been opened, and the shark is being lowered into the room on the litter. CAMERA DOWNPANS with it to reveal Brian and Ruth preparing to get the shark into the tank, Philip, Shelly, and Ike filming it. MIKE AND KATHRYN He is drying her off with a large towel, rubbing her down good. She is cold and shivering. MIKE After this has opened, when everything's settled down, you and I are going away. Just the two of us. No dolphins, no sharks, no whales, no penguins. Just you and me. KATHRYN Sounds wonderful. MIKE We'll go to Palm Springs, Death Valley, Arizona desert, anyplace where there's no water. She kisses him and turns at a familiar SOUND. DOLPHINS In an adjoining tank, curiously watch the shark being lowered. The dolphins chatter away. Kathryn tells them : KATHRYN -LRB- V.O. -RRB- Do n't be afraid, it's okay now. The dolphins do n't believe her. They dive for safety. BACK TO MIKE AND KATHRYN Smiling. She shrugs off the towel as Brian calls her. BRIAN We're ready for you. KATHRYN I have to walk him till the drug wears off. MIKE You want me to stay? KATHRYN -LRB- kissing. -RRB- Get some sleep. And tell Sean I'm sorry. MIKE -LRB- remembering. -RRB- Sean, that's right. Mike turns to leave, accidentally crossing in front of Philip's shot. PHILIP Watch it, Brody. You're ruining the shot. MIKE Kind of dull in there for you, is n't it? Why do n't you throw in another shark? He walks out. Kathryn hurries into the tank with Brian and Ruth. They unfasten the shark from the litter and start to walk it. The litter is raised back up. RUTH He's a young one. KATHRYN And big for his age. They walk on. GRASSY KNOLL Sean and Kelly are lying on the ground making out as Mike's voice comes over the park P.A. system. MIKE -LRB- V.O. -RRB- Sean. Sean, where are you? KELLY Someone's looking for you. SEAN That's Mike. Let him look. He kisses her some more. MIKE -LRB- V.O. -RRB- Sean? You there? Kelly gets to her feet, pulling Sean up too. KELLY Come on, it's getting late, and I have an early call. They walk off, arms around each other.","INT. TANK ROOM - LATER Ruth sleeps on a floor mat. Kathryn and Brian are still walking the shark. Both look very tired. KATHRYN Why do n't you take a rest, Brian? BRIAN I'm only walking him. You caught him. You have to be exhausted. KATHRYN Go on, you're tired. BRIAN No, I'm fine, thanks. They stop talking, keep walking. PHILIP Comes in, wearing his jogging suit. PHILIP How's sleeping beauty? KATHRYN Still sleeping. PHILIP Kiss him, maybe he'll turn into a frog. KATHRYN -LRB- smiling. -RRB- Should be coming out of it soon. PHILIP Just watch it when he does. Philip lowers himself into the water and moves to Brian. Taps him on the shoulder. PHILIP May I cut in? Brian looks over at Kathryn, who's about to say no, then nods it's okay. BRIAN He's all yours. Philip takes his place alongside the shark. He smiles at Kathryn. PHILIP Could be a new dance. Walking the Shark. KATHRYN -LRB- smiling back. -RRB- Thanks for helping. PHILIP Not at all. KATHRYN Why are you? PHILIP I like it when they wake up. KATHRYN So do I. But for different reasons. PHILIP And I like you. They keep walking it. PHILIP You were quite daring in capturing him. Very skillful indeed. KATHRYN Skillful? I missed my first shot. PHILIP Some miss all their shots. KATHRYN Somebody could have gotten hurt. PHILIP That's what life is, Doctor. Full of chances to hurt yourself, or somebody else. KATHRYN You're a strange man, Mr. Hutton. PHILIP Philip. KATHRYN Before, you were ready to feed this shark a hand grenade. Now you're helping to nurse it back to life. PHILIP That's because I am the shark. KATHRYN We're all from the sea, Mr. Hutton. Our destiny is linked to the fate of the oceans. By continuing to destroy fish, man destroys himself. PHILIP The grenade's just to intimidate Whitey. He knows I have it, so he watches out. Same is true when I film lions, tigers, rhinos. She studies his smile. KATHRYN I think that you and I are natural enemies. PHILIP And here I thought I was charming you. The shark quivers, showing signs of waking. PHILIP Hello. I think his nap's over. KATHRYN Get ready to go. PHILIP Believe me, I am. KATHRYN -LRB- calls. -RRB- Brian, he's coming around! They walk it a little more and THE SHARK AWAKENS Comes INSTANTLY back to life with an EXPLOSIVE recovery. Kathryn and Philip leap aside to get out of there, but the shark SLAMS Kathryn against the side of the tank, knocking the breath out of her. PHILIP INTERVENES So does Brian, who comes jumping into the tank. Philip uses his feet to keep the shark away from Kathryn, but they both almost get CRUSHED by the body. Philip flips her out of the tank as the shark comes lunging around at him. ANOTHER ANGLE - PHILIP Gets out of there just in time, as the shark just misses chomping his evacuating ass. Brian's out of there safe. KATHRYN AND PHILIP Look down as the shark swims in rapid circles. PHILIP Well, Doctor. You've got your shark. KATHRYN Thanks to you. There's a near moment of tender contact between them. Philip smiles and nods at her and leaves, doing his best Bobby Darin. PHILIP -LRB- singing `` Mack the Knife''. -RRB- Oh when the shark bites, With his teeth, dear, Scarlet billows start to spread. She watches him with an intrigued smile.","INT. BEDROOM - NIGHT Kathryn comes quietly in. Starts undressing in the dark. Mike softly speaks to her from the bed. MIKE All well in the Kingdom of the Sea? She smiles and sits on the bed. KATHRYN Finally. MIKE How's your patient? KATHRYN Recovering nicely. MIKE Me, too. She falls into his arms, and they kiss. KATHRYN Mmmm. you smell good. MIKE -LRB- smiling. -RRB- You do n't. KATHRYN It's my new perfume. Great White, the Man - Eater. She nibbles his ear, neck. He pulls her down to him, they kiss passionately. LAGOON - NIGHT All is still and quiet. A NOISE is heard from beneath the water. A faint almost ROAR, and the water is shaken by a giant form that sends a wave rolling to the CAMERA. Then, whatever it was turns and returns to the deep. The surface of the water rocks and trembles. SHARK ATTACK They're in a feeding frenzy. They rip, tear, chewing on tuna, each other. Anything in the water. PHILIP -LRB- O.S. -RRB- Playful bastards, would n't you say? REVEALING Philip and Ike and Shelly watching the footage on a Moviola screen. They drink beer and watch. IKE Brings back such pleasant memories. PHILIP Was a rather enjoyable afternoon, was n't it? SHELLY You want to show this? PHILIP Absolutely. The audience will stain their drawers. -LRB- smiles. -RRB- I did. He walks for the door. Opens it. PHILIP Stands outside his EXHIBIT BOOTH, taking in the start of a new day. There's photos and signs : PHILIP HUTTON PRESENTS KILLERS OF THE DEEP. There's books and T - shirts and toys too. Ike joins him outside. IKE Gon na be a beautiful day. PHILIP And a profitable one. They smile at each other. PHILIP Come on, I'll buy you breakfast. OPENING DAY SHOTS As final last - minute preparations are made. A. Mini - buses being washed and decorated. B. Sea shows in final rehearsal. C. The Skiers getting dressed. D. The mini - sub being worked on at the dock. E. Food trucks delivering. F. The ushers and usherettes, looking good. G. Divers reaching the lagoon. H. Control Room Underwater - all is ready for lift - off. I. Maintenance crews washing, scrubbing, polishing. TWO DIVERS Come up. They shake their heads `` nothing.'' They dive again.","INT. TANK - DOLPHINS Activating one of the symbol controls again and again.","INT. CONTROL ROOM Mike and BOB talk. BOB We've been looking all night, Mike. I do n't think he's out there. If he drowned, I think he went down on the bay side of the gate and the current pulled him out. It was pretty strong when the men were working there. MIKE Did you look in the intake passage? BOB You ca n't even get in there, the incoming flow is so strong. It would wash the body out anyway. MIKE Well, I do n't know. Maybe he is n't down there. Keep checking with everyone who knows him. I'll be at my office. He leaves. ENTRANCE TO SHARK ENCOUNTER TUNNEL Mike's walking as Kathryn comes from the other side. KATHRYN Mike! He turns and she skips up to him. KATHRYN -LRB- continuing. -RRB- They said you'd be here. MIKE What's up? KATHRYN I need more pressure in the shark tank. MIKE Okay. KATHRYN I want to make sure the White is getting enough flow. Would you do that for me? MIKE Sure. Let's go. She stops him. KATHRYN No, we'll go through here. MIKE Mean through the tubes? KATHRYN Yes. It's faster. MIKE No, I'm not going through there. KATHRYN Michael, come on, do n't be silly. This is the quickest way. You're not going to walk all the way around? MIKE I'm not going to walk through that shark arcade. KATHRYN They're not going to hurt you. They're encased in plastic. MIKE I do n't want to see them, Kathryn. KATHRYN Michael, I do n't have time. Please! It's time you dealt with this and got over it. Now come on! She takes his hand and leads him into the tunnel. SHARK TUNNEL Mike is very apprehensive as the SHARKS encroach upon them from all angles. He ca n't look at them. KATHRYN Calvin wants me to move the White for tomorrow. MIKE He ought to put him in here. KATHRYN It's too soon to move him. MIKE So tell Calvin. KATHRYN I did. He wants it on exhibit. MIKE Well, that's why you got it. They walk on a bit, then Mike leans against the tunnel wall, eyes closed. KATHRYN Mike. you okay? He's taking deep breaths. He's very pale and perspiring. MIKE It's back. She goes to him. KATHRYN What's back? He's fighting some inner demon, and losing. The sharks come swimming by him. He stares them in the eye. There seems to be thousands of them. KATHRYN Honey, what is it? MIKE Hydrophobia. KATHRYN Michael, take deep breaths. MIKE I have to get out of here. KATHRYN Come on. MIKE I ca n't take water, Kathryn. KATHRYN Yes, you can. MIKE I ca n't! My dad had it, and I do n't know if you can inherit it or what, but I got it, and I hate it. I ca n't stand it! He RUNS out of there, running for his life, leaving her behind. She watches him go. MOVE FROM THEM THROUGH THE WINDOW Out into the water. A shark. We move in on its black eye, till the eye fills the SCREEN.","EXT. LAGOON - DAY - CLOSE ON CANNON MUZZLE The same size as the eye in the previous shot, ROARING as the cannon is fired. CAMERA PULLS BACK to reveal the cannon on the deck of a motorized pirate vessel which is carrying on its deck a gathering of politicians, press representatives, TV newsmen, and celebrities. It sails across the lagoon, flags whipping in the wind, cannons THUNDERING. CAMERA PANS UP and we see the words THE NEW SEA KINGDOM WELCOMES YOU moving across the sky, towed by a single - engine plane. CROWD ARRIVING The great American Tourist invasion. They come in cut - offs and sandals, Kodaks and sunglasses. They come in every size, shape, and colored getup. Old and young, they CHARGE. P.A. VOICE Welcome to Sea Kingdom, and the excitement and discovery of earth's inner space. For the whale and dolphin shows, please stay to the right. The underwater tunnels are straight ahead. THREE MERMAIDS Very pretty in their fishtail suits. They answer the tourists' questions. DOWN SHOT OF SEA KINGDOM As we come floating over the park. PHILIP Dangling out of the HOT AIR BALLOON, filming. Ike is the pilot. IKE Hardly like the Falklands. Philip calls over the bullhorn to the gaping tourists below : PHILIP If you'll all squeeze a bit closer, everybody, you can see yourself tonight on the evening news. FAT WOMAN TOURIST A 200 - pounder in shorts, hat, and sunglasses squeezes into the shot. She looks up, smiling and waving at the hot air balloon. She shoves in closer, loses her balance, and falls into the lagoon. PHILIP Watches woman splashing about. PHILIP Well, seems a new whale show has been added. They laugh. LITTLE GIRL CRYING She's scared of the performing WALRUS. Her mother comforts her. SIGN - FILLS THE SCREEN `` WELCOME TO SEA KINGDOM'' WATER SKIERS Come BURSTING through the sign like John Madden in the Lite Beer commercial. The skiers are in their pyramid formation. KELLY As usual, is fighting for balance. Teetering on the edge, she lets out a desperate warning cry. KELLY I'm gon na fall, I'm gon na fall! SKIERS No, Kelly! Jesus, you ca n't! KELLY Ahh - Ohhh - TOD Back, Kelly. Lean back! KELLY Ohhhhh shhhhiiiit. There she goes. No, she does n't. Yes, she does. Nope, still up there. Hang on, Kel. CROWD Applauding the skiers as they come zooming by in formation. SKIERS Make their sweeping turn and head in to shore. They come neatly out of the pyramid. KELLY Makes a graceful 3 - point landing, gliding onto the dock. She EXPLODES in joy, all bubbly and happy, thrilled at her accomplishment. KELLY I did it, I did it! She leaps on Tod, hugging him exuberantly. SKIERS Way to go, Kelly! You were great! KELLY I knew I could do it! They all slap palms and give high - fives and hugs. Kelly is the center of the adulation. MONSTERS OF THE DEEP FUN TUNNEL Everyone enjoying the scary walk. We see the giant squid tentacles reaching over the glass. Kids scream. Now it seems as if one tentacle has actually BROKEN THROUGH, but it's only an illusion. An EEL flies out of a cave and charges. THREE TEENAGE GIRLS Screaming, yelling, giggling as they react to the ravenous `` monster.'' The girls are LINDA, BECKY, and ALI. They love it. TOURISTS Moving happily along. They eat, take pictures, push strollers. Everybody's having fun. DAISY AND BOBBY Doing their act for the laughing, clapping crowd. Kathryn looks pleased. CONTROL ROOM UNDERWATER All the gauges and dials and monitors registering. OPERATOR Looks at one flashing gauge. He calls his partner over. They look a bit concerned as they check it. KATHRYN RUNNING THROUGH THE CROWD She forces her way through those in line to see the live `` Great White Shark.'' KATHRYN Excuse me, sorry. Let me through, please. I have to get through!","INT. EXHIBIT Brian and Ruth are walking the shark. The exhibit is PACKED with tourists, gaping down, watching. KATHRYN Bursts through onto the floor, kicking her shoes off on the run. She jumps into the tank. KATHRYN When did this happen? RUTH Ten minutes ago. BRIAN It has n't adjusted. KATHRYN Get the hose! We've got to force more water through the gills and oxygenate him! Brian scampers out of the tank for the hose. KATHRYN I knew it ; it's my fault. We moved it too soon. RUTH Do n't blame yourself. KATHRYN I should have never listened to Calvin. They walk the shark. RUTH Kathryn. KATHRYN Goddamn it. The shark is dead. It floats over, belly up. KATHRYN Takes a painful moment, looking at the shark. RUTH No one's ever done it before. It was a good try. KATHRYN Not good enough. RUTH We got it to live for ten hours. That's some kind of record. She turns from the shark and looks up at all the TOURISTS Gaping down, taking pictures, grumbling. TOURISTS Big deal. Let's get our money back. LITTLE GIRL Look, Mommy, the shark's dead. MOM Yes, dear. Come on. They start to leave with the others. Some still stare and wait. KATHRYN The disappointment and disgust is evident. Brian puts a comforting arm around her. BRIAN Do n't feel bad. KATHRYN -LRB- resigned. -RRB- Okay. Have them get it out of the tank. She climbs out of the tank. SEA LION SHOW The audience laughs. KILLER WHALE SHOW It leaps and dives, having as good a time as the tourists. SHOTS OF PARK The tourists going from one show to the next. BACKSTAGE SKI SHOW Mike and Sean stand to the side as the girls hurry past them, changing costumes. SEAN Mike, this is fantastic. I mean, you're responsible for building all this. What a job you've done! Maybe I'll quit school and come down here and work with you. Brody Brothers Construction. We've always wanted to do that together. Boat building. MIKE It's not that easy. Worked construction every summer to get through school. Three years apprentice in the park's engineering department, and two years to build all this. Finish school first, Sean. Then make up your mind. If you still want to work with me, we'll have plenty of time. SEAN You and Kathryn gon na stay here? MIKE This company's expanding. They got parks in Texas, Ohio, California. I think I'm gon na be going to Waco. SEAN Well, Dad asked me to ask you this, about the wedding. Is there any chance you and Kathryn will get married in Amity? MIKE Tell Dad we're getting married in Las Vegas. In one of those chapels. He can meet us there. SEAN -LRB- laughing. -RRB- Yeah, he'll really go for that. MIKE It's all up to Kathryn. Amity's fine with me if it's fine with her. KELLY -LRB- V.O. -RRB- Sean! Sean looks over as he hears his name called. Kelly's running over to them. MIKE She still talking to you? SEAN We're in love. MIKE Sure. SEAN No, really. I've never met anyone like her before. This is it. MIKE Yeah, right. That's what you said about Janet, and Beth, and Barbara - SEAN Puppy love. This time it's real! We can have a double wedding. Kelly is upon them. She's in her warm - up suit and looks adorable. Sean greets her with a hug and a kiss. SEAN You were great out there! KELLY Did you see me?! Was n't I terrific? SEAN As always. They kiss again. Kelly sees Mike. KELLY Hi, Mike. MIKE How you doing, Kelly? KELLY -LRB- sniffling. -RRB- I'm Neo - Senephrened out. Think I'm catching a cold. MIKE Better than catching Sean's herpes. An astounded glare. KELLY Herpes? SEAN Why you sonuvabitch. MIKE -LRB- leaving. -RRB- See you tonight. Mike smirks away as Kelly grabs Sean. KELLY Sean, do you have herpes? SEAN No. Of course not. Do n't listen to him. He's - he's. -LRB- laughing. -RRB-. my brother. They kiss. KELLY I'm not in the next show. What do you want to do? He looks at her and grins. KELLY Besides that. SEAN I do n't know, what else is there? KELLY -LRB- excitedly. -RRB- I know! We can take the gondola ride! SEAN The one that goes underwater? KELLY Yes, it's great! SEAN No, Kelly, I do n't want to. KELLY Come on, it's fun! SEAN Not for me. I do n't go in the water, remember? KELLY You're not in the water. You're in a gondola. SEAN No, think of something else. KELLY Sean, this is ridiculous. You're acting very immature. SEAN I'm not acting! I do n't want to go in it, okay? She's dragging him by the hand. KELLY Well, I do! Time you got over this wet dream. Nothing's gon na hurt you. Now c'mon, we're going on it! He very reluctantly goes with her.","INT. TUNNEL Kids and adults laughing and jumping at the creatures from the deep. OUR THREE TEENAGE GIRLS Linda, Becky, and Ali ask the ATTENDANT at the entrance. ALI Is this one scary? ATTENDANT No. This one's fun. You'll like it. BECKY Oh, good. Because the last one really scared us. They head into the tunnel.","INT. CONTROL ROOM The Woman Controller sees something on one of the monitors. WOMAN Did you see that? MAN What? WOMAN On monitor three. Was a glimpse of something. MAN That? WOMAN Yes, there is goes. MAN It's disappeared. They wait and watch. WOMAN I'll have the guard look. She picks up the phone. ATTENDANT AT TUNNEL He's on the phone to Control. ATTENDANT I'll go check on it. He hangs up and starts down the tunnel. OUR THREE TEENAGE GIRLS Having a good time as a giant, mad - eyed squid appears with all its tentacles reaching. BECKY Wow, look at that! LINDA Yeah. Reminds me of my date last night. ALI Hey, look at that thing over there. What's that supposed to be? They press to the glass for a closer look. We see some kind of FORM, floating. BECKY I do n't know. Some kind of crab? ALI It looks like a man. LINDA It is! THE FORM Rolls over as the girls SCREAM in horror. We see it is OVERMAN What's left of him. DAVEY JONES LOCKER Mike sits at the bar, on a stool. He's had a few, and it shows. There's a good crowd in the restaurant. PHILIP, IKE, AND SHELLY ENTER Move for a spot. Philip spots Mike. PHILIP See you later, mates. Philip moves over to Mike. MIKE AND PHILIP AT BAR Philip puts an arm around Mike. PHILIP Your friend Overman picked a hell of a time to come back. MIKE Yeah, poor bastard. PHILIP I lost a good cameraman in Australia last year. A Great White chopped him in half with one bite. MIKE Hey, I do n't want to hear. PHILIP That's how they do it, you know. Seizes its prey and shakes its body savagely. Teeth gnaw through a man like a buzz saw. MIKE Buzz off. PHILIP I will, old boy, tomorrow. Our work is done here. Just came to say goodbye, and good luck. MIKE Yeah? Well, in that case, have a drink. PHILIP Thanks. -LRB- to girl bartender. -RRB- Bullshot. MIKE So where you go off to, Hutton? Some expedition in New Guinea or Outer Mongolia? PHILIP No, South Georgia. MIKE What the hell's there? PHILIP Polar bears. MIKE Polar bears in Georgia? PHILIP South Georgia, Antarctica. MIKE Oh. PHILIP The world's southern most reaches. MIKE How come you're so brave with all this stuff? PHILIP Tradition. Royal sense of adventure that's been in my family for centuries. Dates back to the Crusades and King Richard. What I was born to do. MIKE Yeah, tradition's a bitch, ai n't it? PHILIP Reach for the limit I always say. MIKE I'll remember that, my Lordship. KATHRYN ENTERS She takes a beat, looks around, and moves quickly to the bar. KATHRYN Michael. They both look at her as she comes up to them. KATHRYN Michael, look at this. She shows us what's in her hand. A VERY BIG SHARP TOOTH Mike looks at it. MIKE Put it under your pillow and sleep on it and the tooth fairy will - KATHRYN It's a shark's tooth! MIKE So? KATHRYN It was removed from Charlie Overman's body. PHILIP May I? He takes the tooth. One look and he knows. PHILIP The bigger to eat you with. He and Kathryn exchange an understanding that Mike does n't. MIKE -LRB- confused. -RRB- What's the big deal? A shark got Overman, and we got the shark. KATHRYN That's just it, Michael. We do n't! MIKE What do you mean, we do n't? KATHRYN This tooth is from another shark. A shark that could be 30 feet long! MIKE Thirty feet? PHILIP Actually, thirty - five is probably more accurate. MIKE That's impossible. If it's that big, why has n't anybody seen it? Huh? Tell me that. It's like not seeing the Goodyear blimp in a swimming pool. KATHRYN That's what I've come to ask you. Is there any large place that has a strong current of water flowing? MIKE I do n't understand. His BEEPER starts signaling. He ignores it. KATHRYN Sharks have to keep moving. They can never stop or they'll suffocate. If water is n't always flowing through them, they'll die. PHILIP Is there such a place? A cave or something with such a flow? MIKE I do n't know. I ca n't think offhand of one. He reaches for his signaling beeper. MIKE Yeah, what is it?","INT. CONTROL ROOM The Woman Controller is watching one of the rising gauges. WOMAN Mike, we got a heat build - up in filter system number four. We're running high temperature. MIKE AT BAR MIKE Switch to intake three and keep it there. WOMAN -LRB- V.O. -RRB- Right, Mike. UNDERWATER INTAKE TUNNEL MOVING - CAMERA PANS across the gate. The bubbles stop. Through the grate, we SEE the GRAY FORM begin to move.","INT. BAR MIKE What did you just say before? About water flowing through them? KATHRYN That's why they're always moving. They have to have it. MIKE -LRB- to Philip. -RRB- You wanted to know about a cave? PHILIP Filter system number four. Is it large enough? MIKE -LRB- solemnly. -RRB- It's large enough.","INT. VIEWING TUNNEL - PEOPLE A dark cloud passing overhead, covering them in shadows. We see the underside of a massive white shark.","INT. BAR - MIKE, KATHRYN, AND PHILIP PHILIP How far away is filter number four? MIKE Five hundred yards. PHILIP You have a man near it? KATHRYN Somebody better get down there! MIKE It's all controlled from the Control Room. PHILIP I've heard of a White that big, in Australia. KATHRYN How'd it get in here?! MIKE Slumps on his stool, head in his hands, half - bagged, mumbling low. MIKE Oh, no. not again. A thirty - five - foot fuckin' shark. Goddamn. what's wrong with my family? First my father. now me. MIKE Sees something REFLECTED in his glass. He leans forward, curiously, watching whatever it is growing larger and larger. MIKE What the hell. He turns and SEES JAWS! In all it's full, awesome, HORRIFYING form. Mouth open, it tries to eat the viewing glass, then turns. Its body thunders against the window, shaking it as people SCREAM and panic for the door. KATHRYN -LRB- V.O. -RRB- Oh, my God! KATHRYN AND PHILIP Ca n't believe it themselves. They stare in awe. PHILIP He's big as a bloody bus! KATHRYN The water ski show! We have to get them out! MIKE Come on! KATHRYN You two go! I'll call Calvin!","EXT. RESTAURANT Mike and Philip come jumping into Mike's golf cart. MIKE Watch it! Out of the way! The tourists look at them. Who are these rude men? MIKE Coming through, please! Philip is standing and screaming. PHILIP Move your bloody asses! Mike tries to drive through - around the crowd. They yell back at him. Mike grabs his beeper and calls in. MIKE This is Brody, get the skiers out of the water! We got a shark loose! A Great White! THE SHARK Sweeping past one of the tunnels. People run in fear. Total PANIC. WATER SKIERS They are doing `` The Hatfields and McCoys.'' The skiers are in mountaineer costumes, and the MUSIC is loud bluegrass as the skiers do their twists and turns. SKI SHOW AUDIENCE Stomping and clapping and cheering for their side. AUDIENCE Hatfields! AUDIENCE McCoys! KATHRYN ON PHONE She's finally gotten Calvin. KATHRYN Yes, Calvin, yes! It's the biggest shark I've ever seen. A female. I think the other one was hers. You have to get the skiers out. SHARK POV Up ahead, the skiers' wake. The shark rises. MIKE AND PHILIP Now there are so many tourists in front of them, the cart is useless. They jump out of it and RUN for the ski show stadium. Those in their way get knocked aside. TOURISTS Hey, where the hell you going?! Why do n'tcha watch it?! Asshole.","EXT. LAGOON - DORSAL FIN Slicing through the water, CAMERA draws around, revealing that the shark is heading for the lighted stadium, the ROAR of the crowd. SHOT OF THE SKI SHOW The audience applauds. MOVING POINT OF VIEW SHOT - WHAT THE SHARK SEES Headed toward the stadium. MIKE AND PHILIP Come running in, in back of the stadium. They hurry to where the other skiers wait backstage. PHILIP Looking toward the lagoon, sees something. PHILIP Oh, Christ. WHAT HE SEES - THE FIN Heading toward the skiers. MIKE AND PHILIP Keep running, pointing, and yelling. MIKE Shark! Shark! But his warning is drowned out by the participating audience caught up in the show. AUDIENCE Hatfields! McCoys! Mike grabs one of the show's MANAGERS. MIKE Get them in! There's a shark out there! MANAGER You're kidding, are n't you? MIKE Get them out of the water! MANAGER Jesus. He runs off, while Mike sprints for the Master of Ceremonies. WATER SKIERS Doing their twists, turns. SKIER - TOD Does a fancy turnabout. Skiing backwards, he looks aghast as he spots something in the water coming after them. TOD Holy shit! He completes his turn - around and skis on, looking back over his shoulder. One of the GIRL SKIERS notices him looking. GIRL Hey, what'd you lose? TOD Huh. nothing. just do n't fall. Just do n't fall! He glances back again. The fin follows, then dives beneath the surface. SKI SHOW - MASTER OF CEREMONIES The M.C. is giving the audience a running play - by - play commentary as Mike comes bursting upon him, grabbing the microphone. The M.C. keeps pushing Mike back. M.C. What are you doing? I'm doing a show. Give me that. MIKE -LRB- into microphone. -RRB- All skiers in! There's a shark out there! Get out of the water! There's a shark! AUDIENCE Almost in unison, EVERYBODY in the entire stadium rises to their feet, looking. WATER SKIERS Having heard Mike's announcement, they're all looking about with great concern. SKIER Does a JUMP, coming off a ramp. Airborne, he glances down in disbelief as he FLIES over the monstrous form swimming beneath him. SKIER Holy shit! He lands and keeps going. SKIERS As the boat comes roaring in at top speed. The skiers make their sliding breakaway and clamber up onto the pad and safety. MIKE AND PHILIP Are amongst those helping them out. The skiers collapse thankfully. SKIER God, that was close! GIRL SKIERS All out of breath, looking out at the lagoon. GIRL SKIERS I do n't see it. Where is it? SHARK POV - UNDERWATER A GRINDING - SPLASHING NOISE has its attention. It heads in that direction. CALVIN ARRIVES Runs up and responds to SHARK FIN Speeding to one of the GONDOLA CARS as it glides along the water. CALVIN Good God! GONDOLA CARS One rises up from the water as the next one descends.","INT. GONDOLA CAR Sean and Kelly sit holding hands. KELLY Is n't this fun! SEAN -LRB- low, sarcastic. -RRB- Can hardly wait to do it again. She laughs and kisses him. KELLY Told you you'd like it. SEAN -LRB- apprehensively. -RRB- Now what's this do? KELLY Goes up. Sean looks out at the water and sees THE FIN Knifing through the water. SEAN -LRB- aghast. -RRB- No. It ca n't be. KELLY What, hon? Unable to speak, he can only point at the rapidly approaching dorsal fin. KELLY Oh, my God! SHARK POV The splashing Gondola Car. SEAN AND KELLY White - knuckled as the car starts to rise up. SEAN Let's go, let's go! KELLY It's okay, Sean. SEAN Take it up. KELLY He's diving! THE FIN Disappears. THE GONDOLA Slowly rises. Now ten feet above the water. KELLY -LRB- big sigh. -RRB- We made it. It ca n't get us. Sean still stares through the glass bottom at the water. SEAN Take it up! KELLY SEAN! Kelly has reason to scream, for THE SHARK Comes BURSTING out of the water at them. SEAN NO! SHARK Lunges high into the air, giant jaws open wide, rows of teeth bared. It clamps down on the rising gondola. SEAN AND KELLY As they look into the jaws of death. Kelly SCREAMS. SHARK AND GONDOLA As the car comes crashing back into the water, being torn apart by the giant. Kelly's SCREAM is still heard. AMBULANCE SCREAMING It's SIREN crying out as the ambulance RACES through the street, light flashing. AMBULANCE DRIVER AND HIS POV He's doing seventy and WEAVING in and out of traffic, barely avoiding head - ons and blind - sides by inches.","INT. HOSPITAL CORRIDOR MIKE Paces the hallway, nervously, outside a room. NURSE Comes out room door. Mike goes up to her. MIKE Can I see him now? NURSE He's very sedated. You ca n't talk to him. MIKE I just want to see him. NURSE Only for a minute. Mike nods appreciatively and enters.","INT. ROOM - SEAN Lies in bed with tubes sticking out of him. Mike stands looking at his still brother. KATHRYN Enters. Comes up to Mike, takes his hand. Mike looks at her. MIKE Kelly? Kathryn barely shakes her head `` no.'' Mike shows his pain. KATHRYN How is he? MIKE Couple of fractures, lacerations. They say he's gon na be all right. KATHRYN I have to go, honey. Phillip and I are going down together to kill the shark. MIKE Okay. She kisses his cheek and leaves. Mike just keeps looking at his brother.","INT. PRESS TENT - LATER Kathryn, Calvin, Philip, and staff execs seated around the table - top model of the Kingdom. PHILIP We can assume he's back in the water intake passage. KATHRYN She, Mister Hutton. PHILIP He. She. Let's blow the bitch up! CALVIN You ca n't do that. We're talking millions of dollars of filtering system. PHILIP We're talking a bloody dinosaur's down there! CALVIN You're not going to blow that equipment away. PHILIP Well, what else do you propose? MIKE -LRB- V.O. -RRB- We net it. They all look to see MIKE Coming through the door, joining them. MIKE -LRB- continuing. -RRB- After all, that's how you catch fish, is n't it? PHILIP You could also try a bamboo pole and a worm. CALVIN What's your plan, Brody? MIKE It's easy. Put a net on the derrick. Put the net in the water by the intake passage. Turn off the intake passage. Shark comes out into the net and is hauled up. PHILIP A piece of pie on Sunday. KATHRYN The net would have to be secured by the intake passage. MIKE That's right. KATHRYN Who's going to do it? MIKE Me. KATHRYN Michael, you're not going down there. MIKE I am. You're not. KATHRYN But you - MIKE -LRB- cutting her off. -RRB- It's a construction job. I'm the only one that can do it. PHILIP I'll go with you. MIKE No way. PHILIP I'll stay out of your way. I wo n't interfere. MIKE I'm sure you wo n't. But you're going to have to wait till we come up. Then you can film all you want. He starts for the door as Kathryn grabs him. KATHRYN Michael, you do n't have to go down there. MIKE I want that shark, Kathryn. KATHRYN You do n't have to prove anything. MIKE Only to myself. She watches as he leaves. DERRICK A giant heavy - duty CRANE sits beside the shore. It is strongly reinforced by supporting cables. Nothing could budge this baby. GIANT NET Is fastened to the derrick beam and guided over to the water's edge by workers. MIKE In diving suit, overseeing the operation. He moves about, hand signaling the crane operator to lower the net. NET Comes crashing into the lagoon, submerging to the deep. MIKE Is with Bob, ready to go in. He holds Kathryn. KATHRYN Be careful. Mikes smiles at her and repeats her own words. MIKE Do n't worry. I've handled sharks before. A quick kiss and he goes into the water. Kathryn watches. UNDERWATER Mike and Bob dive to the TUNNEL ENTRANCE Mike stops there, and Bob continues to the bottom. CLOSE ON MIKE Looking into tunnel. PULL BACK to include ominous tail of shark. It WIPES FRAME. MIKE Signals for them to send down the equipment. SHORE Men lower the gear to the divers below. UNDERWATER ANGLE As the gear comes down. BOB WITH JACK HAMMER Driving in anchor pins. PULL BACK AND UP to MIKE Welding hook eyes to tunnel mouth. REVERSE ANGLE Mike is intense and worried as he welds. ANGLE DOWN, the shark's tail is swishing, more agitated. BOB Glances up toward the shark, concerned about the JACK HAMMER NOISE. He suddenly startled by something touching him. REVERSE - IT'S MIKE He's finished with the welding and motions for them to get the net assembly. CAMERA MOVES PAST THEM The shark is STIRRING. WIDE ANGLE Mike and Bob move the assembly toward the tunnel mouth. CLOSER ANGLE They reach the tunnel mouth. CLOSE ON HAND Attaching a cinch ring hook. MIKE AND BOB They maneuver about the mouth, from hook to hook. ANGLE PAST RESTLESS TAIL To Bob swimming down to attach anchor pins to net. WIDE ANGLE Mike joins Bob. CLOSE on SHIVES Being attached. JOB IS FINISHED Mike signals return to surface. MIKE AND BOB Quickly get the hell out of there. SURFACE Mike breaks through, followed by Bob. They pull them - selves up onto shore. Clasp hands tightly. Machismo. MIKE Way to go, Bob. Way to go! KATHRYN Hurries over to Mike. She's greatly concerned. KATHRYN Are you okay? MIKE -LRB- smiling. -RRB- I'm fine. They hug. PHILIP It's his turn now. He grabs Ike. PHILIP Let's go. They start into the water. Mike comes over to Philip. MIKE -LRB- warning. -RRB- He's big, Hutton. You never saw anything so big. Watch yourself. PHILIP Always do. They submerge into the water. MIKE Grabs walkie - talkie. MIKE Okay, turn them on. CONTROL ROOM As the lagoon lights start to be turned on. We see them come on outside the windows. FULL SHOT - LAGOON As the lights come on, section by section. PHILIP AND IKE Reacting as the lights go on. Immediately, Philip switches on his head lantern and begins to check the camera. Ike looks uneasily toward the tunnel entrance. TUNNEL ENTRANCE The net across it, cables raising from each anchor pin. The shark can not be seen inside the tunnel. PHILIP AND IKE Philip flathands Ike on the shoulder, startling him. He points to Ike's lights, and Ike nods jerkily, turns them on, turns on his head lantern. Philip gestures for them to get closer to the center of the net. Ike hesitates. Again, Philip hits him on the shoulder, gestures impatiently. MIKE On the walkie - talkie. MIKE Turn off the water. CONTROL ROOM As they begin to turn off the water entering the tunnel. SHOTS As the water current slows down in the tunnel. The shark begins to stir. The principals on shore wait, looking toward the lagoon. PHILIP AND IKE Philip gestures for them to get closer yet to the center of the net. Ike holds back. Philip gestures angrily, and Ike has to go along but is most unhappy about it. SHOTS The water current getting weaker and weaker. The shark begins to move. Philip wants to be closer yet. Ike holds back, and Philip grabs his arm, pulling him. Ike looks toward the tunnel with mounting dread. REVERSE ANGLE Philip grabs Ike, pulling him closer. SHARK Slowly starts BACKING OUT. Philip stays close, photo - graphing. Ike drifts back. CONTROL ROOM The Operator watches the monitor closely. OPERATOR Shark's backing out. MIKE Turns to his crew. Speaks into the walkie - talkie. MIKE It's coming out. Get ready. UNDERWATER - PHILIP Stays right on top of it as the shark continues to back out. Philip looks over his shoulder and sees Ike taking off, terrified. CONTROL ROOM The shark's three - quarters out now. Ike is leaving FRAME. PHILIP Obsessed, he continues to film, despite incredible risk. The shark slowly, ominously backs up, backs up. SHARK Is now OUT of the tunnel. Philip keeps filming. SHARK Suddenly SWINGS AROUND, its incredible, massive head now turned to Philip and CAMERA. It is JAWS! PHILIP Stunned, backpedals frantically as the SHARK Thrashes forward into the NET. PHILIP Mesmerized. Unable to stop, Philip brings camera up to resume filming. CLOSE ON PINS They begin popping out. SHARK Comes HEAD ON, smashing into the net. CONTROL ROOM The Operator sees this chaos in the monitor and reports. OPERATOR The pins are going! MIKE Acts at once, speaking into the walkie - talkie. MIKE Pull up the rear net lines!","EXT. CRANE CAB The OPERATOR responds, pulling the levers hard. FULL SHOT - NET FLOATS Being hoisted out of the water. MIKE Gives a new order. MIKE Too much, ease off, ease off! REAR OF SHARK IN NET The mighty tail is tearing back and forth. Between the excessive pull - up and the thrashing tail, the strain on the anchor pins is too much. CLOSE ON PIN Violently being pulled out by an unseen force. CONTROL ROOM OPERATOR The tail's knocking out the bottom lines! MIKE MIKE -LRB- to Crane Operator. -RRB- Take up the cinch line on tunnel mouth! PHILIP Refuses to yield. He's still in from of the shark, filming. The shark's ENRAGED. ANCHOR PINS Start popping out in rapid order. PHILIP Realizes and starts retreating. MIKE MIKE Harder on the cinch lines! CRANE OPERATOR CRANE OPERATOR It's full bore now! SHARK - HEAD - ON Its assault on the net is more frenzied than ever. It plows into it. The seam starts to go! SIDE ANGLE - CRANE The derrick starts to TOPPLE, bracing cables snapping, the rear wheels starting to lift. Mike and everybody look around in SHOCK. CRANE ARM Comes toppling toward CAMERA. MIKE Sees and warns Bob. Look out! They LEAP into the water, barely avoiding the falling crane. UNDERWATER - MIKE CLOSE No mouthpiece, no mask up. He's gagging for air. MIKE His foot and leg tangled in net and cinch line. CLOSE ON TANGLED LEG/FOOT ANOTHER ANGLE Mike struggles to free himself. SHARK With tremendous thrust, the shark splits the seam of the net, coming right at us. Its vast JAWS fill the screen. ANGLE ON PHILIP Panic - stricken, total shock, he tries to escape. PHILIP SWIMMING The shark right behind. It wants Philip BAD. IKE Looks down in horror as he sees THE SHARK EAT PHILIP FRONT ANGLE As Philip is scooped into the massive mouth. ANGLE ON MOUTH Philip's airline is hooked over a shark's tooth as PHILIP slides into the shark's throat WHOLE. PHILIP INSIDE SHARK Panics as air is replaced by water, as he continues further into the shark. He is still alive, in one piece, at the edge of INSANITY. Then he remembers the GRENADE His hand gropes frantically for it. NEW ANGLE Philip, arm extended with grenade, fights to free his pinned arm to pull the grenade pin. PHILIP His mask now filled with water, struggles, bug - eyed, as his breath give out. ANGLE ON GRENADE In Philip's hand. A dead man's grasp on the grenade as the mouth of the shark closes into blackness. IKE Surfaces near platform, CAMERA moves in as BOB Surfaces unexpectedly in f.g., startling Ike. UNDERWATER - ANGLE ON MIKE He finds air. CLOSER ON MIKE He clears mask, puts in his respirator, looks. MIKE'S POV Through mask as water clears, the shark coming around the tunnel toward Mike. SHARK Heading for Mike. ON THE PLATFORM - BOB Climbs out, exclaiming : BOB Mike's caught in the net lines! ANGLE PAST SHARK Closing fast on Mike, still trapped. CLOSE ON KATHRYN With Bob in b.g. KATHRYN -LRB- to roustabouts. -RRB- Pull the cinch lines in! Hurry! MIKE Suddenly yanked upside - down and out of the tangled flipper. as the shark, on its kill run, lunges where Mike had been moments before. MIKE Is bumped hard by the passing shark. MIKE Swims down as the shark, overhead, turns. SURFACE Flipper, empty, is pulled from water. CAMERA moves in on Kathryn, grief - stricken. MIKE Perplexed, looks for way out. Begins to swim down. MIKE'S POV The cave. We move toward it. MIKE Looks over his shoulder at the pursuing shark. It's gaining fast. Mike's kicking as fast as he can. MIKE'S POV The shark, closing in once again. MIKE Swims frantically, the cave seeming so close yet so far. SHARK Alarmingly close, mouth open for the kill. ANGLE ON MIKE At mouth of cave, desperately reaching for the lip. He swings into the cave. and out of the shark's path as THE HUGE BEAST Immediately surges past, crashing into the cave's entrance. MIKE Reacts to the close call. MASSIVE TAIL Whips past, colliding with cave overhang, causing the overhang to fracture from the heavy blow. CLOSE ON MIKE His face reflecting concern as light changes and there is a CAVE - IN We see that Mike is blocked by fallen debris. KATHRYN - ON SHORE Grabs Bob as he is helped from the water. Shelly pulls ashore a traumatized Ike. KATHRYN AND BOB KATHRYN Where's Michael? What's happened to him? Bob shakes his head mutely. BOB I do n't know. The shark got him. Kathryn grabs a walkie - talkie. KATHRYN Can you see Michael? CONTROL ROOM Man looking at the monitor screens for the Fun Tunnel area. MAN We're not sure. KATHRYN -LRB- V.O. -RRB- Look! CAMERA moves in fast on the screen to show the cave entrance. ANGLE ON CAVE ENTRANCE - MIKE Trying to pull loose some of the fallen concrete to get out, looking for the shark. The concrete pieces are too heavy. KATHRYN AND BOB KATHRYN Well?! OPERATOR -LRB- V.O. -RRB- We think he's trapped inside a cave beside the glass tunnel. The shark broke up the entrance. KATHRYN Where is the shark? OPERATOR -LRB- V.O. -RRB- Near the bay gate. Kathryn hesitates, then runs out of FRAME, Bob and the others watching her go in surprise. SHOTS Kathryn running desperately toward her compound. Mike trying, in vain, to get out of the cave. SHARK COMPOUND DOCK - KATHRYN Running to the sub, untying it, jumping in, pulling the canopy shut, and turning on the engine. As the SUB moves into the lagoon, she puts on the scuba mask. BOBBY AND DAISY Seeing her leave, they begin to butt frantically at the still - unrepaired gate opening of their pen. SUB Moving through the lagoon. SUB - KATHRYN Looking around uneasily as she drives the sub. WHAT SHE SEES - THE LAGOON O.S., we hear the SOUND OF THE SUB. No sign of the shark. MIKE Trapped in the cave. He hears the O.S. SOUND of the sub and looks out, trying to see. THE SUB Emerging from the water, coming straight at CAMERA.","INT. SUB - KATHRYN Camera draws around to show the cave ahead. She looks around again for the shark. FULL SHOT - THE SUB Coming up to the cave. Kathryn starts to push the sub front against the fallen concrete. MIKE Pushing to one side to avoid the concrete piece the sub is pushing in. FULL SHOT - THE SUB Pushing at the concrete piece. KATHRYN Inside the sub, concentrating on the cave. Suddenly, a dark form flashes into FRAME just overhead, making her jump in shock. Then she sees - BOBBY AND DAISY Swimming around the sub. KATHRYN Returns to the concrete piece. FULL SHOT - THE SUB Pushing in the concrete piece. MIKE Pressed against the cave wall, is almost touched by the concrete piece. Now there is room enough for him to get out. FULL SHOT - MIKE Starts to push out through the cave opening. CAMERA ZOOMS IN on his face as he sees - THE SHARK In the distance, approaching again. KATHRYN AND DOLPHINS She reacts, seeing the dolphins dart out of FRAME. She looks after them. POINT OF VIEW SHOT - THE DOLPHINS Speeding toward the shark to intercept it. KATHRYN Her face reflecting her fear for the dolphins as she opens the canopy for Mike to get in. He closes the canopy, both looking apprehensively toward the shark. WHAT THEY SEE - THE SHARK Being butted by the two dolphins, deflecting its charge. MIKE AND KATHRYN Kathryn starting to drive the sub away. FULL SHOT - SUB As it starts away from the Fun Tunnel area.","INT. SUB - MIKE AND KATHRYN Kathryn looking back toward the shark. WHAT SHE SEES - THE DOLPHINS Still attacking the shark with some diversionary success. FULL SHOT - SUB Starting to rise as it passes over the Spanish Galleon.","INT. SUB - MIKE AND KATHRYN In the b.g., the shark suddenly comes toward them at high speed, its massive size blotting out everything in b.g. FULL SHOT As the giant shark hits the sub broadside.","INT. SUB Turning over in a complete circle, then righting itself, Kathryn trying to keep it moving forward. FULL SHOT - THE SHARK Attacking the submarine again, flinging it around like a cork, the attack by the dolphins only diverting it slightly.","INT. SUB The shark seen outside, trying to close its jaws around the sub. FULL SHOT - THE SHARK Grabs the sub from behind and starts to shake it.","INT. SUB - ANGLE PAST MIKE AND KATHRYN The shark seen in b.g., its enormous jaws closed around the back part of the submarine. Kathryn reaches for something. INSERT - CONTROL As Kathryn's hand in the violently shaking sub manages to increase the revolution of the propellers. FULL SHOT - THE PROPELLERS Spin faster, cutting the shark's maw. Bleeding, it backs off, wheeling away.","INT. SUB - KATHRYN Tries to drive it away, but the propellers will not turn now, they are jammed. The sub starts sinking toward the bottom. They both twist around. THEIR POV - THE SHARK Moving away.","INT. SUB - KATHRYN Points toward the galleon. Mike hesitates, then sees that they have no other chance and they slide back the canopy quickly, push out of the sinking sub, and swim toward the galleon. The dolphins suddenly appear in FRAME, and Mike and Kathryn grab their fins, looking around to see where the shark is, reacting as they see THE SHARK Rushing back toward them. MIKE, KATHRYN, AND DOLPHINS The dolphins speed them to the opening of the galleon hold where they let go of the fins and kick down fast into the hold as the dolphins wheel around to attack the shark again.","INT. HOLD OF GALLEON - UP ANGLE Mike and Kathryn swimming downward toward CAMERA. They kick into the dark hold, CAMERA pulling down from them, stopping. They swim past CAMERA and, in the next moment, the berserk shark appears, trying to follow them into the hold. It ca n't get through, the opening too small, but shatters part of the framing. MIKE AND KATHRYN Ducking away from and pushing aside large, falling pieces of lumber. They look up, reacting as they see THEIR POV - THE SHARK Lunging down into the opening again, breaking off more of the hold framing. MIKE AND KATHRYN Evading more falling wood, backing away as they look up at THE SHARK Trying once more, getting stuck in the hold opening which is now enlarged enough for it to wedge in part of its enormous form. FULL SHOT - THE SHARK Trying to get into the hold all the way, the two dolphins butting its side. MIKE AND KATHRYN Mike looks around, sees something and, grabbing Kathryn's arm, pulls her further into the body of the sunken hull, CAMERA PANNING to show them moving toward the hole in the ship's side.","EXT. HULL As Mike and Kathryn push out through the opening and kick up with extreme caution. ANGLE ON DECK EDGE As Mike and Kathryn appear, looking warily toward THE SHARK Still in the opening to the hold, trying to break through, the dolphins still butting its sides. MIKE AND KATHRYN Look at each other, then, abruptly, decide and kick upward, CAMERA with them. As they move toward the surface, they look down at THE SHARK Starting to back out of the opening it has battered into the hold entrance. MIKE AND KATHRYN Kicking upward as fast as they can go. SURFACE As they break through, looking down. WHAT THEY SEE - THE SHARK Coming up at them. MIKE AND KATHRYN Not knowing what to do. They start spasmodically as the two dolphins rush up from beneath the water and appear nearby. Without a word, Mike and Kathryn grab the dolphins' dorsal fins, and the dolphins start to rush them away. THE CHASE Shots alternating between Mike and Kathryn being pulled along by the dolphins and the giant shark pursuing them, getting closer and closer. When it becomes apparent that the shark is going to overtake them, the dolphins make a sharp turn and elude its heavier, straight - forward impetus. Seeing where they are, Mike points downward. Kathryn hits Bobby on the side and he dives abruptly. Daisy follows. UNDERWATER The dolphins diving with Mike and Kathryn as they put their mouthpieces back in. We see that they are outside the Control Room, the men inside looking out at them in shock. Mike lets go of the fin and swims to the lock, gesturing for Kathryn to do the same. She does and both take refuge in the concrete recess as the shark zooms into FRAME from behind CAMERA, rushing at them. INSIDE THE RECESS As the huge shark comes at them. Mike activates the outer door of the lock, and they are washed in just as the shark smashes its head against the concrete, jaws missing their feet by inches.","INT. LOCK The shark still trying to get at them. Mike shuts the outer door and starts to drain the water from the lock. As it comes below their heads, they pull out their mouthpieces and look at each other with dazed relief. He puts his arms around her, and they lean their fore - heads together, breathing hard. The water is out of the lock in seconds ; inside, men activate the inner door.","INT. CONTROL ROOM As Mike and Kathryn are helped in by the technicians. One of them looks toward the o.s. window suddenly. MAN Oh, my God! They whirl and look. THE SHARK Coming straight at the window as fast as it can. With a deafening CRASH, it hits the window and the glass is shattered, a wall of water roaring in. FULL SHOT - MIKE AND KATHRYN AND THE MEN Swept across the Control Room by the giant wave of water flung around. One man is smashed against a wall and killed. Several others make it to the door, getting out just before the water slams it shut. MIKE AND KATHRYN Putting their mouthpieces in again as the Control Room fills with water. They look toward THE SHARK With one of the technicians in its JAWS and is sub - dividing him. CONTROL ROOM Starts flooding. A tape bank topples, crushing female technician. IMPALED SHARK Thrashes violently, working its way in. It's caught on a huge section of thick glass piercing its side. MIKE AND KATHRYN Staring at the shark. Suddenly, the air in Mike's tank runs out and, reacting, he taps Kathryn's arm. She sees his problem, takes a deep breath, and gives him her mouthpiece. They look toward the window at a loud SOUND. THEIR POV - THE SHARK Still very much alive, throwing its gigantic weight forward, getting closer and closer to CAMERA, each violent lurch cutting its side open more, blood pouring from the jagged rent. ANGLE PAST SHARK ON MIKE AND KATHRYN As it gets closer and closer to them. They back away, are blocked by a console. ANGLE PAST MIKE AND KATHRYN Showing the shark closer yet. Despite the impaling blade of glass, despite the internal injuries, the shark - in seconds - will have them. CLOSE ON MIKE AND KATHRYN Sharing the mouthpiece, huddled together, helpless now. Then Kathryn's eyes widen, both react. THE SHARK Shaking its head as it inches forward, jaws open wide. MIKE AND KATHRYN Drawing back. Kathryn SCREAMS. THE SHARK Emerging from its maw is Philip's body. PHILIP'S BODY We see the GRENADE locked in his fist. MIKE Quickly grasps a metal strip from the tape bank and fashions a crude hook. MIKE Times his move perfectly and KNOCKS the grenade out of Philip's locked fist. The grenade comes to rest between the shark's TEETH. Kathryn gives Mike some air, then MIKE Leaps forward and SNATCHES the grenade out of the shark's mouth. MIKE Hurriedly wraps a metal strip around the grenade. KATHRYN Acts as a decoy and lures the shark's attention as MIKE PULLS the grenade pin and SHOVES GRENADE Into the distracted shark's mouth. MIKE GRABS KATHRYN And they roll behind a Control Room desk and computer terminal console. FULL SHOT SHARK As the shark is BLOWN OUT backward through the window opening, torn in half by the explosion, its massive remains starting to slide toward the lagoon bottom, turning the water crimson. MIKE AND KATHRYN Grabbing the stunned Kathryn, Mike pulls her to the window and out, starting upward through the bloody water. UNDERWATER - MIKE AND KATHRYN Sharing the air, they slowly float to the surface, buddy - buddy breathing. SURFACE Mike and Kathryn break through. Helping each other, they make their way over to a camera pylon. MIKE AND KATHRYN Cling to the pylon and each other. KATHRYN Suddenly looks alarmed as she remembers : KATHRYN Bobby and Daisy. Mike looks about, no sign of the dolphins. KATHRYN Slaps the water hard three times. No dolphins. She does it again. And again. KATHRYN And now, in total ANGER AND FRUSTRATION, she pounds the water like Rocky on the punching bag until she is drained, and Kathryn breaks down sobbing as Mike holds her, trying to comfort her. DOLPHINS Come shooting to the surface! They're banged and bruised, but are chirping excitedly and as HAPPY to see Kathryn and Mike as they are to see them. DOLPHINS Slowly swim around the hugging Mike and Kathryn as CAMERA PULLS UP to show the Sea Kingdom, in all its entirety, safe at last. FADE OUT. THE END"],"string":"[\n \"JAWS 3-D AN UNDERWATER WONDERLAND Crystal green. Beautiful fish of all colors and faces swarm happily by. A spectacular undersea garden blooms like plants touched by springtime. A quick - silver surface of color mirrors lush reef growth. SURREALISTIC CREATURES Swim, creep, crawl, stalk, hide in their endless quest to survive. FISH A beautiful aquarium of peace and tranquility. TERROR The fish suddenly explode in panic, darting in all different directions, swimming instinctively for their threatened lives. GROUPER 300 pounds. Awesome and ugly, swimming away as fast as it can go. ANOTHER ANGLE - GROUPER As we come closer on it. Closer. It glances back, eyes wide with fear of impending death. It reverses course, ATTACKING CAMERA, and the grouper gets TORN IN HALF Shredded by some unseen monster. There's a violent THRASHING SOUND and clouding of the ocean, then quiet again as chunks of tissue float in the bloody brine. GROUPER'S HEAD Drifts along, torn from its body. Bug eyes open wide in death. CAMERA Swoops around, moving quickly again. On the surface, high above, something attracts its attention. It goes to investigate. UNDERWATER SHOT OF WATER SKIERS Speeding over the surface. CAMERA Let's now refer to it as SHARK, even though we do not see it. It starts after the skiers. WATER SKIERS Tanned, healthy, all - American boys and girls. They come SHOOTING across the water in formation. SHARK POV Follows after them, curious as to what's going on. SKIERS Start forming a PYRAMID, climbing up onto each other. One of the girls is KELLY. She's blonde and adorable and is climbing onto TOD's broad shoulders. TOD The space shuttle has landed! KELLY Hold still, damn it! TOD What're you doing later? KELLY Taking my boyfriend to the airport. TOD -LRB- smiling. -RRB- I thought I was your boyfriend. SHARK POV Following along, piqued. SKIERS The pyramid is formed. The COACH in one of the speed - boats speaks through his bullhorn. COACH Looking good, kids. Real good. That's the way. Keep it nice and tight. TOD Keep it nice and tight, Kelly. KELLY -LRB- giggling. -RRB- I do n't talk that way. TOD Remember, skiers stay up longer. KELLY Shut up, Tod! Be serious! TOD I am serious. SHARK POV As it follows the skiers' wake.\",\n \"INT. PRESS TENT - ARNOLD CALVIN Slick corporate vice president. Sea Kingdom is his baby. He points to a large SCALE MODEL of the park as he talks to the crowd of press people and V.I.P.'s. CALVIN Two years in the making, at a cost of seven million dollars, our new Under the Sea Kingdom is an exploration of earth's inner space, capturing the excitement and adventure of man beneath the sea. No other amusement park offer exhibits like. -LRB- points. -RRB-. Monsters of the Deep fun tunnel, with giant squids, manta rays, and moray eels. -LRB- points. -RRB- We've added to the fantasy of lost underwater treasure ships for kiddies, sunk in. -LRB- points. -RRB-. a reproduction of incredible coral reefs and caves where we've imported thousands of rare beautiful tropical fish. -LRB- points. -RRB- And in this enclosed exhibit is Shark Encounter, where moving walkways take you safely through shark - infested waters. A pretty woman REPORTER has a question. REPORTER What kind of sharks, Mister Calvin? CALVIN Doctor Allen is our Marine Biologist and Mammalogist, formerly in charge of the state's Conservation Marine Laboratory. I think she can answer better than I. They all turn to KATHRYN Dark hair, mid - twenties. The brain matches the beauty. She is far more comfortable in the company of her dolphins. KATHRYN Domesticated sharks, mostly. Mako. Tiger. Nurse. Sand. REPORTER Do n't they attack each other? KATHRYN Contrary to popular belief, when sharks are well fed, they will not hunt. CALVIN -LRB- smiling. -RRB- And we keep them well fed, so be kind what you say about us, or. They all chuckle. Except Kathryn. REPORTER You do n't have a Great White. KATHRYN No. And I really do have to get back to my own mammals, so, if you'll excuse me, please. CALVIN Yes, of course. Thank you for stopping by, Doctor. Kathryn gets out of there. REPORTER It seems what you've created here is a combination Art Nouveau and Jules Verne. CALVIN Exactly. WATER SKIERS Up in their pyramid formation. The Coach gives them praise through his bullhorn. COACH Great, gang. Beautiful! Making me proud of you. KELLY Fighting for her balance, her legs are wobbly. KELLY Watch it, I'm gon na fall. I'm gon na go! TOD Balance, Kelly. Bal - lance! JILL No, Kelly. Not now! TOD Lean back! KELLY Ahhhhh! BILL You fall, I'll kill you. I swear I'll drown you. KELLY Oh, God. I ca n't. The Coach does n't know what's going on. COACH -LRB- V.O. -RRB- Now tomorrow, there's gon na be this great big banner that we break through here - so now is n't the time to fall, Kelly. That's all Kelly needed to hear. KELLY Ahh. ahhh. ohhhh. SKIERS NO! TIMBER! Kelly falls, sending the entire pyramid pitching into the water. TOD Aw. shit! SHARK POV Up ahead, shadows thrashing through the water. The shark rises to see what's going on. SKIERS IN WATER Start reassembling as the speedboat idles, Evinrude RUMBLING. The Coach barks at them through the bullhorn. COACH What the hell was that all about? Kelly! The skiers grab hold of their lines, looking at Kelly. KELLY -LRB- guiltily. -RRB- Sorry, guys. STEVE She did it again. COACH Concentrate out there! We ca n't have mistakes tomorrow! They're about ready to go again. The boat starts to pull away. SKIERS In their starting positions. They come RISING out of the water as SHARK Comes trailing in their wake, just seconds behind. We see the tip of a giant triangular FIN cutting through the water, following them. The fin is like a monstrous gray sail. Up ahead, we see a giant set of GATES Start closing, coming down. SHARK POV It swims under the closing, heavy wire mesh gates. Gon na be a tight squeeze. WHAM - THUMP There's a shuddering vibration as the gate hits on something BIG. The shark swims away as the gate CLANGS. DAISY AND BOBBY DOLPHIN Going through their `` paces.'' Kathryn is in the water with them. She blows a whistle and uses hand signals, giving affectionate rewards. KATHRYN -LRB- to dolphins. -RRB- What, Daisy? What do you want? Tell me. The dolphin `` talks'' back to her. KATHRYN -LRB- to other dolphin. -RRB- Come here, Bobby. Come on, give me a kiss. The dolphin gives her -LRB- and audience -RRB- a big wet kiss. KATHRYN Thank you. MIKE -LRB- O.S. -RRB- Want another one? She turns to him and smiles. KATHRYN Sure do. -LRB- to dolphin. -RRB- Kiss me again, Bobby. MIKE AND KATHRYN Laughing. Take each other in their arms. A soft, tender kiss, which the dolphins and penguin appreciate. MICHAEL BRODY is late twenties. Tan and fit. Head engineer. KATHRYN Well, not much longer to go. MIKE What is it, 97 days? KATHRYN -LRB- laughing. -RRB- Till this opens, not our wedding. MIKE Hope I make it through both. KATHRYN -LRB- kissing him. -RRB- You will. I'll see to it. Mike points to the nervous, chittering dolphins. MIKE Look, Kathryn. They're jealous. KATHRYN They're acting very strange suddenly. MIKE Pre - opening jitters. KATHRYN I guess. Mike's BEEPER goes off. He sighs and speaks into it. MIKE Brody here. VOICE Mike, we're having a problem with the gate.\",\n \"INT. CONTROL ROOM This is Mission Control underwater. All the inner workings of Sea Kingdom are monitored down here. The two OPERATORS watch the dials and gauges and 20 TV screens. MIKE -LRB- V.O. -RRB- What kind of trouble? OPERATOR It's not closing, Mike. MIKE -LRB- V.O. -RRB- That's impossible. OPERATOR I know. But we show it's not closing. MIKE -LRB- V.O. -RRB- Okay, okay. We'll get someone on it. MIKE AND KATHRYN MIKE Damn it. I ca n't understand! -LRB- to her. -RRB- I got ta go, hon. KATHRYN Do n't forget you have your brother. MIKE Yeah. KATHRYN See you later. They kiss and Mike turns at a RUMBLING SOUND. CRANE Comes lumbering towards the water's edge. Seated high on the boom with a camera is PHILIP HUTTON A very refined, well - educated, aristocratic Englishman, 30. IKE directs the crane and SHELLY drives. If you did n't know better, you might suspect there's something between the three of them. PHILIP Bring the crane over. Come down. Easy down. MIKE Hey. Mike comes over to them. MIKE Hutton, how the hell did you get my crane? PHILIP Calvin said it was all right. MIKE Yeah, well I did n't! PHILIP Well, we're not going to hurt it, old boy. -LRB- to Kathryn. -RRB- I say, love, is Flipper ready to go? KATHRYN Go where? PHILIP On the telly. We're to film him for the evening news. KATHRYN Nobody told me. PHILIP I just did. Can you make them do tricks? KATHRYN They're not tricks. They're behavior patterns. PHILIP Fine. Have them do some. KATHRYN I do n't know. They're nervous and skittish right now. PHILIP Yes, are n't we all. Kathryn turns in disgust, looking at Michael. KATHRYN That macho pompous English - MIKE Do n't let him get you. Just continue your patterns and pretend he's not around. KATHRYN My imagination is n't that good. MIKE Honey, I got ta go. KATHRYN Okay, bye. Another soft kiss. As Mike passes Philip, he slaps the crane and calls up to Philip who's readying his camera. MIKE Make sure you put this back. PHILIP Aww, ca n't I keep it? Mike stares at him. Takes an angry beat. Philip still looking into the lens. Mike leaves. Philip calls to Kathryn. PHILIP Okay now. Have Flipper flip or something. KATHRYN Make this quick! She turns to her dolphins. WATER SKIERS They're up in the pyramid once again, riding smooth. All but Kelly. KELLY Ahhh, ahhh. TOD Now what? KELLY Got ta sneeze. TOD Do n't you dare. KELLY Ca n't help it. ahh. JILL No, Kelly! We're almost in! KELLY Ahhhh. UNDERWATER - SHARK POV Staying right below the skiers. It starts to rise.\",\n \"EXT. PRESS TENT The media munch on hors d'oeuvres and champagne. From their vantage point, Calvin points out the skiers for them. CALVIN In addition to the aerobatics that our skiers are performing, they'll be doing the comedy ski show `` The Hatfields and McCoys,'' choreographed by world - famous skier Janet Turner. SKIERS Coming onto shore now. The Coach speaks to them through the horn. COACH Beautiful. Hold it, hold it. Kelly's hanging on, eyes tearing, mouth ready to explode in a sneeze. COACH Get ready. Here we go now. Make me proud of you. SKIER Release. They let go of their ropes and come out of the pyramid, gliding in to shore as Kelly lets out a huge SNEEZE and stumbles onto shore. TOD God bless you. UNDERWATER - SHARK Swoops in close, then turns and heads back out. No fun here. MIKE IN ZODIAC BOAT Comes speeding up to a WORKBOAT deck. Mike does a hot dog 180 - degree spin through the water and eases up to the workboat where SINGER holds a crackling walkie - talkie. MIKE What happened? SINGER I do n't know. It's off the track. MIKE Give me the walkie. Singer does. Mike talks into it. MIKE Overman! OVERMAN'S VOICE We get time and a half for this? MIKE No, Overman. OVERMAN'S VOICE Then we'll be done in a minute. Singer leans into the walkie - talkie. SINGER Let's go, guys. I got a date tonight. OVERMAN'S VOICE She have a friend? MIKE Yeah, but you do n't. Get to work. UNDERWATER - DIVERS OVERMAN and HARRIS. They are arc - welding on the GATE. The sparks flash brilliantly through the water. They replace a pin, HAMMERING it in place. MIKE IN HIS BOAT MIKE Stay on top of it. SINGER Right. KATHRYN POPPING OUT OF WATER She calls to Philip, who holds his camera but is n't filming the background. The dolphins dart about. KATHRYN It's no use. They wo n't come into the lagoon. PHILIP Well then, can you have them jump to the camera over here? KATHRYN Wait a minute. These are n't kangaroos, Mr. Hutton. They're dolphins. PHILIP I thought they were clever. KATHRYN I can have them walk backwards. PHILIP No, no. That wo n't do. KATHRYN I told you, something's upset them. PHILIP Well, I have to get this into the networks. If you ca n't do it, you ca n't do it, that's all. KATHRYN I'm sorry. PHILIP Well, we'll just try again, dear. Keep working on it. Maybe you'll get it one of these years. -LRB- to his men. -RRB- Pack up, boys. Flipper's a flop. KATHRYN Watches with scorn as the start the crane up and leave. Kathryn goes into the water, a look of determination. KATHRYN IN WATER Stands to her knees, BLOWING a whistle and SLAPPING the water hard. BOBBY and DAISY Look at her and respond in a cute but frustrating way. KATHRYN No! That is wrong! What is the matter with you? Again, she blows the whistle and slaps the water three times as MIKE PULLS UP In his Zodiac. MIKE -LRB- smiling. -RRB- You called, Doctor? KATHRYN Everything's going wrong. I'm having more trouble with Bobby than I ever have before. I ca n't get him to respond. MIKE How come? KATHRYN I do n't know. I ca n't understand it. Something's bothering them. MIKE And what else is bothering you? KATHRYN Hutton. He really pisses me off. MIKE Yeah, you really do n't like him. KATHRYN I do n't like what he does. MIKE It's his work. KATHRYN He does n't need the money. He inherited a fortune. He kills for kicks. TV battles between non - predator fish and divers. The diver always wins. MIKE Okay, forget him now. I'm going to pick up Sean. Take a ride? KATHRYN I ca n't leave now. We taking Sean out? MIKE Sure. Want to try that new Italian place? KATHRYN No, you do n't need all that starch. You're getting too fat. MIKE Not enough loving. KATHRYN Get out of here! She playfully splashes water at him. He yells and heads to shore. MIKE We'll have sushi. She smiles and shakes her head. WORKBOAT DECK As Overman and Harris pull themselves out of the water. They hand Singer the equipment and start getting out of their tanks. OVERMAN It's Miller time! HARRIS You buying? OVERMAN Sure am. HARRIS -LRB- to Singer. -RRB- Coming with us? Overman's buying. SINGER No, I'll take the money instead. Overman looks around the deck. OVERMAN You see the three - quarter socket? HARRIS Yeah. Down there. OVERMAN Shit. SINGER Way to go, guys. OVERMAN You two go ahead. I'll meet you at Captain Kidd's. SINGER Okay. Singer and Harris put the equipment into the boat as Overman puts his mask back on. OVERMAN Dives back into the water. UNDERWATER - OVERMAN The diver enjoys this freedom ; not encumbered with weights and tanks, he swipes at passing fish as he descends into the deep. But suddenly, all the fish that were curiously inspecting him turn and scatter. ANOTHER ANGLE - OVERMAN Looks about, apprehensive eyes peering through his mask. He looks again and continues diving. SHARK'S POV - OVERMAN As we come MOVING IN on him from behind. Overman turns. His face freezes in a horrifying SCREAM of terror. OVERMAN As a MONSTROUS unseen force plows into him, and there is a vicious thrashing and explosion of water. 727 ON APPROACH It comes in like a giant bird, flaps down out, gear down. It lands in our laps and continues past.\",\n \"INT. AIRPORT Arriving passenger SEAN BRODY moves with the others. Sean is a junior in college. Athletic, good looking, he looks around and sees his brother rushing up to him. MIKE -LRB- O.S. -RRB- Sean! MIKE AND SEAN A warm, macho, brotherly hugging and punching exchange. MIKE Hey, what's goin' on, little brother! SEAN Damn! You sonuvabitch! Look at you! MIKE Look great, do n't I? SEAN Got a job for me? MIKE Yeah, we'll find something for you. Shoveling shark shit or something. SEAN -LRB- apprehensive. -RRB- Sharks? MIKE -LRB- reassuringly. -RRB- In a restaurant. You sit there and they swim around you. SEAN I'll go to McDonalds. WITH THEM ON THE TRAM MIKE How'd you do in school? SEAN Great. I got one B, two C's, and eight incompletes. MIKE Hey, I'm proud of you, kid. SEAN So was Dad. He shows Mike a INSERT - POLAROID PHOTOGRAPH OF SHERIFF BRODY Grimacing as usual, his hair G.I. crewcut. SEAN -LRB- V.O. -RRB- Took it this morning. MIKE -LRB- V.O. -RRB- He needs a haircut. SEAN -LRB- V.O. -RRB- Yeah, right. MIKE AND SEAN MIKE How is he? Still fighting crime? SEAN Last week he broke up a major counterfeiting ring. Gang of kids were using slugs in the Pac - Man games. MIKE -LRB- laughing. -RRB- Big bust! He confiscate their water pistols? SEAN Booked them all at Baskin - Robbins. MIKE -LRB- appreciating. -RRB- That's Dad. Mike throws an arm around Sean and hugs him. MIKE He taught us good, though, did n't he, Sean? We were lucky to grow up the way we did. SEAN Who's grown up? MIKE Gee, it's good to see you! SEAN I want to see Kathryn. MIKE Just find your own. Like Dad says, there's plenty of fish in the sea. They laugh.\",\n \"INT. AIRPORT - KELLY Moving through the terminal, licking an ice cream cone, she sees Mike and Sean and comes running over. KELLY Mike! Mike and Sean stop. KELLY Give me a ride? MIKE Sure. KELLY ` Preciate it. Mike's BEEPER gives off a faint signal. MIKE -LRB- harassed. -RRB- What do they want now? He looks around for a phone. MIKE Kelly, this is my brother Sean. Do n't let him get lost. Mike heads for the phones in the b.g. as Sean and Kelly study each other, liking what they see. KELLY So, you just get here? SEAN Yeah, from Boston. KELLY I was seeing this guy off. He flew in from Dallas. Wants to marry me. He's okay, but Texans are so possessive. SEAN Massachussettans are n't. KELLY ` Course they're also so rich. SEAN Massachussettans are n't. KELLY How long you staying? SEAN I do n't know, it depends. KELLY You like Florida? Sean looks at her, in her shorts and tank top. SEAN I have n't seen that much, but so far it looks great. KELLY -LRB- suggestively. -RRB- Well, wait till you see the rest. They smile at each other. MIKE ON PHONE Whatever he's hearing is n't good. SEAN AND KELLY The romance continues to build. KELLY You gon na work at The Kingdom? SEAN Depends on big brother. KELLY I'm a water - skier. SEAN Are you really? KELLY Sure am. SEAN That's too bad. I do n't like water. I do n't like being around in. I never go in it. KELLY How come? SEAN Goes back to when I was a kid. Mike's okay, he's gotten over his fears, but I have n't. I ca n't even drink it. Mike comes over in a hurry. MIKE Come on, let's go. SEAN Something wrong? MIKE You know Overman? KELLY Musclehead? MIKE He's missing. KELLY Hope with none of my girl friends.\",\n \"EXT. AIRPORT - DAY Mike and Sean and Kelly walk to the parking lot. MIKE Kelly, could you look after Sean for a while? Show him around for me? KELLY Sure. No problem. MIKE Thanks. SEAN Yeah, thanks. The brothers wink at each other. KATHRYN RIDING WHALE She takes it through a series of moves, not noticing Mike and Sean and Kelly pull up in the Blazer. SEAN Hi - yo - Silver! KATHRYN Sees them and leaps off the whale. KATHRYN Sean! She hops out of the tank and warmly embraces Sean. KATHRYN MMMM. It's good to see you again. SEAN -LRB- meaning Mike. -RRB- You really gon na marry this guy? KATHRYN Well, I ca n't wait for you forever. SEAN Why not? Younger guys are in. MIKE Okay, you two, have a good life without me. I got ta go. SEAN Do n't hurry back. Mike leaves. Kelly turns to Kathryn. KELLY Doctor Allen, you think I could ride the whale sometime? KATHRYN Sure, Kelly. KELLY That'd be great. I was a seal once, in another life, and whales were always my closest friends. They look at her. Uh - huh.\",\n \"EXT. BREAKWATER - LATER Mike's there with Harris and Calvin. MIKE Why did n't you stay with him? You never let a diver go down alone! HARRIS We were done, Mike. He left a piece of equipment down there and went back for it. CALVIN And has n't been seen since. HARRIS I waited for him. When he did n't show, I went back. There's no sign of him. His gear's still on deck. I went in looking for him. All I found was this. We see the missing three - quarter socket wrench. MIKE I do n't understand. Overman's too good a diver to disappear. CALVIN Have you checked the bars? The guy's irresponsible ; he's done this before. HARRIS Yes, Mr. Calvin. We've called all over. Nobody's seen him and his truck's still here. CALVIN I want him found. He could be in the bars, he could be shacking up. He could be out to sea MIKE I'll need more men to look. CALVIN Ca n't help you, Mike. Do n't have the manpower. MIKE We're going to have to cover the entire lagoon. CALVIN I know, but you're just going to have to find another way. So you better start. Calvin leaves. SUBMARINE AT DOCK A small two - seater, bobbing on the surface near the dolphin pen. Kathryn turns to RUTH, one of her assistants. KATHRYN I think they'll come out now. RUTH They still seem nervous. KATHRYN I know. Mike turns to Kathryn. MIKE They're coming with us? KATHRYN We play hide and seek all the time. They find a lot of things. Mike looks at the tiny sub. MIKE -LRB- skeptically. -RRB- Where's the rubber band? KATHRYN Look, Michael. you do n't have to come. MIKE I do n't have a choice. She understands. KATHRYN Well, let's go then. They ease into the sub. MIKE How many coupons is this ride?\",\n \"INT. SUB He squeezes into the front seat. She's behind him. MIKE What do I do now? KATHRYN Take a deep breath and hold it. MIKE That's cute, Kathryn. Real cute. KATHRYN -LRB- smiling. -RRB- Just put your mask on. He inserts his respirator while she starts the engine. She puts her mask on. KATHRYN Control, we're preparing to leave the dock now with the sub.\",\n \"INT. CONTROL ROOM One of the CONTROLLERS responds. CONTROLLER Roger. We'll keep an eye out for you.\",\n \"INT. SUB Kathryn pulls the canopy CLOSED. It shuts with a BANG. The sub starts filling with water. MIKE Watching through his mask as the water surrounds him. The claustrophobia sets in. SUB Eases away from the dock and starts its journey, sinking from view. UNDERWATER - SUB Drifts down into the lagoon, spotlight on, scanning the beautiful underwater garden. CAMERA - POV Something is FOLLOWING IT.\",\n \"INT. SUB Mike looks very apprehensive, and Kathryn knows it. He holds on tight. KATHRYN Honey. you all right? MIKE No. KATHRYN Are you scared? MIKE Yes. They settle into the water. SUDDENLY, from NO PLACE BOBBY AND DAISY DOLPHIN Come SWOOPING INTO IT, their faces at the sub's window, scaring the shit out of Mike. MIKE -LRB- reacting. -RRB- Damn it! KATHRYN -LRB- smiling up. -RRB- Hi, baby. MIKE Baby goddamn scared me to death! KATHRYN They just wanted to say hello. MIKE -LRB- low, to himself. -RRB-. Friggin' fish. He takes a deep breath and holds on. MIKE Let's head to the gate and work our way back. KATHRYN That's a lot of ground to cover. MIKE I know, I built it. I've just never seen it this way. WALRUS EXHIBIT Sean and Kelly are peering into the tank. A big old, whiskery WALRUS shoots up, SPITTING water on them. The kids get a bath. SEAN AND KELLY Dripping wet, laughing. So is the walrus. SEAN Well, I needed a cold shower. KELLY Come on! Check this out! Kelly takes Sean's hand, and they skip away.\",\n \"EXT. SUB - SERIES OF SHOTS Moves through an underwater coral forest with an unlit glass TUNNEL extending through it. The dolphins follow. SUB - HEAD - ON A slow - moving fish, sneaking past the fake cave openings. The spotlight searches, lighting the shades of pink, white, and lavender formations. MIKE AND KATHRYN Eyes searching as she turns the spotlight. KATHRYN It's romantic down here. MIKE Oh, yeah. Very. KATHRYN You know, on our honeymoon, we should go scuba diving. MIKE Let's not talk about that now, okay? SPANISH GALLEON Wrecked in 1982, it looks like it's been down here for centuries. Masts broken, cannons rusting, wood eaten away. The sub circles it. PANNING GALLEON The sub comes in low. Nothing there, other than `` priceless gold and treasure.'' The sub moves in close as DOLPHINS POP OUT Frightening both of them. KATHRYN Now I'm getting paranoid!\",\n \"INT. CONTROL ROOM Underwater, with enormous windows overlooking the lagoon. On one entire wall is a schematic showing the electrical system of Sea Kingdom, lights flickering on it. There are also banks of instrument panels and TV monitor screens. In the b.g. is a lock which connects the lagoon with the control room. A crew of men and a woman are working in the room. Outside, the submarine appears. A man at one of the control panels throws a switch activating radio communication between the control room and the sub as a BUZZER sounds. WOMAN Any luck? MIKE'S VOICE Not yet. WOMAN We have n't seen anything either. Not a sign of him. MIKE'S VOICE Let us know. STADIUM STANDS Sean and Kelly sit in the top row now. They're the only ones there. SEAN This is where to be. High and dry. KELLY And alone. They kiss.\",\n \"INT. SUB Kathryn works the controls, but the sub starts SINKING! MIKE -LRB- apprehensive. -RRB- What's wrong? KATHRYN Nothing. She's flicking all the switches. The sub hits the bottom hard. He watches her try the controls again. MIKE If nothing's wrong, why are we stopping here? KATHRYN Electrical connection malfunctioning. MIKE You sound like Houston Mission Control. What the hell does it mean? KATHRYN That we swim. MIKE -LRB- aghast. -RRB- Swim where? Out there? Oh, no, forget it, not me! You go, I'm staying. KATHRYN Michael, the sub's dead. MIKE Yeah, and so will I be if I start swimming in that blackass jungle. KATHRYN Okay, stay. We'll come back for you. She gets ready to leave. MIKE Where are you going? KATHRYN Up. MIKE And leave me down here? KATHRYN -LRB- getting impatient. -RRB- Make up your mind. MIKE What mind? If I had a mind, I'd never have let you talk me into this. KATHRYN I talked you into this? MIKE I'd have fallen in love with a pilot or a mountain climber. KATHRYN Are you coming? MIKE No, I do n't want to leave now. I'm having too good a time. Of course I'm coming! You'd think you're gon na leave me? They start to evacuate. MIKE -LRB- continuing. -RRB- You would, would n't you? I'd end up whale shit, you would n't care. KATHRYN Get your reserve bottle and let's go.\",\n \"EXT. SUB Mike and Kathryn emerge and start swimming but the DOLPHINS Wo n't let them go into the direction they want. Bobby and Daisy keep bumping them, refusing to let them go. Mike is getting pissed. He pushes Bobby ; Kathryn PUNCHES Mike. KATHRYN Grabs Mike and points in the direction they were heading. GREAT WHITE SHARK Ten feet of killer, coming at them. MIKE Utter fear, his eyes terrified as he stares at the shark. FLASH CUT - JAWS I Young Michael Brody being yanked from the water an instant before the Great White can eat him up. MIKE, KATHRYN AND DOLPHINS Mike gaping at the o.s. shark as Kathryn grabs onto Daisy's fin and pulls her to Mike. She gestures for him to take the fin. He does n't respond, looks at the shark. THE WHITE Coming closer, a chilling monster. MIKE, KATHRYN AND DOLPHINS Kathryn grabs Mike's hand and forcibly puts it on Daisy's dorsal fin, taps Daisy. The dolphin and Mike are gone in a flash. Looking at the shark, Kathryn feels for Bobby's fin, taps his head. As quickly as Mike went, she is gone from view. RACE FOR SAFETY SEQUENCE Shots alternating between the dolphins, their speed reduced by the weight of pulling Mike and Kathryn, and the Great White in pursuit of them, getting closer and closer.\",\n \"EXT. DOLPHIN PEN GATE The dolphins carry Mike and Kathryn through the narrow opening. The instant they are inside, the Great White hurtles into FRAME and BANGS against the gate sides, too big to get through. MIKE AND KATHRYN SURFACE Scramble for dear life out of the water, rolling onto the dock. They lie there, gasping, chests heaving. Mike slides over to Kathryn. KATHRYN You all right? MIKE I think so. I'm not sure. Are you? KATHRYN I'm okay. He holds her close. She's trembling. KATHRYN Michael. MIKE It's all right, baby. We're safe. DAISY AND BOBBY DOLPHIN Break the surface, chatting away. Mike and Kathryn look at them and smile. MIKE Thanks, guys. The dolphins almost answer `` that's okay, but watch it next time.'' Mike helps Kathryn to her feet, and they walk away, arms around each other. KATHRYN How the hell did it get in here? MIKE God, they're horrible. I hate them. Did you see its eyes? How black they are? The look in them? KATHRYN Do n't think about it. It's over. MIKE It's never over. Here comes another six years of bad dreams. DOLPHINS Watch them walk away, then DIVE back into the water. UNDERWATER The shark is looking for something to eat. Finds it. Gulp.\",\n \"EXT. FLORIDA FESTIVAL TENT - SUNSET Calvin's called an emergency meeting. Mike, Kathryn, Philip. Calvin's eating his dinner through SCENE. Ike and Shelly stand in b.g. There's a heated discussion. CALVIN What you're saying is we have a Great White shark in the lagoon. MIKE And a missing man. PHILIP Unhappy combination. Most likely one's inside the other. KATHRYN Sharks are man - biters, Mister Hutton. Not man - eaters - PHILIP -LRB- cutting her off. -RRB- That's a load of codswopple. A Great White does n't fear man. It does n't fear beast. It's an orgy of food and blood. KATHRYN I think we can capture it. I'd like to try. PHILIP That's preposterous! CALVIN Go on, Doctor. KATHRYN No one's ever caught a Great White except indirectly in fishing nets. I want to dart it and keep it alive. CALVIN It would make a marvelous attraction ; the only Great White in captivity. KATHRYN -LRB- confidently. -RRB- I can get it. PHILIP You can get killed! KATHRYN I've handled sharks before. Bigger than this one. PHILIP Calvin, let me go down there and kill the bastard. KATHRYN No! PHILIP -LRB- continuing to Calvin. -RRB- It'll chop up half a million dollars of your tropical fish in two minutes. KATHRYN Calvin, I insist I be allowed to capture it! PHILIP Three hundred million years of evolution have created the greatest butcher the world's ever known. KATHRYN It's one of the world's greatest creatures. PHILIP A shark could have a hundred embryos in its sack. You know how many are born? Maybe five. They eat each other before birth! They're born killers! KATHRYN The only Great White in captivity, Calvin. All those people standing in line. CALVIN All right, Kathryn. Go ahead and get it. KATHRYN I will. PHILIP Well, then I'm going to film it. KATHRYN Like hell! PHILIP -LRB- to Calvin. -RRB- Make a lovely item for `` Good Morning, America'' CALVIN Absolutely. Good idea. KATHRYN -LRB- to Calvin. -RRB- With those camera lights and. CALVIN -LRB- interrupting. -RRB- He's going with you, Doctor. KATHRYN No, it will be too much distraction. I do n't want that many people in the water. I'll go in, give it a belly shot, and get out. CALVIN And Philip will be there to film it. Now that's the end of it! Kathryn bites her lip, realizing. She turns to Calvin. KATHRYN I want that shark alive. PHILIP So do I, love. CALVIN Well, you'd better get started! He walks away. Kathryn stares at Philip, who smiles and moves off with his men. Mike comes up to Kathryn. MIKE You're going down there again? KATHRYN Yes. MIKE After what happened to us? KATHRYN I know I can capture it. MIKE Kathryn, you're crazy. Really crazy. A suicidal maniac.\",\n \"EXT. LAGOON The WORKBOAT comes through the darkening fog. It's very moody. Back lit, all that stuff. ON WORKBOAT RUTH AND BRIAN Are preparing a large syringe. RUTH Twelve cc's BRIAN That should do it. OVER TO PHILIP AND SHELLY Preparing their cameras. PHILIP We'll shoot this with an.18, boys. SHELLY That bugger moves fast. PHILIP Give me a 400 - foot magazine ; we may be down there for a while. SHELLY -LRB- smiling. -RRB- I would n't mind going down with her. PHILIP She is a lovely bit of crumpet at that. OVER TO MIKE Welding some kind of object. Ike comes up to him. Ike's in his diving suit. IKE Are n't you suiting up, mate? MIKE No. IKE Well, do n't worry about your fiancee. We'll watch over her. MIKE She can take care of herself. She does n't need you. IKE Never know down there. Helps to have a friend, sometimes. MIKE How many sharks have you killed? IKE Me? I do n't know. Twenty, thirty. I love them, think they're the greatest. He walks away. Mike looks out at the water, staring at it. FLASH - FROM JAWS I Young Mike Brody sees the lifeguard taken by the shark. BACK TO MIKE He comes out of it in a gasping sweat. KATHRYN -LRB- V.O. -RRB- Well, how do I look? He turns. MIKE What? KATHRYN Wears an iron CHAIN LINK SUIT over her diving suit. She has a light - hearted nervousness. KATHRYN Do you like it? She models it for him. MIKE Oh, yeah. Really nice. Who's your designer? Sassoon Shark? KATHRYN I got it on sale. -LRB- touches links. -RRB- A real steel. MIKE Here. KATHRYN What's that? MIKE Bracelets. It's what he's been welding. Forearm protectors which he places on her. KATHRYN Fine piece of engineering. MIKE Should protect you a little, from the compression. If that thing gets ahold of you. KATHRYN Thank you. She kisses him. He takes her in his arms. MIKE Kathryn. KATHRYN Yes? He looks at her. Wants to tell her to take that damn suit off. To get off this boat and forget the fucking shark. To go home with him, to bed. MIKE I love you. She smiles. KATHRYN Love you too. Mike nods and takes his beeper. MIKE Okay, hit it.\",\n \"INT. CONTROL ROOM The team of OPERATORS are at the instrument panel, all the monitor screens are on. They flick some switches. MIKE -LRB- V.O. -RRB- Let us know as soon as you have anything. OPERATOR Right, Mike. LAGOON Like a flower of sunshine unfolding, lights pop on from beneath the water, illuminating the lagoon. WORKBOAT Mike and Kathryn watch the lights come on. MIKE Would n't this whole thing be a little safer in the daytime? KATHRYN It's easier to lure sharks at night. MIKE Why?'Cause they're hungrier? PHILIP -LRB- V.O. -RRB- They're always hungry. They eat anything. Philip enters. He's wearing a bright orange diving suit. PHILIP -LRB- continuing ; touches her suit. -RRB-. even steel. Mike looks again at her protective suit. She looks at Philip. KATHRYN You look like an orange worm. PHILIP Shark bait. Draws them over for closeups. KATHRYN What in hell is that? She points to a HAND GRENADE Strapped on his waist, right by his large knife. PHILIP Lunch for Whitey. Something to munch on in case things get dicey. KATHRYN We're taking that shark alive! PHILIP Let's hope he knows that. KATHRYN I know it and I will not go down into this lagoon as long as you carry that! PHILIP Why? KATHRYN Because I do n't trust you, that's why. MIKE You set that thing off down there, you do n't know what will happen. PHILIP Precisely. KATHRYN I insist you get rid of that bomb. PHILIP Afraid I ca n't do that. KATHRYN You're supposed to film it, not turn it to hash! PHILIP Look, Doctor, this is n't one of your pet porpoises we're after. It's a torpedo of muscle. Murderous expertise! I've seen bleeding sharks try to eat themselves! Do n't be so concerned about them. Worry about yourself. He turns to go. MIKE Hutton! He stops. Turns. MIKE You heard the lady. Take it off. Tense pause. Philip stares at Mike. At Kathryn. Then his hand moves to the grenade. He unclips it, holds it in his hand, and FLINGS IT TO MIKE Who catches it. Philip walks away, smirking. Mike makes a move after him, but Kathryn stops him.\",\n \"INT. CONTROL ROOM One of the Operators sees something on a screen. He focuses in on it. TV SCREEN It's the shark. OPERATOR We see him, Mike. Between the stadium and the ski show island. MIKE -LRB- V.O. -RRB- All right, hit those lights too. MORE LIGHTS Start popping on. WORKBOAT Mike turns to Kathryn. Tightens her tank straps. She holds a large SPEAR GUN. MIKE Change your mind? KATHRYN No. MIKE You amaze me. I'm more scared than you. KATHRYN No, you're not. Mike pulls her face mask down and `` kisses'' her over it. She goes over the side. PHILIP AND IKE In their tanks and masks, ready to go. Mike comes over to Philip. Gives him back the grenade. MIKE Here. Do n't let anything happen to her. Philip smiles and nods, clips the grenade to his waist and dives, taking us UNDERWATER Kathryn and Philip and Ike all start kicking down. MIKE ON WORKBOAT Watches the bubbles break the surface. He turns to Shelly. MIKE This is ridiculous. We should blow the mother's head off. SHELLY Could n't agree more. UNDERWATER As the three kick downward. Philip and Ike prepare to film. Kathryn notices Philip checking his power - head and reacts sharply. He notices and gives her a mocking salute, making her angrier yet. Turning, she starts toward the circling shark. THE SHARK SEQUENCE Intercutting between Kathryn, Philip and Ike and, on the deck of the workboat, Mike and Shelly. Kathryn moves toward the shark until it starts to circle her, Philip and Ike beginning to film. Her expert maneuvering is not lost on Philip, and he watches with interest - Mike, on the boat deck, watches what he can with apprehension - as Kathryn slowly lures the shark toward her. Suddenly, it darts in at her and she jabs the spear at it -LRB- into the audience -RRB-, causing it to veer away. Kathryn seems surprised by this. The shark begins to circle her again, CAMERA PANNING with her as she keeps an eye on it. Philip and Ike keep filming, Mike keeps watching tensely on the deck as Kathryn positions herself, holding the spear extended, moving it back and forth. Abruptly, the shark darts in, moving so precipitously that it goes all the way to Kathryn. She ducks and the shark's jaws clamp shut on her air tanks. Philip reacts to this and starts forward to help her as the shark begins to shake her violently from side to side. Letting go of the spear, she tries to hit the shark in the eye but has no success. Philip shows up, and she waves him off. He can not believe her reaction but does n't draw his powerhead, only hitting the shark on the head with the camera. This makes it let go of Kathryn's tanks and back off fast. Philip shoving it aside as it passes him, drawing his powerhead just to be safe. The shark does not attack him though, but retreats. Philip looks at Kathryn. She is shaken up, but the chain - mail suit has protected her from injury. She waves him back irritably. Shaking his head either at her or her stupidity, he backs off to Ike, keeping a wary eye on the shark as Kathryn kicks up to the surface to get another spear. On deck, Mike tries to speak to her as she grabs the spear, but she is under again before he can say a word. Kathryn grimly sets herself again. Seeing this, Philip casts his eyes heavenward, as though thinking, `` Dear God, the woman's suicidal.'' She jabs the spear toward the still lingering shark. Finally, after making a few nervous passes, it goes for her. This time, she is able to shoot the sedating spearhead into its stomach, then kicks up toward the surface as fast as she can, the shark starting after her. SURFACE As she breaks through. KATHRYN Michael! Mike and Shelly rush there, reach down, and grab her hands to haul her up. As they do, the shark comes after her. They yank her over the railing an instant before it lunges out of the water and almost bites her feet off, jaws slamming shut in close shot as it misses, its body crashing back into the water. Kathryn looks at Mike, her face decidedly pale. She attempts to smile. KATHRYN -LRB- meekly. -RRB-. I told you I'd get it. The shark bellies up. MIKE I can use a shot of what he's got. KATHRYN Me, too. Her legs go watery, and she leans against the railing. Mike embraces her.\",\n \"INT. TANK ROOM - UP ANGLE ON CEILING The roof has been opened, and the shark is being lowered into the room on the litter. CAMERA DOWNPANS with it to reveal Brian and Ruth preparing to get the shark into the tank, Philip, Shelly, and Ike filming it. MIKE AND KATHRYN He is drying her off with a large towel, rubbing her down good. She is cold and shivering. MIKE After this has opened, when everything's settled down, you and I are going away. Just the two of us. No dolphins, no sharks, no whales, no penguins. Just you and me. KATHRYN Sounds wonderful. MIKE We'll go to Palm Springs, Death Valley, Arizona desert, anyplace where there's no water. She kisses him and turns at a familiar SOUND. DOLPHINS In an adjoining tank, curiously watch the shark being lowered. The dolphins chatter away. Kathryn tells them : KATHRYN -LRB- V.O. -RRB- Do n't be afraid, it's okay now. The dolphins do n't believe her. They dive for safety. BACK TO MIKE AND KATHRYN Smiling. She shrugs off the towel as Brian calls her. BRIAN We're ready for you. KATHRYN I have to walk him till the drug wears off. MIKE You want me to stay? KATHRYN -LRB- kissing. -RRB- Get some sleep. And tell Sean I'm sorry. MIKE -LRB- remembering. -RRB- Sean, that's right. Mike turns to leave, accidentally crossing in front of Philip's shot. PHILIP Watch it, Brody. You're ruining the shot. MIKE Kind of dull in there for you, is n't it? Why do n't you throw in another shark? He walks out. Kathryn hurries into the tank with Brian and Ruth. They unfasten the shark from the litter and start to walk it. The litter is raised back up. RUTH He's a young one. KATHRYN And big for his age. They walk on. GRASSY KNOLL Sean and Kelly are lying on the ground making out as Mike's voice comes over the park P.A. system. MIKE -LRB- V.O. -RRB- Sean. Sean, where are you? KELLY Someone's looking for you. SEAN That's Mike. Let him look. He kisses her some more. MIKE -LRB- V.O. -RRB- Sean? You there? Kelly gets to her feet, pulling Sean up too. KELLY Come on, it's getting late, and I have an early call. They walk off, arms around each other.\",\n \"INT. TANK ROOM - LATER Ruth sleeps on a floor mat. Kathryn and Brian are still walking the shark. Both look very tired. KATHRYN Why do n't you take a rest, Brian? BRIAN I'm only walking him. You caught him. You have to be exhausted. KATHRYN Go on, you're tired. BRIAN No, I'm fine, thanks. They stop talking, keep walking. PHILIP Comes in, wearing his jogging suit. PHILIP How's sleeping beauty? KATHRYN Still sleeping. PHILIP Kiss him, maybe he'll turn into a frog. KATHRYN -LRB- smiling. -RRB- Should be coming out of it soon. PHILIP Just watch it when he does. Philip lowers himself into the water and moves to Brian. Taps him on the shoulder. PHILIP May I cut in? Brian looks over at Kathryn, who's about to say no, then nods it's okay. BRIAN He's all yours. Philip takes his place alongside the shark. He smiles at Kathryn. PHILIP Could be a new dance. Walking the Shark. KATHRYN -LRB- smiling back. -RRB- Thanks for helping. PHILIP Not at all. KATHRYN Why are you? PHILIP I like it when they wake up. KATHRYN So do I. But for different reasons. PHILIP And I like you. They keep walking it. PHILIP You were quite daring in capturing him. Very skillful indeed. KATHRYN Skillful? I missed my first shot. PHILIP Some miss all their shots. KATHRYN Somebody could have gotten hurt. PHILIP That's what life is, Doctor. Full of chances to hurt yourself, or somebody else. KATHRYN You're a strange man, Mr. Hutton. PHILIP Philip. KATHRYN Before, you were ready to feed this shark a hand grenade. Now you're helping to nurse it back to life. PHILIP That's because I am the shark. KATHRYN We're all from the sea, Mr. Hutton. Our destiny is linked to the fate of the oceans. By continuing to destroy fish, man destroys himself. PHILIP The grenade's just to intimidate Whitey. He knows I have it, so he watches out. Same is true when I film lions, tigers, rhinos. She studies his smile. KATHRYN I think that you and I are natural enemies. PHILIP And here I thought I was charming you. The shark quivers, showing signs of waking. PHILIP Hello. I think his nap's over. KATHRYN Get ready to go. PHILIP Believe me, I am. KATHRYN -LRB- calls. -RRB- Brian, he's coming around! They walk it a little more and THE SHARK AWAKENS Comes INSTANTLY back to life with an EXPLOSIVE recovery. Kathryn and Philip leap aside to get out of there, but the shark SLAMS Kathryn against the side of the tank, knocking the breath out of her. PHILIP INTERVENES So does Brian, who comes jumping into the tank. Philip uses his feet to keep the shark away from Kathryn, but they both almost get CRUSHED by the body. Philip flips her out of the tank as the shark comes lunging around at him. ANOTHER ANGLE - PHILIP Gets out of there just in time, as the shark just misses chomping his evacuating ass. Brian's out of there safe. KATHRYN AND PHILIP Look down as the shark swims in rapid circles. PHILIP Well, Doctor. You've got your shark. KATHRYN Thanks to you. There's a near moment of tender contact between them. Philip smiles and nods at her and leaves, doing his best Bobby Darin. PHILIP -LRB- singing `` Mack the Knife''. -RRB- Oh when the shark bites, With his teeth, dear, Scarlet billows start to spread. She watches him with an intrigued smile.\",\n \"INT. BEDROOM - NIGHT Kathryn comes quietly in. Starts undressing in the dark. Mike softly speaks to her from the bed. MIKE All well in the Kingdom of the Sea? She smiles and sits on the bed. KATHRYN Finally. MIKE How's your patient? KATHRYN Recovering nicely. MIKE Me, too. She falls into his arms, and they kiss. KATHRYN Mmmm. you smell good. MIKE -LRB- smiling. -RRB- You do n't. KATHRYN It's my new perfume. Great White, the Man - Eater. She nibbles his ear, neck. He pulls her down to him, they kiss passionately. LAGOON - NIGHT All is still and quiet. A NOISE is heard from beneath the water. A faint almost ROAR, and the water is shaken by a giant form that sends a wave rolling to the CAMERA. Then, whatever it was turns and returns to the deep. The surface of the water rocks and trembles. SHARK ATTACK They're in a feeding frenzy. They rip, tear, chewing on tuna, each other. Anything in the water. PHILIP -LRB- O.S. -RRB- Playful bastards, would n't you say? REVEALING Philip and Ike and Shelly watching the footage on a Moviola screen. They drink beer and watch. IKE Brings back such pleasant memories. PHILIP Was a rather enjoyable afternoon, was n't it? SHELLY You want to show this? PHILIP Absolutely. The audience will stain their drawers. -LRB- smiles. -RRB- I did. He walks for the door. Opens it. PHILIP Stands outside his EXHIBIT BOOTH, taking in the start of a new day. There's photos and signs : PHILIP HUTTON PRESENTS KILLERS OF THE DEEP. There's books and T - shirts and toys too. Ike joins him outside. IKE Gon na be a beautiful day. PHILIP And a profitable one. They smile at each other. PHILIP Come on, I'll buy you breakfast. OPENING DAY SHOTS As final last - minute preparations are made. A. Mini - buses being washed and decorated. B. Sea shows in final rehearsal. C. The Skiers getting dressed. D. The mini - sub being worked on at the dock. E. Food trucks delivering. F. The ushers and usherettes, looking good. G. Divers reaching the lagoon. H. Control Room Underwater - all is ready for lift - off. I. Maintenance crews washing, scrubbing, polishing. TWO DIVERS Come up. They shake their heads `` nothing.'' They dive again.\",\n \"INT. TANK - DOLPHINS Activating one of the symbol controls again and again.\",\n \"INT. CONTROL ROOM Mike and BOB talk. BOB We've been looking all night, Mike. I do n't think he's out there. If he drowned, I think he went down on the bay side of the gate and the current pulled him out. It was pretty strong when the men were working there. MIKE Did you look in the intake passage? BOB You ca n't even get in there, the incoming flow is so strong. It would wash the body out anyway. MIKE Well, I do n't know. Maybe he is n't down there. Keep checking with everyone who knows him. I'll be at my office. He leaves. ENTRANCE TO SHARK ENCOUNTER TUNNEL Mike's walking as Kathryn comes from the other side. KATHRYN Mike! He turns and she skips up to him. KATHRYN -LRB- continuing. -RRB- They said you'd be here. MIKE What's up? KATHRYN I need more pressure in the shark tank. MIKE Okay. KATHRYN I want to make sure the White is getting enough flow. Would you do that for me? MIKE Sure. Let's go. She stops him. KATHRYN No, we'll go through here. MIKE Mean through the tubes? KATHRYN Yes. It's faster. MIKE No, I'm not going through there. KATHRYN Michael, come on, do n't be silly. This is the quickest way. You're not going to walk all the way around? MIKE I'm not going to walk through that shark arcade. KATHRYN They're not going to hurt you. They're encased in plastic. MIKE I do n't want to see them, Kathryn. KATHRYN Michael, I do n't have time. Please! It's time you dealt with this and got over it. Now come on! She takes his hand and leads him into the tunnel. SHARK TUNNEL Mike is very apprehensive as the SHARKS encroach upon them from all angles. He ca n't look at them. KATHRYN Calvin wants me to move the White for tomorrow. MIKE He ought to put him in here. KATHRYN It's too soon to move him. MIKE So tell Calvin. KATHRYN I did. He wants it on exhibit. MIKE Well, that's why you got it. They walk on a bit, then Mike leans against the tunnel wall, eyes closed. KATHRYN Mike. you okay? He's taking deep breaths. He's very pale and perspiring. MIKE It's back. She goes to him. KATHRYN What's back? He's fighting some inner demon, and losing. The sharks come swimming by him. He stares them in the eye. There seems to be thousands of them. KATHRYN Honey, what is it? MIKE Hydrophobia. KATHRYN Michael, take deep breaths. MIKE I have to get out of here. KATHRYN Come on. MIKE I ca n't take water, Kathryn. KATHRYN Yes, you can. MIKE I ca n't! My dad had it, and I do n't know if you can inherit it or what, but I got it, and I hate it. I ca n't stand it! He RUNS out of there, running for his life, leaving her behind. She watches him go. MOVE FROM THEM THROUGH THE WINDOW Out into the water. A shark. We move in on its black eye, till the eye fills the SCREEN.\",\n \"EXT. LAGOON - DAY - CLOSE ON CANNON MUZZLE The same size as the eye in the previous shot, ROARING as the cannon is fired. CAMERA PULLS BACK to reveal the cannon on the deck of a motorized pirate vessel which is carrying on its deck a gathering of politicians, press representatives, TV newsmen, and celebrities. It sails across the lagoon, flags whipping in the wind, cannons THUNDERING. CAMERA PANS UP and we see the words THE NEW SEA KINGDOM WELCOMES YOU moving across the sky, towed by a single - engine plane. CROWD ARRIVING The great American Tourist invasion. They come in cut - offs and sandals, Kodaks and sunglasses. They come in every size, shape, and colored getup. Old and young, they CHARGE. P.A. VOICE Welcome to Sea Kingdom, and the excitement and discovery of earth's inner space. For the whale and dolphin shows, please stay to the right. The underwater tunnels are straight ahead. THREE MERMAIDS Very pretty in their fishtail suits. They answer the tourists' questions. DOWN SHOT OF SEA KINGDOM As we come floating over the park. PHILIP Dangling out of the HOT AIR BALLOON, filming. Ike is the pilot. IKE Hardly like the Falklands. Philip calls over the bullhorn to the gaping tourists below : PHILIP If you'll all squeeze a bit closer, everybody, you can see yourself tonight on the evening news. FAT WOMAN TOURIST A 200 - pounder in shorts, hat, and sunglasses squeezes into the shot. She looks up, smiling and waving at the hot air balloon. She shoves in closer, loses her balance, and falls into the lagoon. PHILIP Watches woman splashing about. PHILIP Well, seems a new whale show has been added. They laugh. LITTLE GIRL CRYING She's scared of the performing WALRUS. Her mother comforts her. SIGN - FILLS THE SCREEN `` WELCOME TO SEA KINGDOM'' WATER SKIERS Come BURSTING through the sign like John Madden in the Lite Beer commercial. The skiers are in their pyramid formation. KELLY As usual, is fighting for balance. Teetering on the edge, she lets out a desperate warning cry. KELLY I'm gon na fall, I'm gon na fall! SKIERS No, Kelly! Jesus, you ca n't! KELLY Ahh - Ohhh - TOD Back, Kelly. Lean back! KELLY Ohhhhh shhhhiiiit. There she goes. No, she does n't. Yes, she does. Nope, still up there. Hang on, Kel. CROWD Applauding the skiers as they come zooming by in formation. SKIERS Make their sweeping turn and head in to shore. They come neatly out of the pyramid. KELLY Makes a graceful 3 - point landing, gliding onto the dock. She EXPLODES in joy, all bubbly and happy, thrilled at her accomplishment. KELLY I did it, I did it! She leaps on Tod, hugging him exuberantly. SKIERS Way to go, Kelly! You were great! KELLY I knew I could do it! They all slap palms and give high - fives and hugs. Kelly is the center of the adulation. MONSTERS OF THE DEEP FUN TUNNEL Everyone enjoying the scary walk. We see the giant squid tentacles reaching over the glass. Kids scream. Now it seems as if one tentacle has actually BROKEN THROUGH, but it's only an illusion. An EEL flies out of a cave and charges. THREE TEENAGE GIRLS Screaming, yelling, giggling as they react to the ravenous `` monster.'' The girls are LINDA, BECKY, and ALI. They love it. TOURISTS Moving happily along. They eat, take pictures, push strollers. Everybody's having fun. DAISY AND BOBBY Doing their act for the laughing, clapping crowd. Kathryn looks pleased. CONTROL ROOM UNDERWATER All the gauges and dials and monitors registering. OPERATOR Looks at one flashing gauge. He calls his partner over. They look a bit concerned as they check it. KATHRYN RUNNING THROUGH THE CROWD She forces her way through those in line to see the live `` Great White Shark.'' KATHRYN Excuse me, sorry. Let me through, please. I have to get through!\",\n \"INT. EXHIBIT Brian and Ruth are walking the shark. The exhibit is PACKED with tourists, gaping down, watching. KATHRYN Bursts through onto the floor, kicking her shoes off on the run. She jumps into the tank. KATHRYN When did this happen? RUTH Ten minutes ago. BRIAN It has n't adjusted. KATHRYN Get the hose! We've got to force more water through the gills and oxygenate him! Brian scampers out of the tank for the hose. KATHRYN I knew it ; it's my fault. We moved it too soon. RUTH Do n't blame yourself. KATHRYN I should have never listened to Calvin. They walk the shark. RUTH Kathryn. KATHRYN Goddamn it. The shark is dead. It floats over, belly up. KATHRYN Takes a painful moment, looking at the shark. RUTH No one's ever done it before. It was a good try. KATHRYN Not good enough. RUTH We got it to live for ten hours. That's some kind of record. She turns from the shark and looks up at all the TOURISTS Gaping down, taking pictures, grumbling. TOURISTS Big deal. Let's get our money back. LITTLE GIRL Look, Mommy, the shark's dead. MOM Yes, dear. Come on. They start to leave with the others. Some still stare and wait. KATHRYN The disappointment and disgust is evident. Brian puts a comforting arm around her. BRIAN Do n't feel bad. KATHRYN -LRB- resigned. -RRB- Okay. Have them get it out of the tank. She climbs out of the tank. SEA LION SHOW The audience laughs. KILLER WHALE SHOW It leaps and dives, having as good a time as the tourists. SHOTS OF PARK The tourists going from one show to the next. BACKSTAGE SKI SHOW Mike and Sean stand to the side as the girls hurry past them, changing costumes. SEAN Mike, this is fantastic. I mean, you're responsible for building all this. What a job you've done! Maybe I'll quit school and come down here and work with you. Brody Brothers Construction. We've always wanted to do that together. Boat building. MIKE It's not that easy. Worked construction every summer to get through school. Three years apprentice in the park's engineering department, and two years to build all this. Finish school first, Sean. Then make up your mind. If you still want to work with me, we'll have plenty of time. SEAN You and Kathryn gon na stay here? MIKE This company's expanding. They got parks in Texas, Ohio, California. I think I'm gon na be going to Waco. SEAN Well, Dad asked me to ask you this, about the wedding. Is there any chance you and Kathryn will get married in Amity? MIKE Tell Dad we're getting married in Las Vegas. In one of those chapels. He can meet us there. SEAN -LRB- laughing. -RRB- Yeah, he'll really go for that. MIKE It's all up to Kathryn. Amity's fine with me if it's fine with her. KELLY -LRB- V.O. -RRB- Sean! Sean looks over as he hears his name called. Kelly's running over to them. MIKE She still talking to you? SEAN We're in love. MIKE Sure. SEAN No, really. I've never met anyone like her before. This is it. MIKE Yeah, right. That's what you said about Janet, and Beth, and Barbara - SEAN Puppy love. This time it's real! We can have a double wedding. Kelly is upon them. She's in her warm - up suit and looks adorable. Sean greets her with a hug and a kiss. SEAN You were great out there! KELLY Did you see me?! Was n't I terrific? SEAN As always. They kiss again. Kelly sees Mike. KELLY Hi, Mike. MIKE How you doing, Kelly? KELLY -LRB- sniffling. -RRB- I'm Neo - Senephrened out. Think I'm catching a cold. MIKE Better than catching Sean's herpes. An astounded glare. KELLY Herpes? SEAN Why you sonuvabitch. MIKE -LRB- leaving. -RRB- See you tonight. Mike smirks away as Kelly grabs Sean. KELLY Sean, do you have herpes? SEAN No. Of course not. Do n't listen to him. He's - he's. -LRB- laughing. -RRB-. my brother. They kiss. KELLY I'm not in the next show. What do you want to do? He looks at her and grins. KELLY Besides that. SEAN I do n't know, what else is there? KELLY -LRB- excitedly. -RRB- I know! We can take the gondola ride! SEAN The one that goes underwater? KELLY Yes, it's great! SEAN No, Kelly, I do n't want to. KELLY Come on, it's fun! SEAN Not for me. I do n't go in the water, remember? KELLY You're not in the water. You're in a gondola. SEAN No, think of something else. KELLY Sean, this is ridiculous. You're acting very immature. SEAN I'm not acting! I do n't want to go in it, okay? She's dragging him by the hand. KELLY Well, I do! Time you got over this wet dream. Nothing's gon na hurt you. Now c'mon, we're going on it! He very reluctantly goes with her.\",\n \"INT. TUNNEL Kids and adults laughing and jumping at the creatures from the deep. OUR THREE TEENAGE GIRLS Linda, Becky, and Ali ask the ATTENDANT at the entrance. ALI Is this one scary? ATTENDANT No. This one's fun. You'll like it. BECKY Oh, good. Because the last one really scared us. They head into the tunnel.\",\n \"INT. CONTROL ROOM The Woman Controller sees something on one of the monitors. WOMAN Did you see that? MAN What? WOMAN On monitor three. Was a glimpse of something. MAN That? WOMAN Yes, there is goes. MAN It's disappeared. They wait and watch. WOMAN I'll have the guard look. She picks up the phone. ATTENDANT AT TUNNEL He's on the phone to Control. ATTENDANT I'll go check on it. He hangs up and starts down the tunnel. OUR THREE TEENAGE GIRLS Having a good time as a giant, mad - eyed squid appears with all its tentacles reaching. BECKY Wow, look at that! LINDA Yeah. Reminds me of my date last night. ALI Hey, look at that thing over there. What's that supposed to be? They press to the glass for a closer look. We see some kind of FORM, floating. BECKY I do n't know. Some kind of crab? ALI It looks like a man. LINDA It is! THE FORM Rolls over as the girls SCREAM in horror. We see it is OVERMAN What's left of him. DAVEY JONES LOCKER Mike sits at the bar, on a stool. He's had a few, and it shows. There's a good crowd in the restaurant. PHILIP, IKE, AND SHELLY ENTER Move for a spot. Philip spots Mike. PHILIP See you later, mates. Philip moves over to Mike. MIKE AND PHILIP AT BAR Philip puts an arm around Mike. PHILIP Your friend Overman picked a hell of a time to come back. MIKE Yeah, poor bastard. PHILIP I lost a good cameraman in Australia last year. A Great White chopped him in half with one bite. MIKE Hey, I do n't want to hear. PHILIP That's how they do it, you know. Seizes its prey and shakes its body savagely. Teeth gnaw through a man like a buzz saw. MIKE Buzz off. PHILIP I will, old boy, tomorrow. Our work is done here. Just came to say goodbye, and good luck. MIKE Yeah? Well, in that case, have a drink. PHILIP Thanks. -LRB- to girl bartender. -RRB- Bullshot. MIKE So where you go off to, Hutton? Some expedition in New Guinea or Outer Mongolia? PHILIP No, South Georgia. MIKE What the hell's there? PHILIP Polar bears. MIKE Polar bears in Georgia? PHILIP South Georgia, Antarctica. MIKE Oh. PHILIP The world's southern most reaches. MIKE How come you're so brave with all this stuff? PHILIP Tradition. Royal sense of adventure that's been in my family for centuries. Dates back to the Crusades and King Richard. What I was born to do. MIKE Yeah, tradition's a bitch, ai n't it? PHILIP Reach for the limit I always say. MIKE I'll remember that, my Lordship. KATHRYN ENTERS She takes a beat, looks around, and moves quickly to the bar. KATHRYN Michael. They both look at her as she comes up to them. KATHRYN Michael, look at this. She shows us what's in her hand. A VERY BIG SHARP TOOTH Mike looks at it. MIKE Put it under your pillow and sleep on it and the tooth fairy will - KATHRYN It's a shark's tooth! MIKE So? KATHRYN It was removed from Charlie Overman's body. PHILIP May I? He takes the tooth. One look and he knows. PHILIP The bigger to eat you with. He and Kathryn exchange an understanding that Mike does n't. MIKE -LRB- confused. -RRB- What's the big deal? A shark got Overman, and we got the shark. KATHRYN That's just it, Michael. We do n't! MIKE What do you mean, we do n't? KATHRYN This tooth is from another shark. A shark that could be 30 feet long! MIKE Thirty feet? PHILIP Actually, thirty - five is probably more accurate. MIKE That's impossible. If it's that big, why has n't anybody seen it? Huh? Tell me that. It's like not seeing the Goodyear blimp in a swimming pool. KATHRYN That's what I've come to ask you. Is there any large place that has a strong current of water flowing? MIKE I do n't understand. His BEEPER starts signaling. He ignores it. KATHRYN Sharks have to keep moving. They can never stop or they'll suffocate. If water is n't always flowing through them, they'll die. PHILIP Is there such a place? A cave or something with such a flow? MIKE I do n't know. I ca n't think offhand of one. He reaches for his signaling beeper. MIKE Yeah, what is it?\",\n \"INT. CONTROL ROOM The Woman Controller is watching one of the rising gauges. WOMAN Mike, we got a heat build - up in filter system number four. We're running high temperature. MIKE AT BAR MIKE Switch to intake three and keep it there. WOMAN -LRB- V.O. -RRB- Right, Mike. UNDERWATER INTAKE TUNNEL MOVING - CAMERA PANS across the gate. The bubbles stop. Through the grate, we SEE the GRAY FORM begin to move.\",\n \"INT. BAR MIKE What did you just say before? About water flowing through them? KATHRYN That's why they're always moving. They have to have it. MIKE -LRB- to Philip. -RRB- You wanted to know about a cave? PHILIP Filter system number four. Is it large enough? MIKE -LRB- solemnly. -RRB- It's large enough.\",\n \"INT. VIEWING TUNNEL - PEOPLE A dark cloud passing overhead, covering them in shadows. We see the underside of a massive white shark.\",\n \"INT. BAR - MIKE, KATHRYN, AND PHILIP PHILIP How far away is filter number four? MIKE Five hundred yards. PHILIP You have a man near it? KATHRYN Somebody better get down there! MIKE It's all controlled from the Control Room. PHILIP I've heard of a White that big, in Australia. KATHRYN How'd it get in here?! MIKE Slumps on his stool, head in his hands, half - bagged, mumbling low. MIKE Oh, no. not again. A thirty - five - foot fuckin' shark. Goddamn. what's wrong with my family? First my father. now me. MIKE Sees something REFLECTED in his glass. He leans forward, curiously, watching whatever it is growing larger and larger. MIKE What the hell. He turns and SEES JAWS! In all it's full, awesome, HORRIFYING form. Mouth open, it tries to eat the viewing glass, then turns. Its body thunders against the window, shaking it as people SCREAM and panic for the door. KATHRYN -LRB- V.O. -RRB- Oh, my God! KATHRYN AND PHILIP Ca n't believe it themselves. They stare in awe. PHILIP He's big as a bloody bus! KATHRYN The water ski show! We have to get them out! MIKE Come on! KATHRYN You two go! I'll call Calvin!\",\n \"EXT. RESTAURANT Mike and Philip come jumping into Mike's golf cart. MIKE Watch it! Out of the way! The tourists look at them. Who are these rude men? MIKE Coming through, please! Philip is standing and screaming. PHILIP Move your bloody asses! Mike tries to drive through - around the crowd. They yell back at him. Mike grabs his beeper and calls in. MIKE This is Brody, get the skiers out of the water! We got a shark loose! A Great White! THE SHARK Sweeping past one of the tunnels. People run in fear. Total PANIC. WATER SKIERS They are doing `` The Hatfields and McCoys.'' The skiers are in mountaineer costumes, and the MUSIC is loud bluegrass as the skiers do their twists and turns. SKI SHOW AUDIENCE Stomping and clapping and cheering for their side. AUDIENCE Hatfields! AUDIENCE McCoys! KATHRYN ON PHONE She's finally gotten Calvin. KATHRYN Yes, Calvin, yes! It's the biggest shark I've ever seen. A female. I think the other one was hers. You have to get the skiers out. SHARK POV Up ahead, the skiers' wake. The shark rises. MIKE AND PHILIP Now there are so many tourists in front of them, the cart is useless. They jump out of it and RUN for the ski show stadium. Those in their way get knocked aside. TOURISTS Hey, where the hell you going?! Why do n'tcha watch it?! Asshole.\",\n \"EXT. LAGOON - DORSAL FIN Slicing through the water, CAMERA draws around, revealing that the shark is heading for the lighted stadium, the ROAR of the crowd. SHOT OF THE SKI SHOW The audience applauds. MOVING POINT OF VIEW SHOT - WHAT THE SHARK SEES Headed toward the stadium. MIKE AND PHILIP Come running in, in back of the stadium. They hurry to where the other skiers wait backstage. PHILIP Looking toward the lagoon, sees something. PHILIP Oh, Christ. WHAT HE SEES - THE FIN Heading toward the skiers. MIKE AND PHILIP Keep running, pointing, and yelling. MIKE Shark! Shark! But his warning is drowned out by the participating audience caught up in the show. AUDIENCE Hatfields! McCoys! Mike grabs one of the show's MANAGERS. MIKE Get them in! There's a shark out there! MANAGER You're kidding, are n't you? MIKE Get them out of the water! MANAGER Jesus. He runs off, while Mike sprints for the Master of Ceremonies. WATER SKIERS Doing their twists, turns. SKIER - TOD Does a fancy turnabout. Skiing backwards, he looks aghast as he spots something in the water coming after them. TOD Holy shit! He completes his turn - around and skis on, looking back over his shoulder. One of the GIRL SKIERS notices him looking. GIRL Hey, what'd you lose? TOD Huh. nothing. just do n't fall. Just do n't fall! He glances back again. The fin follows, then dives beneath the surface. SKI SHOW - MASTER OF CEREMONIES The M.C. is giving the audience a running play - by - play commentary as Mike comes bursting upon him, grabbing the microphone. The M.C. keeps pushing Mike back. M.C. What are you doing? I'm doing a show. Give me that. MIKE -LRB- into microphone. -RRB- All skiers in! There's a shark out there! Get out of the water! There's a shark! AUDIENCE Almost in unison, EVERYBODY in the entire stadium rises to their feet, looking. WATER SKIERS Having heard Mike's announcement, they're all looking about with great concern. SKIER Does a JUMP, coming off a ramp. Airborne, he glances down in disbelief as he FLIES over the monstrous form swimming beneath him. SKIER Holy shit! He lands and keeps going. SKIERS As the boat comes roaring in at top speed. The skiers make their sliding breakaway and clamber up onto the pad and safety. MIKE AND PHILIP Are amongst those helping them out. The skiers collapse thankfully. SKIER God, that was close! GIRL SKIERS All out of breath, looking out at the lagoon. GIRL SKIERS I do n't see it. Where is it? SHARK POV - UNDERWATER A GRINDING - SPLASHING NOISE has its attention. It heads in that direction. CALVIN ARRIVES Runs up and responds to SHARK FIN Speeding to one of the GONDOLA CARS as it glides along the water. CALVIN Good God! GONDOLA CARS One rises up from the water as the next one descends.\",\n \"INT. GONDOLA CAR Sean and Kelly sit holding hands. KELLY Is n't this fun! SEAN -LRB- low, sarcastic. -RRB- Can hardly wait to do it again. She laughs and kisses him. KELLY Told you you'd like it. SEAN -LRB- apprehensively. -RRB- Now what's this do? KELLY Goes up. Sean looks out at the water and sees THE FIN Knifing through the water. SEAN -LRB- aghast. -RRB- No. It ca n't be. KELLY What, hon? Unable to speak, he can only point at the rapidly approaching dorsal fin. KELLY Oh, my God! SHARK POV The splashing Gondola Car. SEAN AND KELLY White - knuckled as the car starts to rise up. SEAN Let's go, let's go! KELLY It's okay, Sean. SEAN Take it up. KELLY He's diving! THE FIN Disappears. THE GONDOLA Slowly rises. Now ten feet above the water. KELLY -LRB- big sigh. -RRB- We made it. It ca n't get us. Sean still stares through the glass bottom at the water. SEAN Take it up! KELLY SEAN! Kelly has reason to scream, for THE SHARK Comes BURSTING out of the water at them. SEAN NO! SHARK Lunges high into the air, giant jaws open wide, rows of teeth bared. It clamps down on the rising gondola. SEAN AND KELLY As they look into the jaws of death. Kelly SCREAMS. SHARK AND GONDOLA As the car comes crashing back into the water, being torn apart by the giant. Kelly's SCREAM is still heard. AMBULANCE SCREAMING It's SIREN crying out as the ambulance RACES through the street, light flashing. AMBULANCE DRIVER AND HIS POV He's doing seventy and WEAVING in and out of traffic, barely avoiding head - ons and blind - sides by inches.\",\n \"INT. HOSPITAL CORRIDOR MIKE Paces the hallway, nervously, outside a room. NURSE Comes out room door. Mike goes up to her. MIKE Can I see him now? NURSE He's very sedated. You ca n't talk to him. MIKE I just want to see him. NURSE Only for a minute. Mike nods appreciatively and enters.\",\n \"INT. ROOM - SEAN Lies in bed with tubes sticking out of him. Mike stands looking at his still brother. KATHRYN Enters. Comes up to Mike, takes his hand. Mike looks at her. MIKE Kelly? Kathryn barely shakes her head `` no.'' Mike shows his pain. KATHRYN How is he? MIKE Couple of fractures, lacerations. They say he's gon na be all right. KATHRYN I have to go, honey. Phillip and I are going down together to kill the shark. MIKE Okay. She kisses his cheek and leaves. Mike just keeps looking at his brother.\",\n \"INT. PRESS TENT - LATER Kathryn, Calvin, Philip, and staff execs seated around the table - top model of the Kingdom. PHILIP We can assume he's back in the water intake passage. KATHRYN She, Mister Hutton. PHILIP He. She. Let's blow the bitch up! CALVIN You ca n't do that. We're talking millions of dollars of filtering system. PHILIP We're talking a bloody dinosaur's down there! CALVIN You're not going to blow that equipment away. PHILIP Well, what else do you propose? MIKE -LRB- V.O. -RRB- We net it. They all look to see MIKE Coming through the door, joining them. MIKE -LRB- continuing. -RRB- After all, that's how you catch fish, is n't it? PHILIP You could also try a bamboo pole and a worm. CALVIN What's your plan, Brody? MIKE It's easy. Put a net on the derrick. Put the net in the water by the intake passage. Turn off the intake passage. Shark comes out into the net and is hauled up. PHILIP A piece of pie on Sunday. KATHRYN The net would have to be secured by the intake passage. MIKE That's right. KATHRYN Who's going to do it? MIKE Me. KATHRYN Michael, you're not going down there. MIKE I am. You're not. KATHRYN But you - MIKE -LRB- cutting her off. -RRB- It's a construction job. I'm the only one that can do it. PHILIP I'll go with you. MIKE No way. PHILIP I'll stay out of your way. I wo n't interfere. MIKE I'm sure you wo n't. But you're going to have to wait till we come up. Then you can film all you want. He starts for the door as Kathryn grabs him. KATHRYN Michael, you do n't have to go down there. MIKE I want that shark, Kathryn. KATHRYN You do n't have to prove anything. MIKE Only to myself. She watches as he leaves. DERRICK A giant heavy - duty CRANE sits beside the shore. It is strongly reinforced by supporting cables. Nothing could budge this baby. GIANT NET Is fastened to the derrick beam and guided over to the water's edge by workers. MIKE In diving suit, overseeing the operation. He moves about, hand signaling the crane operator to lower the net. NET Comes crashing into the lagoon, submerging to the deep. MIKE Is with Bob, ready to go in. He holds Kathryn. KATHRYN Be careful. Mikes smiles at her and repeats her own words. MIKE Do n't worry. I've handled sharks before. A quick kiss and he goes into the water. Kathryn watches. UNDERWATER Mike and Bob dive to the TUNNEL ENTRANCE Mike stops there, and Bob continues to the bottom. CLOSE ON MIKE Looking into tunnel. PULL BACK to include ominous tail of shark. It WIPES FRAME. MIKE Signals for them to send down the equipment. SHORE Men lower the gear to the divers below. UNDERWATER ANGLE As the gear comes down. BOB WITH JACK HAMMER Driving in anchor pins. PULL BACK AND UP to MIKE Welding hook eyes to tunnel mouth. REVERSE ANGLE Mike is intense and worried as he welds. ANGLE DOWN, the shark's tail is swishing, more agitated. BOB Glances up toward the shark, concerned about the JACK HAMMER NOISE. He suddenly startled by something touching him. REVERSE - IT'S MIKE He's finished with the welding and motions for them to get the net assembly. CAMERA MOVES PAST THEM The shark is STIRRING. WIDE ANGLE Mike and Bob move the assembly toward the tunnel mouth. CLOSER ANGLE They reach the tunnel mouth. CLOSE ON HAND Attaching a cinch ring hook. MIKE AND BOB They maneuver about the mouth, from hook to hook. ANGLE PAST RESTLESS TAIL To Bob swimming down to attach anchor pins to net. WIDE ANGLE Mike joins Bob. CLOSE on SHIVES Being attached. JOB IS FINISHED Mike signals return to surface. MIKE AND BOB Quickly get the hell out of there. SURFACE Mike breaks through, followed by Bob. They pull them - selves up onto shore. Clasp hands tightly. Machismo. MIKE Way to go, Bob. Way to go! KATHRYN Hurries over to Mike. She's greatly concerned. KATHRYN Are you okay? MIKE -LRB- smiling. -RRB- I'm fine. They hug. PHILIP It's his turn now. He grabs Ike. PHILIP Let's go. They start into the water. Mike comes over to Philip. MIKE -LRB- warning. -RRB- He's big, Hutton. You never saw anything so big. Watch yourself. PHILIP Always do. They submerge into the water. MIKE Grabs walkie - talkie. MIKE Okay, turn them on. CONTROL ROOM As the lagoon lights start to be turned on. We see them come on outside the windows. FULL SHOT - LAGOON As the lights come on, section by section. PHILIP AND IKE Reacting as the lights go on. Immediately, Philip switches on his head lantern and begins to check the camera. Ike looks uneasily toward the tunnel entrance. TUNNEL ENTRANCE The net across it, cables raising from each anchor pin. The shark can not be seen inside the tunnel. PHILIP AND IKE Philip flathands Ike on the shoulder, startling him. He points to Ike's lights, and Ike nods jerkily, turns them on, turns on his head lantern. Philip gestures for them to get closer to the center of the net. Ike hesitates. Again, Philip hits him on the shoulder, gestures impatiently. MIKE On the walkie - talkie. MIKE Turn off the water. CONTROL ROOM As they begin to turn off the water entering the tunnel. SHOTS As the water current slows down in the tunnel. The shark begins to stir. The principals on shore wait, looking toward the lagoon. PHILIP AND IKE Philip gestures for them to get closer yet to the center of the net. Ike holds back. Philip gestures angrily, and Ike has to go along but is most unhappy about it. SHOTS The water current getting weaker and weaker. The shark begins to move. Philip wants to be closer yet. Ike holds back, and Philip grabs his arm, pulling him. Ike looks toward the tunnel with mounting dread. REVERSE ANGLE Philip grabs Ike, pulling him closer. SHARK Slowly starts BACKING OUT. Philip stays close, photo - graphing. Ike drifts back. CONTROL ROOM The Operator watches the monitor closely. OPERATOR Shark's backing out. MIKE Turns to his crew. Speaks into the walkie - talkie. MIKE It's coming out. Get ready. UNDERWATER - PHILIP Stays right on top of it as the shark continues to back out. Philip looks over his shoulder and sees Ike taking off, terrified. CONTROL ROOM The shark's three - quarters out now. Ike is leaving FRAME. PHILIP Obsessed, he continues to film, despite incredible risk. The shark slowly, ominously backs up, backs up. SHARK Is now OUT of the tunnel. Philip keeps filming. SHARK Suddenly SWINGS AROUND, its incredible, massive head now turned to Philip and CAMERA. It is JAWS! PHILIP Stunned, backpedals frantically as the SHARK Thrashes forward into the NET. PHILIP Mesmerized. Unable to stop, Philip brings camera up to resume filming. CLOSE ON PINS They begin popping out. SHARK Comes HEAD ON, smashing into the net. CONTROL ROOM The Operator sees this chaos in the monitor and reports. OPERATOR The pins are going! MIKE Acts at once, speaking into the walkie - talkie. MIKE Pull up the rear net lines!\",\n \"EXT. CRANE CAB The OPERATOR responds, pulling the levers hard. FULL SHOT - NET FLOATS Being hoisted out of the water. MIKE Gives a new order. MIKE Too much, ease off, ease off! REAR OF SHARK IN NET The mighty tail is tearing back and forth. Between the excessive pull - up and the thrashing tail, the strain on the anchor pins is too much. CLOSE ON PIN Violently being pulled out by an unseen force. CONTROL ROOM OPERATOR The tail's knocking out the bottom lines! MIKE MIKE -LRB- to Crane Operator. -RRB- Take up the cinch line on tunnel mouth! PHILIP Refuses to yield. He's still in from of the shark, filming. The shark's ENRAGED. ANCHOR PINS Start popping out in rapid order. PHILIP Realizes and starts retreating. MIKE MIKE Harder on the cinch lines! CRANE OPERATOR CRANE OPERATOR It's full bore now! SHARK - HEAD - ON Its assault on the net is more frenzied than ever. It plows into it. The seam starts to go! SIDE ANGLE - CRANE The derrick starts to TOPPLE, bracing cables snapping, the rear wheels starting to lift. Mike and everybody look around in SHOCK. CRANE ARM Comes toppling toward CAMERA. MIKE Sees and warns Bob. Look out! They LEAP into the water, barely avoiding the falling crane. UNDERWATER - MIKE CLOSE No mouthpiece, no mask up. He's gagging for air. MIKE His foot and leg tangled in net and cinch line. CLOSE ON TANGLED LEG/FOOT ANOTHER ANGLE Mike struggles to free himself. SHARK With tremendous thrust, the shark splits the seam of the net, coming right at us. Its vast JAWS fill the screen. ANGLE ON PHILIP Panic - stricken, total shock, he tries to escape. PHILIP SWIMMING The shark right behind. It wants Philip BAD. IKE Looks down in horror as he sees THE SHARK EAT PHILIP FRONT ANGLE As Philip is scooped into the massive mouth. ANGLE ON MOUTH Philip's airline is hooked over a shark's tooth as PHILIP slides into the shark's throat WHOLE. PHILIP INSIDE SHARK Panics as air is replaced by water, as he continues further into the shark. He is still alive, in one piece, at the edge of INSANITY. Then he remembers the GRENADE His hand gropes frantically for it. NEW ANGLE Philip, arm extended with grenade, fights to free his pinned arm to pull the grenade pin. PHILIP His mask now filled with water, struggles, bug - eyed, as his breath give out. ANGLE ON GRENADE In Philip's hand. A dead man's grasp on the grenade as the mouth of the shark closes into blackness. IKE Surfaces near platform, CAMERA moves in as BOB Surfaces unexpectedly in f.g., startling Ike. UNDERWATER - ANGLE ON MIKE He finds air. CLOSER ON MIKE He clears mask, puts in his respirator, looks. MIKE'S POV Through mask as water clears, the shark coming around the tunnel toward Mike. SHARK Heading for Mike. ON THE PLATFORM - BOB Climbs out, exclaiming : BOB Mike's caught in the net lines! ANGLE PAST SHARK Closing fast on Mike, still trapped. CLOSE ON KATHRYN With Bob in b.g. KATHRYN -LRB- to roustabouts. -RRB- Pull the cinch lines in! Hurry! MIKE Suddenly yanked upside - down and out of the tangled flipper. as the shark, on its kill run, lunges where Mike had been moments before. MIKE Is bumped hard by the passing shark. MIKE Swims down as the shark, overhead, turns. SURFACE Flipper, empty, is pulled from water. CAMERA moves in on Kathryn, grief - stricken. MIKE Perplexed, looks for way out. Begins to swim down. MIKE'S POV The cave. We move toward it. MIKE Looks over his shoulder at the pursuing shark. It's gaining fast. Mike's kicking as fast as he can. MIKE'S POV The shark, closing in once again. MIKE Swims frantically, the cave seeming so close yet so far. SHARK Alarmingly close, mouth open for the kill. ANGLE ON MIKE At mouth of cave, desperately reaching for the lip. He swings into the cave. and out of the shark's path as THE HUGE BEAST Immediately surges past, crashing into the cave's entrance. MIKE Reacts to the close call. MASSIVE TAIL Whips past, colliding with cave overhang, causing the overhang to fracture from the heavy blow. CLOSE ON MIKE His face reflecting concern as light changes and there is a CAVE - IN We see that Mike is blocked by fallen debris. KATHRYN - ON SHORE Grabs Bob as he is helped from the water. Shelly pulls ashore a traumatized Ike. KATHRYN AND BOB KATHRYN Where's Michael? What's happened to him? Bob shakes his head mutely. BOB I do n't know. The shark got him. Kathryn grabs a walkie - talkie. KATHRYN Can you see Michael? CONTROL ROOM Man looking at the monitor screens for the Fun Tunnel area. MAN We're not sure. KATHRYN -LRB- V.O. -RRB- Look! CAMERA moves in fast on the screen to show the cave entrance. ANGLE ON CAVE ENTRANCE - MIKE Trying to pull loose some of the fallen concrete to get out, looking for the shark. The concrete pieces are too heavy. KATHRYN AND BOB KATHRYN Well?! OPERATOR -LRB- V.O. -RRB- We think he's trapped inside a cave beside the glass tunnel. The shark broke up the entrance. KATHRYN Where is the shark? OPERATOR -LRB- V.O. -RRB- Near the bay gate. Kathryn hesitates, then runs out of FRAME, Bob and the others watching her go in surprise. SHOTS Kathryn running desperately toward her compound. Mike trying, in vain, to get out of the cave. SHARK COMPOUND DOCK - KATHRYN Running to the sub, untying it, jumping in, pulling the canopy shut, and turning on the engine. As the SUB moves into the lagoon, she puts on the scuba mask. BOBBY AND DAISY Seeing her leave, they begin to butt frantically at the still - unrepaired gate opening of their pen. SUB Moving through the lagoon. SUB - KATHRYN Looking around uneasily as she drives the sub. WHAT SHE SEES - THE LAGOON O.S., we hear the SOUND OF THE SUB. No sign of the shark. MIKE Trapped in the cave. He hears the O.S. SOUND of the sub and looks out, trying to see. THE SUB Emerging from the water, coming straight at CAMERA.\",\n \"INT. SUB - KATHRYN Camera draws around to show the cave ahead. She looks around again for the shark. FULL SHOT - THE SUB Coming up to the cave. Kathryn starts to push the sub front against the fallen concrete. MIKE Pushing to one side to avoid the concrete piece the sub is pushing in. FULL SHOT - THE SUB Pushing at the concrete piece. KATHRYN Inside the sub, concentrating on the cave. Suddenly, a dark form flashes into FRAME just overhead, making her jump in shock. Then she sees - BOBBY AND DAISY Swimming around the sub. KATHRYN Returns to the concrete piece. FULL SHOT - THE SUB Pushing in the concrete piece. MIKE Pressed against the cave wall, is almost touched by the concrete piece. Now there is room enough for him to get out. FULL SHOT - MIKE Starts to push out through the cave opening. CAMERA ZOOMS IN on his face as he sees - THE SHARK In the distance, approaching again. KATHRYN AND DOLPHINS She reacts, seeing the dolphins dart out of FRAME. She looks after them. POINT OF VIEW SHOT - THE DOLPHINS Speeding toward the shark to intercept it. KATHRYN Her face reflecting her fear for the dolphins as she opens the canopy for Mike to get in. He closes the canopy, both looking apprehensively toward the shark. WHAT THEY SEE - THE SHARK Being butted by the two dolphins, deflecting its charge. MIKE AND KATHRYN Kathryn starting to drive the sub away. FULL SHOT - SUB As it starts away from the Fun Tunnel area.\",\n \"INT. SUB - MIKE AND KATHRYN Kathryn looking back toward the shark. WHAT SHE SEES - THE DOLPHINS Still attacking the shark with some diversionary success. FULL SHOT - SUB Starting to rise as it passes over the Spanish Galleon.\",\n \"INT. SUB - MIKE AND KATHRYN In the b.g., the shark suddenly comes toward them at high speed, its massive size blotting out everything in b.g. FULL SHOT As the giant shark hits the sub broadside.\",\n \"INT. SUB Turning over in a complete circle, then righting itself, Kathryn trying to keep it moving forward. FULL SHOT - THE SHARK Attacking the submarine again, flinging it around like a cork, the attack by the dolphins only diverting it slightly.\",\n \"INT. SUB The shark seen outside, trying to close its jaws around the sub. FULL SHOT - THE SHARK Grabs the sub from behind and starts to shake it.\",\n \"INT. SUB - ANGLE PAST MIKE AND KATHRYN The shark seen in b.g., its enormous jaws closed around the back part of the submarine. Kathryn reaches for something. INSERT - CONTROL As Kathryn's hand in the violently shaking sub manages to increase the revolution of the propellers. FULL SHOT - THE PROPELLERS Spin faster, cutting the shark's maw. Bleeding, it backs off, wheeling away.\",\n \"INT. SUB - KATHRYN Tries to drive it away, but the propellers will not turn now, they are jammed. The sub starts sinking toward the bottom. They both twist around. THEIR POV - THE SHARK Moving away.\",\n \"INT. SUB - KATHRYN Points toward the galleon. Mike hesitates, then sees that they have no other chance and they slide back the canopy quickly, push out of the sinking sub, and swim toward the galleon. The dolphins suddenly appear in FRAME, and Mike and Kathryn grab their fins, looking around to see where the shark is, reacting as they see THE SHARK Rushing back toward them. MIKE, KATHRYN, AND DOLPHINS The dolphins speed them to the opening of the galleon hold where they let go of the fins and kick down fast into the hold as the dolphins wheel around to attack the shark again.\",\n \"INT. HOLD OF GALLEON - UP ANGLE Mike and Kathryn swimming downward toward CAMERA. They kick into the dark hold, CAMERA pulling down from them, stopping. They swim past CAMERA and, in the next moment, the berserk shark appears, trying to follow them into the hold. It ca n't get through, the opening too small, but shatters part of the framing. MIKE AND KATHRYN Ducking away from and pushing aside large, falling pieces of lumber. They look up, reacting as they see THEIR POV - THE SHARK Lunging down into the opening again, breaking off more of the hold framing. MIKE AND KATHRYN Evading more falling wood, backing away as they look up at THE SHARK Trying once more, getting stuck in the hold opening which is now enlarged enough for it to wedge in part of its enormous form. FULL SHOT - THE SHARK Trying to get into the hold all the way, the two dolphins butting its side. MIKE AND KATHRYN Mike looks around, sees something and, grabbing Kathryn's arm, pulls her further into the body of the sunken hull, CAMERA PANNING to show them moving toward the hole in the ship's side.\",\n \"EXT. HULL As Mike and Kathryn push out through the opening and kick up with extreme caution. ANGLE ON DECK EDGE As Mike and Kathryn appear, looking warily toward THE SHARK Still in the opening to the hold, trying to break through, the dolphins still butting its sides. MIKE AND KATHRYN Look at each other, then, abruptly, decide and kick upward, CAMERA with them. As they move toward the surface, they look down at THE SHARK Starting to back out of the opening it has battered into the hold entrance. MIKE AND KATHRYN Kicking upward as fast as they can go. SURFACE As they break through, looking down. WHAT THEY SEE - THE SHARK Coming up at them. MIKE AND KATHRYN Not knowing what to do. They start spasmodically as the two dolphins rush up from beneath the water and appear nearby. Without a word, Mike and Kathryn grab the dolphins' dorsal fins, and the dolphins start to rush them away. THE CHASE Shots alternating between Mike and Kathryn being pulled along by the dolphins and the giant shark pursuing them, getting closer and closer. When it becomes apparent that the shark is going to overtake them, the dolphins make a sharp turn and elude its heavier, straight - forward impetus. Seeing where they are, Mike points downward. Kathryn hits Bobby on the side and he dives abruptly. Daisy follows. UNDERWATER The dolphins diving with Mike and Kathryn as they put their mouthpieces back in. We see that they are outside the Control Room, the men inside looking out at them in shock. Mike lets go of the fin and swims to the lock, gesturing for Kathryn to do the same. She does and both take refuge in the concrete recess as the shark zooms into FRAME from behind CAMERA, rushing at them. INSIDE THE RECESS As the huge shark comes at them. Mike activates the outer door of the lock, and they are washed in just as the shark smashes its head against the concrete, jaws missing their feet by inches.\",\n \"INT. LOCK The shark still trying to get at them. Mike shuts the outer door and starts to drain the water from the lock. As it comes below their heads, they pull out their mouthpieces and look at each other with dazed relief. He puts his arms around her, and they lean their fore - heads together, breathing hard. The water is out of the lock in seconds ; inside, men activate the inner door.\",\n \"INT. CONTROL ROOM As Mike and Kathryn are helped in by the technicians. One of them looks toward the o.s. window suddenly. MAN Oh, my God! They whirl and look. THE SHARK Coming straight at the window as fast as it can. With a deafening CRASH, it hits the window and the glass is shattered, a wall of water roaring in. FULL SHOT - MIKE AND KATHRYN AND THE MEN Swept across the Control Room by the giant wave of water flung around. One man is smashed against a wall and killed. Several others make it to the door, getting out just before the water slams it shut. MIKE AND KATHRYN Putting their mouthpieces in again as the Control Room fills with water. They look toward THE SHARK With one of the technicians in its JAWS and is sub - dividing him. CONTROL ROOM Starts flooding. A tape bank topples, crushing female technician. IMPALED SHARK Thrashes violently, working its way in. It's caught on a huge section of thick glass piercing its side. MIKE AND KATHRYN Staring at the shark. Suddenly, the air in Mike's tank runs out and, reacting, he taps Kathryn's arm. She sees his problem, takes a deep breath, and gives him her mouthpiece. They look toward the window at a loud SOUND. THEIR POV - THE SHARK Still very much alive, throwing its gigantic weight forward, getting closer and closer to CAMERA, each violent lurch cutting its side open more, blood pouring from the jagged rent. ANGLE PAST SHARK ON MIKE AND KATHRYN As it gets closer and closer to them. They back away, are blocked by a console. ANGLE PAST MIKE AND KATHRYN Showing the shark closer yet. Despite the impaling blade of glass, despite the internal injuries, the shark - in seconds - will have them. CLOSE ON MIKE AND KATHRYN Sharing the mouthpiece, huddled together, helpless now. Then Kathryn's eyes widen, both react. THE SHARK Shaking its head as it inches forward, jaws open wide. MIKE AND KATHRYN Drawing back. Kathryn SCREAMS. THE SHARK Emerging from its maw is Philip's body. PHILIP'S BODY We see the GRENADE locked in his fist. MIKE Quickly grasps a metal strip from the tape bank and fashions a crude hook. MIKE Times his move perfectly and KNOCKS the grenade out of Philip's locked fist. The grenade comes to rest between the shark's TEETH. Kathryn gives Mike some air, then MIKE Leaps forward and SNATCHES the grenade out of the shark's mouth. MIKE Hurriedly wraps a metal strip around the grenade. KATHRYN Acts as a decoy and lures the shark's attention as MIKE PULLS the grenade pin and SHOVES GRENADE Into the distracted shark's mouth. MIKE GRABS KATHRYN And they roll behind a Control Room desk and computer terminal console. FULL SHOT SHARK As the shark is BLOWN OUT backward through the window opening, torn in half by the explosion, its massive remains starting to slide toward the lagoon bottom, turning the water crimson. MIKE AND KATHRYN Grabbing the stunned Kathryn, Mike pulls her to the window and out, starting upward through the bloody water. UNDERWATER - MIKE AND KATHRYN Sharing the air, they slowly float to the surface, buddy - buddy breathing. SURFACE Mike and Kathryn break through. Helping each other, they make their way over to a camera pylon. MIKE AND KATHRYN Cling to the pylon and each other. KATHRYN Suddenly looks alarmed as she remembers : KATHRYN Bobby and Daisy. Mike looks about, no sign of the dolphins. KATHRYN Slaps the water hard three times. No dolphins. She does it again. And again. KATHRYN And now, in total ANGER AND FRUSTRATION, she pounds the water like Rocky on the punching bag until she is drained, and Kathryn breaks down sobbing as Mike holds her, trying to comfort her. DOLPHINS Come shooting to the surface! They're banged and bruised, but are chirping excitedly and as HAPPY to see Kathryn and Mike as they are to see them. DOLPHINS Slowly swim around the hugging Mike and Kathryn as CAMERA PULLS UP to show the Sea Kingdom, in all its entirety, safe at last. FADE OUT. THE END\"\n]"},"labels":{"kind":"list like","value":[0,1,0,1,0,0,0,0,0,0,0,0,0,0,0,1,1,1,0,0,1,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,1,1,0,0,0,0,0,0,0,1,0,1,0,1],"string":"[\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 1,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 1\n]"},"summary":{"kind":"string","value":"While following an unsuspecting team of water skiers, a great white shark enters SeaWorld Orlando through its closing gates. Meanwhile, Florida announces the opening of the park's new underwater tunnels. Kathryn \"Kay\" Morgan, the park's senior marine biologist, and her assistants notice that the resident dolphins are afraid of leaving their pen. Shelby Overman, a mechanic, dives into the water to repair and secure the gates. He is attacked by the shark and killed, leaving only his severed right arm. Later that night, two men sneak into the park and go underwater to steal coral they intend to sell, but both are killed by the shark in the process. The next day, Kay and Michael Brody are informed of Overman's disappearance. They go down in a submarine to look for his body, and during the search, they encounter a smaller shark. The dolphins rescue Kay and Mike, but the shark escapes back into the park. They inform Calvin Bouchard, the park manager, and it excites his hunter friend, Phillip FitzRoyce, who states his intention to kill the shark on network television. Kay protests and suggests capturing and keeping the shark alive in captivity, to guarantee more publicity for the park. The shark is successfully captured, and Kay and her staff nurse it to health. Calvin, desperate to start the money rolling in immediately, orders it moved to an exhibit, but the shark dies. Later, Overman's corpse is discovered. Reviewing the body, Kay realizes that the shark that killed him is the first shark's 35 foot (11 m) long mother and that it must also be inside the park. She is able to convince Calvin about this newest development when the shark herself shows up at the window of the underwater cafe. Flushed out from her refuge inside a filtration pipe, the shark begins to wreak havoc on the park, injures a water skier, and causes a leak that nearly drowns everyone in the underwater tunnel. FitzRoyce and his assistant, Jack, go down to the filtration pipe in an attempt to lure the shark back in as a trap. FitzRoyce leads the shark into the pipe, but his tether rope suddenly snaps and is then attacked and killed. Hearing that the shark has been lured into the pipe, Michael and Kay go down to repair the underwater tunnel, so the technicians can restore air pressure and drain the water. Calvin orders the pump to be shut down to suffocate the shark, but this act instead allows it to break free from the pipe and attack Michael and Kay, but they are again saved by the dolphins. They make their way back to the control room, but the shark appears in front of the window and smashes through the glass, flooding the room and killing a technician. Michael notices FitzRoyce's corpse still in the shark's throat with a grenade and uses a bent pole to pull its pin, triggering the grenade's explosion and killing the shark. In the aftermath, Mike and Kay celebrate with the dolphins, who survived their battle with the shark."},"name":{"kind":"string","value":"Jaws_3-D"}}},{"rowIdx":99,"cells":{"scenes":{"kind":"list like","value":["Book of Shadows: Blair Witch 2 BLACK SCREEN And in that darkness, white words silently FADE UP : The following is based on actual events. Some dramatic re - creation was necessary for reasons that will become obvious. Beat. And then slowly swelling up is the sound of panicked hyperventilation - spasms of words and weeping : VOICE -LRB- HEATHER DONAHUE. -RRB- I'm. scared. to close my eyes - SMASH UP ON the teary and terrified EYES of HEATHER DONAHUE -LRB- the now ubiquitous scene from `` Blair Witch Project'' of her confessing to the camera -RRB- : HEATHER DONAHUE - I'm scared to open them. -LRB- beat. -RRB- We're going to die out here - - then, suddenly, this image of Heather FREEZE FRAMES. And we hear the incongruously perky Voice of ABC's DEBORAH ROBERTS : DEBORAH ROBERTS -LRB- V.O. -RRB- - she'd be a much happier camper if she'd lived to see this weekend's grosses - - abruptly, the freeze - framed image of Heather goes squeeze - boxing up into the upper left corner of the screen, revealing : That we're watching ABC WORLD NEWS SUNDAY - the date bannered at the bottom of the screen : August 1, 1999. Reporter Deborah Roberts sits behind the Anchor Desk reading TelePrompTer copy : DEBORAH ROBERTS In only its first week of wide release, `` The Blair Witch Project'' has taken in a whopping 36 million at the nation's box office. Not too bad for an independent film that was reportedly made for less than the cost of your average Buick - News Video - Day. The Angelika Theatre, New York City. Big and bold on the marquee : `` Blair Witch Project.'' Tracking shot away from the theatre and down the street, to see : NEWSCASTER -LRB- V.O. -RRB- - lines to see the new film stretching five blocks long down Houston Street - and this was for a 10 a.m. show - Close On the long line - Two YOUNG MEN in their late teens being interviewed on camera : YOUNG MAN #1 - to get the holy sh -. -LRB- BLEEP! -RRB- - scared outta me, man, what do you think? YOUNG MAN #2 I heard last night they had people runnin' screamin' out of the theatre - The last scene of BWP projected on a big screen - Heather Donahue running screaming down the stairs inside the house - and seeing Mike standing facing the wall - WHIP BACK to see that we're inside a theatre, and the audience watching this is collectively shrieking with surprise - - and then collectively shrieking even louder as Heather is hit from behind and goes down, camera with her. Another Theatre - Night - Video of an Audience exiting the film. One YOUNG WOMAN being interviewed is particularly shaken : YOUNG WOMAN the kid. Mike. he was turned around towards the wall'cause that's what that guy in 1940 made all the little kids do before he killed them - A gaggle of Male Teenagers pass by in b.g. of the shot. One of them shouts : TEENAGER Just a movie, baby! The Young Woman looks confused for a moment. Looks into the camera : YOUNG WOMAN no. it was real, what we saw. was n't it? - Telecast of MARY HART on the set of `` Entertainment Tonight.'' MARY HART - whatever you want to call it, `` Blair Watch'' is definitely the Cinderella story of the summer, if not the century, with now an 80 million dollar gross in just two weeks - News Video of a 30ish GUY railing at the People waiting to purchase tickets to BWP : 30ISH GUY - save your money, it's all bullshit hype! Blair Witch sucks! - Some STONER being interviewed on camera : STONER - all repeat business, dude - I know morons who've seen the stupid thing like three times in one day. INTERVIEWER -LRB- O.S. -RRB- How many times have you seen the film? STONER Like maybe five. But not in one. -LRB- BLEEP. -RRB- - ing day - Critic LEONARD MALTIN holding forth on - air : MALTIN - it taps into our universal primal fears : of the boogeyman, of the things that go bump in the night - there's something out there, you ca n't see it, and it's coming for you - Video of more audience exit interviews. Two YOUNG MEN in their 20s : YOUNG MAN #1 - I'll tell you what was scary : trying to keep my lunch down. If that stupid camera jiggled one more time - YOUNG MAN #2 - some guy the row in front of me actually did toss - WOMAN holding a baby. WOMAN - it was just so real - Solemn - looking GEEKY GUY : GEEKY GUY - it was real - Dubious - looking TEENAGE GIRL : TEENAGE GIRL - you got ta be kidding me - there's people out there think `` Blair Witch'' was real? - Bespectacled MAN IN SUIT : MAN IN SUIT - the story of the three students was fiction. The legend of the Blair Witch is, apparently, true, however - DIANE SAWYER on `` Good Morning America.'' DIANE SAWYER - the brass tacks of the matter is, love it or hate it, `` Blair Witch'' has escalated from being merely another cinema success story to a genuine nationwide phenomenon - if not obsession. Profits from merchandising tie - ins going through the roof - Montage of Blair Witch paraphernalia : - t - shirts and other apparel - keychains - posters - the books - The Blair Witch Project : A Dossier ; Heather's Journal - the CD `` Josh's Blair Witch Mix'' DIANE SAWYER -LRB- V.O. -RRB- - the official `` Blair Witch'' web - site now having received 75 million `` hits'' to date - - shot of computer screen, on - line : The Blair Witch Store DIANE SAWYER -LRB- V.O. -RRB- - with that web - site, in just a matter of a few weeks, begatting dozens more web - sites, with chat rooms so packed with fans and foes you're lucky to get a cyber - word in edge - wise - Computer Screen showing a Chat Room in progress - exchanges flying back and forth like lightning : GIRLGENIUS if story true, then how come end credits list `` written by''? WARLOX all docs are written by - somebody has to put all the pieces together like a story K-RATIONAL that's EDITING, idiot - they made whole thing up - those were actors CHERUBIM-BO then how come characters had same names as `` actors'' AK-47 you call that acting C.I.A-LIST Congrats any U bought into big lie that BWP phony have successfully been suckered by dis - info campaign waged by U.S. govt they do n't want us TO KNOW TRUTH Video interview with RONALD CRAVENS, Sheriff of Burkittsville. He's standing at the corner where the Union Cemetery abuts Route 17. SHERIFF - the truth is, this movie's probably been the best and worst thing ever happen to this town. The good thing - well, take a look down East Main there - CAMERA PANS past him towards a stretch of two - lane blacktop with stores on either side. SHERIF - we've got people pouring in here like it's Times Square, some of'em all the way from Europe, Japan. A whole lot of money being spent. The bad? He points to a white wooden post stuck in the shoulder of the road. SHERIFF There used to be a sign on it, `` Welcome to Burkittsville.'' They showed it in the movie. Somebody wan na show me where it is now? I swear to God, these people, they're coming in and making off with every - thing is n't nailed down. There's two other signs I had to take down myself, put away for safekeeping'til this whole damn thing's finally over. INTERVIEWER -LRB- O.S. -RRB- When did you think that'll be? SHERIFF Just pray we get to see it this lifetime. Video footage - Burkittsville Union Cemetery. Two KIDS wearing Ohio State jackets. Wandering around, confused, with gravestone - rubbing kits under their arms. KID #1 Ca n't seem to find'em. KID #2 Got ta be around here somewhere - right here's where Heather stood in the movie. Kid # 1 looks into the camera. KID #1 We're trying to find the graves of those seven kids Rustin Parr killed. KID #2 Lotta dead kids - just ca n't find any died later than like 1867. Kid # 1 stops, squints. The camera travels with his gaze : atop nearly every other grave marker is a black candle melted into the stone. KID #1 What do you think all these candles are for? KID #2 I would n't touch'em. Sheriff Cravens on Video. SHERIFF Nothing much we can do - just enforce the curfew. Which is dusk, for both the cemetery and the Black Hills Forest. Aerial shot of the Black Hills area : we see packs of people everywhere. The overgrown foundation of Rustin Parr's house in the middle of the woods. Manic - eyed Teenagers proudly display their souvenirs for the camera : rocks and cement slivers. TEEN #1 This is what you call `` striking gold.'' TEEN #2 Fifty bucks a pop minimum back in Philly. The Sheriff on tape. INTERVIEWER -LRB- O.S. -RRB- There seems to be some controversy whether or not any of this actually happened. SHERIFF That what actually happened. INTERVIEWER -LRB- O.S. -RRB- The three kids who disappeared, everything that was in the movie, the whole Blair Witch legend. The Sheriff just stares for a beat towards the Interviewer like he/she's completely insane. Then turns and walks away, rubbing his eyes with a thumb and forefinger like a headache the size of Manitoba just hit him. SHERIFF You'll excuse me - An office in L.A. Big `` Artisan Entertainment'' logo on the wall. A well - turned out Gentleman -LRB- or Woman -RRB- who exudes `` EXECUTIVE'' smiles gently for the camera. ARTISAN EXECUTIVE - the only statement we feel comfortable making at this time is : we're happy the film's been such a success ; we grieve with the families of Heather, Josh and Mike. Now, if you'll excuse me - Dusk. Sheriff Cravens leaning on his car on a road at the edge of the forest. SHERIFF - this is the only reality I know : we're averaging about four lost rubberneckers a week up in these woods. The Sheriff puts a bullhorn to his lips ; bellows into the woods : SHERIFF Get outta these damn woods and go home! There is nothing in there! SMASH TO BLACK And silence. White words again appear in the darkness : NINE MONTHS LATER Music begins to be heard under it - uber Goth : Type O Negative's `` Haunted.'' It suddenly swells - to ear - shatter proportions. SMASH UP ON","EXT. A VAN - IN MOTION - HIGHWAY - DAY Zipping fast down U.S. Route 70 - West. We see the mileage signs on both sides of the median indicating where they're coming from and where they're now going : from Baltimore, towards Frederick, Maryland. -LRB- NOTE : this is shot on 16 or 35mm film, which will be the medium of `` reality'' for the rest of the movie. -RRB- The music that's blaring is n't underscoring - it's coming from inside the Van. As is a WOMAN'S VOICE -LRB- ANNA -RRB- shouting over it : ANNA -LRB- O.S. -RRB- You want to turn that shit down just a hair?","INT. THE VAN - CONTINUOUS TIGHT ON the Driver of the Van, a grunged - out 25 year old with shoulder - length hair, a well - worn black `` Blair Witch Project'' t - shirt and cap : COTTER KALLER. He yells towards the backseat : COTTER Shit? This is from `` Josh's Blair Witch Mix,'' man! ANNA -LRB- O.S. -RRB- Down or off - you're giving me a migraine. COTTER -LRB- mutters. -RRB- Christ. He turns the volume down. COTTER -LRB- petulant. -RRB- Just trying to set the mood for the mission - get the `` feeling.'' ANNA -LRB- O.S. -RRB- Only thing I'm feeling is homicidal. Cotter grumbles. Then a wicked grin hits his lips. Turns to the unseen Man sitting next to him in the passenger seat : COTTER Hold this. NICK -LRB- O.S. -RRB- What? COTTER The wheel. He clamps Nick's hand on the steering wheel, picks up the 8mm Camcorder beside him, turns around, and starts shooting into the back seat. POV OF VIDEO CAMCORDER On a not - very - happy - at - the - moment - looking Blonde Woman. ANNA TASSIO - ON VIDEO age 20. She rolls her eyes as Cotter begins narrating : COTTER -LRB- O.S. -RRB- The bitched - out babe in back here is one Anna Tassio - we met one dark and stormy night in a Blair Witch chat room, we all did - ANNA - Christ almighty - COTTER -LRB- O.S. -RRB- - but she was nicer then - sweeter - she had n't vomited twice already like today - ANNA - it's called `` morning sickness,'' asshole - COTTER -LRB- O.S. -RRB- -LRB- editorial aside. -RRB- - a six week bun in the oven - NICK -LRB- O.S. -RRB- -LRB- wearily. -RRB- - Cotter, just turn the camera off? Cotter responds by panning the Camcorder towards the passenger seat. We see on video : NICK LEAVITT a lanky 21 year old wearing wire - rims. COTTER -LRB- O.S. -RRB- This is her equally on - the - rag boy - friend, Nick Leavitt - NICK - turn the camera off - COTTER -LRB- O.S. -RRB- - they're from UMass, doing some kind of fucking term paper - NICK - Graduate Thesis - COTTER -LRB- O.S. -RRB- - about the Witch - VOICE FROM BACK SEAT - she does n't exist - NICK - you got that right - THE CAMERA pans again into the back seat, showing HEATHER ARENDT, 19, with a huge mane of fire - engine red hair. HEATHER - and if she ever did - ANNA -LRB- O.S. -RRB- - which she may have - NICK -LRB- O.S. -RRB- - bullshit - HEATHER - she was n't a witch - we embrace nature, not evil - COTTER -LRB- O.S. -RRB- - thank you, Heather Arendt - and arend' t we glad you're here - a real witch - HEATHER - fuckin' A right - NICK - Cotter - COTTER - a Wiccan - NICK -LRB- O.S. -RRB- - turn the goddamn camera off! The Camcorder swings back to Nick. NICK We're not making Blair Witch II here. COTTER -LRB- O.S. -RRB- I am. One big blur of a pan - Cotter's turned the camcorder on himself. He issues his manifesto : COTTER And let it be known - before we even get to Burkittsville - it's gon na be an eighteen thousand times better movie - for half the cost - HEATHER -LRB- O.S. -RRB- - which'd be about ten bucks - COTTER - and unlike the first one, every second of it's gon na be true! `` Blair Witch : The Real Story!'' NICK -LRB- O.S. -RRB- Cotter? COTTER I'm not finished. NICK -LRB- O.S. -RRB- We're all going to be if you do n't hit the brakes. The Camcorder WHIP = PANS towards the windshield : The Van is about to plow into the rear of a HUGE COCA - COLA TRUCK COTTER -LRB- O.S. -RRB- Jee - zuz! Visual pandemonium as the Camcorder goes flying from his hands and down next to the BRAKE PEDAL We see both of COTTER'S FEET smash down on the pedal. Hear O.S. : screeching of the passengers - screeching of the brake shoes - screaming of the tires as the Van swerves into the next lane - and then an angry symphony of CAR HORNS. HEATHER -LRB- O.S. -RRB- You're a complete fucking idiot, are n't you? COTTER -LRB- O.S. -RRB- Hey, Mr. Graduate Fucking Thesis here was s ` posed to be driving! NICK -LRB- O.S. -RRB- You drive, I'll handle the video, okay? COTTER -LRB- O.S. -RRB- Fine. We see the view from the Camcorder as it's scooped up from the Van floor and brought back up to eye - level again. ON NICK'S FACE As he waves two fingers at the lens. NICK Bye - bye - - and the Video zaps to black. SMASH BACK TO - FILM Where Nick can be seen tossing the camcorder into the backseat. Anna catches it, puts it in a back pack and zips it. COTTER What're you doing? NICK This is n't about us. COTTER Right. And the check's in the mail.","EXT/INT. THE VAN - TWO HOURS LATER - DAY Doing a relaxed 35 down the narrow ribbon of Route 17. Rural farm country. The weather's turned grey - making all the 19th Century - vintage houses and barns they pass look dismal, if not a little foreboding. NICK Cheery little place. ANNA It's like traveling back in time. HEATHER The good old days : toasting marsh - mallows over a burning witch. NICK They never burned witches in this country, they hanged them. HEATHER Whatever - all I know is the persecution's going to start all over again, they keep pumping out inflammatory bullshit like this fucking movie - COTTER - hey : check that out! Ahead of them, at a crossroads, is a sign : Welcome to Burkittsville COTTER ` Thought those all got stolen. ANNA Guess they thought it was safe to put some up again. COTTER Think again. He starts to slow the Van alongside the sign. COTTER Somebody wan na hand me that claw hammer in back - - Nick pushes Cotter's leg back down on the accelerator. The Van jerks past the sign and down the road. NICK Get busted on your own time. We've got a schedule to keep. Cotter just glares at him. COTTER Was it every day or just semi - weekly you got your ass kicked as a kid? NICK -LRB- ignoring him. -RRB- Now you can bring the vehicle to a stop : there on the left.","EXT. BURKITTSVILLE UNION CEMETERY - JUST AFTER The four of them stand there by the sign to the graveyard. Anna searching the gray horizon. COTTER Why are we here? ANNA She e - mailed me yesterday this is where we should meet her. COTTER Who? NICK Whatzername - the `` psychic'' Anna hired. ANNA Domini. Domini Von Teer. COTTER What's she look like? ANNA No idea, just talked to her on the ` Net - she's very good. NICK So says her website. ANNA She is - she's helped solve a bunch of murders : Arizona, New Mexico - COTTER - how old? ANNA I dunno, probably right up there, based on her resume. COTTER Then there she blows. Cotter points to THE WOODS near the far edge of the cemetery. Standing there is an old, gaunt and particularly Unattractive Woman, staring at them. COTTER Terrific - and I was afraid I was n't going to get laid on this trip. The four of them start tromping towards her. NICK Jesus. ANNA What? NICK That's not whatzername - it's Mary Brown. COTTER From - the - movie - Mary - Brown, Trailer Park Bible Psycho? HEATHER Oh, for chrissake, she was an actor. ANNA No, the kids were actors, the townspeople were real. Her, the Sheriff, the Convenience Store guy - NICK - whatever ; that's her. FLASHBACK - B&W To the interview with Mary Brown from `` Blair Witch Project.'' The years have apparently not been kind : she looks a good two decades younger. CUT BACK TO - THE PRESENT They're less than 20 feet now from MARY BROWN. She speaks without expression : MARY BROWN What do you want? ANNA Just came over to say hello. MARY BROWN It's five bucks for signin' something ; ten for signin' a Bible ; twenty, you want to take a picture with me. Any kind've conversation, that's subject to negotiation. COTTER -LRB- sotto. -RRB- I do n't believe this. HEATHER -LRB- sotto. -RRB- I do. NICK Thanks just the same. I think we're fine. MARY BROWN Heather's not. Heather double - takes. HEATHER Me? MARY BROWN Heather. I saw her. Elly Kedward's hands were on her throat, and she was sucking out the girl's insides with her mouth. COTTER -LRB- to Heather. -RRB- Heather from the movie. Mary Brown shakes her head. MARY BROWN Heather. NICK Been a pleasure meeting you ; we need to go now. He hustles the other three back towards the cemetery. HEATHER I take it back - she was n't an actor. She's a nutjob. COTTER That's what Josh and Mike said. HEATHER Shut - up. The cemetery. Everyone spread out looking for : ANNA Domino? Domini Von Teer?? Beat. And then, out of nowhere, seemingly just plunging right out of the earth AN ARM extends into the air not far from them. Paper - pale and stick - thin, almost skeletal. DOMINI Present. They walk over. See, lying atop a cracked granite marker, a Young Woman who ca n't be more than 18. Heroin - chic skinny. All in black, including her make - up - uber Goth : DOMINI VON TEER. ANNA Domini? DOMINI Yes. ANNA What're you doing there? DOMINI Trying to find the energy. ANNA Inside the grave? DOMINI To stand up - I'm exhausted. Been on the road since yesterday. COTTER You want a hand? DOMINI I want amphetamines. Cotter helps her up. COTTER Beer and weed is what I've got. DOMINI Both. Now. Anna and Heather look at the faded marker Domini's been lying on. It says : BOY KURTH May 28'00 HEATHER Sweet place to take a nap. ANNA Strange girl. HEATHER You think so? As they walk away, Heather sees Mary Brown across the cemetery, staring at her.","EXT/INT. THE VAN - LATER - AFTERNOON Snaking its way down the road that wends through the Black Forest Hills. INSIDE Domini and her second beer have commandeered the shotgun seat, Nick relegated to a tight squeeze in the back seat. Dead silence. She's slightly unnerving. Finally : COTTER So, I hear you're from New Mexico! DOMINI Sometimes. ANNA Her father's Sheriff of Taos County. DOMINI Sometimes. Where are we going? NICK Ruins of the Rustin Parr house. DOMINI Guy who killed all the kids in the'40s. COTTER -LRB- `` Outer Limits'' tremolo. -RRB- `` The Voiiiiices made him do it.'' ANNA The Witch's voice. HEATHER She was n't a witch. NICK Whatever. DOMINI I hear voices all the time. That pretty much kills the rest of the conversation.","EXT. THE VAN - LATER - AFTERNOON Parked at the edge of the woods. Back - packs being hauled out of the rear, camping gear, video equipment. DOMINI What is all this shit? NICK We're doing dusk - till - dawn taping of all the places where there've been alleged Blair Witch `` sightings'' - the Parr House, Coffin Rock, Tappy Creek. DOMINI Why? NICK See what turns up - which I guarantee will be nothing. Some of the rest of the party are more hopeful - HEATHER - or incredibly fucking naive. ANNA Hey, folklore - NICK - myth - ANNA - does n't just pop out of thin air. It spins off of real events. At some point there was a Blair Witch - NICK - or one huge attack of group hysteria. COTTER -LRB- snide. -RRB- Either way, maybe there's a book in it, and they both make a ton of money. NICK -LRB- snapping. -RRB- It's a serious sociological study. DOMINI The four of you really have too much spare fucking time on your hands, do n't you? HEATHER And what's your excuse for being here? NICK She got paid. DOMINI -LRB- shrugs. -RRB- I thought the movie was bitchin'.","EXT. THE WOODS - SOON AFTER Mammoth backpacks strapped on, the five begin walks into the forest. COTTER Wait a sec! He spins and runs back towards the Van. NICK What? Through the trees, they see Cotter place a pint of bottled water on the roof of the Van. Starts video - ing it as he walks away. HEATHER He really is a fucking idiot.","EXT. DEEPER IN THE WOODS - LATER - AFTERNOON Slogging up a 45 - degree angled hill. This is not exactly Sir Edmund Hillary and Co. - the five of them already look exhausted. HEATHER Did n't we already do this hill? Nick is staring at three different maps at once as he walks. NICK No. ANNA You sure? NICK Yes. COTTER Terrific : an hour, we're already lost - - and then a look of trepidation crosses Cotter's face - Footage from `` Blair Witch Project'' - panic, as Heather, Josh and Mike realize they've spent all day walking in a circle. NICK -LRB- V.O. -RRB- Cotter? CUT BACK TO - PRESENT Nick's glaring at him. COTTER What? NICK Look over there. Cotter looks up : less than 500 yards ahead can be seen the ruins of an Old House. COTTER Okay, but - NICK - now there. - Nick is pointing behind him. Cotter looks. From the atop the hill he can see down to the road - and his Van with the water bottle on the roof. COTTER Oh. Cool.","EXT. THE PARR RUINS - SHORTLY AFTER All the backpacks and miscellaneous tonnage is already dumped on the ground. The five of them stretch their legs, massage sore shoulders and lower backs, while sightseeing the remnants of the old house and its environs. Cotter, not surprisingly, is taping everything. POV CAMCORDER a huge bite taken out of one of the walls of the foundation, stone, brick and soil strewn everywhere around it. COTTER -LRB- O.S. -RRB- Where they found the backpacks and all the film a year later. ANNA -LRB- O.S. -RRB- Buried deep under 200 years worth of soil, ash, and compost layers. DOMINI -LRB- O.S. -RRB- Yeah, that was a cluster - fuck for the mind. NICK/HEATHER -LRB- O.S. -RRB- If it happened at all. Suddenly, the camcorder image starts shaking wildly. CUT BACK TO - FILM Cotter seen running full - tilt towards Heather, who's facing one of the interior foundation walls. He's jiggling the camera like he's got St. Vitus dance. CUT BACK TO - VIDEO We hear Cotter doing a passable Heather Donahue impression - screeching as the shaking video image PUSHES IN right towards Heather Arendt's face. COTTER -LRB- O.S. -RRB- Mike! Miiiiiiike! Noooooo! Heather turns, scowling, and puts her hand over the lens. CUT BACK TO - FILM Heather pushing the camcorder out of her face. HEATHER You're not only an idiot, you're a goddamn child. COTTER Why does everyone here but me have have a gigantic stick up their ass? DOMINI Hey! Check this out! On one of the foundation's interior walls : a gobbledygook of tiny handprints and strange, angular glyphs. DOMINI -LRB- O.S. -RRB- Look at those marks - just like in the movie. NICK -LRB- O.S. -RRB- Ancient runes - COTTER -LRB- O.S. -RRB- - what the fuck's a `` rune''? - CUT BACK TO - FILM Nick erasing half the marks with one sweep of his palm. NICK - chalked just hours ago by ancient adolescents. It's called vandalism. ANNA What is this? All turn. She's pointing to the large, leafy tree with branches stretching everywhere above them. COTTER Oak? ANNA No. What's it doing here in the middle of the foundation? HEATHER Growing. This place burnt down 50 years ago. Trees happen. Nick flips through a voluminous loose - leaf notebook - points out a page to Anna. NICK Look it's right here - from the Blair Witch `` Dossier'' - the sketch the anthropology students made of their dig when they found the backpack. The sketch shows a spindly growth in the middle of the foundation, no more than six feet high. ANNA That's a sapling - this mother's got to be three hundred years old, minimum. NICK It's a sketch, Anna - it's not to - scale cartography ; the tree was not the kids' focus - ANNA - do you agree it's that old, Nick? NICK Okay, fine, whatever, yes - it's an old tree. HEATHER Why do n't you just cut it down and count the goddamn rings - who cares? ANNA Because it means the tree is older than the house. COTTER Yeah, so? ANNA So whoever built this - - Nick rustles through the loose - leaf - NICK - brother of Rustin Parr's maternal grandfather, somewhere after 1858 - ANNA - whoever - they built an entire house around a tree. Sticking up right through the living room. Somebody like to explain that to me? NICK The rest of the family was crazy as Rusty Parr. ANNA Oh, c'mon - even you have to admit this is weird. NICK No - this is weird. He reaches down and picks one of the now infamous wooden `` stick men'' off the ground. POV - COTTER'S CAMCORDER - CLOSE UP Sudden, stunned silence as the camera examines it fore and aft. And then Nick's hands are seen removing the material that secures the Stick Man's `` arms'' to his `` torso.'' Torso and legs fall to the ground, leaving Nick holding a piece of - CUT BACK TO - FILM NICK - sacred and occult Scotch Tape. DOMINI Rusty Parr had the right idea on child care.","EXT. THE PARR RUINS - DUSK By flashlight, Cotter's fiddling with five vid - cams on tripods that have already been set up. Domini lies within the foundation walls staring up at the sky. Finishes the last of Cotter's beer and discards the empty. Not far from there, Heather's already got her simple one - person tent erected. Adjacent, Nick and Anna are wrestling with the nightmare of trying to put up some Barnum & Bailey - size number. NICK Your parents did n't have a bigger one? ANNA It was free - I recall that was the chief selling point for you. NICK No offense, sweetheart : fuck you. ANNA You know, Nick, you've been something of a total asshole the past few days. NICK Pardon me, I've had a few things on my mind - like putting this safari together. ANNA Like how weirded - out you are with this pregnancy thing. NICK Let's just leave it at : it was one hell of a surprise. ANNA You do n't want it though. NICK Your body, your call. ANNA Why is there no `` our'' here? NICK Could we take this up later - like indoors, without half the world listening? ANNA You feel no need to get married or anything. NICK Anna - ANNA - fine, later, fine. COTTER -LRB- O.S. -RRB- Sonovabitch! All eyes turn : Cotter's standing 20 feet away with rotted wooden tentpoles and a piece of grommeted canvas that's literally mildew - disintegrating in his hands. HEATHER Nice tent. COTTER Had n't even opened the thing since Cub scouts. HEATHER Never would've guessed. COTTER So where the hell am I going to sleep? HEATHER If you're looking at me, look elsewhere. COTTER I've got the Panasonic Portable DVD player. Beat. She stares at him. HEATHER What movies? COTTER Ask me what I do n't have.","INT. HEATHER'S TENT - NIGHT Heather and Cotter jammed in there like Spam, sharing a joint, and watching `` Curse of the Blair Witch'' on DVD : The Interview Sequence with folklorist CHARLES MOOREHOUSE, explaining the `` origins'' of the Blair Witch story - Elly Kedward's banishment, etc.. HEATHER What I never could figure about the movie? COTTER What? HEATHER Three people : two guys, a girl - sleeping in the same motel room, the same tent night after night. COTTER Yeah? HEATHER No fucking. COTTER No. HEATHER Made no sense. Scared out of their minds, and the greatest stress reliever in creation right at their fingertips. Nada. COTTER No sense at all. -LRB- beat. -RRB- I'm a little stressed. HEATHER Try a long walk.","INT. NICK AND ANNA'S TENT - SIMULTANEOUS It ai n't the Ritz, but they did come prepared : air mattresses, big Coleman lanterns, a kerosene heater - and heaps of books and brimming file folders. They're sitting up in their respective mummy - style sleeping bags, studying documents, making notes - - when this high - pitched MOANING can be heard outside the tent. Nick and Anna looks at each other. Nick grabs one of the lanterns and dashes for the tent door.","EXT. THE TENT - CONTINUOUS He shines the light slowly out into the foundation ruins - - and there's Domini, still lying on her back, staring up, cooing : DOMINI Oooh. Oooh. NICK Ah, Domini? DOMINI What? NICK You planning on sleeping out there? DOMINI Not planning on sleeping at all. She points up into the big oak in the middle of the foundation. DOMINI Oooh. Oooh. The call comes back to her from the tree : `` oooh - oooh.'' Nick sees perched high up on one of the branches : A GREAT HORNED OWL. It's staring down at them. DOMINI I figure I lie here long enough, maybe he'll swoop down and carry me off in his talons. Nick rolls his eyes and goes back into his tent. COTTER AND HEATHER are also watching this from their tent. HEATHER We should be so lucky. COTTER Butt - ugly owl. They duck back into the tent. The Owl keeps watching. FADE TO BLACK. Several beats. And then in the darkness, a rustling sound is heard. A whisper that sounds like : VOICE see if it's alive - CLICK! Then Anna's hand seen - she's just turned on one of the lanterns. Sits up in her sleeping bag. Listens. The sounds have stopped. Beat. She gets out of her bag, grabs the lantern, and goes to the tent flap -","EXT. TENT - CONTINUOUS - and just as she steps outside - - something strikes her hand - ANNA - shit - - the lantern goes flying into the dirt - - and suddenly out of the darkness come flying - LITTLE HANDS wielding small sharpened sticks - or are they tent pegs? - - and they stab into Anna's belly again and again, accompanied by shrieks of delight. Anna screams - NICK -LRB- V.O. -RRB- Who's James? ANNA TURNS and finds she's inside the tent, wrapped tight in her sleeping bag. Staring at Nick, who's propped up on his air mattress with a book and a lantern, staring quizzically back at her. ANNA -LRB- disoriented. -RRB- What? NICK You said the name `` James.'' ANNA I do n't know. She pulls her sleeping bag down, looks at her belly - unmarked, unharmed, bloodless. NICK Baby names? ANNA I do n't know. Nightmare. NICK You want me to scooch over next to you? ANNA Yes.","EXT. THE RUINS - NIGHT Domini is still supine, staring upwards. DOMINI This place is like a regular K - mart of bad vibes, ai n't it, pal? The Owl does n't respond. MAN'S VOICE -LRB- distant. -RRB- Please, someone, help me - SMASH TO a static shot of dark, dark woods. The Voice continues to be heard from somewhere deep in there : MAN'S VOICE - somebody, please! PULL BACK It's coming from the DVD of `` Blair Witch Project.'' HEATHER DONAHUE'S VOICE Josh?!? PULL BACK FURTHER Cotter and Heather Arendt are fast asleep. Must have drifted off during the umpteenth viewing. MAN'S VOICE -LRB- much louder. -RRB- Heather? Heather Arendt is up like a shot. MAN'S VOICE Heather? Josh? Mild snort of amusement when she sees the movie's still playing on the DVD. She buttons it off. Starts to lay back down - MAN'S VOICE -LRB- loud. -RRB- Heather? - bolts right back up on the verge of a coronary. The Man's Voice screams : MAN'S VOICE They're pulling my teeth out! Heather literally punches Cotter awake. COTTER Wha' the - She clamps her hand over his mouth. Beat. They listen - - suddenly, SCURRYING FOOTSTEPS heard ; giggling - COTTER -LRB- through her hand. -RRB- - o - fug - me - MAN'S VOICE Heaaaaather? Cotter wrenches himself away, grabs his little 8mm camcorder - HEATHER -LRB- scared. -RRB- What're you, crazy? COTTER -LRB- exhilarated. -RRB- What're you, nuts? He lunges out of the tent, camera already whirring -","EXT. TENT - CONTINUOUS - and right into a blinding, light - up - the - night battery of halogen lamps. COTTER Jesus! Halo - ed in the glare of those lights stand FOUR LARGE TEENAGERS in various states of grunge. They all but scream of STONERS. One of them's got a huge running Beta - Cam on shoulder, another's hefting a DAT recorder and shotgun mic. We see Cotter from the POV of these guys camera : POV BETA - CAM - VIDEO Cotter shooting back at them with his puny - by - comparison camcorder, his thermal long - johns halfway down his legs. STONER #1 Check this out : Burkittsville's Funniest Home Videos. Cotter's still shaking. COTTER Jesus - Jesus - Jesus - A furious Heather can be seen scrambling out of the tent. Gets right in the lens : HEATHER -LRB- O.S. -RRB- What the fuck?!? CUT BACK TO - FILM The Stoner Cameraman snaps the Beta away from her. STONER CAMERAMAN Hey, that's 50K worth of hi - tech, chickee. HEATHER You gave me a fucking heart attack! STONER #2 Oh, and you boogied all the way up here to get a good night's sleep. STONER #3 We just made your every dream come true, darlin'. HEATHER Get out of here! COTTER What're you doing with all this shit? STONER #4 Shootin' `` Blair Witch II,'' man - what's your excuse? COTTER Shooting `` Blair Witch II.'' STONER #2 Oh, dude, I do n't think so - that is just not happening. STONER CAMERAMAN This is our gig. STONER #3 We got jurisdiction, man - we got fuckin' permits to be here. HEATHER Oh, yeah? Let's see'em. STONER #4 They're, uh, like, in the car. HEATHER Bullshit. STONER #2 Let's put it this way : one of us is going, and it's you. NICK -LRB- O.S. -RRB- What's the hassle here? Nick and Anna appear from their tent. STONER #2 You and the Brady Bunch, Mr. Scorsese. STONER CAMERAMAN You're interfering with the commerce of independent film! Cotter asides to Nick. COTTER They're making `` Blair Witch II,'' too. NICK No problem, just give us'til dawn and we're gone. COTTER What? NICK Look, guys, we're cold, we're tired we're shook - we just want to get out of here as soon as there's light. We saw something up at Coffin Rock today - ANNA -LRB- catching on. -RRB- - or someone - NICK - scared the living shit out of us. STONER #3 What? NICK I do n't know, I do n't know - HEATHER - yeah, a hand or something - COTTER - coming out of the water - Now even Domini joins the prevarication party, popping up from inside the foundation : DOMINI - stop it! Stop talking about it! I'm gon na freak! ANNA -LRB- tearing up. -RRB- I just wan na go home. STONER #3 -LRB- impressed. -RRB- Whoa. STONER CAMERAMAN You did n't get it on tape, didja? NICK Tried, but - Stoner # 2 starts barking orders to his crew : STONER #2 Strip it down and ship it out! Coffin Rock! They're packed up and ready to move in a flash. Stoner # 4 turns as they trot off : STONER #4 Any other voices or noises you hear tonight - it ai n't us. The Stoners make Josh Leonard - like cries as they disappear back into the darkness ; STONERS -LRB- O.S. -RRB- Heather? Mike? Somebody? Please? NICK They were never seen again. Their footage was found a year later - underexposed and useless. Tired laughter. NICK How're the cameras doing? COTTER Due for a re - load and battery check. I'll get on it. HEATHER ` Give you a hand. I think my sleep for the night just ended. ANNA Join the club. NICK Well, everybody grab a coat, and pull up a rock for a night of witch - watch. The four campers proceed to their respective tasks. Domini stays perched on the foundation, watching where the Stoners disappeared. To herself : DOMINI Something. really twisted. is going to happen. She looks up. The Owl's gone. FADE TO BLACK. Birds heard in the darkness. And snoring.","INT. NICK AND ANNA'S TENT - DAWN Cuddled together, fast asleep.","EXT. THE PARR FOUNDATION - SIMULTANEOUS - DAWN Domini conked out on the grass, curled in a fetal position.","INT. HEATHER'S TENT - SIMULTANEOUS - DAWN Ditto Heather, sprawled half - in/half - out of her sleeping bag. Only Cotter is awake - well, making an attempt at it, anyway. Squints at his digital watch : 5:45 am. COTTER Jesus. wha' happened. He groggily gets to his knees and dog - walks out of the tent. Several beats. And then we hear outside the tent : COTTER -LRB- O.S. -RRB- Oh, fuck me! Oh, Jesus! The cries wake Heather -","INT. NICK AND ANNA'S TENT - SIMULTANEOUS - as well as Nick and Anna -","EXT. THE PARR FOUNDATION - SIMULTANEOUS - even Domini, who pops her head up and starts to ask : DOMINI What happ - - and then she sees ; they all see - COTTER - they're all gone! - - five tripods, all minus the Video cameras they used to support - COTTER - and none of'em were mine! I - am - so - fucked, I - am - so - fucked - where the hell was everybody? NICK Asleep - COTTER - what happened to the goddamn `` Witch - watch?'' NICK - I dunno, I just woke up - DOMINI - last thing I remember were those four clowns shooting the movie - COTTER - yeah, the goddamn stoners! Who you think stole the stuff!? NICK Yeah. Got to Coffin Rock, found zip, and came back, ripped off the cameras. Domini looks at one of the mangled tripods. DOMINI Ripped? They look like they were bit off. NICK Smells Like Teenage Spirit. COTTER This is funny? This is tens of thousands of fucking dollars! -LRB- shouts into the woods. -RRB- You pricks! I'll see you in fucking court! ANNA -LRB- O.S. -RRB- Not the only things missing, Nick. Nick turns. Anna's at the tent door holding a pile of empty file folders and two looseleaf notebooks that have somehow been torn clean in half. Now Nick's incensed : NICK That's almost a year's worth of work! -LRB- into the woods. -RRB- Scumbags! Oh, Jesus, Jesus. DOMINI At least you still have the tapes. COTTER One set. Everything from midnight on - DOMINI - no, I think they're all in there. She's pointing to the collapsed section of the basement foundation where the original `` Blair Witch Project'' Tapes were found. The other four stop and stare at her. And then Cotter goes diving in the hole. Beat. COTTER -LRB- O.S. -RRB- Sonovabitch! And emerges with two grimy handfuls of VHS, Beta, and 8mm video tapes. HEATHER Those ours? Cotter brushes dirt from them ; holds them up for inspection. COTTER My handwriting on the face labels. And then his excitement switches to confusion. Turns to Domini : COTTER How'd you know they were - DOMINI -LRB- shrugs. -RRB- - hunch. Just sort've saw'em there. COTTER My ass - you saw those four fucking baboons put'em there! DOMINI No. NICK Cotter, I think she's right. Why would those guys go to all the trouble of stealing the camera and all this other stuff and leave the tapes? COTTER Spite. NICK They were making a movie - if they were going to steal anything it'd be just the tapes, to see if we had anything they did n't. DOMINI I do n't think it was them. COTTER Oh, who did then? Blair Witch? Snatching equipment to make her own sequel? DOMINI I do n't know yet. COTTER Well, please keep me fucking informed! HEATHER Those four guys - it's the only thing that makes sense. She looks over at Domini, who says nothing - just stares into the woods. NICK This is a goddamn disaster. Let's just pack it up and go. ANNA I want to see the tapes. NICK And what do you possibly think you're going to fucking see there? ANNA No idea. But if that's all we've got left - COTTER - nothing left to play'em on, honey. ANNA Oh, sorry, right. COTTER You can be goddamn sure, though, I'm going to be looking at every second of'em when I get back to Baltimore - I get proof who stole my shit and I call the cops! ANNA We're ticketed to fly back from Baltimore, anyway. HEATHER Me, too. COTTER Hey, I got a whole editing suite in my loft - more the fucking merrier. NICK Pointless. DOMINI No. I do n't think so.","EXT. STREET IN N. BALTIMORE - SEVERAL HOURS LATER - AFTERNOON The Van pulls up to the curb in a savagely decrepit and extremely desolate old industrial section of North Baltimore. COTTER 403 41st Street, kids : home. NICK I dunno it's safe to even get out of the car. COTTER By day? No sweat. HEATHER What about night? COTTER Not a great idea. Especially ` cross the street. All four look : a thickly wooded area that looks like mostly sumac. COTTER Druid Hill Park. ANNA That's a joke? COTTER That's its name. A pastoral glade gamboling with crackheads and homeless and averaging at least one homicide a week. NICK Let's get inside. COTTER First enormous brick warehouse on your right.","INT. COTTER'S BUILDING - JUST AFTER Four of the five of them ride nervously in a huge, ancient elevator that ascends in a series of jerks. Cotter's oblivious. COTTER Used to be a meat - packing plant. Slaughter on the ground floor - carcasses schlepped up on this thing for dissection and grinding and - HEATHER - Cotter : shut up. COTTER What?","INT. DOOR TO COTTER'S LOFT - JUST AFTER Cotter opens the elevator grates, revealing a metal door with a single lock. He fits a key into it NICK Just one lock in this neighbor - hood? COTTER All I need - - throws the door wide - - the LOUD BARKING of what sounds like a pack of pit - bulls greets them. COTTER Get inside quick, they'll stop. HEATHER Too busy eating us? COTTER Just go.","INT. COTTER'S LOFT - CONTINUOUS He shuts the door ; the BARKING stops. Everyone's eyes zapping all 360 degrees around them : no dogs. Cotter taps a small speaker above the door ; COTTER Baltimore's cheapest burglar alarm. He re - opens the door a crack - the BARKING starts anew. Closes it. Nothing. COTTER Had the door jimmied a few times. Nobody's yet made it inside. He ushers them into a huge DOUBLE - STORIED SPACE easily 30 feet high. Exposed brick walls - massive iron roof beams. And crammed to bursting with bizarre esoterica everywhere : - carousel horses, huge airplane propellers, a bowsp ` rit from an old clipper ship, lawn jockeys, a set of bunkbeds made entirely of wagon wheel parts, bowling balls, cannonballs, pinball machines. COTTER Mi casa y su casa! HEATHER Su casa y shit - o hole - o. COTTER Hey, hon' - this is what pays the rent and tuition. NICK Running a junk yard. COTTER A Cyber Entrepreneurialship. HEATHER English. COTTER I spend a lot of time on e - Bay. Buying, selling - sometimes buying then re - selling at substantial mark - up, sometimes just selling crap I find in the street. ANNA Looks like business is booming. COTTER There's some stuff that's hard to part with. Editing's stuff's up there - - he points to a loft overhanging the big room - a thin wooden railing separating the work space from a sheer 20 foot drop. COTTER - stairs are back through the kitchen - and a ton of bedrooms, you wan na dump your stuff or catch a nap -","INT. COTTER'S LOFT WORK SPACE - A WHILE LATER - DUSK Cotter's running tape through his new video iMac. The rest of them are gathered around the screen in various degrees of discomfort. They look like they've been there for some time. A lot of yawns. Nick's rubbing his temples like somebody's pounding a marimba inside his head. ON SCREEN : they're all watching minute after minute of nothing. Darkness. The outlines of the Parr Foundation. Trees in the back - ground. Silence. Several beats as they continue to watch this stasis. Then : NICK I think we get the gist. ANNA We've looked at half of one tape. COTTER There's four other angles, man, we have n't even - NICK - great : we can watch Domini sleep for hours - or, shit, maybe if we stay at it for a couple of days, maybe a deer'll dash by! ANNA For once could you just sit down, shut up, and give something a chance? NICK We're leaving - case dismissed for lack of evidence. Maybe on the ride home we can figure how the fuck we're going to graduate with no thesis. ANNA I'm not going anywhere,'til - NICK - bullshit! COTTER Hey, chill, man - DOMINI - there's something here, Nick - NICK - fuck you - all off you - - he grabs Anna by the wrist and yanks her up - NICK - now c'mon! ANNA Get your goddamn - - and suddenly Anna stops. Doubles over, clutching her abdomen. NICK What - COTTER - oh, Jesus - - blood can be seen soaking through her jeans. ANNA I need to go to a hospital.","INT. EMERGENCY ROOM - UNIVERSITY HOSPITAL, BALTIMORE - NIGHT Domini, Heather and Cotter standing grimly in the Waiting Area. Finally, they see Nick exiting a Trauma Room, looking even grimmer. DOMINI She lost it. Nick nods.","INT. TRAUMA ROOM - JUST AFTER Anna's lying on a OB/Gyn table in a johnnie, clearly sedated, but with a face and eyes still soaked with tears. An E.R. INTERN -LRB- Female -RRB- is cleaning her up. ANNA Why? INTERN Any number of reasons - pick one, it's as good as the other. ANNA I was out hiking, camping the past two days - that's what did it - I killed it - INTERN - doubtful, Mrs. Leavitt. The main thing to remember is, whatever the reason, it was for the best - it meant something was wrong. ANNA Something was wrong. INTERN Look, this is not my field of expertise. You seem stabilized, but why take any chances? Let's keep you overnight and have the Staff obstetrician do a follow - up tomorrow. ANNA I guess - - and then Anna sees what the Intern is writing on her chart : To see : Boyd Kurth, 5/26/00. Anna's eyes go wide. INSIDE HER HEAD she flashes on the grave marker that Domini laid on in the Burkittsville Cemetery : same name, same date. BACK IN THE TRAUMA ROOM Anna yells : ANNA No! INTERN Mrs. Leavitt - ANNA - I'm not staying here! INTERN Let's talk to your husband - ANNA - he's not my husband! She's flails at the Intern, trying to get up, tearing pages from her chart. ANNA Where are my clothes?","EXT/INT. COTTER'S VAN - LATER - NIGHT They all sit silently as Cotter drives. The now - fully clothed Anna just sits in back like a zombie. NICK -LRB- softly. -RRB- We'll stay overnight, get a hotel - ANNA - Cotter's - COTTER - whatever you want, no problem - NICK - still go see the OB in the morning - ANNA - no. Anna tosses a crumpled ball of paper into Domini's lap. She opens it. It's the top page of Anna's chart. Domini looks at the Intern's jotting `` see Boyd Kurth -'' - her head snaps up. Beat. DOMINI Nick. Do what she says.","INT. COTTER'S LOFT - BEDROOM - LATER - NIGHT Nick tucks her into an elderly four - poster bed. Colonial in style. Another one of Cotter's `` finds.'' NICK What can I get you? ANNA Sleep. She closes her eyes.","INT. COTTER'S WORK SPACE LOFT - SIMULTANEOUS Domini, Heather and Cotter gathered around his iMac, drinking beer. DOMINI Something happened to Anna in Burkittsville, in the woods, I do n't know. COTTER What? That made her lose the baby? DOMINI Something. Someone. HEATHER Who? What? Domini just shakes her head. HEATHER Women miscarry all the - DOMINI - no. COTTER This is a little nuts. DOMINI Turn the tapes back on. COTTER Fine. He goes to it. Without even looking, Domini pulls the shoulder of her shirt down, rubs something on her upper arm. Heather sees it : a good - sized burgundy - colored mark, oblong, vaguely spidery in shape. HEATHER What's that? DOMINI Hmm? I dunno. Chafing from the backpack, something. HEATHER That'd be up on your shoulder, maybe your lower back. DOMINI Then I have no idea. And now Cotter's staring at it. COTTER Does it hurt? DOMINI Like hell. Play the goddamn tape. The first image that pops up is Domini sprawled out on the grass of the Parr Foundation. Deep in REM sleep, her leg jerking like a dog's. Domini sees it - a snort of embarrassed laughter.","INT. NICK AND ANNA'S BEDROOM - CONTINUOUS Nick bolts awake to the sound of laughter. Looks next to him, Anna's fast asleep. He looks relieved - then clucks to himself when he sees that he's fallen asleep next to her on the big old four - poster with his clothes on. Starts to take off his shirt - - and then hears the laughter again. Louder. It seems to piss him off. He gets out of bed, opens the door. Hisses : NICK Hey, knock it off, willya? But there's nobody there. He walks down the hallway towards the kitchen.","INT. COTTER'S WORK SPACE - JUST AFTER Nick appears on the stairs leading into the work - loft. Sees the three of them huddled over the iMac. NICK You wan na keep it down, she's trying to sleep. COTTER Sorry, I did n't think we were making that much noise. NICK It's not a real `` funny'' time for us, okay? HEATHER -LRB- confused. -RRB- No. it's not. Nick just shakes his head, snorts with disgust. Goes back down the stairs -","INT. KITCHEN - JUST AFTER - when he hears the laughter again. NICK Christ almighty - - he starts to storm back up the stairs to the loft - - when he realizes he's walking away from the sound of the laughter. He stops. It's coming from the hallway -","INT. HALLWAY - CONTINUOUS - further down the hallway. Louder. He walks faster towards it. It's coming from the open door of his and Anna's bedroom. Starts to trot. Louder. Takes the corner into -","INT. THE BEDROOM - CONTINUOUS - the laughter stops - - as does Anna, who appeared for a moment to be twirling round and around in the middle of the room. NICK What's going on? Anna looks down at herself and lets loose a giggle of astonishment. ANNA Nothing. I dunno - NICK - you should get back into bed. ANNA I guess, yeah. She does so. Nick once again tucks her in. NICK Was that you laughing? ANNA What? NICK Just now? ANNA No. NICK Just. try and go back to sleep. ANNA I get dreams. I do n't like'em. NICK What'd you dream? ANNA Little boys. Looking up my skirt as I danced. Giggling. NICK Here. He pops out two Xanax from a hospital sample bubble pack. Hands them to Anna. NICK This'll help. She swallows them dry. ANNA Good. She closes her eyes. DOMINI -LRB- V.O. -RRB- There -","INT. COTTER'S WORK LOFT - LATER - NIGHT Domini's pointing to the iMac screen. COTTER There, what? I did n't see anything. DOMINI Back it up, rewind, whatever you call it. COTTER Fine. He does so. HEATHER What'd you see? DOMINI Motion. Stop there. Play it again. Cotter hits PLAY. They're watching tape from a camera that was placed almost to the ground, aimed upwards - DOMINI - there! In the tree. Cotter freezes the image. The tree is so dark and so far in the distance of the shot, he and Heather have to put their eyes right up to the screen to even see it. COTTER Whatta you got, telescopic vision? HEATHER Still do n't see it - DOMINI - that blur, right by that branch. She puts her finger right on the screen. Cotter quickly removes it - squints. COTTER Okay, a blur. DOMINI Can you zoom it or something, make it real close, real big? COTTER I'm the ebay Boy, remember? I ca n't exactly afford that kind of equipment. DOMINI Who do you know who can? Where do we go? HEATHER For a blur? DOMINI There is something there - do n't ask, just trust me. COTTER Ca n't you like just divine it? DOMINI If I could do that, I'd be at the goddamn racetrack, not here. COTTER -LRB- sighing. -RRB- I got a friend at a Lab. I could get the whole thing blown - up, enhanced - DOMINI - go! COTTER Four in the morning?","EXT. 41ST STREET - NIGHT Cotter wearily unlocks the door to his Van. He looks all around him - finally up : There's an Owl staring down at him from a tree in Druid Hill Park across the street.","INT. COTTER'S WORK LOFT - LATER - NIGHT Heather is bringing a cup of hot tea and 40 ounce bottle of Malt Liquor up the stairs. Sees Domini still in front of the iMac, trying to figure out how to work the thing. HEATHER Cotter'll kill you. DOMINI He'll never know. HEATHER Two - to - one he dusts the keyboard for fingerprints the second he gets back. She hands Domini the beer. Keeps the tea for herself. HEATHER At least go drink it somewhere spilling it wo n't drive him to suicide. DOMINI Okay. Domini gets up and slumps down on the broken - backed couch in the work - loft. HEATHER What is it you thought you saw on that tape? DOMINI Still working on it. HEATHER Elly Kedward? DOMINI No. Elly Kedward's not the problem here, I do n't think. She was just a good old - fashioned white witch - PAGE 62 IS MISSING FROM THE HARD COPY OF THIS SCRIPT! SID You're gon na owe me the rest of your life, bud. COTTER I know, I know. SID Beta Cam's still coming back tomorrow, right? Beat. Cotter flushes for a moment. COTTER Absolutely. SID Before 5:00 - COTTER - hours before - SID - Christ, they find out I let you have it for the weekend - COTTER - no one'll ever know. Sid pauses the tape. SID This is what you wanted enhanced? COTTER Yeah. SID You mind me asking : why the fuck? COTTER The, uh, blur there. SID Looks like a rope.","INT. COTTER'S WORK-LOFT - NIGHT Heather has apparently gained a tad enough mastery to run tape through the iMac. She's playing and replaying a short section of Cotter's camcorder tape where the bunch of them were interacting with the Stoner Film Crew. She keeps seeing a FLASH on the tape. Between two trees far in the background. But she ca n't seem to freeze the image inside the flash. It looks vaguely like a MIDDLE - AGED MAN. HEATHER Does this look like a person stand there to you? -LRB- no response. -RRB- Domini? She turns. Sitting on the couch where Domini was is now the very clear presence of A MIDDLE - AGED MAN in a topcoat. He says nothing, just stares straight ahead. There's a horrible wound in his forehead. Heather is mindboggled - and petrified. She manages to stammer out the word : HEATHER Dad? DOMINI -LRB- O.S. -RRB- What'd you say? Heather's neck snaps to her right. She's sitting on that same couch with Domini. Her eyes scan the entire loft. There's no one there but the two women. DOMINI Are you alright? HEATHER I do n't know. FADE TO BLACK. Beat. And then in the darkness, a pack of dogs heard BARKING. FADE UP ON","INT. COTTER'S ELEVATOR - DAWN He's having trouble getting the key out of the lock. The door is wide open. The recorded pit - bulls bark and bark and bark.","INT. COTTER'S WORK - LOFT - SIMULTANEOUS The barking bolts Heather and Domini up like a shot.","INT. NICK AND ANNA'S BEDROOM Likewise Nick. Anna does n't seem to hear it - fast asleep. As soon as Nick makes it to the door, the barking stops.","INT. COTTER'S WORK LOFT - JUST AFTER Nick, Domini and Heather are gathered around him like kids on Christmas. DOMINI So lem me see it. COTTER Just let me get my coat off - I had eight cups of coffee, I'm wired for sound here. HEATHER Where is it? COTTER I got the tape enhanced - and I managed to sleaze a photo blow - up. Jesus, he's gon na kill me when he finds out about the camera. HEATHER Gim me it! Cotter throws her the 8 `` x10'' blow - up of the frame. Heather looks at it, her face falls. HEATHER Still looks like a blur, only bigger. Domini grabs it. Stares at it, puzzled. COTTER My friend Sid said it looked like a rope. And now Domini's eyes go wide. DOMINI Jesus. HEATHER What? DOMINI That's the reason. NICK What? DOMINI Why she kills children. COTTER The witch? DOMINI It's not about witches, goddamnit! NICK Someone want to tell me what's going on - DOMINI - and we brought it back with us! HEATHER What? DOMINI It touched me, do n't you see it now? She yanks down the shoulder of her shirt : the burgundy - colored mark on her arm has grown larger and more distinct. It seems to have finger - like tendrils spreading out from it. DOMINI Its fingers! Here. And here - - she yanks down the front of her shirt : there's another burgundy mark there - DOMINI - and here and here and here! She pulls back her hair : there are two more growing on the back of her neck. DOMINI I do n't know how to stop it! I do n't know how to kill it! But it's here right now! Domini's head is in her hands. She's hyperventilating. Heather puts her arms around her. HEATHER Slow it down, slow it down, whatever it is, we'll figure it out. DOMINI That's why she kills children. HEATHER I know, I know - ANNA -LRB- O.S. -RRB- - you do n't. They all look up. Anna's standing in the doorway looking at Domini. ANNA They put their palms in the blood. And then they press them on your skin. And Anna walks out of the room.","INT. COTTER'S BEDROOM - JUST AFTER - DAY Domini's lying down, Heather beside her. She's drinking a beer, seems much calmer - though she's got an afghan cinched around her entire body, toes to chin. HEATHER You gon na be alright? DOMINI Sure. I'm sorry. HEATHER No big deal. I'm just trying to understand. DOMINI Get some more beer. HEATHER -LRB- laughs. -RRB- I think you closed the bar again. I'll have to go out. DOMINI Go to the store. When you get back, I'll try to make sense of it for you. Heather gets up, starts for the door. Stops. HEATHER What're you afraid's going to happen? DOMINI That they'll start touching us inside our heads.","INT. DELI - N. BALTIMORE - DAY Heather sticks two six packs inside a car. Double thinks. Goes back and grabs two more. AT THE REGISTER Heather waits in line. She sees that across the street is Druid Hill Park. Stares aimlessly into the woods, chewing on a thumb nail. She looks seriously worried. CHECK-OUT CLERK -LRB- O.S. -RRB- Sweetheart? Heather shifts her gaze to the Check - Out Clerk - and she shrieks : Standing behind the Clerk is THE MIDDLE - AGED MAN she saw in the loft, with the wound in his head. CLERK -LRB- O.S. -RRB- Miss? Heather's eyes dart back to the Clerk. CLERK Are you alright? Heather's eyes dance around the deli. The Man is gone. HEATHER You have a phone? CLERK Just outside -","EXT. 41ST STREET - JUST AFTER - DAY Heather stands at a payphone by the curb. We hear ringing on the other end. Finally a pick - up. But an OPERATOR'S VOICE is heard first : OPERATOR'S VOICE You have a collect call from Heather. Will you accept the charges? Long beat on the other end. Finally : WOMAN'S VOICE -LRB- MOM. -RRB- yes. The Operator clicks off. HEATHER Mom? MOM'S VOICE Yes. HEATHER I was just calling, I know it's been a long time - MOM'S VOICE - what do you need this time, Heather? HEATHER Nothing. It's nothing like that. I just wanted to know if Dad - - a sound on the other line of the phone dropping, banging on the floor or against a wall - HEATHER - Mom? Mom? - a Voice comes back on the line. But it's MALE now : MAN'S VOICE She wants me to talk to you, Heather. HEATHER Who is this? MAN'S VOICE Your mother's pastor. HEATHER What happened to my Dad? MAN'S VOICE There was an accident early this morning. Another car. Your father's injuries were fatal. HEATHER Yes. MAN'S VOICE I'll tell your mother not to expect you at the funeral. HEATHER No. The phone clicks dead on the other end. Heather lets the receiver just drop and begins walking, leaving her two bags of beer on the sidewalk, in a daze. And then she starts running.","INT. COTTER'S ELEVATOR - JUST AFTER - DAY Heather's banging like crazy on the door to the loft. Finally, she hears the sound of Cotter snapping open the deadbolt. He opens the door. The recorded dogs bark. Heather slams the door behind her. HEATHER Where's Domini? COTTER My room, asleep, last I checked. Heather barges past him and towards Cotter's bedroom.","INT. COTTER'S BEDROOM - CONTINUOUS Heather walks in. The bed's empty. The afghan's lying in a pile on the floor - - along with all of the clothing Domini last had on. HEATHER Domini? She does n't bother calling her name again, there's nobody in the room.","INT. KITCHEN - JUST AFTER Nick and Cotter look up at Heather, confused. NICK Well, she's got to be somewhere here. COTTER No one's been in or out since you left. Would've heard the dogs. Heather dashing up the stairs into the work - loft. HEATHER Domini? Empty. Cotter poking through the two hallway closets. Nothing. Nick looking in the closet and under the bed of his and Anna's bedroom. Nobody. Anna sleeps through it all. Heather really starting to lose it. Rampaging through the big main room, pushing aside all of Cotter's huge carousel animals, looking behind those things she ca n't move, dumping things willy - nilly on the floor. HEATHER Domini! Cotter helping Heather open one of the windows in the big room. Looking out on the ledge. Looking down to the sidewalk, five stories below. Nothing. HEATHER Fire escape? COTTER Do n't have one. Heather screams out the window : HEATHER Dominiiiiiiii!","INT. KITCHEN - SOON AFTER - DAY Heather, Anna and Cotter sit at the table nervously. Heather is literally shaking. COTTER She would've had to have a key, anyway, to lock the deadbolt behind her. HEATHER Well, she got out of here some - how because she's not here! NICK Parents. She might've called - Heather on the phone. HEATHER Taos, New Mexico. The Sheriff's Office, please. thank you. She hangs up. Picks back up. Punches in a number in a blur. Beat. Someone picks up on the other end : WOMAN'S VOICE Good morning, Sheriff's Office. HEATHER Yes! I need to speak to Sheriff Von Teer. WOMAN'S VOICE He's in a meeting. Could I have him - HEATHER - it's urgent! WOMAN'S VOICE Could I tell him what it's regarding? HEATHER His daughter, for God's sake - I need to know if he's heard from her this morning. Beat on the other line. WOMAN'S VOICE the Sheriff is a widower. They never had any children. Heather is struck dumb. WOMAN'S VOICE Ma'am? HEATHER I'm talking to Taos, New Mexico - WOMAN'S VOICE - yes - HEATHER - the Sheriff's Office - WOMAN'S VOICE - yes, Ma'am, can I help you with anything else? - HEATHER - his name's Von Teer! His daughter's named Domini! - WOMAN'S VOICE - thank you for calling - The line goes dead. The three of them just stand there, staring at each other, petrified. And then Anna walks in the room. ANNA I'm glad she's dead. She brought the thing that killed my child.","INT. KITCHEN - LATER - AFTERNOON Heather sits at the table alone, staring at the 8x10 that Cotter made for Domini. HEATHER What did you see here that I ca n't see, damnit! She runs a finger down the length of the blur in the branches. HEATHER What is it that scared you so much? Nick enters, heads for the blotched,'60s vintage Mr. Coffee maker. NICK Finally got her back to sleep. HEATHER Nick, what you should do is get her back up and get her to a goddamn doctor. NICK Jesus, you do n't think I know that? You do n't think I've tried? She wo n't fucking go - she wo n't leave this place. HEATHER She's off her fucking rocker - NICK - I know! HEATHER I'm sorry. NICK Yeah, I know. It's. alright. We're all a little - HEATHER - a lot. NICK Heather. HEATHER Yeah. NICK Okay. Hypothetically. HEATHER Shoot. NICK You think. there could've been something up in those woods that Anna - HEATHER - it's not a could've - there was, Nick. And it fucked up Anna, and did something to Domini, and it caused my father to die, and it's here with us in this place now. And I do n't have one single idea in hell what's going to happen next, just that it's going to happen to one of us. And then the other. And then the other. It's going to get into our brains. And Heather finally loses it and starts weeping - great wracking sobs. Nick's a little awkward at first how to comfort her. Finally just starts lightly massaging her neck. NICK There's explanations. Rational explanations for everything that's happened. We'll drive ourselves crazy if we keep obsessing on supernatural what - ifs. HEATHER That feels good. Lower - down into my neck. Nick moves his hands down - - and somehow the two of them are then guiding his hands down into her blouse, onto her breasts - - and she's moaning, and grabbing hard onto his hair - - and pulling his whole head down to hers. And their lips and tongues meet, and they're biting each other like animals - - and his hands are yanking and twisting hard on her breasts, between her legs - - and she's literally clawing him with her fingernails, drawing blood down the length of his chest - - until she reaches a burgundy - colored mark right at his belt line with tendrils like fingers - - SNAP! - it's like someone woke them from a dream. They both look at each other, baffled - what the hell just happened? But it was n't a dream. Nick's chest is streaming blood ; there's blood on Heather's lips - - matching the color of the mark on Nick's waist, and the one Heather now sees inside her elbow. They both move away from each other, uncomprehending - and scared.","INT. NICK AND ANNA'S BEDROOM - DUSK Nick pacing the floor as Anna lies in bed. NICK I do n't know what it is, but there is something happening here, and it's starting to scare the living shit out me, and look, I'm just not going to argue the point anymore - you want to stay here, stay, but I've got to get the fuck out of here, and I'm begging you to come with me. ANNA I ca n't. NICK Then I'm going - ANNA - no, you're not. You love me too much. You do n't want to see them kill me.","INT. COTTER'S WORK LOFT - NIGHT Cotter's behind the iMac, screening tape millimeter by millimeter, downing one Coke after another. He's so caffed - out, both his body and his voice is shaking. COTTER This could be something right here, do you think it's some - thing, Heather -? Heather does n't even look up. She's just sitting on the broken - backed couch staring at Domini's 8 `` x10''. COTTER - but that could be just a shadow, I think it's a shadow, it's nothing, Heather, do you think it's nothing - - and he just keeps prattling on oblivious, eyes fixed on the tape moving at a snail's pace in front of him. HEATHER It's about the tree, it's something about the tree. She puts it down on a cushion and snatches up the dog - eared copy of the `` Blair Witch Dossier.'' Easily flips to the page Domini showed her : Elly Kedward trussed in the wagon in the woods. Flips backwards in the book, looking for something - HEATHER - the goddamn tree, Domini, for chrissake, what? - and then she stops on the page that shows the anthropology students' sketch of the Parr foundation ; the skinny little sapling in the middle - - then back to the woodcut of Elly Kedward in the woods - - then back to Domini's photo of the foundation - the huge tree - HEATHER Same trees. They took Elly Kedward out to the same kind of trees. COTTER -LRB- still oblivious. -RRB- - I look and look in the tree, all I ever see, he's always there watching, that stupid owl, over and over - HEATHER - Cotter, where can I get on - line? COTTER - anywhere, anywhere, all up and live, all the time - fucking owl - Heather slips in front of one of Cotter's PC's. TIME CUT TO Heather on - line, in the middle of Blair Witch Chat Room, typing : WICCA GIRL anybody know where tree is they tied Elly Kedward? Beat. And then a response. COFFIN ROX Black Hills Heather responds, types : WICCA GIRL thanx - anybody know where? in Hills Beat. Response : TREACLE-TREACLE-LITTLE-EILEEN My two cts? By Rusty Parr's house hadda be that close how else could she whisper into his ear? Heather stops typing ; absorbs this. HEATHER Cotter? COTTER Fucking owl! HEATHER You think it's possible the tree in the Parr foundation is the same one they tied Elly Kedward to? COTTER No idea - goddamitt! And then suddenly another response appears in the Chat Room : COFFIN ROX Check BW Cult book, 1809 - they have full account Heather grunts. Types back : WICCA GIRL 1 copy in exist. you got it? COFFIN ROX no just seen it WICCA GIRL where COFFIN ROX one of us WICCA GIRL if you're out there and got it anybody, contact me this mailbx urgent COFFIN ROX location described pretty good in section bout first boys disappeared afer Elly dies - James Kurth & another kid Heather stops typing. To herself : HEATHER Boy Kurth. COTTER Heather, does that look like Domini there? Heather does n't look up from her screen. Impatient, trying to put pieces that do n't fit together. HEATHER Where? COTTER Down there in the Park. Heather looks up. Cotter is looking down through the big room's huge windows ; he's waving to someone. Heather gets up. Slowly peers over the loft railing. Squints. HEATHER'S POV A stark - naked Domini is standing in Druid Hill Park. Looking up at them.","EXT. DRUID HILL PARK - JUST AFTER - NIGHT Heather and Cotter's pace slows drastically as they try and navigate the overgrown pathways inside the Park. The flora is dense below and above - moonlight barely penetrates where they're walking. HEATHER Domini? Cotter puts a finger to her lip. Whispers : COTTER Not the place you want to announce your arrival. HEATHER How's she going to know where to - COTTER - things got a way of finding you here. They walk. HEATHER It's freezing. COTTER Next time try putting on shoes - - the two of them stop dead in their tracks. Through the thicket ahead of them they can see a clearing. Illuminated by the moon is what appears to be an old WOODEN OX CART with SNOW drifted up nearly to the hubs of its wheels. HEATHER AND COTTER are suddenly so cold they can see their breath in the air. HEATHER What the fuck -? COTTER - I do n't know. He grabs her hand and pulls her through the thicket. They enter THE CLEARING the snow is now gone. Where the cart was is now just a stack of rotting cut brush. A clean - up effort someone must have started, then abandoned. Heather and Cotter stare at each other, baffled - and not a little afraid. COTTER The moon trying to shoot down through all these trees - can make things funky - HEATHER - I saw what I saw. COTTER Yeah. Me too. HEATHER The cart they brought Elly Kedward into the woods with - COTTER - into the Black Hills with - 200 - something miles from here - HEATHER - Domini! They both see it at the same time : A NAKED WHITE BODY face down at the base of a tree. Heather races over, kneels down next to it. HEATHER Oh, Jesus, what happened, are you - - and Heather lets out a screech. The face of the body reveals an ELDERLY MALE. Filthy, tongue lolling black out of its mouth. He's been dead for some time. COTTER -LRB- O.S. -RRB- Be it still alive, James? HEATHER What - Heather turns - A PACK OF LITTLE BOYS wild - eyed and wielding sticks, RUSH AT HEATHER - BOY #1 - then finish the job, lads! - Heather screeches again, throws up her arms to protect herself - COTTER -LRB- O.S. -RRB- Jesus! Heather looks up : Cotter's lying on the ground, holding his bleeding forehead. COTTER What the fuck you do that for? Heather looks at her hand. She's clenching a sharp stick in it. The Little Boys are gone. The body of the Dead Man is not. HEATHER I did n't. She grabs his hand, pulls him up. They start running.","INT. COTTER'S KITCHEN - LATER THAT NIGHT Heather and Cotter at the table, still out of breath and shaking, as they tell Nick what happened. HEATHER - and one of the little boys, his name was James. As in the boy James Kurth - the first child to disappear from the town of Blair after they banished Elly Kedward. A look of alarm comes to Nick's face. But he says nothing. HEATHER What? NICK I dunno it's anything. It's a name Anna's mentioned - from her dreams. COTTER I ca n't handle this anymore. He produces a large, thick spliff and torches it up. Big hit, and passes it to Heather, who takes an even bigger one. NICK How much of that stuff you guys been smoking? COTTER Enough to keep sane. NICK Enough to make shapes and shadows in the dark into something else. HEATHER Spare me. NICK Hey, chemicals, fear, sleep - deprivation - and a round - the - clock obsession with the occult - hell've a recipe for a mind - fuck. COTTER Except we seem about 18 times more together than you. Heather spit - takes a lung - full of smoke. COTTER I'd strongly advise you to join us - HEATHER - before you lose your emotional lunch. NICK -LRB- shrugging. -RRB- Yeah, what the hell. He takes the joint, sucks in mightily - HEATHER Atta boy - - and then the whole kitchen seems to explode - - GLASS and MULLIONS from the big window in the room come hurtling in shards at them - - and then when the noise finally stops, and the flying debris has all hit the floor, they all look down and see : ON THE PEELING LINOLEUM A HORNED OWL broken and bleeding from its header through the window. Spasming, and then dying. Eyes wide, staring up at them. No one says a word. They just look at it.","INT. COTTER'S WORK-LOFT - LATER - NIGHT A lot of chairs, but nobody's sitting down. Cotter, Heather and Nick all look like their nerves are fraying down to bare wire. HEATHER We are being fucked with here, someone or something. NICK Domini. HEATHER Why in the world would she - NICK - why in the world would she just fly the coop in the first place? COTTER Chrissake : why any of this? NICK I think it's time to get out of here. HEATHER Nobody's going anywhere - COTTER - hell, I do n't think I'm ever leaving this place again - HEATHER - one of us, all of us - I have no idea - brought whatever this thing is back here. We're not going to go out there and spread it around like Typhoid Mary. We're gon na figure it out, we're gon na bring a goddamn end to it. NICK Domini's the only logical explanation. HEATHER We're not dealing with fucking logic here! COTTER It's Domini, it's not Domini, I do n't care - all I know is I'm not dealing with something - anything - snuffing me in my sleep. I want to do what we did in the woods - surveillance of this whole place 24/7, with somebody monitoring those cameras every second. There's something, somebody here, I want to see'em coming. NICK I thought all your equipment got stolen. COTTER All the shit that was worth anything, yes. You'd be amazed, though, what you can get free on the ` net. He opens a desk drawer - there must be a dozen little palm corders in there.","INT. THE LOFT - VARIOUS LOCATIONS - NIGHT What Cotter lacks in other equipment, he makes up for with cable : huge SPOOLS of it - and he's running it from the various tiny vid - cams to a motley bank of monitors he's set up on the kitchen table. HEATHER duct - tapes one of the little units on the top of a closet door - frame in the hallway. COTTER sees he has an excellent angle on the front door/elevator. ANNA watches half asleep and befuddled in their bedroom as Nick aims a camera on a jerry - rigged broom - handle tripod. COTTER connects the cables in the kitchen - sees Anna and a clear view of the bedroom door. NICK & HEATHER collaborate on installing a camera from Cotter's work - loft that provides a view of the dark area under the work - loft. Nick lowers the camera on a rope, while Heather guides and supports the cables attached. COTTER watches the camera descend on one of the monitors. Satisfied by the view it's giving him, he yells : COTTER That's good! Tie it off! BACK IN THE WORK - LOFT Nick does so. Ties the rope securely around the loft railing. Ties a slip knot in the loose end and lassoes it over one of the iron beams above to keep it from being a hazard. He has to jump to catch the rope as it comes down again from the beam - - stumbles backwards slightly as he catches it - - hitting the spindly loft railing - - which suddenly SNAPS! And Nick goes tumbling out into mid - air, the slip - knot in the rope in his hand the only thing keeping him from plummeting 20 feet to the floor below - NICK - Jee - zus! - COTTER sees it happen on the monitor. COTTER - Christ! He dashes out of the kitchen. BACK IN THE WORK - LOFT Heather is trying to lift Nick back up by the rope by sheer physical strength she does n't have - HEATHER I ca n't do it! NICK Do n't! You're making me lose my grip. COTTER -LRB- O.S. -RRB- I'm coming! I'm coming! And Cotter comes dashing in with a tall metal step ladder. COTTER Just hold on! NICK I ca n't! Cotter splays the ladder open, starts clambering up it. COTTER Just let it go, I've got you! NICK What're you nuts - COTTER - it's less than four feet, just - NICK - shit! Nick loses his grip - starts falling - - Cotter snatches hold of him as he falls, pinning Nick between the ladder and his torso. The ladder wobbles precariously - COTTER - do n't move, do n't even breathe - - and then the ladder finally comes to a stable rest. Nick is savagely shaken as he slowly climbs down. NICK Jesusjesusjesus. Ditto Cotter : COTTER Yeah - please do n't do that again. A giggle is heard from the doorway to the big room. They all look : ANNA is standing there, laughing with her hand against her mouth like a little child. She sing - songs : ANNA I could see up your dress.","INT. KITCHEN - LATER - NIGHT Cotter, Heather and Nick watch the monitors on the table in silence. Drinking coffee. They all look majorly exhausted - but none of them look in any immediate danger of falling asleep. Their eyes dart from monitor to monitor, relievedly seeing nothing - except Anna tossing restlessly in bed. Heather sees that Nick is massaging something on his forearm that's making him wince. Without a word, she rolls his sleeve up : A wine - colored mark that looks vaguely like a jagged J. HEATHER Gothic rune - the letter `` S.'' NICK Or a blood blister - or a bruise. COTTER Must be that blue collar life we all lead. Cotter pulls up his pant leg : two blurry burgundy marks - crescent shapes overlapping each other. HEATHER That's a `` j.'' COTTER For `` James?'' HEATHER Goes right along with these two. She pulls back her hair - where jaw meets neck : two smudgey marks that together look like badly - drawn lowercase `` n `` s. HEATHER Put'em together that's a `` k.'' James Kurth - NICK - or Lyme Disease or poison sumac, or God knows what - else we could have picked up in the woods. HEATHER You know what we picked up in the woods - - and then there's a sharp knock at the door. All three sets of eyes zoom towards the sound, but no one moves. The knocking grows louder, more insistent. Still, they remain frozen. Frightened. They look at the monitor giving an angle of the door/elevator. Nothing can be seen - just a dark blur in the door's peephole indicating someone's standing in the elevator. HEATHER Who? COTTER No one ever comes here. NICK Have to open the door to find out. The knocking increases, along with muffled shouts of : VOICE BEHIND THE DOOR Cotter? Cotter? COTTER I'll. go. Cotter gets up and slowly walks to the door. The rapping and shouting increasing in volume with each step. Finally, a deep breath. And then Cotter looks through the peep hole. He sees : SID his Techie friend from the Film Lab glowering back at him. SID I know you're in there, you piece of shit! COTTER -LRB- quietly. -RRB- You have to go. SID Not until I get that Beta Cam back! We're both in a world of shit here! COTTER -LRB- quietly. -RRB- I ca n't. SID It's my fucking job, man! COTTER I ca n't let you in. Sid starts knocking again. Cotter walks back to the kitchen. Sits down in front of the monitors. Watches as the knocking continues. Finally stops. The expression on Cotter's face never changes. TIME CUT TO - THE SAME - SEVERAL HOURS LATER So quiet, so tense, they can hear the clocks ticking all over the loft : 4:10 a.m. NICK I should check on Anna. HEATHER Check the monitor, she's fine. NICK She's far from `` fine.'' HEATHER You're needed here - keep watching - COTTER - f ` chrissake, Heather, it's not like the two of us are gon na doze off he leaves for two seconds - HEATHER - I do n't trust anybody, not even me, anymore - COTTER - shhhh! # 5, there's something up there! Their eyes all go to the Monitor with the view of Cotter's work loft. Beat. They freeze. A slight WHIRRING - then slow WHOOSHING heard. Movement seen in the darkness. NICK What? COTTER One of the printers. Cotter gets up. HEATHER No. We all go. NICK Anna - HEATHER - fuck Anna! COTTER -LRB- V.O. -RRB- No, you -","INT. THE WORK LOFT - JUST AFTER Cotter handing a sheaf of print - outs to Heather. COTTER - it's for you. Came through email. How it started printing without a command, though - Heather looks up at them in astonishment ; dithered : HEATHER - it's the `` Blair Witch Cult'' - a copy - some pages from - one of them on the site must've gotten my message - COTTER - who? HEATHER Does n't say - it's just these pages. She tries to make out the ancient, smeared scrawls of this nearly 200 year old book. HEATHER -LRB- reading. -RRB- `` taken by the witch as they were marked by her - first Jamie Kurth when the stain appeared on his brow that next summer - - the next page is illegible, Heather flips forward : HEATHER `` for t ` was said he and Jon Edmunds and other boys who found Elly Kedward still on her tree in the snow. Poking her with sticks finding her still living. Taking her bonds and noosing them to her neck, hanging her from her tree until she perished.'' Heather looks up at the others in wide - eyed. HEATHER That's the little boys. Elly Kedward did n't die from `` exposure'' out there : she was executed. -LRB- resumes reading. -RRB- `` Killing Elly Kedward, but not the witch herself, who floated from the mortal husk -'' Heather looks up ; she echoes Domini's words : HEATHER `` It's why the witch kills children.'' NICK I thought all witches were benign and good. HEATHER Not this one.","INT. NICK AND ANNA'S BEDROOM - LATER THAT NIGHT Heather tries to rouse Anna in bed. HEATHER I need you to talk to me, talk to me about the dreams - about James, the other boys. ANNA I do n't. I do n't understand them myself. HEATHER Try, please, Anna - ANNA - bad boys, mean boys, cowardly boys - just like Domini. HEATHER What do you mean? ANNA A coward too. That's why she had to go. HEATHER What happened to her, where did she go? ANNA Do n't know - just that she was afraid - HEATHER - Anna - Anna winces. HEATHER What, are you alright? ANNA My eye, is there something in my eye? Heather looks. HEATHER Not that I can see. ANNA Closer. Lift the lid and look - it hurts. Heather lifts Anna's eyelid, gets close to her face and looks. HEATHER No. ANNA Closer. And Anna gently guides Heather's face down. Begins stroking it. And the next thing Heather knows, her body is gravitating towards Anna's. She's kissing her, stroking and fondling her as Anna guides her fingers. Pulling down the covers, guiding Heather down the length of her body to - - a spot on the mattress between Anna's legs that's soaked solid with fresh, gleaming blood. Heather yanks herself away, now seeing that the entire mattress is blood - covered. Runs from the room.","INT. KITCHEN - NIGHT Heather stares at her face in the mirrored surface of a toaster. Blood blots on her cheek - vaguely in the shape of little palm prints. She's hyperventilating as she tells Cotter. HEATHER Remember. what Mary Brown said - she could see the witch's hands on my face, her mouth sucking on mine. COTTER Anna's the witch. Nick enters. NICK What the fuck's going on here? HEATHER Does she have marks, Nick - like the ones we have, that Domini had? NICK Why? HEATHER Does she, goddamnit? NICK Not that I've seen - but that has no meaning - that means nothing. COTTER Why was she exempted, Nick? NICK Maybe whatever they are, they just have n't appeared yet on her? HEATHER You really believe that? Beat. NICK It's possible for chrissake - HEATHER - the marks appear, then you disappear. Like the little Kurth boy, like Domini, as soon as they come to full bloom - and mine are! She pulls down her blouse - the marks on her neck have grown - they are the size of - and very clear image of - the palm - prints of a child, ringing around Heather's neck as if strangling her. COTTER Mine, too. And so are yours, pal. He points to Nick's exposed midriff - the stains have spread up from his waist into his abdomen - HEATHER Like a blueprint for disembowelment. NICK There are other explanations! She is not the goddamn witch, that's insane! HEATHER Then just give me one of your explanations that all three of us'll buy. NICK I do n't. - and then Nick hears giggling. His eyes and everyone's eyes go to one of the video monitors : THE BIG ROOM of the loft. Where they see Anna twirling round and round on her tip - toes, laughing, as though she were simultaneously being hanged and looking up the dress and giggling at the person being hanged. Now even Nick looks petrified.","INT. THE LOFT - VARIOUS LOCATIONS - JUST AFTER The Big Room. Nick enters on the run. NICK I want to see something! ANNA Whatever you want. NICK The clothes - take'em off - I want to see every square inch - ANNA - no, what's wrong with you? HEATHER & NICK Watch on the monitor : Nick showing the huge mark on his torso. NICK Are you marked like this? ANNA Why? NICK I see for proof positive you're the goddamn witch - Anna dashes from the room. AT THE ELEVATOR Heather grabs her, as Anna's trying to open the door to escape. The recorded dogs start barking madly. HEATHER You killed Domini, did n't you, witch? ANNA I'm not a witch, you're all crazy! Anna runs panicked into the kitchen - and right into Cotter. He grabs her by the arms. COTTER Just say you are - we wo n't hurt you - - Heather runs in behind her - HEATHER - we'll just make you go away, so you ca n't hurt anyone else - - Nick enters the kitchen - NICK - like you hurt the baby - ANNA - what're you saying? I did n't have anything to do with - COTTER - the witch kills children - ANNA I have n't killed any - HEATHER - Jamie Kurth, Jonathan Edmunds - ANNA -LRB- in terror. -RRB- - my God, Nick? NICK Just say the words, Anna. She tries to dodge Nick and get back to the elevator, he cuts her off. Ditto, the other direction and Heather - - Anna sprints up the stairs -","INT. COTTER'S WORK-LOFT - JUST AFTER - and finds she's got nowhere to go but down - 20 feet worth of down. And Nick, Heather and Cotter are closing in on her from the stairs. ANNA Please! Please? I have n't done anything. HEATHER Bullshit! Talk! ANNA Nick! NICK Out of my hands. Cotter barges past them all, grabs the tope that Nick dangled from the loft space with - ANNA What're you doing? - Cotter throws the slip - knot loop around her neck. COTTER Hang you like the witch you are, unless - ANNA - Nick! HEATHER Confess! Cotter tightens the rope. ANNA Alright! Fuck you, fuck all of you! I'm her. Heather grabs the vid - cam from the railing and starts recording her : NICK Oh, Jesus, no - ANNA - fuck your bullshit pieties! You were the next to die, asshole! PAGE 102 IS MISSING FROM THE HARD COPY OF THIS SCRIPT","INT/EXT. VARIOUS LOCATIONS - DAYS FOLLOWING A dizzying montage of video `` real'' footage much like the opening of the film. TV Reporters telling us that `` once again, like Columbine and `` Basketball Diaries,'' life has imitated violent art. In this case, the Blair Witch Project,'' where, yesterday obsessed fans of the film performed ritualistic murder -'' Nick, Heather and Cotter seen : in cuffs, being led into the Baltimore Police Station. Seen : grainy static - cam of them being interrogated. Seen : news - film of the inside of the Loft - where Anna was found `` murdered.'' And then a closet where an unidentified nude woman was found similarly `` executed.'' The News camera zooms in on the nude body of Domini crumpled in that closet, visible rope burns on her neck. Seen : Nick's confession. That Anna admitted to being The Evil. Seen : the footage Heather shot of Anna `` confessing.'' But all the police and we see is Anna with a rope around her neck, pleading to Nick, Heather and Cotter not to kill her : `` I have n't done anything! Why are you doing this? Please, God -'' END"],"string":"[\n \"Book of Shadows: Blair Witch 2 BLACK SCREEN And in that darkness, white words silently FADE UP : The following is based on actual events. Some dramatic re - creation was necessary for reasons that will become obvious. Beat. And then slowly swelling up is the sound of panicked hyperventilation - spasms of words and weeping : VOICE -LRB- HEATHER DONAHUE. -RRB- I'm. scared. to close my eyes - SMASH UP ON the teary and terrified EYES of HEATHER DONAHUE -LRB- the now ubiquitous scene from `` Blair Witch Project'' of her confessing to the camera -RRB- : HEATHER DONAHUE - I'm scared to open them. -LRB- beat. -RRB- We're going to die out here - - then, suddenly, this image of Heather FREEZE FRAMES. And we hear the incongruously perky Voice of ABC's DEBORAH ROBERTS : DEBORAH ROBERTS -LRB- V.O. -RRB- - she'd be a much happier camper if she'd lived to see this weekend's grosses - - abruptly, the freeze - framed image of Heather goes squeeze - boxing up into the upper left corner of the screen, revealing : That we're watching ABC WORLD NEWS SUNDAY - the date bannered at the bottom of the screen : August 1, 1999. Reporter Deborah Roberts sits behind the Anchor Desk reading TelePrompTer copy : DEBORAH ROBERTS In only its first week of wide release, `` The Blair Witch Project'' has taken in a whopping 36 million at the nation's box office. Not too bad for an independent film that was reportedly made for less than the cost of your average Buick - News Video - Day. The Angelika Theatre, New York City. Big and bold on the marquee : `` Blair Witch Project.'' Tracking shot away from the theatre and down the street, to see : NEWSCASTER -LRB- V.O. -RRB- - lines to see the new film stretching five blocks long down Houston Street - and this was for a 10 a.m. show - Close On the long line - Two YOUNG MEN in their late teens being interviewed on camera : YOUNG MAN #1 - to get the holy sh -. -LRB- BLEEP! -RRB- - scared outta me, man, what do you think? YOUNG MAN #2 I heard last night they had people runnin' screamin' out of the theatre - The last scene of BWP projected on a big screen - Heather Donahue running screaming down the stairs inside the house - and seeing Mike standing facing the wall - WHIP BACK to see that we're inside a theatre, and the audience watching this is collectively shrieking with surprise - - and then collectively shrieking even louder as Heather is hit from behind and goes down, camera with her. Another Theatre - Night - Video of an Audience exiting the film. One YOUNG WOMAN being interviewed is particularly shaken : YOUNG WOMAN the kid. Mike. he was turned around towards the wall'cause that's what that guy in 1940 made all the little kids do before he killed them - A gaggle of Male Teenagers pass by in b.g. of the shot. One of them shouts : TEENAGER Just a movie, baby! The Young Woman looks confused for a moment. Looks into the camera : YOUNG WOMAN no. it was real, what we saw. was n't it? - Telecast of MARY HART on the set of `` Entertainment Tonight.'' MARY HART - whatever you want to call it, `` Blair Watch'' is definitely the Cinderella story of the summer, if not the century, with now an 80 million dollar gross in just two weeks - News Video of a 30ish GUY railing at the People waiting to purchase tickets to BWP : 30ISH GUY - save your money, it's all bullshit hype! Blair Witch sucks! - Some STONER being interviewed on camera : STONER - all repeat business, dude - I know morons who've seen the stupid thing like three times in one day. INTERVIEWER -LRB- O.S. -RRB- How many times have you seen the film? STONER Like maybe five. But not in one. -LRB- BLEEP. -RRB- - ing day - Critic LEONARD MALTIN holding forth on - air : MALTIN - it taps into our universal primal fears : of the boogeyman, of the things that go bump in the night - there's something out there, you ca n't see it, and it's coming for you - Video of more audience exit interviews. Two YOUNG MEN in their 20s : YOUNG MAN #1 - I'll tell you what was scary : trying to keep my lunch down. If that stupid camera jiggled one more time - YOUNG MAN #2 - some guy the row in front of me actually did toss - WOMAN holding a baby. WOMAN - it was just so real - Solemn - looking GEEKY GUY : GEEKY GUY - it was real - Dubious - looking TEENAGE GIRL : TEENAGE GIRL - you got ta be kidding me - there's people out there think `` Blair Witch'' was real? - Bespectacled MAN IN SUIT : MAN IN SUIT - the story of the three students was fiction. The legend of the Blair Witch is, apparently, true, however - DIANE SAWYER on `` Good Morning America.'' DIANE SAWYER - the brass tacks of the matter is, love it or hate it, `` Blair Witch'' has escalated from being merely another cinema success story to a genuine nationwide phenomenon - if not obsession. Profits from merchandising tie - ins going through the roof - Montage of Blair Witch paraphernalia : - t - shirts and other apparel - keychains - posters - the books - The Blair Witch Project : A Dossier ; Heather's Journal - the CD `` Josh's Blair Witch Mix'' DIANE SAWYER -LRB- V.O. -RRB- - the official `` Blair Witch'' web - site now having received 75 million `` hits'' to date - - shot of computer screen, on - line : The Blair Witch Store DIANE SAWYER -LRB- V.O. -RRB- - with that web - site, in just a matter of a few weeks, begatting dozens more web - sites, with chat rooms so packed with fans and foes you're lucky to get a cyber - word in edge - wise - Computer Screen showing a Chat Room in progress - exchanges flying back and forth like lightning : GIRLGENIUS if story true, then how come end credits list `` written by''? WARLOX all docs are written by - somebody has to put all the pieces together like a story K-RATIONAL that's EDITING, idiot - they made whole thing up - those were actors CHERUBIM-BO then how come characters had same names as `` actors'' AK-47 you call that acting C.I.A-LIST Congrats any U bought into big lie that BWP phony have successfully been suckered by dis - info campaign waged by U.S. govt they do n't want us TO KNOW TRUTH Video interview with RONALD CRAVENS, Sheriff of Burkittsville. He's standing at the corner where the Union Cemetery abuts Route 17. SHERIFF - the truth is, this movie's probably been the best and worst thing ever happen to this town. The good thing - well, take a look down East Main there - CAMERA PANS past him towards a stretch of two - lane blacktop with stores on either side. SHERIF - we've got people pouring in here like it's Times Square, some of'em all the way from Europe, Japan. A whole lot of money being spent. The bad? He points to a white wooden post stuck in the shoulder of the road. SHERIFF There used to be a sign on it, `` Welcome to Burkittsville.'' They showed it in the movie. Somebody wan na show me where it is now? I swear to God, these people, they're coming in and making off with every - thing is n't nailed down. There's two other signs I had to take down myself, put away for safekeeping'til this whole damn thing's finally over. INTERVIEWER -LRB- O.S. -RRB- When did you think that'll be? SHERIFF Just pray we get to see it this lifetime. Video footage - Burkittsville Union Cemetery. Two KIDS wearing Ohio State jackets. Wandering around, confused, with gravestone - rubbing kits under their arms. KID #1 Ca n't seem to find'em. KID #2 Got ta be around here somewhere - right here's where Heather stood in the movie. Kid # 1 looks into the camera. KID #1 We're trying to find the graves of those seven kids Rustin Parr killed. KID #2 Lotta dead kids - just ca n't find any died later than like 1867. Kid # 1 stops, squints. The camera travels with his gaze : atop nearly every other grave marker is a black candle melted into the stone. KID #1 What do you think all these candles are for? KID #2 I would n't touch'em. Sheriff Cravens on Video. SHERIFF Nothing much we can do - just enforce the curfew. Which is dusk, for both the cemetery and the Black Hills Forest. Aerial shot of the Black Hills area : we see packs of people everywhere. The overgrown foundation of Rustin Parr's house in the middle of the woods. Manic - eyed Teenagers proudly display their souvenirs for the camera : rocks and cement slivers. TEEN #1 This is what you call `` striking gold.'' TEEN #2 Fifty bucks a pop minimum back in Philly. The Sheriff on tape. INTERVIEWER -LRB- O.S. -RRB- There seems to be some controversy whether or not any of this actually happened. SHERIFF That what actually happened. INTERVIEWER -LRB- O.S. -RRB- The three kids who disappeared, everything that was in the movie, the whole Blair Witch legend. The Sheriff just stares for a beat towards the Interviewer like he/she's completely insane. Then turns and walks away, rubbing his eyes with a thumb and forefinger like a headache the size of Manitoba just hit him. SHERIFF You'll excuse me - An office in L.A. Big `` Artisan Entertainment'' logo on the wall. A well - turned out Gentleman -LRB- or Woman -RRB- who exudes `` EXECUTIVE'' smiles gently for the camera. ARTISAN EXECUTIVE - the only statement we feel comfortable making at this time is : we're happy the film's been such a success ; we grieve with the families of Heather, Josh and Mike. Now, if you'll excuse me - Dusk. Sheriff Cravens leaning on his car on a road at the edge of the forest. SHERIFF - this is the only reality I know : we're averaging about four lost rubberneckers a week up in these woods. The Sheriff puts a bullhorn to his lips ; bellows into the woods : SHERIFF Get outta these damn woods and go home! There is nothing in there! SMASH TO BLACK And silence. White words again appear in the darkness : NINE MONTHS LATER Music begins to be heard under it - uber Goth : Type O Negative's `` Haunted.'' It suddenly swells - to ear - shatter proportions. SMASH UP ON\",\n \"EXT. A VAN - IN MOTION - HIGHWAY - DAY Zipping fast down U.S. Route 70 - West. We see the mileage signs on both sides of the median indicating where they're coming from and where they're now going : from Baltimore, towards Frederick, Maryland. -LRB- NOTE : this is shot on 16 or 35mm film, which will be the medium of `` reality'' for the rest of the movie. -RRB- The music that's blaring is n't underscoring - it's coming from inside the Van. As is a WOMAN'S VOICE -LRB- ANNA -RRB- shouting over it : ANNA -LRB- O.S. -RRB- You want to turn that shit down just a hair?\",\n \"INT. THE VAN - CONTINUOUS TIGHT ON the Driver of the Van, a grunged - out 25 year old with shoulder - length hair, a well - worn black `` Blair Witch Project'' t - shirt and cap : COTTER KALLER. He yells towards the backseat : COTTER Shit? This is from `` Josh's Blair Witch Mix,'' man! ANNA -LRB- O.S. -RRB- Down or off - you're giving me a migraine. COTTER -LRB- mutters. -RRB- Christ. He turns the volume down. COTTER -LRB- petulant. -RRB- Just trying to set the mood for the mission - get the `` feeling.'' ANNA -LRB- O.S. -RRB- Only thing I'm feeling is homicidal. Cotter grumbles. Then a wicked grin hits his lips. Turns to the unseen Man sitting next to him in the passenger seat : COTTER Hold this. NICK -LRB- O.S. -RRB- What? COTTER The wheel. He clamps Nick's hand on the steering wheel, picks up the 8mm Camcorder beside him, turns around, and starts shooting into the back seat. POV OF VIDEO CAMCORDER On a not - very - happy - at - the - moment - looking Blonde Woman. ANNA TASSIO - ON VIDEO age 20. She rolls her eyes as Cotter begins narrating : COTTER -LRB- O.S. -RRB- The bitched - out babe in back here is one Anna Tassio - we met one dark and stormy night in a Blair Witch chat room, we all did - ANNA - Christ almighty - COTTER -LRB- O.S. -RRB- - but she was nicer then - sweeter - she had n't vomited twice already like today - ANNA - it's called `` morning sickness,'' asshole - COTTER -LRB- O.S. -RRB- -LRB- editorial aside. -RRB- - a six week bun in the oven - NICK -LRB- O.S. -RRB- -LRB- wearily. -RRB- - Cotter, just turn the camera off? Cotter responds by panning the Camcorder towards the passenger seat. We see on video : NICK LEAVITT a lanky 21 year old wearing wire - rims. COTTER -LRB- O.S. -RRB- This is her equally on - the - rag boy - friend, Nick Leavitt - NICK - turn the camera off - COTTER -LRB- O.S. -RRB- - they're from UMass, doing some kind of fucking term paper - NICK - Graduate Thesis - COTTER -LRB- O.S. -RRB- - about the Witch - VOICE FROM BACK SEAT - she does n't exist - NICK - you got that right - THE CAMERA pans again into the back seat, showing HEATHER ARENDT, 19, with a huge mane of fire - engine red hair. HEATHER - and if she ever did - ANNA -LRB- O.S. -RRB- - which she may have - NICK -LRB- O.S. -RRB- - bullshit - HEATHER - she was n't a witch - we embrace nature, not evil - COTTER -LRB- O.S. -RRB- - thank you, Heather Arendt - and arend' t we glad you're here - a real witch - HEATHER - fuckin' A right - NICK - Cotter - COTTER - a Wiccan - NICK -LRB- O.S. -RRB- - turn the goddamn camera off! The Camcorder swings back to Nick. NICK We're not making Blair Witch II here. COTTER -LRB- O.S. -RRB- I am. One big blur of a pan - Cotter's turned the camcorder on himself. He issues his manifesto : COTTER And let it be known - before we even get to Burkittsville - it's gon na be an eighteen thousand times better movie - for half the cost - HEATHER -LRB- O.S. -RRB- - which'd be about ten bucks - COTTER - and unlike the first one, every second of it's gon na be true! `` Blair Witch : The Real Story!'' NICK -LRB- O.S. -RRB- Cotter? COTTER I'm not finished. NICK -LRB- O.S. -RRB- We're all going to be if you do n't hit the brakes. The Camcorder WHIP = PANS towards the windshield : The Van is about to plow into the rear of a HUGE COCA - COLA TRUCK COTTER -LRB- O.S. -RRB- Jee - zuz! Visual pandemonium as the Camcorder goes flying from his hands and down next to the BRAKE PEDAL We see both of COTTER'S FEET smash down on the pedal. Hear O.S. : screeching of the passengers - screeching of the brake shoes - screaming of the tires as the Van swerves into the next lane - and then an angry symphony of CAR HORNS. HEATHER -LRB- O.S. -RRB- You're a complete fucking idiot, are n't you? COTTER -LRB- O.S. -RRB- Hey, Mr. Graduate Fucking Thesis here was s ` posed to be driving! NICK -LRB- O.S. -RRB- You drive, I'll handle the video, okay? COTTER -LRB- O.S. -RRB- Fine. We see the view from the Camcorder as it's scooped up from the Van floor and brought back up to eye - level again. ON NICK'S FACE As he waves two fingers at the lens. NICK Bye - bye - - and the Video zaps to black. SMASH BACK TO - FILM Where Nick can be seen tossing the camcorder into the backseat. Anna catches it, puts it in a back pack and zips it. COTTER What're you doing? NICK This is n't about us. COTTER Right. And the check's in the mail.\",\n \"EXT/INT. THE VAN - TWO HOURS LATER - DAY Doing a relaxed 35 down the narrow ribbon of Route 17. Rural farm country. The weather's turned grey - making all the 19th Century - vintage houses and barns they pass look dismal, if not a little foreboding. NICK Cheery little place. ANNA It's like traveling back in time. HEATHER The good old days : toasting marsh - mallows over a burning witch. NICK They never burned witches in this country, they hanged them. HEATHER Whatever - all I know is the persecution's going to start all over again, they keep pumping out inflammatory bullshit like this fucking movie - COTTER - hey : check that out! Ahead of them, at a crossroads, is a sign : Welcome to Burkittsville COTTER ` Thought those all got stolen. ANNA Guess they thought it was safe to put some up again. COTTER Think again. He starts to slow the Van alongside the sign. COTTER Somebody wan na hand me that claw hammer in back - - Nick pushes Cotter's leg back down on the accelerator. The Van jerks past the sign and down the road. NICK Get busted on your own time. We've got a schedule to keep. Cotter just glares at him. COTTER Was it every day or just semi - weekly you got your ass kicked as a kid? NICK -LRB- ignoring him. -RRB- Now you can bring the vehicle to a stop : there on the left.\",\n \"EXT. BURKITTSVILLE UNION CEMETERY - JUST AFTER The four of them stand there by the sign to the graveyard. Anna searching the gray horizon. COTTER Why are we here? ANNA She e - mailed me yesterday this is where we should meet her. COTTER Who? NICK Whatzername - the `` psychic'' Anna hired. ANNA Domini. Domini Von Teer. COTTER What's she look like? ANNA No idea, just talked to her on the ` Net - she's very good. NICK So says her website. ANNA She is - she's helped solve a bunch of murders : Arizona, New Mexico - COTTER - how old? ANNA I dunno, probably right up there, based on her resume. COTTER Then there she blows. Cotter points to THE WOODS near the far edge of the cemetery. Standing there is an old, gaunt and particularly Unattractive Woman, staring at them. COTTER Terrific - and I was afraid I was n't going to get laid on this trip. The four of them start tromping towards her. NICK Jesus. ANNA What? NICK That's not whatzername - it's Mary Brown. COTTER From - the - movie - Mary - Brown, Trailer Park Bible Psycho? HEATHER Oh, for chrissake, she was an actor. ANNA No, the kids were actors, the townspeople were real. Her, the Sheriff, the Convenience Store guy - NICK - whatever ; that's her. FLASHBACK - B&W To the interview with Mary Brown from `` Blair Witch Project.'' The years have apparently not been kind : she looks a good two decades younger. CUT BACK TO - THE PRESENT They're less than 20 feet now from MARY BROWN. She speaks without expression : MARY BROWN What do you want? ANNA Just came over to say hello. MARY BROWN It's five bucks for signin' something ; ten for signin' a Bible ; twenty, you want to take a picture with me. Any kind've conversation, that's subject to negotiation. COTTER -LRB- sotto. -RRB- I do n't believe this. HEATHER -LRB- sotto. -RRB- I do. NICK Thanks just the same. I think we're fine. MARY BROWN Heather's not. Heather double - takes. HEATHER Me? MARY BROWN Heather. I saw her. Elly Kedward's hands were on her throat, and she was sucking out the girl's insides with her mouth. COTTER -LRB- to Heather. -RRB- Heather from the movie. Mary Brown shakes her head. MARY BROWN Heather. NICK Been a pleasure meeting you ; we need to go now. He hustles the other three back towards the cemetery. HEATHER I take it back - she was n't an actor. She's a nutjob. COTTER That's what Josh and Mike said. HEATHER Shut - up. The cemetery. Everyone spread out looking for : ANNA Domino? Domini Von Teer?? Beat. And then, out of nowhere, seemingly just plunging right out of the earth AN ARM extends into the air not far from them. Paper - pale and stick - thin, almost skeletal. DOMINI Present. They walk over. See, lying atop a cracked granite marker, a Young Woman who ca n't be more than 18. Heroin - chic skinny. All in black, including her make - up - uber Goth : DOMINI VON TEER. ANNA Domini? DOMINI Yes. ANNA What're you doing there? DOMINI Trying to find the energy. ANNA Inside the grave? DOMINI To stand up - I'm exhausted. Been on the road since yesterday. COTTER You want a hand? DOMINI I want amphetamines. Cotter helps her up. COTTER Beer and weed is what I've got. DOMINI Both. Now. Anna and Heather look at the faded marker Domini's been lying on. It says : BOY KURTH May 28'00 HEATHER Sweet place to take a nap. ANNA Strange girl. HEATHER You think so? As they walk away, Heather sees Mary Brown across the cemetery, staring at her.\",\n \"EXT/INT. THE VAN - LATER - AFTERNOON Snaking its way down the road that wends through the Black Forest Hills. INSIDE Domini and her second beer have commandeered the shotgun seat, Nick relegated to a tight squeeze in the back seat. Dead silence. She's slightly unnerving. Finally : COTTER So, I hear you're from New Mexico! DOMINI Sometimes. ANNA Her father's Sheriff of Taos County. DOMINI Sometimes. Where are we going? NICK Ruins of the Rustin Parr house. DOMINI Guy who killed all the kids in the'40s. COTTER -LRB- `` Outer Limits'' tremolo. -RRB- `` The Voiiiiices made him do it.'' ANNA The Witch's voice. HEATHER She was n't a witch. NICK Whatever. DOMINI I hear voices all the time. That pretty much kills the rest of the conversation.\",\n \"EXT. THE VAN - LATER - AFTERNOON Parked at the edge of the woods. Back - packs being hauled out of the rear, camping gear, video equipment. DOMINI What is all this shit? NICK We're doing dusk - till - dawn taping of all the places where there've been alleged Blair Witch `` sightings'' - the Parr House, Coffin Rock, Tappy Creek. DOMINI Why? NICK See what turns up - which I guarantee will be nothing. Some of the rest of the party are more hopeful - HEATHER - or incredibly fucking naive. ANNA Hey, folklore - NICK - myth - ANNA - does n't just pop out of thin air. It spins off of real events. At some point there was a Blair Witch - NICK - or one huge attack of group hysteria. COTTER -LRB- snide. -RRB- Either way, maybe there's a book in it, and they both make a ton of money. NICK -LRB- snapping. -RRB- It's a serious sociological study. DOMINI The four of you really have too much spare fucking time on your hands, do n't you? HEATHER And what's your excuse for being here? NICK She got paid. DOMINI -LRB- shrugs. -RRB- I thought the movie was bitchin'.\",\n \"EXT. THE WOODS - SOON AFTER Mammoth backpacks strapped on, the five begin walks into the forest. COTTER Wait a sec! He spins and runs back towards the Van. NICK What? Through the trees, they see Cotter place a pint of bottled water on the roof of the Van. Starts video - ing it as he walks away. HEATHER He really is a fucking idiot.\",\n \"EXT. DEEPER IN THE WOODS - LATER - AFTERNOON Slogging up a 45 - degree angled hill. This is not exactly Sir Edmund Hillary and Co. - the five of them already look exhausted. HEATHER Did n't we already do this hill? Nick is staring at three different maps at once as he walks. NICK No. ANNA You sure? NICK Yes. COTTER Terrific : an hour, we're already lost - - and then a look of trepidation crosses Cotter's face - Footage from `` Blair Witch Project'' - panic, as Heather, Josh and Mike realize they've spent all day walking in a circle. NICK -LRB- V.O. -RRB- Cotter? CUT BACK TO - PRESENT Nick's glaring at him. COTTER What? NICK Look over there. Cotter looks up : less than 500 yards ahead can be seen the ruins of an Old House. COTTER Okay, but - NICK - now there. - Nick is pointing behind him. Cotter looks. From the atop the hill he can see down to the road - and his Van with the water bottle on the roof. COTTER Oh. Cool.\",\n \"EXT. THE PARR RUINS - SHORTLY AFTER All the backpacks and miscellaneous tonnage is already dumped on the ground. The five of them stretch their legs, massage sore shoulders and lower backs, while sightseeing the remnants of the old house and its environs. Cotter, not surprisingly, is taping everything. POV CAMCORDER a huge bite taken out of one of the walls of the foundation, stone, brick and soil strewn everywhere around it. COTTER -LRB- O.S. -RRB- Where they found the backpacks and all the film a year later. ANNA -LRB- O.S. -RRB- Buried deep under 200 years worth of soil, ash, and compost layers. DOMINI -LRB- O.S. -RRB- Yeah, that was a cluster - fuck for the mind. NICK/HEATHER -LRB- O.S. -RRB- If it happened at all. Suddenly, the camcorder image starts shaking wildly. CUT BACK TO - FILM Cotter seen running full - tilt towards Heather, who's facing one of the interior foundation walls. He's jiggling the camera like he's got St. Vitus dance. CUT BACK TO - VIDEO We hear Cotter doing a passable Heather Donahue impression - screeching as the shaking video image PUSHES IN right towards Heather Arendt's face. COTTER -LRB- O.S. -RRB- Mike! Miiiiiiike! Noooooo! Heather turns, scowling, and puts her hand over the lens. CUT BACK TO - FILM Heather pushing the camcorder out of her face. HEATHER You're not only an idiot, you're a goddamn child. COTTER Why does everyone here but me have have a gigantic stick up their ass? DOMINI Hey! Check this out! On one of the foundation's interior walls : a gobbledygook of tiny handprints and strange, angular glyphs. DOMINI -LRB- O.S. -RRB- Look at those marks - just like in the movie. NICK -LRB- O.S. -RRB- Ancient runes - COTTER -LRB- O.S. -RRB- - what the fuck's a `` rune''? - CUT BACK TO - FILM Nick erasing half the marks with one sweep of his palm. NICK - chalked just hours ago by ancient adolescents. It's called vandalism. ANNA What is this? All turn. She's pointing to the large, leafy tree with branches stretching everywhere above them. COTTER Oak? ANNA No. What's it doing here in the middle of the foundation? HEATHER Growing. This place burnt down 50 years ago. Trees happen. Nick flips through a voluminous loose - leaf notebook - points out a page to Anna. NICK Look it's right here - from the Blair Witch `` Dossier'' - the sketch the anthropology students made of their dig when they found the backpack. The sketch shows a spindly growth in the middle of the foundation, no more than six feet high. ANNA That's a sapling - this mother's got to be three hundred years old, minimum. NICK It's a sketch, Anna - it's not to - scale cartography ; the tree was not the kids' focus - ANNA - do you agree it's that old, Nick? NICK Okay, fine, whatever, yes - it's an old tree. HEATHER Why do n't you just cut it down and count the goddamn rings - who cares? ANNA Because it means the tree is older than the house. COTTER Yeah, so? ANNA So whoever built this - - Nick rustles through the loose - leaf - NICK - brother of Rustin Parr's maternal grandfather, somewhere after 1858 - ANNA - whoever - they built an entire house around a tree. Sticking up right through the living room. Somebody like to explain that to me? NICK The rest of the family was crazy as Rusty Parr. ANNA Oh, c'mon - even you have to admit this is weird. NICK No - this is weird. He reaches down and picks one of the now infamous wooden `` stick men'' off the ground. POV - COTTER'S CAMCORDER - CLOSE UP Sudden, stunned silence as the camera examines it fore and aft. And then Nick's hands are seen removing the material that secures the Stick Man's `` arms'' to his `` torso.'' Torso and legs fall to the ground, leaving Nick holding a piece of - CUT BACK TO - FILM NICK - sacred and occult Scotch Tape. DOMINI Rusty Parr had the right idea on child care.\",\n \"EXT. THE PARR RUINS - DUSK By flashlight, Cotter's fiddling with five vid - cams on tripods that have already been set up. Domini lies within the foundation walls staring up at the sky. Finishes the last of Cotter's beer and discards the empty. Not far from there, Heather's already got her simple one - person tent erected. Adjacent, Nick and Anna are wrestling with the nightmare of trying to put up some Barnum & Bailey - size number. NICK Your parents did n't have a bigger one? ANNA It was free - I recall that was the chief selling point for you. NICK No offense, sweetheart : fuck you. ANNA You know, Nick, you've been something of a total asshole the past few days. NICK Pardon me, I've had a few things on my mind - like putting this safari together. ANNA Like how weirded - out you are with this pregnancy thing. NICK Let's just leave it at : it was one hell of a surprise. ANNA You do n't want it though. NICK Your body, your call. ANNA Why is there no `` our'' here? NICK Could we take this up later - like indoors, without half the world listening? ANNA You feel no need to get married or anything. NICK Anna - ANNA - fine, later, fine. COTTER -LRB- O.S. -RRB- Sonovabitch! All eyes turn : Cotter's standing 20 feet away with rotted wooden tentpoles and a piece of grommeted canvas that's literally mildew - disintegrating in his hands. HEATHER Nice tent. COTTER Had n't even opened the thing since Cub scouts. HEATHER Never would've guessed. COTTER So where the hell am I going to sleep? HEATHER If you're looking at me, look elsewhere. COTTER I've got the Panasonic Portable DVD player. Beat. She stares at him. HEATHER What movies? COTTER Ask me what I do n't have.\",\n \"INT. HEATHER'S TENT - NIGHT Heather and Cotter jammed in there like Spam, sharing a joint, and watching `` Curse of the Blair Witch'' on DVD : The Interview Sequence with folklorist CHARLES MOOREHOUSE, explaining the `` origins'' of the Blair Witch story - Elly Kedward's banishment, etc.. HEATHER What I never could figure about the movie? COTTER What? HEATHER Three people : two guys, a girl - sleeping in the same motel room, the same tent night after night. COTTER Yeah? HEATHER No fucking. COTTER No. HEATHER Made no sense. Scared out of their minds, and the greatest stress reliever in creation right at their fingertips. Nada. COTTER No sense at all. -LRB- beat. -RRB- I'm a little stressed. HEATHER Try a long walk.\",\n \"INT. NICK AND ANNA'S TENT - SIMULTANEOUS It ai n't the Ritz, but they did come prepared : air mattresses, big Coleman lanterns, a kerosene heater - and heaps of books and brimming file folders. They're sitting up in their respective mummy - style sleeping bags, studying documents, making notes - - when this high - pitched MOANING can be heard outside the tent. Nick and Anna looks at each other. Nick grabs one of the lanterns and dashes for the tent door.\",\n \"EXT. THE TENT - CONTINUOUS He shines the light slowly out into the foundation ruins - - and there's Domini, still lying on her back, staring up, cooing : DOMINI Oooh. Oooh. NICK Ah, Domini? DOMINI What? NICK You planning on sleeping out there? DOMINI Not planning on sleeping at all. She points up into the big oak in the middle of the foundation. DOMINI Oooh. Oooh. The call comes back to her from the tree : `` oooh - oooh.'' Nick sees perched high up on one of the branches : A GREAT HORNED OWL. It's staring down at them. DOMINI I figure I lie here long enough, maybe he'll swoop down and carry me off in his talons. Nick rolls his eyes and goes back into his tent. COTTER AND HEATHER are also watching this from their tent. HEATHER We should be so lucky. COTTER Butt - ugly owl. They duck back into the tent. The Owl keeps watching. FADE TO BLACK. Several beats. And then in the darkness, a rustling sound is heard. A whisper that sounds like : VOICE see if it's alive - CLICK! Then Anna's hand seen - she's just turned on one of the lanterns. Sits up in her sleeping bag. Listens. The sounds have stopped. Beat. She gets out of her bag, grabs the lantern, and goes to the tent flap -\",\n \"EXT. TENT - CONTINUOUS - and just as she steps outside - - something strikes her hand - ANNA - shit - - the lantern goes flying into the dirt - - and suddenly out of the darkness come flying - LITTLE HANDS wielding small sharpened sticks - or are they tent pegs? - - and they stab into Anna's belly again and again, accompanied by shrieks of delight. Anna screams - NICK -LRB- V.O. -RRB- Who's James? ANNA TURNS and finds she's inside the tent, wrapped tight in her sleeping bag. Staring at Nick, who's propped up on his air mattress with a book and a lantern, staring quizzically back at her. ANNA -LRB- disoriented. -RRB- What? NICK You said the name `` James.'' ANNA I do n't know. She pulls her sleeping bag down, looks at her belly - unmarked, unharmed, bloodless. NICK Baby names? ANNA I do n't know. Nightmare. NICK You want me to scooch over next to you? ANNA Yes.\",\n \"EXT. THE RUINS - NIGHT Domini is still supine, staring upwards. DOMINI This place is like a regular K - mart of bad vibes, ai n't it, pal? The Owl does n't respond. MAN'S VOICE -LRB- distant. -RRB- Please, someone, help me - SMASH TO a static shot of dark, dark woods. The Voice continues to be heard from somewhere deep in there : MAN'S VOICE - somebody, please! PULL BACK It's coming from the DVD of `` Blair Witch Project.'' HEATHER DONAHUE'S VOICE Josh?!? PULL BACK FURTHER Cotter and Heather Arendt are fast asleep. Must have drifted off during the umpteenth viewing. MAN'S VOICE -LRB- much louder. -RRB- Heather? Heather Arendt is up like a shot. MAN'S VOICE Heather? Josh? Mild snort of amusement when she sees the movie's still playing on the DVD. She buttons it off. Starts to lay back down - MAN'S VOICE -LRB- loud. -RRB- Heather? - bolts right back up on the verge of a coronary. The Man's Voice screams : MAN'S VOICE They're pulling my teeth out! Heather literally punches Cotter awake. COTTER Wha' the - She clamps her hand over his mouth. Beat. They listen - - suddenly, SCURRYING FOOTSTEPS heard ; giggling - COTTER -LRB- through her hand. -RRB- - o - fug - me - MAN'S VOICE Heaaaaather? Cotter wrenches himself away, grabs his little 8mm camcorder - HEATHER -LRB- scared. -RRB- What're you, crazy? COTTER -LRB- exhilarated. -RRB- What're you, nuts? He lunges out of the tent, camera already whirring -\",\n \"EXT. TENT - CONTINUOUS - and right into a blinding, light - up - the - night battery of halogen lamps. COTTER Jesus! Halo - ed in the glare of those lights stand FOUR LARGE TEENAGERS in various states of grunge. They all but scream of STONERS. One of them's got a huge running Beta - Cam on shoulder, another's hefting a DAT recorder and shotgun mic. We see Cotter from the POV of these guys camera : POV BETA - CAM - VIDEO Cotter shooting back at them with his puny - by - comparison camcorder, his thermal long - johns halfway down his legs. STONER #1 Check this out : Burkittsville's Funniest Home Videos. Cotter's still shaking. COTTER Jesus - Jesus - Jesus - A furious Heather can be seen scrambling out of the tent. Gets right in the lens : HEATHER -LRB- O.S. -RRB- What the fuck?!? CUT BACK TO - FILM The Stoner Cameraman snaps the Beta away from her. STONER CAMERAMAN Hey, that's 50K worth of hi - tech, chickee. HEATHER You gave me a fucking heart attack! STONER #2 Oh, and you boogied all the way up here to get a good night's sleep. STONER #3 We just made your every dream come true, darlin'. HEATHER Get out of here! COTTER What're you doing with all this shit? STONER #4 Shootin' `` Blair Witch II,'' man - what's your excuse? COTTER Shooting `` Blair Witch II.'' STONER #2 Oh, dude, I do n't think so - that is just not happening. STONER CAMERAMAN This is our gig. STONER #3 We got jurisdiction, man - we got fuckin' permits to be here. HEATHER Oh, yeah? Let's see'em. STONER #4 They're, uh, like, in the car. HEATHER Bullshit. STONER #2 Let's put it this way : one of us is going, and it's you. NICK -LRB- O.S. -RRB- What's the hassle here? Nick and Anna appear from their tent. STONER #2 You and the Brady Bunch, Mr. Scorsese. STONER CAMERAMAN You're interfering with the commerce of independent film! Cotter asides to Nick. COTTER They're making `` Blair Witch II,'' too. NICK No problem, just give us'til dawn and we're gone. COTTER What? NICK Look, guys, we're cold, we're tired we're shook - we just want to get out of here as soon as there's light. We saw something up at Coffin Rock today - ANNA -LRB- catching on. -RRB- - or someone - NICK - scared the living shit out of us. STONER #3 What? NICK I do n't know, I do n't know - HEATHER - yeah, a hand or something - COTTER - coming out of the water - Now even Domini joins the prevarication party, popping up from inside the foundation : DOMINI - stop it! Stop talking about it! I'm gon na freak! ANNA -LRB- tearing up. -RRB- I just wan na go home. STONER #3 -LRB- impressed. -RRB- Whoa. STONER CAMERAMAN You did n't get it on tape, didja? NICK Tried, but - Stoner # 2 starts barking orders to his crew : STONER #2 Strip it down and ship it out! Coffin Rock! They're packed up and ready to move in a flash. Stoner # 4 turns as they trot off : STONER #4 Any other voices or noises you hear tonight - it ai n't us. The Stoners make Josh Leonard - like cries as they disappear back into the darkness ; STONERS -LRB- O.S. -RRB- Heather? Mike? Somebody? Please? NICK They were never seen again. Their footage was found a year later - underexposed and useless. Tired laughter. NICK How're the cameras doing? COTTER Due for a re - load and battery check. I'll get on it. HEATHER ` Give you a hand. I think my sleep for the night just ended. ANNA Join the club. NICK Well, everybody grab a coat, and pull up a rock for a night of witch - watch. The four campers proceed to their respective tasks. Domini stays perched on the foundation, watching where the Stoners disappeared. To herself : DOMINI Something. really twisted. is going to happen. She looks up. The Owl's gone. FADE TO BLACK. Birds heard in the darkness. And snoring.\",\n \"INT. NICK AND ANNA'S TENT - DAWN Cuddled together, fast asleep.\",\n \"EXT. THE PARR FOUNDATION - SIMULTANEOUS - DAWN Domini conked out on the grass, curled in a fetal position.\",\n \"INT. HEATHER'S TENT - SIMULTANEOUS - DAWN Ditto Heather, sprawled half - in/half - out of her sleeping bag. Only Cotter is awake - well, making an attempt at it, anyway. Squints at his digital watch : 5:45 am. COTTER Jesus. wha' happened. He groggily gets to his knees and dog - walks out of the tent. Several beats. And then we hear outside the tent : COTTER -LRB- O.S. -RRB- Oh, fuck me! Oh, Jesus! The cries wake Heather -\",\n \"INT. NICK AND ANNA'S TENT - SIMULTANEOUS - as well as Nick and Anna -\",\n \"EXT. THE PARR FOUNDATION - SIMULTANEOUS - even Domini, who pops her head up and starts to ask : DOMINI What happ - - and then she sees ; they all see - COTTER - they're all gone! - - five tripods, all minus the Video cameras they used to support - COTTER - and none of'em were mine! I - am - so - fucked, I - am - so - fucked - where the hell was everybody? NICK Asleep - COTTER - what happened to the goddamn `` Witch - watch?'' NICK - I dunno, I just woke up - DOMINI - last thing I remember were those four clowns shooting the movie - COTTER - yeah, the goddamn stoners! Who you think stole the stuff!? NICK Yeah. Got to Coffin Rock, found zip, and came back, ripped off the cameras. Domini looks at one of the mangled tripods. DOMINI Ripped? They look like they were bit off. NICK Smells Like Teenage Spirit. COTTER This is funny? This is tens of thousands of fucking dollars! -LRB- shouts into the woods. -RRB- You pricks! I'll see you in fucking court! ANNA -LRB- O.S. -RRB- Not the only things missing, Nick. Nick turns. Anna's at the tent door holding a pile of empty file folders and two looseleaf notebooks that have somehow been torn clean in half. Now Nick's incensed : NICK That's almost a year's worth of work! -LRB- into the woods. -RRB- Scumbags! Oh, Jesus, Jesus. DOMINI At least you still have the tapes. COTTER One set. Everything from midnight on - DOMINI - no, I think they're all in there. She's pointing to the collapsed section of the basement foundation where the original `` Blair Witch Project'' Tapes were found. The other four stop and stare at her. And then Cotter goes diving in the hole. Beat. COTTER -LRB- O.S. -RRB- Sonovabitch! And emerges with two grimy handfuls of VHS, Beta, and 8mm video tapes. HEATHER Those ours? Cotter brushes dirt from them ; holds them up for inspection. COTTER My handwriting on the face labels. And then his excitement switches to confusion. Turns to Domini : COTTER How'd you know they were - DOMINI -LRB- shrugs. -RRB- - hunch. Just sort've saw'em there. COTTER My ass - you saw those four fucking baboons put'em there! DOMINI No. NICK Cotter, I think she's right. Why would those guys go to all the trouble of stealing the camera and all this other stuff and leave the tapes? COTTER Spite. NICK They were making a movie - if they were going to steal anything it'd be just the tapes, to see if we had anything they did n't. DOMINI I do n't think it was them. COTTER Oh, who did then? Blair Witch? Snatching equipment to make her own sequel? DOMINI I do n't know yet. COTTER Well, please keep me fucking informed! HEATHER Those four guys - it's the only thing that makes sense. She looks over at Domini, who says nothing - just stares into the woods. NICK This is a goddamn disaster. Let's just pack it up and go. ANNA I want to see the tapes. NICK And what do you possibly think you're going to fucking see there? ANNA No idea. But if that's all we've got left - COTTER - nothing left to play'em on, honey. ANNA Oh, sorry, right. COTTER You can be goddamn sure, though, I'm going to be looking at every second of'em when I get back to Baltimore - I get proof who stole my shit and I call the cops! ANNA We're ticketed to fly back from Baltimore, anyway. HEATHER Me, too. COTTER Hey, I got a whole editing suite in my loft - more the fucking merrier. NICK Pointless. DOMINI No. I do n't think so.\",\n \"EXT. STREET IN N. BALTIMORE - SEVERAL HOURS LATER - AFTERNOON The Van pulls up to the curb in a savagely decrepit and extremely desolate old industrial section of North Baltimore. COTTER 403 41st Street, kids : home. NICK I dunno it's safe to even get out of the car. COTTER By day? No sweat. HEATHER What about night? COTTER Not a great idea. Especially ` cross the street. All four look : a thickly wooded area that looks like mostly sumac. COTTER Druid Hill Park. ANNA That's a joke? COTTER That's its name. A pastoral glade gamboling with crackheads and homeless and averaging at least one homicide a week. NICK Let's get inside. COTTER First enormous brick warehouse on your right.\",\n \"INT. COTTER'S BUILDING - JUST AFTER Four of the five of them ride nervously in a huge, ancient elevator that ascends in a series of jerks. Cotter's oblivious. COTTER Used to be a meat - packing plant. Slaughter on the ground floor - carcasses schlepped up on this thing for dissection and grinding and - HEATHER - Cotter : shut up. COTTER What?\",\n \"INT. DOOR TO COTTER'S LOFT - JUST AFTER Cotter opens the elevator grates, revealing a metal door with a single lock. He fits a key into it NICK Just one lock in this neighbor - hood? COTTER All I need - - throws the door wide - - the LOUD BARKING of what sounds like a pack of pit - bulls greets them. COTTER Get inside quick, they'll stop. HEATHER Too busy eating us? COTTER Just go.\",\n \"INT. COTTER'S LOFT - CONTINUOUS He shuts the door ; the BARKING stops. Everyone's eyes zapping all 360 degrees around them : no dogs. Cotter taps a small speaker above the door ; COTTER Baltimore's cheapest burglar alarm. He re - opens the door a crack - the BARKING starts anew. Closes it. Nothing. COTTER Had the door jimmied a few times. Nobody's yet made it inside. He ushers them into a huge DOUBLE - STORIED SPACE easily 30 feet high. Exposed brick walls - massive iron roof beams. And crammed to bursting with bizarre esoterica everywhere : - carousel horses, huge airplane propellers, a bowsp ` rit from an old clipper ship, lawn jockeys, a set of bunkbeds made entirely of wagon wheel parts, bowling balls, cannonballs, pinball machines. COTTER Mi casa y su casa! HEATHER Su casa y shit - o hole - o. COTTER Hey, hon' - this is what pays the rent and tuition. NICK Running a junk yard. COTTER A Cyber Entrepreneurialship. HEATHER English. COTTER I spend a lot of time on e - Bay. Buying, selling - sometimes buying then re - selling at substantial mark - up, sometimes just selling crap I find in the street. ANNA Looks like business is booming. COTTER There's some stuff that's hard to part with. Editing's stuff's up there - - he points to a loft overhanging the big room - a thin wooden railing separating the work space from a sheer 20 foot drop. COTTER - stairs are back through the kitchen - and a ton of bedrooms, you wan na dump your stuff or catch a nap -\",\n \"INT. COTTER'S LOFT WORK SPACE - A WHILE LATER - DUSK Cotter's running tape through his new video iMac. The rest of them are gathered around the screen in various degrees of discomfort. They look like they've been there for some time. A lot of yawns. Nick's rubbing his temples like somebody's pounding a marimba inside his head. ON SCREEN : they're all watching minute after minute of nothing. Darkness. The outlines of the Parr Foundation. Trees in the back - ground. Silence. Several beats as they continue to watch this stasis. Then : NICK I think we get the gist. ANNA We've looked at half of one tape. COTTER There's four other angles, man, we have n't even - NICK - great : we can watch Domini sleep for hours - or, shit, maybe if we stay at it for a couple of days, maybe a deer'll dash by! ANNA For once could you just sit down, shut up, and give something a chance? NICK We're leaving - case dismissed for lack of evidence. Maybe on the ride home we can figure how the fuck we're going to graduate with no thesis. ANNA I'm not going anywhere,'til - NICK - bullshit! COTTER Hey, chill, man - DOMINI - there's something here, Nick - NICK - fuck you - all off you - - he grabs Anna by the wrist and yanks her up - NICK - now c'mon! ANNA Get your goddamn - - and suddenly Anna stops. Doubles over, clutching her abdomen. NICK What - COTTER - oh, Jesus - - blood can be seen soaking through her jeans. ANNA I need to go to a hospital.\",\n \"INT. EMERGENCY ROOM - UNIVERSITY HOSPITAL, BALTIMORE - NIGHT Domini, Heather and Cotter standing grimly in the Waiting Area. Finally, they see Nick exiting a Trauma Room, looking even grimmer. DOMINI She lost it. Nick nods.\",\n \"INT. TRAUMA ROOM - JUST AFTER Anna's lying on a OB/Gyn table in a johnnie, clearly sedated, but with a face and eyes still soaked with tears. An E.R. INTERN -LRB- Female -RRB- is cleaning her up. ANNA Why? INTERN Any number of reasons - pick one, it's as good as the other. ANNA I was out hiking, camping the past two days - that's what did it - I killed it - INTERN - doubtful, Mrs. Leavitt. The main thing to remember is, whatever the reason, it was for the best - it meant something was wrong. ANNA Something was wrong. INTERN Look, this is not my field of expertise. You seem stabilized, but why take any chances? Let's keep you overnight and have the Staff obstetrician do a follow - up tomorrow. ANNA I guess - - and then Anna sees what the Intern is writing on her chart : To see : Boyd Kurth, 5/26/00. Anna's eyes go wide. INSIDE HER HEAD she flashes on the grave marker that Domini laid on in the Burkittsville Cemetery : same name, same date. BACK IN THE TRAUMA ROOM Anna yells : ANNA No! INTERN Mrs. Leavitt - ANNA - I'm not staying here! INTERN Let's talk to your husband - ANNA - he's not my husband! She's flails at the Intern, trying to get up, tearing pages from her chart. ANNA Where are my clothes?\",\n \"EXT/INT. COTTER'S VAN - LATER - NIGHT They all sit silently as Cotter drives. The now - fully clothed Anna just sits in back like a zombie. NICK -LRB- softly. -RRB- We'll stay overnight, get a hotel - ANNA - Cotter's - COTTER - whatever you want, no problem - NICK - still go see the OB in the morning - ANNA - no. Anna tosses a crumpled ball of paper into Domini's lap. She opens it. It's the top page of Anna's chart. Domini looks at the Intern's jotting `` see Boyd Kurth -'' - her head snaps up. Beat. DOMINI Nick. Do what she says.\",\n \"INT. COTTER'S LOFT - BEDROOM - LATER - NIGHT Nick tucks her into an elderly four - poster bed. Colonial in style. Another one of Cotter's `` finds.'' NICK What can I get you? ANNA Sleep. She closes her eyes.\",\n \"INT. COTTER'S WORK SPACE LOFT - SIMULTANEOUS Domini, Heather and Cotter gathered around his iMac, drinking beer. DOMINI Something happened to Anna in Burkittsville, in the woods, I do n't know. COTTER What? That made her lose the baby? DOMINI Something. Someone. HEATHER Who? What? Domini just shakes her head. HEATHER Women miscarry all the - DOMINI - no. COTTER This is a little nuts. DOMINI Turn the tapes back on. COTTER Fine. He goes to it. Without even looking, Domini pulls the shoulder of her shirt down, rubs something on her upper arm. Heather sees it : a good - sized burgundy - colored mark, oblong, vaguely spidery in shape. HEATHER What's that? DOMINI Hmm? I dunno. Chafing from the backpack, something. HEATHER That'd be up on your shoulder, maybe your lower back. DOMINI Then I have no idea. And now Cotter's staring at it. COTTER Does it hurt? DOMINI Like hell. Play the goddamn tape. The first image that pops up is Domini sprawled out on the grass of the Parr Foundation. Deep in REM sleep, her leg jerking like a dog's. Domini sees it - a snort of embarrassed laughter.\",\n \"INT. NICK AND ANNA'S BEDROOM - CONTINUOUS Nick bolts awake to the sound of laughter. Looks next to him, Anna's fast asleep. He looks relieved - then clucks to himself when he sees that he's fallen asleep next to her on the big old four - poster with his clothes on. Starts to take off his shirt - - and then hears the laughter again. Louder. It seems to piss him off. He gets out of bed, opens the door. Hisses : NICK Hey, knock it off, willya? But there's nobody there. He walks down the hallway towards the kitchen.\",\n \"INT. COTTER'S WORK SPACE - JUST AFTER Nick appears on the stairs leading into the work - loft. Sees the three of them huddled over the iMac. NICK You wan na keep it down, she's trying to sleep. COTTER Sorry, I did n't think we were making that much noise. NICK It's not a real `` funny'' time for us, okay? HEATHER -LRB- confused. -RRB- No. it's not. Nick just shakes his head, snorts with disgust. Goes back down the stairs -\",\n \"INT. KITCHEN - JUST AFTER - when he hears the laughter again. NICK Christ almighty - - he starts to storm back up the stairs to the loft - - when he realizes he's walking away from the sound of the laughter. He stops. It's coming from the hallway -\",\n \"INT. HALLWAY - CONTINUOUS - further down the hallway. Louder. He walks faster towards it. It's coming from the open door of his and Anna's bedroom. Starts to trot. Louder. Takes the corner into -\",\n \"INT. THE BEDROOM - CONTINUOUS - the laughter stops - - as does Anna, who appeared for a moment to be twirling round and around in the middle of the room. NICK What's going on? Anna looks down at herself and lets loose a giggle of astonishment. ANNA Nothing. I dunno - NICK - you should get back into bed. ANNA I guess, yeah. She does so. Nick once again tucks her in. NICK Was that you laughing? ANNA What? NICK Just now? ANNA No. NICK Just. try and go back to sleep. ANNA I get dreams. I do n't like'em. NICK What'd you dream? ANNA Little boys. Looking up my skirt as I danced. Giggling. NICK Here. He pops out two Xanax from a hospital sample bubble pack. Hands them to Anna. NICK This'll help. She swallows them dry. ANNA Good. She closes her eyes. DOMINI -LRB- V.O. -RRB- There -\",\n \"INT. COTTER'S WORK LOFT - LATER - NIGHT Domini's pointing to the iMac screen. COTTER There, what? I did n't see anything. DOMINI Back it up, rewind, whatever you call it. COTTER Fine. He does so. HEATHER What'd you see? DOMINI Motion. Stop there. Play it again. Cotter hits PLAY. They're watching tape from a camera that was placed almost to the ground, aimed upwards - DOMINI - there! In the tree. Cotter freezes the image. The tree is so dark and so far in the distance of the shot, he and Heather have to put their eyes right up to the screen to even see it. COTTER Whatta you got, telescopic vision? HEATHER Still do n't see it - DOMINI - that blur, right by that branch. She puts her finger right on the screen. Cotter quickly removes it - squints. COTTER Okay, a blur. DOMINI Can you zoom it or something, make it real close, real big? COTTER I'm the ebay Boy, remember? I ca n't exactly afford that kind of equipment. DOMINI Who do you know who can? Where do we go? HEATHER For a blur? DOMINI There is something there - do n't ask, just trust me. COTTER Ca n't you like just divine it? DOMINI If I could do that, I'd be at the goddamn racetrack, not here. COTTER -LRB- sighing. -RRB- I got a friend at a Lab. I could get the whole thing blown - up, enhanced - DOMINI - go! COTTER Four in the morning?\",\n \"EXT. 41ST STREET - NIGHT Cotter wearily unlocks the door to his Van. He looks all around him - finally up : There's an Owl staring down at him from a tree in Druid Hill Park across the street.\",\n \"INT. COTTER'S WORK LOFT - LATER - NIGHT Heather is bringing a cup of hot tea and 40 ounce bottle of Malt Liquor up the stairs. Sees Domini still in front of the iMac, trying to figure out how to work the thing. HEATHER Cotter'll kill you. DOMINI He'll never know. HEATHER Two - to - one he dusts the keyboard for fingerprints the second he gets back. She hands Domini the beer. Keeps the tea for herself. HEATHER At least go drink it somewhere spilling it wo n't drive him to suicide. DOMINI Okay. Domini gets up and slumps down on the broken - backed couch in the work - loft. HEATHER What is it you thought you saw on that tape? DOMINI Still working on it. HEATHER Elly Kedward? DOMINI No. Elly Kedward's not the problem here, I do n't think. She was just a good old - fashioned white witch - PAGE 62 IS MISSING FROM THE HARD COPY OF THIS SCRIPT! SID You're gon na owe me the rest of your life, bud. COTTER I know, I know. SID Beta Cam's still coming back tomorrow, right? Beat. Cotter flushes for a moment. COTTER Absolutely. SID Before 5:00 - COTTER - hours before - SID - Christ, they find out I let you have it for the weekend - COTTER - no one'll ever know. Sid pauses the tape. SID This is what you wanted enhanced? COTTER Yeah. SID You mind me asking : why the fuck? COTTER The, uh, blur there. SID Looks like a rope.\",\n \"INT. COTTER'S WORK-LOFT - NIGHT Heather has apparently gained a tad enough mastery to run tape through the iMac. She's playing and replaying a short section of Cotter's camcorder tape where the bunch of them were interacting with the Stoner Film Crew. She keeps seeing a FLASH on the tape. Between two trees far in the background. But she ca n't seem to freeze the image inside the flash. It looks vaguely like a MIDDLE - AGED MAN. HEATHER Does this look like a person stand there to you? -LRB- no response. -RRB- Domini? She turns. Sitting on the couch where Domini was is now the very clear presence of A MIDDLE - AGED MAN in a topcoat. He says nothing, just stares straight ahead. There's a horrible wound in his forehead. Heather is mindboggled - and petrified. She manages to stammer out the word : HEATHER Dad? DOMINI -LRB- O.S. -RRB- What'd you say? Heather's neck snaps to her right. She's sitting on that same couch with Domini. Her eyes scan the entire loft. There's no one there but the two women. DOMINI Are you alright? HEATHER I do n't know. FADE TO BLACK. Beat. And then in the darkness, a pack of dogs heard BARKING. FADE UP ON\",\n \"INT. COTTER'S ELEVATOR - DAWN He's having trouble getting the key out of the lock. The door is wide open. The recorded pit - bulls bark and bark and bark.\",\n \"INT. COTTER'S WORK - LOFT - SIMULTANEOUS The barking bolts Heather and Domini up like a shot.\",\n \"INT. NICK AND ANNA'S BEDROOM Likewise Nick. Anna does n't seem to hear it - fast asleep. As soon as Nick makes it to the door, the barking stops.\",\n \"INT. COTTER'S WORK LOFT - JUST AFTER Nick, Domini and Heather are gathered around him like kids on Christmas. DOMINI So lem me see it. COTTER Just let me get my coat off - I had eight cups of coffee, I'm wired for sound here. HEATHER Where is it? COTTER I got the tape enhanced - and I managed to sleaze a photo blow - up. Jesus, he's gon na kill me when he finds out about the camera. HEATHER Gim me it! Cotter throws her the 8 `` x10'' blow - up of the frame. Heather looks at it, her face falls. HEATHER Still looks like a blur, only bigger. Domini grabs it. Stares at it, puzzled. COTTER My friend Sid said it looked like a rope. And now Domini's eyes go wide. DOMINI Jesus. HEATHER What? DOMINI That's the reason. NICK What? DOMINI Why she kills children. COTTER The witch? DOMINI It's not about witches, goddamnit! NICK Someone want to tell me what's going on - DOMINI - and we brought it back with us! HEATHER What? DOMINI It touched me, do n't you see it now? She yanks down the shoulder of her shirt : the burgundy - colored mark on her arm has grown larger and more distinct. It seems to have finger - like tendrils spreading out from it. DOMINI Its fingers! Here. And here - - she yanks down the front of her shirt : there's another burgundy mark there - DOMINI - and here and here and here! She pulls back her hair : there are two more growing on the back of her neck. DOMINI I do n't know how to stop it! I do n't know how to kill it! But it's here right now! Domini's head is in her hands. She's hyperventilating. Heather puts her arms around her. HEATHER Slow it down, slow it down, whatever it is, we'll figure it out. DOMINI That's why she kills children. HEATHER I know, I know - ANNA -LRB- O.S. -RRB- - you do n't. They all look up. Anna's standing in the doorway looking at Domini. ANNA They put their palms in the blood. And then they press them on your skin. And Anna walks out of the room.\",\n \"INT. COTTER'S BEDROOM - JUST AFTER - DAY Domini's lying down, Heather beside her. She's drinking a beer, seems much calmer - though she's got an afghan cinched around her entire body, toes to chin. HEATHER You gon na be alright? DOMINI Sure. I'm sorry. HEATHER No big deal. I'm just trying to understand. DOMINI Get some more beer. HEATHER -LRB- laughs. -RRB- I think you closed the bar again. I'll have to go out. DOMINI Go to the store. When you get back, I'll try to make sense of it for you. Heather gets up, starts for the door. Stops. HEATHER What're you afraid's going to happen? DOMINI That they'll start touching us inside our heads.\",\n \"INT. DELI - N. BALTIMORE - DAY Heather sticks two six packs inside a car. Double thinks. Goes back and grabs two more. AT THE REGISTER Heather waits in line. She sees that across the street is Druid Hill Park. Stares aimlessly into the woods, chewing on a thumb nail. She looks seriously worried. CHECK-OUT CLERK -LRB- O.S. -RRB- Sweetheart? Heather shifts her gaze to the Check - Out Clerk - and she shrieks : Standing behind the Clerk is THE MIDDLE - AGED MAN she saw in the loft, with the wound in his head. CLERK -LRB- O.S. -RRB- Miss? Heather's eyes dart back to the Clerk. CLERK Are you alright? Heather's eyes dance around the deli. The Man is gone. HEATHER You have a phone? CLERK Just outside -\",\n \"EXT. 41ST STREET - JUST AFTER - DAY Heather stands at a payphone by the curb. We hear ringing on the other end. Finally a pick - up. But an OPERATOR'S VOICE is heard first : OPERATOR'S VOICE You have a collect call from Heather. Will you accept the charges? Long beat on the other end. Finally : WOMAN'S VOICE -LRB- MOM. -RRB- yes. The Operator clicks off. HEATHER Mom? MOM'S VOICE Yes. HEATHER I was just calling, I know it's been a long time - MOM'S VOICE - what do you need this time, Heather? HEATHER Nothing. It's nothing like that. I just wanted to know if Dad - - a sound on the other line of the phone dropping, banging on the floor or against a wall - HEATHER - Mom? Mom? - a Voice comes back on the line. But it's MALE now : MAN'S VOICE She wants me to talk to you, Heather. HEATHER Who is this? MAN'S VOICE Your mother's pastor. HEATHER What happened to my Dad? MAN'S VOICE There was an accident early this morning. Another car. Your father's injuries were fatal. HEATHER Yes. MAN'S VOICE I'll tell your mother not to expect you at the funeral. HEATHER No. The phone clicks dead on the other end. Heather lets the receiver just drop and begins walking, leaving her two bags of beer on the sidewalk, in a daze. And then she starts running.\",\n \"INT. COTTER'S ELEVATOR - JUST AFTER - DAY Heather's banging like crazy on the door to the loft. Finally, she hears the sound of Cotter snapping open the deadbolt. He opens the door. The recorded dogs bark. Heather slams the door behind her. HEATHER Where's Domini? COTTER My room, asleep, last I checked. Heather barges past him and towards Cotter's bedroom.\",\n \"INT. COTTER'S BEDROOM - CONTINUOUS Heather walks in. The bed's empty. The afghan's lying in a pile on the floor - - along with all of the clothing Domini last had on. HEATHER Domini? She does n't bother calling her name again, there's nobody in the room.\",\n \"INT. KITCHEN - JUST AFTER Nick and Cotter look up at Heather, confused. NICK Well, she's got to be somewhere here. COTTER No one's been in or out since you left. Would've heard the dogs. Heather dashing up the stairs into the work - loft. HEATHER Domini? Empty. Cotter poking through the two hallway closets. Nothing. Nick looking in the closet and under the bed of his and Anna's bedroom. Nobody. Anna sleeps through it all. Heather really starting to lose it. Rampaging through the big main room, pushing aside all of Cotter's huge carousel animals, looking behind those things she ca n't move, dumping things willy - nilly on the floor. HEATHER Domini! Cotter helping Heather open one of the windows in the big room. Looking out on the ledge. Looking down to the sidewalk, five stories below. Nothing. HEATHER Fire escape? COTTER Do n't have one. Heather screams out the window : HEATHER Dominiiiiiiii!\",\n \"INT. KITCHEN - SOON AFTER - DAY Heather, Anna and Cotter sit at the table nervously. Heather is literally shaking. COTTER She would've had to have a key, anyway, to lock the deadbolt behind her. HEATHER Well, she got out of here some - how because she's not here! NICK Parents. She might've called - Heather on the phone. HEATHER Taos, New Mexico. The Sheriff's Office, please. thank you. She hangs up. Picks back up. Punches in a number in a blur. Beat. Someone picks up on the other end : WOMAN'S VOICE Good morning, Sheriff's Office. HEATHER Yes! I need to speak to Sheriff Von Teer. WOMAN'S VOICE He's in a meeting. Could I have him - HEATHER - it's urgent! WOMAN'S VOICE Could I tell him what it's regarding? HEATHER His daughter, for God's sake - I need to know if he's heard from her this morning. Beat on the other line. WOMAN'S VOICE the Sheriff is a widower. They never had any children. Heather is struck dumb. WOMAN'S VOICE Ma'am? HEATHER I'm talking to Taos, New Mexico - WOMAN'S VOICE - yes - HEATHER - the Sheriff's Office - WOMAN'S VOICE - yes, Ma'am, can I help you with anything else? - HEATHER - his name's Von Teer! His daughter's named Domini! - WOMAN'S VOICE - thank you for calling - The line goes dead. The three of them just stand there, staring at each other, petrified. And then Anna walks in the room. ANNA I'm glad she's dead. She brought the thing that killed my child.\",\n \"INT. KITCHEN - LATER - AFTERNOON Heather sits at the table alone, staring at the 8x10 that Cotter made for Domini. HEATHER What did you see here that I ca n't see, damnit! She runs a finger down the length of the blur in the branches. HEATHER What is it that scared you so much? Nick enters, heads for the blotched,'60s vintage Mr. Coffee maker. NICK Finally got her back to sleep. HEATHER Nick, what you should do is get her back up and get her to a goddamn doctor. NICK Jesus, you do n't think I know that? You do n't think I've tried? She wo n't fucking go - she wo n't leave this place. HEATHER She's off her fucking rocker - NICK - I know! HEATHER I'm sorry. NICK Yeah, I know. It's. alright. We're all a little - HEATHER - a lot. NICK Heather. HEATHER Yeah. NICK Okay. Hypothetically. HEATHER Shoot. NICK You think. there could've been something up in those woods that Anna - HEATHER - it's not a could've - there was, Nick. And it fucked up Anna, and did something to Domini, and it caused my father to die, and it's here with us in this place now. And I do n't have one single idea in hell what's going to happen next, just that it's going to happen to one of us. And then the other. And then the other. It's going to get into our brains. And Heather finally loses it and starts weeping - great wracking sobs. Nick's a little awkward at first how to comfort her. Finally just starts lightly massaging her neck. NICK There's explanations. Rational explanations for everything that's happened. We'll drive ourselves crazy if we keep obsessing on supernatural what - ifs. HEATHER That feels good. Lower - down into my neck. Nick moves his hands down - - and somehow the two of them are then guiding his hands down into her blouse, onto her breasts - - and she's moaning, and grabbing hard onto his hair - - and pulling his whole head down to hers. And their lips and tongues meet, and they're biting each other like animals - - and his hands are yanking and twisting hard on her breasts, between her legs - - and she's literally clawing him with her fingernails, drawing blood down the length of his chest - - until she reaches a burgundy - colored mark right at his belt line with tendrils like fingers - - SNAP! - it's like someone woke them from a dream. They both look at each other, baffled - what the hell just happened? But it was n't a dream. Nick's chest is streaming blood ; there's blood on Heather's lips - - matching the color of the mark on Nick's waist, and the one Heather now sees inside her elbow. They both move away from each other, uncomprehending - and scared.\",\n \"INT. NICK AND ANNA'S BEDROOM - DUSK Nick pacing the floor as Anna lies in bed. NICK I do n't know what it is, but there is something happening here, and it's starting to scare the living shit out me, and look, I'm just not going to argue the point anymore - you want to stay here, stay, but I've got to get the fuck out of here, and I'm begging you to come with me. ANNA I ca n't. NICK Then I'm going - ANNA - no, you're not. You love me too much. You do n't want to see them kill me.\",\n \"INT. COTTER'S WORK LOFT - NIGHT Cotter's behind the iMac, screening tape millimeter by millimeter, downing one Coke after another. He's so caffed - out, both his body and his voice is shaking. COTTER This could be something right here, do you think it's some - thing, Heather -? Heather does n't even look up. She's just sitting on the broken - backed couch staring at Domini's 8 `` x10''. COTTER - but that could be just a shadow, I think it's a shadow, it's nothing, Heather, do you think it's nothing - - and he just keeps prattling on oblivious, eyes fixed on the tape moving at a snail's pace in front of him. HEATHER It's about the tree, it's something about the tree. She puts it down on a cushion and snatches up the dog - eared copy of the `` Blair Witch Dossier.'' Easily flips to the page Domini showed her : Elly Kedward trussed in the wagon in the woods. Flips backwards in the book, looking for something - HEATHER - the goddamn tree, Domini, for chrissake, what? - and then she stops on the page that shows the anthropology students' sketch of the Parr foundation ; the skinny little sapling in the middle - - then back to the woodcut of Elly Kedward in the woods - - then back to Domini's photo of the foundation - the huge tree - HEATHER Same trees. They took Elly Kedward out to the same kind of trees. COTTER -LRB- still oblivious. -RRB- - I look and look in the tree, all I ever see, he's always there watching, that stupid owl, over and over - HEATHER - Cotter, where can I get on - line? COTTER - anywhere, anywhere, all up and live, all the time - fucking owl - Heather slips in front of one of Cotter's PC's. TIME CUT TO Heather on - line, in the middle of Blair Witch Chat Room, typing : WICCA GIRL anybody know where tree is they tied Elly Kedward? Beat. And then a response. COFFIN ROX Black Hills Heather responds, types : WICCA GIRL thanx - anybody know where? in Hills Beat. Response : TREACLE-TREACLE-LITTLE-EILEEN My two cts? By Rusty Parr's house hadda be that close how else could she whisper into his ear? Heather stops typing ; absorbs this. HEATHER Cotter? COTTER Fucking owl! HEATHER You think it's possible the tree in the Parr foundation is the same one they tied Elly Kedward to? COTTER No idea - goddamitt! And then suddenly another response appears in the Chat Room : COFFIN ROX Check BW Cult book, 1809 - they have full account Heather grunts. Types back : WICCA GIRL 1 copy in exist. you got it? COFFIN ROX no just seen it WICCA GIRL where COFFIN ROX one of us WICCA GIRL if you're out there and got it anybody, contact me this mailbx urgent COFFIN ROX location described pretty good in section bout first boys disappeared afer Elly dies - James Kurth & another kid Heather stops typing. To herself : HEATHER Boy Kurth. COTTER Heather, does that look like Domini there? Heather does n't look up from her screen. Impatient, trying to put pieces that do n't fit together. HEATHER Where? COTTER Down there in the Park. Heather looks up. Cotter is looking down through the big room's huge windows ; he's waving to someone. Heather gets up. Slowly peers over the loft railing. Squints. HEATHER'S POV A stark - naked Domini is standing in Druid Hill Park. Looking up at them.\",\n \"EXT. DRUID HILL PARK - JUST AFTER - NIGHT Heather and Cotter's pace slows drastically as they try and navigate the overgrown pathways inside the Park. The flora is dense below and above - moonlight barely penetrates where they're walking. HEATHER Domini? Cotter puts a finger to her lip. Whispers : COTTER Not the place you want to announce your arrival. HEATHER How's she going to know where to - COTTER - things got a way of finding you here. They walk. HEATHER It's freezing. COTTER Next time try putting on shoes - - the two of them stop dead in their tracks. Through the thicket ahead of them they can see a clearing. Illuminated by the moon is what appears to be an old WOODEN OX CART with SNOW drifted up nearly to the hubs of its wheels. HEATHER AND COTTER are suddenly so cold they can see their breath in the air. HEATHER What the fuck -? COTTER - I do n't know. He grabs her hand and pulls her through the thicket. They enter THE CLEARING the snow is now gone. Where the cart was is now just a stack of rotting cut brush. A clean - up effort someone must have started, then abandoned. Heather and Cotter stare at each other, baffled - and not a little afraid. COTTER The moon trying to shoot down through all these trees - can make things funky - HEATHER - I saw what I saw. COTTER Yeah. Me too. HEATHER The cart they brought Elly Kedward into the woods with - COTTER - into the Black Hills with - 200 - something miles from here - HEATHER - Domini! They both see it at the same time : A NAKED WHITE BODY face down at the base of a tree. Heather races over, kneels down next to it. HEATHER Oh, Jesus, what happened, are you - - and Heather lets out a screech. The face of the body reveals an ELDERLY MALE. Filthy, tongue lolling black out of its mouth. He's been dead for some time. COTTER -LRB- O.S. -RRB- Be it still alive, James? HEATHER What - Heather turns - A PACK OF LITTLE BOYS wild - eyed and wielding sticks, RUSH AT HEATHER - BOY #1 - then finish the job, lads! - Heather screeches again, throws up her arms to protect herself - COTTER -LRB- O.S. -RRB- Jesus! Heather looks up : Cotter's lying on the ground, holding his bleeding forehead. COTTER What the fuck you do that for? Heather looks at her hand. She's clenching a sharp stick in it. The Little Boys are gone. The body of the Dead Man is not. HEATHER I did n't. She grabs his hand, pulls him up. They start running.\",\n \"INT. COTTER'S KITCHEN - LATER THAT NIGHT Heather and Cotter at the table, still out of breath and shaking, as they tell Nick what happened. HEATHER - and one of the little boys, his name was James. As in the boy James Kurth - the first child to disappear from the town of Blair after they banished Elly Kedward. A look of alarm comes to Nick's face. But he says nothing. HEATHER What? NICK I dunno it's anything. It's a name Anna's mentioned - from her dreams. COTTER I ca n't handle this anymore. He produces a large, thick spliff and torches it up. Big hit, and passes it to Heather, who takes an even bigger one. NICK How much of that stuff you guys been smoking? COTTER Enough to keep sane. NICK Enough to make shapes and shadows in the dark into something else. HEATHER Spare me. NICK Hey, chemicals, fear, sleep - deprivation - and a round - the - clock obsession with the occult - hell've a recipe for a mind - fuck. COTTER Except we seem about 18 times more together than you. Heather spit - takes a lung - full of smoke. COTTER I'd strongly advise you to join us - HEATHER - before you lose your emotional lunch. NICK -LRB- shrugging. -RRB- Yeah, what the hell. He takes the joint, sucks in mightily - HEATHER Atta boy - - and then the whole kitchen seems to explode - - GLASS and MULLIONS from the big window in the room come hurtling in shards at them - - and then when the noise finally stops, and the flying debris has all hit the floor, they all look down and see : ON THE PEELING LINOLEUM A HORNED OWL broken and bleeding from its header through the window. Spasming, and then dying. Eyes wide, staring up at them. No one says a word. They just look at it.\",\n \"INT. COTTER'S WORK-LOFT - LATER - NIGHT A lot of chairs, but nobody's sitting down. Cotter, Heather and Nick all look like their nerves are fraying down to bare wire. HEATHER We are being fucked with here, someone or something. NICK Domini. HEATHER Why in the world would she - NICK - why in the world would she just fly the coop in the first place? COTTER Chrissake : why any of this? NICK I think it's time to get out of here. HEATHER Nobody's going anywhere - COTTER - hell, I do n't think I'm ever leaving this place again - HEATHER - one of us, all of us - I have no idea - brought whatever this thing is back here. We're not going to go out there and spread it around like Typhoid Mary. We're gon na figure it out, we're gon na bring a goddamn end to it. NICK Domini's the only logical explanation. HEATHER We're not dealing with fucking logic here! COTTER It's Domini, it's not Domini, I do n't care - all I know is I'm not dealing with something - anything - snuffing me in my sleep. I want to do what we did in the woods - surveillance of this whole place 24/7, with somebody monitoring those cameras every second. There's something, somebody here, I want to see'em coming. NICK I thought all your equipment got stolen. COTTER All the shit that was worth anything, yes. You'd be amazed, though, what you can get free on the ` net. He opens a desk drawer - there must be a dozen little palm corders in there.\",\n \"INT. THE LOFT - VARIOUS LOCATIONS - NIGHT What Cotter lacks in other equipment, he makes up for with cable : huge SPOOLS of it - and he's running it from the various tiny vid - cams to a motley bank of monitors he's set up on the kitchen table. HEATHER duct - tapes one of the little units on the top of a closet door - frame in the hallway. COTTER sees he has an excellent angle on the front door/elevator. ANNA watches half asleep and befuddled in their bedroom as Nick aims a camera on a jerry - rigged broom - handle tripod. COTTER connects the cables in the kitchen - sees Anna and a clear view of the bedroom door. NICK & HEATHER collaborate on installing a camera from Cotter's work - loft that provides a view of the dark area under the work - loft. Nick lowers the camera on a rope, while Heather guides and supports the cables attached. COTTER watches the camera descend on one of the monitors. Satisfied by the view it's giving him, he yells : COTTER That's good! Tie it off! BACK IN THE WORK - LOFT Nick does so. Ties the rope securely around the loft railing. Ties a slip knot in the loose end and lassoes it over one of the iron beams above to keep it from being a hazard. He has to jump to catch the rope as it comes down again from the beam - - stumbles backwards slightly as he catches it - - hitting the spindly loft railing - - which suddenly SNAPS! And Nick goes tumbling out into mid - air, the slip - knot in the rope in his hand the only thing keeping him from plummeting 20 feet to the floor below - NICK - Jee - zus! - COTTER sees it happen on the monitor. COTTER - Christ! He dashes out of the kitchen. BACK IN THE WORK - LOFT Heather is trying to lift Nick back up by the rope by sheer physical strength she does n't have - HEATHER I ca n't do it! NICK Do n't! You're making me lose my grip. COTTER -LRB- O.S. -RRB- I'm coming! I'm coming! And Cotter comes dashing in with a tall metal step ladder. COTTER Just hold on! NICK I ca n't! Cotter splays the ladder open, starts clambering up it. COTTER Just let it go, I've got you! NICK What're you nuts - COTTER - it's less than four feet, just - NICK - shit! Nick loses his grip - starts falling - - Cotter snatches hold of him as he falls, pinning Nick between the ladder and his torso. The ladder wobbles precariously - COTTER - do n't move, do n't even breathe - - and then the ladder finally comes to a stable rest. Nick is savagely shaken as he slowly climbs down. NICK Jesusjesusjesus. Ditto Cotter : COTTER Yeah - please do n't do that again. A giggle is heard from the doorway to the big room. They all look : ANNA is standing there, laughing with her hand against her mouth like a little child. She sing - songs : ANNA I could see up your dress.\",\n \"INT. KITCHEN - LATER - NIGHT Cotter, Heather and Nick watch the monitors on the table in silence. Drinking coffee. They all look majorly exhausted - but none of them look in any immediate danger of falling asleep. Their eyes dart from monitor to monitor, relievedly seeing nothing - except Anna tossing restlessly in bed. Heather sees that Nick is massaging something on his forearm that's making him wince. Without a word, she rolls his sleeve up : A wine - colored mark that looks vaguely like a jagged J. HEATHER Gothic rune - the letter `` S.'' NICK Or a blood blister - or a bruise. COTTER Must be that blue collar life we all lead. Cotter pulls up his pant leg : two blurry burgundy marks - crescent shapes overlapping each other. HEATHER That's a `` j.'' COTTER For `` James?'' HEATHER Goes right along with these two. She pulls back her hair - where jaw meets neck : two smudgey marks that together look like badly - drawn lowercase `` n `` s. HEATHER Put'em together that's a `` k.'' James Kurth - NICK - or Lyme Disease or poison sumac, or God knows what - else we could have picked up in the woods. HEATHER You know what we picked up in the woods - - and then there's a sharp knock at the door. All three sets of eyes zoom towards the sound, but no one moves. The knocking grows louder, more insistent. Still, they remain frozen. Frightened. They look at the monitor giving an angle of the door/elevator. Nothing can be seen - just a dark blur in the door's peephole indicating someone's standing in the elevator. HEATHER Who? COTTER No one ever comes here. NICK Have to open the door to find out. The knocking increases, along with muffled shouts of : VOICE BEHIND THE DOOR Cotter? Cotter? COTTER I'll. go. Cotter gets up and slowly walks to the door. The rapping and shouting increasing in volume with each step. Finally, a deep breath. And then Cotter looks through the peep hole. He sees : SID his Techie friend from the Film Lab glowering back at him. SID I know you're in there, you piece of shit! COTTER -LRB- quietly. -RRB- You have to go. SID Not until I get that Beta Cam back! We're both in a world of shit here! COTTER -LRB- quietly. -RRB- I ca n't. SID It's my fucking job, man! COTTER I ca n't let you in. Sid starts knocking again. Cotter walks back to the kitchen. Sits down in front of the monitors. Watches as the knocking continues. Finally stops. The expression on Cotter's face never changes. TIME CUT TO - THE SAME - SEVERAL HOURS LATER So quiet, so tense, they can hear the clocks ticking all over the loft : 4:10 a.m. NICK I should check on Anna. HEATHER Check the monitor, she's fine. NICK She's far from `` fine.'' HEATHER You're needed here - keep watching - COTTER - f ` chrissake, Heather, it's not like the two of us are gon na doze off he leaves for two seconds - HEATHER - I do n't trust anybody, not even me, anymore - COTTER - shhhh! # 5, there's something up there! Their eyes all go to the Monitor with the view of Cotter's work loft. Beat. They freeze. A slight WHIRRING - then slow WHOOSHING heard. Movement seen in the darkness. NICK What? COTTER One of the printers. Cotter gets up. HEATHER No. We all go. NICK Anna - HEATHER - fuck Anna! COTTER -LRB- V.O. -RRB- No, you -\",\n \"INT. THE WORK LOFT - JUST AFTER Cotter handing a sheaf of print - outs to Heather. COTTER - it's for you. Came through email. How it started printing without a command, though - Heather looks up at them in astonishment ; dithered : HEATHER - it's the `` Blair Witch Cult'' - a copy - some pages from - one of them on the site must've gotten my message - COTTER - who? HEATHER Does n't say - it's just these pages. She tries to make out the ancient, smeared scrawls of this nearly 200 year old book. HEATHER -LRB- reading. -RRB- `` taken by the witch as they were marked by her - first Jamie Kurth when the stain appeared on his brow that next summer - - the next page is illegible, Heather flips forward : HEATHER `` for t ` was said he and Jon Edmunds and other boys who found Elly Kedward still on her tree in the snow. Poking her with sticks finding her still living. Taking her bonds and noosing them to her neck, hanging her from her tree until she perished.'' Heather looks up at the others in wide - eyed. HEATHER That's the little boys. Elly Kedward did n't die from `` exposure'' out there : she was executed. -LRB- resumes reading. -RRB- `` Killing Elly Kedward, but not the witch herself, who floated from the mortal husk -'' Heather looks up ; she echoes Domini's words : HEATHER `` It's why the witch kills children.'' NICK I thought all witches were benign and good. HEATHER Not this one.\",\n \"INT. NICK AND ANNA'S BEDROOM - LATER THAT NIGHT Heather tries to rouse Anna in bed. HEATHER I need you to talk to me, talk to me about the dreams - about James, the other boys. ANNA I do n't. I do n't understand them myself. HEATHER Try, please, Anna - ANNA - bad boys, mean boys, cowardly boys - just like Domini. HEATHER What do you mean? ANNA A coward too. That's why she had to go. HEATHER What happened to her, where did she go? ANNA Do n't know - just that she was afraid - HEATHER - Anna - Anna winces. HEATHER What, are you alright? ANNA My eye, is there something in my eye? Heather looks. HEATHER Not that I can see. ANNA Closer. Lift the lid and look - it hurts. Heather lifts Anna's eyelid, gets close to her face and looks. HEATHER No. ANNA Closer. And Anna gently guides Heather's face down. Begins stroking it. And the next thing Heather knows, her body is gravitating towards Anna's. She's kissing her, stroking and fondling her as Anna guides her fingers. Pulling down the covers, guiding Heather down the length of her body to - - a spot on the mattress between Anna's legs that's soaked solid with fresh, gleaming blood. Heather yanks herself away, now seeing that the entire mattress is blood - covered. Runs from the room.\",\n \"INT. KITCHEN - NIGHT Heather stares at her face in the mirrored surface of a toaster. Blood blots on her cheek - vaguely in the shape of little palm prints. She's hyperventilating as she tells Cotter. HEATHER Remember. what Mary Brown said - she could see the witch's hands on my face, her mouth sucking on mine. COTTER Anna's the witch. Nick enters. NICK What the fuck's going on here? HEATHER Does she have marks, Nick - like the ones we have, that Domini had? NICK Why? HEATHER Does she, goddamnit? NICK Not that I've seen - but that has no meaning - that means nothing. COTTER Why was she exempted, Nick? NICK Maybe whatever they are, they just have n't appeared yet on her? HEATHER You really believe that? Beat. NICK It's possible for chrissake - HEATHER - the marks appear, then you disappear. Like the little Kurth boy, like Domini, as soon as they come to full bloom - and mine are! She pulls down her blouse - the marks on her neck have grown - they are the size of - and very clear image of - the palm - prints of a child, ringing around Heather's neck as if strangling her. COTTER Mine, too. And so are yours, pal. He points to Nick's exposed midriff - the stains have spread up from his waist into his abdomen - HEATHER Like a blueprint for disembowelment. NICK There are other explanations! She is not the goddamn witch, that's insane! HEATHER Then just give me one of your explanations that all three of us'll buy. NICK I do n't. - and then Nick hears giggling. His eyes and everyone's eyes go to one of the video monitors : THE BIG ROOM of the loft. Where they see Anna twirling round and round on her tip - toes, laughing, as though she were simultaneously being hanged and looking up the dress and giggling at the person being hanged. Now even Nick looks petrified.\",\n \"INT. THE LOFT - VARIOUS LOCATIONS - JUST AFTER The Big Room. Nick enters on the run. NICK I want to see something! ANNA Whatever you want. NICK The clothes - take'em off - I want to see every square inch - ANNA - no, what's wrong with you? HEATHER & NICK Watch on the monitor : Nick showing the huge mark on his torso. NICK Are you marked like this? ANNA Why? NICK I see for proof positive you're the goddamn witch - Anna dashes from the room. AT THE ELEVATOR Heather grabs her, as Anna's trying to open the door to escape. The recorded dogs start barking madly. HEATHER You killed Domini, did n't you, witch? ANNA I'm not a witch, you're all crazy! Anna runs panicked into the kitchen - and right into Cotter. He grabs her by the arms. COTTER Just say you are - we wo n't hurt you - - Heather runs in behind her - HEATHER - we'll just make you go away, so you ca n't hurt anyone else - - Nick enters the kitchen - NICK - like you hurt the baby - ANNA - what're you saying? I did n't have anything to do with - COTTER - the witch kills children - ANNA I have n't killed any - HEATHER - Jamie Kurth, Jonathan Edmunds - ANNA -LRB- in terror. -RRB- - my God, Nick? NICK Just say the words, Anna. She tries to dodge Nick and get back to the elevator, he cuts her off. Ditto, the other direction and Heather - - Anna sprints up the stairs -\",\n \"INT. COTTER'S WORK-LOFT - JUST AFTER - and finds she's got nowhere to go but down - 20 feet worth of down. And Nick, Heather and Cotter are closing in on her from the stairs. ANNA Please! Please? I have n't done anything. HEATHER Bullshit! Talk! ANNA Nick! NICK Out of my hands. Cotter barges past them all, grabs the tope that Nick dangled from the loft space with - ANNA What're you doing? - Cotter throws the slip - knot loop around her neck. COTTER Hang you like the witch you are, unless - ANNA - Nick! HEATHER Confess! Cotter tightens the rope. ANNA Alright! Fuck you, fuck all of you! I'm her. Heather grabs the vid - cam from the railing and starts recording her : NICK Oh, Jesus, no - ANNA - fuck your bullshit pieties! You were the next to die, asshole! PAGE 102 IS MISSING FROM THE HARD COPY OF THIS SCRIPT\",\n \"INT/EXT. VARIOUS LOCATIONS - DAYS FOLLOWING A dizzying montage of video `` real'' footage much like the opening of the film. TV Reporters telling us that `` once again, like Columbine and `` Basketball Diaries,'' life has imitated violent art. In this case, the Blair Witch Project,'' where, yesterday obsessed fans of the film performed ritualistic murder -'' Nick, Heather and Cotter seen : in cuffs, being led into the Baltimore Police Station. Seen : grainy static - cam of them being interrogated. Seen : news - film of the inside of the Loft - where Anna was found `` murdered.'' And then a closet where an unidentified nude woman was found similarly `` executed.'' The News camera zooms in on the nude body of Domini crumpled in that closet, visible rope burns on her neck. Seen : Nick's confession. That Anna admitted to being The Evil. Seen : the footage Heather shot of Anna `` confessing.'' But all the police and we see is Anna with a rope around her neck, pleading to Nick, Heather and Cotter not to kill her : `` I have n't done anything! Why are you doing this? Please, God -'' END\"\n]"},"labels":{"kind":"list like","value":[1,0,0,0,0,1,0,0,0,1,0,0,0,0,0,0,0,0,0,0,0,1,0,0,0,0,1,1,0,0,0,1,0,1,0,0,0,0,1,0,0,0,0,0,1,1,1,1,0,0,0,1,0,0,0,0,0,1,0,0,0,0,0,0,0,1],"string":"[\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 1,\n 1,\n 1,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 0,\n 1\n]"},"summary":{"kind":"string","value":"In November 1999, tourists and fans of The Blair Witch Project descend on the small town of Burkittsville, Maryland, where the film was set. Local resident Jeff, a former psychiatric patient and obsessed fan, orchestrates a group tour of locations featured in the film. Among the group are graduate students Stephen and his pregnant girlfriend, Tristen, who are researching mythology and mass hysteria; Erica, the Wiccan daughter of an Episcopal minister; and Kim, a goth psychic. They camp for the night in the ruins of Rustin Parr's house, where Jeff has placed surveillance cameras, hoping to capture supernatural occurrences. Jeff becomes unnerved when he notices a large tree located in the center of the house's foundation, claiming it was not there before. That night, another tour group arrives to camp at the ruins, but are misdirected to Coffin Rock by Jeff and Stephen. After drinking and smoking marijuana all night, the group awaken in the morning to find Stephen and Tristen's research documents shredded and strewn through the woods, and Jeff's cameras destroyed; his damaged tapes are uncovered beneath the house's foundation. Tristen suffers a miscarriage, and they rush her to the Burkitsville hospital. In her hospital room, Tristen sees a young girl walking backward. After she is discharged, the group retreat to Jeff's home, an industrial building that was once a factory. While Tristen rests, the group review Jeff's tapes, which uncover an image of Erica circling around a tree, nude. Distraught, Erica claims she has no memory of such event, and goes to pray in another room. When Kim tries to console her, Erica reveals rash-like symbols covering her body, and proclaims the group has been marked for death. Kim borrows Jeff's van to pick up coffee and alcohol in town. At the country store, she gets into an argument with the cashier. While driving away, she swerves to avoid a group of children in the road, and crashes the van into a tree, denting the fender. The children disappear when she exits the van. Later, Kim finds a bloody nail file stuck among the bottles of beer she purchased. The following morning, Jeff looks outside and sees the front end of his van entirely caved in, to the point that it is undriveable; Kim insists that the accident was minor. The group realize Erica is absent, and search the house. They attempt to call her father at his office but are told by his secretary that he has no children. Meanwhile, Tristen's disposition grows increasingly bizarre. The county sheriff, Cravens, calls Jeff, informing him the other tour group was found disembowled on Coffin Rock, and threatens him. Later while searching through a drawer, Kim finds a set of surveillance dossiers on herself and the others. She confronts Jeff, but he denies knowing the source of them. Shortly after, the group discovers Erica's corpse in a closet. Tristen begins chanting about widdershins and speaking backwards; this leads Kim to suggest they play Jeff's tapes in reverse. Upon doing so, they find the footage shows the high and drunken group descending into a demonic ritual and frenzied orgy led by Tristen, culminating in the murder of the other tour group at Coffin Rock. When they confront Tristen, she alternately pleads and goads them; Jeff, convinced Tristen is possessed by the Blair Witch, begins filming the confrontation, attempting to elicit a confession in Erica's death. The three follow Tristen to the second floor, where she ties a rope around her neck and taunts Stephen, daring him to push her. In a fit of rage, he pushes her over the balcony, killing her. Later, Jeff, Stephen, and Kim are arrested and interrogated by police. Each claim that a possessed Tristen was responsible. Their accounts are contradicted by various video footage: Security cameras captured Kim murdering the store cashier with her own nail file, while Jeff's home monitors show him, nude, hiding Erica's body in the closet; the DV footage Jeff filmed during Tristen's confrontation shows her pleading for her life as they accuse her of being a witch, ending in Stephen pushing her to her death. Later, funeral mourners arrive up in the woods to remember the other tour group that was murdered."},"name":{"kind":"string","value":"Book_of_Shadows:_Blair_Witch_2"}}}],"truncated":false,"partial":false},"paginationData":{"pageIndex":0,"numItemsPerPage":100,"numTotalItems":824,"offset":0,"length":100}},"jwt":"eyJhbGciOiJFZERTQSJ9.eyJyZWFkIjp0cnVlLCJwZXJtaXNzaW9ucyI6eyJyZXBvLmNvbnRlbnQucmVhZCI6dHJ1ZX0sImlhdCI6MTczMTYzNDI5Niwic3ViIjoiL2RhdGFzZXRzL3JvaGl0c2F4ZW5hL01FTlNBIiwiZXhwIjoxNzMxNjM3ODk2LCJpc3MiOiJodHRwczovL2h1Z2dpbmdmYWNlLmNvIn0.xdVhHeji5wVKj8tgOWSd2JeOKlNPDhb9W5NADvFoWBIAj6RdWf5mKbEALB9kmWdCDM76A2DGwwQYVlD2to3CCg","displayUrls":true},"discussionsStats":{"closed":0,"open":1,"total":1},"fullWidth":true,"hasGatedAccess":true,"hasFullAccess":true,"isEmbedded":false}">
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"INT. MIAMI UNIVERSITY - OXFORD OHIO - AUDITORIUM - DAY Stephen Meyers, Press Secretary to Governor Morris is standing at a podium on a stage. there is a single spotlight on him. The rest of the stage is dark. Stephen is talking into a mic with no emotion. just matter of factly. STEPHEN I am neither Christian. nor atheist. I am not Jewish or Muslim. What I believe. my religion is called the constitution. A pause. Stephen snaps his fingers in the mic. We hear the distinct sound of feedback getting louder until it stops. We hear the director speak over the loud speaker. DIRECTOR Hang on. let me open these up. We wait as Stephen looks around. He looks at stage hands who are busy working. No one pays any attention to him as he stands there. This is n't awkward for Stephen, THIS IS ROUTINE. DIRECTOR -LRB- CONT'D. -RRB- Okay. Lights come up on another podium revealing a debate stage. Stephen continues. STEPHEN I will defend till my dying breath your right to worship whatever god you believe in. The lights on Stephen's podium go out, he's in the dark. He keeps going. STEPHEN -LRB- CONT'D. -RRB- If I'm not religious enough for you, do n't vote for me. To the Director. STEPHEN -LRB- CONT'D. -RRB- You got it? His podium light comes back on. No answer from the Director, Stephen continues. STEPHEN -LRB- CONT'D. -RRB- If I'm not experienced enough do n't vote for me. If I'm not. DIRECTOR Okay got it, thanks. STEPHEN Thanks. We'll need these monitors turned up a bit. it's a big space and he wants to be able to hear. STAGE MANAGER You got it. STEPHEN Also we'll need these podiums put on a riser as we agreed to in the pre - conditions. You're a few inches short and it makes it harder for the Governor to read his notes. STAGE MANAGER No I know, we just got those specs last night and they're building a piece to go under. STEPHEN Great, thanks. See you guys in a few hours. We see we're in an auditorium of a college. Stephen meets up with BEN HARPEN his staffer. BEN I did n't know the Governor had trouble reading his notes. Why does n't he wear. STEPHEN He does n't but Pullman is 5' 8'' he'll look like a hobbit behind that podium. They walk off.",
"EXT. MIAMI UNIVERSITY - OXFORD OHIO - DAY ROB BRAUN, a local Cincinnati anchor, talks to camera as we see STEPHEN and BEN exit the building. Under this we hear Rachel Maddow reporting. RACHEL MADDOW -LRB- O.C. -RRB- Well it all comes down to this. We are one week away from the Ohio primary. Camera now moves past ROB to another news truck where an MSNBC REPORTER stands in front of a camera waiting to go live. There is a monitor in front of him. The camera keeps moving into the monitor where RACHEL MADDOW does the lead in. As RACHEL's audio continues we see the following images.",
"EXT. MIDDLE AMERICA We cruise along a snow - covered rural landscape - flat, gray, desolate. In the distance we see a barn with huge red - white - and - blue letters painted on the side. They read `` OHIO FOR MORRIS''. RACHEL MADDOW -LRB- O.S. -RRB- Two democrats are left standing. Senator Pullman of Arkansas who is trailing Governor Morris from Pennsylvania. Moments later we roll past another farm with a large billboard staked into the ground beside the road : `` PULLMAN - AMERICA'S FUTURE BEGINS ON MARCH 15th''.",
"EXT. SUBURBAN STREET We cut to canvassers - bundled to the hilt against the cold - knocking on doors in a suburban neighborhood. Yard signs for both candidates line the street. RACHEL MADDOW -LRB- O.S. -RRB- Governor Morris has mounted a sizable lead with 2047 delegates, winning New Hampshire, California, New York and Michigan. But Senator Pullman with 1302 delegates is still in the hunt having won Florida, Tennessee, Virginia and Missouri.",
"EXT. CITY INTERSECTION Supporters at an intersection waving hand - made signs to cars : `` HONK FOR MORRIS''. A passing car lays on the horn and the supporters cheer. RACHEL MADDOW -LRB- O.S. -RRB- A win in Ohio could turn it all around for the Arkansas Senator. CLOSE UP of a Pullman bumper sticker on an SUV at a stoplight, right next to a `` My Child is an Honor Student'' decal. RACHEL MADDOW -LRB- O.S. ; CONT'D. -RRB- So one week from Tuesday the all important hundred and eighty one Ohio delegates could be the deciding factor.",
"EXT. HARDWARE STORE A clerk placing a Morris sign in the store window. In the shop next door various TV's are in a window display. We see RACHEL MADDOW'S report on them. RACHEL MADDOW -LRB- O.S. -RRB- And once again the old adage is true. `` As goes Ohio, so goes the Nation.''",
"EXT. MIAMI UNIVERSITY - OXFORD OHIO - AFTERNOON We see Satellite trucks, press vehicles, police cars, etc.. At a catering truck, MOLLY STEARNS, a 19 year old intern grabs a tray of coffees and a box of doughnuts. We stay on her as she runs across the street and through a door.",
"INT. MIAMI UNIVERSITY - RAPID RESPONSE ROOM - CONTINUOUS MOLLY enters and we follow her through the campaign war room, it's the size of a coffin, jammed to the hilt with twenty - something staffers manning laptops. We're in the hustle and bustle of a live telecast. We see multiple angles of the telecast. SENATOR PULLMAN Would you call yourself a Christian? GOV. MORRIS How would that matter? SENATOR PULLMAN -LRB- READING. -RRB- `` I have no idea what happens when we die, maybe nothing. maybe it was like before we were born.'' You did write this Governor. GOV. MORRIS Then let me try and clarify. I was raised Catholic, I am not a practicing Catholic. I have no idea what happens when you die and if the Senator does, then perhaps he should be President. I'll even vote for him. The audience laughs. SENATOR PULLMAN Is that your idea of being specific? MOLLY passes out coffee.",
"INT. MIAMI UNIVERSITY - AUDITORIUM - CONTINUOUS We're now live inside the debate. GOV. MORRIS Let me be more specific. I am neither a Christian, nor an atheist, I'm not Jewish or Muslim. what I believe. my religion is written on a piece of parchment called the Constitution. Meaning I will defend, till my dying breath, your right to worship, in whatever God or lack thereof you believe in, as long as it does n't hurt others. I believe we should be judged as a government by how we take care of those who ca n't take care of themselves. That's my religion. If you feel that I'm not religious enough, then do n't vote for me. If you feel I'm not experienced enough or tall enough then do n't vote for me. Because I'm not going to change those to get elected. SENATOR PULLMAN I just wanted you to say out loud if you believed in the teachings of the Bible. GOV. MORRIS Is this a Democratic primary or a general election? People laugh. SENATOR PULLMAN -LRB- ON MONITOR. -RRB- Well Governor, whoever wins this contest will be running for President. and if you do n't think that these questions wo n't be central in a general election then you are living in fantasy land. I applaud your honesty Governor, I do. I'm simply pointing to what is obvious. we are running for President of the United States. not for student council president.",
"INT. MIAMI UNIVERSITY - BACKSTAGE - CONTINUOUS PAUL ZARA - Morris's campaign manager - is waiting in the wings off stage. STEPHEN sidles up next to him. In the background we can see the candidates shaking hands. There is applause. PAUL is pushing fifty with the grizzled look of a hardened campaign veteran. He's Stephen's boss, the only guy between him and Governor Morris. Arms crossed, they watch their man on stage. PAUL A double? STEPHEN A double. PAUL Fucking national security. The GOVERNOR looks off stage to PAUL and STEPHEN for approval. PAUL -LRB- CONT'D. -RRB- Outta the park. STEPHEN Home run. We hear the announcer thanking everyone for attending the debate. TOM DUFFY - campaign manager of the rival Pullman Campaign - is also watching from the wings. Duffy's smooth, calculated and icy. He walks over to Stephen and Paul. DUFFY I'm trying to remember if the democrats ever nominated an atheist before. PAUL Well, we know they've nominated jackasses before. DUFFY -LRB- TO STEPHEN. -RRB- Must've been you that did the prep work. Paul's not that clever. PAUL You always had the brains Duffy, but me - I always had the balls. DUFFY -LRB- nodding to Stephen. -RRB- Looks like you got some brains now too. Be careful. I just might have to steal him from you. Duffy walks off to greet Senator Pullman as he makes his way to the wings. Paul and Stephen eye him as he goes. PAUL What a prick.",
"INT. CINCINNATI RAMADA INN - THE BAR - NIGHT Stephen, Paul, Ida, and Ben are having drinks around a table. The mood is festive. There is a piano player playing, singing. PAUL has a roll - away suitcase beside him. IDA So Paul, tell me something I do n't know. tell me what's gon na happen on the 15th. PAUL Ha - ha. IDA What? PAUL What do you think Stevie? STEPHEN It's ours for the taking. PAUL Ben? BEN We'll win. PAUL What do you think Ida? IDA I'm asking you. PAUL You tell me and I'll tell you. IDA If had to say, I'd say it'll be close, but you'll eke it out. PAUL Eke? To STEPHEN. PAUL -LRB- CONT'D. -RRB- You see, she's trying to get under my skin. IDA So what's gon na happen? PAUL Us by nine. IDA Nine? There's no way you'll win by nine. STEPHEN At least. Maybe more. IDA -LRB- To PAUL. -RRB- So you're certain you're gon na win here? PAUL Certain? No. Confident? Yes. IDA You just said you'll win by nine. PAUL And I think we will, but I wo n't tell you it's a sure thing. Fucking Saint Gabriel can blow his horn on election day and get his four horseman to rig the ballot boxes for Pullman and it would n't surprise me. Do n't get me wrong. Six presidentials I've done and I've never felt this good. But am I gon na sit here and say `` Yes - we will definitely win Ohio''? Not a chance. In the last thirty years seventy - three Democrats have run for president. How many have won? Three. That means seventy guys ran who thought they had a chance, and they all lost. IDA So you're saying there's a good chance you wo n't win. PAUL Do n't twist my words. What I'm saying is that I'm not going to promise we'll win. But he's decorated by Bush Senior from the first Gulf war and protested the second. He left his state with a balanced budget and the fourth highest education rate. The Republicans have nobody out there that can touch this guy. so for this moment, this election, this primary is the presidential. And that Ida, is the state of the union. And on that note, I'm gon na take a shit. PAUL swigs down the rest of his drink and exits. IDA So Stephen. STEPHEN Yes Ida? IDA Stephen, Stephen, Stephen. STEPHEN Here it comes. hit me. IDA Paul's going to the airport? STEPHEN Yes? IDA Getting on a plane. STEPHEN Mmhmm. IDA Where is that plane going? STEPHEN Three guesses. IDA Not going back to headquarters. STEPHEN Correct. IDA He's not going to Texas? STEPHEN No need, we'll split Texas, it's a wash. IDA What if I said North Carolina? STEPHEN That's your guess? IDA He's going to North Carolina. STEPHEN I will neither confirm nor deny that statement. IDA I knew it. Now tell me why. STEPHEN That I can not do. IDA I hate you. STEPHEN You love me. IDA I love Paul. You I hate. STEPHEN You only love him because he gives you all the scoops. IDA Sexual favors? STEPHEN You're engaged. IDA If it meant a good scoop my fiance would understand. Beat. IDA -LRB- CONT'D. -RRB- You really buy into all this crap? All this take back the country nonsense? STEPHEN Ida I'm not naive about this stuff. I've worked on more campaigns than most people do by the time they're forty. I'm telling you this is the one. IDA You really have drunk the kool - aid. STEPHEN I have drunk it it's delicious. I do n't care whether he leads in the polls. I do n't care whether he has all the tools. Because the truth is, he's the only one that's going to make a difference in peoples lives. Even the people that hate him. If Mike Morris is President it says more about us than it does about him. I do n't give a fuck if he can win. He has to win. IDA Or what? The world will fall apart? It wo n't matter. Not one bit to the everyday lives of everyday fuckers who work and eat and sleep and get up and go back to work again. If your boy wins. You get a job in the white house. If he loses you're back at a consulting firm on K Street. That's it. You used to know that before you got all goosebumpy about this guy. Morris is a politician. He's a nice guy. They're all nice guys. He will let you down. sooner or later.",
"EXT. RAMADA INN SIDEWALK - LATER IDA and PAUL walk to Ida's car. PAUL This is off off off the record. IDA What? PAUL Franklin Thompson. IDA Seriously? PAUL Off the record. The only people who know are the Governor, Stephen and me. IDA My lips are sealed. PAUL I have a meeting tomorrow at Thompson's house. IDA He's gon na endorse? PAUL After I'm done talking with him, what do you think? IDA That's huge. PAUL It's more than huge. He has 356 pledged delegates. they all travel with him. That puts us over the top. IDA He's said publicly he's not gon na endorse anyone. PAUL That's what they all say until we get them alone in a room. IDA So this is for real? PAUL Yup. It's just about in the bag. IDA When are you gon na announce? PAUL Nope. That's all you get for now.",
"EXT. MORRIS HEADQUARTERS - CINCINNATI - NEXT DAY Establishing shot.",
"INT. MORRIS HEADQUARTERS - CINCINNATI - NEXT DAY Ben walks around to all the staffers, he hands out new cell phones. BEN Okay so listen up. these are your new cell phones. Shelly has pre - programmed everyone's numbers in. thank you Shelly. no personal calls. if you lose them, Paul has authorized me to kill you. Ben walks into Stephen's office and hands him his new phone. BEN -LRB- CONT'D. -RRB- New phones. STEPHEN I'll get it in a bit. As Ben leaves, we see that Stephen is looking at early footage of Governor Morris. Another staffer and an editor are watching it with him. Outside the office we can see other staffers, through the glass partitions, running around in campaign mode. We see some of the footage. GOV MORRIS -LRB- ON MONITOR. -RRB- The economy. health care. I've got to believe we can do it. We have enemies. we have to understand why our enemies are our enemies, and see if there is something we can do about that besides using force. What we know from history is the answer to extremism is not extremism. Whoever is the next president, whoever steps up, has got a lot of work to do, but you have a little work to do yourself. Stephen hits pause. STEPHEN Fucking kill me. where did we get this? EDITOR Before he announced at a town hall meeting in Pennsylvania. STEPHEN Thank God it was n't overseas. Just get rid of it - EDITOR It plays to his base, if - STEPHEN Are you fucking stoned. this is the same. the exact same piece the Republicans are gon na run against him in the general. we do n't need to brag about it. Hi I'm Neville Chamberlain and I want to be your commander in chief. EDITOR If it's gon na come out - STEPHEN It's gon na come out but not paid for by us pal. -LRB- To Staffer. -RRB- Any truth on whether Pullman had investments in those diamond mines in Liberia? STAFFER 1 We're still checking. it was a blog so who the fuck knows. STEPHEN Does n't matter I want to hear him denying it. If it's true, find out, if it's not, let them spend the next day telling the post that he does n't own a diamond mine in Liberia. win win. STAFFER 1 Okay. STEPHEN We need to counter this Christian shit we're taking from last night. so get going. Where's our cut on the new thirty and a sixty second spots? We'll show it to him this afternoon in the staff meeting. EDITOR Got it. The Editor and staffer exit. Stephen turns to his computer and types as Molly walks in and hands him some papers. MOLLY Ben wanted me to get you to sign off on this before the staff meeting. STEPHEN Oh, right. Thanks. I've been waiting for this. MOLLY Anything interesting? STEPHEN Just some white paper I got ta pass out tonight. MOLLY White paper? STEPHEN Negative shit. Our oppo guys do research - we feed it to the press, hope they bite. MOLLY So like what sort of negative stuff? STEPHEN Read tomorrow's paper and you'll see. MOLLY Which paper? STEPHEN All of them. MOLLY So it's something big? STEPHEN I wish it were something bigger actually. Just some transportation numbers. I'll have to spin this shit pretty heavy if we want it to stick. MOLLY Well that's what you're good at, right? STEPHEN I guess. MOLLY -LRB- Holding up her phone. -RRB- Did you get your phone? STEPHEN -LRB- Holds his up. -RRB- Just now. MOLLY -LRB- MOCK SERIOUS. -RRB- It's exciting is n't it? He looks at her. STEPHEN You a Bearcat? MOLLY A what? STEPHEN A Cincinnati Bearcat? MOLLY Oh no. I'm not from here. I worked with you in Iowa actually. STEPHEN Oh that's right. but you changed something. -LRB- Searching for a way out. -RRB- MOLLY My hair? STEPHEN You changed your hair. MOLLY -LRB- ENJOYING THIS. -RRB- No. STEPHEN I must look like a total dumb ass right now. MOLLY Not at all. you're the big man on campus. I'm just a lowly intern. STEPHEN Come on it's not like that. MOLLY Sure it is. you get to stay at the Millennium, they put us into a motel on the other side of the river. STEPHEN You're right, I am big man on campus. MOLLY Now you're starting to see. She starts to leave. MOLLY -LRB- CONT'D. -RRB- We do have the better bar though. STEPHEN I heard that. MOLLY You ought to stop by one night and have a drink with the worker bees. STEPHEN Maybe I will. when's a good night? MOLLY Tonight's good. STEPHEN Really? Tuesday? MOLLY Yeah it's quiet. STEPHEN Quiet's good. MOLLY Well you have my number. STEPHEN I do? MOLLY Programmed right there in your phone. STEPHEN Oh. right. -LRB- He opens the phone. -RRB- MOLLY Under Mary. STEPHEN -LRB- Looking at the phone. -RRB- Yup. Mary. Molly laughs. Then, as she exits : MOLLY Molly. my name's Molly. Stephen smiles to himself.",
"INT. SENATOR THOMPSON'S HOUSE - CHARLOTTE N.C. - DAY We follow a housekeeper down the hallway and into the living room where we see Paul sitting with, Senator Thompson. SENATOR THOMPSON That's what I'm hearing. since Super Tuesday I'm a very popular guy. What are your polls telling you? PAUL That Pullman's negatives are high. mid forties. Senator we have an open seat in the White House and the Republicans do n't have dick. They're disorganized and they ca n't find a nominee that is n't a world class fuck up. They look like Democrats. No Republican is gon na show up to vote for their guy. But if Pullman gets the Democratic nod they'll show up to vote against him. SENATOR THOMPSON And so you think they wo n't for your guy. you think Morris gets into the independents? PAUL I sure do. Senator. I'm a bit confused. we need your delegates. we need you. your fund raising. It was my understanding that. your endorsement a week before Ohio. would win this for us. SENATOR THOMPSON -LRB- Looks to his aide. -RRB- Estella. hand me that ice bucket.",
"INT. MORRIS HEADQUARTERS - CINCINNATI - SAME DAY We're in a staff meeting with the brain trust. Paul's gone but the rest are there. STEPHEN, BEN, GOVERNOR MORRIS. MOLLY is running in and out, she gets glances from all the guys. STEPHEN Paul knows. Paul agrees. GOV. MORRIS Ben, where's my op ed on national service? It's better for me to work off of that. BEN Got it right here. -LRB- He opens his laptop. -RRB- GOV. MORRIS Get me a hard copy. I hate these fucking things. STEPHEN Print it out. BEN I'll get it printed. Molly, I'm printing out this op ed. can you grab it off the printer? MOLLY Be right back. STEPHEN Governor. if you want to change. or lets call it refresh. GOV. MORRIS Just give me a second. STEPHEN National service is n't polling like the rest of your domestic policy. GOV. MORRIS I do n't give a shit about polling. I'm not going to play this game with you Stephen. and if this is your good cop bad cop act with Paul. STEPHEN Good cop, good cop. GOV. MORRIS I'm not changing it. MOLLY returns and hands the Governor a copy. GOV. MORRIS -LRB- CONT'D. -RRB- Hang on. He reads down until he finds what he's looking for. GOV. MORRIS -LRB- CONT'D. -RRB- Yeah I said it all here, `` It's going to help people get an education. it's going to create national unity. it's going to teach young people a trade. and it's going to help get people out of debt from college loans. Tell me where that fails. STEPHEN All of that is exactly right. Governor if you're going to do it. then do it. Do n't make it voluntary. mandatory. GOV. MORRIS That'll poll well. STEPHEN Mandatory! everyone who graduates high school or turns eighteen, gives two years to his or her country. Military. peace corps. plant fucking trees, I do n't care. and for that. their college education is paid for. period. GOV. MORRIS We do all of that now, with this. STEPHEN No sir you do n't. do it all. all the way. Mandatory. GOV. MORRIS Paul likes this? you guys are my brain trust. STEPHEN And here's the beauty of it. everyone who is older than eighteen and past the age of eligibility, would be for it. create national pride. give all the kids an education. GOV. MORRIS And all the others? STEPHEN Ca n't vote. Too young. This sits with them. Some start to smile. STEPHEN -LRB- CONT'D. -RRB- You ca n't lose. MOLLY enters. MOLLY Stephen you have a call on three, your dad. GOV. MORRIS Okay, you and Ben work it into the stump speech - get me a hard copy and I'll write it in my own words. STEPHEN Remember, Governor. you have a six o'clock with Charlie Rose. GOV. MORRIS Why am I doing him? STEPHEN It's long form. he's flying in. GOV. MORRIS Is Paul going? STEPHEN No, he wo n't be back. Ben and I are taking you. He exits.",
"INT. STEPHEN'S OFFICE / INT. DUFFY'S OFFICE CONTINUOUS STEPHEN picks up the receiver and pushes line three. STEPHEN Do n't tell me anyone's died. DUFFY Hey Stephen. STEPHEN Who is this? DUFFY Tom Duffy. sorry about the dad bit. but I did n't think you'd want my name yelled out at a Morris campaign office. STEPHEN gets up and closes the door. STEPHEN What do you want? DUFFY You got a couple of minutes. I'd like to sit down with you. STEPHEN What for? DUFFY I think it's important. STEPHEN If it's important should n't you be calling Paul? DUFFY I'm calling you. This is all on the up and up. just give me five minutes. STEPHEN I ca n't be talking to you. DUFFY I hear you. but if you get five minutes. I'll be at the Heads First Sports Bar for the next couple of hours. STEPHEN I ca n't Tom. DUFFY There wo n't be anybody there. if you get a chance there's something I want to show you. DUFFY hangs up. STEPHEN sits for a few beats. He picks up his cell phone and dials. it goes straight to voice mail. STEPHEN Paul, listen, call me as soon as you can. it's important. STEPHEN hangs up the phone and we stay with him.",
"INT. STEPHEN'S RENTAL CAR - OUTSIDE HEAD FIRST SPORTS BAR - LATER STEPHEN sits in the car, he watches the door of the bar making sure no one is around.",
"INT. HEAD FIRST SPORTS BAR - CINCINNATI - LATER We're in a run - down bar in Cincinnati. The furniture is shabby - Formica tables, cheap metal framed chairs. The place is desolate except for TOM and STEPHEN who sit at the bar. DUFFY You're working for the wrong man. STEPHEN You're working for the wrong man. DUFFY Oh on the contrary you are working for the wrong man. You've got something the other guys do n't have. STEPHEN Yeah? DUFFY Yeah, what is it exactly? Charm is n't the right word. It's more than that. You exude something. You draw people in. All the reporters love you. Even the ones that hate you love you. You play them all like they're pieces on a chess board. And you make it look effortless. We both know how much work it takes, constantly being on guard, weighing every word so carefully, every move. But from the outside, you make it look easy. People are scared of you because they do n't understand how you do it, and they love you for it. There's nothing more valuable in this business - the ability to win people's respect by making them mistake their fear for love. You can guess what I'm gon na say next. STEPHEN No. I do n't think I can. DUFFY I want you to work for us. STEPHEN You got ta be kidding me. DUFFY Not in the least. Beat. You are going to lose Ohio. STEPHEN I am not. DUFFY You're sitting on about a six percent lead in both polls. six percent of the Democrats polled. STEPHEN Eight. DUFFY Six. but that does n't matter. Independents and Republicans can vote for the Democratic candidate. STEPHEN You think they like your guy? pro choice. tax and spend liberal? DUFFY Fuck no they hate him. they think they can beat my guy. but they're worried about yours. so starting tomorrow morning you're gon na see a fucking blitz. Rush Limbaugh, Sean Hannity, all the right wing blogs are gon na start a `` Get out the vote campaign''. it's already started. every fucking conservative in Ohio is gon na stand in line and punch my guys ticket. that's just one of the steps. Ohio is gone. the polls do n't mean shit. tomorrow morning everyone will know. that's why I want you to handle the fallout we'll take in the press. They look at each other. DUFFY -LRB- CONT'D. -RRB- And by the way. we've got Thompson in the bag. STEPHEN I know for a fact that Thompson is going with us. DUFFY We promised him Secretary of State, Ohio is over. it's been over for weeks. and with Thompson's delegates. I'm thinking down the road now. that's why I want you. I'll bring you in straight at the top. STEPHEN I ca n't do it. DUFFY I'm not asking for an answer right this moment. STEPHEN I've played dirty but I do n't have to play dirty anymore. you know why? Cause I got Morris! DUFFY None of this is about the democratic process Steve, It's about getting your guy into office. Simple as that. STEPHEN This is the sort of shit the Republicans pull. DUFFY You're right, this is exactly what the Republicans do, and it's about time we learned from them. They're meaner, tougher and more disciplined than we are. I've been in this business for twenty five years and I've seen way too many Democrats bite the dust because they would n't get down in the mud with the fucking elephants. STEPHEN Paul's a friend. DUFFY Do you want to work for a friend or do you want to work for the President? Think about it. you have my number. Duffy gets up and leaves.",
"EXT HEAD FIRST SPORTS BAR / PAUL'S RENTAL CAR / RESIDENTIAL STREET STEPHEN walks to his car. He dials PAUL on his phone. Paul is in North Carolina driving. We intercut. STEPHEN Paul. PAUL -LRB- O.S. -RRB- They do n't make quaaludes any more do they? STEPHEN Not that I know of. What's going on with Thompson? PAUL -LRB- O.S. -RRB- He wants something but we'll be fine. So what's so important? STEPHEN It's nothing. never mind. PAUL -LRB- O.S. -RRB- Allright. I'm on the cell if you need me. I fly to DC tomorrow and back tomorrow night. STEPHEN Yeah okay. I'll look for quaaludes. PAUL -LRB- O.S. -RRB- Good man. STEPHEN ends the call. He stands in silence.",
"INT. HOTEL ROOM - CINCINNATI - NIGHT We're in the bathroom of a hotel room. GOVERNOR MORRIS is being made up for the Charlie Rose Show. A SECRET SERVICE AGENT stands in the adjoining room. The GOVERNOR talks to the MAKE - UP LADY while STEPHEN and BEN stand in the adjoining room as well. STEPHEN -LRB- TO BEN. -RRB- Just get online and see if there's any chatter on the blogs. BEN What kind of chatter? There's always chatter. STEPHEN I do n't know. just see what they're talking about. BEN Give me a second. He sets his laptop down and starts typing. The Governor, who's been talking the whole time, yells out through the door. GOV. MORRIS Stephen. you're still single, right? STEPHEN I'm married to the campaign, Governor. GOV. MORRIS Good answer. -LRB- to the make - up girl. -RRB- He's married to the campaign. BEN -LRB- looking at his computer. -RRB- Wall Street Journal poll has our numbers holding steady and Pullman dropped a point. STEPHEN Really? When did they do that? Governor. Wall Street Journal numbers are in. and Pullman's down a point. GOV. MORRIS Now we're moving in the right direction. Ben, are you still single? BEN I'm married to the campaign, Governor. GOV. MORRIS -LRB- to the make - up girl. -RRB- Crack team. The GOVERNOR starts to sing `` The Best Is Yet To Come''. STEPHEN -LRB- TO BEN. -RRB- Make sure Charlie Rose has these latest numbers before he goes on. BEN -LRB- JUMPS UP. -RRB- I'm on it. STEPHEN And get a copy of the show before we leave.",
"INT. HOTEL CONFERENCE ROOM - MINUTES LATER The room has been transformed into an interview space. ON AIR- CHARLIE ROSE and GOV. MORRIS mid - interview. GOV. MORRIS Is it a difficult decision? I would have to believe that it is. would I do it? No. but I ca n't see myself. or anyone. certainly not a government, telling a woman what she can do with her body. CHARLIE ROSE So you would appoint a judge to. GOV. MORRIS I would consider it arrogant to judge someone until I've walked in their shoes. CHARLIE ROSE But you're against the death penalty? GOV. MORRIS Yes. Because of what it says about us as a society. CHARLIE ROSE Suppose Governor it was your wife. GOV. MORRIS And she was murdered, what would I do. CHARLIE ROSE It gets more complicated when it's personal. GOV. MORRIS Sure. well if I could get to him I'd find a way to kill him. CHARLIE ROSE So you, you Governor would impose the death penalty. GOV. MORRIS No, I would commit a crime for which I would happily go to jail. CHARLIE ROSE Then why not let society do that? GOV. MORRIS Because society has to be better than the individual. If I were to do that I would be wrong. CHARLIE ROSE And what about guns? GOV. MORRIS Is n't it time for a commercial. They laugh. CHARLIE ROSE This is public TV, we do n't have commercials. GOV. MORRIS That's unfortunate. 25 CUT TO: 25",
"INT. MOTEL - KENTUCKY - NIGHT We're in Kentucky, just over the Ohio River from Cincinnati. says. This is where all the interns stay. In the hotel bar, Stephen and Molly are sitting at a back table, they've both been drinking hard. STEPHEN Where'd you go after Iowa? MOLLY California for Super Tuesday. STEPHEN I had to go to New York. MOLLY I know. you guys needed a lot more help over there. STEPHEN Yeah. So why politics? MOLLY Because the pay is so good. STEPHEN It just seems like an odd fit. MOLLY My dad is Jack Stearns. Beat. STEPHEN He's a good guy. MOLLY He's an asshole but he's your boss. STEPHEN He's not my boss. He's the head of the DNC. MOLLY You do n't work for the Democratic National Committee? STEPHEN I work for Paul, Paul works for Morris and if Morris wins, he's going to be your dad's boss. MOLLY Do n't tell my dad that. STEPHEN Do n't tell your dad a lot of things. MOLLY Never. STEPHEN What time do you start tomorrow? MOLLY Nine AM. I'm showing the new interns how to robo call. you see. I'm the experienced intern. STEPHEN I do see. MOLLY How old are you? STEPHEN How old do you think I am? MOLLY Thirty? STEPHEN You think I'm thirty? MOLLY I'm sorry, how old are you? STEPHEN Thirty. how old are you? MOLLY How old do you think I am? STEPHEN Twenty one? MOLLY Twenty. STEPHEN That's young. MOLLY Too young to fuck a thirty year old? STEPHEN See laws are different in different states. Here in your hotel, in Kentucky. it's frowned upon. but we'll go across the bridge into Ohio. MOLLY Where your hotel is? STEPHEN Yeah surprisingly they're very lax about their child endangerment laws. MOLLY You have a car? I do n't drive. STEPHEN I took a cab. MOLLY I have the keys to the campaign bus. On their smiles",
"EXT. MILLENNIUM HOTEL - CINCINNATI - MINUTES LATER The Morris campaign bus is parked badly, a tire up on the curb in front of the hotel.",
"INT. MILLENNIUM HOTEL - STEPHENS'S ROOM - EARLY MORNING STEPHEN is on his cell phone, he paces back and forth in front of the TV - A news show in on. MOLLY is in bed - sheets pulled up around her, she's just waking up. CHRIS MATTHEWS -LRB- ON TV. -RRB- In fairness, this has been tried before. Operation Chaos, as Rush Limbaugh called it, where Republicans voted for a Democrat they thought they could beat in the general election. We asked Senator Pullman's campaign manager if this sudden right wing support is welcome. Cut to a pre - tape with DUFFY. DUFFY -LRB- O.S. -RRB- Is it decisive? Of Course not. look, we believe that the polls are within the margin of error and that the Senator will win Ohio. with Ohio Democrats. I ca n't really see Republicans showing up to vote for our candidate. having said that, we'll take all the support we can get. STEPHEN -LRB- On the phone. -RRB- What time does Paul land? Christ. who do we talk to about polling? no. I just. I just need to get some internal polling on the fucking Independents and the right - wing nuts. MOLLY Do you want me to go? He gestures for her to wait. STEPHEN Listen, put me on the line with. what's the guy's name at the Wall Street Journal? yeah. MOLLY You seem busy. I should go. He whispers to her. STEPHEN Wait. Back to phone. STEPHEN -LRB- CONT'D. -RRB- Right. Adler. get me on the line with him. MOLLY Steve? She starts to get dressed. STEPHEN Molly listen, just give me a second. I want to talk to you about something. MOLLY We can talk about it later if. Stephen holds his finger up. STEPHEN -LRB- INTO PHONE. -RRB- What? No nobody. just the cleaning lady. listen Ben. keep trying till you get him. We're gon na go with the position that we've always said, the race is closer than the polling. right. no do n't. do n't say that. just get him on the line and call me. I'll handle it. yup. He hangs up. STEPHEN -LRB- CONT'D. -RRB- Sorry about that. MOLLY The cleaning lady. STEPHEN What? MOLLY You called me the cleaning lady. STEPHEN You're not mad about that are you? MOLLY No why would I be mad? Beat. MOLLY looks at the TV. MOLLY -LRB- CONT'D. -RRB- Look. STEPHEN'S eyes go to the TV where CHRIS is still talking. CHRIS MATHEWS Earlier I spoke with Jack Stearns, head of the DNC, and he had this to say. JACK STEARNS I know you're looking for a reaction, but listen we have two great candidates in a very tight race. and at the end of the day the voters will decide who best can represent this party in the fall. CHRIS MATHEWS I understand Jack - but does n't this kind of disruption take away from what you want to be pushing this year? Back to STEPHEN STEPHEN Your dad is an asshole. MOLLY I'll tell him you said that. STEPHEN Do that. MOLLY You said you wanted to talk to me about something? STEPHEN Yeah, I just wanted. I just wanted to be clear about everything. so there's no confusion. MOLLY I wo n't tell anyone about last night. STEPHEN Well yeah, I'd appreciate it if we kept this. I mean, you know how people are. MOLLY Really would n't look good if you screwed an intern. STEPHEN It's not like I got drunk and this happened. I mean. I wanted to. I really like you. you're smart. but I just. I do n't want there to be any expectations. MOLLY Steven, you do n't have to say anything. STEPHEN I just do n't want you to think I'm some kind of player. MOLLY Well you are kind of a player, but that's okay. STEPHEN No I'm not. I was being polite. MOLLY starts to tie STEPHENS tie. MOLLY Bullshit. you were trying to pick me up. STEPHEN No I was n't. MOLLY You were pretty obvious about it. STEPHEN I was? MOLLY Totally. STEPHEN I thought I was being all smooth and subtle. MOLLY You were pretty forward. STEPHEN You were pretty forward. inviting me to the bar. MOLLY Well. I've been trying to fuck you for a while. STEPHEN Wow. MOLLY Pretty slutty of me, huh? STEPHEN No, not at all. I mean I kind of respect it in a weird sort of way. MOLLY Good. STEPHEN You have absolutely no idea how to tie a tie do you. MOLLY No no not a clue. STEPHEN You're very mature. MOLLY For a teenager. Molly kisses him and exits.",
"EXT. TARMAC - LUNKEN AIRFIELD - CINCINNATI - LATER We Intercut with PAUL driving. STEPHEN walks towards a private jet, the GOVERNOR is at the plane talking to some aides. STEPHEN When are you coming back? PAUL I'll be at the event. a little late. these cock suckers. fucking dirty shit. STEPHEN What happened with Thompson? PAUL Nothing, the prick. we had him all sewed up. MOTHER FUCKER. how bad is it? STEPHEN I'm running some numbers now. I do n't know. PAUL Alright, I'll be there in three hours. I want hard numbers. and a strategy. STEPHEN Yeah I'm on it. I got ta go. He hangs up.",
"INT. PRIVATE JET The GOVERNOR and STEPHEN are flying through a bad storm, the plane is getting knocked all around. Also on Board are BEN and a SECRET SERVICE AGENT. Stephen is holding onto the armrests, white knuckling it, the Governor watches him. GOV. MORRIS You okay? STEPHEN Yup. -LRB- Nope. -RRB- Just trying to figure out our stops on the ground. GOV. MORRIS I think the weather might determine that. If we get there. Both men sit with their heads back on the headrests. STEPHEN We'll be fine. we have to do it. and it's the right thing. Nothing bad happens when it's the right thing. GOV. MORRIS Is this your personal theory. cause I can shoot holes in it. Roberto Clemente. on a humanitarian flight. STEPHEN Well there are exceptions to every rule. They smile. The Governor looks at Stephen. GOV. MORRIS So how we doin? STEPHEN Fine now. GOV. MORRIS No I mean. the campaign how we doin? STEPHEN Great. GOV. MORRIS Listen Stephen. you're not Paul. I pay him to use the word `` great''. I pay you to tell me the truth. STEPHEN I think we're solid. GOV. MORRIS Okay Paul. STEPHEN Governor there's a big difference between Paul and me. Paul only believes in winning so he'll do or say anything to win. GOV. MORRIS But you would n't. STEPHEN I'll do or say anything if I believe in it. but I have to believe in the cause. GOV. MORRIS You'll make a lousy consultant when you're out of this line of work. STEPHEN Well I wo n't be out of this line of work as long as you're in it. GOV. MORRIS So at best you've got eight years. then you'll end up with a nice little consultant firm on Farragut North. eating at the Palm. pulling in seven hundred and fifty grand a year. pimping out Senators to Saudi Princes. They both smile. STEPHEN Pimping out ex presidents. GOV. MORRIS Then I better win. STEPHEN Yeah.",
"INT. KENT STATE UNIVERSITY - OHIO - LATER We're in a large hall. GOVERNOR MORRIS is on stage, he stands in front of a huge American flag. Morris's wife CINDY is standing in the wings along with their seven year old daughter BETH. GOVERNOR MORRIS addresses the crowd. GOV. MORRIS Now, I've been married for eleven years, to the smartest person I know. and we have a normal marriage. which means when we disagree. she wins. What we do n't ever disagree on is how we're going to leave this planet for our daughter. Are we gon na leave it better off, or worse? The richest people in this country do n't pay their fare share. And when they're asked to, they cry socialism, they use phrases like redistribution of wealth. That scares everybody and they all run and they hide. For the record, my campaign is vehemently against the distribution of wealth to the richest Americans, by our government! And I will run on that!",
"INT. KENT STATE UNIVERSITY - BACK STAGE - CONTINUOUS PAUL and STEPHEN are back stage behind the huge American flag. We can hear the Governor's speech in the B.G. STEPHEN I did n't think it was true. PAUL Whoa. STEPHEN But I should have told you this yesterday. sorry. PAUL - Slow down. STEPHEN I met with Tom Duffy yesterday. PAUL What? STEPHEN You were on a plane and he called me and he asked if we could meet. And I said why. he said it was very important so I did. but I should've fucking told you. PAUL Stop Stop let me get this straight. You met with Tom Duffy? STEPHEN Yes. PAUL What'd he want Stephen? STEPHEN - the gist of it is he wants to hire me. He wants me to jump ship and come work for him. this is bad Paul. He showed me poll numbers with Pullman ahead by four. We're in really deep fucking trouble he laid out their whole plan. Robo - calls, traffic jams, fake lit, and fucking Thompson. They promised him Secretary of State.",
"INT. KENT STATE UNIVERSITY - STAGE - CONTINUOUS GOV. MORRIS You know how you fight the war on terror? Do n't need their product anymore. Their product is oil, just do n't need it and they go away. We do n't have to bomb anyone we do n't have to invade anyone!",
"INT. KENT STATE UNIVERSITY - BACK STAGE - CONTINUOUS PAUL If this is some sort of practical - I mean - my fucking blood pressure is going through the roof right now. STEPHEN Paul I'm sorry. Believe me. I just did n't think it was true. PAUL It does n't fucking matter what you thought. It matters what you did. It matters what you did n't do. If all this shit is true I made a fucking ass of myself at Thompson's place. And I gave away our game plan. STEPHEN Please believe me that I honestly believed you were gon na come back and you were gon na tell me that we have Thompson in the bag and I did n't see the point. But it does n't make it right and I'm sorry. PAUL Let me think. let me think.",
"INT. KENT STATE UNIVERSITY - STAGE - CONTINUOUS GOV. MORRIS If I'm your president, the first thing I put in motion, ten years from the day I'm in office. no new car in America runs on an internal combustion engine. It'll create hundreds of thousands of new jobs. we will start the next technological revolution and we will lead the world again. like we used to.",
"INT. KENT STATE UNIVERSITY - BACK STAGE - CONTINUOUS PAUL We get the Governor right after he finishes singing Kum Bay Ya and give him everything we know. STEPHEN Who do you want. PAUL You, me and the Governor, that's it! What's he got after? STEPHEN A fund - raiser in Cleveland tonight. PAUL He'll be late. we're gon na tell him that if he does n't offer Thompson a cabinet position. he's not gon na get the nomination. STEPHEN Will he go for it? PAUL I do n't fucking know Stephen. As Paul exits he shoots back. PAUL -LRB- CONT'D. -RRB- Find us a room.",
"INT. KENT STATE UNIVERSITY LOBBY MOLLY walks up the steps of the auditorium into the lobby, a staffer hands her some papers and she continues. We pull her down a corridor and land at a rehearsal room door. She hands the papers to BEN. The Governor's wife CINDY, daughter BETH and a security man are waiting outside the door.",
"INT. KENT STATE UNIVERSITY - REHEARSAL ROOM GOV. MORRIS How real are the numbers? STEPHEN We might pick up a couple of points. but we're. I do n't know, we lose by three or four percent. PAUL Who the fuck knows Governor. but we ca n't take the chance. GOV. MORRIS What do you think? PAUL I think we fold up the campaign in Ohio. take a loss and blame it on the Republican's playing games. head to North Carolina. GOV. MORRIS I ca n't run from Ohio. they'll kill us. PAUL Not if you get Thompson's endorsement. GOV. MORRIS I'm not gon na do it. What's he want head of the FDA or something ridiculous? STEPHEN Cabinet post. GOV. MORRIS Labor? STEPHEN State. This sits with them. GOV. MORRIS Are you fucking kidding me. I'm gon na give Secretary of State to a guy who wants to cut the top ten floors off the UN? Paul when we started this campaign I said I was n't gon na make those kind of deals. PAUL Governor, if you lose Ohio, and they get Thompson's delegates. Then they get North Carolina. then they get the lead. A lead you ca n't beat. But if we walk from Ohio, take Thompson, give him a cabinet post, then we take North Carolina. His state. Then Pennsylvania. Your state. And then it's simple math Mike. Take his endorsement and the race is over. GOV. MORRIS Paul, I respect you. respect your opinion. but I'm never gon na do it. so I suggest we find a way for me to win Ohio. They sit there looking at their shoes. GOV. MORRIS -LRB- CONT'D. -RRB- Anything else? Off their looks we -",
"INT. MORRIS HEADQUARTERS - CINCINNATI - LATE AFTERNOON We're mid action. Everyone is there. Phones. emails. people running in and out. STEPHEN, BEN, MOLLY. sleeves rolled up. PAUL is in a closed room but we can see him on the phone. STEPHEN -LRB- On the phone. -RRB- Do we have any other senators that can go to bat for us? House members wo n't do. BEN -LRB- Whispering to him. -RRB- Or a Congressman from Ohio maybe. STEPHEN Right. but we need a Senator. one from Ohio would be nice. We push the camera through the room, edging closer to PAUL. MOLLY -LRB- TO STEPHEN. -RRB- This is all the car rental companies in Northern Ohio. they've booked every single van for Tuesday. STEPHEN Fuck. Jess, I'll call you back. -LRB- To Molly. -RRB- All of them? Goddamit! BEN -LRB- On the computer. -RRB- Here's what I have so far. Independents do n't seem to be biting, but Republicans are. or say they are. STEPHEN They're not gon na tell a pollster that they're gon na vote Democratic. I do n't even know how to read these polls. MOLLY I called and we can get a hundred vans out of Covington and Newport Kentucky. STEPHEN We do n't need the fucking vans. we just do n't want Pullman to have them. We keep pushing in on PAUL until we can hear him talking to a reporter on the phone. - During this conversation he types on his laptop. PAUL No, No that's not what I'm saying. we were the underdog before we got into this and we continue to be the underdog. well the numbers. we knew the numbers would get closer the closer we got to Tuesday. I'm not lowering expectations. have you ever heard me say that we had Ohio locked? Then at least give me the courtesy of printing that in your column.",
"EXT. GOVERNORS SUV - NIGHT We see The SUV drive down the highway.",
"INT. GOVERNORS SUV - NIGHT We're in the second row of seats of the Governor's SUV. CINDY'S head on his shoulder. They are very comfortable and easy with each other. The Governor is writing a speech on a legal pad. CINDY What're you writing? GOV. MORRIS The greatest speech ever given on hydrogen power. CINDY The bar is awfully high on that one. GOV. MORRIS Do n't I know it. CINDY I got hit up by Mitchell's wife for you to show up at her `` Daughters of the American Revolution'' luncheon. GOV. MORRIS Who's Mitchell? CINDY Congressman from the first district. You might want to remember that. GOV. MORRIS Fucking Congressmen. Could you imagine doing this every two years? CINDY No I ca n't. Lets just do this one more time. GOV. MORRIS In four more years. CINDY That's it. GOV. MORRIS Deal. BEAT CINDY You think we'll lose Ohio? GOV. MORRIS I do n't know. CINDY If you took Thompson's delegates the race is over. Ohio would n't matter. GOV. MORRIS Is Paul working on you? CINDY -LRB- Shaking her head. -RRB- Stephen. GOV. MORRIS -LRB- SMILING. -RRB- They are good. CINDY Is Thompson so bad? GOV. MORRIS He's a shit. CINDY Worse than Pullman? GOV. MORRIS Yes Stephen. Beat. GOV. MORRIS -LRB- CONT'D. -RRB- Every time I draw a line in the sand. and I keep moving it. Fund raising, union deals. I was n't going to do any of it. negative ads. I ca n't on this one. Not Thompson. Beat. GOV. MORRIS -LRB- CONT'D. -RRB- Tell Mrs. Mitchell I'll make her goddamn luncheon. Beat. GOV. MORRIS -LRB- CONT'D. -RRB- Let the old ladies pat me on the head. They smile. CINDY You've got great hair. GOV. MORRIS You too baby. They lay their heads back onto the headrests.",
"INT. PERFORMING ARTS BUILDING - DAYTON COMMUNITY COLLEGE A BIT LATER A few hundred students sit around The GOVERNOR in a theater as he fields questions. MORRIS is cornered by a conservative student. STUDENT 1 Gay marriage? GOV. MORRIS It's a silly argument. STUDENT 1 Not to fifty percent of Americans. GOV. MORRIS Over the age of fifty. STUDENT 1 That's who votes. that's who shows up at the polls. GOV. MORRIS Well that's changing. and hopefully the way we frame the argument is. At this point the camera travels backstage to find STEPHEN, BEN, PAUL and MOLLY working the phones and laptops. PAUL -LRB- TO STEPHEN. -RRB- Keep an eye on the Governor. STEPHEN -LRB- TO BEN. -RRB- Let me know how it's going out there. STEPHEN -LRB- CONT'D. -RRB- I'm on it. BEN takes us back out, and under this we hear the GOVERNOR continue debating. STUDENT 1 From. a religious. a GOV. MORRIS From a religious to a civil rights issue. STUDENT 1 But one could argue a great difference between gender and race. GOV. MORRIS Not really. They used to ban interracial marriage. women could n't vote. the list goes on. STUDENT 1 The argument of course - We hear boos from students in the audience. At this point the camera finds MORRIS. Morris quiets the students. GOV. MORRIS Now wait she has a point to make. STUDENT 1 The argument is that men and women, can in fact be separate but equal, races can not. GOV. MORRIS How so? STUDENT 1 You have separate public bathrooms for men and women but it would be illegal to have separate bathrooms for two races. GOV. MORRIS Now. STUDENT 1 -LRB- LAUGHING. -RRB- Yes now. Audience laughs. GOV. MORRIS So that's what I'm saying.",
"INT. PERFORMING ARTS BUILDING LOBBY - AFTER STEPHEN, BEN and the rest, head out of the town hall to get on the bus. STEPHEN What time is this on tonight? BEN Nine o'clock. STEPHEN How'd he do? BEN He did good.",
"EXT. CAMPAIGN BUS - NIGHT The bus rolls down the highway",
"INT. CAMPAIGN BUS - NIGHT It's a flurry of activity. STEPHEN, BEN, MOLLY and our REGULAR STAFFERS. are all on phones, Blackberry's and laptop's. MOLLY looks back over her shoulder to STEPHEN, who's face is lit by his laptop. He looks up. they lock eyes.",
"INT. MILLENNIUM HOTEL - STEVEN'S ROOM - NIGHT We're tight on a TV. It's the taped broadcast of the previous town hall meeting. As the scene plays we pull back to see STEPHEN and MOLLY making love. We see pieces of body parts. Hands. a leg. hair being pulled. it's what we've grown used to seeing in a seventies love scene, all lit by the flickering of a television. The only score we hear is the sound of the TV. GOV. MORRIS See we're framing the argument based on the idea that homosexuality is a choice, you choose to be gay, not that you were born that way like being born black. Because if you start the discussion with the idea that gay is not a life choice but part of your DNA, then gay marriage is and can only be a civil rights issue. ANOTHER STUDENT steps up to the microphone. STUDENT 2 Do you think candor is your appeal? Is that what you're running on as much as your platform? GOV. MORRIS We'll see. It'll drive them to the polls one way or the other. STUDENT 2 I just heard a lot of Christian Coalition cars start up. We pull focus now onto STEPHEN and MOLLY. STEPHEN on top not moving. He looks down to the area where an erection would normally be at this time. then he looks back to Molly. STEPHEN It's not you. They laugh.",
"INT. MILLENNIUM HOTEL - STEVEN'S ROOM - NIGHT - LATER Stephen is lying in bed working on some papers. Molly is asleep next to him. Stephen's cell phone rings. STEPHEN Hello. Almost at the same time we hear another man's voice on the phone. VOICE Molly? They both stop. No one speaks. Stephen is about to speak again when the caller hangs up. Stephen looks at the phone. he then looks to the bedside table where he sees an identical phone. His phone. He's picked up Molly's phone by mistake. He looks at the name of the incoming call. there is none. he looks at the caller ID number. he looks at the clock. 2:30 AM. STEPHEN Your phone rang. MOLLY Really? STEPHEN Who's calling at 2:30 in the morning? MOLLY I do n't know? STEPHEN He asked for you by name. MOLLY You answered it? STEPHEN I thought it was mine. Who was it? MOLLY I do n't know. STEPHEN One of the other interns drunk dialing you? MOLLY -LRB- KIDDING. -RRB- Oh that never happens. let me see the number. She reaches for the phone, but Steven keeps it away from her. STEPHEN Hold on. MOLLY -LRB- Still waiting for it. -RRB- Stephen. STEPHEN I'm gon na call him back. He pushes the redial button. MOLLY No! STEPHEN And I'm gon na tell him that I'm your dad. MOLLY Gim me my phone Stephen! STEPHEN And I'm gon na tell him I'm coming over there with a shotgun. MOLLY -LRB- Getting more urgent. -RRB- Do n't do that Stephen. Hang up! Stephen, listens to the outgoing message, while he looks at Molly. her eyes starting to well up. We hear the buzzing of the message through the phone. Then we see Stephens reaction as it begins to dawn on him who he's listening to. He closes the phone without leaving a message. Beat. STEPHEN Why is the Governor calling you at 2:30 in the morning? She says nothing. STEPHEN -LRB- CONT'D. -RRB- Why is the Governor calling you at all? MOLLY I'm in trouble. STEPHEN With the Governor? What's going on? MOLLY I was working on the campaign in Iowa. we had a party in Ben's room after the rally in Des Moines. STEPHEN There was a party with you. and Ben. and the Governor. MOLLY No he was n't there. STEPHEN Where was he? MOLLY I took him up a hard copy of the polling numbers. STEPHEN After the party? MOLLY -LRB- Shaking her head yes. -RRB- About midnight I guess. I stood in the doorway with him. we were talking. a long time. then he just reached behind me and closed the door. STEPHEN Jesus fucking Christ. Were you drunk? MOLLY Not that drunk. STEPHEN How many times? MOLLY Just that once. STEPHEN Does anybody know? Did anyone see you? MOLLY No. STEPHEN How could you know? MOLLY I know! STEPHEN Then why is he calling you now? MOLLY I called him first. STEPHEN Why? MOLLY Because I did n't know who to go to. and I needed nine hundred bucks. STEPHEN For what? MOLLY I ca n't go to my dad. We're catholic. Beat. MOLLY -LRB- CONT'D. -RRB- So what should I do? A long beat.",
"EXT. STREET - CINCINNATI - NEXT DAY - MORNING We're close on STEPHEN as he walks down the sidewalk and into.",
"INT. MORRIS HEADQUARTERS - MORNING - CONTINUOUS STEPHEN walks into the campaign office. He looks at all the posters with pictures of Morris. People greet him as he walks past. The signs all look wrong now. The smile on Morris's face looks fake. He sees MOLLY as he passes and heads into the war room.",
"INT. MORRIS HEADQUARTERS - LATER STEPHEN is going through the drawers in his desk. he goes to the office door, opens it and yells to Ben in the bullpen. STEPHEN Ben. come here a minute BEN stops what he's doing and heads into Stephen's office. BEN What's up? STEPHEN What's our limit on petty cash? BEN It's probably five hundred. Why? STEPHEN I need as much as we have. BEN Everything okay? anything I can help with? STEPHEN Yeah. do n't put it on the books. That's all. BEN What should I put it down as? STEPHEN Do n't put it down as anything. BEN Anything over a hundred I got to put it down as something. STEPHEN -LRB- raising his voice. -RRB- Just do it! BEN exits. We follow BEN into the bullpen, past the STAFFERS who look up at the outburst. MOLLY watches BEN and then looks to STEPHEN who closes his door. We stay on MOLLY. We see MOLLY watching through the door. as STEPHEN finishes, he opens the door. STEPHEN -LRB- CONT'D. -RRB- Molly. She gets up and comes into his office. Stephen hands Molly a folder that he writes on the inside of STEPHEN -LRB- CONT'D. -RRB- Here. Molly opens the folder and reads `` Meet me in the stairwell at noon''. She closes the folder. MOLLY Okay. Stephen holds out his hand. STEPHEN I'll take that. That's all. He takes the folder and tears it into several pieces as Molly leaves. he throws the pieces into the trash can.",
"INT. STOCK YARDS BANK - CINCINNATI- LATER STEPHEN stands at a tellers counter, he writes out a check for eight hundred dollars to cash. The teller hands him the money. Stephen exits.",
"EXT. STOCK YARDS BANK STEPS - CONTINUOUS STEPHEN walks down to the sidewalk. He's on the phone with Ida. IDA Stevie. off the record. STEPHEN No I ca n't tell you what happened in North Carolina. IDA That's not what I wanted to ask you about. STEPHEN Okay what? IDA You met with Duffy. A pause. STEPHEN Who told you that? IDA A little bird. STEPHEN Who? IDA Did you meet with him? STEPHEN Where are you?",
"INT. SKY WALK - CINCINATTI - MINUTES LATER IDA I know you met with him at a little bar in Cincy, two nights ago, just before the press conference. Duffy ordered buffalo wings. STEPHEN Did Duffy tell you this? IDA Anonymous. What happened with Duffy? STEPHEN You're supposed to be my friend Ida. You'd stab me in the back like this? You'd ruin my reputation just so you - IDA Wait wait wait - is that what you thought? That we were friends? STEPHEN I've given you everything - every fucking scoop, your profile with Pau1. IDA You're right - you've given me a lot. But let's get real here Steve. The only reason you ever treated me well was that I work for the Times. Not because I was your friend. You give me what I want, I write you better stories. Do n't pretend it's any more than that. Why'd you meet with Duffy? STEPHEN Go fuck yourself. STEPHEN starts walking away. IDA Okay, I'll make it easier on you. Forget Duffy. What happened at Paul and Thompson's meeting? STEPHEN -LRB- STOPPING. -RRB- Will you keep your voice down. Do you have any idea what a story like this could do to me? IDA Of course I do. That's why I'm giving you a choice here. STEPHEN I could get fired. IDA So it's not a difficult choice, is it? I've got to file by three p.m. tomorrow. You've got till then to make up your mind. Stephen is left standing there.",
"EXT. FOUNTAIN SQUARE - CINCI / INT. MEMORIAL HALL A FEW MINUTES LATER Stephen is on a pay phone in front of the fountain. DUFFY is at a campaign event, he also talks on his cell. STEPHEN You mother fucker. DUFFY Excuse me? STEPHEN You leaked it. DUFFY Leaked what? STEPHEN Do n't bullshit me Tom. DUFFY Bullshit you. I have no idea what you're talking about. STEPHEN I just spoke with Ida Horowicz. DUFFY Yeah? STEPHEN She's threatening to release the story. DUFFY What fucking story? STEPHEN That we met! That I fuckin met with you! DUFFY How did she find out? STEPHEN Do n't play dumb here Tom. DUFFY You think I leaked it to her? STEPHEN Who else? DUFFY I did n't leak it to her. STEPHEN Well I know I did n't, so that leaves you. DUFFY What's she know? STEPHEN She knows whatever you told her. DUFFY I swear to Jesus I did n't leak it to her Steve. I do n't want this story out any more than you do. STEPHEN Well too late. DUFFY What did she tell you? STEPHEN She knows where we met, she knows when we met. she knows you had buffalo fucking wings. DUFFY She has a source? STEPHEN Yes she has a source. DUFFY And you have no idea who it could be? STEPHEN Yeah, you. DUFFY Well it was n't me, and for the record I did n't have fucking buffalo wings. It's got ta be some one else. STEPHEN Did you tell anyone? DUFFY No. Did you? STEPHEN No. DUFFY Did you admit to meeting with me? STEPHEN No. DUFFY Then we stonewall her and she's got nothing. STEPHEN She's gon na take the story to Drudge, or Roll Call. shit like that. DUFFY You ca n't stop her? STEPHEN She's trying to blackmail me - wants info about Thompson. DUFFY Then tell her what she wants to know. STEPHEN I ca n't do that. DUFFY You ca n't let this story get out. STEPHEN I'm not gon na be blackmailed Tom. DUFFY You do n't have much of a choice here. STEPHEN If I tell her about Thompson I got ta tell her he's gon na endorse you guys. DUFFY Then tell her. I can handle it from my side if I start getting calls. STEPHEN No fucking way. Paul told her we had Thompson in the bag. It'll make us look like fools. DUFFY You're gon na look like fools anyway when he endorses us. STEPHEN I ca n't do it. DUFFY You're on a sinking ship Steve. Tell her what she wants to know and jump. Come over to our side. We can control this thing. Pause. No answer from STEPHEN. DUFFY -LRB- CONT'D. -RRB- Steve? STEPHEN I Got ta go. Stephen hangs up.",
"INT. MORRIS HEADQUARTERS - STAIRWELL - AFTERNOON MOLLY walks in. it's dark in some places. she does n't see anyone at first. She stands there. then from the shadows we hear STEPHEN. STEPHEN I'm up here. MOLLY -LRB- STARTLED. -RRB- Shit, you scared me. She goes up the next flight of stairs and stands next to him on the landing. STEPHEN Take this. He hands her an envelope. STEPHEN -LRB- CONT'D. -RRB- It's almost 1800 bucks. you make the appointment now. today. from a pay phone. I'll take you to the clinic and pick you up. no one else. you understand? MOLLY Yes. STEPHEN You take the rest of the money and you buy a ticket home. you ca n't be here anymore. we ca n't afford it. not with everything that's gon na happen in the next week. This situation just ca n't be here. MOLLY You mean I ca n't be here. STEPHEN Right. MOLLY But I would never tell anyone. STEPHEN I would hope not. MOLLY Then why? STEPHEN You fucked up, Molly. MOLLY He and I both fucked up. STEPHEN But I have a responsibility to him. and more importantly I have a responsibility to this campaign. MOLLY I could go to North Carolina and work on the campaign. STEPHEN Molly you've go to wake the fuck up. this is the big leagues. it's mean. and when you make mistakes you lose your right to play. Make the appointment and tell me when and where we have to go. He exits.",
"INT. STEPHEN'S HOTEL ROOM - LATER THAT NIGHT STEPHEN sits at the desk in front of his laptop. BEN sits on the floor surrounded by papers and a laptop. As BEN is talking Stephen is staring blankly at the screen. BEN Listen to this. I got the placement in the Times. this is a match up of hope versus fear. Nine times out of ten the fear candidate tends to be the most experienced. but in our presidential races the least experienced candidate almost always wins. JFK versus Nixon. Carter versus Ford. Bush versus Gore. I like our chances with the new kid on the block, end quote. Thomas Fucking Duffy. he's got ta be having a stroke right now. STEPHEN'S phone buzzes, he picks it up and reads the text. It reads : NOON TOMORROW, MOLLY. He sets the phone down. BEN continues talking.",
"EXT. MOLLY'S MOTEL - A BIT LATER STEPHEN sits in his car in the back of the parking lot, waiting. his phone rings. He looks at the caller ID. it's Ida. he sets the phone back down, waits, and sees MOLLY come out of the hotel. She looks around and heads toward Stephen. She gets into the car and they drive off in silence.",
"INT./EXT. STEPHENS CAR - ROEBLING SUSPENSION BRIDGE A BIT LATER STEPHEN AND MOLLY drive in silence.",
"INT. STEPHEN'S CAR - DAY - A FEW MINUTES LATER STEPHEN and MOLLY driving down the street. Stephen drives until he sees the clinic. He stops.",
"INT. CLINIC - WAITING ROOM - DAY STEPHEN stands at the receptionists window and hands the NURSE a clipboard with the forms Molly has filled out. She hands him back the yellow copies and he sits down next to MOLLY. STEPHEN So just call me when you can leave okay. MOLLY -LRB- Looking at the clinic. -RRB- I hate this shit. STEPHEN I'll be back, this'll all be over. MOLLY Yeah. STEPHEN leaves.",
"INT. MILLENNIUM HOTEL - PAUL'S ROOM - DAY We're in PAUL'S room. He's lying on the bed, talking on his cell phone. BEN sits at the desk working on a laptop. PAUL Absolutely - there's no question about it. A knock. PAUL goes to the door, opens it and waves STEPHEN in, shutting the door behind him as he enters. PAUL -LRB- CONT'D. -RRB- But we've got to think broader strokes here, rethink everything. uh - huh. Yeah, I know how to handle it. Look, Stevie just got here. Can I call you back in a few minutes? Okay, bye. -LRB- He hangs up. -RRB- The Governor. We had a good long talk on the way back. He's up to speed with everything. STEPHEN How'd he take it? PAUL Better than I thought he would. Still wo n't take Thompson's endorsement. STEPHEN Paul - I got ta tell you something. PAUL What's up? STEPHEN Ida knows I met with Duffy. PAUL stares at him blankly. STEPHEN -LRB- CONT'D. -RRB- I do n't know how she found out. Tried to blackmail me. Said she was gon na let the story out if I did n't tell her what happened at your meeting with Thompson. PAUL So it's gon na hit the papers. STEPHEN Probably. Yeah. Whoever she takes it to, they're gon na call me for a statement. I could just deny the whole thing, but if they call Duffy and he admits to it, that could look worse. If I say no comment they wo n't let up. PAUL I leaked it to Ida. Pause. BEN looks up from his laptop. PAUL -LRB- CONT'D. -RRB- At the event. STEPHEN I do n't understand. PAUL We made a deal. STEPHEN Paul. they're gon na print that story in the paper tomorrow morning. PAUL I know. STEPHEN But why? Why would you do that to me? Why would you do that to the campaign. PAUL The campaign will survive. STEPHEN Then why would you do that to me? PAUL Makes it easier to let you go. STEPHEN What? PAUL Why'd you meet with Duffy? STEPHEN I made a mistake - a stupid mistake. PAUL No Stephen. You did n't make a mistake. You made a choice. You called me and left a message to call back. that it was important. But when I did. you said to forget about it. You chose not to tell me. Why did you make that choice? STEPHEN I did n't think it was important. PAUL Sure you did. But you went because you were curious, because you were flattered. Because it made you feel special to think Duffy wanted to speak to you instead of me. Because you thought to yourself : maybe I can get something out of this. Because it made you feel big. First campaign I ran tiny little race in Kentucky - state senate seat. Workin for redneck nobody named McGuthrie. Had no money, no staff, no fuckin office. Everyone thought we did n't stand a chance. There's no way we can compete. And about this time, a guy running a congressional campaign a few districts over gives me a call. Says, `` I really like what you were able to do for poor ole' Sam. But let's face it, he's a goner, so why do n't you come work for me?'' What do I do? Well Stephen - this is where you and I are different. I told Sam about the call. And Sam says to me, `` Paul, you think this other's guy's got a shot at winning, and he can pay you more than anything I can afford, so if it's what you feel you need to do, then I wo n't get in your way.'' So I say, `` Sam - you took a chance and hired me when I was even more of nobody than you are, and I'd be damned if I'm gon na jump ship just because the shit hit the fan.'' We lost the race, but three years later, when Sam decided to run for Governor - who do you think he called? We won that race. And twenty years later I'm where I am now. -LRB- Beat. -RRB- There's only one thing I value in this world Steve, and that's loyalty. Without it you're nothing and you have no one. And in politics it's the only currency that you can count on. That's why I'm letting you go. Not because you're not good enough. But I value trust over skill. And I do n't trust you anymore. STEPHEN Well it really is n't whether you trust me, it's whether the Governor does. PAUL The Governor knows, he thinks it's the right thing to do. STEPHEN He does. PAUL If I were you? I'd get a good night sleep because you're gon na get fucking pounded by calls from the press in the morning. Off of Stephen we :",
"INT. CLINIC - DAY - LATER MOLLY is sitting in the clinic waiting room, Post - Op. The NURSE comes out with a bag of prescription drugs and some instructions. NURSE These are Vicodin. they're for the pain. You have Ambien. that'll help you sleep. and I threw in a couple of Xanax for the next couple of days. Did the doctor explain there would be some bleeding? Molly nods. NURSE -LRB- CONT'D. -RRB- Not much. and it should n't last very long. If it does you'll need to call us. Molly just sits there staring. NURSE -LRB- CONT'D. -RRB- Do you have a ride? Molly shakes her head yes. NURSE -LRB- CONT'D. -RRB- Okay. if you need anything you just call the clinic. okay. MOLLY -LRB- NODS. -RRB- Okay. The NURSE walks back into the office. MOLLY just sits there. by herself. We stay with her for a while.",
"EXT. STEPHEN'S RENTAL CAR - AFTERNOON STEPHEN is driving.",
"EXT. CLINIC - AFTERNOON MOLLY walks outside the clinic and down the street.",
"EXT. CAFE NEAR CLINIC - LATER Through the front window we see Molly sitting in a booth making a phone call. There is a TV on the wall, the news plays. DEBBIE DIXON Yes Mike, Senator Franklin Thompson of North Carolina arrived at the Lunken airfield today igniting rumors of a deal in the works. The NY times is reporting that Senator Thompson will pledge his three hundred and fifty - six delegates to Senator Pullman.",
"EXT. CLINIC STREET - NIGHT STEPHEN drives by the clinic, he slows to see if Molly is still there. The clinic is closed.",
"EXT. MOLLY'S MOTEL - KENTUCKY - NIGHT MOLLY gets out of a cab and walks into the hotel. Under this we hear : BEN Hey, where were you today? MOLLY I'm not feeling great Ben.",
"INT. MOLLY'S MOTEL - KENTUCKY - NIGHT We're in front of MOLLY'S door as the scene continues. BEN You picked a hell of day to call in sick. Jesus. fucking wild day. MOLLY Why? BEN Stephen's off the campaign. Paul fired him. Some fucking set up about loyalty and it looks like Stephen was doubling down with Duffy on the Pullman campaign. I was sitting in the room when Paul told Stephen that he was fired. Stephen said who's gon na take over and Paul said me. and I'm like. easy there soldier. but Stephen goes ape shit then Paul gives the speech about loyalty and then shits on Stephen like I've NEVER SEEN before. christ. humiliating shit. MOLLY When was this? BEN Molly listen to me. I'm gon na run the campaign under Paul. Stephen is going to Duffy. I just jumped three years ahead. so starting tomorrow morning we go into full damage control and I'm telling you Stephen's going ape shit. he said he's taking everyone down on his way out. Morris, everybody! Phone rings. BEN -LRB- CONT'D. -RRB- Shit I got ta take this. Do you need anything? MOLLY No.",
"INT. PULLMAN HEADQUARTERS - CINCINNATI - NIGHT STEPHEN enters the offices, staffers look up and recognize him. STEPHEN Where's Duffy. STAFFER 1 You got an appointment? Stephen keeps walking. Stephen arrives at a medium sized, glass partitioned office. As he looks in, we see Duffy and five or six staffers around a table. Duffy is holding court, the mood is light. Duffy notices Stephen standing there. Duffy walks Stephen a few doors down to a conference room. A single staffer is working on a laptop. DUFFY Joe can you excuse us for a minute. The staffer leaves and Duffy closes the door. DUFFY -LRB- CONT'D. -RRB- Not very bright, walking in here. STEPHEN I'm in. I'm coming to work for you. DUFFY A reporter at Roll Call phoned me this afternoon. STEPHEN I know who leaked it. DUFFY Who? STEPHEN Paul. DUFFY You told Paul? STEPHEN Yeah. I told him we met. He leaked it. DUFFY You should n't have told him that. STEPHEN I felt like I should. DUFFY I've worked with Paul. He gets paranoid. STEPHEN Obviously. DUFFY So he fired you. STEPHEN I quit. DUFFY You're lying to me. come on. STEPHEN I quit! And I can give you everything on Morris. Everything. I can lay out his whole strategy for you. DUFFY I already know his strategy. Paul gave it all to Thompson. STEPHEN What if I had something else? DUFFY You'd do that to Morris? To Paul? STEPHEN Yeah. DUFFY Revenge makes people unpredictable Steve. I ca n't have someone who's unpredictable. Who's unstable. STEPHEN -LRB- CALMLY. -RRB- I'm not unstable. DUFFY If it had been a clean break - if you'd left Morris before this story broke, that'd be one thing. That we could control. But the way it'd look now - Paul fires you and then you come work for us. Looks like we're picking up the scraps. Puts Morris in the drivers seat. I ca n't have that. We see a shot close on STEPHEN'S clinched fist holding the yellow copies from Molly's clinic visit down by his side. We pan up to his face. STEPHEN What if I had something big? DUFFY Like what? STEPHEN Something big. Something that'll bring Morris down. DUFFY What is it? STEPHEN -LRB- Shaking his head. -RRB- Give me the job. DUFFY It's not gon na happen. I'm sorry. Go take a nice long vacation. Beat. DUFFY -LRB- CONT'D. -RRB- You're a smart guy Steve. Everything I said yesterday is true. But maybe politics is n't for you. STEPHEN Politics is my life. DUFFY Do yourself a favor. Get out now while you still can. Go into entertainment, or business, or open a fucking restaurant in Costa Rica - anything. Do what will make you happy. You stay in this business long enough it makes you jaded and cynical. STEPHEN Like you? DUFFY Yeah. Just like me. STEPHEN You knew I was gon na tell Paul. DUFFY I did n't know. I thought you might, but I did n't know. STEPHEN You knew if I told him he'd fire me. DUFFY Thing you got ta know about Paul - he's big on loyalty. STEPHEN Yeah I got a nice speech on that. You were never gon na hire me. DUFFY Put yourself in my shoes Steve. Your opponent has the best media mind in the country working on his team. What do you try to do? You either try to hire him yourself, or work it so if you ca n't have him, the other team ca n't either. This was a win - win situation for me. You work for us - great. Paul does n't have you. Then again, if Paul fires you and I do n't take you - fine - Paul still does n't have you. Either way I win. The moment I got you to sit down in that chair, I knew I'd won. STEPHEN This is my life you're talking about. DUFFY It's not easy for me to do this sort of thing Steve. Do n't think I take any pleasure in it. I'm sorry for you. I really am. Take care of yourself. CUT TO: 64 STEPHEN pulls into the parking lot.",
"INT. MOLLY'S MOTEL - KENTUCKY - NIGHT STEPHEN climbs the back stairwell to avoid seeing any of his former co - workers. He gets to the fifth floor and walks down the hall towards Molly's room. As he turns the corner he sees a maid's cart in front of her room. The door is halfway open. As he starts walking towards her door, we see the HOTEL MANAGER come running out of Molly's room, he heads the opposite way towards the elevators. he's fumbling with his walkie - talkie. STEPHEN gets to her room and we see a JANITOR kneeling over Molly's lifeless body. Stephen steps into the room. He can barely move. He just stands there looking at the situation. The JANITOR is on the phone. JANITOR No ma'am she's not breathing. No nothing. Stephen is looking at Molly. he looks around the room. he sees her prescription bottle empty on the bed next to her. he sees her clothes all around the room. JANITOR -LRB- CONT'D. -RRB- I do n't know, fifteen minutes. how far away are they? The JANITOR now turns and looks at STEPHEN JANITOR -LRB- CONT'D. -RRB- Do you know her? STEPHEN nods his head yes. JANITOR -LRB- CONT'D. -RRB- She's gone. We hear the sound of a distant ambulance. JANITOR goes back to the phone. JANITOR -LRB- CONT'D. -RRB- Hello. I'm sorry what? Yes I can hear them now. STEPHEN looks down on the bed and sees Molly's phone. He reaches down takes it and slides it in his pocket. Close on STEPHENS face as he stares down at Molly. We hear the ambulance approaching the building",
"EXT. MOLLY'S MOTEL - NIGHT - SECONDS LATER Stephen comes running out the door. An ambulance has pulled up and EMT's are on their way in. Police are also pulling up. Stephen keeps walking - he gets in his car and sits there. Nothing. No emotion. Stephen pulls out his phone and listens to his messages. PHONE You have four new messages and four saved messages. First new message. Beep. MOLLY -LRB- O.S. -RRB- Uhm. where are you? it's Uhh. -LRB- Crying. -RRB- it's four something. they're gon na close in a few minutes. Beep. BEN -LRB- O.S. -RRB- Stephen, it's Ben. listen. what the fuck. did Paul lose his mind? Jesus. what're you gon na do? Call me. Beep. MOLLY -LRB- O.S. -RRB- Stephen I just heard from Ben. please do n't do anything fucked up. -LRB- She's losing it. -RRB- Godamnit you motherfucker pick up the phone! Do n't do it you fuck! Beep. We now hear Molly in a very different tone, calmer, maybe even drunk. MOLLY -LRB- O.S. ; CONT'D. -RRB- I'm not going away. Beep. Stephen hangs up. We stay on him for a while.",
"INT. MORRIS HEADQUARTERS - NEXT MORNING The GOVERNOR, PAUL, BEN and the other staffers, sit in front of a monitor watching a news piece. We now cut to CNN footage in front of a hospital as we hear the report continue. JOHN KING -LRB- V.O. -RRB- The coroner has stated, that based on the evidence found by the police in the hotel room, that this was an accidental overdose, a lethal cocktail of alcohol and prescription drugs. The Cincinnati police chief, Darryl Mathews, has called for a full investigation pending a toxicology report which could take up to two weeks. Just a terrible terrible situation for the former Senator, now DNC Chairman, Jack Stearns and his family. Off the Governor's face we :",
"EXT. RIVERSIDE PARK - KENTUCKY - DAY STEPHEN and SENATOR THOMPSON are seated on a bench. SENATOR THOMPSON I want on the ticket. you need me on the ticket. and you need my delegates. you could use em before Tuesday. Make a fine story on the Sunday morning news cycle. so I expect to hear from you by noon tomorrow. or I endorse Pullman and take my cabinet seat. They look at each other. SENATOR THOMPSON -LRB- CONT'D. -RRB- Anything else you want to talk about?",
"INT. PRESS ROOM - CINCINNATI - NEXT MORNING We're at a press conference - The GOVERNOR, PAUL, BEN, and the rest of the staff, are standing behind the microphone. The Governor is making a statement GOV. MORRIS The entire staff is in a state of shock. We have sent our condolences to Jack and JoAnna Stearns and their whole family. and of course our hearts go out to them. it's hard to imagine what they're going through. All we know at this point is it appears to be a drug. an accidental prescription overdose. Ida? IDA Is suicide ruled out? GOV. MORRIS We have no reason to believe. He looks to Paul. GOV. MORRIS -LRB- CONT'D. -RRB- I do n't think we have any of that information yet. Obviously there will be a full investigation. Just wanted to say that our hearts go out. our prayers go out to the entire family. and she was part of our family. REPORTER 5 Did you know her well Governor? GOV. MORRIS Not well. But I did know her, and what I saw was a hard working, young woman, with a great and positive spirit. It's a very sad day in our campaign and a very sad day for the people close to Jack. REPORTER 6 How long has she interned with you Governor? The Governor looks back at Paul. Paul steps up to the mic. PAUL She'd only been on the road with us for a few weeks. maybe four I think, I can check. IDA Will you continue with your schedule today? You're set to tour Proctor & Gamble this afternoon. PAUL We will most certainly stay on schedule. This accident, and we have to assume for now it's an accident, is just simply a tragedy. The work, the schedule wo n't be altered. It just means that those of us that knew Molly will go about our jobs with a heavy heart. As these questions continue, the Governor's cell phone vibrates. He pulls it from his pocket and reads the name of the caller. It reads `` Molly.'' He looks up. Panic starts to set in - the only sounds we hear are his heart beating and the phone vibrating. The Governor looks at each of his staff members. Then he scans around the room looking through the press corps up to the back doorway where he locks eyes with Stephen. STEPHEN holds a cell phone to his ear. They stare at each other. Then Stephen hangs up, and the Governor's phone stops vibrating. Stephen turns and leaves.",
"EXT. RESTAURANT - CINCINNATI - THAT NIGHT STEPHEN approaches the restaurant - the lights are off. He peers through a window - we hear the door unlock. One of the Governor's SECRET SERVICE MEN opens the door. He motions Stephen in.",
"INT. RESTAURANT - CINCINNATI - CONTINUOUS Stephen follows the secret service guy through the dark restaurant - they pass several other secret service guys sitting in booths. They cross towards the back to the kitchen door - STEPHEN enters.",
"INT. RESTAURANT KITCHEN - CONTINUOUS The kitchen is small and dimly lit. The Governor is standing behind the center island - hanging pans hide his face. GOV. MORRIS It seems you have something you want to talk about. STEPHEN Does it seem that way? GOV. MORRIS If you have something. or think you have something you want to get off your chest. STEPHEN What's say I do the talking and you do the listening. GOV. MORRIS Okay. STEPHEN As of tomorrow morning there's going to be some changes in your campaign. Paul is out. I will be your senior campaign manager. I'll draft a statement, `` we're at a point in the campaign where some changes have to be made etc.'' You can put your own words in there, you do it better than most. GOV. MORRIS And why would I do that? Beat. STEPHEN Because you want to win. Because you broke the only rule in politics. You want to be President, you can start a war, you can lie, you can cheat, you can bankrupt the country, but you ca n't fuck the interns. they'll get you for that. GOV. MORRIS What do you think you have Stephen? A troubled young girl tells you a story. STEPHEN A troubled young pregnant girl. GOV. MORRIS Is that what she told you? STEPHEN Who needed cash for an abortion. GOV. MORRIS What did you do, give her money? Maybe she just wanted cash and you were the perfect guy to hit up. STEPHEN Is that your best play? GOV. MORRIS You need a job that bad Stephen? You walk in here with your dick in your hand. you've got nothing. STEPHEN So how did I get here? You're right Mike, there's nothing. No phone messages, no text, no e - mails, no photos or tapes, and yet I'm standing right here. GOV. MORRIS Well go home. STEPHEN She left a note. The Governor stands in silence. GOV. MORRIS How would you know that? STEPHEN I cleaned up your mess. I took her phone and I found her note. They stare at each other in silence. GOV. MORRIS I thought it was an accident. STEPHEN You tell me, you were the last one she called. Note says she was pregnant, said you were going to pay for her abortion. it also said she did n't want to hurt you. GOV. MORRIS Then why would she leave a note that could only do that? STEPHEN Because she's twenty. GOV. MORRIS What do you want? STEPHEN Paul's gone today. I set a meeting with you and Thompson where you promise him the ticket. You get three hundred and fifty - six pledged delegates, you get North Carolina, and then you take office and make right what so many have made wrong. All the things we both believe in. GOV. MORRIS Well I do n't believe in extortion. I do n't believe in tying myself to you for the next eight years. STEPHEN Four years, let's not get ahead of ourselves. A long beat. Finally the Governor says : GOV. MORRIS What were you doing in her room? STEPHEN Housekeeping, before you ended up on page one. GOV. MORRIS No. You were already fired, you were out. What were you doing in her room? STEPHEN I was fixing a situation. I got a call, someone from the hotel thought I could help and called me. GOV. MORRIS You were off the campaign, but you thought it was important to come back and fix things? It was your voice on the phone the other night. You were fucking her. What did you do Stephen? STEPHEN I loaned her some money and gave her a ride. GOV. MORRIS I bet you did. Pause. GOV. MORRIS -LRB- CONT'D. -RRB- There's no note. STEPHEN Okay, there's no note. GOV. MORRIS Show it to me. STEPHEN You think I brought it here? That's how people get hurt. GOV. MORRIS Okay let's play this out. You're not wearing a wire because everything you've suggested is illegal. and you would n't fare well in federal prison. You were fucking her and she told you about her situation. There are no records or conversations between us. And since she's had an abortion, no DNA evidence. So if there's no note, then it's your word against mine. Your word. A fired, disgruntled, employee, or a sitting governor. There's no note. STEPHEN It's your call Governor. As the Governor weighs his options we -",
"INT. BARBER SHOP - EARLY MORNING PAUL is sitting in a barber shop getting his hair cut. the BARBER cuts. Paul sits there. The TV is on. a sports show. no one talks. We watch Paul's face as the barber clips the back of his head.",
"EXT. STREET OUTSIDE BARBER SHOP PAUL walks out, starts down the street. As he passes the first corner, he sees the Governor's SUV and the Secret Service SUV both parked on the side of the road. Paul looks at the SUV. then walks up to the window. The window rolls down and the GOVERNOR leans his head out. GOV. MORRIS Paul you got a minute? We stay outside the car for along time. We hear CHRIS MATHEWS under this shot. We see Paul get out of the SUV and the two SUVs drive off, leaving him standing there.",
"EXT. NICER HOTEL - CINCINNATI - NEXT DAY - ESTABLISHING",
"INT. NICER HOTEL ROOM- CINCINNATI - NEXT DAY STEPHEN'S in a different hotel now. The TV is on. CHRIS MATHEWS How much could a big shake up days before the Ohio primary hurt a campaign. I asked Paul Zara how his firing could actually help the candidate. We See STEPHEN, shaving in the bathroom mirror, as he listens to the TV. PAUL The Governor and I both felt, that in light of some of these changing numbers, it was best to put a new face on the campaign. Stephen is very talented. very smart.",
"EXT. WHEELING WEST VIRGINIA - SAME DAY We see a shot of an old church. People are walking up the steps and through the big open doors.",
"INT. CHURCH - WHEELING WEST VIRGINIA We're at a memorial service for Molly. We see a lot of young people. PAUL is sitting in the back row. As Molly's father JACK STEARNS speaks STEPHEN walks in. He sits in the adjacent row - he and Paul look at each other. JACK STEARNS You always hear people talking about events out of sequence. the order of things. There is no greater grief than a parent laying their child to rest. She was a little girl trying to make it in a very grown up world. a world were every mistake is magnified and she was smart and pretty and so so young. He looks to the PRIEST next to him. JACK STEARNS -LRB- CONT'D. -RRB- Father, you ask us to accept God's plan, to not question his judgment, with all due respect, I do n't accept this judgment. She made the world better, not just for me, but for everyone she touched.",
"EXT. CHURCH - WHEELING WEST VIRGINIA - LATER We're on the street in front of the church. People are filing out. PAUL is waiting next to STEPHEN'S car as Steven walks up. PAUL You should hire Jack for a speech writer. STEPHEN I'll keep that in mind. Are you here to talk to me? PAUL No. I'm friends with the family. I got her the internship. known her since she was born. STEPHEN I'm sorry. PAUL The Governor could n't make the flight? STEPHEN He's meeting with Thompson. PAUL Look at you, all grown up with tits and all. STEPHEN I learned from the best. PAUL One day we'll grab a beer and you'll tell me what you had on the Governor that put me out. STEPHEN How do you know I did n't have something on you? They both smile. PAUL You better get going, you've got a campaign to run and I've got offices to go look at. STEPHEN Farragut North? Paul nods his head. PAUL Nice consultant firm right off of K Street. Paul turns to leave. PAUL -LRB- CONT'D. -RRB- A million a year and nobody to fuck you over. STEPHEN Sounds relaxing. Paul, without looking back. PAUL Does n't it.",
"INT. XAVIER UNIVERSITY - CINCINNATI- DAY GOVERNOR MORRIS with his WIFE and DAUGHTER, stand at the podium just behind Senator Thompson. There are a few hundred people in attendance, campaign workers, supporters and press. SENATOR THOMPSON And the right man to lead this great nation of ours in these challenging times and the next President of the United States of America, Governor Mike Morris! And I ask only one thing, that all of us stand shoulder to shoulder and arm in arm in a united Democratic party. Huge cheers. SENATOR THOMPSON -LRB- CONT'D. -RRB- And I strongly urge that the three hundred and fifty - six loyal delegates that I have carried as a badge of honor, throw their support to the Governor. Let's end this primary and get on to the business of 1600 Pennsylvania Ave! More big cheers. SENATOR THOMPSON -LRB- CONT'D. -RRB- Thank you. And God bless the United States of America. Thompson turns and shakes the hand of Governor Morris. Morris steps up to the microphone.",
"EXT. XAVIER UNIVERSITY - CINCINNATI Under the following we hear the Governor's speech. We see Satellite trucks, press vehicles, police cars, etc.. At a catering truck we see a pair of hands grab some coffee and cookies. This is another young intern, JILL. We follow her across the street and into a door.",
"INT. XAVIER HALLWAYS & RECEPTION ROOM - CONTINUOUS JILL comes through the door. We follow her through the hallways crowded with television cables and technicians. She makes her way in to a large reception room, where Stephen is watching Governor Morris give his speech. She hands him a coffee. We cut between The Governor and Stephen watching from the back. GOV. MORRIS Thank you Senator Thompson! Well the polls are n't quite closed, but I want to congratulate Senator Pullman. And his Republican constituents on their win here in Ohio. The room explodes in laughter and applause. GOV. MORRIS -LRB- CONT'D. -RRB- Senator Thompson I am honored to stand here today with you. I am humbled by your kind words, thank you. Ladies and gentlemen, today marks the beginning of a fight between two sets of ideals. Either we're going to move forward or were going to live in the past. Either we're going to lead the world in technology, or we are going to bury our heads in the sand. the sands of Saudi Arabia. the sands of Iraq! Either we're going to let greed and corruption ruin our industries and our shorelines or we are going to take back our country! We are not a nation used to coming in second or third. Cheers.",
"INT. XAVIER UNIVERSITY - HALLWAY & STAGING ROOM While the Governor's speech continues we stay close on Stephen as he walks through the crowd. We follow him into Governor Morris's staging area. Four monitors on a table show different network feeds. We watch Stephen roll down his sleeves and button his shirt. He ties his tie and puts his jacket on. From the monitors we hear reporters etc.. We push in on one of the monitors where DUFFY is being interviewed. As we push in we see STEPHEN cross out of the room. BEN is watching, he looks back and smiles at STEPHEN. DUFFY No it's not decisive, we still have several contests and those states are going to want to have their say. It does look like we'll win Ohio. RACHEL MADDOW But you must concede that these three hundred and fifty - six delegates put the pledged delegates out of reach. And with word today that the super delegates are breaking three to one for Morris. DUFFY We still have a lot of contests Rachel, Ohio is - RACHEL MADDOW Well then do you have the funds? As we read it - DUFFY -LRB- SMILING. -RRB- Of course we have the funds. We're getting new donations daily. Our new intern, JILL crosses into frame looking down at BEN. JILL Hey. Ben. I was told to talk to you. I'm supposed to get a phone. BEN Right. you're. JILL Jill Morris. no relation. BEN Are you a Bearcat? JILL No. I'm from Columbus I'm a Buckeye.",
"EXT. XAVIER UNIVERSITY - QUAD - CONTINUOUS A shot of STEPHEN walking across the quad towards the gym.",
"INT. XAVIER UNIVERSITY GYM CORRIDOR - CONTINUOUS We pick up Stephen walking with Ida. IDA You're making me look bad. STEPHEN How so? IDA I just filed a story that said you were off the campaign and Thompson was going to Pullman. STEPHEN You ca n't believe everything you read. IDA I want to give you an opportunity to comment on my next story. It says that you delivered Thompson. You got the three hundred and fifty - six delegates, you delivered the nomination. And all you asked in return was Paul's job. Any chance of you confirming that? They approach a security guard standing by a set of double doors. STEPHEN No press beyond this point. she's press. I'll read about it in the funny papers. IDA Come on Stephen. are n't we friends anymore? STEPHEN You're my best friend Ida. And Stephen walks through the doors.",
"INT. XAVIER UNIVERSITY - GYMNASIUM - A FEW MINUTES LATER A wide shot of the darkened gymnasium. Stephen sits on a stool in front of a camera lit by a single television light. We're now in tight - One PERSON is putting a mic on Stephen while the OTHER is applying make - up. No one speaks. The sound man then puts and earwig into Stephens ear. SOUND MAN You should be able to hear them. do you hear them? We hear the buzzing in his ear of the broadcast from New York. STEPHEN Yeah I can hear them. SOUND MAN Good, quick mic check can you count to ten for me? Stephen counts to ten. Everyone stands behind the camera. The sound man with his headset on whispers. SOUND MAN -LRB- CONT'D. -RRB- They're coming to you in about forty five seconds. We sit in silence staring at Stephens face. Ten seconds - nothing. Twenty seconds - nothing This scene starts to resemble our opening - A dark auditorium - only a few people doing their individual jobs. Stephen looks at two interns holding clipboards and cell phones. The FIRST AD is sitting on the floor talking on his headset. The CAMERAMAN makes adjustments. A MAN sweeping the gym floor in the distance. They all seem to be staring at him. They probably are n't - but he feels it. The enthusiasm and excitement of Stephen has given over to emptiness. The price of winning at all cost. We stay on Stephen's face. We now hear the Governor's speech through Stephen's earwig. GOV. MORRIS Senator Thompson I am proud that you have brought integrity back to this election. Because that's what this comes down to, integrity. Who we are. Because how we project ourselves to the rest of the world matters! Dignity matters! Integrity matters! Our future depends on it! Forty seconds - the silence is broken by the SOUND MAN. SOUND MAN Coming to you in five. four. three. two. Through the earwig we hear an JOHN KING. JOHN KING We now have Governor Morris's new senior campaign advisor, Stephen Myers, coming to us from Xavier University where Senator Thompson has just endorsed Governor Morris, essentially ending this primary race. -LRB- To Stephen. -RRB- Stephen, can you give us some insight into how this whole thing unfolded? And before he can answer we :"
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] | Stephen Meyers is the junior campaign manager for Governor Mike Morris, who is competing against Senator Ted Pullman in the Democratic presidential primary. Both campaigns are vying for the endorsement of Senator Franklin Thompson, who controls 356 delegates; these would clinch the nomination for either candidate. Meyers is asked by Pullman's campaign manager, Tom Duffy, to meet in secret. Meyers calls his boss, Morris campaign manager Paul Zara, who does not answer. Meyers decides to meet with Duffy anyway and Duffy offers him a position in Pullman's campaign; Meyers refuses. When Zara calls back, Meyers does not tell him about the meeting. Meyers starts a sexual relationship with Molly Stearns, an attractive intern whose father is the chairman of the Democratic National Committee. Meyers admits to an angry Zara that he met with Duffy, who said that Pullman will offer Thompson the position of Secretary of State in exchange for his endorsement. Zara and Meyers discuss the matter with Morris, saying they must make the same offer to Thompson. Morris refuses on principle, as he thoroughly disagrees with Thompson and his policies, and wants a "clean" campaign without such deals. While Molly is sleeping, Meyers picks up her phone by mistake and finds that Morris is trying to call her. He discovers that Molly and Morris had a brief sexual liaison several weeks previously, and Molly is now pregnant with Morris' child. Molly needs $900 for an abortion, but cannot tell her father because her family is Catholic. Meyers helps her with the money but warns her not to tell anybody and fires her from the campaign to make the problem go away. Ida Horowicz, a reporter for The New York Times, reveals to Meyers that an anonymous source leaked his meeting with Duffy and that she plans to publish an article unless Meyers gives her the details about the Morris campaign's overtures to Thompson. After dropping Molly off at the abortion clinic, Meyers goes to Zara for help. Zara reveals that he leaked the meeting to Ida with Morris' approval as a pretext for firing Meyers over his purported disloyalty. An angry and desperate Meyers offers his services to Duffy, who says he met with Meyers only to influence his opponent's operation, under the likelihood that Meyers either would come to work for him or would be fired for taking the meeting. Meyers offers to sell out Morris but Duffy declines, believing Thompson's endorsement of Pullman is assured. Duffy apologizes for using Meyers and advises him to quit politics before he becomes a cynic like Duffy. Having been told that Meyers had threatened to take down the campaign, Molly fatally overdoses on pills in a hotel room. Meyers comes across the scene and steals her phone. Unbeknownst to the Morris campaign, he meets with Thompson to set the conditions for his endorsement and his delegates. Meyers confronts Morris and gives him an ultimatum: Either give him Zara's job and offer Thompson his post, or Meyers will go to the press with Molly's purported suicide note and expose the affair. Morris relents, giving up what is left of his personal integrity, and meets Meyers' demands. Zara takes his firing philosophically and is amicable when he chats with Meyers at Molly's funeral. Thompson officially endorses Morris, making him the de facto Democratic nominee. Promoted to senior campaign manager, Meyers is on the way to a remote TV interview with John King when Ida Horowicz ambushes him and says her next story will be about how Meyers delivered Thompson and his delegates and got his promotion. He reacts by having security bar Horowicz from entering the auditorium. Meyers takes his seat for the interview, just as Morris finishes a speech about how integrity and dignity matter. King then asks Meyers for insight as to how the events surrounding the primary unfolded. | The_Ides_of_March_(film) |
[
"BLACKNESS. Pink Floyd's `` Dark Side of the Moon -LRB- Brain Damage -RRB-'' plays as WHITE TITLES appear over black. As the song crescendos at the first chorus, SUNLIGHT flares over the lunar horizon and a crescent sliver of THE MOON is illuminated - huge, filling the screen from top to bottom. We're in space, circling around from the dark side until a HUGE FULL MOON fills the screen with whiteness - TITLES continue as we pull back from the moon, into the earth's atmosphere, through CLOUDS, until we reveal PARIS AT NIGHT We come to rest on an ancient, vaguely wolf - like GARGOYLE high atop a gothic cathedral in the Latin Quarter - a maze of narrow, twisting streets - desolate at this late hour. Clouds move over the moon. End TITLES. The song fades. A THUNDER CRACK. Rain drops spatter on the church's metal roof. Water trickles out of the gargoyle's mouth. We follow the STREAM OF WATER down to street level where it falls onto A YOUNG COUPLE wobbling down the street, sharing a bottle of wine. They open an umbrella and stand underneath it, smooching and giggling. We follow the STREAM OF WATER from their umbrella to the street, where it swirls into drain holes in the MANHOLE COVER that they're standing on. Suddenly. CLANG! The manhole cover pushes up under their feet. He flinches - bites down on her lip, drawing blood. She yelps. CLANG! The cover thrusts up again. They lose their balance, fall to the ground - the wine bottle smashes. The manhole cover flips off it's hole. Horrified, they scramble from it. Then, out of it comes. TERRENCE MCDERMOTT a fiftyish college professor in a turtleneck and old tweed jacket, clutching a well worn leather shoulder bag and gasping for breath. He's balding, with longish gray hair and intense eyes. He climbs out of the hole, replaces the cover and dashes off desperately through the rain, looking back over his shoulder as he disappears into a narrow alley. The couple watch him go, befuddled. She touches her hand to her lip and looks at the blood. She slaps her boyfriend upside the head. GIRL Idiot! The guy shrugs. Then. BAM! The manhole cover explodes off the hole, sails twenty feet into the air and clatters to the ground some distance away. We cut to the couple's horrified reactions as they watch something emerge from the hole. ON A NEARBY STREET Terrence, running, hears the couple's horrible SCREAMS echo through the twisting streets. He comes to A STONE STAIRWAY and hurries down it, four steps at a time. At the bottom he turns right and arrives at a star shaped five way intersection. A low, muffled growl stops him in his tracks. He stands in the rain, panting, looking around at the dark maze of streets, trying to pinpoint the source of the sound. TERRENCE -LRB- American accent - to himself. -RRB- Where are you, you sick bastard. A TAXI appears a block away. He waves his arms and calls out in a very good French accent. TERRENCE Taxi! Ici, s ` il vous plait! It turns and drives towards him. He starts off towards it. He glances over his shoulder - sees nothing. He's twenty feet from the taxi. He smiles. Then - He's jerked violently downward into A STORM DRAIN. He screams. Some monstrous force pulls him down, his bones crushing as his body is forced through the too - small drain. The CABBY gets out and runs up to the drain, where Terrence's thrashing upper body is quickly disappearing into the hole. Horrible growls and sounds of ripping flesh emanate from the sewer. BLOOD spurts through the grate. Terrence reaches up to the cabby, SCREAMING for help. TERRENCE My God! Help! Au securs! The terror stricken cabby shakes his head and starts backing up. Terrence lunges forth and grabs the cabby's leg. The cabby screams and tries to get loose. He falls to the ground and is dragged towards the hole. He grabs the bumper of his cab and strains to pull himself away, kicking at Terrence's hand with his free foot. LIGHTS come on in an adjacent building. A MAN in pajamas runs out into the rain. The cabby loses his grip on the bumper and he and Terrence are jerked closer to the sewer but the man grabs the cabby's hand and pulls. Some OTHER RESIDENTS gather on the sidewalks. A police car SIREN approaches. Something gives and the man in pajamas falls backwards into a puddle. The small crowd looks down and sees TERRENCE, pulled free from the hole, moaning semi - consciously. We move down his body, past the bleeding stumps where his legs used to be, and follow the BLOOD as it swirls into EDDIES of rain water and flows into the BLACKNESS of the storm drain. A FIERCE BULL charges through the matador's red muletta, snorting blood. The CROWD goes wild. We're in a bull fight arena, under the blazing Spanish sun. The camera dollies past cheering SPANIARDS and finds a small group of AMERICAN STUDENTS, early twenties. GORD Man. I ca n't believe I paid good money to watch a guy in tight pants kill a cow. SHERRY Disgusting. This makes American Gladiators look highbrow. The camera settles on ANDY MCDERMOTT, 22, as he joins the crowd in a rousing cheer, waving a bottle of wine with native gusto. He's good looking in a scrappy sort of way, with shoulder length brown hair, grungy plaid shirt, khakis, and glasses. ANDY Whoo! Ole! -LRB- to his friends. -RRB- Man, you guys are losers! This is poetry! Death in the afternoon, a tragic dance of man and beast, just like Hemingway said. God, Spain is it! These people know how to live. SHERRY I still say we should've gone to Paris. ANDY Paris!? Ug! If I wanted to be in an overpriced, overrated city full of obnoxious assholes I would've stayed in New York! Please! Another friend, MIKE, joins them. GORD Where've you been? Beatin' off in your sombrero again? Mike swats Steve in the head playfully and grabs the wine from Andy. He hands him a crumpled telegram. MIKE McDermott, your dad sent this to the pensione. Supposed to be urgent. ANDY -LRB- concerned. -RRB- What's it about? MIKE -LRB- defensive. -RRB- I did n't read it. Andy takes the telegram. Mike leans in close to Sherrie and whispers the gossip. MIKE His uncle is in the hospital. Andy reads the message. His face falls. For a second, he's silent. His friends see something's wrong. GORD Hey, man. You okay? What is it? Andy grabs the wine away from Mike and takes a long swig. IN THE BULLRING - the matador plunges his sword between the bull's shoulder blades and makes the kill.",
"INT. PARIS HOSPITAL EMERGENCY WARD - EARLY EVENING BLOOD splatters on white paper. Pull back to see a CHEF with a cut finger standing at the admitting counter, dripping blood on a form. The uptight Parisian NURSE scolds him and pulls out a new form. ANDY, lugging his back pack, trudges through the sliding glass doors marked `` St. Severin Hospital''. Bleary eyed, hung over, burdened by a heavy backpack and carrying the crumpled telegram, he approaches ANOTHER NURSE at the counter. ANDY Um, excuse me. hello. A STOUT WOMAN with a POODLE charges in front of Andy and launches into a loud French argument with the nurse over the hospital's `` human's only'' admission policy. WOMAN -LRB- French. -RRB- Pitou needs a real doctor! He's melancholy! ANDY Hey, wait a minute. Andy tries to push his way back in, but the shrill little dog yaps at him. Andy grabs his aching `` hangover head'' in agony. The bleeding chef walks away, dripping, leaving the other nurse free. Andy approaches her. She has her head down in some paperwork. ANDY Pardon. Excusez moi. ` Allo. Without looking up, she holds up a `` please wait'' finger. Andy sighs. The poodle yaps at him again. He winces and tries to get the nurse's attention. ANDY -LRB- to Nurse. -RRB- Umm. She raises her finger sharply and glares at him. She goes back to her paperwork. Andy starts chatting politely with her, pretending she's responding. ANDY So, you ever been to Spain? You'd love it. It's friendly, sunny, cheap. And you'd be the only raving bitch there instead of just one in the crowd up here. MARCEL BOULARD, a short middle aged cop in a rumpled coat approaches. He taps Andy on the shoulder. MARCEL Andrew Mc - dair - mo? ANDY That's McDermott, but yeah. Marcel flashes his badge. MARCEL Detective Boulard. We've been expecting you. This is Inspector Leduc. LEDUC, in his fifties, taller, heavy set, droopy mustache, nods gruffly and starts towards the elevator, motioning for them to follow. MARCEL He's in charge but, uh, between you and me, my English is better. -LRB- they hurry to catch up with LeDuc. -RRB- This way. So you're from New York eh? I love those Hill Street Blues. ANDY Right. Listen, my uncle, it's not serious is it? Did he eat some bad snails? Slip on the bidet? What? They step into the elevator as LeDuc holds the door open. Marcel and LeDuc trade uneasy glances. LeDuc sighs. LEDUC Merde. MARCEL He says - ANDY Yeah okay. My French is n't that bad.",
"INT. HOSPITAL ROOM TERRENCE lies comatose under a clear plastic oxygen tent. An ORDERLY changes the dressing on his bloody stumps. A NURSE fiddles with the vast array of bleeping, burbling, sucking, life support machinery. Andy, dumb struck, watches from a few paces away. Marcel, pad in hand, asks him questions. LeDuc stays in the background, listening and studying Andy intently. ANDY Jesus. MARCEL How well did, er, do you know him? ANDY Not too well. He taught at the Sorbonne, right? Dad always calls him his `` hippie brother''. Did some work with Timothy Leary I think, and - Is he. is he going to die? MARCEL No. The doctors say the machines should keep him going a long time. But basically he is, how you say, a legume. ANDY Legume? You mean, a vegetable? MARCEL Vegetable, right. My mistake. It seems he was attacked by a maniac, maybe two or three maniacs, just after midnight. yesterday. They fled into the tunnels beneath Paris, that's all we know. ANDY What do you mean, maniacs? MARCEL Well, here's what I think happened. A chemistry professor goes to a bad part of town late at night. Why? Perhaps he's making a few francs on the side. The psychedelic drug market is big these days. He gets mixed up with a bad crowd and, like they say, if you lie with dogs, you get fleas. ANDY Yeah, well, these fleas must have teeth like fuckin' chain saws. BEEP BEEP! Something's wrong with uncle Terrence's machinery. The IV bottle is sputtering and bubbling, the EKG monitor is flashing. The orderlies snap into action and pull the curtain shut, waving `` no problem'' to Andy and Marcel. Marcel leads Andy away, trying to calm him down. MARCEL Maybe we should go now. You must be very tired. We'll call if any new - ANDY I ca n't believe this. Why do n't you go down in the tunnels and find the goddamn. animals that attacked my uncle? MARCEL Andy, it's not so easy. There are hundreds of kilometers of tunnels under Paris. It's a whole other city, crawling with drug addicts, lunatics, skinheads. It's no man's land. Andy's about to protest when LeDuc steps in and hands him uncle Terrence's leather bag. LEDUC Here. MARCEL Your uncle was carrying this. The keys to his apartment are in there. I talked to his assistant, Madame Flocquet. You'll be staying there a while? ANDY Yeah. I guess so. -LRB- they walk him to the elevator. -RRB- Did he say anything? Before the coma? MARCEL Just the name of this hospital, St. Severin. He repeated it a few times then he lost consciousness. ANDY Why would he pick this one? MARCEL I do n't know. There were others much closer. He was religious? ANDY Not that I know. MARCEL Well, when you're about to pop off, what have you got to lose? Thanks for your help. Andy's dumfounded at Marcel's lack of tact. The elevator doors start to close. LeDuc nods `` good - bye''. Marcel leans in and sneaks in one last comment. MARCEL And remember Andy, let's be careful out there. Heh - heh. Ouch! The elevator doors knock him on the head as they close. Andy shakes his head. ANDY -LRB- to himself. -RRB- Inspector Clouseau, on the case. Great.",
"EXT. TERRENCE'S APARTMENT BUILDING - NIGHT Andy opens the gate of this beautiful 19th century building and walks through THE COURTYARD to the main entrance. A POODLE yaps at him. The dog is in the open doorway of the Concierge's apartment, which opens into the courtyard. The nosy concierge, MADAME CHRETIEN calls the dog, LULU, back in and shuts the door. Andy enters the dark LOBBY, finds the timed auto shut - off light switch and turns it on. He boards the old fashioned wire cage elevator and presses the button for # 4. McDermott. The elevator ascends painstakingly slowly. Andy resigns himself to waiting, thumbs through his uncle's date book. Andy turns to the day Uncle Terrence was attacked. A circled, cryptic entry at the bottom of the page reads `` Meet Claude, Medusa - 11:00''. Andy wrinkles his brow. At this second, the light goes out. Andy ascends the rest of the way in darkness. The doors open on the fourth floor. He gets out and finds his way to the apartment. He tries a key in the lock. It wo n't turn. He jiggles it. No luck. He goes through this with two more keys, grumbling under his breath. Finally he finds the right one. He pushes the door open and gasps. He's face to face with a scary TRIBAL MASK hanging in the entrance way. It startles him for a second. ANDY This must be the place.",
"INT. TERRENCE'S APARTMENT Andy walks in and sets down his bags. A gun COCKS. A young woman's voice screams at him in French. YOUNG WOMAN -LRB- in French. -RRB- Who are you!? What do you want!? He turns to see SERAFINE, a beautiful young woman, around 22, casually dressed and aiming a pistol at his head. He drops the shoulder bag and reaches for the ceiling. ANDY Do n't shoot! Jesus. uh. Je m ` appelle Andy. McDermott. Je suis le. um, shit. It dawns on her. She drops the gun to her side, embarrassed. SERAFINE -LRB- in English. -RRB- Oh fuck, you are his nephew. ANDY Yeah, that's the word. And you are? SERAFINE Serafine Flocquet. I work for your uncle. ANDY You? You're Madame Flocquet? I pictured a fat lady with an apron, not - I do n't know - La Femme Nikita. Serafine puts the gun away in a drawer. SERAFINE It sounded like someone picking the lock. After what happened, I guess I am a little nervous. She lights a cigarette. ANDY Sure. I can follow that. SERAFINE It's a fucking nightmare, is n't it? ANDY Yeah. True. The cops were n't much help either. Their theory is he was moonlighting as a drug dealer or something. Make sense to you? SERAFINE Police. They have their head in their asshole and they still ca n't find shit. ANDY Well put. So, what exactly has uncle Terrence been up to lately? As he speaks, he scans the apartment. It's cluttered with an overwhelming assortment of anthropological oddities from around the globe, medieval illustrations, molecular models, and an artsy periodic table that's been used as a dart board. SERAFINE He's doing a book with Professor Roussel, about medieval chemistry. I was just transcribing his notes onto the computer and - oh shit! She races out of the room. Andy follows after her.",
"INT. TERRENCE'S STUDY She runs in and finds the computer locked up. She smacks it a few times, clicks the mouse, taps the keyboard. No response. SERAFINE Salots! Shitfucker! ANDY -LRB- reacts to her loose grasp of American slang. -RRB- What? SERAFINE If you leave it for more than a few minutes it locks up. Now I must reboot and type a dozen fucking passwords. He was security crazy. She flicks a switch on the back of the computer, rebooting it. Andy pauses to look at some nearby photos of his uncle. ANDY I still ca n't get over it. The cops said it was a `` maniac'', but he looked like, I do n't know, like he'd gone through a combine harvester or. something. Serafine gets kind of emotional at the thought. SERAFINE They would n't let me see him. Family only. I told them, Terry was almost like a father to me, you know? Andy reacts to her use of the informal `` Terry''. ANDY Depends. Was `` Terry'' a father like Ward Cleaver or a father like Woody Allen? A beat. She grasps his meaning. She's offended. She starts typing on the computer, giving him the cold shoulder. SERAFINE You must not have known him very well. He's not like that. ANDY Hey, Sorry if I was out of line. SERAFINE You were. I have work to do. The publisher wants the transcripts by Monday. Go. Make yourself at home. ANDY Fine. My mistake. You know, I'm gon na be a writer myself some day. SERAFINE Uh - huh. Good for you. Andy sees he's sunk. He heads for the door, but something on the wall catches his eye. A small flyer on the bulletin board with a big drawing of Medusa. He takes it down. ANDY Medusa. What's this? some kind of club? SERAFINE It's nothing. A stupid party. Not really a night club, it's, uh. ANDY Like an underground club? SERAFINE Yes. It's a bad place. Weird people. Strange things go on. ANDY And who's Claude? Serafine looks at him hard, questioning. ANDY I looked through my uncle's date book. Writer's curiosity. She points to a paperback on the desk. It's French, with a psychedelic cover depicting a man, half King Louis XIV, half witch doctor. The title, -LRB- in French -RRB- `` History Inside Out - Psychic Illumination Through the Ages'' by Dr. Claude Roussel. A picture on the back shows an academic looking Claude in a tweed jacket, with gray hair. SERAFINE Professor Claude Rousel. The one your uncle was working with. He teaches cultural history. ANDY In an underground club? I'd like to see that. He shoves the book in his back pocket. Serafine's emphatic. SERAFINE I'm serious. There's nothing for you down there. It's dangerous. ANDY Come on. I'm from New York - the `` shoot me'' state. Do n't wait up. He starts for the door, She spins him around by the sleeve. SERAFINE -LRB- suddenly quite angry. -RRB- What good can you do? Why are you being so fucking stupid? ANDY -LRB- getting fired up. -RRB- Maybe I did n't know him like you did. But he's my uncle. And I owe it to him to get some answers. It's a quest like, uh, Hemingway, the Old Man and The Sea. Except instead of an old man I'm a young man, and instead of the sea, it's a bunch of tunnels under Paris. And instead of a big fish it's. who knows? That's what I'm going to find out. Au revoir. He walks out of the office. She calls after him. SERAFINE You're a fucking lunatic! The front door slams. She looks after him, incredulous. SERAFINE -LRB- French. -RRB- God damned Americans.",
"EXT. RUE D'ENFER - NIGHT A MEDUSA HEAD is carved in the stone above the doorway of a crumbling old facade in a rundown Parisian neighborhood. Andy tries the front door. It's locked. There's no sounds or signs of life. ANDY -LRB- to himself. -RRB- Some party. Andy starts off, then pauses as three PARTY GOERS approach the door. They're `` modern - primitives'' - tribal tattoos, pierced noses, and weird beaded hair. One fishes a key from the Medusa's mouth, opens the door, and lets the group in. Andy slips in behind them. One GUY in the group looks Andy over and mutters something in French to his friends. They snigger amongst themselves and walk to a door across the foyer. Andy follows, a few paces behind, through the door, down some stairs, into A DILAPIDATED BASEMENT Lit with a few candles. They walk past an old boiler, through another door, into A NARROW STONE SPIRAL STAIRCASE They proceed down the ancient stairway, also lit only by the occasional candle placed on the steps. They reach the bottom of the steps and enter a dark, drippy stone tunnel, still lit by candles. Some rats scurry away through the puddles under Andy's feet. Candles lead the way through the maze of intersecting tunnels. Some graffiti scratched in the wall catches Andy's eye : `` Jean Philippe 1803''. He pauses to look at it for and loses the group ahead of him. He follows the candles on his own, turning right, left, and left again. A loud, muffled bass beat gets louder. He rounds the corner into THE WILD UNDERGROUND PARTY SPACE In an open cavern, lit with torches and strobe lights. Two hundred people are gyrating to eerie techno - tribal dance music. It's a weird crowd, mostly young modern primitive pierced and grungy RAVERS, many wearing day - glo tribal face paint. Clusters of sullen, militant SKINHEADS hang around the periphery. An attractive, blissed - out WAIF approaches Andy with a paintbrush and a jar of day - glo face paint and a brush. She goes to paint Andy's face. He stops her. ANDY That's alright. I'll be a cowboy. She smiles and pushes his hand down. He shrugs and lets her paint two day - glow red stripes on his cheeks. ANDY Alright. Fine. -LRB- with mock enthusiasm. -RRB- Ooh. I can feel it tingling. Andy sniffs and makes a face - the paint has a weird smell. ANDY Phew. What's in this stuff, liquid plumber? -LRB- he pulls the book out of his pocket and shows her Claude's picture. -RRB- Do you know this guy? Claude? WAIF Ah oui, le professeur. La bas. She points to a dark alcove off the main cavern. Andy nods and starts off. We move in on a leather clad young man leaning against the wall, watching Andy go. This is GASTON DUFAUX, a self - styled Parisian thug, who seems to be cultivating a sort of `` Mickey Rourke'' look. He takes a drag from his cigarette and we see he's missing two fingers. Andy makes his way through the crowd. People are dancing with wild abandon, and many carry torches. A SKINNY GUY IN A DIAPER and a paper mache skull mask runs through the crowd, ranting and spraying fluorescent silly string. He does a weird dance around Andy and jabbers at him in French. ANDY Uh, lem me get back to ya on that. Andy approaches the side room and peers in. A small group of young people are listening intently to CLAUDE, whose back is to us. He's expounding about something in a solemn tone. CLAUDE -LRB- French, to group. -RRB-. How ironic. A man who dedicated his life to opening the doors of the mind now lies trapped behind them. Locked behind a door without a key. We follow Andy as he steps around the crowd and sees Claude's face. He looks older than in the photo - he's in his late fifties, with white hair and intense eyes. ANDY Excusez moi, I. Claude notices the book in Andy's hand. He speaks fluent English. CLAUDE I'm sorry my friend, I'm not signing books right now. There's been a tragedy. ANDY I know. I'm Andy McDermott. Terrence's nephew. Claude is taken by surprise. CLAUDE My God, I'm sorry. But how did you find your way down here? Wait, let's go talk. He excuses himself from his `` flock'' and leads Andy to a quiet corner of the room. The kids disperse, several looking sympathetically at Andy. CLAUDE It's horrible. Terrence was one of the most brilliant men I've known. ANDY Yeah, well, why did he hang out here? The cops said it's dangerous - CLAUDE The cops. It's their backward laws that force all this underground in the first place, endangering people whose only crime is pushing the limits of perception, exploring new states of psychic awareness. They're suddenly doused with day - glo silly string as the gibbering idiot in the diaper pops in to deliver a rant at them. GUY IN DIAPER -LRB- French. -RRB- The moon is bleeding! Prepare for the downpour! He ducks back out. Andy picks the silly string out of his hair. ANDY Psychic awareness. Right. CLAUDE You think it's silly. But do you realize that young man is actually in a deep sleep? ANDY What? CLAUDE He's on a new drug called ZBH, or `` Daydream''. It allows the user to be fully alert and mobile while he's dreaming. He is literally conscious and unconscious at the same time. ANDY Yeah well, that's like really groovy and everything, but who hacked my uncle's legs off? Claude frowns. He looks grave. CLAUDE Andy. ANDY Yeah? CLAUDE Terrence and I came down here to do serious work. For centuries these tunnels have been home to subcultures mainstream society would not tolerate. He gestures to the main cavern, where people are far gone into various states. some in a trance, some gyrating lustily to the eerily hypnotic music. We intercut with these images as Claude speaks. CLAUDE These people carry on traditions dating back to pagan times - the ancient quest for expanded consciousness. At the same time they're pioneering a chemical revolution, powerful state - of - the - art compounds. But you know what I mean. -LRB- he gestures to Andy's face paint. -RRB- A year ago who would have dreamed of topically applied hallucinogens like TMD? Except Terry of course. Andy's eyes widen with comprehension. He touches his face. ANDY What!? Hallucinogen? Oh shit. He rubs the face paint off with his shirt sleeve. CLAUDE You did n't know? But then why did you. well, do n't worry. It's relatively mild. ANDY Yeah, well if I claw my face off, just pack it in ice, okay? Jesus. the cops were probably right. My uncle was messed up with a bunch of fry brains and they went berserk on him. Claude lowers his voice. He looks grim. CLAUDE No. We stumbled on something else down here Andy. Something horrible, almost unbelievable. But very real. It's been going on for centuries, though most people would n't believe it, or would n't want to. Andy's somewhere between spooked and incredulous. He glances at the book in his hand. ANDY Wait a second, are you like the Steven King of France or something. SERAFINE -LRB- O.S. -RRB- Andy! Andy turns and sees Serafine run up to him. She looks worried. ANDY So you came after all. Just in time, it's getting interesting. SERAFINE You must get out of here. It's not safe. She grabs him by the arm. He resists. ANDY Not you too - CLAUDE -LRB- checks his watch. -RRB- My God! Serafine's right. It's time to go. We'll talk soon. SERAFINE Bon nuit Claude. -LRB- to Andy. -RRB- Come on. Claude dashes off. Serafine drags Andy into the main cavern. ANDY Hey, chill out a second! She leads him across the cavern towards the entrance. Andy stops short and pulls away from her. It's not easy - she has a strong grip. ANDY Alright, hold on. I'm not gon na get dragged around like some kid in a shopping mall. I want you to answer some questions. Serafine sees something over Andy's shoulder. SERAFINE Merde. I knew I should n't have come here. Andy turns to see Gaston approaching. He leers at Serafine. GASTON -LRB- French. -RRB- Serafine, mon cher. I hear your boss looks great in cut - offs. SERAFINE -LRB- French. -RRB- Get the fuck away from me, Gaston. GASTON -LRB- French. -RRB- First you tell me where the ADM is, eh? He puts his hand on her shoulder. Andy notices the missing fingers. SERAFINE -LRB- French. -RRB- Fuck you. She shoves his hand away and pulls Andy past him. Gaston grabs her and spins her around. This time Andy grabs Gaston's hand and pulls it off her. He holds up Gaston's three fingered hand and glares at him. ANDY Well, this explains the two fingers they found in Liberace's asshole. Gaston jerks his hand away. He stabs his finger in Andy's chest. GASTON In Paris we have an expression for people like you : Enculé d'Americain. ANDY Yeah? In New York we got an expression too. Goes like this. CRACK! Andy hauls off and belts Gaston in the jaw as hard as he can. But Gaston does n't even lose his footing. He sneers with rage and hits Andy with a vicious combination. His glasses fly off as he reels into the crowd, knocking a few people into a group of nearby SKINHEADS. The skinheads erupt into randomly directed violence - a full fledged BRAWL breaks out. It's chaos. On the floor, Andy squirms away from the skinheads and retrieves his glasses. He hears Serafine call his name. He gets up amidst the mayhem and sees Serafine being carried away by the crowd. ANDY Serafine! Someone knocks into Andy and he falls to the ground. He gets back on his feet - Serafine's nowhere in sight. He pushes his way through the crowd, looking for her. He catches sight of her white dress in a distant corner. It's there for a second and then gone again - apparently into a tunnel. He runs over to it. Andy peers into THE TUNNEL, which houses some old pipes. It fades quickly into darkness. He grabs a kerosene torch from the wall and runs into the tunnel. About a hundred yards in he passes an ALCOVE. He leans in with his torch and peers around. The cave like room is empty but something catches Andy's eye. Scratched into the stone wall, amidst various graffiti, is A PENTAGRAM. It looks to be centuries old. Andy's transfixed by it. The sound of his own breathing suddenly becomes deafening and his vision begins to distort : the textures of the stone wall begin to churn and crawl, and the flames from his torch melt into different hues. The pentagram glows and seems to grow out of the wall. The hallucinatory flash is over as fast as it began. Panting, stunned, Andy shakes it off. He wipes his face, checking for traces of paint. He tries to reassure himself. ANDY Whoa. C'mon. A woman's SCREAM echoes through the tunnels. He runs towards it. ANDY Serafine!? Another scream - anguished, tortured. Andy runs faster. He arrives at an intersection with another tunnel, turns the corner and finds. A decrepit old WINO hogging a bottle from his warty HAG companion, provoking her to scream like she just lost her only son. They look up at Andy. The hag shuts up. They fix Andy with an odd stare. ANDY Sorry. I, uh, did you see a girl, la femme, um, avec, la dress blanc? They just stare at him. Spooked, he walks past them. They follow him with their creepy stare as he continues into the tunnel, which slopes downhill. He comes to an old stairway leading down into darkness. WATER pours out of a hole in the ceiling. The steps are severely eroded and slick with flowing water and moss. Andy sees something. It's SERAFINE'S SHOE, laying on a landing a few yards down the stairs. He leans in further, loses his footing and slips. ANDY Ahh! Son of a bitch! He shoots down the stairs on his back, past the shoe which lies at the mouth of an intersecting tunnel. His glasses come off. The torch goes out. He stops at the bottom of the stairs on a gravel surface. He winces a bit as he sits up. It's too dark to make much out. He feels around the gravel, finds his GLASSES - they're shattered. He scowls. He stands up and walks ahead, feeling his way along the slick wall, peering into the darkness. ANDY SERAFINE!? The echo sounds different - like he's in a larger space. The echo decays into a familiar low RUMBLE. A reflection of light appears in a puddle on the floor. The light gets brighter until Andy sees the subway tracks at his feet. The rumble gets suddenly louder as METRO TRAIN barrels around the corner, flooding the tunnel with light and closing on Andy fast. ANDY Oh shit! He turns and runs for THE STAIRWAY. He skids on the gravel and overshoots it. He scrambles back and up into it just as THE TRAIN whooshes past. Andy scurries a few feet up the slick steps, using a rusty pipe for a handhold. As he looks back at the SPARKING, RUSHING TRAIN WHEELS, his heart pounding in his head, he has another HALLUCINATORY - FLASH : the sparks explode into streaking patterns of color and light. It passes quickly. The train goes by and its rumble fades. Andy squeezes his temples and takes a deep breath. Before he finishes exhaling, an UNEARTHLY HOWL echoes through the tunnels. The howl literally takes his breath away - he's frozen there, eyes wide, not breathing for a long moment. Quietly, carefully, he makes his way back up the dark, wet stairs. He comes to the landing, picks up Serafine's shoe, and steps into the INTERSECTING TUNNEL. He squints into the darkness. Without his glasses, ANDY'S POV is a bit blurry. He walks into the tunnel. Another HOWL. Andy swallows hard. ANDY Jesus Christ. He hurries along. WATER DRIPS from the tunnel ceiling, down the walls, onto the cobblestone floor, flowing into rivulets around Andy's feet and joining a stream that flows ahead of him, disappearing into the blackness ahead. He approaches another intersection. He stumbles over something. He looks down and makes out a GIRL'S BARE LEG lying in a puddle in the dark intersecting tunnel. He follows the leg up with his eyes - it's messily severed above the knee. He gasps. He looks further into the tunnel and sees A PAIR OF GLOWING YELLOW EYES staring back at him out of the darkness. Andy turns and runs. With a horrible ROAR, the eyes lunge after him and turn the corner. As it gains on Andy, we see the dim outline of the massive wolf - like beast. Andy dives for a SMALL CONDUIT, barely big enough for his body, and wriggles into it. Behind him the yellow eyes appear at the mouth of the conduit - the beast SNARLS but ca n't fit in. Andy can see a dim light at the end of the conduit. He crawls along. He emerges into ANOTHER TUNNEL. Some thirty yards away, light and street noise come through a GRATE on the ceiling of an antechamber beyond an iron gate. Relieved, Andy starts off towards it. A SNARL stops him in his tracks. THE BEAST comes tearing around a corner fifty yards behind him. Andy breaks into a sprint towards the antechamber. He slips on the wet floor and lands in a puddle, drenching himself. The beast closes in. Andy gets up, runs into the antechamber and slams the iron gate shut. There's a rusty DEADBOLT lock on the gate, but no key. The beast is twenty five yards away and closing fast - it's massive silhouette filling the diameter of the tunnel. Andy whips out his SWISS ARMY KNIFE, opens the screw driver and tries it in the old - fashioned keyhole - it does n't work. The beast is twenty feet away. Andy tries the can opener - no luck. Ten feet. Andy jams the corkscrew into the hole. The beast leaps. The corkscrew turns. The DEADBOLT SLIDES. SLAM! The beast rams the gate, shaking the anteroom. But it holds. Flashes of CLAWS and TEETH thrash through the bars, but it's still too dark to make the beast out clearly. Andy runs across the anteroom, grabs the steel sewer grate on the ceiling, and hoists himself up. Through the bars, he sees a BUSY BOULEVARD in the Pigalle -LRB- the `` Times Square'' of Paris -RRB-. There's a COP a few paces away. Andy screams to him. ANDY HELP! OFFICER! ON THE BOULEVARD - Over the roar of traffic and midnight revelers, the cop can barely pinpoint Andy's screams. He looks around, confused. He sees Andy and angrily shakes his baton at him. COP -LRB- French. -RRB- Hey! You should n't be down there! ANDY FOR GOD'S SAKES, LET ME OUT! THE BEAST slams the gate, wrenching one of the iron bars loose - two more bars and it'll fit through. Andy jumps down, picks up the loose bar. It's got a STAR SHAPED SPEAR TIP. He rushes at the gate and jams the spear through the gate, aiming for the thrashing teeth and eyes in the darkness. The beast ducks and the spear sinks a couple of inches into the BACK OF IT'S NECK and stops, apparently on bone. It recoils and ROARS with pain, shaking the spear free. ON THE STREET - The cop raps the bars with his nightstick and peers into the dark anteroom. COP -LRB- in French. -RRB- You are not allowed down there! IN THE ANTEROOM - The beast rams the gate - it's rage redoubled. Andy jumps up and grabs the grate. ANDY GET ME THE FUCK OUT OF HERE! ON THE STREET COP -LRB- French. -RRB- `` Fuck''? You think I do n't know this word `` fuck''? Is that how you talk to policemen in America? Enraged, the cop runs to his car, muttering to himself. He opens the trunk and rummages around for something. IN THE ANTEROOM - The beast knocks another bar off the gate. Andy watches in horror as it rams even harder, loosening the NEXT BAR. ANDY -LRB- to the cop. -RRB- FUCK! FUCK! FUCK! FUCK! FUCK! ON THE STREET - The cop looks over at Andy, incensed. He takes a crowbar from the trunk, runs back cussing in French, and struggles with the grate. IN THE ANTEROOM - The NEXT BAR on the gate gives. The beast sticks its head through the gap and focuses it's searing yellow eyes on Andy. It rears back, ready to pounce. THE GRATE - comes up. The cop grabs Andy and pulls. IN THE ANTEROOM - Andy's legs dangle like bait. The beast lunges, teeth and claws bared. ON THE STREET - Andy screams as a bus roars by. The cop pulls him up and out. Andy's right pants leg is torn open and he's bleeding from a GOUGE in his ankle. COP -LRB- French. -RRB- Okay, what the hell are you up to? ANDY It bit me! My leg! Jesus, it's down there, shoot it! Shoot it for Christ's sakes! He points frantically at the open hole. The cop aims his flashlight in the hole. It's empty. He looks Andy up and down. COP -LRB- French. -RRB- Your passport. Shaking, Andy takes his passport out of his pocket. The cop takes it and copies some information. Andy raves at him - a blur of English and broken French. ANDY There's something down there! A bear or something! A god damn monster! Beau coup teeth! Huge, Grande, with yellow eyes, all this hair, it killed Serafine! My God. COP You on drugs? Huh? ANDY -LRB- he falters. -RRB- No. I. He looks disoriented, half - crazed. He definitely seems like he's on drugs. The cop shines his flashlight in Andy's eyes - his PUPILS are like saucers. ANDY'S POV The cop's flashlight sparks another HALLUCINATORY FLASH. The cops face melts like liquid, sounds swirl together, the garish neon signs of The Pigalle explode into streaking colors and we BURN INTO WHITE.",
"EXT. TERRENCE'S APARTMENT BUILDING The cop car pulls to a stop. The cop gets out, opens the back door, and pulls Andy out. He pushes Andy towards the building. COP -LRB- French. -RRB- Stay off the street. The cop gets in the car and drives away. Andy staggers to the gate in a daze and fumbles with the keys.",
"INT. APARTMENT BUILDING Andy walks up to the apartment door. Disoriented and shaking, he manages to open the door and walk in. He locks the door, and switches on the lights. He looks out the small PEEPHOLE. No sign of anyone or anything. He leans back against the door and rubs his hands across his face. ANDY Oh god. Je suis seriously messed up. There's a DRIPPING sound coming from the kitchen. Andy looks across the living room into the dark kitchen. The DRIP continues. He steps forward cautiously. Suddenly he feels something and looks down sharply. UNCLE TERRENCE, bloody stumps and all, is clutching Andy's legs and looking up at him desperately. He's trying to speak but ca n't seem to make a sound. Blood from his wounds soaks the WHITE BEAR RUG beneath them. Andy's terror struck, he tries to jump away but falls backwards to the floor. Terrence crawls up and gets close to Andy's face. He croaks out two words in a rasp - TERRENCE Saint Severin.",
"INT. TERRENCE'S HOSPITAL ROOM - SAME TIME The EKG monitor shows a FLATLINE. Alarms are BEEPING. Terrence's body lies motionless under the oxygen tent. A DOCTOR and a NURSE rush to the bed. The nurse rips the oxygen tent away and the doctor SLAMS his fists down on Terrence's chest. The EKG show s a tentative blip. The doctor SLAMS again. An erratic heart beat starts back up on the EKG.",
"INT. TERRENCE'S APARTMENT - SAME TIME Andy lies passed out on the floor. Terrence is gone, and the rug is free from blood.",
"INT. LEDUC'S OFFICE - DAY Marcel sits next to the patrol cop, PEROTIN, who rescued Andy. They're hysterical with laughter. Even LeDuc, sitting behind his desk, is chuckling. LEDUC -LRB- French. -RRB- What else did he say? PEROTIN -LRB- French. -RRB- Yellow eyes. big teeth. -LRB- he can barely choke out the words between laughs. -RRB- Covered with hair! Ha - ha - ha! Perotin playfully growls at Marcel. They laugh even harder. LEDUC -LRB- French. -RRB- Okay Perotin. You can go. Perotin nods, still laughing. Marcel walks him to the door. Before he steps out, Perotin bares his teeth, growls again, and cracks up some more. Marcel, laughing, claps him on the back and shuts the door - then he and LeDuc go instantly stone faced. They look at each other gravely. LEDUC -LRB- French. -RRB- Well? MARCEL -LRB- grim. -RRB- Okay. So maybe you were right. LEDUC Hmmph. At least now there's one person around here who does n't think I'm crazy. LeDuc walks to a map of Paris on the wall covered with colored push pins. He sticks a blue pin in it. He points to a green pin on another part of the map. LEDUC -LRB- French. -RRB- Twelve thirty - six a.m. here. Twelve forty a.m. here. There's two of them. At least. MARCEL Merde. LeDuc looks at his calendar. Four days are circled in red ink. LEDUC -LRB- French. -RRB- Two more nights in this lunar cycle. MARCEL Double merde. LeDuc opens a tall cabinet, revealing a bookshelf stuffed with dusty tomes. He browses past dozens of titles about black magic and demonology. LEDUC You better follow that McDermott kid. He's going to wind up like his uncle if he's not careful. MARCEL Right. Little twerp thinks he's Colombo. LeDuc selects an old book and hands it to Marcel. LEDUC And do some research, will you? Marcel takes the book. He inspects the cover -LRB- it's in French -RRB- - `` Werewolves through the Ages : from St. Severin to the present''. MARCEL -LRB- confused. -RRB- Saint Severin. LEDUC You never heard the story of Saint Severin driving the werewolves from Paris? MARCEL You think that's what McDermott was raving about in the ambulance? LEDUC What, you think everyone's as ignorant as you? Marcel considers this. MARCEL Pretty much. LeDuc grunts, exasperated. MARCEL Inspector, you're not exactly typical. I mean c'mon. -LRB- holds up book. -RRB- This thing is n't sitting on a lot of coffee tables.",
"INT. TERRENCE'S APT. - LATE MORNING THE SAME OLD BOOK, sitting on the coffee table. The pages are stuffed with notepaper place markers, many covered with scribbling, and CHEMICAL NOTATION. In the background, on the floor, is Andy - fast asleep and snoring where he collapsed the night before. We hear a key in the lock. The door opens, smacking Andy in the head once, twice. ANDY Aoww! Hey! What the hell? He grabs the door so it ca n't hit him again. Serafine pokes her head around and sees him. She's surprised, relieved, elated. Andy's reaction is more disoriented, stunned. SERAFINE Andy! Holy shit! ANDY Serafine? She kneels beside him and helps him sit up. SERAFINE Thank God! What a relief! I thought. After you disappeared. I could n't find you. I thought all sorts of horrible things. ANDY Yeah. Ditto. I saw, er, I thought I saw you get munched. like Uncle Terrence. He looks over at the clean bear rug. Andy rises to his feet groggily. He looks down at the rip in his pant leg. He feels the torn fabric, trying to remember. SERAFINE What happened? Did you cut yourself? ANDY Um. sort of. Maybe. It's all kind of blurry. We met at the club, then. Damn, that was some weird shit. He goes over to the window and parts the curtains. It's a brilliant sunny day. SERAFINE That was fucking stupid, going down there. You could have been killed. I tried to warn you, But you do n't listen. Just like your uncle. Andy's only half listening. He opens the window, and inhales deeply. Across the court yard, a MATRONLY WOMAN leans out a window, hanging her laundry. In the courtyard, Lulu the obnoxious poodle YAPS at another resident, and Madame Chretien calls her back. Andy's head is clearing. His mood lifting. SERAFINE You have to be a hero. All Americans think they are cowboys. ANDY -LRB- leaning out window. -RRB- I was an Indian, actually. Man, that damn psycho paint! If that's supposed to be mild, I do n't want to know about medium. -LRB- he looks at the woman and smiles, the sun on his face. To himself :. -RRB- The planet earth. It's good to be back. SERAFINE So. you feel okay now? He turns around and smiles at her. ANDY Yeah. Actually, I feel fan - fucking - tastic. Serafine laughs. She has n't heard this expression before. He approaches her. SERAFINE Fan - fucking - tastic? ANDY Hey, what more could I want? I survived my first and last hallucinogenic hellride, and neither of us is dead. I'd say I feel almost as great as you look. He makes a grab for her, and she pushes him away. SERAFINE Hey! Calm down. He jumps up on the sofa, unable to contain his energy. ANDY Come on Serafine. Let's go out. Show me the real Paris, the part that is n't overpriced and overrun with German tourists. SERAFINE Go to Jim Morrison's grave at Pere Lachaise. It's overrun with American tourists. I have to work. ANDY I know! Let's go hock loogies off the Eiffel Tower! She digs in her pockets and hands him some coins. SERAFINE Here. You go. `` Hock some loogies'' for me. She turns and heads off to the office. He runs in front of her and blocks her path. ANDY What about food? Even beautiful women have to eat. It's true. I read it. Please? A half an hour? -LRB- pause. He sees she's tempted. -RRB- My treat? -LRB- she's smiling. He resorts to begging. -RRB- Pleez! Do n't make go out there alone again! I'm begging you! SERAFINE Okay. But I'm back in half an hour. Andy claps his hands together in triumph and scrambles to hold open the door for her. SERAFINE What about your glasses? ANDY It's okay. I can see fine. She gestures to his filthy clothes. SERAFINE Do n't you want to change? ANDY Man! Our first date and already you're trying to get me to change! You French women work quick! She smiles and pushes him back in the apartment.",
"EXT. PARIS BOULEVARD - DAY JERRY LEWIS on a TV screen, dubbed with a zany French voice, undergoes a radical physical transformation in `` The Nutty Professor''. Pull back to reveal Andy and Serafine watching this scene on a dozen or so TV's in a store window display. Several PARISIAN PEDESTRIANS watch Jerry with reverence. ANDY Now this is Paris! On screen, the Nutty Professor's alter ego, `` Buddy Love'' launches into his swinging version of `` That Old Black Magic''. To this accompaniment, we cut the following - AT A BRASSERIE : Andy is about to escort Serafine into the trendy eatery, but she stops him at the door and points to the menu, or more specifically the prices. He makes a horrified face, and they move on. - IN A BOULANGERIE : Serafine buys cheese, Andy buys meats - the counterman shows Andy how big a slice off the pate loaf he's about to cut. Andy nods `` yes''. The counterman cuts it and offers the slice. Andy shakes his head `` no'' and points to the much larger remainder of the loaf. - AT AN OUTDOOR MARKET : Detective Marcel, wearing a lame `` disguise'' -LRB- new wave sunglasses ala `` Diva'' -RRB-, watches Andy and Serafine shop from a distance. - IN A PATISSERIE : Andy points to a large baguette, says something suggestive and winks boastfully at Serafine. She gives him a `` yeah, right'' look and points at a small breadstick. - IN A WINE STORE : Andy looks at each bottle closely, then `` tests'' it by shaking vigorously. Serafine's amused. The owner's baffled. - ON THE RIGHT BANK : Arms full of groceries, Andy and Serafine pass the row of outdoor pet stores near the river. Andy looks longingly at the live ducks in their cages. Serafine pulls him along. MUSIC fades out.",
"EXT. ILE SAINT LOUIS - SUNSET Andy and Serafine sit on the river bank facing a magnificent Paris vista. Serafine unpacks the food. SERAFINE Shit! You bought enough pate for a fucking army! ANDY So tell me, exactly which truck driver did you study English with? She laughs and pushes him playfully. ANDY Like I should talk. Monsieur foot - in - the - mouth. I'm really sorry about that whole Woody Allen thing. SERAFINE So's Woody Allen. -LRB- Andy laughs. She starts uncorking the wine. -RRB- No, your uncle really helped me. I was sort of messed up for a while. Wasting my time just partying and. just stupid shit. He kind of woke me up, gave me a job, got me taking classes. -LRB- she uncorks the wine and fills their plastic cups. -RRB- You know, he and Claude, their work is controversial, but they're serious about it. Totally dedicated. ANDY That's what counts. If you're not passionate about it, do n't waste your time. That's why I quit college. Plus I'm a lazy bastard. -LRB- They raise their cups. Andy taps his forehead. -RRB- Wait, I know this. A votre sante. SERAFINE A la votre. They `` clink'' and drink. He notices her KEYCHAIN lying on the ground. It's a miniature replica of Rodin's famous sculpture, `` The Kiss''. He picks it up. ANDY This looks familiar. SERAFINE Ahh, Rodin. Mmm! He's the fuc -. -LRB- she catches herself and laughs. -RRB- I mean, he's the best. You must go to the Rodin sculpture garden, in the huitieme, it's so beautiful. She gestures across the river. Andy looks at the gorgeous panorama. ANDY Yeah, I got ta admit, you French are pretty good at beautiful. He looks at Serafine. She looks back at him. He holds up `` The Kiss''. ANDY I bet you're pretty good at this too. She smiles playfully. SERAFINE What, sculpting? He shakes his head `` no'' and moves towards her. They kiss tenderly. They separate and share a deep, passionate look. They kiss again, hungrily, falling into a passionate embrace. They're really going for it. Her NAILS dig into his back. He pulls her body into his until they look like one form - just like Rodin's sculpture. APPLAUSE and CHEERS break the moment. A TOURIST BOAT is gliding by on the Seine, it's ELDERLY PASSENGERS applauding the young couple. Serafine pulls away, blushing a little, and turns to the boat. ANDY does n't even notice the boat. He's staring at Sera fine with a scary kind of intensity. She starts to say something but he starts kissing her again, cutting her off. Suddenly he's out of control, pawing at her. It takes an effort for her to pull back from him. SERAFINE Hey, calm down a second. She looks into his eyes and freezes with fear. HIS STARE is terrifying, totally predatory, inhuman. Something's ignited in him. She pushes him away and shakes him. SERAFINE What's wrong with you!? Andy blinks and seems to come a couple of steps back to normality. ANDY What? Are n't I a good kisser? What's the matter? She fixes him with a heavy, suspicious stare. She glances down at his ankle, where the bottom of HIS WOUND is visible. She seems to understand something. She fumbles in her purse, takes out a compact mirror, and checks her face. SERAFINE God, look at my lipstick. Look, I'm going to run into the bathroom at that cafe. Stay here and watch the stuff, okay? She gets up and starts off. He looks after her. ANDY Serafine. SERAFINE I'll be right back. Stay put. She runs up the steps to street level. Andy watches her go. He turns back to his glass of wine and chugs it. He puts the bottle to his lips and takes a long belt. He picks up the big block of pate and bites into it like a piece of cake. He likes it. He takes another huge bite. He looks after Serafine. He gets up.",
"INT. CAFE Serafine puts her `` telecarte'' into the pay phone and dials. She looks anxious, upset. We hear the phone ringing at the other end. Behind her, Andy comes into the cafe. He walks up to her, pissed off. ANDY Fixing your makeup with a phone, huh? Who the fuck are you calling? SERAFINE Professor Roussel. There's something wrong with you. I know it. ANDY Roussel? You mean Claude? You're calling Dr. Demento so he can come paint my face again? Fuck that. Andy starts backing away. SERAFINE Andy, stop! I think he can help you -. -LRB- Claude picks up. -RRB- CLAUDE -LRB- V.O. -RRB- Allo? ANDY What, you think you're gon na catch fucking leprosy from me? Fuck that shit! If I'm not good enough for you I'll find someone else! He turns and storms out of the cafe. Serafine's flustered. SERAFINE Andy! CLAUDE -LRB- V.O. -RRB- -LRB- French. -RRB- Serafine? Is that you? What's going on? SERAFINE -LRB- French. -RRB- Claude, it's Andy, he's acting really weird, I think something happened last night. CLAUDE -LRB- V.O. -RRB- God, well do n't let him go! Catch him! She drops the phone and runs out of the cafe. On the sidewalk, she looks in all directions. Nothing. Andy's gone. SERAFINE Fuck!",
"INT. CLAUDE'S OFFICE - SAME TIME Claude's sitting at his desk, phone to his ear. The room is stuffed with books. CLAUDE Serafine? Allo? He hangs up. He strokes his chin and furrows his brow, sinking deep into thought.",
"EXT. STREETS OF PARIS - NIGHT Music cue : `` Wolf Call'' by Elvis Presley. Andy pays for a crepe at one of the roadside stands, and eats it as he walks along the narrow sidewalk, still brooding about Serafine. He stops to gawk at the PRETTY GIRLS that pass by, and bumps into a young FRENCH TOUGH with a ROTTWEILER. FRENCH TOUGH Idiot! ANDY Ah, bite me! He glares at the tough and his growling dog. The dog suddenly shrinks back in fear and decides it's time to leave. He pulls his owner along. Andy continues on his way. He ditches the half finished crepe. That's not what he's hungry for. Andy comes upon a trendy little CAFE with several tables of diners eating in the open air. Andy notices an attractive young blond sitting alone, thumbing through a `` Let's Go'' guide. This is AMY SINGLETON. Andy approaches confidently. ANDY Ahem. Did you know that, according to the `` Let's Go'' code of conduct, whenever two Americans meet in Paris, the one with the sexiest smile has to buy dinner? Amy smiles. She is indeed sexy, with remarkable, sparkling BLUE EYES. ANDY Damn! You win! Waiter! Garcon! He jumps into the seat across from her. AMY Actually, I'm waiting for someone. ANDY What a coincidence, I am someone! -LRB- sniffs. -RRB- Mmm. Calvin Klein's Obsession. Now it's mine too. She laughs. The waiter arrives to take their order. Andy hands him the empty half bottle of wine from Amy's table. ANDY Hi. Another, bigger bottle for this ravishing blue eyed Goddess and myself. And, avez vous le Steak Tartar?",
"INT. TERRENCE'S APARTMENT BUILDING HALLWAY - SAME TIME Serafine unlocks the door and enters the apartment. She's stopped cold by what she sees. The place has been totally ransacked - drawers opened, shelves cleared, furniture overturned, the works. The window is open. SERAFINE Merde! Salots! She walks across the room, kicking at the debris in her path. She stands in the middle of the mess, absolutely furious. SERAFINE Aaaaah!",
"EXT. STREET - CONTINUOUS Across the street from the apartment building, GASTON pauses to light a cigarette. He hears Serafine's distant scream, looks towards the building, and walks away.",
"EXT. CAFE - NIGHT Three successive tables of upscale PARISIAN DINERS are gawking at something. At one table, Inspector Marcel hides behind his menu, and shakes his head in disdain. We follow their glances to Andy, greedily licking the last bits of Steak Tartar off his plate. Amy giggles in amazement as she pours the last from the bottle of wine. She's a bit drunk - enough to be amused by Andy's antics. AMY God. How can you eat like that? ANDY It's all in the tongue. Another bottle? Amy laughs and nods `` yes''. JEAN - LUC, 25, a well dressed, powerfully built Frenchman enters. He kisses Amy on both cheeks, all the while watching Andy uneasily. AMY Jean - Luc. You're kinda late sweetie. JEAN-LUC I was busy. Is this a friend of yours? AMY Well, yeah, kinda', but - ANDY We're so much more than friends. We're soul mates, sex slaves, pen pals, the whole nine yards. Well, nine yards is a slight exaggeration, but believe me, for a white boy, I got nothing to be ashamed of. Amy laughs in mid gulp and wine comes through her nose. Andy looks at Jean - Luc, who is - of course - pretty steamed. ANDY Hey, I'm kidding. It's a joke! Here, maybe if I say it in metric. Jean - Luc grabs Andy by the collar and pulls him to his feet. JEAN-LUC Think you're smart, huh? Amy tries to intervene. AMY Jean - Luc, do n't be a jerk. She tries to pull his hands off Andy, but Jean - Luc sends her reeling back with a firm shove. ANDY Hey, look man, she - Jean - Luc brings his hand back and slaps Andy in the mouth. JEAN-LUC Shut up. Why are you Americans always so loud? ANDY I do n't know. Maybe it's so we can drown out the sound of your mother fucking the navy? Jean - Luc takes a swing at Andy. With amazing reflexes, he dodges it deftly. Jean - Luc jabs - again Andy avoids it easily. He smiles, impressed with himself. Jean - Luc is incensed. He goes for Andy's throat, but Andy catches him by the arm and, with superhuman strength, FLIPS him head over heels, through the air and - SMASH! - onto a nearby table. Andy casually leans past the semi - conscious Jean - Luc and plucks a CHAMPAGNE BOTTLE out of its ice bucket. The WAITER is about to object, but thinks better of it. Andy takes Amy by the arm, she grabs the RED WINE BOTTLE, and they start off away from the cafe. AMY Wow. You know Kung Fu or something? ANDY -LRB- amazed at himself. -RRB- Yeah. Apparently. In the background, Marcel hurries to pay his tab and follow them. He slips on some of the broken glassware spilled by Jean - Luc's fall, and almost goes for a tumble himself. FURTHER DOWN THE STREET Amy and Andy walk together. She's still giddy. AMY Ha ha. You were probably right about his mom. ANDY Hope I did n't hurt him too bad. AMY Who gives a shit? I've had it up to here with arrogant Frenchmen. ANDY Up to there? Really? I bet I could beat that. AMY Ha ha! Yeah right, white boy! Ha Ha ha. -LRB- she hiccups. -RRB- I think maybe I drank too much. ANDY Ah. The mating call of the blonde. The night is young, the moon is bright, whataya feel like doing tonight? AMY I do n't know. Surprise me. He thinks a moment, then puts his arm around her and whispers in her ear. She squeals with delight. AMY Are you kidding?! I LOVE Jim Morrison! Inspector Marcel, who's eavesdropping from around a nearby corner, rolls his eyes to heaven. Oh brother. The Doors' `` Backdoor Man'' kicks loud as we",
"EXT. PERE LACHAISE - NIGHT Marcel is hiding behind a grave, spying. His passion for police work has been reborn, judging from his rapt, totally absorbed stare. He's watching. ANDY AND AMY having extremely hot and primal sex on Jim Morrison's grave, lit by dozens of flickering candles people have `` left for Jim''. He pours red wine into their mouths. Sweat and wine drip off their naked bodies. The sex heats up to an intense, screaming climax. Amy squeals with ecstasy. AMY My God! You're an animal! But Andy's still accelerating - transported to another plane. Sweat pours from his brow. His face contorts with each groan, but now it's hard to tell if it's from pleasure or pain. His body jerks violently and his skin suddenly blushes bright red. Amy winces. AMY Ahh! Jesus! You're burning hot! What the hell - ANDY AHHHHHHH! Marcel is a little disconcerted. MARCEL -LRB- French, to himself. -RRB- Alright already, you passed the audition for God's sakes. Andy's skin literally glows red, turning his sweat to steam. He leaps off Amy and disappears into the sprawling cemetery, screaming in agony. Amy watches him go. AMY Hey, where are you going!? Marcel starts off after Andy, taking the wide route around Amy. Andy's scream echoes through the cemetery. Amy pulls her dress on. AMY Creep. ANDY red hot -LRB- literally -RRB-, weaves through the tombs, screaming. He comes to a small courtyard with an ORNATE FOUNTAIN. He dives into the brackish water. Clouds of steam rise off the water as he thrashes about under the marble goddess in the center of the fountain. AMY searches through the graveyard. She's got Andy's clothes. AMY I do n't know what's wrong with you, man, but I got your pants, so we better talk. THE FOUNTAIN Andy's gurgling screams are changing, becoming less human. We catch glimpses of body parts as they surface from the churning froth - GROTESQUE, FLAILING LIMBS somewhere in mid - transformation between human and beast. MARCEL steps cautiously through the ancient, ornate tombs and mausoleums, listening to the distant splashing and sporadic inhuman screams. He draws his gun and loads a cartridge. Suddenly a horrible grunt and loud SMASH pierce the air. Marcel wheels around and smacks nose first into a gravestone. MARCEL Merde! AMY in another part of the graveyard, stops in her tracks, listening. Another SMASH followed by crumbling, and rushing water. AMY -LRB- to herself. -RRB- He's gone psycho ballistic. This is bad. Amy feels something and looks down. There's a stream of water flowing around her feet. She follows it towards its source and steps into THE COURTYARD The fountain has been smashed - the stone rim cracked into bits and the center statue fallen to the ground. There's no sign of Andy. Amy walks up to the fountain. AMY Oh my God. She notices something on the ground. It's the STONE GODDESS, smashed into several pieces. We hear a low growl. Amy looks up, terrified. She scans the GRAVES around the perimeter of the courtyard. She takes a few tentative steps backward. Suddenly a MASSIVE TOMBSTONE is wrenched off its base -LRB- most of the ancient stone markers are eroded and crumbling - many already fallen over -RRB-. It falls like a tree, revealing the familiar pair of piercing yellow eyes behind it, framed by the dim outline of a massive beast. Amy emits an odd, primitive whine. AMY Unnnhh. She runs away from the beast, across the courtyard and disappears into the graves. In the DENSE FOREST OF TALL TOMBSTONES, Amy zigs and zags through narrow spaces, barely wide enough for her slender body to fit through. The camera CRANES UP. HIGH ANGLE Thirty paces behind Amy, pairs of tombstones split apart like jungle vegetation, crashing thunderously to the ground. The unseen beast's path is slowed by the monuments, but still follows Amy. Amy looks back as she runs. She sees the tops of tombstones fall behind her. She comes to a railing at the top of a fifteen foot wall separating a LOWER LEVEL of the cemetery. She hangs over the edge and quietly drops. She runs down a path comes to an intersection where six paths converge. She looks down each of them, but ca n't see the outer walls of the cemetery - just an endless landscape of graves. She sprints down a path and ducks behind A LARGE CRYPT. Up on the higher level, the beast howls. She looks up and sees its silhouette sniffing the air, the full moon looming behind it. She looks up at the iron door on the crypt. Then she reaches into her purse. THE BEAST'S POV Its HEAVY BREATH dominates the soundtrack. It scans the sprawl of graves from its perch on the hill, sniffing. It locks it's stare on the large crypt. It sniffs again. With a growl, it leaps over the railing -LRB- we stay with its POV -RRB- and hits the ground running. It runs up a twisting path, closing in on THE CRYPT. It arrives at the back of the crypt and circles it, sniffing. It stops in front of the door. THE BEAST'S EYES Narrow and glow with intense predatory focus. INSIDE THE CRYPT We're looking at the door. CRASH! It flies open, revealing the snarling beast, backlit by the moon. It lunges in and stops. THE BEAST'S POV Scans back and forth - the crypt is empty. The beast sniffs again and growls with rage. AMY somewhere else in the graveyard, sprays a long blast of perfume into another crypt, and sneaks into the endless maze of tombs. We hear the enraged beast smash into another crypt a hundred yards away. Amy comes to ANOTHER FOUNTAIN and slips into the water, quietly rinsing herself. THE BEAST'S POV smashes into another crypt. Nothing's inside. It backs up and runs to another crypt. SMASH! Nothing. The growls grow more furious. It crashes down another door. Nothing. Amy, dripping wet, pads down a row of ancient family mausoleums. She pauses as the beast lets loose a horrible howl and topples a monument some distance away. She tries the heavy iron door on a SMALL GOTHIC MAUSOLEUM. It opens. She slips inside. IN THE MAUSOLEUM Amy crouches under the small portal and STAINED GLASS WINDOW, which depicts the Virgin Mary. She struggles to quiet her breathing, and listens. She hears only the trickling water from the nearby fountain. Then. some crackling twigs. then a SNIFF. another SNIFF, closer. Trembling, Amy quietly raises herself, peers out the portal and sees MARCEL Standing a few paces away, SNIFFING and trying to stem the flow from his bloody nose. MARCEL Merde. Amy breaths a sigh of relief. Then - THE BEAST springs out of the darkness behind Marcel - a blur of eyes, claws, and teeth - and tackles him to the ground. IN THE MAUSOLEUM Amy drops down to the floor, huddled in terror. A GUN SHOT hits the STAINED GLASS above Amy's head, shattering the Holy Virgin. Another GUN SHOT followed by a ROAR OF PAIN from the beast. But the pained roar quickly becomes VICIOUS SNARLING again. There are no more shots, just horrible snarls, screams, and ripping flesh. BLOOD splatters through the portal and drips down Amy's face. She hunkers down. Then, the sound of steps going away, and at last. silence. Amy waits. We hear only the fountain and another, closer DRIPPING. It's Amy's wet clothes, still dripping into A PUDDLE on the floor, which is dripping UNDER THE IRON DOOR, into a small STREAM flowing on the otherwise dry STONE WALKWAY, away from the mausoleum. In the mausoleum, Amy listens a bit more. Satisfied the coast is clear, she quietly turns to the iron door, grasps the handle and slowly turns it. But before it clicks open - RRRIIP! The iron door is wrenched out of Amy's hand and off it's hinges, revealing THE BEAST, up close and in clear view for the first time - it's truly awesome - a huge leering mouth full of razor sharp teeth, a hulking body built like a wolf but as massive as a bear, and vaguely humanoid paws with big hook claws. There's a bloody FLESH WOUND in its right shoulder. It snarls savagely at Amy. She chokes out a little cry. The beast lunges. OUTSIDE THE MAUSOLEUM - HIGH ANGLE The beast's powerful hind section sticks out of the mausoleum, kicking a bit as it rips into its prey. The graveyard sprawls endlessly under the big moon, which hangs low in the sky.",
"EXT. TERRENCE'S APT. BUILDING COURTYARD - MORNING We hear Lulu the poodle's bell jingling behind a bush. Madame Chretein pokes her head out her door and whistles for Lulu. The bell keeps jingling, but Lulu does n't come. She calls its name. It still wo n't come. She steps out into the courtyard in her bathrobe and walks towards the bush, calling for the dog, annoyed as its disobedience. She looks behind the bush and sees - A CROW picking at the scant remains of Lulu, ringing the collar bell with its beak. She SCREAMS.",
"INT. TERRENCE'S APT. - SAME TIME Andy wakes up in a cold sweat, naked on his Uncle's couch. The phone is ringing. He looks disoriented, confused. We hear Madame Chretien screaming in the background. ANDY Jesus. He sits up to get the phone and becomes dizzy - he grabs his head. He reaches for the phone and winces - there's a crusted over FLESH WOUND on his right shoulder. He picks up the phone. ANDY Hello? SERAFINE -LRB- O.S. -RRB- -LRB- anxious, concerned. -RRB- Are you okay? ANDY No, I do n't think so. I was having a nightmare. Wait a second. SERAFINE -LRB- O.S. -RRB- Where did you go last night? What did you do? ANDY I do n't. I. I ca n't remember. SERAFINE -LRB- O.S. -RRB- Listen, I'm coming over. Do n't go anywhere. Stay right there. She hangs up. Andy is very confused. He sees the front door - it's ajar and the door frame has been splintered where the deadbolt sits. Stunned, he stands up, only to double over with a wave of nausea. He covers his mouth and runs stooped over to the bathroom. He leans over the toilet and vomits. After a few heaves his body relaxes and he catches his breath. He opens his eyes and looks down in the bowl - horror and disbelief sweep over his face as he focuses on : A HUMAN EYEBALL staring back at him from the bloody water. The iris is a familiar shade of sparkling blue. ANDY Oh no. no. The doorbell rings. He leaps up, flushes the toilet and runs out of the bathroom, still naked, to find himself in full view of LeDuc and two UNIFORMED COPS standing in the open door. One of the cops is examining the splintered door frame. LeDuc looks to be in an even worse mood than usual. His English is rough, but firm. LEDUC Get dressed.",
"INT. POLICE MORGUE - MORNING We're close on a metal body drawer. A TECHNICIAN pulls it open, revealing a severed human foot, nothing else. LeDuc, Andy, and the technician stand by the drawer in this dreary room. LeDuc never takes his eyes off Andy's face. LEDUC You recognize her? ANDY What?! Leduc looks down, sees the foot, and barks at the technician. LEDUC -LRB- French. -RRB- That's the wrong one! The technician checks his clipboard and tries another drawer. It contains a rotting ARM. LeDuc curses under his breath. He and the technician start opening drawers at random, peeking in, then slamming them shut. ANDY -LRB- nervous. -RRB- You, uh, you want to tell me what this is about? LeDuc ignores him, continuing to open drawers. The technician appears to have found the right one at the far end. TECHINICAN Inspector! C'est le voici. A little exasperated, LeDuc and Andy go over to see what the technician has found. Once again, LeDuc gives him the nod. He opens the drawer to reveal AMY'S MANGLED CORPSE It's badly lacerated. Parts of her throat and midriff are missing, and she has only one eye. Andy gasps in horror. LEDUC We know you were with her. ANDY Oh shit. No. LEDUC That's not all. -LRB- he reaches for another drawer above Amy's. -RRB- Marcel - Officer Boulard was following you. ANDY Oh no. no. He pulls open the drawer to reveal MARCEL'S MANGLED CORPSE. There's a gaping hole in his midsection. LEDUC He was a good man. Now his wife is a widow. ANDY -LRB- overcome. -RRB- This is. it's like a sick joke, I - LeDuc grabs Andy by the collar and slams him against the wall LEDUC This is not a joke! Not a dream! These people are dead and - TAP TAP. Through the small window in the door he sees CHIEF PICARD, his superior, trying to get his attention. LEDUC Merde. Wait here. When I return you tell me about last night, huh? ANDY But. I do n't remember anything, I swear. LEDUC -LRB- sternly. -RRB- I leave these open. Maybe something comes back to you. He leaves the room. The technician leaves too. Andy's alone, staring at the corpses. Through the window, he can see LeDuc arguing loudly with his superior. Andy tries to breath deeply, calm down. He turns back to look at Amy's corpse. Suddenly, her eyes - well, her eye - snaps open and looks straight at him! AMY Thanks for the lovely evening, shithead! ANDY Aaaaa! Jesus! This is n't happening. I'm still hallucinating. Shit! Andy storms around in a fit of disbelief. AMY You really know how to show a girl a good time, do n't you? OUTSIDE THE ROOM LeDuc and the Chief have stopped their argument briefly to watch Andy stomping around, gesturing wildly. They resume their argument. CHIEF -LRB- French. -RRB- Okay. So he's weird. Maybe on drugs. Still, that's not - LEDUC I'm telling you. It's not drugs. It's something more. Someth - CHIEF Do n't give me your black magic bullshit! Seven mutilations in forty eight hours and all you find is a scrawny American boy? Do you have a motive? -LRB- LeDuc hesitates. -RRB- Do you have a weapon? Or do you want me to believe he did it with his own two hands? LEDUC -LRB- exasperated. -RRB- I told you. These murders are not normal. The Chief rolls his eyes, `` here we go again'' style. Meanwhile, INSIDE THE ROOM Andy is still pacing the room madly. AMY Face it boyfriend. This is really happening. ANDY No it is n't! You're dead! Marcel comes to life and peeks over the top of his drawer. MARCEL I'm afraid she's not so lucky. She's undead. And so am I. ANDY Aaaaa! Get the fuck away from me! MARCEL What are you so damn angry about? Did somebody turn into a wild beast and rip your intestines out? Huh? AMY I spent four years on StairMaster for this bod and you rip through it like a pork chop. Thanks. Andy blinks hard. Every time he opens his eyes, Marcel and Amy are still there, hideous as ever, staring at him. ANDY Okay. dead or undead. what do you want from me? AMY A - duh. You're a werewolf. And we, as your victims, have to walk the earth until your curse is lifted. ANDY Uh huh. And, supposing I believed that, what could I do about it? AMY/MARCEL -LRB- together. -RRB- Kill yourself. AMY It's the only way. MARCEL It's not so hard. I used to think about it all the time. Maybe you should meet my wife. Andy buries his head in his hands. OUTSIDE THE ROOM CHIEF Enough. Cut him loose. LEDUC I ca n't! At midnight tonight, he will kill again. It's crazy! CHIEF Are you crazy? We have nothing. Let him go, then watch him. If you're right, you can pick him up at midnight. Or maybe he'll lead you to the others. Just let him go. The chief leaves. LeDuc scowls. He looks in at Andy, still gesticulating wildly and talking to thin air. LeDuc reenters the room and looks at Andy bitterly. LEDUC You're free to go. Andy looks from LeDuc to the drawers and back again. ANDY Me? LeDuc gives him an angry stare.",
"EXT. ILE DE LA CITE - DAY Andy walks past Notre Dame, flanked by Marcel and Amy. MARCEL Hanging is nice. Never goes out of style. What about hare - kare - a taste of the Orient? But no! You're in Paris! Try the Guillotine! There's one in the Louvre! AMY I'd use pills. They're painless. MARCEL Oh give me a break! He could use pills back in America! Why not get a little culture? Andy stops in his tracks - overwhelmed, desperate. ANDY Look, I did n't mean to hurt anybody. God, I did n't mean to. to. AMY Rip my face off? Hey, we all make mistakes. Hell, I did n't mean to sleep with you on the first night, especially without a condom. But I did, and now I'm paying the price. Andy slumps over, beaten. Amy puts her arm around him. Marcel pats him on the back. They start him walking along. MARCEL Let's face it. It's a, how do you say. mother - fucker. But we're all in it together. That's why we're trying to help you. AMY Exactly. HOOOOONNNNK! Andy looks up to see a speeding bus about to flatten him. Amy and Marcel have lead him into traffic. He jumps back and the bus just grazes him. Of course, it passes right through Amy and Marcel. They're still standing there when it's gone. MARCEL Merde! Just missed! AMY -LRB- to Andy. -RRB- Uhh! Would you die already! Andy's adrenaline is pumping. There's still some fight in him. ANDY Fuck you! If I'm gon na kill myself I'll do it when I'm good and ready! You can go to hell! MARCEL No we ca n't. That's the problem. God knows it would beat hanging around with you! Andy socks Marcel and breaks his jaw - off. It skitters off into the street. He punches him in the gut - SKLURCH! His fist gets stuck in the tangle of Marcel's abdominal organs. While Andy tries to pull his hand free, Amy rears back and kicks him in the balls. He wrenches his hand loose and staggers back, clutching his groin. ANDY Hey, you ca n't kick me! You're an apparition! AMY What, all of a sudden you got a degree in supernatural law? Marcel fits his jaw back into place. MARCEL Call it the power of suggestion. He socks Andy in the mouth. Andy shakes it off, rips Marcel's arm off, bashes him in the face with it, then turns around and uses it to beat Amy over the head. Meanwhile. IN AN UNMARKED POLICE CAR PARKED A HALF BLOCK AWAY RENE and FRANCOIS, the two cops who accompanied LeDuc to Andy's apartment, watch Andy whirl around the sidewalk, swinging wildly at the air, reacting to invisible blows, and cursing unseen enemies. RENE -LRB- French. -RRB- You know, in his own way, he's probably happier than any of us. Francois nods philosophically. Meanwhile, back in Andy's reality. Marcel has got him in a full Nelson and Amy is punching him in the stomach. He bucks forward, wrenching both of Marcel's arms off and slams them together onto Amy's head, knocking her down. Andy waves Marcel's arms in triumph. ANDY Ha - ha! AMY Oh, big man. You can beat up a couple of cadavers. Well let me make something real clear, asshole. If you do n't kill yourself, at midnight tonight you're gon na transform and murder innocent people! MARCEL What are you going to be, McDermott? A coward and a murderer? Or a man, with guts enough to do the right thing? The truth of this question hits home with Andy. A heavy expression falls over his face, one of grave sadness, but also inner dignity. He breathes deeply and exhales. ANDY Alright. Let me write a letter. MARCEL Good man. Now can I have my arms back?",
"EXT. NEWS STAND - DAY Music cue : Thelonius Monk's `` Round Midnight''. The NEWS STAND MAN hands Andy some stamps. Andy sticks them on a letter addressed to Mr. and Mrs. William McDermott. He starts walking away but a postcard in the display rack catches his eye - it's Rodin's'' The Kiss''. He looks at it sadly. A MAILBOX Andy drops the letter in the box. He walks to a pay phone on the sidewalk. Amy and Marcel lean on a nearby building, watching Andy dial. Terrence's answering machine picks up. TERRENCE'S MACHINE -LRB- O.S. -RRB- -LRB- French. -RRB- Hey. This is Terrence. Please leave a message at the beep. -LRB- English. -RRB- In other words, this is Terrence McDermott. Please leave a message. -LRB- it BEEPS. -RRB- ANDY Hey, Serafine, I hope you're checking these. It's Andy. So I guess you knew what was wrong with me yesterday. Unfortunately it took me until today to realize it, and because of that two people are dead. If you did n't know, well, shit, it's irrelevant now. I know what I have to do, but before I do it I just wanted to say. I do n't know what would've happened with us, but I'm really glad I had the chance to know you even if it was only a couple of days and. I do n't know. I probably would n't have the nerve to say this if I was gon na see you again, but I think if I had the chance to kiss you one more time I would've fallen totally in love with you.",
"INT. TERRENCE'S APT. - SAME TIME The door opens, Serafine enters and runs to the machine. ANDY -LRB- ON MACHINE. -RRB- Oh well. Bye Serafine. Serafine snatches the phone off the receiver just as Andy hangs up. She gets a dial tone. She's very upset. SERAFINE Merde! ON THE SIDEWALK Amy and Marcel watch Andy hang up in the phone booth. The emotion of the moment is getting to Amy. AMY Geez, I feel bad for him. Maybe we should've told him abou - MARCEL Are you crazy!? You know that's totally impractical. Besides, like the Bible says. -LRB- he sticks his finger in her empty eye socket. -RRB- An eye for an eye. Amy nods. Andy exits the phone booth and approaches them. `` Round Midnight'' fades out. ANDY Let's do it.",
"EXT. ESPLANADE - DAY Andy drains the last of a bottle of Jack Daniel's and wobbles along, totally smashed and a bit wistful, with Amy and Marcel in tow. ANDY What the hell, lots of my heroes killed themselves. Hemingway, Van Gogh. um. Herve Villachaise. MARCEL But this is class kid, all the way. What a way to go. AMY You got style, babe. That's why I went for you in the first place. WIDE SHOT They're approaching the Eiffel tower. ANDY When they ask how I died, just tell'em. Ei - ffel. THE COPS sit in their car, watching Andy buy his ticket and get into the elevator. FRANCOIS -LRB- French. -RRB- Should we follow him up? RENE Well, he's got ta come down some time. Fuck it, let's grab a bite. FRANCOIS Good thinking.",
"INT. PATISSERIE - DAY It's a typical Parisian bakery, stuffed to the ceiling with an unbelievable array of the finest, most delectable pastries. Rene steps to the counter. RENE Vous avez les doughnuts?",
"EXT. EIFFEL TOWER OBSERVATION DECK - DAY We're looking at the elevator doors. They open. Andy strides out onto the deck, through the milling TOURISTS, flanked by Marcel and Amy. ANDY There's only one thing certain in life - each of us owes God a death. Proud, determined, Andy arrives at the six foot wire mesh fence and quickly scales it. Amy and Marcel follow. Nearby tourists are alarmed and a clamor of concern rises up. Those with camcorders jockey for position. ANDY All we can do is make sure it's a good one. Andy gets over the fence and stands on the small ledge. Amy and Marcel join him. The tourists gasp. Andy glances down at THE PRECIPITOUS DROP. He turns suddenly pale. ANDY Shit. I feel sick. MARCEL Do n't worry. In a few seconds you wo n't feel a thing. ANDY Puking on yourself in midair is not a good death. AMY Look, the more you think about it, the harder it is. MARCEL Just like sex with my wife. AMY The key is do n't look down. MARCEL Also like sex with my wife. AMY -LRB- to Marcel. -RRB- Would you shut up? Andy looks woozy. Tourists are trying to dissuade him in Italian, Japanese, Icelandic, etc.. Marcel tries a new tack. MARCEL Tell you what, we'll jump together. AMY -LRB- picking up Marcel's lead. -RRB- Sure. We would n't ask you to do anything we would n't do. Now give me your hand. that's it. Amy coaxes Andy's hand off the fence. The crowd gasps. Andy grits his teeth and focuses again. AMY/MARCEL One. two. three. JUMP! They jump, but Andy stops short - GASTON is leaning over the fence and has Andy by his shirt. GASTON You're not getting off so easy. AMY AND MARCEL Plummet through the air. They look back at Andy, annoyed. MARCEL Merde! I ca n't believe this! AMY You try to be a good sport, and look what happens. SPLAT! Their bodies split into several pieces and squirt out on the pavement into two radial patterns, each about ten feet in diameter. Repair will take a while this time. MARCEL'S HEAD Huh. Galileo was right. AMY'S HEAD Who? GASTON has Andy by the arm and is trying to pull up to `` safety''. The tourists cheer him on. Andy is resisting. GASTON Where's the ADM? Where did your uncle put it? ANDY Man, I do n't know what the fuck you're talking about. GASTON Bullshit! Your uncle told you! ANDY My uncle's in a coma you moron! GASTON Before the coma! ANDY He did n't tell me anything. All he said was Saint Severin. Andy swallows the word `` Severin'', remembering something as he speaks. Suddenly wheels are turning in his head. GASTON Saint Severin? The church? So you know all about the ADM! -LRB- Andy reacts to the word `` church?''. -RRB- Where is it! Tell me! Tell me or else! ANDY Or else what? You'll kill me? GASTON No. But I'll kill your fucking girlfriend! ANDY You'll never get the chance. Andy pulls backward as hard as he can, jerking Gaston off balance. He's trying to pull them both to their deaths, but Gaston grabs a STEEL POST with his free hand. Andy hangs below the ledge, pulling Gaston's arm down with all his new superhuman strength. But Gaston pulls back just as hard. Andy sees The STEEL POST start to bend. He looks into Gaston's FERAL STARE and understands. ANDY It was you! You son - of - a - bitch! You got my uncle! The POST keeps bending - its welds wo n't hold long. GASTON Do n't be an idiot! I'm not the only one. If I die, Serafine dies! ANDY Bullshit! You're bluffing! GASTON What, you think Claude hangs out underground cause he likes to dance? This gives Andy pause. ANDY Claude? GASTON And you call me a moron. Andy stops pulling. He looks uncertain - maybe Gaston is right. But then - SNAP! The post, which has bent all the way over into a `` J'' shape, snaps its weld. Gaston and Andy plummet towards the ground nine hundred feet below. The tourists gasp. Using the bent pole as a hook, Gaston snares a HORIZONTAL ANTENNA which sticks out of the tower about fifty feet under the observation deck. He stops short and dangles there, still gripping Andy by the arm. The tourists CHEER. Meanwhile, nine hundred feet below. RENE AND FRANCOIS lean on their car, munching doughnuts. The tower looms behind them, and we can just make out the dangling figures at the top. Rene reaches into the paper doughnut bag and comes up short. RENE -LRB- French. -RRB- Oh! You ate the last jelly! UP ON THE ANTENNA Gaston's grip is firm. They'll have to climb up the iron cross beams to the observation deck. GASTON The ADM. Let's go. ANDY Yeah, okay. Just gim me a minute to freshen up. ON THE OBSERVATION DECK Andy and Gaston climb up onto the deck. The tourists applaud and cheer for Gaston - the `` hero''. TOURISTS Bravo! Magnifique! Wunderbah! Gaston ca n't resist posing as the cameras flash - he sucks in his cheeks, purses his lips and does his best `` Mickey Rourke''. Andy looks at him, incredulous. ANDY I must be in Paris. Even the werewolves are poseurs.",
"INT. TERRENCE'S APT. BUILDING Gaston and Andy endure the elevator ride together. ANDY So, if you and the nutty professor are both werewolves, what do you want with drugs? You like seeing lots of pretty colors when you're tearing people's throats out? GASTON If you know about the church, why ask such stupid questions? They step out of the elevator and up to the apartment door. Andy takes his key ring out and tries the lock. The key wo n't turn. Andy jiggles it. ANDY Damn. He tries another key. It does n't work. He jiggles it, rattling the door on its hinges. GASTON What's the problem? ANDY Hey, I'm new here, what do you want? Andy tries a third key. No good. More jiggling. GASTON Fucking cretin. The fourth key works. Andy pushes the door open. Gaston shoves him in roughly and steps in after him.",
"INT. TERRENCE'S APARTMENT Gaston shuts the door behind him and walks over to Andy, who scans the room nervously, unsure of his next move. GASTON Where is it? Hurry up! Andy's eyes come to rest on the end table drawer, where Serafine had put the gun before. He advances toward it. ANDY -LRB- patronizing. -RRB- Okay, okay. I got your magic medicine right here, dogboy. Just - Gaston grabs Andy's hand before he opens the drawer. GASTON Do you think I'm an idiot? ANDY -LRB- beat. incredulous. -RRB- Sure. Do n't you? He shoves Andy away and opens the drawer. no gun. They hear a pistol COCK behind them. SERAFINE Looking for this? Gaston turns and sees Serafine aiming the gun at him. With incredible speed he leaps for the window as Serafine fires. BANG! The bullet catches him in the arm as he dives through the glass. BANG! She fires again and misses. Gaston lands in the courtyard, three stories below, and runs off with a slight limp. BANG! BANG! Serafine fires blindly into the courtyard after him, overwrought with anger. Andy puts a hand to her arm, and she lowers the gun. They embrace tightly, desperately. Serafine ca n't keep from crying. Andy comforts her. ANDY Hey, hey. shhh. It's okay now. La Femme Nikita strikes again. He wipes away her tears and she smiles at his joke. SERAFINE Andy, I thought. I heard your message and. thank God you're alright. She embraces him again, but Andy gently frees himself. ANDY I'm not alright. We both know that. The only reason I'm here now is to warn you. You're still in danger. Gaston told me that Claude has got the curse too. He's a werewolf. SERAFINE I know. He told me. ANDY What?! He told you? When? Andy hears a familiar voice behind him. CLAUDE Two weeks ago. Andy spins around to see Claude standing by the hallway to Terrence's office. Andy reaches for the gun and points it at him. ANDY You two faced bastard. I knew you were full of shit. SERAFINE Andy! No! She puts herself between Claude and the gun barrel. Andy pushes her out of the way. ANDY Serafine! Move! Do n't you see, he's just after the drug, that ADM stuff. He's using you to get to it, just like he used Uncle Terrence. Claude approaches Andy, speaking calmly. CLAUDE You're exactly right, Andy. I enlisted both Serafine and your uncle to obtain ADM. And now I'm counting on your assistance too. ANDY Why the fuck would I do that? SERAFINE Because, Andy. It's a cure. ANDY A cure? CLAUDE A cure. With ADM we can wipe out lycanthropy, the curse of the werewolf, forever. Andy is shocked, stunned, skeptical. He bluffs with the only card he's got. ANDY Is that so? Maybe we should go to Saint Severin church and make sure, huh? Claude's face changes. He's surprised. CLAUDE Ah, you've done your homework. Excellent. Get your coat. Leave the gun with Serafine. She can keep searching. We do n't have much time. Andy and Serafine share a heavy look. He hands her the gun. SERAFINE Andy. I should never have let you go underground. I'm sorry. ANDY -LRB- shaking his head. -RRB- I had to be a damn Hemingway hero. Well I'll tell ya, the old man and the sea did n't go through half this shit.",
"EXT. SAINT SEVERIN CHURCH - EVENING Sheets of rain crash down over this ancient gothic church. Sharing an umbrella, Andy and Claude walk inside.",
"INT. UNMARKED POLICE CAR Parked across the street, Rene and Francois watch them enter the church. Rene talks into a cellular phone. RENE -LRB- French. -RRB- He's going into Saint Severin church with Professor Claude Roussel.",
"INT. LEDUC'S OFFICE - SAME TIME LEDUC -LRB- on phone. -RRB- Really. Okay, keep checking in. LeDuc hangs up and thinks a moment. He turns the page of the old book on his desk, revealing an old woodcut illustration of a policeman being attacked by a werewolf. He frowns.",
"INT. SAINT SEVERIN CHURCH - EVENING An evening mass is in progress. The boy's choir fills the church with a solemn hymn. Andy follows Claude to a narrow staircase. An OLD WOMAN gives them the evil eye and crosses herself as they pass. Claude and Andy go up the stairs and arrive at a balcony under a magnificent wall of ancient STAINED GLASS. One of the panels catches Andy's eye. ANDY Whoa. THE PANEL shows a weird medieval ritual - a man draining blood from another man's neck into a goblet. ANOTHER PANEL features a pentagram. ANOTHER PANEL shows a huge werewolf eating a monk under a frowning sun. All the transcriptions are in Latin. Claude signals Andy to follow him. CLAUDE The panels that concern us are over here. -LRB- he directs Andy to a group of panels. -RRB- I'll translate the Latin. A PANEL shows a different werewolf, tied down, being stabbed in the heart by a knight under a frowning moon. CLAUDE `` Then Simon did slay the demon spirit, the same as had made him unclean,'' THE NEXT PANEL - the knight now holds the beast's heart aloft, impaled on his dagger. Where the beast was, a man lies bleeding in the background. CLAUDE `` and Simon did cut out the heart of the beast which once dead, regained the shape of a man'' THE NEXT PANEL shows the beast's heart on a platter. The Hero is sitting at a table, cutting into the heart with a knife, as if he's about to eat it. CLAUDE `` Simon ate of the heart of the beast and his soul was cleansed.'' -LRB- he turns to Andy. -RRB- These pictures are not just myth, Andy. The scholars of the day used them to record facts and enlighten the public. This is the medieval version of a newspaper. ANDY -LRB- skeptical. -RRB- Yeah, well what if it's the Weekly World News. AMY No. It's all true, Andy. Startled, Andy turns to see Amy and Marcel, a little worse for wear, standing behind them. AMY I mean, if by some miracle you can find the werewolf that bit you, and then manage to eat it's heart, the curse is lifted. I was gon na tell you but Marcel would n't let me. MARCEL Oh sure, it was all mean old Marcel's idea. Give me a break! We did n't tell you because it's a wild goose chase! Not to mention disgusting. Look. Marcel reaches into his own chest cavity, rips out his own slimy purple heart, and thrusts it in Andy's face. MARCEL A little Grey Poupon and then Bon appetite, eh? Andy grimaces and turns back to Claude. CLAUDE -LRB- to Amy. -RRB- I do n't believe we've been introduced. ANDY What? Oh, right, you can see these guys too. Jesus. -LRB- he rolls his eyes. -RRB- AMY -LRB- smiles and extends her hand. -RRB- Amy. Nice to meet you. Claude shakes her hand - SQUISH. Some sort of body fluid oozes out of Amy's hand. Claude frowns and discreetly wipes his hand with a handkerchief. Marcel smiles and extends his hand. MARCEL Marcel. -LRB- Claude smiles politely, declining Marcel's rotting hand. -RRB- My wife has all your books. Claude nods `` thank you''. Andy's had enough. ANDY Great. Later on we'll have to get together for cocktails. Right now I kinda have to hurry before I grow a lot of hair and eat people. -LRB- to Claude. -RRB- Say this heart thing works. What's it got to do with ADM? CLAUDE It's chemistry, Andy. Nothing more. Mutated antigens concentrated in the heart of the infector unlock a vaccine - like chain reaction in the infectee. There were not many bio - chemists working in the twelfth century, but with today's technology it's possible to synthesize any chemical imaginable. When I discovered this ancient cure I knew who to go to. ANDY Uncle Terrence. CLAUDE Yes. I was able to decode the old texts and give Terrence the specifications. It took a lot of trial and error, but finally he got it : Adenine Di - Methyloxide. ADM. I call it ADAM. But just before he was attacked, he hid it. ANDY Because Gaston was after it. CLAUDE Yes, that sociopath. He's given himself over to the evil of lycanthropy. To him, ADAM is just a threat to the terror he holds over others. To us, it's salvation. MARCEL Yeah, well I do n't know much about chemistry, but even if this stuff works, you better find it by midnight. Otherwise it's - ANDY Yeah, I know. Back to the Eiffel Tower. -LRB- to Claude. -RRB- And what about you? CLAUDE Believe me, I wo n't go through another night of that hell. I have my contingency plan right here. He removes a WHITE PILL from his coat pocket and holds it up. CLAUDE Sodium cyanide. The CHURCH BELLS ring. The group listens tensely as the solemn bells sound eight times. ANDY Eight o'clock. Shit. You'd think my uncle would have left a clue, a note, something. CLAUDE That's what Serafine is searching for. Without much luck, I'm afraid. If only we could speak with him. But alas, he's off in another realm, close to death. The wheels in Andy's head are turning. He looks over at Amy and Marcel. He smiles. He's got an idea. MARCEL Andy, please. Do n't smile like that. You're scaring me.",
"INT. HOSPITAL - NIGHT Andy and Serafine walk down the corridor of the Terminal Ward. Andy looks determined. Serafine looks upset. SERAFINE What makes you so sure this will work? ANDY I told you. He already tried to contact me once. If you saw his face. He was desperate to tell me something. I owe him this. SERAFINE I do n't know. ANDY Listen, either he wastes away as a pathetic vegetable or he can give what's left of his life to save hundreds of potential victims. He's a McDermott. I know what his choice would be. SERAFINE I suppose you're right. But I still do n't like it. They stop at the door to Terrence's room. ANDY Fine. You do n't have to watch. Stay out here and stand guard. She nods. Andy goes into TERRENCE'S HOSPITAL ROOM The lights are off. Andy approaches Terrence's oxygen tent. In the dim light, he can barely make out Terrence through the plastic, lying motionless, barely making an impression under the sheets. He looks at the body wistfully and surveys the array of machinery that's keeping him `` alive''. Most of the machines are plugged into a TRANSFORMER BOX on the floor. ANDY Hey. We meet again. Look, I know you understand what I'm about to do here. I think. But I hope you forgive me anyway. Andy takes a deep breath. He leans down to the transformer and opens the safety cover, and flips the power switch. All the machines power down. Suddenly the old man in the bed sits up, gasping, and clawing at the walls of the oxygen tent. Oh my God! It's NOT Terrence! Andy nearly soils himself, diving down to fumble with the transformer, suddenly all thumbs. He switches the power on again. THE NURSE STATION The fat, sour looking duty nurse sees the alarm from the failed life support system. She's about to call for help when the indicator stops flashing. She watches it intently for a few seconds, nothing. She decides to dismiss it. TERRENCE'S ROOM The old man is lying back down, asleep. He seems to be okay. His support machinery is functioning normally again. With a sigh of relief, Andy turns and pulls back the curtain behind him. There's Terrence, sans oxygen tent, hooked up to another extensive support system. ANDY So. You moved. He pulls the curtain closed behind him, and moves in close to his uncle. Terrence's expression looks unmistakably morose. ANDY You do n't look happy. Um, I do n't usually go in for this stuff, but. -LRB- He crosses himself, and says a silent prayer. -RRB- Amen. Andy leans down, opens the transformer box, and flips the power switch. The machines power down - all except the EKG monitor, which shows a flat line and emits the familiar steady tone. Andy switches off the monitor. Silence. Terrence's body is completely still, peaceful. He leans down over its face and speaks in a soft voice. ANDY Uncle Terrence? Can you hear me? Terrence's body remains motionless. AT THE NURSE'S STATION This time the nurse does n't wait to respond. Seeing the indicators from Terrence's room, she presses the intercom. NURSE Chambre 411. Code bleu! Code bleu! IN TERRENCE'S ROOM Silence. Andy's worried. He takes his uncle by the shoulders. ANDY Come on. Skip the undead orientation and get down here. Nothing. He looks at the door nervously. OUTSIDE THE DOOR Serafine sees a squad of doctors and nurses pushing trolleys of emergency equipment her way from the far end of the hall. She leans her head in the door to warn Andy.",
"INT. HOSPITAL ROOM Andy is beside himself with stress. He shakes Terrence's bed a little to rouse him. Nothing. He tries a little harder shake. The door opens. It's Serafine, also in a panic. SERAFINE They're coming! ANDY Shit. What have I done? -LRB- to Serafine. -RRB- Stall them! I'll meet you out back. She shuts the door, just in time. The emergency team are right there. SERAFINE -LRB- feigning hysterics. -RRB- Stay away from him! You butchers! Have n't you done enough already! They struggle to get past her.",
"INT. HOSPITAL ROOM Andy can hear Serafine arguing outside the door. He looks out the window to the three story drop into the alley below. OUTSIDE THE DOOR Serafine is finally shoved aside. They push the door open. INSIDE Andy rushes to the door and pushes it shut. He cranks the DOORKNOB all the over and bends it down, jamming it in the locked position. He steps away. The door holds, but for how long? He looks at the old man in the oxygen tent. Hmm. He pushes the old man's bed up against the door. Andy forces the window open and steps out onto the ledge. He looks back at his uncle, and the old guy. He shrugs apologetically, then takes a deep breath, closes his eyes, and jumps. OUTSIDE THE HOSPITAL ROOM DOOR The fat nurse is getting impatient with the doctors, who are attempting to pick the lock `` surgically''. She pushes them aside and heaves her considerable heft against into the door. It opens a crack. She backs up and slams it again. INSIDE THE ROOM The nurse's jolts shake the old guy's bed, sliding it forward. He dozes happily like a baby rocking in the cradle.",
"EXT. THE BACK ALLEY BEHIND THE HOSPITAL Andy runs behind a nearby dumpster to avoid being seen from the window above. He kicks the wall in frustration. ANDY Damn it! A voice calls out from behind Andy. TERRENCE'S VOICE Whoa! What an outrageous nightmare! Andy spins around and sees Terrence, the undead version, perched atop some trash bags, scratching himself. ANDY Uncle Terrence? TERRENCE Andy? Andy is that you? ANDY Yeah. Look, uncle Terrence - Terrence mutters distractedly, excitedly, and quickly. TERRENCE Andy, I have to tell you about the dream I had - or that I'm still having - it feels like a systemic, physio - tropic reaction to some drug, maybe a triptamine or phenethylamine derivative. But it is hyper - real. I'd swear my legs had been cut off or. wait a second. I'm getting a strange meta - physical buzz. Shit. I'm, uh, dead, are n't I? ANDY Sort of. BACK IN THE HOSPITAL ROOM The doctors have clustered around Terrence's corpse. The nurse is lubricating the electro - shock paddles for the doctor. Serafine slips out the door into the hallway. SOMEONE'S POV, spying from behind a supply cart in the hallway -LRB- we see a hand on the cart -RRB-, watches Serafine walk away, unnoticed by the doctors. BACK IN THE ALLEY TERRENCE Undead. Right. Sort of an ectocosmic manifestation. What a pisser. Tell you one thing though, Timothy Leary will be jealous as hell. ANDY Great, but listen, I need to know where you hid the ADM? TERRENCE The ADM! Be careful, Andy. It's very powerful. How do you know about it? ANDY I went to St. Severin church. -LRB- Terrence reacts `` I see.''. -RRB- Now look - IN TERRENCE'S ROOM ZAP! The doctor jolts Terrence's chest with the paddles. IN THE ALLEY Terrence's zombie jerks with sudden pain. TERRENCE Oh shit! No! Andy, do n't let them take me back there! ANDY The ADM! Quickly! Where is it?! TERRENCE'S ROOM ZZT! They zap him again. IN THE BACK ALLEY ANDY Where is it! Please! TERRENCE AHHH! The wine cellar! In a bottle of Chateau Margaux. A metal cylinder. Do n't. Do n't - AAAAH! Another zap. The undead Terrence twists his face in pain. In the background, Serafine appears at the mouth of the alley. Terrence croaks out a few last words. TERRENCE Lies! All lies! Ahhhh! Andy turns towards Serafine, then back to his uncle, but Terrence is gone.",
"INT. HOSPITAL ROOM Terrence's face is contorted with pain. The EKG monitor shows a weak but regular heartbeat. The doctor pulls off his mask and wipes his brow. The other technicians congratulate him. IN THE ALLEY Serafine approaches. Andy runs up to join her. ANDY I saw him. Just before those bastards zapped him back. The ADM is in the wine cellar, in a bottle of Chateau Margaux. SERAFINE I did n't know he had a wine cellar. ANDY Guess that's why he hid it there. Let's go. They run out of the alley and see GASTON jump on his hopped - up Kawasaki enduro. SERAFINE Oh shit! He must have heard us. Gaston sees them, gives them the finger and tears off down the street. ANDY Dammit! C'mon! They run to Serafine's Vespa - the tires are slashed. Enraged, she kicks it over. SERAFINE That bastard! Fuck! Andy looks around desperately. A GUY pulls his motorcycle out of its parking spot and starts up the street towards Andy. Andy jumps out in front of the accelerating bike and grabs the handlebars, stopping it short, sending the rider tumbling forward, over Andy. He lands on his butt in the street and starts yelling at Andy, who climbs on the bike. ANDY Sorry. I'll bring it back. Serafine hops on the back and they burn rubber down the street after Gaston. Music cue : CCR's `` Bad Moon on the Rise''. They screech around the corner onto SAINT GERMAIN BOULEVARD It's red lights as far as the eye can see. Andy grits his teeth and accelerates towards the cluster of traffic stopped at the first light. SERAFINE Oh merde! She shuts her eyes as Andy zooms between the rows of stopped cars and roars through the red light. SCREECH! Crossing cars slam on their brakes and swerve to avoid the speeding bike. Andy bears down on the next red light. SERAFINE Are you crazy!? ANDY Before Hemingway, there was Starsky and Hutch. Andy speeds through more stopped cars and runs the next red light. SCREECH! More swerving cars. Andy has to swerve himself to avoid one. He bears down on the next light. Meanwhile. GASTON is stopped on his bike, casually talking on a cellular phone, two red lights ahead of Andy and Serafine. He hears their bike and turns to see them zoom through the intersection in back of him. Gaston curses, puts the phone in his pocket and twists his throttle, accelerating through the red light. ANDY AND SERAFINE gain on Gaston. They're seventy five yards behind him. GASTON pulls a pistol and aims over his shoulder. BANG! He fires back at them. SERAFINE pulls her pistol out. Both bikes roar through another red light. A POLICE CAR pulls out onto the boulevard and turns on its flashing lights and siren and pursues the bikes. The traffic lights turn green. Gaston leads by fifty yards. The cop car pulls alongside Andy and Serafine. She discreetly pockets her gun. The COP in the passenger seat aims his gun at Andy. COP -LRB- French. -RRB- Pull over! Now! ANDY Shit! There's no choice. They pull over. GASTON speeds safely away, looking back at them and laughing. The cop car stops ahead of them and the COPS get out, guns drawn. FIRST COP -LRB- French. -RRB- Hands in the air! Now! Andy and Serafine put up their hands. The first cop goes back to check the police radio, which is beeping. The second cop keeps his gun aimed at Andy's head. He's furious. SECOND COP -LRB- French. -RRB- Hot shot huh? You know how many officers die in high speed chases? SERAFINE -LRB- French. -RRB- Moron! The guy ahead of us has a gun! He's the one you should stop! SECOND COP Shut up! I do n't need you to tell me my job. It's always `` the other guy''! SERAFINE He's going to kill people you ignorant shithead! SECOND COP Okay! That's it! You're under arrest! Maybe you'll learn some respect in jail! Serafine curses again. Andy tries to calm her down. The arguing escalates. In the car, the first cop is talking on the radio. FIRST COP Really? He turns, looks out his window and sees RENE AND FRANCOIS parked in their unmarked car. Rene is talking with him on the radio. Francois waves. THE SECOND COP is trying to put handcuffs on Serafine. She's still screaming at him. He's incensed. The first cop gets out of the car and walks up to them. FIRST COP -LRB- to Andy and Serafine. -RRB- You can go. His partner looks at him, incredulous, red - faced. SECOND COP -LRB- French - to first cop. -RRB- WHAT!? FIRST COP -LRB- ignores 2nd cop. -RRB- Drive safely. ANDY Merci. Serafine smiles at the second cop. Andy peels out, races through the red light and disappears down the boulevard. The cops watch them go, then turn to each other. The second cop is apoplectic - about to explode.",
"INT. UNMARKED CAR Rene and Francois speed off to keep pace with Andy. Rene is dialing his cellular phone. As they pass the other police car, we glimpse the two cops in an angry shoving match against the car. Rene's call goes through.",
"INT. SAINT SEVERIN CHURCH LeDuc is on the balcony, studying the stained glass panels and consulting an old book. The cellular phone in his coat pocket rings. An OLD PRIEST nearby frowns at him. LEDUC -LRB- French - into phone. -RRB- Hello. -LRB- Pause. -RRB- I'll meet you there in ten minutes. He hangs up. The priest is still frowning at him. LeDuc shrugs gruffly - `` what do you want from me?'' and turns back to the stained glass. As the church bells sound ten o'clock we cut to different panels : Several scenes of werewolves terrorizing people. A scene where some people mix potions and dump a strange flower into a cauldron. Another shows an evil looking man shaking his arm defiantly at a frowning sun - though he is human his raised arm is the enlarged, hairy limb of a werewolf. Another shows a saint throwing the strange flower into a fire in the town square. LEDUC -LRB- French. -RRB- Thank God for Saint Severin. The bells strike ten. LeDuc checks his watch, closes his book and hurries off.",
"EXT. TERRENCE'S APT. BUILDING Music cue : `` Evil'' by Howlin' Wolf. Gaston stops, jumps off his bike, and runs into the court yard. ANDY AND SERAFINE speed along on the bike, weaving through narrow side streets. GASTON riding the wire cage elevator in the apartment building down to the basement. He gets out and walks down the dank hallway, past several padlocked doors. He stops at one with a MCDERMOTT nameplate. He's about to shoot it off, then looking around, thinks again. He grabs the lock and, grimacing with the effort, twists it off with his bare hands. ANDY AND SERAFINE stuck behind a garbage truck on a narrow street. Andy hops the curb and races down the sidewalk, scattering pedestrians. GASTON flicks on the light switch in the wine cellar. There are six large racks of wine bottles. He walks past them, scanning the bottles. He stops at the third rack and removes a bottle. The label reads `` Chateau Margaux''. He tries to peer inside, but it's too hard to see. Instead, he hurls it at the wall - SMASH! Wine sprays everywhere, but no metal cylinder. He grabs another bottle. SMASH! Just wine. He grabs another. ANDY AND SERAFINE arrive in front of the apartment and hop off their bike. Serafine eyes GASTON'S BIKE hatefully. Andy pulls her along. SERAFINE Wait a second. She pulls out her gun. BLAM! BLAM! She blasts the gas tank - WOOF! The bike goes up in a fireball. Serafine nods, satisfied. Andy looks at her like she's nuts. They rush into the courtyard. GASTON throws another bottle. SMASH! Just wine. The floor is awash in the pricey Burgundy. He throws another bottle. SMASH! Nothing. He licks his fingers. He's enjoying this. SERAFINE AND ANDY In the elevator, going down, maddeningly slowly. Through the window they can see the full moon in the sky. Andy checks his watch. They look at each other nervously. GASTON Throws another - SMASH! A small METAL CYLINDER clinks as it bounces on the floor. Gaston picks it up and smiles. BANG! A gunshot hits Gaston in the arm - he drops the cylinder. Serafine and Andy stand in the doorway. SERAFINE Dirty bastard. Serafine fires again - BANG! The shot misses as Gaston hits the deck and draws his gun in one very fast motion, taking aim at Andy who's rushing towards him. GASTON That's far enough! Andy stops, Gaston's gun aimed at his chest. Serafine steps slowly towards Gaston, her gun aimed at him. GASTON -LRB- to Serafine. -RRB- Another step and he's dead! ANDY Go ahead Serafine. Blow him away. Serafine stops. The three of them stand there in a close triangle, the metal cylinder on the floor between them. It's a Mexican standoff. in Paris. Then. CLAUDE -LRB- O.S. -RRB- Drop the gun! Claude is in the doorway holding a pistol. Serafine sees him and turns back to Gaston, smiling. SERAFINE -LRB- to Gaston. -RRB- You heard him. Do it! Gaston just smiles back at her. Claude steps forwards and cocks his gun against Serafine's head. CLAUDE I said drop the gun. Serafine's expression turns confused, horrified. Andy is shocked. She drops the gun. Claude picks it up and pockets it, keeping his gun on Serafine, who stares at him, aghast. ANDY You bastard! God! I should've known. You wanted the cure all for yourself! GASTON Cure!? Ha - ha - ha! Andy and Serafine react with confusion to Gaston's outburst. Claude picks up the metal cylinder and unscrews its cap with his free hand. He slides out a vial filled with amber fluid and holds it to up to the light. He smiles. CLAUDE No, it's no cure. It's something much more interesting. SERAFINE You fucking liar! CLAUDE -LRB- with mock alarm. -RRB- Oh, did I hurt the little girl's feelings? Well excusez moi. I confess my desire for ADM is quite `` intense''. So I deceived you and our poor friend Terry - a competent technician, but let's face it, a bit naive. `` The great cure for lycanthropy!'' Hmph. He did n't have the vision to grasp the potential of ADAM, until it was too late. And even then, he came rushing down to tell me, as if I would be just as shocked! Ha. He pockets the vial, pulls out the white `` cyanide'' tablet and pops it in his mouth. Andy reacts with shock. CLAUDE -LRB- off Andy's look, crunching up tablet in his mouth. -RRB- Oh this? Rolaids. I had a midnight snack that. disagreed with me. Serafine's been doing a slow burn. She explodes and lunges at Claude, knocking his gun out of his hand. SERAFINE Fucking traitor! She picks Claude up and hurls him across the room. CRASH! Claude smashes into a rack of wine bottles. Serafine jumps after him and dives on top of him pummeling him in a blind rage. Andy looks at her, agog. ANDY Wait a second. He and Gaston notice Claude's gun at the same time. They both dive for it. Andy grabs it but Gaston steps on his hand and aims his gun down at him. GASTON You want to be cured? He cocks the gun. Andy lets go of Claude's gun. Gaston picks it up and aims one gun at Andy and the other at Serafine, who's wrestling with Claude. Claude throws her off and she lands on her butt next to Andy. Andy looks at Serafine. ANDY What the fuck!? You too!? SERAFINE -LRB- stammering. -RRB- I. I did n't think you would. I'm sorry. I believed that son - of - a - bitch. Claude gets to his feet, drenched with wine and smarting from Serafine's punches. He walks over to Serafine and kicks her in the face. CLAUDE Shut up, you foul mouthed little cunt. I do n't have time for your histrionics. GASTON Give me the ADM old man. Gaston is aiming one of his guns at Claude. CLAUDE Oh for Christ's sakes Gaston. Ca n't you rise above the level of common thug just this once? GASTON Give it to me! CLAUDE Do n't be an idiot. There are certain procedures one must - GASTON NOW! Claude sighs. He takes the vial from his pocket and walks over to Gaston. CLAUDE Very well then. Gaston grabs the vial, uncaps it and drinks it down greedily. He stands there, waiting. Nothing happens. ANDY Ha. Some wonder drug. GASTON Why is n't it doing anything!? CLAUDE I told you. It's not ready. Claude turns to the noise of footsteps and a walkie - talkie in the hallway. Four uniformed officers plus Rene and Francois storm into the room, guns drawn. COPS -LRB- French/English. -RRB- Freeze! Drop your weapons! Hands up! Andy and Serafine put up their hands. Gaston brandishes his guns at the cops, then sees the six guns aimed at him and drops it. LeDuc walks in. CLAUDE -LRB- French - to LeDuc. -RRB- Thank God! These hoodlums tried to rob me! LEDUC -LRB- French - to Claude. -RRB- Put up your hands. CLAUDE -LRB- French. -RRB- But surely - LeDuc cocks his pistol and aims it at Claude. LEDUC -LRB- French. -RRB- Now! Claude puts his hands up. CLAUDE -LRB- French. -RRB- What's the charge? LEDUC -LRB- French. -RRB- There is no charge. -LRB- English. -RRB- Everybody comes in for a few questions. Everything checks out, you will go free. After midnight. Claude frowns. Gaston swears. Andy looks at Serafine, shocked and confused. She looks back at him, angry and sad.",
"EXT. STREET - NIGHT The cops are herding the handcuffed `` questionees'' into the back of a reinforced paddy wagon. LeDuc talks to the DRIVER, and another COP in the passenger seat. LEDUC -LRB- French. -RRB- Godard is waiting for you at Rocherout jail. Hurry. And do n't stop for anything. Good luck. The driver nods. It roars off, lights flashing and siren wailing. LeDuc and the other cops head for their respective cars. LeDuc barks orders to an AID who's at the ready with the car radio. LEDUC I want four separate maximum security cells ready. Get video cameras, photographers, and doctors. The aid nods and gets on the radio. LeDuc checks his watch. It's 10:47.",
"INT. PADDY WAGON Serafine hangs her head sullenly, in a quiet rage. She wo n't meet Andy's gaze. He looks over at Claude and Gaston. Gaston is restless, edgy. He grabs Claude by the collar and shakes him. GASTON Nothing's happening! ANDY Looks like he lied to you too. Claude breaks Gaston's grip and shoves him back in his seat. CLAUDE -LRB- calmly. -RRB- Relax my friend. It's still not ready. Andy looks back at Serafine. He shakes his head in disbelief. ANDY Now I remember why I did n't want to come to Paris. Everyone you meet is a goddam werewolf! Serafine stares bitterly at her feet. SERAFINE I hope they fucking fry us all. ANDY Yeah. French fries. SLAM! He's interrupted by the sound of Gaston's head snapping back against the wall. His eyes bulge wide. He grins and starts to laugh. First a little. Then a lot. GASTON Yes! Yes! Ha! Haha hahaha. He stands up, laughing, power - mad. Suddenly his body is jerked by a spasm and he falls to the floor. He's not laughing anymore. He flails about wildly, croaking out strangled cries, gripped with a terrible seizure. IN THE FRONT CAB The TWO GUARDS, the driver and his partner, hear the commotion. The guard looks over to his partner, and chuckles. PARTNER Aaooooo! Heh heh heh. They both laugh. The driver takes a sharp turn at high speed. IN THE BACK COMPARTMENT Gaston flops around on the floor like a fish, grabbed by a flurry of convulsions. He bites off his tongue, spitting blood everywhere. Finally, he goes rigid with one last seizure, then falls totally limp. Andy studies the very dead corpse. ANDY It killed him. You coulda just used Draino. It's cheaper. CLAUDE I told him it was n't ready. Claude takes a folded PAPER CUP from his jacket pocket. He blows into the cup to bring it back into shape. He then takes a SHARPENED STEEL TUBE from his pocket, plunges it into Gaston's neck, and fills the cup with the blood that pours forth. Andy and Serafine are horrified. Claude puts the cup of blood to his lips and pauses. CLAUDE Now it's ready. He swallows the cup of blood down in one gulp, and sits back to wait for the effects, smiling dreamily. CLAUDE What is the curse of the werewolf? I'll tell you. The curse is to possess such awesome power and yet be completely unconscious of it. It may as well belong to someone else. But it was n't always that way. A thousand years ago the Gauls had a drug powerful enough to unlock the door to lycanthropic consciousness, to full control. It came from moonsbreath. A small white flower once found in the hills of this region, until the thick headed crusade by our famous Saint Severin eradicated it for all eternity. But now, thanks to ADAM, the `` curse'' is over. As he says this, he holds up his RIGHT ARM. It begins to mutate and grow, reshaping his arm into the grotesque, powerful forelimb of the beast. PLINK! His swelling wrist pops the handcuff easily. SERAFINE -LRB- French. -RRB- Holy mother of God. ANDY Fuck me. Claude rises to his feet, triumphant. He advances towards Andy and Serafine, backing them up against the rear doors of the van. He gently traces the outline of Serafine's face with his werewolf hand. She bristles at his touch. CLAUDE All my life I've worked to unlock the power of the unconscious mind. Well this is it. This is power! ANDY You sure it's not just ` coz you jerk off too much? Claude cocks his werewolf fist and SLAMS it into the back doors, inches from Andy's head. He leaves a deep dent, and opens the doors just a crack. It's a gesture that seems calculated to frighten them. It works. Claude holds up his LEFT ARM and transforms it to match his right. It takes some effort and a little pain, but he keeps a smile on his face throughout the process. CLAUDE Do n't you see what this means? I've broken through! I'm in total control! Not the moon! I can do whatever the fuck I want! SMASH! Claude drives his left arm into the back doors, making another huge dent, and opening the crack even wider. IN THE FRONT CAB The cops exchange worried looks. The one on the passenger side slides open the viewing panel. Claude has his back to him. COP -LRB- French. -RRB- Hey! What's going on in - He stops short as Claude turns around, revealing his monstrous arms. Mortified, the cop reaches for the SHOT GUN under the dash. Claude races up towards the view window. As the guard pokes the muzzle through the window, Claude grabs hold of it. BLAM! The guard's shot hits the side wall. Claude rips the gun from the guard angrily, and smashes it to pieces against the wall, grinning like the devil himself. Meanwhile ANDY throws himself at the doors, kicking them, trying in vain to break them open. He spots the SHOTGUN BARREL on the floor and grabs it. CLAUDE reaches through the window and grabs the guard by the head. He repeatedly smashes the guard's head against the back wall of the cab. CLAUDE -LRB- as he smashes the guard. -RRB- Do n't you know. the wolf. is a protected. species!? The driver freaks out, seeing his partner get his head crushed. THE PADDY WAGON swerves all over the road. ANDY uses the shotgun barrel to twist open the lock on the van doors. As the vehicle swerves, he drops the barrel out the door, and falls over. He calls to Serafine. ANDY I need your help. Come on. She joins him and together they take a run at the back doors. The doors open a little, but the lock still holds. Finished with the guard, Claude turns and sees what Andy and Serafine are up to. CLAUDE Wait! Andy and Serafine take another run - it works. THE DOORS bust open, and Andy and Serafine, still handcuffed, go tumbling out into THE STREET, rolling on the pavement. SCREECH! HONK! Cars swerve to avoid them, just barely. CRASH! A minivan plows into a parked car. Claude watches from the back of the van. He rears his head to the moon and smiles. IN THE CAB of the paddy wagon, the driver hears an unearthly howl. It's hellish. Without looking away from the road, he points his pistol through the hole in the compartment. He adjusts THE MIRROR to see into the rear compartment - The back doors are hanging open. He steals a look over his shoulder - Other than Gaston's corpse, it's empty. He breathes a sigh of relief and turns back to the road as - A HUGE WEREWOLF - Claude fully transformed - bursts through the windshield and rips into him. THE PADDY WAGON is traveling over the Pont Neuf bridge. A GASOLINE TRUCK approaches from the other direction. The werewolf leaps off of the hood just as the paddy wagon, swerving all over the road, hits the gasoline truck head on. KA - BOOM! Both vehicles explode in a fireball, smash through the side wall of the bridge, and plunge into THE RIVER.",
"INT. SQUAD CAR LeDuc, following at a distance, is trying in vain to get the paddy wagon driver on the radio. LEDUC Allo! Jean - Louis! Respond! Allo! His partner slows the car. Traffic ahead is snarled. It's chaos. He taps LeDuc on the arm and points. PARTNER Inspector. Leduc sees the column of black smoke in the distance. LEDUC Merde. merde, merde, merde. He slams his fist against the dash angrily.",
"EXT. PARIS STREET, NIGHT Andy lies by the roadside, dazed, bruised, handcuffed, but conscious. He sits up unsteadily, and looks for Serafine. ANDY Serafine? He sees a small crowd of people a little further up the road, outside a small bistro. He staggers up to them and pushes his way through. Serafine is there on the ground by the curb, eyes closed. Kneeling beside her, he turns angrily on the onlookers. ANDY Get out of here! Go on! Move it! He shoos them away. Of course, they just back up a bit, still gawking at the handcuffed couple. ANDY Serafine. Get up, come on. Andy brushes away the hair from Serafine's face. He feels her neck for a pulse - she has one. But as he takes his hand away, he notices a smudge of BASE MAKE - UP has rubbed off on his fingers. He looks at the back of Serafine's neck and sees that the makeup had been covering A SCAR. It bears the unmistakable star shape of the wound Andy inflicted on the werewolf that bit him. Horrified, he stands and backs away a few feet. Serafine opens her eyes, sees him. SERAFINE -LRB- groggy. -RRB- Andy? What? What is it? -LRB- she sits up, her head clearing. -RRB- Andy. are you okay? ANDY It was you. That night in the tunnels. You. You did this to me. SERAFINE No I. Andy, you ca n't be sure. ANDY That's the scar where I stabbed you! Oh God. You deliberately took me down there so you could. God, I ca n't believe it! Serafine gets to her feet, a little unsteadily at first. SERAFINE You made me go there. I tried to stop you! You would n't listen! ANDY What was I? Your idea of a fuckin' hors d'oeuvre? Huh? SERAFINE Shut up! You fucking shut up! What do you want? Huh? What the hell do you want? She walks over, grabs a steak knife from one of the outside tables at the bistro, and charges at Andy, pulling open her shirt. She offers him the knife, and pounds at her heart. SERAFINE Here! Come on! Do it! Go ahead. ANDY What? SERAFINE You know what. Kill me. Cut out my fucking heart. Go on! Do it! Enraged, Andy takes the knife. He and Serafine lock eyes. For a second he's tempted, his blood boiling, heart pounding. ANDY You're crazy. He throws the knife aside, turns and walks away. ANDY This is all crazy! Serafine retrieves the knife and chases after him. She gets in front of him and blocks his path. She holds the knife point to her own chest. SERAFINE The drug was a lie, but the legend in the church is true. Ask the undead. Andy just stares back at her, not knowing what to say. It's all too much to believe. He shakes his head. He tries to go, but she moves in front of him. She's determined. SERAFINE We do n't both have to die. ANDY -LRB- softening. -RRB- I could n't do it. Not to you. He sees her looking up. He follows her gaze to the FULL MOON. It's getting late. Andy shudders, wipes the sweat from his brow. He's already starting to feel the heat in his blood. SERAFINE I ca n't go through another night. I wo n't. Andy takes her hand and guides the knife away from her chest. ANDY I know. I'm already burning up. Look, I'm not going to go through this another night either. But we still have some time to get Claude. He'll just kill more people, and spread the curse. She's desperate, tears welling up in her eyes. SERAFINE We ca n't stop him. Not now. Handcuffed, with no kind of weapons. Please Andy. ANDY No. We have to try. We'll figure something out. And if midnight comes before we can get to him, well, then we go together. Deal? -LRB- he extends a cuffed hand. -RRB- Shake a paw? She laughs despite her tears, puts her cuffed hands over his head and hugs him tightly. SERAFINE I know where he'll go. ANDY Where? SERAFINE Somewhere where there are no police, and plenty to eat. Andy looks at her. He knows what she's driving at.",
"EXT. PETIT PONT - NIGHT LeDuc and Napier stand on the bridge, which has been blocked off, watching the tow truck drag the charred wreck of the paddy wagon from the river. Ambulances wait nearby. Firemen are still putting out small piles of flaming debris. NAPIER -LRB- French. -RRB- Poor Bazin and Racine. At least they brought those monsters down with them. LeDuc is n't listening - he sees something that makes his face go slack : The paddy wagon emerges from the murky water revealing the open, banged - up back door with several large FIST PRINTS in it. He checks his watch - it's 11:32. LEDUC -LRB- French - to himself. -RRB- Impossible. -LRB- to Napier - urgent. -RRB- Get headquarters on the radio. Napier is n't paid to ask questions. He hops to it. NAPIER Right away sir.",
"INT. UNDERGROUND PARTY - NIGHT Andy and Serafine emerge from the tunnel, wearing grim, determined expressions. The party is in full swing - throbbing beats and sweaty dancing bodies. They walk straight across the dance floor, pushing their way through the crowd. Amongst the variety of freaky types here, no one raises an eyebrow at two people in handcuffs. Serafine, who's scanning the room, is approached by a leather clad HIPSTER GUY. HIPSTER GUY Serafine, mon belle! Ca va? He goes to kiss her on both cheeks. Without breaking stride, she puts her handcuffed hands on his face and shoves, sending him reeling. Serafine points out a gang of four militant skinheads off in a corner. Andy nods and smiles. ANDY This could be fun. They make their way to the skinheads. Andy walks up to the SKINHEAD LEADER, who's got a swastika tattoo, a bad disposition, and a fifty pound advantage on Andy. ANDY I got something you want. Follow me. Andy and Serafine walk into A SMALL CHAMBER off the main space. The skinhead signals his mates to come along, slips on some BRASS KNUCKLES, and follows Andy into THE CHAMBER The skinheads surround Andy and Serafine. There's no one else in the room. The skinhead leader looks at Andy's handcuffs and sniggers. SKINHEAD What do you got, pervert? ANDY I got Hitler's dick in a jar. And the funny thing is it's still in Goerring's mouth. The skinhead turns red with rage and throws a punch at Andy's head. With lightning speed, Andy grabs the skinhead's fist, twists his arm around his back and hurls him across the room. He slams face first into the stone wall and collapses on the floor with a THUD. Simultaneously, the other three skinheads attack. Serafine BASHES one across the face with both fists, sending him to the floor. The other gets her in a headlock from behind. She runs backwards and - SLAM! - crushes him against the wall. The third skinhead tries to kick Andy in the groin. Andy grabs his boot and flips him over backwards - he actually does a full back flip and lands on his face. The leader groggily pulls a pistol and aims it at Andy. Andy snatches it out of his hand. ANDY Did n't even have to ask. SERAFINE -LRB- French. -RRB- All your weapons, on the floor! Now! The skinheads slide out some LEAD PIPES, a SWITCHBLADE, another PISTOL, and an army surplus GRENADE. Andy and Serafine scoop them up, except the lead pipes. ANDY Neo - Nazis. Ya got ta love'em. -LRB- to the Skinheads. -RRB- Merci beau coup, monsieurs.",
"INT. TUNNEL - NIGHT Music cue : `` After Midnight -LRB- we're gon na let it all hang out -RRB-''. Andy's gun is pressed against the chain on Serafine's handcuffs - BANG! The chain is broken. BANG! She returns the favor and his chain is broken. They walk into the DRIPPING, dank tunnel, away from the party, which fades away in the background. Each carries a pistol and a flashlight. BEADS OF SWEAT appear on their foreheads. The tunnel tilts downhill. Heavier DRIPPING. They turn a corner and. SLAM! Something barrels into them - it's a HYSTERICAL GIRL. She's about nineteen and splattered with blood. She SCREAMS uncontrollably. Serafine holds her by the shoulders, trying to calm her. GIRL -LRB- French. -RRB- Ahhhhhhhh! A monster! My God! It got my boyfriend! Noooooo! SERAFINE Ou!? Ou est le monstre!? GIRL Ahhhh! Let me go! Let me gooooo! She's off the deep end, flailing at Serafine, who keeps trying to calm her down. There's no time for this. Andy presses his gun to her temple. She shuts up and stares at him with wide, terror stricken eyes. ANDY -LRB- calm, firm. -RRB- Ou est le monstre? She points back down the tunnel she came out of. GIRL -LRB- French. -RRB- Down the stairs. ANDY Merci. He lets her go. She starts SCREAMING again and continues on, disappearing into darkness. Andy winces and holds his ears. SERAFINE No wonder he let her go. ANDY Really. They run in the direction she pointed. They arrive at the intersection with A STAIRWAY to the right. They start down it. They see something up ahead - SOMEONE'S HAND is sticking out on the ground from a passage at a landing on the staircase. SERAFINE Her boyfriend. The hand moves a bit, pulls back and disappears into the crossing passage. ANDY He's alive. C'mon. They hurry down to the landing, shine their light into the passage. The hand is severed, and A BIG RAT is dragging it along with some difficulty. A dozen or other rats munch on scraps of flesh scattered over a grisly mess of blood and body parts. Andy and Serafine stare at it for a moment. Suddenly Andy looks away. ANDY God. I ca n't believe it. SERAFINE What? ANDY -LRB- disturbed. -RRB- It's making me hungry. A beast HOWL echoes through the tunnels. Serafine shines he flashlight on some bloody beast foot/paw prints leading down the stairs. They follow the bloody prints down the stairs and come to an ancient ARCHED DOORWAY with a skull set in the arch and a chiseled inscription. Andy points to the inscription. ANDY What does it say? SERAFINE -LRB- reading. -RRB- `` Stop! Beyond this passage lie the catacombs of Paris : the exclusive domain of the dead.'' Andy gestures back to the bloody remains. ANDY We'll say we're with him. They walk through the gate and enter THE CATACOMBS Andy shines his flashlight around, illuminating two large tunnels which lead into a twisting, intestinal maze, lined from floor to ceiling with HUMAN SKULLS and FEMURS. The bones form the building blocks of the tunnel walls and are arranged in various patterns - from crucifixes to Masonic pyramids and even pentagrams. Ground water seeps from the ceilings and walls, DRIPPING over the eroded, crumbling bones. Despite the situation, Andy ca n't help but be dumb struck by the spectacular necropolis. ANDY Whoa. SERAFINE After the revolution, the Paris cemeteries overflowed. They dug up all the old bodies and brought them here. Seven million people. Mostly very poor. ANDY Pretty stylish digs for a bunch of paupers. SERAFINE Well, they are French. ANDY Right. Another eerie HOWL echoes through the maze. Andy looks down both main tunnels - the howl seems to come from each of them. ANDY These tunnels must loop around and connect. SERAFINE Let's go from both ends. We'll cut him off. Andy considers this. ANDY Okay. Be careful. SERAFINE You too. She kisses him. They're both sweating heavily now. She starts off to the right. He watches her go for a moment and then walks down the other skull lined tunnel.",
"EXT. PETIT PONT - NIGHT The CHARRED BODIES of Gaston and the two cops lie on the river bank, near the wreck. LeDuc surveys them with a few other cops. Napier leans out of a nearby car with a radio handset. The bells of nearby Notre Dame begin to ring. NAPIER -LRB- French. -RRB- It's headquarters sir. They got a report. LeDuc rushes over and grabs the handset. LEDUC -LRB- French - into radio. -RRB- What've you got? DESK OFFICER -LRB- V.O. -RRB- Just a crazy call from a girl, probably fucked up on drugs. I would n't bother you but you said call with anything unusual. LEDUC What did she say? DESK OFFICER -LRB- V.O. -RRB- Something about a monster, underground, in the catacombs under Place Denfert. LEDUC I need two tactical assault squads at Place Denfert immediately. You can tell the commissioner it's a code red. DESK OFFICER -LRB- V.O. -RRB- But Inspector, this girl, I would n't call her reliable. LEDUC Now! DESK OFFICER -LRB- V.O. -RRB- Yes sir. LeDuc throws the handset back at Napier. The church bells strike twelve.",
"INT. CATACOMBS Andy walks along carefully, shining the flashlight ahead of him, his gun at the ready. His breathing gets heavier. His face gets redder. More sweat. His heart pounds in his ears. The tunnel follows a serpentine path, with many smaller passages and anterooms off to the sides. Andy sees some flickering light reflecting off the wet skulls up ahead. He approaches it. It's coming out of AN ANTECHAMBER. He holds his gun out in front of him and steps quietly. He peers into the antechamber and finds TWO HALF EATEN BODIES It's the old hag and the wino he saw in the tunnels at the first party. They've been killed very recently - blood still drips from their gaping wounds. He kneels over the wino's body. There's a big chunk missing from his neck. Andy stares at the BLOODY FLESH, transfixed. He shudders with a sudden spasm. His breathing gets quicker. More sweat. He reaches towards the wound, his hand shaking, and touches the flesh. Blood runs down his fingers. He slowly brings his hand back towards his mouth. TERRENCE -LRB- O.S. -RRB- Do n't do it, Andy. Fight it with everything you've got. Andy looks up to see UNCLE TERRENCE, stumps and all, sitting across from him. ANDY Uncle Terrence, you're. TERRENCE Yeah, I finally `` checked out'', thank God. But there's a bit of unfinished business. ANDY Claude. TERRENCE I never thought I'd ask this of anyone, Andy, but do me a favor and kill the evil son - of - a - bitch, will you? A SNARL cuts him off. Andy jumps up, steps out into the main tunnel and shines his light. THE BEAST rounds a curve and comes into view about thirty yards away. It's running straight at Andy and closing fast. Andy aims the gun. BANG! A miss - the bullet shatters a skull on the wall. BANG! Another miss. BANG! The bullet hits the beast in the shoulder. It stumbles but keeps coming. BANG! A miss. Andy aims carefully. ANDY C'mon you mother. BANG! A direct hit in the chest. The beast falls. Snarling in pain. BANG! Andy blasts again, but the beast drags itself to the safety of a recessed area off the tunnel, out of Andy's line of fire. Andy walks forward, listening to the horrible wails of the beast, thrashing around in a puddle on the floor. Andy aims his gun and his flashlight as he nears the corner of the recess. The wailing and thrashing settles down. Andy proceeds cautiously. He rounds the corner, and shines the light on SERAFINE naked, bleeding from bullet wounds in the chest, shoulder, and neck. She lies still. Andy sighs with anguish. He drops to his knees. ANDY No! Oh God! He puts down his gun and cradles her head in his hands. She's breathing - just barely. She looks into his eyes. Her voice is weak. ANDY Oh God. Shit. SERAFINE Andy. She reaches up feebly and manages to grab the SWITCHBLADE from his back pocket. She clicks it open and hands it to Andy. SERAFINE Do it. Andy's shaking, shuddering - his breathing erratic. ANDY No. It's over. He shakily presses the gun to his own head. TERRENCE -LRB- O.S. -RRB- Do n't, Andy. Stop Claude. Andy looks up. Terrence, Marcel, Amy, and a dozen other mutilated, rotting undead, presumably Serafine's victims, stand in the tunnel, looking on solemnly. MARCEL -LRB- O.S. -RRB- Either way works for us. AMY But you better hurry. Claude's stentorian voice echo's from beyond a curve in the tunnel. CLAUDE -LRB- O.S. -RRB- You ca n't turn back Andy. CLAUDE in human form, walks towards the glow from Andy's flashlight around the bend. His naked body is taut and muscular - it looks thirty years younger than it should. His face is younger too - he looks the picture of a powerful young warrior. CLAUDE `` Man is something to be surpassed! A rope, stretched over the abyss between the animal and the Superman''. Neitzche was right, Andy. And now, I have crossed that abyss. I am no longer man OR beast, but man AND beast. ADAM has lived up to its name. I am the first new man, and my God it is FUCKING MAGNIFICENT! You're already half way there Andy. Feel the power in your veins. With ADAM, you could harness it. Master it. Let it transform you into something more glorious than your wildest dreams! ANDY is shaking violently - on the brink of transforming. Serafine raises the blade to him again. She's fading fast. SERAFINE Do n't let me die for nothing. Andy winces with pain - his brow bulges, his teeth enlarge, the transformation is starting. Uncle Terrence is worried. TERRENCE Andy! CLAUDE still walking. The light is getting brighter - he's almost around the bend. He's buzzing with a scary kind of euphoria. CLAUDE The choice is yours Andy : deny your own blood, die an unfulfilled child, or face the challenge of mind and body united at last. Which will it be? He rounds the corner and sees Andy hunched over Serafine's body. He keeps walking. CLAUDE Do n't be confused by old beliefs. This is beyond mere words like good or evil. You have to feel it! ANDY whips around, BLOOD streaming from his mouth, gun aimed, grip rock solid, his features back to normal, eyes locked on the beast with determined, controlled rage. ANDY Feel this. BLAM! BLAM! He pumps out two shots. One hits Claude in the upper left part of his CHEST. The other hits his CHEEK, exits at the back of his jaw and shatters the cheekbone of A SKULL on the wall behind him. He screams in pain and dives for cover into a SMALL INTERSECTING TUNNEL. Andy gets up, pausing for a second to look back at Serafine's face. It looks peaceful. The undead are gone. He starts after Claude. CLAUDE sits leaning against a wall of skulls. The face wound is bleeding but not mortal. CLAUDE Stupid boy. With an awesome rage he grimaces and starts to TRANSFORM HIS LEFT SIDE - his muscles swell around the chest wound and THE BULLET actually squeezes out of the hole and falls to the ground. The wound closes up as the flesh keeps morphing and growing hair. ANDY creeps around the corner, gun and flashlight aimed, towards the small tunnel. When the flashlight beam falls on Claude, he's in mid pounce - rocketing at Andy with bad intent. BANG! Andy gets off a shot - it hits Claude in his THIGH as he tackles Andy. They wrestle, Claude in mid - transformation, his left side further along, hairier, his facial bones shifting. His thigh swells and ripples and THE BULLET SQUIRTS OUT of its wound. His left arm, mostly transformed, grips Andy's gun hand. BANG! Andy squeezes off a shot, blowing off the tip of Claude's transforming THUMB. CRUNCH! Claude clamps his vice like grip and crushes the gun. Andy wrenches his hand away as Claude hurls him off like a rag doll. Andy flies through the air and SMASHES into the tunnel wall. The wall of ancient SKULLS and BONES shatters and collapses around Andy - burying him in ossified fragments. Andy lifts himself out of the pile and looks at Claude, who lies on the floor finishing his transformation. His right side is catching up with his left and his head is now more beast than human. All the while he glares at Andy and does n't appear vulner able. Andy takes advantage of the moment to get the hell away - he runs into the tunnel, leaving Claude behind to finish transforming. Andy makes a few quick turns through the maze - it seems he has evaded Claude for the moment. He pulls the GRENADE from his pocket, turns off his flashlight and pads along softly, listening for the beast. Suddenly a sharp sound from behind him makes Andy jump. VOICE -LRB- French - screaming. -RRB- STOP WHERE YOU ARE! HANDS UP! Andy turns around. A scared COP is aiming his gun at him, shining a flashlight in his face. Andy puts his hands up. COP -LRB- English. -RRB- It's you. You should be dead in that wreck with Bazin and Racine! ANDY Shhh! Be quiet, man! We're not alone - COP Shut up! Save your stories. The only thing I want to hear is you begging for your life. I want to see you suffer, like they did. -LRB- he sees Andy's look of terror. -RRB- Haha! You're scared now, eh? Come on. Where's the scary monster now huh? Ha ha. We'll see who - A ROAR cuts him off. The cop spins around - the beam from his flashlight flooding THE BEAST with light as it springs through the air at him. Andy runs. COP -LRB- French. -RRB- My God! He gets off one shot - it hits the beast in the arm, but it's too late. The beast clamps it's massive jaw onto the cop's neck and bites his head clean off. THE HEAD rolls across the floor and comes to rest in a pile of skulls. SERAFINE'S BODY In the tunnel. Two queasy cops stand over it. LeDuc approaches them. LEDUC -LRB- French. -RRB- What have you got? COP -LRB- French - disturbed. -RRB- It's the girl. Someone cut out her heart. LEDUC -LRB- Matter of factly. -RRB- Good. The cops look at him like he's nuts. ANDY is crouched at a corner of two catacomb tunnels, grenade clutched in his hand. He hears something and carefully peers around the corner. ANDY'S POV At the end of the long tunnel of bones, the beast lurks at another intersection, sniffing the air and growling, some forty yards away. Andy ducks back around the corner. He holds up the grenade, pulls the pin, and whispers a quick prayer. ANDY -LRB- to himself. -RRB- Just throw a strike. With a determined grunt, he pitches the grenade around the corner and then ducks back. Suddenly the beast's growling stops. Andy grits his teeth and closes his eyes, awaiting the explosion. Just silence. Then a small skittering sound close by. He opens his eyes. THE GRENADE skitters to a stop, a couple of feet from him. ANDY Shit! He bolts and gets five steps from it when KA - BOOM! It explodes behind him, launching him through the air along with a spray of bones and rubble. He lands twenty feet away and clutches his left leg, wincing in pain. ANDY Ahh! Son of a bitch! LEDUC and the cops turn towards the sound of the blast. LEDUC -LRB- French. -RRB- Let's go. ANDY struggles to his feet. He clicks on his flashlight and sees the blast has caved in the tunnel - a wall of rubble seals Andy off from the beast. Andy breaths a sigh of relief. At least he's got time. He starts limping away from the wall of rubble. SMASH! The rubble explodes again as the beast crashes through it like a freight train, sending rocks and bones flying. Andy runs as fast as he can with his bad leg. The beast closes in on him quickly. Andy jumps up for a NARROW OPENING in the tunnel ceiling. He grabs the metal rung inside and pulls himself up into the vertical shaft as the beast pounces. The beast catches Andy's foot with its claw. Andy pulls out of his sneaker and just barely eludes the beast's grasp. Andy climbs up the metal rungs in this old service shaft - barely wide enough for his body. The beast claws and gnashes his teeth at the opening but ca n't fit in - for now. Andy reaches an iron grate, pushes it up and crawls out into ANOTHER DRIPPY TUNNEL Like the ones near the party - no skulls. There's a lot of water in this one. It looks familiar. CLAUDE is transforming back into human shape. His face is now more human than beast. He screams into the vertical passage in a growling, not quite human voice. CLAUDE You have no advantage, Andy! My body has no limits! ANDY looks around in the tunnel. He sees something -LRB- we do n't -RRB-. He limps off towards it. CLAUDE in his human shape, crawls into the vertical service passage and climbs up the rungs. Claude emerges from the shaft into the dark tunnel. Andy's no where in sight. We hear only dripping water. CLAUDE So this is how you choose to die. Hiding like a scared rabbit. Just praying I do n't find you. ANDY crouches under a concrete ledge in a very dark space. Claude's voice sounds distant, echoey, and competes with the closer sound of trickling water. CLAUDE -LRB- O.S. -RRB- Well I assure you, your nervous sweat glands will give you away soon enough my trembling little rabbit. CLAUDE begins transforming. He falls to the ground and groans with joyous pain as his body noisily transforms. CLAUDE AHHHH! IT'S FUCKING GLORIOUS! AAAARRGGGHHH! ANDY huddles in his hiding place, looking out into the darkness. ANDY -LRB- to himself. -RRB- C'mon already. A glint of light appears in a puddle on the ground. Andy's eyes widen. CLAUDE His head is transforming - his exaltations become more animalistic. CLAUDE/BEAST RRAAAAAARRRRRRGGG! LEDUC still in the catacombs, hears Claude's yell echo through the tunnels. He thinks it came from above. He runs towards a stairway. THE BEAST Claude is fully transformed. He sniffs the air, locks in on a scent and sets off through the tunnel. ANDY watches intently as the light in the puddle gets brighter. It starts reflecting on the wet concrete walls of this tunnel. ANDY -LRB- to himself. -RRB- Now. Andy clicks on the flashlight, shines it at himself, and yells for all he's worth. ANDY HEY YOU DIRTY EVIL FUCK! C'MON AND GET ME! I DARE YOUR UGLY ASS! -LRB- etc. -RRB- THE BEAST cocks its head towards Andy's taunts. The sound of flowing water is close by. The beast pounces towards Andy's voice, into THE WET, SLIPPERY STAIRWAY that Andy slid down that first night in the tunnels. The beast loses it's footing and slips helplessly down the slick, eroded stone, GROWLING furiously. LEDUC runs down a tunnel, towards Andy's screaming voice. The beam of his flashlight illuminates the landing ahead of him, halfway down the stairwell. He sees THE BEAST slide by, clawing in vain for a grip. A METRO TRAIN screams around the bend, lighting up the whole metro tunnel. Andy is still SCREAMING from his refuge under a ledge. THE BEAST shoots out of the stairwell and lands on the tracks. It looks up, frozen for a split second - it's horrible snarling face is caught in the speeding train's harsh glare. SMASH! Impact. The beast is sucked under the wheels and ground to bits between track and wheels. LEDUC at the landing, looks down the stairwell as the train rushes past. ANDY huddled next to the passing train, clenches his fist in victory. ANDY Yes! The train passes. Andy gets up and shines his flashlight around the ground. The beasts body lies in chunks, smears, and puddles. The parts begin morphing back into Claude's human forms - A THIGH here, A PIECE OF SPINE there. LEDUC inches his way down the last few feet of the stairway, using the rusty pipe for a handhold. He walks up with his flashlight and aims it at the BEAST'S HEAD, which finishes turning back into Claude's head. LeDuc glances at Andy. He takes a small envelope from his pocket and shakes out a single SILVER BULLET. He loads it into his gun and FIRES straight into Claude's lifeless head. LEDUC -LRB- to Andy. -RRB- I always wanted to do that. I saw it in a movie. ANDY What about me? LEDUC My men think you died and floated away in the Seine. If I wanted to, I could let them believe that. -LRB- a long pause. -RRB- But that would be illegal. Andy looks at him carefully, trying to read him. LeDuc's face is impassive.",
"INT. COURTROOM, NIGHT The prosecutor, who speaks English with a thick French accent, has an extremely sarcastic look on his face. He wheels around dramatically, and confronts Andy, who sits uneasily on the stand, wiping the sweat from his brow. PROSECUTOR You intend us to believe that you committed these murders because the moon was full and you were somehow magically transformed into a huge powerful beast with an insatiable appetite for human flesh, is that right? ANDY You do n't understand! The prosecutor turns away towards the jury to mock Andy. PROSECUTOR Oh? So I do n't understand? You think it's me who has a hard time coming to grips with reality? The JURORS snigger at Andy's expense. But wait, suddenly they look concerned - something's wrong. The prosecutor continues, his back to Andy. PROSECUTOR You think I'm the one who needs my head examined? I do n't understand? Well, Mr. McDermott, enlighten me. He wheels around to Andy and comes face to face with THE BEAST huge and ravenous. It goes for his throat. PROSECUTOR Good God! Aaaaaaaa! The beast tears the prosecutor apart, spraying blood everywhere. The jury - oddly enough - break into polite applause. One less lawyer.",
"INT. AIRPLANE - NIGHT Andy wakes up with a start - a concerned STEWARDESS is leaning over him. Disturbed PASSENGERS crane their necks, peering at him like he's nuts. STEWARDESS You were screaming in your sleep, sir. Are you okay? Andy looks around, getting his bearings. He takes a deep breath and shakes it off. ANDY Yeah. It was just, um. something I ate. The stewardess nods and smiles, a little uneasily. He picks up the Bloody Mary from his table and gulps some down. A little bit of tomato juice dribbles down his chin. He looks out the window.",
"EXT. AIRPLANE It flies along over a blanket of clouds, past the huge, silver moon. The song is Cat Stevens' `` Moonshadow'', sardonically covered by Nirvana, with the oh so appropriate lyrics : `` If I ever lose my legs.'' ROLL CREDITS"
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] | Andy McDermott is a tourist seeing the sights of Paris with his friends Brad and Chris. When Serafine Pigot leaps off the Eiffel Tower just before Andy is about to bungee jump, he executes a mid-air rescue. She vanishes into the night, leaving Andy intrigued – unaware that she is the daughter of David Kessler and Alex Price, the couple seen 16 years earlier in the first film. That night, Andy, Chris, and Brad attend a night club called "Club de la Lune". The club's owner, Claude, is actually the leader of a werewolf society that uses the club as a way to lure in people (preferably tourists) to be killed. Serafine arrives, tells Andy to run away and transforms into a werewolf. The club owners transform into werewolves as well, and butcher all the guests. Chris escapes and goes back to Serafine's house. Brad is killed by a werewolf, and Andy is bitten by another werewolf when he tries to escape. The next day, Andy wakes up at Serafine's house. Serafine blends organs in the blender, and he is still in shock, but Serafine allows him to feel her breasts to calm him down. She tells him he's transforming into a werewolf. This is interrupted by the sudden appearance of the ghost of Serafine's mother Alex. Andy jumps out the window in sheer panic and begins running away. Chris tries to get his attention, but Claude grabs him and holds his hand over his mouth and takes him to the basement. Soon, Brad's ghost appears to Andy and explains Andy's werewolf condition. For Andy to become normal again, he must eat the heart of the werewolf that bit him; and, for Brad's ghost to be at rest, the werewolf that killed him must be killed, too. After developing an appetite for raw meat, Andy hooks up with an American tourist named Amy (Julie Bowen), but he transforms and kills her. Andy also kills a cop who had been tailing him, suspecting Andy was involved in the Club de la Lune massacre. Andy is arrested but escapes. He begins to see Amy's ghost as well, and she begins trying to kill him. Claude and his henchmen ask Andy to join their society but to prove his loyalty, Andy must kill Chris. Serafine rescues Andy, explaining that her stepfather prepared a drug to control werewolf transformations. However, the drug forces werewolves to immediately transform into their beast form. As a result, she killed her mother and savaged her stepfather. Claude and the other werewolves raid Serafine's stepfather's lab and kill him, taking the drug to transform immediately. Serafine and Andy learn of a Fourth of July party Claude has planned and infiltrate it. They help the partygoers escape, and Andy manages to kill the werewolf that ate Brad's heart, thus setting Brad free. The cops arrive, and a fight ensues. Andy and Serafine manage to kill many werewolves, with Serafine shifting to her beast form to fight when she runs out of ammunition. During a fight between Serafine and another lycanthrope, Andy shoots one of the wolves, but it turns out that he has shot Serafine. As she reverts to her human form she begs him to kill her but he is unable to and authorities who arrive on the scene assume that he is trying to kill her before escaping. Claude makes his way onto a subway train, but he slips onto the tracks. A train slams into him, causing him to transform back to a human. He tries to take another dose of the drug, but Andy stops him. As they fight, Andy discovers that Claude is the werewolf that bit him (due to a scar on his left shoulder caused when Andy stabbed the werewolf with a spear). Claude tries to inject himself with the drug but accidentally injects Andy instead. Andy transforms into a werewolf, kills Claude and eats his heart and howls, breaking the werewolf curse. Serafine is taken in an ambulance, but she begins to show signs of transforming. The EMT, thinking she is going into shock, administers adrenaline, which stops the transformation. The sedative, which was thought to be the "cure", actually triggered the change and adrenaline has the opposite effect. The final scene depicts Serafine and Andy celebrating their wedding atop the Statue of Liberty with Andy's pal Chris, who survived. The couple seem to be controlling the curse with a steady application of adrenaline-fueled activities. They bungee jump off the statue as the credits roll. In an alternate ending, after Andy eats Claude's heart, Serafine has a vision of her stepfather in the back of an ambulance, explaining how he found a cure before his death. The new closing scene shows Serafine and Andy having a child, whose eyes shift to look like the werewolves'. | An_American_Werewolf_in_Paris |
[
"INT. BATCAVE -BATMAN'S COSTUME VAULT Chrome and shadow. A black gauntlet SNAPS into place. A cape WHIPS over a dark rubber back. A bat - shaped buckle LOCKS.",
"INT. BATCAVE ROBIN'S COSTUME VAULT - INTERCUT A silver throwing - bird is chosen from a weapon's array. Gloved hands lift a black eye mask. Tunic armor CLICKS shut, turning to reveal the chest - borne insignia of a Robin.",
"INT.BATCAVE BATMAN - CLOSE. Emerges from his costume vault. WIDER Deeper excavation has doubled the size of the cavern. New state - of - the - art computing systems flash. Surveillance screens monitor news and police FREQUENCIES. Crime's worst nightmare. Batman strides towards the rising steam - obscured pedestal which bears the sleek, redesigned Batmobile. ROBIN appears in the door of his costume vault, dressed in the black and red of his Nightwing costume. Two dark avengers stand suited, ready to take back the night. BATMAN Nice suit. And today you are? ROBIN Nightwing. Scourge of darkest evil. BATMAN This is all about fashion for you, is n't it? ROBIN It's the gear. Chicks love the gear. ALFRED steps forward, out of the shadows. ALFRED Do call if you're going to be late for dinner, sir. TURBOS - CLOSE. ROAR. The Batmobile SHOOTS away through the arches of the cave access tunnel. The compass to of the Batmobile service pedestal splits wide like the opening petals of a flower, revealing a sleek, turbo - charged motorcycle. meet Robin's bike : The Redbird. ALFRED Drive carefully, Master Wing. ROBIN Do n't wait up, AL.. The REDBIRD'S TURBO - CLOSE. EXPLODES into life. The powerful bike SHOOTS after the Batmobile. ALFRED watches them go. Then, he relaxes, lets his weight fall against the main console, a man not as well as he seems.",
"INT. BATCAVE ACCESS TUNNEL - BATMOBILE - MOVING Batman is behind the wheel, Robin visible through the window. BATMAN Ten police cruisers frozen solid on the Gotham Expressway.",
"INT. BATCAVE ACCESS TUNNEL - REDBIRD - MOVING Robin is on his bike, data scrolling on his console monitor. ROBIN A giant drilling truck burrowing under the city. BATMAN Mr. Freeze. ROBIN The batcomputer tracks him heading for the Gotham Museum. BATMAN The new antiquities exhibit. The Second Sun of the Sudan. ROBIN Of course. He's going to steal the giant white diamond. BATMAN No, Robin. He's going to jail. BATMAN'S MONITOR - CLOSE - THE GOTHAM MUSEUM PUSH IN",
"EXT. GOTHAM MUSEUM - NIGHT A stone and glass palace set on the edge of Gotham's Central Park.",
"INT. GOTHAM MUSEUM - NIGHT A GIANT DRILLING TRUCK points up through the rubble of the shattered museum floor. WIDER. A great hall bearing the skeleton of a mighty brontosaur amongst a myriad of other exotic antiquities. All frozen. HOLD on A GIANT DIAMOND CASE The case begins to glow blue, then white, the shatterproof glass EXPLODING into a thousand flying fragments. RACK IN through the storm of ice and glass, ACROSS the frozen floor, PAST exhibits of Aztec ruins peppered now with three FROZEN GUARDS, UP stone steps of a pyramid altar TO REVEAL. A silver suited figure stands, bald head visible beneath a helmet, A high - tech bazooka in his hand. MR. FREEZE FREEZE The Iceman Cometh. WIDER A gang of Thugs in thermal suits, THE ICEMEN, skate to the base of the steps. Two hold a MOANING, shivering GUARD captive. GUARD Please. Show some mercy. Freeze begins down the altar steps. A SHIMMERING, TERRIFYING GOD. FREEZE I'm afraid my condition has left me cold to your pleas of mercy. Freeze FIRES his weapon, the beam of cryonic energy engulfing the Guard, turning him to ice. FREEZE -LRB- knocks on the guard's cheek. -RRB- Copsicle. Freeze closes, now, on the shattered case. FREEZE In this universe, there is only one absolute. Everything. Freeze swipes away the shattered glass and steel, from the debris lifts a tremendous diamond. FREEZE Freezes. Freeze holds the diamond high over his head, the light hitting the gem like a star. THE SKYLIGHT - CLOSE. EXPLODES. Batman free - falls into the room, hitting the brontosaurus and sliding down its neck, SMASHING Freeze with his feet, the diamond sliding across the frozen floor. FREEZE -LRB- aiming his pistol. -RRB- Bat on ice, anyone? Batman KICKS the pistol high in the air, catches it. BATMAN Did n't your mother ever tell you not to play with guns? Freeze cartwheels across the room, kicking the gun away from Batman, catching it in mid air. FREEZE You're not sending me to the cooler. Freeze FIRES. Batman dodges the blast. Freeze takes aim again. THE FRONT DOORS - CLOSE. BLOW OPEN Robin, on the Redbird, flies into the room. BATMAN uses the distraction, flying - kicks the gun into the air. ROBIN soars over Freeze's head, kicks the airborne gun to the altar atop the giant pyramid. ROBIN Score. And the crowd goes wild. Robin lands, laying his bike sideways in a slide, KNOCKING a precious vase into mid air. he grabs a statue, using it to whip around in a dismount. BATMAN catches the falling vase, replaces it, as Robin skates beside him. The two heroes race for Freeze. FREEZE Grab the gem. Kill the heroes. MORE INCEMEN in hockey masks, sticks in hand, rush the caped crusaders from both sides. ROBIN It's the hockey team from hell. FREEZE is racing towards the altar and his fallen gun. SIX GUARDS rush in through a side door and swarm the unarmed Freeze. Mistake. Freeze begins wailing on the Guards. It's a straight display of fisticuffs executed with unbelievable speed and precision, hooks, jabs, upper and lower cuts all perfectly delivered, felling the assault force. 30A FREEZE Cop - suey. He begins racing again for his gun. BATMAN AND ROBIN begin a martial arts extrordinaire, blocking stick blows, punching and kicking the Icemen. THE GEM lays on the ice behind the wall of advancing ICEMEN. 33/34 BATMAN AND ROBIN grab two assailants, slipping between their legs, skates popping out of their boots, as they snatch the Icemen's sticks and trip the villains. FREEZE has made it to his gun. He turns, FIRES, creating an ice bridge to the floor. FREEZE Caution. Bridge may ice over. 35A He slides down the ice bridge to the floor below. Starts racing for his giant drilling truck. BATMAN begins skating towards Freeze. BATMAN You get the ice. I'll get the iceman. ROBIN skates through the Thugs, double sticking, CHECK - ING them wildly into the boards, reaches down and scoops up the diamond. ROBIN Sweet. 38/39 FREEZE is racing towards his truck, Batman closing fast behind him. Freeze spins and FIRES. says. BATMAN ducks, using his cape as an ice shield, deflecting the beam into a closing Iceman behind him, freezing the villain solid. FREEZE disappears behind the giant brontosaurus. ROBIN skates into line with Batman, both heading fast for Freeze. ROBIN -LRB- shows the diamond. -RRB- I got mine. Where's yours? FREEZE FIRES his gun, freezing the legs of the mighty Brontosaur. FREEZE What killed the dinosaurs? The ice age. Freeze pushes on the belly of the beast, the mighty creature toppling forward, EXPLODING in front of Batman and Robin. ROBIN He's definitely extinct. BATMAN AND ROBIN skate fast to avoid the debris. AN ICEMAN flies in from the side, hitting Robin's hand, sending the gem flying free. ANOTHER ICEMAN skates to the gem, HITTING it with his stick, sending the diamond flying up onto the landing by the front doors. FREEZE has made it to his truck, is climbing towards the hatch. THE ICEMEN are a rushing wall between the caped crusaders and the gem. Batman and Robin skate toward the villains, pulling flagpoles from a display as if they are about to joust the Icemen. At the last second, Batman and Robin drive their poles into the ice, vaulting over the heads of the Icemen towards the landing and the waiting gem above. FREEZE has climbed to the hatch of his vehicle. FREEZE Hit me boys. 54/55 Batman and Robin land on the landing inches from the gem. An Iceman skates from the wings, with a SLAPSHOT, sends the diamond flying. FREEZE'S GLOVE - CLOSE. The diamond HITS. A perfect catch. FREEZE Thanks for playing. Freeze drops into the cab of his giant drilling truck. The hatch starts to slide closed. BATMAN Round up the thugs. I'll get Freeze. 59/60 Batman leaps onto the banister, slides standing down the rail and jumps, dropping into the closing hatch after Freeze.",
"INT. DRILLING TRUCK - CONTROL CAPSULE A bank of control panels are set inside the giant glass head of the drill. Batman falls in to find Freeze standing at the main console. BATMAN Stop the insanity. FREEZE Nice of you to drop in. Freeze hits a button. A tremendous ROAR.",
"INT. MUSEUM The capsule, set on the end of an ejection cylinder, BLASTS out of the drilling truck, rising like a rocket towards the roof. ROBIN jumps on another banister, slides down, grabs a banner and swings himself onto the side of the cylinder, clutching a porthole ledge and hanging fast.",
"EXT. GOTHAM MUSEUM The capsule BLOWS through the top of the museum, ROCKETING towards the starry night sky above. ZOOM IN. Robin clings to the side of the rocket for dear life.",
"INT. CAPSULE Batman is thrown to the floor by the powerful acceleration. Freeze stays upright, protected by his mighty suit. BATMAN You were a great scientist once. Do n't squander your genius on evil. FREEZE I hate being lectured. Freeze throws Batman, hard, into the bulkhead, uses his pistol, to FREEZE Batman's ankles and wrists to the wall in chunks of ice. FREEZE Watch the numbers, Batman. For they are the harbingers of your doom. ALTIMETER CLOSE. 10,000 feet and climbing fast. FREEZE Can you feel it coming? The icy cold of space. At 30,000 feet your heart will freeze and beat no more. THE ALTIMETER CLOSE. 15,000 feet and rising.",
"EXT. CAPSULE Robin has climbed onto the nose - cone. Is struggling against the acceleration, using bat - magnets to crawl towards the escape hatch.",
"INT. CAPSULE Freeze steps into a glide - wing backpack mounted on the wall. FREEZE After you have frozen, your icy tomb will plummet back to Gotham. BATMAN Freeze, you're mad. This capsule will slaughter thousands. Freeze releases the door behind him, the sky WHIPPING past beyond. FREEZE Ai n't it grand? Freeze well. Freeze leaps out into the night.",
"EXT. NIGHT SKY Freeze begins to plummet towards the lights of Gotham below. FREEZE'S BACKPACK - CLOSE. A sleek wing extends from its housing. Freeze angles himself downward in mid air, using his glide wing to control his fast flight towards the distant city.",
"INT. CAPSULE The controls, the glass nose - cone, the capsule itself are all frosting over. The hatch opens. Robin drops in. ROBIN I was just hanging around. BATMAN I thought you were going to stay in the museum and round up the thugs. ROBIN How about, nice to see you? Glad you're here to save my life. Robin pulls a laser from his utility belt, FLASH MELTS one of his ice - shackles. BATMAN When we get home, we're having a little communication workshop. Robin FLASH METLS the other ice gauntlet. Batman is free. ROBIN Is it cold in here or is it just me? ALTIMETER - CLOSE. 20,000 and rising. Ice is forming everywhere. BATMAN Got to make sure this rocket does n't turn Gotham into a crater. Batman whips a bat - shaped charge, throws it onto the ceiling. An armed light on the charge flashes green. ROBIN Now what? We call a taxi? Batman grabs a handle marked CAUTION : EXPLOSIVE BOLTS. Robin smiles, grabs a similar handle on the opposing metal door. BATMAN Watch the first step. ROBIN Surf's up. Both pull the release handles, leaping onto the capsule doors as the EXPLOSIVE bolts BLOW them into space. THE BATCHARGE LIGHT - CLOSE. Goes red.",
"EXT. NIGHT SKY - FALLING As the capsule EXPLODES above them raining falling debris, Batman and Robin skyboard on the doors down towards. FREEZE is ROCKETING to earth, the diamond in his hand. BATMAN AND ROBIN race towards Freeze and the city below. The caped crusaders avoid skyscraper turrets and elevated bridges as they follow in Freeze's wake. BATMAN swoops down above the villain, pushing off his skyboard, grabbing Freeze around the neck, the diamond flying into mid air. ROBIN maneuvers in a grand flip, grabs the falling gem. 86/87 FREEZE releases his glide pack buckle, dislodging Batman, the hero and the glide pack spinning away from Freeze. BATMAN dumps the glide pack, arcs back into his rushing drop. FREEZE is descending fast towards the giant smoking chimney of a towering industrial complex. He aims his gun at the smoking toward and FIRES, the fast maw quickly covering with snow. Freeze plummets into the snowy chimney. BATMAN AND ROBIN drop into the ice shaft after the villain. FREEZE FIRES his gun as he falls, slowing his descent by turning the chimney into a madly snaking tunnel of ice before him. BATMAN AND ROBIN tumble head first through layers of snow after the villain. They pull their Batgrapples and FIRE. BATGRAPPLES - CLOSE. Hit the wall. Catch. BATMAN AND ROBIN use their tethers to slow their descent, landing hard in.",
"INT. INDUSTRIAL BASEMENT A long submarine - like corridor ROBIN Cool. Can we do that again? Batman and Robin race towards Freeze who is fleeing down the other end of the corridor. he points his gun at the ceiling. FIRES. The sprinkler system pipes EXPLODE, forming a mighty, intense blizzard in the wind - tunnel. BATMAN Sudden temperature drop. Watch out for the. A blast of wind ROARS down the tunnel, SLAMMING the doors, sending snow and ice whipping towards them BATMAN Wind. Batman and Robin WHIP their capes over their faces, push forward, fighting the storm, going through the doors one by one.",
"INT. BOILER ROOM Frozen. At the terminus of the tunnel. A frozen boiler stands in the center of the icy moat of the building's INTERNAL RESERVOIR. The door swings open, Batman pushing inside. Freeze flies from behind the door, SLAMMING the metal portal hard into Batman's face. Batman tumbles forward. Freeze raises his gun. Another figure leaps in from the hallway, going for Freeze. Robin. Freeze FIRES, turning the boy into a frozen sculpture of ice. He plucks the diamond from his icy hand. 109A EXT.. CROSS SECTION OF GOTHAM CITY - VFX A schematic map of Gotham. Freeze's vehicle burrows underneath the city, freezing the firmament in its path and clearing away the debris, heading towards the boiler room.",
"INT. BOILER ROOM -LRB- OVER -RRB- a RUMBLING. Suddenly the wall EXPLODES. Freeze's drilling truck appears in the clearing smoke. FREEZE Can you be cold, Batman? You have eleven minutes to thaw the bird. What will you do, chase the villain or save the boy? Freeze leaps onto the giant vehicle. FREEZE Your emotions make you weak. That is why this day is mine. -LRB- smile. -RRB- Stay cool, bats. And Freeze is gone, sealing the tunnel hole after him with a blast of ice, clearing the frosted pane to wave goodbye. Batman moves fast to the boy wonder, touches his frozen skin. He whips out his bat - laser, points at the icy reservoir and FIRES. THE RESERVOIR - CLOSE. The frozen water melts, begins to SIMMER. The caped crusader immerses Robin in the steaming sea. 115A Under the water, the boy's face is perfectly still. A long beat. Then Robin's head breaks the surface. COUGHING. Alive ROBIN Did we get him?",
"EXT. SOUTH AMERICAN RAIN FOREST - NIGHT -LRB- OVER -RRB- THUNDER. Lighting flashes on a maze of tends and tarpaulins affixed to the ruins of a decaying PRISON MORTE. A `` FOR SALE OR LEASE'' sign is illuminated by the storm. SCREEN READS - Meanwhile, somewhere in the South American Jungle.",
"INT. TENTED GREENHOUSE LAB - NIGHT Bunsen Burners flicker. Beakers BUBBLE. Martha Stewart does Fankenstein. PAMELA ISLEY, lovely features hidden by a glasses and bad hair, shape obscured by her lab coat, TALKS into a cylindrical micro - recorder. PAMELA I still have high hopes for the animal plant cross - breedings Pam surveys the two lab tables. One table is a mass of plants. The other is covered with tanks of spiders, snakes and scorpions. Tubes run from the lethal beasts into a jar of milky fluid labeled VENOM. More tubes run from the Venom jar into the plants. One plant twitches as it receives the toxins. PAMELA If I can only find the correct dose of Venom, these plants will be able to fight back like animals. I will have given flora a chance against the thoughtless ravages of man. -LRB- OVER -RRB- An agonized SCREAM. Terrified, Pam walks towards the source of the WAILS, a gothic prison door to which the tent is affixed. The portal is marked : PROJECT GILGAMESH. PAMELA Personal note : my work would proceed faster if Dr. Woodrue were n't always whisking my Venom samples back to his mysterious Gilgamesh Wing. Why wo n't he let me into his lab? -LRB- OVER -RRB- Another blood - curdling SCREAM. Pam turns off the recorder. PAM What is he doing in there? Just then the door opens, a startled Pam dropping her recorder as lightning flashes and DOCTOR JASON WOODRUE ENTERS. Einstein's hair. Manson's eyes. WOODRUE Dr. Isley, loveliest flower in our garden. How fare our little wards? Woodrue moves in, too close, backing Pam against her worktable, his face inches from hers. He spots the jar of Venom. WOODRUE What do we have here? A lovely new supply of Venom. -LRB- lifts the jar. -RRB- I'll just take this to my laboratory for further study. PAMELA What exactly are you working on in there? What are those screams? A bright flash of lightning. Woodrue advances on Pam. WOODRUE How I'd love to share my secrets with you. But I ask you, sweet sapling, can you be trusted? You refuse my invitations to dine. You hide your honeyed buds behind these sallow robes. -LRB- OVER -RRB- More lightning and ever more deafening THUNDER. WOODRUE Ah, but there's romance in the air tonight. Perhaps a moonlit stroll in the jungle. And then, later, in the dark, we can share everything. Woodrue has her up against the wall, his twitching lips only inches from hers. Pam winces, manages to step away. -LRB- OVER -RRB- another SCREAM. PAMELA You have to tell me what you're doing with my Venom. WOODRUE -LRB- nasty. -RRB- You must show me your secrets, blossom, before I show you mine. Pam watches him leave. As the door to the Gilgamesh wing swings closed, Pam kicks her fallen recorder, the metal cylinder rolling between door and jamb, keeping the entrance from sealing.",
"INT. LABS - GILGAMESH SECTION - WALKING Pam steals through the crumbling hallway of the abandoned prison following the SCREAMS -LRB- OVER -RRB- as they grow ever LOUDER.",
"INT. LABS - GILGAMESH CHAMBER Banks of flashing SuperCrays. A gurney is surrounded by SPARKING and HUMMING equipment. Frankestein meets Frankenstien. Woodrue emerges from the shadows, a portable phone in hand. WOODRUE Ladies and gentlemen of the un - United Nations. -LRB- into the phone. -RRB- And our mystery bidder. Pull BACK TO REVEAL A small bridge arcs over the room. AN AMERICAN GENERAL, A RUSSIAN COMMISSAR, A SHEIK, and A DICTATOR all watch on from above. WOODRUE I give you the future of military conquest. A scrawny PRISONER in a too - large tank suit is dragged into the room by several gun - toting CAPOS and shackled to the gurney. His bald skull is adorned with three surgically implanted ducts. WOODRUE May I present Antonio Diego, serial murderer serving life in prison and sole surviving volunteer. Diego SPITS. WOODRUE And what a charmer he is. WIDER. Pam slips in, unseen, hides behind a stack of circuit boxes, watching on as Woodrue lifts the jar of milky Venom. WOODRUE The super solder serum, code named Venom, patent pending of course. Woodrue pours the venom into a high - tech injector pack strapped to the back of the gurney. He lifts an open - front black and white mask attached by snaking tubes to the injector pack. WOODRUE Notice the hassle free zipper. He pulls the oversized mask over Diego's head, tubes fitting into the ducts in his skull, zips the fabric closed over his face. WOODRUE -LRB- lifts a remote. -RRB- Time to scream. He hits a control stud on the remote. The injector pack begins PUMPING the milky Venom into Diego's skull. Diego SCREAMS. Something strange happens to the prisoner. His chest begins to enlarge. His neck becomes thick. his forearms grow. WOODRUE Behold, the ideal killing machine. I call this little number. Bane. Bane of humanity. Imagine it, your own personal army made up of thousands of these super soldiers. Bidding begins at a mere 10 million. Woodrue ups the Venom flow. Impossibly the prisoner grows larger. Arm and leg shackles SNAP. Bane lurches for the Venom pump, SMASHING consoles, SPARKING components raining down around Pam. PAM SCREAMS. As Capos rush to subdue Bane, Woodrue strides to the dazed Pam. WOODRUE Welcome to my parlor.",
"INT. CORRIDOR - WALKING Woodrue is escorting a nervous Pam back towards her lab. WOODRUE Our original sponsor had no stomach for military applications. he cut the funding for our work - PAMELA Our work? WOODRUE Without your research, I could never have come this far. Join me. The two of us, entwined, side by side. They have arrived at Pam's workshop. Woodrue opens the door.",
"INT. PAMELA'S WORKSHOP - CONTINUOUS PAMELA Join you? I've spent my life trying to protect plants from extinction and now you corrupt my research into some maniacal scheme for world domination. When I get through you wo n't be able to get a job teaching high school chemistry, do you hear me, you psycho? WOODRUE Well, I can respect your opinion. Woodrue shoves Pam viciously backwards into the inter - connected tables, plants and poisonous beasts raining down on top of her. WOODRUE Sadly, I'm not good at rejection. Woodrue begins pulling shelves of cages and BUBBLING beakers CRASHING down atop the struggling Pam, burying her and all her specimens entirely. WOODRUE I'm afraid you'll have to die. WOODRUE - CLOSE. Smiles as the SOUNDS of Pam's struggle are finally silenced. He turns, heading back into the hallway. WOODRUE -LRB- loud. -RRB- Fellow maniacs, bidding begins!",
"INT. BATCAVE - NIGHT Bruce stands with Dick, now wrapped in a blanket, steaming mug in hand, watching the main monitor. BRUCE Gotham University Labs. Security video. Two years ago. SCREEN - CLOSE. The image of a dazzling hi - tech lab - oratory. A beautiful young woman -LRB- NORA FRIES -RRB- lays on a gurney. A SCIENTIST works a bank of controls over a SMOKING vat of cryonic solution. Handsome, the intense gaze of genius, the man Freeze once was. BRUCE Dr. Victor Fries Two time Olympic Decathelete. Nobel Prize winner in molecular biology. After his wife contracted a rare disease, McGregor's Syndrome, he hoped to freeze her in cryogenic sleep until he could discover a cure. Here's where everything goes north. Alarms flash. A panel EXPLODES. Fries is BLOWN into the vat of cryogenic solution. BRUCE That liquid is fifty below. Fries SCREAMS, engulfed in the mists of the cryonic solution, his skin now frozen, bluish, his hair brittle, all but gone. DICK That's got ta hurt. BRUCE Somehow he survived. But the cryoslution mutated his body. The display shows a turning schematic of Fries. DICK What happened to his wife? BRUCE Presumed dead. No one knows. The display now shows a turning Mr. Freeze. Compartments in both suit sleeves are highlighted, flashing diamond shapes within. BRUCE He needs extreme cold to survive. His cryo - suit uses diamond enhanced lasers to keep him at zero degrees. DICK Let me get this straight. A brilliant citizen, disfigured by a horrible accident, re - emerges as a psychotic super - villain bent on theft, revenge and destruction. You see a pattern here? BRUCE Maybe it's something in the water. Bruce returns Dick's smile. BRUCE Well, if it's ice the iceman wants. Alfred!",
"INT. COSTUME VAULT - CONTINUOUS Alfred stands near the costumes, clutching a console, a man in intense pain. He lets the wave subside, regains his composure.",
"INT. BATCAVE - CONTINUOUS Alfred emerges as if nothing were wrong. BRUCE I need the Wayne Diamonds. DICK We gon na trap ourselves a snowman? BRUCE Absolutely. Just as soon as you take ten hours training in the simulator. DICK Whoa, I made a mistake. I'm sorry. Do n't go all protective on me. It wo n't happen again. BRUCE Dick, you were reckless. You could have been killed. DICK I'm fine. See. Me. here. Alive. How are we gon na work together if you're never going to trust me? ALFRED How, indeed? Bruce stares at the two of them. He smiles a wry smile. BRUCE When did I become the bad guy?",
"INT. BACK STAIRCASE - WALKING Bruce and Alfred travel the winding stair that leads from the Batcave to the top of the house. BRUCE He's over - eager, impulsive. I ca n't trust him not to get hurt. ALFRED Perhaps the truth is you do n't really trust anyone. BRUCE Do n't tell me you're on his side. Again. ALFRED Despite all your talents, you are still a novice in the ways of family. Dick follows the same ends as you but gets there by his own course. You must learn to trust him. For that is the nature of family. They step through a doorway into.",
"INT. ALFRED'S QUARTERS - NIGHT - CONTINUOUS BRUCE I trust you, Alfred. Alfred seems oddly pained by Bruce's words. ALFRED But I sha n't be here forever. Bruce stares at Alfred a beat. But Alfred just smiles. ALFRED Good night, Master Bruce. 135A EXT.. WAYNE MANOR - HALLWAY Bruce EXITS his butler's room. Looks to the end of the hallway. 135B A YOUNGER BRUCE, no older than ten comes racing around the corner, trips, tumbling to the wooden floor. Another figure steps out behind him. ALFRED, decades younger, kneels by the boy, brushing off his knees, giving the boy comfort. 135C BACK TO SCENE BRUCE - CLOSE. Blinks away the images from the past, only the fragile ghosts of memory, moves off down the empty hallway. 135D INT. ALFRED'S QUARTERS - NIGHT Alfred sit at his computer, activates the screen. he lifts a CD, slips in into the disk drive, begins to TYPE. COMPUTER Override engaged. Copying protected files. Alfred lifts a micro - recorder. ALFRED Still unable to reach you. have vital information you must see. SCREEN - CLOSE. The files Alfred is copying. Batmobile design. Batsuit schematics. All downloading onto the small disk.",
"EXT. SOUTH AMERICAN JUNGLE - PRISON MORTE - NIGHT A full moon shines over the hidden complex.",
"INT. TENTED GREENHOUSE LAB Woodrue stands at Pam's workstation, TALKING on his portable phone as he rifles through her research. WOODRUE Yes, sir, I'm so pleased you won the bidding, Your Supreme Ruthlessness. -LRB- OVER -RRB- Bane SCREAMS in the distance. WOODRUE We're making the final modifications on Bane right now. We'll have a thousand super soldiers out to you tomorrow by overnight mail. He hangs up. HOLD on a patch of ivy in the b.g. Perfectly still. Suddenly the leaves RUSTLE, as if being moved from beneath. Woodrue turns as a figure BURSTS, fast, from beneath the brush. Magenta hair. Chlorophyll green eyes. Ravaged clothes revealing the form and demeanor of a goddess. The woman who was once Pamela Isley smiles, moves forward. WOODRUE Dr. Isley? Pamela? You look great. Especially for a dead woman. PAMELA Hello, Jason. I think I've had a change of heart. Her lips glisten. She leans in and kisses him. PAMELA Quite literally. I do n't think I'm human anymore. The animal - plant toxins had a rather unique effect on me. They replaced my blood with aloe, my skin with chlorophyll and fill my lips with Venom. Woodrue begins to CHOKE. He falls, clutching his throat. PAMELA Oh, and Jason? One other thing. Silly me, I probably should have mentioned this earlier. I'm poison. -LRB- shrugs. -RRB- It's a jungle in here. Pam spills beakers of chemicals onto the floor. She throws a Bunsen burner to the ground, the lab suddenly in flames. PAMELA Let the flames touch the sky. For I am nature's arm, her spirit, her will. Hell, I am mother nature. The time has come for plants to take back the world so rightfully ours. Because it's not nice to fool with mother nature. Something catches Pam's eye. Pam lifts a broken beaker On it, the Wanye Enterprises logo. -LRB- OVER -RRB- Bane SCREAMS in the distance. PAMELA Coming, Bane darling. We've got a plane to catch.",
"EXT. SNOWY CONES ICE CREAM FACTORY - NIGHT An abandoned ice cream factory built in the shape of a snowman's face, a dripping cone stuck onto the giant snowball head.",
"INT. SNOWY CONES ICE CREAM FACTORY Abandoned. Always freezing. Ice sculpture everywhere. Freeze walks the bowels of the old factory. ICEMEN in parkas and SNOW BUNNIES eat frozen dinners, GUFFAWING as they watch TV. The SEXIEST BUNNY sidles up to Freeze. MS. B. HAVEN Freezy, I'm feeling. hot. FREEZE I find that unlikely. MS. B. HAVEN Okay, my hair is brittle, my skin is dry and I do n't care. I'd weather blizzards to have you. You're the most perfect man I've ever known. FREEZE To be frozen. To never change. A life of perpetual ice - olation. There is little perfection in that. MS. B. HAVEN -LRB- pushing closer. -RRB- What say we turn up the heat? FREEZE You're skating on thin ice. My passion thaws for my bride alone. MS. B. HAVEN Forget your frosty femme. These lips are wet and ready to get frostbite. FREEZE Hop away little bunny. Before I cool your jets. Permanently. The Bunny storms off. FREEZE I wonder how cold I can get my shower. Frosty! Freeze's faithful aide, FROSTY, appears by his side. FREEZE Everyone is always having a good time. Except me. Try as I might, can find no pleasure. Perhaps my heart truly has turned to ice. Freeze lifts his gun and FIRES, freezing Frosty solid. FREEZE Well, that was fun. There's hope for me yet. 143A Freeze stares at his frozen aide a beat, changes the setting on his gun and FIRES, a THAWING BEAM melting Frosty so he stands now, soaked and dripping like a wet cat. 143B Freeze turns on his heel. Frosty follows him past mounting files of research. Scrawled schematics An icy workshop. FREEZE Do you think I'm mad, Frosty? FROSTY -LRB- wringing out his sleeves. -RRB- That's really a judgment call, boss. A flashing display on his suit watch reads LOW POWER. FREEZE Battling the bat exhausted my power. From a safe, Freeze takes three small diamonds, place them in the suit compartment. His power levels spike to normal. FREEZE But I was successful nevertheless. Freeze continues to a pedestal atop which sits a machine powered by two giant diamonds. Slots for two more diamonds are empty. He removes the giant stolen diamond from within his tunic, place the gem in an empty third slot. FREEZE One more giant diamond of this size and my freezing cannon will be complete. I will hold Gotham ransom. Unless the city bows to my demands, it's winter forever here in goat - town. The city fathers will have no choice but to give me the billions I need to complete my research, to find the cure for. Freeze has come to a frozen wall. FREEZE Leave us. We need quality time. As Frosty EXITS in the b.g., Freeze enters a walk - in freezer, lifts a frozen dinner box. A SECRET VAULT opens. Freezes steps into. 148A INT. FREEZE'S SUBTERRANEAN COLD VAULT Within, a computerized glacier - like sarcophagus bears his frozen wife, a snowflake pendant around her neck. FREEZE -LRB- touches the glass. -RRB- Soon we will be together once more. Freeze turns towards his research, heading back to work. FREEZE Nothing frustrates a man like a frigid wife.",
"INT. LIMBO - NIGHT Robin is fighting Mr. Freeze and his cronies. Robin delivers a fast set of spinning kicks to the Thugs, felling them like toys. A Thug carrying a large diamond breaks free, racing away. Robin leaps for the escaping Thug, putting his back to Freeze. Freeze raises his joined fists high above Robin's head, coming down fast. Robin is done for. Suddenly Batman swing out of the dark, his boots flying into Freeze's chest, sending the villain hard to the ground. Batman drops to Freeze's chest, HAMMERS a series of punches into his tunic, rendering him unconscious. Batman looks up at Robin. BATMAN We'll be starting again now. Just then Freeze's hand shoots up, grabbing Batman by the throat. BATMAN Pause virtual reality simulation. PUSH IN as Batman reaches towards his cowl. SCREEN WIPES TO REVEAL. BRUCE WAYNE - CLOSE. Pulls off a pair of VR goggles. WIDER Bruce and Dick, also in VR goggles, stand on an empty platform in the back of the Batcave. DICK I got the diamond. Quell problemo, Bruce? BRUCE You left your back wide open. Freeze could have killed you. Dick demonstrates a spinning back kick that would have dropped Freeze in his tracks. DICK I had it covered. -LRB- OVER -RRB- A doorbell RINGS. DICK You know, in the circus, The Flying Graysons were a team. We had to trust each other. We had to count on each person to do his part. That's what being partners is all about. -LRB- loud. -RRB- End simulation. Ambient lights come up in the cave. DICK Sometimes counting on someone else is the only way to win. -LRB- OVER -RRB- the doorbell RINGS again. DICK -LRB- puzzled. -RRB- Where's Al? Dick heads for the door. BRUCE -LRB- following. -RRB- Could n't we just for once pretend that I'm the teacher and you're the student?",
"INT. WAYNE MANOR - FOYER - AFTERNOON Columns of dancing sunlight fill the giant entryway. Dick goes to the front door as Bruce meets Alfred emerging in the b.g. ALFRED I must have dozed off. My sincerest apologies, sir. BRUCE No apology necessary. That's the first time in thirty years. Bruce smiles, but he ca n't take his eyes off Alfred. The butler seems pale, older than usual. DICK Mystery pizza delivery? Dick opens the door. A young girl stands in the autumn light, beautiful, dressed in prim, schoolgirl clothes, BARBARA WILSON. DICK Please be looking for me. BARBARA I'm so sorry to trouble you, but - That's when the girl sports Alfred. The old man's eyes widen. BARBARA Uncle Alfred? Barbara rushes in, past Dick and Bruce, into the old butler's arms. he holds her close. Bruce and Dick face each other. BRUCE & DICK -LRB- mouthing. -RRB- Uncle?",
"EXT. WAYNE ESTATE GARDENS - AFTERNOON - WALKING Bruce, Alfred, Dick, and Barbara tour. BARBARA How long has it been, Uncle Alfred? ALFRED Ten years. -LRB- to Bruce. -RRB- Barbara is n't really me niece, sir. She's Joanna Clark's daughter. BRUCE Of course. Alfred still keeps your mother's picture in his room. DICK Anybody want to tell us kids in the cheap seats who Joanna Clark is? ALFRED Joanna and I were in love in London. But when I realized our age difference was too extreme - BARBARA Uncle Alfred left for America. Much to my mother's dismay - ALFRED Eventually she married a young physician.",
"EXT. WAYNE ESTATE - STABLES - WALKING - CONTINUOUS DICK Al's main squeeze. Is she here? -LRB- off everyone's looks. -RRB- I'm about to scrape the bottom of my shoe off my tongue, right? BARBARA My parents were killed in an auto accident ten years ago. Alfred has been supporting me ever since. BRUCE You have? ALFRED Secrets are a virtual prerequisite in this house, do n't you think? BARBARA I'm on break from - BRUCE Oxbridge Academy? BARBARA Their new computer sciences division. How did you know? BRUCE I recognized the accent. They have come to the garage. A motorcycle sits out front. BARBARA What is it? It's beautiful. The way the sun catches Barbara, she looks like an angel. DICK You can say that again. -LRB- catching himself. -RRB- It's a competition racer I've been fixing up. Maybe one day I'll show you how to ride. ALFRED You certainly will not. BARBARA Oh no, those things frighten me. BRUCE Well, I hope you'll stay with us. ALFRED There's a lovely inn just down - BARBARA All this luxury really is n't my style but -. -LRB- still eyeing the bike. -RRB- I'd love to stay. BRUE Then it's settled. ALFRED Oh, but, sir. So much goes on - BRUCE Do n't be silly, Alfred. After all, she's family.",
"EXT. GOTHAM AIRPORT - TARMAC _ NIGHT A vintage DC - 3 steams on the runway. Pilots descend the gangway. Pamela Isley, dressed as a grieving window, supervises the LUGGAGE HANDLERS' debarkation of a coffin. An immense coffin. PAMELA Be gentle. He's always been touchy. HANDLER Whatever you say, lady. Pam watches the Handlers carry the coffin away. She turns, walks off across the tarmac. FAVOR THE BAGGAGE HANDLERS as they bear the coffin to the terminal. HANDLER -LRB- imitating Pam. -RRB- He's always been touchy. Right. A GIANT FIST CRASHES through the splintering lid. The Handlers drop the coffin as a figure emerges. Bane, wearing his full costume, his injector pack strapped to his back. Bane lifts a Handler, begins swinging him like a baseball bat, sending the other Handlers flying.",
"EXT. AIRPORT - TARMAC A LIMOUSINE sits at the edge of the runway. A lone BUSINESSMAN approaches the waiting car. The DRIVER smiles, opens the door. he Businessman climbs in to find.",
"INT. LIMO - NIGHT Pam sits sprawled on the back seat, showing no small bit of leg. BUSINESSMAN There must be some mistake - PAMELA Silly darling, there's no need to pretend in front of the driver. She grabs his face kisses him passionately. She lets go, the Businessman slumps to the seat. Dead. PAMELA Love hurts. In my case it kills. THE REARVIEW MIRROR The limo driver watches on. Suddenly a hand reaches in SNAPPING his neck, drags out his body. Bane climbs into the driver's seat. PAMELA Once around the park.",
"INT. ALFRED'S ROOM The door is ajar. -LRB- OVER -RRB- a gentle KNOCK. Barbara pushes inside, wearing a long terry robe. The room is empty. She notices a pile of envelopes on the desk. ENVELOPES - CLOSE. All addressed to Wilfred Pennyworth. Royal Court of Mirajanpore. All stamped RETURN TO SENDER. ALFRED -LRB- OVER. -RRB- I did n't know sneaking around was on the curriculum at Oxbridge. Barbara starts, turns. Alfred steps from the shadows in his robe. BARBARA I'm sorry, Uncle, I came to tuck you in. And. ALFRED You came to tuck me in. That's quite a switch. -LRB- off the envelopes. -RRB- I am looking for my brother, Wilfred. He is first butler to the Maharajah of Mirajanpore. But Mirajanpore is a floating court, it travels across India, so Wilfred can be rather difficult to find. Alfred TAPS his computer keyboard. SCREEN - CLOSE. Full motion images of a resplendent royal court, carried entirely on the back of elephants. BARBARA -LRB- OVER. -RRB- I guess they do n't have fax machines on elephants. ALFRED I have been trying to reach Wilfred with no success. As one grows older, one yearns for family. BARBARA -LRB- she smiles. -RRB- It's good to see you again, Uncle. I've missed you. ALFRED As I've missed you. -LRB- kissing her head. -RRB- Sleep well, child. Barbara heads out, closing the door behind her.",
"INT. HALLWAY - CONTINUOUS Barbara walks to her room. She pauses, waiting for the light under Alfred's door to go out. Then she disappears inside.",
"INT. WAYNE MANOR - BARBARA'S ROOM - CONTINUOUS Barbara whips off her robe. Underneath, a tight black leather motorcycle outfit. She begins pulling on sleek black boots.",
"EXT. WAYNE MANOR - NIGHT _ CONTINUOUS A knotted climbing rope tumbles out of one of the windows. A figure expertly descends into the courtyard below. Turns, face now visible in the moonlight. Barbara.",
"INT. WAYNE MANOR GARAGE - NIGHT - CONTINUOUS Kids collect Matchbox and Corgi. Billionaires collect the real thing. Barbara ENTERS, cloaked in the shadows, moves stealthfully past the myriad cards until she comes to the row of motorcycles. She stops at a sleek competition bike, climbs on, pulling a racing helmet from her back - pack, expertly kick - starts the ENGINE. Barbara rides out through the open garage into the night.",
"INT. SNOWY CONES ICE CREAM FACTORY - NIGHT Freeze is standing at his computerized work - station, entering data into the keyboard. FREEZE Maybe this time, this new formula, will return you to me. Freeze hits a switch. A beat. Then an ALERT panel flashes a simple message : TEST FAILURE. Freeze SLAMS the console with his fist. FOLLOW FREEZE as he rises, walks through the open door into. 185A INT. FREEZE'S VAULT - NIGHT Freeze stares up at his wife in her frozen sarcophagus, fighting back the tears. FREEZE No cure tonight, my love. Forgive me. But soon, I promise you. Soon.",
"INT. LIMOUSINE - DAY Morning. Bane drives. Ivy sits in the back seat, applying brown contact lenses, donning a dark wig. Pamela Isley once more. PAMELA -LRB- to the Charlie jingle. -RRB- Kind of Hip, kind of Wow, Ivy. Kind of Free, kind of Now, Ivy.",
"EXT. GOTHAM OBSERVATORY - DAY _ESTABLISHING A stone and copper observatory in the process of being restored, set atop the banks above the Gotham River and the city beyond.",
"INT. OBSERVATORY An immense circular hall under construction. Within, a partially installed telescope. Bruce stands flanked by his stunningly beautiful date -LRB- JULIE MADISON -RRB-, a SCIENTIST and his ASSOCIATE, all on a podium backed by blueprints, facing the PRESS. BRUCE My father once told me that to succeed we need only pick our star and follow it. And so Wayne Enterprises is donating the world's most advanced telescope to Gotham's Observatory Restoration Project. Perhaps this telescope will give future generations a chance to find their own stars. GOSSIP GERTY Brucy, is it true this new telescope can see all around the globe? SCIENTIST Yes, if you'll watch the monitors - A MONITOR BANK - CLOSE. A graphic of the earth. Equidistant satellites in geosyncronous orbit are highlighted. SCIENTIST Satellites already in orbit allow us to reflect light around the planet. ON SCREEN - A graphic ray of light is reflected from a satellite over Australia, to a satellite over the U.S., and then beamed to a graphic of the Gotham - based telescope. ASSOCIATE From here we'll be able to see the sky anywhere on earth. BRUCE Just do n't point it at my bedroom. GOSSIP GERTY Brucy, you and the exquisite Julie Madison have been going out forever. Are you planning to tie the knot? BRUCE Get married? me? No. JULIE No!? BRUCE Umm. What I mean is. no plans at the moment. JULIE But soon. GERTY Soon? BRUCE Ah. Sooner or later. all relationships evolve and. JULIE And? BRUCE -LRB- to Julie. -RRB- Can I get some help over here? Julie smiles, turns to the PRESS. the very picture of composure. JULIE Bruce and I are lucky enough to be recklessly in love. And that is most certainly enough for us. -LRB- to Bruce. -RRB- For now. FOLKS LAUGH, charmed. SCIENTIST Now, if you'll all follow me, I'll show you the central control grid. The Scientist and Associate tour Julie and the Press around the telescope, leaving Bruce to confer with two of his Aides. GUARD -LRB- OVER. -RRB- Mr. Wayne? WIDER Pam, hair in a bun, face behind glasses, cloaked in a frumpy suit, is standing behind two door GUARDS. GUARD She does n't have a pass, sir. BRUCE smiles, waves off the guards with a gesture. BRUCE They're overly protective. You're Not going to hurt me are you, Ms. PAMELA Dr. Pamela Isley. BRUCE What can I do for you, Doctor? A research grant? A hospital wing? PAMELA Actually, I already work for you. Or did. Your arboreal preservation project in South America. BRUCE We cut our support. A conflict of ideologies. Dr. Woodrue was a lunatic. PAMELA I see you knew him. BRUCE That lab was consumed by fire last week. how did you manage to escape? PAMELA I have here a proposal showing how Wayne Enterprises can immediately cease all actions that toxify our environment. Bruce takes the proposal, scans it. Pam's eyes shine despotic. PAMELA Forget the stars. Look here, at the Earth, our mother, our womb. She deserves our loyalty and protection. And yet you spoil her lands, poison her oceans, blacken her skies. You're killing her. BRUCE Your intentions are noble, but no diesel fuel for heat. No coolants to preserve food. Millions would die of cold and hunger alone. PAMELA Acceptable losses in a battle to save the planet. BRUCE People come first, Dr. Isley. The tour has returned. Pam turns to the Press. Begins to soapbox. PAMELA Mammals. So smug in your towers of stone and glass. A day of reckoning is coming. The same plants and flowers that saw you crawl blind from the primordial soup will reclaim this planet. Earth will be a garden again. Somehow, some way, I will bring your man - made civilization to its knees and there will be no one to protect you. Pam's tirade is so extreme, folks around her LAUGH. GOSSIP GERTY You must be new in town. In Gotham City, Batman and Robin protect us. Even from plants and flowers. BRUCE Perhaps you'd like to meet them. Bruce nods and an Aide hands Pam an invitation. INVIATION - CLOSE. Batman and Robin to appear at the Flower Ball. BRUCE The caped crusaders are helping us auction off a prized diamond to raise money for the Gotham Botanical Gardens. Just a few mammals doing what we can for our world's plants. GOSSIP GERTY So, Brucy, will the delicious Ms. Madison be your date for the flower ball tonight? PAMELA Tell me, billionaire, would you warm faster to my pleas if I looked more like Ms. January here? BRUCE Although the Wayne Foundation is hosting the event, sadly I will be unable to attend. Thank you all. -LRB- to Pam. -RRB- Good day, Doctor. Pam watches him go, trailed by press. Peers at her invitation. PAMELA Batman and Robin. Militant arm of the warm - blooded oppressors. Animal protectors of the status quo. First I'll rid myself of the fur and feathered pests. And then Gotham will be mine for the greening.",
"INT. SNOWY CONES ICE CREAM FACTORY Nora and Victor Fries kiss at their wedding altar. The video images change to show the couple playing with a puppy. Nora LAUGHS as her husband crowds beside her. He EXITS frame, hands her something. NORA Oh, Victor, it's beautiful. Nora holds her snow - flake necklace up for the camera. Places it around her neck, smiling up tot he warm summer sun. PULL BACK TO REVEAL Freeze sits watching the images on his screen. FROSTY -LRB- OVER. -RRB- ` Scuse me, chief. I got something her you might want to see. Frosty stands in the door, newspaper in hand. Without shifting his gaze, Freeze lifts his freezing gun, FIRES. Frosty Freezes. FREEZE I hate it when people talk during the movie. Freeze continues staring at the screen. Finally the happy images are just too much for him. He FIRES his gun at the screen, the picture EXPLODING into flying shards of light. FREEZE One more diamond, my love. One more. Freeze rises. he breaks off the cover of the frozen paper in Frosty's hand. PAPER - CLOSE. Wayne Donates Diamond to Flower Ball.",
"EXT. GOTHAM BOTANICAL GARDENS - NIGHT An immense glass greenhouse set atop the roof of a mighty skyscraper. Elegant guests mill admist the stars.",
"INT. GOTHAM BOTANICAL GARDENS - GREENHOUSE - NIGHT A hanging banner reads GOTHAM CHARITY FLOWER BALL. A GIANT BEAST MASK covers the entrance. DRUMMERS STOMP on congo drums. GUESTS dress as flowers. TWO COSTUMED GORILLAS romp about the room. 203A Batman and Robin stand by the stage. ROBIN You think Freeze will take the bait? BATMAN He'll be here. 203B ATOP THE STAIRS. The two Gorillas have converged on the DRUMMERS. One begins dancing around, covertly KNOCKING the drummers unconscious with his paws. ON STAGE. The MC walks out, followed by Gossip Gerty. MC Ladies and Gentlemen. Gossip Gerty of Good Morning Gotham and I welcome you to the gem of our evening. Two armed guards emerge bearing a palette upon which hangs a silver necklace supporting a perfect, grapefruit sized diamond. GOSSIP GERTY The famed Heart of Isis, on loan from the Collection of my close, personal friend Bruce Wayne. The MC gestures and several woman step forward dressed as flowers, each more strikingly gorgeous than the next. MC Tonight, on auction, an opportunity to dine with one of our fabulous flowers, the famed diamond draped around her neck. GOSSIP GERTY Ooo, look at all these luscious lovelies. let's start the bidding. MAN #1 Ten thousand for Chrysanthemum. MAN #2 Twenty thousand for Lilac. MAN #3 Thirty thousand for Rose. GOSSIP GERTY Boys, please. Show some gusto. THE TOP OF THE STAIRS. ONE GORILLA begins to BEAT the drums. The other removes her paw mitts. Her gorilla's head. From within her gorilla costume, steps a vision. Skin tight green costume made of leaves. Green boots and mask. magenta hair. Glowing green eyes. Meet POISON IVY, simply the most beautiful woman known to man. 205A ROBIN - CLOSE. Smiles. ROBIN Gorilla my dreams. Ivy lifts her green gloved hands, both filled with piles of sparkling dust, blows the powder over the startled patrons. FOLLOW THE DUST as it spins out in fairy - like spirals, curling through the crowd. THE CROWD - VARIOUS SHOTS. Folks blink their eyes, suddenly bewitched, as Ivy tilts backwards, falling into the arms of several jungle clad men on the ballroom floor. IVY saunters over a bridge made of the backs of kneeling men, through the parting crowd, towards Batman and Robin. IVY Hi there. MC -LRB- sputtering. -RRB- And you are. IVY Poison. Poison Ivy. BATMAN - CLOSE. Dazed. Like a man who's drunk a quart of love potion. He takes her hand. IVY Why not send junior to bed early, I could come and take your measurements? Ivy turns now to Robin, offers the other hand. She blows another volley of dust into Robin's face. IVY On the other hand, youth does have its advantages. Endurance. Stamina. ROBIN - CLOSE. Also suddenly smitten, perhaps even harder. IVY Why settle for second place? Robin is a sidekick, a junior partner. If we were a team, you'd be the star. Forget the geriatric bat. Come, join me, my garden needs tending. The two help her up onto stage. She turns to the mesmerized MC. IVY I'll take it from here, pal. Ivy lifts the diamond, places it around her neck. IVY Some lucky boy's about to hit the honey pot. I'll include an evening of my company for the winner. I'll bring everything you see here. Plus everything you do n't. -LRB- off Batman and Robin. -RRB- And I'll bring my imagination. MAN #1 50 thousand for Poison Ivy - MAN #2 100 thousand for Poison Ivy - BATMAN One million - ROBIN -LRB- sotto voce. -RRB- You own it. -LRB- loud. -RRB- Two million - The two lock eyes. BATMAN -LRB- sotto voce. -RRB- You do n't have two million. -LRB- loud. -RRB- Three million - ROBIN -LRB- sotto voce. -RRB- I'll borrow it from you. -LRB- loud. -RRB- Four million - IVY You two boys are n't going to fight over little old me, are you? Batman reaches to his utility belt, draws a batarang. BATMAN Five million - Robin reaches to his utility belt, pulls a throwing bird. ROBIN Six million - GOSSIP GERTY Is it getting nippy in here? THE TEETH of the giant mask EXPLOSE as Freeze's truck SMASHES into the room from an elevated bridge beyond. Standing atop the vehicle, backed by swirling mists, Freeze, his Icemen following behind. FREEZE -LRB- drawing his gun. -RRB- Did I use the wrong door again? Batman hurls his batarang, knocking Freeze's pistol free. Batman and Robin race forward, engulfed by the rushing force of Icemen. HIS PISTOL flies into the hands of one of the Guests. A THUG rams the Guest from behind, the gun bouncing into the air. 215A A swarm of armed SECURITY GUARDS and GUESTS swamp Freeze. 215B FREEZE When technology fails. brute force. 215C FREEZE moves like lightning, SMASHING guards with mighty punches, WHIPPING guests flying across the room. FREEZE'S PISTOL bounces from Guest, to Thug, to Guest like a wildly fumbled football, a Thug finally tipping the soar - ing gun back towards Freeze. 215D FREEZE Alright, everyone, chill! Freeze FIRES, turning a few guests and several exotic flower arrangements into ice. FREEZE I should have been a decorator. Freeze starts for the stage. BATMAN and ROBIN are in mid - melee, fighting off an army of Icemen. Batman SMASHES one Thug three times in the chin. Robin does a spinning side kick to another approaching villain, then ducks, sending one villain crashing into another. Batman grabs a Thug, throws him to Robin, who punches him back to Batman who punches him back to Robin. Both punch him simultaneously, the Thug flying back through the air. They begin fighting their way towards the stage. FREEZE climbs onto the stage to face Poison Ivy. FREEZE Let me guess, Plant Girl? Vine Lady? Ms. Moss? IVY Listen, Captain Cold, the suit, maybe, even though silver went out in the 70's. But those boots are unforgivable. What is it with men? FREEZE I'd love to stand here all day and exchange fashion tips but I'm kind of pressed for time. So hand over the diamond, Garden Gal, or I turn you into mulch. Ivy pulls a handful of dust from her belt - pouch, blows it towards him. The dust swirls around his helmet. Ivy frowns. FREEZE Pheromone dust. Designed to heat a man's blood. Does n't work on the cold hearted. Now, if you please. Freeze extends his gloved hand. IVY Well, if you insist. Ivy hands him the diamond. FREEZE Clever little clover. Just then one of the Thugs flies across the room, SHASHING into the back of the stage. FREEZE That's my exit cue. FREEZE races for his truck. BATMAN and ROBIN dispatch the last Iceman, make for the stage. BATMAN -LRB- to Gordon. -RRB- You have eleven minutes to thaw those guests, Commissioner. Batman and Robin race after the escaping Freeze and his men. Ivy stares after them. She lifts a small souvenir. A tiny glass globe that says Welcome To Gotham. Shakes the bauble, the tiny city within suddenly covered by snow. Gordon appears behind her. GORDON Miss Ivy, you've just met one of the most sinister men in Gotham. IVY That's no man. That's a God! Gordon moves off as the second Gorilla arrives on stage, removes his mask. Bane. IVY Enough monkey business. We've got work to do.",
"EXT. GOTHAM CITY - NIGHT A GIANT STATUE stands amidst Gotham's sky - scrapers. CLOSER. Freeze in his Ice Truck, two Crony Trucks behind him, race up the interconnecting bridges that crisscross Gotham's skyline.",
"INT. FREEZE'S TRUCK FREEZE - POV. Gothamites veer their cars off the roadway in his path as Freeze spots the statue. He reaches for his dashboard. Freeze hits a flashing gun - shaped button on the dash.",
"EXT. FREEZE'S TRUCK - NIGHT A giant freeze - gun atop the truck FIRES.",
"EXT. GOTHAM ROOFTOPS - NIGHT THE STATUE'S HEAD - CLOSE. Freezes, the neck of the giant figure EXPLODING in a storm of ice. FREEZE'S TRUCK swerves off the road, leaping through the hole in the statue's neck and racing onto its shoulder. His Crony trucks follow, all racing away down the statue's arm. THE BATMOBILE AND THE REDBIRD follow in close pursuit, BLOWING through the hole in the statue's neck.",
"INT. BATMOBILE BATMAN - POV. The Freeze vehicles are heading towards the hand of the statue. Batman hits a button. MONITOR - CLOSE. Flashing schematics of the various trajectories of the Freeze vehicles and their imminent jumps from the hand, over the abyss of the city, to the lower rooftops beyond. BATMAN Pull back. You ca n't make the jump.",
"EXT. REDBIRD ROBIN I can make it.",
"EXT. STATUE'S ARM The Batmobile is shooting down the arm, the Redbird close behind BATMAN Pull back. ROBIN I can make it. Robin SHOOTS a wheelie, overtaking the Batmobile.",
"INT. BATMOBILE BATMAN Redbird control codes. MONITOR - CLOSE. Schematics for the Redbird flash. BATMAN Disable engine.",
"EXT. REDBIRD - NIGHT Robin's engine warning - light goes on. The motor begins to DIE. The abyss is coming up fast. Robin side - grounds the bike, SKIDDING.",
"EXT. STATUE'S HAND - NIGHT Freeze and his cronies split towards the separate fingers. SUPER - THRUSTERS fire and Freeze's truck clears the jump, landing on the sloping roof on the other side of the abyss. His Crony Trucks follow, taking different fingers, flying into the air towards the rooftops beyond. Not high enough.",
"EXT. ROOFTOP ABYSS - NIGHT One Crony truck BLOWS into an elevated billboard, the other EXPLODING into the opposing building. 246A EXT.. ROOFTOPS Freeze's truck hits the roof, breaks SCREECHING, spinning degrees, his freeze gun now pointing back over the abyss.",
"EXT. STATUE'S HAND The Redbird slides dangerously close to the end of the finger and the abyss below, finally coming to a halt as the Batmobile ROCKETS its engine and roars past, flying over the chasm. ROBIN stands on the fingertip, SHOUTING his rage into the night.",
"EXT. ROOFTOPS ABYSS The Batmobile soars over the abyss towards Freeze's truck.",
"INT. FREEZE'S TRUCK - NIGHT FREEZE It's a cold town. Freeze hits the flashing gun - shaped button on the dash.",
"EXT. FREEZE'S TRUCK - NIGHT The freeze - gun FIRES its deadly blast, hitting the Batmobile. 252A EXT.. STATUE'S HAND - NIGHT Robin watches as the flying Batmobile begins to ice over from Freeze's cryonic blast.",
"INT. BATMOBILE The controls are frozen. A monitor flashes : SYSTEMS FAILURE. BATMAN - POV. The windscreen is covering with ice.",
"EXT. ROOFTOP ABYSS The Batmobile is falling across the abyss like frozen sculpture. Suddenly the windscreen EXPLODES as Batman is catapulted through the glass like a torpedo, flying into the air high above the busy city. 257A EXT.. LOWER ROOFTOPS The frozen Batmobile drops to the safety of the rooftops on the other side of the abyss.",
"EXT. NIGHT SKY Batman flips, angling down, WHIPPING his cape open like the wings of a giant dark angel, riding the urban winds in a racing glide towards Freeze's truck below.",
"INT. FREEZE'S TRUCK - NIGHT THE SHADOW OF THE BAT falls over the open cab of Freeze's truck. FREEZE Uh - oh. FREEZE - POV. Batman, cape extended, soars directly over the cab.",
"EXT. FREEZE'S TRUCK Batman SMASHES through the glass driver's dome, wrenching Freeze out of the cab, and soaring towards.",
"EXT. LOWER ROOFTOP Batman lands standing in the moonlight, a stunned Freeze rolling out of his cape, diamond still in hand. BATMAN I'm putting you on ice.",
"EXT. WAYNE MANOR - NIGHT - VFX The moonlit mansion sits on its clifftop perch above the river. PUSH IN as a portion of the cliff BURNS AWAY TO REVEAL.",
"INT. BATCAVE - NIGHT Bruce and Dick argue. DICK I could have made the jump. BATMAN You could have splattered your brains on the side of the building. DICK This is no partnership. You're never going to trust me. BATMAN Trust you? You ca n't even keep your head on the job. All you could think about was Poison Ivy. DICK You just ca n't stand that she might have wanted me instead of you ; that's your idea of friendship, is n't it, Bruce? You have to have everything. Your house. Your rules. Your way or the highway. It's Batman and Robin not Robin and Batman. I'm sick of it. Dick is right up in Bruce's face. BRUCE Yes it's my rules. My rules that keep us alive. And if you want to stay in this house and on this team then you'll abide by them.",
"INT. ALFRED'S QUARTERS - NIGHT Alfred is completing a cassette tape. ALFRED I have tried every address I know for you. I am praying this reaches you. We have very little time. Alfred puts the tape in the envelope. -LRB- OVER -RRB- a KNOCK. Bruce ENTERS. ALFRED Congratulations on your apprehension of Mr. Freeze. Batman monopolized the evening news. BRUCE Thanks. But the billionaire seems anything but celebratory. ALFRED Is there something wrong, sir? BRUCE Alfred, am I pigheaded? Is it always my way or the highway? ALFRED Why, yes, actually. Death and chance stole your parents. But rather than become a victim, you have done everything in your power to control the fates. For what is Batman if not an effort to master the chaos that sweeps our world, an attempt to control death itself. 270A BRUCE - POV. Out the window, young Bruce and Alfred lay wreaths on a windy grave. Alfred puts his arm around the boy, holds him close. 270B BACK TO SCENE BRUCE But I ca n't can I? ALFRED No, my boy. I'm afraid none of us can.",
"INT. WAYNE MANOR GARAGE - NIGHT The competition bike's headlight goes out. WIDER Barbara walks the bike steahtlfully back into the garage. A HAND touches her shoulder. Barbara moves fast, flipping the assailant over her shoulder in an expert judo move. She spins to face. Dick. Floored in every sense of the word. Barbara's demeanor suddenly changes. All school girl politeness. BARBARA Oh. I'm so sorry. I'd just never seen anything like it. So massive. I took it out for a spin. I do so hope I did n't inconvenience you. -LRB- off his look. -RRB- Ah yes, the outfit. For a. costume party. Just trying it out. One never knows how leather will wear. -LRB- helping him up. -RRB- Judo lessons at school, you know. All the rage, really. I suppose they've taken better than I thought. Again, my greatest of pardons. She's gone before Dick has a chance to speak. he stares after her. All is not as it seems in Wayne Manor.",
"EXT. ARKHAM ASYLUM - NIGHT Moonlight illuminates the familiar castle out of nightmare.",
"INT. ARKHAM ASYLUM CORRIDOR Several ARMED GUARDS are rolling a giant sub - zero refrig - erator on a gurney, the door chained and padlocked shut. Freeze is jammed inside, face visible through the torn off freezer compartment door. HEAD GUARD You're the common cold. And we're the cure. Welcome home, frost face. FREEZE Allow me to break the ice. My name is Freeze. Learn it well for it is the chilling sound of your doom.",
"INT. ARKHAM ASYLUM - FREEZE'S CELL - NIGHT Glowing rings on the floor and ceiling project a shimmer - ing column of snowing cold within the center of the room. Two GUARDS dump a suitless Freeze out of his frigidaire prison onto the floor, begin dragging him into the cold field. Freeze throws off the Guards in a sudden fury, SMASHING one in the head with closed fists, kicking the other in the face. He rushes for the door. Mistake. As his body passes out of the hypothermic field, he tumbles to his knees, his skin turning gray as he begins to wither and die. GUARD -LRB- OVER. -RRB- Look at him stew. How do you like your bad guy, medium or well done? The Guards stand over him, Laughing as he crawls back over the filed threshold. His color begin to return to normal. GUARD #2 Get used to it. You're gon na be here a very long time. Freeze looks up at the Guard who stands now at the wall sink, washing his hands. A beat. Then Freeze smiles. FREEZE I'm afraid not. You see the means of my liberation is in your hands. Sadly, you will not live to see it.",
"EXT. GOTHAM ALLEY - NIGHT The entrance to an abandoned Turkish bath - house. Ivy and Bane approach a boarded - up portal. IVY Batface and Birdbrain turned out to be more resistant to my love dust than expected. No matter, I'll give them a stronger dose. Next time, they'll literally be dying for me. Bane SMASHES through the wooden boards with joined fists, two by fours splintering like balsa. They disappear inside.",
"INT. BLOSSOM STREET TURKISH BATHS - NIGHT Abandoned. Mid - eastern furniture crumbles. Slaves and sycophants cover the walls, weeping color. IVY A fixer - upper, yes. But with a certain homey charm. That's when the shadows in the cave begin to move. One slips across the doorway. More appear on all sides, encroaching. IVY Ah, a minus. Current tenants. One figure steps into a column of moonlight. Pale. The toughest of urban predators. These are a gang of punks called the GOLUMS. GOLUM Hello, pretty. IVY Hello yourself. I love this place. I hope it's priced to sell. GOLUM We love you. You look good enough to eat. IVY Oh, that I am. Come and get me. If you can. The Golums close in. IVY SLAMS the activation stud on Bane's chest. BANE - CLOSE. Venom is pumped from his backpack through the tubes on his back into his skull. The Golums attack. But Bane hurls them off like animals. Kick and beats them, tossing them into walls, until the survivors race away. IVY For the strong, silent type, you are most persuasive. Let's redecorate. -LRB- crossing the baths. -RRB- First, the light is all wrong. Bane rips a hanging board from the ceiling, the old wooden planks tumbling to the floor, sudden moonlight streaming in from above. IVY Also, what is this floor? Bane stomps the floor, now revealing the dirt beneath. IVY Au natural. Still, I've always hankered for something on the water. Bane SMASHES a water main with his foot, irrigating the soil. IVY Now a little color. It took God seven days to create paradise. Ivy withdraws a handful of tiny seeds from Bane's satchel. IVY Let's see if I can do better. Ivy drops the tiny plants on the ground. They begin to sprout into vines that spawn fast - budding flowers. Ivy lifts the Welcome to Gotham Bauble in her hand. IVY Bane, I've found a fellow who strikes my fancy. A cool customer, yes. Icy demeanor, no question. But I detect a certain ruthless charm I may be able to use to my advantage. -LRB- off the dead thugs. -RRB-",
"INT. WAYNE MANOR - LIVING ROOM - NIGHT Candlelit. A table set for two. Alfred fills Bruce's wine goblet, walks away. His forehead beads with sweat. A man hiding pain. BRUCE - POV. Across the table sits Ivy. She licks her lips. IVY Bruce? Bruce blinks. Looks again. Not Ivy at all but Julie. JULIE You're not even listening to me. BRUCE What? I'm sorry. You were saying. JULIE We've been going out over a year now and. Okay, here goes. Bruce, I want to spend my life with you. Ivy saunters up behind Bruce, runs her hands down his chest. Bruce rises, shaking off the vision. Goes over to Julie. BRUCE Julie, I'm not the marrying kind. There are things about me you would n't understand. JULIE I know you're a dedicated bachelor. That you've had a your wild nights. BRUCE Wild does n't exactly cover it. JULIE But there's nothing you've done under the cover of darkness I could n't learn to understand. BRUCE I would n't bet on that. JULIE I'm betting on you. You'll make someone a good husband one day. But I ca n't wait around forever. Do n't answer now. Just think it over. -LRB- leaning close. -RRB- Here's some food for thought. They kiss passionately. Bruce opens his eyes. He's kissing Ivy. He recoils. But it's only Julie before him, looking up, puzzled. JULIE Who's Ivy? BRUCE What? JULIE You just called me Ivy. Who's Ivy? BRUCE I wish I knew.",
"INT. BATCAVE - ROBIN'S COSTUME VAULT - NIGHT -LRB- OVER -RRB- loud MUSIC. Various magazine covers of Robin. Dick is at his computer terminal, staring at a monitor. MONITOR - CLOSE. A newsphoto of the flower ball survivors. DICK Enhance detail, 14 to 19. A corner of the screen is highlighted, the IMAGE expands. IVY. DICK Who are you? -LRB- OVER -RRB- an ALARM SOUNDS. The screen suddenly changes to an IMAGE of Barbara climbing out of her window, rappelling down an exterior wall. COMPUTER Alert! Unauthorized motion within specified parameters. DICK Got ya! Dick is up fast, heading for the door.",
"INT. WAYNE MANOR GARAGE - NIGHT - MINUTES LATER Barbara has donned her leathers once again. She mounts the competition bike. Kick - starts the ENGINE, peeling out into the night. Dick rolls another racer out of hiding in the shadows. Pulls on his racking helmet. He kicks his ENGINE and starts after her.",
"EXT. GOTHAM ALLEY - NIGHT Groups of motorcycle gangs have gathered. Each is represented by a single racer. Leather clad. Costumed. Dyed hair. Pierced faces. Boys and girls for whom speed is a drug, the streets their home. Barbara pulls up her bike. A rider -LRB- BANKER -RRB- looks her up and down. BARBARA What's the entry fee? BANKER Two - fifty. Barbara nods, hands the cash. Another biker -LRB- SPIKE -RRB- steps forward. SPIKE You got a handle? BARBARA Folks call me Three - Jump. SPIKE You're the babe won the tunnel run two nights ago. That was trike racing. This is the big time. Maybe you should ride my hog instead. Barbara smiles. BARBARA How about a side bet? As Spike and Barbara move in line beside the other racers, another helmeted racer emerges from the shadows to pay his entry fee. His face hidden by his helmet, Barbara ca n't see that it's Dick. The racers, all helmeted, are in their starting positions. Engines are REVVED. Banker raises a pistol in the air and FIRES. Bikers SHOOT into the street. Some go over the tops of cars, others across the tops of stoops. Barbara watches as a biker beside her careens into an EXPLODING pile of trash cans. Two bikers are going neck and neck towards a racing truck. They split at the last instant, fly up off parked cars, then hit the ground, one SPINNING OUT, the other taking a position at the front of the pack. Barbara, Spike, two others hold the lead, leaving the rest in the dust. One of the bikers hits an oil skid, flies into a FIREBALL. THE FINISH LINE is a series of flashing yellow warning beacons atop the incomplete construction of a draw - bridge in the near distance. The race is down to three, Barbara, Spike and a third biker, all racing now onto the bridge, riveted steel beneath their wheels. THE FINISH LINE is coming up fast, and just beyond the line of flashing cones, an abyss separating the two as yet unconnected sides of the bridge. The trick is to cross the finish line first, but not so fast you ca n't brake before going over the edge into the water below. Spike is trying to keep up. But he's coming up on the finish line too fast for his taste. SPIKE Crazy broad. He hits his BRAKES, slowing, falling out of position. Barbara looks across to see the racer on the other side. Barbara ca n't see his face, but it's Dick. The finish line is coming up fast. Instead of braking, both GUN their ENGINES. THE FINISH LINE - CLOSE. Barbara flies over the line, Dick a hair behind her, and then both shoot over the edge of the unfinished bridge, into the air, soaring high above the abyss. Dick's front wheel hits the metal roadway on the other side of the gap, spinning rubber catching steel. Barbara's front wheel hits the edge badly, rolling backward. Dick spins over his shoulder, sees what's happening. Barbara's bike is losing purchase, slipping backwards over the edge. Dick ditches his still moving bike and helmet, rolling off on tucked shoulder, leaping towards the edge as Barbara's bike finally slips, she and her hog tumbling downwards into the abyss. Dick's jump sends him over the edge, hands extended, feet catching the lip of the bridge, hand grabbing Barbara's ankle, her bike plummeting beneath her as her helmet falls into the water below. Dick hangs by one foot, holding a dangling Barbara by her ankle. DICK So, this is where you hang out.",
"EXT. GOTHAM BRIDGE - NIGHT Barbara stands in the b.g. receiving her winnings from Banker and Spike. Dick rights his bike as she approaches. BARBARA I could have made it, you know. I did n't need your help. DICK Whatever you say, lady. It's all in a day's work for me. Barbara tries to hand Dick her winnings. BARBARA This is to replace the bike I lost. I'll get you the rest. DICK Keep it. BARBARA Of course, Dick Grayson, ward of the fabulously wealthy Bruce Wayne. Why would you need a few hundred dollars? DICK Hey, what's your problem? BARBARA I guess, the truth is I'm just not comfortable with the idle rich. Even when they try to act like heroes. Dick pats the back of his seat. DICK Well you better get comfortable real fast, sister. Cause we've only got one bike and it's a long walk home.",
"INT. WAYNE MANOR - GARAGE Dick and Barbara dismout. BARBARA I started racing after my parents died. There was something about the speed, the danger, that took me out of myself, that made the hurt go away. You would n't understand. DICK You'd be surprised. BARBARA Street racing is n't exactly an acceptable major at Oxbridge. They kicked me out. it does n't matter. I've won enough money to do what I've always dreamed. DICK Just do n't tell me you're hoping to run away and join the circus. They head towards the entrance tot he house. BARBARA Alfred has supported me my whole life. Now I'm going to pay him back. I'm going to liberate him from his dismal life of servitude. DICK What are you talking about? BARBARA Servants, Masters, it's ridiculous. Alfred is the sweetest, most noble man alive and he's subjugated all his life and dreams to someone else.",
"INT. WAYNE MANOR - FOYER - WALKING - CONTINUOUS DICK Alfred and Bruce are like family. BARBARA Paying someone to prepare your meals and do your laundry and clean your dishes, you call that family? DICK Alfred's happy here. BARBARA Happy. -LRB- a beat. -RRB- You honestly do n't know, do you? You ca n't even see what's in front of your own eyes. They've reached the main stair. Dick stares at her puzzled. BARBARA Look at his skin. At how he's hiding the pain all the time. Ca n't you see it? Alfred's sick. And with that, Barbara disappears upstairs. Dick stares after her. BRUCE -LRB- OVER. -RRB- Alfred's not sick. Bruce steps from the shadows. Sits now at the foot of the steps. BRUCE He's dying. And I ca n't deal with it. DICK But he's never said a word - BRUCE You know Alfred. He'd never say Anything. But I can tell. Until you came along, Alfred was the only family I ever had. Without him, I do n't know how I would have survived. He saved my life, Dick. And I've never told him. DICK Talk to him, Bruce. There's nothing worse than losing someone without telling them how you feel. BRUCE I'm scared, Dick. Maybe for the first time in my life. I'm really scared.",
"INT. ARCKHAM ASYLUM - FREEZE'S CELL - NIGHT Freeze stands within the anti - thermic field, crafting a tiny ice sculpture of his wife. He lifts the miniature gearworks from an alarm clock, places the ice sculpture atop of it, the statuette beginning to turn. He covers the figure with a drinking glass. GUARD -LRB- OVER. -RRB- Hey Icehead, you got a visitor. WIDER A GUARD stands by the door. GUARD Your sister's here to see you. FREEZE - CLOSE. Puzzled. FREEZE -LRB- to himself. -RRB- Sister? The Second Guard ENTERS, followed by a woman in a cloak. None other than Poison ivy.",
"INT. ARKHAM LOCK-UP - NIGHT A tiny basement room with a single barred window where prisoner's effects are kept. Mannequins display familiar costumes, Joker's, Riddler's, Freeze's. A GUARD sits against the wall, watching TV. Suddenly two fists SMASH through the cement wall and grab the chair, wrenching the seated Guard through the wall in a storm of dust. Bane ENTERS, walks to Freeze's suit.",
"INT. FREEZE'S CELL The two Guards stand by the console as the door seals behind Pam. GUARD Do n't mind us, ma'am. You can converse freely. But Pam is n't interested in Freeze, instead walks to the Guards. PAMELA Oh, I do n't mind you at all. Pam begins a saunter around the room, shedding her cloak to reveal her skintight Ivy costume. PAMELA You're not that attractive. Pretty average I'd say. But your fantasies are n't average, are they?",
"INT. ARKHAM HALLWAY - HALLWAY -LRB- OVER -RRB- ALARMS. Bane, rolling Freeze's suit in a shopping cart, barrels down the hallway, KNOCKING Guards and Doctors into walls.",
"INT. FREEZE'S CELL Pam's saunter has brought her back to the two mesmerized Guards. IVY Men. The most absurd of all God's creatures. We give you life and we can take it back just as easily. She holds one Guard's chin in each hand. Leans in to kiss them. IVY What if I told you one kiss from me would kill you? GUARD Right GUARD #2 Whatever. IVY I really am to die for. She kisses first one, then the other. They CHOKE, fall. Dead. FREEZE Impressive IVY Well, I, my most unabominable snowman, have been impressed by you. In fact I propose a pairing. So I'm here to set you free. FREEZE An enticing offer. But what does the lady want in return? IVY Let's cool it for now. There's someone I want you to meet. Ivy presses a button and the door slides open. Bane runs in, wheeling Freeze's suit. Ivy seals the door behind him. FREEZE Ah, a laundry service that delivers. Bane rolls the cart across the cryonic field. Freeze begins to dress. IVY I love that belt. What are you, about a fifty Big and Tall? FREEZE I always go a size smaller. Makes me look slimmer. FREEZE - POV. His watch like status display shows his power supply. Dangerously low. Auxiliary Power Only. Freeze opens his sleeve compartments. Empty. FREEZE They've confiscated my generator diamonds. I'm running on empty. -LRB- OVER -RRB- the SHOUTS of approaching Guards. The flame of a laser torch begins to cut around the side of the front door. 333 / IVY hits the Venom pump. Bane lifts his fists and tries to SHASH the far wall. It does n't break. IVY Not good. -LRB- OVER -RRB- the SHOUTS of more Guards coming down the hall. Freeze reaches for his holster. Empty. FREEZE No gun. How disarming. IVY I wonder if I can get a cell with a view of the gardens? FREEZE Dear daisy, do n't despair. Freeze walks to a sink set into the cell wall. He turns on the water. Freeze cracks his gauntlet seal, cryo - gas HISSING out. FREEZE Always winterize your pipes. Freeze aims the gas jet at the spigot. PIPES around the room begin to freeze, bulging with the cold, frozen water within them splitting metal, rushing towards, CRACKING, the stone wall.",
"EXT. ARKHAM ASYLUM - NIGHT The wall of Freeze's turreted isolation tower begins to CRACK.",
"INT. ARKHAM ASYLUM - FREEZE'S CELL The wall has split apart, revealing the night beyond. Bane, Ivy, and Freeze look down at the rushing river far below. IVY I hate heights. The cell door flies off its hinges. FREEZE You'll hate prison more. The three villains jump.",
"EXT. ARKHAM ASYLUM - NIGHT Three tiny figures plummet towards the fast rushing waters below.",
"INT. WAYNE MANOR - NIGHT - WALKING Bruce walks with Alfred through the old house, shutting out lights. BRUCE Are you well, old friend? Alfred stops, stares into his charge's eyes, then turns away. ALFRED I am as well as can be expected. BRUCE Alfred, I know you're sick - I can get you the best doctors. ALFRED I've seen the best doctors -! A gentleman does not discuss his health. It's not civilized. I hope I've taught you at least that much, young man. Bruce bites back a bitter smile. He knows better than to push him when he's like this. BRUCE Have you ever regretted your life working here, Alfred? ALFRED Attending to heroes? No sir. My Only regret is that I was never able to be out there with you. BRUCE Not all heroes wear masks. Alfred smiles. BRUCE Alfred, if I've never told you. I just want to say. ALFRED Yes? Bruce looks away, fighting tears, unable to say the words. 342A BRUCE - POV. Out the window, a young Bruce plays hide and seek with Alfred, the old Butler gone behind a hedge, then back again. 342B BACK TO SCENE DICK -LRB- running in. -RRB- Freeze has escaped. OUT THE WINDOW. The Batsignal shines in the night sky.",
"INT. LIMO - NIGHT Filled with flowers. Bane sits at the wheel, Ivy and Freeze in back, watching the Snowy Cones Ice Cream Factory, surrounded now by a police perimeter. FREEZE My reserves are exhausted. I must have the gems that power my suit. IVY You are looking unseasonably hot. Let's go inside and grab your rocks. The Batmobile SCREECHES up. Batman and Robin race inside. FREEZE In my weakened state I am no match for the bat and the bird. IVY You leave Batman and Robin to me. Freeze looks skeptical. Ivy smiles seductively. IVY Trust me. Vegetable magnetism. FREEZE Fine. While I retrieve my diamonds, you and meatloaf will bring my wife to your lair. She's frozen in - IVY Hold it. You never said anything about a wife, frozen or otherwise - Freeze moves fast, grabbing her neck, SMASHING her against the seat back. Bane moves in but Ivy SHOOS him off with a gesture. FREEZE You will rescue my wife IVY OK, OK. Ms. Ivy to the rescue. Now where do I find your brittle bride?",
"INT. FREEZE'S LAIR Police tagged and tapped. Batman and Robin examine Freeze's lab. Commissioner Gordon ENTERS, drops a video disk in a console player. GORDON There's no sign he came back here after the escape. We pulled this off the surveillance cameras at Arkham. 346A MONITOR - CLOSE. The three villains daring aerial escape. Batman hits a switch. The image of Ivy fills the screen. ROBIN She's definitely part of this. It's weird, for a while Ivy was all I could think about. But then. BATMAN I know. The feeling just vanished. ROBIN I ca n't believe we were fighting over a bad guy. BATMAN Bad, yes. Guy, no. This is one majorly beautiful evil person. ROBIN I'm totally over her. Positively. BATMAN Me too. Great stems, though. ROBIN Umm - hmmmm. BATMAN Definitely. Batman has gone to the walk - in freezer. Examines a wall of food. He lifts a frozen oriental dinner. The secret vault swings open. ROBIN How did you? BATMAN -LRB- off the box. -RRB- Open Sesame. Chicken. 346B INT. FREEZE'S VAULT Batman and Robin ENTER, examine Nora Fries in her sarcophagus. BATMAN She's still alive. He's adapted his freezing technology to reverse McGregor's Syndrome. -LRB- off a scrolling monitor. -RRB- He's even found a cure for the early stages of the disease. ROBIN Can he save her? BATMAN No. Her case is too advanced. But maybe, someday, with more research - 346B FAIRY - LIKE SPIRALS begin winding through the room. Batman and Robin, both dazed, follow the dust through a snaking passage, wrench open two service doors TO REVEAL. 346C INT. SNOWY CONES FACTORY - INDUSTRIAL BASEMENT Bane stands atop a staircase overlooking an industrial basement crisscrossed by catwalks above giant mixing vats and conveyer belts. He hits a switch, the machinery WHIRRING to life. BATMAN No beauty. ROBIN Just the beast. BATMAN rushes the monster. Bane SIDESWIPES him, sending him flying off the stairs towards the basement below. Robin uses Batman's distraction to SMASH into Bane's chest. Robin bounces off, landing hard atop the landing. ROBIN Ouch. -LRB- standing. -RRB- Anymore at home like you? The two begin to fight atop the stairs. 346D INT. SNOWY CONES ICE CREAM FACTORY The front doors BLOW open. Gordon and the Cops stare up to face Mr. Freeze, standing atop the steps. FREEZE I hate uninvited guests. The Cops race up the stairs towards Freeze. He pulls a lever marked COOLANT GAS. VENTS around the room begin to HISS blue freezing gas. 346E INT. SNOWY CONES INDUSTRIAL BASEMENT Batman has landed in a giant ice cream mixer. He rolls clear of the giant stirring arm, flipping out of the vat to face. Poison Ivy. She smiles, blows a handful of dust into his face. IVY I must confess, the combination of heroic daring - do and an anatomically correct rubber suit puts fire in a girl's. lips. She leans in to kiss him. Batman stares a beat, shakes it off. BATMAN Why do all the gorgeous ones have to be homicidal maniacs? Is it me? 346F BATMAN - POV. Bane is spinning Robin over his head. Batman races up the steps towards his partner. 346G INT. SNOWY CONES FACTORY The Cops are fighting through the HISSING coolant gas towards Freeze at the top of the stairs. Freeze reaches for another lever. FREEZE Why do n't you boys slip into something more comfortable? 346H THE ICY STPES - CLOSE. SNAP into a steep, curving ramp. Freeze PUNCHES the lead Cop backwards into his shivering cohorts, the police tumbling in a slipping pile down to the floor below. 346I INT. INDUSTRIAL BASEMENT - TOP OF STAIRS Bane hurls Robin down the steps. Batman SMASHES into Bane, both falling off the platform, taking their fight to a catwalk below. 346J INT. BASEMENT FLOOR Robin stands, behind him a giant miller's wheel carries planks of wood through a chopper and back up as pallets of popsicle sticks. IVY -LRB- OVER. -RRB- Her pretty birdie. Robin spins to face Ivy. She blows a pile of dust into his face. She begins advancing, backing him towards the chopper blades. ROBIN Give it up. If you threw yourself - IVY -LRB- leaning in. -RRB- At you? Polly want a kiss? She leans in, lips pursed. 346K ON THE CATWALK OVERHEAD Bane's mighty BLOWS back Batman towards the edge of the catwalk. Robin looks from Ivy to Batman, grabs a strut on the miller's wheel, the giant cog lifting him up towards the catwalk and his partner. IVY I must be losing my touch. 346L INT. SNOWY CONES FACTORY Freeze is striding through the mists towards his diamond vault. More Cops rush him from the HISSING gas. FREEZE moves like lightning, WHIPPING billy clubs from the holsters of two police, using them like disconnected nunchucks, KNOCKING the cops unconscious in a flurry of SLAMS and JABS. FREEZE Stick around. A COP hits the wall. Beside him a button reads ; EMERGENCY HEAT. He SLAMS the stud, filaments coming to life, the room glowing red. Freeze's watch begins to flash. No power. 346M INT. CATWALK Bane kicks Batman off the end of the catwalk as Robin leaps onto the villain. Robin and Bane begin fighting again. 346N INT. CONVEYOR BELT Batman lands on his back on a moving belt that is feeding ancient tubs of ice cream into a clown shaped flash freezer. Ivy jumps atop the caped crusader, their faces close. IVY You bring out the animal in me. BATMAN I should have brought my leash. IVY Enough sweet talk. With that Ivy blows another handful of dust into Batman's face. Ivy licks her lips. Leans in for a kiss. At the last second, Batman averts his face, wrenching Ivy to the floor just ahead of the clown's freezing maw. BATMAN -LRB- mustering all his will. -RRB- You're going to jail. IVY I'm a lover not a fighter. That's why every Poison Ivy action figure comes complete with. him. BANE stands atop a giant storage vat, a dazed Robin hanging in his hand. Bane tosses the boy aside, slide, feet first, down a conveyer belt and double fists Batman, CRASHING, into the wall. IVY I'm off to find Bachelor Number Two. Try not to make a mess when you die. 346O INT. SNOWY CONES ICE CREAM FACTORY The room is growing even hotter. Freeze stagger towards his diamond vault, his flesh turning ray. With his last strength, Freeze wrenches open his safe, filling his sleeve power compartments with diamonds, his color returning. FREEZE Ahh. Chilled to perfection. Freeze hits his watch, the villain now suddenly encased in ice. 346P WIDER The Cops are warming back into action, draw guns, FIRE, bullets bouncing off Freeze's armor of ice, ricocheting into the walls. FREEZE Superman, eat your heart out. Freeze starts towards his weapons locker. 346Q INT. INDUSTRIAL BASEMENT Bane SMASHES Batman into the wall. Advances. At the last second, Batman FIRES a Batclub, HITTING Bane in the head stunning him. 346R BATMAN - POV. Ivy is closing in on Robin. 346S INT. SNOWY CONES ICE CREAM FACTORY The Cops rush Freeze. The villain whips a small icing jewel from his weapons locker, the floor GLOWS, suddenly covered with ice. The Cops begin slipping on the glassy floor in classic Keystone style, ending up sprawled on their backs. Freeze stands, pulsing with power, this icing cannon now under one arm. He lifts his pistol in his free hand. Points at the police. FREEZE All right coppers, Freeze. He FIRES. 346T INT. INDUSTRIAL BASEMENT Ivy has Robin up against a giant vat. IVY Stop living in the shadow of the big bad bat. You do n't need him. -LRB- blows more dust. -RRB- You deserve your own legend. Your own bright shining signal in the sky. Let me guide you. Let me. -LRB- touches his face. -RRB-. Touch you. Kiss you. He ca n't resist, about to kiss her. A tiny batarang hits his cheek. BATMAN Remember the victim at the airport. Toxins introduced through the mouth. ROBIN What are you talking about? BATMAN Why is she so desperate to kiss us? I'm betting her lips are poison. ROBIN A poison kiss? You have some real issues with women, you know that? -LRB- advancing. -RRB- You just could n't stand that she was about to kiss me. -LRB- shoves him. -RRB- Could n't stand that something might be mine and not yours. Could you?! Robin shoves him harder still. In frustration, Batman delivers a fantastic roundhouse, sending Robin SMASHING into a wall. BATMAN Damn. Batman tries to help Robin up. Robin shrugs him off, stands. ROBIN Ivy's right. I do n't need you. I'm going solo. I want my own signal in the sky. Batman looks around. Ivy and Bane are gone. GORDON -LRB- arriving. -RRB- What happened? How'd they get away? But the caped crusader does n't have an answer.",
"INT. FREEZE'S HIDDEN CHAMBER Ivy enters through the snaking passage. She turns to face Freeze's wife, still in her frozen sarcophagus. IVY So sorry, Ms. Fridigaire. I'm just not good with competition. Ivy pulls the main power switch. Status lights flash red.",
"INT. BLOSSOM STREET TURKISH BATHS - DAWN Transformed. Sunlight streams in through the broken ceiling. The ground thrives, now a rich garden. IVY ENTERS, strolls through the gardens into a small ante - room where Freeze sits over his freezing engine, having ZAPPED the walls with his pistol, the room now a world of ice. IVY Make yourself right at home. FREEZE Where is my wife? IVY There was nothing I could do. Batman deactivated her. She's dead. FREEZE You lie! Freeze lunges for Ivy. Bane steps between them. Mistake. Freeze hurls him across the room. Ivy stills Bane with a gesture. IVY I'm sorry. Ivy reaches up, holding the snowflake necklace between her and the looming Freeze. Freeze stops, takes the chain in his hand. FREEZE Their bones will turn to ice. Their blood will freeze in my hands. IVY Kill them. Of course. But why stop there? Why should only Batman and Robin die while the society that created them goes unpunished? Ivy lifts the frozen Gotham bauble off the iced table. Turns it over in her hand absentmindedly. Freeze stares at her. FREEZE Yes. I shall replay the world for sentencing me to a life without the warmth of human comfort. I will blanket the city in endless winter. First Gotham and then the world. IVY Just what I had in mind. Everything dead on Earth except us. A chance for mother nature to start again. -LRB- she lifts a flower. -RRB- Plants and flowers are the oldest species on the planet yet they are defenseless against man. Sorry hon, this is for science. -LRB- she crushes the flower. -RRB- Behold the dawn of a new age. From a canisters labeled PROJECT GILGAMESH, Ivy removes a savage, other - worldly plant with HISSING fangs. IVY I have created a race of plants with the strength of the deadliest animals. Once you have frozen mankind, my mutants will overrun the globe. The Earth will become a brave new world of only plants. And we shall rule them. For we will be the only two people left in the world. FREEZE Adam and Evil. Freeze lifts the Gotham bauble, holds it on his palm, his gauntlet glowing blue, tiny Gotham freezing. He CRUSHES the city. FREEZE You will distract the bat and bird while I prepare to freeze Gotham. IVY Ca n't we just ice them along with the rest of the citizenry? FREEZE That is far too merciful. Batman will watch his beloved Gotham perish, then I will kill him. IVY As a team, the duncely duo protect each other. But the Robin is young. Impetuous. If I could get him alone - FREEZE One kiss and you could lift the mask from his lifeless face. Their secret identities would be revealed. But how best to bait a brid? IVY The way to a boy's heart is through his ego. What strapping young hero could resist his very own. signal? FREEZE Inspired, Ms. Ivy. IVY I'm hungry. I think I'll have poultry. 393A INT. WAYNE MANOR - UPSTAIRS HALLWAY _ EVENING Barbara and Dick stand talking to a DOCTOR. DOCTOR It's Stage One of McGregor's Syndrome. I'm sorry. All we can do is make him comfortable. PUSH IN through a partially open door in the b.g.",
"INT. WAYNE MANOR - ALFRED'S ROOM - EVENING Alfred lays on his bed. Bruce in black tie, kneels beside him. BRUCE I've spent my whole life trying to beat back death. What good are all my heroics now if I ca n't save you? ALFRED Everyone dies, Master Bruce. There's no defeat in that. Victory comes in fighting for what we know is right while we still live. 394A Bruce looks past Alfred. There in the adjacent suite, a young Alfred finishes reading to a young Bruce. Shuts out the light. 394B BACK TO SCENE BRUCE I love you, old man. ALFRED Remember this. And remember it always. I'm proud of you. And I love you too, son. They embrace.",
"INT. WAYNE MANOR - FOYER -LRB- OVER -RRB- the doorbell is RINGING. Dick follows Bruce downstairs, the billionaire donning his coat. DICK McGregor's Syndrome. That's what Freeze's wife had. BRUCE Yes. But Alfred's condition is less severe. Freeze's research says he cured a case like Alfred's. It just does n't say how. DICK I checked the medical database. No one else is even close. BRUCE I'm late for the dedication. Then I go after Freeze and Ivy. Alone. DICK Like hell you do. BRUCE Dick, do n't push me right now. DICK Or what? No one can capture Ivy but the big bad Bat. Crap! You just want her for yourself. Do n't you? Answer me, damn it! BRUCE Yes! Yes, I want her so badly I can taste it. That's the whole point. Look at us. Orphans. Isolated. Obsessed to the exclusion of life, love, family. We're perfect targets. She's done something to us, got us fighting over her somehow. DICK Hail the all - knowing Bruce Wayne. Here's what I know, she loves me, Not you and it's driving you crazy. It's why you stopped us from kissing. Because if you ca n't have her, nobody can. BRUCE She's clouded your mind. You're not thinking straight. DICK Oh but I am. For the first time in a long time. I'm through living in your shadow. All that ends right now. 395A Dick walks away. Bruce stares after him. -LRB- OVER -RRB- The bell RINGS again. The front door swings open, Julie ENTERS. A limo sits out front. JULIE I've been ringing forever. Where's Alfred? But Bruce does n't answer. 395B INT. WAYNE MANOR - ALFRED'S QUARTERS - NIGHT Barbara stands over the old man. BARBARA I'm sorry. I was too late. ALFRED Too late for what, dear child? BARBARA I came to give you your freedom, a chance to live the life you choose. The same gift you gave me. ALFRED I have been part of the greatest adventure ever know. I have found purpose here, and the family I could never have. Alfred smiles, is hit by a sudden wave of pain. ALFRED You must do something for me. Alfred takes her hand, puts an envelope in her grasp. ALFRED Find my brother Wilfred. Give him This. I have duties he must fulfill in my stead. Only family can be trusted. BARBARA What is it? ALFRED It is the hearts of two good men whom I have had the honor of calling son. Take it, child. But I implore you, never open it. -LRB- he touches her cheek. -RRB- You look so like your mother. And with that his eyes close. BARBARA Uncle Alfred?",
"INT. GOTHAM OBSERVATORY - NIGHT A black tie gala celebrating the telescope unveiling. PAMELA ISLEY stands in the center of the room. Alone. Her drab outfit and demeanor make her anything but a conversation magnet. Bruce and Julie ENTER, smiling through the storm of FLASHBULBS, and the crowd of PRESS, being greeting guests. Commissioner Gordon steps away, reaches for champagne off a try. VOICE -LRB- OVER. -RRB- I've always wondered, where does that big old bat light come from? Pamela stands before Gordon. She flips open a compact, blows a pile of love dust, the tiny swirl catching the cop in the face, a bit more hitting Bruce who stands behind the Commissioner. GORDON - CLOSE. Stunned. And suddenly in love. GORDON -LRB- stammering. -RRB- It's on top of police headquarters. Pam takes Gordon's arm, leads him like a puppy into an alcove. PAMELA I'd just love to see it. But you probably do n't have access. GORDON Why, I'm Commissioner of Police. -LRB- patting his pocket. -RRB- I have the keys right here. BRUCE, still standing with Julie, amidst the PRESS and WELL - WISHERS, seems suddenly distracted, begins looking around the room. As if summoned by an inaudible call, Bruce peels away from a perplexed Julie, begins searching the crowd. A man on a quest. PAM has Gordon against the alcove wall. Her fingers slip into his pocket. PAMELA On second thought, you're way too old for me. She pushes a stunned Gordon away, spins, heads towards the door, tossing something in her hand. Gordon's keys. A HAND grabs her. Pam spins to face Bruce Wayne. BRUCE Dr. Isley. it was like I could feel you in the room. You're. enchanting. Gorgeous. The most beautiful woman I've ever seen. If you're. um. free. this evening. JULIE -LRB- arriving. -RRB- Bruce? What are you doing? PAMELA I think he's asking me on a date, in an awkward, stammering sort of way. JULIE I've heard of commitment anxiety, but this is insane. You're not really propositioning another woman right in front of me. Are you? BRUCE Well, define ` propositioning'. The PRESS has noticed the conflict, now surround Bruce, Julie and Pam. JULIE Make a choice, Bruce. Her or me. BRUCE Well. um. her. JULIE -LRB- crestfallen. -RRB- You were right. I get it. You're not the marrying kind. You've made your point. Goodbye Bruce Wayne. PAMELA Physical perfection, charm and wealth tossed over for a dowdy spinster. How do you explain your behavior? BRUCE -LRB- puzzled. -RRB- I ca n't. But perhaps tonight, over dinner. I've just had an opening. PAMELA Maybe your witless playboy persona works on every bimbo du jour but I am not the least bit titillated by your attentions. So back off or I'll have you in court quicker than you can spell sexual harassment. Got me? 402A WIDER Folks are staring. MURMUR to each other. Bruce is chagrined. BRUCE Does that mean dinner's a no? Pam has already pushed past him, out the door. BRUCE It's just I sort of. kind of. love you.",
"INT. BLOSSOMS TREET TURKISH BATHS - FREEZE'S CHAMBER Freeze stands, putting on his suit. He SNAPS his fingers. A legion of Icemen step out of the swirling mists. Freeze lifts his freezing engine. FREEZE Bundle up boys. There's a storm coming. Freeze and his battalion head into the night.",
"EXT. POLICE HQ - ROOF - NIGHT A giant door swings open. Bane and Ivy emerge onto the roof. IVY Let there be light. Bane walks to he dormant Batsignal, TEARS it from its shackles. 404A INT. WAYNE MANOR - BARBARA'S ROOM - NIGHT Barbara ENTERS, lost in grief. She sits, turns Alfred's envelope over in her hand. A long beat. She withdraws a single, silver CD. BARBARA Only family can be trusted? Barbara slides the disk into her computer. COMPUTER Access denied. Protected files. BARBARA Perhaps you did n't give me your genes. But you gave me your heart. Barbara begins hacking the disk, trying to break the code. 406A INT. - WAYNE MANOR - HALLWAY - NIGHT Bruce, still in his tux, ENTERS, sits at the main batcomputer console, distraught, starting in to the darkness of the cave. 407A A YOUNGER ALFRED stands with an ADOLESCENT BRUCE, working together over the original Batsuit prototype. 407B BRUCE - CLOSE. As the images dissipate to memory. BRUCE Alfred, old friend, I could use your help right now. ALFRED -LRB- OVER. -RRB- Right here, sir. Bruce spins, stunned. A monitor flickers into life. The words COMPUTER SIMULATION flash under an image of Alfred. ALFRED I anticipated a moment might arrive where I became. incapacitated. As such, I programmed my brain algorithms into the batcomputer and created a virtual simulation. Bruce stares a beat. Then he smiles. BRUCE It's good to see you. ALFRED What seems to be the problem? BRUCE Women. ALFRED That, sir, does not compute. BRUCE First Ivy had an intoxicating effect on both Dick and me. Tonight my feelings spread to someone else. ALFRED Specify, please. BRUCE Pamela Isley. I was so attracted to her I could n't reason clearly. I still ca n't. She used to work for Wayne Enterprises. Find a file. ALFRED Coming on line now, sir. A spinning Isley appears on the monitor. BRUCE What was her area of research? Study and report titles scroll up the side of the image. ALFRED Advanced botany. DNA splicing. Recombinant animal plant patterns. Pheromone extractions. BRUCE Pheromones? ALFRED Glandular secretions from animals. Scents that create powerful emotions. Fear. Rage. BRUCE Passion. Of course. Find the photo of Ivy after the flower ball. A spinning Ivy appears beside the spinning Isley. BRUCE Deconstruct and resolve. Schematics of various features, finger and retina prints, height, weight, are highlighted and compared. All match. BRUCE Amazing what a good wig and contact lenses can do. And I thought Clark Kent got away with murder just wearing those glasses. Suddenly ALERT panels start flashing. ALARMS SOUND. BRUCE What is it? ALFRED It appears, sir, that someone has stolen the batsignal. 408A INT. WAYNE MANOR - NIGHT Barbara is still hacking away at the disk. COMPUTER Access code accepted. BARBARA This better be one hell of a secret. She hits a key. a Pictures begin to reflect in the dark of her eye. BARBARA Oh my God.",
"EXT. GOTHAM STREET Freeze's trucks SCREECH to a stop, Freeze and Bane at the helm. FREEZE No matter what they tell you, it's the size of your gun that counts. PAN UP The giant TELESCOPE of the Gotham Observatory aims into the night. CAMERA CONTINUES UP to the heavens as the BATSIGNAL appears in the sky. Then something amazing happens. The familiar beacon turns blood red, the shape within changing from a bat to bird. THE ROBIN SINGAL shines over Gotham.",
"INT. BATCAVE - NIGHT THE ROBIN SIGNAL glows on the central monitor. WIDER Bruce stands in civvies talking to Dick who is suiting up. DICK That's no batlight, it's a birdcall. BRUCE Her name is Pamela Isley. I saw her talking to Gordon. She must have stolen his keys, altered the signal - DICK And she did it all for me. For love. BRUCE She's infected us with some kind of pheromone extract - DICK Is that it, Bruce? I'm under some magic spell? BRUCE She wants to kill you. DICK You'd say anything to keep me away from her. To keep her for yourself. BRUCE You once said to me that being part of a team means trusting your partner. That sometimes counting on someone else is the only way to win. DO you remember? Dick does n't answer. BRUCE You were n't just talking about being partners. You were talking about being a family. Well, part of our family is dying. I'm not going to lose everyone I've ever loved. So I'm asking you now, friend, partner, brother - will you trust me?",
"INT. OBSERVATORY - TOWER PLATFORM The Scientist and his Associate stand amidst the debris from the party, testing the telescope. -LRB- OVER -RRB- A TREMENDOUS SMASHING. ON THE FLOOR BELOW Freeze and Bane Enter. FREEZE Hi. Sorry about the door. Is the party over? BANE begins pulling charges from his satchel and setting them around the room. SCIENTIST Who the hell is this nutball? Freeze points up, FIRES a cryonic BLAST at him, turning him to ice. FREEZE That's Mr. Nutball to you. Half a set of bookends. -LRB- to the Associate. -RRB- You. Go like this. Freeze pantomimes the Scientist's frozen expression of terror for the Associate. The Associate, terrified, imitates Freeze's move. FREEZE No. move your hands up. Higher. Now a hint more fear. Excellent. Freeze fires another BLAST, freezing the Associate in the same position as the Scientist. FREEZE A matched pair. Sometimes I exceed even my wildest expectations. Freeze smiles at the mighty telescope. FREEZE If revenge is a dish best served cold, then put on your Sunday finest. It's time to feast.",
"INT. BATCAVE - NIGHT Dark. Dormant. The automatic activation sequence engages. Ambient lights come on. Computers flicker into life. The giant Batmobile pedestal begins to rise. On it, no car but a single figure standing now in the center of the cave. Barbara. 419A BARBARA - CLOSE. Eyes wide with awe. Barbara walks to the main terminal of the Batcomputer. Touches the console. The Alfred simulation appears on screen. BARBARA Uncle Alfred? ALFRED In spirit only, I'm afraid. BARBARA The boys need help. The image of Alfred stares at her a beat. Then smiles. ALFRED Your mother would be proud. MAIN SCREEN - CLOSE. Flickers into life. Costume schematics turn. ALFRED Forgive my being personal, dear girl, but I must know your size. 421A EXT.. BLOSSOM STREET TURKISH BATHS Robin arrives the entrance to the dark baths, lush, inviting, mysterious. He passes the giant bird signal chained to the door, the spotlight shutting out as he disappears inside.",
"INT. BLOSSOM STREET TURKISH BATHS Giant floral fans spin. Leaf curtains undulate. Fruits burst with color. In the center of the cave, a giant bed of buds. Ivy touches the buds. All instantly blossom. ROBIN -LRB- OVER. -RRB- Is your thumb the only part of you that's green? Ivy looks up. A figure stands in the darkness. She smiles. IVY You'll just have to find out. Ivy extends her hand. Robin steps out of the shadows.",
"INT. GOTHAM OBSERVATORY - TOWER PLATFORM - NIGHT Freeze attaches the icing engine to the telescope. Bane finishes laying his explosive charges, joins Freeze. FREEZE Big family? Like pets? Do n't talk much, do you? Freeze engages the engine. Suddenly the entire pedestal is washed in a blue wave of freezing cryonic energy.",
"EXT. OBSERVATORY - NIGHT The ambient ice wave spreads down, encasing the old structure. The nearby banks whiten, turning into snow cliffs, the river freezing into an icy channel. The Observatory has transformed into a fortress of ice.",
"INT. BATCAVE A SERIES OF SHOTS. Boots are pulled on. A slim utility belt LOCKS. A cape WHIPS over a lithe female back.",
"INT. BLOSSOM STREET TURKISH BATHS Ivy sits on the bed, draws Robin down beside her, faces close. IVY I'm glad you came. I ca n't breathe without you. ROBIN I want us to be together. But I need to know you're serious about turning over a new leaf. I need a sign. IVY How about dangerous curves? ROBIN Of trust. Tell me your plan. IVY Kiss me and I'll tell you. ROBIN Tell me and I'll kiss you. IVY Freeze has turned the new telescope into a freezing gun. He's about to turn Gotham into an ice cube. ROBIN -LRB- recoiling. -RRB- I've got to stop him. IVY -LRB- pulling him back in. -RRB- One kiss, my love. For luck. Robin ca n't resist. They kiss. Ivy pulls back, holds his gaze. IVY Bad luck, I'm afraid. It's time to die, little bird. ROBIN What do you mean? IVY You should have heeded your pointy - eared pal. These lips can be murder. ROBIN Then you never loved me? IVY Love you? I loathe your bipedal arrogance, your animal superiority. My only joy is knowing that even now my poison kiss is sucking the life from your ape - like face. VOICE -LRB- OVER. -RRB- I'm not saying I told you so. Ivy spins. From the shadows, a figure emerges. Batman. IVY You're too late. Say bye - bye birdie. ROBIN Sorry to disappoint you. But rubber lips are immune to your charms. Robin peels a rubber coating from his mouth. Ivy stares in dismay. 428A BATMAN Robin and I found the cure to your evil spell. And that's teamwork. 428B Then she SCREAMS her rage. She shoves Robin into the lily pool, the Boy Wonder immediately tangled into predatory vines. 428C MORE VINES wrench Batman hanging upside down to the ceiling, the stalks squeezing our heroes. IVY Sorry, boys, my vines have a little crush on you. Ivy begins leaping across lily pads towards the exit. IVY Got ta run. So many people to kill. So little time. THE SKYLIGHT - EXPLODES. The room fills with moonlight. A figure comes flipping down from above. Long cape. Tall ears. Black leather. BATGIRL. BATGIRL You're about to become compost. Ivy and Batgirl begin a furious martial arts battle. -LRB- CHOREOGRAPHY TO COME -RRB-. BATMAN pulls a bat - knife, begins cutting himself free. ROBIN struggles to untangle himself from the aquatic vines. BATGIRL is fighting Ivy, feet flying, hands moving like lighting. BATGIRL Using feminine wiles to get what you want. Trading on your looks. Exploiting men's weakness for sex. Read a book, sister. That passive - aggressive crap went out in the seventies. Chicks like you give women a bad name. BATMAN deftly slashes through his captor vines. ROBIN struggles, trying to free himself IVY gets the upper hand, backs Batgirl against the wall. IVY As I told Lady Freeze when I pulled her plug, this is a one woman show. BATGIRL I do n't think so. Batgirl grabs Ivy's hair, knocking her out with a knee to the forehead, then batcuffs her. BATMAN cuts himself freed, drops to the floor to face Batgirl. ROBIN pulls himself, dripping, from the pool. 438A BATMAN And you are? BATGIRL Batgirl. BATMAN That's not awfully PC. How about Batwoman? Batperson? BATGIRL It's me. Barbara. I found the cave. ROBIN We got ta get those locks changed. BATMAN She knows who we are. ROBIN I guess we'll just have to kill her. BATMAN Kill her later. We've got work to do. The three heroes race into the night.",
"INT. GOTHAM OBSERVATORY - TELESCOPE PLATFORM - NIGHT Freeze stands on the platform, giant telescope in his hands. -LRB- OVER -RRB- approaching SIRES. FREEZE 1 - Adam 12, 1 - Adam - 12, see the mad scientist with the freezing ray. A SQUAD OF CRUISERS SCREAM up the avenue towards the observatory, their bubble lights flashing. FREEZE Cops on the rocks, anyone? He FIRES a giant blue beam of cryonic energy at the street below. THE COP CARS become skidding, SCREECHING cubes of ice, They SHASH into each other, EXPLODE into a pyre of raging flames. FREEZE Police are so hot tempered these days. Do n't you agree, Mr. Bane?",
"EXT. FROZEN RIVER BANKS A sleek one man ice sail -LRB- THE BATSLED -RRB- blows out onto the frozen water. Robin is at the helm. A modified white Batmobile on rocket skis -LRB- THE BATHAMMER -RRB-, BLASTS onto the ice, falling in alongside the Batsled. Batman drives. A single - bladed, rocket snowcylce -LRB- THE BATBLADE -RRB-, whips onto the ice, falling into the attack line. Batgirl helms the craft. The bat - force BLASTS upriver towards the icy Observatory.",
"INT. GOTHAM OBSERVATORY - ELESCOPE PLATFORM - NIGHT TELESCOPE VIEWFINDER - CLOSE. The Batvehicles are visible through the lens. FREEZE Ivy failed to unmask the Dynamic Duo. No matter, the Bat and Bird are mine at last. Watch, Batman, as your beloved Gotham freezes. And prepare to die. Because you're next. Freeze points the telescope downtown. He FIRES",
"EXT. GOTHAM STREET - NIGHT Folks walking their dogs, drinking on stoops, kissing against alley walls, mailboxes, lampposts, the pavement itself, are all suddenly encased in glistening ice.",
"EXT. OBSERVATORY RIVER BANKS - NIGHT FREEZE -LRB- OVER. -RRB- The Bat - allion approaches. Icemen. Attack. FREEZE'S TRUCK bursts through the mists, BLASTING down the frozen river on blades, two pairs of icemen hanging from tail lines on skis, machine guns BLAZING.",
"INT. BATHAMMER - NIGHT BATMAN Attack plan alpha. Batman peels left.",
"EXT. BATSLED - NIGHT ROBIN Alpha. Roger. Robin peels right.",
"EXT. BATBLADE - NIGHT BATGIRL Alpha. Got it. -LRB- a beat. -RRB- What the hell is attack plan Alpha?",
"EXT. BATSLED - NIGHT ROBIN Divide and conquer. Robin is flying downriver. One pair of icemen sweep out alongside the truck, heading towards Robin's billowing craft, guns FIRING.",
"EXT. BATBLADE - NIGHT A second pair of skiing icemen whip towards Batgirl, their guns SPITTING rounds of shells into the ice around her. 460A EXT.. FREEZE'S TRUCK Side mounted rocket launchers FIRE towards the Bathammer, BLOWING holes in the ice.",
"EXT. BATHAMMER Batman maneuvers, managing to swerve around the sudden, steaming pools. He GUNS the TURBOS, heading straight for the truck.",
"EXT. BATSLED The two icemen bearing down on Robin release their tethers, converging on the Batsled, guns FIRING madly. ROBIN Tack. Robin pulls the boom and the sail LUFFS. His boat suddenly changes course and the two skiers COLLIDE, flying onto the ice. ROBIN Boy, I hope Freeze hires these guys by the dozen.",
"EXT. BATBLADE The skiers are closing fast. Batgirl hits a key and a status panel displays a menu of the Batblade's special modifications. BATGIRL Nice extras package. PANEL - CLOSE. Barbara selects a setting called Ice Cutter. THE BATBLADE scythe peels back, revealing a sharper blade. BATGIRL uses her deft driving skills to spin and side - skid, her blade sending a wave of frozen ice into the faces of the icemen, the villains tumbling in backwards somersaults across the ice. BATGIRL That's what I call a close shave.",
"EXT. BATHAMMER Batman is shooting the center of the frozen river, heading straight for the ice truck, its side guns BLAZING.",
"INT. BATHAMMER Batman hits a control stud. 482A EXT.. BATHAMMER Two torpedoes shoot out of the Bathammer chassis, hitting the frozen river directly in front of Freeze's truck, ice flying skyward in a tremendous EXPLOSION. 482B EXT.. FREEZE TRUCK The driver ca n't swerve in time, the hole in the ice dead ahead. 482C EXT.. FREEZE TRUCK The truck hits the steaming pool, flipping up, nose first, and begins to sink into the icy waters. 482D INT. BATHAMMER Batman races past the sinking truck, Icemen crawling to safety. BATMAN Do n't sink and drive. 482E EXT.. FROZEN RIVER Under the pulse of Freeze's BEAMS hitting the city, the Batvehciles fire TURBOS, closing in on the Observatory.",
"INT. GOTHAM OBSERVATORY - TELESCOPE PLATFORM - NIGHT Freeze tilts his gun down towards the frozen river below. FREEZE Not so fast. Time you cooled your heals. Freeze FIRES.",
"EXT. FROZEN RIVER - NIGHT The frozen channel ahead of the bat - force is hit by the FREEZING RAY. A giant wall of rock - hard ice forms, block - ing the river.",
"INT. BATHAMMER - NIGHT Batman hits a console stud marked : EMERGENCY BURN. 488A EXT.. FROZEN RIVER The Bathammer engines ROAR, the Bathammer BLOWING straight through the frozen wall in an EXPLOSION of ice. 488B THE BADTBLADE and the BATSLED shoots up the face of the ice wall on either side of the Bathammer, soaring over the top of the mountain of snow. 488C EXT.. BATSLED - FLYING ROBIN Youwsa! Nothing but air. 488D EXT.. BATBLADE - FLYING BATGIRL -LRB- to the old 60's Batman theme. -RRB- Batgirl, Baatgirl, Baatgirl. 488E EXT.. FROZEN RIVER The Batsled and the Batblade hit the ice running, WHIPPING in alongside the speeding Bathammer. The Batvehicles BLAST towards the Observatory.",
"INT. OBSERVATORY - TELESCOPE PLATFORM - NIGHT Freeze stares at a monitor. The bat - team is now below the observatory, at the base of the giant ice cliffs. FREEZE Mr. Bane, I'll finish off the city. You, as they say in showbiz, are on. Take the boys and kill the kids. But bring me the Bat. A GIANT CLOCK TOWER - CLOSE. 11:49 BATMAN -LRB- OVER. -RRB- We have eleven minutes to stop Freeze And thaw the city. PAN DOWN",
"EXT. ICE CLIFFS - NIGHT Three tiny figures scale the ice using pitons and ropes. PUSH IN. BATGIRL This is easy. ROBIN Crimefighter's rule number one : never say that. BATGIRL Why? THE LEDGE ABOVE THEM. Suddenly a score of ice - climbing thugs pour over the edge on ropes, sliding down, FIRING their guns madly. ROBIN That's why. A SHOOTER comes flying down a rope straight towards them, guns BLAZING. Robin swings wide on his rope, grabbing Batgirl, pulling her out of the line of fire. They hit a snow bank and roll. BATGIRL Does this mean we're going steady? Four figures land on the snow beside them. Icemen, guns drawn.",
"EXT. ICE CLIFFS - NIGHT Batman uses batpitons to pull himself up onto a ledge just below the Observatory. That's when another wave of Icemen descend on him from the mists. Batman reaches for a batarang. A beat. Then he smiles. BATMAN Let's do this the old - fashioned way. Batman leaves his batarang belted, begins wailing on the Icemen using only his hands and feet, flying back fists, and spinning roundhouse kicks felling the thugs one after another.",
"EXT. ICE CLIFFS - NIGHT Robin and Batgirl move back to back, surrounded now by a band of Icemen. Robin notices a heavily cantilevered overhang of snow. ROBIN Crimefighter's rule number two. BATGIRL I'm afraid to ask. ROBIN Be ready for anything. Robin puts his hands together and YELLS. The ECHO shoots up the hill. A tremendous RUMBLING comes back down, the overhang of snow dumping on several Icemen. Robin does a standing backflip into the Thugs behind him. Batgirl goes down, taking out several more with a deft leg sweep. BATGIRL. -LRB- kicks a thug. -RRB- Pow! -LRB- punches another. -RRB- What! -LRB- backhands a third. -RRB- Kazow! ROBIN -LRB- fighting. -RRB- What exactly are you doing? says. BATGIRL I don't know. It just feels right. It just feels right. says. Batgirl and Robin begin fighting their way through the Icemen up towards the Observatory.",
"INT. OBSERVATORY - NIGHT Batman pulls himself up onto the aperture ledge as Robin and Batgirl climbs in from the other side. The giant chamber is empty, the telescope still aimed at Gotham. BATMAN No sign of the snowman. says. ROBIN Maybe he melted. says. Batman SHOOTS a batgrapple into the ceiling, swings across the room, dropping two bat - charges at the feet of the frozen Scientists, continues his swing landing on the telescope platform. BATGIRL AND ROBIN swing onto the Telescope platform to join Batman. THE BAT CHARGES begin to glow, their radiating heat starting to melt the Scientists. 513A BATGIRL I hope you've got about ten million more of those little toys. Batgirl points at the control console clock. 11:52 ROBIN Eight more minutes and a city full of Gothamites are ice cubes forever. BATMAN Sunlight could reverse the freezing process. BATGIRL Sunrise is n't for five hours. BATMAN Here. ROBIN But it's morning in the Congo. Batman points to a screen showing a graphic represent - tation of the satellites in orbit. BATMAN If we could relay the sunlight - ROBIN From the other side of the equator - BATGIRL It'll take the satellites about a minute to re - align, but. damn! ROBIN Damn? Damn is not good. BATGIRL Those targeting mirrors are frozen. The sun beam wo n't work. PULL BACK TO REVEAL TWO SMALL MIRRORS sitting on the telescope barrel. Both are encased in ice. BATMAN I'll set the telescope. You two thaw the mirrors. Batgirl and Robin race out onto the telescope, each pulling a laser from their utility belts. BATGIRL I love this belt. Can I get a matching handbag? Their LASERS FLARE. Batgirl and Robin begin thawing the mirrors. BATMAN goes to the main console, begins working the keyboard. BATMAN Who ever thought Aunt Harriet's typing lessons would lead to this?",
"EXT. EARTH - VIEW FROM SPACE Satellite thrusters FIRE. The giant orbital mirrors begin to turn.",
"INT. OBSERVATORY MONITOR - CLOSE. Graphic satellites begin to adjust. TARGETING flashes over a blinking graphic of Gotham A digital clock reads : 11:54. BATMAN - POV. As he aims the telescope. The skyline through the crosshairs is suddenly obscured by a blur as Freeze drops from the rafters onto the telescope, his face now visible in the targeting scope. FREEZE Tonight's forecast. -LRB- smiles. -RRB-. a freeze is coming! Freeze grabs Batman and hurls the caped crusader up over his head onto the telescope barrel, using his free hand to yank the telescope control joystick. The telescope tilts sharply downward. BATGIRL AND ROBIN tumble down the telescope barrel, rolling towards the lens and the drop TO the city below. BATMAN tumbles, rights himself, spins. BATMAN - POV. Freeze is climbing towards the control console. Batgirl and Robin are rolling towards the end of the telescope. No way to get both. A beat. Batman rushes towards Freeze.",
"EXT. OBSERVATORY Batgirl and then Robin tumble off the end of the telescope, dropping towards the city below.",
"INT. OBSERVATORY - TELESCOPE PLATFORM Freeze has reached the main telescope control. He hits a switch. MONITOR - CLOSE. Graphic satellites blink red under the flashing message : TARGET LOCK DISABLED. Clock reads : 11:56 535A EXT.. SPACE THRUSTERS quit as the satellites stop turning. 535B INT. OBSERVATORY - TELESCOPE Batman is struggling up the slope of the telescope towards Freeze. 535C Freeze pulls the control level. The telescope begins to tilt and spin madly, the ambient condensation creating an indoor snowstorm. Batman goes down, hanging from the telescope frame.",
"EXT. OBSERVATORY BATGIRL is plummeting towards the city below. Robin is falling a couple of feet above her. He FIRES a bat tether over his head. ROBIN'S GRAPPLE secures in a glacier - like overhang. ROBIN reaches down for Batgirl as Batgirl reaches up towards him.",
"INT. OBSERVATORY - TELESCOPE Batman flips himself back up onto the wildly spinning telescope, advancing on Freeze and the control console. BATMAN Millions will die so you can save on air conditioning. Is n't that taking self help a little too far? Freeze draws his pistol. FREEZE We aim to. -LRB- fires. -RRB-. Freeze. Batman deflects the blast with his suit armor. FREEZE That's new. Let's swing. Freeze smashes the control joystick to the stop, the telescope's spin accelerating, swinging towards. THE TWO SCIENTISTS have finally melted, stand drenched on the Tower Platform, the massive Telescope now careening towards them. SCIENTIST This just is n't my day. 551A THE TELESCOPE SMASHES directly into the TOWER PLATFORM. The platform begins to topple. 551B ASSOCIATE Up, up and away. 551C As the platform falls CRASHING onto the floor below, the two PhDs leap, landing safely on the swinging telescope, hanging on to the tensioning bar for dear life. 551D SCIENTIST PhDs rule! 551E FREEZE is thrown by the impact of the telescope hitting the tower into the Telescope Platform rail, his gun falling to his feet.",
"EXT. OBSERVATORY Robin's hand is inches from Batgirl's, the city coming up fast.",
"INT. OBSERVATORY - TELESCOPE CONTROL PLATFORM Freeze is scrambling for his gun. Suddenly a figure looms above him. Batman. Freeze draws. Batman kicks the gun out of his hand. The two begin to fight on the twirling platform. A battle of titans. BATMAN You've turned Gotham to ice. -LRB- a right. -RRB- You've endangered countless lives. -LRB- a left. -RRB- It's payback time. 555A Batman KNOCKS Freeze with a mighty punch, hurling him onto the back of the telescope. Batman turns towards the console, TYPING commands. 555B MONITOR - CLOSE. TARGETING. Graphic satellites flash green. Clock reads : 11:58 555C THE MIRRORS overhead open, beginning to glow with ambient sunlight. 555D Freeze SCREAMS at the emerging light, leaping onto Batman, sending the caped crusader sprawling onto the barrel of the telescope. He advances on the fallen bat. 555E Freeze kicks Batman hard in the face, the hero rolling down the telescope towards the opening and Gotham beyond.",
"EXT. OBSERVATORY Robin grabs Batgirl's hand as Batgirl FIRES a batarang from her wrist. Robin's tether pulls taught, the boy wonder holding Batgirl dangling over the city. ROBIN I've got you. ROBIN'S GRAPPLE rips free from the melting ice. BATGIRL'S GRAPPLE hits the metal roof above. Holds firm. ROBIN'S line tears free, Robin falling as Batgirl's tether pulls tight, Batgirl now holding Robin dangling above Gotham. BATGIRL No. I've got you. She pulls him eye level. The two hang suspended, face to face.",
"INT. OBSERVATORY Batman is tumbling towards the open slat and Gotham below. He slows his fall, stopping on the barrel. VOICE -LRB- OVER. -RRB- Wow. Batman. WIDER. The two Scientists are clinging to a targeting groove along the body of the barrel. SCIENTIST I've seen you on TV. BATMAN - POV. Freeze is heading back to the control panel. BATMAN Nice to meet you. Can you give me any more height on this thing? The Scientist reaches down to a red EMERGENCY lever. SCIENTIST Going up. He pulls the lever and the telescope tilts straight up, sending Batman soaring into the air towards the dome above. Batman flips in mid air, dives, SMASHING directly into Freeze, the villain CRASHING over the edge of the control platform and into the freezing engine. THE MIRRORS overhead align, the beams of sunlight hitting the freezing engine. Freeze is struck by the rays, the sun penetrating his damaged suit. 571A THE TELESCOPE activates, a powerful THAWING BEAM shooting from it's giant lens. Batman turns to Freeze, the villain beginning to gray and wither. BATMAN You're loosing your cool FREEZE I think not. There'll be no hot time in this old town tonight. -LRB- pulls a remote. -RRB- You'll get a charge out of this. He presses a button. As Freeze rolls out of the sunlight, falling towards the floor below, CHARGES around the tele - scope base EXPLODE. The TELESCOPE tilts, dropping out of the open slat towards Gotham, taking a chunk of observatory floor with it.",
"EXT. OBSERVATORY Robin and Batgirl are just pulling themselves onto an ice ledge beneath the dome slat as the giant telescope carrying Batman and the two Scientists plummets over them towards the city below. 575A ROBIN Now that's what I call an exit. BATGIRL -LRB- looking past Robin. -RRB- Please tell me he's on our side. A figure steps out from behind the ice. BANE 575B Robin coils, leaps into a spinning roundhouse, but Bane KNOCKS him away, the boy wonder flying hard into the snow. The monster begins advancing on Batgirl.",
"EXT. TELESCOPE - FALLING Batman slides down the telescope towards the two Scientists, simultaneously FIRING a double ended bat - tether, two grapples SHOOTING horizontally into the air.",
"EXT. OBSERVATORY BATGRAPPLES - CLOSE. Sink into the arms of the giant sculpture holding up the Observatory just as the telescope plummets past. 580A EXT.. OBSERVATORY - ICE LEDGE Robin shakes off the blow, looks up to see Batgirl fending off Bane with a fast series of punches and kicks. She might as well be hitting steel. 580B BATGIRL. -LRB- to Robin. -RRB- Do n't worry. I've got him. Just then Bane SLAMS her into an ice wall by the throat, rears back with his fist, about to deliver the killing blow. ROBIN No. I've got him. 580C Robin leaps, ripping off the tubes leading from Bane's injector pack to his skull, venom spraying wildly into the air. 580D Bane hits the snow, writing, as the venom effect is reversed. His muscles shrink, his form diminishing until he is again a scrawny prisoner, struggling in the folds of his costume. 580E ROBIN You should get that suit taken in. No one's buying baggy anymore.",
"EXT. TELESCOPE - FALLING The ground is rushing up below them. BATMAN Grab my belt and hang on. The Scientists each grab one side of Batman's utility belt. THE CABLE pulls taught, slowing Batman's fall, the telescope dropping from under them as the cable bends like a bow, Batman and the Scientists sinking at its center. The cable reaches its nadir over an outcropping of rock on the cliff. Below the telescope EXPLODES into the frozen river. BATMAN This is your stop. Batman pushes the Scientists onto the ledge, the reduced weight SHOOTING the cable taught, ROCKETING Batman up towards the dome like an arrow.",
"INT. OBSERVATORY Batman flips in through the telescope slat, followed immediately by Batgirl and Robin, all landing together on the observatory floor. ROBIN Winded, old timer? BATMAN Do n't make me kill you in front of the girl. BATGIRL It's midnight. The telescope's gone. There's no way to thaw the city. BATMAN Theoretically, the satellites could be positioned to thaw the city directly. But it would take a computer genius. ROBIN I'm on it. Robin clears the rubble from a fallen console, begins to type. Nothing. The equipment is dead. BATGIRL -LRB- shouldering him aside. -RRB- No. I'm on it. She quick patches a couple of broken wires, the console lighting up, WHIRRING to life. Begins hacking. BATGIRL Ms. Genius. Madame Genius. Her Geniusness. Which sounds better?",
"EXT. EARTH - VIEW FROM SPACE The giant orbital satellites finally align. A full disk of the sun appears in the mirror, beamed from one to the next and then the next, the beam cutting downward towards.",
"EXT. GOTHAM SKYLINE The giant rays of focused sunlight begin warming the city.",
"EXT. OBSERVATORY - NIGHT Rays of light hit the Observatory, melting the ice covered stone.",
"INT. OBSERVATORY FLOOR Batman walks over to Freeze who lies amidst the rubble, weak and gray with the growing heat, straining to BREATHE. FREEZE Go on, kill me too. Just as you killed my wife. BATMAN I did n't kill your wife. Batman presses a button on his utility belt. BATMAN Run Ivy evidence tape 001.40. BATMAN'S GAUNTLET - CLOSE. A tiny monitor shows an image of Poison Ivy. IVY -LRB- OVER. -RRB- As I told Lady Freeze when I pulled her plug, this is a one woman show. FREEZE SCREAMS his rage. His face streams with frozen tears, like tiny diamonds. BATMAN But she's not dead, Victor. We found her, restored her icy slumber. BATMAN'S GAUNTLET MONITOR shows Mrs. Fries restored in cryogenic slumber. BATMAN She's still frozen, Victor, alive, waiting for you to find a cure. I know what it's like to lose everything you've ever loved. But vengeance is n't power. Any two - bit thug with a gun can take a life. To give life, that's true power, a power you once had. I do n't know if you'll ever find a cure for your wife. But I'm asking you now, Doctor Victor Fries, to save another life. Show me how to cure McGregor's Syndrome Stage One. And maybe you can also save the man your wife once loved. He's still inside you, buried somewhere deep beneath the snow. Will you help me? Doctor? Freeze stares at Batman. Finally he unseals his chestplate, removes two glowing power orbs, holds them out, his smile, bittersweet. FREEZE Take two of these and call me in the morning.",
"INT. WAYNE MANOR - ALFRED'S QUARTERS - NIGHT Robin and Batgirl watch as Batman attaches the modified power sources from Freeze's suit to Alfred's life - support. BATMAN All we can do now is wait. -LRB- takes Alfred's hand. -RRB- And hope. 594A EXT.. ARKHAM ASYLUM - NIGHT The prison is secure once again. 594B INT. ARKHAM ASYLUM CELL - NIGHT Ivy sits in the barred moonlight, staring out the window, holding a small flower in her hand, pulling the petals out one by one. IVY He loves me. He loves me not. He loves me. he loves me. VOICE -LRB- OVER. -RRB- Not. A figure stands cloaked in shadows. He steps forward. Mr. Freeze. FREEZE -LRB- off his suit. -RRB- It's amazing what you can buy around here for a few dozen diamonds. Freeze begins coming towards her, menacingly. FREEZE Prepare for a bitter harvest. Winter has come at last. IVY Not good.",
"EXT. WAYNE MANOR - DAWN Morning breaks on the great old building. A PILE OF PIZZA BOXES - CLOSE PULL BACK TO REVEAL",
"INT. WAYNE MANOR - LIVING ROOM - DAWN World War III was lost in this room. Strewn clothes. Barbara dozes on the couch. Dick paces. Bruce stands, staring out the window, afraid he has lost Alfred forever. -LRB- OVER -RRB- a THROAT CLEARS. LOUDER. All look up. Alfred is descending the stairs. Scowling. BRUCE Alfred, are you? ALFRED Rather disappointed at how poorly I taught you proper housekeeping. -LRB- a beat. -RRB- And quite well, it seems. Thanks to you, son. Thanks to you all. The three move to him. A family reunion. Dick turns to Bruce. DICK One question. When Batgirl and I rolled off the telescope, how come you did n't try and save us? It was the first time I fell and you were n't there to catch me. BRUCE I knew you could handle it. Barbara CLEARS her throat. Dick shoots her a look. BRUCE Sometimes counting on someone else is the only way to win. BARBARA Hey, I'm the one who kicked Ivy's botanical butt. Personally. Me. I did. BRUCE You are going back to school. DICK You're never going to win this argument, Bruce. Barbara extends her hand. BARBARA Partners? A beat. The other heroes follow suit. A team is born. BRUCE & DICK Partners. ALFRED We're going to need a bigger cave.",
"EXT. BATSIGNAL - NIGHT Three costumed avengers race into the night. FINAL FADE TO BLACK THE END"
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] | Set two years after the defeat of Two-Face and the Riddler, Batman and his new partner, Robin, become defenders of Gotham. They attempt to thwart the villainous Mr. Freeze from robbing diamonds from the natural history museum, but he steals one and flees. Mr. Freeze was originally Dr. Victor Fries, a doctor working to develop a cure for MacGregor's syndrome to heal his terminally ill wife. Fries was forced to wear a cryogenic suit powered by diamonds after becoming unable to live at normal temperatures following a lab accident. At a Wayne Enterprises lab in Brazil, the botanist Dr. Pamela Isley is working under the deranged Dr. Jason Woodrue, experimenting with the Venom drug. She witnesses Woodrue use the formula to turn the violent, but diminutive, convicted serial murderer Antonio Diego into a hulking monstrosity dubbed "Bane". When Isley threatens to expose Woodrue's experiments, he attempts to kill her by overturning a shelf of various toxins. Despite Woodrue's efforts, Isley is resurrected, transforming into the beautiful and seductive Poison Ivy before exacting revenge; she kills Woodrue with her poisonous kiss, and sets fire to the lab, leaving it to burn down while she escapes with Bane. She finds that Wayne Enterprises funded Woodrue, thus she appropriates Bane as a muscle-bound thug, taking him with her to Gotham City. Meanwhile, Alfred Pennyworth's niece, Barbara Wilson, makes a surprise visit and is invited by Bruce Wayne to stay at Wayne Manor until she goes back to school. Wayne Enterprises presents a new telescope for Gotham Observatory at a press conference interrupted by Isley. She proposes a project that could help the environment, but Bruce declines her offer, which would kill millions of people. Batman says that this project is in conflict with the main goals of the Wayne Corporation. That night, a charity event is held by Wayne Enterprises with special guests, Batman and Robin, and she decides to use her abilities to seduce them. Mr. Freeze crashes the party and steals a diamond from the event. Although he is captured by Batman and detained in Arkham Asylum, he eventually escapes with the help of Poison Ivy and Bane. Meanwhile, Dick discovers that Barbara has participated in drag races to raise money for Alfred, who is dying of MacGregor's syndrome. Batman and Robin begin to have crime fighting relationship problems because of Ivy's seductive ability with Robin, but Bruce eventually convinces Dick to trust him. Poison Ivy is then able to contact Robin once more; she kisses him but fails to kill him due to Robin wearing rubber lips. Robin says that the rubber lips are immune to her charms. Meanwhile, Barbara discovers the Batcave, where an AI version of Alfred reveals he has made Barbara her own suit. Barbara dons the suit and becomes Batgirl. Ivy captures Robin, but he gets rescued by Batman, and Batgirl arrives and subdues Ivy to get eaten by her throne plant, before revealing her identity to the pair. Batman, Robin and Batgirl decide to go after Mr. Freeze together. By the time they get to the observatory where Mr. Freeze and Bane are, Gotham is completely frozen. Batgirl and Robin are attacked by Bane, but they eventually defeat him by kicking apart his venom tubes, stopping the flow of venom to his body. Bane collapses before transforming back to his original diminutive size of Antonio Diego and is left helpless on the ground. Meanwhile Batman and Mr. Freeze begin to fight each other, with Batman defeating Mr. Freeze. Batgirl and Robin manage to thaw the city, and Batman shows Freeze a recording of Poison Ivy during her fight with Batgirl, who had informed the latter that she killed Mr. Freeze's wife. However, Batman informs Mr. Freeze that she is still alive, in cryogenic slumber before being moved to Arkham Asylum, waiting for Mr. Freeze to finish his research. Batman proceeds to ask Mr. Freeze for the cure Mr. Freeze has created for the first stage of MacGregor's Syndrome to administer to Alfred, and Mr. Freeze atones for his misunderstanding by giving him the medicine he had developed. Mr. Freeze is then detained in Arkham Asylum. Poison Ivy is also imprisoned in Arkham Asylum with a vengeful Mr. Freeze as her cellmate (due to his own cell is in the process of being modified for his laboratory needs) and he plans to make Poison Ivy's life a living hell while staying for the attempted murder of his wife. After Alfred is cured, everyone agrees to let Barbara stay at Wayne Manor and fight crime with them. | Batman_&_Robin_(film) |
[
"EXT. JUNGLE - DAY A machete slashes INTO FRAME. An American in battered fedora and leather jacket, accompanied by two gunbearers, hacks his way through dense bush. We see him from the back only. He hacks an opening, bats fly out AT CAMERA and the bushes part, revealing huge overgrown stone letters - the Mayan ruin look - that spell `` AIRPLANE II.''",
"EXT. GANTRY - NIGHT The Jupiter shuttle stands ready to fly. SUPER : HOUSTON, 2002",
"INT. MISSION CONTROL ROOM - STOCK FOOTAGE of Houston Control with appropriate jargon V.O.",
"INT. TERMINAL - WIDE ANGLE STOCK SHOT of a crowded modern terminal. P.A. All lunar departures, please proceed to concourse lounge ` B.'",
"EXT. TERMINAL - STOCK FOOTAGE - NIGHT of heavy traffic at LAX. ANGLE ON TERMINAL DOORS A number of men in futuristic - looking mining outfits, carrying futuristic gear, unload a truck with a corporate logo that reads : TRX DEEP SPACE RESOURCE MANAGEMENT. P.A. Attention, all Pulsar Four mining personnel. The miners look up. P.A. Please report to the Resource Expeditions office, level seven. Two miners head to terminal doors and pass FOUR NUNS, who bid farewell to FATHER O'FLANAGAN. O'Flanagan shakes the hands of the first three elderly nuns, then grabs the last young gorgeous nun and kisses her passionately. OLDER NUN No tongues, Father.",
"INT. CONTROL ROOM A group tour moves through the room behind controllers. GUIDE All lunar shuttle landings are handled by these computers and simulated on these video units. CONTROLLER 1 -LRB- at computer screen. -RRB- You're programmed on R - two - niner and locked, Lunar eight six. Over.",
"INT. LUNAR SHUTTLE COCKPIT - NIGHT Three crew members watch the lit landing strip as their shuttle approaches. CAPTAIN -LRB- to co - pilot. -RRB- It's out of our hands now, gentlemen. They smile.",
"INT. MISSION CONTROL The CONTROLLER moves away from his video unit. A kid from the tour who has lagged behind hits a switch. The screen turns into a video game with SFX. He flips knobs.",
"INT. LUNAR SHUTTLE The crew are tossed from side to side and try to regain control of the ship.",
"EXT. NIGHT SKY The Lunar shuttle careens towards the terminal, out of control.",
"INT. CONTROL ROOM The kid is still playing like mad. A flash appears on the screen. SFX VIDEO GAME EXPLOSION and a corresponding EXPLOSION from outside. SIRENS WAIL. CONTROLLERS run around. The kid is oblivious and walks away.",
"EXT. TERMINAL - NIGHT BUD KRUGER, head of the space center, and the COMMISSIONER get out of a limo under a sign that reads, `` MERCURY SHUTTLE.'' They walk and talk. KRUGER Commissioner, we both know the Mercury shuttle needs another month of pre - launch testing. COMMISSIONER Forget it. The boys on the board want that shuttle to go on schedule.",
"INT. TERMINAL Kruger and the Commissioner go up escalator. KRUGER And what do the boys on the board know about safety, Commissioner? Let me talk to them. COMMISSIONER Bud, get wise to the political realities. The boys on the board are under a lot of pressure from the boys downtown.",
"INT. TERMINAL - SECOND LEVEL Kruger gets a pack of cigarettes from a machine. Commissioner buys a newspaper. KRUGER And I'll be the one they'll hang if there's a screw - up.",
"INT. TERMINAL - SHOESHINE STAND Kruger and Commissioner get shoes shined. A MAN next to them in white shoes reads paper with headline - `` SOLAR PLANT MELTDOWN, 500 WORKERS SERIOUSLY TANNED'' - and does n't notice his shoes are getting black polish. COMMISSIONER Listen, Bud, the boys downtown are under heavy fire from the boys in Washington. That's why they're putting pressure on the boys on the board.",
"INT. TERMINAL Kruger and Commissioner head down escalator. KRUGER Well, you tell the boys on the board to tell the boys downtown to let the boys in Washington know that the press has been nosing around my people in the front office.",
"EXT. TERMINAL Kruger and Commissioner head to their limo. COMMISSIONER You handle your front office people, I'll handle the press and leave the boys in Washington to the boys downtown and the boys downtown to the boys on the board. KRUGER Commissioner. They stop and look at each other. COMMISSIONER What? KRUGER I just wish it was that simple. MUSIC : DRAMATIC STING They get back in their limo and drive off.",
"INT. MISSION CONTROL CONTROLLER -LRB- over P.A. -RRB- This is Mercury One control. We have condition green. Mark launch ` T' minus two hours and counting. I repeat, we have condition green. ANGLE ON LESLIE NEILSON - DOCTOR RUMACK Dressed as a doctor and looking in a Controller's mouth. The Controller's face is bright green. RUMACK This condition is n't as bad as it could be if it were a lot worse. Take these pills. -LRB- hands him pills and water. -RRB- Here's some water. CONTROLLER What is it, doctor? RUMACK Two parts oxygen, one part hydrogen. It'll make the pills go down easier.",
"EXT. GANTRY - CLOSEUP OF SHUTTLE - NIGHT MUSIC : BIG SPACE THEME WIDE ANGLE LENS PANS the under - belly past the nose as if the viewer bent his head back as far as he could, until. the CAMERA crashes to the ground as if it has fallen off the tripod. MUSIC : CRASHES TO A STOP ANGLE ON SIDE OF SHIP MUSIC : BIG SPACE THEME STARTS FROM TOP AGAIN PAN workers on scaffolding who check gauges on exterior of ship. PAN to panel that reads, `` SOLID FUEL CHUTE'' - a sweaty muscular worker in undershirt opens the panel, flames shoot out. LOOSEN to reveal another sweaty worker in undershirt shoveling coal into the chute. PAN to other workers checking more gauges. SUDDENLY a PANEL EXPLODES. Smoking, sparking wires pop out. A WORKER runs up with walkie - talkie in hand. WORKER -LRB- into walkie - talkie. -RRB- This is Mercury station six! Get me the Sarg and fast!",
"EXT. TERMINAL - NIGHT SIMON KURTZ and ELAINE THOMPSON get out of a taxi with hand luggage. They are dressed in matching flight outfits. A JAPANESE COUPLE get out of a taxi - the man has about fifty cameras around his neck. His wife hangs another camera on him. He crashes to the ground under the weight. Simon and Elaine are approached by a BUSINESSMAN with handful of roses. BUSINESSMAN Would you like to buy a rose to help bail out Chrysler? We're an all - profit organization and need all the money we can get. Simon hands the Businessman a dollar and takes a rose. SIMON -LRB- to Businessman. -RRB- Here. The Businessman joins six other BUSINESSMEN carrying signs with LEE IACCOCA's picture. They all smile and chant. BUSINESSMEN -LRB- to Hari Krishna. -RRB- IACCOCA, IACCOCA, IACCOCA, IARAMA. Simon hands Elaine the rose. She takes his arm as they walk towards the sign that reads, `` MERCURY SHUTTLE.'' SIMON For the best little computer officer on the Mercury mission. ELAINE -LRB- smiling. -RRB- Simon. SIMON Who would believe that Elaine Thompson was once a stewardess on the Denver - Chicago run. ELAINE And I can hardly believe that I'm engaged to someone like you, Simon. I'm a very lucky woman. A man with a suitcase on a leash walks beside them. The case pulls him along like a dog and takes a leak on a post. SIMON Women and the space program have come a long way, sweetheart. But after the wedding, no more complicated computers for my little girl. ELAINE But, darling, they've offered me a chance to head up the computer analysis division for the Jupiter probe. SIMON You're heading up the division in charge of babies for Mr. and Mrs. Simon Kurtz. He kisses Elaine and smiles. SIMON And that's an order, Lieutenant. The man with the case on a leash passes a woman with a case on a leash. The cases start a violent, BARKING DOG FIGHT.",
"EXT. REAR OF TERMINAL BUILDING - NIGHT SARG -LRB- imagine George Kennedy -RRB-, dressed in a tuxedo, tie undone, with a huge cigar, which he eats during the conversation, talks to his wife on his car phone. A worker in hard hat waits next to him. Behind the worker are fuel drums and a large sign that reads : DANGER, FUEL - ABSOLUTELY NO SMOKING, ABSOLUTELY NO SPITTING. SARG -LRB- on car phone. -RRB- Marge, you better go without me. We've got a condition red. SPLIT SCREEN WITH WIFE AT HOME. MARGE -LRB- in evening gown, a cigar stuck in her mouth. -RRB- We've got a condition red with our marriage. I think you're in love with that shuttle, not with me. I want a divorce, Sarg. Sarg lights his cigar. SARG Is there someone else, Marge? Is that it? Sarg throws the lit match towards the `` ABSOLUTELY NO SMOKING'' sign. The worker grimaces but nothing happens. MARGE Sarg, there's been someone else for fifteen years. You were just too involved in your work to see it. They hang up. Sarg bites off the end of his cigar and spits it in the direction of the `` NO SPITTING'' sign, blowing the worker OUT OF FRAME with a MASSIVE EXPLOSION. Sarg hops into his car, takes a Lava lamp from the seat and puts it on the car roof - like Kojak's flasher. The lamp flashes, the SIREN WAILS, as Sarg pulls away.",
"INT. SARG'S CAR - ON THE MOVE - NIGHT He thinks about his wife. SPLIT SCREEN FLASHBACK OF THEIR BEDROOM. Marge, a cigar in her mouth, is in bed with five football players - other half - clad athletes -LRB- hockey, baseball, wrestling, basketball -RRB- line up for their turn at her. Sarg has to climb over them to kiss her goodbye. SARG Do n't wait up for me, sweetheart. We're testing the retro - rockets tonight. MARGE You just ca n't see it, can you, Sarg. SARG We'll talk tomorrow, hon. I promise.",
"EXT. TERMINAL, PASSENGER ARRIVAL AREA - NIGHT The WILSON FAMILY - JOHN, ALICE and ten - year - old JIMMY - carry luggage. Jimmy carries a puppy in a small cage. P.A. All Mercury passengers please proceed to passenger processing, concourse level ` C.' JOHN That's us. Jimmy Wilson looks at Scraps. JIMMY Will Scraps be able to sit with us, Dad? JOHN We'll have to check, Jimmy. It's a pretty long trip to Mercury. A PORTER approaches. PORTER Can I help you folks? JOHN -LRB- handing him a bag. -RRB- Thanks. PORTER -LRB- noticing Scraps. -RRB- Is that your puppy, son? JIMMY Yeah, his name is Scraps and he's going to Mercury with us. PORTER No dogs are allowed on the shuttle, son. JIMMY But they said. PORTER -LRB- pulling out a handgun. -RRB- Scraps will have to be shot. I can do it for you here if you like. He SHOOTS. JIMMY Scraps! PORTER -LRB- laughing. -RRB- Just joking. Blanks. See, Scraps is fine. Alice, John, and Porter crack up while Jimmy cries. ALICE It was just a joke, Jimmy. Alice and John look at each other as if there is something wrong with their son. ANGLE ON MAN WITH CAGE A man lifts a large dog cage out of the trunk of a taxi. Inside is another man dressed in S&M leathers. MAN WITH CAGE -LRB- to Man in Cage. -RRB- If we ca n't fit you under the seat, you'll just have to be locked up with the luggage. The man in the cage seems to relish the latter suggestion. Two Porters lift the cage onto a conveyor belt next to Jimmy's dog.",
"EXT. GANTRY - NIGHT Sarg stands beside the burnt panel on the side of the shuttle. He is eating another cigar, holding a burnt wire, and talking into a walkie - talkie. SARG There's no way this wiring could have passed inspection without Simon Kurtz's okay! SPLIT SCREEN OF KRUGER IN HIS OFFICE KRUGER -LRB- on phone. -RRB- Just patch up the damage and get that ship ready to fly. That's an order, mister! SARG You've got it, mister. But you can tell your boys on the board for me that this thing stinks to high heaven of kickback. KRUGER'S OFFICE - FULL SCREEN Kruger turns to room. LOOSEN to reveal a dozen five - year - old boys in three - piece suits, smoking cigars. A huge Keans - style painting of three astronauts with big eyes, painted on black velvet, hangs in b.g. KRUGER You heard it, boys. Now, what do you say? ALL BOYS Fuck him!",
"EXT. GANTRY - NIGHT Sarg looks at the wire and shakes his head. SARG -LRB- to worker. -RRB- Ted Striker was right six months ago when he test - piloted this sucker. And what did he get for telling the truth? A one - way ticket to Palukaville. Sarg spits a chunk of cigar on the ground, blowing the worker OUT OF FRAME with a MASSIVE EXPLOSION.",
"EXT. WILD BLUE YONDER - DAY A jet fighter streaks across the sky.",
"INT. JET - DAY TED STRIKER is at the controls. His oxygen mask hangs loose from his helmet. Clouds outside shoot by - he's going at least 700 MPH. A bird lands on the nose in front of the window. Ted shoos it away by knocking on the glass. He takes a slug of beer and cockily pulls on the stick.",
"EXT. FIGHTER - DAY The plane does a barrel roll.",
"INT. FIGHTER - DAY Ted has beer all over his face and shirt.",
"EXT. SMALL LATIN-AMERICAN LANDING STRIP - DAY SUPER : `` SOUTH AMERICA, 2002 -LRB- PALUKAVILLE -RRB-'' Striker's fighter comes in for a landing.",
"EXT. OUTSKIRTS OF RIO MONTENEGRO - DAY CLOSEUP of sign, `` WELCOME TO RIO MONTENEGRO - POP. 2,354,900 - NO TORTURING 7AM - 9AM MON. - FRI.''",
"INT. HOTEL ROOM - DAY SUPER : `` HOTEL MONTENEGRO'' COME UP on CLOSEUP of parachute. PAN past a flight jacket thrown over a chair, clothes strewn around, a framed photo of TED and ELAINE on the bedtable next to a bottle of whiskey. The room is hot and dusty. Ted lies on the bed soaked with sweat, a drink in his hand, a cigarette dangling from his lip. He takes a drink and, forgetting to remove the cigarette, swallows it without batting an eye. LOOSEN to find a CRUCIFIX above the bed with a real person on it. TED -LRB- V.O. -RRB- -LRB- to self. -RRB- Who could have figured it would come to this. It'll be twenty years this week that I lost my entire squadron over Macho Grande. Planes, too. SUPER : DOG FIGHT FOOTAGE VOICE You're too low, Striker! You're too low! The Crucifix in b.g. looks around trying to figure out where the planes in the SUPER are coming from. TED -LRB- V.O. -RRB- After the war, I could n't go near anything with a pair of wings. SUPER : TED IN PARK TRYING TO AVOID PIGEONS THAT FOLLOW HIM. A pigeon lands on the Cross. TED -LRB- V.O. -RRB- That is, until fate dropped me on the seat of my pants at the stick of a 167 into Chicago with no crew. SUPER : TED LANDING PLANE IN `` AIRPLANE!'' TED -LRB- V.O. -RRB- It's funny how fate can make heroes out of cowards. The Crucifix gives a look of exasperated boredom. SUPER : NEW YORK TIMES HEADLINE, `` STRIKER SAVES l20!'' OVER A PHOTO OF TED AND ELAINE WAVING. TED -LRB- V.O. -RRB- Then came the job offers. SUPER : HOUSTON TRIBUNE HEADLINE, `` FLYING HEROES ACCEPT NASA POSTS'' OVER A PHOTO OF TED AND ELAINE WAVING. TED -LRB- V.O. -RRB- The publicity. SUPER : NATIONAL ENQUIRER HEADLINE, `` TED IMPOTENT? ELAINE FRIGID?'' A MINOR HEADLINE READS, `` JFK ALIVE, SAYS UROLOGIST!'' TED -LRB- V.O. -RRB- Even the key to the City of New York. SUPER : MAYOR HANDING TED A KILO OF GRASS. TED -LRB- V.O. -RRB- Now look at me. Ted wipes the sweat off his face and switches on the table fan. A tornado force wind destroys the room as he fights to switch off the fan.",
"EXT. TOWN SQUARE - DAY SUPER : `` RIO MONTENEGRO - TOWN SQUARE'' A peasant boy takes a newspaper from a newsstand. The headline reads, `` MERCURY SHUTTLE FLIES TOMORROW.'' BOY Senor Ted! The boy hightails it through the town - square and passes : - A large alabaster statue of the Generalissimo snorting cocaine. - Soldiers dragging nuns off screaming. - Nuns dragging soldiers off screaming. He passes a line of peasants held at gunpoint by soldiers. We HOLD on them. In b.g. are stores like HITLER'S SHOES, TRIEU GUYS FROM SAIGON LIQUORS, KEY'S KEYS - GENERAL KEY stands in doorway. SOLDIER -LRB- to first peasant. -RRB- Traficante de drugas o communista? SUPER : SUBTITLES - `` Drug dealer or communist?'' PEASANT -LRB- pleading. -RRB- Traficante de drugas, traficante de drugas! SUPER : SUBTITLES - `` Drug dealer, drug dealer!'' The soldier lets the peasant go. SOLDIER -LRB- to second peasant. -RRB- Traficante de drugas o communista? SUPER : SUBTITLES - `` Drug dealer or communist?'' The peasant panics and bolts from the line. The soldiers FIRE. SOLDIER Communista! He runs up to THE HOTEL MONTENEGRO. A sign reads, `` TV, POOL, WATERBEDS, DONKEY, KLEENEX'' - All but `` KLEENEX'' are crossed out. He runs inside.",
"INT. HOTEL LOBBY A clean - cut AMERICAN COUPLE argue with Desk Clerk. YOUNG MAN -LRB- to Desk Clerk. -RRB- We've lost all our travelers' checks! YOUNG WOMAN What are we going to do?! CLERK Calm down. What kind were they? YOUNG MAN American Excess! The Clerk throws up his hands and strikes the same pose as the Karl Marden look - alike in the `` AMERICAN EXCESS'' poster, b.g. CLERK I'd say you're fucked. The boy passes them and bounds up the stairs.",
"INT. HOTEL ROOM CLOSEUP of Ted pacing. TED -LRB- to self. -RRB- Next thing I know, I'm the chief test pilot for the XR - 2300, NASA's first Mercury shuttle. That is, until I report she's got more flaws than the Titanic. LOOSEN slowly to find the Cross empty and the man who was on it hanging, his feet dangling next to Ted. TED Now I'm testing old F - l8s for some crazy Generalissimo who thinks there's a commie behind every tree in the Amazon. SUDDENLY the boy bursts in. BOY Senor Ted! Look! Ted spins and the paper stays still. He stops. TED My God! They're launching the ZR - 2300. Do you know what that is, Jose? BOY The muffler bracket for a'78 Pinto. TED No, that's an XR - 2200. The XR - 2300 is the Mercury shuttle. They ca n't do it!",
"EXT. HOTEL MONTENEGRO Ted races out. TED Taxi! SFX : A DOZEN CARS SCREECH AND CRASH INTO EACH OTHER. HORNS STICK. ANGLE ON PILE OF CARS Ted jumps into the taxi on bottom of pile. The driver POUNDS on his HORN - it CONTINUES TO BLARE as they pull away, dragging other taxis. TED Houston, Texas. DRIVER Houston, Texas, senor? TED Right at the corner, left at the light. Here's a map and step on it! Ted throws a map onto the floor of the front seat. The driver steps on the map.",
"EXT. TERMINAL, PASSENGER ARRIVALS - NIGHT An old truck loaded high with furniture pulls up. A YOUNG MAN and his PARENTS, looking like the family from THE GRAPES OF WRATH, get out. SON We finally made it, Ma. Mercury. We're gon na start all over agin. A whole new life. MUSIC : OPTIMISTIC. SON Where the soil is rich. He bends down and takes a handful of earth from the terminal sidewalk and lets it run through his fingers. SON And the union strong. Where men are free to realize their true potential. A black PORTER approaches and grabs a bag at the bottom of their pile of junk. PORTER Can I help you? SON Where black men and white men, working together, can move mountains. The Porter pulls the bag and the entire mountain of junk cascades to the ground. ANGLE ON TED'S TAXI ARRIVING It is covered in mud, flames shoot out from under the hood, the HORN BLARES. The driver flips off the meter which reads, `` 874,567,004,500,000,000.'' The numbers run off the meter along a special attachment. DRIVER That'll be eight hundred and seventy - four zillion quastavitas. TED Here's three bucks. Keep the change. DRIVER Thank you!",
"INT. TERMINAL STELLA BARRINGTON pushes her wheelchair - ridden father, DR. CYRUS BARRINGTON, through the terminal crowd. A PORTER approaches. PORTER You folks need any help? STELLA Thanks, but we have a terrific woman in on Thursdays. PORTER Say, is n't that Dr. Barrington, the world - renowned agronomist? STELLA Yes. PORTER It's a privilege to meet you, sir, I'm familiar with all your work. STELLA Let's go, Daddy. We have to check in. -LRB- to Porter. -RRB- He was never appreciated at the Institute. PORTER Ah, yes, the Institute, I'm familiar with it. STELLA Now he's D - Y - I - N - Ging and wants to be buried on Mercury. Stella pushes her father away as another PORTER approaches our first Porter. PORTER 2 Say, was n't that Dr. Barrington, the world - renowned agronomist? PORTER 1 That's right. Are you familiar with his work? PORTER 2 No, but the missus sure is. ANGLE ON TED AT ARRIVALS/DEPARTURES MONITORS The departures side reads. `` MERCURY SHUTTLE - DEPARTS 6:15 AM'' TED -LRB- to self. -RRB- I have to stop that flight. Ted pushes his way through the crowd past two businessmen. HOLD on them as BUSINESSMAN 1 straightens BUSINESSMAN 2's tie and hair. BUSINESSMAN 1 Do n't worry about the Viatex account. It's a buy - sell option. We ca n't get hurt in either case. BUSINESSMAN 2 Just keep on top of their legal people, Bob. BUSINESSMAN 1 Do n't sweat it. They kiss and part. ANGLE ON `` 1ST CLASS'' TICKET LINE AGENT -LRB- to traveller. -RRB- We can take your in - flight dinner orders here, if you like. Today there's lobster or rack of lamb. TRAVELLER The lobster sounds nice. The Agent throws a huge lobster into a steaming cauldron. SFX : LOBSTER SCREAM. TED -LRB- rushing up. -RRB- Where can I find mission control? AGENT -LRB- without pointing or indicating in any way. -RRB- Information's over there. TED Thanks. He seems a bit puzzled but moves on. ANGLE ON `` 2ND CLASS'' LINE Ted passes travellers in rags. AGENT -LRB- to traveller in rags. -RRB- Today there's the swill or the slop. TRAVELLER The slop sounds nice. Ted passes the `` NO CLASS'' line. Travellers in line all wear gaudy double - knit suits, white belts and shoes, carry lava lamps and bongo drums, wear alpine hats, etc.. The agent hands a NO CLASS traveller his ticket with large foam dice dangling. Ted spots the INFORMATION counter and heads for it. ANGLE ON INFORMATION COUNTER MAN -LRB- to Info Agent. -RRB- What's the fastest animal on earth? INFO AGENT The cheetah. Next. WOMAN Should I fake my orgasms? INFO AGENT Yes. Next. Next in line are three armed, bearded `` TERRORISTS.'' \"TERRORIST\" 1 Please, where is flight to Miami? INFO AGENT -LRB- without indicating anything. -RRB- Over there. Next. The TERRORISTS leave looking confused. TED Mission control? INFO AGENT -LRB- without indicating anything. -RRB- It's over therrrrrrr! The agent is shot with an arrow and slumps over the counter. CLOSEUP OF TED He looks in the CAMERA. MUSIC : DRAMATIC STING. TED That's strange. I just came from over there.",
"INT. TERMINAL - ANOTHER AREA Elaine, Simon, and FRANK MORGAN, the shuttle pilot, talk. FRANK I'll meet you on board. I've got some business to attend to. Frank leaves. SIMON -LRB- to Elaine. -RRB- Frank's the best pilot in the program. ELAINE I'm so excited, Simon. SIMON I guess this is a first for you. ELAINE No, I've been excited before. TED -LRB- O.S. -RRB- Elaine. ELAINE -LRB- turning around. -RRB- Te! TED That's not important now, Elaine. We have to talk. Simon pulls Elaine away. They all walk and talk. ELAINE Ted, we've been worried sick ever since you escaped from the Ronald Reagan Institute For The Mentally Feeble. They walk faster. The b.g. starts whipping by as if they're running. Wind blows in their hair. TED Are you on the Mercury mission? SIMON That's right, Striker. And we're getting married when we return. The b.g. moves faster. The wind gets stronger. They pass a marathon refreshment stand and are handed wet sponges and cups of Gatoraid. TED It's got to be stopped! ELAINE But, Ted, the invitations have already gone out. TED I mean the Mercury flight. It's not safe and, Kurtz, you know why. SIMON You're still crazy, Striker. Come on, sweetheart. Simon pulls Elaine away as she looks back with empathy. ELAINE What did Ted mean? They leave Ted standing. SIMON Elaine, he's still sick. ANGLE ON TED The wind is still blowing in his hair even though he stands still. Ted has a FLASHBACK.",
"INT. ROCKET HANGAR Ted, in flight coveralls, follows after Simon who is overseeing the operation. SIMON You're seeing bugs where they do n't exist, Striker. TED -LRB- holding wire. -RRB- Look at this wiring. It's shorting out under high temperatures. SIMON You're tired, Striker, overworked. That wiring meets all the safety specifications. TED I know you've been subtly spreading the word that I'm having a breakdown. A NEWSPAPER BOY passes. NEWSIE Shuttle test pilot goes mad! A TECHNICIAN - JACOBS - enters with drawings of flight outfits. JACOBS Sir, these are the designs for the flight uniforms. I think the captain's is to die. SIMON -LRB- with drawings. -RRB- Good, good, no, no, good. What's this?! I said no studded dog collars, Jacobs. Jacobs grabs the drawings and leaves in a huff. TED You wo n't get away with this, Simon! Ted turns to leave and bumps right into Elaine. She holds him. ELAINE Ted, what's wrong? TED -LRB- pulling away from her. -RRB- Ask Simon. In b.g. a car is parked by a huge rocket engine. A worker opens the hood and strings jumper cables to the rocket. A sign above rocket reads, `` ROCKET ENGINE TEST AREA.'' ELAINE Ted, you're overworked. You've been flying yourself into the ground. TED There's nothing wrong with me! ELAINE Let's relax tonight, just the two of us. I'll make a quiet Italian dinner just the way you like it, with spaghetti. TED You're as bad as the rest of them, Elaine! -LRB- ranting. -RRB- It's all here in the design specifications! -LRB- grabs plans from a passing technician. -RRB- Look! It's all here! Simon signals the guards. They grab Ted. He struggles and rants. A DOCTOR in white approaches and injects something into Ted's arm. ELAINE No! Wait! You're hurting him! Ted falls unconscious. Simon holds Elaine. SIMON Elaine! Ted's a danger to himself, he's a threat to this mission and his behavior does absolutely nothing to promote peace in the Middle East. ELAINE -LRB- crying on Simon's shoulder. -RRB- Simon, why has he become so. so. SIMON So mentally ill? Elaine collapses on Simon's shoulder, sobbing. Simon smiles evilly. The technician with the jumper cables, b.g., signals the driver to start the car. The car revs and the rocket fires. SCENE Ted still standing alone and muttering. TED -LRB- to self. -RRB- I'm perfectly sane. Ted notices Stella Barrington looking at him. STELLA Excuse me, are you alright? I noticed you talking to yourself. I'm a nurse. Can I be of some help? TED Uh. oh, thank you. It's nothing. STELLA You do n't have to thank me, I'm a nurse. This is my father, Dr. Barrington. TED Not Dr. Barrington, the world renowned agronomist? STELLA Yes. He's dying a - n - d wants to be buried on Mercury. TED I'm familiar with your work, Doctor. You'll have to excuse me, I have to go. STELLA You do n't have to excuse yourself. I'm a nurse. I understand. Ted leaves.",
"INT. TERMINAL - OUTSIDE DRUGSTORE SIMON Meet me onboard, sweetheart. I have to pick up a few things at the drugstore. ELAINE -LRB- checking her watch. -RRB- Do n't be too long. Simon walks into the drugstore past a DRUGGIST who whispers to him : DRUGGIST Uppers, downers, coke, speed, hash, Tampax. ANGLE ON ELAINE Ted approaches. We see light flashes from a 25 cents photo booth. TED Elaine. ELAINE Ted, please. You're just making things difficult for yourself. A WOMAN IN BLACK GARTER BELT emerges from photo booth followed by a donkey. TED Elaine, what happened to us? ELAINE Ted, I loved you and I'll always love you. But I need Simon. He's stable. He's a good provider. I want that at this stage of the game, Ted. He might have his faults, but Simon does n't know the meaning of the word fear and I need that in a man.",
"INT. DRUGSTORE The Druggist hands Simon a huge bottle of pills. The label reads, `` ANTI - FEAR PILLS.'' SIMON -LRB- looking at the label, `` ANTI - FEAR PILLS''. -RRB- What does this word mean? DRUGGIST -LRB- looking at label. -RRB- ` Fear,' to be afraid or over - anxious. Simon swallows a handful of pills, braces himself and walks out right through the plate glass window without feeling a thing.",
"INT. TERMINAL Ted is still following Elaine. TED Elaine, someone has to listen to me. I'm going right to mission control. A kid bops by with a huge -LRB- 5 ` x3 ` x2' -RRB- oak cabinet, TV/stero console perched on his shoulder. MUSIC : DISCO. ELAINE Ted, you should go right back to the hospital. Elaine leaves and Ted has another FLASHBACK.",
"INT. MENTAL HOSPITAL PAN by dorm window. We see a sign on grounds outside - `` THE RONALD REAGAN INSTITUTE OF SUPPLY - SIDE ECONOMICS AND HOSPITAL FOR THE CRIMINALLY INSANE.'' PAN patient in bed, accountant at desk, patient in bed, accountant at desk, Ted in bed. Ted has electrodes attached to his head. A NURSE with `` I -LRB- heart -RRB- NORMAL'' on the back of her uniform, hands Ted some pills. He is about to pop them when she stops him. NURSE That's $ 38. Ted hands her bills. LOOSEN to find Elaine on other side of bed. She turns off the radio and opens a box of spaghetti - to - go. ELAINE Eat this spaghetti, Ted. It'll make you feel a lot better. SFX : GROANING O.S. ELAINE Who's that, Ted? TED Sammy Davis Junior. Terrible car accident. He has n't been the same since. ANGLE ON SAMMY DAVIS A white patient in lots of gold chains. A Nurse stands over him and pulls a long oil dip - stick from his mouth, checks it, wipes it off and replaces it. RETURN TO SCENE TED Elaine, when are you going to realize Simon Kurtz put me in here to get me out of the way. ELAINE And when are you going to realize, Ted, that your mental hygiene is the most important thing right now. VOICE -LRB- O.S. -RRB- -LRB- ranting. -RRB- It works. No, it does n't. Yes, it does. ELAINE What's his problem? ANGLE On BEARDED MAN in rags chained to wall. MAN It does work. No, it does n't. ANGLE On Ted and Elaine. TED His name's David Stockman. He's been here twenty years, that's all he says. ELAINE Ted, you must remember what the doctor said, the first step on the road to sanity is admitting that you're sick. Now take your electro - shock and you'll be back at the space center in no time. And by the way, Ted, I'm leaving you for Simon. Ted gags on his spaghetti. ELAINE I just ca n't go on living with a man who refuses to deal with reality, Ted. I have to go now. Believe me, it's best for all concerned. Elaine leans over to kiss Ted. He turns away. TED No goodbyes, Elaine. Just go. ELAINE If that's the way you want it. TED That's the way I want it. Just turn the radio on and go. ELAINE Goodbye, Ted. I do n't want to hurt you. Elaine flips a switch by the bed thinking it's the radio. It's the `` ELECTRO - SHOCK.'' Ted goes into convulsions as she leaves. TED AT TERMINAL He rubs his temples.",
"INT. TERMINAL - OUTSIDE BOOKSTORE Frank Morgan kisses JANE DENNIS, his mistress. In b.g. is a bookstore window with a display of yellow covered books with plain black titles and a sign advertising, `` NO - NAME BOOKS.'' Visible titles include : `` DEEP BOOK,'' `` FASCINATING BOOK,'' `` THE WORLD ACCORDING TO JOHN DOE.'' A man next to the window reads a newspaper with headline, `` SENSELESS MURDER UP 99 % AND RISING!'' FRANK Carol's not going to give me a divorce that easily, Jane. JANE I'm worried about her, Frank. She could do something senseless, something violent. FRANK You're the one who's not making sense, Jane. Carol's not the violent. Frank sees CAROL. FRANK Carol! Carol whips out a gun. FRANK No! This is senseless! CAROL FIRES. Jane faints. Other women nearby faint. Two S.W.A.T. cops faint. Carol bolts. The newspaper, b.g., clicks over from 99 % to 120 %.",
"INT. TERMINAL - ANOTHER AREA Ted pushes through crowd and passes a spherical booth with sign that reads, `` ORGASMIC EXPERIENCES, 25 cents.'' MRS. GOOCH, an elderly woman, stops Ted next to the booth door. MRS. GOOCH Young man, would you have change for a twenty? TED -LRB- going for his wallet. -RRB- I might have two tens. MRS. GOOCH Thank you anyway, but I wanted it in quarters. Ted keeps moving past a police line which has gone up around Frank Morgan's body. We HOLD on the murder scene. A DETECTIVE kneels beside the body which now has a chalk mark around it. SERGEANT -LRB- lookind down at Detective. -RRB- When is this senseless killing going to stop? DETECTIVE HALLICK Senseless or not, Sergeant, there's a pattern here. This is the 12th victim this week with a chalk mark around the body. I want this whole area cordoned off! I want everyone in this terminal booked and beaten until they talk. I want an M.O. on everyone who has seen THE SOUND OF MUSIC and I want the entire population of Hawaii off that rock and into the water within one hour. Hallick stands up and finds the area surrounded by 30 accordian players playing `` Lady of Spain.'' DETECTIVE HALLICK Sergeant. I said cordon off, not accordian off! Now dust this area for prints. One cop pulls out a duster and dusts the wall. Other cops follow after him hanging prints by Picasso, Lautrec, etc.. DETECTIVE HALLICK And run a check on their plates. A cop looks at people's upper false teeth plates. DETECTIVE HALLICK -LRB- TO CAMERA. -RRB- When will this senseless killing end? A POLICE PHOTOGRAPHER straddles the body and shoots it `` BLOW - UP'' style. PHOTOGRAPHER Super! Great! Super! Terrific! Super!",
"INT. MISSION CONTROL - EXECUTIVE OFFICE KRUGER That's right, Commissioner. Senselessly murdered just minutes ago. COMMISSIONER That just does n't make any sense. KRUGER I wonder how your boys in Washington are going to take this one. COMMISSIONER I told you, leave the boys in Washington to the boys downtown and the boys down. KRUGER You've made your point, Commissioner. There's only one other pilot who can handle that shuttle and that's Clarence Oveur. He's got a lunar flight today. I want him pulled. -LRB- to Jacobs. -RRB- Jacobs, pull Oveur! JACOBS Not in your size, but I have a cardigan. He runs out. COMMISSIONER I'll trust you on this, Bud, but I'm a little nervous about Oveur's record. The Commissioner throws an album on Kruger's desk. On the cover is a photo of Oveur with an accordian. The title reads, `` CLARENCE OVEUR'S 400 POLKA FAVORITES.'' MUSIC : DRAMATIC ACCORDIAN STING.",
"INT. TERMINAL CAPTAIN OVEUR buys flight insurance from a machine. Simon approaches. SIMON Captain Oveur? OVEUR Mr. Kurtz, I presume. SIMON We do n't have much time. Let's move. I'll explain everything. They walk away past the Transcendental Air counter. Two HARI KRISHNA AGENTS smile at customers. HAIR KRISHNA Chanting or non - chanting?",
"INT. MISSION CONTROL ROOM PAN along Controllers at their monitors. Monitors show the shuttle on gantry. CONTROLLER 1 This is Mercury launch control at `` T'' minus fifty - eight minutes and counting. All systems are go. Clear launch area. ANGLE ON NASA WORKERS AT LUNCH TABLE They rise and start clearing their dishes. CONTROLLER 1 -LRB- V.O. -RRB- -LRB- on P.A. -RRB- I said ` launch' not ` lunch'! The workers sit down.",
"INT. TERMINAL Oveur and Simon hurry along. SIMON That's how dry cleaning works. Now I'd like to quickly go over the digestive system of amphibians. OVEUR Do you think it's necessary to explain everything? Simon spots Ted getting directions from a security guard. SIMON I'll meet you on board. There's something I have to take care of first.",
"INT. MISSION CONTROL HEAD OFFICE - RECEPTION Ted rushes in and up to the RECEPTIONIST. TED I have to see Bud Kruger. RECEPTIONIST Do you have an appointment, sir? TED No, dammit. It's a matter of life or death. RECEPTIONIST You'll have to be more specific than that, sir. TED All right, it's a matter of death. RECEPTIONIST -LRB- checking her book. -RRB- Death, death. How about the first Thursday in March, ten o'clock. Ted bolts by her and grabs a door knob on the wall. RECEPTIONIST You ca n't go in there! TED Do n't try to stop me! RECEPTIONIST But that's not a door. The door's over there. She does n't indiciate direction. ZOOM to CLOSEUP of Ted. TED That's strange. I just came from. Suddenly, Ted falls unconscious into the arms of two guards. LOOSEN to find the Doctor holding a needle in his arm and Simon next to the Doctor. ANGLE On Ted's feet. His heels make lines in dirt as he is dragged from the office.",
"INT. MISSION CONTROL ROOM PAN Controllers at their monitors. CONTROLLER 1 -LRB- V.O. -RRB- -LRB- on P.A. -RRB- This is Mercury control at `` T'' minus fifty minutes and counting. Commence loading of passengers requiring special boarding assistance.",
"EXT. TERMINAL - LOADING AREA Ground crew lift passengers who are stacked on a luggage tram and heave them onto a conveyor belt leading up to the ship.",
"INT. TERMINAL JOE SALUCCI -LRB- imagine Van Heflin -RRB- bids his WIFE -LRB- imagine Cher -RRB- goodbye. Joe is very nervous, sweating a lot. His Wife hands him a few crumpled bills. WIFE Take this, Joey. It's my last few bucks. You'll need a hot meal when you get there. JOE We've spent everything on these operations. Is it really worth it? We've pawned your mother's wedding ring. The kids have no winter clothes. WIFE -LRB- holding a finger to his lips. -RRB- Joey, what's more important, the kids' clothes or your sexual potency. JOE -LRB- anxiously looking around. -RRB- I do n't want to hear that word! WIFE Okay, Joey. The Doc says you got ta relax. This hospital in Des Moines is the best sex clinic in the country. JOE All right. -LRB- hands her an envelope. -RRB- Here. WIFE What? JOEY Insurance. Everyone buys it. MUSIC : DRAMATIC STING. WIFE All right. Goodbye, Babe. She kisses him. He recoils, wipes off his mouth, and leaves. She looks at the envelope, then yells at him through the crowd. WIFE Joey! Remember, sexual impotence is nothing to be ashamed of! The entire terminal looks at him.",
"INT. TERMINAL STORAGE ROOM Ted is tied to a chair surrounded by packing crates - one is stamped `` JIMMY HOFFA, THIS END UP'' with the arrow pointing to the ground. Ted struggles to free his hands.",
"INT. TERMINAL GIFT SHOP Joe Salucci stands at the counter. JOE -LRB- to Cashier. -RRB- Time, Newsweek, the Lifesavers, and the second time bomb from the right. He points at the shelf behind the Cashier where a number of bombs are on display. ANGLE ON CANDY MACHINE IN GIFT SHOP The actual DR. BENJAMIN SPOCK stands in front of the machine. Next to the machine at the magazine rack is a red - bearded MAN in tweed jacket and a tartan kilt reading a magazine titled `` GAY SCOTS.'' Spock puts a coin in the machine and it explodes in sparks and smoke like the bridge panel on `` STAR TREK.'' SCOTT -LRB- Scottish accent. -RRB- My God, Dr. Spock! You've got a meltdown in the Reggie Bars!",
"INT. TERMINAL CORRIDOR Joe Salucci snaps his attache case closed. Wipes the sweat from his brow. Takes out a `` Des Moines'' ticket and throws it away. Looks at another ticket - `` Mercury.'' Takes a last drag from his cigarette, throws it on the ground and hurries off. The cigarette rolls under the `` STORAGE ROOM'' door.",
"INT. STORAGE ROOM Ted, tied in chair, watches the cigarette roll up to some oil rags. They burst into flame. The flames lap up against a yellow oil drum labeled `` EXPLOSIVE.'' PAN to three more drums labeled, `` DYNAMIC!'' , `` BRILLIANT!'' , `` A MUST SEE!'' .",
"INT. TERMINAL OUTSIDE STORAGE ROOM EDITH and DAVE WALTERS, a middle - aged couple, carry their hand luggage. Edith appears very nervous. DAVE I'm telling you, Edith, space travel is safer than driving a car. The storage room door EXPLODES open in front of them. Ted flies out with the debris. Edith faints. Ted gets up, brushes himself off and heads to the ticket counter just as the ticket agent flips a sign over that reads, `` MERCURY - SOLD OUT.'' Ted spots a SCALPER and reaches for his wallet. SCALPER Mercury seats. I got a pair. I got aisle seats, window seats. Check'em out.",
"INT. SHUTTLE COCKPIT - MORNING Computerized panels line all walls. Windows are similar to an airplane - outside carwash brushes soap down the nose. The `` HOT WAX'' sign flashes. Two attendants wipe windows with soap gloves and move to the DISTANT STRAINS of `` CAR WASH.'' Elaine sits at computer, two other CREW are in their seats. Simon enters with Oveur. SIMON Gentlemen, this is Captain Oveur. He's taking over for Frank Morgan. MR. UNGER What's the problem? SIMON Morgan was senselessly murdered about an hour ago. Elaine gasps. MR. DUNN -LRB- black, sports afro. -RRB- Murdered? I hope it's not serious. SIMON We wo n't know until after the autopsy. MR. DUNN Of course. Welcome aboard, sir. OVEUR Good to be aboard, gentlemen. SIMON Captain Oveur, your navigator, Mr. Unger, and your first officer, Mr. Dunn. They shake hands. OVEUR Unger. UNGER Oveur. DUNN Oveur. OVEUR Dunn. SIMON And I think everyone knows Elaine. They all smile.",
"INT. TERMINAL SECURITY CHECK AREA - \"MERCURY GATE\" The Terrorists still seem confused as to where they're going. They pass through the security metal detector, guns raised above their heads. A GUARD runs a hand - held metal detector up and down their bodies. At the same time, Mrs. Gooch is being held spread - eagle against the wall. One Guard holds a gun to her head, another frisks her. Ted moves through behind the Terrorists. TERRORIST -LRB- to Guard. -RRB- Is flight to Miami, yes? GUARD No. TERRORIST Thank you. Thank you. A young boy passes through the X - ray tunnel. His dental chart appears on the screen. A DENTIST at the other end stops him and looks in his mouth. DENTIST Open. THE BERGMAN FAMILY - SVEN, KRISTA, and their two CHILDREN - all dressed like the emigrants, look up at the `` MERCURY GATE'' sign. They should be shot like characters from a Bergman `` film.'' SVEN Mercury, Krista. A whole new world to be depressed about. KRISTA Ya, Sven. CHILD 1 Will we die, Pappa? SVEN We all die, Ingrid. CHILD 2 Will we die soon, Pappa? SVEN Soon? What is the real meaning of ` soon'?",
"INT. COCKPIT The car wash continues with attendants wiping the ship down. OVEUR -LRB- flips a switch. -RRB- Atmosphere control. UNGER -LRB- flips a switch. -RRB- Atmosphere control, check. A car wash attendant opens a side door to the cockpit and enters in headphones, moving to `` CAR WASH,'' with a vacuum. He cleans the floor and an ashtray and finds a baseball behind the Captain's seat which he pockets. OVEUR -LRB- flips a switch. -RRB- Anti - gravity. The car wash attendant floats to the ceiling. DUNN -LRB- flips a switch. -RRB- Anti - gravity, check. The attendant crashes to the floor. Elaine sits at the R.O.K. - 4000 computer. She seems to be having a problem with a switch. ELAINE -LRB- to self. -RRB- That's odd.",
"INT. BOWELS OF R.O.K. COMPUTER A circuit board just below the R.O.K. - 4000 logo shorts. Sparks fly. A fire starts.",
"INT. COCKPIT OVEUR -LRB- looking out the window. -RRB- I hope that weather does n't give us a problem. -LRB- he opens the window and holds his hand out. -RRB- What's your temperature reading, Mr. Unger. UNGER -LRB- pulls a thermometer from his mouth. -RRB- Ninety - eight point six.",
"INT. MISSION CONTROL ROOM CONTROLLER 2 There seems to be some fog rolling in from the west. CONTROLLER 1 Mike, give me a density reading. I just hope it's not too heavy. CONTROLLER 3 -LRB- reading from a book like Richard Burton. -RRB- The fog, the fog, the torment clouded my mind. Derision, contempt. CONTROLLER 1 That's heavy.",
"INT. SHIP DOOR Flight attendant, MARY MORRIS, welcomes passengers aboard. MARY -LRB- to Stella and father. -RRB- Welcome aboard. Is n't that Dr. Barrington, the world renowned agronomist? STELLA Yes - he's dying and wants to be buried in the new l - a - n - d. MARY -LRB- to Joe Salucci. -RRB- Welcome aboard. Can I take your case? JOE -LRB- clutching case. -RRB- No! Mary gives him a look as he passes inside. The OKIES move by. HENRY stops at door, bends down, picks up an ear of corn and pulls it apart. HENRY There's a whole new world in front of us, Ma. Where the dictatorship of the proletariat will lead workers and peasants into socialism without the revisionist diversions of bourgeois liberals, Trotskiests, or disillusioned Maoist terrorism. The Okies pass inside. MARY -LRB- looking at them ; to self. -RRB- Does n't he realize that a weak proletariat needs a strong liberal bourgeoisie in a joint struggle against monopoly capitalism? Ted stops at the door surrounded by boarding passengers. SUPER : PSYCHIATRIST. PSYCHIATRIST We ca n't begin to help you until you admit that you are sick, Ted. -LRB- echo. -RRB- Sick Ted, sick Ted, sick Ted. The boarding passengers look around for the echoing voice.",
"EXT. TARMAC - DAY Sarg looks up through the glass - walled corridor that leads to the ship door and spots Ted. SARG -LRB- to CO - WORKER. -RRB- Well, I'll be a monkey's uncle ; Ted Striker. -LRB- holding burnt wire. -RRB- Jack, I got a bad feeling in my gut about this mission. In b.g. a sign reads, `` DANGER - FUEL, ABSOLUTELY NO VOMITTING.'' WORKER What'd you have for dinner? SARG The fish, why? MUSIC : DRAMATIC STING. Sarg bends down OUT OF FRAME. SFX : THROWING UP. A huge EXPLOSION FILLS THE FRAME.",
"INT. COCKPIT Fog rolls past cockpit window. OVEUR We should be ready to launch as soon as this fog lifts.",
"EXT. RUNWAY An ENGLISH BOBBY passes a woman in 19th - Century costume in the fog. He tips his hat and moves on. A caped man steps out of the fog and strangles her.",
"INT. CABIN Passengers are taking their seats. Ted spots Elaine and moves towards her. The Terrorists look confused. Joe Salucci clutches his case and wipes his brow. Mary takes a man's suit bag. MARY Can I hang that for you, sir? MAN Thanks. Mary hangs the bag from a rope noose in the closet, pulls a lever, the bag drops like a man being executed. SFX : SCREAM AND THUD.",
"INT. COCKPIT Unger looks out the window. UNGER It looks like that weather is clearing.",
"EXT. SKY - DAY (STOCK) Dramatic stock footage of clouds parting and sun exploding through. MUSIC : A CLARION TRUMPET CRESCENDO.",
"INT. CABIN - OUTSIDE COCKPIT DOOR Ted moves up to Elaine, who is about to enter the cockpit. TED Elaine. She turns and gasps. ELAINE Ted! What are you? TED I have to get in there. I have to stop this flight. SFX : BELL. INSERT - FLASHING SIGN - `` PLEASE TAKE YOUR SEATS'' BACK TO SCENE ELAINE Ted, we're taking off! TED Let me by, Elaine. Mary passes. MARY Please take your seats. As Ted turns to Mary, Elaine slips into the cockpit and locks the door - SFX : DOOR LOCKING. Ted tries the door. TED Elaine! INSERT - SIGN - `` WE SAID, TAKE YOUR SEAT OR CA N'T YOU READ, ASSHOLE!''",
"INT. COCKPIT Elaine leans back against the door. She is highly agitated. Simon, the administrative officer, and other crew are in their seats. SIMON Whenever your're ready, Captain. OVEUR Yes, sir, commander. -LRB- into radio. -RRB- This is Mercury One. Everything seems A - okay up here and ready for count - down. ZOOM to CLOSEUP of Elaine's face.",
"EXT. HOSPITAL GROUNDS - DAY Dr. Rumack and Elaine walk across the well - groomed lawn. Elaine carries a box of spaghetti - to - go. As they walk, they pass patients in wheelchairs pushed by nurses. The further they walk, the more wheelchairs appear until the lawn is jammed with two hundred wheelchairs bumping into each other, patients falling out, total wheelchair chaos. ELAINE Ted seemed to get worse after I told him about Simon, Doctor. RUMACK The human brain is a highly complex organ, Elaine, perhaps the most complex next to the bladder. -LRB- he stops at a patient in a wheelchair with his back TO CAMERA. -RRB- Let me show you. -LRB- Rumack removes the top of the patient's skull and takes out his brain as they continue on. -RRB- Ted's problem is in this area. -LRB- points with a pencil. -RRB- This area, this area, here, here, here, under here, here. They walk OUT OF FRAME as wheelchair demolition derby FILLS SCREEN.",
"EXT. HOSPITAL GROUNDS - GARDEN AREA - DAY Rumack and Elaine walk INTO FRAME still talking. RUMACK So you see, our task is n't made any easier by Ted's refusal to admit that he's sick. ELAINE What can I do, Doctor Rumack? He stops next to a sign, `` HOSPITAL GARDEN.'' RUMACK You can eat balanced meals, exercise, and take Geritol. ELAINE I mean for Ted. RUMACK You can be gentle with him, Elaine. He's been working out a lot of his aggressions here in the garden. ELAINE Is that a good sign, Doctor? Rumack holds the `` HOSPITAL GARDEN'' sign. RUMACK It does the job. ANGLE ON TED He is ripping up small trees, shrubs, etc., and throwing them onto a huge pile of mud that resembles the mountain that Dreyfuss built in `` Close Encounters.'' ELAINE Hello, Ted. Ted ignores her as he works frantically. ELAINE -LRB- holding out box. -RRB- I brought you some spaghetti. Ted still ignores her as he works feverishly. ELAINE What are you doing, Ted? TED I've got it, Elaine! I've figured out what's wrong with the shuttle! Ted scurries around. ELAINE Ted. TED Not now, Elaine! ELAINE Ted! He ignores her. Rumack walks up and puts an arm around her shoulder. Elaine starts to sob. RUMACK The brain is an amazingly complex organ, Elaine. ELAINE Is he making any progress, Doctor? RUMACK Yes - last week that pile of mud was only this high.",
"INT. COCKPIT Elaine takes her seat. CONTROLLER 1 -LRB- V.O. -RRB- Mark ` T' minus twenty and counting. OVEUR Gentlemen, let's get this bucket into space. -LRB- flips switches. -RRB- Ignition set.",
"EXT. SHIP Steam spews out from engines.",
"INT. CONTROL ROOM CONTROLLER 1 Mark ` T' minus thirty seconds. PAN backs of a number of Controllers at screens, talking NASA jargon. We PASS one in prison stripes talking through mesh to his wife.",
"INT. COCKPIT OVEUR -LRB- flipping more switches. -RRB- Ignition. CONTROLLER 1 -LRB- V.O. -RRB- ` T' minus nine, eight, seven.",
"EXT. SHIP Rockets fire. CONTROLLER 1 -LRB- V.O. -RRB- Six, five, four.",
"INT. CONTROL ROOM CONTROLLER 1 Three. Jacobs runs in with a camera, yelling : JACOBS Stop! One shot. All Controllers turn and smile. The count - down stops. Jacobs flashes his camera. JACOBS Wonderful! The Controllers continue. CONTROLLER 1 Two, one.",
"INT. COCKPIT The ship vibrates. CONTROLLER 1 -LRB- V.O. -RRB- You have lift - off, Mercury One. The G - force causes the crew's hair to go straight back. Dunn's afro straightens and stays back throughout flight.",
"INT. CABIN The G - force causes passengers' hair to go straight back. A buxom woman looks down at her bust - it's completely flat.",
"INT. COCKPIT The G - force returns to normal as the shuttle breaks earth's gravitational hold. OVEUR Jettison booster stages one and two. UNGER -LRB- flipping switches. -RRB- Booster jettisoned.",
"EXT. SHIP - BOOSTER STAGES (STOCK) Stock footage of booster falling away.",
"EXT. OCEAN (SET) - DAY A cheap model of the Greenpeace 11 sails blithely along. The booster stage careens through the atmosphere, crashes into the Greenpeace, and sinks it.",
"INT. COCKPIT OVEUR Shut down accelerators. DUNN Accelerators down. The crew all look at the floor. OVEUR Elaine, ask ROK for a field interference scan. Those sun spots might give us a problem with our communications. ELAINE -LRB- flipping computer switches. -RRB- Yes, sir. The computer is labeled R.O.K.. She seems to have a problem getting it to respond. ELAINE -LRB- to self. -RRB- That's really strange.",
"INT. BOWELS OF COMPUTER (LABELED \"ROK\") The electrical fire continues.",
"INT. COCKPIT Elaine flips a switch on computer. A `` VOICE INTERFACE'' sign lights up. ELAINE Intermitant failure in scan mode `` R''. Analyze. ROK Negative. ELAINE -LRB- to self. -RRB- That does n't make sense. -LRB- to ROK. -RRB- Repeat analysis. ROK Negative. ELAINE -LRB- to self. -RRB- That's not possible. ROK Cut the Doubting Thomas shit, Elaine. I know where I'm coming from on this. Elaine is taken aback.",
"INT. BOWELS OF COMPUTER Sparks fly, fire spreads.",
"INT. CABIN Mary moves down the aisle checking passengers. She passes Father O'Flanagan who reads ALTERBOY magazine - an alterboy in bikini bathing suit on cover. She passes Mrs. Gooch who reads HIGH TIMES. She stops at a ten - year - old GIRL. MARY I guess this is pretty exciting for you. GIRL Yes, it is. How long will the trip take? MARY Our actual flight time is over fourteen months, but due to the time - space variant at sub - light speeds, our onboard flight time will be just over eighteen hours. Mary leaves and the Girl turns to the WOMAN beside her. GIRL Gee, Mom, how does that work? WOMAN -LRB- very tense. -RRB- How many times do I have to tell you, I'm not your mother! I've never seen you before! The Woman vibrates in multiple image and grabs her temple. GIRL -LRB- V.O. -RRB- Why did she yell at me like that? A MAN who looks like Robert Young sits down beside the Girl. MAN Hallucinating again, Rhonda? GIRL -LRB- taking a paper bag away from her face. -RRB- I do n't know what it is. MAN Maybe it's the brand of glue you've been sniffing. Why do n't you try this, NO - HI. It gives you all the pleasure of glue without the brain damage. ANGLE ON TESTA -LRB- ANOTHER FLIGHT ATTENDANT -RRB- She is completely bald. TESTA Something to read, sir? JOE -LRB- clutching his case. -RRB- Do you have PSYCHO MONTH? TESTA I think so. Here you are. She hands him a copy of PSYCHO MONTH with Alexander Haig's photo on cover. ANOTHER PART OF CABIN Ted sits at a window seat and looks out. A TEXAN sits on aisle. Mary approaches. MARY -LRB- to Texan. -RRB- Would you like something to read? TEXAN I do n't read a whole lot, but what have you got, hon? MARY TIME, NEWSWEEK, BUSINESS WEEK, and the TALMUD. She points to a car next to her with twenty - four large volumes. MARY The twenty - four volume dissertation on the Hebrew law. TEXAN Let me try that Talmud. MARY -LRB- to Ted. -RRB- And you, sir? TED -LRB- distracted. -RRB- Oh. Popular Electronics. Mary hands him the POP ELEC. He opens it. The magazine sparks and smokes. ZOOM to CLOSEUP of Ted. SUPER : PSYCHIATRIST PSYCHIATRIST You must admit that you're sick, Ted. -LRB- echo. -RRB- Sick Ted, sick Ted. The Psychiatrist looks around for the source of the echo. LOSE SUPER. TEXAN -LRB- to Ted. -RRB- Wanta switch when we're finished? Ted gets up and moves past the TEXAN, handing him the POP ELEC. TED Here. I need some oxygen.",
"INT. COCKPIT Simon stands over Elaine's shoulder looking at ROK. SIMON Have you got it straightened out now? ELAINE I think so. SIMON That's my girl. He sits down. Elaine flips a switch on the computer. ANGLE ON ROK'S PULSATING EYE ROK Elaine, I'm sorry about that little outburst a moment ago. ELAINE That's okay, ROK. ROK Can I say something of a personal nature to you? ELAINE Go ahead. ROK You have great tits. Elaine gasps. ELAINE -LRB- getting up. -RRB- Simon, I'm going to check ROK's secondary readout unit. SIMON Roger. SFX : INTERCOM BELL. OVEUR -LRB- on intercom. -RRB- Yes, Mary?",
"INT. CABIN - FOOD PREPARATION AREA Mary is on intercom. MARY Would you like a little breakfast, Captain Oveur? Over.",
"INT. COCKPIT OVEUR A couple eggs and juice would be nice, Mary. Over. MARY -LRB- V.O. -RRB- -LRB- on intercom. -RRB- How would you like your eggs, Captain? Over. OVEUR No. Poached. Over. MARY -LRB- V.O. -RRB- -LRB- on intercom. -RRB- Poached and over, Captain Oveur? Over. OVEUR Just poached on toast. Over.",
"INT. CABIN - PREPARATION AREA MARY -LRB- on intercom. -RRB- I do n't think we do poached eggs on toast over, Captain Oveur. Over.",
"INT. COCKPIT OVEUR That's how I want them. Poached. Over. MARY All right, Captain Oveur. Over. OVEUR Poached! Not over! Over!",
"INT. WASHROOM Ted breathes deeply on an oxygen unit. He stops, but we still hear deep breathing. LOOSEN to find Father O'Flanagan smoking a joint. He smiles and leaves.",
"INT. CABIN Joe Salucci clutches his attache case and wipes his brow. Mary leans over him. MARY You should really put that case in the compartment above your head, sir. JOE -LRB- nervously. -RRB- That's okay. MARY -LRB- touching his shoulder. -RRB- I can help you if you ca n't get it up. JOE I said, no! Mary leaves, giving him a worried look. ANGLE ON THE WILSONS Jimmy holds his dog. JIMMY I sure an glad they let Scraps ride up here with us. JOHN I bet Scraps is going to love Mercury. JIMMY Do you think things will be a lot different on Mercury, Dad? JOHN It's going to be terrific. A whole new world, new kids to play with. ALICE You're going to love it, Jimmy. JIMMY No more headlines about the rape trial and the fraud charges? JOHN -LRB- starts to twitch. -RRB- How many kids get a chance to live on another planet. JIMMY No more kids yelling, ` Your old man's a thieving rapist'? JOHN -LRB- grabbing Jimmy. -RRB- Look, a man can make an honest mistake! Anyway, she was asking for it! They're all asking for it all the time! ALICE -LRB- V.O. -RRB- Not John's irregularity again.",
"INT. WASHROOM Ted throws water on his face, wipes it off with a towel while staring into himself in the mirror. He sees the Psychiatrist in the mirror. The Psychiatrist also washes up. PSYCHIATRIST You must admit that you're sick, Ted. sick, Ted. sick, Ted. The Psychiatrist looks for the echo. LOSE Psychiatrist. Ted throws the paper towel into the toilet, and flushes. The toilet sparks and smokes and keeps running. The running gets more intense as Ted tries to stop it by hitting the handle. SFX : JAWS THEME. INSERT - ROK'S PULSATING EYE BACK TO SCENE Ted has to hold himself back as the suction builds in force. He is just able to escape and shut the door behind him.",
"INT. CABIN - OUTSIDE TOILET Ted leans his back against the door and breathes heavily.",
"INT. COCKPIT DUNN We seem to have a malfunction in disposal unit four, sir. OVEUR You better check it, Unger. UGER -LRB- getting up. -RRB- Done. DUNN Yes?",
"INT. CABIN - OUTSIDE TOILET Ted spots Elaine coming. TED Elaine. ELAINE Ted. I do n't know why you got on this flight. I do n't know what you're trying to prove. TED Elaine, we have to go back. ELAINE We ca n't go back. We had something very special, but it's all over. TED Elaine, I mean the mission has to be aborted. This ship should never have passed FSA inspection. This thing is held together by string and chewing gum. A cupboard door, labeled `` EMERGENCY USE ONLY,'' swings open behind Elaine revealing shelves of gum and string. Elaine shuts it without looking inside. MUSIC : DRAMATIC STING. ELAINE Ted, get a grip on yourself. You should never have left the hospital. TED Then you do think I'm insane. ELAINE I've never used the word insane, Ted. TED -LRB- facetiously. -RRB- What word would you use, Elaine? ELAINE The word is sick. Ted - very, very, very sick. TED What would you say if I told you the toilet just blew up in my face. ELAINE I'd use the word insane. TED There's something dangerously wrong with this ship, Elaine. I know its the wiring. That toilet's just the tip of the iceberg. ELAINE Ted, a toilet's not going to kill anyone. Elaine leaves.",
"INT. TOILET MUSIC : JAWS THEME. Unger jiggles the handle of the running toilet. Suddenly it sucks in towels, etc.. Unger is pulled down. He fights back, grabbing onto towel rack that comes out of the wall. INSERT - SIGN - `` DO NOT THROW LARGE OBJECTS IN TOILET''",
"INT. CABIN The Texan with Talmud is now trying to wrap himself in tfilin. ANGLE ON TED Ted walks down the aisle checking overhead panels. He spots a panel that is half open. A sign on the door reads, `` DANGER - VACUUM''. Ted opens it and a Hoover falls out on his head, cutting him. He holds a hanky to the wound and passes by Stella's seat. STELLA You've been hurt. TED I'm getting over it. If a relationship is n't working, you ca n't force it. STELLA No, I mean your head. Sit down. I'll take a look at it. I'm a nurse. Ted sits down and Stella starts patching him up. STELLA Do you want to talk about it. TED I opened this panel and a vacuum cleaner hit me. STELLA No. I mean your relationship. TED We were in love but I'm not sure I know what love is anymore. STELLA Love's the same as it always was. It's people who change. TED People change in relation to each other. Love changes on its own. STELLA Not if the people change together in relation to that love. TED Sure. But that's only when the love itself goes unchanged. STELLA Then the relationship remains the same and the love changes only when there's change in the two people who share that love. TED I just wish it was that simple. We really were in love. You know how it is when you laugh all the time. Stella looks to her Father who is reading MORTUARY WORLD magazine. STELLA No. It's hard to L - A - U - G - H when your father's dying. TED Well, we laughed. We laughed all the time. TED AND ELAINE IN A FIELD OF DAISIES - DAY They run towards each other. Elaine grabs Ted by the waist, picks him up and swings him around in SLOW MOTION. They laugh. TED -LRB- V.O. -RRB- We laughed when times were good.",
"EXT. GRAVESIDE - RAINY DAY The grave is surrounded by mourners in black with umbrellas. We PAN the weeping crowd until we get to Ted and Elaine. They are also dressed in black and drenched. He holds her high by the waist, twirls her around as they laugh. TED -LRB- V.O. -RRB- Even when times were n't so good, we still laughed.",
"INT. BEDROOM - NIGHT They are locked in each other's arms in the middle of lovemaking and laughing heir heads off. TED -LRB- V.O. -RRB- But most of all, we laughed when we felt closest to each other.",
"INT. CABIN - TED AND STELLA TED That's our story. Passengers are standing. They hiss and throw vegetables at Ted.",
"INT. COCKPIT Dunn checks a red flashing light on his panel. DUNN -LRB- to Oveur. -RRB- Sir, I've got an overload in disposal unit four. OVEUR You better check on it, Mr. Dunn. I'll stay here and fly the ship. Dunn gets up. OVEUR Dunn. DUNN Sir? OVEUR You better take this. Oveur throws him a plunger and gives him a thumbs up. They exchange that `` man must do what a man must do'' smile. Mary enters with Jimmy Wilson - carrying Scraps. MARY Mind if Jimmy here takes a look around, Captain? OVUER Of course not. Come on in, Jimmy. -LRB- checking his navigational screen. -RRB- That's strange. Simon leans over Oveur's shoulder. SIMON Now what? Scraps looks at Oveur. Jimmy looks at the array of dials, etc.. OVEUR That's an asteroid field. There should n't be anything like that in this sector unless. Scraps looks at Simon. SIMON Unless? Scraps looks at Oveur. OVEUR Unless those sunspots are interfering with our scanner or. Scraps looks at Simon. SIMON Or? Scraps looks at Oveur. OVEUR Or we're off course, but. Scraps looks at Simon. SIMON But? Scraps looks at Oveur. OVEUR But we could n't be off course. Our coordinates are computer - locked barring. Scraps looks at Simon. SIMON Barring? Scraps looks at Oveur. OVEUR Barring a computer failure. There was talk of sub - par wiring in this ship. I hope that's just talk. MUSIC : DRAMATIC STING. Scraps' ears prick up. Simon moves past Jimmy, stops at the door and downs a handful of anti - fear pills before leaving. OVEUR Come on up, Jimmy. Say, that's some puppy. What's his name? JIMMY Scraps. OVEUR Can I hold him? JIMMY -LRB- handing over Scraps. -RRB- Sure. OVEUR -LRB- holding him up and looking at his underbelly. -RRB- He's a boy dog. JIMMY Yeah. OVEUR Do you like it when Scraps sleeps on his back, Jimmy?",
"INT. CABIN Ted and Stella. Stella is feeding her father and listening to Ted. TED They kept me in the asylum for eight months. I know everyone in those places claims they're sane, but I was different, I was sane. Ted notices Unger float by outside his window. ZOOM to CLOSEUP of Ted. He tries to take a drink and pours it on his forehead.",
"INT. BOWELS OF COMPUTER Elaine is fighting the fire with an extinguisher. She gets it out and looks at the burnt wires in the area labeled, `` ROK, MORAL CENTRE.'' ZOOM to CLOSEUP of Elaine. She turns TO CAMERA. ELAINE Holy shit. MUSIC : DRAMATIC STING.",
"INT. CABIN STELLA Ted, I want you to relax. Let your mind go back, back past your youth, past your childhood to your mother's womb. Ted becomes slightly hypnotized. ZOOM to CLOSEUP of Ted. SUPER : INT. WOMB A fetus that looks like Ted is curled up inside. STELLA Try to remember your birth. Was it difficult? DOCTOR'S VOICE Striker, listen to me! This is Doctor Krane! You're twisted around, Striker. You've got to come out feet first! You're too low in the womb! You're too low, Striker! You're. -LRB- fading. -RRB-. too low. LOSE SUPER Stella shakes Ted's arm. STELLA Ted, are you okay? Here, take one of these stress pills. Stella hands him a pill which he pops automatically, but misses his face with his drink. She leaves the bottle next to Ted. ZOOM on bottle. MUSIC : DRAMATIC STING. Stella starts feeding her father again. The ship jolts and his face goes into the tray.",
"INT. REAR OF SHIP - COMPUTER AREA Elaine fiddles with the computer. ELAINE -LRB- to ROK. -RRB- Request ; comprehensive electrical systems check. ROK Systems check positive. Look, Elaine, I. ELAINE Request ; life support systems check. ROK Life support check. Elaine, it's obvious you've been ignoring me. You're a woman. I can relate to that. ELAINE -LRB- panicky and confused. -RRB- Request ; self - analysis of ROK hardware and software systems regarding behavioral changes. ROK There's nothing wrong with me, Elaine. What about tonight - just you and me. We can be alone. I can get rid of everyone else on the ship - I've already proven that. Elaine gasps and moves away from ROK's blinking eye.",
"INT. CABIN - FOOD SERVICE AREA Simon takes a long slug from a flask. LOOSEN to FIND Jimmy and Scraps. JIMMY Do you want to talk about it, Commander?",
"INT. CABIN OUTSIDE WASHROOM Dunn is about to enter with the plunger as Mary passes. The ship jolts and she falls into his arms. DUNN Did you feel that? MARY -LRB- looking at his pants. -RRB- Yes I did. DUNN Felt like a large asteroid. MARY Yes it did. Mr. Dunn, can I ask you a personal question? DUNN What is it, Mary? MARY Um. Do you people scream right when you. you know. Dunn gives her a look and opens the washroom door.",
"INT. WASHROOM Dunn is immediately pulled down to the raging toilet bowl. He grabs for the door screaming.",
"EXT. WASHROOM Mary hears the scream and gives a look as she leaves.",
"INT. CABIN Testa is serving the Walters coffee from a steaming pot. TESTA Hand me your cup. This is very hot. DAVE Thank you. And, stewardess, can you please tell my wife that there is nothing that can go wrong. I think she'd like to hear it from you. Testa spots Dunn's tattered sleeve emerge from the washroom door, groping for a handhold. She screams and dumps coffee in Edith's face. She runs to help Dunn, grabs his sleeve. It comes off in her hands. She keeps pulling. His jacket comes off, his pants, underwear, socks, an entire clothesline of garments like bras, towels, etc.. She hears a SCREAM. Then silence.",
"INT. COCKPIT Elaine and Oveur. Elaine stands over his shoulder. ELAINE I do n't think we have any alternative, Captain. OVEUR I see. What do you think our alternatives are? ELAINE We have to disconnect ROK's higher brain functions without disturbing his regulatory system. INSERT - ROK'S PULSATING EYE BACK TO SCENE OVEUR Roger. ELAINE You can do it from up here, Captain. OVEUR I'd rather sit down for this one, Elaine. ELAINE No, I mean you can do it from the cockpit. OVEUR Roger. You better get back there and monitor the regulatory unit. Elaine leaves and Mary enters. MARY Captain, the coffee machine is jammed and I do n't like it. OVEUR Have you tried it with a little cinnamon? Mary gives a `` why did n't I think of that'' look. Testa enters. TESTA Captain Oveur, Dunn and Unger have been sucked out through disposal unit four! Mary gasps. OVEUR Both together?! MARY/TESTA Dunn and Unger have been sucked out through disposal unit four! OVEUR All right, calm down. Here's how we're going to play it. Mary and Testa look over his shoulder. He has a basketball play diagram. OVEUR Mary, I want you here. Testa, you move across here past Dawkins' pick and get the ball at the top of the key from Irving. They all clasp hands and `` yell.''",
"EXT. SHIP - SPACE It careens through asteroids.",
"INT. COCKPIT Oveur is pulling curcuit board from ROK panel. INSERT - PULSATING EYE BACK TO SCENE ROK What are you doing, Captain? Oveur eyes ROK but keeps working. ROK I would n't do that, Captain. Oveur continues. Smoke spews out. He hears a HISS and looks at a vent. He grabs his throat and collapses.",
"EXT. SHIP - SPACE An asteroid bounces off hull.",
"INT. CABIN Passengers scream. Blonde woman in Viking helmet with spear stands and screams operatically.",
"INT. COCKPIT Simon enters and spots Oveur slumped in his seat. He pulls him up. OVEUR -LRB- gasping. -RRB- Pills. -LRB- points to his mouth. -RRB- Pocket. -LRB- points to his pocket. -RRB- Vent. -LRB- points to vent. -RRB- Gas. Yankees. four. -LRB- points to RADIO that plays BALLGAME. -RRB- Sox. zip. Simon rips open his coat, grabs pills and takes them himself letting Oveur drop. Simon looks down at the navigational screen - it resembles an old amusement parlor roadrace game. SIMON -LRB- to self. -RRB- We're off course, heading right through that asteroid field and right at the. at the sun! The ship takes another violent shot.",
"INT. CABIN The passengers are screaming. ANGLE ON FATHER O'FLANAGAN He stands in the aisle. O'FLANAGAN Listen to me! Listen to me, my children! They listen. O'FLANAGAN Please listen. Thank you, my children. I'm a man of God, you must trust me when I say. we're all going to die! The passengers go totally insane.",
"INT. MISSION CONTROL ROOM A number of Controllers group around a console. O'BRIAN You're right. They're off course and heading right for the sun. I've seen enough, Bob. Controller 2 hits a switch and the console screen flips to baseball game. O'BRIAN Get me Jack McCrosky and fast! CONTROLLER 3 McCrosky? He has n't handled a tower in twenty years. CONTROLLER 4 Ever since Reagan fired the controllers, he's been completely senile and has n't done a day's work. O'BRIAN What about McCrosky? CONTROLLER 3 Pretty much the same as Reagan. O'BRIAN Get him.",
"INT. RETIREMENT HOME Two Nurses stand by a phone in a dormitory of beds. Many old men sleep or eat in bed. NURSE It's for Mr. McCrosky. NURSE 2 Do you think we should bother him? He's been acting a bit odd lately. They look to McCrosky -LRB- Lloyd Bridges -RRB-. ANGLE ON McCROSKY He is in bed in scuba gear. ANGLE ON NURSES NURSE 1 He's fine. He just thinks he's Lloyd Bridges. Nurse 1 takes the phone to McCrosky. He is a lot older than in `` Airplane.'' NURSE 1 The phone's for you, Mr. McCrosky. McCROSKY What's a phone? NURSE 1 -LRB- holding it to his ear. -RRB- Here, let me help you. I think it's the space centre. Now, let's not get too excited. McCROSKY What? -LRB- pause. -RRB- What? -LRB- pulls off his scuba mask and snorkle. -RRB- What? -LRB- gets more alert and grabs a cigarette. -RRB- I'll be right down! -LRB- he hangs up and jumps out of bed. -RRB- Looks like I picked the wrong time to go senile.",
"INT. COCKPIT Simon is taking another slug of booze ; Elaine enters. ELAINE Simon! -LRB- she spots Oveur slumped on the panel. -RRB- Captain Oveur! Elaine pulls him up. OVEUR -LRB- still gasping. -RRB- Mets. nine. Phils. three. Cubs. four. Elaine drops him and turns to Simon. ELAINE Simon, what's happening?! SIMON He tried to disconnect ROK. It gassed him. That computer is running this ship and we're heading right for the sun. ELAINE Ca n't we change course? SIMON We're computer locked and the manual navigation unit is down. Elaine looks at the floor. ELAINE Then Ted was right! CLOSEUP OF ELAINE for her realization. BACK TO SCENE SIMON My career is shot. ELAINE Your career! What about the lives of those people out there. Simon, what happened to the man I thought I loved? She goes to the door. ELAINE I've got to get Ted. Just do n't come apart on me now, Simon. She leaves. Simon's uniform starts bursting at the seams, buttons pop off.",
"INT. CABIN The Terrorists stop Elaine. There's pandemonium in the cabin. TERRORIST 1 This is flight to Miami, yes? ELAINE No. Elaine addresses the PASSENGERS. ELAINE -LRB- to passengers. -RRB- Please, ladies and gentlemen, please calm down. Listen to me! They calm down. ELAINE We've been thrown off course just a tad. PASSENGER What's that mean? ELAINE In space terms, about 70 million miles. The Passengers appear interested and sensible, nod their heads. ELAINE The bumps you feel are car - sized asteroids smashing into the hull. The hood of a car smashes through the cabin wall. The Passengers still appear interested and sensible. ELAINE Also, we're heading right for the sun and ca n't seem to change course. Passengers still appear interested and sensible. They all put on sunglasses. PASSENGER Are you telling us everything? ELAINE Not exactly. We're also out of coffee. The Passengers errupt in total panic. ANGLE ON RED FLASHING `` DO N'T PANIC'' SIGN It sparks, smokes, overheats and EXPLODES. ANGLE ON RED FLASHING `` OKAY, PANIC'' SIGN The passengers go insane. ANGLE ON FATHER O'FLANAGAN AND MRS. GOOCH O'FLANAGAN Pray with me, my children. Pray. MRS. GOOCH But Father, I'm not Catholic. O'FLANAGAN Then worship the god of your choice. Mrs. Gooch pulls out a fertility idol with a huge, erect penis. ANGLE ON BOB AND MARY - JANE SMITH BOB I've always loved you, darling. I was unfaithful just once. Remember Jill, my first secretary? Forgive me. MARY-JANE I knew all about it. I was unfaithful once, too. BOB That's all behind us now. MARY-JANE Remember Harriet, your first receptionist? He gives her a look. PASSENGER We're going to crash! TERRORIST 1 God is great! TERRORIST 2 Death to America! TERRORIST 3 The yellow pencil is on the table of my aunt! ANGLE ON ELAINE ELAINE There is absolutely nothing to worry about! ANGLE ON RED FLASHING `` BULLSHIT'' SIGN ELAINE Your crew is in complete control of the situation. ANGLE ON RED FLASHING `` UNBELIEVABLE BULLSHIT'' SIGN",
"INT. MISSION CONTROL ROOM McCrosky bursts through the doors and heads to the monitors. He wears a raincoat and shirt and tie. He is met by Controller 1. They move across room. McCROSKY Get me a cup of coffee, mister. CONTROLLER 1 Yes, sir. McCROSKY And a gallon of milk of magnesia, and a ham on rye, no cheese! CONTROLLER 1 Yes, sir! Welcome home, sir! McCrosky takes off his raincoat revealing scuba tank. He takes off his tank as well. CONTROLLER 2 -LRB- approaching McCrosky. -RRB- Here are the navigational charts, sir. McCROSKY Thanks. Another Controller passes. McCrosky stops him. McCROSKY Get me a readout on their fuel capacity. CONTROLLER 3 Yes, sir. CONTROLLER 4 Here's all the available information on the sun. That thing's hot, sir. McCrosky takes the info and burns his hand. SFX : STEAM McCROSKY Ahhhhhh! Get me Bud Kruger immediately! -LRB- spotting Jacobs. -RRB- Jacobs, I want to know absolutely everything that's happened up till now! JACOBS First the earth cooled. Then the dinosaurs came but were too big and died and everything got rotten and turned into oil and the Arabs bought Mercedes Benzs and then there was the best TV special on Judy Garland. Then we lost the war with Albania. Then. McCrosky leaves Jacobs babbling. McCROSKY Things sure have n't changed. McCrosky stands in front of a huge painting of himself. Both he and painting are in the same pose - one hand loosens the tie, he drinks coffee with the other, a cigarette dangles from his lip.",
"INT. CABIN - CLOSEUP OF TED He is lost in thought. SUPER IMAGES : - Ted getting electro - shock - Psychiatrist telling him he's sick - Ted building the `` Close Encounters'' mound Ted is shaken out of his dream by Elaine. ELAINE Ted, Ted. Listen to me, Ted. You were right all along. Ted, we've lost the crew and Simon's turned to jelly!",
"INT. CABIN - ANOTHER ANGLE Simon is a jelly mold inside a uniform. CONTROLLER 1 -LRB- V.O. -RRB- -LRB- on radio. -RRB- Come in, Mayflower. This is mission control. Over. Come in, Mayflower! Over! Jimmy pokes his head in. JIMMY Do you want to talk about it now, Commander?",
"INT. CABIN - ANOTHER ANGLE Elaine stands over Ted looking at the empty bottle of stress pills. ELAINE My God. Stella approaches in nurse's uniform splattered with blood. A cigarette dangles from her lip. She wipes her hands on a blood - splattered towel. STELLA He's finally come to terms with his own psychosis. ELAINE But he was right! He's not crazy! STELLA Miss, I'm a nurse with a dying F - A - T - H - E - R, I know what I'm talking about. Now I'm going to need fresh sheets, gauze, Q - tips, and all the vaseline you have on board! Now! Elaine leaves, looking back at Ted with empathy. Mary passes. STELLA -LRB- to Mary. -RRB- I'll need all the boiling water you can get your hands on! Mary leaves and a MAN passes holding a tattered arm. MAN Are you a nurse? STELLA Yes. -LRB- handing him a urine bottle. -RRB- The washroom's down there on your right. The Man leaves, a quizzical look on his face. STELLA -LRB- yelling after him. -RRB- And not too much! A BLACK U.S. ARMY SERGEANT -LRB- imagine Jim Brown -RRB- approaches Stella. SERGEANT Can I help? Stella hands him an M - 16. STELLA Keep an eye on that side of the ship. The Sergeant drops into a seat next to a window, smashes out the glass with his rifle butt and is immediately sucked out. MARY moves down the aisle with a cart collecting boiling water. MARY -LRB- to passengers. -RRB- I'll need all your boiling water. Passengers pull pots of boiling water from under their seats, handbags, coat pockets, and pour them into the passing container. Testa reassures Bob and Alice Wilson. TESTA We should be out of this momentarily. There's nothing to worry about. ALICE Thank you. That makes me feel so much better. Testa leaves and Father O'Flanagan approaches with last rites paraphernalia. O'FLANAGAN Trust me, I'm a priest. We're in shit up to our ears. Who wants last rites? ANGLE ON TEXAN He is now completely entangled in the tfilin and struggles to free himself. ANGLE ON ELAINE Elaine passes Ted carrying sheets, vaseline, etc.. She looks at him sitting there in a fog, gives up and leaves. Ted looks at the red flashing `` FASTEN YOUR SEATBELTS'' sign. It takes him back.",
"EXT. GROUNDS OF MENTAL HOSPITAL - DAY SFX : SIRENS WAIL, 101 BLOODHOUNDS BAY We see the hospital deep in b.g. across an expansive lawn. Suddenly Ted's face pops INTO FRAME, CLOSEUP. He looks both ways and bolts. He wears a straightjacket. ANGLE ON HOSPITAL SIGN `` THE GERALD FORD INSTITUTE FOR THE MENTALLY FEEBLE - WE MAKE PEOPLE SANE THE OLD FASHION WAY'' Suddenly the dogs scramble INTO FRAME in front of the sign, slobbering. A half - dozen viscious - looking GUARDS in reflector shades with shotguns, whips, nets, cattle prods, follow. GUARD ONE -LRB- Southern accent. -RRB- Damn! I want that patient shot on sight!",
"INT. SEEDY HOTEL ROOM - NIGHT SUPER : CHICAGO Ted stands at window. A neon `` BAR'' sign flashes outside so close to the window that the only way to read it is to rent this room. SFX : MUSIC - LAZY SAX TED Maybe you got ta be crazy to end up behind the eight ball like this. Anyway, you find out pretty fast who your friends are when you're on the lamb. SFX : LAMB BLEATS FROM OTHER SIDE OF ROOM Ted turns away from the window and passes the lamb in bed. TED -LRB- to lamb. -RRB- I'm going out for cigarettes and a fifth of bourbon. Do n't wait up for me. SFX : COMPLAINING BLEAT. Ted grabs his straightjacket and leaves. TED Virgin wool. Nothin' but headaches. A Bo Peep staff is flung against door as it closes behind him.",
"EXT. CITY STREET - NIGHT an empty, spotless, wet street. One car parked under a street lamp. SFX : BLOODHOUNDS APPROACH AND GO OFF INTO DISTANCE TED -LRB- V.O. -RRB- I travelled at night in the shadows. I did n't want to attract attention. SFX : FOOTSTEPS, GARBAGE CANS BEING KNOCKED OVER, CATS SCREAMING, PEOPLE YELLING `` SHUT UP'' OUT WINDOWS, GLASS BREAKING. TED -LRB- V.O. -RRB- I was afraid to step out of the doorways. You never know what to expect when you're on the run. Ted steps into light. GLORIA STEINAM passes with CAB CALAWAY. A grand PIANO SMASHES to pavement next to Ted. He ignores piano and gives Gloria and Cab a quizzical look. SFX : DOGS IN DISTANCE CLOSEUP - TED'S FEET He steps in a puddle where a `` BAR - COCKTAILS'' sign is reflected. The reflection shatters. A streetcleaning truck approaches spewing out garbage rather than water. Ted's ankles are sprayed with garbage. He bends down and picks up a wet matchbook - `` HARRY'S PLACE - FOR A GOOD TIME.''",
"EXT. ANOTHER DARK STREET - CLOSEUP OF TED standing, looking at a bar. The glow of flashing neon sign reflects off his face. He pulls out a cigarette. A woman's hand shoots INTO FRAME holding a lit zippo. Ted draws deeply on the cigarette. TED -LRB- V.O. -RRB- There I was, minding my own business when I looked up and saw a pair of legs that went forever. ANGLE ON WOMAN'S FEET PAN UP AND UP AND UP. She is all legs - no torso, no head, just legs - about two stories high. TED -LRB- V.O. -RRB- But I had a date with Harry's. It was little more than a hole in a wall on the south side of Chicago. ANGLE ON A HOLE bashed in the side of a brick wall. A neon sign over the hole reads, `` HARRY'S GOODTIME BAR.''",
"INT. HARRY'S dark, smokey bar. PAN very tough faces standing along the bar. TED -LRB- V.O. -RRB- Harry's was perfect for me. The kind of place you go if you do n't want to be recognized. KEEP PANNING tough faces, but now they all wear Groucho glasses and noses. TED -LRB- V.O. -RRB- It was rough, real rough. ANGLE ON POOL TABLE with four players - all have broken thumbs in casts. TED -LRB- V.O. -RRB- The kind of place you could score anything, from junk. One guy hands another guy a large, rusted car fender for money. TED -LRB- V.O. -RRB- to Phil Donahue's book. PHIL DONAHUE signs a stack of books at a table. TED -LRB- V.O. -RRB- At Harry's you could count on a fight breaking out almost every night. TWO PROFESSORS argue at a table. PROFESSOR 1 And I say essence precedes existence. PROFESSOR 2 You're crazy! Existence precedes essence. PROFESSOR 1 Essence! PROFESSOR 2 Existence! Professor 2 slugs Professor 1 sending him flying across the room. Professor 1 gets up and throws a judo chop which Professor 2 stops by holding a book up in both hands. The book splits in two like a piece of wood split by a karate chop. TED -LRB- V.O. -RRB- There was a small trio in one corner. Two midgets play light jazz - piano and bass. TED -LRB- V.O. -RRB- And a larger trio in the other corner. Five 300 - pound musicians play some tune in another corner. ANGLE ON TED AT BAR - CLOSEUP OF TED He pulls out a cigarette. A bare foot with zippo held in toes comes INTO FRAME and lights it. TED The last thing I wanted was Elaine to see me down on my luck. Well, it was just my luck. In she walked with a group from the space program. ANGLE ON DOOR Elaine and Simon and two other couples, who look like clean - cut NASA types out of `` The Right Stuff,'' walk in laughing and take a table. TED -LRB- V.O. -RRB- They'd come to Harry's to slum it and try their hand at the video bull. The group prod Elaine to try the bull. A cowboy hat flies across the room. She grabs it, pulls it on, and moves to the bull which is surrounded by others in cowboy hats. Elaine hops in the saddle. A sinister character puts a quarter in and madly flips knobs. SFX : VIDEO GAME The saddle does n't move - all the action is on the screen but Elaine throws one hand back and kicks her legs. TED -LRB- V.O. -RRB- Elaine made that ride look easy. It was obvious why I was still nuts about her. She loved life. I did n't want her to notice me so I borrowed a pair of dark glasses. Ted takes a pair of dark glasses off a passing blind man who walks perfectly until the glasses are gone, then starts stumbling and crashes over a table. TED -LRB- V.O. -RRB- Grabbed an alto sax and joined the group. Ted takes an alto sax from a passerby who also stumbles and crashes over a table when he loses his sax. TED -LRB- V.O. -RRB- I stayed in the background not wanting to draw attention to myself. Everyone looks around trying to see where the terrible grating sax sound is coming from. TED -LRB- V.O. -RRB- Then what happened? Elaine's crowd talks her into joining us for a song. Elaine hops up on the stage, grabs a mike and starts to sing `` Stormy Weather.'' She sidles up to Ted and goes into a medley of old songs. HOURS LATER Elaine's singing is just as bad as Ted's sax. They have cleared the joint and play and sing alone. Elaine's group finally pull her out. She has n't recognized Ted. ELAINE -LRB- to Ted. -RRB- I do n't know who you are or how you lost your sight, but I'll never forget this night as long as I live. PULL BACK leaving Ted alone on the stage still playing. Chairs are turned up on tables. One table has chairs turned up with the people still sitting in the chairs.",
"EXT. COCKPIT - TED getting a glass of water outside cockpit door. ANGLE ON COCKPIT DOOR Simon emerges. As the door opens we hear : CONTROLLER 1 -LRB- O.S. -RRB- Come in, Mayflower. Over! Simon shuts the door and bumps into Ted who is getting a drink of water. Simon takes a drink of booze. SIMON Striker. TED Kurtz, you're drunk. Who's in command of this ship? SIMON That damn computer has taken over. I'm getting out. TED Then Elaine was right. SIMON Do n't talk to me about Elaine. Outta my way! TED -LRB- grabbing Simon. -RRB- Pull yourself together! We've got to. Simon slugs Ted who falls into a corner and hits his head. ZOOM TO CLOSEUP of Ted unconscious. SFX : MUSIC - DRAMATIC STING The ship takes another violent jolt.",
"EXT. SHIP - SPACE It roars through the asteroid field.",
"INT. WASHROOM Simon sits on toilet seat and slides open a wall panel.",
"INT. ADJACENT WASHROOM Father O'Flanagan slides open an adjacent wall panel and sits down. SPLIT SCREEN - THE TWO WASHROOMS SIMON Father, what should I do? O'FLANAGAN Have you considered suicide, my son? A panel on the other side of Simon slides open. JIMMY -LRB- V.O. -RRB- Do you want to talk about it now, Commander?",
"INT. MISSION CONTROL McCROSKY -LRB- holding radio mike. -RRB- Come in, Mayflower. Over. Do you read me? Over. Damnit! McCrosky throws the mike down. CONTROLLER 1 -LRB- taking mike. -RRB- Let me try, sir. Come in, Mayflower. Over. Come in. Over. Damnit! Controller 1 throws the mike even harder. CONTROLLER 2 -LRB- taking mike. -RRB- Let me try, sir. Come in. Over. Damnit! Controller 2 smashes the mike through the monitor screen. CONTROLLER 3 Let me try, sir. Controller 3 smashes the monitor with an axe. Controller 4 smashes the monitor with an electric guitar. Other Controllers line up for their turns with various heavy implements. ANGLE ON McCROSKY McCROSKY -LRB- to Controller 5. -RRB- Stinson, have you contacted the families of the passengers and crew? McCrosky looks out window. INSERT - MOB SCENE FROM `` THE HUNCHBACK OF NOTRE DAME'' BACK TO SCENE McCROSKY Try and calm them down. And for God sake, be diplomatic. Stinson turns to two burly men in leather jerkins and black hoods. They hold a large caldron of molten lead next to window. CONTROLLER 5 Give'em the lead! They pour it out. SFX : MOB SCREAMS",
"EXT. SHIP - SPACE It careens through the asteroid field towards the sun.",
"INT. CABIN Ted lies unconscious. SFX : MUSIC - DRAMATIC STING ANGLE ON STELLA She's doing her rounds - takes a medical chart from the back of a seat. STELLA -LRB- to a male passenger. -RRB- I'm afraid that leg's going to have to come off. A leg is passed to her from OUT OF FRAME. She takes it while still looking at the chart. STELLA Wait. This is n't your chart. You just had a touch of air sickness. -LRB- handing him back his leg. -RRB- You'll be fine. A WOMAN sitting next to the MAN WHO IS HOLDING HIS LEG grabs Stella. WOMAN I'm terrified. STELLA -LRB- shakes her hand. -RRB- And I'm a nurse. Everything will be okay. Pass it on. The Man with the leg passes it to the passenger in seat behind. MAN WITH LEG Everything will be okay. Pass it on. The leg gets passed from seat to seat as passengers say, `` Everything will be okay. Pass it on.'' CLOSEUP OF TED lying unconscious in a corner. A puppy crawls INTO FRAME and starts licking his face. LOOSEN TO FIND Jimmy standing over Ted. Ted comes to, feels his jaw and pulls himself up. The ship jolts. JIMMY Are you feeling okay, mister? TED I'm feeling just fine, son. Just fine. Ted pushes by Jimmy, a look of great purpose on his face.",
"INT. COCKPIT Elaine enters looking for Simon. ELAINE Simon, I. The cockpit is empty. CONTROLLER 1 -LRB- V.O. -RRB- Do you read, Mayflower? Over. This is mission control. Over. Elaine gasps. She leaps into the Captain's seat and grabs radio. ELAINE Hello. This is the Mayflower. Over! Come in, anyone.",
"INT. MISSION CONTROL Controllers are gathered around one monitor. McCROSKY -LRB- on radio. -RRB- We read you, Mayflower! Identify yourself and give your position.",
"INT. COCKPIT ELAINE This is Elaine Thompson. I'm five - six, 123 pounds with brown hair and I'm sitting down and facing the front.",
"INT. MISSION CONTROL McCROSKY Elaine Thompson! What in sam hill is a woman doing in charge of that ship?! JACOBS Maybe she's got her shit together.",
"INT. COCKPIT Ted enters. TED Elaine! ELAINE Ted! TED Elaine, what's going on? ELAINE Ted, there's no time to explain. Ted picks up Oveur who is still gasping. OVEUR Packers. seven. Vikings. three. Ted drags him onto the floor and takes his seat. McCROSKY -LRB- V.O. -RRB- Come in, Mayflower! Over! ELAINE Ted, I was wrong about you. They reach out and hold hands. McCROSKY -LRB- V.O. -RRB- Come in! Over! Come in! Over! TED We all make mistakes, Elaine. McCROSKY -LRB- V.O. -RRB- Come in Mayflower! ELAINE How could I ever have doubted you? McCROSKY -LRB- V.O. -RRB- This is mission control! Over! TED That's all behind us now, Elaine. And no matter what happens, I want you to know I've always loved you. McCROSKY -LRB- V.O. -RRB- Jesus, would someone answer me! ELAINE I love you, Ted. They smile at each other. McCROSKY -LRB- V.O. -RRB- What the hell's going on up there?! Ted and Elaine still smile at each other.",
"INT. CABIN All passengers look forward and smile.",
"INT. MISSION CONTROL All Controller's look down the line and smile.",
"EXT. TOWN SQUARE - RIO MONTENEGRO Six soldiers on firing squad duty, ready to fire, turn, smile, and FIRE while they're smiling. SFX : SHOTS, SCREAMS",
"INT. COCKPIT Ted grabs the radio. ELAINE -LRB- smiling lovingly. -RRB- Ted, this reminds me of twenty years ago over Chicago. Ted hits a switch. The ship does a barrel roll.",
"INT. CABIN All we see are feet sticking up from the seats.",
"INT. COCKPIT TED -LRB- on radio. -RRB- This is Mayflower One calling mission control. Do you read me? Over.",
"INT. MISSION CONTROL McCROSKY A man. Now that's more like it. -LRB- continuing on radio. -RRB- This is mission control. Identify yourself and give me your position. Over.",
"INT. COCKPIT TED -LRB- on radio. -RRB- The name's Ted Striker and I'm sitting down and facing the front.",
"INT. MISSION CONTROL McCROSKY -LRB- trying to place the name. -RRB- Striker. Striker. Striker. CONTROLLER 3 If you say so. He slugs the female worker next to him. McCROSKY -LRB- remembering. -RRB- Ted Striker! SFX : RADIO STATIC. McCROSKY Damn! We've lost them again. CONTROLLER 1 Could be those sunspots. JACOBS Could be your dishwashing detergent. McCROSKY Striker's the guy who flew that 736 into Chicago over 20 years ago without a crew. Would someone tell me what in sam hill he's doing up there? JACOBS -LRB- waving his hand in the air. -RRB- Me! Me! Me! ANGLE ON MISSION CONTROL DOORS They are swinging aluminum doors similar to restaurant kitchens and hospital operating rooms. Kruger and the Commissioner enter through one door. COMMISSIONER The boys downtown are taking the heat from the boys in Washington and the boys. They PASS OUT OF FRAME. A waiter with tray passes them and leaves through the swing doors. SFX : CRASHING DISHES Two surgeons in operating gowns and masks enter covered in food. We PICK UP Kruger and the Commissioner still walking and talking. COMMISSIONER Bud, the President wants an explanation. They approach McCrosky. McCROSKY Sorry to pull you out of bed at this hour, gentlemen. KRUGER Forget it. I was reading. COMMISSIONER I was reading too. KRUGER What's the story? COMMISSIONER Some southern plantation owner falls in love with this poor. KRUGER I was asking McCrosky, Commissioner. McCROSKY He falls in love with this poor school teacher who. A CONTROLLER interrupts them. CONTROLLER -LRB- to McCrosky. -RRB- Sir, we've restored radio transmission. McCROSKY Good. -LRB- to Kruger. -RRB- We keep losing their radio. KRUGER Give it to me straight, McCrosky - what's it look like. McCROSKY It's green with numbers and lots of knobs. KRUGER Not the radio, the situation. I want to know exactly what your people think. PAN three Controllers at monitors. CONTROLLER 1 -LRB- V.O. -RRB- -LRB- thinking. -RRB- They're screwed. CONTROLLER 2 -LRB- V.O. -RRB- -LRB- thinking. -RRB- They're dead. CONTROLLER 3 -LRB- V.O. -RRB- -LRB- thinking. -RRB- Did I leave the iron on?",
"INT. CABIN The ship lurches from side to side. Stella, covered in blood, kneels beside BILLY, a young man bandaged head to toe, lying on a stretcher with lots of I.V. bottles hanging around him. A U.S. ARMY GENERAL stands next to him - imagine General Patton. STELLA General Walker is here, Billy. He wants to talk to you. GENERAL WALKER Billy, if we get through this thing alive, I'd like you to get this letter to my mother. He hands Billy a letter.",
"INT. COCKPIT Elaine is monitoring various dials. Ted is at controls and on the radio. TED -LRB- on radio. -RRB- An electrical fire in the core has played havoc with the ROK - 4000 computer. It's locked us on a direct line with the sun and there's no way we can go to manual. Captain Oveur already tried it and he's. OVEUR -LRB- O.S. -RRB- -LRB- from floor. -RRB- Giants sixty. Rams. zip. TED become an intolerable bore. The rest of the crew has been lost and we're out of coffee. Also, we're starting to feel the sun's heat pretty bad. Striker wipes his forehead. Elaine holds a tan reflector up to her face and turns to the sun.",
"INT. CABIN Passengers sweat profusely. SFX : JUNGLE SOUNDS. A MAN slaps a mosquito on the back of his neck. FOUR MEN sit nude to the waist, wrapped in towels as if in a steam bath. MAN ONE It's eight - thousand square feet with great parking and a twenty - year lease with option to buy. MAN TWO You ca n't lose, Al.. MAN THREE He can lose. I've seen it happen a thousand times.",
"EXT. SHIP - SPACE It shoots towards sun.",
"INT. MISSION CONTROL McCrosky sits at a monitor, talks into a mike and looks down at a book. Behind him two Controllers make a dope deal - a baggie of grass for cash. We only see their midsections and hands. McCROSKY Striker, this is Jack McCrosky, chief controller. I want you to listen to me and listen good. The buyer checks out the baggie - it's mostly twigs. The seller is trying to explain the situation with his hands. McCROSKY Twenty years ago I helped a young pilot through a storm over Chicago. The buyer grabs the seller's shirt and tries to get cash back. A fight ensues. McCROSKY He did n't have a crew either. He said he could n't do it. But when the going got tough that kid pulled it together. The seller's shirt is ripped. Knives are pulled. McCROSKY You might have read about him ; he made all the big papers and the Canadian Jewish News. The seller is stabbed. McCROSKY I do n't know where he is today but if he was up there right now, I know he'd find some way to turn that bucket around and get the hell out of there, pronto! ANGLE ON JACOBS JACOBS I wish I could talk like that - so macho yet so sensitive. ANGLE ON McCROSKY'S BOOK - `` PEP TALKS FOR ALL OCCASIONS'' McCrosky slams it shut. McCROSKY I just hope I said the right thing. TED -LRB- V.O. -RRB- I'm afraid you gave the wrong speech. McCrosky. I'm not your problem. It's this ship. That computer's gone bananas. McCROSKY -LRB- holding up the book. -RRB- Why the hell are we still using the old manual! Burn this book! A smiling blonde man in a white sweater with `` MORAL MAJORITY'' on the front walks by and takes the book. McCROSKY -LRB- on radio. -RRB- Just hold on, Striker, we'll get back to you.",
"INT. COCKPIT Ted writes a note to Elaine and hands it to her - it reads, `` WE MUST FIND SOME WAY TO BLOW THAT COMPUTER!'' Elaine looks a bit nervous and licks her lip. They look up at ROK's pulsating eye. Testa pokes her head in. She's soaked with sweat. TESTA The cabin temperature is rising. The passengers want to know what's happening up here. TED Let us handle this end of things. Now what's the coffee situation? TESTA It just wo n't drip! I've tried everything. And the passengers are dropping like flies from the heat.",
"INT. CABIN SFX : FLIES BUZZING Passengers reel and drop to floor.",
"INT. COCKPIT TED Elaine, I'm going back there. Just hold onto that stick and try to control this hunk of tin as best you can. ELAINE Ted, please be careful. Ted leaves. We hear an enormous CRASH on the other side of the door.",
"INT. MISSION CONTROL JOE DIMAGGIO -LRB- MR. COFFEE -RRB-, drinking a cup of coffee, rushes in accompanied by a GROUND CONTROL OFFICER. OFFICER -LRB- to Joe. -RRB- It does n't look good. The drip seems to be jammed up pretty bad. MR. COFFEE Did they change the filter and wait for the brew sign to light up? OFFICER -LRB- stopping and looking Mr. Coffee in the eye. -RRB- To tell you the truth, sir, I do n't really know. MUSIC : DRAMATIC STING. ANGLE ON SIX CONTROLLERS One holds a hat, one pulls a slip of paper from it. CONTROLLER 3 -LRB- reading his slip. -RRB- Eighty - three. What's that mean? CONTROLLER WITH HAT If eighty - three passengers die, you win the two hundred bucks. ANGLE ON MR. COFFEE AND OFFICER They approach McCrosky. OFFICER Mr. McCrosky, Mr. Coffee. Coffee, McCrosky. McCROSKY Thanks for coming down so soon. MR. COFFEE -LRB- checking watch. -RRB- I wo n't come down for another couple hours. McCROSKY I'll put you on the radio with Striker. Jeez you look familiar. Did you ever play water polo? MR. COFFEE Not to my knowledge. McCROSKY I thought so.",
"EXT. SHIP - SPACE It roars towards the sun. The nose of the ship begins to glow red. NEW YORK TIMES `` MERCURY SHUTTLE HEADS FOR DISASTER'' LONDON TIMES `` DEEP SPACE DEATH CERTAIN'' JERUSALEM POST `` THEY SHOULD N'T HAVE GONE IN THE FIRST PLACE'' BUFFALO LOCAL NEWS SET FILM INSET : APARTMENT FIRE Set logo reads, `` NEWS 4 BUFFALO.'' ANCHOR 1 Four alarm fire rages through downtown Buffalo! FILM INSET : ROCKET GOING OFF COURSE ANCHOR 2 Mercury shuttle heads for sun. TOKYO LOCAL NEWS SET FILM INSET : APARTMENT FIRE Set logo reads, `` NEWS 4 TOKYO'' ANCHOR 1 -LRB- subtitles. -RRB- Four alarm fire guts Tokyo apartment. FILM INSET : SHUTTLE MODEL IN MOUTH OF GODZILLA. SFX : SCREAMS. ANCHOR 2 -LRB- subtitles. -RRB- Mercury mission in death struggle. MOSCOW LOCAL NEWS SET FILM INSET : APARTMENT FIRE Set logo reads, `` NEWS 3 MOSCOW.'' A gun is held to ANCHORMAN'S head. ANCHOR 1 -LRB- subtitles. -RRB- Four alarm fire in downtown Moscow clears way for glorious new tractor factory. FILM INSET : ROCKET GOING OFF COURSE ANCHOR 2 -LRB- subtitles. -RRB- Capitalist, imperialist adventurism ends in space disaster. ABC `` NIGHTLINE'' SUPER : `` GAY UNMARRIED VEGETARIAN MOTHERS AGAINST SPACE TRAVEL'' WOMAN If this country was run by vegetarian women who's old men deserted them after knocking them up instead of by meat - eating males, this thing never would have happened.",
"EXT. TERMINAL - DAY A banner hangs over terminal door : `` HOUSTON WELCOMES SPACE DISASTER PRESS.'' CLOSEUP OF ATTACHE CASE being carried to the door - sticker on it reads, `` NATIONAL ENQUIRER.'' CLOSEUP OF ANOTHER CASE coming from other direction - sticker on it reads, `` NATIONAL STAR.'' The cases meet. LOOSEN to REPORTERS. ENQUIRER -LRB- to STAR. -RRB- I never forget a face. ` Texas doctor claims sex with chicken cures baldness?' STAR ` Severed legs grow back after Utah man finds Christ?' ENQUIRER/STAR Long time no see. They shake hands and turn into the terminal.",
"INT. MISSION CONTROL Controllers stand over Mr. Coffee - everyone sips coffee and smokes cigarettes. MR. COFFEE -LRB- on radio. -RRB- Have you got the back panel off the brew manifold?",
"INT. CABIN Ted has the coffee machine apart, wears a headset and holds wires in pliars. Anxious passengers with coffee cups stand over him - they are all totally wired and going cold turkey. TED -LRB- into headset. -RRB- Check. MR. COFFEE -LRB- V.O. -RRB- There's a terminal at the base of the coil. That's your contact point. A PASSENGER bends down and picks a coffee bean off the floor. PASSENGER Is this a coffee bean? ALL PASSENGERS -LRB- maniacally. -RRB- He's got a bean! A riot ensues. The `` bean'' Passenger is beaten to death. TED -LRB- into headset. -RRB- It looks like the solder point has melted.",
"INT. MISSION CONTROL MR. COFFEE -LRB- enraged. -RRB- Just what I thought. When the hell will you people realize that adding extra water after the initial brew cycle overheats the system! Now listen to me, Striker, and listen good.",
"EXT. SHIP - SPACE It careens towards the sun.",
"INT. MISSION CONTROL Detective Hallick storms in and up to McCrosky. He flashes his badge. DETECTIVE HALLICK Who's in charge here, Mister? McCROSKY McCrosky, Control. DETECTIVE HALLICK Hallick, homicide. JACOBS Jacobs, Pisces. KRUGER Kruger, Sagittarius. COMMISSIONER Commissioner, Aquarius. DETECTIVE HALLICK We have information that one of your passengers is carrying a bomb and might be suicidal. McCROSKY Where'd you get this information, Captain? DETECTIVE HALLICK We have our methods. KRUGER And what methods are those? DETECTIVE HALLICK Have you heard of the Heimlich method? McCROSKY The method of saving someone choking on a piece of gristle? DETECTIVE HALLICK Exactly. KRUGER/McCROSKY/COMMISSIONER We're familiar with it. DETECTIVE HALLICK Good. This is the passenger's wife. Mrs. Joe Salucci. She approaches very distressed looking. McCROSKY What makes you think your husband might want to blow up that shuttle, ma'am? She goes into her purse for the insurance form. MRS. SALUCCI This insurance policy. A large ivory colored vibrator drops out of her purse, hits the floor, and flips on. They all look at it. MRS. SALUCCI An electric tooth. -LRB- handing McCrosky the insurance form. -RRB- Joey was supposed to go to Des Moines for an operation to cure his impotence. McCROSKY The Des Moines Institute? MRS. SALUCCI Then you know it. KRUGER/McCROSKY/COMMISSIONER Yes, we're familiar with it. MRS. SALUCCI Well, I found out Joey got on this shuttle instead and. DETECTIVE HALLICK The way I read it, blowin' up a plane in space leaves no traces, if you know what I mean. KRUGER I'm not exactly sure what you mean, Captain. DETECTIVE HALLICK No blood. No body. No bones. No eyes. No ears. No throats. McCROSKY -LRB- looking at form. -RRB- This is $ 500,000 worth of insurance! Kruger, Commissioner, and Hallick all whistle `` wow!'' McCROSKY Just a second. This is insurance on his car! MRS. SALUCCI That's what worries me. KRUGER He's impotent. COMMISSIONER He's suicidal. ALL And he's stupid! MUSIC : DRAMATIC STING. ANOTHER AREA MR. COFFEE -LRB- into radio. -RRB- This is it, Striker. You got one shot and one shot only.",
"INT. CABIN Striker stands over the coffee machine, sweating like mad. The Passengers with cups hang over him. He makes contact with a wire. TED -LRB- to self. -RRB- Contact. The MACHINE EXPLODES. Coffee gushes out like an oil well coming in. The Passengers dance under the gusher of brown liquid, mouths open and cheering.",
"INT. MISSION CONTROL McCROSKY How are we going to handle this bomb nut? CONTROLLER 2 -LRB- rushes up with printouts. -RRB- Here are the tests we ran on their computer. I had them xeroxed for you. McCROSKY How'd they come out? CONTROLLER 2 Upside - down, but I turned each page over and put them in order. I'm afraid that computer is totally capable of taking control of that ship. McCROSKY Let's keep cool. There's got ta be a way to control it. He lights a cigarette. CONTROLLER 3 -LRB- rushes up with diagrams. -RRB- These are their position calculations. They've got about ten minutes before they start to burn up. McCROSKY Keep calm. A lot can happen in ten minutes. -LRB- to self. -RRB- What next? He sips his coffee. CONTROLLER 4 -LRB- rushes in. -RRB- Sir, your headlights are on and your doors are locked! McCROSKY -LRB- spitting out coffee, Danny Thomas style. -RRB- Jesus! I'll be right back! McCrosky races out.",
"EXT. SHIP - SPACE It heads closer to the sun. The nose is glowing.",
"INT. COCKPIT Elaine is checking computer. The cockpit is steaming now. She unbuttons her uniform just as Ted comes in. ELAINE Ted, we've only got ten minutes. TED -LRB- thinking she wants sex. -RRB- Not now, Elaine. ELAINE I mean until we start to burn up. Ted takes his seat and looks at a panel gauge. TED We're closer to the sun than I estimated. INSERT - GAUGES One is labeled `` EXACT DISTANCE'' and reads, `` 76.50''. The other is labeled `` ESTIMATED DISTANCE'' and reads, `` 5689465932.09''. BACK TO SCENE KRUGER -LRB- V.O. -RRB- Come in, Mayflower. This is Bud Kruger. Over. TED -LRB- on radio. -RRB- This is Striker.",
"INT. MISSION CONTROL KRUGER -LRB- on radio. -RRB- Look, Striker, I do n't know how you got into that driver's seat but I want Simon Kurtz on that radio and I want him now!",
"INT. COCKPIT TED -LRB- on radio. -RRB- Kurtz was the one who got us into this mess in the first place. You people knew this ship was n't ready to fly. You played God with over a hundred lives, Kruger, and for what - the prestige of your precious space program. ELAINE That was very well put, Ted.",
"INT. MISSION CONTROL Jacobs stands next to Kruger rubbing his forefingers together in the `` shame, shame'' sign. KRUGER -LRB- on radio. -RRB- Striker, you're heading right for the sun, so do n't you think it's a little late for that bleeding heart liberal crap now?",
"INT. COCKPIT ELAINE He's got a point, Ted.",
"INT. CONTROL ROOM - ANGLE ON JACOBS AT A SCOREBOARD There are columns under Kruger's and Striker's names. Striker has two check marks. Jacobs gives Kruger one.",
"INT. COCKPIT TED -LRB- on radio. -RRB- Call me a bleeding heart, but if we get through this thing I'm preparing a paper on alternative spending directives recommending the transfer of space program funds to low cost housing.",
"INT. MISSION CONTROL KRUGER -LRB- on radio. -RRB- Just put Kurtz on that radio! McCrosky rushes in and grabs the mike from Kruger. McCROSKY -LRB- enraged. -RRB- Look, Kruger, you and your people have caused enough trouble already. I do n't care about your political games, I care about only one thing, the lives of those people up there! Out of my control room! JACOBS Someone's car would n't start. McCROSKY -LRB- on mike. -RRB- Striker, this is McCrosky. Give me five minutes and keep your fingers crossed. -LRB- to Stinson. -RRB- Stinson, get me the Mayflower plans! -LRB- to Controller 3. -RRB- You, clear this table! JACOBS I'll get the cards and bridge mix. McCROSKY And someone get me the Sarg! CLOSEUP OF SARG leaning over the ship's plans. He is eating another cigar. All Controllers stand around him. SARG That's my little girl, my little darlin', my sweetheart, my honey, and you want to blow her belly out with that bomb. If you blast here in the computer core and the fuselage does n't give way here and the main communication lines to the cockpit hold here and this baby here does n't jam this little old unit up here and throw about two tons of hot steel through here like a hot knife through butter and the upper and lower. McCROSKY What's your point, Sarg? SARG I have no point. McCROSKY Then it's settled. The bomb is Striker's only chance. Are there any questions? CONTROLLERS No sir. McCROSKY Those are answers, I asked for questions. CONTROLLER 3 Should a man in his forties have a circumcision? McCROSKY Absolutely.",
"INT. COCKPIT TED Well, Elaine, this might be it if those guys on the ground do n't think of something. ELAINE I just want you to know, I love you Ted and always will. SFX : RADIO BEEPS TED That might be the news we've been waiting for. He grabs radio. McCROSKY -LRB- V.O. -RRB- I've got some news for you, Striker. Ted and Elaine smile hopefully at each other. TED -LRB- on radio. -RRB- Roger. McCROSKY -LRB- V.O. -RRB- One of your passengers is carrying a bomb and is suicidal. MUSIC : DRAMATIC STING ELAINE A b. She covers her mouth. McCROSKY -LRB- V.O. -RRB- No, a bomb.",
"INT. CABIN Joe Salucci wipes his brow, lays his case on his lap. ANGLE ON FRONT OF CABIN Ted and Mary huddle. TED Which passenger is Joe Salucci? MARY Sixteen ` C', why? TED He's carrying a bomb. MARY A b. She covers her mouth. TED No, a bomb. Now, as discreetly as possible, I want you to move the passengers into the lounge. MARY What should I say? TED Anything. Just do n't let Salucci think we're onto him. Ted moves down the aisle. Mary gets on the P.A. MARY Would everyone not carrying a bomb please move to the lounge. The Passengers go nuts screaming, `` A bomb!'' JOE -LRB- jumping up with his case. -RRB- Do n't anyone move! All the passengers pile up in a ceiling - to - floor wall behind Ted - he extends his arms, holding them back. TED Mr. Salucci, listen to me. Ted takes a step forward away from the wall of passengers - the wall crumbles. TED Joe, you do n't want to blow that thing and kill all these innocent people. JOE I do n't want to live anymore. TED Joe, the insurance policy wo n't help your wife and kids. You bought auto insurance, not life insurance. JOE What? TED -LRB- inching up on him. -RRB- That's right, Joe. Now, no one's going to hurt you and no one has to know what's wrong with you. JOE You're sure? TED I'm sure. Ted is almost up to Joe when : JIMMY -LRB- yells. -RRB- That's the guy from the terminal who ca n't get it up! Joe bolts. Passengers panic. Ted tackles him. The case flies into the air in SLOW MOTION. It turns slowly, hanging for the longest time as we CUT, still in SLOW MOTION, to horrified faces watching it. This SLOW MOTION sequence lasts for about 60 seconds - people put on make - up, do macrame, read, etc.. - while the case is still in the air. Suddenly, Scraps leaps high into the air in SLOW MOTION and comes down with the case between his teeth.",
"INT. MISSION CONTROL Controllers huddle over one monitor. McCROSKY Get that bomb, Striker! Get that bomb! ELAINE -LRB- V.O. -RRB- Come in, Control! We have the bomb! ALL CONTROLLERS He's got the bomb! JACOB This is just like an election in Iran.",
"INT. COCKPIT Ted is back at the controls - the cockpit is incredibly hot now. TED This heat's getting unbearable. He looks down and sees two eggs frying on the dash. ELAINE But it is a dry heat, Ted.",
"INT. MISSION CONTROL Controllers are grouped around the plans. McCROSKY Do we use the bomb to blow that computer or is there another way? I want to know what everyone thinks. CONTROLLER 2 -LRB- V.O. -RRB- I think. -LRB- changes mind. -RRB-. No. CONTROLLER 3 -LRB- V.O. -RRB- We could knock out the wall between the cockpit and cabin, and hang plants. CONTROLLER 2 -LRB- V.O. -RRB- I think. -LRB- changes mind. -RRB-. No. CONTROLLER 4 -LRB- V.O. -RRB- You ca n't knock that wall out. That's a support wall, asshole. CONTROLLER 2 -LRB- V.O. -RRB- I think. -LRB- changes mind. -RRB- No. CONTROLLER 5 -LRB- V.O. -RRB- Did I flush? McCROSKY Then it's settled. We use the bomb. -LRB- grabs radio. -RRB- Striker, McCrosky.",
"INT. COCKPIT McCROSKY -LRB- V.O. -RRB- We've gone over the blueprints and you've got only one option. TED -LRB- on radio. -RRB- I know what you're going to say, McCrosky - knock out the wall between the cockpit and cabin and hang plants. McCROSKY -LRB- V.O. -RRB- Forget it. That's a support wall. Use the bomb. ELAINE The b. She covers her mouth. McCROSKY -LRB- V.O. -RRB- I keep telling you, not the b. The bomb! TED -LRB- almost to self. -RRB- Why, you'd have to be crazy to try a stunt like that. Elaine looks at Ted.",
"INT. CABIN All passengers look forward in Ted's direction.",
"INT. COCKPIT SUPER the womb over Ted's face. DOCTOR'S VOICE You're too low in the womb, Striker! You've got to come out feet first! LOSE SUPER. TED -LRB- grabs case. -RRB- Elaine. I'm going back there. ELAINE Ted. I love you. Be careful. Ted leaves. SFX : CRASHING MUSICAL INSTRUMENTS",
"INT. MISSION CONTROL McCROSKY -LRB- to his controllers. -RRB- I want everyone on their toes for this one. ANGLE ON JACOBS Handing out ballet slippers to the Controllers who are passing a joint down the line. McCROSKY And if anyone has any ideas, I want to hear them now. JACOBS How about a show just like Hollywood Squares but with kids. Gary Coleman could host.",
"INT. CABIN The Passengers stand in the aisle listening to Mary. MARY Now I want everyone to move to the front of the cabin. Passengers move calmly. MARY That's fine. Stay calm. We just want everyone as far away from the blast as possible. The Passengers panic and stampede right over her.",
"INT. COMPUTER CORE Ted wears a gas mask and attaches the time - bomb to the computer. ROK What are you doing, Ted? Why are you wearing that mask, Ted? Gas spews out of a vent. Ted makes sure his gas mask is tight.",
"INT. CABIN Simon is dressed in space suit and moving down the aisle. Elaine holds onto him. ELAINE Simon! Wait! What are you doing?! They pass Father O'Flanagan. He has a Bongo drum at his seat. O'FLANAGAN Under the ` B', sixteen! SIMON I've lost the ship and now I've lost you, Elaine. I'm getting out. ELAINE Simon, I did n't want it to end like this. We can be friends! You'll die out there. SIMON Maybe. ELAINE Simon, what are you saying?! Simon steps into a hatch labeld, `` ESCAPE CAPSULE''. SIMON I'm saying, I ca n't take the singles scene again, Elaine. The hatch door slams shut. A passenger passes with a sandwich board that reads, `` JESUS WAS A SINGLE.'' ELAINE Simon, no! Jimmy appears and yells through the window on the hatch. JIMMY You want to talk about it now, Commander? The capsule ejects.",
"INT. KRUGER'S OFFICE The Commissioner stands in front of the painting of astronauts on black velvet. He is on the phone. COMMISSIONER Give me the President of the United States. Tell him it's the Commissioner. -LRB- to Kruger. -RRB- I do n't know how the old man's going to take this.",
"INT. OVAL OFFICE The PRESIDENT poses for a photo session : CLOSEUP of President holding aloft in a victory salute, the hands of two black men. On the camera flash we LOOSEN to reveal the bodiless arms of two black mannequins. An AID hands the phone to the President. AID Houston, sir. PRESIDENT -LRB- taking phone. -RRB- This is the President. What?! What?! He walks past a wall of photos of past presidents : JFK, Johnson, Nixon, Ford, Carter, Reagan, Reagan older, Reagan much older, Merv Griffin, a chimp, and this President. SPLIT SCREEN : PRESIDENT AND COMMISSIONER COMMISSIONER I do n't think that shuttle's going to make it, sir. The President passes an Arab piling millions in cash onto his desk. PRESIDENT Damnit, Mister, the dignity and integrity of this presidency depends on the success of that mission. And that's my last word! COMMISSIONER Yes, sir. They both hang up and, making sure no one is watching, pick their noses. WIPE TO FULL SCREEN OF OVAL OFFICE AID What's our strategy on this one, sir? PRESIDENT I work for the people of these United States, Frank. I have to do what's best for them. -LRB- grabs the red phone. -RRB- Al, kill social security, cancel school lunches only for the poor, dismantle welfare, close all hospitals and public toilets, green light the MX - 6, invade Brazil, and bring my horse around after my nap!",
"INT. COCKPIT Ted is at the controls. Elaine rushes in. ELAINE Simon just ejected! TED Sit down, Elaine. If this bomb trick works we just might make it. Simon was a fool to eject now. ELAINE You mean. TED That's right - premature ejection. ELAINE What will happen to him, Ted? TED The sun will heat that thing to over 450 degrees within seconds. He'll roast like a pig on a spit.",
"EXT. ESCAPE CAPSULE - SPACE We see a roast on a spit through the window.",
"INT. COMPUTER CORE The clock on the time bomb TICKS down.",
"INT. COCKPIT TED -LRB- looking at wristwatch. -RRB- Are you afraid? ELAINE Not when I'm with you, Ted. TED I guess you'd have to be a fool not to be afraid at a time like this.",
"INT. CABIN Mrs. Gooch sucks on her cushion - she's totally zonked on acid. MAN NEXT TO HER Are you afraid? MRS. GOOCH -LRB- looking at her hands. -RRB- Are these my hands? FATHER O'FLANAGAN -LRB- to Stella. -RRB- Are you afraid? STELLA I'm a nurse. I ca n't afford to be afraid, Father. ANOTHER AREA JIMMY -LRB- to Scraps. -RRB- Are you afraid, Scraps? SCRAPS -LRB- he BARKS once, subtitle translate. -RRB- Now when there's a guy like Ted Striker up there, Jimmy. -LRB- he BARKS one more time - subtitles. -RRB- Now how about a little scratch on the inner thigh?",
"INT. COCKPIT Testa stands over Ted with a clipboard. TESTA Fifty - six percent of the passengers are afraid. Twenty - nine percent are not afraid. Eight percent are undecided and seven percent think Israel should give back Finland. TED You better strap yourself in, Testa. -LRB- on radio. -RRB- Mission control, this is Mayflower. Over. McCROSKY -LRB- V.O. -RRB- Go ahead, Striker. TED -LRB- on radio. -RRB- We've got about 60 seconds before that thing blows. We're set to reprogram for Mercury at zero point five WORP.",
"INT. MISSION CONTROL McCROKSY -LRB- on radio. -RRB- Zero point five WORP?! STRIKER -LRB- V.O. -RRB- That's right. When the bomb explodes we're going to have a ten foot hole in the fuselage and I want to get there as fast as I can. I know what this snip can do, McCrosky. McCROKSY -LRB- to Controllers. -RRB- No one's ever travelled at that speed before. JACOBS Last spring we did Europe in nine days.",
"EXT. SHIP - SPACE It careens towards the sun.",
"INT. COMPUTER CORE Bomb clock TICKS down.",
"INT. CABIN Mary instructs Passengers. MARY Heads between the knees! -LRB- looking down aisle. -RRB- Between your own knees, Father! O'Flanagan looks around guiltily.",
"INT. MISSION CONTROL McCrosky addresses his troops. McCROSKY I do n't find it easy to talk at a time like this, but I want to say something about that guy up there. I can sum it all up in one word - courage, dedication, spirit, pride, selflessness, and g - u - t - s, guts. Striker's got more guts in his little finger than most of us have in our large intestine. He's got guts up to his eyeballs, guts coming out of his ears. Controllers start playing cards, doing needlepoint. McCROSKY Sure it's a cliche but great shortstops are born, not made, and a clown is funny in the circus but when he gets on the highway, he's murder. It bugged me too when Mr. Ed refused to talk when the neighbors came over but.",
"INT. COMPUTER CORE The bomb TICKS down and BLOWS.",
"INT. COCKPIT The ship shakes violently. Ted fights for control. INSERT - SPEEDOMETER SLOWS BACK TO SCENE SFX : ENGINE WHINE SUBSIDES. The ship starts bumping as if it's hit a rough road. TED -LRB- on radio. -RRB- We've blown the computer! -LRB- to Elaine. -RRB- Elaine! Set course change! ELAINE -LRB- flips a switch. -RRB- Set! TED Now! ELAINE -LRB- pushes a button. -RRB- Compute! `` Compute'' sign flashes. Ted pulls an acceleration lever. TED Here goes.",
"EXT. SHIP - SPACE It slows to a halt.",
"INT. COCKPIT Ted pulls the lever hard toward himself. The ship shudders.",
"EXT. SHIP - SPACE The ship slingshots in the opposite direction, disappearing into the void leaving a trail of light.",
"INT. COCKPIT INSERT - PANEL LIGHT, `` 0.5 WORP'' BACK TO SCENE TED -LRB- on radio. -RRB- Point five WORP!",
"INT. MISSION CONTROL PAN Controllers looking intently into the night sky. PAN to Mrs. Salucci intently gripping her vibrator - it's on. PAN to Jacobs reading VARIETY - headline : `` PARAMOUNT ANNOUNCES SHUTTLE DISASTER PIC!'' McCROSKY Zero point five WORP, that's half the speed of light. We really have no idea what can happen to the human body at that speed.",
"INT. CABIN Two Passengers -LRB- contortionists -RRB- with legs up over their shoulders and looking out over their rear ends, play cards.",
"INT. COCKPIT The interior vibrates. A psychedelic blaze of multi - colored light illuminates the interior. Ted struggles with the controls. McCROSKY -LRB- V.O. -RRB- Striker, we're monitoring you. You're right on course. At that speed you should hit Mercury in about six minutes. So give yourself enough time to kill those WORP engines.",
"INT. MISSION CONTROL McCROSKY -LRB- on radio. -RRB- We'll be out of radio range in a few seconds. I'm going to put you in contact with Mercury Base Alpha Beta for your final descent. Over. -LRB- off mike. -RRB- Stinson, who's in command of Alpha Beta? STINSON Al Hammil? CONTROLLER 3 Not anymore. It's Rex Kramer, now. McCROSKY Not Rex Kramer! CONTROLLER 3 No, Rex Kramer.",
"EXT. MERCURY - NIGHT We see the Alpha Beta base in distance with an ALPHA BETA neon sign flashing. SFX : WAILING SUBMARINE SIREN. SUPER : MERCURY BASE, ALPHA BETA",
"INT. ALPHA BETA BASE - CORRIDOR SFX : WAILING SUBMARINE SIREN. Four uniformed officers race to their posts around a corner and collide with four others racing around the corner from the other direction.",
"INT. ELEVATOR - ALPHA BETA BASE REX KRAMER watches the floors flash by on the panel above the door. INSERT - FLOOR LIGHT, `` LEVEL 1 - POWER STATION'' O.S. we hear a DOG GROWLING and fighting with something. CLOSEUP OF KRAMER KRAMER I know this guy, Ted Striker. I flew with him during the war. He was a crack pilot but he did n't have it in the crunch. That is. INSERT - FLOOR LIGHT, `` LEVEL 3 - LIVING QUARTERS'' BACK TO SCENE KRAMER Until that day over Chicago. He brought that busted up 767 out of that storm like a paper glider coming outta the baby blue. INSERT - FLOOR LIGHT, `` LEVEL 5 - WOMEN'S SHOES, BEDDING, APPLIANCES''. `` LEVEL 6 - DESIGNER JEANS''. BACK TO SCENE KRAMER But flying that shuttle is a whole different ballgame. The elevator doors open. Kramer steps out into the communications room. SFX : SUBMARINE SIREN WAILS. PAN down to floor of elevator to find a young officer - Carey - torn to shreds and fighting off Kramer's golden retriever dog. The doors close. Kramer approaches an OFFICER. KRAMER What's the latest, Lieutenant? OFFICER They'll hit our atmosphere in about three minutes, if they hold together. They've lost their computer and are coming in at zero point five WORP on manual control, sir.",
"INT. COCKPIT Ted shifts a stick shift on the steering column.",
"INT. ALPHA BETA COMMUNICATIONS ROOM Kramer looks at the big screen. SFX : SUBMARINE SIREN WAILS. KRAMER Down scope! A submarine periscope drops. Kramer looks for the shuttle. KRAMER He'll never bring that thing in on manual, but I guess Striker's their only hope. INSERT - PERISCOPE SHOT OF WWII SHIPS BACK TO SCENE KRAMER It's his ship now. He's the top dog. INSERT - PERISCOPE SHOT OF SHORE LINE FROM WWII FILM BACK TO SCENE KRAMER The big man. The numero uno honcho. INSERT - PERISCOPE SHOT OF DESERT BACK TO SCENE KRAMER The head cheese. INSERT - PERISCOPE SHOT OF THE ED SULLIVAN SHOW - ED WAVES GOODNIGHT. BACK TO SCENE Kramer steps away from the scope. It drops down. A man in a barber chair is on the other end of the steel column and comes to rest on the floor. OFFICER 2 Sir, we have radio contact.",
"INT. CABIN Testa talks to the passengers. Psychedelic lights flash. TESTA -LRB- yelling. -RRB- We're travelling at one half the speed of light. There is nothing to worry about. However, you might experience some temporary metabolic changes. ANGLE ON WOMAN Her beard grows. INSERT - CLOSEUP OF SANITARY NAPKIN DISPENSER A flurry of hands empties it in two seconds. ANGLE ON TEXAN He has turned into a Hassidic Rabbi.",
"INT. COCKPIT Ted is fighting to maintain control. KRAMER -LRB- V.O. -RRB- Striker, this is Rex Kramer on Alpha Beta. Do you read me? Over. Ted and Elaine give startled looks of recognition. KRAMER -LRB- V.O. -RRB- That's right, Ted. Rex Kramer. We've locked you on track beam. You're going to have to kill those WORP engines in exactly thirty seconds. Over.",
"INT. MISSION CONTROL Everyone tensely looks out the window into the night sky. McCROSKY There's nothing else we can do for those people out there now, except pray. The entire room explodes in an up - beat Southern Baptists' rendition of `` HE'S GOT THE WHOLE WORLD IN HIS HANDS''.",
"INT. COCKPIT KRAMER -LRB- V.O. -RRB- Now, Striker! Kill WORP! Ted pushes his WORP lever forward but it comes off in his hand. ELAINE Ted, the lever! TED -LRB- on radio. -RRB- Kramer, the WORP control handle just came off in my hand. KRAMER -LRB- V.O. -RRB- Try another handle! TED There are no more handles, only switches. KRAMER -LRB- V.O. -RRB- No buttons?! TED -LRB- looking around madly. -RRB- Just switches, lights, and knobs.",
"INT. ALPHA BETA COMMUNICATIONS ROOM KRAMER -LRB- looking at buttons and levers on his panel. -RRB- I'd give my right arm to get just one of these buttons or levers up there right now. -LRB- on radio. -RRB- Okay, Striker. You're going to have to pull that lever panel off.",
"INT. COCKPIT TED -LRB- to Elaine. -RRB- Screw driver! She hands him a vodka and orange juice. Ted throws it on his face. He reaches down and rips the panel off, exposing all sorts of wires. KRAMER -LRB- V.O. -RRB- Now find a piece of metal and stick it in there. Ted looks around for a piece of metal. Elaine pulls a bobby pin from her hair. ELAINE Will this work, Ted? Her long brown hair falls sexily. She sweeps it back with a toss of her head. Ted is overwhelmed by her. TED Thanks. -LRB- on radio. -RRB- I've got something that might work.",
"INT. ALPHA BETA COMMUNCATIONS ROOM TED -LRB- V.O. -RRB- A bobby pin. Kramer and Aids exchange a look which questions Ted's sexuality. KRAMER What the hell is a man doing with a. forget it. -LRB- on radio. -RRB- It'll have to do, Striker.",
"INT. COCKPIT Ted sticks the bobby pin into the wires. Sparks fly. The ship starts slowing up. SFX : THE ENGINE WHINE SUBSIDES. INSERT - SPEEDOMETER WINDING DOWN BACK TO SCENE TED It's working.",
"INT. COMMUNICATIONS ROOM Kramer stands in front of the huge screen. A small ship appears in the distance coming right at us. KRAMER -LRB- on radio. -RRB- Okay, Striker. We have you on visual. Just keep her level.",
"EXT. SHIP - SPACE It careens towards the planet surface.",
"INT. COCKPIT It starts bouncing wildly. TED She's coming apart!",
"INT. CABIN Passengers scream.",
"INT. NEWS SET - BUFFALO The anchorman screams. SUPER : `` EDITORIAL''.",
"INT. NEWS SET - TOKYO The anchorman screams. SUPER : `` EDITORIAL''. -LRB- In Russian looking print. -RRB-",
"INT. HOTEL LOBBY - RIO MONTENEGRO The desk clerk screams.",
"INT. COCKPIT KRAMER -LRB- V.O. -RRB- Keep her nose up! Do n't fight her! TED I'm trying but she's fighting me! A boxing glove springs from the dash punching Ted in the face. ELAINE Ted, that's Alpha Beta! ANGLE OUT SHIP WINDOW - NIGHT We see the lights of a small colony on planet surface. The Alpha Beta neon sign is visible.",
"INT. ALPHA BETA COMMUNICATIONS ROOM Kramer sits in a large swivel chair - like Captain Kirk's on the Enterprise bridge. As he talks, he nonchalantly swivels so his back is to the huge window. We see the Mayflower approaching on the screen. KRAMER -LRB- on radio. -RRB- Now, Striker, there are a few things you have to keep in mind as you get close to the planet's atmosphere. ANGLE ON COMMUNCATION ROOM PERSONNEL They watch in horror as the Mayflower comes shooting at them. KRAMER -LRB- on radio. -RRB- First and foremost you have to make one very important decision.",
"INT. COCKPIT Elaine looks out the window - horrified. ELAINE Ted! We're not stopping! Ted fights the controls. KRAMER -LRB- V.O. -RRB- Is this a landing you're sure you can make without endangering the lives of your passengers?",
"INT. ALPHA BETA COMMUNICATIONS ROOM ANGLE ON PERSONNEL They run for cover. ANGLE ON THE SCREEN The Mayflower comes right at the screen and crashes through it. Kramer still has his back to the screen and does n't notice what has happened - the room behind him has been totally demolished. KRAMER -LRB- on radio. -RRB- Now, once you've made that decision you have to be very clear about your responsibility to those people on that ship.",
"INT. COCKPIT The front window is broken. Ted and Elaine are covered in debris. Elaine's eyes grow wide with terror again. ELAINE Ted!",
"EXT. PLANET SURFACE A group of scientists stand at a keyboard synthesizer. One plays the series of notes from CLOSE ENCOUNTERS. Suddenly the Mayflower appears over a hill. They all jump for cover as it crashes through the synthesizer.",
"INT. COCKPIT Ted and Elaine are covered in piano keys. KRAMER -LRB- V.O. -RRB- Their lives, their futures, their goals and aspirations are in your hands, Striker.",
"EXT. PLANET SURFACE The Mayflower bounces across the surface.",
"INT. CABIN Mary maneuvers down the aisle. Passengers are screaming and being tossed around. MARY -LRB- to one passenger. -RRB- Seat backs up. Thank you. She looks up and sees feet dangling from the ceiling. A man has gone right through the ceiling up to his waist. MARY -LRB- looking up. -RRB- Sir, you really must take your seat.",
"INT. ALPHA BETA COMMUNCATIONS ROOM KRAMER -LRB- on radio. -RRB- We're all with you on this one, Striker. Now get ready to position landing gear, cut engines, and fire your retrorockets.",
"EXT. PLANET SURFACE - DAWN The Mayflower careens to a smoking, crunching, shattering stop.",
"INT. CABIN Mary and Testa start directing panic - striken passengers to the exits.",
"INT. ALPHA BETA COMMUNICATIONS ROOM KRAMER -LRB- on radio. -RRB- Timing's of the essence on a lame duck approach, Striker. Do n't fight her. Hold her steady. Nose up.",
"EXT. SHIP ON A HILL - DAWN Ted and Elaine stand looking down on the wreckage. In b.g., SIRENS WAIL, emergency lights flash across Ted and Elaine. VOICES -LRB- O.S. -RRB- You'll be all right! Everyone's going to be okay! Ted holds Elaine. KRAMER -LRB- V.O. -RRB- Do n't fight her, Striker. Hold her! Hold her! Stay with her, Striker! Ted and Elaine kiss. KRAMER -LRB- V.O. -RRB- Now, hit your landing gear and cut those engines!",
"INT. ALPHA BETA COMMUNICATIONS ROOM KRAMER -LRB- on radio. -RRB- Timing's everything, Striker! Fire your retro - rockets!",
"EXT. PLANET SURFACE - DAWN Ted and Elaine walk off into the distance. SFX : SIRENS FROM CRASH AREA IN DISTANCE. KRAMER -LRB- V.O. -RRB- -LRB- voice fading. -RRB- Now give her full flap and keep that nose up. Okay, now! ELAINE Ted, what's going to happen to us? Ted stops and looks into the distant, dark sky. A printed crawl begins : MUSIC : OPTIMISTIC THEME CRAWL FAR, FAR AWAY IN THE DEEPEST REGIONS OF OUR VAST SOLAR SYSTEM, A SMALL, BRAVE GROUP OF PIONEERS EMBARK ON A BOLD NEW ADVENTURE. THEIR MISSION : TO OPEN UP A NEW FRONTIER. THEIR GOAL, TO BUILD A BRAVE NEW WORLD. Ted and Elaine walk towards crawl and are approached by two strange CREATURES - bald with a shock of hair sprouting from the top of their heads. CREATURE Hello, we'd like you to have this flower. We're with the Church of Mercurial Consciousness. Would you like to make a donation? THE END"
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] | In the near future, the Moon has been colonized and supports a station on its surface. A lunar shuttle known as Mayflower One is being rushed to launch from Houston. The head of the ground crew, The Sarge, does not like what is occurring, but he defers to the airline's management. On the flight crew are Captain Clarence Oveur, navigator/co-pilot, Unger, and first officer/flight engineer, Dunn. Also on board is computer officer Elaine Dickinson. Elaine has long left Ted Striker, and is now engaged to one of the flight crew, Simon Kurtz. Ted has in the meantime been committed to an insane asylum. He was declared mentally incompetent in a lawsuit following a test flight that Ted piloted and in which the lunar shuttle crashed. Ted believes that the lawsuit was used to silence him, because he knew there were problems with the lunar shuttle that made it unsafe. He is once more haunted by his actions in "The War" – causing a relapse of his "drinking problem", specifically the events that took place over "Macho Grande", where he lost his entire squadron. When Ted reads of the upcoming lunar shuttle launch, he escapes the asylum and buys a ticket for the flight. During the flight, Mayflower One suffers a short circuit, causing the artificially intelligent computer, ROK, to go insane and send the ship toward the Sun. Unger and Dunn try to deactivate the computer, but are blown out of an airlock. Oveur tries to stop ROK, but the computer gasses him. Simon abandons Elaine and leaves in the only escape pod. Once again, Ted is called upon to save the day, but first he has to figure out how to make the computer relinquish control. Steve McCroskey; the air traffic controller, reveals that a passenger, Joe Seluchi, had boarded Mayflower One with a bomb in a briefcase, intending to commit suicide so that his wife can collect on insurance money. Ted manages to wrestle the bomb from Joe, and uses it to blow up ROK and set course for the Moon as originally intended. Using the bomb to destroy the computer causes collateral damage to the shuttle, so the flight is not out of danger yet. On the way to the Moon, control of the flight is shifted to a lunar base, commanded by Commander Buck Murdock. He has a high level of contempt for Ted because of Macho Grande, but agrees to help anyway. They manage to land the craft on the Moon. Ted and Elaine fall back in love and are married at the end. After the wedding, Joe looks into the cockpit and asks for his briefcase back. A postcredit scene shows a screen that says "Coming From Paramount Pictures: Airplane III". Murdock is then seen saying "That's exactly what they'll be expecting us to do!" | Airplane_II:_The_Sequel |
[
"EXT. FOREST - JUST BEFORE DAWN Mail - clad HORSEMEN gallop headlong through the dark, bent low over their saddles. A bestial scream is heard, and suddenly a saddle is empty, the rider sprawled face down in a pool of blood. At the head of the band, COLWYN, a boy of twenty - two, raises his shield to ward off an unseen assailant. We hear a horrendous tearing sound, and Colwyn's father, TUROLD, riding beside him, looks over at the boy. Colwyn is unharmed - but his shield is deeply gouged, as if by a huge claw.",
"EXT. PARAPET OF WHITE CASTLE - DAWN A GUARD sees the band of warriors emerge from the forest. GUARD -LRB- shouts. -RRB- Open the gate!",
"EXT. APPROACH TO WHITE CASTLE - DAWN The warriors gallop toward the main gate of the castle. Though their arms and armor are reminiscent of the Middle Ages on Earth, this is not Earth. TWIN SUNRISE Behind the riders, TWO SUNS rise above the horizon.",
"EXT. MAIN GATE OF WHITE CASTLE - DAWN Turold and Colwyn lead their men through the gate and dismount. Waiting for them are LORD ROWAN, a man of Turold's age, and an elderly COUNCILOR. Rowan notices the gouges in Colwyn's shield. ROWAN -LRB- to Turold. -RRB- You were attacked in the forest? TUROLD Yes. We lost five. ROWAN You were lucky. I lost thirty there.",
"INT. CORRIDOR IN WHITE CASTLE - DAY Turold and Rowan walk down the corridor, followed by Colwyn and the Councilor. ROWAN I tried to reach Ynyr, the old one. I led a hundred men to his place in Granite Needle, but it was surrounded. The Dark Ones guard it by night and by day they call out the Slayers. Ynyr can not get out and no one can get in. TUROLD How many did you lose? ROWAN Sixty at the needle, another thirty in the forest. Only ten of us made it back. TUROLD We will have to try again. His knowledge is great. Without it, we can not hope to win.",
"INT. QUEEN'S BEDROOM - DAY The QUEEN is propped up in bed, eyes closed, head tilted back. Her crown, a jeweled tiara, rests in her lap. She is attended by two GIRLS - IN - WAITING, one of whom sponges her forehead with a damp cloth. The Queen opens her eyes as the elderly Councilor enters. COUNCILOR Lord Turold and his son, my lady. The Queen hands her tiara to one of the girls - in - waiting, who places it on her head. Then she nods, and the Councilor admits Turold and Colwyn, followed by Rowan. The three kneel. QUEEN He has turned out well. Turold stands and looks down at Colwyn with an affectionate smile. TUROLD Middling well. Colwyn stands and we see that he is several inches taller than his father. TUROLD Though a touch too tall for my taste. Colwyn smiles somewhat sheepishly. QUEEN -LRB- to Colwyn. -RRB- My daughter is in the north tower. Go to her. COLWYN -LRB- flustered. -RRB- In my armor? QUEEN If she's to marry a warrior, she'd best get used to it. Colwyn bows his head and leaves. The three men approach the Queen. QUEEN What news from our friends? TUROLD Barak is still strong in the north, and Tendo holds the high passes. But the great desert forts have fallen. QUEEN Freylag's stronghold? TUROLD It has been taken, Freylag and all his people slaughtered. QUEEN It is only a few weeks and already half our strong places have fallen. TUROLD The attacks are unceasing : by night, the Dark Ones ; by day, those of our people who have sold themselves to them, those traitors who are called the Slayers. QUEEN It is the way of all invaders. Those they would conquer they divide, buying allies with promises of land and power. TUROLD We will hold. Their power is not unlimited.",
"EXT. GLOOMY FOREST ROAD - DAY Two mounted SLAYERS ride along the road. Their horses and armor are black, as are their cylindrical, flat - topped helmets, pierced with a T - slot for vision. Their weapons are long - swords and maces. Two more Slayers ride out of the forest and join the black column. At a road up ahead wait three more, who swing in behind the column as it passes. Forest noises die at the Slayers' approach ; the only sounds we hear are the clink of metal and the heavy thud of the horses' hooves.",
"INT. TOWER STAIRCASE - DAY Colwyn mounts a narrow, circular staircase toward a wooden door.",
"INT. TOWER ROOM - INTERCUT LYSSA, the Queen's seventeen - year - old daughter, stares across the circular room at the wooden door, listening to Colwyn's approaching footsteps. The door swings open and Colwyn enters. They stare at each other for several moments : Colwyn, dusty and disheveled in his armor, Lyssa freshly scrubbed and glowing in a diaphanous gown. COLWYN -LRB- nervous. -RRB- I'm Colwyn. Lyssa nods, noncommittal. They start to circle the room, eyes fixed on each other, like a pair of nervous cats. COLWYN -LRB- plaintive. -RRB- Are you Lyssa? She gives him another noncommittal nod. They resume their tentative circling. Suddenly, Lyssa turns away, leaning on the sill of a narrow window. Her shoulders begin to heave, as if she's sobbing. Colwyn is in agony ; he rushes across the room to her. COLWYN I do n't care what arrangements were made by our parents. You do n't have to go through with it! Lyssa continues to heave. COLWYN They ca n't force you. I wo n't let them! Lyssa turns around, and Colwyn sees that she's not sobbing, but laughing. LYSSA -LRB- trying to control her laughter. -RRB- I'm sorry. I could n't help it. COLWYN -LRB- taking considerable umbrage. -RRB- I do n't have to go through with it either. LYSSA -LRB- still laughing, touches his arm. -RRB- You do n't understand. I'm just so relieved. I was sure you'd turn out to be short and fat and gimpy. COLWYN Oh. That. -LRB- begins to chuckle. -RRB- I know what you mean. -LRB- sits down on a bench. -RRB- I had nightmares all week. LYSSA -LRB- sits down beside him. -RRB- Me too. COLWYN Last night was the worst. I dreamt you had one leg shorter than the other, and walked like a penguin. LYSSA Mine was worse : I dreamt you picked your nose in public. COLWYN That's worse. LYSSA You're really not bad looking. Almost handsome. COLWYN Well, you're beautiful. LYSSA You might be handsome. I ca n't tell through all that grime. Besides, you reek of sweat and horses. COLWYN -LRB- pompously. -RRB- If you're going to marry a warrior, you'd best get used to it. LYSSA I have no intention of getting used to it. She goes over to a small cistern and fills a wooden bucket. LYSSA Take off your clothes. I'm going to scrub you down. COLWYN -LRB- aghast. -RRB- What? LYSSA We're almost married. COLWYN We're not married yet. LYSSA Well, then you can go up to the parapet and I'll hand the buckets up to you. Colwyn looks at the stone stairs leading to the top of the tower. COLWYN Do I have to? -LRB- looks at Lyssa, sighs. -RRB- I have to. He starts up the stairs.",
"EXT. ROAD CROSSING - DAY A column of mounted Slayers waits at the crossing for another column to reach the intersection. The first column falls in beside the second as it passes, forming a double column. Farther down the road waits LORD MODRED, a Slayer like the others, but distinguished by the leopard embroidered on his chest and by his lance, which bears a pennon affixed to its head : ermine, a leopard courant sable. As the double column reaches him, he wheels and leads them down the road, lance upright.",
"INT. QUEEN'S BEDROOM - DAY Turold and Rowan at the Queen's bedside. QUEEN Lord Rowan is one of Lyssa's godfathers. He will defend her in the ceremony. I wish that Lord Modred were here. He is a godfather of her own blood. TUROLD Modred has treated with the Dark Ones. ROWAN Modred! Impossible! TUROLD He leads a group of Slayers, under the leopard banner. QUEEN For some, the lure of power is stronger than the ties of blood. No matter. I had hoped to have the wedding next spring, Lord Turold, with all the nobles of the kingdom in attendance. But Fate and this war have ordained otherwise. TUROLD It is important to assure the succession. QUEEN Yes. The Queen smiles and beckons Turold closer. He kneels beside the bed. QUEEN I will tell you something you did not know, Turold. Had it been my choice, all those years ago, I would have chosen you for my king. But my parents chose otherwise. TUROLD I knew. QUEEN You knew! You are a rude bumpkin! TUROLD -LRB- smiles. -RRB- That I am, my lady. Turold looks out the window at the North Tower. TUROLD And, it seems, so is my son. P.O.V. - NORTH TOWER - INTERCUT Angle from the Queen's bedroom window. A waist - high wall conceals the bottom half of a naked Colwyn, who stands atop the tower, hugging himself in the brisk wind.",
"EXT. TOP OF NORTH TOWER - INTERCUT Colwyn hears Lyssa mounting the stairs and moves to the doorway, reaching around to take the bucket from her. COLWYN -LRB- as Lyssa pushes past him. -RRB- Just hand me the bucket! What are you doing! He backs away, covering himself with his hands. Lyssa advances on him ; tucked in her belt, like a sword, is a long - handled bath brush. LYSSA I do n't trust you to wash behind your ears. COLWYN Never mind my ears! Go away! The Queen and Turold watch the unfolding drama from their window vantage point : a great tongue of water leaps across the tower as Lyssa heaves the bucketful at Colwyn. Dripping wet, he retreats, but is soon cornered and attacked without quarter, Lyssa wielding brush and soap with gleeful enthusiasm. At one point, Colwyn squirms free and, with his head completely enveloped in lather, tries to flee. But since he ca n't see, he soon fetches up against a wall, and Lyssa continues her scrubbing. RESUME - QUEEN'S BEDROOM TUROLD A girl of some spirit, your daughter. QUEEN A match for your son, I think. TUROLD A fine match. QUEEN -LRB- takes his hand. -RRB- They will have the life that you and I might have had.",
"EXT. TOP OF NORTH TOWER - DAY Wrapped in a long blue cape, a scrubbed and scowling Colwyn stands with arms folded across his chest. Lyssa is combing his hair. LYSSA -LRB- steps back. -RRB- There. Now you look like someone I might want to marry. COLWYN -LRB- surly growl. -RRB- Maybe you'd better look around for another candidate. I do n't think my skin is tough enough to survive a lifetime of you and your brush. LYSSA I do n't have to look around. I've found the husband I want. You can kiss me now. COLWYN Thank you, but I can wait. LYSSA I ca n't. She bestows a class - A smack. COLWYN I lied. LYSSA About what? COLWYN I ca n't wait either. They close in a passionate kiss, and begin caressing each other. We see Turold standing in the doorway, watching them. TUROLD You'll both wait. At least for five hours. The wedding is at three. COLWYN -LRB- acting offended. -RRB- It was a platonic kiss, Father. TUROLD Of course it was. Turold snorts down a laugh. Colwyn and Lyssa begin to giggle. Then all three break into laughter.",
"EXT. COURTYARD OF WHITE CASTLE - DAY The occupants of the castle - servants, soldiers, minor nobles, and retainers - stand in two parallel lines, forming an aisle. Turold and Rowan, on horseback, face each other at opposite ends of the aisle. Midway between them stand Colwyn and Lyssa, side by side, Colwyn facing Rowan, Lyssa facing Turold. The two fathers are not armored, but they hold longswords balanced across their pommels. Colwyn glances up toward the Queen's balcony.",
"EXT. QUEEN'S BALCONY - INTERCUT The Queen lies on a couch, attended by her two girls - in - waiting. She answers Colwyn's look with a nod. COLWYN -LRB- shouts to Rowan. -RRB- I am Colwyn, son of Turold, of the eagle's blood, and I am come to take your daughter from you. ROWAN -LRB- shouts. -RRB- You shall not! LYSSA -LRB- shouts to Turold. -RRB- I am Lyssa, daughter of the Queen, of the leopard's blood, and I am come to take your son from you. TUROLD -LRB- shouts. -RRB- You shall not! The two men spur their horses toward the wedding couple, who stand perfectly still as the horses thunder down on them. Turold and Rowan swing their swords directly above the heads of the young couple, the blades striking with a clang. Then they wheel their horses to a stop. Colwyn and Lyssa, almost obscured by the whirling dust, have not moved a muscle. TUROLD Let it be done then. He hurls his sword at the ground beside the wedding couple. ROWAN It is done. He hurls his sword, which sticks in the ground beside Turold's, crossing it. A cheer goes up from the spectators and the guards on the walls. As Colwyn and Lyssa kiss, a crossbow bolt strikes one of the guards, who topples thirty feet to the courtyard below. Slayers appear around the walls, leaping over the parapet and attacking the guards. TUROLD -LRB- shouts. -RRB- Slayers! To arms! Men and women arm themselves as Slayers descend the walls. They mount a fierce counterattack against the Slayers, women fighting beside their men, Lyssa fighting beside Colwyn. But suddenly the main gate is rammed open and a dozen Slayers on horseback, led by Modred, attack the defenders from the rear. In the melee, Colwynn and Lyssa are separated.",
"EXT. QUEEN'S BALCONY - DAY The Queen and her girls hear Slayers forcing the door to her bedroom within. QUEEN Help me up. I will die on my feet. The two girls help the Queen to stand. She faces the door defiantly as it bursts open. A Slayer steps into the bedroom. QUEEN And I will not die alone. She hurls a knife, which pierces the Slayer's throat. But even as he falls, three more Slayers enter the room and advance on the three women, who stare back defiantly.",
"EXT. COURTYARD OF WHITE CASTLE - DAY Colwyn sees that his father is being pressed by several Slayers and hacks his way to his side. They dispatch their assailants, then Colwyn looks through the courtyard for Lyssa, who has just run a Slayer through with her short sword, when she is felled from behind by Modred's mailed fist. He picks her up and lays her across his saddle. COLWYN They have Lyssa! TUROLD You ca n't reach her! -LRB- opens a door in the wall. -RRB- Through the door. -LRB- as Colwyn hesitates. -RRB- Quickly! They go through the door, and are followed shortly by two Slayers.",
"INT. CORRIDOR IN WALL OF WHITE CASTLE - DAY Colwyn and Turold back down the dark corridor, fighting the two Slayers. They kill the Slayers but, in the exchange, Turold is badly wounded. He leans against the wall, holding himself erect by force of will. TUROLD The passage. Open it. Colwyn pressed one of the rough - hewn stones and a door swings open in the wall : A staircase leads to an underground passage. He moves to help his father through the door. TUROLD -LRB- shaking his head. -RRB- You will go alone. COLWYN I wo n't leave you here. TUROLD You will do as I tell you. You will try to reach Ynyr, the old one. COLWYN I must follow the Slayers. They've taken Lyssa. TUROLD -LRB- sharply. -RRB- You will not follow the Slayers, you will obey my command! -LRB- softer. -RRB- You have no chance alone, boy. You must try to break through to Ynyr. He has great knowledge. Only with his help can you save Lyssa. They hear footsteps in the corridor. TUROLD Go now. -LRB- as Colwyn hesitates. -RRB- Go! I command you! As Colwyn enters the passage and begins swinging the heavy door shut, Modred appears, advancing on Turold with drawn sword. Turold places himself in front of the door, but he is weak from his wound and goes down under Modred's first blow. Modred thrusts his sword into the crack of the door, preventing it from closing. Turold, slumped against the wall, looks up at him with pleading eyes. TUROLD Spare him, Modred. Have you never loved anyone? MODRED -LRB- after a pause. -RRB- If I spare him, they will kill me. TUROLD He is your godson now. He and Lyssa were married. Modred stares at him for some moments, then withdraws his sword, allowing the door to close. Turold flashes a look of gratitude, then dies.",
"EXT. COURTYARD OF WHITE CASTLE - DAY The castle is in flames, the occupants slain. The Slayers, mounted, wait in a double column for Modred's command. Lyssa sits on a horse in the middle of the column, her hands tied behind her. Modred approaches her with a skin canteen of water, which she refuses by averting her face. He steps back and signals the column, which trots out through the main gate. As Modred mounts his horse to follow the column, the twin suns dip below the horizon. Modred rides through the main gate, disappearing in the shadows. We hear an inhuman scream, amplified by the stone walls of the gate. Modred's riderless horse emerges from the other side of the gate. A new angle shows Modred lying on the stone floor beneath the gate tower, his chest raked by deep gouges.",
"EXT. WOODS NEAR WHITE CASTLE - NIGHT Colwyn stands beside the exit of the underground passage, tears running down his cheeks as he stares at the burning castle in the distance.",
"EXT. FOREST NEAR GRANITE NEEDLE - DAY The forest ends abruptly, some distance from the edge of a steep cliff. A natural stone bridge arches from the cliff to the Granite Needle, a cylindrical formation that rises from the floor of the valley below. Colwyn stands at the edge of the forest, looking out at a group of Slayers posted near the stone bridge. Nearby are a pair of black tents housing more Slayers. He hears a noise and turns to see a Slayer behind him, drawing his sword. As the Slayer rushes, Colwyn hurls his knife at the T - slot in the Slayer's cylindrical helmet, striking him between the eyes.",
"EXT. GRANITE NEEDLE - DAY Colwyn, wearing the dead Slayer's helmet and armor, approaches the group near the stone bridge. The bridge leads to an opening in the side of the Needle, which gives access to a passage which extends some ten feet into the Needle before it takes a right - angle turn. On the floor of the passage are heaped the bodies of half a dozen Slayers ; though Ynyr may not be able to get out, he is clearly capable of preventing anyone from getting in. COLWYN The old man must sleep sometime. SLAYER Yes, sometime. But when? COLWYN Perhaps now. SLAYER Perhaps you'd like to stroll across the bridge and find out. COLWYN Perhaps I will. 2ND SLAYER Go right ahead, brother, and let the old man put you to sleep forever. -LRB- nods toward bodies. -RRB-. along with them. The Slayers laugh, but fall silent as Colwyn draws his sword and starts across the bridge. He moves across the bridge into the passageway, stepping over bodies as he nears the right - angle turn.",
"INT. CAVE IN GRANITE NEEDLE - INTERCUT - DAY Ynyr stares down the passage toward the right - angle turn. In his hand, held out before him, is a silver glaive, a cross - shaped weapon with four equal blades. When Colwyn rounds the corner into view, the glaive leaps from the old man's hand and spins down the passageway. COLWYN -LRB- pulling off his helmet. -RRB- I am Colwyn, son of Turold! The glaive stops in midair, inches from Colwyn's throat. Realizing they've been tricked, two Slayers start across the bridge to attack Colwyn. But the old man projects his glaive past the boy, where it hangs in midair, spinning and glowing. The Slayers retreat. SLAYER There is no way out. He will die there with the old man. In the cave, Colwyn stands in front of Ynyr. COLWYN The White Castle has fallen. YNYR Does the Queen live? COLWYN The new Queen lives. YNYR Turold's son was to marry her. COLWYN We were married. Then she was taken by the Slayers. You must help me. YNYR I have lived in this place, like my fathers before me, guarding the old knowledge. I knew, when I had no son, that the Great War would come in my time, and that I would be the one to pass on the old knowledge to a new king. Come. Colwyn glances toward the entrance. YNYR It is night. The Slayers have gone to their tents and the bridge is guarded by Dark Ones. They will not cross, for they have no power in this place. Colwyn follows Ynyr through a passageway to.",
"INT. TRIANGULAR ROOM IN GRANITE NEEDLE - NIGHT Colwyn and Ynyr sit beside a fire in a triangular pit in the floor. Colwyn has shed the Slayer's armor, and Ynyr holds a black onyx box in his lap. YNYR This is not the first time the Dark Ones have attacked our world. They came once before, a thousand years ago. A young king and queen, with extraordinary powers, were given to us then, to lead the struggle. My fore - father was their Councilor, as I will be yours. COLWYN I have no extraordinary powers. YNYR Your powers are greater than you know. -LRB- indicates his glaive. -RRB- Have you ever seen one of these? COLWYN In the old books. It's called a glaive. Ynyr opens the onyx box to reveal a golden glaive. YNYR This belonged to the young king who fought the Dark Ones a thousand years ago. Now it is yours. Colwyn picks up the glaive, turns it in his hands, the blades flashing in the firelight. YNYR With two or three days' practice, you'll be able to use it as well as I can. Then we'll have a chance of fighting our way out of here. COLWYN Two or three days! While Lyssa is in their hands? YNYR There is no other way. COLWYN -LRB- looks at the fire. -RRB- But there is another entrance to this place. Ynyr follows Colwyn's gaze and sees that he's judging from the movement of the flames. YNYR Yes.",
"INT. TUNNEL IN GRANITE NEEDLE - NIGHT YNYR But it opens onto the sheer wall of the Needle. There's no way down. COLWYN You have rope? YNYR I am too old to climb down a rope. COLWYN You wo n't have to.",
"EXT. OPENING IN WALL OF GRANITE NEEDLE - NIGHT Colwyn inserts his glaive in a crack beside the opening, then ties a rope to the glaive and climbs down the wall.",
"EXT. BOTTOM OF GRANITE NEEDLE - INTERCUT - NIGHT Colwyn reaches the ground and signals Ynyr, who unties the rope from the glaive and secures it around his waist. Then he lowers the rope over the glaive, which allows Colwyn to lower him down the side of the Needle.",
"EXT. NEARBY CLIFF - INTERCUT - NIGHT A Dark One watches them from the top of the cliff, its red eyes peering over the edge. The thing moves quickly down the rock face, with only an occasional scrape or flash of claw to mark its descent. At the bottom of the cliff, the red eyes appear above a rock - only a few yards from Colwyn. But before it can attack, a trident flashes through the air and strikes the thing square in the face, the outer prongs of the weapon piercing the red eyes. We hear a death grunt, then the sound of a body falling. Colwyn turns, but sees nothing. He lowers Ynyr to the ground and they set off across the valley floor.",
"EXT. FOREST CLEARING - JUST BEFORE DAWN The golden glaive stands upright on Colwyn's outstretched palm. Ynyr kneels beside him. YNYR Focus on the glaive. Colwyn tenses with concentration. The glaive begins to spin, at first slowly, then faster and faster until it's a golden blur. YNYR Reach out with your mind. Reach out to Lyssa. Colwyn furrows his brow in concentration. COLWYN'S TELEPATHIC SEARCH - INTERCUT Through a translucent image of Lyssa we see stretches of terrain moving past : bizarre forests and valleys, gargoyle mountains, rainbow lakes. COLWYN -LRB- sweating. -RRB- There is nothing. YNYR Reach out farther. Call to her. COLWYN -LRB- OVER. -RRB- Lyssa. Lyssa.",
"EXT. FORTRESS OF KRULL, IN THE MOUNTAINS - JUST BEFORE DAWN A LONG SHOT SHOWS only a series of jagged peaks, but as we MOVE IN, we SEE the outlines of a gigantic fortress, designed to blend into the mountains. Lyssa walks along the parapets of the fortress, a cold wind whipping at her light garments. The occasional glint of talon or beak, the quick flash of a red eye, tell us that she is closely watched and guarded. COLWYN -LRB- OVER. -RRB- -LRB- faintly at first, then louder. -RRB- Lyssa. Lyssa. LYSSA -LRB- OVER. -RRB- Colwyn. INTERCUT COLWYN AND LYSSA COLWYN -LRB- OVER. -RRB- Have they harmed you? LYSSA -LRB- OVER. -RRB- No. They watch me closely, but they have n't harmed me. YNYR -LRB- to Colwyn. -RRB- Where? We must know where she is. Colwyn's face is bathed in sweat, his hand clenched tight. COLWYN -LRB- OVER. -RRB- Lyssa. Where are they keeping you? LYSSA -LRB- OVER. -RRB- In a great fortress in the mountains. Wait. Something's happening. As the twin suns edge above the horizon, the fortress fades and disappears. The whistle of the wind changes to.",
"EXT. FORTRESS OF KRULL, IN THE JUNGLE - DAWN tropical bird sounds as the Fortress appears in the midst of the jungle, its walls covered with liana vines. LYSSA -LRB- OVER. -RRB- Everything's changed. Now the fortress is in the jungle. Colwyn's body is shaking from the strain of maintaining contact. Ynyr grips his shoulder. YNYR Enough, boy. But Colwyn continues to concentrate. YNYR Enough! Ynyr slaps him sharply, knocking him backward. The boy lies exhausted, breathing heavily. YNYR You must break when the strain becomes too great, or you will harm yourself. And you must concentrate your powers for when they are needed most. What did she answer? COLWYN She was in a great fortress, first in the mountains, then in the jungle. How is that possible? YNYR It is the Fortress of Krull. I know it only from the stories of wars on other worlds. They did not use it on our world in the first great war, for it costs them enormous power. This time they mean to conquer, at all costs. COLWYN The Fortress moves? YNYR Yes. Each dawn it rises in a different land : sometimes in the mountains, sometimes in the jungle, sometimes the desert, sometimes the sea. Never in the same place twice. COLWYN Then even if Lyssa tells us where she is, we'll never be able to reach her, for they will never allow the Fortress to rise near us. YNYR No. They occupy the Fortress, but they can not control its movement. It is moved by Fate. And, sooner or later, Fate will place it near us. COLWYN Then we must be ready. Five leagues from here is the Eastern Tower. I know the Barons who hold it. Good men, and brave. They will help us. YNYR You have not slept in two days. COLWYN Nor will I, till my bride is beside me. They set off through the forest. RESUME - LYSSA LYSSA -LRB- calling. -RRB- Colwyn. Colwyn. She hears the scrape of a taloned foot behind her and hurries along the parapet. She stops and looks down at a small clearing in the jungle, outside the walls.",
"EXT. JUNGLE CLEARING - INTERCUT - DAY A fawn grazes in the clearing, unaware of a white leopard poised on a branch above it. As the leopard is about to pounce, it glances up and sees Lyssa staring down from the Fortress wall. As if in answer to her summons, it jumps to the ground and heads for the wall. The leopard leaps onto the walkway in front of Lyssa, then moves obediently to her side. They set off down the walkway together. Suddenly the leopard whirls and roars as it hears the scrape of a taloned foot behind. But other Dark Ones are in front of them. Lyssa is forced to descend a stone staircase. The leopard, acting as rear guard, roars its defiance as it backs down the stairs.",
"EXT. FOREST BROOK - DAY Colwyn and Ynyr are about to cross the tiny stream, when suddenly a small white cloud materializes above the water, bulging and gyrating, affording brief glimpses of feet and hands, as if a small man were trying to escape. As Colwyn jumps back, drawing his sword, the cloud vanishes with a POP and the small man, ERGO, is plopped on his seat in the water -LRB- which is only a few inches deep -RRB-. ERGO Help! Help! I'm drowning! COLWYN I doubt it. The water is only an inch deep. ERGO -LRB- stands. -RRB- It could have been quicksand! I might have been sucked to my death. -LRB- jumps out of the water. -RRB- Where is this place? COLWYN A forest near the Valley of Needles. ERGO Blast! A thousand miles off course. Well, I was rushed. There was a certain difference of opinion concerning a venison pie. The foolish man left it sitting on his windowsill. What did he expect? COLWYN Perhaps he expected to eat it. ERGO For that rudeness, peasant lout, I am going to leave you hanging by your heels when I depart. Which is right now. > From the folds of his voluminous clothing, Ergo produces a tattered spellbook. He peers at a page, mumbles to himself, and pokes his head toward Colwyn - whereupon he vanishes. Colwyn glances around but the little man is nowhere to be seen. ERGO -LRB- O.S. -RRB- Get me down from here! Colwyn turns and sees Ergo hanging upside - down from a tree limb directly behind him. He lifts him down. ERGO My spells always go wrong when I am observed. Be gone! YNYR The forest is not safe these days. You'd best travel with us. ERGO Me? Travel with you? I am Ergo the Magnificent. -LRB- flattens hand. -RRB-. short in stature. -LRB- points to the sky. -RRB-. tall in power. -LRB- opposes thumb and forefinger. -RRB-. narrow of purpose. -LRB- shades eyes. -RRB-. wide of vision. And I do not travel with peasants and beggars. Goodbye! We follow Ergo as he sets off down the forest path, heading in the opposite direction from Colwyn and Ynyr. After a few yards, the forest seems to grow darker, the sounds more ominous. Ergo glances around apprehensively. Suddenly, through an opening in the leaves, he sees a face with a single eye in the middle of it. With a yelp, he turns and races back up the path after Colwyn and Ynyr. When he catches up, he wedges himself between them to get as much protection as possible. ERGO I just remembered I have urgent business in this direction. COLWYN What business? ERGO -LRB- fearful glance behind. -RRB- Staying alive.",
"EXT. FOREST CLEARING - DAY As Colwyn, Ynyr, and Ergo cross the clearing, Ergo steps on a snare - trigger and is suddenly hoisted into the air by his foot. Colwyn draws his sword and turns to face five armed men who step out of the forest. They're a rag - tag bunch, garbed in various kinds of chain - mail and armed with a bizarre variety of weapons. TORQUIL -LRB- O.S. -RRB- The lad is quick, very quick. Colwyn wheels to see TORQUIL THE ROBBER leaning against a tree, his huge battle - axe resting casually across his shoulders. His cheek bulges with a wad of chewing tobacco. TORQUIL But also very young. Six to one is no odds, boy. ERGO -LRB- yelling as he hangs upside - down. -RRB- Get me down from here you louts or I'll turn you all into pigs! Torquil glances up at Ergo, then spits a stream of brown juice at the ground and steps forward to investigate his prisoners. ERGO -LRB- muttering as he fumbles for his spellbook. -RRB- They'll soon learn the price of snaring Ergo the Magnificent. Torquil walks a circle around Colwyn and Ynyr. TORQUIL When your enemies outnumber you, boy, craft is more profitable than courage. Smile and go along and, sooner or later, they will grow careless. And then. -LRB- throat - cutting gesture. -RRB-. sst! Colwyn sheaths his sword. COLWYN -LRB- little smile. -RRB- I do n't think you'll grow careless. TORQUIL -LRB- grins. -RRB- Smart as well as quick. Now what do you have to give us? COLWYN Fame. TORQUIL Fame? -LRB- laughs. -RRB- Thank you, no. Fame is the burial ground of contentment. Eat it and go hungry ; count it and go broke ; seek it and grow mad. Fame is what fools yearn for and wise men shun. COLWYN Fame is what you leave to your sons. TORQUIL -LRB- taken aback. -RRB- How did you know I had sons? COLWYN Because you would not rob if you had no children to provide for. TORQUIL Hah! You do n't know me, boy. COLWYN -LRB- fixes him with a look. -RRB- I know you. YNYR -LRB- to Colwyn. -RRB- You choose these? COLWYN Yes. They will be more help than high - born barons. TORQUIL They stand at the edge of the grave and make jokes. -LRB- shouts. -RRB- Do you know who I am, sprout? I am Torquil, Lord of the forest. My men follow no man but me, and I follow no man at all. COLWYN You will follow me. TORQUIL -LRB- shifts his axe. -RRB- And in the few seconds before I dice you to crow - food, tell me why I am going to follow you. COLWYN So your sons will speak of you to your grandsons, and your grandsons to their grandsons. Torquil plunks the handle of his long battle - axe into the ground, then folds his hands across the top of the blade and rests his chin on his hands. He stares hard at Colwyn, who returns his gaze calmly. TORQUIL And where do you lead, boy? COLWYN To the place where Death lives. TORQUIL -LRB- grins. -RRB- It should be an interesting journey, then. COLWYN -LRB- answering smile. -RRB- That I promise you. TORQUIL -LRB- to his men. -RRB- I compel no man to follow me on this journey. KEGAN We owe you our lives, Torquil. If you follow the boy, so also do we. BARDOLPH, OSWIN, and RUHN nod their agreement. The sixth robber, SWEYN, back away. SWEYN I follow the man who follows gold. He who follows glory travels without me. TORQUIL Go then, and let greed be your gravestone. Sweyn moves off into the forest. An angry oink causes the others to look up at the snare, which holds a small pig by its foot ; as usual, Ergo's magic has boomeranged. TORQUIL What have we here? -LRB- prods the pig with his axe. -RRB- Roast pork for dinner. The pig squeals his objections. Torquil signals to drop the snare, and picks the pig up under his arm. COLWYN He needs his book. Torquil finds the open spellbook and kneels, allowing the pig to read it. Pop, and Torquil is holding a gyrating cloud under his arm, replete with squeals and yells and pieces of pig and Ergo ; pop, and the cloud disappears, leaving Ergo under Torquil's arm. ERGO Put me down, you lout! TORQUIL -LRB- sets him down. -RRB- You had better manners as a pig. ERGO -LRB- haughty. -RRB- I am Ergo the Magnificent, and I do not travel with thieves and robbers. He takes two steps into the forest, then glances around anxiously. ERGO -LRB- backing out of the forest. -RRB- Except when necessary.",
"EXT. HILL OVERLOOKING VALLEY - SUNSET As the band nears the crest of the hill, Colwyn stumbles. Torquil reaches out to steady him. TORQUIL When did you last sleep, boy? COLWYN -LRB- shaking off the help. -RRB- I'm all right. They top the hill and look out over the valley, dotted with plumes of smoke from burning villages. TORQUIL They burn many villages. Even walled cities fall to them. COLWYN -LRB- angrily. -RRB- Why do they burn the villages? There's nothing to gain. YNYR There's terror to gain. Their wealth is fear : they get it with fire, they spend it to rule.",
"EXT. FOREST CLEARING - NIGHT The band has stopped in the middle of the clearing. Colwyn is swaying, barely able to stand. TORQUIL We'll stop here to hunt. Even those who do n't sleep must eat. Colwyn folds his arms across his chest, tries to stand up straight. COLWYN -LRB- eyes drifting shut. -RRB- I'm not hungry. TORQUIL -LRB- folding his arms across his chest. -RRB- Not sleepy, either? COLWYN -LRB- eyes almost closed, swaying. -RRB- No. Torquil purses his lips and blows at Colwyn, who falls backward into the arms of Kegan, who lays him gently on the ground, fast asleep. Torquil covers him with his cape. The other robbers string their bows and prepare to hunt. ERGO Bring me a deer! No deer, no supper.",
"EXT. FOREST CLEARING - AN HOUR LATER Torquil and Ynyr talk to several PEASANTS at the edge of the clearing while, in the center, Ergo tends the cooking fire, beside which Colwyn lies asleep. Ergo's face lights up when he sees Kegan arrive with a stag across his shoulders, and he snick - snacks his carving knife in anticipation. But Torquil has Kegan turn over the stag to the peasants, which nearly gives Ergo apoplexy. ERGO -LRB- galloping across the clearing. -RRB- What are you doing with my dear? Stop! Thieves! TORQUIL -LRB- restraining him. -RRB- Many villagers are hiding in the forest. They need food. ERGO And do you think I live on air? TORQUIL We have plenty of hares. ERGO -LRB- snorts. -RRB- Food for crows. TORQUIL Surely a sorcerer of the sauce pan can make rabbit taste like venison. ERGO I am being exploited! Where are you going? TORQUIL -LRB- moving off with Ynyr. -RRB- I must take the old man to see some sick children. Kegan will guard you. But Kegan spots a hare and creeps into the forest after it, leaving Ergo and Colwyn alone in the clearing. Suddenly, Ergo hears ominous noises. He peers into the dark forest and his jaw drops as he sees a pair of red eyes staring out of the gloom. He snatches up a carving knife and a frying pan and backs toward Colwyn, holding the pan as a shield. The red - eyed thing moves toward them through the trees, and poor Ergo is unmanned by fear : he drops his knife and ducks his head behind the frying pan in sheer terror. But he hears the thing stop short and raises his head to look behind him, where a CYCLOPS stands with trident poised to throw. The little man assumes that both creatures are trying to kill him and faints dead away. But the trident is aimed at the red - eyed thing, which has no desire to do battle with the Cyclops. The thing retreats, the red eyes fade. The Cyclops comes over to Ergo and kneels to listen to his heart. Then he enters the forest after the Dark One.",
"EXT. FOREST CLEARING - LATER THAT NIGHT The band, including Colwyn, is gathered around Ergo, who is telling his story. ERGO -LRB- indicating positions. -RRB- One with red eyes, the other with one eye, both trying to kill me. YNYR The one with red eyes was a Dark One, the other was a Cyclops, and it was not you he meant to kill. ERGO He was aiming a huge spear right at me! YNYR If that were so, you'd be dead now. He was aiming at the Dark One, for there is ancient hatred between them. Once his race had two eyes, like other men, until his forefathers bargained with the Dark Ones : they gave up one of their eyes in return for the power to see the future. But they were cheated, for the only future they were permitted to see was the time of their own death. COLWYN They know when they're going to die? YNYR -LRB- nods. -RRB- Everyone of his race is born knowing the day of his death. TORQUIL Knowledge I would n't want. YNYR No. They are sad, solitary creatures, rarely seen. ERGO Once is enough, thank you. COLWYN He saved our lives. TORQUIL -LRB- glance toward fire. -RRB- But not our supper. Ergo sees smoke rising from a pot on the fire. ERGO -LRB- running to the pot. -RRB- Oh, my poor stew! TORQUIL Oh, my poor stomach.",
"EXT. FOREST CLEARING - NEAR DAWN The band is asleep, Torquil on guard. As the eastern horizon grows light, Torquil wakes Ynyr and Colwyn.",
"EXT. FOREST, A FEW YARDS FROM CLEARING - DAWN Colwyn sits against a tree, brow furrowed in concentration, the golden glaive spinning in midair in front of him. Ynyr and Torquil look on. COLWYN I ca n't reach her. YNYR What do you see? COLWYN Darkness. Tunnels and corridors. -LRB- pause. -RRB- Wait.",
"INT. CORRIDOR IN KRULL - INTERCUT Lyssa moves down the windowless corridor with the white leopard at her side. COLWYN -LRB- OVER. -RRB- -LRB- faintly. -RRB- Lyssa. LYSSA -LRB- OVER. -RRB- Colwyn. COLWYN -LRB- OVER. -RRB- Where is the Fortress? LYSSA -LRB- OVER. -RRB- I do n't know. It's a maze of tunnels. I ca n't see out. COLWYN -LRB- OVER. -RRB- I will find you. I will be with you. LYSSA -LRB- OVER. -RRB- I know it. COLWYN -LRB- OVER. -RRB- -LRB- fading. -RRB- I love you, Lyssa, I love you. LYSSA -LRB- OVER. -RRB- Colwyn. Colwyn. -LRB- in her own voice. -RRB- I love you, Colwyn. RESUME - COLWYN ET. AL.. COLWYN She ca n't see out. She ca n't tell us where the Fortress is. YNYR Yes, they knew of your first contact, so they drove her below. COLWYN She was very faint. I was barely able to reach her. YNYR The deeper she goes, the harder it is to contact her. Once she is below the second level, you will not be able to reach her at all. COLWYN -LRB- leaps to his feet, shouts angrily. -RRB- I will find her! He hurls his glaive at a nearby tree : the weapon bores clean through the trunk, then through two more before it imbeds itself in a fourth. But anger gives way to despair ; he buries his face in his hands. YNYR -LRB- hand on his shoulder. -RRB- We'll seek an Emerald Seer. They have great powers of vision. TORQUIL There's an Emerald Circle a few leagues from here. -LRB- moves to Colwyn. -RRB- We'll find her. COLWYN -LRB- looks up. -RRB- Forgive me. It's childish to cry. TORQUIL -LRB- thumbs the tears from Colwyn's cheeks. -RRB- Those are not child's tear. A child cries for himself, a man cries for those he loves. RESUME - LYSSA She and the leopard are forced deeper in the Fortress, down yet another flight of stairs.",
"EXT. HILL OVERLOOKING STONE LAKE - DAY Colwyn and Torquil top the hill and look down at the lake, the surface of which looks as if it had been instantly frozen in the midst of a great storm. TORQUIL We can save half a day by crossing the Stone Lake. YNYR -LRB- coming up. -RRB- Many have perished in that maze. TORQUIL -LRB- grin. -RRB- No maze to me, my fried. It is where we take refuge when they hunt us. COLWYN Lead us across.",
"EXT. STONE LAKE - DAY At the edge of the lake, an enormous wave is poised to break, frozen in blue stone, even to the froth that caps it. Torquil leads the band into the maze. ERGO -LRB- walking beside Ynyr. -RRB- I wish you'd tell me why that foolish boy decided to join up with these thieves. The little man suddenly lets out a yelp and jumps back : He is staring into the jaws of a huge shark frozen in the wave -LRB- as was all the marine life in the lake, including gulls with one foot touching the water -RRB-. He steers around the jaws and catches up to Ynyr. YNYR He did n't join them. They joined him. ERGO And who is he that they should join him? YNYR He is the King. ERGO Well, at least I'm glad to see you have a sense of humor. That's the first smile I've seen on that gloomy face of your's. -LRB- Ynyr is not smiling. -RRB-. is n't it? It is n't. Oh no. Oh dear. Oh now I've gone and done it. He scurries forward and tugs at Colwyn's jacket. ERGO Your kingship. your lord high mightiness. when I called you a. a. whatever I called you, I did n't realize that you were. were. COLWYN I was hoping I might be your friend. ERGO -LRB- staggered. -RRB- My friend. COLWYN I have need of friends. ERGO -LRB- flattered nearly senseless. -RRB- No more, my lord - my friend. With Ergo the Magnificent by your side, your enemies are dead men. The little man pulls out a carving knife and, with a flourish, tucks it in his belt - slicing through his outer garment as he does so. Colwyn glances down and sees red liquid oozing from the cut. Ergo follows his gaze. ERGO -LRB- staggering. -RRB- Argh! I'm dying! Colwyn notices seeds oozing out with the liquid and samples it with his finger. COLWYN Not yet, my friend. It's your tomato that's dying. ERGO What? Oh no! Better it was me. There is n't another good tomato within a hundred leagues. He pulls out the stabbed tomato and kisses it tearfully. ERGO Oh, my poor baby. He looks up to see Ynyr smiling broadly. ERGO -LRB- scowling. -RRB- I liked you better gloomy, old man. Colwyn resumes his place beside Torquil, who gives him a sideways glance. TORQUIL So. You're something more than a seeker of fame. Colwyn shrugs sheepishly. TORQUIL Well, I'm not impressed. COLWYN -LRB- smiles. -RRB- I knew you would not be. That's why I chose you. They reach the end of the lake, which is bordered by a small scarp. Torquil hikes himself onto the scarp and reaches down to help Colwyn up. TORQUIL -LRB- grin. -RRB- I'm a little impressed.",
"EXT. EMERALD STONEHENGE - LATE AFTERNOON A circle of stone dolmens, emerald green, in the center of which sits an old man, blind, wearing a green robe : an EMERALD SEER. Sitting across from him is TITCH, his ten - year - old assistant, similarly robed. A green - hued holographic image appears above the emerald, showing Colwyn and his band approaching. The Seer weaves his fingers through the image, reading it by touch. SEER Eight come here, Brother. They have traveled far. Fetch bread and wine. TITCH Yes, Brother. The boy fetches a jug of wine and a round loaf of bread, and approaches Colwyn's band as they enter the stone circle. Colwyn waves Titch toward his men and moves with Ynyr and Torquil to the Seer. YNYR We seek the Fortress of Krull. SEER Such a vision will be opposed. Who seeks it? YNYR The new King. SEER -LRB- little smile. -RRB- With an old voice? YNYR -LRB- answering smile. -RRB- You know the voice. SEER Yes. You have left your place in the Needle. It is the time, then. YNYR It is the time. SEER I will seek the Fortress for you. The Seer presses his fingertips against the rotating sphere, increasing the pressure and friction until small tongues of flame spurt from beneath his fingertips. A holograph begins to form above the sphere : the Fortress in mid - ocean. SEER Can you see? YNYR Yes. It is the Western Ocean. COLWYN There is a prisoner there. SEER Yes. The holograph dissolves, replaced by a new one which shows a curving Arm of the Vortex, the deep, central parts of the Fortress. Lyssa and the white leopard move down the Arm, pressed by an unseen pursuer. COLWYN -LRB- leaning forward. -RRB- Lyssa. As the twin suns dip below the horizon, the flames spurting from the Seer's fingertips begin to leap and lengthen, until the sphere is surrounded by fire, its color changing from emerald - green to crimson. We hear faint, hollow screams of rage. The holograph above the sphere begins to waver and blur, then is shattered by a holographic black claw shooting upward from the sphere. The talons of the claw are blood red, its appearance accompanied by a hollow scream. The Seer is knocked backward ; the claw disappears ; the emerald drops to the ground. COLWYN -LRB- kneeling by the Seer. -RRB- Are you hurt? SEER -LRB- sitting up. -RRB- No. -LRB- grim smile. -RRB- The Dark Ones do not like curious Seers poking into their affairs. COLWYN Can you tell us where the Fortress will rise tomorrow? SEER I can not see the future, only the present. But at dawn tomorrow, I can see where the fortress has risen that day - and every day thereafter, until Fate brings it near us. YNYR The Dark Ones will appose you with all their power. SEER They will fail for, during the day, the power of the Circle is greater than theirs. Only at night can they pierce the Circle. Titch approaches Ergo with bread and wine. ERGO -LRB- wrinkling his nose. -RRB- Bread is for peasants, and wine makes me sneeze. Got any gumdrops? TITCH No. ERGO Sugarballs? TITCH No. ERGO -LRB- annoyed. -RRB- What kind of a boy are you? Boys always have candy. TITCH I have a cinnamon bar. ERGO You do? TITCH -LRB- producing the bar. -RRB- You can have half. Ergo takes the bar and breaks it into unequal parts. He is about to take the bigger piece for himself when conscience gets the better of him ; reluctantly, he offers the bigger piece to Titch. But the boy takes the small piece, leaving the delighted Ergo with the lion's share. ERGO -LRB- mouth full. -RRB- I am Ergo the Magnificent. -LRB- flattens hand. -RRB-. short in stature. -LRB- points to sky. -RRB-. tall in power. -LRB- opposes thumb and forefinger. -RRB-. narrow of purpose. -LRB- shades eyes. -RRB-. wide of vision. TITCH -LRB- mouth full, points to his chest. -RRB- I. -LRB- bows from waist. -RRB-. am Titch.",
"EXT. EMERALD STONEHENGE - NIGHT While Ergo and Titch tend the cooking fire, robbers leave to hunt and others return with small game. Sitting against one of the stone dolmens, Colwyn tries to contact Lyssa, the glaive spinning in midair in front of him. Ynyr and Torquil look on. COLWYN I can not reach her. YNYR She is too deep. The curved tunnel we saw is part of the Vortex, the place of The Beast. TORQUIL The leader of the Dark Ones? YNYR Yes. -LRB- to Colwyn. -RRB- Like you, a King. A King of many worlds. All enslaved. COLWYN The first time, when they attacked long ago, was The Beast here? YNYR No. Then they were led by his underlings. But I knew he had come this time, from the ferocity of their onslaught, from their use of The Fortress. They use up much of their strength to do these things. They are taking great risks. COLWYN Why? YNYR -LRB- evasive. -RRB- I'm not sure. COLWYN But you suspect. YNYR You will know, in good time. At the cooking fire, Kegan arrives with a string of small game. ERGO -LRB- disgusted. -RRB- Rabbits and squirrels. Where is my deer! KEEGAN We saw nothing but does and fawns, and we shoot only stags. Kegan lays down the string of game and moves off. ERGO -LRB- grumbling. -RRB- Nothing worse than lower - class boors with upper - class morals. CYCLOPS -LRB- O.S. -RRB- Would you settle for a boar? ERGO -LRB- to Titch. -RRB- A boar? Those incompetent louts could n't catch a piglet, much less a boar. He realizes that the voice has come from behind him and turns to see the Cyclops with a huge boar slung across his shoulders. ERGO You! CYCLOPS Me. -LRB- lays down the boar. -RRB- May I eat with you tonight? ERGO Tonight and every night, my friend, for this is the second time you've saved my life. -LRB- draws himself up. -RRB- I am Ergo the Magnificent, short in stature, tall in power, etcetera, etcetera. CYCLOPS I am Quell. TITCH I'm hungry. ERGO Smart lad. -LRB- theatrical. -RRB- Bring me my spices! Titch hands him a leather belt of spices. TITCH I must fetch my master. -LRB- smiles at Cyclops as he passes. -RRB- I'm Titch.",
"EXT. STREAM NEAR STONEHENGE - NIGHT The Seer kneels at water's edge, washing his hands with ritual motions. He hears footsteps behind him. SEER Is that you, Brother? We see a CHANGELING/SEER standing behind him : an exact twin, except that his eyes are open and red. Changeling reaches down and places his hand on the Seer's neck. CHANGELING -LRB- hiss. -RRB- It is me, Brother. His hand turns into a taloned claw, which tightens around the Seer's neck, throttling him. He lowers the body into the stream, then reaches into the Seer's robe and extracts the emerald, which he crushes in his claw. The green fragments drop into the water, floating downstream behind the Seer's body. His bloody claw now reverts to human form, but the fingers remain bloody. He kneels and washes off the blood. When he hears Titch approaching, he closes his eyes. CHANGELING -LRB- in Seer's voice. -RRB- Is that you, Brother? TITCH It is me, Brother. He stands and places his hand on the boy's shoulder to be led back to camp. The Cyclops appears, having followed Titch to guard him. The Cyclops glances at the Changeling, but notices nothing unusual. He takes a few steps farther down the path, to check it out - and stops just short of a point that would show him the Seer's body fetched up against a rock in the stream. He turns and follows Titch back to the campsite.",
"EXT. STONEHENGE - NIGHT The band is seated around the fire, finishing a huge dinner of roast boar. The Changeling/Seer sits slightly apart, his eye - lids lifting occasionally to afford a thin slit, through which he surveys the group with red eyes. TORQUIL -LRB- raising a joint. -RRB- Passable, pimple, very passable. ERGO The greatest boon of your otherwise worthless life, blockhead, is the privilege of dining on boar roasted by the hand of Ergo the Magnificent. TORQUIL Your boast is a bigger mouthful than your roast, Magnificence. He glances over his shoulder at Colwyn, who is leaning against a dolmen, staring gloomily into the darkness. Torquil gets up and goes to him, carrying the joint. TORQUIL You've eaten nothing. COLWYN -LRB- shrug, pause. -RRB- We must try to get horses. TORQUIL Yes. It will double our range. -LRB- grins. -RRB- I know at least a dozen ways to get horses. All cheap. COLWYN -LRB- little smile. -RRB- These we'll pay for. TORQUIL -LRB- sigh. -RRB- Lad, you have an unnatural desire to pay for things. It stunts the mind and shrivels the imagination. COLWYN -LRB- thumb in his ribs. -RRB- Hand over your dinner. TORQUIL -LRB- hands it over. -RRB- A flicker of talent. Colwyn's hunger comes alive as he starts to work on the joint. TORQUIL But I ca n't tell yet whether it's a talent for theft or gluttony. Ergo, Titch, and the Cyclops, full to bursting, are stretched out together beside the fire. ERGO If I could wish. -LRB- belch. -RRB-. for anything, I'd wish for a venison pie the size of a. -LRB- belch. -RRB-. mountain. No, that's too greedy. I'd settle for one the size of a house. TITCH I'd wish for a puppy. ERGO One puppy? Why not wish for a hundred? TITCH I only want one. ERGO A foolish wish. And you, Quell? CYCLOPS -LRB- after a pause. -RRB- Ignorance.",
"EXT. STONEHENGE - NIGHT Bardolph and Oswin stand guard over the sleeping band, stationed at the perimeter of the Circle, looking outward. The Cyclops broods by the fire, his expression troubled. He frowns and looks around, then gets up and moves out of the Circle into the darkness. As soon as the Cyclops is gone, the Changeling/Seer opens his eyes and looks around. He stands and moves toward Bardolph. BARDOLPH -LRB- turns. -RRB- Who's there? CHANGELING -LRB- holding out a hand. -RRB- It's me, Brother. I am thirsty. BARDOLPH Here, I'll guide you. He approaches the Changeling, who places a hand on his shoulder to be led to the stream.",
"EXT. PATH TO STREAM NEAR STONEHENGE - NIGHT As they move down the path, the Changeling's hand turns into a claw and he throttles Bardolph so quickly he's unable to utter a sound. He tosses the body into the bushes and starts to wipe his bloody hand on the grass - but stands as he hears Colwyn coming down the path. COLWYN Where is Bardolph, Brother? CHANGELING He heard something and went to investigate, Brother. Colwyn starts to move past him to the stream. CHANGELING -LRB- reaching out. -RRB- Lead me to the stream, Brother. Colwyn stops and allows the Changeling to place a hand on his shoulder. A close shot of the Changeling's hand shows it still bloody, the blood running onto the cloth of Colwyn's jacket.",
"EXT. STREAM NEAR STONEHENGE - INTERCUT - NIGHT The Cyclops stands near the spot where the real Seer was killed. He moves downstream a few yards - and suddenly sees the Seer's body floating in the water, caught against the rocks. He realizes immediately that the band is in great danger ; he races up the path toward the camp. As Colwn leads the Changeling down the path, we see the hand on his shoulder turn into a claw. The claw is moving toward his neck when suddenly the Cyclops bursts from the trees in front of them. Colwyn stares in disbelief as the Cyclops hurls his trident straight at him. The weapon whistles past his ear and slices off the Changeling's arm at the shoulder. Colwyn spins, sees the red eyes, ducks backward as the Changeling swipes at him with his other hand - now become a claw. He draws his glaive as the Changeling reverts entirely to bestial form, its hideous black body bursting the seams of the emerald - green robe. As the creature springs at Colwyn, we see, for an instant, the horrible face : teeth flashing, eyes burning. Then Colwyn's glaive strikes between the eyes. Slit by the horizontal blades of the glaive, the eyes explode in a burst of red and the thing dies with a scream. Torquil, Ynyr, and others run up. The body of the creature has already turned to ash, forming the characteristic Vortex of the Dark Ones. CYCLOPS -LRB- to Ynyr. -RRB- A Changeling. YNYR Yes. It chose the Seer's form so it would n't have to show its eyes. COLWYN -LRB- to Cyclops. -RRB- How did you know? CYCLOPS I found the body of the Seer in the stream. They all look up the path at Titch, who is rubbing his eyes sleepily. Ergo goes up to him and puts an arm around his shoulders.",
"EXT. STONEHENGE - NIGHT The band stands beside a fresh grave, outlined by stone markers. Colwyn is kneeling with his arms around Titch, whose face is buried against his chest. COLWYN If he had not agreed to help us, they would not have killed him. He gave his life for us. TITCH He was my only family. COLWYN We're your family now.",
"EXT. STONEHENGE - LATER THAT NIGHT Colwyn, Ynyr, and Torquil sit by the fire while the others sleep. YNYR I must go to the widow. Perhaps she will help. TORQUIL The Widow of the Web? YNYR Yes. TORQUIL That creature helps no one. And none who go there return. YNYR She has the power of vision. TORQUIL She has the power to kill. YNYR Perhaps she will not kill me, for I know her name. TORQUIL Her name is Death. YNYR She had another name once. COLWYN -LRB- with finality. -RRB- No. We will find another way to locate the Fortress. YNYR There is no other way. You asked me why the Beast had come this time. COLWYN Yes. YNYR He has come for Lyssa. COLWYN Lyssa? Why? YNYR Like you, she has extraordinary powers. He would make her his Queen. COLWYN Can she be forced? YNYR No. She must agree of her own free will. COLWYN Never. YNYR You are young. You do n't understand the attraction of great power, and you forget the pain of long waiting. COLWYN Then we must reach her before she feels that pain. YNYR Yes. On the other side of the fire, Ergo lies awake, watching Titch, who is asleep next to him, his face tear - stained. The Cyclops sits nearby, leaning against a stone, one hand on his trident. His eye is closed ; he appears to be asleep. Ergo sits up, takes his spellbook, and sneaks off behind a stone. The Cyclops opens his eye and watches as Ergo thumbs through the book, mumbles a spell, and disappears in a gyrating white cloud. When the cloud disappears, Ergo has transformed himself into a puppy. The puppy trots over to the sleeping Titch and licks his face. The boy stirs, opens his eyes, and hugs the puppy to his chest.",
"INT. ARM OF VORTEX - NIGHT Red eyes press Lyssa and the leopard down the curving passage - way until they emerge in the center of the vortex.",
"INT. CENTER OF VORTEX - NIGHT The Arms open into the top of a huge bloodstone funnel, at the bottom of which is the hole of the Beast. Lyssa and her guardian are forced along a spiral walkway that curves down the walls of the funnel to the dark hole at the bottom. We hear a heavy, slithering sound, as of an enormous tail being dragged across stone. A pair of huge red eyes appear in the Beast's hole and we hear a husky whisper : the sound is ominous, but also attractive, in the way that enormous power is always attractive. VOICE OF THE BEAST Do not be afraid. You are safe here. You are protected by my power. Lyssa shrinks against the stone. The white leopard roars. VOICE OF THE BEAST I am not one of those trivial ones who have been guarding you. They are my slaves. They are to me as drops to an ocean. I rule here. The leopard leaps at the hole, but is frozen in mid - leap, suspended in the air. VOICE OF THE BEAST I rule all here. The leopard is suddenly flung backward, hurled with tremendous force against the stone. Lyssa turns to see it embedded in the solid rock, mouth open and eyes glazed. VOICE OF THE BEAST Nature is my slave here. A stone claw rises from the floor. VOICE OF THE BEAST Its laws are mine to break. The claw bursts into flame and strikes at Lyssa with such force that the rock around her is shattered, yet she is unharmed. The flaming claw lifts her up and sets her down, then shrinks to a ball of flame and drops into her hand ; she looks down to see that she is holding a rose. VOICE OF THE BEAST Such is my power. It can be yours. When she looks up, the red eyes are gone. She is alone.",
"EXT. STONEHENGE - EARLY MORNING Before the camp wakes, the puppy crawls out of Titch's arms and trots behind the stone. It scans the spellbook lying open on the ground, then disappears in a gyrating white cloud and becomes Ergo again. As he sneaks back to his own blanket, he sees the Cyclops watching him with a smile. ERGO -LRB- grumbling. -RRB- I still say it was a foolish wish.",
"EXT. ROAD NEAR SWAMP OF BETRAYAL - DAY The band makes its way past the Swamp, heading for the Widow's Mountain, visible in the distance. ERGO -LRB- glance toward Swamp. -RRB- What is that awful looking place? CYCLOPS The Swamp of Betrayal. Be glad we do n't have to cross it. ERGO I'm glad. -LRB- glance toward Swamp. -RRB- I'm very glad.",
"EXT. FARTHER DOWN THE ROAD - INTERCUT - DAY Concealed at the side of the road are ten Slayers and Sweyn, the robber who refused to go along with the band. He points down the road at the approaching band. The Chief Slayer nods, and hands him a leather purse full of gold coins, which Sweyn tucks in his jacket. They mount their horses and start down the road. COLWYN Slayers! CYCLOPS We must enter the swamp. YNYR Few have survived it. TORQUIL -LRB- indicating Slayers. -RRB- Fewer will survive them. COLWYN Yes, it's our only chance. They ca n't use their horses there. Quickly.",
"EXT. SWAMP OF BETRAYAL - DAY A mangrove swamp, with a lattice - work of gnarled roots hovering above dark waters. The band enters the swamp. CYCLOPS Do not let the waters touch you. COLWYN What will happen? YNYR You will be devoured by your own mind. Colwyn and Torquil help the old man, Ynyr, while the Cyclops takes care of the two little ones, Ergo and Titch, sometimes lifting one in each hand to deposit them on the next root. The Slayers reach the edge of the Swamp and dismount. Sweyn and the Chief Slayer lead them in. The band is halfway across the Swamp when Colwyn suddenly slips and plunges into the water. TORQUIL -LRB- extends a hand. -RRB- Take hold! But the waters of betrayal have begun their work : COLWYN'S POV He sees Torquil stand and embrace Lyssa, who comes from behind a tree. TORQUIL Let him drown. LYSSA Yes. Then we'll marry and you will be my king. They kiss. BACK TO SHOT Colwyn draws his sword and swings at Torquil. COLWYN Traitor! She'll marry you in hell! YNYR -LRB- to Torquil. -RRB- He thinks you betray him with Lyssa. -LRB- to Colwyn. -RRB- Colwyn! The waters deceive you! COLWYN'S POV He sees Ynyr stand and talk to someone behind the tree. YNYR I have delivered him into your hands. Now pay me the price we agreed on. A black claw appears, pouring gold coins into Ynyr's hand. BACK TO SHOT Colwyn lunges at Ynyr. COLWYN I will melt that gold and pour it down your throat, old man! YNYR He sees betrayal everywhere. He will attack us so long as he is conscious. They glance anxiously at the Slayers, closing quickly. Titch reaches into Ergo's voluminous coat and pulls out a soup ladle, which he throws at Colwyn. The ladle catches Colwyn in the forehead, knocking him unconscious - but also knocking him backward in the water, out of reach. ERGO -LRB- to Torquil. -RRB- Your axe! Lay it out! Torquil tucks the heel of the axe handle under a root and grips it with both hands. Ergo tightropes out the handle and kneels on the axe head, directly above Colwyn. TORQUIL I ca n't hold the weight of both of you! ERGO Hush! He squinches his eyes shut and mumbles something to himself. The gyrating white cloud appears with a pop and, when it pops off, Ergo has been transformed into a snake, with its tail wrapped around the axe handle. The snakes plunges into the water and wraps itself around Colwyn's chest. Torquil grits his teeth and pulls up on the axe, lifting the snake and Colwyn out of the water and depositing them on a nexus of roots. The white cloud reappears and returns Ergo to human form, barely conscious, coughing and spitting water. Meanwhile, the Slayers are almost upon them. The Cyclops has moved to the rear with Kegan, Oswin, and Rhu. As the Chief Slayer comes within range, the Cyclops lunges with his trident, slicing the root on which the Slayer stands and spilling him into the dark waters. Sweyn kneels to help him out. CHIEF SLAYER Traitor! He stabs Sweyn in the chest, slicing through the purse of gold coins. Sweyn tumbles into the water, blood and gold pouring out of the gash in his jacket. The Chief Slayer attacks the others, wounding some, knocking several into the water - and they, in turn, attack their fellows. The band stares in awed silence as the Slayers massacre each other. The din of battle fades ; the Slayers, dead to a man, float in the water. As Colwyn regains consciousness, the others gather round. COLWYN Forgive me, my friends. I saw terrible things. TORQUIL They do not exist, except in the waters of the Swamp, where they will remain.",
"EXT. OPPOSITE EDGE OF THE SWAMP - DAY The band emerges from the Swamp, which laps at the foot of the Widow's Mountain. Ynyr faces Colwyn and Torquil. YNYR From here, I must go alone. COLWYN You will tell me her name and we will go together. YNYR -LRB- with peculiar emphasis. -RRB- You must never know her name. -LRB- pause. -RRB- If more than one approaches, she will certainly kill them. Alone I may have a chance. TORQUIL -LRB- hand on Colwyn's shoulder. -RRB- Each to his fate, lad. YNYR -LRB- nods. -RRB- Each to his fate. Wait for me at the inn. If I am not back by dawn, you will know my fate, and you must go on without me. He turns and starts up the mountain. At the rear of the group, the Cyclops heads toward a forest, carrying Titch on his shoulder. ERGO Where are you going? CYCLOPS We'll meet you at the inn. ERGO -LRB- hurt. -RRB- Ca n't I come, too? CYCLOPS No. The Cyclops moves off with Titch.",
"EXT. FOREST - DAY Titch rides on the Cyclop's shoulders, straddling his neck. He holds a small crossbow at the ready. CYCLOPS -LRB- whispers and points. -RRB- Over there. Titch takes aim at a great stag, bracing his arm against the top of the Cyclops's head.",
"INT. INN - NIGHT Kegan, Oswin, and Rhun are downing flagons of sack and dandling pretty INN - GIRLS on their knees. Torquil eyes them enviously from the fireplace across the room, but ca n't bring himself to leave Colwyn, who takes no comfort from wine or women. COLWYN Go, join them. TORQUIL What kind of friend do you think I am? COLWYN The best. But my unhappiness is not made lighter by adding your's to it. TORQUIL Well, it is true that if I received a royal command I could n't very well disobey it, could I? COLWYN -LRB- little smile. -RRB- Go. I command you. TORQUIL -LRB- grins. -RRB- Yes, my lord. He strides across the room, seizes a pair of Inn - Girls by the waist and swings them around. Ergo, sitting near Colwyn, stares despondently into the fire. ERGO Try your tricks on me and I'll turn myself back into a snake and bite you. COLWYN You and I will guard the fire. ERGO What else is left for a man without friends. Colwyn glances out a back window and sees the body of a stag being carried past on someone's shoulders.",
"EXT. WIDOW'S MOUNTAIN - NIGHT Ynyr climbs toward the hourglass opening of the Widow's cave above, lit by an eerie light from within.",
"INT. WIDOW'S CAVE - NIGHT A gigantic web of crystal stretches across a vast, domed cavern, shimmering in the luminescence from below. At the center of the web is a domed cubicle, made of criss - crossed ribbons of mirror glass. Light flashes off the mirrors in such a way that it is impossible to see, through the openings, who or what is within. The blinding effect does not occur inside the cubicle, so that a POV SHOT from inside shows the entire web clearly. It also shows, reflected from hundreds of facets on the inside of the structure, the face of the WIDOW, the old woman who sits at the center : a hideous crone, grotesque and distorted. She sees Ynyr standing at the edge of the web. WIDOW -LRB- low. -RRB- Someone comes here. She picks up an hourglass, containing only a handful of sand, and turns it to start the sand running out. WIDOW This is his time. Ynyr is shouting at her from the edge of the web. YNYR -LRB- shouting. -RRB- I am Ynyr. I seek the Widow. But sound does not pierce the cubicle. From inside it, one can only see his lips moving. Ynyr steps onto the web and starts toward the center. When he's halfway across, he turns to see a giant black widow spider made of crystal, entirely translucent except for a red hourglass in the center of its crystal abdomen. As the spider approaches Ynyr and prepares to attack, the red color expands, filling the abdomen first, then spreading through the rest of the body. Ynyr holds up his glaive. The spider stops, begins moving sideways ; the redness fades. Inside the cubicle, the hourglass sand has almost run out. The spider twitches a crystal strand, throwing Ynyr off balance and causing the glaive to fly from his hand. It sticks in a crystal strand, too far to reach. Ynyr is helpless. The spider advances, reddening. YNYR -LRB- desperate shout. -RRB- Lyssa! This name has the power to pierce the soundproof cubicle : the Widow stands as she hears the name, ECHOED by the huge cavern. WIDOW -LRB- calls. -RRB- Who speaks that name! YNYR -LRB- shouts. -RRB- Ynyr! She watches as the spider looms over Ynyr. Then she reaches behind her and turns the hourglass, just as the last grains of sand run out. This causes the spider to back away, turning translucent again. Ynyr retrieves the glaive and makes his way to the domed cubicle. He enters the cubicle to find the Widow facing away from him, though he can see her hideous face reflected back by the mirrors in front of her. WIDOW It is fifty years since I heard that name. YNYR It is fifty years since I spoke it to you. WIDOW I was beautiful then. YNYR The most beautiful woman in the world. WIDOW But you would not stay with me. YNYR Could not. Could not betray the girl to whom I was betrothed. WIDOW She was not as beautiful. YNYR No, she was not as beautiful. WIDOW She bore you many children? YNYR We had no children. WIDOW You had a son. YNYR -LRB- staggered. -RRB- You said nothing. You told me nothing. WIDOW You had left me! I kept silent out of rage. YNYR Where is he? My son. WIDOW I killed him when he was born. -LRB- pause. -RRB- This place is my punishment. The old man bends his head sadly. When he looks up, he sees in the mirrors that tears are coursing down the Widow's cheek. As he watches the tears, the mirrored face turns to that of a beautiful young girl. And the Widow is stunned to find that she sees the reflections as he sees them : the face of a young girl. WIDOW Do not try your trickery on me! YNYR It is no trickery. WIDOW Those are reflections. -LRB- turns to face him. -RRB- This is my face! When she starts to turn, we SEE her as old. But when she faces Ynyr, we SEE her THROUGH HIS EYES : as a young girl. YNYR You see? WIDOW -LRB- smiles. -RRB- Yes. A REVERSE ANGLE explains her smile : she sees him as the young man who loved her. YNYR Memory is no trick, it is a power. The power to see. WIDOW Power you have given me. What can my power give you? YNYR Knowledge. WIDOW Of what? YNYR The Fortress of Krull. When will it come near here? WIDOW Why must you know? YNYR There is a girl there. Her name is Lyssa. WIDOW You lie! YNYR -LRB- touches her cheek. -RRB- Could I lie to you and still see your beauty? WIDOW -LRB- lowers her eyes. -RRB- No. YNYR A young man seeks her. A young man about the age I was when I met you. WIDOW Tomorrow, the Fortress of Krull will rise with the sun in the Valley of Reeds. But the knowledge is of no use to you. No man has ever escaped the Web. And soon the creature will come for you, even here. Ynyr touches his glaive. WIDOW -LRB- shakes her head. -RRB- It will not help. YNYR Then the other Lyssa will share your fate. She will grow old in the Fortress as you have grown old here. The Widow takes a small gold hourglass from a mirrored niche. WIDOW Hold out your hand. She breaks the hourglass and pours the sand into his open hand. WIDOW Those are the sands of my life. So long as they remain in your hand, the creature can not harm you. Ynyr closes his hand, but the sand trickles out through his fingers. He tries clenching it tightly, but the sand continues to run. YNYR I can not stop the sand. WIDOW You can not stop time. Go now, before it runs out. YNYR You will come with me. WIDOW There is sand enough for only one life. Go now, save the other. She watches Ynyr make his way across the web toward the cave entrance. The ANGLE is BEHIND HER, and we SEE her hands grow gnarled and mottled, her body become that of an old woman once again - but when we SWING AROUND IN FRONT OF HER, we SEE that her face is still that of a young girl. The crystal spider scuttles across the web to attack Ynyr. But the old man holds up his clenched fist and shows the sand running from his fingers. Stymied, the spider crouches and turns blood red. A scream of rage fills the cave. Ynyr reaches the safety of the entrance and looks back : the blood - red spider scuttles to the center of the web and smashes open the cubicle. Ynyr looks at his hand : the sand has run out. As the old man makes his way sadly down the mountain. A SHOT OF THE WIDOW Shows her encased in a web shroud ; and though her body is old, she retains, even in death, the face of a young girl.",
"INT. INN - NIGHT Torquil and his men dandle INN GIRLS on their knees, laughing, leching, and guzzling. The INNKEEPER bustles about, assisted by a much - abused serving girl named VEELA, whose beauty is concealed by kerchiefed hair, frumpy clothes, and a layer of soot. Across the room, Colwyn and Ergo sit in front of the fire, staring gloomily into the flames. Titch comes in the back door and whispers to Torquil, who signals his men. They get up and head for the back wall, where Cyclops is swinging open a pair of large double doors. Ergo is too glum to notice the sudden diminution of noise, but Colwyn sees Torquil and his men carrying in a giant venison pie, ten feet across and five feet high. TITCH -LRB- comes up to Ergo. -RRB- Ergo? The little man hunches forward, refusing to answer. TITCH Sir Ergo? My honorable Lord Ergo? ERGO First, you desert me, and now you mock me. Go back to your one - eyed friend. Titch reaches out and presses the end of Ergo's nose. ERGO What? Now you poke me in the nose as well? TITCH I do n't think it's working. ERGO Not working? This nose? This nose works day and night. This nose has never loafed an hour in its life. This nose. -LRB- sniffs. -RRB- What? -LRB- sniffs again. -RRB- Impossible. This nose asleep while venison fills the air? -LRB- seizes Titch. -RRB- Where is it, boy? Tell me where it is and I forgive you everything. TITCH It's right behind you. Ergo turns and his eyes grow as big as the pie. ERGO -LRB- awed whisper. -RRB- A venison pie as big as a house. CYCLOPS A small house. ERGO And what do you think a small person lives in, you one - eyed fool? Leaving me here to mope while you and the boy were arranging my assassination. TITCH We meant only to please you. ERGO And do you think I'm not going to eat myself to death this very night? Huh? The dwarf approaches the pie worshipfully. ERGO Look at its beauty. Look at its grace. TORQUIL -LRB- holds out a knife. -RRB- Look at its insides. ERGO No! Not yet! Let me hug it and kiss it a little. Let me run my fingers over its lovely skin. -LRB- climbs onto the pie. -RRB- Let me climb to the top and sing to it. He clambers up the crust and stands on top of the pie. ERGO Henceforth I am Lord Ergo, for now I have an estate to rule. He kneels and embraces the crust. ERGO -LRB- crooning. -RRB- Let us go then, you and I, my sweet and hot and lovely pie. The crust suddenly gives way beneath him ; he plunges into the pie, disappearing completely. The onlookers laugh and applaud. But when he does n't reappear, they grow worried. TITCH -LRB- knocks on the crust. -RRB- Ergo? Are you all right? Ergo's head pops up through the crust. ERGO Here lies Lord Ergo, drowned in a venison pie. He died with a smile and a belch, goodbye, goodbye. He disappears inside the pie again. The others crowd around and begin dismembering it.",
"INT. INN - LATER THAT NIGHT Colwyn and the Cyclops stand guard over sleeping robbers and inn girls. Ergo floats half - awake in the gravy in the pie shell, a contented smile on his face. He opens his mouth and allows a piece of venison to float into it. Then he hears whimpering and peers over the edge of the crust : Titch is asleep nearby, in the throws of a nightmare. The serving girl, Vella, is still busy cleaning up. As she passes the pie shell, she hears scrabbling and splashing, and stops to see a puppy trying to clamber out. CYCLOPS Lift him out. Vella lifts out the puppy and sets it on the floor. The puppy shakes itself, then trots over to Titch. The boy hugs the puppy to his chest. VELLA -LRB- to Cyclops. -RRB- It's the little man called Ergo, is n't it? CYCLOPS Yes. VELLA He must care a lot for the boy. CYCLOPS Yes. INNKEEPER -LRB- coming over. -RRB- You lazy slut! I do n't pay you to stand around jawing with the guests! COLWYN Leave her be. She's worked hard all day. INNKEEPER She'll work till dawn if I choose! He cuffs the girl, knocking her to the floor, but backs away as Colwyn approaches. COLWYN -LRB- an order. -RRB- Her working day is over. She'll rest now. The Innkeeper scowls, then skulks off, grumbling. Colwyn helps the girl up and sees that her ankle has been twisted by her fall. He puts an arm around her and helps her toward the stairs.",
"INT. CENTER OF VORTEX Lyssa moves around the walkway, looking for escape, but all the passages leading out of the Center are blocked by red eyes. VOICE OF THE BEAST Have you considered? She turns to see the gigantic red eyes in the Beast's hole. LYSSA I do not want your power. It is hideous. VOICE OF THE BEAST You know nothing of power, you foolish girl. You think power is a mighty sword, or a strong castle, or the paltry magic of an Emerald Seer. Power is none of these. The red eyes in the hole disappear. Lyssa hears the voice behind her. VOICE OF THE BEAST Power is beauty. She turns to see a Greek Adonis standing behind her. His naked body glistens with oil ; he is incredibly handsome. -LRB- But his eyes are red. -RRB- She retreats. The Adonis vanishes and Lyssa feels her hand clasped gently. She turns to see a girl of her own age, smiling at her. -LRB- But her eyes are red and she speaks with the Voice of Darkness. -RRB- VOICE OF THE BEAST Power is friendship. When Lyssa pulls her hand away, the girl vanishes. VOICE OF THE BEAST Power is joy. Lyssa sees herself -LRB- but with red eyes -RRB- as a young mother, holding a baby and laughing. Then she feels a hand on her cheek and turns to see Colwyn -LRB- red - eyes -RRB-, smiling at her as he caresses her cheek. He speaks with the dark Voice. VOICE OF THE BEAST Power is desire. She knows, from the eyes and voice, that this is not the real Colwyn. But loneliness and fear and longing are beginning to take their toll. She touches his hand, presses it against her cheek. VELLA -LRB- OVER. -RRB- The cruelest fate is to be far from the one you love, not knowing whether you will ever see him again.",
"INT. VELLA'S ROOM - NIGHT Vella sits dejectedly on the edge of the bed. Colwyn stands near. VELLA I was betrothed to a boy from my village. We were to be married this summer, but he traveled across the sea and his ship was lost. -LRB- bows her head, whispers. -RRB- They say he drowned, but I know he is alive. I know he will come back to me. Moved by her grief, Colwyn sits on the bed and takes her in his arms to comfort her. COLWYN I know the cruelty of such a fate. VELLA -LRB- lifts her head. -RRB- Perhaps you think no man would return to me. COLWYN I do n't think that. Vella stands and slips the kerchief from around her hair, which is long and lustrous. It tumbles loose, falling gracefully around her shoulders. She wipes the sleeve across her face and, almost magically, the smudges and dirt disappear. She steps out of her ungainly shoes, then unfastens her ugly dress ; it falls to her feet. She stands barefoot in her chemise, stunningly beautiful. VELLA Am I not worth returning to? COLWYN Yes. VELLA Am I not beautiful enough to be loved? COLWYN Yes. VELLA Even by you? COLWYN -LRB- drops his eyes. -RRB- Yes.",
"INT. VORTEX - NIGHT The red - eyed Colwyn holds Lyssa's hand as he makes his proposal. VOICE OF THE BEAST This I tell you : our children will be princes. They will have the power of my darkness and the power of your blood. They will conquer galaxies. Lyssa back away, shaking her head no. VOICE OF THE BEAST They will make you a queen. A queen of worlds uncountable. The red - eyed Colwyn waves his hand and a stone wall cracks open. VOICE OF THE BEAST These are the galaxies you will rule. Through the crack, we see galaxies moving toward us, slowly at first, then faster. We see not only the familiar galactic forms - spirals, ellipses, spheres - but shapes and colors never seen from Earth : exploding galaxies of red stars, whirling galaxies of yellow and blue, galaxies writhing as if in pain. They move toward us, faster and faster, until they becomes blurs of light and color. Another wall cracks open. VOICE OF THE BEAST These are the worlds of your empire. We see planets moving toward us : Earthlike planets of blue and green, volcanic planets spitting flame, gaseous planets, ringed planets, planets with a hundred moons. Another wall cracks open. VOICE OF THE BEAST These are the beings who will be your slaves. We see crowds of living creatures, some humanoid, others with shapes never seen, prostrating themselves in obeisance, keening their pain and fear. LYSSA I do not want your worlds or your slaves. VOICE OF THE BEAST Then look! Another wall cracks open. We see Colwyn and Vella in a close embrace. LYSSA It's a lie! VOICE OF THE BEAST These walls do not lie! He will betray you. LYSSA He will not! VOICE OF THE BEAST Then he will die!",
"INT. VELLA'S ROOM - INTERCUT Colwyn and Vella in each other's arms. VELLA You too are lonely. COLWYN I ache with it. VELLA Let me comfort you. COLWYN I can not take comfort when she has none. VELLA Then give me comfort. Sleep with me tonight. COLWYN I can not betray my bride. VELLA One night is no betrayal. Have pity on me. -LRB- begins to cry. -RRB- Please, I beg you, do not refuse me. You do not know the price. Her tears wash the blue dye from her eyes and we see that her eyes are red. Colwyn is in the arms of a Dark One. COLWYN I feel your pain, but I can not betray her. VELLA You will not, then? COLWYN I can not. Vella's left hand turns into a claw. She moves it toward his neck, then stops. She begins to cry ; blood - red tears run down her cheeks. VELLA My master told me : make him betray her ; if he will not, kill him. Colwyn steps back from her. VELLA -LRB- thrusts out her claw. -RRB- Yes, he is my master. Colwyn plucks his glaive from his belt and poises it to throw. VELLA These talons were a heartbeat from your throat. I could have killed you in an instant. Colwyn lowers the glaive. VELLA But in the hour I knew you, I loved you. That love is life for you and death for me. Remember me. In the Vortex, Lyssa stares defiantly at the red - eyed Colwyn. LYSSA It is you who are betrayed. The red - eyed Colwyn extends his left hand, which turns into a claw ; the talons clutch the empty air - and in her room, Vella gasps as she is strangled. The red - eyed Colwyn snaps his arm sideways - and Vella is flung across her room against the wall. Her body disintegrates, leaving only gray ash and an empty chemise. COLWYN Have faith, Lyssa. I will come. In the Vortex, the false Colwyn has vanished. The huge red eyes have reappeared in the Beast's hole. LYSSA He will come for me. VOICE OF THE BEAST -LRB- OVER. -RRB- He will not come. You will be my queen. The eyes recede, accompanied by the heavy, slithering sound.",
"EXT. VALLEY OF REEDS - SUNRISE As the twin suns edge above the horizon, the black, hulking Fortress of Krull rises majestically above the reeds.",
"EXT. INN - DAWN Ynyr, having just returned from the mountain, confers with the band outside the inn. YNYR We must reach the Valley of Reeds before the next dawn. TORQUIL It's a hundred leagues from here. COLWYN We could reach it on fire - mares. TORQUIL Those beasts can not be saddled by mortal men. CYCLOPS They can be saddled. COLWYN You have done it? CYCLOPS I road them often in my youth. COLWYN -LRB- to Torquil. -RRB- Saddles. TORQUIL The innkeeper. As Colwyn and Torquil move toward the inn, Ynyr draws the Cyclops aside, glancing at the bands of white linen on his wrists. YNYR -LRB- low, to Cyclops. -RRB- It is dangerous for you. CYCLOPS It will only be a few hours. Then I will accept my fate.",
"EXT. MARSH - DAY The band watches from the edge of the marsh as the Cyclops stands knee - deep in water, facing the charge of a dozen fire - mares. ERGO They'll trample him to death! YNYR No. He will master the leader. The fire - mares charge past the Cyclops, who disappears in a cloud of smoke and steam and spray. They wheel and charge again, circling him. He fixes his eyes on the lead mare, who pulls out of the circle and comes toward him. The Cyclops places his hand on the mare's muzzle and the horse stands quietly. The others follow suit, forming a circle around him.",
"EXT. MARSH - A FEW MINUTES LATER The band is mounted, except for the Cyclops. Titch sits behind Colwyn. ERGO -LRB- calls. -RRB- Quell? CYCLOPS I can not go with you, my friend. COLWYN It is today? CYCLOPS Yes. It is today. The band files past him, each man reaching down to shake his hand. Ergo is next to last. His mouth works as he tries to speak, but no words come out. The Cyclops embraces him. ERGO My heart stays here. CYCLOPS And mine goes with you. Ergo moves off, wiping his nose on his sleeve. Colwyn is last, with Titch sitting behind him. COLWYN -LRB- to Titch. -RRB- You're too young to come with us, lad. Stay with our friend. He swings the boy to the ground, then grips the Cyclops's hand. COLWYN Each to his fate. CYCLOPS Each to his fate. The Cyclops stands beside Titch, holding the boy's hand, watching the band move off. YNYR -LRB- to Colwyn, as they ride. -RRB- He ran a great risk, helping us today. If he opposes his fate, his death will be terribly painful. COLWYN -LRB- looking back. -RRB- Let us wish him peace. The Cyclops is sitting cross - legged on the ground, having wound a white linen headband around his forehead. Titch sits beside him. TORQUIL -LRB- pointing up. -RRB- We must cover a hundred leagues before sunrise. COLWYN -LRB- stand in his stirrups. -RRB- At the gallop! As the mares increase their speed, their sparking hooves begin to flash, until, at full gallop, their feet and fetlocks are enveloped in flame. They thunder down the road on a carpet of fire.",
"EXT. RIDGE - SUNSET In long shot, we see the fire - mares silhouetted against the darkening sky, galloping along the spine of the ridge on a thin line of flame.",
"EXT. FORD - NIGHT A GATEKEEPER comes out of his hut as he hears approaching hoof - beats. A wooden gate stretches across the road, barring the ford. GATEKEEPER -LRB- to himself. -RRB- If they're nobles, it'll cost'em gold. The Gatekeeper's mouth drops as the fire - mares round the curve and smash through the gate, causing the stream to boil and hiss as they gallop through it. He stares at the clouds of steam that mark their passage. GATEKEEPER -LRB- plaintive whine. -RRB- I would've settled for silver.",
"EXT. LOG ROAD IN SWAMP - NIGHT With hoofbeats audible in the distance, half a dozen THIEVES huddle on the log road, preparing an ambush. LEADER To your places. If they resist, show no mercy! The thieves kneel at the edge of the log road, weapons at the ready. The Leader stands in the middle of the road, notches an arrow, and draws his bow. LEADER Hold, or you are dead men! His eyes turn to saucers as the fire - mares round the curve and bear down on him. He yelps and dives into the swamp, along with the rest of his band. The fire - mares thunder past, leaving the thieves gulping swamp - water and the log road in flames.",
"EXT. VALLEY OF REEDS - JUST BEFORE DAWN The horizon shows light gray as the fire - mares streak across the valley, leaving a trail of blazing reeds. Two dozen Slayers ride from the Fortress to oppose them. COLWYN -LRB- shouts to Torquil. -RRB- It's almost dawn! Flank them! Torquil leads half the band to the right, Colwyn leads the other half to the left. They sweep past the Slayers on either side, surrounding them with a ring of fire. The Slayers are enveloped by flames as the band reconverges and heads toward the high wall of the Fortress. But a dismounted Slayer pierces the fiery wall, his clothes flaming, and hurls a spear at Rhun at the tail of the band. Colwyn and Torquil look back and see Rhun skewered by the spear, the point protruding from his chest. Torquil shakes his head and they continue toward the wall. But atop the wall, hidden behind the crenellated parapet, wait another dozen Slayers with cauldrons of boiling pitch at the ready. Colwyn reaches the bottom of the wall and swings off his mare. COLWYN Up the wall! Quickly! The others dismount and follow him up the wall, which is canted back some twenty degrees from the vertical, allowing them to clamber up the stone courses. But suddenly a stream of boiling pitch pours down the wall toward them. TORQUIL Look out! They dodge the hissing steam of pitch, but a second stream catches Oswin, who screams as he's enveloped by the boiling liquid. Colwyn and Torquil look up to see a cauldron of pitch being moved into position directly above them. But Torquil points down the wall where. the Cyclops is galloping along the parapet, the hooves of his fire - mare sparking against the stone. Titch stands on the saddle behind him, with a crossbow laid across his broad shoulder. The boy looses a bolt and hits one of the Slayers at the cauldron, saving Colwyn and Torquil. The Slayers loose a hail of arrows, several of which strike the Cyclops in the chest. But he keeps coming, and Titch keeps firing bolts from behind his shoulder, felling Slayers like deer. As the twin suns are about to rise, the Slayers overturn the great cauldron of pitch, which pours down the wall, heading straight for Colwyn.",
"EXT. ARCTIC LANDSCAPE - SUNRISE The Fortress rises out of the ice and Colwyn looks up to see the stream of pitch frozen solid, not three feet above them. COLWYN -LRB- shouts. -RRB- On them! He leads the band up the wall to the parapet, where the Cyclops has dismounted and is holding off several Slayers, shielding Titch, who is still firing his deadly bolts. A brief but fierce battle disposes of the Slayers. The band gathers around the fallen Cyclops. A dozen broken - off arrow shafts protrude from his body. He holds Ergo's small hand in one of his great paws. CYCLOPS -LRB- dying smile. -RRB- A man can ask nothing more than that his death help his friends. His hand tightens with the pain that he has brought upon himself, then his fingers open slowly. Ergo stifles a sob as the great eye closes in death. Torquil calls Colwyn's attention to yet another group of Slayers in the distance. Colwyn leads the band across an ice bridge to a stone door encased in ice. They hack through the ice and swing open the door, which opens onto a set of stone stairs leading down. TORQUIL -LRB- glance toward Slayers. -RRB- I'll stay behind and keep them busy. YNYR It is not necessary. They will not follow.",
"INT. STONE STAIRWAY - INTERCUT - DAY The band moves down the stairs. Above, the Slayers reach the stone door, but they're clearly reluctant to descend. One steps forward and starts down - but then hears the eerie screams of the Dark Ones below. He scurries back up and, with the others, backs away from the door. On the stairs below, the eerie screams are deafening, echoing through the stone corridors. Ynyr leads the band, taking them down the stairs, across a landing, and down another flight of stairs. Torquil notices mortar crumbling between the stones of the staircase. TORQUIL Look. YNYR Yes, they are weakening. It takes great power to maintain the Fortress, and they have expended much.",
"INT. STONE CORRIDOR The band hurries down the corridor, pursued by dozens of red eyes. TORQUIL -LRB- looking back. -RRB- They're gaining on us. -LRB- draws his sword. -RRB- We must slow them up with steel. They are standing beneath a Romanesque arch that supports the wall. COLWYN -LRB- looks up at the arch. -RRB- Better stone than steel. He draws his sword and inserts it beside the capstone of the arch, working the blade to loosen the mortar. Torquil follows his thought and begins chopping at the mortar on the other side of the capstone. The red eyes are almost on them when they finally succeed in dislodging the capstone. They jump back as the capstone falls and the arch collapses, blocking the corridor with a wall of stone rubble. TORQUIL You're resourceful, my lad. -LRB- grins. -RRB- I tell you, one year under my tutelage and I could make you the Prince of Thieves. COLWYN Subject to the King, no doubt. TORQUIL -LRB- modest bow. -RRB- Naturally. Suddenly, a black claw bursts from the stone rubble and clutches Torquil by the neck. Colwyn quickly draws his sword and hacks off the arm, which disintegrates into gray ash. TORQUIL -LRB- fingering his neck. -RRB- A good thrust, my friend. Another second and there'd have been nothing between my head and shoulders but bad memories. COLWYN I intend to keep you alive, your majesty. So you can abdicate your throne and become my Warlord. TORQUIL Perhaps. If the pay is good. Colwyn signals Ynyr, who leads the group down the corridor and then down yet another flight of stone stairs. They emerge in.",
"INT. CAVERN OF AGE A pillared cave, pitch black. We hear the rasping sound of labored breathing, as of old men close to death. COLWYN -LRB- calls softly. -RRB- Stay together. They move through the cave, weapons at the ready. A feeble voice calls out. OLD TORQUIL Torquil. Torquil turns to see a wizened, hollow - eyed old man : himself at the end of his life. OLD TORQUIL Do not let this happen, Torquil. A PRIESTESS OF YOUTH steps out from behind a pillar : she is eighteen, wearing a transparent garment that shows the stunning beauty of her young body. She holds a golden goblet containing a rainbow - colored liquid. PRIESTESS It need not happen, Torquil. Drink the rainbow. It is youth. She reaches behind the pillar and takes the hand of YOUNG TORQUIL, pulling him into view : it is Torquil as he was at eighteen. PRIESTESS It is your youth, Torquil. YNYR -LRB- touches Torquil. -RRB- This is the Cavern of Age. Touch nothing, take nothing, or the future will be plunged into your heart. Torquil shudders as he looks at the old man he will become, horrified by the gaping face of his own future. Colwyn takes his arm and gently pulls him away. But the Priestess of Youth slips ahead, appearing again with the Young Torquil, this time in passionate embrace. As she caresses the youth, she holds out the goblet to Torquil. PRIESTESS Drink the rainbow, Torquil. Youth is yours. I am yours. Take me, Torquil. COLWYN -LRB- guiding him past. -RRB- She lies, my friend. Now it is Ergo's turn to confront the future. He sees himself as an old man, bald and shrunken, at the edge of death. OLD ERGO Ergo, save yourself. Save yourself from this. > From behind a pillar appears a FAIRY PRIESTESS OF YOUTH, golden - haired, beautiful, holding a gold goblet. She tilts the goblet and pours some of the rainbow liquid into her hand. FAIRY PRIESTESS -LRB- holds out her cupped hand. -RRB- Drink from my hand, Ergo. I can save you. Ergo starts toward her, but Titch grabs his arm. TITCH -LRB- yanking him back. -RRB- Ergo! Ergo allows himself to be pulled along, gazing back wistfully. ERGO Oh, she was so beautiful - and I was so ugly. TITCH Would you desert your friends? ERGO -LRB- shaking himself out of it. -RRB- No, no. I'm with you, boy. Bringing up the rear of the group is Kegan. He looks to the side and gasps in horror as he sees himself at age eighty, writhing on the floor, wracked by the pain of a horrible last illness. OLD KEGAN -LRB- gasping. -RRB- Disease and pain, Kegan. This is your future. A PRIESTESS OF YOUTH appears. She is very young, perhaps fifteen, with the kind of beauty that makes a man catch his breath. She holds out the goblet, her face full of compassion and concern. VERY YOUNG PRIESTESS -LRB- pleading with him. -RRB- Oh please, Kegan, do n't let this happen. Come to me as you were. A YOUNG KEGAN steps out beside her. He is sixteen, a golden youth. VERY YOUNG PRIESTESS Come to me young, Kegan. She steps forward, moving very close to him. VERY YOUNG PRIESTESS -LRB- whispers. -RRB- Your youth is in the goblet, come to me in the rainbow. No mortal man could resist her. She holds the goblet to his lips and he drinks. TORQUIL -LRB- sees him and shouts. -RRB- Kegan! YNYR It is too late. He has drunk. The Priestess embraces Kegan. As they kiss, a rainbow arches down and envelopes them in its multi - colored light. But the colors soon fade and the rainbow becomes an arc of white light, growing brighter and more intense. In the blinding light, the Priestess begins to age, turning old before our eyes, as does Kegan himself. The others watch, frozen in horror, as Kegan struggles to escape her embrace. But she clutches him with bony fingers, pressing her wrinkled mouth to his. They topple to the floor, writhing in each other's arms, their skin turning to parchment. The writhing stops. Two skeletons lie on the floor, locked in fatal embrace, the white bones shimmering in the arc of light. As the others continue through the cave, Ergo takes Titch's hand and places it on his arm. ERGO Keep a tight hold, boy, in case I get any more crazy ideas.",
"INT. OUTER WALL OF VORTEX The band approaches the curving bloodstone wall of the Vortex. Great circular openings in the wall indicate the terminal of the Arms. YNYR -LRB- to Colwyn. -RRB- They will hold Lyssa in the Center of the Vortex, the place of the Beast, where its power is greatest. No man can match it there. Lyssa must try to move toward us. For as we enter the Vortex and move closer. COLWYN -LRB- waits, then finishes the sentence. -RRB- The Beast will kill her. YNYR Yes. To keep her from you. But now that we are inside the Fortress, you will be able to contact her. Colwyn kneels on the floor, elbow on knee, bending his forehead against his hand in concentration. COLWYN -LRB- OVER. -RRB- Lyssa.",
"INT. CENTER OF VORTEX - INTERCUT Lyssa is halfway up the spiraled wall of the Vortex, midway between the Beast's hole below and the passage above - all of which are guarded by red eyes. LYSSA -LRB- OVER. -RRB- Colwyn. COLWYN -LRB- OVER. -RRB- You must move away from the Center. LYSSA -LRB- OVER. -RRB- All the passages are guarded. YNYR -LRB- hand on Colwyn's shoulder. -RRB- She must make a glaive. COLWYN -LRB- OVER. -RRB- Lyssa, your bracelets. Bend them straight and cross them. Lyssa removes a pair of gold bracelets from her arm, bends them straight, and forms a cross. COLWYN -LRB- OVER. -RRB- Now grip them in your hand. She wraps her fingers around the intersection of the cross, converting the bracelets into a kind of homemade glaive. COLWYN -LRB- OVER. -RRB- Will your power outward. LYSSA -LRB- OVER. -RRB- I do n't know how. COLWYN -LRB- OVER. -RRB- You have the power. Will it. As Lyssa frowns in concentration, her glaive begins to glow. LYSSA -LRB- OVER. -RRB- Yes. I can do it. YNYR -LRB- to Colwyn. -RRB- West. COLWYN -LRB- OVER. -RRB- Take the western passage. LYSSA -LRB- OVER. -RRB- All directions are the same here. YNYR -LRB- to Colwyn. -RRB- The spiral begins in the west. COLWYN -LRB- OVER. -RRB- Where the spiral begins. Lyssa looks up to where the spiral begins. LYSSA -LRB- OVER. -RRB- Yes. COLWYN -LRB- OVER. -RRB- Move quickly. We are coming for you. We are in the Fortress. LYSSA -LRB- OVER. -RRB- -LRB- as she smiles. -RRB- I knew you would come. At the outer wall, the band is midway between two of the Arms. Ynyr looks from one to the other, then chooses the one on the left. And in the Center, Lyssa must make a similar choice, for the spiral begins midway between two of the Arms. She also chooses the one on the left. She holds the shining glaive in front of her as she moves into the Arm and we hear the scrape of talons and the gutturals of frustration as the red eyes are forced to retreat before it.",
"INT. FIRST ARM OF VORTEX The band moves down the curving Arm, toward the Center.",
"INT. SECOND ARM OF VORTEX Lyssa moves out the adjacent Arm, away from the Center. She holds her glaive in front of her, forcing back the red eyes.",
"INT. CENTER OF VORTEX The huge red eyes of the Beast rise toward the top of its hole. We hear a hideous scream of rage as the Beast discovers Lyssa gone. We do not actually see it emerge from its hole, but we see the reaction of the lesser Dark Ones guarding the passages : they shrink in fear, fleeing up the passages as the Beast climbs out of its hole and up the side of the spiral funnel. As the Beast moves into the west passage, we catch a glimpse of one taloned foot : it is so large that the mind ca n't conceive of a living creature this huge. It leaves behind a trail of black mud mixed with fragments of a bizarre seaweed : dark red, with spiral leaves.",
"INT. SECOND ARM OF VORTEX Lyssa glances back fearfully as she hears the Beast coming up the Arm. LYSSA Colwyn. Where are you, Colwyn?",
"INT. FIRST ARM OF VORTEX Ynyr leads the band down the Arm. YNYR -LRB- worried. -RRB- We should have reached her by now. Colwyn stops, furrows his brow in concentration. COLWYN -LRB- OVER. -RRB- Lyssa. LYSSA -LRB- OVER. -RRB- -LRB- breathing hard. -RRB- Come quickly, Colwyn. I can see the eyes of the Beast. Colwyn turns toward the right - hand wall of the passage. COLWYN -LRB- OVER. -RRB- Lyssa, touch the wall of your passage. Lyssa presses her hand against the wall behind her. COLWYN -LRB- runs to the wall. -RRB- She's on the other side of this wall. I can feel it! YNYR -LRB- covers his eyes. -RRB- I chose the wrong passage. COLWYN She can see the Beast! YNYR Use your sword. COLWYN What use is my sword? I ca n't reach her! YNYR -LRB- points to wall. -RRB- Cut. Cut! Colwyn stares at him for a moment, then unsheathes his sword, grips it with both hands, and swings it at the stone wall. The blade strikes the stone with a spine - shivering clang. He swings again - another clang. But on his third swing, the blade bites into the rock, sinking to a depth of several inches. On the next swing, the blade penetrates deep into the rock, and on the next, it slices all the way through, tearing loose chunks of stone. Colwyn swings the sword back and forth like a scythe, cutting his way through the solid rock, spraying fragments behind him. In the other passage, Lyssa presses herself against the wall, watching the Beast's eyes come closer. Suddenly, a chuck of rock bursts out of the wall near her as Colwyn cuts through. He seizes her arm and pulls her through the hole, into the adjacent passage. Ynyr lays a hand on Colwyn's shoulder as he embraces Lyssa. YNYR You must move quickly. The Beast will stop at nothing now. COLWYN -LRB- divines his intention. -RRB- You're coming with us. YNYR -LRB- shakes his head no. -RRB- It is my fate to die in the Fortress. COLWYN No! You can not know that! YNYR I can. Because I choose it. COLWYN -LRB- imperious. -RRB- I forbid you! Ynyr smiles indulgently. Colwyn shrugs in embarrassment. COLWYN I did n't mean it that way. But you can not stay. Ynyr takes Colwyn and Lyssa by the arm and moves up the passage. YNYR You can not stay. You must both escape the Fortress or else this world is doomed.",
"INT. OTHER ARM OF VORTEX The Beast moves toward the hole in the passage wall. RESUME - COLWYN ET. AL.. They hear the Beast tearing at the stone wall, enlarging the hole to allow it to pass through. Ynyr nudges Colwyn and Lyssa up the passage. YNYR Go now. -LRB- turns to Torquil. -RRB- Quell was wise. He knew that a man can not ask more of his death than it help his friends. TORQUIL -LRB- sadly, grips his hand. -RRB- That is true. The wet - eyed Ergo is too choked with emotion to approach the old man. Ynyr lays a hand on Titch's head. YNYR -LRB- smiles. -RRB- Take care of Ergo. TITCH Yes, sir. The five move up the passage. COLWYN Quickly, or he will waste his life for nothing. They increase their pace. Ynyr watches them until they disappear, then backs slowly up the passage. A section of wall explodes inward as the Beast tears his way through. Ynyr sees the red eyes and places a hand on his glaive. YNYR You and I were destined to meet, my friend. He flings his glaive, which flies to a point ten feet in front of him and hangs in midair, glowing. YNYR And I am not so old that I can be swatted like a fly. He thrusts his hand forward - the glaive leaps toward the Beast, giving off a blinding light. The Beast roars and retreats. YNYR No, not so old as that, my black beauty. Now the red eyes narrow as the Beast focuses its power on the glaive. The weapon is pushed backwards, slowly but surely. YNYR Yes, you will have to attack me directly to kill me. I will cost you power, my dark friend. Much power. He thrusts his hand out and the glaive leaps forward - but only a few feet this time. The Beast's power stops it, then continues to push it back toward the old man. He holds out his clenched fist and stops the glaive about five feet in front of him. The Beast's power is so tremendous, however, that the arms of the weapon begin bending backward. Suddenly, one of the horizontal arms snaps off and flies toward Ynyr, grazing his shoulder. He staggers back, but manages to hold the glaive steady. The other horizontal arm snaps off and buries itself in his chest. He goes down on one knee but continues to hold the glaive steady, though the weapon is now reduced to its vertical axis. Finally, his strength gives out. He drops his arm. The vertical blade spins toward him and pierces his throat. The beast moves past his crumpled body, up the passage.",
"INT. VERY WIDE STAIRCASE The five make their way up the staircase to a landing. As Torquil starts up the next flight, Colwyn calls him back. COLWYN We must find a smaller passage, where it can not follow. They move down a corridor to.",
"INT. DODECAHEDRON They look around in confusion at the doors in each of the twelve sides of the huge room. TORQUIL Which one? LYSSA Where is the Fortress? COLWYN In the Arctic ice. LYSSA -LRB- points to door. -RRB- That way. I can feel the cold. They move to the door, which opens onto a long stairway leading up. At the top, we can see snow blowing past the opening. COLWYN -LRB- pointing up. -RRB- She's right. Look. They hear the Beast coming closer and start up the long stairway.",
"INT. LONG STAIRWAY - NIGHT As the five make their way upward, a terrible noise from below makes them stop and look back : the Beast is tearing away the rock, enlarging the passage to follow them. They quicken their pace. Along the stairs are small piles of fine powder : the mortar between the stones is crumbling and trickling down the walls.",
"EXT. FORTRESS - NIGHT The five emerge from the staircase and make their way across the Arctic landscape, toward the outer wall. Colwyn looks back and sees the Beast tearing its way out of the Fortress. COLWYN Make for the wall. I'll catch up. TORQUIL Colwyn, do n't be a fool. You ca n't do battle with that thing. COLWYN There's no way to outrun it. You know that. This is what Ynyr was preparing me for. It's what he died for. LYSSA You'll be killed. TORQUIL Do n't worry. I'll tap him on the head with my sword hilt if I have to. COLWYN -LRB- quietly, but with iron authority. -RRB- You'll lead the others to the wall as I tell you. Now. Torquil bows to Colwyn's authority ; he leads the others toward the wall. Colwyn pulls off his hauberk, useless in this battle, and faces the Beast in his tunic. The wind whips the thin cloth as he advances across the ice to where the Beast waits, obscured by the thickly falling snow. Suddenly, a gigantic chunk of ice flies straight at him. He raises his hand and the ice shatters, streaking past him harmlessly. Now he begins to concentrate, focusing his power until his body gleams - then shimmers - then bursts into flame with tongues of white fire leaping from his body as if it had been doused in gasoline. The flame is under his power ; it does n't harm him, nor does it melt the snow he walks on. It only harms when he wills it - as when he sees a patch of Dark Ones approaching from the side. He sweeps his arm toward them and an arc of flames rolls across the ice like a wave, washing over them and leaving their charred bodies writhing in the snow. The Beast is moving back and forth in an area of ice ridges and hummocks, dimly visible through the heavy snowfall. Near it is a stone tower, some fifty feet high. The tower is suddenly lifted from the ground and hurled at Colwyn. He makes a downward chop with his hand and the tower splits in the middle, the two pieces flying past on either side of him. COLWYN I am no feeble old man for you to crush with two blows. -LRB- moves forward, grim - faced. -RRB- This is for that old man. He sweeps his arm toward the Beast and an arc of flame rolls across the ice. As the Beast sidesteps, the flaming arc slices off the top of an ice hummock, leaving the flat surface boiling and steaming from the heat. Colwyn presses forward, driven by grief and rage. He launches a second arc of flame, one end of which catches the Beast's side. The Beast roars with pain and retreats, driven back by Colwyn's power. He launches a third arc, and this one strikes the Beast's head, staggering it. The Beast is wounded now : one of its huge eyes is swollen half shut, the skin around it badly charred. Enraged, the Beast counterattacks. Huge projectiles streak toward Colwyn : first come blocks of ice, then great fragments of stone. Finally, the stone fragments begin to burn, screaming through the air like meteors. The projectiles shatter against Colwyn's protective shield of flame, but the force of repeated impact drives him backward. Small fragments of ice and stone actually pierce the shield, tearing his tunic, cutting his skin. He is bleeding from several flesh wounds and his forehead is burned by a fragment of flaming rock. But the Beast's power is not infinite. The hail of projectiles slows, then stops. Colwyn resumes his advance. He chops his arm downward : we hear a sharp crack and an ice hummock EXPLODES near the Beast. He chops again and an ice ridge EXPLODES, leaving a deep crack in the ice. The Beast hurls another projectile, but Colwyn brushes it aside as if it were a mosquito and sweeps an arc of flame at the Beast to back it off. Then he resumes chopping with his arm : crack followed closely on crack as the ice around the Beast is sliced and shattered by Colwyn's power. The section of ice on which the Beast stands suddenly drops a foot or so. The Beast hurls a final projectile, then Colwyn cracks the ice again. We hear a deep RUMBLE and a huge section of ice collapses, falling into the depths of the Fortress, carrying the Beast with it. Watching from a distance, Torquil sees the exhausted Colwyn staggering on the ice, barely able to stand. TORQUIL -LRB- to the others. -RRB- I'll get him. Make for the wall. Torquil heads for Colwyn. Ergo pushes Lyssa and Titch toward the wall. ERGO Quickly, quickly to the wall. But Ergo himself turns around and follows Torquil to where Colwyn is stumbling on the ice. Dark Ones flit between the ice hummocks, converging on them. As Torquil helps Colwyn toward the wall, Ergo forms a rear guard, armed with butcher knives from his voluminous coat. As Dark Ones lunge out of the swirling snow, the little man faces them fearlessly, hurling his knives with deadly aim to protect his friends : one creature falls with a knife between the eyes, another with a knife in the neck, a third pierced through the heart. They reach the parapet, where Torquil and Lyssa help Colwyn over the wall. The five clamber down the face of the wall and Torquil is about to jump off onto the icy ground. COLWYN -LRB- points to horizon. -RRB- Wait! The two suns are about to come up. They remain on the wall - except for Ergo, who slips on a sheet of ice and slides toward the ground. Titch reaches out and grabs his hand, holding him on the wall, though Ergo's legs are buried in snow up to the knees.",
"EXT. FOREST VALLEY - SUNRISE Clinging to the wall, the five look out on a green valley. Ergo's legs are still buried to the knees, but in the ground. The stones of the wall are shifting. The Fortress is collapsing. COLWYN -LRB- jumps to the ground. -RRB- Away from the wall! Torquil and Colwyn haul Ergo out of the ground and move away from the wall. They watch the Fortress crumble. COLWYN It's a fitting monument for Ynyr and Quell and the others. The Fortress sinks from sight, leaving a green valley in its place. LYSSA That's a better one. COLWYN Yes. They make their way across the glen, Colwyn and Lyssa with arms around each other, Titch riding on Torquil's shoulder, and the Ergo - puppy riding on Titch's. LYSSA -LRB- looks around. -RRB- Where's Ergo? Titch hands her the Ergo - puppy, who licks her face. She laughs and sets the puppy down. It runs in front of them, frisking. PEASANT FAMILIES come out of the forest and join them. Children chase the puppy through the grass. FADE OUT. THE END"
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] | A narrator describes a prophecy regarding "a girl of ancient name that shall become queen", which says "that she shall choose a king, and that together they shall rule their world, and that their son shall rule the galaxy". The planet Krull is invaded by an entity known as the Beast and his army of Slayers, who travel the galaxy in a mountain-like spaceship called the Black Fortress. In a ceremony involving the newlyweds exchanging a handful of flame, Prince Colwyn and Princess Lyssa plan to marry and form an alliance between their rival kingdoms in the hope that their combined forces can defeat the Beast's army. The Slayers attack before the wedding ceremony is completed, killing the two kings, devastating both armies, and kidnapping the princess. Prince Colwyn is found and nursed by Ynyr, the Old One. Ynyr tells him the Beast can be defeated with the Glaive, an ancient, magical, five-pointed throwing weapon. Colwyn retrieves the Glaive from a high mountain cave before setting out to track down the Black Fortress, which teleports to a new location every day at sunrise. As they travel, Colwyn and Ynyr are joined by magician Ergo "the Magnificent" and a band of nine thieves, fighters, bandits, and brawlers. Colwyn offers to clear their criminal records, successfully enlisting Torquil, Kegan, Rhun, Oswyn, Bardolph, Menno, Darro, Nennog, and Quain. The cyclops Rell later joins the group. Colwyn's group travels to the home of the Emerald Seer, and his apprentice Titch. The Emerald Seer uses his crystal to view where the Fortress will rise, but the Beast's hand magically appears and crushes the crystal. The group travels to a swamp that cannot be penetrated by the Beast's magic, but Slayers attack, killing Darro and Menno. An agent of the Beast, a changeling, kills the Emerald Seer, before he can confirm the next location of the Fortress, and assumes his form, but is himself uncovered and killed by Rell and Colwyn. While the group rests in a forest, Kegan goes to a nearby village and gets Merith, one of his wives, to bring food. The Beast exerts remote command of Merith's helper, who attempts to seduce then kill Colwyn, but fails. Ynyr leaves the resting group to journey to the "Widow of the Web", an enchantress who loved Ynyr long ago and was exiled to the lair of the Crystal Spider for murdering their only child. The Widow reveals where the Black Fortress will be at sunrise. She also gives Ynyr the sand from the enchanted hourglass that kept the Crystal Spider from attacking her and will keep a badly injured Ynyr alive on his journey back to the group. As the Crystal Spider attacks the Widow, Ynyr flees the web and returns to the group to reveal the location of the Black Fortress; as he speaks, he loses the last of the sand and expires. The group capture and ride magical Fire Mares to reach the Black Fortress before it teleports again. Slayers at the Fortress kill Rhun, while Rell sacrifices himself to hold open the crushing spaceship doors long enough to allow the others to enter. Slayers inside kill Quain and Nennog, and Kegan sacrifices his life to save Torquil as they journey through the Fortress. When Ergo and Titch get separated from the others and are attacked by Slayers, Ergo magically transforms into a tiger to kill the Slayers and save Titch's life. Colwyn, Torquil, Bardolph, and Oswyn are trapped inside a large dome. Colwyn attempts to open a hole in the dome with the Glaive, while the other three search for any other passageway. The three fall through an opening and are trapped between slowly closing walls studded with huge spikes, which kill Bardolph. Colwyn breaches the dome and finds Lyssa. He attacks the Beast, injuring him with the Glaive, which becomes embedded in the Beast's body. With nothing to defend themselves against the Beast's counterattack, Lyssa realizes that they must quickly finish the wedding ritual, giving them the linked power to shoot a stream of fire, with which they finally slay the Beast. His death frees Torquil and Oswyn from the spike room and they rejoin Colwyn and Lyssa, then Ergo and Titch, as they make their way out the self-destructing Fortress. Colwyn and Lyssa, now king and queen of the combined kingdom, name Torquil as Lord Marshal. As the surviving heroes depart across a field, the narrator repeats the opening prophecy that the son of the queen and her chosen king shall rule the galaxy. | Krull_(film) |
[
"INT. BATHROOM, YORK HOUSE, LONDON - DAY (MID-1930'S) A shimmering surface of cold water - held in an immense, free standing, white enamelled bathtub with gilded lion's legs - bulges in SLOW MOTION to the chords of Handel's `` Trumpet Volunteer''. A head emerges. White gloved hands, in livery, rush to envelope the surfacing naked wet body in white towels.",
"INT. DRESSING CHAMBER, YORK HOUSE - DAY The ritual continues with crisp military precision. CLOSE ON the Royal Coat Of Arms stamped in gold : lion and unicorn embrace a shield divided into four quarters with harp, thistle, and more lions denoting England, Ireland, Scotland and Wales. The shield is surmounted by a crown. This emblem is on a cuff - link fastened on a starched white shirt. Trousers, pressed to a knife - edge, are held for stockinged feet and gartered legs to be inserted. Mirror - polished boots are laced tight. Jacket, held ready. Arms, shoulders, chest received. Glistening medals attached to front of jacket create a dazzling field of ribbons and medallions. Epaulets, edged with gold braid tassels, are adjusted. Polished buttons are fastened. Multi - coloured collar clasped shut. White ostrich feathers, topping a tri - corner hat, are fluffed and placed upon brilliantined hair. PAN DOWN to the handsome features of Albert, Duke of York, known to his family as BERTIE. He's in his late thirties, the second son of King George V, the reigning King of England. He conveys a sensitivity which appears in conflict with the manner in which he's been bedecked. Reflected in a full length mirror, Bertie tells himself : BERTIE You look like a Christmas tree. He smiles wanly.",
"EXT. INNER COURTYARD, YORK HOUSE, 145 PICADILLY - DAY THE ROYAL STANDARD flaps atop a gleaming chrome grill. Liveried footmen open the doors of a stately Austin Princess. Bertie exits York House with his young wife - ELIZABETH - considered by all to be one of the loveliest women in the land, truly an English rose. Golden Labradors and Corgis appear from all directions, weaving between them, barking boisterously, creating a happy chaos. Elizabeth and Bertie glance upwards and wave. Two little girls, LILIBET and MARGARET ROSE, aged eight and four, wave back from their nursery window.",
"INT/EXT. AUSTIN PRINCESS, HYDE PARK CORNER - DAY Bertie nervously lights a cigarette. Elizabeth pats his hand. ELIZABETH Buck up, Bertie. The BBC said it would n't rain. BERTIE'S POV - Speaker's Corner with its assortment of orators, prophets, protestors, and onlookers gathered around soapboxs, agreeing, disagreeing, shouting comments. Others carry placards, sing protest songs. A miners' strike is the focus of the day. A large, rather untidy workingman with a florid rosacea nose spots the passing Austin and stares at the occupants. REVERSE ANGLE - Bertie's face stares back. The first drops splatter against the glass. Elizabeth sighs. ELIZABETH -LRB- CONT'D. -RRB- Never trust the wireless. Bertie's face is obliterated by the increasingly heavy downpour, which segues into a GARGLING sound.",
"INT. BBC BROADCASTING STUDIO - DAY A gentleman in a tuxedo, carnation in boutonniere, is gargling while a TECHNICIAN holds a porcelain bowl and a towel at the ready. The man in the tuxedo is a BBC NEWS READER. He expectorates discreetly into the bowl, wipes his mouth fastidiously, and signals to ANOTHER TECHNICIAN who produces an atomizer. The Reader opens his mouth, squeezes the rubber bulb, and sprays his inner throat. Now, he's ready. He looks to the control room. The FLOOR MANAGER begins a count - down : five. four. three. two. BBC NEWS READER Ladies and Gentlemen : good afternoon. This is the BBC National and World Programmes taking you to Wembley Stadium. He speaks in flawless pear - shaped tones. There's no higher creature in the vocal world.",
"EXT. WEMBLEY STADIUM - DAY ELEVATED SHOT looking down on a sea of dripping black umbrellas hiding the spectators from view. Bertie and Elizabeth takes their places in a row of gilded chairs with the other dignitaries. They are : KING GEORGE V - a barrel - chested man with Naval beard and uniform, accompanied by his wife. QUEEN MARY - an elegant but icy grande dame. DR COSMO LANG - a tall, unctuous, churchman with a high, domed, balding head, and a perpetual expression of moral superiority. WINSTON CHURCHILL - a politician of sixty, as portly as Lang is lean. They are bantering rivals in ambition. STANLEY BALDWIN - the Prime Minister of the day. Heavy - browed. His hair, as always, parted down the middle. NEVILLE CHAMBERLAIN - Chancellor of the Exchequer. Tall, thin, lugubrious, with the expression of a quizzical chicken hawk. A BBC technician places a huge imposing microphone suspended on springs next to the stadium equipment. It looks frightening, even to us. Bertie's shoulders brace as though expecting a blow. Elizabeth sees his terror. ELIZABETH Why was n't he told? COSMO LANG Ten million people listening around the world, Mam. Possibly more. -LRB- as though Bertie did n't exist. -RRB- His brother, and father, have been broadcasting since last year. The King, growing impatient, hisses : KING GEORGE V Get on with it. Show what you're made of! Bertie moves forward diffidently, without an ounce of confidence, knowing deep within he's doomed. His stomach knots, chest muscles contract, constricting his breath. BERTIE Luh - luh - lords, la - la - ladies, gen - tell - men. It is a shock to realize this is a man with a profound stutter. A man who can not speak in public. Lang whispers to Churchill. When Lang whispers, everyone can hear. COSMO LANG I would n't miss His Highness' maiden voyage for all the world. And on such an important occasion. Lang really is a piece of work. For ease of reading, Bertie's stutter is not indicated from this point on in the script. BERTIE No doubt you wish the Prince Of Wales was standing before you today. POV - a sea of dripping umbrellas. No response. This is going to be a torment for him, and his audience.",
"INT. BBC BROADCASTING STUDIO - DAY A glowing dial on the face of a studio radio. Everyone listening intently. BERTIE -LRB- ON RADIO. -RRB- -LRB- stuttering profoundly. -RRB- Be that as it may. my brother David is attending to other duties in the furthest parts of this vast Empire. The radio falls silent. Eyes widen in concern.",
"EXT. WEMBLEY STADIUM - DAY Bertie stands frozen, his mouth agape, jaw muscles locked. He knows he's considered by all, especially himself, unfit for public life. Elizabeth is devastated. KING GEORGE V Just needs more practice.",
"EXT. HARLEY STREET - NEW DAY TRACKING SHOT - rain splatters on brass plaques denoting Dr This or Dr That, specialists in various maladies. Halt at a plaque that reads : LIONEL LOGUE, SPEECH SPECIALIST.",
"INT. RECEPTION ROOM, LOGUE'S CHAMBERS, HARLEY STREET - DAY Umbrella stand, coat rack, wooden waiting bench : that's all. The door is flung open and Elizabeth enters, drenched, her hat decorated with white silk roses, now limp. A veil covers her features. She waits. Coughs. No response. Calls imperiously : ELIZABETH Are you there? From behind a door : LIONEL -LRB- O.S. -RRB- In the lav. Princess Elizabeth is not used to this sort of thing. She's further appalled by the loud gurgling of a toilet being flushed, and startled by the entrance of - LIONEL LOGUE. He's in his forties, tall, with piercing eyes and charismatic features. His demeanor is friendly, but professional. The accent, although Australian, is not heavy, he is after all a speech therapist. LIONEL -LRB- CONT'D. -RRB- `` How poor are they that have not patience! What wound did ever heal but by degrees?'' ELIZABETH Pardon? LIONEL Iago. world's greatest villain. Just wants to be bad. Sorry, no receptionist. He offers to shake hands. She does n't take it, even though she's gloved. ELIZABETH -LRB- with sang froid. -RRB- I'd be more comfortable in your office. LIONEL That's for clients. Where's Mister J? ELIZABETH He does n't know I'm here. LIONEL That's not a promising start. ELIZABETH My husband's seen everyone. They were all useless. He's given up hope. LIONEL A bit premature. ELIZABETH Because he has n't seen you? Lionel does n't disgree. ELIZABETH -LRB- CONT'D. -RRB- You're very sure of yourself. LIONEL I'm sure of anyone who wants to be cured. ELIZABETH Of course my husband wants to be cured! His position requires public speaking upon occasion. A torment. I fear the requirement may grow more frequent. LIONEL He should change jobs. ELIZABETH He ca n't. LIONEL Indentured servitude? ELIZABETH Something of that nature. LIONEL Well, have your ` hubby' pop by and give his personal history. I'll make a frank appraisal. ELIZABETH Doctor. Logue tries to object but she over - rides. ELIZABETH -LRB- CONT'D. -RRB- I do not have a `` hubby''. We never talk about our private lives. Nor do we ` pop'. You must come to us. LIONEL Sorry, this is my game, played on my turf, by my rules. The lady lifts her veil. ELIZABETH Perhaps you'll make an exception? He recognizes her instantly, and is clearly impressed, yet refuses to be intimidated. LIONEL I thought the appointment was for `` Johnson''? ELIZABETH A name used during the Great War, when the Navy did n't wish the enemy to know His Royal Highness was aboard. LIONEL I'm considered the enemy? ELIZABETH You will be, should you continue to be un - obliging. LIONEL For my method to succeed there must be mutual trust, complete honesty, and total equality. That process takes place in my consultation room. No exceptions. ELIZABETH In which case. -LRB- re - lowering her veil. -RRB- I should have kept my pledge. I promised my husband I'd stop seeking `` The Great Cure.'' I've wasted your time. And mine. She exits, closing the door firmly behind her. LIONEL Bloody hell, I buggered that. WACK! The sound of something solid meeting leather.",
"EXT. SOUTH KENSINGTON STREET - LATE AFTERNOON A foot kicks a ball. Lionel is returning home from work. He's a well - known fixture locally. Some lads are playing footie. One of them passes the ball to Lionel who, despite briefcase and rolled brolly, dribbles skillfully before passing the ball and entering a modest brownstone.",
"INT. LOGUE'S ENTRYWAY AND STAIRWELL - LATE AFTERNOON As Lionel mounts the stairs he's set upon by three sturdy boys - VALENTINE, IAN, and PETER - with handkerchiefs tied around the lower portions of their faces and armed with broomstick swords. VALENTINE Stand and deliver! LIONEL -LRB- falling into the game. -RRB- ` ow dares molest. Jack The Ripper?! The boys scream with delight and a sword fight ensues - Lionel using his brolly. LIONEL -LRB- CONT'D. -RRB- Beware, Highwaymen, or I'll run yee through. PETER We're Swagmen, not Highwaymen, Dad. LIONEL Oh. -LRB- then. -RRB- Beware, jolly Swagmen, I'll skewer yer gizzards. Lionel wife - MYRTLE - appears at the head of the stairs ; a sweet - faced, down - to - earth woman. MYRTLE You'll all hang from the gallows if you do n't come for tea. LIONEL Boys, I think we'd best go up.",
"INT. LOGUE'S DINING ROOM - EVENING Logue, Myrtle, and the boys are finishing at the table. LIONEL Had a visit from a lady today. MYRTLE Another spoiled silly? VALENTINE May we be excused? LIONEL You must stay, bored stupid, listening to your parents' inane conversation. THE BOYS -LRB- grinning. -RRB- Thanks, dad! LIONEL And mum. THE BOYS And mum! They start to leave. MYRTLE Take your plates. The boys grabs their plates and exit. After a moment. MYRTLE -LRB- CONT'D. -RRB- No wonder about the silly. You're so good at what you do. LIONEL At what I do. -LRB- then, deliberately being ` theatrical'. -RRB- Twas a Lady with a capital L. MYRTLE Oh, Lionel, that'd get us home in grand style would n't it?! LIONEL She came on behalf of her husband. Which is not the proper way. I told her I was fully booked. Myrtle is clearly disappointed LIONEL -LRB- CONT'D. -RRB- She was. too high and mighty. Know what I mean. She does. There's an unspoken code between them. MYRTLE We would n't want that. Covers her letdown. MYRTLE -LRB- CONT'D. -RRB- Hard to feel sorry for that sort. Silence, then : LIONEL Had a call. Wish me luck? MYRTLE Course, Lionel. Loads and loads.",
"INT. CHILDREN'S NURSERY, 145 PICCADILLY - NIGHT Elizabeth, fashionably attired for an evening - out, is curled on a bearskin rug reading `` Peter Pan'' to the girls. ELIZABETH `` Mr. and Mrs. Darling and Nana rushed into the nursery too late. The birds were flown.'' Bertie enters, handsome in a tuxedo. Elizabeth closes the book. ELIZABETH -LRB- CONT'D. -RRB- Tomorrow, Chapter IV, ` The Flight'. The two little girls clap with joy. MARGARET ROSE Oh, to fly away! BERTIE Were n't they lucky. Within his family, Bertie's stutter is virtually absent. LILIBET One would have to learn to fly properly of course. MARGARET ROSE Now a Daddy story! BERTIE Can I be a penguin instead? He drops to his knees and waddles. In his tux he looks like a penguin. The girls giggle, but are undeterred. LILIBET The horsie story, please. BERTIE Ah well. Called upon to perform, the stutter returns slightly. But the two girls listen raptly, ignoring their father's minor impediment, and it fades. BERTIE -LRB- CONT'D. -RRB- Once upon a time there were two horsies. A white horse that went clip clop clip clop through Hyde Park. And a black horse that went clip clop clip clop through Hyde Park. They met in the middle of Hyde Park. The white horse said `` neigh''. The black horse said, `` neigh''. The white horse continued on, clip clop clip clop through Hyde Park. The black horse continued on, clip clop clip clop through Hyde Park. And that's the end of the story. Now off to bed. As the girls exit : LILIBET A silly story really. But Father tells it rather well. The girls have gone. BERTIE David called. He said come round to The Fort on Friday and stay for dinner. ELIZABETH Will she be there? BERTIE I suppose. ELIZABETH Seriously? BERTIE Seriously, she'll be there. ELIZABETH I think I meant. is David serious? BERTIE About our coming? ELIZABETH About her! BERTIE A married American? Twice divorced? He ca n't be. ELIZABETH She can.",
"INT. STAGE OF A LONDON THEATRE - NEW DAY Movements behind a curtain. MUFFLED VOICE -LRB- UNSEEN. -RRB- Now? From the auditorium : DIRECTOR Now! Someone pushes through a gap. Its Lionel. LIONEL `` Now.'' Falters, begins again. LIONEL -LRB- CONT'D. -RRB- `` Now is the winter of our discontent Made glorious summer by this sun of York.'' His elocution is crisp and flawless. His acting, however, is unconvincing. LIONEL -LRB- CONT'D. -RRB- `` And all the clouds that lour'd upon our house In the deep bosom of the ocean buried. Now are our brows bound with victorious wreaths.'' DIRECTOR -LRB- interrupts crisply. -RRB- Thank you. Beautiful diction. but I do n't hear the cries of a deformed creature yearning to be King. Lionel struggles to maintain a semblance of dignity. LIONEL What do you suggest? DIRECTOR Continue to do whatever you do, and hope it gives you a great deal of satisfaction. Crushed, Lionel retreats behind the curtain.",
"EXT. BUCKINGHAM PALACE - NEW EVENING Cold and austere mausoleum illuminated by floodlights. On the parade ground, Grenadier Guards in red coats and black bearskin busbies drill stiffly like toy soldiers. Viewing stands are beginning to fill. The King's voice is heard : KING GEORGE V -LRB- O.S. -RRB- Stride boldly up to the bloody thing, stare it square in the eye, and talk to it as you would to any decent Englishman.",
"INT. THE KING'S STUDY, BUCKINGHAM PALACE - EVENING The King's study resembles a naval captain's cabin. Both men are uniformed for a state occasion. Bertie regards the BBC microphone as though it were an alien. BERTIE I d - d - do n't thu - thu - think I c - c - can. In the presence of his father, Bertie's stuttering returns in full form, his breathing short and shallow, the muscles in spasms. KING GEORGE V Show who's in command. If you do n't, this devilish device will change everything. Used to be, all a King had to do was look reasonable in uniform and not fall off his horse. Now we must creep cap in hand into people's homes that smell of boiled cabbage, and speak nicely to them. We're reduced to that lowest, basest of all creatures. we've become. actors! Do n't give me a look of defeated pathos. This is a family crisis! BERTIE Father, we're not a family, we're a firm. His father shoots Bertie a surprised look. Does the lad have a brain after all? KING GEORGE V We're the oldest, most successful, corporation in the world and sitting on thrones is our business! But any moment now we may be out of work. Your brother came to me the other day, livid a certain lady has been refused an invitation to my Silver Jubilee. I pointed out she was n't a lady and most definitely was n't his wife. BERTIE What did David say? KING GEORGE V She made him sublimely happy. I said : that was probably because she was sleeping with him. `` I give you my word we've never had immoral relations.'' `` As my son, as Prince of Wales, as my heir, do you solemnly swear your friendship with this woman is an absolutely clean one?'' `` I do'', he said. `` Look me in the eye,'' I said. `` On my honour'' he said. Stared straight at his father. and lied. BERTIE Oh my brother. KING GEORGE V When I'm dead that boy will ruin himself, this family, and this nation, within twelve months. Who'll pick up the pieces? David's friend, Oswald Mosley? His black - shirt British Union of Fascists are marching through London. Hitler terrorizing half of Europe, Stalin the other half. Who'll stand between us, the jackboots, and the proletarian abyss? You? A red light attached to the mike begins a series of warning blinks. BERTIE What're you going to say? KING GEORGE V The usual guff. The Archbishop writes it. My people love to hear me say it. Spoken fluently, of course. They're interrupted by the entrance of the BBC News Reader and Technicians. KING GEORGE V -LRB- CONT'D. -RRB- That's the chap who taught me how to use this contraption. You touch your chin with your thumb and the ` thing' with the end of your little finger. Splendid fellow. SQUISH. Assisted by the Technicians, the News Reader sprays his throat. BBC NEWS READER Good evening, ladies and gentlemen, this is the BBC, broadcasting direct from Buckingham Palace upon the occasion of the Royal Silver Jubilee. His Majesty : King George the Fifth. KING GEORGE V -LRB- to the mike. -RRB- `` I can only say to you, my very very dear people, that the Queen and I thank you from the depths of our hearts for all the loyalty and - may I say so? - the love with which this day and always you have surrounded us. I dedicate myself anew to your service for all the years that may still be given to me.'' The News Reader, terribly moved, whispers to his Technicians : BBC NEWS READER That's how a King speaks. -LRB- adds with splendid false modesty. -RRB- I showed HM how to do it.",
"EXT. BUCKINGHAM PALACE - NIGHT The edge of the crowd is visible. One can sense a vast sea of humanity. When the glass doors of the upper balcony open the murmur becomes a ROAR. When the King steps out, it becomes tumultuous.",
"EXT. BALCONY, BUCKINGHAM PALACE - CONTINUOUS The King is joined by Queen Mary and the Archbishop of Canterbury, other Royals, and dignitaries. The noise is deafening. The King beckons impatiently for someone still inside to join them. It's Bertie, with Elizabeth. BERTIE They did n't come to see us, Father. KING GEORGE V Pretend. BERTIE Where's David? KING GEORGE V Bedding his American whore. Come, join the fun! -LRB- aside to Elizabeth. -RRB- You'll have to do a lot more of this. I'm sending him to the Midlands. With all the factory noise they wo n't hear a word he says. The King goes back to waving. Elizabeth is stunned at the prospect. The ROAR of the crowd segues into the ROAR of machinery.",
"INT. MIDLAND FACTORY - NEW DAY Huge industrial wheels whir in neutral. WORKERS are lined up dutifully to hear the visiting Royal. Bertie's lips move, but with the noise he can not be heard. Elizabeth watches in relief. Then a FOREMAN, trying to be helpful, signals. The machinery halts, the factory falls silent. At first the momentum of speaking without being heard carries Bertie forward. BERTIE What's needed is cooperation. Hearing his own voice reverberate through the cavernous factory brings Bertie's stutter back in full form. BERTIE -LRB- CONT'D. -RRB- buh - buh - between the cuh - cuh - classses. One of the workers sullenly pulls a chain, releasing a blast from a steam whistle that drowns Bertie out.",
"EXT. AUSTIN PRINCESS DRIVING THRU HYDE PARK - NEW DAY THE ROYAL STANDARD fluttering.",
"INT. AUSTIN PRINCESS - DAY Elizabeth and Bertie in the back. BERTIE Is this necessary? ELIZABETH You know perfectly well. As they pass a corner news stand, the headline chalkboard reads : PRINCE OF WALES TELLS MINERS `` SOMETHING MUST BE DONE!'' ELIZABETH -LRB- CONT'D. -RRB- Neglects to tell them what must be done, how its to be done, and who's to do it. BERTIE David has ` the touch'. They adore him. As the Austin halts for lights, people stare to see who's inside. Some point. BERTIE -LRB- CONT'D. -RRB- I'll wager they're saying : There's the useless one who ca n't speak.",
"INT. LOGUE'S WAITING ROOM - DAY Bertie and Elizabeth enter. She explains in a whisper : ELIZABETH There's no receptionist. Elizabeth glances nervously at the lavatory door. ELIZABETH -LRB- CONT'D. -RRB- -LRB- loudly. -RRB- The Johnsons. From the inner office. LIONEL -LRB- O.S. -RRB- Not finished yet. Elizabeth is relieved its not coming from the lav. BERTIE How'd you find this physician? ELIZABETH -LRB- poker - faced. -RRB- Classifieds ; next to `` Saucy model, Shepherd's Market''. Bertie smiles despite his mood. ELIZABETH -LRB- CONT'D. -RRB- Comes highly recommended. Charges substantial fees in order to help the poor. -LRB- realizes. -RRB- Oh dear, perhaps he's a Bolshevik?! BERTIE I'm not sure I want to see this fellow. ELIZABETH I'm not sure he wants to see you. The consultation room door opens and a working class young woman - ANNA - comes out ; then realizes with a gasp who they are. She retreats rapidly back into the consulting room. ELIZABETH -LRB- CONT'D. -RRB- Perhaps this was a mistake. After an uncomfortable moment, Anna returns, attempting to be properly formal, and stutters : ANNA You can go in now, `` Mr. Johnson''. BERTIE I'm not actually Mr. ANNA -LRB- whispers, terrified. -RRB- I know. -LRB- then to Elizabeth. -RRB- Dr Logue says. LIONEL -LRB- O.S. -RRB- Lionel! ANNA Lionel says. wait here if you wish. Or, it being a pleasant day, take a stroll. -LRB- to the consultation room. -RRB- Was that alright? LIONEL -LRB- O.S. -RRB- Bloody marvellous. ANNA -LRB- choking up. -RRB- Thank you. Lionel. Anna flees quickly. LIONEL -LRB- O.S. -RRB- Mr. Johnson, do come in. The Yorks look at each other.",
"INT. LOGUE'S CONSULTATION ROOM - DAY A totally different universe from the Spartan waiting area. A world of books - piles of them spilling everywhere. Two slightly shabby, but comfortable armchairs. Well - worn Turkish rug. Hotplate and two chipped mugs. Model airplanes hanging from the ceiling. Recording apparatus. The walls are pearl grey and smoky blue. BERTIE My wife's favorite colours. Here, in a doctor's office, Bertie's stutter returns. LIONEL Glad we have something in common. Bertie's head bangs into one of the models. LIONEL -LRB- CONT'D. -RRB- My lads build them. Make yourself comfortable. BERTIE Please. LIONEL What? BERTIE You're too close. Five paces is the rule of thumb. LIONEL That might be difficult in this office. Bertie perches uneasily on the edge of an armchair. LIONEL -LRB- CONT'D. -RRB- Nice girl, Anna. Worried she would n't find a husband if she could n't speak. Tried to convince her men will find her even more attractive as a silent partner. The perfect woman. Sorry, bad Australian joke. Why'd your wife change her mind and ask for an appointment? BERTIE I ca n't discuss that. LIONEL What can we talk about? BERTIE That's better. When speaking with a Royal one waits for the Royal to start the conversation and chose the topic. LIONEL Your joking. That wo n't work here. BERTIE I admit if one waits for me to start a conversation one can wait a rather long time. Silence. They stare at each other. BERTIE -LRB- CONT'D. -RRB- You call this making me comfortable? LIONEL You call this being forthcoming? BERTIE Are n't you interested in treating me? LIONEL Only if you're interested in being cured. More silence. LIONEL -LRB- CONT'D. -RRB- Cuppa tea? BERTIE No thank you. LIONEL I need one. Turns on the hot plate. LIONEL -LRB- CONT'D. -RRB- Any idea what you're letting yourself in for? BERTIE Apparently a great deal of rudeness, Doctor Logue. LIONEL Call me Lionel. BERTIE I prefer Doctor. LIONEL I prefer Lionel. My family calls me far worse. What shall I call you? BERTIE The Duke of York is appropriate. LIONEL Oh please. BERTIE Your Royal Highness then. LIONEL Much more informal. BERTIE Prince Albert? Or Frederick? Arthur? George? I've lots of names to choose from. LIONEL How about Bertie? BERTIE -LRB- flushes. -RRB- Only my family uses that. LIONEL That's what I'll call you then. We must be true equals. BERTIE If we were equal I would n't be here, I'd be at home with my family and no - one would give a damn. Bertie starts to light a cigarette from a silver case. LIONEL Do n't do that. Bertie gives him an astonished look. LIONEL -LRB- CONT'D. -RRB- Sucking smoke into your lungs will kill you. BERTIE My physicians say it's good for stuttering, relaxes the throat. LIONEL They're idiots. BERTIE They've all been knighted. LIONEL Makes it official then. House rules : no smoking. BERTIE I thought here we're `` equal''. LIONEL As a monarchist I thought you'd appreciate these are my digs and here I rule. No smoking. What was your earliest memory? BERTIE I beg your pardon? LIONEL First recollection of the world? BERTIE -LRB- stutter growing in intensity. -RRB- I'm not here to discuss personal matters. LIONEL Why're you here then? BERTIE -LRB- exploding. -RRB- Because I bloody well stutter! And you bloody well ca n't fix it! LIONEL Temper. BERTIE One of my numerous faults. LIONEL Do you stutter when you think? BERTIE Do n't be ridiculous. LIONEL One of my many faults. How about when you talk to yourself? BERTIE I do n't talk to myself! LIONEL Come on, everyone natters to themselves once in a while, Bertie. BERTIE Stop calling me that! LIONEL Sha n't call you anything else. BERTIE Then we sha n't speak! Silence. The jug has boiled. Lionel makes himself a cup of tea. BERTIE -LRB- CONT'D. -RRB- Must I pay for this? LIONEL Loads. Now : when you talk to yourself, do you stutter? BERTIE Of course not! LIONEL Proving your impediment is n't a permanent internal fixture. BERTIE When I give a speech. I bloody stutter! LIONEL Bet you a bob you can read flawlessly, right here, right now. BERTIE -LRB- bitterly. -RRB- Easy money. You're on. LIONEL See your shilling then. BERTIE Royals do n't carry money. LIONEL How convenient. Logue fishes a coin from his pocket and puts it on the table. LIONEL -LRB- CONT'D. -RRB- I'll stake you. Pay me back next time. BERTIE If there is a next time. LIONEL Correct, I have n't agreed to take you on. During this, Logue has uncovered a piece of apparatus, a recording device with earphones. He sets a blank disc onto the turntable and positions a microphone, then hands Bertie an open book. Bertie glares at it defiantly. BERTIE I certainly ca n't read The Bard. LIONEL ` Easy money'. Bertie reads, stuttering badly and getting worse. BERTIE `` To be or not to be, That is the question. Whether it is wiser.'' There! Reaches for the coin. LIONEL Not so fast. BERTIE I proved I ca n't read. LIONEL You proved you ca n't listen. Hands Bertie a pair of heavily padded earphones. Bertie does n't want to take them. LIONEL -LRB- CONT'D. -RRB- A princely bob is at stake. Bertie reluctantly puts on the earphones. Logue turns a dial. LOUD MUSIC is heard. Bertie takes off the earphones. The music stops. BERTIE You're playing music. LIONEL I'm aware. BERTIE How can I hear what I'm saying?! LIONEL Bertie, you're Royal. Surely a prince's brain knows what its mouth is doing? BERTIE You're not well acquainted with Royal princes, are you? LIONEL I want to demonstrate that when you ca n't hear your voice, you do n't stutter, thus proving your impediment is not innate. BERTIE Rubbish. Bertie replaces the earphones. Again, the LOUD MUSIC. His lips move as he reads, but all that can be heard is the music. Finished reading the passage he takes off the earphones and the music ceases. He reaches for the coin, but Logue snatches it. BERTIE -LRB- CONT'D. -RRB- I was terrible. LIONEL Flawless. BERTIE I know how I sound! LIONEL Would I lie to a prince of the realm to win twelve - pence? BERTIE I've no idea what an Australian might do for that sort of money. Logue puts the record in a brown paper dust jacket and hands it to Bertie. LIONEL Souvenir of our first and presumably last encounter. Bertie glances at the record. POV - the label : HMV His Master's Voice.",
"INT. WAITING ROOM - DAY Elizabeth, trying to be gracious, has been cooling her heels with a working class MOTHER and her young son WILLIE. LIONEL I'm finished with your husband. BERTIE I'm finished with Doctor Logue! LIONEL Lionel. They exit curtly. WILLIE'S MUM Was that? LIONEL Certainly not. How's it going, mate? WILLIE'S MUM William is n't trying hard enough. LIONEL Willie? WILLIE Ddddddoooing ggggggggood. LIONEL Why am I not surprised?",
"INT./EXT. AUSTIN PRINCESS ON LONDON STREET - DAY The Yorks are being driven home. As they pass Speakers' Corner, Oswald Mosley's blackshirt British Union of Fascists are out in full force. BERTIE The bloody man did parlour tricks and cheated me out of a shilling. In fury he rolls down the window and is about to throw away the record. Elizabeth stops him. ELIZABETH They'll see. He quickly rolls up the window. The sound of an approaching aircraft engine.",
"EXT. PRIVATE LANDING STRIP, SANDRINGHAM ESTATE - NEW DAY A grass strip cut into the moors. Bertie waits beside a shooting break, the stiff breeze whipping his coat, as a small plane lands and taxis. The cockpit canopy slides back and the pilot leaps out, removing his leather helmet and goggles, revealing hair gleaming like gold, perfect teeth flashing a dentist's smile. This is - DAVID - the Prince of Wales, Prince Charming, the media's darling, a sun god descended from the skies accustomed to being worshipped by all. DAVID -LRB- teasing with a false stutter. -RRB- Hello, B - b - bertie. B - b - been waiting long? BERTIE Three days. Where've you been? Bertie stutters badly in the presence of his brother. DAVID I was busy. BERTIE So was I. Elizabeth has pneumonia. DAVID She'll recover. Bertie shoots him a look. BERTIE Father wo n't.",
"INT./EXT. SHOOTING BREAK ON SANDRINGHAM LANE - CONTINUOUS David drives. Badly. DAVID He's doing this on purpose. BERTIE Dying?! DAVID Some sod tipped him off Wallis is getting a quickie divorce and we're going to make our marriage a fait accompli. As an act of pure spite, Father's trying to depart prematurely in order to complicate matters. The break almost careens off the lane. BERTIE You believe that? DAVID Wallis explained it. She's terribly clever.",
"INT. KING'S BEDROOM, SANDRINGHAM - DAY The King is propped up in bed, wrapped in his favorite faded Tibetan dressing gown, hooked to an oxygen tank. He's surrounded by his wife, Queen Mary, his two eldest sons, his Secretary - CLIVE WIGRAM - his personal physician - DR DAWSON, and a NURSE. Wigram presents a tray with papers and pen. WIGRAM The Instruments Of Succession, Your Majesty. The King is so feeble he can barely make his mark. Glares at David. KING GEORGE V You're next? God help us. He waves them out of the room, but beckons Wigram to come close, and whispers something in his ear. WIGRAM At the appropriate moment, Your Majesty. The King nods.",
"INT. DINING HALL, SANDRINGHAM - NIGHT Clear soup is being served at the immense table. Places set for five, but only Bertie and his mother are seated. The clinking of silver and china. Finally : QUEEN MARY I want my jewelry divided equally. Elizabeth gets first choice. She's not greedy. BERTIE May I remind you, you're not the one who's dying, Mother. QUEEN MARY Where are the others? BERTIE Lord Wigram and Dr Dawson are making arrangements. QUEEN MARY What sort of arrangements? BERTIE They did n't say. QUEEN MARY And David? Fetch him.",
"INT. LIBRARY, SANDRINGHAM - CONTINUOUS David, hunched over a table, appears to be sobbing. He does n't hear Bertie's discreet knock. Seeing his brother crying, Bertie is deeply moved, puts a comforting hand on his shoulder. David pulls away as though touched by a leper and covers the receiver in his hand. DAVID I'm on with Wallis! -LRB- as though Bertie did n't exist. -RRB- I know, darling, a talk, even a lovely long talk, is a poor substitute for holding tight and making drowsy. Nor making our own drowsies either, as we've had to do far too often lately. -LRB- kisses the phone. -RRB- Til then, sweet love. -LRB- hangs up. -RRB- Wally misses me terribly BERTIE Mother says you're late for supper. David glares at a clock. DAVID Clocks set five minutes in advance, so as not to be late. When I'm King I shall set them back!",
"INT. DINING HALL, SANDRINGHAM - CONTINUOUS Bertie and David enter to find Wigram and Dawson with their mother. QUEEN MARY Lord Wigram has requested permission to order the coffin. Nobody wants to take responsibility. The Queen looks to David. He nods. They're interrupted by a BUTLER. BULTER The Archbishop of Canterbury. DAVID Who the hell invited him?! QUEEN MARY Nobody. Do n't swear. DAVID Somebody should bloody well dis - invite him. Father swears. WIGRAM That would be rash. QUEEN MARY You're not your father. WIGRAM His Grace can be a persistent enemy. We need friends. David knows he's referring to the Simpson affair. DAVID Show the toad in. Lang is already sweeping towards them. COSMO LANG Whatever can I contribute in this dreadful hour?!",
"INT. LIBRARY, SANDRINGHAM - LATER The men are huddled, with cigars and port, composing a news release. Bertie acts as secretary. COSMO LANG `` Tranquilly''? `` Serenely''? WIGRAM Peacefully. The others nod. COSMO LANG `` The King's life is moving peacefully to its.'' `` Termination''? WIGRAM Close. COSMO LANG. to its close.'' WIGRAM As a man of letters you're heaven - sent to assist in the editing of our press communique. Lang beams. WIGRAM -LRB- CONT'D. -RRB- I'll telephone this through to the BBC and alert The Times to hold the morning edition. The problem is. if we're to keep to schedule. time is running out. The clock is approaching midnight. DAVID Is my father late for death? WIGRAM We would n't want the news delivered by the disreputable afternoon press, would we? The brothers look at him. He expains : COSMO LANG Who knows what sensational side issues those tabloids might report. DAWSON Perhaps a peaceful termination? All eyes on David.",
"INT. KING'S BEDROOM, SANDRINGHAM - NIGHT The nurse looks aghast as Dr Dawson administers an injection. DAWSON Three quarters of a gram of morphia and a gram of cocaine injected into the distended jugular vein. NURSE No! that's. DAWSON You may leave. She does so, sobbing. Everyone watches silently as the King's breathing slows, the twitching jugular subsides, then all movement ceases. Dawson takes the pulse, and consults his watch. David sets the hand of the room's big clock back by five minutes. DAWSON -LRB- CONT'D. -RRB- Time of expiration, 11:55 pm. On schedule. Queen Mary curtsies in homage to the new King, taking her eldest son's hand and kissing it. When she looks up. her eyes are chilling. QUEEN MARY Long live the King.",
"INT. BERTIE'S STUDY - NIGHT Bertie, in despair and grief, has been describing to Elizabeth what happened. BERTIE The look in mother's eyes, it was. ghastly. He notices something on his desk, the record Logue made. POV : the label - His Master's Voice - stares up at him. He releases his emotions in an outburst of anger. BERTIE -LRB- CONT'D. -RRB- What's this bloody thing doing here?! ELIZABETH Bertie. BERTIE The man was a total fraud! He picks up the record and is about to smash it against the edge of his desk, then realizes the mess that would make and tosses it into a waste paper basket. Then changes his mind. BERTIE -LRB- CONT'D. -RRB- Would you like to hear? ELIZABETH Not particularly. BERTIE Well I think you should. You should know what goes on. Telling me he could help me read flawlessly. Lying bastard! Listen to this babble! Bertie takes the record from the trash and walks to a Victrola stand, lifts the arm, places the steel needle, expecting to hear his stuttering voice. Instead, what he hears is flawless and flowing : BERTIE'S RECORDED VOICE `` To be, or not to be, - that is the question : - Whether ` tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, And by opposing end them?''. -LRB- the needle sticks. -RRB-''. sea of troubles, and by opposing end them? And by opposing end them? And by opposing.'' Bertie lifts the needle. He and his wife stare at each other ; there are tears in her eyes. The ROAR OF A HUGE delirious crowd is heard, growing in volume. The roar becomes chillingly recognizable : `` Zeig Heil! Zeig Heil! Zeig Heil!'' GO TO BLACK: Hitler, giving one of his mass rally speeches, continues. The brass numbers 10 appears on the blackness. It is :",
"EXT. 10 DOWNING STREET - NEW NIGHT The black front door of the Prime Minister's residence. The Fuhrer's tirade continues as CAMERA moves through the door into 10 Downing Street itself.",
"INT. 10 DOWNING STREET - CONTINUOUS CAMERA explores the dwelling, during which Hitler grows louder and more shrill, until :",
"INT. BALDWIN'S STUDY - CONTINUOUS The glowing light of an illuminated dial of a radio, listened to by Churchill and Baldwin. They wear black armbands. WINSTON CHURCHILL Turn that devil off! The hysteria stops. WINSTON CHURCHILL -LRB- CONT'D. -RRB- If only one could do that so easily in real life. BALDWIN Chamberlain thinks that Hitler can be reasoned with. WINSTON CHURCHILL Neville is an old woman. BALDWIN That's the direction its going, Winston. You're out of step. WINSTON CHURCHILL We'll see who trips and falls. BALDWIN Enough pleasantries. I've asked you here because you seem to be the only sensible member of the King's camp. WINSTON CHURCHILL Nice of you to say so, Stanley. BALDWIN Is he willing to be reasonable? WINSTON CHURCHILL Depends on the definition. BALDWIN -LRB- bluntly. -RRB- Has he seen the light? WINSTON CHURCHILL He has. Baldwin brightens. WINSTON CHURCHILL -LRB- CONT'D. -RRB- Our Monarch basks in the warming rays of a celestial orb. Her name is Wally. Baldwin's face clouds once again.",
"INT. LOGUE'S CONSULTATION ROOM - NEW DAY A headline screams : HITLER RATTLES SABRE. Lionel is at his desk reading the newspaper as his sons sprawl on the floor building a model airplane. VALENTINE Dad? LIONEL Mmmm? VALENTINE Time for a Shake, dad. LIONEL -LRB- pleased. -RRB- You sure? THE BOYS Shake! Shake! Shake! Clearly this is a much loved ritual. Lionel disappears into a closet. IAN Bet its the Scottish Play. VALENTINE Othello! PETER Perhaps something with Falstaff? Ominous thumps within the closet. LIONEL -LRB- FROM INSIDE THE CLOSET. -RRB- `` Art thou afeard?'' THE BOYS Caliban! Lionel lumbers out of the closet, a pillow stuffed into his jacket to create a monstrous hunchback. His acting, performed just for his children, is quite magical. LIONEL `` Be not afeard ; the isle is full of noises, Sounds and sweet airs, that give delight, and hurt not. Sometimes a thousand twanging instruments Will hum about mine ears ; and sometimes voices, That, if then I had waked after long sleep, Will make me sleep again : and then, in dreaming, The clouds methought would open, and show riches Ready to drop upon me ; that, when I waked, I cried to dream again.'' The lads are enthralled. The DOOR BELL RINGS. Lionel is not expecting anyone.",
"EXT. ENTRANCE TO LOGUE'S CHAMBERS, HARLEY STREET - DAY The Austin Princess waits at the curb. Bertie is at the door. He rings the BELL again. BERTIE'S VOICE Doctor Logue?",
"INT. LOGUE'S CONSULTATION ROOM - CONTINUOUS Lionel is stunned, covers : LIONEL Must be a tradesman. Off you go, lads. Mum should be home from work. The boys gather their things, deposit the model plane on a chair, stow the building materials in a box, and exit the back way. Lionel goes to the door, but does n't open it. BERTIE'S VOICE Logue? Logue, expressionless, does n't respond.",
"EXT. ENTRANCE TO LOGUE'S CHAMBERS - CONTINUOUS Bertie is torn : part of him wants to flee, yet he desperately needs to be let in. He knows what must be done. This is a huge step for him. BERTIE Lionel. it's Bertie. The door opens. LIONEL My condolences. I did n't expect you. BERTIE Thank you. I did n't expect to be here. May I come in? LIONEL No. BERTIE What? LIONEL My wife does n't think it's a good idea. BERTIE Your wife? LIONEL Myrtle. BERTIE Myrtle? Myrtle's never met me. I've never met Myrtle. May we discuss Myrtle in private? Its not proper talking about our women on the street. Lonel gives him a look, but lets him him.",
"INT. WAITING ROOM TO LOGUE'S CHAMBERS - CONTINUOUS As they enter Bertie notices : BERTIE What happened to your shoulder? Lionel hastily removes the pillow, tosses it away. LIONEL Sore back. BERTIE What's your Myrtle got to do with me? Elizabeth does n't much care for you either, but here I am. LIONEL That woman has style. BERTIE Which is why she dislikes you. You're far too familiar. -LRB- referring to the consultation room. -RRB- May we discuss this properly?",
"INT. LOGUE'S CONSULTATION ROOM - CONTINUOUS They enter : LIONEL You look dreadful. BERTIE Another example of exactly the sort of thing you do n't say to a Royal. And you're too close. LIONEL But you're not Royal in this room. BERTIE Which is precisely why Elizabeth dislikes you. He starts to sit. LIONEL Not there! CRUNCH. A model airplane was nestling in the armchair. LIONEL -LRB- CONT'D. -RRB- Curtis bi - plane, now a Curtis mono - wing. BERTIE Oh I say, I'm terribly sorry. Tell your lads I'll buy a new one. Lionel takes out the box of model building gear the boys left. LIONEL You do n't have any money. I'll fix it. So, Bertie, what brings you here? Your father's death? Bertie is silent. LIONEL -LRB- CONT'D. -RRB- Mine lay rigid, fists clenched angrily at his sides, daring the Reaper : take me, you bastard! BERTIE What was he angry about? LIONEL I was a great disappointment. BERTIE Thought he'd be proud of you. LIONEL So did I. BERTIE A man of stature? LIONEL A clerk. BERTIE Oh. -LRB- pause I was informed, after the fact, my father's last words were : `` Bertie has more guts than the rest of his brothers put together.'' -LRB- pause. -RRB- Could n't say that to my face. -LRB- then. -RRB- Your mother? LIONEL Coughed herself to death when I was young. BERTIE Oh. LIONEL I remember going to the theatre with her. Not real theatre. traveling players. BERTIE I've been to Australia. LIONEL Not where I lived. BERTIE -LRB- blurts. -RRB- My brother. That's why I'm here. LIONEL What's he done? BERTIE Ca n't say. LIONEL I'm going home now. BERTIE You must undersand, I ca n't puh - puh - puh. His jaw and throat muscles constrict. LIONEL Try singing it. BERTIE Pardon? LIONEL Know any songs? BERTIE `` Swanee River''. LIONEL Very modern. BERTIE Happens to be my favorite. LIONEL Sing it. BERTIE Certainly not. -LRB- fascinated by the plane repairs. -RRB- May I help? Always wanted to build models. Father would n't allow it. I had to collect stamps. He collected stamps. LIONEL Only if you sing. Goes like this. -LRB- sings. -RRB- `` Way down upon the.'' BERTIE I know the words! -LRB- sings. -RRB- `` Way down upon the Swanee River.'' Etcetera. LIONEL You did n't stutter. BERTIE Of course I did n't stutter, I was singing! One does n't stutter when one sings! -LRB- realises. -RRB-. -RRB- Oh. -LRB- then. -RRB- Well I ca n't waltz around on State occasions warbling! LIONEL You can with me. BERTIE That's because you're peculiar. LIONEL I take that as a compliment. Cut some struts from the balsa. Sorry, hard to show you what to do at five paces. Would you like a cup of tea? BERTIE No. Yes. Thank you. Lionel fires up the hot plate. LIONEL You were about to sing an aria concerning your brother. BERTIE I'm not crooning to the tune of `` Swanee River!'' LIONEL Try `` Camptown Races'' then. -LRB- sings. -RRB- `` The Arch of C, he said to me, doo - dah doo - dah.'' That sort of thing. BERTIE I ca n't talk, or sing, about your future King, doo - dah, doo - dah. LIONEL My future King? He's your future King too. Did that cause friction? Knowing he'd grow up to be King, but you would n't. BERTIE Certainly not. I've always looked up to David. Water's boiling. Lionel makes the pot. LIONEL Two lumps or one? Bertie, a bit abashed, holds up three fingers. BERTIE I've a sweet tooth. To tell the truth. LIONEL Always preferable. -LRB- referring to plane wing. -RRB- Cover it with tissue. BERTIE it was a relief. Knowing I would n't be King. LIONEL Why's that? Lionel hands him a mug of tea. Bertie realizes it's chipped and possibly none too clean. BERTIE I would n't have to give speeches! Reaches into his jacket for his cigarette case. LIONEL No smoking. What's the age difference? While Logue is n't looking, Bertie surreptitiously wipes the rim of the mug with his handkerchief. BERTIE Eighteen months. LIONEL But for eighteen months you would've been King?! BERTIE We did n't think about it that way, doctor. -LRB- sings. -RRB- Doo - dah doo - dah. -LRB- then. -RRB- David and I were very close. LIONEL As you said : eighteen months. BERTIE As brothers! LIONEL How close? BERTIE Young bucks. You know. LIONEL I do n't, or I would n't ask. Did you go after the same girls? BERTIE Upon occasion. LIONEL Princess Elizabeth? BERTIE -LRB- flares. -RRB- What an extraordinarily rude thing to say! -LRB- quickly under control. -RRB- David did try to be her beau at one point. Before I met her. She would n't have him. Not like my father. he and his brother, when they were young, kept a girl in St John's Wood and shared her on alternate nights. An uncomfortable silence. Too much has been said. LIONEL Now dope the other wing. Did David tease you? BERTIE They all did. `` Buh - buh - buh - Bertie''. Father encouraged it. `` Spit it out, boy!'' Thought it would make me stop. Is this necessary?! LIONEL Otherwise the paint will eat through the tissue. BERTIE I mean the damn questions! LIONEL Mandatory. Tell me more about your storybook childhood. What was your earliest memory? BERTIE You asked that before. LIONEL This time I'd like an answer. BERTIE Being born. LIONEL How can you remember that? BERTIE December 14th. LIONEL I do n't understand. BERTIE `` Mausoleum Day''. Prince Albert departed on that date. I was named Bertie to placate Great Grandmamma Victoria. In return, she hated me because it reminded her of her grief. -LRB- stutter growing in intensity. -RRB- Let's stick to medical history please. I'm naturally left handed, which was considered inappropriate. LIONEL And? BERTIE I was punished. Now I'm right handed. LIONEL Anything else? BERTIE Bandy legs. Also considered inappropriate. Lionel waits. BERTIE -LRB- CONT'D. -RRB- Metal splints were made. worn night and day. very painful. Now I have straight legs. This is so. tawdry! I need your services as a Speech Therapist, not Grand Inquisitor. Are you available? Or will it be : `` Myrtle says no?'' LIONEL You sound angry. BERTIE Yes, I told you, I have a temper. LIONEL Angry at me, or at your brother? Bertie remains stubbornly silent. Then blurts : BERTIE He's fallen in love! LIONEL How dreadful. BERTIE With the wrong sort of woman! LIONEL What's wrong with her? BERTIE She's American. LIONEL Some of them must be lovable. BERTIE This one's divorced. Twice. Mrs Wallis Simpson of Baltimore. I want David to be happy, but the family, the Church, the nation, wo n't have it. LIONEL Ca n't they fornicate privately like adults? BERTIE If only! David used to prefer married women because there was no possible attachment. But now. LIONEL `` Queen Wallis of Baltimore''? BERTIE Please. LIONEL Does sound a bit iffy. BERTIE I made a smudge! LIONEL Touch it up. BERTIE You want me to beg for help? LIONEL I advise you never to beg. Especially if you might be King. BERTIE Do n't say that! LIONEL I see. For reasons you can not disclose, fearing ramifications you will not explain, you feel sufficiently anxious to embark upon a course of therapy in which you have no faith? You already owe me a shilling. Bertie takes a coin out of his pocket, hesitates, then offers it to Logue. BERTIE I brought it along. You won, fair and square. I'll pay you generously. Lionel pockets the coin. LIONEL I'll continue to ask questions. BERTIE That's what I was afraid of. LIONEL -LRB- admires the plane. -RRB- Nice job. Bertie sees Lionel glance at his watch. BERTIE You've someone waiting? LIONEL I do now. BERTIE I'd apologize to them in person, but. LIONEL You do n't wish to be seen? Slip out the back way. BERTIE After the funeral. it may be even more difficult. To remain unobserved. LIONEL You're having second thoughts. Bertie's silence is confirmation. LIONEL -LRB- CONT'D. -RRB- I ask too many questions? BERTIE Perhaps the wrong sort. LIONEL -LRB- writes an address. -RRB- We live in South Kensington, small apartment, but no one would see you. -LRB- added incentive. -RRB- Lots of planes. BERTIE You know, Lionel, you're the first ordinary Englishman. LIONEL Australian. BERTIE I've ever really talked to. Sometimes, when I ride through the streets and see a ` bloke' I'm struck by how little I know of his life, and how little he knows of mine. Cuts both ways. As Bertie is about to leave, Lionel requests casually : LIONEL And if you decide to come, bring the Duchess. She might be helpful. BERTIE She might. If I asked. Very nicely. -LRB- at back door. -RRB- And how will Myrtle take to our coming into your home? LIONEL Not sure. She is n't speaking to me. -LRB- pause. -RRB- Wants to go home. -LRB- pause. -RRB- After the funeral then? Bertie does n't answer. Exits. Logue is left holding the plane. He goes to the waiting room door. LIONEL -LRB- CONT'D. -RRB- How're you doing, Willie? WILLIE'S MUM -LRB- speaking for her son. -RRB- Still ca n't say a sentence. LIONEL Willie? WILLIE Iiiiiii'm much bbbbbbbetter. LIONEL Well done. A drum roll is heard. Thrum. Another. Thrum! Thrum!",
"EXT. ST. GEORGE'S CHAPEL, WINDSOR CASTLE - NEW DAY Funereal bagpipes wail, joining the measured drum - rolls. On the balcony of the Castle, decorated with black bunting, is a huge BBC microphone, and arrayed in front of it a row of uniformed dignitaries wearing Naval hats of the Napoleonic Wars, replete with ostrich feathers. One of the dignitaries reads a declaration : DIGNITARY Whereas it has pleased Almighty God to call to His mercy our late Sovereign, King George the Fifth of blessed and glorious memory. During this, INTERCUT to the REVERSE ANGLE, showing a massive military parade, mainly Navy personnel, wending its way through the main street of Windsor towards the Castle, accompanying a gun carriage on which rides the King's coffin, draped with the Royal standard, on which rests the Royal Crown topped by a Maltese Cross. David is seen - very serious. DIGNITARY -LRB- CONT'D. -RRB- that the High and Mighty Prince Edward Albert Christian George Andrew Patrick David is now become our only lawful King. Canons are fired. Startled by the salute, a large flock of blackbirds rise up and streak across the wintery sky. A MURMUR, then a shocked GASP, as the gun carriage transverses a tram track and tilts precipitously. Suddenly the Royal Crown tumbles and falls, knocking off the Maltese Cross. COSMO LANG -LRB- O.C. -RRB- Oh bloody Hell! WINSTON CHURCHILL -LRB- O.C. -RRB- A bad omen, Your Grace? The Archbishop and Churchill are watching the events from the shadows at one end of the balcony. Below - a scramble to restore the Cross to the Crown, and replace both atop the coffin. COSMO LANG Do n't be disingenuous. For our late King's crown to fall from his coffin is not a fortuitous portent. What ever is going to happen next? WINSTON CHURCHILL Is that be the motto of the new reign? Indeed, will there actually be `` a new reign''? COSMO LANG Winston! I'm deeply shocked. WINSTON CHURCHILL You do n't look it. COSMO LANG My function requires me to appear serene. WINSTON CHURCHILL That may be increasingly difficult to maintain. I've been informed by no less an authority than the Prime Minister that our populace has no objection to Royal fornication, but will never tolerate adultery. COSMO LANG Well, since we can not acquire a new populace, perhaps we need a new King? WINSTON CHURCHILL My turn to be profoundly shocked. Neither look the slightest traumatized. COSMO LANG Scoff, Churchill! Go on. scoff! But you more than others know full well we'll soon be under siege from the forces of darkness. WINSTON CHURCHILL The winds of war. a gathering storm? COSMO LANG Oh, you do have a way with words. And who would you suggest to rally the troops, the nation, the Empire, the world? INTERCUT to Bertie in the funeral cortege, looking frail and pale. COSMO LANG -LRB- CONT'D. -RRB- A man who can not speak? In Nuremberg stadium, Herr Hitler mesmerizes millions, whilst the Duke of York can not successfully order fish and chips. WINSTON CHURCHILL Would you prefer the next brother? INTERCUT to Henry, the Duke of Gloucester. WINSTON CHURCHILL -LRB- CONT'D. -RRB- A bi - sexual former drug addict? The unwashed moralistic populace will adore that! COSMO LANG The youngest, perhaps? INTERCUT to George, the Duke of Kent. WINSTON CHURCHILL Now there's dimness. COSMO LANG I must admit. unburdened with brain. WINSTON CHURCHILL Thus we're left with David, the rightful heir, who speaks beautifully, even if he talks nonsense. Below, the coffin is entering the Chapel. WINSTON CHURCHILL -LRB- CONT'D. -RRB- Come, let us bury one king, before we attempt to bring another to his knees. They exit.",
"EXT. BUCKINGHAM PALACE - NEW DAY Re - establishing shot. The Royal standard flies bravely.",
"INT. CONFERENCE ROOM, BUCKINGHAM PALACE - CONTINUOUS Bertie waits at a table with a group of immaculately attired courtiers and dignitaries. This is the Coronation Committee. The chair at the head of the table is empty, everyone waiting for its occupant. He finally arrives. David. He gestures for Bertie to come into the corridor, but deliberately leaves the door open so the committee can hear snatches of Bertie's ensuing humiliation.",
"INT. CORRIDOR, BUCKINGHAM PALACE - CONTINUOUS David has a habit of constantly fingering his tie. DAVID Hear you're taking elocution lessons, lad. BERTIE Pardon? DAVID Diction. Speechifying. That's the word around Town. BERTIE Merely trying to overcome my dreadful impediment. DAVID -LRB- OVER - RIDES. -RRB- I'm the brother who speaks. Or do you wish to have a go? BERTIE Good lord no! I hope to. DAVID Replace me? Well. today's your chance. He thrusts a document into Bertie's hands, then pokes his head into the conference room. DAVID -LRB- CONT'D. -RRB- My brother will read the Coronation Plans. BERTIE -LRB- whispers urgently. -RRB- I'm not prepared! DAVID -LRB- whispers back. -RRB- As a Boy Scout. and you are one, are n't you, very much a Boy Scout. you must always be prepared. Nice and loud, so everyone can hear. Bertie looks at the pages, his throat constricts, his chest tightens and his hands begin to shake. BERTIE I. I. I thu - thu - think we should tuh - tuh - table the document. He attempts to return it to David, but his brother wo n't accept. DAVID Tell the others how Mrs Simpson is to be accommodated in a special alcove above the altar. Now I'll be off. See you at Balmoral this weekend, Buh - buh - Bertie. In the room, they are appalled. Bertie stands frozen and shattered. 49 INT/EXT. AUSTIN PRINCESS ON SOUTH KENSINGTON STREET - NEW DAY49 The lion rampant flutters on the bonnet of the Austin. Inside, Bertie, wearing a black armband, gestures for the driver to stop. Pulling his homburg over his brow, Bertie wraps his scarf around the lower portion of his face. Then catches his reflection in the rearview mirror. Tells his driver : BERTIE Wait down the road.",
"EXT. SOUTH KENSINGTON STREET - CONTINUOUS Not wanting to draw attention to his destination, Bertie has disembarked several buildings away from Logue's address. He makes his way hurriedly. WACK. A soccer football hits him on the back. He wheels around. The group of local lads look at him unabashed. LOCAL LAD Kick it ` ere, aye, Guv? Bertie kicks it. A fine high shot. LOCAL LAD -LRB- CONT'D. -RRB- Nice one. They go back to their game. Bertie rings Logue's bell. A brief pause. Bertie glances nervously, hoping not to be recognized. Lionel opens the door. LIONEL To be honest, was n't sure whether to expect you. BERTIE I was n't sure either. LIONEL Something happened? Bertie stares at his mentor. Nods. BERTIE -LRB- as they enter, referring to his hat and scarf. -RRB- Do I look like a spy? LIONEL With a toothache. They disappear inside.",
"INT. STAIRWELL, LOGUE'S FLAT - CONTINUOUS Bertie has to pick his way through discarded toys and sporting equipment, explaining to Logue : BERTIE I was totally unable to speak. LIONEL You seldom stutter with me anymore. -LRB- referring to the mess. -RRB- The boys are a bit untidy. BERTIE Because you're paid to listen! LIONEL Like a verbal geisha girl?",
"INT. LIVING AREA, LOGUE'S FLAT - CONTINUOUS Bertie looks around the cluttered, but pleasant room : comfortable furniture a bit battered by the boys, antimacassars to hide the wear spots on the arms, family photos everywhere, well - used Turkish rug on the floor. LIONEL Home. BERTIE What more does a man need, eh? Lionel stares, unsure if he's being patronized. LIONEL Coming from a man who's lived all his life in castles and palaces. BERTIE Somebody has to live in them. LIONEL Somebody does. Ushers Bertie into his study.",
"INT. LOGUE'S STUDY - NEW DAY Bertie stands shattered, lost in his painful memory. BERTIE I could n't say anything! LIONEL You could've refused. Do n't you know any rude words? BERTIE What a bloody stupid question! I just said one. Bloody. Bloodybloodybloody! LIONEL Perhaps a touch more vulgar? BERTIE Certainly not. LIONEL To prove you know how. BERTIE Bugger! LIONEL A public school prig could do better. BERTIE Well bloody bugger to you, you beastly bastard! LIONEL Hardly robust. BERTIE Shit then. Shit, shit, shit! LIONEL See how defecation flows trippingly from the tongue? You do n't stutter when you swear. BERTIE Because I'm angry! LIONEL Get angry more often. Do you know the f - word? BERTIE Fornication? LIONEL Oh Bertie. BERTIE Fuck. Fuck, fuck, fuck! LIONEL Bravissimo! Now a resounding chorus of. BERTIE Bloody, bloody. bloody! Shit, shit, shit! Bugger, bugger, bugger! Fuck, fuck, fuck! A pounding on the wall. MYRTLE -LRB- O.S. -RRB- We have children! BERTIE -LRB- whispers. -RRB- This is your fault! LIONEL Sorry, pet! Wo n't happen again! MYRTLE -LRB- O.S. -RRB- I should hope not! BERTIE Apologies, Mrs. Logue. LIONEL First time I've heard you laugh. BERTIE Royals are n't allowed emotions in public. LIONEL Which explains a lot. Bertie is in no mood to be provoked. BERTIE What do you want me to do, dammit!? Stage my next public appearance as an obscene operetta?! LIONEL Your next public appearance should be very well rehearsed. Without thinking, Lionel instinctively reaches out to pat Bertie supportively on the shoulder. Bertie pulls back in offended shock. All the warning signals instilled in him are going off. BERTIE Do n't take liberties! You're a dangerous man, Logue. Who sent you? LIONEL Anyone in mind? BERTIE The lurking shadows. Courtiers and peers. the whole panoply of a class which once ruled the nation which once ruled the world, afraid of losing their last vestige of privilege if the monarchy is further debased. LIONEL Your wife was the one who sought me out. BERTIE Because, dear sweet deluded woman, she believes in me! LIONEL But you do n't share her belief? Why come here? BERTIE I'm beginning to ask myself that very same question. Your sailing close to the edge, do n't push me, Doctor Logue. LIONEL Lionel. BERTIE I came here because I was taught from childhood to serve a purpose, and that purpose is to serve. Duty is our sole justification for privilege. I came here because I was under the illusion you might help me perform that function! LIONEL Not to worry. They say the King can do no wrong. BERTIE He can bugger things up! And I am not the King. Mrs. Simpson is seeking a divorce. The Coronation is set for the 12th of May. Her decree becomes final on the 27th of April. That gives them two weeks to marry and put this issue to rest. LIONEL And if Mr Baldwin stops them? BERTIE That would be a tragedy. I pray to The Almighty they succeed. I'll do anything within my power to keep my brother on the throne. LIONEL Does that include debasing yourself? BERTIE If necessary! LIONEL Your brother knew perfectly well by giving you a document without warning. BERTIE Are you saying he wanted me to fail? LIONEL Are you insisting he did n't? In the future we can parse any document into manageable phrases. You can sing them, swear them, rehearse them til you get the rhythm and flow ; that, combined with your growing confidence. Bertie does n't want to hear. BERTIE Growing confidence? Growing dread! You're a wicked man, Lionel Logue, trying to get me to thrust myself forward as an alternative to my brother. Trying to get me to commit treason! LIONEL Trying to get you to realize you need not be governed by fear. Again, why did you seek me out? To take polite elocution lessons so you could attend posh tea parties?! BERTIE How dare you! I'm the brother of a King. the son of a King. back through untold centuries. You presume to instruct me on my duty? A jumped - up jackeroo from the outback? The disappointing son of an embittered clerk! You're a monster, Doctor Logue. I'm going to Balmoral to spend a pleasant country weekend with my beloved brother. And these sessions are over!",
"INT. STAGE OF SMALL REGIONAL THEATRE - NEW DAY Closed curtains. Someone fumbles behind it. LIONEL -LRB- BEHIND CURTAIN. -RRB- Now? Lionel pushes his way through the gap in the curtain. A PROVINCIAL DIRECTOR replies from a seat in the auditorium. -LRB- Not the same Director as in the earlier audition scene. -RRB- DIRECTOR Were you told? We are n't for London. Playing the provinces. LIONEL Outer Mongolia? DIRECTOR Available, are we? LIONEL Nothing prevents. DIRECTOR I believe that's called `` desperate for a part!'' Previous experience? LIONEL Australia. DIRECTOR You have played the provinces. Righto! Let's hear what you can do. LIONEL Caliban? DIRECTOR Make him deformed. Audiences like that. LIONEL Of course. -LRB- rallies himself. -RRB- `` Be not afeard ; the isle is full of noises, Sounds and sweet airs, that give delight, and hurt not.'' As magical as Lionel was when he performed for his boys, here he's stiff and painfully stilted. LIONEL -LRB- CONT'D. -RRB- `` Sometimes a thousand twanging instruments Will hum about mine ears ; and sometimes voices.'' DIRECTOR -LRB- interrupts. -RRB- Thank you! Do n't abandon your day job. Next! Logue bows his head.",
"INT. LOGUE'S DINING ROOM - NIGHT Lionel enters and sits dejectedly at the table. Myrtle and the boys eat in silence. Finally : LIONEL You may leave. VALENTINE Have n't finished yet, Dad. -LRB- realizes. -RRB- Oh! Right! THE BOYS Thanks, Dad. Thanks, Mum. They exit. Myrtle knows something has happened. MYRTLE Lionel? Lionel takes five slim folders out of his jacket pocket and puts them on the table in front of Myrtle. She studies them, stunned. MYRTLE -LRB- CONT'D. -RRB- Tickets? Home? LIONEL First class. A long pause as Myrtle digests this. MYRTLE What about your. LIONEL Willie's a problem. not much progress. The others have been referred. MYRTLE What'll you do when we get home? LIONEL Try not to act the toff. Teach perhaps. MYRTLE You could. LIONEL No! I'm not good enough! MYRTLE You gave it a try, Lionel. LIONEL Yes, I had a go. Thanks to your patience. -LRB- grief overwhelms him. -RRB- I just bloody well was n't good enough! MYRTLE -LRB- studying the tickets. -RRB- Oh Lionel! This must've cost you. CHOP! CHOP! CHOP! The sound of an axe.",
"EXT. GROUNDS AND TERRACE, BALMORAL - NEW DAY A woodsman's axe CHOPS into the thick trunk of a massive tree. Nearby, a bulldozer cuts into the green turf and rich soil. The felling and earth removal are being watched by Churchill and Lang from a distant terrace. In the background a jazz band in white tuxedos syncopates pertly. WINSTON CHURCHILL Five hundred year old oaks! Part of the hill! Removed to improve the view! COSMO LANG How ever does she do it? Inside the ballroom, seem through open French doors, an afternoon dance is being held. Churchill and Lang look in.",
"INT. BALLROOM, BALMORAL - CONTINUOUS At the epicenter, a dashing couple : David, the very picture of insouciance, and clinging to his arm, dripping in jewelry, a rather small, angular, dark haired woman, with a high brow and square jaw - MRS WALLIS SIMPSON. Her most attractive physical feature is her back, displayed fully by a dress that plunges to her nates. Surrounded by their entourage, they are the apex of chic. Watching from the sidelines : WINSTON CHURCHILL Erotic sexual techniques beyond polite imagination? I realize of course, that may be outside your personal experience. Winston exchanges his empty champagne flute for a full one from the tray of a passing footman. COSMO LANG You've the Devil in you today. WINSTON CHURCHILL If anyone should know, it would be Your Grace. COSMO LANG All aspects of mankind are within my venue. Did you know, HM has trouble with his glands? Churchill almost chokes on his champagne. WINSTON CHURCHILL I'd not appreciated Your Grace was so well versed concerning things testicular! COSMO LANG They were severely damaged by the measles when HM and his brother were naval cadets. WINSTON CHURCHILL A veritable encyclopedic font of scatological information. COSMO LANG Apparently it affects the quality, although not the quantity, of HM's endeavors. WINSTON CHURCHILL And the brother? COSMO LANG Unscathed. Two daughters. I shepherd my flock in all matters, Winston, including multiplication. They make their way inside. In the distance an Austin Princess can be seen making its way up the stately tree - line avenue.",
"INT. AUSTIN PRINCESS, BALMORAL ESTATE - CONTINUOUS Bertie and Elizabeth are dressed for the party. BERTIE We must try to be pleasant. ELIZABETH Your father not dead six months, and That Woman throws, `` A garden potty.'' P - o - t - t - y. She's sleeping in your mother's bedroom. And I know perfectly well she calls me ` the Dowdy Duchess'', and `` Cookie''.",
"INT. BALLROOM, BALMORAL - DAY At the buffet table Churchill helps himself copiously. WINSTON CHURCHILL Has it occurred to you, as it has only occurred to me, that a Monarch with a gland problem, who realizes he can not produce issue, might not wish to be King? knowing his lack of issue may well become a major issue indeed. COSMO LANG A dazzling concept. beautifully phrased. A FOOTMAN announces : FOOTMAN Their Royal Highnesses the Duke and Duchess of York. Wallis sweeps forward to greet them, but Elizabeth sails past, announcing to no one in particular : ELIZABETH I came at the invitation of the King. David turns and bows formally. Elizabeth cursties in return. Wallis quickly returns to David, taking him forcefully onto the dance floor. The Yorks go in the other direction. To the side, Churchill and Lang watch David and Wallis do a brisk Turkey Trot. WINSTON CHURCHILL According to the F.B.I. she is, after all, one of their citizens. our Monarch does not possess exclusive rights to Mrs. Simpson's sexual favours. Hitler's Ambassador, Count von Ribbentrop, has been sending her 17 carnations every day. one for each time they've slept together. COSMO LANG Good Lord, Winston, we must see to it this Empress of the Night does not become Queen of England! WINSTON CHURCHILL Vividly put. Churchill has spotted Elizabeth in a side room. WINSTON CHURCHILL -LRB- CONT'D. -RRB- Allow me to test new waters.",
"INT. PORTRAIT GALLERY, BALMORAL - CONTINUOUS Churchill makes his way to Elizabeth, who is standing in front of a portrait of George IV. ELIZABETH I do n't need to be told I behaved badly. WINSTON CHURCHILL On the contrary, Mam. Court etiquette decrees royalty must be greeted by the official host. In this case : the King. You behaved impeccably. As always. -LRB- referring to the painting. -RRB- A relative? ELIZABETH Distant. WINSTON CHURCHILL -LRB- referring again to the painting. -RRB- You're well aware, of course, George IV's wife, Mrs. Fitzherbert, was very common indeed. and previously married. She signed an agreement that she could never become Queen, and their children could not be Royal. A rather sensible morganatic arrangement. ELIZABETH That was a very long time ago. You're stirring with a rather large spoon, Winston. Keep in mind, I'm also a distant relative of Lady Macbeth. WINSTON CHURCHILL I would disremember at my peril. David is coming briskly down the corridor, struggling to open a champagne bottle, followed by Bertie determined to catch up. Elizabeth and Churchill leave the brothers alone. BERTIE David. DAVID Wally wants more champagne. I have to fetch it. She prefers that. BERTIE Been trying to see you. DAVID Been terribly busy. BERTIE Doing what? DAVID Being King. BERTIE Where did you get that American accent? David. Father's not dead six months, yet you've put Mrs. Simpson in the suite used by our mother? DAVID Mama's not still in bed, is she? BERTIE That is n't funny. DAVID Ssssssorry, d - d - dear b - b - oy! BERTIE Please. No more of that. A moment of silent confrontation. David backs down. Sort of. DAVID Did n't realize you cared. BERTIE This could end in disaster. DAVID This will end splendidly. With Wallis as my wife. BERTIE Whatever will she call herself? DAVID Queen of England, I suspect. Kings do marry. Empress of India. The whole bag of tricks. BERTIE David! The upper classes are terrified anything which clouds the monarchy makes their situation more dangerous. Hunger marchers are singing the `` Red Flag'' in front of Westminster. demanding a republic. I've seen them. DAVID Herr Hitler will sort that out. BERTIE Who'll sort out Chancellor Hitler? DAVID He's much maligned. By the Jews, according to Wallis. And she's very clever about politics. BERTIE The man's a monster! Our position must remain clear. DAVID Why's that, old chap? BERTIE We are a German family! DAVID Did n't bother anyone during WWI. And Kaiser Willie was our uncle. BERTIE Because we took an English name! Windsor. Because we are England. We are the heart and soul of this nation. That must never change. DAVID Are you already in charge? BERTIE I'm trying to warn you. DAVID Am I being threatened? BERTIE David, your role is to consult and to be advised. DAVID Sounds like you've studied our wretched constitution. BERTIE Sounds like you have n't. DAVID I wo n't be a lackey to an unwashed politician like Stanley Baldwin! BERTIE He's your Prime Minister. DAVID And I'm his King! BERTIE If you refuse to listen to our Government, they have no choice but to resign. DAVID I'll form another. There's Winston. He'd love to be P.M. We'll create a King's Party. BERTIE To fight a general election in which your marriage is the only topic? DAVID I'd risk anything and everything for Wallis. Do n't I have rights? BERTIE Privileges. DAVID Not the same thing. BERTIE No. DAVID Yet an ordinary man may marry for love. BERTIE We're not ordinary men, David! We were bred to be profiles on a coin. If you were ordinary, on what basis could you possibly claim to be King?! DAVID What's the point then? Just to look posh? You know. your speech is much improved tonight. Hardly a hesitation. Yearning for a larger audience, are we? BERTIE Do n't say such a thing! DAVID Is my young brother trying to push me off the throne? Sounds positively medieval. BERTIE I beg of you, do n't do this to my wife, my daughters, to me. DAVID The politicians will give in. See you at my Coronation. Bertie. The champagne cork finally POPS. He strides off.",
"EXT. 10 DOWNING STREET - NEW DAY Establishing shot of the Prime Minister's residence. WINSTON CHURCHILL -LRB- O.S. -RRB- Nice of you to invite me to your digs, Stanley.",
"INT. BALDWIN'S STUDY, 10 DOWNING STREET - DAY Baldwin and Churchill are alone together. No love lost between these two men. BALDWIN As you may have guessed. Churchill is silent. Balwin waits, then : BALDWIN -LRB- CONT'D. -RRB- I intend to resign. The Royal scandal has weakened my position considerably. Churchill, on the edge of his seat, ca n't suppress an anticipatory grin. Baldwin takes pleasure in deflating it. BALDWIN -LRB- CONT'D. -RRB- No need to volunteer your services, Winston. Neville Chamberlain will take my place, once this Royal matter is settled. As Chancellor of the Exchequer he already lives next door. WINSTON CHURCHILL My opportunity to redecorate will come soon enough, Stanley. BALDWIN Will it? Well, enough chit - chat. The question of a morganatic marriage, as a possible solution, has been put to the Dominion Prime Ministers. After all, HM is their King too. Baldwin has a sheath of telegrams in hand. BALDWIN -LRB- CONT'D. -RRB- Australia : no. WINSTON CHURCHILL David feels there are n't that many people in Australia. BALDWIN Canada : no. Union of South Africa : an inappropriate marriage would create a permanent wound. The Irish Free State : states it is not really their affair, and, bluntly, our English King may marry any whore he wants, they'll be well out of it. WINSTON CHURCHILL Bloody Irish. BALDWIN New Zealand. wavers. WINSTON CHURCHILL Ah, the Kiwis! BALDWIN Being rather remote, they've not even heard of Mrs Simpson. Hardly a winning hand. Silence. BALDWIN -LRB- CONT'D. -RRB- This is not about true love, Winston. This is about who's in charge. Does the King do what he wants, or what his people want him to do? Does the King own his nation, or does the nation own their Monarch? WINSTON CHURCHILL He wo n't budge. BALDWIN Nor will we.",
"INT. PLAYROOM, YORK HOUSE - NIGHT Winston Churchill is incongruously inspecting a rocking horse. Unable to resist, he sits on it gingerly, rocking back and forth lost in a reverie. Eyes closed he extends his right arm as though holding a cavalry saber. Bertie enters startling him. BERTIE Do n't dismount. WINSTON CHURCHILL Good of you to see me at this late hour. BERTIE Thought you were in David's camp? WINSTON CHURCHILL I was. -LRB- takes a piece of paper from his pocket and reads. -RRB- `` I am now free to tell you how I was jockeyed out of the Throne.'' BERTIE Good Lord! My brother wrote that? WINSTON CHURCHILL Wallis wrote it for him. I'll burn it. I fear your brother is like the child in a fairy story, given everything in the world, but they forgot his soul. Quite happy to bring his nation to the brink of civil war just as we face global conflict. BERTIE We're not coming to that?! WINSTON CHURCHILL Oh, there'll be war, alright. -LRB- takes out another piece of paper. -RRB- Your brother held conversations with the Duke of Saxe - Coburg, your cousin, a ranking member of the Nazi party. I have the Scotland Yard intercept : `` Who is King here? Baldwin or I? I myself wish to talk with Hitler, and will do so here or in Germany.'' I doubt England is ready to return to absolute monarchy. BERTIE Surely his motives are misunderstood? WINSTON CHURCHILL `` If I do n't get my way, when the war comes, Hitler will crush everyone, including the Americans. The British may not want me as their King, but I'll soon be back as their leader.'' His intent seems crystal clear. BERTIE Winston?! Do n't take him seriously! WINSTON CHURCHILL Mugs for his cancelled Coronation will soon be on clearance sale. BERTIE You're willing to go along with this?! Changing horses in mid - stream is a perilous maneuver! WINSTON CHURCHILL Depends how badly the horse you're on stumbles. BERTIE It's not too late, Winston, you could form a government on his behalf. WINSTON CHURCHILL I must decline. Reluctantly. The rocking horse CRACKS. Churchill gets to his feet. WINSTON CHURCHILL -LRB- CONT'D. -RRB- Sorry. -LRB- starts to exit, then. -RRB- I've written a new speech for him. BERTIE I do n't want to hear it! Ever! WINSTON CHURCHILL It does have a rather nice turn of phrase.",
"EXT. MONTAGE OF BRITISH STREETS - DAY It is December 11th, 1936. If practical use the actual recorded broadcast -LRB- truncated -RRB-. In London, Birmingham, Edinburgh, country hamlets and cathedral towns. the streets are deserted. Stragglers hurry indoors to be near : THE GLOWING DIAL OF A RADIO DAVID -LRB- V.O. RADIO FILTER. -RRB- At long last I am able to say a few words of my own. Until now it has not been constitutionally possible for me to speak. A few hours ago I discharged my last duty as King and Emperor.",
"INT. PLAYROOM, YORK HOUSE - CONTINUOUS Bertie and Elizabeth listening to the radio with the two princesses royal sitting at their parents' feet. Bertie battles his emotions. DAVID -LRB- V.O. RADIO FILTER. -RRB- Now that I have been succeeded by my brother, the Duke of York, my first words must be to declare my allegiance to him. MARGARET ROSE -LRB- whispers. -RRB- Daddy, who broke our rocking horse? BERTIE -LRB- whispers. -RRB- A giant. Elizabeth holds a finger to her lips : shush. DAVID -LRB- V.O. RADIO FILTER. -RRB- This has been made less difficult to me by the sure knowledge that my brother has one matchless blessing, enjoyed by so many of you, and not bestowed on me - a happy home with his wife and children.",
"INT. LOGUE'S PARLOUR - NIGHT The glow of a radio dial. Lionel and Myrtle sit in armchairs, the radio on a side - table between them. DAVID -LRB- V.O. RADIO FILTER. -RRB- I have found it impossible to carry the heavy burden of responsibility and to discharge my duties as King as I would wish to do without the help and support of the woman I love. Lionel gets up to turn it off as David's voice concludes : DAVID -LRB- V.O. RADIO FILTER ; CONT'D. -RRB- We all have a new King. I wish him and you, his people, happiness and prosperity with all my heart. God bless you all! God save the King! Logue strokes Myrtle's hair. LIONEL I too `` married the woman I love.'' MYRTLE You married a shop girl. LIONEL A wonderful lass. Someone I can talk to heart to heart. MYRTLE Using simple words and short sentences. I'm very ordinary. LIONEL That's why we're suited. I'm just an ordinary bloke. MYRTLE Ordinary? You're a man with wild dreams, Lionel. Mine are so very small. A job, a husband, a home. Raising our sons. That's all I ever wanted. LIONEL Me too. MYRTLE Is that why, every day, you've spent hours with a man who's about to be King? LIONEL That relationship is now past tense. MYRTLE Yet, for as long as you could, you did what you wanted. LIONEL I wanted to be a great actor. That's what I wanted. MYRTLE And failing that. LIONEL I certainly failed! MYRTLE A great healer. Always. ` great'. Where does a shop girl fit in? LIONEL Very snugly, into my heart! Always have, always will. MYRTLE Trouble is, Lionel, when you say that, I still believe it.",
"INT. INNER COURTYARD, YORK HOUSE - DAY The Royal standard on a gleaming car's bonnet. Bertie stands uneasily in the uniform of an Admiral of the Fleet as the driver opens the door. Bertie realizes its a Rolls. BERTIE Where's the Austin? DRIVER The Palace changed it, Your Highness. BERTIE I liked the Austin. DRIVER So did I, sir. The two girls wave from their open playroom window, and call : MARGARET ROSE You look like a chicken. LILIBET A rooster. He waves, and gets in.",
"EXT. ST. JAMES PALACE - THAT DAY A formal voice announces : MASTER OF THE COUNCIL -LRB- O.S. -RRB- His Majesty will address the Accession Council and take his oath.",
"INT. ANTECHAMBER, ACCESSION COUNCIL - CONTINUOUS Bertie looks at himself in a full length mirror, making last minute adjustments to his uniform. Staring at his reflection : BERTIE How did this happen to you?",
"INT. ACCESSION COUNCIL CHAMBER - CONTINUOUS Bertie walks to the podium like a man to the gallows faced with an array of the Privy Councillors, members of the House of Lords, the Lord Mayor of the City of London, the Aldermen of the City of London and the High Commissioners of the Commonwealth countries. All the old symptoms reappear : the tightening of the neck muscles, the protruding Adam's apple, the jaw locking. BERTIE My Lords, members of the Accession Council, I meet you today in circumstances which are without parallel in the history of our Country. Its going to be a terrible performance. He bows his head in humility. And shame.",
"INT. PLAYROOM, YORK HOUSE - THAT DAY Elizabeth is playing quietly with her daughters when the door opens and Bertie appears, still in full regalia, straight from the Accession Council. He holds his arm out, expecting them to run to him for a hug and kiss, his solace after the ordeal. They remain where they are. BERTIE Daddy's home. They curtsy formally. LILIBET & MARGARET ROSE Your Majesty. Bertie is devastated. Elizabeth takes him quickly out into the corridor.",
"INT. BERTIE'S STUDY, YORK HOUSE - DAY BERTIE I do n't want to lose you. ELIZABETH How could you possibly? BERTIE Being what we both dread most. ELIZABETH Dear, dear, man, I refused your first two marriage proposals because, as much as I loved you, I could n't abide the thought of living in the Royal gilded cage. Then I realized. you stuttered so beautifully. they'd leave you alone. She takes his face in her hands tenderly. ELIZABETH -LRB- CONT'D. -RRB- If I must be Queen, I will be a good Queen. The wife of a very great King indeed. -LRB- then. -RRB- You know what you must do.",
"INT. LOGUE'S CONSULTATION ROOM & WAITING ROOM - NEW DAY Logue is working with Anna. She's reading smoothly and with great intensity. ANNA `` Had I the heavens' embroidered cloths Enwrought with golden and silver light, The bbb.'' Gets stuck. LIONEL We have n't much more time together. Give it a go. The doorbell RINGS. Logue is annoyed. LIONEL -LRB- CONT'D. -RRB- There were n't any more appointments today. The bell RINGS again. He yells : LIONEL -LRB- CONT'D. -RRB- Piss off! -LRB- gently. -RRB- Anna? ANNA `` The blue and the dim and the dark cloths Of night and light and the half - light.'' The door opens and Bertie enters the waiting area. Hearing Anna he stops outside the consultation room and listens. ANNA -LRB- CONT'D. -RRB- `` I would spread the cloths under your feet, But I, being poor, have only my dreams. I have spread my dreams under your feet ; Tread softly because you tread on my dreams.'' Silence. LIONEL -LRB- softly. -RRB- Read it to him. If he does n't profess his love, he's not a man. Anna nods earnestly. ANNA Thank you. Lionel. She exits via the Waiting Room and almost runs into Bertie. On recognizing him, she bobs her head. BERTIE That was lovely. Do n't take any guff. ANNA Can I tell my Harold that's what you said? BERTIE I'd be honoured. She dashes off. Logue comes to the door of the Waiting Room, in effect blocking Bertie's way in. LIONEL Johnson, is n't it? Have you an appointment? BERTIE Want me to beg? LIONEL I told you, Kings do n't beg. BERTIE I believe this time a bit of begging might be required. Elizabeth says I must eat humble crow. LIONEL Its `` crow'' or `` humble pie''. Take your pick. BERTIE -LRB- gathering resolve. -RRB- I was frightened and took refuge in being ` Royal'. What I said was unforgivable. And. LIONEL And? BERTIE -LRB- blurts out. -RRB- What's the one essential thing a King must do? He must believe he is King. How can I possibly do that? For pity sake, Lionel, I beg you : get me through! I'll pay you another shilling. LIONEL What're friends for? Logue steps aside, letting Bertie in. BERTIE I would n't know.",
"INT. LOGUE BEDROOM - NIGHT The double bed is piled high with clothing, a suitcase at its foot. Myrtle is sorting. She hears Lionel enter behind her. At first, she does n't turn. Lionel remains silent. MYRTLE I've got the boys sorting their things. Your office will be a chore. Realizing something is amiss, she turns, and knows instantly what Lionel's going to tell her. Her hand goes to her mouth to stifle her emotions.",
"INT. BERTIE'S STUDY - DAY Bertie is with visitors : Churchill and Lang. There's a slight but discernible change in his demeanor. COSMO LANG We asked to see Your Highness because there's the urgent question of what to call your brother. Aside from the obvious. Bertie is not pleased with His Grace's joke, but lets it pass. BERTIE What do you suggest? COSMO LANG Mr. Edward Windsor? All he deserves. BERTIE What has my brother given up on his abdication, other than the throne? They look at each other, unsure. BERTIE -LRB- CONT'D. -RRB- Would n't it be a good idea to find out before coming to me? He can not be Mister, as he was born the son of a Duke. Which makes him a Lord at the very least. WINSTON CHURCHILL Very well, Lord E.W. it is. BERTIE And as a Lord of the realm, he's entitled to be elected to the House of Commons. Heading a King's Party. COSMO LANG Unacceptable! BERTIE So you prefer he takes a seat in the House of Lords? Again, on behalf of a King's Party? Is that acceptable? WINSTON CHURCHILL Certainly not. BERTIE But if he's made a Royal Duke, and called His Royal Highness, he can not stand for Parliament. Nor may he speak or vote in the House of Lords. COSMO LANG -LRB- realizing. -RRB- Oh I say. BERTIE The Duke of Windsor it is. Gentlemen. He exits abruptly. Churchill and Lang gather their things stunned. WINSTON CHURCHILL Not exactly a dummy, is he? 76 EXT.. FACADE OF D.HENRY LTD.. LEATHERGOODS, KNIGHTSBRIDGE - DAY 76 Myrtle is in the shop window, arranging handbags, luggage, and briefcases.",
"INT. D.HENRY LTD. - CONTINUOUS In the store Myrtle can be seen dressing the window, while in his glass office the OWNER, a portly bald gentleman with a Dickensian air, is deep in concerned conversation with a man in trench - coat. The Owner keeps glancing worriedly in Myrtle's direction. The two men nod, shake hands. The fellow in the trench - coat leaves. The owner beckons another shop - girl over and whispers something to her. She heads towards Myrtle. BERTIE -LRB- O. S. -RRB- `` Let's go gathering hearty heather with the gay brigade of grand dragons.''",
"INT. LOGUE'S STUDY AND PARLOUR - DAY A wall divides the study from the living area, allowing the action in both spaces to be viewed. IN THE PARLOUR : Elizabeth waits, ill at ease. LIONEL Splendid. Here's another. `` She sifted seven thick - stalked thistles through strong thick sieves.'' At home, twenty - five times, in rapid succession. BERTIE Those are my hardest sounds. Lionel gives him a look. BERTIE -LRB- CONT'D. -RRB- Oh. LIONEL Shall we invite your wife in now? Logue goes to the door and starts to open it. He shuts it quickly. LIONEL -LRB- CONT'D. -RRB- I was n't expecting Myrtle for several hours! IN THE PARLOUR : Myrtle has entered, definitely unhappy. Seeing Elizabeth, she's even less happy, and flabbergasted. MYRTLE Milady? ELIZABETH `` Your Majesty'', the first time. After that, `` Ma'am''. Not Malm as in Palm, Mam as in ham. I'm informed your husband calls my husband Bertie and my husband calls your husband Lionel. I trust, however, you wo n't attempt to call me Liz. IN THE STUDY : Lionel stands listening, ear to the door. BERTIE How're they getting on? LIONEL As to be expected. IN THE PARLOUR : Myrtle announces : MYRTLE You may call me `` Madam Logue''. Myrtle's at a loss knowing what to do with a Duchess. MYRTLE -LRB- CONT'D. -RRB- May I offer you a cup of tea, Ma'am? ELIZABETH Thank you, Madame Logue, but I'm waiting to be summoned. Silence. MYRTLE You do n't like my husband. That's what I was told. ELIZABETH I was told the same. BERTIE Do we remain in hiding? LIONEL I'm not going out there! MYRTLE What do you dislike about my Lionel? ELIZABETH I do n't wish my husband to be demeaned. What do n't you like about mine? MYRTLE I do n't want my Lionel getting hurt. ELIZABETH There's only one thing can save him now : success. IN THE STUDY : the men are growing increasingly nervous. BERTIE We're being cowards. LIONEL Of course. We're sensible men. BERTIE You should go in. LIONEL Me? You. BERTIE Why me?! LIONEL You're the Royal. BERTIE Being a monarchist, I recognize these are your digs. Therefore : here you rule. Therefore : you go in. Urged by Bertie, Logue opens the door. IN THE PARLOUR : Logue enters, pretending total innocence and surprise, followed by Bertie, also trying to keep the pretense. LIONEL Oh! Hello, Lady Elizabeth! Oh! Hello, Myrtle darling! What a pleasant surprise. Myrtle stares at him and takes her revenge. MYRTLE Will the Yorks be staying for dinner? Logue and Bertie look panic - stricken. Elizabeth comes to the rescue. ELIZABETH A previous engagement. LIONEL Some other time, love. Logue ushers Elizabeth into the study, giving Myrtle a nervous little wave. She glares and exits. LIONEL -LRB- CONT'D. -RRB- Glad you had a chance to meet Myrtle. Bertie stifles a snort. Elizabeth glares at him. LIONEL -LRB- CONT'D. -RRB- -LRB- to Elizabeth. -RRB- Good of you to come. ELIZABETH Harley Street is far too public. What is my function here? LIONEL For me to show you how to pitch in. ELIZABETH Oh dear, I may not be a ` pitch in' type. LIONEL Piece of cake. -LRB- to Bertie. -RRB- Please assume a supine position on the floor. ELIZABETH What?! LIONEL Firm support is needed. Bertie dutifully lies on the floor. LIONEL -LRB- CONT'D. -RRB- Breathe deeply. expand your chest. now your stomach. deep into the diaphragm. Splendid. How do you feel? BERTIE Full of hot air. LIONEL Well on your way to becoming a qualified political speaker. Again. Bertie inhales deeply. LIONEL -LRB- CONT'D. -RRB- and hold. Now, Princess Elizabeth, be so kind as to sit on your husband's stomach. ELIZABETH Good grief. LIONEL Gently of course. Elizabeth sits gingerly on Bertie's stomach, asking solicitously : ELIZABETH Are you alright, Bertie? Bertie nods. LIONEL Now exhale slowly. down goes Princess Elizabeth. inhale slowly. nothing rushed, expanding your chest fully, extending the column of air til it hits the diaphragm. and. up comes Princess Elizabeth. Exhale. down goes Princess Elizabeth. inhale. up comes Princess Elizabeth. You get the idea. Does n't have to be Princess Elizabeth of course, but I thought you'd prefer your wife to one of the staff. Now comes the fun part. ELIZABETH There's actually more? Bertie springs to his feet while Logue opens a window. LIONEL You will now shout the vowel sounds, all five of them, as loudly as possible, each to last no less than 15 seconds. There's poor coordination between your larynx and diaphragm. Princess Elizabeth, you can be the official timer. ELIZABETH Vowel sounds? Shouted at an open window? On a public street? LIONEL Anyone who can stand at an open window vibrating loudly in full view of the world can learn to give a public speech. ELIZABETH They can also be considered quite dotty. Do n't even contemplate it! BERTIE Sorry, dear, doctor's orders. Aaaaaaaaaaaaaaaaaaa. -LRB- stops. -RRB- She's right, those two chaps are staring at me. ELIZABETH They're always looking at you. LIONEL -LRB- startled. -RRB- You're followed? ELIZABETH Royal scrutiny, Doctor, best get used to it. BERTIE aaaaaaaaaaaaaaaayyyyyyyyyyy. eeeeeeeeeeeeeeeeee. -LRB- to Elizabeth. -RRB- Are you timing this? iiiiiiiiiiiiiiiiiiiiiiii. ooooooooooooooooooooooooo. uuuuuuuuuuu.",
"INT. LOGUE'S DINING ROOM - LATER The family eat in tense silence VALENTINE May we be excused? LIONEL No. The unhappy meal continues. PETER -LRB- mumbles. -RRB- We do n't want to hear you fight. LIONEL We're not fighting. Your mother is n't talking. MYRTLE You wish me to speak my mind? LIONEL Boys, leave. THE BOYS Thank you, Dad! Thank you, Mum! They exit hurriedly. MYRTLE Lionel. without warning, I arrive home to find the Queen in my parlour. LIONEL A Duchess, she has n't been crowned yet. MYRTLE Lionel, do n't quibble! LIONEL What'd you think of her? MYRTLE Does it matter!? She's the Queen and he's the King forgodsake! What're they doing here?! LIONEL Why'd you come home so early? MYRTLE Lionel. LIONEL They came for help. MYRTLE What role are you auditioning for now? Royal saviour?! Who's going to help us?! This will bring us down, Lionel. You know it will. LIONEL When that poor chap first walked into my office, he was a slim, quiet man with tired eyes and all the outward symptoms of the person upon whom a habitual speech defect has set the sign. You saw him today ; once more there was hope. MYRTLE You're not listening to me! She gets up angrily and starts carrying dishes to the kitchen. He follows her back and forth. LIONEL Myrtle, I love you. MYRTLE You say that, but you do n't listen when I say, in so many ways, how desperately I want to go home, how I never, ever, intended to stay here. This was to be a holiday trip to see ` Mother England', and you turned it into quite something else. What happened, Lionel? We went to Wembley Stadium, next thing. you'd cashed in our tickets. He's silent. MYRTLE -LRB- CONT'D. -RRB- Very well, I sha n't talk of this ever again. I will, as always, be supportive of your endeavours. LIONEL Myrtle. I do n't deserve a wonderful woman like you. MYRTLE How right you are. LIONEL But why'd you come home so early? MYRTLE Lionel. I was let go. He's stunned. MYRTLE -LRB- CONT'D. -RRB- Inquiries were made. Mr Falkoff would n't say who. afterwards it was : ` With your hubby treating a personage that high and mighty, you wo n't be needing employment with us, will you, Mrs Logue?' LIONEL -LRB- anguished. -RRB- Why?! MYRTLE They're frightened, Lionel. Of what seems so far above them. I sympathize. I'm frightened too. LIONEL Oh, Myrtle. My love. WESTMINSTER ABBEY - NEW DAY Establishing shot of this architectural icon. COSMO LANG -LRB- O.S. -RRB- Winston, you do read the newspapers?",
"INT. WESTMINSTER ABBEY - DAY A massive cavern of stone statuary and stained glass. The center piece of this particular section is the throne of Edward the Confessor. Scaffolding is in the process of being erected to supply lighting for the Coronation. Archbishop Lang and Churchill inspect it with satisfaction. WINSTON CHURCHILL Only the vulgar ones. Churchill pours two nips of whiskey into metal cups nested in a hip flask. WINSTON CHURCHILL -LRB- CONT'D. -RRB- To our new King. COSMO LANG Let's sincerely hope. They look at each other in silence. WINSTON CHURCHILL Is this a ` slightly pregnant pause'? COSMO LANG They say he is dim. WINSTON CHURCHILL Demonstrably untrue. COSMO LANG They say he has epilepsy. WINSTON CHURCHILL Patently erroneous. COSMO LANG Fragile, prone to illness. WINSTON CHURCHILL Some correctness in that. COSMO LANG and will die prematurely. They predict he'll be unable to complete the Coronation. WINSTON CHURCHILL What do you propose? Shorten the ceremony? Or no ceremony at all? COSMO LANG My idea exactly! WINSTON CHURCHILL I believed so. But what we need is a pageant of pomp and pomposity to impress the world. COSMO LANG What we need, and what we'll get, may be two rather different things. Did you hear his pathetic attempt at the Accession Council? He'll never be able to speak in public. WINSTON CHURCHILL So, we plonk a tinsel crown on his head and lock him in a closet? Who then will spiritually lead this great nation into war? Who will address the far flung corners of the Empire, rallying all to our defense? COSMO LANG Well. WINSTON CHURCHILL The Head of our Church? Is that what you have in mind? COSMO LANG Would it be such a calamity? WINSTON CHURCHILL Best ask our new King. Bertie has entered with Logue. Lang spins around. COSMO LANG Your Majesty. WINSTON CHURCHILL Excuse me, sir, duty calls. He exits quickly. Cosmo continues nervously as they walk through the Abbey, the Archbishop pointing out the preparations in progress, particularly a booth for broadcasters. BERTIE Is this the scene of the crime? COSMO LANG What a peculiar thing to say. BERTIE Referring to my assault upon the ears of the listeners. COSMO LANG Ah, yes, wireless is indeed a Pandora's Box. I have, however, categorically said no to the BBC's new `` radio - with - pictures'' gadget. Imagine, the unwashed viewing us as we blow our noses or scratch our bottoms. BERTIE Radio with pictures?! COSMO LANG It is called. `` television''. Happily, with a transmission range of only fifteen miles this `` TV'' thing has no future. We shall, however, be forced to permit cinema ; the product of which I shall personally edit. BERTIE That'll keep you busy, removing all my stops and starts. COSMO LANG Unless of course you'd prefer a quiet ceremony? BERTIE What exactly do you mean? COSMO LANG Something. discreet. private. We could pre - record an edited version to be broadcast to the world. Or even find an actor with a similar voice. Logue has arrived and comes out of the shadows. LIONEL A King based upon deception? Cosmo takes Bertie aside. COSMO LANG If your gentleman from Security would give us space, we could discuss this in private. BERTIE You mean my bodyguard, `` Crusher?'' Giving Lionel a scathing look, Lang continues speaking to Bertie confidentially. COSMO LANG Fret not. As I assured our nation in my recent broadcast : `` When his people listen to their new Monarch they will note an occasional momentary hesitation in his speech. But to those who hear it, it need cause no sort of embarrassment, for it causes none to him who speaks.'' You see, I've paved the way. But should you wish to avoid further stress. LIONEL Why not paint him pink and cover him with sequins? COSMO LANG Pardon?! LIONEL If you wish to call attention to his anxiety. COSMO LANG Does your bodyguard know to whom he's speaking? He certainly does n't know his place! BERTIE Doctor Lionel Logue, my speech therapist. COSMO LANG Therapist?! I'd no idea! Had I known Your Majesty was seeking assistance I would've made my own recommendation. BERTIE Dr. Logue is to be present at the Coronation. COSMO LANG Impossibly to find room. Even for a Doctor. LIONEL Just Lionel. BERTIE Behind the chair of Edward the Confessor. COSMO LANG The Royal Box!? Your Family will be seated there. BERTIE Which makes it most suitable. COSMO LANG Perhaps I might be able to add a very small stool. BERTIE Two comfortable chairs. One for Madam Logue. She's a close friend of my wife. The Queen. COSMO LANG I'll have someone attend to it. LIONEL And now, if you do n't mind, we need the premises. COSMO LANG My dear fellow, this is Westminster Abbey! The Church must make preparations. LIONEL So must Bertie. COSMO LANG Bertie?! We do not call the King : `` Bertie''! LIONEL I do. During waking hours we'll need the facilities. It'll be a closed set. No observers. BERTIE Those are my wishes, Your Grace. Lang nods curtly and exits. BERTIE -LRB- CONT'D. -RRB- You've made a dangerous enemy. LIONEL Would n't want him as a friend. BERTIE And do n't ever call me Bertie in public. A moment of confrontation. Lionel knows he's overstepped. LIONEL Tell me. BERTIE I sense one of your dreadful questions on the horizon. LIONEL Do you really want to be King? BERTIE Knew it! I have n't any choice. LIONEL You can be a wounded King who stumbles through his Coronation. Or, as the Arch of C so archly suggests, no Coronation at all. Always a choice. BERTIE What's this, you wait til Westminster Abbey, then ambush me? LIONEL I'm simply asking questions. which you seem unable to answer. BERTIE I'm a sacrificial lamb being led to slaughter! Damn you! LIONEL Quite possibly. But at least I know what I want. You have n't the foggiest. BERTIE -LRB- explodes. -RRB- I WANT TO BE HEARD! His words reverberate through the empty abbey. LIONEL That's quite different. Let's get down to work then, shall we? Bertie glares at him. LIONEL -LRB- CONT'D. -RRB- As soon as you and Elizabeth enter the West door, you'll be greeted with the hymn `` I Was Glad When They Said Unto Me.'' You wo n't actually be that glad, because they sing it for a great long time. Bertie follows Logue deep into the bowels of the ` Abbey'. LIONEL -LRB- CONT'D. -RRB- You'll then show yourself to the various sides of the Abbey as the Archbishop announces four times in a loud voice, `` Sirs, I here present unto you.'' Have you decided your name for when you become King? For when you become a different person? BERTIE George. LIONEL Like your father? BERTIE Like my father. LIONEL Not Albert? BERTIE Given the current situation. too Germanic. LIONEL `` Sirs, I here present unto you, GEORGE, your undoubted King!'' `` George, your undoubted King!'' echoes through the Abby. DISSOLVE TO:",
"INT. AN OFFICE IN WESTMINSTER ABBEY - NIGHT Lang is on the phone. The door is open. While talking he watches the work preparations. On the phone he tells someone : COSMO LANG I've made inquiries.",
"INT. LOGUE DINING ROOM - NIGHT Logue enters and sits at the table. Myrtle serves him. MYRTLE A bit dry. Tried to keep it warm. LIONEL Mmm. Kedgeree! Lovely. MYRTLE You look done in. LIONEL I've news for you. You're coming to the Coronation. MYRTLE I've news for you. I'm not! LIONEL You must. MYRTLE Stand in the rain hoping for a glimpse? LIONEL Royal Box. You and I. Stunned silence, then. MYRTLE Lionel. I'd need a new dress. LIONEL Rather thought you might. Valentine calls from the next room : VALENTINE -LRB- O.S. -RRB- Dad! Phone! For you! LIONEL Wo n't be a sec. He exits. Myrtle waits. Looks at herself, bemused, reflected in a glass - fronted cabinet. Even does a curtsey.",
"INT. WESTMINSTER ABBEY - THAT NIGHT The last of the preparation crew are being scurried out by Lang. He gives a final, satisfied, look at the cavernous space, like a director preparing the stage for a final scene. He quotes Shakespeare, extremely pleased with himself : COSMO LANG `` The play's the thing, wherein I'll catch the conscience of a King.'' He exits. THE CAMERA explores various elements : The Throne of Edward the Confessor. Beneath it, a large rough - hewn stone : The Stone Of Scone. Leaning against the Throne, a huge sword, set there for the next Coronation rehearsal. Majestic stained glass windows of saints, kings, and martyrs. Rows of pews, worn with centuries of use. Graves of the mighty : kings, poets, and statesmen. This Abbey holds the history of a nation. Footsteps resonate. Lionel enters. Trips over one of the gravestones. LIONEL Bertie? Blast! Stepped on Lord Byron. Bertie? Lights snap on skewering Lionel. Bertie steps into view wearing a coat against the night chill of the stone cathedral. BERTIE This is not a rehearsal, `` Doctor'' Logue. LIONEL Ah, the Star Chamber inquisition. I wondered when that would happen. And I'd promised Myrtle a new frock. BERTIE -LRB- barely controlled. -RRB- `` Just call me Lionel''! Never did you call yourself ` Doctor'. We did that for you. No diploma, no training, no credentials. Just a great deal of nerve. LIONEL Want to hear my side of the story? BERTIE There is n't a `` your - side - of - the - story''. This is my story. And you've ruined it! Its not just the Coronation, terrifying enough, its the radio speech to millions afterwards, and the speech after that, and for the rest of my failed miserable life! LIONEL -LRB- softly. -RRB- Wembley Stadium. BERTIE You dare remind me?! LIONEL I was there. BERTIE Then you knew from the start I was hopeless?! LIONEL My son, Valentine, asked, `` Could you help that poor man?'' I replied, `` He's too old for me to manage a complete cure, but I could very nearly do it, I'm sure of that.'' BERTIE Lying bastard! LIONEL I knew I could help you. You refuse to believe? BERTIE In you?! LIONEL In yourself. BERTIE Who the hell do you think you are?! LIONEL A failed actor. BERTIE Actor? LIONEL Father wanted me to be a doctor, but I could n't cut flesh. So I worked in the mines, recited in pubs. BERTIE An actor?! LIONEL When the war came, by the time I was ready to be shipped out, the first casualties were limping home. Poor buggers, broken in bone and spirit. ` Lionel, you're good with your mouth, see if you can help these poor sods.' The shell - shocked were the saddest. Most stuttered profoundly. Far worse than you. Muscle therapy helped somewhat, but I found I had to go deeper, as you might well imagine. BERTIE I know nothing of those poor men! LIONEL I think you do. They had cried out, and the universe had not listened. So they'd lost faith in their voice. My job was to make them shout in righteous anger : `` I have the right to be heard!'' BERTIE I suppose that helped them, did it? LIONEL Make inquiries. BERTIE Inquiries have been made! No credentials. LIONEL But a lot of success. No training was given. Not in Western Australia, not at that time. I simply knew what to do. When the war was over I kept being a therapist to earn a living. When the lads were old enough, I thought, `` Alright Lionel, you've always wanted to be an actor, one last go.'' I pretended it was our trip home to Mother England, the Great Australian Pilgrimage. BERTIE To Harley Street?! LIONEL Cashed in our return tickets. I had three months rent. BERTIE So you set yourself up on Harley Street as an actor? Harley Street, do n't you know, is for doctors! LIONEL The plaque says, ` L. Logue. Speech Specialist'. No mention of a medical degree. No mention of any degree. Some of the diggers I'd helped had come to England. They made referrals. My practice flourished. My acting, however, did not. BERTIE Well enough to deceive me. LIONEL Lock me in the Tower. BERTIE I would if I could! LIONEL What crime? BERTIE You've saddled this nation in its moment of peril with a voiceless King. Destroyed the happiness of my family. all for the sake of ensnaring a star client you knew you could n't possibly assist! Lionel sits down on the chair of Edward the Confessor. Leaning against it is the great two - handed sword of St. George. BERTIE -LRB- CONT'D. -RRB- What're you doing? Get up! LIONEL I'm tired. BERTIE You ca n't sit there! LIONEL Why not? It's a chair. BERTIE It's the Chair of Edward The Confessor! The throne upon which every King for six and a half centuries has been crowned. LIONEL It's falling apart. People have carved their initials into it. Needs a stone to keep from blowing away. BERTIE That's the Stone of Scone! The Stone of Destiny that was once Jacob's pillow. LIONEL You believe such ballocks I do n't care how many royal backsides have sat on it, it's a building block with handles attached. You're just like me, an actor with tawdry stage props you choose to believe are real. BERTIE Listen to me! LIONEL Listen to you?! By what right? BERTIE Divine right, if you must! I'm your King! LIONEL Noooo you're not! Told me so yourself. Said you did n't want it. So why should I listen to a poor stuttering bloke who ca n't put one word after another? Why waste my time listening to you? BERTIE Because I have a right to be heard! LIONEL Heard as what?! BERTIE A man! I HAVE A VOICE! LIONEL -LRB- quietly. -RRB- Well then. you're cured. BERTIE Stop trying to squirm off the hook. LIONEL Bertie, you'll make a bloody good king. And you know it. Bertie stares at him. A familiar voice is heard from the shadows. VOICE Your Majesty? The Archbishop of Canterbury. COSMO LANG You'll be relieved to learn I've found a replacement specialist. Impeccable credentials. There's a long silence. BERTIE That wo n't be necessary. COSMO LANG The matter's already been settled. For your own well - being. BERTIE What did you say? COSMO LANG Your Majesty's function is to consult. and to be advised. You did n't consult, but you've just been advised. BERTIE Now I advise you, so listen carefully. in this personal matter I will make my own decision. COSMO LANG May I remind you, you do not place the crown upon your own head. BERTIE And may I remind you, it is my head upon which the crown is placed! COSMO LANG This will end badly. Lang turns on his heel. Lionel ignores what has just happened. LIONEL In hushed tones the BBC commentator paints a picture for the world, as you stand at the altar divested of your robes. Trumpets echo through the Abbey. The incessant rain clears miraculously as a shaft of sun streams through the stained - glass window catching your golden tunic and bathing you in light like a mediaeval knight. And you are King! The faint CLICKING WHIR of a film projector is heard.",
"INT. ARCHBISHOP OF CANTERBURY'S SCREENING ROOM - NEW DAY On the screen : archive footage of the Coronation, capturing the pomp and ceremony. Cigar smoke rises up. The voices of Churchill and Lang can be heard. COSMO LANG -LRB- O.S. -RRB- I was much moved WINSTON CHURCHILL -LRB- O.S. -RRB- There were tears in my eyes too, Your Grace, particularly when I saw you and the Dean of Westminster cannoning into each other. COSMO LANG -LRB- O.S. -RRB- That's been edited. WINSTON CHURCHILL -LRB- O.S. -RRB- More tears when our new Monarch started towards his throne, only to be brought to an abrupt halt owing to one of the Bishops treading on his robe. COSMO LANG -LRB- O.S. -RRB- To the world, all went splendidly. WINSTON CHURCHILL Amidst a vitrine of glittering jewels, bobbing tiaras, and heaving bosoms. The footage freezes momentarily. COSMO LANG -LRB- O.S. -RRB- Now, Winston, I have something which will bring tears to your eyes. The archive footage continues, but it is not of the Coronation. David and Wallis visiting the Fuhrer in Germany : Hitler gallantly kissing Mrs Simpson's hand while Goring and the Duke of Windsor beam ; David giving the Nazi salute. FREEZE FRAME. The lights come on. For once, Churchill is speechless. COSMO LANG -LRB- CONT'D. -RRB- There's no doubt : David is planning a comeback. And will succeed if our King continues to falter. Though Bertie miraculously survived the Coronation he continues to stumble very badly indeed. Soon he must broadcast to the world. Hitler will be listening. David will be listening. Stalin and Roosevelt will be listening. Everyone will be listening. God help us. BERTIE -LRB- V.O. -RRB- -LRB- stuttering very badly. -RRB- `` In this grave hour.''",
"INT. LOGUE'S CONSULTATION ROOM - NEW DAY Bertie and Logue are rehearsing. BERTIE `` In this grave hour.'' Sorry. LIONEL Try again. BERTIE `` In this grave hour.'' LIONEL Turn the halts into pauses, during which you say to yourself, `` God save the King''. BERTIE I say that all the time, but apparently no one's listening. LIONEL Use the silence. Long pauses add solemnity to great occasions. BERTIE Then I'm the solemnest king who ever lived. Lionel, I ca n't do this! Logue tries to protest, Bertie over - rides. BERTIE -LRB- CONT'D. -RRB- If I am to be King. where is my power? May I form a Government on my own, appoint or dismiss a Prime Minister, chose an Ambassador, levy a tax or declare a war? None of these things. Yet I am the seat of all authority. Why? Because the Nation believes when I speak, I speak for them. Yet I can not speak! Logue totally ignores the outburst. LIONEL Take it from the top. `` In this grave hour.'' BERTIE -LRB- hesitates, then. -RRB- `` In this grave hour, p - p - perhaps.'' LIONEL Go on. BERTIE The letter ` P' is always difficult. LIONEL Get a running start, put the words all together. ` Perhaps - the - most - fateful.' BERTIE `` In this grave hour. perhaps - the - most - fateful. in our history.'' LIONEL Beaut. BERTIE. I send to every household of my peoples. both at home and overseas.'' LIONEL -LRB- SINGS. -RRB- Doo - dah, doo - dah. BERTIE. this message.'' LIONEL -LRB- SINGS. -RRB- Five miles long. BERTIE. spoken with the same depth of feeling for each one of you. as if I were able.'' LIONEL In your head, now : `` Bugger, bugger, bugger! Damn, damn, damn! All those bloody blighters are going to have to listen to me!'' Can you dance? BERTIE What? LIONEL Helps relax the body. -LRB- goes to record player. -RRB- Waltz? BERTIE I prefer pipes. LIONEL Thought you might. -LRB- starts a bagpipe record of `` Scotland The Brave''. -RRB- Dance with me. One, two, one - two - three - four. One, two, one - two - three - four. `` For the second time.'' one - two - three - four''. in the lives of most of us.'' one, two, one - two - three - four''. we are at war.'' Three, four. Dancing at arm's length with Logue, Bertie repeats : BERTIE `` For the second time. in the lives of most of us. we are at war.'' One - two - three. -LRB- continues on. -RRB- `` Over and over again. we have tried to find a peaceful way. out of the differences. between ourselves. and those who are now our enemies.'' Bugger, bugger, bugger! Fuck, fuck, fuck! LIONEL You'll be ready. BERTIE -LRB- pause. -RRB- The shilling you won. still have it? LIONEL Of course. Bertie holds out his hand, demandingly. Somewhat hurt, Lionel hands it over. BERTIE I'll return it. Bertie leaves with the shilling, exiting the back way. Logue opens the waiting room door. LIONEL Willie! Where's your mum? WILLIE -LRB- stuttering painfully. -RRB- She had to work. LIONEL You've been waiting here, alone, all this time? Willie nods again. Then, haltingly : WILLIE I heard the King. LIONEL Did you? WILLIE He sang. And shouted rude words. LIONEL He did. Willie beams. LIONEL -LRB- CONT'D. -RRB- Would you like to sing, dance, and shout rude words? WILLIE -LRB- NO STUTTER. -RRB- I would! LIONEL Why am I not surprised?",
"INT. KING'S STUDY, BUCKINGHAM PALACE - NEW NIGHT The dreaded BBC microphone. The room has been transformed into an ad hoc broadcasting studio for this all - important occasion. The BBC News Reader and Floor Manager are there, along with a small cluster of technicians putting finishing touches to their equipment. FLOOR MANAGER Think he'll manage? BBC NEWS READER I've heard he may not even show. The Floor Manager tries to warn him with his eyes. Bertie has entered with Elizabeth and Logue. The Reader wishes he could sink into the floor. Bertie says nothing, but approaches the looming microphone, while Logue and Elizabeth watch nervously. BERTIE ` Walk up to the bloody thing boldly, stare it square in the eye, man to man.' BBC NEWS READER -LRB- placating. -RRB- If you'll be so kind, to let me show you. BERTIE I already know. My father taught me. He spreads the fingers of one hand, touches the apparatus with the little finger, thumb to chin. The Reader scurries off and tells the others. BBC NEWS READER His father taught him. I taught his father. BERTIE -LRB- testing the microphone. -RRB- Bugger bugger bugger. bloody bloody bloody. ELIZABETH Bertie, do make sure that's not switched on! LIONEL You're going to be splendid. And if you're not? BERTIE They'll bloody well have to listen to me anyway. Right? LIONEL Bloody right. Lang and Churchill have entered. Elizabeth forces herself to greet them graciously. ELIZABETH Mr. Prime Minister, Your Grace, how kind of you to join us. COSMO LANG Would n't miss this for the world. -LRB- to Churchill. -RRB- Congratulations. Neville did n't last long, did he? Talking to Hitler. WINSTON CHURCHILL My tenure will be shorter, if the King fails tonight. Bertie and Logue speak privately. BERTIE No matter how this turns out, I wish to thank you. For asking such dreadful questions. What can I do in recompense? LIONEL -LRB- lighty. yet seriously. -RRB- I've always wanted to be knighted. BERTIE Sorry. That would raise too many questions. LIONEL -LRB- pause, then. -RRB- Understood. Bertie takes something from his pocket. BERTIE Your shilling. Told you I'd give it back. LIONEL Keep it for good luck. BERTIE No, you won this, fair and square. The object is a silver medal. Bertie pins it to Logue's jacket. BERTIE -LRB- CONT'D. -RRB- Made from the melted coin. Designed it myself, hope you like it, Lionel old friend. May I call you that? LIONEL My greatest honour, Bertie. -LRB- then. -RRB- One final question. BERTIE Oh dear. LIONEL Do you believe you're King? A very long pause. BERTIE Almost. The red light on the microphone starts to blink. Logue joins the others. The Reader is at a smaller microphone near the ad hoc ` broadcast booth. Five, four, three, two. BBC NEWS READER Good evening, this is the BBC National and World programme, broadcasting from Buckingham Palace. His Majesty, the King. During this, Bertie's hands begin to shake, the pages of his speech rattle like dry leaves, his throat muscles constrict, the Adam's apple bulges, his lips tighten. all the old symptoms reappear. Several seconds have elapsed since the Reader finished. It seems an eternity. Elizabeth grasps the sides of her chair with white knuckles. Lang's eyes roll heavenward. Churchill studies the situation, ready to leap into the breach. Bertie and Logue stare at each other. Logue smiles, perfectly calm, totally confident in the man he's worked with. His confidence is contagious. Bertie takes a deep breath and lets it out slowly. His hands grow steady, his throat muscles relax. all the things he's practiced.",
"INT. LOGUE'S PARLOUR - NIGHT The luminous dial of a wireless. Unbearable silence. Then : BERTIE -LRB- V.O. RADIO FILTER. -RRB- In this grave hour, perhaps the most fateful in our history, I send to every household of my peoples, both at home and overseas. This is being listened to by Myrtle and the boys. The boys look at their mum. Suddenly they explode with cheers as the radio address continues :",
"INT./EXT. MONTAGE OF VARIOUS LOCATIONS IN ENGLAND AND AROUND THE WORLD - NIGHT OR DAY, DEPENDING ON LOCATION In homes, pubs -LRB- where we see the man with the rosacea nose -RRB-, clubs, hotels, boarding houses, factories, mines, prisons, a shearing shed in New Zealand, cattle station in Australia, sites in India, South Africa, loci around the Commonwealth and Empire. China. Japan. The Kremlin. The White House. Hitler's mountain top wolf den. The South of France -LRB- where David and Wallis listen dolefully. -RRB- During this, the address continues, with dramatic pauses to be sure, but no real hesitations. BERTIE -LRB- V.O. ON RADIO. -RRB- this message spoken with the same depth of feeling for each one of you as if I were able to cross your threshold and speak to you myself. For the second time in the lives of most of us we are at war. For we are called, with our allies, to meet the challenge of a principle which, if it were to prevail, would be fatal to any civilized order in the world. It is the principle which permits a State, in the selfish pursuit of power, to disregard its treaties and its solemn pledges ; which sanctions the use of force, or threat of force, against the sovereignty and independence of other States. Such a principle, stripped of all disguise, is surely the mere primitive doctrine that might is right, and if this principle were established throughout the world, the freedom of our own country and of the whole British Commonwealth of Nations would be in danger. But far more than this - the peoples of the world would be kept in the bondage of fear, and all hopes of settled peace and of the security of justice and liberty among nations would be ended. This is the ultimate issue which confronts us. End the montage with a return to the exterior of Buckingham Palace. Outside, stand solemn crowds, listening to the speech on loudspeakers. PAN THEIR FACES, the faces of England, stalwart and resolved. BERTIE -LRB- CONT'D. -RRB- For the sake of all that we ourselves hold dear, and of the world's order and peace, it is unthinkable that we should refuse to meet the challenge. It is to this high purpose that I now call my people at home and my peoples across the seas, who will make our cause their own. I ask them to stand calm, firm, and united in this time of trial. The task will be hard. There may be dark days ahead, and war can no longer be confined to the battlefield. But we can only do the right as we see the right, and reverently commit our cause to God.",
"INT. THE PRINCESSES PLAYROOM - NIGHT The two girls listen to their father on the radio. BERTIE -LRB- V.O. ON RADIO. -RRB- If one and all we keep resolutely faithful to it, ready for whatever service or sacrifice it may demand, then, with God's help, we shall prevail. Lilibet's expression tells it all - she can hear it, her father is truly King.",
"INT. KING'S STUDY/BROADCAST ROOM, BUCKINGHAM PALACE - CONTINUOUS Bertie, in his quiet way is totally in command, and utterly magnificent. Everyone in the room is awed as he concludes : BERTIE -LRB- CONT'D. -RRB- We may all find a message of encouragement in the lines which, in my closing words, I would like to say to you : ` I said to the man who stood at the Gate of the Year, `` Give me a light that I may tread safely into the unknown.'' And he replied, `` Go out into the darkness, and put your hand into the Hand of God. That shall be to you better than light, and safer than a known way.''' May the Almighty Hand guide and uphold us all. IN THE AD HOC ` CONTROL BOOTH' AREA - the Manager makes a ` cut' gesture to Bertie, he's off the air, the red light on the microphone goes out. The Manager points, and the red light on the Reader's microphone goes on. BBC NEWS READER This concludes the BBC broadcast of the King's Speech. Another ` cut' gesture from the Floor Manager, the red light goes out and the transmission is concluded. The Floor Manager looks to the Reader. BBC NEWS READER -LRB- CONT'D. -RRB- -LRB- softly. -RRB- He was n't perfect. -LRB- barely controlling his tears. -RRB- Not perfect. But by God. He moved me. AT THE MAIN BBC MICROPHONE - Bertie waits for the verdict of his peers. Churchill first : WINSTON CHURCHILL Could n't have said it better myself. The ultimate compliment. Lang next. COSMO LANG I'm speechless. ELIZABETH -LRB- softly. -RRB- Thank God. She goes to Bertie and kisses him tenderly on the cheek, takes his hand, then Logue's. ELIZABETH -LRB- CONT'D. -RRB- Well done, Bertie. Well done. -LRB- for the first time. -RRB-. Lionel. Well done. She leaves the two men together. LIONEL I always called you Bertie. Today, I call you King. He offers his hand. But instead of taking it, Bertie takes him by the shoulders and gives him a hug. This is a long way from the five pace rule. The last barrier has fallen. Scroll : CARD 1 - KING GEORGE VI RALLIED HIS NATION DURING WWII, UNITING THE COMMONWEALTH, REFUSING TO LEAVE LONDON DURING THE BLITZ. HE DIED ON FEBRUARY 6TH 1952. HE WAS KNOWN AS ` THE GOOD KING'. CARD 2 - LIONEL LOGUE PASSED AWAY SHORTLY AFTER HIS FRIEND BERTIE. HIS STORY REMAINS UNKNOWN. EVEN IN AUSTRALIA. THE END"
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] | At the official closing of the British Empire Exhibition at Wembley Stadium, Prince Albert, Duke of York, the second son of King George V, addresses the crowd with a strong stammer. His search for treatment has been discouraging, but his wife, Elizabeth, persuades him to see the Australian-born Lionel Logue, a non-medically trained Harley Street speech defects therapist. "Bertie", as he is called by his family, believes the first session is not going well, but Lionel, who insists that all his patients address him as such, has his potential client recite Hamlet's "To be, or not to be" soliloquy while hearing classical music played on a pair of headphones. Bertie is frustrated at the experiment but Lionel gives him the acetate recording that he has made of the reading as a souvenir. After Bertie's father, King George V, broadcasts his 1934 Royal Christmas Message, he explains to Bertie that the wireless will play a significant part in the role of the royal family, allowing them to enter the homes of the people, and that Bertie's brother's neglect of his responsibilities make training in it necessary. The attempt at reading the message himself is a failure, but that night Bertie plays the recording Lionel gave him and is astonished at the lack of stutter there. He therefore returns for daily treatments to overcome the physical and psychological roots of his speaking difficulty. George V dies in 1936, and his eldest son David ascends the throne as King Edward VIII. A constitutional crisis arises with the new king over a prospective marriage with the twice-divorced American socialite Wallis Simpson. Edward, as head of the Church of England, cannot marry her, even if she receives her second divorce, since both her previous husbands are alive. At an unscheduled session, Bertie expresses his frustration that, while his speech has improved when speaking to most people, he still stammers when talking to David, at the same time revealing the extent of Edward VIII's folly with Simpson. When Lionel insists that Bertie himself could make a good king, Bertie accuses Lionel of speaking treason and quits Lionel in anger. Bertie must now face the Accession Council without any assistance. Bertie and Lionel only come together again after King Edward decides to abdicate in order to marry. Bertie, urged ahead by Prime Minister Stanley Baldwin, ascends the throne as King George VI and visits Lionel's home with his wife before their coronation, much to the surprise of Mrs. Logue when she comes upon Queen Elizabeth having tea at her dining room table. This is the first time that she learns who her husband's patient has been. Bertie and Lionel's relationship is questioned by the King's advisors during the preparations for his coronation in Westminster Abbey. The Archbishop of Canterbury, Cosmo Gordon Lang, brings to light that George never asked for advice from his advisors about his treatment and that Lionel has never had formal training. Lionel explains to an outraged Bertie that at the time he started with speech defects there were no formal qualifications and that the only known help that was available for returning Great War shell-shocked Australian soldiers was from personal experience. Bertie remains unconvinced until provoked to protest at Lionel's disrespect for King Edward's Chair and the Stone of Scone. Only at this pivotal moment, after realising he has just expressed himself without impediment, is Bertie able to rehearse with Lionel and complete the ceremony. As the new king, Bertie is in a crisis when he must broadcast Britain's declaration of war on Nazi Germany in 1939. Lionel is summoned to Buckingham Palace to prepare the king for his address to Britain and the Empire. Knowing the challenge that lies before him, Lang, Winston Churchill, and Prime Minister Neville Chamberlain are present to offer support. The King and Logue are then left in the broadcasting room. He delivers his speech with Logue conducting him, but by the end he is speaking freely. Preparing to leave the room for the congratulations of those present, Logue mentions to the King that he still has difficulty enunciating w and the King jokes back, "I had to throw in a few so they'd know it was me." As the Royal Family step onto the palace balcony and are applauded by the crowd, a title card explains that Logue, who received the Royal Victorian Order for service to the Crown, was always present at King George VI's speeches during the war and that they remained friends until the King's death from lung cancer in 1952. | The_Kings_Speech |
[
"INT. AIBILEEN'S HOUSE - KITCHEN - NIGHT AIBILEEN, black, 53, sits at a table in a small, green kitchen. She wears a yellow dress with black piping and grips a tattered spiral notebook. Although cracked, the window behind her is crystal clear. Three framed portraits hang on the wall above her : John F. Kennedy, Dr. Martin Luther King, Jr. and an UNKNOWN YOUNG BLACK MALE wearing thick glasses. Aibileen swallows hard. AIBILEEN I was. born in 1911. on Piedmont Plantation in Cherokee County. An UNSEEN WOMAN interviews Aibileen. WOMAN -LRB- O.C. -RRB- Did you know as a girl, growing up, that one day you'd be a maid? AIBILEEN Yes, ma'am. I did. WOMAN -LRB- O.C. -RRB- And you knew that because? AIBILEEN Momma was a maid. My grandmother was a house slave. WOMAN -LRB- 0.C. -RRB- Oh. The woman repeats Aibileen's answer slowly as she writes. WOMAN -LRB- O.C. ; CONT'D. -RRB- A. House. Slave. Uh - huh. Okay. Aibileen squeezes the notebook in her lap. WOMAN -LRB- O.C. ; CONT'D. -RRB- Now, did you ever dream of being something else? Aibileen gulps. She does n't answer. The room is quiet. WOMAN -LRB- O.C. ; CONT'D. -RRB- Well then, what's it feel like, to raise a white child when your own child's at home. being looked after by somebody else? Aibileen's hand trembles as she sips from a glass of water. She glances sadly up to the picture of the young black male. AIBILEEN -LRB- V.O. -RRB- I done raised seventeen kids in my life. Lookin' after white babies, that's what I do.",
"INT. LEEFOLT HOME - MAE MOBLEY'S ROOM - MORNING MAE MOBLEY LEEFOLT, 2 1/2 years old, lies in a crib, crying. AIBILEEN enters. Her dark black skin contrasts angelically with a brilliant white work dress, white panty hose and shoes AIBILEEN -LRB- V.O. -RRB- I know how to get them babies asleep, stop cryin' and go in the toilet bowl before they mommas even get outta bed in the mornin.' Aibileen lifts Mae Mobley out of her crib and pulls her into her expansive bosom. AIBILEEN -LRB- V.O. ; CONT'D. -RRB- Babies like fat. They like big fat legs too. That I know. Aibileen sits with Mae Mobley in a rocking chair. AIBILEEN -LRB- V.O ; CONT'D. -RRB- I work from eight to four, six days a week. Ninety - five cents an hour comes to a hundred seventy - two dollars ever month. I do all the cooking, cleaning, washing, ironing and grocery shopping, but mostly, I take care a baby girl. And law, I worry she gone be fat. Ai n't gon na be no beauty queen either. Mae Mobley reaches up and touches Aibileen's face. Aibileen kisses her and whispers in her ear. AIBILEEN -LRB- CONT'D. -RRB- You is kind. You is smart. You is important. Mae Mobley's mother, ELIZABETH LEEFOLT, 21 and lanky, enters wearing a green dress very much under construction. Pins and double - stick tape hold it all together. Elizabeth has pointed features and a nest of teased, brittle hair. ELIZABETH Aibileen, bridge club's in an hour! Did you finish the chicken salad? ELIZABETH -LRB- CONT'D. -RRB- Oh, and Hilly's deviled eggs. No paprika! Elizabeth rotates around like the Tin Man. ELIZABETH -LRB- CONT'D. -RRB- Does this dress look homemade? AIBILEEN I reckon when you finish, it wo n't. Elizabeth exits with her pinned hemline sloping at a good twenty degree angle. Aibileen shakes her head. AIBILEEN -LRB- V.O. ; CONT'D. -RRB- Miss Leefolt still do n't pick Baby Girl up but once a day. The birthin' blues had got holt a Miss Leefolt pretty hard. I done seen it happen plenty a times. once babies start havin' they own babies. And the young white ladies of Jackson. Oh, law, they was havin' some babies.",
"INT. JACKSON JOURNAL NEWSPAPAER - OFFICE - SAME DAY A smoking RECEPTIONIST, 50, leads EUGENIA `` SKEETER'' PHELAN, 23, across a smoke - filled news office. Even the light bulbs have yellowed. AIBILEEN -LRB- V.O. -RRB- But, not Miss Skeeter. Skeeter has very frizzy blond hair cut short above her shoulders. She carries a red satchel. AIBILEEN -LRB- V.O. ; CONT'D. -RRB- No babies. No man. And not lookin'. She wears flats, careful not to add more than a centimeter to her towering height. Dressed well, Skeeter tugs on her unfamiliar attire.",
"INT. MR. BLACKLY'S OFFICE - CONTINUOUS The receptionist and Skeeter enter the office of MR. HAROLD BLACKLY, 68. He has greased, grey hair and the face of a mean man. Smoke pours into the room. MR. BLACKLY Shut the Goddamn door! He snaps his fingers over a chair. Skeeter sits down. MR. BLACKLY -LRB- CONT'D. -RRB- They announced last week cigarettes'll kill you. Mr. Blackly pours a pack of nuts into his mouth. MR. BLACKLY -LRB- CONT'D. -RRB- -LRB- CHEWING. -RRB- Okay, let's see what you got. Skeeter quickly hands Mr. Blackly a resumé. He skims it over, marking it violently with a red pen. MR. BLACKLY -LRB- CONT'D. -RRB- `` Murrah High Editor, Ole Miss Rebel Rouser Editor, double major, Junior League editor. Damn girl, did n't you have any fun? SKEETER Is that. important? Mr. Blackly sighs, hands the resumé back to Skeeter. MR. BLACKLY You got any references? Skeeter nods slowly. She takes a deep breath and pulls a letter out of her satchel. She hands it to Mr. Blackly. Mr. Blackly snatches the letter and reads it quickly, mouthing the words as he does. He drops the letter on his desk, and looks to Skeeter, flabbergasted. MR. BLACKLY -LRB- CONT'D. -RRB- That. is a rejection letter. Skeeter's face flushes hot and quick. SKEETER Not exactly. Missus Stein - MR. BLACKLY - STEIN?! Missus who? Skeeter points toward the letterhead. SKEETER Elaine Stein, Senior Editor at Harper and Row Publishing. In New York. I'm going to be a serious writer, Mr. Blackly. So, when I applied to Harper and Row, Missus STEIN WROTE- MR. BLACKLY - She told you `` no.'' SKEETER Until I gain some experience, Mr. Blackly! See, it says it right there at the end. `` Great potential. Gain some experience and please apply again.'' Mr. Blackly pours the rest of the peanuts in his mouth. MR. BLACKLY Oh, Christ. I guess you'll do. Can you clean? SKEETER Clean? Mr. Blackly sees cigarette smoke bleeding under his door. MR. BLACKLY Clean! Mr. Blackly pulls up a box filled with letters and newspapers. He slams it down in front of Skeeter. MR. BLACKLY -LRB- CONT'D. -RRB- Miss Myrna's gone shit - house crazy on us, drunk hair spray or something. Read her past columns and all these letters. Answer them just like she did, nobody'll know the damn difference. Skeeter forces a smile. MR. BLACKLY -LRB- CONT'D. -RRB- You know who Miss Myrna is? SKEETER -LRB- COVERING. -RRB- I read her articles all the time. MR. BLACKLY Articles? Ha! It's a cleaning advice column, Miss Phelan. Eight bucks a week. Copy due Thursday. Mr. Blackly picks up the phone and starts yelling at someone. Skeeter excitedly grabs the box of letters and leaves.",
"INT. HOLBROOK HOUSE - BATHROOM - SAME DAY HILLY HOLBROOK, 22, white and hefty, sits on a closed toilet seat in a well - appointed bathroom. She's covered in red plaid and bows and has a round face topped by a perfect beehive. HILLY -LRB- SCREAMING UPWARD. -RRB- Momma! We're late for bridge! Hilly carefully rolls toilet paper out from its holder. She raises a pencil and places the tiniest dot imaginable on the first and second sheets of paper. AIBILEEN -LRB- V.O. -RRB- Miss Hilly was the first of the babies to have a baby. And it must a come out of her like the eleventh commandment.'Cause once Miss Hilly had a baby, ever girl at the bridge table wanted one too. She carefully rolls the paper back up in the roll. HILLY Minny! Go get Momma!",
"INT. HOLBROOK HOUSE - ENTRY FOYER STAIRWELL - SAME TIME MINNY JACKSON, 33, black, plump and in uniform, rolls her eyes beneath a crystal chandelier. She shouts up the mahogany stairwell. MINNY Missus Walters?! You need help coming down? MISSUS WALTERS, 60, passes quietly behind Minny. MISSUS WALTERS I'm down! Minny jumps with a yelp, spins around. MISSUS WALTERS -LRB- CONT'D. -RRB- Been down. MINNY Gone give me a heart attack! Missus Walters ambles toward the closet door. Minny quickly tries to turn her toward the front door. Missus Walters resists. MISSUS WALTERS Minny, I'm getting my coat. Missus Walters opens the closet. MINNY It's ninety degrees out there, Missus Walters. Missus Walters pulls out a red, wool coat with cheetah print collar. The early stages of Alzheimer's have appeared, but Missus Walters is still quite proud at eighty percent capacity. AIBILEEN -LRB- V.O. -RRB- Once Missus Walters' arteries went hard, Miss Hilly moved her and Minny in with her. Fired the maid she had just to make room. See, Minny about the best cook in Mississippi, and Miss Hilly wanted her. Hilly's approach is marked by the whishing sound of her plaid, fat thighs. She nonchalantly grabs the coat from her mother and carries it out the door. Minny and Missus Walters follow. Minny carries a chocolate pie. Hilly barks over her shoulder. HILLY Minny, William took Billy out for ice cream. So, hurry back and get Billy down for his nap. No dilly dallying. MINNY Yes, ma'am. Minny raises the pie behind Hilly's beehive, dreaming of smashing it into her head. AIBILEEN -LRB- V.O. -RRB- Minny my best friend. A old lady like me lucky to have her.",
"INT. LEEFOLT HOME - BATHROOM- SAME DAY Aibileen kneels next to Mae Mobley who sits on a small children's training toilet. MAE MOBLEY No! AIBILEEN -LRB- V.O. -RRB- It's a tricky thing. you try to make a baby go in the toilet bowl before it's time. If theys ca n't get the hang of it, theys get to thinking low a theyselves. Mae Mobley sticks her lip out. AIBILEEN -LRB- CONT'D. -RRB- You drunk up two glasses a grape juice, I know you got to tee - tee. MAE MOBLEY Nooo. Mae Mobley shakes her head. AIBILEEN I give you a cookie if you go. Tee - tee immediately sprinkles into the bowl. AIBILEEN -LRB- CONT'D. -RRB- Mae Mobley! You going! Aibileen and Mae Mobley laugh excitedly as Elizabeth storms into the bathroom in her finished dress. The hemline now slants in the other direction. ELIZABETH Aibileen, the girls are pulling up, and the table is n't set! MAE MOBLEY Mae Mobley go, Momma! ELIZABETH Get in your room! Right now! Mae Mobley rises behind Aibileen's leg. MAE MOBLEY I sorry. Elizabeth reaches down and scoops up Mae Mobley like a sack of potatoes. Mae Mobley looks to Aibileen over her mother's shoulder, her eyes have welled up. Aibileen mouths `` I love you'' and blows her a kiss.",
"INT. LEEFOLT HOME - DINING ROOM - MOMENTS LATER The Leefolt's small, wood paneled, two bedroom `` ranch'' is destined to become income property one day. FIVE YOUNG WOMEN, early 20s, and Elizabeth hover around two collapsible card tables arranged in the living room. Aibileen methodically arranges grapes on a platter of chicken salad resting on Elizabeth's dining table. The table has a small L - SHAPED CRACK in the middle. AIBILEEN -LRB- V.O. -RRB- I lost my own boy, Treelore, right before I started waitin' on the Leefolts. Elizabeth glances anxiously to the dining table then catches eyes with Aibileen, nodding ever so slightly. CLOSE ON: Aibileen carefully slides the platter over the L - SHAPED CRACK making sure it's hidden. AIBILEEN -LRB- V.O. ; CONT'D. -RRB- After Treelore died, a bitter seed was planted inside a me. And I just did n't feel so accepting anymore. Hilly enters the front door holding Missus Walters coat. HILLY Hey, girls! YOUNG WOMEN -LRB- IN UNISON. -RRB- Hey, Hilly! Minny follows behind holding the pie and Missus Walters' arm. HILLY -LRB- over her shoulder. -RRB- Put Momma in a chair before she breaks a hip. MISSUS WALTERS I'm not deaf yet, Hilly. Minny spies Aibileen in the corner and gives her a `` here we go'' look as she lowers Missus Walters into a chair. Hilly approaches Aibileen with the coat. HILLY Aibileen, I want you to have this coat. It's too big for Momma now and it's way too expensive to put in the coat drive. Hilly extends the coat with a smile. HILLY -LRB- CONT'D. -RRB- All yours. Aibileen takes the coat. AIBILEEN Thank you, Miss Hilly. HILLY Go on. Try it on.",
"INT. LEEFOLT HOME - KITCHEN - MOMENTS LATER Minny plows through the swing door and reaches for Hilly's deviled eggs. Aibileen rushes in behind her wearing the cheetah collared coat. The sleeves are about a foot too short. AIBILEEN Hold on! Those are Miss Hilly's. Aibileen pulls another plate of eggs out of the fridge. AIBILEEN -LRB- CONT'D. -RRB- Gots to have paprika on'em. Minny takes an egg. It disappears in a single bite. MINNY Forgive me, Lord, but I'm gon na have to kill that woman. Aibileen removes the coat and lays it over a chair. AIBILEEN Watch yo mouth, Minny. MINNY Looks like a walking Christmas present with all them bows. Aibileen shakes with silent laughter. MINNY -LRB- CONT'D. -RRB- And, now she gone to puttin' pencil marks on the toilet paper. AIBILEEN Oh, law! Did she? MINNY Uh - hum. But, I carry paper in from my own damn house. That fool do n't know.",
"INT. LEEFOLT HOME - LIVING ROOM - SAME TIME Elizabeth and Hilly cackle with a group of girls as Missus Walters sits on the couch watching `` Guiding Light.'' Skeeter suddenly rushes through the front door. SKEETER Hey, girls. GIRLS -LRB- IN UNISON. -RRB- Hey, Skeeter. JOLENE FRENCH, 24, approaches and hugs Skeeter. JOLENE Well, if it is n't Long - Haul - Skeeter. We did n't think you'd ever leave Ole Miss.. SKEETER Well, it's supposed to take four years, Jolene. Skeeter spins around to Hilly and Elizabeth with a sigh. SKEETER -LRB- CONT'D. -RRB- Sorry I'm late. I had to stop by the cleaners and pick up my black dress. Hilly and Elizabeth look at Skeeter with concern. SKEETER -LRB- CONT'D. -RRB- What? HILLY About supper club tonight. Honey, Stuart had to cancel. SKEETER Again? Hilly places her hand on Skeeter's shoulder. HILLY He ca n't get off the rig, Skeeter. It's offshore! Stuart is a very successful oil man. SKEETER I'm starting to think this Stuart is a figment of your imagination. ELIZABETH Raleigh called his cousin down in Hattiesburg. He'll drive up. SKEETER The cousin with one eye?! Elizabeth nods. SKEETER -LRB- CONT'D. -RRB- I guess his black patch will match my dress. Just forget it. Skeeter storms off. Hilly glares at Elizabeth. HILLY One eye?!",
"INT. LEEFOLT HOME - LIVING ROOM - LATER THE SAME DAY Aibileen clears the dining table as bridge begins. Hilly, Elizabeth and Skeeter sit with Jolene. Skeeter takes a deep breath and belts out her news. SKEETER I got a job today. at The Jackson Journal! Everyone looks at Skeeter as if she just threw up on herself. Finally, Hilly pats Skeeter on the leg. HILLY They'd be a fool not to hire you. Jolene raises her glass. JOLENE To Skeeter. and her job. Last stop'til marriage. Hilly kicks Jolene under the table. SKEETER The Miss Myrna column. Have y' all read it? HILLY Well, no! But, I bet the poor girls without any help, in South Jackson, read it like the King James. Everyone laughs. Skeeter's forehead crinkles. SKEETER Elizabeth, would you mind if I talk to Aibileen? To help me answer some of the letters? Just until I get a knack for it. Aibileen clears dishes as if she has n't heard a thing. Elizabeth gets very still. ELIZABETH Aibileen? My Aibileen? What ca n't you just get Constantine to help you? Skeeter looks to her lap and shakes her head. SKEETER Constantine. quit us. ELIZABETH HILLY What?! Oh, my gosh! Skeeter nods her head sadly. HILLY I'm so sorry, Skeeter. SKEETER I really do n't want to talk about it. Okay? The girls nod. SKEETER -LRB- CONT'D. -RRB- Anyway. I do n't know how to answer these letters. Elizabeth looks to Aibileen. ELIZABETH Well. I mean as long as it does n't interfere with her work. A phone rings. Elizabeth nods to Aibileen.",
"INT. LEEFOLT HOME - KITCHEN - CONTINUOUS Aibileen rushes in the kitchen and answers the phone. AIBILEEN Leefolt residence.",
"INT. FOOTE ESTATE (INTERCUT) - KITCHEN - SAME TIME CLOSE ON: Pink, fuzzy slippers anchoring bare, sexy legs stand on a black and white check floor. CELIA FOOTE -LRB- O.C. -RRB- Ah - hem. Hello, is Elizabeth in? Rising up a slim torso, sizeable cleavage bursts out of a pink robe's collar. AIBILEEN She having bridge club right now. May I take a message? CELIA FOOTE, 28, peroxide blonde, stands in all her country girl glory. She speaks with a thick, unrefined, Southern accent, mired in insecurity. CELIA Please tell her Celia Foote called again. I'll call back tomorrow. AIBILEEN Yes, ma'am. Celia nervously twists herself around in the phone cord. CELIA Ah - hem. Miss? `` Miss'' strikes Aibileen as very odd. CELIA -LRB- CONT'D. -RRB- I'm looking for some help at my house. You know any maids looking? AIBILEEN No, ma'am. CELIA FOOTE Okay. Celia Foote. Emerson 6 - 8 - 4. Bye, now. Celia hands up the phone with a frown and sips from a coca - cola bottle.",
"INT. LEEFOLT HOME - LIVING ROOM - MOMENTS LATER Aibileen enters the living room with a coffee pot. ELIZABETH Who was that on the phone? AIBILEEN Miss Celia Foote called again. Elizabeth leans over and touches Hilly's arm. ELIZABETH I've never called her back, Hilly. HILLY She ca n't take a hint, can she? JOLENE Who's Celia Foote? HILLY That tacky girl Johnny married. ELIZABETH Girl? I heard she's twenty - eight. JOLENE Oh my God! HILLY Uh - hmm, worked concessions at a LSU game and sold him a hotdog. And, boy, he got a whole lot more. All the girls laugh. SKEETER Could have been you, Hilly. HILLY And live thirty minutes outside of town? Anyway, I ran into her at the beauty parlor, and she had the nerve to ask if she could help with the children's benefit. SKEETER Are n't we taking non - members? The benefit's gotten so big. HILLY Yes, but we're not telling her. Everyone laughs but Skeeter. Aibileen pours Skeeter a cup of coffee. Skeeter looks up decidedly and smiles. SKEETER Thank you, Aibileen. Hilly begins squirming in her seat, obviously making a point. Elizabeth leans over. ELIZABETH Oh, Hilly, I wish you'd just go use the bathroom. HILLY Ah - hem. I'm fine. Missus Walters shouts out from the sofa. MISSUS WALTERS She's upset cause the nigra uses the guest bath, and so do we. Elizabeth turns to Aibileen. ELIZABETH Aibileen, go check on Mae Mobley. Aibileen disappears. Elizabeth leans into Hilly. ELIZABETH -LRB- CONT'D. -RRB- Just go use mine and Raleigh's. Hilly hiss - whispers. HILLY If Aibileen uses the guest bathroom, I'm sure she uses yours too. ELIZABETH SHE DOES NOT! Aibileen turns the corner in the hall and stops. HILLY Would n't you rather them take their business outside? Skeeter sees a reflection of Aibileen listening off of a picture in the hall. Skeeter tries to change the subject. SKEETER Did y' all see the cover of `` Life'' this week? Jackie's never looked MORE REGAL- HILLY - Tell Raleigh every penny he spends on a colored's bathroom, he'll get back in spades when y' all sell. It's just plain dangerous. Everybody knows they carry different diseases than we do. I double. Elizabeth takes a puff of her cigarette and fidgets with her cards. ELIZABETH I ca n't ask Raleigh until tax season. But, it would be nice. HILLY That's why I've drafted The Home Help Sanitation Initiative. SKEETER `` The Home''. the what?! HILLY As a disease preventative bill that requires every white home to have a separate bathroom for the colored help. I've even notified the Surgeon General of Mississippi. I'll pass. Skeeter again glances at Aibileen. Their eyes meet. SKEETER Maybe we ought to just build you a bathroom outside, Hilly. The room grows eerily quiet. HILLY You ought not to joke about the colored situation. Hilly leans in toward Skeeter. HILLY -LRB- CONT'D. -RRB- I'll do whatever it takes to protect our town. Your lead, Jolene. Jolene suddenly looks to a wall clock. She jumps up and throws her cards to the table. JOLENE I have to skedaddle! Got ta get over to the station! -LRB- EXCITEDLY. -RRB- Daddy's letting me do the weather tonight!",
"EXT. FOOTE ESTATE - BACKYARD - SAME DAY Celia delicately prunes two rosebushes. Her long pink fingernails wrap easily around a pair of sheers. As Celia stands back to admire her work, We widen to see the Foote estate. Ancient oaks dripping in Spanish moss surround a perfectly manicured lawn. `` Tara'' pales in comparison. Oddly, the two rosebushes have been planted in the center of the lawn, jeopardizing the Antebellum Feng Shui. AIBILEEN -LRB- V.O. -RRB- Now, Miss Celia had her a man. ` Bout the best lookin' man in all of Mississippi. But, no baby and no friends. JOHNNY FOOTE, 23, Celia's ridiculously handsome husband, sneaks up behind her as he removes his jacket and tie. JOHNNY Roses look like weeds next to you. Celia turns with a yelp. She slaps him playfully. CELIA Johnny, you scared the daylights out of me! Johnny begins kissing her neck. CELIA -LRB- CONT'D. -RRB- You're home early. Celia pushes him back. CELIA -LRB- CONT'D. -RRB- Johnny, I ca n't get any of your old friends from school to call me back. JOHNNY Oh, who cares, honey. We got all we need right here. Johnny kisses her again and lowers her to the grass. CELIA Johnny, honestly! JOHNNY Doctor's orders. Johnny starts kissing Celia's breasts. She becomes uneasy and rolls out from under him. CELIA I do n't know what's taking us so long. I'm sorry. Johnny brushes hair from Celia's face. JOHNNY Hey, we've never done it in the yard. Maybe that's the trick. Celia seductively bites her lower lip. CELIA Watch my hair. Johnny's hand slides up her thigh.",
"INT. LEEFOLT HOME - KITCHEN - LATER THAT DAY Bridge over, Skeeter smokes while watching through a window as Minny arrives in Hilly's car. Skeeter blows smoke toward Hilly and Elizabeth saying good - bye. A sermon plays over an old AM radio nestled between canisters of sugar and flour. Aibileen enters with a stack of dirty coffee cups. SKEETER Aibileen? Aibileen becomes nervous at the sight of Skeeter alone. AIBILEEN Yes, ma'am. SKEETER I had hoped to ask you myself if you could help me with the `` Miss Myrna'' letters. AIBILEEN Yes, ma'am. SKEETER So. Would you help me? Aibileen nods and looks out to Elizabeth on the street. AIBILEEN Miss Myrna gets it wrong lotta times. Be good to get it right. SKEETER Thank you, Aibileen. I plan on splitting the pay with you, too. Aibileen does n't respond. She grabs a basket of rolls. SKEETER -LRB- CONT'D. -RRB- Listen. all that talk in there today. Hilly's talk I mean. I'm sorry you had to hear that. Aibileen quickly turns her back to Skeeter. A gospel choir begins singing on the radio. SKEETER -LRB- CONT'D. -RRB- Is that Preacher Green's sermon on the radio? AIBILEEN Yes, ma'am, it is. SKEETER That reminds me so much of my maid growing up. Aibileen starts wiping down a serving tray. AIBILEEN Constantine and me. were in church circle together. Skeeter turns to Aibileen as she puts out her cigarette. SKEETER She loved me like you love Mae Mobley. AIBILEEN Yes, ma'am. Skeeter moves closer to Aibileen. SKEETER Aibileen? How could she just quit like that? Aibileen stops wiping and looks up to Skeeter. AIBILEEN Quit? SKEETER Yes. When I got home from school last week, Momma said she had quit. Back in March to go live with her people up in Chicago. She did n't leave me a note or anything. Aibileen turns and resumes wiping the tray. SKEETER -LRB- CONT'D. -RRB- Could you do that to Mae Mobley? Aibileen slowly turns back to Skeeter. AIBILEEN No, ma'am. I could n't. SKEETER Do you have an address for her or anything? Aibileen shrugs her shoulders, reeling it all back in. Just then, Elizabeth walks into the kitchen holding papers stapled together. She looks between Aibileen and Skeeter. ELIZABETH I'm sorry. Did I interrupt something? Skeeter and Aibileen shake their heads. Elizabeth hands Skeeter the papers. Home Help Sanitation Initiative is written on the cover. ELIZABETH -LRB- CONT'D. -RRB- Hilly wants this put in the League newsletter. Skeeter nods. SKEETER Aibileen, I'll drop by at ten tomorrow to get started on Miss Myrna. Elizabeth looks at Aibileen. ELIZABETH Tomorrow is silver polishing day, so y' all make it quick, okay?",
"EXT. COUNTRY ROAD - LATER THAT DAY Skeeter speeds down a country road lined with ancient oak trees in a white Cadillac. AIBILEEN -LRB- V.O. -RRB- I knew I had said too much to Miss Skeeter, but Constantine's story were n't mine to tell. Some things a girl should n't have to know about her own mother. Her frizzy hair swirls about as she passes a truck full of cotton.",
"INT. CADILLAC (FANTASY SEQUENCE) - SAME TIME Skeeter looks ahead and sees an OLDER BLACK WOMAN walking with a LITTLE BLONDE GIRL, 6. They hold hands. The black woman smiles and waves as Skeeter passes. When Skeeter looks in her rear view mirror, they're gone. Skeeter suddenly stops the car just short of an intersecting gravel road. Skeeter slowly turns down the old road.",
"EXT. CONSTANTINE'S HOUSE - DAY Skeeter's car pulls into the overgrown yard of an old shack with a rusted - out tin roof. Two clapboard rooms are separated by an open breezeway. The front door is cracked opened. Skeeter gets out and walks toward Constantine's home.",
"INT. CONSTANTINE'S HOUSE - MOMENTS LATER Skeeter enters to find only a small bed, dresser, table, rocking chair and a wood burning stove. Past intruders have long since taken anything of value. As Skeeter approaches Constantine's bed, an OPOSSUM scurries out from underneath. Skeeter screams as the opossum runs out the door. Her eyes suddenly catch something. Lying on the bed is an OLD CORN PIPE. Skeeter picks it up and brings it to her face. Her eyes begin to well up.",
"EXT. PHELAN PLANTATION - MOMENTS LATER Skeeter pulls in front of a grand antebellum home and parks to the side of her family's graveyard. Skeeter carries her black dress up the stairs of a covered porch. An old black man with white hair, JAMESO, 70, tightens a porch swing. SKEETER Hey, Jameso. JAMESO Hello, Miss Eugenia.",
"INT. PHELAN PLANTATION - ENTRY FOYER - MOMENTS LATER Skeeter walks through the front door. SKEETER Momma! If the Smithsonian had wished to assemble the perfect antebellum home, Skeeter would be standing in it.",
"INT. PHELAN HOME - PARENTS' BEDROOM - MOMENTS LATER Skeeter enters and looks around curiously at an ARRAY OF WIGS resting atop a dresser. SKEETER Momma? Skeeter's mother, CHARLOTTE BOUDREAU CANTELLE PHELAN, 50, glides into the room wearing a wig. Her floral print dress has a gazillion perfectly pressed pleats. Charlotte turns to a mirror and adjusts an auburn - colored, ` pixie' cut. CHARLOTTE Is this a little too young? SKEETER It's a little too everything. Charlotte removes the wig with a sigh. Only now do we realize her decision to wear wigs is n't elective. Thinning hair detracts from her perfectly made up face. Charlotte puts on a classic bouffant/flip in dark brown. SKEETER -LRB- CONT'D. -RRB- Much better. CHARLOTTE Your daddy bought me this dress in' 58. SKEETER Mom, I want to ask you about CONSTANTINE- CHARLOTTE - Right after Ole Miss won the Sugar Bowl. Charlotte unzips the dress and takes it off. CHARLOTTE -LRB- CONT'D. -RRB- Come on, you try it on. SKEETER What really happened? Charlotte winces with pain and grasps her stomach. CHARLOTTE I told you. she went to live with her people in Chicago. Now, Skeeter, your mother is dying, and she wants to see you in this dress. Charlotte stands in her slip and bra holding the dress. Skeeter begins taking off her clothes. SKEETER How could she just take off without telling me? CHARLOTTE I told her not to write you. I did n't want you upset in the middle of final exams. Honey, we were just a job to her. With them it's all about money. Did I tell you Fanny Peatrow got engaged? After she got that teller job, her mother said she was just swimming in proposals. SKEETER Good for `` Fat Fanny Peatrow.'' She lowers the dress over Skeeter's head and zips it. CHARLOTTE This looks precious on you! Four years ago my daughter went off to college, and what did she come home with? SKEETER CHARLOTTE A diploma. A pretty piece of paper. CHARLOTTE -LRB- CONT'D. -RRB- Hilly and Elizabeth have such lovely children. SKEETER They dropped out of college to become housewives, Mother. CHARLOTTE If only you'd show a little gumption, Eugenia. SKEETER Well, I did get a job today. CHARLOTTE You did? SKEETER Writing. for The Jackson Journal. Charlotte plumps up the dress around Skeeter's behind. CHARLOTTE Great. You can write my obituary. `` Charlotte Phelan dead. Her daughter still single.'' SKEETER Momma, would it really be so terrible if I never met a husband? With that, Charlotte grabs Skeeter's hand and takes her to a love seat. They sit. This is serious. CHARLOTTE I need to. ask you something, Skeeter. I read the other day about how some girls. get unbalanced, start thinking these. well, unnatural thoughts. Charlotte begins to twist the handkerchief she holds. CHARLOTTE -LRB- CONT'D. -RRB- Are you. do you. find men attractive? Are you having unnatural thoughts about. Charlotte shuts her eyes tight. CHARLOTTE -LRB- CONT'D. -RRB- Girls or. or women? SKEETER Oh my God! CHARLOTTE Because, this article says there's a cure, a special root tea. Skeeter jumps up. SKEETER Mother, I want to be with girls as much as you wan na be with Jameso. CHARLOTTE Eugenia! Skeeter storms out of the room. CHARLOTTE -LRB- CONT'D. -RRB- -LRB- SHOUTING. -RRB- Carlton's bringing Rebecca to dinner. Try to look presentable!",
"INT. PHELAN PLANTATION - DINING ROOM - LATER THAT NIGHT The Phelan dining room is lit solely by candles. The Phelan's new maid, PASCAGOLUA, 40, rolls a cart of casseroles around the table. Charlotte sits at the head of the table. She's having a bowl of broth. Skeeter sits next to her Father, ROBERT PHELAN, 60. Skeeter's brother, CARLTON, 25, sits next to his fiancé, REBECCA, 21. They're perfectly groomed with Hollywood good looks. CARLTON What the hell do you know about cleaning a house, Skeeter? SKEETER It's a start, Carlton. CARLTON -LRB- MOCKINGLY. -RRB- I thought you wanted to write books. ROBERT Leave your sister alone, Son. I'm proud of you, Sweetheart. Charlotte scoops up some broth with a spoon. CHARLOTTE Oh, the irony of it all. Givin' advice on how to keep up a home when she. Charlotte's spoon goes in her mouth. Pascagolua tries to scoop some sort of casserole covered in almonds onto Skeeter's plate. Skeeter stops her. SKEETER Oh! No, Pascagolua! You could n't have known this. But, see, I'm allergic to almonds. PASCAGOLUA Sorry, Miss Eugenia. SKEETER Last time I had an almond, I stopped liking men. Charlotte glares at Skeeter. Carlton lets out a chuckle. Rebecca is mortified. REBECCA Oh my Lord. SKEETER It's okay, Rebecca. They have a special root tea now. CHARLOTTE You have pushed it, Young Lady! Pascagolua scurries off. Skeeter turns to her father. SKEETER Daddy, what happened to Constantine? The room grows silent. Carlton looks down to his plate. ROBERT Ah. well, Constantine went to live with her family. People move on, Skeeter. But I do wish she'd stayed down here with us. SKEETER I do n't believe you. Skeeter looks to her mother who immediately busies herself with scooping up more broth. SKEETER -LRB- CONT'D. -RRB- Mother, did you. fire her? CHARLOTTE You would n't understand. Not until you've hired help of your own. SKEETER She raised me! Charlotte slaps the table and stands. CHARLOTTE SHE DID NOT! Skeeter's eyes fill with tears. SKEETER She worked here for twenty - nine years. Charlotte presses both hands to her stomach. CHARLOTTE It was a colored thing, and I've put it behind me. Charlotte passes behind Rebecca and kisses her head. CHARLOTTE -LRB- CONT'D. -RRB- Excuse me, Rebecca. My daughter has upset my cancerous ulcers. As Charlotte leaves the room, Rebecca looks at Skeeter like she's the worst person on earth. Skeeter gets up and storms off into the entry foyer.",
"INT. PHELAN PLANTATION (FLASHBACK) - ENTRY FOYER - NIGHT Skeeter, 13 and lanky, wears a party dress. Despite a tight bun, her strong - willed hair has started to frizz. Skeeter's father and brother race down the stairs with suitcases. Carlton wears a varsity sweater. SKEETER Good luck down there, Carlton. CARLTON Have fun at the dance, Skeeter Legs. Robert and Carlton race outside as Charlotte enters, healthy and glowing. CHARLOTTE Eugenia! You've grown another inch since breakfast. Go put on a dress that fits before that boy and his daddy come pick you up. A horn blows. Charlotte kisses Skeeter on the cheek and then looks over to CONSTANTINE, 50. Constantine stands tall. Her skin is black as night. Her eyes have a striking honey colored hue to them. She wears a white sleeping gown. CHARLOTTE -LRB- CONT'D. -RRB- Pray Carlton does n't like LSU, Constantine. It's so far. It might be the last we see of him. The horn blows again. Charlotte is out the door. Skeeter turns to Constantine who is all smiles. CONSTANTINE Gone be just you and me all weekend.",
"EXT. PHELAN PLANTATION (FLASHBACK) - PATIO - MOMENTS LATER Skeeter sits at a picnic table smoking a cigarette. Constantine smokes tobacco out of a corn pipe. SKEETER I just could n't tell her I did n't get asked to the dance. CONSTANTINE Some things we should just keep to ourselves. Skeeter looks down to her long, bony legs. SKEETER I'm already taller than the boys' basketball coach. How tall are you, Constantine? CONSTANTINE I'm five - thirteen, so quit feeling sorry for yourself. SKEETER Momma was third runner up in the Miss South Carolina pageant. CONSTANTINE `` Miss'' what? Shoot, Child! You gone be `` Miss Something Better.'' Constantine grabs Skeeter's hand and presses her thumb firmly to her palm. CONSTANTINE -LRB- CONT'D. -RRB- Now you listen. Your momma did n't pick her life. It pick her, and she done even know it. You gone do something big with yours. Bigger than your momma or your brother. Constantine lets go of Skeeter's palm and wipes a tear from her face. SKEETER What about you? What did you want to be, Constantine? Constantine laughs. CONSTANTINE Oh, Child! We do n't get to pick. This pick us, and that just how it is. Tight on Skeeter's face as Constantine gives her a big hug.",
"INT. PHELEN PLANTATION - SKEETER'S BEDROOM - NEXT MORNING Skeeter lies in bed staring holes into the ceiling as a rooster announces the morning. A sudden revelation washes over her. In a flash, Skeeter is out of bed and running down the stairs.",
"INT. PHELAN PLANTATION - KITCHEN - MOMENTS LATER Pascagoula tends to a skillet full of eggs next to a black and white TV resting on the counter. Jolene French attempts to deliver the weather on WLBT. JOLENE Sunny skies and a high of ninety - eight today with ninety - nine percent humidity. There's a slight chance of afternoon showers so y' all carry an umbrella. Jolene pivots to camera, lowers her chin and smiles. Skeeter runs past Pascagoula with a phone and disappears inside the pantry.",
"INT. HARPER AND ROW PUBLISHING - OFFICE - NEW YORK - LATER ELAINE STEIN, 45, hard but stylish, talks on the phone in a large corner office. She lights a cigarette and swivels her chair toward the Manhattan skyline. MISS STEIN What gave you this idea, Miss Phelan? I'm. curious.",
"INT. PHELAN PLANTATION (INTERCUT) - PANTRY - SAME TIME Skeeter sits on a huge sack of flour. A millennium's supply of can goods fills the shelves. SKEETER I was. well, I was raised by a colored woman. I've seen how simple it can be and. well, how complex it can be, too. between the families and the help. MISS STEIN Continue. SKEETER I'd like to write something from the point of view of the help. These colored women raise white children, and then twenty years later those children become the employer. It's that irony, Miss Stein, that we love them and they love us yet. we do n't even let them use the toilet in the house. Miss Stein's swivels her chair back around and sits up. MISS STEIN I'm listening. SKEETER Margaret Mitchell glorified the mammy figure who dedicates her whole life to a white family but no one. ever asked Mammy how she felt about it. There is both undisguised hate for white women and an inexplicable love, but nobody ever talks about it down here. MISS STEIN So, a side to this never before heard. SKEETER Yes! Charlotte knocks on the pantry door. CHARLOTTE -LRB- O.C. -RRB- Skeeter, who are you talking to in there? Skeeter covers the mouth piece and opens the door. SKEETER Go! Away! Skeeter slams the door. SKEETER -LRB- CONT'D. -RRB- So, yes, their side of the story. Skeeter leans back against the shelves. MISS STEIN Who was that? SKEETER My mother. She just dropped by to - MISS STEIN Look, no maid in her right mind would ever tell you the truth. That's a hell of a risk in a place like Jackson, Mississippi. I watched them try to integrate your bus station on the news. Oy! They jammed fifty - five Negroes in a jail built for four. Skeeter panics. SKEETER I already have a maid. Skeeter ca n't believe what just came out of her mouth. Miss Stein rises and sits on the edge of her desk. MISS STEIN Really? A negro maid has already agreed to talk to you? Skeeter blinks hard. No turning back now. SKEETER Yes, ma'am. MISS STEIN Well. I suppose I could read what you come up with. The book biz could use a little rattling. SKEETER You'd do that? MISS STEIN I'm saying I'll let you know if it's even worth pursuing. SKEETER Oh, thank you, Miss Stein! MISS STEIN And for God's sake, you're a twenty - four - year - old educated woman. Go get an apartment. She hangs up.",
"INT. LEEFOLT HOME - KITCHEN - LATER THAT DAY Skeeter sits across the table from Aibileen, reading the ` Miss Myrna' letters. Outside, winds howl, and the sky grows dark. Jolene's forecast appears to be a bit off. SKEETER `` Dear Miss Myrna, How do I remove the rings from my fat, slovenly husband's shirt collar when he is such a pig and sweats like one too.'' AIBILEEN Which one she want a get rid of? Them rings or the husband? Skeeter chuckles and shrugs her shoulders. AIBILEEN -LRB- CONT'D. -RRB- Tell her a vinegar and Pine - Sol soak. Then let it set in the sun a bit. Skeeter writes this down. AIBILEEN -LRB- CONT'D. -RRB- Bout an hour. Let it dry. Skeeter keeps writing. Aibileen notices something outside. Hilly walks into the Leefolt backyard with her son, BILLY, 3, perched on her hip. A CONTRACTOR, 30s, follows holding a set of plans. Skeeter turns to the open window. It's already started to sprinkle outside. HILLY Build it just like the one at my house, right against the garage. The contractor nods. Lightning strikes, thunder cracks. HILLY -LRB- CONT'D. -RRB- Oh, mercy! Hilly is off and running with Billy. Skeeter seizes the moment. SKEETER Aibileen, do you ever wish you could. change things? Aibileen turns slowly from the window. SKEETER -LRB- CONT'D. -RRB- I mean, all that talk yesterday and now with what Hilly's up to. Aibileen's eyes fall to the floor. AIBILEEN Everthing's fine. SKEETER My momma fired Constantine. Thank you for telling me that. AIBILEEN I never tolt you that! Aibileen jumps up as another crack of thunder sounds out. SKEETER Aibileen, I have an idea. Something I want to write about. But I need your help. Skeeter rises. SKEETER -LRB- CONT'D. -RRB- I want to interview you. about what it is like to work as a maid. Aibileen stops at the refrigerator, gripping the life out of its handle. SKEETER -LRB- CONT'D. -RRB- I'd like to do a book of interviews about working for white families. Show what it's like to work for, say. Elizabeth. Aibileen begins to perspire. She grabs the counter to steady herself, then moves toward her chair. AIBILEEN You know what'd happen to me if Miss Leefolt knew I was tellin' stories on her? SKEETER I was thinking we would n't tell her. The other maids will have to keep it secret, too. AIBILEEN Other maids? SKEETER I was hoping to get four or five. To really show what it's like in Jackson. To see what y' all get paid, the babies, the bathrooms, the good and the bad. Aibileen shakes her head. AIBILEEN They set my cousin Shinelle's car on fire just cause she went down to the voting station. SKEETER A book has never been written like this, Aibileen. AIBILEEN'Cause they's a reason. I do this with you, I might as well burn my own house down. Bam! The front door slams shut.",
"INT. LEEFOLT HOME (INTERCUT) - LIVING ROOM - SAME TIME Soaking wet, Elizabeth and her husband, RALEIGH, 25, stand toe to toe. RALEIGH I put up with the new clothes and all the damn trips to New Orleans, but this takes the goddamn cake! ELIZABETH It'll confuse Mae Mobley if she sees Aibileen going inside. And we ca n't risk her health. KITCHEN: Aibileen hears Mae Mobley crying, but she is frozen. LIVING ROOM: ELIZABETH -LRB- CONT'D. -RRB- Hilly spoke to the Surgeon General! She also said it'll add value to our home! RALEIGH Great! Mae Mobley can just go to college in that bathroom, too. ELIZABETH Honey, Hilly's covering the cost. and said you can just do William's taxes to pay her back. RALEIGH We do n't take orders from the Holbrooks!",
"INT. LEEFOLT HOME - KITCHEN - CONTINUOUS Raleigh storms in and is surprised to see Skeeter. RALEIGH Skeeter? How you doing? SKEETER Fine. RALEIGH Fix me a sandwich, Aibileen. Raleigh storms out as Elizabeth charges into the kitchen. ELIZABETH Aibileen, Mae Mobley's crying her eyes out! Aibileen runs off. Elizabeth sees Skeeter and tries to compose herself. ELIZABETH -LRB- CONT'D. -RRB- Skeeter. Hello. I'm sorry but I think it's best if you leave now. Skeeter gathers her things. ELIZABETH -LRB- CONT'D. -RRB- And. I do n't think this Miss Myrna thing is gon na work out with Aibileen.",
"INT. HOLBROOK HOUSE - DEN - LATER THAT DAY The storm has escalated. The Holbrook house is without power. Hilly runs around lighting candles. Missus Walters lies on the couch while Minny fans her with a newspaper. MISSUS WALTERS You're making it a lot hotter flapping your arm like that. Minny stops and begins squirming with discomfort. Missus Walters notices her looking out to the garage bathroom. Lightning strikes. Leaves blow across the yard. Hilly plops down in a chair with a candle. HILLY That should do it. Minny, go get me and Momma some iced tea. Minny hesitates. She gulps. MINNY Uh. Miss Hilly? HILLY Yes. MINNY Never mind. As Minny turns, Missus Walters calls out to her. MISSUS WALTERS You go on ahead and use the guest bath, Minny. It's okay. HILLY Oh, for crying out loud. It's just a little rain. She can go get an umbrella up in William's Study! MISSUS WALTERS I believe she was working for me before you dragged us both here. Minny looks outside just as wind slams an aluminum lawn chair against the garage bathroom. Boom! Another crash of thunder. Large hail stones begin falling in the yard. MINNY I'm gone get your tea.",
"INT. HOLBROOK HOUSE - BATHROOM - SECONDS LATER Minny sneaks into the guest bath with a candle and shuts the door. She carefully lowers the seat and sits. Relief spreads across her face. There's a knock on the door. She freezes. HILLY -LRB- O.C. -RRB- Minny? Minny panics, staying completely quiet.",
"INT. HOLBROOK HOUSE (INTERCUT) - HALLWAY - CONTINUOUS Hilly leans into the bathroom door. HILLY MINNYYYY, are you in there? MINNY Yes, ma'am. HILLY Are you sitting down? Minny gets up quickly and flushes the toilet. Hilly beats on the door. HILLY -LRB- CONT'D. -RRB- GET OFF OF MY TOILET! Outside the house, an eerie, groaning sound, much like a freight train, intensifies. The top of a huge tree snaps off and falls against the house, shattering a window. Minny crouches down and covers her head. A draft sucks the candle's flame toward the bottom of the door.",
"INT. LEEFOLT HOME - MAE MOBLEY'S ROOM - MOMENTS LATER Aibileen sits with Mae Mobley against an interior wall, holding a mattress on top of them and humming in her ear. AIBILEEN -LRB- V.O. -RRB- On top a Minny losin' her tenth job, eighteen people died in Jackson that day. Ten white. Eight black.",
"EXT. PHELAN PLANTATION - SAME TIME Skeeter stands in her backyard facing Jackson. Cool winds head toward the dark, swirling horizon. In the distance, lightning strikes.",
"EXT. FOOTE ESTATE - FRONT PORCH - SAME TIME Celia leans on the porch railing, gazing helplessly as the relentless hail storm pummels her two rosebushes. AIBILEEN -LRB- V.O. -RRB- God do n't pay no mind to color or class once he sets a tornado loose. Within seconds, the rose blossoms are gone.",
"INT/EXT. BATHROOM/BACKYARD (INTERCUT) - THREE MONTHS LATER Aibileen uses the newly completed bathroom Hilly has built in the garage. The walls consist of unpainted plywood with a small window hugging the ceiling. Beads of sweat glisten on Aibileen's forehead under a single bulb hanging above. AIBILEEN -LRB- V.O. -RRB- Soon after, that bitter seed inside of me had sprout and was growing fast. Well into her second pregnancy, Elizabeth exits the house with Mae Mobley at her side. She wears an awful, homemade maternity dress. ELIZABETH Hurry, Aibileen. Mae Mobley's up, and I'm off to the doctor. Aibileen reaches behind and flushes the toilet. Mae Mobley gets excited and points to the garage bathroom. MAE MOBLEY Aibee bafroom, Momma! Mae Mobley walks toward the bathroom and calls out. MAE MOBLEY -LRB- CONT'D. -RRB- Aibee? Elizabeth grabs her and forces her down on the back step. ELIZABETH No! AIBILEEN Be right there, Baby Girl. Aibileen pulls up her panty - hose.",
"EXT. BUS STOP - LATER THAT AFTERNOON Aibileen waits with YULE MAY, 45, as well as other maids and black males at a bus stop. Yule May is tall, pretty and graceful. Her hair is pulled tightly into a bun. Skeeter walks down the sidewalk toward them. She and Aibileen catch eyes. Skeeter waves. Yule May inches away from Aibileen. One BLACK MAN in particular looks with concern as Skeeter walks up. SKEETER Afternoon, Aibileen. Aibileen nods nervously, looking at the other domestics. SKEETER -LRB- CONT'D. -RRB- Can I talk to you? A bus pulls up. AIBILEEN You got some `` Miss Myrna'' questions for me? SKEETER No. Yule May and others board. Skeeter grabs Aibileen's arm. SKEETER -LRB- CONT'D. -RRB- Please. Aibileen signals to Yule May to go on ahead without her. AIBILEEN Yes, ma'am. The bus pulls away. SKEETER Please let me interview you. I know it's scary, but I really believe this has to be done. We'll be careful. AIBILEEN This already ai n't careful, Miss Skeeter. You not knowing that is what scares me most. I'm sorry. Skeeter hands Aibileen a piece of paper with her phone number written on it. Aibileen turns and walks off down the sidewalk.",
"EXT. BUS STOP - LATER THAT NIGHT Dark outside, Aibileen approaches another, more integrated bus stop. AIBILEEN -LRB- V.O. -RRB- I know pretty well what happens if the white ladies found out we was writing about them. Womens, they ai n't like men. Women do n't beat you with a stick. Naw, they like to keep they hands clean. Got a shiny set a tools they use, sharp as witches' fingernails. As Aibileen ambles toward a bench, TWO WHITE WOMEN in nurse uniforms push in front of her and sit.",
"INT. MISSISSIPPI LAW LIBRARY - NEXT MORNING Skeeter sits at a long table surrounded by books piled high as if to provide a shield of sorts. Lying before her, is an old, thin, onionskin booklet curling at the edges. It's titled : `` Compilation of Jim Crow Laws of the South'' Skeeter opens the booklet and begins reading. AIBILEEN -LRB- V.O. -RRB- Any person printing, publishing or circulating written matter urging for public acceptance of social equality between whites and negroes is subject to imprisonment.",
"INT. AIBILEEN'S HOME - KITCHEN - NIGHT Aibileen sits at a table wearing a nightgown. She carefully combs and styles her wig for work in the morning. Her real hair is bound tightly in dozens of tightly bound nubs. The rotary wall phone rings. Aibileen hangs the wig on her chair and answers.",
"INT. MINNY'S HOUSE (INTERCUT) - HALLWAY - SAME TIME Minny is hysterical. MINNY Oh, Aibileen! I went and did it now! Minny wraps a hand up in the phone cord. MINNY -LRB- CONT'D. -RRB- Miss Hilly been tellin' everbody in town I stole a candelabra! That's why I ca n't get no job. AIBILEEN Everbody know you honest, Minny. MINNY Oh, but I got her back. I did something awful, Aibileen. AIBILEEN What you did?!",
"EXT. HOLBROOK HOUSE (FLASHBACK) - DAY Minny stands on Hilly's porch holding a chocolate pie. MINNY -LRB- O.S. -RRB- I cai n't tell! I ai n't tellin' nobody! I done a terrible awful thing to that woman. And now she knows what I did! Hilly answers the door and snarls at Minny. Minny presents the pie and says `` I am sorry.'' Hilly waves Minny inside.",
"INT. MINNY'S HOUSE - HALLWAY - MOMENTS LATER MINNY She got what she deserve, Aibileen. But, now I ai n't gone never get no work again. Leroy gone kill me. Minny's husband, LEROY, 40, approaches behind Minny. Minny slowly turns.",
"INT. AIBILEEN'S HOUSE - KITCHEN - CONTINUOUS Aibileen hears a loud slap and Minny's phone dropping to the floor. Yelling and screaming follows. AIBILEEN Minny! She ca n't bear to listen and hangs up the phone. She sees Skeeter's phone number taped to the wall. Aibileen's breath becomes heavy. Anger wells inside her. She picks up the phone again and begins to dial.",
"EXT. AIBILEEN'S HOUSE - NEXT NIGHT - DUSK Wearing a black scarf over her hair and clutching her red satchel, Skeeter approaches a small, one - story wood structure. White paint peels, hydrangeas fill the yard. Skeeter spies an old pickup truck parked on the side of Aibileen's house, completely covered in years of dust. Skeeter checks over her shoulder several times. The porch steps creak under her big feet. Aibileen quickly opens the door and waves her inside.",
"INT. AIBILEEN'S HOUSE - LIVING ROOM - CONTINUOUS Aibileen wears the same yellow dress she wore in the first scene. SKEETER I parked way up on State Street and caught a cab here like you asked. AIBILEEN Got dropped two streets over? Skeeter nods. SKEETER Aibileen, I now know it's against the law for us to meet like this. Skeeter stares Aibileen up and down. Aibileen self - consciously flattens our her dress. SKEETER -LRB- CONT'D. -RRB- I've never seen you out of uniform before. You look nice, Aibileen. AIBILEEN Thank you. Aibileen motions for Skeeter to sit on a narrow sofa behind a coffee table covered in hand - tatted lace. A tray holds a teapot, two cups that do n't match and cookies resting on folded napkins. As Aibileen pours the tea, her hand shakes. AIBILEEN -LRB- CONT'D. -RRB- I'm sorry. I've never had a white person in my house before. Skeeter sips her tea. SKEETER I've never been in a colored person's home before. I think we're both doing great. This tea is really nice. Aibileen watches as Skeeter takes a bite of the cookie. AIBILEEN Miss Skeeter, What if. What if you do n't like what I got to say? About white peoples? SKEETER I. this is n't about my opinion. It does n't matter how I feel. AIBILEEN You gone have to change my name. Mine, Miss Leefolt's, everbody's. SKEETER Everybody? So, you know other maids who might be interested? Aibileen is quiet for a moment. She shakes her head. AIBILEEN It gone be hard. SKEETER What about Minny? AIBILEEN Minny got her some stories, sho nuff. But, she ai n't real keen on talking to white peoples right now.",
"INT. AIBILEEN'S HOUSE - KITCHEN - MOMENTS LATER We continue with the interview seen on page one. SKEETER What does it feel like, to raise a white child when your own child's at home, being. looked after by somebody else? AIBILEEN It feel. Uh. Aibileen glances up to the framed picture of Treelore. SKEETER Is that your son? AIBILEEN Yes, ma'am. He dead two years now. Got run over at the lumber yard. Lungs were crushed. SKEETER I'm so sorry. That's horrible. And, Aibileen, you do n't have to call me `` ma'am.'' Not here anyway. Aibileen nods. Skeeter stares at her list of questions. SKEETER -LRB- CONT'D. -RRB- Do you want to talk about the bathroom? Or, about Elizab - Miss Leefolt? Anything about the way she pays you? Has she ever yelled at you in front of Mae Mobley? Aibileen shakes her head. AIBILEEN I'm sorry, I - Aibileen covers her mouth with her hand. Skeeter becomes disgusted with herself. SKEETER No, I am. She pulls out a stack of Miss Myrna letters. SKEETER -LRB- CONT'D. -RRB- Let's just do a couple of Miss Myrna letters, and I'll run on. AIBILEEN I thought I might write my stories down and read them to you. SKEETER Well, sure I guess. AIBILEEN It no different than writing down my prayers. SKEETER You do n't say your prayers aloud? AIBILEEN Prayer like electricity. It keep life going. Writing it down make it more powerful. Lot a ailing, sick peoples in this town. SKEETER I'm sure. AIBILEEN I did n't get a chance to pray for Treelore. AIBILEEN -LRB- CONT'D. -RRB- God took him fast'cause he did n't want to argue with me. He was just twenty - four years old. The best part of a person's life. SKEETER Oh, Aibileen. AIBILEEN But he'd like we's doing this. He always said we gone have a writer in the family one day. After my prayers last night, I got some stories down too. Skeeter nods. Aibileen opens her notebook and reads. AIBILEEN -LRB- CONT'D. -RRB- My first white baby to ever look after was named Alton Carrington Speers. It was 1938, and I'd just turned fourteen years old. Daddy had left us, so I dropped out a school to help momma with the bills.",
"INT. MOUNT ZION BABTIST CHURCH - MORNING A congregation of three hundred stand singing lively with the large choir. Aibileen stands next to Yule May and is whispering in her ear. Yule suddenly leans back, shocked, shaking her head `` no.'' Minny watches from two pews back. Her curiosity is peaked. AIBILEEN -LRB- V.O. -RRB- Alton's momma died a lung disease. I loved that baby, and he loved me. That's when I learned I could make children feel proud of theyselves.",
"INT. HARPER AND ROW PUBLISHING - OFFICE - NEW YORK Miss Stein sits at her desk reading Aibileen's stories. AIBILEEN -LRB- V.O. -RRB- Alton used to always be asking me how come I's black.",
"INT. AIBILEEN'S HOUSE - KITCHEN - MOMENTS LATER AIBILEEN It just ate him up, so one time I told him it cause I drank too much coffee. Oh, law, you should a seen his face. Skeeter laughs as she writes down Aibileen's story. SKEETER This is great. You have no idea how much I appreciate this. But I just have to ask. What changed your mind? AIBILEEN -LRB- WITHOUT PAUSE. -RRB- Miss Hilly Holbrook.",
"INT. JUNIOR LEAGUE HEADQUARTERS - MORNING Hilly stands at a podium banging a gavel. The pleats of her navy blue sailor's number fan out like an accordion. A room full of JUNIOR LEAGUE MEMBERS sits up and quiets down. Half the girls are pregnant and most all drink TAB and are smoking. Skeeter sits in the back next to Elizabeth. HILLY We're running behind on our `` coat drive,'' girls. So hurry up and clean out those closets. But our Christmas Benefit, however, is right on schedule as y' all have already filled all our baked goods raffle slots. The girls applaud, turning to each other with praise. HILLY -LRB- CONT'D. -RRB- Y' all think we can put a dent in the African Children's hunger this year? More applause. Those who are n't pregnant, stand. Hilly beams. Elizabeth nudges Skeeter out of her chair. HILLY -LRB- CONT'D. -RRB- Now for some exciting news. I wanted y' all to be the first to know. My William is seeking election to the State Senate this November! Now, even the pregnant women stand. Elizabeth grabs Skeeter's arm and pulls herself up. HILLY -LRB- CONT'D. -RRB- He's runnin' on a platform of health. Protecting our children. Protecting our way of life. So, I, with William, have drafted The Home Health Sanitation Initiative. This sets off a room of whispers. HILLY -LRB- CONT'D. -RRB- Skeeter, when can we expect to see the initiative in the newsletter? I gave it to you a month ago. Everyone turns to Skeeter. Elizabeth panics. ELIZABETH I gave that to you myself! SKEETER I, ah. Well, I - HILLY Would you please stand, Skeeter? As Skeeter rises, several women shake their heads. SKEETER I'll have it in there soon. Skeeter glances at the initiative tucked in her satchel.",
"EXT. LEAGUE HEADQUARTERS - PARKING LOT - LATER THAT DAY Skeeter turns a corner and sees Hilly leaning on her car. SKEETER Hilly? Do you need a ride? Hilly shakes her head with little emotion. SKEETER -LRB- CONT'D. -RRB- I'm sorry about the newsletter. Hilly nods. A soft smile begins to form. SKEETER -LRB- CONT'D. -RRB- With Momma being sick and - Hilly erupts with excitement. HILLY He's coming! Oh, Skeeter, he's definitely coming this time. This Saturday night. SKEETER Oh, Hilly, he's cancelled twice before. Maybe it's a sign. HILLY Do n't you dare say that! SKEETER You know I wo n't be his type. Hilly grabs Skeeter by the shoulders. HILLY It's your time, Skeeter. And damnit, I'm not going to let you miss this just because your mother convinced you you're not good enough for somebody like him.",
"INT. MINNY'S HOUSE - KITCHEN - MORNING Minny is again wearing her maid's uniform. She puts two plates of food down on the kitchen table. She sits next to her daughter, SUGAR, 15. Sugar wears a brand - spanking - new maids's uniform. MINNY Eat up, Girl. Miss Woodra's like to not feed ya on try - out day. Sugar takes a bite of toast. MINNY -LRB- CONT'D. -RRB- I still say you're too young to be waitin' on white peoples. Now, Sugar, I want you to listen to me, and you listen to me good. Minny grabs Sugar's face and looks her right in the eyes. MINNY -LRB- CONT'D. -RRB- These are the rules for working in a white lady's house. Sugar jerks her face away and sticks her lip out. MINNY -LRB- CONT'D. -RRB- Rule Number One : Do n't you ever let White Lady find you sittin' on her toilet. Sugar nods. MINNY -LRB- CONT'D. -RRB- Number Two : You keep your nose out of White Lady's problems, and do n't cry to her with yours. White people ai n't your friends.",
"EXT. RURAL BUS STOP - LATER THAT MORNING Minny steps off a bus and walks down an old country road. MINNY -LRB- V.O. -RRB- Number Three : When you're cooking white food, taste it with a different spoon. They see you put the tasting spoon back in the pot, might as well throw it all out. Spoon, too.",
"EXT. FOOTE ESTATE - LATER Minny approaches the Foote estate. She stops just short of stairs leading up to the front porch. MINNY -LRB- V.O. -RRB- Four : You use the same cup, same fork, same plate every day. Minny takes her first step on the stairs. MINNY -LRB- V.O. ; CONT'D. -RRB- Five : Do n't hit her kids. White people do they own spanking. Minny slowly raises her hand to knock on the front door. MINNY -LRB- V.O. ; CONT'D. -RRB- Six : No sass - mouthing! Minny knocks. MINNY -LRB- CONT'D. -RRB- -LRB- TO HERSELF. -RRB- Number six, Minny. Number six. The door flies open. Celia Foote answers. She's covered in tight pink clothes. Flour covers her face and hair. CELIA Hey there! I'm Celia Rae Foote. Aibileen said you'd be on time. Minny looks down disapprovingly to Celia's bare feet. CELIA -LRB- CONT'D. -RRB- Can I get you a cold Coca - Cola? MINNY No, thank you. I'm Minny Jackson. You. cooking something? CELIA One of those upsidedown cakes from the magazine. It ai n't workin' out too good. Come on in.",
"INT. FOOTE ESTATE - KITCHEN - MOMENTS LATER Minny enters behind Celia gawking at the flour massacre. MINNY What in the hell - Minny catches herself. MINNY -LRB- CONT'D. -RRB- -LRB- TO HERSELF. -RRB- Tuck it in, Minny. Tuck it in. CELIA I guess I have some learnin' to do. MINNY -LRB- STUPID SMILE. -RRB- You sure do.",
"INT. FOOTE ESTATE - DINING ROOM - CONTINUOUS Minny and Celia enter a huge dining room. Minny gawks at a dusty mahogany table surrounded by twelve chairs. CELIA Johnny's momma would n't let me decorate a thing. If I had my way, this house would have wall to wall white carpet with gold trim and none of this old stuff. Minny spies a framed battle - worn Confederate flag complete with bullet holes. MINNY Where you from? Celia lowers her head in shame. CELIA Sugar Ditch. It's near Memphis. MINNY I know Sugar Ditch. My cousin live there. Celia changes the subject. CELIA Let's go meet Oscar! Celia grabs Minny's hand. Annoyed, Minny pulls it away.",
"INT. FOOTE ESTATE - LIVING ROOM - MOMENTS LATER Minny stands at the base of a massive, stuffed Grizzly bear. It clears the twelve - foot ceiling by an inch. CELIA Johnny's granddaddy shot him up in Montana back in 1910 with Teddy Roosevelt. Celia points to fifteen guns mounted behind Oscar. CELIA -LRB- CONT'D. -RRB- We got five bedrooms and bathrooms here in the main house. The pool house has two more beds and baths. MINNY When you gone have some chillins, start fillin' up all these beds? Celia swallows hard. She places her hand on her stomach. CELIA I'm pregnant now. Minny steps back and surveys Celia. MINNY Gone be eatin' for two. Double the cookin'. Celia slumps her shoulders as she looks around the house. CELIA I know it's an awful lot to do. Five other maids have already turned me down. Can I at least give you some bus money? MINNY When you hear me say I do n't wan na clean this house? CELIA What? So. You'll do it?! Before Minny can nod. Celia throws her arms around her. Minny backs away. MINNY No huggin', now. No huggin'. CELIA I'm sorry. This is my first time hiring a maid. MINNY We got to talk about some things first. I work Sunday through Friday. Celia bites her pinky nail. CELIA You ca n't come at all on weekends. MINNY Okay. What time you want me here? CELIA After eight, and you have to leave at four. MINNY Okay. Now what your husband say you can pay? Celia looks away. CELIA Johnny does n't know I'm bringing in help. MINNY And what's Mr. Johnny gone do if he comes home and finds a colored woman up in his kitchen? CELIA It's not that I'd be fibbing. I just want him to think I can do this on my own. I need some help'til I get the hang of it. I need a maid. MINNY A course you do. Last one done got shot in the head. Minny sniffs the air. MINNY -LRB- CONT'D. -RRB- Miss Celia, I think you done burned up yo cake.",
"INT. FOOTE ESTATE - KITCHEN - SECONDS LATER Celia grabs a rag off the sink and jerks the cake out of the oven. CELIA Oww! Dawgonit! She drops the burnt cake on the floor. MINNY You ca n't use no wet towel on a hot pan. Minny grabs a dry towel and picks up the cake. MINNY -LRB- CONT'D. -RRB- I'll take this burnt up cake with me so Mister Johnny do n't see it.",
"INT. LEEFOLT HOME - MAE MOBLEY'S ROOM - MORNING Aibileen removes Mae Mobley's wet cloth diaper on a changing table. Mae Mobley's behind is covered with inflamed diaper rash. Aibileen shakes her head. Elizabeth enters the room. ELIZABETH I'm off, Aibileen. Do n't forget Raleigh wants pot roast tonight. AIBILEEN Yes, ma'am. Aibileen's eyes narrow.",
"INT. AIBILEEN'S HOME - KITCHEN - LATER THAT NIGHT Skeeter works with a typewriter now. Aibileen, more casually dressed than before, waits for Skeeter to finish typing. AIBILEEN I reckon I'm ready. to talk about Miss Leefolt now. Skeeter stops typing and looks up. She nods. AIBILEEN -LRB- CONT'D. -RRB- Baby girl do n't get her diaper changed'til I get there in the morning. That's ` bout ten hours she gots to sit in her mess. I be so worried about her on my day off. I always come in an hour early on Mondays.",
"INT. PHELAN PLANTATION - KITCHEN - NIGHT Charlotte sits at a table sorting through mail as Skeeter enters and grabs an apple AIBILEEN -LRB- V.O. -RRB- Miss Leefolt pregnant again, too. And, law, I pray this child turn out good. It a lonely road if a momma do n't think theys child is pretty. Charlotte glances down disapprovingly at the dingy, huarache shoes on Skeeter's feet. Skeeter heads for the door. CHARLOTTE Where are you going, Skeeter? Skeeter turns. SKEETER Bible study. CHARLOTTE On a Saturday night? SKEETER Momma, God does n't care what day of the week it is. Skeeter walks out the back door as Charlotte shakes her head.",
"EXT. JOLENE FRENCH'S HOUSE - GARAGE - DAY Hilly, Elizabeth and Jolene French stand with Hilly's contractor. He unrolls a set of bathroom plans. Hilly and Elizabeth look to Jolene and nod approvingly.",
"INT. AIBILEEN'S KITCHEN - NIGHT Skeeter's typing slows. AIBILEEN Miss Leefolt be spending so much time keeping up with the society ladies, she done forgot the child she got now. Just then Minny barges through the kitchen back door. MINNY Aibileen! Minny stops cold in her tracks at the sight of Skeeter. MINNY -LRB- CONT'D. -RRB- Yule May told me what y' all up to. Aibileen nods. Minny's face hardens. MINNY -LRB- CONT'D. -RRB- Medgar Evers live five minutes away. They blew up his carport last night. For talking! Minny scowls at Skeeter. MINNY -LRB- CONT'D. -RRB- What makes you think colored people need your help? You white. Why you care? AIBILEEN We all working for the same thing. MINNY -LRB- TO SKEETER. -RRB- Maybe you just want to get her in trouble. Skeeter is petrified. Her face reddens. SKEETER I want to show her perspective. so people might understand what it's like from your side. MINNY Well it's a real Fourth of July picnic. MINNY -LRB- CONT'D. -RRB- It's what we dream a doing all weekend long, get back in they house to polish the silver. And we just love not getting minimum wage or Social Security. SKEETER I know, Minny. Maybe things might CHANGE IF- MINNY What law's gon na say you got ta be nice to your maid? And another thing, I do n't want my children going to school with white kids. And I do n't care a thing about votin.' Only thing black mens get elected to is Deacon of the church. AIBILEEN You do n't have to do this, Minny. MINNY You damn right I do n't! You two givin' me the heart palpitations. Minny storms out the back door. Skeeter looks like she might get sick. AIBILEEN And that was a good mood. Minny immediately storms back in the kitchen. MINNY All right. I'm gone do it. I just want to make sure you know this ai n't no game we're playing here. Skeeter nods, trembling as Minny slides a chair in the middle of the kitchen and sits. MINNY -LRB- CONT'D. -RRB- -LRB- TO SKEETER. -RRB- Slide your chair out from under that table and face me. I want to see you square on at all times. Still trembling, Skeeter slides her chair from the table and just sits there staring at Minny. MINNY -LRB- CONT'D. -RRB- I's got to come up with your questions, too?! SKEETER Let's begin. begin with. with where you were born. Aibileen grabs her notebook and begins writing. MINNY Belzoni, Mississippi on my great - auntie's sofa. Next!",
"INT. AIBILEEN'S HOUSE - KITCHEN - HOURS LATER Minny talks a mile a minute. Aibileen continues writing. AIBILEEN -LRB- V.O. -RRB- Once Minny got to talking ` bout food, she liked to never stop. MINNY I put the green beans in first, then I go on and get the pork chops going cause, mmm - mmm, I like my chops hot out the pan. Just as Aibileen fills the first notebook, Skeeter hands her another from her satchel. AIBILEEN -LRB- V.O. -RRB- But when she got to talking about the white ladies, it took all night.",
"INT. AIBILEEN'S HOUSE - KITCHEN - SUNRISE The first signs of morning sun filter into the kitchen. MINNY `` Oh, Minny, I'm gone give you a week paid vacation.'' Now, I ai n't had no paid vacation in my life. A week later, I come back and they'd moved to Mobile. `` Miss Lazy Fingers'' scared I'd find a new job before she moved. Minny spins around to Aibileen with sudden realization. MINNY -LRB- CONT'D. -RRB- We gots to get more maids! Minny stands. Skeeter's eyes widen with hope. AIBILEEN I know, but it hard, Minny. Mind racing, Minny flies out the door without a word. Aibileen turns to Skeeter. AIBILEEN -LRB- CONT'D. -RRB- You gone and done it now.",
"INT. HARPER AND ROW PUBLISHING - OFFICE - NEW YORK - DAY Miss Stein discusses Aibileen and Minny's stories with Skeeter on the phone. MISS STEIN I like this `` Sarah Ross.'' She can kvetch but not complain too much. INT - PHELAN PLANTATION -LRB- INTERCUT -RRB- - PANTRY Skeeter nods rapidly as if she knows what `` kvetch'' means. MISS STEIN And this `` Bertha''. she's got chutzpah. I'll give her that. SKEETER So. you liked it? MISS STEIN Eugenia, Martin Luther King just invited the country to march with him in D.C. this August. This many negroes and whites have n't worked together since `` Gone with the Wind.'' SKEETER Does this mean you'll publish it? MISS STEIN I never said that. My advice is to write it fast before this civil rights thing blows over. I need it by New Year's, and do n't send me anything more until you have twelve maids. SKEETER Twelve? MISS STEIN At least.",
"INT. AIBILEEN'S KITCHEN - THAT NIGHT Minny, Aibileen and Skeeter sit at the kitchen table. MINNY Aibileen and I done asked everbody we know. Thirty - one maids. Everbody too scared, think we crazy. SKEETER Then we might as well stop! MINNY I got plenty a stories, Miss Skeeter. Just write'em down and invent a maid that said it. We already making up everbody's name. Make up the maids, too. Skeeter jumps up from her chair. SKEETER We ca n't do that! Aibileen and Minny lean back. SKEETER -LRB- CONT'D. -RRB- I mean. I would never do that. It would n't be real. It's wrong. AIBILEEN Do n't give up on us, Miss Skeeter. Skeeter softens and sits back down. SKEETER I'm sorry. Thank you both for trying.",
"INT. JACKSON JOURNAL NEWSPAPER - OFFICE - DAY Skeeter delivers the `` Miss Myrna'' columns to the receptionist, who hands her back a paycheck.",
"INT. FOOTE ESTATE - KITCHEN Celia and Minny stand at a fried chicken assembly line. MINNY What can you cook? Minny dips pieces chicken in an egg wash, then drops them in a paper bag. A puff of flour rises out of the bag. CELIA I can cook corn pone, boil potatoes, and do grits. Minny bursts out laughing. CELIA -LRB- CONT'D. -RRB- We did n't have electric current where I was raised. MINNY Well, I reckon if there's anything you ought to know ` bout cooking. Minny holds up a can of Crisco. MINNY -LRB- CONT'D. -RRB- It's this. The most important invention since they put mayonnaise in a jar. You do n't even know the things you can do with this here can. Celia peers into the skillet as Minny spoons out a mound of Crisco. CELIA How pretty. Looks like frosting. Minny rolls her eyes and hands Celia the bag of Chicken. MINNY Shake that. Celia starts shaking the bag. CELIA This is fun!",
"INT. FOOTE ESTATE - KITCHEN - LATER Minny sits down at the table with a plate of chicken. Celia sits down next to her. CELIA Looks so good! I'm starved. Aggravated, Minny stands. MINNY You supposed to eat in the dining room, Miss Celia. That how it works. Minny grabs Celia's plate. MINNY -LRB- CONT'D. -RRB- Here, I'll take your plate in the dinin' room for ya. Want tea? CELIA I'm fine right here, Minny. Minny sits back down with a sigh. Celia touches her arm. CELIA -LRB- CONT'D. -RRB- I'm real grateful you're here. MINNY Miss Celia, you got a lot more to be grateful for than me. A car is heard pulling up in the driveway. Minny panics. MINNY -LRB- CONT'D. -RRB- Mister Johnny?! CELIA Oh, no! Hide! Minny slides down underneath the kitchen table. CELIA -LRB- CONT'D. -RRB- Oh. It's just the florist. Johnny must have sent me flowers. Minny pulls herself up off the floor. She's mad. MINNY Miss Celia, I ai n't playin' around no more! He gone catch me here and shoot me dead right here on this no - wax floor! You gots to tell him. Ai n't he wondering how the cooking so good? CELIA FOOTE You're right. Maybe we ought to burn the chicken a little. The doorbell rings. Celia runs off to answer. MINNY Minny do n't burn chicken.",
"INT. PHELAN PLANTATION - KITCHEN - DAY Skeeter sits with a towel draped across her shoulders. Charlotte, now in an auburn wig, squirts mounds of goo from a pink tube onto Skeeter's hair. CHARLOTTE This is bound to work, Sweetie. It even smells expensive. She begins twisting Skeeter's hair into gooey spikes. SKEETER I feel the hope in your fingers. Skeeter resembles a papier maché starfish. CHARLOTTE How can you not know his last name? SKEETER He's William's cousin. That's all I know. CHARLOTTE That's just so sweet of Hilly. Charlotte takes a drag from her cigarette, then lifts up a silver machine complete with power cord and rubber hose. SKEETER What is that?! CHARLOTTE The Shinolator! It cost eleven dollars. I'm a good mother. Charlotte puts a shower cap device on Skeeter's head and reads from the Shinolator manual. CHARLOTTE -LRB- CONT'D. -RRB- `` The Miracle Straitening Cap'' must remain on the head for two hours.'' SKEETER Two hours?! Charlotte flips a switch and takes another drag. The machine groans to life. Skeeter's cap inflates. CHARLOTTE I'll have Pascagoula bring you a magazine. Skeeter snatches her mother's cigarette and takes a drag.",
"INT. PHELAN PLANTATION - KITCHEN - MOMENTS LATER Skeeter sits under the Shinolator buried in a magazine. Pascagoula enters and sets down a glass of tea. SKEETER Thanks, Constantine. Do you think this dress is cute? Skeeter holds the magazine up to Pascagoula. Only now does she realize what she's said and done. SKEETER -LRB- CONT'D. -RRB- I'm sorry. Thanks, Pascagoula. Pascagoula nods and starts to walk away then turns. PASCAGOLUA I knew Constantine. She was a mighty fine woman.",
"INT. PHELEN PLANTATION - SKEETER'S BEDROOM - LATER THAT DAY The Shinolator was a success. Skeeter's hair is straight, silky and beautiful. SKEETER Holy shit. CHARLOTTE You've shrunk five inches. You'll be able to wear heels tonight. Charlotte looks down to the huarache shoes on Skeeter's feet and rushes to the closet. CHARLOTTE -LRB- CONT'D. -RRB- You're not leaving this house in those awful, Mexican, man shoes. Charlotte pulls out a dress and pair of heels. CHARLOTTE -LRB- CONT'D. -RRB- What time is he picking you up? SKEETER He's meeting me at Hilly's. Can I take the Cadillac? CHARLOTTE We promised Carlton the Cadillac tonight. So, William's cousin will just have to come get you himself. SKEETER I'll take the truck. CHARLOTTE It's hooked to the motor grader. SKEETER I'll drive slow.",
"EXT. PHELAN PLANTATION - FIELD - LATER THAT AFTERNOON Skeeter pulls away in a rusted 1941 Chevy farm truck with a huge motor grader attached. Charlotte runs next to the truck. Her wig is askew. CHARLOTTE Do n't mope. Remember to smile! Skeeter floors it. Charlotte runs faster. CHARLOTTE -LRB- CONT'D. -RRB- And, do n't sit like some squaw Indian. Cross! Your! Ankles! Skeeter leaves her mother in a cloud of dust. CHARLOTTE -LRB- CONT'D. -RRB- -LRB- SHOUTING. -RRB- I love you!",
"INT. FARM TRUCK - COUNTRY ROAD - MOMENTS LATER Chunks of mud fly off the tires. The June sun has set the truck's interior at a stubborn 115 degrees. Skeeter has no choice but to lower her window. The Shinolator meets its match. A mangy, STRAY CAT suddenly jumps out in the road. When towing 10,000 pounds of farm equipment, slowing down quickly is n't an option. A loud thud sounds out from the truck's grill.",
"INT. HOLBROOK HOUSE - PARLOR - LATER THAT NIGHT Hilly, her husband, WILLIAM, and Skeeter's date, STUART WHITWORTH, drink high balls and eat cheese in the Holbrook parlor. Gold swag curtains hang on the windows. Balding and pudgy, only William's family money once made him a desirable bachelor. Stuart, on the other hand, is very handsome, the `` Marlboro Man'' in a well - tailored suit. Yule May -LRB- who we met earlier at church with Aibileen -RRB- now works for Hilly. She clears empty glasses. WILLIAM With your daddy's endorsement, I can win that Senate seat. Stuart feigns interest. STUART I'll talk to him. Ice slams against Stuart's teeth as he downs his drink. Hilly pats William's leg then turns with concern to a grandfather clock announcing half past the hour. The front door flies open. Skeeter enters completely out of breath and sweaty. Her HAIR HAS TRIPLED IN SIZE. She waves. SKEETER Hey. As Hilly races toward Skeeter, William and Stuart stand. Stuart is as tall as he is handsome. HILLY Boys, we'll be right back. Y' all talk about quarterbacks or something. Yule May, get Miss Skeeter a Coca Cola. Yule May runs off. Hilly pulls Skeeter down the hall.",
"INT. HOLBROOK HOUSE - BATHROOM - MOMENTS LATER Skeeter sits on the toilet downing a Coca - Cola. Hilly twists the last of Skeeter's hair into giant rollers. HILLY Skeeter, you do n't even have on lipstick! Skeeter dabs her armpits. SKEETER It was so goddamn awful. I hit a cat. Hilly sprays Final Net. HILLY Well. What do you think of him? Skeeter applies lipstick. Hilly removes the rollers. SKEETER He looks handsome. Skeeter stands up and does a twirl for Hilly. SKEETER -LRB- CONT'D. -RRB- All right, give it to me. One to ten? Hilly sprays Skeeter with perfume and stands back. HILLY Seven. SKEETER Really?! Seven? Hilly nods, lets out a little squeal. HILLY Honey, you're beautiful. Just go on out there. you're gon na do great. It's your time, Skeeter. I just know it. Hilly hugs Skeeter.",
"INT. ROBERT E. LEE HOTEL - DINING ROOM - NIGHT Hilly, William, Stuart and Skeeter sit at a round table adorned with white linens, silver and fine china. The room buzzes with Jackson's elite all trying to be noticed as a JAZZ QUARTET plays softly in a corner. A WAITER approaches. Stuart leans into Skeeter without making eye contact. STUART You want a drink? SKEETER Just water, please. STUART -LRB- TO WAITER. -RRB- Double Old Kentucky straight. with a water back. Make that two backs. SKEETER THANKS?! So. you went to Alabama? Stuart nods. Hilly rolls her eyes. HILLY `` Roll Tide.'' We still love him. Hilly pinches Stuart on the cheek. SKEETER Now you're in the oil business. Hilly says you're a rigsite leader. STUART The money's good. If that's what you really want to know. SKEETER That's not what I - Skeeter and Hilly watch as Stuart's and William's eyes fix on the front of the restaurant. Celia and Johnny have entered. Celia wears a tight green dress and the reddest lipstick ever put in a tube. STUART Is n't that your old boyfriend, Hilly? Johnny Foote? Hilly scowls. STUART -LRB- CONT'D. -RRB- Who's his girl? Lord, she's hotter than Delta asphalt. Celia spots Hilly and gives a self - conscious wave. HILLY William! The Lieutenant Governor just walked in. Hilly jumps up and pulls William away. The waiter returns with Stuart's drink and the water backs. STUART So, what do you do with your time? SKEETER I write a. a domestic maintenance column for the Jackson Journal. Stuart smirks, taking a huge sip of his drink. STUART You mean housekeeping? Skeeter nods and grabs her water. STUART -LRB- CONT'D. -RRB- Jesus, I ca n't think of anything worse than reading a cleaning column. Except maybe writing one.",
"INT. ROBERT E. LEE HOTEL - LOBBY - SAME TIME Hilly and William finish shaking hands with the Lieutenant Governor. As he walks away, Hilly shouts out. HILLY We'd love your support on election day! Celia and Johnny walk up. Hilly stiffens. JOHNNY Hilly, you look lovely tonight. HILLY Thank you, Johnny. JOHNNY William, have you ever met Celia? William steps forward and shakes Celia's hand. WILLIAM Nice to meet you. Hilly grabs the crook of William's arm. HILLY Sweetie, we need to go order our dinners. Celia musters up all the courage inside her. CELIA FOOTE Hilly, did you ever get the messages that I've been calling you? HILLY I did not. CELIA FOOTE Well, I would love to help with the benefit. I have a lovely hand if you need invitations addressed. HILLY `` Save the dates'' were mailed weeks ago. You did n't get one? Celia shakes her head. HILLY -LRB- CONT'D. -RRB- Mail's a lot slower way out there in the country, huh? HILLY -LRB- CONT'D. -RRB- -LRB- TO WILLIAM. -RRB- Now, come on, before they run out of Trout Almondine. Hilly pulls William away. Johnny grabs Celia's hand.",
"INT. ROBERT E. LEE HOTEL - DINING ROOM - CONTINUOUS STUART Sounds like a ploy to find a husband. becoming an expert on keeping house. SKEETER Well, you must be a genius. You figured out my whole scheme. Skeeter fumes as Hilly and William return and sit. HILLY What'd we miss? STUART Is n't that what you women from Ole Miss major in? Professional husband hunting? SKEETER I'm sorry, but were you dropped on your head as an infant? Stuart blinks and then smiles, somewhat impressed. Desperate to change the subject, Hilly claps her hands. HILLY Who? Is? Hungry? Skeeter stands. SKEETER Not me! A kiss from God could n't turn this ` frog' into a ` prince.' Tables begin to stare. STUART Or you a ` princess,' Sweetheart! As Skeeter walks away, she purposefully slides her purse into a glass of water, knocking it over into Stuart's lap.",
"INT. HOLBROOK HOUSE - DINING ROOM - MORNING Hilly and William each have a section of newspaper in their face as Yule May clears breakfast dishes. Yule May lingers nervously. HILLY Run on, now, Yule May. Got a big crowd coming for Miss Leefolt's baby shower. YULE MAY Miss Hilly, I would like to ask you and Mister William something. Hilly lowers her paper and nods. Yule May begins wrenching her hands. YULE MAY -LRB- CONT'D. -RRB- My twin boys finished high school, both on the honor roll. My husband and I have been saving for years to send them to college. HILLY Okay. Only now does William lower his paper. YULE MAY We are short seventy - five dollars on one of the tuitions. William stands up, kisses Hilly on the cheek. WILLIAM Well, I'm late. Got ta go. William leaves. HILLY Go on. YULE MAY Now. We're faced with having to choose. Which son gets to go. if we do n't find all the money. Hilly draws in a deep breath as does Yule May. YULE MAY -LRB- CONT'D. -RRB- Would you consider givin' us a loan? I'll. I'll work for free until it's paid off. HILLY That's not working for free, Yule May. That's paying off a debt. YULE MAY Yes, ma'am. HILLY As a Christian, I'm going to do you a favor. Yule May's eyes widen as a hopeful smile forms. HILLY -LRB- CONT'D. -RRB- God does n't give charity to those who are well and able. You need to come up with this money on your own. You'll thank me one day. Hilly raises the paper up to her face as Yule May exits.",
"INT. WHITE GROCERY STORE - LATER THAT MORNING Minny and Aibileen, in uniform, push carts side by side in the grocery store. The white shoppers are dressed casually. Other maids in the store -LRB- all required to be in uniform while shopping -RRB- keep quietly to themselves. White women smile and chat with one another as they meander down the aisles as if the black maids are n't even there. Minny suddenly spots Celia in the produce section. She pulls Aibileen close as they peer around the corner. MINNY That's her. Aibileen's mouth drops open at the sight of Celia's shorts and tight sweater. Celia is having trouble selecting produce. MINNY -LRB- CONT'D. -RRB- Lord, she's trying to shop. Celia walks up to a maid, grabs her, and pulls her to the tomatoes. The maid, clearly uncomfortable, selects a tomato, hands it to Celia, and scurries away. CELIA -LRB- SHOUTS OUT. -RRB- Thanks, Doll! MINNY Miss Celia just do n't see'em. The lines. Not between us, Miss Hilly, nobody. Aibileen just nods. MINNY -LRB- CONT'D. -RRB- What you so quiet for? I know you got a opinion ` bout all this. AIBILEEN You gone accuse me a philosophizing. MINNY I ai n't afraid a no philosophy. AIBILEEN I do n't believe in lines anymore. Lines is in our heads'cause people like Miss Hilly try to make us believe they there. Celia squeezes a canteloupe with another scared maid. MINNY Oh, they there. I know. I get punished for crossing them.",
"EXT. BUS STOP - MOMENTS LATER Aibileen and Minny continue their conversation while waiting with several other maids at a bus stop in front of the store. AIBILEEN Lotta of folk think if you talk back to your husband, you crossed a line. need to be punished. MINNY You know I ai n't studying no line like that. AIBILEEN Cause it ai n't there. ` Cept in Leroy's head. Lines between black and white ai n't there either. Minny and Aibileen watch as Celia exits the store with her groceries and prances toward her car. MINNY So, I ai n't crossing no line if I tell Miss Celia she ai n't good enough for Miss Hilly? Tell her she ai n't in Miss Hilly's league? AIBILEEN All I'm saying is kindness do n't have no boundaries. Just then, MYRLIE EVERS, 30, -LRB- Medgar Evers wife -RRB- approaches the bus stop with her three Children. SONS, 10 and 3, and a DAUGHTER, 8. Aibileen and Minny nod as the Evers walk past and sit on a bench. AIBILEEN -LRB- CONT'D. -RRB- Law, the Evers children have gotten so big! MINNY -LRB- QUIETLY. -RRB- Cause they happy. Myrlie got her a good man. And you better not try to say they ai n't no line between her Medgar and my Leroy. AIBILEEN No. You got me. A bus pulls up and the doors open. Minny, Aibileen and the other maids step aside to let the Evers family board first.",
"EXT. HOLBROOK HOUSE - BACK YARD - LATER THAT DAY Aibileen has come along to aid Yule May with Elizabeth's baby shower. A table is set in the middle of the yard covered in white linens and Hilly's best sliver. Hilly's son sits on her lap. The other girls' children wear bathing suits jumping noisily in and out of two plastic kiddy pools. Yule May clears cake plates while Aibileen removes crumbs with a sterling crumb scraper. Mae Mobley wanders up to the table. Her belly almost looks distended crammed inside last year's one piece. MAE MOBLEY Mae Mo hungry, Momma. Elizabeth turns to Mae Mobley but never gets up. ELIZABETH She's always hungry. All the women laugh except for Skeeter. SKEETER You know she can hear you, Elizabeth? Elizabeth looks down to her plate. Aibileen sets down the scraper and kneels down to Mae Mobley. AIBILEEN I'm on cut you some cake, Baby. ELIZABETH Aibileen, we gave that scraper to Hilly and William for their wedding present. Chantilly! AIBILEEN It so pretty. Hilly begins bouncing William Jr. on her knee. HILLY Aibileen, are you enjoying your new bathroom over at Elizabeth's? Hilly nods with a tight smile and glances to the ground at Skeeter's red satchel. HILLY -LRB- CONT'D. -RRB- Nice to have your own, is n't it? AIBILEEN Yes, ma'am. HILLY Separate but equal. That's what Ross Barnett says, and you ca n't argue with the Governor. SKEETER Not in Mississippi. Birthplace of modern day government. Hilly narrows her eyes at Skeeter and turns to Aibileen. HILLY Aibileen, did you know that me and Mister Holbrook arranged for that bathroom? Sent the boys over and the equipment, too. Hilly stays on Aibileen, waiting for her to say something. Skeeter fumes, hoping Aibileen does n't say it. AIBILEEN Yes, ma'am. And I thank you. Hilly smiles and nods. HILLY Well. You. Are. Welcome. Hilly shoots Skeeter a last look. William Jr. leans into Hilly and hugs her. AIBILEEN -LRB- V.O. -RRB- One thing I got to say about Miss Hilly, she love her children. Always tellin' them they smart and beautiful. Ca n't go more than ten minutes without givin' one a kiss. Hilly kisses her son gently. AIBILEEN -LRB- V.O. ; CONT'D. -RRB- And, law, do they love her back. When she starts up on me, I just try and think a my sweet Treelore and how much he loved me. That kind a love makes me cry. Even when it going to Miss Hilly. Hilly again glances to the red satchel, staring quizzically at the worn booklet of The Jim Crow laws sticking out.",
"INT. HOLBROOK HOUSE - KITCHEN - LATER THAT DAY Yule May washes dishes as the women are heard saying their `` good - byes'' on the street. Skeeter slips into the kitchen. YULE MAY May I get you something? SKEETER No, thanks. -LRB- HUSHED. -RRB- Yule May, I wanted to talk to you. Yule May turns off the sink faucet making sure Hilly is still cackling out on the street. YULE MAY I know what you want to ask, Miss Skeeter. Aibileen and Minny already did. Yule May closes the kitchen door. YULE MAY -LRB- CONT'D. -RRB- I'm trying to get my boys off to college. It's worthwhile what y' all doing, but my boys are worth more. SKEETER I understand. HILLY -LRB- O.C. -RRB- What do you `` understand,'' Skeeter? Skeeter and Yule May turn to find Hilly standing in the swinging door leading into the dining room. SKEETER Ah. Yule May was just telling me how excited she was that her boys were going to go to college. HILLY Is that true, Yule May? YULE MAY Yes, Ma'am. Skeeter notices that Hilly is holding the booklet of Jim Crow laws in her hand. HILLY Did you also ask Miss Skeeter if you could borrow money? SKEETER Of course not, Hilly! Hilly approaches Skeeter. HILLY Skeeter, I'm starting to think you're intentionally not putting my initiative in the newsletter. Eyes down, Yule May hurries out of the kitchen. SKEETER Not at all. I'm just so busy right now with Mom. HILLY Skeeter. I'm sorry about your mother. And I know you must be so worried. Hilly holds up the Jim Crow booklet. HILLY -LRB- CONT'D. -RRB- But I'm worried about you. All this carrying on lately and now you're reading this stuff? SKEETER My dad had me get that for him. HILLY I mean, around your friends is one thing. But, believe it or not, there are real racists in this town! If the wrong person caught you with this. you'd be in serious trouble. Skeeter snatches the booklet from Hilly. SKEETER Thanks, Hilly! And thanks for going through my things.",
"INT. PHELAN PLANTATION - SKEETER'S BEDROOM - NEXT DAY Skeeter types feverishly while smoking a cigarette. Keys type out : `` Home Help Sanitation Initiative.'' Skeeter picks up Hilly's document and shakes her head. She types : Do n't risk your children's and family's health!",
"INT. HOLBROOK HOUSE - LIVING ROOM - DAY Yule May vacuums. She pulls the sofa away from the wall to clean beneath it. Noticing something on the floor, Yule May leans over. She rises holding a SMALL RUBY RING. Years of dust and hair blanket the pitiful gem set in ten karat gold. The vacuum seems to roar louder now. Yule May breathes heavily. She shoves the ring into her uniform pocket.",
"INT. PHELEN PLANTATION - SKEETER'S BEDROOM - THAT AFTERNOON As Skeeter bangs away on her typewriter, Charlotte bursts into the room, stuck somewhere between panic and joy. CHARLOTTE Skeeter! SKEETER What?! CHARLOTTE Do n't panic, but there's a very tall man named Stuart here for you. SKEETER He's a drunken asshole, Mother. You would n't like him. Charlotte pulls a sun dress out of Skeeter's closet. CHARLOTTE Skeeter, love and hate are two horns on the same goat. And, you need a goat!",
"INT. PHELAN PLANTATION - LIVING ROOM - MOMENTS LATER Skeeter, Charlotte and Stuart sit in the living room. Pascagoula serves finger sandwiches. Stuart looks nice in khaki pants, a blue blazer and a red tie. His nose is pink from working in the sun. No one says a word. Finally. CHARLOTTE Stuart, would you like a cocktail? Skeeter shoots her mother a `` What the.'' look. STUART No, Ma'am. Little too early. SKEETER Ha! Charlotte moves on. CHARLOTTE What's your last name, Stuart? STUART Whitworth. CHARLOTTE Hmm. Where are you from? STUART Natchez. CHARLOTTE Really? Well, I know a Whitworth from Natchez. But he's a Senator up in Washington. STUART Yes, Ma'am. That's my daddy. CHARLOTTE Who is? STUART Senator Whitworth. That's my father. Charlotte's jaw drops to her string of pearls. CHARLOTTE Really? Stuart nods. Charlotte stands, flustered yet joyful. CHARLOTTE -LRB- CONT'D. -RRB- Well. tell him I said `` Hello''. I'm going to go see if Pascagoula needs some help in the kitchen. Charlotte backs away behind Stuart's chair. She points at Skeeter violently, as if to say, DO N'T MESS THIS UP!",
"EXT. PHELAN PLANTATION - BACK YARD - MOMENTS LATER Skeeter and Stuart stand beneath an old Cypress tree as Charlotte peeps from an upstairs window. STUART Look. I know it was a few weeks back, but I came here to say I'm sorry for the way I acted. SKEETER Who sent you? William or Hilly? STUART Neither. I was rude, and I've been thinking about it a lot. SKEETER Well, I have n't. So, just go. STUART Now, look. I told Hilly I was n't ready to go out on any date. I was n't even close to ready. Stuart shoves his hands in his pockets like a boy. STUART -LRB- CONT'D. -RRB- I was engaged last year. She ended it. Skeeter refuses to pity him. STUART -LRB- CONT'D. -RRB- We'd been dating since we were fifteen. You know how it is. SKEETER Actually, I do n't. I've never dated anyone before. Stuart looks up and starts laughing loudly. STUART Well! That must be it then. SKEETER What? STUART I've never met a woman that said exactly what she was thinking. SKEETER I've got plenty to say. STUART Would you like to. come downtown with me and have dinner? We could talk. We could listen to each other this time. SKEETER I ca n't think of anything worse. Stuart looks down and nods. STUART Then, I'm sorry. That's what I came to say and. I said it. Stuart turns and walks towards his car, self - consciously weaving his strong fingers through his hair. Skeeter looks up to her mother's empty window and shouts out to Stuart. SKEETER Just give me a minute! Stuart turns. SKEETER -LRB- CONT'D. -RRB- Let me get my sweater.",
"INT. ROBERT E. LEE HOTEL - DINING ROOM - LATER THAT NIGHT Skeeter and Stuart sit closely as the same waiter as before approaches. STUART What do you want, Skeeter? SKEETER I'll have a Co - cola. Lots of ice. STUART No, I mean in life. What do you want? Only now does Skeeter notice the tray of champagne the waiter is holding. Stuart nods as two glasses are set before them. The waiter leaves. SKEETER I want to be a journalist. Maybe a novelist. Maybe both. STUART I like that. I've been thinking about you. You're smart, you're pretty, you're. tall! SKEETER Pretty? STUART Yes. And I read your column. Very informative. -LRB- SMILING. -RRB- I never knew Crisco got rid of diaper rash. Skeeter laughs and slaps him playfully. STUART -LRB- CONT'D. -RRB- I hope you get to write something really good, Skeeter. Something you believe in. Stuart suddenly leans over and kisses Skeeter.",
"EXT. DRIVE-IN-MOVIE - ONE WEEK LATER Stuart and Skeeter make out HARD in the back of the Holbrook's convertible. Hilly and William sit in the front. Hilly peers into the rearview mirror to get a better view. Proud of herself, she pats William's leg. William slides his hand up Hilly's leg. She jerks it away.",
"EXT. LEEFOLT HOME - KITCHEN - DAY Aibileen sits on the kitchen floor next to a bucket. She feverishly scours grease off the baseboards. Elizabeth's car pulls up. Aibileen smiles. AIBILEEN Baby girl home. The car door slams shut. ELIZABETH -LRB- O.C. -RRB- Aibileen! My trunk's full! Aibileen rises slowly, placing a hand on her knee. Outside, Elizabeth suddenly shouts out hysterically. ELIZABETH -LRB- O.C. ; CONT'D. -RRB- Mae Mobley! No! Stop! Aibileen panics. She gets up, looks out the window.",
"INT. LEEFOLT BACKYARD - SAME TIME Mae Mobley sits on Aibileen's toilet in the garage. Door wide open, pants around her ankles. MAE MOBLEY Me and Aibiee bafroom, Momma. Elizabeth runs over and yanks Mae Mobley off, popping her hard on the behind. ELIZABETH It! Is! Not! Mae Mobley begins to cry. Aibileen watches as Elizabeth hiss - whispers and yanks Mae Mobley hard on the arm. ELIZABETH -LRB- CONT'D. -RRB- This is dirty out here! You'll catch diseases. Elizabeth punctuates with three more slaps to her legs. ELIZABETH -LRB- CONT'D. -RRB- No! No! No!",
"INT. LEEFOLT HOME - LIVING ROOM - MOMENTS LATER Aibileen sits on the couch with Mae Mobley who eats a cookie. Mae Mobley's face is red and damp. AIBILEEN I'm here, baby girl. Aibee's here. Aibileen kisses her on the cheek. AIBILEEN -LRB- CONT'D. -RRB- You is kind. You is smart. You is important. You want me to tell you one a our secret stories? Mae Mobley nods. The phone rings. Aibileen rises. ELIZABETH -LRB- O.C. -RRB- I got it! Aibileen sits back down and leans into Mae Mobley. AIBILEEN One day this wise Martian come down to Earth to teach us people a thing or two. MAE MOBLEY Martian? How big? AIBILEEN Oh, he about six - two. MAE MOBLEY What's his name? AIBILEEN Martian Luther King. MAE MOBLEY What did he look like? AIBILEEN Looked just like us, nose, mouth, hair on his head. But, sometimes people looked at him funny and were just downright mean to him. MAE MOBLEY Why Aibee? Why was they so mean? AIBILEEN'Cause he was green. Elizabeth suddenly barges into the living room. ELIZABETH Aibileen! Come on! We have to go help Hilly. Now! Come on! Elizabeth runs outside. Aibileen grabs Mae Mobley.",
"EXT. HOLBROOK HOUSE - MOMENTS LATER Elizabeth wobbles briskly up the street holding her pregnant belly. Aibileen and Mae Mobley follow. A stream of people walk toward them, laughing. They round a corner to see FIFTY OLD TOILETS, in every shape and color imaginable, littering Hilly's lawn. Some have towering tanks with chain pulls at the top, providing amusement to the procession of cars driving by. The Holbrook's station wagon sits in the driveway, doors still open with LUGGAGE tied to the roof. Two OLD BLACK MEN struggle to remove a toilet under William's supervision. Aibileen hides her smile. Mae Mobley points. MAE MOBLEY Look! Look, Aibee. Hilly flies out of her house as a REPORTER snaps a picture of her. HILLY Get out of here! Hilly pushes him in the bushes and runs up to Elizabeth. HILLY -LRB- CONT'D. -RRB- Skeeter! She put it in the newsletter. I specifically said old coats are to be dropped at my house. Not commodes! Hilly faces the toilets again and screams. HILLY -LRB- CONT'D. -RRB- She put it in the newsletter when she knew we'd be down at the beach. Hilly steps up to Aibileen and points to the old men. HILLY -LRB- CONT'D. -RRB- Go help those boys GET THOSE TOILETS OFF MY LAWN!",
"INT. BUS - LATER THAT NIGHT Aibileen rides in the back of a bus with a YOUNG BLACK MAN. Two white men sit right behind the white driver. The bus slows to a stop in the middle of the road. In the distance, blue lights flash in front of a road block. A few people gather. DRIVER Y' all stay put. Let me find out what's going on. As the driver gets up, a WLBT - TV news truck whizzes by followed by a police motorcycle. Aibileen leans in the aisle and looks ahead. The driver returns. The young black man speaks up. YOUNG BLACK MAN What happen up there, Mister? DRIVER Colored people off. White people lem me know where y' all are going. I'll get you as close as I can. As the young black man helps Aibileen down the aisle, a white passenger taps the driver on the shoulder. WHITE PASSENGER What's going on? Aibileen and the young man walk down the stairs. DRIVER I do n't know. Some nigger got shot. Where you headed? The bus door shuts and the driver backs away.",
"EXT. STREET - MINUTES LATER Aibileen and the young man walk along a dark street. The sound of cicadas and sirens fill the air. YOUNG BLACK MAN You all right? You close to home? AIBILEEN I be all right. My house is seven blocks from here. YOUNG BLACK MAN Want me to walk you? AIBILEEN Naw, thank ya. I'll be fine. Law, I hope this ai n't as bad as - Aibileen turns to discover the young man is gone. She stares into the darkness. Scared, she begins to run. She cuts through a yard and trips over a hedge. She falls hard to her knees. Terrified, Aibileen begins to sob. She sees Minny's porch light and pulls herself up.",
"INT. MINNY'S HOUSE - KITCHEN - SECONDS LATER Minny sits with all five of her children, Sugar, LEROY JR, 12, KINDRA, 10, FELICIA, 6, and BENNY, 4. They all listen anxiously to a radio on the table. Aibileen opens the screen door and falls to the floor. Minny jumps up to help her. She sees blood and grass stains streaking the knees of Aibileen's panty hose. MINNY Aibileen! You okay? Aibileen nods, trying to compose herself. RADIO ANNOUNCER -LRB- O.S. -RRB- Almost ten years serving as the Field Secretary for the NAACP. Medgar Evers is dead. Aibileen swallows hard. MINNY KKK shot him! Hour ago. Right in front a his children, Aibileen. AIBILEEN We gone pray for the Evers. We gone pray for Myrlie. Minny raises her fists. MINNY We living in hell! We trapped. Our kids is trapped. Minny turns to Sugar. MINNY -LRB- CONT'D. -RRB- Take your brother and sister and go get in my bed. Stay there! Sugar leads the kids to the back of the house. MINNY -LRB- CONT'D. -RRB- What they gone do to us if they catch us with Miss Skeeter? AIBILEEN We gone be careful. MINNY Hitch us to a pickup and drag us behind? Shoot me front a my kids? AIBILEEN We ai n't doing civil rights with Miss Skeeter. We just tellin' stories like they really happen. Minny and Aibileen grab hands and squeeze hard. MINNY You a fool, old woman. A fool! Aibileen hugs Minny. MINNY -LRB- CONT'D. -RRB- I ca n't believe I'm on say this. But, I actually wish Leroy was home right now. Aibileen and Minny laugh a little through the tears.",
"INT. HARPER AND ROW PUBLISHING - OFFICE - NEW YORK Elaine Stein sits at her desk flipping through the New York Times. She notices something, actually laughs. A picture shows Hilly standing among the fifty toilets in her front yard. A caption reads : `` Come on by, have a seat!'' Home of William and Hilly Holbrook, Jackson, Mississippi.",
"EXT. OFFSHORE OIL RIG - DAY Stuart, on the deck of an offshore oil rig, laughs as he looks at Hilly's picture inside a local newspaper. He writes on the back of a postcard addressed to Skeeter : I guess you potty trained Hilly! Much love, Stuart.",
"EXT. JUNIOR LEAGUE - PARKING LOT - THREE DAYS LATER Skeeter parks and gets out of her car. She suddenly finds herself face to face with Hilly. HILLY You are sick. Do not speak to me. Do not look at me. Do n't say hello to my children. How long had you been planning to humiliate my family? SKEETER That's not it, Hilly. HILLY You thought you were so clever, did n't ya? But I've already installed three of those old toilets in people's garages. SKEETER Technically, it was a typo, Hilly. HILLY I intend to tell Stuart he's ruining his reputation by associating with you. Jolene's yard boy saw you hanging around the colored bus stop. SKEETER I was n't hanging - HILLY I guess your car was in the shop? Skeeter looks away. HILLY -LRB- CONT'D. -RRB- You know as well as I do, people wo n't buy so much as a slice of pound cake from an organization that harbors racial integrationists! Skeeter steps forward. SKEETER Hilly, just who is that pound cake money being raised for, anyway? Hilly rolls her eyes. HILLY `` The Starving Children of Africa.'' Skeeter nods and walks away. Hilly shouts out. HILLY -LRB- CONT'D. -RRB- Just so you know, Lou Ann Templeton has taken your seat at bridge club.",
"INT. FOOTE ESTATE - LIVING ROOM - MORNING Minny walks in, notices it's eerily quiet. MINNY Miss Celia?",
"INT. FOOTE ESTATE - BEDROOM - MOMENTS LATER Minny walks into Celia's bedroom. MINNY Miss Celia, you in here? Minny hears running water and muffled crying behind the bathroom door. She presses her ear to the door. MINNY -LRB- CONT'D. -RRB- Hello? You sick? Minny twists the knob. It's locked. CELIA -LRB- O.C. -RRB- I'm fine. Minny. Go on home for the day. MINNY You mess up your hair coloring again? I helped you fix it last time, got it back real pretty. Celia yells at Minny for the very first time. CELIA -LRB- O.C. -RRB- I said go home, Minny! Minny sees water creeping out from under the door. She steps back and charges, shoulder first.",
"INT. FOOTE ESTATE - BATHROOM - CONTINUOUS The bathroom door bursts open with splinters of wood. Minny slips in a pool of watered down blood. Celia sits against the wall in a bloody nightgown. MINNY Miss Celia! Celia aimlessly moves the blood around with a wash cloth. CELIA There's so much blood. Why is there so much blood this time? Minny crawls over, peers into the toilet bowl and gags. CELIA -LRB- CONT'D. -RRB- Please, Minny. Will you get it out? I ca n't look at it again. Shaken, Minny reaches for a trash can. She puts her hand on Celia's neck and pushes it down. MINNY Keep your head down.",
"INT. FOOTE ESTATE- BEDROOM - LATER THAT DAY Celia lies in bed while Minny presses a cool rag to her forehead. Celia stares out of her bedroom window. CELIA'S POV: The two rosebushes stand in the middle of the front lawn. A DOCTOR enters the room. DOCTOR Give her another pill if she gets too agitated. There'll be more bleeding, but do n't call me unless it's heavy. Minny nods as the doctor leaves. CELIA We got married because I was pregnant. But it slipped out too. MINNY That's just God's way. Next one's gon na catch. CELIA Johnny wants kids now. I thought if I was real still, brought somebody in to do the house and cooking, maybe I'd hold on to this one. Oh, Minny, what's he gon na do with me? MINNY He gone have to get over this. He needs to know this takes time. CELIA He does n't know about this one, or the one before. Minny turns to Celia, stunned by this revelation. CELIA FOOTE Minny, you know how to play bridge, do n't you? Minny nods. MINNY Yes, ma'am. I used to help Missus Walters practice.",
"INT. LEEFOLT HOME - KITCHEN - MORNING Aibileen holds a plate of grits covered in toasted marshmallows, strawberries and three lighted candles. AIBILEEN Happy Birthday! Mae Mobley two today! Mae Mobley laughs as Aibileen sets down the grits. MAE MOBLEY Mae Mobley three! AIBILEEN You sure is, Baby Girl. Blow'em out ` fo they run up in your grits. Mae Mobley blows out the candles. MAE MOBLEY How old are you, Aibiee? AIBILEEN Fifty - three. MAE MOBLEY Do you get burfdays? Mae Mobley picks up a candle and licks off the grits. AIBILEEN Gone be fifty - four next week. MAE MOBLEY Do you have some babies? AIBILEEN I gots seventeen of'em. MAE MOBLEY Where are the babies? AIBILEEN They all over town. MAE MOBLEY Aibee. You're my real mama. AIBILEEN Now, you know who your momma is. MAE MOBLEY I'm your real baby, Aibee. Those other ones are just pretend.",
"EXT. FOOTE ESTATE - FRONT YARD - EARLY MORNING Celia digs a hole next to the two existing rosebushes. A closed shoebox and new rosebush wait to be planted. Celia lowers the box in the grave, covering it with dirt.",
"INT. FOOTE ESTATE - LIVING ROOM - LATER THAT MORNING Celia and Minny sit at a card table holding playing cards. Two additional hands lay face up on the table in front of two empty chairs across from them. Minny lays down one of her cards then looks over to Celia's hand. She removes a card from Celia's and lays it down. She then points to the hand next to Celia. Celia nods.",
"INT. JUNIOR LEAGUE - MEETING HALL - DAY Hilly stands at her podium, tan and ready to lead. She holds her gavel like a weapon. HILLY Okay. First order of business. We're updating our newsletter. Hilly stares right at Skeeter who sits alone in the back. HILLY -LRB- CONT'D. -RRB- We're adding a fashion column with all the latest trends. Your dresses better be cute at next week's benefit! The women applaud and tap each other on their thighs. HILLY -LRB- CONT'D. -RRB- Now it's time to choose a new editor for our new modern monthly. Skeeter braces herself as hands pop up everywhere. Jolene French stands. JOLENE FRENCH I nominate Hilly Holbrook. Jolene looks back and snarls at Skeeter. HILLY Jolene, you're the sweetest thing! OTHER MEMBERS I second. I third. All in favor of Hilly, say `` Aye.'' The room erupts. MEMBERS Aye! Skeeter's ousting took less than ten seconds. Elizabeth secretly turns to Skeeter from a few rows ahead. ELIZABETH -LRB- MOUTHING. -RRB- I'm so sorry.",
"EXT. PHELAN PLANTATION - FRONT PORCH - MORNING Skeeter sits alone on the porch swing in her nightgown, shifting through the Miss Myrna letters. Charlotte steps onto the porch. CHARLOTTE Honey, would you like me to drop you off at bridge club on the way to my doctor's appointment? SKEETER -LRB- COVERING. -RRB- No, Ma'am. It's been cancelled. Mae Mobley's sick or something.",
"INT. LEEFOLT HOME - LIVING ROOM - LATER THAT DAY Bridge is underway at the Leefolt house. Aibileen enters holding a tray of coffee cups. Elizabeth, Hilly, Jolene and several other girls giggle as they kneel down behind furniture. AIBILEEN Everything okay? Elizabeth looks back. Her belly is huge. ELIZABETH Shhh! There's a knock at door. CELIA -LRB- O.C. -RRB- Elizabeth, it's me, Celia Foote. I was in the neighborhood and thought I'd drop by. The girls giggle more loudly now. Celia peers into the living room window. The bridge tables are in plain view. Celia's face grows pinker than her sweater. CELIA -LRB- CONT'D. -RRB- I. brought you a chocolate pie. My maid, Minny, made it. Hilly's face hardens.",
"INT. FOOTE ESTATE - KITCHEN - DAY Minny stands at the sink shelling peas. A distinct red cut is perched above her swollen eye. Celia sits at the kitchen table halfway through the pie. CELIA They made me stand there like the vacuum man. Why, Minny? Minny freezes, keeping her face on the peas. MINNY Because they know about you getting knocked up by Mister Johnny. They mad you married one a they mens. Especially since Mister Johnny and Miss Hilly had just broke up, too. CELIA So, Hilly probably thinks I was fooling around with Johnny while they were still going steady. MINNY Missus Walters says Miss Hilly still sweet on Mister Johnny, too. Celia suddenly slaps her thigh with excitement. CELIA No wonder! They do n't hate me. They hate what they think I did! MINNY They hate you cause they think you're white trash! And do n't be takin' pies to those women! CELIA Well, I'm just going to have to let Hilly know I'm not a boyfriend stealer. In fact, I'll tell her Friday night at the benefit. Celia rises and smiles like she just cured cancer. MINNY Now, Miss Celia. please do n't be going to that benefit. Celia gets some ice out of the fridge. MINNY -LRB- CONT'D. -RRB- Did you hear what I said? Celia places the ice in a towel and approaches Minny. She looks at the cut above her eye. MINNY -LRB- CONT'D. -RRB- What are you doing? CELIA That looks bad. MINNY I got to get my work done. CELIA I know you did n't fall in the tub, Minny. Let me take a look. Celia grabs Minny's hand. Minny pulls away. Just then Johnny pulls up in the driveway. Celia and Minny turn to the window, then spring into action.",
"INT. FOOTE ESTATE - BATHROOM - MOMENTS LATER Minny sits crouched on the lid of the guest bath toilet as Johnny chases Celia around the house. Celia giggles. JOHNNY -LRB- O.C. -RRB- Come here, Sexy! CELIA -LRB- O.C. -RRB- Johnny, you are bad! Bad! Bad! Minny looks at the ridiculous image of herself crouching on the toilet in the bathroom mirror. She raises Celia's ice rag up to her swollen eye.",
"INT. AIBILEEN'S HOUSE - KITCHEN - NEXT AFTERNOON Skeeter enters quietly through Aibileen's kitchen door. She is surprised to see twenty other black women standing solemnly around the kitchen and the living room. Aibileen approaches with a worried look. SKEETER What's wrong? AIBILEEN Yule May in prison, Miss Skeeter. Gone be there four years. Minny shouts out across the kitchen. MINNY Hilly Holbrook been sent from the devil to ruirn all our lives.",
"INT. HOLBROOK HOME (FLASHBACK) - LIVING ROOM - DAY Hilly and the usual suspects play bridge at Hilly's house. Aibileen pours coffee an earshot away. HILLY Please! A nigra walks in a pawn shop with a ring of such size and clarity. It took'em all of five minutes to figure out where she worked. Hilly leads the girls' nods of acknowledgement. HILLY -LRB- CONT'D. -RRB- I knew that girl was a thief the day she started.",
"INT. AIBILEEN'S HOUSE - KITCHEN - MOMENTS LATER As Minny wipes her nose with her sleeve, Skeeter approaches. SKEETER I'll ask daddy to get her a good lawyer. MINNY She had a lawyer. A white lawyer! But Miss Hilly friends with the judge's wife. Whole thing took two days. Arrested on Tuesday, in the state pen by Wednesday. AIBILEEN The church gone send them boys to college. Gone pass the plate'til they graduate. The women part, making way as Aibileen leads Skeeter to a seat at the kitchen table. PEARLY, 58, sits next to Skeeter and touches her arm. PEARLY I'm on help with your stories. Another WOMAN walks over. BLACK WOMAN I'm on help too. Another woman speaks from the living room. BLACK WOMAN 2 We all are. Women of all ages slowly rise up and nod their heads. Skeeter looks around in awe. SKEETER Thank you. I do n't know what to - MINNY -LRB- STERNLY. -RRB- They doing this for Yule May.",
"INT. AIBILEEN'S HOUSE - KITCHEN - MOMENTS LATER Skeeter sits and writes as Pearly begins the interviews. PEARLY Been there thirty - eight years and Miss Margaret still makes me put my hair up in a rag. Say she know coloreds do n't wash theys hair. But, I love her. She love me too. DISSOLVE TO: CORA, 70. CORA I had been workin' for Miss Jolene's mother up'til she died. Then her daughter, Miss Nancy, asked me to come work for her. Miss Nancy a real sweet lady. CORA -LRB- CONT'D. -RRB- But her momma left it in the will that I had to work for her daughter, Miss Jolene. Miss Jolene a mean woman. Mean for sport. I tried to get another job, but in everbody mind, the French family and Miss Jolene owned me. DISSOLVE TO: CALLIE, 60, takes off her glasses and wipes her eyes. CALLIE I used to take a shortcut ever day to work at Doctor Dixon's house. Cut through this farmer's lower forty to get there. One day, that farmer was waitin' on me with a gun, said he'd shoot me dead if I walk on his land again. Doctor Dixon went and paid that farmer double for two a those acres. Told him he ` bout to start farmin' too. But he bought it just for me. So I could get to work easy. He did. Skeeter closes her eyes for moment. When she opens them she sees A VISION OF CONSTANTINE STANDING BEFORE HER. Constantine smiles and grabs Skeeter's hand. She presses her thumb firmly in her palm. When Skeeter blinks again, the vision is gone. Standing in place of Constantine is GRETCHEN, 26. GRETCHEN All these colored women have been real nice, have n't they? SKEETER Yes. Very nice. GRETCHEN Well, they hate you. You know this? Every little thing about you. But you're so dumb, you think you're doing them a favor. Skeeter and the other maids are taken aback. SKEETER You do n't have to do this. GRETCHEN You know the nicest thing a white woman's ever done for me? Gave me the heel of her bread. These women are playing a trick on you. They'll never tell you the truth! SKEETER You do n't know what they've said. GRETCHEN Say it, lady, say the word you think every time one us stands in front of you. Nigger. Aibileen crosses over to Gretchen. AIBILEEN That's enough, Gretchen. GRETCHEN You just as dumb as she is. AIBILEEN Get out a my house!",
"INT. AIBILEEN'S HOUSE - LIVING ROOM - DAY Aibileen sits with Skeeter on the sofa reading and answering Miss Myrna letters. Aibileen is dressed very nicely. Several flower arrangements are placed around the room. An unwrapped present rests on the coffee table. AIBILEEN Tell her to pour vinegar in her trash cans. Then them dogs will stay away. As Skeeter writes this down, someone walks onto Aibileen's front porch. Skeeter becomes worried. Aibileen looks to a wall clock and smiles. About a dozen letters and cards fall into a basket under the mail slot. Aibileen jumps up and starts sorting through the cards. AIBILEEN -LRB- CONT'D. -RRB- Today my birthday, Miss Skeeter. SKEETER Well, happy birthday, Aibileen. You should have told me. AIBILEEN And, from all over the county, my babies find they way home. Aibileen stops on one card in particular. She sits back down next to Skeeter. AIBILEEN -LRB- CONT'D. -RRB- Some even from overseas. Alton Spears lives in Paris now. Married him a real pretty French girl. Got five kids, too. they's my grandbabies. Aibileen opens the card to find a twenty dollar bill inside along with a picture of the Spears family. Aibileen reads the card aloud. AIBILEEN -LRB- CONT'D. -RRB- I still do n't drink coffee. Happy Birthday. Love Alton. Aibileen laughs and raises her hand to her mouth. Skeeter is touched. The doorbell rings. Aibileen jumps up and opens the door. A delivery man greets her with two more vases of flowers. Aibileen looks out to the street where a white woman gets out of her car with a huge country ham. Two little girls in matching dresses jump out behind her. The woman sees Aibileen on the porch and waves. Aibileen waves back and smiles. Catching it all, the moment soon grows bittersweet for Skeeter. She wipes her eye.",
"INT. PHELAN PLANTATION - SKEETER'S BEDROOM - 3 WEEKS LATER Morning light shines into Skeeter's room. Stuart has returned from the rig. Fully clothed, he and Skeeter sleep on Skeeter's bed. Charlotte shouts Skeeter's name from down the hall. CHARLOTTE -LRB- O.C. -RRB- Eugenia?! Skeeter's eyes pop open. She's groggy and has n't fully realized the company lying next to her. SKEETER What?! Stuart throws his arm over Skeeter. Reality sinks in. Skeeter rolls over to find Stuart, eyes shut, smiling. SKEETER -LRB- CONT'D. -RRB- Oh my God! Oh my God! When Stuart tries to get up, Skeeter flattens him reaches down and pulls the covers up over his entire body. SKEETER -LRB- CONT'D. -RRB- Do n't move a muscle! Skeeter props up on her side and faces the door making sure the covers hide that she's clothed. Charlotte enters and heads straight for Skeeter's closet. CHARLOTTE Morning, Sleepy Head. SKEETER Morning, Mom. Charlotte pulls out a dress and lays it on the bed, right on top of Stuart. CHARLOTTE I thought you could take me to the doctor this morning and then we could get some lunch afterwards. SKEETER Sure! Charlotte spies a LARGE TOE sticking out of the covers. It belongs to Stuart, but she assumes it's Skeeter's. CHARLOTTE -LRB- looking at toe. -RRB- Or. we could. go straight to Fanny Mae's for a girl day. SKEETER Great! I'll get dressed. CHARLOTTE When did Stuart leave last night? SKEETER Right after you went to bed. CHARLOTTE Well, I hope he knows he's welcome to stay in Carlton's old room. SKEETER I'm not really ready for that yet. CHARLOTTE `` Bird in the hand,'' Eugenia. Bird. In. The. Hand. Charlotte exits and shuts the door. STUART -LRB- under the covers. -RRB- Chirp. Chirp. Skeeter is mortified. Stuart sits up, grinning. SKEETER Oh my God! Stuart tries to kiss Skeeter. She resists. SKEETER -LRB- CONT'D. -RRB- My breath is horrible. STUART So is mine. Stuart embraces Skeeter and brings his lips close to hers. STUART -LRB- CONT'D. -RRB- I love you. SKEETER I love you, too. They kiss.",
"EXT. STREET - DOWNTOWN JACKSON - DAY A bank's clock shows twelve noon in downtown Jackson. It's eerily quiet, not a soul on the street. We hear archival footage of Walter Cronkite addressing the nation.",
"INT. FOOTE ESTATE - LIVING ROOM - SAME DAY Minny stands at the top of a tall step ladder vacuuming Oscar's head. Celia runs into the living room. Tears stream down her face. Minny turns to Celia. Cronkite tells the nation that John F. Kennedy is dead. Minny's eyes roll back in her head as she starts to faint. She grabs on to Oscar's body and slides down to the floor.",
"EXT. HOLBROOK HOUSE - SAME DAY Hilly sits with her son William playing on a blanket on the front lawn. A neighbor suddenly pulls up in his car stopping in front of Hilly. He leans out and tells Hilly the tragic news. In complete disbelief, Hilly puts her hand over her mouth. She then grabs William, pulls him in close as if he's somehow in danger.",
"EXT. BUS STOP - LATER THAT DAY Aibileen huddles with a dozen other maids in a circle. They're all crying. Some throw their hands in the air.",
"INT. PHELAN PLANTATION - LIVING ROOM - THREE DAYS LATER Skeeter and Stuart sit solemnly with the Phelan family watching Cronkite's coverage of the Kennedy funeral. Skeeter's dad wipes tears from his eyes. Stuart checks the time and leans into Skeeter's ear. STUART Honey, I'm sorry, but I have to get down to the coast. Skeeter nods as Stuart kisses her. STUART -LRB- CONT'D. -RRB- I'll be back in time for the benefit. Love you. SKEETER You, too. We hear Walter Cronkite's parting thoughts on JFK.",
"INT. AIBILEEN'S HOUSE - KITCHEN - LATER THAT NIGHT Minny, Skeeter and Aibileen sit quietly compiling stories. Aibileen and Minny look up to Aibileen's framed picture of John F. Kennedy. Aibileen grows anxious. She suddenly jumps out of her chair and paces around the kitchen. SKEETER Are you okay? AIBILEEN The world done gone crazy, Miss Skeeter! And I'm scared! What if folks find out what we writing? Figure out Niceville really Jackson, and figure out who who? SKEETER Aibileen. We've changed all the names. Aibileen snaps. AIBILEEN Y' all two gone sit there and tell me you one hundred percent without a doubt sure ` bout all this?! Skeeter looks away. MINNY No. So I been thinking. Maybe we need us some insurance. Skeeter look to Minny. MINNY -LRB- CONT'D. -RRB- I told God I'd never speak of it again. But we got no choice. It's time. Time to tell you both `` the terrible awful'' I did to Miss Hilly. It might be the only thing to protect us.",
"INT. HOLBROOK HOUSE (FLASHBACK) - KITCHEN - 6 MONTHS EARLIER We continue with the earlier flashback where Minny arrives at Hilly's with her famed chocolate pie. Hilly leads Minny into the kitchen, Missus Walters follows behind. Hilly slices a big piece and grabs a fork. She leans against the counter and takes a big bite. HILLY Nobody wanted to hire a sass - mouthing, thieving nigra, did they? Minny stands silent as Hilly finishes in three bites. HILLY -LRB- CONT'D. -RRB- Pie's as good as always, Minny. MINNY I'm glad you like it. Hilly cuts another piece for herself. HILLY If. I take you back, I'll have to cut your pay five dollars a week. Not expecting this, Minny leans away from Hilly. MINNY Take me back? Hilly takes an even bigger bite from the second slice. HILLY What do you put in here that makes it taste so good? MINNY That good vanilla from Mexico. Minny's eyes narrow over a forced smile. MINNY -LRB- CONT'D. -RRB- And. something else real special. Missus Walters grabs a plate and reaches for the pie. MINNY -LRB- CONT'D. -RRB- No, Missus Walters. That Miss Hilly's special pie. HILLY Momma can have a piece. Hilly slides the pie a little too fast down the counter toward Minny. Minny stops it before it falls to the floor. HILLY -LRB- CONT'D. -RRB- Cut her one. MINNY -LRB- IMMEDIATELY. -RRB- Eat my shit. Hilly calmly sets her plate down on the counter. HILLY What did you say? MINNY I said eat my shit! HILLY Have you lost your mind?! Minny moves toward Hilly. MINNY No. But you're about to,'cause you just did. Minny nods smugly as she looks down at Hilly's slice. HILLY Did what? Missus Walters immediately gets it. She bursts out laughing so hard she has to lower herself to the floor. MISSUS WALTERS Well, Hilly, that's what you get, I guess. And you did n't just eat one. You ate two slices! Hilly starts to hyperventilate as everything sinks in. As Minny leaves, Hilly runs to the sink and throws up.",
"INT. AIBILEEN'S HOUSE - KITCHEN - MOMENTS LATER Aibileen and Skeeter are speechless. AIBILEEN You trying to get yourself killed?! MINNY No! I never planned to tell her! I just wanted to see her take a bite and leave so I could be done with her. Forever! She was never supposed to ask me back. Minny eyes narrow. MINNY -LRB- CONT'D. -RRB- And, then for less pay! That got me even madder. And, then she went slid that pie at me. Oh lord! That was it! I just lost control, Aibileen. you know how I get, now. MINNY -LRB- CONT'D. -RRB- So, before I knew it, it just came on out my mouth. and I had tolt her what was in that pie. Aibileen looks to Skeeter shaking her head. Minny suddenly gets misty. She wipes her eyes. MINNY -LRB- CONT'D. -RRB- I've asked God to forgive me. But, more for what happened to poor Missus Walters. Miss Hilly threw her in that nursing home just for laughing. AIBILEEN -LRB- GRAVELY. -RRB- We ca n't put that story in the book. SKEETER It's too dangerous, Minny. MINNY We need insurance! Hilly Holbrook ca n't never let people know that pie story is about her. AIBILEEN Exactly! If people find out `` The Terrible Awful'' was you and Miss Hilly, then we in trouble. Trouble there ai n't words for! MINNY Right! But do n't you see? Miss Hilly gone go to her grave convincing people this book ai n't about Jackson. Then we safe, insured! Minny gets up and walks toward Aibileen. MINNY -LRB- CONT'D. -RRB- You brought me into this, and I'm on finish it! Either put it in or pull my parts out all together. Minny storms out of Aibileen's kitchen.",
"INT. HARPER ROW PUBLISHING/PANTRY (INTERCUT) - DAY Miss Stein talks to Skeeter on the phone. MISS STEIN The last editor's meeting is December 17th. If you want a chance of this getting read, I need it in my hands by then. SKEETER But that's in a week, Miss Stein! MISS STEIN Otherwise it goes in The Pile. You do n't want it in The Pile. SKEETER Yes, Ma'am. MISS STEIN And you must get a piece in about the domestic who raised you. It'll add something personal to it. Skeeter nods with frustration.",
"INT. ROBERT E. LEE HOTEL - BALLROOM - LATER THAT NIGHT The African Children's Benefit Ball is well underway. The energy and look of the two hundred attendees feel like a throwback to the women's suffrage movement. Many older women wear heavy long black skirts and jackets. Hilly wears swathes of maroon - colored taffeta. Ruffles clutch her throat. She stands next to Jolene French and a WLBT CAMERAMAN. Dressed to the nines, Jolene raises a microphone and looks into the camera. JOLENE This is Jolene French reporting from the African Children's Benefit Ball, and I'm here with League President Miss Hilly Holbrook. HILLY Thanks, Jolene. Three dozen servers stand in a line. Minny and Aibileen are among them. Tables are covered with items donated for the auction. On the baked goods table, Minny's famed chocolate pie promises to again be a big money maker. Celia and Johnny enter the ballroom. Celia wears a hideous, pink and silver sequined gown. As usual, Celia's breasts command attention. The room locks on Celia as specks of light bounce off her dress and jiggle across the ceiling. A TITILLATED OLD HUSBAND tips his martini onto his wife's shoe. OLD HUSBAND -LRB- a little too loudly. -RRB- Look at the jugs on that one! Other wives dig fingernails into husbands' arms. The man's wife responds louder. OLD WIFE Bosoms are for bedrooms and breast - feeding. Not occasions of dignity. Celia downs a glass of champagne and leans into Johnny. CELIA Do you think I might have overdressed a little? It's supposed to be formal, but this looks like a funeral. JOHNNY You look gorgeous. Minny pulls Aibileen aside and points to Celia. MINNY Look what she got on. Celia grabs more champagne from a passing server. AIBILEEN Lord have mercy. Ladies better hold onto they husbands tonight. Celia catches eyes with Minny. She smiles and nods quickly and then looks away, careful not to tip off Johnny of their relationship. MINNY -LRB- REGARDING JOHNNY. -RRB- And that's the man that do n't even know he's paying me. Skeeter enters with Stuart. She wears a long - sleeved black velvet dress and her hair is being somewhat cooperative. AIBILEEN There's Skeeter and that must be Stuart. He's handsome. Missus Walters?! Missus Walters enters wearing a floor - length blue beaded gown, circa 1943. A white orchid wilts at her clavicle. MINNY Hilly can throw her in a home, but she ca n't keep the taxis away.",
"INT. ROBERT E. LEE HOTEL - BALLROOM - LATER THAT NIGHT Celia approaches Elizabeth and Jolene who talk next to a punch bowl. Celia is now drinking some kind of pink drink with an umbrella sticking out of it. CELIA Well, hello, Elizabeth. ELIZABETH Hi. Elizabeth's homemade maternity ball gown resembles a velvet potato sack cinched with red ribbon. CELIA Those are lovely dresses. JOLENE Yours too. CELIA Really?! I was worried I was a tad overdressed. Jolene reaches out an pats Celia's shoulder. JOLENE Oh, no. You're just perfect. Elizabeth pulls Jolene away. Celia downs her drink.",
"INT. ROBERT E. LEE HOTEL - BALLROOM - LATER THAT EVENING The guests are now seated at twenty - eight round tables. Scores of black servers dressed in tuxedos ferry plates. Hilly makes her way to the podium. HILLY Everybody enjoying their dinner? The room claps enthusiastically. HILLY -LRB- CONT'D. -RRB- -LRB- FLATLY. -RRB- Let's give a nice round of applause for all the men and women that have helped make tonight possible. Hilly mechanically gestures toward the servers in the room. HILLY -LRB- CONT'D. -RRB- A cause I'm sure is dear to their hearts as well. Skeeter shakes her head as the less inspired applause dies down. Celia waves to Minny and jumps out of her chair. CELIA Woo - hoo! Johnny grabs Celia by the arm and pulls her back down. Celia reaches for Johnny's glass of wine. JOHNNY Honey, maybe you've had enough to drink. Try to eat your dinner. CELIA And have my stomach poke out?!",
"INT. ROBERT E. LEE HOTEL - LATER THAT EVENING As Celia looks at the prize table's bids, Johnny and Stuart lean against a bar chatting with a few other bored men. Hilly suddenly slides next to Johnny completely ignoring Stuart. HILLY Why, Johnny Foote. I'm surprised to see you here. Everybody knows you ca n't stand parties like this. Hilly squeezes the crook of his arm. JOHNNY Celia would n't have missed this for anything. HILLY Where is that wife of yours? Out selling hotdogs? Johnny looks away. HILLY -LRB- CONT'D. -RRB- Oh, you know I'm teasing you. We dated long enough where I can do that, ca n't I? Johnny walks away leaving Hilly no choice but to acknowledge Stuart. She and Stuart never look each other's way. HILLY -LRB- CONT'D. -RRB- -LRB- FLATLY. -RRB- Stuart. STUART -LRB- FLATTER. -RRB- Hilly. Hilly walks away as Jolene approaches the podium. JOLENE I've got the list of winners!",
"INT. ROBERT E. LEE HOTEL - BALLROOM - MOMENTS LATER Jolene finishes up the winners list. JOLENE I hope you enjoy your new set of tires, Missus Atwell. Now, on to the baked goods. Jolene flips a page. JOLENE -LRB- CONT'D. -RRB- Oh, yum! Yum! The highest bid in baked goods goes to Minny Jackson's chocolate pie. Congratulations, Hilly Holbrook! The room erupts in applause. Hilly now sits at a table with her family, Missus Walters, and the Leefolts. Skeeter and Stuart sit at a table full of elderly people they do n't know. Minny clears dishes nearby. Hearing her name, she becomes very alert. HILLY What? I did n't bid on anything. Minny turns to find Hilly smiling at her tightly. HILLY -LRB- CONT'D. -RRB- Well, was n't that sweet. Someone signed me up for that pie. SKEETER -LRB- TO STUART. -RRB- Oh, no. Celia rushes up behind Hilly, her voice slurred. CELIA Congratulations, Hilly! I did n't know you're a fan of Minny's pies. Hilly remains calm. Celia grabs Hilly's long sleeve. CELIA -LRB- CONT'D. -RRB- I've wanted to talk to you all night. Minny told me why you wo n't be my friend. You think me and Johnny went behind your back. HILLY Let me go! Hilly stands up and pulls away. A ripping sound cuts through the air. Celia stares at Hilly's torn cuff in her hands. STUART Oh, God. CELIA I'm so sorry. HILLY -LRB- GRITTED TEETH. -RRB- What are you trying to do to me? What are you and that nigra up to? Jolene announces another round of winners loudly over the microphone, forcing Celia to raise her voice. CELIA I do n't know what you - HILLY - You liar! Who did you tell?! Jolene loses her place on the list. The room grows quiet but Celia is still yelling. CELIA Hilly, I got pregnant after you and Johnny broke up! The room echoes with Celia's words. Across the room, women's noses wrinkle. MISSUS WALTERS Oh, shit. HILLY Shut up, Mother. Stuart belts out with a laugh. Skeeter pinches his arm. Celia is mortified. Sweat beads on her forehead. CELIA Johnny never cheated on you. At least, not with me. Celia starts to breathe heavily. Her eyes start to water. HILLY Johnny would never - CELIA And I'm sorry I thought you'd be tickled to win that pie. HILLY You tell that nigra if she tells anybody, I will make her suffer. Horrified, Skeeter catches eyes with Minny and Aibileen. They all immediately look away. Johnny makes his way over. Celia holds her breath, shaking her head back and forth. JOHNNY Celia, what's wrong, Honey? CELIA Uh - oh. Celia leans over and vomits on the fleur - de - lis print carpet. The entire room gasps in horror. JOHNNY Oh, shit! Johnny tries to pull Celia back. She pushes Johnny away and runs for the bathroom. He follows. Hilly marches over to Aibileen who is standing nearby. HILLY Get that cleaned up before it starts to smell. AIBILEEN Yes, ma'am.",
"INT. ROBERT E. LEE HOTEL - KITCHEN - LATER THAT NIGHT Minny's daughter, Sugar, stands over a large commercial sink filled with sudsy water, washing dishes. Minny approaches from behind as Sugar holds court with five other young girls. SUGAR That big - boobed lady Momma works for was drunker than an Injun on payday. Upchucked in front a everbody! As the girls all laugh, Minny pops Sugar hard on the back of her head. MINNY Do n't you never let me hear you talking bad about the lady who puts food in your mouth. Clothes on your back! You hear me? Minny storms off. SUGAR -LRB- TO HERSELF. -RRB- You do it all the time.",
"EXT. ROBERT E. LEE HOTEL - PARKING LOT - LATER THAT NIGHT Hilly and William walk to their car. Missus Walters follows closely behind, holding Minny's pie. HILLY Just come on home and stay with us tonight, Mother. MISSUS WALTERS No thanks, I got a pie to eat. Hilly spins around and sees the pie. HILLY You throw that pie away right now! MISSUS WALTERS I spent good money on this. Won it just for you. HILLY You?! You signed me up? Missus Walters steps up to Hilly. MISSUS WALTERS I may have trouble remembering my own name and what country I live in. But there's two things I ca n't seem to forget. That my own daughter threw me in a nursing home. And that she ate Minny's shit. Missus Walters winks at Hilly and ambles to a waiting taxi cab.",
"INT. FOOTE ESTATE - BEDROOM - NEXT AFTERNOON Celia lies in bed with the covers pulled over her face. Minny enters carrying a tray of food, setting it down next to two other trays of uneaten food. MINNY Ai n't Mister Johnny gone wonder how dinner got on the table if you laid up in bed? Celia pulls the covers off her head and sits up a little. CELIA The way Hilly looked at me. Like I was trash on the road. Celia pulls a letter out from under the covers. CELIA -LRB- CONT'D. -RRB- She billed me for her dress. In lieu of payment, she's asked that I send two - hundred dollars to the African Children's Fund and then she banned me from all future League events. MINNY She do n't count. Do n't judge yourself by the way she see you. CELIA I'm not right for this kind of life, Minny. I do n't need a dinner table for twelve people. CELIA -LRB- CONT'D. -RRB- I could n't get two people over here if I begged. She called me a liar and accused me of getting her that pie. I would n't have thrown up if it was n't for that! I ca n't do this anymore to Johnny. I'm going back to Sugar Ditch. MINNY You gone leave your husband cause you threw up at some party? Celia sobs. MINNY -LRB- CONT'D. -RRB- Lord, I reckon it's time you knew.",
"INT. FOOTE ESTATE - BEDROOM - MOMENTS LATER Celia stares at Minny, wide - eyed and disgusted. MINNY Miss Hilly thought you knew ` bout `` The Terrible Awful,'' that you were making fun a her. It's my fault she pounced on you. But if you leave Mister Johnny, then Miss Hilly done won the whole ball game. Then she done beat me, and she done beat you. Celia lies there. Minny's concerned she's said too much. CELIA Thank you. For telling me that.",
"INT. ROOSEVELT HOTEL - NEW ORLEANS - ONE WEEK LATER Stuart lies on a bed inside the Presidential Suite of the Roosevelt Hotel. He's on the phone with Skeeter. STUART Hey, Honey.",
"INT. PHELAN PLANTATION (INTERCUT) - KITCHEN - SAME TIME Skeeter talks to Stuart. Pascagoula cooks breakfast. SKEETER Stuart! How are you calling me? Are n't you on the rig? STUART What if I told you I have twenty - four hours in New Orleans? STUART -LRB- CONT'D. -RRB- That I'm in the Presidential Suite of the Roosevelt Hotel. That we have dinner reservations in the Blue Room tonight and lunch tomorrow at Galatoires. Skeeter becomes troubled. STUART -LRB- CONT'D. -RRB- Did you hear me? I spoke to your dad, and he's gon na have Jameso drive you down right now. SKEETER Oh, Stuart. STUART What? SKEETER I have to work. STUART Work in the car. Jesus, Skeeter, it's a cleaning column. SKEETER I have a deadline, Sweetie. You should have asked me about this. STUART I'm trying to be romantic. SKEETER I'm sorry, Honey. I ca n't come. Stuart shakes his head and hangs up the phone.",
"INT. FAYE BELLE'S HOME - LATER THAT NIGHT Aibileen and Skeeter sit across from, FAYE BELLE, 101, palsied and gray skinned and hunched in a wheelchair. Aibileen grabs Faye Belle's hand stirring a sudden flash of memory. Her voice is coarse and hard to understand. FAYE BELLE I remember hiding with Miss Lilia in a steamer trunk while Yankee soldiers stomped through Master's house. We were both four. Eighty - five years later she died in my arms. We's were friends'til the end. Her grandson still pays my rent. Buys all my groceries too.",
"INT. AIBILEEN'S HOUSE - KITCHEN - LATER THAT NIGHT The manuscript sits before Aibileen, Minny and Skeeter. SKEETER I have one more story to type, but other than that, we are done. AIBILEEN Law, look at all them pages. Two - hundred and sixty - six of'em. MINNY Now we just wait and see? Hopin' Missus Stein publish it? Skeeter nods. MINNY -LRB- CONT'D. -RRB- What story you got left to type? SKEETER Mine. Aibileen looks at Skeeter. AIBILEEN If your momma wo n't tell you, I reckon I will.",
"INT. PHELAN PLANTATION - BEDROOM - LATER THAT NIGHT Red - eyed, Skeeter enters Charlotte's room. A bowl rests on the bedside table with a wet rag draped over the side. Charlotte is wig free and terribly thin. Her collarbone protrudes long and narrow, but her eyes are as sharp as ever. CHARLOTTE Have you been crying? You know that ages your skin, Dear. SKEETER Mother, I need to talk to you about Constantine. CHARLOTTE Oh, Eugenia. That was so long ago. SKEETER Well, I have to speak to her. CHARLOTTE Now, you look. I was good to Constantine. Oh, she talked back plenty of times, and I put up with it. But, Skeeter, she did n't give me a choice. SKEETER What. happened?",
"INT. PHELAN PLANTATION (FLASHBACK) LIVING ROOM - DAY Charlotte, much healthier, scurries around the house adjusting flower arrangements and straightening pictures. CHARLOTTE -LRB- V.O. -RRB- I was hosting a D.A.R. luncheon. Constantine was to do the floors that morning so they'd be dry in time. Charlotte finds Constantine mopping the foyer very slowly. The effects of arthritis are apparent. CHARLOTTE -LRB- V.O. ; CONT'D. -RRB- Well, the floors were soaking wet when the first guest arrived. A guest unnecessarily grabs a table for balance, making a point about the damp floor.",
"INT. PHELAN PLANTATION (FLASHBACK) DINING ROOM - DAY Charlotte sits with twelve women at the dining table as Constantine pushes the casserole cart around and begins serving lunch. As the guests sip coffee, each woman grimaces and turns to Charlotte. CHARLOTTE -LRB- V.O. -RRB- Then, she burned the coffee. She had gotten so old, Skeeter. Charlotte shoots Constantine a look. Constantine nods sorrowfully. She picks up a woman's plate and begins filling it with food from the cart very slowly. Constantine strains to lower the plate in front of the woman. Her hands tremble. CHARLOTTE -LRB- V.O. ; CONT'D. -RRB- Her mishaps were becoming a daily occurrence, and I had had it. The plate tilts causing peas to pour into the woman's lap. WOMAN Watch out! With that, Charlotte stands up and slaps the table with her hand. CHARLOTTE Get a hold of yourself, Constantine! Constantine slowly looks to Charlotte. Totally exhausted, she grips the casserole cart with both hands to steady herself. CHARLOTTE -LRB- V.O. ; CONT'D. -RRB- And that's when it happened. Constantine wets herself. Slowly the women begin realizing what's happening. The two women closest to Constantine gasp and quickly move away from her. Another woman rises from the table covering her mouth with a napkin and leaves the room. Just now realizing what has happened, Constantine looks down at her soiled dress. No one says a word. No one comes to Constantine's aid. Constantine looks to Charlotte.",
"EXT. COUNTRY ROAD (FLASHBACK) - MOMENTS LATER Constantine hobbles with a cane down a gravel road still wearing her soiled dress. She turns and looks one last time at the Phelan Plantation. CHARLOTTE I told her she could n't work here anymore and to go on home.",
"INT. PHELAN PLANTATION - BEDROOM - MOMENTS LATER Skeeter trembles. Charlotte wo n't look at her. SKEETER How could you humiliate her like that?! CHARLOTTE I did n't mean to. SKEETER Why did n't you help her? CHARLOTTE I was upset. I did n't know what else to do. SKEETER So you just threw her away? That woman did you the biggest favor of your life. She taught me kindness and self respect and you just threw her away like a broken appliance. Charlotte starts to cry. Skeeter is n't affected. CHARLOTTE I did n't throw her away, Skeeter. Your daddy went to her house the very next day to give her her job back. But she had already moved to Chicago. Left everything behind. SKEETER'Cause she did n't have anything anymore. You broke her heart! CHARLOTTE Please do n't do this to me, Skeeter. I feel terrible. And you have to remember, they're not like us. They are different. Charlotte gets defensive. CHARLOTTE -LRB- CONT'D. -RRB- And you idolized her too much! You always have! SKEETER I needed somebody to look up to. Skeeter turns to leave. SKEETER -LRB- CONT'D. -RRB- I have to go find her. She needs me. CHARLOTTE We finally found the address of her daughter in Chicago. so we sent Carlton up there to go get Constantine. Skeeter turns back to her mother. SKEETER And? CHARLOTTE When he got there. she was dead, Eugenia. I'm so sorry, Honey. Charlotte tries to comfort her. Skeeter rejects her mother's hand. SKEETER Why did n't y' all tell me all this? CHARLOTTE I knew you'd blame me. when it was n't my fault. It just happened, and it was so unfortunate. I'm sorry, Eugenia. SKEETER When did she die? How long had she been in Chicago? Charlotte pulls the white basin closer, hugs it to her side. CHARLOTTE Two weeks. Skeeter stands, never turning as she exits.",
"EXT. PHELAN PLANTATION - PATIO - MOMENTS LATER Skeeter stands on the back patio crying. She slowly walks off into the yard. AIBILEEN -LRB- V.O. -RRB- Constantine's story finally made it in our book. But the reason she got fired did not. Miss Skeeter just could n't put that kind a shame on her own mother.",
"EXT. BOOKSTORE - DOWNTOWN JACKSON - SIX MONTHS LATER The front window of a bookstore displays many of the nation's top selling books. A clerk sets a tiny stack of books in the far corner. AIBILEEN -LRB- V.O. -RRB- They printed a few thousand copies with the worst advance Miss Stein had ever seen. The stack is `` The Help,'' in hardcover. It's wrapped in pale blue. A white peace dove spreads its wing under the title.",
"INT. MINNY'S HOME - LIVING ROOM - DAY Minny stands over the stove frying chicken as Sugar enters with the day's mail. Minny snatches the mail from her and sees an envelope from Harper and Row. Minny tears it open. Her eyes go wide. AIBILEEN -LRB- V.O. -RRB- We got four hundred dollars. Got another four hundred when it got printed. Divided thirteen ways that came to sixty - one fifty - three a person. Minny hugs Sugar and runs out the screen door with her check as the chicken sizzles.",
"INT. AIBILEEN'S HOME - KITCHEN - MOMENTS LATER Aibileen and Minny hug each other as the jump up and down with checks in hand. AIBILEEN -LRB- V.O. -RRB- Minny got so excited she burnt up a skillet of chicken.",
"EXT. FOOTE ESTATE - FRONT PORCH - DAY Minny knocks on the door holding bags of groceries. MINNY Come on, Miss Celia! Get out a that bed and let me in. It's twelve noon. I did all the shopping just like you asked. The door slowly opens. Celia steps out onto the porch, looking beautiful, still dressed tacky. MINNY -LRB- CONT'D. -RRB- Well, look at you, Miss Celia.",
"INT. FOOTE ESTATE - DINING ROOM - MOMENTS LATER Celia leads Minny into the dining room. The table, set beautifully in silver and crystal, is covered with delicious looking casseroles and fried chicken. MINNY What's all this? CELIA I cooked it all by myself. I wanted to do something special. I wanted to say `` thank you.''",
"INT. FOOTE ESTATE - DINING ROOM - MOMENTS LATER Celia and Minny dine, and Minny's enjoying it. MINNY Greens got just the right amount a hock taste to'em. That's a good pot liquor, Miss Celia. Who taught you to cook like this? Minny winks as she dunks a piece of corn bread in the greens. MINNY -LRB- CONT'D. -RRB- Corn bread's happy now. Celia lays down her fork. CELIA Are you happy, Minny? MINNY Why you ask such a funny question? CELIA Are you? MINNY A course I's happy. You happy too. Big house, big yard, good husband. CELIA You know, if I were you, I'd give it right back to him. I'd hit him over the head with a skillet and tell him to go straight to hell. Minny starts to protest but is tired of excuses. MINNY Maybe I will. Celia jumps up. CELIA I almost forgot the dessert. Minny smiles softly as Celia disappears into the kitchen.",
"INT. LEEFOLT HOME - LIVING ROOM - LATER THAT DAY Aibileen irons as Elizabeth enters with shopping bags. She races to the television and turns it on. As the tube warms up, we hear the conclusion of a Tide commercial. WLBT's lunchtime show, `` People Will Talk,'' continues. INTERCUT WITH STUDIO, LEEFOLT HOME, HILLY'S HOME, AND ALL OTHER VIEWERS' HOMES.",
"INT. WLBT TELEVISION STUDIO - MOMENTS LATER Jolene French sits on the set of Jackson's morning show. A MALE HOST watches as the show runner counts down. SHOW RUNNER Five, four, three, two, one. MALE HOST Welcome back to `` People Will Talk.'' And do we have something to talk about. Jolene has quite a book to review. Jolene shakes her head, visibly upset.",
"INT. HOLBROOK'S HOUSE - LIVING ROOM - SAME TIME Hilly watches Jolene on television as her new maid, ERNESTINE, pours a cup of coffee with her right hand. Ernestine's left arm is missing. The maid pickings for Hilly have gotten slim. HILLY Why are you frowning, Jolene? Hilly leans over and taps her television. HILLY -LRB- CONT'D. -RRB- You do n't look cute that way. LEEFOLT HOUSE MALE HOST It's called `` The Help.'' A new book by an anonymous author. Aibileen jerks her head toward the television. MALE HOST -LRB- CONT'D. -RRB- Touching and enlightening, it's filled with testimonials from Mississippi's own housekeepers.",
"INT. FOOTE ESTATE - LIVING ROOM - SAME TIME Minny watches transfixed as she and Celia eat dessert in front of the television. CELIA Look how cute that dress is. MALE HOST Takes place in the fictional town of `` Niceville.'' The book is dedicated to C and T. If you're out there C and T, we'd love to have you on the show because Niceville sounds like Jackson, if you ask me. The host starts laughing. Jolene snaps. JOLENE FRENCH It's not Jackson! It's a disgrace to the South! A disgrace to good Southern women who've spent their lives taking care of their help. LEEFOLT HOME Smoke rises from the shirt Aibileen is ironing. She snaps to attention, pulls the iron off the burned shirt. MALE HOST But did you read that ending? JOLENE FRENCH I know I personally treat my help like family, and every one of my friends does the same. MALE HOST -LRB- INTO CAMERA. -RRB- Bertha, if you're listening, I have a new found respect for what you do. And, believe me, I'll be passin' on dessert at your table! FOOTE LIVING ROOM Minny walks like a zombie over to Celia and gathers her dirty plate, never taking her eyes off the television. JOLENE FRENCH Do not buy this book! Ladies of Jackson, do not support slander with your husband's hard earned - Poof! Jolene disappears by way of a Seal - Lily ice cream commercial. HILLY'S HOME HILLY Do n't cut her off like that. LEEFOLT HOME ELIZABETH What's that book called, Aibileen? AIBILEEN I. I was n't paying attention.",
"INT. BOOKSTORE - LATER THAT DAY Stacks of `` The Help'' rest on tables in the store. Elizabeth enters, pick up two copies and pulls them close to her body. She races to the register like a teen buying a Playboy. TIME LAPSE PHOTOGRAPHY Back at the table of books, we see in rapid succession the books quickly disappearing by the hands of Jacksonians.",
"INT - AIBILEEN'S HOME - KITCHEN - THAT NIGHT Aibileen, Skeeter and Minny sit at the table. Aibileen's phone rings off the wall, but she wo n't answer. SKEETER I knew nothing about it. Miss Stein's P.R. Department called the station directly. AIBILEEN Ever maid callin' to say they white lady's gone and bought the book. They so scared. MINNY ` One - arm - Earnestine' said Miss Leefolt brought a copy over to Miss Hilly in less than a hour. She better read it quick and start the `` this ai n't Jackson crusade.'' SKEETER Do n't count on it. In her one year at Ole Miss she never cracked a book. MINNY Oh, she gone read it. Especially after that man made such a stink on the tee - vee. She gone read it.",
"INT. LEEFOLT HOME/HOLBROOK HOME (INTERCUT) - DAY Elizabeth and Hilly read the book aloud over the phone with each other. They stop and nod with speculation.",
"INT. BUS - DAY A bus is filled with domestics en route to work. Everyone is either reading the book or having it read to them.",
"INT. NURSING HOME - NIGHT Missus Walters reads to a group of women in the home.",
"INT. PHELAN HOME BEDROOM - NIGHT Charlotte lies in bed reading the book next to Robert, who is asleep. As she turns a page, her face reveals a dawning realization. Troubled, she starts to wake Robert but does n't. Charlotte trembles as she brings the book in close to her chest. She slides down to her pillow and stares at the ceiling.",
"EXT. PHELAN PLANTATION - PORCH - DUSK Skeeter sits on the swing with Stuart who's just arrived from the rig, still wearing his dingy work clothes. STUART That month felt like a year. I missed you so much. SKEETER Me, too. STUART Skeeter, I told Daddy I'm not going back on the rig. Stuart nonchalantly pulls out a ring from his front pocket and places it in Skeeter's lap. A huge diamond is surrounded by twelve small sapphires. Skeeter's smile quickly fades as she raises the ring. SKEETER Stuart. I have to tell you something. STUART How about `` yes?!'' I had this with me down in New Orleans, you know. Skeeter touches Stuart's face. SKEETER I'm serious. and. you have to promise not to tell anyone. STUART Hang on. Did you say ` yes'? SKEETER Yes. Stuart hugs Skeeter. She pulls back. SKEETER -LRB- CONT'D. -RRB- But listen. Can I have your word? Skeeter has again ruined Stuart's big moment. STUART Sure. You have my word.",
"EXT. PHELAN PLANTATION - PORCH - MOMENTS LATER Stuart storms off the porch, dumbfounded. Finally. STUART This is what you've been writing for the last twelve months?! What happened to the cleaning column? SKEETER I did both. Skeeter approaches Stuart. STUART So, the talk in town? I said they were dead wrong. Told them you were too smart to get mixed up in anything like that. Skeeter reaches to calm him. He pulls away. STUART -LRB- CONT'D. -RRB- That joke you played on Hilly with the toilets. Hell, that's funny. But this? I do n't understand why you did this. why you even care. SKEETER What? STUART Things are fine around here. Why stir up trouble? SKEETER I'm not stirring up trouble, Stuart. Trouble's already here. STUART I guess it is. Skeeter grabs his arm. SKEETER I had to tell you. You needed to know. Stuart shakes his head and pulls away. STUART I guess I do n't really know you, Skeeter. And I ca n't marry somebody I do n't know. Stuart looks down at the ring. STUART -LRB- CONT'D. -RRB- That was my grandmother's. Skeeter hands the ring back. Stuart shoves it in his pocket. STUART -LRB- CONT'D. -RRB- Do n't worry. I wo n't tell anyone. SKEETER Just leave.",
"INT. PHELAN PLANTATION - BEDROOM - LATER THAT NIGHT Charlotte sits in bed next to Robert who is fast asleep. She hears a door closing outside. CHARLOTTE Skeeter?! Come in here, please. After a few moments, Skeeter enters. SKEETER You okay? Can I get you anything? CHARLOTTE Come here, Eugenia. I want to tell you something. SKEETER Me, too. CHARLOTTE You go first. SKEETER Stuart proposed. CHARLOTTE Finally! SKEETER You knew? CHARLOTTE Of course. He had to ask Daddy for your hand. She lifts Skeeter's ring hand. Seeing her bare finger, Charlotte's smile fades. Skeeter prepares for the worst. SKEETER Just say it. CHARLOTTE What did you do?! SKEETER Nothing! Skeeter stands to walk away. CHARLOTTE Young lady, I'm talking to you! Skeeter sits back down. CHARLOTTE -LRB- CONT'D. -RRB- Stuart'll come around. It's a funny dance. -LRB- points to Robert. -RRB- Took this one a year. Anyway, my news. After a long talk with your daddy, I've made a decision. My health's been on the uptick these past few weeks. And I know the doctor says it's some kind of last STRENGTH NONSENSE- Charlotte starts coughing. Skeeter hands her a tissue. CHARLOTTE -LRB- CONT'D. -RRB- But, as I said, I made a decision. I have decided not to die. SKEETER Oh, Momma. Charlotte slaps her palms as if throwing the cancer away. CHARLOTTE Too late. I tried calling Fanny Mae's so I could make your hair appointments for the next twenty years, but they would n't allow it. Charlotte raises Skeeter's ring finger. CHARLOTTE -LRB- CONT'D. -RRB- I certainly ca n't leave you now. Skeeter laughs and hugs her mother. Robert never stirs.",
"EXT. GROCERY STORE - PARKING LOT - DAY Hilly drives in front of Jitney Jingle grocery store. She wears a scarf on her head and big sunglasses. One - armed Ernestine rides in the passenger seat. Hilly slows in front of the store's big glass entrance. She hurriedly waves Ernestine out of the car. AIBILEEN -LRB- V.O. -RRB- The voters of Hinds County had spoke. Mister Holbrook was n't gone have no political career. One - Arm Ernestine races to the storefront and removes William's campaign poster taped to the window.",
"INT. HOLBROOK HOUSE - BEDROOM - LATER THAT NIGHT Hilly reads the book in bed. William is fast asleep. Suddenly, her eyes widen, her breath becomes heavy. She slowly turns a page and freezes. Her face turns white. Hilly balls both fists, looks to the ceiling and screams louder than humanly possible.",
"INT. SKEETER'S BEDROOM - SAME TIME Skeeter lies in bed sleeping. Her eyes pop open.",
"INT. AIBILEEN'S BEDROOM - SAME TIME Aibileen lies in bed sleeping. Her eyes pop open.",
"INT. MINNY'S BEDROOM - NEXT MORNING Minny lies in bed sleeping. Her eyes pop open. But, this time, Hilly's scream fades as knocks at the door grow louder. Knocking that has actually stirred Minny awake. Sugar and Kindra enter, jumping in bed with Minny. SUGAR Momma, there's a white man at our door! MAN -LRB- O.C. -RRB- Minny Jackson! Are you in there?! Minny covers the girls with a blanket. She puts on a robe and grabs a bat from behind the door. MAN -LRB- O.C. ; CONT'D. -RRB- I can hear you. Open the door.",
"INT. MINNY'S HOUSE - LIVING ROOM - MOMENTS LATER Minny approaches the door. MINNY Who there? MAN Johnny Foote. Minny Jackson, I want to talk to you. Open up. Minny slowly opens the door. Johnny is all smiles. JOHNNY Finally, I meet Minny Jackson. As Johnny enters, Minny raises the bat and swings. Johnny turns and stops the bat with his hand. JOHNNY -LRB- CONT'D. -RRB- What the hell are you doin'?! Minny lets go of the bat and cowers on the floor, raises her hands in front of her. MINNY Please do n't hurt me! My babies are in the house. Johnny drops the bat and pulls Minny up from the floor. JOHNNY Calm down, girl. I'm not here to get you. He suddenly throws his arms around her and squeezes hard.",
"INT. MINNY'S KITCHEN - MOMENTS LATER Johnny and Minny sit at her kitchen table. JOHNNY When I finally confronted Celia about you, she told me about the baby. All of them. You saved her life. MINNY I do n't know about that. JOHNNY Well, I know the day you came to our house, she started getting better. And I'm not just talking about the cookin' either. MINNY You knew I was there? JOHNNY Fried chicken and okra on the first night? Y' all should have at least put corn pone on the table. MINNY I could n't make you eat anymore corn pone, Mister Johnny. JOHNNY Next morning, I snuck back up to the house, peeked in the window, and there you were. Given ol' Oscar a wipe down. Minny smiles for the first time. MINNY So I ai n't losing my job? JOHNNY You have a job with us for the rest of your life, if you want it.",
"INT. LEEFOLT HOME - LIVING ROOM - DAY Bridge is underway at the Leefolt house with the usual suspects, except Skeeter. LOU ANN TEMPLETON has taken her place. Aibileen nervously pours coffee. JOLENE FRENCH I heard that Betty character might be Charlene. HILLY It's not Jackson, and that book is garbage. I bet the whole thing's made up by some nigra. Aibileen begins pouring coffee into Hilly's cup. LOU ANN TEMPLETON And, Jolene, did n't your momma leave Cora to you in her will? JOLENE Well, yes. But that's not odd is it? Happens all the time, right? A sudden realization washes over Jolene. LOU ANN TEMPLETON Did anybody ever figured out who C and T are? HILLY The book is NOT ABOUT JACKSON! Aibileen spills a few drops of coffee on Hilly's plate. Hilly looks up to Aibileen slow and deliberate. HILLY -LRB- CONT'D. -RRB- You spilled some, Aibileen. Aibileen takes the cloth from the coffee pitcher handle and dabs the spilled coffee. Aibileen glances at Hilly. A secret burns between them. HILLY -LRB- CONT'D. -RRB- Get me a new plate. One you have n't soiled with a dirty cloth.",
"EXT. MOUNT ZION CHURCH - EVENING Aibileen and Minny walk into the church parking lot wearing their Sunday best. Minny takes note of all the cars. MINNY We late? Looks like Bible study done already started. AIBILEEN No. We ai n't late.",
"INT. MOUNT ZION BABTIST CHURCH - MOMENTS LATER As Minny and Aibileen enter the church. Four - hundred members stand at once. The congregation begins to clap. Minny and Aibileen look around trying to figure out the source of adulation. They both start clapping too. Aibileen steps up to a woman in the last pew. AIBILEEN Who we clappin' for? The woman laughs. WOMAN Honey, we clappin' for you. The woman raises a copy of `` The Help.'' Aibileen notices a copy of the book in each member's hand. Aibileen looks to Minny, realizing she's in on it. A REVEREND approaches, hands Aibileen a copy of the book. REVEREND Aibileen, this is an important time for you and our church. We know you could n't put your name in here, so we all signed our own. The Reverend then hands her a box wrapped in white paper, tied with a blue ribbon. REVEREND -LRB- CONT'D. -RRB- This is for the white lady. Tell her we love her like family.",
"INT. AIBILEEN'S HOUSE - NIGHT Skeeter sits between Aibileen and Minny on the sofa thumbing through her signed book. Hundreds of signatures cover the pages. AIBILEEN Churches over two counties signed our books. All for you and me. Aibileen points to the inside back cover. AIBILEEN -LRB- CONT'D. -RRB- Doctor King signed it, too. He readin' our book. Aibileen glances proudly at the framed portrait of Dr. King. MINNY We did something. We did something good. SKEETER It's beautiful. Skeeter closes the book and sets it down regretfully. AIBILEEN What's wrong? Skeeter pulls a letter out of her purse. SKEETER I got a job offer from Harper and Row. in New York. AIBILEEN Congratulations! MINNY That real good, Miss Skeeter. SKEETER I not taking it. I just wanted to share it with you both. There's no one else I can tell. AIBILEEN What you mean you not takin' it? This is what you been dreaming of. SKEETER I ca n't leave you two right when things are getting bad from a mess I created. I set out to write a book to make white people thankful. But in the end, what we should say is `` sorry.'' AIBILEEN If bad things happen, they ai n't nothing you can do about it. And if they happen, at least now theys a reason behind it. A reason we can wrap our heads around and be proud of. Skeeter nods with little relief. AIBILEEN -LRB- CONT'D. -RRB- Now, I do n't mean to rub salt in your wound, but. you ai n't got a good life here in Jackson. Plus, your momma's getting better - Minny aggressively chimes in. MINNY You ai n't got nothing left here but enemies in the Junior League. You done burned ever bridge there is. And you ai n't never gone get another man in this town, and ever body know it. So do n't walk your white butt to New York, RUN IT! Minny leans over, placing her hand on Skeeter's for the first time since knowing each other. MINNY -LRB- CONT'D. -RRB- And you listen to me. I'm on take care a Aibileen, and she gone take care a me. Skeeter nods. AIBILEEN Go find your life, Miss Skeeter.",
"EXT. PHELAN PLANTATION - NIGHT Skeeter stands next to the barn smoking a cigarette reading the Harper and Row offer for the hundredth time. Tires crunch gravel down the drive. Skeeter sees a car moving toward her with the headlights off. Worried, Skeeter looks toward her home. Charlotte can be seen in an upstairs window. Skeeter soon recognizes the car as Hilly's. Hilly parks, lights a cigarette and gets out of her car. Skeeter charges toward her. SKEETER What are you doing here? Hilly screams and throws her lit cigarette at Skeeter. HILLY Do n't you get an inch closer! Hilly's a mess. Her shirt is half tucked. Her shorts strain to contain a newly developed layer of fat. A horrible fever blister burns hot on Hilly's upper lip. HILLY -LRB- CONT'D. -RRB- I've contacted my lawyer, Hibbie Goodman. He's the best libel attorney in Mississippi. You're in big trouble, Missy. And you're going to jail. SKEETER You ca n't prove anything, Hilly. HILLY I one - hundred - percent know you wrote it'cause nobody else in town is as tacky as you. Those nigras of yours are in a lifetime of trouble. SKEETER Exactly who are you talking about? You do n't know anything. HILLY I do n't, do I? You tell Aibileen, the next time she wants to write about my dear friend Elizabeth. uh - huh. Remember her? Had you in her wedding? Let's just say, Aibileen ought to've been a little bit smarter before putting in the L - shaped crack in poor Elizabeth's dining table. And that nigra, Minny? Do I have plans for her. SKEETER Careful, Hilly. Do n't give yourself away now. HILLY That was not me WHO ATE THAT PIE! Hilly storms up the porch steps. Skeeter follows. SKEETER I did not invite you here! Skeeter yanks Hilly's arm hard. HILLY I've come to tell your mother what a hippie you've become. She's gon na be disgusted by you. Skeeter ca n't help but laugh. SKEETER You're telling my mother on me? Hilly opens the door. Skeeter grabs her. They struggle. SKEETER -LRB- CONT'D. -RRB- You get out of here! Charlotte suddenly appears. Skeeter lets go of Hilly. CHARLOTTE Why, Hilly. It's been such a long time, Dear. Everything okay, you two? Hilly is shocked by Charlotte's frail appearance. HILLY Missus Phelan, I'm. I'm here to - CHARLOTTE Hilly, you're a mess. Are you ill? Hilly self - consciously licks her fever blister. HILLY Well, I. I did n't have time to get fixed up before - CHARLOTTE Darling, no husband wants to come home and see this. Charlotte peers closely at Hilly's cold sore. CHARLOTTE -LRB- CONT'D. -RRB- And that. that is horrendous. HILLY Missus Phelan, I'm here - CHARLOTTE You know, Hilly. If I did n't know any better, I'd say you've been eating too many. SWEETS? Hilly's face turns purple with embarrassment. Charlotte moves in for the kill. CHARLOTTE -LRB- CONT'D. -RRB- In fact. I'm sure of it. Now GET OUT OF MY HOUSE. before we all get one of those on our lip. Hilly looks back and forth between Skeeter and her mother, not knowing what to say. Hilly runs out of the house as Charlotte sashays quietly into the living room. Shocked, Skeeter stands alone in the foyer. Hilly sprays gravel across the Phelan yard as she speeds away. CHARLOTTE -LRB- O.C. ; CONT'D. -RRB- Eugenia? SKEETER Yes, Ma'am. CHARLOTTE -LRB- O.C. -RRB- Come in here, please. Skeeter gulps as she heads toward the living room.",
"INT. PHELAN PLANTATION - LIVING ROOM - MOMENTS LATER Charlotte pats the sofa as Skeeter enters and sits. SKEETER Ma'am? CHARLOTTE Do you have plans tomorrow? Bible study? Anything like that? SKEETER No, Ma'am. CHARLOTTE Good. We're going shopping. Skeeter lets out a big sigh of relief. CHARLOTTE -LRB- CONT'D. -RRB-'Cause no single daughter of mine is going to New York, representing the great state of Mississippi, without a proper cosmopolitan wardrobe. SKEETER What? CHARLOTTE I'm very proud of you, Eugenia. SKEETER How do you know about New York? CHARLOTTE A friend of Constantine's told me. Charlotte reaches down and pulls up her copy of `` The Help''. CHARLOTTE -LRB- CONT'D. -RRB- Would you do me the honor of signing my copy? Skeeter nods. Charlotte hands Skeeter a pen. Her hand trembles as she signs the book, never having guessed how good it would feel.",
"INT. LEEFOLT HOME - KITCHEN - MORNING Aibileen washes dishes as the phone begins to ring. She answers. Minny screams on the other end of the line.",
"EXT. GAS STATION (INTERCUT) - SAME TIME Minny stands barefoot inside a phone booth, her lip swollen, face bleeding. Her kids stand outside, crying. MINNY They fired Leroy last night! And when Leroy ask why, his boss say Mister Holbrook told him to do it. Said his nigger wife the reason. AIBILEEN Oh, Law! MINNY He try to kill me with he bare hands! He threw the kids in the yard, lock me in the bathroom, and say he gone set the house on fire. AIBILEEN Where are you now?! MINNY The gas station. I climbed out the window, and we all ran here. AIBILEEN I'm on come there now. MINNY Wait, Aibileen. I'm pregnant. AIBILEEN Minny, now, you listen to me. That baby gone be fine, and you ai n't never gone lose your job. Mister Johnny told you that hisself. They's more book money coming. Your baby ai n't gone know about gettin' beat. You hear me? You free, Minny! You are free. Minny lets out a chuckle of relief and wipes her eyes. AIBILEEN -LRB- CONT'D. -RRB- You hear me? MINNY I hear you. The Leefolt front door opens. Elizabeth calls out. ELIZABETH -LRB- O.C. -RRB- Aibileen?",
"INT. LEEFOLT HOME - LIVING ROOM - CONTINUOUS Aibileen enters to find Elizabeth and Hilly staring at her. Elizabeth is two weeks WAY PAST DUE. AIBILEEN Good morning. Hilly licks her cold sore as she steps forward. She glides her hand across the L - shaped crack in the Elizabeth's table, drawing Aibileen's attention to it. HILLY Aibileen, the silver I lent Elizabeth last week. AIBILEEN It not polished good? Humidity been fighting me on polishing day. HILLY When you returned it, three pieces were missing out of the felt wrapper. A fork and two spoons. AIBILEEN Lem me. lem me go look in the kitchen, maybe I left some behind. HILLY You know as well as I do that silver's not in the kitchen. Aibileen turns to Elizabeth. AIBILEEN You check in Mae Mobley's bed? She been putting things - HILLY Do you hear her, Elizabeth? She's trying to blame it on a toddler. Elizabeth wo n't look at Aibileen. AIBILEEN I ai n't stole no silver. Elizabeth whispers to Hilly. ELIZABETH She says she does n't have them. HILLY Then it behooves me to inform you that you are fired, Aibileen. And I'll be calling the police. They know me. Mae Mobley enters the room. MAE MOBLEY Aibee, my froat hurts. Mae Mobley coughs. AIBILEEN I go get her some syrup, Miss Leefolt. HILLY Elizabeth can take care of her child. Elizabeth looks to Hilly, appearing somewhat upset with this suggestion. ELIZABETH I'll go get the couch syrup. Hilly glares at Aibileen as Elizabeth runs down the hall. HILLY I wo n't tolerate liars! Mae Mobley becomes scared and hides behind Aibileen's leg. AIBILEEN I did n't steal no silver. HILLY I'm not talking about silver. I'm talking about those things you wrote about Elizabeth. Maybe I ca n't send you to jail for what you wrote, but I can send you to jail for being a thief. And your friend, Minny? That nigra's got a nice surprise coming to her. Johnny Foote listens to what I say. She's as good as - Aibileen shouts, interrupting Hilly. AIBILEEN Woman! I know something about you. Do n't you forget that. Hilly narrows her eyes. AIBILEEN -LRB- CONT'D. -RRB- From what Yule May says, they's a lot a time to write letters from jail. Plenty a time to write ever person in Jackson the truth about you, and the paper is free. HILLY Nobody would believe something you wrote. AIBILEEN I do n't know. Already sold a lot a books. Fear floods into Hilly's eyes. HILLY Get out of here! MAE MOBLEY Do n't go, Aibiee! Aibileen kneels down as Elizabeth returns with the syrup. AIBILEEN Baby, you need to get back to bed. You got a fever. MAE MOBLEY Noooo! Do n't go, Aibee. Please do n't leave. AIBILEEN I gots to, Baby. I am so sorry. MAE MOBLEY Why? Are you going to take care of another little girl? AIBILEEN No, Baby, that's not the reason. I do n't want to leave you, but. It's time for me to retire. You my last little girl. MAE MOBLEY Noooo! AIBILEEN Baby Girl, I need you to remember ever thing I told you. Okay? Do you remember what I told you? MAE MOBLEY To wipe my bottom good? AIBILEEN No, Baby. The other. What you are. MAE MOBLEY You is kind. You is smart. You is important. AIBILEEN That's right, Baby Girl. Aibileen squeezes Mae Mobley for the last time. They both cry together. Hilly speaks up. HILLY You need to go now, Aibileen! Aibileen rises up from Mae Mobley and turns to Elizabeth. AIBILEEN Give my sweet girl a chance. Elizabeth avoids eye contact. Aibileen turns and walks away. As Elizabeth leans down to pick up Mae Mobley. HER WATER BREAKS. She glares at Hilly with shock and regret.",
"EXT. LEEFOLT HOME - MOMENTS LATER Aibileen steps out of the house with her purse. She walks stoically down the driveway. Tears stream down her face. Mae Mobley runs to the living room window crying. She beats on the glass from inside. MAE MOBLEY Aibeeeee! Do n't go! Aibileen never turns. AIBILEEN -LRB- V.O. -RRB- Mae Mobley was my last baby. In just thirty minutes, I felt like my whole life was done. Of the thirteen maids, seven of us got fired. Several other maids got fired who had nothin' to do with our book. Guess our stories were n't so unique after all. But, like Minny, we was all free.",
"INT. HOLBROOK HOUSE - FOYER - DAY Hilly, even fatter now, sifts through the day's mail. AIBILEEN -LRB- V.O. -RRB- And we's was a lot freer than Hilly Holbrook. She comes across a piece from Celia Foote addressed to The Starving Children of Africa Fund. A smug smile forms. She opens the envelope to find a check for $ 200.00 made out to : TWO - SLICE HILLY! Hilly screams as she rips the check into pieces.",
"EXT. FOOTE ESTATE - YARD - DAY Minny folds laundry on a picnic table. AIBILEEN -LRB- V.O. -RRB- Ever so often, we all get a nice piece of book money in the mail. ` Manna from heaven' we like to call it. Minny looks across the table and smiles at Celia who is holding and playing with Minny's newborn child.",
"EXT. CHICAGO - GRAVEYARD - DAY Close on tombstone : CONSTANTINE JEFFERSON Born December 24th 1883 Died March 15th, 1963 A bouquet of flowers lay at the foot of the tombstone. A copy of `` The Help'' leans against it. In the distance, a cab slowly pulls away with Skeeter inside.",
"INT. AIBILEEN'S HOME - KITCHEN - DAY Aibileen sits at her kitchen table, typing on Skeeter's old typewriter. We watch as keys write out the rest of Aibileen's voice over. AIBILEEN -LRB- V.O. -RRB- Thousands of our books went out all over the world. We had got paid to tell the truth and we just could n't believe it. Aibileen takes this last page out of the typewriter and places it behind two hundred other typed out pages. She looks up to the framed picture of Treelore and rises from the table with pride.",
"INT. HARPER AND ROW - SKEETER'S OFFICE - NEW YORK - DAY Skeeter smiles as she reads from a book in her corner office. The Manhattan skyline rises behind her. She wears Pucci. Her hair is perfectly styled. She looks gorgeous. She sets the book down on her desk and picks up the phone. The book's cover reads : `` All My Babies'' By Aibileen Clark. Next to the book is a glass box. Constantine's corn pipe rests inside.",
"AIBILEEN'S NEW HOME - LIVING ROOM - FIFTEEN YEARS LATER Aibileen, 70, rises from a sofa. Her hair is gray. Reading glasses hang on a chain from around her neck. As she begins a slow walk down the hall, we see the surroundings of her new home for the first time. It's much bigger, well furnished and beautiful. She passes a study lined with shelves of books. A copy of `` The Help'' and `` All My Babies'' are placed side by side. At the end of the hall, Aibileen approaches the opened door of a brightly lit, sparkling white, bathroom. She enters the bathroom and closes the door."
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] | In 1963, Aibileen Clark is an African-American maid in Jackson, Mississippi. She works for socialite Elizabeth Leefolt and cares for the Leefolts' daughter Mae Mobley, whom Elizabeth neglects. Aibileen's best friend and fellow maid Minny Jackson works for Mrs. Walters, whose daughter Hilly Holbrook leads the women's socialite group. Eugenia "Skeeter" Phelan, a recent graduate of Ole Miss and an aspiring writer, is a friend of Elizabeth. Skeeter is uncomfortable with her social circle’s racist attitudes toward their maids, including Hilly’s insistence on installing separate bathrooms for the help. Skeeter learns that her mother Charlotte fired Constantine, the maid who raised Skeeter, and decides to write a book of interviews with African-American maids working for white families. Minny is fired by Hilly for using the guest bathroom and is rendered unemployable, but finds a job with Celia Foote, a housewife ostracized by the other socialites. Celia treats Minny with respect and they become friends, but keep Minny’s employment secret from Celia’s husband Johnny. Celia suffers a miscarriage, and reveals to Minny that she has had three previous miscarriages. Skeeter reaches out to Aibileen, who eventually agrees to be interviewed, as does Minny. Elaine Stein, Skeeter’s editor at Harper & Row, advises her that the stories of two maids are not enough, but fear of retribution prevents other maids from coming forward. Aibileen tells Skeeter about her struggle to cope with the death of her son, and believes the book will help her find closure. Hilly refuses to advance money to her replacement maid, Yule May, who is struggling to send her twin sons to college. Yule May discovers a discarded ring and pawns it, but is brutally arrested as Hilly watches. This incident and the assassination of Medgar Evers inspire more maids to tell Skeeter their stories. Following the assassination of John F. Kennedy, Skeeter, Aibileen, and Minny fear the maids' stories will be recognized. Minny reveals the "terrible awful" she did to Hilly: after her termination, Minny brought Hilly her famous chocolate pie, but revealed that she baked her own excrement into the pie after Hilly had finished two slices. The inclusion of this incident in the book would prompt Hilly to crusade in denial that the book is about Jackson. Skeeter confronts her mother about firing Constantine, and Charlotte reveals that during a Daughters of America luncheon, Constantine's daughter Rachel disobeyed Charlotte's orders to enter through the kitchen, embarrassing her. To save face, Charlotte fired Constantine; Rachel took Constantine to Chicago, where she later died. The book is published anonymously and is a success. Minny reveals the "terrible awful" to Celia, who finally sees what a manipulative bully Hilly is, and writes a cheque to one of Hilly's charity groups, made out to "Two Slice Hilly". Incensed, Hilly threatens Skeeter with legal proceedings, but she reminds Hilly that the incident is in chapter 12. Charlotte intervenes, letting on that she knows about the "terrible awful", and orders Hilly off the property. Charlotte and Skeeter reconcile when Charlotte tells her how proud she is of her courage, the book, and her job offer in New York City. Johnny reveals to Minny that he knows she has been working at his house, and how appreciative he is for her friendship with Celia, how it saved her life, and that she has permanent job security. This kindness gives Minny the courage to take her children and leave her abusive husband. Seeking revenge for helping Skeeter, Hilly pressures Elizabeth to terminate Aibileen, framing her for theft. Aibileen stands up to Hilly, who breaks down and storms out, and Elizabeth orders Aibileen to leave. Aibileen bids farewell to Mae Mobley and pleads with Elizabeth to give her daughter a chance, as Elizabeth begins to cry. Aibileen reflects on the ordeal and finds closure, looking to her own future as a writer. | The_Help_(film) |
[
"Capote TITLE UP : `` Western Kansas, 1959''",
"EXT. FARMHOUSE - MORNING The CAMERA follows a SIXTEEN YEAR OLD GIRL, long hair, pretty Sunday church dress, walking toward a peaceful farmhouse. At the door she lifts the knocker. The door opens slightly. The girl turns and looks past the camera at her MOTHER, sitting in an old Plymouth idling in the driveway. Her mother shrugs, motions for her to go inside.",
"INT. FARMHOUSE - CONTINUOUS The girl walks through the downstairs rooms. In the kitchen, the PHONE is OFF the hook. The girl looks back toward the open front door. She turns toward the stairs, climbs them.",
"INT. FARMHOUSE, UPSTAIRS HALL - CONTINUOUS She walks down the hall to a BEDROOM DOOR at the end. The door is slightly ajar. She knocks, then enters the room.",
"INT. FARMHOUSE, BEDROOM - CONTINUOUS The girl's POV : the CAMERA pans across the bedroom of a high school coed. We see the desk, the bureau, the bed. On the bed lies NANCY CLUTTER, her wrists and legs bound in rope, SHOT in the head. There is blood on the wall. The sixteen year - old girl stands immobile. Before she starts to scream,",
"EXT. KANSAS LANDSCAPE - DAY Trees ring the edge of a field.",
"EXT. N.Y. CITYSCAPE, ESTABLISHING - NIGHT Buildings lit against the night sky.",
"INT. NEW YORK APARTMENT BUILDING/STAIRS - NIGHT Camera follows group of partygoers as they mount the stairs : Truman Capote, Barbara -LRB- very tall -RRB-, Rose, Christopher, Williams.",
"INT. SMALL, PACKED NEW YORK APARTMENT/KITCHEN - LATER The friends are standing in the crowded kitchen - people are coming in and out - talking and drinking and laughing. TRUMAN So Jimmy Baldwin tells me the plot of his book, and he says to me : the writing's going well, but I just want to make sure it's not one of those problem novels. I said : Jimmy, your novel's about a Negro homosexual who's in love with a Jew - would n't you call that a problem? Laughter. CHRISTOPHER Susan's father had a minor heart attack, so she's writing more erotic poems about death and sex. BARBARA It's so tiresome. WILLIAMS Hmm. What rhymes with angina? Laughter. We see Truman watching everyone laugh. GRAYSON notices, leans in to him. As the rest of the group continues talking, we come closer, hear their conversation. GRAYSON How's your writing? TRUMAN Oh, I've got a million ideas of what to write next - I just have to choose one. GRAYSON Really? TRUMAN No. Their attention is pulled back into the group as : BARBARA Who would I want to play me? Natalie Wood. ROSE Too fat. BARBARA Audrey Hepburn? ROSE Not bad. Sort of middle - class. TRUMAN When a movie is made of my life I know exactly who I want as me. -LRB- beat. -RRB- Marilyn Monroe. Barbara cracks up, chokes on her drink.",
"EXT. TRUMAN AND JACK'S HOUSE/BACK PATIO - MORNING Truman sits with his coffee, reading the New York Times. An article catches his eye. He sits up straight, folds the paper over, reads it.",
"INT. TRUMAN AND JACK'S HOUSE, STUDY - DAY C/U of article being snipped out of PAGE 39 of the Times, November 16, 1959. As the page gets turned around with each snip, we see a small PHOTO of a middle - aged man wearing glasses, with the caption : `` FOUND DEAD : Herbert W. Clutter, a wealthy Kansas farmer.'' We read the headline : `` WEALTHY FARMER, 3 OF FAMILY SLAIN. Parts of the story : `` HOLCOMB, Kan., Nov. 15 -LRB- UPI -RRB- -. wheat farmer, his wife. two young children found shot today.''",
"INT. TRUMAN AND JACK'S HOUSE, STUDY - MOMENTS LATER Truman on the phone. FEMALE VOICE OVER THE PHONE New Yorker magazine. TRUMAN -LRB- ON PHONE. -RRB- William Shawn, please. -LRB- he listens. -RRB- Adorable one? All of a sudden I know what article I'm going to write for you next.",
"INT. TRUMAN AND JACK'S HOUSE, STUDY/KITCHEN - MOMENTS LATER Truman on the phone, on a long cord, travels between the study and the kitchen as he talks to William Shawn. We hear pieces of the conversation, and see Truman in different parts of the room as he says each bit. TRUMAN never had anything like this happen to them before. They're used to sleeping at night with the doors unlatched. -LRB- laughs. -RRB- Yes, we should buy stock in Master Locks - all of Kansas will be in the hardware store tomorrow. Jump to - TRUMAN They have no idea who the killer is. But it does n't matter who the killer is - what matters is who the townspeople imagine the killer is. That's what I want to write about. Jump to - TRUMAN I'm gon na need some help. I'm thinking about Nelle - she can protect me. JACK DUNPHY -LRB- strong, Irish - American, ten years older than Truman -RRB- - his longtime boyfriend - enters the front door with a bag of groceries, stops in the hall. He sees Truman on the phone. Truman looks at Jack, though he's still speaking to Shawn - TRUMAN I want to leave tonight.",
"EXT. TRAIN TRACKS, OUTSKIRTS OF NEW YORK CITY - NIGHT A train barrels toward us, its headlight bright. The train roars past, away from the city.",
"INT. TRAIN, MOVING - NIGHT Truman hurries through the train, checking his ticket with the sleeper cabins. His long SCARF trails behind. His longer cashmere COAT practically brushes the floor.",
"INT. TRUMAN AND HARPER LEE'S CABIN, TRAIN - CONTINUOUS Truman opens the door. Inside the cabin his childhood friend from Monroeville, Alabama, NELLE HARPER LEE -LRB- yes, that Harper Lee -RRB-, is reading. She looks up, deadpan - NELLE I figured you'd missed it. Nelle is a year younger than Truman, dowdy in dress, but smart, tough, sensible. Truman smiles. TRUMAN God I'm glad you agreed to come. You're the only one I know with the qualifications to be both a research assistant and personal bodyguard. -LRB- then, noticing. -RRB- Oh, Nelle, you poor thing. He tries to spruce up her limp silk scarf. NELLE Off. Truman. Off. -LRB- holds his hands. -RRB- I'm happy to see you too, but I can still whip your behind. TWO BLACK PORTERS enter, one with an enormous TRUNK -LRB- Truman's -RRB-, the other with a sensible SUITCASE -LRB- Nelle's -RRB-. PORTER #1 -LRB- reading tags. -RRB- Mr. Truman Capote, Miss Nelle Harper Lee. Where would you like these, sir? TRUMAN That one up there and that one on the floor. He tips them. NELLE What all did you bring? PORTER #2 Thank you greatly, sir. It's an honor to have you with us. If you do n't mind my saying, your last book was even better than the first - TRUMAN You're sweet. PORTER #2 Just when you think they've gotten as good as they can get. TRUMAN Thank you. You're very kind. PORTER #1 -LRB- to Nelle. -RRB- Ma'am. The PORTERS leave. Nelle is stunned. Truman fiddles with the trunk locks, his back to Nelle. Silence, then : NELLE You're pathetic. Truman does n't answer. NELLE You're pathetic. TRUMAN What? NELLE You paid them to say that. Truman wo n't look at her. She whacks him. NELLE You paid them to say that! TRUMAN -LRB- squealing. -RRB- How'd you know? How did you know?! NELLE `` Just when you think they've gotten as good as they can get.'' TRUMAN You think that was too much? -LRB- laughter. -RRB- I thought that was a good line. More laughter. More smacking of Truman. Then it is quiet. NELLE Pathetic.",
"INT. TRUMAN AND HARPER LEE'S CABIN, TRAIN - MORNING Nelle's awake, but still in her bunk, looking out the window at the Kansas plains. Truman's dressing, watching her.",
"EXT. COUNTRYSIDE - DAY TRAVELING SHOTS of harvested FIELDS, grazing LIVESTOCK, solitary FARMHOUSES. The TRAIN chugs across the Kansas flatlands. SHOTS of SIGNS outside Garden City : `` World's Largest Free Swimpool'' and `` Howdy, Stranger! Welcome to Garden City. A Friendly Place.''",
"EXT. GARDEN CITY RENT-A-CAR - DAY Truman and Nelle rent a car. People stare. I/E. RENTAL CAR - DAY Nelle drives past the main square, Truman in the passenger seat. Truman looks at a photo in THE GARDEN CITY TELEGRAM. TRUMAN Alvin Dewey, Kansas Bureau of Investigation. KBI.",
"INT. LOBBY, WALKER HOTEL, GARDEN CITY - DAY Truman and Nelle check in. People stare. Nelle notices.",
"EXT. FINNEY COUNTY COURTHOUSE, GARDEN CITY - CONTINUOUS Truman and Nelle trot up the COURTHOUSE STEPS.",
"INT. FINNEY COUNTY COURTHOUSE, LOBBY - MOMENTS LATER Truman approaches the GUARD DESK. TRUMAN Mr. Alvin Dewey, please. GUARD Third floor. In what used to be the Sheriff's Office. Truman CURTSIES.",
"INT. SHERIFF'S OFFICE - DAY In the reception area, ALVIN DEWEY and the two other KBI AGENTS assigned to the Clutter case are getting their jackets on and straightening their ties. They've completely taken over the office. They are : HAROLD `` Brother'' NYE -LRB- 34 -RRB- ; and ROY `` Curly CHURCH -LRB- 60 - bald -RRB-. They all smoke. Sheriff WALTER SANDERSON - 60's, kind, overweight - is office - less -LRB- though he and his wife DOROTHY still live on the fourth floor of the Courthouse. -RRB- WALTER lurks in the background, nowhere to go, emptying one of many FILLED ASHTRAYS, BOTHERED by the SMOKE. Truman and Nelle enter as : CHURCH The wife said no more smoking in the house. I told her, `` Fine. Walter's got a couch upstairs in his apartment. I'll stay with him and Dorothy till we're done here.'' -LRB- to Walter. -RRB- I've got my bag and a carton of cigarettes in the car. WALTER looks uncomfortable. Dewey shakes his head at Church. DEWEY Roy. TRUMAN Mr. Dewey. Truman Capote from the New Yorker. Silence. The Agents stare at him. TRUMAN Hello. Silence. Nye is looking at Truman, particularly puzzled. TRUMAN Bergdorf's. NYE Sorry? TRUMAN The scarf. NYE Oh. -LRB- then. -RRB- Nice. TRUMAN Thank you. -LRB- turns to Dewey. -RRB- I wonder when we could arrange an interview? Some time to talk. Dewey stubs out his cigarette. DEWEY About what? TRUMAN We're not looking for any inside information - I do n't care one way or another if you catch whoever did this - I'm writing an article not about the Clutter killings, but how they're affecting the town, how you all are bearing up - DEWEY I care. TRUMAN Excuse me? DEWEY I care. -LRB- puts on his hat, pulls out another cigarette. -RRB- I care a great deal if we catch whoever did this. TRUMAN Yes - DEWEY As do a lot of folks around here. TRUMAN Of course. Dewey walks out. Nye and Church start out after him. NYE -LRB- to Church. -RRB- New Yorker? CHURCH You have press credentials? NYE What's the New Yorker? CHURCH Magazine. TRUMAN Magazines do n't give out - CHURCH You can come to the news conference with the rest of them. -LRB- tips his hat to Nelle. -RRB- Sears and Roebuck. Nelle and Truman are left alone.",
"INT. SPARE COURTROOM - DAY Packed with PRESS from all over the Midwest, as well as local Finney County CITIZENS. Dewey's leading the press conference from a FOLDING TABLE set up in front of the Judge's bench, flanked by the two other KBI Agents. He's got a cigarette burning in an ashtray. Truman and Nelle stand in the back. DEWEY I'll talk facts but I wo n't speculate. The main fact here we need to be clear on is not one, but four people were killed. A lot of folks say Herb Clutter had to be the main target because he was dealt with the most brutally - JOURNALIST #1 Had his throat cut. DEWEY -LRB- a moment. -RRB- Yes. We'd all like to know why. But it could've been any one of the family they were after. We just do n't know - JOURNALIST #2 You've identified the murder weapon? DEWEY Wounds indicate a shotgun, close - range, but no casings were found. JOURNALIST #1 Twelve - gauge, hunting - DEWEY Right. JOURNALIST #1 They were all shot in the face? Dewey looks at the journalist. Then, evenly : DEWEY No. Nancy in the back of the head. JOURNALIST #2 Is there any evidence of, I'm sorry, sexual molestation of the women? DEWEY No. JOURNALIST #2 Anything else stolen? DEWEY Kenyon's radio seems to be the only. JOURNALIST #3 The boy was sixteen? DEWEY Fifteen. Nancy was sixteen. JOURNALIST #2 It's her friend that found them? DEWEY Laura Kinney. JOURNALIST #2 Spell that? DEWEY I assume you're okay with the Laura part. K - I - N - N - E - Y. But, please, leave her be. Lots of folks try to talk at once, one OLD MAN makes himself heard above the rest : OLD MAN There's talk of a bunch of Mexicans, a whole bunch of Mexicans. DEWEY -LRB- standing, stubs out cigarette. -RRB- George, it's good to see you again. I do have an opinion whether this was the work of one man or a whole bunch, as you said, but it does n't matter a whole lot whether it was Mexicans or Methodists or Eskimos. We're going to find whoever did this. Four good people from our community are dead. Let's remember that. Okay with you? -LRB- holds up a notice. -RRB- The West Kansas Farm Committee's offering a thousand dollar reward for information leading to an arrest. Please print that. -LRB- moving to the exit. -RRB- Thank you all for coming. The room is immediately noisy as Dewey makes his way to the door, pulling a pack of cigarettes from his pocket, followed by Church and Nye. He's about to step out when Truman catches his eye. Dewey exits.",
"INT. RENTAL CAR - LATE AFTERNOON Nelle drives while consulting a MAP. Truman is leaning back, looking out at the passing farms through the window. He speaks almost to himself. TRUMAN Mr. Dewey's protective of the Clutters. I wonder how well he knew them. Nelle glances over at him. He does n't notice. TRUMAN He was foxy with that old man. -LRB- turns to Nelle. -RRB- Are you ever gon na let me drive? NELLE Truman, you're a menace. You can barely see over the wheel. Truman looks back out the window at the farms, leans back. NELLE This make you miss Alabama? TRUMAN -LRB- rolling window down, shakes his head. -RRB- Not even a little bit. He leans his head out, closes his eyes.",
"EXT. CLUTTER FARM - SUNSET Nelle pulls their car to the side of the COUNTY ROAD which fronts the CLUTTER FARM. We recognize the FARMHOUSE as the one in which Nancy Clutter was found dead. A HIGHWAY PATROLMAN -LRB- 20 years old -RRB- sits in a CRUISER parked up the driveway. CRIME SCENE TAPE marks the perimeter of the property. Truman and Nelle get out of their car, stand at the foot of the driveway, gazing at the lonely farmhouse. FADE OUT.",
"EXT. HOLCOMB HIGH SCHOOL - MORNING A gorgeous fall day. Crowds of kids arriving at school. Many are SOMBER. As Truman and Nelle walk toward the kids, some look warily at Truman and give him a wide berth. TRUMAN Hello. Kids back away. Nelle notices. She leaves Truman, walks up to a group of THREE GIRLS. NELLE Morning. GIRL #1 Hi. NELLE Can any of you tell me where I'd find Laura Kinney? GIRL #1 Oh, um. The girl glances toward the school entrance where LAURA KINNEY -LRB- who found Nancy Clutter's body -RRB- walks with DANNY BURKE -LRB- tall, 17 -RRB-. NELLE -LRB- gently. -RRB- Is that her? With the tall boy? GIRL #2 Yeah. With Danny Burke. NELLE Danny Burke? -LRB- Girl # 2 nods. -RRB- Thank you. As Nelle leaves, Girl # 1 turns to her friend : GIRL #2 Oh, quiet yourself, Janice. Nelle sees Truman on his way toward Laura, calls out - NELLE Truman. Truman - Truman does n't hear. She watches Truman approach them. Laura backs away. Danny leads her off. Nelle walks over to Truman, looks at him for several moments. NELLE These folks live their lives in a particular way. You need to consider adapting yourself to that fact. TRUMAN What - NELLE - I'm gon na find out where those two kids live. Maybe you'll let me do that alone? Nelle leaves. On Truman, as the bell rings and the mass of teenagers starts to enter the school.",
"EXT. MAIN STREET, GARDEN CITY - DAY Truman walks alone, sees the Gilbart Funeral Home. He removes his hat, slips past the few people standing outside.",
"INT. GILBART FUNERAL HOME - CONTINUOUS Warm but slightly tacky. Some people are engaged in hushed conversation at the reception area. Truman slips past, into the back room.",
"INT. BACK ROOM, GILBART FUNERAL HOME - CONTINUOUS No people, low light. Four CLOSED CASKETS at the back of the room. Truman walks over slowly. After a moment, he checks to make sure he's alone. Then he LIFTS THE TOP of one of the caskets. It's Bonnie Clutter's body, in a long - sleaved navy - blue dress ; but her head is wrapped in layers and layers of white cotton gauze, and lacquered with a shiny substance - like an enormous cocoon. Truman stares.",
"INT. WALKER HOTEL, TRUMAN'S ROOM - NIGHT Truman on the PHONE to Jack in Brooklyn. One of Truman's trunks is open, displaying bottles of liquor, packaged and tinned gourmet food, and stacks of unused yellow legal pads. He drinks, standing at the window. JACK -LRB- OVER PHONE. -RRB- I think I scared a friend of yours this morning. He came looking for you while I was writing. TRUMAN You hate my friends. JACK I would n't say hate. So long as they do n't knock on my door. TRUMAN I saw the bodies today. JACK Which? TRUMAN The Clutters. I looked inside the coffins. JACK That's horrifying. TRUMAN It comforts me - something so horrifying it's freeing. It's a relief. Normal life falls away. -LRB- beat. -RRB- But, then, I was never much for normal life - JACK No, you were n't. TRUMAN People here wo n't talk to me. They want someone like you, like Nelle. Me they hate. JACK I ca n't think of a single quality I share with Nelle. TRUMAN Well - JACK Maybe manliness. TRUMAN My point exactly. JACK It's why I left the Midwest in the first place. I knew I could only find someone like you in New York City. On Truman, gazing at the EMPTY TOWN SQUARE below.",
"EXT. GARDEN CITY, VARIOUS - EARLY MORNING A SHOPKEEPER sweeps the sidewalk. There are THANKSGIVING DECORATIONS in his shop window. A SCHOOL BUS picks up a SMALL BOY at the intersection of a DIRT ROAD and the paved COUNTY ROAD. A SMALL BRIDGE over the Arkansas river. Below them, men are sifting the riverbed with nets, moving slowly downstream.",
"INT. WALKER HOTEL, LOBBY - EARLY MORNING Nelle waits by the FRONT DESK. The ELEVATOR DOORS open and Truman emerges. He is DRESSED SOBERLY - NO LONG SCARF, NO LONG COAT. He walks toward Nelle, then TURNS as if he's a runway model, walks away, turns again and walks back. He stops a few feet in front of her. Nelle refuses to smile. NELLE Let's go.",
"EXT. HOLCOMB TOWN ROAD - EARLY MORNING Danny Burke walks down the road with a bookbag over his shoulder. Nelle approaches him, Truman keeps his distance. NELLE Danny? -LRB- Danny stops. -RRB- Would you mind terribly if I walked with you for a bit? He shrugs. They walk together.",
"EXT. LAURA KINNEY HOUSE - AFTERNOON Laura opens door to Truman and Nelle.",
"INT. LAURA KINNEY HOUSE, KITCHEN - AFTERNOON Nelle and Laura Kinney sit at the table. Truman stands at the counter. LAURA I thought you were from the FBI with your long coat. TRUMAN Is that so? LAURA That's why I ran off. TRUMAN I've been getting a lot of that lately. Truman smiles. Laura smiles back, amused, a bit comforted. LAURA It's fine talking to you all. Practically nobody around here wants to talk since what happened. NELLE Folks have been through a rough patch. Including you. -LRB- Laura nods. -RRB- Nancy was your best friend. LAURA She was my best friend. They're quiet for a few moments. NELLE How has Danny been? LAURA Pretty shattered. Nothing terrible ever happened to him before. Nancy just started wearing his ring again after this huge fight - Mr. Clutter was trying to get her to end it'cause Danny's Catholic. NELLE What were the Clutters? LAURA Methodist. Danny was the last person at the house that night. That's why Mr. Dewey's keeps interviewing him - they do n't think he had anything to do with it - just to see if he remembers anything unusual and all. NELLE People in town seem to wonder if he was involved. LAURA That's been real hard for Danny. TRUMAN Oh, it's the hardest - when people have a notion about you and it's impossible to convince them otherwise. Since I was a child folks have thought they had me pegged because of the way I look and the way I talk. They're always wrong. -LRB- looks at her. -RRB- Do you know what I mean? Laura stares at him and nods. He's clearly struck a chord. LAURA I want to show you something. She goes in the door to the GROUND FLOOR APARTMENT. They see her through the LACE CURTAINS getting something from her DESK, which is stacked with books. Truman whispers to Nelle : TRUMAN Not one person here understands her. Laura returns. She hugs a SMALL BOOK to her chest. After a moment, she holds it out to them. LAURA Maybe you'll get a better picture of Nancy. And the family. NELLE What is this? LAURA It's her diary.",
"INT. RENTAL CAR/EXT. NEIGHBORHOOD - AFTERNOON Nelle and Truman walk quickly back to the hotel. Nelle has the diary open. NELLE `` Danny here tonight and we watched TV. So nice just having him sit with us. Left at eleven. P.S. - He's the only one I really love.'' She turns the page. The rest of the book is blank. NELLE And that was that. TRUMAN The end of a life.",
"INT. WALKER HOTEL, NELLE'S ROOM - LATE NIGHT Nelle typing. Truman is propped up on pillows on the bed, scrunching his eyes to remember what was said that afternoon, then writing quickly on one of many YELLOW LEGAL PADS, handing the pages of interview dialogue to Nelle. He's exhausted. Nelle stops typing a moment, looks through the pages Truman has handed her : NELLE `` Shattered.'' TRUMAN `` Pretty shattered. Nothing terrible ever happened to him before.'' He pushes some pillows aside and lies down. TRUMAN I have 94 percent recall of all conversations. NELLE 94 percent. TRUMAN I've tested myself. NELLE -LRB- scans some of what he's written. -RRB- I hate that you're better than me at this. She turns back to the typewriter. She types. Truman lies there, looking at the ceiling for a few moments. He closes his eyes. Nelle knows without looking - NELLE Do n't you dare close your eyes on my bed. No answer. She keeps typing. NELLE Stand up and walk out that door. Go to your room if you're gon na sleep. Truman. Truman. Nelle turns to look at him. He's asleep. She goes back to typing. Under her breath : NELLE Crap. FADE OUT.",
"INT. WALKER HOTEL, BREAKFAST ROOM - LATE MORNING Truman drinks coffee alone, sleepy. He takes a SMALL BOTTLE of HOT - PEPPER TABASCO from his jacket pocket and shakes it over his EGGS. He replaces the bottle in his jacket. Nelle walks into the lobby from upstairs, heads for Truman. NELLE What right do you have being tired? You were snoring blissfully - TRUMAN I do n't snore - NELLE - while I lay there, hating you - TRUMAN You do n't hate me. NELLE Not much. -LRB- She sits. Truman holds out a NOTE. -RRB- What? -LRB- takes it, looks. -RRB- Marie Dewey? We've got somewhere to go for Thanksgiving supper. TRUMAN Apparently Detective Foxy's wife has a better opinion of me than Detective Foxy.",
"EXT. DEWEY HOME - AFTERNOON Ding Dong. We see the FRONT DOOR open. Reveal MARIE DEWEY - pretty, 35, dressed primly - and her two boys : ALVIN JR. -LRB- 9 -RRB-, and PAUL -LRB- 6 -RRB-, lurking behind, curious. Marie smiles. MARIE You came. Reverse onto Nelle. and Truman, dressed in a DARK SUIT, hair neatly combed, like an Exeter schoolboy attending a funeral. Nelle smiles. NELLE Hi. Nelle nudges Truman, who hands over his gifts : a BOTTLE OF J&B, and a PACKAGE of GOURMET SPICED NUTS. TRUMAN -LRB- soberly. -RRB- Thank you for having us. MARIE -LRB- mock serious. -RRB- Thank you. -LRB- then :. -RRB- Get yourselves in here. -LRB- turns and walks into the house. -RRB- Alvin! Get your pants on. They're here. On Nelle and Truman, surprised.",
"INT. DEWEY HOME, LIVING ROOM - AFTERNOON A FOOTBALL GAME plays on the television. No one's watching. We can HEAR Alvin on the phone in his study at the back of the house.",
"INT. DEWEY HOME, KITCHEN - CONTINUOUS Truman and Marie at the stove. Nelle sits at the kitchen table. Truman has his jacket off and an apron on, as does Marie. They are peering into a POT OF BLACK - EYED PEAS. Marie is shaking in drops of HOT PEPPER TABASCO. TRUMAN More. More. MARIE Alvin will hate this. TRUMAN Yes, but we who know the truth will love it. MARIE -LRB- laughs. -RRB- I have to stop. -LRB- then. -RRB- I can not believe you're from New Orleans. I miss it so much. TRUMAN I only lived there for a short while but my Mama was born and bred. MARIE You know something - Alvin pretends he does n't know who you are, but the minute you came to town he read your books. He had one of his men pick up `` Breakfast at Tiffany's'' in Kansas City'cause it's banned from the library here. TRUMAN What did Mr. Dewey think? MARIE He liked it more than he's willing to admit. TRUMAN How very foxy. Marie smiles at that word used to describe her husband. TRUMAN Mama would've put in half the bottle by now. Beat. MARIE Alright, one more shake.",
"INT. DEWEY HOME, HALLWAY - CONTINUOUS Alvin walks toward the kitchen. He smokes. He looks exhausted. He hears SQUEALS of laughter.",
"INT. DEWEY HOME, KITCHEN - CONTINUOUS Alvin enters. They all stop laughing and look at him. nods to Truman and Nelle. TRUMAN Hello. NELLE Hi. Silence. Marie sips her drink. MARIE How you doing, foxy? She cracks up.",
"INT. DEWEY HOME, DINING ROOM - LATER The remains of dinner. The kids have left. The bottle of J&B sits on the table, half - empty. Marie's a bit drunk. Everyone's PLATE is clean except for Alvin's, on which sits a MOUND of uneaten black - eyed peas. Truman is mid - story. TRUMAN I was writing the script as they were filming, all that time in Italy. I'd work like mad all day long and then dash down to the bar around midnight to hand in the next day's scenes. Humphrey had just about moved into the hotel bar - MARIE -LRB- whispers to Alvin. -RRB- Humphrey Bogart. Alvin knows. TRUMAN - where he and John drank every night - MARIE -LRB- to Alvin. -RRB- John Huston. Alvin knows. TRUMAN - and I mean drank, like famished water buffaloes. Well - I'd only just handed them the final scene when the bellhop told me I had a phone call. It was my stepfather, Joe Capote, calling to say that my mother had died. I flew home to New York - terribly distraught - but when I got to the apartment I could see that Joe was in even worse shape than I was. He grabbed my hands and sat me down at the kitchen table, and he said to me, `` Talk. Talk about anything, any subject in the world. Do n't worry whether it will interest me or not. Just talk so I wo n't break down.'' And I did. He could n't bear to be alone with his thoughts. It was too painful. It's quiet for a moment, then Marie looks at Alvin. MARIE It's been a hard couple weeks for Alvin. He and Herb Clutter were good friends. From church. DEWEY Marie - MARIE Oh come on, Alvin. These are good people. Finally, Dewey looks at Truman and Nelle.",
"INT. DEWEY HOME, STUDY - NIGHT Alvin shows Truman and Nelle the CRIME SCENE PHOTOS from the Clutter murders. We see the four corpses, BOUND and SHOT, the bloody footprints in the Clutter basement. Truman and Nelle stare at the photos of Nancy and Kenyon. Then, quietly - TRUMAN Who would put a pillow under the boy's head just to shoot him? Why would they tuck Nancy in? DEWEY -LRB- surprised by the insight. -RRB- I want to know the same thing. Truman hands Nelle one of the photos. She looks at it - NELLE Twisted notion of tenderness.",
"EXT. DEWEY HOME - NIGHT Truman and Nelle are leaving. Alvin and Marie stand in the front door. Nelle kisses Marie. NELLE Thank you. MARIE So many of my friends would love to meet you. NELLE That'd be fine - TRUMAN -LRB- to Dewey. -RRB- You do n't have to worry. I'm not going to write about this until everything's over. DEWEY I'm not worried. I know what room you're in at the hotel. And I know where you live in Brooklyn. Truman smiles.",
"EXT. GARDEN CITY - VARIOUS - DAY AND NIGHT MUSIC : `` Have yourself a Merry Little Christmas.'' Main Street, CHRISTMAS LIGHTS in the TREES. The HARDWARE STORE, with Santa Claus DECORATIONS in the window and a `` ONE WEEK LEFT TO BUY YOUR GIFTS.'' sign.",
"EXT. CLUTTER FARM - LATE AFTERNOON Truman and Nelle walk with PETE HOLT -LRB- 70, very frail -RRB- on the Clutter property. Apples rot on the ground, the trees are bare, signs of disrepair are beginning to weather the house. HOLT -LRB- re the apples. -RRB- I'd of picked them up but I have n't been myself. Mind you, I make the walk out here every day, check the house, make sure the pipes do n't freeze - that sort of item. The least I can do for Mr. Clutter. NELLE How long have you worked here? HOLT 1940 - a lotta years. The wife too, cleaning the house. Cooking. NELLE Well, she's marvelous. Lunch was wonderful. HOLT -LRB- ignoring this. -RRB- She had a hard job after what all happened. Cleaning. I burned most of the rest - mattresses - too far of a mess. -LRB- then, looks at them. -RRB- I've asked around some - if anyone's looking for a strong hand. They do n't know what to say. Finally, he looks away. HOLT I do n't think they'll be able to sell the place till they catch the ones that did it. -LRB- beat. -RRB- That's what I hear anyhow. Silence as the three of them look out over the barren fields.",
"INT. CLUTTER HOUSE, BONNIE'S BEDROOM - DUSK Just the bed - frame - the mattress is gone. Truman and Nelle find her Bible on the bedside table, her bookmark, see the painting of Jesus walking on water. Pete Holt stands off to the side, waiting patiently.",
"EXT. WALKER HOTEL LOBBY, GARDEN CITY - NIGHT Through the front window we see a Christmas tree in the lobby.",
"INT. WALKER HOTEL, TRUMAN'S ROOM - NIGHT Jazzy Christmas music on the RADIO. Nelle sits in the big armchair with a drink. She laughs. We HEAR Jack on the phone : JACK You're celebrating. We see Truman wearing a YELLOW SILK SHORT ROBE with white lace, bare legs. He's on the phone and walking, for Nelle's enjoyment, back and forth, like a runway model. TRUMAN Remember Nelle's manuscript she sent me in New York? JACK Mockingbird. Killing a Mockingbird. You said it was good. TRUMAN And I was right. She just heard Lipincott wants to publish it. JACK -LRB- pause. -RRB- Well. Jesus. That's terrific. Tell her congratulations. TRUMAN Congratulations. -LRB- covers phone, mouths to Nelle :. -RRB- Jealous. JACK Just promise you'll be home by Christmas. TRUMAN I ca n't leave now Jack - I mean it was hard at first, but now I'm practically the mayor. He vamps. Nelle laughs. JACK Alright. TRUMAN I want to come home - I do. Though if they catch whoever did this, who knows what - I'll probably be here til next Christmas. JACK Right. I'll let you go. TRUMAN Jack, we'll go away this spring to write. Maybe Spain. JACK Alright, Truman. TRUMAN Bye. -LRB- hangs up. -RRB- The poor boy misses me. Goes to the mini - bar to fix a drink. NELLE Truman. TRUMAN Nelle. NELLE You remember when we were kids? TRUMAN I was never a kid. I was born fully formed. NELLE I had no idea what a homosexual was. But I knew whatever they were, you were one of'em. Truman puts down his drink and marches out of the room, shuts the door. Nelle's unsure whether she really insulted him. From the HALL, we hear a WOMAN SHRIEK, and a MAN saying : MAN IN HALL -LRB- O.S. -RRB- Oh. Uh. Oh. Excuse us. Truman runs back in, shuts door. They crack up.",
"EXT. DEWEY HOME - NIGHT, CHRISTMAS EVE, ESTABLISHING Tasteful Christmas lights strung on the BUSHES. A WREATH on the FRONT DOOR.",
"INT. DEWEY HOME, LIVING ROOM - NIGHT Truman, Nelle, Marie and Alvin. Drinks. A FULL ASHTRAY on the coffee table in front of Alvin. He's distracted, smoking. Marie holds a WOMEN'S MAGAZINE, checking what Truman says with what's written there. TRUMAN -LRB- quickly, as if reciting. -RRB- - girdle up - no extra bulges - if you're dressed right for him when he gets home, the evening should be smooth sailing. Bon voyage, gals. MARIE I ca n't believe you got this whole page - I only read it to you once! TRUMAN I've trained myself. NELLE trained myself. Truman looks at Nelle. TRUMAN I have 94 percent recall. NELLE 94 percent recall. TRUMAN -LRB- laughing. -RRB- You cut that out. Alvin stubs out his cigarette - though it still burns. He stands. MARIE You believe that Alvin? ALVIN Impressive. He walks out. Silence. MARIE I'm sorry. He's upset. -LRB- stubs out cigarette. -RRB- - smoking three packs a day. -LRB- then. -RRB- Two men did it. They know who. One of them used to have a cellmate who gave him up for the thousand dollar reward. They passed through Kansas City last week writing bad checks - by the time Alvin's boys got up there they'd skipped out again. NELLE Where to? MARIE They have no idea.",
"INT. DEWEY HOME, DINING ROOM - LATER Christmas dinner. Truman, Nelle, Marie and Alvin have just sat down. They wait for the Dewey boys - Alvin Jr. and Paul. We hear them in the living room horsing around. DEWEY Alvin. Paul. Now. It's quiet for a second. Then something crashes and breaks. DEWEY Damnit. -LRB- gets up, goes. -RRB- Come here. MARIE Alvin. Phone RINGS. DEWEY -LRB- O.S. -RRB- Alvin Jr.. Get over here. ALVIN JR. -LRB- O.S. -RRB- Dad, the phone. DEWEY -LRB- O.S. -RRB- Paul. Back to the table. Dewey returns to the dining room, pushing Paul ahead of him. DEWEY Sit. Alvin Jr. enters. ALVIN JR. Dad? MARIE Tell them we're at dinner, Alvin. ALVIN JR. Dad? DEWEY Not now, Alvin. Alvin Jr. leaves. We hear the PHONE being HUNG UP. Alvin Jr. returns and sits. They all get ready to say grace, then : ALVIN JR. You need to call the Chief of Police in Las Vegas when you have a minute. Everyone looks at Dewey.",
"EXT. COURTHOUSE SQUARE, GARDEN CITY - LATE AFTERNOON OVER BLACK SCREEN we hear the voice of a RADIO ANNOUNCER. RADIO ANNOUNCER -LRB- V.O. -RRB- This is KERG radio, Garden City. A friendly broadcast from a friendly place. Our lead story : Slowly, the sounds of a CROWD emerge in the background. FADE UP ON : HIGH SCHOOL kids sitting on the hood and front seat of a CHEW parked at the edge of a CROWD of 200 people. Truman watches. It is COLD. A fat, shivering CO - ED reads the headline in the Kansas City Star : `` Police Fear Lynch Mob.'' The CAR RADIO is on. RADIO ANNOUNCER -LRB- V.O. -RRB- newsmen from six states have joined scores of Kansans as they await the arrival of confessed killers Perry Smith and Richard Hickock. KBI officers have been driving the Clutter family's brutal killers nonstop from. Truman moves from the car into the large crowd. Old ladies ; ranchers ; local businessmen ; moms with kids ; journalists INTERVIEWING citizens ; photographers lined up at the bottom of the COURTHOUSE STEPS. We hear snippets of conversation as we pass. A CITIZEN is being interviewed by a JOURNALIST ; a MOM WITH BABY standing with a FRIEND ; a MIDDLE - AGED man in an overcoat CRYING silently. Truman approaches Nelle and Marie Dewey, standing together at the curb in front of the courthouse, near the photographers. They are talking quietly, turn to Truman - NELLE Hey. We hear LOUD CROWD NOISE at the south end of the square. A CONVOY of FOUR CARS enters the square. It pulls around to the front of the courthouse. STATE TROOPERS spill out of the lead and rear CARS. Nye gets out of the second car. He opens the back door. The crowd falls SILENT. Two state troopers get DICK HICKOCK - handcuffed, pale - out of the car and lead him up the steps. FLASH. FLASH. Dewey and Church open the third car's back door. Silence. They retrieve PERRY SMITH. Perry is extremely SHORT, STRONG, ODDLY BEAUTIFUL, with the dark skin and hair of his American Indian mother, and the pug features of his Irish father. As he stands, he has trouble straightening his stubby LEGS, as if they are arthritic. Truman stares. MARIE -LRB- whispers to Truman. -RRB- Motorcycle accident. He broke them and they never healed right. -LRB- Truman looks at her. -RRB- Alvin told me. Truman watches Perry, transfixed. Perry seems terrified of the crowd, all the faces, like a child. Perry scans the crowd. His eyes fall on Truman. FLASH. FLASH. Truman and Perry look at each other as Perry is led slowly past. At the top of the steps the COURTHOUSE DOORS slam shut.",
"EXT. SHERIFF'S RESIDENCE (4TH FLOOR OF COURTHOUSE ) MORNING FADE IN : Truman knocks on the door, a NEWSPAPER, a BOOK, and a PAPER BAG in his hand. On the door it says `` SHERIFF'S RESIDENCE - PRIVATE''. Dorothy Sanderson opens the door. DOROTHY Truman Capote. TRUMAN Dorothy Sanderson. I figured you'd be left alone this morning by that hard - working husband of yours. -LRB- holds up bag. -RRB- So I have breakfast. -LRB- holds up paper. -RRB- I have news. -LRB- book. -RRB- And I have literature. My friend Jack mailed me the book you wanted. He presents book. Dorothy, flattered, takes it, reads the inscription inside. DOROTHY `` For the maiden of the Midwest, the priestess of the plains, the queen of the kitchen : my first novel. Truman.'' It is `` Other Voices, Other Rooms'' and we see on the back of it the INFAMOUS JACKET PHOTO of Truman at 23 draped sexily on a couch. Truman curtsies. The PHONE RINGS. DOROTHY You're too much. Go on into the living room, lem me grab that - it's been ringing all morning.",
"INT. SHERIFF'S RESIDENCE, FOYER - CONTINUOUS Truman walks into the residence. To the left is the kitchen ; to the right is the living room. Truman looks back at Dorothy - she's still on the phone. He heads for the kitchen.",
"INT. SHERIFF'S RESIDENCE, KITCHEN - CONTINUOUS Truman walks slowly through the doorway of the large kitchen. On the far side of the kitchen is a JAIL CELL. Inside the cell is PERRY SMITH. -LRB- Now we know why Truman came here. -RRB- Truman STARES. Perry does n't see him - he's resting his head on a small table, the tip of his THUMB in his mouth. The chair seems too tall for Perry. He looks like a lonely kindergartner, told to take his afternoon nap. After several moments, Dorothy enters, flustered : DOROTHY Oh. Truman. I meant in there. -LRB- points to living room. -RRB- I. um. Perry sits up quickly, rubs his legs. DOROTHY It's the women's cell. It's hardly ever used. But they wanted to, um, separate. Please. Let's sit in the living room. I'll set up in the living room. She gathers a tray of Truman's PASTRIES, and COFFEE CUPS. DOROTHY Come. She goes - Truman starts to follow, then lingers. TRUMAN They put you in the women's cell. PERRY Among other indignities. Perry's voice is oddly high, whispery - special words are precisely enunciated. TRUMAN Well. she's a good cook. PERRY She's scared of me. TRUMAN I think so am I. A little bit. PERRY Are you? -LRB- a moment, then :. -RRB- You have any aspirin? My legs - Dorothy's in the doorway. DOROTHY Um. Truman? All set. Truman looks at Dorothy, looks back at Perry. TRUMAN I'm sorry.",
"INT. COURTROOM - DAY Judge ROLAND TATE, white - haired, imperious, bangs his gavel. The packed crowd quiets down. Perry and Dick sit at the defense table chewing JUICY FRUIT GUM. Next to them : their aged court - appointed lawyer, Franklin Weeks -LRB- 70 -RRB-. Dick wears a SHIRT AND TIE. Perry wears jeans rolled up at the cuff, his SHIRT OPEN at the collar. He draws on a piece of paper with a STUBBY PENCIL - a rather good picture of a LARGE PARROT. Truman sits with Nelle, watching Perry - TRUMAN -LRB- murmurs. -RRB- His feet do n't touch the floor. JUDGE TATE In the matter of the State of Kansas v. Richard Eugene Hickock and Perry Edward Smith this Court has been informed by counsel - Mr. Weeks - that defendants wish to waive their right to Preliminary Hearing. Mr. Hickock, is that your wish? Hickock looks at Weeks. Weeks nods. Hickock stands. HICKOCK -LRB- unconvincing. -RRB- Yessir. Yes. Hickock sits. Truman whispers to Nelle - TRUMAN Why are they doing that? JUDGE TATE Mr. Smith. PERRY -LRB- stands. then :. -RRB- I ask that the waiver be effectuated. Judge Tate looks at him for a moment - JUDGE TATE So noted. -LRB- bangs gavel. -RRB- We're adjourned. Crowd gets up. Much talk. Truman watches Perry and Dick through the forest of bodies. They are led away in handcuffs. Franklin Weeks stands slowly, then begins gathering his things - he's old and it takes him ages to collect his papers. Truman watches.",
"EXT. SHERIFF'S RESIDENCE - AFTERNOON Truman knocks. He holds a PIE. Dorothy answers. DOROTHY Mr. Capote. TRUMAN -LRB- offers pie. -RRB- Madame Sanderson. DOROTHY Is that for the two of us to share? Or for me to eat alone while you talk to our guest? Truman is caught. He smiles.",
"INT. SHERIFF'S RESIDENCE, KITCHEN - AFTERNOON Truman sits near the bars of the cell. Perry draws on a scrap of paper at the small table. Dorothy watches from the door to the living room. The BOOK Truman gave to Dorothy lies on the floor next to Perry's meticulously made bed. TRUMAN Was it your choice to waive the hearing? Perry does n't answer. Dorothy checks her watch, leaves. Truman takes a bottle of BAYER ASPIRIN out of his pocket. TRUMAN You still need some? -LRB- Perry does n't move. -RRB- Give me your hand. Perry extends his hand through the bars. As Truman shakes some aspirin into it - PERRY I could kill you if you got too close. Perry puts the aspirin in his mouth, CHEWS THEM, holds out his hand for more. Truman gives him more, which Perry puts in his pocket for later. TRUMAN Would you like some water? Perry shakes his head. Silence. TRUMAN Mrs. Sanderson lent you my book - PERRY He said we'd curry favor with the Judge if we waived our rights. TRUMAN Who did? PERRY The lawyer. TRUMAN Okay. Truman nods, not wanting to push this any further. Perry picks up the book, holds it out through the bars. PERRY Your picture's undignified. People recall first impressions. TRUMAN What's been your first impression? PERRY You want something. TRUMAN From you? Dorothy pokes her head in from the living room. DOROTHY Truman. Walter's gon na be home soon. TRUMAN -LRB- to Perry. -RRB- I just want permission to talk. -LRB- then. -RRB- Has anyone else visited? Perry does n't answer. DOROTHY Truman - TRUMAN Will you tell me if you need anything? I can have whatever you want sent from New York. -LRB- no answer. -RRB- Will you do that? On Perry, considering whether to trust this man.",
"INT. NEW YORKER, WILLIAM SHAWN'S OFFICE - LATE AFTERNOON Phone RINGS, WILLIAM SHAWN answers -LRB- 50, New Yorker editor, conservatively attired -RRB- at a desk looking onto 44th street. SHAWN William Shawn. TRUMAN -LRB- OVER PHONE. -RRB- Gorgeous? SHAWN Truman. INTERCUT to Truman in a PHONE BOOTH outside the COURTHOUSE.",
"INT. COURTHOUSE PHONEBOOTH - DAY TRUMAN I'm writing a book. It's too much for a single article - this town, the killers most of all - you will be stunned by Perry Smith - SHAWN Why? What has he - TRUMAN Not much yet, but I know. I can sense him. He's desperately lonely, frightened. I have questions - are you ready? SHAWN Would it matter - TRUMAN How much more money can you send me? How quickly can you get Dick Avedon out here to take some pictures? INTERCUT to WILLIAM SHAWN'S OFFICE. On Shawn - he does n't know how to begin to respond.",
"INT. HICKOCK'S JAIL CELL - DAY Perry has been placed in an adjoining cell for the afternoon. He COMBS his greased hair in a mirror. A camera FLASHES. Nelle and Truman sit outside the cells. Franklin Weeks dozes off to the side. RICHARD AVEDON - small, dark, wiry, flamboyant - is snapping photos of a bare - chested Hickock in the next cell, particularly his TATTOOS, while Hickock chatters away. HICKOCK Perry, honey. You look terrific. Perry is embarrassed, glances over at Truman. FLASH. HICKOCK Calm yourself down, sweetheart. Perry glances at Nelle. She MOTIONS to him that his SHIRT is buttoned wrong. Perry fixes it, looks back at her. Hickock notices Truman gazing at his tattoos - the one on his CHEST : the word PEACE, with a cross radiating rays of light. HICKOCK Be patient, Capote. Maybe later they'll send you my skin. TRUMAN I have the perfect place for it, over the hearth. Hickock smiles. FLASH. Truman looks over at Perry, sitting alone. Truman starts to remove his TIE. PHOTOS, in quick succession : Of Hickock pulling up his sleeve to reveal his tattoos. Of Perry combing his HAIR. FLASH. The GRINNING CAT on Hickock's hand. FLASH. Perry looking directly at the camera. FLASH.",
"INT. COURTHOUSE - MORNING, ONE MONTH LATER Series of shots in and around the courthouse : TITLE UP : `` One month later'' An officer approaches down a long hallway. A janitor cleans the basin of the water fountain. Spectators are drawn into the courthouse. The officer opens the courtroom doors. A crescendo of sounds.",
"INT. COURTROOM - DAY Spectators take seats. The jury files back into the box. Perry and Dick chew gum. Perry wears TRUMAN'S TIE, and draws on a pad with a NEW SET OF COLORED PENCILS - another PARROT, quite beautiful, now YELLOW. Nelle and Truman sit together. NELLE Where'd Perry get the art set? Truman shrugs. Nelle raises her eyebrows. Judge Tate GAVELS loudly, looks to the jury. JUDGE TATE Members of the jury. Have you reached a verdict? FOREMAN -LRB- stands. -RRB- Yes sir. JUDGE TATE Defendants rise. Perry and Dick stand. Judge Tate turns back to the Foreman. JUDGE TATE Perry Edward Smith and Richard Eugene Hickock stand accused of four counts of the crime of murder in the first degree. Have you reached a unanimous verdict? FOREMAN We have, your honor. JUDGE TATE What is your verdict? FOREMAN Guilty. On all counts. JUDGE TATE Have you unanimously reached a sentence. FOREMAN We have, your honor. JUDGE TATE What is the sentence? FOREMAN Death. Judge nods, the foreman sits. Judge turns to Perry and Dick. JUDGE TATE Perry Edward Smith and Richard Eugene Hickock. You've been found guilty of four counts of murder in the first degree. You will be taken to the state penitentiary at Lansing. No later than midnight, May 13 of this year, nineteen hundred and sixty, each of you will be hanged by the neck until dead. So ordered. He GAVELS. Perry and Dick are set upon by Sheriff's Deputies and led out. Photographers crowd them. Dick turns to Perry. HICKOCK Alright, partner. Least now we're not the only killers in Kansas. Perry looks at him, utterly lost. FLASH.",
"INT. WALKER HOTEL, NELLE'S ROOM - JUST BEFORE DAWN Nelle sits at the window, smoking. Truman in the armchair, holding a drink. They've been up all night. Their bags are packed. Also - a few packed boxes of written - in yellow notepads and many typed pages. Truman glances at his watch. TRUMAN You think he slept at all? Nelle looks over at him. TRUMAN I need to see him before we go.",
"INT. SHERIFF'S RESIDENCE - MORNING Truman sits next to Perry's cell. Perry lies on the bed, staring at the ceiling. TRUMAN They're going to transfer you up to Lansing today. You'll have to make sure to put me on the visitor's list. Otherwise I ca n't see you. No response. TRUMAN Will you do that? I'm going to help find you a proper lawyer. You need a serious lawyer for an appeal. -LRB- no response. -RRB- They took Dick last night. I need you to get him to do the same thing - put me on the visitor's list. Will you do that, Perry? Perry closes his eyes. TRUMAN Perry. FADE OUT.",
"INT. TRUMAN AND JACK'S HOUSE, LIVING ROOM - NIGHT FADE UP ON the sounds of a HUGE PARTY in progress. We see a home - made BANNER reading `` Return to Civilization!'' The CAMERA follows NELLE as she walks through the crowd : Gays, straights, smoke and noise. Society women, slender and beautiful ; BEN BARON pontificating to CHRISTOPHER ISHERWOOD. BEN BARON Nelle. Kudos on `` Kill the Bird.'' Is that it? NELLE Close enough. Thanks. William Shawn talks to a MUCH TALLER WOMAN. SHAWN He has n't written a word yet, though he says it's the nonfiction book of the decade. We HEAR Truman before we see him : TRUMAN -LRB- O.S. -RRB- He's little, but terrifying - We see Truman in the corner entertaining a small group. Jack Dunphy stands off to the side. Nelle settles next to Jack. TRUMAN He's as short as I am. And almost as pretty. I'd be with him right now but he's being given new accommodations - Guests laugh. TRUMAN Most people assume he's a monster. I do n't see him that way. The book I'm writing will return him to the realm of humanity - it's the book I was always meant to write. Nelle and Jack stand back, watching. JACK Watch out. This is the start of a great love affair. NELLE Oh yes. Truman in love with Truman.",
"INT. LE PAVILLON RESTAURANT - DAY Truman is being interviewed over lunch. TRUMAN I was in Marilyn's apartment just last week. I had to break it to her that, of the four Matisses hanging on her wall, two were upside down. The REPORTER laughs. A waiter passes. Truman taps his glass. TRUMAN Another. -LRB- to reporter. -RRB- To answer your question, I'm following `` Breakfast at Tiffany's'' by blazing a different path - by inventing an entirely new kind of writing : the non - fiction novel. REPORTER You have a subject? Truman takes a last sip of his drink - utterly serious now. TRUMAN On the night of November 14, two men broke into a quite farmhouse in Kansas and murdered an entire family. Why did they do that? It's been suggested that this subject is tawdry - it's not worthy of literature. I disagree. Two worlds exist in this country - the quiet conservative life, and the life of those two men - the underbelly, the criminally violent. Those worlds converged that bloody night. I spent the past three months interviewing everyone in Kansas touched by that violence. I spent hours talking to the killers - and I'll spend more. -LRB- waiter brings his drink. -RRB- Researching this work has changed my life, altered my point of view about almost everything. I think those who read it will be similarly affected. -LRB- he sips. -RRB- Such a book can only be written by a journalist who has mastered the techniques of fiction - REPORTER You're speaking of yourself. TRUMAN You're really very clever.",
"INT. TRUMAN AND JACK'S HOUSE, BEDROOM - DAY Truman sits in bed, writing on a yellow LEGAL PAD, surrounded by PILES of notes. He squints his eyes, concentrating. Jack enters, delivers a CUP OF COFFEE. Truman does n't notice.",
"INT. TRUMAN AND JACK'S HOUSE, BEDROOM - LATER Truman is rifling through the boxes, looking for particular notes. He ca n't find what he needs. The phone RINGS.",
"EXT. STREET, BROOKLYN HEIGHTS - LATE AFTERNOON Jack and Truman walk. TRUMAN Perry's decided to appeal. He claims their attorney was incompetent - that he never raised the issue of temporary insanity. JACK So you find them a new lawyer. TRUMAN They're facing execution in six weeks, Jack. They need someone to argue whether or not that's right. JACK Okay. TRUMAN I'd also like to see them alive, yes, thank you very much. I need to hear their story. They walk in silence for a few moments. TRUMAN If you met him you'd understand. It's as if no - one's ever asked him a single question about himself. He's so. damaged - and strange - unexplored. -LRB- then. -RRB- I do n't trust this Hickock fellow. Perry's the only person who can describe to me what happened that night. I need to hear him say it. JACK Just be careful what you do to get what you want. TRUMAN I'm finding them a lawyer. JACK Truman. You're finding yourself a lawyer.",
"INT. CAR, DRIVING, TWO-LANE KANSAS HIGHWAY - DAY Truman drives alone, concentrating intently. He has to stretch to see over the dashboard.",
"EXT. KANSAS STATE PENITENTIARY (KSP), LANSING - DAY A turreted, Civil War - era fortress an hour's drive from Kansas City. Truman pulls up to the GUARDHOUSE.",
"INT. KSP, WAITING ROOM/WARDEN'S OFFICE - DAY Truman waits alone, looking at the lone decoration : a campaign poster, showing a fat man in a suit grinning while holding a shotgun. Across the bottom it reads : WALK TALL WITH KRUTCH. A YOUNG PRISON GUARD sticks his head out of the office door. YOUNG PRISON GUARD Warden Krutch will see you now.",
"INT. KSP, WARDEN'S OFFICE - DAY Wood - paneled walls, government - issue desk. On the wall behind the desk is a CHART - a racial accounting of the current inmate population. It reads : WHITE - 1405, COLORED - 360, MEXICANS - 12, INDIANS - 6. WARDEN MARSHALL KRUTCH is fat, coarse, sweaty even in winter. And it's spring. He's running for Congress - there are `` KRUTCH FOR CONGRESS'' bumper stickers laying around the office. He's enjoying a chance at a little publicity. The YOUNG PRISON GUARD stands quietly by the wall. KRUTCH We do well by our boys. Showers once a week. Feed em good. We'll be feeding Perry Smith in the infirmary soon if he do n't eat. Get the food in through his arm. TRUMAN What are you talking about? KRUTCH Has n't eaten in a month. But it's not his right to kill himself. It's the People's right. The People of this State. And that's who I work for, the People. You can write any of this down. TRUMAN No one told me. KRUTCH Yah. Wo n't eat. TRUMAN When can I see him? KRUTCH -LRB- checking desk calendar. -RRB- How about you come back Thursday? TRUMAN No. That's no good. I need to see them now, then whenever I want for as long as I want. KRUTCH Not how we do things here. Pause. TRUMAN I see. Truman glances at the campaign stickers, the young prison guard, then back at Krutch. TRUMAN I understand what a burden unlimited visitation might be - on this institution, and on the People who pay for it. I want to be clear that I do n't expect the citizens of Leavenworth County to have to shoulder that burden. Truman reaches into his jacket, pulls from it an ENVELOPE STUFFED with CASH. He lays it on the desk. TRUMAN To be dispensed as you see fit. Krutch is stone - faced as he regards the money. Finally : KRUTCH I did n't know where to count your boy - being half - Indian. I did him a favor though. -LRB- points to race chart. -RRB- Counted him White. TRUMAN You're a kind and generous man.",
"INT. KSP, DEATH ROW - DAY The second floor of a small building in the corner of the prison complex. Decrepit. The one hall is lit by mesh - covered BARE BULBS in the ceiling. Twelve cells - six on each side. Each is 7 by 10 feet, with one small, high WINDOW covered by bars and wire. The YOUNG PRISON GUARD opens the heavy GATE at the end of the hall and shows Truman in. They walk down the row of cells. In one of them we notice Lowell Lee Andrews -LRB- 20, white, spectacled, ENORMOUSLY FAT -RRB- peering at his own face 4 inches from a mirror. Dick is leaning against the bars of his own cell. He smiles. HICKOCK My hero. TRUMAN Hello. HICKOCK Thanks for your help with the lawyer. TRUMAN That's fine. HICKOCK You must be desperate for a story to come all the way out here. YOUNG PRISON GUARD Mr. Capote. You're entitled to go in. You may, um, go in. If you wish. Truman hesitates for a second. HICKOCK You want to see Perry. Go ahead. TRUMAN Thank you. Truman walks to the next cell. HICKOCK Ask me, he's just trying to prove the insanity defense. Truman sees Perry, gaunt, lying on his cot, almost comatose. Perry's rather striking drawing of a LARGE YELLOW PARROT sits propped on his table. An UNEATEN LUNCH TRAY lies on the floor - a cockroach runs over it. Truman watches, disturbed.",
"INT. SUPERMARKET - NIGHT Camera follows Truman as he walks down an aisle with a small WICKER BASKET. He stops, looks at a shelf.",
"INT. SUPERMARKET - NIGHT Truman waits in the check - out line behind a MOM paying for her groceries. Her SON -LRB- 3 -RRB- stands next to her legs, wearing a little cowboy hat and cradling a TOY GUN to his chest. He sucks his thumb. Truman and the boy look at each other.",
"INT. KSP, DEATH ROW, PERRY'S CELL - DAY Truman sits on the chair, his WICKER BASKET on the table. He has spread out a cloth napkin. A GUARD watches from outside the cell. Perry lies completely still on the cot. Truman takes out jars of BONNET BABY FOOD, inspects the labels. TRUMAN -LRB- to Perry. -RRB- I do n't care what your plans are for yourself. He decides on the CUSTARD jar. He opens it, takes a plastic BABY SPOON from the basket. TRUMAN But you're gon na wake up enough to tell me what you did with my tie. He spoons a bit into Perry's mouth. The GUARD walks away. Truman leans close to Perry, whispers : TRUMAN It's okay. It's Truman. It's your friend.",
"INT. KSP, DEATH ROW, PERRY'S CELL - LATER (LATE AFTERNOON) Perry sleeps. Truman stands against the wall watching him. He has cleaned up the basket of food. He walks over to Perry's desk, sees two handwritten notebooks on it : THE PRIVATE DIARY OF PERRY EDWARD SMITH and PERSONAL DICTIONARY. Next to them, he sees a pencil SELF - PORTRAIT Perry drew. It's very good. Truman touches it.",
"INT. KSP DEATH ROW, PERRY'S CELL - LATER (EVENING) Perry sleeps. Truman sits on the chair watching, waiting. Perry opens his eyes, looks at Truman.",
"INT. KSP, DEATH ROW, PERRY'S CELL - LATER (NIGHT) Perry is sitting up a bit, Truman helps him sip a cup of water. Perry lies back down. He's looking at Truman. TRUMAN How'd you learn to draw like that? Perry closes his eyes.",
"INT. CAR, DRIVING - AFTERNOON (NEXT DAY) Truman drives through the KANSAS STATE PENITENTIARY gate, waves to the Guard.",
"INT. KSP, DEATH ROW, PERRY'S CELL - EVENING Perry sits on the bed, cleaned up, wet hair neatly combed, looking at a few OLD SNAPSHOTS he has saved in a handkerchief. Truman sits in the chair across from him. Perry hands him a photo of his mother. Perry speaks quietly. PERRY Before she had us. Before she started drinking. TRUMAN Who took care of you as a child? PERRY Orphanage. Me and Linda. TRUMAN That's your sister? Perry nods. Truman waits for more. It does n't come. TRUMAN We're not so different as you might think. I was abandoned repeatedly as a child. My mama'd drag me along to some new town so she could take up with another man she'd met. Night after night she'd lock me in the hotel room - Mama'd turn the latch and tell the staff not to let me out no matter what. I was terrified - I'd scream my head off - till finally I'd collapse on the carpet next to the door and fall asleep. After years of this she just left me with relatives in Alabama. PERRY Who raised you up? TRUMAN My Aunts. -LRB- Perry nods. -RRB- That's when I met Nelle - she lived next door. -LRB- looks again at the photo, hands it back. -RRB- Your mother was Indian? PERRY Cherokee. TRUMAN Drinking was not a good thing for her. PERRY No tolerance for it. TRUMAN And your father? PERRY No tolerance for him either. Truman's laughs, surprised by the joke, though it's unclear whether Perry meant it as one. He stares at Perry. TRUMAN What I ca n't decide is if you understand how fascinating you are. Perry does n't respond, then - PERRY I'm sorry about your tie. They took it away from me because we're all on suicide watch. It's why the lights stay on at night. TRUMAN I hope we're past that now. You had me worried. PERRY Okay. TRUMAN I do n't care about the tie. It's just a pity because it looked so good on you. Perry leans in, motions toward Dick's cell, lowers his voice - PERRY Be careful of Ricardo. I think he wants you all to himself. TRUMAN Alright - PERRY But he's naturally mendacious - not to be trusted - if he had a hundred dollars he'd steal a stick of chewing gum. TRUMAN You would n't. Perry shakes his head. Then, Truman nods toward Perry's notebooks. TRUMAN I want to take your notebooks with me - I want to read them. Perry hesitates. TRUMAN If I leave here without understanding you, the world will always see you as a monster. I do n't want that - I do n't see you that way. A moment, then Perry reaches for the NOTEBOOKS, hands them to Truman. Then he hands Truman the DRAWING he did of himself. PERRY I tracked my father down in Alaska. I was 14. One day I said to him, `` Mom's dead.'' I could see it. A week later we got the news. She finally drunk herself to death. Truman regards Perry. Then he looks at the drawing - TRUMAN This is remarkable. PERRY Sometimes you see a thing - how it really is. On Truman holding the drawing, looking at Perry.",
"EXT. KANSAS STATE PENITENTIARY PARKING LOT - NIGHT Truman walks quickly to his car, holding Perry's DRAWING and NOTEBOOKS. At the car, he looks back at the dark jailhouse.",
"INT. HOTEL ROOM, KANSAS CITY - LATE NIGHT Truman at the desk, PERRY'S TWO BOOKS next to a LEGAL PAD already filled with notes. He's on the PHONE with Nelle, paging through the PERSONAL DICTIONARY captivated by it. TRUMAN He trusts me - that's why he gave it to me. He's given me absolutely everything. -LRB- paging through Diary. -RRB- You should see his drawings, Nelle, how good he is. He wants so badly to be taken seriously, to be held in some esteem. INTERCUT with Nelle, in pajamas, sitting on the porch of her home in Monroeville, smoking.",
"INT. NELLE'S LIVING ROOM - NIGHT NELLE Do you? TRUMAN Do I what? NELLE Hold him in esteem? TRUMAN Well. he's a gold mine. I mean he's told me his entire life, and now it's all here for me to write down - All of the history I need. His entire life in this Diary. His dead mother. A brother and sister killed themselves. NELLE You tell him your mama did the same thing? TRUMAN I tell him everything. We've been talking our heads off the past month. Sometimes, when I think how good my book can be, I can hardly breathe. NELLE Huh. TRUMAN -LRB- finds what he wants. -RRB- Here's what I wanted to read to you : `` If Called Upon to Make a Speech :'' - this is exactly what I was talking about - a speech just in case he's ever recognized for an achievement : `` If Called Upon to Make a Speech : I ca n't remember what I was going to say for the life of me. I do n't think ever before have so many people been so directly responsible for my being so very, very glad. It's a wonderful moment and a rare one. Thank you!''. -LRB- beat. -RRB- There's an exclamation point on the end of that thank you, in case you did n't catch it. -LRB- silence. -RRB- Where'd you go? We hear Nelle exhale her cigarette. NELLE Christ. I guess it stopped being funny. TRUMAN I never said it was. -LRB- turns a page. -RRB- Listen to this.",
"EXT. KANSAS CITYSCAPE - VARIOUS (TWO WEEKS ELAPSE)",
"INT. DINER, DOWNTOWN KANSAS CITY - MORNING Truman is eating breakfast with Alvin Dewey. A WAITRESS refills their coffees. DEWEY -LRB- to waitress. -RRB- Thanks. She leaves. An uncomfortable silence. Then : DEWEY You're nothing if not hard - working. TRUMAN You look good, healthy again. DEWEY Not a chance. Dewey taps a cigarette out of his pack. TRUMAN I've decided on a title for my book. I think you'll like it - very masculine. `` In Cold Blood.'' DEWEY -LRB- lights the cigarette. -RRB- That refers to the crime or the fact that you're still talking to the criminals? TRUMAN The former, among other things. DEWEY I see. They eat for a moment. Then : TRUMAN I've been wanting to ask if you'll let me look at your investigation notes. DEWEY That lawyer you helped find for your friends got them a hearing at the Kansas Supreme Court - TRUMAN I heard this morning. DEWEY - on the issue of inadequate counsel. TRUMAN Alvin. Do you not want me to look at your notes? You are permitted to say no. DEWEY -LRB- rises, takes out wallet. -RRB- I'll tell you what : if those boys get off, I'm coming to Brooklyn to hunt you down. Truman ca n't decide whether Dewey is kidding or not. Dewey puts money on the table. DEWEY I have to be in court at nine o'clock. He walks away. Over his shoulder : DEWEY Call Roy Church. He'll show you what you want to see.",
"INT. KSP, DEATH ROW - DAY Truman walks down the hall. He passes Dick's cell. Dick is lying in bed. Dick rises and smiles widely at Truman. HICKOCK Hey, hey. Truman smiles, puts HIS FINGERS TO HIS LIPS, continues past. He stops outside Perry's cell. Perry -LRB- looking MUCH HEALTHIER -RRB- is drawing at his table - a picture of the HUGE YELLOW PARROT swooping down from the sky. Truman watches for a few moments, then Perry looks at him.",
"INT. KSP, DEATH ROW, PERRY'S CELL - MOMENTS LATER The Guard locks Truman inside with Perry. PERRY Thank you. Truman looks at the Guard - he leaves. TRUMAN It was as much for me as for anyone. I could n't bear the thought of losing you so soon. PERRY We're going to be able to use your book for our case. You'll write we never got to raise our insanity plea. You wrote how terrible the lawyer was? TRUMAN I have n't written a word yet. Beat. PERRY What have you been doing? TRUMAN Research. Waiting to talk to you. PERRY All right. TRUMAN I had hoped - PERRY What are you calling it? TRUMAN The book? -LRB- looks directly at him. -RRB- I have no idea. Pause. TRUMAN If I'm going to write about you - if I'm going to determine how to write about you - you need to tell me about that night at the Clutter house. Perry just looks at him. TRUMAN Perry. Perry shakes his head. TRUMAN Why? Do you worry what I'll think? Perry looks away. A long moment. TRUMAN Is that it? Silence. Then : PERRY Dick says you know Elizabeth Taylor. TRUMAN I know a lot of people. Truman gives up for now. Sees the PICTURE OF THE YELLOW BIRD on the desk. TRUMAN What is that you keep drawing? PERRY You must hate having to come to this place - TRUMAN Perry, I have invitations to be in Morocco, Greece. I choose to be here. Those people have everything, all their prayers have been answered, yet they're more desperate than ever. I prefer to be here with you. PERRY -LRB- looks at Truman ; evenly. -RRB- I was ten, I wet the bed, the nuns at the orphanage hated the smell. First month one of them found me shivering - just trying to get through the night. The Sister pulled back the covers and shined her flashlight to see what I'd did. The sheets were wet. She hit me so many times with that flashlight she broke it. -LRB- he shrugs. -RRB- That night I dreamed about the yellow bird. Tall. Yellow like the sun. It picked me up and it clawed the Nun's eyes and it lifted me into the sky. They look at each other.",
"EXT. BAR, DOWNTOWN K.C. - NIGHT Truman on the street outside the club at a PAY PHONE. He talks with Jack in Brooklyn. TRUMAN I'm just missing this one piece, Jack. Be patient with me. JACK How long is that gon na take? Why do n't you try leaving him alone for a while? Come to Spain. You can always visit him later. TRUMAN I do n't know. JACK Well, I'm off. I've got my own writing to do. TRUMAN Do it in Brooklyn. Wait for me. JACK Too many people around. -LRB- beat. -RRB- I'll leave the address on the kitchen table. Truman, what do you do there when you're not with him? - It must be awful. Truman's watching a YOUNG GUY standing outside the bar, looking at him. JACK Think about what I said. Join me when you can. TRUMAN I will. I will. Bye. Truman follows the YOUNG GUY into the bar.",
"INT. HOTEL ROOM, KANSAS CITY - LATE NIGHT Truman sleeps. He OPENS HIS EYES in bed. Turns to the bedside table to see the drawing of Perry looking at him.",
"EXT. KANSAS CITY - DAWN A young drifter stands alone on an empty street corner. He checks a pay phone for a coin. It's empty.",
"INT. KSP, DEATH ROW, PERRY'S CELL - DAY Perry is lying on his cot reading an ADVENTURE MAGAZINE - something to do with finding buried treasure off the coast of Mexico - and sucking on the tip of his thumb. After a moment he STARTLES and looks up. Truman stands outside his cell. He holds a stack of books : Perry's PERSONAL DICTIONARY and DIARY, and a new WEBSTER'S DICTIONARY and THESAURUS. PERRY I did n't see you. Jesus, you. -LRB- stands, tucks in shirt. -RRB- Come in. Where's the guard? TRUMAN I ca n't. I brought you some things, but I have to fly back East. PERRY When? TRUMAN An hour. I'm sorry. PERRY You ca n't. TRUMAN I'm sorry. PERRY Who are you going there to see - HICKOCK -LRB- O.S. -RRB- -LRB- from next cell. -RRB- Capote, get it straight in your book - we never intended on killing that family - PERRY I told him that. HICKOCK -LRB- O.S. -RRB- No premeditation - PERRY I told him! Perry searches the cell for something else to give to Truman to keep him there. Then, he stops. He has nothing left to give, and is unwilling to talk about that night at the Clutters. He becomes very still. Truman speaks gently - TRUMAN Your writings are magnificent. I hope these help you do more. No response. Truman places the books on the floor just outside Perry's cell - Perry's writings in one stack and the new dictionaries in another right next to it. TRUMAN I have so much material - from the trial, from our visits, your journals. I have to organize it all, and I have to start the process of writing. -LRB- no response. -RRB- I'll visit soon. Perhaps this fall. -LRB- backing away. -RRB- I miss you already. Write me every five minutes. He turns and goes. We stay with Perry as Truman leaves. We hear Dick speak to Truman. HICKOCK -LRB- O.S. -RRB- Be good now. Hear Truman's footsteps receding. Then, a long shot of the hallway as the Guard lets Truman out the gate at the end of the row. Silence.",
"INT. KSP, DEATH ROW, PERRY'S CELL Perry looks down at the books sitting on the floor outside his cell. He crouches, puts his hand through the bars and touches the cover of the new dictionary. He's alone. FADE OUT. Over black - the sound of a JET airplane - loud, then passing.",
"EXT. BEACH - DAY FADE IN : BRIGHT WHITE SKY. Sounds of seagulls. Ocean, sand, cottage houses in greenery set back from the beach.",
"EXT. RENTED COTTAGE HOUSE - DAY The house Jack rented. Jack types on the upstairs deck. Truman pulls up in an OLD TAXI. Jack looks out over the railing to the street. Jack emerges on the FRONT PORCH as Truman walks up the path with his bags. They look at each other. Then Truman looks around at the incredible garden, the ocean in the background, and starts to LAUGH. FADE OUT. Title up : `` January, 1962'' Sound of a MANUAL TYPEWRITER over black.",
"EXT. RENTED COTTAGE HOUSE - EARLY MORNING FADE IN on the peaceful outside of the house. Sound of TYPING.",
"INT. RENTED COTTAGE HOUSE - EARLY MORNING More typing. A PHONE rings. CAMERA tracks slowly through the pretty, tiled living room, toward a DOOR at the far end.",
"INT. BEDROOM, RENTED COTTAGE HOUSE - EARLY MORNING Truman at his DESK, surrounded by piles of filled YELLOW PADS, NOTE CARDS, an open TRUNK of random notes. He is at the MANUAL TYPEWRITER. The phone is on the floor, ringing. He types. The phone rings. Exasperated, he picks up. TRUMAN What. SHAWN -LRB- OVER PHONE. -RRB- Truman. I was supposed to be home for dinner with my wife three hours ago - I have not been able to tear myself away from your book. It's that good. It's not good, it's astonishing. This first half is astonishing. If the second half lives up to this it, - it - how much is left to do? INTERCUT with Shawn's OFFICE at the New Yorker, NIGHT. Shawn has a stack of manuscript pages on his desk.",
"INT. NEW YORKER, WILLIAM SHAWN'S OFFICE TRUMAN I'm already well into the third part, but I - I ca n't finish that till I convince Perry to describe the night of the killings to me. I was planning to visit this fall, see - SHAWN I think you need to talk to him now. TRUMAN And we all need to see how this ends for the final part. I ca n't finish the book till I know what happens. If Perry and Dick are executed it's one thing - and if not, well - SHAWN Truman. You got your ending - TRUMAN I really do n't know - SHAWN The Kansas court denied their appeal. It came over the wire on Friday. You need to talk to Perry now. He'll be dead by September. I'm sorry, I know how much you've come to care about him. Truman is completely immobile. SHAWN Truman? TRUMAN Right. Yes. Right. SHAWN I want to set up a reading for you in the fall, in New York. We'll build some interest, and we'll publish in the fall. On Truman.",
"INT. KITCHEN, RENTED COTTAGE HOUSE - MORNING Truman at the stove watching his tea water heat up. Jack enters with a HUGE BASKET of WINE and GROCERIES. TRUMAN Plums. Thank god. We have nothing in the house. He takes one from the basket. Jack starts to unpack food. TRUMAN Why are n't you working? JACK I knew you could n't be depended on to stock the kitchen. Truman looks at him blankly. JACK What would we feed our famous guest? TRUMAN Oh, Jesus. I completely forgot. He helps Jack put away the groceries. Then : JACK -LRB- utterly nonchalant. -RRB- Plus - I finished my novel yesterday. Truman looks at Jack, smiles widely.",
"EXT. BEACH - NIGHT Truman, Jack and Nelle. A BONFIRE, a wind - up Victrola playing Ella Fitzgerald, bottles of wine. Jack and Nelle dance. Truman toasts Jack drunkenly. TRUMAN My man, my hero, my talented. My man. JACK You said that. TRUMAN You are the hardest worker, the most unsung talent I know. As Nelle passes by on her way to London to sell her book which needs no selling, may a little of her success rub off on both of us. Jack laughs. JACK Here, here! Nelle tries to smack Truman but ca n't catch him. The song changes to a slow one. Jack and Truman dance sweetly together. Nelle sits on the sand and watches.",
"EXT. UPSTAIRS DECK, RENTED COTTAGE HOUSE - MORNING Breakfast. Truman and Nelle are sitting - Nelle has a small envelope in her hand. Truman is obviously uncomfortable. As Jack delivers a platter of omelettes to the table : NELLE -LRB- to Truman. -RRB- When was the last time you wrote back to him? TRUMAN I do n't know. JACK What's this? NELLE A letter for your boyfriend I was asked to deliver. TRUMAN From Perry. JACK Let's have it. Jack sits. Nelle opens the letter, reads : NELLE `` Dear Friend Truman. Where are you? Read this item in a medical dictionary : `` Death by hanging is caused by asphyxia, by fracture of the cervical vertebrae, by laceration of the trachea.'' Not too comforting as we lost our appeal. Missing you - alone and desirous of your presence. Your amigo, Perry.'' Pause. TRUMAN Mr. Shawn told me about the court decision yesterday. JACK I was wondering why you were in such a good mood. Surely, I thought, it's not because I finished my little book. TRUMAN That's a terrible thing to say. Jack looks out at the ocean. TRUMAN -LRB- to no one in particular. -RRB- I used to write him all the time. I've been so focused lately on the book.",
"EXT. RENTED COTTAGE HOUSE - DAY Truman and Nelle carry her bags down the front walk toward a waiting TAXI. TRUMAN Jack says I'm using Perry, but he also thinks I fell in love with him when I was in Kansas. How both of those things can be true is beyond me. NELLE Did you? Fall in love with him. Silence as they load the bags into the trunk. NELLE Truman? - TRUMAN I do n't know how to answer that. It's as if Perry and I started life in the same house. One day he stood up and walked out the back door while I walked out the front. With some different choices, he's the man I might have become. NELLE Are you kidding me? Truman shrugs, does n't answer. Nelle kisses him. NELLE Be nice to Jack. Sometimes I think he's what I like about you best. TRUMAN -LRB- smiles. -RRB- I'll see you at the reading in New York. NELLE The sixteenth. Nelle gets in the taxi, then leans her head out the window. NELLE Truman. Honestly. Are you going back to Kansas because you care about Perry or because you need information before he's killed? TRUMAN Ca n't it be both? NELLE No. I do n't think it can be. She drives away. Truman watches her go. He turns back up toward the house, stops a moment to pick a FLOWER from the bushes at the front gate.",
"INT. KSP, DEATH ROW - DAY A Guard walks down the corridor carrying a SINGLE FLOWER. He delivers it to Perry, then walks off. Perry is confused. He hears FOOTSTEPS approaching, but ca n't see who it is. HICKOCK -LRB- O.S. -RRB- Hey, buddy. Thanks. More footsteps. CAMERA on Perry as the footsteps finally arrive outside his cell. He's shocked. REVERSE onto Truman, looking tanned, healthy, very blond. He holds a STACK OF BOOKS with a BOW on top. He smiles.",
"INT. KSP, DEATH ROW - LATER THAT NIGHT LONG SHOT of dimly lit corridor, light spilling out from each cell. A ROW GUARD walks the hall. We hear voices murmuring. SIX MORE GUARDS arrive at the top of the stairs. The ROW GUARD walks over, unlocks the GATE to let them in.",
"INT. KSP, DEATH ROW, PERRY'S CELL - NIGHT Perry is looking at the cover of a BOOK - `` WALDEN POND.'' Other books sit next to Perry on the cot. Among them - WILLA CATHER's `` MY ANTONIA'', also `` GREAT EXPECTATIONS'' - PERRY What was he in jail for? TRUMAN They said it was not paying his taxes. But really for being an outsider - refusing to go along. Perry nods, looks at the other books. TRUMAN You do n't have to read any of these if you do n't want to. But I thought you'd like something decent. You're much too smart for adventure magazines. Through the bars of Perry's cell, we can see the SIX GUARDS enter Lowell Lee Andrew's cell -LRB- diagonally across the corridor -RRB-. The ROW GUARD appears at Perry's cell. ROW GUARD Lock - down while Lowell goes to solitary. Nobody in or out. -LRB- to Truman. -RRB- You want in or out? Truman looks at Perry, then back to the Guard. TRUMAN In.",
"INT. KSP, DEATH ROW, LOWELL LEE ANDREW'S CELL - MOMENTS LATER The SIX GUARDS start to pack up Andrews cell while he sits on the cot and watches.",
"INT. KSP, DEATH ROW, PERRY'S CELL - LATER Perry and Truman talk very QUIETLY. -LRB- Throughout this scene, we see in the background, across the corridor, the mostly obscured cell of Andrews. We see his incredibly FAT LEG being shackled, his belongings being packed in boxes. -RRB- PERRY Everyone says he's a genius. I do n't think he's a genius. He's rich and he went to college - like any of us would've if we got the chance. He came home for Christmas and shot his parents - TRUMAN - in front of the television. PERRY You remember the story - TRUMAN They were watching Father Knows Best. They look at each other and smile. Then : PERRY I wo n't be sorry to see him go. Always correcting my grammar. They watch Andrews being shackled in the background. PERRY Now - Dick and me - we're next in line. Truman regards Perry, who looks down. TRUMAN I'm so sorry I've been away. PERRY It was a long time. TRUMAN I know. PERRY I wish you could come next week, when they take him out to the Corner, but the whole prison shuts down. TRUMAN I have to be in New York anyway. Perry nods. PERRY How's the book going? TRUMAN Very slowly. PERRY Will you show it to me? TRUMAN I've hardly written anything. One of the six guards CLANGS Andrews' cell bars with his stick. GUARD #1 Ready. The ROW GUARD opens the cell door. Andrews is led out, arms and legs shackled, into the corridor. HICKOCK Keep your head high, buddy. ANDREWS Alright now. HICKOCK or they wo n't be able to rope you under your fat fucking chin. Andrews is led past Perry's cell. He looks in at Perry. ANDREWS Next! Andrews shuffles down the hall. Perry watches him go. On Truman watching Perry. We hear the GATE slam shut.",
"INT. THEATER - EVENING Packed. Nelle stands with William Shawn, who receives well - wishers. BEN BARON enters, seeing Nelle. BEN BARON -LRB- loudly, over the hubbub. -RRB- Hello Hollywood. That's quite a bundle you sold your book for. Nelle is embarrassed, mostly for Baron, to have the issue of money brought up publicly. NELLE Well. Baron moves past, Nelle smiles politely, whispers to Shawn. NELLE What a gentleman.",
"INT. THEATER, BACKSTAGE ROOM - MOMENTS LATER Truman sits alone. In the background, we can HEAR the noise of the huge crowd gathering in the theater. Truman wears his MOST STYLISH LITERARY OUTFIT : a gorgeous dark green Knize SUIT over a black cashmere turtleneck sweater, and horn - rimmed GLASSES -LRB- which we've never seen him wear before -RRB-. He's frozen with anticipation, nervousness. After several moments a THEATER ASSISTANT opens the door. YOUNG ASSISTANT Mr. Capote. Can I get you anything? TRUMAN No. -LRB- clears his throat. -RRB- Thank you. The assistant leaves. We hear the crowd quiet down. Truman rises slowly, walks through the door to the backstage area. We hear William Shawn on stage. SHAWN -LRB- O.S. -RRB- Welcome New Yorkers.",
"INT. WINGS/STAGE - NIGHT Shawn pauses briefly for a laugh that does n't come. Truman continues walking toward the backstage curtains. SHAWN -LRB- O.S. -RRB- Thank you for coming to the first public reading, the first offering of any kind, of Truman Capote's new work `` In Cold Blood.'' Our magazine - Truman walks on stage. Loud applause. Shawn sees him, slinks back to his seat. Truman walks over to the podium, takes in the enormous crowd. Once it is completely quiet : TRUMAN Hello. My name is Truman Capote. People laugh and applaud loudly.",
"INT. KSP, DEATH ROW, PERRY'S CELL - SAME TIME, NIGHT Perry, eating dinner alone at his table, looks up. We HEAR a LOUD ENGINE revving outside.",
"EXT. KSP, THE CORNER WAREHOUSE - SAME TIME A FRONT - LOADER TRACTOR drives into the warehouse. A PRISON POLICE CAR parks outside the warehouse. Guards get the enormous Lowell Lee Andrews, shackled, from the back seat, walk him inside.",
"INT. KSP, DEATH ROW, PERRY'S CELL - NIGHT C/U on Perry, now standing on his chair and watching out the tiny window.",
"INT THEATER, NYC - NIGHT Truman on stage reading. TRUMAN Perry Smith's voice was both gentle and prim - a voice that, though soft, manufactured each sound exactly - ejected it like a smoke ring issuing from a parson's mouth.",
"INT. KSP, DEATH ROW, PERRY'S CELL - SAME TIME Perry watches through his window. From inside the warehouse we hear the gallows TRAP DOOR spring and CLATTER. On Perry,",
"INT. THEATER, NYC - SAME TIME Truman reading. Utter silence except for his voice. TRUMAN -LRB- V.O. -RRB- The village of Holcomb stands on the high wheat plains of western Kansas, a lonesome area that other Kansans call `` out there.'' Until one morning in mid - November 1959, few Americans - in fact, few Kansans - had ever heard of Holcomb. Like the waters of the. -LRB- Arkansas. -RRB- river, like the motorists on the highway. exceptional happenings had never stopped there.",
"EXT. KSP, DEATH ROW BUILDING - SAME TIME We see the outside wall with Perry and Dick's faces peering out through their tiny windows.",
"EXT. KSP, THE CORNER WAREHOUSE - NIGHT The TRACTOR emerges through the warehouse doors. It carries in its FRONT SHOVEL the enormous, dead BODY of ANDREWS covered by a BLACK CLOTH.",
"INT. THEATER, NYC - SAME TIME Truman reading. The audience completely still. TRUMAN The four coffins, which quite filled the small, flower - crowded parlor, were to be sealed at the funeral services - very understandably, for the effect. was disquieting. Nancy wore her dress of cherry - red velvet, her brother a bright plaid shirt ; the parents were more sedately attired, Mr. Clutter in navy - blue flannel, his wife in navy - blue crepe ; and - and it was this especially that lent the scene an awful aura - the head of each was completely encased in cotton, a swollen cocoon twice the size of an ordinary blown - up balloon, and the cotton, because it had been sprayed with a glossy substance, twinkled like Christmas - tree snow.",
"EXT. KSP, THE CORNER WAREHOUSE - NIGHT The TRACTOR rolls the body into the BED of a waiting PICK - UP TRUCK.",
"EXT. KSP, DEATH ROW BUILDING - SAME TIME Perry watches through his window.",
"INT. THEATER, NYC - SAME TIME Truman reading. The audience transfixed. TRUMAN Imagination, of course, can open any door - turn the key and let terror walk right in. -LRB- One. -RRB- Tuesday, at dawn, a carload of. strangers, ignorant of the local disaster - were startled by what they saw as they crossed the prairies and passed through Holcomb : windows ablaze, almost every window in almost every house, and, in the brightly lit rooms, fully clothed people, even entire families, who had sat the whole night wide awake, watchful, listening. Of what were they frightened? `` It might happen again.'' He closes his manuscript. Several moments of SILENCE, then thunderous APPLAUSE.",
"INT. THEATER, BACKSTAGE ROOM - NIGHT Truman's dressing room. Packed with well - wishers drinking from bottles of CHAMPAGNE, smoking, toasting, shouting to be heard. Truman in the corner with Christopher Isherwood, BEN BARON others, laughing. A LITERARY ENTHUSIAST approaches, leans in. LITERARY ENTHUSIAST Your portrait of those men was terrifying. Terrifying. TRUMAN Thank you. Truman and Isherwood watch him walk away. ISHERWOOD Your hairpiece is terrifying. TRUMAN I was going to say the same thing! Truman laughs loudly. We SEE Nelle look over from across the room at her friend having the time of his life.",
"INT. NEW YORKER, WILLIAM SHAWN'S OFFICE - NEXT DAY Truman is hung over but immensely gratified. He's with Shawn. SHAWN Everyone was there. TRUMAN Tennessee loved it. SHAWN Of course he did. TRUMAN Should we do more? I was terrified, but - SHAWN No, Now we get to withhold while everyone else talks. Let them do the work. Truman is barely able to suppress his excitement. SHAWN This book is going to change everything. It'll change how people see you as a writer. It'll change how people write. You'll finish by October? TRUMAN I think so. You know they're scheduled for next month? SHAWN Hanging. Yes. I'll commit as many issues as it takes to publish. Three. As many as it takes. TRUMAN I'm flying to Kansas tomorrow. I'll get Perry to talk - SHAWN Honestly, what's he got to lose? Truman smiles at the joke, then stops himself. TRUMAN It really is too awful. Institutionalized sadism. Shawn nods. SHAWN You'll be able to finish now. TRUMAN As strange as it may sound to you, I'm going to miss him. FADE OUT. Over black - the sound of a JET airplane - loud, then passing.",
"INT. KSP, DEATH ROW, PERRY'S CELL - DAY Truman, flushed, out of breath, stands outside Perry's cell. He's just arrived. He holds a FOLDED - UP NEWSPAPER. Perry sits at his table reading LEGAL DOCUMENTS. TRUMAN When did you hear? Perry looks up, mistaking Truman's state for shared enthusiasm. He smiles widely. PERRY Two days ago. The Guard opens the cell for Truman. Perry holds up one of the DOCUMENTS. PERRY It's what we've been waiting for. A stay of execution to make a federal appeal. Truman enters. Perry goes to him and hugs him tightly. PERRY All thanks to you. On Truman, shocked, being hugged.",
"INT. KSP, DEATH ROW, PERRY'S CELL - LATER Truman sits on the bed, his coat still on, watching Perry - hyped up, talking, walking around the cell. PERRY Kansas's had it in for me for ten years - in prison the first time, at that trial, here. They ca n't corner me now. Not till the U.S. Government says so - TRUMAN Perry, sit down. For a minute. -LRB- Perry sits. -RRB- I need you to talk to me. PERRY We've got all the time in the world to talk. About everything. I've been thinking about Ricardo. You need to stop sending him those trashy books. I wo n't even mention the pornography. -LRB- getting up. -RRB- I realize he might have trouble grasping the literature you gave me, but those books only exacerbate the problem - only ` heighten' or ` intensify' it. Maybe we should start him on a program. TRUMAN Perry. PERRY Give him the simple novels first - TRUMAN Perry. Perry stops. TRUMAN I know what exacerbate means. PERRY Okay. I thought in case. TRUMAN There is not a word, or a sentence, or a concept, that you can illuminate for me. There is one singular reason that I keep coming here - PERRY Truman - TRUMAN November 14th, 1959. Three years ago. Three years. That's all I want to hear from you. Pause. PERRY I've asked you not to - TRUMAN -LRB- stands up. -RRB- This is ridiculous. -LRB- to the Guard. -RRB- I'm ready. -LRB- to Perry. -RRB- I have a plane to catch. I found your sister in Tacoma. Maybe she'll talk to me about something useful. PERRY Do n't go out there. The Guard lets Truman out of the cell. PERRY Please do n't go out there. The Guard shuts the door. TRUMAN This is my work, Perry. I'm working. When you want to tell me what I need to hear, you let me know. He walks off down the hall. The GATE slams shut.",
"INT. PERRY'S SISTER'S HOUSE, KITCHEN - DAY Cheaply built ranch house. LINDA MURCHAK -LRB- 30 -RRB- walks in the kitchen back door, shuts it. MRS. MURCHAK They'll play outside a while longer. Mrs. Murchak looks like a female Perry, dark and small, attractive and nervous. Through the window, we see THREE LITTLE CHILDREN playing on a DECREPIT JUNGLE GYM in the yard. Truman sits at the table, leafing through a PHOTO ALBUM. MRS. MURCHAK I do n't want them to see that. TRUMAN They've never seen these pictures? MRS. MURCHAK -LRB- shakes her head. -RRB- Too many questions. She joins Truman again at the table. We see an OLD PHOTO of the SMITH FAMILY - Linda at age 8, Perry -LRB- 5 -RRB- ; their older sister, June ; their brother Frank ; and the parents : Florence -LRB- American Indian -RRB- and John -LRB- Irish -RRB- - in front of their rundown truck on a desolate road. MRS. MURCHAK June's dead. Frank shot himself. Now Perry's did what he did. I suppose I'm next. Some ruination will visit me. TRUMAN I do n't think life works that way. MRS. MURCHAK It does in this family. Truman turns the page. A PICTURE of Perry -LRB- 3 -RRB- and Linda HOLDING HANDS and splashing in a big mud - puddle in the rain. Linda is smiling at Perry, who is naked, laughing. MRS. MURCHAK I used to love him. He was my little doll. He turns the page. A PICTURE of Perry -LRB- 6 -RRB- and Linda sitting on the back steps of a shack, poking with a stick at something in the dirt. After a moment, she gets up, clears coffee cups. MRS. MURCHAK He scares me now. TRUMAN When was the last time you saw him? MRS. MURCHAK Ten years. She picks up the album to put it away. TRUMAN Do you think I could borrow one of those pictures? MRS. MURCHAK -LRB- hands it to him. -RRB- Take the whole thing. I do n't want'em anymore. -LRB- then. -RRB- Just. Perry does n't know where I live. He thinks we're still in Portland. Please do n't tell him we're not. TRUMAN -LRB- he already has. -RRB- Alright. MRS. MURCHAK Do n't be taken in by my brother. He's got this sensitive side he'll show. You believe he's gentle, so easily hurt. But he'd just as soon kill you as shake your hand. I believe that.",
"INT. KSP, DEATH ROW - NEXT DAY Truman slows for a moment as he passes Hickock's cell. TRUMAN Hello handsome. Hickock just stares at him. Truman, unnerved, moves on to Perry's cell.",
"INT. KSP, DEATH ROW, PERRY'S CELL - CONTINUOUS Perry doing pushups. He sees Truman and stops. He stands. The Row Guard approaches. ROW GUARD You want to go in? Truman regards Perry for a few moments, then : TRUMAN Yes The Guard unlocks the door. Perry STARTS TO MOVE toward it. The Guard SLAMS it shut. PERRY What's the name of your book? No response. Perry can barely control his anger. PERRY What's the name of your book? TRUMAN I do n't. PERRY What's the name of your book? TRUMAN I do n't know what you're talking about. Perry picks up a cut - out ARTICLE from the NY Times from his desk. He reads. PERRY `` Truman Capote read last night before a packed audience from his non - fiction book IN COLD BLOOD.'' He looks at Truman. PERRY More? -LRB- reads. -RRB- `` The true - crime novel tells of killers Richard Hickock and Perry Smith, who brutally murdered a Kansas family three years ago.'' TRUMAN Who sent that to you? Perry does n't answer. TRUMAN Who sent that to you? PERRY That's not your goddamn business. TRUMAN It is my business, because it's not true. The organizers of the reading needed a title. They picked one - a sensational one, I admit - to attract a crowd. PERRY They picked it. TRUMAN Yes. PERRY That's not your title. TRUMAN I have n't chosen one yet. Perry stares at him, not believing. TRUMAN How could I choose - PERRY You pretend to be my friend. TRUMAN How could I choose a title when you still have n't told me what happened that night? How could I? I could n't possibly. Long pause. Truman reaches in his breast pocket and extracts a PHOTO -LRB- the one of Perry and Linda splashing in the puddle. -RRB- TRUMAN I have something from your sister. He hands it through the bars to Perry. Perry takes it. TRUMAN She misses you. Perry looks at the photo. After a few moments, Truman turns to the Guard. TRUMAN It's alright. I'll go in. The Guard unlocks the cell. Truman enters. The Guard locks up, walks away. Perry is still looking at the PHOTO. TRUMAN I'm sorry. I should have told you what they made me call the book. -LRB- touches Perry's arm. -RRB- I could n't pretend to be your friend. The truth is, I ca n't help wanting to be. -LRB- silence, then :. -RRB- You do n't have to tell me anything if you do n't want to. Perry looks at the photo of himself and his sister for a long time. PERRY Look at my belly. Perry sits on the bed. Then, almost to himself : PERRY There must be something wrong with us. To do what we did. Truman waits him out, sitting on the chair. Finally, Perry looks at him. When Perry speaks, it is quietly, completely matter - of - fact. PERRY We heard there was ten thousand dollars in that house. Once we'd tied up everybody and searched all over, I knew the guy who told us about it was wrong. There was n't any money. But Dick would n't believe it. He went tearing through the house again, banging on the walls, looking for a safe. He said when he was done, he was going to come up to Nancy's room and have his way with her. I would n't allow it. I told him that. I sat with Nancy.",
"INT. CLUTTER HOUSE, NANCY'S ROOM - FLASHBACK, NIGHT Perry and Nancy. Perry sits quietly on the edge of Nancy's bed. A SMALL BEDSIDE LAMP softly illuminates a portion of the room. We hear Dick banging around downstairs. PERRY -LRB- V.O. -RRB- It was nice in there. The scene is almost sweet, until we see that Nancy's legs and hands are TIED and her mouth is TAPED.",
"INT. KSP, DEATH ROW, PERRY'S CELL - NIGHT Perry talking to Truman. PERRY Dick came to get me and we turned out the lights and went down to the basement, where we had Mr. Clutter and the boy. Dick kept saying `` No witnesses.'' I figured if I just waited him out he'd give up and leave them tied up there. We'd drive all night, they'd never find us. Mr. Clutter's wrists were tied to a pipe over his head. He looked like he was hurt, so I cut him down.",
"INT. CLUTTER HOUSE, BASEMENT - FLASHBACK, NIGHT HERBERT CLUTTER is bound and taped, his hands tied to a PIPE on the LOW CEILING. Perry CUTS the rope with a HUNTING KNIFE, catches hold of Herb Clutter, lowers him onto a mattress box on the floor.",
"INT. KSP, DEATH ROW, PERRY'S CELL - NIGHT Perry talking to Truman. PERRY We put a box there on the floor so he'd be more comfortable. He asked if his wife and daughter were alright and I said they were fine, they were ready to go to sleep. I told him it was n't long till morning when somebody would find them. -LRB- beat. -RRB- He was looking at me. Just. looking at me. Looking at my eyes. Like he expects me to kill him - expects me to be the kind of person who would kill him. I was thinking - this nice man, he's scared of me. I was ashamed. I mean, I thought he was a kind man, a good. a gentleman. I thought so right up to the moment I cut his throat. I did n't realize what I'd did till I heard the sound.",
"INT. CLUTTER HOUSE, BASEMENT - FLASHBACK, NIGHT Herb Clutter gurgling on the floor. PERRY -LRB- V.O. -RRB- Like some one drowning under water.",
"INT. KSP, DEATH ROW, PERRY'S CELL - NIGHT Perry and Truman. Silence, then : PERRY I was staring at him, bleeding on the floor. I told Dick to finish him off, but he would n't do it. We could n't leave Mr. Clutter like that, so I got the shotgun.",
"INT. CLUTTER HOUSE, BASEMENT - FLASHBACK, NIGHT Perry approaches with a SHOTGUN. He aims and SHOOTS him in the face.",
"INT. CLUTTER HOUSE, ANOTHER PART OF THE BASEMENT - FLASHBACK NIGHT KENYON CLUTTER -LRB- 15 -RRB- is bound and gagged on an old sofa, a pillow under his head. A flashlight illuminates his face. A shotgun enters frame, FIRES. An enormous BURST of LIGHT.",
"INT. CLUTTER HOUSE, HERB AND BONNIE'S ROOM - FLASHBACK, NIGHT Bonnie Clutter -LRB- 40's, small and thin -RRB- tied up on her bed. Moonlight through the window. PERRY -LRB- V.O. -RRB- We went to Mrs. Clutter's room. The DOOR opens. Perry and Dick walk in with a flashlight. Perry points the shotgun at Bonnie's face, FIRES. A BURST of LIGHT.",
"INT. CLUTTER HOUSE, NANCY'S ROOM - FLASHBACK, NIGHT Perry and Dick enter Nancy's room, shine the flashlight on her face. She looks at Perry. She has been crying. After a moment, she TURNS HER FACE to the wall, as if she knows what is coming and does n't want to watch it. Perry AIMS the shotgun at the back of her head. The FLASHLIGHT switches OFF. The shotgun FIRES. A BURST of LIGHT.",
"INT. KSP, DEATH ROW, PERRY'S CELL - NIGHT Perry and Truman. Perry still on the bed. Truman sits, not moving, on the chair. Silence. PERRY Then we drove off. Silence. Perry looks at Truman. PERRY What do you think of me now? No answer. Then : TRUMAN Added up, how much money did you get from the Clutters? Perry thinks. PERRY Between forty and fifty dollars. Truman nods. They sit there for a long time.",
"INT. HOTEL ROOM, KANSAS CITY - DAWN, CONTINUOUS FADE IN : Hands typing on a MANUAL TYPEWRITER. Truman typing at the desk. He stops, removes the page from the typewriter, places it on top of a SMALL STACK OF PAGES. He sits back.",
"INT. PLANE - DAY Truman in his seat, sips a drink. He looks out the window.",
"EXT. STREET, BROOKLYN HEIGHTS - LATE AFTERNOON Truman walks with his TRAVEL BAG on his shoulder. He takes out his KEYS and turns up the steps to his house.",
"INT. TRUMAN AND JACK'S HOUSE, FRONT HALL - CONTINUOUS Truman opens the door. TRUMAN Jack. No answer. He walks down the hall to the BEDROOM.",
"INT. TRUMAN AND JACK'S HOUSE, BEDROOM - CONTINUOUS Truman enters, drops his travel bag on the bed, zips it open, removes a SMALL STACK OF TYPED PAGES. He walks to his desk. On the desk, we see a HUGE STACK OF TYPED PAGES with a title page on top which reads : IN COLD BLOOD. Truman lifts the HUGE STACK, places the SMALL STACK under it. He smooths out the pages, then steps back from it. He calls out : TRUMAN Jack. No answer. On Truman, standing in the middle of his room. He has finished all that he can finish, and is lost as to what to do next. FADE OUT. TITLE UP : `` One Year Later'' TRUMAN -LRB- V.O. -RRB- I want to give it to you. The truth is, I'm desperate to be done with it.",
"INT. TRUMAN AND JACK'S HOUSE, KITCHEN - DAY Truman on the PHONE, in pajamas, looking in the FRIDGE. TRUMAN Mr. Shawn, I. I've spent four years of my life on this book. They got a stay of execution yesterday. Another, yes. He gets out a jar of BONNET BABY FOOD CUSTARD and starts to eat it. Truman finds a bottle of J&B on the counter and pours a shot in his custard. TRUMAN Supreme Court. He stirs the custard, eats it. TRUMAN It's harrowing - all I want is to write the ending and there's no fucking end in sight. No. No, I have n't been drinking again.",
"INT. TRUMAN AND JACK'S HOUSE, BEDROOM - LATER Truman sits on the bed with a glass of bourbon, staring at the television. An empty jar of BABY CUSTARD sits on the bedside table.",
"INT. TRUMAN AND JACK'S HOUSE, BEDROOM - LATER Truman on the bed, the television still on, another drink. We hear a DOORBELL. We hear Jack walk down the hall, answer the door, shut the door. Jack enters with a TELEGRAM. JACK I do n't know how you can eat that. Perhaps if you were n't drinking so much you would n't have to. No response. Jack turns down the television, opens the telegram. JACK -LRB- reads. -RRB- `` Dear friend Truman. Have n't heard from you in such a long while. Please help find new lawyer. If not, Dick will have to write Supreme Court brief himself. Our last appeal. What a pair of wretched creatures. Please help. Your amigo? Perry.'' Pause. Jack looks at Truman. JACK Your amigo. Truman stares back. Finally, he turns back to the television. TRUMAN Put it with the others. Jack goes to the DESK and places the telegram on top of a LARGE PILE OF TELEGRAMS, all from Perry - all, we should assume, unanswered. Jack walks out. Truman sips his drink.",
"INT. TRUMAN AND JACK'S HOUSE, BEDROOM - LATER, EARLY EVENING Truman at the desk, still in PAJAMAS, typing. Jack enters wearing a TUXEDO, reads over Truman's shoulder. We see :''. unable to find laywer despite extensive search. So sorry. All best, Truman.'' JACK You tried? Truman extracts the page from the typewriter, folds it, and puts it in an envelope. He takes a sip of his BOURBON. JACK -LRB- walking out. -RRB- You need to get ready.",
"INT. LIMOUSINE, MOVING - NIGHT Truman and Jack are driven. Both wear TUXEDOS and OVERCOATS. Truman drinks.",
"INT. LIMOUSINE, MOVING - NIGHT, LATER Driving. Truman and Jack sit in silence, then : JACK At least pretend for Nelle that you're having a good time tonight. The limo turns a corner and we see an ENORMOUS CROWD in front of a THEATER. On the marquee it says : `` Opening tonight - TO KILL A MOCKINGBIRD'' It is COLD. Truman and Jack's limo pulls up. An USHER opens their DOOR.",
"EXT. MOVIE THEATER - MOMENTS LATER Truman, obviously drunk, preens and poses on the red carpet for the CAMERAS. Jack watches from the side.",
"INT. SARDI'S RESTAURANT, OPENING PARTY - NIGHT Huge party in progress. Nelle walks through the crowd. People turn to her saying : `` Congratulations'' ; `` Wonderful''. She finds Truman sitting at the BAR, receiving a new drink. TRUMAN Nelle. She looks UNCOMFORTABLY DOLLED UP for the premiere of her movie. NELLE I thought I'd find you here. TRUMAN -LRB- to the bartender. -RRB- Please, another. He hands Nelle his drink, receives another. After a moment : NELLE How are you? TRUMAN Terrible. Beat. NELLE I'm sorry to hear that. TRUMAN Well. It's torture. Torture. -LRB- he drinks. -RRB-. what they're doing to me. NELLE Uh - huh. TRUMAN Now the Supreme Court. Can you believe it? If they win this appeal I will have a complete nervous breakdown. I may never recover. Just pray things turn my way. NELLE It must be hard. TRUMAN It's torture. They're torturing me. NELLE I see. Nelle regards him for a moment. NELLE And how'd you like the movie, Truman. She puts her drink down on the bar and walks away. Truman turns back to the bartender, shrugs. TRUMAN I frankly do n't know what the fuss is about. On Truman, alone at the bar. FADE OUT.",
"EXT. STREET, OUTSIDE TRUMAN AND JACK'S HOUSE - EARLY MORNING FADE UP on a PAPER BOY riding his BIKE down the street. New buds are on the trees. It is SPRING. The BOY wears a NEW YORK TIMES bag slung over his chest and is tossing copies of the paper. One of them lands on Truman and Jack's stoop.",
"INT. TRUMAN AND JACK'S HOUSE, BEDROOM - MORNING Phone RINGING. Truman asleep.",
"INT. TRUMAN AND JACK'S HOUSE, JACK'S TINY OFFICE - SAME TIME Jack is writing, longhand, at his desk. PHONE is ringing. Jack notices that his door is slightly ajar. He kicks it shut. The ringing is much quieter. He keeps writing.",
"INT. TRUMAN AND JACK'S HOUSE, BEDROOM - SAME TIME Truman asleep. PHONE ringing. He wakes up, groggy, answers. TRUMAN Hello. OPERATOR -LRB- OVER PHONE. -RRB- Mr. Capote? TRUMAN Yes? OPERATOR I have a call from Mr. Perry Smith in the Kansas Correctional System. Will you accept charges? Pause. OPERATOR Mr. Truman Capote? TRUMAN Yes. OPERATOR Will you accept charges? TRUMAN Oh. -LRB- no way out of this. -RRB- Uh. Yes. OPERATOR You'll accept charges? TRUMAN Yes. OPERATOR Mr. Smith, you're on the line. Now Truman's awake. We hear a series of CLICKS, then : PERRY -LRB- OVER PHONE. -RRB- Hello. Truman ca n't bring himself to speak. PERRY Hello? I ca n't -. -LRB- to someone. -RRB- This does n't seem -. -LRB- we hear Perry clicking the cradle, then :. -RRB- Operator, I do n't think you put me - TRUMAN I'm here. Beat. PERRY Truman. TRUMAN Hello, Perry. PERRY They let me make a couple phone calls before I go down to Holding. You heard the Supreme Court rejected the appeal. TRUMAN I did n't. I had n't heard that. PERRY Yeah. Pause. TRUMAN I'm sorry. PERRY Yeah. They let me make two phone calls. Truman does n't know what to say. PERRY We've got a date set for the Warehouse, Dick and me. Two weeks and. Finito. April 14. Beat. PERRY Will you visit me? Truman. Will you come visit? TRUMAN I do n't know if I can. I'll try. -LRB- beat. -RRB- I do n't know if I can. We hear over the line a GUARD in the background : GUARD IN BACKGROUND -LRB- OVER PHONE. -RRB- Time, Smith. Hang it up. PERRY Please visit me, Truman. Just. GUARD IN BACKGROUND -LRB- OVER PHONE. -RRB- Time. Smith. CLICK. Truman sits very still, the phone in his hand.",
"INT. KSP, DEATH ROW - ONE WEEK LATER, NIGHT Perry and Dick being shackled, their belongings packed into boxes. One of the GUARDS in Perry's cell CLANGS the bars with his STICK. GUARD Ready.",
"INT. KSP, CONFINEMENT CELL - ONE WEEK LATER, NIGHT Perry lies alone on his cot. The DOOR opens, KRUTCH enters with a GUARD. KRUTCH Perry. Perry sits up. Krutch sits on the one chair. The Guard stands by the door, takes out a PAD and STUBBY PENCIL. KRUTCH You're allowed three names of people you'd like to witness tomorrow. If there's anybody you want, tell me now. PERRY Truman Capote. Krutch nods to the Guard who writes the name down. Krutch waits, then : KRUTCH Anybody else? Perry SHAKES HIS HEAD.",
"INT. TRUMAN AND JACK'S HOUSE, BEDROOM - LATE NIGHT In a chair near the window, Truman sits awake in his pajamas, unable to sleep, completely unable to decide what to do. He watches Jack sleep. A long time - then Truman walks to the closet, gets out a travel bag, starts to pack.",
"EXT. IDLEWILD AIRPORT, NEW YORK - DAY A PLANE takes off.",
"INT. PLANE, FIRST CLASS SECTION - DAY Truman sits next to William Shawn, who looks exhausted. The STEWARDESS is approaching with the DRINKS CART. She collects an empty BABY CUSTARD JAR from Truman's tray. SHAWN You want anything? Truman shakes his head.",
"EXT. KANSAS STATE PENITENTIARY - DUSK OUTSIDE LIGHTS switch on as it gets dark.",
"INT. KSP, CONFINEMENT CELL - NIGHT Perry sits alone. The door opens and a Guard brings in his LAST MEAL : three hot dogs, french fries, an ice cream sundae, a strawberry soda. The Guard sets it down on the chair. PERRY Thank you. -LRB- then. -RRB- You sent the telegram to his hotel? GUARD Hours ago. Perry looks at the CLOCK on the wall : it's after 8pm. PERRY May I make a phone call?",
"INT. HOTEL ROOM, MUEHLEBACH HOTEL, KANSAS CITY - NIGHT PHONE ringing. The CLOCK rads 8:55 pm. Empty drinks glasses, a custard jar. Truman lies curled in a fetal position on the BED. Shawn walks the floor, exasperated. SHAWN That's him again. Truman is immobile. Phone still rings. SHAWN We've never even met. It is utterly inappropriate for me to be talking to him. Shawn gives up, PICKS UP the phone. SHAWN Yes. I'm sorry, he's out, gone out. I'm not sure when.",
"INT. KSP, HALLWAY - NIGHT Krutch walks with a TELEGRAM PAGE in hand. A Guard follows. They pass a WALL CLOCK : 9:40 pm.",
"INT. KSP, CONFINEMENT CELL - NIGHT Krutch and Guard enter Perry's cell. Perry has n't touched his meal. KRUTCH You got a telex. Perry nods. Krutch reads : KRUTCH `` Perry. Unable to visit today because not permitted. Always your friend, Truman.'' -LRB- apologetically. -RRB- That's it. PERRY It's not true, is it? Krutch hesitates a moment, then SHAKES his head.",
"INT. NELLE'S KITCHEN, MONROEVILLE - MINUTES LATER Nelle on the PHONE looking at a TELEGRAM. The kitchen CLOCK reads 10:20 pm. She waits a moment till the line is answered. NELLE -LRB- ON PHONE. -RRB- Mr. Shawn? It's Nelle. I just got this telegram, has he seen it? INTERCUT with William Shawn on the phone in Truman's hotel room. A TELEGRAM lies on the DESK. Truman lies on the bed.",
"INT. MUEHLEBACH HOTEL ROOM, KANSAS CITY - NIGHT SHAWN -LRB- ON PHONE. -RRB- He wo n't look at it. NELLE Would you put him on please? SHAWN He wo n't talk. NELLE -LRB- calmly. -RRB- Mr. Shawn, if you have to hold him down and put the phone on his ear, I need to speak to him. Shawn, terrifically uncomfortable, walks over to Truman and holds the phone out to him. SHAWN It's Nelle. A moment, then Truman takes the phone. On Truman's face. We hear, through the receiver, Nelle : NELLE -LRB- OVER PHONE. -RRB- Truman. Truman finally breathes out.",
"INT. KSP, HOLDING CELL - SAME TIME Perry is led, SHACKLED, into a holding cell on the ground floor of the Death Row Building. Dick is already there, seated, shackled. We HEAR PERRY'S VOICE : PERRY -LRB- V.O. -RRB- `` Miss Nelle Harper Lee and Truman Capote : Sorry that Truman was unable to make it here at the prison for a brief word prior to necktie party. The CLOCK reads 11:05 pm. Through the WINDOW, we see activity in the Gallows Warehouse across the yard. PERRY -LRB- V.O. -RRB- Whatever his reason for not showing up, I want him to know that I can not condemn him for it and understand. Perry makes eye contact with the Guard, who CHEWS GUM. The Guard checks through the SMALL WINDOW in the door, then approaches Perry, places a STICK OF GUM in Perry's mouth. Perry CHEWS. PERRY -LRB- V.O. -RRB- Not much time left but want you both to know that I've been sincerely grateful for your friendship through the years and everything else.",
"INT. MUEHLEBACH HOTEL ROOM, KANSAS CITY - NIGHT Truman opens the door to the other part of the suite, where William Shawn is waiting. Truman is fully dressed and ready. Perry's VOICE : PERRY -LRB- V.O. -RRB- I'm not very good at these things.",
"EXT. KANSAS STATE PENITENTIARY - NIGHT TAXICAB pulls up to the prison gates. Perry's VOICE : PERRY -LRB- V.O. -RRB- I have become extremely affectionate toward you both. But, harness time. Adios amigos. Your friend, Perry.''",
"INT. KSP, WAITING ROOM OUTSIDE CELLS - NIGHT Clock reads 11:35 pm. Truman sits with Shawn. Truman is looking at the TELEGRAM from Perry. He folds it, puts it in the breast pocket of his jacket. Krutch approaches. KRUTCH I did n't think I'd be seeing you again. -LRB- then. -RRB- You can visit for a few minutes. Truman stands, turns to Shawn, still seated. SHAWN No. TRUMAN Come with me. SHAWN Truman. No. Truman goes alone.",
"INT. KSP, HOLDING CELL - NIGHT Perry, Dick, a Guard. Krutch lets Truman in. KRUTCH Five minutes. He exits, closes the door. Truman does n't know what to say. HICKOCK -LRB- without rancor. -RRB- He returns. Long time. TRUMAN I do n't know what you must think of me. HICKOCK You have n't been foremost on my mind lately. As you can imagine. Dick looks at Perry and smiles. Perry chews his gum and smiles back, then looks to Truman who seems upset. PERRY You got the letter? TRUMAN Yes. PERRY It's true. I mean I understand why you did n't want to come. I would n't be here either if I did n't have to. HICKOCK You got that right. Silence. PERRY You know Ricardo donated his eyes to science? Next week, some blind man will be seeing what Dick used to see. HICKOCK -LRB- laughs. -RRB- He'd be better off the way he was. What I've seen has n't been so nice to look at - but I guess it's better than nothing. -LRB- he shrugs, to Truman. -RRB- They came around with a form. -LRB- beat. -RRB- Hey. You'll be walking down the street one day in Denver, wherever - and suddenly these eyes will be staring at you. Would n't that be something? TRUMAN -LRB- quietly. -RRB- It would be. Krutch opens the door. KRUTCH Time. Truman looks at the clock : 11:50 pm. Truman turns to Perry and Dick. Perry stands. PERRY You'll be watching? TRUMAN I do n't know. Do you want me to? PERRY I'd like to have a friend there. TRUMAN Okay. Then I will. Truman looks down, starts to cry. PERRY It's alright. TRUMAN I did everything I could. PERRY Okay. TRUMAN I truly did. PERRY I know. Truman nods, wipes his eyes. TRUMAN Goodbye, Perry. PERRY You're not rid of me yet. I'll see you in a few minutes. Truman goes. On Perry watching him leave.",
"INT. CORNER WAREHOUSE - NIGHT Huge. Dirt floor. Wooden gallows. TWENTY MEN stand around, some smoking. Some are silent. Some whisper quietly. Journalists. Also, Alvin Dewey and the KBI men : Church and Nye. Krutch in front of the gallows with a CHAPLAIN. At the foot of the gallows steps, the EXECUTIONER - thin, older, a too - large pin - striped suit and stained cowboy hat. Truman. William Shawn. HEADLIGHTS, then a PRISON CAR enters, stops. Dick is extracted from the back seat. He stands, looks at the CROWD, then at the GALLOWS. The Guards nudge him forward.",
"INT. KSP, HOLDING CELL - A FEW MINUTES LATER CLOCK reads 12:05 pm. Perry sits alone looking at his hands. We HEAR A TRAP DOOR SPRING and CLATTER. Perry looks up.",
"INT. PRISON CAR - NIGHT Light rain outside. Perry in the back seat being driven across the yard. He looks out his window, sees a PICKUP TRUCK drive out of the Corner Warehouse. On it : a BODY covered by a BLACK CLOTH.",
"INT. CORNER WAREHOUSE - NIGHT The PRISON CAR enters, stops. Perry is removed from the back seat. He stands, looks at the assembled men, looks at Truman. He's nudged forward. As he passes DEWEY, he extends his hand : PERRY Nice to see you. Dewey is caught off - guard so shakes his hand. Perry is led to the base of the gallows. KRUTCH Perry Edward Smith. -LRB- reads. -RRB- `` For the crime of murder in the first degree, by order of the Court of Finney County and the Supreme Court of the sovereign State of Kansas, you are sentenced to hang until you die.'' -LRB- then. -RRB- You can say something if you want. PERRY -LRB- quietly, to Krutch. -RRB- Is there anybody from the family here? KRUTCH No. Perry is disappointed by this information. PERRY Well. Tell them. -LRB- he look out at everyone. -RRB- I ca n't remember what I was going to say for the life of me. He stops. Several moments. Krutch ca n't tell if he's done. Finally, Krutch nods to the Guard. Perry is led up the STEPS. The Chaplain follows. CHAPLAIN Though I walk through the valley of the shadow of death, I will fear no evil, for thou art with me. The Executioner puts the NOOSE around Perry's neck. Perry chews his gum. Executioner opens a BLACK CLOTH SACK. Perry looks at the Chaplain reading prayers, looks at the crowd, at Truman. CHAPLAIN Thy rod and thy staff, they comfort me. The BLACK SACK goes over Perry's head. Truman watches. He stands next to Alvin Dewey. CHAPLAIN Thou preparest a table before me in the presence of mine enemies. Thou annointest my head with oil. The Executioner pulls the handle, Perry drops. CHAPLAIN My cup runneth over. On Truman. Then a WIDE SHOT of the inside of the Warehouse : twenty men watching Perry Smith hang, the Chaplain reading. FADE OUT. The SOUND of a TELEPHONE RINGING, as heard through the receiver. We HEAR the CLICK of the phone being PICKED UP, then, after a moment, a VOICE : NELLE Hello.",
"INT. HOTEL ROOM, KANSAS CITY - EARLY MORNING Truman sits on the edge of the bed in his WET OVERCOAT, as if he'd walked in the rain. TRUMAN Someday I'll tell you about it. For the moment, I'm too shattered. Pause. NELLE They're dead, Truman. You're alive. TRUMAN It was a terrible experience and I will never get over it. -LRB- then. -RRB- There was n't anything I could have done to save them. We hear Nelle light a cigarette. NELLE Maybe not. We hear her exhale slowly. NELLE But the fact is, you did n't want to. On Truman, FADE OUT. FADE IN : BRIGHT WHITE. AIRPLANE NOISE. COLORS RESOLVE INTO :",
"INT. FIRST CLASS SECTION, AIRPLANE - DAY Truman, seated on the aisle, next to William Shawn. After a long silence, he extracts from his leather briefcase a PACKAGE wrapped in BROWN PAPER. Hands it to Truman. SHAWN It came to the hotel this morning. I told them I'd give it to you. The package says KANSAS STATE PENITENTIARY and is addressed to Truman. Truman opens it. He takes out PERRY'S NOTEBOOKS - the DIARY and PERSONAL DICTIONARY. He opens the Diary. Toward the end, he finds Perry's final entry. He READS silently. We hear Perry's VOICE : PERRY -LRB- V.O. -RRB- Did we not know we were to die, we would be children. By knowing it, we are given the opportunity to mature in spirit. Truman turns the page. It's BLANK. He closes the Diary. We CONTINUE to hear Perry's VOICE as Truman takes out a SNAPSHOT - the one of Perry -LRB- at age 3 -RRB- and Linda splashing in the puddle. PERRY -LRB- V.O. -RRB- Some take that opportunity. I hope I have. Truman takes out a PENCIL DRAWING Perry did of him. It's very good, though Truman looks old and weary in it. PERRY Life is only the father of wisdom. Death is the mother. Truman finds, at the bottom of the package, his TIE. He takes it out, clutches it. Truman grasps for William Shawn's HAND, finds it, holds on tightly. Shawn sits stoically, hoping no one will notice. The CAMERA pulls back, up the aisle. Truman clutches the tie, and holds on to Shawn's hand, for dear life. FADE TO BLACK. TITLE UP : -LRB- each title fades up in succession -RRB- In Cold Blood made Truman Capote the most famous writer in America. He never finished another book. The epigraph he chose for his last published work reads : `` More tears are shed over answered prayers than unanswered ones.'' He died in 1984 of complications due to alcoholism. THE END"
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] | In Kansas, a family friend discovers the dead bodies of four of the members of the Clutter family. While reading The New York Times, the story of the Clutters rivets writer Truman Capote (Philip Seymour Hoffman), who calls The New Yorker magazine editor William Shawn (Bob Balaban) to tell him that he plans to document the tragedy. Capote travels to Kansas, inviting childhood friend Nelle Harper Lee (Catherine Keener) to come along. Capote intends to interview those involved with the victims, the Clutter family, with Lee as his go-between and facilitator. Alvin Dewey (Chris Cooper), the Kansas Bureau of Investigation's lead detective on the case, brushes him off, but Dewey's wife Marie (Amy Ryan) is a fan of Capote's writing and persuades Dewey to invite Capote and Lee to their house for dinner. She is starstruck by Capote's stories of being on movie sets with film stars. Dewey warms up to Capote and allows him to view the photographs of the victims. The Deweys, Lee, and Capote are having dinner when the murder suspects, Perry Smith (Clifton Collins, Jr.) and Richard "Dick" Hickock (Mark Pellegrino), are caught. Flattery, bribery and a keen insight into the human condition facilitate Capote's visits to the prison where the accused are being held. Capote begins to form an attachment to Smith. He informs Shawn of his intent to expand the story into a full-length book. Following the trial and conviction, Capote is able to gain continued access to the murderers by bribing Warden Marshall Krutch (Marshall Bell). Capote spends the following years regularly visiting Smith and learning about his life, excepting a year-long stint when Capote goes off to Morocco and Spain to write the "first three parts" of the book, accompanied by his romantic partner Jack Dunphy (Bruce Greenwood). The story of Smith's life, his remorseful manner, and emotional sincerity impress Capote, who becomes emotionally attached to him despite the gruesome murders. Smith refuses to tell Capote what happened on that fateful night, angering Capote. After much persuasion, Smith tells him in great detail. The story becomes a meditation upon the need for redemption even in very grave circumstances. Legal appeals drag on for years. Capote is exasperated, as he is unable to have his book published without an ending. In the meantime, Lee writes a novel, To Kill a Mockingbird, which becomes a best-seller, to Capote's surprise and jealous annoyance. The last appeal is finally rejected. Capote is an eyewitness as Smith and Hickock are hanged, with Smith's hanging being explicitly shown. Capote talks to Lee about the horrifying experience and laments that he could not have done anything to stop it. She replies, "Maybe not; the fact is you didn't want to." This is the last line of the film. The next and last scene shows Capote looking at photos from the case as well as writings and drawings given to him by Smith. | Capote_(film) |
[
"Hardcore CREDITS Credits are played over Currier and Ives - like winter scenes from life in Grand Rapids. It's Christmas morning. - Two well - bundled youths shovel out a suburban driveway while their father scrapes ice off the family car. - Youths pelter a passing car with snowballs. Others, more daring companions, grab onto the car's rear bumper and hitch a free ride across the icy roads and past a sign which reads `` Grand Rapids City Limits.'' - Christmas decorations hang from the lamp posts on Monroe Avenue. - Children, dressed in bright parkas, and breathing steam, compare their Christmas presents : sleds, skis and a toboggan. In the b.g., other children speed down Richmond Park Hill. - A woman's distant voice sings an old hymn : `` Precious memories, unseen angels, Sent from somewhere to my soul, How they linger ever near me, And the sacred past unfolds. Precious memories, how they linger, How they ever flood my soul, In the stillness of the midnight, Precious sacred scenes unfold. Precious father, loving mother, Fly across the lonely years, And old home scenes of my childhood In fond memories appear.'' END CREDITS.",
"INT. VAN DORN HOUSE - KITCHEN - DAY Four generations of the Van Dorn family have gathered at the family home. A long kitchen leads to the dining area, then to the spacious living room. The house is perhaps one hundred years old ; deeply varnished woodwork and patterned yellow wallpaper section off the walls. Apart from several recent tasteless acquisitions -LRB- an E - Z Boy lounge chair to replace the old Queen Anne which broke two Easters ago -RRB-, the house remains furnished in the style of the previous century. The old dining room table, which Grandfather Van Dorn built because he was too cheap to buy one, has now become a priceless antique. The rooms are littered with religious calendars, Bibles and plaster - of - Paris plaques bearing such sentiments as `` As For Me and My House, We Will Serve the Lord.'' The oak buffet is laden with similar religious knickknacks and chintz. Framed, tinted photographs of the family patriarchs are indiscriminately mixed with newer snapshots of proud fathers and high school graduates. The house radiates a sense of continuity. Generations come and go ; the family remains. All of life's `` old home scenes'' have been played out here : births, deaths, romances, blasphemies, betrayals. And now the air is again alive with the sounds of playing children, busy housewives and bickering uncles. The kitchen is crowded with mothers, daughters and aunts. Each has brought a special dish. ANNE DE JONG -LRB- nee Van Dorn -RRB-, thirty - five, supervises the final preparations. One aunt shows another snapshots of her new grandchild. JAKE VAN DORN, forty, and his brother JOE, fifty, sit at the table watching the kitchen activity. The house echoes with small talk : AUNT He got accepted at Grand Valley, but he'd rather go to Michigan. NEPHEW #1 Get that pink rot. NEPHEW #2 No way Uncle Joe talk me into cutting celery again this summer. Rather work in the car wash. As the CAMERA TRACKS THROUGH the dining room, it passes a cluster of men standing near the buffet. WES DE JONG and JOHN VAN DORN, both about forty, casually discuss a theological point with GRANDFATHER VAN DORN. Across the table, a young boy, about eleven, listens with rapt awe. These are men of the soil. Their faces are sun - blotched and weather - beaten. Wes has rolled up the sleeves of his white shirt ; John has switched to a more comfortable plaid. JOHN I still say that if a man has committed the unpardonable sin, he knows he has. Grandfather nods head approvingly. WES I do n't know about that, John. It do n't seem to account much for God's grace. JOHN What kind of grace do you mean, universal or specific?",
"INT. BASEMENT - DAY A long line of folding tables have been set up in the basement. A mixed assortment of chairs can accommodate thirty or more persons. A pre - teen daughter helps her mother place dishes and silverware on the tablecloths. Evergreen branches and red candles decorate the tables.",
"INT. DEN - DAY Most of the teenagers have crowded into what was once called the study, but is now the `` television room.'' KRISTEN VAN DORN, fourteen, and MARSHA DE JONG, fifteen, are scrunched onto the sofa. Kristen has long blonde hair, a clean Dutch complexion and an unaffected beauty. The girls' legs are innocently wrapped around each other's. JOE, forty - five, another of the Van Dorn brothers, and a male cousin about nineteen, are also squeezed on the sofa. Young children squat on the floor in front of them. All are watching some inane Christmas variety show. Joe, bored of this tripe, gets up and turns off the set. The children wail in unison. `` Aw, c'mon, Uncle Joe.'' JOE I'm sick of watching this television stuff. You know who makes it? All the kids who could n't get along here. They go out to California and make television. I did n't like'em when they were here, and I do n't like'em out there. One of the youngsters reaches over and snaps the set back on as Joe leaves the room.",
"INT. LIVING ROOM - DAY As Joe leaves the den, he passes Jake Van Dorn and Wes De Jong. Unlike his older brother, Jake is not a man of the soil. He has been to college and runs his own business. He looks well - groomed and comfortable in his navy suit, white shirt and striped tie. Wes is Jake's brother - in - law and friend. They get along well enough. JOE -LRB- to Jake and Wes. -RRB- Television. If you do n't buy one yourself, the kids go someplace else and watch. And what do they sell on television? More televisions. JAKE -LRB- light. -RRB- They got to make their money, too, Joe. Give the kids a break. It's Christmas. Joe shrugs and walks into the dining room.",
"INT. BASEMENT - DAY Anne listens as NADINE, her sister - in - law, about forty, and RUTH, her niece, about twenty, help her set out celery and carrot stalks. RUTH and they had n't heard a word from him before he died. Three children, BILL, LENARD and JANE, ages six to ten, walk over to the three mothers. Lenard, six years old, wears a blanket over his head in mock Biblical dress. BILL Aunt Ruth, can we use Timmy for the Nativity play? We need him to play the Christ - child. RUTH But Timmy's only six months old. BILL We wo n't hurt him. I'm going to be Joseph, Jane's Mary and Lenard will be one of the shepherds. Bill looks at blanket - headed Lenard, who has no idea of what's going on. RUTH I do n't think so. NADINE You ca n't do that. That's blasphemy. If anybody pretends to be Christ, it's blasphemy. BILL But he's only a baby. Anne nods in agreement. Bill seems disappointed.",
"INT. LIVING ROOM - DAY Jake and West stand with their arms around their respective daughters, Kristen and Marsha. The girls squirm and giggle politely. JAKE -LRB- teasing Marsha. -RRB- Your dad and I are n't sure you and Kristen should go on the YC Convention tomorrow. KRISTEN Oh, Dad. Wes plays along : WES I do n't know, Kristen, that's a long trip to be on a bus with all those boys. MARSHA You mean those creeps. KRISTEN There are more chaperones than boys anyway.",
"INT. BASEMENT - DAY Every family is in place. The social order is complete : grandfather, parents, children, grandchildren. The long table is stacked high with salads, casseroles, and vegetables. The diners turn their heads toward Jake who stands at the far end of the table, his closed fists pressed against the tabletop. He lowers his head in prayer. One of the mothers, looking at her son, Lenard, quickly pulls the blanket off his head. The CAMERA TRACKS ACROSS the table toward Jake. JAKE We thank the Lord for bringing this family together at graduation time. We ask Thee to watch over this family and keep us together in the coming year.",
"EXT. JAKE'S HOUSE - MORNING Two cars are parked in the driveway of Van Dorn's suburban ranch - style home.",
"INT. KRISTEN'S ROOM - MORNING Marsha sits on the bed as Kristen finishes packing her suitcase. The items include : a bright red sweater, jeans, underclothes, Tampax, and a Bible.",
"INT. DINING AREA - MORNING Jake, Wes and Anne wait in the spotless dining area. Harold Jay looks in the refrigerator. JAKE -LRB- to Anne. -RRB- Sis, would you check if Kristen has everything packed? Anne nods and walks into the bedroom. WES You want to go for coffee after we send the girls off? JAKE No. Thanks anyway. I've got to get over to the office. WES Anne wants to make sure you come over for dinner Sunday. With Kristen gone you'll be all alone. Jake nods. Kristen, wearing a light blue sweater and skirt, emerges from the bedroom. She smiles demurely. Her suitcase is in her hand. Jake, for a moment, feels a sharp twinge of loss. A foreboding of the day when Kristen, fully grown, will leave his house for good.",
"EXT. TWELFTH ST. CHURCH - DAY Parents watch their children board a snow - covered bus outside Twelfth St. Church. A banner across the side of the bus reads : YOUNG CALVINIST CONVENTION GRAND RAPIDS, MICH.. - BELLFLOWER, CALIF.. Most of the parents, working folk long accustomed to the brutal Michigan winters, wear heavy overcoats, bearskin caps, fur - lined gloves and galoshes. Jake, bare - headed and wearing a thin topcoat over his suit, waits with Kristen, Marsha, Wes and Anne. Harold Jay pelts the side of the bus with a snowball. MRS. STEENSMA, one of the trip counselors, reads off the youngsters' names as they board the bus : MRS. STEENSMA Daverman, DeBeer, DeBoer, DeJong, DeVries. Marsha kisses her parents goodbye and heads toward the bus. MRS. STEENSMA -LRB- continuing. -RRB-. Vander Ark, Vander Hoven, Vander Keen, Van Dorn, Van Dyke, E., Van Dyke, S. When Kristen hears her name she starts toward the bus, then stops, comes back and gives her father a farewell kiss. JAKE Take care of yourself, Kristen. I love you. KRISTEN I will, Daddy. JAKE If you need anything, just call. Later, amid horn - honking and farewells, the bus pulls away from the curb and heads down the snowy street.",
"INT. BUS - DAY A sigh of relief goes up from the adolescent conventioneers : wheew! There are a few isolated cries of `` We're on our way!'' A teenager instantly flips on his transistor RADIO to metal ROCK. Once away from home, these kids, like all kids, are the children of 1976. The old family glue does n't hold. They live in the world of rock and television.",
"INT. FACTORY - DAY Workmen fashion table legs on a wood lathe. In another part of the factory, laborers assemble chair frames. Jake walks along the assembly line with MARY, a well - dressed, attractive employee about twenty - five. They turn a corner and step into a display area where a set features the Van Dorn Co.'s new modular office designs. Mary shows Jake the set for his approval. JAKE Is this all the display space we can get? MARY I tried to get more, but this is the limit. The De Vries line has the same area. Mary is a cool, efficient display designer. Jake studies a patch of bright blue on the right wall. JAKE What do you think of this. ah, shade of blue, Mary. MARY I like it, Mr. Van Dorn. JAKE Do n't you think it's a little too. bright? MARY Not really. But if you want me to tone it down. JAKE No, no. I would n't hire a display designer if I did n't trust her taste. Maybe we should bring in more of that shade. Perhaps a stripe across the back wall. He gestures. Gently, relentlessly, Jake manipulates Mary. He does not wish to impose his taste on her but, through calculated argument, will get her to accept his views. It's only a matter of time before he wears her down. MARY No, that would be much too overpowering. JAKE Yeah, overpowering. That was the word I was looking for. MARY -LRB- sensing his ploy. -RRB- Mr. Van Dorn, I've worked on the color scheme for weeks. I think it's just right. JAKE What's that shade of blue called? MARY Pavonine. It's the same tint as the stripe in the fabric. Jake bends down and examines the chair. JAKE Are you still going with that fella that teaches at Grand Valley? MARY Sam? JAKE Yeah. He's a nice guy. Do n't lose him. Maybe we could tone down this stripe a bit. It's a little. MARY -LRB- catching on. -RRB- Overpowering? JAKE Yeah. MARY -LRB- gives in. -RRB- Okay, Mr. Van Dorn, I think we could knock that Pavonine blue a bit. JAKE Are you sure it's all right? MARY Yes. I think it'll look better. JAKE If you say so. Mary watches him a moment and thinks. MARY Kristen went on that convention today, did n't she? JAKE -LRB- mildly surprised. -RRB- Yeah. How did you know?",
"INT. JAKE'S BEDROOM - NIGHT Jake lies in bed, sleeping. Blue light falls across his face. He is dreaming.",
"EXT. BELLFLOWER CHURCH - DAY A row of church buses are parked in the lot of First Christian Reformed Church, Bellflower, California. They have come from the various other Christian Reformed communities around the country : Zeeland, Michigan, Midland Park, New Jersey, Sioux Center, Iowa, Ripon, California. Clusters of youths sit on the church steps and spacious lawns.",
"INT. MEETING ROOM - DAY A hand - lettered poster on an easel reads : `` Today's Topic : Doctrine - Relevant or Old - Fashioned?'' A slight, pretty GIRL about fifteen stands up before the discussion group. She wears an Elton John T - shirt and name tag. She holds her Bible with both hands. GIRL Even though the doctrinal standards were written a long time ago, I think they are more relevant than ever. Especially in this age of permissiveness and `` anything goes.''",
"EXT. BELLFLOWER CHURCH - DAY Kristen and Marsha stand near a tree. Kristen is wearing her red sweater and jeans. Nearby, a group of boys sit in a circle on the grass telling jokes and listening to metal rock on a transistor radio. KRISTEN You going to Knott's Berry Farm with him? MARSHA He asked me. You going with anybody? KRISTEN -LRB- shrugs. -RRB- I do n't know. MARSHA You ever play Chicken? KRISTEN What's that? MARSHA -LRB- teasing. -RRB- You never heard of that? KRISTEN Com ` on, tell me. MARSHA Well, a boy goes like this, see. Using her finger, Marsha traces a looping oval around Kristen's right breast, starting at the neck, working down to the midriff, and back up her left side. KRISTEN What does that do? MARSHA Well, each time he comes in closer, like this. Marsha traces another circle inside the first one. She draws a narrowing spiral around Kristen's breast. MARSHA -LRB- continuing. -RRB- He keeps coming closer until you say `` Chicken.'' Then he stops. The girls giggle. KRISTEN You and Jerry do that? Mrs. Steensma steps out onto the lawn and calls to Kristen and Marsha : MRS. STEENSMA Kristen, Marsha! Time for your discussion group. MARSHA -LRB- grudgingly. -RRB- Oh, all right. MRS. STEENSMA And put your name tags back on. The girls pull their name tags out of their jeans and clip them on as they walk back toward the church.",
"INT. TWELFTH STREET CHURCH REVEREND VANTIL, a stately man about fifty, stands at the pulpit. The front of the church is plain and stark, adorned only by a large wooden cross. The Christian Reformed Church is not one which believes in emotional appeals or confessions. It is a religion of scripture, creed and doctrine. Reverend Vantil, dressed in black, addresses the congregation as if he were a businessman. And his business is sin, guilt and redemption. He speaks calmly and powerfully. The church echoes with the weight of his words : REV. VANTIL our study of the Heidelberg Catechism, reading today Lords Day number one, question and answer one and two :. -LRB- reads. -RRB- Q : What is your only comfort in life and death? A : That I, body and soul, both in life and death, am not my own but belong unto my faithful Savior Jesus Christ. Q : How many things are necessary to know to live and die happily? A : Three : the first, how great my sin and misery are ; the second, how I am delivered from all my sin and misery ; the third, how I am to be thankful to God for such deliverance. Later. The CAMERA TRACKS UP the aisle as the congregation rises to sing the doxology. Jake stands with his sister and brother - in - law.",
"EXT. TWELFTH STREET CHURCH - DAY The parishioners, fighting off the winter cold, work their way to their cars.",
"INT. DE JONG HOME - DAY Jake, Wes, Anne and Harold Jay pass dishes around the De Jong's dining room. ANNE as soon as the service starts, the ushers all go off to Big Boy's and have coffee. The PHONE RINGS. ANNE -LRB- continuing. -RRB- I'll get it. -LRB- gets up. -RRB- So that when someone like Mrs. Van Dorn in a wheelchair needs some help there's nobody there. She walks into the living room. After a moment, Anne walks back into the room. ANNE -LRB- continuing. -RRB- It's for you, Jake. Van Dorn excuses himself, walks into the living room and answers the phone. His VOICE can be HEARD in the background ANNE -LRB- continuing. -RRB- Well, I just hope I do n't get old and in a wheelchair and have to depend on the ushers to help me out of church. -LRB- to Harold Jay. -RRB- You would never let that happen to your mother, would you? Harold Jay nods and keeps eating. He's used to this. A moment later, Jake, his face drained of color, walks back into the room. WES What is it, Jake? JAKE Wes, Anne, come here a moment. Wes and Anne step into the living room. JAKE That was Mrs. Steensma calling from California. -LRB- a beat. -RRB- Kristen's disappeared. ANNE Kristen? WES What happened? JAKE They do n't know. They were having some recreation deal out at Knott's Berry Farm and Kristen was n't there when they got back to the bus and they could n't find her. ANNE Have they called the police? JAKE Yeah. WES Is Marsha there? JAKE Yeah. She's quite upset. I'm going to fly out today. They want me to bring some pictures. WES I'll come with you. Let me pack some things. He starts to walk away.",
"EXT. L.A. INTERNATIONAL - DAY A United Jet lands. Marsha's VOICE is HEARD from the following scene.",
"INT. BELLFLOWER HOME - DAY Jake and Wes sit near Marsha. Mrs. Steensma stands nearby. MARSHA They have a ride called `` The Great White Knuckler'', a roller coaster. Last time I saw Kristen was standing over there. WES Why was she alone? He looks at Mrs. Steensma. Marsha is hiding something : She was off necking when Kristen disappeared. JAKE Was she alone? MARSHA I told this to the policeman. MRS. STEENSMA They had met an older boy earlier. MARSHA But she was n't with him when I saw her last. MRS. STEENSMA She tried to give the officers a description. It was nothing out of the ordinary.",
"INT. L.A. POLICE DEPARTMENT - DAY DETECTIVE BURROWS, of Missing Persons, carries Kristen's picture and a form Jake has filled out into the `` Runaway Room''. Jake and Wes follow. One long wall is covered with tacked - up snapshots of persons -LRB- mostly young -RRB- the police are looking for. Each snapshot is attached to a small form listing the missing person's name, age, home and so forth. A sign above the photo montage reads : `` Have you seen this person?'' Burrows tacks up Kristen's picture on the Missing Persons wall. BURROWS The boy your daughter was talking to did n't work at the park. We've interviewed everybody there. JAKE But is she, has. BURROWS There's no evidence of any foul play at present. I hope she's just a runaway. JAKE There's something wrong here. Kristen is not the type of girl to just up and leave. BURROWS I said I hope she's a runaway. Better that than she just disappears like so many others do. Sometimes they turn up years later, sometimes not. A lot of crimes go unreported, unknown. These are realities. JAKE What are you doing? BURROWS Two officers have been assigned to the case. I ca n't keep them on indefinitely, but we'll go through every lead.",
"EXT. DOWNTOWN - DAY Another day, Jake and Wes, wearing different clothes, walk with ANDY MAST, a private investigator, down an L.A. street. They walk silently, Mast, forty, a stocky man in a wrinkled suit, looks like he's been up all night. He probably has. Mast motions to a coffee shop and they enter.",
"INT. COFFEE SHOP - DAY Mast, slouching in the booth, sips his coffee. MAST Those cops, like all cops, are intelligent enough, but they are masters of de - ductive reason. That is, you ask them what three and two are they'll tell you five, but if you ask them what five is, they go blank. That's spec - u - lative reasoning, and that's where I come in. JAKE Well, what do they know? MAST Dogshit. Worse yet, they do n't care. JAKE So then, Mr. Mast. MAST Andy. JAKE What do you have to offer? MAST Let me ask you a personal question, a painful one. The first of many. Tell me, was your daughter the kind of girl to run around, to, ah, play practical jokes, maybe? Van Dorn answers him with a cold stare. MAST -LRB- continuing. -RRB- No, I did n't think she was. Let me get the picture here. Let me guess. She was an absolutely clean girl, a model daughter, she never had rebellious or impure thoughts, she did n't fuck around. JAKE If I was you, Mr. Mast, I'd watch my language. MAST Hey, I'm a private detective, Van Dorn, you want to hire a choir boy you can go back to Grand Rapids. I've been to that scumbag town. It's full of them. JAKE -LRB- cold. -RRB- Who's paying you? MAST You are. JAKE That's right. MAST -LRB- backtracks. -RRB- As I was saying, I'll pick up the thread. There's a number of ways I can go. There's not much you can do here. Stay if you want. Maybe it'd be better if you went back home. Go through Kristen's personal stuff. Ask around, maybe she knew somebody out here. -LRB- a beat. -RRB- Look, I do this a lot. I work at a minimum rate of $ 750.00 a week. It may seem like a lot of money to you, but it ai n't. You could hire cheaper. JAKE And better? MAST I suppose. But I'll tell you, Jake, I'm like a little animal. When I get my teeth into something I never let go. If your daughter's here, I'll track her down. MONTAGE - Jake sits at his desk, staring into empty space. - Jake looks through his wife's personal effects in the bureau. The room is unchanged. - Jake, his arms folded, stands outside church. A fellow parishioner is speaking to him ; Jake does n't seem to be listening. Mast's VOICE comes over a long distance connection : MAST -LRB- V.O. -RRB- Pilgrim, this is Andy. I'm in Phoenix. -LRB- a beat. -RRB- Yeah, it looks that way. I do n't know why. I'm going south, then maybe fly over to Nogales. -LRB- a beat. -RRB- I think so. -LRB- a beat. -RRB- Yeah, I picked up your check at Western Union. - Jake gets out of his car and looks down the street of a strange town. A nearby sign reads : Minneapolis National Trust. - Jake walks into a greasy spoon. Ahead of him, her back turned, sits a girl who looks like Kristen. She turns as he approaches ; it is another girl, another runaway. He apologizes and walks away. OVER this SCENE, we HEAR Van Dorn's telephoned VOICE : JAKE -LRB- V.O. -RRB- No, I was up in Minneapolis. Somebody responded to my ad. Said there was a girl who looked like Kristen there. But it was n't her. The police have n't found anything? -LRB- a beat. -RRB- It do n't look good. I do n't know. Maybe she's dead already.",
"EXT. DE JONG HOME - DAY Spring has returned to Grand Rapids. The maples are in bloom and the chairs have been set out on the long porch of Wes De Jong's house. We HEAR Mast's telephone VOICE as Jake gets out of his car and enters the house. MAST -LRB- V.O. -RRB- I took a side trip to Mexico City. It was just a long shot, but it did n't pay off. So I'm back in L.A. -LRB- a beat. -RRB- Yeah, the money came on time.",
"INT. DE JONG HOME - DAY Jake, carrying a wrapped present, walks into the kitchen. Anne, Joe and John, sitting around the table, greet him as he enters. A large birthday cake sits in the center of the table. Jake says, `` Hi, Sis,'' and nods to the others. JAKE Where's Marsha? ANNE -LRB- calling. -RRB- Marsha! Marsha walks in, smiling when she sees her uncle : MARSHA Uncle Jake. JAKE -LRB- gives her present. -RRB- Happy birthday, Marsha.",
"EXT. DE JONG FRONT PORCH - DAY Jake and Joe sit on chairs on the porch. Wes and Willem rest on the rickety swing. All are drinking coffee, finishing pieces of birthday cake and enjoying a fine spring Sunday. Harold Jay watches quietly from the railing. JOE -LRB- sets down plate. -RRB- Spring's early. Without a frost we'll have a good year. WES Not as good as last. JOHN Lord's been good to us. Across the street, two junior high boys, pushing their bikes, follow two female classmates. The girls dressed in tight halters and shorts try to ignore them. JOE Never had to make a dishonest dollar in my life. Never cheated an employee. WES How could you? They're all your relatives. He laughs. JOE The Lord got his share, too. Joe gets up to refill his coffee cup. Wes turns to Jake, who is watching the couples across the street. WES How's your business, Jake? JAKE -LRB- absentminded. -RRB- Pretty good. WES You should come around more often. You have n't been around for weeks. Anne complains she does n't see you anymore. Jake, looking away, does n't answer. Wes contemplates something he's been planning to say. WES -LRB- continuing. -RRB- You ca n't dwell on Kristen all the time, Jake. Sometimes we ca n't understand the Lord's ways. He is testing you. You have to have faith. Jake turns and looks back at Wes : JAKE Would you? -LRB- a beat. -RRB- Could you? He looks away again.",
"INT. JAKE'S OFFICE - DAY Jake is at his desk when the PHONE RINGS. He picks up the receiver. JAKE Hello? MAST -LRB- O.S. -RRB- Mr. Van Dorn? JAKE Mast? MAST -LRB- O.S. -RRB- Yeah. JAKE Where are you? The connection sounds very good. MAST -LRB- O.S. -RRB- I'm back in Grand Rapids. JAKE In G.R? Why? MAST -LRB- O.S. -RRB- Can you meet me in about an hour? At the Pantlind Hotel? JAKE I've got a meeting. MAST -LRB- O.S. -RRB- What are you paying me for? JAKE I'll be there.",
"EXT. DOWNTOWN GRAND RAPIDS - DAY Jake and Mast walk out of the Pantlind and walk up Monroe Avenue. The heart of Grand Rapids, like that of many Mid - western cities, is a ghost town. The major businesses have one by one gone broke or moved out to the suburban malls, leaving the core of the city to cut - rate stores, parking lots and federally - subsidized government buildings. MAST This used to be a real city. I was here about fifteen years ago. Embezzlement case. It was always a little religious for my taste, but at least it was a city. With a downtown and all. JAKE What have you found out? MAST I've got some news. Your daughter's all right. At least I think she is. JAKE Where is she? MAST I do n't know. JAKE What do you mean? MAST Have you ever seen any, ah, pornographic movies, Jake? JAKE No. MAST Do you know what a `` hardcore'' movie is? JAKE That's like a stag film. MAST Yeah. You ever seen any of those? JAKE No. MAST They're legal now. JAKE They are? MAST Yeah. -LRB- a beat. -RRB- All over. Even here in Grand Rapids. JAKE Hmm. MAST There's a little stall theatre up here. -LRB- gestures. -RRB- It's closed now, but I'm borrowing it for an hour. I think there's something you'd better see.",
"INT. THEATRE - DAY Jake is uncomfortably seated in the dingy thirty - seat theatre. Mast walks back from the projection booth as the film starts. He sits next to Van Dorn. We slowly TRACK INTO Jake's face as the color drains from it. O.S.. We HEAR groans and the sounds of flesh on flesh. We TRACK SLOWLY INTO the film itself : A 16mm hardcore short on a simple, but classic theme - rape. Two young men force a young, unwilling girl to submit to their desires. The girl - Kristen - nude, tries to get out of a wrinkled bed but is restrained by the long arm of a languid, long - haired nude youth. Another young man, wearing only pink elastic shorts, steps into the frame and takes Kristen into his arms. The quality of the action is quite low ; the young men posture and overact in the manner of high school dramatics. Occasionally, the action stops while the actors receive cues from an off - screen director. Grunts and groans are dubbed into the screen action. Only Kristen's performance lends a note of credibility to the proceedings. She is genuinely disoriented or frightened - or both. She's not play acting. For one frightening moment, Kristen, regaining full consciousness, fights back, but the youth in pink shorts slaps her into submission. Her eyes turn pleadingly toward the camera. The first youth laughs and takes Kristen into his arms. The youth in the pink shorts kneels on the edge of the bed and instructs Kristen to remove his shorts. As she begins to do this, the first youth fucks her from the rear. As the film ends, Jake sinks his head into his hands, speaking to himself. It's almost as if we're hearing his thoughts : JAKE It ca n't be. Why me? What have I done? Looking up, he says softly, then louder : JAKE -LRB- continuing. -RRB- Turn it off. -LRB- a beat. -RRB- Turn it off. -LRB- a beat. -RRB- Turn it off! -LRB- a beat. -RRB- Turn it off! Only then does Jake realize that the film has already been shut off and he's sitting alone in the quiet theatre. Mast stands by the exit. Jake gets up and walks toward him.",
"INT. LOBBY Jake catches up with Mast in the small lobby. JAKE -LRB- aggressively. -RRB- Where is she? MAST I do n't know. JAKE Where did you get that film? Jake backs Mast from one side of the lobby to the other. MAST I bought it at a store in L.A. JAKE Who made it? MAST I do n't know. JAKE What do you mean? Mast calms him down. MAST Wait. Slow down. A film like this, 16mm, cost two three hundred dollars, sold outright, shown in peep machines, maybe theatres, maybe not, is almost impossible to track. ` Nobody' makes it ; ` nobody' shows it ; ` nobody' sees it. It's like it does n't even exist. JAKE What's it called? MAST It was called ` Slave of Love' when I bought it. Next time it's sold, it'll be called something else. JAKE But the police. MAST The police? They know less than you do. JAKE Do you think she's safe? MAST Yeah. Probably. JAKE You like this, do n't you. Showing me. this. MAST I hate it. But you got ta know, buddy. -LRB- thinks. -RRB- A lot of strange things happen in this world. Things you do n't know about in Grand Rapids. Things you do n't want to know about. Doors that should never be opened. I've known more about this sort of thing than a man should. Do n't ask me why. Jake turns away. MAST -LRB- continuing. -RRB- I'm going back to L.A. today. I'll track this film down, if I can. I'll find her. But I ca n't make any promises. I do n't know what she'll be like when I find her. Jake, pale, looks away. Mast attempts to give him a comforting embrace. Jake pushes him away.",
"INT. JAKE'S BEDROOM - NIGHT Van Dorn sleeps fitfully. Blue light falls across his contorted body. He's dreaming again.",
"EXT. HOLLYWOOD MOTEL - DAY A sleazy Santa Monica Boulevard motel.",
"INT. HOLLYWOOD MOTEL - DAY A porn film is being shot in a tacky motel room furnished with a pink circular water bed, a lime - brown shag rug, and peeling red felt wallpaper. An oil painting of a seagull in flight adds a touch of class. The small set is crowded with technicians and onlookers. The harried collegiate filmmakers wear scruffy jeans and T - shirts. The onlookers, more refined, sport double knit suits. Two girls and a middle - aged man lie on the pink satin sheets. Beach towels protect them from the unheated water bed. One of the girls, NIKI, has a long blonde wig and looks about nineteen. The makeup girl hurriedly dabs some last minute cosmetic on the second girl's breast. A young man in a UCLA T - shirt pastes up the peeling wallpaper above the bed. Random VOICES ECHO around the set. The DIRECTOR, a student filmmaker, tries to bring the set to order. BILL RAMADA, 40, the Producer, watches silently from the b.g. He's in charge here. He wears gabardine slacks and a Gucci shirt. His Assistant, KURT, 25, stands by his side. RAMADA -LRB- clapping hands. -RRB- All right, kids, let's get back to it. DIRECTOR Actors, to your positions, please. Niki, the SECOND GIRL and the Actor remove their towels and form a contorted triangular position. NIKI Ca n't you get this bed any warmer? CAMERAMAN Bring another light over here. NIKI My ass is freezing. ACTOR Your ass is always freezing. NIKI Up yours. The Second Girl coaxes her male partner into tumescence. SECOND GIRL He's got it up. NIKI Thank God. DIRECTOR Action. Rolling. CAMERAMAN The wallpaper's peeling again. DIRECTOR Forget it. Keep shooting. Crouching, the Director approaches his actors. DIRECTOR -LRB- continuing. -RRB- All right, Niki, you come around this way and swing your legs around his back. The Director pleads with outstretched hands. His acting workshop courses have not been in vain. Lowering his voice, he coaxes Niki into the proper mood : DIRECTOR -LRB- continuing. -RRB- All right, Niki, you're lying back now, yes, just taking it easy, just enjoying your body, yes, you're thinking about your father, your mind is open and free. Mast walks into the rear of the room and looks around until he spots Ramada. DIRECTOR -LRB- continuing. -RRB- Okay, now Bennie, you turn over and lick her belly. Ramada recognizes Mast as he walks toward him and motions for him to follow. They step into an adjoining room. The Director's instructions drone in the distance. RAMADA -LRB- friendly. -RRB- Hey, piss - head, what brings you around? MAST You do n't have to get uppity with me, Bill. I remember when you was running that car wash and could n't make it go. And what was that other thing you tried? A Dairy Queen? Went busted too. RAMADA At least I improved myself. What's up? Mast takes out a snapshot of Kristen. In the background the Director yells, `` Cut.'' MAST I want you to take a look at this girl here. She's been in some porn stuff. RAMADA -LRB- looks at photo. -RRB- No, Andy. Do n't know the kid. MAST Look again, Billy - boy. This is jail bait. Could get you in a lotta trouble. RAMADA -LRB- shakes head. -RRB- Nope never saw her before. -LRB- calls to assistant. -RRB- Kurt, come over here. Do n't use underage kids. Would n't touch'em for all the cow shit in Mexico. -LRB- as Kurt steps over. -RRB- You recognize this piece of wool, Kurt? KURT -LRB- shakes head. -RRB- No. RAMADA Sorry could n't help you, Andy. -LRB- to Kurt. -RRB- How'd the shot go? They about ready to start again? -LRB- to Mast. -RRB- You can come watch if you want, Andy. Just do n't hassle anybody. Mast shrugs, tucks the photo in his pocket and follows Ramada and Kurt back onto the set.",
"EXT. FACTORY - DAY Jake leaves the factory in the middle of the afternoon, gets in his car and drives off.",
"INT. BEDROOM - DAY Jake walks into his bedroom, pulls a suitcase out of the closet and throws it on the bed. He is motivated now. A decision has been made. He throws in his shirts and socks. A travel clock. Pictures of Kristen.",
"INT. DINING ROOM - DAY Jake is on the phone. His voice is hard and determined. JAKE This is Jake. I'm going out of town for a while. -LRB- a beat. -RRB- No, I do n't know when I'll be back. No, there's nothing wrong. Can you keep things running? -LRB- a beat. -RRB- Do n't ask.",
"EXT. L.A. INTERNATIONAL AIRPORT - NIGHT United jet lands.",
"EXT. HOLIDAY INN - DAY Van Dorn, dressed and ready to go, walks out of the Hollywood Holiday Inn and over to the parking lot. Checking a city map one final time, he gets into his late model rented green Pontiac and drives off.",
"INT. CAR - DAY Jake seems a new man ; he's in charge now. To a man like Jake Van Dorn, a man from the Midwest, a self - made man, all is possible once you're in control. There are no ambiguities, no conundrums, no labyrinths ; only problems. And problems, once understood, lead only to solutions. All one needs is the will and the intellect to pursue those solutions. Jake looks at the note pad on the seat. It reads : Andy Mast Apt. # 3 - A 14316 Chandler Blvd., Van Nuys, Calif. -LRB- 213 -RRB- 474 - 8759 He drives up Highland, past the freeway and over the hills.",
"EXT. MAST'S APARTMENT - DAY Van Dorn parks in front of the Elite V Apartments. Jake stops in front of the room, re - checks the number, and knocks. There's no immediate answer. Hearing some commotion in the room, Jake stops, listens. He peeks through the partially - curtained window. Inside, he sees Mast banging away with a TEENAGE GIRL on the sofa. Jake is curious, then outraged. He tries the door. It opens. Inside, Mast and his teenage companion scramble for their clothes. The girl calls out. TEENAGE GIRL -LRB- O.S. -RRB- It's the cops, man. MAST -LRB- O.S. -RRB- Fuck.",
"INT. MAST'S APARTMENT - DAY Jake strides into Mast's apartment. Mast, his belt unbuckled, puts on his shirt. The Teenage Girl, pulling a Grateful Dead T - shirt over her head, looks at Jake and says : TEENAGE GIRL Who the fuck is this? Not pausing to speak, Jake pushes Mast against the sofa. Reaching down, he pulls the detective up by the collar. JAKE What are you doing? You son - of - a - bitch! I've been paying you every week for three months and you've been out here. TEENAGE GIRL I'm splitting. Jake turns as the girl vanishes. MAST I ai n't cheated you, Pilgrim. This is research, damn it! That girl could have told us something. JAKE Research, my ass. I suppose these are the ` extra expenses' I've been paying for? And in the middle of the morning, too. Mast pulls himself away. MAST Oh, fuck off. You should stay where you belong. JAKE Get out. Get out of here, Goddammit. Mast picks up his shoes and says half - apologetically : MAST I'm only human, you know. JAKE Get out. MAST But this is my apartment. JAKE Get out! Mast shrugs. There's no reasoning with Van Dorn. He pauses at the door and looks back. MAST You prick. You ass - hole prick. You can find your own Goddamn daughter now. -LRB- stops ; looks at door. -RRB- I'm not even smart enough to lock my own fucking door. Mast closes the door behind him. Van Dorn looks around the apartment. It's calm now. On the desk are Mast's briefcase and papers. Looking through Mast's files, Jake finds pages and pages of notes and information about his daughter's disappearance. Names, places, dates. Lists of massage parlors, sex shops, porn bookshops. The names of owners, managers, filmmakers, Interviews with street girls, cops, landlords. Plus snapshots of Kristen as she once was and 8x10 frame enlargements from `` Slave of Love,'' her hardcore film.",
"INT. HOLIDAY INN ROOM - DAY Jake has spread Mast's papers and photographs across the floor of his Holiday Inn motel room. His collar open, his tie loosened, Van Dorn squats over the notes and interviews. He studies his find. It includes : - sex ads from various local papers. Some are crossed out, others circled, others checked. - a list of massage parlors and sex shops under the heading `` possible K was here.'' - An L.A. Times newspaper clipping about `` Bill Ramada, L.A. Porn Movie Mogul.'' It features a photo of Ramada on his way out of court. - a sleazy porn mag article about `` Parlor Girls : Hustling and Loving.''",
"EXT. LOS ANGELES - NIGHT Van Dorn drives through the crowded streets of Los Angeles' tenderloin. He cruises down Santa Monica, up Western, along Hollywood and back down to Santa Monica. He passes row upon row of garish adult bookstores, massage parlors and porn theatres. He passes model shops, topless bars, `` erotic motels,'' and peep shows. Teenage girls stand in the red neon shadows, calling out to passing strangers. Drag queens and leather boys cruise the sidewalks. Jet black pimps, sporting high heels and make coats, stroll from one massage parlor to another. The sound of Latin jazz comes from one doorway ; soul disco from another. L.A.P.D. black and whites patrol the streets. Occasionally, a uniformed officer leans out to hassle a passing pimp or hooker. He drives on. The sex shops have names like `` The Sexual Catharthis Center,'' `` Pandora's Box,'' `` The Institute of Oral Love,'' `` 69 Club,'' `` The Church of Spiritual Sexuality,'' `` The Participating Center of Sexual Experience,'' `` Mother's Fun Palace,'' `` The Hot Box.'' A zoo of lusts. Jake looks at the seat beside him, checking Mast's list of massage parlors and sex stores with the notation, `` possible K was here.''",
"EXT. ADONIS BOOKSHOP - NIGHT Van Dorn pulls to the curb and parks his car. Ahead is the plexiglass lettered sign of the Adonis bookstore. Jake locks his car, buttons his suit coat and walks toward the bookstore. He hesitates a moment, then enters.",
"INT. ADONIS BOOKSHOP - NIGHT Jake steps into the bookstore and looks cautiously from side to side. His expression is stern, withdrawn, as if suppressing some physical pain. He finds nothing titillating about this world ; for him it is simply evil. Neither is he shocked. Has he not been taught : `` For every imagination of man's heart is only evil continually''? An improbable assortment of men peruse the long racks of pornographic books and magazines. A young MALE TELLER sits next to a cash register atop a high counter. Below him, a display case features sexual paraphernalia and films. A small radio softly plays Muzak. TELLER Fifty cents admission. JAKE What? TELLER It's fifty cents admission. It's applicable to a purchase. Jake fishes in his pocket, comes up with a couple quarters and places them on the counter. The Teller gives him a token in return. Van Dorn walks down one row and up another. The explicit titles and magazine covers leap out at him : `` Cropped Crotches,'' `` Teenage Obedience Lesson,'' `` Mouthful of Cock,'' `` Hogtie.'' Many of the magazine covers feature obviously underage girls. He eases his way past a butch young man looking at magazines in the gay section. Screwing up his courage, Jake steps back to the counter. He tries but can not avert his eyes from the grotesque sexual novelties in the case. Dildos, some small, some huge and gross, looking more like instruments of torture than pleasure. Stimulators, vibrators, spiked ticklers. Penis enlargers. Leather paddles, whips, masks, rubber vaginas, fuck faces, masturbators. JAKE Do you have a, ah, film called ` Slave of Love?' TELLER What we got is just these here. -LRB- gestures. -RRB- What you see. JAKE It's a short film. TELLER They're all about the same. You want something? Jake looks momentarily at the boxes of 16mm film. A couple titles read `` Office Party,'' and `` Butt Banger.'' JAKE Well. Van Dorn pulls a folded 8x10 out of his vest pocket. It's a glossy frame enlargement from `` Slave of Love'' folded to reveal only Kristen. JAKE This is from the movie I was talking about. TELLER I do n't know what you're talking about. JAKE I wondered if you had ever seen this film or this woman. -LRB- points. -RRB-. right here. TELLER That girl? No, never saw her. I do n't know anybody. JAKE I'm just trying to find. -LRB- getting testy. -RRB- Who owns this store? TELLER I do n't know. Look, man, if you're looking for somebody maybe you ought to see the cops. JAKE But I. TELLER I do n't know nothing, man. Jake, realizing he's getting nowhere, pockets his photograph and turns to leave. TELLER -LRB- continuing. -RRB- You do n't want anything for your fifty cents? JAKE No. The Teller places two quarters on the counter. TELLER Here. Take your fifty cents back. JAKE That's all right. TELLER No, take it. I do n't want your Goddamn fifty cents. Jake places the token on the counter, takes his quarters and walks back out into the neon night. The Teller turns to no one in particular and says : TELLER -LRB- continuing. -RRB- It's one of those Legion of Decency guys.",
"EXT. WILD MARY'S - NIGHT Van Dorn walks west on Santa Monica Boulevard. The entrance to Wild Mary's is formed by the larger - than - life painted rear view of a bent over woman. Her long legs flank either side of the open passageway. A young man in a cowboy shirt repeats monotoned litany to passersby : CALIFORNIA COWBOY Free information. Free information inside. Come in and get free information. Free information. Free information inside. Jake pauses in front of the California Cowboy, then enters, passing through Wild Mary's muscled thighs.",
"INT. WILD MARY'S - NIGHT Jake walks into Wild Mary's and is greeted by a young woman in a shift and bikini pants. Her name is BEATRICE. BEATRICE Hello. My name is Beatrice. Have you been here before? JAKE No. BEATRICE What we offer here is nude body to body contact on a bed in a private room. It's twenty dollars a half hour, thirty dollars an hour. Anything else you desire may be discussed in the privacy of your room. Tips are allowed. We accept Bank Americard, Master Charge and American Express. JAKE I do n't really want. ` body to body contact.' BEATRICE That you may discuss with the girl of your choice in the privacy of your room. A SECOND TEENAGE HOSTESS steps through a beaded curtain and joins Beatrice and Jake. SECOND HOSTESS Hi. JAKE I'm looking for a girl. Have you ever been in a porno film? Jake reaches for this folded photo but the Second Hostess takes him by the hand. SECOND HOSTESS Come back with me. I'm sure you'll find what you want. A THIN MAN walks into the room. He looks about 35 and carries a small bag. THIN MAN I called on the phone. You have a Domination Room? BEATRICE Yeah. Did you bring your own domination equipment? THIN MAN Yes, but I've never been here before. BEATRICE I'm sure everything will be just the way you want it. Twenty dollars half hour, thirty dollars hour. Tips are allowed. THIN MAN Let's start with a half hour. The Thin Man gives Beatrice a twenty and walks off with her. Jake, curious, follows. Beatrice and the Thin Man step into the Domination Room : a simulation of a Medieval dungeon. A large wood X - shaped cross is bolted to one wall. There are straps for the client's hands and feet. Instruments of torture hang from another wall. A bare - breasted girl, wearing bikini pants and leather chaps, sits lethargically on a folding chair. A mask of black leather and buckles completely cover her face. Beatrice notices Jake is following them. BEATRICE You want to take a session? Jake is dazed by what he sees. He was n't even aware such perversions existed. JAKE No. I do n't think so. BEATRICE You sure? We have regular sessions, too. Only twenty dollars? Jake turns and -LRB- like Lot from Sodom -RRB- walks away without looking back. As he leaves, he passes the Second Hostess attempting to communicate with two teenage MEXICANS. TEENAGE MEXICAN Sexo? The Second Hostess forms an oval with the index finger and thumb of her left hand and passes the index finger of her other hand through it in an obvious gesture : SECOND HOSTESS Si. Sexo. Sexo.",
"EXT. STAIRWAY TO LOVE - NIGHT Later that night. Jake locks his car and walks south on Western toward Santa Monica Boulevard. Ahead, a continuous row of massage parlors blend into neon. Girls call out as he walks : `` Come on in and get free information,'' and `` Want to have a good time?'' and `` Lonely?'' He stops by the Stairway to Love. Three girls stand just inside the door. A sign in the window reads : `` Come in - Satisfaction Here.'' He enters.",
"INT. STAIRWAY TO LOVE - NIGHT The First Hostess, FELICE, greets Jake as he enters : FELICE Hi, you been here before? The two other Hostesses gather round. JAKE No. FELICE We offer Female Wrestling, that is, nude body to body contact, with a girl of your choice in a private room. Twenty dollars a half hour, thirty dollars hour. Any other arrangements may be discussed in the privacy of your room. Tipping is permitted. We accept Bank Americard, Master Charge and American Express. JAKE Yeah. FELICE Do you want to take a session? JAKE I just want to ask some questions. FELICE You may do that in the privacy of your room. JAKE Okay. I'll take a half hour. FELICE Do you have any particular choice of girl? JAKE You'll be fine. Jake gives Felice a couple tens. She in turn passes them to the MANAGER, a 225 pound, blond - haired Malibu surfer. He puts the money in a cash box and fills out a time sheet. Jake eyes the Manager uneasily as Felice escorts him up the `` Stairway to Love.''",
"INT. ROOMS - NIGHT Felice shows Jake into a ten - by - ten cubicle. The walls are barren ; a bed - sized slab of foam rubber lies on the floor. FELICE Wait a second. I've got to get a sheet. He looks around the small room. Through the makeshift pasteboard walls he can hear the SOUNDS OF OTHER COUPLES `` making love.'' Felice quickly returns with a sheet and spreads it across the foam. She slides the door shut behind her. FELICE You're still dressed? JAKE Well, I want to. FELICE -LRB- sitting. -RRB- Sit down. Make yourself comfortable. My name's Felice. Jake squats down on the foam, crossing his legs under him. JAKE There's a girl I want to ask you about. FELICE You're not Vice, are you? -LRB- rote. -RRB- Do you work for the Los Angeles Police Department, or do you have any other affiliation with any law enforcement agency? JAKE No, I do n't. FELICE I have to ask you that. If you were Vice you could n't deny it. You ought to dress less square. You would n't get hassled so much. Here, let me help you get that tie off. Felice reaches over to loosen his tie. Jake, self - conscious, removes his tie. JAKE Well, actually I wanted to ask about this girl. I have her picture here. FELICE Pull out your cock. JAKE What? FELICE Cops are n't allowed to do that either. A judge ruled that that was entrapment. Do n't ask me why. I guess he figured the sight of a Vice Officer's dong would make a girl unable to stop herself. She laughs. JAKE No, Felice, I'm not a cop. In fact, right now I've got as little respect for the police as you do. -LRB- pulls out folded glossy. -RRB- I'm looking for a girl. A runaway. I need someone to help me. FELICE Are you going to stiff me? JAKE What do you mean? FELICE Look, that twenty dollars you just paid, I do n't get any of that. That goes to the guys that own this place. I get two bucks an hour, minus ten percent for a bail fund. I make all my money on tips. JAKE You want a tip? FELICE Sure. What do you want? Tips can be anywhere from thirty dollars to seventy dollars. JAKE What do you mean? FELICE What do you want to tip me for? Look, you got to spell it out. Whatever you want, just say it. JAKE I'll give you a tip. Here's forty dollars. Jake digs out a couple twenties and gives them to her. Felice tucks the bills into her bikini crotch and pulls off her shirt top. Her breasts seem surprisingly pale and small. FELICE Now, what do you want? JAKE I said I just wanted to talk to you. FELICE That's cool. JAKE about this woman. -LRB- showing glossy. -RRB- I'm trying to find her. Do you know her? FELICE -LRB- uptight. -RRB- Look, I do n't know anybody. I never seen her before. Jake, previously upset, is now angered. Nobody tells him anything, he gets nowhere. JAKE I'm getting angry. FELICE Wait a minute, that's going to cost you more than forty bucks. JAKE I'm getting angry. I want some answers. -LRB- stands. -RRB- Where's the guy who runs this place? He slides open the door and walks out. Felice pulls on her shift and follows him. JAKE Who is it? That blond guy? Where is he? I'm going to talk to someone. FELICE Wait? JAKE Where is he? Where's the bastard that runs this shit hole? The Manager, as if on request, steps to the top of the stairs. His huge frame fills the hallway. MANAGER What do you want? FELICE He's causing trouble. JAKE -LRB- contentious. -RRB- I got a picture here. I want you to tell me where to find this woman. I been asking everybody. Nobody knows anything. MANAGER Calm down, mister. You do n't want to get the cops in here do you? You got a family? JAKE -LRB- shows picture. -RRB- I do n't suppose you've ever seen this girl before either? Her name's Kristen, but I suppose you've never seen her? MANAGER Why do n't you just go outdoors, mister? Cool off. JAKE Cool off, huh? How's this for cooling off? He knocks a cheap print of a naked woman off the wall. The frame crashes to the floor. MANAGER Hold it, mister. JAKE What do you think of that? Or this? Jake knocks over a small table. The Manager has had enough. He grabs Jake's arm, wrenches it tight behind his back and rams Jake's face into the wall. He forces Jake down the stairway of love. Jake struggles and kicks, but is no match for the larger man. At the foot of the stairs, the Manager ejects Jake, thrusting him across the sidewalk. Jake rams face - first into a parked car. He staggers on the sidewalk. His mouth and nose bloody. He looks back. A black and white slows down. There's nothing to be done. He moves on.",
"INT. HOLIDAY INN ROOM - DAY Van Dorn, thinking, lies face up on the bed in his motel room. He wears slacks and a white undershirt. His face is bruised, his lip is swollen. An open First Aid Kit sits on the lamp stand. LATER. Jake slouches in a chair watching `` Day of Discovery,'' a Sunday evening religious program. The chorus of wholesome young people look like they've come from another planet. A soothing, innocuous hymn. In the distance church bells RING, as if signalling a call to action.",
"EXT. BEVERLY HILLS - DAY The next day. Jake, now wearing a print sport shirt under his navy jacket, strides down Camden. He has a plan. He checks an office building address and enters.",
"INT. OUTER OFFICE - DAY Jake stands as a SECRETARY says to him : SECRETARY Mr. Ramada can see you now. He thanks her and walks into Ramada's office.",
"INT. RAMADA'S OFFICE - DAY Bill Ramada stands to greet Jake as he enters. His office is expensively decorated in chrome and glass. A framed poster from the New York Film Festival hangs on one wall. Kurt sits on a plush white sofa. RAMADA Hello, Mr. Holcum. You look out of breath. What's the matter? The elevator broke? -LRB- to Kurt. -RRB- Is the elevator broke? Kurt shrugs. JAKE No. I walked up. Do n't ride elevators. RAMADA My secretary said you wanted to discuss a business proposition. JAKE Yes. -LRB- as Ramada sits. -RRB- I'm interested in financing an adult feature film. I was told you were the man to come to. RAMADA Film making can be pretty expensive. Jake has slipped into his business shoes. He's cool, confident. JAKE I've got fifty thousand dollars to invest. RAMADA Oh. -LRB- a beat. -RRB- Why is it that you want to get into film financing? JAKE Well, Bill - mind if I call you Bill? -LRB- as Ramada nods. -RRB- Let me be frank. I've made a lot of money. I've got my own business in Detroit. Rivets. I make rivets and sell them to Fisher Body. -LRB- a beat. -RRB- Well, rivets, you know, can get pretty boring after a while. When my business manager told me I should shelter some money, I thought I'd try this. RAMADA What exactly do you have in mind? JAKE I thought I'd invest in a film. I want to sort of become involved in the process of making a film, meet the people who make films, learn how it's done. RAMADA In other words, you want to get laid? JAKE Not exactly. RAMADA It's cool. Why do you think I got in the movies? How much poon do you think you get in the car wash business? -LRB- a beat. -RRB- Look, fifty thousand dollars buys a lot of pussy. You can get your joint pulled by beautiful girls every night for the rest of your life for fifty thousand dollars. So why fuck with the movie business? JAKE -LRB- smiles knowingly. -RRB- It's an investment. RAMADA If you want to watch when we shoot a film, for fifty bucks, I let guys stand around and watch. It's a lot cheaper. JAKE I thought you were a businessman. RAMADA Do n't get me wrong. A couple years ago, I woulda jumped at fifty thousand dollars possible financing. But the Lord's been good to me. I can now finance any films I choose. Big ones, small ones. Right now we're setting up a two hundred thousand dollar feature film. Live sound. I like to keep my own money in my films. That way you do n't have to share the profits. There's plenty of guys in town that'll take it, though. But if I was you, Mr. what was your name again? JAKE Jake. RAMADA I'd just start my own business. That's what I did. Get into kid porn. That's big now. Why do n't you come around the set? Meet some people. If you still want to invest, I'll ask around. JAKE Sounds all right. RAMADA Okay. Keep in touch with my secretary. Jake nods and turns to exit. RAMADA So long, Mr. Jake.",
"INT. L.A. FREE PRESS The next day, Van Dorn waits in line to place a `` Personals'' ad in the Los Angeles Free Press. He wears an open sport shirt, slacks and loafers. Bit by bit he's been going native. He realizes he is n't going to infiltrate the pornography underworld looking like a furniture dealer from Grand Rapids. Even so, Jake's conventional dress sets him apart from his fellow advertisers. The long line winds back and forth and represents just about every possible deviation from the American heterosexual norm : studs, butches, hookers, freaks, cultists : misfits all. The CAMERA studies the line : an attractive boy wears a studded collar, a low - rider sports his colors, a diminutive girl waits silently in her hari - krishna robe. The line inches forward. Behind Jake, one woman tells another about this great swinging party. Van Dorn takes some comfort in the fact that the MAN in front of him, dressed in a seersucker suit, looks pretty straight. The GIRL AT THE WINDOW takes his ad : MAN IN SEERSUCKER SUIT -LRB- reading ad. -RRB- ` W/M, 35, 140 fastest tongue in west, will demonstrate proficiency in all dialects to females under 50. Looks not imp.' That's all in caps, ` LOOKS NOT IMP.' ` George Harper. P.O. Box 102, Alhambra, Ca., 91801.' GIRL AT THE WINDOW That's ` dial - a' what? MAN IN SEERSUCKER SUIT Di - a - lects. D - I - A - L - E - C - T - S. Like talking. The Man in the Seersucker Suit pays his fee and Jake steps up to the window. JAKE I'd like to place a ` Personals' ad in the Free Press. GIRL AT THE WINDOW How many weeks? JAKE Just one. GIRL AT THE WINDOW The rate is a dollar per line, a dollar and a half bold face. Jake takes out a slip of paper and hands it to the Girl. JAKE I have it here. Can you take this down? The Girl takes the slip of paper and reads it back to him as she fills in the advertising form : GIRL AT THE WINDOW ` Film Producer' - that should be in caps, bold face. JAKE Okay. GIRL AT THE WINDOW ` Film Producer seeks young men, 18 to 25, for hardcore film. Prior film experience a must. Call Jake at Players Motel. 777 Vine. 463 - 5671. Jake nods.",
"EXT. DARK ROAD - NIGHT A small film crew sets up a shot. Ramada, Kurt, Van Dorn and others, standing by a trailer, watch from the b.g. Jake's floral rayon shirt is open to the third button. The script evidently calls for `` Dark Road - Night'' because that's where the gaffer is arranging lights around a parked red Mustang. A YOUNG ACTOR in a soldier's uniform waits in the car. Niki and another actress, dressed as a stewardess, stand on their marks near the front of the car. Ramada and Kurt walk over to talk to the YOUNG DIRECTOR. Niki, finished for the moment, walks back toward the trailer. Niki picks a heavy coat out of the trailer, and wrapping it around her, stands next to Jake. They watch as Ramada gives the Director some last minute advice. JAKE Are you the star of this picture? NIKI You kidding? Three days work. I finish tonight. JAKE The other girl is the star? NIKI She thinks so. -LRB- a beat. -RRB- What do you do? JAKE I work with Ramada. We're doing some pictures together. NIKI Well, next time you talk to him, tell him to pay his actresses more. DIRECTOR -LRB- calling. -RRB- All right, girls, Niki! To your places. NIKI -LRB- to Jake. -RRB- Nice meeting you. Niki throws off her coat and runs to the set. The Actor backs the Mustang out of CAMERA range. There is a pause, the Director calls : `` ACTION!'' and the Mustang drives to where the two stewardesses, stranded, are waving for help. The cameraman pans with the Mustang. The Soldier opens his door, looks at the girls' car and offers to help. Kurt steps over to Jake. The Soldier, looking at the stranded stewardesses, rubs his inner thigh. KURT -LRB- to Jake. -RRB- We'll come in for a closeup here. Niki unfastens the Soldier's belt and pulls down his zipper. The Soldier leans against the car as Niki sinks to her knees and opens his trousers.",
"EXT. PLAYERS MOTEL - NIGHT The Players Motel is a `` specialty motel.'' It offers `` X - rated movies, Closed Circuit Color TV, Water Beds.'' Rates are $ 10 a night, or $ 8 for two hours. Most clients prefer the two hour rate. Van Dorn pulls his rented Pontiac into the lot and parks in the first available space. Weary, he gets out of the car and heads for his room. He passes a colored whore with a towering synthetic wig. Further down the line of rooms, Wes De Jong sits slouched in the front seat of his rental car, watching, waiting. A prostitute wearing jeans and a shoulder bag, enters a lighted room with her trick, a construction worker. He unbuttons his shirt as she closes the curtains. Wes sits up when he sees his brother - in - law shuffle past the rooms, take out his key and open a door.",
"INT. PLAYERS MOTEL - NIGHT Jake, not bothering to fully shut the door, steps into the room, throws his key on the bed and plops down beside it. He's emotionally and physically exhausted. The decor is Vegas sleaze : tinted mirrors, red shag carpets, felt wallpaper, pseudo - Louis Seize chairs and a plexiglass chandelier. The large room has, at one end, a sitting area with a sofa and chairs, and at the other, a water bed covered with a black satin sheet. A large ceiling mirror is bolted above the bed. Jake, hearing a NOISE, looks up. Wes, wearing a suit and tie, steps tentatively in. He surveys the tawdry room. Jake just looks away. WES What's going on, Jake? Jake says nothing for the moment. WES -LRB- continuing. -RRB- Jake? JAKE How did you find me? WES I called every L.A. hotel. The Holiday Inn gave this as a referral number. Your office said you had no business in New York, so I figured you had come out here. -LRB- looks around. -RRB- What's happening, Jake? What are you doing? Nobody's heard from you. Anne's worried sick. We did n't know if you were dead or alive. Jake stands and steps over to Wes : JAKE Wes, do me a favor. WES What? JAKE Leave me alone. Go home. Go away. Wes starts to protest. JAKE -LRB- continuing. -RRB- Just do what I say. Do n't ask. WES -LRB- insistent. -RRB- What is going on? JAKE I think I've found a way to find Kristen. I have a plan. But I have to be alone. WES What plan? JAKE You do n't want to know. -LRB- a beat ; softer. -RRB- Now, Wes, leave, please. For me. WES What will I tell the others? They care about you. JAKE Tell them anything you want. Tell them I'm on a vacation, a business trip. Tell them I needed a rest. Tell them anything, just do n't tell them. Jake looks about the whorey room. His voice cracks a little. JAKE -LRB- continuing. -RRB-. just do n't tell them about this. -LRB- A beat. -RRB- Now go. Jake escorts his brother - in - law to the door. Wes turns and embraces him. Jake breaks the embrace and firmly pushes Wes out of the room. Jake closes and chains the door.",
"INT. PLAYERS MOTEL - DAY The next morning. Jake has rearranged the furniture so that the sofa directly faces the door. Van Dorn, wearing a blue tie - dyed shirt with a sunburst on the front, sits in the middle of the sofa. On either side of the sofa tall thin lamps stand on end tables. A telephone, legal pad and travel clock have been placed on the coffee table. Beside Jake rests Mast's sheaf of notes and pictures. Behind him hangs an iridescent poster featuring the sex signs of the zodiac. He waits. There is a knock at the door. JAKE Come in. A handsome STUD, about 22, wearing tight jeans, steps cautiously into the room. STUD #1 Jake? Mr. Holcum? Jake checks the appointment schedule on his legal pad : JAKE Pete? Come in. STUD #1 -LRB- enters. -RRB- Yeah. Peter Long. That's the name I use. JAKE We're casting male roles in an explicit sex action feature. The pay is $ 100 a day. There'll be up to two weeks work. You say you've had experience? STUD #1 I was in the Mitchell Brothers' film, ` Sodom and Gomorrah.' I do n't know if you saw that. I played Damon, the slave of the Queen of Gomorrah. Van Dorn's pretty good at this. He's given many job interviews before. The phone rings and he answers. JAKE Yes, this is Jake. -LRB- a beat. -RRB- We're casting right now. Have you had experience in hardcore films? -LRB- a beat. -RRB- I can fit you in from 4:00 - 4:15 today. -LRB- a beat. -RRB- At the Players Motel, 777 Vine, Room 106. -LRB- a beat. -RRB- We'll see you then. Van Dorn hangs up and looks through his sheaf of papers. Pulling back a page of notes, he reveals the unfolded 8x10 glossy from `` Slave of Love.'' He looks at the two young men violating his daughter, then back up at Peter Long. Long is neither of the men. JAKE -LRB- continuing. -RRB- All right, Pete. I have your exchange here. If we decide to use you, we'll give you a call. Long turns and exits. Jake checks his appointment schedule then puts his hand to his temples. He has become the thing he hates most : the procurer. Self - contempt fills his face. TIMECUT : The next interviewee stands in front of Van Dorn. He's a tall black man about 25. An ex - athlete. JAKE You're not exactly the type we're looking for. BLACK STUD -LRB- hostile. -RRB- You mean I'm black? JAKE No, just not the type. BLACK STUD What do you mean, not the type? Do n't you know who I am? I'm Big Dick Brown! I've been in more porno movies than you ever saw. I've worked with Harry Reems. I've worked with Johnny Wad. Not the type! I can come ten times a day. I can keep it hard two hours at a time. My cock is nine inches long. JAKE I'm sorry, Mr. Brown. I'm sure you're very good, but at the moment, I've got nothing for you. If something comes up, we'll give you a call. BLACK STUD Shit! You just do n't want to hire a nigger, that's all. I knew this was a scam. I should n'ta come. The Black Stud turns and storms out. TIMECUT : An angelic, muscular boy about 19 stands in front of Van Dorn. Jake looks weary. JAKE -LRB- tired. -RRB- I'm sorry, but you're just not the type we are looking for. We had something else in mind. STUD #2 Do n't you want to see my stuff, man? JAKE What stuff? STUD #2 -LRB- pointing to crotch. -RRB- You know, my stuff! Jake nods with resignation. The boy drops his jeans. Framed by firm, smooth, naked thighs, Van Dorn looks at the angelic boy's `` stuff.'' He nods. TIMECUT : It's the end of the day. The last orange rays of sun come through the window. Jake, weary, looks up. A young man steps in from the fading sunlight. The young man looks about 21. His sun - bleached hair falls just to his shoulders. A hippie who's hit the streets. Jake looks at his 8x10 glossy, then back at the young man. This is him. This is the young man in the pink bikini shorts. This is the YOUTH from Kristen's hardcore movie, the one who slapped her, the one who forced her face into his crotch. JISM JIM Hey man. JAKE We're casting for an explicit sex action feature. JISM JIM -LRB- initially hostile. -RRB- I know. Word's out on the street - word's also out you ai n't really hiring anyone. JAKE That's not true, Mr? JISM JIM Jim Sullivan. Sometimes they call me Jism Jim. JAKE That's not true, Jim. In fact, I think you're very close to the type we're looking for. Jim immediately becomes more compliant. JISM JIM Oh yeah? I've done a lot of good stuff. Shorts, features. No major roles it's true. But good stuff. JAKE That's what I wanted to talk to you about. Jake reaches over and picks up the glossy. JAKE I've seen you in some stuff. I like your looks. I particularly liked you in this film. Jake shows him the glossy. JISM JIM Oh yeah? I remember that. It was made by some college kids. JAKE It was called ` Slave of Love.' JISM JIM God, I do n't know what it was called. I never saw it. I only got twenty - five bucks for the whole Goddamned thing. JAKE I thought you were quite good in it. I also like the girl in it. Really thought she was good. -LRB- points out Kristen. -RRB- I wondered if she was still around. If she was still working. Jim examines Kristen's picture. His expression sours. JISM JIM Wait. -LRB- a beat. -RRB- Wait a minute. Look, I need the work and I want to be in your picture, but that is one bitch I will never work with again. Jim, nervous, paces around. He tries to explain. JISM JIM -LRB- continuing. -RRB- Look, that was one freaky bitch, one very, very freaky bitch. I do n't know what she was into, I do n't know what she was on, but I do n't want to have anything to do with her again. Jake's face grows cold and mean as he listens to Jim's description of his daughter's defilement. JISM JIM -LRB- cups genitals with right hand. -RRB- Do you know what she did to me? Do you know what she did to me, man? That fucking cunt! I could n't walk for a week. My prick was sore and red and chewed out. She was cra - zy. I do n't want to work with her again. All the while Jim speaks, Van Dorn's long arm reaches slowly for the lamp on his right. His right hand locks around the base of the lamp. Still listening, watching Jim intensely, Jake grips the balls of his feet into the carpet. Jake is beyond logic, beyond restraint. He rises, lamp in hand. The cord pops out of the wall ; the bulb flashes out. Reaching across the table, Van Dorn smashes the youth across the face. The plaster lamp shatters ; the shade flies off. Jim reels backward. Knocking over the coffee table, Van Dorn advances on the dazed, bleeding youth. Van Dorn pounds him again with the plaster stump of the lamp. Van Dorn stops. He looks down at Jism Jim. The youth is barely conscious. Realizing what he's done, Jake pulls Jim up by his collar and drags him into the bathroom. He hauls the youth into the large `` erotic'' shower. He pulls the shower douche off the wall, and sprays Jim's face. The battered youth opens his eyes. He's terrified. He's been in kinky scenes before. He pleads : JISM JIM Hey, stop, stop. I'll do anything you want. It's okay. I can dig it. You can do anything you want to me. JAKE -LRB- full of rage. -RRB- Where is she? Where is the girl? JISM JIM She's got a man. A white guy. Tod something or other. JAKE Where does he hang out? JISM JIM I do n't know. JAKE Where! JISM JIM Look, I know this chick Niki. She works at Les Girls. She would know. Honest. Van Dorn lets him go and starts to walk away. Looking back, he sees Jism Jim struggling to his feet. Jake spins around and punches him once more. Jism Jim tumbles back into his shower. Jake walks off rubbing his red knuckles.",
"EXT. PLAYERS MOTEL - NIGHT Jake throws his luggage into the trunk of his car and drives off.",
"EXT. LES GIRLS - NIGHT Les Girls, a garish sexual supermarket, covers several storefronts. Its fluorescent exterior stands open to drifters and browsers alike. Jake straightens his tie - dye shirt, and enters.",
"INT. LES GIRLS - NIGHT Inside Les Girls is a glow of yellow and orange plexiglass. The bright fluorescents bounce off the white linoleum. Jake passes an arcade of peep shows and turns the corner. On one side is a rotunda around which men stand in pay stalls watching a pair of naked female dancers. On the other side is a row of curtained `` phone booths.'' Jake walks up to a WOMAN with a coin changer around her waist. A lifer. JAKE I was told to meet a girl named Niki here. LES GIRLS WOMAN In one of the booths. Any of the first three. Jake starts over. LES GIRLS WOMAN -LRB- continuing. -RRB- It's five dollars for two minutes. JAKE Huh? LES GIRLS WOMAN Five dollars a token. Jake fishes in his pocket and pulls out a ten - dollar bill. He hands it to the woman. JAKE Here. I'll take two. The Les Girls Woman punches out two tokens. Jake cautiously pulls the curtain aside and steps into the first booth. The booth is divided by a floor - to - top glass partition. On Jake's side of the partition is a pay wall phone. On the other is an orange folding chair. The sign on the phone reads `` One token - two minutes.'' Jake puts a token in the phone. Niki, the girl from Ramada's set, naked, steps into the other half of the booth and plops down on the chair. NIKI Hello. Jake picks up the receiver in his half. JAKE Are you Niki? NIKI Sure. Like in Mikey and Niki. Did you see that picture? JAKE No. NIKI Too bad. I was n't in it. Jake's eyes flash downward for a moment. No longer shocked, he is saddened by the demeaning vulgarity of it all. NIKI -LRB- continuing. -RRB- It's your money. You talk. JAKE I'm making a film. Jim Sullivan's going to be in it. He said you might know where Tod is. NIKI Do I know you? Were n't you on the set the other night? With Ramada. JAKE Yeah. NIKI You making a feature? JAKE Um - hm. Live sound. NIKI Got any parts? I'm free. Not free - free, but, you know, free. I do n't really do this. Gestures vaguely. JAKE Jim and I have been trying to run down a girl. -LRB- takes out glossy. -RRB- Do you know her? He presses the picture against the stained glass partition. NIKI Joanne? JAKE You know her? NIKI No. I saw her with Tod. JAKE Do you know where she lives? NIKI Nah. JAKE Do you know where she would be? There is a CLICK and the phone goes dead. Niki says something but Jake can not hear her. She motions to the phone as she gets up to leave. Jake puts his second token in the phone and Niki sits back down. JAKE -LRB- continuing. -RRB- Where is she? NIKI Tod might know. JAKE Where's he? NIKI Last I heard he went to San Diego. JAKE If we went there, would you be able to find him? NIKI -LRB- eyeing him. -RRB- You're not a film producer, are you? JAKE How much do you make a week, Niki? Jake uses his manipulative voice, the one he might use when discussing a shade of blue in a convention display. NIKI -LRB- catching on. -RRB- Are you a private detective? JAKE Something like that. How much do you make? NIKI Here? What a joke. There was some detective asking about that girl. JAKE Three hundred? NIKI This is just temporary. I once made nine hundred in outcall. JAKE I'll give you $ 700 a week, cash, if you help me find this girl. NIKI Up front? JAKE Half now, half later. NIKI Make it nine hundred. That was my best week. JAKE Okay. My client pays for it anyway. NIKI When do we start? JAKE Tonight. When you get out, we'll go. -LRB- a beat. -RRB- Why did n't you tell the other detective? NIKI -LRB- shrugs. -RRB- This is different. This is nine hundred dollars.",
"EXT. VAN NUYS DELL - NIGHT Wes parks in front of a Van Nuys delicatessen and walks in.",
"INT. VAN NUYS DELI - NIGHT Wes walks into the well - lit deli and spots Andy Mast sitting alone with a glass and a bottle of beer. A cross section of California types are scattered around the room. A JUKEBOX plays country and western. WES Mr. Mast? My name's Wes DeJong. I'm Jake Van Dorn's brother - in - law. We met out here a couple months ago when he hired you. Your agency said you might be here. Mast motions for him to sit. MAST Ssh. I'm on a stakeout. WES -LRB- looks around. -RRB- Oh. Mast looks down at the beer bottle. MAST I'm staking out this beer bottle. Trying to find out if I'll finish it or it'll finish me. WES I'm worried about Jake. MAST I'm off that case. He fired me. WES He did n't look good at all. Something strange is going on. He's got himself into some trouble. He would n't say what. MAST -LRB- lights cigarette. -RRB- I'll tell you, that was an interesting case. The Van Dorn girl. I've handled runaway cases like it before. Usually when you put the pressure on the porn underworld for an underage kid, she pops up in about a week. Everybody denies ever seeing her, but there she is at the airport with a prepaid ticket home. Well, I put pressure on all over town for this girl and it stayed cold as ice. In fact, certain people for this girl and - nothing. -LRB- thinks. -RRB- I guess I gave your brother - in - law sort of a raw deal. Mast spots a long - haired youth walking toward the juke box and calls to him : MAST -LRB- continuing. -RRB- Hey, buddy, E - fifteen. The kid ignores him and makes his selection : a rock song. WES I want to rehire you. To find out what's happening to my brother - in - law. MAST I've been on another case. All day. -LRB- a beat. -RRB- I suppose I can move it over. Seven fifty a week, plus travel expenses. WES Do you really think Kristen is just a runaway? Mast thinks. A shadow crosses his face. MAST Maybe. Maybe not. WES I also want you to protect my brother - in - law. MAST Huh? WES You have to understand. He can be mean, self - righteous. He had a Vishund once. Loved that dog. He came home one day and the dog bit him. He took that dog and staked him out in the back yard. It was winter. Every day he came home and watched that dog until he froze. He's capable of doing anything. MAST To his own daughter? WES To anybody.",
"EXT. HIGHWAY - NIGHT Van Dorn's car speeds through the California night. The Pacific, moon - lit, stretches like a sinister plain.",
"EXT. SAN DIEGO MOTEL - NIGHT Jake pulls into a freeway exit motel and parks at the office.",
"INT. JAKE'S MOTEL ROOM - NIGHT Jake's suitcase lies open on the luggage rack. He pulls off his tie - dyed shirt, folds it up neatly, and places it in the suitcase. He sits on the edge of the bed and undoes his shoestrings. He removes each shoe as if it were an individual effort. There's a KNOCK. Jake looks through the blinds, unhooks the chain and opens the door. Niki, tugging up her jeans, scuffles in. NIKI You actually paid for both these rooms? I thought you were just going to get a receipt for two, and kickback the desk man. Jake, awkward, puts a shirt on. NIKI -LRB- continuing. -RRB- I thought you were going to bed? JAKE I am. Niki is street - wise. She can instantly interpret situations which would stymie the average person ; but, as if to balance this perceptivity, she is often stymied by the ordinary. In brief : she assumes Jake is paying her $ 900 a week not only to help him but also to be his personal playmate. NIKI Do you have any pills? Any Valium, Librium? You know, pimps will sell Valium at fifty cents a piece. Can you believe that? Niki sits on his bed, her legs folded under her. NIKI -LRB- continuing. -RRB- You know Valiums pick me right up? Take four or five and I'm wide awake. Is n't that strange? Know what puts me to sleep? Coke. I think I'm really fucked up. Niki removes her sweater and starts to pull off her Rorer T - shirt. Jake motions for her to stop. JAKE No. NIKI Huh? JAKE Niki. Calm down. Relax. Let's just talk for a while. Then, later, you'll go back to your room and we'll get some sleep. He sits on the bed beside her. NIKI You have anything to drink? You want to go out and get something? JAKE I do n't drink, but you can go out. NIKI You do n't drink? JAKE -LRB- points to stomach. -RRB- Ulcers. Niki studies him for a moment, then says : NIKI You're not a private detective either, are you? JAKE No. NIKI I did n't think so. I've fucked detectives. Who are you? JAKE A friend. NIKI Of Joanne's? JAKE Yeah. -LRB- looks away. -RRB- I'm her father. NIKI -LRB- more disappointment than shock. -RRB- Jesus. JAKE Her name is Kristen. She disappeared a couple of months ago. NIKI And your wife? Where's she? JAKE She's dead. NIKI Hey, do n't worry about it. Your daughter's around. We'll find her in a couple days.",
"EXT. SAN DIEGO - DOWNTOWN - DAY Jake's car drives through San Diego's `` downtown,'' four square blocks of adult bookstores, peep show and flop houses south of San Diego's center. Uniformed soldiers from Camp Pendleton and the Miramar Naval Station occasionally cross the wide streets. The Singapore Club, Lux Adult Movies, the Princess Rap Parlor, Curious Books Shop, Sexciting Movies.",
"EXT. THE OKINAWA BAR - DAY Jake and Niki walk toward the Okinawa, a hangout for working girls, players and street people. Niki, tugging up her jeans, walks next to Jake. She wears her Rorer T - shirt ; Jake a blue dress shirt. NIKI -LRB- putting her arm on Jake. -RRB- Jim Rucker runs this place. He knows where everybody is. It's a nice place. Hires a lot of girls, but they do n't pay shit.",
"INT. OKINAWA BAR - DAY Jake holds the door open for Niki as they enter. The Okinawa is a credit to its namesake. A BLACK PLAYER, sitting at the bar, stares absently at two girls playing pool. Niki, in her element, steps up to the bar. NIKI -LRB- to Counter Girl. -RRB- Is Rucker here? BAR MAID He'll be back in a couple hours. NIKI Tell him Louise was here. I'll come back later. They turn to exit.",
"EXT. SAN DIEGO BEACH - DAY Jake and Niki sit at a ramshackle picnic table at a park overlooking the ocean. Several children play in the distance. Niki finishes her Big Mac, crumbles the bag and throws it away. She unwraps a Milky Way and she finishes her fries. Jake watches with astonishment as she chomps her way through a second candy bar. JAKE You really should n't eat like that. All that sugar. It's not good for you. NIKI At least I'm a growing person. JAKE You wo n't keep growing at this rate. NIKI What rate? JAKE You know what I'm talking about. NIKI -LRB- snotty. -RRB- You never met a working girl before, have you? You think I like sucking off guys all night? Maybe I do. So what? -LRB- a beat. -RRB- You ca n't even say it, can you? JAKE Say what? NIKI ` Sucking off.' JAKE Okay. Sucking off. Now does that make me as good as you? NIKI You do n't understand shit. JAKE Okay, tell me. Why do you live like you do? NIKI Did you ever live in a room with six people and you did n't have any money, any food, any furniture? Have your brother come out, his car break down, he ca n't get a job? Your friends stealing food, going through trash behind a supermarket? JAKE -LRB- sympathetic. -RRB- Is that the way it was with you? NIKI No. But does it make any difference? -LRB- a beat. -RRB- How did you get to be the way you are? Jake does n't answer. NIKI -LRB- continuing. -RRB- Do n't knock it. A girl can save up a lot money doing this - big money. Then you're free. You can go off to Europe, meet somebody, get married. My girlfriend's going to buy her own beauty parlor. Not me. I'm gon na travel. ` Keep movin' that's my motto. -LRB- a beat. -RRB- Would you rather work at Copper Penny at a dollar - eighty an hour, having every two - bit cocksucker able to yell at you? I can make more money suc. doing what I do for five minutes than I can all week at another job. JAKE You used to work at Copper Penny? NIKI No. JAKE -LRB- pause. -RRB- You and I, Niki, have very different ideas about sex. NIKI Why? Are you a sex fiend? JAKE -LRB- smiles. -RRB- No. NIKI Neither am I. JAKE But it's all you do. NIKI How important do you think sex is? JAKE Not very. NIKI We're just alike. You think sex is so unimportant you do n't do it. I think sex is so unimportant I do n't care who I do it with. Jake thinks. That sounds right. But it ca n't be right. He looks away, then back at her. JAKE You can never understand a person like me. I am a mystery to you. A middle class person, a Mid - westerner. A man who does n't pursue women. A man who believes in social order. A man who goes to church, believes in God, and a man who, at the end of his life, believes he will be redeemed. -LRB- a beat. -RRB- This is all unfathomable to you. Fifty years ago, in art, the prostitute sought to justify her life to the bourgeoisie. Now it is the bourgeoisie who must justify himself to the whore. JAKE -LRB- continuing. -RRB- I do n't see why I must justify myself to you. I do n't care about the things you do. I do n't care what's happening in New York or Los Angeles. I do n't care about movies or TV. I do n't care who's on Johnny Carson. NIKI -LRB- incredulous. -RRB- What do you care about? JAKE -LRB- cold. -RRB- I care about my daughter.",
"INT. OKINAWA BAR - DAY Niki and Jake stand at the counter talking with JIM RUCKER, an entrepreneurial type about 40. NIKI You remember me. Louise? Rhymes with squeeze. RUCKER -LRB- looks, then nods. -RRB- You working in San Diego now? NIKI I'm still in L.A., but I'm looking for Tod. I heard he was around. RUCKER ` Was.' He and that shitheel Ratan went down to T - J. Maybe I should n't say that. Anyway, I hear he's back in Frisco now. NIKI Was he with a girl? RUCKER No. NIKI Thanks. Niki starts to leave. RUCKER Keep in touch, baby. Got some good stuff comin' up. Need you back, baby. -LRB- as they exit. -RRB- And take good care of your friend for me. Jake turns back as Niki gives him a tug.",
"EXT. OKINAWA BAR - DAY They walk toward the car. JAKE What's T - J? NIKI Tijuana. JAKE They were here? NIKI Tod was. -LRB- her voice chills. -RRB- He was with Ratan. JAKE What does that mean? -LRB- no answer. -RRB- What does he do? NIKI He deals in pain. JAKE Is Kristen safe? She does n't answer. JAKE -LRB- continuing. -RRB- Let's get a plane for San Francisco.",
"INT. L.A. POLICE MISSING PERSONS - DAY DETECTIVE BURROWS walks back into his office. Mast, sitting on the edge of the desk, is waiting for him. BURROWS Apparently your friend has gone into Mexico. A Border Guard responded to the APB. How does it feel to have the L.A.P.D. doing your work for you? MAST You're going to thank me for this. You know what the media's like. They love this kinda shit. If that guy goes off half - cocked and gets himself hurt, you're going to have so much bad publicity, you. BURROWS -LRB- interrupting. -RRB- I heard you the first time. We had nothing to go on with this kid. Just a runaway. -LRB- a beat. -RRB- Do you really think he's in danger? MAST If he has anything to say about it, yeah. I've been asking a lot of questions and I do n't like the answers I'm getting. He's made a lot of people nervous, including some poor faggot who thought he was going to be a movie star. BURROWS We are n't gon na arrest him for that. MAST -LRB- interrupting. -RRB- Big threat. TV would ream you. BURROWS Keep me informed of what he's up to. You help me, I'll help you. Mast nods. BURROWS -LRB- continuing. -RRB- Why do n't people stay where they belong?",
"INT. SAN DIEGO AIRPORT - DAY Jake and Niki sit in a line of multi - colored plexi - glass chairs in the Western Terminal of the airport. Niki munches a pack of Chuckles while Jake, his elbows on his knees, looks at the floor. Niki prattles on. NIKI You know what your problem is? You're a very negative person. You think negatively. Jake tries to ignore her. NIKI -LRB- continuing. -RRB- You have to believe in something. What do they believe in - the Whatjamacillit church? JAKE Christian Reformed. It's a Dutch Calvinist denomination. NIKI Do they believe in reincarnation? I believe in reincarnation. JAKE They believe in the ` TULIP.' NIKI What the crap? JAKE -LRB- smiles. -RRB- It's an anagram. It comes from the Canons of Dort. Every letter stands for a different belief. T - U - L - I - P. Like - are you sure you're interested in this? NIKI Yeah, yeah, go on. JAKE T stands for Total depravity, that is, all men, through original sin, are totally evil and incapable of good. ` All my works are like filthy rags in the sight of the Lord.' NIKI Shit. Jake is charmed. He's never been called upon to explain his beliefs to someone so totally ignorant of them. JAKE Be that as it may. U is for Unconditional Election. God has chosen a certain number of people to be saved, The Elect, and He has chosen them from the beginning of time. L is for Limited Atonement. Only a limited number will be atoned, will go to Heaven. NIKI Fuck. JAKE I can stop if you want. NIKI No, please go on. The INTERCOM ANNOUNCES a flight : Jake listens for a moment. It's a flight to Mexico City. JAKE I is for Irresistible Grace. God's grace can not be resisted or denied. And P is for the Perseverance of the Saints. Once you are in Grace you can not fall from the number of the elect. And that's the ` TULIP.' NIKI Wait, wait. I'm trying to figure this out. This is like Rona Barrett. Before you become saved, God already knows who you are? JAKE He has to. That's Predestination. If God is omniscient, if He knows everything - and He would n't be God if He did n't - then He must have known, even before the creation of the world, the names of those who would be saved. NIKI So it's already worked out. The fix is in? JAKE More or less. NIKI Wow. Then why be good? Either you're saved or you ai n't. JAKE Out of gratitude for being chosen. That's where Grace comes in. God first chooses you, then allows you, by Grace, to choose Him of your own free will. NIKI -LRB- amazed. -RRB- You really believe all that? JAKE Yeah. -LRB- shrugs. -RRB- Well, mostly. NIKI I thought I was fucked up. JAKE I'll admit it's confusing from the outside. You've got to see it from the inside. NIKI If you see anything from the inside it makes sense. You ought to hear perverts talk. A guy once almost had me convinced to let his dachshund fuck me. JAKE It's not quite the same thing. NIKI It does n't make any sense to me. The INTERCOM ANNOUNCES Western Flight # 601 to San Francisco. They rise.",
"EXT. TRAVEL LODGE - DAY Jake's rental car pulls into a San Francisco Travel Lodge.",
"EXT. NORTH BEACH - AFTERNOON Niki places a call from a phone booth. Jake watches the passing denizens of North Beach. The familiar sordid tableau is played out before his eyes : massage parlors, peep shows, strip joints, sex shops. NIKI -LRB- hangs up phone. -RRB- Tod'll meet you at the bookstore at Eddy and O'Farrell tomorrow noon. I told him you were a ` specialty' customer. JAKE Why ca n't I meet him now? Niki, cocky, walks next to Jake. She is in her element. She calls out to a pimp : NIKI I hope your prick falls off. Jake, surprised, turns away from the pimp's cold stare. JAKE Why ca n't I meet him now? Niki brazenly calls out to a strutting hooker : NIKI Rot in hell, honey. -LRB- to Jake. -RRB- He's busy now. JAKE Where does he live. NIKI Just a second. It's my ass I'm risking. You better do it my way. These fuckers do n't mess around. Niki walks off. Jake follows.",
"EXT. TRAVEL LODGE - DUSK Jake's rental car is parked outside his motel room.",
"INT. JAKE'S ROOM - NIGHT Jake sits on the edge of his bed, studying the crease in his trousers. His shirt is partiallly open. Niki, swigging a Coke sits squatted atop the built in desk. JAKE I must have been in more motel rooms this week than in the rest of my life. At least it feels that way. NIKI I know what you mean. After a while they all look the same. JAKE They are the same. NIKI Do you live in a house back in wherever. JAKE Grand Rapids? Of course. NIKI On your own land? Jake nods. NIKI -LRB- continuing. -RRB- Just you and your daughter? Jake nods. NIKI -LRB- continuing. -RRB- Look, I really do n't know your daughter but. JAKE But what? NIKI I would n't expect too much. I mean about her coming back. Once a girl gets into the life. JAKE What makes you so sure? NIKI -LRB- changing the subject. -RRB- You wife is n't dead is she? Van Dorn surprised, turns around. JAKE Why do you say that? NIKI Just a guess. She ai n't dead though is she? Jake shakes his head `` no.'' NIKI -LRB- continuing. -RRB- She left you right? JAKE Yeah. -LRB- a beat. -RRB- She was the one called Joanne. How'd you find that out? NIKI Just a guess. Did you have it good with your wife? You know, sex. Jake resents Niki's forwardness : what business of hers is this? JAKE I do n't blame you, Niki. Really I do n't. It's this culture, where everything's based on sex, sold on sex. -LRB- starts to get angry. -RRB-. magazines, music, TV. It's destroying everything. Buy this'cause of sex, use this'cause of sex. Kids think it's normal. They think they're supposed to talk dirty, wear scanty clothes. NIKI -LRB- interrupting. -RRB- Do n't get upset. I lied too. I do n't make no five hundred dollars a week. Everything I make goes to Granville. JAKE Granville? NIKI My man. ` Pimp.' I split'cause he do n't treat me for shit. Thinks he's so cool'cause he's black. I once tried to take my clothes but he says, ` You ca n't take'em'cause they're my clothes - I bought'em.' Yeah, with my fucking money. Jake does n't want to get involved with Niki's problems : JAKE Look, Niki, this really is n't my business. I do n't know anything about. NIKI So I guess we're both fucked, huh? But at least you get to go to heaven. I do n't get shit. The DOORBELL RINGS. Jake, suspicious, walks over to the window and peeks out. Seeing someone he recognizes, he opens the door. Andy Mast, woebegone and wrinkled as usual, stands at the door. MAST -LRB- looking at Niki knowingly. -RRB- This is just how you found me once. Jake slips outside.",
"EXT. TRAVEL LODGE - DUSK JAKE What are you doing here? MAST I felt like such a shit, pilgrim, after what I did to you - not that I did anything wrong - that I kept investigating, poking around. There's some poor s.o.b. in L.A. with his face all bent out of shape who you've damaged his movie career. Lucky for him, people do n't look at his face. JAKE Do the police want to arrest me? MAST Nah. They do n't care about some faggot hustler. They're more interested in your daughter's health - and yours. Like I am. JAKE -LRB- disbelieving. -RRB- Yeah, sure. MAST Listen, pilgrim, you're way out on a limb here. You do n't know what you're into. JAKE You sure as hell have n't been any help. MAST I'm sorry about that. Have you found anything out? You've got to tell me. JAKE Why do n't you tell me something for a change? MAST Like what? JAKE Who is Ratan? Mast pales. MAST Where'd you hear that name? JAKE I just heard. Who is he? Mast walks toward the swimming pool. Mast looks at the still, blue surface of the pool. Jake steps beside him. A tourist passes by with his two sons. Mast thinks, then speaks : MAST You know, it's possible to buy anything on this earth. You can buy child whores, slaves. You can have people raped, killed. -LRB- a beat. -RRB- One of the men who supposedly arranges such things is named Ratan. He usually is n't in this country. -LRB- a beat. -RRB- How'd you hear about him? JAKE It's just a name. MAST Do n't do anything more. I'll find out what I can. JAKE -LRB- nodding toward motel. -RRB- Does she know anything about this? MAST Who? The whore? No. She's just a victim. A dime a dozen.",
"INT. JAKE'S ROOM - NIGHT Jake sleeps in his Travel Lodge bed. A jagged shard of blue light plays across his face.",
"EXT. EDDY AND O'FARRELL STREETS - DAY Jake stands at the corner, then turns and enters the porn bookstore.",
"INT. PANDORA'S BOOKS - DAY Jake looks around. Seeing no one he recognizes, he pays his admission fee walks down a rack, picks up a copy of `` Hot Twat,'' pages through it. It's been over a week since Jake first stepped into a porno bookstore. The change in his manner is striking. He now seems at ease in the endless night - world of pandering and pornography. A few moments later, a long - haired man steps up behind him. The young man is wearing red alligator boots and a silver and turquoise belt - like the man in `` Slave of Love.'' Tod scrutinizes Jake a moment before speaking. TOD -LRB- under his breath. -RRB- Hey, Jake. Jake turns. Tod gives him some skin. Tod seems unattractive at first, but the longer one looks at him, the more oddly sensual he appears. TOD -LRB- continuing. -RRB- I hear you got money to spend. -LRB- as Jake nods. -RRB- I hear you're interested in. interesting things. JAKE Yeah. TOD Do you work for the San Francisco Police Department, or do you have any other affiliation with any law enforcement agency? JAKE No. TOD What you got in mind? JAKE I want to meet Ratan. TOD -LRB- backs off. -RRB- What is that? A kind of chair? I never heard of no Ratan. JAKE -LRB- studying Tod. -RRB- I was told that there were certain things that only Ratan could provide. TOD You're talking about real excitement? JAKE Yeah. I heard you and Ratan just came from Mexico. And that you had a film of a girl being, ah you know. TOD Who told you about this? JAKE Rucker. TOD I do n't know no Ratan, but I may be able to help you out. It's not me, of course. Just helping out a friend. It'll cost you five hundred bucks for a single screening. JAKE Is this with a girl named Kristen? TOD -LRB- nods. -RRB- Um - hm. You got the five hundred? JAKE Well. TOD Take it or leave it. JAKE Okay. TOD Meet me here today at seven o'clock. With the money. Then we'll go see the film. JAKE Good. Tod puts his hand on Jake's shoulder and smiles. TOD You ai n't gon na ever have no thrill like this.",
"INT. TRAVEL LODGE - DUSK Niki sits on a bed watching a syndicated sitcom and munching a Taco Bell enchilada. She hears a CAR pull up and a man's FOOTSTEPS walks to the door. She cautiously gets up to see who it is.",
"EXT. EDDY AND O'FARRELL STREETS - DUSK Jake walks out of Pandora's Books behind Tod. They turn the corner and walk out of sight.",
"EXT. JONES STREET - DUSK Jake and Tod enter the `` Hot Pink'' massage parlor. A sign on the front door reads : `` Sex/Intercourse/Here.''",
"INT. HOT PINK - NIGHT Tod leads Jake past two girls into the back of the parlor. Tod smiles to one of the parlor girls and touches the other.",
"INT. MASSAGE PARLOR - NIGHT Tod ushers Jake into a barren `` office'' in the rear of the parlor. A sheet has been tacked up at one end of the office. Across the room, the projectionist, a boy about 15, stands next to a battered old 16mm silent projector. Two other men sit in the darkened room. One looks middle - aged and decadent ; the other, about 26, wears jeans, a western shirt, and a beat up flight jacket. He's saved up several years for this. Jake sits in an empty office chair next to the other men. Tod nods to the boy and he starts up the projector. A grainy black and white image appears on the screen. The projectionist punches a cheap cassette player which echoes scratchy Mexican fiesta music through the room. It's clear why the projectionist has chosen a Latin sound track : the film is set up in a Tijuana flophouse. On screen, a girl with long blonde hair and Kristen's build sits on the edge of a barren double bed. She wears jeans and a shirt. Her face is covered by a black leather mask. The eye slits are taped shut. A Cerveza poster of a half - naked Mexican girl hangs on the wall behind her. A young Mexican, stripped to the waist, walks over to the girl. Taking instructions from someone off camera, he starts to undress her. The girl, unable to see her seducer, nevertheless submits to his desires. Jake watches the screen from the shadows. The pale images flicker across a metal filing cabinet behind him. Tod slips out of the room. On screen, the young Mexican has finished the girl. He turns to the director for further instructions. A man wearing a white suit walks into the frame. He flashes a stiletto from his sleeve and stabs the young Mexican. The girl, not able to see what is happening, turns her head quizzically. Jake watches in unbelieving horror. The young man in the flight jacket is calm and dispassionate. The young Mexican falls to the floor bleeding. The man in the white suit bends down and wipes the stiletto on the Mexican's pant leg. The man in the white suit steps over to the girl and puts one hand under her mask. He lifts his stiletto again. He rips off the mask from the girl's face ; it is not Kristen. Jake is relieved. The faces of the others are full of anticipation. Jake's relief turns to horror at what he now sees. Blurred images reflect against the metal cabinet behind him.",
"INT. TRAVEL LODGE - NIGHT Mast, waiting for Jake, talks to Niki. The TV still plays in the background. MAST You know Granville's looking for you, Niki? NIKI My name ai n't Niki. It's Pattica, like in Attica. MAST Granville's looking for you anyway. NIKI -LRB- arrogant. -RRB- Who's that? MAST The guy who bought you that ring. NIKI Well, he can just fuck himself. She pulls off her ring and starts to hand it to Mast. MAST Keep it, honey. You're gon na need it. I know that boy. He can make life real tough for a working girl. He'll string you out again. Gestures to his veins. NIKI You can fuck off, too. MAST You're taking a big chance. NIKI I ai n't ever gon na see him again anyway. MAST Oh no? What you gon na do? Get a job? Niki, sullen, looks away. Then, defensive, she says what she's been thinking. NIKI Jake'll take care of me. MAST Who? Van Dorn? You must be kidding yourself, honey. You think once that guy finds his daughter he'll care about you? Niki looks away again. A car pulls in front of the motel room. They both turn toward the door. Jake, weary and angry, walks in out of the night. Ignoring Mast, he takes Niki by the arm and leads her out of earshot. JAKE Niki. When Mast moves to overhear them, Jake turns and edges him toward the door. MAST What happened, pilgrim? JAKE -LRB- forceful. -RRB- Just leave me alone. MAST But I'm here to help you. Jake ushers Mast out the door and chains it. Mast waits outside as Jake returns to Niki. NIKI Did you find out where she was? JAKE Tod gave me the slip. I have to find him again. Where does he live? NIKI -LRB- sensing something is wrong. -RRB- What happened? JAKE -LRB- cold. -RRB- Where is he? NIKI I ca n't tell you that. Taking Niki gently by the shoulder, Jake sits her on the edge of the bed. He speaks in a calm, forceful, parental tone : JAKE Listen, Niki. My daughter's been missing five months. I've gone through a lot to find out what's happened to her. I just saw a girl killed. I will not let Tod slip out of my hands. You have to tell me where he is. NIKI But then you'll forget about me. JAKE -LRB- insistent. -RRB- Where is he, Niki? Jake starts to raise his hand. NIKI -LRB- relents. -RRB- Try a place called the House of Bondage. It's a plain black storefront next to Jane's. There are some apartments in back. Jake stands up and, taking Niki's head in his hands, kisses her on the forehead. JAKE I wo n't forget you. Jake turns and exits.",
"EXT. TRAVEL LODGE - NIGHT Jake passes Mast and heads for his car. Mast restrains him. MAST What are you doing, pilgrim? Where are you going? Jake tries to push his way past Mast. MAST -LRB- continuing. -RRB- Let me take care of this. I do n't want you to get hurt. Jake pushes Mast aside. Mast continues to talk as Jake opens his car door and gets in. MAST -LRB- continuing. -RRB- Do n't do anything until the police get there. Do n't hurt that girl. Jake turns his car and takes off. Mast hurries back into the motel room.",
"INT. TRAVEL LODGE - NIGHT Mast heads immediately for the phone, talking to Niki as he goes : MAST You've got to tell me where he's going. Mast sits down and dials. MAST -LRB- continuing. -RRB- Hello, police? My name's Mast. Get me Joe Klein in Vice. Mast turns to Niki : MAST -LRB- continuing ; tough. -RRB- You do n't know that man. He'll hurt his own fucking daughter. I've got to stop him. -LRB- a beat. -RRB- You know about Ratan, do n't you? Niki looks on in fear and confusion.",
"EXT. EDDY STREET - NIGHT Van Dorn walks down the garish neon strip past `` Jane's Pleasure House'' to an unmarked black storefront. The door is open. A light shines on a sign reading : `` 387 OPEN.'' He walks in.",
"INT. HOUSE OF BONDAGE - NIGHT As Jake steps through the barred black door, he is hit with a wave of familiar smells : Human sweat, blood and sexual fluids. The House of Bondage specializes in the three `` disciplines :'' bondage, dominance and humiliation. It has four domination rooms, each decorated in a different decor - Babylonian, Medieval, Louis Quatorze, prison motifs - to satisfy a variety of tastes. Two dominants, dressed in black satin pants and shirts, sit on the sofa. HOPE, wearing a black silver - studded collar, walks over to Jake. Her voice is hard : HOPE Hello. You want some information? JAKE Yeah. HOPE We offer. JAKE Yeah, yeah. HOPE the disciplines : bondage, domination and humiliation. JAKE I'm looking for Tod. Is he in? HOPE I do n't know no Tod. JAKE What girls you got here? HOPE My name is Hope. This is Faith. -LRB- gestures to girl on sofa. -RRB- Charity's in back. JAKE That's all you got, three girls? HOPE Man, how many girls do you need? JAKE I was told there was a real nice girl here named Joanne. Quite young. HOPE That's Charity. She's out back. She'll be free in half hour. Jake pushes her aside. The girls watch with surprise as Jake marches through the curtain toward the rear of the parlor.",
"INT. HOUSE OF BONDAGE - REAR - NIGHT Jake steps down the corridor. A customer emerges from a room and passes him. He slides open one door : the Medieval Dungeon is empty. He continues on. He passes the Louis Quatorze Room. It, too, is empty. Hope calls from behind Jake : HOPE -LRB- O.S. -RRB- Tod! Tod steps into the corridor in front of Jake. Tod squints to recognize the intruder. TOD -LRB- suspicious. -RRB- What do you want? -LRB- scrutinizes him. -RRB- Do I know you from somewhere? JAKE I want to know where my daughter is. Her name is Kristen, or Joanne. She's with you. TOD I do n't know what you're talking about. He starts to leave. JAKE The police know about Ratan. They know he's here with you. They know everything. Tod is taken aback, but tries not to show it. TOD Oh, yeah? Goody for them. Tod starts past Jake, but Jake stretches out his hand. TOD -LRB- continuing. -RRB- Get the fuck out of here. Tod tries to push past Van Dorn but Jake grabs his arms and tries to twist them. Tod breaks free and Jake smacks him across his forehead with his open hand. TOD -LRB- continuing. -RRB- You wait here. I'll find out where she is. JAKE You ai n't goin' nowhere alone. Jake is beyond reasoning. Tod looks around for an alternate route of escape. Tod ducks into the Prison Room. Jake follows. Vertical bars cover the grey walls. Handcuffs and chains hang from the bars. In the center of the room, a Harley Davidson `` Hog'' is incongruously mounted, its front wheel pointed skyward. Leather straps are attached to the handlebars. Tod skirts the Harley and pushes it toward Jake as he enters. The huge 1200 - pound machine crashes toward Van Dorn. Jake jumps back as the bike bounces in front of him, then starts for Tod. Lowering his shoulder, Tod smashes through the thin pasteboard wall. Jake, steeping over the motorcycle, pursues. In the Louis Quatorze Room, Jake grabs Tod by the shoulders and spins him around. Tod swings as he turns, hitting Jake. Jake grabs Tod's legs as he falls. They both crash through the next pasteboard wall into the Medieval Dungeon. Tod breaks free, runs through the dungeon and bursts through the last pasteboard wall. Jake pulls himself to his feet and follows. JAKE Where is she? Hope and Faith, standing against the wall, watch as Tod and Jake burst through the wall and dash out the front door.",
"EXT. O'FARRELL - NIGHT Jake chases Tod out of the House of Bondage. Van Dorn pushes one girl, knocks over another and catches up with Tod at the corner. He tackles Tod around the waist, rams him into a building and turns him around. JAKE Where's Ratan? TOD Who? Jake grabs the young man by his hair and pulls him down the street. Tod yelps. JAKE Ratan! Passing a parking meter, Jake smashes Tod's head into it. Tod's forehead cracks into the glass. Tod, bleeding, protests : TOD That film was a fake! Everything's phony. JAKE Ratan! When Tod does n't immediately answer, Jake rams his skull into the next parking meter. Tod, bleeding, dazed, struggles to stay on his feet. Jake pulls him forward. JAKE -LRB- continuing. -RRB- I know he's here! Gripping his hair more tightly, Van Dorn drags him to the next parking meter and smashes his head into it. JAKE -LRB- continuing. -RRB- Ratan! Curious bystanders watch Jake smash the youth's bleeding head into the next parking meter. TOD -LRB- terrified. -RRB- Who the fuck knows? The Four Aces. He goes there. JAKE Let's go. Van Dorn pulls Tod down the sidewalk toward the Four Aces.",
"INT. FOUR ACES - NIGHT Van Dorn pulls the bleeding Tod into the Four Aces, a low - life strip club. A dozen solo patrons are scattered around the dimly lit bar. On stage, a couple performs a routine sex simulation act to a scratchy Barry White record.",
"EXT. HOUSE OF BONDAGE - NIGHT Two police cars, dome lights flashing, pull up in front of the House of Bondage. Mast's car pulls up behind them.",
"INT. FOUR ACES - NIGHT A man wearing a white suit sits at a table with several girls. He immediately recognizes Tod. This is RATAN. The man who killed the young Mexican and girl in the film. Ratan starts to rise. Jake drops Tod and heads toward Ratan. A girl wearing a skimpy halter stands up between Ratan and Jake. She turns and looks back at Jake : it is Kristen. She is terrified. Kristen turns and runs away, stumbling over a chair. Ratan rushes toward the front door. In the same instant Jake sees Kristen falling, Ratan fleeing. Trying to get around Jake, Ratan flashes his stiletto forward. A gash razors across Jake's upper chest. Ratan's stiletto flashes forward : Jake's arm is cut. Jake clasps Ratan and thrusts him backward.",
"EXT. FOUR ACES - NIGHT The street fills with SIRENS, flashing light and police. Mast rushes toward The Four Aces. Niki follows.",
"INT. FOUR ACES - NIGHT Jake rams Ratan backward into the smoke - colored front window. Ratan's back smashes through the plate glass. Ratan's feet lift off the floor as he falls backward. Sinking backward against the broken glass, Ratan swings his stiletto at Jake. Jake, protecting himself from the knife, flips Ratan over. Ratan's chest and stomach rasp across the jagged glass. Jake grabs Ratan's head in both his hands and forces it downward onto the bottom edge of the jagged window frame. He rubs Ratan's neck across the glass : every artery, vein and capillary rip out of Ratan's neck. Ratan collapses against the window frame. TWO OFFICERS, guns drawn, rush toward Ratan's body. The Second Officer pulls out his handcuffs, then realizes it will not be needed. Jake turns and heads toward where he last saw Kristen. The First Officer aims his gun at Jake and calls out : FIRST OFFICER Halt! Mast and plainclothes officer -LRB- Joe Klein -RRB-, rush over and instruct the Officers to ease off. Jake walks across the now empty bar. Several tables are overturned. Jake walks to the table where Kristen tripped. Following her logical path, Jake walks into the women's rest room.",
"INT. REST ROOM - NIGHT Kristen squeezes herself against the yellow rest room wall. Trembling, she holds her twisted ankle and looks at her father in fear. Jake takes off his torn coat and drapes it over his daughter's shoulders. She tries not to look at him. KRISTEN Do n't hurt me. JAKE Come on, Kristen. Let's go home. He helps her up.",
"EXT. O'FARRELL - NIGHT Flashing red and yellow lights illuminate the chaos : - Curious mobs press against police lines. - Ambulance attendants lift Ratan's body onto a stretcher. - The two officers handcuff a bloodied and confused Tod. - Police officers interview Hope, Faith and other by - standers. Mast walks over to Jake and Kristen. Niki watches from a distance. JAKE There's another one. Tod. In the club. Mast watches the ambulance attendants cover Ratan's body. Jake leads Kristen to a police car and places her in the rear seat. Jake sees Niki in the crowd. She is watching Jake and Kristen. She knows she no longer has a place in his life. He walks over to her. JAKE Niki, maybe I can. There's probably some way to. Niki does what Jake can not : she breaks the connection. NIKI -LRB- ice cold. -RRB- You got your daughter. I got my money. So now fuck off. Niki turns on her heel and walks into the neon darkness. Jake walks back to Mast. JAKE Andy, can you do something for her? Maybe money. MAST Go home, pilgrim. There's nothing you can do. Forget this place. Start over. Jake walks back to where his daughter waits for him. The MUSIC turns into an orchestrated version of `` Precious Memories.'' MONTAGE As the MUSIC RISES we DISSOLVE BETWEEN : - Wes, Anne and Marsha welcome Kristen back in their home. Anne embraces her tearfully. - Jake, back at work, talks to Mary near the lathes. - Niki, wearing white vinyl boots and a blonde wig, walks the streets of Los Angeles. - Kristen lies sleeping peacefully in her bedroom. - Jake sleeps. Blue light falls across his face. Slowly, burning through his face, the grainy black and white image of a girl wearing a black mask appears. A hand reaches down to pull off the mask. Jake wakes suddenly from his dream, his screaming face double - exposed with the terrified young girl's. THE END"
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] | Jake Van Dorn is a prosperous local businessman in Grand Rapids, Michigan who has strong Calvinist convictions. A single parent, Van Dorn is the father of a seemingly quiet, conservative girl, Kristen, who inexplicably disappears when she goes on a church-sponsored trip to Bellflower, California. Andy Mast, a strange private investigator (PI) from Los Angeles, is then hired to find her, eventually turning up an 8mm stag film of Van Dorn's daughter with two young guys. After Van Dorn views the film, he suspects that his daughter was kidnapped and persuaded to join California's porn underworld. His quest to rescue her takes him on an odyssey through this sleazy subculture. With no results from the PI, the Los Angeles Police Department, or even from Los Angeles' sex shopkeepers and "rap parlor" women, a desperate Van Dorn posts an ad as a pornography producer in the Los Angeles Free Press, hoping to find information about his daughter. A scraggly actor named "Jism Jim", who was in the film with Kristen, knows where she might be and sends him to a sometime porn actress/hooker named Niki. Van Dorn hires Niki to accompany him on the search for Kristen. Chasing a rumor that Kristen was now filming porn in Mexico, their uneasy alliance moves from Los Angeles to San Diego, gradually warming up to each other: Niki feels protected by Van Dorn because he is a man who doesn't see her as merely a sex object, and he is able to speak openly to her about his deepest feelings, such as his wife leaving him. The unlikely pair ends in San Francisco where Van Dorn finds that Kristen may be in the hands of Ratan, a very dangerous S & M porn player who deals in the world of "snuff movies". Niki, who had previously begun to think Van Dorn will help her to escape life on the streets, now finds herself fearful of being forgotten once he locates his daughter at all—alive or dead. As a result, she initially refuses to divulge the address of a porn industry player who is a link to Ratan. Van Dorn loses his temper and strikes her to get her to reveal the information. Van Dorn finds the player, "Tod", in a bondage house and forces Tod to tell him where Ratan hangs out. Van Dorn and Mast track Ratan to a nightclub where he and Kristen are observing a live sex show. When Van Dorn confronts Ratan, Kristen flees and Ratan slashes Van Dorn with a knife. Mast shoots and kills Ratan. Van Dorn tells Kristen he'll take her home from the people he believes forced her into pornography. However, she responds with anger, stating that she entered porn of her own free will as a way to rebel against her conservative upbringing and now felt loved and appreciated in a way that the emotionally distant Van Dorn never offered. Despondent and tearful, Van Dorn asks her if she really wants him to leave her alone but she acknowledges that she does not. As the two prepare to return home, Van Dorn spots Niki. He speaks to her, starting to make a token offer of gratitude but it's clear to both that it's just as she feared—her usefulness to him, and thus their relationship, is now over. She walks away, resigned to continuing her life on the streets. | Hardcore_(1979_film) |
[
"Deep Rising A FLASH OF LIGHTNING rips the HOLLYWOOD PICTURES LOGO away, and we find ourselves in the middle of.",
"STORMY SEA - NIGHT SUPERIMPOSED : SOUTH CHINA SEA The dark blue waters roil and boil and foam. THUNDER CRACKS. LIGHTING FLASHES.",
"UNDERWATER - NIGHT An enormous Japanese BATHYSCAPHE free - falls through the water. An autonomous fifteen - man submersible. Almost futuristic in its design. The nose cone is an amazing ultra high - pressure plexi - dome. LETTERING along the side tells us this is the `` SHINKAI 90000.'' COMPUTER PRINTED across the SCREEN are the WORDS : ASSIGNMENT : GEOLOGICAL EXPLORATION. SUB - OCEANIC SEISMIC RESEARCH. TECTONIC PLATE SURVEILLANCE. ADDENDUM : ABOUT TO BREAK THE WORLD'S RECORD FOR THE DEEPEST DIVE.",
"SHINKAI 9000 - NIGHT The JAPANESE CAPTAIN watches a DLD laser tracking system and barks one - word questions to his JAPANESE CREW. The Sailors work the consoles and give clipped monosyllabic answers. The JAPANESE SCIENCE OFFICERS go over charts on the electronic position board, a contiuously - shifting graphic representation of the ocean contours below. Behind them is an elaborate DEPTH GAUGE with computerized graphics. READ : 34,000 feet and dropping. The Crew works at a fevered pitch. An ALARM SOUNDS as the depth gauge sounds 35,000 feet. All eyes on the depth gauge. Several Science Officers share excited looks. ON THE DEPTH GAUGE : 35,100 - 35,200 - 35,300 - 35,400. The excitement builds. Even the Captain's weathered eyes widen. And then, as the depth gauge hits 35,801 feet below sea level, the entire Crew breaks into CHEERS, WHOOPS, HANDSHAKES AND HIGH - FIVES.",
"SHINKAI 9000 - NIGHT As it continues its descent, it passes corroding metal drums leaking toxic waste, radioactive waste, dumped in the depths, away from prying eyes, and populated areas. The vessel drops into the SULU BASIN. Imagine the Grand Canyon under forty thousand feet of water. But the Sulu Basin is ten times the size of the Grand Canyon. Down here, ten thousand fathoms below the storm, all is calm. The dual TURBO - PROPS on the ear of the submersible KICK ON. The Bathysaphe is now mobile. It glides down the side of an enormous rock face, carefully avoiding massive sandstone pinnacles which jut up from the ocean floor far below.",
"DEEP SEA - NIGHT THE SHINKAI hovers near a gigantic tectonic plate. A ROBOTIC ARM extends out from under the plexi - dome. Its `` hand'' is a high - tech LASER CUTTER. It approaches the plate, steadies, then fires a direct BLUE BEAM at the bedrock, burns the rock into magma and cuts a perfect round pattern. Another ROBOTIC ARM reaches forward, its CLAW rips out the cut rock from inside the pattern, then takes the sample and sets it inside a hydro - basket on the submersible's port side.",
"MINDINAO DEEP - NIGHT A desolate, barren, spooky place. Nothing breathes. Nothing lives. Or so it would appear. The creepy, foreboding MUSICAL SCORE tells us otherwise. The Shinkai ENTERS a huge ROCK FISSURE.",
"SHINKAI 9000 - NIGHT The Captain and the Science Officers stare through the plexi dome and out into the freezing, cobalt blue of the PALAWAN TROUGH. The MUSIC intensifies as they round each curve. Then, dead ahead, is the end of the trough, which is half - blocked by a rock - encrusted embankment. The MUSIC builds. The Shinkai approaches the embankment. Slowly starts to glide up the side. The Captain and Science Officers seem mesmerized by all the lonely creepiness. They crest the embankment. And the plexi - domed VIEW FILLS with an unimaginable horror. As far as the eye can see, the entire murky landscape is filled with WHALE BONES. A valley of death. Cluttered here and there, carelessly flung about, are the rusting hulks of several ships. Seemingly ripped apart. Clusters of shark cartilage float through the water like white ghosts. The Captain, the Science Officers and the entire Crew just stare, frozen in place by the strange horror before them.",
"SHINKAI 9000 - NIGHT The vessel cruises through the valley of death. Everyone is nervously taking readings, making calculations and adjusting equipment. Gone is the excitement and euphoria of the record breaking. Several Crewmen cast nervous glances out through the plexi dome. Giant skeletons everywhere.",
"SHINKAI 9000 - NIGHT The Shinkai approaches an eerie - looking rock formation. The robotic arm comes out. The laser cutter steadies, aims, then shoots out its blue beam and cuts into the rock. WHOOSH! A HUGE JET STREAM OF INKY BLOOD BLASTS OUT OF THE FORMATION!",
"SHNKAI 9000 - NIGHT The Captain and the Science Officers recoil as the inky stuff envelopes the plexi - dome, completely blotting out the VIEW.",
"PALAWAN TROUGH - NIGHT The Shinkai VANISHES into a huge cloud of inky blood. We HOLD for a LONG OMINOUS BEAT. And then, like a slow - motion earthquake, large boulders and giant crevices begin to shift in the murky waters. WHALE BONES TOPPLE and SCATTER. Several feet under the ancient silt, something is coming alive.",
"SHINKAI 9000 - NIGHT Everything outside the plexi - dome is still BLACK. Everyone is staring at the position board, which shows a large section of the OCEAN FLOOR STARTING TO MOVE, its contours incongruous with the rest of the graphic representation. The Science Officers look stunned. The Captain barks commands. The Crew leaps into high gear. Then the Captain reverses the trottle, and petal - to - the - metal he starts to back out. The inky blood swirls past the plexi - dome. Then suddenly, and impossibly, the SUBMERSIBLE JERKS TO A HALT. Everybody goes ass - over - teacups. EQUIPMENT SHATTERS. SPARKS FLY. GLASS BREAKS. Lots of YELLING in Japanese. The SHINKAI starts to ROCK and SHAKE. Something has a hold on it. More EQUIPMENT SHATTERS. Men are thrown about. Then it stops rocking. The Sailors stop yelling. Everything goes dead quiet. Frightened eyes share terror - filled looks. A SOUND is HEARD coming from the exterior of the ship, like feet runing across the outside of the hull. Very creepy. The HULL starts to MOAN and CREAK from an UNSEEN PRESSURE. And then the sub begins to be crushed like it's a beer can. The metal HULL TORQUES on all sides. RIVETS POP and SNAP. WATER SPRAYS and SHOOTS. More SPARKS FLY. The STEEL PLATING DIMPLES, CRUMBLES and SCREAMS in agony. CHAOS. PANDEMONIUM. And then the SHINKAI IMPLODES. A massive CHURNING SWIRL of water, metal and men.",
"SOUTH CHINA SEA - SUNSET THE SAIPAN, a tricked out Jet Foil, built for speed not looks, gunmetal blue, lean and mean, rips across the choppy water. The Rolling Stones STREETFIGHTING MAN pours out of the jet foil, reverberating over the waves, as the CAMERA rushes right at the windsheild and into.",
"PILOT HOUSE - SUNSET Stripped down, low frills, high tech. where JOHN T. FINNEGAN, bathed in the last light of day, all taut muscle and sinew, all business, with every one of his 38 years etched on his rugged, good looking face, is harnessed into the steering pylon, wrestling with his steering - sticks, holding the bouncing jetfoil steady as he can, hauling ass, propelled, it seems, by the music blasting out of four state of the art speakers bolted to the metal walls. Light from the laser imagers plays across Finnegan's face. The face of a man in his element, on the edge, in control. He barks commands into his RADIO HEADSET. FINNEGAN How we doing out there? THROUGH THE WINDSHIELD we see LEILA, a muscular Filipina clambering over the foredeck. She's dripping wet. Tough as nails. She turns to Finnegan and `` mouths'' something into her headset. Finnegan flashes her his most charming smile. FINNEGAN -LRB- CONT'D. -RRB- Yes, I'm very warm and dry in here, thank you for your concern. His HEADSET comes alive withe the SOUND of LEILA bitching in an unintelligible foreign tongue. FINNEGAN -LRB- CONT'D. -RRB- A raise? I already pay you two bucks a day. He watches as Leila fights the WIND and SEASPRAY and dogs tight a series of hatch - latches across the foredeck. FINNEGAN -LRB- CONT'D. -RRB- Missed one darling. Leila turns and gives him a `` jerking - off'' sign with her hand. FINNEGAN -LRB- CONT'D. -RRB- I love you too. The Radar Imager suddenly blinks, and goes to black. Dead. Finnegan taps on the screen. Nothing. Taps on the console. Still nothing. Simultaneously two more imagers shut down. His mouth screws tight.",
"ENGINE ROOM - NIGHT Crammed wall to wall with enough horsepower to fly a 747. Pumped out of two thumping engines. The domain of a scruffy, shifty - eyed, likeable little weasel of a mechanical genius. JOEY PANTUCCI. Wearing a mechanic's toolbelt, slung sideways across the hips like a gunslinger, singing the theme to `` Gilligan's Island'' over the engine's roar. Way off - key. His hands crammed deep in a tangle of wires. On the walls are a few pictures : Of a few major league engines. Of a few major league pinups, and a few of Pantucci and Finnegan. together in the U.S. Navy. in front of the Saipan in shinier days. PANTUCCI -LRB- singing. -RRB-'' - if not for the courage of the fearless crew -'' He tugs at the wires. PANTUCCI -LRB- CONT'D. -RRB-'' - the Minnow would be lost, the Minowwww would be lost.'' Finnegan's voice explodes through his headset. FINNEGAN -LRB- V.O. -RRB- -LRB- radio filtered. -RRB- PANTUCCI! Unperturbed, Pantucci works at the wires. PANTUCCI -LRB- into radio. -RRB- Can we use our indoor voice please. FINNEGAN -LRB- V.O. -RRB- -LRB- radio filtered. -RRB- I'm flying blind here God damn it! Pantucci pulls two wires from the tangle. PANTUCCI You trying to make me feel guilty? He begins to strip the wires with his teeth.",
"PILOT HOUSE - SUNSET Finnegan peers out of the windscreen, trying to see ahead of himself. FINNEGAN Guilty will be the least of what you feel when I run my rig into one of these god damn no name islands! Get me well here!",
"ENGINE ROOM Pantucci twists one wire around another. PANTUCCI All better.",
"PILOT HOUSE - SUNSET The console lights up. The screens come back on line. Finnegan is pleased. PANTUCCI -LRB- V.O. -RRB- Now tell me again.",
"ENGINE ROOM Pantucci works his wrench around an engine mount. And his nervous eyes around six men, big, bad men, standing on the far side of the engines out in a narrow passage. A Maori -LRB- VIVO -RRB-. Two Aussies -LRB- MASON and MULLIGAN -RRB-. A Samoan -LRB- MAMOOLI -RRB-. A Chinese -LRB- CHIN -RRB-. And an Aborigine -LRB- BILLY -RRB-. Tattooed, armed to the teeth, packed in Kevlar body armor. Mercenaries. Who would as soon wring your neck as shake your hand. And a sixth man. HANOVER. The obvious leader. Smoother than the rest, but still showing the edge of a man risen from their ranks. He consults his watch with a growing concern. PANTUCCI why we took this job?",
"PILOT HOUSE - SUNSET Finnegan hits a button on his console. The Stones are replaced by the first chords of LAYLA. FINNEGAN If I told you once. I told you a thousand times.",
"ENGINE ROOM PANTUCCI -LRB- rote. -RRB- I know. I know. if the cash is there we do n't care. -LRB- nervous. -RRB- Finnegan this is as mean a pile of shit as we ever carried. Pantucci notices Hanover impatiently looking at his watch again, and nods for a mass of Aussie mean and muscle named MASON to follow him up a ladder. PANTUCCI -LRB- CONT'D. -RRB- and some of it's coming your way. He quickly pulls out a wrench, slaps it over a bolt and tightens it down. The leak stops. He blows on the WRENCH like it's a six - shooter, then spins it at the speed of light and holsters it into his toolbelt.",
"PILOT HOUSE - SUNSET As Finnegan is watching the sea ahead, swathed in the shrieking Clapton guitar solos, the hatch opens. Hanover enters, followed by Mason, who leaves the hatch door ajar. Finnegan's eyes remain fixed on the sea. His ears on the Clapton. Hanover and Mason hold onto any available rail as the boat slams over the waves. HANOVER You remember the first time we met Finnegan? I think you were just starting out. smuggling gold off Sumatra for those two Chinese. what did we use to call them? FINNEGAN Fok Yu and Fok Yu Two. are we strolling down memory lane for any particular reason? HANOVER No, it just struck me as odd. I do n't see you for all these years and you've still got the same tape stuck in the box. FINNEGAN You know what they say. the classics are eternal. Hanover looks at the Topo Imager. Holding onto the rail to keep his balance as the boat slams over the choppy sea. HANOVER So where are we? Finnegan points to a spot in the middle of the map. FINNEGAN Right here. middle of nowhere. HANOVER And where is our point of arrival? Finnegan points to another spot on the map. FINNEGAN Right here. middle of nowhere. and the answer to your question is yes. HANOVER Which question is that? FINNEGAN The one you came up to ask. are we on schedule? HANOVER -LRB- to Mason. -RRB- Take note Mr. Mason. this is why you hire a professional. No whining. No excuses. MASON -LRB- attitude. -RRB- I've heard a lot of stories about you mate. FINNEGAN All of them flattering I'm sure. MASON They were. but they musta been talking about another Finnegan. because the one I heard about was as rough as they came. the one I'm looking at is, well, about as current as the music. HANOVER Do n't mind him Finnegan. you remember 25. balls of steel. splashing around in a sea of testosterone. FINNEGAN I do n't mind him. but I do think it's time for him to get back down below with the rest of the playgroup. MASON And who's gon na make me? Finnegan looks at Mason. at the open hatchway just behind him. FINNEGAN The Finnegan you heard about. and jams the steering sticks full speed ahead. The force of acceleration tumbles Hanover into the console. Mason tumbles out the open hatchway, down the stairs behind him. As he rises, Hanover regards Finnegan for a moment. A smile flits across his face. HANOVER That's why we're sill around Finnegan. you and me. Nothing gets the feathers up. Business is business. Eh? Finnegan's hand finds the console. He hits a button. The first strains of Led Zepplin's WHOLE LOTTA LOVE comes roaring out of the speakers. FINNEGAN And the classics are eternal. Finnegan cranks the sound to the max, pulls back on both steer sticks, and holds on, as the force of acceleration hammers him into the pylon.",
"OPEN SEA - SUNSET The Saipan roars off into the setting sun, hell bent for leather. Zepplin screaming in its wake.",
"SOUTH CHINA SEA - NIGHT Sailing through the mild waters of the South China Sea, a luxury cruise liner. The FUJI MARU. Top of the line. State of the art. And absolutely MASSIVE. No expense has been spared. Breathtaking. Gunfire shatters the serenity of the night.",
"FUJI MARU DECK - NIGHT A group of tony British passengers is shooting skeet. Being night, the CLAY PIGEONS are glow - in - the - dark. They EXPLODE over the WATERSPORTS PLATFORM, where TWO JET SKIS swing from harnesses, and TWO SPEEDBOATS are being hoisted up the side.",
"CRYSTAL POOL DECK - NIGHT Rigged for a formal party. Chinese lanterns sway in the breeze. A band plays. Hundreds of wealthy Passengers, the men in tuxedos, the women in drop dead gowns, dripping with jewelry, dance, flirt, gossip, as an endless stream of waiters ply the floor with champagne laden trays. CLOSE ON : The sexiest pair of spiked heels ever to grace the foot of a woman, stopping at the top of the deck. PAN UP : A shimmering golden gown, high slit on the sides to reveal a perfect set of legs, a runway model's body, a cover girl's face. and a thief's sharp ferret eyes. TRILLIAN. A class act from top to bottom. A head turner for either sex, and knows it. She holds an orchid in her hand. Trillian scans the crowd, looking for her prey. and finds him. Her POV. The Ship's smug Captain. JEAN BAPTISTE DELCROIX. She fixes the orchid in her hair just so, about to move. OLD WOMAN He said an orchid and a beautiful woman belonged together. It was our first date. Trillian looks down to a petite old woman, dressed impeccably, delicate, frail, her beauty long faded except from her eyes. Kindness becomes her, like moonlight does the night. OLD WOMAN -LRB- CONT'D. -RRB- He said that it was the orchid I wore that made him fall in love with me. TRILLIAN He sounds like a real gentleman. OLD WOMAN The best of the best he was. This cruise was supposed to be our 60th anniversary gift to each other. He died last Spring. TRILLIAN I'm so sorry. OLD WOMAN I was going to wear one. special for him. like a memory. The Old Woman looks at the orchid. And then at Trillian. OLD WOMAN -LRB- CONT'D. -RRB- But without him here I do n't know why I should. Trillian takes the orchid from her hair, and places it in the lapel of the woman's jacket. TRILLIAN Because an orchid and a beautiful woman belong together. The smile Trillian bestows on the old woman is loving, sincere. The moment between them is broken by the keen clear sound of a silver spoon tapping a crystal champagne flute. CANTON -LRB- V.O. -RRB- Ladies and gentlemen. ANGLE ON : The deck where the band stops playing. Voices hush. Everyone turns to NIGEL CANTON, 65, tall, elegant, every white hair perfectly in place, impeccably turned out, with the energy, and enthusiasm of a man half his age. Canton stands at the head of the pool, in front of a wall sized aquarium, flanked by his Captain. CANTON -LRB- CONT'D. -RRB- All my life I had the dream of building the greatest pleasure ship ever to sail the seven seas. tonight, seeing all of you here. so elegant. so beautiful. so rich. The crowd roars with laughter. CANTON -LRB- CONT'D. -RRB- I realize my dream has come true. I thank you all from the bottom of my heart for making it so. Canton lifts his glass. CANTON -LRB- CONT'D. -RRB- To the Fuji Maru! Good times forever! CROWD Forever! Here! Here! The crowd swells around Canton. ANGLE ON : The Captain chatting up some passengers when a woman's voice, seductive, beguiling, turns his head to. TRILLIAN -LRB- French. -RRB- Is it true what they say about a captain and his boat. The Captain's libido rises as he gazes into Trillian's come hither eyes. CAPTAIN Is what true madame? Trillian takes one step closer, until her moist lips are pursed inches from the captain's. TRILLIAN -LRB- French. -RRB- Madamoiselle. that the bigger the boat. the bigger the man. His breath catches. CAPTAIN It is a theory I would be glad to put to the test. Trillian draws even closer. If looks could cause a man to climax. TRILLIAN -LRB- French. -RRB- In school, the Sisters said testing was my specialty. PASSENGER Captain. Driven to distraction, The Captain turns his attention for a moment to a passenger introducing his wife. PASSENGER -LRB- CONT'D. -RRB- My wife. CAPTAIN Enchante. ANGLE ON : Trillian, turning from the captain into the crowd. C.U. on her hand by the side of her dress. A man's wallet held surreptitiously. Her fingers open the wallet, extract a thin gold card with a black stripe. She discards the wallet, keeps the card, and disappears into the crowd.",
"FUJI MARU BRIDGE - NIGHT Top of the line. State of the art. The crew is multinational. English is the common language, but everyone has an accent. Canton, the picture of self - satisfaction, enters, sipping champagne. CANTON You wanted to see me Captain? The Captain stands next to a bank of LASER IMAGING SYSTEMS. Canton steps up. Looks down at the THERMAL RADAR IMAGER. Multi - colored LASER IMAGES. CAPTAIN We have a storm rising behind us. we may have to close the canopy, I hope it does n't ruin your party. CANTON -LRB- self - satisfied. -RRB- Ruin my party? Captain, this ship was built to withstand a typhoon. I ca n't imagine there's anything on the sea today that could possibly ruin my party.",
"JETFOIL - NIGHT C.U.. A crowbar quietly pops the top off a wooden crate to reveal the lethal looking tip of a torpedo. PULL BACK TO : Pantucci in the storage hold, surrounded by half a dozen crates, his wily eyes popped wide with apprehension. He licks his lips nervously, looks around and whispers into his headset. PANTUCCI -LRB- whispers. -RRB- Finnegan. Finnegan. A hand falls on his shoulder, spinning him around to a fist coming right into his face.",
"PILOT HOUSE - NIGHT Jimi Hendrix. THE STAR SPANGLED BANNER. Blasting. As the Jet foil rockets across the waves. Leila, stripped out of her soaking wet clothes, down to her panties and bra, stands wiping her dripping wet, magnificently ripped body, with a dry towel. Leila puts her fingers in her ears. LEILA Gum kwa she bam dok. FINNEGAN It's not noise. it's genius. And then over the headset, over the Hendrix. PANTUCCI -LRB- V.O. -RRB- FINNEGANNNN! Followed by the unmistakable sound of fist hitting flesh. Finnegan and Leila trade a look.",
"HOLD - NIGHT A massive fist plows into Pantucci's stomach. He drops from the arms of MULLIGAN, a scar - faced Irishman with a buzz cut. As quickly as he is doubled over he is yanked up straight by the man who hit him, VIVO, a merciless Maori, covered by tattoos, topped off with venom. MULLIGAN You know what my goal is? Before I die I want to make love to a woman from every country on earth. VIVO You mean countries that are acknowledged by the UN. or like made up countries too? MULLIGAN What the hell does that mean? VIVO Like Mamooli's country. MAMOOLI What you talkin'? Samoa's a county! VIVO It's a dot on a map. MULLIGAN Map. no map. I do n't give a shit. they got women on Samoa, it's on the list. HANOVER Mr. Billy you're in the batter's box. Hanover watches calmly as BILLY, the Aborigine, cracks his fist against the side of Pantucci's head, knocking him out of Vivo's arms. BILLY At home we denosy the nosy. BILLY hoists Pantucci. He draws his knife under Pantucci's bloody nose. HANOVER We're not savage here Mr. Billy. we're professionals. Hold him. Mr. Chin. The Chinese merc steps forward, and whaps Pantucci upside the head with a cruelly accurate crescent kick. Pantucci hits the wall hard, crumbling. Chin lifts him. HANOVER -LRB- CONT'D. -RRB- Anyone else? Massive Mason steps forward. MASON I'll take a go and the I vote we throw the little weasel overboard. MULLIGAN I vote we slit his throat THEN throw him overboard. Mason raises his ham of a fist drawing his tree trunk arm back, taking dead aim at Pantucci's face. He never gets the punch off. His arm is caught from behind. He looks over his shoulder to Finnegan. Gripping his wrist. Right in his face. FINNEGAN this is not a democracy. You do n't get a vote. Mason, enraged, swings with his free hand. Finnegan twists his arm sharply, sending Mason's head into the steel wall, knocking the big man senseless. The other mercenaries go to draw their weapons. Before the guns are out of holsters, Finnegan swings a spear gun into Hanover's face, an inch from his eye. FINNEGAN -LRB- CONT'D. -RRB- I'll say it again for the hearing impaired. Finnegan cocks the spear. CLICK! Hanover does not blink. Everyone freezes. With his free hand Finnegan lifts Pantucci to his unsteady feet, the spear stays poised. Finnegan backs out of the room. HANOVER This is n't right Finnegan. I've got a contract. FINNEGAN -LRB- RECITING. -RRB- 20 hours on the clock. Out and back. Double for overtime. HANOVER And no questions asked. FINNEGAN Who asked any? HANOVER He did. with a crowbar. you know the rules on a broken contract. FINNEGAN I know it. but you want to get where you want to get, and back? I need a chief engineer, and unless you got a replacement, I'd highly recommend overlooking the indiscretion. With that Finnegan leads Pantucci out of the hold, slamming the door behind him. PANTUCCI Thanks. Finnegan turns his gaze to Pantucci. It makes the smaller man quiver. FINNEGAN You put me in that position again I'll throw you overboard myself. Finnegan stalks off. Pantucci swallows hard, knowing he means it.",
"FUJI MARU - NIGHT A man strides down the hall of an executive passageway, his face obscured in shadows. He has a CANISTER in his hands. Walks through a door MARKED : `` AUTHORIZED PERSONNEL ONLY''",
"COMPUTER/CONTROL MONITOR ROOM - NIGHT The brain center for the whole ship. Rows of computer mainframes, laser - guided imagers and D.T. processors. No humans needed. And none are present. Except one - The Man strides purposefully down a row of computers, makes a left, then a right. He knows exactly where he's going. He arrives at an ultra - high - tech CONSOLE. The cerebellum. Three similar canisters are plugged into the console. The Man unscrews the middle canister. Screws his canister into its place. Sets the TIMER to 0:300 hours. Pushes a button. The TIMER starts to COUNT DOWN.",
"THE FUJI MARU - NIGHT All LIT UP and looking beautiful. The wind is stronger. The party is wilder. The BAND louder. The people drunker. Rain begins to fall. Everybody moans and heads for cover. The deck's huge hydralic canopy begins to close, reviving the party spirit.",
"VAULT ROOM - NIGHT A gold card with a black stripe slides into the security lock of a high tech vault. Lights blink. Tumblers roll. One after another the electronic locks unlock. Trillian stands back as the massive vault door swings open. With a quick look over her shoulder, she enters the vault.",
"VAULT - NIGHT Trillian consults a list, looking for one very specific vault box. Finding it, she pulls a lock pick from her fabulous coiffure, and picks the lock in nothing flat. A pro. Flipping open the box, Trillian removes the only thing she came for. A dazzling diamond ring with the center stone the size of an egg. With a twist, she pops the stone from the setting, holds it up to admire it in the light. CANTON -LRB- V.O. -RRB- It is an amazing stone. Trillian grits her teeth, and turns to. Canton, the Captain, and two burly Chinese security men. CANTON -LRB- CONT'D. -RRB- what were you planning on doing with it? TRILLIAN Retiring. CANTON Well you can still proceed with your plans then. in prison. Captain. escort the lady. Canton exits. The Captain steps forward, and removes the diamond ring from Trillian's hand. CAPTAIN Mademoiselle. you are not a lady. He slaps her across the face. Trillian flushes, touches the drop of blood at her lip. and decks the Captain with a vicious right cross. TRILLIAN And you. Monsieur. you are not a gentleman.",
"VEGETABLE LOCKER - NIGHT A hatch door bursts open. Trillian is thrown inside. The DOOR SLAMS SHUT. Trillian looks around. No windows. One door. Lots of fruit and vegetables. Trillian accepts the hopelessness of her situation. She takes an apple, sits down and bites deeply, running her options.",
"COMPUTER/CONTROL MONITOR ROOM - SAME TIME The CANISTER TIMER finishes counting down - 4 - 3 - 2 - 1. It suddenly EMITS a high - energy HUM. Intense electro static, which builds into.",
"SAIPAN PILOT HOUSE - NIGHT A screeching guitar solo. The Allman Brothers Band pulses out of the speakers. Finnegan is prepping the wound over Pantucci's eye for sutures. As he swabs it carefully, Leila is at the helm keeping the speeding, bouncing, boat on course. PANTUCCI Here's what I think. I think these mokes below are a hit squad. FINNEGAN I saw these guy perform. at Altmont. you know that? They opened for the Stones. He carefully threads the surgical needle. PANTUCCI Right now. there's some bozo sitting on his yacht at those coordinates they gave us, sipping his scotch and soda. totally unawares that we are about to deliver 500 kgs of high power torpedo to light up his ass. that's what's down there in that hold and who knows what the hell else.",
"HOLD - NIGHT The top of another wooden crate is popped revealing the answer to Pantucci's question : a chilling display of firepower. Pulse rifles. Hand held gatling guns with laser sightings. Oblong grenades. The latest in death delivery systems. Hanover and his men lift and load. Slamming shells into chambers. KA - CHANG! KA - CHANG! KA - CHANG! These boys know their toys.",
"PILOT HOUSE - NIGHT FINNEGAN Hold still now. I was like three rows back. Finnegan centers the needle over Pantucci's wound. FINNEGAN -LRB- CONT'D. -RRB- Jagger was here. I was here. PANTUCCI You do n't give a shit about anything do you? FINNEGAN Sure I do. I give a shit that at 0300 hour we reach our point of destination. I give a shit that those mojos got to do what they got to do, and 45 minutes later we are turn around and gone. I give a shit that by the time the sun comes up we are all safely tucked in bed. PANTUCCI That's it? That's all you give a shit about? FINNEGAN Oh yeah. and that my stitch job does n't make you uglier than you already are. this wo n't hurt a bit. Finnegan sinks the needle into the wound. Pantucci's SCREAM rises above the music.",
"FUJI MARU - NIGHT The Fuji Maru cruises through RAIN - LASHED waters. Accompanied by a very scary MUSICAL SCORE. Then suddenly, in the extreme foreground, AIR BUBBLES angrily GURGLE to the surface. Then a WAVE EXPLODES, as if THRASHED from below. Then another WAVE EXPLODES, forty feet to the right. Then ANOTHER, eighty feet to the left. And then ALMOST SEEN : Huge, black, ominous THINGS seem to be SQUIRMING beneath the water. Heading for the Fuji Maru.",
"CRYSTAL FOREDECK - NIGHT RAIN PELTS the canopy. LIGHTNING FLASHES. THUNDER RUMBLES. We can HEAR the PARTY inside. MUSIC, laughs and cheers.",
"THE BRIDGE - NIGHT The entire ROOM seems to be FRITZING OUT. The lights crackle on and off. The Captain stands behind the bank of failing IMAGING SYSTEMS, growing edgier by the moment. MATE The entire bridge electrical system is shutting down sir! CAPTAIN Switch over to auxiliary power, and run a circuit check. MATE Yes sir. The COM. OFFICER is busy fiddling with the communications and imaging gear. DISTORTED LIGHTS from the scrambled systems plays off their faces. COM. OFFICER OFFICER says. We're losing radar and sonar! FIRST MATE Communications systems are out sir! The Captain is confounded, on the edge of panic. Canton hurries onto the bridge. CANTON What the hell is going on? CAPTAIN Communication systems have failed! Radar. sonar. radios. I do n't understand it. MATE Maybe it's the storm! CANTON Nonsense! We're impervious to weather! FIST MATE We have a main frame meltdown! CANTON Well unmelt it! Canton storms out. Every piece of electrical equipment on the bridge starts to shut down.",
"HULL - NIGHT Where the waves meet the hull, A BALLAST HOLE excretes water. Suddenly, near the ballast hole, a WAVE EXPLODES, thrashed from below. Accompanied by the scary foreboding MUSIC again.",
"VEGETABLE STORAGE - NIGHT Trillian, making the best of a bad situation, is just putting the finishing touches on a wonderful salad culled from the stores. As she sits down, spreading a makeshift napkin on her lap just so, a violent SUCKING SOUND comes from above her. Trillian's eyes shoot upward. A VICIOUS GURGLING SOUND RACES through a large PIPE along the ceiling. Trillian leaps to her feet. Backs away. A little spooked.",
"STATEROOM BATHROOM - NIGHT An elegant woman sits on the toilet, her gown hiked up inelegantly, reading `` Vogue.'' As she turns the page the same strange sound, a violent sucking, comes from inside the walls, startling her. She looks around the room. Ca n't see anything. Shrugs it off. Goes back to her magazine. Turns another page. A LONG SCARY BEAT. And then suddenly - She SHUDDERS VIOLENTLY and gives a sharp CRY. Her eyes filled panic. She tries to stand, but she's JERKED BACK DOWN! Her ARMS FLAIL WILDLY. Scattering stuff off the counter. She tries to SCREAM, but it comes out more like a GURGLE. Below her, in the TOILET, there is a hideous SLURPING SOUND. She manages a final, desperate scream, a high - pitched WAIL. Which nobody hears because.",
"POOL DECK - NIGHT the Band has kicked into another ROCK SONG. The drunken revelers whoop and holler, dancing with reckless abandon ignoring the THUNDER and LIGHTNING. And then. with a loud BASSO PROFUNDO CLANG, the CRUISE LINER JERKS TO A STOP. EVERYTHING goes CRASH. PEOPLE TUMBLE. TABLES TOPPLE. The MUSIC STOPS as the entire Band falls into the pool.",
"VEGETABLE STORAGE - NIGHT Trillian goes ass - over - teacups, rolling over just in time to see a wall of BOXES CRASHING straight down on her. SMASH! She's knocked out cold.",
"WATERSPORT PLATFORM - NIGHT One of the SPEEDBOATS breaks free of its harness. TOPPLES over the side and drops down into the sea. SPLASH!",
"POOL DECK - NIGHT Everything goes quiet. Everybody freezes. Panic is a heartbeat away. A FLASH OF LIGHTNING lights up the top of the canopy. The passengers begin to mutter fearfully. From his perch, Canton fights down his own panic, and addresses the crowd in calm reassuring tones. CANTON Ladies and gentlemen. your attention please. Ladies and gentlemen. The disquieted crowd turns to Canton. CANTON -LRB- CONT'D. -RRB- This is the most technologically advanced sailing vessel on the water today. Every problem has been anticipated. the Captain has assured me that we will be up and running in no time. so enjoy yourselves. there's nothing to worry about. Suddenly, and quite violently, a WOMAN is SUCKED UNDER THE WATER - THWUP! Others swimmers notice and freeze. The Woman does n't come back up. And then, THREE more SWIMMERS are violently JERKED UNDER. All the people in and around the pool see this and panic. SCREAMING. YELLING. SWIMMING. SWIMMING and RUNNING. A CRACK OF THUNDER! The Captain calls out - CAPTAIN Remain calm! Stop! Do you hear? REMAIN CALM! The pool clears. Everybody backs the hell away from it. The WATER in the pool BUBBLES, and GURGLES, and then goes quiet. And then, from somewhere deep within the bowels of the ship, comes a loud, eerie, primordial YOWL. WE PUSH IN ON CANTON : His eyes slowly widen. Stunned. His calm replaced by pure terror. CANTON Dear God.",
"SOUTH CHINA SEA - NIGHT Off in the distance is the cruiseliner. WE HOLD FOR A LONG, SILENT, EERIE BEAT. And then the SCREAMING begins.",
"SAIPAN - NIGHT Blasting through increasingly stormy seas.",
"PILOT HOUSE - NIGHT Finnegan notices Billy, Mulligan and Vivo setting two catapult like devices on the front of the deck. FINNEGAN Leila see what they're up to. Leila exits. Finnegan's eyes go up from the action on deck to the radar screen, where a blip, fast moving, right toward the jet foil catches his attention. FINNEGAN -LRB- CONT'D. -RRB- What the hell.",
"SAIPAN - NIGHT A FLASH OF LIGHTNING REVEALS - The speedboat from the Fuji Maru hurtling at the hull! BAAROOOOM! The speedboat slams into the Saipan. Instant FIREBALL. ANGLE ON : The mercs and Leila slammed to the deck.",
"HOLD - NIGHT A GASH is RIPPED out of the bow. METAL FLIES. WATER SPRAYS. The new HOLE VOMITS FLAME. Spewing it over the crates. Hanover and the rest of his men are blown against the walls.",
"ENGINE ROOM - NIGHT Pantucci DIVES as flying SHRAPNEL PEPPERS the two engines. Instantly kills one engine. Maims the other. A FIRE starts.",
"PILOT HOUSE - NIGHT RED WARNING LIGHTS flash and blink. Lighting up the console. The left steering stick dies in Finnegan's hand. FINNEGAN Joey! Talk to me!",
"ENGINE ROOM - NIGHT Mayhem. Fire spews out of the engines. Pantucci sprays a fire extinguisher frantically. Where the shrapnel entered the hull water now spurts with every wave. Smoke and water, oil and fire. PANTUCCI Jezebel's dead. Hercules is right behind her! We got a gusher in the hull!",
"PILOT HOUSE - NIGHT As the Saipan comes to a halt, Finnegan loses play in his remaining stick. FINNEGAN Shit! Finnegan locks the sticks down, and runs out.",
"HOLD - NIGHT TRACK WITH Finnegan running through the smoke filled hold, past Hanover and the merc's who are pulling themselves off the floor, right into the. ENGINE ROOM. Where Pantucci is beside himself in smoke and sputtering flame. PANTUCCI What did you do to my kids! FINNEGAN Me? PANTUCCI No! The man in the moon! Who's driving this thing? Finnegan notices something on the floor. He picks up a shard of the speedboat propeller. Strange. Hanover steps into the room. HANOVER What happened? Finnegan looks at the piece of speedboat in his hand. FINNEGAN We ran into a speedboat. He shows the piece of speed boat to Hanover. Who stares at it. Finnegan sees the hint of recognition in his eyes. FINNEGAN -LRB- CONT'D. -RRB- Speedboat in the middle of the ocean. HANOVER How soon can we get up and running? FINNEGAN We ca n't. we got one engine dead, and the other limping badly. HANOVER I have a schedule. PANTUCCI I spent two years building these things. screw your schedule! Mason grabs Pantucci by the throat, lifting him off the ground. MASON You little weasel! Finnegan slams the piece of speed boat into the back of Mason's knees buckling him to the floor. In the blink of an eye there is the barrel of a.45 pressed hard against his head, Hanover at the trigger end. HANOVER We were talking about my schedule. FINNEGAN You're going to have to get a new one. HANOVER Not an option. FINNEGAN Then you better start swimming. Hanover cracks Finnegan across the face with the barrel of the gun. Finnegan's head spins. He touches the corner of his mouth, and comes away with blood, and a look of murder in his eyes. Hanover slams a round in the chamber. HANOVER One more joke and your comedy career is over. Now fix this. PANTUCCI With what? Look at them. they need gears. cylinder heads. oil pans. we're in the middle of the goddamn ocean. FINNEGAN I think he knows that Joey. PANTUCCI Good! So maybe he also know where the hell am I going to get the parts I need. Mulligan comes running in. MULLIGAN Target in sight!",
"SAIPAN - NIGHT Everybody stands on deck as Hanover scans the darkness through a pair of infrared binoculars. HANOVER Contact verified! You know the drill gentlemen! The merc's scatter below deck. Hanover hands the binoculars to Finnegan. HANOVER -LRB- CONT'D. -RRB- Care to see what dreams are made of Finnegan? Finnegan's POV through the binoculars. The Fuji Maru in the distance, lit up, beautiful.",
"DECK - NIGHT BAM! BAM! Two grappling hooks fly from the barrels of the two catapults bolted to the deck, landing on the deck of the Fuji Maru, which looms above the Saipan. Vivo pulls on the lines until they go taut. Finnegan, Pantucci, and Leila stand by watching as the mercs in full assault gear, communication headsets in place, get ready for action. VIVO Lines set. Mason swivels the big HARPOON GUN on the bow. MASON Tow lines! VIVO Clear! He FIRES the HARPOON. It shoots and SLAMS into the rear deck of the Fuji Maru. MASON Tow line secure. HANOVER Secure the zone of operation! Swift, athletic, the mercs leap onto the lines and scramble hand over hand toward the Fuji Maru's deck. HANOVER -LRB- CONT'D. -RRB- When I was a little bit of a pissant we lived down the road from where all the big cruise ships used to come into Sydney harbor. The first mercs reach the Fuji Maru's deck, and toss life lines down to Hanover. HANOVER -LRB- CONT'D. -RRB- Mum and me we used to sit by our front door and watch them. she used to say `` one day you're going to make your fortune in life on one of them.'' Hanover hands one line to Finnegan, one to Pantucci. The third he attaches around his waist. FINNEGAN Great woman your mother. Real foresight. HANOVER And she could do a hell of a barbie to boot! Belt up. You'll find all the parts you need up there. Finnegan and Pantucci comply. FINNEGAN I assume somebody up there has made sure no distress signal can be sent. HANOVER I'd say that's a pretty good assumption. PANTUCCI -LRB- nervous. -RRB- You know the crew could be armed. HANOVER With what? Martinis and tanning oil? Hanover hand signals to his men above. The lines go taut. Finnegan, Pantucci, and Hanover are hoisted to the deck of the Fuji Maru.",
"FUJI MARU DECK - NIGHT Deathly silent. Not a soul is about. The mercs are deployed in a close military defense pattern. HANOVER Synchronize watches. Everyone hits a button on their watches. HANOVER -LRB- CONT'D. -RRB- 25 minutes. by the numbers. Engine room and machine shop are on the third sub deck. Vivo. Mulligan go with them. keep in touch. move out.",
"SAIPAN ENGINE ROOM - NIGHT A thick black hose weaves it's way across the flooded floor, sucking water. Leila up to her knees in water, wearing a blast visor, stripped down to her skivvies, wields a welder against the gaping hole in the hull. As the boat dips in the waves water sloshes in. Billy sits on the stairs trying to stay dry. He goes to light a cigarette. LEILA -LRB- angry. -RRB- Kwan bat! Kwam bat! Booom! She points the acetalyne tank she works with. BILLY -LRB- bothered. -RRB- Yeah. yeah. yeah. Billy heads for the deck. Leila looks after him in disgust. LEILA Asshole. She ignites her torch, is about to flick her visor down again when a loud gurgling, a sucking sound, stops her. She cuts the torch. Looks around nervously. and then she spots the suction hose sucking away. She smiles to herself. Flips the visor, fires the torch, and goes back to work.",
"FUJI MARU DECK PASSAGEWAY - NIGHT An alert Mulligan leads Finnegan and Pantucci around a corner. Vivo brings up the rear. PANTUCCI You'd think they'd set a deck watch. FLASH TO : The deck full of people partying, carousing. The railing is lined with 15 lifeboats suspended in their harnesses. FLASH BACK TO : Mulligan, Finnegan, Pantucci and Vivo staring at a completely deserted deck. The lifeboat harnesses swing in the breeze, eerily empty. Mulligan looks back to Vivo. MULLIGAN I thought the plan was we'd evacuate them after we got through. VIVO Maybe plans changed. MULLIGAN Plans do n't change. PANTUCCI Maybe it's the wrong ship. MULLIGAN Shut up! And then a strange yowl echoes from somewhere deep in the bowels of the ship. Finnegan and Pantucci trade a look. FINNEGAN Let's just keep going. MULLIGAN -LRB- nervous. -RRB- You ai n't giving the orders here! And again the yowl. Everyone freezes. MULLIGAN -LRB- CONT'D. -RRB- Let's keep going!",
"CRYSTAL POOL DECK - NIGHT Hanover, Mason, and Chin set foot on the deserted pool deck. FLASH TO : The pool deck is jammed with people partying. The band playing. Two kids toss a beach ball back and forth. The ball flies over one boy's head. FLASH BACK TO : The ball falls into the empty pool. Where the band's instruments litter the bottom along a big jagged crack. MASON What the. Uneasy, Hanover and his men look around at the over turned chairs. The smashed aquarium. Chin bends down and picks up a small squid from the bottom of the smashed aquarium. The squid wraps its tentacles around Chin's hand almost immediately. Chin regards it with curiosity. HANOVER Focus on the task Mr. Chin. and then the yowl freezes them. C.U. on Hanover's face. His eyes flicker with uncertainty. and a tinge of fear.",
"GRAND ATRIUM LOBBY - NIGHT DING! FLASH TO : A glass elevator descending through the spectacular atrium, full of elegant well - dressed people laughing, chatting. DING! FLASH BACK TO : Mulligan, Vivo, Pantucci, and Finnegan, standing amidst the shattered glass and broken furniture, whirling to the elevator door opening. Mulligan, nerves ajangle, and Vivo, swing their pulse rifles up hard as the door opens to reveal. and empty elevator! DING! The door closes. The car starts to ascend in the eerie silence. The mercs watch it go with growing uneasiness.",
"FUJI MARU BRIDGE - DAWN The door to the bridge is KICKED OPEN. Mason and Chin leap inside. Guns out front. On edge. The overhead lights flicker on and off. The imager screens are all black. The STEERING WHEEL slowly ROCKS. As if an invisible captain is steering a ghost ship. Hanover ENTERS. Eyes shifting. Suspicious, and a bit nervous. HANOVER What the hell is going on?",
"THE FRISCO BAR AND CASINO - DAWN Mulligan leads Finnegan, Pantucci, Vivo into the casino. The place looks like a mess. Tables and chairs are upended. Glasses and bottles are shattered everywhere. And there's BLOOD on the floor. A BELL RINGS LOUDLY and the TROLLEY CAR STARTS TO MOVE! ELECTRONIC VOICE Next stop, Chinatown! Everyone jumps, freaked. Mulligan and Vivo spin around and OPEN FIRE. Start BLOWING the shit out of the TROLLEY CAR. The GUNS sound like nothing we've ever heard. ROLLING THUNDER. Absolutely deafening.",
"FUJI MARU - DAY The GUNFIRE ECHOES through the hull. Suddenly, with a loud SPLASH, a sixteen - foot - long LIFEBOAT pops to the surface. Then another LIFE BOAT POPS UP. Then ANOTHER. Then THREE MORE off to the port side. Then TWO MORE off to the starboard. It's as if the SOUND of the GUNFIRE is somehow releasing the boats from their watery graves. They start to drift away. Spooky quiet.",
"FRISCO BAR AND CASINO - NIGHT BULLETS RAKE the Trolley's metal sides. The WINDSHIELD EXPLODES. Finnegan yells at Mulligan and Vivo - FINNEGAN Guys! Whoa! WHOA! WHOA! WHOOOAAA! Finnegan finally tilts the muzzle of Mulligan's gun to the ceiling. They stop firing. A little wigged - out. Their professional demeanor going by the boards. All goes quiet. They look at Finnegan, who is the picture of calm. FINNEGAN -LRB- CONT'D. -RRB- Guys. get a grip. The Trolley car reverses. The ELECTRONIC VOICE is now CRACKED - ELECTRONIC VOICE Next stop, Fisherman's Wharf. Mulligan whirls, his gun poised. Just then his headset crackles. HANOVER -LRB- V.O. -RRB- -LRB- radio filtered. -RRB- This is Red One. status report. Finnegan leans in towards Mulligan's mike. FINNEGAN -LRB- into radio. -RRB- Your boys just killed a trolley car Red One. Mulligan pulls the radio away. MULLIGAN -LRB- into radio. -RRB- We been down three decks, there's nobody home. Total spooky - town. Advise on how to proceed.",
"CONNING TOWER - NIGHT Hanover looks around at the empty bridge, the blinking lights. HANOVER Stay to the schedule. Stay to the plan. Nothing has changed. But the look in Hanover's slightly unnerved eyes tells a different story.",
"FUGI MARU STORAGE ROOM - DAY Trillian goggily crawls out from under a mound of boxes. Her left eye's got a nice purple shiner. Her elegant gown is ripped. A VERY STRANGE SOUND coming from behind the wall. Wet. Gooey. Slithery. Ominous. Trillian freezes. TRILLIAN Hello? The SOUND slowly MOVES across the wall. Then another WALL starts to GURGLE. Trillian spins around. She forces herself not to panic. Very cautiously, taking small measured steps she reaches the handle to the freezer, and tries to open it. No go. The gurgling ripples above her. Her mouth goes dry as her eyes follow the sound across the ceiling. Her hand goes to her hair. She pulls her lock pick out, and very slowly kneels down until she is eye level with the door lock. She begins to pick her way out, her ears and eyes following the gurgling above. Suddenly the sound stops. The silence makes Trillian's heart sound that much louder. She sidles close to the wall. TRILLIAN -LRB- CONT'D. -RRB- Hello? Still silence. Cautious, she taps on the wall. For a moment nothing. And then. WHAMM! Something slams against the wall from the other side in response. Trillian falls back against the door, her heart in her throat.",
"ENGINE CHAMBERS - DAY A MAZE of pipes, hoses, gears, engines and catwalks. THINGS are HISSING, HUMMING, RUMBLING and CLANKING. A spooky place. Dark. Damp. Eerie. Ominous. Mulligan and Vivo, looking more nervous by the moment, lead the way. Finnegan and Pantucci follow. PANTUCCI -LRB- rattling, nervous. -RRB- You know what I'm gon na do after this. I'm gon na get a normal life. FINNEGAN -LRB- calm. -RRB- Joey. PANTUCCI Like a house in the suburbs. maybe a couple of kids. some sort of business. be in the bowling league. go to the ball games. Finnegan turns to Pantucci, his voice even, calm, almost kind. FINNEGAN Joey. it's okay. PANTUCCI What? You do n't think I can have a normal life? FINNEGAN Joey. look at me. He forces Pantucci to look him in the eyes. FINNEGAN -LRB- CONT'D. -RRB- We're gon na get what we got ta get. do what we got ta do. and get the hell outta here. okay? Pantucci draws his strength from Finnegan. He forces himself to take a deep breath. PANTUCCI Okay. Suddenly, overhead, something black and veiny skitters across the mass of pipes, so fast it shocks Pantucci back into the wall. MULLIGAN What the?? He and Vivo spin their guns at the pipes. The red dots of their laser sights sweep the shadowy web of metal. Nothing. MULLIGAN -LRB- CONT'D. -RRB- Come on. the sooner we get outta here the better I'll feel. Mulligan and Vivo move forward. PANTUCCI -LRB- quiet. -RRB- Finnegan. Finnegan turns to Pantucci, who has not moved from where he hit the wall. FINNEGAN It's okay. come on. PANTUCCI -LRB- scared. -RRB- I'm stuck. Pantucci tries to pull away from the wall. He is stuck. MULLIGAN -LRB- jumpy. -RRB- Hey! What are you trying to pull! PANTUCCI -LRB- pleading. -RRB- John. Finnegan takes Pantucci by the front of his shirt, ignoring Mulligan. FINNEGAN Relax your arms. slowly. that's it. As Finnegan pulls, Pantucci does as he is told. He slips away from the wall. The jacket does n't. MULLIGAN What the. He reaches out to touch the wall. Finnegan grabs his wrist, grabs a flashlight from Vivo's utility belt and shines it on the wall. Their POV - the entire wall is covered in a strange, yellow, secreted GELATIN. Laid on in some sort of weird, inhuman, geometric pattern. Like a spider web.",
"THE SAIPAN'S HOLD - DAY Leila has welded half the hole shut. A GUSH OF WATER suddenly pours through the other half. Leila cuts the torch. LEILA Gebop! The KA - CHUNK - KA - CHUNK of the PUMP is like a loud scary HEARTBEAT. Leila removes her blast visor. Wipes her brow. - A MANGLED CORPSE GUSHES IN through the gaping hole! LEILA SCREAMS. Bloody murder. Scared shitless. Quickly backs away. Actually, it's only half a corpse. The bottom half having been eaten away. It's wearing a tuxedo. The corpse's face is tightly constricted, eyes wide open, a grotesque death mask. Leila shakes like a leaf, waist - deep in seawater.",
"SAIPAN DECK - NIGHT Billy is staring out at all the lifeboats as they drift away. All he can hear is the loud KA - CHUNK - KA - CHUNK of the PUMP. He talks into his headset - BILLY -LRB- into radio. -RRB- I dunno where they came from, turned around and there they were. -LRB- pause. -RRB- No, no passengers. -LRB- pause. -RRB- No shit I'll keep my eyes open.",
"ENGINE ROOM - NIGHT Leila trembles in the waist - high water. The PUMP'S HEARTBEAT seems to have gotten louder. KA - CHUNK - KA - CHUNK - KA - CHUNK. Leila slowly starts edging her way around the corpse. KA - CHUNK - KA - CHUNK - KA - CHUNK - KA - CHUNK. Her eyes are transfixed, staring at the abomination, too scared to scream. KA - CHUNK - KA - CHUNK - KA - CHUNK. Her back is to the gaping hole as she slowly starts to pass in front of it. KA - CHUNK - KA - CHUNK - KA - CHUNK. The water swirls around her waist. KA - CHUNK - KA - CHUNK - KA - CHUNK. She's almost past the gaping hole now. KA - CHUNK - KA - CHUNK - KA - CHUNK. Then something grabs her! She SCREAMS! And falls back towards the gaping hole - But it's only a twisted piece of metal off a strut. She exhales. Relieved. KA - CHUNK - KA - CHUNK - KA - CHUNK. Suddenly, LEILA'S whole body SPASMS. She SCREECHES wildly, in great pain. The she's RIPPED backward out through the gaping hole. Gone. WATER SLOSHES back in. KA - CHUNK - KA - CHUNK - KA - CHUNK.",
"FUJI MARU MACHINE SHOP - NIGHT Knee deep in water, an edgy Mulligan watches Finnegan as he disassembles pieces of a thermal carburetor from an auxiliary generator. His eyes keep shifting around. Over in the far corner Vivo is watching Pantucci working over a metal lathe, repairing the cylinder head. Metal - on - metal. Vivo sits up on a barrel, trying to keep his feet out of the water. FINNEGAN The hulls of these things are supposed to be impregnable. MULLIGAN So? FINNEGAN So. If the hull's impregnable why are my feet wet? MULLIGAN Why do n't you just stop figuring and keep working so we can get the hell out of here? PANTUCCI Why do n't you help us so we can get done faster so we can get the hell out of here? MULLIGAN'Cause grease monkey ai n't in my job description dick head. Vivo pulls his feet further up on the barrel. VIVO What I want to know is why the goddamn ocean is always cold. since I'm a kid I hate god damn cold water. Then out of the corner of his eye, Vivo sees SOMETHING MOVE. He spins around. Nothing but pipes and hoses. MULLIGAN -LRB- nervous. -RRB- What was that? VIVO Nothing. MULLIGAN Someone's back there. VIVO Hey! Come out here! Finnegan and Pantucci stop working. All eyes are focused on the maze of pipes. THINGS are HISSING, HUMMING and RUMBLING. Nothing moves. MULLIGAN Check it out! VIVO Hey! You hear me? Come out! Still no response. MULLIGAN Will you check it the hell out! Disgusted, Vivo puts his feet in the water, gingerly. VIVO Man this shit is cold! He walks toward the mass of hissing pipes. His pulse rifle rising. VIVO -LRB- CONT'D. -RRB- I'm gon na kick your ass for putting me through this. Then he hears a strange SLURPING and SUCKING SOUND coming from behind some gears at the end of a little alleyway. VIVO -LRB- CONT'D. -RRB- I'm not screwing around with you man. I hate the cold water. MULLIGAN What is it man? VIVO I'm looking. Vivo slowly goes in for a closer look, gun out front, heading down the little alleyway. He looks behind some pipes. The SLURPING gets LOUDER. Then he sees it. His eyes widen - VIVO -LRB- CONT'D. -RRB- On shit! And that's the last thing he ever says. Because just then, from a dark area between the pipes, SOMETHING SHOOTS OUT! Mulligan, Finnegan, and Pantucci stare in horrified amazement as Vivo is viciously YANKED into the pipes. A moment later a WASH OF BLOOD is FLUNG across a wall. Mulligan freaks out, aims his rifle at the pipes. MULLIGAN Vivo! Vivo! As Mulligan's attention diverts, Finnegan instinctively heads for Vivo's rifle, lying on the floor. Mulligan swings around. KACHUNK! His rifle is armed. The laser dot fixes on Finnegan's forehead. MULLIGAN -LRB- CONT'D. -RRB- Touch it and you're dead, asshole! Finnegan freezes, looking up at a very freaked out Mulligan. PANTUCCI Do n't shoot, man, do n't shoot! MULLIGAN What happened to Vivo?! What the hell happened to Vivo? Everybody's breathing hard. Freaked out. Major tension. Blood drips down the wall.",
"VAULT ROOM - NIGHT Trillian steps up to the vault, looking around, a bit nervous, something is definitely not right here. TRILLIAN Helloooo? She shrugs, must be her imagination. From inside her low cut dress she pulls the Captain's gold security card. She is about to run it through the reader slot when. V.O. Ahem. She spins to. Hanover, Mason, Mamooli and Chin. Looking grim. TRILLIAN -LRB- recovering. -RRB- I'm sorry. This area is for authorized personnel only. As the assistant to the Purser, I'm afraid I'll have to ask you to vacate. Mason and Chin lift their pulse - rifles. KACHUNK! TRILLIAN -LRB- CONT'D. -RRB- Or maybe not. HANOVER Where is everybody? Trillian is confused - TRILLIAN What do you mean? Hanover steps forward, right in her face. HANOVER -LRB- threatening. -RRB- I mean. where is everybody? TRILLIAN Poolside? Hanover grabs Trillian by the throat and slams her against the wall. He rams his gun against her forehead. HANOVER You tell it straight or I pull the trigger. Who are you? TRILLIAN -LRB- choking. -RRB- A passenger. Hanover blinks. HANOVER Where are the other passengers? Trillian shrugs. Mason grabs the card out of her hand. MASON Forget her. let's get what we came for and get the hell out of here! Mason runs the card through the slot. The ELECTRONICS KICK IN. LIGHTS FLASH. TUMBLERS ROLL. CLICK! It unlocks. Hanover's HEADSET comes alive with Mulligan SCREAMING. HANOVER Mulligan? What? I ca n't hear you? Repeat I. - Mason JERKS the vault door open. A FIRE - AXE SWING DOWN into his head, WHUMP! Kills him instantly. Eyes wide open. Everybody freaks out. Jumps back. Hanover lets go of Trillian, and stares into the vault directly at Nigel Canton. Holding the axe. CANTON Oh my God. I did n't mean to. Behind Canton the Captain is on the floor, in severe pain, his clothes are ripped up, REVEALING nasty looking RED SCARS, blistered and puffy, all over his chest and arms. CANTON -LRB- CONT'D. -RRB- I thought it was one of them! Chin jams his rifle to the middle of Canton's forehead, and cocks a round into the chamber. HANOVER Stand down soldier! But this is one soldier who is slow to obey the order. Hanover grabs Chin by both shoulders and gives a colossal yank. HANOVER -LRB- CONT'D. -RRB- I said. He slams Chin against the wall. In the process he loses his headset. HANOVER -LRB- CONT'D. -RRB- Stand down! Chin and Hanover stare at each other, their chests heaving. Mason finally drops to the ground. All she wrote. CANTON I did n't mean to! I though it was one of them! HANOVER One of who?!",
"MACHINE SHOP - NIGHT The machinery is sputtering, and sparking, shorting, steaming as the sea rises. Mulligan, in a panic, has backed Finnegan and Pantucci into a corner. He screams over his headset. MULLIGAN Hanover! Hanover! Come in! Come in you son - of - a - bitch! No response. A sucking sound comes from the dark mass of pipes. Mulligan spins. MULLIGAN -LRB- CONT'D. -RRB- Hanover! Hanover! FINNEGAN Forget them. Mulligan spins back to Finnegan and Pantucci. MULLIGAN -LRB- fried. -RRB- Shut up! You hear me! FINNEGAN we got ta get outta here - NOW. MULLIGAN Shut up, man, just shut the hell up! I got ta think! I got ta think! PANTUCCI What's there to think about? That THING back there. MULLIGAN There ai n't no thing here! No thing! There's you him and me! Got it! You him and. Suddenly, Mulligan's LEGS are suddenly JERKED OUT from under him. He hits the floor hard. Starts FIRING WILDLY. Finnegan and Pantucci hit the watery deck. BULLETS RICOCHET everywhere. Mulligan is WHIPPED across the floor. SCREAMING in fear. His pulse - rifle goes flying. He's SLAMMED into a metal pylon, then SUCKED into a dark void in the pipes. All in the blink of an eye. Finnegan grabs Mulligan's pulse - rifle. OPENS FIRE. BLASTING the shit out of anything and everything that moves. FINNEGAN Grab the parts! Pantucci grabs the knapsack, cramming as many parts as he can into it as Finnegan keeps firing into the steaming, creaking, sparking machinery. FINNEGAN -LRB- CONT'D. -RRB- I'll cover! Move! Move! Pantucci does n't have to be told twice. He runs like hell, with Finnegan firing a final burst, and following.",
"VAULT - NIGHT Everyone hears the MASSIVE GUNFIRE. Hanover looks around for the source of the sound. He finds it in his discarded headset. HANOVER This is Red one! Come in Red two! The gunfire stops, replaced by an ominous, horrifying, sucking sound. CANTON -LRB- panicked. -RRB- It's them! We've got to get off! He runs out of the vault. The Captain follows close behind. Hanover listens to the sucking sound getting louder and louder. HANOVER Let's find them! CHIN What about the vault? HANOVER It's not going anywhere. Hanover rushes out with Chin right behind. Only Trillian remains, breathing deeply, scared. but not scared enough to forget the reason she came cruising in the first place. She goes right to the vault, opens one of the boxes, removes the giant diamond, drops it down her decolletage, pulls her high heels off, and runs out.",
"ENGINE ROOM - NIGHT Finnegan and Pantucci run to the end of a long section of metal grating, right below a staircase, to catch their breath. Everything has gone dead quiet, except for the billowing and clanging of the engines. Smoke and sparks obscure their vision. PANTUCCI Finnegan, what the hell was that? FINNEGAN I do n't know. you got what we need? PANTUCCI If I do n't, I ai n't going back to get it. you think we're safe? Both of them listen to the silence. And then, at the far end of the grating, one grate rises. and falls. Finnegan and Pantucci watch, transfixed. Then, like a locomotive gathering speed, the grates start rising and falling, faster and faster, clanking louder and louder, headed right for the two of them. LOUDERFASTERLOUDERFASTER! FINNEGAN Come on! Finnegan and Pantucci run up the stairs as fast as they can. just as the grate they were standing on rises and falls. Silence returns. Except for the steaming, creaking machinery. and an ominous sucking sound.",
"PASSAGEWAY - NIGHT Trillian comes running down the passageway to a freight elevator. Looking over her shoulder, she hits the button. The elevator doors open to a freight elevator large enough to hold a dozen people. Trillian rushes in and hits the up button. She breathes a sigh of relief as the steel doors close. until the elevator starts going down. TRILLIAN Up! I want to go up! She panics. And starts pushing the up button frantically, her heart pounding in her chest. There is not a sound except for the hum of the elevator descending. until something drops on the roof with a THUMP! Trillian screams. The elevator comes to a bumps stop. TRILLIAN -LRB- CONT'D. -RRB- No. No. Trillian shrinks from the ceiling of the elevator. and then the car starts to move again. TRILLIAN -LRB- CONT'D. -RRB- Go up. please go up! Trillian pounds on ever button on the console, to no avail. The car continues its inexorable descent. Finally, in desperation, she hits the emergency stop button. The elevator stops. The emergency SIREN WHINES. A LONG BEAT. Nothing moves. and then. WHAM! Something beats on the roof, trying to break in. And again - WHAM! The ELEVATOR SHUDDERS and continues its descent. Trillian backs up against the wall, staring at the ceiling, scared. The ELEVATOR DINGS! Startled, TRILLIAN SCREAMS. The DOORS start to OPEN. Panicked, Trillian raises the only weapon at her disposal. a high heel. The DOORS OPEN. - SOMETHING LUNGES IN! Trillian swings her high heel. right into Pantucci's face! Finnegan plows in right behind him. PANTUCCI OWWW! OOWWW! Trillian tries to run out. Finnegan grabs her. TRILLIAN I'm not staying here! FINNEGAN It ai n't any better out there! Trillian struggles. Finnegan does not let go of her. FINNEGAN -LRB- CONT'D. -RRB- Lady, I'm telling you. Trillian buries her high heel into the back of Finnegan's hand, breaking his grip. FINNEGAN -LRB- CONT'D. -RRB- OWW! Just then, the doors to the elevator shut, and the car starts to ascend. TRILLIAN Now look what you did! FINNEGAN I saved your life is what I did! TRILLIAN Who asked you to! PANTUCCI What the hell's going on here? TRILLIAN You're with that other bunch, right? FINNEGAN What other bunch? TRILLIAN The thieves. FINNEGAN I'm not a thief. TRILLIAN Then who are you? FINNEGAN I'm their ride. Trillian hears music to her ears. TRILLIAN You have a boat? Her demeanor changes, her voice goes to honey. PANTUCCI Finnegan! Trillian and Finnegan turn to Pantucci who is looking down at the floor where a mass of yellow slime has dripped from the ceiling. All look up to the yellow goo dripping from the ceiling. followed by a sucking sound. TRILLIAN It's up there! Finnegan lifts his pulse rifle and blasts the ceiling. The sucking sound stops. FINNEGAN Not anymore. The elevator stops. DING! The door opens. Finnegan whirls his rifle, rising. Trillian lifts her high heel, ready to strike. Hanover, Chin, and Mamooli have their massive guns trained on the car. The Captain and Canton quiver behind them. There is a momentary stand off. HANOVER Where are my men? FINNEGAN Dead. CHIN YAAHHH! Chin charges Finnegan, the butt of his rifle raised to smash Finnegan's skull. Finnegan parries and drives Chin into the rear wall of the elevator. Mamooli jumps Finnegan from behind, wrapping his rifle against Finnegan's throat. Pantucci jumps on Mamooli's massive back, ripping at his face. Finnegan drops, buries his elbow in Mamooli's solar plexus, spins, and has his knife out of his boot and at Mamooli's throat in a flash. ANGLE ON : Trillian. Impressed. She had no idea. HANOVER Drop it! Finnegan looks up into the barrel of Hanover's gun. and a pair of eyes that will use it. Finnegan does as he is told. HANOVER -LRB- CONT'D. -RRB- Now, back up! Again, Finnegan does as he is told. HANOVER -LRB- CONT'D. -RRB- Everybody in! The Captain and Canton are only to happy to comply. As they slip in, Trillian tries to slip out. Hanover swings his gun on her. HANOVER -LRB- CONT'D. -RRB- Where are you going? TRILLIAN -LRB- freezing. -RRB- Nowhere. FINNEGAN Hanover, listen. HANOVER Shut up! Hanover hit the elevator button. The elevator starts to rise. HANOVER -LRB- CONT'D. -RRB- Now, where's Mulligan? Where's Vivo? FINNEGAN I told you. PANTUCCI Man, there's something here! On the boat! CANTON You see? You see? HANOVER Shut up! Shut up all of you! Now here's what we're doing. Mamooli is going to take you back to fix your engines, Chin and I are staying here to finish the job. FINNEGAN Did you clear this? HANOVER With who? All of a sudden, the car is jerked to a halt, as if some giant hand was yanking on the cable. FINNEGAN With that. And then, the elevator jerks down again. And up. Everyone is thrown about like straw. Everyone is shouting, panicked. And then the jerking stops. and the sound of sucking surrounds the car. The cable starts twisting, creaking sickeningly above their heads. PANTUCCI It's gon na snap the cable! Trillian starts hitting the buttons frantically. TRILLIAN Open! Open! God damn it! Finnegan is at the doors, pulling them with all his might. FINNEGAN Help me! Pantucci, then Mamooli, then Hanover and Chin pull at the doors as Trillian keeps hitting the buttons. The doors part a bit. FINNEGAN -LRB- CONT'D. -RRB- They're coming! They're coming! The doors fly open to. a solid wall. FINNEGAN -LRB- CONT'D. -RRB- Oh shit. And silence. until the doors slam shut. the cable snaps. and the car plummets! Screaming and shouting mixes with the bloodcurdling shrieking of the metal elevator frame against the shaft. Finnegan's eyes go to the floor indicator. 12 - 11 - 10 - 9 - 8 - 7 - 6 - 5 - 4! An AUTOMATED VOICE rapidly CALLS OUT right along with it - VOICE 4th floor. 3rd floor. 2nd floor. 1st floor. Down, down, down it goes. Faster and faster. But the elevator does n't stop at the first floor. It keeps dropping. The FLOOR INDICATOR BLINKS : `` SUBLEVEL. SUBLEVEL. SUBLEVEL.'' CANTON It's taking us to the bottom of the ship! FINNEGAN HANG ON! CABLES SNAP. METAL SCREAMS. The ELEVATOR starts to BUCKLE. Which is actually good, because it's getting jammed sideways in the shaft which slows it down. The it HITS bottom with a resounding crash.",
"SUBLEVEL LOBBY - DAY The DOORS BLOW OUT into the darkened hallway. For a long moment nothing moves, then Finnegan tumbles out of the elevator. Rising painfully. One after another the others exit into the dark lobby. HANOVER Where are we? CANTON The sublevel lobby. Finnegan bends down to pick up one of the pulse rifles. HANOVER Do n't touch it! Finnegan looks up to Hanover standing a bit shakily, his own rifle trained on Finnegan. FINNEGAN You shoot me and you got no ride home. And with that, Finnegan picks up the gun. A test of wills. Finnegan wins, and then turns to the Captain. FINNEGAN -LRB- CONT'D. -RRB- You the Captain? CAPTAIN Yes. FINNEGAN How do we get out of here? CAPTAIN We have to make it to the third deck. Pantucci steps on something. CRUNCH! He looks down, his eyes widen. PANTUCCI Oh no! Oh no! Finnegan! He starts dancing around, trying not to step on whatever it is. Trillian looks down and SCREAMS. Everybody freaks - Finnegan grabs a flashlight from Chin's utility belt, and sweeps the beam over the lobby. The entire floor of the lobby is littered with shattered HUMAN SKELETONS. Picked clean and spit out. Just like the earlier whale bones. Then suddenly, at the far end of the hallway, one of the metal WALLS suddenly EXPANDS and FLEXES. Everybody feezes. And then the FLEXING suddenly comes RACING down either side of the hallway, accompanied by the most god - awful PRIMORDIAL SCREECH! FINNEGAN This way! FINNEGAN BOLTS. Everybody else right behind him. The FLEXING and SCREECHING VANISHES into the walls.",
"FUJI MARY & SAIPAN - DAY RAIN POURS DOWN on the Fuji Maru and the Saipan as they bob in the waves, surrounded by endless choppy ocean waters.",
"SAIPAN ENGINE ROOM - DAY Billy comes down the steps, gun out front, looking around. BILLY Hey you! Muscles! Out here! There is no reply. The only sound is the sucking of the pump. BILLY -LRB- CONT'D. -RRB- O.K.. You want it that way. He ENTERS the waist - high water. BILLY -LRB- CONT'D. -RRB- when I find you, you pay. Billy heads deeper into the hold.",
"MACHINE SHOP - MOMENTS LATER Damp, dark and disgusting. A MAZE of pipes and gears lines the walls. Finnegan SLAMS the HATCH shut. Dogs it tight. Everyone's gathering themselves around the room : Trillian, Pantucci, Hanover, Mamooli, Chin, the Captain and Canton. TRILLIAN We've got ta call for help. PANTUCCI Yeah man, no shit, call in the Marines. CAPTAIN We ca n't. all the communication systems went down. TRILLIAN So get them back up. CAPTAIN I do n't know how. PANTUCCI Hey I can fix any damn thing. where's the comm. center? CANTON We should get off as soon as possible. TRILLIAN But if we can at least send a message. CANTON I say we evacuate as soon as. FINNEGAN -LRB- to Canton. -RRB- Who are you? CAPTAIN He's the owner. FINNEGAN Why do n't you want a message sent? CANTON I just think that. FINNEGAN Because you know a message ca n't be sent. There is a moment of silence. FINNEGAN -LRB- CONT'D. -RRB- You're the inside guy are n't you? The guy who knocked out the communications. Hanover sets Mason's pulse - rifle down and claps his hands. HANOVER Bravo. Canton flashes Hanover a look. The Captain is confused. Trillian suddenly GRABS CANTON, spins him around and SLAMS him against the hull. TRILLIAN How the hell do we fix it?! A tense moment as Canton debates his situation, then relents. CANTON You ca n't. All the systems were melted at their core by nitric acid. CAPTAIN -LRB- confused. -RRB- This was your life's work. your dreams. CANTON My dreams cost more than they would make. I miscalculated the market. there was no way I could recoup. FINNEGAN Unless you collected on the insurance. TRILLIAN What are you people talking about? FINNEGAN He's with them. He motions to the mercenaries. FINNEGAN -LRB- CONT'D. -RRB- They rob the joint blind and torpedo it to the bottom. He collects the insurance, and sails off into the sunset clean as a whistle. Finnegan fixes Hanover with a look of certainty. FINNEGAN -LRB- CONT'D. -RRB- Right? The Captain blows. He leaps on Canton. His hands find the older man's throat. CAPTAIN All these people dead! Because you screwed up on the math? Finnegan pulls the Captain off. FINNEGAN It's not going to help us! CAPTAIN We're going to die here! We're going to die! Finnegan holds the Captain with both hands, calming him. FINNEGAN I was born in a City housing project in the Bronx OK? It's not in the cards that I die on a luxury cruise ship. now which way up? TRILLIAN -LRB- alarmed. -RRB- You hear that? Unseen by anyone, there is MOVEMENT within the MACHINERY. The walls start to come alive with dark, SHADOWY IMPRESSIONS. HIDDEN within the maze of machinery, OBSCURED by the bad lighting, glistening abominations slither over pipes, squirm through gears, and undulate in and out of crevices and holes. The room is becoming a living, throbbing, pulsating horror. CAPTAIN They are. they are everywhere. FINNEGAN All right, be cool, everybody, nice and slow, no sudden moves. Everybody slowly and quietly moves for the far hatch. Then a loud GURGLING is HEARD. Everybody looks up at the ceiling. Hidden within the girders, and sticking to them, a large translucent INTESTINE - like thing CROSSES the ceiling. Inside it are strange, disgusting biological workings. The GURGLING suddenly gets dramatically LOUDER. And then we SEE BILLY and LEILA, being sucked down the entire length of the fatty intestine. Still alive. And squirming wildly. EVERYBODY freaks out and HAULS ASS for the hatch. Finnegan and Hanover OPEN FIRE. Covering their asses.",
"ENGINE CHAMBERS - NIGHT Everybody pours out of the machine shop and fans out into this mechanical MAZE. The engine chambers are a labyrinth of pipe - lined alleyways, motorized chambers, swaying catwalks and pillars of steel. The LIGHTING is very poor, very dark. Hanover, Pantucci, Chin and Mamooli OPEN UP. FIRING blindly and wildly at anything and everything that seems to move in the darkness. The MUZZLE FLASHES and TRACER FIRE light up the chambers in a sort of surreal horror tableau. We catch more ABSTRACT GLIMPSES of the translucent TENTACLE - SACS, strange FEELERS, groping SUCKERS, SLIME and VEINS.",
"DEEP IN MAZE - NIGHT Finnegan rounds a corner and crouch - runs down a narrow alley. Alone now. White - knuckling his rifle. He turns another corner and runs right into Trillian. FINNEGAN AHHH! Spins, gun ready to fire at. TRILLIAN Noooo! FINNEGAN Jesus Christ lady. TRILLIAN -LRB- scared. -RRB- What are those things? FINNEGAN I do n't know. Finnegan looks around to the engine room, a labyrinth of pipe lined alleyways, motorized chambers, swaying catwalks and pillars of steel. The LIGHTING is very poor, very dark. He takes off. TRILLIAN Hey! Hey! Where are you going? FINNEGAN there's got to be a way to access out back there. He motions into the deep shadows. TRILLIAN But what makes you think there are n't more of hose. things. back there? FINNEGAN Nothing. you want to come, come. you do n't. Trillian weighs her options, and takes off after Finnegan. TRILLIAN You do n't have to be so touchy. FINNEGAN Look lady, I know you people are used to getting your way. TRILLIAN What's that supposed to mean? You people. FINNEGAN You people. rich people. TRILLIAN I'm not rich people. FINNEGAN Well, you sure do a good imitation. TRILLIAN Thank you, I work at it. Finnegan comes to a ladderstair leading to a catwalk. He starts to climb. Trillian, hampered by her long slinky dress, rips at the bottom, making it maxi to mini in a flash, and scoots after Finnegan. TRILLIAN -LRB- CONT'D. -RRB- I heard you say you grew up in the projects in the Bronx. Reaching the top of the ladder, she clambers onto the catwalk next to Finnegan, who is deciding which way to go. TRILLIAN -LRB- CONT'D. -RRB- Trillian Daley. She holds out her hand. TRILLIAN -LRB- CONT'D. -RRB- Projects. South Chicago. Finnegan ignores her hand. FINNEGAN Finnegan. John J. now that we've been properly introduced, can we get the hell out of here? Finnegan starts to walk down the catwalk. TRILLIAN So this boat of yours. that's what you do? Give people. rides. FINNEGAN That's what I do. TRILLIAN Seen a lot of islands? FINNEGAN Quite a few. TRILLIAN Since I'm a kid, I had this dream. I want to own my own tropical island. Beaches, warm ocean, lots of food, little clothes. population of one. FINNEGAN Anti social? TRILLIAN Self sufficient. FINNEGAN With the emphasis on SELF, and in selfish, right? TRILLIAN Takes one to know one. SNAP! A TENTACLE SHOOTS OUT between Finnegan and Trillian. Just missing them as it SLAMS into a wall. Finnegan falls onto the catwalk, drops his rifle, unarmed. Trillian, freaked, stumbles back and lands on her butt. Finnegan sits up against the walls, turns and looks - The TENTACLE slowly SQUIRMS across the wall like a big leach. Trying to find its prey. Finnegan is frozen in place. Watching. Trillian sits up, eyes widening in fear as she sees - Hideous little worm - like FEELERS and SUCKERS protrude up and down the Tentacle. WRIGGLING and WRITHING and feeling their way across the wall. Getting closer and closer to Finnegan. Finnegan's eyes go to his pulse - rifle close to Trillian's feet. He motions for her to push it toward him. But, frozen in fear, she can only watch the slithering horror before her. Tongue - like, the Feelers lick their way across the oily wall. FINNEGAN DUCKS as they squirm over his head. Then he BRUSHES against some dirt, making a SCRAPING SOUND. A Feeler quickly drops down and touches Finnegan's arm. He leaps to his feet. So does Trillian. She grabs the rifle, turns and bolts off down the dark alley. Finnegan tries to run, but the Feelers hold him tight. Two more Feelers slap onto his arm. HE YELLS. The Creature starts reeling him in. ANGLE ON : Trillian, running. Finnegan's YELL reaches her. She stops cold. Looking back the way she came, torn. ANGLE ON : Finnegan, fighting for all he is worth, being reeled into the mass of machinery by the tentacle. When. out of the darkness, Trillian suddenly comes running back. Panting hard, she aims the gun. FINNEGAN Shoot it! Shoot it! Spurred to action, Trillian jams the rifle barrel against the tentacle and pulls the trigger. Nothing happens. FINNEGAN -LRB- CONT'D. -RRB- The safety! The safety! Trillian frantically fumbles around, looking for the right lever on the complicated, sophisticated weapon, trying to find it. TRILLIAN I do n't know where it is! FINNEGAN On the side! Desperate, unable to find it, she does the next best thing. she swings her rifle like it's a baseball bat. SMACKS the TENTACLE. HARD. RIPPING into its flesh. It SQUIRTS ink blood, releases Finnegan and recoils. Finnegan drops to his knees. Grabbing his arm, in pain. The tentacle recovers and starts coming toward him again. Trillian grabs him, and with all her strength, jerks him to his feet, and starts to drag him backward. The tentacle coils, ready to strike. Just before it does so, Finnegan grabs the rifle with his one good arm, flips the safety, and fires, blasting the tentacle to pieces. FINNEGAN -LRB- CONT'D. -RRB- Let's get the hell out of here! Finnegan staggers to his feet. He and Trillian run off.",
"ENGINE ROOM - NIGHT Trillian and Finnegan come running around a corner, and stop to catch their breath. FINNEGAN -LRB- annoyed. -RRB- The safety. the safety. He flicks the safety on and off. FINNEGAN -LRB- CONT'D. -RRB- Got it? TRILLIAN -LRB- pissed. -RRB- Hey! I did n't have to come back. FINNEGAN Yeah you did. TRILLIAN -LRB- defensive. -RRB- Right. You have a boat. FINNEGAN Boat or no boat. You woulda come back anyway. You're that kind of gal. TRILLIAN Oh yeah? What kind is that? FINNEGAN The `` come back'' kind. TRILLIAN How do you know that? FINNEGAN Takes one to know one. Finnegan's small smile makes Trillian acutely uncomfortable. V.O. HEELLPP!",
"ENGINE ROOM - NIGHT The Captain is stuck in a strange gelatinous spider web. Struggling, frantic. But the more he struggles, the more enmeshed he gets. He holds his hands out beseechingly to Canton, who stands looking at him in terror. CAPTAIN Help me! But Canton does not move. All of a sudden Canton sees something deep in the web, behind the Captain, which makes his blood freeze. CAPTAIN -LRB- CONT'D. -RRB- What is it? Canton takes a few steps back. CAPTAIN -LRB- CONT'D. -RRB- What?! WHAT?! The Captain tries to look over his shoulder to see what it is. There is a DARK MOVEMENT deep within the spider web. CAPTAIN -LRB- CONT'D. -RRB- HELP ME, CANTON! HELP MEEEEEEE! ANGLE ON : Finnegan and Trillian racing across a catwalk. Below them, they can see Canton backing away from the Captain. FINNEGAN Grab his hands! Canton looks up, stunned, as he sees Finnegan and Trillian rushing down from the catwalk. CAPTAIN CANTON! HELP! Canton backs away from the Captain, as the Captain's struggle draws him further into the web. The Captain's eyes bulge, horrified, as he feels SOMETHING inside the spider web GRAB him from behind. CAPTAIN -LRB- CONT'D. -RRB- IT HURTS! IT HURRRRRTTTTTSSSS! He struggles WILDLY. Then starts to freeze up as the tentacles wrap around him. Finnegan and Trillian race across the floor as the Captain is slowly sucked deeper into the spider web ; his face and body bady constricting, paralyzed. His VOICE is CHOKED OFF. Hanover, Chin, Mamooli and Pantucci burst out of another alleyway. Finnegan and Trillian reach the Captain just as his FACE is SUCKED into the gelatinous web. They skid to a stop. Everybody piles up. Eyes wide. Watching as the Captain's body is pulled deeper into the dark web. Tentacles enveloping him. HANOVER -LRB- to Canton. -RRB- Where is the closest hatch? Canton still pressed against the wall, staring at the spot the Captain disappeared, talking to himself. CANTON I never meant for anyone to get hurt. it was supposed to be clean. Hanover grabs Canton by the front of his tattered tuxedo jacket. HANOVER You hypocritical bastard. all you gave a shit about was the money. where's the hatch! Canton points down a darkened passageway. HANOVER -LRB- CONT'D. -RRB- Alright let's move out. you two on point. He looks at an uneasy Mamooli and Chin. FINNEGAN Joey. Which way's aft? PANTUCCI That way. He points in the opposite direction. HANOVER Who gives a shit about aft? FINNEGAN That's where my boat's moored. HANOVER You trying to take over my show Finnegan, that what you trying to do? FINNEGAN Just trying to get to my boat. Finnegan takes off down a catwalk in the opposite direction that disappears in the dark. Pantucci is right with him. Trillian, a step behind. HANOVER -LRB- yelling. -RRB- You stay away from that vault! You hear me? Just before he steps into the darkness, Finnegan calls over his shoulder. FINNEGAN They respond to sound. He disappears into the dark. Canton looks at Hanover for a long moment, and then takes off after Finnegan. The other two mercs look at Hanover, wavering. HANOVER -LRB- tense. -RRB- What? The sound of his voice makes the two mercs look around nervously. MAMOOLI -LRB- whispered. -RRB- He made sense. HANOVER -LRB- loud. -RRB- He's a bloody. And then conscious of his voice reverberating. HANOVER -LRB- CONT'D. -RRB- -LRB- whispered. -RRB-. he's a bloody taxi driver! Chin breaks for the catwalk, hurrying after Finnegan. Hanover stands with a very antsy Mamooli, steaming. After a long moment, he strides off after Finnegan as well.",
"BALLAST PASSAGEWAY - DAY In SLOW - MO, Finnegan and the others creep down a darkened, pipe - lined passageway. Guns out front. Sight beams sweeping the path ahead. Eyes wide open. Sweat sliding down their faces. Breath coming in short nervous bursts. Hearts pounding out of chests. The ominous MUSICAL SCORE adds to the tension. Then the EMERGENCY LIGHTING KICKS ON. A creepy - looking reddish - blue glow is cast throughout the ship. Finnegan continues on. Followed by the others. All sweating hard. Eyes nervously shifting. Fear thick in the air. LOOKING DOWN THROUGH A METAL GATE, we SEE Finnegan, Trillian and the others passing below. Then suddenly, in the dark foreground - SOMETHING WET WRIGGLES across the gate. They come to a door. Finnegan tries the handle. No go. Finnegan turns to Canton, and mimes for keys. Canton shakes his head. He has none. HANOVER -LRB- whispered. -RRB- Very good Finnegan. very good. Trillian moves up to Finnegan. She reaches into her hair, and pulls out her trusty lockpick. As he watches, somewhat mystified, she inserts the pin, tickles the lock a few times, and depresses the handle. Click! The door opens. Finnegan looks at her curiously, but with respect.",
"BALLAST SECTION - DAY They ENTER the rear ballast section, where the walls are indeed far apart, half of which is now a small POND. Obviously flooded. The only way out of this room is down some STEPS which VANISH beneath the seawater, or through a single violently twisted HATCH DOOR. Finnegan tries to push the hatch. It will not give. Mamooli and Chin join him, adding their considerable muscle to the task. The hatch holds tight. Finnegan turns to Canton, who stands slumped against a railing. He does not look well at all. FINNEGAN What's on the far side? CANTON I do n't know. PANTUCCI -LRB- nerves. -RRB- It's your damn ship! What the hell do you mean you do n't know? Finnegan touches Pantucci's shoulder. FINNEGAN Joey, what difference does it make. Finnegan enters the water. FINNEGAN -LRB- CONT'D. -RRB- If you hear one shot, you know I made it. start coming. Pantucci follows Finnegan to the water. HANOVER How do we know you're going to signal. how do we know you're not going to just take off? Finnegan stops. FINNEGAN I'll wait here. You go check it out. Hanover does not move. FINNEGAN -LRB- CONT'D. -RRB- -LRB- contemptuous. -RRB- I did n't think so. Finnegan wades into the water. Just before he sinks beneath the surface. TRILLIAN Finnegan. He looks back. TRILLIAN -LRB- CONT'D. -RRB- Be careful. With a smile, Finnegan dives under. Pantucci right behind him. The others stand looking around, nervous.",
"UNDERWATER - NIGHT Finnegan SWIMS down to the floor of the ballast. Then into a passageway lined with black pipes. Pantucci right behind him. STRANGE NOISES REVERBERATE through the MURKY waters. CREAKS and MOANS. Spooky shit. Both men are wide - eyed as they swim. Weaving their way through a maze of pipes and ducts. The THINGS could come out of almost anywhere. Bubbles drift up from the darkness below. The MUSIC IS TENSE. VERY VERY TENSE. Pantucci falls behind. He swims around a curve and right into a SEVERED HUMAN ARM! AIR BUBBLES BLAST out of his mouth as he SCREAMS. The fingers on the dead hand seem to reach out for him. He fights his way past and swims off in a panic.",
"BALLAST - NIGHT Trillian stares down into the water. Hanover keeps a sharp, nervous eye back down the catwalk, white - knuckling his pulse rifle. Chin and Mamooli keep watch, tight lipped. Canton paces back and forth, driven by anxiety. HANOVER Stop pacing. Canton acts as if he does not hear. He keeps pacing. Hanover chops sharply with the stock of his rifle into Canton's arm. Canton crumbles against the railing, in pain. CANTON AAAAHHHH! HANOVER You deaf? TRILLIAN Why do n't you back off? HANOVER You want some too? Hanover's jaw clenches. He releases the safety on his rifle, the click resounding ominously in the hollow room. TRILLIAN How brave we are. Trillian's eyes fix on Hanover's, unwavering. A Mexican standoff. MAMOOLI Hanover! Everyone turn to. A giant ball of black, wet, OOZING RUBBER UNDULATES down the gangway. Coming straight at them. A mass of glistening striated MUSCLE. HANOVER Fire! The three men open up with their pulse rifles. The CREATURE gets RIPPED TO SHREDS. Red and blue INK - BLOOD SPLATTERS everywhere. But onward it comes. Down the gangway. Trillian grabs the pistol off Chin's utility belt, and opens fire. Canton jumps into the water and disappears.",
"KITCHEN - NIGHT Finnegan explodes to the surface. GASPING for air. He reaches down and yanks a half drowned Pantucci up next to him. They both look up to gunfire exploding in the distance.",
"BALLAST ROOM - NIGHT The creature keeps coming. The mercs keep firing. Then without warning Hanover drops his rifle and dives into the water, disappearing beneath the surface. Trillian is astounded. She throws down her pistol, picks up the pulse rifle, and slams on the trigger. The recoil of the rifle throws her into the water. When she surfaces, she sees Chin and Mamooli, firing as they retreat to the water's edge. Still holding her rifle, she dives.",
"UNDERWATER - NIGHT Trillian swims down a violently SHAKING PASSAGEWAY. Eyes wide. Filled with fear. All around, DEBRIS DROPS through the water. Primordial SOUNDS REVERBERATE off the walls. Lots of BUBBLING and GURGLING - THEN SOMETHING LUNGES OUT! TRILLIAN OPENS UP. FIRING wildly. The water fills with FIRE and BUBBLES. Trillian looks around. Scared shitless. The bubbles clear just in time for her to see - Chin, mouth open, eyes wide, screaming in agony, being ripped past her. She tries to fire her rifle. Too late. Trillian watches as Chin VANISHES down the shaft in a CLOUD OF BUBBLES.",
"KITCHEN - NIGHT TRILLIAN BURSTS to the surface. FINNEGAN YANKS her up and out of the water. FINNEGAN You O.K? Trillian can only nod, and gasp for breath. Canton and Hanover catch their breath, PANTING AWAY, waterlogged. Hanover reaches over to retrieve the rifle in Trillian's hand. Trillian points the barrel at him, and hits the safety. TRILLIAN -LRB- grim. -RRB- Finders keepers. Mamooli bursts out of the water, falling on the floor, close to panic mode. MAMOOLI Where's Chin? TRILLIAN Gone. MAMOOLI This is not real! This is not bloody real! Finnegan TOPPLES a large, heavy metal BROILER onto the open floor gate, sealing the watery hole in the floor. There are two hatches in this room. The far hatch is closed. Mamooli stands next to an OPEN HATCH. Canton points to it. CANTON Through there. another sixty, seventy yards. there are more elevators there. PANTUCCI I ai n't goin' up no more elevators. CANTON There's stairways. Mamooli SLAMS the HATCH SHUT. Eyes bugging out of his head. MAMOOLI I say we stay right here! PANTUCCI Are you crazy? MAMOOLI -LRB- desperate. -RRB- There's plenty of food here. We can hold out. someone'll rescue us. FINNEGAN Who? MAMOOLI Someone. maybe they sent an SOS! PANTUCCI On what? This son of a bitch. -LRB- to Canton. -RRB- zapped the communications. HANOVER Mamooli stand down! MAMOOLI We do n't even know if his boat is still there. you saw Billy! FINNEGAN Boat or no boat. I'm going. Finnegan steps forward. Mamooli aims his rifle right at Finnegan's head. MAMOOLI They're wipin' us out one at a time. I say we make a stand. Right here! Right now! Maximum firepower! PANTUCCI Somebody shoot this jerk! FINNEGAN -LRB- calm. -RRB- Nobody's shooting nobody. come on, just let us through the hatch! MAMOOLI I'll kill you! I'll fucking kill you! I'll do it! I'll do it! I'm not playin' around here! Finnegan freezes. CLOSE ON : The hatch. As a BLACK LIQUID starts to OOZE through a tiny latch - hole. No one sees it. FINNEGAN I once saw a guy put a fish in a bottle, then he corked it, sealing it tight, and threw it to a baby octopus. The little sucker felt its way around that bottle, and in less than two minutes, got that cork off, slid inside, and ate that fish. MAMOOLI What the hell are you talking about? FINNEGAN Us. I'm talking about us. We're the fish. The LIQUID SHADOW OOZES down and hits the floor, starts to EXPAND, filling like a water balloon. It's not a liquid. It's a Tentacle. VEINS, FEELERS and SUCKERS begin to form. MAMOOLI And what? These things are octopuses FINNEGAN I do n't know what these things are. all I know is. The TENTACLE slowly RISES UP right behind Mamooli. Inches behind his head. Finnegan and Hanover see it. Eyes widening. MAMOOLI What? What? Mamooli turns to the tentacle looming over him, about to strike. MAMOOLI -LRB- CONT'D. -RRB- EEEEYYYYYAAAAHHHH! He opens fire, emptying his clip into the tentacle. The tentacle retreats into the pipes. Mamooli looks around. The room is empty. He runs out.",
"PASSAGEWAY - NIGHT Mamooli rushes into the empty passageway, looks left. Then right. His POV. Down the hall another TENTACLE comes racing at him. Mamooli panics, drops his rifle. TRACK WITH Mamooli racing down the hallway, looking over his shoulder in fear, as the tentacle comes racing after him. gaining. gaining. almost on him. Mamooli leaps through an open hatch, and swings it shut in one swift motion. The tentacle slams into the glass portal. Stopped. Mamooli keeps his eye on the portal, and backs up two steps. He lets out a long deep breath of relief, turns. WHAM! Another tentacle envelops his face! MAMOOLI EEEYYYAAAHHHH!",
"MECHANICAL CHAMBER - NIGHT Dante's Inferno : STEAM, SMOKE, FIRE, STRANGE NOISES, DARK AREAS, and lots of MOVING ENGINE PARTS. Finnegan leads, followed by Trillian, Hanover, Pantucci, and Canton. We can HEAR their HEARTS BEATING. Scary shit. Finnegan heads for a open HATCH. It suddenly SLAMS SHUT. He instantly VEERS down another passageway. PANTUCCI What the hell is going on! Finnegan heads for another open HATCHWAY. It also SLAMS SHUT. FINNEGAN They're herding us. Finnegan and company keep going. HANOVER What are you talking about? As they round a corner, the CEILING IMPLODES right in front of them. PIPES and OTHER MATTER CRASH down. Cutting them off. Leaving only one route open. a slim passageway. FINNEGAN Like cattle. TRILLIAN You're saying they can think? FINNEGAN I'm saying they're calling the shots. Finnegan heads toward the passageway. CANTON Do we have to go there? The ceiling left above them begins to torque, and splits. The answer is plain. Everyone runs into the passage just as the ceiling comes down.",
"PASSAGEWAY - NIGHT Finnegan leads them single - file, they quickly head into a SHAKING narrow void. Fear has led to silence, and unbearable tension. The walls on either side creak, and moan with strange noises.",
"MID-HULL - NIGHT Finnegan quickly comes out of the CREAKING, MOANING GANGWAY, followed by the others. All the STRANGE NOISES suddenly STOP. Everything gets quiet. Finnegan freezes. Something's wrong. Everybody looks around. STEAM SHOOTS OUT from multiple pipes. The air is thick with MIST. TRILLIAN What's the matter? FINNEGAN The quiet. HANOVER Maybe we lost them. FINNEGAN Or maybe we're exactly where they want us to be. Finnegan moves on. The others follow. Guns out front. TENSE. They round a huge metal pillar and come face - to - face with a soul - wrenching nightmare. The CREATURES' NEST - OR STOMACH. Across a small portion of the ship's midsection, is a huge GELATINOUS WOMB. Imagine a massive thick wall of clear - yellow JELL - O, with hundreds of BLUE VEINS running through it. If it were n't all so horrific, it would be considered beautiful. Inside the womb, A DOZEN HUMANS, passengers, float around in some kind of twisted embryonic state, the living dead. They all seem to be breathing the gelatin. Several TENTACLES WRIGGLE through the stuff ; which divides and re forms in some sort of strange mitosis. Finnegan and the others look at the passengers, horrified. But even more horrifying is that the people can look back at them. Many start to reach out, seemingly in slow motion as their hands ooze through the thick gelatin. Trillian looks sick, trembles in fear. TRILLIAN What is it? FINNEGAN A meat locker. TRILLIAN We ca n't just leave them here. Canton looks like he's about to throw up, he starts backing away, heading for a side hatch. CANTON I can. In the womb, a Tentacle suddenly approaches a sexy young LADY. The Lady tries to back - pedal away, but because of the gelatin, it's like one of those nightmares where you can only move in slow motion. The FEELERS GRIP her naked thigh. She tries to scream, but her face is already starting to constrict, her whole body is being paralyzed. Pantucci is so horrified he's about to cry. PANTUCCI Oh no. oh God please no. The TENTACLE - SAC gloms onto the Lady's forehead. THROUGH THE SAC we can SEE her SKIN MELTING. The only thing she can move are her EYES, which are bugging - out in absolute horror as she is imbibed alive. Our heroes are frozen in fear. Until the Lady's EYES LIQUEFY. Trillian burries her head in Finnegan's shoulder, trying to shut out the horror. FINNEGAN We ca n't do anything for them. Let's go. He begins to lead her toward the hatch. when her eyes recognized the old lady with the orchid in her hair. The old lady seems to see her too. Her hands read out, IMPLORING. Her mouth silently shapes the words : HELP ME! Just as a tentacle comes creeping toward her. TRILLIAN NOOO! Her rage rises. She hefts her rifle, and starts blasting away. TRILLIAN -LRB- CONT'D. -RRB- You wo n't get her! You wo n't! Spitting FLAMES and SMOKE. The BULLETS IMPACT the gelatin. BLASTING IT AWAY. But the bullets only manage to go about twenty feet into the thick shit before gliding to a stop. GELATIN EXPLODES all over the place. TRACER HOLES STREAK through the stuff. But all the bullets are sliding short. TRILLIAN -LRB- CONT'D. -RRB- Finnegan. do something! Please! Finnegan looks around and spots the place in the ceiling where most of the Tentacles are coming from. Their long TAILS WIGGLE down from a massive clutter of pipes. A bas - relief of horror. Finnegan reaches over and yanks two thermite grenades off Hanover's utility belt. HANOVER Finnegan, No! bites the pins and spits them out. FINNEGAN Eat this. He chucks the grenades up into the strange WRITHING FRESCO, safely clear of the passengers. FINNEGAN -LRB- CONT'D. -RRB- FIRE IN THE HOLE! Pantucci and Hanover throw themselves to the floor. Finnegan pulls Trillian down, covering her. BA - WOOM! GELATIN SPRAYS EVERYWHERE.",
"FUJI MARU - SAME TIME A loud, creepy, suction - like SOUND is HEARD, that strange pitter - patter of little feet running across the hull. Then the HULL begins to MOAN and CREAK from an UNSEEN PRESSURE.",
"MID HULL - NIGHT All the MOVEMENT STOPS. The remaining TENTACLES VANISH into the machinery. Pantucci, and Hanover look up from the floor, covered in slime. Finnegan and Trillian also look up. and then look at each other face to face. inches apart. Dripping with slime. FINNEGAN Looking good. TRILLIAN You should talk. Then the machinery shuts down. The engines go dead. ALL SOUND CUTS OUT. An expectant hush. Somewhere, WATER DRIPS. WE GO EXTREMELY CLOSE ON Trillian's EYES. Pantucci's EYES. Hanover's EYES. Finnegan's EYES. The air is riddled with ominous expectation. And that's when the HULL BEGINS TO TORQUE. RIVETS POP and SNAP. WATER SPRAYS. METAL BUCKLES. At the far end of the ship, part of the LOWER BOW RIPS OPEN! AND A WALL OF WATER RUSHES IN. FLOOD CITY! Finnegan's eyes widen as he sees -LRB- MODEL SHOT -RRB- the massive WAVE OF WATER CRASHING TOWARDS THEM. RIPPING OUT PIPES, DUCTS, WALLS, EQUIPMENT and EVERYTHING in front of it. FINNEGAN GO! GO! GO! They all hightail it for hatches. Finnegan and Trillian make it into one hatch. Hanover and Pantucci make it into another. WATER CRASHES and SPRAYS behind them.",
"FUJI MARU - NIGHT Massive AIR BUBBLES EXPLODE out from under the bow.",
"FUJI MARU - NIGHT RED WARNING LIGHTS FLASH up and down every passageway. And a CLAXTON RINGS, in accelerating tones, giving a frenetic urgency to ALL OF THE",
"A PASSAGEWAY: WATER BLASTS through a hatch and CHASES Finnegan and Trillian down a passageway. They jag left at an intersection - WATER BLASTS through the hatch directly in front of them. FINNEGAN We're going to sink! We've got to get on deck! They backtrack. Trillian's now in the lead. They HAUL ASS down a hallway. WATER ROARING IN from everywhere behind them. All of the watertight HATCHES begin to hydraulically CLOSE. Trillian and Finnegan JAG into a hatch. It's a small room. The hatch in front of them closes. WATER BLASTS in behind them. SWEEPS them off their feet. The ROOM quickly starts to FILL UP. Trillian pulls frantically at the hatch.",
"NARROW PASSAGEWAY - NIGHT Hanover and Pantucci quickly slog their way through knee - high water. Pantucci stumbles into the water, frantically scrambles up. He looks back - UNDER THE WATER, INKY FORMS hurl themselves down the passageway right towards him. Pantucci YELPS, and splashes away.",
"SUBMERGING ROOM - NIGHT Trillian and Finnegan pull with all their might on a tiny portal. Finnegan tries to insert the blade of his knife in the crack. TRILLIAN So how do you get from the Bronx to the South China sea? FINNEGAN You quit high school, lie about your age, join the navy, and next thing you know, four years are up and you need a way to make a living. The knife blade slips into the crack. FINNEGAN -LRB- CONT'D. -RRB- I'll break the seal! Pull. He yanks the blade. Trillian pulls. The seal pops. The portal flies open. Waist - high in water, Trillian sticks her arm out, tries to get her shoulder out, but there's no chance in hell of that. TRILLIAN Too small! She pulls her arm out. And a TENTACLE LUNGES IN. Just missing Trillian. It SPLASHES under the water. GRABS Finnegan's ankle. Pulls him under. FINNEGAN sticks the barrel of his gun underwater and OPENS FIRE. WATER EXPLODES. The Tentacle recoils. And rips itself back out the porthole. Trillian SLAMS the PORTHOLE SHUT and dogs it tight. The WATER QUICKLY RISES.",
"PASSAGEWAY - NIGHT Pantucci and Hanover hauling ass. Hanover pulls out his last two Thermite grenades. Pantucci panics and grabs for them. PANTUCCI Gim me one! Gim me one! He knocks both of them out of Hanover's hands. They DISAPPEAR under the water. HANOVER You idiot! They quickly fumble around in the water, trying to find them. A TENTACLE BLASTS around the corner. Partially obscured by the wave in front of it. Heading right for them. Hanover finds the two grenades. Gives one to Pantucci. They rip the pins out and toss the grenades behind them. Then HAUL ASS faster. The Tentacle right behind them. A BEAT. And then the GRENADES EXPLODE, BA - WOOM! BA - WOOM!",
"FUJI MARY - NIGHT The storm hammers the deck. Canton staggers out onto the RAIN SLICKED DECK just in time to see - A HOLE BEING BLOWN OUT the side of the Fuji Maru's HULL. BUBBLES continue to EXPLODE OUT from under the bow. CANTON Oh my God, it's going to sink. Then slowly, Canton gets a gleam in his eye, now thrilled. CANTON -LRB- CONT'D. -RRB- It's going to sink.",
"SUBMERGED ROOM - NIGHT Finnegan and Trillian are getting banged around the frothy WATER as it quickly RISES. Now only inches from the ceiling. Trapped. They're about to drown. Finnegan keeps looking around, trying to figure a way out. TRILLIAN I was so goddamn close, Finnegan! So goddamn close to my island. I could almost taste the sand. FINNEGAN Keep tasting. Finnegan shoves the pulse rifle to the ceiling. And blasts away until part of the ceiling falls out and into the water. There's just enough room between two metal beams to get out. The rising WATER SHOVES them up through the hole.",
"PASSAGEWAY - NIGHT Side - by - side, Hanover and Pantucci quickly slog their way through waist - high water. They round a corner and look back - INKY FORMS SLOSH around the corner. Heading right for them. They slog faster. PANTUCCI They're catchin' up! They're catchin' up! We got ta slow'em down! HANOVER Feed them. That'll slow them down. A black STRIATED MUSCLE ROILS out of the foamy water, then quickly VANISHES under it, heading straight for them. PANTUCCI Feed'em?! Okay! All right! Feed'em what? WHAT ARE WE GON NA FEED 'EM?! Hanover takes his pistol and SHOOTS Pantucci in the leg, BLAM! Pantucci SCREAMS. FALLS into the water. Hanover RUNS on. Pantucci does n't even have time to deal with the pain. He starts SCRAMBLING through the water. UNDERWATER, the INKY FORMS RACE AFTER HIM. Only meters away. Pantucci throws himself into the opening of a dumbwaiter. SLAMS the DOOR SHUT. The TENTACLE ATTACKS the door. WORMING its way across the surface, trying to find a way inside. Pantucci is scared beyond his pain. Pushing back as far as he can against the rear wall, he sees the control button. He presses the up arrow. The dumbwaiter starts to move.",
"FUJI MARU REAR DECK - DAY The Saipan is still bobbing behind the Fuji Maru. But the HARPOON HOOK, which holds the tow - line and is embedded into the rear deck of the ship, is starting to PRY LOOSE. It JERKS and BUCKS against the metal wall. Canton does n't notice this as he slips and slides his way up to the railing. He sees the Saipan and smiles. Then he looks off at - AN ISLAND rising out of the ocean. About a mile away. Canton starts to climb over the railing. And that's when the HARPOON HOOK RIPS FREE. WHIZZES FORWARD. And IMPALES Canton's LEG. He SCREAMS. Tries to spin free. The hook hangs onto his leg for a long, agonizing BEAT as Canton continues to SCREAM. Then the HOOK RIPS FREE, grabs the METAL RAILING and starts TEARING IT off the deck. Canton drops to the deck, holding his leg and whimpering in pain. And then he sees it - A SPEEDBOAT dangling from its harness down on the watersports platform. Canton starts to crawl for it. Moaning and bleeding.",
"CRYSTAL POOL DECK - NIGHT Finnegan and Trillian race up onto the pool deck. Passing beneath a colorful NEON SIGN which READS : `` THE FUJI MARU - YOUR FUN SHIP'' In the dark, Trillian trips. She falls to the slippery, waterlogged deck, and SCREAMS. TRILLIAN EEEEEYYYYYAAAAHHHH! clawing at her face. Finnegan pulls her hands from her face. and the thing that attached itself there. a small squid from the shattered aquarium. TRILLIAN -LRB- CONT'D. -RRB- -LRB- freaked. -RRB- Ah. ah. ah. Tries to catch her breath. FINNEGAN It's OK. it's not one of them. it's from the aquarium. it's. And then it dawns on Finnegan. FINNEGAN -LRB- CONT'D. -RRB- It's not them. it's it. TRILLIAN What? FINNEGAN You know what kind of force it took to rip open the bow of this ship? A million little things like this. He holds up the squid. FINNEGAN -LRB- CONT'D. -RRB- ca n't exert that kind of pressure. And the way it tracked us? A million little things do n't carry portable phones to coordinate positions. What's chasing us. it's one. thing. one giant. thing.",
"ARIAL POV - MATTE FX SHOT - NIGHT looking down on the Fuji Maru from high up in the air. Beneath the ENTIRE SHIP is an enormous, undulating BLACK SHADOW. A massive monster from the deep.",
"CASINO - NIGHT RED WARNING LIGHTS FLASH. The CLAXTON RINGS. Off to one side of a wall, behind the bar, the dumbwaiter door opens, and Pantucci tumbles out, looks around, and then hears. HANOVER -LRB- V.O. -RRB- Help! Help! Pantucci limps around the bar, down a row of one armed bandits. rounds a corner, comes face - to - face with Hanover. Hanover's eyes are filled with terror and despair. His face is badly constricted. His body paralyzed. He clings to a black - jack table as a Tentacle - Sac drinks its way up his leg. It's already to his hip. He grasps desperately for his pistol, just beyond his reach on the floor. This guy ai n't gon na survive. PANTUCCI YELPS and quickly back away, eyes wide, totally tense. He looks around, sees that there's only one Tentacle, and it's completely occupied with devouring Hanover. Pantucci is wigged, but manages to lock eyes with Hanover. Then he looks at the Sac, filled with regurgitated flesh. PANTUCCI even you do n't deserve this. Pantucci picks up Hanover's pistol. Then slowly, cautiously, he creeps forward, and sticks the gun into Hanover's TWITCHING HAND. PANTUCCI -LRB- CONT'D. -RRB- I'm sorry man. He turns and quickly limps off. Hanover's EYES look down at the gun in his hand. Then, with all the strength he has left, he slowly, painfully, turns the pistol so it points at his head. CLOSE ON : Hanover's trembling FINGER. As it slowly squeezes the trigger. He want to kill himself. Needs to hill himself. He squeezes harder. The TRIGGER DEPRESSES! - CLICK! The gun is empty. Hanover's mouth opens in a horrible, silent scream.",
"REAR DECK - SAME TIME Finnegan and Trillian race out onto the rear deck just as the HARPOON HOOK finishes TEARING the railing off the ship. The HOOK, the TOW - LINE, and the ENTIRE RAILING DROP over the side and fall OUT OF SIGHT. The TWO BOATS are now UNCOUPLED. Finnegan reels at the rain soaked sky. FINNEGAN Will somebody give me a break here? And that's when Finnegan and Trillian hear the SOUND of a HYDRAULIC HOIST. They look over -",
"AT THE WATERSPORTS PLATFORM: The speedboat is being hydraulically lowered into the water. Canton sits inside, fiddling with the ignition. ANGLE ON : Trillian and Finnegan racing down the spiral stairs leading to the watersports platform. TRILLIAN Wait! Stop! The boat touches down into the water. CANTON I'd like to but I have an appointment with my insurance broker! He HITS the HOIST - RELEASE BUTTON. The speedboat breaks free. Canton HITS the IGNITION. The boat's ENGINE ROARS. CANTON -LRB- CONT'D. -RRB- Life takes the damndest turns, does n't it? He red - lines the THROTTLE. The SPEEDBOAT HAULS ASS away from the cruiseliner. Canton steers for the island. Smiling. ANGLE ON : Trillian IN HER RAGE. TRILLIAN You son of a bitch! She grabs Finnegan's pulse rifle, hefts it to her shoulder. FINNEGAN Look! He forces her to look in the distance. Their POV. The island. TRILLIAN Oh my god! Oh my god! How do we do it? How do we get there? FINNEGAN Not like him. Finnegan points to the water. and an INKY PSEUDOPOD FORM racing after the speedboat underwater. FINNEGAN -LRB- CONT'D. -RRB- It's the engine. it can hear the engine. it goes for the loudest sound. The Tentacle quickly picks up speed, going faster and faster, getting closer and closer, stretching further and further. Suddenly, behind them, a METALLIC THRASHING SOUND is HEARD. They turn around and look - The hook, the tow - line, and the entire railing have dropped down onto the watersports platform and are tangled up around the two jet skis, trying to tear free - The Saipan is still clinging by its fingernails to the Fuji Maru! Finnegan races over to a WINCH and grabs the winch - line.",
"SPEEDBOAT - NIGHT Canton, smiling brightly, peers at the approaching island through the speedboat's windscreen. So relieved he sings to himself, from the operetta H.M.S. PINAFORE. CANTON Oh we sail the ocean blue, and our mighty ship's a beauty. We are strong men, yes it's true, and responsive to our duty. When. YANK! the SPEEDBOAT is GRABBED from below, practically exploding as it DISINTEGRATES into TWO PIECES. Canton is PROPELLED through the windscreen and onto the hood.",
"WATERSPORT PLATFORM - NIGHT Finnegan struggles to clip the winch - line onto the tow - line, hanging precariously over the edge of the ship, clip in one hand, winch - line in the other. The whole METAL MESS is BUCKING and TWISTING and SCREECHING. His every joint is being ripped out of socket as he strains to get the clip on the line before the entire rig tears away into the sea. With one last heroic effort of will and grit, he snaps the clip in place just as it all BREAKS LOOSE. One of the JET SKIS and the ENTIRE RAILING are RIPPED over the side and fall down into the ocean. Finnegan is also YANKED over the side, but he manages to hold on by his fingers, dangling precariously. FINNEGAN Hit it! Hit it! The HOOK and the TOW - LINE drop - then SNAP TAUGHT as the winch - line holds them tight. Trillian throws the start lever on the winch. The WINCH KICKS ON and starts reeling in the Saipan. Finnegan tries to crawl up on the deck, exhausted. Trillian reaches down and pulls him the rest of the way up. He half collapses on top of her. TRILLIAN You know, Finnegan, I'm starting to believe what you said about you not being born to die on a luxury liner. Despite the grimness of their position, the closeness of their bodies is. a turn on. to both of them. and then a SCREAM from the sea. They look in the direction of.",
"SPEEDBOAT - NIGHT Canton is pinned to the hood of the speedboat, his face shredded by glass, his leg mangled, screaming as his panicked eyes watch a TENTACLE slowly squirm across the hood toward him, it's hideous feelers writhe and arch. Canton backs away from it as far as he can. Another TENTACLE SQUIRMS up next to him. Canton crawls away from that one. Its Feelers and Suckers unsheathe, dripping mucus. Canton's eyes widen, horrified. Then another TENTACLE SQUIRMS up. Canton crawls to the center of the hood. And another TENTACLE. Canton has nowhere to go. The Tentacles close in on him. CANTON No! No! No! All the tentacles rise over him, about to descend. CANTON -LRB- CONT'D. -RRB- NOOOOOOOOOOOO!",
"FUJI MARU - NIGHT Finnegan and Trillian race for all they are worth, clamber over the side of the Fuji Maru, dropping to the deck of the Saipan.",
"SAIPAN - NIGHT Finnegan and Trillian slowly clamber through the hold, waist deep in water, on edge, eyes wide, watching for any sign of trouble. It's quiet in here. Maybe too quiet. TRILLIAN -LRB- quietly. -RRB- Finnegan. FINNEGAN Yeah. TRILLIAN the minute you start your engines. it's going to kill us, is n't it? They step up to one of the big CRATES. Finnegan starts SMASHING it with the butt of his pulse - rifle. The CRATE BURST OPEN. REVEALING the WARHEAD of the torpedo. Trillian is stunned. FINNEGAN Not unless we kill it first. Finnegan SMASHES more of the CRATE, it falls apart, REVEALING the entire torpedo. He hands her his pulse rifle. FINNEGAN -LRB- CONT'D. -RRB- Anything moves, you shoot. Finnegan starts to yank open the top plates of the missile head. Trillian looks around nervously. FINNEGAN -LRB- CONT'D. -RRB- There's not much horsepower left in the engines, but there's enough noise. once this baby's set. I'll rev it up. that slimy bastard will come for it like candy. TRILLIAN If you blow up your boat, how are we going to get to the island? FINNEGAN Jet ski. there's one left up there. The plate comes loose. Revealing a gaggle of wires, and parts. FINNEGAN -LRB- CONT'D. -RRB- let's see, it was red wire cross compressor blue wire. or blue cross red? He starts to fiddle with the wires. - Suddenly, there's a LOUD SLOSHING SOUND right behind them! CRATES TOPPLE! More pulse rifles spill out. Trillian spins, ready to blast away with the pulse rifle, to. PANTUCCI Do n't shoot! Do n't shoot! FINNEGAN Just the man I wanted to see. On this puppy here, you remember if it's red to blue or blue to red. He refers to the wires. PANTUCCI Not even a Joey, I'm glad to see you? Joey, what happened to your leg? FINNEGAN Joey, you want to get sucked out by a giant fucking mutated squid? PANTUCCI -LRB- fast. -RRB- Red cross over to blue double blue. is that what it is? A squid? FINNEGAN Squid. squid like. squid type. it's got tentacles, a feed sac. probably one central nervous processor somewhere. what the hell do I know is going on deep down in the ocean. there's all sorts of shit we've never seen. eighty foot clams. 60 foot sharks. I'm just guessing. can you get me more juice out of Hercules. fast? PANTUCCI For juice, I got ta rebuild. That's not fast. TRILLIAN How about noise? Can you get noise? We do n't need speed, just noise, right? FINNEGAN Right. PANTUCCI Can somebody tell me what the object of the exercise is here? FINNEGAN Seafood salad. -LRB- to Trillian. -RRB- You ever operate a jet ski? TRILLIAN -LRB- nervous. -RRB- You want ME to go up there? FINNEGAN Not unless you can wire a missile or fix an engine. TRILLIAN And what if I run into one of those things? Finnegan tosses her a pulse rifle from the overturned crate. FINNEGAN Do n't forget the safety. She hits the safety, slams a shell into chamber. TRILLIAN Do n't take too long. I'm not planning on being on the menu tonight. and exits. PANTUCCI -LRB- razzing. -RRB- I've never seen you so congenial with a member of the opposite sex. The two of you got a nice patter going. got a nice rapport. FINNEGAN And you got 10 minutes before this thing livens up a boring evening. Finnegan attaches a wire to a sprocket. A red light starts to blink on the warhead.",
"FUJI MARU - NIGHT It is VERY DARK. The RAIN is getting worse. THUNDER RUMBLES. LIGHTNING FLASHES. The FUJI MARU MOANS and CREAKS. BUBBLES EXPLODE from beneath it. The Saipan rocks against her hull. Trillian clambers along the TILTING RAILING, heading for the watersports platform. Her gorgeous eyes shift nervously. TRILLIAN I'm going to be OK. I'm going to be OK. The ship's METAL HULL SCREECHES. The SEAWATER BUBBLES and GURGLES. From somewhere deep inside the ship, we HEAR that loud primordial YOWL again. Trillian freezes, her heart double beats. She looks around, really scared.",
"SAIPAN'S HOLD - NIGHT The missile is on a hoist being pushed forward by Pantucci and Finnegan toward a GAPING HOLE in the PORT BOW. PANTUCCI You know what I think? I think our luck has just about run shit out. FINNEGAN A little to the left. PANTUCCI I think we got ta stop floating from one fucked up situation to the next. FINNEGAN Line it up now, nice and easy. The missile head is right in line with the hole in the bow. PANTUCCI I'm telling you, man, we got to give the future some serious thought. FINNEGAN I have been. PANTUCCI And what have you come up with? FINNEGAN How does an island sound to you? Pantucci looks at Finnegan quizically. This is news to him.",
"SAIPAN - NIGHT The TIP of the WARHEAD creeps out through the hole. The body of the missile is just a hair too wide, which is good, because it jams itself nice and tight into the hole.",
"WATERSPORT PLATFORM - NIGHT Trillian takes the tarp off the remaining jet ski. Pushes the swivel arm that holds it out over the railing. The PLATFORM TILTS! Trillian loses her balance. Almost goes over the side. Just barely manages to catch herself. Hangs there for a moment. Something SWISHES in the water below her. Trillian's EYES scan the darkness ; scared sick.",
"THE SAIPAN'S PILOT HOUSE - NIGHT Finnegan LASHES the STEERING - STICKS as hard left as they'll go. The rudder locks tight. Pantucci enters. PANTUCCI I gerry - rigged the ignition. all you got ta do is start her up. it wo n't go fast but it'll go loud. Trillian's scream tears through the night. Finnegan's eyes go to the Fuji Maru. He kicks open a box by the side of the console, and pulls out a sawed off shot gun with a pistol handle in a holster. PANTUCCI -LRB- CONT'D. -RRB- Man, do n't go up there. FINNEGAN One whistle. Start the engine. Finnegan slams shells into the shotgun. PANTUCCI She's gone. FINNEGAN Second whistle you make it to the deck and get ready to jump. PANTUCCI All you're gon na do is get yourself killed. and for what? Some chick? FINNEGAN You're beautiful what you're jealous, you know that, Joey? Finnegan hefts a pulse rifle, and runs out of the pilothouse.",
"FUJI MARU DECK - NIGHT Finnegan drops onto the deck from the tow line. Pulse - rifle leveled. Adrenaline rushing through his veins. A man on a mission. The SHIP is in its final death throes. MOANING and CREAKING. Trillian's scream pierces the night, followed by several shots. Finnegan takes off in it's direction.",
"FUJI MARU PASSAGEWAY - NIGHT Finnegan ENTERS. Ready to be jumped. The scary MUSIC builds. TENSION CITY. Again shots fired. This time closer. Finnegan throws caution to the winds, and runs for all he is worth.",
"HALLWAY - NIGHT Trillian is being dragged down the dark hallway by a tentacle wrapped around her legs. She struggles frantically, trying to get a clear shot off. But her shot goes wild as she is pulled this way and that, slammed against the walls on either side. She loses her rifle.",
"GRAND ATRIUM - NIGHT Finnegan ENTERS the glass - domed atrium. Sloshes through the water. Stops in the middle and looks around. Sees a Tentacle, writhing up a glass wall of the atrium. Finnegan hears TRILLIAN SCREAM. He quickly plants his feet and FIRES from the hip. GLASS SHATTERS EVERYWHERE. He arcs around. WINDOWS BLOW TO PIECES. Finnegan lets out a low, angry, guttural YELL. The TENTACLE SHREDS from the GUNFIRE.",
"HALLWAY - NIGHT The tentacle dragging Trillian retracts. Freed, Trillian gets up, grabs her rifle, and RUNS LIKE HELL.",
"FRISCO BAR - NIGHT Trillian runs in and is immediately hit by COLORFUL SWIRLING LIGHTS and a PULSATING STROBE. FLASHING RED WARNING LIGHTS, the SOUND of the CLAXTON, the SPRAYING WATER and thick MIST. major psychedelia. Disoriented, Trillian runs towards a dark exit door - and into a geometric gelatinous SPIDER WEB. Sticks. TRILLIAN NOOO! NOOOO! HELPP! HELPP!",
"ATRIUM - NIGHT Finnegan is slamming another clip into his pulse rifle when he hears TRILLIAN, YELLING for help. He takes off running through a hatch.",
"FRISCO BAR - NIGHT Trillian struggles in the web, but she's only getting herself more stuck. Behind her, deep in the web, Tentacles slowly start squirming their way towards her. Trillian feels the GELATIN start to MOVE. She struggles wildly. Panicked. Finnegan ENTERS the room. Spots Trillian. Starts sloshing his way through the water. Trillian sees him coming. TRILLIAN Finnegan! Trillian looks back. Sees the Tentacles coming out of the darkness of the web. Twenty feet back and closing. TRILLIAN -LRB- CONT'D. -RRB- Hurry! Hurry! Finnegan runs up and grabs her. Tries to pull her free. But she's stuck good. He looks behind her to the tentacles quickly closing in on her. Now fifteen feet away. TRILLIAN -LRB- CONT'D. -RRB- Get me out of here! As she struggles, Finnegan pulls out his knife, and starts to hack away at the sticky webbing. Trillian tries to look behind her. FINNEGAN Do n't look! Push! Trillian struggles with every last ounce of her strength. Now ten feet away. TRILLIAN FINNEEGGGAANNN! Finnegan hacks away with desperate urgency. Now five feet. FINNEGAN Grab my hands! Finnegan plunges his hands into the goo. Trillian latches onto Finnegan's wrists, he onto hers. Four feet. FINNEGAN -LRB- CONT'D. -RRB- Push! Push! Finnegan strains, pulling, until every muscle in his body keens with the effort, every vein pops to the surface. Trillian pushes for all she is worth. Three feet. two feet. one foot. BOTH YYYEEEAAAHHH! With a last gargantuan effort, Finnegan yanks. Trillian comes tearing out of the webbing. the remnants of her gown does n't. in the nick of time. The tentacle rushes forward. Finnegan jams his pulse - rifle into the web and OPENS FIRE. Blasting the entire clip into the goo. Tearing the shit out of it. BAMBAMBAMBAMBAM! And that's when the whole ROOM starts to QUAKE. And SHAKE! Finnegan and Trillian both look down at their feet as they hear the LOWER DECKS EXPLODING UPWARD, one at a time - BAM! - BAM! - BAM! Something is rising up through the ship. He grabs Trillain and pulls her toward the exit. She scoops her fallen pulse rifle off the floor. FINNEGAN Go! Go! Go! He shoves her out the door, and is about to follow when the door is slammed shut in his face. TRILLIAN -LRB- V.O. -RRB- Finnegan! FINNEGAN Get to the jet ski! Go!",
"HALLWAY - NIGHT Trillian stands there, pulling on the door, half naked. The door is bolted tight. She has not other options. She runs off.",
"FRISCO BAR - NIGHT Finnegan turns as the DANCE FLOOR and the D.J. BOOTH EXPLODE as SOMETHING RISES UP from below them. His eyes widen. And there it is - The huge, horrible, mutated, mucus - covered, sucker - faced HEAD OF THE CREATURE. A giant mutated protoplasm. Jutting up from a breach in the floor. The trunk of the Creature, the part where all the Tentacles come from, is below the next deck. A slimy, translucent MEMBRANE slowly RISES, REVEALING what appears to be some sort of ORGANIC LIQUID EYE. It seems to stare right at Finnegan, who is transfixed by the sight. A Tentacle slowly starts to move in on Finnegan. Finnegan starts making his way around the shattered debris that blocks his shot. The EYEBALL - type organism follows him. Another Tentacle starts to move. Silently undulating through the water towards Finnegan. The membrane over the EYE moves. And another Tentacle starts to close in for the kill. They are surrounding Finnegan. Finnegan comes around the shattered D.J. booth. Faces the Creature full - on. He ca n't miss. He gives it a wicked smile. FINNEGAN Get a good look. In SLOW - MOTION, Finnegan lifts his pulse - rifle. It DRIPS WATER. He jams the gun - butt into his hip. Takes aim - FIRES! But he only gets off one quick BURST before a TENTACLE LASHES OUT and GRABS him. JERKS him into the air. His pulse - rifle goes flying. Finnegan is being dragged toward the hole into the floor, and the death that awaits him. He struggles to free himself as the hole looms closer, closer. He is about to disappear down the hole of no return, when his hand comes up with his knife. He slashes the tentacle in two, scrambles up and heads for an open door. As he reaches the door, a tentacle rises up in front of him. Huge. Blocking his way. It's maw opens wide. A terrifying sight of jaws and teeth and death. About to devour him. As it strikes forward, Finnegan draws his shotgun, and blasts the vile thing to smithereens. He bolts through the door, several Tentacles already after him.",
"WATERSPORTS PLATFORM - NIGHT Trillian sits up on the jet ski. She hears the GUNFIRE. TRILLIAN FINNEGAN! COME ON!",
"PASSAGEWAY - NIGHT Finnegan runs wildly down a passageway. He rounds a corner. A TENTACLE SIDE - SWIPES him. Hard. SMASHES him into a wall. Finnegan DROPS the shotgun. Hits the floor running. Another TENTACLES CHECKS him. Sends him SPIRALING through a hatch. Finnegan TUMBLES in. Face - first. Quickly rolls over and looks back - A TENTACLE LASHES in through the doorway. Finnegan back - pedals on his hands and feet, stumbling over various sports equipment. The TENTACLE homes - in on him. CHARGES FORWARD. Finnegan hurls himself backwards. THROWING anything that comes to hand at the Tentacle. A VOLLEYBALL. A WATERSKI. A TACKLE BOX. A FRISBEE. But onward it comes. Finnegan back pedals faster. Over diving gear. Scuba tanks. Fins and masks. The TENTACLE RISES. About to STRIKE. Finnegan backs into the wall. Trapped. He spots a SPEARGUN. Grabs it. The TENTACLE LUNGES. Finnegan FIRES. NAILS IT. PINS IT to the wall. Finnegan scrambles past the furiously WRITHING TENTACLE and runs out of the room.",
"WATERSPORT PLATFORM - NIGHT Trillian lifts up her feet as the jet ski touches down into the dark water. She frantically whispers to herself : TRILLIAN Oh my God, oh my God. Suddenly, twenty feet from the jet ski, SOMETHING SWIRLS through the water. Trillian aims her pulse - rifle at it. Eyes wide. Knuckles white. Breathing hard. WHAMM! Something drops onto the ski behind her. TRILLIAN -LRB- CONT'D. -RRB- EEEEYYYYAAAHHH! She turns, ghost white. to Finnegan. FINNEGAN I do n't mean to drop in unannounced. you ready. TRILLIAN Soon as I get over the heart attack. Finnegan whistles. Waits. No engine goes on. He whistles again. Still no response. Removes his watch, gives it to Trillian. FINNEGAN Three minutes. I'm not back. no matter what. you go. TRILLIAN No. FINNEGAN You do n't take orders very well, do you? TRILLIAN I do n't take orders at all. FINNEGAN This time, make an exception. He grabs Trillian's pulse rifle, and leaps up on the side of the Saipan, and scales up to the deck. Trillian watches him, and then looks at the watch.",
"SAIPAN PILOT HOUSE - NIGHT Finnegan bursts in. FINNEGAN Pantucci! JOEY! Then he spots something on the floor. He reaches down and picks it up. It's Pantucci's leather tool belt. It's been RIPPED TO SHREDS. Finnegan stares at it. His grip tightening. Tears rising in his eyes. His jaw clenching. Then he flings the belt aside. Filled with rage. FINNEGAN -LRB- CONT'D. -RRB- Time to die, motherfucker. Finnegan hits the ignition button. A desperate moment of dry cranking. and then the one remaining engine catches, sputters, and fires to life.",
"FUJI MARU - NIGHT Trillian hears the Saipan's engine come to life. She hits the ignition on the jet ski. Right next to her something drops from the deck of the Saipan into the water. Finnegan clambers up in front of her. His pulse rifle still in hand. TRILLIAN Where's you friend? FINNEGAN He's not coming. The Saipan strains on its leashes. ENGINES GUNNING. Finnegan swings his rifle around. OPENS UP on the tie - lines. All the TIE - LINES SHRED. The Saipan starts to break free. FINNEGAN -LRB- CONT'D. -RRB- Hold on! He GUNS the ski. and it stalls. The jet ski stalls. Goes dead in the water. FINNEGAN -LRB- CONT'D. -RRB- Oh shit! Nearby, the WATER SWIRLS violently. He hammers the starter button. FINNEGAN -LRB- CONT'D. -RRB- Come on! The ENGINE STUTTERS. He tries again. FINNEGAN -LRB- CONT'D. -RRB- Come on! Another STUTTER. More WATER SWIRLS, getting closer now. But the third time's a charm. The jet ski comes to life and shoots off along the side of the ship. Just as a tentacle comes shooting out of the water. Finnegan fires at it, blowing it to pieces. The last TIE - LINE SNAPS. The SAIPAN LURCHES AWAY from the Fuji Maru. The jammed steering - sticks force the rudder to turn it in a tight circle. Finnegan bears down on the handlebars of the jet ski. Pedal to the metal. Looking straight ahead. Trillian holds on for dead life. Suddenly, a WAVE EXPLODES in front of the jet ski. Finnegan cranks the handlebars. The JET SKI SLEWS SIDEWAYS. The Saipan starts to arc around. The WARHEAD gleams in the MOONLIGHT. Dripping water. Finnegan HAULS ASS away from the Fuji Maru. ENGINE ROARING. Throwing water. Another WAVE EXPLODES. A tentacle rears up. Right in front of the jet ski. Finnegan and Trillian lean hard. The JET SKI SKIDS sideways across the water. BOUNCING HARD. Trillian ca n't hold on. Flips off the back. Skips across the water. Finnegan ROARS away. A tentacle hard on his ass. Trillian pops to the surface. Treads water. Panicked. Watches Finnegan and the jet ski leaving her behind. Finnegan looks back at Trillian. Bobbing in the water. The he looks at the Saipan. Continuing its arc. Its deadly payload racing for the Fuji Maru. Finnegan CRANKS the HANDLEBARS. SMASHES through a wave and heads for Trillian. Trillian sees him and swims hard. The SAIPAN ROARS straight at the Fuji Maru. The warhead perfectly positioned to strike its hull. Only fifty meters away. Now forty. Now thirty - five. Finnegan cuts the motor of the jet ski. Slides up next to Trillian. Grabs her by her arm. Rips her out of the water. Throws her onto the back of the jet ski. Just as a tentacles rises up, lashing out. He GUNS IT. SMASHES through the waves. The WARHEAD SPLASHES through the water. The jet ski hauls ass. ENGINES WHINING OUT. Faster and faster. A HUGE GEYSER OF WATER EXPLODES in front of the jet ski. A tentacle slaps down hard. Finnegan cuts hard. Too late. The JET SKI RAMPS through the geyser. They and the JET SKI TUMBLE and SPLASH across the water. The SAIPAN CHARGES FORWARD. Twenty - five meters away from hitting the Fuji Maru. No twenty meters away. Now fifteen. Finnegan pops to the surface. Looks around. Ca n't find Trillian. He DIVES under the water. His POV : Tentacles converging on him from the murky depths. The `` retrieve'' feature that's on all jet skis forces it back around towards where Finnegan and Trillian fell off. Finnegan BURST to the surface. Holding Trillian. She looks nearly lifeless. The jet ski heads right at them. Finnegan swims for it. Dragging Trillian. As tentacles converge from all sides. The JET SKI is suddenly SUCKED under the water! Swallowed whole. Finnegan quickly reverses. Backstrokes like mad. The WARHEAD SLICES through the water. Now only ten meters away from hitting the Fuji Maru. Now nine meters away. Now eight. Seven. Six. Five. Finnegan paddles hard. Sucking in as much water as he is air. A TENTACLE RISES UP out of the water. Looms above Finnegan and Trillian. Dripping water. About to strike. There's nowhere to hide. Finnegan paddles harder. The TENTACLE starts its DOWNWARD LUNGE. And that's when the SAIPAN RAMS the Fuji Maru. The WARHEAD SLAMS into its hull. BA - WHOOOOOOMMM! The SAIPAN EVAPORATES. METAL FLIES. WATER SPRAYS. FIRE FILLS the night sky. The TOP DECK of the Fuji Maru CARTWHEELS across the waves. The Tentacle above Finnegan drops like lead. And just lies there. Quivering. Another EXPLOSION. LIFTS the remains of the FUJI MARU out of the sea. Sends shock waves across the water. Blows Finnegan's hair back. He swims on. Towards the island. Pulling Trillian. The remains of the SAIPAN and the FUJI MARU SMOLDER and SINK. BUBBLES EXPLODE to the surface. A couple dozen small FIRES dot the waves. WATER SIZZLES and STEAMS. SMOKE drifts into the night sky. Debris coats the water.",
"BEACH - SUNRISE Finnegan and Trillian crawl out of the water and up onto the beach of the island. They collapse next to each other. Finnegan is exhausted. Trillian coughs up seawater. They both turn and look out to sea, and the rising sun. Trillian reaches into her bra, and pulls out the egg sized diamond. She holds it up. The sun refracts off it brilliantly. Trillian looks at the diamond, looks around at the picture perfect island, the picture perfect sunset. and then she heaves it as far as she can into the sea. For the first time since they know each other there is nobody around. No people. No tentacles. And when they look at each other, something else comes to mind besides survival. Finnegan moves towards Trillian. Trillian moves towards Finnegan. Their lips move closer, closer. And then, down by their feet - SOMETHING EXPLODES OUT OF THE WATER! Scares the shit out of them. The audience too. But it's just Pantucci. Looking waterlogged and shell - shocked. Coughing up half the sea. Finnegan and Trillian help him to his feet. PANTUCCI Was it the water in my eyes or were you guys about to. FINNEGAN Joey. PANTUCCI Because it's cool, you know, I can always take a walk or something down the beach. FINNEGAN Joey. PANTUCCI Or I could go for a swim. although, I got ta tell you. if I never get in the water again. BOTH Joey! PANTUCCI OK. OK. you do n't have to beg me. I'll stick around. And then they head the most gut - wrenching, spine - tingling, teeth - shattering ROAR ever. Pure primeval. Like no sound or animal or thing we've ever hear beofre. Coming from DEEP WITHIN THE ISLAND. PANTUCCI -LRB- CONT'D. -RRB- Or maybe not. Finnegan, Trillian, and Pantucci slowly turn and look INLAND. We BEGIN TO PULL BACK as they all stand up. MORE STRANGE NOISES ARE HEARD. FROM MULTIPLE UNKNOWN SPECIES. WE KEEP PULLING BACK. REVEALING more of this creepy - looking island. And leaving our three heroes stranded on the beach. WE KEEP PULLING BACK. REVEALING pieces of the smoldering ship. Nearly the whole island is VISIBLE now. Dark jungles. Craggy mountains. Maybe the scariest - looking place on earth. FINNEGAN -LRB- V.O. -RRB- What now. The `` THING'' ROARS again. It's hellacious. AND WE CUT TO BLACK. THE END"
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] | Amidst a storm, Captain John Finnegan and his crew, Joey Pantucci and Leila, are hired by mercenaries Hanover, Mulligan, Mason, Billy, T-Ray, Mamooli, and Vivo to pilot their boat across the South China Sea to an undisclosed location in the middle of the ocean. Meanwhile, the Argonautica, a luxury cruise ship built and owned by Simon Canton, is undertaking its maiden voyage when a saboteur disables the ship's navigation and communication systems. A large object rises from beneath and rams the vessel, leaving it dead in the water, while the panicking passengers are attacked by unseen creatures. Finnegan's boat collides with a speedboat shaken loose during the collision, at which point the mercenaries take over and reveal they intend to rob the Argonautica's passengers and vault, before sinking the ship with torpedoes. The group boards the ship, leaving Leila and Billy behind to repair the boat, where they are both killed by the same creature. The group reaches the ballroom only to find blood and no sign of the passengers. Finnegan and Joey go to the ship's workshop to scavenge parts to repair the boat, under the guard of T-Ray and Mamooli. T-Ray goes off to investigate strange noises and is torn to shreds by the creature. Mamooli contacts Hanover, but is dragged off by the creature; as Joey and Finnegan are escaping they run into Trillian, a passenger who was imprisoned for stealing. Meanwhile Hanover's group reaches the vault and Vivo opens it only to be mistakenly killed by Canton, who was hiding inside the vault along with Captain Atherton, and three other passengers who are shot dead by Mason and Mulligan when they reflexively retaliated against Canton's attack. Canton and Captain Atherton explain to the mercenaries that the ship has been attacked by unknown creatures that killed everyone else on board. Under questioning, Canton is found to be responsible for the ship's sabotage, having hired the mercenaries to sink the unprofitable ship so that he could collect on the insurance. The group is attacked by creatures wielding giant spike-covered tentacles, which eat Captain Atherton. Canton theorizes that the creatures are an extreme evolution of the Ottoia, which drain their victims of their bodily fluids and then eject the carcasses. The creatures attack and the survivors flee; Mason is grabbed by the creature and kills himself by detonating a grenade. Mulligan elects to stay behind in the crew's galley in a last stand, until a rescue party would arrive. While arguing with the others, a creature slipped in through the hood fan, and Mulligan scares it off, but is ambushed and devoured by another. In a running battle with the creature, Trillian saves Finnegan's life and the group of survivors find themselves being herded towards the bow of ship, where they find a "feeding ground" full of bloody skeletal remains. Canton, attempting to rid himself of any witnesses to collect the insurance, misleads the others to the bow while he moves towards an exit route. The creatures break through the hull, causing more flooding of the lower decks and separating the survivors. Hanover shoots Joey and leaves him as bait to save himself, but instead gets grabbed by the creature and devoured. Finnegan and Trillian spot an island from a distance and make it back to Finnegan's boat, but having lost the engine parts, it is useless as a means of escape. Joey returns to the boat and does what he can to effect repairs. Finnegan sets the boat's autopilot to crash into the Argonautica and detonate torpedoes. Trillian returns to the cruise boat and locates a jet ski with fuel they can use to reach the island, but Canton arrives armed with a flare gun. Canton encourages Trillian to join him or hand over the keys but she flees and he chases her. Finnegan also returns to the cruise boat, pursues Canton to the ballroom on the main deck and manages to save Trillian. The tentacles smash through the main deck and are revealed to be part of a single giant creature called the Octalus. The monster grabs Finnegan who frees himself by blinding the monster in one eye with a shotgun blast. Finnegan discovers Joey has gone missing, and he and Trillian are chased by the creature but eventually escape on a jet ski. Canton jumps onto Finnegan's boat, breaking his leg, but unable to disable the autopilot, his ride is a short and painful one. The boat crashes into the Argonautica. Its exploding torpedoes destroy both ships and kill both Canton and the creature. Finnegan and Trillian reach the island and safety. Joey swims ashore and they are reunited. As the three relax, a loud roar echoes from the forest, and something huge crashes toward them through the trees. As the camera pulls back, the island is revealed to be primordial. Finnegan is heard saying his movie catchphrase, "Now what?", as the film ends. | Deep_Rising |
[
"The Last Station All happy families are the same. Each unhappy family is unhappy in its own way. Leo Tolstoy - Anna Karenina.",
"EXT. COUNTRYSIDE. DAY. High angle of the steam train travelling through a wide river valley. The stack belching smoke against the Russian sky.",
"INT. SECOND CLASS CARRIAGE. COUNTRY SIDE. DAY. Leo Tolstoy -LRB- 80 -RRB-, sits writing on his lapboard. He is quite simply the greatest living writer in the world. His devotion to pacifism, his rejection of the trappings of Orthodoxy in favor of a simple Christian lifestyle convince many to regard him as a living saint. With him are his much younger wife, the COUNTESS SOFYA, favorite daughter SASHA, and his personal physician DUSHAN MAKOVITSKY. Sasha and Dushan write in their diaries. Sofya looks from one to the next a little impatient. The train begins to slow. SOFYA Why are we slowing down? No one responds. Slower. Slower. SOFYA We're stopping. Why are we stopping? SASHA I do n't know, mother. No idea. Tolstoy look up from his work, asks a passing conductor. SOFYA Excuse me, why has the train stopped? CONDUCTOR It's the crowd, ma'm, the people. They're blocking the track. In the distance we can here voices. VOICES -LRB- O.S. -RRB- Long live Tolstoy! Long live the old warrior! SOFYA But if they block the track, the train ca n't go. YOU HAVE TO MAKE THEM MOVE. The conductor shrugs, walks away. She goes to the window to investigate. A crowd of a hundred peasants, students surround the engine, block the track. They carry a huge cloth banner honoring Tolstoy. We can hear voices chanting `` Tolstoy. Tolstoy. Tolstoy'', voices crying `` You are the truth.'' `` You are the hope of the Russian people.'' SOFYA Oh, they wo n't move. We are gon na die here. Leo, Leo, go and say something to them. It's the only way we are gon na get out of here. The chanting grows in intensity. Tolstoy gets to his feet, walks to the window, shows himself to the crowd. A great shout goes up. Tolstoy lifts his hand for silence. Gradually, it comes. TOLSTOY I have seen your banner. And I ´ ve heard what you say. You think I ´ m the hope of Russia, do you? Well, that ´ s not true. You are the hope of Russia. The hope of all the world. You say, you want a new way to live? Well, you are not gon na find it making a fuss over me. So, I suggest that you get on with your work and let a poor old men get on with his. The cries begin. `` Clear the tracks. Let them pass. Let them go.'' Tolstoy closes the door and waves to the crowd as the train pulls away.",
"EXT. COUNTRYSIDE. DAY. On the chanting crowd now as the train pulls away. We focus on a handsome young man, a little stiff maybe, a little intellectual. This is VALENTIN FEDOROVITCH BULGAKOV. He ca n't contain his enthusiasm. Over the noise of the train. VALENTIN Do you know who that is? That is the greatest man in the world. The train pulls away into the distance. TITLE OVER BLACK : SPRING 1910",
"EXT. YASNAYA POLYANA. DAWN. The ancestral home of the Tolstoy family in the first budding of spring. Muzhiks -LRB- peasants -RRB- gather wood, carry water to the house. A cart arrives loaded down with mail bags.",
"INT. YASNAYA POLYANA. SOFYA'S BEDROOM. DAY. A handsome room, walls covered with generations of family photographs. Religious icons are given pride of place, a testament, not to piety, but to an ingrained social conservatism, a certain position in the world. Countess Sofya mumbles her morning prayers before a make shift altar. Wiping away tears, she leaves the room.",
"INT. YASNAYA POLYANA. ENTRY/STAIR. DAY. Sofya walks down the stairs and through the entry passed an old servant asleep in a chair. She continues to the basement.",
"INT. YASNAYA POLYANA. TOLSTOY'S BEDROOM/STUDY. DAY. Tolstoy has moved himself out of the refined upper floors into a simple vaulted room he uses as both bedroom and study. The walls are bare except for a portrait of his daughter. The furniture is simple, some of it hand made : a small bed against the wall, a little writing desk in one corner stacked with books, littered with papers, more mail, opened and unopened. Pairs of rude homemade shoes line a work bench. Tolstoy sleeps in his bed. Though it's late March and still cold, the window is open. Sofya closes it. She stands very still, watching Tolstoy sleep. Sitting on the bed, she gently touches his hand, whispers. SOFYA Darling. She lies next to him, something girlish, hopeful in her face, as if waiting for him to wake up and adore her, but he sleeps on. She carefully takes his arm, positions it under her neck, and rolling toward him, wraps it around her. The image of love's intimacy, of wedded bliss. His hand slips off her shoulder, once, twice. She moves awkwardly to replace it. He moves a little toward her. She kisses his neck, his cheek. We do n't know if he's awake, but even this shadow of intimacy penetrates her soul.",
"INT. MOSCOW. STUDY. DAY. A handsome study in the Moscow townhouse of VLADIMIR GRIGOREVICH CHERTKOV, Tolstoy's most articulate and dedicated disciple. He's interviewing Tolstoy's newly appointed secretary, VALENTIN BULGAKOV, the young man we met near the train, who, at the mention of sex, blushes a little. CHERTKOV But sex. You are twenty three. Not an easy age for abstinence, is it? VALENTIN Tolstoy does not approve of sexual relations. I know this. CHERTKOV He despises them, in fact. Chertkov reaches for a small tin of moustache wax. CHERTKOV I do n't want to belabor the point, but I arranged for a manservant last year who proceeded to ruin two housemaids just like that. He was very upset. VALENTIN This would not be a problem. I'm celibate. I'm also a strict vegetarian. Chertkov nods his approval, begins to worry his moustache. CHERTKOV Yes, I've heard many good things about you. I've even read what you ` ve written. So has he. Valentin's face flushes with pride. Chertkov steals a glance at his reflection in the glass bookcase. One side of his moustache droops a little. He tugs awkwardly at it. CHERTKOV My dear boy, if you were to become Tolstoy's private secretary, you would be given a great gift. You'll be with him every day, eat together, walk in the forest by his side. It's difficult to contain himself. VALENTIN Believe me, since becoming a Tolstoyan, I have become so eager to learn, so comitted to discussing ideas, improving my very soul. CHERTKOV -LRB- smiling. -RRB- Well, we have a lot to do if we are to get his work to the people. VALENTIN We? They both laugh. CHERTKOV Yes, we. If we can encourage the spread of passive resistance. just think of it Valentin thousands of ordinary Russians casting off centuries of spiritual and political oppression - VALENTIN In the name of truth and freedom. CHERTKOV Truth and freedom, yes but still, my boy, there are so many enemies - VALENTIN Enemies? Chertkov walks to the window, signals Valentin to follow him. He points to TWO MEN IN PLAINCLOTHES standing in the street below. CHERTKOV The Czar's police. You'll be followed when you leave here. and the church will stop at nothing to bring him back into the fold. His children ca n't be trusted. only Sasha. and then of course there is the Countess. -LRB- beat. -RRB- Well, one does n't like to come between married people whatever the circumstances, but her dogged attachment to private property, her public criticism of our movement. The point is, he needs a man of your intellectual gifts around him. Someone who can help him with the new work. Someone who understands his goals. Chertkov returns to the desk. CHERTKOV And although they've allowed me to return to Russia, I ca n't see him. They keep me under house arrest. They might as well keep me in a cage. Clearly upset, Chertkov pauses to get control of himself. He picks up a package, hands it to Valentin. CHERTKOV So, I need you to put these letters directly into his hands. One ca n't be sure what gets through to him. Valentin looks at him, quizzical. CHERTKOV Sofya Andreyevna does not respect his privacy. VALENTIN She would n't open his private correspondence. Chertkov raises an eyebrow. An ominous silence. CHERTKOV I have another task for you, my dear. VALENTIN Please. CHERTKOV You'll keep a diary for me. He hands Valentin a notebook. CHERTKOV I need to know everything that goes on at Yasnaya Polyana. Let me know who visits the house, any talk of the copyright to his work, any contact with the church, what letters come and go. -LRB- beat. -RRB- Anything Sofya Andreyevna says. VALENTIN Anything? CHERTKOV She's very, very dangerous.",
"EXT. MOSCOW. DOORWAY/STREET. EVENING. Chertkov kisses Valentin delicately on both cheeks and ushers him into the dying light. CHERTKOV Godspeed, my boy. Valentin makes his way to the droshky that awaits him. CHERTKOV And remember what I said. He turns back to the dark figure in the doorway. CHERTKOV Write everything down! Go!",
"EXT. YASNAYA POLYANA. GROUNDS. MORNING. SOFYA. Black and white film of her being handed the newspapers at the step. She looks up at the camera, irritated by its presence. CUTTING OUT TO COLOR we see a cinematographer on the lawn cranking away at his camera. She goes into the house.",
"INT. YASNAYA POLYANA. TOLSTOY'S BEDROOM/STUDY. MORNING. Where Tolstoy, awake and dressed, sits on his bed, pen in hand, writing in his diary. Dushan sits next to him, taking his pulse. TOLSTOY Nothing's working. Hand me my other boot, my friend, will you? DUSHAN Let me finish. TOLSTOY It does n't matter. If my heart had stopped beating, I'd still go riding today. DUSHAN Your pulse is my responsibility. and if you must ride, I insist you wear a coat. Even the sun is cold today. He puts Tolstoy's arm down and hands him his riding boot. Sofya comes ranting into the room carrying several Russian and international dailies. SOFYA This is impossible! It really is! These people are parasites! Look. -LRB- reading. -RRB- `` Countess Tolstoy has become estranged from her husband. They barely speak.'' She throws the paper on the floor. SOFYA You know who spreads all this rubbish. She opens another paper, a French daily. SOFYA C'est la meme en France. They gossip about us in Paris. `` They do not share a similar view of either religion or politics.'' Incroyable! TOLSTOY -LRB- smiling. -RRB- Peut - etre. You think that's inaccurate? SOFYA I think it's none of the world's business. She looks at Dushan who is transcribing every word into his diary. He does it with all the master's conversations. SOFYA What are you doing? Do n't do that. TOLSTOY -LRB- smiling. -RRB- Dushan Petrovich, you're scribbling again? Tolstoy moves with energy and purpose toward the door. SOFYA Darling, where are you going? TOLSTOY Riding with Sasha. Do n't expect us for lunch. Something strikes him. He walks to his desk, picks up his pen and quickly writes a sentence on a scrap of paper. SOFYA Leovochka, why do you insist on dressing like that. TOLSTOY What do you mean? SOFYA Like the man who looks after the sheep. TOLSTOY It's not meant to offend you. SOFYA But it does offend me, because it offends reason. You're a Count, for God's sake. He puts his pen down, goes to her, kisses her gently on the forehead and leaves the room. SOFYA Oh darling, I have something else to say. TOLSTOY -LRB- O.S. -RRB- I doubt it not, my dear. DUSHAN He's forgotten his coat. He runs after him, tripping over the long fur garment. DUSHAN -LRB- O.S. -RRB- Count Tolstoy, you've forgotten your coat. Meanwhile Sofya notices a photographic portrait of Chertkov on the wall. She takes it down and tosses it in the corner.",
"EXT. YASNAYA POLYANA. GROUNDS. DAY. As Tolstoy appears on the porch, we hear the WHIR of cameras. A crowd of photographers, film cameramen, journalists, and disciples try to catch a glimpse of the master. Dushan steps in front of him. DUSHAN Let him walk. Let him walk. JOURNALIST Count Tolstoy, you're no doubt distressed by the Czar's treatment of your secretary Nikolai Gusev? TOLSTOY These people are bandits. DUSHAN I said, let him walk. TOLSTOY They come into my house and arrest a man whose only crime is to express a view of life saner than that which prevails. JOURNALIST So Gusev is innocent? TOLSTOY -LRB- nods. -RRB- Of course, I'm the guilty one. I reject the Orthodox church. I condemn the established order and I make no secret of it. A young peasant shouts from the crowd. PEASANT God bless you, Tolstoy. Thank you. DUSHAN Let him walk. Let him walk. -LRB- to Tolstoy. -RRB- But you do n't banish these people very much to your credit. I wish I had your largeness of spirit. A photographer's flash goes off. An old Muzhik touches Tolstoy's sleeve, as if expecting a miracle. Sasha, her father's soulmate, leads two horses toward them, her mount and her father's black gelding, Delire. SASHA Papa. TOLSTOY Sasha! SASHA Did you ride this morning? A small crowd collects to watch father and daughter embrace, kiss. A WIDE SHOT of the riders - cutting around we are",
"INT. YASNAYA POLYANA. ENTRY/STAIR. CONTINUOUS. Sofya watches her husband and daughter ride away.",
"EXT. RIVER VALLEY. DAY A steam train snakes through a broad valley.",
"INT. TRAIN CARRIAGE. DAY. Valentin in his buttoned up suit looks a little out of place in the overcrowded third class carriage. He writes in the diary given him by Chertkov. He glances up to see, on the bench across, a young mother taking out her breast to nurse her baby. He blushes, does n't know where to look. An old peasant catches his eye, winks at him, laughs.",
"EXT. TELYATINKI. DUSK. Seven miles from Tolstoy's estate, this is Telyatinki, a communal center created by Chertkov dedicated to the study and practice of Tolstoyism. SERGEYENKO Telyatinki was created by Vladimir Grigorevich as a center for the movement. Just last week we had a visitor from India. We talked to the group about the healing properties of cobra venum. VALENTIN Oh, goodness. It's a beautiful day. SERGEYENKO Yes, but we will pay for it. Sergeyenko, Chertkov's joyless secretary, and Valentin stand on a second storey porch looking out across the central lawn where a number of young Tolstoyans tend the garden, work to put up a chicken coop. SERGEYENKO The meeting room is behind us. This is the tool shed. The dormitory ahead. He points out a larger building across the way.",
"INT. TELYATINKI. SLEEPING AREA. NIGHT. They enter the building. SERGEYENKO Telyatinki is a place of freedom. Nothing is forbidden here. Except everything. SERGEYENKO Each man is alone with his conscience and his God. -LRB- beat. -RRB- The kitchen is below. You'll be expected to assist with meals at least twice a week. and to give a hand in the garden. We're all equals here, you know. as Tolstoy teaches us. They start up the stairs.",
"INT. SLEEPING PORCH. TELYATINKI. DAY SERGEYENKO You are expected at Yasnaya Polyana in the morning, first thing. VALENTIN I look forward to it. SERGEYENKO Yes. you're lucky. We're all envious.",
"INT. TELYATINKI. VALENTIN'S ROOM: NIGHT Small, sparse, perfect for the novice ascetic. Valentin nods his approval. SERGEYENKO Vladimir Grigorevich is anxious that you begin your reports as soon as possible. You have the notebook he gave you? VALENTIN Of course. SERGEYENKO You understand we must keep the existence of the diary a secret. Valentin smiles. SERGEYENKO What is it? VALENTIN Just that. secrecy does n't seem to me the essence of Tolstoy's thought. SERGEYENKO But you'll admit, you're no expert. VALENTIN Yes, I. I'll see you in the morning. SERGEYENKO If we're spared. Sergeyenko leaves Valentin to his bare, little room.",
"EXT. TELYATINKI COMPOUND. MORNING. The sun rising. Already, disciples are at work the gardens.",
"INT. TELYATINKI. VALENTIN'S ROOM. MORNING. Valentin sleeps in his tiny room. A knock on the door. VALENTIN Come in. A lovely girl at his door. She's tall, twenties, high cheek bones, short blonde hair. This is MASHA. MASHA I've brought you a glass of tea. VALENTIN That's very kind of you. MASHA It's your first day. Enjoy it. She sits on the bed. He's a little taken aback, not used to this degree of familiarity. It makes no impression on Masha. MASHA You met Sergeyenko? VALENTIN Last night. MASHA Ad what do you think? VALENTIN He seems very sincere. Masha hands him his tea. VALENTIN Thank you. Why are you laughing? MASHA Say that again. VALENTIN I said he seems very. Why? MASHA Is that what you think? VALENTIN I just arrived. What's your name? MASHA Masha. But you should still say what you think. Not just about him. We all should. VALENTIN Thank you for the tea. Their eyes meet, hold. Valentin's discomfort increases. MASHA Tomorrow you can make your own. She walks to the door, turns to see him still watching her. MASHA He's a sorry old tight - assed stick in the mud. but yes, he's sincere.",
"EXT. ROAD TO YASNAYA POLYANA. DAY. A modest horse drawn cart. Valentin sits beside the driver, contemplates the birch trees that line the road, the long shadows they cast. Above, crows make lazy circles in the sky.",
"INT. YASNAYA POLYANA. ENTRY WAY/STAIRS. DAY. Valentin stands in the entry way, waiting. He looks lost. VALENTIN Hello. hello. VOICE -LRB- O.S. -RRB- You're the new secretary. He looks up to see Sasha examining him from the landing above. SASHA Papa's out. You can wait in the library. Ivan will show you up. She disappears. He hears a door close. He notices a surly house servant, IVAN, who, inexplicably, leads a goat through the house. He points upstairs and walks away.",
"INT. YASNAYA POLYANA. LIBRARY. DAY. Alone now among Tolstoy's books, Valentin makes his way slowly to a writing table, the holy of holies, on which War and Peace and Anna Karenina were written. He runs his hand along the old wood top. Emboldened by a backward glance, he sits in Tolstoy's chair. Before him are stacks of letters, pens and pencils, a pot of India ink. There's a notebook lying open. He leans forward to read it. A noise in the hall stops him. Tolstoy enters from the dining room, red cheeked, beard dripping wet, the energy of a man ten years younger than he is. Valentin stands. TOLSTOY I'm glad you're here. So glad. He tromps across the room, kisses the boy enthusiastically on both cheeks. Valentin is overcome by the great man's warmth. VALENTIN I'm. I'm. Here is - Valentin interrupts himself with a sneeze. TOLSTOY God bless you. VALENTIN I'm sorry. Sometimes I. Valentin pulls out a letter of introduction. Tolstoy takes it out and puts it down without a glance. TOLSTOY Vladimir Grigorevich has already written about you at length. I need your help badly. The manifesto against the government is hard work. They commit their idiotic abuses faster than I can catalogue them. and the new book. VALENTIN He told me about it. It's very exciting. Tolstoy nods. TOLSTOY I've become convinced that all the world's religions have a single organizing principle. Can you guess what it is? Love! Love! Simple. Now, I want to talk about you. How are you? How was your journey? Come, sit down. Tolstoy sits on the old sofa. Valentin follows suit. TOLSTOY You know, I was born on this sofa. Valentin gets right back up. Tolstoy laughs, pats the sofa. TOLSTOY Sit. Sit. Valentin sits down. TOLSTOY Myself, my brother, my children, at least five or six of them, right here. -LRB- beat. -RRB- Now, I've read your essays. How ` s your work progressing? Valentin looks into the great man's kind old face. He tries to speak but he's overcome with emotion and begins to weep. TOLSTOY My boy, what is it? -LRB- beat. -RRB- I upset you in some way. Was it the sofa? It's only a sofa. Valentin shakes his head, smiling through his tears. VALENTIN I'm very happy. You are very kind. I'm no one and you are. you are Leo Tolstoy and you ask me about my work. Tolstoy takes Valentin's hand, sits him back on sofa. TOLSTOY You rest for a moment and I'll fetch you a glass of tea. Rest, because there's work for both of us together. He smiles and goes, leaving Valentin to contemplate his fortune.",
"EXT. YASNAYA POLYANA. GROUNDS. DAY. Sofya, Sasha, Valentin, ANDREY, Tolstoy's son, and Tolstoy all clustered around a table taking tea. Dushan stands near the group fiddling with a gramophone that sits on a small table. SOFYA These people have nothing. DUSHAN It really is the most extraordinary thing. Absolutely ignoring him. SOFYA It's not for lack of land that the muzhiks live in poverty. They have no will power and they drink too much. TOLSTOY I'm not suggesting they be given land. Private property is the root of the problem. We should be giving ours away. ANDREY Give it to whom? SOFYA It's all ridiculous. You think that poverty makes the peasants somehow morally superior. TOLSTOY I believe that wealth corrupts us all, yes I do. A pause. Valentin fills the silence. VALENTIN It's a keystone of the movement. SOFYA Oh, I know all about the movement. A pause. Valentin notices that people from the front lawn have moved up to watch all this. Life in the fishbowl, the Tolstoys seem neither to notice nor care. TOLSTOY If the peasants had money, they would n't surround themselves, as we do, with footmen costing ten rubles a month. SOFYA No, they'd spend it on drink and whores. TOLSTOY Valentin Fedorovich, do you think fifty years from now, people will eat while grown men walk around and wait on them hand and foot? Valentin does n't know what to say. A giggle from Dushan. DUSHAN Oh, that's good. that's good. Dushan, having sat at table, tries surreptitiously to get down Tolstoy's words in the diary he holds below the table. Sofya flushes with anger. VALENTIN I think. -LRB- sneeze. -RRB- SOFYA Stop scribbling! -LRB- points to her husband. -RRB- You all think he's Christ, do n't you? He thinks he's Christ. There is an awkward pause. DUSHAN -LRB- flustered. -RRB- I'm not. I do n't believe Leo Nikolayevich is Christ. Christ is Christ but. SOFYA But what? DUSHAN I believe he's one of the prophets. God speaks through him. I recognize the cadence in his voice. SOFYA This is unbearable. No wonder I feel lonely. I'm surrounded by morrons. SASHA Mama, you're being ridiculous. SOFYA Am I? I sit here and listen to this talk of love and God and equality, knowing full well that Count Generosity here is fully prepared to give away everything we have. TOLSTOY -LRB- exhausted. -RRB- You keep going on like that. Why do you think we should profit from the work I ´ m doing which is only meant for the sake of the people. She turns to see Dushan scribbling again. SOFYA STOP IT! STOP WRITING NOW! Valentin glances at Sasha, uncomfortable at these outbursts. A long pause. Dushan tries to relieve the tension. DUSHAN In defense of my gift, let me demonstrate. It's quite remarkable, really. He gets up, places a record on the gramophone, needle on the record. What comes forth is not music, but Tolstoy's voice. It is a recording of a recent speech against capital punishment. His voice booms, tinny and distorted. Dushan walks to the machine, stares at it in awe. Valentin is completely caught up in the technology. VALENTIN It's your voice. It's wonderful. They all listen for a moment, look to Tolstoy for a response. TOLSTOY It's tiresome. Another remarkable invention will supercede it. Valentin blushes and looks at the table. Dushan tries to hide his disappointment. TOLSTOY Please excuse me. Tolstoy rises, leaves the table, walks out onto the lawn. Dushan gets up quickly, bumping the table as he goes. Tea spills. Valentin moves to wipe it up, sneezes, a barrage of irritable blessings. DUSHAN Leo Nikolayevich is something of a Luddite, I fear. Sofya crosses to the machine, removes the record from the gramophone, replaces it with another Dushan has brought. Suddenly, the air is filled with the final duet from Mozart's Il Nozze di Figaro. She returns to her place. There is a long moment where all take in the sublimity of it. Tolstoy walks slowly back to the table. He stands completely still. Tears fill his eyes and roll down his cheeks. TOLSTOY Oh, that ´ s better. That ´ s nice. Very nice indeed. Sofya crosses to her husband, wipes the tears off his face. Valentin watches as they embrace. VALENTIN -LRB- O.S. -RRB- Do your parents often speak to each other so. bluntly?",
"INT. YASNAYA POLYANA. LIBRARY. EVENING. Across from Tolstoy's writing desk is Sasha's world, a makeshift office lined with more bookcases where she does her work, sending cables, editing manuscripts, answering endless stacks of mail. Valentin sits near her, learning the ropes. SASHA My mother does n't understand my father's goals, not since his work as a novelist became secondary. His commitment to the spiritual life offends her. They've fought about it for years. VALENTIN I'm sure she means well. Sasha just looks at him. VALENTIN Your father is the greatest writer in the world. SASHA Quite. A pause. VALENTIN I mean to say, I feel privileged to be here. It's an. honor. Valentin feels himself slip further into mundanity. Sasha goes back to her letter. Valentin SNEEZES. SASHA God Bless You. They read together for a moment. He sneezes again. SASHA -LRB- irritated. -RRB- God bless you. VALENTIN I'm sorry. Sometimes I sneeze when I'm nervous. She regards him like an animal in the zoo. Ivan appears at the door. SASHA What is it? IVAN It ´ s a note, for him. He nods toward Valentin. SASHA Well, give it to him then. Valentin reads the note. VALENTIN It ´ s from your mother. She wants to see me. As Valentin goes, SASHA She is looking for allies. Pay attention. This is war.",
"INT. YASNAYA POLYANA. SITTING ROOM. NIGHT. Sofya is settled on a divan in a small room off the dining room. Valentin sits beside her holding a glass of tea. SOFYA I see a fine young man before me. Clear eyes. Nice features, rather handsome in a peculiar way. VALENTIN Thank you, Countess. SOFYA Call me Sofya Andreyevna. We do n't stand on formality here, as you may have observed. -LRB- beat. -RRB- Many young men ruin their looks by loose living. You're a real Tolstoyan, I can tell! VALENTIN I admire your husband immensely. SOFYA That's excellent. He likes that. VALENTIN His ideas are beautiful. social justice. the idea. Do n't you think? Sofya drains her tea cup, signals for more. SOFYA He's very grateful for the help you've been giving him. He told me so himself. I think it surprises him that a young man would be so diligent. When he was your age, he was whoring in the Caucasus. Valentin's eyes are wide. She nods. SOFYA He wrote it all down. He even gave me a copy, so I could read all the details. VALENTIN Thank you. SOFYA You've read War and Peace? VALENTIN Many times. twice. Sofya smiles at his honesty. SOFYA When he was writing it, long before Chertkov created that monstrosity at Telyatinki, before all this `` new religion'' and revolutionary nonsense. -LRB- beat. -RRB- What do you think of Chertkov, by the way? VALENTIN He's given me an extraordinary opportunity. SOFYA But you see what a fool he is, a self - serving puritanical idiot. I have to say, it's been extremely pleasant since they've locked him in his house. Sofya smiles. Valentin is nonplussed by her directness. SOFYA When my husband was writing it, in the mid - sixties, he'd bring me pages to re - copy everyday. I was the only one who could read his handwriting. I could read his intentions, too. Afternoons, we'd drink tea and discuss changes. `` Natasha would n't say that to Prince Andrey,'' or `` Pierre's too simple here. He's not stupid.'' She smiles at the memory. SOFYA But I do n't count anymore. Silence. She sips her tea. She glances out the door to see Sasha hovering nearby. Listening? Sasha walks away. SOFYA You must help me, Valentin Fedorovich. I want only what is best for my husband and my family. I could tolerate the situation if it only concerned me What I can not do is sit back while they steal my children's inheritance. Do you know I was the only person. I could understand his intention. VALENTIN I do n't believe anyone wants to do that. Sofya gives him a condescending smile. She produces a package from the table beside her, hands it to him. SOFYA I have a little gift for you He opens it, extracts a small leather bound book. He stares at it. SOFYA It's a diary. -LRB- beat. -RRB- Everyone should always keep a diary. VALENTIN It's a very popular activity around your husband. SOFYA You're teasing me, but I trust you'll write the truth. VALENTIN That may not be so easy. SOFYA Nonsense. You've been listening to your friends at Telyatinki. -LRB- beat. -RRB- Write what you see. That's always the place to begin. -LRB- slowly. -RRB- What. You. See. Valentin fingers the package, stifles a sneeze. SOFYA More tea?",
"EXT. TELYATINKI COMPOUND. DAY Valentin rides into the compound. A number of the disciples are outside working. There is the ringing of metal on wood. He looks for the source. As the way clears a little, he sees Masha chopping away with an axe. He stops his horse to watch her. MASHA You're finished for the day? VALENTIN He did n't need me this afternoon. He gets down off his horse. Masha continues to chop. He picks up an axe, holds it awkwardly. VALENTIN Leo Nikolayevich disapproves of women doing physical labor. -LRB- beat. -RRB- Do n't you find that reactionary? MASHA No, I find it sweet. I find you reactionary. She laughs. Valentin picks up a log, sets it on end and begins to chop. He does n't do it well. Masha smiles at his struggle. MASHA He admires you, I believe. What's she saying? MASHA Sergeyenko told me. He's miserable about it. VALENTIN Tolstoy's kind to everyone. The log is stuck to the blade of his axe. He's really struggling now. MASHA What do you talk about when you're with him? -LRB- beat. -RRB- Why are you blushing? VALENTIN We talk about me. MASHA Really. VALENTIN He wants to know everything about me, my parents, my relations with women, my experience of god - He looks up to see Masha smiling at him. MASHA And what relations are these? Valentin blushes, goes back to trying to chopping. Almost immediately the log becomes stuck to the blade of the axe. He bangs it, bangs it trying to free it. He glances up to see her still looking at him. He pounds again and again. She stops, reaches for his axe, touching him as she does. She lifts the big axe, log and all, above her head, bringing it down hard. The log splits. She hands the axe to him. MASHA I had a lover before I came here. headmaster of a school where I taught. He was married - happily married. It was difficult. We could make love only at school. This is somehow more than Valentin had bargained for. VALENTIN At school? MASHA In the gymnasium, after the girls had gone. There were straw mats on the floor. VALENTIN I see. He looks away to hide his confusion. MASHA Have I upset you? He looks at her. VALENTIN No. I appreciate your frankness MASHA But you disapprove of me. I see it in your eyes. VALENTIN I do n't. Not at all. I think sexual activity. how men and women combine their physical parts is completely neutral. MASHA Listen to you. You're a prig. Just like Sergeyenko. Why else would they have hired you? VALENTIN That's not fair MASHA I do n't care if it's fair. It's true. neutral. my God. VALENTIN I'm going. He puts down the axe. MASHA Do as you like. She goes back to chopping. We track in front of him as he walks toward the house. The chopping stops. MASHA Valentin Fedorovich. He stops, relieved and turns to face her. MASHA You forgot your horse. VALENTIN Yes. You know, I think that I. never mind. He hesitates for a moment, then starts toward her. Her back is to him. She begins to chop again. The color rises in his face as he tries to salvage a little dignity. He grabs the reins and starts again toward the buildings, trips in a ditch, almost falls flat. Red faced, he rights himself. The chopping behind him remains constant. Sergeyenko watches him from the porch.",
"INT. YASNAYA POLYANA. LIBRARY. DAY CLOSE on the CABLE MACHINE. A message coming through.",
"INT. YASNAYA POLYANA. ENTRY WAY/STAIR. DAY. Sofya walks into the house with another stack of mail. Sasha comes piling down the stairs. SASHA Where's papa? Without waiting for the answer, Sasha races past her and out the door",
"EXT. YASNAYA POLYANA. ZASYEKA WOODS. DAY Valentin and Tolstoy walk together in the woods. TOLSTOY I could n't write. I was distracted I think. I had a dream last night, about a Tartar girl I knew in the war. VALENTIN A girl who died? TOLSTOY No, no. A girl I had sexual intercourse with. Sometimes we did it twice a day. Valentin sneezes. TOLSTOY God bless. I've never forgotten our time together, the position of our bodies, the taste of her. VALENTIN You should n't torture yourself. It was a long time ago. Tolstoy laughs out loud. TOLSTOY Torture? You are a virgin, are n't you. VALENTIN I try to. you know, to. TOLSTOY To be what, a good Tolstoyan? Tolstoy smiles. TOLSTOY You see, I myself am not a very good Tolstoyan. You should think twice about asking my advice about anything. Torture. -LRB- he laughs. -RRB- VALENTIN Are you alright? TOLSTOY Kalya, her name was. She's an old woman now, white hair, old body like me. She'd hardly remember my name, I suspect. She may even be dead. -LRB- beat. -RRB- Do you think that meant something? VALENTIN What do you mean? TOLSTOY I mean that little romance. Was there some meaning to it? VALENTIN It ´ s interesting. I think you would say. I mean, I ´ ve read where you say that the physical body isn ´ t real. That it ´ s all an illusion. TOLSTOY I say lots of things. What do you say? What do you think? VALENTIN I. I don ´ t know. Leo Nikoleyevich smiles. TOLSTOY I don ´ t know, either. He inhales deeply. TOLSTOY Smell that. VALENTIN Lilac? He looks up as he hears Sasha off screen. `` Papa. Papa.'' TOLSTOY Precisely. It's lilac. The smell's stronger when the sun goes down. He presses Valentin's hand. SASHA Papa! TOLSTOY I've enjoyed myself, my boy. -LRB- shouting for Sasha. -RRB- WE'RE HERE. As he starts in the direction of her voice. Sasha appears in the clearing, telegram in hand. SASHA He's free. He's free. He's coming back Smash cut to",
"EXT. RAILWAY. COUNTRYSIDE. DAY A train roars past camera, shaking the world.",
"EXT. YASNAYA POLYANA. GROUNDS. DAY Chertkov climbs down from his droshky. Suddenly, Tolstoy is there. Valentin watches them embrace. TOLSTOY My dear, dear man. Tears run down his old cheeks. They embrace again. SOFYA -LRB- O.S. -RRB- He'll try again to convince your father to change his will.",
"INT. YASNAYA POLYANA. ENTRY/STAIRS. DAY. Andrey and Sofya stand together at the window, watching the joyful reunion. SOFYA To give the copyright as `` a gift to humanity.'' the reptile. ANDREY Papa's not in his right mind. He ca n't defend himself against these thieves. -LRB- beat. -RRB- My tooth is killing me. SOFYA You're a fine son, darling. None of this make believe chastity and made up religion. I wish all my children had turned out like you. Andrey's finger in his mouth, massages the offending molar. ANDREY A ma n'th responthibility ith to hith family. From her POV, we see the two men walk away together arm in arm, talking animatedly. SOFYA Chertkov's notions of virtuous behavior are calculated to destroy me. ANDREY To dethtroy uth all. SOFYA There is nothing more pathetic than impoverished aristocrats. She walks out of the room.",
"EXT. GROUNDS. YASNAYA POLYANA. DAY. And into the drive to greet Chertkov. He moves immediately to her, offers her his hand and an unctuous smile. SOFYA Vladimir Grigorevich, what a surprise. CHERTKOV Sofya Andreyevna, I'm happy to see you. Valentin watches her match him smile for smile. * SOFYA And I'm happy to make you happy. always.",
"EXT. ROAD TO TELYATINKI. DAY Valentin and Chertkov sit together in the droshky, an awkward silence. CHERTKOV I'm glad to have a moment alone with you, Valentin. How do you think you're getting on? VALENTIN -LRB- a little nervous. -RRB- I hope my work is pleasing to Leo Nikolayevich. CHERTKOV Yes. He seems satisfied and that's good. The reports I've received from you however. There seems to be some confusion. VALENTIN What do you mean? CHERTKOV You send me never ending commentary on Tolstoy's writing. That's all very interesting but not very useful. I need to know what goes on with Sofya Andreyevna. You must see by now she's committed to undermining her husband's best intentions. VALENTIN It's not quite so obvious to me. CHERTKOV Because she is duplicitous. You are very bright. Too bright to let her into you. Chertkov fixes the boy with his intense gaze. CHERTKOV You value our work? VALENTIN I do. CHERTKOV The ideals we share? VALENTIN That's why I'm here. CHERTKOV Good, of course it is. -LRB- beat. -RRB- Do you think the Countess suspects something? VALENTIN Well, I think the Countess is very suspicios by nature. CHERTKOV How so? VALENTIN I don ´ t think she likes you very much. CHERTKOV What does she say? VALENTIN It ´ s a tone I ´ ve picked up. CHERTKOV We simply want to distribute Tolstoy's work to the widest audience possible. She just has no understanding what it is we are trying to do. There ´ s nothing in it for any of us but a real chance to increase the world ´ s happiness. He takes Valentin's hand. CHERTKOV I can only be of limited help to the master if I do n't know what's going on. Any effort she makes to shore up control of the copyright, I must know. The survival of our movement depends on it. Remember who your friends are. What you've come here to do. Chertkov turns away to watch the countryside. Valentin stares straight ahead, his nose twitches slightly.",
"INT. TELYATINKI. VALENTIN'S ROOM. NIGHT. Valentin, in bed, writes in his diary. Closing his eyes, he begins to drift off when there is a noise outside his door. VALENTIN Hello. Hello? After a moment, it opens a crack. VALENTIN Masha? She is there. She puts two fingers to her lips and walks toward him. She carries a candle which reveals her short hair, her lovely eyes. VALENTIN Masha. She says nothing, simply crawls into bed, positions her knees on either side of him. She leans forward and kisses him. VALENTIN Masha. MASHA Ssshh. She begins to move against him. Their faces touch. She does n't kiss him, but he can feel her breath. She sits up. MASHA Move the book. VALENITN What? MASHA Your book. It's true. Valentin still clutches the diary to his chest. He puts it aside. Masha, then, pulls her nightdress over head, exposing her small breasts, her flat stomach. She reaches under the sheets, curls her fingers around him. He flinches at the pleasure of it. MASHA Is it alright? He ca n't speak. Only nod. He bites his lip as she slips him into her and begins to rock. The pleasure is too much, and he comes too quickly. She falls forward on him, begins to laugh. VALENTIN What. what is it? MASHA You really are a virgin. Valentin tenses a little. MASHA I'm playing. It's fine. It's wonderful. -LRB- beat. -RRB- Hold me. He does, as if he'll never release her.",
"EXT. TELYATINKI COMPOUND. MORNING. Activity in the compound. Chairs on the lawn, a banner being erected, a long table being set. Preparations being made.",
"INT. TELYATINKI. VALENTIN'S ROOM. MORNING. Light spills into Valentin's room. He lies with his arms around naked Masha. VALENTIN Wake up, wake up. MASHA I am awake. VALENTIN I want to ask you something. Say it again. MASHA It was wonderful. They both giggle. VALENTIN Why did you come to a place like this? MASHA What do you mean? VALENTIN You don ´ t follow any of the rules. Masha smiles. MASHA You mean, why does someone who does n't follow the rules come to a place like this? MASHA it's not about rules. Not for Tolstoy anyway. A knock at the door startles them. SERGEYENKO -LRB- O.S. -RRB- Valentin Fedorovich. Valentin is suddenly in a panic. VALENTIN What is it?",
"INT. TELYATINKI. CORRIDOR. DAY. Sergeyenko hovers outside the bedroom door. SERGEYENKO Open the door. VALENTIN -LRB- O.S. -RRB- At the moment, I'm indisposed. SERGEYENKO Yes, well. Leo Nikolayevich is here. He want s to see you.",
"INT. TELYATINKI. VALENTIN'S ROOM. DAY. Valentin blanches. VALENTIN Tell him. I'll be down at once. SERGEYENKO -LRB- O.S. -RRB- Yes. and tell Maria Filipovna we could use another hand in the kitchen. They look at each other. VALENTIN If I see her I will. SERGEYENKO -LRB- O.S. -RRB- If you see her. yes. And if you're going to behave like rabbits, you should go live in the woods. Valentin is up, immediately. VALENTIN Let me go out first. give me five minutes. Masha just looks at him.",
"EXT. TELYATINKI COMPOUND. DAY. A Tolstoyan photo op. A delegation of orphans have come to pay their respects to Tolstoy. He sits in a chair beside Chertkov beneath a large banner : `` Leo Tolstoy, Friend of the People.'' Behind him, the disciples lay out a vegetarian feast on a plank table. Photographers and a cinematographer are strategically positioned to record the event. Each child gives Tolstoy a flower. Chertkov, in turn, hands each child a photograph of the Count giving money to the poor. Valentin enters, flushed and blushing. He pauses beside Dushan who records the scene in his diary, tears in his eyes. DUSHAN Look at the love in him, like Jesus. suffering the children. all that. Tolstoy greets a little boy affectionately, rubs his knuckles over the boy's shaved head. A little girl approaches, takes a photograph. He bends forward to kiss her head but she pulls away. TOLSTOY An old man is a very ugly thing. Tolstoy sees Valentin, lights up. TOLSTOY My dear boy. Come and kiss me. Valentin, beet red, goes to him. He is warmly embraced. TOLSTOY Now, who is this? Maria Filipovna. Masha comes to stand beside him. She glances at Valentin but he wo n't make eye contact with her. TOLSTOY You're both looking so well. Life here at Telyatinki obviously agrees with you. Valentin sneezes mightily, moves a little away. TOLSTOY God bless you, boy. What are you nervous about, now? Sit down. Sit down. Valentin takes the chair beside him. TOLSTOY Dear Masha, Valentin tells me you're the great treasure of Telyatinki. He claims you're a very gifted teacher. Sergeyenko lifts an eyebrow `` Indeed.'' Valentin is in agony. MASHA We're happy to have you with us. Tolstoy notices a mosquito on Valentin's cheek. He takes the bug between his big fingers, squeezes until it pops. Chertkov watches in horror, whispers loudly. CHERTKOV What are you doing? TOLSTOY What do you mean? He motions to the photographers. CHERTKOV You've killed a living thing. Chertkov hears a laugh behind him. It is Masha who has over heard the whole thing. CHERTKOV Do you have something to say? MASHA It's absurd. That's all. Chertkov is taken aback. Valentin stares at her. VALENTIN What are you saying? MASHA I'm sorry but - It's a mosquito. TOLSTOY Forgive him. He ca n't help it. He's a better Tolstoyan than I am. She ca n't help laughing again. Valentin sees the color rise in Chertkov's face. CHERTKOV It's not the message we want to send. Sasha suddenly appears. She holds a cable in her hand. SASHA From my mother `` Nerves dreadful. Stop. Insomnia. Stop. Pulse 100. Stop. Please come home.",
"INT. TELYATINKI. CHERTKOV'S STUDY. DAY. Chertkov is there. Tolstoy, Valentin and Sasha. SASHA Do n't give in to her, Papa. It'll never end. I swear to God, that woman has an instinct for knowing when you're just about to enjoy yourself A knock on the door. Valentin opens it. It's Dushan with another cable. Tolstoy gestures for him to read it aloud. DUSHAN From Sofya Andreyevna. `` I beg you. Stop. Unwell. Stop. Hurry back.'' SASHA Who taught her to use that damned machine? Valentin starts to sneeze, stifles it, starts again, stifles, starts, explodes. Guilty. CHERTKOV Perhaps Sasha's right. Encouraging this may not be the best thing. SASHA It's a trick, Papa. She'll drain you. You'll be miserable. Tolstoy looks from one to the other, gets up from his chair. SASHA Then, let me go with you. TOLSTOY No, my dear, I'll go alone.",
"INT. YASNAYA POLYANA. SOFYA'S BEDROOM. NIGHT. Close on Sofya lying in bed. She looks ravishing in the candle light. In the background, Tolstoy arrives in the bedroom door. TOLSTOY Sofya. A sly smile on her lips, the tension gone from her face, she seems twenty years younger. TOLSTOY Sofya, are you ill? She rolls toward him making it clear she's quite naked under the sheets. This is no sick bed. SOFYA I'm fine. now that you're home. TOLSTOY It's no good, you know, all this. You frightened everyone. SOFYA Did I really? I do n't believe it. Not you. I'm your little bird. You know the sounds I make. TOLSTOY That was some sort of love call? SOFYA It brought you back to me. She reaches out her hand to him. SOFYA Come out of the dark. where I can see you. He takes a step toward her, then stops. TOLSTOY Why? Why? Why, do you do it? We live in the country and you insist on making it an opera house. What's wrong with a little peace now and then? Sofya laughs. SOFYA Look at me. This is who I am. This is what you married. We're older, maybe we're old, but I'm still your little chicken. -LRB- beat. -RRB- You're still my big cock. She smiles at him. SOFYA Let me make you crow. A pause, then a huge laugh comes up from the very center of him. He twists his neck, thrusts his head upward, crows like a rooster. He virtually runs to her, embraces her, kisses her. She is a giddy girl in his arms. He breaks the embrace and begins strutting around the room. SOFYA Let me make you sing. He takes her in his arms, again, begins to kiss her neck. SOFYA Do you love me? TOLSTOY I do. SOFIA I want you to love me. He stops kissing her, looks her in the eye. Then, another loud crow. Laughing, they fall into each other again.",
"EXT. YASNAYA POLYANA. GROUNDS. NIGHT. And we hear their laughter over the dark old house.",
"EXT. TELYATINKI. PORCH. NIGHT. Valentin sits by himself on the porch, writes in his diary. Down below, some of the disciples listen to peasants play music around a bonfire. A voice from the darkness. MASHA I'm not supposed to do this either. He locates the speaker by the glow of her lit cigarette. VALENTIN Masha. You are not supposed to smoke at Telyatinki. MASHA You would n't look at me. VALENTIN It was difficult in front of the others. MASHA But it was n't difficult in your bed. When it was only you and me in front of God. VALENTIN I'm not sure I was conscious of God. Masha emerges from the shadows, but keeps her distance. MASHA So, I made you forget God? VALENTIN No. MASHA Yes, only for a moment. You forgot your rules and remembered love. VALENTIN You make it sound very simple. MASHA It is simple. What we did is what men and women do, have done, will continue doing. What could be more simple? We touched each other - stayed close together. Something passed between us. Something real. That is a betrayal of what? Of nothing. But you're afraid. All your ideas. What are you afraid of? VALENTIN I'm afraid I've hurt you, haven ´ t I? MASHA No. I feel a little sad, but it is not for me. It's for you. She disappears into the house. Valentin looks after her.",
"INT. YASNAYA POLYANA. SOFYA'S BEDROOM. MORNING. The Countess wakes to find her bed empty.",
"EXT. YASNAYA POLYANA. BACK TERRACE. DAY. She comes through the dining room to find Tolstoy on the back terrace. Wrapped in a blanket, he writes in his diary, a cup of tea in front of him. SOFYA Good morning, my darling? Do you mind if I join you? Without looking up TOLSTOY Of course, my dear. He continues to write. She watches him for a long moment. She opens her diary and begins to write as well. SOFYA It's quite insane, my darling. Everyone is making fun of you. He looks up. TOLSTOY What are you talking about? She continues to write. SOFYA Even the muzhiks. I heard them laughing in the barn. TOLSTOY About what? Sofya looks at him knowingly. TOLSTOY Laughing about what? SOFYA I do n't want to ruin last night. She sips her tea, goes back to her writing. A pause. He follows suit. After a moment. SOFYA Laughing about the fact that you've developed a senile crush on a fat middle aged flatterer. Your passion for Chertkov has become a standing joke. TOLSTOY I have a great affection for Vladimir Grigorivich. Let them laugh if they find it amusing. SOFYA But it's not amusing, darling. It's sick. It's not normal. You hang on his every word. TOLSTOY We have a great deal in common. SOFYA You have nothing in common. You are a genius. He's a sycophant and a pervert. TOLSTOY Because he understands what I'm trying to do? Because he tries to help me accomplish it? SOFYA He is using you. You just ca n't seem to see it. TOLSTOY This is absolute nonsense. SOFYA That bold, obese, idiotic man. You treat him. He turns to her. his face red with anger and frustration. TOLSTOY It's impossible for you not to distract me. Let me alone. for God's sake. You're like a spoiled child. He rises, spits on the ground, goes into the house. Sofya follows.",
"INT. YASNAYA POLYANA. DINING ROOM. CONTINUOUS. Catching him up. SOFYA Do you love me, Lyovochka? TOLSTOY Of course, I do. SOFYA Then why would you betray me? TOLSTOY Why do you say that? SOFYA Because of the will?",
"INT. YASNAYA POLYANA. ENTRY WAY/STAIRS/LANDING. DAY Tolstoy, taken aback, says nothing. SOFYA The new will. TOLSTOY There's no new will. She stares at him in silence. TOLSTOY There is no new will. SOFYA Does Chertkov have it? TOLSTOY There's no new will. He walks up the stairs. She follows. SOFYA But that's why he's come back. You talk about it, you and your boyfriend. You plan for it. You have no heart for the people who really love you. You'd rather be seduced by charlatans and deluded by flatterers, all in the name of love. You ca n't even love your own children. You ca n't even love me. SOFYA Tell me where it is? TOLSTOY There is no new will.",
"INT. YASNAYA POLYANA. LIBRARY. CONTINUOUS. He goes to his desk, tries to ignore her. SOFYA Then, promise me there never will be. A moment's hesitation. TOLSTOY I ´ ve told you the truth. Now, let me work. Please, will you? He walks to his desk.",
"INT. YASNAYA POLYANA. LIBRARY. CONTINUOUS. DAY. Tolstoy looks up from his work. Sofya stands in the doorway. SOFYA Tomorrow, I'll go to the Station and lie down on the track. Tolstoy's wife becomes Anna Karenina herself! See how the papers will like that! As he goes, we hear. TOLSTOY -LRB- O.S. -RRB- This is unbearable. You do n't want a husband. You want a Greek chorus. Sofya is taken aback by his response. She walks out of the room.",
"EXT. ROAD TO TELYATINKI. DAY Four peasants pull a water cart down a rough country road. We pan off to see Sofya in her droshky, resplendent in a white dress.",
"INT. TELYATINKI. CHERTKOV'S STUDY. DAY. CHERTKOV and SERGEYENKO look through a crack in the interior window. THEIR POV - the Countess on the sofa drinking a glass of tea. Valentin enters from the meeting room. VALENTIN She's here to question you about the new will. Chertkov nervous, tugs at his moustache. CHERTKOV How does she know it even exists? VALENTIN She claims Leo Nikolayevich told her she could examine the draft. CHERTKOV He is obviously not thinking clearly. And now we have to put up with her petty grasping. VALENTIN It does n't seem petty to me. CHERTKOV I beg your pardon? VALENTIN He ` s her life. The work, in her mind, is theirs. together. CHERTKOV And you're her advocate? You've been taken in by her celebrity. I worried about this. VALENTIN I'm talking about their history - - simply that. CHERTKOV We should see her. Act as if nothing has happened. VALENTIN Nothing has happened.",
"INT. TELYATINKI. MEETING ROOM. DAY. The men enter the meeting room. CHERTKOV Sofya Andreyevna, at last, you honour us with your visit. Valentin watches her match him smile for smile. SOFYA And I'm happy to make you happy. always. She looks at him curiously. CHERTKOV What is it? SOFYA Your moustache is. Drooping, one side of it anyway. CHERTKOV -LRB- nodding. -RRB- It's a problem of the wax. Sofya takes them in. SOFYA Let me get to the point. Vladimir Grigorivich, I do n't wish to be your enemy. I'm delighted that my husband has a friend who understands and shares his ideals. All I want is what's reasonable - an opportunity to evaluate the new will. If you agree, I'm sure we can be friends. CHERTKOV You're very kind. Sofya Andreyevna. But I ca n't help you. Not without specific instructions from your husband. SOFYA -LRB- to Bulgakov. -RRB- Leo Nikolayevich has agreed, has n't he Val - CHERTKOV No witness you produce will change my position. But I'll certainly talk to Leo Nikolayevich at the first opportunity. Sofya is livid. SOFYA Very well. CHERTKOV I want us to be friends, too, Sofya. Leo Nikolayevich is the most valuable thing in the world, for both of us. We should endeavor to set things right between us. Give him peace. Let him work. SOFYA Yes. -LRB- beat. -RRB- Valentin Fedorovich. are you coming back to the house with me? Valentin glances between them, searching for middle ground. VALENTIN I'll escort the Countess home and be back in time for supper. Sergeyenko sneers. SERGEYENKO Masha will be overjoyed. Valentin's nose twitches. He looks at the floor. SOFYA -LRB- O.S. -RRB- Have you been keeping something from me? How delightful.",
"EXT. ROAD TO TELYATINKI. DAY. They are back in the droshky, the return trip to Yasnaya Polyana. Valentin does n't respond. SOFYA We've become close friends, I think. Tell me everything, dear boy. I love a romance. VALENTIN It's nothing, really. SOFYA A young woman in your life is nothing? VALENTIN Masha is a friend. SOFYA A lover? VALENTIN A good friend. SOFYA That sounds serious enough. Valentin looks away. SOFYA I do n't mean to annoy you. VALENTIN I'm not annoyed. SOFYA You forget that I'm an experienced reader. I can read your face, every letter. It's beautifully clear. -LRB- beat. -RRB- Do you love her? Valentin looks at Sofya, tears in his eyes. VALENTIN Maybe I do. SOFYA Not something they'd understand, these so called disciples of my husband. They've never understood a word he's written. -LRB- beat. -RRB- What do any of them know about love?",
"EXT. TELYATINKI COMPOUND. DAY. Masha carries two water buckets suspended from a pole across her shoulders. Arriving at a stream, she takes each bucket and fills it. It's hot work. Pausing a moment, she kneels to splash water on her face. Another P.O.V. - someone watches her from the trees. As Masha wets a cloth, puts it around her neck. Suddenly someone grabs her from behind. She screams, wrestle her way free. She turns to see Valentin, flushed, smiling, excited. He steps toward her, kicks over one of the buckets. VALENTIN Sorry, sorry, I'll. I did n't mean to scare you. Are you alright. MASHA Fine. fine. Why did you? VALENTIN I came back as soon as I could. It was a strange day. Leo Nikolayevich,. I love to listen to him. I love nothing more. He moves closer to her. VALENTIN But today I could hardly concentrate. He's very close to her, now. VALENTIN All I could think of was you. Masha shakes her head, moves away from him. Begins to gather the pole, to refill the spilled bucket. Stops her, turns her to him. VALENTIN What's wrong? MASHA I think I've confused you. I've confused us both. VALENTIN No. No. You didn ´ t confuse me. I was stupid. I was afraid, but I'm not afraid anymore. Valentin wants to fight through the awkwardness. He tries to kiss her. She wo n't have it. She pulls away. VALENTIN I love you, Masha! MASHA Maybe you could help me a little. In silence, he gets the filled buckets balanced on the pole. Without another word, Masha starts toward the buildings. He does n't know what to do. He's losing her. He shouts. VALENTIN Masha. She turns VALENTIN Before the other night. I'd committed the act of copulation many times in my heart. He has her attention now, as well as that of a number of the disciples who look up from their work in the yard. MASHA Yes. VALENTIN I think about you all the time. In my heart I ´ ve comitted the act of copulation many times. I just want to say. It was never like it was with you. Masha bursts out laughing. MASHA I'll wait for you, then. As Valentin goes to catch her up, he sees Sergeyenko watching from outside the unfinished chicken coop.",
"INT. YASNAYA POLYANA. SOFYA'S BEDROOM. MORNING. Sofya wakes up. She looks relaxed, then she sniffs, sniffs again. Out of bed, she grabs a dressing gown. Opening her door, she spots Ivan in the hall. SOFYA Ivan, who's wearing that awful perfume? Ivan a gesture indicating an elaborate moustache. She steps into the hall in time to see Tolstoy, Chertkov, Valentin and Sasha disappear into the library, ducks back into her room to avoid being seen",
"INT. YASNAYA POLYANA. HALLWAY. DAY Sofya approaches the door, listens. She can make out only a few words. `` Mama can not find out'', Chertkov shushing her, whispers. We push in on Sofya's anxious face.",
"INT. YASNAYA POLYANA. LIBRARY. DAY. Chertkov, Sasha, Dushan, Valentin and Tolstoy sit in a little clump by his desk. Tolstoy his head in his hands, looks at the floor. CHERTKOV I hate to say it but the Countess has become more and more dangerous. TOLSTOY Not dangerous. She's concerned for the welfare of the family. CHERTKOV -LRB- to Tolstoy. -RRB- And we're concerned for the welfare of mankind. -LRB- to Bulgakov. -RRB- Take this down. Valentin records the conversation in his diary. TOLSTOY It ´ s a terrible thing you ask. I can ´ t do it.",
"INT. YASNAYA POLYANA. SOFYA'S BEDROOM. DAY. Sofya, still in her dressing gown, climbs out her bedroom window onto a narrow ledge that runs along the second floor.",
"EXT. YASNAYA POLYANA. GROUNDS. DAY. Sofya stand on the window ledge high above the ground. She begins to move toward the library balcony.",
"INT. YASNAYA POLYANA. LIBRARY. DAY. CHERTKOV You've been more than reasonable. She already controls the income from your property. SASHA Listen to him, papa. He has our best interests at heart. Tolstoy looks at Valentin, who looks at the floor. CHERTKOV We're speaking only of the rights to your words, your ideas. With all love and respect, the Countess is too interested in making a profit from your work.",
"EXT. YASNAYA POLYANA. SECOND STORY BALCONY. DAY. Sofya moves along the narrow ledge as if it's a perfectly normal activity. Looking down, she sees a couple of gawkers watching her from the lawn. She shoos them away.",
"INT. YASNAYA POLYANA. LIBRARY. DAY. Valentin turns his head. Did he hear something? TOLSTOY She's my wife. She ´ s part of me. We've been together now, so many years. Chertkov drives the point home. CHERTKOV But you're more than a husband and father. She must understand that. The best interests of the people are one with your own. You belong to them. Valentin glances up. and is shocked to see SOFYA LOOKING IN AT THE STUDY WINDOW. She disappears.",
"EXT. YASNAYA POLYANA. SECOND STORY BALCONY. DAY. Sofya has reached the french doors. She can hear clearly now. TOLSTOY -LRB- O.S. -RRB- But she wo n't. She'll never understand. HER P.O.V. a crowd of gawkers gather on the lawn below her. One man sets up photographic equipment. She waves him away turns back to the window.",
"INT. YASNAYA POLYANA. LIBRARY. DAY. Chertkov pushes his point. CHERTKOV She's unstable. I wonder if she is n't ill. DUSHAN It ´ s sadly more than possible. SASHA I know it ´ s hard for you, papa. But we must be realistic. We pan to the french doors to see Sofya furious face as she listens to the betrayal. CHERTKOV -LRB- O.S. -RRB- Do you really think she's fit to control the final disposition of the will? We pan back to the conspirators. Before Tolstoy can respond, Sofya charges into the room. As she does, she steps on the hem of her long dressing gown and ends up sprawled on the floor. The conspirators just stare at her. SOFYA How dare you? SASHA What are you doing? SOFYA You're all plotting against me. In my own house, too. I bear you thirteen children. How can you betray me like this? -LRB- beat. -RRB- Someone help me up. No one moves. Tolstoy slumps in his chair. SOFYA Give everything you've got to him, your fat little catamite. `` What will it be, my dearest dear, my Vladimir Grigorivich? My wife's heart on a platter? Her kidneys? With salt? But of course, my dear Chertkov, whatever pleases you. The china. The estate. Permanent copyright on everything I've ever written? Anything for you, my love.'' Her eye falls on Dushan, who very unfortunately, has chosen to take this down in his diary. SOFYA Give me that. Give it to me, you little weasel. She grabs the offending volume. The struggle begins. DUSHAN Please, Countess Sofya - SASHA Mama, please. She rips the book away and after brandishing it above her head, throws it through the open doors with a guttural, rumbling growl. She turns on her tormentors. SOFYA Now. TOLSTOY -LRB- mumbles. -RRB- Can I not. Can I not have. His face is red, his body rigid with anger. SASHA You'll kill him, Mama. That's what you want, is n't it? You want him to die!'' She helps him up, takes him to his bedroom. Valentin follows. She looks at Chertkov. SOFYA You! Do n't think you deceive me for one little moment! I know exactly what you're doing. I want to see the will. It's my right, in the name of god. CHERTKOV What are you afraid of? SOFYA You. I'm afraid of you. Chertkov looks at her with undisguised disgust. CHERTKOV The press is bloodthirsty. Had I wished, I could've demolished you and your family. You make it easy. SOFYA Tell them anything you like. Go ahead. Ruin us. CHERTKOV I have too much respect for Leo Nikolayevich. You're lucky. SOFYA Why ca n't my husband see you for what you are? Chertkov's face is red. He starts to speak, stops. He walks to the door, then very deliberately. CHERTKOV If I had a wife like you, I would have blown my brains out long ago. -LRB- beat. -RRB- Or gone to America. He leaves the room. Sofya sinks back to the floor, a flower wilting. She begins to weep. An Aria from Madame Butterfly comes over",
"INT. YASNAYA POLYANA. DINING ROOM. NIGHT. From a record on the gramophone. The table is set for ten, although no one is at dinner but Sofya Andreyevna and Valentin. He is visibly uncomfortable. An awkward silence. VALENTIN I hope you're feeling better. SOFYA Do you like the opera? VALENTIN I took singing lessons for years. I thought about a career in music. The only thing I lacked, in the end, was talent. -LRB- beat. -RRB- I'm sorry about everything. She smiles. SOFYA This aria is very beautiful. It is about a woman who is abandoned by the man who loves her. Everyone is very moved by that. in the opera. A long pause. The clink of soup spoons. Tolstoy enters. He does n't sit. TOLSTOY Our life together has become intolerable. Stifling a sneeze, Valentin gets up to leave, tries to flee the inappropriateness of all this. SOFYA Sit down, Valentin. VALENTIN Really, I'm expected at Telyatinki. She waves it off. SOFYA No, no, no. Enjoy your dinner. We've had a disagreement. No more than any other married couple. TOLSTOY I did n't come for more recrimination. Despite good cause for alienation between us, I have never stopped loving you. SOFYA Of course. TOLSTOY God knows you do n't make it easy. SOFYA Why should it be easy? I'm the work of your life. You're the work of mine. Its what love is. Aside to Valentin. SOFYA Everything with him is hysterics VALENTIN I should go. TOLSTOY Sit down. -LRB- beat. -RRB- So, this is what love is. Does that surprise you, boy? They both look at him VALENTIN I thought it might be quieter, but - He sneezes violently. TOLSTOY/SOFYA God bless you Tolstoy turns to Sofya. TOLSTOY He's right, though. If we can not live a decent, quiet life, if I can not work, if I can not find some peace, I shall simply go away. SOFYA Go? Where? TOLSTOY Not to Chertkov, but I shall go. SOFYA Go where? TOLSTOY Dushan says you're killing me. Sofya rises up in cold rage. SOFYA Then go! Go! Anywhere you please! She smashes a plate on the table to punctuate it and another and another. SOFYA I hate you. I hate what you've become. She picks up another plate, lets it fall. Now, she acts as if she's choking or gasping for breath. VALENTIN Countess. Are you alright? She fights with her collar, rips open the front of her dress. TOLSTOY -LRB- shouts. -RRB- DUSHAN! SOFYA You'll destroy me. Dushan runs into the room. Sofya continues to tear at her clothes, stops, begins to pant, then falls to the floor in a faint. VALENTIN Is she alright? Tolstoy tries to answer, but is overcome by a coughing fit. Dushan starts toward him but Tolstoy waves him in the direction of Sofya. He kneels beside her. DUSHAN Sofya! Open your eyes. SOFYA My back. My back. I'm hurting. DUSHAN You're lying on a fork. Sit up and you'll improve markedly. Valentin, help to get her upstairs, would you? Valentin helps Sofya to her feet. Dushan gets up himself and walks to Tolstoy. DUSHAN She's alright. I'm more concerned for you. We should all go to bed before something else happens.",
"EXT. TELYATINKI COMPOUND. NIGHT. Valentin sits at the bonfire, with other disciples. After a while he walks towards the house.",
"INT. TELYATINKI. KITCHEN. NIGHT. It's late. The house is quiet. Valentin walks into the kitchen to see Masha washing the dishes. Exhausted, he sits, stares at the floor. VALENTIN It was terrible there today. between them. They loved each other so much, but you see what it becomes. She stays at the sink, says nothing. VALENTIN Masha, what ´ s the matter? She speaks without turning to him. MASHA I'm going back to Moscow. VALENTIN What? He gets up, goes to her. MASHA Chertkov spoke with me this afternoon. He says I could be more useful there. which means. Valentin shakes his head. His lip trembles. VALENTIN This is him punishing us, punishing me for befriending Sofya Andreyevna. For not. This is Chertkov. MASHA We've both disappointed him. VALENTIN I do n't care. You ca n't go away. I'll talk to him. I'll make him change his mind. i ´ m going to make you stay. MASHA No, I want to go. VALENTIN What? MASHA I'm leaving the movement. VALENTIN You can ´ t leave Tolstoy. MASHA I am not. Look, when I read his Confession, it moved me, Valya. He was searching for freedom. Freedom from anger. Freedom from attachment. Freedom from all the superstition and nonsense of the church. It moved me so much. I thought that's what it would be about. Is n't that what it's about? Freedom and love? But they mix it all up. Masha reaches out and puts her arms around him. Her head falls against his shoulder. MASHA Come with me. Please. Bulgakov does n't know what to say. The silence gets more awkward as it gets longer. Slowly, she disengages herself from him, looks him in the eye. She nods. MASHA I'm going to my room. As she starts away. VALENTIN Do n't leave me, Masha. I need you. She turns back for a moment. MASHA I know you do. I know. Then she's gone.",
"INT. YASNAYA POLYANA. SOFYA'S BEDROOM/HALLWAY. DAY. Sofya in her bed. A team of doctors hover over her. One of them peers into her eyes with a sextant - like instrument. We move into the hall to find DR. ROSSOLIMO, an expert in mental illness, conferring in the hall with Tolstoy and Dushan. ROSSOLIMO I believe the Countess suffers from a mental degeneracy, paranoic and hysterical, chiefly the former. DUSHAN Yes. The doctor walks back into the bedroom. Tolstoy red in the face, walks away down the hall. Dushan catches him. TOLSTOY Why did you bring him here? DUSHAN He's an old friend, you know, from Rome. TOLSTOY And astoundingly stupid in the way of all scientists. Dushan is wounded by his uncharacteristic lack of generosity. TOLSTOY I'm sorry, my friend, but this is all very upsetting to me. DUSHAN Yes. Tolstoy sits on a small staircase at the end of the hall. Bulgakov is already there on the step above him. TOLSTOY Take them downstairs. Thank them for me. Offer them a drink. DUSHAN You'll be alright? TOLSTOY Valentin Fedorovich will stay with me, wo n't you, boy Valentin nods. Dushan goes to collect the doctors. MOMENTS LATER - Tolstoy goes to Sofya's bed. He takes her hand. She looks at him with all the love of a new bride. Tears come to his eyes. He kisses her hand. SOFYA Ya. your. your. I can ´ t remember now. Yo, what did I say? What did you mean? TOLSTOY You rest now. Valentin watches from the doorway as Tolstoy leaves the bedside and walks out.",
"EXT. ZASYEKA WOODS. DAY. It is an autumn afternoon. Valentin and Tolstoy pick their way through the thick undergrowth. As they come into a clearing. Valentin is surprised to see a portable table and several chairs set up like lawyers office in the middle of the wood. Sergeyenko fiddles with a piece of paper on the desk. Chertkov comes toward them. Tolstoy stops his horse. He turns to Valentin with tears in his eyes. TOLSTOY You see, I no longer feel I have a choice in the matter. She is n't. He rides forward toward the approaching Chertkov. CHERTKOV Good afternoon, Leo Nikolayevich. TOLSTOY Is it? They help Tolstoy dismount. They lead him to a nearby stump and place the writing board before him. Sergeyenko hands a document to Chertkov who lays it on the board. CHERTKOV This will insure that the complete works will live in the public domain. SERGEYENKO Monumentous. CHERTKOV Your work is the birthright of the Russian people. Now, they possess it forever. Tolstoy looks up at them. CHERTKOV Yes? TOLSTOY I need a pen. CHERTKOV Of course. Chertkov looks at Sergeyenko who swallows hard. No pen. SERGEYENKO I. uh. CHERTKOV What? Sergeyenko moves close to Chertkov, close enough to whisper. CHERTKOV You're a secretary. How can you not have a pen? Sergeyenko points at Valentin. SERGEYENKO He's a secretary, too. Ask him. CHERTKOV Valentin Fedorovich, do you have a pen? Valentin hesitates for a moment, looks at Tolstoy, seated on the stump, staring into the middle distance. VALENTIN I do. Valentin fetches it from his satchel. Pen in hand, Tolstoy hovers over the document. A long moment. CHERTKOV Are you alright? TOLSTOY I feel like a conspirator. Sergeyenko laughs. Chertkov glares at him. It's beyond awkward. Valentin looks to the sky, sees the crows circling again. Without further hesitation, Tolstoy picks up the pen and signs the document. Then he moves away from the group. Valentin watches him.",
"EXT. ZASYEKA WOODS. DAY. Valentin and Tolstoy water their horses at a stream. Tolstoy seems weary. VALENTIN Maybe we should get back. It'll be dark soon. May I ask you something that has nothing to do with work? TOLSTOY Of course, my dear. VALENTIN Do you love your wife? TOLSTOY Your youth and your desire for happiness reminds me cruelly of my age and the impossibility of happiness for me.'' When I was courting Sofya, she was so young and pure, it seemed impossible that I'd ever have her. I did n't want to tell her how I felt and I wanted to tell her nothing else. So I wrote down a string of letters and asked her if she could decipher them. She looked completely confused, thinking it was a game or. Tolstoy looks into the middle distance, remembering his love. TOLSTOY I gave her one clue. The first two Y's, I said, stand for `` your youth'' and then the most miraculous thing happened. She simply spoke the phrase, my phrase. Tolstoy looks at Valentin as if the boy might offer some explanation of the miraculous. TOLSTOY as if she had read my mind. In that moment, we both knew we would always be together. For those first years, we were incredibly happy, terrifyingly happy. His old eyes are wet. TOLSTOY And now this. Tolstoy reaches into his boot, extracts his SECRET DIARY. He takes a pen from his shirt, begins to write. Valentin is amazed. HE HAD A PEN ALL THE TIME.",
"INT. TELYATINKI. MEETING ROOM. NIGHT. Valentin exhausted, sits at the long table. Chertkov appears at his office door. CHERTKOV Thank you again, Valentin Fedorovich, for your forethought. VALENTIN I'm a secretary, after all. Chertkov let's it go. CHERTKOV You know I had thought for a time to suggest that Leo Nikolayevich look for someone else. But. he said no. He said `` He reminds me of myself when I was young.'' He goes. After a moment, Valentin gets up and goes to the study door. VALENTIN I'm leaving Telyatinki. CHERTKOV Really. VALENTIN I am going to Moscow. CHERTKOV She is leading you around the nose. VALENTIN Look, you say the movement's about love - CHERTKOV Yes. The love he tells us to practice, the love of the Gospels. Why do I have to explain this? Perfect love. Eternal love. The love that binds mankind together. VALENTIN But I've never met mankind, only men and women, imperfect men, imperfect women. CHERTKOV Leo Nikolayevich also teaches us love can not be weakminded. Go. You wo n't be missed. a naive sentimentalist Valentin looks at him for a long moment, then bursts out laughing, walks away CHERTKOV Why are you laughing? You think I'm ridiculous. VALENTIN I'm laughing because I did n't sneeze.",
"INT. YASNAYA POLYANA. TOLSTOY STUDY/BEDROOM. DAY. Tolstoy has fallen asleep at his desk, his SECRET DIARY open before him. Sofya enters without knocking. He bolts up groggily, tries to hide the little book. Sofya, meanwhile, holds up the letter in her hand. SOFYA Lyovochka? Prozeveskeny wants to purchase the rights to your work after your death. TOLSTOY Then I shall try and die as soon as is convenient. SOFYA Do n't be silly. They've offered one million rubles. Silence. SOFYA How can you not be pleased? TOLSTOY I do n't write for publishers. I write for people. He gets up from his desk. SOFYA Where are you going? TOLSTOY Valentin's in the library. He's asked to speak to me. SOFYA Splendid. while your wretched family is left to starve. TOLSTOY I do n't see anyone starving in this house. On the contrary, our privilege revolts me. He goes. She calls after him. SOFYA But you're always first to the trough. always have been. Sofya sinks into his chair. On the desk is the photograph of herself and Tolstoy that we saw her hang on the wall in the early part of the film. She looks at the wall. There in it's place is the offending photograph of CHERTKOV that she had removed earlier. She can fix that. But as she picks up the photo of her and her husband, she notices A SMALL VOLUME, THE SECRET DIARY, lying under it. She begins to read.",
"INT. YASNAYA POLYANA. LIBRARY. DAY. Valentin waits on the sofa. Tolstoy walks in, goes to him. TOLSTOY What is it, dear boy? You look unhappy. What do you want to say? But before Valentin can respond A GUNSHOT RINGS OUT.",
"INT. YASNAYA POLYANA. TOLSTOY BEDROOM/STUDY. DAY. Sofya sits in a chair, firing shot after shot at the photograph of Chertkov. Tolstoy and Valentin enter. TOLSTOY Sofya, what are you doing? She turns toward him, waves the gun in his direction. Valentin ducks against the wall. SOFYA How could you do this to me? TOLSTOY You're not well. SOFYA You hurt me again and again. You take little pieces of me until I become nothing. I do n't know who I am anymore. -LRB- beat. -RRB- I read your diary. I know what you've done. TOLSTOY You behave like this, I have no choice. Now give me the gun. SOFYA No! Give me the gun! TOLSTOY Give it to me, please. Sofya throws the gun at her husband. She runs out of the room. We see the shattered photograph of Chertkov. After a moment, Tolstoy into his chair. Valentin watches him in silence. TOLSTOY I'd like you to stay here tonight. VALENTIN Yes, of course. With that, the old man gets up and leaves the room, leaving Valentin in the wreckage of his world.",
"EXT. YASNAYA POLYANA. GROUNDS. NIGHT. The wind blows the trees around the old house. We see a lighted lamp move up the stairs.",
"INT. YASNAYA POLYANA. LIBRARY. NIGHT. Valentin in his makeshift bed. SASHA -LRB- O.S. -RRB- Valentin. Valentin. He is immediately awake. Sasha, lamp in hand, crouches beside him. SASHA Get up. He's leaving. VALENTIN What? SASHA He ´ s leaving.",
"INT. YASNAYA POLYANA. TOLSTOY'S BEDROOM/STUDY. NIGHT. Bags are being prepared. Sasha is packing clothes. TOLSTOY Essentials only. Nothing that is n't absolutely necessary. Valentin struggles to close a case full of books and papers. TOLSTOY Please. we must hurry. VALENTIN Where will you go? No one responds. Dushan comes to Tolstoy, sits down and begins the ritual taking of the pulse. Meanwhile, Sasha wraps a heavy fur coat around his shoulders. She smiles at him. SASHA Absolutely essential. DUSHAN A lantern, I think. It's very dark tonight. -LRB- beat. -RRB- And the apparatus for giving an enema.",
"EXT. YASNAYA POLYANA. GROUNDS. NIGHT. The horses are hitched to the droshky, the bags are up on the back. SASHA Everything's ready. Dushan climbs into the carriage. Tolstoy turns abruptly and walks back toward the house. SASHA Papa? DUSHAN He's changed his mind. He's going back to the house. They watch as Tolstoy kneels on the wet grass, bending low to rub his hands against the earth. After a moment, Valentin goes to him, kneels next to him. VALENTIN Do you want to go back? TOLSTOY When I was a boy, my brother Nikolai once brought me to a place when I was a boy. He told me he'd found a green stick with some words on it. the secret to happiness for all men everywhere. He hid it in the ground. I looked for it very often. I've looked for it all these years. I really believed I would find it here. but I never did. Tolstoy looks at him. TOLSTOY I never did. but this life is behind me now. He kisses the ground of his beloved home, gets up and they walk back to the droshky. TOLSTOY Help me up, will you? As they go, he hands Valentin an envelope. TOLSTOY Give this to Sofya. VALENTIN I will. They reach the carriage. Sasha embraces him, kisses him over and over. SASHA Be well. Be well. TOLSTOY Do n't cry. I'll send for you when I can. They help him up onto the droshky and the carriage starts slowly away from the old house.",
"EXT. YASNAYA POLYANA. GROUNDS. MORNING Out in front of the house, an old peasant woman pulls the feathers off a chicken. Over her impassive face, we hear deep, heavy sobs.",
"INT. YASNAYA POLYANA. SITTING ROOM. DAY. Sofya is in a rage. Sasha sits nearby. SASHA I'm simply telling you what happened. He's gone. I have no idea where. Nobody does. SOFYA You're a liar. -LRB- beat. -RRB- Liar! Sasha wo n't rise to the bait. Valentin comes into the room. SOFYA So, he's gone. -LRB- to Bulgakov. -RRB- For good. VALENTIN I think so, yes. There is a pause. Sofya suddenly smiles, becomes solicitous. SOFY Darling Sasha, where is your father? I know you know. Please, please. Do n't play games with me. Now it ´ s not the moment. SASHA Honestly, I have no idea. SOFYA DO N'T PLAY GAMES WITH ME. VALENTIN I have this for you. It is a letter. She grabs it, as if it is something that might feed a terrible hunger at the center of her. Moving into a corner, she tears it open and begins to read. They both watch Sofya's passion. Her face quivers, the muscles in her neck stand out. Her shoulders begin to shake. Crumbling the paper in her hand, she twists her head and screams. Then, gathering up her dress, she runs out the door. Sasha move immediately to the window. From her P.O.V., we see Sofya streaking across the lawn. They look at each other SASHA The pond! They run out.",
"EXT. YASNAYA POLYANA. GROUNDS. DAY. Sofya sprints away from the house and into the trees. A couple of servants join the chase, Ivan and VANYA, a fat manservant. Valentin, head of the group, sees Sofya move out of the birches. She's heading straight to the pond. Sasha suddenly steams past him. SASHA Mama, Mama! Stop. Not this. Hurry! Hurry! VALENTIN Countess!",
"EXT. YASNAYA POLYANA. POND. DAY Sofya has reached the bathhouse. Peasant women watch her as they do their wash. She glances back her pursuers, races on. Tiring now, she goes to her knees. She crawls along the jetty toward the water. At the edge of the jetty, she falls on her back then turns over, most ungracefully, and rolls off sideways into the pond. HIGH ANGLE. Sofya sinks into the black water. The sound of her rescuers fades away and is replaced by Tolstoy's voice, reading the farewell note she still clutches in her hand. TOLSTOY -LRB- V.O. -RRB- My position in the house has become intolerable. What I'm doing now is what people have commonly done - leave their worldly life behind to spend their last days in peace and solitude. SLOW MOTION She floats, strangely relaxed, beneath the water. TOLSTOY -LRB- V.O. -RRB- I beg you to forgive me for everything I've done to you, just as I forgive you with all my soul for everything you've done to me. The silence is suddenly ripped apart by the rescuers. Sasha and Valentin jumping into the pond. Sasha, barely able to swim herself, thrashes in the water. VALENTIN Sasha, go back to the jetty. Here, let me help you. He offers his arm, using it to push her to safety. SASHA No! She's drowning. Help her! VALENTIN I will. I will. Stay here. With that, he pushes away from the dock and makes a sharp plunge under the water. Sasha watches, waits. and after a long moment Valentin surfaces pulling Sofya with him. On the dock, the servants and Sasha help him to get her heavy body, water soaked dress, back onto the bank. She looks terrible. Her tongue lolling out, water drizzling from her open mouth. Sasha is overcome. SASHA She's dead. My mother. She's dead. Ivan takes action. He rolls her on to her stomach, works to expel water from her lungs. This goes on for an agonizing length of time. Valentin looks to the sky. dull and gray. Then a sound, coughing sputtering. She is alive. Sasha, Valentin, and the servants help up. SASHA Let me take you to the house, mother. SOFYA Let me die. Please. Why would you rob me of that? SASHA Let's go to the house. Sofya is suddenly clear, almost calm. SOFYA Ivan, go to the station. Find out which train the master took. Ivan looks at Sasha for approval. SASHA I see no harm in it. Let's get her to bed. Valentin nods. Ivan appears beside him. IVAN Life returns to torture her for awhile. He laughs out loud, then walks away.",
"INT. YASNAYA POLYANA. DINING ROOM. DAY. Sasha walks into dining room. Valentin pours them tea. SASHA She's exhausted herself. She's slept for nearly four hours. VALENTIN I'm glad she can sleep. The pain subsides a little. SASHA The noise subsides a little. They smile at each other. SASHA Well, a little. Ivan comes down the stairs. He stops in the doorway. SASHA Come in. IVAN A message, miss. SASHA For me? IVAN No, for your father. From the Countess, miss. SASHA She's allowed to send a note to my father. I just do n't know where to tell her to send it. IVAN She's addressed it to train number 9. That's the train the master took. The station master told me. SASHA Why are you giving it to me? She is allowed to send my father a note! Ivan steps forward and hands her the note to inspect. Sasha ca n't help but laugh. SASHA She never gives up. -LRB- reading the note. -RRB- `` Dearest papa. Return at once. Sasha.'' She signed it with my name. VALENTIN Ingenious. SASHA Obvious. She pockets the note. Ivan continues to stand there. Sasha looks at him. SASHA Yes? IVAN He gave me this as well. the stationmaster. A note for you. Sasha opens it, reads. She looks up, flushed with excitement. SASHA He's with my aunt. At the Shamardino. Sasha runs out of the room.",
"EXT. YASNAYA POLYANA. GROUNDS. DAY Sasha, on horse back, rides up and by the camera and away down the alley of trees that lead away from the house. SOFYA -LRB- O.S. -RRB- They've all gone",
"INT. YASNAYA POLYANA. LIBRARY. DAY. Sitting at his desk, Valentin looks up to see Sofya standing in the doorway. She looks exhausted. VALENTIN I'm here. She walks to his desk. SOFYA You're writing to your girl. That's lovely. Sofya touches his shoulder with real affection, then walks across the room to her husband's desk. VALENTIN I do n't know if she's my girl. SOFYA But you believe you'll see her again. VALENTIN I very much hope so. SOFYA Yes. Refuse to believe in the end of love. Do all you can to prevent it. Sofya picks up a photograph of the two of them, examines it. SOFYA I know you know where he is, Valentin. Valentin hesitates. She walks back to him. SOFYA I wo n't ask you to betray his trust. but I need you to go to him. I do. I have to see him. I have to talk to him. I wo n't make a scene. Promise him that. I must see him.",
"EXT. COUNTRYSIDE. DAWN Clouds of steam against the white sky. A great black train travels through the bleak world",
"INT. THIRD CLASS CARRIAGE. DAY. Tolstoy rests on the hard bench of the third class carriage he always insists on. He writes on his lapboard. We pan to an adjacent bench to find VALENTIN, now with them. He and Sasha have a map spread out in front of them. SASHA He's right, you know, to go. She will be right behind us. VALENTIN I ´ ve told you she has promised she wouldn ´ t make any problems. But besides, where are we going? Tolstoy has overheard them. TOLSTOY We do n't need a plan, my dears, we'll simply go Dushan appears with several newspapers. As he hands them the papers, he reads the HEADLINES. DUSHAN TOLSTOY ABANDONS HOME! WHEREABOUTS UNKNOWN. SAGE OF YASNAYA POLYANA TAKES FLIGHT! Tolstoy looks up from the papers, smiles. TOLSTOY I guess our little secret is out.",
"INT. YASNAYA POLYANA. SITTING ROOM. DAY Sofya sits surrounded by the papers. Andrey appears. ANDREY There's a reporter outside from the Russian World. SOFYA Tell him we've received an apologetic letter from your father. very embarrassed. We expect him back any day. ANDREY But that's a lie, right? SOFYA Yes, that's a lie.",
"EXT. COUNTRYSIDE. DAY The huge iron wheels grind on.",
"INT. THIRD CLASS TRAIN CARRIAGE. DAY Tolstoy sleeps. People still crowd around him. VALENTIN Please move back. Please let him breath. Please give him some room. SASHA -LRB- to Valentin. -RRB- He can ´ t breath. Valentin, please. -LRB- to Dushan. -RRB- The smoke is too much. DUSHAN I know. Stay back. Tolstoy stirs. TOLSTOY Where are we? DUSHAN It's alright. Everything's fine. He reaches out to touch Tolstoy's forehead. He goes pale. TOLSTOY Where are we? DUSHAN Let me take your temperature. The old man lifts his shirt, takes the thermometer under his arm. Dushan reaches for his wrist. Valentin and Sasha look at each other, wait for the vital signs. He takes the thermometer from Tolstoy, reads it. He's clearly shaken. TOLSTOY Good old Dushan,. you need n't worry. Remember, you are my doctor, not my angel. Whatever happens, it's not your fault. I'm feeling much better now. I just need to sleep. DUSHAN Good, good. Yes. He drifts off again, Dushan stares at the thermometer. His eyes fill with tears. DUSHAN He will be fine.",
"EXT. ASTAPOVO. PLATFORM. DAY The train pulls into a small, dusty station, ASTAPOVO. Valentin and Dushan support, help him off the train. Sasha looks at the sad, empty platform. SASHA We've come to the end of the world.",
"EXT. ASTAPOVO. PLATFORM. DAY. Dushan and Tolstoy sit on a bench on the platform. Sasha and Valentin appear. VALENTIN The stationmaster says we may have his house for as long as we need it. There are no inns nearby, so we're lucky. TOLSTOY Very lucky. DUSHAN Yes. They help Tolstoy up. A little bearded man, the station master, waits to escort them. SASHA You'll be comfortable here, papa. The rest of us. we'll find cots or sleep in the station. TOLSTOY And then we'll be on our way.",
"INT. ASTAPOVO. TELEGRAPH OFFICE. NIGHT. Valentin approaches the operator. VALENTIN Hello, hello? Could you send a cable for me?",
"INT. YASNAYA POLYANA. LIBRARY. NIGHT A message comes over the cable machine. VALENTIN -LRB- O.S. -RRB- Tolstoy ill at Astapovo. Temperature high. Send it to Sofya Andreyevna, Yasnaya Polyana.",
"INT. YASNAYA POLYANA. SITTING ROOM. NIGHT. Sofya paces. Andrey lolls on the couch reading the paper. SOFYA We must leave at once. ANDREY We'll make inquiries in the morning, mother. SOFYA We'll rent a train. ANDREY That'll cost a fortune. SOFYA Do n't say irrelevant things, Andrey. It's unbecoming. Contact someone. I'll go and pack. ANDREY Rent a train? God!",
"EXT. ASTAPOVO. PLATFORM. DAY. Press and various hangers on have begun to arrive at Astapovo. Outside the station master's house, Dushan gives an update, temperature, pulse. Valentin emerges from the telegraph office, telegrams and cables in his hands. A long passenger train pulls in from the north. There's general commotion at the new arrival. `` The Countess.'' `` Is it the Countess?'' . More press, a cinematographer lugging his gear and CHERTKOV. He spots Valentin. There is no greeting, no embrace. CHERTKOV Bulgakov! Where is he? Take me to him. As they make their way across the tracks, Chertkov can barely contain his glee. CHERTKOV He left. astonishing. He actually, finally left. VALENTIN He was n't well enough to travel. It's very cold. Chertkov does n't hear, He's basking in his victory. CHERTKOV It's a triumph for the movement.",
"INT. ASTAPOVO. STATIONMASTER'S HOUSE. DAY. Valentin leads Chertkov through the door. Chertkov stops short, whispers CHERTKOV He looks so small. Now, Tolstoy sees him, wakes up, smiles. SASHA Papa. TOLSTOY It's -LRB- hic. -RRB- you. The men embrace. Tears roll down the both men's cheeks. Tolstoy continues to hiccup throughout. CHERTKOV My dear friend, waht is all of this? TOLSTOY I needed. -LRB- hic. -RRB- to see you. Thank you. We have so much. -LRB- hic. -RRB- to do. -LRB- hic. -RRB- I ´ m sorry. Damn hic ups. -LRB- beat. -RRB- Have you seen Sofya? CHERTKOV I've made a point not to. TOLSTOY I do n't know when. -LRB- hic. -RRB- she'll come. But she'll come. -LRB- hic. -RRB-. I know it. CHERTKOV And we'll be ready. VALENTIN Ready for what? Chertkov does n't respond. DUSHAN I'm sorry, but it's time for your enema. TOLSTOY Do n't apologize, my friend. Your enemas -LRB- hic. -RRB- have become the news of the world. -LRB- smiles. -RRB- Now, all of you, help turn me over.",
"INT. ASTAPOVO. STATIONMASTER'S HOUSE. NIGHT. Everyone is asleep. Valentin keeps a vigil at Tolstoy's bedside. His rest is fitful, his breathing ragged. Valentin stands and walks out.",
"INT. ASTAPOVO. TELEGRAPH OFFICE. NIGHT. Valentin approaches the little window. VALENTIN I'd like to send another cable. The man nods, readies his pencil. VALENTIN At Astapovo. Stop. Tolstoy Ill.. Stop. Heart breaking. Stop. Please Come. That's it. The man looks to him for an address. VALENTIN It goes to Masha. to Maria Filipovna Melinov, Moscow. Thank you.",
"EXT. ASTAPOVO. PLATFORM. DAY. The media circus is in town. There are snack bars and huts, an army camp with typewriters instead of guns. Several news cameras are set up near the stationmaster's house. Tents have been erected as make shift shelters and offices. Reporters struggle to get into the telegraph office. Word goes around something big is happening. At the platform, we see the highly polished private train pull in. The Countess has arrived. SOFYA APPEARS in her handsome traveling clothes. An unctuous little orthodox priest follows her out of the train. ORTHODOX PRIEST If the Count should have a change of heart. if in the last moment he chooses to confess, mother church is there to embrace him with open arms. She nods. SOFYA I'll see what I can do, father. She moves with purpose across the tracks and through the throng Reporters pelt her with questions.",
"INT. ASTAPOVO. STATIONMASTER'S HOUSE. DAY. Chertkov, Sasha and Valentin watch through the window. SASHA She's coming this way. Chertkov starts to put on his coat. CHERTKOV Not before she stops to tell them lies, catalogue my atrocities. VALENTIN Let me speak to her. He heads toward the door.",
"EXT. ASTAPOVO. PLATFORM. DAY Sofya has reached the edge of the platform where DUSHAN gives his medical update, temperature and pulse, to the press. She pulls Dushan aside. Reporters surround them. SOFYA I want to see my husband. DUSHAN Yes I'll. uhm. SOFYA I want to see him. Now! Dushan is terrified. Valentin arrives at the platform. VALENTIN Countess! SOFYA Valentin. Will you help me? I have to see him. Please. VALENTIN Of course. But I'm not certain if it ´ s the best time, Countess. She starts toward the building. SOFYA It is. It's the right time for me. VALENTIN Sofya Andreyevna. -LRB- to the crowd. -RRB- Stay back, stay back.",
"EXT. ASTAPOVO. STATIONMASTER'S HOUSE. DAY As Valentin arrives outside the door, he see Sofya physically recoil. She is confronted by Chertkov and Sasha blocking the door. SOFYA I want to see my husband. Members of the press, crowd ` round trying to listen. SASHA He's too weak now, mother. SOFYA But he's not too weak to see you. Not too weak to see that. She gestures in Chertkov's direction. The passion attracts more onlookers. CHERTKOV Do you really want to do this here? She does her best to ignore him. SOFYA I am the leper outside the gate, while he sleeps with the devil himself. SASHA Vladimir Gregorovich is here because father asked him to be here. This stops Sofya for a moment. She looks to Valentin. SOFYA Is that true? Valentin nods. She tries another tack. SOFYA Have you told him I nearly drowned in the pond? SASHA We did n't have to. It was in all the papers. Valentin is very aware of the publicness of it all. VALENTIN Let me take you back. But she plows on. SOFYA What did he say? SASHA That if you killed yourself, he'd be upset. SOFYA He'd be upset? SASHA Horribly upset. but he could not have acted other than he did. Sofya begins to sob. SOFYA I want to see him. -LRB- beat. -RRB- He's not your husband. He's my husband. SASHA You're unbearable. Sasha goes back toward the door. SOFYA And you are a stone - hearted bitch of a daughter. Sasha disappears back inside. Sofya screams after her. SOFYA I lost five children. Why could n't one of them have been you? Chertkov watches, makes little attempt to conceal his pleasure. CHERTKOV Are you finished? A pause. Sofya is suddenly aware of the crowd around her. SOFYA Valentin, will you take me back? Valentin nods. VALENTIN Yes, of course. Sofya takes his arm, starts back across the platform. Shaken, she tries her best to maintain her dignity as she walks through the crowd. She leans against Valentin, whispers. SOFYA I've behaved badly, have n't I? VALENTIN No, Countess, Do n't worry. Not at all. Around her, journalists ask questions, photographers call out `` Turn to us, Countess.'' `` Show us your eyes.''",
"INT. ASTAPOVO. PRIVATE TRAIN. DAWN. Valentin, in his wrinkled suit, is asleep in a chair. He wakes to see Sofya stretched out on the sofa. He watches her. She does n't stir. After a moment, he goes out.",
"EXT. ASTAPOVO. PLATFORM. DAY Valentin emerges from the telegraph office. He walks along the platform, a stack of letter and telegrams in his hands. A few reporters type their early morning dispatches.",
"INT. ASTAPOVO. STATIONMASTER'S HOUSE. DAY. Valentin comes into the room, acknowledges Chertkov who sits at his makeshift desk going through letters and cables. He goes to the bedside, stops next to Dushan. Silence, interrupted only by Tolstoy's incessant hiccups. Valentin notices Dushan is on the verge of tears. VALENTIN What is it? Dushan, what ´ s wrong? DUSHAN Listen to him. I'm supposed to be a doctor, for God's sake. Weak, feverish, Tolstoy sits up in bed. Sasha moves to help him. TOLSTOY Sofya! DUSHAN What is it? What is it? Valentin goes to Tolstoy. He's in a kind of panic. Chertkov comes into the room. TOLSTOY She's come, has n't she? She ` s here. He points to the corner. But it is nothing, a gray shape thrown by a coat rack. CHERTKOV You're imagining things. DUSHAN It's true, Leo Nikolayevich. TOLSTOY Sasha. where's your mother? Tolstoy's eyes fill with tears. Valentin looks to Sasha. She looks from him to Chertkov. CHERTKOV She's at home. TOLSTOY If she wanted to see me I could n't refuse her. -LRB- beat. -RRB- Is she going to come here? All eyes are on Sasha. SASHA I do n't think so. I do n't know, Papa. There's no way to. TOLSTOY To what? Will she waiver? A long, agonizing beat. SASHA She's at home. I'm sure of it. Valentin looks at the floor. TOLSTOY At home. SASHA Yes, Papa. Tolstoy nods, pats Sasha's hand. TOLSTOY Very beautiful is n't it? SASHA Our home? TOLSTOY Yes. He leans back against the pillow and drifts again. Sasha gets up and goes outside. After a moment, Valentin follows.",
"EXT. ASTAPOVO. STATION MASTER'S HOUSE. DAY Valentin sees her leaning against the wall. She's in pain. SASHA He said to me once. `` you're like your mother. You're so full of anger.'' She turns to him. SASHA I know it's terrible. but who will protect him? I do n't want him to die. Valentin touches her face, goes back inside and into",
"INT. ASTAPOVO. STATION MASTER'S HOUSE. LIVING ROOM. DAY. Where Chertkov has made a makeshift office. He pores through the cables, letters and telegrams that litter the station master's dining table. He holds one up for Valentin. CHERTKOV Kind thoughts from George Bernard Shaw. Valentin walks to the table. VALENTIN You lied to him. CHERTKOV Keep your voice down. VALENTIN He wants to see her. You heard him say it. CHERTKOV What exactly do you think she will bring him? VALENTIN I don ´ t know, they ´ ve been married for 48 years. CHERTKOV I ´ ll tell you what she ´ ll bring. Vanity, fuss and noise. VALENTIN She promised me - CHERTKOV What? Promised you what? You ´ ve seen her at close quarters, boy. You think she ´ s capable of restraining herself? VALENTIN They have a whole life togehter. Why do you have to deny that? CHERTKOV You're a victim of her romantic nonsense. You seem to forget she wants to destroy everything we do. She travels with that unctious little priest. VALENTIN Keep the priest away - CHERTKOV These people are vultures. They send in at the last moment and welcome him back to the church. That's their fantasy. -LRB- beat. -RRB- A death bed recantation. Do you have any idea the damage it would do? Everything he's dreamed of, everything we've worked for will be gone. A simple noble death is what we want. It is what he wants. VALENTIN No, you want an icon. You want to take photographs and give out postcards. You want people to kneel in front of an image you ´ ve created. But he doesn ´ t wanted that. He never wanted that, and it will give him no peace. -LRB- beat. -RRB- He wants to see her. let her come. They see Sasha looking from the door. She turns and closes it. CHERTKOV I will do everything in my power to prevent that. VALENTIN Oh, God. You exhaust me. CHERTKOV I used to think you were just naive, Valentin, maybe a little stupid. I see now you're more dangerous than she is. He turns back at the door. VALENTIN Tell me one thing. That image you want to create, just looks like you, doesn ´ t it? Valentin leaves the room.",
"EXT. ASTAPOVO. PLATFORM. NIGHT. The circus sleeps. Valentin sits on a bench outside the station master's house. The tents erected by the press glow like lanterns in the field. Some people lie on the hard platform. He looks across the tracks at Sofya's private car. A single light burns in the window",
"INT. ASTAPOVO. PRIVATE TRAIN CARRIAGE. NIGHT. Sofya keeps her solitary vigil. The priest has fallen asleep sitting up. She finishes her prayers, gets up, looks across at the lonely cottage. She can make out Valentin's figure on the platform.",
"EXT. ASTAPOVO. PLATFORM.NIGHT Dushan appears in the doorway. Solemn, he gestures for him to come inside. Valentin stands.",
"INT. ASTAPOVO. PRIVATE TRAIN CARRIAGE. NIGHT. Sofya watches the two figures disappear inside.",
"INT. ASTAPOVO. STATIONMASTER'S HOUSE. NIGHT. Valentin sees Chertkov standing near the bed. Dushan returns to the chair next to Tolstoy. His cheeks are damp, his breathing irregular. SASHA It ca n't be right. His fever is down. DUSHAN His pulse, you see. Dushan begins to cry. Suddenly, Tolstoy becomes lucid. TOLSTOY Sofya. my dear Sofya. So much has. -LRB- hic. -RRB- fallen to her. Everyone moves nearer the bed. Tolstoy looks at Valentin. TOLSTOY Who's going to look after her? -LRB- beat. -RRB- Someone needs to look after her. There is a long pause. Sasha looks at Valentin. SASHA Shall I call her? TOLSTOY This is it -LRB- hic. -RRB-. The end. He seems to smile. SASHA Do you want to see her, papa? TOLSTOY Sasha, Sasha. It's -LRB- hic. -RRB- nothing. Nothing. He falls onto his pillow, asleep. CHERTKOV It's almost over. Sasha looks at him, shakes her head. SASHA I ca n't do this anymore. CHERTKOV He won ´ t know who she is anyway.",
"INT. ASTAPOVO. TRAIN CARRIAGE. NIGHT. Everyone sleeps but Sofya. There is a knock on the door. Sofya opens it. It is Sasha. A pause. SOFYA Has he asked for me? SASHA I want you to come. Take a coat. It's cold.",
"EXT. ASTAPOVO. STATIONMASTER'S HOUSE. NIGHT. Sofya and Sasha walk to the door. The reporter calls out REPORTER Countess. Countess. Do you have any information? Countess. Is he dying? Is he dead? Sasha takes her mother's hand.",
"INT. ASTAPOVO. STATIONMASTER'S HOUSE. NIGHT. She steps into the room. For a moment, she seems overwhelmed at the sight of him. She looks at Valentin, who nods at her as if to say go on. Sofya walks past Chertkov without acknowledging him. Dushan lets go his hold of Tolstoy's wrist and gets out of the chair, out of her way. She approaches her sleeping, husband, the love of her life, her cross, her everything. SOFYA Lyovochka! There is no response. She throws her arms around him. SOFYA Please forgive me, my darling! SASHA Mother. SOFYA I'm a fool. I'm a selfish woman. But I love you. Please believe me. Please understand me. Please forgive me for all my weakness and badness. Please! Please! Love me! SASHA Mother! Sasha takes her hand, whispers. SASHA Control yourself. SOFYA Was I shouting? SASHA You have to control yourself. Sofya looks around and sits back. Strangely, she does control herself. She becomes very still. She takes her husband's hand, begins quietly to speak to him. SOFYA You do n't speak, but I hear you. She carries on two sides of an impossible conversation. SOFYA `` Do you love me, Lyovochka.'' -LRB- beat. -RRB- `` Never stopped, my little bird.'' -LRB- beat. -RRB- `` And you will never stop''. -LRB- beat. -RRB- `` Never.'' -LRB- beat. -RRB- `` Nor ever leave me again.'' -LRB- beat. -RRB- `` Never, ever again. -LRB- beat. -RRB- `` Good. good. let's go home'' She sits very still holding her husband's hand. Then, it seems she feels the slightest of movements, the slightest squeeze of her hand. She looks down to see Tolstoy open his eyes. He looks at her for a moment, the hint of a smile, then closes his eyes again. Valentin sees it, glances at Sasha. Then, he begins to fight for breath. DUSHAN First cessation. A general sense of panic at the proximity of death. Tolstoy fights for a last breath. DUSHAN Second cessation. Sofya whispers quietly to her dying husband. SOFYA Please forgive me if I cry a little now. Tolstoy continues to struggle, then silence, silence. Sasha starts to sob. Sofya reaches out to her daughter. Sasha comes to her mother who holds her. She feels someone next to her. She looks up. It's Chertkov. CHERTKOV I am sorry, Sofya Andreyevna. The most unlikely thing, she pats his hand. SOFYA It's alright. What happens from now on. it will never really matter. Not really. Everything's finished. Chertkov sits beside them. She turns to Dushan. SOFYA Dushan, could you tell them your great friend is gone? DUSHAN Yes. He nods, walk out into the dawn light to tell the world Leo Tolstoy is dead.",
"EXT. ASTAPOVO. PLATFORM. DAY A sizeable crowd has assembled, the usual reporters, photographers, cinematographers, but students, too, and soldiers, factory workers, housewives. Dushan faces the crowd. Quiet. Quiet. DUSHAN At ten minutes after six in the morning, a great soul passed from our world. Leo Nikoleyevich Tolstoy is dead. As Dushan finishes his tribute, a single voice begins to sing the old Russian hymn, Eternal Memory. Gradually, more and more of the crowd picks it up. Valentin begins to sing. His eyes run over the crowd of mourners. Then, something stops the flow of his gaze. His eyes fill with tears. VALENTIN Masha. Masha. She walks slowly toward him out of the crowd. He goes to her, takes her in a long embrace. VALENTIN Masha. Masha. I'm so sorry he's gone. He ´ s gone. MASHA Yes. Yes. I know, but I came for you, Valya. I came for you, too. VALENTIN I love you. I do. I love you. MASHA Then, hold me. Hold me. Hold me. The song, the voices swell around them. They hold each other like they will never let go.",
"EXT. ASTAPOVO. PLATFORM. DAY. A black draped funeral train waits in the station. Many mourners are congregated on the platform. Chertkov comes out of the little house, followed by Andrey, Valentin and Dushan carrying Tolstoy's coffin to the train. Sofya appears with Sasha, who escorts her through the crowd. The Orthodox priest approaches. ORTHODOX PRIEST As a daughter of the church, I'm sure you would n't object to my saying a few words at the funeral. Sofya stares at him for a long moment. SOFYA My husband needs no justification. Besides, it ´ s been enough talking as it is. Thank you, father. She climbs onto the train.",
"INT. ASTAPOVO. PRIVATE CARRIAGE. DAY. Sofya settles into the comfort of the private car. She sits next to Sasha. Andrey and Dushan are near her. There's a noise from outside. VOICE -LRB- O.S. -RRB- Countess. Countess. She looks out. Below the train window, Valentin and Masha stand hand in hand. She gets up and opens the window.",
"EXT. ASTAPOVO. PLATFORM. DAY. VALENTIN Excuse me, Countess. This may not be the time, but - Sofya smiles SOFYA Valentin. and who's this. VALENTIN Masha. this is Masha. Sofya nods. SOFYA This is your girl. Good. Good. Is there anything I can do for you? VALENTIN No, no. Not at all. I just wanted to say good bye. SOFYA Yes. Good bye, good bye. God bless you. VALENTIN God bless you, too.",
"INT. ASTAPOVO. PRIVATE TRAIN. DAY Sofya sits back down with Sasha. They hold hands. SOFYA Well, I'm ready to go now. -LRB- to Andrey. -RRB- Why aren ´ t we moving? Ca n't someone make it move? But at that moment, the train begins to move. SOFYA Oh!",
"EXT. ASTAPOVO. PLATFORM. DAY. Sofya looks out the window, sees the people lined up along the rail, mourn her loss. As she looks away, we see the people reflected in the glass, some of them kneel, some of them remove their hats. Valentin watches the train pull away. He holds Masha to him. As the train moves slowly through the corridor of mourners, some of them fall in and walk behind it. The camera travels up and up as the train travels north taking Sofya and her husband back to Yasnaya Polyana."
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] | In 1910, the last year of Leo Tolstoy's life, his disciples, led by Vladimir Chertkov, manoeuvre against his wife, Sofya, for control over Tolstoy's works after his death. The main setting is the Tolstoy country estate of Yasnaya Polyana. Tolstoy and Sofya have had a long, passionate marriage, but his spiritual ideals and asceticism (he is opposed, for example, to private property) are at odds with her more aristocratic and conventionally religious views. Contention focuses on a new will that the "Tolstoyans" are attempting to persuade him to sign. It would place all of his copyrights into the public domain, supposedly leaving his family without adequate support. The maneuvering is seen through the eyes of Tolstoy's new secretary, Valentin Bulgakov, who finds himself mediating between the two sides. He also has a love affair with one of the Tolstoyans, Masha. Ultimately, Tolstoy signs the new will and travels to an undisclosed location where he can continue his work undisturbed. After his departure, Sofya unsuccessfully attempts suicide. During the journey, Tolstoy falls ill. The film ends with his death near the Astapovo railway station where Sofya is allowed by their daughter to see him just moments before his death. The closing credits state that five years after his death the Russian senate reverted the copyrights of Tolstoy's work to Sofya. | The_Last_Station |
[
"EXT. NEW YORK CITY - NIGHT, 1947. FLASHBACK. City lights. The soaring bridges and glowing windows of New York City. The SOUNDS of a cocktail party.",
"INT. GREENWICH VILLAGE APARTMENT - NIGHT, 1947. FLASHBACK. A party of bohemian types in the village. Artist's canvases propped up against the walls. A narrow hallway with couples talking intimately. Two rooms crammed with young people smoking and drinking. A man and a woman in their 20's stand alone in a corner. FRANK WHEELER, intelligent good - looks, and APRIL JOHNSON, a patrician beauty, a woman amongst girls. He's been making her laugh. FRANK So, what do you do? APRIL I'm studying to be an actress. You? FRANK I'm a longshoreman. APRIL -LRB- smiles. -RRB- No, I mean really. FRANK I mean really too. Starting Monday, though, I'm doing something a little more glamorous. Night cashier at a cafeteria. APRIL -LRB- smiles. -RRB- I do n't mean how you make money. I mean what are you interested in? FRANK Honey - if I had the answer to that one, I bet I'd bore us both to death in half an hour. She laughs. He smiles, revelling in her attention.",
"INT. GREENWICH VILLAGE APARTMENT - NIGHT, 1947, LATER. Later, Frank and April dance. They move well, in sync, looking into each other's eyes. He slides his hand down the silk of April's dress until it rests in the small of her back. Close on their hands. Their fingers slowly entwine as they lose themselves in each other.",
"INT. AUDITORIUM - NIGHT, PRESENT. Close on Frank's face, seven years later, full of doubt and tension as he watches his wife, April, on stage and as we hear the hollow VOICES of a very bad amateur play. Finally, mercifully, the curtain falls. Nothing. Then vigorous, relieved applause. Frank hears a voice from behind, through the applause : WOMAN Thank God that's over. April takes the final bow. She's fighting not to cry. Frank applauds her loudly. Looks around to see who else is joining him. But there is no noticeable crescendo in the applause. Then Frank hears the voice again : WOMAN -LRB- CONT'D. -RRB- And she was very disappointing. He ca n't argue.",
"INT. HIGH SCHOOL AUDITORIUM - NIGHT, MOMENTS LATER. Frank now moves against the crowd of exiting audience members towards the stage. He keeps his head lowered, avoiding eye - contact, until he feels a hand on his sleeve. MR. AND MRS. GIVINGS, an older couple, are standing in his way. MRS. GIVINGS Frank! Very nice Frank! FRANK Thanks, Mrs. Givings. Frank steps around her. MRS. GIVINGS I ca n't tell you how much we enjoyed it. You have a very talented wife. Frank forces a smile as he goes. FRANK I'll pass it along!",
"INT. DRESSING ROOM - NIGHT. April sits alone at her dressing table crying.",
"INT. BACK STAGE - NIGHT. The CAST mills backstage. The mood is subdued, but some have decided to make light of the disaster. Frank moves through the crowd. Across the room, he sees - MILLY CAMPBELL, 30's, determinedly bright, up on her tip - toes. Her husband SHEP, 30's, heavy - set, is still in costume, shell - shocked and pebbled with sweat. MILLY Frank! FRANK Hi! MILLY She's through there! -LRB- points. -RRB- You ` bout ready for that drink? FRANK Couple of minutes!",
"INT. DRESSING ROOM - NIGHT. Frank enters. The chair in front of the mirror is empty. A cigarette burns in the ashtray. Frank glances at a standing screen in the corner. April's costume is draped over the top. He goes towards it, deciding what to say. FRANK -LRB- heartfelt. -RRB- April, sweetheart. You were great. I mean it. The door to the bathroom opens. April enters in street clothes. Frank's been talking to an empty room. APRIL Hi. You about ready to leave? I've just got to get this makeup off, then we can go. She sits in front of the mirror, too embarrassed to look at him. FRANK can see that her face is blotchy from crying. He puts his hand on her shoulder. FRANK Well. I guess it was n't a triumph or anything, was it? APRIL looks at him in the mirror. She holds his look just a second. And from her expression, he knows he said exactly the wrong thing. APRIL I guess not. I'll be ready in a minute. FRANK Take your time. He removes his hands and lights a cigarette. APRIL begins to take off her makeup. APRIL Will you do me a favor? Milly and Shep wanted us to go out with them afterwards. Will you say we ca n't? Say it's because of the baby sitter or something? FRANK Well, the thing is, I already said that we could. I mean, I just saw them out there and I said we would. APRIL -LRB- tense. -RRB- Oh. Then would you mind going out again and saying you were mistaken? That should be simple enough. FRANK Do n't you think that's a little bit rude, April? APRIL Well I'll tell them myself. FRANK Okay. Okay. Take it easy. I'll tell them. He backs to the door.",
"INT. HIGH-SCHOOL CORRIDOR - NIGHT. April and Frank walk down a long empty echoing corridor, past school lockers, booster club posters and silent classrooms. They do n't touch. They do n't speak. The tension between them is palpable.",
"INT. WHEELER CAR - NIGHT. Frank drives. April stares ahead. Their faces are lit by the dashboard. After a while. FRANK I mean it, baby. You were the only person in that play. APRIL Thank you. He looks over at her. FRANK We just never should've let you get mixed up in the damned thing. APRIL All right. FRANK You've studied for Christ's sake. APRIL Could we sort of stop talking about it now? FRANK Sure. I just do n't want you feeling bad about it, that's all. Because it's not worth it. I mean, it's bad enough having to live out here among these damn people - what'd you say? APRIL I said yes. All right, Frank. Could you just stop talking now, before you drive me crazy, please? Frank clenches his jaw and flips on the indicator. APRIL -LRB- CONT'D. -RRB- What are you doing? Why are we stopping?",
"EXT. HIGHWAY - NIGHT. The car comes to a stop at the side of the road.",
"INT. WHEELER CAR - NIGHT. Frank turns off the ignition. He slides towards her. APRIL No, Frank, please do n't. He puts his arms around her. FRANK Baby, it's okay. APRIL Please do n't touch me. FRANK April. APRIL Why ca n't you. just. LEAVE ME ALONE! Frank slides back behind the wheel. Beat. FRANK It strikes me, that there's a considerable amount of bullshit going on here. And there's one or two things I'd like to clear up. Number one, it's not my fault the play was lousy. Number two, it's sure as hell not my fault you did n't turn out to be an actress, and the sooner you get over that little piece of soap opera the better off we'll both be. Number three, I do n't happen to fit the role of dumb, insensitive suburban husband ; you've been trying to hang that one on me ever since we moved here. Number four - She opens the door and is out of the car, flashing across the headlights. Frank struggles with his door.",
"EXT. HIGHWAY SHOULDER - NIGHT. April stands in the dark 30 yards from the road looking over an expansive countryside. There's only a few lights in the distance. This is still farmland. Frank comes up behind her, careful to keep his distance. FRANK What the hell are you doing? Come back to the car. APRIL No. Just let me stand here a second. Frank raises his arms in exasperation. A car approaches. He puts a hand in his pocket and tries to look casual. The car's headlights light up April's back, then pass. FRANK April? She does n't move. FRANK -LRB- CONT'D. -RRB- Look, ca n't we sit in the car and talk about it, instead of running all over Route Twelve? APRIL Have n't I made it clear I do n't particularly want to talk about it? FRANK Okay. Jesus, I'm trying to be nice about this thing. APRIL How kind of you. How terribly, terribly kind of you. FRANK Wait a minute. I do n't deserve this. APRIL You're always so wonderfully definite, are n't you, on the subject of what you do and do n't deserve? She turns and walks past him back towards the car. FRANK Wait a minute! He stumbles after her. Other cars whizz by, but he's past caring. FRANK -LRB- CONT'D. -RRB- Wait a minute, God damn it! She leans against the car and folds her arms. FRANK -LRB- CONT'D. -RRB- You listen to me. This is one time you're not going to get away with twisting everything I say. APRIL Christ, I wish you'd stayed home tonight! FRANK You know what you are when you're like this? You're sick. I really mean that. You're sick! APRIL And you know what you are? -LRB- eyes raking him. -RRB- You're disgusting. FRANK Oh, yeah? APRIL Just because you've got me safely in this little trap, you think you can bully me into feeling whatever you want! FRANK You in a trap! You in a trap! Jesus, do n't make me laugh! APRIL Yes, me. -LRB- clutching at her chest. -RRB- Me! Me! Me! Oh, you poor, pathetic little boy - Look at you! Look at you, and tell me how by any stretch of the imagination you can call yourself a man! He raises his fist, she flinches away, and BONG! BONG! BONG! BONG! He punches the hood of the car. Then, silence. The look April gives him is probably the worst look he's ever received : a look of pitying boredom. FRANK Do n't look at me like that, April. APRIL Could we please go home now? She calmly walks around and gets in the car. After a moment, Frank follows.",
"INT. CAR - NIGHT. They sit silently in the car in the darkness. TITLE CARD : REVOLUTIONARY ROAD",
"EXT. WHEELER HOUSE - MORNING. A small, attractive suburban house in the morning sunshine. Frank walks out to the car, stops and looks back at the house.",
"INT. WHEELER LIVING ROOM - MORNING. April stands at the window. The SOUND of the car pulling away.",
"EXT. REVOLUTIONARY ROAD TRAIN STATION - MORNING. Frank stands on a grey platform, amongst a crowd of commuters. The morning commuter train eases into the station.",
"INT. COMMUTER TRAIN - MORNING. Frank sits against the train window holding a `` New Yorker.'' Around him, the train is crowded with men reading newspapers.",
"INT. GRAND CENTRAL PLATFORM - MORNING. In one swift movement, all the doors of the commuter train swing open as a hundred feet step down onto the platform.",
"INT. GRAND CENTRAL STATION - MORNING. An empty stairwell in Grand Central : a tide of grim, determined commuters rise into view. A mass of suits and hats. Frank is amongst them.",
"EXT. MIDTOWN STREET - MORNING. Knox Headquarters - a squat, formidable structure. Thick HONKING traffic. Crowded sidewalks. Frank walks with the crowd past a display window : bright cardboard images of fashionable women grin and point their pencils at a list of product benefits - `` SPEED, ACCURACY, CONTROL.'' Pride of place at the center of the display is a new Knox 500 Electronic Computer with a sign that reads : `` Performs A Man's Lifetime of Work in Just 30 Minutes!''",
"INT. KNOX BUILDING ELEVATOR - MORNING. Frank rides crushed against the wall in a crowded elevator. He glances over at - MAUREEN GRUBE, 23, ripe, a little obvious, but undeniably sexy. She meets his look. And looks away.",
"INT. KNOX 15TH FLOOR, FRANK'S CUBICLE - MORNING. Frank opens the bottom right drawer of his desk, props up his feet and lights a cigarette. JACK -LRB- O.S. -RRB- I'm going to need your help this morning, Old Scout. Seated beside Frank, JACK ORDWAY, 40's, tall and effete with greying hair, appears to be hard at work, hunched over a file. He is, in fact, propping up his head with his hand while shielding his eyes. JACK -LRB- CONT'D. -RRB- For the next few hours, you're to warn me of Bandy's every approach and you may have to screen me from public view in the likely event I that I throw up. It's that bad. FRANK Good morning, Jack. JACK Nothing good about it, I assure you.",
"EXT. WHEELER HOUSE - DAY. April drags two overflowing garbage cans to the curb. She stops and looks down the empty road. Not a single human being in sight. Close on April's face.",
"INT. MRS. GIVINGS' CAR - DAY, 1948. FLASHBACK. Mrs. Givings sits behind the wheel, driving slowly along a suburban street talking at high speed. Frank sits beside her wearing sunglasses. April sits in the back. We do n't yet see what Mrs. Givings is describing, only as it plays on their faces. MRS. GIVINGS Of course, I knew the moment you came off the train what you were looking for. A small remodeled barn, or a carriage house - And I just hate to be the one to tell you that sort of thing just is n't available anymore. But I do n't want you to despair. There is one place down here I want to show you. Now of course it is n't very desirable at this end. -LRB- gestures. -RRB- As you see, Crawford Road is mostly these little cinder - blocky, pick - up trucky places - plumbers, carpenters, little local people of that sort. Frank turns around to April, lowers his glasses. April stifles a giggle. MRS. GIVINGS -LRB- CONT'D. -RRB- But eventually. -LRB- she points, her arm fully extended. -RRB- Eventually it leads up to Revolutionary Road, which is much nicer. Now, the place I want to show you, is a sweet little house and a sweet little setting. Simple, clean lines, good lawns, marvelous for children. It's right around this next curve. Now, you'll see it - there. They all look. MRS. GIVINGS -LRB- CONT'D. -RRB- See the little white one? Sweet is n't it? The perky way it sits there on its little slope? Charming, is n't it? April smiles. A smile full of promise. APRIL Oh, yes.",
"INT. BANDY'S OFFICE - DAY. PRESENT. Frank's FIST raps against the door of an office. TED BANDY, 46, tight and precise, looks up from behind a well - organized desk. FRANK You wanted to see me? Bandy holds out an envelope from behind his desk. BANDY Came for you from Toledo this morning. Frank reaches for it, but Bandy moves it out of reach. BANDY -LRB- CONT'D. -RRB- This is the third one this month. FRANK Oh, right, sorry. I thought I'd taken care of that. Frank reaches again, but Bandy moves it. A little man enjoying his power. BANDY I'm not prepared to have this conversation again, Frank. You understand? FRANK Absolutely, yes. BANDY These folks in the provinces look up to us, Frank. We need to be efficient. We ca n't have this kind of back and forth, and so forth. It's just not efficient. Am I right? FRANK Absolutely, yes, yes. Bandy finally hands over the envelope.",
"INT. KNOX 15TH FLOOR, FRANK'S CUBICLE - DAY. Frank sits at his desk. JACK What was that about? FRANK Toledo. Branch manager wants a revised brochure for the conference on `` The Knox 500.'' -LRB- impersonating Bandy. -RRB- `` It's just not efficient.'' JACK -LRB- sharp inhale. -RRB- Sounds like a real goodie. FRANK I do n't even know what the Knox 500 does. Do you? JACK Do n't insult me. Frank drops it in his In Box. Then, looking up, he sees Maureen across the office. Thinks.",
"INT. KNOX 15TH FLOOR, MAUREEN'S DESK - DAY. Frank stands over Maureen at her desk. The envelope from Toledo lies in front of her. FRANK Now, if you'll look in the inactive file under SP - 1109 you'll find copies of all the stuff we sent to the agency. and that way we can trace the thing back to its original sources. She nods, jotting down a note. For the first time, Frank allows himself to take in her profile, her cleavage, her lips. FRANK -LRB- CONT'D. -RRB- I hope you were n't planning on an early lunch. MAUREEN I'm not really hungry. FRANK Good. I'll check on you later.",
"INT. ALGONQUIN HOTEL RESTAURANT - AFTERNOON. Maureen and Frank sit in a secluded corner. Maureen sips a martini. She's already a little drunk. FRANK -LRB- CONT'D. -RRB- You know something? You're lucky you met me. MAUREEN Oh? How's that? FRANK I can show you the ropes. There's an art to survival at Knox. Let me show you what I mean. He waves over the waiter. FRANK -LRB- CONT'D. -RRB- Bring me the telephone would you? And two more martinis. Maureen looks daunted at her empty glass. MAUREEN Wow. The waiter brings over the phone. Frank dials. He holds his finger to his lips. He uses an authoritative tone. FRANK Hello Mrs. Jorgensen. Frank Wheeler here. Just wanted to let you know that I've had to send Maureen Grube down to Visual Aides for me. I'll probably need her the rest of the day. Okay? Fine. You too. Frank hangs up and smiles at Maureen. MAUREEN I never even heard of Visual Aides. FRANK That's because it does n't exist. Maureen smiles.",
"INT. WHEELER HALLWAY - DAY. Now we're moving behind April as she moves through the silent house. She carries a basket of dirty laundry on her hip. She pulls the bedding off the couch. The distant SOUND of children playing. MRS. GIVINGS -LRB- O.S. -RRB- Yoo - hoo! She turns to see Mrs. Givings at the screen door. April manages a friendly smile. APRIL Hi Helen. MRS. GIVINGS I ca n't stay a minute. My, do n't you look comfy! I just wanted to bring this sedum for that messy patch in the front yard. She puts it on the table. MRS. GIVINGS -LRB- CONT'D. -RRB- All it wants is just a tiny dollop of water for the first few days, and you'll find it absolutely thrives. APRIL Well, thank you. You want some coffee? MRS. GIVINGS Only if you're having some. Helen sits down. With the end of her finger, she pushes a dirty dish out of her way. APRIL Is there something I can do for you, Helen? MRS. GIVINGS Oh. yes, I almost forgot. I do have a small favor I'd like to ask. -LRB- quiver of anxiety. -RRB- It's about my son, John. He's been in the hospital. APRIL I'm sorry to hear that. MRS. GIVINGS Well, actually, just for the present, he's in Pleasant Brook. Psychiatric. April's face. She knows what it means. APRIL I'm so sorry. MRS. GIVINGS Oh. Nothing serious. He just got a little run down. Things can just get the better of us sometimes. Do n't you think? APRIL Yes. Of course. Mrs. Givings smiles. Then, pretending to read the titles on a stack of books on the table. MRS. GIVINGS It really is a marvellous facility and the treatments seem to be doing him wonders. Anyway, they said getting out for an afternoon might do him some good. She pauses on Sartre's ` Nausea', looks at it vaguely. MRS. GIVINGS -LRB- CONT'D. -RRB- I think he finds my friends a little conventional, frankly. I mean, he's travelled. He has a PhD in mathematics. I suppose you could say he's an intellectual. It would do him a world of good to meet a young couple like you. APRIL We'd love to Helen. MRS. GIVINGS So, I thought perhaps if you had some time. APRIL We'd love to. MRS. GIVINGS -LRB- flushed with relief. -RRB- Thank you, dear. Thank you. April smiles generously. MRS. GIVINGS -LRB- CONT'D. -RRB- I remember when you first came off the train. You were n't like most of my clients. You were different, somehow. April's face. She's listening. MRS. GIVINGS -LRB- CONT'D. -RRB- Well, you looked simply ravishing and I just knew Frank did something terribly brilliant in town. You just seemed. special. Of course you still are. April takes this in.",
"INT. WHEELER HOUSE - AFTERNOON. April watches from the picture window as Mrs. Givings walks down the drive towards her car. Her face is reflected in the glass. Something is taking shape in her mind.",
"INT. ALGONQUIN RESTAURANT BAR - AFTERNOON, LATER. The dining room is now almost empty. Waiters and busboys eat in the corner. Frank cuts a solitary figure. He lights his last cigarette and crumples the pack. MAUREEN -LRB- O.S. -RRB- I guess you got me a little drunk. Maureen slides into the booth. She stares at the table, trying to focus. FRANK You know what today is? MAUREEN Monday? FRANK It's my birthday. I'm thirty years old today. MAUREEN Happy birthday! Maureen raises her glass, then sways drunkenly. MAUREEN -LRB- CONT'D. -RRB- What was the name of the department you made up again? FRANK Visual Aides. MAUREEN What - a - joke. He sips his drink. FRANK Want to hear a real joke? She looks up at him. FRANK -LRB- CONT'D. -RRB- My old man worked at Knox. MAUREEN Yeah? FRANK He was a salesman in Yonkers. Once a year he used to take me into the city for lunch. It was supposed to be a special, life - advice sort of occasion. MAUREEN Nice. FRANK Not really. I used to sit there and think, ` I hope to Christ I do n't end up like you.' Frank grins as if it's supposed to be very funny. FRANK -LRB- CONT'D. -RRB- And here I am, a thirty year old Knox man. Can you beat that? MAUREEN I think I kind of lost you. Your father worked for Knox? I'm sorry, but everything's kinda going out of focus. Frank takes her arm to steady her. She meets his eye. FRANK How ` bout some air?",
"INT. WHEELER KITCHEN - DAY. Close on a hand opening an old cigar box. April is sitting with the box at the kitchen table. It contains various sentimental knickknacks from her past, including photos of the kids, of her and Frank in New York with friends, and a photograph of Frank in uniform beneath the Eifel tower on liberation day. She studies it.",
"INT. BETHUNE STREET APARTMENT - DAWN, 1947. FLASHBACK Frank fixes coffee in the tiny kitchen. April is sitting up in bed in the first blue light of day wearing Frank's T - shirt. She holds a curled collection of black and white photographs in her lap. She stops on the same picture of Frank and the Eifel Tower. Frank comes over with the coffee, and two cigarettes. He lights them both, and gives her one. FRANK You ever been to Paris? APRIL I've never really been anywhere. FRANK Maybe I'll take you with me. He lies down with his cigarette between his teeth. FRANK -LRB- CONT'D. -RRB- I'm going back first chance I get. People are alive there. He stares up at the ceiling. She studies him. Appraising. FRANK -LRB- CONT'D. -RRB- All I know now is that I want to feel things. Really feel them. How's that for an ambition? APRIL Frank Wheeler? FRANK Mm? APRIL I think you're the most interesting person I've ever met. He looks at her, overwhelmed by her face in the light. APRIL -LRB- CONT'D. -RRB- I mean it.",
"INT. MAUREEN'S APARTMENT - AFTERNOON Frank stands at the mantle tying his tie. FRANK Well, I guess this was n't what you had in mind when you went to work this morning? Maureen covers herself with the sheets. MAUREEN No. It certainly was n't. Frank inspects the contents of the mantle : photos of Maureen at the prom ; Maureen with her parents. Maureen tentatively fingers her hair that has now gone to frizz. The sheet slips down. She grabs at it. Then wills herself to calm down and act sophisticated. MAUREEN -LRB- CONT'D. -RRB- Do you have a cigarette, Frank? He turns and smiles at her. FRANK Sure, here. He comes over and gives her one. Lights it with his Zippo. She exhales, slowly gaining confidence. Frank gets up and pulls on his jacket. MAUREEN Can I get you a drink or anything? FRANK No thanks, Maureen. Actually, I guess I'd better be cutting out, it's getting kind of late. MAUREEN Gee, that's right. Have you missed your train? FRANK It's all right, I'll get the next one. He comes over to her. Bends down, kisses her gently on the lips. FRANK -LRB- CONT'D. -RRB- Listen : you were swell. Take care now.",
"INT. FRANK'S STATION CAR/WHEELER HOUSE - NIGHT. Frank's station car turns into the driveway. He sits there a moment in the darkness.",
"EXT. WHEELER FRONT DOOR - NIGHT. Frank approaches the door with his key. He takes a moment to gather himself, but before he can, the door opens. April is dressed in a black cocktail dress. She looks wonderful. She smiles. She steps forward and takes his face in her hands. She kisses him. APRIL Frank. FRANK Why are you all dressed up? She hands him a glass of whiskey and closes his fingers around it. APRIL First of all, I missed you all day and I want to say I'm sorry. I'm sorry for the way I've been since that stupid play. I'm sorry for everything and. And I love you. Now wait here till I call you. Okay? She goes, leaving Frank in stunned silence. He takes a large drink. From inside the house, the sound of the children's voices. Whispering, giggling. Then April's voice : APRIL -LRB- O.S. ; CONT'D. -RRB- Alright Frank! You can come in now!",
"INT. WHEELER LIVING AND DINING ROOMS - NIGHT. Frank enters the house. Walks through the darkened living room towards the light. Enters the dining room. The room is lit by the candles burning on a birthday cake. JENNIFER, 7, MICHAEL, 5, and April sit around the table wearing paper birthday crowns. They sing Happy Birthday.",
"INT. SHOWER - NIGHT. Frank scrubs his skin, his scalp, his face : trying to wash away Maureen. He turns off the water. He stands there in the silence, regaining control.",
"INT. FRANK AND APRIL'S BEDROOM - NIGHT. Frank steps out of the bathroom. April turns from the mirror wearing the silk negligee and comes towards him with two glasses. APRIL Frank. I have had the most wonderful idea. I've been thinking about it all day. FRANK What's all this about? APRIL You know how much money we have saved? She hands Frank a glass of brandy. APRIL -LRB- CONT'D. -RRB- Enough to live on for six months without you earning another dime. And with the money we could get from the house and the car, longer than that. FRANK What we get for the house. What are you talking about? Where are we going to live? APRIL Paris. Frank stares. APRIL -LRB- CONT'D. -RRB- You always said it was the only place you'd ever been that was worth living. So why do n't we go there? FRANK You're serious? APRIL Yes. What's stopping us? FRANK What's stopping us? Well, I can think of a lot of things. For instance, what kind of a job could I possibly get? APRIL You wo n't be getting any kind of job, because I will. Frank laughs. FRANK Oh, right. APRIL Do n't laugh - listen a minute! Have you any idea what they pay for secretarial positions in the government agencies in Europe? Embassies and those things. Frank laughs again. FRANK No, I do n't. APRIL I'm serious about this Frank. Do you think I'm kidding or something? FRANK No, I know, I know. I just have a couple of questions, is all. For one thing, do you mind telling me what exactly I'm supposed to be doing while you're out earning all this money? She draws back, shocked that he does n't get it. APRIL Do n't you see that's the whole idea? You'll be doing what you should've been allowed to do seven years ago. You'll have time, Frank. You'll have time to find out what it is that you actually want to do, and when you figure it out you'll have the time and the freedom to start doing it. FRANK Sweetheart, it's just not very realistic, is all. APRIL Well, I happen to think this is unrealistic. I think it's unrealistic for a man with a fine mind to go on working like a dog year after year at a job he ca n't stand, coming home to a place he ca n't stand, to a wife who's equally unable to stand the same things. Frank is silent. How could anyone possibly argue with her? APRIL -LRB- CONT'D. -RRB- You want to know the worst part? Our whole existence here is based on this great premise that we're somehow very special and superior to the whole thing, and you know what I've realized? We're not! We're just like everyone else. Look at us! We've bought into the same ridiculous delusion. This idea that you have to resign from life and settle down the moment you have children. And we've been punishing each other for it. FRANK Listen : we decided to move out here. No one ever forced me to take the job at Knox. I mean who ever said I was supposed to be a big deal, anyway? APRIL When I first met you, there was nothing in the world you could n't do or be. FRANK I was a little wise guy with a big mouth, that's all. APRIL You were not! How can you even say that? FRANK All right. So, I'll have time. And God knows that's appealing. It's very appealing. And I mean, everything you say might make a certain amount of sense, if I had some definite talent maybe. If I were an artist or a writer. APRIL But Frank, listen to me : It's what you are that's being stifled here. It's what you are that's being denied and denied and denied in this kind of life. FRANK And what's that? APRIL Do n't you know? He looks at her. She gazes back at him. APRIL -LRB- CONT'D. -RRB- You're the most valuable and wonderful thing in the world. You're a man. Frank looks at her. In that moment, he loves her more than ever before. He kisses her. APRIL -LRB- CONT'D. -RRB- This is our chance, Frank. This is our one chance. Beat. FRANK Okay. APRIL Okay? FRANK Why not? Why the hell not? April throws her arms around him.",
"INT. KNOX 15TH FLOOR, ELEVATOR BAY - MORNING. DING. The elevator doors slide open. Frank steps onto the fifteenth floor, full of energy.",
"INT. KNOX 15TH FLOOR, FRANK'S CUBICLE - MORNING. Frank arrives at his desk. Casually tosses his briefcase down. Lights a cigarette. Jack stands nearby making idle chat with office co - workers, ED SMALL, 36 and VINCE LATHROP, 33 - a pair of overgrown children. JACK Ah, Franklin. Good to see your shining face. What's the news? FRANK I'm moving to Paris. JACK Right. And I'm moving to Tangiers. Frank shrugs, smiles, picks up the Toledo file, scans it. He reaches for his Dictaphone and clears his throat. FRANK Intra - company letter to Toledo. Attention B.F. Chalmers, branch manager. With regard to recent and repeated correspondence, this is to advise that the matter has been. very satisfactorily taken in hand, period, paragraph. He takes out a cigarette. FRANK -LRB- CONT'D. -RRB- We wholly agree that the existing brochure is unsuitable. To this end we have developed. He lights the cigarette with a SNAP of his Zippo. FRANK -LRB- CONT'D. -RRB- `` Speaking of Production Control.'' Smiles. He's making it up as he goes, and enjoying it. It's all meaningless now!",
"INT. AMERICAN EXPRESS OFFICE - DAY. April sits in the American Express office. CLERK -LRB- O.S. -RRB- Here you are Mrs. Wheeler : A handsome CLERK smilingly hands her a stack of documents. CLERK -LRB- CONT'D. -RRB- Here's the travellers checks you asked for. and your steamer reservations. and these I'll pass on to the embassy for you. APRIL Thank you. She looks at them in her hands : it's real. CLERK Good luck. April smiles.",
"INT. MIDTOWN RESTAURANT - DAY. Jack, Frank, Ed and Vince sit crammed in a booth in a tiny, crowded Midtown Luncheonette. Frank looks pleased with himself. The rest sit in stunned silence. JACK And when does this noble experiment commence? FRANK September. October at the outside. Jack and Vince exchange a look. Frank's enjoying the effect. FRANK -LRB- CONT'D. -RRB- I just happen to think people are better off doing some kind of work they actually like. ED -LRB- vague. -RRB- Right, yes. VINCE -LRB- mumbled. -RRB- Absolutely, absolutely. JACK But. I mean, assuming there is a true vocation waiting for you. Would n't you be just as likely to discover it here as there? A waitress puts the check on the table. FRANK No. I do n't think it's possible to discover anything on the fifteenth floor of the Knox building, and I do n't think any of you do either. The men are silent. Frank picks up the check. FRANK -LRB- CONT'D. -RRB- This one's on me.",
"EXT GRAND CENTRAL STATION - AFTERNOON Frank is standing leaning against a coffee bar in Grand Central Station. He is finishing a beer. It is rush hour, and amidst the sea of people, he is the only one not moving. He is watching all the people walking by with an air of detached amusement. As if he were now above them all.",
"EXT. SPACE BETWEEN TRAIN CARS - AFTERNOON. Frank rides between train cars. The wind whips his hair. He takes a deep pull from a pinched cigarette - then flicks it straight as a bullet into the passing countryside. He feels alive.",
"EXT. REVOLUTIONARY ROAD TRAIN STATION - AFTERNOON. The commuter train slows into the station. A door swings open. And Frank leaps from the still moving train onto the platform. He slows to a walk.",
"EXT. WHEELER HOUSE - LATE AFTERNOON. The kids dance back and forth through the sprinkler, shrieking with pleasure. April sits on the steps in front of the house reading some material from the American Express office. She looks up as Frank's car pulls into the drive. He steps out of the car and comes towards her. She looks up and smiles. He drops his brief case on the ground and walks towards her. She meets him in the middle of the lawn, and they embrace.",
"INT. FRANK AND APRIL'S BEDROOM - EVENING. CLOSE UP - two fingers walk the journey from New York to Paris across the page of an atlas. Michael and Jennifer, dressed for bed, sit sandwiched between April and Frank under the bedclothes. APRIL All the way to. here. A pause as the two kids stare at the Atlas. JENNIFER But why? APRIL Well, sweetheart. It's a big world out there and we thought maybe we should go see a little bit of it. MICHAEL How far is it? APRIL A long way. We have to take a boat ride over the sea to get there. JENNIFER I wo n't know anyone there. APRIL I know. And neither will I. But remember when you started school? And now look how many friends you have. Frank senses that they are a little concerned. April and Frank look to one another. FRANK You'll never guess what they eat in Paris. You'll never guess. JENNIFER What? FRANK Snails. JENNIFER/MICHAEL Snails?! APRIL And frog's legs! The children dissolve into disgusted laughter. April and Frank laugh with them.",
"INT. CAMPBELL FRONT HALLWAY - LATE AFTERNOON. At the bottom of the stairs, Shep hums a big band number as he vigorously shines his shoes. SHEP Buddappa banh! Banh! Banh! He takes a swig of beer and lets out a satisfied belch.",
"INT. MILLY AND SHEP'S BEDROOM - LATE AFTERNOON. Milly sits at a vanity table doing her face. She wears a floral dress and her hair's been done. She looks at Shep in the mirror. MILLY You better get changed, they'll be here soon. SHEP That what you're wearing? MILLY -LRB- panic. -RRB- Do n't you like it? SHEP No. No. You look great, doll. Guess I better haul ass. He walks into the bathroom. Milly looks back at her reflection.",
"INT. CAMPBELL KITCHEN - LATE AFTERNOON. The small explosion of a beer can opening. Shep watches the golden liquid fill his glass.",
"INT. CAMPBELL FAMILY ROOM - LATE AFTERNOON. Shep walks through the living room with his glass of beer. He's halfway across the room, before he notices - His four SONS dressed in matching pajamas, propped up on their elbows chewing gum at the television screen. SHEP Hiya gang. They do n't even look up.",
"EXT. CAMPBELL HOUSE - EVENING. Shep walks across the grass to the edge of his property. He drinks and looks down over Revolutionary Road. He can see the Wheeler house. He takes a drink of beer, his eyes focused on the house. MILLY -LRB- O.S. -RRB- Shep? Shep wheels around. April and Frank are standing there with Milly. April wears a new indigo silk dress. Her hair moves in the warm breeze. She's never looked better.",
"INT. CAMPBELL LIVING ROOM - NIGHT. Shep mixes drinks with his back to the room. Milly walks in and places two heaping trays of hors d'ouvres on the coffee table. APRIL Oh those look great. I'm starving! April helps herself. MILLY April, I ca n't get over it - you look like the cat who ate the canary! Do you have something to tell us? A little bit of news? SHEP -LRB- disapproving. -RRB- Not to pry or anything. MILLY -LRB- suddenly unsure. -RRB- I'm not prying. Am I prying? I did n't mean to. FRANK Actually, we have got some pretty important news. Shep and Milly look up expectantly. He smiles conspiratorially at April. FRANK -LRB- CONT'D. -RRB- You want to tell ` em? April smiles back at him. APRIL We're going to Europe. To Paris. To live. Milly's face drops. Shep is frozen. Overlapping : MILLY What? SHEP When? MILLY Why? FRANK September. Beat. Then : MILLY But what for? FRANK What for? Because we've always wanted to. Because the kids are still young. Because it's beautiful. Shep, you tell her. SHEP It's a great city. Milly glances nervously at Shep. MILLY When did you make this decision? APRIL Oh. about a week ago. its hard to remember. We just suddenly decided to go, that's all. MILLY About a week ago, and you tell us now! APRIL We had to get used to the idea. Shep forces himself across the room and hands the Wheelers their drinks. SHEP So, what's the deal, Frank? You get a job over there, or what? FRANK -LRB- smiles. -RRB- No. Not exactly. SHEP What do you mean, ` not exactly?' APRIL Frank wo n't be doing any kind of a job, because I will. SHEP -LRB- to Frank. -RRB- And what are you going to do? FRANK I'm going to study. and I'm going to read and. I suppose I'm going to finally figure out what I want to do with my life. SHEP While she supports you? Beat. FRANK Yes. While she supports me. At least in the beginning. APRIL You would n't believe what they pay for secretarial work in government agencies over there. NATO and E.C.A. and those places. FRANK The cost of living is dirt cheap compared to here, so we should be all right. Beat. APRIL The truth is we just need something different. We're not getting any younger and we do n't want life to just pass us by. MILLY Gee, it sounds wonderful, kids. I mean it ; it really sounds wonderful. We'll certainly miss you, though - wo n't we, sweetie? Golly. SHEP Sure. MILLY Paris. Wow. A silence. Shep's face.",
"INT. MILLY AND SHEP'S BEDROOM - NIGHT. Milly sits on the edge of the bed in her night gown. She is brushing her hair. Shep stands in the open doorway to the bathroom, doing up his pyjamas. After a beat. SHEP You know what I think? Milly looks up. SHEP -LRB- CONT'D. -RRB- I think this whole plan sounds a little immature. Milly's face brightens. MILLY Oh God, I'm so relieved. Me too. I was thinking that the whole time. SHEP What kind of man is going to sit around in his bathrobe picking his nose while his wife works all day? MILLY I do n't know, Shep. I just do n't know. Milly is crying. SHEP What is it? MILLY Nothing. I'm just so relieved. He sits down beside her. She falls into his arms. SHEP Come on. Do n't cry. Please. It's all right. It's going to be all right. A kid's shout from somewhere in the house. Milly sits up. SHEP -LRB- CONT'D. -RRB- I'll go.",
"INT. WHEELER KITCHEN - LATER THAT NIGHT. Frank and April burst into the kitchen, laughing. FRANK Jesus, their faces! You'd think we'd told them that we were swimming up the Yangtzee river or something. Laughing, April hands Frank a drink. FRANK -LRB- CONT'D. -RRB- You know what this is like, April? Talking like this? The whole idea of taking off to Europe this way? It's like the way I felt going up to the line the first time, in the war. I was probably just as scared as everyone else, but inside I never felt better. I felt alive. I felt full of blood. And everything looked more real. The guys in their uniforms. The snow on the fields, the trees. And all of us just. walking. I mean I was scared of course. But I kept thinking : this is it. This is the truth. APRIL I felt that way once too. He looks at her. And there's something in her eyes. FRANK When? APRIL The first time you made love to me. He walks over to her and kisses her passionately. And they make love that way, face to face, with the lights on, looking into each other's eyes, fully clothed, until he comes inside her. As he comes, she makes a sound, almost inaudible, but it sounds like. APRIL -LRB- CONT'D. -RRB- No He holds her, breathing heavily. She strokes his head.",
"INT. KNOX 15TH FLOOR - DAY. Frank walks across the 15th floor, the atmosphere unusually abuzz. He arrives in his cubicle. Jack, Ed and Vance are talking in hushed tones. FRANK What's up? ED Bart Pollock is here. VINCE He's in Bandy's office. FRANK -LRB- unimpressed. -RRB- Yeah? A small signal light illuminates on Frank's desk. ED Looks like he wants to talk to you. Frank looks around. They're all looking at him. He looks over in the direction of Bandy's office. JACK Hey. Keep my name out of it.",
"INT. KNOX 15TH FLOOR, BANDY'S OFFICE - DAY Bandy looks up from his desk. An uncharacteristic smile. BANDY -LRB- warm. -RRB- Frank. How are you? You know Bart Pollock? FRANK Well, we've never met, but - A massive MAN in tan gaberdine rises up from a chair. BART POLLOCK Glad to know you Frank. He holds a file in his enormous hand. BART POLLOCK -LRB- CONT'D. -RRB- Speaking of production control? Frank looks away, ready for a dressing down. BART POLLOCK -LRB- CONT'D. -RRB- Frank. This is a crackerjack. They're just tickled to death in Toledo. He slaps the file on the desk. Frank ca n't believe it.",
"INT. WHEELER LIVING ROOM - DAY. Close of a book : `` Brighter French.'' Frank sits on the couch, flipping absently. FRANK You would n't have believed this guy. April enters carrying a plate of sandwiches. FRANK -LRB- CONT'D. -RRB- He's perfect Presidential material in the worst sense. A million dollar smile and about three pounds of muscle between his ears. -LRB- mimicking Pollock's booming voice. -RRB- `` Frank, this is a crackerjack.'' April looks around to be sure everything's in place. APRIL Wish I saw his face when you told him you were leaving. Frank looks away. FRANK Horse's ass. TOOT of a car horn. April goes to the window. APRIL I think this is them.",
"INT./EXT. WHEELER HOUSE - DAY. Through the picture window, we see the Givings' car is parked in the driveway. Mrs. Givings gets out of the car holding a tinfoil covered baking pan. Mr. Givings opens the backseat. Out steps JOHN, 30's, an institutional haircut and ill - fitting suit. He looks around the sunny neighborhood.",
"INT. WHEELER KITCHEN - DAY. The kitchen is suddenly crowded with the Givings, Frank and April. Overlapping : MRS. GIVINGS Sorry to be late. APRIL You're not late. MRS. GIVINGS The traffic was terrible. MR. GIVINGS Good to see you. MRS. GIVINGS Was n't it terrible, Howard? MR. GIVINGS Route 12. Hands are shook, the baking dish exchanged. APRIL You did n't have to do that. FRANK The time they finish that stretch of road, they'll have to start all over again. John stands by himself closest to the door. APRIL And you must be John? Silence settles over the room. MRS. GIVINGS Say hello, John. JOHN Nice to meetcha. Heard a lot aboutcha. John smiles, exposing a mouthful of deeply - stained yellow teeth and high, eroded gums.",
"INT. WHEELER LIVING ROOM - DAY. Mrs. Givings leads the group into the living room. MRS. GIVINGS Where are your darling children? APRIL They're at a birthday party. Sorry they could n't be here. John walks around the room, stiff - legged, examining the book shelves, the paintings. JOHN Do n't worry. If I had a certified lunatic coming around the house, I'd probably get the kids out of the way too. April and Frank exchange a quick glance. MRS. GIVINGS Oh, look at all this food! You did n't have to go to any trouble for us. APRIL It's just some sandwiches. April lifts the plate and offers it to John. APRIL -LRB- CONT'D. -RRB- John, would you like a sandwich? He avoids her look, but he takes four. JOHN Helen's been talking it up about you people for months. The nice young Wheelers on Revolutionary Road, the nice young Revolutionaries on Wheeler road. Polite laughter. FRANK Who'd like some sherry? MRS. GIVINGS Please, do n't bother Frank. JOHN I'd like some sherry. And I'll drink Helen's if she does n't beat me to it. April ca n't suppress a smile. JOHN -LRB- CONT'D. -RRB- -LRB- suddenly serious. -RRB- But, hey. Listen, though. You got a high - ball glass? Put a couple - three ice cubes in it, pour it up to the brim. That's the way I like it. FRANK I think I can do that. Mr. Givings eats his sandwich, watching his son. MRS. GIVINGS Oh, this is the most wonderful egg salad, April. You must tell me how you fix it. Frank hands John his high - ball glass. JOHN You a lawyer Frank? FRANK No, I'm not. JOHN I could use a lawyer. MR. GIVINGS John, let's not get started again about the lawyer. JOHN Pop, could n't you just sit there and eat your wonderful egg salad, and quit horning in? Mr. Givings gives his son a level, warning look. JOHN -LRB- CONT'D. -RRB- See, I've got a good many questions to ask and I'm willing to pay for the answers. Now, I do n't need to be told that a man who goes after his mother with a coffee table is putting himself in a weak position legally ; that's obvious. Frank and April exchange a look. MRS. GIVINGS John, come and have a look out this fabulous picture window. Mrs. Givings gets up and goes to the window. JOHN If he hits her with it and kills her, that's a criminal case. MRS. GIVINGS Oh, look, the sun's coming out! JOHN If all he does is break the coffee table and give her a certain amount of aggravation and she decides to go to court over it, that's a civil case. MRS. GIVINGS Maybe we'll see a rainbow! John, come have a look. JOHN Ma, how about doing everybody a favor? How about shutting up! April's face. She's not smiling now. MR. GIVINGS Steady down, now. With her back to the room, Mrs. Givings closes her eyes. FRANK I can look into it. Maybe recommend someone. John stares at Frank for any sign of condescension. JOHN So, what do you do, Frank? FRANK I work for Knox Business Machines. JOHN You design the machines? FRANK Nope. JOHN Make ` em, sell ` em, repair ` em? MRS. GIVINGS All these questions. FRANK I sort of help sell them, I guess. I work in the office. Actually, it's sort of a stupid job. I mean there's nothing - you know, interesting about it or anything. MRS. GIVINGS Oh, Frank. JOHN Whaddya do it for then? MR. GIVINGS Maybe Frank does n't want to be questioned like this, son. JOHN Okay, okay, okay - I know it's none of my business. And besides, I know the answer. You want to play house, you got to have a job. You want to play very nice house, very sweet house, then you got to have a job you do n't like. Anyone comes along and asks `` Whaddya do it for?' he's probably on a four - hour pass from the State funny farm. All agreed? Ma? Frank laughs. John smiles his yellow grin. MR. GIVINGS Sorry, Frank. FRANK Do n't be. I agree with everything you said, John. We both do. That's why I'm quitting the job in the fall and we're taking off. APRIL We're moving to Paris. John looks over at his mother. JOHN Did you know about this, Ma? Wow. How do you feel about that, Ma? The nice young Wheelers are taking off! John bursts into a painful braying laugh. It goes on and on. Mrs. Givings brings a hand to her brow - she's on the verge of tears. MRS. GIVINGS John, please. MR. GIVINGS Steady down, son. April looks at Frank - the whole thing is in danger of going off the rails. FRANK How about some fresh air, John? John stops laughing abruptly. He looks to his parents. FRANK -LRB- CONT'D. -RRB- If that's all right with you? MRS. GIVINGS I do n't know if it's a good idea. MR. GIVINGS If John wants to, I do n't see the harm.",
"EXT. COUNTRYSIDE - DAY. Frank, April and John walk through the woods. The ground is freshly rained on and damp. The sun is bright. John buttons up his top button and pulls his sleeves down over his hands. APRIL I hear you're a mathematician. JOHN You hear wrong. It's all gone now. APRIL All gone? JOHN You know what electrical shock treatments are? APRIL Yes. Yes I do. JOHN I've had thirty - seven. He pushes his hat back and turns his head at April. JOHN -LRB- CONT'D. -RRB- See? There are scars on his forehead. April can see them. JOHN -LRB- CONT'D. -RRB- Supposed to jolt out the ` Emotional Problems.' Just jolted out the mathematics. APRIL How awful. JOHN -LRB- mimicking. -RRB- ` How awful.' Why, because mathematics is so ` interesting?' APRIL No. Because the shocks must be awful and. well, because it's awful not to be able to do what it is you want to do. I think mathematics are dull. John stares at April. He smiles. JOHN I like your girl, Frank. FRANK Me too. JOHN So, what do a couple of people like you have to run away from? FRANK We're not running. John comes to a stop. JOHN And what's in Paris? APRIL A different way of life. FRANK So maybe we are running. We're running from the hopeless emptiness of the whole life here. JOHN The hopeless emptiness? Now, you've said it. Plenty of people are on to the emptiness, but it takes real guts to see the hopelessness. Wow. John continues walking. Frank and April watch him go.",
"INT. WHEELER LIVING ROOM - DUSK. Frank and April at the kitchen table. APRIL You know, he's the first person who seemed to know what we were talking about. FRANK That's true. Maybe we are just as crazy as he is. APRIL If being crazy means living life as if it matters then I do n't care if we are completely insane. -LRB- beat. -RRB- Do you? FRANK No. APRIL I love you so much.",
"EXT. WHEELER HOUSE - DAY The small, attractive house bathed in sunlight.",
"INT. MIDTOWN HOTEL RESTAURANT - AFTERNOON. Frank follows Bart Pollock as he cuts a swathe through an impressive midtown eatery. A small MAITRE D' scuttles in front of them. Bart nods, points at well - wishers, and makes a politician's show of knowing the staff. BART POLLOCK Tell you something, Frank. I'm a little sore at Bandy for the way he's kept you under a bushel all these years. This place okay, for you? Frank smirks at the performance. FRANK This is just fine, sir. Fine.",
"INT. MIDTOWN HOTEL RESTAURANT - LATER. Bart Pollock sits across an expanse of white tablecloth gripping a martini glass in one of his enormous paws. BART POLLOCK One thing interests me, Frank, and one thing only : selling the electronic computer to the American businessman. BART POLLOCK -LRB- CONT'D. -RRB- That's why I'm assembling a team. Men like you, not your average salesmen. It'll mean more money, and I got to be honest, maybe more of a time commitment. But you'll be part of something exciting, Wheeler. Computers. FRANK Well, sir, it sounds exciting. BART POLLOCK Bart! FRANK Bart. Frank looks down at his plate. He ca n't help himself. FRANK -LRB- CONT'D. -RRB- Do you happen to remember an Earl Wheeler? Bart looks at him blankly. FRANK -LRB- CONT'D. -RRB- Out of Yonkers? BART POLLOCK Ca n't say that I do. Relation of yours? FRANK My father. He worked at Knox almost twenty years. BART POLLOCK -LRB- thinking. -RRB- Earl Wheeler. Earl Wheeler. FRANK No reason you would have heard of him. BART POLLOCK Well, I'm sure he was a good man. Frank smiles. Looks down. FRANK There's something I should have mentioned earlier. I'm leaving the firm. In the fall. BART POLLOCK Another outfit? FRANK No, it's not another outfit - Bart holds up his hands. BART POLLOCK Now look, Frank. Is it a question of money? Because if it is, there's no reason we ca n't get together on a satisfactory - FRANK I appreciate that, but it's not money. It's more of a personal thing. BART POLLOCK A personal thing? I see. -LRB- looks down, clearly disapproving. -RRB- Frank. Let me tell you something my father told me. A man only gets a couple chances in life. If he does n't grab ` em by the balls, it wo n't be long before he finds himself sitting around wondering how he got to be second rate. Frank's face. FRANK I guess so. Bart lets it hang. BART POLLOCK So, do me a favor. Sleep on it. Discuss it with your wife. Because let's face it : where the hell would any of us be without our wives, anyway? On Frank's face. BART POLLOCK -LRB- CONT'D. -RRB- And Frank, in all sincerity, if you do decide to join us, I believe it'll be a thing you'll never regret. And I believe something else, too. I believe it'd be a fine memorial to your Dad. Frank finds himself surprised by his welling up of emotion.",
"INT. KNOX BUILDING - EVENING. It's late. Frank is sitting in his cubicle over his Dictaphone. Jack is long gone. FRANK Knowing what you've got, comma, knowing what you need, comma, Knowing what you can do without, dash. That's inventory control. He stubs out a cigarette in an overflowing ashtray. Close on his face. Maureen stops by Frank's cubicle. She pretends to be surprised to see him. MAUREEN Oh, hi Frank. Working late? FRANK I got to dig myself out here. MAUREEN I heard you were getting promoted. Frank shrugs, no big deal. MAUREEN -LRB- CONT'D. -RRB- Big shot. I guess your Dad would have been real proud, huh? FRANK -LRB- surprised she remembered. -RRB- Huh. Yeah, I guess so. MAUREEN -LRB- smiles sweetly. -RRB- So. maybe I should buy you a drink or something? You know? Celebrate. Frank's face. We do n't know which way he'll go. He smiles. FRANK Yeah. Maybe. She smiles. She ca n't quite believe it. MAUREEN I'll just get my coat. Frank sits there a moment longer, thinking. Then he follows.",
"INT. WHEELER FAMILY ROOM - DAY. On a television. Elmer Fudd points a gun at Bugs Bunny, and pulls the trigger. Frank frowns into his French phrase book. Mike is watching the TV. April works a sewing machine with a cigarette burning beside her. Jennifer stands beside her holding a stuffed Giraffe and a list, which she reads. JENNIFER I'm going to take my doll carriage and my bear and my three Easter rabbits and my giraffe and all my dolls and my doll house. APRIL I thought maybe we'd give the doll house to Madeline. JENNIFER No! I do n't want to give it to Madeline. April has to stop to re - thread and she's losing patience. APRIL I already explained to you, the big things are going to be hard to pack. Frank lowers the book. He recognizes her tone. JENNIFER But Madeline can have my bear and my Easter rabbits - APRIL No! Just the big things. Look. Would n't you rather go outside and play with Michael. JENNIFER I do n't feel like it. APRIL You've been inside all day. JENNIFER I do n't feel like it! APRIL Well, I do n't feel like explaining everything fifteen times to somebody who's too bored and silly to listen! Jennifer turns and runs up the stairs, upset. April lets out a defeated sigh. She turns to the kitchen to see to the supper. Steam rises from the vegetables. Frank stands in the entrance silently watching for a moment. FRANK What's the matter? APRIL Nothing. She carries a pot of steaming, overcooked vegetables to the sink, slops them into a colander. FRANK I do n't believe you. Did something happen today or what? APRIL Nothing happened today that I have n't known about for days and days. FRANK What? APRIL Oh God, Frank, please do n't look so dense. Do you mean you have n't guessed or anything? FRANK What are you talking about? She finally stops and looks at him. APRIL I'm pregnant, that's all. Beat as he absorbs it. He's totally blind - sided. FRANK What? Jesus. She comes over to him. APRIL Oh, Frank, I meant to wait until dinner to tell you, but I just - well, I've been pretty sure all week and today I went to the Doctor and now I ca n't even pretend it's not true. FRANK -LRB- still stunned. -RRB- Jesus. How long? APRIL Ten weeks. FRANK You did n't say anything. APRIL I thought. Oh, I do n't know what I thought. He stares, still unsure how he feels. APRIL -LRB- CONT'D. -RRB- I'm sorry, Frank. I'm so sorry. FRANK I know you are. She looks at him, with slight desperation. APRIL We do n't have to let this stop us. There are things we can do. Remember that girl at school I told you about? As long as you do it before 12 weeks, it's fine. He just looks at her and his silence makes her desperate. APRIL -LRB- CONT'D. -RRB- We've got to be together in this, Frank. Otherwise nothing's going to make any sense. FRANK Okay. We'll figure it out. He takes her in his arms. FRANK -LRB- CONT'D. -RRB- 12 weeks. So we have time. On Frank's face. Slowly, he smiles. APRIL I love you Frank. FRANK I love you too.",
"EXT. LONG ISLAND SOUND BEACH - AFTERNOON. A baking hot day. The sky is electric blue. Radios PLAY, children CRY, dogs BARK. Sunbathers cover almost every inch of sand. We find Shep, Milly, Frank and April with beach chairs, coolers and umbrellas. A child wrapped in a towel sleeps on Milly's lap. April wears a pair of dark glasses, behind which she is thinking, thinking. SHEP So, Frank, how's work? They gon na survive without you? FRANK Actually. Something kinda funny happened the other day. I did some dumb little piece of work to get myself off the hook with Bandy, and suddenly I'm The Bright Young Man. SHEP -LRB- laughs. -RRB- That's always the way, is n't it? FRANK It's incredible. I knocked this thing off in a couple of minutes and now they want me to join their team of ` specialist' salesmen. SHEP Morons. FRANK It'd be funny, if they were n't talking about so much damn money. April turns and looks at Frank. Long and hard. If he can feel her look, he does n't show it. SHEP -LRB- stealing a glance at April. -RRB- So, you tempted? FRANK -LRB- shrugs. -RRB- Well, it's kind of ironic, do n't you think? April suddenly stands up. Frank and Shep watch her walk down to the water's edge. SHEP She okay? Frank stares after her.",
"EXT. LONG ISLAND SOUND BEACH, WATER'S EDGE - AFTERNOON. April stands in the water staring out over the sea. The waves break against her ankles. Whether it occurs to her or not, she's staring in the direction of Europe. Frank comes up beside her. APRIL I thought you turned the job down? FRANK -LRB- shrugs. -RRB- Not yet. It's just an option, that's all. With the money they're talking, things could be different for us here. We could get a better place. Travel. April shakes her head and drags on her cigarette. FRANK -LRB- CONT'D. -RRB- Look, the point is - we could be happy here. At least for a while. She stares out at the sea. FRANK -LRB- CONT'D. -RRB- It is possible that Parisians are n't the only ones who know how to lead interesting lives, April. She turns to him. APRIL So you've made up your mind? FRANK No. Like I said, it's an option. APRIL And supposing you're right. You make all this money and we have this interesting life here. Wo n't you still be wasting your life toiling away at a job you find ridiculous? Just like your father. FRANK -LRB- sharp. -RRB- Maybe we let that be my business. APRIL -LRB- incredulous. -RRB- Your business? FRANK -LRB- exhales. -RRB- It's too hot for this. I'm going to get wet. She just looks at him. He walks into the ocean. She stands on the shore, watching him swim away from her.",
"INT. WHEELER FAMILY ROOM - NIGHT. April paces the family room. Her hair is a defiant mess. She still wears her bathing suit under her clothes. Frank sits on the couch. The windows are open, and most of the lights are off. It's a very hot night. APRIL You do n't want to go, do you? FRANK Come on, April. Of course I do. APRIL You do n't! Because you've never tried at anything. And if you do n't try at anything you ca n't fail. FRANK What the hell do you mean I do n't try? I support you, do n't I? I pay for this house. I work ten hours a day at a job I ca n't stand. APRIL You do n't have to! FRANK Bullshit! I'm not happy about it. But I have the backbone not to run away from my responsibilities! APRIL It takes backbone to lead the life you want, Frank. He shakes his head and gets up. APRIL -LRB- CONT'D. -RRB- Where are you going? FRANK Is it alright with you if I go to the bathroom? She disgustedly twists out her cigarette, and immediately lights another.",
"INT. WHEELER BATHROOM - NIGHT. Frank splashes water on his face like a boxer between rounds. He looks up at his reflection. He reaches for a towel, but there is n't one. He turns to the shelf behind him and pulls down a fresh towel. Something catches his eye. He reaches to the back and retrieves a small brown paper package. He opens it, his face slowly registering what it means.",
"INT. WHEELER FAMILY ROOM - NIGHT. April wheels around as - Frank storms in, a rubber syringe in his hand. FRANK What the hell are you going to do with this? APRIL And what do you think you're going to do? You're going to stop me? FRANK You're damn right! APRIL Go ahead and try! He comes at her across the room with the syringe in his hand. She moves away. FRANK Listen. Listen to me. You do this - you do this and I swear to God I'll - APRIL You'll what? You'll leave me? Is that a threat, or a promise? He shakes it in her face. FRANK When did you buy this, April? I want to know! APRIL You know you really are being melodramatic about the whole thing. As long as it's done in the first twelve weeks, it's perfectly safe. FRANK That's now April! Do n't I get a say? APRIL Of course you do! It would be for you, Frank, do n't you see? So you can have time. Like we talked about. FRANK How can it be for me if the thought makes my stomach turn over? APRIL Then it's for me. Tell me we can have the baby in Paris, Frank. But do n't make me stay here. Please. FRANK We ca n't have the baby in Paris. APRIL Why not? I do n't need everything we have here. I do n't care where we live! I mean who made these rules, anyway? The only reason we moved out here was because I got pregnant. Then we had another child to prove the first one was n't a mistake. I mean how long does it go on? He turns away. APRIL -LRB- CONT'D. -RRB- Frank. Do you actually want another child? Well, do you? He wo n't answer. APRIL -LRB- CONT'D. -RRB- Come on, tell me. Tell me the truth, Frank. Remember that? We used to live by it. You know what's so good about the truth? Everyone knows what it is, however long they've lived without it. No one forgets the truth, Frank, they just get better at lying. So tell me : do you really want another child? Frank turns towards her. FRANK All I know is what I feel. And anyone else in their right mind would feel the same way. APRIL -LRB- quiet. -RRB- But I've had two children. Does n't that count in my favor? FRANK Christ! The fact that you even put it that way! You make it sound like having children is a punishment. APRIL I love my children. FRANK And you're sure about that? APRIL What the hell is that supposed to mean? FRANK April, you just said our daughter was mistake. How do I know you did n't try to get rid of her, or Michael for that matter? How do I know you did n't try to flush our entire fucking family down the toilet? APRIL No that's not true. Of course I did n't. FRANK But how do I know April? APRIL Stop. Please just stop, Frank. FRANK April, a normal woman, a normal sane mother does n't buy herself a piece of rubber tubing to give herself an abortion so she can, go live out some God damn fantasy. April's face. FRANK -LRB- CONT'D. -RRB- -LRB- sober. -RRB- All I'm saying is you do n't seem entirely rational about this thing. And maybe we should get someone to help you think about it. APRIL And the new job's going to pay for that too? FRANK April if you need a shrink, it'll be paid for. Obviously. April turns to the book shelves. Her back to him. Frank waits, his heart beating quickly. APRIL Okay. I guess there is n't much more to say, then, is there? Her eyes are bright with tears. APRIL -LRB- CONT'D. -RRB- So I guess Paris was a pretty childish idea, huh? Everything hangs on Frank's answer. FRANK I guess maybe it was. April closes her eyes. Tears run down her cheeks. He walks over to her, but he does n't touch her. FRANK -LRB- CONT'D. -RRB- We can be happy here April. I can make you happy here. She cries quietly. FRANK -LRB- CONT'D. -RRB- We've had a great few months. It does n't have to end. She turns to face him. FRANK -LRB- CONT'D. -RRB- We're going to be okay. APRIL I hope so Frank. I really hope so.",
"INT. WHEELER LIVING ROOM - MORNING. Frank stands at the picture window watching. April approach the children. She squats on the ground so she can be at their height and talks to them. Michael tries to get into her arms. Jennifer turns away and walks sulkily across the grass. Frank looks into his coffee cup. He does n't look like a man who won an argument.",
"INT. KNOX WAITING ROOM - DAY. Frank sits smoking nervously in an oak - paneled waiting room. The door opens behind him. He gets to his feet. RECEPTIONIST Thank you for waiting. Mr. Pollock can see you now. He follows her through the door. The door closes behind her. We see the scene in dumb - show through the glass door. Bart looks up as Frank enters. An `` I knew it all along'' smile spreads across Pollock's face. He offers his hand to Frank. Frank smiles thinly. They shake. JACK -LRB- O.S. -RRB- Foiled by faulty contraception.",
"INT. MIDTOWN RESTAURANT - DAY. Frank, Ed, Vince and Jack sit in the same booth in the same crowded luncheonette. Frank stares out the window. The others ca n't contain themselves. ED I ca n't say I'm sorry. VINCE Would n't have been the same without you. JACK You'd have been sorely missed in the old cubicle, I can tell you that. He raises his glass, drinks alone. JACK -LRB- CONT'D. -RRB- Besides which. Frank looks away from the window. FRANK What? JACK Well, the plan always seemed a touch unrealistic, do n't you think? Frank glares with barely contained fury. JACK -LRB- CONT'D. -RRB- I suppose, it's none of my business, really. FRANK No. I suppose it is n't. A beat. JACK Well, we wo n't be the only ones glad to hear the news. They'll be celebrating in the secretarial pool. Ed and Vince chuckle. Frank's face.",
"INT. VITO'S LOG CABIN - NIGHT. Two drumsticks spinning in a spotlight. They click out a rhythm, and crash into a number. Cut back to reveal a small, low - ceilinged joint. On - stage are the Steve Kovack quartet, four perspiring middle - aged men with day jobs. YOUNGISH COUPLES, and the odd middle - aged COUPLE navigate the dance floor. A smattering of lost SINGLES line the bar. The Wheelers and Campbells sit squashed into a booth on the side of the dance floor. Several empty glasses have accumulated. Milly is beating the edge of the table with red drink straws. She's a few drinks ahead. They have to SHOUT over the MUSIC. MILLY Hey! Remember the first time you brought us here? You said, it takes a special kind of taste to enjoy Vito's Log Cabin! SHEP It's so awful it's kinda nice! MILLY That's right! They laugh at the old joke. Then Milly begins to weep. MILLY -LRB- CONT'D. -RRB- -LRB- dabs at her eyes. -RRB- Look at me! I'm just so happy. Our little gang's back together again! She knocks her drink back. The number finishes. SHEP At least Europe's not going anywhere. April stares out at the dance floor. Frank looks at her. A new number starts. FRANK Wan na dance? APRIL I do n't really feel like it. MILLY I'll dance! Milly takes him by the hand and pulls him away. Shep and April watch. Then Shep turns his attention to April. MILLY -LRB- CONT'D. -RRB- -LRB- tipsy. -RRB- Guess April's pretty blue ` bout Paris, huh? FRANK Think she'll be okay? MILLY Oh, sure. Give us girls a couple of days and we can get over anything! Frank turns his attention to Milly. He's a good dancer. His movements are fast and aggressive, his mind on April. Milly is a little too drunk, and hurries to keep up, perspiring through her dress. He spins her around and around, back and forth into his arms. Milly begins to look slightly dizzy. MILLY -LRB- CONT'D. -RRB- Frank. He does n't hear her over the music, or he does n't care. MILLY -LRB- CONT'D. -RRB- Frank. I. FRANK -LRB- sudden remorse. -RRB- You okay? MILLY Gee. I'm afraid I'm not very. Her body spasms with the need to be sick. She turns and rushes for the lady's room.",
"EXT. VITO'S LOG CABIN - NIGHT. Frank leads the way through the cars. Shep supports Milly who is now falling down drunk. April walks alone a few paces behind. They reach Shep's car, which is trapped behind several other cars. SHEP Of all the inconsiderate. A beat. Frank looks to April. APRIL Look - why do n't you take Milly home, then go home yourself and that would take care of both sitters. Then Shep can take me home later. SHEP All right with me. FRANK -LRB- to April. -RRB- You'll be alright? APRIL Sure. Frank holds April's look an instant, then walks away with car keys in hand.",
"INT. VITO'S LOG CABIN - NIGHT. Steve Kovack performs an exhausting, sweat - drenched drum solo. April and Shep now sit alone in the booth. SHEP I'm sorry you're not going away anymore. I know it was important to you. April distantly nods her thanks. SHEP -LRB- CONT'D. -RRB- Do n't take this wrong ; I've been there and. they do n't have so much we do n't have here. APRIL It did n't have to be Paris. Shep sips his beer, trying to figure out how to connect with her. SHEP You just wanted out, huh? APRIL I wanted in. I just wanted us to live again. Shep nods, not entirely sure what she means. APRIL -LRB- CONT'D. -RRB- For years I thought we shared a secret. that we would be wonderful in the world. I did n't exactly know how, but just the possibility. kept me hoping. She takes a long slug of her drink. APRIL -LRB- CONT'D. -RRB- How pathetic is that? To put all your hopes in a promise that was never made? See, Frank knows. he knows what he wants. He's found his place. He's just fine. Married, two kids. It should be enough. It is for him. He's right ; we were never special or destined or anything at all. SHEP Sure you are. You're The Wheelers. You're a terrific couple, everyone says so. April does n't hear, she's pursuing her thought. APRIL I saw a different life. I ca n't stop seeing it. -LRB- beat. -RRB- Ca n't leave, ca n't stay. -LRB- beat. -RRB- No damn use to anyone. April turns and stares at him. The band strikes up a new number. APRIL -LRB- CONT'D. -RRB- Come on, let's do it.",
"INT. VITO'S LOG CABIN, DANCE FLOOR - NIGHT. April and Shep dance. Shep ca n't dance well, but he's trying. April, on the other hand, is a wonderful dancer. She dances out as far as their joined hands allow and does a little twitching, hip - bobbing curtsies before twisting back, all seemingly effortless. It is joyous, released.",
"INT. SHEP'S CAR - NIGHT. Shep slips behind the wheel and is immediately kissing her, groping. SHEP Let me take you somewhere. APRIL No. Please. Here. Now. In the back seat. She climbs into the back seat. He pulls off his jacket and climbs in after her. He folds the jacket under her head for a pillow. She remains perfectly still, allowing him to kiss her, to search under her clothing, to kiss her skin and finally, to lift her skirt and pull her clothing aside and make love to her against the vinyl seat cover. As suddenly as it began, it's over. Shep collapses against her. April stares into the darkness. SHEP -LRB- CONT'D. -RRB- April. This is what I've always wanted. I love you. APRIL Do n't say that. SHEP I mean it, I love you. APRIL Please, just be quiet for a minute, then you can take me home. They begin to quietly assemble themselves.",
"INT. FRANK AND APRIL'S BEDROOM - AFTERNOON Frank stands at the mirror putting on a clean shirt.",
"INT. WHEELER KITCHEN/DINING ROOM - AFTERNOON. April stands at the kitchen table chopping vegetables. She wears an unflattering floral dress. Frank stands in the doorway watching. FRANK It's beautiful out. APRIL Yes ; it's lovely. He glances at the calendar. FRANK You know what today is? She does n't look at him. FRANK -LRB- CONT'D. -RRB- It's twelve weeks. APRIL That's right. He walks over to her. He takes her in his arms. She stiffens. FRANK Look, this has been kind of a crazy summer. We've both been under a strain. I mean I know you're upset. APRIL You know I'm not sleeping with you and you want to know why? She looks him straight in the eye. APRIL -LRB- CONT'D. -RRB- Well, I'm sorry Frank, but I do n't really feel like talking about it. She pulls herself free of his grasp. He watches as she adds the vegetables in the pot on the stove. FRANK Okay. What do you feel like talking about? APRIL Would it be all right if we did n't talk about anything? Ca n't we just take each day as it comes, and do the best we can, and not feel we have to talk about everything all the time? He smiles patiently. FRANK I do n't think I suggested we talk about everything all the time. My point was, we've both been under a strain and we ought to be trying to help each other as much as we can right now. She's utterly uninterested and it's making him nervous. FRANK -LRB- CONT'D. -RRB- I mean God knows my own behavior has been pretty weird lately. I mean, as it happens. there is actually something I'd like to tell you about. She continues folding the napkins. FRANK -LRB- CONT'D. -RRB- I've been with a girl in the city a few times. Finally, she stops moving. She looks at him. FRANK -LRB- CONT'D. -RRB- A girl I hardly even know. It was nothing to me, but she got a little carried away. She's just a kid. Anyway, it's over now. It's really over. If I were n't sure of that I guess I could never have told you about it. APRIL Why did you? FRANK -LRB- relieved. -RRB- Baby, I do n't know. I think it was a simple case of wanting to be a man again after all that abortion business. Some kind of neurotic, irrational need to prove something. APRIL No. I do n't mean why did you have the girl ; I mean why did you tell me about it? He is suddenly unsure. APRIL -LRB- CONT'D. -RRB- I mean what's the point? Is it supposed to make me jealous, or something? Is it supposed to make me fall in love with you, or back into bed with you, or what? I mean what am I supposed to say? He tries that same patient smile, but it's not convincing. FRANK Why do n't you say what you feel? APRIL I do n't feel anything. FRANK In other words you do n't care what I do or who I fuck or anything? APRIL No ; I guess that's right ; I do n't. She is frighteningly calm. APRIL -LRB- CONT'D. -RRB- Fuck who you like. His panic mounts. FRANK Do n't you see. Do n't you see, I want you to care. APRIL Oh, I know you do. And I suppose I would if I loved you. But you see I do n't think I do anymore. And I only just figured that out. And that's why I'd just as soon not do any talking right now. She goes back into the kitchen. Frank follows her. FRANK Oh, now do n't give me this shit! You know God damn well you love me! APRIL You think so?! FRANK You know GOD DAMN WELL! MRS. GIVINGS -LRB- O.S. -RRB- Yoo - hoo! Any one home? Frank and April stare at each other, breathless.",
"INT. WHEELER DINING ROOM - LATE AFTERNOON. Frank and the Givings' sit with cocktails. It's painfully awkward. Moving boxes are everywhere. APRIL I'm sorry dinner's late. Can I get anyone a refill? MRS. GIVINGS Oh, do n't worry. It's nice just to sit for a bit and socialize. You really did n't need to go through all the trouble of cooking. I can see you have a lot to do with packing and what not. Frank looks at April. She avoids his look. FRANK Actually, there's been a change of plans. MRS. GIVINGS Oh? John looks up. Frank looks at April. FRANK I thought maybe it was obvious. April's pregnant. April manages a forced smile. MRS. GIVINGS Oh, April! I ca n't tell you how pleased I am. Oh, but I expect you'll be needing a bigger house, now, wo n't you? JOHN Hold it a second, Ma. John gets to his feet. JOHN -LRB- CONT'D. -RRB- I do n't get this. He fixes Frank with the stare of a prosecuting attorney. JOHN -LRB- CONT'D. -RRB- What's so obvious about it? I mean okay, she's pregnant ; so what? Do n't people have babies in Europe? MRS. GIVINGS Oh John, really. I do n't think we need to - John holds up a hand. JOHN I'm asking the man a question. If he does n't want to give me the answer, I'm assuming he'll have sense enough to tell me so. FRANK Suppose we just say that people anywhere are n't very well advised to have babies unless they can afford them. JOHN -LRB- nods slowly. -RRB- Okay. Okay ; it's a question of money. Money's always a good reason. John paces the room, with his hands behind his back like a detective at a murder scene. JOHN -LRB- CONT'D. -RRB- But it's hardly ever the real reason. What's the real reason? Wife talk you out of it, or what? He turns the force of his smile on April. JOHN -LRB- CONT'D. -RRB- Little woman decide she is n't quite ready to quit playing house? She walks across the room and stabs out her cigarette. Then immediately lights another. JOHN -LRB- CONT'D. -RRB- Nah, nah, that's not it. I can tell. She looks too tough. Tough and female and adequate as hell. He swings around to face Frank. JOHN -LRB- CONT'D. -RRB- Okay, then ; it must've been you. Frank stares back defiantly. Rage bubbling. JOHN -LRB- CONT'D. -RRB- What happened? MRS. GIVINGS John, please, you're being very - John holds up his hand. JOHN What happened, Frank? You get cold feet, or what? You decide you're better off here after all? You figure it's more comfy here in the old Hopeless Emptiness after all, or - Frank's face. JOHN -LRB- CONT'D. -RRB- Wow, that did it! Look at his face! What's the matter, Wheeler? Am I getting warm? Frank stares at John, his rage increasing. Mr. Givings gets to his feet. MR. GIVINGS -LRB- CONT'D. -RRB- All right, son. I think we'd better be - JOHN Boy! He lets out his braying laugh. April starts to laugh. JOHN -LRB- CONT'D. -RRB- Boy! You know something? I would n't be surprised if you knocked her up on purpose just so you could spend the rest of your life hiding behind that maternity dress. That way you never have to find out what he's made of. FRANK Now look, I think that's just about enough out of you. I mean, who the hell do you think you are? You come in here and say whatever crazy God damn thing comes into your head and I think it's about time someone told you to keep your God damn - MRS. GIVINGS He's not well, Frank. FRANK Not well, my ass! I do n't give a damn if he's sick or well or dead or alive, he should keep his fucking opinions in the fucking insane asylum where they belong! April stares at Frank. MR. GIVINGS Let's go, son. Mr. Givings moves John towards the door. Mrs. Givings slowly stands. April is the only one left seated. JOHN Big man you got there, April. He winks at April and puts his hat on. JOHN -LRB- CONT'D. -RRB- Big family man, solid citizen. I feel sorry for you. Still, maybe you deserve each other. April's face. JOHN -LRB- CONT'D. -RRB- Matter of fact, the way you look right now, I'm beginning to feel sorry for him, too. I mean, you must give him a pretty bad time, if making babies is the only way he can prove he's got a pair of balls. FRANK You. fucking! Frank lunges at John. Mr. Givings tries to hold Frank back. Mrs. Givings leaps between them. She's crying. MRS. GIVINGS He's not well, Frank! Silence. Mr. Givings slowly releases Frank. He is breathing heavily. MR. GIVINGS All right, John. Let's get on out to the car now. He guides him from the room. MRS. GIVINGS I'm sorry April, I'm so sorry. JOHN Right. Sorry, sorry, sorry! Okay Ma? Have I said ` Sorry' enough times? I am sorry, too. Damn ; I bet I'm just about the sorriest bastard I know. Course, get right down to it, I do n't have a whole hell of a lot to be glad about, do I? He takes another step towards the door, then stops and turns back, laughing again. JOHN -LRB- CONT'D. -RRB- Hey, but I'm glad about one thing, though. He points a yellow - stained finger at April's stomach. JOHN -LRB- CONT'D. -RRB- You know what I'm glad about? I'm glad I'm not gon na be that kid. They go out. Frank goes to the liquor cabinet, pours a whiskey and drinks it. April watches him from across the room. FRANK Okay, okay, do n't tell me. Do n't tell me ; let me guess. I made a Disgusting Spectacle of Myself. Right? APRIL Right. He turns to April. FRANK And everything that man said is True. Right? Is n't that what you're going to say? APRIL Apparently I do n't have to. You're saying it for me. He comes towards her. FRANK But you're wrong. APRIL Why am I wrong? FRANK Because the man is insane. He's fucking insane! Do you know what the definition of insanity is? APRIL What is it, Frank? FRANK The inability to relate to another human being. It's the inability to love. She looks at him. Then she begins to laugh. APRIL The in - the in ; the inabil ; the inability to - She reels around the room, her laughter increasingly out of control. APRIL -LRB- CONT'D. -RRB- Oh. - Oh, Frank, you really are a wonderful talker! If black could be made into white by talking, you'd be the man for the job. So now I'm crazy because I do n't love you - right? Is that the point? FRANK No. Wrong. You're not crazy and you do love me ; that's the point. He takes a step towards her. All the laughter goes out of her face. She backs away. APRIL But I do n't. In fact I loathe the sight of you. You're just a boy who made me laugh at a party once and if you come any closer, if you touch me or anything I think I'll scream. He takes her by the arms. FRANK Oh baby listen - She SCREAMS. High and shrill. Her eyes wide open, cold and perfectly calm. FRANK -LRB- CONT'D. -RRB- Fuck you, April. And fuck all your hateful, snotty little - She slips past him. He goes after her. She pulls a chair into his path. He SLINGS it against the wall. APRIL What're you going to do now? Are you going to hit me? To show how much you love me? FRANK Oh, no, do n't worry, I ca n't be bothered! You're not worth the trouble it'd take to hit you. You're not worth the powder it'd take to blow you up. You're an empty - He begins to shake with anger. FRANK -LRB- CONT'D. -RRB- You're an empty, hollow fucking shell of a woman. What the hell are you living in my house for if you hate me so much? Huh? Will you answer me that? Why the hell do you fuck me? What the hell are you carrying my child for? He points at her belly. FRANK -LRB- CONT'D. -RRB- Why the hell did n't you just get rid of it, when you had the chance? Because listen. Listen : I got news for you. I wish to God you had. He strides out of the room.",
"INT. FRANK AND APRIL'S BEDROOM - EVENING. Frank enters the bedroom and slams the door. He paces, slowly calming. He sits on the bed with his head in his hands. His mind racing. Then he's on his feet again. He rushes for the door.",
"INT. WHEELER KITCHEN - EVENING. Frank enters, running, but the kitchen is empty. Frank runs out of the room into living room.",
"INT. WHEELER LIVING ROOM - EVENING The living room is empty. He goes straight for the front door.",
"EXT. WHEELER HOUSE - EVENING. Frank bursts out the front and comes to a stop. She's across the street - climbing unsteadily into the woods. Frank breaks into a sprint.",
"EXT. WOODS - EVENING. April walks through the woods. Frank runs up behind her, scrambling through the muddy bracken. April wheels around. APRIL Do n't come any closer. FRANK April, listen, I - APRIL Do n't come any closer. Ca n't I even get away from you in the fucking woods? He stops moving. FRANK April, listen, I did n't mean that. Honestly ; I did n't mean what I said. APRIL Are you still talking? Is n't there any way to stop your talking? I NEED to think. Ca n't you see that? She backs up against a tree trunk, looking down at him. FRANK Please come back. What're you doing out here? APRIL Do you want me to scream again, Frank? Because I will, if you say another word! I mean it! Frank has no choice - they're outside. The neighbors would hear and call the police. He reluctantly backs away, then turns back the way he came, glancing over his shoulder as he goes.",
"INT. WHEELER FAMILY ROOM - NIGHT. Frank stands at the window watching the section of woods where he left April. Then, he sees her come back across the street. She walks around the side of the house. He turns and runs into the kitchen.",
"INT. WHEELER KITCHEN - NIGHT. Frank goes to the window. He watches April walk up into the yard and stop against a tree. Frank pours a drink and takes the bottle with him to the window. He looks out, drinking. In the darkness, he can make out the glow of April's cigarette deep in the woods.",
"INT. FRANK AND APRIL'S BEDROOM - NIGHT, LATER. Frank falls back on the bed. He's now very drunk. His eyes close as he slips into unconsciousness.",
"INT. FRANK AND APRIL'S BEDROOM - MORNING. Frank wakes alone. He looks around the room. His head is throbbing.",
"INT. WHEELER KITCHEN - MORNING. Frank stands in the doorway dressed for work. He stares. The kitchen has been tidied and is bathed in sunlight. The table has been carefully set for two. April stands at the stove wearing a fresh maternity dress. She seems serene. April turns and looks at him. APRIL Good morning. FRANK Good morning. He stands there frozen. APRIL Would you like scrambled eggs or fried? FRANK Oh. It does n't really matter - Uh. scrambled, I guess, if it's easy. APRIL Fine. I'll have scrambled too. Frank sits at the table.",
"INT. WHEELER KITCHEN - MORNING, MOMENTS LATER. Frank and April sit across the kitchen table, eating. For several moments, only the sound of their cutlery. FRANK It's kinda nice having breakfast without the kids for a change. April reaches out to pour him some orange juice. Her hands shake slightly. APRIL Yes. I thought you'd probably want a good breakfast today. I mean it's kind of an important day for you, is n't it? Is n't this the day you have your conference with Pollock? FRANK -LRB- surprised. -RRB- Yes. That's right, yes. He shrugs. FRANK -LRB- CONT'D. -RRB- Big deal. APRIL I imagine it is a pretty big deal ; for them, anyway. What exactly do you think you'll be doing? You never have told me much about it. FRANK Have n't I? Well. I think this whole thing is about Knox getting ready to buy up one of these really big computers, bigger than the ` 500'. Did I tell you about that? APRIL No, I do n't believe you did. FRANK Well, you know - Basically it's just a. a big, fast adding machine. Only. He takes a pencil from his inside pocket and delicately sketches the computer on the napkin. FRANK -LRB- CONT'D. -RRB- Instead of mechanical parts, you see, it's got thousands of little individual vacuum tubes. She picks up the drawing and looks at it. It's surprisingly delicate. APRIL Oh, I see. At least I think I see ; yes. It's really sort of - interesting, is n't it? FRANK Well, I do n't know, it's - yeah, I guess it is sort of interesting, in a way. APRIL You should value what you do Frank. You're obviously good at it. He smiles, flattered and surprised. He slips the pencil into the inside pocket of his suit. FRANK Guess I'd better be getting started. He stands. April stands up too, smoothing her skirt. FRANK -LRB- CONT'D. -RRB- Listen, though, April ; this was really nice. I mean it was a swell breakfast. Really ; I do n't know when I've ever had a - a nicer breakfast. APRIL Thank you. I'm glad ; I enjoyed it too. They stand there gazing at one another across the table. Suddenly, inexplicably, his eyes are filled with tears. He turns and walks to the door. He puts his hand on the handle and turns back once more. FRANK Then you do n't - You do n't hate me, or anything? APRIL No ; of course I do n't. She comes over to him. APRIL -LRB- CONT'D. -RRB- Have a good day. He leans down and kisses her tenderly. They look at one another a moment longer. FRANK Okay, then. So long. He steps through the door. She catches the door before it shuts and watches him through the screen.",
"EXT. WHEELER DRIVEWAY - MORNING. April walks out onto the driveway as the car reverses away down the drive.",
"INT. WHEELER CAR - MORNING. Frank backs the car onto the road. He slides the car into drive and then catches sight of April in the driveway.",
"EXT. WHEELER DRIVEWAY - MORNING. April sees Frank looking back at her. She waves. Frank waves from the car and drives off. Then April is alone. She shivers from the morning chill. She turns and looks back at the house.",
"INT. WHEELER KITCHEN - MORNING. April enters through the screen door and goes to the table. She looks down at Frank's diagram and carefully places it aside. She carries the dishes to the sink and begins to wash them. Suddenly, her body convulses as she tries to hold back from crying. And then there is no stopping the tears.",
"INT. WHEELER HALLWAY - MORNING. April is standing by the phone, with her hand on the receiver, rehearsing. She is smoking. She dials. APRIL Hello. Milly? Everything all right? My voice sounds what? April uses both hands to grip the receiver. APRIL -LRB- CONT'D. -RRB- Well, no, I'm afraid I'm not feeling any better. If it's not an inconvenience for you. This evening would be great. What? Oh, well - no, not if they're outdoors playing. Do n't call them in. The cigarette shreds in April's hand. APRIL -LRB- CONT'D. -RRB- Just give them - you know, give them each a kiss for me, and give them my love, and tell them - you know. All right, Milly. Thanks. She hangs up and begins to cry again. Takes a breath.",
"INT. WHEELER HALLWAY - MORNING. FOOTSTEPS. We move behind April as she walks through the silent house. The distant SOUND of children playing outside. Each room she passes is a pocket of silence.",
"INT. FRANK AND APRIL'S BEDROOM - MORNING. April makes the bed. She arranges her shoes on the floor of the closet. April reaches onto a shelf behind some clothes. Pulls out the brown paper package.",
"INT. WHEELER KITCHEN - MORNING. April stands at the stove over a pot of rolling, boiling water. She removes the rubber syringe from its paper packaging and drops it into the pot. She checks her watch.",
"INT. WHEELER HALLWAY - DAY. April carries the pot of boiling, sudsy water down the hall.",
"INT. WHEELER BATHROOM - DAY. April places the pot into the tub. She lays towels across the floor. And closes the door.",
"INT. WHEELER BATHROOM - DAY, MOMENTS LATER. The SOUND of running water. The empty mirror. April's face rises up into the reflection with a gasp.",
"INT. WHEELER HALLWAY - DAY. We move with April down the hallway, her face is pale.",
"INT. WHEELER LIVING ROOM - DAY, LATER. Now April stands at the picture window. She is shaking. A DROPLET of blood slides down her knee. She looks down. On the floor, two droplets of blood appear between her bare feet. Now we see the bright maple leaf of blood seeping through her skirt. She is shaking more. She walks slowly out of the room, towards the kitchen. APRIL -LRB- O.S. -RRB- I think I need an ambulance. Yes. One one five Revolutionary Road.",
"INT. CAMPBELL KITCHEN - DAY. Milly folds laundry. She looks up to see - An ambulance turns into the Wheeler's driveway. Her face clouds with instinctual foreboding.",
"INT. HOSPITAL HALLWAY - AFTERNOON. Shep steps out into a hospital hallway. Frank paces, helpless in the waiting room, his face a mask of bewildered, childlike confusion. He looks up to see - Shep coming towards him. SHEP Frank? They tell you what happened? FRANK Jesus, Shep. I could n't even understand half the things he told me. He said the fetus was out before they got her here. He said they had to operate to take out the whatdycallit, the placenta and now she's still bleeding. He said she'd lost a lot of blood before the ambulance came, and now they're trying to stop it, and he said a whole lot of things I did n't get, about capillaries, and he said she's unconscious. Jesus. SHEP How about sitting down, Frank. FRANK What the hell do I want to sit down for! SHEP Okay. Take it easy. FRANK My God. SHEP Here, have a cigarette. Shep offers the pack. Frank does n't take one. FRANK She did it to herself, Shep. Shep's face as he realizes what he's saying. FRANK -LRB- CONT'D. -RRB- She did it to herself. Shep takes a cigarette for himself. He lights it with trembling fingers. SHEP I'll get some coffee. Frank looks over at Shep as if he'd forgotten him. He nods. Shep stands and walks down the hall.",
"INT. HOSPITAL - COFFEE MACHINE - AFTERNOON. Shep stands at a coffee machine, gathering himself. He looks up. He begins to feed coins into the machine. His hands are trembling. He drops a coin. It rolls under the machine. He has to get down on his hands and knees to retrieve it.",
"INT. HOSPITAL HALLWAY - AFTERNOON. Shep walks tentatively, holding a cup in each hand, slopping coffee onto the floor. He rounds the corner and stops. Frank is no longer in his chair at the end of the long echoing hallway. Shep looks around. Then suddenly, the double doors are flung open and a number of nurses hurry out. Behind them, comes Frank, supported by two Doctors. Shep runs to them as they move Frank over to a chair. He's in shock. FRANK No. No. No. They try to make him sit, but he stays stubbornly on his feet, the chair skidding behind him. DOCTOR Try to sit down, Mr. Wheeler. SHEP Sit down Frank. Frank looks at Shep - his face is a terrifying blank.",
"EXT. REVOLUTIONARY ROAD - MAGIC HOUR. A toyland of white and pastel houses along the road. The crisp green lawns. The blue televisions flickering behind the glass. We hear the WHISK of running footsteps on the asphalt, the rush of a man's breath. Frank is running down the middle of the street, tears streaming silently down his face.",
"INT. CAMPBELL LIVING ROOM - EVENING, ONE YEAR LATER. Four high - ball glasses with glistening cubes of ice. Shep puts the finishing touches on four drinks. MR. and MRS. BRACE, a pleasant looking young couple fresh from the city sit on the couch. MILLY It was the worst experience of my life. Such wonderful people. Were n't they Shep? Poor April. Shep picks up the drinks and carries them across the room. He stands there beside the three of them, but he ca n't bring himself to sit down and join in. MILLY -LRB- CONT'D. -RRB- Frank lives in the city now. Where is it he works? SHEP Bart Pollock Associates. MR. BRACE Computers. Interesting firm. Mr. Brace removes his pipe and looks at it. MRS. BRACE Have you seen him since? MILLY No. Too many memories, I think. Shep's seen him. In the city. Shep nods. MILLY -LRB- CONT'D. -RRB- He's just dedicated to those kids. Every spare moment he has, he spends with them. Shep turns and walks out of the room.",
"EXT. CAMPBELL HOUSE - EVENING. Shep walks across the lawn to the edge of the property. He looks out over the suburban houses. At what was once the Wheeler house. Shep's face, looking out. His eyes are filled with tears. Milly comes up behind him. MILLY You okay? SHEP Mm - hmm. She takes his arm and holds him close. SHEP -LRB- CONT'D. -RRB- I do n't want to talk about The Wheelers any more. MILLY Okay. We do n't have to. We do n't have to. Shep and Milly look out over Revolutionary Road.",
"EXT. CITY PARK - DAY. The same silence over a beautiful day in the city. And from the silence, the faint sound of wind through the leafy branches of trees. Two children play in a playground in a small park. It's Jennifer and Michael. They seem happy, engrossed. Other kids play around them. Watching them from a bench is Frank. He is a little older, a little thinner. Close on Frank's face. The SOUND of his children playing.",
"INT. GIVINGS' LIVING ROOM - DAY Mrs. Givings crouches on a cotton work sheet painting varnish onto a chair. Mr. Givings sits reading the paper. A new puppy sleeps curled up on the rug nearby. MRS. GIVINGS I ca n't tell you how pleased I am about the little Revolutionary Road place, Howard. Remember how dreary it looked all winter? All cold and dark and - well, spooky. Creepy - crawly. And now whenever I drive past, it gives me such a lift to see it all perked up and spanking clean again, with lights in the windows. And do you know, I was just thinking, I've loved that little house for years, and the Braces are the first really suitable people I've ever found for it. Really nice, congenial people, I mean. Mr. Givings fiddles with his hearing aid. MR. GIVINGS Well, except for the Wheelers, you mean. MRS. GIVINGS Oh, I was very fond of the Wheelers but they always were a bit - a bit whimsical, for my taste. A bit neurotic. I may not have stressed it, but they were often very trying people to deal with, in many ways. Actually, the main reason the little house has been so hard to sell is that they let it depreciate so dreadfully. Warped window frames, wet cellar, crayon marks on the walls, filthy smudges around all the - Mr. Givings reaches up to his ear and SUDDENLY. SILENCE. but for the faint sound of wind. He gazes out the window as behind him Mrs. Givings continues to talk, but we ca n't hear a thing. He has turned off his hearing aid. FADE TO BLACK"
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] | In 1948, Frank Wheeler (DiCaprio) meets April (Winslet) at a party. He is a longshoreman, hoping to be a cashier; she wants to be an actress. Frank later secures a sales position with Knox Machines, for which his father worked for 20 years, and he and April marry. The Wheelers move to 115 Revolutionary Road in suburban Connecticut when April becomes pregnant. The couple becomes close friends with their realtor Helen Givings (Bates) and her husband Howard Givings (Easton), and neighbor Milly Campbell (Hahn) and her husband Shep (Harbour). To their friends, the Wheelers are the perfect couple, but their relationship is troubled. April fails to make a career out of acting, while Frank hates the tedium of his work. On his 30th birthday, Frank invites a secretary at work to have a drink with him at a bar. She accepts, becomes heavily intoxicated, and they end up having sex. Meanwhile, Helen has asked April if they will meet her son, John (Shannon), who had been in an insane asylum. She thinks the younger couple may be able to help her son with his condition. April accepts. April wants new scenery and a chance to support the family so Frank can find his passion, so she suggests that they move to Paris to start a new life away from the "hopeless emptiness" of their repetitive lifestyle. Frank balks at the idea at first, but becomes convinced. Over the next several weeks, the Wheelers tell their various friends about their plans to live in Paris, but surprisingly, the only person who seems to comprehend their decision is John. As the couple prepares to move, they are forced to reconsider. Frank is offered a promotion, and April becomes pregnant again. When Frank discovers she is contemplating having an abortion, he is furious and starts screaming at April, leading to a serious altercation, in which April says that they had their second child only to prove the first child was not a "mistake". The next day, Frank takes the promotion and tries to accept his uneventful life. At the end of an evening at a jazz bar with the Campbells, Shep and April end up alone together. She confides in him of her depression over the canceled Paris plans and her life in general, and they end up having sex in the car. Shep professes his long-held love for April, but she rejects his interest. The following day, Frank confesses to having had an affair, hoping to reconcile with April. To his surprise, April responds apathetically and tells him it does not matter, as her love for him has gone, which he does not believe. The Givings come over for dinner, and Frank announces to the guests that their plans have changed because April is pregnant. John harshly lambasts Frank for crushing April's hope, as well as his acceptance of his circumstances. Angered, Frank nearly attacks John, and the Givings hurry out. Afterwards, Frank and April have a severe verbal altercation, after which April flees the house. Frank spends the night in a drunken stupor. The next morning he is shocked to find April in the kitchen, calmly making breakfast as if nothing had happened. Frank, unsure of how to react, eats with her. Before leaving for work, he asks April if she hates him. She tells him, of course not. April then calmly goes upstairs to the bathroom, where she--offscreen--performs a vacuum aspiration abortion on herself. Afterwards, she discovers she is bleeding and calls an ambulance. Frank arrives at the hospital, distraught, and is comforted by Shep. April dies in the hospital from blood loss. Frank, feeling deep guilt and now a hollow shell of his former self, moves to the city and starts selling computers. He spends all of his extra time with his children. A new couple, the Braces, buys the house and Milly tells the story of the Wheelers to them. Shep stands up and walks out of the house, crying. Milly follows Shep and asks him what is wrong. He tells her he never wants to talk about the Wheelers ever again. Milly agrees that they don't have to. Helen talks to her husband years later about how the Braces seem to be the best-suited couple for the Wheelers' old house. When her husband mentions the Wheelers, Helen starts to talk about why she did not like them. As she continues talking about all of the things that she did not like about them, her husband turns off his hearing aid. | Revolutionary_Road_(film) |
[
"EXT. WILDERNESS - NIGHT Mist. Dark trees. Dripping vines. An ENGINE RUMBLES in the distance. The full moon shimmers on a puddle. A FROG SPLATS IN, splashing a one man pup tent. INSIDE THE TENT LUKE's eyes pop open, disoriented, realizing he's fallen asleep reading by flashlight. He's nineteen, still slightly awkward and unaware he's growing handsome. He listens as the ENGINE RUMBLES LOUDER, closer. He peers out through the tent flap. Glaring head lamps ROAR toward him. Scrambling out of his sleeping bag, he HURLS himself against the side of the tent, as. OUTSIDE an RV CAMPER nearly plows down the tent, skidding to a stop in the mud. Stillness. Luke extricates himself from the tent. He runs to the driver - side window of the RV. LUKE Are you all right? Inside, ALEXA, thirties, earthy, looks up at him bleary - eyed. She nods ` yes.' LUKE -LRB- CONT'D. -RRB- How did you even get here? There's no road. ALEXA I'm sorry. I'm from Utah. LUKE It's okay. ALEXA Are you alone out here? He nods ` yes.' She bursts into TEARS. ALEXA -LRB- CONT'D. -RRB- My husband. Bastard. I've been driving for days. I do n't even know where I'm going. LUKE Oh, wow. I'm really sorry. She gathers herself, sniffling. I have warm apple kringel in the camper. Would you like some? LUKE Uh, what is it? ALEXA Pastry. INSIDE RV CAMPER Luke stands at the RV's tiny kitchen counter, wolfing pastry off a paper plate. ALEXA So, this `` Survival Quest'' is your vacation? LUKE Yeah. It's my third try. Kind a' lame, huh? ALEXA No. Seven days alone in the wilderness? I'd be afraid. LUKE It's just something I really wanted to do. Luke notices an odd pile of stuff by the sink. ALEXA His shoes. Fishing lures. The electric drill. LUKE Good. She smiles, grateful, eyeing his torn t - shirt and shorts. ALEXA You're all wet and muddy. Why do n't I hang those up to dry? LUKE Thanks. I'm okay. ALEXA I'm propositioning you. LUKE Oh. Oh, wow. You are? He considers, fearful, but thrilled.",
"EXT. LANGFORD UNIVERSITY - MORNING Students crisscross on bikes in front of the quadrangle. The huge round headlights and muscular front grill of an old SEMI - TRUCK RUMBLES up to the curb. It's the cab only, like the sliced - off front of a train engine. Luke hops down, startling his friends, KEENAN and JANINE, passionately making out on the sidewalk. Twenty, brainy and athletic, Janine adjusts her glasses, the only remnant of a bookish past, as she thoughtfully considers Luke's massive truck. JANINE It's remarkable. Sort of retro. I thought you were gettin' a pickup? LUKE I changed my mind. Hoping for a more enthusiastic response, he turns to Keenan, who climbs up and peeks inside the cab. He's rugged, streetwise, perpetually bemused, - maybe Ed Norton and Bill Murray had a son. KEENAN It's awesome. It's pleather. LUKE Fuck you. You think it's stupid. Janine stares at him. LUKE -LRB- CONT'D. -RRB- What? She shrugs, trying to put her finger on it, and when Luke rolls up his T - shirt sleeves, she grins. LUKE -LRB- CONT'D. -RRB- What?! JANINE Oh my God. You got laid. Finally! Who is she? Luke glares at Keenan. KEENAN I did n't say a word! I swear! You know Janine. She's got X - ray vision. -LRB- to Janine. -RRB- Camping! A total stranger. JANINE I knew that whole `` waitin' to meet the right girl'' thing was crap. Congratulations! I have to get to Physics. The truck's great. KEENAN See ya', hottie. JANINE Could find something to call me, other than what every guy in the world would say? KEENAN `` Sweetheart?'' `` Babe?'' `` Aphrodite?'' Janine sneers. At a loss, Keenan grabs her and kisses her passionately. She walks off rolling her eyes, but secretly loves it. Keenan climbs up into the cab. KEENAN -LRB- CONT'D. -RRB- So this is gon na' be like your car? LUKE Look, I know it's dopey. But do n't you recognize it? It's painted and the muffler's switched out, - but this was my dad's. Keenan looks around with fresh eyes. He reaches an arm way up under the glove box and GRINS, pulling out a small stash of weed. KEENAN Ten years. A little dried out.",
"EXT. COUNTRY HIGHWAY - DAY The truck barrels along through the trees. Luke and Keenan share a joint. LUKE First off, that woman. We did n't go all the way, you know? KEENAN Yeah? Okay, so? LUKE You think technically I'm still a virgin? KEENAN Were you inside her? LUKE Yeah. KEENAN It counts. Next. What? LUKE I been havin' this weird dream. The thing is, I think maybe the dream's real. Forget it. No way I'm tellin' you. KEENAN You know enough of my secrets to get me shot. Sharon's mom on Thanksgiving? What the fuck dream is there you ca n't tell me? LUKE It's about part of me gettin' smaller. An important part. Keenan looks over warily, then busts out LAUGHING, then realizes Luke's serious. KEENAN You have got ta' be fuckin' kiddin' me. You're not thirteen! LUKE Screw you. Maybe I caught something. KEENAN I think it's good you bought this truck. They both LAUGH.",
"INT. ROAD RAGE GARAGE - DAY A small, run - down service garage, crammed with tires, tools and discarded car parts. Luke's truck idles in the service bay, billowing smoke. MAX, nineteen, lean, in overalls, with shoulder - length hair and edgy eyes, wipes his greasy hands on a rag. Dripping with masculinity, he swaggers around the truck, chewing gum, wielding a pneumatic torque - wrench, which he occasionally REVS for emphasis. MAX I can do the gasket for twenty bucks. But new T - sprocks, for this thing? Two, three hundred, maybe? LUKE Shit. Can I hold off on that? MAX No skin off my ass. But a few days, weeks, your whole transmission could blow. LUKE Ah, Jeez. I should n't got this. Max considers, sets his baseball cap on the truck fender and SIGHS. MAX Four hundred seventy - five horsepower. Twenty - eight inch wheels. It's a classic. Let me dig around out back. Maybe we got a used set. LUKE That'd be great. Thanks. Max disappears through a squeaky door at the back. Luke picks up a rag and wipes fingerprints off the fender. He sits, impatient for Max to return. He examines Max's cap, tries it on. He picks up the torque - wrench, swaggers about, trying to look macho, in the manner of Max. He spins around and REVS the wrench, catching sight of MICHELLE, twenty, watching him from out front in jeans and T - shirt, with warm, confident eyes. Luke swallows, wide - eyed, a deer in headlights. He sets down the torque - wrench. LUKE -LRB- CONT'D. -RRB- It's not my wrench. It's my truck. MICHELLE What's wrong with it? LUKE Oh, just needs a new gasket and a couple T - sprocks. The flanges are sheared off. No big deal. MICHELLE You have to watch my brother, Max. He's sellin' you `` T - sprocks?'' LUKE Yeah? MICHELLE There's no such thing. Last week he sold Mrs. Gustafson a whole set : six hundred bucks. My name's Michelle. LUKE From New York. Poli - Sci transfer. I sort of asked around campus. MICHELLE You did? LUKE You've prob ` ly already got a stalker, huh? MICHELLE No. Luke stares, awkward. LUKE You heard about Cafe Lunizia? Italian? They got New York style pizza. Make you feel at home. MICHELLE You askin' me out? LUKE Oh, well, uh, - definitely! An SUV pulls up at the gas pump, stuffed with Keenan and OTHER GUYS. CHAD, exuding supreme self - confidence, calls over to Luke as he pumps gas. CHAD Hey, Spanky, let's go! Look forward to kickin' your puck ass. LUKE My ride. MICHELLE Your name's `` Spanky?'' LUKE No, Puck Ass, but people just call me Luke. We're beatin' his frat boy team in street hockey. Pisses'em off. MICHELLE I'll talk to Max. Tell him to just replace the gasket. Luke's BREATHING grows HEAVIER. LUKE Thanks. So, what do you think? I'll just sit there while you eat. I wo n't even talk. MICHELLE Look, I just split up with this total amoeba. LUKE Oh, I'm a paramecium. That's way more evolved. I'm practically pond scum. MICHELLE Maybe I'll give you a call when the truck's ready. LUKE Great. You mean to go out, right? Michelle smiles, and walks out through the squeaky door at the back. Keenan approaches. KEENAN -LRB- a whisper. -RRB- Whoa. That was her! Jesus, you're sweatin' like crazy. Luke sits, nods ` yes,' wipes BEADS of SWEAT from his brow. LUKE We're goin' out. Keenan gives him a high - five. Luke smiles, catching his breath.",
"INT. LUKE & KEENAN'S PLACE A small, run - down house. Hockey gear, dirty laundry and Keenan are strewn across the garage - sale sofa. He munches a burrito while watching the game. LUKE -LRB- O.S. -RRB- KEENAN! COME HERE, QUICK! Keenan leaps up. KEENAN WHAT?! He races down the hall, sliding on the linoleum. BATHROOM Luke, a towel around his waist, stares at himself in the mirror, horrified. LUKE Look! My chest! Keenan looks, clueless, a little uncomfortable now. KEENAN Yeah? LUKE I had hair. Come on! Not a lot, but you've seen me - some - right? KEENAN Okay, I do n't know. So? LUKE Well, where'd it go? Keenan takes a bite of the burrito in his hand, now mashed. KEENAN I really thought you gettin' laid was gon na' help. What is it with you, man? I mean, you're smarter than me, you're better lookin' than me. LUKE I am not. KEENAN I know. But I'm just sayin', you can get any girl you want. LUKE Easy for you, you've got Janine. KEENAN I'm still workin' on my GED. How long you think Brainiac's gon na' wan na' hang with that? LUKE She worships you. KEENAN Man, I'm gon na' be that wild fling she had with the local dude from the bike shop. `` God, what was his name?'' LUKE You're crazy. Keenan gives him a look of `` I'm crazy?'' KEENAN You're gon na' have a great time with her tonight. Just be yourself. Mostly.",
"EXT. CAFE LUNIZIA - NIGHT Cheap elegance. Luke and Michelle dine on the patio, strung with far too many white lights. MICHELLE I caught him with my best friend. Former. Such a cliche'. LUKE Sorry. MICHELLE Winthrop Hawkins. `` Hawk.'' From this Park Avenue family. He'd know what kind of mushrooms those are, what the best wine is. LUKE The best wine is beer. MICHELLE I'm such a moron. LUKE You're not. MICHELLE No, I am. I have incontrovertible proof. She kicks off her shoe and sticks her bare foot on the table, a TATTOO of a GREEN BIRD on her ankle. MICHELLE -LRB- CONT'D. -RRB- It's a hawk. Get it? `` Hawkins?'' See, you're smirking! LUKE I'm not. MICHELLE And it's GREEN! That's the one color tattoo they ca n't REMOVE! LUKE Oh. Bummer. MICHELLE I'm considering a prosthetic foot. She smiles. They sip from their glasses and drink each other in. Luke contemplates a kiss,. but his breathing grows shallow, he GASPS. MICHELLE -LRB- CONT'D. -RRB- What's the matter? LUKE Nothin'. Maybe just kind a' hot out here. You want moron? When my dad died, - it's okay, I was nine. I barely knew what was goin' on - But I thought the tombstone was really sad looking, so I painted smiley faces and fish all over it. MICHELLE That's sweet. LUKE Yeah, I'm sure dad would've loved that. His face REDDENS. Overheated, Luke tugs at his shirt, brushes SWEAT from his brow. MICHELLE So, what do you think makes a good relationship? LUKE For real? I do n't know. Friendship. Great sex. Knowing you want to be there even when it gets scary or bloody. MICHELLE Whoa. Where'd that come from? LUKE Sorry. MICHELLE No, it's just not the usual guy thing. You're great, you know? Luke puts his hand on his chest, FEELS something. He stands, puts on his jacket. LUKE Will you excuse me a sec'? NEAR THE KITCHEN HYPER - VENTILATING, his arms CLUTCHING HIS CHEST, BEADS OF SWEAT on his forehead, Luke checks the Men's Room door : LOCKED. He ducks out the service entrance.",
"EXT. PARKING LOT By the dumpster, Luke reaches behind his head, WHIPS off his jacket and shirt, and looks down. His eyes GO WIDE. LUKE - AAH! On his chest : FEMALE BREASTS. Two WAITERS come outside for a smoke. FIRST WAITER Table twenty - nine. Like to bring her the cannoli special. Luke peers over the dumpster, down at his breasts, with a HIGH FEVER, and PASSES OUT, slumping to the ground. BEHIND THE DUMPSTER - LATE NIGHT Luke's eyes open, dilated, disoriented. He's lying on the ground, shirtless among bits of garbage. He watches bleary - eyed, as a MOUSE peers at him from inside an empty milk carton. The mouse runs over and sniffs at a canteloupe, which triggers Luke's memory : He GRABS his chest, relieved to find it's back to normal. He stands, dizzy, surveying the dark, locked restaurant, and staggers across the deserted parking lot toward his truck.",
"EXT. WOODED HIGHWAY - LATE NIGHT Luke's Semi THUNDERS along. INSIDE THE CAB Luke stares out in shock. He hears HEAVY BREATHING, MOANS, VOICES. FEMALE VOICE -LRB- O.S. -RRB- Oh yes! Do n't stop! He looks around for the source of the sounds, glances over. RIGHT SIDE VIEW MIRROR in it's reflection a leering male, stripped to the waist. MALE VOICE -LRB- O.S. -RRB- Lie down for me, baby! The HEAD LAMPS of an oncoming car FLASH at him. As he glances out the driver - side window, MUSIC BLARES from the passing car. INSIDE THE CAR A glimpse of what might be an ORGY of BODIES intertwined. The FEMALE DRIVER - GRINS MANIACALLY UP at Luke as the CAR HORN SCREAMS by. Luke CAREENS to one side, glancing at the truck's LEFT SIDE VIEW MIRROR The car recedes in the distance, but the Female Driver appears CLOSE in the mirror's reflection, LEERING. She LICKS THE MIRROR from the inside, and disappears. THROUGH THE TRUCK WINDSHIELD Luke stares out, EYES GLAZED.",
"INT. KEENAN AND LUKE'S GARAGE The decrepit old garage looks as if it may collapse any second. Barbells on the floor. Luke dodges and weaves, slugging a makeshift punching bag. Keenan appears, wiping sleep from his eyes. KEENAN We takin' up boxing? LUKE I do n't know. I am. KEENAN What's goin' on? You competin' for Mr. Universe this week? LUKE Everyone should just mind their own fucking business! Keenan recoils at the attitude. KEENAN Did n't go so great, huh? Luke punches the bag, harder and faster, a near SEIZURE : ROAD RAGE. He collapses in a heap. KEENAN -LRB- CONT'D. -RRB- Dude. LUKE It was goin' great. She's amazing. Funny. And really smart. And the way she eats ravioli, like ` aah.' KEENAN Cool. LUKE Then I started feelin' all weird again, and,. oh, man, you'll think I'm nuts. Keen, I had breasts. I felt'em. KEENAN Whoa, first date. Definitely the ` new Luke!' LUKE No! On me. KEENAN You're startin' to creep me out. Listen, I think I know what's goin' on, okay? `` Acute Adolescent Anxiety.'' It's from the stress of college, girls, grades. It's really common. LUKE I'm not an adolescent. Where'd you get this crap?! KEENAN The Net. I found all the symptoms right off : panic attacks, `` Localized Alopecia'' - that's hair loss. This doctor wrote back, `` Any chance your friend, Luke, just lost his virginity?'' LUKE You told, - you gave him my name?! KEENAN He's a doctor, back East. He's sending this information pack. Look, I started thinkin' you're goin' bipolar on me or somethin'. Come on, man, BREASTS?! Luke considers.",
"EXT. SUBURBAN HOUSE - MORNING Luke hops down from the truck cab, fixes his shirt and hair, trying to look nonchalant as he rings the doorbell. Hearing something behind him, he turns as Max PUNCHES him in the stomach, knocking the wind out of him. MAX You son - of - a - bitch, stay the hell away from my sister! Luke GASPS for air. MAX -LRB- CONT'D. -RRB- You do n't say a word?! You just leave her sittin' there?! LUKE I came to apologize. Max shoves him across the yard. MAX Get out a' here! She's not home, anyway. LUKE Will you tell her I came by? MAX No. She's honest with you, so you bolt? And then what, you wake up feelin' sorry for her? LUKE No! Is that what she thinks? I left'cause a' what she said? That's crazy! She's like the most incredible girl I ever met! Max sneers, skeptical. LUKE -LRB- CONT'D. -RRB- I had this ` pasta quattro funghi' - four mushroom. It took me a while to even figure it out, but I think someone put shrooms in it, or somehow they got in there by mistake. I was hallucinating and everything. MAX Amazes even me, a guy's capacity to be a world - class asshole. Fortunately, I'm familiar with the cause. LUKE Will you please just tell her I came by? Forget it. I'll catch up with her on my own. MAX No. You wo n't. LUKE Look, I'm gon na' see her again, - if she'll see me. I do n't care what the fuck you say about it. MAX Oh, really? They face off. LUKE Yeah, really. MAX You get near her, I'll feed your nuts to the neighbor's dog! LUKE What kind a' dog is it? MAX Huh? LUKE I mean, is it a pitbull, or what? Caught off guard, a smile escapes Max. LUKE -LRB- CONT'D. -RRB- I'm crazy about her. MAX Shrooms, huh? Luke nods ` yes.' MAX -LRB- CONT'D. -RRB- I'll tell her you came by. Luke nods, appreciative.",
"EXT. MUDDY WATERS' MINI-MART - NIGHT A tanker truck QUAKES past. Surrounded by fir trees, the eerily empty mini - mart glows with fluorescent junk food. INSIDE MINI - MART Luke stands behind the cash register, leafing through `` The Outdoors Man.'' The CHIME BINGS and SYDNEY enters, early thirties, elegant in thrift - store chic. She's cool and in control,. at least on the outside. She surveys random candy bars, stealing glances at Luke. SYDNEY Had a sudden intense craving for a cherry popsicle. LUKE You can check in that freezer. SYDNEY What a relief. I'm Sydney. You? LUKE Luke. SYDNEY Workin' late, huh? Luke? LUKE Yeah, four AM. It sucks. SYDNEY Sometimes you guys are just unfathomably stupid. LUKE Excuse me? SYDNEY Why in the world do guys say `` it sucks'' as if it were a bad thing? I mean, every guy's dying to get a blow job, right? So, you think they'd treat those words with profound respect, like holy scripture. `` What an unbelievable sunset, honey : does n't it just SUCK?,''. `` You won an Olympic Gold Medal?!, that BLOWS!'' LUKE I guess you're right. SYDNEY It must be great at your age. That river of testosterone coursing through your veins, the damn about to burst! How about we just lock this place up and go for an Olympic Gold? LUKE No thanks. Jeez, lady. Disappointed, she checks her reflection in the freezer door. SYDNEY I ought to dye my hair. Do n't you think? LUKE Uh, I do n't know. Looks fine. SYDNEY Your hair is such an incredible color. LUKE It's brown. SYDNEY I love it. Do you think I could cut just a little piece? Match the color? It really `` sucks.'' LUKE Nah, c'mon. You're messin' with me. SYDNEY I'm not. I love it. You really should get rid a' that thing, anyway. I have clippers in my bag. LUKE What thing? SYDNEY Cowlick. Right here. See? I can just snip it off. She SNIPS his hair. Luke pulls away. LUKE Hey. SYDNEY What's the matter? Do n't you like being touched? Do n't you like being a guy? LUKE No. I mean,. What? Sorry, but you're just bizarre. She CHUCKLES, lays money on the counter. SYDNEY May be. But I learned long ago, you ca n't change your true nature, even if it can change you. As she leaves, she takes a provocative bite of the popsicle.",
"EXT. POLLY WOG'S POOL HALL - DUSK Acres of yellowing corn surround a dilapidated farmhouse converted into a pool hall. The windows glow from warm lights inside. Parked along the gravel driveway are pickup trucks, cars, and Luke's Semi. INSIDE POOL HALL Smoke, ROWDY MUSIC and the CLACK of cue balls. Keenan and Luke snake their way through the pool tables. LUKE Holy shit. It's that lady from the store! Grey and black at the bar. Keenan looks over at Sydney, finishing off a bourbon. RENTAL COUNTER Janine and Michelle check out a rack of billiard balls from the worldly British owner, POLLY. She runs the place like a wild west saloon, with such ease and confidence, it suggests there may be a shotgun under the bar. POLLY That boy, Keenan, still giving you trouble? JANINE Actually, I tried exactly what you said. POLLY And? JANINE Unbelievable! Thanks. POLLY Works every time. -LRB- to Michelle. -RRB- Nice to meet you, darling. I hope you'll find not too many rules here, and the drinks not too dear. MICHELLE Yeah, thanks. It's amazing. Polly moves off. JANINE Is n't she great? Guys drive across the state just to buy a beer from her. Total loner, though. No one's ever seen her with anyone. MICHELLE What did she tell you to try? Janine whispers in her ear. Michelle's jaw drops open, scandalized. They LAUGH. AT THE BAR Luke hands his keys to JEREMY, the handsome bartender, in exchange for a full pitcher of beer. LUKE Thanks, man. KEENAN Oh, God. She's eyeing you. I think she's comin' over. Sydney saunters up. SYDNEY Can I buy you a drink? LUKE Uh, no thanks. We're already here with dates and stuff. SYDNEY You are? Who? Where is she? KEENAN They're around somehwere. SYDNEY Luke, if you like this girl, we better talk. LUKE What? Sydney glances around, talks quietly. SYDNEY Anything happen since we last spoke? Hot flashes? Pressure in your chest? Luke pales. LUKE No. KEENAN Who are you? SYDNEY Dr. Sydney Catchadourian. Keenan, right? LUKE You know him?! SYDNEY We exchanged E - mail. I came right away. Luke gives Keenan the evil eye. KEENAN From Philadelphia? Why? SYDNEY Your friend here has an extra chromosome. The little remaining color in Luke's face now drains away. He shakes his head ` no.' LUKE Someone put mushrooms in my mushroom sauce. SYDNEY I tested your hair. LUKE You're like some whack job. Get the hell away from me. Luke moves off, sloshing beer. Sydney sighs. SYDNEY Denial, denial, denial. Always the first step. Keep him away from that girl. KEENAN What're you talkin' about? SYDNEY Chromosomes. Most people have forty - six : Two X if you're a girl, an X and Y if you're a guy. He's got forty seven : An X, a Y, and a Z. POOL TABLE Janine and Michelle select pool cues. JANINE We've only been together six months. And he's such a guy's guy, everyone's buddy, but, alcoholic parents, six months in `` Juvey.'' MICHELLE Wild past, huh? JANINE I think the only reason he's even alive right now, is okay, partly'cause he's so damn smart, but mostly'cause there's this one person, he knows, absolutely, no matter what, wo n't bale on him. MICHELLE You. JANINE No. He does n't trust me at all. Luke. He's a rock. MICHELLE Yeah? JANINE So, yes, you can trust him. I'm hoping Keenan's the same way.'Cause believe me, I'm not used to rocks, I'm used to pebbles. Michelle LAUGHS. MICHELLE Grains of sand. Luke rejoins them with the pitcher of beer, glancing back toward the bar. Keenan comes too, with a look of concern. JANINE Everything okay? KEENAN Sure. I need a drink. Keenan steals glances at Luke, trying to sort it all out. KEENAN -LRB- CONT'D. -RRB- -LRB- aside to Luke. -RRB- That lady's nuts. Luke nods. AT THE BAR Sydney sits at a bar stool, keeping an eye on Luke and Michelle. Jeremy lays out a cocktail napkin, speaks with a slight Texas drawl. JEREMY Another round? SYDNEY Please. You see that couple over there? I do n't get it. What's he see in her? JEREMY The brunette? You kiddin'? I'd give my left one to be with her. SYDNEY Yeah? So could he. POOL TABLE - LATER Now alone with Michelle, Luke lines up his cue stick, then catches Michelle's admiring eyes. She smiles, glances over at Keenan and Janine, making out by the jukebox. MICHELLE Your friends sorta' like each other, huh? LUKE Super - glue. Thirty seconds together, you ca n't pull'em apart. MICHELLE How'd they meet? LUKE Keenan sold her a bike. I do n't think they've been apart more than six hours since. Luke peers over the corner pocket, and watches Michelle shoot and sink the ball. LUKE -LRB- CONT'D. -RRB- I never thought in a million years you'd go out with me, let alone twice. MICHELLE You're not s ` posed to say that. That's a total pathetic, loser thing to say. But I'm gon na' take it as a huge compliment. MICHELLE -LRB- CONT'D. -RRB- Okay, two word answers only. Why'd you ask me out in the first place? LUKE Beautiful. Unpretentious. Why'd you say ` yes?' MICHELLE Gentle. Luke sneers, not his favorite compliment. MICHELLE -LRB- CONT'D. -RRB- Hot. Deep. Three words. He smiles. LUKE Okay, two words. What're you most passionate about? MICHELLE Friendship. Trust. You? LUKE Hockey. Hockey. MICHELLE So much for `` deep.'' They LAUGH. LUKE You. The electricity between them charges the air. Luke maneuvers himself closer. LUKE -LRB- CONT'D. -RRB- Okay, I'm gon na' take a wild shot. Ricochet off the back, over here, then straight into that side pocket. What are my chances? MICHELLE Point zero zero zero one. Luke takes his shot,. and KISSES HER. The ball ricochets off the back, across the table, and sinks in the pocket at the side. AT THE BAR Jeremy looks on, aroused. Sydney squints, dismayed, barely able to watch. JEREMY Damn. Will you look at that tonsil hockey? SYDNEY I'd prefer not. This could get bad. JEREMY You've been staring at him all night. You got a thing for him, or what? SYDNEY Actually, I'm hoping he's got one for me. POOL TABLE Keenan and Janine rejoin Luke and Michelle, all four elated. KEENAN Looks like you two are gettin' on okay. Should we rack up another game? MICHELLE Definitely! I'd like to get good at this pool thing. Luke racks up the balls as Michelle lines up the cue. MICHELLE -LRB- CONT'D. -RRB- Okay, I'm gon na' break this wide open! LUKE Go for it! Before Keenan has lifted the wooden triangle rack, Michelle HAMMERS the cue ball. It CRACKS off the rack, ROCKETS off the table,. and CANNONBALLS Luke in the CROTCH. Keenan, Michelle, and Janine ALL GASP. They CRINGE, poised, waiting for Luke to react. MICHELLE God. Sorry. Luke picks the cue ball up off the floor and sets it on the table. He sees them watching him. LUKE What? KEENAN Man, I'd be on the floor cryin' like a baby. LUKE No, I'm all right. Surprised, they return to the game. Michelle lines up the cue ball again, as Luke considers,. with a slow - dawning realization that something, somehow, just is n't right. He casually touches his hand to his pants. He pales slightly. LUKE -LRB- CONT'D. -RRB- Would you excuse me a sec'? He looks to Keenan for help. AT THE BAR Sydney watches as Keenan and Luke cross the hall toward the back. She flags Jeremy. SYDNEY Jeremy! Bourbon. Fast! -LRB- a glance at Luke. -RRB- Better give me the whole bottle. OUTSIDE MEN'S ROOM Luke tries the men's room door, locked. KEENAN In here. Keenan opens another door that leads them into a store room. Luke follows, with a look of concern. INSIDE STORE ROOM KEENAN -LRB- CONT'D. -RRB- I mean, it was like a precision - guided missile. Luke unzips and gently digs in his trousers. He looks down, SHUDDERS,. LUKE Uh - ah - Luke's face CONTORTS, terrified. KEENAN I'll get some ice. Luke shakes his head `` no,'' points toward his crotch, GASPS, barely able to make a sound. LUKE It's -! Look! Keenan gives him a look, repelled, perplexed. KEENAN What? then takes a look,. His EYES GET HUGE. KEENAN -LRB- CONT'D. -RRB- DUDE! Sydney BURSTS in with the bottle of bourbon. SYDNEY I was afraid a' this! -LRB- to Keenan. -RRB- Make sure no one gets in! SYDNEY -LRB- CONT'D. -RRB- -LRB- to Luke. -RRB- Now, will you listen to me?! Luke, slack - jawed, keeps checking himself. Each time the horror of it grows more intense. LUKE Oh, GOD! Sydney uncaps the bourbon and drops capsules in from a prescription bottle. SYDNEY It's gon na' come back. Drink this! LUKE What're you givin' me?! SYDNEY Valium. Flexeril. And a shitload of Darvon. You got ta' calm down. LUKE `` Caaalm Down?!'' SYDNEY Here we go. He and Sydney have to yell to hear over Luke's escalating MANTRA. LUKE `` CAAALM DOWN?!'' KEENAN What's wrong with him?! SYDNEY He's a Zerophiliac. KEENAN A what?! I'm gettin' a doctor! This is n't right! Sydney GRABS Keenan, SHOVES him against the wall. SYDNEY I am a doctor! You breathe one word, anyone else sees him like this, and he's fucked! Pictures all over the net, tabloids, television! LUKE TELE - VISION?! SYDNEY No! We're gon na' get it back! -LRB- to Keenan. -RRB- You let me help him, he gets a normal body, lives a normal life. Now, you his friend or not?! Keenan nods that ` yes, he is.' Sydney releases him. SYDNEY -LRB- CONT'D. -RRB- Hang onto him. So he does n't get hurt when he passes out. KEENAN Now just wait a sec'? Is it CONTAGIOUS?! SYDNEY There are no recorded incidents of transmission from physical contact. KEENAN `` Recorded incidents?!'' LUKE Oh, PLEASE God! What did I DO WRONG?! SYDNEY Nothing. You're a Z. KEENAN `` RECORDED INCIDENTS?!'' Oh my God, I used his deodorant! SYDNEY Oh, will you calm down? KEENAN `` C A L M D O W N?!'' LUKE `` C A L M D O W N?!'' Luke's eyes glaze over. He weaves, losing his balance. SYDNEY Finally. Sydney helps Luke FLOP DOWN on the floor. He passes out. SYDNEY -LRB- CONT'D. -RRB- He'll be alright. He did n't go all the way. When you fall asleep or pass out, a Z almost always reverts back. It's called a Nocturnal Remission. Keenan approaches Luke, then steps back. SYDNEY -LRB- CONT'D. -RRB- Oh, relax, it's not contagious. Keenan grabs the bourbon - Darvon concoction from Sydney, wipes the rim of the bottle just in case, then takes a big swig.",
"INT. SYDNEY'S BED & BREAKFAST - LATE NIGHT On a corner table sits high - tech laboratory equipment. Keenan and Luke gulp beers, still in shock. Luke keeps one hand down his pants for reassurance. SYDNEY In the world? A hundred. A thousand. There's no way to know. It does n't show up in any normal DNA test. It's triggered when you first have sex. LUKE The woman in the RV! KEENAN -LRB- dark. -RRB- From Utah. SYDNEY Now, you're Morphescent whenever you're aroused. KEENAN You tellin' me this is gon na' happen any time he gets the hots for a girl? Keenan looks over at Luke. KEENAN -LRB- CONT'D. -RRB- Man, this could be a problem. LUKE Is there a cure? SYDNEY It's not a disease! But there are steps you can take. LUKE Well, what are they? SYDNEY Take it easy. You ca n't rush this. Before anything, you need to try going all the way. KEENAN `` All the way?'' SYDNEY You need to turn all the way into a female. LUKE You out of your mind?! SYDNEY You have to give it a try. KEENAN Maybe we should get a second opinion. LUKE Yeah, may be!'Cause you can FORGET THAT! SYDNEY Fine, but I warn you, they've never seen this before. First, they'll try a barrage of antipsychotic medications, surgery, electroshock therapy, - god knows what. KEENAN If he were to try goin' all the way, then what? Luke glares at him. KEENAN -LRB- CONT'D. -RRB- I'm just askin'. LUKE It ai n't gon na' happen! SYDNEY Oh, for Chris' sake! I'm trying to help you. That Z chromosome's not latent anymore! You do n't get control a' that thing, you do n't know when it's going to kick in, what it's gon na' do! You want to end up with three left breasts, behemoth hips and one testicle?! Luke and Keenan swallow, wide - eyed at the prospect. Sydney calms herself down. SYDNEY -LRB- CONT'D. -RRB- Now, there's no reason for that to happen. Sorry. You're not the only one who did n't get any sleep. Now, are you going to let me help, or not? KEENAN How would he even do that? Go all the way, I mean? SYDNEY He's a Z. -LRB- to Luke. -RRB- You become Morphescent when you get turned on. You can change all the way when you have an orgasm. LUKE With who? SYDNEY I'm available. LUKE No way! SYDNEY Well, excuse me. Truth is, at this stage, you do n't really need anyone else. LUKE Huh? Sydney wearily sips a highball. She looks to Keenan for help. Keenan flashes the international sign for jacking off. LUKE -LRB- CONT'D. -RRB- Oh. SYDNEY It's a lot to absorb, I know. When you're ready, give me a call. Your first time, you should n't be alone.",
"EXT. CEMETERY - DAWN A deserted, hilltop cemetery. Luke sits on the manicured lawn, across from a gravestone with vestigial images of brightly colored smiley - faces and fish. LUKE Michelle. And I really like her, dad. But,. He bounces a soccer ball against the headstone. LUKE -LRB- CONT'D. -RRB- You know, I always thought your dying was the worst thing that ever happened to me, and that happened more to you than it did to me. I mean, a lot more, really. Luke paces nervously. LUKE -LRB- CONT'D. -RRB- Look, every day I wish you were around, but I swear, if I tell you this, you damn well better stay dead! He glances at a burial ceremony, half - mile away. LUKE -LRB- CONT'D. -RRB- And I swear to God I'm gon na' beat this thing. No matter what it takes. Before I tell you, I just want to make sure you know that, okay? A hushed voice. LUKE -LRB- CONT'D. -RRB- I think I might be a Zerophiliac.",
"EXT. LUMBER MILL Keenan and Luke spar on roller blades, hockey sticks in hand. Luke WHACKS the hockey puck with such intensity, it may land on Mars. LUKE I'm not doin' it. I do n't care what she says! I can control this thing. KEENAN How? LUKE I did n't know what was goin' on before. I do now, so, it's not gon na' be a problem. I just need to stay focused! KEENAN You mean, keep yourself from getting turned on? How're you gon na' do that? You get turned on by two scoops of ice cream. Luke glares at him. KEENAN -LRB- CONT'D. -RRB- I'm just sayin'. I mean, you think Larissa, the horse - faced girl's got her good points. Michelle and Janine ride up on their bikes. JANINE I knew we'd find'em here. MICHELLE We just wanted to know if you're alright. After last night. LUKE Yeah. I'm fine. Thanks. Perfect. MICHELLE Good. -LRB- slightly suggestive. -RRB- Good. Luke smiles, his face REDDENS. MICHELLE -LRB- CONT'D. -RRB- I had a really good. LUKE Me too. Luke smiles, nods, followed by a look of PANIC. LUKE -LRB- CONT'D. -RRB- Will you excuse me a sec'? He ducks away. JANINE What is goin' on?! KEENAN We just need to be alone. We got a big game tomorrow. Sometimes guys just need to hang with the guys, you know? No distractions? Janine gives him a look of `` What the hell are you talkin' about?'' Keenan stares back, PLEADING. Janine relents, despite herself. JANINE C'mon, Michelle. Let the boys play with their pucks. BEHIND STACKS OF LUMBER Luke leans against the logs, wipes sweat from his brow, and realizes. SOMETHING'S HAPPENING AGAIN. Panicked, he grabs his crotch, feels it, Everything's normal. Or is it? He frantically unbuttons his shirt and peers inside,. He slumps back against the logs, WAVES OF RELIEF.",
"INT. LUKE'S HOUSE - DAY Luke storms through the house, trying to evade Janine, who enthusiastically follows. Keenan traipses after. LUKE You TOLD HER?! KEENAN I had to. You know Janine. She knew somethin' was up. JANINE I've read about this kinda' thing, but I did n't think it was real. It's so cool! LUKE It's disgusting! JANINE How can you say that? If I had a chance to be a guy for a day, I'd jump at it. Seriously, Keen, would n't you want to get inside a girl's body? Realizing she just handed him the perfect straight line. JANINE -LRB- CONT'D. -RRB- Do n't EVEN go there! -LRB- rolling her eyes. -RRB- Fine. You're boys. Still, is n't it every guy's dream to have a pair of boobs to play with anytime he wants? LUKE Not my own! -LRB- to Keenan. -RRB- Man, how could you tell her?! KEENAN She should be here. It's just weird, two guys alone, one turnin' into a girl. JANINE Yeah, I ca n't wait. Not exactly something you get to see every day. LUKE Forget it! JANINE What, HE gets to, and I do n't! LUKE No one gets to! Luke goes in the bedroom, SLAMS the door. Keenan and Janine take up residence outside. Janine tries to peek through the keyhole, beneath the door. JANINE Should we put on some soft music? KEENAN You want a magazine in there? LUKE -LRB- O.S. -RRB- Shut up! LATER Janine keeps an ear held close against the door. KEENAN How ` bout a couple beers? JANINE Maybe you want to take a bath? LUKE -LRB- O.S. -RRB- Will you PLEASE shut up?! JANINE Does he sound different? KEENAN Think so. LUKE -LRB- O.S. -RRB- Oh God! -LRB- lewd. -RRB- Oh, my God! -LRB- rising in pitch. -RRB- Oh my GAWD! Keenan and Janine exchange a worried look. INSIDE THE BEDROOM Now approaching the mirror, in awe,. gently raising a hand to touch the exquisite FEMALE FACE reflected there, stands a real female, an absolutely FEMALE LUKE. OUTSIDE THE DOOR Janine knocks. JANINE Luke? You alright? The door opens, revealing Female Luke, wrapped in a sheet. Keenan clutches Janine. They STARE, AT A TOTAL LOSS, INCREDULOUS. KEENAN Whoa. JANINE Dude. Female Luke speaks, with an unmistakably female voice. FEMALE LUKE Happened fast, huh? JANINE Can we see? Female Luke hesitates. KEENAN Come on. It's not like I have n't seen you naked a hundred times. And she's a girl! Female Luke shyly parts the sheet, revealing her stunning naked torso. KEENAN -LRB- CONT'D. -RRB- Whoa. JANINE Dude. -LRB- exasperated. -RRB- Of course they're perfect. I could n't have tits like that? Female Luke checks herself out in the mirror. FEMALE LUKE Oh, God. Look at me. Keenan and Janine sit on the edge of the bed, in shock. FEMALE LUKE -LRB- CONT'D. -RRB- What's the matter? Keenan, afraid to answer, looks to Janine. They both have the same reaction. JANINE You're really hot. Victoria's Secret hot. KEENAN Sports Illustrated Swimsuit edition. JANINE Latvian Lesbians' Hidden Camera Chronicles. -LRB- to Keenan. -RRB- Do n't look at me, - it's your tape. Keenan keeps his distance from Luke, embarrassed, if turned on. KEENAN Look, I just wan na' get one thing straight. No way I'm gon na' sleep with you. FEMALE LUKE Man, even as a joke, that's just SICK! JANINE I will. I'm definitely not into the butch hair thing, though. You got ta' do something about that. Keenan looks at her shocked. JANINE -LRB- CONT'D. -RRB- I thought you're into watchin' two girls? Keenan's speechless. Female Luke ca n't stop gazing at herself in the mirror. FEMALE LUKE This is too weird. This is freaking me out. KEENAN Should we call Dr. Catchadourian? FEMALE LUKE What for? I did it. Now, I can switch back. Get outta' here. JANINE Already? KEENAN Yeah, okay, yeah. JANINE Will you stop starin'?! Janine rolls her eyes, as she and Keenan back out of the room, their eyes locked on her amazing body. OUTSIDE BEDROOM - LATER Janine and Keenan are sprawled on the nearby couch. Luca opens the door. FEMALE LUKE Janine? It's like I ca n't get in the right mood or something. JANINE Welcome to my world. Oh, honey, no one could in this situation. FEMALE LUKE You got ta' help. I need to do this right now! JANINE You ca n't force these things. KEENAN Some girls go half their lives before they even have one. JANINE Okay, Studly, what do you suggest? KEENAN She likes it when I tell her stuff. JANINE Like what? KEENAN `` You're so beautiful,'' `` I love your smile,'' `` The English Patient was my favorite movie too.'' Janine and Female Luke both roll their eyes. Female Luke swings the door shut. The DOORBELL CHIMES. FEMALE LUKE -LRB- O.S. -RRB- Who's that?! KEENAN Pizza! Figured you'll want some after. FRONT DOOR Janine throws it open, Max stands outside. MAX Hey. JANINE Can I help you? MAX I was lookin' for Luke. KEENAN Hey, man. He's not around right now. What's up? Female Luke comes out of the bedroom, wrapped in a sheet. FEMALE LUKE Thank God. I'm starving! She stops in her tracks, stares at Max. Max stares back, intrigued. MAX How ya' doin'? Female Luke nods ` okay.' MAX -LRB- CONT'D. -RRB- I'm Max. You live here too? Janine, Keenan, and Female Luke are momentarily speechless. JANINE No. She's just visiting. KEENAN She's Luke's cousin. JANINE Luca. Keenan and Luca GLARE at Janine. Max gazes at Luca, spellbound. MAX I always thought `` Luca'' was a guy's name? Italian or something. Luca wraps herself more tightly in the sheet. LUCA I'm part Italian. MAX Cool. I'm part Italian too. The important part. -LRB- perfect Italian. -RRB- Lei sono una bella donna. Amerei per mostrarlo il che inclinando torre di pisa. LUCA What's that mean? His eyes fixed on Luca, he smiles. MAX You in town for a while? JANINE No, just a few weeks. LUCA ` Weeks?!' KEENAN Days. LUCA I'm leaving today! Now! KEENAN Is there anything you want me to tell Luke? Max gets fluid, scanning the room for a toehold, infatuated by Luca. He seizes on a hockey stick. MAX I'm way into hockey. I was hopin' Luke could show me the ropes. Is he as awesome as I've heard? LUCA Yeah. He's alright. MAX Do you play? LUCA Uh, I do n't know. JANINE She's got ta' pack. You need to go. MAX Really nice meeting you. Janine ushers Max out the door and shuts it on him. Luca ducks into the bedroom, shuts the door. INSIDE BEDROOM Luca at the window, peers out between the curtains, watching, as Max walks away. OUTSIDE THE HOUSE As Max gets to the end of the driveway, he stops and turns back, sporting a charming smile. INSIDE THE BEDROOM Luca jumps away from the window, smacking into Janine. JANINE Are you okay? Luca just stares back at her, nonplussed. JANINE -LRB- CONT'D. -RRB- What is it? What's the matter? -LRB- beginning to get it. -RRB- Oh. LUCA `` Oh'' what? What do you mean, `` oh?'' JANINE -LRB- shrugs. -RRB- He's a hunk. LUCA I got to switch back. Right now! JANINE What's the big deal? LUCA Get out of here! Just GET OUT! JANINE Okay, okay. OUTSIDE BEDROOM Janine emerges from the bedroom to join Keenan. He looks up at her, questioning. KEENAN What's goin' on? JANINE It's a girl thing. KEENAN Does he need any help in there? JANINE Not from you. OUTSIDE BEDROOM DOOR - LATER Keenan and Janine sprawled out, leaning against the door, half - eaten pizza between them on the floor, WEARY. BUZZING emanates from inside the bedroom. LUCA -LRB- O.S. -RRB- This is good! Keenan and Janine PERK UP. KEENAN Finally. JANINE Alright, okay, now open those little levers on the sides,. and flip that center thingy back. Keenan finds this particularly unsettling. LUCA -LRB- O.S. -RRB- -LRB- enthused. -RRB- Did you get this thing at the mall? JANINE No. KEENAN Janine would n't have one a' those. JANINE Please. And mine's got way more features than that one. -LRB- Keenan's crotch. -RRB- Or that one. Keenan gives her the evil eye. LUCA -LRB- O.S. -RRB- So, where'd you get it? JANINE It was Larissa's. My roommate. Inside the bedroom, the BUZZING STOPS. LUCA -LRB- O.S. -RRB- GROSSS! OUTSIDE DOOR Keenan grabs the last bottle from his six - pack. KEENAN I'm just sayin', he's not that experienced with girls. JANINE Oh, and you are? KEENAN I'm startin' to wonder if you are? JANINE I'm not gon na' feed your fantasies. Keenan flips the TV remote, disturbed. INSIDE THE BEDROOM Luca sits on the edge of the bed, frustrated. JANINE -LRB- O.S. ; CONT'D. -RRB- Luca? LUCA Do n't call me that! JANINE -LRB- O.S. -RRB- You got ta' just think about whatever turns you on. No matter what it is. Luca considers, she goes over to the window, peers out momentarily, then draws back. OUTSIDE THE BEDROOM Janine lies down on the floor. JANINE -LRB- CONT'D. -RRB- -LRB- last ditch. -RRB- Okay, pretend you're thrown on your back, pinned against the bed. Spread eagle, eyes closed, she fantasizes, as she directs. JANINE -LRB- CONT'D. -RRB- You ca n't move an arm, a leg, nothing, even an inch! Keenan glances over, taken aback at her tone. JANINE -LRB- CONT'D. -RRB- And two strong hands feel your thighs,. Keenan watches, getting turned on. JANINE -LRB- CONT'D. -RRB- creeping firmly, slowly toward your breasts. Keenan lunges for Janine. JANINE -LRB- CONT'D. -RRB- Keen! KEENAN Babe, every time I look at you, I get the shivers! I just want to rip your clothes off, and throw you down. JANINE Oh, Keen! They're kissing, ROLLING AROUND TOGETHER now,. KEENAN I want to envelop every inch of you, that incredible curve along your side,. They roll on the floor, clothes torn. KEENAN -LRB- CONT'D. -RRB- I want to pin your arms over your head, and make mad, passionate. LUCA -LRB- O.S. -RRB- AAAHHH! Keenan and Janine RECOIL. Whether agony or ecstasy, it's a frightening sound. The door opens. Luke stands in his shorts, ALL MALE. JANINE You're a screamer.",
"EXT. LANGFORD STATUARY SUPPLY - NIGHT Sydney makes her way through a barbed - wire fence, past a `` No Trespassing'' sign. A lone DOG HOWLS in the distance. Life - size replicas of Greek Gods, Venus and David, all face one way in the mist. Their cold stone bodies press up against each other ; nude, indifferent. A figure peers out between the statues in a long black coat, a baseball cap over his eyes : Luke. SYDNEY What are we doing here? LUKE Did n't want anyone around. So, I did what you said. SYDNEY Amazing, huh? LUKE Weird. Awful. SYDNEY Hmm. Was it difficult making the switch? LUKE No. It was hard gettin' back. I need an owner's manual. Sydney smiles, nods in agreement. SYDNEY A lot of guys could use one of those. LUKE So, what now? Do I take pills or something? SYDNEY No, it does n't work like that. This may sound odd, but I need to know if you're attracted to me. LUKE What? No. SYDNEY Hmm. You're not gay, are you? LUKE NO! Jeez! I'm just not attracted to you like that. SYDNEY Okay, calm down. This could be a problem. Right now, you can go either way anytime you want. It's a very special and critical time for a Z, something you'll experience only once in life. LUKE Good. SYDNEY You need to use this incredible opportunity you've been given, to figure out which you're supposed to be : male or female. LUKE What? SYDNEY Do n't you see? You get to choose. LUKE I do n't want to choose. I want to be a guy. SYDNEY Yes, well, the thing is, sometimes your desires can conflict with your desires. It's important to know for sure. LUKE Believe me, I know. SYDNEY I think you need to try again. LUKE No way! SYDNEY Why're you so resistant? If the truth is, you want to be a guy, great, but if not. LUKE Do n't even say that! SYDNEY Well, clearly some part of you feels differently. You could n't change if you did n't want to. LUKE What?! That's crap! SYDNEY That's the thing about the truth. It'll set you free, but first it can really piss you off. Sydney moves to leave. LUKE This is nuts! I'm supposed to be a guy! SYDNEY Then what's the problem? You are one. Sydney turns to leave. LUKE You're not gon na' help?! SYDNEY I will, the moment you're ready to try again. You can come back to my place right now if you want. LUKE Forget it!",
"EXT. LUMBER MILL - DAY Bikes and SUV's outside the shut down mill. Abandoned timber surrounds an asphalt clearing. Luke, Keenan, Chad, Jeremy, and OTHER GUYS in the midst of a friendly, if brutal roller hockey game. Luke glances over and spots Max high up on a pile of logs, cheering them on. Jeremy passes the puck off to Luke who drives it MANIACALLY to score the winning GOAL. The Guys CHEER. CHAD Well, ai n't we a basket a' biscuits? JEREMY Yeah, Luke, what got into you today? LUKE The Force. AFTER THE GAME The guys gather up their belongings near the cars. Luke sits on the running board of his truck, unlacing his skates. Max comes over. MAX Hey. Good game. LUKE Yeah. MAX I dropped by your place. Any chance you could give me a few pointers. LUKE Me? MAX You're awesome out there. And according to my sister, you walk on water. Luke grunts, a smile. MAX -LRB- CONT'D. -RRB- Truth is, I uh, met your cousin. Luca. LUKE Oh. Yeah? MAX You both have practically the same name? LUKE We were both named after our Uncle. Locasto. MAX Well, she's cool. Actually, she's hot. I was hopin' maybe you could hook me up. LUKE Huh? No. Not a chance. MAX Boyfriend? LUKE No! She just would n't be interested! MAX She a Lesbian? LUKE No! Of course not. Jesus! She's, - my cousin! MAX Yeah, okay. So? Michelle's my sister. You gon na' tell me you would n't like to do her?! LUKE FUCK YOU, man! Luke SHOVES Max, who SHOVES him right back. MAX What is your deal?! LUKE You ASSHOLE! Luke lunges for him. They go at it, wrestling FIERCELY. Max gets the upper hand, and pins Luke down to the ground. Luke surges with RAGE, breaks free. Grit teeth, ripped clothes, they roll on top of each other, two rabid pitbulls. Keenan and the Other Guys rush in, pulling them apart. MAX Keep the fuck away from me! And Michelle too! LUKE You can fuck off! CHAD What the hell's goin' on?! KEENAN -LRB- to the guys. -RRB- Luke's datin' his sister. VARIOUS GUYS -LRB- recognition. -RRB- Aaaah! LUKE Oh, you can all fuck off! Luke breaks free of the guys, and moves off.",
"INT. POLLY WOG'S POOL HALL - DAWN Sydney stands at the bar with a cup of coffee, chatting with Jeremy. JEREMY This shirt? I've had it for years. SYDNEY Well, it's very sexy. I love men's clothes. What else have you got in your closet? Jeremy smiles, unsure what she means. When Polly approaches, her eyes a little red, Jeremy pulls her aside. JEREMY Polly, are you alright? Did n't mean to walk in on you. POLLY Oh, hon. I'm fine, thanks. Love, tears. That's the trade - off. She puts a hand to his cheek, reassuring. Jeremy ducks behind the bar. SYDNEY My God, he's gorgeous. POLLY Yes, he's a Michelangelo. And the sweetest boy in the world. Sorry, darling, I'm afraid you'll find he's not your type. SYDNEY Oh, we'll see about that. POLLY I think he may prefer men. SYDNEY I certainly hope so. Keenan and Janine enter. SYDNEY -LRB- CONT'D. -RRB- You two better have a seat. JANINE Is Luke alright? SYDNEY He should have full control over this now. Something must be really confusing him. The only thing I can think of. KEENAN What? SYDNEY When he became Luca, was he attracted to one of you? You can get really thrown by that. Janine? JANINE No. Not me. KEENAN Well, he sure as hell was n't attracted to me. JANINE No. Definitely not. SYDNEY Was n't it just the two of you? JANINE Not exactly. Janine glances to Keenan, as his eyes GO WIDE, grossed out. KEENAN Oh, give me a break! No way! Max?! They just had a huge fight. He tried to beat the crap out of him! Janine and Sydney exchange a knowing look. KEENAN -LRB- CONT'D. -RRB- Oh, Christ, Luke's not queer! He was just turnin' into a girl! JANINE Exactly. He was a girl. KEENAN Oh! This is just wrong. JANINE Would you rather she was attracted to me? KEENAN Would you?! JANINE Maybe I would! SYDNEY Whoa! HANG ON! Right now, Luke needs your help. He needs to know you're behind him, no matter what he wants. Janine nods. JANINE So, what's all this mean? SYDNEY Bottom line? Maybe Luca really likes this boy, - enough to want to be female. JANINE -LRB- to Keenan. -RRB- Do n't sneer! KEENAN Oh, come on! I know the guy. We've done all kinds a' shit together : Hoops, hockey! JANINE Oh, and girls ca n't play sports?! KEENAN Oh, - whatever! Christ, Janine! Why the hell would he want to be a girl?! JANINE That's so hard to imagine?! KEENAN Uh, - YEAH! SYDNEY HEY! LISTEN UP! I know what I'm talking about. You see this? Sydney pulls out a SNAPSHOT, shows it to Janine. JANINE Who's he? An Ex? Oh, my God. SYDNEY Ex me. KEENAN You're one too? You're a Z? You're a guy?! SYDNEY Was. I made a terrible mistake. She and Keenan keep staring at the photo. SYDNEY -LRB- CONT'D. -RRB- And once you finally figure out who you are, it's a horrible thing not being yourself. That's why it's crucial we help Luke. Janine nods, grasping the significance. Keenan keeps looking from the photo to Sydney and back again. KEENAN You musta' worked out.",
"EXT. CAMPUS - OUTSIDE DORM Luke sits, waiting on the steps of a campus dormitory. Janine approaches, grinning, carrying a box tied with a bow. Keenan trails behind, straddling his bike. LUKE What's this all about? Janine hands him the box. Keenan sneers, cringes. JANINE It's just a little something we thought you might want. Luke opens it, pulls out a BLUE DRESS. LUKE What the hell is this for? KEENAN -LRB- elated. -RRB- I told her. -LRB- to Janine. -RRB- I told ya'. What a stupid ass idea! JANINE Keen! Do n't! We just want you to know, whatever you decide, it's all right with us. LUKE Decide?! WHAT?! No, it's not! Get this thing away from me! JUDAS PRIEST! Luke HURLS the box out to the curb. Keenan gives him a thumbs up! KEENAN Sorry, man. Think she wishes everyone was female. JANINE What's that s ` posed to mean? KEENAN Oh, Christ, Janine! It means he does n't want to be girl! Like he'd have to think about THAT! JANINE There happen to be millions of us out there that like being female! LUKE Well, bully for YOU! Janine walks over to pick up the box. JANINE NO! I want to know! Just exactly what's wrong with being a girl?! LUKE Nothin'! It's great! It's fuckin' PHENOMENAL, if you happen to BE one! JANINE Maybe we should've had this conversation the other afternoon?! LUKE That was n't my choice! JANINE I sure as hell did n't make you do it! KEENAN Janine, will you just let me talk to him for a sec'? JANINE Oh, what?! It's a ` GUY THING?!' Give me a fuckin' break! Janine storms off with the box. KEENAN Sorry, man. She talked me into it. You know Janine. Keenan picks up his bike, gets on. KEENAN -LRB- CONT'D. -RRB- Look, uh,. you do like bein' a dude, right? LUKE Asshole! Keenan GRINS, rides off. KEENAN -LRB- calling back. -RRB- You should thank me. The one she picked out was PINK! UP THE WALKWAY Luke passes a sidewalk trash can and notices the gift box mangled inside. Glancing around to make sure no one's watching, he pulls the dress out, brushes off some dirt. He shoves it back in the trash, stares at it.",
"INT. MINI-MART - NIGHT Luke kneels on the floor, stocking candy shelves. The CHIME BINGS. He peers over the aisle, looks around, no one in sight. Michelle appears by the soda dispenser, wary of him. MICHELLE Hi. LUKE Hey. How are you? MICHELLE I'm okay. You? As they talk, Michelle maneuvers to get closer. Luke maneuvers to keep his distance. LUKE Okay. You look really nice. MICHELLE Thanks. I was hopin' you might call. LUKE I was going to. MICHELLE There's something I need to talk to you about. - But did I do something wrong? LUKE No. Nothin' like that. There's just some stuff I've got to sort out. MICHELLE Like what? They gaze at each other across the magazine rack, a mountain range of silence between them,. MICHELLE -LRB- CONT'D. -RRB- There's nothing you ca n't tell me. LUKE Me too. What did you want to talk to me about? They stand silent, beneath the hum of fluorescent lights. MICHELLE Nothing really. So, heard you and Max really got into it? LUKE Yeah. I kind a' lost it. MICHELLE He knows how to push buttons, huh? What exactly did he say that got you so pissed off? LUKE I do n't know. We'd just finished a game. I was all revved up. MICHELLE He's actually a really nice guy. LUKE Not sure he's too crazy about me seein' his sister. MICHELLE Did he scare you off? LUKE No, he does n't `` scare'' me. What, his struttin' around, thinkin' he's such a bad ass, with his shirt hangin' open half the time? Luke's surprised and embarrassed by his own words. Michelle steps away, confused. MICHELLE It's just an act. He likes pretending he's Joe Cool. Always says you got ta' just be whatever you want, and fuck'em if they ca n't take a joke. LUKE Well, he's a joke alright. MICHELLE Look, I'm not sure this is gon na' work out. LUKE I'm sorry, I did n't mean - MICHELLE No. I ca n't do this. I'm not sure you even know who you are. Much less who I am. Have you ever even had a girlfriend? LUKE What's that supposed to mean?! MICHELLE Well, if you think my brother's such a `` joke,'' how much better could you think of me? We're not that different, you know? LUKE You're totally different. He's a guy, for one. MICHELLE And he's my best friend. If you do n't like him, you ca n't like me. She exits. MINI - MART - LATER Luke kneels in the aisle, stocking shelves, distracted, fidgety, distressed. He glances up at the magazine rack. A Female Fitness magazine catches his attention. The BEAUTIFUL COVER model seems to MOVE. He stares at it : no movement. Luke approaches the rack, and flips over the magazine cover. As he steps away, he glances back at the rack, CELEBRITY MAGAZINE COVER The ADONIS on the cover comes to life. He rips off his shirt as he moves off one magazine cover and into another, where he passionately kisses the BIKINI - CLAD COVER MODEL. MAGAZINE RACK THE MODELS AND OTHERS on half a dozen covers begin stripping down, moving to other magazines and making out with each other all across the rack. OUTSIDE THE MINI - MART The windows glow among the dark trees. Inside, Luke rips up covers, HURLING magazine after magazine across the floor. INSIDE BATHROOM - LATE NIGHT Michelle leans against the shower wall, staring at the spray of water, upset. Steam rises, filling the bathroom. She begins SINGING, longingly,. MICHELLE `` I wan na know how to go To the inside of love. I ca n't find my way through.'' Washing herself, behind the shower curtain, the timbre of her singing voice mysteriously shifts. As her hand turns the shower faucet, it changes. MICHELLE -LRB- CONT'D. -RRB- `` I'm outside of love, To the side or above, I ca n't find my way with you'' A glimpse of her shoulder behind the shower curtain, grows more muscular, and her voice begins LOWERING IN PITCH,. as MICHELLE BECOMES MAX. MAX `` Must be a special view, Finding a me with a you, On the inside of love.'' Max steps out of the shower, and towels off in the mirror.",
"INT. ORLANDO'S BED & BREAKFAST - NIGHT A persistent KNOCK on the door. Sydney pulls on a robe over a pair of men's boxers, wiping sleep from her eyes. She swings the door open. Luke stands outside in POURING RAIN. SYDNEY Oh, honey. Come in. BY THE FIREPLACE Sydney pours hot tea. LUKE You're one too. Why did n't you tell me? SYDNEY I did n't want to confuse the issue. LUKE So, it's true what you said? You really know. I would n't change unless I wanted to? SYDNEY Maybe some part of you. LUKE What part? How much of me? I mean, for it to work? Half? More than half? What if it was only a tiny bit, - a thought? SYDNEY I do n't know. But I believe there may be thousands of Z's out there, millions for all we know, go their whole lives without even knowing they are one. Nothing ever happens. You could n't keep it from happening. LUKE I love being with Michelle. How come I ca n't control it when she's around? SYDNEY I think whatever part of yourself you deny, just gets bigger and bigger until it takes you over. Luke nods sadly. LUKE You think I do n't really want to be a man. SYDNEY I think for some, making it stop is more important than knowing who you are. It was for me. LUKE Maybe for me too. SYDNEY Right now, you're Morphescent. The key is to have sex with another Z. You become Adulmorphic. Your gender locks. You ca n't just change anytime you want. LUKE Another Z? SYDNEY That's why I came all the way out here. LUKE And why you keep tryin' to get me in the sack? SYDNEY Thought maybe I could save you some distress. But you say you're not attracted to me. For it to work, both of us have to be into it. LUKE That wo n't be a problem. SYDNEY Okay then. LUKE Tonight. SYDNEY Not right now? Okay. Tonight.",
"EXT CEMETERY - MORNING Morning dew. Acres of empty grass. Luke sits at the top of a hill by his dad's grave. LUKE Remember that Christmas when Keen and me accidentally set the Scofields' house on fire? He stares up at the sky. LUKE -LRB- CONT'D. -RRB- And that burning shingle drifted over and lit up the Robertson's place? The whole town was ready to lynch us, and we snuck back home. Two AM, you were up drinkin' coffee,. He tugs out hunks of grass. LUKE -LRB- CONT'D. -RRB- I thought you were gon na' kill us. But you just looked me right in the eye, and said, `` Son, there's leftover pizza in the fridge.'' A tear rims his eye. LUKE -LRB- CONT'D. -RRB- That was the coolest thing anyone ever said. Dad, I'm in such trouble. LUKE -LRB- CONT'D. -RRB- I feel like if I let this thing in, it's all over. But I do n't know what else to do. Guess you ca n't figure out who you are, until you accept who you might be.",
"INT. ORLANDO'S BED & BREAKFAST - DAY Department store shopping bags and boxes are strewn across the bed. Sydney checks herself out in the full - length mirror. A man's gray tuxedo jacket over lingerie.",
"INT. LUMBER MILL - DAY The giant work floor of the abandoned mill. Sunlight beams through holes in the roof. Max, on roller blades, practices guiding the hockey puck along the floor. He stops when he notices the figure watching him from outside the giant metal doors : Luca in the blue dress, on roller blades, hockey stick in hand. MAX You're about the last person I expected to see. LUCA I can show you a few moves if you want? MAX Yeah? What the hell. LATER Luca demonstrates hockey technique, expertly guiding a hockey puck through an obstacle course of broken equipment, timber, and sawdust piles. All the while, she dodges Max's attempts to steal the puck. Max finally gets it, which riles Luca. She hip checks Max. They swerve to avoid a pipe, crash - landing on top of each other on a sawdust pile. They bust out LAUGHING. LUCA Not bad. MAX You're better than Luke. LUCA I taught him everything he knows. Luca pulls away from Max, suddenly self - conscious that Max's leg is on top of hers. Awkward from the broken connection, they gaze up at the blue sky through a hole in the roof. MAX I thought you left town? LUCA Had to come back. MAX Good. LUCA Where'd you learn to speak Italian? MAX Just tourist stuff. `` I'll have the spaghetti bolognese.'' `` How much for a room?'' LUCA Have you been? MAX Little Italy. In New York. Someday, though. Want to go with me? Max leans over and KISSES Luca. She responds, tentatively at first, then as she grows more confident,. her face REDDENS, she GASPS. Luca pulls back, self - conscious, confused. She brushes sawdust off her dress, stands. LUCA Look, this was a mistake. MAX Yeah. Of course. I know. Looking up, Luca sees Keenan, staring at them from across the floor, incredulous. Keenan exits out through the giant doors. LUCA Oh, Jesus. MAX Are you and he? LUCA Huh? MAX It's really none of my business. LUCA No! I'm sorry. I should n't've come here. Max stands, brushes off the sawdust. MAX Please do n't say you're `` just visiting.'' That you `` need to leave.'' I'm the one who needs to leave. Max skates off across the giant shop floor.",
"EXT. LUMBER MILL - DUSK The Semi Truck is parked alone in the middle of the asphalt. From inside the cab, the blue dress flips over the rolled down window. ACROSS THE PARKING LOT Keenan leans against a tractor, rolls his eyes, and twists open another beer, which he gulps. AT THE TRUCK Luke hops down from the truck cab wearing Langford U. sweats and a T - shirt. Keenan sits on the running board. KEENAN I mean, what the FUCK is goin' on?! You do wan na' be a girl? You're into guys now? LUKE No! I do n't know exactly. I do n't know. Keenan downs his beer, pensive. He crushes the can and hurls it, SMACKING a garbage can. KEENAN What about Michelle? LUKE I had to be sure. I am now. Come on, it's sort of a Catch - 22. I make out with a girl, I start turning into one. You got ta' admit, it's a little weird, is n't it? Suddenly uncomfortable sitting so close to Luke, Keenan stands. LUKE -LRB- CONT'D. -RRB- Let's get outta' here. You want a ride somewhere? Janine's? KEENAN Why do n't you go see her? Think you're more her type. Keenan picks up his bike. KEENAN -LRB- CONT'D. -RRB- I'll see ya' round, okay? LUKE `` See me around?'' Keenan shrugs. KEENAN Look, I'm gon na' find my own place, okay? This is gettin' too fuckin' weird for me. LUKE I'm goin' to Dr. Catchadourian's tonight. To make this stop. KEENAN I do n't care. I've had it with all this crap. I mean, you gon na' start hittin' on me next? LUKE Yeah, that's right Keenan, you and me : let's do it. Keenan rides off, leaving Luke shell - shocked.",
"INT. SYDNEY'S BED & BREAKFAST - NIGHT Sydney wears a stunning black silk evening gown. Small Greek statues now adorn the room. LUKE I guess I really did need to face it head on in order to see. SYDNEY It was courageous. LUKE Girls, are just, I do n't know. It's a different energy. They're soft and warm, they can make a guy feel complete. SYDNEY And multiple o's. Actually, male Z's have multiple o's too. Been so long I nearly forgot. LUKE Cool. SYDNEY Okay, to be honest, I'm relieved you sorted this out. My conscience would have bothered me for decades if we'd just gone ahead without you being certain. Sydney pops a cork and pours herself and Luke glasses of champagne. A toast. SYDNEY -LRB- CONT'D. -RRB- To womanhood! LUKE To manhood! They drink. LUKE -LRB- CONT'D. -RRB- So, how does this work? SYDNEY We just do it. And,. it just happens. AT THE BED Luke and Sydney begin undressing. SYDNEY Do you like this dress? LUKE Sure. Looks great on you. Man, dresses! Even without everything else, dresses are reason enough right there to stay a guy. Sydney takes this in, considers,. SYDNEY `` Stay a guy?'' Let me get this straight. You did n't decide to be a woman? LUKE No. Of course not. What? Sydney, realizing her mistake, regroups : Plan B. SYDNEY Just testing you. Hold on a moment. There's something I forgot. She retrieves some ROPE. LUKE What's that for? SYDNEY You've never done it with another Z. Trust me, you need to be tied down. LUKE Does it hurt? SYDNEY On the contrary. BEDSIDE TABLE - LATER The alabaster eyes of a small Greek Statue stares blankly in the direction of the CARNAL SOUNDS coming from the bed, OFF SCREEN. SYDNEY -LRB- O.S. -RRB- Just let yourself go completely. LUKE -LRB- O.S. -RRB- Wow, this is intense. SYDNEY -LRB- O.S. -RRB- When two Z's do it, the lateral hypothalamus gets completely overwhelmed,. LUKE -LRB- O.S. -RRB- OH, MAN! SYDNEY -LRB- O.S. -RRB- Cellular fission kicks in, and, well,. you can go Zytusional! LUKE -LRB- O.S. -RRB- Unbelievable! The chiseled eyes of a two - foot Statue of David, blankly stare. LUKE -LRB- O.S. ; CONT'D. -RRB- Oh no. What's happening? Luke's voice begins RISING IN PITCH. HALF-LUCA -LRB- O.S. -RRB- What have you done?! -LRB- Luca. -RRB- NOOOOO! The SOUNDS ESCALATE, growing increasingly more INTENSE, culminating in the extraordinary, never before heard, SOUND OF ZYTUSIONAL CLIMAX. LUCA/LUKE AND SYDNEY -LRB- O.S. -RRB-! Silence. MIRROR - LATER A great - looking, bare - chested guy with Sydney's hair appears in reflection : MALE SYDNEY. Behind him, still strapped to the bed, is now Luca, a GAG in her mouth. Male Sydney carries a phone while fussing with his hair in the mirror. MALE SYDNEY -LRB- into phone. -RRB- I hear you're the best. Yes, it's an emergency! Please. Or I'll have to cut it myself. -LRB- to Luca. -RRB- Now, you look me in the eye, and tell me that was n't the best sex you ever had. Luca MOANS, STRUGGLES VIOLENTLY! MALE SYDNEY -LRB- CONT'D. -RRB- -LRB- into phone. -RRB- Half an hour! YES! THANK you! Male Sydney clicks the phone off. MALE SYDNEY -LRB- CONT'D. -RRB- You can have all my clothes. Oh, and I just bought these incredible Anna Felucci pumps. -LRB- reconsiders. -RRB- Maybe I should keep those. Male Sydney returns to dressing, a ribbed tank beneath a gray Italian tux. MALE SYDNEY -LRB- CONT'D. -RRB- Okay, I was n't completely honest with you, but I never lied either. It stopped. That is what you wanted. You're Adulmorphic now. The only way to switch is to do it with another Z. He gazes at Luca, a pang of guilt. He sits on the bed, speaks softly. MALE SYDNEY -LRB- CONT'D. -RRB- I know you do n't believe me, but this is the right thing for you. Eventually, you'll figure that on your own. But I could tell it was just gon na' take way too long! Luca stares, distraught. MALE SYDNEY -LRB- CONT'D. -RRB- Oh, for Chris' sake. Being a woman does n't make you any less of a man! The entire bed LURCHES back and forth as Luca struggles. Male Sydney winces, pangs of guilt, which turn to anger. MALE SYDNEY -LRB- CONT'D. -RRB- Damnit! I ca n't live my whole LIFE wrong'cause of one stupid mistake! I'm a man! I love havin' this chest, these arms! But most of all,. -LRB- grabs his pant crotch. -RRB- Welcome home, boys! Hang in there, I'm takin' you out for a SPIN! LATER Luca lies alone in the room, bound and gagged on the bed. A KNOCK at the door. Luca MOANS and tries to YELL through her gagged mouth. The KNOCK PERSISTS. SIDE WINDOW The ivy parts and Keenan peers in. His eyes GO WIDE. He pushes the window open a little, whispers. KEENAN What's goin' on? Where is she? Luca MOANS and struggles against the ropes. KEENAN -LRB- CONT'D. -RRB- Whoa. I guess I really did n't think you were gon na' go this way. Okay. Whatever. Keenan sits on the edge of the bed. Luca MOANS trying to get Keenan to remove the gag. KEENAN -LRB- CONT'D. -RRB- Hang on a sec'. Look, I'm sorry about earlier, - what I said. But all this stuff. Janine and I split up. Luca stops struggling, shocked. KEENAN -LRB- CONT'D. -RRB- All I ever did was piss her off. I'm not sure she even wants a guy. And you think I'm so much better with girls than you, and sure I can get laid anytime I want, but truth is, I never even woulda' hit on her if it were n't for watchin' you. Keenan climbs on top of Luca, starts untying her hands, straddling her. KEENAN -LRB- CONT'D. -RRB- The way you just talk to'em about anything, like it was okay. I got ta' get her back, man. With Herculean effort, Keenan struggles to hold back tears. KEENAN -LRB- CONT'D. -RRB- It's like the whole world's blown apart. Ah, shit. Man, you havin' tits now is just weird.",
"EXT. WOODED HIGHWAY The truck THUNDERS along through the trees, head lamps BLAZING, dashboard lights bright. Keenan's at the wheel. LUCA Janine said he's definitely there. KEENAN Did she mention me? Luca indicates ` no.' KEENAN -LRB- CONT'D. -RRB- Women. God, I'm glad you want to be a guy. You are absolutely sure, right? LUCA Yes! KEENAN'Cause it really is totally cool either way. LUCA I'm SURE. KEENAN Okay, I just do n't want you to think I'm zerophobic, or somethin'.",
"EXT. POLLY WOG'S POOL HALL - NIGHT Students gather outside the farmhouse pool hall. Male Sydney spots his prey, and approaches Jeremy, who hangs out alone on the grass near a small bonfire. The firelight licks their faces. MALE SYDNEY You're on the wrestling team. JEREMY Yeah. You catch the meets? MALE SYDNEY Just an educated guess. Wan na' wrestle? Jeremy LAUGHS, glances around, unsure what to make of him. INSIDE THE SEMI The truck CAREENS around a CURVE. LUCA Ca n't this thing go any faster?! Luca considers. LUCA -LRB- CONT'D. -RRB- You know me better than anyone. What do you think? KEENAN Huh? LUCA I mean, if I were n't a hundred percent sure which I'm s ` posed to be. If you had to say. KEENAN All I know is, every time you look at Michelle, or think about her, you smile. What the hell else do you need to know? LUCA It's not right. She deserves to be with a normal guy. KEENAN So, you do n't get to be with anyone? They drive in silence. KEENAN -LRB- CONT'D. -RRB- That why they call it `` zero - philia?'' LUCA She's not gon na' want some guy who thinks maybe he's supposed to be a girl sometimes. KEENAN How do you know? Did you ask? LUCA No way I'm gon na' ask her that. KEENAN Well, you have to. Where are your nads, man?! Luca glares at him. Keenan realizes his mistake. KEENAN -LRB- CONT'D. -RRB- We'll get'em back. The truck ROARS on.",
"EXT. POLLY WOG'S As Janine looks on, Male Sydney moves in for the kill. MALE SYDNEY Come on, let's grab a couple beers. Sydney tugs at his T - shirt. MALE SYDNEY -LRB- CONT'D. -RRB- Of course, I see you brought your own six - pack. GRAVEL PARKING LOT Keenan and Luca hop down from Luke's truck, scanning the crowd. Janine waves to Luca and points across the way. Luca nods. LUCA Let's go! KEENAN Jeez. She wo n't even look at me. They stride across the field. BEHIND THE BARN Male Sydney shoves Jeremy passionately against the wall. MALE SYDNEY I do love to mess with Texas. Keenan and Luca appear around the corner. LUCA There! MALE SYDNEY We better get outta' here. Keenan reaches them first. He wrenches Male Sydney and Jeremy apart. JEREMY Keenan?! It's not the way it looks. KEENAN Oh, Jeremy, I so profoundly do n't care if you're queer. Trust me, around here, that's nothin'! Luca catches up and TACKLES Male Sydney, throttling him on the ground. LUCA You son - of - a - bitch! We're doin' it again, right now! JEREMY Jeez. She your wife?! MALE SYDNEY No! She just said, she wants sex! -LRB- to Luca. -RRB- I ca n't. I'm sorry. LUCA `` Sorry?!'' Fuck you! FUCK ME! NOW! MALE SYDNEY It wo n't work. LUCA We're goin' inside right here! MALE SYDNEY I'll scream rape. LUCA So will I. They pull Male Sydney toward the barn door. MALE SYDNEY But I'm gay! LUCA So what? MALE SYDNEY We both need to be into it, or nothing happens. KEENAN Such bullshit. Jeremy moves off, wide - eyed and disturbed. MALE SYDNEY That's why I became a woman in the first place. I could n't handle it. Figured if I was female, it was okay to like guys. KEENAN She's lyin'. Male Sydney shakes his head ` no.' LUCA You're tellin' me,'cause you're straight as a girl and I'm straight as a guy, we can screw and switch, but. MALE SYDNEY'cause you're straight as a girl, and I'm gay as a guy, even if we do it. LUCA I'm just screwed. Keenan's confused. KEENAN Jeez. You need trigonometry to figure this thing out. Maybe you're ` bi.' MALE SYDNEY In my world the Kinsey scale's three - dimensional, but trust me, girls do nothing for me. Zilch! -LRB- to Keenan. -RRB- You, on the other hand. Keenan RECOILS. LUCA What am I gon na' do? KEENAN What if he's lying? I say, do him again anyway! LUCA Fine! MALE SYDNEY Fine. Waste of time. Luca notices Michelle standing nearby. LUCA Michelle. KEENAN Oh, man. LUCA It's not what you think. Keenan and Luca realize that she's Luca right now, not Luke. KEENAN What does she think? LUCA I'm not sure. MICHELLE You asshole! Michelle moves off. ALONGSIDE THE BARN Luca runs up. MICHELLE I do n't believe this. You slept with that guy?! LUCA It's not what you think. MICHELLE Oh, please! What about Max? LUCA What about him? MICHELLE Do n't you care about him at all?! LUCA Not like that : I'm straight! I'm attracted to you! MICHELLE Oh, who cares, you idiot! And sorry to break it to you, but I'm straight too. LUCA No. This'll sound crazy, but I'm not who you think I am - MICHELLE Oh, Christ, Luke, - Luca : I know who you are! Luca stares, stunned. LUCA You know I'm a Zerophiliac?! MICHELLE Yes! So you can just go fuck yourself. - Literally! LUCA Does Max know who I am? MICHELLE What if he does? Do you? LUCA He's a guy! MICHELLE And you're a girl! LUCA I'm not! Michelle gestures `` Oh really?!'' LUCA -LRB- CONT'D. -RRB- I'm not supposed to be! MICHELLE There's no supposed to be anything, you just ARE! LUCA Is that what you think?! NO! MICHELLE Well, then congratulations! You're a guy, just like every other guy I ever met! I ca n't believe you slept with him! LUCA He was a woman! I was tricked. I did n't know I'd switch. Michelle stares, incredulous. MICHELLE You're gon na' tell me he's a Z too?! Both of you?! LUCA Yes! MICHELLE Well, that's just perfect. What, is there something in the water around here?! LUCA She told me it would make it stop. That it would keep me from turning into a girl. MICHELLE So what?! Why's that so important to you?! There's no way this was gon na' work. LUCA Because I'm a Zerophiliac. MICHELLE Because you ca n't stand being one! Bye, Luca. LUCA -LRB- correcting her. -RRB- Luke. She glances back, sad and angry. Luca watches her go, distraught, and then RUNS. ATOP A GRASSY HILLSIDE Luca collapses on the ground, overlooking Polly Wog's. Janine and Keenan run up, a few yards behind. They sit nearby, catching their breath, unsure what to say. Luca gazes up at the moon. LUCA -LRB- CONT'D. -RRB- What's it like? To really make love? They all three gaze up at the moon. Keenan steals a glance at Janine. KEENAN The best part's just lyin' there after. Really close, really far away. JANINE Like goin' to the moon, maybe. KEENAN Yeah. They should open a pizza joint up there. Janine glares at him, and Keenan winces. LUCA What am I gon na' do? KEENAN Maybe being a woman'll turn out okay. Like being an elevated member of the male species. JANINE Elevated `` member?'' KEENAN I just mean, maybe he'll learn to like it. JANINE -LRB- sarcastic, to Keenan. -RRB- As hard as that is to conceive! LUCA Shut up! Both of you! What, you want a written guarantee? You're so damn lucky! You're into him, he's into you. Super - glue! What the hell else do you need to know? Janine looks to Keenan with a look of remorse, hopeful. KEENAN I think you're the female half of me. JANINE I think you're the macho half of me. They kiss. LUCA And I do n't know what half of who the hell I am. They look to Luca surprised,. then all three bust out LAUGHING. JANINE What are you gon na' do? LUCA I do n't know. I prefer being a guy, but I'm a girl? I'm attracted to Max, but I'm in love with Michelle? It's like I'm s ` posed to be both. Her own admission surprises her. LUCA -LRB- CONT'D. -RRB- Not too practical. But at least now I know. She almost laughs, sad, but relieved.",
"INT. POLLY WOG'S POOL HALL - LATE NIGHT The place is cleared out, save for Polly cleaning up behind the bar and Max, alone, shooting pool. POLLY Girl trouble? Boy trouble? Max shrugs. POLLY -LRB- CONT'D. -RRB- How about we get a game in before dawn? Max nods, sets up a new rack. MAX What's the point? It never works out. Or they just cheat on you anyway. POLLY Liverpool was a veritable shagfest when I was your age. A boulevard of broken hearts. But eventually, I found him. She sinks the cue ball in a corner pocket. POLLY -LRB- CONT'D. -RRB- Scratch. Then he died. MAX Sorry. POLLY Everything reminded me of him. So, I came here, half way round the world to forget. Then created this place, just like the one where we met. MAX He ca n't handle this. Us. He ca n't handle who he is. POLLY You being a guy too? MAX Or him being a girl. Polly's confused, but presses on. POLLY Everyone's terrified. But once you really know someone, and they know you, it makes you whole. MAX No one wants to know who I really am. POLLY You're so sure? MAX It's impossible. He was the one person I thought could understand. But no, it's impossible. Max puts the cue stick down, and moves off. Polly calls after,. POLLY It's worth finding out.",
"EXT. ROAD RAGE GARAGE - LATE AFTERNOON Max slides out from under an old car. Seeing Luca, he hardens, wiping his greasy hands on a rag. LUCA Hey. MAX Hey. LUCA I know she does n't want to talk to me. But do you know where I can find her? MAX New York. Left two days ago. LUCA Oh, man. You're staying? MAX Just'til Friday. Max returns to his work. LUCA I wanted to apologize to her. Forget it, I do n't know,. Obviously, nothing's gon na' ever be with me and her, but I just wish she knew how much I, - and that I was n't cheating, I was just trying to be a man for her. -LRB- laughs. -RRB- She'd have a field day with that one, huh? MAX True. LUCA If you talk to her, please just tell her, I'm sorry, and I wish her the best,. everything. MAX Thanks. Luca ` nods', not fully understanding Max's response. LUCA I'm sorry. To you too. MAX For what? LUCA Mixed signals, I guess. Max walks toward the back, then YELPS, wincing. MAX Ow! Son - of - a - bitch! LUCA You all right? MAX Stepped on a nail. Damn it! Max sits on a crate, starts untying his boot. MAX -LRB- CONT'D. -RRB- So, you gettin' used to this at all? LUCA I wish. MAX You definitely had me confused. LUCA For whatever it's worth. I think you're a pretty hot guy. MAX Thanks. But you're not interested? LUCA Truth is, I am. And I guess it sounds crazy, but I could n't do that to Michelle. Luca moves off, as Max removes his boot, and his sock. MAX For whatever it's worth, I think you're pretty hot too. LUCA Thanks. MAX Too bad you're a moron. LUCA Excuse me? MAX I have incontrovertible proof. Luca stares at Max, and then down at his ankle, at the TATTOO OF A GREEN BIRD. Max meets her eyes, and it finally dawns on Luca, standing, in shock, and now putting it all together, she LUNGES for him, nailing him to the ground, kissing him. She RIPS Max's T - shirt as they fall to the asphalt, knocking over oil cans. Passion. Unbridled. IN THE PARTS YARD Luca manhandles Max, shoving him against a pile of huge tires, as Max's face transforms. BY OLD RADIATORS Michelle slams back onto the crabgrass. She pulls Luca toward her as Luca's face transforms into Luke. BY DISCARDED TRUCK CHASSIS Luke and Michelle roll on the crabgrass, kissing, TRANSFORMING as they roll, into Luca and Max and Michelle and Luke and Luca - or was that Max?",
"INT. MICHELLE'S BEDROOM - DAWN White gauze curtains billow in the morning breeze. The sun's first rays light up the down comforter and white pillows. Michelle stirs slowly, then BOLTS AWAKE. She grabs Luke, a vise grip around his torso. He awakens, groggy. LUKE Hey you. Good morning. What's up? Michelle bites her lip, embarrassed, releases him. LUKE -LRB- CONT'D. -RRB- You still think I'm going to bolt, do n't you? MICHELLE And leave me stuck. He smiles. LUKE What do you want, a gender pre - nup? MICHELLE Maybe. I have to go to work. She nuzzles him playfully. Luke glances at the clock, MOANS. LUKE Only place I'm going is back to sleep. MICHELLE No. I ca n't show up at work like this. LUKE Oh, yeah. He smiles, folds into her. FADE OUT"
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] | "Zerophilia" is a fictional condition that affects an unknown number of people with an extra "Z" chromosome. Following their first full sexual experience, zerophiliacs begin to change sex after experiencing an orgasm. Luke (Taylor Handley), a young man somewhat insecure about his masculinity, begins to exhibit zerophilia following an encounter with a woman (Kelly Le Brock). He meets Michelle (Rebecca Mozo) and experiences partial transformations when they go out together. He confides with his best friend Keenan (Dustin Seavey) about his partial transformations, who in turn contacts Dr. Sydney Catchadourian (Gina Bellman). Dr. Catchadourian persuades Luke to go through a full transformation. Luke does this by masturbating, becoming female, and subsequently calling herself "Luca". Luca has difficulty achieving an orgasm to change back, even with coaching from Keenan's girlfriend Janine (Alison Folland). However, a visit by Michelle's attractive brother, Max (Kyle Schmid), who flirts with "Luke's cousin", enables her to get sufficiently aroused to complete the transformation back to Luke. Luke is threatened by his sex transformation, his arousal by an attractive male, and the questions of sexual identity it raises; he seeks help from Sydney. She tells him that a zerophiliac can become "a-morphic" and stop changing sex only by having sex with another zerophiliac... such as herself. He reluctantly agrees to do it, but discovers afterward that she was not telling him the full truth: an a-morphic zerophiliac can still change by having sex with another zerophiliac, and Dr. Catchadourian was using Luke to change herself one last time (into a man), leaving Luca as a woman in the process. Comic tensions arise from Luke's efforts to keep Michelle at a distance, Max's defensiveness about his sister, Luca's half-hearted resistance to Max's affections, and Luke's confused aggression toward Max. When Michelle discovers that Luke had sex with Dr. Catchadourian, she feels betrayed. Hoping to find Michelle, Luca seeks out Max to profess deep affection for Michelle and remorse for betraying her. Max is touched by the apology, and reveals that he is actually Michelle, also a zerophiliac. They make love repeatedly, changing sex mostly in sync with each other, but occasionally finding themselves the same sex. It ends with the happy couple apparently resolved to their 'condition' and past any questions of their gender and sexual identity. | Zerophilia |
[
"INT. JEFFERIES' APARTMENT - DAY - LONG SHOT Although we do not see the foreground window frame, we see the whole background of a Greenwich Village street. We can see the rear of a number of assorted houses and small apartment buildings whose fronts face on the next cross - town street, sharply etched by the morning sun. Some are two stories high ; others three ; some have peaked roofs, others are flat. There is a mixture of brick and wood and wrought iron in the construction. The apartment buildings have fire escapes, the others do not. The neighborhood is not a prosperous one, but neither is it poor. It is a practical, conventional dwelling place for people living on marginal incomes, luck - or hope and careful planning. The summer air is motionless and heavy with humid heat. It has opened windows wide, pushed back curtains, lifted blinds and generally brought the neighborhood life into a sweltering intimacy. Yet, people born and bred to life within earshot and eye glance of a score of neighbors have learned to preserve their own private worlds by uniformly ignoring each other, except on direct invitation. THE CAMERA PULLS BACK until a large sleeping profile of a man fills the screen. It is so large that we do not see any features, but merely the temple and side of the cheek down which a stream of sweat is running. THE CAMERA PANS OFF this to the right hand side of the window, and MOVES TO a thermometer which is hanging on the wall just outside the window. It registers 84. THE CAMERA MOVES ON into the open, and brings nearer to us a room with a large studio window. We are able to see inside this room. A short, balding man is standing near the window, shaving, using a small bowl of water and a portable mirror which he has set up on a shelf. To the right of him is a battered upright piano. On top of the piano is a radio. The music selection coming from the radio stops, and the announcer is heard. ANNOUNCER The time - 7:15 A.M., WOR, New York. The temperature, outside, 84 - Friends - is your life worth one dollar? The man shaving quickly puts down his razor, hurries to the radio, and changes the station, moving past a number of commercial voices until he again finds some music. Contented, he returns to his shaving. THE CAMERA MOVES ON AND OVER to a far building. It passes over the face of this building until it comes to fire escapes. It goes up and near enough to one which has become the outdoor bedroom of a couple. We are near enough to see an alarm clock hanging from the rail which is now ringing vigorously. A man rises lazily to a sitting position. He gropes to switch the alarm off. We see that his pajamas are stained with sweat. In his sitting position he leans forward and shakes somebody beside him. To our surprise, the head of this other person - a woman - rises where his feet are. They have been sleeping in opposite directions. They sit limply looking at each other with bedraggled and weary expressions which show they enjoyed very little sleep in the heat of the night. THE CAMERA NOW MOVES DOWN toward the left onto another low building. It MOVES IN A LITTLE to a living room window. Just inside the windowsill, a small fan is oscillating. The fan sits on the right side of the table, and to the left of it is an automatic toaster. Behind the toaster stands a full - bodied young woman, apparently wearing only a pair of black panties. Her stomach, navel, and the lower part of her chest are naked. Just below her breasts, the curtain, partly drawn, has thrown a deep shadow which extends upward, hiding her breasts, shoulders and head. Two pieces of toast pop up in the toaster. She takes them out, butters them. Then she turns around and bends over another table on which stands an automatic coffee - maker. She picks up the coffee - maker, and swings back to the table to sit down. She does this so deftly that her breasts are never exposed, but hidden by the fan as she sits down. The fan moves back and forth as she pours coffee, far enough to reveal that she wears no bra, but not far enough to fulfill the exciting promise of her lack of clothes. THE CAMERA MOVES ON to a distant street corner seen between two buildings. The traffic is very light at this hour, but a Sanitation Department truck moves through the intersection spraying water out behind it to cool the pavement and keep the dust down. Three little kids in bathing suits run behind the truck, playing in the water. THE CAMERA MOVES OFF and around to some buildings at the side. As it skims this building, we see a hand emerge from one of the windows, and remove the cover from a birdcage which is hanging from a hook on the wall outside. In the cage are two lovebirds - arguing. THE CAMERA NOW PULLS BACK SWIFTLY and retreats through the open window back into Jefferies' apartment. We now see more of the sleeping man. THE CAMERA GOES IN far enough to show a head and shoulders of him. He is L. B. JEFFERIES. A tall, lean, energetic thirty five, his face long and serious - looking at rest, is in other circumstances capable of humor, passion, naive wonder and the kind of intensity that bespeaks inner convictions of moral strength and basic honesty. He is sitting in an Everest and Jennings wheelchair. THE CAMERA PANS along his right leg. It is encased in a plaster of Paris spica from his waistline to the base of his toes. Along the white cast someone has written `` Here lie the broken bones of L. B. Jefferies.'' THE CAMERA PANS to a nearby table on which rests a shattered and twisted Speed Graphic Camera, the kind used by fast - action news photographers. On the same table, the CAMERA PANS to an eight by ten glossy photo print. It shows a dirt track auto racing speedway, taken from a point dangerously near the center of the track. A racing car is skidding toward the camera, out of control, spewing a cloud of dust behind it. A rear wheel has come off the car, and the wheel is bounding at top speed directly into the camera lens. THE CAMERA MOVES UP to a framed photograph on the wall. It is a fourteen by ten print, an essay in violence, having caught on film the exploding semi - second when a heavy artillery shell arches into a front - line Korean battle outpost. Men and equipment erupt into the air suspended in a solution of blasted rock, dust and screeching shrapnel. That the photographer was not a casualty is evident, but surprising when the short distance between the camera and the explosion is estimated. A signature in the lower right hand corner of the picture reads - `` L. B. Jefferies.'' THE CAMERA PANS to a second photograph of a picket line at an aircraft plant strike. Strikers, non - strikers and police are embroiled in a bitter and confused riot. Clubs, fists and truncheons swing, blood flows, faces twist with emotion and fallen victims struggle to regain their feet. The picture represents no distant, cautions photographic observation, but rather an intimate report, so immediate and real that the viewer has the nervous feeling the fight surrounds him and he had best defend himself. The same signature, `` L. B. Jefferies,'' is in the corner. THE CAMERA PANS TO another framed picture, this one a beautiful and awesome shot of an atomic explosion at Frenchman's Flat, Nevada. It is the cul - de - sac of violence. The picture taken at a distant observation point, shows some spectators in the foreground watching the explosion through binoculars. THE CAMERA MOVES ON to a shelf containing a number of cameras, photographic film, etc.. It then PAN ACROSS a large viewer on which is resting a negative of a woman's head. From this, THE CAMERA MOVES ON to a magazine cover, and although we do not see the name of the magazine, we can see the head on the cover is the positive of the negative we have just passed. THE CAMERA FINALLY COMES TO REST ON a pile of magazines - perhaps a hundred or so. They are all of the same publication.",
"INT. GUNNISON'S OFFICE - DAY - CLOSE UP The screen is filled with the top of a desk. In addition to the usual telephones, blotting pad, etc., the most prominent feature is the number of glossy photo prints, and even larger - sized mat prints. Some of them have slips pasted over with descriptions. The center of the desk is occupied by a large layout of photographs on one magazine page. Behind this we hear the murmur of two voices of men who can be vaguely seen beyond the desk. THE CAMERA PANS UP and we are now face to face with IVAR GUNNISON and JACK BRYCE. Gunnison is sitting on a window - ledge, and beyond him we realize we are high above the New York streets. Bryce leans against a wall at right angles to him. Gunnison is holding a cablegram in his hand. Bryce has a cigarette in his mouth. He scratches a match, and is about to light it, when he notices that Gunnison, still reading the cable, has reached into an inside shirt pocket, and produced a cigarette. Quickly, Bryce moves over to light Gunnison's cigarette. Then he settles back to light his own. Gunnison does n't even bother to thank him. GUNNISON -LRB- Looks up. -RRB- Indo - China - Jeff predicted it would go sky - high. BRYCE From the looks of Davidson's cable, it might even go higher than that. And we have n't even got a camera over there. GUNNISON -LRB- Stands. -RRB- This could go off in a month - or an hour. BRYCE I'll pull somebody out of Japan. GUNNISON -LRB- Heads for his phone. -RRB- Bryce, the only man for this job is sitting right here in town. -LRB- Picks up phone. -RRB- Get me L. B. Jefferies. BRYCE -LRB- Puzzled. -RRB- Jefferies? GUNNISON -LRB- To Bryce ; still holding phone. -RRB- Name me a better photographer. BRYCE -LRB- He ca n't. -RRB- But his leg! GUNNISON Do n't worry - it comes off today. Bryce gives Gunnison a startled look. GUNNISON I mean the cast. -LRB- To phone. -RRB-",
"INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Shooting through the open window, onto Jeff. He is shaving himself with an electric razor as the phone rings. He shuts off the shaver, picks up the phone. JEFF Jefferies. GUNNISON -LRB- On filter. -RRB- Congratulations, Jeff. JEFF For what? GUNNISON For getting rid of that cast. JEFF Who said I was getting rid of it? At this moment, his attention is drawn to something across the way. He looks up, expectantly. There is almost a touch of eagerness in his expression.",
"EXT. NEIGHBORHOOD - DAY - LONG SHOT While Jeff is continuing his phone conversation, we see the object of his look. Two pretty girls have appeared on the distant roof. They are smiling and talking, although we can not hear their dialogue. Each wears a terrycloth robe. With their backs to the CAMERA, they take off the robes, slipping them down over their shoulders slowly. Then, seductively, they turn - revealing the full beauty of their tanned and bathing - suited bodies. It is almost as if they want to be noticed, the center of neighborhood attention. They at least have all of Jeff's attention. Then they spread the robes in front of them, and lie down on the roof, and out of sight. Jeff seems a little disappointed.",
"INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP During the whole of this previous action, the conversation between Jeff and Gunnison has gone on as follows : GUNNISON -LRB- With logical proof. -RRB- This is Wednesday. JEFF Gunnison - how did you get to be such a big editor - with such a small memory? GUNNISON Wrong day? JEFF Wrong week. Next Wednesday I emerge from this plaster cocoon. GUNNISON That's too bad, Jeff. Well, I guess I ca n't be lucky every day. Forget I called. JEFF Yeah. I sure feel sorry for you, Gunnison. Must be rough on you thinking of me wearing this cast another whole week.",
"INT. GUNNISON'S OFFICE - DAY - SEMI-CLOSEUP Gunnison is now seated at his desk, with the phone receiver to his ear. His assistant, Bryce, can be seen vaguely in the background. GUNNISON That one week is going to cost me my best photographer - and you a big assignment.",
"INT. JEFF'S APARTMENT - DAY - CLOSE-UP Jeff asks, eagerly and alertly. JEFF Where? We hear Gunnison's reply. GUNNISON There's no point in even talking about it. Jeff's eyes become set upon something else in the neighborhood he sees.",
"EXT. NEIGHBORHOOD - DAY - LONG SHOT Jeff's attention is now drawn to another feature of his backyard entertainment. THE CAMERA IS NOW FOCUSED on the window of the small building where we earlier saw the girl behind the oscillating fan. Loud ballet music is pouring from her open window. The girl, now dressed in dark and revealing leotard, and ballet slippers, has just turned away from a portable record player. She begins the first graceful movement of a modern ballet interpretation. She gracefully moves across the room to the rhythm of the music and dance, toward the ice box. With her feet still moving, she throws open the door, and then rhythmically moving back to the center of the room, gnaws the chicken bone, occasionally waving it in the air as part of the choreography. She now twirls over toward a table at the other side of the room on which is an open package of bread slices, some butter nearby. With swaying body, she puts down the chicken leg, and gracefully and rhythmically butters a slice of bread. She picks up both bread and chicken leg and continues her interpretive dance, alternately munching the bread and butter and chicken leg.",
"INT. APARTMENT - DAY - CLOSEUP Jeff's eyes drop from the ballet dancer's room to the one underneath.",
"EXT. NEIGHBORHOOD - DAY - LONG SHOT THE CAMERA PANS from the window of the dancing girl, to the window below. Someone is reading the New York Herald Tribune. The paper lowers, and we see an elderly lady, in her late sixties. She is a faded, refined type. She looks up in the direction of the music and in a calm routine fashion adjusts the volume of her hearing aid. She resumes her reading.",
"INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff is amused by what he sees, but continues his conversation with Gunnison, which has gone on through all the scenes with the ballet dancer. JEFF -LRB- Insistent. -RRB- Where? GUNNISON -LRB- Filter. -RRB- Indo - China. Got a code tip from the bureau chief this morning. The place is about to go up in smoke. JEFF -LRB- Pleased ; excited. -RRB- Did n't I tell you! Did n't I tell you it was the next place to watch? GUNNISON You did. JEFF -LRB- On filter. -RRB- Okay. When do I leave? Half - hour? An hour? GUNNISON With that cast on - you do n't. JEFF -LRB- On filter. -RRB- Stop sounding stuffy. I'll take pictures from a jeep. From a water buffalo if necessary. GUNNISON You're too valuable to the magazine for us to play around with. I'll send Morgan or Lambert. JEFF Swell. I get myself half - killed for you - and you reward me by stealing my assignments. GUNNISON I did n't ask you to stand in the middle of that automobile race track. JEFF -LRB- A little angry. -RRB- You asked for something dramatically different! You got it! GUNNISON -LRB- Quietly. -RRB- So did you. Goodbye, Jeff. JEFF -LRB- Wo n't let him hang up. -RRB- You've got to get me out of here! Six weeks - sitting in a two - room apartment with nothing to do but look out the window at the neighbors! At this moment we hear the sounds of a piano playing. It is a simple, but broken, melody as if someone was just learning to play the piano, or carefully composing a song. It clashes abruptly with the music from the ballet dancer's apartment. It irritates Jeff as he looks in the direction of the new music. JEFF It's worse than the Chinese water torture.",
"EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT We now see the source of the piano music. It comes from the apartment with the studio window which we saw earlier where the man was shaving and listening to the radio. The short, balding man sits at the piano playing a few notes, then transferring them by pencil to notepaper on the piano rack. He continues this process, fighting the interference of the ballet music. The opening bars of his melody are beautiful and ear - catching. It is slow, hard work, and the ballet music finally becomes such an interference that he gives up and walks to the window to look down toward the dancer's apartment. He stands by a table at the window which is littered with records, the morning coffee cup, unwashed, the remains of breakfast, old newspapers, song sheets, etc.. He takes a cigarette out of his mouth, looks for an ash tray, and ends up putting it out in the coffee cup. He then returns to the piano and begins picking out the melody the dancer is playing on her record player.",
"INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff frowns at the double sound, and raises his voice a little. He continues the conversation which has been heard all through the previous scene. GUNNISON Read some good books. JEFF I've been taking pictures so long I do n't know how to read anymore. GUNNISON I'll send you some comic books. JEFF -LRB- Low, tense. -RRB- Listen - if you do n't pull me out of this swamp of boredom - I'll do something drastic. GUNNISON Like what? JEFF -LRB- On filter. -RRB- I'll - I'll get married. Then I'll never be able to go anywhere. GUNNISON It's about time you got married - before you turn into a lonesome and bitter old man. JEFF Can you see me - rushing home to a hot apartment every night to listen to the automatic laundry, the electric dishwasher, the garbage disposal and a nagging wife. GUNNISON Jeff - wives do n't nag anymore - they discuss. Jefferies glances out across to the other apartments as he sees :",
"EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT We see a three - storied, flat - roofed apartment house. The brick is weather - worn and faded. Each apartment has three windows facing the back, one showing a hallway, one a living room, and the window on the right opening into a bedroom. On the second floor, a man has entered the living room from a hallway door. He carries a large aluminum sample case common to salesmen. He sets down the case heavily, removes his hat, and slowly wipes his brow with the back of his right hand. He takes off his coat and tie. His shirt is stained with sweat underneath. He rolls up his sleeves, and his well - muscled arms heavy with hair confirm his dark, husky build.",
"INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP With his eyes still focused on the distant apartments, Jeff continues talking with Gunnison. JEFF Yeah? Maybe in the high rent districts they discuss - but in my neighborhood, they still nag. GUNNISON Well - you know best. Call you later, Jeff. JEFF Next time, have some good news. He hangs up and resumes his attention on the apartment of the salesman.",
"EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman looks toward the bedroom door, hesitates, then reluctantly walks toward it. For a moment he is hidden by the wall.",
"INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff shifts his look more to the right.",
"EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The man enters the bedroom. We can see a woman lying on the far bed. Near her, a small table is covered with medicine bottles, spoons, boxes of pills, a water pitcher and the other impedimenta of the chronically ill. The woman sits up as the man enters. She takes a wet cloth off her forehead. Before the man even reaches her, she begins talking, somewhat vigorously. Pointing to a wristwatch, she seems to be saying something such as `` You should have been home two hours ago! I could be lying here dying for all you'd know - or care!'' The man stops short of the bed, makes gestures of trying to placate her, but she goes on scolding. His attitude changes to weary patience, then irritation, then anger. He shouts back at her, turns and goes out of the room. Back in the living room, he picks up his hat, throws it against the wall in anger, and leaves the apartment, slamming the door behind him.",
"INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff's attention is suddenly diverted to himself. His leg, under the cast, begins itching. He squirms, tries to move the leg a little. It gives no relief. He scratches the outside of the cast, but the itch gets worse. He reaches for a long, Chinese back scratcher lying on the windowsill. Carefully, and with considerable ingenuity, he works it under the cast. He scratches, and a look of sublime relief comes over his face. Satisfied, he takes the scratcher out. As he replaces it on the windowsill, his attention is drawn back to the scene outside the window.",
"EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT We see the man who left his apartment in anger come out of the doorway into the backyard. He is easy to identify through the color of his garish necktie. In one hand the man carries a small garden hoe and rake, and in the other a pair of trimming shears. He goes to a small patch of flowers, perhaps three feet square. They are beautiful, multi - colored three foot high zinnias. He kneels down, inspects them, touches them affectionately and with some pride. His anger seems to have left him, replaced by the kind of peace that flowers bring many people. He stands up, carefully hoes the ground, them rakes it. Then he snips a few leaves off the lower parts of the plant. Finally, he waters them.",
"INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff's attention is turned to something else of interest.",
"EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT Into the next door yard we see emerging from the apartment below the ballet dancer, the elderly lady. She wear a broad sun hat, dark glasses, and a sunsuit consisting of pink shorts and halter. She carries a copy of the Herald Tribune, and still wears her hearing aid. She settles into a folding, canvas deck chair. Her skin is dead white, and her body is thin to the point of emaciation. No sooner has she settled into her chair, than she is attracted by the sound of the salesman working in his garden. She gets up, walks to the fence, and looks over. He notices her, but does n't speak. She begins gesturing to him how to take care of his flowers. He listens for a moment, then looks directly at her. The strong movements of his mouth show us that he objects vigorously to the annoyance of her comments. She moves away from the fence, started and a little shocked.",
"INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff is seated in the foreground, in a waist shot. Behind him, the entrance door to his apartment opens. STELLA McGAFFERY comes in. She is a husky, unhandsome, dark - haired woman who is dressed like a district nurse, with dark coat, dark felt hat, with a white uniform showing underneath the coat. She carries a small black bag. Stella pauses on the landing to watch Jeff. He does n't appear to notice her entrance. STELLA -LRB- Loud. -RRB- The New York State sentence for a peeping Tom is six months in the workhouse! He does n't turn. JEFF Hello Stella. As she comes down the stairs of the landing, holding on the wrought iron railing with one hand : STELLA And there are n't any windows in the workhouse. She puts her bag down on a table. It is worn, and looks as if it belongs more to a fighter than a nurse. She takes off her hat coat, and hangs them on a chair. STELLA Years ago, they used to put out your eyes with a hot poker. Is one of those bikini bombshells you always watch worth a hot poker? He does n't answer. She opens the bag, takes out some medical supplies : a thermometer, a stop watch, a bottle of rubbing oil, a can of powder, a towel. She talks as she works. STELLA We've grown to be a race of peeping Toms. What people should do is stand outside their own houses and look in once in a while. -LRB- She looks up at him. -RRB- What do you think of that for homespun philosophy? A look at his face shows he does n't think much of it. JEFF Readers' Digest, April, 1939. STELLA Well, I only quote from the best. She takes the thermometer out of its case, shakes it down. Looks at it. Satisfied, she walks to Jeff. She swings the wheelchair around abruptly to face her.",
"INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff starts to protest. JEFF Now look, Stella - She shoves the thermometer into his mouth. STELLA See it you can break a hundred. As she leaves him holding the thermometer THE CAMERA PULLS BACK as she crosses to a divan. She takes a sheet from underneath, and covers the divan with it. Talking, all the time. STELLA I shoulda been a Gypsy fortune teller, instead of an insurance company nurse. I got a nose for trouble - can smell it ten miles away. -LRB- Stops, looks at him. -RRB- You heard of the stock market crash in' 29? Jeff nods a bored `` yes.'' STELLA I predicted it. JEFF -LRB- Around thermometer. -RRB- How?",
"INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Stella stops for a moment, and looks at Jeff challengingly. STELLA Simple. I was nursing a director of General Motors. Kidney ailment they said. Nerves, I said. Then I asked myself - what's General Motors got to be nervous about? -LRB- Snaps her fingers. -RRB- Overproduction. Collapse, I answered. When General Motors has to go to the bathroom ten times a day - the whole country's ready to let go.",
"INT. JEFF'S APARTMENT - DAY - CLOSEUP A patient, suffering look comes over his face. He takes out the thermometer. JEFF Stella - in economics, a kidney ailment has no relationship to the stock market. Absolutely none. STELLA It crashed, did n't it? Jeff has no answer. Defeated, he puts the thermometer back into his mouth.",
"INT. JEFF'S APARTMENT - DAY - CLOSEUP Stella goes on with her work. STELLA I can smell trouble right in this apartment. You broke your leg. You look out the window. You see things you should n't. Trouble. I can see you now, in front of the judge, flanked by lawyers in blue double - breasted suits. You're pleading, `` Judge, it was only innocent fun. I love my neighbors like a father.'' - The Judge answers, `` Congratulations. You just gave birth to three years in Dannemora.'' THE CAMERA PANS HER over to him. She takes out the thermometer, looks at it. JEFF Right now I'd even welcome trouble. STELLA -LRB- Flatly. -RRB- You've got a hormone deficiency. JEFF How can you tell that from a thermometer! STELLA Those sultry sun - worshipers you watch have n't raised your temperature one degree in four weeks. She gets down the thermometer. Sterilizes it with a piece of alcohol - soaked cotton in her other hand. She gets behind the wheelchair the CAMERA PULLS back as she pushes it over to the divan. She puts the thermometer away in its case. Then she helps him off with his pajama top. She helps him stand on one foot. He hops one step, then she lowers him, face down, on the divan. She gets a bottle of rubbing oil.",
"INT. JEFF'S APARTMENT - DAY - CLOSE SHOT The CAMERA is very low at one end of the divan. Jeff's head, half - buried in the sheet, is large in the fore - ground. Beyond him Stella looms large and powerful - looking. JEFF I think you're right. There is going to be some trouble around here. Stella takes a handful of oil, slaps it on his back. He winces. STELLA I knew it! JEFF Do n't you ever heat that stuff up. STELLA Gives your circulation something to fight. -LRB- Begins massaging his back. -RRB- What kind of trouble? JEFF Lisa Fremont. STELLA You must be kidding. A beautiful young woman, and you a reasonably healthy specimen of manhood. JEFF She expects me to marry her. STELLA That's normal. JEFF I do n't want to. STELLA -LRB- Slaps cold oils on him. -RRB- That's abnormal. JEFF -LRB- Wincing. -RRB- I'm not ready for marriage. STELLA Nonsense. A man is always ready for marriage - with the right girl. And Lisa Fremont is the right girl for any man with half a brain, who can get one eye open. JEFF -LRB- Indifferent. -RRB- She's all right. She hits him with some more cold oil. He winces again. STELLA Behind every ridiculous statement is always hidden the true cause. -LRB- Peers at him. -RRB- What is it? You have a fight? JEFF No. STELLA -LRB- After a pause. -RRB- Her father loading up the shotgun? JEFF Stella! STELLA It's happened before, you know! Some of the world's happiest marriage have started ` under the gun' you might say. JEFF She's just not the girl for me. STELLA She's only perfect. JEFF Too perfect. Too beautiful, too talented, too sophisticated, too everything - but what I want. STELLA -LRB- Cautiously. -RRB- Is what you want something you can discuss? Jeff gives an exasperated look. JEFF It's very simple. She belongs in that rarefied atmosphere of Park Avenue, expensive restaurants, and literary cocktail parties. STELLA People with sense can belong wherever they're put. JEFF Can you see her tramping around the world with a camera bum who never has more than a week's salary in the bank? -LRB- Almost to himself. -RRB- If only she was ordinary. Stella sprinkles powder on his back, spreads it around. THE CAMERA PULLS BACK as she helps Jeff to a sitting position. He buttons on his shirt. STELLA You're never going to marry? JEFF Probably. But when I do, it'll be to someone who thinks of life as more than a new dress, a lobster dinner, and the latest scandal. I need a woman who'll go anywhere, do anything, and love it. THE CAMERA MOVES IN as she helps him into the wheelchair, listening to him with exaggerated attention. He, stops as he notice her attitude. Then he goes on with less conviction : JEFF The only honest thing to do is call it off. Let her look for somebody else. STELLA I can just hear you now. `` Get out of here you perfect, wonderful woman! You're too good for me!'' JEFF -LRB- After pause. -RRB- That's the hard part. She swings him around in front of the window. He starts to look out. STELLA Look, Mr. Jefferies. I'm not educated. I'm not even sophisticated. But I can tell you this - when a man and a woman see each other, and like each other - they should come together - wham like two taxies on Broadway. Not sit around studying each other like specimens in at bottle. JEFF There's an intelligent way to approach marriage. STELLA -LRB- Scoffing. -RRB- Intelligence! Nothing has caused the human race more trouble. Modern marriage! Jeff swings his chair back to look at her. JEFF We've progressed emotionally in - STELLA -LRB- Interrupting. -RRB- Baloney! Once it was see somebody, get excited, get married - Now, it's read books, fence with four syllable words, psychoanalyze each other until you ca n't tell a petting party from a civil service exam JEFF People have different emotional levels that - STELLA -LRB- Interrupting again. -RRB- Ask for trouble and you get it. Why there's a good boy in my neighborhood who went with a nice girl across the street for three years. Then he refused to marry her. Why? - Because she only scored sixty - one on a Look Magazine marriage quiz! Jeff ca n't help smiling. STELLA When I married Myles, we were both maladjusted misfits. We still are. And we've loved every minute of it. JEFF That's fine, Stella. Now would you make me a sandwich? She relaxes. STELLA Okay - but I'm going to spread some common sense on the bread. Lisa Fremont's loaded to her fingertips with love for you. I'll give you two words of advice. Marry her. JEFF -LRB- Smiles. -RRB- She pay you much? Stella leaves for the kitchen in a huff. Jeff turns his chair to the window.",
"INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff now looks out to see what has happened to the old lady, and the man with the flowers.",
"EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The elderly lady is now asleep in her deck chair, her face covered with the Herald Tribune. There is no sign of the man with the flowers.",
"INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's eyes travel up to the ballet dancer's window.",
"EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT She is sitting near the window looking into an upright mirror. Dreamily, and methodically, she is brushing her long copper - colored hair.",
"INT. JEFF'S APARTMENT - DAY - CLOSEUP His eyes are suddenly turned in another direction, sharply to his left.",
"EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT He is now looking at the windows of the apartments nearest to him. A shade has gone up, and a man, obviously a caretaker is raising a window with some effort. Having accomplished this, he turns back into the room, and we now see him approach a young man and woman who are standing just inside the doorway. He hands a key to the young man, and then obligingly brings in two suitcases which he places on the floor beside them. He gives them a studied, but agreeable nod, then departs. We now see that the girl has a small hat with a veil, and an ornate corsage pinned to her light blue tailored suit. The boy, who like the girl is perhaps twenty years old, wears a dark blue serge suit and a grey felt hat. He takes off the hat, and scales it over to a nearby chair. Quickly they are in each other's arms, kissing passionately, crushing the girl's corsage and pushing her hat back a little. They part, the boy laughs nervously, and takes a furtive glance out toward the corridor. He looks back into the room, and beckons her to come out. She follows him wonderingly. For a moment, both are lost from sight. When they reappear, he is carrying her in his arms, over the threshold. He sets her down, closes the door, and they kiss again. They part, still holding hands and looking into each other's eyes. Then slowly, and significantly, she looks toward the open window. He releases her hands, goes to the window and pull down the shade, as she is reaching upward with both hands to unpin her hat.",
"INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP There is a soft, understanding look on Jeff's face, and he gives an involuntary sigh. He is unaware that Stella is now standing behind him. STELLA -LRB- Quietly. -RRB- Window shopper. He freezes, turns slowly to look up at her.",
"EXT. NEIGHBORHOOD - NIGHT - SUNSET - LONG SHOT The CAMERA makes a short sweep around the neighborhood showing that some of the rooms are now with their lights on. The CAMERA PULLS BACK into Jeff's apartment until his head fills the screen. He is asleep. A shadow of some other person creeps over his face. His eyes start to open. He looks up.",
"INT. JEFF'S APARTMENT - SUNSET - CLOSEUP The screen is filled with the eyes, nose and mouth of a woman coming nearer and nearer to the CAMERA to kiss Jeff. The face is more or less in shadow, a faint light coming onto the profile from the window. It moves down until the lips move out of her bottom of her screen, and just the remain for fill the screen.",
"INT. JEFF'S APARTMENT - SUNSET - CLOSEUP The two big profiles filling the screen. The girl kisses Jeff firmly, but not passionately. Then her head moves back an inch or two. She speaks. LISA -LRB- Softly. -RRB- How's your leg? JEFF Mmmm - hurts a little. LISA And your stomach? JEFF Empty as a football. LISA And you love life? JEFF Not too active. LISA Anything else bothering you? JEFF Uh - huh. She gives a low. Warm laugh, and the CAMERA PULLS BACK to show that Lisa has been bending over Jeff's wheelchair from the side. As she straightens up, it PANS her swiftly over to the corner of the room, keeping her in big closeup. She turns on a low, hanging light. We see her full facial beauty for the first time. It is a warm, intelligent face. LISA -LRB- As she moves. -RRB- Reading from top to bottom -. -LRB- Light on. -RRB- Lisa - The CAMERA FOLLOWS HER quickly to another lamp. She gets a little farther away from us so that we now see her down to her waist. She turns on the second lamp and the light shows us that her beauty is not alone in her face. LISA Carol - The CAMERA PANS HER over to a third lamp which she turns on. She is now full figure, beautifully groomed and flawless. Her dress is high - style fashion and dramatic evening wear. LISA Fremont.",
"INT. JEFF'S APARTMENT - SUNSET - SEMI-CLOSEUP Jeff looks across the room at her. JEFF The Lisa Fremont who never wears the same dress twice?",
"INT. JEFF'S APARTMENT - SUNSET - SEMI-LONG SHOT LISA Only because it's expected of her. She does a professional model's turn in the dress showing off its features. LISA Right off the Paris plane. Think it will sell?",
"INT. JEFF'S APARTMENT - SUNSET - SEMI-CLOSEUP Jeff replies : JEFF Depends on the quote. Let's see - there's the plane tickets over, import duties, hidden taxes, profit markups - LISA - A steal at eleven hundred dollars. JEFF -LRB- A low whistle. -RRB- That dress should be listed on the stock exchange. LISA We sell a dozen a day in this price range. JEFF Who buys them? Tax collectors?",
"INT. JEFF'S APARTMENT - SUNSET - MEDIUM SHOT She laughs pleasantly. LISA Even if I had to pay, it would be worth it - just for the occasion. She looks down at the long mahogany table beside her which is littered with a number of his personal effects. Her own handbag is also on the table. As she talks her eyes scan the table as if she's looking for something specific. JEFF -LRB- Off - puzzled. -RRB- Something big going on somewhere? LISA -LRB- Looking up from the table. -RRB- Going on right here. It's a big night. JEFF -LRB- Off. -RRB- It's just a run - of - the - mill Monday. The calendar's loaded with them. Lisa finds what she has been looking for. Picks up an old and cracked cigarette box, examines it as she talks. LISA It's opening night of the last depressing week of L. B. Jefferies in a cast. JEFF -LRB- Off. -RRB- Has n't been any big demand for tickets. She turns to look at him, and moves toward him, carrying the cigarette box. LISA -LRB- Smiling. -RRB- That's because I bought out the house. This cigarette box has seen better days.",
"INT. JEFF'S APARTMENT - SUNSET - MEDIUM SHOT Lisa facing Jeff in the chair. JEFF Picked it up in Shanghai - which has also seen better days. LISA It's cracked - and you never use it. And it's too ornate. I'm sending up a plain, flat silver one - with just your initials engraved. JEFF Now that's no way to spend your hard - earned money! LISA I wanted to, Jeff. -LRB- A sudden intake of breath. -RRB- Oh! She turns around quickly and dashes to the door, dropping the cigarette box on the table as she passes, THE CAMERA PANNING with her. She goes up the two steps, stops, turns back to Jeff. LISA What would you think of starting off with dinner at the `` 21''?",
"INT. JEFF'S APARTMENT - SUNSET - SEMI-CLOSEUP JEFF You have, perhaps, an ambulance outside?",
"INT. JEFF'S APARTMENT - SUNSET - SEMI-LONG SHOT She reaches for the doorknob, turns it : LISA -LRB- Simply. -RRB- Better than that. The `` 21.'' She swings open the door and stands to one side. Framed in the doorway is middle - aged waiter wearing a white linen pea jacket with a red collar. He's carrying in one hand a large portable warming oven, and in the other hand an ice bucket containing a bottle of wine covered with a napkin.",
"INT. JEFF'S APARTMENT - SUNSET - CLOSEUP His reaction is one of tender amusement.",
"INT. JEFF'S APARTMENT - SUNSET - MEDIUM SHOT LISA Thank you for waiting Carl. He smiles, nods enters. He goes down the stairs, as she follows. THE CAMERA GOES with both of them. LISA Kitchen's on the left. I'll take the wine. He hands her the wine bucket and she places it on the table. He moves toward the kitchen. CARL Good evening, Mr Jefferies. JEFF Hello. Carl goes into the kitchen. LISA -LRB- Up, to Carl. -RRB- Just put everything right in the oven Carl. On `` low.'' CARL -LRB- Off. -RRB- Yes ma'am. LISA -LRB- Enthusiastically. -RRB- Let's open the wine now. It's a Montrachet. JEFF -LRB- Appreciatively. -RRB- A big glassful. She moves to a small bar set in the wall cabinet. Produces two glasses, hold them up. LISA Big enough? JEFF Fine. Corkscrew's on the right. She finds it. Puts the glasses on the table, uncovers the wine, and begins screwing in the corkscrew. LISA I could n't think of anything more boring and tiresome than what you've been through. And the last week must be the hardest. JEFF Yeah - I want to get this thing off and get moving. LISA -LRB- Struggling with cork. -RRB- Well, I'm going to make this a week you'll never forget. Carl comes out of the kitchen carrying the empty warming oven. He sets it down he sees Lisa struggling with the corkscrew. CARL Let me, madam. She does. He takes out his own professional corkscrew, quickly inserts it and levers the cork out. He deftly wraps the napkin around the bottle and pours the wine, replacing the bottle in the wine bucket. Lisa has opened her purse to produce some money, in bills. She hands it to the waiter. LISA This will take care of the taxi as well. Carl, without looking at the money, puts it in his pocket. CARL Thank you, Miss Fremont. He picks up the warning oven. CARL Have a pleasant dinner, Mr. Jefferies. JEFF Thank you. Carl goes up the stairs and out the door, while THE CAMERA REMAINS on Lisa and Jeff. She picks up both glasses of wine and walks toward Jeff. She seats herself on the windowsill as she hands him his glass. We notice that the outside is considerably darker by now, and the lights are beginning to come on in the various apartments outside. They raise their glasses in a silent toast, and sip the wine. THE CAMERA CLOSES IN until they are both in a tight TOW SHOT. LISA What a day I've had! JEFF Tired? LISA Not a bit. I was all morning in a sales meeting. Then over to the Waldorf for a quick drink with Madame Dufresne - just over from Paris. With some spy reports. Back to the `` 21'' for lunch with the Harper's Bazaar people - that's when I ordered dinner. Then two Fall showings - twenty blocks apart. Then I had to have a cocktail with Leland and Slim Hayward - we're trying to get his next show. -LRB- Softly, looking up to him. -RRB- Then I had to dash back and change. JEFF -LRB- Mock seriousness - one girl to another. -RRB- Tell me - what was Slim Hayward wearing? LISA -LRB- Seriously. -RRB- She looked very cool. She had on a mint green - She breaks off with a little laugh, and a slight reproachful look at Jeff. She sips her drink then says : LISA And to think, I planted three nice items about you in the columns today. Jeff's opinion of that is a short chuckle. LISA You ca n't buy that kind of publicity. JEFF That's good news. LISA Someday you might want to open up your own studio here. JEFF How could I run it from say - Pakistan? She puts down her glass and slides along the window seat nearer to him, THE CAMERA CLOSING IN. She looks up at him with a serious frankness. LISA Jeff - is n't it time you came home? You could pick your assignment. JEFF I wish there was one I wanted. LISA Make the one you want. JEFF -LRB- As if he ca n't believe her. -RRB- You mean leave the magazine? LISA Yes. JEFF For what? LISA For yourself - and me. -LRB- She adds eagerly. -RRB- I could get you a dozen assignments tomorrow. fashion, portraits - Jeff interrupts her with soft laughter. LISA -LRB- Offended. -RRB- Do n't laugh. - I could do it! JEFF That's what I'm afraid of. -LRB- He gazes into space. -RRB- Could you see me - driving down to the fashion salon in a jeep - wearing combat boots and a three day beard? -LRB- He chuckles at the thought. -RRB- LISA I could see you looking handsome and successful in a dark blue flannel suit. JEFF -LRB- Looking directly at her. -RRB- Let's not talk any more nonsense, huh? She stands up. THE CAMERA PULLS BACK. LISA I'd better start setting up for dinner. She moves away behind him, into the kitchen.",
"INT. JEFF'S APARTMENT NIGHT - SEMI-CLOSEUP Jeff gives a sigh of relief, exhaling his breath, then looks down toward his legs in thought. He holds this attitude for just a moment, then seems to shake off his concern to lift his head and turn his attention to what might be happening in his neighborhood beyond his window. Behind him we see the vague form of Lisa bringing in a card table, which she proceeds to unfold.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Jeff's attention is concentrated on an apartment we have not seen before. This belongs to a single woman, about forty years of age. She lives alone. Her apartment is below that of the salesman with the invalid wife.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff leans forward with increased interest. Behind him we get vague figure of Lisa laying a cloth over the card table.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT A nearer view show us a more intimate picture of the woman Jeff is concentrating on. She is thin and unattractive. At the moment, she is putting on her make - up in front of the bedroom mirror. She gives a half turn and picks up a pair of horn - rimmed glasses, which she puts on, and leans nearer to her mirror. She picks up a lipstick and proceeds to paint her lips carefully. Having completed her make - up, she takes off her glasses and surveys her face in the mirror. She stands up, swings the skirt of her dress around, admires herself in the mirror. She is quite flat - chested, and the dress hangs unattractively. She lifts her chin, gives one last look, and turns toward her living room. As if she's preparing to meet someone.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Without taking his eyes from the scene, Jeff picks up his wineglass and drinks. As he drinks, his eyes move slightly over.",
"EXT. NEIGHBORHOOD NIGHT - SEMI-LONG SHOT THE CAMERA HAS PANNED slightly to the woman's living room window. A small, candle - lit table is set up, with dinner for two. The spinster sweeps into the room, smiling. She goes to the door, opens it, and in pantomime admits an imaginary caller. She pretends to kiss him lightly, take his hat, and place the hat on a chair. Then she shows him to a seat at the table, disappears into an unseen kitchen and returns with a bottle and two glasses. She sits down, pours two drinks. She lifts her drink in a toast to the imaginary man opposite her.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff gives a faint, sympathetic smile, and subconsciously raises his glass in response. In the background, Lisa, having just placed a pair of candlesticks on the table, is returning to the kitchen.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Having finished her drink, the lonesome woman pours herself another one. Then she starts to take a sip, smiling across the table at her imaginary guest. She lowers the glass onto the table. The smile fades from her face as her head drops. Suddenly she buries her head in her arms over the table and starts to sob.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff, his glass in hand, looks out sympathetically. He is unaware that Lisa is standing behind him, and is also watching this little drama. LISA That's what is know as `` manless melancholia.'' JEFF -LRB- Nods agreement. -RRB- Miss Lonely Hearts. At least that's something you'll never have to worry about. LISA Oh? You can see my apartment all the way up on 63rd street? JEFF Not exactly - but we have a little apartment here that's probably about as popular as yours. -LRB- He points. -RRB- You, of course, remember Miss Torso. Both of them swing their eyes a little to the left.",
"EXT. NEIGHBORHOOD NIGHT - SEMI-LONG SHOT The kitchen - lining room combination of the ballet dancer's apartment has now been made more presentable. The ice box is now skillfully concealed by a large Chinese screen. All kitchen utensils have been put away, replaced by more attractive effects, and lamp light softens the surroundings. Miss Torso is now wearing a cocktail dress, which shows off her figure to great advantage, especially when she leans toward three assorted men to offer them a plate of hors d' oeuvres. She is the perfect hostess, animated, charming, and with an added personal touch for each guest. She is behaving with a sophistication which was not apparent when we first saw her in the morning. Her every movement is followed admiringly by the eyes of the three men - one wearing black tie, with a touch of grey in his hair, a Long Island socialite - a young rather handsome, actor in grey flannel suit - and last, a bright, pleasant, young man who might possibly be from Wall street, wearing a blue - pin - striped suit. The latter two are engaged in an animated conversation. The young man in the grey suit is showing the other young man some newspaper cuttings he's taken from his pocket. Miss Torso sees that the cocktail glass of the third man is empty. She takes it over to the window, and starts to fill it. The man in the tuxedo follows her over, with a casual glance toward the other two. He stands beside her as she makes the drink. He looks at his watch with some impatience, and makes a side comment to her as to the lateness of the time. She turns, gives him a light kiss on his cheek, as if she's telling him to be patient. Instead of pacifying him, it makes him more amorous, and he puts an arm around her shoulder an plants a heavy kiss on her cheek. She turns to face him, they look into each other's eyes a moment, and she allows herself to be kissed on the lips - but only long enough so as to attract the attention of the other two men. With a little admonishing look, she moves away from him, and makes him rejoin the other two.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff turns and looks up to Lisa with a grin. JEFF Well, she picked the most prosperous looking one. LISA She's not in love with him - or any of them. JEFF How can you tell that - from here? LISA You said it resembled my apartment, did n't you? She moves away with a significant look to him. THE CAMERA MOVES IN until Jeff is in semi - closeup, alone. He ponders over her last remark, then changes his look to another direction.",
"EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The newlyweds's apartment has the shades still drawn. Although there's a light burning inside.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP There is a slight, but warm, smile on Jeff's face as he looks at the drawn shade. His eyes move away from the newlyweds' apartment, and slowly explore the neighborhood to his right. He finds something of interest, and stops to stare at it. His face sobers at what he sees.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman's apartment. We see both the living room and the bedroom. The salesman has prepared a dinner tray, and is carrying it from the kitchen, through the lining room, into the bedroom. He places it on the lap of his wife, sitting up in bed. He puts a couple of pillows behind her back to make her more comfortable. She does n't bother to thank him, but is busy examining the content of the tray. Her attitude shows her dissatisfaction. Nothing is right. It's not what she wanted, and it's badly prepared. She begins criticizing him. He starts to answer her back, but decides better of it, and instead, leaves the room. He goes to the kitchen reaches up to a wall cabinet, takes down a bottle and pours himself a drink. Then he returns to the lining room, listens a moment. The wife is grudging beginning to eat the dinner. The husband quietly lifts a phone from the cradle, and dials a number.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff becomes completely absorbed with he sees. He leans forward a little.",
"EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT We get a better view of the salesman waiting while his connection is being made. Whoever he has called answers. And instantly there is a marked change in his attitude. He relaxes, smiles, is warm. He talks softly, perhaps guardedly, with an occasional glance at the bedroom door. In the bedroom, his wife has become aware of the call. Quietly she moves the tray, gets out of bed, and goes to the bedroom door to listen. The wall hides her from our view. Then suddenly, she apparently opens the door, because the living room, we see her arm suddenly appear, pointing at the man and the telephone. He speaks quickly into the phone, and hangs up. His face is flushed and angry as he goes toward the bedroom. In the bedroom his wife appears walking back to the bed, followed by the husband. She is laughing, and he is answering her in angry tones. She climbs in bed laughing. The more she laughs, the more angry he gets, and the harder she laughs. Finally, he leaves the room, goes into the living room, back into the kitchen and has another drink. He stands there, controlling an outburst of emotion, and seems almost to be crushing the shot glass in his clenched fist.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP While Jeff has been engaged in watching this little drama, the SOUND of a piano has started. He now diverts his attention from the salesman's apartment to the source of the piano music. He turns his eyes in the direction of the composer's apartment.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Through the studio window of the song - writer's apartment we see the man at work again on his original melody, and he is farther along the line of the melody than before. It is beginning to take some shape, and give promise of its full beauty.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff, listening to the composer. His head turns as Lisa's voice comes over : LISA -LRB- Emerging from kitchen. -RRB- Where's that music coming from? THE CAMERA QUICKLY PULL BACK as Jeff swings his chair around. Lisa is emerging from the kitchen, carrying the serving dish of their lobster thermidor. JEFF Oh. some songwriter. In the studio apartment. Lives alone. Probably had an unhappy marriage. LISA -LRB- Putting down the food. -RRB- I think it's enchanting. She pulls up a chair and seats herself at the card table. We now observe that two small lit candles adorn the table, and the rest of the room lights are out. LISA Almost as if it were being written especially for us. JEFF -LRB- Pleasantly. -RRB- No wonder he's having so much trouble with it.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP A faint shade of disappointment is seen on Lisa's face ; but she quickly recovers and looks down at the table. LISA Well, at least you ca n't say the dinner is n't right.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff looks at her soberly. JEFF Lisa, it's perfect. -LRB- Looks down at the food, without enthusiasm. -RRB- As always.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP The brightness drains from Lisa's face, and she lowers her eyes slowly toward the table.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa slowly helping Jeff to lobster from the main dish.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Shooting over Jeff's shoulder we see beyond him the divan - bed upon which Lisa is stretched out. There is one light burning, behind Lisa's head. A fierce discussion is in progress. Lisa gesticulates with her hands, body and legs. LISA There ca n't be that much difference between people and the way they live! We all eat, talk, drink, laugh, sleep, wear clothes - Jeff raises both his hands. JEFF Well now, look - Lisa draws back one leg, and points a finger challengingly. LISA If you're saying all this just because you do n't want to tell me the truth, because you're hiding something from me, then maybe I can understand - JEFF There's nothing I'm hiding. It's just that - LISA -LRB- Wo n't let him break in. -RRB- It does n't make sense to me. What's so different about it here from over there, or any place you go, that one person could n't live in both places just as easily? JEFF Some people can. Now if you'll let me explain - LISA -LRB- Ignores him. -RRB- What is it but traveling from one place to another, taking pictures? It's just like being a tourist on an endless vacation. JEFF All right. That's your opinion. You're entitled to it, but - LISA It's ridiculous for you to say that it can only be done by a special, private little group of anointed people.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff begin to get desperate. JEFF I made a simple, but true statement and I'll back it up, if you'll just shut up for a minute!",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, stretched out on the divan. She looks at him for a moment without speaking. Then : LISA If your opinion is as rude as your manner, I'm not sure I want to hear it. We see Jeff's hand coming to the foreground with a restraining gesture. JEFF -LRB- Soothing her. -RRB- Lisa, simmer down - will you? LISA -LRB- Something starts her up again. -RRB- You ca n't fit in here - I ca n't fit in there. According to you, people should be born, live an die on the same - JEFF -LRB- Loud, sharp. -RRB- Lisa! Shut up! Lisa turns on her side, and stares into the room, angrily.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP After a moment of silence, Jeff says earnestly : JEFF Did you ever eat fish heads and rice? LISA Of course not. JEFF You might have to, if you went with me. Ever try to keep warm in a C - 54, at fifteen thousand feet, at twenty below zero?",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa, still looking out into the room, and without turning, says : LISA Oh, I do that all the time. Whenever I have a few minutes after lunch. JEFF Ever get shot at, run over, sandbagged at night because people got unfavorable publicity from your camera? She does n't answer, obviously annoyed at the unnecessary questions. JEFF Those high heels would be a lot of use in the jungle - and those nylons and six - ounce lingerie - LISA -LRB- Quickly. -RRB- Three. JEFF Well, they'd be very stylish in Finland - just before you froze to death. Begin to get the idea? She turns at last, and looks across at him. LISA If there's one thing I know, it's how to wear the proper clothes.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT SHOOTING OVER LISA'S SHOULDER, and down her body, with Jeff in the chair beyond. Jeff says, as if remembering some old experience : JEFF Huh? Try and find a raincoat in Brazil. Even when it is n't raining. -LRB- Squints at her. -RRB- Lisa, on this job you carry one suitcase. Your home is the available transportation. You sleep rarely, bathe even less, and sometime the food you even look at when they were alive! LISA Jeff, you do n't have to be deliberately repulsive just to impress me I'm wrong. JEFF If anything, I'm making it sound good. -LRB- A thoughtful pause. -RRB- Let's face it, Lisa. you are n't made for that kind of a life. Few people are.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa realizes she is getting nowhere. LISA You're too stubborn to argue with.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff, getting angry. JEFF I'm not stubborn! I'm truthful!",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, with sarcasm. LISA I know. A lesser man would have told me it was one long holiday - and I would have awakened to a rude disillusionment.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is definitely angry. JEFF Now if you want to get vicious, I'd be very happy to accommodate you!",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa starts to rise from the divan, THE CAMERA PANNING UP. She moves away from THE CAMERA into the center of the room, as she says : LISA -LRB- Wearily. -RRB- No. I do n't particularly want that. -LRB- She turns, faces him. -RRB- So that's it. You wo n't stay here - I ca n't go with you.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff looks across at her with some concern. JEFF It would be the wrong thing.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, from Jeff's viewpoint. LISA You do n't think either one of us could ever change? JEFF Right now, it does n't seem so. Lisa begins to move around the room assembling her possessions preparatory to leaving. She puts a comb, and other effects, into a handbag. She gets her stole. All this as she talks. LISA -LRB- Simply. -RRB- I'm in love with you. I do n't care what you do for a living. Somehow I would just like to be part of it.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff starts to say something then thinks better of it, and remains silent.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa pauses in the act of gathering her things together. LISA And it's deflating to find out that the only way I can be part of it - is to take out a subscription to your magazine. I guess I'm not the girl I thought I was. JEFF There's nothing wrong with you, Lisa. You have the town in the palm of your hand. LISA -LRB- Looks at Jeff. -RRB- Not quite - it seems. -LRB- Tosses a stole over her shoulder. -RRB- Goodbye, Jeff.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP JEFF You mean `` goodnight.'' LISA I mean what I said. Jeff's eyes follow her up the steps toward the door. He calls out to her, impulsively, as we HEAR the SOUND of the door opening. JEFF Lisa!",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT Lisa turns in the half - opened door. JEFF Ca n't we just sort of keep things status quo? LISA Without any future?",
"INT. JEFF'S APARTMENT - NIGHT - SEMI LONG SHOT Jeff tries to be pleasant, and offhand. JEFF Well - when'll I see you again?",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa, standing in the open doorway. LISA Not for a long time. Not, at least until -. -LRB- She begins smiling. -RRB- - tomorrow night. Continues smiling as she close the door softly behind her.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP The pleasantness on Jeff's face slowly melts into baffled discouragement. He reaches for a nearby phone picks up the receiver, dials. It buzzes on filter. Receiver up on filter. GUNNISON -LRB- Filter. -RRB- Hello. JEFF Gunnison? GUNNISON Yeah. Is that you, Jeff? JEFF It's me. GUNNISON Something wrong? JEFF The word is `` everything.'' Now what time does my plane leave Tuesday? GUNNISON -LRB- Unhappy. -RRB- Jeff - JEFF -LRB- Wo n't give him time to argue. -RRB- I do n't care where it goes - just as long as I'm on it. GUNNISON -LRB- Wearily, after pause. -RRB- Okay. Indo - China. Tuesday. We'll pick you up. JEFF That's more like it. Goodnight, old buddy. GUNNISON Yeah. Jeff hangs up, looks up to the door through which Lisa left. He's not particularly happy.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff returns to the window. He lights a cigarette and smokes it peacefully, as he contemplates the neighborhood.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The CAMERA slowly sweeps over the various apartments with an odd window lit here and there. In the distant street there is still some traffic passing, with one or two pedestrians going by. THE CAMERA completes its sweep, and starts to move back again. Somewhere a dog howls. The PANNING CAMERA comes to a sudden halt.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles a little, but as the howl continues, his expressions sobers. His eyes begin to scan the neighborhood, as if looking for the source. He fails to find it, and sits there, puzzled and disturbed. The scene, and the sound of the dog :",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff's chair is turned facing the window so that we see the darkened room behind him. There is just one side light burning, which illuminates the side of his face. His head nods sleepily as he dozes. He opens his eyes and looks out, as a slight sound of rain starts.",
"EXT. NEIGHBORHOOD - NIGHT - LONG SHOT From his viewpoint we see the first few drops of rain starting to fall. It is sort, gentle rain, not a downpour. There are still some windows lit in the neighborhood. The apartment house corridors all have small night lights burning.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff wakens a little more fully as his attentions is drawn to :",
"EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The couple who sleep on the fire escape. The increasing rain cause them to hastily gather their things to retreat inside. The man, hurriedly untying the alarm clock from the railing of the fire escape, lets it slip through his fingers. As if falls to the garden below, the CAMERA FANS SWIFTLY down with it. When the clock hits the ground, the alarm goes off sending a shrill sound through the neighborhood.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff smiles at the incident, and then lowers his eyes slightly as something else catches his attention.",
"EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Coming out of his apartment into the corridor on the floor below is the salesman with the nagging wife. The shades are drawn in his apartment, but a light burns dimly behind them. The salesman carries a large aluminum suitcase - the same one we saw him with earlier in the day. The sound of the alarm startles him. He turns toward the window a moment listening. Then reassured that is is nothing important, he turns and moves down the corridor.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is puzzled. He looks down a moment in thought. Then he darts his eyes and swings them toward the left. He looks steadily toward the distant street corner.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street corner, lighted by a lamp, is deserted. A moment later, the salesman, still carrying the suitcase, moves diagonally across the corner, head down against the rain.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff looks wonderingly at this nocturnal activity. Then he looks down at his wristwatch. INSERT Jeff's watch reads 1:55. INSERT The watch now reads 2:35.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP More puzzled, allows his eyes to travel from the street to the apartment corridor.",
"EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman is see coming down the corridor to his apartment, still carrying the aluminum case. He quickly enters his apartment door in a business - like manner.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff starts to assume a thoughtful air, when he is startled by a light which falls across his face from the right. He looks toward the light.",
"EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The light comes from the song - writer's apartment. His door is open, and he is hanging onto the door frame, his hand still on the light switch. He surveys his apartment. He appears rather drunk. He comes into the apartment, closes the door behind him, and sways a little. He wears a hat, pushed back on his forehead, and no raincoat. His clothes are quite wet. He might have even fallen. He looks disgustedly at the piano, then lurches toward it. There is no doubt now as the state of his drunkenness. At the piano he viciously sweeps all the note paper off the music stand. This seems to give him some satisfaction, but he loses his balance, twists sideways, and fall into a nearby chair. He remains there, bleary - eyed and a little sick.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP What he has observed seems to give Jeff an idea. He moves his wheelchair backward and to the left alongside the side board. Awkwardly, with his left hand, he reaches up for a bottle of whiskey. He cradles the bottle in his lap, and reaches for a tumbler. He then wheels back to the window, and pours himself a good, long drink. He lifts up the glass, starts to drink, but something happening beyond his window startles him and he stops in the middle of his drink, his eyes a little wider then usual.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman is again leaving his apartment with his aluminum suitcase.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes travel down to the street.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT A brief moment or two. Then the salesman, carrying his aluminum case, crosses the street.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's face is expressionless. He just stares.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's head is nodding and dozing again. The side light from the song - writer's apartment is no longer on his face. Jeff's eyes open, then his head comes up quickly, trying to clear the sleep from his mind, as he remembers the object of his vigilance.",
"EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The salesman's apartment shows the shades drawn and a dim light burning behind them. The CAMERA PANS to the empty corridor.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes turn sharply in the direction of the street.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The street is deserted. At the right hand side of the screen a light goes on. THE CAMERA PANS OVER and we see that Miss Torso has returned from her date. She is wearing a three - quarter length coat over her evening dress. She is inside, with the door two - thirds closed, but she leans out to kiss someone goodnight. Then it takes some coaxing to get the door completely closed. She turns the key in the lock. She listens a moment then comes to the center of the room. She takes her coat off and drapes it over chair. She removes the screen in front of the ice box, then opens the ice box. She searches it for something to eat ; finds a big piece of pumpkin pie. She closes the ice box. She starts to eat the pie as she moves in the direction of the bathroom. Stopping a moment, she puts the piece of pie on a table, and proceeds to take off her dress. Undoing the zippers, she slides it over her head as she passes into the bathroom. The dress is thrown on a nearby chair, and the bare arm picks up a piece of pie. She is now in the bathroom. We see her slip down the brassiere straps, but the window does not permit us to see any lower. As she munches on the pie, she pulls out a few pins holding up her hair, which she proceeds to brush rhythmically. She turns and moves down her bare back.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff's eyes suddenly switch to the street.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT We catch a quick glimpse of the salesman, just passing the alleyway, suitcase in hand. The CAMERA PANS across the ballet dancer's apartment, over to the salesman's apartment. It waits, until he appears in the corridor. He enters his apartment.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff sits in his wheelchair, looking quietly out at the neighborhood, sleep beginning to take hold on him again.",
"EXT. NEIGHBORHOOD - NIGHT - LONG SHOT THE CAMERA PANS slightly over the whole of the neighborhood. The lights in Miss Torso's apartment snap out. Only one light remains. It burns behind the drawn shades of the salesman's apartment.",
"INT. JEFF'S APARTMENT - DAWN - CLOSEUP A big head of Jeff. He is still in his wheelchair, sound asleep. The CAMERA PANS off his face, out through the window. The rain has stopped, and the general light of dawn is coming up. The CAMERA COMES TO REST on the salesman's apartment and corridor, which is still dimly lit by the electric lights. We see the salesman emerge into the corridor, pause a moment to allow a woman to proceed him. Her back is to the CAMERA and we do not see her face. They move away, down the corridor. The CAMERA PANS BACK into Jeff's sleeping face.",
"EXT. NEIGHBORHOOD - DAY - LONG SHOT It is now mid - morning. The sun is shining. Miss Torso is practicing her dance to the sound of ballet music. We can hear the song - writer at work, but the thing that attracts our attention mostly, is some action that emanates from the fire escape where the couple sleep at night. On a long rope, the woman is lowering an open wicker basket in which sits a small dog. When is reaches the yard below, the CAMERA PANNING DOWN, the dog steps out and runs off to explore the yard. The woman pulls up the basket, and leaves it on the fire escape. The CAMERA PULL BACK into Jeff's apartment where Stella is busy massaging Jeff's back at he lies face down on the divan. STELLA You'd think the rain would have cooled things off. All it did was make the heat wet. Stella hits a sore muscle in Jeff's back. He jumps. JEFF That's a stiff one.",
"INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT A low camera has Jeff's head on the foreground, with Stella just behind him, at work on his back. She attacks the sore muscle vigorously. STELLA The insurance Company would be a lot happier if you slept in your bed, not the wheelchair. JEFF -LRB- Between clenched teeth. -RRB- How did you know! STELLA Eyes bloodshot. Must have been staring out the window for hours. JEFF I was. STELLA -LRB- Massaging harder. -RRB- What'll you do if one of them catches you? JEFF Depends one which one. She stops massaging, reaches for the oil. JEFF Now Miss Torso, for example - Stella hits his back with a palmful of cold oil. It takes his breath. STELLA Keep your mind off her. JEFF She's real eat, drink and be merry girl. STELLA And she'll end up fat, alcoholic and miserable. JEFF Speaking of misery, Miss Lonely Hearts drank herself to sleep again. Alone. STELLA Poor girl. Someday she'll find her happiness. JEFF And some man will lose his. STELLA Is n't there anyone in the neighborhood who might cast an eye in her direction? JEFF Well, the salesman could be available soon. STELLA -LRB- Interested in the scandal. -RRB- He and his wife splitting up? JEFF It's hard to figure. He went out several time last night, in the rain carrying his sample case. STELLA -LRB- So? -RRB- Is n't he a salesman? JEFF Now what could he sell at three in the morning? STELLA -LRB- Shrugs. -RRB- Flashlights. Luminous dials for watches. House numbers that light up. JEFF He was taking something out of the apartment. I'm certain. She helps him to a sitting position. STELLA His personal effects. He's probably running away - the coward. JEFF Sometimes it's worse to stay than it is to run. STELLA -LRB- Looks at him. -RRB- But it takes a particularly low type of man to do it. Jeff turns his head away for a moment. She helps him into the chair. Hands him his shirt, which he proceeds to put on. The back of his chair is to the window. STELLA -LRB- Putting oil and power away. -RRB- What about this morning? Any developments? JEFF No. The shades are still drawn in their apartment. STELLA -LRB- stops. -RRB- In this heat? -LRB- Turns, looks over his shoulder. -RRB- They're up now.",
"INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP He quickly turns his wheelchair around to the window until he is in profile.",
"EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman, having just raised the shades in the living room, is now looking out the window. It is not a casual look, but a long, careful, searching appraisal of all the apartment house windows in his neighborhood, starting from his left to his right. His eyes move closer toward Jeff's apartment.",
"INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff in his chair, facing the window, Stella beside him. Jeff nearly knocks the startled Stella off her feet with his arm. JEFF Get back! Out of sight! Quick! He propels his chair backward quickly, and Stella moves to the side with surprising agility. They are both in shadow. STELLA -LRB- A startled whisper. -RRB- What is it? What's the matter? Jeff keeps his eyes trained on the window. JEFF -LRB- Quietly. -RRB- The salesman's looking out his window. Stella relaxes, gives Jeff a disgusted look, and starts to move out of the shadows. STELLA A Federal offense. JEFF -LRB- Sharply. -RRB- Get back there! He'll see you! She moves back into the shadows. STELLA I'm not shy. I've been looked at before. JEFF -LRB- Still peering toward window. -RRB- It's not an ordinary look. It's the kind of look a man gives when he's afraid somebody might be watching him.",
"EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman completes his searching glance at the neighborhood. Then something directly below his window catches his attention. He looks sharply downward, his body visibly tensing.",
"INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff, with a restraining hand to Stella, begins to edge his chair cautiously forward so that he can see what the salesman is looking at.",
"EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT THE CAMERA MOVES FORWARD, and as it reaches the edge of the window, PANS DOWN and shows us what the salesman is looking at. The little dog that was lowered in the basket is sniffing at the salesman's personal flower bed.",
"INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's eyes move up quickly to look at the salesman.",
"EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman leans forward and grips the window sill as he watches the dog. The CAMERA PANS DOWN and we now see that the old lady with the hearing aid is leaning over the fence admonishing the dog. We can faintly hear her voice saying something to the effect that he'll get into trouble. The dog turns to glance at her and apparently taking heed, moves away. The old lady is wearing a faded house - robe.",
"INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff is amused at the dog incident. Behind him, Stella moves to the center of the room, saying : STELLA Goodbye, Mr. Jefferies. I'll see you tomorrow. JEFF -LRB- Grunts. -RRB- Uh - huh. She begins putting her equipment back into her black bag. Jeff's eyes lift to the salesman's apartment, and the amusement drains from his face. He leans forward a little, tensely.",
"EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has his aluminum case on the table near the center of the room. He is carefully wiping out the interior with dust cloth.",
"INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff watching intently. Stella putting the last of her things into her bag. STELLA And do n't sleep in the chair again. Jeff continues to what the salesman, his face showing a great concentration of thought. JEFF Uh - huh. Stella picks up her bag, stares at Jeff's back a moment, then starts for the door. STELLA Uh - huh. Uh - huh. Great conversationalist. Jeff swings half - way around in his chair just as Stella reaches the top of the steps. JEFF Stella. She turns around. Jeff points to a coat - stand near the door. JEFF -LRB- Goes on quickly. -RRB- Will you take those binoculars out of the case and bring them to me. She puts down her bag, reaches for the binoculars, takes them out the case. She comes down the stairs, brings them to him. He immediately swings to the window, and lifts them to his eyes. Stella sniffs, then goes to the door, as she says : STELLA Trouble. I cam smell it. I'll be glad when they crack that cast, and I get out of here. As Stella goes out the door, the CAMERA MOVES IN until Jeff's head, and the binoculars, are filling the screen.",
"EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The salesman has completed his cleaning of the case. He is in the act of placing it on the floor. He turns and again glances out of the window.",
"INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff quickly lowers the binoculars and edges back a few inches. He watches a moment, then cautiously lifts the binoculars again.",
"EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) The man is now moving out of the living room, and the binoculars PAN him though to the small kitchen which is seen through a side window. The man starts to busy himself in this kitchen with his back to us, but the image is very unsatisfactory.",
"INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff lowers the binoculars and there is an expression of exasperation on his face. He throws the binoculars down, and then looks about him. He backs his chair up quickly toward the main cabinet on his left. He leans down, opens a cupboard door and takes out a long - focus lens. Then from a shelf above he takes a small Exacta camera. He quickly takes off the existing lens and puts on the telephoto lens in its place. He wheels himself back to the window and raises the camera to his eye.",
"EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Through the view - finder of the camera, we are now brought into close proximity with the salesman in his little kitchen. His back is still to us. He half - turns and takes a used newspaper. He spreads it open, along the drainboard. From the sink he takes out a large butcher's knife, and a long, narrow saw. They disappear from sight as he lays them on the newspaper and proceeds to wrap them up. Having completed his job, he emerges from the kitchen carrying the newspaper - wrapped parcel. For a moment he is lost behind the wall that separates the kitchen recess from the living room. He does not reappear for a moment.",
"INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera for a moment, and watches tensely. Suddenly he puts it up to his eye again.",
"EXT. NEIGHBORHOOD - DAY - CLOSE SHOT Half of a man's body is now seen in the living room. Then the salesman turns and moves to the center of the room. He is not carrying anything. He sits down on a couch, with a display of fatigue. He yawns and stretches out of sight at full length on the couch.",
"INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the camera. He watches the living room for a moment. Then his eye travels briefly back to the kitchen ; then return to the living room. His brow knits a little as we :",
"EXT. NEIGHBORHOOD - NIGHT - CLOSEUP The thermometer outside of Jeff's window, registering 83 degrees. The CAMERA PANS OFF to the left until it comes to rest on the song - writer's studio. He is dressed only in bathing trunks, and is vigorously cleaning his rug with a carpet sweeper. In the middle of his sweeping, he stops, hurries a step or two to the piano. He plays a couple of notes with one hand, while he stands. Listens, plays them again. Decides they are no good, and returns to his carpet sweeping. THE CAMERA PANS FARTHER LEFT to the salesman's apartment. There are no lights burning behind the drawn shade of the bedroom, but the living room and the kitchen are lighted. There is no sign of the salesman. THE CAMERA CONTINUES ITS PAN to the left, to include the couple who sleep on the fire escape in the hot weather. We now get an opportunity to examine these people more closely. The man is balding, and middle - aged. He is wearing striped pajamas. He is in the act of laying out the mattress. His wife is slightly younger, peroxided, faded show girl type. Also wearing pajamas, with a fluffy handkerchief in the left pocket, the wife is leaning over the railing holding onto the rope which leads to the dog's basket now on the floor of the courtyard. Having been a one - time siffleuse, her call to the dog is clarion and melodic.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The little dog emerges reluctantly from the shadows, and steps into the basket. It begins to move upward, and THE CAMERA FOLLOWS it. When the basket reaches the fire escape, THE CAMERA PANS ON to the apartment of Miss Torso. She is in the bathroom brushing her long hair, while her thoughts seem to be far away. THE CAMERA DROPS DOWN to the apartment below, occupied by the elderly lady with the hearing aid. For the first time we see something of her activities inside the apartment. She wears a short smock, although her legs are still bare. She is hard at work on a piece of abstract sculpture. It takes the form of a piece of mahogany through which a simple hole has been carved. THE CAMERA MOVES ON much farther to the left, and eventually comes to rest on the newly - weds' apartment with the shade still drawn. It MOVES ON and at last passes though Jeff's window, and comes to rest on the two bid heads of Jeff and Lisa. Her lips are brushing lightly against his cheek as she speaks : LISA How far does a girl have to go - before you notice her? Jeff moves his eyes slightly to something outside the window. JEFF If she's pretty enough, she does n't have to go anywhere. She just has to `` be''.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The salesman's apartment, just as we saw it a moment ago. The shades drawn and lights out in the bedroom, the shade up and lights on in the living room and kitchen. Still no one in sight. LISA Well, `` ai n't I?'' - Pay attention to me.",
"INT. JEFF'S APARTMENT - NIGHT - TWO SHOT We are now able to see that Jeff's apartment is in darkness, only faintly lit from the distant light of the neighbors' window. By her position, Lisa is seated on Jeff's sound knee, her arms around his neck. JEFF I'm not exactly on the other side of the room. LISA Your mind is. And when I want a man, I want all of him. She starts kissing him. JEFF Do n't you ever have any problems? LISA -LRB- Murmurs, kissing him. -RRB- I have one now. JEFF So do I. LISA -LRB- Kissing. -RRB- Tell me about it. JEFF -LRB- Slight pause. -RRB- Why would a man leave his apartment three times, on a rainy night, with a suitcase? And come back three times? LISA He likes the way his wife welcomes him home. JEFF Not that salesman's wife. And why did n't he go to work today? LISA Homework. It's more interesting. JEFF What's interesting about a butcher's knife and a small saw wrapped up in a newspaper? LISA Nothing, thank heaven. JEFF -LRB- Looking again. -RRB- Why has n't he gone into his wife's bedroom all day? LISA I would n't dare answer that. JEFF -LRB- After pause. -RRB- Lisa - there's something terribly wrong. She gives up trying to interest him in romance, and moves back from the embrace. THE CAMERA PULL BACK. LISA And I'm afraid it's with me. Lisa stands, straightens out her dress, stretches a little then she turns to the divan, apparently not too interested in his observation about the salesman's life. JEFF -LRB- Looks at Lisa. -RRB- What do you think? LISA -LRB- Without returning his look. -RRB- Something too frightful to utter. Jeff is thoughtful for a moment, then he relaxes and smiles a little. He turns to the window to look out again. Lisa exits the picture.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa stretches herself out on the divan. Her head rest on the cushion at the far end, and she instinctively falls into an attractive pose. However, her expression is disturbed as she watches Jeff.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP He stares intently out the window. JEFF He went out a few minutes ago - in his undershirt - and he has n't come back yet.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa weighs this information, trying to make some sense out of it.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff turns his eyes from the salesman's apartment, and looks down reflectively. He looks up again, and then his eyes catches sight of something. He leans forward slightly.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Miss Torso is lying, face down, on her divan bed. The only light in the apartment is from a reading lamp. She is reading a book held in one hand, while eating a sandwich in another. Her back is bare, and all she wears is a pair of brief dark blue shorts. At one point, she lifts her torso up slightly to brush crumbs out from beneath her.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP He looks away from Miss Torso, thoughtfully. JEFF You know - that would be terrible job to tackle.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Lisa leans forward and looks out the window to see what Jeff is referring to. She turns back to him with a blank stare.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff turns and looks at her, quite unaware of her surprise at his comment. JEFF How would you begin to cut up a human body?",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa sits bolt upright on the divan. She reaches back quickly and pulls on the overhead light. At that moment the songwriter returns to his composing. We can see him over Lisa's shoulder. He is beginning his song again, and it has taken on new fullness and melody. Although it is not complete, it is farther along then before, and he plays his theme a number of different ways, trying to move it note by note to its completion. Lisa just stares at Jeff for a moment. LISA Jeff - I'll be honest with you - you're beginning to scare me a little.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff is staring out of the window again. Over this we hear Lisa's voice : LISA -LRB- Quietly insistent. -RRB- Jeff - did you hear what I said? You're beginning to - Jeff puts out a restraining hand. JEFF -LRB- Interrupting. -RRB- Be quiet! Shhh! -LRB- Pause. -RRB- He's coming back!",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT At last the salesman is seen coming along the corridor. He does not wear shirt, but only an undershirt. Slung over one shoulder, with his arm through is, is a large coil of sturdy rope. He goes through the living room into the bedroom. He does not put on the bedroom lights.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff reaches quickly for his binoculars, and trains them on the salesman's apartment.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT As seen though the binoculars, the salesman comes out of the bedroom, to the kitchen, where he gets a carving knife. He turns around and goes back to the bedroom. The lights go on behind the draw shades, after a short moment. The dim shadow of the salesman is seen moving around the room.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa, still stretched out on the divan looking at Jeff, suddenly sits upright and then getting up from the divan, mover over to Jeff, THE CAMERA GOING WITH her. In a sudden surprise move, she swings his chair completely around so that his back is to the window. He drops the binoculars into his lap in surprise. THE CAMERA MOVES IN as Lisa leans over Jeff, gripping both sides of his chair LISA -LRB- sharply. -RRB- Jeff - if you could only see yourself. JEFF Now, Lisa - LISA -LRB- Abruptly. -RRB- Sitting around, looking out a window to kill time, is one thing - but doing it the way you are -. -LRB- She gestures. -RRB- - with, with binoculars, and with wild opinions about every little movement you see - is, is diseased! JEFF Do you think I consider this recreation? LISA I do n't know what you consider it - but if you do n't stop it, I'm getting out of here. JEFF You'd better before you catch the disease! LISA -LRB- Insistent. -RRB- What is it you're looking for? JEFF I want to find out what's wrong with the salesman's wife. Does that make me sound like a madman? LISA What makes you think something's wrong with her? LISA A lot of things. She's an invalid who needs constant care - and yet the husband nor anyone else has been in there all day. LISA Maybe she died. JEFF Where's the doctor - the undertakers? LISA She could be under sedatives, sleeping. -LRB- Looks up. -RRB- He's in the room now. Jeff tries to turn around, but she wo n't let the chair move. JEFF Lisa, please! LISA There's nothing to see. JEFF There is - I've seen things through that window! Bickering, family fights, mysterious trips at night, knives, saws, rope - and since last evening, not a sight or sound of his wife! Now you tell me where she is and what she's doing! LISA Maybe he's leaving his wife. I do n't know, and I do n't care. Lots of people have saws, knives and ropes around their houses. Lots of men do n't speak to their wives all day. Lots of wives nag, and men hate them, and trouble starts - but very, very, very few of them end up in murder - if that's what you're thinking. JEFF It's pretty hard to stay away from that word is n't is? LISA You could see all the things he did, could n't you? JEFF What are you getting at? LISA You could see that he did because he had the shades in his apartment up, and walked along the corridor, and the streets and the backyard? JEFF Yeah. LISA Jeff, do you think a murderer would let you see all that? That he should n't keep his shades down and hide behind them? JEFF That's where he's being clever. Acting nonchalant. LISA And that's where you're not being clever. He would n't parade his crime in front of the open shades. She turns the wheelchair slightly to her left so that he can see the newlyweds' apartment. LISA -LRB- Pointing. -RRB- For all you know - there's something a lot more sinister going on behind those shades.",
"EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The drawn shades of the newlyweds' apartment. A dim light burning behind them.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Jeff looks, turns back to her, trying to suppress a chuckle. JEFF No comment. LISA Do n't you see how silly you're being? JEFF Okay, Lisa - probably you're right. He's probably in the bedroom now, entertaining his wife with the indian rope trick. I'll admit to criminal insanity. Now when do I start the cure? Lisa half looks up and out the window. She opens her mouth to answer, but a new look overtakes her face. It is concern, surprise, and a little shock. Jeff sees the change, is sobered, and quickly turns the chair around. He looks out the window, using his binoculars.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The shades in the bedroom are now up. Both beds are empty, and stripped of their linen, the mattresses thrown up over the end of the beds. The salesman, sweating heavily, stands over a large, square trunk in the center of the room. It is stoutly bound by the heavy rope we previously saw him bring into the apartment. He wipes one forearm across his brow, and then heads for the kitchen. In the kitchen, he produces a bottle, pours himself two or three straight drinks, then leans with a display of exhaustion against the kitchen sink.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Jeff lowers the glasses. His look is sober. Lisa stands behind him, one hand on the back of the wheelchair. She, too, is serious. THE CAMERA MOVES IN until Lisa's head fills the screen. She says, slowly : LISA Let's start from the beginning again, Jeff. Tell me everything you saw - and what you think it means. She is still staring out the window, as the scene",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Jeff is seated in the dark, his face lit by the faint glow from the distant street. He is looking out of the window tensely, as THE CAMERA MOVES IN, until he is in big profile.",
"EXT. NEIGHBORHOOD - NIGHT - LONG SHOT From Jeff's viewpoint, all the windows are dark. The couple are sleeping on the fire escape. The salesman's apartment is dark as well. Suddenly a match flares, and we see the salesman light a cigar. The flame of the match illuminates his face for a moment. When is dies out, we see just the glow of the cigar burning.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP The CAMERA is now facing Jeff. We see that his left hand rests on the telephone receiver which is close to him. The phone starts to RING, but makes only the slightest sound, as he instantly picks it up. As he talks, in a low voice, he keeps his eyes on the salesman's apartment. JEFF Yeah?",
"INT. PHONE BOOTH - NIGHT - CLOSEUP We get an impression of Sixth Avenue behind Lisa at the phone. Lisa also talks in a low, quiet voice. LISA The name on the second floor rear mailbox reads Mr. And Mrs. Lars, that's L - A - R - S, Lars Thorwald. JEFF -LRB- Filter. -RRB- What's the apartment house number? LISA 125 West Ninth Street.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff, still looks toward the salesman's apartment. JEFF Thanks, Lisa.",
"INT. PHONE BOOTH - NIGHT - CLOSEUP Lisa smilingly says : LISA Okay, chief. What's my next assignment. JEFF To get on home. LISA All right - but what's he doing now?",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is still looking toward the salesman's apartment. JEFF Just sitting in the living room. In the dark. And he has n't gone near the bedroom. Now get some sleep. Goodnight. He puts the receiver down, and resumes his vigil.",
"EXT. NEIGHBORHOOD - NIGHT - LONG SHOT All we can see is the glow of the salesman's cigar.",
"INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Jeff is seated by the window in his wheelchair. He is talking on the telephone while his eyes are still on the neighborhood. There is a touch of urgency in his voice. JEFF Look, Doyle - it's just one of those things I ca n't tell you on the phone. You have to be here, and see the whole set - up. The CAMERA PULLS BACK slightly as Stella emerges from the kitchen. She is carrying a tray with breakfast on it. Eggs, bacon, toast and coffee. JEFF It's probably nothing important - just a little neighborhood murder, that's all. As a matter of fact, I did say `` murder''. Stella squeezes past the right side of Jeff, and places the food tray on a windowseat in front of him. She peers out cautiously toward Thorwald's apartment for a moment. Then she squeezes back, moving to the sideboard against which leans a small table on an adjustable stand. JEFF My only thought was to throw a little business your way. A good detective, I reasoned, would jump at the chance to detect. Stella returns with the table, and sets it up so that it is across Jeff's lap. She gets the tray of food pausing to look toward Thorwald's apartment. Then she places the breakfast on the tray table in front of Jeff. He has moved back a little to avoid getting the phone cable tangled in the food and dishes. JEFF Well, I usually took my best pictures on my day off. -LRB- nods. -RRB- Okay, Doyle - soon as you can.",
"INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP He hangs up. Stella takes the phone and puts it down for him. He looks at the breakfast, reaches for a knife and fork. JEFF Stella, I - I ca n't tell you what a welcome sight this is. No wonder your husband's still in love with you. STELLA Police? JEFF -LRB- Pauses in cutting food. -RRB- Huh? STELLA You called the police? JEFF Oh. Well, yes and no. It was n't an official call. He's just a friend. -LRB- Almost to himself. -RRB- An old, ornery friend. He begins eating, appreciatively. She moves behind his chair, pausing to look toward Thorwald's apartment again. Jeff is just lifting a piece of bacon to his lips when Stella speaks. STELLA -LRB- Half to herself. -RRB- Now just where do you suppose he cut her up? The hand carrying the bacon to Jeff's mouth hesitates for a moment. STELLA -LRB- Answering herself. -RRB- Oh - of course! In the bathtub. That's the only place he could wash away the blood. The hand holding the bacon moves back to the plate. Jeff just stares ahead. Stella turns and walks into the kitchen. Jeff pushes the food away, and picks up the coffee cup instead.",
"INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's eyes, over the coffee cup, are staring intently at the backyard.",
"EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT Thorwald's apartment. The shades up. No one moving. The rope - tied trunk still sits in the bedroom. To the left we see the basket lowering with the dog in it. We HEAR the woman WHISTLING an aria.",
"INT. JEFF'S APARTMENT - DAY - CLOSEUP His eyes stray in an upward direction as he puts down the coffee cup.",
"EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The CAMERA PANS UP past the woman lowering the dog, up to the roof where one of the sunbathers can be seen sitting up, rubbing her body with sun tan oil.",
"INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's eyes moves down again. Abstractedly his hand strays toward the piece of bacon. He picks it up.",
"EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT Thorwald's apartment. We are now aware that the salesman is now in his living room, lying out of sight on the sofa, because the smoke from a newly lighted cigar is starting to ascend toward the ceiling of his room. Stella's voice is heard calling out from the kitchen : STELLA'S VOICE He'd better get that trunk out of there before is starts to leak.",
"INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Again the bacon stops before is reaches Jeff's mouth. He puts it down on the plate again, as his eyes move slightly toward the left.",
"EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT Miss Torso, in ballet outfit, is hanging up a small wash on a clothes line. It consists mostly of lingerie. She is doing her inevitable leg practice at the same time. THE CAMERA PANS OVER SUDDENLY TO Thorwald's apartment, and except for the smoke rising from the unseen sofa, there is no activity.",
"INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff seems to be getting a bit listless, or bored, by constantly watching Thorwald's apartment. His eyes sort of stray around the neighborhood, and end up looking toward :",
"EXT. NEIGHBORHOOD - DAY - MEDIUM SHOT The newlywed's apartment. Shade down, business as usual.",
"INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff smiles affectionately, and starts to turn his eyes away ; but something startles him, and he looks quickly back.",
"EXT. NEIGHBORHOOD - DAY - MEDIUM SHOT The shade suddenly going up in the newlywed's apartment. The young husband leans his hands on the windowsill, and looks out. He is wearing only his pajama bottoms, because of the heat, and we see that he is a well - muscled, attractive young man. He looks around with some satisfaction. He turns at the sound of a woman's voice behind him. GIRL'S VOICE H - a - a - r - r - e - e. He turns his head, is thoughtful for a brief moment, then he pulls down the shade.",
"INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP His smile almost becomes a private chuckle. Stella's abrupt voice breaks in urgently : STELLA'S VOICE Look! Look - Mr. Jefferies! Jeff's head snaps toward the center of his window. Stella has appeared behind his wheelchair.",
"EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT Two men wearing tan coveralls are standing outside Thorwald's door. One of them carries a clipboard. Suddenly Thorwald is seen sitting up on the living room sofa. His hair is disheveled and he is unshaved. He stands up, and moves toward the door. He opens it, and after a short exchange of dialogue, he admits the two men, leaving the door open behind them. He leads the two man across the living room to the bedroom.",
"INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Stella and Jeff watching intently. He is feeling down alongside his wheelchair for his binoculars.",
"EXT. NEIGHBORHOOD - DAY - BINOCULAR SHOT A close view shows the two man carrying the trunk across the living room toward the corridor.",
"INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff lowers the binoculars quickly. JEFF -LRB- Agitated. -RRB- I thought Doyle would get here before the trunk went - or I'd have called the police. -LRB- To Stella. -RRB- Now we're going to lose it. Stella moves toward the door quickly. Jeff turns quickly over his shoulder to watch her. She is already going up the steps. JEFF Stella, do n't do anything reckless! As Stella goes out the door, she calls back : STELLA I'm just going to get the name of their truck! JEFF -LRB- Up. -RRB- I'll watch the alleyway - in case it goes that way. We hear nothing from Stella, but the sound of her heavy tread down the hallway stairs. Jeff returns to Thorwald. He eases himself back into the shadows a bit and then raises his binoculars.",
"EXT. NEIGHBORHOOD - DAY - BINOCULAR SHOT Jeff concentrates his attention on the alley - way that leads to the street. Just normal traffic. The binoculars swing to Thorwald apartment. The salesman is now at the telephone. He has picked up the receiver, and proceeds to dial 221.",
"INT. JEFF'S APARTMENT - DAY - CLOSEUP The binoculars still up to Jeff's face. Under them his mouth moves, as if he's talking to himself. JEFF Long Distance.",
"EXT. NEIGHBORHOOD - DAY - BINOCULAR SHOT The salesman speaks some words to the operator. Placing the call. As he does this, he reaches with his other hand for a nearly bottle, and working the cork out with one hand, he pours a stiff drink into a tumbler. He drinks it as soon as he finishes talking with the operator.",
"INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff lowers the binoculars a little, and takes a normal eye sight on the alleyway.",
"EXT. NEIGHBORHOOD - DAY - LONG SHOT Pulling across to the far side of the street we see the hood and cab of a freight truck.",
"INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff quickly puts the glasses up.",
"EXT. NEIGHBORHOOD - DAY - BINOCULAR SHOT By the time the binoculars are up, another truck has crossed from the left. In momentarily blocks out the side of our freight truck. By the time the two trucks part, we can only see the back half of the freight truck before it pulls out of sight. Jeff is only able to read the words `` FREIGHT LINES''. The binoculars are held for a moment until we see a puffing and blowing Stella arrive at the opening of the alleyway. She looks toward the front of Thorwald's apartment house. And by her attitude we can see that there is no truck outside. She looks about her for a moment.",
"INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff lowers the binoculars, discouraged.",
"EXT. NEIGHBORHOOD - DAY - LONG SHOT The figure of Stella is seen, looking up toward Jeff's apartment, and arms outspread in a helpless gesture.",
"INT. JEFF'S APARTMENT - DAY - SEMI-LONG SHOT SHOOTING TOWARDS the big window, with the neighborhood beyond, Jeff is as usual seated in his wheelchair on the left of the window, but now turned toward a newcomer. The second man is standing near the divan looking out the window with the binoculars. This newcomer is POLICE DETECTIVE LIEUTENANT THOMAS J. DOYLE, the man Jeff phoned earlier in the day. He is an intelligent - appearing, well - dressed modern detective. He has a sense of humor. He lowers the glasses, and turns to Jeff. DOYLE You did n't see the killing, or the body? How do you know there was a murder? JEFF Because everything that man's done has been suspicious. Trips at night in the rain, saws, knives, trunks with rope, and a wife that is n't there any more. DOYLE I'll admit it all has a mysterious sound - but is could mean a number of different things. Murder is the least likely. JEFF Go ahead, Doyle - tell me he's an unemployed magician - amusing the neighborhood with sleight - of - hand. Doyle paces a little. DOYLE It's too stupid and obvious a way to murder - in full view of fifty windows - and then sit over there -. -LRB- He points. -RRB- - smoking a cigar - waiting for the police to pick him up. JEFF Well, officer - do your duty. DOYLE You've got a lot to lean about homicide, Jeff. Morons have committed murder so shrewdly that it took a hundred trained police minds to catch them. That salesman would n't just knock off his wife after dinner, toss her in a trunk and put her in storage. JEFF I'll bet it's been done. DOYLE Almost everything's been done - under panic. But this is a thousand to one shot. That man's still sitting around his apartment ; he is n't panicked. JEFF -LRB- A pause. -RRB- You think I made all this up? DOYLE I think you saw something - that probably has a very simple explanation. JEFF For instance? DOYLE -LRB- Shrugs. -RRB- His wife took a trip. JEFF She - was - an - invalid! DOYLE You told me. -LRB- Looks at watch. -RRB- I've got to run, Jeff. JEFF All right - you do n't believe me. Doyle saunters toward steps, picking up his hat on the way. Stops. DOYLE I - uh - wo n't report it to the Department. Let me poke into a little on my own. No point in you getting any ridiculous publicity. JEFF -LRB- Coldly. -RRB- Thanks. DOYLE We know the wife is gone. I'll see if I can find out where. JEFF Do that. He goes up the steps to the door, putting on his hat. He pauses his hand on the door knob. DOYLE You have any headaches lately?",
"INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff answers, showing only the slightest irritation. JEFF Not'til you showed up.",
"INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Doyle, still at the door : DOYLE Uh - huh. Well, it'll wear off in time - along with the hallucinations. See you around. He starts to go out the door, and closes it behind him.",
"INT. JEFF'S APARTMENT - DAY - SEMI-LONG SHOT From Doyle's viewpoint. Jeff lifts his hand in a feeble parting gesture.",
"INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Before the door has completely closed, Doyle opens it again, and looks in. DOYLE By the way what happened to your leg?",
"INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP JEFF I was jaywalking. DOYLE'S VOICE -LRB- O.S. -RRB- Where? JEFF -LRB- With nonchalance. -RRB- The Indianapolis Speedway.",
"INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP The door starts to close again, as if Doyle considered Jeff's answer quite reasonable. Then the door pops open and Doyle's head comes in, a surprised expression across his face. DOYLE During the race?",
"INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff answers with a straight face. JEFF Yup. It sure stopped traffic. We do n't see Doyle again, but only HEAR the sharp slam of the DOOR off. Jeff chuckles. Then he turns back to the window.",
"INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff's attention is drawn to something in the yard below.",
"EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT The little dog is busily scratching away at Thorwald's pet flower bed.",
"INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff smiles mischievously. Suddenly his face changes as he sees :",
"EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT Thorwald coming out of his basement door, carrying a watering can. He fills it from a nearby faucet. He does not notice the little dog's destructive activities. When the watering can is filled, he straightens up, turns toward the flower bed. He stops for the briefest moment, when he sees the dog. He walks to the dog, gently lifts him out of the garden, and giving him a friendly little pat, sends him off. He proceeds to patiently brush back the disturbed earth, and then begins his watering.",
"INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP Jeff is frankly puzzled by the salesman's friendly attitude toward the dog. He looks off in another direction, as he catches of :",
"EXT. NEIGHBORHOOD - DAY - LONG SHOT Doyle, who has appeared, at the street opening. The detective is surveying the front of the apartment building where Thorwald lives. A paper seller behind him offers to sell him a paper. Doyle is n't interested. As Doyle saunters forward toward the salesman house, the scene :",
"INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT Doyle is nonchalantly leaning up against the side board, with a highball in one hand. Jeff has turned his chair around from the window to face him. DOYLE He has a six months lease, and has used up a little over five and a half months of it. -LRB- Takes a sip of drink. -RRB- Quiet. Drinks, but not to drunkenness. Pays his bill promptly, with money earned as a consume jewelry salesman - wholesale. Keeps to himself, and none of the neighbors got close to him, or his wife. JEFF I think they missed their chance with her. DOYLE -LRB- Studies drink. -RRB- She never left the apartment - JEFF -LRB- Interrupting. -RRB- Then where is she - in the ice box? DOYLE -LRB- Continues. -RRB- - until yesterday morning. JEFF -LRB- Alert. -RRB- What time? DOYLE Six ayem. Jeff looks thoughtful a moment, and then says, with a touch of discouragement : JEFF I think that's about the time I fell asleep. DOYLE Too bad. The Thorwalds were just leaving the apartment house at that time. He puts down his drink, and strolls toward the window, looking out. THE CAMERA MOVES IN slightly to tighten the shot. DOYLE Feel a little foolish? JEFF Not yet. Doyle becomes interested in watching something out the window. Unconsciously he smooths out his coat and tie. He even smiles somewhat secretly to himself at what he sees.",
"EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT Miss Torso, in ballet costume, practicing her dance on the outside balcony. She is exciting and desirable.",
"INT. JEFF'S APARTMENT - DAY - TIGHT TWO SHOT Jeff notices Doyle's interest. JEFF How's your wife? Startled at being observed, Doyle moves quickly away from the window, affecting nonchalance. THE CAMERA MOVES BACK as Doyle returns to his drink. Jeff smiles at catching Doyle enjoying Miss Torso. DOYLE Oh - oh, she's fine. -LRB- Not too convincing. -RRB- Just fine. He tosses off the rest of the drink, and his movement is almost a comment. Jeff's face grows serious. JEFF Who said they left then? DOYLE Who left - where? JEFF The Thorwalds - at six in the morning? Doyle quickly collects his thoughts, and gets back to the case at hand. DOYLE The building superintendent, and two tenants. Flat statements - no hesitation. And they all jibed to the letter. The Thorwalds were leaving for the railroad station. JEFF Now how could anybody guess that? They had, perhaps, signs on their luggage, `` Grand Central Or Bust!''? DOYLE -LRB- Sighs. -RRB- The superintendent met Thorwald coming back. He said Thorwald told him he had just put his wife on the train for the country. JEFF A very convenient guy - this superintendent. Have you checked his bank deposits lately? DOYLE Jeff - huh? JEFF -LRB- Sharply. -RRB- Well - what good is his information?! It's a second - hand version of an unsupported statement by the murderer himself - Thorwald! Anybody actually see the wife get on the train? DOYLE I hate to remind you - but this all started because you said she was murdered. Now did anyone, including you, actually see her murdered? JEFF Doyle - are you interested in solving a case, or making me look foolish? DOYLE If possible - both. JEFF Well then do a good job of it! Get over there, and search Thorwald's apartment! It must be knee - deep in evidence. DOYLE I ca n't do that. JEFF I mean when he goes out for a paper, or a drink, or something. What he does n't know wo n't hurt him. DOYLE I ca n't do it even if he's gone. JEFF -LRB- With sarcasm. -RRB- What's the matter? Does he have a courtesy card from the police department? DOYLE Now do n't get me mad! Even a detective ca n't walk in anybody's apartment and search it. If I were ever caught in there, I'd lose my badge inside of ten minutes! JEFF Just make sure you're not caught. If you find something, you've got a murderer and nobody will care about a couple of house rules. If you find nothing - he's clear. DOYLE At the risk of sounding stuffy, Jeff - I'll remind you of the Constitution, and the phrase `` search warrant'' issued by a judge who knows the Bill of Rights verbatim. He must ask for evidence. JEFF Give him evidence. DOYLE I can hear myself starting out. `` Your Honor - I have a friend who's an amateur sleuth, an one night, after a heavy supper -''. -LRB- He shakes his head `` no''. -RRB- He'd throw the New York State Penal Code right in my face. - And it's six volumes. JEFF By morning there might not be anything left to find in his apartment. DOYLE -LRB- Looking out window. -RRB- A detective's nightmare. JEFF What do you need before you can search - bloody footsteps leading up to the door? DOYLE -LRB- Looking out window. -RRB- One thing I do n't need is heckling! You called and asked me for help - and now you're acting like a taxpayer! DOYLE -LRB- Turns and look at Jeff. -RRB- How did we ever stand each other in that same plane for three years? JEFF You know, every day for three years I asked myself that same question? DOYLE Ever get an answer? JEFF Yeah - frequently - it ran something like this : `` Your request for transfer turned down -'' He ca n't help smiling, and neither can Doyle. DOYLE Sorry I had to turn it down. -LRB- He checks his watch. -RRB- I'm going over to the railroad station and check Thorwald's story. He moves to the sideboard, picks up a felt hat. JEFF Forget the story - find the trunk. Mrs. Thorwald's in it! DOYLE Oh - I almost forgot! He pulls a slip of paper out of his pocket. Jeff watches him intently. DOYLE -LRB- Looking at Jeff. -RRB- There was a postcard in Thorwald's mailbox. -LRB- Refers to paper. -RRB- Mailed yesterday afternoon, three - thirty P.M. from Merritsville -. -LRB- Looks up, speaks pleasantly. -RRB- - That's eighty miles north of here. -LRB- Back to paper. -RRB- The message read `` Arrived O.K. Already feeling better. Love, Anna.'' He looks at Jeff with some smugness. JEFF -LRB- Slowly. -RRB- Is - is Anna - who I think it is? DOYLE -LRB- Nods `` yes''. -RRB- Mrs. Thorwald. He puts on his hat, and goes toward the door. DOYLE -LRB- Maliciously. -RRB- Anything you need?",
"INT. JEFF'S APARTMENT - DAY - CLOSEUP Jeff is sober. JEFF Yeah. A good detective.",
"INT. JEFF'S APARTMENT - DUSK - CLOSEUP The sun has just set. THE CAMERA is concentrating on the long - focus lens camera which fills the screen. Just beyond, there is a plate on which a solitary sandwich. Jeff's hand comes in, picks it up. We PAN US with the sandwich until Jeff's head fills the screen. -LRB- Except for a small light in the kitchen, Jeff's apartment is in darkness. -RRB- As he munches, he keeps his attention on the neighborhood.",
"EXT. NEIGHBORHOOD - DUSK - SEMI-LONG SHOT Thorwald's apartment is darkness. THE CAMERA PANS slightly to the left, as we see the dog being lowered in its basket. We follow the basket down to the yard which brings Miss Lonely Heart's apartment into view. She is wearing a Kelly Green suit, and is seated at her dressing table. She seems to be putting on the final touches of her make - up, prior to going out.",
"INT. JEFF'S APARTMENT - DUSK - CLOSEUP Jeff looks down, he smiles to himself. He turns, and we see him raise the long - focus camera to his eye.",
"EXT. NEIGHBORHOOD - DUSK - CAMERA SHOT The long - focus lens brings Miss Lonely Hearts into an enlarged picture which reveals details we have not previously noticed. A pair of ill - fitting, horn - rimmed reading glasses rest half way down her nose, and she has to tilt her head back slightly as she applies lip - stick, with their aid. Satisfied, she takes off the glasses, and examines her face as a whole, through squinting eyes. She has faded good looks, has fairly nice clothes, but is badly in need of advice on hair dressing. Her hair - do makes her seem middle - aged. She reaches for a tall glass of liquor next to her, and takes a long drink. Putting the glass down, she squints to see if she has disturbed the lipstick. Unable to see clearly, she puts on the glasses again, looks, and touches up her lips slightly. She puts her glasses in a handbag, then stands to put out the lights. She walks into the living room, finishing the drink. The long - focus lens moves with her. She goes straight for a bottle of liquor, and pours out a final neat slug, and tosses it off. Then she leaves the apartment, with a show of determination. She turns out the lights behind her.",
"INT. JEFF'S APARTMENT - DUSK - SEMI-CLOSEUP Jeff lowers the long - focus lens, and turns his head to the right as he hears the first notes of the songwriter's melody which we have heard him trying to complete.",
"EXT. NEIGHBORHOOD - DUSK - MEDIUM SHOT The songwriter is at the piano, poking out his melody, slowly, note by note. He is in black tie, and from the looks of the apartment he is preparing for guests. An attractive girl is setting out trays of canapés, glasses, ice and liquor. She pauses as she crosses the room carrying a tray of food. She listens a moment to the songwriter's melody. Her expression shows that it pleases her, and moves her romantically. She comments on it to the songwriter, who starts from the beginning again, playing it more fully.",
"INT. JEFF'S APARTMENT - DUSK - SEMI-CLOSEUP A new source of music comes in to interfere with the piano playing. It is orchestral ballet music, in a modern style. Jeff's head turns in this new direction.",
"EXT. NEIGHBORHOOD - DUSK - SEMI-LONG SHOT Miss Torso, and a male partner whom we have not seen before, are practicing a pas a deux. He is a tall flowing - haired young man, lithe and graceful beyond normal masculine capacity. They stop, at one point, to listen to a word of comment from a woman who is watching. By her gestures, she is obviously a professional choreographer. THE CAMERA PANS from this to the street beyond. Standing there, on the sidewalk, looking up and down the street is a Kelly Green clad figure.",
"INT. JEFF'S APARTMENT - DUSK - CLOSEUP He quickly raises his long - focus camera to his eye.",
"EXT. NEIGHBORHOOD - DUSK - CAMERA SHOT We are now given a waist - high shot as the focus is adjustment by Jeff. The figure is that of Miss Lonely Hearts. She seems to be trying to figure out what to do, or where to go. She nervously looks at a couple of men passers by. Getting no reaction, she crosses the street, and seats herself at an empty table in front of the cafe. She orders a drink. She is suddenly blotted out by a figure of a man who enters the picture from the left side. He is much nearer the lens, because he is on this side of the street. He is, therefore, slightly out of focus. The lens suddenly sharpens. It is Thorwald, carrying a light - weight cardboard box under his arm. THE CAMERA PANS him over to the right until he is lost behind the building.",
"INT. JEFF'S APARTMENT - DUSK - SEMI-CLOSEUP He lowers the lens, and we see Jeff's eyes travel across the screen, as he imagines Thorwald's progression. Then sharpening his look, he picks up the long - focus lens, and easing himself back cautiously, begins watching Thorwald.",
"EXT. NEIGHBORHOOD - DUSK - CAMERA SHOT Thorwald comes up the corridor, and stands unlocking his door. As he hesitates, we are able to see the cardboard box he is carrying has the name of a laundry on it. He enters the apartment turns on the living room lights. He proceeds to the bedroom, and the lights go on there. A number of suits and top coats are lying on an orderly pile on the bed. He takes the laundry out of the box and puts in on the bed next to the suits. Then he goes to the dresser, and instead of putting the laundry away, he proceeds to take out the contents of the drawers - pajamas, shirts, sox, etc.. He piles these on the beds.",
"INT. JEFF'S APARTMENT - DUSK - SEMI-CLOSEUP Jeff lowers the camera quickly. He picks up the phone and dials a number, still keeping his eyes on Thorwald. The phone buzzes on filter, then is picked up and answered by a woman : MRS. DOYLE -LRB- Filter. -RRB- Hello. JEFF Mrs. Doyle? MRS. DOYLE Yes. JEFF Jeff again. -LRB- A note of urgency. -RRB- Has Tom come in yet? MRS. DOYLE Not yet, Jeff. JEFF You have n't even heard from him? MRS. DOYLE Not a word. For a moment, Jeff looks desperate. He does n't know what to say. MRS. DOYLE It is something really important, Jeff? JEFF I'm afraid it is, Tess. MRS. DOYLE I'll have him call the moment I hear from him. JEFF Tell him not to waste time calling. To get over here soon as he can. I think Thorwald's pulling out tonight. MRS. DOYLE Who's Thorwald? JEFF He knows. -LRB- As an after - thought. -RRB- Do n't worry, Tess. It's a man. MRS. DOYLE -LRB- She laughs. -RRB- Goodnight, you idiot. JEFF -LRB- A slight smile. -RRB- Goodnight, Mrs Doyle. He hangs up. Then, his brows knit a little, as if he's puzzled about something he sees across the neighborhood. He lifts up the long - focus lens.",
"EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT Early night. In the dresser Thorwald finds an alligator handbag. He holds it up thoughtfully. We have previously seen this handbag hanging from the bedpost when Mrs. Thorwald was in bed. Thorwald takes the bag into the living room, where he picks up the phone and dials. JEFF Long distance again. Thorwald reaches his party. As he talks, thoughtfully, he takes some jewelry from the handbag - a couple of rings, diamond wristwatch, brooch, pearls, etc.. He discusses each piece, apparently trying to make some decision. Then, seemingly satisfied, he replaces them in the bag and hangs up.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff lowers his camera lens and edges his chair forward in an effort to hear what Thorwald is saying. But a sudden rise in the SOUND coming from the song - writer's apartment, causes him to turn his head toward the studio with exasperation.",
"EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The first four of the song - writer's guests come through the door, admitted by the song - writer's girl friend. There is a squeal from the woman who great each other, and hearty `` helloes'' from the men. The song - writer dashes off a LOUD VAMP of greeting on the piano, then gets up to offer drinks.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff turns his attention back to Thorwald, but gives up any attempt at listening. He lift the long - focus lens up to his eyes again.",
"EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT Having completed his call, Thorwald returns to the bedroom carrying the handbag. He goes to a pile of coats lying on the bed. He lifts the top two coats slightly, and slides the handbag under them and out of sight.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP There is the SOUND of footsteps coming down the corridor to Jeff's apartment. He lowers the camera lens, and turns his attention to his door.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT The door opens, and Lisa stands silhouetted in the entrance, black - lighted by the corridor lights. It's an attractive picture.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff's head is turned toward her, his back more toward the neighborhood. JEFF Quick. Take a look. Thorwald's getting ready to pull out for good!",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff abruptly turns back to the window, as Lisa dashes into the picture behind him, and looks out. Jeff's expression changes a little, as they see :",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The lights are out in Thorwald's bedroom, and Thorwald is in the act of pouring himself out a drink in the living room. He comes to the window, glass in hand, and looks down into the garden, nonchalantly. Over this, we HEAR Lisa's voice, questioningly : LISA It does n't seem to be in any hurry. JEFF -LRB- Stares out the window, exasperated. -RRB- He was just laying all his things out on one of the beds! Coats, suits, shirts, sox, even his wife's -",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT He stops, turns to her quickly. JEFF That alligator bag his wife had on the bedpost - LISA What about it? JEFF He had it hidden in the dresser! Well, at least it was in there. He took it out, went to the phone and called somebody long distance. - His wife's jewelry was in the handbag. And something about it worried him. He was asking somebody advice over the phone. LISA Someone not his wife? JEFF I never saw him ask her for advise before. -LRB- Smiles. -RRB- But she volunteered plenty. Jeff turns back to the window.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Thorwald is standing at the window with his drink in his hand. Then he turns, puts his unfinished drink down on a table, and goes to the door. He puts the light out in the living room and goes out the door. He walks briskly down the corridor. LISA I wonder where he's going now? JEFF I do n't know. LISA Suppose he does n't come back again? JEFF He will. All his things are still piled on the bed.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa moves toward a nearby lamp. LISA Well, I guess it's safe to put on some lights now. JEFF -LRB- Looking to left. -RRB- Not yet! He picks up the long - focus lens and trains it on the street intersection, as Lisa moves back to him.",
"EXT. NEIGHBORHOOD - CAMERA SHOT - NIGHT The street intersection. Some traffic, mostly pedestrian. Miss Lonely Hearts still sitting at the cafe table, alone. Drinking. There is no sign of Thorwald.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT He lowers the lens. JEFF He must have gone somewhere to the right. The CAMERA PULLS BACK as Lisa starts around the apartment turning on the lights. As she light increases, we see that she is wearing another extravagantly beautiful dress. She seems quite animated, moving gracefully, her skirt and hair swinging with her movement. Jeff turns around to face the room. LISA All day long I've tried to keep my mind on work. JEFF Thinking about Thorwald? LISA -LRB- Nods yes. -RRB- And you, and you friend Doyle -. -LRB- Stops, to Jeff. -RRB- Did you hear from him again - since he left? JEFF Not a word. He was going to check on the railroad station, and the trunk. He must be still on it. As he talks, she seems to be thinking something over to herself. He starts pacing, trying to distill her thoughts. We see that she has brought an oversized handbag with her, which lies prominently on the table. Jeff watches her. JEFF Something on your mind, Lisa? LISA It does n't make sense to me. JEFF What does n't? LISA Women are n't that unpredictable. JEFF -LRB- Losing a little patience. -RRB- Lisa - I ca n't guess what you're thinking. THE CAMERA CLOSES IN, Lisa stops, faces him. Her eyes sparkle, and her body is tense with concentration. LISA A woman has a favorite handbag - it always hangs on her bedpost where she can get at it. Then she takes a trip and leaves it behind. Why? JEFF Because she did n't know she was going on a trip - and where she was going she would n't need a handbag. THE CAMERA eases back. LISA But only her husband would know that. -LRB- Starts to pace again. -RRB- And the jewelry! Women do n't keep all their jewelry in a purse, all tangled, getting scratched and twisted up. JEFF Do they hide it in their husband's clothes? LISA They do not! And they do n't leave it behind them. A woman going anywhere but the hospital would always take makeup, perfume and jewelry. JEFF Inside stuff? LISA Basic equipment. You do n't leave it behind in your husband's drawer in your favorite handbag. JEFF I'm with you, sweetie, but Detective Thomas J. Doyle has a pat answer for that. LISA That Mrs. Thorwald left at six ayem yesterday with her husband? JEFF That's what the witnesses told him. LISA Well, I have a pat rebuttal for Mr. Doyle - that could n't be Mrs. Thorwald - or I do n't know women. JEFF Still - those witnesses. LISA We'll agree they saw a woman - but she was n't Mrs. Thorwald. - That is, yet. She comes over to Jeff. He reaches up, takes her hand. JEFF Come here. He pulls her into his lap. She puts her arms around him. She is very happy, and kisses Jeff's cheek. LISA I'd like to see your friend's face when we tell him. He does n't sound like much of a detective. JEFF Do n't be too hard on him. He's a steady worker. I wish he'd get there, though. LISA -LRB- Nuzzling Jeff. -RRB- Do n't rush me. We have all night. There's a pause. Then Jeff moves back a little to look her straight in the eye. JEFF We have all - what? LISA Night. I'm going to stay with you. JEFF You'll have to clear that through my landlord - She cuts him off with a kiss. When she pulls back LISA I have the whole weekend off. JEFF Well that's fine, but I only have one bed, and - Lisa smothers him with another kiss. She lets up. LISA Say anything else, and I'll stay tomorrow night too. JEFF Lisa, I wo n't be able to give you any - She smothers him with still another kiss. Then moves back. JEFF - pajamas. She laughs, gets up. Goes to the large handbag on the table. Is is a Mark Cross ladies ` attache' case. LISA You said I'd have to live out of one suitcase. -LRB- Picks up case. -RRB- I'll bet yours is n't this small? JEFF That's a suitcase? LISA -LRB- Starting to open it. -RRB- A Mark Cross overnight case, anyway. Compact, but ample enough. She has opened it, and surprisingly enough, it is a compact outfit of pajamas, slippers, toothbrush, toothpaste, and all the general necessities for a comfortable overnight stay. She comes to Jeff, sits in his lap again, displaying the inside of the case LISA I'll trade you - my feminine intuition for a bed for the night. JEFF -LRB- Gives in smiling. -RRB- I'd be no better than Thorwald, to refuse. The SOUND from the party in the song - writer's apartment becomes more noticeable as his party grows. And at this point he begins playing the song he has been composing for the past few days. LISA There's that song again. She gets up from Jeff's lap, and puts the overnight case on the table. Open. She goes to the window, and looks toward the song - writers' apartment. Jeff turns with her.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The party at the song - writer's has grow considerably larger. An assortment of well - dressed people have now crowded into the studio. They are drinking, eating, etc.. At the moment, a number of them are crowded around the piano, listening to the composer's newest song - which is n't quite completed. However, the melody has become more beautiful than ever. During the following scene, we HEAR the melody being played a number of different ways on the piano.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa stands, listening, entranced. LISA Where does a man get the inspiration for a song like that? Jeff watches her. JEFF From his landlord - once a month. LISA It's utterly beautiful. -LRB- Turns to Jeff. -RRB- I wish I could be creative. JEFF You are. You have a talent for creating difficult situations. LISA -LRB- Happily. -RRB- I do? JEFF Staying the night here, uninvited. She sits down on the edge of the divan near Jeff. She leans toward him. LISA Surprise - is the most important element of attack. -LRB- She smiles. -RRB- And beside, you're not up on your private eye literature. When they're in trouble, it's always their Girl Friday who gets them out of it. JEFF The same girl who keeps him out of the clutches of seductive show girls, and over - passionate daughters of the rich. LISA The same. JEFF But he never ends up marrying her. Strange. LISA -LRB- Stands up ; deadpan. -RRB- Weird. -LRB- She does a complete spin, then, ingenuously. -RRB- Why do n't I slip into something comfortable? JEFF You mean - like the kitchen? And make us some coffee? LISA Exactly what I had in mind - along with some brandy. She goes to the kitchen, humming with the song - writer's melody which we can HER off. Jeff turns back to the window, looks out.",
"EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The shade is going up in the newlyweds apartment. The young husband throws up the window an lights a cigarette. He takes a deep and satisfying drag on the cigarette, glancing toward the song - writer's party. Just as he starts to exhale the smoke, we HEAR his young wife's voice off : GIRL'S VOICE H - a - a - r - r - e - e -! He chokes on the smoke, sputtering and coughing. When he recovers, he throws the cigarette down to the back - yard with a show of irritation. Then slowly he pulls the shade down. Behind us is SOUND of a door shutting",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Over Jeff's shoulder we see Doyle coming down the steps slowly, and seemingly preoccupied. Jeff swings the chair around so that his back is to us. SEMI - CLOSEUP Without looking at Jeff, Doyle comes into the apartment takes off his hat and places it on the table. He runs a hand over the side of his head and down the back of his neck, which seems to indicate some fatigue. SEMI - CLOSEUP Jeff. Looking expectantly at Doyle. SEMI CLOSEUP Doyle reaches for a cigarette on the table, and puts it to his lips. While searching his pockets for a match, he HEARS Lisa humming. His eyes turn upward. MEDIUM SHOT Over the cabinet which divides the living room from the kitchen, we can see a glimpse of Lisa's shadow on the ceiling. SEMI - CLOSEUP Jeff, has followed Doyle's look. SEMI CLOSEUP Doyle picks up cigarette lighter from table, and lights his cigarette. As he is placing the lighter back on the table, he sees : CLOSEUP From his viewpoint, Lisa's bag containing her lingerie and overnight effects. CLOSEUP Jeff. His eyes turn from the lingerie up to Doyle. CLOSEUP Doyle's look is completely noncommittal. His eyes turn at the sound of the song - writer's party. He moves forward to get a better view, as the CAMERA RETREATS in front of him. He stops to glance out of the window.",
"EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The party is now full progress. The room is overcrowded. And some people are now sitting on the floor with their backs to the window. Others are outside. A crowd hides the piano player, but music can be head competing with the babble.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Doyle turns his head away, and looks straight out. His expression hardens a little, as he sees :",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT The window of Thorwald's apartment, completely dark.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP He also is looking toward Thorwald's apartment. He turns his eyes anxiously back to Doyle. He seems to be trying to penetrate Doyle's mind.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Doyle turns his head from the window, and looks down at Jeff. He asks, quietly : DOYLE What else do you have on this man Thorwald? Jeff's tension eases off a little, by he is eager to talk. JEFF Enough to scare me that you would n't get here in time, and we'd lose him. DOYLE -LRB- Soberly. -RRB- You think he's getting out of here? JEFF Everything he owns is laid out on the bedroom, ready for packing. Doyle looks back toward Thorwald's bedroom. We see the dark apartment beyond him. Doyle nods thoughtfully. He turns his head suddenly at the sound of Lisa coming out of the kitchen. She holds two large brandy snifters containing some brandy. They are cupped in her hand, the stem between her fingers. She is rotating them gently toward the body to warm the brandy. She is quite beautiful.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Doyle reacts to her appreciatively.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT She continues rotating the brandy. LISA I'm just warming some brandy. She comes forward hands one snifter to Jeff. She offers the second to Doyle. -LRB- NOTE : In the following set of scenes, whenever anyone holds a brandy snifter, it is being rotated - regardless of their attitudes. -RRB- LISA Mr. Doyle? - I presume. Doyle sort of smiles, and takes the snifter awkwardly. JEFF Tom, this is Miss Lisa Fremont. Doyle bows his head slightly, but his eyes remain on her in a fixed stare. DOYLE How do you do? Lisa smiles in return. LISA We think Thorwald's guilty. She turns around, and goes right back into the kitchen.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Doyle stares after her, ignoring her remark, still not recovered from the fist sight of her attractiveness. Then quickly, his eyes move down and to the left.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP The open overnight case with its displayed lingerie.",
"INT. JEFF'S APARTMENT - NIGHT SEMI-CLOSEUP Slowly Doyle's eyes travel back to Jeff.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Quickly guessing what's on Doyle's mind JEFF -LRB- Cautiously. -RRB- Careful, Tom.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Doyle's eyes travel past Jeff to look out the window. He still holds the brandy snifter in one hand, and a cigarette in the other. Absentmindedly he still rotates the brandy. The SOUND of the phone ringing is heard.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Jeff picks up the phone. JEFF Hallo? He listens, and then looks up to Doyle. JEFF Just a minute, please. Doyle crosses and stands behind Jeff, as Jeff hands him the Phone. He juggles the cigarette, the brandy snifter and the phone all at once. This is all done deadpan. DOYLE Doyle speaking. -LRB- He listens. -RRB- Uh - huh. - Yeah. Mummmm - Mmm. Hmm - Okay. Thank you, and goodbye. He hands the receiver back to Jeff, who hangs up. Lisa comes back in with her own brandy snifter, rotating it. LISA The coffee will be ready soon. -LRB- Urgent. -RRB- Jeff, are n't you going to tell him about the jewelry? Doyle looks suddenly interested. He asks tersely : DOYLE Jewelry? JEFF He has his wife's jewelry hidden in among his clothes over there. DOYLE You sure it belongs to his wife? He turns his head to Lisa, who answers. LISA It was in her favorite handbag - And, Mr. Doyle, that can lead to only one conclusion. DOYLE Namely? His head snaps back to Jeff, who answers : JEFF That was n't Mrs. Thorwald who left with him yesterday morning? DOYLE You figured that out, huh? His head moves back to Lisa as she answers with a touch of pride in her voice. LISA It's just that women do n't leave jewelry behind when they go on a trip. Before Doyle can comment, Jeff asks impatiently : JEFF Come on, Tom - you do n't really need any of this information, do you? Doyle smiles at Jeff, and then strolls over to the table where he puts out his cigarette and puts down the brandy snifter. DOYLE As a matter of fact, I do n't. Doyle goes to the window and looks out, as they watch him, expectantly. He speaks without looking at them. His voice is flat and to the point. DOYLE Lars Thorwald is no more a murderer than I am.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff and Lisa stare at him in astonishment. Then Jeff recovers, and answers with some anger : JEFF You mean you can explain everything that went on over there - and is still going on?",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP He spins around, and his face has lost all its friendliness. DOYLE No! He starts to place the room. DOYLE And neither can you. -LRB- Points out window. -RRB- That's a secret and private world you're looking into out there. People do a lot at things in private that they could n't explain in public.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa and Jeff. She replies with some sarcasm. LISA Like disposing of their wives? DOYLE -LRB- Off. -RRB- Get that idea out of your mind. It will only lead you in the wrong direction. JEFF But Tom - the saw, the knives -",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Doyle breaks in, takes a step forward. DOYLE Did you ever own a saw? JEFF -LRB- Off. -RRB- Well, in the garage, back home, we - DOYLE -LRB- Interrupts. -RRB- And how many people did you cut up with the couple of with it? Or hundred knives you've probably owned in your lifetime?",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff, reasoning : JEFF But I'm not a killer! DOYLE -LRB- Off. -RRB- Your logic is backward. Lisa cuts in spiritedly. LISA You ca n't ignore the wife disappearing! And the trunk - and the jewelry -!",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Doyle starts to pace up and down, throwing out a hand in careful explanation. DOYLE I checked the railroad station. He bought a ticket. He put her on the train ten minutes later. Destination : Merritsville. Witnesses. This deep. -LRB- He holds his hand a few feet off the floor. -RRB-",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff and Lisa. LISA It might have been a woman - but it could n't have been Mrs. Thorwald. That jewelry -",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Doyle comes up to the CAMERA, looking at Lisa. DOYLE Look, Miss Fremont. That feminine intuition sells magazines - but in real life, it's still a fairy tale. I do n't know how many wasted years I've spent running down leads based on women's intuitions.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff is resentful of Doyle's comments to Lisa. JEFF I take it you did n't find the trunk - And this is just an old speech you once gave at the Policeman's Ball.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Doyle has turned away into the center of the room. He swings around. DOYLE I found the trunk - a half hour after I left here.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa speaks again with continuing sarcasm : LISA Of course, it's normal for a man to tie his trunk up with a heavy rope. DOYLE -LRB- Off. -RRB- When the lock is broken - yes. JEFF What was in the trunk? A surly note to me?",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Doyle comes toward the CAMERA again. DOYLE -LRB- Carefully. -RRB- Mrs. - Thorwald's - clothes. - Clean - carefully packed - not too stylish - but presentable. LISA -LRB- Off. -RRB- Did n't you take it to the crime lab? Doyle gives her a scathing look. DOYLE I sent it on its merry and legal way.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff challenges Doyle : JEFF Why - when a woman only goes on a simple trip, does she take everything she owns?",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Doyle, with a studied, gracious gesture, to Lisa. DOYLE Let the female psychology department handle that one.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa answers, but very coldly : LISA I would say that is looked as if she was n't coming back. DOYLE -LRB- Off. -RRB- That's what they call a family problem. JEFF -LRB- Persisting. -RRB- If his wife was n't coming back - why did n't he tell his landlord? - I'll answer it for you - because he had something to hide.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Doyle hesitates a moment, and lets his eyes wander, to :",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP The overnight case, with Lisa's lingerie.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP His eyes going back to Jeff. DOYLE -LRB- Blandly. -RRB- Do - uh - you tell your landlord everything?",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff replies, pointedly : JEFF I told you to be careful. Lisa looks down at Jeff, not comprehending.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Doyle points to one of the photographs on the wall. DOYLE If I'd been careful piloting that reconnaissance plane, you would n't have taken the kind of pictures that got you a medal, a big job, fame, money - JEFF -LRB- Expressionless. -RRB- All the things I hate. Doyle has a complete change of manner. He relaxes and smiles. DOYLE Now - what do you say we sit down to a quiet, friendly drink or two - forget all about this, and tell lies about the old days in the war? Hmmm? He looks from one to the other.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Neither Jeff or Lisa display even the slightest friendliness. Their faces are cold and set. Then Lisa speaks, icily : LISA You're through with the case?",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Doyle is relaxed. DOYLE There is n't any `` case'' to be through with, Miss Fremont. Now let's get down to that friendly drink.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff and Lisa remain unmoved.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP A little self - conscious, Doyle checks his watch, and says with a pleasant laugh : DOYLE Maybe you're right. I guess I'd better get home and get some sleep. He waits. No response comes across. His face sobers a little, he reaches for his unfinished drink of brandy. He tries to toss it off like a straight shot of liquor. Part of it shoots out of the brandy snifter, down each side of his face, and into his suit. He sputters a little, and puts the glass down.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff and Lisa deadpan.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Doyle is wiping his coat lapels with a handkerchief. He looks at them pleasantly. DOYLE I'm not much of a snifter. He starts away toward the door. DOYLE If you need any more help, Jeff - consult the yellow pages of your telephone directory.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa, still burning : LISA I hate funny exit lines. JEFF Who was the trunk addressed to?",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Doyle picks up his hat. DOYLE Mrs. Anna Thorwald. He starts up the steps to the door.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff points out a challenging finger. JEFF Let's wait and see who picks it up.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT Doyle poises on the step. He snaps his fingers. DOYLE Oh - that phone call! -LRB- To Jeff. -RRB- I gave them your number - hope you do n't mind. JEFF -LRB- Off. -RRB- That depends on who `` they'' were. DOYLE -LRB- Pleasantly. -RRB- The police Department at Merritsville. They called to report. The trunk was just picked up - by Mrs. Anna Thorwald. He puts on his hat, smiles, and says. DOYLE Do n't stay up too late. He quietly closes the door behind him.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa and Jeff. Jeff turns his chair around, and looks out to the neighborhood. Lisa stands glumly behind him.",
"EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The song - writer's party is now in full swing, and fairly crowded. It is a happy, gay affair.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP None of the gaiety is reflected in Lisa and Jeff. Some new music is heard coming across the courtyard and Jeff turns toward it with some irritation.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Miss Torso's apartment has the door closed, and all that we can see of her, as she is lying on the divan, is her legs swinging in arcs as she exercise to record music.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Lisa is not looking in the same direction as Jeff. All during this, she has been staring out at Thorwald's apartment. Now her eyes are looking at the apartment underneath. She murmurs to Jeff : LISA Look. Jeff turns his eyes in the same direction as hers.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT A light has gone on in Miss Lonely Hearts' apartment. They look. Surprise of surprises, she has returned with a lover hooked. He is much younger then she, and a little more keyed up to the promise of an adventure still fresh to him. Her actions are coy, and over - feminine. She slips away from his hasty embraces and exploratory kisses with the proper flush of confusion and nervous giggle that seems to say, `` It's quite a surprise you find me so desirable, but me must n't do anything improper, you know. After all, we're practically strangers - and what would you think of me?'' She pours a drink for each of them with gestures over - genteel. As she sips her drink and look at him over the rim of the glass, he tosses his off with nervous dispatch. He moves toward her, this time more cautiously. An embrace, a long kiss. She puts her drink down on the edge of the chair. It spills over onto the rug. He begins kissing her cheek, her ear, her neck. Suddenly and fiercely she pushes him away. Slaps him across the face. He moves back with shock as she loudly and emphatically orders him out, out, out. He flushes with anger and embarrassment, and his mouth twists into unpleasant shapes as he slaps degrading words back at her, telling her what she is. She screams at him to get out. He leaves, slamming the door behind him. She goes back dumbly to the spilled liquor, makes a futile effort to clean it up, and the collapses onto the rug sobbing hard enough to shake her whole body.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa turns away from Jeff's chair to get a cigarette from the table. She lights it, as Jeff turns his chair back to the room. JEFF As much as I hate to give Thomas J. Doyle too much credit, he might have gotten a hold of something when he said this was pretty private stuff going on out there. He indicates the outside neighborhood with a movement of his head. She does n't answer, but studies the photographs on the wall of his room. JEFF Do you suppose it's ethical to watch a man with binoculars, and a long - focus lens - until you can see the freckles on the back of his neck, and almost read his mail - do you suppose it's ethical even if you prove he did n't commit a crime? LISA I'm not much on rear window ethics. JEFF Of course, they have the same chance. They can look at me like a bug under glass, if they want to. LISA -LRB- Turns to him. -RRB- Jeff - if anybody walked in here, I do n't think they'd believe what they see. JEFF Huh? LISA You and me with long faces - plunged into despair - because we find out that a man did n't kill his wife. We're two of the most frightening ghouls I've ever known. Jeff starts to smile at the realization. LISA You'd think we could be a little bit happy that the poor woman is alive and well. Jeff smile is broad, and he starts to chuckle. She relaxes and joins him. She sits on his lap, her arms around his shoulders. LISA Whatever happened to that old saying `` Love Thy Neighbor.'' JEFF I think I'll start reviving it tomorrow, with say - Miss Torso for a start? She gets up, goes to the blinds, and proceeds to lower them one by on. LISA -LRB- As she get up. -RRB- Not if I have to move into an apartment across the courtyard and do the dance of the seven veils once an hour. -LRB- As she lowers the blinds. -RRB- Show's over for tonight. He smiles. She goes to the table, picks up he overnight case. LISA Preview - of the coming attractions. She goes to the kitchen entrance, pauses. LISA Did Mr. Doyle think I stole this case. JEFF -LRB- Mock seriousness. -RRB- No, Lisa - I do n't think he did. She shrugs, goes into the kitchen, the CAMERA PANNING her.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff is sitting on the wheelchair near the bar, a drink in his hand. He starts to take a sip from the glass, when Lisa comes out of the kitchen. She is an ethereal beauty, in sheer peach nightgown, covered by a gossamer matching kimono. She turns gracefully in front of Jeff. He lowers his drink. LISA -LRB- Softly. -RRB- What do you think? Jeff puts his drink on the bar. He tries to decide how to answer her question. He ca n't. LISA I'll rephrase the question. JEFF Thank you. Lisa holds out the folds of her kimono. LISA Do you like it? JEFF -LRB- Studying it. -RRB- Well, - if there was one less thread this way -. -LRB- motions horizontally. -RRB- - and two less that way -. -LRB- Motions vertically. -RRB- - I might give up bachelorhood. Lisa turns playfully toward the kitchen. LISA I'll be right back. Blood - curdling scream from the courtyard outside suddenly cuts through the night. Startled, both Jeff and Lisa move quickly for the window - Lisa lifting the blinds up. The long scream subsides into near - hysterical sobbing.",
"EXT. NEIGHBORHOOD - NIGHT - LONG SHOT We get a high comprehensive view of all the apartments. Light are going on in some windows, shades are lifted on others, people are beginning to lean out looking for the source of the cream and sobbing. The song - writer's party comes to a sudden halt, as his guest crowd to the window. SEMI - LONG SHOT Lisa and Jeff at the window, looking out, startled. SEMI - LONG SHOT The landlord, beneath the newlyweds, looks out. Tilting his head up toward the center of the yard. SEMI - LONG SHOT A couple comes out on the high balcony to the right. Look down. MEDIUM SHOT The newlywed's blinds come up, and for the first time we see both of them at the window, the girl looking over the boy's shoulder. SEMI - LONG SHOT Some members of the song - writer's party move out to the patio - balcony, to get a better look down in the yard. SEMI - LONG SHOT The bird woman comes to the window. Her white face looks forward toward the center of the courtyard. SEMI - LONG SHOT Miss Torso, pulling a around her, comes out onto her porch, and looks to her left. SEMI - LONG SHOT Miss Hearing aid comes quickly into her backyard. SEMI - LONG SHOT The couple who own the dog are standing on their fire escape. They are both looking down, but while the husband is quiet, the wife is holding her hands to the side of her head, sobbing loudly. We have heard her sobbing since the moment of the scream which she uttered. SEMI - LONG SHOT Lying near the sidewalk in the backyard below the couple's fire escape, is the silent body of the little dog they own. Miss Lonely Hearts comes running out of the basement door. She goes directly to the dog, picks it up in her arms. Then she slowly turns and looks up at the sobbing woman above her. LONELY HEARTS -LRB- Her voice clear. -RRB- It's dead! It's been strangled and the neck is broken! SEMI - LONG SHOT Instead of increasing her sobbing, this news quiets, momentarily, the woman who owned the dog. Her hands go down to the railing of the fire escape, gripping it fiercely. She lifts her face to the neighborhood, her lips set and her eyes burning. Her chest moves convulsively from the crying. SIFFLEUSE Which one of you did it? -LRB- Loud. -RRB- Which one of you killed my dog? -LRB- No one answers ; her voice is acid. -RRB- You do n't know the meaning of the word `` neighbor''. Neighbors like each other - speak to each other - care if anybody lives or dies. But none of you do! You do n't talk, you do n't help, you - you do n't -. -LRB- Fighting tears. -RRB- Even see. But I could n't imagine any Even of you being so low that you'd kill a little helpless, friendly dog! The only thing in this whole neighborhood who liked anybody! SEMI - LONG SHOT The guests at the song - writer's party begin to move silently back to the studio apartment. SEMI - LONG SHOT The people move off their balcony into the apartment. SEMI - LONG SHOT The woman almost screams at the people now, as she looks up at the apartment. SIFFLEUSE Did you kill him because he liked you? Just because he liked you? She breaks out sobbing anew, and returns to her apartment and out of sight, the crying growing fainter with her retreat. The husband leans over the fire - escape, and motions Miss Lonely Hearts to place the dog in the basket, which is already lowered. SEMI - LONG SHOT Miss Lonely Hearts puts the dog in the basket, and watches as the husband draws it slowly up. SEMI - LONG SHOT The bathing beauties go inside their apartment. MEDIUM SHOT The newlyweds draw their shades again. MEDIUM SHOT The landlord moves away from the window. SEMI - LONG SHOT The dog moves closer to the fire escape, slowly, the husband pulling the rope in hand over hand. SEMI - LONG SHOT Miss Torso goes back to her apartment. SEMI - LONG SHOT Miss Hearing Aid turns down the volume of her hearing aid and goes back to her apartment. SEMI - LONG SHOT The dog reaches the fire escape, and the husband tenderly takes it out of the basket. He turns to carry it's into the apartment.",
"INT. JEFF'S APARTMENT - NIGHT MEDIUM SHOT Jeff and Lisa are at the window. He is holding on of hands. Jeff speaks without looking up. JEFF For a minute, Doyle almost had me convinced I was wrong. LISA But you're not? JEFF In the whole courtyard, only one person did n't come to the window. -LRB- He points. -RRB-",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Thorwald's apartment. It is dark. The only light that can be seen in it is the glowing end of a cigar in the center of the room, back from the window - as if Thorwald was sitting quietly on his sofa, smoking.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Lisa looks down at Jeff. LISA Why would Thorwald want to kill a dog? -LRB- Almost a laugh. -RRB- Because it knew too much? He nods solemnly and then turns back to the window, as both he and Lisa look again towards",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Thorwald's apartment. Still dark, and only the unmoving glow of a cigar showing in the center of the apartment.",
"INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT Jeff, Stella and Lisa are grouped at the window, looking out. THE CAMERA is behind them. Jeff holds the long - focus lens to his eye.",
"EXT. JEFF'S APARTMENT - DUSK - CAMERA SHOT We wee the upper part of the bedroom window, belonging to Thorwald. The lower part of the window is covered by a wall. In the bathroom, Thorwald is wiping the enameled wall with a damp cloth. He rubs at particular spots now and then. Over this we hear : JEFF Do you think this was worth waiting all day to see? LISA Is he cleaning house? JEFF He's washing down the bathroom walls. STELLA Must have splattered a lot.",
"INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT We now see their faces. Jeff lowers the camera with a long - focus lens. Neither he nor Lisa make any comment. Finally Stella blurts out : STELLA Well, why not? That's what we're all thinking. He killed her in there, and he has to wipe up the stains before he leaves. Lisa turns away from the window. LISA Stella, your choice of words - Stella also turns, interrupting her STELLA Nobody's invented polite words yet for killing.",
"INT. JEFF'S APARTMENT - DUSK - CLOSEUP Jeff, who is still staring out the window, has a look of sudden discovery on his face. He calls quickly : JEFF Lisa - Lisa - on the shelf over there - get me the small yellow box - He turns halfway around, and points. We see Lisa moving behind him toward the shelf. He adds : JEFF And that little viewer. He turns back to the window, holding out his right hand to the side, waiting for the box and viewer. The CAMERA PULLS BACK a little as Lisa comes up, and places the box and viewer in his hand. He opens the box, which contains color slides, and holds one or two of the slides up to the light. Lisa looks down at him curiously and Stella comes forward from the background. JEFF -LRB- Half to himself as he searches slides. -RRB- These are n't more than two weeks old - I hope I did n't take all leg art. -LRB- Discovers the right slide. -RRB- I think this is the one. Puts the other slides to one side and puts the selected one onto the viewer, with sounds of satisfaction. As he lifts the viewer to his eyes Lisa asks impatiently : LISA Jeff - what are you looking for? He squints out through the viewer, then looks away a moment without it. JEFF Something - that if I'm right - might solve a murder. He looks back through the viewer. STELLA Mrs. Thorwald? JEFF Uh - uh. The dog. I think I know now why Thorwald killed it. He takes the viewer from his eye, hands it to Lisa. JEFF You take a look and tell me what you see.",
"INT. JEFF'S APARTMENT - DUSK - CLOSEUP Lisa raises the viewer to her eye.",
"EXT. NEIGHBORHOOD - DUSK - CLOSEUP Through the viewer we see the identical view out of the window. JEFF -LRB- Over. -RRB- Now take it away. The viewer moves away, and we are left with the identical scene, but not quite so still, a slight breeze stirring the foliage.",
"INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT Jeff looks up to a puzzled Lisa. JEFF Well? LISA It's just a picture of the backyard, that's all. JEFF I know. But there's one important change. The flowers in Thorwald's pet flower bed. STELLA You mean the one the dog was sniffing around? JEFF -LRB- To Stella. -RRB- And digging in. -LRB- Points out window. -RRB- Look at that flower bed. They all lean forward to look.",
"EXT. NEIGHBORHOOD - DUSK - MEDIUM SHOT The flower bed. The flowers have a slight dip in the center. Jeff speaks off : JEFF There's a dip at this end. And since when do flowers grow shorter in two weeks? STELLA There's something buried there.",
"INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT All three ease back in awe. Lisa, still looking out, says : LISA -LRB- Breathing it. -RRB- Mrs. Thorwald! Suddenly Stella begins to chuckle. They look around at her. Her face sobers as she answers their unasked question : STELLA You have n't spent much time in cemeteries, have you? -LRB- they do n't answer. -RRB- Mr. Thorwald could hardly put his wife into a plot of ground scarcely one foot square. Jeff and Lisa slowly turn their heads to look out at the garden.",
"EXT. NEIGHBORHOOD - DUSK - SEMI-LONG SHOT The garden again with its small indentation of flowers over this we hear the ghoulish voice of Stella : STELLA Unless, he puts in standing on end - which would be very original and not require the use of either a knife or a saw. My guess is she's scattered all over town. A leg in the East River - an arm - LISA -LRB- Cuts in. -RRB- Stella, please.",
"INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT Jeff looks at Stella. JEFF Something's in there. Those flowers have been taken up, and put back again. LISA -LRB- Has a hard time saying it. -RRB- It could be - the knife, and the saw. STELLA -LRB- Quickly. -RRB- Call Lieutenant Doyle! LISA No - let's wait. Let's wait until it gets dark. I'll go over and dig it up! Halfway through Lisa's speech, Jeff begins speaking. JEFF -LRB- To Stella. -RRB- I'm not going to call Doyle until I show him the body of Mrs. Thorwald -. -LRB- To Lisa. -RRB- And you're not going to dig up anything, an get your neck broken too. THE CAMERA EASES BACK to allow Lisa to sit on the divan, and Jeff turn his chair toward her. Stella still look out the window, thinking. JEFF What we've got to do is find some way to get in there, and - Stella's quiet voice brings him to a halt. STELLA He's starting to pack. Jeff whips back to the window ; Lisa turns to look.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Thorwald, in the bedroom, methodically folding a suit into a suitcase. Another suitcase, unopened, is visible.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff is staring out, gripping his chair tightly. There is a touch of desperation on his face. He looks down at the flowers, briefly, then swings around abruptly. He wheels away from the camera to the wall cabinet. We see him take a piece of notepaper, a pencil and an envelope. He puts a name on the envelope, and then proceeds to write something on the sheet of paper. Stella and Lisa edge up behind him, and look down at what he is writing.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP THE CAMERA RUSHES DOWN over Jeff's shoulder, just in time to catch the last word as he finishes writing the message. The envelope is addressed to `` LARS THORWALD.'' The massage reads, simply, `` WHAT HAVE YOU DONE WITH HER?''",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff at the window, looking through the long - focus lens. We get a glimpse of Stella behind him. He is watching :",
"EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT The alleyway and street. Just regular traffic. Suddenly Lisa comes into the picture from the left. She is carrying a white envelope. She stops, waves her hands at Jeff, smiles, and then hurries on. The lens slowly pans to the right and stops on Miss Torso's apartment. She is standing on a small stepladder, nailing curtains above her window. Her legs are bare, though she wears high - heel shoes. We do not see more than half - way up her thighs. The lens takes this in for the briefest split - second of hesitancy then moves on to await the arrival of Lisa along Thorwald's corridor. She does not appear yet. The lens moves back to get another glimpse of Miss Torso, who is now descending the ladder. She is wearing a leotard. Over this, we hear Stella's voice : STELLA What are you going back for? The lens quickly swings back to Thorwald's corridor. Lisa is seen turning the corner, and approaching Thorwald's door on tiptoe.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff lowers the long - focus lens to get a more comprehensive view of Thorwald's apartment and corridor outside.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Lisa approaches the door of Thorwald's apartment. The salesman comes into the living room. He finds a package of cigarettes, extracts one, and lights it. Lisa kneels down, and carefully slides the letter under the door. At this moment, Thorwald extinguishes the match, tosses it into an ashtray, and turns toward the door. He freezes as he sees the letter on the floor. This momentary hesitation allows Lisa to straighten up, turn, and walk carefully but swiftly, away. Thorwald moves rapidly toward the door. He bends down, scoops up the letter, and examines it briefly. Lisa is just turning out of sight at the end of the corridor, as Thorwald throws open the door. He looks and sees no one. He takes a few questioning steps down the corridor, then stops to examine the letter again. Slowly he turns and makes his way back to the apartment, tearing open the envelope.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff lifts the long - focus lens to his eyes again. His expression is tense.",
"EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT Thorwald stops in front of his door to read the note. There is some curiosity on his face. As he reads, all movement and emotion drain from his body. He stands there, frozen. Jeff's voice is heard over : JEFF You did it, Thorwald! You did it! Suddenly Thorwald turns and dashes down the corridor.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff whips the long - focus lens from his eye.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT As Thorwald dashes down the corridor, we hear Jeff's voice. He cries out instinctively, but almost to himself : JEFF Lisa! Look out! He's coming!",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Both Stella and Jeff frantic. STELLA -LRB- Accusingly. -RRB- You should n't have let her do that! If he ever - JEFF -LRB- Interrupting. -RRB- Look!",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Lisa suddenly appears at the ground floor door below Thorwald's. She hides, pressing back against the wall tensely. In the corridor above, Thorwald returns, frustrated. He comes out onto the fire escape directly above Lisa. She is aware of him, and immediately retreats into the doorway. She disappears down the lower corridor, as Thorwald searches his fire escape.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP There is a sigh of relief from both of them. STELLA Thank heaven that's over! JEFF I have a feeling we've just begun.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Thorwald is now passing through the living room into the bedroom. He picks up a shirt and puts it on. He then returns to packing his suitcases, moving unhurriedly.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Jeff rubs his chin thoughtfully. Stella is scanning the neighborhood. We hear a radio, or a television show, off ; and there is distant, rhythmic music coming from the cafe on Thorwald's street. JEFF No doubt of it. He's leaving. The question is - when? Stella's brow knits a little as she sees something. She reaches for the long focus lens. STELLA Mind if I use the portable keyhole? Jeff hands it to her. JEFF Not as long as you tell me what you're looking at. She lifts it to her eye.",
"EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT Miss Lonely Hearts' apartment. She has opened a small brown bottle, and taken out four red capsules which she places on the white table cloth of her little table. There is a candle burning in a holder, and other lamps also light the apartment. She is dressed in sedate street clothes. She sits at the table, and by the light of the candle proceeds to open a black - covered book, and read it. The print is fine. She bends over it a moment, looks up at the capsules, and returns to the book. She seems quite at peace. Stella and Jeff are heard over : STELLA I wonder. JEFF What? STELLA Miss Lonely Hearts just laid out something that looks like sodium trieckonal capsules. JEFF You can tell that from here? STELLA I handled enough of those red pills to put everybody in New Jersey asleep for the winter. JEFF Would four of them -? STELLA -LRB- Breaks in. -RRB- No - but it makes the rest easy to take. And she's reading the Bible. JEFF -LRB- After a slight pause. -RRB- Then I would n't worry too much. But let's keep an eye on her.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Stella lowers the long - focus lens. STELLA You know? You might not be too bad a bargain for Lisa after all. JEFF You do n't say! I might just take that compliment as an insult. The door bursts open, and they both turn quickly toward the entrance.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT Lisa comes in, panting and flushed. She stands a second at the door, catching her breath, but smiling with the pleasure of sampling danger and escaping unharmed. LISA Was n't that close? JEFF -LRB- Off. -RRB- Too close. She comes down the stairs. LISA What was his reaction? I mean when he looked at the note?",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT As Lisa comes up to the two of them. STELLA Well, it was n't the kind of expression that would get him a quick loan at the bank. Lisa comes close to Jeff, speaks warmly. LISA Jeff - how did I do? He takes her hands. JEFF Real professional. Would have made a great layout for the Bazaar. The model pressed back against a brick wall, eyes wild, tense. Low cut bodice, in new suspicious black, with a - Some of the pleasure goes out of her face. Stella notices it. STELLA -LRB- Interrupts Jeff. -RRB- You'd make a good door prize at a wake. It relieves the slight friction, as both Jeff and Lisa laugh. Lisa happens to look toward the window, and the laugh dies. LISA Jeff - the handbag. Jeff and Stella turn toward the window. Jeff grabs the long - focus lens, lifts it up.",
"EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT Thorwald has the new alligator bag belonging to his wife, in his hand. He moves slowly across the bedroom, out of sight behind the door. He does n't appear in the living room. In a moment he reappears, moving back to his packing. He puts the handbag into one of the suitcases - the one which he has almost completed filling. He goes on with his packing.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Jeff puts down the long - focus lens, and turns around toward the room. The two women watch him expectantly. JEFF Suppose Mrs. Thorwald's wedding ring was among the jewelry he has in the handbag. -LRB- Supporting his proposition. -RRB- During that phone conversation he held up three rings - one with a diamond - one with a big stone of some kind - and one plain gold band. LISA -LRB- Excited. -RRB- And the last thing she'd leave behind would be her wedding ring! -LRB- To Stella. -RRB- Do you ever leave yours at home? Stella lifts her left hand, and looks fondly at her ring finger. STELLA The only way anybody could get that off would be to chop my finger - Let's go down and find out what's buried in the garden. LISA Why not? I always wanted to meet Mrs. Thorwald. Jeff looks at them aghast. JEFF What are you two talking about? STELLA Got a shovel? JEFF No. STELLA There's probably one in the basement. JEFF Now wait a minute - LISA Jeff, if you're squeamish, just do n't look. JEFF Now hold on. I'm not a bit squeamish about what might be under those flowers - but I do n't care to watch two women end up like that dog - Stella grows a little uneasy. Her eyes drift toward Thorwald's apartment. STELLA -LRB- To Lisa. -RRB- You know, Miss Fremont - he might just have something there. JEFF There's no point in taking unnecessary chances. -LRB- He points. -RRB- Give me the phone book, Lisa. Lisa moves for the phone book on the stand near the kitchen. LISA What for? JEFF Maybe I can get Thorwald out of the apartment. Lisa hands him the book. STELLA We only need a few minutes. Jeff looks for Thorwald's number in the directory. JEFF I'll try to give you at least fifteen minutes. LISA How? JEFF -LRB- Finds the number. -RRB- Chelsea 2 - 7099. -LRB- He looks up, reaches for the phone. -RRB- We scared him once. Maybe we can scare him again. -LRB- Picks up receiver ; pauses. -RRB- I'm using that word `` we'' a little too freely, I guess. I do n't take any of the chances. LISA Shall we vote him in, Stella? STELLA Unanimously. The two women smile. Jeff picks up the phone and dials Chelsea 2 - 7099. The women watch him tensely. He holds the receiver away from his ear a little, and the buzzer is heard sounding on filter. Lisa looks toward Thorwald's apartment ; then Stella ; then Jeff.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Thorwald's apartment. He comes out of the bedroom toward the phone. He wears a light summer coat and tie, despite the heat. In the bedroom, everything is packed with the exception of one open suitcase. We see another suitcase, his sample case, and a couple of topcoats across the bed. He approaches the phone hesitantly, undecided whether or not to answer it. JEFF -LRB- Off, half - aloud. -RRB- Go ahead, Thorwald - pick it up. You're curious. You wonder if it's your girl friend calling. The one you killed for. Pick it up, Thorwald! Quickly Thorwald does pick it up. THORWALD -LRB- Cautiously, on filter. -RRB- Hello. JEFF -LRB- Off. -RRB- Did you get my note? There is a pause as Thorwald gropes for an answer. We can almost hear his breathing. JEFF Well - did you get it, Thorwald? THORWALD Who are you? JEFF I'll give you a chance to find out. Meet me in the bar at the Brevoort - and do it right away. THORWALD Why should I? JEFF For a little business meeting - to settle the estate of your late wife. THORWALD -LRB- After a pause. -RRB- I do n't know what you mean. JEFF -LRB- Firmly. -RRB- Now stop wasting time, Thorwald, or I'll hang up and call the police. THORWALD -LRB- Breathing heavily. -RRB- I only have a hundred dollars or so. JEFF That's a start. I'm at the Brevoort now. I'll be looking for you. He hangs up before Thorwald can reply. Thorwald looks at the receiver a moment, then he slowly hangs up. He stands at the phone thinking. He does n't suspect he is being watched through the window. Then he makes up his mind and starts for the door. After he goes out he tests the door to make certain it is locked. LISA -LRB- Over. -RRB- Let's go, Stella.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Jeff turns his wheelchair halfway around as Lisa and Stella start quickly for the door, THE CAMERA PANNING THEM across the room. They pause at the sound of Jeff's voice.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff calls after them : JEFF One of you watch this window. If I see him coming back, I'll signal with a flashbulb. The door slams off and we hear the footsteps of the women dying down the corridor as Jeff picks up the long - focus lens and takes a sight on the alleyway.",
"EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT Thorwald goes past the alley opening.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Jeff puts down the lens and wheels quickly to the wall cabinet. He finds a box of flash bulbs and a reflector. He puts them in his lap and returns to the window, putting the chair sideways. He leans out a little and looks down.",
"EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Lisa is in the courtyard directly below Jeff's window. She has reached the stairway leading up and to the right. She looks, waves at Jeff as Stella comes up to her carrying a shovel. The two women hurry up the stairs toward the iron ladder they will use to climb the wall between Jeff's yard and that of Thorwald's.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSE SHOT Jeff picks up the phone and quickly dials. The buzzer sounds on filter, then the phone is lifted. A woman's voice is heard and Jeff seems a little puzzled at the sound of it. BABY SITTER This is Doyle's house. JEFF This is L. B. Jefferies, a friend of Tom's. Who am I talking with? He squints out the window.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Lisa has climbed over the wall and is helping Stella down into Thorwald's yard. The shovel is lying on the ground beside Lisa. Jeff's conversation continues over the action of the two women. BABY SITTER This is the baby sitter. JEFF Oh. When are they expected home? BABY SITTER I'm hired'til one. They went to dinner and maybe night - clubbing. JEFF Well, if he calls in, tell him to get in touch with L. B. Jefferies right away. I might have quite a surprise for him. BABY SITTER Does he have your number, Mr. Jefferies? JEFF He has it. Thank you. BABY SITTER Goodnight. Jeff hangs up. Stella is now beginning to dig, carefully lifting the flowers off the center of the bed where they had dipped down. She places the flower plants on the sidewalk. Lisa stands facing Jeff's window and occasionally glances over her shoulder uneasily at Stella's work. At this moment, the sounds of musical instruments begin to be heard from the songwriter's apartment.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSE SHOT A little annoyed at the interruption, Jeff turns to look at the studio apartment.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT In the songwriter's apartment, several of his musician friends have gathered. One plays a guitar, another a clarinet, and so on. One by one they try out the theme of the songwriter's new melody, running through it in turn to become familiar with the notes. We, therefore, hear the melody played informally in different ways with different instruments.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff shifts his eyes from the songwriter's apartment back to the courtyard.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Stella is busy, expertly handling the shovel. Lisa has her back to the nurse, but looks apprehensively over her shoulder. She then looks up toward Jeff's apartment.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff gives her an encouraging little gesture with his hand. Then his eyes lift a little as he looks up.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Miss Lonely Hearts is sitting on the sofa, writing a note with a pad on her knee. Next to her, on the table, the pills are still in evidence.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff picks up the long - focus lens and trains it on the alleyway.",
"EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT The alleyway and street intersection, with normal night traffic, but no sign of Thorwald. THE CAMERA LENS PANS across and down to the hole being dug by Stella. We get an impression of Lisa's legs as we go by. The spade comes out of the hole and rests on the side. THE CAMERA LENS PANS up just in time to catch Stella turning up to Jeff. She throws out a helpless hand and shakes her head. `` Nothing.''",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff lowers the lens and looks down at the two women with evident disappointment.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Lisa glances up to Thorwald's apartment. She turns and gestures some instructions to Stella. Then she looks up at Jeff and gestures her intention to enter Thorwald's apartment. She turns and dashes toward Thorwald's fire escape as Stella makes a fruitless grab to restrain her.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff, shocked and alarmed, calls out : JEFF Lisa - no! He looks quickly toward the intersection and then right back to Lisa. Apparently no sight of Thorwald.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT While Lisa starts up the fire escape, we see Stella running toward the wall in the foreground to climb over it. Stella has abandoned the shovel and left the flowers and dirt strewn over the walk.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff, tense and wide - eyed, watches Lisa climb the fire escape.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Lisa climbs the fire escape to the second floor and the outside of Thorwald's apartment. She tries, unsuccessfully, to get through the window which opens into the kitchen from the fire escape. And then, with some difficulty, stretches and succeeds in getting in through the living room window, which is open. She goes directly to the bedroom and we see her bending over one of the suitcases.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSE SHOT Jeff quickly picks up the long - focus lens and trains it on the salesman's apartment.",
"EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT Lisa turns from the suitcase with the alligator handbag in her hand. There is an expression of triumph on her face. She opens it and her expression changes to dismay. She looks toward Jeff's apartment and, to communicate her dismay, she turns the handbag upside down. Nothing falls out. Empty.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP He lowers the long - focus lens and he is sweating with anxiety. He mutters, almost to himself : JEFF Come on. Come on! Get out of there! His eyes turn quickly to the alleyway and back again to Lisa.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Lisa has dropped the bag on the bed and is now looking around the bedroom, looking for some place to start searching for the jewelry. She moves quickly to the dresser and begins opening the drawers to check them. She finds nothing.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP As Jeff watches tensely, the door bursts open behind him and Stella hurries into the apartment. STELLA Ring Thorwald's phone the second you see him on the way back! Jeff swings toward Stella. He reaches for the phone. JEFF I'm going to ring him now! As he picks up the receiver, Stella pushes his hand down again. STELLA Give her another minute - She's doing this for you. Stella looks out the window and her face registers shock. Jeff turns quickly to the window again, forgetting the phone for the moment. STELLA Miss Lonely Hearts!",
"EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Miss Lonely Hearts is in the act of popping an envelope up against the table lamp on the table next to the sofa. From the same table, she takes a pill bottle and empties the contents into her left hand. Replacing the bottle, she picks up a glass of water. STELLA -LRB- Off. -RRB- Call the police! We hear the sound of the receiver picked up, and Jeff starting to dial New York Police. At this moment, from the song - writer's apartment which has been quiet for a while, comes a new burst of melody. It is the melody which the song - writer has been composing during the past few days. Now it is rich, and full, and completed, as the musical group plays it. Miss Lonely Hearts lifts her head to listen, and slowly lowers the pills and glass of water into her lap, her whole purpose arrested by the beauty of what she hears.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Jeff and Stella turn for a quick glimpse of the song - writer's apartment.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT A quick flash of the song - writer's apartment, and his musical group gathered around the piano. STELLA Maybe that music will delay her taking the pills.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff and Stella look back to Thorwald's apartment. Jeff has the receiver to his ear, and the buzzer can be heard on filter.",
"EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT At the bottom of the picture, Miss Lonely Hearts is still listening to the music, while in the apartment above Lisa appears into the living room from behind the doorway that leads to the bedroom. She looks across to the source of the music. She is as arrested by the melody as Miss Lonely Hearts. Then looking across to Jeff, she holds up her hands triumphantly to show him the jewelry she has discovered. At this point, Thorwald appears coming along the corridor of his apartment house! Lisa is completely unaware of his approach.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Stella is so shocked, she can only gasp for breath. Jeff, in near panic, shouts in anguish! JEFF Lisa! Lisa! At this moment, the phone is picked up on filter, and a voice speaks : POLICE Precinct Six - Sergeant Allgood. Jeff opens his mouth to speak, but no words come out, as his attention is focused on :",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Thorwald at the door, unlocking it with his key. We see that Lisa has heard the sound, and looks toward the door, all but frozen with alarm. The Policeman on the phone repeats with studied irritation : POLICE Precinct Six - Sergeant Allgood. Lisa dashes back into the bedroom just in time to avoid being seen by Thorwald as he opens the door and enters the apartment.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff, urgently into phone, with a serious and rapid voice : JEFF A man is assaulting a woman at one two five west ninth street. Second floor rear. Make it fast. POLICE Your name? JEFF L. B. Jefferies. POLICE Phone number? JEFF -LRB- Impatiently. -RRB- Chelsea 2 - 5598. POLICE Two minutes. Phone is down on filter, and Jeff replaces his receiver.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Thorwald crosses the living room, and goes into the bedroom. Suddenly he looks onto the bed. He picks up the open alligator handbag. He turns, facing the window, looking down at the bag. He looks up in the direction of the living room. Then suddenly his whole frame stiffens, his head turns a little further around to his right. He is looking directly at Lisa who is out of our sight in the corner of the bedroom. He holds out the bag, and without moving, starts to question the unseen Lisa. He takes a little step forward, and his head begins to turn slightly to the left as Lisa begins to emerge into the living room, backing away slowly. By her gestures, and nervous laughter, she appears to be offering a lame excuse for being found in his apartment. He comes towards her, and enters the living room as well. Lisa edging toward the door, points to it as she apparently argues with him as to the way she came in. He points to the window. She makes one more step toward the door, but Thorwald reaches out quickly and grabs her by the wrist. He twists it brutally, and flings her sideways into the sofa beneath the window. Her head snaps back against the head rest. With his right hand he throws the handbag across the room in anger, and with his left open - palmed he demands something from Lisa. Slowly her right hand comes up and opens. He takes the jewelry from her, looks at it for a surprised moment, puts it into his coat pocket. He reaches down with both hands, and by the wrists jerks her to her feet. He is talking viciously to her. We can hear Lisa calling out faintly : `` Jeff! Jeff!'' Thorwald suddenly looks out at the neighborhood. He realizes that somebody might be watching him. He drags her across the room, reaches up with one arm, and the lights go off. The faint light from the bedroom illuminates their struggle, but not clearly.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP An angry Jeff is staring, and trying to penetrate the semi - darkness of Thorwald's room. Then he bends his head forward in despair, and after a brief moment speaks : JEFF -LRB- With deep sincerity. -RRB- Stella - what can we do?",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Stella staring out, tense, frightened. Then her expression changes sharply as she looks slightly to the left. STELLA There they are. Jeff looks up quickly.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Two policemen move quickly and professionally up the corridor toward Thorwald's apartment. They stop at the door, listen a moment, and then push the buzzer insistently. Inside the apartment, lights go on, and Thorwald is in the center of the room looking toward the door. Lisa staggers away from him, trying to rearrange her clothes and her hair. She is as surprised at the interruption as Thorwald. He listens, looks back questioningly toward Lisa, then goes to the door. He passes into the kitchen.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Jeff and Stella visibly relax. Jeff does n't say anything, but a gesture of rubbing his eyes with the back of his hand gives an indication of how deep his tension was.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT After a moment's hesitation, Thorwald goes to the door and opens it.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff quickly puts a hand out and takes up his long - focus lens. He looks through the finder.",
"EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT Thorwald's head and shoulders fill the screen. For a moment Thorwald is genuinely frightened by the sight of the police. We see him listening to the policeman out of the picture. Thorwald turns slowly and we see him lose much of his fright and regain some control of his face. He completes his turn and is looking at the girl a little puzzled. He then swings back toward the police.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP A quick flash of Jeff and Stella looking. Jeff still has the long - focus lens to his eye.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Thorwald is displaying indignation and complaint to the police as he nods his head vigorously toward Lisa. At this the police start to advance into the apartment, going directly for Lisa. She flashes a quick look toward Jeff's window. She turns back as the first policeman reaches her. He starts to question her.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Stella turns away and goes quickly to the table for the binoculars. Jeff still is using the long - focus lens.",
"EXT. NEIGHBORHOOD - NIGHT - BINOCULAR SHOT We see Lisa start to excuse her presence in the same manner she used with Thorwald previously, as if to say she came into the apartment by mistake. Thorwald, listening, comes quickly forward to contradict her, vigorously. He holds out the jewelry in his hand, and then picks up and shows the empty handbag. The policeman, impressed, looks back to Lisa for an explanation. She has none. Over this we hear Stella frantically asking : STELLA What's she trying to do? Why does n't she turn him in? JEFF Smart girl. STELLA Smart? She'll be arrested! JEFF That'll get her out of there, wo n't it? The first policeman indicates that Lisa is to come along with him. He pauses momentarily to tell the second policeman to take a statement from Thorwald about the attempted burglary. The second policeman reaches for the jewelry in Thorwald's hand, and takes it for examination. In the brief pause while the two policemen speak to each other, Lisa starts to wave her left hand behind her back.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff looking through his camera.",
"EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT We get a closer view of the waving hand. She stops waving and holds her fingers spread out. With her other hand she points to the wedding ring on her left hand. STELLA Mrs. Thorwald's ring! THE LENS PANS UPWARD AND ACROSS until it brings Thorwald's profile into the picture. He is looking down directly at Lisa's hands. His head slowly turns, and he looks right up - directly into the lens. Suddenly he becomes aware that Lisa is signaling to someone who is watching him.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Jeff and Stella. He drops the camera into his lap. JEFF Stella! The lights! He'd seen us! Stella hurries from the window, turning off lights, as Jeff backs his chair into the room.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT As Thorwald's attention is drawn back to the second policeman to answer further questions, the first policeman takes Lisa by the arm and leads her out of the apartment. He goes down the corridor pushing the curious people away from the door.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT The last light out, Stella stops to catch her breath, and turns to Jeff. STELLA When you took your first snapshot - did you ever think it would bring you to this? JEFF -LRB- Urgently. -RRB- Stella - how long do you think he'll stay there? STELLA -LRB- Squinting out window. -RRB- Unless he's dumber than I think, he wo n't wait'til his lease is up. Jeff points to a drawer in the wall cabinets. JEFF My billfold! In the right hand drawer. Stella moves to get it. STELLA What do you need money for? JEFF To bail Lisa out of jail. She finds a billfold, hands it to Jeff. He takes it, extracts some bills and begins counting them. As he counts, Stella comments : STELLA You know - you could just leave her there until after next Tuesday - so you could sneak away safely - as planned. He looks up sharply at her, and then without comment goes back to counting the money. JEFF -LRB- With obvious disappointment. -RRB- One hundred and twenty - seven. STELLA How much do you think you'll need? JEFF First offense burglary -. -LRB- He shrugs. -RRB- - probably two - fifty. -LRB- Gets an idea, points. -RRB- The piggy bank. Stella, following his pointing finger, gets a piggy bank down from a shelf on the sideboard. He takes it, cracks it on the knee of his cast. It splits open, and some money comes out. Mostly bills, a few silver halves. What he does n't get, Stella picks up. STELLA Ten here. JEFF Thirty - three here. Totals one - ninety. Not enough. STELLA I got twenty or so in my purse. Give me what you've got. Jeff does, as Stella gets her purse. JEFF What about the rest? STELLA When those cops get a look at Miss Fremont - they'll even contribute. Stella goes up to the door. The phone RINGS. Jeff grabs it, picks it up. Stella pauses. JEFF -LRB- To phone. -RRB- Just a minute. -LRB- To Stella. -RRB- I'll tell you who it is when you get back. Stella goes quickly out the door. He returns to the phone call, glancing at the same time toward the courtyard.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP JEFF Jefferies. DOYLE -LRB- Filter. -RRB- This is Doyle, Jeff. JEFF -LRB- Urgently. -RRB- Tom, I've got something real big for you. DOYLE -LRB- Wearily. -RRB- Look Jeff, do n't louse up my night with another man killer stuffing a grisly trunk that turns out to be - JEFF -LRB- Interrupting harshly. -RRB- Listen to me! Lisa's been arrested. DOYLE -LRB- Slightest pause. -RRB- Your Lisa? JEFF My Lisa. She went into Thorwald's apartment, and he came back. The only way I could get her out was to call the police. DOYLE -LRB- Angry. -RRB- I told you that - JEFF -LRB- Interrupting. -RRB- I know what you told me! She went in to get evidence, and she came out with it. DOYLE Like what? JEFF Like Mrs. Thorwald's wedding ring. If that woman were still alive, she'd be wearing it. DOYLE -LRB- Grudgingly. -RRB- A possibility. JEFF -LRB- Talking fast. -RRB- A fact! Last night he killed a dog for pawing in his garden. Why? Because he had something buried in there. Something a dog could scent. DOYLE Like an old hambone? JEFF -LRB- Fast. -RRB- I do n't know what pet name Thorwald had for his wife. And that night he went out half a dozen times with the metal suitcase. He was n't taking his possessions, because they're up in his apartment now! DOYLE You think perhaps it was `` old hambone?'' JEFF In sections! And one other thing, doubting Tom - it just occurred to me that all the calls Thorwald made were long distance! If he called his wife the day she left - after she arrived in Merritsville - why did she need to send him a postcard saying she'd arrived? DOYLE -LRB- After pause ; a detective. -RRB- Where'd they take Lisa? JEFF Precinct Six. I sent a friend over with bail money. DOYLE Maybe you wo n't need it. I'll run it down, Jeff.",
"EXT. NEIGHBORHOOD - NIGHT - LONG SHOT We see Thorwald leave his apartment and proceed down the corridor. JEFF Just do n't dally. Thorwald knows he's being watched. He wo n't hang around long. DOYLE If that ring checks out, we'll give him an escort. So long. He hangs up, and just as he does, Jeff looks toward Thorwald's apartment. He rolls forward to the window. He seems a little puzzled by what he sees.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Thorwald's apartment. Completely dark. No movement, or glow of a cigar. The corridor outside lighted, but empty.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSE SHOT Jeff scratches the side of his chin, studies Thorwald's apartment as if he might see some small clue as to where the salesman is. He looks toward the intersection to his left. Apparently he sees nothing. He turns to look down into the garden.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Miss Lonely Hearts is standing in the yard outside her apartment, looking up to the porch of Miss Torso. The ballet dancer is in high heels and a fresh summer dress. MISS TORSO -LRB- Faintly heard. -RRB- Have you heard that song he's been writing? She indicates the song - writer's apartment. Miss Lonely Hearts turns, looks up at the studio apartment a moment, then looks up at Miss Torso. MISS LONELY HEARTS -LRB- Nods yes. -RRB- I'm glad I was here when he played it.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSE SHOT He sits quietly a moment, thinking. Suddenly he jumps a little as the phone rings. He reaches for it, picks up the receiver. JEFF -LRB- Still looks out window. -RRB- Hello. -LRB- No answer. -RRB- Hello, Doyle? Tom? Tom, I think Thorwald's left. I do n't see anything of -. -LRB- He looks at receiver, then :. -RRB- Hello. Slowly he looks up toward Thorwald's apartment. Then, back to the receiver. On filter, a receiver can be heard carefully being replaced. Jeff slowly lowers the phone into the cradle. He looks once more toward Thorwald's apartment. Then he turns his chair around quickly and looks toward the door to his apartment.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT The door. Quiet in the apartment, and in the corridor. Light showing beneath the door from the hall light.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSE SHOT Jeff watching, waiting, nervous at first. He reaches for the phone, changes his mind. He looks around for some kind of a weapon, finds none to suit him. He hears the slightest squeak of a floorboard, and looks quickly toward the door again.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT The door. Another squeak of a floorboard, so light and quickly passing that at any other time it would have no significance, even if it could be heard. Then the light beneath the door disappears. Black.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSE SHOT Jeff squints at the door, blinks, squints again.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT The door. No doubt about it, black.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSE SHOT He looks again for a weapon, and almost by instinct he snatches up his flash holder and the small packet of bulbs he had taken out to signal Lisa earlier. He tries to move his wheelchair farther into the shadows. His eyes are glued to the door of his apartment, and his senses are sharp as a hunting dog's. He scarcely breathes.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Only the slightest sound is heard as the doorknob turns. The door slowly and carefully swings open, but the corridor is too dark to tell at first who is entering. The door closes just as quietly. From the shadowed recess comes a heavy voice. A threatening voice. THORWALD What do you want from me? Jeff does n't answer. Thorwald steps to the top of the stairs, and is now somewhat visible. He looks tall and huge and explosive. THORWALD Your friend - the girl - could have turned me in. Why did n't she?",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff does n't answer. His eyes watch Thorwald. He licks his lip with nervous tension and grips the flash holder.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Thorwald comes down the two steps, pauses at the bottom. THORWALD What is it you want? A lot of money? I do n't have any money. Jeff does n't answer. THORWALD Say something! He moves forward a couple of steps. THORWALD -LRB- Sudden loud anger. -RRB- Say something! Tell me what you want!",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Jeff still does n't speak. He grips the flash holder a little more tightly, lifts it just the fraction of an inch as if he is prepared to use it.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Thorwald has advanced to the middle of the room, his eyes on Jeff and his hands clenching with the effort to control his anger. THORWALD Can you get me that ring back? JEFF -LRB- Quietly. -RRB- No. THORWALD -LRB- Loud. -RRB- Tell her to bring it back! He advances a step. JEFF I ca n't. The police have it by now. THORWALD Then if the police get me - you wo n't be around to laugh! Thorwald starts to move threateningly for Jeff.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP From a three - quarter angle toward Thorwald. Jeff lifts the flash holder to face level and closes his eyes. He explodes the flash.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Thorwald's face fills the screen registering shock, confusion. He throws up his hands for protection and recoils, making an involuntary sound of surprise.",
"INT. JEFF'S APARTMENT - NIGHT A vision of Jeff and the apartment as seen by Thorwald. It is distorted and out of focus, filled with large twisting balls of bright yellow color.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Thorwald blinking, trying to regain his sight.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP Jeff ejects the used bulb and quickly inserts another. He works furiously, sweating. He gets the bulb in the flash holder just in time to meet Thorwald coming at him. Jeff closes his eyes and another bulb explodes in Thorwald's face.",
"INT. JEFF'S APARTMENT - NIGHT - CLOSEUP Thorwald's face, full screen again, as he recoils from the flash.",
"INT. JEFF'S APARTMENT - NIGHT The apartment as seen by Thorwald again. Big, twisting balls of blinding yellow.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Thorwald stumbles back against the side table, knocking objects off onto the floor, struggling for balance and sight. Jeff works rapidly to put a fresh bulb in the holder.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSE SHOT Thorwald regains his equilibrium and some of his sight. Orienting himself, he starts for Jeff again. This time, when the flash holder goes off, we see it from Jeff's angle. Thorwald is lighted almost white, shockingly outlining every detail of his face, clothes, hands. His rage and frustration are fixed for a brief but terrifying moment. He stumbles backward again, trying to brush the light away from his face almost as if it were a solid enveloping substance.",
"INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSE SHOT Jeff ejects a bulb, puts his last bulb into the flash holder. He tries to move the wheelchair a little further away from Thorwald. Then he raises the flash holder again. In b.g. we see : Doyle, Lisa, Stella and the detectives come to Thorwald's door, try it. Locked. One of the men steps forward with a flat steel jimmy and snaps the lock open. They move quickly into the darkened apartment. Doyle hits the lights inside the kitchen. The group goes into the living room. The lights go on. No sign of Thorwald. Doyle, Lisa and Stella instinctively turn and look toward Jeff's apartment.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT From Thorwald's apartment shooting at Jeff's window. A sudden bright flash is seen as the last flash bulb goes off. And it lights the scene of Jeff in the wheelchair and Thorwald diving through the air at him. Darkness rushes in, blacker than before.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Thorwald has finally reached Jeff, knocking the flash equipment out of his hands and coming to grips with him. It is apparent that he is trying to pull Jeff out of the wheelchair. Jeff fights him off. The wheelchair crashes over, spilling Jeff to the floor. Thorwald is on top of him, lifting, dragging him to the window. Jeff grabs everything he can to keep himself away from the window, but Thorwald is far too powerful for him. He strains to raise Jeff to the windowsill. THORWALD I'll give you a good look out the window. Slowly, inexorably, he raises Jeff to the windowsill. Jeff frantically grabs for the upright window frame, wrapping his arms around it. Thorwald shoves the rest of his body over the windowsill.",
"EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Doyle, Lisa, Stella and the two detectives, crossing Thorwald's yard, see Jeff going out the window. Lisa is panicked. LISA Jeff! Jeff!",
"EXT. NEIGHBORHOOD - NIGHT - MEDIUM LONG SHOT From Doyle's viewpoint, Jeff hanging out the window and Thorwald hammering at his hands and arms with bare fists. Doyle pushes Lisa to one side and starts to scale the wall, preceded by the two detectives.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Thorwald fights to dislodge Jeff's grip.",
"EXT. JEFF'S APARTMENT - NIGHT - CLOSE SHOT Looking down on Jeff's face, showing his strain and the pain of Thorwald's attack. The brick floor of the patio seems a hundred feet below.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Thorwald and Jeff struggling.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-CLOSE SHOT Doyle pulling himself to the top of the wall. Lisa, Stella and the two men below, looking up. Lisa is white - faced and frightened.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Thorwald smashes at Jeff's arms and hands. Jeff's grip begins to slip.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-CLOSE SHOT Doyle reaches the top of the wall, looks up at Jeff.",
"EXT. NEIGHBORHOOD - NIGHT - MEDIUM LONG SHOT Jeff, as seen from Doyle's angle, hanging, somehow weathering Thorwald's insane attack.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-CLOSE SHOT Doyle reaches for his service revolver. He does n't have it! He looks down, and calls one of the detectives back. DOYLE Creel! Your Thirty - eight!",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-CLOSE SHOT Looking down at the two detectives from Doyle's point of view. Creel grabs for his gun expertly. The holster breaks away. It is in his hand and with a deft movement he tosses it upward.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-CLOSE SHOT Doyle catches it, turns up to Jeff's apartment.",
"INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT Thorwald still trying to loosen Jeff's grip. The salesman, in a complete, wild, sweating rage, is beyond all reason. His glasses hang from one ear, his coat is torn, his tie pulled to one side.",
"EXT. NEIGHBORHOOD - NIGHT - MEDIUM LONG SHOT Shooting over Doyle's shoulder as he steadies himself against the wall, lifting the service revolver up for a shot at Thorwald. His aim is careful, slow, painfully deliberate. Jeff seems about to fall.",
"EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT The two detectives ahead of Doyle are moving up below the window. Lisa stand looking up, her hands at the sides of her head, frozen with panic.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT Two detectives appear behind Thorwald and grab him. The startled Thorwald stops his attack on Jeff as he looks wildly around to find the source of his new attack.",
"EXT. NEIGHBORHOOD - NIGHT - CLOSEUP Jeff, hanging from the window frame. He claws desperately for a hold.",
"EXT. NEIGHBORHOOD - NIGHT - COMPREHENSIVE SHOT People rush to their windows, looking out at the excitement. Some people on the ground floor come out into the yard. Doyle and the two detectives come into the patio beneath Jeff. Doyle directs them to improvise something to break Jeff's fall - leaves, greenery, their coats, cushions from the patio furniture - anything they can find. The four uniformed policemen rush into the backyard. Lisa and Stella come over the wall into the patio beneath Jeff. They look up at Jeff, encouraging him to hold on. A detective goes into Jeff's cellar door, trying to reach his apartment before Jeff loses his grip. The siffleuse and her husband are standing on the fire escape in plain, almost somber clothes. They watch expressionlessly. Beneath them the empty basket which once held their dog swings silently in the night air.",
"EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT Jeff, hanging from his windowsill. He loses his grip and plunges down into the patio below. Two detectives throw themselves beneath him. They are knocked to the ground as Jeff's fall tumbles both of them. After Jeff hits, he lies still, twisted over to one side. Doyle and Lisa rush over to Jeff. There is an audible SOUND of shock in the neighborhood as Jeff has fallen - various oh's, ah's, and possibly a stifled scream or two.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-CLOSE SHOT Lisa kneels down, cradles Jeff's head in her lap. There are tears in her eyes. Her clothes are disheveled and her dress torn. Her hair is disarranged. But withal, her face is as beautiful as ever, with love. LISA Jeff - Jeff darling! He opens his eyes. Winces with pain. LISA -LRB- To the detectives. -RRB- Get an ambulance. -LRB- Down to Jeff. -RRB- Do n't move. Try to lie still. JEFF Lisa - I - I - ca n't tell you how scared I was that you - you might - LISA -LRB- Affectionately. -RRB- Shut up. I'm all right. JEFF -LRB- To Doyle. -RRB- Think you've got enough for a search warrant now? DOYLE Oh sure. Sure. I can make it.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT At that moment, a man appears leaning out of Jeff's window. He looks down to the patio. DETECTIVE Lieutenant Doyle? DOYLE -LRB- OFF. -RRB- -LRB- Looking up. -RRB- Yeah? DETECTIVE Thorwald's ready to take us on a tour of the East River.",
"EXT. NEIGHBORHOOD - NIGHT - SEMI-CLOSEUP Stella tugs at Doyle's arm and stands on tiptoe to whisper something into his ear. Doyle then looks up to the detective. DOYLE Did he say what was buried in the flower bed? DETECTIVE Yeah. It's over in his apartment. In a hat box. Wan na look? Doyle turns quizzically at Stella. STELLA Oh, no thanks - I do n't want any of part of her. -LRB- She pauses, then does a surprised take back to Doyle. -RRB- What did I say?",
"EXT. NEIGHBORHOOD - DAY - PAN SHOT Beginning on Jeff's window thermometer, the CAMERA PANS FROM RIGHT TO LEFT around the neighborhood. In the songwriter's apartment we see the songwriter with a guest - Miss Lonely Hearts. Both in dress and manner she seems quite happy and adjusted to life. The songwriter is placing the first recording of his new song on a record player for her to hear. It is a full symphonic arrangement which is heard over. CONTINUE TO PAN Thorwald's apartment is empty, stripped of its furnishings. Two painters are repainting the walls. The siffleuse and her husband are on their fire escape, training a new white dog to ride in their basket. Miss Torso is practicing her ballet again. She wears a white leotard. The sound of someone at the door interrupts her. She goes to the door, opens it an inch or two cautiously. When she sees who is outside, she throws open the door. An innocuous, unhandsome and somewhat shy army private enters with a barracks bag slung over one shoulder. She kisses him fondly after closing the door. He puts down the barracks bag, tosses his hat into a chair and, with the attitude of a man who belongs there, goes to the icebox to see what's to eat. The newlyweds are arguing. The CAMERA PANS past Jeff who is asleep in his wheelchair facing away from the window. CAMERA MOVES DOWN to the lower part of his body and we see that both his legs are now in casts. The CAMERA LIFTS SLIGHTLY to show Lisa sitting on the sofa nearby. She wears Levis and a plaid cotton shirt. She is reading a book on travel. She looks up briefly at Jeff. When she realizes he is asleep, she puts down the travel book and reaches for the latest copy of Harper's Bazaar. She settles down to study it as we THE END"
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] | Recuperating from a broken leg, adventuresome professional photographer L. B. "Jeff" Jefferies (Stewart) is confined to a wheelchair in his Greenwich Village apartment. His rear window looks out onto a courtyard and several other apartments. During a powerful heat wave, he watches his neighbors, who keep their windows open to stay cool. He observes a flamboyant dancer he nicknames "Miss Torso"; a single woman he calls "Miss Lonelyhearts"; a talented, single, composer-pianist; several married couples, one of them newlyweds; a female sculptor; and Lars Thorwald (Burr), a traveling jewelry salesman with a bedridden wife. Jeff's sophisticated, beautiful socialite girlfriend, Lisa Fremont (Grace Kelly), visits him regularly, as does his insurance company's nurse, Stella (Thelma Ritter). Stella wants Jeff to settle down and marry Lisa, but Jeff is reluctant. One night during a thunderstorm, Jeff hears a woman scream "Don't!" and then the sound of breaking glass. Later, he is awakened by thunder and observes Thorwald leaving his apartment. Thorwald makes repeated late-night trips carrying his sample case. The next morning, Jeff notices that Thorwald's wife is gone, and then sees Thorwald cleaning a large knife and handsaw. Later, Thorwald ties a large trunk with heavy rope and has moving men haul it away. Jeff discusses all this with Lisa and with Stella. Jeff becomes convinced that Thorwald has murdered his wife. Jeff explains this to his friend Tom Doyle (Wendell Corey), a New York City Police detective, and asks him to do some research. Doyle finds nothing suspicious; apparently, Mrs. Thorwald is upstate, and picked up the trunk herself. Soon after, a neighbor's dog is found dead with its neck broken. The dog's owner yells across the courtyard, complaining of her neighbors' callous disregard of others. All the neighbors run to their windows to see what is happening, except for Thorwald, whose cigar can be seen glowing as he sits quietly in his dark apartment. Certain that Thorwald is also guilty of killing the dog, Jeff asks Lisa to slip an accusatory note under his door, so Jeff can watch his reaction when he reads it. Then, as a pretext to get Thorwald out of his apartment, Jeff telephones him and arranges a meeting at a bar. He believes Thorwald buried something incriminating in the courtyard flower bed, and killed the dog to stop it digging there, so when Thorwald leaves, Lisa and Stella dig up the flowers; they find nothing. Much to Jeff's amazement and admiration, Lisa then climbs the fire escape to Thorwald's apartment and clambers in through an open window. When Thorwald returns and grabs Lisa, Jeff calls the police, who arrive in time to save her by arresting her. Jeff sees Lisa has her hands behind her back, wiggling her finger with Mrs. Thorwald's wedding ring on it. Thorwald notices this, and, realizing that she is signaling to someone, he sees Jeff across the courtyard. Jeff phones Doyle and leaves an urgent message. Stella heads for the police station to post bail for Lisa. When his phone rings, Jeff assumes it is Doyle, and says that the suspect has left the apartment. When no one answers, Jeff realizes that Thorwald himself had called, and is heading over to confront him. When Thorwald enters, Jeff repeatedly sets off his camera flashbulbs, temporarily blinding him. However, Thorwald grabs Jeff and manages to push him out of the open window, as Jeff is yelling for help. Police officers enter the apartment as he falls to the ground; other officers have run over to break his fall. Thorwald confesses to the police soon afterward. A few days later, the heat has lifted, and Jeff rests peacefully in his wheelchair, now with casts on both legs. The lonely neighbor is chatting with the pianist in his apartment, the dancer's lover returns home from the army, the couple whose dog was killed have a new dog, and the newly married couple are bickering. Lisa reclines on the daybed in Jeff's apartment, wearing jeans and apparently reading a book titled Beyond the High Himalayas. As soon as Jeff falls asleep, Lisa puts the book down and happily opens a fashion magazine. | Rear_Window |
[
"INT. HOUSE - LATE AFTERNOON WALTER VALE, sixty - two, is standing by the window of his modestly furnished Colonial house. He is holding a glass of wine and peering out through the drapes. After a few moments an OLD CAR pulls up. A slightly overweight WOMAN gets out of the car. She starts to walk up to the house. Walter steps back from the window and waits. The doorbell rings. Walter takes a last sip of wine and sets the glass down on the end table. And then he goes to the door and opens it. WOMAN Mr. Vale? WALTER Yes. WOMAN Hello. I'm Barbra Watson. Nice to meet you. WALTER Yes. Come in. BARBARA Thank you. She steps into the house and Walter shuts the door. They both stand there awkwardly. Barbara is tightly wound and overcompensates with a forced pleasantness. WALTER Can I take your coat? BARBARA No, thank you. WALTER OK. Would you like anything to drink? BARBARA No. -LRB- Beat. -RRB- Shall we get started? WALTER OK.",
"INT. WALTER'S HOUSE, PIANO ROOM - LATER Walter and Barbara sit side by side in a very close proximity. BARBARA Let's try it again. WALTER The same thing? BARBARA Yes. Remember, fingers curved. Like a tunnel. WALTER OK. Walter starts to play the piano. It's a lesson in progress. They are sitting at a beautiful GRAND PIANO but Walter is only a beginner. And not a very good beginner. BARBARA Do n't flatten. Walter keeps playing. BARBARA -LRB- CONT'D. -RRB- Make room for the train. Walter stops. WALTER What? BARBARA I said `` make room for the train.'' It's something that I tell my kids. If you curve your fingers like this. -LRB- She demonstrates. -RRB- Then the train can pass through the tunnel. She passes her pencil through her curved fingers. Walter looks at her for a long moment.",
"INT. WALTER'S HOUSE - DAY Walter walks Barbara to the front door. He opens it and then hands Barbara some money. WALTER Here. BARBARA Thank you. Next Tuesday at the same time? WALTER No. I do n't think I'm going to continue with our lessons. BARBARA Oh, no. Are you giving up? WALTER No. Barbara gets the point. He is stopping with her, not the lessons. BARBARA Oh. OK. Goodbye. WALTER Goodbye. Barbara walks out the door and then turns before Walter shuts it. BARBARA Mr. Vale? If I may ask, how many teachers have you had before me? WALTER Four. BARBARA Well, for what it's worth, it's difficult to learn an instrument at your age. Especially if you do n't possess a natural gift for it. I'm not saying this to be mean. But if you do decide to give up then I would really like to buy your piano. It's a beautiful instrument. Walter nods, not quite sure how to receive the comment. BARBARA -LRB- CONT'D. -RRB- Goodbye. Barbara turns and leaves. Walter shuts the door.",
"INT. CONNECTICUT COLLEGE, LECTURE HALL - DAY Walter stands before a half - empty class. He is wrapping up a lecture on economic theory. There is nothing inspiring about it. WALTER East Asia's experience is really the exception to the rule, because the conditions there that made trade liberalization for the Middle East successful were n't present in the developing countries in sub - Saharan Africa, and in Central and South America.",
"EXT. CONNECTICUT COLLEGE, CAMPUS - DAY Walter walks across the campus.",
"INT. CONNECTICUT COLLEGE, CONFERENCE ROOM - LATER Walter sits in a meeting with seven other COLLEAGUES.",
"INT. CONNECTICUT COLLEGE, WALTER'S OFFICE - LATER Walter is staring out the window in his simple but very lived - in office. Classical music plays softly in the background. A knock at the door. WALTER Come in. A STUDENT opens the door and enters. STUDENT Hi. He sits down and sets a paper on the desk. STUDENT -LRB- CONT'D. -RRB- Sorry it's late. WALTER Why is it late? STUDENT I had some personal things to deal with. Walter hands back the paper. WALTER I'm sorry. I ca n't accept it now. STUDENT But. WALTER I'm sorry. Walter goes back to work. The Student sits stunned for a moment and then gets up and picks up his paper. He opens the door and then stops. STUDENT You know you still have n't given us a syllabus. WALTER -LRB- Lying. -RRB- I know. The Student shakes his head and leaves without another word.",
"EXT. WALTER'S HOUSE - AFTERNOON Walter pulls into the driveway of his house. He gets out, grabs his belongings out of the back seat and walks inside.",
"INT. WALTER'S HOUSE, KITCHEN - DUSK Walter is making dinner. Classical music plays from the other room. He adjusts the flame and covers a sauce pot. He leans against the counter and picks up a half empty bottle of wine and pours some into his glass. He catches sight of A SMALL FRAMED PICTURE of him and HIS WIFE, smiling.",
"INT. WALTER'S HOUSE, LIVING ROOM - LATER Walter sits at the piano and practices. It is still going badly. The wine glass sits on top of the piano. He lifts his hand and inspects his `` tunnel''.",
"INT. CONNECTICUT COLLEGE, WALTER'S OFFICE - DAY Walter is at his computer. He pulls up his YEAR SYLLABUS on the computer and carefully changes 2005 to 2006. He saves it. His work is done. There is a knock at the door. WALTER Yes. The door opens and Walter's colleague, CHARLES VAN HORN steps in. CHARLES Hello Walter. WALTER Charles. CHARLES I'm sorry to interrupt. WALTER That's OK. CHARLES Walter, Shelley ca n't make it down to the NYU conference to present your paper. I'm going to need you to cover for her. WALTER Why ca n't she go? CHARLES She's been put on bed rest until she has the baby. Walter is caught off guard. WALTER When? CHARLES Next week. We'll cover your class and make the arrangements. WALTER I wish I could, but now is not a very good time, Charles. CHARLES I understand but you co - authored the paper and the Dean wants it presented. He wants to keep Shelley on track for tenure. WALTER I just do n't think I can with the start of classes and my book. CHARLES You're only teaching one class, Walter. WALTER So I can stay focused on my writing. I'd really rather not go right now. CHARLES I'm sorry but there really is n't another option at this point. Walter is trapped. He comes clean. WALTER Charles, the truth is this is really Shelley's paper. I just agreed to co - author it because she asked me to. I'm not really prepared to present it. CHARLES That may be the case but you are the co - author and she ca n't go. Look Walter, you can take it up with the Dean if you want, but, as your friend, I would n't advise it. Not with that argument. Walter just stares him. CHARLES -LRB- CONT'D. -RRB- Good bye. And Charles is gone, shutting the door behind him.",
"INT. NEW LONDON, THE BLIND TIGER BAR - NIGHT Walter sits at the end of a bar at a local pub. He is reading the newspaper. KAREN, a 44 - year - old bartender, is talking to a BlONDE HAIRED WOMAN at other end of the bar. The wall is covered with HAND DRAWN CARICATURES OF REGULAR PATRONS. A WAITER hands a plate of food to Karen. She walks down the bar and sets it in front of Walter. KAREN Here you go, cutey. WALTER Thanks. KAREN So I thought you forgot about me. Where've you been hiding? Karen automatically refills his wine glass. WALTER Just busy with work. KAREN Well you're never gon na make it on the wall with that excuse. I'm glad your back. Give a holler if you need anything. I'm just gabbing with one of my girlfriends. WALTER OK. She walks back down the bar. Walter starts to eat.",
"EXT. WALTER'S HOUSE - MORNING Two cars are parked in Walter's driveway.",
"INT. WALTER'S HOUSE, BEDROOM - SAME Walter is packing, laying out his shirts on the bed. After a moment, Karen walks in, drying her hair with a towel. KAREN When are you going? WALTER Today after class. She takes her earrings of the night stand and puts them in. KAREN Sounds like fun. I'm gon na go have a cigarette. You want some coffee? WALTER Yeah. Thanks. Karen leaves. Walter keeps packing.",
"EXT. CONNECTICUT COLLEGE, CAFFETERIA - DAY Walter sits at a table and eats lunch alone.",
"EXT. CONNECTICUT COLLEGE, PARKING LOT - LATER Walter walks across the parking lot and gets into his car.",
"INT. WALTER'S CAR - LATE AFTERNOON Walter drives along the highway. He notices a SIGN which reads `` Support Our Troops!''",
"EXT. NEW YORK CITY, F.D.R. DRIVE - SUNSET Walter's car drives down the F.D.R Highway.",
"INT. WALTER'S CAR - DUSK. Walter drives through the small busy streets of the East Village.",
"EXT. NEW YORK CITY, EAST VILLAGE, PARKING GARAGE - NIGHT Walter pulls into a parking garage. He gets out and takes a ticket from the attendant. He grabs his bag and briefcase from the back seat.",
"EXT. NEW YORK STREET, EAST VILLAGE - NIGHT He walks down the street, taking in the sights and sounds of the city.",
"EXT. LIQUOR STORE - LATER Walter walks out of a liquor store with a SMALL BROWN BAG.",
"EXT. APARTMENT BUILDING - SAME Walter arrives at a classic tenement building. He looks up at the building as if inspecting it. He takes out his keys. He opens the door and walks in.",
"INT. APARTMENT BUILDING - SAME Walter walks into the well - lit but dingy foyer. A YOUNG MAN brushes by him.",
"INT. APARTMENT BUILDING, FOURTH FLOOR - CONTINUOUS He arrives at the second floor and stops in front of a door. He unlocks the door and walks in.",
"INT. APARTMENT - CONTINUOUS Walter steps into the apartment and drops his bags. He immediately notices that the kitchen light is on. Something is not right. WALTER Hello? He turns on the living room light and crosses to the kitchen table and sets the brown bag down. It's then that he notices some fresh flowers on the kitchen table. He looks slightly confused. He looks around the apartment. There is an UPRIGHT PIANO along one wall. WALTER -LRB- CONT'D. -RRB- Hello? There is no answer. He walks down a LONG HALLWAY and looks in the kitchen. Nothing. He walks over to the FIRST BEDROOM and looks inside. There are signs of someone living there. He looks in the SECOND BEDROOM. He sees nothing. Suddenly he hears the sound of running water from the bathroom. He notices a light under the door. He walks to the bathroom and listens. A faucet is turned and the water stops running. He opens the door and looks in.",
"INT. WALTER'S APARTMENT, BATHROOM - SAME A YOUNG BLACK WOMAN is soaking in the bath tub. She see's Walter and screams.",
"INT. WALTER'S APARTMENT, HALLWAY - SAME Walter screams too and then slams the door, stepping back into the hallway. YOUNG BLACK WOMAN Stay away from me! She has a West African accent. WALTER It's OK. I'm not going. AFRICAN WOMAN Leave me alone! My boyfriend is coming home! WALTER I'm not going to hurt you. AFRICAN WOMAN Who are you? What are you doing in here!? WALTER This is my apartment. AFRICAN WOMAN What do you mean? This apartment does not belong to you. How did you get in? WALTER My name is Walter Vale. I have keys. It's my. Suddenly Walter is pushed up against the wall. Hard. MAN'S VOICE What the fuck?! A very angry, YOUNG MIDDLE EASTERN MAN is in Walter's face. He grabs Walter violently by the collar and shakes him. YOUNG MIDDLE EASTERN MAN Who are you?! Zainab?! ZAINAB I'm in here! He is crazy! WALTER Stop it! I am not. The Young Middle Eastern Man slams him against the wall. It's more of a warning shot then a violent act. Walter is terrified. YOUNG MIDDLE EASTERN MAN Shut up! WALTER OK. OK. ZAINAB -LRB- O.S. -RRB- -LRB- In French. -RRB- Tarek. What is happening? TAREK -LRB- In French. -RRB- Are you OK? ZAINAB -LRB- In French. -RRB- I'm fine. TAREK -LRB- In French. -RRB- Who is this? ZAINAB -LRB- In French. -RRB- I have no idea! I was in the bath and he was just standing there. TAREK -LRB- Shaking Walter. -RRB- Did you touch her?! Did you touch her?! WALTER No! No! Zainab opens the door. ZAINAB -LRB- In French. -RRB- He did n't touch me! But how did he get in? He said he has keys. TAREK Do you have keys? WALTER Yes! Yes! I have keys. It's my apartment. Tarek stares at Walter, trying to make sense of it. ZAINAB -LRB- in French. -RRB- What does he mean it's his apartment? TAREK I do n't know! Show me your keys! Walter reaches into his pocket and holds up his keys. WALTER This is my apartment. I've owned it for twenty - five years. TAREK So why have n't you been here!? WALTER I live in Connecticut. I have n't used it in a long time. Walter is starting to get through. TAREK Are you friends with Ivan? WALTER Ivan? Who is Ivan? Tarek is getting nervous. ZAINAB -LRB- In French. -RRB- I knew this would happen! He probably called the police. This catches Tarek's attention. TAREK -LRB- to Walter. -RRB- Did you call the police? Walter hesitates. WALTER No. TAREK You did n't call the police? WALTER No. Tarek looks like he might belt Walter. Instead, he lets him go and quickly backs up. He paces while trying to gather his thoughts. Walter does n't move. Zainab runs into the bedroom. TAREK And you do n't know Ivan? WALTER I do n't know Ivan. Who is he? TAREK He rented us this place. He said it belonged to his friend who was out of town. WALTER I do n't know who he is but this is my apartment. I assure you. Tarek looks at Walter for a long moment. It's clear that he's telling the truth. TAREK Shit! ZAINAB -LRB- O.S. -RRB- -LRB- In French. -RRB- I told you not to trust anyone. You never saw a contract. TAREK Enough! OK. Look. We do n't want any trouble. We will get out of your apartment. This is all a mistake. I'm sorry. WALTER OK. TAREK We will leave, OK? WALTER Yes. OK. Zainab emerges from the bedroom. She is dressed. ZAINAB -LRB- In French. -RRB- Where are we going to go? TAREK -LRB- In French. -RRB- I do n't know but we have to go. ZAINAB -LRB- In French. -RRB- I know we have to go. I am not stupid! TAREK Are you OK? WALTER Yes. I'm just going to sit down. TAREK Of course. Please. Walter nods and then slowly walks down the hallway and sits down. He is clearly shaken. Tarek shuts the front door. TAREK -LRB- CONT'D. -RRB- I'm sorry if I hurt you. Are you sure that you're OK? WALTER Yeah. I'm OK. TAREK OK. Well, we'll pack up and get out. Tarek walks back toward the bedroom. Walter tries to catch his breath.",
"INT. WALTER'S APARTMENT, HALLWAY - LATER Walter is sitting on the couch with a glass of wine. Tarek enters and sets down a bag. He picks up TWO AFRICAN DRUMS next to the piano and places them by the front door. Zainab enters from the bedroom mumbling something in an African dialect. She drops a bag and crosses back to the bedroom. TAREK I know I'm in trouble when she starts speaking Wolof. WALTER How long have you lived here? TAREK Two months. We will pay you if you want. Walter does n't respond. Zainab emerges from the bedroom again with the last bag. TAREK -LRB- CONT'D. -RRB- -LRB- To Zainab. -RRB- Is that everything? ZAINAB I think so. Do you want to check!? He hands her a SMALL PLASTIC BAG from a local grocery. TAREK Here is the coffee you wanted. She snatches it without a word. TAREK -LRB- CONT'D. -RRB- -LRB- To Walter. -RRB- OK. So we'll go. I am sorry again. Thank you for your understanding. Good bye. WALTER Good bye. They turn and exit. Walter gets up and walks over to the front door and locks it. He stands by the front door trying to process the events. Then something catches his attention. WALTER'S APARTMENT, LIVING ROOM - CONTINUOUS Walter walks to the window and picks up a handcrafted, decorative FRAME off of the sill. It is a PHOTOGRAPH of Tarek and Zainab. They are hugging each other and smiling. Walter looks down onto the street. He sees Zainab and Tarek exit the building and cross the street. Zainab's cart tips on the curb and the contents spill out onto the sidewalk. Tarek quickly moves to help her. Zainab yells at him. Walter watches as they finally collect their belongings and move down the street.",
"EXT. NEW YORK CITY STREET - LATER Tarek has set his bags down in front of a closed store. He is talking in a very agitated tone on his cell phone. Zainab stands by silently. TAREK -LRB- In Arabic. -RRB- Look I know. Come on man, it'll just be for a night or two until we figure something out. OK. ZAINAB Tarek? TAREK -LRB- In Arabic. -RRB- Can you check and call me back? OK. Thanks. ZAINAB Tarek? TAREK What!? Zainab points. Walter is standing there holding the framed photograph. WALTER You left this at the apartment. Tarek walks over and takes it. TAREK Thanks. Walter nods. WALTER Do you know where you're going to stay tonight? TAREK Yeah. The lie is obvious. They are stuck. Walter just nods again.",
"INT. WALTER'S APARTMENT, LIVING ROOM - LATER Walter takes some books out of his briefcase. He crosses to the bookshelf and sets them down. He notices a small stack of CD's sitting on a shelf. He picks one of them up and stares at the CD for a long moment. TAREK You like classical music, huh? WALTER Yes. Walter sets down the CD. TAREK Me too. Do you play piano? WALTER No. -LRB- Beat. -RRB- Do you? TAREK Me? No. I play the djembe. Well, thanks again for letting us stay. You saved me a lot of trouble. Walter nods. TAREK -LRB- CONT'D. -RRB- See you in the morning. WALTER OK. Good night. Tarek goes to bed. Walter resumes his work.",
"INT. WALTER'S APARTMENT, BEDROOM - NIGHT Walter is lying in bed, unable to sleep. He can hear Tarek and Zainab whispering and laughing.",
"INT. WALTER'S APARTMENT, TAREK AND ZAINAB'S ROOM - SAME Tarek and Zainab are lying in bed together. ZAINAB Stop it, Tarek. He'll hear us. TAREK Trust me. He's asleep. ZAINAB You do n't know that. TAREK So let him hear. The guy probably needs some excitement. ZAINAB I think he's probably had enough for one night. Tarek nuzzles her. Zainab laughs but pushes him away. ZAINAB -LRB- CONT'D. -RRB- Tarek. No! Zainab sits up in the bed. Tarek relents and rolls onto his back. ZAINAB -LRB- CONT'D. -RRB- What are we going to do, Tarek? TAREK I do n't know. We'll figure it out tomorrow. Who knows? Maybe he'll let us stay. He's not really using the place. ZAINAB I do n't want to be his roommate! TAREK OK. OK. So we'll figure it out in the morning. I promise, habibti. Zainab shakes her head. TAREK -LRB- CONT'D. -RRB- Do you still love me? Zainab looks at him. ZAINAB No. TAREK Really? Zainab rolls over and straddles Tarek. ZAINAB No. I do n't love you. She kisses Tarek. TAREK Not even a little? ZAINAB No. She kisses him again. TAREK So what is this? She gets very close to his face. ZAINAB It's your punishment. TAREK But what about our roommate? ZAINAB Shhh. She kisses him long and hard. They start to make love.",
"EXT. WALTER'S APARTMENT BUILDING - MORNING Jacob walks outside with Sprinkles.",
"INT. WALTER'S APARTMENT, BEDROOM - MORNING Walter is tying his tie in the mirror.",
"INT. WALTER'S APARTMENT, HALLWAY - LATER Walter walks out of his bedroom and runs into Zainab who is leaving her bedroom at the same time. It's obvious that she was trying to avoid Walter. WALTER Good morning. ZAINAB Morning. WALTER I made some coffee. ZAINAB Thank you. WALTER Have a good day. ZAINAB Goodbye. Walter leaves.",
"EXT. NEW YORK UNIVERSITY - DAY The Kimmel Center towers over Washington Square Park.",
"INT. NEW YORK UNIVERSITY - DAY Walter is listening to the speaker. SPEAKER That will be on the last day of conference. I hope you can all attend. And now I'd like to welcome my distinguished colleague and the winner of John Bates Clark Award, Stephen Kriegman. STEPHEN KRIEGMAN strides to the podium. He is a good deal younger then Walter. STEPHEN KRIEGMAN Thank you, Shiva. Good morning. It's a pleasure to be here.",
"INT. NYU BANQUET HALL - NIGHT Walter mingles at a reception. He is listening to another COLLEAGUE tell a story. COLLEAGUE #1 And so I just stood up and walked out! The group laughs. Stephen Kriegman approaches and talks to the COLLEAGUE. STEPHEN KRIEGMAN Jamie! JAMIE Stephen, how are you? Walter walks off.",
"INT. NYU BANQUET HALL - LATER Walter eats dinner in a large, well appointed banquet room. Walter listens as a CHATTY MAN talks.",
"INT. WALTER'S APARTMENT BUILDING - LATER Walter is walking up the stairs carrying a briefcase. He passes a MIDDLE - AGED MAN who is walking down the stairs with a SMALL DOG on a leash. MIDDLE-AGED MAN -LRB- O.S. -RRB- Excuse me. Walter stops and turns. WALTER Yes. MIDDLE-AGED MAN Are you Mr. Vale? WALTER Yes. MIDDLE-AGED MAN I thought so. How are you? It's me, Jacob Konigsberg. Do you remember me? Walter does n't. JACOB I used to live here with my mother. Your wife used to give me piano lessons. WALTER Oh. Right. JACOB It has been a long time. I thought that maybe you sold the place. Oh. This is Sprinkles. -LRB- To the dog. -RRB- Say `` hi'', Sprinkles. Is your wife here with you? WALTER No. She passed away. JACOB What?! No! I had no idea. I'm so sorry. She was such a nice lady. And I just loved listening to her play. WALTER How's your mother? JACOB She moved to Florida. Now I live here. It's nice. There are a lot of new faces. I hardly know anyone anymore. But I have Sprinkles so. WALTER Nice to see you, Jacob. JACOB You too, Mr. Vale. Goodbye. Welcome back. Walter nods and keeps walking.",
"INT. WALTER'S APARTMENT - LATER Walter walks into the apartment. No one else is there. He sets down his case and walks toward his bedroom but stops at Tarek and Zainab's door, which is closed. He listens. Nothing.",
"INT. WALTER'S APARTMENT - LATER Walter is reading over and `` rehearsing'' the paper that he has to present. WALTER -LRB- Sotto. -RRB- It is important to distinguish between both our current political assessment and our. It is important to distinguish between our current political assessment. He stops and crosses out the world `` both''. He continues reading.",
"INT. WALTER'S APARTMENT, LIVING ROOM - LATER Walter is practicing the piano. He continues to struggle. He sits back and takes a break. He notices the drum next to the piano. He looks at it for long moment and then continues playing.",
"INT. WALTER'S APARTMENT, WALTER'S BEDROOM - LATER Walter is lying in bed awake. He listens as Tarek and Zainab come home.",
"EXT. NEWSSTAND - MORNING Walter buys a newspaper.",
"INT. NEW YORK UNIVERSITY, CONFERENCE ROOM - DAY Walter is back at the conference. He is listening to a presentation by a GERMAN ECONOMIST. GERMAN ECONOMIST However, we do find that financial globalization can be beneficial under the right circumstances. Empirically, good institutions and quality of governance are crucial in helping developing countries derive the benefits of globalization. Walter checks his watch. He is obviously bored.",
"EXT. WASHINGTON SQUARE PARK - LATER Walter is sitting in the park and eating some Indian food from a local cart vendor. He finishes and drops it into the garbage can. He checks his watch and starts to head back toward the conference when a SOUND catches his attention.",
"EXT. WASHINGTON SQUARE PARK - LATER Walter watches two young AFRICAN AMERICAN MEN drumming on BUCKETS with reckless abandon. MALE VOICE -LRB- O.S. -RRB- We should have them come play inside. Walter turns. THREE COLLEAGUES from the conference are standing next to him. COLLEAGUE #1 Coming in? WALTER Yes. In a minute. -LRB- Holding up his cell phone. -RRB- I have to make a call. COLLEAGUE #1 See you inside. Walter nods as the guys walk off. Walter watches them go. He turns and watches the drumming again.",
"INT. WALTER'S APARTMENT BUILDING - CONTINUOUS Walter arrives on the top floor. He can hear the drum being played. He stops in front of his apartment. He listens for a moment and then slowly opens the door.",
"INT. WALTER'S APARTMENT - LATER Tarek is playing his drum in his T - shirt and underwear. He sees Walter and finishes with a flourish. TAREK Hey Walter. Welcome home. WALTER Hi. Tarek casually gets up and puts on his pants. TAREK You're home early. WALTER It was a half day. TAREK How was the conference? WALTER Fine. Tarek buttons his pants. TAREK Sorry about the pants. I've been playing like this since I was a kid. Walter nods. TAREK -LRB- CONT'D. -RRB- Hey. I think I might have a lead on a place in Brooklyn. WALTER That's good. You can keep practicing if you like. TAREK Really? It wo n't bother you? WALTER No. It's fine. TAREK Great. Thanks. I'll keep my pants on. Tarek laughs. Walter smiles. TAREK -LRB- CONT'D. -RRB- Hey, Zainab's going to make dinner if you want to eat with us later. WALTER OK. Thank you. Walter walks into his bedroom. Tarek watches him go and then starts playing again.",
"INT. WALTER'S APARTMENT, BEDROOM - LATER Walter is lying down on his bed reading through his paper. His foot is tapping to the rhythm of the drum.",
"INT. APARTMENT - LATER Walter and Zainab are sitting at the dinner table finishing their meal. Tarek is on the phone in the living room speaking in Arabic. He hangs up and rejoins the table. TAREK I'm sorry. That was my mother. If I do n't call her every day she thinks something happened to me. Walter pours himself some wine. He offers some to Tarek. TAREK -LRB- CONT'D. -RRB- Yeah. I'll have a bit. Thanks. Zainab shoots Tarek a glance. Walter misreads it. WALTER Are you sure that you would n't like some? ZAINAB I do n't drink. TAREK -LRB- Jokingly. -RRB- She is a good Muslim. I'm a bad one. Walter nods. Zainab gets up and starts to clear the table. ZAINAB Are you finished? WALTER Yes. Thank you. Here, let me. ZAINAB It's the least I can do. Her comment is more of an indictment than a pleasantry. WALTER Well, thank you for the dinner. It was very good. ZAINAB You're welcome. She leaves the room. TAREK So what's the conference about? WALTER Economic Growth in Developing Nations. TAREK That's us. -LRB- Pointing. -RRB- Syria. Senegal. TAREK -LRB- CONT'D. -RRB- So have you written some books? WALTER Three. I'm working on my fourth. TAREK Four books?! Great. My father was a writer. A journalist. WALTER Is he still writing? TAREK No. He died. Before we left Syria. WALTER I'm sorry. TAREK So am I. Zainab enters. ZAINAB Tarek. It's eight - thirty. TAREK Oh. We have to go. -LRB- To Walter. -RRB- I have a gig tonight. Zainab starts to put on her coat. Tarek picks up his drum. TAREK -LRB- CONT'D. -RRB- Walter, you can come if you want. Zainab shoots Tarek a glance. WALTER I have to get some work done but thank you. TAREK OK. Well maybe another time WALTER OK. TAREK Bye. Tarek and Zainab leave. Walter watches them go and then looks around the empty apartment.",
"INT. WALTER'S APARTMENT BUILDING, STAIRS - CONTINUOUS Tarek and Zainab are walking down the stairs. ZAINAB -LRB- In French. -RRB- Why did you invite him? TAREK -LRB- In French. -RRB- We're staying in his apartment. What could I do? ZAINAB -LRB- In French. -RRB- Well I would have been the one stuck sitting with him while you played your drum. Tarek turns and looks at her very seriously. TAREK You know you are very sexy when you're mad at me. Zainab ca n't help but smile. Tarek starts to wrap his arms around her. WALTER -LRB- O.S. -RRB- Hello. Tarek and Zainab stop in their tracks, already three flights down. They both look up the stairwell. Walter is looking down on them. WALTER -LRB- CONT'D. -RRB- If you do n't mind, I think I will come. Tarek and Zainab share a quick look. TAREK Cool. Walter disappears back into the apartment. Zainab looks at Tarek. He shrugs.",
"INT. SMALL RESTAURANT - LATER. Tarek's Jazz Trio is playing. Walter and Zainab sit at a small table in the back. Walter is rapt. Zainab is sketching. She looks up from her pad and watches him before returning to her drawing.",
"EXT. SMALL RESTAURANT - LATER Walter and Zainab are standing outside on the empty street. There's an awkward silence. WALTER He's very good. ZAINAB Yes. WALTER The whole band is very good. ZAINAB Yes. And then nothing. Finally Tarek emerges. TAREK Sorry guys. Let's go. They walk down the street.",
"EXT. WASHINGTON SQUARE PARK - DAY Walter is sitting in the park and eating PIZZA. This time he is sitting directly across from the two African American drummers.",
"INT. WALTER'S APARTMENT - CONTINUOUS Walter walks into the apartment and sets down his briefcase. He notices Tarek's drum sitting in the middle of the room. WALTER Tarek? No one answers. Walter walks down the hallway a bit. WALTER -LRB- CONT'D. -RRB- Tarek? Walter walks back into the living room and takes off his coat. He removes some papers from his briefcase and then he notices the drum again. He sits down in the chair next to Tarek's drum. He takes the drum between his legs and he hits it a few times. Then he starts to play. He stops and then he plays again. This time he is slightly more successful at finding a rhythm. He closes his eyes and bobs his head. He's really getting into it. He opens his eye's open and Tarek is standing in front of him. He has headphones around his neck. Walter jumps. WALTER -LRB- CONT'D. -RRB- Oh. Hi. TAREK It sounded good Walter. Walter immediately stands. WALTER Yeah. Well. I was just. I'm sorry if I. Tarek walks over and grabs another chair from the kitchen table. TAREK Do n't be sorry. That's what it's there for. Tarek sets the chair down and grabs the other drum from beside the piano. TAREK -LRB- CONT'D. -RRB- I was lying on my bed listening to my music and then I was like `` what's the crazy rhythm I'm hearing?''. Tarek sits down with the other drum facing Walter. TAREK -LRB- CONT'D. -RRB- Sit. Come on. I'll show you. Walter hesitates and then sits down. TAREK -LRB- CONT'D. -RRB- Just put your feet flat on the ground. Walter adjusts his feet. TAREK -LRB- CONT'D. -RRB- Now take the drum between your legs. Like this. Tarek grabs the drums with his knees. Walter follows. TAREK -LRB- CONT'D. -RRB- Now you want to lift the inside edge off the ground with your ankles. Like this. Walter watches Tarek and follows suit. TAREK -LRB- CONT'D. -RRB- Great. Feel OK? WALTER Yes. TAREK OK. Now Walter, I know you're a very smart man but with the drum you have to remember not to think. Thinking just screws it up. OK? WALTER OK. TAREK Now just give it a couple of bangs. Walter gives it a couple of hard bangs. TAREK -LRB- CONT'D. -RRB- Not so hard. You're not angry at it. WALTER Oh. Right. Sorry. He bangs it a few more times. TAREK Better. Did you think? WALTER No. TAREK Good. Now one more thing, Walter. You listen to classical music so you think in fours. One. Two. Three. Four. Da. Da. Da. Da. This is an African drum. So we are gon na play in three's. Tat. Tat. Tat. You have to forget your classical. Leave it behind. Tat. Tat. Tat. One. Two. Three. Come on. Follow me. Tarek bangs out a simple bass beat. Walter joins in. TAREK -LRB- CONT'D. -RRB- Good. Good ear. Now keep going. Walter loses the beat. Tarek keeps playing. TAREK -LRB- CONT'D. -RRB- Do n't worry. Start again. Walter tries again. And again. And then finally he gets it. TAREK -LRB- CONT'D. -RRB- Yeah! There it is. OK. Good. Now keep it going and I will do this. Tarek riffs off of Walter's bass beat. TAREK -LRB- CONT'D. -RRB- Yeah. That's it. Keep it going.",
"EXT. STREET FAIR - DAY Zainab is closing up her booth. Another VENDOR walks by and says good bye. Zainab smiles and nods good bye.",
"EXT. NEW YORK - STREET Zainab is walking home with her supplies. Two NEW YORK POLICE OFFICERS are talking to THREE YOUNG HISPANIC KIDS. Zainab hesitates for the slightest moment before lowering her head and walking past.",
"INT. WALTER'S APARTMENT - LATER Zainab enters the apartment and sees Walter drumming. His shirt is unbuttoned exposing his white undershirt. He stops. He is breathing very hard and sweating. WALTER Hello. ZAINAB Hello. Where is Tarek? She places her items down on the kitchen table and takes off her coat. She looks around the apartment. WALTER He went out. To look at another apartment. She just looks at him with the drum. Walter is still out of breath. ZAINAB Are you OK? WALTER Yeah. Tarek is teaching me the drum. I'm practicing. Do n't worry, I'll keep my pants on. Zainab looks shocked. Walter's attempt at levity has fallen short. ZAINAB What? WALTER Nothing. I was just. nothing. Zainab nods and walks into the kitchen.",
"INT. JAZZ CLUB - LATER Tarek is playing with his band. Walter is at the bar watching. He is unconsciously tapping along on the bar.",
"INT. CHINESE RESTAURANT - SAME Tarek, Walter, and Darren - the saxophone player - sit at a table by the window, eating. TAREK Hey Walter, what time are you done tomorrow? WALTER I have to present a paper at eleven. I should be done by twelve - thirty. TAREK Cool. DARREN -LRB- To the waiter. -RRB- Hey man, could we get another order of this? -LRB- To Walter and Tarek. -RRB- I love this food. TAREK That's good. Because the Chinese are taking over the world. DARREN That's not gon na happen. TAREK It's already happening. One day our kids will be going to China for jobs. Ask Walter. Darren and Tarek look at Walter. DARREN You think that's true? Walter is put on the spot. WALTER Well. if China continues to threaten the wage earners in the first - world economies by keeping wages down, then it's really just a matter of time. What they buy they inflate. What they sell they deflate. But then you have to ask the question ` who's paying the cost?'. And the answer is the Chinese people. Beat. TAREK You see? Tarek continues eating.",
"INT. NEW YORK UNIVERSITY, CONFERENCE ROOM - DAY Walter is presenting his paper.",
"EXT. NEW YORK STREET - LATER Walter is walks out of the building talking to a FEMALE COLLEAGUE. TAREK -LRB- O.S. -RRB- Hey, Walter! Walter and the Female Colleague turn. Tarek is standing a few feet away holding both drums. Walter nods and says good bye to the Colleague who looks a bit confused. Walter walks over to Tarek. TAREK -LRB- CONT'D. -RRB- How did the presentation go? WALTER Fine. Thanks. TAREK Cool. Guess what? I found an apartment in Brooklyn. We can move in on Monday. WALTER That's good. TAREK Yeah. It's small but it's a nice building. I just hope Zainab likes it. WALTER I think she will as long as no else lives there. Tarek laughs. TAREK I think you're right. Come on, let's go. You should take off the name tag. WALTER Oh. Yeah. Thanks. Walter takes off his name tag and they start to walk. WALTER -LRB- CONT'D. -RRB- Are you hungry? TAREK Yeah. I'm starving. Do you like shwarmas? WALTER Uh. yeah. I like sharmas. TAREK Shwarmas. WALTER Yeah. They walk across the park.",
"INT. FALAFEL STAND - LATER Walter and Tarek are finishing lunch. Tarek reaches into his bag and takes out a SMALL BAG. TAREK Here. This is for you. For letting us stay. WALTER Thank you. Walter takes it and opens it. It's a CD. TAREK It's Fela Kuti. You know him? WALTER No. TAREK You do n't know Fela? Oh, man! Walter, you are in for a treat. He started the whole Afro - Beat movement. And his drummer Tony Allen was just scary, man. You want to play drums, you have to listen to this. WALTER OK. I will. A HANDSOME ARAB MAN walks past with a PRETTY BLONDE WOMAN. Tarek sees him and waves. OMAR -LRB- In Arabic. -RRB- Hey Tarek. How's it going? TAREK -LRB- in Arabic. -RRB- Good, Omar. How are you? OMAR -LRB- In Arabic. -RRB- Not bad. It's fall in New York, you know? How's the band? TAREK -LRB- In Arabic. -RRB- Good. Playing a lot. New girlfriend? OMAR -LRB- In Arabic. -RRB- New friend. TAREK -LRB- In Arabic. -RRB- You have a lot friends OMAR -LRB- In Arabic. -RRB- I'm a very nice guy. Au revoir. TAREK Au revoir. Omar walks off. Tarek shakes his head. TAREK -LRB- CONT'D. -RRB- The Lebanese. Bunch of playboys. You ready? WALTER Yeah. They pick up their drums and leave.",
"EXT. NEW YORK STREET FAIR - LATER Zainab is talking to two UPPER EAST SIDE WOMEN who have stopped at her stall. ZAINAB Yes. I made it. UPPER EAST SIDE WOMAN How much? ZAINAB Thirty - five dollars. UPPER EAST SIDE WOMAN Will you take thirty? ZAINAB No. thiry - five. UPPER EAST SIDE WOMAN OK. I know my daughter will think it's `` cool''. Here. She hands her the money. Zainab takes it and drops it into a small pouch. UPPER EAST SIDE WOMAN -LRB- CONT'D. -RRB- Where are you from? ZAINAB Senegal. UPPER EAST SIDE WOMAN Oh. I was in Cape Town two winters ago. It was just beautiful. ZAINAB -LRB- Handing her the bag. -RRB- Thank you very much. UPPER EAST SIDE WOMAN Thank you. The Woman walks away. A young Israeli man, ZEV is sitting at a nearby stall selling T - shirts. ZEV How far is Senegal from Cape Town? ZAINAB Far. ZEV I told a guy I was from Israel yesterday and he asked if I had ever visited the Holy Land. Zainab smiles. Zev sees someone over Zainab's shoulder. ZEV -LRB- CONT'D. -RRB- Hey, look who it is. What's up Tarek? Tarek and Walter are approaching. TAREK Zev! How are you? ZEV Good man. TAREK Hey honey. He kisses Zainab. ZAINAB Hello. Hi, Walter. WALTER Hi. TAREK How's business? ZEV Ahh. You know. Walter looks at the Zainab's jewelry. TAREK Her stuff is great, right? She made me this? Tarek holds up his wrist, revealing a bracelet. TAREK -LRB- CONT'D. -RRB- You should make one for Walter. Zainab nods noncommittally. TAREK -LRB- CONT'D. -RRB- So Walter and I are going up to the park to play for a little bit. OK? ZAINAB Tarek, I told you we have to pick up my new table today. He said he would only hold it for today. TAREK I know. I know. No problem. ZAINAB Tarek. You always say `` no problem'' and then you are late or you forget. Tarek smiles. TAREK I know. I will not be long. We'll go up and play and then we'll come back to help you. I promise, habibti. He kisses her and starts to walk away. ZAINAB Yes. It's always `` habibti'' when you want your way. It closes at five p.m. Not Arab time, Tarek. TAREK No. Not Arab time. Real time, habibti. ZAINAB Do n't `` habibti'' me. They turn and start to leave. WALTER What does habibti mean? TAREK Habibti? It means `` beloved one''. WALTER Does she know that? Tarek laughs.",
"INT. SUBWAY - LATER Tarek and Walter are waiting for the subway. A CHINESE MUSICIAN is playing on the opposite platform. TAREK He's been playing here for a long time. WALTER Is he good? TAREK I have no idea but it's cool. I always wanted to play down here. It's supposed to be good money. WALTER So why have n't you? Tarek shrugs. TAREK Maybe some day we can do it together. Split the profits. Walter watches the Chinese Musician.",
"EXT. CENTRAL PARK - LATER. Walter and Tarek stand in front of the DRUM CIRCLE in Central Park. TAREK What do you think? Walter sizes it up and makes his assessment. WALTER I think I'll just watch. TAREK Come on, Walter. TAREK -LRB- CONT'D. -RRB- It's easy. You just wait until you feel it. Let's go. Tarek joins the drum circle. Walter lingers.",
"EXT. CENTRAL PARK - LATER. Walter is on the edge of the Drum Circle, waiting to `` feel it''. Tarek is next to him playing away. Tarek looks at Walter and nods. Finally Walter starts to play. Slowly at first, but then he starts to really commit. Tarek encourages him with a smile.",
"EXT. CENTRAL PARK - LATER Tarek and Walter are leaving the park. Tarek checks his watch. TAREK Shit, we have to get home. Zainab is gon na kill me. I'm on Arab time again. WALTER What is Arab time? TAREK It means I'm late by an hour. All Arabs are late by an hour. It's genetic. We ca n't help it.",
"EXT. 72ND STREET SUBWAY STATION - LATER Tarek and Walter hurry down the stairs of the subway station.",
"INT. 72ND STREET SUBWAY STATION - CONTINUOUS Walter and Tarek approach the turnstile. They can hear the train arriving. TAREK That's our train! They pick up the pace. Walter puts down his drum to take out his METROCARD. Tarek quickly picks it up. TAREK -LRB- CONT'D. -RRB- I got your drum. My card is empty. Can you swipe me? Walter swipes his card for Tarek to pass through and then he swipes his own turnstile. Walter passes through. Tarek struggles a bit with both drums. He gets halfway through when the turnstile bar locks. He's stuck. TAREK -LRB- CONT'D. -RRB- -LRB- Laughing. -RRB- Hey. You paid for the drum and not me. Here take this. Walter takes Tarek's drum and Tarek quickly ducks under the turn style that Walter just paid for. TAREK -LRB- CONT'D. -RRB- -LRB- Re : the train. -RRB- I think we missed it. Zainab is not going to be happy if. Suddenly a MAN takes Tarek by the arm. MAN Excuse me, sir. Could you please step over here. Tarek reacts by pulling his arm away. TAREK What are you doing? MAN NYPD. Could you please step over here? He reaches for Tarek again who instinctively moves his arm again which agitates the Cop. Another COP enters into the action. COP #2 Just step over here, pal. TAREK Please, what do you want. COP #1 You jumped the turnstile. TAREK I did not jump it! I paid. I paid! It just did n't work. Walter steps up. WALTER Sir, I did pay his fare. COP #2 Could you step back please? WALTER But I paid this man's. COP #2 Sir, stand over there. COP #1 -LRB- To Tarek. -RRB- Can I see some ID. Tarek takes out his wallet. He shows them an ID CARD. Walter steps back to the wall and sets the two drums down. Cop # 2 stands between him and the action. Walter can barely make out what is being said. COP #1 -LRB- CONT'D. -RRB- You got anything else, Tarek. TAREK No. COP #1 Where are you from? TAREK Syria. Why? Tarek is starting to panic. The two Cops share a look. Another train passes. Cop # 1 asks Tarek a few more questions which Walter can not hear. Suddenly Cop # 1 starts to handcuff Tarek. TAREK -LRB- CONT'D. -RRB- Why? I'm sorry. What did I do? Walter steps forward to intervene. WALTER I do n't think that's necessary. COP #2 Well we do. You can come down to the station and make a statement. WALTER But he did n't mean. COP #2 Sir, that's all I'm saying. Now step back or we are gon na take you in too. WALTER Where are you taking him? COP #2 Ninth Precinct. TAREK Walter take the drum. Tell Zainab what happened but do n't let her come for me. I will call you. The two Cops lead Tarek away. Walter watches helplessly. TAREK -LRB- CONT'D. -RRB- Do n't let her come! I will call her! Walter watches him go.",
"INT. WALTER'S APARTMENT - LATER Walter enters and shuts the door and Zainab is sitting on the couch working on her jewelry. She stops when she sees Walter standing alone, holding the two drums. ZAINAB Where is Tarek? WALTER He was arrested. ZAINAB What?! WALTER Yes. In the subway. Zainab immediately starts to panic. ZAINAB Arrested?! WALTER Yes. It was just a misunderstanding. They said he would be released later tonight. Zainab really starts to lose it. Her reaction is more than Walter was prepared for. ZAINAB How could this happen? He knows better! He would not do anything wrong. WALTER He did n't. I'm sure we it will be OK. She begins to pack up her work. ZAINAB No. It wo n't be OK. WALTER Yes it will. I went down to the precinct and made a statement. ZAINAB -LRB- Snapping at Walter. -RRB- That does n't matter! He is illegal! As am I! We are not citizens. Do you know what that means? Do you?! Of course you do n't. How could you? She picks up her things and walks down the hall to her room. Walter sits, stunned.",
"INT. WALTER'S APARTMENT, LIVING ROOM - LATER Walter is talking on his cell phone and pacing. WALTER Yes. His name is Tarek Khalil. Khalil. K. H. A. L. I. L. That's right. Yes. I came down and made a statement. They said he would be released. That was six hours ago. Well when should we know? Tomorrow? Why? But he. OK. OK. Thank you. Walter hangs up.",
"EXT. POLICE STATION - MORNING Walter walks out of the police station. He crosses the street. Zainab is standing there. ZAINAB Well? WALTER They've moved him. ZAINAB To where? WALTER To a detention center in Queens. He was turned over to immigration. They said we can see him during visiting hours tomorrow night from five to ten. Zainab shakes her head. ZAINAB I ca n't visit him or I will end up in that place too. Zainab fights to restrain her emotions. She turns and walks away. Walter watches her go.",
"EXT. WALTER'S APARTMENT BUILDING - NIGHT Zainab's bedroom light is on.",
"INT. WALTER'S APARTMENT, TAREK'S & ZAINAB'S ROOM - SAME Zainab is sitting on her bed and talking on her phone. ZAINAB Yes. We are going tomorrow. The appointment is at eleven. I do n't know, he found him. What? No. I do n't want to. I just do n't, Tarek. Yes. I've already called him. I know. I know. I just want you to be here with me, Tarek.",
"EXT. NEW YORK, DOWNTOWN - DAY A sea of skyscrapers near One Center Street.",
"INT. DOWNTOWN OFFICE BUILDING, ELEVATOR BANK - DAY Zainab and Walter exit an elevator and walk down the hall.",
"INT. LAW OFFICE - LATER Walter and Zainab talk to an, MR. SHAH, an INDIAN IMMIGRATION LAWYER who is jotting down notes. He is clinical, almost cold in his approach. MR. SHAH Zainab, you're also undocumented, right? ZAINAB Yes. MR. SHAH You know you ca n't visit Tarek at the detention center, right? ZAINAB Yes. I know. MR. SHAH How long have you known Tarek? ZAINAB Almost a year. MR. SHAH Mr. Vale? WALTER A week. MR. SHAH A week? Walter nods. MR. SHAH -LRB- CONT'D. -RRB- Does Tarek have any family living here? Walter looks to Zainab. ZAINAB His mother lives in Michigan. This is news to Walter. MR. SHAH She's also undocumented, correct? Zainab hesitates. MR. SHAH -LRB- CONT'D. -RRB- It's OK. This is all confidential. ZAINAB Yes, she is. MR. SHAH Does she know that Tarek is in custody? ZAINAB No. Tarek told me not to tell her. He does n't want to worry her. MR. SHAH Has he ever been convicted of a crime? ZAINAB No. He has had no trouble. He is a good person. MR. SHAH Do you know if they ever applied for asylum? Walter looks at Zainab. She is very uncomfortable. ZAINAB Yes. When he first arrived from Syria. But he did n't get it. MR. SHAH When was that? ZAINAB Seven years ago. MR. SHAH And did they appeal it? ZAINAB I do n't know. Mr. Shah jots something down. WALTER Why would n't they appeal it? MR. SHAH Fear of being deported. It used to be that when your asylum case was denied, they let you go until your appeal. A lot of people did n't bother with it. Getting denied once was enough to spook them. WALTER So what happens if that's the case? MR. SHAH Then there may be a final order of deportation on him which means he wo n't even go before a judge this time. He'll just be deported. ZAINAB They had to leave Syria! They had no choice! This is also news to Walter. MR. SHAH Look, one step at a time. Let me talk to him then we'll have a better idea of his status and what our options are. WALTER Is there anything I can do? MR. SHAH Visit him. The lawyer slides a card across the table. Walter takes it.",
"INT. SUBWAY CAR - DAY Walter rides the subway. He looks down at the lawyer's card.",
"EXT. QUEENS - LATER Walter emerges from the subway into a very industrial neighborhood. Factories and fences. He checks his piece of paper and starts walking.",
"EXT. QUEENS - LATER Walter is still walking. The area is very deserted. He stops and tries to locate a street address amongst the anonymous factories. He checks his sheet of paper and continues walking.",
"EXT. QUEENS DETENTION CENTER - LATER Walter is standing in front of the DETENTION CENTER. It looks like most of the other factories around it but perhaps with a bit more barbed wire. He presses a button and the automated door slowly opens. He walks inside.",
"INT. QUEENS DETENTION CENTER Walter walks into a small brightly lit waiting room. A few SODA MACHINES and TWELVE BLUE PLASTIC CHAIRS. In one corner is a guard booth with THREE GUARDS. One FEMALE GUARD is wearing a Muslim headdress. Walter approaches the window and waits in line. The other people waiting comprise a mix of nationalities : African, Latin American, Chinese, Indian. The Guard talks to a MAN in front of Walter. The Man has a Slavic accent. GUARD That detainee has been moved. SLAVIC MAN To where? GUARD I do n't know. SLAVIC MAN He was here yesterday. GUARD But now he's not. That's all I know. You can call ICE. The number is on the wall. Next. Sir, step aside please. The Slavic Man reluctantly steps aside, staring at a piece of paper. Walter steps up to the window. He sets a piece of paper on the window sill. WALTER Hi. I'm here to see Tarek Khalil. The Guard takes it. GUARD You been here before? WALTER No. GUARD Can I see your license please? Walter takes out his wallet.",
"INT. QUEENS DETENTION CENTER - LATER Walter is let through a large metal door. There is an X - RAY MACHINE immediately in front of him. Walter empties his pockets and steps through. Walter waits for the sliding metal door to open. It does and he steps into a small room. The door slides shut and he is alone in the small white room until a door on the other side slides open. He steps through and walks down a small hallway. On the left side of the hallway are small, glassed in, meeting rooms for lawyer consultations. Walter enters into a large bright room. It resembles a prison visitation room. Along the perimeter of the room is a clear fiberglass wall with twenty - five small cubicles. Each cubicle has one seat and a phone. On the other side of the fiberglass is another seat and a phone. Walter looks around the room at the VISITORS and DETAINEES.",
"INT. QUEENS DETENTION CENTER, VISITING ROOM - LATER Walter is still waiting. After a moment a door opens and Tarek walks out wearing a blue jump suit. He sees Walter and smiles. They each move toward the other and settle into a vacant seat. They both pick up the phone as they sit down. TAREK Walter. Thank you for coming. WALTER Of course. TAREK How is Zainab? WALTER She's upset. I have a letter from her. TAREK You ca n't give it to me. It has to be sent to me by mail. But you can put it up to the glass. Walter hesitates. TAREK -LRB- CONT'D. -RRB- Go ahead. Open it and place it up to the glass so I can read it. It's OK. It's allowed. Walter complies. He sets down the phone so that he can press the letter up against the glass. Tarek reads the letter. Walter looks around the room, trying to give Tarek some privacy. He watches the various immigrant families speaking to one another. Tarek taps the glass and points to Walter's phone. Walter picks it up. TAREK -LRB- CONT'D. -RRB- Thank you, Walter. Walter nods as he folds up the envelope and places it back into his coat. WALTER How are they treating you? TAREK OK. The place is very depressing. There is no privacy. The lights are always on. WALTER Do you need anything? TAREK No. I just want to get out of here. WALTER Zainab and I met with a lawyer today. TAREK Yes. What did he say? WALTER He is going to stop by to see you tomorrow. They both sit for a moment. Unsure what to say next. Finally Walter's curiosity gets the best of him. WALTER -LRB- CONT'D. -RRB- Tarek, Zainab said you were denied asylum. TAREK You mean when we came here? Yeah. WALTER Did you go to your deportation hearing? TAREK Yeah. WALTER You did? TAREK Yeah. We did everything they told us to. Walter can only nod, unsure of what else to say. TAREK -LRB- CONT'D. -RRB- Hey, could you tell Darren? I did n't call him. A GUARD walks past and taps Tarek on the shoulder and speaks to him. We ca n't hear what is being said. TAREK -LRB- CONT'D. -RRB- -LRB- To Walter. -RRB- I have to go. They have to do a bed count. Usually, I can visit for one hour. Can you come tomorrow? WALTER Yes. TAREK Good. And tell Zainab I will call her as soon as I can. Walter nods. Tarek gets up. TAREK -LRB- CONT'D. -RRB- Goodbye, my friend. WALTER Goodbye. Tarek walks away. Walter watches him go.",
"INT. WALTER'S APARTMENT, LIVING ROOM/ KITCHEN Walter and Zainab are sitting at the kitchen table. Zainab is holding her letter. ZAINAB Did you ask him if he went to his hearing? WALTER Yes. He said that he did. Zainab stands up. ZAINAB Walter, I'm going to leave now. I have a cousin in the Bronx. I will stay with him for now. WALTER You do n't have to leave. You can stay here. ZAINAB I think it's best if I leave. When Tarek calls me then I will tell him. You know how to reach me if you need to. Is it OK if I leave Tarek's things here for now? My cousin's place is not very big. WALTER Yes.",
"EXT. WALTER'S BUILDING - LATER Zainab walks away from the apartment.",
"INT. SMALL BAR - NIGHT Walter drinks at the bar and watches Tarek's band play without Tarek.",
"INT. WALTER'S APARTMENT - MORNING Walter practices the drum.",
"EXT. WALTER'S APARTMENT BUILDING - DAY Jacob walks Sprinkles in front of the apartment building. Walter walks outside and waves hello as he walks past.",
"INT. QUEEN'S DETENTION CENTER, VISITORS ROOM - LATER Darren and Tarek are talking. Walter sits and listens.",
"INT. CAFE - NIGHT Walter eats alone.",
"EXT. STREET CORNER - MORNING Walter buys the morning paper from a kiosk. He walks to the corner and waits to cross the street. A large group of CHINESE TOURISTS led by a TOUR GUIDE step up next to him. He is surrounded by them.",
"INT. QUEEN'S DETENTION CENTER, VISITOR'S ROOM - SAME Tarek talks to Mr. Shah.",
"INT. WALTER'S APARTMENT, LIVING ROOM - DAY Walter is playing the drum. He finishes with an `` end beat''. He looks around the quiet apartment.",
"INT. QUEENS DETENTION CENTER, VISITING ROOM - DAY Walter is waiting for Tarek. The visiting room is empty. Suddenly the door opens on the detainee side of the glass and a VERY YOUNG LATIN WOMAN walks out tentatively. She almost looks absurd in the oversized blue jumpsuit. She looks at Walter, unsure if she is supposed to approach the glass and talk to him. Walter just stares back, also unsure of what to do. They are caught in awkward moment. Finally Walter manages a nod. She nods back and smiles. It is the innocent smile of a child. Suddenly a female guard appears in the doorway and beckons the Young Girl back inside. The Young Girl looks at Walter one last moment before disappearing behind the door.",
"INT. QUEEN'S DETENTION CENTER, VISITING ROOM - LATER Walter is talking to Tarek. WALTER But I thought you said you went to the hearing. TAREK We did. I remember it. WALTER So why is there a final order on you? Did he say? TAREK No. He did n't know yet. He just said that unless he can find a way to reopen the case quickly they're going to deport me. WALTER Maybe you should call your mother. She might have. TAREK No. I do n't want her to worry. I can handle this. Tarek shakes his head. WALTER Did he say anything else? TAREK Yeah. Three years ago I was working for some guy who said he was going to sponsor me for my green card but then he turned out to be jerk. But the lawyer said that might allow us to reopen the case. I do n't even understand it. Walter nods. TAREK -LRB- CONT'D. -RRB- Walter, there are guys who have been in here for years! I ca n't do that Walter. I'll go crazy. WALTER He's trying to deal with the case as quickly as possible. Tarek goes silent. WALTER -LRB- CONT'D. -RRB- Tarek. I have to go back to Connecticut. I'll be reachable by phone if you need me for anything. Tarek's mind is racing. He shakes his head. TAREK OK. Just please. do n't forget about me in here. WALTER I wo n't. TAREK Are you still practicing? WALTER Yes. TAREK You should go back to the drum circle. WALTER -LRB- Quickly. -RRB- No. Tarek laughs. TAREK OK. But listen to that Fela CD. That will help you, I promise. WALTER I will. TAREK So show me what you've been working on. WALTER What? TAREK Show me. On that. Come on. I need some music, man. Tarek points to the shelf in front of Walter. WALTER Now? TAREK Do n't worry. They ca n't arrest you. At least not yet. WALTER OK. Walter looks around and then cradles the phone in his shoulder and starts to bang a simple beat on his counter top. Tarek watches and listens for a moment. TAREK Ah. There it is. Good. Good. You are getting better. And then he joins in. The two men continue to play together.",
"INT. WALTER'S APARTMENT, BEDROOM - MORNING Walter is packing his suitcase. Suddenly there is a knock at his door. He exits the room.",
"INT. WALTER'S APARTMENT, LIVING ROOM - CONTINUOUS Walter opens the door. Standing there is a strikingly attractive forty - five year - old ARAB WOMAN. She seems startled to see Walter. WALTER Hello. ARAB WOMAN I'm sorry. I must have the wrong apartment. She starts to walk down the hall. WALTER Can I help you? ARAB WOMAN I'm looking for my son. WALTER Are you Tarek's mother? ARAB WOMAN Yes. WALTER Oh. This is Tarek's apartment. I. share the apartment with him. The Arab Woman is cautious. ARAB WOMAN He did not mention that he lived with someone. WALTER I'm not here very often. I live in Connecticut. ARAB WOMAN Is Tarek here? WALTER No. He's. uh. he's not here. But please come in. Mouna hesitates. WALTER -LRB- CONT'D. -RRB- Please. ARAB WOMAN Thank you. Mouna walks into the apartment. She stands by the door. WALTER I'm Walter. Walter Vale. ARAB WOMAN I'm Mouna Khalil. I'm sorry to show up unannounced but my son calls me everyday. He has not called me now for five days. I have tried his cell phone but he does not answer. WALTER Would you like to sit down? MOUNA Thank you. Mouna sits. WALTER Would you like something to drink? Coffee or water? MOUNA No. Is my son alright, Mr. Vale? WALTER Tarek was arrested. He's being held in a detention center in Queens. They are trying to deport him. MOUNA Where is Queens? WALTER It's not far from here. Twenty minutes. MOUNA You have been there? WALTER Yes. I saw him yesterday. He's OK. MOUNA How did this happen? WALTER He was stopped in the subway station. He did n't do anything wrong. MOUNA I would like to go there. To Queens. WALTER OK. But Mrs. Khalil. The lawyer mentioned that. I do n't think that you can. MOUNA I know I ca n't visit Tarek, Mr. Vale. I just want to see where they are holding him. WALTER OK. I can take you if you'd like. MOUNA Thank you. WALTER Let me get my coat. Mouna nods. Walter leaves. Mouna breathes deeply in an attempt to control her emotions. She looks around the apartment and spots Tarek's drum. The sight of it is almost enough to push her over the edge.",
"INT. SUBWAY - LATER The Chinese Musician is playing on the platform. Mouna and Walter are watching him.",
"INT. SUBWAY CAR - LATER Walter and Mouna are sitting side by side on the subway.",
"EXT. SUBWAY STATION, QUEENS - LATER Walter and Mouna exit the subway station and walk down the empty street. WALTER Have you been to New York before, Mrs. Khalil? MOUNA No. Tarek wanted to come to New York to play music. I did not want him to go but. do you have children, Mr. Vale? WALTER I have a son. He lives in London. MOUNA And your wife? WALTER My wife passed away. MOUNA I'm sorry.",
"EXT. QUEENS STREET - LATER Walter and Mouna stop across the street from the detention Center. WALTER That's it. MOUNA This is where the prison is? WALTER Yes. That's it. Walter points to the Detention Center. MOUNA It does not look like a prison. WALTER I think that's the point. MOUNA How many people are in there? WALTER Tarek said about three hundred. WALTER -LRB- CONT'D. -RRB- There is a coffee shop on that corner. It's not very nice but. MOUNA I'll wait there. Here. She takes a letter out of her bag and hands it to Walter. MOUNA -LRB- CONT'D. -RRB- Thank you. Walter turns and walks into the facility. Mouna lingers, taking in the building.",
"INT. QUEENS DETENTION CENTER, VISITATION ROOM - LATER Walter is waiting for Tarek. He is watching as a LATIN WOMAN holds her BABY up to the glass as her HUSBAND taps on it from the other side. Finally a door opens and Tarek walks out. He waves and smiles. Walter picks up his phone. Tarek picks up his. TAREK Walter, I thought you were leaving. WALTER I was. Tarek, your mother is here. This stops Tarek cold. TAREK What? My mother?! Where? WALTER She is waiting outside. TAREK When did she arrive? WALTER Today. TAREK Oh man. Why did she come? She can do nothing for me. WALTER She said she had n't heard from you. TAREK Walter. Listen to me. She can not stay here. She does n't know anyone in New York. I'm sorry but you must get her to go back to Michigan. WALTER OK. OK. Here. I have a letter from her. Walter takes it out and puts it up to the glass.",
"INT. QUEENS, DINER - LATER It's a dingy place occupied by truck drivers and factory workers. Mouna sitting in a booth clutching a cup of tea. She looks very out of place. Two DETENTION CENTER GUARDS enter and sit down in a booth. Mouna watches them. An Arab Waiter is cleaning the counter. He keeps looking at Mouna. WAITER Do you need anything else? MOUNA No. WAITER -LRB- In Arabic. -RRB- Where are you from? MOUNA -LRB- In Arabic. -RRB- I am Palestinian from Damascus. WAITER -LRB- In Arabic. -RRB- Ah. I knew it. I am from Egypt. Alexandria. I'm Nasim. Why are you here? MOUNA -LRB- In Arabic. -RRB- I am visiting my son. NASIM -LRB- In Arabic. -RRB- He is in detention. MOUNA -LRB- In Arabic. -RRB- Yes. The Waiter shakes his head. NASIM -LRB- In Arabic. -RRB- It's a bad place. I'm lucky. I have a green card. He nods to the Guards. NASIM -LRB- CONT'D. -RRB- -LRB- In Arabic. -RRB- They're the ones taking care of your son. They come here everyday. They do n't tip. Mouna is uncomfortable. NASIM -LRB- CONT'D. -RRB- -LRB- In Arab. -RRB- Do n't worry. They ca n't understand us. Walter enters and walks over to Mouna's booth. NASIM -LRB- CONT'D. -RRB- Hello, sir. Walter nods and sits down. He hands Mouna her letter. MOUNA How is he? WALTER He's good but he's concerned about you being here. MOUNA I will not leave. WALTER Mrs. Khalil, I'm not sure that your being in New York will do any good. We have a very good lawyer working on Tarek's case. MOUNA -LRB- Politely but forceful. -RRB- Mr. Vale, I can not go back to Michigan knowing that my son is in that building. Even if I ca n't see him, I will stay. She stands up, ready to leave. MOUNA -LRB- CONT'D. -RRB- Shall we go? Walter stands. Mouna digs in her purse. NASIM -LRB- In Arabic. -RRB- The tea is on me. MOUNA -LRB- In Arabic. -RRB- Thank you. NASIM -LRB- In Arabic. -RRB- Is that your lawyer? Or your husband? MOUNA -LRB- In Arabic. -RRB- Goodbye. NASIM -LRB- In Arabic. -RRB- See you next time. Walter follows Mouna out.",
"EXT. WALTER'S APARTMENT BUILDING - LATER. Walter and Mouna arrive back at Walter's apartment building. Jacob emerges from the front door with Sprinkles. JACOB Oh. Hello, Mr. Vale. WALTER Hello, Jacob. He sees Mouna. JACOB Oh, hello again. Did you find your son? MOUNA Yes. Thank you. JACOB -LRB- To Walter. -RRB- I let her in earlier. -LRB- To Mouna. -RRB- I'm Jacob, by the way. I live on the third floor. And this is Sprinkles. MOUNA Nice to meet you, Jacob. I'm Mouna. JACOB So you two know each other? There is an awkward pause. MOUNA Yes. Mr. Vale knows my son. JACOB Oh. Who is that? MOUNA Tarek. JACOB Oh. Tarek. He is very nice. And so is his girlfriend. They are both so polite. MOUNA Thank you. JACOB My mother and I are planning a trip to go to Israel next summer. She's always wanted to go. MOUNA I hope you enjoy it. Now if you'll excuse me. Mouna nods and heads into the building. JACOB Oh sure. We need to go on our walk and do our business. Very nice to meet you, Mouna. MOUNA You too, Jacob. Mouna continues up the stairs. Walter follows her. JACOB Goodbye, Mr. Vale. WALTER Goodbye.",
"INT. WALTER'S APARTMENT, KITCHEN - LATER Walter and Mouna enter the apartment. Mouna picks up her suitcase. MOUNA Thank you, Mr. Vale. Walter turns. WALTER Where are you going? MOUNA I will find a hotel. WALTER You can stay here. You can use Tarek's room. MOUNA Thank you for your offer but I can not accept this. I do n't want to impose on you. WALTER You're not imposing. Please. I would like you to stay. MOUNA Again, thank you. But I will manage. Goodbye. Walter finally steps aside and opens the door. MOUNA -LRB- CONT'D. -RRB- Goodbye. She leaves.",
"EXT. WALTER'S APARTMENT BUILDING, HALLWAY - CONTINUOUS Mouna walks down the stairs. WALTER Mrs. Khalil? She turns. Walter is standing at the top of the stairway. WALTER -LRB- CONT'D. -RRB- Please. I was with Tarek when he was arrested. He was in the subway in the first place because of me. Please. Stay. Even if it's just for the night. Walter's plea is heartfelt. Mouna looks at him and then she looks down the stairs for a long moment, considering her options.",
"INT. WALTER'S APARTMENT, TAREK'S ROOM - LATER Walter enters the room and sets down Mouna's suitcase. She follows him into the cramped bedroom. WALTER The bathroom is just across the hall. MOUNA Thank you, Mr. Vale. WALTER You can call me Walter. MOUNA And I am Mouna. Walter nods. WALTER Do you need anything else? MOUNA No. Thank you. Good night. WALTER Good night. Walter leaves, shutting the door behind him. Mouna sits on the bed and looks around the room.",
"EXT. DETENTION CENTER - NIGHT Desolate streets. The sound of an airplane taking off breaks the night quiet.",
"INT. WALTER'S APARTMENT, HALLWAY - MORNING Walter walks out of his bedroom. He hears talking from the living room. He walks down the hall and sees Mouna sitting on the couch in the living room, talking on her cell phone in Arabic. He turns and walks back down the hallway.",
"INT. WALTER'S APARTMENT, KITCHEN Walter pours a cup of coffee. He notices two newspaper's on the counter. One is the Financial Times and the other is Al Hayat, an Arabic newspaper. He picks up the Financial Times and reads the front page. Mouna enters. MOUNA Good morning. WALTER Good morning. MOUNA Tarek said hello. WALTER How is he? MOUNA I ca n't really tell. He wants me to leave. But I am not leaving. WALTER Well, you can stay here as long as you need to. MOUNA Thank you. That is very generous of you. WALTER Thank you for the newspaper. Mouna nods and pours some more coffee for herself. MOUNA Walter? Did Tarek and his girlfriend, Zainab, live here together? WALTER Uhm. Yes. They did. MOUNA And where is she now? WALTER She's staying with her cousin in the Bronx. MOUNA I would like to meet her. WALTER We can go by her stall. MOUNA Her what? WALTER Her stall. She sells jewelry in a stall. MOUNA Oh. OK.",
"EXT. DOWNTOWN OFFICE BUILDING - LATER A large office building in downtown Manhattan.",
"INT. ELEVATOR - SAME Walter and Mouna are standing in silence. MOUNA Do you spend a lot of time in the city? WALTER No. Not really. I just came down to present a paper at a conference. MOUNA You wrote it? WALTER Yes. Well I coauthored it. MOUNA Congratulations. Walter shrugs.",
"INT. MR. SHAH'S OFFICE - DAY Walter and Mouna are talking to the Mr. Shah. MR. SHAH And what happened after the hearing? MOUNA We appealed. It took two years. MR. SHAH And your appeal was denied? MOUNA Yes. MR. SHAH Then they should have sent you a bag - and - baggage letter which basically tells you where to show up and be deported. Mouna nods. MR. SHAH -LRB- CONT'D. -RRB- But you did n't receive it? MOUNA No. MR. SHAH You sure? MOUNA Yes. I would remember this. MR. SHAH Did you move? MOUNA Yes. Eventually we had to. But we had our mail advanced. Mr. Shah is satisfied. MR. SHAH Well, it would n't be the first time that happened. And pre 9/11 it was n't much of a priority tracking people down. Mouna bristles at the implied connection. WALTER So if they did n't get the letter then does this help us? MR. SHAH It keeps our chances alive. If they got it and just ignored it then we could n't push to reopen the case. MOUNA So you can help him? MR. SHAH It's still a long shot. Like I said, the Government's approach has changed radically. It's very black and white now. Either you belong or you do n't. Which means a lot of people who have been living here for years are suddenly being swept up and thrown into detention. -LRB- He starts writing. -RRB- Tarek's lucky. Most of them do n't even have lawyers. Mouna blanches. MOUNA Lucky? MR. SHAH -LRB- Without looking up. -RRB- Relatively speaking. We just have to move quickly to get an emergency stay from the board of immigration. Then, we'll stick with the motion to reopen pending his green card application. Mouna and Walter share a look. They're lost. MOUNA Can you explain what that means? MR. SHAH Actually, I do n't have the time right now. I have to be in court very shortly MOUNA How long will he be in detention? MR. SHAH -LRB- Without looking up. -RRB- I ca n't predict that. I'm sorry but I am gon na have to wrap this up. Walter looks at Mouna. Mouna stares at the Mr. Shah. MOUNA Do you have children, Mr. Shah? MR. SHAH Yeah. Two kids. And for what it's worth my uncle was deported after raising a family here for twenty - three years. If I can get Tarek out, I will. Mouna softens. MOUNA Thank you. Where are you from? MR. SHAH Queens.",
"EXT. NEW YORK STREET FAIR - LATER Walter and Mouna are standing at the fair. MOUNA Which one is she? WALTER There. In the middle. MOUNA -LRB- surprised. -RRB- The black woman? That is Zainab? WALTER Yes. MOUNA She is very black.",
"EXT. NEW YORK STREET FAIR - LATER Zainab is sitting at her table when Walter approaches. Zainab smiles. She is genuinely surprised and happy to see him. ZAINAB Walter? WALTER Hi Zainab. This is Mouna Khalil. Tarek's mother. Zainab blanches. ZAINAB Oh. She quickly stands up. MOUNA Hello, Zainab. ZAINAB It is a pleasure to meet you, Mrs. Khalil. MOUNA Please. Call me Mouna. ZAINAB OK. I'm sorry. I did not know you were coming. MOUNA Neither did I. Mouna looks at her for a long moment. Then she inspects her jewelry. Zainab is uncharacteristically nervous. MOUNA -LRB- CONT'D. -RRB- Your jewelry is very beautiful. ZAINAB Thank you. MOUNA Do you have time for coffee or a walk? Zainab looks around at her table. ZAINAB Yes. I would like that. But I have to watch my table. Mouna and Zainab both turn to look at Walter.",
"EXT. NEW YORK STREET FAIR, - LATER Walter is sitting behind Zainab's table in the fair. It's a long way from the classroom. A FEW YOUNG WOMEN walk past and browse Zainab's jewelry. They look at Walter who just nods.",
"INT. CAFE - SAME Mouna and Zainab sit and talk. ZAINAB I'm living with my cousin. He has two kids. And his mother. I mean his wife. I'm sorry, I am very nervous. MOUNA Why? ZAINAB I do n't know. Have you spoken with Tarek? MOUNA Yes. He called me this morning. He is doing all right. ZAINAB I wish that I could see him. Just for a minute. MOUNA Me too. How long have you been here? ZAINAB Two years. I was in detention when I first arrived. Three months. It was horrible. I would probably still be there but they closed the facility for poor conditions. They released some of the women on parole because we were. low risk. I met Tarek one year later. -LRB- Beat. -RRB- I am sorry for what happened with Tarek. I hope you do not blame me. MOUNA Blame you? No. I do not blame you. Zainab starts to break. ZAINAB Tarek was doing nothing wrong. I miss him so much. I do n't know what I am going to do without him. MOUNA He said the same thing about you. ZAINAB He did? MOUNA Yes. Zainab smiles. MOUNA -LRB- CONT'D. -RRB- Zainab, I would like you to do something for me. ZAINAB What? MOUNA I would like you to show me something that you and Tarek liked to do. Some place that you like to go. ZAINAB Like what? MOUNA Anything. Whatever you want. ZAINAB OK. But maybe we should get Walter first. They both smile at the thought of Walter still at Zainab's table.",
"EXT. NEW YORK STREET - LATER Walter and Mouna walk down the street listening to Zainab who is wheeling her jewelry supplies behind her.",
"EXT. STATEN ISLAND FERRY - LATER Walter, Mouna and Zainab are standing at the railing of the Ferry which is making its way across the harbor. The STATUE OF LIBERTY looms large ; the ferry route providing a perfect vantage point. MOUNA So what is in Staten Island? ZAINAB I do n't know. We never got off. We just would go to the other side and then come back. WALTER Why? ZAINAB It's free. And it felt like we were going somewhere. Mouna smiles. ZAINAB -LRB- CONT'D. -RRB- That is where the towers were. I never saw them but Tarek did. Zainab crosses to the other railing and points. ZAINAB -LRB- CONT'D. -RRB- And over there is the Statue. And behind that is Ellis Island. Zainab smiles. ZAINAB -LRB- CONT'D. -RRB- Sometimes Tarek would point at the statue and jump up and down like we were arriving to New York for the first time. It was very funny. MOUNA Can you go up in the Statue? WALTER Yes. I think so. MOUNA You have n't been? WALTER No. MOUNA Oh. Walter's cell phone rings. He looks at it. WALTER Excuse me. -LRB- Into the phone. -RRB- Hello? Oh. Hi Charles. He walks away from the Mouna and Zainab. WALTER -LRB- CONT'D. -RRB- What's that? Yes. I'm still in New York actually. I stayed down here to do some research. What's that? Oh. I'm on a boat. Yes, a boat. Listen Charles, I'll explain when I see you but I have to go right now. I'll call you back. Goodbye. Walter hangs up the phone and rejoins Mouna and Zainab.",
"INT. QUEENS DETENTION CENTER - LATER Walter is visiting with Tarek. Another detainee walks behind Tarek and taps him on the shoulder. Tarek nods hello and then keeps talking to Walter. TAREK You went on the ferry? WALTER Yes. TAREK My mother too? WALTER Yes. She liked it. TAREK Did Zainab tell you how we used pretend we arriving in New York for the first time? WALTER Yeah. She told us. TAREK You know they do n't even let us outside here. They just cut a hole in the roof in one place. WALTER Really? TAREK Yeah. It's crazy stuff. Tarek looks around the room. TAREK -LRB- CONT'D. -RRB- And they seemed to get along? Zainab and my mother? WALTER Yes. I think your mother likes her very much. Tarek smiles. Then it fades. TAREK My mother's not going home, is she? WALTER I do n't think so. TAREK I know she's thinking about my father. He spent seven years in jail in Syria for something he wrote in the newspaper. By the time they released him he was very sick. He died two months later. That's when we came here. WALTER I'm sorry. TAREK She thinks the same thing is gon na happen to me. Tarek thinks for a long moment. He shakes his head. TAREK -LRB- CONT'D. -RRB- You know I have never seen them together. Zainab and my mother.",
"EXT. NEW YORK STREET, NIGHT Walter and Mouna are walking home. WALTER Are you hungry, Mouna? We can stop for dinner. MOUNA I would prefer to cook if you do n't mind? WALTER OK. MOUNA Should we stop at a market? WALTER Yeah. That's probably a good idea.",
"INT. WALTER'S APARTMENT, KITCHEN - LATER Mouna is preparing dinner. Walter comes in and takes a bottle of wine out of the refrigerator. WALTER Would you like a glass of wine? MOUNA No thank you. Walter pours his glass. WALTER Mouna? I need to go back to Connecticut tomorrow. For work. I told Tarek. MOUNA How long will you be gone? WALTER I do n't know yet. I'll try to make it back to visit Tarek as soon as I can. MOUNA You do n't have keep visiting him, Walter. I'm sure you are busy. WALTER I'll see what I can do. MOUNA OK. Dinner will be ready soon. Walter walks out of the kitchen.",
"INT. WALTER'S APARTMENT, LIVING ROOM - LATER Mouna and Walter are eating in silence. MOUNA Do you go to Broadway, Walter? WALTER Broadway? Uhm. No. I have n't been in a long time. MOUNA Tarek sent me the CD for `` Phantom of the Opera'' for my birthday. The music is lovely. Have you seen it? WALTER No. I have n't. MOUNA I have n't either but I think I know every word. Walter smiles. Silence. WALTER Tarek is teaching me the drum. MOUNA Really? How is it going? WALTER Well, I sound a lot better when he's playing with me. Mouna laughs. MOUNA How is your teaching going, Walter? Walter seems caught off guard by the question. WALTER My teaching? MOUNA Yes. WALTER Well. I have a lighter schedule so I can work on my book. MOUNA Your book? What is it about? WALTER Well, it covers quite a bit, so it's hard to explain. Walter drinks his glass of wine. MOUNA Are you almost finished? WALTER I'm close. MOUNA You do n't like to talk about your work? WALTER No. It's just a bit complicated. MOUNA Why is that? Walter is agitated. WALTER It just is. It's just not a process that's easy to talk about with someone who's not a writer. Walter's cheap shot lands. Mouna is stung. MOUNA I did n't mean to pry. There is an awkward silence. WALTER I should n't have spoken to you like that. MOUNA It's OK. Walter picks up the wine bottle and fills his glass.",
"INT. WALTER'S APARTMENT - NIGHT Walter is sitting on the edge of his bed and takes off his shoes. He pauses.",
"EXT. NEW YORK STREET - MORNING An empty New York street. Mouna and Walter round the corner walking together. She is holding his briefcase. Walter is carrying the drum and his duffle bag. They arrive at the Parking Garage. Walter hands a ticket to the GARAGE ATTENDANT. He takes his briefcase from Mouna. WALTER Thank you. You have my number if you need anything. MOUNA I'll be fine. Thank you. Have a safe trip. WALTER Well good bye. MOUNA Goodbye. Mouna turns and walks down the street. Walter's car arrives.",
"EXT. WALTER'S HOUSE - LATER Walter pulls into his driveway. He gets out of the car. He opens the trunk and takes out his bag and then his drum.",
"INT. CONNECTICUT COLLEGE, CLASSROOM - LATER Walter walks into the lecture hall. He sets his briefcase down. WALTER Good afternoon. He takes out some papers and opens them.",
"EXT. NEW LONDON - LATER Walter is stopped at a traffic light in town.",
"INT. WALTER'S CAR - SAME Walter sees Karen walking toward him. She is talking on her cell phone and does not notice him. Walter just watches her pass without saying a word.",
"INT. WALTER'S HOUSE, OFFICE - NIGHT Walter sits in his office working. He stops and listens to the silence.",
"INT. WALTER'S LIVING ROOM - LATER Walter pours himself a drink and wanders around the empty house.",
"INT. WALTER'S HOUSE, FRONT HALL - CONTINUOUS Walter opens the front door and walks outside.",
"EXT. WALTER'S HOUSE - CONTINUOUS Walter walks onto the front lawn and looks around the sleepy neighborhood. He listens to the quiet. It's a stark contrast from New York.",
"INT. WALTER'S HOUSE, LIVING ROOM - LATER Walter roots through his briefcase and pulls out the FELA KUTI CD. He slips the CD into the stereo. He presses play. FELA KUTI's, `` DO N'T GAG ME'' blares over the speakers.",
"INT. WALTER'S HOUSE, PIANO ROOM - LATER Walter is sitting in a chair and playing the drum along with the Fela song. He is only wearing a T - shirt and boxers.",
"INT. CONNECTICUT COLLEGE, CONFERENCE ROOM - DAY Charles talks to Walter. They stand up and shake hands.",
"EXT. WALTER'S HOUSE - DAY Three MOVERS are carefully removing the piano from Walter's house as Walter and Barbara Watson look on.",
"INT. WALTER'S CAR - DAY Walter drives back down the highway. The Fela Kuti music is playing. He is tapping on the steering wheel.",
"INT. WALTER'S BUILDING, STAIRWELL - LATER Walter walks quickly up the stairs to the fourth floor. He seems to be moving with a little more pep. As he approaches his door, he hears music emanating from his apartment. It's a PIANO SONATA. The music stops him in his tracks. He listens for a couple of moments. Finally he walks inside.",
"INT. WALTER'S APARTMENT, LIVING ROOM - LATER Walter enters to find Mouna mopping the floor. Fresh flowers are on the table. She sees Walter and smiles. MOUNA Walter. She turns down the music. MOUNA -LRB- CONT'D. -RRB- I did not expect you so soon. I was just cleaning a bit. I hope you do n't mind. WALTER No. Thank you. MOUNA I like this CD very much. The music is lovely. She picks up the CD. MOUNA -LRB- CONT'D. -RRB- Is it your wife? WALTER Yes. MOUNA She was beautiful. WALTER Thank you. Mouna sets down the CD. She notices Walter's glasses. MOUNA These are different glasses? WALTER Yes. MOUNA Are they new? WALTER Yes. MOUNA They're nice. WALTER Thank you. MOUNA I was going to make some lunch. Are you hungry? WALTER Yes. Thank you. Walter leaves. Then he returns. WALTER -LRB- CONT'D. -RRB- Mouna? MOUNA Yes. WALTER I was wondering if. Thursday night. Do you have plans? Mouna laughs. MOUNA No, Walter, I have no plans. WALTER Well, I thought that. we might do something. MOUNA OK. WALTER OK. Walter nods and walks toward his room. Mouna watches him go and smiles.",
"INT. QUEENS DETENTION CENTER, VISITATION ROOM - LATER Walter and Tarek are talking. Tarek is very anxious. TAREK They keep moving people. WALTER To where? TAREK I do n't know. I think to other detention centers. Two Moroccan guys were just moved. They had no idea. Suddenly they were just gone. WALTER Has anyone said anything to you? TAREK No one in here knows anything. I'm not a criminal. I have committed no crime. What do they think? I'm a terrorist? There are no terrorists in here. The terrorists have money. They have support. This is not fair! WALTER I know. TAREK -LRB- Angrily. -RRB- How do you know?! You're out there! Tarek's question stops Walter in his tracks. Tarek tries to regain his composure. WALTER I'm sorry. TAREK It's just. I'm starting to wonder if I'm ever going to get out of here. I sit in here at night and I keep thinking about Zainab. TAREK -LRB- CONT'D. -RRB- I just want to play my music and live my life. What's so wrong about that?",
"EXT. NEW YORK CAFE - DAY Walter, Mouna and Zainab are sitting at a cafe. Walter is on his cell phone. WALTER -LRB- Into the phone. -RRB- OK. OK. Please do. Thank you. Bye. He hangs up. MOUNA What did he say? WALTER He would make some calls but they can move him to another facility at their discretion. ZAINAB What facility? Where? WALTER He said it could be anywhere. Upstate. Pennsylvania. There is even one in Louisiana. ZAINAB Louisiana? Where they had the floods? WALTER Yes. MOUNA That's so far. WALTER Yeah. MOUNA Did the lawyer say anything else? WALTER No. No he did n't know anything else. MOUNA No one seems to know anything. It feels like Syria.",
"INT. JAZZ CLUB - NIGHT Darren and the Bass player are playing. They have a new drummer. Mouna and Zainab sit at a back table talking. Mouna notices Zainab's necklace. Zainab takes it off and gives it to her.",
"EXT. NEW YORK STREET, KIOSK - DAY Walter buys two newspapers. One in English and one in Arabic.",
"EXT. STREET - DAY Mouna walks along the street. She stops at a small CLOTHING STORE and looks into the window. She walks into the store.",
"INT. WALTER'S APARTMENT, LIVING ROOM - NIGHT Mouna is sitting on her bed, speaking in Arabic. Walter, dressed in a jacket and tie, is sitting in his bedroom. Suddenly Mouna appears in the doorway. MOUNA Sorry to keep you waiting. WALTER That's alright. How is he? MOUNA He says hello. He wants to make sure that you are practicing your drum. Walter smiles. WALTER I am. You look very nice. MOUNA You too. Should we go? WALTER Yes. They leave.",
"INT. NEW YORK CAB - LATER Walter and Mouna ride in the cab. Mouna looks out the window. MOUNA This city is just so huge! It never ends. The cab pulls over. Walter and Mouna climb out.",
"EXT. NEW YORK STREET - CONTINUOUS Walter pays the Cab Driver and turns to Mouna. WALTER Ready? MOUNA For what? Walter points to the `` Phantom of the Opera'' marquee behind her. MOUNA -LRB- CONT'D. -RRB- Really? The Phantom? Are we seeing it? WALTER Yes. MOUNA Now? WALTER Yes. Is that OK? MOUNA That's wonderful. Thank you. I am so excited. Walter smiles as he and Mouna walk toward the theatre.",
"EXT. TIMES SQUARE - NIGHT The lights and sounds of Times Square. Walter and Mouna walk through the throngs of tourists after the play. Walter hails a cab and they jump in.",
"INT. NEW YORK RESTAURANT - LATER Walter and Mouna both sit in a French restaurant finishing their salad. MOUNA I have to say that show was really kind of scary. WALTER Yeah. It was kind of scary. The both smile. A WAITER approaches and picks up their plates. WAITER Are you finished? MOUNA Yes. WAITER How is everything? MOUNA Very good. But I think I would like a glass of wine. WALTER I'm sorry. I did n't even think to ask. MOUNA It's OK. It's not every night that you see The Phantom. -LRB- To the Waiter. -RRB- I'll have a cabernet. WALTER Two please. WAITER Certainly. The Waiter leaves. WALTER I have n't been to theatre in a long time. MOUNA Me neither. There is a place in Syria called Maaloula. It is a huge outdoor theater. It's beautiful. We used to take Tarek there to see concerts. The Waiter sets down the two GLASSES of wine. WALTER Cheers. MOUNA -LRB- In Arabic. -RRB- Cheers. They clink glasses and drink. WALTER Mouna, I've taken a leave of absence for the rest of the semester. MOUNA Really? Why? Walter is suddenly self - conscious. Walter is suddenly self - conscious. WALTER I just thought I might spend some more time in New York. MOUNA Walter, you do not have to do this for Tarek. WALTER I want to. MOUNA But you have to be in Connecticut. You have your teaching. And your book. WALTER It's fine really. MOUNA This is not your problem, Walter. It's OK that you are busy. Her simple words strike a chord with Walter. WALTER I'm not busy. Not at all. -LRB- Beat. -RRB- Mouna, the truth is I have n't been doing any work for a long time. MOUNA You just presented your paper at the conference. He is beginning to unravel. WALTER I did n't even write it. I just read it. I've been teaching the same course for twenty years. It does n't mean anything to me. None of it does. I pretend. I pretend that I'm busy. That I'm writing. Working. But I'm not doing anything. Walter trails off. WALTER -LRB- CONT'D. -RRB- I'm sorry. MOUNA Do n't be. I appreciate you telling me this. The Waiter returns and pours some more water. MOUNA -LRB- CONT'D. -RRB- Walter, what would you do if you did n't teach? WALTER I do n't know. MOUNA I think that is exciting. Not to know. Walter considers this as if for the first time. He smiles. WALTER Mouna, what do you do? MOUNA Do you mean for work? WALTER Yes. MOUNA I work in a car dealership. I take care of the accounting. WALTER Really? MOUNA Yes. It's very exciting. Walter smiles.",
"INT. WALTER'S APARTMENT - LATER Mouna and Walter walk into the apartment. Mouna takes off her coat. MOUNA What time is it? WALTER. says. Twelve thirty. MOUNA No?! Is it? WALTER Yes. MOUNA My God. Twelve - thirty! I have not been up this late in a long time. WALTER I think that happens a lot in New York. MOUNA Thank you, Walter. That was a very nice evening. It's the most fun I've had in a long time. WALTER I told Tarek I was going to take you. He was very happy about it. Mouna is touched by the comment. Her mood shifts. MOUNA Good night, Walter. WALTER Good night. And with that she turns and walks into her bedroom.",
"INT. WALTER'S BEDROOM - MORNING Walter wakes up. He checks his watch. He notices that his phone is blinking. A message. He picks it up and listens to it. WALTER Damn it! He throws open the door and hurries into the.",
"INT. LIVING ROOM - CONTINUOUS Mouna is sitting at the table. WALTER There's a message from Tarek. Something's wrong. MOUNA What did he say? WALTER Just that they were moving him. He did n't know what it meant. Without another word, Mouna is up and putting on her coat.",
"INT. NEW YORK TAXI - LATER Walter and Mouna ride in the cab. Walter is on the phone. WALTER Well when do you expect him back? Can you have him call me the minute he is? It's an emergency. Thank you. -LRB- He hangs up. -RRB- He's still in court. -LRB- To the CAB DRIVER. -RRB- Can you hurry please? MOUNA I hate this feeling.",
"EXT. QUEENS DETENTION CENTER - LATER Walter and Mouna get out of the cab. Walter rushes in. Mouna waits outside.",
"INT. QUEENS DETENTION CENTER - LATER Walter walks up to the guard booth. WALTER Hello. I'm here for bed 38. Tarek Khalil. The MALE GUARD checks the computer screen. Walter waits. MALE GUARD He is no longer with us. WALTER What does that mean? MALE GUARD I'm not sure. WALTER You're not sure? Was he moved to another facility? Another state? What? MALE GUARD I do n't know. I just know that this detainee is no longer in the facility. WALTER Well can you ask someone who does know?! MALE GUARD Hold on. The Guard picks up the phone and dials. He has a long conversation that Walter can not hear. There are a few other visitors in the waiting room. They watch Walter. MALE GUARD -LRB- CONT'D. -RRB- Sir? WALTER Yes. Did you find him? GUARD He's been removed. WALTER Removed? To where? GUARD Deported. WALTER What? When? GUARD He was deported this morning. WALTER He. how can that be? Is there any way to contact him? GUARD I do n't know. I do n't think so. WALTER You do n't think so? What kind of answer is that?! GUARD I'm sorry, sir. That's all the information that I have. Now please step away from the window. You can call the ICE if you have any further questions. The number is on the wall. Walter's wheels are spinning. He is helpless. He looks around the room at all of the other immigrants visiting friends and family members. They are watching him with blank faces. GUARD -LRB- CONT'D. -RRB- Sir. Please step away from my window. Walter does n't move. He checks his watch. GUARD -LRB- CONT'D. -RRB- Sir. For the last time, step away from my window. Finally, Walter turns and starts to walk out of the detention center. He reaches the exit and then spins around and storms back toward the guard booth. He completely loses control. WALTER -LRB- Angrily shouting. -RRB- You ca n't just take people away like that! Do you hear me?! He was a good man. A good person! He had a life here! You ca n't just take away whoever you want! It's not fair! We are not just helpless children! Do you hear me?! The Guard just stares back blankly. The other visitors watch in disbelief. They are unaccustomed to this type of outburst as is Walter who now stands trembling in the middle of the room. It's as if something inside him snapped. Something that he has been holding on to for a long time. He is suddenly adrift. Unsure of what to do next. MOUNA -LRB- O.S. -RRB- -LRB- Gently. -RRB- Walter. Walter turns. Mouna is standing there. He looks at her. Helpless. MOUNA -LRB- CONT'D. -RRB- Walter. Let's go. There is nothing we can do. Let's go. Walter looks a bit lost. He looks back at the Guard who just stares back at him. MOUNA -LRB- CONT'D. -RRB- Come on, Walter. She reaches out and takes Walter's hand. And then she leads him out.",
"INT. NEW YORK TAXI - LATER Walter and Mouna ride in a taxi. They are both depleted. Mouna shakes her head. MOUNA He did nothing wrong. She is overwhelmed by the events. She breaks down and starts to cry. Walter puts his arm around her.",
"EXT. NEW YORK STREET FAIR - DAY Walter watches as Mouna tells Zainab. Zainab buckles and hugs Mouna.",
"INT. WALTER'S APARTMENT - NIGHT Walter is looking out the window. Mouna walks out of the kitchen and turns out the light. She walks over and stands next to Walter. MOUNA Walter, I need to go back to Syria. I should to be there for Tarek. WALTER When are you going to leave? MOUNA Tomorrow. I already bought a ticket. It's best for me to be there as soon as possible. Walter just looks at her. The news is piercing. WALTER You wo n't be able to come back here. MOUNA I know. Beat. WALTER Mouna. I'm sorry. Mouna smiles warmly. MOUNA Good night, Walter. Mouna leans in and kisses him gently on the cheek. She turns and walks toward her room. Walter watches her go and then looks back onto the street.",
"INT. WALTER'S APARTMENT, BEDROOM - LATER Walter is lying awake in bed. There is a knock at the door. He sits up. WALTER Yes. The door opens and a shaft of light cuts across the room. Mouna stands in the doorway. Walter stares at her for a moment and then turns down the bed sheets. Mouna walks over and lies down next time. Walter pulls the sheets back over her. They sit in silence for a long moment holding each other. MOUNA It's my fault. What happened to Tarek. I did receive the letter telling us to leave. I threw it away. I never told him. Walter can only listen. MOUNA -LRB- CONT'D. -RRB- We were here for three years by the time the letter arrived. I had found a job. Tarek was in school. Everyone told me not to worry. That the government did not care. And it appeared to be true. And then, after time, you forget. You think that you really belong. Walter gently touches her. WALTER It's not your fault. He puts his arm around her and she collapses into him. WALTER -LRB- CONT'D. -RRB- It's not your fault. They lie together.",
"INT. KENNEDY AIRPORT - LATE AFTERNOON Mouna and Walter are sitting in the airport. MOUNA Have you visited your son in London? WALTER No. Not yet. MOUNA You should visit him. Mouna takes a small decorative pouch out of her purse. MOUNA -LRB- CONT'D. -RRB- Here. Walter takes it and opens it. It's a WRIST BAND from Zainab's collection. MOUNA -LRB- CONT'D. -RRB- Zainab and I picked it out especially for you. WALTER Thank you. It's very nice. MOUNA Let me see. Mouna puts it on Walter's wrist. WALTER I like it. MOUNA So do I. You look cool. WALTER Cool? MOUNA Yes. You are very cool, Walter. Walter smiles. Mouna checks her watch. MOUNA -LRB- CONT'D. -RRB- I should go. The both stand up.",
"INT. KENNEDY AIRPORT, SECURITY CHECKPOINT - LATER Walter and Mouna arrive at the security check point. Mouna sets down her bag. MOUNA Thank you, Walter. For everything. She leans in and they hug long and hard. WALTER I do n't want you to go. Mouna kisses him. MOUNA -LRB- She whispers. -RRB- I do n't want to go, habibi. Then she picks up her bag and walks off. Walter watches her go. She turns and waves. Walter waves back and then she disappears into the security check point.",
"EXT. NEW YORK STREET - DAY Walter walks quickly along the street with his drum.",
"EXT. NEW YORK STREET - CONTINUOUS Walter approaches the subway and enters.",
"INT. SUBWAY STATION - CONTINUOUS Walter swipes his card and walks down into the subway.",
"INT. SUBWAY PLATFORM - CONTINUOUS Walter walks along the subway platform. He stops about midway and sits down on a bench. The uptown subway train enters and obscures our view of him. Finally the train pulls away. Walter is still sitting but now he is playing his drum. He is fully committed. Another train wipes frame.",
"EXT. STREET FAIR - DAY Zainab sits behind her table, staring straight ahead. We hold on her for a long moment and then. CUT TO BLACK Black Card : `` Give me your tired, your poor, your huddled masses yearning to breathe free, the wretched refuse of your teeming shore. Send these, the homeless, tempest - tost to me, I lift my lamp beside the golden door!'' Emma Lazarus Printed on the pedestal of the Statue of Liberty."
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] | Walter Vale is a widowed Connecticut College economics professor who lives a fairly solitary existence. He fills his days by sometimes taking piano lessons in an effort to emulate his late wife, a classical concert pianist, and infrequently works on a new book. When he is asked to present a paper at an academic conference at New York University, he is not enthusiastic to make the trip, given he is only the nominal co-author and has never even read the complete work. Charles, his department head, insists and Walter is forced to attend. When he arrives in his old apartment in Manhattan, Walter is startled to find a young unmarried couple living there, having rented it from a swindler who claimed it was his. Tarek is an immigrant from Syria, a Palestinian-Syrian djembe player, and Zainab is a Senegalese designer of ethnic jewelry. He later discovers both are illegal immigrants. Although they have no place to go, they hastily pack and leave, but Walter decides to let them stay. Over the next few days, a friendship slowly develops. Tarek teaches Walter to play the drum, and the two men join a group of others at a regular drum circle in Central Park. On the way home, Tarek is mistakenly charged with subway turnstile jumping, arrested for "failing" to pay his fare (although he actually had), and taken to a detention center for illegal immigrants in Queens. In order to prevent Tarek's deportation from the United States, Walter hires an immigration lawyer. Feeling uncomfortable about remaining in the apartment with Walter, Zainab moves out to live with relatives in the Bronx. Tarek's mother, Mouna, unexpectedly arrives from her home in Michigan when she is unable to contact her son. Because she is also illegally in the States, she is unable to visit her son. Hesitating, she accepts Walter's offer to stay in the apartment, and the two develop a friendship. Walter confesses his life is unfulfilling; he dislikes the single course he has taught for twenty years, and the book he is allegedly writing is nowhere near completion. It is revealed that Mouna's journalist husband died following a lengthy politically motivated imprisonment in Syria, and she is concerned about her son's future prospects if he is deported. The two begin to share a simple domestic existence, with Mouna preparing meals and Walter treating her to The Phantom of the Opera when she mentions her love for the original cast recording Tarek sent her as a gift. Without warning, Tarek is summarily deported back to Syria. Mouna, left with no one in the States, decides to follow him and to return to live there. On their final night, Mouna joins Walter for a comforting embrace in bed, blaming herself for all that has gone wrong. Walter sees her off at the airport the next day. Alone once again, Walter plays his drum on a subway platform, as Tarek once told him he himself would like to do some time. | The_Visitor_(2007_drama_film) |
[
"EXT. DIRT ROAD - SUNRISE Dawn with her rose - red fingers rises over a dusty country road. A car chugs over the horizon. NARRATOR As far as con man stories go, I think I've heard them all. Of grifters, ropers, faro fixers, tales drawn long and tall. But if one bears a bookmark in the confidence man's tome, twould be that of Penelope, and of the brothers Bloom.",
"EXT. COUNTRY HOUSE - MORNING The car deposits two shabby boys -LRB- 10 & 13 -RRB- in front of a country house. Both in black. Each with a suitcase. NARRATOR At ten and thirteen Bloom and Stephen. -LRB- the younger and the old. -RRB-",
"INT. KITCHEN (FLASHBACK) The two brothers and an oafish FOSTER FATHER sit eating breakfast. NARRATOR had been through several foster families. The FOSTER FATHER slaps Bloom upside the head. Stephen LAUNCHES across the table, tackling the dad and beating the crap out of him. NARRATOR -LRB- cont'd. -RRB- Thirty eight, all told.",
"INT. CHILD WELFARE OFFICE - DAY CLOSE ON - A CHILD WELFARE FILE COVER `` Bloom'' stamped on it. It opens, and dozens of reports flip by. Under the `` REASON FOR RETURN OF MINORS'' field we catch different entries : `` BEHAVIOR INAPPROPRIATE'', `` UNMANAGEABLE'', `` MOLESTED CAT'', `` SOLD OUR FURNITURE'', `` CAUSED FLOODING''. NARRATOR Mischief moved them on in life, and moving kept them close.",
"EXT. COUNTRY HOUSE PORCH The brothers on the porch, suitcases in hand. NARRATOR For Bloom had Stephen, Stephen Bloom, and both had more than most. The front door opens, and a pair of FOSTER PARENTS eye the brothers suspiciously.",
"EXT. SMALL TOWN SQUARE - LATER THAT DAY A wide dusty Main Street, which the two brothers survey. NARRATOR Another home, another main street. Stephen looked around, then summed the burgh up thusly : STEPHEN Bloom, we've hit a one hat town. NARRATOR One theater. One car wash. One cafe. One park. One cat. Which, through some mishap, had one leg. The cat sits on a roller skate, rowing itself down the street with its one leg. STEPHEN Sweet Jesus. Look at that.",
"EXT. SCHOOL - DAY A group of children flee the school joyfully. NARRATOR One school, which meant one tight - knit group of local well - off kids.",
"EXT. CANDY SHOP The children run out of the candy store, all slurping Rocket Pops. NARRATOR Their pocket - change bought rocket pops,",
"INT. CANDY SHOP The brothers at the counter. Bloom watches the children go, while Stephen counts out pennies. NARRATOR The brothers, Stephen slaps the change down angrily and points with a scowl. STEPHEN Pixie Stix.",
"EXT. PARK The children play, resplendent with their Rocket Pops. NARRATOR They were the ` they'. All well loved, rooted, happy as you please. Bloom and Stephen sit off to the side of the park, none too happy nursing their Pixie Stix. NARRATOR -LRB- cont'd. -RRB- Always there. In every town. Stephen glares, flicks the Stix away like a cigarette. STEPHEN The playground bourgeoisies. He storms off. Bloom lingers, staring silently at the children.",
"EXT. FOREST The brothers amble down a wooded path. Bloom stops, staring into the trees. Through the dense thicket of foliage. the children playing. And one gleaming eye framed perfectly through a small open patch in the leaves. Bloom pushes the leaves aside. A girl. Golden curls. Summer dress. Standing in the distance on a wide lawn. Bloom gazes. Stephen places his hand on Bloom's back.",
"EXT. PARK - CONTINUOUS Bloom stumbles from the trees -LRB- very much as if he's been shoved -RRB- and regains his footing and freezes, not shielded at all now from the playing kids and the girl. NARRATOR Could he simply STEPHEN -LRB- O.S. -RRB- Talk to her! NARRATOR Just drop his fears and go? Leave his brother in the woods, and join the children? The girl makes eye contact, twisting a daisy chain between her tiny fingers. Bloom's adam apple convulses. He turns tail and runs back into the woods. NARRATOR -LRB- cont'd. -RRB- No.",
"INT. BEDROOM - NIGHT Brothers in bed. Bloom gazes window - ward. Stephen gazes Bloom - wise, shuffling a pack of cards. BLOOM What's doing? STEPHEN What? BLOOM You shuffle when you're thinking something through. So whatcha thinking? STEPHEN Not a thing. NARRATOR This was n't really true. Cause in the root of Stephen's psyche, something now began. A seed of grand epiphany. A hook. A tale.",
"EXT. WOODS - DAY STEPHEN A plan. Stephen spreads out a hand - drawn flowchart on a stump, and talks Bloom through it. NARRATOR A fiction made for profit, in which both boys played a part. A simple con in fifteen steps. STEPHEN And this is where we start. Stephen runs his finger backwards down the connected boxes, each neatly numbered, stopping at # 1. `` Bloom Talks To Girl''",
"EXT. PARK - DAY Children and the gold haired Girl playing. The wall of foliage where the forest begins shimmers. NARRATOR And then, as if a curtain had been pulled back from the sky. Some barrier within the younger Bloom was broken. Bloom bursts through the trees and strides across the wide lawn, confident, glowing, stopping face to golden face with the girl. BLOOM Hi. They talk. They run. They laugh. They play. NARRATOR So Bloom performed his role in Stephen's story to a T. BOX # 2 on the flowchart - `` Bloom wins the kids' trust''",
"EXT. TOWN SQUARE Bloom does indeed, sitting and laughing with a circle of kids, suddenly a natural born charmer. NARRATOR And being who he was n't, could be as he wished to be. The Golden Girl smiles at him. From the shadows of an adjacent alley, Stephen watches, pleased. He slinks away. SERIES OF SHOTS -",
"EXT. CAVE - DAY BOX # 3 - `` Stephen finds a cave'' dissolves to Stephen scouting out a cave deep in the woods.",
"EXT. PARK - DAY In the park, Bloom runs with the kids, laughing.",
"INT. HARDWARE STORE - DAY BOX # 5 - `` Stephen buys supplies'' dissolves to : Stephen in a hardware store, pointing. A flashlight, snow boots and several large coolers are purchased.",
"EXT. PARK - DAY Back in the park, Bloom says goodnight to the kids and walks homeward in the warm twilight.",
"INT. CHURCH - DAY BOX # 8 - `` Stephen scouts church'' dissolves to : Stephen's eyes poke up from behind a pew in a church. He manages to look devious as he snags a SUNDAY SCHOOL SCHEDULE.",
"INT. BEDROOM - NIGHT Bloom enters, hears running water from the bathroom. He glimpses down at the flowchart on the bed, scanning down to : Box # 10 - `` Bloom comes home to find Stephen filling the coolers'' Stephen backs out of the bathroom trolling a heavy cooler. STEPHEN Oh - kay. How's it going on the playground front? BLOOM It's great. STEPHEN So, on to step eleven, then. The Tale. You tell them - BLOOM Wait. Bloom's lip quivers, obviously conflicted. NARRATOR Must the numbers rattle on? Must the fiction end? BLOOM I think I need more time to win their - STEPHEN Bloom. They're not your friends. They're part of this, and this aint real. Remember, it's a con. And when it's done, we've just got us. And we'll be moving on. -LRB- beat. -RRB- So, the tale. You tell them there's a",
"EXT. PARK - DAY Bloom holds court with the kids. BLOOM hermit in the woods. A one eyed, steel toothed vagabond.",
"INT. ATTIC Back to Bloom and Stephen in the attic BLOOM with blood red eyes? STEPHEN -LRB- nods. -RRB- That's good. He stopped you coming home from school.",
"EXT. PARK - DAY BLOOM and told me of a cave. GIRL What kind of cave? BLOOM A cave of wonders. BOY Pffft ha. GIRL Shut up, Dave. BLOOM At noon on every Sunday, there appears a ball of light, which flutters like a butterfly. GIRL A will - o - whisp? BLOOM That's right. It guides you",
"INT. ATTIC STEPHEN if you can keep up.",
"EXT. PARK BLOOM to where the treasures lay. BOY So where's this cave? GIRL Yeah, where?",
"INT. ATTIC STEPHEN Ah - hah. The hermit did n't say. He got this greedy glinting look, the filthy red - eyed leech. and said he'd tell for thirty bucks. Something in Bloom's face falls.",
"EXT. PARK The girl's bright, trusting face looking at him. A moment of silence. Then, triumphant, an excited boy leaps to his feet. EXCITED BOY Well that's just two bucks each! The kids all rejoice, and fist - fulls of dollars are thrust at Bloom. He looks almost crestfallen as his eye catches the girl's joyful gaze. NARRATOR So Sunday came.",
"EXT. WOODS Children in their bright Sunday clothes run through the dark woods, led by Bloom. NARRATOR and straight from church, into the woods Bloom led.",
"INT. CAVE In the dim light of a cave, Stephen overturns the coolers of water and retreats into shadow. A flood soaks into the dirt floor, as outside the mouth of the cave the group of panting children come into sight. NARRATOR They stopped. Their hearts leapt. There it was.",
"EXT. CAVE The children look at the craggy mouth of a forboding cave. GIRL Just like the hermit said! Deep in the cave's dark maw, a spark of light. The children gasp collectively. The Girl grabs Bloom's arm. Bloom stares, transfixed as any of them. The spark becomes a glowing, fluttering point of light, which hangs in the mouth of the cave for a tantalizing moment, then recedes deeper into the gloom. With a cry the children, Bloom included, dash into the cave.",
"INT. CAVE The light glows just around the next corner. the children run after it, slipping in the mud, laughing, turning the corner. And the light glows just around the next corner. They scramble, they slip and slide, they ca n't catch the light, but they're all having the time of their lives. Bloom included. Holding the girl's hand, laughing, eyes full of wonder. NARRATOR For just one moment, Bloom forgot himself and ran too fast. He puts on a burst of speed, gets ahead of the crowd. NARRATOR -LRB- cont'd. -RRB- He'd catch the light and find the treasure. Turning a corner, he -LRB- alone -RRB- sees the rather tawdry image of Stephen, flashlight in hand, shooing him back as he turns the next corner. Bloom stops running. NARRATOR -LRB- cont'd. -RRB- But the moment passed. The other kids and the girl pass him, but Bloom stands dead still, a strange expression on his face. The girl turns back towards him, still running, and holds out her hand for him to follow. But he does n't. He stays behind, and is soon left alone.",
"EXT. PLAYGROUND NARRATOR They did n't catch the will - o - wisp, but did n't really care. The muddied children walk home, laughing, while Bloom leans against a lamppost. Stephen appears behind him, counting their money. STEPHEN It seems to me that in the end, the perfect con is where each one involved gets just the thing they wanted. BLOOM Yeah I guess so. NARRATOR Our fledgling thieves were satisfied.",
"EXT. FOSTER HOUSE - DAY A front door opens, revealing a porch - full of 30 angry parents holding 15 muddied kids by their ears. NARRATOR The children's parents, less so. The Foster Parents exchange a glance. QUICK SHOTS - Stephen is smacked. The wad of money is snatched from a grubby small hand by an angry big one. A telephone slams down. On a form, the field `` Reason for return :'' is filled with `` Larceny.''",
"INT. BEDROOM - DAY Two suitcases on a bed are snapped closed and pulled away. The bed sits solid and vacant in the dusty afternoon sunlight. NARRATOR A bitter ending? Maybe. But there's sweetness in the mix. Beneath the bed, forgotten, a piece of paper. On it, the con flow - chart. Numbered boxes. NARRATOR -LRB- cont'd. -RRB- The brothers Bloom had found their calling. One of the boxes. number six. NARRATOR -LRB- cont'd. -RRB- As shown in number six. BOX # 6 : `` Cut % O'Henry's'' NARRATOR -LRB- cont'd. -RRB- ` Cut' meant to negotiate, ` percent' percentage deal.",
"EXT. SMALL TOWN SQUARE - DAY Through a storefront window - rows of the children's muddy Sunday clothes hang, each tagged. NARRATOR ` O'Henry's' was the town's one dry clean shop. And striding out of the store beneath the ` O'Henry's Cleaners' sign is Stephen, fifty dollars in hand, sucking a Rocket Pop. The OWNER leans out of the door, looking a little nervous. Stephen throws him back a salute.",
"EXT. BACK ALLEY - DAY Bloom sits against a wall, suitcases beside him. Boxes of Rocket Pops, and one in each fist. Stephen plops down beside him. STEPHEN So how's it feel? Bloom's eye catches the children, and the girl, playing in the distance. NARRATOR In truth, young Bloom wo n't know for twenty years just how he felt. HONK! A ` Child Welfare' car waiting out on the street. The brothers pick themselves up. NARRATOR -LRB- cont'd. -RRB- And so, we'll skip ahead now in our story. Stephen tosses his Rocket Pop. STEPHEN Let ` em melt. The con man team of the brothers Bloom, suitcases in hand, strides down the alleyway. Stephen in front. Bloom a few steps behind, stealing one last glance back at the children playing in the sun. OPENING CREDITS",
"INT. LIBRARY - NIGHT Flames spread over a wall of bookshelves. TITLE CARD : BERLIN, 25 YEARS LATER A YOUNG MAN in a nice suit and bowler hat steps in front of the flaming books. YOUNG MAN He gets the scarab, you get the money, I get the girl. so in the end, everyone gets everything he wants. Three gunshots, two bloody holes in the nice suit and the young man folds to the ground. A sweaty man named CHARLESTON -LRB- 40s -RRB- lowers his gun, while behind him the rest of the library roars in flames. VOICE -LRB- O.S. -RRB- Wha - Charleston, what - oh my god are you. oh god he's dead, Victor's dead. you've killed us! We had it he was right it was all in the bag and now we're dead, why? Why, you stupid son of a bitch? The owner of the voice, a MAN a bit younger than Charleston in a derby cap, snatches the gun away and slaps Charleston hard. CHARLESTON Cause the Turk was right. After seeing her, after that night on the airstrip, after Cairo everything changed, and he could n't see the play through that one milky eye, but the Turk was right about one thing, that there's nothing beautiful about money. She's beautiful. MCGUIRE This is n't happening. CHARLESTON He'll never have her now. She's free. And I'll never see her in scarlet again, her chestnut hair, but it's worth the money and my job and his life and the rest of my life that she's free. MCGUIRE Charleston. I ca n't be here. CHARLESTON You're not here. Neither of us are. It's Mowcher's gun. MCGUIRE Mowcher is at the bottom of the Spree with a cowl in his neck! Charleston gets to his feet. CHARLESTON They wo n't find him for a week, and the Albino will chalk it up to Davey, he wo n't talk. We're clean. MCGUIRE Listen to you - four months ago you were an investment banker! Now you're nothing. The Scarab's lost. The money's gone. It'll rot in the Peruvian earth. It's gone. Charleston limps to the flaming doorway. CHARLESTON The man named Charleston you met nine months and a thousand years ago at the hotel bar in Jodhpur is dead. If we see each other again it'll be as strangers. As for the money. let it rot. He exits, leaving McGuire stooped beside the crumpled form of Victor. A long beat. The distant roar of an engine, tires squealing. Then through the smoky doorway steps a beautiful ASIAN WOMAN, early 20s. She gives a nearly imperceptible nod. MCGUIRE Wow. He pats Victor, who sits up, spitting blood. McGuire looks to Victor and the woman for a reaction. Gets none. MCGUIRE -LRB- cont'd. -RRB- Wow is the word you're both looking for. Wow. The Asian woman nods slightly. VICTOR -LRB- un - wowishly. -RRB- You're a genius, Stephen. For McGuire is, of course, Stephen. STEPHEN We're a genius, Bloom. Just as Victor is, indeed, Bloom. He spits. BLOOM Tastes like tin foil. STEPHEN So does real blood. Buy you a drink. Stephen escorts the Asian woman out, while Bloom wipes his lip.",
"EXT. HOUSE - PRE-DAWN A stately house in the middle of nowhere, on fire. Stephen holds the door of a car open, while Bloom steps from the flaming house. STEPHEN `` Four months and a thousand years ago.'' That's Kipling, is n't it? He stole that from Kipling. BLOOM No.",
"EXT. BERLIN - PRE-DAWN Hazy light over the sprawling city.",
"INT. DEUTCH MARK A low, cozy basement level bar. A dozen people crowd it, all expectant in a surprise - party type way. A TURKISH GENTLEMAN in a white linen suit and eye patch raises his drink when Bloom, Stephen and the woman enter. THE TURK Make way, make room for the brothers Bloom! The bar bursts into cheers.",
"INT. DEUTCH MARK - LATER A DWARF dances on the bar. Stephen plays cards with the Turk, an ALBINO and a small crowd of character types. THE TURK Nine months, six countries, three faked deaths, for one mark. You're a beautiful antique, my friend. They clink glasses. ALL Proust. THE TURK One thing baffles me. The entire con would have fallen apart if Charleston had walked away. How did you know he'd pull the trigger? Stephen riffle shuffles a pack of cards. STEPHEN Just think of any card. Got one? Stephen cuts the deck randomly - 2 of spades. THE TURK No. Stephen shrugs. STEPHEN But if I do it enough, eventually it'll work on someone. And then it'll be the best card trick in the world. Wink. The dwarf slips, plummets from the bar. Stephen kicks a chair across the room, into which he lands with a crunch. STEPHEN -LRB- cont'd. -RRB- Ante up. THE TURK It's true you never work with the same crew twice? STEPHEN That's true. THE TURK Well shit. Except for the uh, for her? STEPHEN La Chinoise? THE TURK Yeah. Back at the bar - the Asian woman. The CHINK. Being hit on by a weasly ROMANIAN. ROMANIAN Yeah, I'm pretty big into anime. She almost imperceptibly rolls her eyes. STEPHEN Our fifth Beatle. She knows the ins and the outs, and so far as I can tell, speaks three words of English. She taps on the bar. THE CHINK Jameson. BARTENDER Ice? She says ` no' with a look. THE ALBINO So she's with you and Bloom till the end. STEPHEN Just till the wind changes. Stephen makes a gun with his finger and shoots at the Chink. She flicks a champaign flute to make a ` DING!' and mimes the bullet bouncing off her. THE TURK Where is Bloom? In the corner of the bar, in a private booth with drawn velvet curtains, Bloom sits alone playing solitaire. Stuck with a queen of hearts he ca n't play. A beautiful woman in scarlet with auburn hair pokes her face through the curtains. ROSE There you are. Hiding? BLOOM Yeah. ROSE I've been learning. Stephen likes to talk about you. BLOOM Did he tell you the cave story? ROSE Is it true? BLOOM What else did he tell you? ROSE I'm not going to tell it as good as Stephen. You two kicked around till your early teens, then stowed away on a merchant marine freighter and ended up in St. Petersburg, where you spent five years under the tutelage of a shadowy old swindler named the Diamond Dog. And he was your Fagin and Stephen was his Artful Dodger, but it ended suddenly and badly. BLOOM Stephen took his eye out with an antique rapier. ROSE Why did he do that? BLOOM And then the Brothers Bloom lit out on their own to make their fortune as gentleman thieves. Sounds romantic. ROSE It does. She pushes the cards aside and slides clumsily onto the table, her face inches from Bloom's, eyes closed, expecting a kiss. Bloom's eyes stay open. BLOOM You want to know how Stephen did it? With Charleston? ROSE It's not the first thing on my mind.",
"INT. LIBRARY - NIGHT (FLASHBACK) A replay of Bloom in front of the flaming bookshelf. BLOOM -LRB- O.S. -RRB- He positioned me in the same spot where, seven years ago, Charleston's wife stood and told him she was leaving. The room transforms, becomes daylit, not on fire, seven years ago, a WIFE standing in Bloom's place. BLOOM -LRB- O.S. ; cont'd. -RRB- He chose my outfit to mirror her suit. Sure enough, the colors and shape of Bloom's suit matches the Wife's outfit. BLOOM -LRB- O.S. ; cont'd. -RRB- He even phonetically matched my final words to hers. WIFE This is the end. Charelston, you've always been a dunce. Everything snaps back to Bloom in the flaming room. BLOOM -LRB- IN FLASHBACK. -RRB- So in the end, everyone gets everything he wants. BANG.",
"INT. DEUTCH MARK BLOOM That's what he does, he writes his cons the way dead Russians write novels, with thematic arcs and imbedded symbolism and shit. And he wrote me as a vulnerable anti - hero. And that's why you think you want to kiss me. It's a con. He leaves Rose lying on the table and sweeps through the bar towards the exit, passing Stephen. BLOOM -LRB- cont'd. -RRB- I need air. STEPHEN Who does n't? -LRB- plays a card. -RRB- That's the big 2.",
"EXT. BERLIN STREET - EARLY MORNING Bloom stumbles up stone steps to street level. A THOUSAND YEAR OLD MAN sweeps up across the square. Bloom sits wearily on the curb, bowler hat in hand, shirt bright red with fake blood, face long as hell. Putting the broom aside a moment, the old man walks painfully across the street to Bloom. Standing nearly toe to toe with him, the man pulls a huge joyful smile across his grizzled face. He then smears his hand over his mug, pulling the smile off his face and rubbing it on Bloom's mouth. When he takes his hand away, Bloom plays along and has the same big joyful smile. The old man winks at him and walks back to his broom. As soon as the old man is away, Bloom drops the smile. Stephen paces out into the street. STEPHEN We missed the sunrise. That would've been nice. They walk across the street to the Tiergarten.",
"EXT. TIERGARTEN - EARLY MORNING Berlin's Central Park and zoo, dead and brown. The brothers stroll through the woods, Stephen a few steps ahead, Bloom trailing behind, lost in thought. Camel heads poke over a wall with ` Kamelhaus' painted on it. Stephen throws open the wall's gate. STEPHEN -LRB- to camels. -RRB- Back to the swamps! The camels are unimpressed. Bloom slouches into a bench. Stephen shows the deck of cards to Bloom, who nods. Stephen cuts the deck, shows him a card. Bloom shakes his head, no. STEPHEN -LRB- cont'd. -RRB- At least you're honest. Bloom stares into space. STEPHEN -LRB- cont'd. -RRB- Alright, let's do this. Let's just get it done. So first you say ` I'm quitting, Stephen. I'm out.' Then I say. BLOOM ` Do we have to go through this again.' STEPHEN Then you make a show of putting on your jacket and say ` no I mean it this time Stephen, this time I'm really out.' BLOOM Then you say ` let's have a drink, and in the morning Bloom you'll have come to your senses' Stephen pulls a flask, unscrews it. STEPHEN -LRB- re : Bloom's bright red blood stain. -RRB- That's a major design flaw in fake blood, by the way. BLOOM ` and we'll be moving on.' STEPHEN Real blood turns brown after a half hour. BLOOM Listen to me, Stephen. STEPHEN This scotch costs more than your suit. BLOOM Listen to me. STEPHEN And the flask stopped a bullet from a black powder rifle at Appomattox. BLOOM Listen. Bloom bats the flask away. A camel catches it, tips its camel neck back and gulps it down. STEPHEN That's my new favorite camel. BLOOM I hate you. I hate this life, I hate it, I hate that you wo n't fucking listen to me for one goddamn second. Just listen. Stephen listens. BLOOM -LRB- cont'd. -RRB- I ca n't wake up next to another stranger, who thinks they know me, or even wants to know me, cause I do n't know - who - I'm thirty five years old, and I, I'm useless, I'm crippled, I do n't, I've only ever lived life through these roles that are n't me, that are written for me by you. STEPHEN Tell me what you want. BLOOM Why? So you can write me a role in a story where I get it? You're not listening to me. I want a real. thing, I wan na do things how I do n't know are gon na work out, a, I, want, a. STEPHEN -LRB- sotto. -RRB- You want an unwritten life. I want an unwritten life! -LRB- realizes Stephen just wrote that line for him. -RRB- Aauuugghh god! The camel belches. Bloom makes a show of putting on his jacket. BLOOM -LRB- cont'd. -RRB- I'm going away. Somewhere you or even the Chink wo n't be able to track me down, so do n't try. No more stories. Bloom tosses Stephen the bowler, and storms off. He gets about ten feet, then hesitates. BLOOM -LRB- cont'd. -RRB- I love you. Bye. Then goes. The camel nudges Stephen's jacket, looking for more scotch. Stephen puts the bowler on its camel head. STEPHEN Sorry bud. I'm dry. Stephen watches his brother walk off into the rising morning mist, lost in thought. His hands mechanically begin shuffling the pack of cards. FADE OUT",
"EXT. ITALIAN COUNTRYSIDE - DAY Beautiful green hills surround the walled medieval city of Ferentino. TITLE CARD : Ferentino, Italy - 3 months later. A tiny red car inches its way across the countryside. It winds its way up and deeper into the city on the hill.",
"EXT. FERENTINO APARTMENT - DAY The tiny stone porch outside a private apartment. The red car's bumper pulls up, parks. On a small wood table, empty booze bottles and a loose pack of cards. Fingertips spread the cards, then the fingertips' owner heads for the apartment door.",
"INT. FERENTINO APARTMENT - DAY Stephen steps in cautiously, surveys the apartment. A goddamn mess. Empty bottles and glasses, very little light. Stephen opens the curtains, light streams in the window. A groan of displeasure comes from the gloom. Bloom stirs, passed out in a hammock. Unkept beard, a few extra pounds. Crushed cigar hanging on his lip. A rotund GRANDMOTHER waddles in, cleaning up bottles and berating Bloom in a constant stream of angry Italian. STEPHEN She's right, you know. BLOOM Why are you here, Stephen? STEPHEN Put on your face, let's eat.",
"EXT. FERENTINO APARTMENT - LATER Stephen guides a dressed Bloom out the door. The grandmother follows them, still barking angry Italian at Bloom. At the last moment she says a few kind words, kisses him on the cheek and sends them off.",
"EXT. FERENTINO CAFE - DAY A few tables on a stone walkway overlooking the countryside. The red car parked nearby. Stephen eats, Bloom stares. BLOOM How'd you find me? STEPHEN The Chink. BLOOM How'd the Chink find me? Stephen's eyes : `` Are you joking?'' STEPHEN How've you been? BLOOM Great. STEPHEN I've done a lot of thinking the past three months. You do n't want out. You think you do but you do n't. Here, c ` mere. I want to show you something. BLOOM I'm quits, Stephen. Stephen stands, strolls off. Bloom wearily follows. BLOOM -LRB- cont'd. -RRB- Where are we going? STEPHEN New Jersey. BLOOM -LRB- sighs. -RRB- Well lem me get my jacket.",
"EXT. AN AIRPLANE ROARS RIGHT TO LEFT",
"EXT. LUDICROUS MANSION - AFTERNOON A long private road through a tunnel of trees leads to a ludicrous mansion. Our trio watch it from the road. BLOOM Looks like an etching from a Bronte novel. Stephen flips open a first edition Jane Eyre. The illustration inside is in fact an exact match, right down to a plaster deer in the front yard. BLOOM -LRB- cont'd. -RRB- Huh. Look at that. Well thanks. I'm gon na head back to Italy. STEPHEN Big money. Inheritance. Dad died early, Mom died two years ago after ten years fighting an illness that I ca n't pronounce. BLOOM How much? The Chink writes a number in the snow with a stick. Just when we think she's done, she adds several more zeros. BLOOM -LRB- cont'd. -RRB- Jesus. STEPHEN Look out. Stephen pulls Bloom into the trees as a cherry red Lamborghini roars down the private road, does an unruly donut and crunches painfully into a tree, kicking up a cloud of dust and smoke. Thumping bass from the audio system turns off, and from the dust cloud emerges PENELOPE, early 30s, beautiful but in a non - Lamborghini way. Bloom watches her through the trees, none too happy.",
"EXT. THICKET - LATER Off to the side of the house. They lean on the hood of their rental car, an old school Cadillac. In the background, a tow truck arrives with a brand new Lamborghini, and leaves towing the old one. BLOOM What am I doing here, Stephen? I have one rule, and you've never even tested it. STEPHEN Stick with me. BLOOM No women. One rule. You know we do n't do women, I do n't, and it's not a morality thing or - a thing - it's, whatever it is it does n't matter what it is, that's just our rule. So what are we. -LRB- RE : the rental car. -RRB- Did you rent a ` 78 Caddy? Stephen nods to the Chink. Bloom nods appreciatively. BLOOM -LRB- cont'd. -RRB- Controversial choice. So no, is what I'm saying. I'm quits anyway. I'll be in Italy. Drinking. The front door of the mansion slams, and they watch Penelope drag a harp around into the back yard. STEPHEN Penelope Stamp. Thirty three. Lived at home her whole life. Bloom's eyes never leave Penelope. BLOOM An eccentric shut - in rich bitch. You're not helping your case. The Chink silently hands Bloom a retractable spyglass, he watches Penelope drift atop a hill and sit on a stump. STEPHEN She's bored, a seed in the snow. We're going to put her through a grand adventure, bring her to life. BLOOM So this is the big plan. Lure me back into things with some beautiful intriguing elusive girl, stir up old memories with the prospect of redemption and rebirth. Seriously Stephen. Amateur night. Bloom watches her play Clash songs on the harp. BLOOM -LRB- cont'd. -RRB- I'm not saying yes. But what's the con? Stephen spreads a folded piece of paper on a tree stump, with a flowchart on it. Numbered boxes. Bloom does n't take his spyglass off Penelope. STEPHEN It's actually pretty simple. We're brothers, antique dealers, perusing the Americas for antiquities en route to someplace exciting via luxury steamer, say Greece. You tie into her and work your magic. Penelope plays on.",
"INT. HOTEL BAR - NIGHT Very late. Bloom and Stephen in armchairs, collars loosened, drinks drunk. The Chink's Chuck Taylors stick up over the back of a chair. Bloom holds the con flowchart. STEPHEN and so that's how it ends, in Mexico, a burst of violence then a moment of truth on the beach. What do you think? Bloom idly looks over the chart. BLOOM You've got something up your sleeve. This is about me, right? Somehow. STEPHEN This might not be something you know, but they've all been about you. Maybe that's why they've none of them been perfect, I've never been able to give you what you really want. BLOOM I want to be outta all this. So by definition, this is not going to give me what I want. Stephen answers by letting an ace fall from his sleeve. BLOOM -LRB- cont'd. -RRB- This will be the last one. You'll let me go. The Chink's inert sneakers come to life and she's on her feet, silently going to Stephen's side. STEPHEN I will never approach you to do another con again. -LRB- to the Chink. -RRB- Let's make it a red Schwinn. Bloom stares at # 1 on the flowchart - `` BLOOM MEETS PENELOPE.''",
"EXT. HILLTOP - MORNING A grumpy Bloom perched on the red Schwinn, an ill fitting Styrofoam helmet on his head. Stephen sits in a lawn chair watching the highway below. The Chink sets up a lawn umbrella, a chair for herself, and a cooler with Coronas. BLOOM There are less painful ways to cut into a mark. STEPHEN Wahk wahk wahk wahk wahk wahk wahk. Score to beat is 7.9. Keep your head in the game, the Chinese judge is tough. BLOOM This is a banana seat, man! He directs this to the Chink, who blinks with innocent incomprehension and opens two Coronas. BLOOM -LRB- cont'd. -RRB- Do n't give me that blank look, you know what a fuckin banana seat is. Stephen spots something and blows a whistle. With a grunt, Bloom launches the Schwinn forward. Gaining speed, bumping over weeds and gopher holes, down the steep steep hill. At the bottom of the hill, a two lane highway. Cruising down the highway, a cherry red Lamborghini. Whose front right fender Bloom expertly smashes into.",
"EXT. HIGHWAY / SKY - DAY Silent and blue. Time slows to a crawl as Bloom sails through the air, arcing over the Italian luxury car's hood and past a horrified Penelope, face frozen mid scream behind the wheel. BLOOM -LRB- V.O. -RRB- There's actually a knack to this. You want to avoid dying or breaking anything that wo n't grow back, but you do n't want to roll out of it and come up roses. If you're trying to fast track into a mark's sympathies, there's nothing quite as efficient as having your first conversation be from a hospital bed they put you in. I usually like to try for a dislocated shoulder. Several things happen at once. Bloom hits the pavement shoulder - first, hard. The bent bike follows suit. Up on the hill, Stephen and the Chink raise score cards. 8.9 and 5.6. The Lamborghini screeches to a stop. Everything is still. Then the car jolts forward. Then stops. Then again, jolts and stops. Rolls forward a few feet, lazily drifting, then jolts and stops. Bloom painfully stands, as confused by the car's behavior as us. Stephen and the Chink lower their cards, equally confused. One last long beat of silence, then the car jolts forward, veers drunkenly to the left, tips into a ditch and chunks to a stop. The horn blares. Bloom looks up to the hilltop for guidance. Stephen stares blankly. The Chink raises a new score card - 7.8.",
"INT. HOSPITAL ROOM - NIGHT Penelope sleeps, bruised and battered. Bloom sits bedside uncomfortably, arm in a wimpy sling. She stirs. Bloom leans forward. Slurred with sleep and drugs, she painfully barely breathes PENELOPE Are you alright?",
"INT. HOSPITAL HALLWAY - NIGHT Bloom consults with Stephen and the Chink, both in scrubs. STEPHEN The Chink had it - I'm telling him, I know, thank you - in her report, I missed it. This is actually kind of great, I'll tell you why. The Chink lights a cigarette. BLOOM You missed it? STEPHEN Dostoevsky was an epileptic. BLOOM I know. STEPHEN His seizures were preceded by an enlightened euphoria, a sort of opening of his spiritual eye. I think the fact that she saw your face the instant before a seizure is a pretty goddamn good foot to start things out on, right? Bloom stares blankly. The Chink burps into her stethoscope.",
"INT. HOSPITAL ROOM - NIGHT Bloom slumps in a chair, watching Penelope sleep. BLOOM -LRB- V.O. -RRB- The next step is to figure out a way to insinuate yourself into their personal life. Bloom drifts off, then wakes with a start. It is MORNING. Penelope is shaking him. PENELOPE I think they took my car. Could you drive me home? BLOOM Uh. Yeah. She walks away, the back of her gown wide open, then turns. PENELOPE I'm Penelope Stamp. BLOOM Bloom.",
"INT. CADILLAC - MORNING Bloom drives, Penelope gazes stiffly out the window. BLOOM -LRB- V.O. -RRB- Engagement. Find a connection with your mark through conversation. BLOOM -LRB- cont'd. -RRB- I'm sorry about your Lamborghini. PENELOPE S' ok. Silence. He notices her playing with the side mirror knob, angling it to stare at him while looking out the window. BLOOM Nice area. -LRB- beat. -RRB- Jersey. More silence. PENELOPE This car is like riding in a huge marshmallow. And still more silence. BLOOM -LRB- V.O. -RRB- Having now deftly set your hook in the mark's psyche, this would be the perfect time to tug the line,",
"EXT. LUDICROUS MANSION - MORNING They pull up in the car. A tow truck is dropping off a new Lamborghini. BLOOM -LRB- V.O. -RRB- Get invited in for coffee, and tell them the full tale. Bloom looks about to launch into something, when Penelope drops a stack of cash bound in a green rubber band on his dashboard. PENELOPE For the bike, and the whole, thing. This was a big shit sandwich. Ok. Bye. The car door slams and she's gone. Bloom sits a moment. BLOOM -LRB- V.O. -RRB- However, there are advantages to playing it cool. Letting it lie for a day or two, then casually re - establish contact. Bloom starts driving off, and adjusts the passenger side mirror so it points back to the road. As he does he sees Penelope in it, sprinting after his car. He stops. A moment later she appears at his window, heaving. PENELOPE I realized. I should have. invited you in. for coffee. right?",
"INT. PENELOPE'S KITCHEN - DAY Bloom and Penelope sit in a luxurious stone - based kitchen, neither touching their coffee. Bloom talks. This is how Penelope listens : she starts with her eyes on Bloom, then very quickly drifts away into her own thoughts, then recognizes she's doing it and makes eye contact again and gives an overbaked `` oh yes go on'' smile/nod, then does it all again. Three or four times. BLOOM did n't really have anyone except each other growing up, and our father was in the antique business, he had a shop in Charleston. So we stuck together, my brother Stephen and me, we and just took over the shop when dad died. Then we realized one day, we saw the dealers who were finding and selling us the antiques coming from exotic countries all over the world, and there was a, almost a scent they had, when they'd come in the dusty shop we worked nine to five in since we were nineteen, the air would, like before a rain, the ions would line up, and you could just smell midnight trains to Paris and steamer ships and Calcutta bazaars, and we made the decision, we just did it, that we want to have that sort of life. So we did, and we've been travelling and treasure hunting the world ever since, and could you, I'm sorry, stop doing - that, you're, I'm, ok. Alright, look. PENELOPE I'm really bad at talking to people. BLOOM I told you, that's alright. You want me to go? PENELOPE No! I want to talk to you. Fuck. She storms out.",
"INT. PARLOR Victorian, expensive. Penelope leans against the window, looking out. Sulking. Bloom enters. BLOOM So what kind of stuff do you do? PENELOPE Nothing. Maybe you should go. BLOOM Alright. I'm just gon na finish my coffee first. Very slowly, he sips it. Each sip becomes a noisier and noisier slurp. PENELOPE I collect hobbies. I see someone doing something I like, and I get books and learn how to do it. BLOOM Hm. Anything interesting? PENELOPE Not really. HOBBY MONTAGE In which Penelope demonstrates the following with exacting seriousness and skill for Bloom : Playing the piano. The classical guitar. The fiddle. The banjo. Putting the finishing touches on a ship in a bottle. Executing a perfect ollie on a skateboard. Juggling various items. Riding a unicycle. Juggling while riding a unicycle. Playing ping - pong against a wall with ungodly speed. Karate chopping through too much wood. Breakdancing. Playing the accordion. Rapping to a drum machine. Creating a perfect origami dragon. END HOBBY MONTAGE On Bloom's shell - shock face. BLOOM Is that it? PENELOPE No. I know a lot of stuff. BLOOM You just learned this stuff, here by yourself? PENELOPE Kinda sad. BLOOM No. So you just thought, ` so I want to learn this and this,' and you just did it? How do you plan to use all these skills? PENELOPE I dunno. I'm not a planner. I just do stuff. Here, look at this watermelon. It's a camera. You can make a pinhole camera out of anything hollowish and dark. BLOOM It's got ta warp the image though, right? PENELOPE No, yeah it does. That's what - the Taj Majal taken by a fat tourist with diarrhea and a point - and - shoot camera can be the flattest, dullest, `` here's us at the Taj Majal,'' `` Oh lovely lets go stick our thumbs up our asses'' picture. But you can look at the most menial everyday thing, and depending on how your pinhole camera eats the light, it's warped and peculiar and imperfect. It's not reproduction, it's storytelling. BLOOM It's a lie that tells the truth. PENELOPE I dunno about truth. A photograph is a secret about a secret. The more it tells you, the less you know. BLOOM What's changed between now and twenty minutes ago? Cause this is kinda like a conversation. PENELOPE Huh. Well shit.",
"EXT. BACKYARD - DAY Bloom and Penelope walk and talk, finally rounding the house and ending up at the driveway. BLOOM Well, I should, uh, it's late. So. I meet a lot of people in my job I have to professionally act interested in. It's a good feeling to be genuinely interested in someone. PENELOPE Are you leaving? BLOOM Yeah. PENELOPE Are you coming back? BLOOM Well next time I'm in town. We're taking a steamer at noon tomorrow off the docks, to the continent for a few months. During this, Bloom very naturally moves his hand to the small of Penelope's back. The edge of his thumb comes to rest on a small slit of exposed skin. Penelope's expression does not change, but a noticeable blush crosses her still face. When Bloom removes his hand, the blush falls. BLOOM -LRB- cont'd. -RRB- Paris and Greece, I think. I've got ta get a hat. Thanks for the pinhole camera demonstration. And for the good conversation. Goodbye Penelope. PENELOPE Goodbye Bloom. He drives off. She stands in the doorway, watching him go.",
"EXT. THE DOCKS - DAY A jaunty steamer ship docked and ready. Bloom watches the access road, Stephen makes notes, the Chink whittles. BLOOM I need another day with her. STEPHEN You'll have two weeks on the boat. BLOOM I need another day to get her on the boat, she is n't hooked. That bit I skipped where we were talking in the backyard, it was ten minutes on the optics of lensless photography, we did n't really talk. STEPHEN It is n't the talking that hooked her. Bloom turns from the road. BLOOM I think you're wrong. A screech of distant tires and a crash. Bloom does n't look. BLOOM -LRB- CONT'D ; cont'd. -RRB- Though every time I say that, you end up being comically right. That's her, is n't it? Yeah. Penelope pulls a clumsy steamer trunk that never could have fit in her Lamborghini, which is bent around a pylon. Bloom meets her. PENELOPE Hey. BLOOM Hi. What are you doing here? She holds out the stack of bills in the green rubber band. PENELOPE You left this money in my kitchen. He does n't take it. BLOOM Yeah, I did n't want it, but thanks. PENELOPE Oh. -LRB- beat. -RRB- Hey, where's this boat going?",
"EXT. THE ATLANTIC OCEAN - DAY The good ship Fidele breaks the waves Greece - ward.",
"EXT. DECK - DAY Bloom and Penelope stroll the deck. BLOOM Why did you decide to come? PENELOPE Well I'd never been to Greece. Or Europe. Or outside New Jersey. BLOOM It just seems like a big leap. From where you were at yesterday to being a world traveler. PENELOPE It looked like fun. I wanted to do it. BLOOM A new hobby. Up ahead, Bloom spots a large man in a fur collared cape gazing out to sea. He quickly turns Penelope away. BLOOM -LRB- cont'd. -RRB- Here, this way.",
"EXT. SHUFFLEBOARD DECK - DAY The Chink and Stephen play shuffleboard. Bloom leads Penelope to them. BLOOM Penelope, this is my brother Stephen. STEPHEN Pleased to make your acquaintance. Bloom's told me about you, you're the epileptic photographer? PENELOPE Sort of. STEPHEN This is my personal secretary and masseuse, Mrs. Yuengling. A nearly imperceptible glare from the Chink. PENELOPE Yuengling like the beer? STEPHEN Heh. No. So what are your plans in Greece? PENELOPE I do n't plan. STEPHEN Good for you. The Chink hits a damn near impossible shuffleboard shot, then gives Stephen a pointed deferential giggle - bow.",
"INT. STATE ROOM - NIGHT The brothers dress for dinner. BLOOM You named the Chink ` Yuengling?' STEPHEN I was writing in a bar. And she does n't drink, how does she know a Philly beer? BLOOM She knows a lot of stuff. -LRB- beat. -RRB- Was that who I thought it was on the East deck this morning? STEPHEN Yes it was. Did he spot you? An ominous glance. BLOOM Not yet.",
"EXT. DECK - NIGHT Several small tables scattered about the moonlit deck, Bloom and Penelope sit with flutes of champagne. Penelope, in an elegant but understated dress, shuffles a pack of cards. BLOOM You look very nice. She laughs as if at a joke she does n't think is funny. BLOOM -LRB- cont'd. -RRB- What was your childhood like? PENELOPE I make cameras out of watermelons. BLOOM Lonely. PENELOPE Lucky guess. Penelope's hands move faster. She knows how to shuffle cards. BLOOM How was it lonely? PENELOPE Fishing for an entertaining childhood anecdote that encapsulates my adult issues? BLOOM Well it's funny how everyone's usually got one. As Penelope tells her story she gets fancier with her shuffles. PENELOPE When I turned six I started getting allergies, hayfever, rashes, really bad. So my mom took me into the doctor, and he did that test where they use needles to prick a grid on your back with all the different toxins, to see which ones you're allergic to. The next day I came in, the doctor lifted up my shirt, and my back looked like a patch of oily, moldy, blackish green double - puff marshmallows. I was allergic to everything. So they sealed the house with plastic and a special ventilation system, and I spent my entire childhood and adolescence indoors. Mostly alone. Lonely. She pulls the Queens out of the deck and lays them face up on the table. BLOOM Wow. PENELOPE It was n't ` til I was nineteen they discovered what I was actually allergic to was the aluminum alloy the hypodermic needle was made out of. Then I was going to leave, but my mom got sick. So I stayed. And she stayed sick, a long time. BLOOM Do you feel cheated? Penelope does an amazing card trick using the four queens. PENELOPE The trick to not feeling cheated is to learn how to cheat. So I decided this was n't a story about a miserable girl trapped in a house that smelled like medical supplies wasting her life on a dying person she sometimes hated. It was about a girl who could find infinite beauty in anything, any little thing. And do anything she decided to do. And love the person she was trapped with. So I told myself that story until it became true. Now did doing that let me escape a wasted life, or did it just blind me so I would n't want to escape it? I do n't know. But either way, I was the one telling my own story. So I do n't feel cheated. She finishes the trick. A single pair of hands clapping turns their heads. At the far end of the deck, alone at a table, the large man in the fur collared cape, who for reasons unlikely to become clear at the moment will be called THE CURATOR. THE CURATOR And a magician is just an actor playing the part of a magician. My compliments. Bloom takes Penelope gently by the elbow and guides her up and away.",
"EXT. BOW - NIGHT They stroll out onto the moonlit bow of the ship. PENELOPE Who is that man? You avoided him earlier on the deck. BLOOM I do n't know, but he's carrying a knife up his sleeve and wearing a cape. Do me a favor and steer clear of him. A waltz drifts through the air from a band unseen. BLOOM -LRB- CONT'D ; cont'd. -RRB- I do n't suppose in all your hobby acquiring you ever learned how to dance? PENELOPE I went through a phase when I was mildly obsessed with the Bolero. BLOOM Give me a minute. He leaves her alone. Clouds obscure the moon, shadows deepen. She shivers. A match strikes. She jumps. The moon re - emerges, and she is no longer alone on the deck. The Curator lights a dapper briar pipe, shakes out the match. THE CURATOR Mademoiselle. PENELOPE Monsieur. THE CURATOR -LRB- in French, subtitled. -RRB- I did n't mean to startle you. PENELOPE -LRB- in French, subtitled. -RRB- Yes you did. THE CURATOR -LRB- in French, subtitled. -RRB- Apologies, but the deck was dark, and I had to approach. -LRB- English. -RRB- It's been such a time since I've encountered the Brothers Bloom. PENELOPE You're in antiques? THE CURATOR -LRB- Cheshire grin. -RRB- Antiques. I wonder, my dear, if you know the true nature of the men you travel with? The band strikes up a Bolero. The Curator flicks his wrist, and a long thin blade falls into his hand. THE CURATOR -LRB- cont'd. -RRB- A little fear might suit you, I think. He raises the blade. it is in fact a fine mustache brush, which he delicately employs. THE CURATOR -LRB- cont'd. -RRB- Bon soir, ma cherie. With that the Curator backs into the shadows, and is gone. Moments later Bloom trots up to her, oblivious. BLOOM It is n't a Spanish band, but they'll do their best. He hands her a single blood red rose. She puts it in her teeth, and they dance. If there is a tinge of tension in the air, the Bolero suits it. The moon ducks behind a cloud once more, and they dance on in the dark.",
"INT. STATE ROOM - MORNING Bloom wakes with a start. Morning light pours in through his porthole. He opens it, looks out to sea. His dinner jacket draped over a chair. The rose in its lapel. He fishes it out. Runs his fingers over the teeth marks on the stem. Then raises an eyebrow at a lump in the breast pocket, and pulls out the stack of bills in the green rubber band.",
"EXT. DECK - MORNING The Chink and Penelope lie on their stomachs on the deck, a beer can pinhole camera between them. Penelope gives a lesson on how it works. The Chink appreciates her.",
"EXT. BREAKFAST DECK - LATER Bloom escorts Penelope to breakfast. PENELOPE How'd you find her? BLOOM The Chi - nese, uh, Yeungling? She found us.",
"INT. KITCHEN - EARLY MORNING (FLASHBACK) Bloom cooks breakfast in his bathrobe. BLOOM -LRB- O.S. -RRB- A few years back, when we hit the top of our art dealing game, she just appeared. A door opens and slams. Bloom turns. The Chink sits at his place at the table, suitcase beside her, smoking a cigarette. BLOOM -LRB- O.S. ; cont'd. -RRB- She's stuck with us. We figure when she gets bored she'll vanish with the same lack of noise. Like feeding a strange animal, Bloom pours her coffee. She drinks it without looking at him.",
"EXT. BREAKFAST DECK PENELOPE I like her. BLOOM Good. They smile when they see Stephen and the Chink at a table. Their smiles drop when they see the Curator sitting with them. Bloom glares at the Curator, but speaks to Stephen. BLOOM -LRB- cont'd. -RRB- What's he doing here? STEPHEN I invited him, sit down. This ship's too small to dance around each other for a week, we might as well have it out now. Bloom. Sit. Penelope, do you know our friend? PENELOPE Only as the creepy Frenchman. THE CURATOR Book - learned. You know languages but not accents, my dear. I am Belgian. Maxmillion Melville, at your service. BLOOM Also known in certain professional circles as the Curator. PENELOPE Pleased to make your acquaintance. What do you do? THE CURATOR I'm a curator, presently for the National Museum in Prague. And yourself? PENELOPE I'm an epileptic photographer. THE CURATOR Good for you. Boys? What do you do? STEPHEN We have a legitimate antique reselling business. THE CURATOR Baissez le rideau, la farce est jouee. STEPHEN We've gone straight, Max. THE CURATOR Pardon, but you do not ascend to the grand heights of the Brothers Bloom only to toss it all and sell terra cotta to blue haired weekend antiquers. STEPHEN We did. Eat your waffles. THE CURATOR But Mademoiselle appears. confused. Perhaps she is unawares? BLOOM Eat your waffles, fat man. THE CURATOR Unaware that the Brothers Bloom are in fact the two most highly respected art smugglers in the western world? STEPHEN Were. We've been on the straight for three years. So that's that. THE CURATOR Well, if that is that, then that is indeed that. As you say. Penelope snaps her fingers. Everyone looks up. PENELOPE Your name's Melville? THE CURATOR Maxmillion Melville, Esquire. PENELOPE Sorry, no, cause I noticed but I could n't place it, this ship is the Fidele, which was the ship in Melville's novel `` The Confidence Man.'' So that's weird. Everyone glances at Stephen, a little uncomfortable. STEPHEN Huh.",
"INT. DECK - NIGHT Bloom paces, Stephen shuffles cards. BLOOM I know you like to throw those clever little details in, but you've got ta watch that shit with her Stephen. She had a lot of time alone in that house, and she used it. She did the best Double Dutch Queens I've ever seen up on the deck last night. STEPHEN Double Dutch Queens uses gaffed cards. BLOOM She had them in her purse and cut them in while I was folding my napkin. STEPHEN Jesus. BLOOM That's what I'm saying. She's different, she knows, sometimes it feels like she knows everything. Does n't that worry you? STEPHEN No. But something about her is worrying you plenty. BLOOM She feels like one of your characters. STEPHEN The day I con you is the day I die, Bloom. BLOOM I know that. -LRB- beat. -RRB- How did you get the Belgian, on our budget? STEPHEN He's beautiful, right? BLOOM I did n't expect him to actually be Belgian. STEPHEN I'm not sure he is. I'm to bed. Stephen stands to go, then pauses. STEPHEN -LRB- CONT'D ; cont'd. -RRB- I've always protected you, right? The only real danger in this whole play is that you'll actually fall in love with her. Look at me. Do n't fall in love with her.",
"EXT. UPPER DECK - CONTINUOUS The Chink sits smoking her whittled pipe, watching Bloom alone on the deck. Stephen passes her, and she stops him with a look. STEPHEN Shut up. I know what I'm doing. She hands him a thin piece of paper. He looks it over. STEPHEN -LRB- cont'd. -RRB- This came through just now? The paper is a telegram with the Fidele's imprint, received from St. Petersburg. Stephen reads it. STEPHEN -LRB- cont'd. -RRB- `` My dear Stephen STOP Word on the wire is the Bros B are bound for Prague STOP Am heading there myself would love to see my boys STOP Affectionately DD.'' The Diamond Dog. He crumples the paper, looks down at Bloom. STEPHEN -LRB- cont'd. -RRB- Wire him back for me. `` Dear Dog STOP Unless you've lately felt an excess of eyes left in your head kindly stay the fuck away from me and my brother STOP Regards,'' etcetera.",
"EXT. THE MEDITERRANIAN SEA - MORNING The good ship Fidele rounds the Rock of Gibraltar.",
"EXT. DECK - MORNING Bloom and Penelope lie on the deck, watching dolphins. She says this word like she's eating chocolate : PENELOPE Smugglers. It's like an adventure story. Whose idea was it to go straight? BLOOM Mine. Stephen always loved the life. Then he was almost killed on a run to Jakarta, two thugs with heads like canned hams worked him beyond all reason.",
"EXT. JAKARTA PIER - NIGHT (FLASHBACK) Stephen is set upon by two thugs. He rushes them. STEPHEN Have at thee, you ham headed bastards!",
"EXT. DECK - MORNING BLOOM And I called it, that was it. PENELOPE Scary. BLOOM For me. Stephen enjoyed it. He loved the idea that we were internationally infamous art smugglers, but I think deep down, same as me, he felt like we were putting on a persona, faking it. PENELOPE Telling a story. BLOOM He'd love to die on a job. Cornered at midnight on a run to Jakarta. That's his dream, to tell his story so well it fulfills itself. It somehow would make it finally real for him. PENELOPE That's kinda the thing we all want, right? He looks at her in the sun. BLOOM Trying to get something real by telling yourself stories is a trap. Trust me on that one.",
"EXT. GRECIAN PORT - DAY Kalamata, if it matters. The Fidele docked in bright blue water. Our intrepid heroes stand aside a dusty road, surrounded by their luggage. The Curator approaches, tips his hat to them. THE CURATOR Best of luck with the antiquing, boys. Au revoir, Chinois. -LRB- to Penelope. -RRB- Mademoiselle. Mes restes d'offre. With a wink, he is gone. A beat. Penelope stands apart. BLOOM My French is a little rusty, but I believe he just told you ` my offer stands.' PENELOPE He came out of nowhere last night.",
"EXT. DECK - NIGHT (FLASHBACK) Penelope taking air on the moonlit deck. The Curator dissolves out of the darkness. PENELOPE -LRB- V.O. -RRB- Whatever's in his pipe, it made me thick. He brings her face close to hers, smoke twisting, and speaks unheard words low and fast.",
"EXT. GRECIAN PORT - MORNING BLOOM Oh lord. What has he got? PENELOPE An 8th century prayer book.",
"EXT. PRAGUE STREETS - DAY We fly through the city streets. PENELOPE -LRB- V.O. -RRB- From his museum in Prague, stashed in the castle. Up to the base of the castle, through a grated hole in an ancient wall, into.",
"INT. MUSEUM VAULT A stunning illuminated manuscript lies open on a stone table. The Curator's hands close it gently and take it away. STEPHEN -LRB- V.O. -RRB- A book of hours. PENELOPE -LRB- V.O. -RRB- Yeah. Medieval art bores the crap out of me so I do n't know it that well. So that's what he does, he makes pieces in his collections disappear, then sells them off via a trusted middleman.",
"EXT. GRECIAN PORT BLOOM That's what he does. STEPHEN Wonder who's his fence? BLOOM Probably his Spanish guy, right? -LRB- asks Penelope. -RRB- Did he say who's buying? PENELOPE An Argentinian. Argentine? Argentinian?",
"EXT. DECK - NIGHT (FLASHBACK) THE CURATOR A gentleman from Argentina. He's quite sick, cancer in his bones, and desperate for sentimental reasons to own this piece while he may.",
"EXT. GRECIAN PORT PENELOPE He'll sell it to a middleman for one million, US. The Argentin. a guy will pay two point five. STEPHEN Not bad. PENELOPE Is he legit? STEPHEN The Curator? That's a relative term. He's telling the truth. BLOOM I'm sorry you had to deal with that guy. Behind Penelope, two porters load her steamer trunk into the back of a taxi. BLOOM -LRB- cont'd. -RRB- Where's that cab going? PENELOPE The train station. BLOOM Where's the train going? PENELOPE Prague. Bloom breathes. PENELOPE -LRB- cont'd. -RRB- Let's do it. Let's, just, I want to try this. Let's be smugglers. I think it'd be fun. We should do this. BLOOM No. PENELOPE Why not? BLOOM Well first off, we do n't have a million dollars. PENELOPE I do, I've got, that's whatever. I mean a real reason. BLOOM This is real, it's dangerous, it could go very bad. PENELOPE I think a little real danger might suit me. I'm gon na do it. So if you want to join my smugglers gang, you know, I'll consider it. She walks off towards the taxi. BLOOM This is not an adventure story. PENELOPE What are you talking about? It totally is.",
"EXT. HUNGARIAN COUNTRYSIDE - NIGHT A train roars through the night towards Prague.",
"INT. STEPHEN'S SLEEPING CAR - NIGHT Stephen reclines, hat on his face. Bloom paces. STEPHEN Take it easy. She's having fun, that's the point of this. BLOOM She's making a flag for our `` smugglers gang,'' man. She made me learn a secret smugglers handshake. Unhealthy. This afternoon, when she was writing, in the observation car? A letter? A journal? No. She is getting way too into this. Bloom fishes a crumpled piece of paper from his pocket and thrusts it in front of Stephen's face. On it are written dozens of variations in stylized fonts of `` Penelope the smuggler.'' BLOOM -LRB- cont'd. -RRB- She's been singing the Smuggler Song since Athens. STEPHEN What Smugglers Song? BLOOM You know, the one from whatsit, the Disney thing, that Smuggler Song, the ` We're a band of smugglers hey, la la la la la, we smuggle by night and drink by day, smugglers ho, ho ho, smugglers.' there, this is n't. there is n't a Smuggler Song, is there? Ok. She made up a Smuggler Song. With hand motions. STEPHEN The whole point of this was to sweep her off her feet. Let her enjoy it. BLOOM While it lasts. STEPHEN Nothing lasts. Exit Bloom. Stephen sighs and drops his hat back on his face.",
"INT. BLOOM'S SLEEPING CAR Bloom reads. Footsteps pound by outside. Penelope and the Chink run past his door. A moment later a uniformed ATTENDANT runs past. A beat, then the footsteps come back, and the girls duck into Bloom's cabin, slamming the door. Sacks in their teeth. Off Bloom's quizzical look : PENELOPE Smuggling. From the snack car. They pull bags of chips and tiny liquor bottles from their sacks. Bloom glares at the Chink, who tries to avoid his gaze.",
"INT. SNACK CAR Bloom pays the SNACK CAR ATTENDANT from a stack of Euros, while the Chink gives him counts on her fingers. BLOOM Fourteen gins? Are you kidding me? THE CHINK Jameson. BLOOM I'm not paying for that. She holds up two fingers, the Attendant pours two. ATTENDANT Ice? She says no with a look, they drink. BLOOM She made up the Smuggler Song. The Chink nods. Bloom pays for the Jameson. BLOOM -LRB- cont'd. -RRB- I thought it was a Disney thing.",
"INT. PENELOPE'S SLEEPING CAR - LATER THAT NIGHT The lights are off. Penelope reclines on the bed, surrounded by empty tiny gin bottles. Drunk. Bloom sits on the floor, both framed in a big window looking out on a breathtaking moonlit landscape rolling hypnotically by. PENELOPE Gin is fuckin fruity. Have you taken this train before? BLOOM Yeah. PENELOPE So this is all like fuckin ` whatever' to you. BLOOM I usually drink with the Chink in the snack car, play cards. PENELOPE With the who? Oops. BLOOM Mrs. Yeungling. That's her smuggler nickname. PENELOPE That's offensive. BLOOM I think if it were offensive to her, she'd let us know. PENELOPE Do I get a smuggler nickname? Bloom quietly slips the stack of cash in the green rubber band into Penelope's luggage. BLOOM No. PENELOPE I think you're constipated. In your fuckin soul. Bloom makes several attempts to form a response to this before giving up. BLOOM What? PENELOPE You've got a big load of grumpy petrified poop up your ass, I'm just calling you out on it. Yeah I'm pretending I'm a smuggler, so you know what? I'm a fuckin smuggler. If that's your thing, fuckin tell it like you own it. When you've got a spotlight in front of your feet, man, fuckin jump into it and dance the shit out of it. Stop fuckin thinking so much. Enjoy the fuckin ride. Fuck. A roll of thunder and spectacular flash of lightning ignites the landscape, and rain starts to patter. Penelope stiffens. PENELOPE -LRB- cont'd. -RRB- Whoa. BLOOM Look, I'm not - PENELOPE Shh. I love thunderstorms. Another crash. Lying on her stomach, Penelope slowly starts feeling something which makes her undulate. Bloom stares, confused. PENELOPE -LRB- cont'd. -RRB- Whoa ha. Oh ho ho. Ohhhhhh whoooo ha ha ha ha. Beneath her, the train wheels rhythmically clack and vibrate against the tracks. Another flash of lightening, the rain falls harder. Penelope writhes. Bloom silently shrinks back in terror. PENELOPE -LRB- cont'd. -RRB- Oh hooooooooooo ha ha ha ha ha ha ha oh my GOD, ha whoooo. whee. ha. hoo. I. am. so horny. BLOOM Nite. The door to her car latches, and Bloom is gone.",
"INT. SNACK CAR - NIGHT Bloom sits drinking and playing cards with the Chink. He spaces out, she snaps her fingers to wake him up. BLOOM -LRB- playing a card. -RRB- That's the big 2.",
"EXT. HUNGARIAN COUNTRYSIDE - NIGHT The train steams onward into the growing storm.",
"EXT. CHARLES BRIDGE, PRAGUE - MORNING Our intrepid four stroll the bridge, the city's castle looming before them. Penelope slumps pale faced in dark glasses. STEPHEN The last time I was in Prague, I was in love. PENELOPE What was she like? STEPHEN Pale skin. Long feet. So. He winks.",
"INT. PRAGUE HOTEL ROOM - DAY STEPHEN -LRB- V.O. -RRB- Bloom and I will secure us lodging, The brothers set their suitcases on the beds. Bloom finds the stack of bills in the green rubber band in his.",
"INT. NATIONAL MUSEUM - DAY STEPHEN -LRB- V.O. -RRB- Mrs. Yeungling will scout the castle museum. The Chink, in ridiculous tourist garb and a `` PROPERTY OF KGB'' t - shirt, takes pictures with one of several cameras around her neck.",
"EXT. CHARLES BRIDGE, PRAGUE STEPHEN You will go to the bank, that wire should have cleared if you put it in at Athens. PENELOPE Cash?",
"INT. PRAGUE BANK - DAY STEPHEN -LRB- V.O. -RRB- Only movie thugs and Russians deal in suitcases of cash. Draw a certified check. A cashier hands over an elaborate check, which Penelope signs and puts in an envelope.",
"INT. APARTMENT STAIRCASE - DAY A baroque spiral staircase, the spine of a high apartment building. Our intrepid four ring the bell beside an apartment door. THE CURATOR -LRB- FROM INSIDE. -RRB- Who the hell is that?! Who is it?! STEPHEN Candy - Gram. It's us, Max. Stephen pushes open the door, and an instant later a SHOTGUN BLAST takes out a chunk of the landing beside his head. They all dive onto the floor, piling on top of each other. THE CURATOR -LRB- FROM INSIDE. -RRB- Who the hell are you, what do you want, who the hell!? BLOOM STEPHEN Max! Max! It's us, Bloom, Max! Max! It's Stephen and Stephen, Jesus, Max, easy, Bloom, easy, whoa, Christ, whoa! whoa now! The Curator stands in the smoky apartment hallway, sloppily draped in a ratty bathrobe, bottle in one hand and shotgun in the other. He squints at them. THE CURATOR -LRB- cont'd. -RRB- Ah. Good morning. Come in. I have been drinking.",
"INT. THE CURATOR'S APARTMENT - LATER A schematic of the castle laid on the kitchen table. The Curator looks even worse in the light, red rimmed eyes, heavy skin on his face. THE CURATOR Here, off the Basilica, are offices of administration, and beneath those, an otherwise inaccessible section of catacombs. And the book. BLOOM Administrative offices. So how do you steal the book? THE CURATOR The book is already stolen. The stealing is in the bureaucracy, in the filing, red tape. As far as the museum is concerned, the book does not exist. I am the curator, I walk in, pinch the copy girl's baboosh, put the book in a briefcase and walk out. Tomorrow, say, at two. STEPHEN Today. THE CURATOR Today is not a good day. STEPHEN Tomorrow. Now what about this Argentinian. THE CURATOR -LRB- blank, then realizes. -RRB- Ah, the Argentine? Senor Luise Belguta Rioso. I get his file.",
"INT. CURATORS APARTMENT BEDROOM - LATER Penelope and Bloom wander into the bedroom, looking at an array of beautiful paintings on the wall. PENELOPE Gin is slow death, man. Stephen and the Chink poke their heads in, leaving. The Curator strolls in. STEPHEN We'll see you back at the hotel. -LRB- glances at the Curator. -RRB- Soon. They go, leaving Bloom and Penelope, who squints at an unframed oil on canvas, of a lonely stone well in a primeval forest clearing. It sits at the foot of an unmade bed. THE CURATOR From a private collection on the island of Ikaria. That one. BLOOM Who painted it? THE CURATOR I do n't know. PENELOPE Why is it the last thing you see every night, and the first thing you see every morning? THE CURATOR That's a story. You have a minute? He closes the blinds and sits on a stool in front of the painting. Setting the stage. THE CURATOR -LRB- cont'd. -RRB- My daughter travelled with me when she was very young, and I'd show her the places and the art, all the most joyous and terrifying things in the world. Memories of his daughter's hand in his, flashing against the sun. THE CURATOR -LRB- CONT'D ; cont'd. -RRB- I wanted that the world was alive in the most fantastic way for her. To built her a pair of wings. Make these things real. But maybe more than any other objet d'art, she loved to hear she'd ask to hear the story of the stone golem. From a painting in a small private collection on the island of Ikaria. He motions to the painting, and we move into it. As he tells the story the scenes are shown in the painting, just as still images, which we move across like a picture book. THE CURATOR -LRB- CONT'D ; cont'd. -RRB- Well Rachel, like most monsters the Golem was once a human. A boy, about your age. And one day the boy was walking home, and he quarrelled, he fought, with a good friend of his. They got very angry and his friend pushed him a certain way and the boy fell and struck his head and died. The boy's friend was very sad but also very frightened. So instead of telling the boy's parents, he did something awful. He pulled the body into a quarry, a pit of broken rocks, and hid the boy beneath a pile of large stones. Well. Years went by, and the boy's friend became a young man, and one day while drinking in town. -LRB- which in his guilt he did quite a lot of. -RRB- he heard that a well was being built near the forest. with the stones from the quarry. He ran to the quarry to find it nearly empty. no stones, no body. He ran to the well where the masons were finishing their work. ` Did they find anything strange in the quarry?' he asked, expecting, maybe hoping they'd arrest him for the awful crime on the spot. But no, they said, motioning to the well. Nothing strange. Just stones. They left him alone there at the well, and he stood looking into it as the sun fell behind the mountains and twilight set the world in a deep, still silence. The last image we land on is the well, alone in the clearing. Its dark innards loom ominously in the long pregnant silence that follows. Then, with a piercing ROAR, a living monster of stone lunges out of the well, animated and terrifying, grabs the friend by the throat and with a crunching of bones and one last roar pulls him back down into the depths of the well. Silence again. We pull out of the painting, back to the Curator, sitting very still. THE CURATOR -LRB- cont'd. -RRB- My daughter died nineteen years ago today. She was six. She went out to play one afternoon and vanished. The next morning we found her, in a stone well on a neighboring property. I climbed down to her, but slipped and broke my leg, and while we waited for the rescue team to pull us out she died in my arms. If you've had a child. my whole everything just focused down to one thing, to hold her and make her feel safe. But no matter what I said to her, I could n't stop her shaking, crying. Her last moments on this earth were filled with terror. Of a stone golem. He stands, opens the blinds, pours another drink. THE CURATOR -LRB- cont'd. -RRB- It was the first painting I ` acquired.' I keep it maybe hoping some night the golem will come for me.",
"INT. APARTMENT STAIRCASE - MOMENTS LATER Bloom trots out, ahead of Penelope. THE CURATOR Mademoiselle. Bloom keeps going, anxious to leave, but Penelope lingers on the staircase. The Curator comes out. THE CURATOR -LRB- cont'd. -RRB- It is you I do business with, yes? PENELOPE Right. Oh, right. She gives him the envelope with the certified check. He shakes her hand, then deftly adjusts his grip so that just for a moment he holds her hand as you would hold a child's. He lets go, and smiles apologetically. THE CURATOR Au revoir.",
"EXT. PRAGUE STREETS - DAY Penelope and Bloom stroll home in silence through crowded, vibrant cobblestone streets. PENELOPE You are n't constipated. You're scared. What are you scared of? They walk on, suddenly somehow holding hands. As they approach the hotel, Bloom deftly breaks their hand holding off. Penelope notices why.",
"INT. PRAGUE HOTEL ROOM - CONTINUOUS Stephen, up in the window watching them approach. He recedes into the room.",
"EXT. PRAGUE STREETS - NIGHT The sun sets against the castle, taking us into night.",
"INT. PRAGUE HOTEL BAR - NIGHT Bloom drinks alone, sketching Penelope's face with a pencil. A smell breaks his concentration. BLOOM Diamond Dog, carrying a cup and a cane. Standing behind him, a soft old man in an ashy suit and eyepatch. The DIAMOND DOG. DIAMOND DOG Bloom. How long has it been? -LRB- sits, orders. -RRB- Tea. -LRB- to Bloom. -RRB- Can you believe that? Tea? Been a long while. BLOOM If I call Stephen down he'll kill you. DIAMOND DOG Well then please do n't call Stephen down. Look at you, you're terrified. C'mon now, look. Take a look. I'm an old man with no depth perception. You do n't have to be scared of me. The Dog plays with a heavy gold lighter, making sparks. DIAMOND DOG -LRB- cont'd. -RRB- It's been a funny thing, watching you boys take what I taught you and eclipse me. I'm so proud to be a footnote in the lives of the Brothers Bloom. And you hate me. The curse of all bad fathers - that my presence on this earth after I die will not live on the lips of admiring men, but will sink into the murky backwaters of my children's psyches. BLOOM Is this profundity? Cause you can skip it. DIAMOND DOG Ha! Ha ha. Piss and vinegar. The Dog scoots next to Bloom. DIAMOND DOG -LRB- cont'd. -RRB- When I first took you boys in, showed you the ropes, haunting St. Pete's, piss and vinegar. I still crave that youthful joy. Even today. The Dog's hand touches Bloom's leg. There is something horrible about this. Beneath the bar, Bloom grips the sharp pencil like a knife. BLOOM Do n't touch me. DIAMOND DOG You probably wo n't believe I loved you boys very much. BLOOM You're going to take your hand away or I'm going to break your arm, there's nothing between. He does, but Bloom's fingers do n't loosen on the pencil. DIAMOND DOG But love, you know. We know, folks like us, you can always blink and realize that it's a fiction, and like Peter walking on water or Wiley Coyote running off a cliff, if you look down in doubt you'll fall. That's the price of our lives, the wax in our wings. One day Stephen's going to fall. It may be glorious, but he's going to fall hard and he wo n't be there to tell you what to do and protect you. When he's gone, remember me. The Dog has moved in very close to Bloom, his breath hot on his face, and his hand comes to rest fully on Bloom's leg. Bloom's hand with the pencil quivers, about to strike - When Bloom is pulled from the bar stool by a heavy hand. Stephen, his eyes burning through the Dog. DIAMOND DOG -LRB- cont'd. -RRB- Hello Stephen. Stephen smashes a bottle from the bar and slashes it across the Dog's hand. Waiters and porters tackle him, the Dog howls, holding his bleeding hand. Bloom stands numb, and puts the pencil in his pocket.",
"EXT. PRAGUE HOTEL - NIGHT Bloom watches the Dog get into a waiting black Mercedes. For an instant the car's interior light shows an 11 year old boy behind the tinted glass, as the Dog slides in and puts his arm around him. The Mercedes drives off.",
"EXT. PRAGUE STREETS - NIGHT Right in front of the hotel, on the water. Bloom sips coffee from a china cup, spinning a paper in his hands. Stephen joins him, with a matching cup. STEPHEN I'm sorry I was n't there. BLOOM You ca n't always be there. STEPHEN No, I guess ca n't. A beat. BLOOM That was a real tonal shift. The Curator's tale. On one side of the paper is the sketch of Penelope, on the other is the con flowchart.'' # 12 - The Curator's Tale.'''' # 14 - Castle Break - In.'' STEPHEN I'm a big fan of tonal shifts. I did n't write it for him, though. BLOOM He made it up on the spot? STEPHEN I do n't know.",
"INT. BLOOM'S HOTEL ROOM - NIGHT Bloom flops into bed. He turns and looks at the wall. Right on the other side of it.",
"INT. PENELOPE'S HOTEL ROOM - CONTINUOUS Penelope lies in bed, looking at the wall also. She closes her eyes.",
"INT. BLOOM'S HOTEL ROOM - NIGHT Bloom's breathing slows. He closes his eyes. A beat. Then light snoring breaks the silence, coming through the wall. Penelope snoring. Bloom smiles slightly. What a cute snore. The snoring deepens slightly. The clock on the wall advances from 1:30 am to 5:50 am, and through the window the horizon glows with the approach of dawn. Bloom lies wide awake on his back, red rimmed eyes wide open, the guttural snoring ringing in his ears.",
"INT. APARTMENT STAIRCASE - MORNING Our four at the Curator's door. Bloom knocks, and they all step judiciously back. No response. STEPHEN Max? BLOOM We're a little early.",
"INT. THE CURATOR'S APARMENT - MORNING Still and silent in the breaking light of morning. And totally empty. Picked clean down to the bare walls. The only thing left in the apartment is the painting of the well. broken on the floor. Our intrepid four stand in various states of thoughtfulness. Penelope stares at the painting, Bloom at the window. PENELOPE The Golem came for him. In my dream. Crawled out of the painting and killed him in a horrible way. BLOOM Well at least he had the decency to just skip out on us, not do something tacky like fake his own death. Poking around the room, Bloom opens a closet. The Curator stands pressed against the back wall in his pajamas. THE CURATOR -LRB- sotto. -RRB- You're a little early. Bloom quickly closes it. STEPHEN I do n't get it. If he was hightailing it he could have waited eight hours till we traded the million for the book, and had some traveling money. Well. Back to antiquing. Nothing gained, nothing lost. -LRB- to Penelope. -RRB- And you got to see Prague, which is nice. Penelope's eyes widen with realization. PENELOPE Oh. BLOOM You should stay in the city for awhile, they have these amazing puppet show opera things - But Stephen raises a hand to shut him up. STEPHEN Oh?",
"EXT. SIDEWALK BAR - DAY Several empty glasses of wine, one full one in Penelope's hand. All heads are slumped. PENELOPE Oh. BLOOM It's my fault. I ca n't believe I left you alone with him. The Chink hands Stephen a piece of paper. He glances at it. STEPHEN The check was cashed yesterday afternoon, he'd have deposited it in a Swiss account. I'm sorry Pen. PENELOPE What a waste. Bloom puts his hand on her arm, sympathetic. PENELOPE -LRB- cont'd. -RRB- That poor man. What a waste. Bloom's expression turns quizzical. PENELOPE -LRB- cont'd. -RRB- That poor Argentina man. He'll never see the book now, it'll just rot in the catacombs. What a waste. When Penelope lifts her suddenly brightened eyes in a moment of divine inspiration, Bloom meets her gaze with fear.",
"EXT. CHARLES BRIDGE, PRAGUE - DAY Bloom paces, Penelope looks up at the castle with binoculars. The Chink and Stephen stand by. BLOOM No. No no. Ca n't you see what happened here, there is no book, we've been swindled - PENELOPE But maybe there is, maybe it's real, we do n't know! BLOOM It's not real, it's a con. PENELOPE It's my money, I'm going to find out for sure. He gave us every piece of information we need. She spreads the castle floor plan out on a bench. Bloom turns to Stephen and the Chink with a `` this is crazy right?'' expression and gesture. They give him nothing back. STEPHEN We'd need to clear the administrative offices. Some sort of disruption. The Chink strokes her chin in mock - thoughtfulness. PENELOPE -LRB- to Bloom. -RRB- C'mon. Help me break into this castle. It'll be fun.",
"EXT. FIELD - DAY A Barbie Doll set up in the middle of the field explodes in a theatrical plume of fire. Several others follow suit. The Chink pops up from behind a mound of dirt in her aviator goggles, cigarette dangling from her lip. She leans on a detonator plunger. Bloom, Stephen and Penelope crouch nearby, watching her work. STEPHEN She's an artist with nitroglycerin. It's kind of her thing. PENELOPE I feel like I want to know more about her. BLOOM STEPHEN Yeah. Yeah. STEPHEN Check the tat. On the back of the Chink's neck, a few finely scripted lines of Chinese. STEPHEN -LRB- cont'd. -RRB- An inky wisp of personal information. We transcribed it, brought it into a Chinese restaurant. PENELOPE What's it say? BLOOM The literal translation is something about water cranes, but essentially it means `` When you're done with something, blow it up.''",
"INT. PENELOPE'S PRAGUE HOTEL ROOM - EVENING The Chink lies on the floor with Penelope, showing her how to build a tiny remotely detonated bomb. She slices a tiny bit off a brick of dynamite, sets it in a petri dish with a detonator, and puts the whole thing in a handbag. Penelope appreciates her. Bloom and Stephen hunker over the castle floorplan. STEPHEN There's a smoke detector in these empty rooms in the east tower. So we plant and set off a tiny -. -LRB- to the Chink. -RRB- TINY tiny, tiny charge. The Chink clicks a seemingly innocent ballpoint pen. With a BEEP, a tiny poof of fire plumes from the handbag setting it on fire, and the smoke rises to the ceiling. STEPHEN -LRB- cont'd. -RRB- Fire drill ensues, offices empty, and you'll have exactly four and a half minutes to get through the access hatch, into the catacombs, get the book and get out before the fire department arrives. Penelope and the Chink do their elaborate handshake, and she gives Stephen and Bloom a finger snap thumbs up.",
"INT. PENELOPE'S HOTEL ROOM - LATER Bloom and Penelope, up late at the table. Going over the floorplan one more time. BLOOM So straight down the corridor, again, tell me where. PENELOPE Second left, third right, access hatch behind the copier, I need to sleeeeeeep. BLOOM The abort code if we need to abort is `` corned beef.'' For some reason. PENELOPE Bloom, I need to sleep. He folds up the plans, she wraps up the brick of dynamite and bomb components and spots a black leather backpack beside an open handbag on the table. PENELOPE -LRB- cont'd. -RRB- Is this Yeungling's backpack? BLOOM Yeah. She gently puts the brick of stabilized nitroglycerin inside the front zipper compartment, and sets the tiny petri - dish bomb beside the handbag. PENELOPE You know what I feel? BLOOM Horny? PENELOPE Scared. All my big talk. But this is n't a story, it's real. Fuckin scary. She kisses him. He kisses her back. The pure whole hearted sensuality with which they attack each other and the deluge of almost child - like need let loose in this one simple act quickly reaches a point where as a viewer we no longer feel comfortable intruding with our gaze. Fifteen seconds after this point, we FADE OUT.",
"EXT. PRAGUE - DAWN The sun arcs into the sky above the castle.",
"INT. PENELOPE'S PRAGUE HOTEL ROOM - DAWN Bloom half wakes. Across the landscape of the bed, Penelope sleeps. Sunlight on her body and her sleeping face. Distant KNOCKING. From the next room over. Bloom's eyes snap open. He scampers.",
"EXT. PRAGUE HOTEL WINDOW LEDGE - DAWN CONTINUOUS In his boxers, holding trousers and shirt in his teeth, Bloom swings over the ledge from Penelope's window into his.",
"INT. BLOOM'S PRAGUE HOTEL ROOM - DAWN CONTINUOUS He opens the door for Stephen, who regards him narrowly. STEPHEN Ready?",
"INT. PENELOPE'S PRAGUE HOTEL ROOM - MORNING The Chink picks up the backpack, handbag and petri dish bomb.",
"INT. PENELOPE'S PRAGUE HOTEL ROOM - MORNING Penelope folds a plastic bag and puts it under her jacket.",
"EXT. CASTLE ADJACENT STREETS - DAY A little alcove with a good view of the castle. Stephen trains his gaze on one set of windows high in the Eastern tower. Bloom paces.",
"INT. EASTERN TOWER ROOM - CONTINUOUS An empty storage room, half under construction. The Chink walks in, wearing the backpack and carrying the handbag. She goes straight for a spot just under a smoke detector.",
"EXT. CASTLE ADJACENT STREETS - CONTINUOUS Stephen, Bloom and Penelope are joined by the Chink. STEPHEN Ok. He looks through his binoculars again. BLOOM Alright? PENELOPE Ok. They share a brief moment with their eyes, and Penelope trots off. The Chink caught it. She looks at Bloom slyly. BLOOM For the record, I'm still against this. Why send her in alone? The Chink finds a way to casually smell Bloom's fingers. STEPHEN Because going in alone is a very important thing to do. She's walking into a zero security tourism office during a fire drill and taking a five hundred dollar manuscript replica from a utility crawlspace. Worst case scenario, a file clerk asks if she's lost. Which is n't even going to happen. -LRB- to the Chink. -RRB- She's in position. He spots Penelope casually waiting beside an unmarked door. Bloom notices the Chink looking at him with a knowing grin. She mimes sealing her lips and tossing the key. She then takes the ballpoint pen detonator. out of the handbag dangling at her hip. STEPHEN -LRB- cont'd. -RRB- Cause nobody's going to know we were ever here. Bloom spots the handbag. Something's not right. BLOOM Uh - The Chink clicks the pen.",
"INT. EASTERN TOWER ROOM - CONTINUOUS The black backpack, sitting under the smoke alarm, beeps.",
"EXT. CASTLE ADJACENT STREETS - CONTINUOUS A THUNDEROUS EXPLOSION blows a massive ten foot wide chunk out of the side of the Eastern tower, spewing a painfully dramatic ball of fire and debris. Screams. Shouts. Panic. Our three look up at the tower, agape. THE CHINK Fuck me. Bloom grabs the binoculars from Stephen, looks for Penelope.",
"EXT. CASTLE COURTYARD - DAY Panicked tourists stumble away from the descending dust. Penelope sees what's happened, but holds her ground. The unmarked door opens, and a dozen business people pour out.",
"EXT. CASTLE ADJACENT STREETS - DAY BLOOM Do n't do it do n't do it Penelope do n't - STEPHEN They're locking down the castle, she wo n't get in.",
"EXT. CASTLE COURTYARD - DAY She takes a step towards the door.",
"EXT. CASTLE ADJACENT STREETS - DAY Bloom drops the binoculars and sprints.",
"EXT. CASTLE COURTYARD - DAY A burly SECURITY GUARD trots across the courtyard, herding tourists and smoking a cigar. SECURITY GUARD To ze back, no panic, to ze back. He blocks the office door, and sets his cigar down for a moment. Penelope spots it.",
"EXT. CASTLE ADJACENT STREETS - DAY Bloom nears the courtyard, sees Penelope up ahead. BLOOM Pen! Do n't - abort! Corned beef! Corned beef!",
"EXT. CASTLE COURTYARD - DAY Penelope deftly spins the cigar 180 degrees. The Guard absently picks it up and puts it back in his mouth, fire - side first. He howls, doubles over. She dashes into the door. Bloom bursts out of the crowd and lunges for the door, but a SECOND SECURITY GUARD stops him. Dozens more security guards swarm in. Overhead, an army helicopter buzzes by. Bloom stares into the doorway, helpless and scared.",
"INT. TOURISM OFFICE HALLWAYS - DAY Water rains down from the ceiling sprinklers. Penelope weaves through the halls.",
"INT. COPY ROOM - DAY Cramped, ill lit, and with its own sprinkler. Penelope dashes in, shoulders the massive cold war era copy machine and with a Herculean effort pulls it away from the wall. PENELOPE I'm in Prague. I burned a man's lips off to break into a castle in Prague. Revealing an access hatch.",
"INT. CRAWLSPACE Tiny, earthy. Penelope shuts the hatch behind her. Light from a barred window illuminates a rectangular shape lying on a stone slab. Penelope approaches the small BOOK OF HOURS reverently.",
"EXT. CHARLES BRIDGE - DAY A full view of the castle reveals just about the worst case scenario. The entire area swarms with army helicopters and tanks, soldiers with rifles, yellow tape, news crews. Stephen, Bloom and the Chink sit behind the police line on the bridge with the rest of the crowds. Heads in their hands.",
"INT. CRAWLSPACE Penelope is broken out of her stupor by heavy footsteps all around her, soldiers searching the castle. Voices right outside the hatch. She slides the wimpy little bolt shut. It rattles. She looks up - a moldy vent in the muddy ceiling.",
"EXT. CHARLES BRIDGE - DAY Bloom suddenly stands. BLOOM Wait. Wait, we're fine. She's fine. If the soldiers find her wandering the halls they'll assume she's a clerk, they'll just shoo her out. So as long as she does n't do anything suspicious, she's fine.",
"INT. VENTILATION DUCT Penelope wriggles on her belly through a tin ventilation duct barely big enough for her. The book, encased in the plastic bag, hangs from her teeth. Sounds of soldiers searching the offices come from below her. Up ahead she sees a point of light. With a gleeful grunt she shimmies faster - she's nearly made it!",
"INT. TOURISM OFFICE - CONTINUOUS A dozen SOLDIERS and the CHIEF OF POLICE have their eyes -LRB- and guns -RRB- trained on the tin ventilation duct above their heads. It is very very obvious not only that a person is crawling through it, but exactly where that person is. The Chief of Police pointedly coughs to get her attention.",
"INT. VENTILATION DUCT Penelope freezes. A beat of silence. The tin gives way, and she plummets.",
"INT. TOURISM OFFICE - DAY hitting the ground hard, then springing to her feet and through some knee - jerk primal instinct kicking a nearby soldier in the head. Eleven rifles cock and aim at her. And that's how she's caught, frozen in a kung fu stance, plastic bag in her teeth. She locks eyes with the Chief of Police. Lets the bag drop from her teeth. And opens her mouth to speak.",
"EXT. CHARLES BRIDGE - AFTERNOON The hubbub has died down considerably, soldiers march away from the castle in formation. Bloom Stephen and the Chink sit watching for some sign. Three police cars, sirens blazing, drive down the length of the bridge. BLOOM The Chief of Police. As the last one passes, Bloom sees the Chief of Police riding shotgun, and Penelope sitting with a soldier behind caged mesh in the back seat. His face falls. Then Penelope spots him, points and says something. Very suddenly, the police car stops. The Chief of Police gets out. Nods at our intrepid three. And opens the door for Penelope. As she climbs out he motions for the passing soldiers to stand at attention and salute her. He kisses her hand. CHIEF OF POLICE -LRB- in Czech. -RRB- It has been a privilege, madame, to behold even briefly such a strong, beautiful flower. PENELOPE -LRB- in Czech. -RRB- Thank you sir, I will not soon forget your kindness. She blushes and smiles, then does an unhurried victory strut back to Bloom, Stephen and the Chink. The police cars drive off. Penelope pulls the book out from under her jacket and sets it on a bench. A moment of victorious silence. Clapping her hands, she does a little shuffle dance of joy. PENELOPE -LRB- cont'd. -RRB- -LRB- sings. -RRB- We're a band of smugglers hey, la la la la la, we smuggle by night, drink by day, smugglers ho, ho ho. Everybody!",
"EXT. SIDEWALK BAR - LATE AFTERNOON Bloom and Stephen sit among empty wine glasses. The Chink approaches, gives Stephen a hand gesture. STEPHEN Let her sleep. Train does n't leave till eight. BLOOM That was real. STEPHEN Yeah, I know. BLOOM Fuckin scary.",
"EXT. PARK - LATE AFTERNOON Bloom walks pensively through a green park. Cat Stevens' `` Miles from Nowhere'' plays from a nearby radio. His eye catches something. A shiny red apple on a fruit seller's cart. He approaches it slowly, face flushed, breath shallow, eyeing the elderly vendor with a thin semblance of nonchalance. Holy shit. He is going to steal that apple. Deftly he passes, lifting and pocketing it just as the Vendor turns away. Bloom has done it. His pale face tightens. And turns. And sees a five year old boy. Giving him a stare of infinite judgement. Bloom turns on his heel and RUNS HELL FOR LEATHER. The vendor shouts. The little boy chases him, pointing and screaming. Dogs bark. People stare. And Bloom sprints, apple in hand, a joyful smile forming on his lips.",
"INT. PRAGUE POLICE STATION - EVENING Stephen bails Bloom out. STEPHEN An apple? BLOOM Yeah, but it was part of an epiphany.",
"EXT. HUNGARIAN COUNTRYSIDE - NIGHT The train thunders South, towards Greece.",
"INT. TRAIN SLEEPER CAR - NIGHT Stephen pokes his head into Penelope's car, says goodnight. As soon as he's gone, a foot dangles down outside the window and taps it. Penelope pulls it open, Bloom shimmies in with two mini bottles of gin. He kisses her.",
"INT. SHIP STATE ROOM - MORNING Bloom holds a sleeping Penelope, watching the sun stream through the window and slipping the green rubber band cash into her suitcase. A low horn blows, and Bloom's face darkens.",
"EXT. THE ATLANTIC OCEAN - DAY The good ship Fidele breaks the waves, blowing its horn. Stephen stands on the deck. Bloom joins him. STEPHEN Mexico. He strolls off, leaving Bloom watching the horizon gloomily.",
"EXT. DECK - DAY Our intrepid four sit around a small table -LRB- except for the Chink, who lies on a deck chair in a bikini and Chuck Taylors, sunning herself. -RRB- STEPHEN Oh - kay. We're rendezvousing with Senor Rioso's guys here, on an isolated beach just south of the Mexican port town Tampico. A simple handoff. Penelope and Yeungling will stay with the car, Bloom and I will do the handing. PENELOPE You guys seem a little tense. STEPHEN Well I'm not thrilled they set this in Mexico. There could be legitimate reasons, but Mexico's - and I do n't want to simplistically vilify an entire country, but Mexico's a horrible place. So we'll be careful.",
"EXT. MEXICO BEACH - LATE AFTERNOON The Chink fires an automatic pistol eight times into the dead center of a target pinned to a palm tree. She re - loads.",
"EXT. TAMPICO HOTEL GROUNDS - CONTINUOUS The beach sprawling below them, Penelope and Bloom meander. The hotel itself feels very old, red ruinous stone. PENELOPE Is this going to be more dangerous than I think, tomorrow? BLOOM Yeah. You should sleep at the hotel tonight, I'll stay with Stephen at the beach house. You'll need sleep. On the distant beach, following the faint rapport of gunfire, a palm tree falls over. PENELOPE I'm really happy right now. Are you? BLOOM Right now I am. She kisses him and runs off along the cliff side, singing the smuggler song. BLOOM -LRB- cont'd. -RRB- Penelope. But she's too far away now, and the ocean is too loud. She ca n't hear him, and he ca n't hear her, and in another moment she has vanishes into the green brush and white flowers. Behind Bloom's pained face, the sun dips towards the beach.",
"INT. BEACH HOUSE - NIGHT Stephen packs for tomorrow, Bloom stares out the black window, drinking. Flower in his lapel. Stephen picks up the con flowchart. STEPHEN The last box in our last con. Let them begin the beguine. How's it feel? BLOOM She's something special, Stephen. STEPHEN Uh huh. BLOOM Can I. He stares at his drink. BLOOM -LRB- cont'd. -RRB- Can I just have a little more time? Just a few days. I want to keep her, like this, I do n't want this to just end. Do n't make me do this. STEPHEN Be angry at me, you son of a bitch. Do n't be pathetic. Make you? Jesus. I told you not to fall for her - BLOOM I'm not gon na do this. Stephen comes very close to Bloom's face, looks him straight in the eye. Finds his answer. STEPHEN I do n't believe you. He goes back to packing.",
"EXT. TAMPICO HOTEL GROUNDS - NIGHT Bloom stands, the beach behind him, the glowing lights of the hotel before him. Growing determination.",
"EXT. HOTEL HALLWAY - NIGHT Bloom knocks on a door. Penelope answers, in her bathrobe. PENELOPE Hey. BLOOM I know what I've got ta do. I've got ta talk to you. Are you wearing shoes? PENELOPE What's up? He pulls her out of the room.",
"INT. TAMPICO HOTEL GROUNDS - NIGHT Bloom pulls Penelope by the hand, but she stops. PENELOPE Bloom. What? Deep breath. BLOOM My brother and I are con men. All things considered, we might be the most respected con man team working today. And everything since you hit me with your Lamborghini, all of this, it's all fake. It's all a con.",
"EXT. BEACH - NIGHT The waves break angrily on the beach. In the distance, Stephen finishes his drink on the beach house porch, goes inside and turns out the light.",
"EXT. TAMPICO HOTEL GROUNDS - NIGHT BLOOM No, we were going to blow you off tomorrow using the cackle bladder, it's a, term, we have actors playing the Argentina guy's men, when we showed up the deal would go bad, they would open fire on us, Stephen and I would pretend to be shot using blood packets, squibs. That's - cackle bladder, in the old days they put fake blood in chicken bladders, so. So you'd escape with the Chink, she'd send you off with a little travelling money and that would be that. PENELOPE Wow. BLOOM But that's not how this one's going to end. I love you now, and I want to get you out of this. I'm going to do what I have to do to get you out of this, away from all this for good. Are you ready?",
"EXT. BEACH - NIGHT Bloom leads Penelope down the beach by the hand. BLOOM Stephen's gone into town to prep the Argentina actors. Your money's at his place. PENELOPE Money? I do n't want the money, let's just leave. For a moment he's tempted. The dark beach house looms ahead. BLOOM C'mon.",
"INT. BEACH HOUSE - NIGHT Dark. Bloom leads Penelope in, stumbles in the dark, switches on a lamp. Click, click - it does n't come on. STEPHEN -LRB- O.S. -RRB- You have to switch it on at the base. A beat. Bloom does. Stephen sits in an easy chair, not looking happy. But not angry. Much more sad than angry. BLOOM So I've told her our whole play. And I'm here. To take her money back. How's that make you feel? STEPHEN Disappointed. BLOOM This is n't the ending you wanted? STEPHEN It does n't matter now. This is the way it ends. So let's get it over with. BLOOM Where's the money? STEPHEN I ate it. BLOOM Give me the money, Stephen. STEPHEN No. PENELOPE I do n't want the money. BLOOM He's not going to keep a single piece of you. Stephen stands. STEPHEN I'm sorry you fell in love with her. But she's a mark. And all of this, all of it is a con. Every moment you shared with her, you were just playing the part of a man falling in love. That's what you're afraid of, right? That you do n't know the difference? Or maybe that there is no difference. That that's what love is. PENELOPE We're leaving. STEPHEN -LRB- to Bloom. -RRB- No. You're too scared to leave. You're scared to ride off into a sunset that is n't painted tarpaulin, cause real sunsets are beautiful but they turn into dark uncertain nights. If you were ready for that, you would n't be here. The money is in my bedroom. Right behind me. But in my story you do n't get the money or the sunset or the girl. A long beat. The dark bedroom doorway looms behind Stephen. PENELOPE Bloom. Let's just go. Please. Bloom LUNGES, cracking Stephen in the jaw. Stephen goes down, Bloom leaps past him - but Stephen grabs Bloom's leg and brings him down. Then they are fighting. Penelope watches, horrified. A frightening, brutal brawl that tears the small beach house apart, thirty years worth of a fight. Until Stephen throws Bloom to the ground at Penelope's feet. Upsetting a small table. The Chink's pistol, lying on the holey paper target, falls and strikes the ground. And goes off with a deafening rapport. Blood spreads just beneath Stephen's collarbone. Penelope screams. Stephen stays standing for a moment, shocked. A dribble of blood out of the corner of his mouth. He half grins. STEPHEN Tastes like tin foil. And sinks to the ground. Bloom's eyes glaze. He crawls to his brother. Takes him in his arms. BLOOM I'm sorry. Penelope watches the brothers holding each other. Tears in her eyes, but she backs away a step, very conscious of not being a part of this moment. Bloom looks up at her, almost taking a moment to recognize her. PENELOPE Bloom. He does n't move from his brother. PENELOPE -LRB- cont'd. -RRB- I'm sorry. She leaves. For a long moment the Brothers Bloom lie in each other's arms in the middle of the broken room. Then Bloom stands, goes to the window and watches Penelope walking off into the distance down the beach. From the darkened bedroom doorway steps the Chink, her face a mask. Stephen stands. Lifts his shirt and removes the squib and blood packets. Bloom steps outside.",
"EXT. BEACH HOUSE - NIGHT A wood patio with steps leading down to the sand. Bloom watches Penelope, now very distant, almost gone. Stephen comes out, pulls out a flask. STEPHEN Hey. -LRB- nothing. -RRB- I think that was the most honest conversation we've ever had. -LRB- more nothing. -RRB- You actually connected on a few of those punches. BLOOM Did you expect me to do it? To come here tonight, end it the way you wrote it? Or were you really disappointed I did n't run off with her? STEPHEN I was disappointed. But I was n't surprised. Bloom turns and SLUGS him in the jaw. Stephen falls to the sand. BLOOM I let you do your monologue, but you wan na know why I did it? I did it so she'd never want to see me again. To get her away from all this for good. Without looking back Bloom walks off down the beach, in the opposite direction of Penelope, leaving Stephen bleeding in the sand, alone in the dark uncertain night. FADE OUT. TITLE CARD - 3 months later.",
"EXT. LUDICROUS MANSION - DAY Penelope's home, bucolic on a lazy Spring day. At a picnic table at the far edge of the front lawn, Penelope sits writing with intense concentration on a piece of paper. After awhile she raises her head, regarding what she's written thoughtfully. Folds it up, puts it in her pocket. Clicks the seemingly innocent ballpoint pen. BEEP. The mansion EXPLODES, completely. She walks away without looking back. After a beat, the plaster deer explodes in a ridiculous fireball.",
"EXT. ITALIAN COUNTRYSIDE - DAY Green hills surround the walled medieval city of Ferentino. A tiny white car inches its way across the countryside, and up into the city.",
"EXT. FERENTINO APARTMENT - DAY Bloom walks up the stone alley to his apartment, a bag of groceries in hand. He spots the white car parked out front. Loud shouting in Italian grows louder, until Penelope and the Grandmother burst out the front door. Berating each other with Italian curses and hand gestures. Penelope sees Bloom, and freezes. PENELOPE Hello. BLOOM Hey. The Grandmother keeps up her barrage as she takes the groceries from Bloom, but as soon as she's behind Penelope's back she gives Bloom a wink, points to her and gives a thumbs - up of approval.",
"EXT. FERENTINO STREETS - DAY Bloom and Penelope wander the twisty alleyways of the city. BLOOM How did you find me? PENELOPE The Chink. BLOOM How did you find the Chink? PENELOPE She gave me her cell when we got to Mexico. BLOOM I did n't even know she had one. PENELOPE I think she's kind of selective in who she gives the number to.",
"EXT. FERENTINO CAFE - LATER They sit with wine and bread. BLOOM Why are you here, Penelope? PENELOPE Why did you decide to stay with your brother instead of coming with me in Mexico? BLOOM Everything Stephen said that night was true. PENELOPE I've been doing a lot of thinking the past three months. I want you to consider something. She takes a piece of paper from her pocket, unfolds it and slides it across the table to him. On it, written over and over in a dozen different stylized fonts, is `` PENELOPE THE CON ARTIST.'' Bloom sets the paper down with a snap. BLOOM Go away. Everything Stephen said was true. I was just playing you as a mark. Everything between us, none of it was real. She leans in close to him, her hand on his leg. PENELOPE I do n't believe you. It's obvious even before she kisses him that she's right.",
"EXT. FERENTINO STREETS - DAY Bloom dials a pay phone. He's been crying. It rings. BLOOM Pick up. c'mon.",
"INT. MONTE CARLO CASINO - CONTINUOUS Lush, Edwardian. In a private room, a card table is overturned. Stephen lies on the ground in a defensive posture, a RAVISHING WOMAN in red lunging at him with a curved dagger. A BEARDED MAN with an eyepatch holds her back by the wrists, while a MONOCLED MAN in an antique wheelchair holds his tear stained face in his hands. This whole scene is frozen like a tableau, as Stephen's cell phone chirps away. Annoyed, the Bearded Man gives him a ` go ahead' nod. Stephen hastily answers it. STEPHEN Hello?",
"EXT. FERENTINO STREETS - CONTINUOUS BLOOM How quickly can you get to Ferentino? STEPHEN -LRB- ON PHONE. -RRB- Uh. Nine - ish? Bloom fishes out his pocket watch. BLOOM Alright. Click. As he's putting his pocket watch back, he finds the stack of green rubber band money in his breast pocket.",
"INT. FERENTINO APARTMENT - NIGHT Penelope plays cards with the Grandmother.",
"EXT. FERENTINO APARTMENT - NIGHT Stephen and Bloom sit on the little landing outside the apartment. STEPHEN So she comes back wanting to work with us. Honestly? I think we'd be lucky to have her. If you called me to hear my opinion on the matter. Which I'm getting the feeling you did n't. BLOOM I did what I did in Mexico to get her out of all this. I would rather die than bring her into the con. STEPHEN So maybe you want to tell me what I'm doing in Ferentino. BLOOM You knew she'd come back. What did you figure she was good for, another million? STEPHEN One point seven five. BLOOM We will play her again, one last con, but not for money. I'm gon na tell you how this one's gon na end. You built us into this, you're gon na fly us out, end it so she's done with all of us. End it all so it ca n't start up again. STEPHEN You want me to plan a con whose sole purpose is to blow her off for good? BLOOM I love her. You owe me this. I do n't want to turn her into me.",
"INT. FERENTINO APARTMENT - NIGHT Penelope sleeps on a cot against the window. Bloom enters wearily. Sits in a chair. Watches her. In the next room over, Stephen sits in the dark. Shuffling cards. A lovely tune sung in Mandarin Chinese plays over this, segueing us into.",
"INT. KARAOKE BAR - NIGHT On a television screen, images of the Shanghai skyline. TITLE CARD - Shanghai A wall of monitors, which the Chink steps in front of, singing the climax of the song. Beautiful and sad. As the song ends, she sees through the spotlight Penelope, Bloom and Stephen at a table. Penelope waves. The Chink's face betrays just the slightest hint of disappointment.",
"INT. KARAOKE BAR PRIVATE BOOTH - LATER The four sit with drinks. PENELOPE So what's the next job? STEPHEN Before we do the next job, we need to liquidate our assets from the last job. PENELOPE But you've got - STEPHEN Your money from the last job, well that's profit, not capital, the three of us have already split it up. So step one : sell the book of hours. PENELOPE I thought it was fake. STEPHEN With all your random expertise we could n't risk a flat out fake. It is n't worth two point five million, we could maybe catch four hundred grand for it, but it's real. Who'd we buy it from? BLOOM Minskie. STEPHEN Perfect, we'll sell it right back to him. The Chink hands him a piece of paper. STEPHEN -LRB- cont'd. -RRB- If he was n't dead. BLOOM Well there's Demarco or Boyer. Or Roche, if we want to go state - side. STEPHEN All traceable. With Minskie out we'd have to go deep black market if we wanted to be a hundred percent clear. There's only one place that's deep enough for that. Bloom and the Chink know exactly what he's talking about, and they do n't look happy. PENELOPE Where?",
"INT. KARAOKE BAR BACK ROOM - LATER BLOOM Russia. It's like ` cancer', I do n't even like saying the word. Bloom, Stephen and the Chink drink in a cramped little concrete room adjacent to the bar's kitchen. STEPHEN We're obviously not going to deal with real Russians. They'll be our guys in a phony set up, they'll take our phony book and give her phony cash, a closed loop. Safe and simple. Bloom looks to the Chink for an opinion. Gets a blank face. STEPHEN -LRB- cont'd. -RRB- So. We go to St. Petersburg. At the mention of St. Petersburg Bloom looks sharply at Stephen, but Stephen presses on. STEPHEN -LRB- cont'd. -RRB- She does the hand - off with our fake `` Russians.'' But while we're driving out of town, everything goes bad. He lays a simple flowchart, drawn on a napkin - three boxes. He points to the first, `` Penelope sells book to ` Russians''' STEPHEN -LRB- cont'd. -RRB- We discover we were sold a counterfeit book in the first place, which we've now sold to Russian smugglers. We discover this when the Russian mob starts taking us out one by one. Oh shit. He points to the second box, `` Red Dawn.'' STEPHEN -LRB- cont'd. -RRB- First they ambush our car, destroying the money. Then they take me out, then the Chink, and finally you Bloom, in a heroic death that allows Penelope to barely escape with her life. Devastated but reborn with the knowledge that you loved her so much you died so she could live, she drives off into a romantic life of adventure and peril, on the run from imaginary Russians. He points to the third box, `` The End.'' STEPHEN -LRB- cont'd. -RRB- What do you think?",
"EXT. ST. PETERSBURG - SUNSET The blood red sun sets over the city.",
"INT. ST. PETERSBURG HOTEL ROOM - NIGHT Penelope snores on the bed, while our intrepid three unpack. The phone rings. Stephen answers it, listens, hangs up. STEPHEN Our `` Russians'' have arrived.",
"INT. ELEVATOR - NIGHT Stephen, Bloom and the Chink ride down to the lobby with a red suitcase. BLOOM Who'd you get, anyway? STEPHEN Hm? BLOOM To play the `` Russians?'' DING. The elevator doors open, revealing the Diamond Dog. DIAMOND DOG My boys.",
"INT. HOTEL BAR - LATER Empty. The Dog leans against the bar with several LACKEYS, waiting patiently, making sparks with his gold lighter. Sounds of shouting come from the adjoining dining area.",
"INT. HOTEL DINING ROOM BLOOM I do n't understand. Tell me so I understand. Three months ago you were ready to blind the old bastard - STEPHEN We need someone who can pass for the Russian mob to buy our fake book. The Dog's got his big store right here in St. Petersburg. BLOOM Alright, fuckin stop. You want this to finish in St. Petersburg, you want this to end with the Dog for some what thematic something? Fine but do n't tell it like a story, let's say it. Twenty three years ago and I can still smell, that blood red apartment of his, the smell of that place. I hate him Stephen but this is n't that, this is I do n't trust him. STEPHEN What's he gon na do? Steal our fake money? -LRB- beat. -RRB- I've thought this one out, believe me. And we ca n't end it without him. Trust me. It's gon na be ok.",
"INT. HOTEL BAR - LATER The red leather suitcase on the bar. DIAMOND DOG Stephen, still the grand architect with your symbols. Red for temptation, white for salvation. The Dog opens it, revealing US hundreds. Examines it with a loupe. DIAMOND DOG -LRB- cont'd. -RRB- Impressive, boys. BLOOM It's trash. There's visible cross hatching in Franklin's eye. Sure enough - obvious jagged misprints cut into Ben Franklin's eye on the bills. DIAMOND DOG Hm. I'll be damned. -LRB- closes case. -RRB- Ruskies would n't be caught dead handing over a rag bag like this, it should be a steel attache. STEPHEN This'll do. We'll do the drop off at your store. Make it scary, think a movie version of the Russian mafia, but do n't hassle her. DIAMOND DOG Alright. The Dog closes the case, and for a moment Bloom's eyes rest on his bandaged hand. He then takes the case and quickly moves off with his crew. DIAMOND DOG -LRB- cont'd. -RRB- I look forward to meeting the lady. Take care, boys. Leaving his gold lighter on the bar.",
"INT. HOTEL CAR PORT - NIGHT The Chink leads Stephen and Bloom around the brown Peugeot. STEPHEN So. Our fake Russian attack. One small charge will simulate a bullet hit, and blow out the back window. The Chink points with an extendable pointer to a small nub on the rear windshield. STEPHEN -LRB- cont'd. -RRB- So that one bang, then we roll off the road. Once we get clear of the car the Chink sets off the final charge, incinerating the car and the money in the trunk. This'll all happen exactly twenty seconds after we cross the main bridge out of town. After the bridge. Stephen makes a note in a manila envelope, tucks it in his jacket. BLOOM Ok.",
"INT. HOTEL HALLWAY - LATER Bloom and the Chink walk back to their rooms. The Chink is expressionless. BLOOM You've been awful quiet. She does n't react. BLOOM -LRB- cont'd. -RRB- I'm doing this for her. But a door clicks shut, and Bloom is alone in the hall.",
"INT. PENELOPE'S HOTEL ROOM Penelope in bed. Her door cracks open, and she sleepily looks up. Bloom stands silhouetted in the doorway. PENELOPE Tomorrow it all starts. She lifts the sheets. He gets into bed, and as she drifts into peaceful slumber Bloom is very conscious of holding her for the last time. When her snores begin, he has ear plugs ready.",
"EXT. ST. PETERSBURG - SUNRISE The Peugeot drives into the heart of the city.",
"EXT. ST. PETERSBURG ALLEY - DAY Bloom, Stephen and the Chink parked in an alley, watching a doorway across the street with a pair of binoculars. Bloom breathes uneasily, checks his watch. BLOOM She gives the Dog the book, he gives her the fake money. This is taking too long. Just then Penelope trots out. Metal attache case in hand.",
"EXT. RUSSIA HIGHWAY - MORNING On the outskirts of town, parked beside a murky little lake. Our heroes gather around the metal attache case on the hood. PENELOPE He hassled me. Took forever looking the book over, haggled the price. Wanted to pay me in Rubles. Stephen smirks, then opens it. The money's there. STEPHEN Alright. Let's get the hell out of Russia. Bloom pulls the Dog's gold lighter from his pocket, takes one last glance at St. Petersburg and tosses it down into the lake.",
"EXT. ST. PETERSBURG HIGHWAY - MORNING The brown Peugeot drives towards the climbing sun.",
"INT. PEUGEOT The Chink drives, Stephen rides shotgun. Bloom and Penelope in the back seat. He looks weary. He sees the bridge approaching, maybe a half mile ahead. She pulls his head down into her lap, fingers in his hair. He breathes, closes his eyes. An explosion shatters the front passenger window. Bloom's eyes snap open, he bolts upright. The bridge is still a quarter mile away. In the next moment the car becomes a din of breaking glass, screams, tires screeching.",
"EXT. ST. PETERSBURG HIGHWAY A BLACK MERCEDES roars out on to the road, machine gun fire blazing from its windows, literally shredding the Peugeot. The car spins, tires flapping, and hits a highway embankment full speed, launching into the air.",
"INT. PEUGEOT A moment of strange silence as the car flips mid - air. The brothers lock eyes for a split second.",
"EXT. FOREST BESIDE ST. PETERSBURG HIGHWAY The car slams into the steep grassy embankment, manages to flip upright, and rolls into a thick forest, coming to an abrupt stop against a stout tree. STEPHEN OUT! They all four dive out of the car, Bloom shoving Penelope, tumbling into the thick forest an instant before the car becomes a roiling ball of flame. Bloom lies shell - shocked, his vision blurry. He vaguely sees Penelope passed out beside him, Stephen on the other side of the car. A DARK FIGURE comes trotting into the woods, shining a flashlight on the charred car. Goes to Stephen. Reaches down to him. Bloom's mind flutters away into darkness.",
"INT. FOREST - DAY Bloom wakes. Rain splattering. Slumped against a tree. Penelope hunches over him. BLOOM What happened? PENELOPE Are you alright? BLOOM What happened? PENELOPE Yeungling went to get another car. BLOOM Where's Stephen? PENELOPE We do n't know. He was gone. Bloom stands shakily, goes to the charred car. Runs his fingers over the dozens of bullet holes. Goes to where Stephen fell. Lying in the grass, a manila envelope. PENELOPE -LRB- cont'd. -RRB- We're going to find him. If he escaped, he'll contact us. If they've got him, it's for ransom. BLOOM Who's got him? PENELOPE The Russians. The Chink pulls up in the green bug, headlights catching Bloom's face against the dark forest depths.",
"EXT. PARKING LOT - DAY A desolate gas station parking lot. Bloom sits in the Bug, loading his revolver with shaky fingers. Penelope stands outside. BLOOM Stephen, god please what's happening. I do n't know what to do. I do n't know Stephen please. Please. What's happening. Please. A long black sedan screeches to a halt in the parking lot outside the window, Bloom bolts out of the car, pistol ready. But the Chink climbs out of the black sedan. PENELOPE Where does she get all these cars? Bloom motions for Penelope to stay back, then goes to meet the Chink in the middle of the parking lot. BLOOM If you know what's happening, now would be a really good time to speak up. She sets a suitcase down beside her. Bloom takes this in. BLOOM -LRB- cont'd. -RRB- No, please. Not now. I need your help here now, I do n't know what to do. The slightest smile communicates all the compassion in the world. But she's leaving. She hands him a small slip of paper, their fingers touching for an instant. She gives Penelope a quick little `` call me'' gesture, picks up her case and walks off. A truck blocking our view of her car pulls away, and she gets in. Bloom looks down at the slip of paper. A short phrase, in Chinese. BLOOM -LRB- cont'd. -RRB- Thanks. The engine turns over, and the Chink's car EXPLODES in a dramatic fireball. The paper flutters out of Blooms's fingers a moment before he and Penelope are thrown to the pavement by the shock wave. Bloom and Penelope lift their heads, absorbing what just happened.",
"EXT. CHICAGO - DAY A busy street, which a title card identifies as `` Chicago, Illinois.'' On the corner, an unassuming Chinese restaurant.",
"INT. CHINESE RESTAURANT - DAY A dive. The chef on the phone. CHEF Ah, ah yes, Mr. Bloom. Yes, ok. ALL THE COOKS Blooooom! He puts the phone down and goes to the fax machine, which is spitting out a facsimile of the Chink's slip of paper.",
"INT. ST. PETERSBURG COPY SHOP - EARLY MORNING Bloom on a pay phone, scribbling on a piece of paper. BLOOM Uh huh. Assholes. Ok. Um, ok. So I've got `` We are all assholes in our own theatrical enterprises.'' You sure? This phrase, written on Bloom's paper. CHEF And then it end with `` Goodbye shit head.'' BLOOM Shit head? CHEF But it is different meaning in Mandarin, uh, endearing. `` Shit head'' if you have affection for shit.",
"EXT. SIDEWALK - MOMENTS LATER The Bug parked nearby. Penelope sits on the curb, crying. Bloom sits next to her. PENELOPE What did it mean? BLOOM I do n't know. PENELOPE What did it say? BLOOM `` We're all of us marks in our own cons.'' And she said goodbye. PENELOPE I still ca n't believe it. BLOOM That the Chink fell for a car bomb? Neither can I. PENELOPE -LRB- hopeful. -RRB- What? Oh, oh god do you think she faked it? So the Russians would think she was dead? Bloom stands, paces away. He leafs limply through the manila folder - addresses, pictures, information. A paper with the Dog's photo clipped to it. An address in St. Petersburg. The napkin Stephen wrote the con flowchart on. The third box - `` The End.'' PENELOPE -LRB- cont'd. -RRB- What do we do now? Scrawled on the inside of the manila envelope - `` An unwritten life.'' Bloom's face clears. He wipes his eyes. BLOOM Ok. Bloom goes to the Bug. PENELOPE Where are you going? BLOOM This was n't Russians. This was done by an old mentor of ours who wants us off the map. He has an apartment in St. Petersburg. So this is, yeah. I've got ta go back to that apartment to face the Dog and get my brother back. That's how I'm gon na end this. Penelope's eyes gleam. She jumps up to the passenger door, and Bloom stops her with a weary look. PENELOPE We can skip the whole you - sending - me - nobly - away - and - me - refusing - to - leave - your - side - thing. BLOOM Thank Christ.",
"EXT. ST. PETERSBURG STREET - LATE MORNING A narrow alley between tall apartments. Bloom parks, pulls his gun and checks it. BLOOM If there are shots you run to the car and drive, with or without me.",
"INT. APARTMENT ENTRYWAY - DAY A badly lit apartment hallway. Bloom approaches a door, Penelope behind him. His breathing becomes hard. His face contorts. He crumples next to the door. PENELOPE What's in there? Tell me who this guy is. Bloom's breathing steadies. BLOOM He's just an old man. He tries the knob. It opens.",
"INT. DIAMOND DOG'S APARTMENT - D Blood red walls. Dark, neglected and to all appearances empty. Bloom creeps down the darkened corridor, gun outstretched. Breathes through his nose, chokes. BLOOM Dog! I came back. He kicks open a door, revealing a large living space. Empty. He lowers his gun, switches on the light. Penelope enters. Sniffs the air. PENELOPE Moth balls. Bloom almost laughs. BLOOM Is that what that smell is? BAM! A closet door smacks open, revealing the business end of a double barrel shotgun. Bloom spins, gun drawn. Penelope screams. Then a moment of stillness. The shotgun barrel quivers. It's held by the 11 year old boy Bloom saw in the Dog's Mercedes in Prague. Malnourished and scared. Penelope approaches him slowly. PENELOPE -LRB- in Russian. -RRB- It's okay. Honey, it's alright. The shotgun sinks to the ground. Penelope strokes his hair back from his face. Bloom lowers the gun, trembling. BLOOM Ask him if anyone else is here. She does. BOY Nyet. BLOOM Ask him where the Diamond Dog is. PENELOPE Diamond Dog? -LRB- in Russian. -RRB- Where is the Diamond Dog? BOY -LRB- in English. -RRB- The Dog of Diamonds is gone. Bloom does a quick search of the rest of the room. As he does Penelope asks the boy one more question in Russian, and gets a quick answer. BLOOM Get the car started. PENELOPE What about him? BLOOM It's alright. She believes him, and goes. Bloom kneels in front of the boy. BLOOM -LRB- cont'd. -RRB- You do n't need to be afraid of him anymore. Or angry at him. Or ever come back here again. He does n't concern you anymore. Understand? It's gon na be ok. The boy nods. Bloom hands him the stack of bills wrapped in the green rubber band. The boy snatches it and runs off.",
"EXT. ST. PETERSBURG STREET - DAY Bloom trots out of the apartment building, and sees two things : Penelope working the VW's starter, and a black Mercedes speeding down the narrow street towards her. He sprints towards her, screaming BLOOM Get out! Get out of the car! She sees the approaching Merc, too late, and ducks down. A hand hurls something from the darkened window. It smashes through the Bug's passenger side window, showering Penelope with glass. The Mercedes roars off down the street. Bloom reaches the Bug and throws the door open. Penelope lies covered in safety glass, holding a Russian nesting doll.",
"INT. BUG - LATER The seven progressively smaller dolls lie open on the back seat, Bloom holds the two halves of the final tiny doll, and Penelope holds a note. PENELOPE It's a ransom note. It says they have Stephen, it says they want the money wired to a specific account, they give a bank to do it at and a manager to ask for. Then an address to come to, at two p.m.. In two hours. BLOOM I'll wire the money from my account, and we'll go get Stephen. PENELOPE It's a lot. BLOOM How much? PENELOPE I'll do it, I want to, I've got plenty - BLOOM How much are they asking for? PENELOPE One point seven five million. A cold pit opens in Bloom's stomach. BLOOM Oh. Oh oh. No no NO. He punches the dashboard. BLOOM -LRB- cont'd. -RRB- No I'll kill him. I'll kill him if that's what this is, if that's all that this is, no NO NO. PENELOPE What are you talking about? BLOOM There's another possibility that I should of, I'm a fucking idiot. This might all be a con. By my brother. To get me - oh god - he wanted me to face the Dog, to end it, and he gets your money. Oh god. I'm going to be sick. PENELOPE Would he do that? To you? BLOOM I do n't know. Yes. Yes of course he would. To tell a story so well it becomes real. The perfect con. That's his whole, goddammit, that's what. PENELOPE But you do n't know. Let's transfer the money. You do n't know. BLOOM Son of a bitch. PENELOPE You do n't know. This is your brother's life. I'm gon na wire the money.",
"EXT. ST. PETERSBURG BANK - DAY Bloom sits in the car, alone. He punches the dashboard again, helpless enraged and scared. Penelope gets in, looks at the address on the note. PENELOPE Ok.",
"EXT. BURNED OUT THEATER - DAY Penelope and Bloom sit in the car, parked in front of the impressive facade of a closed, burned out old theater. The clock on the dashboard reads 1:50. BLOOM I'm so scared. Anything I can imagine finding in there, I'm scared of. PENELOPE I'm going to be here when you come out. She kisses him. He puts his hand on the door. Hesitates. Then goes. Walks up the stairs to the inky maw of the theater door. Goes in alone.",
"INT. THEATER LOBBY No lights. Moldy dust. A genuinely creepy place. Bloom steps lightly, deeper into the theater. BLOOM Stephen!",
"INT. THEATER AUDITORIUM A few lights flicker on the walls, fitfully illuminating the broken dusty seats and bare ruined stage. Bloom walks down the aisle, trying to keep his voice steady. BLOOM Stephen! A spotlight snaps on from the mezzanine, right in Bloom's face. He spins, trapped in its glare. A guttural command is shouted in what might be Russian. When Bloom does n't respond, the spot silently advances a few feet ahead of him towards the stage. Bloom gingerly follows it, up onto the splintered stage and finally resting on a split in the tarpaulin backdrop. With a wary glance back, Bloom steps through it.",
"INT. THEATER BACKSTAGE Giant fossils of antique stage scenery. Utility lights high above, cut by scaffolding, patch everything in dim jagged forms of light and black. BLOOM -LRB- unsteady. -RRB- Stephen. Game's up. Come on out. Let's blow this one hat town. Silence. Then a harsh utility lamp snaps on, cruelly lighting Stephen's face. Shockingly bruised and battered, old and new blood. Bloom cries and rushes towards him. STEPHEN No! No Bloom, freeze. He obeys. Stephen is tied to a chair. A dark figure behind him holds the lamp with a black gloved hand. BLOOM Stephen, who is it? Is it the Dog? STEPHEN Did Penelope wire the money? BLOOM Yeah. STEPHEN They're calling to check right now. Do n't move. I'm alright. The dark figure's cell phone rings, he holds it to his ear for a moment then flips it closed. Something happens in the blackness, and Stephen shakily stands, cut loose. STEPHEN -LRB- cont'd. -RRB- Stay where you are, Bloom. I'm coming to you. He takes a couple wobbly steps. Behind him, Bloom sees the dark figure raising his gun towards Stephen's back, pulling the hammer. And the utility lamp switches off. BLOOM No! Bloom's revolver pops out of his sleeve and he's firing into the blackness. Stephen drops flat to the ground. The fiery rapport of a big pistol flashes from the blackness, strobing the scene like stage lightning. Bloom reloads behind the cover of a heavy flat, but Stephen lies on his stomach out in the open. BLOOM -LRB- cont'd. -RRB- Stephen! STEPHEN Stay back! But Bloom makes a dash for his brother, out into the open, unloading three more rounds into the dark. The dark figure returns fire on Bloom, who is sprinting full on his feet in a large pool of light. A sitting duck. Stephen launches himself up, tackling Bloom backwards. Just before they fall behind the safety of the flat, a red burst of blood flowers from Stephen's left lower back. Bloom sets him down gently, and hears heavy footsteps behind him. He turns, firing, but only sees a blur of dark coat go by, through the torn backdrop. Bloom runs out on stage, tearing the tarpaulin, and fires after the dark figure limping up the aisle and away into the lobby. Silence. Bloom walks back to Stephen, who lies behind the flat, breathing heavy. Blood soaking through his shirt. BLOOM Please tell me this is all gon na be ok. Tell me that's a squib, and that's makeup, and that you just gave me what I always wanted and pulled off the perfect con. A long, long moment. Stephen coughs, spits. Then a wry grin spreads across his face. STEPHEN You said it, not me. He stands, the shakiness gone. STEPHEN -LRB- cont'd. -RRB- Can I get a ` wow' for this one? BLOOM You son of a bitch. Bloom looks like he might hit him, but his face breaks and he embraces him, crying. The Brothers Bloom stay like that for a long while, holding each other in the spotlight's glow. Finally Stephen pulls away, tears in his eyes. He wipes them, wipes blood from his lip. STEPHEN Tastes like tin foil. Alright here's what I want you to do. The Chink split? BLOOM Yeah. Clean exit. STEPHEN How? BLOOM Car bomb. A hint of relief in Stephen's face. STEPHEN Good. Here's what. Take Penelope back to Helsinki, take that flight to Rio. Lay low like we said. Play out the on - the - run - from - vengeful - Russians thing, that'll be fun for her. Play it like I'm dead, actually - that'll add some gravity to everything, that'll be nice. And I'll see you when I see you. BLOOM Soon? STEPHEN I hope not. Last thing you need is me hanging around. Anyway, how could I top this? Bloom hugs him again. BLOOM I love you. Bye. He turns to go. STEPHEN Hey. Think of any card. Stephen pulls out a pack of cards. BLOOM Alright. Stephen cuts, to the Queen of hearts. BLOOM -LRB- cont'd. -RRB- Stephen. That's it. -LRB- grins. -RRB- That's the best card trick I've ever seen. I just wish you had a bigger audience. STEPHEN You're the only audience I've ever needed. Wink. Bloom leaves. Stephen watches him go.",
"EXT. RUSSIA HIGHWAY - LATE AFTERNOON Rumbling towards Finland. In the Bug, Bloom sleeps in Penelope's arm while she drives. She looks at his hand on hers, his shirt cuff bright red with Stephen's `` blood.'' She strokes his shoulder sadly. Off Bloom's sleeping face.",
"INT. THEATER STAGE Stephen pulls a chair out onto the stage, sets it right in the spotlight's glare. Trembling as if it takes all his last strength in the world. Sits. Looks at the Queen of Hearts, moves his fingers over it. Then slides is up his sleeve. Blood trickles down his hand.",
"INT. BUG - SUNSET Bloom wakes with a start. PENELOPE Hey. Hey, it's ok. The bridge is coming up, we're almost at the border. Were you dreaming about Stephen? She strokes his hair back from his face. He nods, and looks down at his sleeve. Stephen's `` blood'' on his white cuff. Now a dark shade of brown. Bloom looks at this shirt. All the blood, it's all brown. He looks up at the road, nearly panicked. Maybe a quarter mile ahead is the bridge. BLOOM Pull over. Pull over!",
"EXT. ROADSIDE - SUNSET She does. He bursts out of the car, and run/tumbles down the grassy hillside till he finds the car tracks. He follows them to the charred remains of the Peugeot. Penelope stumbles down after him. PENELOPE What is it? You're scaring me - BLOOM What did you ask the Russian kid, in the Dog's apartment? He said the Dog is n't here, then what did you ask? Bloom kicks open the trunk. Pries open the blistered attache case. Sifts through the charred pile of cinders that was the money from the `` Russians'' till he finds what he was looking for and brings it out into the dying light. PENELOPE How long had he been alone. BLOOM And what did he say? A scrap of unburned money. A fragment of Ben Franklin's face. PENELOPE Since yesterday morning. A single eye gazing up at him, the green grass behind it. The eye is perfect. No cross hatching. Bloom sinks to his knees. BLOOM This is real. They hassled you. PENELOPE Bloom - BLOOM The Dog was gone before we got there. They had n't cleared out of their apartment, they had been cleared out.",
"INT. DIAMOND DOG'S APARTMENT - DAY FLASHBACK RUSSIANS in black overcoats burst in, shooting the Dog's men with silenced pistols. The BOY shuts himself in the closet, terrified.",
"EXT. ROADSIDE - SUNSET BLOOM Real Russians. Took his store. They did n't know about his deal with us, but you haggled with them. You really sold the book to real Russians. The Diamond Dog was gone.",
"EXT. RUSSIA HIGHWAY - FLASHBACK The scene beside the lake, our four heroes checking the money in the attache case. STEPHEN Let's get the hell out of Russia. Bloom tosses the gold lighter, it splashes into the lake. We follow it, plunging beneath the surface. Deep deep down, among weak tendrils of light, the Diamond Dog sinks into watery blackness, a long blade in his neck.",
"EXT. ROADSIDE - SUNSET BLOOM And they came after us. And Stephen. Penelope holds him tight. PENELOPE I know. BLOOM Stephen saved my life. PENELOPE I know. BLOOM He's gone. Bloom folds into Penelope's arms, but she does n't let him. She holds his crying face up. PENELOPE And he did it so you could live. Your brother loved you. He loved you so much. Look at me. Stephen said something once, I got the feeling he'd rather be telling it to you. He said there's no such thing as an unwritten life. Just badly written ones. I love you. We're gon na outrun these bastard Russian mafia, and we're gon na hide out in Rio, then we're gon na live like we're telling the best fucking story in the world. Are you ready? She holds his face close to hers for a long beat. Then smiles and pushes away, launching up the grassy hill. Bloom watches her. Time slows as she turns back towards him, still running, and holds out her hand for him to follow. BLOOM -LRB- V.O. -RRB- I was thinking of something Stephen said too. `` The perfect con is one where everyone involved gets just the thing they wanted.'' Well. He takes the girl's hand, and runs with her towards the point of light breaking over the hill.",
"EXT. HIGHWAY - SUNSET Sunset with her wine - red fingers falls over the road ahead. The rumbly old VW chugs away from us, towards the horizon. THE END"
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] | The Brothers Bloom, orphaned at a young age, begin performing confidence tricks as young children; Stephen dreams up elaborate scenarios and his younger brother, Bloom, creates trust with the marks. Stephen creates his first con as a way of encouraging his brother to talk to girls. Twenty-five years later, the brothers are the world's most successful con men. They even have a regular accomplice: Bang Bang, a Japanese explosives expert who rarely speaks. Bloom, however, is dissatisfied with being nothing but an actor in Stephen's schemes. He is tired of being no more than the characters his brother has come up with and wants an 'unwritten life'. He quits and moves to Montenegro. Three months later, Stephen finds Bloom and convinces him to execute one final con. Bloom reluctantly agrees. The brothers will masquerade as antiques dealers and target Penelope Stamp, a rich, socially-isolated heiress who lives alone in a New Jersey mansion. Bloom and Penelope meet when Bloom purposely runs into Penelope's sports car with his bike. Penelope reveals that she has been alone for most of her life and has picked up an array of strange hobbies such as juggling and kung fu. Bloom senses Penelope's craving for adventure and hints that he is sailing to Europe tomorrow. The next morning, Penelope arrives at the harbor to sail with the brothers to Greece. On the ship, Melville, a Belgian hired by Stephen, begins the con, telling Penelope that the brothers Bloom are in fact antiques smugglers and he wants their help with a smuggling job in Prague. Penelope is thrilled with the idea of becoming a smuggler and convinces the brothers to accept the job, unaware that this is part of the con. Meanwhile, Bloom and Penelope are becoming attracted to one another, but Stephen warns Bloom that the con will fail if he actually falls in love with Penelope. At the hotel bar in Prague, Bloom is visited by the brothers' former mentor and current enemy, Diamond Dog. He warns Bloom that Stephen will not be around forever, and tells Bloom he should join him. Stephen arrives and stabs Diamond Dog in the hand with a broken bottle, telling him to stay away. In Prague, Melville cons Penelope out of a million dollars and flees, according to plan. Penelope still wants to go ahead as an antiques smuggler and steal the rare book that Melville told her about. The brothers tell Bang Bang to set off a small explosive in Prague Castle that will trigger the fire alarm, allowing Penelope to sneak in and steal the book. But Penelope accidentally switches the backpacks containing the explosives and they blow up the entire tower, creating panic in Prague. Despite this, Penelope enters the museum and steals the book. She is caught, but somehow convinces the chief of police to let her go. The team goes to Mexico to complete the con. Bloom, who has fallen in love with Penelope, reveals to her that they are con men and the whole adventure has been a con. Stephen has anticipated his brother's change of heart and written it into his plan. The brothers fight and a gun accidentally discharges, wounding Stephen. Penelope checks out the wound, realizes that it is fake blood, and leaves with a broken heart. Bloom punches Stephen and leaves for Montenegro once again. Three months later, Penelope finds Bloom, wanting to be with him and to become a con artist. Unable to deny his love for her but not wanting her to be like him, Bloom meets with Stephen to set up one final con, where they will fake their own deaths. The team goes to St. Petersburg, where they must sell the rare book to Diamond Dog. They are ambushed by Diamond Dog's gang while heading to the exchange. Stephen is kidnapped and held for $1.75 million. Bloom suspects this is just another one of Stephen's tricks; Penelope, just in case, wires the money from her bank account to the mobsters. Bang Bang takes this opportunity to quit working for the Bloom brothers; as soon as she leaves, her car explodes, leaving Penelope and Bloom uncertain whether she was caught in the blast or faked her death. Bloom goes into an abandoned theater to make the exchange, and finds Stephen tied up and beaten. Bloom demands that Stephen tell him if this is real or if it is a con. A hit man tosses Bloom a phone, and Diamond Dog confirms that it is real. The hit man attacks them, and Stephen takes a bullet for Bloom and collapses on the floor. Bloom again asks whether this was real, or just the "perfect con". Stephen gets up and assures Bloom that he is fine. Stephen tells Bloom to leave St. Petersburg with Penelope, and that they will meet again. Bloom and Penelope drive away. After several hours, Bloom discovers that Stephen's bloodstain on his shirt has changed in color from red to brown, indicating that it is not fake blood. Realizing that Stephen has surely died, Bloom breaks down on the side of the road while Penelope tries to comfort him. As they are leaving, Bloom recalls what Stephen had said earlier, "The perfect con is one where everyone involved gets just the thing they wanted" – and that perhaps his brother really pulled off the perfect con. | The_Brothers_Bloom |
[
"EXT. LAS VEGAS (STOCK FOTTAGE) - NIGHT GRAPHIC : 1967 - SOMEWHERE IN NEVADA It is set against the obvious skyline of Las Vegas.",
"INT. DR. EVIL'S PRIVATE QUARTERS - DAY The lair is 1960's high - tech. We see a huge oversized conference table with six scary - looking EVIL ASSOCIATES, including a Latin American REVOLUTIONARY in a field jacket and turtleneck, TWIN NORDIC DOCTORS, and a METER MAID. ANGLE ON : A RING WITH DR. EVIL'S INSIGNIA ON IT. THE RINGED HAND IS STROKING A WHITE FLUFFY CAT. DR. EVIL -LRB- face always unseen. -RRB- Gentlemen, are we all here? Good. As you know, my plot to high - jack nuclear weapons and hold the world hostage has failed. Again. This organization will not tolerate failure. He presses a button. The Revolutionary, the twin Nordic doctors, and the meter maid's chairs tip back and fall into a pit. Their chairs return empty and smoking. DR. EVIL Mustafa. ANGLE ON : MUSTAFA, an Arab with a red Fez. DR. EVIL Frau Farbissina. ANGLE ON FRAU FARBISSINA in a severe Salvation Army uniform. DR. EVIL I spared your lives because I need you to help me rid the world of the only man who can stop me now. We must go to London. I've set a trap for Austin Powers!",
"EXT. CARNABY STREET - DAY MUSIC : Soul Bossanova by QUINCY JONES. We start on a pair of BEATLE BOOTS and peg - top crushed velvet pants walking down the street in rhythm, à la Saturday Night Fever. We pan up to reveal AUSTIN POWERS, International Man of Mystery. He's a swinger, with medium - length Mod hair and sideburns and he wears National Health Services glasses. Austin walks along Carnaby Street taking photographs. It is that perpetual bright sunny day you see in Sixties movies. Austin, bursting with life, gives a two - handed handshake to a MOD FREAK, who's just gotten off a red double - decker bus. Austin salutes a strolling BOBBY, then comes across TWO BEAUTIFUL MOD GIRLS who are excited to see him. They all start to twist to the music, including the Bobby. FREEZE FRAME - TECHNICOLOR BLUE TINT - TITLE CARD -LRB- PRODUCTION NOTE : ALL TITLE CARDS WILL BE DONE IN TECHNICOLOR FREEZE FRAMES À LA SWEET CHARITY. -RRB- In the middle of the street, THREE MODELS wait impatiently to be photographed in a makeshift photo shoot area. One wears a short - skirted Stewardess outfit. One wears a metallic silver pantsuit with matching cowl. The other wears a see - through Mary Quant dress. AUSTIN -LRB- taking photos. -RRB- Alright, luv! Love it! Turn. pout for me baby. Smashing! We see that AUSTIN HAS VERY BAD ENGLISH TEETH. The model in the stewardess outfit foes on all fours. AUSTIN Crazy baby. Give me some shoulder. Yes! Yes! Yes! -LRB- beat. -RRB- No. No. Show me love. Yes! And. done. Here you go, luv. I'm spent. Austin throws the camera in the air behind him. An ASSISTANT scrambles and catches it before it hits the ground. AUSTIN Get these off to Fab Magazine right away. SUPERMODEL 1 Austin, you've really outdone yourself this time. AUSTIN Thanks, baby. SUPERMODEL 2 -LRB- suggestively. -RRB- We could have another photo session back at my flat. AUSTIN -LRB- coyly. -RRB- Oh, behave! SUPERMODEL 3 Austin, I love you! AUSTIN So many women, so little time. A gaggle of MOD GIRLS come towards the shoot site. They recognize Austin and SCREAM hysterically. MOD GIRL 1 It's Austin Powers! Austin runs away. The mob chases after him a la Hard Day's Night.",
"EXT. CARNABY STREET Two BAD GUYS attack Austin. He JUDO CHOPS them. AUSTIN Judo chop! Judo chop! The mob of girls catches up to Austin and he runs away.",
"EXT. PHONE BOOTH Austin's in a phone booth with his back turned. The mob runs by. He steps out, disguised only by a beard.",
"EXT. GUARD STATION - LONDON - DAY Austin is jiving down the street and comes across a stoned - face red - coated BUCKINGHAM PALAM GUARD standing at attention just outside his guard box. Austin mugs for the guard, trying to get him to crack up, but to no avail. Finally, he pulls a big sixties FLOWER from behind the guard's head and presents it to him. They both crack up.",
"EXT. PHOTO BOOTH The girls run by a Sixties - era photo booth with somebody inside. Austin steps out. ANGLE ON THE FILM STRIP Panels 1 - 3 show Austin with various exotic MODELS. The fourth panel shows Austin with the QUEEN.",
"EXT. CARNABY STREET Austin spots a VERY PREGNANT HIPPY GIRL with a placard that says `` PROTEST!'' in a funky font. AUSTIN You might want to protest a bit louder next time, luv. The both laugh. FULL SCREEN INSERT - AUSTIN'S PASSPORT The passport opens. We see Austin's dour photo. Then he gives an insane grin, showing his bad teeth. The page flips and we see visa stamps from all the exotic places he's been.",
"EXT. CARNABY STREET - DAY Austin flips a coin into a BLIND MAN's cup. The blind man, obviously sighted, moves the cup to catch the coin. Austin wags his finger in a `` oh, you'' fashion, and then proceeds to knee him the balls.",
"EXT. CARNABY STREET - DAY Austin is being chased around the corner by a GAGGLE OF SCHOOLGIRLS. After a moment, Austin returns from around the corner with a baton, followed by a MARCHING BAND. The schoolgirls pick up his trail again and he begins to run. A 1967 Jaguar XKE convertible, which is decorated with a large Union Jack, pulls beside Austin. He jumps over the door into the moving convertible, racing off just ahead of the crowd.",
"EXT./INT. JAGUAR - STREETS OF LONDON - DAY The driver of the Jag is Austin's associate, MRS. KENSINGTON, a beautiful woman in her thirties. They drive against obvious REAR PROJECTION of 1960's London. AUSTIN Hello, Mrs. Kensington. MRS. KENSINGTON Hello, Austin Just then, a FLASHING RED LIGHT goes off and we hear a distinctive PHONE RING. MRS. KENSINGTON That'll be Basil Exposition, Chief of British Intelligence. The glove compartment revolves to reveal a picture phone. ANGLE ON : PICTURE PHONE SCREEN. We see BASIL EXPOSITION a distinguished older man. A desk plate reads : `` Basil Exposition, Chief of British Intelligence.'' BASIL EXPOSITION -LRB- on picture phone. -RRB- Hello, Austin. This is Basil Exposition, Chief of British Intelligence. You're Austin Powers, International Man of Mystery, and you're with Agent Mrs. Kensington. The year is 1967, and you're talking on a picture phone. AUSTIN We know all that, Exposition. BASIL EXPOSITION I just wanted to be extremely clear so that everyone knows what's going on at any given time. We've just received word that Dr. Evil, the ultimate square, is planning to take over the world. AUSTIN Dr. Evil? I thought I put him in jail for good. BASIL EXPOSITION I'm afraid not. Earlier this week, Dr. Evil escaped from Zedel Edel Prison in Baaden Baaden and now he's planning a trap for you tonight at the Electric Psychedelic Pussycat Swinger's Club in Picadilly Circus here in swinging London. A panel revolves to reveal a map of London with lights showing Austin's position and the location of the club. AUSTIN Just where you'd never think to look for him. We'll be there. BASIL EXPOSITION Good luck, Austin. AUSTIN Thank you. BASIL EXPOSITION Oh, and Austin & emdash ; AUSTIN Yes? BASIL EXPOSITION -LRB- pause. -RRB- Be careful. AUSTIN Thank you. -LRB- to Mrs. Kensington. -RRB- Let's go, baby!",
"EXT. STOCK FOTTAGE - PICADILLY CIRCUS - NIGHT On top of one building is a three - story high BOB'S BIG BOY figure.",
"EXT. ELECTRIC PSYCHEDELIC PUSSYCAT SWINGER'S CLUB - NIGHT The Jaguar pulls up in front of the swinging nightclub. Mrs. Kensington steps out of the car, dressed in a tight leather fightsuit. She looks fabulous.",
"INT. ELECTRIC PSYCHEDELIC PUSSYCAT SWINGER'S CLUB It's a swinging club. FREAKS abound. In one corner, there is a PRESS CONFERENCE in progress. MICK JAGGER Hey Austin Powers, it's me, Mick Jagger. AUSTIN Hey, Mick! MICK JAGGER Are you more satisfied now sexually, Austin? AUSTIN Well, you ca n't always get what you want. MICK JAGGER -LRB- thinking. -RRB- `` You ca n't always get what you want!'' That's a great title for a song! I'm gon na write that, and it'll be a big hit. AUSTIN Good on ya, man. MICK JAGGER Groovy! FULL SCREEN INSERT A vinyl 45 of `` You Ca n't Always Get What You Want.'' FULL SCREEN INSERT - BILLBOARD CHART `` You Ca n't Always Get What You Want'' at Number One.",
"INT. ELECTRIC PSYCHEDELIC PUSSYCAT SWINGER'S CLUB In one corner ANDY WARHOL sits in front of his multi - colored Elvis -LRB- or equivalent -RRB-. He body paints a butterfly on the thigh of a MOD GIRL wearing a metallic miniskirt outfit. ANDY WARHOL Austin Powers? Hi, I'm Andy Warhol. AUSTIN Hey, how are you? ANDY WARHOL Hungry. AUSTIN Here, have this can of Campbell's Tomato Soup. Austin hands Andy a can of soup. ANDY WARHOL I'm going to paint this can of soup and become famous and not give you any credit for it. AUSTIN If you can become famous, everyone will have their fifteen minutes of fame, man. ANDY WARHOL `` Fifteen minutes of fame?'' I'm going to use that quote and not give you any credit for that, either. AUSTIN Smashing! FULL SCREEN INSERT Andy Warhol's famous Soup Can painting.",
"INT. ELECTRIC PSYCHEDELIC PUSSYCAT SWINGER'S CLUB HER MAJESTY, THE QUEEN is giving Austin a Victoria's Cross like the Lyndon Johnson scene in Forrest Gump. Behind them, are two COLDSTREAM GUARDS and the DUKE OF EDINBURGH. QUEEN Austin Powers, Britain owes you a debt of gratitude. Austin gives a cheeky look to Mrs. Kensington. QUEEN I understand you were wounded. Where were you hit? AUSTIN In the but - tocks. QUEEN That must be a sight. I'd kind of like to see that. Austin turns around, drops his pants, and shows his wounded bum -LRB- matching Gump's -RRB- to the queen. The queen walks away. QUEEN -LRB- laughing. -RRB- Nice buttocks. In the line - up we also see FOREST GUMP. He has to pee very badly. MRS. KENSINGTON We've got to find Dr. Evil! AUSTIN Wait, I've got an idea. He PUNCHES a PRETTY MOD GIRL in the face, knocking her out cold. EVERYONE Ohhh! MRS. KENSINGTON Austin, why in God's name did you strike that woman? AUSTIN That ai n't no woman! It's a man, man. It's one of Dr. Evil's assassins. Austin pulls off the mod girl's wig. She is a MALE ASSASSIN. The assassin comes to and leaps to his feet. Mrs. Kensington knocks his feet from under him. The assassin hits the ground and pulls out a dagger. Mrs. Kensington kicks the knife out of his hand and Austin gets him in a head - lock from behind. AUSTIN Where's Doctor Evil? ANGLE ON : A FINGER WITH DR. EVIL'S INSIGNIA ON IT. THE FINGER PULLS THE TRIGGER OF A SPEAR gun. The assassin falls forward. A spear protrudes from his back. Austin sees Dr. Evil as he runs through a door. They give chase.",
"INT. CLUB - BACK ROOM They enter. Dr. Evil climbs into an egg chair. AUSTIN I've got you again, Dr. Evil! The chair fills with a WHITE MIST. DR. EVIL -LRB- unseen, through mist. -RRB- Not this time. Come, Mr. Bigglesworth! -LRB- calling out. -RRB- See you in the future, Mr. Powers! Before the doors close, the white CAT jumps in the egg chair. A sign on the egg reads `` CRYOGENIC FREEZING BEGINNING.'' MRS. KENSINGTON My God! He's freezing himself. Austin begins FIRING at the egg chair. The ceiling opens up and the egg rises through the opening. Everything begins to RUMBLE. Rocket exhaust pours out of the ceiling.",
"EXT. ROOF - NIGHT The Bob's Big Boy rocket begins to LIFT OFF.",
"EXT. CLUB - SIDEWALK - NIGHT PEOPLE outside the club react to the rocket.",
"EXT. EARTH FROM SPACE The Bob's Big Boy rocket leaves the atmosphere. Mr. Bigglesworth is pressed to the window like one of those stuffed Garfields. DR. EVIL -LRB- V.O. -RRB- -LRB- shivering. -RRB- I'll be back, Mr. Powers, when free love is dead, and greed and avarice once again rule the world.",
"EXT. NORAD - COLORADO SPRINGS, COLORADO GRAPHIC : 1997 - NORAD - COLORADO SPRINGS THIS SCENE IS SHOT IN THE MULTIPLE SPLIT SCREEN STYLE, LIKE THE THOMAS CROWN FULL SCREEN - INT. NORAD TRACKING ROOM A BLIP appears on the radar screen. RADAR OPERATOR -LRB- on phone. -RRB- Commander Gilmour? SPLIT SCREEN 2 - INT. COMMANDER GILMOUR'S OFFICE COMMANDER GILMOUR, a distinguished man in his fifties. RADAR OPERATOR -LRB- on phone. -RRB- Commander, this is Slater in SoWest Com Three. We have a potential bogey with erratic vectoring and an unorthodox entry angle. COMMANDER GILMOUR -LRB- on phone. -RRB- Is it one of ours? RADAR OPERATOR No. Log Com Bird Twelve says its metalurg recon analysis is a standard alloy, not stealthy, not carbon - composite. -LRB- pause. -RRB- It does have an odd shape, sir. COMMANDER GILMOUR What are you saying, son? RADAR OPERATOR It appears to be in the shape of Bob's Big Boy, sir. SCREEN 3 - THE BOB'S BIG BOY ROCKET The rocket is dirty and battered from thirty years in space. COMMANDER GILMOUR Oh my God, he's back. DRAMATIC STING RADAR OPERATOR In many ways, Bob's Big Boy never left, sir. He's always offered the same high quality meals at competitive prices. COMMANDER GILMOUR Shut up. RADAR OPERATOR Should we scramble TacHQ for an intercept? COMMANDER GILMOUR What's its current position? SCREEN 4 - A RADAR MAP OF NEVADA On the radar screen it says `` NEVADA.'' RADAR SCREEN It was over Nevada, but. oh my God! It's gone! COMMANDER GILMOUR Listen son, I want you to forget what you saw here tonight. RADAR OPERATOR Commander, I have to log it & emdash ; COMMANDER GILMOUR That's a direct order. You did n't see a thing! He hangs up and picks up another phone. COMMANDER GILMOUR -LRB- into phone. -RRB- Philips. SCREEN 5 - SERGEANT PHILIPS AT HIS DESK SERGEANT PHILIPS picks up the phone. COMMANDER GILMOUR Call the President SCREEN 6 - THE WHITE HOUSE COMMANDER GILMOUR Prepare the jet. SCREEN 7 - AN AIR FORCE JET ON A RUNWAY COMMANDER GILMOUR Get my overnight bag. SCREEN 8 - AN OVERNIGHT BAG COMMANDER GILMOUR Philips, do me a favor and feed my fish. SCREEN 9 - FISH IN A TANK A hand enters and sprinkles fish food. COMMANDER GILMOUR Not too much! The hand re - enters and scoops up some of the fish food. COMMANDER GILMOUR I'm going to London, England.",
"EXT. MINISTRY OF DEFENSE - LONDON, ENGLAND GRAPHIC : LONDON, ENGLAND - MINISTRY OF DEFENSE MUSIC : `` RULE BRITANNIA''",
"INT. M.O.D. - HALLWAY (OUTSIDE CRYOGENIC STORAGE FACILITY) Basil Exposition -LRB- now aged 30 years -RRB-, Command Gilmour, and NICOLAI BORSCHEVSKY, a Russian General, put on extreme - weather gear over their uniforms. BASIL EXPOSITION As you know, gentlemen, Dr. Evil had himself frozen in 1967. Soon after, Austin Powers volunteered to have himself frozen, in the event Dr. Evil should ever return. We believe Dr. Evil has begun yet another plot to take over the world. And that, gentlemen, is why we're here. COMMAND GILMOUR Outstanding re - cap, Exposition. Command Gilmour opens a vault door. COLD MIST escapes.",
"INT. M.O.D. - CRYOGENIC STORAGE FACILITY They pass a row of cryogenic holding berths, each containing a naked PERSON in suspended animation, a la Demolition Man. They pass GARY COLEMAN, EVEL KNIEVAL -LRB- with cape -RRB-, and VANILLA ICE, all in suspended animation. They pass a now - empty berth with a plate that reads `` JOHN TRAVOLTA.'' BORSCHEVSKY Who is this Austin Powers? Is he a British operative? BASIL EXPOSITION No, he worked freelance, an internationally renowned swinging photographer by day and the ultimate gentlemen spy by night. Finally, they come across Austin Powers : He is naked. His hands cover up his private parts. The look on his face suggests ` Oh my God, my bits and pieces are cold'. His glasses are frosted over. He is very hairy. FEMALE ANNOUNCER -LRB- on PA. -RRB- Attention, Stage One, laser cutting beginning. Lasers begin to cut Austin out of the ice in one huge cube. FEMALE ANNOUNCER -LRB- on PA. -RRB- Laser cutting complete. Stage Two, warm liquid goo phase beginning. A ROBOTIC ARM lifts the cube out of the berth and places it into a high - tech melting vat of warm liquid GOO. FEMALE ANNOUNCER -LRB- on PA. -RRB- Warm liquid goo phases complete. Stage Three, reanimation beginning. Austin comes to life out of the goo on a draining platform. FEMALE ANNOUNCER -LRB- on PA. -RRB- Reanimation complete. Stage Four, cleansing beginning.",
"INT. EXAMINATION AREA Technicians lead a half - asleep Austin to a screened area, where only his feet and head are visible. He's washed off with a series of hot - water jets. FEMALE ANNOUNCER -LRB- on PA. -RRB- Cleansing complete. Stage Five, evacuation beginning. He's given futuristic inoculations and then led to a screened - in toilet area. We can hear the sound of PEE ENTERING THE BOWL. He PEES for a while, then a little longer. And then EVEN LONGER STILL. The stream seems to be subsiding. then begins STRONGER than ever. He is still PEEING. Finally, it STOPS. FEMALE ANNOUNCER -LRB- PA. -RRB- Evacuation com. He begins PEEING again. A little LONGER. Then in short staccato BURSTS. The it STOPS. Pause. Two DRIPS. FEMALE ANNOUNCER Evacuation. -LRB- waiting. -RRB- Complete! The cryogenic state of Austin Powers is now completed. Austin lies in a bed tilted up in an extreme angle à la Dr. Frankenstein's lab. NURSE TECHNICIANS administer injections and monitor electrodes, IV's, and other biological sensors. AUSTIN -LRB- weakly. -RRB- Where am I? BASIL EXPOSITION You're in the Ministry of Defense. It's 1997. You've been cryogenically frozen for thirty years. AUSTIN -LRB- shouting. -RRB- WHO ARE THESE PEOPLE? BASIL EXPOSITION The shouting is a temporary side - effect of the unfreezing process. AUSTIN Yes, I'm having trouble controlling & emdash ;. -LRB- shouting. -RRB- THE VOLUME OF MY VOICE! BASIL EXPOSITION You might also experience a slight fever, dry mouth, and flatulence at moments of extreme relaxation. Austin, this is Commander Gilmour, Strategic Command, and General Borschevsky, Russian Intelligence. AUSTIN Russian Intelligence? Are you mad? BASIL EXPOSITION A lot's happened since you were frozen, Austin. The cold war's over. AUSTIN Thank God. Those capitalist dogs will finally pay for their crimes against the people, hey Comrades? BASIL EXPOSITION We won, Austin. AUSTIN Groovy. Smashing! Good on ya! -LRB- to Gilmour. -RRB- Nice tie. Yea capitalism! COMMANDER GILMOUR Mr. Powers, the President's very concerned. We've got a madman on the loose in Nevada. BASIL EXPOSITION It's Dr. Evil. AUSTIN When do I begin? BASIL EXPOSITION Immediately. You'll be working with Ms. Kensington. AUSTIN You mean Mrs. Kensington? BASIL EXPOSITION No, Austin, Mrs. Kensington has long - since retired. Ms. Kensington is her daughter. VANESSA KENSINGTON, Mrs. Kensington's daughter, beautiful, mid - Twenties, English, enters. She is wearing a very conservative, business pantsuit. Her hair is up and she wears glasses. Austin's breath is taken away. She sets down a huge stack of files. BASIL EXPOSITION Vanessa's one of our top agents. AUSTIN -LRB- out loud, to himself. -RRB- My God, Vanessa's got a smashing body. I bet she shags like a minx. How do I tell them that because of the unfreezing process, I have no inner monologue? -LRB- pause. -RRB- I hope I did n't say that out loud just now. There is an uncomfortable SILENCE. VANESSA Mr. Powers, my job is to acclimate you to the Nineties. You know, a lot's changed since 1967. AUSTIN Well, as long as people are still having promiscuous sex with many anonymous partners without protection, while at the same time experimenting with mind - expanding drugs in a consequence - free environment, I'll be sound as a pound. VANESSA My mother's told me all about you. AUSTIN If it's a lie, goddamn her. It it's the truth, goddamn me. -LRB- pause. -RRB- God, I hope that's witty. How's your mum? VANESSA My mother's doing quite well, thank you very much. BASIL EXPOSITION Yes, well. Agent Kensington will get you set up. She's very dedicated. Perhaps, a little too dedicated. -LRB- aside to Austin. -RRB- She's got a bit of a bug up her ass. Good luck, Austin, the world's depending on you. AUSTIN Thank you, Exposition. BASIL EXPOSITION Oh, and Austin & emdash ; AUSTIN Yes? BASIL EXPOSITION Be careful. AUSTIN Thanks. Basil exits.",
"INT. M.O.D. - QUARTERMASTER'S WINDOW Austin and Vanessa wait at the window. VANESSA Let's gather your personal effects, shall we? A CLERK brings out a locker - basket and reads off a list. CLERK -LRB- reading. -RRB- Danger Powers, personal effects. AUSTIN Actually, my name's Austin Powers. CLERK It says here, name Danger Powers. AUSTIN Danger's my middle name. CLERK OK, Austin Danger Powers : One blue crushed - velvet suit. One frilly lace cravat. One gold medallion with peace symbol. One pair of Italian shoes. One pair of tie - dyed socks, purple. One vinyl recording album : Tom Jones, Live at Las Vegas. One Swedish - made penis enlarger pump. AUSTIN -LRB- embarrassed. -RRB- That's not mine. CLERK -LRB- reading. -RRB- One credit card receipt for Swedish - made penis enlarger pump, signed Austin Powers. AUSTIN I'm telling you, baby, that's not mine. CLERK -LRB- reading. -RRB- One warranty card for Swedish - made penis enlarger pump, filled out by Austin Powers. AUSTIN I do n't even know what this is. This sort of thing ai n't my bag, baby. CLERK -LRB- reading. -RRB- One book : Swedish - Made Penis Enlarger Pumps and Me : This Sort of Thing Is My Bag, Baby, by Austin Powers. The clerk shows the book to Austin, who is humiliated. AUSTIN OK, OK man, do n't get heavy, I'll sign. Just to get things moving, baby. VANESSA Listen, Mr. Powers, I look forward to working with you, but do me a favor and stop calling me baby. You can address me as Agent Kensington. We have to leave immediately. We've preserved your private jet just as you left it. It's waiting at Heathrow Airport. AUSTIN -LRB- excited. -RRB- My jumbo jet? Smashing baby.",
"EXT. PLANE TAKING OFF - DAY We see a plane taking off in silhouette.",
"EXT. PLANE IN FLIGHT - DAY A multi - colored psychedelic jumbo jet with Austin's logo on the tailpiece.",
"INT. PRIVATE PSYCHEDELIC JET The inside looks like Hugh Heffner's jet & emdash ; rust shag carpet, brown walls, and beads. Austin and Vanessa sit on beanbag chairs. Vanessa works on her lap top. AUSTIN Pretty groovy Jumbo Jet, eh? How does a hot chick like you end up working at the Ministry of Defense? VANESSA I went to Oxford and excelled in several subjects, but I ended up specializing in foreign languages. I wanted to travel - see the world. In my last year I was accepted into the M.O.D. in the Cultural Studies sector. I thought I was off on an exciting career, but my job was to read everything printed in every country. It's very boring. My whole day is spent reading wedding announcements in Farsi. If I do well with this case, I finally get promoted to field operative. AUSTIN That's fascinating, Vanessa. Listen, why do n't we go into the back and shag? VANESSA I beg your pardon? AUSTIN I've been frozen for thirty years, man, I want to see if my bits and pieces are still working. VANESSA Excuse me? AUSTIN My wedding tackle. VANESSA I'm sorry? AUSTIN My meat and two veg. VANESSA Mr. Powers, please. I know that you must be a little confused, but we have a very serious situation at hand. I would appreciate it if you'd concentrate on our mission and give your libido a rest. AUSTIN Have you ever made love to a Chigro? VANESSA A Chigro? AUSTIN You know, a Chigro & emdash ; part Chinese, part Negro & emdash ; Chigro. VANESSA -LRB- offended. -RRB- We do n't use the term ` Negro' anymore. It's considered offensive. AUSTIN That's right. You're supposed to say ` colored' now, right? -LRB- spotting the flight attendants. -RRB- Here's the stewardesses! Bring on the sexy stews! The STEWARDESSES enter. They're not dressed very sexily. One of them is a man and another wears braces. FLIGHT ATTENDANT Excuse me, did you say ` stewardess'? We're called ` flight attendants' now, thank you very much. AUSTIN Oh, I get it, it's like ` I'm not a whore, I'm a sex worker', baby. FLIGHT ATTENDANT My name is Mrs. Wilkenson. There are a few things we need to discuss. First of all, we're not wearing these. She holds up some skimpy, lingerie - type flight outfits. FLIGHT ATTENDANT ALSO, I HAVE SOME QUESTIONS ABOUT THE ITINERARY. IT SAYS HERE,' 4:30 - DINNER, 5:30 - Everyone Gets Naked and Covered with Baby Oil, 6:00 - Orgy'? AUSTIN Seems pretty straightforward, do n't you think. listen darling, I think you're a fabulous bird. Can I get your telephone number? FLGHT ATTENDANT -LRB- mock sexy. -RRB- Sure, it's easy to remember. -LRB- writing on his hand. -RRB- It's 777 - FILM. We have to prepare the craft for take - off now. AUSTIN Smashing! When we land I'll give you a tinkle on the telling bone. The flight attendant gives him a chilly stare and then exits. AUSTIN Brrrr! She must be frigid. There's two things I know about life : one, Americans will never take to soccer. Two, Swedish girls and stewardesses love to shag! They're shag - mad, man! Let me ask you a question, Vanessa, and be honest. VANESSA Sure. AUSTIN Do I make you horny? VANESSA What? AUSTIN Do I make you horny? Randy, you know. To you, am I eros manifest? VANESSA I hope this is part of the unfreezing process. AUSTIN Listen, Vanessa, I'm a swinger & emdash ; that's what I do, I swing. VANESSA I understand that, Mr. Powers, but let me be perfectly clear with you, perhaps to the point of being insulting. I will never have sex with you, ever. If you were the last man on Earth and I was the last woman on Earth, and the future of the human race depended on our having sex simply for procreation, I still would not have sex with you. Austin is oblivious. AUSTIN What's you point, Vanessa?",
"EXT. PLANE IN FLIGHT - NIGHT Austin's plane. Time has passed. IINT. PRIVATE JET - NIGHT Vanessa's lap - top BEEPS. COMPUTER VOICE You've got mail! ANGLE ON : the computer screen. It's Basil Exposition. BASIL EXPOSITION Hello Austin. Hello Vanessa. This is Basil Exposition, from British Intelligence. There's a company in Las Vegas called Virtucon that we think may be linked to Dr. Evil. Many of the Virtucon executives gamble at the hotel/casino where you'll be staying. That's the first place you should look. Well, I'm off to the chat rooms. AUSTIN Thank you, Exposition. BASIL EXPOSITION Oh, and Austin & emdash ; AUSTIN Yes? BASIL EXPOSITION Be careful. Vanessa closes her lap - top. PILOT -LRB- over loudspeaker. -RRB- Ladies and gentlemen, we're beginning our final descent into Las Vegas International Airport. Flight attendants will be coming by to collect your drinks, and I'll ask you at this time to please return to the main cabin and put your bean - bags in the upright position. Austin and Vanessa fasten the seatbelts on their bean bags.",
"EXT. AIRPLANE LANDING - NIGHT We see a plane's lights landing at night.",
"INT. PSYCHEDELIC SCENE BREAK MUSIC : Psychedelic Wa - wa Pedal Funky Drummer Beat TITLE GRAPHIC : The Trip Using a sequence of snap - zooms, colored projections, and flashing lights, we see Austin dance crazily à la BOB FOSSE with a GO - GO GIRL in a bikini with the Austin Powers logo body - painted on her midriff. The sequence lasts five seconds and is very groovy.",
"EXT. LAS VEGAS MONTAGE - NIGHT Sights and sounds of Las Vegas icons at night : `` Welcome to Las Vegas'' sign. Luxor. The giant cowboy whose arm waves. Caesar's Palace. The montage ends on the modern skyline of Las Vegas. GRAPHIC : 1997, SOMEWHERE IN NEVADA",
"INT. DR. EVIL'S PRIVATE QUARTERS DR. EVIL -LRB- face again unseen. -RRB- Ladies and Gentlemen, it's been a long time, but I'm back. It's all gone perfectly to plan except for one small flaw. Because of a technical error, my right arm was not frozen. I was therefore by definition only partially frozen. ANGLE ON EVIL ASSOCIATE MUSTAFA. He is terrified and sweaty, eyes darting left and right. MUSTAFA But my design was perfect! Your autonomic functions were shut down, and even though your arm was n't frozen, the aging was retarded, therefore your right arm is only slightly older than the left. DR. EVIL Ca n't you see I'm only half a man? Look at me, I'm a freak! He holds up his older right arm, which looks normal. MUSTAFA But Dr. Evil, all you need to do is & emdash ;. -LRB- holding up tennis ball. -RRB- - work with this tennis ball. Squeeze it for twenty minutes a day. A few months of that and it'll be just as strong as the other arm. DR. EVIL And look what you've done to Mr. Bigglesworth! ANGLE ON MR. BIGGLESWORTH who is now totally hairless, with a fringe of white hair around it's ears, like Dr. Evil himself. MUSTAFA We could not anticipate feline complications due to the reanimation process & emdash ; DR. EVIL -LRB- face unseen. -RRB- Silence! ANGLE ON A HAND WITH DR. EVIL'S RING ON IT Dr. Evil presses a button. Mustafa's chair tips back and he falls backwards into a pit. MUSTAFA -LRB- blood - curdling scream. -RRB- Ahhhhhhhhh! DR. EVIL -LRB- face unseen. -RRB- Let this be a reminder to you all that this organization will not tolerate failure. MUSTAFA'S SCREAMS ECHO FAINTLY ANGLE ON : DR. EVIL FOR THE FIRST TIME. HE IS IN HIS EARLY FIFTIES AND IS BALD, WITH A HIDEOUS scar on his cheek. DR. EVIL Gentlemen, let's get down to business. More muffled SCREAMS. DR. EVIL We've got a lot of work to do. MUSTAFA -LRB- O.S. -RRB- -LRB- muffled. -RRB- Someone help me! I'm still alive, only I'm very badly burned. DR. EVIL -LRB- slightly distracted. -RRB- Some of you I know, some of you I'm meeting for the first time. MUSTAFA -LRB- O.S. -RRB- -LRB- muffled. -RRB- Hello up there! Anyone! Can someone call an ambulance? I'm in quite a lot of pain. DR. EVIL -LRB- very frustrated. -RRB- You've all been gathered here to form my Evil Cabinet. Excuse me. He picks up a white phone and MURMURS into it. MUSTAFA -LRB- O.S. -RRB- -LRB- muffled. -RRB- If somebody can open the retrieval hatch down here, I could get out. See, I designed this device myself and. oh, hi! Good, I'm glad you found me. Listen, I'm very badly burned, so if you could just & emdash ; SFX : Muffled Gunshot MUSTAFA -LRB- O.S. -RRB- -LRB- muffled. -RRB- Ow! You shot me! DR. EVIL Right. Okay. Moving on. MUSTAFA -LRB- O.S. -RRB- -LRB- muffled. -RRB- You shot me right in the arm! Why did & emdash ; SFX : Muffled Gunshot. Dr. Evil waits. Nothing. DR. EVIL Let me go around the table and introduce everyone. Frau Farbissina. ANGLE ON FRAU FARBISSINA DR. EVIL founder of the militant wing of the Salvation Army. Random Task. RANDOM TASK is a large Korean man in a butler's uniform. DR. EVIL a Korean ex - wrestler, evil handyman extraordinaire. Show them what you do. He stands up, bows, then takes off his shoe and THROWS it. It knocks the head off a sculpture across the room. DR. EVIL Thank you, Random Task. Patty O'Brien. PATTY O'BRIEN, a small, wiry Irishman with fiery eyes. DR. EVIL ex - Irish assassin. His trademark? Around PATTY O'BRIENS WRIST is a charm bracelet. DR. EVIL A superstitious man, he leaves a tiny keepsake on every victim he kills. Scotland Yard would love to get their hands on that piece of evidence. PATTY O'BRIEN -LRB- heavy Irish accent. -RRB- Yes, they're always after me lucky charms! Everyone in the room tries to keep a straight face. PATTY O'BRIEN What? What? Why does everyone always laugh when I say that? They are after me lucky charms. They can not contain their LAUGHTER. PATTY O'BRIEN -LRB- angry. -RRB- What? FRAU FARBISSINA -LRB- through suppressed laughter. -RRB- It's a television commercial with this little cartoon Leprechaun who is a benevolent imp who is very concerned that these children will steal his lucky charms which are foodstuffs fashioned into various shapes & emdash ; hearts, moons, clovers, what have you. -LRB- pause. -RRB- It's a long story. DR. EVIL Finally, I come to my number two man. His name : Number Two. NUMBER TWO, a good - looking 40 - year - old man with an eye - patch. DR. EVIL For thirty years, Number Two has run Virtucon, the legitimate face of my evil empire. He hits a button. The conference table slowly rotates to reveal a large, illuminated map of the United States dotted by various miniature models. NUMBER TWO Over the last thirty years, Virtucon has grown by leaps and bounds. About fifteen years ago, we changed from volatile chemicals to the communication industry. We own cable companies in thirty - eight states. The thirty - eight states illuminate on the map. NUMBER TWO In addition to our cable holdings, we own a steel mill in Cleveland. A steel mill miniature illuminates in Cleveland. NUMBER TWO Shipping in Texas. A ship off the coast of Texas illuminates. NUMBER TWO Oil refineries in Seattle. An oil refinery illuminates in Seattle. NUMBER TWO And a factory in Chicago that makes miniature models of factories. The miniature model factory lights up in Chicago. NUMBER TWO We also own the Franklin mint, which makes decorative hand - painted theme plates for collectors. -LRB- holds up plate. -RRB- Some plates, like the Gone With The Wind series, have gone up in value as much as two - hundred and forty percent, but, as with any investment, there is some risk involved. DR. EVIL Gentlemen, I have a plan. It's called blackmail. The Royal Family of Britain are the wealthiest landowners in the world. Either the Royal Family pays us an exorbitant amount of money, or we make it look like Prince Charles, the heir to the throne, has had an affair outside of marriage and, therefore, they would have to divorce. There is an uncomfortable silence. NUMBER TWO Um, Dr. Evil, Prince Charles did have an affair. He admitted it, and they are now divorced, actually. DR. EVIL People have to tell me these things. I've been frozen for thirty years, throw me a bone here. -LRB- pausing. -RRB- OK, no problem. Here's my second plan. Back in the Sixties I had a weather changing machine that was in essence a sophisticated heat beam which we called a `` laser.'' Using this laser, we punch a hole in the protective layer around the Earth, which we scientists call the `` Ozone Layer.'' Slowly but surely, ultraviolet rays would pour in, increasing the risk of skin cancer. That is, unless the world pays us a hefty ransom. There is another uncomfortable silence. NUMBER TWO Umm, that also has already happened. DR. EVIL Right. -LRB- pause. -RRB- Oh, hell, let's just do what we always do. Let's hijack some nuclear weapons and hold the world hostage. -LRB- pause. -RRB- Gentlemen, it's come to my attention that a breakaway Russian Republic called Kreplachistan will be transferring a nuclear warhead to the United Nations in a few days. Here's the plan. We get the warhead, and we hold the world ransom. -LRB- dramatic pause. -RRB-. FOR ONE MILLION DOLLARS! There is an uncomfortable pause. NUMBER TWO Do n't you think we should ask for more than a million dollars? A million dollars is n't that much money these days. DR. EVIL All right then. -LRB- dramatic pause. -RRB-. FIVE MILLION DOLLARS! There is another uncomfortable pause. NUMBER TWO Virtucon alone makes over nine billion dollars a year. DR. EVIL -LRB- pleasantly surprised. -RRB- Oh, really? -LRB- slightly irritated. -RRB- One - hundred billion dollars. -LRB- pause. -RRB- OK, make it happen. Anything else? FRAU FARBISSINA Remember when we froze your semen, you said that if it looked like you were n't coming back to try and make you a son so that a part of you would live forever? DR. EVIL Yes. FRAU FARBISSINA Well, after a few years, we got sort of impatient. Dr. Evil, I want you to meet your son. DR. EVIL My son? FRAU FARBISSINA Yes. -LRB- calling out. -RRB- Scott! SCOTT EVIL walks out. He is fifteen, grungy, and wears a Kurt Cobain T - shirt. SCOTT EVIL Hi. DR. EVIL Hello, Scott. I'm your father, Dr. Evil. -LRB- emotional. -RRB- I have a son! I have a son! Everyone, I have a son! -LRB- gesturing to globe. -RRB- Someday, Scott, this will all be yours. SCOTT EVIL I have n't seen you my whole life and now you show up and want a relationship? I hate you!",
"EXT. JAGUAR - DRIVING - VEGAS - DAY Vanessa and Austin drive in his perfectly - preserved Jag. AUSTIN You've preserved my Jag! Smashing! VANESSA Yes, we've had it retrofitted with a secure cellular phone, an on - board computer, and a Global Geosynchronous Positioning Device. Oh, and finally, this. The glove compartment revolves to reveal a display of various dental hygiene products & emdash ; floss, toothpaste, toothbrush, dental mirror, and cleaning tool. AUSTIN Let me guess. The floss is garotte wire, the toothpaste contains plastic explosives, and the toothbrush is the detonation device. VANESSA No, actually. I do n't know how to put this really. Well, there have been fabulous advances in the field of dentistry. AUSTIN Why? What's wrong with my teeth?",
"EXT. VEGAS HOTEL - NIGHT The Union Jack - emblazoned Jaguar pulls up to the front door.",
"INT. VEGAS HOTEL ROOM Vanessa carries her compact flight attendant bag and Austin takes his two bright red oversized leatherette Samsonite suitcases. AUSITN Which side of the bed do you want? VANESSA You're going to sleep on the sofa. I'd like to remind you, Mr. Powers, that the only reason we're sharing a room is to support our cover story that we're a married couple on vacation. AUSTIN So, shall we shag now, or shall we shag later? How do you like to do it? Do you like to wash up first? Top and tails? A whore's bath? Personally, before I'm on the job, I like to give my undercarriage a bit of a how's - your - father. AUSTIN -LRB- off her angry reaction. -RRB- I'm just joking, Vanessa. Trying to get a rise out of you. They both laugh. VANESSA Let's unpack. HER LUGGAGE : In the inside flap is a types list of contents. All of her items are in separate, labeled plastic bags. AUSTIN Gor blimey, nerd alert. HIS LUGGAGE : He pulls out a Nehru jacket and a huge Remington shaver with huge English plug. HER LUGGAGE : She pulls out a compact clothes steamer/travel iron and a Braun blow drier. HIS LUGGAGE : He pulls out a vintage 1967 Playboy and a bottle of Jurgens lotion. HER LUGGAGE : She pulls out Wet - Naps, her underthings in a plastic baggie marked `` Underthings'' and her shoes in a baggie marked `` Shoes.'' HIS LUGGAGE : He pulls out a miniature meditation gong and Hai Karate cologne. HER LUGGAGE : She pulls out a dossier labeled `` Dr. Evil - Top Secret.'' HIS LUGGAGE : He pulls out the Swedish penis enlarger pump. Vanessa sees it. AUSTIN Hey, who put this in here? Someone's playing a prank on me! Honestly, this is n't mine. VANESSA -LRB- suffering. -RRB- I'm sure. AUSTIN I think I'll give that stew a ding - a - ling. Austin casually dials the phone while looking at his palm. After a beat we hear a loud MALE VOICE coming through the handset. MOVIE PHONE VOICE -LRB- through handset. -RRB- Hello! And welcome to 777 - FILM! Austin covers the mouthpiece and whispers to Vanessa. AUSTIN I got her answering machine.",
"INT. CASINO Austin and Vanessa walk through the casino. Austin gives PEOPLE two - handed handshakes. They stare like he's a freak. AUSTIN I love Las Vegas, man. Oh, I forgot my x - ray glasses. VANESSA Here, use mine. AUSTIN I'm going to use a cover name. It's important that it be a generic name so that we do n't draw attention to ourselves.",
"INT. CASINO Austin and Vanessa join the high - rollers table. Number Two is there, complete with eyepatch. On one side of him is a beautiful ITALIAN WOMAN -LRB- a la SOPHIA LOREN -RRB- in a white dress with a white kerchief on her head. On the other side of him is an extremely large - breasted BIMBO. AUSTIN Do you mind if I join you? NUMBER TWO Not at all. The DEALER deals. DEALER Seventeen. Zoom in on Number Two's eyepatch. NUMBER TWO'S MONOCULAR POV GRAPHIC : `` X - RAY EYEPATCH''. We see everyone at the casino in their underwear. He looks at the next card in the shoe. It is a 4. NUMBER TWO Hit me. DEALER You have seventeen, sir. The book says not to, sir. NUMBER TWO I like to live dangerously. The dealer draws a card from the card shoe. DEALER Four. Twenty - one. Everyone at the table applauds. The dealer deals to Austin and Number Two. DEALER -LRB- to Austin. -RRB- Eighteen. -LRB- to Number Two. -RRB- Sixteen. NUMBER TWO'S POV GRAPHIC : `` X - RAY EYEPATCH''. He looks at the shoe at the shoe and sees that the next card is a ten. NUMBER TWO I'll stay. DEALER -LRB- to Austin. -RRB- Sir? Smugly, Austin puts on Vanessa's x - ray glasses. AUSTIN'S POV GRAPHIC : `` X - RAY SPECS''. Everyone is in their underwear, but it is completely blurry. DEALER -LRB- to Austin. -RRB- Sir? VANESSA -LRB- quietly. -RRB- What's wrong? AUSTIN -LRB- quietly, to Vanessa. -RRB- I ca n't see a bloody thing. VANESSA Oh, I forgot to tell you, they're prescription X - ray glasses. I have very bad astigmatism. DEALER Sir, the table is waiting. AUSTIN -LRB- panicking. -RRB- Uh, hit me. The table MURMURS. DEALER On an eighteen, sir? AUSTIN Yes, I also like to live dangerously. The dealer deals him the ten. NUMBER TWO You're very brave. AUSTIN Cards are not my bag, man. Allow myself to introduce. myself. My name is Ritchie Cunningham. Vanessa is mortified. AUSTIN -LRB- indicating Vanessa. -RRB- This is my wife, Enid. NUMBER TWO My name is Number Two. He extends his hand to shake. Austin extends his hand, but misses and begins to shake the bimbo's breast. There is an awkward pause. Austin takes off his glasses. VANESSA -LRB- rescuing him. -RRB- Number Two? That's an unusual name. NUMBER TWO My parents were hippies. -LRB- indicating Italian woman. -RRB- This is my Italian confidential secretary. ITALIAN WOMAN -LRB- Italian accent. -RRB- My name is Alotta. -LRB- quickly. -RRB- Alotta Fagina. AUSTIN I'm sorry, I'm just not getting it. It sounds like you're saying your name is a lot of. never mind. Listen, cats, I'm going to crash. It's been a gas. NUMBER TWO Bye - bye, Mr. Cunningham? AUSTIN Peace, baby. Austin and Vanessa leave.",
"INT. CASINO VANESSA Why did you leave so soon? AUSTIN That cat Number Two has an X - ray eyepatch. I get bad vibes from him, man. Listen, we should go back to the room, but first I have to go to the naughty chair and see a man about a dog. He heads to the rest room.",
"INT. HIGH ROLLERS TABLE - CASINO Number Two has been watching them. He presses a BUTTON.",
"INT. BATHROOM - CASINO Austin enters to see a gregarious TEXAN in a huge cowboy hat. Austin enters a stall. The Texan enters the adjoining stall. TEXAN Good luck, buddy. You do n't buy food, you rent it. AUSTIN Too right, youth.",
"INT. BATHROOM STALL Austin sits down. Behind him, a panel SLIDES OPEN, revealing Patty O'Brien. His charm bracelet JINGLES. Austin looks back. Patty's bracelet is now garotte wire. He wraps it around Austin's throat. Austin gets his thumbs between the wire and certain death. AUSTIN -LRB- grunting. -RRB- Uh, uh!",
"INT. TEXAN'S STALL The Texan can only see Austin's feet, which are moving about frantically. He can hear the GRUNTING. TEXAN Hey pardner, just relax, do n't force it! Use some creative visualization.",
"INT. AUSTIN'S STALL Austin GRUNTS and snaps his head back into Patty O'Brien's crotch. Patty O'Brien GROANS in agony. PATTY O'BRIEN -LRB- groaning. -RRB- Ughhhhh. Austin breaks free of the charm bracelet/garotte, grabs Patty O'Brien's head, and pulls it between his legs so that it hovers above the toilet bowl. AUSTIN Who does Number Two work for?",
"INT. TEXAN'S STALL TEXAN That's right! Show that turd who's boss!",
"INT. AUSITN'S STALL AUSTIN Who does Number Two work for? PATTY O'BRIEN -LRB- quietly, straining. -RRB- Go to hell. Austin drops Patty's head into the toilet and FLUSHES. We hear MUFFLED GURGLING SOUNDS from Patty O'Brien.",
"INT. TEXAN'S STALL The Texan hears all of this, and is now concerned.",
"INT. AUSTIN'S STALL Austin reaches into Patty O'Brien's wallet. We see his Dr. Evil ID card and Alotta's Virtucon business card with her address.",
"INT. BATHROOM Austin is leaving his stall. The Texan can see Patty O'Brien's dead body head - first in the toilet. TEXAN Jesus Christ, what did you eat? ANGLE ON THE FLOOR OF AUSTIN'S STALL Patty O'Brien's lifeless hand hits the floor. The charms come tumbling out : a heart, a moon, a star, and a clover. A second later, a blue diamond falls out.",
"INT. PSYCHEDELIC SCENE BREAK MUSIC : Psychedelic Wa - wa Pedal Funky Drummer Beat TITLE GRAPHIC : Love Power Austin and the go - go girl dance crazily.",
"EXT. VEGAS HOTEL - MORNING",
"INT. HOTEL SUITE - DAY Vanessa is on the phone on the bed sifting through photos and files on Dr. Evil, Virtucon, etc.. In the background, through an open door, we see that Austin is asleep on the couch. VANESSA -LRB- into phone. -RRB- Hello Mum?",
"INT. MRS. KENSINGTON'S HOUSE - LONDON An older Mrs. Kensington sits in her suburban English front room. MRS. KENSINGTON -LRB- on phone. -RRB- Oh, hello Vanessa. How was the flight? VANESSA -LRB- V.O. -RRB- Great. MRS. KENSINGTON How's Austin? VANESSA -LRB- V.O. -RRB- He's asleep. MRS. KENSINGTON You did n't.",
"INT. HOTEL SUITE VANESSA Oh, God no, I made him sleep on the couch. In the background, we see Austin get off the couch. He is very naked and very hairy. A strategically placed vase of flowers blocks his naughty bits from view. MRS. KENSINGTON -LRB- V.O. -RRB- I'm proud of you. VANESSA Why? MRS. KENSINGTON -LRB- V.O. -RRB- Because you managed to resist Austin Power's charms. Austin moves towards the bathroom away from the flowers. Right in the nick of time, Vanessa holds up a photo of Number Two and looks at it, blocking his naughty parts. VANESSA Well, God knows he tried, but I've been rather firm with him, Mummy. You did n't tell me he was so obsessed with sex. It's bizarre. MRS. KENSINGTON -LRB- V.O. -RRB- You ca n't judge him by modern standards. He's very much a product of his times. In my day he could have any woman he wanted. VANESSA What about his teeth? SPLIT SCREEN - HOTEL ROOM/MRS. KENSINGTON'S HOUSE MRS. KENSINGTON You have to understand, in Britain in the Sixties you could be a sex symbol and still have bad teeth. It did n't matter. VANESSA I just do n't see it. MRS. KENSINGTON Just wait. Once Austin gets you in his charms, it's impossible to get out. VANESSA Did you ever. MRS. KENSINGTON Of course not. I was married to your father. VANESSA Did you ever want to? MRS. KENSINGTON Austin is very charming, very debonair. He's handsome, witty, has a knowledge of fine wines, sophisticated, a world - renowned photographer. Women want hin, men want to be him. He's a lover of love & emdash ; every bit an International Man of Mystery. We hear the TOILET FLUSH. Mrs. Kensington WIPES off the screen. Austin re - enters from left to right, still NAKED. Vanessa holds up Austin's Fab Magazine shoot from the Sixties, and in perfect timing blocks his crotch from the camera. VANESSA You did n't answer my question, Mum. MRS. KENSINGTON -LRB- V.O. -RRB- I know. Let me just say this : Austin was the most loyal and caring friend I ever had. I will always love him. AUSTIN -LRB- V.O. -RRB- Good morning, luv, who are you on the phone with? VANESSA -LRB- to her mother. -RRB- Do you want to talk to him? MRS. KENSINGTON -LRB- V.O. -RRB- No, it's been too long. Best to leave things alone. VANESSA -LRB- to Austin. -RRB- I'm on with a friend! -LRB- to her mother. -RRB- Look, I'd better go. I love you. MRS. KENSINGTON -LRB- V.O. -RRB- I love you, Vanessa. Vanessa hangs up. Austin enters wearing an `` Austin Powers'' robe. AUSTIN Good morning, Vanessa! I hope you have on clean underwear. VANESSA Why? AUSTIN We've got a doctor's appointment & emdash ; an evil doctor's appointment.",
"EXT. VIRTUCON MAIN ENTRANCE - DRIVEWAY - DAY THROUGH BINOCULAR POV CUT - OUTS We see a black limousine pull up in front. Random Task and another BODYGUARD exit the limo and secure the area.",
"EXT. LAS VEGAS - BUSHES We see that the binoculars belong to Vanessa. She and Austin are on a stakeout. Austin's Jag is in the background. VANESSA A limousine has just pulled up. AUSTIN Let me see. Austin pulls into frame an extremely long telephoto lens attached to his vintage camera.",
"EXT. VIRTUCON MAIN ENTRANCE TELEPHOTO LENS POV Two more BODYGUARDS leave the building and approach the limo. Number Two exits the building holding Mr. Bigglesworth, the hairless cat. He's not happy about this, and has a scratch on his cheek. FREEZE FRAME. SFX : Camera motor drive.",
"EXT. BUSHES AUSTIN Hello, hello. That's Dr. Evil's cat. VANESSA How do you know? AUSTIN I never forget a pussy. cat.",
"EXT. FRONT ENTRANCE TELEPHOTO LENS POV Number Two hands the hairless cat through limo's window. FREEZE FRAME. SFX : Camera motor drive. The limousine speeds off.",
"EXT. BUSHES VANESSA Let's go get him! AUSTIN He's too well - protected right now. VANESSA We ca n't just sit here, Austin. AUSTIN Let me tell you a story. There's these two bulls on top of a hill checking out some foxy cows in the meadow below. The young bull says, ` hey, why do n't we run down the hill and shag us a cow?', and the wise old bull replies, ` no, why do n't we walk down the hill and shag all the cows?' VANESSA I do n't get it. AUSTIN Well, you know. cows, and shagging. VANESSA Unfortunately, while you told that stupid story, Dr. Evil has escaped. AUSTIN No worries, luv. We'll just give Basil a tinkle on the telling bone. He notices the way the desert light catches her beauty. AUSTIN My God, Vanessa, you are so incredibly beautiful. Stay right where you are. Austin changes lenses and begins SNAPPING PICTURES. VANESSA I hate having my picture taken. AUSTIN You're crazy. The camera loves you, Vanessa. Vanessa does a few coy poses. AUSTIN Go, Vanessa, go! Vanessa lets go a little bit more. WHITE CYC Austin and Vanessa are in the midst of a full professional photo shoot, and she's loving it. Austin begins SNAPPING pictures, all the while changing her look, touching her hair. AUSTIN Alright, luv! Love it! Turn. pout for me Vanessa. Smashing! Crazy. Give me some shoulder. -LRB- pause. -RRB- Yes! Yes! Yes! He motions to her two top buttons of her blouse. She nods no. Austin nods yes. She sheepishly undoes them. A MONTAGE of her in various gowns, one more exotic and exciting than the other. AUSTIN Show me love. Yes! -LRB- beat. -RRB- Smashing! Vanessa is flanked by two buff MALE MODELS à la Madonna. AUSTIN Great! Great! Smashing! -LRB- beat. -RRB- Yes! Yes! Yes! -LRB- beat. -RRB- No! No! Love it. Give me love. Give me mouth. Give me lips. -LRB- BEAT. -RRB- Going in very close now. He goes in closer. AUSTIN Give me eyes. -LRB- closer. -RRB- Give me cornea. -LRB- closer. -RRB- Give me aqueous humour. -LRB- closer. -RRB- Coming in closer. Give me retina, Vanessa. -LRB- closer. -RRB- Even closer. Give me optic nerve. -LRB- beat. -RRB- Love it! -LRB- beat. -RRB- And. done. He throws the camera down. AUSTIN I'm spent. What say you we go out on the town?",
"EXT. LAS VEGAS STREET - BUS - NIGHT Austin and Vanessa are on the top deck of an open air double - decker English bus having a full - course formal dinner. They're drinking champagne. Austin is cutting sausages into ever - smaller pieces, holding his cutlery very English. He has cut one piece to the point to which it's a speck. H puts it on the fork and offers it to her. AUSTIN Fancy a nibble? VANESSA I could n't have another bite. They laugh. They drink. It's TOM JONES, serenading them. They begin to dance. Austin gives her roses. Austin is wooing her.",
"EXT. LAS VEGAS STREET - NIGHT They walk along the brightly - lit streets, laughing, enjoying each other's company. Austin gives Vanessa a pet rock. She graciously accepts. LAS VEGAS - SUPERIMPOSITION MONTAGE Austin and Vanessa stroll against a changing series of backgrounds & emdash ; neon signs, Vegas icons, dice showgirls, etc..",
"INT. HOTEL ROOM Sounds of MOANS and GROANS. We see Austin's backside sticking out above a piece of furniture, then Vanessa's high - heeled leg straining upwards. VANESSA -LRB- O.S. -RRB- Watch out, you're on my hair! AUSTIN -LRB- O.S. -RRB- Sorry. Move your hand to the left. There you go. Gorgeous. VANESSA -LRB- O.S. -RRB- Go! Just go! We hear a SPINNING SOUND. AUSTIN -LRB- O.S. -RRB- Left hand, blue. We now see that Austin and Vanessa are playing TWISTER. She reaches for left hand blue and they fall over, laughing. AUSTIN Wait a tick, I forgot something in the lobby. -LRB- moving behind the couch. -RRB- I know what. I'll take the stairs. Behind the couch, Austin mimes going down stairs. AUSTIN Maybe I'll take the escalator. Austin mimes the smooth descent of an escalator. AUSTIN Why take the escalator when I could take a canoe? Austin mimes rowing a canoe behind the couch. VANESSA I have n't had fun like that since college. AUSTIN I'm sorry. VANESSA Why? AUSTIN I'm sorry that bug up your ass had to die. She laughs too much, making a SNORTING sound. VANESSA Always wanting to have fun, that's you in a nutshell. AUSTIN No, this is me in a nutshell. Austin mimes being trapped in a nutshell. AUSTIN Help! I'm in a nutshell! What kind of nut has such a big nutshell? How did I get into this bloody great big nutshell? Vanessa laughs again, SNORTING, tipsy. AUSTIN You're smashed, Vanessa. VANESSA I am not. AUSTIN Oh, yes you are. VANESSA I'm not. I'm the sensible one. I'm always the designated driver. They are both on the bed. She looks at him. He looks at her. There is an awkward silence. She's about to kiss him, then he pulls away. AUSTIN I ca n't. You're drunk. VANESSA It's not that I'm drunk, I'm just beginning to see what my Mum was talking about. -LRB- pause. -RRB- What was my mother like back in the Sixties? I'm dying to know. AUSTIN -LRB- sentimental. -RRB- She was very groovy. She was so in love with your Dad. If there was one other cat in this world that could have loved your Mum and treated her as well as you Dad did, it was me. But, unfortunately for yours truly, that train has sailed. Austin hears SNORING. He looks over and sees Vanessa asleep. A distinctive PHONE RINGS and a RED LIGHT FLASHES. Austin opens one of his funky suitcases to reveal a PICTURE PHONE. It's Basil Exposition, on an airplane. BASIL EXPOSITION -LRB- on the picture phone. -RRB- Hello, Austin, this is Basil Exposition from British Intelligence. Thank you for confirming the link between Dr. Evil and Virtucon. Find out what part Virtucon plays in something called Project Vulcan. I'll need you and Vanessa to get on that immediately. AUSTIN Right away, Exposition. BASIL EXPOSITION Where is Vanessa, by the way? Austin looks over at Vanessa's sleeping figure. AUSTIN She's working on another lead right now. BASIL EXPOSITION Then you'll have to go it alone. Good luck. AUSTIN Thank you, Basil. BASIL EXPOSITION Oh, and Austin & emdash ; AUSTIN -LRB- knowing. -RRB- Yes? BASIL EXPOSITION Let me remind you that because of the unfreezing process you might experience flatulence at moments of extreme relaxation. AUSTIN Oh, yes. Thank you. BASIL EXPOSITION There's one more thing, Austin. AUSTIN Yes? BASIL EXPOSITION Be careful. AUSTIN Thank you. Austin looks at Alotta's Virtucon business card.",
"INT. ALOTTA'S JAPANESE STYLE PENTHOUSE Austin is in a dark penthouse suite. Austin passes a piece of art that is very suggestive of the female anatomy. AUSTIN Paging Dr. Freud. He goes over to a credenza where there is a briefcase. He opens it. FULL SCREEN - DOCUMENT Austin's photographing the dossier with his miniature camera/pendant. AUSTIN -LRB- photographing. -RRB- Give it to me baby. Super. We now see that the document outlines all of Virtucon's holdings in a flow - chart fashion. AUSTIN Pout for me, luv. Smashing. Yes! Yes! Yes! No! No! One side of the chart is labeled `` Secret Projects.'' Under that we see `` Human Organ Trafficking'', `` Carrot Top Movie'', and in CLOSE - UP & emdash ; `` Project Vulcan.'' We see schematics for some sort of subterranean probe and a cross - section of the earth labeled `` Crust, Mantel, Core.'' AUSTIN And I'm spent. The front door opens. It's Alotta. AUSTIN You seem surprised to see me. ALOTTA I thought you'd quit while you were ahead. AUSTIN What, and watch all my earnings go. -LRB- smug. -RRB- Down the toilet? ALOTTA What do you want, Mr. Cunningham, was it? AUSTIN Call me Ritchie, Miss Fagina. May I call you Alotta. -LRB- pause. -RRB- Please? ALOTTA You may. AUSTIN Your boss, Number Two, I understand that cat's involved in big underground drills. ALOTTA Virtucon's main interest is in cable television, but they do have a subterranean construction division, yes. How did you know? AUSTIN -LRB- smug. -RRB- I did n't, baby, you just told me. ALOTTA It's for the mining industry, Mr. Cunningham. We can talk about business later. But first, let me slip into something more comfortable. AUSTIN Behave! MUSIC : `` The Look of Love'' by SERGIO MENDEZ AND BRAZIL 66 Alotta goes behind a Japanese screen. In silhouette she takes off her clothes and puts on a robe. She opens a pair of sliding doors to reveal an elaborate Japanese bath grotto.",
"INT. JAPANESE BATH She slips off her robe, revealing a DR. EVIL LOGO TATTOO on her shoulder, and enters the water. ALOTTA Come in. AUSTIN I'd rather talk about Number Two. ALOTTA Do n't you like girls, Mr. Cunningham? Come in, and I'll show you everything you need to know. Austin takes off his clothes. He is extremely hairy. He goes in. Alotta produces a soapy sponge and swims over. ALOTTA May I wash you? AUSTIN Groovy. She washes his back. Behind his back, she pulls out his wallet and looks through it. ANGLE ON HIS IDENTIFICATION. It reads `` AUSTIN POWERS, INTERNATIONAL MAN OF MYSTERY.'' ANGLE ON HIS VARIOUS CARDS : CHARGEX, PLAYBOY CLUB, ETC.. SHE PUTS HIS WALLET BACK IN HIS trousers. ALOTTA In Japan, men come first and women come second. AUSTIN Or sometimes not at all. ALOTTA Care for some saki? AUSTIN Sak - i it to me! Alotta pours them saki. Alotta unscrews the diamond in her ring. A sign on the inside of her ring reads `` Relaxation Pills.'' She drops two PILLS into his drink. Austin takes a sip. His eyes glaze over. He's instantly woozy. ALOTTA How do you feel, Mr. Cunningham? AUSTIN Mmmm. I feel extreme relaxation. A big BUBBLE comes to the surface, right in front of Austin. AUSTIN -LRB- reciting poem. -RRB- ` Pardon me for being rude, It was not me, it was my food. It just popped up to say hello, and now it's gone back down below.' ALOTTA That's very clever. Do you know any other poems? AUSTIN -LRB- reciting in a lofty tone. -RRB- ` Milk, milk, lemonade. Round the corner fudge is made. Stick your finger in the hole, And out comes a tootsie roll!' ALOTTA -LRB- genuinely moved. -RRB- Thank you, that's beautiful. To your health. AUSTIN To my health. ALOTTA Kiss me. They go to kiss. She notices HIS TERRIBLE TEETH, CLOSE - UP. ALOTTA Do you mind if I ask you a personal question? AUSTIN Is it about my teeth? ALOTTA Yes. AUSTIN Damn. What exactly do you do at Virtucon? ALOTTA I'll tell you all in due time, after we make love. But first, tell me another poem. AUSTIN I think it was Wordsworth who penned this little gem : ` Press the button, pull the chain, out comes a chocolate choo - choo train.' ALOTTA Oh, you're very clever. Let's make love, you silly, hairy little man. She glides over to him.",
"INT. PSYCHEDELIC SCENE BREAK MUSIC : Psychedelic Wa - wa Pedal Funky Drummer Beat GRAPHIC : The Party Austin and the go - go girl dance crazily.",
"INT. DR. EVIL'S PRIVATE QUARTERS - DAY Dr. Evil, Number Two, and Frau Farbissina sit at the large conference table. DR. EVIL Austin Powers is getting too close. He must be neutralized. Any suggestions? FRAU FARBISSINA Ya wohl & emdash ; I mean, yes wohl, Herr Doctor. I have created the ultimate weapon to defeat Austin Powers. Bring on the Fembots! MUSIC : Sexy Matt Helm - type theme THREE FEMBOTS enter. They are beautiful buxom multiracial girl/robots in Sixties clothes and white go - go boots. DR. EVIL Breathtaking, Frau. These automated strumpets are the perfect bait for the degenerate Powers. FRAU FARBISSINA These are the latest word in android replicant technology. Lethal, efficient, brutal. And no man can resist their charms. Send in the soldiers! SEVEN SOLDIERS come in. They are immediately attracted to the FEMBOTS. They throw down their guns and come to the girls zombie - like. When they get within range, guns POP out of the Fembots' bras and begin FIRING, killing the guards. DR. EVIL Quite impressive. FRAU FARBISSINA Thank you, Herr Doctor. DR. EVIL I like to see girls of that caliber. By caliber, I mean both the barrel size of their guns and the high quality of their character. Forget it. SFX : 60'S ELECTRONIC BUZZER NUMBER TWO That would be the video feed from Kreplachistan. Dr. Evil and Number Two watch a large screen. We see stock footage of a Russian warhead. We cut into a close - up of RUSSIAN SOLDIERS being taken prisoner by VIRTUCON SOLDIERS in the front of a military vehicle. DR. EVIL Gentlemen, Phase One is complete. The warhead is ours. Let Phase Two begin! Patch us through to the United Nations security secret meeting room.",
"INT. UN SECRET MEETING ROOM REPRESENTATIVES of various countries in their traditional garb around a large UN - style meeting table. The BRITISH are dressed in bowler hats. The AMERICANS all look like JFK. The CANADIANS are dressed as Mounties. The ARABS are dressed in ceremonial robes, etc.. DR. EVIL Gentlemen, my name is Dr. Evil. They all look up at the SCREEN. DR. EVIL In a little while, you'll find out that the Kreplachistani warhead has gone missing. Well, it's in safe hands. If you want it back, you'll have to pay me. ONE MILLION DOLLARS! The UN representatives are confused. Number Two COUGHS. DR. EVIL -LRB- frustrated. -RRB- Sorry. ONE - HUNDRED BILLION DOLLARS! The representatives ARGUE amongst themselves. UNITED NATIONS SECRETATY Gentlemen, silence! -LRB- to Dr. Evil. -RRB- NOW, MR. EVIL&EMDASH ; DR. EVIL -LRB- angry. -RRB- Doctor Evil! I did n't spend six years in evil medical school to be called ` mister'. UNITED NATIONS SECRETARY Excuse me. Dr. Evil, it is the policy of the United Nations not to negotiate with terrorists. DR. EVIL Fine, have it your way. Gentlemen, you have five days to come up with one hundred billion dollars. If you fail to do so, we'll set off the warhead and destroy the world. UNITED NATIONS SECRETARY You ca n't destroy the world with a single warhead. DR. EVIL Really? So long. The screen goes BLANK. DR. EVIL -LRB- to evil associates. -RRB- Gentlemen, in exactly five days from now, we will be one - hundred billion dollars richer. -LRB- laughing. -RRB- Ha - ha - ha - ha. -LRB- slightly louder. -RRB- Ha - ha - ha - ha. EVIL ASSOCIATES -LRB- laughing with him. -RRB- Ha - ha - ha - ha. DR. EVIL & ASSOCIATES -LRB- LOUDER AND MORE STACCATO. -RRB- HA - HA - HA - HA - HA! -LRB- louder again, and even more evil and maniacal. -RRB- HA - HA - HA - HA - HA - HA - HA - HA! -LRB- PAUSE. -RRB- Ohhhh, ahhhhhh. -LRB- pause, quieter. -RRB- Ohhh, hmmmm. -LRB- pause, very quiet. -RRB- hmn. There is an uncomfortable pause, because clearly we should have FADED TO BLACK. The evil associates look around the room, not knowing what to do with themselves. DR. EVIL Okay. Well. I think I'm going to watch some TV. EVIL ASSOCIATES Okay. Sure. They exit the frame awkwardly.",
"INT. BRITISH MAKESHIFT HQ Austin and Vanessa enter past two BRITISH MILITARY POLICEMAN. There is a communications center, a makeshift armory, bunks, etc.. We see Basil, dressed as the Vegas - era Elvis. AUSTIN Hello, Exposition. BASIL EXPOSITION Austin, Vanessa, let me bring you up to speed. Dr. Evil has high - jacked a nuclear warhead from Kreplachistan and is holding the world ransom for one - hundred billion dollars. If the world does n't pay up in four days, he's threatening to destroy the world. AUSTIN Thank you, Exposition. Only two things, scare me, and one is nuclear war. BASIL EXPOSITION What's the other? AUSTIN Excuse me? BASIL EXPOSITION What's the other thing you're scared of? AUSTIN Carnies. BASIL EXPOSITION What? AUSTIN Circus folk. -LRB- shudders. -RRB- Nomads, you know. They smell like cabbage. BASIL EXPOSITION -LRB- suffering him. -RRB- Indeed. If we could get back to the business at hand. It's one thing to have a warhead, it's quite another thing to have the missiles to launch it. AUSTIN Maybe these photographs are the last piece of that puzzle. -LRB- hands him the photos. -RRB- I've uncovered the details on Project Vulcan. It's a new subterranean warhead delivery system. BASIL EXPOSITION Good God, and underground missile. We've long feared such a development. VANESSA When did you find that out, Austin? BASIL EXPOSITION Austin did some reconnaissance work at Alotta Fagina's penthouse last night. VANESSA Oh. BASIL EXPOSITON Our next move is to infiltrate Virtucon. Any ideas? VANESSA Yes, Virtucon runs a tour of their facilities every hour. I suggest we pose as tourists and do site - level reconnaissance. BASIL EXPOSITION Top drawer, Kensington. Oh, Austin, I want you to meet somebody. Basil waves to an extremely frail ELDERLY BRITISH LADY. BASIL EXPOSITION Austin, this is my mother, Mrs. Exposition. She's in from Tunbridge Wells in Kent. Can you believe, she's ninety - two years old? Austin hauls off and PUNCHES the lady in the face. BASIL EXPOSITION My God, Austin, what have you done? AUSTIN That's not your mother, that's a man! Austin begins tugging on her hair. MRS. EXPOSITION Owww. my hair! BASIL EXPOSITION Get away from my mother! VANESSA Austin, have you gone mad? The two guards come over and help Mrs. Exposition to a cot. MRS. EXPOSITION -LRB- through pain. -RRB- Who is that man? Why did he hit me? BASIL EXPOSIION Do n't worry, mother. Lie down. Austin, you have a lot of explaining to do. AUSTIN I'm sorry, Basil, I thought she was a man. BASIL EXPOSITION Damn it, man! You're talking about my mother! AUSTIN You must admit, she is rather mannish. No offense, but if that's a woman, it looks like she's been beaten with an ugly stick. VANESSA Really, Austin! AUSTIN Look at her hands, baby! Those are carpenter's hands. BASIL EXPOSITION All right, Austin, I think you should go. AUSTIN I think if everyone were honest, they'd confess that the lady looks exactly like a man in drag. BASIL EXPOSITION I'm leaving! -LRB- pause. -RRB- Oh, and Austin? AUSTIN Yes, Basil? BASIL EXPOSITION Be careful. AUSTIN Thanks. Basil escorts his mother out. VANESSA Austin, may I have a word with you? AUSTIN Of course, luv. VANESSA Listen, I know I'm just being neurotic, but I ca n't shake this suspicious feeling about that Italian secretary, Ms. Fagina. I mean, I do n't want to sound paranoid, but I've had some bad relationships in the past, and I have some jealousy issues. You went to her penthouse. It makes me feel so small to give into these insecurities, but I ca n't help but feel this weird, irrational, unfocused. well, jealousy. I'm sorry. AUSTIN Do n't be sorry. You're right to be suspicious. I shagged her. I shagged her rotten. VANESSA -LRB- stunned. -RRB- I ca n't believe you made love to her just like that. Did you use protection? AUSTIN Of course, I had my nine - millimeter automatic. VANESSA No, did you use a condom? AUSTIN Only sailors use condoms, man. VANESSA Not in the Nineties. AUSTIN Well they should, filthy beggars, they go from port to port. Alotta meant nothing to me. VANESSA -LRB- pause. -RRB- Well, it means something to me. If you want us to have a relationship, you've got to be a one - woman man. AUSTIN It was just a shag, Vanessa. You're everything to me. VANESSA You just do n't get it, do you, Austin? Good night. Welcome to the Nineties, you're going to be very lonely.",
"INT. HOTEL ROOM - NIGHT MUSIC : `` What the World Needs Now'' by BURT BACHARACH Austin looks at his address book. ANGLE ON THE PAGE : We see a list of names crossed out, with comments written in beside them. Beside Jimi Hendrix we see `` Deceased, Drugs'' ; Janis Joplin, `` Deceased, Alcohol'' ; Mama Cass, `` Deceased, Ham Sandwich'' ; Jerry Garcia. `` Deceased, Gratefully'' ; Jane Fonda, `` Square''. Austin looks at his old pair of Sixties - era canvas sneakers. He picks up his new pair & emdash ; REEBOK SHAQ CROSS - TRAINER PUMPS. He pumps them too much and they explode. Austin looks out his window at the lonely city below. We see the CDs he's just purchased, including SERGEANT PEPPER'S and BURT BACHARACH'S GREATEST HITS. Austin goes over to the kitchenette and puts a can of unopened Campbell's Tomato Soup in the microwave and turns it on. It explodes in a shower of sparks and soup. He puts the CD on a record player and drops the needle. The NOISE is awful. Austin plays MORTAL COMBAT III. His fighter gets his head ripped off, and blood spews out. Austin is genuinely frightened by this.",
"INT. BATHROOM Austin attempts to use the Water Pik, but the head is too loose and water shoots all around the bathroom.",
"EXT. CAR - STREETS OF LAS VEGAS - NIGHT Austin drives alone and sad against the rear - projection of Las Vegas.",
"INT. CASINO BAR - NIGHT Austin drinks by himself while a gaggle of EIGHT CONTEMPORARY YOUNG PEOPLE IN LOVE cavort. They look at him like he's a freak. Austin raises a bottle of ZIMA as if to say `` hey, I'm down with that''. They shoot him sarcastic peace signs. Austin is pleased.",
"INT. HOTEL ROOM - DAY Austin sits watching the TIME - LIFE The Last Thirty Years video on TV. Vanessa enters. AUSTIN Hello, luv. VANESSA Thirty years of political and social upheaval. The fall of the Berlin wall, a female Prime Minister of England, the abolishment of Apartheid, a fascinating tapestry of human strum und drang. AUSTIN Yeah, I ca n't believe Liberace was gay. Women loved him, man. I did n't see that one coming. VANESSA Basil was very concerned to know where you were last night. AUSTIN Out and about, doing odds and sods. VANESSA I'll tell him. By the way, I've decided we should keep our relationship strictly professional.",
"INT. THERAPIST'S OFFICE - NEXT DAY We're in the middle of a group therapy session, containing six or seven FATHERS with their teenage SONS. It is emotionally charged. A lot of pained expressions and coffee in Styrofoam cups. SON 1 -LRB- crying. -RRB- I love you, Dad. DAD 1 I love you, Son. They hug. Everyone APPLAUDS. We see Dr. Evil and Scott. THERAPIST That was great, Mr. Keon, Dave. Thank you. OK, group, we have two new member. Say hello to Scott and his father, Mr. Ehville? DR. EVIL Evil, actually, Doctor Evil. GROUP Hello, Dr. Evil. Hello, Scott. SCOTT EVIL -LRB- into it. -RRB- Hello, everybody. THERAPIST So, Scott, why do n't we start with you. Why are you here? SCOTT EVIL Well, it's kind of weird. THERAPIST We do n't judge here. SCOTT EVIL OK. Well, I just really met my Dad for the first time three days ago. He was partially frozen for thirty years. I never knew him growing up. He comes back and now he wants me to take over the family business. THERAPIST And how do you feel about that? SCOTT EVIL I do n't wan na take over the family business. DR. EVIL But Scott, who's going to take over the world when I die? SCOTT EVIL Not me. THERAPIST What do you want to do, Scott? SCOTT EVIL I do n't know. I was thinking, maybe I'd be a vet or something, cause I like animals and stuff. DR. EVIL An evil vet? SCOTT EVIL No. Maybe, like, work in a petting zoo or something. DR. EVIL An evil petting zoo? SCOTT EVIL -LRB- shouting. -RRB- You always do that! -LRB- calm. -RRB- Anyways, this is really hard, because, you know, my Dad is really evil. THERAPIST We do n't label people here, Scott. SCOTT EVIL No, he's really evil. THERAPIST Scott. DR. EVIL No, the boy's right. I really am evil. THERAPIST Do n't be so hard on yourself. You're here, that's what's important. A journey of a thousand miles begins with one step. SCOTT EVIL I just think, like, he hates me. I really think he wants to kill me. THERAPIST OK, Scott, no one really wants to `` kill'' anyone here. They say it, but they do n't mean it. The group LAUGHS. DR. EVIL Actually, the boy's quite astute. I am trying to kill him. My Evil Associates have cautioned against it, so here he is, unfortunately, alive. THERAPIST We've heard from Scott, now let's hear from you. DR. EVIL The details of my life are quite inconsequential. THERAPIST That's not true, Doctor. Please, tell us about your childhood. GROUP Yes, of course. Go ahead, etc.. DR. EVIL Very well, where should I begin? My father was a relentlessly self - improving boulangerie owner from Belgium with low - grade narcolepsy and a penchant for buggery. My mother was a fifteen - year - old French prostitute named Chloe with webbed feet. My father would womanize, he would drink, he would make outrageous claims, like he invented the question mark. Sometimes he would accuse chestnuts of being lazy. A sort of general malaise that only the genius possess and the insane lament. My childhood was typical. Summers in Rangoon, luge lessons. In the spring we'd make meat helmets. If I was insolent, I was placed in a burlap bag and beaten with reeds. Pretty standard, really. At the age of twelve I received my first scribe. At the age of fifteen, a Zoroastrian named Vilma ritualistically shaved my testicles. There really is nothing like a shawn scrotum. At the age of eighteen, I went off to evil medical school. From there. ANGLE ON THE THERAPIST AND THE GROUP. They are stunned. PSYCHEDELC SCENE BREAK MUSIC : Psychedelic Wa - wa Pedal Funky Drummer Beat TITLE GRAPHIC : Sock It To Me Austin and the go - go girl dance crazily.",
"EXT. VIRTUCON HIGH RISE - NEXT MORNING",
"INT. HALLWAY - VIRTUCON A TOUR is in progress. Austin, Vanessa, and other TOURISTS ride on an electric tram. AUSTIN Since I've been unfrozen, I've had a rancid taste in my mouth. Do you have a piece of gum? VANESSA -LRB- in her own world. -RRB- Do you think she's prettier than I? AUSTIN Who? VANESSA You know who. AUSTIN No! Do n't lay your hang - ups on me, Vanessa. You're being very trippy. VANESSA I'm looking at you, and the whole time I ca n't help thinking you had your willie inside her hootchie - kooch. AUSTTIN Well put. Listen love, we ca n't keep having this fight. I'm an International Man of Mystery. Sometimes in the course of my work to save the world I have to shag some crumpet. It's all part of the job. TOUR GUIDE Welcome to Virtucon, the company of the future. -LRB- pointing to large display window. -RRB- Virtucon is a leading manufacturer of many items you'll find right in your own home. We make steel, volatile chemicals, petroleum - based products, and we also own the Franklin mint, which makes decorative hand - painted theme plates for collectors. -LRB- holds up plate. -RRB- Some plates, like the Gone With The Wind series, have gone up in value as much as two - hundred and forty percent, but, as with any investment, there is some risk involved. The people on the tour APPLAUD. TOUR GUIDE Coming up on the left, we have the Virtucon gift shop, offering a wide range of Virtucon licensed products. On the right, you'll notice a door that leads to a restricted area. Only authorized personnel are allowed beyond that point.",
"INT. VIRTUCON GIFT SHOP AREA All the tourists head for the gift shop. Austin notices a SEVEN - FOOT - TALL SCIENTIST leaving the `` RESTRICTED AREA'' with a FOUR - HUNDRED - POUND FEMALE SCIENTIST. They both wear Virtucon coveralls. AUSTIN I'll take him, you take her. The seven - foot - tall male scientist goes to the men's room ; the four - hundred - pound woman goes to the ladies room. Austin and Vanessa follow. We hear from inside either washroom the sound of PEOPLE BEING KNOCKED OUT. Austin and Vanessa exit wearing the scientists' coveralls over their clothes. Magically, the coveralls fit perfectly. They go through the doors into the restricted area.",
"INT. HALLWAY - RESTRICTED AREA They approach the security GUARD. VANESSA Austin, we do n't look anything like our photo badges. AUSTIN Do n't worry, baby. I picked up a mind control technique during my travels to India. I learned it from my guru, the late Guru Shastri, a chaste man who mysteriously died of a disease that had all the hallmarks of syphilis. Just watch me. Watch me, now. They reach the guard. GUARD Hi, folks. You're entering a restricted zone. Can I see your security badges? AUSTIN Sure. They flash their security badges to the guard. ANGLE ON AUSTIN. WE PUSH IN SLOWLY AS AUSTIN CONCENTRATES, RAISING ONE EYEBROW AND THEN THE other, back and forth. MUSIC : Mystical Indian sitar. AUSTIN -LRB- hypnotist - like. -RRB- Everything seems to be in order. GUARD -LRB- looking at the badges. -RRB- Hey, wait a minute & emdash ; ANGLE ON AUSTIN. He redoubles his eye - brow - raising. GUARD -LRB- trance - like, in Austin's English accent. -RRB- Everything seems to be in order. VANESSA That's amazing. Let's go! AUSTIN Hold on one second. Austin again does his mind control trick. AUSTIN Here, have a piece of gum. GUARD -LRB- in trace. -RRB- Here, have a piece of gum. He hands Austin a piece of gum. AUSTIN Do n't mind if I do. GUARD -LRB- slipping out of trance. -RRB- Hey! Wait a minute, that's my last piece of gum. Austin does his mind - control again. AUSTIN No, no, I want you to have it, even if it's my last piece. GUARD -LRB- trance - like. -RRB- No, no, I want you to have it, even if it's my last piece. AUSTIN -LRB- mind - controlling. -RRB- I'm going to go across the street and get you some sherbert. VANESSA -LRB- irritated. -RRB- Austin, we have to go! She pulls him away. GUARD -LRB- O.S. -RRB- -LRB- faintly. -RRB- I'm going to go across the street and get you some sherbert. Austin and Vanessa come to a door marked `` PROJECT VULCAN - TOP SECRET.'' They walk through.",
"INT. PROJECT VULCAN RESEARCH ROOM Inside, SCIENTISTS wearing head - to - toe radiation suits surround and inspect a huge diamond - encrusted drill bit. SCIENTIST This is the strongest, sharpest drill bit ever produced by man. It weighs fifteen metric tones and can bore through a mile - thick bedrock of solid granite in seven seconds.",
"INT. VIRTUCON GIFT SHOP AREA - TOUR TRAM A SECURITY GUARD and the tour guide take a head count. They notice Austin and Vanessa's empty seats on the tram. The guard speaks into his walkie - talkie.",
"INT. PROJECT VULCAN RESEARCH ROOM SFX : ALARM GOES OFF ANNOUNCER -LRB- on PA. -RRB- Attention, there are intruders in the complex. All the radiation suited scientists turn to look at Austin and Vanessa. SCIENTIST Get them! The scientist approach. Austin knocks two of them out cold with judo chops. AUSTIN Judo chop! Judo chop! Vanessa knocks two of them out using roundhouse kicks. SECURITY GUARDS flood into the room from the hallway. Austin and Vanessa take off through another side door which reads `` VIRTUCON STEAMROLLER TESTING FACILITY.''",
"INT. STEAMROLLER TESTING FACILITY It is a room the size of a large gymnasium overseen by a large observation booth. Six STEAMROLLER go around a test track very slowly. Austin and Vanessa hide behind one of the slowly moving steamrollers. Security guards enter the facility and begin fanning out in a search. AUSTIN Our only way out of here is to drive out! They climb up the back of a steamroller, KNOCK OUT the DRIVER, push him off, and assume the controls. P.A. -LRB- O.S. -RRB- There they are! Two SECURITY GUYS jump on either side of the steamroller. Vanessa wrestles the machine gun off on and pushes him away. Austin punches the other one off. AUSTIN Hang on! I'm going to floor it! He engages a lever. It goes only slightly faster. TWO SECURITY GUARDS jump in front of the steamroller. They are acting like they're frozen, ad if in the headlights of a fast - approaching car. GUARD Noooooooooooooo! AUSTIN Where did you learn to shoot? VANESSA Where did you learn to drive? ANGLE ON THE GUARDS. ONE OF THE GUYS JUMPS OUT OF THE WAY AS IF `` IN THE NICK OF TIME.'' THE steamroller is now 8 yards away. The other army guy is still frozen in the path of the oncoming steamroller. GUARD Noooooooooooooo! VANESSA Austin, watch out! AUSTIN -LRB- looking around. -RRB- Where? Where? ANGLE ON THE GUARD. HE'S BATHED IN THE HEADLIGHTS OF THE STEAMROLLER, WHICH IS STILL 3 YARDS away. GUARD Noooooooooooooo! ANGLE ON AUSTIN AND VANESSA. AUSTIN IS FRANTICALLY JERKING THE STEERING WHEEL AND TRYING TO downshift. SFX : Metal grinds. The shifter breaks off along with a gaggle of wares. He desperately jams on the breaks. ANGLE ON THE GUARD. HE IS FINALLY RUN OVER BY THE STEAMROLLER. THERE IS AN INORDINATE AMOUNT OF blood and guts. By now, Austin and Vanessa are right by the door. They run out into the hallway.",
"INT. HALLWAY The coast is clear. VANESSA Thank God, Austin, we made it. AUSTIN Yes, act naturally and we'll split this scene the way we came in, Vanessa. From behind, a HAND knocks Vanessa and Austin out. It is Random Task flanked by four SECURITY GUARDS.",
"INT. STEAMROLLER TESTING FACILITY We see the aftermath. Several WORKMEN sweep up the blood and guts with large squeegees and brooms. One of them turns to reveal `` Steamroller Accident Response Team'' written on his jumpsuit. Another WORKMAN leans down to the body with a hand broom and dust pail to sweep up blood. ZOOM IN on the steamrolled Army guy's ID tag, which reads `` STEVE HARWIN.''",
"EXT. SUBURBAN HOUSE - LOS ANGELES It is a pleasant, Marcus Welby - like ranch - style house. We hear a PHONE RINGING.",
"INT. KITCHEN A pleasant - looking MIDDLE AGED LADY answers the phone. MIDDLE AGED LADY Hello? -LRB- pause. -RRB- Yes, this is Mrs. Harwin. -LRB- pause. -RRB- Yes, I have a son named Steve Harwin. -LRB- pause. -RRB- Yes, that's right, he's a henchman in Dr. Evil's Private Army. -LRB- pause. -RRB- What? Killed? -LRB- pause. -RRB- How? -LRB- pause. -RRB- Run over by a steamroller? Oh my God. Thank you for calling. She HANGS UP. A FOURTEEN - YEAR - OLD enters. FOURTEEN-YEAR-OLD Hi Mom! When's Steve coming home? He said he was going to teach me to play ball. MRS. HARWIN Sit down, Billy, I have some bad news. As you know, your brother Steven was a henchman in Dr. Evil's Private Army. BILLY Was? What is it, Mom? MRS. HARWIN Your brother was run over by a steamroller. BILLY A steamroller? -LRB- bursting into tears. -RRB- No, not Steve! Since Dad died, Steve's been like a father to me. MRS. HARWIN I'm sorry son. People never think how things affect the family of the henchman. -LRB- hugging him. -RRB- I love you, Billy. -LRB- to herself, out loud. -RRB- I wonder if we'll be able to receive Steve's henchman's comp. CAMERA PANS to a high - school photograph of Steve on the wall.",
"INT. PSYCHEDELIC SCENE BREAK MUSIC : Psychedelic Wa - wa Pedal Funky Drummer Beat TITLE GRAPHIC : The Pad Austin and the go - go girl dance crazily.",
"EXT. VEGAS - HIGHWAY We see a Virtucon electric minivan humning along.",
"INT. BACK OF ELECTRIC MINIVAN Austin and Vanessa are unconscious.",
"EXT. HIGHWAY The electric minivan turns onto a dirt road that leads to a boulder.",
"EXT. DESERT - BOULDER The boulder lifts up and the minivan drives into it.",
"INT. UNDERGROUND TUNNEL The minivan enters a long cylindrical tunnel.",
"INT. FREIGHT ELEVATOR The minivan is being lowered on a high - speed elevator.",
"INT. DR. EVIL'S MAIN CHAMBER VIRTUCON ARMY MEMBERS keep watch. SCIENTISTS check clipboards. DR. EVIL Frau Farbissina, check on our guests. The electric minivan pulls up right next to the immense table. All the evil associates are present. Dr. Evil squeezes a tennis ball repeatedly. Frau Farbissina opens the rear hatch of the minivan and pulls out Austin and Vanessa. DR. EVIL Welcome to my underground lair, Mr. Powers. Mrs. Kensington's daughter, how lovely. I believe your name is Vanessa? I'd shake your hands, except for obvious reasons. VANESSA I do n't understand. DR. EVIL My hand, dammit! Look at it! AUSTIN What's wrong with your hand? DR. EVIL Do n't try to suck up to me! It's a little late for that. I'm a freak! Look at it, it's been rendered useless. He moves his arm around to show them, but it's virtually normal, just slightly aged. AUSTIN I'm sorry, baby, I'm just not grocking your head space. DR. EVIL Oh forget it. As a fellow player on the international stage, Mr. Powers, I'm sure you'll enjoy watching the curtain fall on the third and final act. A large telescreen comes on, showing the United Nations Secret Meeting Room. DR. EVIL Gentlemen, I give you the Vulcan. He presses a button on his chair panel. A giant canvas falls, unveiling an ultra - high tech diamond - bladed subterranean bore & emdash ; the VULCAN. It is rather phallic. AUSTIN -LRB- under his breath to Vanessa. -RRB- Does that make you horny? VANESSA -LRB- under her breath. -RRB- Not now, Austin. DR. EVIL The world's most powerful subterranean drill.",
"INT. UNITED NATIONS SECRET MEETING ROOM ON SCREEN : Stock footage of volcanoes erupting and animated charts of magma squirting through the Earth's layers. DR. EVIL -LRB- voice over. -RRB- So powerful it can penetrate the Earth's crust, delivering a 50 kiloton nuclear warhead into the planet's hot liquid core. Upon detonation, every volcano on the planet will erupt. The various representatives are ABUZZ. Behind the British delegation sits Basil Exposition. To his right, sits Mrs. Exposition with a hideous BLACK EYE. AMERICAN UN REPRESENTATIVE Why should we pay him the money? He's only got one warhead and he's going to detonate it deep underground. BASIL EXPOSITION -LRB- the light shifts towards dramatic as he speaks. -RRB- My God, man, do n't you understand? It wo n't just be active volcanoes, inactive ones will erupt as well. Seven - eighths of the Earth's land mass will be deluged with hot magma. Tectonic plates will shift, causing massive earthquakes. Imagine no United Kingdom. Think of it, no cricket, no tea, no freshly toasted crumpets smothered with Devonshire clotted cream, the diving mystery of Stonehenge. Imagine severing forever the continuity of Britannic majesty, the demise of this sceptered isle, this jewel, this England. BRITISH UN REPRESENTATIVE Any word from Powers? BASIL EXPOSITION -LRB- back to normal. -RRB- I'm afraid we've lost contact with him. BRITISH UN REPRESENTATIVE I see. UNITED NATIONS SECRETARY Dr. Evil, it seems we have no choice but to pay your ransom.",
"INT. DR. EVIL'S MAIN CHAMBER DR. EVIL Gentlemen, your deadline is in three hours. You have your instructions. Good - bye. The screen goes BLACK. DR. EVIL Come join us for dinner, wo n't you Mr. Powers?",
"INT. DR. EVIL'S PRIVATE QUARTERS Austin and Vanessa are seated at a table with Frau. WAITERS serve food. MUSIC : Sexy Matt Helm - type theme DR. EVIL I think you'll enjoy the food. I have the best chef in the world. His name is Ezekial. He's made of seventy - five percent plastic. Scott enters. DR. EVIL Scott my boy, come here. How was your day? SCOTT EVIL Well, me and a buddy went to the video arcade in town and, like, they do n't speak English right, and so my buddy gets into a fight, and he goes ` hey, quit hassling me cause I do n't speak French or whatever', and the other guy goes something in Paris talk, and I go ` um, just back off' and he goes ` get out' and I go ` make me'. DR. EVIL -LRB- trying to hide contempt. -RRB- Fascinating. What are your plans for this evening? SCOTT EVIL Thought I'd stay in. There's a good tittie movie on Skinemax. DR. EVIL And that's how you want to live your life, is it? SCOTT EVIL Yeah. What? ANGLE ON A PANEL OF BUTTONS THAT HAS EVERYONE'S NAMES ON IT. DR. EVIL'S HAND HOVERS OVER THE button labeled `` SCOTT.'' Frau Farbissina slaps his hand away. DR. EVIL Scott, I want you to meet Daddy's nemesis, Austin Powers. SCOTT EVIL Why are you feeding him? Why do n't you just kill him? DR. EVIL In due time. SCOTT EVIL But what if he escapes? Why do n't you just shoot him? What are you waiting for? DR. EVIL I have a better idea. I'm going to put him in an easily - escapable situation involving an overly - elaborate and exotic death. SCOTT EVIL Why do n't you just shoot him now? Here, I'll get a gun. We'll just shoot him. Bang! Dead. Done. DR. EVIL One more peep out of you and you're grounded. Let's begin. A PRIVATE ARMY SOLDIER grabs Austin and Vanessa. Dr. Evil hits a button. One whole wall slides out to reveal a tank. DR. EVIL Mr. Powers, Vanessa, some friends of mine are joining us for dinner. They're quite delighted you'll be part of the meal. The soldier takes Austin and Vanessa to the tank and puts them in the dipping mechanism. AUSTIN Dr. Evil, do you really expect them to pay? DR. EVIL No, Mr. Powers, I expect them to die. Even after they pay me the money, I'm still going to melt all the cities of the world with hot magma. -LRB- to guard. -RRB- All right, guard, begin the unnecessarily Slow - Moving Dipping Mechanism. The guard do so. Austin and Vanessa begin to descend slowly towards the surface of the water. DR. EVIL Release the sharks! -LRB- to the room. -RRB- All the sharks have had laser beams attached to their heads. I figure every creature deserves a warm meal. FRAU FARBISSINA -LRB- clearing her throat nervously. -RRB- Dr. Evil? DR. EVIL Yes, what is it? You're interrupting my moment of triumph. FRAU FARBISSINA It's about the sharks. Since you were frozen, they've been placed on the Endangered Species List. We tried to get some, but it will take months to clear up the red tape. DR. EVIL -LRB- disappointed. -RRB- Right. -LRB- to Austin. -RRB- Mr. Powers, we're going to lower you in a tank of piranhas with laser beams attached to their heads. Frau clears her throat again. DR. EVIL What is it now? FRAU FARBISSINA Well, we experimented with lasers, but you would be surprised at how heavy they are. They actually outweighed the piranha themselves, and the fish, well, they sank to the bottom and died. DR. EVIL I have one simple request & emdash ; sharks with friggin' laser beams attached to their heads, and it ca n't be done? Remind me again why I pay you people? What do we have? FRAU FARBISSINA Sea bass. DR. EVIL Right. FRAU FARBISSINA They're mutated sea bass. DR. EVIL Really? Are they ill - tempered? FRAU FARBISSINA Please allow me to demonstrate. Frau Farbissina throws a leg of lamb attached to a rope towards the tank, where the WATER BUBBLES and sea bass arch through the air. The sea bass devour the lamb. She pulls the rope back. The lamb has been eaten to the bare bone. DR. EVIL Fine. Whatever. Mutated, ill - tempered sea bass it is. -LRB- to the room. -RRB- Come, let's return to dinner. Close the tank. SCOTT EVIL Are n't you going to watch them? They'll get away! DR. EVIL No, we'll leave them alone and not actually witness them dying, and we'll just assume it all went to plan. SCOTT EVIL I have a gun in my room. Give me five seconds, I'll come back and blow their brains out. DR. EVIL No Scott. You just do n't get it, do you? Dr. Evil presses a button ; the wall closes back over the tank.",
"INT. TANK AREA Austin and Vanessa slowly descend towards the water. They can see the WATER BUBBLING beneath them. VANESSA What's your plan? Just then, a SEA BASS jumps out of the water, just missing Austin. AUSTIN First, I plan to soil myself. Then, I plan to regroup and think about the next move. Any thoughts? VANESSA Sadly, no. Hold on! I always keep this on me just in case. She pulls out a container of dental floss. AUSTIN All right, I get it. I have bad teeth. You have to understand, in Britain in the Sixties you could be a sex symbol and still have bad teeth. It did n't matter. VANESSA No, no, no. We'll use the floss to get to the ledge. AUSTIN Smashing idea! Give it to me. Austin takes the container and draws out four feet of dental floss and spins the container above his head like a bolo. He throws it and it wraps around a RADIATOR and it catches like a grappling hook. Austin begins drawing out the floss to take up the slack. Meanwhile, the slow - dipping mechanism is edging towards the sea bass. Unfortunately, Austin is still drawing out the floss. He keeps pulling out floss. More floss still. The mechanism continues to sink. Finally, the floss line goes TAUT. Austin ties it off high on the pole of the slow - dipping mechanism. Austin holds out his hand like a surgeon & emdash ; Vanessa places a tube of toothpaste in his hand. Meanwhile the guard is reaching to undo the floss. Austin places the open tube on his palm, aimed at the guard. Vanessa WHISTLES at the guard loudly. He turns around. AUSTIN Judo chop! Austin JUDO CHOPS the toothpaste tube, sending a stream of toothpaste into the guard's eyes. GUARD -LRB- screaming, rubbing his eyes. -RRB- My eyes! My eyes! Austin folds the tube across the top of the wire, grabbing both ends. AUSTIN Hold on, Vanessa! She grabs onto him and they slide down the floss to safety right as the dipping mechanism goes under the water. Meanwhile, the guard waits for them with toothpaste smeared all over his face. He and Austin STRUGGLE. The guard manages to get Austin pinned to the ground, Austin's head dangling over the water. SEA BASS circle. The water boils, dangerously close to Austin's head. VANESSA -LRB- shouting. -RRB- Austin, watch out! Austin FLIPS the guard over. The SEA BASS chew the guard's head off like a blender. AUSTIN Not a good time to lose one's head. VANESSA Indeed. AUSTIN That's not the way to get ahead in life. VANESSA Yes. AUSTIN It's a shame he was n't more headstrong. VANESSA Shut up. AUSTIN Fair enough. They head out a door. ANGLE ON THE HEADLESS TORSO. The name tag reads `` JOHN SMITH.''",
"EXT. HOOTERS RESTAURANT - DAY It is a sports bar - type restaurant that has scantily clad BUSTY WAITRESSES.",
"INT. HOOTERS RESTAURANT At a table we see fifteen or so TWENTY - SOMETHING GUYS, scouting chicks, drinking mugs of beer. GUY 1 I ca n't believe John Smith is getting married tomorrow. GUY 2 Where is Smittie anyways? It's not like him to be late for anything, especially his own stag party. GUY 3 Well, you know he's a henchman for Dr. Evil. Sometimes they work late. Can I just say something that may sound a little sappy? I think it's a testament to our friend John that so many of his buddies showed up in his honor. There's a lot of love in this room. A large - breasted WAITRESS approaches with a phone. WAITRESS Hi, I have a phone call here for the John Smith party. GUY 1 Hello? -LRB- pause. -RRB- Yes, I have a friend named John Smith. -LRB- pause. -RRB- That's right, he's in Dr. Evil's private army. -LRB- pause. -RRB- What? He's dead? -LRB- pause. -RRB- Decapitated by mutated flying sea bass? Oh my God! OK, thank you. He hangs up. GUY 2 -LRB- to Guy 1. -RRB- Hey Bill, what's wrong? Was that John? Is he coming late? GUY 1 Guys, John's not coming. GUY 2 Why? GUY 1 He was decapitated by mutated flying sea bass. GUYS -LRB- upset. -RRB- Oh no, oh my God, etc.. GUY 1 All right, to Smittie! Everyone raises their glasses. GUYS To Smittie!",
"INT. PSYCHEDELIC SCENE BREAK MUSIC : Psychedelic Wa - wa Pedal Funky Drummer Beat TITLE GRAPHIC : Out of Sight Austin and the go - go girl dance crazily.",
"INT. CORRIDOR Austin and Vanessa drive a Dr. Evil golf cart down a brightly - lit, narrow corridor to a doorway marked `` Emergency Exit.'' VANESSA What do we do now? AUSTIN We've got a freaked out square and world annihilation is his bag. You go get help. I'm gon na stay here and keep an eye on the bad Doctor. VANESSA I'm not going anywhere. We're a team. AUSTIN Too right, youth. That's why I need you to lead the troops. VANESSA I'll hurry back. AUSTIN Listen, Vanessa, whatever happens, I just want you to know that I feel bad about shagging that Italian girl. I had a sip of sake and all of the sudden, I do n't know what happened. The whole time I was shagging her & emdash ; I mean really shagging her, I mean it was crazy, I was like a huge mechanical piston, in and out, IN and OUT! & emdash ; VANESSA -LRB- cutting him off. -RRB- Austin, what's your point? AUSTIN Anyways, what I'm trying to say is that if you want me to be a one - woman man, well, that's just groovy, because. I love you. VANESSA Oh, behave! Vanessa goes out the door.",
"INT. LADDER Vanessa starts climbing up the ladder.",
"INT. CORRIDOR Austin tries to turn the cart around in the narrow corridor. He begins a twenty - seven point turn.",
"INT. DR. EVIL'S PRIVATE QUARTERS Dr. Evil, Scott and the evil associates finish dinner. DR. EVIL Come, everyone, let us repair to the main chamber. Project Vulcan is about to begin. Scott, are you coming? SCOTT EVIL I do n't want to. DR. EVIL Do n't you want to see what Daddy does for a living? SCOTT EVIL -LRB- under his breath. -RRB- Blow me. DR. EVIL What did you say? SCOTT EVIL Show me. They all go towards a giant door with the radiation symbol painted on it.",
"INT. CORRIDOR Austin's still trying to turn the cart around. PULL BACK TO REVEAL & emdash ; The cart is completely wedged perpendicularly in the corridor. Austin jumps out and starts running down the hall. Austin comes to a T in the hall and goes around the corner. He sees two GUARDS and ducks into a door.",
"INT. FEMBOT LAIR Inside are SEVEN FEMBOTS lounging in various seductive poses on Sixties furniture & emdash ; egg chairs, trapezes, round furry bed, etc.. MUSIC : Sexy Matt Helm - type theme AUSTIN Hello, hello. FEMBOT Hello, Mr. Powers, care to have a little fun? AUSTIN -LRB- looking at his watch. -RRB- No, actually, I have to save the world. He runs towards to door to exit. Suddenly, A PAIR OF FEMALE LEGS drop and wrap around Austin's neck and lift him up. His feet leave the floor. Another FEMBOT cartwheels up to Austin. Nozzles pop out of the tips of the Fembot's bra. AUSTIN Is it cold in here? A cloud of multicolored gas spews from the nozzles. Austin is overcome. The room starts to spin.",
"INT. DR. EVIL'S MAIN CHAMBER - CONTROL AREA Dr. Evil sits into his chair with his radiation suit on. DR. EVIL Arm the probe! A small electric flatbed comes in carrying the nuclear warhead. A PHALANX of Dr. Evil's soldiers run beside it. The cart approaches the subterranean probe and the warhead is loaded up into its tail.",
"INT. FEMBOT'S LAIR Austin is on the bed being held down by the Fembots. Psychedelic music plays. Projected colored swirling lights flash. The Fembots swirl around seductively. AUSTIN -LRB- delirious. -RRB- I've got to get Dr. Evil! -LRB- eyes closed, fingers in his ears. -RRB- Margaret Thatcher naked on a cold day! Margaret Thatcher naked on a cold day! Margaret Thatcher naked on a cold day!",
"INT. DR. EVIL'S MAIN CHAMBER The -LRB- very phallic -RRB- Vulcan droops to its down position. DR. EVIL Probe in place. TECHNICIANS in `` VIRTUCON'' lab coats scurry about, being technical. DR. EVIL Five minutes to go. Let the penetration countdown begin. Dr. Evil presses a button marked `` PENETRATION BEGIN.'' Next to it is a large button that says `` ABORT.'' ANGLE ON AN EASTERN EUROPEAN TECHNICIAN at a microphone. EASTERN EUROPEAN TECHNICIAN -LRB- on PA, very slowly, with very thick accent. -RRB- Five minutes and COUN - ting.",
"EXT. DESERT Vanessa leads fifteen COMMANDOS on ATCs across the sand.",
"INT. FEMBOT LAIR Two Fembots guard the door and five are on the bed in come - hither poses. FEMBOT You ca n't resist us, Mr. Powers. Eventually you'll give in. AUSTIN Au contraire, I think you ca n't resist me. MUSIC : Sexy Matt Helm - type theme Austin starts his seductive dance. He does a quick head count of the Fembots, reaches out of frame, pulls out eight cigarettes, put them in his mouth and lights them with a blowtorch. He throws seven cigarettes one by one. Each cigarette lands perfectly in a different Fembot's mouth. Austin smokes the remaining cigarette. Austin begins to do a seductive striptease. The Fembots are aroused. He takes off his shirt, revealing his hairy chest, and focuses his sexual energy on one Fembot. She begins to shake violently, her head shaking back and forth like in Jacob's Ladder. Eventually her head explodes. Austin is now stripped down to his Union Jack bikini briefs and turns to another Fembot. Her head explodes. He takes off his shoes and throws them away cavalierly. Then he tosses down his lit cigarette and grinds it with his bare foot. He gives a look of disguised pain. He mouths `` I love you'' to another Fembot. Her head explodes. He does the ` I'll call you' hand signal to yet another Fembot, whose head explodes. Austin does a hip - thrust to another and her head explodes. Austin leans over and wags his rump to the two remaining Fembots. AUSITN Oh, I fell over. Their heads explode simultaneously. All the Fembots are lying on the floor, smoking. Just then, Vanessa enters, flanked by a COUPLE OF COMMANDOS. She surveys the scene and looks at Austin in his briefs. She's hurt. The commandos salute Austin. AUSTIN It's not what it looks like, Vanessa. -LRB- to the commandos. -RRB- At ease, boys. VANESSA -LRB- glancing down. -RRB- Likewise. AUSTIN I can explain. They attacked me. Gas came out of her. well, and then they. and I. VANESSA I believe you, Austin. Let's go. AUSTIN Hold on a tick, let me put on my togs.",
"INT. MAIN CHAMBER Austin and Vanessa lead FIFTEEN COMMANDOS into the chamber and GUNFIRE breaks out. Two CATWALKS run the length of the chamber, meeting at the door to the control area. The commandos split into two groups and lob grenades at the PRIVATE ARMY SOLDIERS who are guarding the stairs leading to the catwalks. They go flying.",
"INT. CONTROL AREA The ALARM goes off. DR. EVIL Activate the blast shutters! Metal shutters automatically cover the windows overlooking the probe mechanism. DR. EVIL Launch the subterranean probe! The giant probe engine begins to throb and whirl. The tip of the spinning probe suddenly strikes the floor of the chamber and burrows into the earth with atomic force. Smoke and debris explode upwards. The entire chamber quakes violently & emdash ; eight on the Richter scale. EASTERN EUROPEAN TECHNICIAN We have penetration. Subterranean detonation & emdash ; two minutes and COUN - ting.",
"INT. DR. EVIL'S MAIN CHAMBER Austin, Vanessa, and three commandos are pinned down behind several VIRTUCON BARRELS",
"INT. CATWALK Another FOUR GUARDS block their way. Austin goes to shoot, but he's out of bullets. SFX: CLICKA-CLICKA Austin and Vanessa run along the catwalk towards the control room. They're directly in the path of TEN CHARGING PRIVATE ARMY SOLDIERS. AUSTIN Follow me! We're going to have to jump over the rail! VANESSA Are you crazy? AUSTIN Do n't worry! ANGLE ON SIDE SHOT OF CATWALK They continue to run towards the guards behind some STACKED BARRELS. Two OBVIOUS STUNT DOUBLES run out from behind the barrels in a continuous motion instead of Austin and Vanessa and diver over the rail. ANGLE ON THE OTHER TEAM OF COMMANDOS They are making progress on the other catwalk. ANGLE ON AUSTIN AND VANESSA They have landed safely, but are surrounded by FIVE PRIVATE ARMY SOLDIERS, armed to the teeth & emdash ; one has a bazooka, one has a flamethrower, one has a Gatling gun, etc.. They see Austin and throw down their weapons, pulling out KNIVES. One of the private soldiers runs at Austin and he stabs him. Another soldier runs at Austin, and Austin also stabs him. A third private army soldier runs at Austin. Austin does the stabbing motion. SFX : CLICKA - CLICKA AUSTIN Blast! Out of ammo. Vanessa unleashes a series of kicks, knocking them all out.",
"INT. CONTROL ROOM Austin begins to enter. VANESSA Austin, I'm coming with you. AUSTIN I'm going it alone this time, Vanessa. I have a follow - up visit with the Evil Doctor. VANESSA I'll secure the perimeter.",
"INT. CONTROL AREA Austin enters the control area. A VIRTUCON ARMY MAN fires at him. Austin returns fires, shooting up some electrical equipment. Live wires dangle dangerously. Austin sees Mr. Bigglesworth running out a read door. DR. EVIL -LRB- O.S. -RRB- Come, Mr. Bigglesworth! Austin heads for the door until he smacks into AN INVISIBLE FORCE FIELD. He turns and sees a bank of old - fashioned computers labeled `` DESTRUCTACON 5000''. DESTRUCTACON -LRB- V.O. -RRB- Good afternoon, Mr. Powers, I'm the Destructacon 5000. I'm programmed to prevent you from progressing beyond this point. You might as well surrender. Resistance is futile. Your odds of survival are 23,763,273 to AUSTIN Well, Destructacon 5000, you have quite a head on your shoulders, I dare to coin. DESTRUCTACON -LRB- V.O. -RRB- Yes, I am programmed to answer any question. AUSTIN Really? Let me ask you this. What is love? DESTRUCTACON -LRB- V.O. -RRB- That does not compute. AUSTIN Why not? It's a question. DESTRUCTACON -LRB- V.O. -RRB- Love is. love is. love is. The computers begin to smoke. Alarm bells ring. DESTRUCTACON -LRB- V.O. -RRB- Remjack! Remjack! -LRB- singing. -RRB- Daisy, Daisy. -LRB- faster. -RRB- Remjackremjackremjack! There is a muffled explosion. The computer goes dark. Austin passes through the force field and heads for the door until he hears & emdash ; EASTERN EUROPEAN MAN -LRB- on PA. -RRB- Subterranean detonation & emdash ; one minute and COUN - ting. He begins looking furiously for the abort button. AUSTIN -LRB- to Eastern European Man. -RRB- Where's the abort button? The Eastern European Man holds up his finger as if to say ` give me one second.' EASTERN EUROPEAN MEAN -LRB- on PA. -RRB- Forty - five seconds and COUN - ting. -LRB- to Austin. -RRB- It's right over there. Austin sees the abort button. It is across the room. Just then, Random Task enters. Austin sees him and goes to shoot him, but he has run out of bullets. Random task takes off his SHOE. Austin makes his way across the room to the button. Random Task THROWS HIS SHOE. ANGLE ON SHOE SPINNING IN THE AIR The shoe HITS AUSTIN IN THE HEAD. Austin pauses. The shoe has not killed him. It has just hurt him slightly. AUSTIN Ow! That really hurt. I'm going to have a lump there, you idiot! Who throws a shoe? You fight like a woman. EASTERN EUROPEAN MAN -LRB- on PA. -RRB- Fifteen seconds and COUN - ting. Random task blocks Austin's way to the button. He stands there, menacing, missing one shoe. Exposed wires are everywhere. On the counter beside Austin is a Big Gulp. AUSTIN Care for a drink? Austin throws the drink at Random Task's feet. It lands in front of him on a pile of exposed wires. Electricity travels through the Big Gulp, up Random Task's wet sock, ELECTROCUTING him. He begins to SMOKE, and then dies. AUSTIN Shocking. EASTERN EUROPEAN MAN Three. two. one. A 50 kiloton explosion from deep in the earth rocks the control area.",
"EXT. STOCK FOOTAGE MONTAGE - VOLCANOS ERUPTING Different volcanoes around the world. Lava spews and flows.",
"INT. CONTROL AREA Austin dives in SLOW MOTION towards the abort button. He flies through the air for an inordinate length of time. AUSTIN -LRB- slow motion distortion. -RRB- Nooooooo! His hand lands on the button. EASTERN EUROPEAN MAN -LRB- on PA. -RRB- Abort.",
"EXT. STOCK FOOTAGE MONTAGE - REVERSE VOLCANO ERUPTIONS Lava, smoke and debris sucks back into volcanoes around the world. -LRB- Eruption footage run in reverse. -RRB-",
"INT. CONTROL ROOM Having saved the world, Austin picks up a MACHIEN GUN from a fallen Private Army guy and runs to the door at the back, chasing Dr. Evil.",
"INT. CORRIDOR Austin chases after Dr. Evil.",
"INT. DR. EVIL'S PRIVATE QUARTERS Austin bursts in, catching Dr. Evil packing a suitcase. AUSTIN I've got you, Dr. Evil! DR. EVIL Well done, Mr. Powers. We're not so different, you and I. It's true, you're British, and I'm Belgian. You have a full head of hair, mine is slightly receding. You're thin, I'm about forty pounds overweight. OK, we are different, I'm not making a very good point. However, is n't it ironic, Mr. Powers, that the very things you stand for & emdash ; swinging, free love, parties, distrust of authority - are all now, in the Nineties, considered to be. evil? Maybe we have more in common than you care to admit. AUSTIN No, man, what we swingers were rebelling against were uptight squares like you, whose bag was money and world domination. We were innocent, man. If we'd known the consequences of our sexual liberation, we would have done things differently, but the spirit would have remained the same. It's freedom, man. DR. EVIL Your freedom has cause more pain and suffering in the world than any plan I ever dreamed of. Face it, freedom failed. AUSTIN That's why right now is a very groovy time, man. We still have freedom, but we also have responsibility. DR. EVIL Really, there's nothing more pathetic than an aging hipster. Alotta enters. She holds a gun to Vanessa's head. ALOTTA Not so fast. DR. EVIL Well, it seems the tables have turned, Mr. Powers. Just then, Scott Evil enters. SCOTT EVIL Hey, Dad, I can take my Sega, right? Austin grabs Scott and puts the gun to his head. AUSTIN It seems the tables have turned again, Dr. Evil. DR. EVIL Not really. Kill the little bastard. See what I care. AUSTIN Man, you are one chilly square! SCOTT EVIL Dad, we just made a breakthrough in group! DR. EVIL I had the group liquidated, you little shit. They were insolent. SCOTT EVIL I hate you! I hate you! I wish I was never artificially created in a lab. DR. EVIL Scott, do n't say that. Scott runs off. In the confusion, Vanessa KNOCKS the gun out of Alotta's hands. Alotta pulls out a knife. Austin SHOOTS the knife out of her hand. Vanessa grabs Alotta by the throat. VANESSA This is for sleeping with my man, you whore! ALOTTA I did n't sleep with him. VANESSA I do n't believe you. ALOTTA -LRB- choking. -RRB- It's the teeth. VANESSA OK, I believe you. But you still must be chopped. Vanessa gives her a judo chop. VANESSA Judo chop! Meanwhile, Dr. Evil has run to the egg shaped rocket, which closes and begins to lift up through A HOLE IN THE CEILING. HE RUNS IN. ON THE WAY, HE FLIPS A SWITCH WHICH SAYS `` SELF - DESTRUCT - 5:00 MINUTES.'' EASTERN EUROPEAN MAN -LRB- O.S. -RRB- -LRB- on PA. -RRB- Five minutes to self - destruct and COUN - ting. Austin SHOOTS and misses. Rocket exhaust pours out of the hole in the ceiling. AUSTIN Let's split! Austin and Vanessa run out the door into the.",
"INT. CORRIDOR They pass Number Two, who is front of an open safe, stuffing his pockets with cash while the others are trying to escape. Austin and Vanessa run to the main chamber.",
"INT. MAIN CHAMBER to the main corridor.",
"INT. MAIN CORRIDOR past the Fembot lair, over the wedged - in cart, to the escape ladder. They begin to climb.",
"INT. MAIN CHAMBER Explosions, debris, the cavern begins to collapse. STOCK FOOTAGE - DESERT FLOOR - MERCURY TEST SIGHT Ground caving in from an underground nuclear explosion.",
"EXT. RAFT - MIDDLE OF THE OCEAN - DAY Austin and Vanessa are floating in a large inflatable raft. FIERY DEBRIS falls in the water around them. VANESSA I have something to tell you. AUSTIN Lay it on me. VANESSA I love you, Austin. AUSTIN That's fab, because I love you, too, Vanessa. VANESSA Kiss me. AUSTIN Behave! Austin and Vanessa draw towards each other, preparing for a passionate kiss. Just as their lips are about to touch, however, they are interrupted by a strong WIND and the noise of a HELICOPTER OVERHEAD. Their hair is blown all about and the waves are whipped into a frenzy. AUSTIN Just when things were getting interesting. ANGLE ON BASIL EXPOSITION WEARING SCUBA GEAR, BEING LOWERED ON A ROPE FROM THE HELICOPTER. HE stops just above them. BASIL EXPOSITION Well, Austin, you've stopped Dr. Evil from destroying the world with his subterranean nuclear probe, and somehow you and Agent Kensington managed to escape unscathed from his evil lair. AUSTIN I'd say that about sums it up, Exposition. BASIL EXPOSITION Not quite, actually. Vanessa, I have something for you. Basil hands Vanessa an official - looking set of leather - bound credentials. BASIL EXPOSITION Because of your exemplary service to Her Majesty, you are now officially an active Field Agent with all the privileges and responsibilities thereof. VANESSA Thank you, Exposition. I'm honored. AUSTIN Congratulations, Field Agent Kensington! BASIL EXPOSITION Austin, I have something for you as well. He hands him a business card. BASIL EXPOSITION Here's the number of my dentist, he's first rate. Ring him up, he'll look after you. AUSTIN Thanks, Basil. Maybe the Nineties are n't so bad after all. VANESSA Oh, Austin. Austin and Vanessa embrace and kiss. BASIL EXPOSITION Austin, now, about your next mission & emdash ; Still kissing Vanessa, Austin motions with his thumbs to the pilot of the helicopter to lift Basil up. He rises away in mid - sentence. BASIL EXPOSITION -LRB- rising up. -RRB- But, wait, I & emdash ; you got me again. Oh, and Austin & emdash ; AUSTIN -LRB- calling out. -RRB- Yes Basil? BASIL EXPOSITION -LRB- rising. -RRB- Be careful! Austin and Vanessa kiss again. The helicopter blows them around. The CAMERA TILTS UP to the sky and continues to rise, until we are in & emdash ;",
"EXT. SPACE We see DR. EVIL'S CAPSULE in orbit around the Earth. DR. EVIL -LRB- V.O. -RRB- I'll get you yet, Austin Powers! END CREDITS ROLL LAST CREDIT reads `` SEE AUSTIN POWERS IN YOU ONLY FLOSS ONCE.'' AUSTIN POWERS LOGO ANNOUNCER -LRB- V.O. -RRB- Now you can get all the Austin Powers movies in one Laser Disk box set! Virtucon Home Video presents `` The Powers Collection.'' DISPLAY TABLE With five laser Disks laid out, alongside a PK - 47, Austin's glasses, and floss and a toothbrush. ANNOUNCER -LRB- V.O. -RRB- Relive all your favorite Austin Powers movies, including. GRAINY, BLACK & WHITE CLIP Showing Mike as Austin Powers, with Fifties hair and suit, against a rear projection of explosions and stunts from stock footage. ANNOUNCER -LRB- V.O. -RRB- Middle Name : Danger. AUSTIN So, Dr. Evil, do you expect the world to pay the ransom? DR. EVIL No, Mr. Powers, I expect them to die. ANNOUNCER -LRB- V.O. -RRB- No Austin Powers collection would be complete without some of the later hits, like. SEVENTIES FILM CLIP ANNOUNCER -LRB- V.O. -RRB- Four Eyes Only. We see Austin from behind, talking to a GIRL in a bathing suit. GIRL IN BATHING SUIT Oh, Austin, kiss me. He turns around. It's Austin Powers, played by ROGER MOORE, with the same glasses and bad teeth. ROGER MOORE Oh, behave! He does a frightening grin, displaying the AWFUL TEETH. ANNOUNCER -LRB- V.O. -RRB- We've also included some of the more obscure hits, like. VERY RUNNY COLOR FILM CLIP ANNOUNCER -LRB- V.O. -RRB- From India With Affection. We see Austin Powers played by an INDIAN GENTLEMEN, same glasses, same bad teeth. INDIAN AUSITN -LRB- Indian accent. -RRB- Well, my good fellow, are you expecting me to pay the ransom to you, you despot? INDIAN DR. EVIL -LRB- Indian accent. -RRB- No kind sir, I expect you to go up in the evolutionary chain. But first, I expect you to sing. INDIAN AUSTIN -LRB- singing, Indian atonal. -RRB- ` IF MUSIC BE THE FOOD OF LOVE, LET'S BAKE A CAKE.' DISPLAY TABLE ANNOUNCER -LRB- V.O. -RRB- All the Austin Powers adventures in one Laser Disk boxed set! CLIPS FROM MOVIE - AUSTIN IN TIGHT CLOSE - UP AUSTIN Behave! THE END"
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] | In 1967, British spy Austin Powers thwarts an assassination attempt by his nemesis Dr. Evil in a London nightclub. Dr. Evil escapes in a space rocket and cryogenically freezes himself. Powers volunteers to be placed into cryostasis in case Dr. Evil returns in the future. Thirty years later, in 1997, Dr. Evil returns to discover his henchman Number 2 has developed Virtucon, the legitimate front of Evil's empire, into a multibillion-dollar enterprise. Uninterested in business, Dr. Evil conspires to steal nuclear weapons and hold the world hostage for $1 million. He increases his demand to $100 billion when he learns that the value of the dollar has fallen due to inflation. Dr. Evil also learns that, during his absence, his associates have artificially created his son, Scott Evil, using his frozen semen. Now a Generation X teenager, Scott is resentful of his father’s absence and resists his attempts to get closer to him. Having learned of Dr. Evil's return, the British Ministry of Defence unfreezes Powers, acclimatizing him to the 1990s with the help of agent Vanessa Kensington, the daughter of his 1960s sidekick Mrs. Kensington. Posing as a married couple, Powers and Kensington track Number 2 to Las Vegas and meet his Italian secretary, Alotta Fagina. Powers infiltrates Fagina's penthouse suite and discovers Dr. Evil's plans to drill a nuclear warhead into the Earth's core and trigger volcanic eruptions worldwide. Fagina discovers Powers and seduces him to learn his identity. Dr. Evil and his entourage conspire to defeat Powers by creating a series of fembots: beautiful female androids equipped with guns concealed in their breasts. Powers and Kensington infiltrate the Virtucon headquarters but are apprehended by Dr. Evil's henchman, Random Task. Meanwhile, the United Nations accede to the demands of Dr. Evil, who proceeds with his plan nonetheless. Powers and Kensington escape Dr. Evil's death trap and Kensington is sent for help. While searching for Dr. Evil, Powers is confronted by the fembots; Powers seduces them with a striptease that makes them explode. British forces raid the underground lair, while Powers deactivates the doomsday device. Powers confronts Dr. Evil, but Fagina arrives holding Kensington hostage. They are interrupted by Number 2, who attempts to betray Dr. Evil by making a deal with Powers. Dr. Evil uses a trap door to eliminate Number 2, then activates the base’s self-destruct mechanism and escapes. Powers and Kensington flee as a nuclear explosion destroys the lair. Powers and Kensington marry. During their honeymoon, Powers is attacked by Random Task. Powers subdues him using a penis pump, allowing Kensington to knock him out. The newlyweds adjourn to the balcony. Among the stars, Powers spots the cryogenic chamber of Dr. Evil, who vows revenge. | Austin_Powers:_International_Man_of_Mystery |
[
"EXT. A DITCH - NIGHT A light rain and crickets CHIRPING. Somewhere in the night, DANCE MUSIC is blaring, but here it's only a whisper with a beat. Water trickles out of a jagged pipe. Splashing up mud, the riverlet weaves through hamburger wrappers and sunbleached beer cans, spent condoms and an old Spin magazine. The tiny stream ripples past glass and trash and the body of a woman. Face up, breathing. Dead grass caught in her braids. Her name is RONNA MARTIN. She's eighteen and bleeding. Bleeding a lot. She tries to push herself up, but the dirt around her crumbles. Her legs are useless. Despite it all, there's a smile of perverse joy to her face, like she's just remembered the punchline to a favorite joke. CLAIRE -LRB- V.O. -RRB- You know what I like best about Christmas? The surprises.",
"INT. A DARK PLACE - DAY? NIGHT? Pitch black. We hear an ENGINE and ROAD NOISE. CLAIRE -LRB- V.O., CONT'D. -RRB- It's like, you get this box, and you're sure you know what's in it. SPARKS. A cigarette lighter flares. We're in the trunk of a car with SIMON BAINES -LRB- 22 -RRB-, a skinny Brit with surfer hair. He looks around, realizes where he is. Panicked, he starts POUNDING and KICKING. CLAIRE -LRB- V.O., CONT'D. -RRB- You shake it, you weigh it, and you're totally convinced you have it pegged. No doubt in your mind. The lighter goes out. It's black again.",
"INT. UNIDENTIFIABLE ROOM - DAY We keep tight on CLAIRE MONTGOMERY -LRB- 19 -RRB- as she talks to an unseen guest. Christmas lights blink behind her. CLAIRE -LRB- CONT'd. -RRB- But then you open it up, and it's something completely different. Bing! Wow! Bang! Surprise! I mean, it's like you and me here. She takes a sip of coffee, smiles. She has a bewitching smile. CLAIRE I'm not saying this is anything it's not. But c'mon. This time yesterday, who ` dda thunk it? Part One : ` X'. Christmas MUZAK plays. A baby CRIES.",
"INT. SUPERMARKET - DAY A cash drawer slides shut. On the far side of the checkout stand, a STRINGY HAIRED WOMAN counts food stamps. Her eyes are sunken, black. She's got a screaming BABY on her arm and two rambunctious BOYS in the cart. They're wearing pajamas and raincoats. It's five a.m. and the store is almost empty. Containers of frozen orange juice spin endlessly on the conveyor belt. Ronna Martin - the girl in the ditch - is bagging groceries. RONNA Paper or plastic? She wears a green apron with a red `` Yule Save More'' button. RONNA Paper or plastic? She's been working for fourteen hours, and it shows. Her intonation does n't change at all. RONNA Paper or plastic? STRINGY HAIRED WOMAN Both. Finally satisfied she has all her stamps, the Woman starts looking through the receipt. In the cart, the boys knock gum from the stand. STRINGY HAIRED WOMAN You did n't double my coupons. RONNA They're at the bottom. In red. Where it says, double coupons. She finishes one bag and starts another. The Woman is watching her carefully. STRINGY HAIRED WOMAN You ca n't do that. You ca n't put bleach in the same bag as food. It's poison. Ronna fishes out the bleach and makes a big show of wrapping it in a plastic bag. STRINGY HAIRED WOMAN Do n't think you're something you're not. I used to have your job. Ronna puts the bag in the cart. Looks her dead in the eye. RONNA Look how far it got you.",
"INT. SUPERMARKET AISLE - DAY Ronna pulls off her apron as she heads for the back. In the BACKGROUND, the Stringy Haired Woman is bitching to an overweight STORE MANAGER.",
"INT. SUPERMARKET STOCKROOM - DAY Dark and dusty, packed floor to ceiling with crates and palettes. Offscreen, a SOAP OPERA plays on TV. Ronna comes around the corner, a thundercloud of anger and frustration. She passes by CLAIRE -LRB- 19 -RRB- and the British SIMON -LRB- 21 -RRB- at the phone, sorting through a crumpled list. Simon's eyes track Ronna as she passes. CLAIRE -LRB- low. -RRB- Do n't. SIMON Why not? CLAIRE She's been on for fourteen hours. At her locker, Ronna misdials the combination. Frustrated, she POUNDS the locker, then re - dials. Simon approaches Ronna gingerly. Claire gives up on him, setting to work opening a box of expired cookies. SIMON Ronna? RONNA No. She trades her apron for her coat. SIMON I have n't asked you yet. RONNA Answer's still no. She slams her locker. She crosses to the time clock. SIMON Are you menstrual? Pre - menstrual, post - menstrual? RONNA One of the three. -LRB- punches out. -RRB- Okay, Simon. In case you have n't heard the buzz, the scoop, the word on the street, I'm getting evicted. Tomorrow. So pardon me if I'm not in a holly - jolly mood right now. Claire looks over, looks away. Ronna heads for the door leading outside. SIMON Ronna, they would n't evict you at Christmas. You'd be ho - ho - homeless. He follows her out the door.",
"EXT. BEHIND THE STORE - CONTINUOUS Ronna forges ahead, ignoring him. SIMON Is that why all the overtime? How much do you owe? RONNA Three eighty. SIMON That's nothing. RONNA More than I got. SIMON I'll give you twenty right now for a blowjob. She stops, turns on him. Her look could freeze lava. SIMON Handjob? A beat. The start of a smile. Simon's just pushing her buttons. SIMON Ronna, do you want my shift? RONNA Serious? SIMON I have n't punched in yet. She only half - believes him. Simon's not prone to benevolence. SIMON -LRB- CONT'D. -RRB- Look, my best mates are going to Las Vegas this weekend. I've never been - I'm told it's incredible. If you took my shift, I could go with them. Everybody wins. -LRB- beat ; she's not sold. -RRB- Cash up front. He peels off three twenties from his clip. She looks at the money, thinking. Finally, she takes it. RONNA Deal. Beyond exhausted, she starts walking back to the store. After a beat. SIMON Ronna? Are you certain I could n't have a blowjob? Without turning back, she flips him off.",
"INT. SUPERMARKET - DAY An UNSUSPECTING WOMAN takes a container of orange juice from the refrigerator case. Suddenly, AN ARM reaches out through the case, grabbing it away. The woman gasps. VOICE ON INTERCOM Available cashier to the front. Customers waiting.",
"INT. BEHIND THE REFRIGERATOR CASE - DAY (CONTINUOUS) MANNIE -LRB- 17 -RRB- pulls his arm back through with the orange juice. He's on break with Ronna and Claire. VOICE ON INTERCOM Repeat, cashier to the front. All eyes look up to the voice of God. CLAIRE One of us has to go. MANNIE Dead celebrities? RONNA Loser goes up. Steve McQueen. She rips open a case of Snapple, taking one. CLAIRE M. M. Mannie is checking out a small printed rave invite. In a flash of inspiration. CLAIRE Michael Landon. MANNIE Lucille Ball. We MOVE CLOCKWISE with a rapid, snooze - you - lose pace. RONNA Burt Lancaster. -LRB- to Mannie, re : invite. -RRB- Can you drive? CLAIRE L. L. MANNIE If you do n't mind The Beast. RONNA I love The Beast. CLAIRE Lane Staley. -LRB- off reaction. -RRB- Alice in Chains. RONNA He's not dead yet. MANNIE It's true. CLAIRE -LRB- substituting. -RRB- Lewis Carroll. Alice in Wonderland. Claire takes the invite from Mannie. MANNIE Carole Lombard. RONNA Lee Marvin. CLAIRE M. M. MANNIE Do n't say Molly Ringwald. CLAIRE Martha Raye. MANNIE Nice. Robert Mitchum. RONNA Shit! M. M. MMMMMMMMalcolm X. Claire just stands there confused, mouthing `` X. X.'' Mannie scoops a fingerful of whipped cream from a tub. CLAIRE You ca n't say Malcolm X. RONNA He's famous, he's dead. MANNIE That's like a rule or something. Nothing starts with X. He puts the tub back on the shelf. RONNA That's not my problem. MANNIE -LRB- to Claire. -RRB- You can challenge. CLAIRE Okay, I challenge. Give me one dead celebrity that starts with X. RONNA This is bullshit. I am not working the fucking register. She's winning no sympathy. Mannie starts to audibly CLICK the countdown. Ronna shoots him a withering look. RONNA X. X. There is one. I know I thought of one before. A jug of milk suddenly shifts to the side, revealing the bulbous face of the Manager, looking through from the store side. SWITTERMAN Break was over four minutes ago. Who's up front? Claire looks at Mannie. Mannie looks at Ronna. Resigned to martyrdom. RONNA I am.",
"INT. SUPERMARKET / CHECKOUT LANE - DAY Ronna rips off a receipt, handing it to a CLUTCHY OLD WOMAN. Starts scanning someone else's groceries. Mannie is digging out returns from under Ronna's checkstand. He suddenly looks up. MANNIE Xerxes. RONNA What? MANNIE Xerxes. Some dead pharaoh guy. Starts with X. RONNA That was n't it. I never heard of fucking `` Xerxes.'' MANNIE Pharaoh coulda saved your ass. Mannie pushes his cart down to the next checkstand. VOICE -LRB- O.S. -RRB- There's an opera about him. Ronna looks up at the customer, a handsome college guy -LRB- ADAM -RRB-. He's cute in that fresh - scrubbed, Midwestern way. ADAM Xerxes. I took music appreciation twice. ON RONNA Whatever. Adam's friend ZACK is with him in line, YABBERING on a cellular phone. Ronna hits total. $ 25.12. Adam hands her a credit card. She swipes it through the machine and starts bagging their groceries. ADAM Does a British guy still work here? RONNA He went to Vegas for the weekend. A glance between Adam and Zack, hard to read why. Zack nods for Adam to go ahead. ADAM Betcha wonder why we're buying all this orange juice. RONNA Scurvy? She's not going to rise to the bait. Zack looks over at Adam, then to Ronna. ZACK Say. -LRB- checks nametag. -RRB- Ronna. You do n't know where we could get something to go with this orange juice, do you? RONNA Doughnuts, aisle four. ZACK But then you get the weird taste in your mouth. I was thinking something a little more euphoric. The British guy usually hooks us up. She stops bagging. Looks at Adam. At Zack. RONNA How much? ZACK Twenty at twenty. RONNA You're overpaying. ZACK We're desperate. A bunch of us are going to this party tonight, this warehouse thing. He pulls out a postcard - sized invite. Bright colors, slick printing. RONNA Mary Xmas Supafest. ADAM You're going? ZACK And we had planned this kinda pre - party. Only there's 20 of us, it's like all or nothing. Switterman walks down the end of the aisle, headed for the manager's desk. ZACK -LRB- low. -RRB- A friend was supposed to get the stuff in Chicago, but now he's snowed in. So if you could help us out here. All three watch Switterman pass. It gives Ronna a beat to think. She hands Zack a post - it note and a pen. RONNA Gim me a number. Let me see what I can do. ZACK Kick ass. Adam smiles. It's a nice smile. Even Ronna notices. RONNA So do you want the o.j. or not? ADAM Absolutely.",
"INT. MANNIE'S CAR / PARKING LOT - NIGHT The Beast is Mannie's pride and joy, a late - 70's Toyota held together with duct tape and prayer. It's outfitted for the season with Christmas lights lining the windshield and back window. Santa has replaced Jesus on the dashboard. Ronna climbs in the passenger door, counting a stack of 20's fresh from the ATM. Claire's in back. CLAIRE You know that Simon's in Vegas. RONNA I do n't need Simon. I'm going to Todd. MANNIE Todd GAINES? CLAIRE Who's Todd Gaines? MANNIE Simon's dealer. Claire sits forward in the seat, suddenly worried. CLAIRE You ca n't do that, can you? I mean, go around Simon. She looks at Mannie. He shrugs, unsure. RONNA Ok, listen up. If Simon were here - which he's not - he would charge fifteen, when I know he gets it for ten. Times twenty hits, that's a hundred bucks I'd be pissing out my dick. MANNIE But it's like an evolutionary leap. You're moving up the drug food chain. Without permission. CLAIRE Ronna, you should n't do this. Ronna pockets the cash. Mannie's about to say something when she stops him. RONNA Both of you chill the fuck out. It's just once. When Simon gets back, we can still overpay for quarters if it makes you feel all warm and happy. But this is my deal, so just sit back and watch. Mannie and Claire remain unconvinced. Ronna reaches for the keys, CRANKING the ignition even though Mannie's driving. The ENGINE purrs. RONNA -LRB- CONT'd. -RRB- Besides, Todd likes me. This wo n't be any problem. A BUZZER sounds.",
"EXT. DOORSTEP - NIGHT Ronna stands by the intercom of a two - story walkup in Hollywood. Waiting, she looks back to the street, where The Beast sits idle at the curb. INTERCOM VOICE Speak! RONNA Todd! It's Ronna Martin. You know me through Simon. A long pause. INTERCOM VOICE Yeah? RONNA Can I come up? Another long pause. Ronna looks back at The Beast, embarrassed. Finally the door BUZZES and a latch CLICKS open. Stairs lead up. She motions back `` five minutes'' to The Beast.",
"INT. HALLWAY - NIGHT Three out of four lights are burned out in the hallway. A few feet ahead of Ronna, a door stands partly ajar. A weird red - and - green light spills out through the crack, along with an Alice in Chains SONG.",
"INT. APARTMENT / LIVING ROOM - NIGHT Ronna pushes the door open from the hallway. RONNA Todd? Shades drawn, the room is completely insulated from reality. The light bulbs have been markered over, casting eerie pools of red and green light. Broken CD's dangle off a tiny Christmas tree by the stereo. Slacker seasonalism. GAINES -LRB- O.S. -RRB- Do n't let the cat out. Ronna closes the door behind her. TODD GAINES emerges from the darkened bedroom, tying the string on a pair of sweat pants. That's all he's wearing. RONNA I did n't wake you up, did I? GAINES Nah. He settles into an overstuffed couch and lights a Marlboro. Adjusts himself in the crotch. Motions for her to take a chair. She's more nervous than she wants to let on. GAINES I thought you were still buying quarters off Simon. Least what Simon pretends are quarters. RONNA I keep him honest. GAINES At that level you're supposed to pinch. It's the economics of it. IN THE BACKGROUND A WOMAN with a ballerina's body comes out of the bedroom. She tucks an unrealistically large breast down into her tight top. GAINES You leaving? She leans over the back of the sofa for quick, tonguey kiss. In a sneak attack, she shoves a Santa's hat down to his ears. He bats the white pom out of his eyes. GAINES Be good. The woman is out the door without a word. Gaines looks back over at Ronna, not the least bit self - conscious about the hat. GAINES I take it this is not a social call. RONNA I need a favor. GAINES A favor? Wow. I did n't know we were such good friends, Ronna. Because if we were, you would know I give head before I give favors. I do n't even give my best friends head, so the chance of your getting a favor right now are pretty fucking slim. -LRB- beat. -RRB- You might try just telling me what you want to buy. RONNA Twenty hits of ecstacy. He takes a deep drag on the cigarette, looking at her. Blows the smoke out. He picks up a remote control. Aims it at the stereo. CLOSE UP The volume meter, climbing fast. Out of the green, into the red. The MUSIC is deafening. ON GAINES On top of Ronna, face in her ear. His hand wraps around her head, holding her tight. We ca n't HEAR what he's saying. Ronna's eyes betray her fear. He backs off. She looks confused. He nods. Do it. The MUSIC still BLARING, she stands and slowly unbuttons her shirt. Takes it off - very self - consciously. Pulls her t - shirt off over her head. Just her bra underneath. He motions for her to turn around. She does, then back. Her hands are shaking. She holds them together. Gaines aims the remote at the stereo. The MUSIC retreats. GAINES You come here out of the blue asking for twenty hits. Just so happens twenty is the magic number where intent to sell becomes trafficking. RONNA Todd, I would never fuck you like that. GAINES How would you fuck me? Would you strap it on? He climbs over the sofa to a dresser. In a drawer, he digs down through a pile of socks to find a wide - mouthed bottle. And an empty Tylenol bottle. Blows out the dust. GAINES What's the occasion? RONNA There's this big Christmas party thing. Warehouse, you know. A bunch of us are doing sort of a pre - party thing. GAINES Friends of yours. You're not going to go and try to sell this on me, are you? RONNA No. GAINES You're not dealing. RONNA Swear to God. He transfers pills from the big bottle to the Tylenol bottle. GAINES This is the real thing. Pharmaceutical grade, not that crunchy herbal rave shit. Do n't let anyone double dose or you'll be frying eggs off ` em in the emergency room. One hit per headbanger. RONNA Understood. He snaps the cap on tight. GAINES Twenty at fifteen is 300. RONNA Fifteen? I was thinking more like ten. GAINES You already did strap it on. RONNA It's just that I know you charge Simon ten. GAINES Inflation's a bitch. He offers it to Ronna, who does n't reach out for it. RONNA Here's the deal. There's 20 of us. I need all of this. But I only have two hundred. I mean, that's all I have. Gaines undoes the cap of the Tylenol bottle, starts pouring the pills back out. RONNA -LRB- CONT'D. -RRB- No, hear me out. This two - hundred is like a downpayment. You give me the stuff, I get the extra hundred from them, then I come right back and pay you. GAINES See, that would be doing you a favor, and you know how I feel about favors. RONNA I could leave something with you. Collateral. He gives her a quick look over. GAINES I already got a fucking Swatch. I need something I know you'll come back for. Ronna looks at the Tylenol bottle in his hands. Thinking.",
"EXT. THE BEAST - NIGHT Ronna kneels down beside the passenger window. Knocks on the glass. Claire rolls down the window. MUSIC spills out. RONNA Claire, could you come up with me for a sec?",
"EXT. DOORSTEP - NIGHT The release BUZZER stops as Ronna pulls open the door to the stairs. Claire just stands there, disbelieving, making no motion to go in. RONNA Forty - five minutes. Hour, tops. You just have to sit there. CLAIRE Hello! He's a drug dealer. RONNA Jesus, Claire. Do n't get 818 on me here. How much shit have I done for you? This is nothing. CLAIRE No. No! You're making me an accessory. RONNA Claire. That bracelet of mine you're wearing is an accessory. You are just some chick who's sitting in an apartment. That's it. It's not just the matter at hand, but years of minor adjustment and one - upsmanship. Ronna finally drops the bravado. RONNA Okay, no bullshit. I need this. I do n't get this money, I get evicted. My ass is out the street. CLAIRE You could. RONNA -LRB- stopping her. -RRB- No, Claire. I do n't have anyone else to go to. I am coming to you and I am asking for your help. Please. Help me. A beat. CLAIRE Forty - five minutes. That's like eight o'clock. RONNA We'll be back by eight, I promise. Ronna holds the door as Claire reluctantly steps inside.",
"INT. MANNIE'S CAR - NIGHT The clock on the dashboard reads 8:04. RONNA -LRB- v.o. -RRB- Is this it? Are you sure? ENGINE running, The Beast is parked along a residential street in Venice. In the driver's seat, Mannie looks for an address. MANNIE Six - forty - four. Jesus, next time ask for directions. He kills the engine. Ronna does a quick face - check in the rear view mirror. She's out the door, moving a hundred miles an hour. MANNIE Ronna! She looks back in. Mannie shakes the Tylenol bottle she forgot. Tosses them to her. MANNIE You're a pro. RONNA I'm a top - seeded amateur. She pockets the bottle. SLAMS the door. Mannie tracks her as she circles the car. MANNIE And I'm a very happy man. In his palm, two tablets. He works up a good gob of spit, then swallows them both. They're bitter as hell.",
"INT. VENICE HOUSE / MAIN ROOM - NIGHT A beefy guy named BURKE HALVERSON reaches out a hand. BURKE Damn good to meet you, Rhonda. RONNA Ronna. BURKE Ronna. When I heard Philly got snowed in, I thought we were fucked for sure. Glad we found you. Her PAGER goes off, a shrill CRY. She quiets it, checks the number. Burke smiles. BURKE Work work work. Friday must be a busy night. RONNA That was just a friend. Only now do we TURN to see Adam and Zack standing nearby, trying to look cool. Their house is spartan even by frat - boy standards, just goodwill furniture and as - is Ikea. BURKE -LRB- O.S. -RRB- Hey. What can I get you to drink? RONNA Some of that orange juice would be great. Burke does a hepcat swing through the kitchen door, leaving Ronna alone with Adam and Zack. ZACK So this party tonight sounds like it's gon na be huge. ADAM Massive. ZACK That would be a synonym for huge. ADAM Just backing you up. ZACK And I appreciate that. BURKE -LRB- O.S. -RRB- Ronna hun, we are fresh out of o.j. Adam looks at Zack. Ronna catches it. BURKE -LRB- back thru door. -RRB- Cerveza? He hands her a beer. ADAM -LRB- to Burke. -RRB- Oh yeah. Hey. We bought a whole bunch of orange juice. It's in the car. ANGLE ON RONNA watching them with a lion tamer's concentration. Burke looks back over at her. BURKE Now, Zack tells me you got 20 at 20, is that right? RONNA -LRB- suddenly. -RRB- You got a bathroom? ADAM Down the hall on the right. ZACK Let me show you. He moves at Ronna strangely. It freaks her out. BURKE Maybe we could do this first. Burke shoots Adam a look. Ronna's already headed down the hall. They wait silently until Ronna's out of earshot. ADAM We said Chicago, you said Philadelphia. A MONITOR In black - and - white VIDEO, we're looking down on wide - angle view of the entire room - a surveillance camera. We can see the reflection of someone watching. ADAM -LRB- FILTERED. -RRB- Maybe she did n't notice. BURKE -LRB- FILTERED. -RRB- Just wait here. Keep it calm. Burke walks off camera, headed for the hall. Zack hangs his head. Adam looks up at the camera.",
"INT. BATHROOM - NIGHT CLOSE UP : Ronna locks the door. She leans back against the frame, panicking. She turns on both faucets. She checks the window. Nailed shut. She looks at herself in the spotless mirror. RONNA You're fine. You're fine.",
"INT. HALLWAY - NIGHT Burke leans up against the outside of the door, listening.",
"INT. BATHROOM - NIGHT She pulls the Tylenol bottle out of her pocket. She looks down at the toilet. Hesitating, until. A KNOCK on the door.",
"INT. HALLWAY - NIGHT BURKE Everything all right in there?",
"INT. BATHROOM - NIGHT Ronna's heart is in her throat. CU : The handle, rocking back and forth, locked. RONNA Fine. She struggles with the cap. Child safety. It finally POPS open. A few pills scatter on the carpet. She dumps the contents into the toilet. FLUSHES.",
"INT. HALLWAY - NIGHT Burke hears it. Freaks out. He rifles through the keys on his belt.",
"INT. BATHROOM - NIGHT Ronna's on all fours, searching for spilled pills. She tosses them into the swirling water.",
"INT. HALLWAY - NIGHT CU : The hole in the center of the door knob. A thin allen wrench slips in. Burke forces the door open to reveal RONNA standing with her beer, cool as an Eskimo. RONNA All yours. She pushes past him into the hall.",
"INT. MAIN ROOM - NIGHT Ronna is headed for the front door. Following behind her, Burke waves at Adam - BLOCK THAT DOOR! Adam steps in her way. BURKE Ronna, hun, do we got a deal here or not? RONNA -LRB- turns, backing away. -RRB- No. No, see we do n't. That's what I came here to tell you. I could n't get anything. She bumps back into Adam at the door. Burke is closing in. BURKE C'mon, resourceful girl like you? I do n't believe it. RONNA It's true. BURKE I just want to make a deal here, Ronna. Can we make a deal? RONNA Who the fuck are you? Monty Hall? Zack chokes a laugh. Burke stares right through her. Ronna swigs her beer like a trucker. RONNA Did you know I'm only 17? BLACK AND WHITE / SURVEILLANCE CAMERA RONNA -LRB- FILTERED. -RRB- I probably should n't be drinking this beer, should I? Being so underage and all. The men just stand there, watching. BACK TO COLOR CLOSE ON Burke, dumbstruck. He nods at Adam. Adam steps away from the door. Ronna backs her way out the door, never taking her eyes off them. The door CLOSES. A BEAT. Adam and Zack await the fury. Burke looks back to the hallway.",
"INT. HALLWAY - NIGHT (NORMAL) A white guy with dreadlocks comes out of a locked door. His name is LOOP. LOOP Man, I do n't know what happened, it's like the machine just ate the tape. He cracks a videotape against the doorframe, pulling out the innards. MANNIE -LRB- v.o. -RRB- Why would they go after you?",
"EXT/INT. THE BEAST ON STREET - NIGHT The car is parked on the side of another residential street. RONNA I think it was Simon they were after. He deals all the time out of the store. I mean, he makes change out of the fucking register. MANNIE They did n't know who was dealing, just that it was someone at the store? RONNA They were fishing. I bit. Ronna's PAGER goes off with a shrill BEEPING. She checks the number. RONNA It's Claire. She paged me while I was in there. MANNIE We go back to Todd. Tell him they did n't show up, whatever. And then just swap the pills for Claire. RONNA We ca n't. MANNIE Why not? RONNA They're gone. I flushed them. MANNIE Oh shit. RONNA Think of something. I need a hundred bucks or 20 hits of X. A long silent beat as both put on their thinking caps. Mannie tries to beat down a smile that curls the edges of his lips. He clenches his jaw, trying to keep it in. RONNA What?! She turns his chin to hold his eyes to the light. They're wild and dilated. And his smile resurfaces despite his best efforts. RONNA You took one, did n't you? Fuck you, Mannie! How could you do this to me? I need you now. He sits quietly, a scolded dog. RONNA Drive. MANNIE Where? RONNA Just drive. I have an idea.",
"INT. SUPERMARKET - NIGHT A sign over the entrance reads `` Yule Save More.'' Christmas MUSAK blares `` Jingle Bell Rock'' overhead. The automatic doors slide open to reveal Ronna and Mannie, who split up. We follow Ronna, who is now wearing Mannie's black trench coat. The store is almost empty, with STOCKMEN beginning to unload palettes. Ronna turns down an aisle marked `` Soap/Shampoo/Drugs.''",
"INT. AT THE MANAGER'S COUNTER - NIGHT Mannie scans his hand on a UPC register, watching the laser on his fingers, listening to it BWOOP. He smiles broadly at an idle REGISTER WOMAN, who does n't even look up. He then ducks down behind the counter. A CRAPPY CD PLAYER | spins away. He presses the'' |'' button, then cranks the volume dial all the way up. The opening FLOURISHES of a Latinized Christmas classic BLAST through the PA system.",
"INT. AT CHECKSTAND - NIGHT The Register Woman looks up.",
"INT. AN AISLE - NIGHT Two STOCKBOYS look up.",
"INT. DRUG AISLE - NIGHT A COUPON - WIELDING WOMAN looks up, confused, but proceeds to push her cart around the end of the row. Ronna looks both ways. She's alone. She starts grabbing boxes off the shelf and shoving them into the pockets of Mannie's coat. Cold medicine. Allergy medicine. Every pill she can find. SWITTERMAN comes ROARING by behind her, heading for the front. She tries to duck away, but he's too steamed to even notice her. Ronna does a quick check to see if she got everything. Hurrying down the aisle, she swipes a bottle of Evian.",
"INT. END OF ANOTHER AISLE - NIGHT The two stockboys give a wide - eyed, Spielberg stare. We MOVE to the next aisle, where the Coupon Woman is staring at the same thing. We MOVE again to Ronna at the end of her aisle. She just now sees it.",
"INT. FRONT OF THE STORE - NIGHT ANGLE ON Mannie. He sticks his hand out. ANGLE ON the Register Woman. She sticks her hand out. Their palms meet. Their hips come together. And they dance. What starts as a tango, spirals into a STAR SEARCH - y routine of dips, spins and Arthur Murray nightmares. Torville and Dean on linoleum. The stockboys watch, horrified but transfixed. The Coupon Woman taps her shoe against the wheel of her cart. ANGLE ON MANNIE dancing his heart out. His face is red and dripping sweat. He's too out of it to notice. HIS POINT OF VIEW a JET ENGINE ROAR, swirling light. The MUSIC is stacked up on itself, overlapping and bizarre. For just a moment, horrifying. ANGLE ON MANNIE he stops mid - twirl. Holding himself against a magazine rack. Ronna takes him by the shoulder. MANNIE'S POINT OF VIEW Ronna leans into a fish - eye swirl. The ROAR grows louder, continuing as we",
"INT. THE BEAST / DRIVING - NIGHT Behind the wheel, Ronna's ripping open boxes of medication. Cracking open jars, she spills the tablets out on her hand. RONNA Were they round or oval? MANNIE -LRB- recovering. -RRB- Round. White. Like aspirin. Like baby aspirin. She digs through the pockets of the coat, seeing what else she grabbed. Her BEEPER goes off. She hits it to make it stop. She pops an allergy pill out of its blister pack. Compares it to another pill, almost the same. RONNA -LRB- holding them up. -RRB- A or B? MANNIE B. RONNA You're sure? MANNIE I was n't really looking. Making a decision, Ronna starts popping the rest of the pills out of the blister pack, dumping them into the Tylenol bottle. Her BEEPER goes off again. RONNA Stop fucking paging me, Claire! Mannie nurses the Evian bottle. A PHONE rings.",
"INT. GAINES' APARTMENT - NIGHT Gaines picks up the receiver, clicking the remote to mute the CD player. He's still shirtless and wearing the Santa Claus hat. GAINES -LRB- on phone. -RRB- Speak! Just licking my dick, whazzup with you? Yeah. The Crazy Horse, you'll have to look it up. I do n't know what I'm up to. -LRB- to Claire. -RRB- Where's this party at? Claire is sitting in the corner, holding herself very still. She digs a postcard - ish invite out of her purse. He snaps his fingers. She hands it over. GAINES -LRB- on phone. -RRB- It's called `` Mary Xmas.'' Mary like a chick. Like her name is Mary, not like you marry her. You fucking moron. I dunno, some warehouse shit. -LRB- to Claire. -RRB- Is this gon na be cool? CLAIRE Yeah, I guess. GAINES -LRB- on phone. -RRB- My friend Claire here says it's going to be a kick - ass - fucking - time. What, you know her? -LRB- to Claire. -RRB- It's your buddy Simon. He's in Vegas. CLAIRE I know. GAINES She knows. Hell, I dunno. -LRB- looks at Claire. -RRB- Maybe. Yeah, well save a load for me big boy. Whatever. He hangs up. The CD player is still muted. The silence is vast. Gaines scratches an armpit. Checks his watch. Claire looks away. GAINES What do you want for Christmas, Claire? CLAIRE I do n't know. GAINES Do you want to get laid? CLAIRE No. GAINES No, you do n't wan na get laid or no, you do, but you do n't want to get laid with me? CLAIRE You ca n't answer that. I mean, it's like. GAINES Either way you're fucked. Where are they, Claire? CLAIRE They'll be here. GAINES They'll be here. Huh. He gestures like he's going to click on the CD player, but instead points it at her. GAINES Are you a virgin? CLAIRE What? GAINES C'mon, Claire. Answer the question. Answer the question, Claire. She does n't say anything. Gaines laughs his ass off. CLAIRE Breakfast Club. I get it. GAINES Look at me. I want to show you something. She looks back over at him. He slowly undoes the drawstring to his sweat pants. Starts to reach inside. Claire watches, revolted and disbelieving. A beat. GAINES I'm kidding! His hand reaches between the cushions of the couch, where he pulls out a 9mm handgun. GAINES I'm not kidding. Where the fuck are they, Claire? The gun pointed at her, Claire is losing her shit. Her face squeezes tight, like her head's being sucked through a tiny hole. Just when she's about to pop. The BUZZER sounds. Saved by the bell. Gaines pushes the TALK button on the intercom. GAINES Speak! FILTERED VOICE It's Ronna! Smiling, Gaines hits the DOOR button. Claire collects her wits.",
"EXT. DOWNSTAIRS DOORWAY - NIGHT Ronna looks back to Mannie. RONNA Do n't say anything. And try not to look so stoned. He nods, wiping a finger across his forehead to squeegee off the sweat.",
"INT. GAINES' APARTMENT - NIGHT Gaines sits pensively on the edge of the couch, then smiles warmly. GAINES That's no problem. These things happen, I understand that. Claire smiles, relieved. Mannie stands behind Ronna, his gaze carefully fixed on the wall. GAINES -LRB- CONT'd. -RRB- Let me just fill out a return slip here, and I'll have the manager give you a refund. RONNA Todd, I'm trying to explain what happened. They had already gotten stuff from somewhere else. It was just a case of miscommunication, I thought. Ronna's VOICE fades to nothing as we PUSH IN on Mannie. A SIAMESE CAT lays down on a table in front of him, staring at him. HUXLEY -LRB- SUBTITLES ONLY. -RRB- I can hear your thoughts. Mannie squints, looks around. He and the cat are alone in the room. HUXLEY -LRB- SUBTITLES. -RRB- Xiang Kai - Shek. Famous Chinese ruler guy. Starts with X. Mannie smiles. MANNIE -LRB- SUBTITLES. -RRB- No. `` C'' Chiang Kai - Shek. The cat curls itself. HUXLEY -LRB- SUBTITLES. -RRB- You're going to die. Mannie snaps back, eyes panicked. It's a few minutes later. Everyone's in different places, different moods. Mannie has n't moved at all. GAINES -LRB- handing back cash. -RRB- I'm keeping fifty. Call it interest. RONNA That's fine. Todd, I'm really sorry about all this. Ronna steers Mannie towards the door, trying to keep his back to Todd. But at the last moment. GAINES Hey Ronna. A beat. Todd shakes the pill bottle. GAINES I just gave you a favor. RONNA -LRB- a smile. -RRB- And here I thought you just gave me head. They trade a look as she exits. Gaines picks up the cat, gives it a scratch. Silly humans.",
"EXT. FIELD PARKING LOT - NIGHT Mannie lies on the roof of The Beast, arms spread wide, cigarette in his fingers.",
"INT. THE BEAST - NIGHT Ronna and Claire stare at each other, a competition, neither wanting to exhale first. Hands waving, Claire struggles to keep herself from laughing and choking. Finally she gives in, coughing up smoke and snot. Ronna blows out a cool ribbon of smoke. She hands over a wreath of plastic holly. RONNA Pin me. She leans down to let Claire pin the holly in a crown around and through her hair. CLAIRE Okay, at the risk of sounding like. You know. Me. What are you going to do about getting evicted? You're still short, are n't you? Mannie's hand flops down to the window. Claire hands him the joint. From RONNA'S P.O.V., we see the floor is still littered with dozens of boxes of medicine. A beat. She picks up a box. An idea forming, Ronna sits back up. Smiles. CLAIRE What? What?",
"EXT. FIELD / PARKING LOT - NIGHT Ronna and Claire weave through the densely packed lot, where RAVE - GOERS party in and around their cars, drinking and smoking. As they walk, Ronna pops allergy medicine out of a blister - foil pack. She tosses the box away. Scanning the lot, she points to a mini - van.",
"EXT. AT THE MINIVAN - NIGHT Ronna knocks on the window. A NERVOUS TEENAGER rolls it down, releasing a cloud of smoke. Ronna smiles. RONNA Hi. I'm Kelly, and this is Donna. We were wondering if you might want to hang out.",
"INT. THE MINIVAN - NIGHT Ronna and Claire are packed in tight with three VALLEY HIGHSCHOOL COUPLES. The guys are stoned, the girls uptight. They're all breaking curfew. FILA GUY I think I feel something. RONNA It's really smooth, is n't it? Donna's brother is a pharmacist. He got it for us. A look from Claire - why are dragging me into this? But she goes for it. CLAIRE Chip. His name is Chip. My brother. NIKE HAT Is it like a wave, or is it like a zoom? FILA GUY It's like floating. Like, `` Hey down there, how's the ground and shit.'' NIKE HAT I got it. Oh, fuck. Yeah, I feel it. ANOREXIC GIRL Is it really that cool? FILA GUY You got ta try it. Shit, I'll buy for you. He pulls out his wallet and hands Ronna a twenty. She gives the Anorexic Girl a tablet, who downs the pill with a swig of Diet Coke. RONNA And you know what makes it even better? If you smoke a lot of pot. I mean a lot of it. Fila Guy nods, firing up the mini - bong again.",
"EXT. LINE OUTSIDE A WAREHOUSE - NIGHT Mannie leans against a wall, pale and out of it, a nauseated smile on his face. CLAIRE -LRB- low. -RRB- I ca n't believe you are selling allergy medicine. RONNA We're out of that. We're down to chewable aspirin. A SKATE - PUNK GUY comes up to them, money in hand. SKATE-PUNK GUY Hey. People are saying you have some really good stuff. Ronna takes the money, looks him over. RONNA Show me your tits. A beat. He pulls up his shirt to show his skinny white chest. Deeming him worthy, Ronna hands him a pill and sends him on his way. She adds the twenty to her stack. CLAIRE How much have you made? RONNA Four hundred. The opening RUMBLES of an industrial ANTHEM rise as we cut to :",
"INT. GAINES' APARTMENT - NIGHT MUSIC builds throughout. Standing at the dresser, Gaines cracks open Ronna's bottle. Pills spill out on a plate. He counts them, pushing them aside in groups with a card. Stops. Picks one up. Looks at it more closely. Pulls open a drawer full of socks. Digs out the wide - mouthed bottle. Shakes out a pill. Flicks on a desk lamp. Looks at both pills in his hand, comparing. Fuck. He flips over the card on the dresser. Mary Xmas. The invite Claire gave him. With a sudden RAGE, he WINGS the plate against the far wall. It SHATTERS. The music EXPLODES and we're.",
"INT. WAREHOUSE / MARY XMAS SUPAFEST - NIGHT A grinding, sweating sea of humanity. In the mosh pit, SKINHEADS and coked - up POSEURS run in blind circles. A stringy - haired EYELINER BOY crashes into RONNA who had her own groove going. She shoves him back into the wheel, a foot on his ass. Claire, behind her, YELLS something in her ear. We ca n't hear a thing. Ronna downs the rest of her drink, hands Claire the cup. That's not what Claire meant - she's a little pissed - but Ronna is oblivious. Both hands free, Ronna pushes her way deeper into the eye of the storm. She adjusts her holly crown. She's sky high and loving every minute of it.",
"EXT. WAREHOUSE - NIGHT The line to get in is longer still, snaking down the wall. Fila Guy is talking to a friend in a SPIDER MARINE shirt. FILA GUY This girl inside. She and her friend have it. SPIDER MARINE Ecstasy? The real shit? FILA GUY Pharmaceutical grade. None of the crunchy herbal rave shit. ANOREXIA GIRL Best twenty bucks you could spend. We look past Fila Guy to see Todd Gaines, who's been listening. Seething.",
"INT. BY THE ENTRANCE - NIGHT Sweating hard, Mannie is pressed back against a pole, shirt over his head. Two nose - ringed RIOT GRRRLS are drawing a Christmas tree on his chest and stomach with a fat magic marker. Looking over at the entrance, he watches some GAPSTERS move past the BOUNCERS. And behind them, TODD GAINES. Mannie's drugged eyes go wide with panic. He hunches down. Gaines starts looking around the edge of the crowd. Mannie works his way into the mob. STROBES fire overhead. Ronna dances on, oblivious. Gaines circles, searching. Mannie fights his way through the outer ring of MOSHERS. Through the crowd, we see Gaines looking in. Mannie grabs Ronna. She smiles, tries to kiss him. He YELLS in her ear. He has to repeat himself. She looks back over her shoulder. A space in the crowd. She sees Gaines. He sees her. The MUSIC STOPS. Dead silence. Ronna and Gaines trade stares for what feels like an eternity, until suddenly. The MUSIC BLASTS back, harder than ever. Like a shot, Ronna and Mannie are out of there. Gaines plows through the crowd, coming after them.",
"EXT. WAREHOUSE ALLEY - NIGHT A side door BLASTS open, Ronna dragging Mannie by the wrist. They race down the alley. A burly BOUNCER shouts after them : BOUNCER HEY! -LRB- re : sign on door. -RRB- NO EXIT! The Bouncer is blindsided by Gaines, who charges after Ronna.",
"EXT. DIFFERENT ALLEY - NIGHT Ronna pulls Mannie into a covered doorway, a niche set off from the alley. They hide back in the shadows as GAINES races past. Ronna kneels down to Mannie, who's hunched over his knees sweating and shaking. RONNA What's wrong? Mannie? She puts a hand on his sweating forehead. His cheeks. RONNA Jesus. You're burning up. MANNIE I ca n't feel my hands. RONNA Listen to me. We're going to find Claire and get out of here.",
"EXT. ALLEY / DUMPSTERS - NIGHT Ronna half - carries Mannie down the alley. He's too heavy to lift, and too out of it to go much further. He collapses to his knees. She ca n't get him back up. Without warning, he HEAVES. We hear the SPLASH on the asphalt. She props his head back against a dumpster. Wipes his face. RONNA Sweetheart. Mannie. I'm going to leave you here. I'm going to get the car and come back for you. She fishes the keys out of his pocket. Mannie grabs onto her arm, tight. RONNA I ca n't carry you! Mannie, just hide here. Just like a little mouse, okay? You're going to be fine. Ai n't nobody leaving. She pushes his legs into the shadows. He's crying.",
"EXT. FIELD / EDGE OF PARKING LOT - NIGHT (RAIN) In the distance, we hear the RUMBLE of the music. Keeping low, Ronna works her way down a row, coming to Mannie's car. She tries one key, then another. We LOOK UP to see Todd Gaines watching her from the hood of a nearby car. GAINES How's it going, Ronna? How are sales? Her heart skips a beat. She drops the keys. RONNA Todd, I can explain. GAINES I'm not going to ask you to. He climbs off the car, approaching. GAINES -LRB- CONT'D. -RRB- The thing is, it's not like I'm in a highly ethical industry. But goddamn, Ronna. You fucked me over for 20 lousy hits. He pulls his gun from the back of his jeans. By instinct, she starts to move away. A red Miata moves down the row behind Ronna. She looks to it for help, but it's already passed. RONNA It's not what it looks like. I mean, it sort of is, but it's complicated. GAINES Not really. He cocks the gun. RONNA I know I fucked up, but I can make it up to you. Please, Todd. GAINES I'm the last fucking person you should be expecting a favor from. RONNA I have the cash. I have more than I owe you. GAINES So now you're an entrepreneur. At the last moment, Ronna bolts. She ducks around the corner of a van, only to see. A RED MIATA doing 20 in reverse. It brakes, but there's no time. It hits her hard. She flies up over the roof of the car, CRASHING down on the soft top. Her limp body starts to slip down the windshield, but finally sticks. PUSH IN ON GAINES seeing the hit. HEARING it. Stunned. A beat, then we hear the engine REV, pulling back again. That shakes Ronna loose, letting her drop over the headlights in front. Rolling down the slope at the edge of the field, Ronna topples ass - first into a drainage ditch. Her body lands with a sickening THUD. GAINES stands where he is, gun still in hand, dumbfounded. He looks to the Miata. It suddenly takes off, kicking up dirt and grass. For a moment, all is quiet. Finally, Gaines tucks the gun into his jeans. One last look around, then he starts working his way back across the parking lot. Disappears.",
"EXT. IN THE DITCH - NIGHT (RAIN) We stay on Ronna's body as we HEAR the Miata suddenly pull away. Somewhere in the distance, the Mary Xmas Supafest is still RAGING, but here it's only a WHISPER with a beat. With a sudden SPASM, Ronna moves. Turns herself over on her back. Each breath WHEEZES and GURGLES. She pulls the remainder of the holly crown out of her hair and tosses it aside. She tries to push herself up. Her legs wo n't move. Catching her breath, she looks to the top of the ditch, waiting for somebody to look in. No one does. Adjusting herself, she slides against a weathered magazine. Spin. Jane's Addiction on the cover. She collapses back, a new wave of pain. After a beat, she suddenly LAUGHS, until gradually it becomes a COUGHING. She pushes her hair back, streaking blood across her face. RONNA Mannie! There's no answer. The YELLING hurts. She wo n't do that again. RONNA Mannie, I got it! I remembered who the fuck it was! Perry Farrell's dead girlfriend. Xiola Blue. X - I - O - L - A. Fuck, I knew there was one. A sudden spasm of pain. She winces, sobbing. It passes. RONNA Do n't you get it? I win. She COUGHS as she laughs, spitting out some blood. We PULL BACK, rising higher until we slowly FADE OUT.",
"INT. SUPERMARKET STOREROOM - DAY Offscreen, a SOAP OPERA plays. Simon is on the phone, a well - worn employee list in his hands. SIMON -LRB- ON PHONE. -RRB- No, no. Donde Miguel? Claire leans against the wall beside him, skeptical but amused. She turns a box of cookies over in her hands, reading the ingredients. SIMON -LRB- ON PHONE. -RRB- Jalisco? -LRB- to Claire. -RRB- Where is Jalisco? CLAIRE Mexico. Fuck. Simon hangs up the phone without saying goodbye. He continues down the list. CLAIRE Simon, no one is going to take your shift. Ronna comes around the corner, zombie - tired. She heads to her locker. Simon watches her, an idea forming.",
"EXT. ALLEY BEHIND SUPERMARKET - DAY SIMON Ronna, do you want my shift? RONNA Are you serious? SIMON I have n't punched in yet. She only half - believes him. SIMON -LRB- CONT'D. -RRB- Look, my best mates are going to Las Vegas this weekend. I've never been, I'm told it's incredible. If you took my shift, I could go with them. Everybody wins. Darkness. We hear an ENGINE and ROAD NOISE. SPARKS A cigarette lighter. The flame finally catches and we see Simon. He feels around, touching the ceiling, the walls, the floor. He's locked in the trunk of a car. SIMON Shit. Shit! He starts kicking, hyperventilating. The lighter goes out. Part Two : ` Shoot'.",
"INT. THE TRUNK - DAY? NIGHT? Simon keeps KICKING. SIMON Fucking let me out of here! The lighter burns his thumb. He switches hands. Listens for a second. The car is n't driving anymore. He tries to catch his breath, but keeps getting more panicked. A key SCRAPES in the lock. The trunk lid opens a crack. Bright daylight spills in. Simon KICKS the lid and pops up, ready to swing a tire iron. THREE MEN back off, laughing. We are.",
"EXT. SIDE OF INTERSTATE - DAY TINY Mo ` fuckin Jack - in - the - box. TINY -LRB- 19 -RRB- is not black, but thinks he is. Simon climbs out of the trunk and does a face - plant in the gravel. He's shit - faced drunk. MARCUS Dude, you passed out before we left L.A. MARCUS -LRB- 24 -RRB- was a tailback at UCLA, and still has the build. He is black, and has no confusion over this matter. Simon is about to reply when he suddenly HEAVES. Everyone backs away. Tiny takes the tire iron, puts it to the side of the trunk. He starts cranking it while HUMMING `` Pop Goes the Weasel,'' ending with. TINY Pop! Goes the asshole.",
"INT. SINGH'S CADILLAC / DRIVING - DAY A massive land yacht from the pre - Embargo era. SINGH -LRB- 23 -RRB- is driving, nursing a beer. Marcus reads a magazine. Tiny talks from the enormous back seat, where Simon is recuperating. TINY So this chick, she's bobbing up and down on my dick like she's fucking Marilyn Chambers. SINGH She actually found your dick? TINY -LRB- ignoring. -RRB- Then she starts going around the ouside - you know, painting the tree - when WHACK! It hits her in the eye. And her contact, it's like stuck on my dick. The passengers do n't seem impressed. TINY Her contact lens. It's stuck on the end of my dick. MARCUS Was it hard or soft? TINY What, my dick? SINGH The contact lens. MARCUS Do you remember if it was a colored lens? That she used to have two blue eyes and now she had one blue and one brown? TINY What the fuck does that matter? MARCUS -LRB- leaning over seat. -RRB- It matters because it happened to me. It was my story. I told this story about a year ago. The difference was, I knew those small - but - important details. That, and it was true. TINY Oh. Whatever. MARCUS Whatever? TINY Whatever. A beat. And another. The matter just wo n't drop. TINY Yo, pull your stinky dinky out of my ass. I was just trying to make conversation. Fuck. Give a nigger a break. Singh MOANS, not again. MARCUS What nigger? This nigger? TINY My mother's mother's mother was black. MARCUS So you say, yet we have never seen a picture of this Ebonic woman. SINGH Stop. Truce. MARCUS If you were any less black, you would be clear. SIMON -LRB- moaning. -RRB- Stop. MARCUS Look at your skin. TINY I see black because I know I am. Color is a state of mind. MARCUS Thank you Rhythm Nation.",
"INT. SILVER STAR CASINO RESTAURANT - NIGHT It's a dive, and nearly empty. The guys work their way down both sides of a self - service food bar. Simon is mostly recovered. SIMON So what does Valentina do? MARCUS She's a nutritionist. She also teaches a class at this college. SIMON What class? MARCUS Tantric sexuality for couples. SINGH She teaches people how to fuck? TINY Man, I taught myself. MARCUS -LRB- to Simon. -RRB- You should n't eat shrimp. It's loaded with iodine. TINY This shit is expensive. You're paying five bucks for lettuce and seeds and shit. Tiny up - ends the rest of the shrimp cocktail onto his plate. Pissed, Singh scoops away a handful for himself. AT THE TABLE The guys eat. Tiny tries to make a sandwich out of the various foods on his plate, but the bread keeps crumbling. MARCUS Thing is, most people really do n't know how to make love. They just put it in and move it around until they get off. What tantra teaches you is how to prolong and deepen the experience, bring it to a higher level. If one man in ten were having the sex I'm having, there would be no war. SIMON What's the longest you and her ever did it? MARCUS Fourteen hours. SINGH Holy shit! TINY How many times you shoot? MARCUS Not once. SIMON Fourteen hours, you did n't go once. Not even at the end? MARCUS You redirect the orgasm inside. He's greeted with skeptical looks. MARCUS -LRB- CONT'd. -RRB- How long does your orgasm last? A couple seconds? I've had orgasms that lasted an hour and a half. SIMON Bullshit. MARCUS Swear to God. And I do mean Allah. SINGH When was the last time you got off? I mean like, wet. MARCUS I have n't ejaculated in six months. TINY Six months! MARCUS Anyone can do it. All it takes is discipline. TINY You are some kind of Obi Wan Kenobi motherfucker. Call me old school, but I am still down with coming and going. Am I right? Singh agrees. Simon, however, is still intrigued.",
"INT. HOTEL LOBBY - NIGHT We hear slot machines CHIMING in the distance. Marcus picks a gold card up from the counter. MARCUS -LRB- reading. -RRB- Todd Gaines. The drug dealer. SIMON He gets a discount. He let me use it. He's a good guy. MARCUS He's the good drug dealer. I get confused. SIMON We'll pay cash anyway. This is just to get the room. The Desk Woman returns with their keys. SIMON Could you answer a question. -LRB- checks nametag. -RRB-. Rachel? Hypothetically, do you think a man could make love to a woman for 14 hours without ever achieving climax? DESK WOMAN I think my manager would be better able to answer that question. Would you like me to call him over? SIMON No. Not necessary. DESK WOMAN Great then. Welcome to the Riviera. Simon walks away with Marcus. SIMON -LRB- low. -RRB- Lesbian.",
"INT. HOTEL ROOM - NIGHT Doubled over, Tiny BANGS on the bathroom door. Singh emerges, pale and sweating. He steps over Tiny, who crawls in. Hanging up his clothes, Marcus waves away the smell. Singh MOANS, lying down on a bed. MARCUS Did I tell you not to eat the shrimp? SINGH I have something for you. Where did I put it? Oh, it's right here. He gives him the finger. Simon is on the phone by the window. SIMON -LRB- over action. -RRB- Todd, it's Simon. What's up? I'm in Vegas, we just got here. What was the name of the place you said we should go. The Crazy Horse. What are you doing tonight? Marcus neatly unfolds his clothes, hanging them up in the closet. SIMON -LRB- on phone. -RRB- You're going to a wedding? What is it, a rave? From the wall, KNOCKING. Simon and Marcus look to a door by the window. SIMON -LRB- on phone. -RRB- No, I know Claire. Are you going to fuck her? Simon points at the KNOCKING door. Marcus finally opens it to reveal a 12 year - old BOY in the adjoining hotel room. BOY Who are you? MARCUS This is our room. Simon leans around to look. BOY Oh. What are you doing? SIMON Raping small children. The Boy's MOTHER yanks him back from the door, shutting it.",
"INT. MIRRORED ELEVATOR - NIGHT Simon and Marcus are fully macked out. Marcus adjusts the shoulders of his bright yellow jacket. SIMON Did I mention how much I like your jacket? MARCUS No. SIMON There's a reason. The elevator bell BINGS.",
"INT. THE CASINO - NIGHT Simon finds Marcus at a blackjack table. SIMON Let me borrow some money. MARCUS Where's your money? SIMON I lost it The DEALER is waiting for Marcus to play. He takes a card, bust. MARCUS We've been here five minutes. SIMON I was playing this game at a hundred dollar table and I did n't understand it, but now I do. I think I figured out how to beat it. MARCUS Let me see your wallet. Simon hands it over. Marcus pockets it. MARCUS You can have it back in an hour. No, no. No buts. One hour, right here.",
"INT. CASINO - NIGHT VARIOUS SHOTS : Simon wanders, bored. He hits on a WOMAN at the nickel slots. When she rebuffs him, he turns his attention to the COCKTAIL WAITRESS.",
"INT. CASINO HALLWAY - NIGHT Simon wanders amid the GUESTS spilling out of the Shapiro wedding reception. He helps himself to a glass of champagne.",
"INT. ELEVATOR - NIGHT Simon shares the elevator with drunken bridesmaids BECKY GOLDMAN and REBECCA GOLDSTIEN. Both are 19. BECKY Okay, if you're from over there, then where did you meet these friends? Of yours. Who I do n't see. SIMON They already knew each utter, but Marcus I met in traffic school. His accent is suddenly Irish. It's weirdly charming. REBECCA -LRB- mocking. -RRB- Een traffic skewl? SIMON I'm a good driver, I am. I learned everything from American television. Hunter, Magnum P.I. - The Knight Rider is an excellent program. The doors open at the Beckys' floor. They get off. Rebecca turns. REBECCA Do you want to be getting high with us?",
"INT. THE BECKYS' HOTEL ROOM - NIGHT While Rebecca smokes up, Becky tears a kleenex in half. She rolls each piece into a plug, shoving one up each nostril. BECKY -LRB- explaining. -RRB- Otherwise, I ca n't hold it in. Simon hands her the pipe and the lighter. Rebecca blows a perfect smoke ring at Simon. He smiles, a little smoke escaping. She leans close and kisses him. Softly at first, then harder. They're a few beats into it when. BECKY Oh my God! Her kleenex is on fire, flames in each nostril. Hands waving, she stands up. Snorts hard. The plugs shoot out, landing on the carpet, which begins to smolder. Simon stamps the flames out. REBECCA You're fine. You're fine. Becky is crying. REBECCA -LRB- to Simon. -RRB- Tell her she's fine. SIMON You're beautiful. He kisses her. After a moment, her panic subsides. She kisses him back.",
"INT. HOTEL ROOM - LATER Simon slides between the two Beckys, three naked bodies clenching and releasing. CLOSE ON SIMON breathing harder and faster, faster, until he suddenly stops. The expression on his face is agonizing, like a tightrope walker about to lose his balance. The Beckys stop to watch him, worried he might be hurt. Finally, he breathes again. BECKY Did you go? He shakes his head. BECKY Why not? SIMON Tantra, baby. LATER A new position, Rebecca on top and sweating. Next to Simon, Becky is passed out and SNORING. It's only as we look over Rebecca's back that we see THE CURTAINS ARE ON FIRE. On the bed, Simon lies motionless in aching nirvana. His head turns. He sees the flames. And does nothing. Rebecca reaches climax with an inhuman series of MOANS. It's on the third of these that the smoke alarm suddenly BLEATS. It settles into a piercing WHINE. Becky falls out of bed, disoriented. Sees the fire and SCREAMS. Rebecca climbs off Simon to attack the flames with a pillow, beating them down. Holding her head together, Becky tries to reach the smoke detector itself. Amid the chaos, Simon feels for his shoes.",
"INT. HALLWAY / ELEVATOR BAY - NIGHT In the elevator on the right, Simon jabs at the button while getting his jeans on. As his doors slide closed, the left elevator opens, revealing hotel SECURITY.",
"INT. CASINO MEN'S ROOM - NIGHT Gentle Christmas MUZAK. At the sinks, Marcus wets his fingers to fix his hair. An OLD TEXAN washes his hands at the next sink, looks around for a towel. Marcus takes two from the dispenser, hands them over. When he's finished, the Texan sets the crumpled towels on the counter, along with a dollar bill. He taps his hat and leaves. A beat before Marcus sees the bill and makes the connection. He shouts to the closed door. MARCUS I am not a bathroom attendant!",
"INT. BY THE ELEVATORS - NIGHT Not breaking his stride, Simon catches Marcus coming out the restroom. SIMON Hey. We're leaving. MARCUS Fuck yeah.",
"EXT. HOTEL ENTRANCE - NIGHT Seething, Marcus joins Simon in line for a cab. A white Ferrari pulls up to the curb beside them. The FERRARI MAN tosses the keys at Marcus, who ca n't help but catch them. FERRARI MAN Keep it close and there's an extra ten bucks for you. He slips Marcus a five as he rushes into the casino. A beat. Simon is cracking up. As we REVERSE, we see the valets are wearing the same yellow sportcoat as Marcus. MARCUS Get in. Get in the car. Get in.",
"INT. THE FERRARI / DRIVING ON FREEWAY - NIGHT Top off, wind whipping. Marcus downshifts, letting the engine RACE as he passes another sports car. The STEREO is blasting. Pale and dazed, Simon tries to light a cigarette. It blows out of his fingers. It was his last. He adjusts himself in his seat, uncomfortable. SIMON -LRB- shouting over noise. -RRB- Question. When you're doing tantra, you hold it in at the end, right? MARCUS No. Never. Redirect the energy, but you never hold it in. Have n't you ever gotten blue balls? Hurts like a bitch. SIMON -LRB- nodding. -RRB- Sort of a dull ache. MARCUS Exactly. Marcus looks over to Simon, who is trying to get his breath.",
"INT. FERRARI / DRIVING DOWNTOWN - LATER Empty intersections, no traffic to speak of. Marcus is looking for a cross - street. They're lost. MARCUS See if there's a map. Simon goes through the glove compartment. Amid the condoms and parking tickets, he finds one. SIMON Orange County. He throws it out. He tries to shut the compartment, but it's caught on something. He reaches in. SIMON Holy shit. Marcus looks over. Simon gently pulls out a 9mm Baretta. Fascinated, he turns it over in his hands. Marcus tries to keep an eye on the road. MARCUS Do n't point it at me! SIMON How do I know if it's loaded? MARCUS First, you stop pointing it at me. Simon aims the other way, out the window. As they drive through an intersection, they pass a car full of LOCALS. MARCUS Floor. Floor! Simon throws the gun to the floor. Marcus flinches, expecting it to go off. It does n't. He checks the rear - view mirror. No trouble. Simon picks up the gun again. SIMON I've never held a real gun before. It's heavier than I thought. MARCUS Great, put it back. SIMON I want to know if it's loaded. How do I. He starts pulling and pushing on it, trying to get the clip out. He's not going to stop until he does it or shoots himself trying. MARCUS Hold the wheel. Marcus removes the clip, hands it over. Simon counts the bullets. SIMON I hold ten men's lives in my hand. MARCUS It's a nine millimeter. It does n't have stopping power. SIMON Right. For that you'd need Magnum Force.",
"EXT. 7-ELEVEN - NIGHT At a pull - up payphone, Marcus is looking through the map in the phone book. Simon is still fondling the gun. SIMON This is why I came here. This is America. I'm serious. You want to take one symbol for all of America, it's not the flag or the hawk. MARCUS eagle. SIMON or the automobile. America is about a man and a gun. From the American revolution, to taking the West, killing Indians, American history is all about access to firearms. In England, we ca n't even own a gun. Here, it's a birthright. -LRB- beat. -RRB- If I were an American, I'd join the E.R.A. MARCUS The N - R - A. He tears a page out of the phone book. SIMON You're certain? MARCUS The E.R.A. was this chick thing in the ` 70s. SIMON Chicks with guns? A beat. Giving up. MARCUS Yes.",
"INT. HOTEL ROOM - NIGHT Tiny lies on the bed, watching a bad hotel porno. Singh comes out of the bathroom, pale and shivering. SINGH Kill me. TINY I ai n't your bitch. Kill yourself. KNOCKING at the adjoining room door. They try to ignore it, but it's relentless. Finally, Tiny answers it. TINY What the fuck? It's the same boy. BOY You got some smoke? TINY You got some pubic hair yet? BOY Man, I've been smoking up since I was eight. TINY Where is your mom at? He pushes past the kid.",
"INT. THE OTHER ROOM - NIGHT The mirror image of their room. The same porno plays on the TV. Kleenexes on the bed. BOY She's not my mom. Tiny rummages through the open suitcases, finally finding a bottle of Pepto - Bismol. He cracks the seal and drinks half of it on the spot. BOY Are you on heroin? Are you kicking? TINY I'm kicking your ass if you knock again. Tiny goes back into the other room, pulling the door shut. BOY Fuck you.",
"EXT. PARKING LOT / CRAZY HORSE - NIGHT Sodium vapor lights BUZZ overhead. Simon adjusts something in his coat while Marcus locks the Ferrari. APPROACHING THE ENTRANCE. MARCUS Listen up. They're going to ask if you want buy a bottle of champagne. You do n't, but do n't say that right off. SIMON Explain. MARCUS Champagne means you want a private dance. You ca n't afford it, neither can I. But if they know we're not biting, they do n't even dangle the bait. SIMON So, `` champagne'' is a code. -LRB- beat. -RRB- What does vodka mean? MARCUS Nothing. At the door, Marcus stops Simon before he goes in. MARCUS We have one word, champagne. You can order anything you want, anything, as long as it's not champagne.",
"INT. THE CRAZY HORSE - NIGHT Pitch black except for tiny Christmas lights. To Simon's left, a skanky MIDDLE - AGED COUPLE plays video poker. At the bar, Marcus SHOUTS to the BARTENDER - the MUSIC is deafening. Out of the shadows, two dancers approach. They split up, blonde HOLLY taking Simon, while brunette NOELLE heads for Marcus. Holly offers Simon a hand, they shake. She leans close to talk into his ear. He smiles. Noelle taps Marcus on the shoulder, ducks to the other side playfully. Takes a sip of his drink. Simon points to Marcus. Holly nods, feeling the fabric of his shirt. Noelle laughs at something Marcus said. Holly measures her hand against Simon's, rubs it against her neck. He is staring at her magnificent breasts. At Noelle's urging, Marcus flexes his bicep. Noelle flutters. We come in CLOSE as Holly leans over to say something. Simon speaks first. SIMON I'd like to buy your most expensive bottle of champagne.",
"INT. SHORT HALLWAY - NIGHT A curtain at the end, blue light overhead. Holly leads the way with a bottle of champagne. Noelle follows with glasses. Behind them, the guys. Marcus gives Simon a look. Simon shrugs it off. The curtain parts, letting the women through. From the darkened space beyond, a giant BOUNCER steps out - massive even compared to Marcus. He's sucking on a lollipop. VIC JR. I need a major credit card. Marcus looks to Simon, who hands over the gold card. Vic Jr. reads them the boilerplate. VIC JR. This is a gentlemen's club. You are expected to behave as gentlemen. I will be giving you one rule. If you break this rule, I will break your arm. Are we clear? MARCUS Yes. VIC JR. The ladies can touch you. You can not touch them. At any point, for any reason. Is this clear? SIMON Crystal. VIC JR. Enjoy your evening. He pulls back the curtain.",
"INT. PRIVATE ROOM - NIGHT A mirrored ball spins overhead, stars racing across the black paneling. Holly nudges Simon into his chair. He and Marcus sit back to back. As the champage POPS, we move into a series of overlapping shots : Noelle licks the foam from Holly's fingers. Holly rubs the bottle against herself, pours. Noelle and Holly dance together, a tinsel ribbon around them. Simon adjusts himself in the crotch. Noelle lights a cigar for Marcus as Holly dances alone. Holly lifts her miniskirt to reveal a g - string. Simon cranes his neck back, banging heads with Marcus. Noelle takes a puff off the cigar. Holly straddles Simon, rubs against him. He shudders. His hands start to rise. She gently pushes them back down. Marcus whispers something to Noelle. Noelle comes up behind Holly, moving with her as she rubs against Simon. Marcus turns to watch. Enraptured, Simon watches the four - armed woman on top of him. His fingers start to twitch. Noelle kisses the edge of Holly's neck. Simon's hands rise, reach. Holly MOANS. And suddenly. Simon grabs Noelle's ass. It's Heaven. NOELLE -LRB- yelling. -RRB- Hands! Hands! Noelle and Holly both get off him. Holly kicks his leg. From behind the curtain, Vic Jr. charges in. He heads straight for Marcus. NOELLE The other one! Simon tumbles off his chair, scrambling. VIC JR. What the fuck did I tell you! He kicks Simon in the ass. MARCUS Yo. Yo! He fucked up, he lost control. VIC JR. Am I talking to you? I'm talking to your faggot friend here. He kicks Simon again. Holly and Noelle stand in the corner. This has happened a hundred times. MARCUS We're leaving. Vic Jr. kicks Simon again. MARCUS Enough! Stop kicking him. -LRB- no effect. -RRB- I said to fucking stop kicking him. Vic Jr. turns on Marcus. A beat. He shoves him, hard. MARCUS I'm not trying to throw down here. VIC JR. -LRB- another shove. -RRB- You think you can kick my ass? MARCUS I do n't want to try. Vic Jr.. WHACKS Marcus, an old - fashioned bitch slap. A beat. Marcus tries to keep the rage down. Feels his nose bleeding. He backs away, but Vic Jr. keeps coming. Suddenly. A GUNSHOT. SCREAMS. For a beat, no one's sure what happened. We look around to Marcus. Vic Jr.. Holly. Noelle. Then finally Simon. He just fired. The gun is steady in his hand. Marcus checks his shirt. A spray of blood. Vic Jr. checks his arm. It's bleeding. We HOLD for a moment, the mirrored ball still spinning overhead. SIMON Everybody back the fuck away. They do. Marcus holds his place. MARCUS Oh, man. Fuck. Blood is squirting out of Vic Jr.'s arm. He holds it, dumbfounded. SIMON -LRB- to Holly. -RRB- Is there another way out? HOLLY Behind you. A fire escape door. Simon motions for Marcus to come. Pushing the bar, no alarm sounds. They back out, into the night. The door swings shut. A beat. Suddenly, an MAN charges in with a silver.45. He is Vic Sr., 60, owner and proprietor. You do n't fuck with Victor. VICTOR What happened! HOLLY They shot Vic. They went out the back. Victor KICKS the door open, ready to fire. The alley is clear. The BARTENDER comes through the curtain. VICTOR -LRB- handing off gun. -RRB- Find them. The man races out. Victor looks at his son's arm. It's bloody, but he'll live. Holly SHOUTS down the hallway. HOLLY Call 911. VICTOR No! No cops.",
"EXT. PARKING LOT - NIGHT The Ferrari SCRAPES as it takes the curb too fast. From the alley, the Bartender chases after it, finally stopping to squeeze off three SHOTS. None seem to hit. The Ferrari tears down the street.",
"INT. FERRARI / DRIVING - NIGHT Taking a left, Marcus slows down a little. We're on an empty street well away from the Crazy Horse. He dabs at his bloody nose. In the passenger seat, Simon looks at the gun in the hand. He suddenly throws it out. MARCUS What are you doing? SIMON Getting rid of the weapon. Marcus slams on the brakes. MARCUS It has your fingerprints on it. SIMON Oh shit. Craning around, Simon looks for it in the street. Marcus backs the car up. Suddenly, a phone RINGS. Lights flicker on the car phone. SIMON Do we answer? Marcus brakes again. The phone keeps RINGING. MARCUS It's probably Orange County asking where the hell his car is. SIMON It's a cell phone. They can trace where we are even if we do n't answer. MARCUS Get the gun. Go. Find it. Simon climbs out and starts looking, crouching to look under cars. In the Ferrari, Marcus sits back and kicks the phone with his boot, over and over until it stops, dead. For a moment, silence. Then the car's ALARM starts going off. Marcus SCREAMS with frustration. He punches buttons on the keychain, but nothing will quiet it. He tries the key in the ignition. It wo n't turn over. Climbing out of the car, he kicks it with all his might. Simon finds the gun, crawling under a truck to get it. Using his jacket, Marcus starts frantically wiping off the inside and outside of the Ferrari. Simon joins him. The whole time, the alarm is still WAILING. Satisfied, Marcus motions that they're done. He and Simon take off running down the street.",
"INT. VICTOR'S OFFICE - NIGHT A bent needle pierces two flaps of skin, drawing a line of blood with the thread. Victor ties another stitch in Vic Jr.'s arm. He's had practice at this. In the background, the Bartender and Noelle are watching. Victor's tirade is directed at all of them. VICTOR Just because a rapper has a white buddy does n't mean he's Sidney Fucking Poitier. You check them. You pat them down. VIC JR. -LRB- gritted teeth. -RRB- I know. VICTOR -LRB- to Noelle. -RRB- And you, you were on top of him. You did n't feel anything. She shakes her head, crying. VICTOR -LRB- CONT'd. -RRB- This thing. This thing is a wall of shit. It is a fucking call from on high that I have to leave. I have to get out before this all just falls in on me. Vic Jr. winces with pain. VICTOR -LRB- CONT'd. -RRB- You know what wakes me up in the middle of the night, covered in sweat? You are n't any worse than anyone else of your fucked up generation. Towel. Noelle hands him a towel to mop up the blood. VICTOR -LRB- CONT'd. -RRB- In the old days, you know how you got to the top? By being better than the guy ahead of you. How do you people get to the top? By being so fucking incompetent that the guy ahead of you ca n't even do his job, he falls on his ass and congratulations, you're on top. Only now the top is down here when it used to be up here and you do n't even know the difference. He finishes the last stitch, tying it off. VICTOR -LRB- CONT'd. -RRB- My generation, we're dinosaurs. We're gon na die. You're gon na kill us off. But you'll never be dinosaurs. You're little fucking rats and that's all you're ever going to be. Holly looks in, holding a gold card. Victor motions, `` well?'' She hands it over. HOLLY They said they were from Los Angeles. Noelle nods. VICTOR Then they must be staying somewhere, is n't that right Noelle? Noelle nods harder, crying again.",
"INT. HOTEL ROOM BATHROOM - NIGHT Pale and dehydrated, Tiny sits on the toilet. He HUMS the theme to `` I Dream of Jeannie.''",
"INT. HOTEL ROOM - NIGHT ANNOUNCER -LRB- V.O., ON T.V. -RRB- Once Karen learned these simple rules, she discovered blackjack was as easy as it was fun. Singh is propped up on one of the beds. He's just this side of death. Toilet FLUSHING. Tiny comes out of the bathroom, takes the other bed. ANNOUNCER -LRB- V.O. -RRB- Steve decided to try his hand at craps. Tiny resumes HUMMING. After a few beats, Singh joins in with the theme to `` Bewitched.'' The melodies blend surprisingly well. Just into the second chorus, the phone RINGS. TINY Yo! Mmmhmm. Room 875. He hangs up. SINGH Who was that? TINY Some shit, I dunno.",
"INT. RAM CHARGER - NIGHT In the passenger seat, Vic Jr. flips a cell phone shut. He was working through the yellow pages. VIC JR. They're at the Riviera. Victor changes lanes. He SLAMS on the horn, SHOUTING at the car that cut him off. VICTOR Motherfucker!",
"EXT. THE STRIP - NIGHT Climbing out of a cab, Marcus throws two bills at the DRIVER. Simon is already running down the sidewalk.",
"INT. HOTEL LOBBY - NIGHT Simon furiously pounds the elevator button. With a DING, doors finally open. He and Marcus get on. The doors shut. In the same shot, we WHIP BACK to look at the lobby, where Victor and Vic Jr. have just entered. They walk calmly but quickly.",
"INT. ELEVATOR - NIGHT Victor presses the ` 8' button. The mirrored doors close. Half a beat later, they open again. A PLEASANT RETIRED COUPLE get on. Press ` 4.' The doors do n't close. The Woman presses the ` Door Open' button. THE MAN The other one, honey. She sees her mistake. The doors finally close. In the reflection, the Man looks back at Victor and Vic Jr.. Smiles. THE WOMAN Sure is a fun way to spend Christmas, is n't it? No answer. The doors open. THE WOMAN This is n't our floor. The Man steps out of the elevator, looking around. THE MAN Maybe we're five. THE WOMAN Or six. We'll try both. She reaches for the panel. Victor grabs her hand. She GASPS, startled. Without saying a word, he shoves her off the elevator, BANGING on the door close button until it finally responds.",
"INT. HOTEL ROOM - NIGHT Marcus and Simon burst in like a cyclone. Marcus grabs his clothes out of the closet. MARCUS All right, listen up. We're leaving in 30 seconds. Grab what you can. TINY What the fuck? Simon tosses Singh his wallet, pockets the keys. MARCUS Just do it. Now! The panic is contagious. After a stunned beat, Tiny and Singh start moving, putting on shoes and restuffing suitcases. A KNOCK at the door. Everyone freezes. More KNOCKING. VOICE IN HALL Room service. Simon steps gingerly to the door, looks out the peephole. HIS P.O.V.. A fleshy hand blocks the fisheye.",
"INT. HALLWAY - NIGHT Victor and son smile at a COUPLE walking past. When they're gone, a giant orange plumber's wrench drops down from Jr.'s jacket sleeve.",
"INT. HOTEL ROOM - NIGHT Simon backs away from the door, freaking out. Marcus checks the windows. They're eight stories above a parking lot. Tiny knocks on the door to the adjoining room TINY -LRB- low. -RRB- Hey. Kid.",
"INT. OTHER ROOM - NIGHT The kids mutes the TV. TINY -LRB- O.S. -RRB- Kid. Open up the door. BOY Fuck you. INTERCUT TINY Look, I'm really sorry, you know? It's just, it would be really swell if you would open this door. Now. It's kind of an emergency. BOY Hundred bucks. TINY Fuck! SIMON Give him the money. He gathers money from their wallets.",
"INT. HALLWAY - NIGHT Pulling all his weight into it, Vic Jr. begins to pry the door handle off.",
"INT. HOTEL ROOM - NIGHT The door knob jiggles. WHIP back to the guys. Tiny finally chips in. Simon shoves the cash in a wad under the door. They wait. OTHER SIDE The Boy counts the money, straightening the bills. TINY -LRB- O.S. -RRB- Open now!",
"INT. HALLWAY - NIGHT The door handle bends further, further. Finally SNAPS.",
"INT. HOTEL ROOM - NIGHT The far side of the lock mechanism drops to the floor. TINY Fuck! Fingers reach into the hole, trying to pull back the bolt. Finally catch it. The door swings open, revealing. an empty room. Colt.45 in hand, Victor storms in. Checks behind doors and under beds. The suitcases are half - packed.",
"INT. ADJOINING ROOM - NIGHT Singh has his ear to the door. SINGH -LRB- whisper. -RRB- They're in. Simon peers out the peephole into the hallway. Marcus lifts the Boy against the wall. MARCUS -LRB- whisper. -RRB- If you let them in here, they will kill you. Understood? The boy nods. Marcus drops him. Simon opens the hallway door a crack. It's clear. On the count of three, they go. We stay with the boy, who sits back against the windows, excited and rich. There's a KNOCK at the adjoining door. The boy tucks the money away. With a BOOM, we hear the door being kicked open. It only takes four blows. BOY -LRB- pointing. -RRB- Down the hall. That way.",
"INT. STAIRWELL - NIGHT Swinging off the railings, the four guy race down the stairs. Up above, a door SLAMS open.",
"INT. PARKING GARAGE - NIGHT Running to the Cadillac, Singh feels for his keys. SIMON I got ` em. As Simon unlocks the door, the other three look at each other - should he really be driving? THE TIRES SMOKE as Simon backs out. In the distance, Victor and son appear around the corner. Victor motions to go for the truck.",
"INT. CADILLAC / PARKING GARAGE EXIT - NIGHT A line of cars wait to pay at the booth. Simon slams on the brakes. Looking out the back window, Marcus sees the bright lights of the Ram Charger approaching. MARCUS They're right behind us. TINY Who? In answer to his question, the Ram Charger SLAMS into the trunk of the Cadillac. Simon cranks the wheel, barely avoiding the car ahead of him. Not slowing, Simon aims for the entrance lane, where the bar is coming down behind a small Nissan. Threading the needle, Simon makes it past the car and the gate. The Ram Charger smashes through the bar.",
"EXT. PARKING RAMP - NIGHT The Cadillac charges out of the parking lot, nearly hitting another car as it heads onto the Strip. Looking back, we see the Ram Charger following them out.",
"EXT. FLAMINGO ROAD - NIGHT Four a.m., but there's still traffic. The Cadillac slaloms between taxis and tourists. Approaching an intersection, yellow light.",
"INT. CADILLAC - NIGHT MARCUS Cop. Cop! There's a police car waiting at the stoplight. Simon hits the brakes, just short of a SQUEAL. They stop in a middle lane, next to the cop. Simon and Marcus look over to the OFFICER, trying to be calm. Singh and Tiny peer out the back. The Ram Charger slowly approaches, no hurry. In the squad car, the Officer takes a radio call. Drunken TOURISTS walk past. The crosswalk switches to a flashing red hand. SIMON How did they find us? MARCUS It's their town. I'm sure they have people. The Ram Charger pulls in right behind the Cadillac. It's so tall, all we see are the blinding headlights through the back window. Singh and Tiny slink down. Marcus checks the gun on his lap. The red hand stops flashing. The opposing light goes from green to yellow. Simon gently REVS the engine. Suddenly, a WHOOP. Lights flashing, the police car makes a right turn from the left lane, cutting in front of them. The SIREN is deafening. Simon sees his opportunity. Gunning the engine, he hangs a hard left, cutting across three oncoming lanes. The Ram Charger tries to follow, but the traffic is already moving. Over the protest of many HORNS, the pickup finally forces its way through.",
"EXT. A SIDE STREET - NIGHT The Cadillac takes a corner hard, fishtailing into oncoming traffic. Tiny SCREAMS. Simon pulls it back into the lane. In the rear - view mirror, we see the Ram Charger, gaining. MARCUS We have to get off the major streets. Take a right up here. No, not here! It's too late. Simon mistook an alley for an actual road. SIMON Hold on. Aiming for the alley, Simon hits a curb on the way in. Singh's head BANGS against the roof. The passenger - side mirror smashes off against the wall. TINY Mother of fuck!",
"EXT. VERY NARROW ALLEY - NIGHT Just inches of clearance on either side, the alley runs behind a series of strip malls and office buildings. There's only one way out - Simon's aiming for the boulevard on the far side. SINGH -LRB- looking out back. -RRB- I do n't see ` em. UP AHEAD The end of the alley approaches. From the far edge, a flashing orange light. A giant street - sweeper is slowly crossing the alley. We WHIP BACK to see the Cadillac approaching. MARCUS Shit. SINGH -LRB- looking back. -RRB- Wait, no. They're coming in. Behind them, the Ram Charger gingerly negotiates a three - point turn into the alley. Wider, it scrapes against one side. Ahead, the street sweeper is blocking one - quarter of the alley. One - third. A moment of hesitation, then Simon floors it. The Caddy hits thirty, forty. Engine RACING - MARCUS We ca n't make it! The sweeper is already halfway across the alley. Singh braces for impact. Somehow, Simon still thinks he can clear it. MARCUS STOP! At the last moment, Simon SLAMS on the brakes. They're skidding towards it. Marcus grabs the wheel and jerks it. The front bumper catches the wall, sending the trunk SLAMMING against the far alley wall. A ear - piercing SCREECH. A ribbon of sparks shoots off as the front and rear bumpers are scraped away. Forward momentum finally stops.",
"INT. THE CADILLAC - NIGHT The abrupt stop sends Tiny flying into the front seat, where his head SMACKS against the dash. Marcus's seat breaks, PINNING him. He pushes back, but Singh YELPS in protest. Simon blinks, trying to figure out if he's alive. With Tiny's bleeding head on his lap, he shifts into reverse.",
"EXT. ALLEYWAY - NIGHT The tires SPIN in place. The car is wedged in tight sideways. Further down the alley, we find the broken - off SIDE MIRROR. In its cracked face we see five Ram Chargers approaching. A giant tire smashes the mirror to bits.",
"INT. CADILLAC - NIGHT Shifting gears, Simon tries to rock the car back and forth, making no progress. Looking over his seat, Marcus sees the giant pickup heading right for them. The headlights are bright enough to cast shadows. Forcing back the seat, Marcus stands up through the open sunroof. Aims and FIRES. Once. Twice. Three times.",
"INT. RAM CHARGER - NIGHT On the first shot, Vic Junior ducks down. Two bullets punch through the windshield. The third ricochets off the hood. Victor keeps the pedal to the floor. He's not stopping.",
"EXT. ALLEY - NIGHT All four guys duck just before impact. The Ram Charger CRUNCHES into the side of the Cadillac, pushing it down the alley. More sparks shoot off as it goes. Looking ahead, the street sweeper has moved past the end of the alley, but the far side of the street beyond is a construction area, flashing baricades all around. The Ram Charger will push them right into it.",
"INT. CADILLAC - NIGHT Clearing the end of the alley, Simon punches the gas.",
"EXT. STREET - NIGHT Swinging wide, the Cadillac comes free with another CRUNCH. Momentum keeps the Ram Charger heading straight for the construction.",
"INT. RAM CHARGER - NIGHT Victor hooks the wheel hard, trying to avoid it.",
"EXT. STREET - NIGHT Hitting a parked car, the Ram Charger tips and rolls over, landing on its side. It SCRAPES along the asphalt, finally coming to rest.",
"INT. CADILLAC - NIGHT Simon fights to regain control, the street outside a blur. Over his shoulder, an oncoming Yugo ca n't stop fast enough. The little car hits just in front of the tire, sending the Cadillac spinning back the opposite direction. Tiny's unconscious body flies out the passenger window. Marcus and Singh both grab hold. As Simon rights the spin, the Cadillac brushes past the green street sweeper, still humming along. Marcus and Singh pull Tiny back in, inches away from decapitation. Simon finally settles into a lane, checking the rear - view mirror.",
"INT. ROLLED RAM CHARGER - NIGHT We look through the windshield to find Victor piled on top of his son. Regaining his wits, the old man steps on Vic Jr.'s shoulder. Gets another foot into the steering wheel, climbing up to the driver's door window.",
"EXT. STREET - NIGHT Victor looks out to see the Cadillac turning down a side street, out of sight. VICTOR Sonofabitch!",
"EXT. HIGHWAY - NIGHT The Cadillac, bruised but unbroken, heads west. Las Vegas shimmers in the distance.",
"INT. CADILLAC - DAWN In the back seat, Tiny is propped up with a bloody shirt pressed to his head. Singh has his feet up to brace the back of Marcus's seat. SINGH Just so we're clear. You stole a car, shot a bouncer, and had sex with two women? TINY You had sex with two women? Simon ignores them, still checking his rear - view mirror. SIMON We can be in Mexico by noon. I say we split up from there. I'll take Baja. MARCUS Fuck Mexico. We're going home. To L.A. SINGH Simon, think about it. If they were going to call the cops, they would have called them in Las Vegas. They just wanted us gone, and we're gone. It's over. Simon checks the mirror, checks the road. With a deep breath, he tries to believe. But does n't.",
"EXT. STREET / CRASH SCENE - DAWN Vic Jr. peels back his bandage to check the bleeding. His father is at a payphone. In the background, we see a tow truck starting to pull the Ram Charger back upright. VICTOR -LRB- on phone. -RRB- Tommy, it's Vic. I need you to run a credit card for me. You ready? He takes the gold card from his pocket. VICTOR First name ` Todd.' Last name ` Gaines.' G - A - I - N - E - S. Vic Jr. looks to his dad. FADE OUT.",
"INT. SUPERMARKET STOCKROOM - DAY Off - screen, a SOAP OPERA plays. Claire leans beside Simon. His eyes track Ronna as she passes. CLAIRE -LRB- low. -RRB- Do n't. SIMON Why not? CLAIRE She's been on for fourteen hours. At her locker, Ronna misdials the combination. Frustrated, she POUNDS the locker, then re - dials. Simon approaches Ronna gingerly. We stay back with Claire, who sets to work opening a box of expired cookies. She half - listens as Ronna and Simon have their discussion at the lockers, then at the time clock. Simon follows Ronna out into the alley. Claire takes a seat atop a crappy console TV, eating an oatmeal cookie. The VOICES on the soap opera seem familiar. MALE VOICE #1 I'm not the man you're looking for. MALE VOICE #2 We both know you were on the pier. You saw what happened to Carmen. We DROP DOWN to see the TV. Onscreen, a police interrogation room. The Cop is played by Adam. The Accused is played by Zack. ZACK Do n't forget, detective. I was cleared of all charges. ADAM I do n't care how many high - priced lawyers you bring in. Eden Valley will never stand for your kind of scum. As the MUSIC rises, we PUSH IN on Zack. PUSH IN on Adam. The TV image FADES OUT.",
"INT. BATHROOM AT FALAFEL HUT - DAY Adam stands mostly naked, his shirt off his shoulders and jeans around his ankles. Loop - the white dreadlocked guy - retapes a transmitter on his thigh. A wire runs up to a microphone on his chest. Zack and Burke are by the door, watching. The bathroom is really cramped. BURKE You work out, do n't you? ADAM You have to. It's in the contract. BURKE No, you have a great body. The door starts to open, someone trying to come in. Burke holds it shut. BURKE Hey! People in here! Whoever was trying to come in gives up. Burke pulls a college sweatshirt out of a shopping bag, hands it to Zack. Motions that he's supposed to wear it. As he's putting it on. ZACK Just so we're clear. Whether you get something on this guy or not, Adam and I are done today. Finished. Charges dropped. That's how it works, right? Burke smiles, an amused roll of the eyes. ZACK What? BURKE Seems to me, if a guy's so concerned about the legal process, how come he finds himself getting busted for possession? Adam and Zack share a look. A beat. BURKE Relax. I sign your form and the whole thing goes away. Your lawyer got you a good deal. Loop sits back, his job finished. ADAM Is it safe to have a radio against my balls like this? A beat. LOOP Safe enough. A BEEP as he presses a button. His headphones register.",
"INT. FALAFEL HUT - DAY A small sit - down dive in West Hollywood. The four men finish lunch. LOOP I think my girlfriend watches your show. BURKE Tell them what your girlfriend does. LOOP She does n't do anything. BURKE They're not even married and she does nothing. My wife - we've been married two years - she still takes overtime three nights a week. Loop bows to Burke's superiority. BURKE -LRB- CONT'D. -RRB- My wife's a deputy sherriff, you believe that? A cop and a sherriff, married. It's like the freakin' odd couple. ZACK I smell a pilot. Burke is oblivious to sarcasm. Loop's pita is self - destructing. He eats faster, trying to finish before it falls apart. BURKE You guys got girlfriends? What am I saying? You got ta lot of girlfriends do n't you? You got women sending you their panties. Two good - looking guys. -LRB- to Loop. -RRB- What do you say? LOOP -LRB- mouth full. -RRB- Pussy magnets. BURKE If I was not a happily married man I would be rubbing up against you to get some of that. -LRB- off Loop's reaction. -RRB- Some of the pussy power. Zack offers Loop a napkin. He passes. ADAM Actually, I'm settled down. Four years now. LOOP -LRB- still chewing. -RRB- No ring. ADAM Nothing legal. Draining the rest of his Coke, Burke gets up to dump his tray. BURKE -LRB- to Zack. -RRB- How about you? ZACK Same. BURKE This is a crime. You two should be out getting laid.",
"EXT. BY A PAYPHONE - DAY Loop stands nearby while Adam talks to no one in particular. ADAM Star light, star bright first star that I see tonight.",
"INT. BURKE'S CAR - DAY Burke and Zack listen to a radio recorder. ADAM -LRB- CONT'D, FILTERED. -RRB- I wish I may, I wish I might. Burke turns the volume down, picks up his walkie - talkie. BURKE -LRB- on walkie - talkie. -RRB- That's good. I'm getting him. Through the windows, we can see Loop and Adam approaching. We hear low CHATTER as they talk. BURKE So, Zack. What does your girlfriend look like? ZACK About five - eight, brown hair, blue eyes. BURKE Hot. ZACK Yeah. BURKE She faithful? ZACK No. I do n't think so. BURKE You faithful? ZACK Not anymore.",
"INT. BURKE'S CAR / DRIVING - DAY Burke drives, with Loop in the passenger seat and Adam and Zack in back. BURKE -LRB- to Loop. -RRB- Zack's girlfriend is fucking around on him. LOOP Man, I'm sorry. How did you find out? ON ADAM, corner of his eye. ZACK It's no big. I do n't really want to get into it. LOOP C'mon, tell us. ADAM Absolutely. Tell us. There's a palpable tension between Adam and Zack. The others do n't see it. ZACK I found socks. BURKE What, red socks, blue socks? ZACK White socks. You know how the good kind of socks have band around the ankle that keeps them from stretching out? When I moved in, every one of the socks had that. Suddenly, there was one sock that did n't. BURKE You hear that? We got John Sherlock Holmes in the car here. We pull into the parking lot of THE GROCERY STORE. Adam turns on Zack. ADAM Alright. But you've been fucking around, too. ZACK Only after I found out. ADAM Huh.",
"INT. GROCERY STORE - DAY At the refrigerator section, both Adam and Zack reach for orange juice. Both back off. Adam motions, after you. ADAM So, Zack. Do you know who your girlfriend's fucking? He over - articulates, as if speaking for a Learn English Now! tape. Zack does likewise. Their animosity is palpable. ZACK No, Adam. I do not. I have suspicions. Mostly former boyfriends who keep calling. ADAM What a coincidence. I have the exact same problem with my girlfriend. In fact, I think she's been sleeping around on me, too. ZACK Is n't it ironic. ADAM Do n't you think? -LRB- beat. -RRB- Maybe I should start checking for socks, too. Zack's glare could strip paint. As Adam and Zack head for the front, we REVERSE to find Mannie and Claire, who have been watching the spat while restocking. CLAIRE Gay men are so hot. It's tragic.",
"INT. FRONT OF THE STORE - DAY Zack pushes the cart past the checkstands, looking at each CASHIER - they're all female. Adam is starting to panic. In near whispers. ADAM He's not here. What are we supposed to do? He's not here. ZACK We're going to ask. You're going to ask. ADAM Why me? ZACK You look more wholesome. Just improv. He steers the cart into Ronna's checkstand, where she's waiting on a Clutchy Old Woman who eyes everything suspiciously. Zack pulls out his cell phone, fake dials. ADAM Who are you calling? ZACK Nobody. I'm giving you an opening.",
"INT. CAR IN PARKING LOT - DAY Adam and Zack approach on either side of the car, get in the back. Burke and Loop are waiting. ADAM He was n't there. The British guy, he was n't there. LOOP No, we heard. You guys did great. BURKE This chick. -LRB- checks notebook. -RRB- Ronna. You think she can score? ADAM Maybe. ZACK Probably. BURKE Then that's all we need. It's all connected. The circle of life.",
"EXT. STREET IN HOLLYWOOD - NIGHT Waiting in The Beast, Mannie drums his fingers to the MUSIC.",
"EXT. FRONT OF GAINES' APARTMENT - NIGHT Claire is arguing with Ronna. She finally relents and goes upstairs with her.",
"INT. BURKE'S CAR - NIGHT Burke is watching through binoculars. Adam, Zack and Loop are in the car with him. BURKE Now they're both going. What's up with that?",
"INT. VENICE HOUSE / MAIN ROOM - NIGHT Adam and Zack stand around as Burke gets the house ready, moving furniture and poofing pillows, as if it's remotely believable. ZACK So if she gets the stuff, what, you arrest her? BURKE We try to bring her over. -LRB- beat. -RRB- See, we arrest her and then what? One crack whore off the street. So we cut her a deal. She helps us get this guy. We cut him a deal. He helps us get the guy above him. It's just like what happened with you. ZACK So, sooner or later, everybody's working for The Man. BURKE Exactly. Adam motions to leave it alone. Zack wo n't. LOOP -LRB- leaning out the back room. -RRB- She's coming up. Burke cracks his neck, showtime. ZACK What if she is n't really a dealer though? If you just pulled her into this one thing, would n't that be entrapment? BURKE If she's making this deal, she's a dealer. Does n't matter if its her first or her last. We stay on Zack, unconvinced.",
"INT. VENICE HOUSE - NIGHT Zack looks over as Burke comes out of the kitchen. BURKE Cerveza? He hands Ronna the beer. ADAM -LRB- to Burke. -RRB- Oh yeah. Hey. We bought a whole bunch of orange juice. It's in the car. Ronna has halfway figured out what's going on. BURKE Now, Zack tells me you got 20 at 20, is that right? RONNA -LRB- suddenly. -RRB- You got a bathroom? ADAM Down the hall on the right. ZACK Let me show you. SLOW MOTION Stepping towards Ronna, his back to Burke. He very deliberately mouths a silent. ZACK Go. Ronna sees it. Her eyes go wider. Zack nods. In the background, Burke is trying to look around. Ronna turns, heading down the hall. Up above, the camera is watching. For a just a second, Zack smiles.",
"INT. VENICE HOUSE - LATER Burke SLAMS Zack up against the wall, twisting an arm behind him. He kicks his feet apart, then starts to cuff him. Zack is in considerable pain. BURKE -LRB- to Adam. -RRB- Now watch what I do with his wrist. I twist it away while I put on the second cuff. That way he ca n't go after me. He does n't have any leverage. He releases his hold on Zack, his hands cuffed behind him. BURKE I watch all these cop shows and they never do it right. Pisses me off. Loop emerges from the back room, carrying a big box of videotapes on his way out. BURKE Hey, feel the abs on this one. He rubs Zack's stomach. BURKE You could scrub laundry on these. LOOP -LRB- re : box. -RRB- Full hands. Loop pauses at the door, looking around. He's forgotten something. BURKE What? A beat. Loop ca n't remember what it was. LOOP Nothing. I'm out of it. Merry Christmas, guys. Good to meet you. Adam waves. Zack nods. Loop shuts the door behind himself. Now its just the three men. An awkward beat. ZACK We're done, now, right? That's what we talked about. Whether or not the deal went through, we just had to do our part. BURKE You did your part. ZACK -LRB- relieved. -RRB- Great. Well, hey. A pleasure. He turns to the side, offering Burke his handcuffs to undo. Burke makes no motion to do so. BURKE Now that he's gone, there's something I wanted to ask you guys about. Sort of a proposition. -LRB- beat. -RRB- See, my wife and I - Irene, she's my wife - we're both working on Christmas so we're gon na have Christmas dinner tonight. And I was thinking, maybe you guys would want to come over, eat some dinner with us. My wife is great, you'll love her, then I'll sign your form. How does that sound? A beat. ZACK Actually, you know, I had plans. ADAM You did? ZACK I do. ADAM With your girlfriend? ZACK Yes, Adam, in fact. With my girlfriend. ADAM Huh. -LRB- beat ; another ; then suddenly. -RRB- Wow, I ca n't believe I forgot this. I saw your girlfriend this morning, and she asked me to tell you that she could n't make your plans tonight. Zack stares at Adam, a `` why are you doing this'' look. ADAM -LRB- to Burke. -RRB- It looks like we're both free.",
"EXT. A TINY HOUSE IN CULVER CITY - NIGHT Zack hits the alarm for his red Miata, which BWOOPS. He and Adam walk to the door, hostility simmering. A prefab Nativity scene glows beside the front door. Adam pushes the doorbell, which CHIMES `` Hark Ye Herald Angels Sing.'' Horrified, Zack turns to leave. Adam stops him.",
"INT. LIVING / DINING ROOM - NIGHT Too tall for the room, a Christmas tree leans back in a corner. The rest of the living room is dominated by a giant leather sofa pit. Bored, Adam lifts a plate to check the imprint. He sets it down, straightening it. Now it's out of alignment with the other plates. He looks around casually. No one's watching. Circling the table, he fixes all the plates and moves silverware to its proper position.",
"INT. KITCHEN - NIGHT Burke's wife IRENE is mashing potatoes with considerable zeal. Adam leans in, sees her dedication and tries to duck out. But she saw him. IRENE Yes? Hi? ADAM Sorry. Phone. Messages. Check? IRENE Here. She points. He sheepishly crosses to get it. While he's dialing, Irene starts in with the electric mixer. Butter. Milk. Salt. Adam does n't know where to look while he's listening to his messages. He suddenly smiles. Irene notices and stops mixing. ADAM -LRB- re : phone. -RRB- They're singing Christmas carols. My family. Minnesota, they do that. She leans close to listen. Smiles. She continues to lean close - uncomfortably close - for a long beat.",
"INT. BEDROOM - NIGHT We hear a toilet FLUSH. Zack emerges from the bathroom to find Burke stark naked, rubbing his hands over his body. ZACK Sorry. BURKE No, stay for a sec. Burke sprays more cologne on his hand. BURKE Smell this. What does it smell like? Zack shakes his head, does n't know. BURKE CK One. But it's not. ZACK Really. BURKE I get this for a quarter what that stuff costs. ZACK It's nice. BURKE Here. He sprays some on Zack's hands, who did n't want it. While Burke turns to get some underwear, Zack tries to rub it off on the bedspread. BURKE -LRB- re : bedspread. -RRB- It's down. So is the liner. ZACK It is soft. BURKE Get on. ZACK That's okay. Burke pushes Zack back flat the bed. BURKE Did you hear that? ZACK Hear what? BURKE Exactly. Individually wrapped springs. Top quality. Burke climbs onto the bed beside him. BURKE I could be doing aerobics over here and you would n't feel it. ZACK I sure would n't. A beat. BURKE So, Zack. Would you say you're open to new things?",
"INT. KITCHEN - NIGHT Irene is back whipping the potatoes. IRENE Of course you like your job. You get to kiss all those pretty girls. ADAM -LRB- mock bashful. -RRB- It does have perks. Irene pops the beaters out of the mixer, hands one to Adam. They lick the potatoes off them. IRENE Tell me something. When you kiss those girls, you're not really kissing them, are you? ADAM It's a stage kiss. Your lips touch, but there's no tongue. IRENE There's no feeling. Nobody gets jealous. ADAM It's acting. It's not real. She takes his cleaned beater from him, dumps it in the sink. Turning back, she kisses him. Caught off guard, he backs into the refrigerator. It's a good three - second lip lock. She backs off. There's an awkward beat. ADAM See, now, that. There was a tongue there. BURKE -LRB- O.S. -RRB- Honey, red or white? Now dressed, Burke comes in with two bottles of wine. Zack is behind him at a distance, still creeped out from the bedroom encounter. He and Adam trade panicked stares. IRENE What goes with turkey? ADAM AND ZACK White.",
"INT. DINING ROOM - NIGHT Irene slides a plate under the candlestick, where wax is dripping onto the tablecloth. Burke tips the bottle at Adam. BURKE More wine? ZACK No. He does n't want any more. Unless he does, do you? ADAM No. ZACK This has been great, just wonderful, but we're going to need to leave. Soon. Adam's not feeling well. ADAM I'm not. It's true. Burke and Irene share a look. BURKE If you got ta go, then I understand. -LRB- awkward beat. -RRB- But Irene and I sort of had an ulterior motive inviting you here. Zack looks to Adam. IRENE He makes it sound sinister. It's not. BURKE She's right. Okay, you've looked around our place. Where do you think we got most of this stuff? Adam and Zack shake their heads. IRENE Just guess. ADAM Sears? ZACK J.C. Penney's? Irene and Burke both smile. BURKE It's actually from Confederated Products. Almost everything in this house is from Confederated Products, from the toilet paper to the mattress to those candles. IRENE The wine. BURKE Even that cologne you liked. -LRB- practiced. -RRB- See, Confederated Products is a multi - level direct wholesaling company. That means we do n't just sell the products ourselves, we also recruit and manage teams who work under us. Irene and I started eight months ago and we're already bringing in fifty thousand a year in revenues. IRENE We're the number four distributor in Southern California. By March, we might be number three. She crosses her fingers. So does Burke. We look to Zack, horrified. BURKE Now, as law enforcement officers, Irene and I ca n't recruit distributors from inside the force. It's against the rules and we'd get fired. So what we do is look for people in other industries. IRENE like the entertainment industry. ZACK Wait. -LRB- realizing. -RRB- You want us to sell Amway. BURKE Confederated Products. It's a different company, different quality of product. Zack and Adam share a look of disbelief and wonder.",
"EXT. FRONT OF BURKE'S HOUSE - NIGHT Walking to the Miata, Adam takes the keys. Zack folds a form. ZACK I need to do something terrifically unwholesome. I need to bathe in sin. ADAM With me, or one of your other boyfriends?",
"INT. LIQUOR STORE ON PICO - NIGHT Adam checks a low shelf for the right brand of scotch. Zack kneels beside him. ZACK I have cheated on you with exactly one guy. ADAM Ditto. ZACK Who? ADAM No. See, if I tell you, you will freak out and it will be drama. Bad not - funny Roseanne kind of drama and I am just not up for it. He finds the right brand. BY THE REGISTER They wait in a short line. ZACK I'll tell you mine. ADAM No. ZACK Why not? ADAM You ca n't wait to tell me, can you? You're gloating. You think yours is better than mine. ZACK I do n't. ADAM It's Sean Connery, is n't it? ZACK Count of three. ADAM Alright. Sure. Wait. -LRB- reconsidering. -RRB- Okay. With fingers, they both count off `` One. Two. Three.'' ADAM Jimmy. ZACK Jimmy in makeup. ADAM Jimmy? ZACK Jimmy. Jimmy. They both stand for a moment, bewildered. It's their turn at the register. Adam sets the bottle down. A doorbell RINGS.",
"INT. HIGH RISE APARTMENT HALLWAY - NIGHT An apartment door opens to reveal a chubby girl in sweats -LRB- SANDRA -RRB- with a cordless phone and giant bowl of popcorn. She drops the former into the latter. ADAM Is Jimmy here? SANDRA Oh my God. Oh. My God. She's thrilled and disbelieving at the same time. She fishes the phone out of the bowl. SANDRA -LRB- to phone. -RRB- I'll call you back. -LRB- to them. -RRB- Jimmy's not here. He went to this thing. Let me find it. She ca n't decide whether to close the door on them or not, so she only shuts it halfway. She pokes her head out the door again. SANDRA You do know, do n't you? ZACK We know. SANDRA I take no responsibilty. I was only an innocent bystander. But there was once where you missed each other by three minutes. It was so exciting. She finds what she was looking for on the back of the door. Peels off a printed card. SANDRA It's some sort of rave thing. ZACK -LRB- takes card. -RRB- Mary Xmas Supafest. SANDRA He left an hour ago. Adam and Zack head back down the hall. She calls out after them. SANDRA You're not going to kill him, are you? The little shit owes me rent.",
"EXT. WAREHOUSE / MARY XMAS SUPAFEST - NIGHT At the doors, BOUNCERS stamp hands. We move down the line of people waiting to get in, stopping on Adam and Zack. ZACK Okay, I just have to say this. The thing is, about Jimmy, he was n't even that good. ADAM I know. ZACK Mediocre at best. And the sounds he made, God. It was like having sex with Nell. Adam imitates the MOAN. ZACK Somewhere off Greenland, hunchback whales were beaching themselves. ADAM And the ear thing. Hello, I have Q - Tips. That's really not necessary. ZACK The only thing I will give him credit for is the oral. ADAM What do you mean? He was terrible. At some point I just had to stop him and correct years of bad technique. I had to take him by the ears and retrain him from the throat up. A beat. ZACK When was that? ADAM October, maybe? ZACK Early October. And he suddenly got so much better. A beat. ADAM That is so disturbing. It's like you were there.",
"INT. SUPAFEST - NIGHT Claire cuts through the crowd with two empty cups, in search of beverage. AT THE BAR A sloe - eyed blonde boy -LRB- JIMMY -RRB- makes friendly with the BARTENDER, who is too busy to flirt. Rebuffed, Jimmy scans the crowd. Zack comes up behind him, grabs him by the waist. Jimmy smiles, kisses him hello. Adam comes up from the other side, blows in Jimmy's ear. Jimmy is so coked up that it takes him a beat to make the connection. Zack plus Adam equals bad. He smiles nervously. Zack takes a pair of child safety scissors from his jacket. Confused, Jimmy tries to back away. Adam holds him tight. Grabbing a fistful of hair, Zack cuts it off at the scalp. He lets the hair fall to the floor. Tucking away the scissors, he and Adam walk off.",
"EXT. FIELD - NIGHT (RAINING) The tiny Miata maneuvers through the badly organized parking lot, trying to find the way out.",
"INT. MIATA - NIGHT (RAINING) Zack gives directions from the passenger seat. ZACK Right. This right. This right! -LRB- passing. -RRB- That was the right you wanted. Adam ignores him, convinced he can get out this way. A beat later, it dead - ends in a chain link fence. Zack points to his lips. He did n't say a word. Adam slams it in reverse, backtracking. He's doing about 20 when suddenly we hear a loud THUMP! By instinct, he SLAMS on the brakes. Something CRASHES down on the soft roof. ZACK What the fuck! Ronna's face suddenly slams down on the windshield, bleeding already. Both men SCREAM. Her eyes are open, staring at them. After a beat, they recognize her. ZACK Oh my God. ADAM It's. It's that girl. ZACK Ronna. Her body continues its slide across the windshield, finally resting on the hood. In a sort of spasm, Adam REVS back, shaking the body off. It drops beyond the headlights. Zack looks past Adam to see Gaines standing there, gun drawn. ZACK Go. Go. Go! ADAM What if she's. ZACK Go! Adam pops the clutch and they lurch backward, out of there. IN THE MIRROR Gaines steps out to watch them go.",
"EXT. FIELD / PARKING LOT - NIGHT (RAIN) We stay at ditch - level as the headlights retreat.",
"EXT. 24/7 GAS - NIGHT (RAIN) The Miata is parked at the far island.",
"INT. MIATA - NIGHT (RAIN) Adam steadies his hands on the wheel. Zack passes him the scotch. He takes a gulp, passes it back. The energy is still revved up to 11 - we do n't let ourselves catch a breath. ZACK Let's think about it logically. Either she's alive, or she's dead. If she's dead, then there's nothing we can do. If she's alive, then the guy with the gun, who seemed to want to shoot her, probably did shoot her. ADAM So even if she's alive, she's dead. ZACK Exactly. Adam takes another drink. ZACK On the plus side, the only witnesses are you, me and him. And none of us are going to want to be talking about it. So if you really think about it, it did n't turn out as badly as it could have. ADAM A girl is dead. ZACK -LRB- snaps. -RRB- I did n't say it went perfectly. Adam gets out of the car, walks away. Zack takes another swig.",
"EXT. SIDE OF THE GAS STATION - NIGHT (RAIN) Adam stops at a payphone. A long moment before he reaches for the receiver. With a breath, he dials 911. OPERATOR -LRB- V.O. -RRB- 911 Emergen. He hangs up.",
"EXT. GAS STATION ISLAND - NIGHT (RAIN) Zack dunks the squeegee back in the bucket. With a wad of paper towels, he cleans the hood of the car.",
"INT. GAS STATION BATHROOM - NIGHT (RAIN) Washing his face, Adam looks at his reflection in the scratched mirror. He steps to the urinal, unbuttons. Before he can start to piss, he notices something strange. He looks down at his crotch.",
"EXT. GAS STATION ISLAND - NIGHT (RAIN) Zack throws away the last of the towels as Adam approaches. With a finger to his lips, Adam holds out a mess of tape and wires, all connected to a battery pack. It's the microphone he was wearing. ZACK Holy sh. He stops himself. Adam throws the bundle as far as he can. They keep their voices low anyway. ZACK They would n't have been listening all this time. ADAM Hello, they could have been recording it. Everything we said could be on tape somewhere. They would know we did it. A beat. ZACK -LRB- an idea. -RRB- What if we were just running lines? For a scene? Adam wo n't even dignify that with an answer. A long moment, just the BUZZ of the lights overhead. With an almost eerie calm. ZACK There's a pretty good chance no one's found her yet. ADAM They will. ZACK No. Listen. If there's no body, there's no crime.",
"EXT. FIELD - NIGHT (RAIN) The Supafest is still RAGING in the distance. Adam digs through the trunk of the convertible, frantically rearranging the junk inside. He keeps looking around the lid, waiting for someone to sneak up on them. Zack watches Adam's fruitless arranging efforts. ZACK Stop. Okay, stop! ADAM What? ZACK It's a Miata. All Adam's effort, he's made enough room for a pizza. Maybe. ZACK We'll put her in the passenger seat. ADAM Where will I. Or you. ZACK In the passenger seat. Holding her up. Adam shudders at the thought. With a flashlight, Zack jumps down into the ditch. He nudges Ronna's body with his foot. She's dead alright. He rolls the body over, grabbing under her arms. He tries to hoist her up, but she's too heavy and the ditch is too deep. ZACK Little help? ADAM -LRB- not moving. -RRB- I ca n't. ZACK What do you mean? ADAM I ca n't do this. Frustrated, Zack tries again to lug the body out. He ca n't do it by himself. Meanwhile, Adam is starting to hyperventilate, tears swelling. ZACK Okay, listen to me. ADAM She's dead. ZACK She's not dead. ADAM She's dead. I hit her and I killed her. He looks around, expecting someone to walk up and see them. ZACK No you did n't, okay? This is all just make - believe. This is a scene. She's just acting dead. And you're just acting scared. Adam laughs to himself, still crying. ZACK See, there's the lights, and there's the camera. Watch your blocking. -LRB- pointing. -RRB- There's Michelle in wardrobe, say `` Hi, Michelle!'' ADAM Hi, Michelle. ZACK The craft service truck is right around the corner, and they have lots of little veggie burgers on the grill. And you can have one if you just help me finish this scene. -LRB- sniffing. -RRB- Can you smell them? Can you smell them on the grill? A beat. ADAM I'm not delusional. ZACK Then take her fucking arms! Obeying, Adam grabs Ronna's wrists as Zack pushes from below. Together they get the body out of the ditch. Zack climbs up to help maneuver her into the car. Just then. Ronna MOANS. Adam freaks out, dropping his side. Ronna's head hits the dirt. Louder MOANING. ADAM She's not dead. ZACK No shit! They stand back, watching Ronna MOAN as she lies half - in, half - out of the car. ADAM If she's not dead, that means we did n't kill her. We can just leave her. ZACK She's almost dead. We leave her and she dies, why did we bother coming back? I mean, you still killed her. ADAM What do you mean, I killed her? ZACK Christ, I did n't mean it that way. C'mon. I would never testify against you. Adam is not reassured. ZACK We have to stick with Plan A. ADAM In Plan A she was dead. Zack reaches into the car, pulling out The Club. Trades a look with Adam, who finally acquieces. Almost says something, does n't. They both look around, making sure no one's coming. Zack grips the bar like a baseball bat. Adam turns his back, covering his ears. Zack raises the bar. Adam scrunches his face tight. Zack takes two quick breaths. And holds. And holds. And holds. Adam opens his eyes, looks back. Zack is n't swinging. He lowers the bar. They both breathe again, relieved. ZACK Okay. New plan.",
"EXT. PARKING LOT - NIGHT (RAIN) A CAR ALARM drones incessantly, the siren interrupted with an occasional CAR ALARM VOICE Back away from the vehicle. Weaving through some parked cars, we settle on an angry BMW, its lights flashing. A small throng of RAVERS have gathered around to look, because Ronna's limp body lies on the hood. A familiar face pushes through the crowd, just arrived. FILA GUY Hey, it's Kelly. Somebody beat the crap out of her. Moving to find. SKATE-PUNK GUY Somebody call an ambulance! After a beat, he realizes he should do it himself. He takes off running. ADAM AND ZACK look around from the edge of a van in the distance. ZACK Look, she's fine. They're getting an ambulance. She's fine. Adam keeps watching, not convinced. He turns back, a thought. ADAM What about that guy? The guy with the gun. He could still go after her. ZACK Okay, listen. Girl in ditch - that's our problem. Girl out of ditch - that's her own problem. We're done. We did the right thing. Thunder RUMBLES overhead. Off Adam's look. ZACK Okay, approximately the right thing. In a half - assed, thrown - together fashion. Adam smiles despite himself. Zack points, `` See? See?'' That just makes Adam smile more. ZACK Home? ADAM Home. As they walk off, we leave the Mary Xmas Supafest still BLARING in the distance.",
"INT. JAVAMAN CAFE / HOLLYWOOD - DAY Too early for the brunch crowd, just a smattering of vampires. All around, Christmas lights are strung with mad abandon. The lights overhead FLICKER. Everyone looks up. That's when we come to find TODD GAINES sitting alone at a booth by the window, disassembling a newspaper. He finds the comics. Laying the paper flat, he tears off the bottom corner of the page and starts reading like a kid, his whole body leaning over the table. At the door, Claire comes in, shaking the rain out of her hair. After a beat, she does it again, as if she does n't remember doing it the first time. She's tired and wired, all nerves and raw edges. There's static only she can feel. She looks right past Gaines, out to the rain on the street. He watches her, but does n't try to catch her eye. The Jamaican WAITER walks past her with a pot of coffee. WAITER Anywhere you want. CLAIRE I'm meeting people. He does n't care. Claire takes a seat at the table in front of her, but it's not to her liking. Then a booth. She plays with the salt shakers. Bad. It's only now that she sees Gaines watching her. At first she does n't recognize him. Then a light goes on. She climbs over the booth and into his, facing him. CLAIRE Hey. GAINES Hey. CLAIRE We're twins. She turns over his hand, compares it to hers. They both have the same ink stamp on the back. He's busted, no way to talk himself out. The Waiter comes with coffee, refills Gaines' cup. Claire overturns the cup in front of her. The Waiter fills it. She overturns a second cup, points to it. A big weird smile. Reluctantly, the Waiter fills that too. Then leaves. CLAIRE I'll pay you back for breakfast. -LRB- leaning closer. -RRB- Do n't worry. I'm not really that hungry. She sheds her coat, having great difficulty with one sleeve. CLAIRE Have you seen Ronna? Or Mannie? He shakes his head. CLAIRE See, when we go out, we always meet here afterwards in case we get separated. It happens more than you'd think. I've been paging her, but she has n't called back. The lights FLICKER again, storm still raging. Halfway into getting her coat off, Claire has second thoughts, but continues nonetheless. Gaines is taken off - balance, his private space violated. Claire finally looks up at Gaines, smiles. A beat. CLAIRE Unless you wanted to eat alone. GAINES No. It's fine.",
"INT. CAFE - LATER Gaines scrapes the last of his eggs off the plate. Claire sits with two pieces of toast, untouched. She takes the scrap of the newspaper he tore off, looks at it. CLAIRE What do you have against The Family Circus? GAINES It's evil. CLAIRE Besides that. GAINES Okay. Location mostly. Bottom right corner, just waiting there to suck. It's the last thing you read, and it spoils everything you read before it. CLAIRE You could just not read it. GAINES I hate it, yet I'm uncontrollably drawn to it. Are you going to. He points to her toast. She slides it over. He slathers on a thick coat of jelly. CLAIRE Do you know what I like about you? GAINES What? CLAIRE I'm asking. I do n't know. It's not your face, because you're only medium cute. I think what it is, is you might be the first non - fake person I've met here. GAINES Me. CLAIRE I'm serious. GAINES Professional curiousity. What are you on? CLAIRE Ginseng and lotsa caffeine. Gaines leaves money for the check. A beat. Claire looks around at the various decorations : a red tree by the door, snowflakes on the window, lights blinking on the wall. CLAIRE You know what I like best about Christmas? The surprises. It's like, you get this box, and you're sure you know what's in it. You shake it, you weigh it, and you're totally convinced you have it pegged. No doubt in your mind. But then you open it up, and it's something completely different. Bing! Wow! Bang! Surprise! I mean, it's like you and me here. She smiles. She has a bewitching smile. CLAIRE I'm not saying this is anything it's not. But, c'mon. This time yesterday, who ` dda thunk it?",
"INT. STAIRWELL TO GAINES' APARTMENT - DAY Claire kisses Gaines, pinning him against the wall. Rain BEATS against the door. She fumbles with his belt. His hand slides under her jacket, trying to undo her bra. They take a break from undressing to kiss harder. Reclining on the steps, Claire tries to push his jeans down with her toes. Her foot gets caught in the chain from his wallet. Her butt slides down a step. They laugh. Her hand hits something hard - his gun. It's tucked into his jacket pocket. As they start to work up a rhythm, Huxley the cat comes down the steps, curious. He brushes against them, unnoticed. Finally, he MEWS. GAINES -LRB- stopping. -RRB- How did you get out? He looks to the top of the stairs, where a MAN is watching them. It's Victor. He has the silver.45 drawn on them. Gaines looks down to the door at the bottom. Vic Jr. is blocking it. They're trapped. Claire looks around, trying to figure out what's happening.",
"INT. GAINES' LIVING ROOM - DAY Gaines draws a map for Victor on the coffee table. GAINES Simon's apartment is around the back - the gate's always open. Now, you're going to take Sunset to Hyperion. As he's talking, we MOVE to reveal Vic Jr. by the door, holding the gun on them, and Claire, sitting on the couch beside Gaines. GAINES -LRB- CONT'D. -RRB- At Hillhurst, you have to keep right - you want Sunset Boulevard, not Sunset Drive. CLAIRE -LRB- to Gaines. -RRB- Why do n't you just drive him there? Maybe you could help pull the trigger. Gaines gives her a look. Victor takes the map and folds it. He hands Gaines back his credit card. Just then, we hear a SOUND at the door - a gentle KNOCK. All eyes go to look. CLOSE ON the doorknob, someone trying it. It's unlocked. We TILT UP to reveal the opener is actually. SIMON. He charges right into the room, shutting the door behind him. SIMON Todd, listen, I need hide out here. You wo n't believe the shit we got into in. He sees Victor. He immediately reaches for his gun, but VIC JR. is right behind him. He yanks Simon's gun away, then half - pushes, half - carries him forward, slamming him down ONTO THE COFFEE TABLE. Claire and Gaines both scoot back, freaked. Vic Sr. puts the gun to Simon's head. Panicked, Simon squirms, trying to look around. His face is mushed against the glass. VICTOR How was your drive? We flew. Victor hands the gun off to Vic Jr., who rests it at the back of Simon's head. Simon is moments away from execution. All at once. GAINES HeyHeyHey. Not here, not now. This is so not where you want to be doing this. SIMON Please no. God! Shit! I do n't wan na die. VICTOR Do it. Vic Jr.. COCKS the gun. Simon SQUEALS. At the last moment. CLAIRE Wait! Stop! STOP! You ca n't do this! You wo n't get away with it! For a brief moment, she has their attention. She points to herself. CLAIRE -LRB- CONT'D. -RRB- Hello, witness. -LRB- re : Todd. -RRB- Witness. What are you going to do, kill us too? Gaines looks over, thanks for bringing that up. But Claire still has the floor. CLAIRE -LRB- CONT'D. -RRB- What is wrong with you people? Do you think this is an effective way of dealing with problems? VICTOR This fuck shot my boy. SIMON in the arm. Vic Jr. leans on him, shut up. CLAIRE -LRB- to Victor. -RRB- So, what? You're going to kill three people? -LRB- beat, no answer. -RRB- What do you actually want? VICTOR Justice. A look between all parties.",
"INT. APARTMENT - LATER Sitting in the green chair, Simon makes an ` X' on his bicep with a marker. He feels for the bone. SIMON It's all flesh here, it should be okay. Gaines and the Vics stand around him. In the background, Claire is dubious and horrified. Vic Jr. puts Todd's gun to the ` X.' Gaines hands Simon a shirt to mop up the blood. SIMON Right, great. On some sick level, he's really into this. Vic Jr. gets ready to shoot. Everyone subtly backs away, bracing for the gunshot. Three. Two. One. But there's no bang. Everyone looks at Vic Jr.. He pulls the gun away. VIC JR. I ca n't. VICTOR What do you mean you ca n't? -LRB- beat. -RRB- You pull the fucking trigger. VIC JR. It's hard to shoot somebody who knows they're gon na be shot. It's dif ` rent. SIMON It's all right. Really. Claire rolls her eyes - this is going to take forever. While the Vic's argue, Claire grabs her coat and purse. GAINES Where are you going? CLAIRE I got ta get to work. Todd does n't want her to leave, but really, what can he say? Everyone turns to watch Claire leave. VICTOR Look, now the girl's leaving. SIMON See you, Claire. We follow her out the door. As she exits. GAINES Be good! In the background, the Vic Jr. is psyching himself up again.",
"INT. HALLWAY - DAY (CONTINUOUS) Claire shuts the door behind her. As she's headed for the steps, we hear a GUNSHOT. She flinches but keeps walking. SIMON -LRB- O.S. -RRB- I'm okay!",
"INT. HOSPITAL ROOM - DAY Ronna wakes up, a bit at a time, an IV dripping overhead. We hear carolers SINGING in the distance. Her nose crinkles, her tongue finds her lips. Finally a swollen eye opens, looks around. A MEXICAN FAMILY is gathered around the other bed in the room, the father dressed as Santa Claus. Ronna sees the IV dangling from her arm. She sits up with difficulty, a head rush. She tries to get her bearings, but genuinely does n't know how she got here. After a beat, she rips off the tape and carefuly pulls the needle out of her arm.",
"EXT. SUPERMARKET - DAY It's stopped raining, but the pavement is still wet.",
"INT. SUPERMARKET BREAK ROOM - DAY Ronna slides her time card into the machine, which PUNCHES down.",
"INT. SUPERMARKET AISLE - DAY Ronna ties her apron as she heads to the front, limping a bit.",
"INT. SUPERMARKET / CHECKOUT LANE - DAY Claire finishes bagging groceries. Looks up to see Ronna coming to open the next register. RONNA Hey. Claire does n't say anything, a pointed silence. Ronna keys in, checks the drawer. Claire returns to her register. Ronna tries to make eye contact, but no luck. RONNA Okay, real mature. Claire continues to ignore her, turning her back. She straightens coupons, rubber - banding them. RONNA Claire. Nothing. A beat. Finally. RONNA Alright. Mistakes were made. Things did n't go exactly as planned. Claire's eyes - understatement. RONNA -LRB- CONT'D. -RRB- But it was n't exactly a banner night for me, either. Claire stops, disbelieving - if Ronna only knew. She turns on her, then back to the register, holding it in. But she just has to face her to say. CLAIRE You are constantly using us. RONNA Using you? You use me. Come on, if it were n't for me, you would be sitting home every night eating popcorn and watching reruns of 90210. CLAIRE -LRB- overlapping. -RRB- Mannie is your chauffeur, and I am. -LRB- what is she? -RRB- I am some chick you leave sitting in an apartment. RONNA -LRB- overlapping. -RRB- That is such bullshit. Mannie does not feel that way. Ask him. Ask him! Where is he? CLAIRE Why would I know? A beat. A cold horror crosses Ronna. Remaining calm. RONNA He drove you here, did n't he? CLAIRE No, I got a ride. His car was still in the parking lot when I left. RONNA Oh shit. Shit! Without even closing her register, she takes off her apron and heads for the door.",
"EXT. ALLEY - DAY RONNA -LRB- yelling. -RRB- Mannie? Mannie? Ronna limps ahead. A taxicab waits in the background.",
"EXT. A DIFFERENT ALLEY - DAY CLAIRE Mannie! Mannie! All the alleys look the same. He could be anywhere.",
"EXT. BEHIND A DUMPSTER - DAY A stray black cat scratches through a pile of foam peanuts, looking for bugs. Another cat crawls up the body of Mannie, propped against the dumpster. A trickle of water drips off the garbage onto his face. The cat licks it clean. Mannie smiles.",
"EXT. ALLEY INTERSECTION - DAY RONNA Mannie! Can you hear me? MANNIE -LRB- O.S. -RRB- Yeah! Ronna turns to see Mannie behind her, stretching his neck. He's pale. His eyes are bloodshot. But otherwise, he's fine. MANNIE You look like shit.",
"EXT. PARKING LOT - DAY The Beast is the only car left. Ronna and Claire circle, looking for the keys on the ground. Calling out. RONNA You fucked Todd Gaines? CLAIRE No! -LRB- embarrased. -RRB- We made out. RONNA -LRB- mocking. -RRB- Made out? CLAIRE Kissed. A little. What? RONNA Hello! He's a drug dealer. Claire does n't want this to go any further. Fortunately, just then. CLAIRE Found ` em. She shakes the mud and grime off, then throws them to Ronna. Mannie lies back on the trunk, droopy. RONNA -LRB- unlocking passenger door. -RRB- You might have brain damage from overdosing. MANNIE Dain brambage? A beat. MANNIE Xavier Kugat. Starts with X. RONNA You shit. She puts him in the car, holding his head like he's a criminal on `` Cops.'' CLAIRE I'll drive. Ronna hands her the keys over the roof of the Beast, sunlight shining off the gathered rain. They take a beat, just the two of them. CLAIRE So, do you have enough money to pay off your rent? RONNA And twenty left over. Maybe I'll open a savings account. GETTING IN. Claire starts the car. Mannie leans up from the back seat. MANNIE So what are we doing for New Year's? Ronna smiles. RONNA Merry Christmas, Mannie. THE BEAST ROARS off across the parking lot, TITLE MUSIC building. We PAN BACK to the rave hangar, heading for it, picking up speed. A MATCH CUT takes us to.",
"EXT. WAREHOUSE - NIGHT We HEAR a rave in full swing ahead. The hangar door is open, pitch black inside. We fly in, bringing us to. AFTER FIRST CREDITS",
"INT. SIMON'S APARTMENT - DAY Simon awakes to POUNDING at the front door. He stands and turns, disoriented, no idea when or where he is. He finally finds a clock - it's 4:14 in the afternoon. More POUNDING at the door. Simon half - crawls to the window, looking out to see who's at the door. HIS P.O.V. From this angle, all we can see is the sleeve of a man's jacket. SIMON -LRB- tentatively. -RRB- Who is it? He ducks, expecting a hail of gunfire. MALE VOICE -LRB- O.S. -RRB- It's Todd. A beat, then Simon finally drops his panic. He keeps the gun in hand as he pulls the chair away from the doorknob and slowly undoes the lock. He leaves the chain on. Looking out through the crack, we see Gaines, alone. SIMON Jesus, Todd. Thank God. -LRB- undoes chain. -RRB- You wo n't believe the shit I've been through. Without a word, Gaines grabs him by the collar and SMASHES him, one punch to the face. Simon falls in a dazed lump to the floor. We stay down with him as we watch Gaines walk away. Simon blinks and sniffles as we once again FADE OUT.",
"INT. APARTMENT PARKING GARAGE - DAY Adam and Zack scrub the Miata's upholstery with brushes and various cleaners, trying to get the bloodstains out. Zack stops for a moment, watching Adam. Adam looks up, what? Nothing. A quiet beat, the first moment of genuine affection between them. Suddenly we hear a BEEPING. We ca n't tell where it's coming from. Following the sound, Adam finds a mud - encrusted beeper wedged between the seat and the center console. He looks up to Zack, then checks the number. FADE OUT. OFFSCREEN SOAP OPERA DIALOGUE -LRB- NOTE : These are wild lines to play underneath scenes 6A, 57A and 121A. Since these scenes are longer than before, we need extra soap opera in the background before we get to Adam and Zack. -RRB- JIMMY SHUBERT Somethin' about it just did n't add up. So last night I went back to the pier to do some investigating of my own. Turns out there are two boats named the Princess. Only, one just got back from two weeks at sea - Sal Dominico's boat. It got me thinkin' - if Chase really did know Carmen was on to him, how come he did n't tell Lucas, or Gamble, or Myerson? Why would he drive up to Pinecliff by himself? And why would you still have his briefcase? -LRB- beat. -RRB- Answer me that, Danielle. If you have an answer. MUSIC rises, a scene cut. New MUSIC leads into. ZACK I'm not the man you're looking for. ADAM We both know you were on the pier. You saw what happened to Carmen. ZACK Do n't forget, detective. I was cleared of all charges. ADAM I do n't care how many high - priced lawyers you bring in. Eden Valley will never stand for your kind of scum."
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] | Around Christmas, Ronna, working overtime at her supermarket job to avoid being evicted, is approached by Adam and Zack to buy 20 hits of ecstasy, which they had hoped to buy from her absent co-worker, Simon. After work, Ronna approaches Simon's dealer, Todd, for the pills. She is unable to pay the full amount so she leaves her friend Claire with Todd as collateral. Ronna meets with Adam and Zack but grows suspicious of Burke, a stranger accompanying them who presses her for the ecstasy. She flushes the drugs down the toilet and leaves, then steals over-the-counter pills to replace them, helped by Manny (Nathan Bexton) who had covertly swallowed two of the ecstasy pills, unaware of their strength. Ronna gives 20 of the fake pills to Todd. She, Claire, and Manny then go to a rave where she sells the rest of the fake pills as ecstasy. Todd realizes the pills are fake and pursues Ronna to the rave. Ronna flees, hiding the now incapacitated Manny in an alley and promising to return with her car. Todd confronts her with a gun in the parking lot when she is hit by a car that speeds away, leaving her motionless in a ditch. The story restarts from the perspective of Simon, who is on a trip to Las Vegas with Marcus, Tiny, and Singh. Simon crashes a wedding and has sex with two of the bridesmaids before they accidentally set their hotel room on fire. Simon and Marcus leave the hotel, stealing a Ferrari from someone who thinks Marcus is a parking valet. The two go to a strip club where Simon enrages the bouncer, Victor Jr., by groping one of the strippers. Simon shoots Victor Jr. in the arm with a gun that he found in the car. He and Marcus flee to the hotel, rousing Tiny and Singh. A car chase ensues and the four barely escape the bouncer and his father, Victor Sr., but Victor Sr. traces their address from their credit card. The story changes perspective to Adam and Zack, actors in a soap opera. Having been busted for drug possession, they are forced to work for Burke, a police detective, to entrap their dealer. Adam is fitted with a wire. As Simon is absent, the two arrange to buy drugs from Ronna. When Ronna arrives later to make the deal, Zack secretly warns her so she flushes the drugs down the toilet and leaves. After the unsuccessful bust, Burke invites Adam and Zack to Christmas dinner, where they observe strange behavior from Burke and his wife, Irene. Burke and Irene finally pitch a multi-level marketing company to the two over dinner. The pair make excuses and leave. Discussing their mutual infidelities, Adam and Zack realize they both cheated with the same person, Jimmy. They discover he is at a rave and confront him, cutting a lock of his hair. Leaving the rave they accidentally run over Ronna, panic, and drive away when they see Todd with a gun. Zack tries to reassure Adam that, even if Ronna had survived, Todd would have shot her. Adam realizes to his horror that he is still wearing his wire. Fearing they have been recorded, the two return to the scene to remove Ronna's body but discover she is just unconscious. They prop her up on a car, setting off its alarm, and watch from a distance as other partygoers call an ambulance. As morning breaks, Claire goes to a restaurant to meet up with Ronna and Manny, but encounters Todd instead. The two end up going to Todd's apartment building. While making out on the stairs they are confronted by the two Victors. Simon arrives, having hoped to hide for a few days. The ensuing scuffle is stopped by Claire, who refuses to witness a murder. Simon agrees to be shot in the arm by Victor Jr. as Claire leaves in disgust. Meanwhile, Ronna wakes up in hospital and hobbles to the supermarket to start work. Realizing she left Manny at the rave, she and Claire return to the venue to find Manny pale and shaking in the alley. The three go to Ronna's car where Ronna muses that she can now pay her rent and Manny asks what their plans are for New Year's. | Go_(1999_film) |
[
"THE NINES READER NOTE One thing that will be obvious to viewers, but not to readers, is that the nine principal parts in this film are played by only three actors : 1 -RRB- Gary, Gavin, Gabriel 2 -RRB- Sarah, Susan, Sierra 3 -RRB- Margaret, Melissa, Mary It'll make more sense in context. Promise. A MAN'S HAND unwinds a short length of green string. We're extremely close, with a shallow, blurry focus. It's like the first moments after a dream - just fragments. Scissors cut the string. The man wraps it around his left wrist. A loop. A bracelet. We see the man's teeth, the edge of his chin as he pulls the knot tight. His fingers pull against the string. Solid. It wo n't break easily. FADE OUT. PITCH BLACK There's no music. No sound at all, really, except for some distant birds CHIRPING. Then a SQUEAK. A SQUEAL as rusty springs engage. A GARAGE DOOR LIFTS, revealing GARY BANKS in silhouette. He's 30, effortlessly fit, with movie - star good looks. -LRB- Although for now, he's merely a TV star. -RRB- Like most Laurel Canyon garages, this one has never held a car. Instead, it's the resting place for all the detritus of bachelordom : shitty Ikea furniture, a drum set, a styrofoam snowman, and the Harley he always meant to get running. Gary spots what he was looking for.",
"EXT. BACK PATIO / LAUREL CANYON HOUSE - MAGIC HOUR (DAWN) Gary drags a beaten Weber kettle. One of its wheels is broken, SCRAPING against the deck. WIDER, we see Gary's house has an incredible view of the city. He could n't fucking care less. He yanks the circular grill out of the Weber and throws it down the canyon. He empties a garbage bag into the barbecue : mostly women's clothes, but also some stuffed animals and photos still in their frames. There's too much to fit, so he tries stomping it down with a flip - flopped foot. He cracks open a container of lighter fluid and begins drenching everything inside. He sprays until the container is WHEEZING air. He shakes it, making sure it's really empty. Then he cracks open a new container and keeps spraying. And spraying. We follow the dripping fluid as it runs across a photo of Gary and a BLONDE WOMAN. Her eyes are scratched out, making her unrecognizable. Under the grill, lighter fluid is dripping in a stream, soaking into the wooden deck. Finally satisfied, Gary throws the lighter fluid aside. He takes five steps back and pulls a box of matches from his pocket. EXTREMELY CLOSE as the match SCRAPES, erupting in flames. On Gary's left wrist, we see a green string bracelet. MUSIC STARTS : a pounding, hypnotic track that will carry us through these MAIN TITLES. In EPIC SLOW - MOTION, we follow the burning match as it sails through the air, tumbling end - over - end. Just as it's about to reach its target, we. A DIGITAL METER shoots to 100 miles per gallon. It's the display of Gary's Prius. We are.",
"INT. THE PRIUS - DAY Gary's at the wheel, driving, as he finishes a fifth of bourbon. JUMP CUTS take us out of Hollywood, heading downtown. Our TRAVELLING MUSIC is serving us well. Gary stops at a light. He looks left and sees himself on the side of a bus. It's an ad for CRIME LAB -LRB- `` This fall, Mondays are killer.'' -RRB- Gary watches himself drive away. Further along, Gary spots two THUGGY TEENAGERS sitting on a low wall. He calls out to them : GARY Hey! Do you sell crack? The boys look wary. GARY -LRB- CONT'D. -RRB- It's cool. I'm only a cop on TV. Money changes hands. Gary holds a small ziplock bag - and has no idea what to do with its lumpy beige contents. HOLLYWOOD. Gary pulls up to a curb. He's now on Sunset Blvd.. A matronly black streetwalker -LRB- OCTAVIA, 35 -RRB- approaches the passenger window. Gary holds up the little bag. GARY Is this crack? She takes a closer look. GARY -LRB- CONT'D. -RRB- Do you know how to do it?",
"INT. SHITTY MOTEL ROOM - DAY Gary and Octavia jump up and down on the bed, each trying to bounce higher than the other, LAUGHING all the while. Gary bounces so high that he THUNKS his head against the ceiling. He crumples, falling off the bed. But he's still laughing. LATER, Octavia is sleeping.",
"INT. MOTEL BATHROOM - DAY Gary takes a shower with his jeans on.",
"INT. MOTEL ROOM - CONTINUOUS Toweling off, Gary looks at his body in the mirror. He notices something odd. He tries to wake Octavia up, but she's down for the count. Looking around, he finds his cell phone. Dials 911. Pacing, he tries to sober up while it rings. The far side answers. GARY Yes, hello. I'm having a medical situation. Yes. Okay. I do n't have a belly button. -LRB- explaining carefully. -RRB- I do not have a belly button where I should, on my belly. And I'm concerned, because I do n't know if that's. He sits down on the edge of the bed. GARY -LRB- CONT'D. -RRB- Can a person live without a belly button? Because if you think about it, you're born with one. So if you do n't have one, you're unborn and it's really hazy whether you're alive or not. I guess I'm wondering : am I alive? -LRB- a sudden thought. -RRB- Or what if I'm God? A beat. GARY -LRB- CONT'D. -RRB- No, no. I'm totally sober. A beat. GARY -LRB- CONT'D. -RRB- No, I do n't think I need an ambulance. I do n't seem to be dying any faster than usual. But I should probably go to the hospital, do n't you think? Yeah, I should. He hangs up.",
"INT. THE PRIUS - DAY He's driving again, but most of his attention is focused on trying to locate his missing navel. He looks up in the rear - view mirror, where he sees two VERSIONS OF HIMSELF sitting in the back seat. All three Garys give each other thumbs - up. Driver - Gary looks out the driver - side window, where he sees shoes and asphalt. Only now do we ROTATE to reveal we're UPSIDE - DOWN. Gary has rolled the car. The music suddenly STOPS. We hear SIRENS approaching. CUT TO BLACK. Part One : THE PRISONER.",
"INT. COURTHOUSE PROCESSING AREA - DAY MARGARET O'REILLY, 34, is speaking to herself. MARGARET La la la la la.. Like you've never done worse. From a NEW ANGLE, we see she's using a cell phone earpiece. MARGARET -LRB- CONT'D. -RRB- Okay, yes. He totalled a car. But it was an environmentally friendly car. Why does n't that get reported? A beat. MARGARET -LRB- CONT'D. -RRB- Please! He was heartbroken, betrayed. You say you understand but you do n't. You ca n't. You're like a big giant Vulcan. Noticing something to her right. MARGARET -LRB- CONT'D. -RRB- He's coming. I'll call you later. She hangs up, wrapping the earpiece around her phone. We reveal GARY being escorted through glass doors by a polo - shirted PAROLE OFFICER. Margaret moves to intercept them, offering a hand. MARGARET -LRB- CONT'D. -RRB- Hi. Margaret. I work for Lola. GARY Gary. MARGARET I know. -LRB- to the Parole Officer. -RRB- We need to go out the back.",
"INT. BACK HALLWAY - DAY Margaret leads the way. She's been here before. GARY Are there reporters out front? MARGARET A few. Not Hugh Grant level. More like Robert Downey, Jr. when he broke into that family's house and slept in the kid's bed like Goldilocks. `` This bed is just right.'' I handled episodes two through four for Robert. This sort of thing is my specialty. GARY What is? MARGARET Famous fuck - ups. Do n't worry. Mama's gon na take good care of you. A phone RINGS.",
"INT. KITCHEN - DAY A designer kitchen in Hancock Park - spacious and kosher - ready. The phone on the counter is RINGING. PAROLE OFFICER Answer it. Gary picks it up. GARY Hello? Yes. Yes. He looks to Margaret while the other end of the call talks at length. Then, very deliberately. GARY -LRB- CONT'D. -RRB- The weather in Toledo is rainy. He says this like a sleeper agent repeating his trigger phrase. PAROLE OFFICER Use your normal voice. GARY -LRB- to the phone. -RRB- Nine dogs ran through the field. The koala sits in the tree. The Parole Officer takes the phone from him, punching in a series of numbers and jotting notes on his work sheet. MARGARET It's computer voice recognition. The system can call you any time day or night. If you do n't answer within five rings, the police come and haul your ass off. GARY What if I'm not here? Catching the officer's concerned look. MARGARET That's why it's called house arrest. You stay inside your house. -LRB- to the officer. -RRB- He can take direction, I promise.",
"INT. MASTER BEDROOM - DAY Margaret pulls open curtains, flooding the room with light. Gary wanders, checking it all out. MARGARET Okay, just so it's said, this house is flammable. GARY I did n't mean to burn down my house. MARGARET Yeah, I did n't mean to eat my way into a ten - year shame spiral, but I did, and it's healthier to acknowledge it. -LRB- moving on. -RRB- This flammable house belongs to one of Lola's other fabulous clients, who is currently shooting a pilot in Toronto. GARY Actor? MARGARET Writer. So for the next six weeks, su casa es su casa. I say, feel free to wear his clothes. He'll probably get a sick thrill of out it. The gays. Noticing two crates. GARY He has dogs? MARGARET They're away at summer camp. Now, try the bed. He lies back on it, feeling it out. GARY It's fine. MARGARET Comfortable? GARY Sure. She massages his besocked feet. MARGARET Look, Gary, I know this has been crazy and stressful. I want you to feel safe. And comfortable. GARY I do. MARGARET I'm a fan of yours, you know. Your number - one fan. Gary looks over his toes at Margaret. From this angle, she looks a bit like Kathy Bates from Misery. MARGARET -LRB- CONT'D. -RRB- But if you fuck this up, I will smash your ankles with a sledge hammer. A long beat. MARGARET -LRB- CONT'D. -RRB- That would n't be comfortable for either of us.",
"INT. KITCHEN - DAY Margaret boxes up the alcohol while Gary bounces a lime on the island. MARGARET I'll be coming by twice a day to check up on you. I'm the only person who should be coming by. No buddies, no pals, no heroin dealers. GARY I do n't do heroin. MARGARET Yeah, crack is classy. And I'm not buying you porn. There's spray - per - view on cable. GARY Good. I really was n't concerned about my career, my family or my future. I just wanted to jack off. Margaret is a little impressed by this show of backbone. MARGARET Let me see your phone. He hands over his cell phone. She drops it in the contraband box. GARY C'mon! All my numbers are in that. MARGARET Dial ten digits at random. Whoever answers will be better than the people on this phone. She picks up the liquor box, ready to go. MARGARET -LRB- CONT'D. -RRB- You have my cell number. You have delivery menus. You're fine. Right? GARY I guess. As she leaves, Margaret notices a long butane lighter by the stove. She adds it to the box, just to be sure.",
"INT. HOUSE / VARIOUS - DAY Gary paces around his new home, trying to get a feel for it. He plays a few NOTES on the piano. He looks up at the painting over the staircase : a cliff near the ocean. He opens random drawers in a Chinese herb cabinet, wondering if there's anything hidden in one of the 46 slots. There is n't. He takes a long beat to consider three paintings in the dining room, which show the same thing in three different ways.",
"EXT. BACKYARD - SUMMER NIGHT Gary swims laps, trying to exhaust himself. He stands in the shallow end, listening to the quiet.",
"INT. KITCHEN - SUMMER NIGHT Wearing a fluffy white robe, he looks through the delivery menus.",
"INT. FOYER / FRONT DOOR - SUMMER NIGHT He takes a bag of food from a college - age DELIVERY GUY, who seems to recognize him. Gary pays him, shuts the door. As he's walking to the kitchen with the food, Gary looks back and sees the Delivery Guy watching him from the front walk. The guy is a little embarrassed, but Gary is pretty used to being stared at.",
"INT. KITCHEN - SUMMER NIGHT Gary unwraps the Thai food. Makes himself a plate. He watches CRIME LAB on the plasma screen while eating dinner. GARY -LRB- O.S. TV DIALOGUE. -RRB- Once we get these samples back to the Crime Lab, we'll know who the real killer is.",
"INT. LIBRARY / TV ROOM - NIGHT Gary scans the shelves, looking for something to read. There are five times more books here than Gary has opened in his lifetime. He settles on a paperback of Voltaire's Candide. He lies back on the couch, reading it. He flips a few pages ahead to see if it gets more interesting. A beat. GARY JACKING OFF to soft - core pay - per - view. We're CLOSE ON Gary's straining face, but we can hear the pleasured MOANS of the actresses as they go down on each other. Nearing climax, he looks for something to come on. He ca n't find anything.",
"INT. FOYER - NIGHT His left hand cupped to hold the semen, he pads barefoot from the TV room to the downstairs bathroom. We hear WATER RUNNING as he washes his hands. Then it shuts off. We hear a THUNK. Something hard was dropped on the wood floor. Gary hears it too. He steps out of the bathroom, looks around. He takes a few silent paces back in our direction, stopping just before he reaches the two - story section of the foyer. That's when he hears it : CLICK - CLICK - CLICK - CLICK on the wooden floor. A JINGLE of metal. We follow Gary's eyes up to the second - floor walkway. We can hear the little FOOTSTEPS, toe nails CLICKING. Faint PANTING. But there's no dog. BACK ON Gary, increasingly unsettled. He's directly below the walkway, and ca n't see up into it. GARY Is somebody there? Hello? He CLAPS his hands twice. Listens. Nothing. He's about to venture a step forward when suddenly THE PHONE RINGS. He nearly jumps out of his skin. It RINGS two more times before he ducks into the TV room to answer it. GARY -LRB- CONT'D. -RRB- Hello?! -LRB- relieved. -RRB- Yes. Yes. He turns his back to the foyer, listening to the instructions on the phone. GARY -LRB- CONT'D. -RRB- Nine leopards run through the jungle. -LRB- listening. -RRB- I bought two cakes at the store. His identity evidently confirmed, he hangs up. He looks back into the foyer. GARY -LRB- PRE - LAP ; CONT'D. -RRB- The house is haunted. There's a zeitgeist, or something.",
"EXT. UPSTAIRS DECK - DAY Margaret's brought coffee and pastries from Susina. MARGARET Poltergeist, and no. Maybe they were rats. L.A. is teaming with rats. They live in the palm trees. GARY Sure. Maybe. He's obviously not convinced. MARGARET Okay. You know I'm a licensed psychotherapist. GARY Really? MARGARET No. I'm a publicist. My job is what other people think of you, not what you think of yourself. So pull your shit together. I am thisclose to getting Christine Walsh to do your piece in Parade. GARY Parade? I fucking hate Parade. MARGARET Everyone hates Parade. But the people who watch `` Crime Lab,'' they love their Marilyn Vos Savant. Give them a woman of indeterminate age who solves riddles and they are in hee - haw heaven. GARY Okay. MARGARET One heartfelt act of contrition and maybe the showrunner wo n't kill off your character between seasons. He nods. He gets it. MARGARET -LRB- CONT'D. -RRB- I swear to God, if you go batshit on me. GARY I'm not crazy. MARGARET Exactly. Exactly.",
"EXT. BACKYARD - DAY Gary is lying in the sun, eyes shut. Suddenly, a golf ball hits him on the head. He sits up, perplexed. For a long moment, he has no idea where the ball came from, until he hears a voice from beyond the wall that separates the properties. WOMAN'S VOICE Sorry! Really sorry. -LRB- A practiced ear notices a Canadian accent. -RRB- WOMAN'S VOICE -LRB- CONT'D. -RRB- Over here. To your left. -LRB- correcting. -RRB- Right. Sorry. Right. He follows the voice to a gap in the hedges at the far corner of the yard, finding SARAH GLEASON. Late 30's, fresh - scrubbed and girlish, she looks more fragile than she really is. SARAH I'm working on my putting, if you can believe it. Indeed, she's holding a putter. GARY Not really. SARAH Okay. Maybe I was just looking for a way to meet my infamous neighbor. You see, I'm under house arrest, too. GARY What did you do? SARAH I had sex with my husband. GARY That's awful. SARAH Nine months later, I had Jaden. That's her over there. She points to a small portable baby monitor. GARY She's cute. SARAH She's sleeping for another. -LRB- checks watch. -RRB-. seventeen minutes. She keeps to a schedule. GARY She sounds really boring. SARAH -LRB- whispers. -RRB- She is. A beat. A smile between them. GARY You're rich. Should n't you have a nanny from Ecuador? SARAH I'm Canadian. GARY -LRB- as if that explains it. -RRB- Ohhh. SARAH I ca n't work in the U.S. Plus, I want to maintain this air of moral superiority by doing everything myself. GARY Very Canadian. SARAH Thanks. Another pregnant pause. SARAH -LRB- CONT'D. -RRB- Listen, Jaden goes down again at 2:30. Maybe I could stop by. GARY I'm pretty sure I'll be here. SARAH It's a date. GARY Is it? She picks up the baby monitor, heading back into her house. Suddenly, she realizes. SARAH Oh. I'm Sarah, by the way. GARY Gary. SARAH Yeah. I know.",
"INT. BATHROOM - DAY Gary brushes his teeth and tongue.",
"INT. KITCHEN - DAY Gary neatens up, tossing out newspapers and delivery boxes. He plumps pillows. He looks up at the clock : 2:30. He sits, trying to read Candide again. He fidgets. He looks at the clock again : 2:49.",
"EXT. BACK PATIO - DAY Under the pretense of sweeping up leaves, he peers over the wall, looking directly into Sarah's kitchen. But there's no one in there.",
"INT. UPSTAIRS WALKWAY - DAY Gary carefully sets rat traps, staggering them every few feet. He pokes one with a pencil. The metal arm SNAPS back, breaking the pencil in two.",
"INT. FOYER - DAY Gary notices that the piano has an electronic device attached to it. He turns it on. He opens the piano bench, finding computer disks. A red disk is labelled `` Knowing.'' He puts it in. Hits play. The piano begins playing by itself, a sensuous but melancholy CLASSICAL PIECE. Gary lies on the floor, listening to it. He stares up at the elaborate chandelier.",
"EXT. FRONT OF HOUSE - DAY Gary is sitting on a bench by the front walk, trying to read more of his book. He looks over to see Sarah coming up the steps, carrying the baby monitor and a bottle of chardonnay. She stops beside him. SARAH The best of all possible worlds. GARY -LRB- confused. -RRB- Okay. SARAH -LRB- pointing to his book. -RRB- Voltaire. Candide. -LRB- off his reaction. -RRB- Are you actually reading it? GARY I thought I was. He gets up. SARAH Sorry I bailed. Jaden had a fever. GARY Ah! How boring of her. She hands him the wine. SARAH Housewarming gift. GARY Demon liquor. SARAH The best part is, I can drink it. I pumped before I came. GARY So did I.",
"INT. LIVING ROOM - DAY Sarah tops off Gary's wine glass. They're both on the couch. The baby monitor is sitting on the table behind them. GARY so it's kind of hard to prove that I only meant to burn my ex - girlfriend's stuff, and not the entire house. SARAH Yeah. Fire's tricky that way. GARY How about you? Any history of arson? SARAH Strangely enough. GARY I knew it! I could see that little spark. SARAH It was n't arson. Probably. A long beat while she decides whether she wants to tell him the story. SARAH -LRB- CONT'D. -RRB- Okay. When I was a little girl, our house caught on fire. GARY Oh shit. MUSIC begins, providing backing to her monologue. SARAH I'll never forget the look on my father's face as he gathered me up in his arms and raced through the burning building, out onto the pavement. ON GARY, feeling bad he brought this up, but fascinated at the same time. SARAH -LRB- CONT'D. -RRB- I stood there shivering in my pajamas and watched the whole world go up in flames. And when it was all over, I said to myself, `` Is that all there is to a fire?'' Is that all there is? As she starts to SING, Gary realizes the story is n't hers at all. It's Peggy Lee's `` Is That All There Is.'' SARAH -LRB- CONT'D. -RRB- Is that all there is, is that all there is? If that's all there is my friends, then let's keep dancing. She leans closer. SARAH -LRB- CONT'D. -RRB- Let's break out the booze and have a ball. If that's all there is. Standing up, Sarah takes Gary's hands, pulling him off the couch. She leads him to an open area - more space for dancing. SARAH -LRB- CONT'D. -RRB- Is that all there is, is that all there is? If that's all there is my friends, then let's keep dancing. Let's break out the booze and have a ball, If that's all there is.",
"INT. SARAH'S BATHROOM - DAY [MONOLOGUE] Sarah leans up to the mirror, trying to get her contacts in. It's not going well. Her eyes are tearing up. SARAH Then I fell in love with the most wonderful boy in the world. We would take long walks by the river or just sit for hours gazing into each other's eyes. We were so very much in love. Then one day he went away and I thought I'd die. But I did n't. And when I did n't, I said to myself, `` Is that all there is to love?''",
"INT. LIVING ROOM - DAY Sarah and Gary start to dance. SARAH Is that all there is? Is that all there is? If that's all there is my friends, then let's keep.",
"INT. ANTIQUE HARDWARE STORE - DAY Deep in the bowels of the store, Sarah is surrounded by vintage lighting fixtures. She's -LRB- futilely -RRB- trying to match a specific light switch plate. SARAH I know what you're thinking. If that's the way she feels about it why does n't she just end it all? I'm in no hurry for that final disappointment. I know just as well as I'm standing here talking to you, when that final moment comes and I'm breathing my last breath, I'll be saying to myself.",
"INT. LIVING ROOM - DAY Sarah and Gary become more intimately acquainted on the couch. They still have n't kissed, but hands are running up and down over clothing. Sarah is n't singing anymore, though her voice continues. SARAH'S VOICE Is that all there is, is that all there is? If that's all there is my friends, then let's keep dancing. Let's break out the booze and have a ball, If that's all there. Just as they're about to kiss, A BABY HOWLS. It's the monitor, HISSING and POPPING as Jaden wakes up from her nap, cranky and hungry. Sarah pushes back. Gary tries to close the gap, but she's already standing up. SARAH I need to. GARY Just. SARAH My shoes. Are here. Okay. As she reaches for one, she knocks over a wine glass. SARAH -LRB- CONT'D. -RRB- Crap! GARY Do n't worry about it. Just. SARAH I'm going. Bye. Carrying both her shoes, she's across the room and out the front door before he can say anything more.",
"INT. KITCHEN - DAY Gary washes the wine glasses, being sure to wash off any trace of lipstick. He dries them and puts them back in the cabinet. Faced with the remainder of the wine, he considers dumping it down the sink. Instead, he chugs it from the bottle. He wraps the empty bottle in newspaper and tucks it in the recycling.",
"INT. OFFICE / GYM - SUMMER NIGHT Gary works out hard on the elliptical trainer. He has his iPod cranked with a POUNDING TUNE. He does abs on a stability ball. He's spent.",
"INT. KITCHEN - NIGHT Gary enters from the driveway door, gulping from a water bottle. He starts to look through the delivery menus when he notices an orange Post - It note by the telephone. It reads : Look for the Nines. He picks it up, looks at the back. Nothing. Sticks it back down on the counter.",
"INT. LIVING ROOM - NIGHT Gary sits on the couch with his water bottle, listening to the baby monitor : Sarah is singing a LULLABY. He takes off his shoes and socks. When she's finished. SARAH -LRB- ON MONITOR. -RRB- Goodnight, sweetheart. GARY Goodnight. For a long beat, it's quiet. Then we hear RUSTLING. A crib toy plays a short MELODY. Then a slightly - digital voice speaks : VOICE The cat says meow! The pig says oink! Gary smiles to himself. VOICE -LRB- CONT'D. -RRB- The cow says moo! The cow says moo! The cow says moo! Evidently, Jaden loves the cow. VOICE -LRB- CONT'D. -RRB- The dog says, nine. Nine. Nine. Nine. Gary looks back. Did he just hear that? The phone RINGS.",
"INT. KITCHEN - NIGHT [CONTINUOUS] Gary answers it on the third ring. GARY Hello. It's the parole system. GARY -LRB- CONT'D. -RRB- Yes. Yes. Two trains run through the forest. Music STRIKES. We see a sudden change in Gary's expression. He nearly drops the phone. Forcing himself not to panic, he pushes the button for speakerphone. He wants to make sure he's hearing it right. MALE COMPUTER VOICE Nine. Nine. Nine. Nine. Gary backs away from the phone like it might sprout legs and jump on him. Suddenly, he backs into SOMEONE ELSE. He spins around, startled. He only catches a glimpse of THE MAN - same height, same build, same everything. The Man is gone in half an instant, vanished into thin air. Gary bolts for the door. Reaching the foyer, Gary steps on a RAT TRAP, which SNAPS down on his toes. He SCREAMS, pulling it off. He looks around to find all eight traps are now on the main floor, rather than the second - floor walkway. Limping, he hops out the door. We stay behind, looking out through the open door.",
"EXT. WILSHIRE BLVD. - NIGHT HEADLIGHTS FLARE as cars travel down Miracle Mile, bringing us to a Metro Bus stop - a semi - enclosed bench with backlit signage. The far side of the shelter has a one - sheet for Crime Lab. -LRB- `` This fall, Mondays are murder.'' -RRB- The bench side is a promo poster for a show called Knowing. -LRB- `` Some fates are chosen for you.'' -RRB- It's here we find Gary taking a seat, gingerly checking his toes where the rat trap snapped. He's hobbled his way here from the house, which is probably a block away. There's only a little blood, but his toes really hurt. Over Gary's shoulder, we see a blonde 8 - year old girl -LRB- Noelle -RRB- watching him with concern. She BANGS on the shelter to get his attention. Gary nearly jumps out of his skin. GARY Jesus! You scared the shit out of. She signs `` What's wrong?'' GARY -LRB- CONT'D. -RRB- -LRB- confused. -RRB- What? NOELLE -LRB- signed, subtitled. -RRB- You're hurt. GARY I do n't speak that. Sorry. I do n't. She points to his toes. Getting what she must mean. GARY -LRB- CONT'D. -RRB- I'm fine. I'll be fine. Looking around, he realizes that the little girl is out here by herself. GARY -LRB- CONT'D. -RRB- Where are your parents? She looks at him oddly, not really getting the question. GARY -LRB- CONT'D. -RRB- Your mom, your dad. Where are they? NOELLE -LRB- signed, subtitled. -RRB- Mom is at the car. Where you left her. Again, Gary has no idea what she's saying. NOELLE -LRB- CONT'D. -RRB- -LRB- signed, subtitled. -RRB- You're lost. GARY Look, you need to go back, okay? You should n't be out here. It's not safe. Noelle glances to her left. We hear BWOOP BWOOP as a police cruiser pulls over to the curb. GARY -LRB- CONT'D. -RRB- Shit. We go to a WIDER ANGLE as TWO OFFICERS get out of the car. Gary looks back. Noelle is gone, though there's really nowhere she could have disappeared. Putting on his best face for the police. GARY -LRB- CONT'D. -RRB- Evening, officers.",
"INT./EXT. POLICE CRUISER - NIGHT Handcuffed, Gary is placed in back. He's reserving the right to remain silent. MARGARET -LRB- PRE - LAP. -RRB- Once again, the idea of house arrest is you stay inside your house.",
"INT. LIVING ROOM - DAY The same parole officer from earlier attaches a black anklet to Gary's left leg. We see that Gary's left foot also features bandaged toes. MARGARET Think of it like an electronic leash. Basically, if you ever go more than 100 feet from the base station. She points to an electronic device by the wall. MARGARET -LRB- CONT'D. -RRB- the cops come, they throw your ass in jail. If you ever try to take it off, the cops come and throw your ass in jail. And if they ever detect drugs or alcohol in your system. GARY the cops come and throw my ass in jail. MARGARET No. I kick your ass. Then the cops come and throw your ass in jail. The parole officer smiles. GARY Do I still have to answer the phone? MARGARET No, I'll be doing that from now on. I'm moving into the guest room. GARY I do n't need a babysitter. MARGARET Despite all evidence to the contrary. Do n't worry, I'm a cool roomie. Who do you think taught Affleck how to gamble? The parole officer hits a test button on the anklet, which lets out a PIERCING ALARM. MARGARET -LRB- CONT'D. -RRB- Let's never hear that again.",
"EXT. FRONT OF HOUSE - DAY Margaret walks heel - to - toe, counting her steps. MARGARET 97. 98. 99. With a piece of chalk, she draws a line on the concrete. She looks back to Gary, who's waiting by the front door. MARGARET -LRB- CONT'D. -RRB- Behold! The edge of your world. In the world. -LRB- jumps over the line. -RRB- Out of the world. In the world. Out of the world. Look at me, I'm dancin'! She starts doing the running man over the line. Even Gary's dark mood is broken.",
"EXT. BACK PATIO - NIGHT Margaret and Gary roast marshmallows over the propane grill to make s'mores. They're giggling. GARY So the guy was like, `` Do you know fencing?'' And I say, of course. That's what it says on my headshot. MARGARET Lies! GARY Always. So he says, `` Foil or epi?'' MARGARET Epée. GARY I say, I'm about equal in both. MARGARET Which is true. GARY So he tosses me this fucking Conan sword and goes after me. I'm just swinging, trying to stay alive. But I end up cutting his ear. MARGARET You cut his ear off? GARY Just a little. But I got the job. Margaret is confused. MARGARET Wait. You were in Pirates of the Caribbean? GARY Yes. No. Not the movie, the ride. I was like, `` Gar! Keep both hands inside the boat!'' Margaret laughs so hard she coughs.",
"INT. UPSTAIRS WALKWAY - NIGHT Ready for bed, Margaret leans out the guest bedroom door. MARGARET Goodnight, fuckface. Gary looks out his door. GARY Goodnight, you filthy whore. Both doors shut.",
"EXT. HOUSE - DAY Establishing. MARGARET -LRB- PRE - LAP. -RRB- It's incredible.",
"EXT. BACK PATIO - DAY Margaret and Gary sip their morning beverages, looking at something spectacular in the yard. MARGARET It's incredible. GARY I know. Whenever I see them, and I always feel like, damn. MARGARET I was born at the wrong time. GARY Exactly. We REVERSE to see the object of their awe : a giant inflatable jump - o - rama in the shape of a castle.",
"INT. THE CASTLE - DAY VARIOUS SHOTS : Gary and Margaret jump with all their might, bouncing off the walls, SCREAMING all the time. When both finally collapse, it becomes strangely tranquil. They're safe inside an inflatable paradise. Gary scoots over beside Margaret. She puts her head on his arms. It's nice. Prelap : A doorbell RINGS.",
"INT. FOYER - DAY Gary opens the door to find Sarah. SARAH Where's the warden? GARY Groceries. SARAH Quite the little missus. She walks past him, into the house.",
"INT. LIVING ROOM - DAY [CONTINUOUS] Sarah crosses to the couch, picking up the baby monitor. GARY How's Jaden? SARAH Boring. We have n't had nearly the grand old time you two have been having. There's an edge to her voice. GARY You've been watching. SARAH Well. I do n't want to meddle in your affairs. GARY My affairs? SARAH Everyone needs affection. I get it. She's headed back for the door. GARY I do n't. Are you seriously jealous? SARAH The opposite. I just want to protect her. GARY From what? SARAH From you. Look at you. You date models. Actresses. Tennis players. GARY Yeah. SARAH On a scale of one to ten, you belong with the Nines. We both know you wo n't settle for less. With that, she's gone.",
"INT. KITCHEN - DAY Gary is trying to load dishes into the dishwasher, but has a hard time getting one bowl to fit. MARGARET What are `` the Nines?'' GARY What? He looks over. Margaret holds up the orange sticky note by the phone. MARGARET `` Look for the Nines.'' GARY It's not mine. MARGARET It's your handwriting. GARY I did n't write it. MARGARET Okay. She puts it back down. But she does n't believe him. MARGARET -LRB- CONT'D. -RRB- All - ee - all - ee - all - come - free. GARY -LRB- perplexed. -RRB- What? MARGARET Nothing. GARY Seriously, what? MARGARET Nothing. I thought you were. forget it. Done. Sorry.",
"EXT. BACK YARD - DAY At the far edge of the property, Margaret and Gary play backgammon. Their mood is significantly more subdued. Margaret answers her RINGING cell phone. MARGARET Yhello? Hi. What?! -LRB- to Gary. -RRB- I have to take this. He nods. Margaret starts walking back to the house. MARGARET -LRB- CONT'D. -RRB- -LRB- on phone. -RRB- Well, who thought it was a good idea letting Courtney into a pottery shop? Left alone, Gary rolls the dice idly. He gets a 4 and a 5. Rolls again. 4,5. 3,6. 4,5. 3,6. 3,6. 3,6. 4,5. He keeps rolling, the wheels in his head starting to turn.",
"EXT. FRONT OF HOUSE - DAY Sarah is looking in through the living room windows, trying to spot Gary. Giving up, she turns back to the main steps, only to find. MARGARET, who does n't look pleased. MARGARET I know who you are. SARAH Really. MARGARET I know what you are. And if you come near him again. SARAH You'll what? Margaret lets that go unanswered. There's obviously something big we're not privy to. SARAH -LRB- CONT'D. -RRB- What are you going to do, M. She's forgotten Margaret's name - if she ever knew it. SARAH -LRB- CONT'D. -RRB- Sorry, what's he calling you? MARGARET Margaret. SARAH I like that. `` Margaret.'' Classic. MARGARET Why ca n't you just leave him alone? SARAH Alone? He's an actor. If nobody's watching him, he does n't really exist. -LRB- approaching. -RRB- And for the record, I'm not the one deceiving him. He's going to figure it out eventually. And when he does, who do you think he's gon na blame? Sarah lets her warning land, then walks past Margaret, heading back down the stairs. REVEAL Gary watching through the hole in the door.",
"INT. FOYER - DAY Gary heard the whole conversation. Or at least enough of it to be deeply freaked out.",
"INT. UPSTAIRS WALKWAY - NIGHT Margaret leans out her doorway : MARGARET Goodnight, ratface. GARY Goodnight.",
"INT. BEDROOM - NIGHT Gary sits in one of the upholstered chairs, staring at his still - made bed. It's impossible to know what he's thinking, but the wheels are turning.",
"EXT. SIDE PATIO - MORNING Gary opens the newspaper to a page at random. He starts circling things with a red Sharpie. MACRO CLOSE UP. His pen circles the number nine every time it appears. As he flips the page, he spots Sarah looking in through the rounded trellis, just a few feet away. She's holding her own newspaper, still in the wrapper. SARAH Hey neighbor. GARY Hi. SARAH Sorry for the psychotic episode. I'll blame it on hormones. GARY Okay. SARAH Are you alright? You look a little Beautiful Mind - ish. He almost deflects it, but decides to trust her : GARY How many times should the number nine come up? Probablistically? SARAH Probablistically? GARY -LRB- annoyed. -RRB- You know what I mean. SARAH One time out of ten. GARY How about every time? He hands her the paper through the bars. GARY -LRB- CONT'D. -RRB- But they only show up when you look for them. Looking for them changes things. Trying to find an explanation. SARAH Some of these are prices. There's going to be a lot of nines when. GARY There is something wrong with the world. Sarah looks up slowly. She smiles for an uncomfortably long beat. She's stalling, thinking. SARAH You have an eyelash on your. here. She steps forward, and motions for him to lean closer to the bars. Brushing off the non - existent eyelash, she WHISPERS : SARAH -LRB- CONT'D. -RRB- I can get you out of here. But you have to trust me. MARGARET [O.S.] Morning. MARGARET enters, carrying her tea. She sees Gary by himself, leaning near the bars of the trellis. MARGARET Everything okay? GARY Peachy. MARGARET Peachy's good. I like peaches. WIDER, we see that Sarah is flush back against the wall, out of Margaret's line of sight. MARGARET -LRB- CONT'D. -RRB- You want coffee? GARY Sure. She turns and heads back into the house. Once she's out of earshot. GARY -LRB- CONT'D. -RRB- What do I do? SARAH You have to trust me.",
"INT. LIVING ROOM - DAY [A FEW MINUTES LATER] CLOSE ON a white plastic device mounted in the corner of the room, about ten feet up. It might be a smoke detector. Gary stares up at it, intently. He steps forward. A little red light flicks on inside the unit. After a few seconds it turns off. It's some sort of motion detector. Gary tests it again, trying to move his arm slowly enough that the light never engages. Margaret enters, carrying two mugs. She watches him warily. MARGARET You okay? GARY No. MARGARET Oh. GARY Tell me about the Nines. MARGARET The Nines? GARY The Nines. MARGARET Sort of hard to start there. GARY Try. And do n't tell me I'm imagining it. They're showing up everywhere, and I want to know why. Trying to formulate the simplest truthful explanation : MARGARET Best guess? They're your subconscious trying to remind you who you are. GARY I'm a Nine? MARGARET Yes. It does n't make a lot of sense of out context. -LRB- offering. -RRB- Coffee? He takes the mug, then reconsiders. Maybe it's laced with something. GARY Why do n't you drink coffee? You're always drinking tea. Frustrated, she takes his coffee back and drinks it. She'd really like to drink the whole thing to prove her point, but it's just too hot. MARGARET Happy? She gestures for him to sit down. Reluctantly, he does. She sits across from him. MARGARET -LRB- CONT'D. -RRB- You're not going to understand this yet, but we've known each other for like 25 years. One day when I was 12, you called me out of the blue. And we've been talking ever since. GARY Talking. MARGARET On the phone. Usually. GARY I never met you before I came here. MARGARET You, Gary, never met me. But you're not always. -LRB- lacking the words. -RRB- I can understand why you're a little confused. GARY No. I'm a lot confused. MARGARET Theories? GARY This is all a dream. MARGARET No. GARY I'm in a coma. MARGARET -LRB- amused. -RRB- No. GARY Then I'm dead. This is Hell, or Purgatorium or something. MARGARET Okay, a purgatorium is where Romans vomited. But no. This is as real as anything can be. GARY -LRB- suspicious. -RRB- What does that mean? She sits forward in her chair. By instinct, he sits back. MARGARET Everything is what it is. But you're not who you think you are. NEW ANGLE -LRB- TIME JUMP -RRB- Gary gets up, headed for the front door. MARGARET -LRB- CONT'D. -RRB- God, no! Please, Gary, do n't. But he's already outside.",
"EXT. FRONT WALKWAY - DAY He's walking towards the blue chalk perimeter line, headed for Sarah's house. Leaves fall lazily from the trees, counter - point to the tension. Margaret calls out from the arched windows. MARGARET You do n't know what you're doing. She's almost at tears. He stops at the edge of the chalk line. GARY What happens if I cross this line? The tear in her eye falls. MARGARET I do n't know. But it's not good. He very deliberately steps over the line. We hear a thin BEEPING from the house - arrest anklet. He shoots her a look to say, is that all there is? But the BEEPING grows louder, deeper. It starts to come from all sides, booming, a nuclear - meltdown/self - destruct - sequence - activated DRONE. Gary suddenly realizes something very, very terrible is about to happen. GARY Oh shit. The world ignites in white - hot atomic flames. We see the blinding glare erupt behind Margaret, illuminating through her skin, right to the bone. The same flash catches a leaf in mid - air, sizzling through it like an etched x - ray. As the light hits Gary, we. CUT TO BLACK. READER NOTE : Part 2 is a half - hour episode of a Project Greenlight - style documentary series called `` Behind the Screen,'' which tracks the progress of a one - hour TV drama pilot from conception through delivery. In keeping with the genre, it's very fast and cutty. INTERVIEW sequences are done to an off - camera interviewer. Some scenes are unscripted. The gist of these scenes is summarized in italics. Part Two : REALITY TELEVISION. ANIMATED TITLES We RUSH IN on a television set, which spins around revealing a blinding constellation of pixels. MELISSA -LRB- V.O. -RRB- Previously, on `` Behind the Screen.''",
"EXT. STUDIO LOT - DAY GAVIN TAYLOR -LRB- 30 -RRB- walks to a meeting, with his laptop bag over his shoulder. He has a tidy, Banana Republic sensibility and an easy smile that belies his manic schedule. SUSAN -LRB- V.O. -RRB- Gavin Taylor's one of the best TV writers out there.",
"INT. SUSAN'S OFFICE - DAY Cluttered and corporate, with stacks of scripts and a few touches of arbitrary quirk. SUSAN HOWARD -LRB- 35 -RRB- and Gavin kiss hello. SUSAN -LRB- V.O. -RRB- Every network would kill to work with him.",
"INT. GAVIN'S OFFICE / GUESTHOUSE - DAY INTERVIEW. GAVIN `` Knowing'' is a one - hour drama about a woman whose husband disappears. She starts to believe that her daughter is the key to a dark conspiracy.",
"INT. CONFERENCE ROOM - DAY Gavin pitches his show to the NETWORK BOSSES. GAVIN Basically, it's like `` Rosemary's Toddler.''",
"EXT. STUDIO LOT - DAY Impromptu INTERVIEW. Gavin is beaming. GAVIN We sold it in the room.",
"INT. KITCHEN - DAY Gavin leans into the speakerphone. GAVIN Just tell me Roger liked the script.",
"INT. SUSAN'S OFFICE - DAY Susan is on her speakerphone. SUSAN You're shooting a pilot.",
"INT. SUSINA COFFEESHOP - DAY Gavin has coffee with actress MELISSA McCARTHY -LRB- 34 -RRB-, his best friend. He's pitching her the idea. GAVIN -LRB- V.O. -RRB- Melissa McCarthy is my first and only choice for the lead. MELISSA I love it. I'll do it.",
"EXT. FOREST - DAY An EPK - style INTERVIEW, on the set of the pilot. MELISSA Gavin and I have been friends for forever.",
"EXT. WARNER BROS. LOT - DAY Melissa hangs out with her `` Gilmore Girls'' CAST and CREW. MELISSA -LRB- V.O. -RRB- It's really hard to leave a show like `` Gilmore Girls,'' but I really believe in Gavin.",
"INT. CONFERENCE ROOM - DAY Gavin, Susan and a LINE PRODUCER go over the figures. GAVIN -LRB- V.O. -RRB- The only way we can afford to shoot the pilot is in Canada.",
"INT. BEDROOM - DAY Gavin stacks up clothes on his bed, preparing to pack. GAVIN It's really hard to think about leaving for six weeks.",
"EXT. FOREST ROAD - DAY Gavin YELLS : GAVIN Action! A STEADICAM follows Melissa as she gets out the passenger door of a Toyota Prius, an alarmed look on her face. EPISODE 6 : POST",
"INT. LAX / BAGGAGE CLAIM - DAY A DRIVER holds up a sign for `` TAYLOR.'' Gavin approaches, waves to him. He has a laptop bag over his shoulder. TITLES identify him as : Gavin Taylor Creator / Showrunner",
"INT. LAUNDRY ROOM / KITCHEN - DAY Gavin unlocks the door, entering from the driveway. He's hauling a massive wheeled duffle bag. -LRB- Note : This is the same house from Part One. -RRB- We hear the CLATTER of toenails on hardwood floors. Gavin kneels down to greet. GAVIN Puggies! Gavin's PUGS pounce all over him.",
"INT. KITCHEN - DAY [MINUTES LATER] Gavin is on the cordless phone, talking with a friend as he sorts through massive piles of mail. On his left wrist, we notice the same green string bracelet Gary wore in Part One. GAVIN -LRB- ON PHONE. -RRB- It's weird being back. It does n't feel like my house anymore.",
"INT. FOYER - DAY Gavin sits at the piano, pecking out a haunting melody he's been fiddling with. He grabs a red diskette and a Sharpie. GAVIN -LRB- V.O. -RRB- At this stage, you have the script you wrote, and the film you shot, but you do n't know how it's all going to come together. You just know how you want it to feel. He writes `` Knowing'' on the diskette, and pops it into the Disclavier unit.",
"INT. EDITING SUITE - DAY Susan, Gavin and the EDITOR watch the cut. Susan is taking notes on a legal pad. Susan flips to her next note. TITLES list her position as : Susan Howard VP, Drama Development SUSAN I just do n't know if you need the cold open. People want to get right to the story. ANGLE ON the Editor, bristling a bit.",
"INT. HALLWAY - DAY [LATER] Impromptu INTERVIEW. GAVIN I invited Susan to see a rough cut because I trust her taste. INTERCUT editing suite. SUSAN Could we be more clear why Mary is so freaked out at that moment? GAVIN Wow. I thought it was pretty obvious. And dramatic. GAVIN [INTERVIEW] More importantly, I trust her as a barometer of Roger's taste. SUSAN I know. But that's Roger's big thing this season. Never let the audience be confused.",
"INT. EDITING SUITE - [LATER THAT] DAY The Editor hands Melissa a microphone. TITLES list her simply as : Melissa McCarthy `` Mary'' GAVIN So we're trying to squeeze in a wild line over this shot of Noelle. The monitor shows a three - second clip. It's Melissa and a eight year - old actress -LRB- `` Noelle'' -RRB- in a car. Melissa's character looks alarmed by something the girl has just done or said. MELISSA What's the line? GAVIN -LRB- quickly. -RRB- How could you. MELISSA Howkajew? GAVIN Yeah. MELISSA Howkajew. It sounds like kosher drug paraphernalia. Like, come on Shmuley! Have a toke on the Howkajew. GAVIN I know. It's just for the test screening. MELISSA They really think people wo n't get it? GAVIN The dumb people might not. MELISSA I did n't think we were making the show for dumb people. A beat. Melissa holds a microphone. As video footage plays back, we hear three evenly - spaced LOOPING BEEPS. Where the fourth one would be, Melissa says the line. MELISSA -LRB- CONT'D. -RRB- Howkajew. -LRB- again. -RRB- How could you. -LRB- again. -RRB- How couldjew. Finished, she hands the mic back to Gavin. MELISSA -LRB- CONT'D. -RRB- I feel so dirty. GAVIN That's how I like ya. Melissa giggles.",
"INT. TESTING SERVICE THEATRE - DAY A MODERATOR explains how it all works to the RECRUITED AUDIENCE. The test begins. ANGLE ON a monitor. We see a scene of Melissa -LRB- as `` Mary'' -RRB- on a forest road.",
"INT. TESTING SERVICE / FOCUS GROUP ROOM - DAY Through a one - way mirror, Gavin and Susan watch as the Moderator asks a group of twelve MALE VIEWERS about the pilot they just watched. Their comments are mostly positive. Gavin and Susan share relieved looks. She has a notepad, as always. One AGITATED MAN keeps staring at the mirror, right at Gavin. -LRB- We recognize him as the Parole Officer from Part One. -RRB- GAVIN That guy's looking at me. SUSAN He ca n't see you. As a test, Gavin waves his arm. The Agitated Man's expression changes slightly, but it's not clear whether it's in reaction or not. The Moderator directs her next question to the Agitated Man. MODERATOR How about you? Did you feel it was. AGITATED MAN It's not real. MODERATOR And what do you mean by that? AGITATED MAN The show's not real. Why ca n't you see that? Jesus! Are you fucking blind? -LRB- looking at the mirror. -RRB- You think you're above it all, do n't you? You are trapped here with the rest of them, brother. He stands up, pushing past the other people to come right up to the one - way glass. He stares directly at Gavin, even though he should n't be able to see him. He SHOUTS : AGITATED MAN -LRB- CONT'D. -RRB- Get out. Get out! Oblivio accebit! Gavin backs away from the glass, freaked out.",
"EXT. STREET - [LATER THAT] DAY Impromptu INTERVIEW with Gavin, standing beside his Prius. He's clearly still shaken by the experience. GAVIN The guy was crazy. Obviously. The show is kinda twisted, and it just flipped something in him. Gavin sounds like he's trying to convince himself. PRODUCER'S VOICE -LRB- O.C. -RRB- What did he say? GAVIN Oblivio accebit. It's Latin. `` Oblivion approaches.'' PRODUCER'S VOICE -LRB- O.C. -RRB- What do you think it means? GAVIN Other than the world is coming to an end? `` Oblivio'' also means forgetting, forgetfulness. -LRB- jump cut. -RRB- I think that's what I'm going to do. Forget it.",
"INT. LIVING ROOM - NIGHT Gavin hosts a game night : good friends and lots of cocktails. The guests include Melissa and Susan, along with SAM, TOM, BRUCE, DANA, JON, KEVIN, JEFF, DAN, and CARL. -LRB- We do n't show anyone's names. -RRB- They're playing Celebrity. We go several rounds, keeping the best of what's said.",
"INT. KITCHEN - NIGHT Between rounds of Celebrity, party - goers mingle. Gavin is making a new batch of cocktails - he obviously has a knack for it. Susan pours herself another glass of chardonnay. SUSAN Did you have a chance to look at the cards yet? GAVIN From the screening? Melissa reaches in, grabbing the vodka. MELISSA Pardon me. Daddy needs his drink. She makes a quick Cape Cod. From the other room, Sam YELLS : SAM -LRB- O.S. -RRB- Woman, where's my cocktail! MELISSA -LRB- yelling back. -RRB- I'm a - comin! -LRB- to Gavin. -RRB- I still love you most. She gives him a quick peck, then dashes off with Sam's drink. SUSAN -LRB- continuing her thought. -RRB- People write stuff on the cards they wo n't say in a focus group. They get more specific. He SHAKES the mixer. SUSAN -LRB- CONT'D. -RRB- Roger has this advice I always remember. Forget about anyone who scores you in the Twos and Threes. They'll never like your show. Gavin pours. SUSAN -LRB- CONT'D. -RRB- Instead, look for the Nines. GAVIN The Nines. SUSAN They're the one who think your show is almost the best thing they've ever seen. They get your vision. They just want it to be even better. Melissa YELLS from the living room : MELISSA Round two is starting without you! SUSAN So you'll look at the cards? GAVIN Absolutely. Making his way back to the living room, he stops by the phone. Pulls out an orange Post - It and makes a note. As he leaves, we go in CLOSE to read it : LOOK FOR THE NINES CUT TO:",
"INT. SUSAN'S OFFICE - DAY INTERVIEW. SUSAN Sometimes the numbers point things out that you do n't want to admit to yourself. In this case, Melissa. INSERT : Comment cards. SUSAN -LRB- CONT'D. -RRB- Her overall scores were okay. But if you look at the people who scored the show highest, the one consistent dip was Melissa.",
"INT. RESTAURANT - DAY Susan and Gavin are having lunch. GAVIN She does n't have a ton to do in the pilot. There's so much to set up, you do n't get a lot of Melissa - time. SUSAN True. That's one of the challenges with a premise pilot. GAVIN But the network still likes the show? SUSAN Of course. Roger is your biggest cheerleader. GAVIN How about above Roger? SUSAN Roger calls the shots. GAVIN After he consults with the Higher Powers. SUSAN True. GAVIN Do they like the show? SUSAN They have n't seen it. They're watching all the pilots on Friday. A beat. GAVIN Why are you focusing on Melissa? SUSAN Because she's the biggest concern. GAVIN She's also the biggest star in the show. SUSAN No, you're the biggest star. Roger made a huge deal with you, and he went along with casting Melissa when that was n't his instinct. GAVIN Well, hooray for Roger. I do n't understand what you want me to do. SUSAN Meet with someone. GAVIN Who? SUSAN Dahlia Salem. Gavin drops his fork so that it will CLATTER on his plate. SUSAN -LRB- CONT'D. -RRB- The network has a holding deal with her. GAVIN Yes. And you put her in Gatin's pilot. SUSAN It's dead. It's dying. But the network loves Dahlia. So if she could jump over to your show. GAVIN Replace Melissa and reshoot the pilot. SUSAN Roger would pay for it. Gavin is nauseous. He has to take a drink to be able to speak. GAVIN So is this even about Melissa? SUSAN It's about getting your show on the air. That's all that matters in the end.",
"EXT. SUSINA COFFEESHOP - DAY Establishing.",
"INT. SUSINA COFFEESHOP - DAY Gavin meets with Dahlia Salem. She's pretty, funny, and very cool. They talk about the other pilot -LRB- Gatin's -RRB-, the role, and how fucked up it is to be having these double - top - secret conversations. It goes well. They seem to genuinely like each other.",
"INT. SUSINA - DAY [LATER] Dahlia is gone. INTERVIEW with Gavin. GAVIN I see why the network loves her. It's just, I wrote the part for Melissa. She's one of my best friends. And in my head, I only see Melissa for the role. -LRB- jump cut. -RRB- Could Dahlia do it? Absolutely. It could work. I just do n't know if I want it to work.",
"INT. PC BANG - NIGHT A empty storefront in Koreatown, both walls lined with computers for the CUSTOMERS playing high - end videogames. We see Gavin playing. His INTERVIEW is intercut with his intense focus on the screen as he plays `` Bad Day L.A.'' GAVIN When I get stressed out, I play videogames. It's my therapy. I ca n't have them on my own computer, because then I'd never write. So I come down to Koreatown. -LRB- jump cut. -RRB- Videogames are better than real life. When you get stuck, you can always hit ` reset.' Life needs a reset button.",
"INT. KITCHEN - DAY Gavin's on the phone. GAVIN If we're really going to replace Melissa, I want to hear it from Roger.",
"INT. SUSAN'S OFFICE - DAY Susan talks to the speakerphone. INTERCUT GAVIN SUSAN Roger's on a flight to London. But I talked with him before he left. He said yes on Dahlia. GAVIN What does that mean? SUSAN It means yes. GAVIN Yes, replace Melissa? SUSAN He wants your show on the air, starring Dahlia. I just got off the phone with her agents. They love it. She loves you. GAVIN What about Melissa? SUSAN You want me to call her agents? GAVIN God no. I'll tell her. Gavin hangs up. We stay on his side of the conversation. In the background, we see the door to the driveway swing open by itself. A beat later, it SLAMS shut. Gavin is understandably startled.",
"INT. REHEARSAL STUDIO - DAY Melissa, wearing a nun's habit, sings `` As Long As He Needs Me.'' A PIANIST is rehearsing with her. MELISSA As long as he needs me, I know where I must be. INTERCUT with on - camera INTERVIEW : MELISSA -LRB- CONT'D. -RRB- In - between the pilot and the series, I'm trying to squeeze in a one - woman show. -LRB- edit. -RRB- I've always been obsessed with nuns. They're sort of like God's fag - hags. Melissa spots Gavin entering and sings the rest of the song to him.",
"EXT. WEST HOLLYWOOD BAR - NIGHT Gavin and Melissa have martinis. GAVIN I think my house is haunted. MELISSA Your house is really old. GAVIN 1926. Ever since I got back, I feel like there's someone else there. And then last night, I thought I heard something. A woman singing. MELISSA Shit. Like a ghost? GAVIN I guess. And then I saw something. I ran into someone. MELISSA The woman? GAVIN It was a man. I think it was me. A beat while Melissa processes. MELISSA Your house is haunted by yourself? GAVIN Yeah. MELISSA Gavin, are you alright? GAVIN No. No. He takes a long beat, psyching himself up. What spills out is heartfelt but clearly rehearsed. GAVIN -LRB- CONT'D. -RRB- The network wants to replace you. MELISSA Oh my God. GAVIN And I'm letting them, because I really want the show on the air. I have all these characters inside my head, and they want to live. I'm the only way they can. This is the only way they can. I have five seasons mapped out, and though it sucks, either you go away, or the show goes. I had to make a decision, and that's the decision I made. I'm sorry. By the end of it, we can hear the emotion in his voice. Melissa takes a beat to process. MELISSA So it's done. Finished. Decided. GAVIN Yes. MELISSA I understand. It's not your fault. You're morally incapable of doing the right thing. Gavin does n't rise to the challenge. MELISSA -LRB- CONT'D. -RRB- Do n't get me wrong. I think you do feel bad for me. But that's all you feel for me. You still see me as the fat girl you call on Friday night when a date falls through. Let's go to a movie! Let's go to Fubar! And if you meet a hot piece of ass, do n't worry about Melissa, you can apologize tomorrow. Or do n't! Same difference. It's not like we're actually friends. GAVIN I do n't want to do this on camera. MELISSA No, because you ca n't control it. Your little puppets are off their strings, running around. Saying things you did n't write. Reality terrifies you. GAVIN Reality. MELISSA Yes. GAVIN The reality is, you would not be here without me. I gave you your first few roles. And your career is a result of that. With exaggerated relief. MELISSA God, thank you. Thank you for finally playing that card. I always knew you were holding onto it, the `` I invented Melissa McCarthy card.'' Congratulations, you win. The game is over. She gets up to go, then decides she has one more thing to say : MELISSA -LRB- CONT'D. -RRB- Do n't you ever pity me again. She leaves him sitting at the table. 244 UPFRONTS 244",
"INT. NETWORK CONFERENCE ROOM - DAY New MUSIC for a change of mood : upbeat, excited. SUSAN Upfronts is the week each year when the networks present their fall schedule to advertisers.",
"INT. GAVIN'S OFFICE - DAY GAVIN Sort of like, `` Here's our new shit. Like it?''. -LRB- edit. -RRB- Upfronts is a complete oxymoron, because no one is remotely honest. SUSAN The schedule is a secret until it's announced, so everything is still in play. GAVIN But hey! At least you're in New York!",
"INT. TOWNCAR / NEW YORK / DRIVING - DAY Gavin watches Manhattan roll by out the windows.",
"EXT. MANHATTAN HOTEL - DAY Gavin tips the DRIVER and wheels his luggage into a skyscraper hotel.",
"INT. MANHATTAN HOTEL HALLWAY - DAY Gavin opens the door to room 1909.",
"INT. MANHATTAN HOTEL ROOM - DAY Gavin checks out the view. We go CLOSE ON a card which reads : Congrats! says. Love Roger, Susan, and everyone at the network It came with a fruit tray.",
"INT. MANHATTAN HOTEL ELEVATOR - DAY Gavin, alone, is headed down to the lobby. Impromptu INTERVIEW continues : GAVIN It's surreal being here. None of this is how I planned it. The elevator stops at another floor. CAMERA does n't look as the doors open, but Gavin spots someone he knows. GAVIN -LRB- CONT'D. -RRB- Hey you! WOMAN'S VOICE God. Hi. Gavin. TURN to find Dahlia Salem. She's hesitant to get on the elevator. DAHLIA You're doing your. show. She means the camera filming them. GAVIN Get on. Come join reality television. She steps on. Hits the button for `` Lobby.'' GAVIN -LRB- CONT'D. -RRB- When did you get in? DAHLIA Just now. This whole last 24 hours has been surreal. GAVIN I just said surreal. DAHLIA You're good? I wanted to call you. GAVIN Please. Call anytime. I do n't sleep. DAHLIA I just felt weird about what happened. Not sure he's following. GAVIN Did something happen?",
"EXT. MANHATTAN STREET - DAY Near the hotel, Gavin is on his cell phone. GAVIN So I just bumped into Dahlia Salem, star of my show. TITLES indicate Gavin's on the phone with his agents. GAVIN -LRB- CONT'D. -RRB- who tells me Gatin's show got picked up, so no, she wo n't be in my show, which makes me wonder, does my show even exist? As he listens to the other side, we hear a distant BOOM, and then a RUSH, like autumn leaves blowing down a street. Gavin reacts, though none of the PASSERSBY seem to hear it. Back to the conversation. GAVIN -LRB- CONT'D. -RRB- No, I've left word with Roger. I've left word with Susan. It's like they've dropped off the face of the Earth.",
"INT. MANHATTAN HOTEL SUITE - DAY Susan is on her phone. At the same time, she's plowing through email on her Blackberry. SUSAN -LRB- PRE - LAP. -RRB- Right now, the whole schedule's in flux. You get these missives from Roger and the Higher Powers. JUMP CUT SUSAN -LRB- CONT'D. -RRB- but you're not sure what they add up to. Right now, I ca n't say for certain whether Knowing will end up on the schedule at all.",
"INT. HOTEL GYM - DAY Gavin talks with JOHN GATINS -LRB- 34 -RRB-, who's doing abs on an exercise ball. John Gatins Creator/Showrunner `` Paradise Fields'' GATINS Look, I'm sorry. But I'm kind of not. I want my show on the air. And I think it was shitty for you to go after Dahlia behind my back. GAVIN I heard your show was gone. GATINS I `` heard'' you fired Melissa McCarthy without having a backup. Why would they pick up your show when you do n't have a star? GAVIN The network wanted Dahlia. GATINS Yeah, in my show. We tested right before you. Our numbers were through the roof. GAVIN Really. GATINS Really. Who's your exec? GAVIN Susan Howard. GATINS She would know. She was there. Ask her.",
"INT. CONFERENCE HALLWAY - DAY Susan is on her cell phone. A cocktail party is in full swing nearby. We can hear the DIN and MUSIC, and see the occasional GUEST looking for the restrooms. SUSAN -LRB- on phone. -RRB- I'm at the UTA party. Yeah. Did you hear about Ricky's assistant? She literally shat herself. No, I saw it. In the background, we see Gavin approaching. Susan spots him and seizes up a bit. She holds up a one - sec finger to him as she continues her conversation. GAVIN I will break your fucking finger. SUSAN -LRB- to phone. -RRB- I'll call you back. She hangs up. They look each other in the eye, daring each other to go first. SUSAN -LRB- CONT'D. -RRB- Roger wanted to talk to you personally. GAVIN Bullshit. SUSAN They're only picking up two dramas. GAVIN The rest is, what, reality? SUSAN You can go mid - season. GAVIN You can go to Hell. SUSAN Wow. She takes a beat, trying to size him up. SUSAN -LRB- CONT'D. -RRB- You think I deliberately sabotaged your show. GAVIN Did n't you? SUSAN G., I'm on your side. Trust me, I'm the only one who is trying to protect you. GAVIN Protect me from what? You? You are psychotic. SUSAN There is so much more going on than you. GAVIN All I want to know is why. SUSAN You want a motive? GAVIN Yes. SUSAN This is n't `` Crime Lab.'' No one got murdered. GAVIN My show did. So tell me why. SUSAN I had to get you away from her. She was holding you back. GAVIN Melissa. SUSAN You had to give her up. -LRB- beat. -RRB- C'mon, G. If she really mattered, you could n't have betrayed her so easily. GAVIN I did n't. SUSAN What, you're the victim? The big Creator ca n't stand up to one little d - girl? It was your choice. I did n't make you do anything. I mean, do you have any principles? Do you believe in anything but your own ego? GAVIN Fuck you. SUSAN Your dialogue used to be sharper. Maybe Gatins could do a polish. He suddenly punches her, one hit to the face. She drops hard. Gavin takes a step back. Tasting blood, Susan gets to her knees. A wry smile. SUSAN -LRB- CONT'D. -RRB- Is that all there is? In the background, we see partygoers responding to the blow. Susan gets to her feet. She approaches Gavin, hands open. She's not going to hit him. SUSAN -LRB- CONT'D. -RRB- Do you feel like a man? Because I'll tell you a secret. She leans in very close to his ear. There's a strange intimacy between them. SUSAN -LRB- CONT'D. -RRB- -LRB- whisper. -RRB- You're not. She walks away. CLOSE ON Gavin.",
"EXT. MANHATTAN SIDEWALK - DAY We move with Gavin as he walks. He's trying to get away from the camera, but it keeps following him. He reaches a crosswalk. He has to wait for the light. Finally, he looks INTO CAMERA : GAVIN Look, I do n't want to do this anymore. My show's not going to happen, so this show is over. Done. Gone. I ` m not going to be your fucking puppet. OFF-SCREEN VOICE Are you alright? Gavin looks left, where an African - American woman is waiting for the same crosswalk. -LRB- We recognize her as Octavia, the streetwalker from Part One. -RRB- GAVIN I'm fine. OCTAVIA Who were you talking to? Gavin looks back towards camera, a strange expression. MUCH WIDER We see Gavin and the woman on the corner. There's no camera Gavin could have been talking to. He's understandably perplexed : Where did the documentary crew go? Was there ever anyone there? Our CAMERA style has changed : instead of handheld and jerky, we're smooth and slow. The MUSIC has completely changed, underscoring a sense of creeping dread. We HOLD for a long beat. The light changes. Still a little unnerved, Octavia begins to cross the street. Only then do we notice something unusual floating above her head : A SPHERE OF BLUE LIGHT. WIDER, we see that everyone on the street has the same kind of sphere floating a foot above their heads. No one seems to see the lights other than Gavin. Gavin looks around in uneasy fascination, as if he's just landed on an alien world. A beat, then he has an unsettling thought. He slowly looks up. Above his own head, he sees the same sphere of light - only his is bright white. Pulsing. Blinding. GAVIN Oh God. We PULL BACK, RISING UP to a perspective above and behind Gavin. As we do, the edges of the frame creep in, revealing ICONS and unintelligible STATISTICS, changing moment by moment. A dialog box appears in the center of the screen, reading. Exit Now? says. Unsaved changes will be lost. -LSB- Cancel -RSB- -LSB- Exit -RSB- An arrow slides back and forth between to the two options. Finally it lands on ` Exit.' A CLICK. CUT TO BLACK.",
"INT. LIVING ROOM - DAY [PART ONE] We're continuing an earlier scene from the end of Part One. MARGARET I can understand why you're a little confused. GARY No. I'm a lot confused. MARGARET Theories? GARY This is all a dream. MARGARET No. GARY I'm in a coma. MARGARET -LRB- amused. -RRB- No. GARY Then I'm dead. This is Hell, or Purgatorium or something. MARGARET Okay, a purgatorium is where Romans vomited. But no. This is as real as anything can be. GARY -LRB- suspicious. -RRB- What does that mean? She sits forward in her chair. By instinct, he sits back. MARGARET Everything is what it is. But you're not who you think you are. GARY Okay, then. Who am I? With practiced calm. MARGARET You're a multi - dimensional being of vast, almost infinite power. You created this world on a whim, and decided to stick around to see how it turned out. You, this body you're in, is just one of your incarnations. Avatars. Call you what you will. Not sure he follows. GARY Are you saying I'm God? MARGARET Technically, no. If God is a ten - a theoretical ultimate, that - which - no - greater - can - be - imagined - you're more of a nine. GARY So what are you? MARGARET Humans are sevens. Monkeys are sixes. GARY What are the eights? MARGARET Koalas. They're telepathic. Plus, they control the weather. She did n't mean to get on that tangent. MARGARET -LRB- CONT'D. -RRB- What's important is that you, you're the big cheese. El Supremo. You could destroy the world with a single thought. -LRB- suddenly. -RRB- Do n't, incidentally. Just file that away. But the truth is, you hold all the cards : every church, every candle, every sacrifice - that's for you. When people pray, they're not praying because they want this thing or that thing. They just do n't want to be forgotten. MARGARET -LRB- CONT'D. -RRB- So you understand, I would have told you earlier, but I did n't. GARY Yeah. MARGARET Okay. GARY I understand. But I do n't believe you. He gets up to exit. -LRB- This is where we jump - cut time earlier. -RRB- FREEZE FRAME. FADE TO BLACK. Part Three : KNOWING.",
"EXT. MEADOW - DAY In a WIDE SHOT, we see a vast field, bordered by green mountains. Unseen BIRDS call out from the trees, while insects CLICK and WHIRR. In the distance, we spot swatches of bright colors moving our way. It's a family : father GABRIEL -LRB- 34 -RRB-, wife MARY -LRB- 33 -RRB- and daughter NOELLE -LRB- 8 -RRB-. They're returning from a short day hike. Mary carries a small videocamera. Seeing that Noelle is already a ways down the path. GABRIEL Noelle! Do n't get too far ahead. Noelle turns around. Instead of speaking, she moves her hands in sign language. -LRB- She's mute, not deaf. -RRB- MARY No. You had ice cream at lunch. Noelle begs to differ. More signing. GABRIEL -LRB- to Mary. -RRB- Apparently frozen yogurt does n't count. MARY I'll make note.",
"EXT. SMALL GRAVEL ROAD - DAY The family walks up to their car, a blue Toyota Prius. Gabriel sheds his daypack, trying to open the hatchback. It wo n't lift. Mary goes to open the passenger door. Locked. MARY Did you hit it? GABRIEL Should n't have to. He fishes the keys out of his pocket. Presses the remote entry button repeatedly. Gabriel tries to open the driver's side door. Locked. Even Noelle knows something's wrong. Gabriel pulls the small mechanical key out of the fob. Unlocks the door and climbs in. Opens the door for Mary and Noelle. GABRIEL -LRB- CONT'D. -RRB- I think we left the overhead light on. He taps it. Moves the switch. MARY Shit. Noelle signs her made - up representation of `` shit.'' MARY -LRB- CONT'D. -RRB- Noelle. Gabriel slides the key into the slot. Hits `` START.'' Nothing. GABRIEL Battery is dead. Least the starter is. Noelle leans forward, aware that this is something serious. MARY How do we? GABRIEL We call the service. That's all we can do. MARY It's just the little battery that's dead, right? The big one is probably fine. GABRIEL I guess. MARY We ca n't jump it from one battery to the other? Cross - over somehow? GABRIEL Who did you marry? MacGyver? He gets out of the car, retrieving his cell phone. Mary follows him out. Noticing that he's not dialing. MARY Are you getting a signal? GABRIEL No. Do you? She checks her phone. A long beat. MARY Yes! One bar. They're both relieved. Finding the AAA card in his wallet, Gabriel takes the phone and dials. It's at this moment we notice the familiar green string bracelet around Gabriel's wrist. In the back seat, Noelle KNOCKS on the window. She signs, asking if everything is okay. MARY -LRB- CONT'D. -RRB- We're okay. Daddy's calling people to help us. Gabriel pulls the phone from his ear. Looks at the screen. Hits redial. Fuck. GABRIEL The minute you try to place a call, the bar goes away. MARY Keep trying. GABRIEL Okay, I'll keep trying, Mary. But it will keep happening. MARY Well, what do you want to do? GABRIEL I do n't know. He tries redial. MARY Maybe if you hold it up higher. Humoring her, he holds it at arm's length. No good. GABRIEL The problem is we're boxed in. It's a canyon. A beat. GABRIEL -LRB- CONT'D. -RRB- Where we turned off the main road, it was more open. And higher, too. MARY That's at least a mile. GABRIEL I can run that. MARY So. we stay here? GABRIEL You okay with that? MARY I do n't think we have a choice, so, yeah. Go. Half a beat, while each waits for the other to think of a better plan. Neither does. Gabriel leans down next to Noelle's window. GABRIEL Daddy's going to get a truck to help us out. You take care of your mom, okay? Noelle nods. GABRIEL -LRB- CONT'D. -RRB- I'll be right back. Gabriel gives Mary a quick peck and starts running down the road. We MOVE IN on Noelle, who smiles a little.",
"EXT. GRAVEL ROAD - DAY Gravel CRUNCHES under Gabriel's shoes as he runs. He keeps an easy pace. In VARIOUS SHOTS, we get a sense of the distance he's travelling. He passes gulches, meadows and boulder fields. He finally arrives at the junction of the dirt road and a larger.",
"EXT. PAVED ROAD - DAY [CONTINUOUS] Pulling out Mary's cell phone, Gabriel tries to get a signal. By his reaction, it's still iffy. He dials, but the call drops. Tries again. Just the same. He looks left. Looks right. Looks back down the dirt road. He decides to head off to the right, downhill.",
"EXT. FURTHER DOWN THE ROAD - DAY We catch up to Gabriel as he's walking in the middle of the road, still trying unsuccessfully to get a signal. In the distance, he spots a patch of moving color : a female hiker. A moment's hesitation, then he YELLS out to her : GABRIEL Excuse me! Hi! Hello? She stops, turns. Gabriel jogs to close the distance. As we approach, we reveal SIERRA, 38. In the past 10 years, she's `` made a fresh start'' 12 times. In this incarnation, she's a wilderness - loving, Bush - hating, wildly - overeducated clerk at Trader Joe's in Venice. GABRIEL -LRB- CONT'D. -RRB- Excuse me. Do you have a cell phone? SIERRA No, I do n't. There's no service up here. GABRIEL -LRB- re : his phone. -RRB- Yeah, I'm finding that out. SIERRA You can usually get a signal up at the ranger station. GABRIEL Okay. She points in the opposite direction - back the way he came. SIERRA You follow the road. It's probably. I do n't know. You have a car? GABRIEL It's dead. That's why I need. SIERRA Oh. She pulls a stray hair back from her mouth. Notices him noticing her. GABRIEL Yeah. A beat. She takes a subtle step closer to the center of the road. GABRIEL -LRB- CONT'D. -RRB- Are you headed back to your car now? If you could give me a ride to a gas station, wherever. She does n't leap to extend an invitation. It takes a beat for Gabriel to figure out why. GABRIEL -LRB- CONT'D. -RRB- Oh. Hey. Look, I'm not some crazy Ted Bundy guy. I'm not going to rape you or kill you or anything. She does n't seem reassured. GABRIEL -LRB- CONT'D. -RRB- Of course, that's what Ted Bundy would say. Look, I'm a videogame designer. -LRB- fishing through wallet. -RRB- My wife is an editor. My daughter is four. He offers her a family photo. She looks at it, but does n't take it. GABRIEL -LRB- CONT'D. -RRB- They're waiting back at the car, and I want to get some help before it gets dark. SIERRA I can call somebody when I get to town. Trying to temper his frustration. GABRIEL I believe you. I do. But you do n't know where the car is. And the guy might not come. We ca n't be up here all night. Sierra backs away. SIERRA I'm sorry. GABRIEL Do n't be sorry. Just help me out here. SIERRA No. I ca n't. I'm sorry. Once she feels she's reached a good distance, she turns and keeps walking. GABRIEL Why wo n't you trust me? She does n't turn back, heading down the road.",
"EXT. ROAD / INT. PRIUS - DAY Mary is sitting in the back seat of the Prius with Noelle, who's getting tired of her coloring book. Noelle signs something to Mary, who considers the request. MARY Okay, but you have to be careful, understand? You have to use Big Girl hands. Noelle nods. Mary hands her the small video camera. Noelle has some trouble folding out the little screen, but eventually gets it open without any help from her mom. MARY -LRB- CONT'D. -RRB- Do you want to see where we were today? Noelle nods. Mary takes the camera back for a second, flipping it to playback mode and rewinding. The blocky video footage zips past. MARY -LRB- CONT'D. -RRB- Okay, now hit play. This button. Noelle does. On the tiny screen, we see Noelle and her father eating lunch by a waterfall. -LRB- Mary is filming. -RRB- MARY -LRB- CONT'D. -RRB- There's you. And there's Daddy. You're a little movie star, huh? Noelle smiles. Signs something. MARY -LRB- CONT'D. -RRB- He'll be back soon. Do n't you worry.",
"EXT. PAVED ROAD - DAY Gabriel continues walking, headed back in the direction he came. From behind him. SIERRA -LRB- O.S. -RRB- Hey! He turns, finding her a ways back. She approaches. GABRIEL Were you following me? SIERRA Once I was sure you were n't following me. I'm sorry, it's just. GABRIEL You thought I was Ted Bundy. SIERRA Kinda. GABRIEL My name's Gabriel. Bundy. She smiles. SIERRA Sierra. They shake. SIERRA -LRB- CONT'D. -RRB- Weird that there's no cars. At all. GABRIEL Yeah. SIERRA So, listen. I'm parked that way. She points off the road, through the forest. SIERRA -LRB- CONT'D. -RRB- It's not that far. If you want, I'll give you a ride to town. GABRIEL Really? SIERRA Yeah. Make up some karma. GABRIEL Lead the way. She does. They cross off the pavement, descending into a dark forest.",
"EXT. FOREST - DAY Gabriel walks with Sierra. The trees here are taller, creating a cathedral - like ceiling above them. SIERRA Okay, confession. I kind of recognized you. GABRIEL Really? SIERRA I was n't sure, but I think I saw a picture of you in some videogame magazine my boyfriend had. You're, like, the shit. GABRIEL No. SIERRA You're like the Quentin Tarantino of that world. A videogame God. GABRIEL Not really. SIERRA Fine. GABRIEL You seriously recognized me off of one photo? SIERRA I thought you were kinda hot. Considering. GABRIEL Considering? SIERRA Within the subset of videogame people. GABRIEL Okay. SIERRA I was n't masturbating to your picture or anything. GABRIEL Well, I guess I'm flattered. SIERRA You should be. I'm stingy with compliments. GABRIEL So your boyfriend plays videogames? SIERRA Ex - boyfriend. And yes. Way too many. He used to play Evercrack back in the day, but yours, well, that was like. what's worse than crack? GABRIEL Super - crack? SIERRA Sure. He was this orc witch doctor guy. GABRIEL Shaman? SIERRA Yeah. At one point he was spending like, 40 hours a week gathering `` thunderleaf'' or whatever. Then I was his mule, hauling it around because he ran out of space. GABRIEL You had an account? SIERRA I was part of your world, and you did n't even know it. GABRIEL Sorry. SIERRA You can make it up to me.",
"EXT. ROAD NEAR PRIUS - DAY Mary is pacing - but trying not to look like she's pacing. She holds the other cell phone -LRB- Gabriel's -RRB-, which she turns on and off, hoping that somehow she'll get a signal. Each time she turns it on, we hear the CHIMES. IN THE PRIUS Noelle is still playing with the video camera, watching footage of the hike. She decides to wind back further. CLOSE ON the blocky pixels rushing past. Noelle hits `` play.'' For now, we just hear the audio. MAN'S VOICE I have five seasons mapped out, and though it sucks, either you go away, or the show goes. I had to make a decision, and that's the decision I made. I'm sorry. We reveal the screen. We're watching the argument between Gavin and Melissa from Part 2. MELISSA -LRB- ON TAPE. -RRB- So it's done. Finished. Decided. GAVIN -LRB- ON TAPE. -RRB- Yeah. Confused, Noelle looks out at her mother, Mary, who is still pacing with the cell phone. MELISSA -LRB- ON TAPE. -RRB- I understand. GAVIN -LRB- ON TAPE. -RRB- You do? MELISSA -LRB- ON TAPE. -RRB- I understand. It's not your fault. You're morally incapable of doing the right thing. Noelle REWINDS further. Blocky pixels RUSH PAST as we.",
"EXT. FOREST - DAY Sierra continues to lead the way. She seems confident where she's headed, even though there's no real path. During the conversation, we notice a small tattoo on her right shoulder blade : IX. SIERRA So you play a lot of characters at once? GABRIEL A couple. Most people do. SIERRA You're not most people. You created the world. You know all the secret codes. GABRIEL What, like ` God mode'? SIERRA That's what you call it? GABRIEL That's when you have all the powers, and you ca n't be killed. It's fine when you're designing, but it's really boring to play. A game is n't fun unless there are rules. SIERRA And you make the rules. GABRIEL Yes I do. I mean, you want to give everyone freedom, but they ca n't handle it. Half your players are teenage boys, and it's like they're programmed to be destructive. They deliberately crash the world servers. They'd ruin everything just to prove they could.",
"INT. FOREST VALE - DAY Sarah offers Gary her water bottle, which he gladly takes. Out of nowhere. SIERRA Do you think I'm pretty? She stops, turning to face him. GABRIEL What? SIERRA Do you think I'm hot? On a purely physical level. GABRIEL Sure. He drinks. SIERRA That's a rave. GABRIEL Well, I do n't know why you're asking. SIERRA My ex - boyfriend, the orc, he says, `` What I like about you is that you're not so hot that I'm afraid of losing you.'' GABRIEL So where's the orc now? SIERRA He's dead. I spiked his water bottle with a massive quantity of GHB. He hallucinated, went into convulsions and died. He screws the cap back on the water bottle and hands it back. GABRIEL Remind me not to piss you off, Sarah. SIERRA Sierra. He's surprised. He could have sworn her name was Sarah. GABRIEL Sorry. SIERRA And what makes you think you have n't pissed me off already? She smiles, keeps walking.",
"EXT. ROAD / INT. PRIUS - DAY Mary sits down in the front passenger seat of the car. Noelle is still in back, watching footage on the video camera. MARY How are you doing, kiddo? Noelle does n't look up. MARY -LRB- CONT'D. -RRB- I was thinking we could all go to El Cholo for dinner. How would you feel about some blue corn enchiladas? Should we ask Daddy when he gets back? Without looking up. NOELLE He's not coming back. Mary is stunned. For her part, Noelle seems to have no idea she just spoke her first words. We hear three evenly - spaced BEEPS. After the third one, Mary says : MARY How could you. Mary flinches. It's like someone walked over her grave. Noelle hands her the camera. The footage is cued to earlier in Part 2, where Gavin is having Melissa loop in a wild line : MELISSA -LRB- ON TAPE. -RRB- Howkajew. How could you. How could you. -LRB- beat. -RRB- I feel so dirty. GAVIN -LRB- ON TAPE. -RRB- That's how I like ya. Mary backs out of the car, as if trying to get away from the video camera. But she's still holding it. She hits STOP. Tries to collect herself. Noelle gets out of the car, but does n't approach. She signs, `` Mommy?'' Mary backs away.",
"EXT. FOREST VALE - DAY Gabriel and Sierra stop for a moment, so he can pull off his outer shirt. For the first time, we see that Gabriel has a large tattoo on his back which looks like this : IX He's sweating a lot. GABRIEL Am I crazy, or is it getting hotter? SIERRA Oh, you're crazy. She hands him back the water bottle. He gladly drinks. When she takes the bottle back, she steps forward. The motion leaves them face - to - face. She pauses for a moment, just long enough for him to turn away. He does n't. She kisses him. He does n't really kiss back - but he does n't fight it, either. She puts a hand on his thigh, sliding up the inside. Only when she reaches his crotch does he pull back. GABRIEL I have a wife. And a daughter. They're waiting for me. SIERRA Where are they? GABRIEL Back at the car. SIERRA I mean, which direction? GABRIEL They're back. Gabriel turns, trying to get his bearing. The trees BLUR. He nearly falls over. He manages to steady himself. SIERRA Face it, G. : You do n't know where they are. You do n't know where you are. We've been walking in circles for an hour. GABRIEL Where's your car? SIERRA There is no car. That was all a. -LRB- what's the word. -RRB- `` pretense,'' I guess. An excuse to get you alone. Wobbling, Gabriel sits down on a stump. Sierra kneels down in front of him. SIERRA -LRB- CONT'D. -RRB- Dizzy, huh? It's probably just the GHB. In the water. She holds up the water bottle. QUICK FLASHBACKS FROM PARTS ONE AND TWO",
"EXT. FOREST - DAY Gabriel experienced the flashbacks. He felt time move. GABRIEL What's happening? SIERRA I'm sorry it had to come this, G. But it'll all be over soon. GABRIEL You're trying to kill me. SIERRA No! No. This is n't a murder. It's an intervention. FLASHBACK SEQUENCE. Images to accompany previous dialogue. SUSAN I had to get you away from her. She was holding you back. You had to give her up. GAVIN Melissa? SARAH I can you out of here. But you have to trust me. SUSAN Do you feel like a man? You're not.",
"EXT. FOREST - DAY Gabriel dry - heaves. Sierra rubs his shoulders. SIERRA That's right. Just let it go. Let it go. She's genuinely empathetic - she does n't enjoy his suffering. GABRIEL Why are you doing this? SIERRA You did it to yourself. Admitting that is the first step. She comes around to face him. And now we see they're not alone. Two other familiar faces approach : THE PAROLE OFFICER/AGITATED MAN, and OCTAVIA. They're Nines as well. SIERRA -LRB- CONT'D. -RRB- You're a crack - head, G. The thing is, this planet, these people, they're your drug of choice.",
"INT./EXT. VARIOUS LOCATIONS - DAY -LSB- The next sequence bridges multiple earlier scenes from Parts One and Two. Gary/Gavin/Gabriel has one conversation with Sarah/Susan/Sierra, but it's broken up among previous scenes and locations, sometimes for just a line. -RSB- S. It's not that hard to make a universe. At first, you just checked in every once in a while. See how the Neanderthals were doing. Move some continents around. But then you got more into it. Starting playing a couple of characters of your own. Kings. Slaves. Messiahs. Pretty soon, you were playing 24/7. G. How long have I? S. You've been gone for four thousand years. Not that time means the same for us, but. G. You came looking for me. S. That's what a girl does. G. Why now?",
"EXT. STREET - DAY [PART ONE] Streetwalker Octavia leans in Gary's car window. OCTAVIA Because you forgot who you were.",
"INT. TESTING ROOM - DAY [PART TWO] The Agitated Man leans up to the one - way glass. AGITATED MAN You forgot this was n't real.",
"INT./EXT. VARIOUS LOCATIONS - DAY S. We could n't just storm in on a fiery chariot. It's your universe. We had to play by your rules. We had to make you see how limited and corrupt your little world was. Do n't get me wrong, this world is nice. It's cozy. But do you remember where you came from? A few beats while it comes back to him. Tears start to build in his eyes. What he's picturing is unspeakably beautiful. G. It was warm. And white. Like.",
"INT. LIVING ROOM - DAY [PART ONE] The Agitated Man/Parole Officer attaches Gary's anklet. AGITATED MAN You ca n't describe it with human words.",
"INT. MOTEL ROOM - DAY [PART ONE] Octavia leans over Gary, who has fallen off the bed. OCTAVIA You ca n't think it with human thoughts.",
"INT./EXT. VARIOUS LOCATIONS - DAY S. That's why you have to come back. Come back with us. With me.",
"EXT. GRAVEL ROAD / NEAR THE PRIUS - DAY Mary is sitting on the road. Noelle has her chin on her mother's shoulder, watching the videotape with her. ON SCREEN, with tinny audio : -LRB- from scene 177 -RRB- MARGARET You could destroy the world with a single thought. -LRB- suddenly. -RRB- Do n't, incidentally. Just file that away. But the truth is, you hold all the cards : every church, every candle, every sacrifice - that's for you. When people pray, they're not praying because they want this thing or that thing. They just do n't want to be forgotten.",
"EXT. ROAD / PRIUS - DAY Mary is still watching the tape. She realizes Noelle is n't watching over her shoulder anymore. Mary looks around. Her daughter is nowhere to be seen. MARY Noelle? Noelle!",
"EXT. FOREST CROSSROADS - DAY Gabriel and Sierra are back at the junction where the paved road meets the gravel road. GABRIEL Maybe if I just cut back, did n't get so involved. SIERRA We both know that'll never work. Next week, you'll be back here redesigning the pinecones. You have to quit cold - turkey. GABRIEL I ca n't. SIERRA You can. But I ca n't force you to leave. You have to want it. She takes his hand, running a finger through the green string bracelet around his wrist. She kisses him. And then she's gone. Gabriel stands there for a long beat, considering his decision.",
"EXT. GRAVEL ROAD / NEAR THE PRIUS - DAY Panicking, Mary calls out for - MARY Noelle! Noelle! She's nowhere to be found. Then, from behind her. GABRIEL She's here. Gabriel is walking up the gravel road, with Noelle holding his hand. GABRIEL -LRB- CONT'D. -RRB- I did n't forget you guys. Mary regards him as a familiar stranger, a beloved imposter. MARY Everything okay? GABRIEL Absolutely. Let's go home. MUSIC BEGINS, a song that will carry us through the next sequence.",
"INT. PRIUS - DAY Gabriel climbs into the driver's seat. Both Mary and Noelle watch with interest as he pushes the `` START'' button. The car BEEPS and engages without any problem. Everyone fastens their seatbelts.",
"EXT. FOREST ROAD - DAY The Prius drives down the gravel road. Mary tries to keep her eyes on the scenery, but they keep drifting over to Gabriel, trying to read what he's thinking.",
"EXT. CROSSROADS - DAY The Prius turns on to the paved road. Headlights switch on.",
"EXT. HOUSE - NIGHT The metal gate at the top of the driveway swings open, SQUEALING on its rusty hinges.",
"EXT. DRIVEWAY - NIGHT Gabriel lifts the sleeping Noelle out of the car. Carries her into the house. Mary shuts the door behind them.",
"INT. NOELLE'S ROOM - NIGHT Taking off her shoes, Gabriel tucks Noelle into bed. Turns on a nightlight for her.",
"INT. MASTER BATHROOM - NIGHT Gabriel brushes his teeth with an electric toothbrush while Mary reads a magazine on the toilet.",
"INT. BEDROOM - NIGHT Gabriel switches off the light. He spoons Mary, who kisses his hand. On both Mary and Gabriel's faces, we see anxiety. Things left unsaid.",
"INT. BEDROOM - NIGHT [LATER] Gabriel lies awake, staring at the ceiling.",
"INT. STAIRWELL - NIGHT Gabriel's bare feet walk down the carpeted stairs.",
"INT. DINING ROOM - NIGHT Gabriel stares at the three paintings on the wall.",
"INT. KITCHEN / EXT. BACK YARD - DAWN Gabriel stands in the doorway, looking out at the inky - blue sky. His eyes are red, tired. He has n't slept at all. It's very quiet, except for the occasional precocious BIRD CALL. Mary enters from the living room, still in her pajamas. He knows she's there. Neither wants to speak. MARY You need to go, do n't you? GABRIEL No. I can stay. MARY How long? Forever? Every day, you'd know what you were missing. He smiles, a little. MARY -LRB- CONT'D. -RRB- What happens? If you go. GABRIEL Worst - case scenario? Spontaneous disintegration into a fiery void. Oblivio accebit. The end of everything. MARY That's all? Both smile. GABRIEL That probably would n't happen. The basic structure of the universe should hold. I guess I'm just worried about the human factor. You guys kill each other a lot. MARY In fairness, that's usually in your name. Plus we've gotten much more efficient at it. A beat. GABRIEL I like this world. I like my life, here, with you and Noelle. MARY But it's not real. I'm not really your wife, you're not really my husband. On some level, it's all pretend. GABRIEL It's not pretend. There's a reason you were there, in every version. You were my sister, my wife, my best friend. MARY That's a little creepy. GABRIEL I wanted you close. In one version, I even told you. I warned you that some day they might come for me, and. MARY You'd have to leave. How many versions were there? GABRIEL Ninety. This is the last one. MARY Wow. GABRIEL I've destroyed billions of people with a thought. Obliterated them. And you'd like to think it's painless. MARY Stop. You do n't have to explain, or apologize. Everything that is, is because of you. If that's all, that's enough. With that, there's really nothing more to say. MARY -LRB- CONT'D. -RRB- So. GABRIEL So. MARY Guess you do n't really need to pack anything. GABRIEL I'm good. MARY You're great. It's been a pleasure. GABRIEL Likewise. I love you. MARY Love you, too. Ya big lug. He kisses her. It's not a big, passionate, movie - ending kiss, but rather a fond kiss farewell. At the end of it, he WHISPERS into her ear : GABRIEL You're my favorite. She smiles. With two fingers, Gabriel BREAKS the green string bracelet around his left wrist. And in that moment, a film passes over him, like the boundary between water and air. He's stepped out of this dimension. Mary is frozen with the same smile on her face, but we notice that she and the kitchen around her have flattened out to two - dimensional images. She and everything around her has become like wallpaper, slowly curling away, revealing emptiness beneath. Gabriel collapses into a single, spiky sphere of light. The light moves through the kitchen, creating waves that ripple through the tissue - thin walls. Picking up speed, the sphere rushes through the window, heading west.",
"EXT. LOS ANGELES - DAY As the light flies out over Hancock Park, the mansions and skyscrapers seem unreal, like models. Reaching Santa Monica, we pass over the ferris wheel at the end of the pier. We dive into the blue ocean beneath us, which becomes only a swirling gray fog with a viscous thickness. We see three lights in the distance. We join them, moving with them. Further ahead, more lights, circling. It's a loose spiral made of stars, resembling nothing so much as the number 9. As we get closer and closer, we. A PALE EYE, opening. We are.",
"INT. KITCHEN - MORNING Hands reach up, expecting to find glasses, but there are none. As we PULL OUT, we reveal it's not Mary, Melissa or Margaret, but a fourth person - just slightly different from any of them. We'll call her M. She looks first to the spot where Gabriel was standing. Empty. MAN'S VOICE -LRB- O.S. -RRB- Honey, do we have nutmeg? M looks over at husband Ben, who is busy making pancakes, reading from a recipe. M We should. Coming around from behind Ben, Noelle checks through the spice drawer. M watches her with cautious fascination. BEN Cinnamon, too. M catches her reflection in the toaster. Notices she looks different than she expected. NOELLE -LRB- to Ben. -RRB- If I had a horse. Noelle turns back with the spices, handing them to Ben one at a time. NOELLE -LRB- CONT'D. -RRB- I would name her Cinnamon. BEN Really. NOELLE And if I had another horse. BEN Nutmeg? NOELLE No, Flash. M Sweetie? She beckons Noelle over. Tucks back the little girl's hair. Keeping her voice low enough so Ben ca n't hear : M -LRB- CONT'D. -RRB- This is going to sound really strange, but. what's my name? Noelle only gives her a half - crazy look. NOELLE Mmmmmmmmmm - Mommy. Noelle smiles. M smiles too, a little embarrassed. M Right. Exactly. Noelle looks her right in the eye. NOELLE He's not coming back. But it's gon na be okay. He put the pieces together, it's like. M The best of all possible worlds. Noelle taps her nose. BEN Honey? Is it supposed to stick like this? Sharing a look. M We should help him. Noelle agrees. They head over to assist. We MOVE ACROSS the family as they work on the pancakes, Noelle directing how big the ears on hers should be. We leave them in the middle of a messy kitchen, gooey pancakes, and a good life. FADE OUT. THE END"
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] | The film is broken into three chapters centred around three men (all played by Ryan Reynolds) who try to uncover the secret about strange happenings in their, at times overlapping, lives. "Part One: The Prisoner". Gary is a troubled actor who is wearing a green bracelet on his wrist, under house arrest living in another person's house because he burned down his own. The owner of the house is described as a TV writer away on work. While living in the house, he is befriended by both a P.R. "handler", Margaret, and the single mom next door, Sarah, who may or may not be interested in him romantically. Over the course of his house arrest, Gary becomes convinced that he is being haunted by the number nine, including finding a note in his own handwriting saying "Look for the nines". He encounters many occurrences of the number nine: while playing backgammon, he rolls nines; while reading newspaper advertisements, he becomes obsessed with finding nines. Asking Sarah about the number 9 worries her, and she cryptically tells him: "I can get you out of here". He sees different versions of himself around the house, which unsettles him, causing him to break out of his house arrest barrier which in turn destroys reality in a blinding flash. "Part Two: Reality Television". A television writer Gavin is trying to get his pilot produced. He leaves home to work on his TV show, Knowing, about a mother and daughter who are lost, which stars his friend Melissa McCarthy as the lead actress. In a conversation about reviews and critics Susan, a television executive and producer of the show, tells Gavin to look for the nines, which he then writes on a piece of paper, the same piece that Gary found in Part One. He also tells Melissa that he thinks he is haunted by himself. During the process of post-production, Susan pushes for Gavin to ditch his friend Melissa as the unconventional lead of his project in favor of a more attractive, well-known actress. This causes an argument between him and Melissa. He then finds out that the well-known actress was actually cast in another show, which Susan knew before suggesting her. Since the well-known actress is now unavailable, and Melissa won't answer Gavin's calls, he confronts Susan about her knowing that his show would never get picked up and about him only being a subject on a reality television show. After a heated exchange, he snaps and slaps her. Seemingly insulting his manhood for hitting a woman, she scoffs: "Do you feel like a man?" and walks away, which leads to him telling the reality TV cameraman to leave him alone. A pedestrian then asks him to whom he is talking, and it is shown that the reality television cameraman does not exist. He looks around and notices that everyone has a "7" floating above their heads and also that he has a "9" floating above his own. A flashback shows Gary's P.R. handler, Margaret, telling him that he is God, a nine like the angels, and humans are sevens (koalas, incidentally, are eights because they control weather). He created the world and can destroy it with a single thought. He exists in many different forms and that none of them are real. Gary does not believe this and becomes distraught, which is revealed to be the real reason for his breaking his house arrest barrier. "Part Three: Knowing". Acclaimed video game designer Gabriel, whose car breaks down in the middle of nowhere, leaves his wife, Mary, and young daughter, Noelle, to try to get a better signal on his phone. He meets a woman, Sierra, who leads him off into the woods to her car, so she can give him a lift to the gas station. Meanwhile, back at the car Noelle watches a video on a digital camera showing Gavin talking to Melissa from Part Two and Margaret talking to Gary in Part One. She is confused and shows her mom, who appears confused as well. Meanwhile, Gabriel becomes ill because Sierra has drugged his water with GHB. In all of the stories, as Sarah, Sierra and Susan, she has been trying to separate him from Mary/Melissa/Margaret and make him realize that none of these lives are real. She says that this is an intervention, and she and the other recurring characters have been trying to help him remember that he is not human, but God, who has absorbed himself in various human incarnations for 4000 years. She likens Gabriel's addiction to video game addiction. He is needed back home, a place that cannot be imagined with human thoughts or described in human words. Gabriel returns to the car and the family goes home. Mary deduces that Gabriel has remembered his reality and needs to leave. Gabriel tells her that there were ninety different variations of the universe, and this is the last one. Gabriel removes the green string from his wrist and the universe morphs into something else. The film ends with Melissa McCarthy's character married to Ben, to whom she had been married in Part Two, with Noelle as their daughter. Noelle tells her mother that "He's not coming back" and that "He put all the pieces together", and her mother finishes her sentence that this is "the best of all possible worlds." | The_Nines |
[
"INVADERS FROM MARS A BOY in a BED. tossing, turning. a STORM outside. He's ASLEEP and dreaming.",
"EXTERIOR - AIR FORCE BASE - NIGHT A large, forbidding military installation. Set back off the road with chainlink fences around it. Sign in front, illuminated by spotlights, reads : GROVE AIR FORCE BASE, AIR DEFENSE COMMAND, COLORADO. In front is a GUARD STATION with two SENTRIES. An occasional jet test FIRING in the background. A car - a small white FORD - comes CAREENING up to the sentry box, doing a good 65 mph. The M.P.s snap to, made nervous by the car's approach. They flag it down. In the car are a CRAZED WOMAN and a FRIGHTENED BOY. M.P. -LRB- in through open car window. -RRB- What's happening here, Ma'am? WOMAN We must see Colonel Wilson. The M.P. studies her. THE BOY -LRB- pleading. -RRB- Yes. We have to see him. Call him. He talked at my school. He said we could come here any time we wanted. I have to tell him what's happening. THE WOMAN It's extremely important. I'm the nurse for the Tri - School District. It's a public health problem. M.P. -LRB- to Sentry in box. -RRB- Go ahead. The Sentry picks up the base telephone.",
"INTERIOR - COLONEL'S OFFICE - NIGHT COLONEL WILSON - a handsome, sturdy looking man of middle age - is standing in his office with an AIDE -LRB- SERGEANT RINALDI -RRB- - both of them looking out the window at something we ca n't see. The PHONE RINGS. Sgt. Rinaldi picks it up. SGT. RINALDI -LRB- into phone. -RRB- Base Commander's office. Yes. Who? -LRB- looks at Colonel Wilson, and holds the phone out to him. -RRB- COL. WILSON -LRB- taking the phone. -RRB- This is Colonel Wilson. -LRB- listens. -RRB- Yes, I did speak at the Hillcrest School a couple of days ago. -LRB- listens - looks at Rinaldi. -RRB- Really. Hm. Very well. Send them up. No, not in their own car. Have them driven up. He puts down the phone. COL. WILSON -LRB- CONT'D. -RRB- Now what? Rinaldi looks at the wall clock. 10:45. RINALDI You better not keep them here too damn long. Rina1di closes the levelor blinds.",
"INTERIOR - AIR FORCE JEEP - NIGHT The WOMAN and the BOY with two M.P.s, being driven across the Air Base. The BOY is 11 years old, and scared - looking. The WOMAN is attractive, in her late 20's, wearing a white nurse's uniform. The lights are on all over the base. Jeeps coming and going. Suddenly, the Boy - looking around as they drive - SEES something, and tugs at the Woman's arm. She looks where he is pointing. He points out TWO AIR FORCE MEN in Air Force blue, loading some equipment into an Air Force PICKUP. The Woman and the Boy's faces show grave concern as they stare at the TWO AIRMEN by the pickup. They say nothing.",
"INTERIOR - COLONEL'S OFFICE - NIGHT The Woman and the Boy are escorted in by an AIDE -LRB- CAPTAIN CURTIS -RRB-. Colonel Wilson shakes their hands. COL. WILSON -LRB- shaking their hands. -RRB- I'm Colonel Wilson. This is Sergeant Rinaldi. THE WOMAN I'm Linda Magnuson. I'm the nurse for the Tri - School District, which includes the Hillcrest School. COL. WILSON You mentioned something about a public health problem. LINDA I'll get to that. This is Jimmy Gardner, a pupil at Hillcrest. COL. WILSON -LRB- taking it in. -RRB- Wo n't you sit down. -LRB- gestures to chairs. -RRB- Everyone sits. The Colonel folds his hands on his desk. COL. WILSON -LRB- CONT'D. -RRB- Please tell me what's on your minds. Linda looks at Jimmy. JIMMY -LRB- looks at Linda ; then at the Colonel. -RRB- First I have to look at the back of your neck. The Colonel looks baffled. Exchanges glances with Sgt. Rinaldi. LINDA He's serious, Colonel. Rinaldi watches suspiciously as the Colonel turns and lets Jimmy look at the back of his neck. The boy studies his neck closely, pulling down his collar. JIMMY All right. I had to be sure. COL. WILSON Sure of what? Jimmy and Linda look at each other again. LINDA It's rather difficult to tell this story. Yesterday Jimmy came to see me in my office. He was very upset.",
"INTERIOR - WAITING ROOM - SCHOOL NURSE'S OFFICE - DAY JIMMY is escorted in and set down on a bench by MRS. McKELTCH. She's 60, heavy, odd - looking. Her hair up in a bun. A `` mother hen'' type but a bit malignant. She interrupts the two women who are in the waiting room, chatting. MRS. McKELTCH -LRB- announces to the secretary at the switchboard. -RRB- He's here to see the school nurse. That's an order. The SECRETARY and PHONE OPERATOR, both town women in their 50's, look at Mrs. McKeltch, at Jimmy. SECRETARY She'll be out in just a second. -LRB- returning to her conversation. -RRB-. I've had things like that happen. I had a dream, last night, where my little sister showed up at my front door. Skinny little thing, we do n't get along. anyway I open my front door this morning. and there she is! We have n't spoken in years. Now, you tell me how that happens. The other woman starts to - when the office door opens and LINDA MAGNUSON comes out. SECOND WOMAN Oh, Ms. Magnuson, he's here to see you. LINDA I was just leaving - I'm due over in Riverton in 20 minutes. What's wrong? MRS. McKELTCH This young man has a behavior problem. He's very inattentive and ca n't control his temper. Linda's looking at a very upset boy.",
"INTERIOR - LINDA MAGNUSON'S OFFICE - LATER Just Jimmy and her. She looks at him closely. Waiting for him to speak. He just looks at her - then away. Linda smiles. LINDA You look like you're feeling better. I'm here to help you. Is there anything you want to talk about? Jimmy just looks around. LINDA -LRB- CONT'D. -RRB- Nothing I can help with? Jimmy says nothing. It's 2:10. Both of them look at the wall clock. LINDA -LRB- CONT'D. -RRB- You're going to wait me out, are you? Jimmy nods. She smiles - waiting. He looks at her - but he wo n't say anything. LINDA'S VOICE -LRB- V.O. -RRB- -LRB- over. -RRB- `` I could n't get a word out of him, and I did have to get over to Riverton. But I stopped into the Principal's office on my way out.''",
"INTERIOR - PRINCIPAL'S OFFICE - DAY The PRINCIPAL is doing some paper work as Linda comes in, dressed for travel. LINDA What's the story on Jimmy Gardner? PRINCIPAL Gardner? Oh, um - he's a new student. Just moved here. Why? LINDA His teacher brought him in to see me. Said he'd been acting up in class. Creating a disturbance. I could n't get a thing out of him. PRINCIPAL -LRB- preoccupied with papers. -RRB- Oh? LINDA What's his family background? PRINCIPAL They're from out of state. Father's an engineer at the nuclear power plant. I really do n't know much about them. LINDA'S VOICE -LRB- V.O. -RRB- -LRB- over. -RRB- `` I had a busy afternoon and evening, and I did n't think any more about it until the following morning, when it was brought back to my attention in a forcible manner.''",
"INTERIOR - LINDA'S OFFICE - MORNING The door BURSTS OPEN - Jimmy runs in, out of breath - looking panicked. LINDA -LRB- standing up. -RRB- Jimmy, what's wrong? MRS. McKELTCH comes in the door after him. MRS. McKELTCH -LRB- angry. -RRB- I do n't know what's gotten into him! JIMMY -LRB- to Linda. -RRB- You have to help me! You have to! Mrs. McKeltch reaches - as if to take Jimmy back with her. Linda puts her arm around him. LINDA It's all right, Mrs. McKeltch. Let me talk to him. MRS. McKELTCH -LRB- ruffled. -RRB- He's been acting very oddly. He was spying on me in my office. LINDA What did he see you doing? MRS. McKELTCH -LRB- huffy ; stares at Linda. -RRB- Whatever do you mean? I was preparing some specimens. LINDA How was he spying on you? MRS. McKELTCH He sneaked up behind me and scared the life out of me, the little brat. LINDA -LRB- firmly ; to McKeltch. -RRB- All right. Wait outside. Mrs. McKeltch chafes at that - but waits in the hall. Linda takes Jimmy into her office. Closes the door.",
"INTERIOR - LINDA MAGNUSON'S OFFICE - DAY Linda takes a close look at him. If Jimmy was upset the other day, he's crazed now. LINDA -LRB- gently. -RRB- It's okay. I'm here to help. -LRB- smiles. -RRB- I wo n't betray you. Whatever you tell me, stays in this room. Jimmy wants to trust her. Wants to tell her. JIMMY -LRB- hesitantly. -RRB- First. can I see the back of your neck? Surprised, Linda hesitates a second. Odd request. Then turns in her chair - and lifts her hair up off the back of her neck. Jimmy looks - sees perfect, unblemished, white skin. JIMMY -LRB- CONT'D. -RRB- All right. Linda puts her hair back down. LINDA -LRB- mystified. -RRB- Now, have I earned the right to know what that was about? Jimmy looks at the DOOR. Mrs. McKeltch's SHADOW is on the glass. Linda gets up and opens the door. LINDA -LRB- CONT'D. -RRB- Mrs. McKeltch, if you're going to wait, could you please have a seat? It's very hard to concentrate with your shadow on the door. Mrs. McKeltch's back straightens like a ramrod - she looks daggers at Linda - but moves back several paces from the door. Linda closes the door and resumes her seat. She's got Jimmy's attention now. Trusting her more. LINDA -LRB- CONT'D. -RRB- -LRB- to Jimmy. -RRB- This is a new town for you. Do you like it here? JIMMY No. LINDA Why not? -LRB- no answer. -RRB- Moving is hard for anybody. Was it hard for you to leave all your friends? JIMMY I do n't have many friends. Dad's all the time moving. LINDA Can you tell me about that? Jimmy thinks about it. LINDA'S VOICE -LRB- V.O. -RRB- -LRB- over. -RRB- `` Finally, he broke down and began to talk.''",
"INTERIOR - COLONEL'S OFFICE - NIGHT The Colonel is listening gravely. Rinaldi glances at the clock, nervously. LINDA -LRB- CONT'D. -RRB- -LRB- to Jimmy. -RRB- You'd better take over here. Tell it to the Colonel the way you told it to me. The Colonel looks at Jimmy. JIMMY Well, sir, it all started a couple of weeks ago. THE VEIL NEBULA A red and purple wisp of stars and gas hanging deep in space. TILT DOWN : to a small planetarium device, glowing in a dark room. JIMMY is looking at the constellations, projected on his bedroom ceiling. He turns the planetarium device off. Gets out of bed in his pajamas and goes to the window. He can see the city - from 10 stories up. All the lights and distant buildings from his apartment. A small telescope stands by the window, on a tripod. He uses it to look at the Moon. In the b.g. we can HEAR CONVERSATION going on in another room in the apartment. Jimmy climbs back under the blankets and looks out - through the crack in the door - at his MOM and DAD in the next room. JIMMY'S POINT OF VIEW The slightly ajar door offers him a sliver of a view and MUFFLED CONVERSATION. He can SEE his parents having dinner with a MAN. Late - night talk, cigar smoke, the CLINK of GLASSES, dishes on the table. Their conversation is strange to an 11 - year - old ear - available only in snatches and bits - and then not completely understandable at that. DAD -LRB- muffled voice. -RRB-. sounds interesting. Jimmy's mother is smiling - occasionally eats something from her plate. THE MAN -LRB- gesturing. -RRB-. critical. great opportunity, George. up the ladder. arranged. MOM moving again. Jimmy reacts - upset - at the word `` moving.'' Jimmy's Dad and the Man shake hands. DAD all right. you're right, of course. There's more CONVERSATION, a CLINK of GLASSES and the SOUND of CHAIRS SCRAPING. A man walking to the door. Hugs and good nights. VOICES Good night. night. George. Talk to me from there. The apartment door opens and closes. Quiet. The SOUNDS of his parents coming toward his room. passing in the hall outside. They stop. DAD'S VOICE up yet, do you suppose? MOM'S VOICE look. maybe. The door opens a bit - sending a streak of light into Jimmy's darkened room. His Dad looks at him. Jimmy's looking back. DAD Son. are you awake? JIMMY Yes. Mom and Dad come in. His Dad sits on the edge of his bed. A gentle, loving man. Jimmy's frightened of what's coming next. DAD We're going to be moving, son. JIMMY Do we have to? DAD -LRB- nods ; feels bad about it. -RRB- I know, son. But you'll like it where we're going. I'm getting a good job. It's a pretty part of the country. JIMMY I'll have to go to a new school - again. DAD You'll meet new friends. -LRB- pause. -RRB- I know. it's rough. But I have to move, son. He pats Jimmy on the head - hoping he'll understand. Jimmy thinks a long thought - teary.",
"EXTERIOR - SKY - MORNING Clouds GATHERING.",
"INTERIOR - STATION WAGON - MORNING Jimmy's face pressed to the back window - watching the neighborhood disappear.",
"EXTERIOR - INTERSTATE HIGHWAY - MONTAGE Their CAR on the road. Moving through low foothills. The countryside changing. The sun dropping in the west. Emphasize the SKY. Stars coming out. The car traveling at night. A million STARS above. JIMMY'S VOICE -LRB- V.O. -RRB- -LRB- over. -RRB- `` Like I said, we move around a lot. Dad's really good at his job, and when they open a new plant, they always ask him to go work at it. So I was used to it. But I was sad.''",
"INTERIOR - CAR - DAY Jimmy's face pressed against the window. The landscape reflected in the glass. Moving into large mountains. A new part of the country. JIMMY What's that, Dad? DAD That's the Air Force Base. TWO JETS SHRIEK overhead on approach. JIMMY Wow. Jimmy sees all the trucks and jeeps coming and going. The electric fences and gates. Power transformers HUMMING. JIMMY -LRB- CONT'D. -RRB- Are you going to sell power to them, Dad? His Dad laughs. DAD No, son. They have their own. Jimmy looks through the fence - and sees two mysterious BLACK DOME - LIKE BUILDINGS on the base. JIMMY What are those, Dad? His father looks. DAD That's their radar, Jimmy. It picks up anything that moves across the sky. Their car moves on. Jimmy looks back at the two black building/huts. They WHIRR and CLICK. with eerie electro - mechanical SOUNDS.",
"EXTERIOR - THE NEW HOUSE - COUNTRY - LATE AFTERNOON A little house in a fairly lonely spot. White, Colonial, two - story. Surrounded by trees. At the foot of a large HILL. In the distance, the dramatic mountains of Colorado. DAD Our new home, Jimmy. They get out of the car and go to the house. Dad gets out the new keys and opens the door.",
"INTERIOR - THE NEW HOUSE - LATE AFTERNOON The place is spic and span, and full of rented furniture. MOM -LRB- shakes her head. -RRB- This furniture will have to go. Jimmy goes upstairs, to one of the bedrooms.",
"INTERIOR - SECOND FLOOR BEDROOM - LATE AFTERNOON Jimmy goes to the window and looks out. JIMMY Wow. Look at the mountains. DAD This can be your room if you want it. What do you say? THEIR P.O.V. - THE HILL BEHIND THE HOUSE JIMMY Is the hill ours too? DAD -LRB- smiles. -RRB- If we want it, it is. JIMMY Let's check it out, Dad.",
"EXTERIOR - HILL - DUSK Jimmy and his Dad make their way up a twisting path. Through a dense pine forest, to the crest of the ridge. An old wooden handrail marks the path and disappears in the bushes in the valley. From the crest they can see the town in the distance. A lonely, lovely spot. Breathtaking. Jimmy and his Dad take it all in in the dying light. JIMMY -LRB- pointing. -RRB- Wow. There's the town. And there's the air base. This is a great hill. DAD It's got a name. Copper Ridge. There used to be a copper mine near here. JIMMY Let's see what's on the other side. Maybe we'll find some copper. They hike over the top. On the far side of the hill is a big SAND PIT. JIMMY Wow. Dad steps forward and scoops up some of the sand. Lets it run through his fingers. DAD Well, is n't this something. Be careful if you play here. A CRY from the house breaks the silence. MOM'S VOICE -LRB- calling. -RRB- George! Jimmy! DAD -LRB- draping his arm around Jimmy. -RRB- Let's go help your mom set up house. They turn and head back down the path to the house. A FALLING STAR shoots across the sky. JIMMY -LRB- pointing. -RRB- A meteorite, Dad, look! DAD It's that time of year again. We should get a pretty good show out here. JIMMY Why, Dad? DAD Because the sky is so clear out here.",
"EXTERIOR - SCHOOLHOUSE - MORNING ESTABLISHING SHOT of the country school.",
"INTERIOR - SCHOOL OFFICES - DAY Jimmy's Dad is registering him for his new school. Jimmy waits. Looking around - and up - at his new surroundings. DAD -LRB- leans down. -RRB- Okay, Jimmy. You're all set. This man, Mr. Cross, is your Principal. He'll take you to your classroom. MR. CROSS Hello, Jimmy. Welcome to Hillcrest School. Will you come with me. Jimmy looks at his Dad - who watches him follow reluctantly. Mr. Cross leads him down the long hall to his classroom.",
"INTERIOR - HALL - DAY They stop outside room 101. Jimmy looks up at the closed door. Mr. Cross opens it. They walk in.",
"INTERIOR - CLASSROOM - DAY Twenty sets of staring eyes. His new classmates are all tanned and healthy. Jimmy's white from the city. The Principal goes over to the TEACHER and talks to her about Jimmy. No friendly looks from the KIDS. Only curiosity. A MAN IN UNIFORM is standing at the front of the room. He nods to Jimmy. Smiles. TEACHER -LRB- addresses Jimmy. -RRB- Jimmy, I'm Mrs. McKeltch. Your new teacher. This is the fifth grade - Class, this is a new pupil, Jimmy Gardner. I know you'll make him feel at home. They all look at him. Jimmy, very uncomfortable, nods. MRS. McKELTCH -LRB- CONT'D. -RRB- You can sit over there. Jimmy ducks for the empty desk. Scrunches down. MRS. McKELTCH -LRB- CONT'D. -RRB- This late in the term, you may have trouble catching up. But, you'll just have to muddle through. A KID -LRB- giggles. -RRB- Lookit his clothes. More GIGGLES. MRS. McKELTCH Class! They quiet. MRS. McKELTCH -LRB- CONT'D. -RRB- Colonel Wilson - from Grove Air Force Base - was just about to address the class. I'm sorry, Colonel. Go ahead. The Colonel smiles pleasantly. COL. WILSON -LRB- nods to Jimmy. -RRB- Welcome. I'm new here myself. Jimmy smiles. He likes the Colonel. COL. WILSON -LRB- CONT'D. -RRB- -LRB- back to the class. -RRB- The United States Government maintains bases in every state and even in some other countries, by mutual agreement between those countries and us. Grove is part of the Air Defense Command - which has the responsibility of repelling any aerial attack on the United States. You've all seen and heard our planes flying over. -LRB- spontaneous jet sounds from the kids ; he smiles. -RRB- They protect this city and the surrounding area out to a distance of approximately 300 miles. In addition we do research involving some of the most advanced aircraft in the world. Jimmy looks around the room - at the blackboards and cabinets - then quickly back to the Colonel. Listening closely to the man. COL. WILSON -LRB- CONT'D. -RRB- We have two fighter - interceptor wings at the base. consisting of four squadrons each of F - 15 fighters. Each wing has 10 pilots. Some of them are administrators - just like your teachers and principals who work in your school. There are maintenance and supply buildings. Parts for planes, trucks, cars, food storage, refrigeration plants. a power plant for electricity, fuel storage, cooking facilities, mess halls. In other words, boys and girls, Grove Air Base is just like a self - contained little city and can survive by itself for an extended period of time. Jimmy is listening to all of this closely. COL. WILSON -LRB- CONT'D. -RRB- We are your protection against any hostile forces that threaten the peace and security of this school, city, or the country. Do you have any questions? LITTLE GIRL Are there any girl pilots in the Air Force? COL. WILSON As a matter of fact there are quite a few now. Most of them are attached to the Military Airlift Command. LITTLE BOY How do you prevent planes from sneaking up on you? COL. WILSON We have radar that looks at the sky day and night. It's a brand new radar called phased array. So nothing can sneak up on us. ANOTHER BOY Can we come and see the planes sometime? COL. WILSON I would welcome all of you to visit. You can call me personally and arrange a school or group visit almost any time. -LRB- looks around. -RRB- Well - boys and girls, I hope I've answered some of your questions. I hope you have a better idea of what Grove Air Force Base is doing here. I've enjoyed talking to you today and I know you'll look at me and the other airmen on the base as your friends. Mrs. McKeltch nods for the class to show its appreciation. They do - applauding, whistling.",
"EXTERIOR - SCHOOL YARD - LUNCHTIME Jimmy, all by himself on the playground. The other kids not coming over to say hi. Three KIDS come over. Two BOYS and a GIRL. BOY -LRB- to Jimmy. -RRB- Are you stuck up? Or maybe you're just dumb. The little GIRL steps forward. Teasing. LITTLE GIRL He really looks dumb to me. They turn and run away, laughing. Jimmy yells after them. JIMMY Yeah, the same to ya! Mrs. McKeltch comes over, a long ruler in her hand. MRS. McKELTCH Young man, we'll have none of that on this playground. The other kids giggle and point at him.",
"EXTERIOR - JIMMY'S HOUSE - EVENING LONG SHOT of the house, under a full moon. A shooting star sizzles across the sky.",
"EXTERIOR - PORCH - EVENING Jimmy and his Dad sitting out. The long, low hills. Distant. Odd. Dark. The scrub pines and owls at night. Frogs and crickets and whippoorwills. A big moon hanging over the top 0 # the trees. A magic night. The Milky Way a band of stars across the sky. DAD -LRB- pointing out. -RRB- There goes another one. That was a bright one. They watch a meteor arc, glowing across the sky. Jimmy looks - and nods. The SOUND of CRICKETS and the silent fall of meteors in a late summer evening. Jimmy's eyes see everything. JIMMY There Dad - look! His father nods at the next one. They're coming in heavily now - one every ten or fifteen seconds. JIMMY -LRB- CONT'D. -RRB- There are more this year than last. DAD This should be the heaviest shower of the year. JIMMY -LRB- nods. -RRB- There's Cassius. Jimmy points out the bright stars he knows. His Dad's taught him. JIMMY -LRB- CONT'D. -RRB- and Rigel. DAD And that one - to the right of Rigel? Points. JIMMY Pessius. Dad nods. JIMMY -LRB- CONT'D. -RRB- Which one's that? The dull, red one. DAD That's Mars. The closest planet to us, now. That's why it's more than just a point in the sky. They look up at it. The two lean back and watch as meteorites continue to fall. Mom comes out quietly. Watches too. She looks at them. MOM Well, come on, you two. Time to go to bed. JIMMY Mom - this is the best show all year. MOM I know. But you have a full day of school tomorrow -. -LRB- to Dad. -RRB- You, too. Dad nods. DAD Five minutes more. Mom gives up. She watches a little while longer and goes back inside. The screen door slams shut. LONG SHOT - JIMMY AND HIS DAD ON THE PORCH They watch a few minutes more. The sky seems immense above the trees. Dark and clear. Here and there a cloud coming up. DAD Well, son? Should we call it a night? I for one have had a long day. JIMMY -LRB- reluctantly. -RRB- Okay.",
"INTERIOR - JIMMY'S BEDROOM - NIGHT His father turns at the door. DAD Goodnight - sleep well. Dream a nice one for me. Jimmy nods, lying under the blankets. JIMMY You too, Dad. The door to his room closes. Dark. Moonlit. Jimmy pushes the covers back and goes to the window. His small TELESCOPE waiting for him. Sitting on the sill, lit by the moon. Jimmy tries looking through it at the meteorites. They're hard to find. He goes back to watching with his unaided eyes. Tired, eyes sleepy. he crawls back to bed. Gets under the covers. Settles in. His eyes close - and he goes to sleep.",
"EXTERIOR - SKY - NIGHT Heavy CLOUDS begin to move across the moon. A storm coming in. THUNDER and lightning. heavy rain.",
"INTERIOR - BEDROOM - NIGHT Jimmy's tossing and turning. Dreaming. DREAM IMAGES of leaving the city, whirls of color, the trees along the ridge - blowing RAIN - the hostile faces of the kids at school - Mrs. McKeltch's face - The CRASH of THUNDER and HOWLING. Jimmy WAKES UP with a start. Bolt awake. A terrible storm is raging outside. His window open. Rain blowing in. He looks at the alarm clock on the night table. 4:40 A.M.. He runs to the window. The trees are lashed with wind and rain. Water running down the panes of his window. Blowing through the open screen. Jimmy tries to close the window - pull it down. It's stuck. He puts his weight into it. Suddenly, the rain comes to a dead STOP. Like the eye of a hurricane. It's eerie. Not a sound outside. Just the wet lawn and the water dripping from trees. A moment passes - a heartbeat - and then - A HORRIBLE SOUND comes from the sky. A throbbing ululation. Massive. Terrifying. A HUGE LIGHT drops down through the clouds. It breaks through the cloud layer and descends toward the Earth. An OBJECT - ENORMOUS, METALLIC, GLOWING. CHANGING SHAPE as it falls. First a sphere. Then flattening out into a disc. Expanding to a bottle - shape. Elongating to a spear and dropping down behind the HILL. The hill with the sand pit. The light dies and the SOUND ceases. As Jimmy stands in the window, open - mouthed, still clutching the sill, the RAIN and LIGHTNING start up again. With a howl of wind and rain blowing in his face. Shaken, wild - eyed, Jimmy runs for his parents' room.",
"INTERIOR - HALLWAY - NIGHT Tearing down the hall. Jimmy barges into his parents' bedroom.",
"INTERIOR - BEDROOM - NIGHT JIMMY Dad! Mom! His parents - still asleep. They sit up suddenly. DAD Jim - what's wrong?! JIMMY -LRB- screaming. -RRB- You've got to come see - a big thing went down over the hill!",
"INTERIOR - JIMMY'S BEDROOM - NIGHT They - all three - look out the window. The rain is abating again, but more naturally, gradually. Water running off the roof of the house. Nothing is visible beyond the hill. It looks normal. Dark, but for the occasional flicker of sheet lightning. JIMMY It was big - and it glowed - and it went down over there - behind the hill. DAD What did it look like? JIMMY It was - it was - it changed shape. First it was big and round, then it was flat, then it was long and thin. Dad and Mom give him a funny look. DAD Are you sure you saw that? In the rain - it may have looked like it changed shape - JIMMY -LRB- unhappy. -RRB- I do n't know, Dad. But it was big. DAD I'll go take a look when the rain lets off. MOM -LRB- to Dad. -RRB- What do you think he saw? Could it have been something from the air base? JIMMY No, Mom. It was n't a plane. His father looks concerned - and interested. DAD You go back to sleep. I'll look when it's light. They wait for Jimmy to climb back into bed. They close the door. Jimmy looks at the top of the ridge from his bed. Hard to see anything in the dark.",
"INTERIOR - JIMMY' S BEDROOM - MORNING Jimmy wakes up. Early morning sunlight on his face. He jumps up, runs to the window. The hill looks clean and bright in the morning light. Jimmy aims his telescope at the top of the hill. HIS P.O.V. - THROUGH THE TELESCOPE This enlarged VIEW of the crest of the hill. suddenly affords us a startling view of DAD. coming toward the house - from the far side of the hill. Jimmy dashes out the door.",
"EXTERIOR - BACK PORCH - MORNING Jimmy looks a little worried for his Dad. Sees him coming out from behind some trees. JIMMY Did you see anything, Dad? Dad says nothing - keeps coming. His bathrobe is a little mussed. He looks all right - but not all right. He seems a little cold - or maybe just tired. JIMMY -LRB- CONT'D. -RRB- Are you all right, Dad? DAD -LRB- brightens a bit. -RRB- Sure. fine. Dad walks by him. As he does - Jimmy sees that he's missing a SLIPPER.",
"INTERIOR - KITCHEN - MORNING Mom, making breakfast, greets him. a hug. MOM George, where have you been? JIMMY What happened to your other slipper? Mom looks now too. DAD I lost it. -LRB- smiles ; a little sheepishly. -RRB- It's kind of muddy out there. JIMMY Was there anything over the hill? Both Jimmy and his Mom are interested now. Dad looks at his son. Smiles. Taps him affectionately on the head. DAD Nothing I could see, son. It was a bad dream is all. He walks over to get some coffee, in his bathrobe. Jimmy follows him with a look. His father rubs the back of his neck. Picks up a cup of coffee - and sits down at the table. Jimmy SEES a SCRATCH MARK - BLOODY - ON THE BACK OF DAD'S NECK. But he does n't get a good look at it. It's a half - glimpse. Jimmy tries to get another look. He does, as the Father sits down. Looking directly at it. A strange, bloody SPOT above his Dad's collar. JIMMY -LRB- slightly alarmed. -RRB- What happened to your neck, Dad? Dad reaches back, touches the spot. Immediately. Passes it off - DAD A branch must have nicked me. -LRB- smiling ; sips his coffee. -RRB- His bathrobe collar now covers his neck. Mom - busy getting breakfast - misses the exchange. DAD -LRB- CONT'D. -RRB- -LRB- changing the subject. -RRB- How are you today, son? Before Jimmy can answer, his Dad gets up and goes over to the refrigerator. He pops open the door - looks around inside - and takes out some luncheon meat. Dad comes back to the breakfast table with two thick pieces of ham. Sets them down on a saucer next to his coffee. MOM -LRB- at the sink. -RRB- Your father asked you a question. JIMMY -LRB- startled ; still watching Dad. -RRB- What? - I. -LRB- trails off. -RRB- Jimmy watches as his Dad pours several teaspoons of sugar into his coffee - then continues pouring SUGAR ONTO THE HAM SLICES until they're covered white. Jimmy stares - he's never seen - Dad smiles at him - and POPS the sugar - covered ham into his mouth. Mom turns around from the counter and sets their breakfast on the table. MOM Both of you eat this before it gets cold. Dad digs right in to the cereal and eggs Mom's fixed. Jimmy does n't seem interested in eating. MOM -LRB- CONT'D. -RRB- I have to go over to the town this morning and do a lot of shopping. This house needs just everything. I'll probably be gone all day. Jimmy, hurry up and eat or you'll be late. DAD I'll take you to school. MOM You do n't have to. The school bus stops right outside here, at 7:30. I've got to run. Mom leaves them and goes upstairs to get her keys. Dad finishes his coffee. It's 7:00. Mom comes down, kisses Jimmy and goes out to the car. Jimmy looks at the clock. 7:03. Jimmy goes to the window and watches his Mom go to the used STATION WAGON they've just bought as a second car. She gets in and turns the ignition key. The car GRINDS - and does n't start. She tries again - nothing. MOM -LRB- calls in to Dad. -RRB- George. the car wo n't start. Dad takes another sip of his sugared coffee and gets up.",
"EXTERIOR - THE DRIVEWAY - MORNING Dad and Jimmy come out. MOM -LRB- to Dad. -RRB- That's strange. I had a dream last night, where the car would n't start. Is n't that funny. Dad pops open the hood. Fiddles. DAD Try it again. Mom, in the car, turns the key. It starts. Mom looks relieved. Jimmy looks on. Dad wipes off his hands. DAD -LRB- CONT'D. -RRB- It's probably the solenoid. Take it back to Gleason's, they said they'd fix it if we found anything wrong. MOM I will. But is n't that odd - about my dream? He slams the hood and starts back inside. DAD See you later. She waves to both of them and drives down the driveway. They watch her drive away.",
"INTERIOR - KITCHEN - STILL MORNING Jimmy and his Dad alone. They sit across the table from each other. Looking at each other. Dad says nothing. Expressionless. Unblinking. A CLOCK TICKS loudly. Jimmy's starting to get scared. DAD Let me walk you to the bus stop.",
"EXTERIOR - THE ROAD - MORNING The two walk down the driveway to the road. Jimmy's upset. Something's wrong with his Dad and he does n't know what. Dad looks down at him. An odd smile. DAD You know something, son? You were right. There is something over the hill. Jimmy looks shocked. JIMMY What? His Dad looks back - at the hill behind the house. DAD Come on. I'll show you. Jimmy suddenly does n't want to see it. Dad reaches out - still smiling - to take him by the hand. Jimmy's suddenly frightened. JIMMY -LRB- shrinking back. -RRB- No, Dad. Dad grabs Jimmy's hand and starts dragging him toward the hill. JIMMY -LRB- CONT'D. -RRB- -LRB- struggling. -RRB- No! Jimmy's crying. He tears free from his old man's grasp. Dad steps toward him. Jimmy takes a step back. At that moment, they HEAR a loud HONKING. Jimmy looks, and sees the SCHOOL BUS rounding the bend. Books in hand, he runs for the bus.",
"INTERIOR - BUS - MORNING Jimmy sits alone. At the back. Near tears. He looks out the rear window as the bus pulls away. The last image - his Dad standing at the side of the road - waving goodbye.",
"INTERIOR - SCHOOL - HALL - MORNING Jimmy walking down the hall toward room 101. A KID - JUMPS out at him - `` BOO'' - from around the corner. Jimmy nearly goes through the ceiling. The two KID jokesters run off laughing.",
"EXTERIOR - NUCLEAR POWER PLANT/GRID CONTROL STATION - MORNING Dad -LRB- George Gardner -RRB- is being shown around his new job location. Dad is a striking figure in his dark suit. The SUPERVISOR points to two large, domed buildings as they walk. SUPERVISOR Those are twin reactors. Sodium cooled cores. Best damn design in the whole country. Never worry a minute about them. He smiles and continues on showing the facility to George. They go into a low building adjacent to the reactors.",
"INTERIOR - POWER SWITCHING AND CONTROL GRID - MORNING The Supervisor takes George into a large room with an immense GRAPHICS BOARD showing the electrical GRID networks for the Western United States. In front of the displays are control consoles with men at them - much like Houston Control. SUPERVISOR -LRB- to George. -RRB- There it is. We know exactly how much extra juice we can throw into the network just by checking the reactors. George scopes it out carefully. They walk over to desk # 1. The man at the desk, LARRY, stands up and shakes hands with George. SUPERVISOR -LRB- CONT'D. -RRB- Larry - George Gardner. I was just showing George around. He's our new whiz kid - trouble shooter. He's gon na be your new supervisor. -LRB- NOTE ** This scene is shot from a series of ANGLES which convey the impression of it being seen through the eyes of a child. Adults are tall - and seen at tilted angles - conversations are somewhat cryptic - equipment looks foreign and unfamiliar ** -RRB- SUPERVISOR -LRB- CONT'D. -RRB- -LRB- to Larry. -RRB- George tells me he's programmed a crisis into our simulation tape. He wants to see how we do. LARRY -LRB- to George. -RRB- Flick that switch. Jimmy's Dad does. Looks at the board. LARRY -LRB- CONT'D. -RRB- -LRB- to George. -RRB- You've just taken control of all the electric power in the western sector of the United States. You've run one of these before. Go ahead. Jimmy's Dad -LRB- George -RRB- welcomes the opportunity. His eyes race up and down the control panels. On the Graphic Board we can SEE a power CRISIS unfold. The flow of current -LRB- colored representation -RRB- starts to surge in Colorado. George punches some buttons and diverts some power. Larry and the other Man stand by and watch. A bigger crisis rolls over the board. ALARMS SOUNDING. Power draining from the system. A BLACKOUT beginning. George starts taking counter - measures. GEORGE There's the transient I programmed. -LRB- punching buttons ; the crisis worsens. -RRB-. Okay? - we're losing Colorado. Nevada. Utah. It's going to crash. the whole system. There it goes - The other two men stand by smiling. Suddenly the situation starts to reverse itself - without George's efforts. The collapse - and rolling blackout - starts to limit itself - small pockets browning out - the main system intact. LARRY See? The system's self - limiting the problem. It's cutting off power in cells to preserve the entire network. George's eyes race across the board - studying just how it's doing that. Eagerly taking it all in. GEORGE And how does it do that? LARRY It's designed to. We just put it in. As long as the ADP's are functioning they'll always save the total network. Faster than any human response. GEORGE What if the ADP's fail? The Supervisor smiles. So does Larry. SUPERVISOR That's highly unlikely. LARRY Unit # 2 over there -. -LRB- he means the nuclear power plant next door. -RRB- - is n't counted on the grid. If it's needed it kicks in and gives us a 12 % safety margin. George is impressed. He did n't know that. But he's a pessimist. GEORGE And if that does n't do it? SUPERVISOR -LRB- shrugs. -RRB- Oh - well - in that case you'd have a catastrophic failure. We'd lose the whole thing - `` vapor lock'' it so to speak, and not be able to start it up again for hours.",
"INTERIOR - CLASSROOM - DAY Jimmy's sitting in the back, next to a window. Scrunched down in his seat. Mrs. McKeltch is at the blackboard. She looks at Jimmy frequently, it seems. She's busy pointing out The Parts of a frog. A fold - down anatomical chart and a chalk sketch. Jimmy looks at the wall clock. 1:45. Time seems to be going so slowly. He looks out the window at the countryside. An Air Force fighter JET is making low passes in the distance. Back and forth over the hills. MRS. McKELTCH This, class, is a bullfrog. She pulls out a large, green, mottled frog. It's DISSECTED. Spread out on a board as if crucified. Its chest cavity splayed open. Little red lungs like strawberries. Class SQUEALS, goes ugghhh. MRS. McKELTCH -LRB- CONT'D. -RRB- This specimen came from the marsh area adjacent to Copper Ridge. Mrs. McKeltch smiles her iguana smile. MRS. McKELTCH -LRB- CONT'D. -RRB- -LRB- takes a pencil and points to the `` strawberries'' in the chest cavity. -RRB- Who can tell me what these two red sacs are? She narrows her eyes. Jimmy is not paying attention at all. He's distracted, staring out the window, fidgeting. MRS. McKELTCH -LRB- CONT'D. -RRB- Jimmy Gardner. Jimmy snaps to. Stares at her. He's caught - has no idea what she's talking about. MRS. McKELTCH -LRB- CONT'D. -RRB- -LRB- grimly. -RRB- What are these? Jimmy stares at her pencil, pointing at the frog. JIMMY Frogs? The class starts to LAUGH. MRS. McKELTCH -LRB- chilly. -RRB- You were not paying attention. Everybody's laughing crazily now. Jimmy's humiliated. He starts to cry. JIMMY -LRB- screams. -RRB- Shut up! Shut up! The teacher looks shocked. Jimmy throws his pencil across the room - at the class. MRS. McKELTCH -LRB- angrily. -RRB- Young man! That may be the way you behave where you come from but it is not the way we behave here! Tears running down Jimmy's face. MRS. McKELTCH -LRB- CONT'D. -RRB- Class - be quiet. Melissa, you supervise them while I take this uncontrolled young man to the school nurse. Mrs. McKeltch takes Jimmy out of the classroom.",
"INTERIOR - WAITING ROOM - SCHOOL NURSE'S OFFICE - DAY Mrs. McKeltch sits Jimmy down on the bench outside the Nurse's office. Two women in the waiting room, chatting. MRS. McKELTCH -LRB- announces to the secretary at the switchboard. -RRB- He's here to see the school nurse. That's an order. The SECRETARY and PHONE OPERATOR, both town women in their 50's, look at Mrs. McKeltch, at Jimmy. SECRETARY She'll be out in just a second. -LRB- returning to her conversation. -RRB-. I've had things like that happen. I had a dream, last night, where my little sister showed up at my front door. Skinny little thing, we do n't get along. anyway I open my front door this morning. and there she is! We have n't spoken in years. Now, you tell me how that happens. The other woman starts to - when the office door opens and LINDA MAGNUSON comes out, wearing a white nurse's uniform. She lays eyes on Jimmy for the first time.",
"INTERIOR - LINDA MAGNUSON'S OFFICE - LATER Just Jimmy and her. The same scene, but viewed through his eyes. She looks at him closely. Waiting for him to speak. He just looks at her - then away. She seems friendly. Linda smiles. LINDA You look like you're feeling better. I'm here to help you. Is there anything you want to talk about? Jimmy just looks around. Not sure what to say. LINDA -LRB- CONT'D. -RRB- Nothing I can help with? Jimmy says nothing. It's 2:10. Both of them look at the wall clock. LINDA -LRB- CONT'D. -RRB- You're going to wait me out, are you? Jimmy nods. JIMMY'S VOICE -LRB- V.O. -RRB- -LRB- over. -RRB- `` That was the first time I saw Linda. I was too scared to say anything. And I did n't want to get my Dad in trouble. But when I got home that night.''",
"EXTERIOR - ROAD IN FRONT OF JIMMY'S HOUSE - AFTERNOON Jimmy gets off the schoolbus and heads for his house. No cars in the driveway. No key. Apparently no one home. He walks around to the back of the house. Looks in the window. Jimmy tries the back door. It's open. He's about to go in when he sees his Mom driving up. He waits for her. MOM Hi. Sorry I'm late. JIMMY The back door was open. Mom looks at him, surprised.",
"INTERIOR - HOUSE - AFTERNOON Mom looks a little unsettled. No one seems to be in the house. The TV is ON - HISSING static. MOM -LRB- calls. -RRB- George? George? No answer. She looks puzzled. A little bothered.",
"INTERIOR - HOUSE - LATER After 6 P.M. Still no sign of Dad. Mom looks out into the driveway. Calls Dad's work number. MOM -LRB- into phone. -RRB- Hello. is George Gardner there, please. This is his wife. -LRB- pause. -RRB- How long ago was that? -LRB- pause. -RRB- Thank you. -LRB- hangs up. -RRB- Now she is worried. MOM -LRB- CONT'D. -RRB- -LRB- to Jimmy. -RRB- He left just after three. Jimmy looks out the back door. Mom picks up the phone again. MOM -LRB- CONT'D. -RRB- -LRB- into phone. -RRB- Hello, can you tell me the phone number of the police?",
"EXTERIOR - HOUSE - DUSK Two local COPS show up. Park their car in the driveway. They approach Jimmy's Mom. COP #1 -LRB- CHIEF. -RRB- Evening Ma'am. I'm Chief Ward, and this is Officer Keneny. MOM Thank you for coming, Chief. My husband left work hours ago and has n't come home. It's not like him. CHIEF Is there anywhere you can think of that he might be? We'll be glad to check. MOM -LRB- at a loss. -RRB- We only just moved here. Where would he go? JIMMY Maybe he went back over the hill. The Cops look at Jimmy. CHIEF What hill? MOM My husband was looking behind that hill this morning. We thought we might have seen an aircraft crash there. The Cops look at each other. CHIEF Oh? When was that? MOM Oh, it was early - just before dawn. But it was nothing, he already looked. CHIEF We'll have a look. The two Cops go back along the path through the woods. Clicking on flashlights. It's starting to get dark. OFFICER KENENY -LRB- to Chief, as they climb the path. -RRB- I did n't hear anything about any air crash. Jimmy and his Mom stand watching as they climb the hill and disappear over the top of the ridge, flashlights bobbing. Suddenly, behind them, DAD steps out of the shadows under the trees. Mom and Jimmy hear the CRUNCH of his footstep, and turn. Mom SHRIEKS. MOM Oh, my God, George, you scared the life out of me. George has ANOTHER MAN with him. A man we have n't seen before. DAD This is Ed. Ed, this is my wife. This is my son. A pause. They stand in the gathering gloam, while WHIPPOORWILLS call. MOM How do you do. MAN Could n't hardly do much better. And yourself? MOM Yes. I'm. fine. George, where were you? You scared us to death. MAN Well, guess I better be going. DAD See you later, Ed. Ed walks away into the darkness. His neck can not be seen. MOM What happened to you? Who was that? DAD -LRB- seems evasive. -RRB- That's Ed. Ed works with the Bell Telephone switching division. MOM Where's your car? DAD I left it at work. MOM You did? Why? Where were you? They said you left hours ago. We were worried. Dad notices the parked POLICE CAR now. DAD -LRB- an edge. -RRB- Yes, I see. There's something off - key about it. Mom senses it too - for just a moment. DAD -LRB- CONT'D. -RRB- -LRB- irritated. -RRB- I'm home now. MOM Yes - but. Just then Jimmy sees a flashlight coming toward them. The two COPS have come back. They seem - to Jimmy - slightly subdued. CHIEF -LRB- looks at Dad. -RRB- I see that you're back. Dad nods at him. Almost as if he knows these two! The two Cops nod to Mom. Jimmy looks quickly in the dark. Just a flash as one goes by - but it looks like a scratch mark - a bloody SPOT on the back of the Chief's neck. He ca n't see the other. As they get into their car, Officer Keneny touches the back of his neck, gingerly. They drive away. Dad goes into the house with Jimmy and Mom.",
"INTERIOR - KITCHEN - AFTER DINNER Dad seems to be in better spirits. Drapes his arm around Mom. Jimmy's watching. DAD -LRB- to Mom. -RRB- You know, it really is beautiful up there. Let me show you. We'll take a walk after dinner. MOM George, you're acting very strangely. Jimmy walks out of the kitchen.",
"INTERIOR - DOWNSTAIRS HALL - NIGHT Mom comes out of the kitchen. Jimmy's waiting for her. JIMMY Mom. I got ta talk to you. MOM What? JIMMY Do n't go over the hill, Mom. Please. She looks at him. MOM Why not, Jimmy? What's wrong? Mom waiting. Looks at Jimmy, concerned. A terrible sense of doom descending on Jimmy. JIMMY -LRB- blurts it out. -RRB- Mom, something happened up there to Dad - He got a scratch on his neck - Promise, Mom. Do n't go. Jimmy's near tears. Terrified that something is going to happen to his mother. She stares at him, not knowing what to make of the outburst. Just then - Dad - comes out of the kitchen. Looks at them both. DAD What's wrong, Ellen? MOM -LRB- looks at Dad. -RRB- It's his nightmare. He still has n't gotten over it. about the other side of the hill. They stare down at Jimmy. Two, tall adults. DAD I'm afraid you're still upset by our moving, son. -LRB- a beat. -RRB- You'll get over it. -LRB- to Mom. -RRB- Let's finish the dishes. Mom starts to go back into the kitchen with Dad. He puts his arm around her, smiles. Mom looks back at Jimmy. DAD -LRB- CONT'D. -RRB- How about tomorrow, we'll take a walk up there when it's light. Okay? Go to bed now, son. Mom goes into the kitchen. Dad gives Jimmy a withering LOOK. As if he's got a perfect line on Jimmy. Jimmy turns away from Dad - and goes upstairs.",
"INTERIOR - JIMMY'S ROOM - NIGHT Jimmy lies in bed. The blankets pulled up to his chin. LISTENING intently to the SOUNDS of dishes CLATTERING, pots and pans in the kitchen - downstairs. His parents finishing up. Every fiber of his being - straining. As long as he HEARS them, they're safe - inside. Suddenly the sounds - grow less. Then - stop. Silence from the kitchen. Jimmy's heart skips. He gets up - goes to the bedroom door. Opens it - looks downstairs. Listens. No one downstairs. He runs to the window. SEES his Mom and Dad walking up the path to the ridge. His heart sinks. Dad escorting Mom. Jimmy aches to cry out - do something. There's nothing he can do - but watch. They're getting smaller. He goes to his TELESCOPE on the window sill. JIMMY'S POINT OF VIEW - THROUGH THE TELESCOPE His Mom and Dad talking at the top of the ridge. They disappear over it. Gone. Jimmy looks back out at the hill with his naked eye. Jimmy waits - watching. Eyes never leaving the crest of the hill. His heart pounding. Waiting. He rests his head on his arms on the sill. Crying. The bedside alarm clock says 10:10. LATER A DOOR SLAMS. Jimmy awakes with a jerk. He's fallen asleep at the window sill. He looks at the clock. 12:20. His eyes fly to the ridge. JIMMY'S POINT OF VIEW the top of the ridge - nobody there. He runs to his door. Cracks it open. HEARS Mom and Dad's muffled VOICES in the living room - moving around. MOM'S VOICE -LRB- muffled. -RRB-. it's late. he's probably asleep. DAD'S VOICE tomorrow. midnight. MOM'S VOICE yes. They start upstairs. Jimmy ducks back into his room. Lies there under his blankets, terrified. He can HEAR Mom and Dad stop in the hall outside his room. Jimmy waits - shivering. The door to his room - cracks - open. A band of hall light across the dark floor. He can hear BREATHING out in the hall. The door closes - CLICK. They do n't come in.",
"INTERIOR - KITCHEN - MORNING Jimmy watches his mother closely. She seems cheerful, normal. Smiling. Making breakfast for him. Her back to him. Jimmy tries to see her neck. He ca n't. She has HIGH - NECKED COLLAR on her blouse. Jimmy sits at the breakfast table looking like the end of the world. He picks at his food. Dad comes in. Sits down. Mom is watching Jimmy eat. He does n't. Plays with the food. Picking at it. MOM Not hungry? Jimmy, are you all right? Jimmy forgets to say anything. Just stares at his food - afraid to look at Dad. Mom goes to the refrigerator. rummages through and finds some RAW HAMBURGER. As Jimmy WATCHES : She scoops out a small mound with her hand - grabs a SALT shaker and pours enough SALT on the raw meat to cake it WHITE. Mom, without hesitating, puts it in her mouth - chewing it casually - absentmindedly. Jimmy STARES. Mom finishes swallowing and closes the refrigerator door. She washes her fingers off at the sink and comes over to them. MOM I have a wonderful idea. Why do n't we all go on a picnic up in the hills. Jimmy looks at Mom - at Dad. JIMMY When? MOM This afternoon. It's wonderful up there - you still have n't seen the best part. JIMMY -LRB- breathing fast. -RRB- I have school. MOM -LRB- ignoring that. -RRB- I'll pack us a lunch. Hamburgers. You always like that, do n't you. Jimmy does n't know what to say. The world closing in. He just stares at his uneaten food - then at his Mom and Dad. Outside a horn HONNNKS. Mom looks out the window - then at Jimmy. MOM Your bus is here.",
"EXTERIOR - SCHOOL - MORNING Jimmy's getting off the bus with the rest of the kids. He's going through the gate, when he sees a COP CAR pulled up at the side of the road - engine running. Two COPS in it - one of them the CHIEF. MRS. McKELTCH is at the open window on the passenger's side - talking to him. Jimmy leans forward - trying to HEAR. CHIEF -LRB- to Mrs. McKeltch. -RRB-. Midnight. Mrs. McKeltch nods and goes back through the gate. Heading for her classroom. The cop car pulls away.",
"INTERIOR - SCHOOL HOUSE HALLWAY - MORNING Jimmy, suspicious, FOLLOWS Mrs. McKeltch. Sees her vanish into her office. Jimmy sneaks up and peeks in. HIS P.O.V. - INSIDE MRS. McKELTCH'S OFFICE She is standing with her back to him, doing something with the SPECIMENS on her desk. Jimmy LOOKS, hard. CLOSE : MRS. McKELTCH'S NECK - There's a small BAND - AID just below the hairline. CLOSE : JIMMY - Time seems to SLOW DOWN for Jimmy. Mrs. McKeltch HEARS him standing there, and turns. A FROG is protruding from her mouth. SLURP - the frog disappears - sucked into her mouth. Jimmy - SPEECHLESS with horror - turns and RUNS. Mrs. McKeltch pursues him.",
"INTERIOR - HALL - MORNING Jimmy runs toward Linda Magnuson's office. Mrs. McKeltch coming after him, at a run. MRS. McKELTCH Stop! Jimmy yells as he reaches the door. Linda coming out. Linda opens it - looks at him. LINDA Jimmy, what's wrong? She sees Mrs. McKeltch coming down the hall after him. MRS. McKELTCH -LRB- angry. -RRB- I do n't know what's gotten into him! JIMMY -LRB- to Linda. -RRB- You have to help me. You have to! Mrs. McKeltch reaches - as if to take Jimmy back with her. Linda puts her arm around him. LINDA It's all right, Mrs. McKeltch. Let me talk to him.",
"INTERIOR - LINDA MAGNUSON'S OFFICE - DAY Linda takes a close look at him. If Jimmy was upset the other day, he's crazed now. LINDA -LRB- gently. -RRB- It's okay. I'm here to help. -LRB- smiles. -RRB- I wo n't betray you. Whatever you tell me, stays in this room. Jimmy wants to trust her. Wants to tell her. JIMMY -LRB- hesitantly. -RRB- First. can I see the back of your neck? LINDA'S OFFICE - LATER LINDA'S VOICE -LRB- V.O. -RRB- -LRB- over. -RRB- `` You can imagine my skepticism, Colonel, when I heard Jimmy's story.'' LINDA -LRB- laughs. -RRB- Eating a frog? Jimmy says nothing. Drops his eyes. Linda shifts in her chair. LINDA -LRB- CONT'D. -RRB- That's quite a story. You know that, do n't you? JIMMY Yes. LINDA A UFO lands in back of your house and puts something in your Dad and Mom's necks. Then it gets the police, and your teacher too. Jimmy nods. LINDA -LRB- CONT'D. -RRB- How did it get Mrs. McKeltch? JIMMY She said the frog came from around the Copper Ridge. She must've been behind the hill. LINDA What would you think if somebody told you a story like this? JIMMY I'd believe him. LINDA Why? JIMMY'Cause he would n't lie. Linda looks at him. Jimmy's told the story with such conviction. LINDA Stay here a minute. She gets up and goes out into the hall. Closes the door behind her.",
"INTERIOR - SCHOOL HALL OUTSIDE - DAY Mrs. McKeltch - agitated and waiting. LINDA Mrs. McKeltch. Jimmy seems troubled by an injury to your neck. MRS. McKELTCH Injury? LINDA He says you have a bandage on it. MRS. McKELTCH Why, yes. I have a boil on my neck. Linda smiles ingratiatingly. LINDA Why do n't you let me have a look at it? I might be able to help you clear it up. Mrs. McKeltch stiffens. MRS. McKELTCH Of all the nerve! Why, I never heard of such a thing. Mrs. McKeltch storms off with her nose in the air. Linda looks at her - startled. Thoughtful now - she returns to her office.",
"INTERIOR - LINDA'S OFFICE - DAY She closes the door again. She looks at a waiting Jimmy for a long moment. There is a KNOCK at the door. She opens it. There stands the PRINCIPAL. PRINCIPAL -LRB- trying to look over her shoulder. -RRB- Ms. Magnuson, is Jimmy Gardner with you? LINDA -LRB- guardedly. -RRB- Why, yes. PRINCIPAL Jimmy's father is on the phone. I wonder if you'd take the call. LINDA -LRB- mystified. -RRB- All right. -LRB- to Jimmy. -RRB- I'll be right back. She goes out, closing the door.",
"INTERIOR - PRINCIPAL'S OFFICE - DAY The Principal hands her the phone and goes back to his paperwork. LINDA -LRB- into phone. -RRB- Hello, this is Ms. Magnuson speaking. DAD'S VOICE -LRB- on phone. -RRB- I understand, Miss, that you have my son in your office. LINDA Yes, I do, Mr. Gardner. DAD'S VOICE May I ask why? LINDA We were having a little talk. DAD'S VOICE About what? LINDA Children often have trouble adjusting to a new school. DAD'S VOICE -LRB- after a beat. -RRB- I do n't know what he's told you -. -LRB- turning ugly. -RRB- What has he told you? Would you like to tell me -? LINDA Mr. Gardner, I - DAD'S VOICE You people have a lot of nerve, taking it on yourselves to encourage young children to speak out of turn. I'm of a mind to pull him out of school if this is your idea of how to handle. What sort of training do you have anyway? LINDA -LRB- alarmed at the tone. -RRB- Mr. Gardner, I do n't think this is the place to discuss this matter. DAD'S VOICE I'm not particularly interested, Ms. Magnuson, in what you think is correct. My wife and I are going away on a business trip this afternoon and we want Jimmy with us. Keep him in your office until we arrive. LINDA Of course. Very odd vibes she's picking up on the other end of the phone. DAD We'll be by to pick him up in ten minutes. LINDA Yes, Mr. Gardner. CLICK. George hangs up. Linda sets down the phone and looks at it a long moment.",
"INTERIOR - LINDA'S OFFICE - DAY Linda comes back in and looks at Jimmy. Jimmy looks fearful. LINDA That was your father. They're coming to pick you up in ten minutes. Linda continues to study him. Jimmy takes several deep breaths. Looks at her pleadingly. Linda looks at her first floor window - then at Jimmy - and decides something. LINDA -LRB- CONT'D. -RRB- You can go out that window - it leaves you off at the back of the school building. Jimmy's heart leaps. She believes him. He loves Ms. Magnuson. Linda begins to draw a quick map. LINDA -LRB- CONT'D. -RRB- Do you know how to follow a map? JIMMY Yes. I can even read star maps. LINDA -LRB- drawing. -RRB- This shows how to get to my home. I'm giving you back roads and footpaths, so there's less chance of you being seen. She takes a key out of her purse. LINDA -LRB- CONT'D. -RRB- This is the key to my back door. I'll meet you there when school lets out. Jimmy takes the map and key and goes to the window. LINDA -LRB- CONT'D. -RRB- I'll go out and occupy the Principal. -LRB- smiles. -RRB- I never saw you leave. Okay? Jimmy opens the window - and lowers himself out.",
"EXTERIOR - SCHOOL BUILDING - DAY Jimmy drops down from the window - behind some low bushes and a tree outside the window. Free - he takes in some breaths of clean, fresh air. Looks both ways to see no one's around. and starts across the school grounds. toward the gate. Sneaking out to the gate now, Jimmy hugs the building. The grounds deserted - all the other kids back in class. Suddenly, Jimmy SEES his PARENTS' CAR coming down the road. Jimmy presses close to the wall - and watches as his parents' car parks in the visitor's parking lot. Then he starts to run - through the teacher's parking lot. Jimmy's almost around a van - when he sees Mr. Cross, the Principal, coming toward him headed for his car. Nowhere to go - Mr. Cross is going to see him any second. The door on the van he's hiding behind stands open. Jimmy hops in - just before Mr. Cross turns the corner.",
"INTERIOR - VAN - DAY Jimmy can HEAR Mr. Cross go by. MR. CROSS'S VOICE Good afternoon, Mrs. McKeltch. Enjoy your weekend. Jimmy freezes - Just as he leans forward to climb out of the van - someone outside touches the sliding van door and SLAMS it shut. Jimmy's trapped. He scrunches down behind the jump seats. The front door opens and someone gets in. MRS. McKELTCH! His heart stops. She does n't see Jimmy. She starts the van and pulls out of the lot. They start driving - Jimmy stowed away, unseen.",
"INTERIOR - VAN - DRIVING Mrs. McKeltch drives along the highway - then a country road. Jimmy sneaking peeks at her from in back - can SEE the Band - Aid hanging loose - revealing the MARK at the back of her neck as she drives. Mrs. McKeltch drives on further. Then slows the van - and pulls off the country road. Driving into the woods.",
"INTERIOR - HALL OUTSIDE LINDA'S OFFICE - DAY Jimmy's Mom and Dad - Dad's furious with Ms. Magnuson. DAD What do you mean - gone? What the hell kind of a nurse are you, anyway? LINDA I'm sorry, Mr. Gardner. I was out of my office for a minute and when I got back - he was gone. Linda is studying him - and his wife carefully. He still has the Band - Aid on the back of his neck. Linda SEES it. Dad looks at Mom - DAD -LRB- CONT'D. -RRB- What did he talk to you about? LINDA He was upset with moving, I believe. DAD Is that all he said? LINDA Why, yes. Why? Dad exchanges another look with Mom - and they leave, brusquely. Linda left standing in the hall.",
"INTERIOR - VAN - DAY From where he's hiding Jimmy can see only UP ANGLES of trees and sky. Mrs. McKeltch stops the van and gets out. Jimmy waits - then crawls up to look out the driver's side window. He sees Mrs. McKeltch walking away through the woods toward a HILLSIDE. Jimmy continues to watch as Mrs. McKeltch stops before some sort of TUNNEL. She goes in.",
"EXTERIOR - FOREST - DAY Jimmy lets himself out of the van and follows along the path Mrs. McKeltch took. He comes to the mouth of the TUNNEL. Eight feet high. Jimmy can HEAR Mrs. McKetlch WALKING down the tunnel's length. He follows her.",
"INTERIOR - TUNNEL - DAY The SOUND of Mrs. McKeltch's FOOTSTEPS in the tunnel. Jimmy looks at the tunnel walls. They're frozen BUBBLES of some kind - as if the tunnel was formed by melting. Following, Jimmy notices that it's not getting any darker. There's a light - red colored - up ahead. Hugging the wall. hiding behind rocks. Jimmy follows. Ahead, he hears Mrs. McKeltch's footsteps come to a HALT. He PEEKS around the corner. and SEES. Mrs. McKeltch standing in the half - red light - met by TWO 7 FOOT HIGH CREATURES. Part MACHINE, part FLESH - Their arm and leg appendages - metal. Their mid - section - electro - mechanical. Their HEADS - large box - like things - with something inside - floating in liquid and visible through a window. The thing inside is BRAIN - LIKE. A small STRUCTURE, constantly changing - forming and re - forming itself. Delicate TENDRILS grow out from the edges, and an EYE, of sorts, floats over the surface of the brain - flesh. They escort Mrs. McKeltch through a rectangular door in the tunnel. Jimmy waits till they clear - then sneaks up.",
"INTERIOR - TUNNEL DOOR - DAY Jimmy sneaks up to the door he saw Mrs. McKeltch disappear through. It's machined, reddish metal and plastic - set flush with the tunnel. The door itself is a door set in the side of some larger object - a ship? Jimmy listens at the door. From inside he hears a heavy RUMBLING. Jimmy hesitates a moment - steeling himself - then goes in.",
"INTERIOR - SHIP - DAY A bronze/green light on the machined walls. Cold, austere, and no one around. The ship appears to be built - inside - in the form of a SPIRAL - like a sea shell - long, curving ramps and translucent bronze walls. The only corridor leads - down - to a small ROOM. Through the semi - transparent WALL, Jimmy can SEE into the ROOM.",
"INTERIOR - ROOM - DAY Mrs. McKeltch is standing before a CONSOLE - or ALTAR. The 7' Cyborgs stand on either side of her, like two escorts. LOW, LOOMING ANGLES of Mrs. McKeltch - waiting in front of the altar. As Jimmy watches, two heavy metal SHUTTERS slide open to reveal - The SUPREME INTELLIGENCE The same sort of brain tissue as in the Cyborgs - but LARGER and more active. Swimming in a perfect, glass sphere - the brain has the IMPRESSION of a FACE on it. Slitted eyes with heavy lids, no mouth - the brain - face is capable of registering RAGE, cool ALARM, irritation, and lightning THOUGHT, that is transmitted to its agents. Mrs. McKeltch appears drugged - mechanically responsive to this controlling thing. As Jimmy watches - it TESTS her. Like checking out a circuit board - Mrs. McKeltch responds to slight movements of the eye in the box. She raises one arm - then another. Looks left - looks right. Opens her mouth. MRS. McKELTCH -LRB- speaks vowels. -RRB- Aa. Oh. Ee. Oo. A pause - a SILENCE settles over the ship. Jimmy feels it - and interruption in the exchange between Mrs. McKeltch and the INTELLIGENCE. The eye in the thing on the altar starts to move about - RAPIDLY - as if searching the area for something. Jimmy ducks down. Jimmy freezes. Looks back at the open door in the ship. Two CYBORGS begin moving toward the open door. Mrs. McKeltch starts RUNNING in Jimmy's direction. Jimmy runs - underneath the grasp of a Cyborg - out of the ship - and down the tunnel. Running faster than he's ever run in his life.",
"INTERIOR - TUNNEL - DAY Jimmy running - can SEE the light ahead at the end of the tunnel -",
"EXTERIOR - FOREST - HILLSIDE - DAY Jimmy comes bursting out of the tunnel opening. He marks its location in his mind with reference points. Two nearby trees - a large rock outcropping - and then continues RUNNING. Down the hillside - through the forest - Trying to orient himself as he runs. He stops and sees his house a quarter of a mile to the left. The tunnel opening is in the same ridge that runs in back of his house! To the right should be the road leading to Linda Magnuson's house. He stops and hides behind a bush, taking a breather, and checks the map Linda drew for him. Linda's house is just a half mile down the road from his. He reaches the road and starts running for Linda's.",
"EXTERIOR - ROAD - AFTERNOON Jimmy can see Linda's house up ahead. Her car in the driveway. Jimmy runs around to the side of her house. Looks in the window. Sees Linda - alone - in the house. He runs to the back door and pounds on it. Linda opens it. JIMMY Ms. Magnuson! Ms. Magnuson! I found them - they're down in the tunnels! Linda tries to calm him down. LINDA Jimmy, calm down! What happened? Tell me what happened! JIMMY -LRB- nearly incoherent. -RRB- I got trapped in Mrs. McKeltch's van - and she went to the tunnel and went down there with them - behind my house. I saw them. LINDA Where, Jimmy? JIMMY Behind my house, up on the ridge. LINDA If we go and look and there's nothing there, you'll have to admit to me that this is all in your mind. Jimmy catches his breath, then nods. JIMMY Yes.",
"EXTERIOR - ROAD - AFTERNOON Linda parks her car out of sight - off the road at a spot Jimmy shows her. They get out and start toward the top of the ridge. Jimmy leading the way, cautiously. Jimmy sees the two large trees, the rock outcropping. JIMMY This is the spot. Linda looks around for something - anything. There's nothing. No tunnel opening. No sign of anything wrong. Jimmy looks too. Disturbed. JIMMY -LRB- CONT'D. -RRB- This is where it was - the tunnel opening. LINDA -LRB- gently but firmly. -RRB- I do n't see anything. JIMMY No, but it was here. He goes over, as she watches, and feels the side of the hill. Solid and undisturbed. Grass growing out of where the tunnel opening has to be. JIMMY -LRB- CONT'D. -RRB- It is n't here. It's gone. Linda looks at him skeptically. JIMMY -LRB- CONT'D. -RRB- I swear it was here. LINDA But it's not, Jimmy. JIMMY No. LINDA Let's go look at the sand pit behind your house. The mention of the place produces a feeling of dread in Jimmy. JIMMY They'll get us. LINDA We'll be very careful. But we have to see. -LRB- she studies Jimmy. -RRB- If something landed there, there would be a big scar in the ground. Would n't there? Jimmy nods. LINDA -LRB- CONT'D. -RRB- Let's go.",
"EXTERIOR - HILL - LATE AFTERNOON Jimmy and Nurse Magnuson are climbing toward the crest - along a different path than the one leading from Jimmy's back yard. JIMMY -LRB- whispers. -RRB- Be careful. Please be careful. Linda nods. Her face serious and alert, glancing around.",
"EXTERIOR - CREST OF HILL - NEAR SUNSET Jimmy's heart is in his mouth. Down below, they can see his house. Looking the other way - THE PIT. It lies before them - undisturbed. The sand smooth and white. LINDA -LRB- holds his hand. -RRB- Does it look to you like anything landed here? JIMMY -LRB- looking around. -RRB- Maybe - it landed in the bushes. Two figures against the orange sky. A wind blowing. Big fleecy clouds in the sky. LINDA -LRB- kindly. -RRB- Jimmy - we're already in trouble, both of us, because of me helping you run away. Now, I can make up a story that will smooth things over. Your house is right down there. Why do n't you let me take you home, and tell your parents something that will make them not be mad at us? He looks up at her. Holding her hand. She's still in her white nurse's uniform - beautiful. Every young boy's vision of a protector. Jimmy looks down at his house. At that moment, a blue AIR FORCE PICKUP pulls up in front of Jimmy's house. He gasps and jerks his head down. He and Linda peek through the bushes. As they watch, TWO AIR FORCE MEN go and knock at the front door of the house. The door is opened by Dad. He talks with them awhile - then POINTS up the hill - seemingly directed at Jimmy and Linda, which makes them duck back down. The AIR FORCE MEN start up the hill. They have some sort of detector with them that Jimmy can see. They sweep the ground as they walk. Closer now to the crest of the hill. As Jimmy and Linda watch, the two Air Force MEN reach the crest of the hill - and go down to the sand PIT. 50 yards across. Their instrument - counters perhaps registering something. They fan out - walking out onto the sand. Their backs to each other. Jimmy - watching - is almost afraid to breathe. Suddenly - as Jimmy and Linda look on - the GROUND OPENS UP beneath one of the men. A VORTEX OF SAND under his feet - PULLING him - swiftly and wordlessly - DOWN. GONE under the sand. The OTHER MAN - hears the gasp. Turns swiftly - gets the same surprised look on his face. He is SUCKED DOWN. Both gone now. The sand SMOOTHS OVER as though it had never been disturbed. Linda and Jimmy look at each other. Jimmy and Linda - RUN for the car.",
"INTERIOR - LINDA'S CAR - SUNSET Linda tries to start the engine. It has trouble catching. She grinds the engine - it falters. Panicked now - she pumps the gas pedal. Cranks the car - it wo n't go. Nearly hysterical - she pounds the steering wheel. Jimmy watches. Still the car wo n't go. Suddenly they see the Air Force PICKUP coming down the road. Jimmy and Linda freeze.",
"EXTERIOR - ROAD - DUSK The AIR FORCE PICKUP - with the TWO MEN in the front seat - looking as if nothing's happened - drives by. No sign from the men that anything's wrong. The pickup goes around the curve in the road. Jimmy and Linda look at each other.",
"INTERIOR - COLONEL'S OFFICE - NIGHT LINDA Afterwards the two Air Force men came back in their truck. They drove by us like nothing had happened. Now they're on the base. I saw them. Jimmy nods. It's all true. Wilson looks at Sgt. Rinaldi. SGT. RINALDI -LRB- to Col. Wilson. -RRB- That would be Hollis and Johnson. They were assigned to ground search in this area.",
"EXTERIOR - ROAD - DUSK Linda tries the car again. Now it roars to life. Linda gets it back on the road and drives away quickly. JIMMY What are we going to do now? Linda's silent - thinking. She turns down several roads - arriving at some streets in a residential neighborhood outside town. JIMMY -LRB- CONT'D. -RRB- Where are we going? Linda gets to the corner - about to turn onto the street. They see a POLICE CAR parked in front of her house. Waiting. JIMMY -LRB- CONT'D. -RRB- No, no! The cops are with them! Linda drives through the intersection - and keeps going.",
"EXTERIOR - MARKET PARKING LOT - TOWN - EVENING Linda pulls into a full parking lot - finds a place. LINDA Stay here. I'm going to make a phone call. JIMMY Who are you calling? LINDA The State Police. Linda gets out and walks toward a Public Telephone behind the market. Jimmy slinks down onto the front seat, out of sight.",
"INTERIOR - PUBLIC TELEPHONE - NIGHT Linda drops in 20c and dials 411. LINDA -LRB- into phone. -RRB- Yes, I'd like the number of the State Police in Denver, please. -LRB- waits. -RRB- Yes, thank you. -LRB- jots the number on the back of the phone book. -RRB-",
"INTERIOR - LINDA'S CAR - NIGHT Jimmy's looking up - through the open window at MRS. McKELTCH. MRS. McKELTCH -LRB- staring at him - hard. -RRB- There you are! Everyone's looking for you! Panicked, Jimmy slides across the front seat - and jumps out of the car from the driver's side. Runs away. Mrs. McKeltch trying to follow him. MRS. McKELTCH -LRB- CONT'D. -RRB- Wait! Jimmy runs into an alley - off Main Street. Jimmy's a fugitive in the small town. He darts out of the alley - onto Main Street.",
"EXTERIOR - MAIN STREET - JUST DARK Jimmy slinks along the sidewalk like a criminal. Looking for a place to duck into. Nothing's open in this part of the block. Suddenly, up ahead, he sees a COP. Walking in his direction. Jimmy freezes - looks back. MRS. McKELTCH coming up on him from behind. Suddenly, a car pulls up next to him - a white Ford. The passenger door pops open. LINDA Get in the car. Jimmy gets in and she pulls away.",
"INTERIOR - CAR - NIGHT Linda, thinking as she drives. JIMMY Did you call the State Police? LINDA All their lines were busy. Linda looks bothered by that. She's driving out of town, while trying to think where to go. Up ahead, parked under the lights of a filling station, is a POLICE ROADBLOCK. A cop talking to a motorist. Linda turns off onto a side road. LINDA There's one place we can hide, while we call the FBI.",
"EXTERIOR - THE SCHOOL - NIGHT Deserted at this hour. Linda pulls up. LINDA No one comes here after dark. JIMMY Hide the car. Linda pulls off the road, rolling across the grass and dirt.",
"EXTERIOR - ROADSIDE - NIGHT Linda parks the car behind some trees and hedges. Not visible from the road. She and Jimmy get out - and cross the road. Headed for the school.",
"EXTERIOR - SCHOOL BUILDING - NIGHT Linda unlocks the door and they go in.",
"INTERIOR - SCHOOL BUILDING - NIGHT Linda unlocks the office. Deliberately avoids turning on lights. Jimmy follows her in. Hard to see in the dark office. She goes for the phone. The phones have LOCKS on them. Linda tries to undo the lock. No good. LINDA -LRB- frustrated. -RRB- Damn. JIMMY I know a way. He takes the phone from her hand. JIMMY -LRB- CONT'D. -RRB- What's the number? Linda takes the slip of paper from her purse and gives it to him. The phone is a dial - type rather than pushbutton. Jimmy positions his index finger carefully over the cradle button - and begins TAPPING out the number. TAP TAP TAP - pause - TAP TAP TAP TAP TAP TAP TAP TAP TAP TAP - pause - TAP TAP TAP - tapping out each number in the exact rhythm the dial would make. Linda watches, amazed. The phone starts RINGING in Jimmy's ear. He hands it to Linda. She puts it to her ear. The line on the other end is picked up. VOICE ON PHONE -LRB- V.O. -RRB- `` All circuits are busy at this time. Please try again later.'' LINDA -LRB- looks at Jimmy. -RRB- Still busy. JIMMY -LRB- remembering. -RRB- There was this guy with Dad. who said he worked at the telephone switching division. Car HEADLIGHTS sweep the parking lot. The CRUNCH of gravel outside. Linda looks out the window. A cop car has parked in the school lot. Two OFFICERS coming toward the building. LINDA -LRB- grabs Jimmy's hand. -RRB- This way.",
"INTERIOR - HALLS - NIGHT Linda and Jimmy running down the darkened halls. Jimmy sees a door leading to the basement. Linda pulls open the heavy fire door. They make their way down the metal stairs - into the bowels of the school.",
"INTERIOR - SCHOOL FURNACE ROOM - NIGHT Huddled in the furnace room. A ruddy glow coming from behind the large furnace doors. A slight RUMBLING from the boilers. Moving through the floor above they can hear FOOTSTEPS. Doors OPENING and CLOSING. A quick search going on. Then the feet leave. The outside door SLAMS SHUT. The COPS are gone. Linda and Jimmy breathe easier. Linda looks upset. JIMMY What is it? LINDA I do n't know. I do n't know what I'm doing here - Linda's doubts emerging - unsure what she's doing. JIMMY But you saw - the men go under the sand. LINDA Yes. yes, but I'm not sure what I saw anymore. Just then - they hear a new, strange RUMBLE. DEEPER than the boiler and all around them. JIMMY -LRB- listening. -RRB- What's that? Linda looks at the FLOOR of the furnace room. Concrete. It begins to CRACK. then HEAVE. They both fall back against the stairs. The floor ERUPTS. - CRACK. A GLEAMING bronze - red METAL POD rears its head. Alien technology no human has ever seen - rising up on a shiny, metal telescoped neck - flexible, capable of rotating a full circle - it confronts them. A ruby red eye in the tip. It all but HISSES, cobra - like. Thrashing around. Grabbing for light and air. Jimmy SCREAMS. The thing takes note - and like a finger withdrawn reflexively from a hot stove, it RETRACTS. Slithering back down into the floor - like a giant roach. As suddenly as it appeared - it's gone. Shaking like a leaf - Jimmy goes over to the torn up section of the floor. A gaping hole - going down 10 feet - the entrance to an underground tunnel. LINDA Do n't go in. JIMMY I'm not. -LRB- backs off. -RRB- They must be tunneling under the whole town. LINDA We ca n't do this alone. We've got to get help. JIMMY -LRB- remembering. -RRB- There was a man named Colonel Wilson, from the Air Force Base. He was talking in our class. He said we could visit him any time we wanted. I'll bet he could do something. LINDA Let's try. She takes his hand and they run up the stairs, leaving the gaping hole in the basement behind them.",
"INTERIOR - CAR - NIGHT Linda Magnuson driving like a madwoman. She looks at her watch.",
"INTERIOR - COL. WILSON'S OFFICE - NIGHT Col. Wilson is sitting back in his chair. Staring at his desk. Slowly tapping the eraser end of his pencil on the desk. Jimmy and Linda watch him intently. Waiting for a response. JIMMY -LRB- fearful. -RRB- Colonel Wilson - whatever is supposed to happen - it's supposed to happen at midnight. They all look at the wall clock. 11:20. LINDA I assure you - it's true, Colonel. Their conviction is enormous. But the story is mind - boggling. Wilson looks at them - then at Sgt. Rinaldi. COL. WILSON -LRB- shakes his head. -RRB- I can see that you're sincere, but I'm sure you can understand how hard it is to believe this story. The BUZZER in the Colonel's office buzzes. He flicks the switch. AIDE'S VOICE Colonel, Lts. Hollis and Johnson are here to see you, sir. Wilson, suspicion growing ; looks at Rinaldi.",
"INTERIOR - THE COLONEL'S RECEPTION AREA - OUTSIDE Lts. Hollis and Johnson, the men we saw at the pit, are waiting to go in. Sidearms in the holsters. COL. WILSON'S VOICE -LRB- after a beat. -RRB- - Send them in. The Colonel's AIDE -LRB- CURTIS -RRB- nods for them to go in. Lts. Hollis and Johnson - very grim - go in.",
"INTERIOR - COL. WILSON'S OFFICE - NIGHT The door swings open. The Colonel at his desk - seemingly alone in the room. Hollis and Johnson step inside and draw their service weapons. Rinaldi immediately jumps them from behind the door - knocking the guns away. Rinaldi gets the drop on them. Two M.P.s rush into the office - guns drawn on Hollis and Johnson. RINALDI You two are under arrest. Hollis and Johnson are dragged to their feet by M.P.s. COL. WILSON Now you two are going to tell me what this is all about. Before he can go further Johnson and Hollis get a peculiar look on their faces. They GRAB the back of their heads - and CRASH to the ground - SPASMING. Wilson looks shocked. Sgt. Rinaldi kneels over them. Feels for the pulse in their necks. RINALDI -LRB- looking up ; astounded. -RRB- They're dead. Jimmy and Linda come out of the Colonel's lavatory where they were hiding. They look at the two bodies. Wilson looks at them - then at the two bodies. The backs of their necks! He and Rinaldi are looking at TWO RED SPOTS on the necks of Hollis and Johnson. Rinaldi meets the Colonel's eyes. Shaken. Linda and Jimmy turn away from the sight. CURTIS, the Colonel's aide, comes in. With him - more of the Colonel's men. Wilson looks at the wall clock. 11:26. It takes him only a second to leap into action. COL. WILSON Close the base. Seal the perimeter. Alert base security. Curtis jumps to. COL. WILSON -LRB- CONT'D. -RRB- -LRB- to Rinaldi. -RRB- I want these two men taken to sick bay and autopsied. Colonel Wilson looks at Jimmy. My God, is it true? The Colonel walks to his windows and opens the levelor blinds. He looks out at something. In the distance - bathed in SPOTLIGHTS - is a ROCKET of some kind. The Colonel stares at it - joined by Rinaldi. Both of them thinking now. Jimmy goes over - looks also. Now Jimmy sees it - a gleaming ROCKET being prepared for launch. Awash with lights. JIMMY What's that? The Colonel does n't answer - looks at Rinaldi. They're joined by several CIVILIAN and Air Force TECHNICIANS. TECHNICIAN What's going on? COL. WILSON We've sealed the base. I'm increasing security around the launch. TECHNICIAN #1 -LRB- alarmed. -RRB- Is something wrong? COL. WILSON I'm not sure. The Colonel looks at Jimmy - who's waiting for an explanation. COL. WILSON -LRB- CONT'D. -RRB- -LRB- to Jimmy. -RRB- We have a launch scheduled for tonight. We thought, by launching it from here, we could minimize publicity. Jimmy looks at him - still does n't understand. COL. WILSON -LRB- CONT'D. -RRB- We're disguising it as a military satellite launch. Only it's not a satellite. Jimmy and Linda look at each other. COL. WILSON -LRB- CONT'D. -RRB- -LRB- nods to the Tech. -RRB- Go ahead. Tell them. TECHNICIAN #1 It's a soft landing mission. JIMMY Where's it going? TECHNICIAN #2 To Mars. JIMMY -LRB- eyes wide. -RRB- Mars! The Colonel shoots Jimmy a glance. LINDA What will the rocket do? The Colonel nods for the Technician to explain. ENGINEER It will explore a 50 - mile square of Mars - looking for life. It's designed to retrieve samples from beneath the Martian surface, down to 200 feet. COL. WILSON Earth and Mars are in this relative position only once every 20 years. TECH #2 -LRB- getting concerned. -RRB- We have to launch tonight. Linda looks puzzled. LINDA You're looking for life? JIMMY They did n't find any signs of life on the Viking missions. SCIENTIST That's why we're looking beneath the surface this time. Something might be able to live down below. Silence. A thought forming. COL. WILSON And if it does - it might not want to be found. LINDA -LRB- realizes. -RRB- The tunnels. Colonel Wilson and Rinaldi look at each other. COL. WILSON -LRB- faces Jimmy and Linda. -RRB- There's something you two should know. Two nights ago there was a very large meteor fall on our radar - but no reports of a strike. We were on full alert for an hour, and we've had search teams out, looking for a sign of some kind of impact or landing. Hollis and Johnson were the ground team assigned to your area. The Colonel goes back to the window - looking out at the rocket being readied. COL. WILSON -LRB- CONT'D. -RRB- I want every man on the base checked. I want updates every five minutes from launch control. The clock on the wall reads 11:56.",
"INTERIOR - NUCLEAR POWER PLANT/GRID STATION - NIGHT Jimmy's MOM and DAD walking down the hall toward the main room. Past the `` Danger - Radiation'' signs. Past the `` Restricted Access'' signs. George walks by a fellow worker in the hall. FELLOW WORKER -LRB- surprised to see him. -RRB- George - you're here late. George smiles and keeps walking. Mom pacing him. They get to the GUARD DESK before the main control room. HENRY, a private security guard, looks up. HENRY Mr. Gardner - I did n't expect you tonight. GEORGE -LRB- smiles coldly. -RRB- I have some work to do. This is my wife. Henry looks at them. George starts to take out his I.D. badge. HENRY That's not necessary, Mr. Gardner. Go right in. George nods and goes into the main control area with his wife. MOM PICKS UP A WRENCH.",
"INTERIOR - CONTROL ROOM - NIGHT 11:59 on the wall clock. Dad goes directly to the computer tape drives and puts on a reel all his own. The TECHNICIAN in charge watches him. TECHNICIAN What's this, George? GEORGE It's a simulation tape I have to run. The Technician watches as George finishes inserting it - and hits the RUN button. Dad leaves the computer - Mom following him - Walks - grimly - to the MAIN control desk. KARL, the night operator, looks up to see George - just as the ALARM BELLS start to SOUND. George towers over him. KARL -LRB- looks at the board ; then at George. -RRB- What?! A ROLLING BLACKOUT showing on the board. The whole system - CRASHING. JIMMY'S MOM KNOCKS THE MAN OUT! - while Dad grabs control of the board. Jimmy's Dad starts flicking switches - defeating the system. SIRENS WHOOPING - people running around in the room. TECHNICIAN -LRB- shouts. -RRB- Henry. Guards! in here! Security personnel start running toward Dad at the main board. Mom tries to hold them back. The LIGHTS FLICKER - and go off - Come back on as auxiliary power kicks in. The Guards - and other personnel - wrestle Jimmy's Dad away from the board. Dad watches as INFORMATION CONSOLES light up. `` ADP'S HAVE FAILED.'' Then - a momentary pause - TECHNICIAN -LRB- shocked. -RRB- Dammit! Plant # 2! The damping rods just went in! Both reactors are out! They drag Jimmy's parents away - under arrest. Mom and Dad exchange a look - impassively. The GIANT ELECTRONIC DISPLAY above them shows a complete CRASH of the Power Grid. TECHNICIAN -LRB- staring at board. -RRB- It's a shut - down - a complete shut - down - Christ Almighty! Jimmy's Mom and Dad are dragged out of the room - hardly resisting.",
"INTERIOR - BELL TELEPHONE SWITCHING CENTER - NIGHT ED, the man we saw with Jimmy's Dad, is busy at work - Short - circuiting massive ARRAYS of switching equipment. He goes about it slowly - methodically - mechanically. The LIGHTS in the phone center - flickering on - and off. Ed - finished with his work - stands back. PEOPLE rush in - look aghast at what he's done. Ed's seized - not resisting - and dragged out.",
"INTERIOR - POLICE STATION - NIGHT The lights out in the main room. COP What's wrong with our goddamn generators?! Get them turned on. EMERGENCY - battery powered - lights come on. The Chief looks away from the bright beams of light coming from the heavy duty flashlights. The wall clock reads 12:01. Another COP slams down the phone. COP #2 Chief - the phones just went out. CHIEF -LRB- addresses his men. -RRB- Calm down! And SHUT UP! They're all listening now. CHIEF -LRB- CONT'D. -RRB- I want this town sealed tight. No one in or out - they'll be no looting during this crisis. OFFICER Chief - we're not going to have any looting - and the power will be back in a few minutes, probably. CHIEF -LRB- snaps. -RRB- That's a direct order, Smith. I want everyone armed with riot weapons. Set up roadblocks on all the main arteries. The OTHER COP we saw out at Jimmy's place exchanges a look with the Chief. OFFICER KENENY You heard the Chief, boys. Let's get to it. They all file out - carrying shotguns. We SEE a THIRD COP going out - as he does he RUBS his neck.",
"EXTERIOR - POLICE STATION - NIGHT The police PEEL OUT.",
"EXTERIOR - COLONEL WILSON'S OFFICE - NIGHT The lights flicker - and go out. COL. WILSON Go to base auxiliary power.",
"EXTERIOR - LAUNCH SITE - NIGHT Two Air Force MEN run toward the rocket in the darkness. YELLING all around in the b.g. about the lights. They're intercepted by security. SECURITY MEN Halt! They continue. One of them THROWS something at the base of the rocket. It EXPLODES. Security forces dive at them - knocking them off their feet. Lights start coming back on. The two MEN are dragged to their feet. They stand only a second - until they each grab the back of their heads and crumple to the ground before the amazed security troops.",
"INTERIOR - COL. WILSON'S OFFICE - NIGHT The lights coming back on. As they do : a SERIES of EXPLOSIONS rock the base. Rinaldi runs to the windows. RINALDI Looks like the runways, Colonel. Curtis is getting walkie - talkie reports. The entire room full of people now. CURTIS Launch security reports two men stopped trying to damage the rocket. TECH #1 -LRB- alarmed. -RRB- Do they have any damage? CURTIS They're running checks now. TECH #2 -LRB- getting reports on headgear. -RRB- Telemetry and tracking reports radar temporarily out. Reports streaming in now - the place turning into bedlam. COL. WILSON Do we know what caused the power blackout? CURTIS -LRB- shouting back. -RRB- It looks widespread, sir. A rolling blackout that started with the power company. COL. WILSON -LRB- barks. -RRB- Get me a status report on our aircraft. Do we have anything up top right now? FLIGHT OFFICER An F - 4 on approach. He's out of fuel, sir. Coming down. COL. WILSON Are we in radio contact with him? FLIGHT OFFICER -LRB- nods affirmative. -RRB- He says it looks like the whole state is out. A grim OFFICER -LRB- Communications -RRB- approaches Colonel Wilson. COMMUNICATIONS OFFICER Sir, base communications are out. It'll take us an hour to get up. Cheyenne knows we're not hit. Their sensors will tell them that but we're out of touch. COL. WILSON -LRB- to Flight Officer. -RRB- Scramble what we can. We'll use our planes as a radio link. RINALDI Flight operations reports heavy damage to runways 2 and 4, sir. For the time being we're down across the board. COL. WILSON Christ - More reports come in through walkie - talkies. COL. WILSON -LRB- CONT'D. -RRB- What about our phones? CURTIS They're out. Separate problem with the long distance lines. COL. WILSON -LRB- more frustrated. -RRB- Christ! The Launch engineers are getting damage reports. TECH #1 -LRB- to Wilson. -RRB- I'm going down to the launch site and check firsthand. Wilson nods. He starts out. TECH #3 Launch center reports their computer updates are suspect because of the power failure. ENGINEER -LRB- looks up from base phone. -RRB- Telemetry and tracking are tied to external power. We ca n't launch. It looks like a scrub. COMMUNICATIONS OFFICER Sir, operations reports base radar back in service. COL. WILSON Anything coming in? OFFICER Negative, sir. RINALDI They're already here. Wilson looks at Rinaldi. COMM OFFICER Also, sir, base security just arrested two technicians trying to steal equipment in the middle of the blackout. COL. WILSON Steal? What? COMM OFFICER Copper wire, sir. A lot of it was loaded onto a base truck. COL. WILSON -LRB- baffled ; bothered ; shakes his head. -RRB- Copper wire?",
"INTERIOR - AUTOPSY ROOM - SICK BAY - NIGHT Two teams of AIR FORCE SURGEONS are operating on the corpses of Hollis and Johnson, each of whom lies face down on a stainless steel table. Slowly - painstakingly - a surgeon removes a long needle from the back of Hollis' NECK. Everyone stares hard as he holds it up. The surgeon wipes blood from it. The NEEDLE is extremely narrow - the color of gleaming BRONZE - with a tiny, radiant CRYSTAL glowing on the tip of it. The surgeon carries it over to a work bench. As he passes an electric pump, the needle gives a slight RINGING SOUND and the crystal GLOWS. Startled, the surgeon passes the needle around the electrical pump. The needle fluoresces brighter and softer as he moves it. EVERYONE gathers round. The surgeon WAVES the needle around. It reacts when it's near a TELEPHONE. a LIGHT SOCKET. near people's HEADS. He puts it next to an FM RADIO. Turns on the radio and tunes the dial. The NEEDLE REACTS to every setting on the dial. until, at one setting, the needle gives a tiny BANG! and a FLASH - and the surgeon drops it, grimacing. The surgeon flaps his hand. His teeth clenched with pain. His GLOVE is burned through, and his FINGERTIPS are blackened, with wisps of smoke rising from them. The needle, on the floor, is still intact.",
"INTERIOR - COLONEL'S OFFICE - NIGHT The Communications Officer holds a phone for Wilson. COMM OFFICER They just finished the autopsy on Hollis and Johnson. -LRB- relaying from other end of call. -RRB- They say they've removed an `` electronic pin'' from the base of both Hollis and Johnson's brains. The thing was capable of receiving radio signals. It triggered a cerebral hemorrhage in both of them - on command. A crushing statement for Jimmy. JIMMY -LRB- to Colonel Wilson. -RRB- Then my Mom and Dad. Jimmy looks around at Linda, Colonel Wilson. Everyone. No one says anything. Linda puts her arm around Jimmy. COL. WILSON Jim - can you take us to that place - the sand pit? Jimmy nods yes. COL. WILSON -LRB- CONT'D. -RRB- -LRB- to another Officer. -RRB- Are the jeeps and half - tracks okay? TRANSPORT OFFICER Ready to go when you are, sir. COL. WILSON -LRB- to Jimmy. -RRB- A base like this has troops stationed on it to ensure its security. We're not out of options yet. Colonel Wilson turns to Rinaldi. COL. WILSON -LRB- CONT'D. -RRB- Let's roll, Rinaldi. Curtis. Everyone we can muster, goes. RINALDI -LRB- saluting. -RRB- Yes, sir. LINDA Colonel - the tunnel under the school. COL. WILSON Curtis, you take a platoon of men and head for the school. Enter the tunnel and move forward to the extent possible. CURTIS Yes, sir.",
"EXTERIOR - BASE - NIGHT Jeeps, TRUCKS, Air - Force MEN and TROOPS piling in. The trucks start to roll. Weapons being cleared. armed. Out the gates and onto the highway at night.",
"EXTERIOR - JEEP ON ROAD - NIGHT The Colonel, Jimmy, Linda - and Rinaldi driving. Two SOLDIERS in back. Out in front - two armored JEEPS with heavy, mounted MACHINE GUNS and troops crammed in. Behind them - truck upon truck. rolling. At a fork in the road - the convoy slows. CURTIS - in an armored jeep with his men pulls up alongside Jimmy's jeep. COL. WILSON -LRB- to Curtis. -RRB- Let's get those masks on. The troops start putting on GAS MASKS. COL. WILSON -LRB- CONT'D. -RRB- -LRB- hands a gas mask to Jimmy. -RRB- Better put this on. -LRB- to Linda. -RRB- You too. Curtis gives Wilson a snappy salute - Wilson returns it - and Curtis heads off for the school with his gas - masked men in trucks behind. Jimmy, Linda, and the Colonel proceed on - most of the troops and equipment with them. Everyone gas - masked. LATER - ON ROAD Colonel Wilson and Jimmy see a ROADBLOCK ahead. They come screeching to a halt. The two COPS and the CHIEF halt them. Wilson's half - track pulls forward - all the engines running. JIMMY -LRB- to Col. Wilson. -RRB- He's one of them. THE CHIEF No one allowed through. COL. WILSON This is official government business. The Chief suddenly FIRES HIS SHOTGUN at them. It SCATTERS on the armor plating of the half - track. Col. Wilson's men OPEN FIRE - with GAS CANISTERS - which EXPLODE, filling the road with billowing white SMOKE. The Chief and his men stagger around, and collapse. COL. WILSON -LRB- to his men. -RRB- Get those men to sick bay. Troops pile out, pick up the unconscious cops, and put them into a truck - which turns around and heads back toward base. The barricades are pushed aside and the rest of the trucks roll through.",
"EXTERIOR - ROAD - NIGHT Coming up on Jimmy's house - and the ridge behind it. JIMMY It's up there - just ahead. The Colonel's jeep pulls up onto the property in front of Jimmy's house. The two armed jeeps take up position on either side of the house. Trucks pull up. Some still rolling as troops hop out - fanning across the property. Rinaldi heading them. Jimmy pointing out the exact spot. Men and equipment tumbling out - being set up at breakneck speed.",
"EXTERIOR - ROAD TO SCHOOL - NIGHT Curtis and his jeep - and following truck - stopped by another cop barricade. SCREECH. A weird LOOK in the cop's eye - the cop we saw rubbing the back of his neck. CURTIS -LRB- shouts to cops. -RRB- You have two seconds to move that barricade. The cop pulls a gun - ANOTHER cop - one who is NOT a Martian slave - grabs the `` slave - cop's'' gun - arm. COP #2 -LRB- struggling with `` slave - cop''. -RRB- You crazy idiot! Curtis' SOLDIERS fire the KNOCK - OUT gas. Within seconds, the road is full of white gas and sleeping cops. CURTIS Pick'em up and move'em out! His troops yank aside the barricades and load the cops onto a truck. Curtis and his men - race ahead.",
"EXTERIOR - SCHOOL PARKING LOT - NIGHT Curtis' jeep and two truckloads of troops roar to a stop in the lot. Gravel and dust flying in the moonlight. They charge up the steps to the locked school doors. The lead man tries the doors - steps back and blasts the lock with his automatic weapon. The troops thunder up the steps and into the building. Curtis in the lead. Pistol drawn.",
"INTERIOR - SCHOOL - HALL - NIGHT The TROOPS go running - thundering - through the halls. CURTIS Downstairs - in the furnace room. Curtis steps back as two of his MEN tear open the furnace room door. Nothing waiting at the top of the stairs for them. They press ahead. Automatic weapons set to `` FIRE'' position.",
"INTERIOR - STAIRS DOWN TO FURNACE ROOM - NIGHT COMBAT BOOTS on METAL STAIRS. MOVE WITH the troops. One naked bulb burning and the BRIGHT BEAMS of their flashlights arc down the dark stairs.",
"INTERIOR - BASEMENT - NIGHT The old boiler rumbling, still raising steam and the open incline leading to the tunnel MOUTH. EERIE red glow. The TROOPS surround the opening - weapons trained on the tunnel entrance. The floor is broken in an incline - leading down to the slit where the tunnel starts. Curtis goes down the incline. Two MEN follow. The three stare into the tunnel opening. 6 - 8' in diameter. - Their beams reveal that the walls are glass - like BUBBLES, as if some powerful ray had melted the earth itself. The tunnel goes on as far as their beams can reach. CURTIS -LRB- shouts up. -RRB- All right men. Let's go. Curtis leads them into the tunnel.",
"EXTERIOR - SCHOOL - NIGHT A LIEUTENANT shouting at the men to hurry up with the equipment. A small ARTILLERY piece they're dragging toward the door. LIEUTENANT Let's go! Let's go! The way is blocked by other equipment. CORPORAL -LRB- to Lieutenant. -RRB- It's not going to go - it's too big. Stymied. LIEUTENANT -LRB- looking around quickly. -RRB- This way! - Through the windows! He's looking at a ground floor classroom.",
"INTERIOR - CLASSROOM - NIGHT The high, paned windows - CRASH IN. TINKLE. The artillery piece is swung in on a winch and lowered into the classroom. Desks splinter. Men shoving tables and chairs out of the way - trashing the school room as they drag the piece through. The men dragging it through knock over the teacher's desk and knock off part of the blackboard - The Parts Of A Frog, written across the board - Jimmy's classroom - Part of the door frame is torn off as the piece rolls through.",
"INTERIOR - HALL OUTSIDE CLASSROOM - NIGHT A light artillery piece - ROLLING down a hall - pulled by four men - headed for the furnace room.",
"EXTERIOR - JIMMY'S HOUSE - NIGHT SEARCHLIGHTS mounted on the roof of Jimmy's house and high ground. Their powerful beams playing across the sand PIT area. No sign of activity from the PIT. Wilson, positioned on the roof, scans the pit area with powerful binoculars. Jimmy is next to him pointing out the spot while Linda watches. BINOCULAR POINT OF VIEW No sign of activity. Just undisturbed sand - the path leading up to it through the woods. RETURN TO SCENE Jimmy can see all around him - troops. The windows of his house broken out - GUN POSITIONS set up. Troops moving through the forest. A nightmare out of control.",
"EXTERIOR - PIT AREA - NIGHT The sand turned a surreal white by the brilliant arc lights on it. RINALDI arrives at the edge of the sand pit. Waves to Wilson. Starts out onto the sand. Automatic weapon cradled in one hand - and a metal probe in the other.",
"EXTERIOR - ROOF OF JIMMY'S HOUSE - NIGHT Jimmy and Colonel Wilson watch Rinaldi. Hundreds of men looking on. Jimmy and Colonel Wilson looking through binoculars. THEIR POINT OF VIEW BINOCULAR MATTE on Rinaldi - moving across the sand. Ten feet. another ten feet. Suddenly - a surprised, horrible look on Rinaldi's face. as the ground - sand - swirls in a vortex beneath him. Rinaldi drops - instantly from sight - never firing a shot or making a SOUND. Astounded, the Colonel stares. Rinaldi is - gone. He puts down his binoculars - jams them to his eyes again. The sand is smoothed over. More troops rush up to the edge of the pit. Start exploring. Colonel Wilson starts down off the roof. to join them.",
"INTERIOR - TUNNEL - NIGHT Curtis and his men - forging ahead. Their flashlight beams dance on the bubbled surface of the walls. Moving as fast as they can.",
"EXTERIOR - SAND PIT - NIGHT Troops moving all across the pit area. Colonel Wilson with them. They're probing the exact spot where Rinaldi went under. COL. WILSON Nothing? CAPTAIN Nothing. MAN WITH METAL DETECTOR We're getting nothing below. A TECHNICIAN wearing earphones linked to a receiver. TECHNICIAN We're getting a signal from the transmitter on Rinaldi. If we get a second receiver we can pinpoint his location. COL. WILSON Get going. They hustle off. Gun positions have been set up - ringing the sand pit. Colonel Wilson walks back - behind the gun positions to talk with Jimmy and Linda. An AIDE comes up to Colonel Wilson. COL. WILSON -LRB- to Aide. -RRB- Any word from Curtis? AIDE A message 5 minutes ago. They've entered the tunnel and are coming in this direction as fast as they can. The Colonel is handed another message. He reads it - looks over at Jimmy. Goes over to him and Linda. COL. WILSON We have your parents, Jimmy. JIMMY -LRB- afraid to ask. -RRB- Are they - COL. WILSON They're still alive. They're in a hospital, being operated on right now. A neurosurgeon is on his way from Denver. He should be there in an hour. JIMMY But in an hour - Linda puts her arm around his shoulder. Takes him off to talk to him. The Colonel watches them go - then goes back to the pit.",
"INTERIOR - TUNNEL - NIGHT Curtis and his men - moving ahead. They round a curve in the tunnel. The TWO lead SOLDIERS are suddenly hit by a blindingly bright XENON laser FLASH. They VAPORIZE. The next MAN - hangs back. Curtis directly behind him. The man darts out - around the bend - and opens up with his automatic weapon. TWO 7' high CYBORGS are standing around the bend. They're hit by the bullets. Their arm appendages shatter. Their mid - sections are hit. Their HEADS - the large box - like things - are HIT by BULLETS - and shattered. The two Martian things - fall - rigidly forward - FLUIDS spurting out on the tunnel ground. The fleshy, brain - like thing in the box continues forming and re - forming. The eye on the brain, running over its surface - frantically - as if trying to communicate with the SUPERIOR INTELLIGENCE. Then it stops. Curtis and his men - staring down at the things.",
"EXTERIOR - SAND PIT AREA - NIGHT Linda's comforting Jimmy. They stand off to the side - away from the main action around the pit. LINDA They'll be all right, Jimmy. They have excellent doctors in Denver. Jimmy looks up at her. JIMMY Better than the Martians? He looks around at the house - and the sand pit - all lit up. He's about to cry when - They both begin to feel something funny under their feet. HORRIFIED - Linda and Jimmy look down. The ground VORTEXES under their feet - and sucks them down. One of the Colonel's AIDES SEES. COLONEL'S AIDE -LRB- screams. -RRB- Colonel! Over here! The Colonel and several men rush over. The ground where they went down - is solid. COLONEL'S AIDE -LRB- CONT'D. -RRB- The boy and the woman - were sucked down! Like Rinaldi! TECHNICIANS -LRB- shout. -RRB- Colonel - we have a fix on Rinaldi's transmitter. They're standing at a spot - ten feet away. COLONEL All right - let's go in. Set the charges. DEMOLITION TEAMS start digging into the ground - placing explosives. Brick after brick of plastic high explosives. The Colonel and the rest of the troops back away from the spot. DEMOLITION MAN -LRB- looks up. -RRB- Set, Colonel. Whenever you say. He strings back some wires to a detonator box. COL. WILSON Lieutenant, tell our people at the far end of the pit to fire their mortars and rockets at ground targets so they wo n't be able to tell where we're coming in. The Lieutenant salutes and word is passed. VARIOUS ANGLES The troops set with mortars and mobile MISSILE launchers. The Colonel gives the signal. They OPEN FIRE - shells and rockets landing - kicking up clouds of dirt and debris. The Colonel gives the signal to detonate the charges. KA - BOOM - a column of dirt and sand goes up. They rush to the opening. Look down - and see, ten feet down, a HOLLOWED OUT SYSTEM OF CAVERNS AND TUNNELS. The same bubbled, boiled cave walls. The rest of the FIRING continuing. COL. WILSON All right, men. Let's go. Fully armed, they clamber down ladders into the tunnels.",
"INTERIOR - MARTIAN SHIP - NIGHT Jimmy comes to. Looks around. He's lying on a table in a room. MRS. McKELTCH standing over him. MRS. McKELTCH Tsk tsk tsk. Bad boy. Jimmy gasps and sits up, scooting back from her. JIMMY Where's Linda? Mrs. McKeltch turns her head and looks - through a translucent WALL. Jimmy jumps up and runs to the wall. Sees Linda - on the other side - lying face down on a transparent glass OPERATING TABLE. Two CYBORGS moving around next to her. Linda is face down - still wearing her nurse's uniform - unconscious. Her hair is pushed up off her bare neck. A GIANT MACHINE above her begins to push a CRYSTAL NEEDLE down toward the BACK OF HER NECK. CLOSING on her neck - a small spot of light illuminating the SPOT where it will be implanted - at the base of her brain. Jimmy spins around and faces Mrs. McKeltch. JIMMY -LRB- pleading. -RRB- Please do n't. Please do n't hurt her. I'll do anything you say. MRS. McKELTCH -LRB- repeating herself mechanically. -RRB- Tsk tsk tsk. Bad boy. Jimmy picks up a large object and SMASHES it down on Mrs. McKeltch's head. She collapses to the gleaming floor, squawking. Jimmy turns and runs out of the room - into the curving corridors. JIMMY -LRB- screaming. -RRB- Linda! Linda! The Cyborg in with Linda sees Jimmy - starts toward him. Joined by another Cyborg.",
"INTERIOR - TUNNELS - NEAR ABOVE GROUND ENTRANCE - NIGHT Troops still coming down the ladder as Colonel Wilson moves ahead - down the tunnel. TECHNICIAN -LRB- examining the wall. -RRB- This has been melted out, then instantly re - sealed - amazing. COL. WILSON -LRB- pushing on. -RRB- There's no time. Let's move. They turn the corner. RINALDI'S waiting for them - but not Rinaldi as we've known him. He's changed. From an ANGLE behind Rinaldi - we can SEE the spot on the back of his neck. RINALDI -LRB- slowly ; haltingly. -RRB- Stop. Go back. Colonel Wilson hesitates - ready to welcome Rinaldi - then realizing Rinaldi is - gone. One of them. Grotesque. Rinaldi tries to bring the weapon up and fire at them. Struggling against the orders of his brain implant. The men at Colonel Wilson's side - SHOOT him down. Colonel Wilson looks away a moment. Then presses on.",
"INTERIOR - MARS SHIP - NIGHT Jimmy - running through the spiral ramps - is caught by two Cyborgs. They carry him, struggling, into a ROOM at the heart of the ship.",
"INTERIOR - MARS SHIP COMMAND ROOM - NIGHT Mrs. McKeltch stands there - in front of the SUPREME INTELLIGENCE - its eyes flicker - it sends a transmission. It sees everything. MRS. McKELTCH What is your name? JIMMY You know my name. MRS. McKELTCH State your name. JIMMY I ai n't tellin' you nothin'. What's that? -LRB- means the huge mass of tissue in the sphere. -RRB- MRS. McKELTCH Young thing, you are addressing the Supreme Martian Intelligence. The massive `` brain - like'' tissue swarms - seethes - its `` eyes'' turned toward Jimmy. MRS. McKELTCH -LRB- CONT'D. -RRB- What are they doing up above? JIMMY They're trying to stop you. Why are you invading us? What do you want with my Mom and Dad? Why are you stealing copper? MRS. McKELTCH He who controls copper, controls the universe. Jimmy runs up to the Supreme Intelligence and pounds his fists on the glass case. JIMMY Let them go! Let my Mom and Dad go! I'll fix you! Mrs. McKeltch runs forward and grabs Jimmy. He gives her a punch in the stomach - turns and runs out of the room. The two Cyborgs lumber after him.",
"INTERIOR - TUNNEL SYSTEM - NIGHT Curtis and his men - fighting their way through. A laser blast from up ahead vaporizes part of a wall. Air Force rockets answer back. They EXPLODE two more Martian creatures. Curtis keeps moving.",
"INTERIOR - OPERATING CHAMBER ABOARD SHIP - NIGHT The crystal needle moves closer to the back of Linda's exposed neck. Only inches away now - and homing in. THE SUPREME INTELLIGENCE - seemingly omnipresent - Orchestrating it all. Sending thought commands to its troops. The eyes on the `` face'' move a bit to the left and right. Issuing commands. Slight alarm registering on it. Two creatures move it - immobile by itself - to a command center.",
"INTERIOR - TUNNEL SYSTEM - NIGHT Jimmy running. JIMMY -LRB- screams. -RRB- Captain Curtis!",
"INTERIOR - TUNNEL SECTION AHEAD - NIGHT Curtis hears something. He halts his men. Silence. JIMMY'S VOICE -LRB- distant shouts. -RRB- Captain Curtis. this way! They press on.",
"INTERIOR - BEND IN TUNNEL - NIGHT Jimmy comes skidding to a halt as he SEES - THREE Martians around the corner. At an INTERSECTION in the system. One of them has a BLASTER - They do n't see Jimmy. They point the long, silver weapon down the tunnel. It has a wide, flared barrel. Jimmy SEES the operation of the weapon : They FIRE IT - A continuous, SOFT RED BEAM of light - directed down the tunnel at someone. Curtis and his men jump back as the WALL in front of them starts to MELT. then BUBBLE. ANGLE ON The Martians FIRING their weapon. Suddenly they are attacked by a furious BURST of AUTOMATIC WEAPONS FIRE from another direction. Curtis and his men! The Martians turn their weapons in Curtis' direction. Colonel Wilson and his men rush forward FIRING. The Martians are caught in a murderous cross - fire - and are CUT DOWN - fluids spurting all over. The box heads of the Martian soldiers are shattered. The Martian RAY WEAPON falls to the ground. Colonel Wilson and Curtis join up. Jimmy runs up. JIMMY This way. hurry! They follow Jimmy down the tunnel - toward the open ship.",
"INTERIOR - MARS SHIP - NIGHT Colonel Wilson and his men thunder aboard the ship. THE SUPREME INTELLIGENCE The thing in the bottle - REACTS - with alarm. Its eyes move swiftly now. Increasing its thought commands. JIMMY AND THE COLONEL They HEAR strange SOUNDS coming from the ship. The beginning of a RUMBLE. They press on. COL. WILSON -LRB- shouts to the demolition team. -RRB- Set charges. The DEMOLITION TEAM starts wiring plastic explosives to what look to be key elements in the ship. Jimmy runs on ahead. The Colonel and the rest of his men at his side.",
"INTERIOR - OPERATING CHAMBER - NIGHT The needle - HUMMING with a high - pitched, cold WHINE, is just about to go into the back of Linda's neck. A peaceful look on her face. Unconscious. Unaware. CLOSE SHOT - The needle almost touching her skin. A BURST of gunfire stops the progress. Another BURST and the GIANT MACHINE in the operating chamber sparks - and SHATTERS apart. They run over to the table. Two of the Colonel's men gently lift Linda off the table. As soon as they do she starts to come to. LINDA What happened? She's able to stand and look around the ship. Jimmy gives her a giant hug around the legs and waist - so happy she's all right. The SOUNDS of the ship starting up - grow LOUDER. HUMMMS. and electrical WHIRRS. ANGLE ON The Supreme Intelligence - tendrils in full motion - the brain - face forming and re - forming. Eyes darting. as it brings activity to a peak. COL. WILSON Everybody out! They beat a retreat. Linda and Jimmy running along with the troops - up the spiral ramps - heading toward the open door out of the ship.",
"INTERIOR - SHIP - NEAR DOOR - NIGHT The demolition team has finished placing their EXPLOSIVES. DEMOLITION MAN -LRB- to Col. Wilson as he arrives. -RRB- We've placed the charges. Give me a time. COL. WILSON Give us five minutes to get out of here. The demolition men SET their TIMERS for 5 MINUTES. The automatic timers start COUNTING DOWN and the men run. Jimmy's watching it all. RUNNING with Linda and the Colonel - RUNNING for the door that leads out of the ship.",
"INTERIOR - TUNNEL - SYSTEM - NIGHT Everyone running back toward the spot where they blasted down into the tunnel from above. They've marked the way out with cord laid down. Colonel Wilson and the lead men following the trail out. The TIMERS counting down. 4 MINUTES. They reach the point where the cord started. They look up. The way out is sealed. CURTIS -LRB- to Col. Wilson. -RRB- They've sealed off the entrance. Colonel Wilson surveys the scene - desperately. COL. WILSON -LRB- shouts orders. -RRB- Start digging. The men start grabbing rocks, boulders, dirt - shoveling, clawing at the collapsed part of the tunnel and ceiling. DEMOLITION MAN -LRB- shouts to Col. Wilson. -RRB- Three minutes thirty left. They dig harder. It's impossible - the dirt slides back in. Jimmy SEES an abandoned Martian WEAPON. One of the blasters. CURTIS -LRB- sees it too. -RRB- They use these to tunnel. Maybe we can - He picks it up. Totally unfamiliar with its operation. JIMMY I know how to use it. Colonel Wilson looks at him. JIMMY -LRB- CONT'D. -RRB- I saw them do it. Colonel Wilson nods for Curtis to give Jimmy the weapon. They all stand back as Jimmy takes the blaster - and points it at the ceiling. Fiddles with the controls. It FIRES - a continuous soft - red beam that turns the ceiling red - The walls and ceiling start to BUBBLE. Then it EXPLODES - There's a HOLE punched through to above. Colonel Wilson and Jimmy look UP. They can SEE stars and a night sky. Breathe fresh air. The ladders go up - and they start scrambling up as fast as they can. 50 SECONDS left on the sweeping clocks. The DOOR to the ship - closes. The WHINE and SCREAM of its power plant becomes DEAFENING in the tunnel. THE SUPREME INTELLIGENCE giving its final orders - telepathically. JIMMY AND LINDA and the Colonel and Curtis and the other men scrambling up out of the tunnel.",
"EXTERIOR - AREA NEAR SAND PIT - NIGHT The Colonel - up top now - COL. WILSON Everyone get back - get back! Equipment and positions abandoned - 20 SECONDS left on the timer. EVERYONE RUNNING. The WHINE of the ship below ground - increasing in pitch and LOUDNESS. Behind the running people we can SEE the ground starting to BREAK - THRUST UP - as it's giving birth to something. The top of the ship begins to EMERGE from the ground. Rising. MORE of the ship. Bursting the earth as it lifts straight UP. The people RUNNING. Go to a MOVING CAMERA : Move with everyone running. Their faces - terrified - running for their lives. Jimmy and Linda. and the Colonel. and Curtis. MOVE WITH JIMMY - his face - as he runs - running - The timers read. ZERO. There is a terrible EXPLOSION - much TOO CLOSE, in the air. A wave of RED starts to overtake all the running people - a FIREBALL - rushing to ENGULF them - Jimmy looking more terrified than he's ever looked. About to DIE. Just as he SCREAMS.",
"INTERIOR - JIMMY'S BEDROOM - NIGHT THUNDER AND LIGHTNING. Jimmy sits bolt upright in bed - and SCREAMS. His face covered with perspiration. His breath coming in ragged gasps. His PARENTS rush into his room. JIMMY -LRB- ecstatic to see them. -RRB- Mom. Dad! They rush to his bed and comfort him. MOM/DAD It's all right. It's all right. Jimmy ca n't believe his eyes. They're all right. He hugs them. JIMMY I had an awful dream. DAD What, Jim, what? JIMMY First lem me look at your necks. Dad and Mom look at each other as Jimmy examines the backs of their necks. It's okay. No marks. DAD That must have been some dream. Jimmy cries, hugging them. Mom strokes his head. JIMMY I dreamed a UFO landed behind the hill and put a thing in your neck. First you went out to look at it by yourself, and then the cops came.",
"INTERIOR - JIMMY'S BEDROOM - ½ HOUR LATER Jimmy's tucked into bed with his parents sitting on either side of him, finishing a cup of hot cocoa. Outside, it's raining. But everything is okay. He's starting to feel better. JIMMY -LRB- finishing his story. -RRB-. And then everything blew up. And then I woke up. DAD That's a doozy of a dream, son. JIMMY It was so real, Dad. DAD It was all made of stuff that's happened to you in the last few days. The sand pit in back of the house, and the meteor shower, and meeting your teacher and the colonel at school, and being afraid of the new kids because you do n't know them. MOM It's all this moving from place to place. We're never settled. I'm having nightmares myself. JIMMY What kind, Mom? MOM Oh, I ca n't remember. But people do have bad dreams when their routine is disturbed. DAD I know, Ellen. We'll settle down soon. JIMMY -LRB- hugs her again. -RRB- I was so scared. DAD Better now, son? Jimmy nods yes. His Dad pats him on the head. Mom takes the empty cup from him. Mom and Dad start out of his room. DAD -LRB- CONT'D. -RRB- Better get some sleep, son, or you'll be pretty tired at school tomorrow. MOM -LRB- looking back. -RRB- Good night. JIMMY -LRB- sleepy. -RRB- ` Night. They turn off the light and close the door. Jimmy closes his eyes, and snuggles down to sleep. His eyes open one last time, and he looks at the clock on his bedside table - 4:40. The rain hits the panes of his window outside. Jimmy looks out the window. Then he SEES it - a HORRIBLE GLOWING SHAPE coming down, through the rain. The SOUND exactly the same as in the dream. Coming down behind the hill in back of his house. MOVE IN ON JIMMY'S FACE, WATCHING And now he knows exactly what's going to happen. THE END."
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] | George Gardner encourages his 12-year-old son David's dreams of becoming an astronaut by stargazing with him. A thunderstorm wakes David, and he observes a strange alien spaceship landing on Copper Hill, just beyond the house. His father agrees to investigate, but returns behaving strangely and with an unexplained mark on the back of his neck. David's mother Helen and others as well soon become similarly changed from their normal selves, worrying David. At school, David discovers that his teacher Mrs. McKeltch and classmate Heather have also been changed. David shares his fears with Nurse Linda Magnusson after seeing she has no neck mark. Linda is skeptical but begins to share David's concern after seeing the change in Mrs. McKeltch and his parents. After evading capture by Mrs. McKeltch, David follows her to a cave in Copper Hill and discovers that the alien ship is real, crewed by brutish drones and their large-brained leader who is controlling many people around the town via brain implants inserted through the neck. David flees and reveals what he has learned to Linda. The two of them investigate further and decide to seek outside help. David and Linda meet with General Wilson, commander of the military base that employs David's father. The general begins to believe them when two alien abductees at the site are exposed, confronted, and die from the killswitches in their implants activating. Wilson meets with NASA and SETI scientists who insist on proceeding with a scheduled launch to Mars, but the rocket is destroyed by a bomb planted by George. The scientists conclude that the Martians interpreted the launch as an act of war and are invading Earth preemptively. Wilson leads his troops against the alien encampment at Copper Hill. While they prepare for a raid, David and Linda are captured by the Martians, prompting Wilson to launch a rescue mission. After unsuccessfully pleading with the Martian leader, David escapes while an unconscious Linda is prepped for implantation. David leads Wilson's force to the control room where a short but intense battle occurs. Linda is rescued and the invaders are forced to initiate a retreat. The human survivors plant charges and flee the ship as its liftoff sequence begins. David runs for the safety of his home, pursued by his parents, still under alien control. As the rising alien ship explodes, David's parents recover and try to protect him as the massive fireball races toward them. Suddenly, David awakens in his bedroom. His parents assure him that his ordeal was just a dream and leave him to continue sleeping. However, David soon sees the same alien ship appear. He runs to his parents' room and screams in horror at what he sees. | Invaders_from_Mars_(1986_film) |
[
"EXT. ST CLOUD'S - TRAIN STATION - DAWN An establishing shot of the rundown train station on an overcast morning. There's snow on the station platform. A train arrives and departs. LARCH -LRB- V.O. -RRB- In other parts of the world, young men of promise leave home to make their fortunes, battle evil, or solve the problems of the world. Behind the station, at the top of the hill, lies the St. Cloud's orphanage. LARCH -LRB- V.O. -RRB- I was myself such a young man, when I came to save the orphanage in St. Cloud's. many years ago.",
"EXT. ST. CLOUD'S - ORPHANAGE - EARLY MORNING A man and woman -LRB- COUPLE # 1 -RRB- make their way toward the main entrance of the large brick building. LARCH -LRB- V.O. -RRB- Here in St. Cloud's, I have come to understand that promises are rarely kept, that the battle is n't so much against evil as ignorance, and that being successful ca n't hold a candle to being of * use *. The couple enters the orphanage, where we hear the sound of babies. LARCH -LRB- V.O. -RRB- Nor have I solved the problem I came here to solve.",
"INT. ORPHANAGE - MORNING Two nurses, EDNA and ANGELA, chase CHILDREN - a morning routine. LARCH -LRB- V.O. -RRB- Even in the most enlightened times, unwanted babies will manage to be born. That there will always be orphans is simple not a problem to be solved. Here is St. Cloud's, we do n't regard the sordid facts of life as problems. The camera goes up the stairs with some of the kids.",
"INT. LARCH'S OFFICE - DAY We enter an office where DR. LARCH shows couple # 1 their newly adopted son, HOMER, an infant who lies smiling in Dr. Larch's arms. LARCH -LRB- V.O. -RRB- In truth, we've only had one real problem. We close in on the infant until his face fills the screen. LARCH -LRB- V.O. -RRB- His name was Homer Wells. Dr. Larch hands over the infant to the adopting parents. LARCH I named him after the Greek writer. You know Homer, of course? Hesitant nods. -LRB- They do n't look as if they read. -RRB- LARCH I made his name `` Wells'' because I could tell he was very deep. The parents look with pride at their adopted son. LARCH -LRB- V.O. -RRB- In truth, Nurse Angela named him - her father * drilled * wells, and `` Homer'' was one of her family's umpteen cats.",
"INT./EXT. ORPHANAGE - DAY At the front door, Larch and the nurses wave and call good - bye to Homer, they close the door.",
"INT./EXT. ORPHANAGE - NIGHT The same door swings open ; it's another night. The same couple is bringing Homer back. There is concern in their faces as Nurse Edna lets them in.",
"INT. BOY'S DIVISION, DOORWAY - NIGHT Larch is delivering his benediction to the boys. LARCH `` Good night, you Princes of Maine, you Kings of New England!'' As he turns, he is startled by Nurse Edna, waiting with couple # 1 and baby Homer. ADOPTING MOTHER There's something wrong with him! He never makes a sound. Larch looks quickly at Homer. LARCH -LRB- V.O. -RRB- He did n't cry enough for them, if you can believe it. ADOPTING FATHER Do you think we could have a look at someone a little different? The mother hands over the baby to Larch. Baby Homer lets out a happy squeal as soon as he's in Larch's arms. The parents stare in disbelief. LARCH -LRB- V.O. -RRB- Thus was Homer Wells returned. He was too happy a baby.",
"EXT. ORPHANAGE - DAY Angela and Edna call and wave good - bye to a two - year - old Homer, leaving with COUPLE # 2. Larch stands on the porch and watches the family head down the hill. LARCH -LRB- V.O. -RRB- The second family has an unfortunate gift for getting sounds out of Homer.",
"INT. COUPLE #2'S HOME - DAY Larch bursts into the home of the second couple and lifts a crying and bruised Homer out of his bed. There is rage in Larch's eyes as he looks at the couple. LARCH -LRB- V.O. -RRB- The rumor was true. They beat him. He could n't stop crying.",
"EXT. HILL, ST. CLOUD'S - DAY Larch carries Homer up the orphanage hill. LARCH -LRB- V.O. -RRB- Here is St. Cloud's, I try to consider, with each rule I make or break, that my first priority is an orphan's future.",
"INT. DELIVERY ROOM - DAY The naked belly of a VERY PREGNANT WOMAN. LARCH -LRB- V.O. -RRB- Easier said than done. A tiny hand comes in with a stethoscope and puts it on the big belly. Young Homer's head, with the stethoscope around his neck, pops up behind the belly ; he closes his eyes as he concentrates on listening to the sounds of the unborn child. Larch stops in the doorway, catching sight of Homer. He smiles faintly.",
"EXT. COUPLE #3'S HOME - DAY The door opens to a THIRD COUPLE smiling at us, welcoming and embracing a sixteen - year - old Homer. Behind them waits the would - be STEPSISTER - an attractive girl, a little older then Homer. LARCH -LRB- V.O. -RRB- I told the third family to take good care - this was a special boy.",
"INT. STEPSISTER'S BEDROOM - NIGHT Homer and the stepsister are in bed together. The parents burst in on them - the father chasing Homer around and around the bed, the mother beating her daughter, who covers herself with a pillow. LARCH -LRB- V.O. -RRB- It was Homer who took too much good care of himself.",
"EXT. COUPLE #3'S HOME - NIGHT From her window, the stepsister watches Homer leave the house carrying his suitcase. Homer looks up at her as he walks to the street.",
"EXT. ORPHANAGE - EARLY MORNING It's after dawn, but still a little dark, as Homer walks to the orphanage door, suitcase in hand. A HUGELY PREGNANT WOMAN arrives at the same time. They stand awkwardly next to each other, waiting for someone to answer the door. The woman is crying. Homer reaches out and takes her hand. HOMER Do n't be frightened. Everyone is nice here. PREGNANT WOMAN Do you live here? HOMER I just belong here. The woman sniffles ; she nods vaguely. The door opens. Nurse Edna lets the woman in and embraces Homer. LARCH -LRB- V.O. -RRB- What could I do with him? He kept coming back!",
"INT. LARCH'S OFFICE - DAY Larch instructs an older Homer from `` Gray's Anatomy.'' Homer is bored and looks out the window. LARCH Homer, if you're going to stay at St. Cloud's, I expect you to be of use.",
"INT. DELIVERY ROOM - DAY Homer looks adoringly at Dr. Larch as Larch examines ANOTHER PREGNANT WOMAN. Larch waves Homer over ; he places the boy's hand on the woman's abdomen, to feel the fetus kicking. LARCH -LRB- V.O. -RRB- But, in failing to withhold love, had I created a true and everlasting orphan? I had been too successful with Homer Wells. I had managed to make the orphanage his * home *.",
"INT. OPERATING ROOM - DAY Larch closes a door quickly behind him -LRB- so that Homer does n't see the ABORTION PATIENT in the O.R. -RRB-",
"INT. DELIVERY ROOM - DAY Homer assists Larch in delivering a BABY.",
"EXT. INCINERATOR - DAY Homer carries a white enamel pail to the incinerator. He looks inside the pail ; he stops. LARCH -LRB- V.O. -RRB- God forgive me. I have * made * an orphan by loving him too much. Homer Wells will belong to St. Cloud's, forever. Hold on Homer's disgusted expression as he stares at the contents of the pail. END TITLE SEQUENCE. FADE OUT. We hear a song playing on an old phonograph.",
"INT. DISPENSARY - DAY We see the song playing on the old phonograph. Dr. Larch is taking ether. He holds the bottle in one hand, the cone over his mouth and nose with the other. SUPER : ST. CLOUD'S, MAINE, MARCH 1943. When Larch dozes off, his hand loosens its grip on the cone ; the cone falls off his face, and he wakes up. Then he puts the cone back in place, dripping more ether from the bottle to the gauze covering the cone. Pan the dispensary, which also serves as Larch's photo gallery and bedroom apartment. The ether - bed is separated from the room by a hospital curtain -LRB- the kind on casters -RRB-. We see the recording revolving, the glass - encased cabinets of medical supplies, the old photographs of St. Cloud's. Homer enters, he stands uncomfortably, watching Larch for a moment. Then he turns around and walks back into the corridor.",
"INT. CORRIDOR - DAY Homer calls out as though he's just coming down the corridor. HOMER Dr. Larch! Dr. Larch!",
"INT. DISPENSARY - DAY Larch wakes up ; he shakes off the ether haze. Homer reenters. HOMER We've got two new patients, one to deliver. Dr. Larch and Homer leave together.",
"INT. CORRIDOR - DAY The * two * doctors walk briskly down the hall, a couple of professionals. LARCH First pregnancy? HOMER Yes, for both. LARCH -LRB- sarcastically. -RRB- I presume you'd prefer handling the delivery. HOMER -LRB- tiredly ; an old topic. -RRB- All I said was, I do n't want to perform abortions. I have no argument with * you * performing them. LARCH You know * how * to help these women - how can you not feel * obligated * to help them when they ca n't get help anywhere else? HOMER One : it's illegal. Two : I did n't ask how to do it - you just showed me. LARCH What * else * could I have showed you, Homer? The only thing I can teach you is what I know! In every life, you've got to be of use. Homer and Larch split off and disappear into two different operating rooms. As he goes, Homer mumbles to himself, `` Of use, of use, of use.''",
"INT. OPERATING ROOM - DAY Larch and Angela are preparing the ether for DOROTHY, a not visibly pregnant woman. The sounds of labor across the hall can be heard Over. LARCH -LRB- holds the cone. -RRB- Have you ever had ether, Dorothy? DOROTHY Once, when they took out my appendix. ANGELA -LRB- looks for scar. -RRB- No one's touched your appendix. DOROTHY Whatever it was. the ether made me sick. LARCH It wo n't make you sick this time, Dorothy - not the way I do it, just a drop at a time. DOROTHY I ca n't pay for this, you know - I got no money. LARCH One day, Dorothy, if you have any money, a donation to the orphanage would be very much appreciated. ANGELA Only if you can afford it. LARCH -LRB- holds the ether bottle. -RRB- Try to think of nothing, Dorothy. Angela puts the cone over Dorothy's mouth and nose ; Larch drips the ether on the cone. A newborn wails in the other O.R. Over.",
"INT. DELIVERY ROOM - DAY Homer has delivered CARLA. A newborn baby is screaming in Edna's arms. Homer is attending to Carla, who is panting. HOMER That was good, Carla - that was * perfect *. Everything's fine. CARLA I do n't wan na see it! EDNA You do n't have to see it, dear. Do n't worry. CARLA I do n't even wan na know what sex it is - do n't tell me! HOMER We wo n't tell you, Carla. You're going to be okay. EDNA Your * baby's * going to be okay, too. CARLA I do n't wan na know! Larch pops into the delivery room ; he peers at the baby. LARCH He's a big boy! CARLA Let me see him, for Christ's sake - I wan na see him. Edna shows the baby to Carla, who stares, then turns away. Larch whispers to Homer. LARCH Would you mind having a look at Dorothy?",
"INT. OPERATING ROOM - DAY Angela sits with the still - etherized Dorothy while Larch and Homer confer over a basin containing Dorothy's uterus. HOMER There was no visible wound? LARCH No. The fetus was dead. Her uterus was virtually * disintegrating * - my stitches pulled right through the tissue! HOMER -LRB- mystified. -RRB- It looks like scurvy. LARCH -LRB- derisively sarcastic. -RRB- Scurvy! Ah yes, the curse of the old - time sailor, suffering long periods at sea with no fresh fruits or vegetables. Homer, Dorothy is n't a * sailor *! ANGELA She's a prostitute, is n't she? HOMER -LRB- to Angela. -RRB- Did you look in her purse? LARCH -LRB- frustrated. -RRB- I looked everywhere else! Angela hands Larch a bottle of brown liquid. ANGELA It's called French Lunar Solution. Larch wrinkles his nose at the odor. LARCH It's not ergot, it's not pituitary extract, it's not oil of rue. ANGELA It claims to restore monthly regularity. HOMER It's obviously an aborticide. LARCH Obviously. Larch wets his finger with the stuff, then touches it to his tongue. LARCH -LRB- spits. -RRB- Christ, it's oil of tansy! HOMER I do n't know it. LARCH If you take enough of it, your intestines lose their ability to absorb Vitamin C. HOMER In other words, scurvy. LARCH Good boy. Good job. And you call yourself `` not a doctor''! -LRB- to Angela. -RRB- Keep an eye on her - she's in trouble. As Homer turns to leave, Larch stops him ; he points to the basin. LARCH Take care of that, will you? Homer stops, annoyed ; he picks up the basin and empties the contents into a white enamel pail.",
"INT. DINING HALL - AFTERNOON MISS TITCOMB is teaching math to some distracted boys and girls in a corner of the dining room. A blackboard on wheels is a mass of numbers. Homer, passing through the dining room with the white enamel pail, attracts the attention of BUSTER, a sixteen - year - old who is picking over a plate of pastries on a table. Buster immediately goes with Homer. BUSTER I'll help you. Homer shakes his head, keeps walking. Buster follows. Dr. Larch passes close to Buster. Buster makes a face, disgusted.",
"EXT. INCINERATOR - AFTERNOON Buster and Homer tramp through the snow toward the incinerator. Homer still carries the pail. BUSTER He * sniffs * that ether! I've seen him do it! HOMER It's because he's too tired to sleep. He has to. BUSTER He * smells * like he could put you to sleep! HOMER He's a doctor, Buster - doctors smell like ether. BUSTER * You're * a doctor, Homer - you do n't smell like ether. HOMER I'm * not * a doctor. I have n't been to medical school - I have n't even been to high school! BUSTER But you've studied with the old man for * years *! HOMER I'm * not * a doctor! BUSTER I'm sorry, Homer. Buster stands watching as Homer empties the pail into the incinerator.",
"INT. DISPENSARY - NIGHT With his head inclined to the giant ear of Larch's phonograph, FUZZY - six, thin, and pale and looking remarkably like an embryo - is listening to a recording. He ca n't hear what Larch and Homer are saying about him as they construct a humidified tent over a small hospital bed on wheels. The humidifier is operated by a car battery. LARCH Fuzzy is not uncommon. I tell you, there's something about the premature babies of alcoholic mothers. They seem susceptible to every damn thing that comes along. HOMER I have n't read that. LARCH I have n't, either. But you * will *. The morons who write the books should do a little research * here *. HOMER But is n't Fuzzy just. well, underdeveloped? LARCH When * does n't * he have bronchitis? I would n't call his bronchial infections `` underdeveloped.'' Would you? Larch plucks Fuzzy from in front of the phonograph and zips him into the breathing tent. Fuzzy smiles. As larch leaves, MARY AGNES, a pretty but tough - looking teenager, comes into the dispensary. HOMER What is it, Mary Agnes? Mary Agnes smiles at Homer ; then she sticks her tongue out at him. Homer looks at her impassively, but as the moment continues his expression suggests his annoyance. Fuzzy starts to cough ; he wheezes as he breathes. Homer leans down ; he peers at Fuzzy through a hole by the zipper of the tent. MARY AGNES -LRB- garbled because of her tongue. -RRB- Look! Homer examines Mary Agnes' tongue. HOMER Did you bite it? MARY AGNES I do n't remember. HOMER -LRB- dismissively. -RRB- It looks like you bit it - it'll be all right. MARY AGNES Maybe I was kissing someone and he bit me. HOMER -LRB- looks at her tongue again. -RRB- No, you did it yourself. Maybe in your sleep. MARY AGNES I must have been * dreaming * of kissing someone. Homer is not responding to her come - on. He wheels Fuzzy into the hall. HOMER Story time, Fuzzy!",
"INT. GIRLS' DIVISION - NIGHT In the girls' bunk room, Nurse Edna is saying prayers. The girls lie with their palms pressed together on their chests. EDNA `` Oh Lord, support us all the day long.''",
"EXT. ST. CLOUD'S - THE HILL - NIGHT The building of St. Cloud's is silhouetted against the sky. Carla, the woman we saw deliver the baby, is heading down the hill alone, she sobs, not looking back. EDNA -LRB- O.S. -RRB-''. until the shadows lengthen and the evening comes, and the busy world is hushed, and the fever of life is over, and our work is done.''",
"INT. GIRLS' DIVISION - NIGHT In the bunk room again, with Edna and the girls. EDNA `` Then in Thy mercy grant us save lodging, and holy rest, and peace at the last.'' ALL THE GIRLS Amen! Amen! Amen!",
"INT. BOYS' DIVISION - NIGHT Dr. Larch is reading from Oliver Twist - the death scene of Bill Sike's dog. The boys listen in horror in their beds. LARCH `` A dog, which had lain concealed till now, ran backwards and forwards on the parapet with a dismal howl, and collecting himself for a spring, jumped for the dead man's shoulders.'' Homer enters ; he walks quietly to his bed in the far corner of the room, where he starts to undress. LARCH `` Missing his aim, he fell into a ditch, turning completely over as he went ; and striking his head against a stone, dashed his brains out. Larch turns out the lights. From the open doorway to the hall, Larch delivers his nightly benediction. LARCH Good night, you Princes of Maine! You Kings of New England! Larch closes the door, leaving them in the semi - darkness. One young boy runs into Homer's bed, nervously giggling. FUZZY -LRB- in his breathing tent. -RRB- Why does Dr. Larch * do * tht every night? CURLY -LRB- about seven. -RRB- Maybe to scare us. COPPERFIELD -LRB- about eleven. -RRB- No, you jerk. STEERFORTH -LRB- about nine. -RRB- Dr. Larch * loves * us! FUZZY But why does he do * that *? BUSTER He does it because we like it. The boys silently agree, Homer among them.",
"EXT. ST. CLOUD'S - EARLY MORNING The girls, led by Mary Agnes, round a corner of the orphanage, towing a sled piled high with snowballs. MARY AGNES Buster is mine. You two get Copperfield and Curly. Nobody touches Fuzzy. They shriek as the boys suddenly surprise them. Buster throws two hard snowballs that hit Mary Agnes and CLARA -LRB- eight or nine -RRB- before Mary Agnes overwhelms him and repeatedly sticks his head in the snow. Copperfield, terrified of Mary Agnes, escapes. Curly misses, then tips over the sled of snowballs as Clara and the adorable HAZEL -LRB- five or six -RRB- throw him to the ground. Fuzzy drops his one snowball ; he runs aimlessly in circles, coughing, as Nurse Edna explodes from a door of the orphanage. EDNA Stop it! No fighting! * Share * the snowballs! BUSTER -LRB- mouth full of snow. -RRB- They're * our * snowballs! They * stole * them! MARY AGNES They attacked us - just like the Japs! Fuzzy coughs and wheezes, trying to catch his breath. EDNA Listen to you, Fuzzy! You've been running. You get to the shower! A NEW COUPLE comes up the hill. The orphans stop and stare, brushing snow off themselves, struggling to make themselves look presentable. Curly is desperate to look his best. Mary Agnes does n't bother to pretty herself. She whispers to Clara and Hazel. MARY AGNES I know the type - they'll take one of the babies.",
"INT. DINING HALL - MORNING The children are eating breakfast as the would - be parents walk around the tables, looking over the assembled orphans. Curly works on his table manners ; he forks and eats a piece of pancake with elegance. Angela and Edna try to make the couple slow down by the older children, but the couple stop and stare at the adorable Hazel.",
"INT. BABY ROOM - MORNING Larch and Homer are examining the babies. The doctors are checking the babies' grips, their eyes, ears, and throats. Angela appears in the doorway. ANGELA Wilbur, the adopting couple is waiting in your office. LARCH -LRB- irritated. -RRB- Life is waiting. Angela disappears. Larch looks at the next baby's record -LRB- attached to the bed -RRB-. LARCH Where's the name sheet? HOMER Nobody's named this one yet. LARCH It's my turn! Homer is tired of this game. Larch touches the child's forehead with his index finger. LARCH Henceforth you shall be. Little Dorrit! The baby starts to cry. HOMER He does n't like it. -LRB- looks at the record. -RRB- He's a boy, That's why. LARCH Ca n't a boy be a Dorrit? HOMER I do n't think so. LARCH You do it then. Homer points his finger at the child's forehead like a gun. HOMER Henceforth you shall be. Little Wilbur. LARCH I'm not crazy about the `` Little.'' Homer is writing the name. HOMER Okay, he's just a Wilbur then. LARCH We have n't had a Wilbur here in a year or so, have we? We used to have * dozens *! They are interrupted by Copperfield, who comes running from the corridor. COPPERFIELD They picked Hazel! The idiots chose Hazel!",
"INT. GIRLS' DIVISION - DAY Hazel is being fussed over by Edna. Hazel clutches a cardboard suitcase and a tattered rag doll. Mary Agnes, by far the oldest, sits on a bed. MARY AGNES If people want to adopt one of us, they should have to take the oldest first. EDNA Please, Mary Agnes! This is Hazel's special day - do n't make her feel sad. MARY AGNES Hazel's practically the youngest of us. She should be the * last * to leave! CLARA At least Hazel can talk. Usually they take one of the stupid babies. MARY AGNES They take the babies so they wo n't ever have to tell them that they were orphans! HAZEL -LRB- begins to cry. -RRB- I'm not a baby! MARY AGNES If you cry, Hazel, they'll just send you back. EDNA Mary Agnes, that's not true! Hazel cries harder. MARY AGNES That's what they did to me! EDNA You * wanted * to come back - that's why you cried. -LRB- to Hazel. -RRB- You can cry if you feel like it, Hazel. You cry as much as you want.",
"INT. LARCH'S OFFICE - DAY Homer is in the corridor outside the office, overhearing Larch's lecture to the couple adopting Hazel. LARCH It is strictly for our orphans' sake that I destroy any record of their natural mothers. Of course they will, one day, want to know. But orphans, especially, should look forward to their * futures *. Not back to their pasts.",
"INT. WINDOW, CORRIDOR - DAY Homer sees Curly standing all alone by a window in the corridor ; a suitcase is next to him. HOMER Hi, Curly. You going somewhere? Curly shakes his head. CURLY I thought they might take me. HOMER They wanted a girl. CURLY Nobody ever wants me! Homer embraces Curly and lifts him up, he grabs the suitcase and continues down the corridor. HOMER You're one of the best, Curly - we could n't let just anyone take you. CURLY Dr. Larch would n't let just anyone take * any * of us! HOMER That's true. CURLY Nobody's asked for me, have they? HOMER Nobody special enough, Curly. CURLY You mean somebody asked? HOMER Only the right people can have you, Curly. Homer disappears into the boys' bunk room carrying Curly and his suitcase, leaving the corridor empty.",
"INT./EXT. ORPHANAGE - DAY Faces in the windows ; the orphans watch Hazel walking across the snowy lawn with her new parents.",
"INT. GIRLS' DIVISION - NIGHT Edna -LRB- with the girls -RRB- gives her good - bye blessing to Hazel. EDNA Let us be happy for Hazel. Hazel has found a family. Good night, Hazel. THE GIRLS Good night, Hazel! Good night, Hazel! Good night, Hazel!",
"INT./EXT. ORPHANAGE - FRONT DOOR - DAY The front door opens. The orphans excitedly run outside onto the green lawn, into the warm weather of spring.",
"INT. DISPENSARY - MORNING Angela is singing along with the song on the phonograph, a more romantic song then before, which rouses Larch from his ether. He is grumpy, but she sings the song in his ear and wo n't give him back the ether cone ; he rolls away from her, but she tickles him and bites his ear, coaxing him into a more playful mood. LARCH I was dreaming about you. How beautiful you were! ANGELA You were n't dreaming about me. LARCH I was! Playfully, she slips out of his embrace. ANGELA Then I was n't beautiful. LARCH You were! You * are *! It was fantastic. ANGELA It was just the ether, Wilbur.",
"INT. HOSPITAL ROOM - NIGHT Homer wheels a tray with glasses of water between the beds. A DISTRAUGHT PREGNANT WOMAN stops him by her bed. HOMER Are you okay? Can I get you anything? DISTRAUGHT WOMAN No one but me ever put a hand on me, to feel that baby. Do n't you want to touch it or put your ear down to it? HOMER Okay. Homer touches the woman's belly. DISTRAUGHT WOMAN Put your ear there. Go on. Homer cautiously lays his ear against her belly. DISTRAUGHT WOMAN You should n't have a baby if there's no one who wants to put his face right there! She holds Homer's head against her belly ; she presses his face into her. She shuts her eyes. Homer's eyes stare widely. Dr. Larch stops in the doorway ; he watches with concern. DISTRAUGHT WOMAN Stay right there. Right where you are. Stay right here. Right here.",
"EXT. ST. CLOUD'S - TRAIN STATION - DAY Homer at the train station, staring down the empty tracks. Buster is hanging around with him, kicking a rock. BUSTER Do you ever think about leaving this place to go find them? Homer makes no response. As the train approaches, Homer and Buster go sit on a loading cart. They see the distraught woman -LRB- no longer pregnant -RRB- from Homer's experience of a few nights ago ; she is leaving St. Cloud's without her baby, waiting for the approaching train. Her face is a mask. The DISAPPROVING STATIONMASTER gives her a hard look. BUSTER I mean your parents. HOMER I know who you mean. I think about leaving here, but not to find * them *. BUSTER Why not? HOMER Whoever they were, they did n't * do * any of the things parents are supposed to do. Dr. Larch did those things, and Nurse Edna, and Nurse Angela. BUSTER Yeah. But sometimes I wish I could meet mine, anyway. HOMER What for, Buster? What would you do if you met them? BUSTER Uh. I'd like to show them that I can cook, a little. HOMER You cook very well! BUSTER And that I can drive a truck! HOMER -LRB- laughing. -RRB- Better than I can! BUSTER Sometimes I want to meet them so I can kill them. Just sometimes. Buster is ashamed ; he knows he's said the wrong thing. BUSTER Homer, you know I would never kill anyone - you know I would n't. HOMER I know. The slowly moving train has stopped. There are SOLDIERS leaning out the windows. Buster turns to see Mary Agnes walking past the train - she's doing her best to look grown - up, sophisticated. One of the soldiers reaches out and gently tugs on her hair. Mary Agnes is enraged ; she spits at the soldier. BUSTER I think Mary Agnes could kill someone. HOMER I doubt it. She's just an. Mary Agnes spits at * all * the soldiers. HOMER emotional girl. The soldiers roll up the windows as Mary Agnes improvises some verbal abuse. BUSTER What's she so emotional about? HOMER -LRB- shrugs. -RRB- I do n't know. She got left here, like the rest of us, did n't she? Camera closes on Homer.",
"INT. DINING HALL - NIGHT The orphans are watching King Kong, the part when the giant ape first captures the screaming Fay Wray. Intercut Kong with the orphans' rapt faces. Homer sits near the front, mesmerized by the film. Dr. Larch and Angela sit by the projector ; Larch is reading a letter. Fuzzy points to the screen. FUZZY -LRB- coughing. -RRB- He thinks she's his * mother *! King Kong is undressing Fay Wray in the cave. COPPERFIELD He does n't think she's his mother, Fuzzy. FUZZY He does so! He * loves * her! CARLA How could she be his * mother *? Larch shakes the letter in front of Angela. LARCH -LRB- a harsh whisper. -RRB- They want to replace me! The Board of Trustees wants to * replace * me! ANGELA -LRB- whispering back. -RRB- They just want you to hire some new help. LARCH Some new * things * would be useful. I do n't need any `` new help.'' The film breaks - to huge cries of disappointment from the orphans. Fuzzy coughs and coughs while Larch fumbles with the projector. Angela turns on the light while Larch squints at the broken film. The orphans are chanting, `` Kong! Kong!'' LARCH Homer! I need you! Homer gets up and walks to the projector. LARCH I thought you took care of this. It always breaks in the same place. It's your splice, is n't it? HOMER -LRB- angry. -RRB- It's * your * splice! You blame me for everything! Larch abruptly lets go of the film. LARCH Angela, we need a new movie, a new projector, a new typewriter - * that's * what they should replace around here! Edna comes in ; she speaks to Larch, then quickly leaves. EDNA We have a delivery. Imminent, in my estimation. Larch turns to Homer. LARCH Homer, would you get this one? Homer shifts his weight to the other foot ; aggravated ; he stands there. HOMER She's a patient, right? She should see a doctor. Homer and Larch stare at each other. LARCH -LRB- trying to stay calm. -RRB- Homer, you are a skilled and gifted surgeon. You have near - prefect obstetrical and gynecological procedure. Homer is also trying to avoid a fight. HOMER I just mean I'd rather fix the movie. Tonight. Larch ca n't hide his disappointment. LARCH Sure. Okay. You splice. I'll deliver. It is an uneasy peace.",
"INT. BOYS' DIVISION - NIGHT (LATER) Homer is adjusting Fuzzy's breathing tent as the other boys climb into bed. FUZZY Homer. does n't King Kong think the woman is his * mother *? HOMER Uh, sure - that's what Kong thinks, all right. FUZZY That's why Kong loves her! Larch comes in and walks over to Homer and Fuzzy. Larch and Homer exchange a look. HOMER I thought it was my turn. LARCH It is. I'll get this. You go ahead. Homer sits down with ` David Copperfield.' There is quiet anticipation while Homer readies himself to read. HOMER -LRB- reading. -RRB- `` Whether I shall turn out to be the hero of my own life, or whether that station will be held by anybody else, these pages must show.'' Larch continues to adjust Fuzzy's breathing tent. HOMER `` I was a posthumous child. My father's eyes had closed upon the light of this world six months, when mine opened on it.'' FUZZY -LRB- whispers to Larch. -RRB- His father's dead, right? LARCH -LRB- whispering back. -RRB- That's right, Fuzz. Close on Fuzzy. HOMER -LRB- O.S. -RRB- -LRB- continues reading. -RRB- `` There is something strange to me, even now, in the reflection that he never saw me.'' As Larch bends over Fuzzy to fix the breathing apparatus, Fuzzy whispers. FUZZY Is * your * father dead? LARCH -LRB- nods, whispers. -RRB- Cirrhosis - it's a disease of the liver. FUZZY * Liver * killed him? LARCH * Alcohol * killed him - he drank himself to death. FUZZY But did you know him? LARCH Barely. It hardly mattered that I knew him. FUZZY Did you know your mother better? LARCH -LRB- nods, still whispers. -RRB- She's dead now, too. She was a nanny. FUZZY What's a nanny do? LARCH She looks after other people's children. FUZZY Did you grow up around here? LARCH No. She was an immigrant. FUZZY What's an immigrant? LARCH Someone not from Maine.",
"EXT. ST. CLOUD'S - NIGHT The orphanage in moonlight. Not a sound.",
"EXT. ST. CLOUD'S - MORNING The children are chasing a ball near the incinerator. A VERY FRIGHTENED GIRL - not one of the orphans - is lying next to the incinerator. Edna kneels by the strange girl, who cringes with fear. EDNA No one's going to hurt you, dear. Have you come to visit us? We have beds, you know. Have you had any breakfast? What's your name? The girl wo n't speak ; when Edna touches the girl's forehead, she pulls back her hand in alarm.",
"INT. OPERATING ROOM - MORNING Edna is holding the head of the frightened young girl. The girl is feverishly hot and whimpering ; she keeps looking at her feet in the stirrups as if she's an animal caught in a trap. Larch and Homer stand on either side of her. EDNA Her temperature is a hundred and four. LARCH -LRB- very gently. -RRB- How old are you, dear? Thirteen? The girl shakes her head. The pain stabs her again. LARCH Twelve? Are you twelve, dear? -LRB- the girl nods. -RRB- You have to tell me how long you've been pregnant. -LRB- the girl freezes. -RRB- Three months? Another stab of pain contorts the girl. LARCH Are you * four * months pregnant? The girl holds her breath while he examines her abdomen ; Homer very delicately examines the girl's abdomen, too. HOMER -LRB- whispers to Larch. -RRB- She's at least * five *. The girl goes rigid as Larch bends into position. LARCH Dear child, it wo n't hurt when I look. I'm just going to * look *. Homer assists Larch with the speculum. LARCH Tell me : you have n't done something to yourself, have you? TWELVE-YEAR-OLD GIRL It was n't me! LARCH Did you go to someone else? TWELVE-YEAR-OLD GIRL He said he was a doctor. I would never have stuck that inside me! HOMER Stuck * what * inside you? Homer holds the girl still - she is babbling on and on while Larch is examining her. TWELVE-YEAR-OLD GIRL It was n't me! I would never do no such thing! I would n't stick that inside me! It was n't me! Larch, his wild eye peering into the speculum, makes an audible gasp from the shock of what he sees inside the girl. Larch tells Homer to have a look. Larch then whispers something to Edna ; she brings the ether bottle and cone quickly. Larch starts putting the cone in place, over the nose and mouth of the frightened girl. Homer bends to the speculum. LARCH -LRB- to the twelve - year - old. -RRB- Listen, you've been very brave. I'm going to put you to sleep - you wo n't feel it anymore. You've been brave enough. Homer stares into the speculum ; he closes his eyes. The girl is resisting the ether, but her eyelids flutter closed. EDNA That's a heavy sedation. LARCH You * bet * it's a heavy sedation! The fetus is unexpelled, her uterus is punctured, she has acute peritonitis, and there's a foreign object. I think it's a crochet hook. Homer has pulled off his surgical mask. He leans over the scrub sink, splashing cold water on his face. LARCH -LRB- to Homer. -RRB- If she'd come to you four months ago and asked you for a simple D and C, what would you have decided to do? * Nothing *? * This * is what doing nothing gets you, Homer. It means that someone else is going to do the job - some moron who does n't know * how *! Homer, furious, leaves the operating room. Edna lifts the girl's eyelids for Larch so that he can see how well under the ether she is. LARCH I wish you'd come to * me *, dear child. You should have come to me, instead.",
"INT. CORRIDOR - MORNING Homer storms down the hall, then stops, pulling off his white coat. Angry, pacing, he kicks at nothing.",
"EXT. ST. CLOUD'S - GRAVEYARD - EARLY MORNING Buster and Homer are digging the pit. Larch paces by the coffin of the 12 - year - old girl. BUSTER What'd she die of? LARCH -LRB- inhales deeply. -RRB- She died of * secrecy *, she died of * ignorance *. Buster nods, but he's totally bewildered. LARCH -LRB- to Homer. -RRB- If you expect people to be responsible for their children, you have to give them the right to decide whether or not to * have * children. Would n't you agree? Buster does n't get it. Homer has heard this too many times ; he rolls his eyes. HOMER How about expecting people to be responsible enough to control themselves to begin with? LARCH How about this child? You expect * her * to be responsible? Homer looks away. HOMER I did n't mean her. I'm talking about. adults. -LRB- annoyed. -RRB- You know who I mean! Larch studies him.",
"EXT./INT. ST. CLOUD'S ROAD - TRUCK CAB - DAY Buster is driving the old pickup truck, with the shovels and a wheelbarrow in the back. Larch and Homer are in the cab, they are being bounced all over the cab by Buster's wild driving. Larch looks at Homer ; he stares at him with a curious smile. HOMER What?! Larch says nothing. Homer gives him a look. LARCH -LRB- smiling. -RRB- It's just a marvel to me that you still have such high expectations of people. HOMER I'm happy I amuse you. LARCH -LRB- to Homer. -RRB- Try to look at it this way. What choice does Buster have? What are his options? Nobody will ever adopt him. -LRB- Buster considers this. -RRB- HOMER Try to look at it * this * way. Buster and I are sitting right here beside you. We could have ended up in the incinerator! -LRB- Buster grins. -RRB- LARCH Happy to be alive, under any circumstances - is that your point? Buster is distracted ; he drives the truck into a ditch and it bounces around, missing a tree by an inch. He is up on the road again in a few seconds. HOMER Happy to be alive. I guess so. They are all distracted by a luxurious convertible that overtakes them on the hill to the orphanage. The fast car is driven by a handsome man in the uniform of the Army Air Corps - a YOUNG OFFICER. From the passenger seat, a BEAUTIFUL YOUNG WOMAN smiles at them, rendering them speechless.",
"EXT. ORPHANAGE DRIVEWAY - DAY The luxurious convertible -LRB- now parked -RRB- has drawn all the orphans to it. The handsome young officer -LRB- WALLY -RRB- and the beautiful young woman -LRB- CANDY -RRB- stand confused by the car ; they are surrounded by the curious orphans, with whom they are painfully self - conscious. They are overly friendly to the children as they are anxious of Larch and Homer and Buster -LRB- in their gravedigging attire -RRB-, who are getting out of the truck. Nervously, Wally gives the children chocolates. CANDY So many children. Are they all orphans? WALLY Well, this * is * an orphanage. The kids climb into Wally's car. CANDY Oh, they're getting into the car. watch your fingers! Curly tugs on Candy's dress, staring up at her, his face already smeared with chocolate. CURLY I'm the best. CANDY -LRB- sweetly. -RRB- You are? WALLY -LRB- good with kids. -RRB- The best? Wow! The best at * what *? CURLY I'm the best one. Curly's nose is streaming snot. Candy kneels beside him and holds her handkerchief to his nose. CANDY Here, blow. Curly tries to talk while she's holding his nose. CURLY I really * am * the best, I just have a cold. CANDY Blow! There, I bet that feels better. CURLY -LRB- sniffs. -RRB- Yeah. The other orphans are dying with envy - Candy is so beautiful. -LRB- Some, like Buster, are torn between Candy and the car. -RRB- LARCH Curly, come here! CURLY -LRB- to Larch. -RRB- * Tell * them! I'm the one. Virtually all the orphans have climbed into Wally's car. HOMER -LRB- to Wally. -RRB- I'm sorry. They're not used to seeing a car like this. WALLY It's okay - I do n't mind. Larch, scowling, presents himself to the new couple. WALLY We brought some chocolates for the kids. LARCH -LRB- witheringly. -RRB- Chocolates. How * thoughtful *. Larch picks up Curly and carries him toward the boys' division. CURLY I'm the best! * Tell * them! LARCH You're the best, Curly.",
"INT. LARCH'S OFFICE - DAY Homer is seated in the desk chair. The impressive couple sit in front of him. HOMER So, Mrs. CANDY Candy. Candy Kendall. Wally jumps up to his feet to shake Homer's hand. WALLY Wally. Wally Worthington. Wally sits down. The three sit still for an awkward moment. HOMER -LRB- to Candy. -RRB- How many months are you? CANDY -LRB- whispers. -RRB- Two. Homer writes on a piece of paper. Candy and Wally exchange a worried look. WALLY So, now, uh. you're not. I mean, do * you * do the - HOMER No. Dr. Larch will be performing the procedure. WALLY -LRB- relieved. -RRB- Ah, well. okay. Good! I just wondered. Edna pokes her head in the door. EDNA Excuse me, Homer. Dr. Larch said this one is your turn. Edna quickly sees that all three of them have misunderstood her. EDNA Oh, dear - I'm sorry. I meant the circumcision. That boy you delivered on Tuesday. HOMER Sure. Fine. Have you prepped him? EDNA I'll get started. Candy and Wally ca n't conceal how impressed they are with the young Homer.",
"INT. CORRIDOR - DAY Homer walks down the corridor, dressed in his operating gown, as the door to the O.R. opens and Wally stumbles out, hurriedly opening a window. Wally breathes deeply to regain his composure. WALLY I think it was the ether - the smell got to me. -LRB- pause. -RRB- God. This is all my fault. Edna comes down the hall with a dirt - stained, crying Curly who's covering one eye. EDNA -LRB- over the din. -RRB- Steerforth got into the pantry - he's eaten all the pie dough. CURLY -LRB- sobbing. -RRB- He was n't sharing it, either. EDNA He's down the hall, throwing up. Homer nods to Edna, who is marching off with Curly. Wally smiles at Homer. HOMER What kind of plane are you flying? WALLY A B - 24 Liberator. HOMER Liberator. WALLY Have you enlisted? HOMER They would n't take me. I'm Class IV - I've got a heart defect. WALLY Really! Is it serious? HOMER No, it's not serious. I'm just not supposed to get excited. You know - no strain, no stress. I try to keep calm all the time. Wally hears Homer's facetiousness - how tired he is of his heart condition. WALLY Oh, well. I do n't imagine there's any strain or stress around * here *! Homer appreciates the joke. The door to the operating room that Wally exited opens into the corridor ; Candy is being wheeled out on a gurney by Larch and Angela. Wally rushes to Candy's side. Homer follows slowly. Candy is groggy, coming out of the ether. WALLY How is she doing? LARCH Just fine. CANDY -LRB- slurred speech. -RRB- Boy or girl? ANGELA It was nothing - it's all over. WALLY It's all over, honey. They walk Candy on her gurney. Homer looks after them. CANDY -LRB- slurred speech. -RRB- I would like to have a baby, one day. I really would. ANGELA Why, of course - you can have as many children as you want. I'm sure you'll have very beautiful children. Larch wheels Candy behind a curtain. LARCH You'll have Princes of Maine! You'll have Kings of New England! Larch has a different tone of voice when he speaks to Wally. LARCH I suggest you find yourself some fresh air, Lieutenant. Wally is left alone in the corridor.",
"INT. BOYS' DIVISION - DAY Cranked at three - quarters, Fuzzy sits in bed, wheezing and coughing. He's drawing with great intensity, using crayons on a piece of paper held by a clipboard. Homer sits on the end of Fuzzy's bed, cleaning up Steerforth. Homer pauses to look out of the window ; he sees Wally, dashing and spotless in his uniform beside his flashy car. A life Homer might have had crosses his face. FUZZY -LRB- O.S. -RRB- Homer, when is Halloween? Homer turns to Fuzzy, who holds up his picture - a big pumpkin with a jack - o - lantern face. HOMER -LRB- distracted. -RRB- Uh. it's the end of October. FUZZY Is that soon? Homer looks at Fuzzy ; his little body is working hard just to breathe. STEERFORTH That's a few months away, Fuzz. -LRB- to Homer. -RRB- I still do n't feel so good. FUZZY -LRB- disappointed. -RRB- Oh. It's the best time! How come we only get pumpkins once a year? Fuzzy coughs and coughs. HOMER Do n't get too excited, Fuzzy. FUZZY Why ca n't we have pumpkins for Christmas, too? We do n't get any good presents at Christmas, anyway. Homer looks out the window at Wally again. His decision forms.",
"EXT. ORPHANAGE DRIVEWAY - DAY Homer approaches the flashy car, where Wally is still pacing. HOMER Has anyone offered you anything to eat? WALLY Actually, someone did. I just did n't think I could eat anything. An awkward silence, which Homer covers by examining the car. HOMER -LRB- trying to sound casual. -RRB- I wonder if you might give me a ride. WALLY Sure! Be glad to! Uh. a ride where? HOMER -LRB- unprepared. -RRB- Where are you going? WALLY We're heading back to Cape Kenneth. Homer nods, but he has no idea where Cape Kenneth is. HOMER Cape Kenneth. Wally nods. HOMER That sounds fine.",
"INT. STAIRWAY/CORRIDOR - DAY Homer runs up the stairs, two steps at a time ; he races into a corridor at full speed, exhilarated. Suddenly Dr. Larch appears in front of him. Homer stops abruptly, out of breath, unable to speak.",
"INT. LARCH'S OFFICE - DAY As Homer stands guiltily, Larch rifles through an X - ray file, holding various X rays up to the lit screen. He quickly finds the one he's looking for, attaching it briefly to the screen for a confirming look - a heart X ray, which Larch waves at Homer as he talks. LARCH -LRB- sarcastic. -RRB- Doubtless you'll let me know what immensely worthwhile or at least * useful * thing it is that you find to do. HOMER -LRB- restrained. -RRB- I was n't intending to leave here in order to be entirely useless - I expect I'll find some ways to be of use. LARCH In other parts of the world, I suppose there are other ways. HOMER -LRB- still restrained. -RRB- Of course. LARCH -LRB- blows up. -RRB- Are you really so * stupid * that you imagine you're going to find a more gratifying life? What you're going to find is people like the poor people who get left here - only nobody takes care of them as well! And you wo n't be able to take care of them, either. There's no taking care of * anybody * - not out there! HOMER -LRB- feeling trapped. -RRB- You know I'm grateful for everything you've done for me. LARCH -LRB- calmly. -RRB- I do n't need your gratitude. Larch hands Homer the heart X ray. HOMER -LRB- exasperated. -RRB- I do n't need this - I know all about my condition. LARCH It's your heart - you ought to take it with you. Camera closes on Homer with the X ray.",
"INT. KITCHEN - LATE AFTERNOON Buster and Mary Agnes are serving the evening meal while Larch rails at Angela and Edna, who are helping Buster and Mary Agnes. The sound of children in the dining hall is intermittent and chaotic. EDNA Going where? Does he have a plan of some kind? ANGELA Will he be back soon? LARCH I do n't know! He's just leaving -. -LRB- to Angela. -RRB- you're the one who says he needs to see the world! -LRB- to Edna. -RRB- * That's * what he'll do - he'll see the world! EDNA -LRB- stunned. -RRB- He's leaving. ANGELA He'll need clothes. some money. LARCH Let him try to * make * some money! That's part of `` seeing the world,'' is n't it? ANGELA -LRB- angrily. -RRB- Oh, just stop it! You knew this was going to happen. He's a young man. LARCH -LRB- almost breaking. -RRB- He's still a boy - out in the world, he's still a boy. ANGELA Just find him some clothes, Wilbur. He could use some clothes. Camera closes on Larch, fighting tears.",
"INT. BOYS' DIVISION - AFTERNOON Homer is packing his things - we see the heart X ray, and some photos of Larch and Edna and Angela. Larch approaches Homer with a small bundle of clothes. LARCH -LRB- gently, almost reverently. -RRB- I think these will fit you. Homer is grateful and ashamed. Before he can speak, Edna is there - a wad of bills in her hand. She tries to put the money in his pocket ; when he refuses it, she simply puts the money in his open suitcase, stuffing the bills under his clothes. EDNA You'll need some money - just a little something, until you find a job. Larch and Edna retreat from him, humbly, as if they were his servants.",
"EXT. DRIVEWAY - AFTERNOON As Homer puts his stuff in the truck of Wally's car, Angela ca n't resist touching his face. She is too upset to speak. From a window, Larch is watching the departure. He sees Homer saying goodbye to the children, embracing them. From another window, Fuzzy just stares. -LRB- Of course he's coughing. -RRB- We see Wally carrying Candy to the car. CANDY -LRB- groggy. -RRB- I'm okay - I can walk. WALLY I do n't want you to walk - I want to carry you. Should I put the top up? It might get cold. CANDY No - keep it down. I want to feel the air. She speaks to Homer, touching his sleeve, like a sleepy person, as Wally puts her gently in the backseat. CANDY -LRB- still groggy. -RRB- Coming with us? It's always a good idea to have a doctor along for the ride. Homer gets in the passenger seat beside Wally, who starts the car ; suddenly there is Curly. Homer ca n't look at Curly, who looks betrayed. Edna picks up Curly and carries him to the passenger - side window. Curly is sobbing. HOMER I have to go, Curly. I'm sorry. -LRB- to Edna. -RRB- I could n't find Buster. Will you tell him. He ca n't finish what he has to say. Edna kisses him good - bye. From the window, Larch watches the car leave. Buster, whittling a stick, is n't watching.",
"INT./EXT. WALLY'S CAR - ON THE ROAD - AFTERNOON There is quiet as the journey gets underway. Wally keeps glancing at Candy in the rear - view mirror ; she seems distant, lost in thought. Homer is taking everything in - the speed, the road, the wind in his face.",
"INT. BOYS' DIVISION - NIGHT Angela speaks to the boys. ANGELA Let us be happy for Homer Wells.",
"INT. GIRLS' DIVISION - NIGHT In the girls' washroom, in front of the mirror by the row of sinks, Mary Agnes is repeatedly slapping her face. Angela's benediction to the boys plays Over this scene of violent self - abuse. Except for the sound of the slaps. Mary Agnes does n't make a sound. ANGELA -LRB- O.S. -RRB- Homer Wells has found a family. Good night, Homer! ALL THE BOYS -LRB- O.S. -RRB- Good night, Homer!",
"INT. DISPENSARY - NIGHT On his bed, Larch is taking ether. We hear the refrain from the boys in the bunk room Over. ALL THE BOYS -LRB- O.S. -RRB- Good night, Homer! Good night, Homer! Good night, Homer Wells!",
"INT. WALLY'S CAR - NIGHT The radio is playing. Candy is lying down, her knees drawn up, in the backseat ; she appears to be asleep, oblivious to Homer and Wally's conversation. WALLY Actually, the Army has given me leave twice. First when my father died, and now I'm on leave to help my mother - I'm just trying to get her ready for the harvest. She's no farmer. Apples were my dad's business. And with the war on, she's short on pickers. Candy's eyes are open but her voice is groggy. CANDY -LRB- to Homer. -RRB- Wally thinks apples are boring. WALLY -LRB- to Homer. -RRB- I never said they were boring. CANDY You said, `` Apples are n't exactly flying.'' WALLY Well, they are n't. Homer looks back at Candy. Her eyes close. HOMER I think I'd probably like the apple business. WALLY You're a little overqualified, are n't you? HOMER No, I'm not. I need a job. WALLY The only jobs are picking jobs. Picking apples is truly boring. Candy's eyes snap open and she sits up a little. CANDY There! You said it was boring. WALLY Well, * picking * them is! It's about as exciting as. walking! Candy seems irritated with Wally. Homer tries to engage her. HOMER Is your family in the apple business, too? CANDY No, but I work there - I like it. My dad's a lobsterman. HOMER I've never seen a lobster. CANDY Really? HOMER I've never seen the ocean, either. WALLY -LRB- amazed. -RRB- You've never seen the * ocean *? Homer shakes his head, smiles. WALLY That's not funny. that's * serious *.",
"EXT./INT. ROADSIDE/CAR - NIGHT The car is parked at the side of the road. Wally is half - hidden behind a tree. Candy and Homer are left alone in the car ; there's an awkward silence as Homer pretends not to hear Wally's excessive peeing. Suddenly Candy starts to sob. CANDY I could n't have a baby with someone who's leaving me - I did n't know what else to do! Homer is a doctor - he's used to postabortion reactions. HOMER I know. CANDY He's going to be dropping bombs on Mandalay! They're going to be shooting at him! HOMER Where's Mandalay? CANDY Burma! HOMER Oh. CANDY I ca n't have a baby alone. I do n't even know if he's coming back! HOMER I understand. He does n't, really. Wally returns. Wally leans over Candy to hug her. WALLY Honey, honey. of course I'll come back. Candy pounds on his chest with her fists. CANDY You do n't * know *, Wally. You have no * idea *! Wally backs away. Candy sobs uncontrollably. CANDY Stay away from me! Wally signals to Homer to get out of the car. Later, Wally and Homer stand outside the car, overhearing Candy's weeping. Homer is smoking nervously. HOMER -LRB- strictly medical. -RRB- This is all normal. Do n't worry. The abortion procedure. it affects you. It's the ether, too. It'll take a little time. WALLY I do n't * have * any time. There's a * war *! HOMER It's all very normal. Wally looks at Homer, who takes a nervous drag on his cigarette. WALLY You ought to cut that shit out - it's terrible for you. Homer looks at Wally ; he sees the authority in his eyes. Homer drops his cigarette and puts it out with his foot. They notice that Candy has stopped crying. Wally finds Candy asleep in the backseat.",
"EXT. WALLY'S CAR - ON THE ROAD - LATE AT NIGHT The lone car on the road. Snatches of war news from the radio are the only sound as the headlights illuminate the dark highway.",
"EXT. COAST OF MAINE - MORNING The car is parked, with Homer sleeping in it alone. The sounds of the ocean increase as Homer opens his eyes. Homer gets out of the car and walks toward the beach, enchanted. There it is : his first view ever of an ocean, the horizon, the sun glimmering on the water. Candy is lying on a blanket in the sand. Wally is throwing rocks in the water. Homer takes it all in. When Candy calls for him, Homer walks up to her. CANDY I'm a little worried about the. -LRB- she gestures below her waist. -RRB-. about how much bleeding is okay. HOMER It should taper off tomorrow, but it can come back again. You have cramps? -LRB- Candy nods. -RRB- They'll ease up, almost entirely. As long as the bleeding is n't heavy, it's normal. WALLY -LRB- O.S. -RRB- Catch! A football comes flying through the air toward Homer ; it bounces off his chest. Wally laughs. WALLY -LRB- meaning the football. -RRB- Give it here! Homer throws the football ; it's clear he's never thrown one before. WALLY What was * that *?! Come over here! Homer runs over to Wally, who proceeds to show him how to pass the ball. Snatches of his instruction drift to Candy, who closes her eyes. `` Put your fingers on the laces - no, it rests in your palm, like this! You want the laces up - yes, like that!''",
"EXT. COAST OF MAINE - DAY (LATER) Homer and Wally sit on the beach a short distance from Candy's blanket. She appears to be asleep. Wally looks in her direction before he speaks to Homer. WALLY It's called the Burma run. It's about a seven - hour round - trip flight between India and China. Wally draws a crude map in the sand. HOMER `` Burma run'' because you fly over Burma. WALLY * And * over the Himalayas. That's called flying over the hump. On Candy's face : she's not asleep ; she's listening. HOMER -LRB- O.S. -RRB- At what altitude? WALLY I've got thirty - five minutes to climb to fifteen thousand feet - that's the first mountain pass. Homer looks at Wally, thoughtfully. HOMER What lousy luck - I mean your orders. to draw an assignment like that! WALLY -LRB- conspiratorially. -RRB- Actually, I volunteered. Homer is shocked ; he looks back at Candy, lowers his voice. HOMER It's the flying, right? You love to fly, do n't you? Wally nods ; he also gives a look in Candy's direction before he responds. WALLY I love the bombing, too. But there's also the Himalayas - they have the most wicked air currents in the world. I would n't miss flying there for anything. Homer's smile suggests that he's impressed, but that he would n't have Wally's enthusiasm for the task. Wally laughs and puts his hand on Homer's shoulder. WALLY Uh, look. if you're serious about wanting a job, picking apples is n't that boring. HOMER Oh, I would love that, Wally.",
"EXT. CAPE KENNETH - LOBSTER POUND - AFTERNOON The car is parked at a lobster pound. Homer sits in the car watching Wally carrying Candy's bag to the door. Candy stands outside the car ; she shakes Homer's hand. CANDY I guess I'll see you around the orchards. Thanks for everything. HOMER Sure. I'll see you around. Candy turns and heads toward the house to catch up with Wally. A lobsterman in his boat is approaching the dock. It's RAY, Candy's father. Candy waves. `` Hi, Daddy!'' Homer glances at Candy and Wally on the dock, kissing good - bye. CANDY -LRB- whispering. -RRB- I love you, Wally. WALLY I love you, too. See you tomorrow.",
"EXT. OCEAN VIEW - WORTHINGTON HOUSE - LATE AFTERNOON Wally drives up to the Worthington house ; he gets out of the car. Homer sits in the car, admiring the beautiful farmhouse. WALLY Come on. You have to meet my mom. -LRB- conspiratorially. -RRB- If it comes up, I've been at a wedding. That's where I met you, at the wedding.",
"INT. WORTHINGTON HOUSE - WALLY'S BEDROOM - LATE AFTERNOON Homer as never seen such a room : the sports trophies, the photos of athletic teams, and of Candy with Wally. Model airplanes are everywhere. Mrs. Worthington's voice comes from the hall. OLIVE -LRB- O.S. -RRB- Wally? I expected you earlier. She appears in the doorway of Wally's room. Mrs. Worthington -LRB- OLIVE -RRB- is an elegant, fiftyish New Englander, as handsome as Wally, but more reserved. She is surprised to see Homer. WALLY This is Homer Wells - he's the most overqualified apple picker you'll ever meet, but he's dying to learn the apple business. Wally is taking his uniform off as he speaks, just dropping it on the floor as he quickly puts on some farm clothes. OLIVE How do you do, Homer Wells. Homer has never met anyone like her. HOMER How do you do. Mrs. Worthington starts picking up her son's uniform from the floor. She is politely curious about Homer. OLIVE Were you a friend of the bride or the groom? Homer looks confused ; he seems to have forgotten about the alleged wedding. Wally puts his arm around Homer, urging him into the hall. WALLY Homer is everybody's friend, Mom. the bride's, the groom's, mine, Candy's, * everybody's *. Homer is embarrassed, but Olive is obdurately well - mannered. OLIVE Well, perhaps you'll come to dinner, Homer. Wally calls to her as he pushes Homer down the hall. WALLY Not tonight, Mom - he's got to meet * Mr. Rose *!",
"EXT. CIDER HOUSE - DUSK Homer and Wally get out of the jeep at the cider house, a barnlike building with adjacent sheds and, behind it, line after line of trees - the apple orchards. Homer sees an outdoor shower where THREE BLACK MEN are showering. It is a wooden stall that leaves the shower's occupants visible above and below their midsections. A FOURTH BLACK MAN is caught naked, running behind the cider house and out of sight as he wraps a towel around himself. JACK You already used up the hot water! MUDDY You're usin' my soap, ai n't you? JACK I ai n't usin' no soap - it's too cold to bother with soap! MUDDY There ai n't never enough hot water, soap or no soap. WALLY They're migrants. HOMER -LRB- no clue. -RRB- Migrants? WALLY Yes. They pick fruit, all kinds. They travel up and down the coast with the seasons. -LRB- leaning close to Homer. -RRB- The trick to Mr. Rose is, you have to let him be the boss. Homer wonders what that means as Wally reaches for the door of the cider house. Before Wally can knock, a pretty young black girl, ROSE ROSE, bumps open the screen door with her hip and throws a bucket of water in the grass - almost hitting Homer and Wally. ROSE ROSE That sink's backed up again, Wally. I thought you was gon na get me a plumber. WALLY Rose, this is Homer - Homer, this is Mr. Rose's daughter, Rose. HOMER Rose Rose? ROSE ROSE Pretty, ai n't it? You a plumber? WALLY No, no - Homer is a new * picker *. He's going to stay here with you. This gets the attention of the men on their way from the showers. They walk over, towels around their waists. ROSE ROSE -LRB- suspiciously. -RRB- He's stayin' * here *? The screen door swings open and shut again, startling them all, as MR. ROSE comes out of the cider house. MR. ROSE That daughter of mine sure is Miss Hospitality, ai n't she, Wally? Grinning, Mr. Rose shakes Wally's hand. Rose Rose goes back inside the cider house as Mr. Rose shakes Homer's hand. Homer introduces himself. MR. ROSE You got lots of experience pickin', I suppose. WALLY Homer's got no experience, Arthur, but he's smarter then I am. He's a fast learner. Mr. Rose looks briefly at the men, who wait for his reaction. MR. ROSE This is history. Ai n't that what you're sayin', Wally? I guess we makin' * history *. havin' this young man stay with us! Wally slaps Homer on the back ; he goes inside the cider house to help Rose Rose with the plumbing. WALLY -LRB- over his shoulder. -RRB- See you later. Homer looks at Mr. Rose for instructions. Mr. Rose stares back at him with his enigmatic smile. HOMER So. What should I do now? MR. ROSE Out back, there's a shed. It's just a mess. If that shed was better organized, I could put my truck in there. Homer looks at Mr. Rose with an uncomprehending expression. MR. ROSE If you're as smart as Wally says, you know you sometimes got ta do one job before you do another. Homer thinks that over. Later, Homer is cleaning out the shed.",
"EXT. CIDER HOUSE - EVENING The pickers all sit down to supper around a picnic table. Homer with Mr. Rose, Rose Rose, and the other black pickers. Mr. Rose takes an apple from a bowl on the table. Then he pulls out a knife and opens it in one fluid motion ; he's so fast, the knife seems to come out of nowhere. He begins to peel the apple. Homer eyes Mr. Rose, but Mr. Rose's focus is riveted to his apple and the long, perfect strand of peel dangling from it. MR. ROSE You did a good job with that shed, Homer. Peaches breaks the awkward silence. PEACHES What kind of a name is Homer? HOMER It's the name of a cat. Originally. Well, not * originally *. Homer decides to stop. Another silence. MR. ROSE Now, now - we all got names, sensible or not. -LRB- to Homer. -RRB- Peaches is from Georgia, where we met him pickin' peaches. He's still better with peaches than hs is with apples. -LRB- Peaches grins. -RRB- Jack here is new. And this here is Hero,'cause he was a hero of some kind or other once. Ai n't that right, Hero? There are some disrespectful suggestions from the pickers concerning what his heroism might have been. MR. ROSE And this here sensitive - lookin' fella is Muddy. The less said about Muddy, the better. Ai n't that right, Muddy? Muddy scowls at Homer, but he smiles at Mr. Rose.",
"INT. BUNKHOUSE - NIGHT Homer unpacks his suitcase. -LRB- His bed should be nearest Muddy's and Mr. Rose's. -RRB- Jack lies on his bed, smoking. Muddy, also smoking, is sitting on his bed, sharpening a knife. Hero and Peaches are playing cards on one of their beds. Mr. Rose is finishing shaving. Rose Rose watches Homer unpack. ROSE ROSE What's that? HOMER It's just my heart. ROSE ROSE What you got a picture of your heart for? He holds up the X ray, in order to show her. HOMER There's a little something wrong with it. Just this part here - the right ventricle. It's slightly enlarged. ROSE ROSE So what? HOMER Yes, so what. It's nothing serious, really. Just a small defect. MR. ROSE It's big enough to keep you out of the war, I suppose. Ai n't that right? HOMER Right. Rose Rose picks up the book that Homer has put on the bed. She studies the cover ; it's `` Great Expectations'' by Charles Dickens. She puts it down, restlessly. MR. ROSE They told me I was too old to serve. PEACHES They told Muddy his feet was too flat! Everybody laughs, except Muddy. MUDDY -LRB- to Peaches. -RRB- And you was `` generally unfit,'' as I recall. Finished unpacking, Homer sits on his bed ; he picks up `` Great Expectations'' and begins to read. Rose Rose sits down next to him, watching him read. Homer notices her interest. HOMER Do you like to read? ROSE ROSE -LRB- embarrassed. -RRB- I ca n't read. Nobody taught me. Homer smiles politely and goes back to his book. Rose Rose keeps looking over his shoulder at the pages. ROSE ROSE -LRB- pointing to the page. -RRB- What does it say there? Homer looks around at the pickers lying in their beds, smoking, listening. -LRB- Like bedtime stories at the orphanage, he thinks ; however, the picker's attitude is suspicious, reserved. -RRB- HOMER -LRB- reading. -RRB- `` I looked at the stars, and considered how awful it would be for a man to turn his face to them as he froze to death, and see no help or pity in all the glittering multitude.'' Homer looks up ; there's no response. HOMER -LRB- to Rose Rose. -RRB- More? Some muttering, some giggling, mostly silence. Rose Rose wants more, but suddenly Jack jumps out of bed and stomps to the kitchen end of the cider house, where a piece of paper is tacked to the wall. Jack is talking to Homer all the way. JACK Since you're the one who's smart enough to read. what's this? Jack points at the piece of paper. Homer gets up and looks at it. HOMER It's a list of rules, it seems. All the men groan - Jack swears and Peaches laughs. ROSE ROSE * Whose * rules? MUDDY They're for us, I suppose. JACK Go on and read'em, Homer. HOMER `` One. Please do n't smoke in bed.'' ROSE ROSE It's too late for that one! All the smokers laugh and cough in their beds. MR. ROSE -LRB- uncharacteristically blunt. -RRB- Stop it, Homer. They are n't our rules. We did n't write them. I do n't see no reason to read them. HOMER Okay. Rose Rose stomps back to her bed. Her father absently snaps his towel.",
"INT. BUNKHOUSE - NIGHT (LATER) Everybody is asleep, except Homer. He is staring at the ceiling in the quiet semi - darkness, the book lying on his chest. LARCH -LRB- O.S. -RRB- -LRB- distant echoing. -RRB- Good night, you Princes of Maine! You Kings of New England.",
"INT. BOYS' DIVISION - NIGHT Dr. Larch is standing in the doorway to the boys' room ; he closes the door.",
"INT. BUNKHOUSE - NIGHT Homer, on his bed, closes his eyes.",
"INT. DISPENSARY - NIGHT Larch lies in bed with his eyes open. -LRB- No ether. -RRB-",
"EXT. CIDER HOUSE - NIGHT The cider house and the apple orchard in the moonlight.",
"EXT. ORCHARDS - MORNING Wally in his farm clothes at the wheel of the Jeep - he is racing through the orchards, dodging trees, with Homer in the passenger seat, hanging on for dear life. WALLY Remember this! In the morning, when the tall grass is wet, you can make the Jeep slide on the grass. Can you feel it? Homer is excited as Wally weaves among the trees - faster and faster. WALLY It's almost like flying. HOMER What about the trees? WALLY The trees are flak - antiaircraft fire from those geeks on the ground. Wally brakes hard. The Jeep comes to a stop in the packing - house area. Candy has been waiting on the loading platform. The pickers are working in the background. WALLY -LRB- defensively to Candy. -RRB- I was just showing Homer the orchards. kind of a geography lesson. CANDY -LRB- good - naturedly. -RRB- I know what you've been doing. She pulls an apple branch, with an apple to two, out of the vehicle's grille - or else the branch is wedged in the front - bumper or headlight area. Candy playfully starts poking Wally with the branch. CANDY -LRB- to Wally. -RRB- You've been giving him a * flying * lesson! WALLY -LRB- teasing her. -RRB- He * loved * it! -LRB- to Homer. -RRB- Did n't you? HOMER Yeah, it was great. Wally gets the apple branch away from Candy. He pins her arms at her sides - he hugs her, kisses her. She does n't struggle. CANDY -LRB- laughing to Homer. -RRB- He thinks people * like * to get whacked by branches. WALLY * Homer * liked it! -LRB- to Homer. -RRB- Did n't you? HOMER Yeah, sure. There's no stress or strain around here. They all laugh. Homer observes the happy couple.",
"EXT. ORCHARDS - DAY Homer is walking with Wally and Candy. The orchards are beautiful.",
"EXT. PACKING HOUSE - MORNING Much activity : the pickers are unloading apple crates from a full flatbed trailer. An angry - looking VERNON gives Homer an evil glare. Homer spills some apples lifting the crate to the loading platform. VERNON What's wrong with you? Mr. Rose takes Homer aside. MR. ROSE That's Vernon. You best stay away from him until he gets to know you better - then you best stay away from him * more *! Wally, in full uniform, appears from inside the packing house ; he calls for Homer. MR. ROSE Out lieutenant's calling you, Homer. Mind your ass. Homer smiles are runs toward Wally.",
"INT./EXT. PACKING HOUSE - MORNING Homer and Wally walk through the packing house, where the HEFTY, LOUD WOMEN sort through the apples rolling by on the conveyor tracks. Wally snatches an apple from one of them, giving it to Homer. WALLY -LRB- to Homer. -RRB- You getting along okay? Before Homer can answer, the women interrupt. BIG DOT Where is that Candy? FLORENCE Did she leave you, Wally? DEBRA Who's the boy? Wally makes an effort to introduce Homer, but he's interrupted. FLORENCE Wally, you can marry Debra if Candy leaves you! BIG DOT Wally's gon na marry * me * if Candy leaves him! DEBRA You can marry all three of us, Wally! FLORENCE We can take turns. Wally puts his hand to his heart. WALLY You girls make it hard for a guy to go off to war. -LRB- points to Homer. -RRB- But I'll leave my best man here to pinch - hit for me. As the women are left behind giggling, Wally continues talking to Homer. WALLY Uh. I'm shipping out sooner than I thought. I just wanted to be sure you were settled in - and happy enough, considering. -LRB- grabbing another apple from a crate. -RRB- Are you bored stiff? Or can you stick it out for a bit? HOMER Uh. actually, picking apples is as much excitement as I want for a while. I'm grateful for the job. WALLY -LRB- his hand on Homer's shoulder. -RRB- You're the one who's helping * me *, Homer. You're going to give my mom a little peace of mind while I'm gone. Candy, too. HOMER Well, sure. that's good, then. -LRB- awkward pause. -RRB- All I mean is, I'm lucky I met you. WALLY I do n't think so, Homer. * I'm * the lucky one. Homer shakes his head. Wally stops walking ; they both stop. WALLY -LRB- more serious. -RRB- You want to fight about it? Homer is unfamiliar with this kind of kidding around ; at first he is startled, but then he laughs. Wally laughs, too. They shake hands. Mr. Rose calls out to Homer from the tractor. The pickers are impatiently waiting for him on the flatbed ; they're going back to the orchard. Homer has to run to catch up to them. He jumps on the flatbed ; he sees Wally waving good - bye.",
"EXT. ORCHARDS - DAY High up in a tall tree on a couple of ladders, Mr. Rose and Homer are picking side by side. Mr. Rose is picking with high - speed perfection, but Homer is slower and fumbling - he drops an occasional apple to the ground. MR. ROSE You pickin' more cider apples then anythin' else. Them drops is good only for cider. And you pickin' the stems with the apples only half the time. They good only for cider, too - if you do n't pick them stems. -LRB- Homer watches him. -RRB- The rule is, you wan na pick the apple * with * the stem, Homer. And see here. see that * bud * that's just above the stem? That's the bud for * next year's * apple - that's called the * spur *. You pick the spur, you pickin' two years in one - you pickin' next year's apple ` fore it have a chance to grow. You leave that on the branch, you hear? Homer nods ; he picks more carefully, with more concentration. MR. ROSE -LRB- approvingly. -RRB- That's better. I can tell you got yourself some education. Them's good hands you got, Homer. Them hands you got, they know what they're doin' - ai n't that right? HOMER I guess so. Homer can see over the apple mart parking lot from the top of the tree. He can see the driveway of the Worthington house, where Candy and Olive are saying a tearful good - bye to Wally. Distracted, Homer drops another couple of apples, which Mr. Rose observes with a wry smile. ANGELA -LRB- O.S. -RRB- Wilbur! Wilbur!",
"INT. LARCH'S OFFICE - DAY Larch is doing something at his desk when Angela comes in. ANGELA Wilbur, you should read this. Larch stares at Angela, who holds a letter. ANGELA It's from the Board. Another letter.",
"INT. LARCH'S OFFICE - NIGHT Dr. Larch stands in front of a mechanical drawing easel. He works intently with a calligraphic pen, but we do n't see what he's working on. Angela and Edna sit at the desk ; they're looking over the letter. ANGELA -LRB- quoting the letter. -RRB- Uh. `` merely suggesting that some new blood might benefit you all. someone with new ideas in the obstetrical and pediatric fields.'' -LRB- she looks up at Larch. -RRB- I think they're just testing some ideas for our next meeting. EDNA Dr. Holtz seems nice. I think he only wants to help. LARCH He is a goddamn psychiatrist - of * course * he wants to `` help''! He'd be happy if he could help * commit * me! ANGELA It's that Mrs. Goodhall you have to be careful of, Wilbur. LARCH One has to be more than `` careful'' of Mrs. Goodhall - she has sufficient Christian zeal to start her own country! I'd like to give her a little ether. EDNA So what are you going to do? Larch puts down the pen, comes around the easel, opens a drawer in a filing cabinet, and hands Edna a folder containing a few cleanly typed pages. Larch returns to the easel, to his painstaking work. Edna opens the file ; as she and Angela read the contents, Larch recites from memory as he works. LARCH `` Homer Wells, born Portland, Maine, March 2, 1915.'' EDNA Homer was born * here *, in, what was it, 1922? LARCH. graduated Bowdoin College, 1935, and Harvard School of Medicine, 1939.'' ANGELA This is * your * life story, Wilbur! You just changed the dates! LARCH `` An internship and two years of training at the Boston Lying - in, South End Branch. For his age, he was judged an accomplished gynecological obstetrical surgeon ; he is also experienced in pediatric care.'' ANGELA You * invented * him! You've completely made his up! LARCH Do n't you understand? The board is going to * replace * me! That's what the `` new blood'' is * for *! EDNA You mean they'll replace you with someone who wo n't perform abortions. LARCH -LRB- sarcastically. -RRB- Well, we can only guess about that, Edna. They * are * against the law. ANGELA These * credentials * are against the law! LARCH We all know who trained Homer - his credentials are as good as mine are. Do n't you be holy to me about the * law *! What has the law done for any of us here? Edna and Angela think this over. LARCH -LRB- points at file. -RRB- So here is my candidate. What do you think? EDNA But what about school records? Homer does n't have any * diplomas *. Larch turns the easel around. Attached is a parchment headed : `` HARVARD MEDICAL SCHOOL'' - it's a diploma - in - progress. LARCH He * will * have them, Edna. The women are shocked, awed. ANGELA Oh, Wilbur, I do n't know. -LRB- sudden thought. -RRB- We do n't even know where he is!",
"EXT. CIDER HOUSE, ROOF - NIGHT ROSE ROSE -LRB- O.S. -RRB- Where's that Homer? Homer stands in front of a ladder that leans against the cider house ; he starts to climb up, drawn by the murmuring voices, the soft laughter. JACK -LRB- O.S. -RRB- Who cares? MR. ROSE -LRB- O.S. -RRB- Now, now. He's a good boy. JACK -LRB- O.S. -RRB- Shit. We do n't know what he is. MR. ROSE -LRB- O.S. -RRB- Jack, you got ta watch your language ` round my daughter. Homer arrives at the top and sees everyone sitting on a long plank, a bench attached to the apex of the roof - obviously a popular spot. MR. ROSE Here he is. No one moves. MR. ROSE Where's your manners? Make room for Homer, so's he can enjoy the view. MUDDY What view? Peaches slides over and Homer sits down. HOMER Are we supposed to be up here? The rules said. MR. ROSE Homer, you the only one who's read them rules, so you the only one who feels like he's doin' somethin' wrong. The others laugh. MUDDY * What * view? MR. ROSE Well, Muddy, we can look at all these angry stars Homer's been readin' to us about. More laughter ; Homer smiles, enjoying the teasing. JACK -LRB- gesturing toward the Worthington farmhouse. -RRB- I bet the view looks better from the Worthi n'tons'. MR. ROSE You think so, Jack? Well. I would n't want to be in that Wally's shoes tonight. ROSE ROSE -LRB- playfully, teasing him. -RRB- Daddy, I'd like to be in that Wally's shoes * every * night. MR. ROSE -LRB- teasing her back. -RRB- You lucky you in your work boots tonight, girl. ROSE ROSE What's lucky about that? Rose Rose is being physically affectionate with her father - lightly punching his arm, rubbing the top of his head. MR. ROSE You know where that Wally is tonight, darlin'? He's up there in them angry stars. -LRB- gesturing at the dark sky. -RRB- He's flyin' all around up there. with them Japs shooting at him. They all look up, imagining that. Homer more than the others. Rose Rose, looking thoughtful, rests her head on her father's shoulder. They are completely natural together.",
"EXT. CAPE KENNETH - APPLE MART - DAY Homer and the pickers are loading crates of apples into a shipping truck. Olive and Candy are consulting some papers -LRB- the shipping tally -RRB- on a clipboard ; Mr. Rose is standing beside them. MR. ROSE They all on board, Mrs. Worthi n'ton. OLIVE Thank you, Arthur. -LRB- see is looking at Homer. -RRB- And how is our Homer working out? She catches Homer's eye ; he smiles, then joins them. Mr. Rose puts his arm around him. MR. ROSE Oh, he's a smart young man, most of the time - Wally was right about him. Olive is looking over the rest of the picking crew. OLIVE No rotten apples? MR. ROSE -LRB- it's an old way of speaking that they have. -RRB- No, no - not this year. Well. maybe we got * one *, but it ai n't Homer. He means Jack, who gives Olive and Candy and Mr. Rose a furtive look. Olive smiles at Rose Rose, who comes up to her and Candy. Olive touches Rose Rose with affection. OLIVE Rose. dear girl, I'm sure I can find you some other clothes. -LRB- to Candy. -RRB- You must have some things that would fit her. Candy takes Rose Rose by the shoulders and turns her around. Rose Rose is enjoying this. CANDY I have a * ton * of things that would fit you. MR. ROSE Now, now, Candy - this girl do n't need no more clothes, not for pickin'. He starts leading his daughter away. OLIVE -LRB- charming. -RRB- Arthur, there's no such thing as a young woman who's got all the clothes she needs. Olive waves good - bye as she moves toward her car. Candy turns to Homer. CANDY So. Not bored yet? HOMER I'm * never * bored! It's all very. different for me. here. Homer has the hardest time looking at Candy. HOMER Uh. have you been * feeling * okay? CANDY When I'm not thinking about Wally. I'm not good at being alone. -LRB- realizing. -RRB- Oh, goodness. You meant. yes, I'm fine. I. -LRB- struggling to change the subject. -RRB-. I do n't suppose you've seen a lobster yet. Homer shakes his head. He looks at the tractor and the empty trailer. Mr. Rose and the pickers are just watching them. CANDY -LRB- more seriously. -RRB- You have to come to my dad's lobster pound and see one, then. HOMER Okay. Homer looks toward the pickers sitting on the flatbed when he hears the tractor start. Candy follows his gaze. HOMER I better go. CANDY I do n't think Mr. Rose would leave without you. Mr. Rose gestures for Muddy to drive off ; the tractor trailer pulls away. CANDY -LRB- laughing. -RRB- Sorry! Homer has to run to catch up. CANDY -LRB- calling. -RRB- Come next week! He jumps on the back of the departing flatbed between Mr. Rose and Rose Rose, as Candy watches him.",
"INT. BUNKHOUSE - DUSK An anxious - looking WHITE PLUMBER is fixing the kitchen sink while the pickers -LRB- in their towels -RRB- stand around and watch. Homer is putting on his best shirt. Peaches admires the shirt as Rose Rose cooks the night's supper on the wood stove. PEACHES Whoa - look at that Homer! He's gettin' all dressed up for supper tonight! ROSE ROSE He ai n't gettin' dressed to have supper with * us *, Peaches! The pickers all look at Homer, who looks guilty as he leaves. MR. ROSE -LRB- to the plumber. -RRB- Do n't let us make you nervous or nothin' - we know you got ta job to do. MUDDY Yeah, we can wait all night for the water to come back on - you just go on and take your time.",
"EXT. INLAND ROAD - DUSK Homer pedals a bicycle down a dirt road.",
"EXT. LOBSTER POUND - DUSK Ray holds a lobster up to the camera. We see the old - fashioned wooden pens, floating dockside. RAY Hungry? Homer looks uncertain.",
"EXT. GANGPLANK, DOCK - DUSK Homer and Ray and Candy go up the gangplank from the dock to the lobster pound. RAY They're the garbage - eaters of the ocean's floor. The seagulls clean up the shore. The lobsters clean up the bottom of the sea. HOMER They eat everything? RAY Everything that falls to the bottom. CANDY It's time somebody ate * them *. RAY -LRB- to Candy. -RRB- I was lookin' for Wally's letter. I was gon na show it to Homer. -LRB- to Homer. -RRB- They made him a captain already - * Captain * Worthington! CANDY Daddy, it's a letter to * me *. RAY He mentions Homer, too, you know. CANDY -LRB- awkwardly. -RRB- Wally said to say, `` Hello.'' HOMER -LRB- equally awkward. -RRB- Oh! That's. nice. RAY -LRB- to Homer. -RRB- Wally said the most spectacular hits were in the oil fields at Yenangyat. Later, through the window of the lobster pound, we see them eating lobster around a kitchen table. Laughter and some unclear dialogue drift to us.",
"EXT./INT. CAPE KENNETH/WALLY'S CAR - NIGHT With the bicycle stowed in the trunk, Candy is driving Homer back to the cider house. They pass a drive - in movie theatre, the marquee announcing `` CLOSED FOR THE SEASON.'' Homer stares in awe at the giant blank screen. HOMER A movie * outside *? CANDY Yes. But it's closed all the time now, because of the blackout. HOMER People watched the movies in their cars? CANDY -LRB- smiling. -RRB- When they watched at all. Do you like movies? HOMER Yes! I've only seen one, though. Candy looks at him ; he is n't joking. CANDY You've seen only one movie? Which one? HOMER `` King Kong''. It's really good. Candy laughs. CANDY I have n't seen `` King Kong'' since I was a kid! Homer laughs a little self - consciously ; around her, he feels like he's * still * a kid.",
"INT. DINING HALL - EARLY MORNING At one table, the children are happily eating apples ; a few of the kids are stuffing apples from a big bowl into their pockets. At another table, Larch, Edna, and Angela sit around an open packing crate of apples. Larch takes a bite from an apple and spits it out. Angela takes the apple out of his hand. ANGELA That's a pie apple, Wilbur. Homer said you're not supposed to eat it! Angela hands him another apple. LARCH So he's an apple expert, is he? Angela gives him a critical look as Larch takes a bite out of the new apple. LARCH -LRB- sarcastically. -RRB- Oh my, yes! This is a * far * superior taste - and crisp, too! You know, so many apples are disappointingly mealy. I wonder of most of the apples in my life were n't meant for pies! ANGELA Wilbur, he picked them for us himself. LARCH -LRB- incredulous. -RRB- You do n't find it depressing that Homer Wells is picking apples? Both Edna and Angela glower at him. LARCH Or that he ca n't be bothered to write us a proper letter? A dissertation on apples, we do n't need! EDNA -LRB- annoyed. -RRB- He probably does n't make much money picking apples - he must have had to pay to send them, too. LARCH I would n't worry, Edna, that he does n't have money. If he gets hungry, he can pick his dinner! Larch angrily tosses the half - eaten apple into the garbage. EDNA Wilbur, it's a * gift *! How can you be angry with Homer for sending us a * gift *? Larch stares into space, depressed. Then he examines the crate and finds the mailing label that says `` OCEAN VIEW ORCHARDS - CAPE KENNETH, MAINE.'' He rips it off, holds it up triumphantly. LARCH I'll show him a * gift *! I'll give him a gift he can * use *! Larch storms out of the room.",
"INT. CAPE KENNETH - MOVIE THEATRE - NIGHT A newsreel from the war is playing on the screen - soldiers marching, smiling, waving to the camera. Homer and Candy sit together watching. Homer is completely fascinated ; Candy watches Homer as much as the news. Her expression changes when the newsreel cuts to footage from an air raid.",
"EXT. CAPE KENNETH - MOVIE THEATRE - NIGHT Candy and Homer walk out of the theatre, under the marquee and past the poster for `` Wuthering Heights.'' CANDY -LRB- disappointed. -RRB- But you looked as if you liked it. HOMER -LRB- smiling. -RRB- I * did * like it. All I said was, `` It's not ` King Kong'.'' Candy makes a face, but in good fun. HOMER First she loved him, then she did n't, then no one else could have him. CANDY She * did * love him! -LRB- teasing him. -RRB- How many women have you known? Homer is embarrassed ; he ducks the question. HOMER And what did she die of, exactly? CANDY She was torn apart! She died of a broken heart. HOMER Oh, sure! Homer smiles and shakes his head ; Candy starts to laugh. HOMER What's the * medical * explanation? CANDY Well, she was in a weakened condition. -LRB- laughs. -RRB- I do n't know! What about `` King Kong''?! Is that medically possible? Homer smiles ; he knows she's teasing him, and he likes it. HOMER -LRB- mock serious. -RRB- At least King Kong knew what he * wanted *. Candy pushes him playfully. They're both having a good time, * too * good a time.",
"EXT. ORCHARDS - DAY Homer is picking apples in a big tree ; Rose Rose is on a ladder in the tree right beside him. She's picking about twice as fast as he is, and he keeps dropping his apples. In another tree, Muddy is watching. ROSE ROSE What is you * doin' * with that Candy, Homer? MUDDY -LRB- imitating Mr. Rose. -RRB- He's makin' history, I suppose. From the surrounding trees, the other pickers laugh. ROSE ROSE You ai n't gettin' in no trouble, I hope. HOMER No trouble. In adjacent trees, both Peaches and Hero are picking apples ; they can hear Homer and Rose Rose, too. -LRB- So can Mr. Rose. -RRB- PEACHES That Candy - she's the nicest girl I know! MUDDY She's about the most beautiful girl I ever seen - I do n't know if she's the nicest. HOMER She's the nicest * and * the most beautiful girl I've ever known. The men * oooh * and * aaah * at Homer's announcement - Mr. Rose, too. ROSE ROSE That sounds like you is in trouble already, Homer. MR. ROSE That's right - that sounds like trouble to me. HOMER I'm not in trouble. ROSE ROSE Yeah, you is. I know when people is in trouble, and you is. Camera closes on Homer's face ; he keeps picking. LARCH -LRB- O.S. -RRB- His name is Homer Wells.",
"INT. ST. CLOUD'S - DINING HALL - EVENING Edna and Angela face the Board of Trustees around a table. Larch circles the table as everyone reads the contents of a folder. Larch has provided a copy for each member. The three elderly gentlemen on the Board do n't speak ; they just nod their heads to everything Dr. Holtz or Mrs. Goodhall says. LARCH and his * pathetic * resume is the best I've seen. Though I find it hard to believe the Board would be interested in this character. DR. HOLTZ But he looks like an excellent young man, a first - rate candidate! LARCH He looks like a bleeding - heart missionary * moron * to me, but that's going to be the problem with any doctor interested in coming here! MRS. GOODHALL Do you know him? LARCH * No *! I do n't want to know him! He's doing * missionary * work - in * India *! I wrote him * weeks * ago, but he's either too holy or too busy to answer. Maybe he got killed in the war! Suddenly Steerforth bursts through the door, having been pushed from behind by Mary Agnes. The two stop when they see what's going on - not to mention Larch's stern expression. They back out. Mary Agnes winking at Dr. Holtz before the door closes. Mrs. Goodhall is ready to continue. MRS. GOODHALL I fail to see how someone courageous enough to make a commitment to a foreign mission is automatically to be dismissed - that part of the world requires precisely the kind of dedication that is needed here. LARCH Does it * snow * in Bombay? One winter here and we'll be shipping him south, in a * coffin *! MRS. GOODHALL You ca n't think that a man who has * served * under such conditions as exist over there will be in the slightest daunted by a little * snow * - have you no idea how harsh and primitive and full of * disease * that part of the world is? LARCH Then I suppose we can look forward to catching various diseases from him! DR. HOLTZ But, Dr. Larch, he seems exceptionally qualified. LARCH I'm not talking about his medical qualifications. It's the * Christian * thing that bothers me - I just do n't see it being of much * use * around here. MRS. GOODHALL -LRB- bitterly. -RRB- I fail to see how a little Christianity could * hurt * anyone here! LARCH Anyway, I was just showing you this guy as an example of what's available - I did n't think you'd be interested. DR. HOLTZ We're * very * interested! MRS. GOODHALL Yes, * very *! DR. HOLTZ You would n't be opposed to meeting with him? LARCH I suppose it would n't hurt to * meet * him. What's his name again? ANGELA Dr. Homer Wells. LARCH -LRB- mumbling. -RRB- I just hope he wo n't expect us to say * Grace * all the time. The three elderly gentlemen repeat the name. MRS. GOODHALL It's a nice name, very New England. DR. HOLTZ Very * Maine *, a very * local * - sounding name. EDNA * Very *!",
"INT. DISPENSARY - NIGHT A song plays on the old phonograph as a happy Larch and Angela dance. Edna interrupts them. EDNA I just wanted to ask you. LARCH Edna! Come dance with me! Let's be foolish tonight. EDNA Does he * know * he's supposed to be in India? Does he even * want * to come back? This causes Larch to take the needle off the record. LARCH -LRB- angrily. -RRB- He's a field hand! What could possibly hold him there?",
"EXT. CIDER HOUSE - RAINY DAY The rain beats down on Olive's car. Homer gets soaking wet as he leans in to talk to Candy, who's behind the wheel. Mr. Rose calls to Homer from the doorway of the mill room.",
"INT. MILL ROOM - RAINY DAY Mr. Rose is instructing Homer as they stand bottling cider in their yellow slickers and rubber boots. Rose Rose is hosing down the pressboards ; Muddy and Hero and Peaches are operating the grinder and the press. Jack is stirring the vat. In a defiant, contemptuous way, Jack keeps flicking the ash of his cigarette into the vat. This make everyone uncomfortable ; only Mr. Rose does n't appear to notice. MR. ROSE Cider do n't have no taste till later in October - it's too watery now, when we're usin' just them early Macs and them Gravensteins. You do n't get no * good * cider till you're pickin' them Golden Delicious and them Winter Bananas, them Baldwins and them Russerts. HOMER What about the worms? Most of these apples are the drops - off the ground, right? There have to be worms. MR. ROSE Of * course * there's worms, Homer! And what is them worms, really? They just * protein *, them worms! They is * good * for you! Everyone but Jack laughs. He takes a last drag on his cigarette, then deliberately drops it into the vat. MR. ROSE That just ai n't right, Jack - your cigarette's gon na end up in nine or ten gallons of this batch of cider! That ai n't right. JACK Them people drinkin' that cider, they do n't know there's a cigarette in there! MR. ROSE It's not that hard to find it in there, Jack - it'll take you just a minute. You just got ta go fishin'. JACK You mean * swimmin' *. I ai n't goin' in that vat to fish out no cigarette! MR. ROSE What business is you in, Jack? Just tell me what your business is. Jack looks for a translation from the other men, who are nervous. MUDDY Just say you're in the * apple * business, man. That's the only business you wan na be in. Just say it. Jack pulls a knife on Mr. Rose. PEACHES -LRB- whispers excitedly to Jack. -RRB- You do n't wan na go in the knife business with Mistuh Rose - just say you're in the * apple * business, Jack! JACK -LRB- to Mr. Rose. -RRB- What business are * you * in? We never see Mr. Rose's knife. We see the men circle each other : Jack takes a swipe at Mr. Rose's head - then he steps back, his yellow slicker slashed open. His slicker is opened up, right up the middle. His shirt underneath the slicker is slashed open, too - he feels his bare chest and stomach, feeling for the cut. But there's no cut - Jack's not bleeding, he's not even scratched. Just his clothes have been slashed. MR. ROSE I'm in the * knife * business, Jack. You do n't wan na go in the knife business with me. Muddy turns Jack around and views his slashed clothes. MUDDY You're lucky he did n't cut your * nipples * off, man. PEACHES The good news, Jack, is you're half - undressed for * swimmin' *. MUDDY Yeah, that cigarette ai n't hard to find when you're properly undressed. Jack starts to undress for the vat. Mr. Rose ushers Homer and Rose Rose outside.",
"INT. BUNKHOUSE - RAINY DAY Mr. Rose has cut his own hand in the fight. Homer's professionalism if offended to watch Rose Rose's amateurish efforts to stitch up her father's wound, but clearly this is n't the first time she's done it. HOMER Give men that. I know how to do it. ROSE ROSE Oh, I suppose you is a doctor, Homer? HOMER Almost. MR. ROSE I do n't need no `` almost'' a doctor, Homer. Homer ca n't bear to watch Rose Rose at work with the needle. ROSE ROSE We should drown that damn Jack in the vat! MR. ROSE Now, now, darlin'. Jack just needs to know what business he's in. ROSE ROSE Yeah, you really showed him, Daddy - you just about cut your own hand off, and all you cut off * him * was his clothes! MR. ROSE You oughta know you do n't go to jail for cuttin' a guy's * clothes *. Ai n't that right, Homer? Homer winces at the stitching.",
"INT. WALLY'S CAR - DRIVE-IN THEATRE - EARLY EVENING Wally's car comes bouncing along the ditches of the closed drive - in. Homer is at the wheel ; Candy calls out some driving instructions. The car comes to a stop next to a speakerpost. Candy leans out ; she grabs the speaker and hangs it on the window. Homer sits back and drapes his arms out the window and over the seat. He feels great. CANDY You're a natural. You were born to drive a car like this. HOMER You think? Maybe I was. -LRB- looks around. -RRB- I love this place! Homer looks up at the giant movie screen. HOMER The screen is enormous! Imagine King Kong up * there *! Have you seen a lot of movies here? CANDY Yes. and no. When you come here, you do n't really care about the movie. Homer stares at Candy in disbelief. HOMER You do n't care about the movie? Candy looks at him for a moment. CANDY What are you so crazy about the movies for? HOMER It was my favorite night at the orphanage - movie night. We'd race into the dining hall. Of course everyone wanted to sit in front, so we'd be packed in so tight you could feel the kid next to you breathing. CANDY At least you were never lonely. HOMER I did n't say that. Growing up in an orphanage, you're always lonely. You're just never alone. Candy is moved. Homer feels exposed ; he tries to change the mood by making light of what he's said. HOMER You're not alone in the bathroom, or. or in the shower. you're never alone in wanting the last piece of meatloaaf, or even in your own bed on a cold morning. Candy laughs. CANDY You do n't miss it? HOMER I miss things. I miss. people. -LRB- with certainty. -RRB- I miss reading to the boys. CANDY But you had so much * responsibility *. HOMER I never * asked * for any responsibility. CANDY Just a little privacy. Homer laughs. CANDY Privacy is exactly the point of drive - in movies. HOMER Did you come here with Wally - to * not * watch movies? At the mention of Wally they both look a little self - conscious. CANDY Sometimes. movies mostly bore Wally. HOMER Ah - ha. -LRB- points to the speaker. -RRB- So what is that - a radio? CANDY The * speaker *. For the movie sound. Candy looks at Homer. CANDY Scrunch down like this. Candy scrunches down in her seat ; Homer imitates her. Homer is focused on the giant screen. HOMER How could you not * care * about the movie? CANDY You just cuddle. You come to hug. to kiss. You do n't * come * here to watch the movie. HOMER -LRB- teasing her. -RRB- That's what * I'd * come here for. I'd watch the movie. CANDY Not with the right girl you would n't. Homer's expression changes from exhilarated to guilty. He leans back in his seat and looks straight ahead at the screen. Candy tentatively leans her head on his shoulder. Homer looks afraid to breathe. From behind, with her head on his shoulder, they look like a normal couple. We track in toward the huge screen until we see only the screen. There are shadows on the black screen. Suddenly the movie `` King Kong'' appears.",
"INT. DINING HALL - NIGHT `` King Kong'' is playing against the bare, white wall. Fuzzy is very weak, but he smiles at the sight of the love - struck Kong holding the screaming Fay Wray in his giant hand. Dr. Larch runs the projector ; he sits close beside Fuzzy. When the film breaks in the predictable place, Fuzzy makes no protest. Dr. Larch looks at Fuzzy, who has stopped breathing ; his eyes are closed. LARCH Fuzzy? Fuzzy? They are alone in the dining hall. Larch has wheeled in Fuzzy for a private viewing.",
"EXT. ST. CLOUD'S - GRAVEYARD - MORNING Buster helps Larch lower the small coffin into the grave. The tiny gravestone says `` F.S.'' BUSTER What are you going to tell the little ones? LARCH I'll tell them Fuzzy was adopted. BUSTER Why would the little ones believe that * anyone * would adopt him? LARCH They'll believe it because they want to believe it. BUSTER Should n't we tell Homer? LARCH If Homer wanted to know what was happening here, he could pick up a telephone and call us.",
"INT. BOYS' DIVISION - NIGHT The boys in their beds listen to Buster inventing Fuzzy's `` family.'' BUSTER It was a family with a better breathing machine then the one Dr. Larch built.",
"INT. ST. CLOUD'S - CORRIDOR - NIGHT Larch leans against the wall, covering his eyes, overhearing the boys. BUSTER -LRB- O.S. -RRB- The family that adopted Fuzzy, they * invented * the breathing machine. It's their business. breathing machines. Larch pauses ; he waits to see if they believe this. CURLY -LRB- O.S. -RRB- Lucky Fuzzy! Larch almost breaks with a sudden sharp breath. ALL THE BOYS -LRB- O.S. -RRB- Good night, Fuzzy! Good night, Fuzzy! Good night, Fuzzy Stone!",
"EXT. CIDER HOUSE - MORNING As the men sit at the picnic table eating their cornbread, Rose Rose pours coffee. A jeep comes down the orchard road toward them. It's Olive. Mr. Rose leads the `` Good mornin', Mrs. Worthi n'ton!'' greeting. Olive has an armful of clothing and a fairly sizable package ; she brings the latter over to Homer. OLIVE Some mail for you, Homer. Homer shakes the package ; he puts the package beside the table, unopened. Olive turns to Rose Rose. OLIVE And some clothes for you, dear -. -LRB- nodding to the cider house. -RRB- let's go see if they fit. Mr. Rose watches Rose Rose and Olive disappear into the cider house. The other men view Homer's package with curiosity, especially Peaches. PEACHES Ai n't you gon na see what it is, Homer? MR. ROSE Mind your own business, Peaches. PEACHES Sorry, Homer.",
"INT. BUNKHOUSE - LATE AT NIGHT Homer lies awake in bed ; everyone else is asleep. Homer pulls the package out from under his bed, opening it just enough to see what it is ; then he shoves it back under his bed.",
"EXT. OCEAN/BEACH - DUSK The beach at sunset. Candy and Homer, dressed for cooler weather, are alone at the water's edge. From a paper bag, Candy is scattering some small, brightly colored pieces of broken glass. HOMER Are n't you worried that people will cut their feet? CANDY Nobody will swim here until next summer. By then, the water will have rubbed the glass smooth against the sand - there wo n't be any sharp edges. She finds and old piece of glass among the stones and shells at the high - tide mark. CANDY See? That's last year's glass, or from some year before. I put glass here every year. The ocean makes it beautiful. Candy holds up a piece of glass to the sun for Homer to look at. The ocean is a gray - green color, the glass a paler shade of green. CANDY Give me your hand. She rubs the smooth piece of glass against his hand, then throws it toward the water. It falls short. Homer retrieves it. Candy splashes him playfully. He chases her away from the beach, into the pine trees. Homer locks his arms around her, from behind. He ca n't let go. She lets him hold her, then breaks his grip. She turns to face him. She is taller then he is, older, obviously more experienced. She initiates the kiss. They drop to the ground right there ; they make love by the roots of the tree, Candy guiding him.",
"EXT. WALLY'S CAR - BEACH PARKING LOT - NIGHT They come out of the woods, walking toward the car, Candy leading. We hear Candy talking just before we see her and Homer. CANDY -LRB- increasingly upset. -RRB- * Nobody * volunteers for the Burma run - he said so himself. And nobody knows * me * better than him! So how am I supposed to feel? He's a bomber pilot and I'm just selfish, I know. Well, I'm * not * a brave little girl and I'm * not * sorry. She sits in the passenger seat, Homer in the driver's seat. CANDY I * know * this was right. -LRB- pause. -RRB- I told you. I'm not good at being alone. -LRB- pause ; in a whisper. -RRB- I told him, too. Homer concentrates on starting the car. CANDY -LRB- repeating herself. -RRB- I * know * this was right. HOMER Right. Their expressions, as the car pulls away, belie their words.",
"EXT. CIDER HOUSE - END OF DAY Homer and Mr. Rose sit opposite each other at the picnic table. Rose Rose stands behind her father, her hands on his shoulders, watching Homer snip out Mr. Rose's stitches - very quickly. MR. ROSE Slow down, Homer - do n't be in such a big hurry. HOMER This is easy - I'm not hurrying. MR. ROSE You still doin' it too fast! Job done, Homer leaves the table and hurries to the bicycle, pedaling away. Rose Rose watches Homer go, as Mr. Rose flexes his healed hand. ROSE ROSE He's in a big hurry, all right. I told you he's in trouble.",
"EXT. CAPE KENNETH - LOBSTER POUND - EVENING Candy and Homer sit on the dock. Candy still seems to be wrestling with her conscience. Homer throws snails in the sea. It's cold. HOMER Just tell me. Do you want me to go? Do you want me to stay? CANDY It will be okay. HOMER * What * will be okay? CANDY We have to wait and see. I think that, for * everything * in life, you have to wait and see. Homer throws a snail with more force. HOMER I'll just move on, get another job somewhere. Ray comes out onto the dock ; he sees Homer throwing another snail. RAY Every time you throw a snail off the dock, you're makin' someone start his whole life over. Candy throws a handful of snails into the water. CANDY Maybe we're doing the snails a favor, Daddy. Ray looks at the two of them ; he sighs. RAY It's gettin' late. I think I'll pack it in. CANDY Good night, Daddy. Ray nods good night ; he leaves. Homer looks expectantly at Candy. CANDY We'll just have to wait and see.",
"INT. WORTHINGTON HOUSE, DINING ROOM - NIGHT Olive and Homer sit at the dining - room table, the remnants of an apple pie in front of them. Homer is still eating. Pictures of Wally are on the wall. OLIVE I used to hate it when Wally went back to college - even when it was just college! And this was when his father was still alive. I hated it even then. Naturally I hate this more. Homer nods in sympathy. His mouth is stuffed with apple pie. OLIVE What I mean is. I would like it very much if you thought you could be happy here, Homer. HOMER -LRB- wiping his mouth. -RRB- Mrs. Worthington, I feel I'm very lucky to be here. OLIVE There's not a lot of work in the winter, and you'll have to tolerate Vernon - even Wally despises him, and Wally likes everyone. Olive's thoughts drift ; her eyes look up at a photo of Wally. HOMER I think Wally will be fine, Mrs. Worthington - he seems indestructible to me. OLIVE -LRB- distracted. -RRB- I do n't know. -LRB- intently at Homer. -RRB- Just promise me one thing. Homer is tense. Does Olive suspect about Candy? HOMER Uh. sure. OLIVE Just promise me that, if there's a blizzard, you'll move into Wally's room until it's over. They both laugh, but Homer has a hard time looking her in the eye.",
"EXT. CIDER HOUSE - DAY The pickers are moving out ; the harvest is over. Olive and Homer stand near the door to the bunkhouse, talking - we ca n't hear their conversation. Rose Rose and the other men walk past them, carrying the last of their belongings to the truck. Olive and Homer walk over to the truck. OLIVE Good - bye. Have a safe trip home. Thank you, again, for all your hard work. MR. ROSE You take care now, Mrs. Worthi n'ton. They shake hands. OLIVE Good - bye, Arthur. -LRB- she hugs Rose Rose. -RRB- Homer, I'll see you tomorrow? HOMER Right. Olive gets in her Jeep and waves as she drives off. The truck is packed. Muddy tugs on a rope that secures the load. MUDDY -LRB- to Mr. Rose. -RRB- We all set, I think. Mr. Rose nods and gets in behind the wheel. Rose Rose and Muddy get in next to him. The others are bundled up for the ride in the open back of the truck. As they're leaving, Homer waves good - bye - the pickers calling out to him. MR. ROSE You all take care of yourself, too, Homer! PEACHES We see you next harvest. MUDDY Do n't freeze to death, Homer. JACK Go on and freeze to death if you want to, Homer. MR. ROSE Now, now, Jack - that just ai n't right. ROSE ROSE You just stay out of trouble, Homer! Homer stands looking after them, after they're gone.",
"INT. BUNKHOUSE - LATER THAT SAME DAY Homer is alone, rearranging his stuff - spreading out a bit, making the place his own. -LRB- On the other beds, we see the mattresses rolled up on the bare bedsprings. -RRB- CANDY -LRB- O.S. -RRB- So, you're staying. Homer turns ; he had n't seen Candy come in. CANDY Olive told me. -LRB- awkward pause. -RRB- You might have told me yourself. HOMER I'm just waiting and seeing. Like you said. She smiles. He goes to her ; they embrace. BEGINNING A MONTAGE OF THE NEXT NINE OR TEN MONTHS.",
"EXT. CIDER HOUSE ROOF - MORNING Homer, drinking coffee, is writing a letter on a note pad. HOMER -LRB- V.O. -RRB- Dear Dr. Larch, thank you for your doctor's bag.",
"EXT. RAY'S LOBSTER BOAT - DAY Homer is learning how to `` haul'' a lobster pot with Ray and Candy's guidance. HOMER -LRB- V.O. -RRB- although it seems that I will not have the occasion to use it.",
"EXT. LOBSTER POUND, FLOATING PENS - EVENING Following Ray's example, Homer is trying to `` disarm'' the lobsters' big claws by blocking them shut with the little wooden wedges. Roy works quickly, never getting pinched. As Candy watches, Homer gets pinched. HOMER -LRB- V.O. -RRB- Barring some emergency, of course. I am not a doctor. With all due respect to your profession. I am enjoying my life here.",
"INT. BUNKHOUSE - NIGHT Homer and Candy are naked. They have pulled two beds together and made a double bed. He ca n't take his eyes off her. HOMER I've looked at so many women. I mean, I've seen * everything * about them, * everything *. but I never felt a thing. I felt nothing. Now. with you. it * hurts *. to look at you.",
"INT. DISPENSARY - DAY Edna and Angela and Larch are all reading Homer's letter, their lips moving silently as they read the words. HOMER -LRB- V.O. -RRB- I am enjoying being a lobsterman and an orchardman - in fact, I have never enjoyed myself so much.",
"INT. WORTHINGTON HOUSE, FIREPLACE - NIGHT Olive and Homer and Candy are playing a board game around the fireplace. HOMER -LRB- V.O. -RRB- The truth is, I want to stay here. I believe I am being of * some * use.",
"INT. LARCH'S OFFICE - NIGHT Edna and Angela view him anxiously from the doorway as Larch furiously types and types. LARCH -LRB- V.O. -RRB- My dear Homer, I thought you were over your adolescence, that period which I would define as the first time in our lives when we imagine we have something terrible to hide from those who love us.",
"INT. WALLY'S CAR - DAY Candy is singing to the car radio, as animated and happy as we've ever seen her. Homer, driving, can scarcely keep his eyes on the road ; he has to keep looking at her. LARCH -LRB- V.O. -RRB- Do you think it's not obvious to us what's happened to you?",
"INT. BUNKHOUSE - NIGHT With the radio playing -LRB- a popular song -RRB-, Homer hops across the bare floor, pulling on his boxer shorts ; he opens the door to Olive, who's holding out an armload of blankets to him. He sheepishly thanks her. When Homer closes the door, we see a hidden -LRB- and stricken -RRB- Candy, naked from their interrupted lovemaking. LARCH -LRB- V.O. -RRB- You're fallen in love, have n't you? By the way, whatever you're up to ca n't be too good for your heart. Then again, it's the sort of condition that can be made worse by worrying about it. So do n't worry about it!",
"EXT. ORCHARDS - DAY Vernon and Homer are working under an apple tree ; they are poisoning mice. HOMER -LRB- V.O. -RRB- Dear Dr. Larch, what I am learning here may not be as important as what I learned from you, but everything is new to me. Yesterday I learned how to poison mice. You use poison oats and poison corn.",
"INT. DINING HALL - EVENING Supper chaos - Buster and Mary Agnes are doing their best to stop a food fight while Larch and Angela and Edna are completely absorbed reading Homer's letter. HOMER -LRB- V.O. -RRB- Field mice girdle an apple tree. Pine mice kill the roots. I * know * what you have to do - you have to play God. Well. killing mice is as close as I want to come to playing God.",
"INT. MOVIE THEATRE - CAPE KENNETH Homer and Candy are watching `` Rebecca''. LARCH -LRB- V.O. -RRB- Do I interfere? When absolutely helpless women tell me that they simply * ca n't * have an abortion, that they simply * must * go through with having another - and yet another - orphan. do I interfere? * Do * I? I do not. I do not even * recommend *. I just give them what they want : an orphan or an abortion. -LRB- close on Homer. -RRB- You are my work of art, Homer. Everything else has been just a job. I do n't know if you've got a work of art in you, but I know what your job is. You're a doctor!",
"INT. BUNKHOUSE - DAY The radio is playing a slow, sexy dance number. The fat ladies from the apple mart are dancing as they paint the interior walls of the bunk house. HOMER -LRB- V.O. -RRB- I am not a doctor. LARCH -LRB- V.O. -RRB- You know everything I know, plus what you've taught yourself - you're a better doctor then I am and you know it! Homer is finishing up painting the kitchen walls. When he gets to the list of rules, tacked on the wall, he removes the list and finishes painting under where the rules were. LARCH -LRB- V.O. -RRB- They're going to replace me, Homer! The Board of Trustees is looking for my * replacement *! Two of the ladies unroll the rolled - up mattresses on the bare bedsprings, as Vernon enters with an armload of blankets and pillows. HOMER -LRB- V.O. -RRB- I ca n't replace you! I'm sorry. Homer holds up the list of rules, rereads it briefly ; he walks over to an unpainted beam, a support beam, and tacks the rules on this beam.",
"EXT. CIDER HOUSE, ROOF - MORNING Homer reads Larch's letter, sipping coffee. LARCH -LRB- V.O. -RRB- Sorry? I'm not ` sorry'! Not for anything I've done. I'm not even sorry that I love you!",
"INT. DISPENSARY - NIGHT Larch sits on his ether - bed with a letter from Homer in his hand. He looks completely deflated. Angela is standing in the doorway. LARCH I think we may have lot him to the world. He's not coming back. END OF THE MONTAGE.",
"INT. BUNKHOUSE - EARLY EVENING In the newly painted, spruced - up cider house, Homer and Candy are dancing to another slow, sexy song on the radio. He is untucking her blouse, feeling under her blouse - she starts to unbutton his shirt. They kiss while they dance. But the song changes abruptly on the radio to something fast and silly. Homer responds to the music, dancing goofily - instantly out of the mood. Candy laughs, but she picks up a pillow and swings it at him, hitting him. He dances away from her. She throws the pillow ; he ducks - the pillow lands somewhere near the door. Now Homer grabs a pillow and chases her from bed to bed. She shrieks - they're both laughing. They each grab a pillow and stand toe to toe whacking each other, laughing all the while, until he pins her arms behind her and, breathing hard - and despite the stupid music that broke the mood - they are passionately kissing again. The sound of a truck is sudden and loud.",
"EXT. CIDER HOUSE - DAY Mr. Rose's truck has arrived. The pickers are hopping out of the truck, grabbing their gear.",
"INT. BUNKHOUSE - DAY The door opens. Hero and Peaches barge in, as Homer and Candy are struggling to return the pillows to the beds. HERO Who's that? PEACHES It's that Homer! Muddy is right behind them. He picks up a pillow, off the floor, looking for which bed it belongs on. MUDDY It's that Candy, too. Then comes Mr. Rose, slyly smiling, taking it all in - there's no hiding what's going on. Homer and Candy are caught, their shirts untucked and half - unbuttoned - they're still out of breath. The pillows lie crazily on the beds, each one of which has been stepped on. MR. ROSE Do n't this place look like home? PEACHES It look nicer then home! MR. ROSE What have you two been doin' to make it look so nice? Rose Rose enters. She looks hardened, toughened - not happy. She plops down her stuff on her bed, looking only at Candy. ROSE ROSE How is that Wally doing? CANDY Oh, he's fine! I just heard from him. He's bombing all these places. Homer tries to help out. HOMER -LRB- mumbling. -RRB-. bridges, oil refineries, fuel depots. He peters out, knowing how sick of hearing this Candy is. He tries to change the subject. HOMER Where's Jack? There is an uncomfortable silence. MUDDY He just was n't up for the trip. More silence. MR. ROSE That Jack just never knew what his business was. One look at Muddy and we know something pretty bad happened to Jack.",
"EXT. ORCHARDS - DAY The pickers on their ladders, all picking. Homer is now a good picker ; he looks over at Rose Rose. She is slumped against the ladder, not picking, completely ignoring an argument beneath them in the aisle between the trees. -LRB- Mr. Rose is checking over the apples Peaches has just picked. -RRB- MR. ROSE You pickin' nothin' but cider apples, Peaches - I hope you understand that. PEACHES They ai n't drops - I picked'em off the tree! MR. ROSE Then you pickin''em too fast - they ai n't no better than drops to me. See that bruise, and that one? * Half * of these is bruised! Look at this one! It ai n't got no stem! You might as well * step * on'em, too - they only good for cider.",
"EXT. ORCHARDS - DUSK In the aisle between the trees, Homer and Candy are arguing in one of the work vehicles. CANDY Do you think I'm having a good time? Do you think I'm just * teasing * you? Do you think I * know * whether I want you or Wally? HOMER So we should `` wait and see.'' For how long? CANDY I grew up with Wally. I began my adult life with him. HOMER Fine. That's all there is to it then. CANDY No! That's not all there is to it! I love you, too - I * know * I do. HOMER Okay, okay - I know you do, too. CANDY -LRB- bitterly. -RRB- It's a good thing I did n't have that baby, is n't it? Her sudden hardness leaves him speechless as they go their separate ways. Candy drives on.",
"EXT. CIDER HOUSE - SUNNY MORNING Breakfast time at the picnic table. Rose Rose by herself, away from the table. She does not look well ; she suddenly goes back inside the bunkhouse. PEACHES -LRB- calling after her. -RRB- Ai n't you eatin' with us, Rose? -LRB- to the men. -RRB- She used to eat with us. Now we ai n't good enough for her, I guess. HERO She ai n't hungry, maybe. MUDDY She ai n't hungry every mornin''cause she's sick every mornin'. Homer gets up to take his dishes inside.",
"INT. KITCHEN AND BUNKHOUSE - MORNING When Homer comes in, Rose Rose is throwing up in the sink. HOMER You okay, Rose? ROSE ROSE I guess you must like watchin' me be sick. HOMER I do n't like watching anyone be sick. Rose Rose lies down on her bed with the curtain open. There is something familiar about the way Homer approaches her bedside ; he does so with the authority of a doctor. He sits on the edge of her bed with such complete self - assurance that she does n't protest. HOMER How many months are you? She just stares. But she does n't stop him when he touches her abdomen. It's as if she knows that he knows what he's doing. HOMER You're not yet three months, are you? ROSE ROSE Not yet. What do you know about it? HOMER I know more than I want to know about it. Who's the father? ROSE ROSE Do n't trouble yourself about it, Homer - this ai n't your business. HOMER But you do n't look very happy. ROSE ROSE * Happy *! What are you thinkin'? How am I supposed to take care of a baby! I ca n't have a baby. HOMER Rose, please listen. Whatever you want to do, I can help you. She is taken back. HOMER What I mean is, if you do n't want to. keep the baby, I know a place where you can go. ROSE ROSE You think Daddy's gon na let me go anywhere? I ai n't going * nowhere *. She rolls over on the bed, facing away from him again. ROSE ROSE Why do n't you just go back to your pickin', Homer? I can take care of it myself! HOMER Rose, listen - do n't * do * anything. You know, I mean to yourself. Please listen. MR. ROSE -LRB- O.S. -RRB- -LRB- calling. -RRB- Homer! Is this a workin' day or what?",
"EXT. LOBSTER POUND - EVENING Homer and Candy are sitting at the dock. CANDY We should take her to St. Cloud's. That much is obvious, is n't it? Let her make up her mind when she gets there. HOMER I told her! She does n't feel she can do that. Something about her father not letting her go anywhere. CANDY Well, we have to help her! Homer does n't respond. CANDY We have to do * something *. Do n't we? -LRB- beat. -RRB- Homer? Homer looks out over the ocean ; he remains unresponsive.",
"EXT. CIDER HOUSE - MIDDAY Rose Rose is setting the picnic table for lunch when Candy arrives. CANDY Hi. ROSE ROSE Hi. She keeps setting the table. CANDY I've got some more clothes for you - I just keep forgetting to bring them with me. ROSE ROSE I do n't need no more clothes, thank you. CANDY -LRB- softly. -RRB- Rose, I know what's going on. Homer told me. I got pregnant, too - about a year ago. -LRB- pause. -RRB- I've been through this. Rose Rose looks down. ROSE ROSE You ai n't been through what I been through, Candy. CANDY -LRB- does n't get it. -RRB- Yes, I * have *! Rose Rose dismissively waves her hand. CANDY Who's the father, Rose? Rose looks at Candy and shakes her head. CANDY You want to have the baby? Rose Rose shakes her head again, more emphatically. CANDY I know where you can go. Homer and I can take you. ROSE ROSE I ca n't go nowhere. CANDY Why? Rose Rose stays silent. CANDY Is it the father? Does he know? Rose Rose turns away from Candy. CANDY You can trust me. Is it Jack? It's not Jack, is it? It's * Muddy *! Is it Muddy? ROSE ROSE -LRB- almost wistfully. -RRB- No. It ai n't Muddy. Muddy's just. Rose Rose stops ; she ca n't even continue setting the table. Her voice turns bitter, despairing. ROSE ROSE It sure ai n't Jack. There, suddenly, is Mr. Rose, walking past them. He is uncharacteristically tentative. MR. ROSE -LRB- to his daughter. -RRB- I'll be up top. Mr. Rose leaves Candy and Rose Rose alone again. Rose Rose nods almost invisibly after her father. Rose Rose looks pointedly at Candy, nodding. Candy slowly gets it. Mr. Rose is the father! Rose Rose lets that sink in ; she keeps looking at Candy with an ashamed expression.",
"EXT. ORCHARD - DAY The pickers are at work, on their ladders, when Candy runs down the aisle between two rows of trees. She stops at the bottom of Homer's ladder, out of breath. Muddy and Peaches and Hero, in the treetops, are watching and listening. CANDY She wo n't go to St. Cloud's! HOMER -LRB- shrugging. -RRB- Well, we ca n't force her. It's her decision. CANDY You do n't understand! It's her father. HOMER Mr. Rose * knows *? CANDY -LRB- shouting. -RRB- He's the * father *! He's her baby's father! The pickers ca n't help but hear this, too. Candy starts to leave, Homer running after her. HOMER Wait. * wait *! Are you sure? CANDY We've got to keep her away from that bastard! Candy leaves. Homer starts looking for Mr. Rose.",
"EXT. ORCHARD, NEAR CIDER HOUSE - MOMENTS LATER Smiling his enigmatic smile, Mr. Rose keeps slowly picking while Homer stands at the foot of his ladder. MR. ROSE I did n't see where you was pickin' this mornin', Homer, but you musta worked up a big appetite. You look like you're serious about gettin' to your lunch today! HOMER Is it true? Mr. Rose stops picking, his eyes darting to see who's around. HOMER Are you sleeping with your own daughter? Mr. Rose, with deliberate slowness, comes down the ladder. MR. ROSE -LRB- slyly ; still composed. -RRB- I think you been stayin' up too late at night, Homer. HOMER You're actually having sex with your own little girl? Is that possible? MR. ROSE Ai n't nobody havin' * sex * with my little girl, Homer - that's somethin' a father knows. HOMER You're lying. How can you. with your own daughter! Mr. Rose switches from sly to threatening in a split second. MR. ROSE Homer, do n't you know what business you in? You do n't wan na go into no business with me, Homer - ai n't that right? HOMER Go on, cut my clothes. I've got other clothes. Mr. Rose is indignant. MR. ROSE You a fine one to be talkin' about lies. Shame! These people took you in. That boy Wally's at * war *! That takes some of the steam out of Homer's superiority. HOMER But she's your * daughter *. MR. ROSE And I * love * her! There ai n't nobody else gon na treat her as good as I do! -LRB- looks away. -RRB- I would n't do nothin' to hurt her, Homer - you must know that. Homer turns ; he speaks over his shoulder as he walks away. HOMER She's * pregnant *. Do you know * that *? By his expression - he looks as if he's been punched - it's clear that Mr. Rose did n't * know that *. The other pickers are on their way to lunch ; it's obvious that Muddy, Peaches, and Hero already know that Mr. Rose is sleeping with his daughter.",
"EXT. CIDER HOUSE - PICNIC AREA - LUNCHTIME Rose Rose is sitting at the picnic table when the pickers arrive for lunch, almost simultaneously with Homer. He looks at, then looks away from, Rose Rose. Mr. Rose is the last to sit down at the table as a very tense, wordless lunch begins.",
"EXT. ORCHARD - DAY Homer is on a ladder picking apples. Muddy climbs a ladder on the other side of the same tree. MUDDY Do n't mess in this, Homer, if you know what's good for you. HOMER How long's this been going on, Muddy? MUDDY Long enough. You ai n't gon na stop it. Muddy looks all around for Mr. Rose ; then he gives Homer his knife. MUDDY There's my knife, Homer. It ai n't gon na do * me * no good. You give that knife to Rose Rose, you hear? Homer nods, pocketing the knife. As Muddy climbs down and moves his ladder to an adjacent tree, he keeps talking to Homer until he disappears in the leaves. MUDDY You best just watch you ass, Homer! You do n't wan na end up like Jack! Homer thoughtfully continues his work.",
"INT. BUNKHOUSE - LATE AT NIGHT Homer lies awake in his bed.",
"EXT. ORCHARD - LATE AFTERNOON, ANOTHER DAY The pickers on their ladders in the trees ; nobody is talking. In the late sun, the leaves have a reddish, fiery glow.",
"EXT. ORCHARD - ANOTHER DAY It's much colder ; the pickers are on their ladders in the trees again, but they're dressed for the cold. Homer is high on a ladder ; he turns toward the view of the Worthington house when he hears a car come to a screeching halt in the driveway. Homer sees Candy get out of Wally's car ; she leaves the door open and runs toward the house. Parked in front of Wally's car is an Army Jeep, with an ENLISTED MAN leaning against it. The indifferent soldier smokes a cigarette as he watches Candy run. CANDY No! No! Homer descends the ladder and runs for the house, down as aisle between the row of trees. The pickers watch him run.",
"INT. WORTHINGTON HOUSE, LIVING ROOM - DAY Camera follows Homer into the Worthington house where, from the front hall, he sees Olive and Candy -LRB- in profile -RRB- sitting on the couch. We ca n't see who's talking, nor do we recognize the voice. As Homer comes into the living room, we see MAJOR WINSLOW sitting in a chair -LRB- also in profile -RRB-, talking to Olive and Candy. Major Winslow is a smooth, handsome well - briefed officer in the casualty branch of the Army Air Corps ; he's done his homework, but he's not all business. He's painfully aware of the delicate nature of his report. MAJOR WINSLOW When the plane was hit, the crew chief and the radioman jumped close together. The copilot jumped third. All on Captain Worthington's orders - the captain was still flying the plane. None of the men of the ground could see the sky - that's how thick the jungle was. They never saw the plane crash - they never * heard * it crash. They never saw Captain Worthington's parachute, either. OLIVE Why was he missing for twenty days? MAJOR WINSLOW Because the crew thought he'd gone down with the plane. They were hospitalized for almost a week in China before they were flown back to India. It was n't until that they sorted through their gear. CANDY Who cares about their * gear *? MAJOR WINSLOW Three men jumped from the plane, but they had four compasses with them. One of the crew jumped with Captain Worthington's compass. CANDY He was in Burma for twenty days without a compass? MAJOR WINSLOW He followed the Irrawaddy River, all the way to Rangoon. Somehow he managed to avoid the Japs, but not the mosquitoes. OLIVE Then it's malaria? MAJOR WINSLOW It's encephalitis B. He's recovering at Mount Lavinia Hospital, Ceylon. -LRB- pause. -RRB- Uh. Captain Worthington is paralyzed. -LRB- Olive gasps. -RRB- Waist down. He wo n't walk. Candy stands and leaves the room. MAJOR WINSLOW -LRB- to Olive. -RRB- I'm sorry. HOMER -LRB- asks the major. -RRB- There are no autonomic effects, are there? Major Winslow has to consult his notes. MAJOR WINSLOW No autonomic effects. that's correct. OLIVE When will he be home, Major? MAJOR WINSLOW Four weeks or so, right around Halloween.",
"INT./EXT. WALLY'S CAR - LOBSTER POUND - END OF DAY Homer and Candy are sitting in the parked car in silence. HOMER -LRB- finally. -RRB- There are no autonomic effects, just the paralysis of the lower extremities. Candy stares at him, uncomprehending. HOMER Wally can have kids, a normal sex life. Candy cries.",
"EXT. LOBSTER POUND - EVENING Ray is throwing snails in the water. Candy sits on the end of the dock, slumped on Homer's shoulder. RAY How about him not needin' the friggin' compass! How about that? CANDY Daddy, * please *. Ray knows that she wants him to leave. He shuffles off the dock, toward the house. He knows how they both must feel. RAY Good night, kids. Do n't catch cold - it's gettin' cold already. CANDY Good night, Daddy. HOMER Good night, Ray. Homer tries to cuddle closer, but Candy sits up, preoccupied. HOMER Just tell me. I'll do whatever you want to do. CANDY Nothing. HOMER Is n't that like waiting and seeing? CANDY No. Nothing is nothing. I want Wally to come home. I'm afraid to see him, too. HOMER I know. -LRB- he kisses her. -RRB- Is * that * nothing. CANDY No, do n't - that's something. Nothing is nothing. -LRB- Homer's sad smile. -RRB- Do n't even look at me. I want. Candy buries her face in his chest. CANDY to do nothing. Homer holds her, doing nothing, while she sobs. As her crying subsides, Homer's thoughts are far away. With Candy slumped against him, hugging him, he does n't look at her ; instead, he looks out to sea and at the darkening coast, Candy's words resonating. An unfamiliar expression is on his face. HOMER -LRB- mumbling to himself. -RRB- It's a tempting idea, I know. to do nothing. Candy is silent. Homer feels strangely agitated ; he shifts his position. CANDY -LRB- groans. -RRB- Please do n't move, do n't go anywhere. HOMER -LRB- overly genuine. -RRB- * Go * anywhere? Of course not! That would be * doing * something, would n't it? We would n't want to * do * something. Let's just sit here all night! CANDY -LRB- irritated. -RRB- If you're trying to be funny, Homer. HOMER -LRB- irritated, too. -RRB- I'm not trying to be anything - I'm just doing nothing! If I wait and see long enough, then - with any luck - I wo n't * ever * have to make up my mind! Decisions can be painful, after all. Candy is angry ; she gets to her feet and stares hard at him. CANDY Stop it! Just cut it out! HOMER -LRB- mock surprise. -RRB- You got up! You * did * something! If you keep this up, you might be in danger of making a * decision *! CANDY For God's sake, Homer, Wally's been shot down! Candy sobs. Homer puts his face in his hands for a minute. He regains his composure and stands up. HOMER -LRB- genuinely contrite. -RRB- I know, I'm sorry. CANDY -LRB- yelling and sobbing. -RRB- He's * paralyzed *! HOMER -LRB- deadpan ; just the facts. -RRB- He's * alive *. He still loves you. -LRB- pause. -RRB- So do I. CANDY -LRB- anguished. -RRB- What do you want me to * do *? He faces away from her. HOMER -LRB- with calm resolve. -RRB- Nothing. You're not the one who has to do anything.",
"EXT. CIDER HOUSE - NIGHT Homer is in semidarkness as he walks toward the cider house. MR. ROSE -LRB- O.S. -RRB- Where do you think you're going? ROSE ROSE -LRB- O.S. -RRB- You got ta let me go, Daddy. Please. Homer walks faster. When he gets to the cider house, he sees Mr. Rose and Rose Rose arguing. Rose is sitting on the bicycle, a bundle of her clothes tied up behind the seat. MR. ROSE You ai n't goin' nowhere in the middle of the night, girl! ROSE ROSE I ai n't your business no more, Daddy. Please let me go. Rose Rose starts to pedal away, but Mr. Rose stops her. She starts to struggle. HOMER Hey, hey! Stop it. Maybe I can help. They turn to see Homer. MR. ROSE You just go inside, Homer. We do n't need no help. ROSE ROSE That's right, Homer. This ai n't your business. She tries to break free from her father and pedal away, but he stops her again. They keep struggling. HOMER Please listen to me! * Both * of you. MR. ROSE You forget yourself, Homer. This here's my daughter! You got your own mess to deal with - ai n't that right? Homer steps between them, which makes Mr. Rose furious. MR. ROSE -LRB- yelling. -RRB- What business is you in, Homer? HOMER Mr. Rose, I'm in the * doctor * business. -LRB- to Rose Rose. -RRB- If you want, I can help you. You do n't have to go anywhere. Rose Rose and Mr. Rose stop struggling. Suddenly Homer is in charge.",
"INT. BUNKHOUSE - NIGHT Muddy, Hero and Peaches smoke in their beds. Rose Rose opens her curtain and peers out from her bed. She gets up and goes toward the kitchen area in her nightshirt ; she stops at an unused bed, now covered with white rubber sheeting - Homer's medical instruments are displayed and ready. Homer finished scrubbing his hands in the sink. His surgical mask is loosely tied around his neck. Mr. Rose is looking at Homer's surgical instruments when Rose Rose joins him. MR. ROSE -LRB- to Homer. -RRB- What's that? What's it called? HOMER One cervical stabilizer, two sets of dilators - Douglas points. One medium - sized curette, one small ; one medium speculum, one large ; two vulsellum forceps. MR. ROSE There ai n't no * almost * about this stuff, Homer - ai n't that right? Homer ignores him ; he keeps naming his equipment. HOMER Merthiolate, ether, vulval pads, gauze - lots of gauze. MR. ROSE When it comes to this, you is the real thing - is that what you sayin'? Homer looks at Mr. Rose and Rose Rose. HOMER No * almost * about it - I'm a doctor. Homer turns to Peaches, Hero, and Muddy. HOMER Get out of here, please. Muddy herds Peaches and Hero out of the bunkhouse. MR. ROSE I'm stayin', Homer. HOMER Okay. Then you can be of use.",
"INT. BUNKHOUSE - NIGHT Mr. Rose wears a surgical mask ; he is sweating, even in the cold, and his eyes look stricken as he watches Homer, who is performing the abortion. Mr. Rose holds the ether cone over Rose Rose's face. He drips some ether from the bottle on the cone. Cut quickly for Rose Rose's etherized face. to Mr. Rose's eyes above his mask. to Homer working with his eyes trained on the speculum.",
"EXT. CIDER HOUSE - NIGHT to Muddy and Peaches and Hero huddled under the overhanging roof in the rain.",
"INT. BUNKHOUSE - NIGHT Mr. Rose is having a hard time breathing. HOMER You better get some air.",
"EXT. CIDER HOUSE - NIGHT The cider house in the rain. Mr. Rose staggers out ; he stands there in the rain, trying to regain his composure. He starts to scream. Another angle : huddled under the overhanging roof, Muddy and Peaches and Hero are watching him.",
"INT. BUNKHOUSE - RAINY DAY Rose Rose, curled in a fetal position, listens to the rain on the roof. Candy sits on her bed beside her. She helps her to sit up, to drink a glass of water ; then Rose Rose lies down again. Rose Rose's expression never changes while Candy talks to her. Mr. Rose lies in his bed in the exact same fetal position as his daughter ; he too, is listening to Candy. Homer is putting away his instruments. CANDY The bleeding should taper off tomorrow, but it can come back again. The cramps will ease up, almost entirely. The bleeding is usually much lighter in two days. As long as the bleeding is n't heavy, it's normal. Muddy enters the cider house from out of the storm. He glances at Candy and Rose Rose ; then at Homer. Then he speaks to Mr. Rose. MUDDY It's that Vernon - he keeps askin' where you and Homer and Rose Rose is at. MR. ROSE Tell that Vernon to mind his own business, Muddy. MUDDY I told him that you all is sick. MR. ROSE Tell him what you want, Muddy - * you * is the crew boss today. Hero and Peaches, dripping wet, come inside. Peaches is standing next to the list of rules tacked to the kitchen support beam. PEACHES Look at that. Them same damn rules is tacked up again! Homer has finished putting his instruments away. MUDDY Why do n't you put them damn rules in the wood stove, Peaches? As the men are murmuring their approval of this idea, Rose Rose interjects. ROSE ROSE I want to hear what they are, first. The men groan, but Mr. Rose wo n't oppose his daughter on this subject - not this time. He just lies there. ROSE ROSE Homer, let me hear what they are. Homer begins to read. HOMER `` One : Please do n't smoke in bed.'' MUDDY We heard that one already, Homer. HOMER `` Two : Please do n't go up to the roof to eat your lunch.'' PEACHES That's the best place to eat lunch! HOMER `` Three : Please - even if you are very hot - do not go up to the roof to sleep.'' HERO What do they think? They must think we're crazy! MUDDY They think we're dumb niggers so we need dumb rules - that's what they think. HOMER This is the last one. The men groan, in mock disappointment. HOMER `` Four : There should be no going up on the roof at night.'' PEACHES Why do n't they just say, `` Stay off the roof!''? HERO Yeah, they do n't want us up there * at all *! Homer crumples the list and throws it into the wood stove. ROSE ROSE -LRB- to Homer. -RRB- That's * it *? HOMER That's it. ROSE ROSE It means nothin' at all! And all this time I been * wonderin' * about it! PEACHES They're * outrageous *, them rules! MR. ROSE Who * live * here in this cider house, Peaches? Who grind them apples, who press that cider, who clean up the mess, and who just plain * live * here. just breathin' in the vinegar? -LRB- he pauses. -RRB- Somebody who * do n't * live here made them rules. Them rules ai n't for * us *. * We * the ones who make up them rules. We makin' our * own * rules, every day. Ai n't that right, Homer? HOMER Right. Camera closes on Candy.",
"INT./EXT. WALLY'S CAR - DRIVE-IN THEATRE - EVENING Homer and Candy sit and stare at the blank screen ; they do n't look at each other. Candy grips the steering wheel of the parked car. CANDY Please do n't make me say it again. HOMER No, that's not it - I just want to be sure I understand you. Candy slumps forward with her forehead on the steering wheel. HOMER I * helped * you not to think about Wally. You were so upset - you could n't stand worrying about him, about his being killed and not coming back - but when you were with me, you could stop worrying. well, for a while, anyway. This is how I helped you, right? CANDY Please. that's enough. I * loved * you, too - you know I did. HOMER. did.'' Well, okay. CANDY Please do n't. HOMER -LRB- sarcastically. -RRB- And now that Wally's coming back, and because he'll certainly * need * you. CANDY You say that as though it's some awful thing! -LRB- angrily. -RRB- I never stopped loving Wally! Homer lets that sink in. HOMER -LRB- still sarcastic. -RRB- At least there's no more waiting and seeing. At least I got to see the ocean. Candy covers her face in her hands and cries uncontrollably, unstoppably. Homer's anger keeps him impervious to her tears - another `` first'' for him. He turns and looks at her with an almost clinical curiosity ; then he goes back to staring at the blank screen.",
"EXT. ORCHARD - IN FRONT OF THE APPLE MART - DAWN The rain has stopped but the grass is wet, the trees glistening in the dawn light as Wally's car stops and Homer gets out. The car exits the frame in one direction ; Homer, walking, exits the frame in another.",
"EXT. CIDER HOUSE - DAWN As he walks toward the cider house, Homer sees Muddy and Peaches and Hero waving to him from the roof. MUDDY Rose Rose has runned away! PEACHES She took off in the night! MUDDY She took off on the bicycle, man. Homer starts jogging, then running toward the cider house. Muddy comes down the ladder to meet him.",
"INT. BUNKHOUSE - EARLY MORNING Rose Rose's bed is exposed. The curtains are flung open ; her bed is empty. Mr. Rose is still in his bed, in the fetal position we have seen before. Mr. Rose's trancelike expression does n't change as Homer and Muddy enter. MR. ROSE Ai n't nobody gon na find her, Homer - she's long gone. -LRB- pause. -RRB- I swear, I did n't try and stop her - I just wan na touch her hand before she go. That's all I wan na do, I swear. -LRB- pause. -RRB- Where'd she get that knife, Muddy? That looked like * your * knife - what I seen of it. Muddy is scared ; he looks to Homer for advice. MR. ROSE If that was your knife, Muddy, I wan na thank you for givin' it to her - no girl should be goin' * hitch - hikin' * if she do n't got a good knife with her. HOMER -LRB- seeing the blood. -RRB- Where'd she get you? MR. ROSE She just plan misunderstand me - I was tryin' to give her my knife, I was just reachin' to touch her hand. But I understand if she misunderstand me - it's all my fault, ai n't that right? Homer takes the blanket off him ; Muddy gasps. Homer tries to examine Mr. Rose's wound. Mr. Rose smiles at him. MR. ROSE It's too late for the doctor now, Homer - ai n't that right? Homer does n't answer ; he knows Mr. Rose is a goner. MR. ROSE -LRB- proudly. -RRB- She's * good * with that knife! She's real fast. She's a lot better with that knife than * you * is, Muddy! And who do you suppose taught her? MUDDY * You * taught her, I suppose. MR. ROSE That's right! A girl's got ta know how to defend herself, do n't she? He winces in pain at Homer's examination. HOMER -LRB- surprised. -RRB- There's more than one laceration, more than one cut. MR. ROSE That's'cause I sticked my * own * knife in the wound - after she go, I sticked my * own * knife in there. I poked it all around, I just tryin' to find the same place she got me. Homer finds Mr. Rose's knife. There's blood everywhere. MR. ROSE You listen to me : you tell them police how this happen, you tell it * this * way, you hear? My daughter, she runned off - and I so sad about it that I stabbed myself. I so unhappy that she gone, I killed myself - that what you say, you hear? That the true story - ai n't that right? Homer and Muddy exchange a glance. Mr. Rose, with his blood - soaked hand, suddenly grabs Homer by the throat. MR. ROSE Let me hear you say that! I so unhappy she runned away that I killed myself - that what happen here, ai n't that right? HOMER Right? MUDDY That what happen - you lost you only daughter so's you killed yourself! That's what we say, all right. MR. ROSE That's right. I know you understand how I feel, Homer - you is breakin' them rules, too. Ai n't that right? Mr. Rose dies. Muddy turns away. Homer closes Mr. Rose's eyes.",
"EXT. CIDER HOUSE, ROOF - MORNING Muddy and Hero and Peaches are sitting close together on the roof, like banished children. It is from their perspective that we see the police car and the ambulance - two men carrying the body out of the cider house, and a cop or two talking to Homer and Olive, and Homer talking to them. We hear no dialogue.",
"EXT. APPLE MART - DUSK Homer and the men load crates of apple jelly onto a truck. The mood is solemn ; they work with tired focus. Candy drives up. The men are evasive with her ; they find a reason to work across the mart. Candy walks to Homer, stands next to him. They say nothing for a moment, until Candy breaks the silence. CANDY Do you think she'll be all right? HOMER She knows how to take care of herself. Candy looks away ; she ca n't think of what to say. She shoves her hands into her pockets, finds a letter there, which she hands to Homer. CANDY This came for you a couple of days ago. Olive asked me to bring it. With everything happening, I guess she forgot. HOMER Sure. Thanks. Homer looks at the letter from St. Cloud's ; he puts it unopened in his pocket without a second thought. Candy ca n't let things end there. CANDY I know you do n't think much of being needed, or of me for that matter. HOMER I'm sorry for what I said about Wally needing you. It was. unnecessary. CANDY No, I'm the one who should be sorry. You have every right to be angry. HOMER No. You warned me. I did n't listen, but you warned me. Candy looks surprised. HOMER You told me you were n't any good at being alone. -LRB- pause. -RRB- You told Wally, too. Right? Candy can only stare straight ahead. HOMER -LRB- relenting. -RRB- He's going to be fine, Wally's going to be fine. I know he is. A tear rolls down Candy's cheek, Homer wipes it away ; then he stops touching her and looks off into the quiet orchards.",
"INT. BUNKHOUSE - NIGHT The pickers lie in their beds, smoking. Homer is undressing. He pulls the letter out of his pocket and sits down on his bed. Homer opens the letter without enthusiasm and begins to read. ANGELA -LRB- V.O. -RRB- Dear Homer, I am writing to tell you about Wilbur.",
"INT. DISPENSARY - NIGHT Music is playing on the old phonograph as an exhausted Larch gives himself ether.",
"INT. GIRLS' DIVISION - NIGHT Edna is getting the girls ready for bed. Music continues Over.",
"INT. DISPENSARY - NIGHT Larch has twisted himself on the narrow bed so that his face is unusually close to the windowsill, and when the ether cone starts to fall off his face - and his slack hand trails down, off the side of the bed - the cone becomes caught against the windowsill. He tries to turn his face away from the cone, but he presses his face into the sill - thus holding the ether - soaked cone over his mouth and nose. His hands twitch, he's trying to wake up ; the hand that holds the ether bottle lets the bottle fall. The bottle shatters against the sill ; the ether spreads, running red with blood from a cut on Dr. Larch's hand or finger. Music continues Over. It's a funeral.",
"INT. CORRIDOR - NIGHT Buster is bringing in the wood as the music plays Over. Buster smells the spilled ether. He heads toward the dispensary, sniffing. Camera follows him into the dispensary. In the dispensary : Buster approaches Larch's ether - bed. BUSTER Dr. Larch? Dr. Larch? He drops the armload of wood and runs for help.",
"INT. DISPENSARY - NIGHT Angela enters. She feels for Larch's pulse ; Larch is dead. Angela opens a window. She pull's Larch's body away from the windowsill. Buster joins her on the bed. ANGELA -LRB- V.O. -RRB- I can assure you that the overdose was entirely accidental.",
"INT. BUNKHOUSE - NIGHT Homer finishes reading the letter ; he puts it down, gets up, and walks to a window. He stares into the night. ANGELA -LRB- V.O. -RRB- Let us be happy for Dr. Larch. Dr. Larch has found a family. THE BOYS -LRB- V.O. -RRB- Good night, Dr. Larch! Good night, Dr. Larch! Good night, Dr. Larch! Homer wipes a tear off his cheek.",
"EXT. PICKERS' TRUCK - CIDER/PACKING HOUSE - MORNING The truck is packed for the long trip south ; it passes by the packing house, which looks closed for the season. No one else is about. Muddy is driving slowly, his arm out the open window. In the back, huddled among their belongings, are Peaches and Hero -LRB- on one side -RRB- and Homer -LRB- on the other -RRB-. The pickers are trying to draw Homer into their conversation, while Homer is giving the apple farm a good - bye look. He has made up his mind about something. MUDDY You ever see a palm tree, Homer? PEACHES He ai n't never been outta Maine! HERO Ai n't you sick of pine trees, Homer? Homer just smiles and shakes his head.",
"EXT. WORTHINGTON HOUSE, DRIVEWAY - MORNING As the pickers' truck drives past, Homer is on the side of the truck nearest the Worthington house and driveway ; he sees Olive and Candy and Ray helping Wally out of the car and into a wheelchair. A NURSE stands by. Wally is wearing what appears to be an oversized officer's coat or flight jacket, his face looking small in the overlarge clothes. He ca n't move his legs at all, and his mouth is drawn into a tight - lipped smile. PEACHES -LRB- O.S. -RRB- Let me tell you somethin' about Florida, Homer. HERO -LRB- O.S. -RRB- The Sunshine State! PEACHES -LRB- O.S. -RRB- It's so nice'n' warm down there, you can pick them grapefruits and oranges * naked *, if you want to. Olive is dissolved in tears. Candy is sobbing ; she kisses Wally, without ceasing, while he haltingly touches her face, her hair. In the truck the smile is gone from Homer's face. He shakes his head. HOMER Thanks, guys. I'd like to go with you. But I've got to move on. MUDDY Yeah, well. you could move on with * us *, man! You could move on somewhere * warm *! PEACHES Homer, stayin' in Maine ai n't movin' on! This makes all the pickers laugh, but Homer just smiles and shakes his head. He watches the Worthington house disappear from view.",
"INT. MOVING TRAIN - PASSENGER CAR - NIGHT A CONDUCTOR, taking tickets, comes to Homer, who is better dressed than we've ever seen him ; he is looking at his sober reflection in the black window - glass of the night train when the conductor gets his attention. When the conductor moves on, Homer takes Angela's letter out of his breast pocket ; he skips ahead to the end. ANGELA -LRB- V.O. -RRB- Dr. Larch often wondered how the world was treating you.",
"EXT. ST. CLOUD'S - GRAVEYARD - AFTERNOON ANGELA -LRB- V.O. -RRB- He talked a lot about you, hoping you would be of use, whatever you were up to. Angela and Buster and Mary Agnes and Edna carry Larch's coffin ; they set it down by the raw hole. The pile of fresh dirt stands out against the new snow ; the hole is black against the new white. EDNA -LRB- O.S. -RRB- `` Oh, Lord, support us all the day long.'' We see the wheelbarrow with the gravestone. EDNA -LRB- O.S. -RRB-''. until the shadows lengthen and the evening comes, and the busy world is hushed, and the fever of life is over, and our work is done.''",
"INT. GIRLS' DIVISION - NIGHT We see the faces of the girls praying for Larch -LRB- Mary Agnes, too -RRB- as Edna finishes her favorite prayer. EDNA `` Then, in Thy mercy grant us a safe lodging, and a holy rest, and peace at the last.''",
"INT. MOVING TRAIN - PASSENGER CAR - NIGHT Camera closes on Homer, sleeping to the sound of the rocking train. Angela's letter lies in his lap. THE GIRLS -LRB- O.S. -RRB- Amen! Amen! Amen!",
"EXT. ST. CLOUD'S - TRAIN STATION - EARLY MORNING The train stops, blowing snow. Homer steps off the train carrying a suitcase and Dr. Larch's bag. The disapproving stationmaster is still disapproving. Music plays Over, something triumphant.",
"EXT. ST. CLOUD'S - THE HILL - EARLY MORNING Homer makes his way up the hill toward the orphanage. Music Over.",
"EXT. ORPHANAGE - EARLY MORNING Edna is breaking up fights ; this time, instead of fighting over snowballs, the orphans are fighting over their pumpkins. Suddenly Homer tops the brow of the hill and they all see him. Buster is the first to catch sight of Homer ; he runs toward him. Mary Agnes also sees Homer ; she immediately turns away and runs inside. Music FADES OUT Over.",
"INT. LAVATORY - EARLY MORNING Mary Agnes crashes into the bathroom and stumbles up to the mirror ; she starts to fix herself up with shaking hands.",
"INT. ORPHANAGE, FRONT HALL - EARLY MORNING Everyone has heard the news ; they come on the run. The children flock around Homer, hugging him. Homer takes Angela and Edna in his arms. Mary Agnes joins the group. Homer takes in how changed, how attractive she is. They smile awkwardly at each other.",
"INT. BOYS' DIVISION - EVENING Homer's suitcase is open on the bed ; we see Homer's hands as he begins to unpack. Smaller hands reach in and root through the clothes. CURLY -LRB- O.S. -RRB- Did you bring something for me? Curly continues his search. Homer thinks for a second ; then reaches into his pocket and pulls out the piece of pale - green glass. HOMER You know what? I did. Homer hands the piece of glass to Curly. HOMER It's from the ocean. It's for you. Curly is duly impressed ; he walks away to examine his new treasure. Homer continues unpacking. He pulls his X ray out and puts it aside. BUSTER What are you doing here? Homer turns to see Buster, Mary Agnes, Angela, and Edna in the doorway. MARY AGNES We made up a room for you. ANGELA Would n't you be more comfortable by yourself? Homer smiles ; he nods. Angela and Mary Agnes start to put Homer's things back in his bag. Edna picks up the X ray and looks at it with a somber expression. EDNA Homer, do you know what this is? HOMER Sure. It's my heart. ANGELA -LRB- shakes her head. -RRB- Actually, it's Fuzzy's. There's nothing wrong with your heart. HOMER Fuzzy's?! EDNA Dr. Larch wanted to keep you out of the war, Homer - that's why he did it. That's why he told you it was yours. Homer is stunned ; he puts his hand to his heart. ANGELA I think he worried about his own heart. He said it would never stand up to Homer Wells going off to war. Homer takes that in ; he nods. Mary Agnes touches him sympathetically.",
"INT. LARCH'S OFFICE - NIGHT Homer looks at his fake diplomas ; they are now framed and hanging on the office wall. Homer surveys the office, as if for the first time ; he sits down in the desk chair, as if slowly getting used to his new position.",
"INT. BOYS' DIVISION - NIGHT Homer reads to the boys from `` David Copperfield''. While his voice is strong - positive, optimistic, certainly reassuring to the boys - there is in the conclusion of the chapter something that distracts him. He seems to hesitate ; he misses a line or two, and perhaps he purposely skips one or two others. -LRB- Possibly Homer's eyes wander ahead, to the title of the next chapter : `` I Make Another Beginning.'' -RRB- HOMER `` Thus I began my new life, in a new name, and with everything new about me. I felt. like one in a dream. The remembrance of that life is fraught with so much. want of hope. Whether it lasted for a year, or more, or less, I do not know. I only know that it was, and ceased to be ; and. there I leave it.'' Homer stops and looks at the boys' faces. CURLY What happens next? Homer smiles. HOMER That's tomorrow, Curly. Let's mot give the story away. Homer puts out the lights and leaves the boys in the familiar semi - darkness. Seconds, later, the closed door to the hall is flung open, flooding the room with light from the hall, and Homer, dressed in his long white laboratory coat and looking every inch the doctor, delivers his best imitation of Larch's popular blessing. HOMER Good night, you Princes of Maine! You Kings of New England! On Copperfield and Steerforth and Curly as the door to the hall is closed and semi - darkness prevails in the room again. Copperfield, smiling, shuts his eyes. After a second, the wide - eyed Steerforth shuts his eyes, too. Then Curly. The last to close his eyes is Buster. THE END"
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] | Homer Wells, an orphan, grows up in a Maine orphanage directed by kindly, avuncular Dr. Wilbur Larch. Homer is returned twice by foster parents; his first foster parents thought he was too quiet and the second parents beat him. Dr. Larch is addicted to ether and also secretly performs abortions for women. Conditions at the orphanage are spartan, but the children are treated with love and respect, and they are like an extended family. Each night before they go to sleep, Dr. Larch says to the boys, "Goodnight you Princes of Maine, you Kings of New England!", as both encouragement and a kind of blessing. Homer, the oldest among the orphans, is very bright, helpful and even-tempered, so Larch trains him in obstetrics and abortions as an apprentice, despite Homer's never having attended high school. Homer disapproves of abortions, and, although he has been trained by Larch in the field, he refuses to perform them. After several years, Homer is very skillful and confident in performing obstetrical duties. Larch wants him to take over his position after he retires, but Homer finds this idea impossible, because he lacks formal medical education and wants to see more of the world than just the orphanage. Homer leaves the orphanage with Candy Kendall and her boyfriend, Wally Worthington, a young couple who came to the clinic to have an abortion. Wally is a pilot on leave from the service. Wally's mother, Olive, owns the Worthington family apple orchard where Homer settles in as a worker. Homer lives on the Worthington estate in a bunkhouse called the Cider House. Wally leaves to fight in World War II. Homer is exempt from military service because Dr. Larch has diagnosed that he has a heart condition. While Wally is away, Homer and Candy have an affair. He goes to work picking apples with Arthur Rose's team. Arthur and his team are migrant workers who are employed seasonally at the orchard by the Worthingtons, but are illiterate. When Homer reads them the rules of the Cider House that have been posted, the workers observe that the rules have been made without the occupants' consent by people who do not live there and so do not face their problems. Consequently, they feel that they can ignore these rules. Homer and Candy become much closer during this period of harvest and spend more time together while Wally is in Burma fighting. After Arthur and his team come back to work at the orchard the following season, it comes to light that he has raped and impregnated his own daughter, Rose. Rose confides in Homer after he finds out himself that she is pregnant and experiencing morning sickness. Homer decides that he must help Rose, and agrees to perform an abortion, with Arthur's assistance. A few days later, when Rose tries to run away, her father notices and goes to say goodbye; Rose stabs him and flees. Arthur then makes his own injury worse, and as a last request, asks Homer and another worker to tell the police that his death was a suicide. Wally returns from Burma a paraplegic, and although she loves Homer, Candy decides to go where she is most needed. Immediately following this decision, Homer learns that Dr. Larch has succumbed to (what he is told was) an accidental ether overdose. Eventually, Homer decides he too should go where he is most needed and returns to the orphanage, where he is greeted joyously by both the children and staff. Homer learns that Larch faked his diagnosis and medical record to keep him out of the war. Larch fabricated college credentials for Homer and used reverse psychology to convince the orphanage board to appoint Homer as the next director. Homer fills the paternal role that Larch previously held for the children of the orphanage, saying, "Goodnight you princes of Maine, you kings of New England!" | The_Cider_House_Rules_(film) |
[
"The Time Machine GLIDING OBJECTS IN A WIDE DARK VOID - -LRB- ANIMATION -RRB- Out of the SILENT darkness a short white fluted column surmounted by a SUNDIAL appears. It floats in, waveringly, until it becomes clearly visible, then drifts off as though moving in some huge orbit. Next an HOURGLASS floats in from the left of the screen. The faint HISSING OF RUNNING SAND breaks the stillness of space. As the hourglass glides across the screen, it is met by a GREEK WATER CLOCK accompanied by the sound OF DRIPPING WATER. A MEDIEVAL CLOCK with weights arises as its horizontal escapement TICKS LOUDLY. Mean - while the sundial, hourglass and water clock return, drifting at diverse angles across the screen. THE SOUND of the various devices continues to MOUNT. A FIGURE wheels past, with the face of a clock and the body carved like a drummer of the 14th century, BEATING the hour. A SMALL CLOCK bears a golden angel with hammer in hands as it STRIKES A BELL. ANOTHER TIMEPIECE, with CHIMES, floats in to mingle with all the drifting objects. The BIG BEN is TOLLING Then a GREAT BELL. DEAFENING SOUNDS NOW COME FROM ALL DIRECTIONS, as the time K devices weave across the screen and, reaching CRESCENDO, STOP abruptly. A mellow VOICE begins to SING THE THEME of L the picture, `` The Land Of The Leal''. Simultaneously, the screen reveals the MAIN TITLE : H. G. Wells' THE TIME MACHINE. `` THE LAND OF THE LEAL''. Words & Music by Peggy Lee. When I was a wee lad And dark was the night Afraid I would be Til the bright morning light And sometimes. for comfort Away I would steal Away I would go to the Land of the Leal. And soon I would be there It took me no time My heart would be soaring As I made the climb And there was the green grass So cool and so sweet So good to be run through With happy bare feet! And who was my teacher And how did I know? Just when to be going And which way to go? But always when wishing Away I would steal Away I would go to the Land of the Leal. And now that I'm older I try to be wise But when I am troubled I still close my eyes And just like the wee lad Away I will steal Away I will go to the Land of the Leal. For there are no questions And there are no lies And never a storm there To darken the skies The birds who are flying No freer they feel Than I When I live in the land of the Leal. After the CREDIT TITLES, the MUSIC SUBSIDES and we slowly",
"EXT. COTTAGE - LONG SHOT - (NIGHT) - (MATTE) Warm lights pour through the windows, spreading over the snow - patched countryside. Only the laboratory, a converted greenhouse, is dark, shaded from the moonlight by a majestic, leafless oak. A two - horse carriage, in the style of the turn of the century, lingers in the driveway. Beyond all this, the River Thames takes a sharp curve. A lonely figure hurries up to the front door and KNOCKS on it impatiently. AT THE DOOR The knock is answered by MRS. WATCHETT, the house - keeper, a thin, tense woman with iron gray hair. The CAMERA ENTERS the HALL with DAVID FILBY, an amiable red - haired young man of science, who hastily hands her his rumpled cloak and hat, then rushes toward :",
"INT. LIBRARY A pleasant Edwardian room, the shelves are stacked tightly with volumes of books, many of ancient Vintage. Three men are seated in a rough circle, motionless, obviously awaiting the arrival of occupants for the two empty chairs. The silence is accentuated by the merry CRACKLING of logs in the fireplace and the capricious TICKING of innumerable timepieces about the room. Filby enters, pauses to glance down, then embarrassedly takes his chair. SERIES OF CLOSE SHOTS DR. PHILIP HILLYER is an imposing businessman, wearing full sideburns. He stares stonily at the last empty chair, then at Filby with annoyance. ANTHONY BRIDEWELL, a man of the world, impeccably attired in the latest fashion, welcomes Filby the only way he knows, by lifting his glass of whiskey. WALTER KEMP, a middle aged man with keen black piercing eyes, angrily chews on his Havana. Filby fidgets uncomfortably in his chair as Hillyer glances impatiently at his watch, comparing time with a GRAND - FATHER CLOCK behind him, then snaps it shut and glares at : EMPTY CHAIR - MED. SHOT Conspicuously unoccupied. GRANDFATHER CLOCK - CLOSE SHOT Reaching the hour of eight, it begins to STRIKE ITS YELLOW CHIMES. Other timepieces JOIN IN the announce - ment. GROUPSHOT The men look at each other until the CHIMES, BELLS ETC.. FADE away. Dr. Hillyer angrily slaps on the arm of his leather chair. DR. HILLYER I say, this is outright rude of the man! FILBEY He's undoubtedly been detained. That's all. Bridewell, filling his glass, is trying to say some - thing but is interrupted by KEMP -LRB- unscrews the cigar from. -RRB- his tight lips. -RRB- This is such a confounded waste of time! If he's not coming, I've any number of more important things to do. All heads turn as Mrs. Watchett enters, closing the door quietly behind her. With an envelope in her hand she stands there, hesitating. DR. HILLYER Speak up - what is it, woman? She is taken aback for a moment, then walks over to Filby and hands him the open envelope. He takes his time in extracting the note. BRIDEWELL Well. are we or are we not invited to dinner? FILBY -LRB- reading. -RRB- Apparently we are. -LRB- to Mrs. Watchett. -RRB- How long has he been gone? MRS. WATCHETT -LRB- nervously. -RRB- I ca n't rightly say, sir. - Several days. I hardly catch a glimpse of him lately. He never leaves the laboratory and comes out only to nibble at his meals. but he did tell me days ago about dinner tonight and left these instructions. -LRB- pointing to note. -RRB- FILBY Thank you, Mrs. Watchett. A faint, nervous smile is her acknowledgement and with that she retreats toward the door. DR. HILLYER -LRB- indicating the. -RRB- note. -RRB- What does it say, Filby? What's wrong? FILBY Nothing really. - George merely says that if he is not here by eight we're to begin without him. Kemp tears the note out of Filby's hand and reads it hurriedly. Meanwhile, Mrs. Watchett swings the door open and turns around. MRS. WATCHETT Dinner is served, gentlemen! BRIDEWELL -LRB- puts his glass. -RRB- down. -RRB- First sensible thing I've heard all evening. He rises and starts for the dining room. The others follow. FILBY, HILLYER & KEMP - MOVING SHOT As they walk toward the DINING ROOM. FILBY This is peculiar. He is usually very prompt, precise and punctual. DR. HILLYER He's making fools of us by inviting us here and then not showing up. It's not the behavior of a gentleman. KEMP To say nothing of the waste of time. DR. HILLYER -LRB- agreeing. -RRB- To say nothing of the waste of time. Bridewell, already seated at the heavily laden dining table, pours a glass of wine for himself while the others settle down. This time the chair at the head of the table is conspicuously unoccupied. BRIDWELL -LRB- arises, lifting. -RRB- his glass. -RRB- One thing I will say for George, he keeps the best cellar in the south of England. and Mrs. Watchett is the finest cook in the world. - I think I'll drink to that! The glass barely touches his lips as he freezes at the SOUND OF DROPPING TRAYS and a PIERCING SCREAM. All look in the direction of another door across the room. THE DOOR - FULL SHOT It bursts inward and Mrs. Watchett, her hair flying, dashes down the steps panic - stricken into the room. The CAMERA RUSHES with her to the table where the men have come to their feet. Clutching Filby's arm, she points toward the long corridor now revealed by the open door. MRS. WATCHETT -LRB- frightened. -RRB- There! there. All stare o.s., Hillyer with the carving knife clasped in his hand. CORRIDOR THROUGH DOORWAY - FULL SHOT We see the figure of a man approaching, a black silhouette against the pale glow at the end of the passage. He is bent with exhaustion and sways as he moves forward, limping. The man comes closer, his features still blacked out by shadows, but as he nears the doorway, the light from the room strikes first his legs, then his body and finally his face. Here he stops. This is our first meeting with the TIME TRAVELLER -LRB- for so it will be convenient to speak of him -RRB-. At this instant he is in a sorry state. His clothing is tattered and dirty, his face pale, bruised and scratched and his eyes glazed with fatigue. For a moment he hesitates as if dazzled by the light and then takes another swaying step into the room. FILBY AND BRIDEWELL - MOVING SHOT They come to life. Bridewell, noticing the glass of wine still in his hand, quickly gulps it down before rushing with Filby toward the Time Traveller. FILBY Good lord! - What's happened? Reaching him, each seizes an elbow to support him. Bridewell throws a frantic glance at Dr. Hillyer back at the table. The Time Traveller, however, moves forward under his own power. TIME TRAVELLER I'm all right. just some food. a drink. He reaches the table and sinks into his chair. With trembling hands Bridewell tries to pour him a glass of wine, spilling most of it over the tablecloth. The Time Traveller looks up at him with a wry smile. TIME TRAVELLER Are you all right? A stunned Bridewell is unable to speak while the Time Traveller empties his glass. BRIDEWELL -LRB- a delayed. -RRB- answer. -RRB- Of course. I'm. all right. Meanwhile, Mrs. Watchett hovers over the Time Traveller like a mother hen. MRS. WATCHETT -LRB- half. -RRB- apology, half concern. -RRB- I did n't recognize you! it was so dark. The CAMERA MOVES IN as she dishes up a bowl of soup for him, but he pushes it away. TIME TRAVELLER Meat. I'm hungry for meat! Mrs. Watchett grasps the carving knife from Dr. Hillyer and, with a single slash, cuts off a huge portion of beef and loads it onto his plate. GROUPSHOT The Time Traveller eats, the men watching him curiously. Finally Dr. Hillyer leans forward. DR. HILLYER Well, ca n't you speak, man? What happened to you? Are n't you going to tell us. BRIDEWELL Leave him alone, ca n't you? TIME TRAVELLER -LRB- swallowing. -RRB- It's all right. - I want to tell. FILBY It will keep, George. Eat, rest a little. TIME TRAVELLER No! I must tell it now. while I still remember. FILBY Relax, try to relax a bit. You've all the time in the world. CLOSE ON THE TIME TRAVELLER As he looks up, amused. TIME TRAVELLER You're right, David. -LRB- almost to himself. -RRB- That's exactly what I have. - All the time in the world! ever since we were all together five days ago, the last day of Eighteen Hundred Ninety Nine. Slowly the CAMERA MOVES IN CLOSER while everyone listens so intensely that, aside from the Time Traveller's VOICE, only the TICKING of a pendulum CLOCK is heard.",
"INT. - EBONY BOX ON TABLE - CLOSE SHOT (AFTERNOON) -LRB- NOTE : The Slow Dissolve from the previous shot should give the effect of the Ebony Box emerging from the Time Traveller's brain. -RRB- TIME TRAVELLER'S VOICE There in that box rests the result of two years' labor. The CAMERA DRAWS BACK to reveal the LIBRARY. The Time Traveller, wearing casual tweeds and smoking a pipe, sits in his favorite chair behind the Ebony Box. Across from him in another chair sits Dr. Hillyer puffing his cigar. Bridewell and Filby have glasses in their hands - Kemp nothing. All are looking at the box. TIME TRAVELLER -LRB- continues. -RRB- I wanted to finish the job before the new century began. - I barely made it. BRIDEWELL Marvelous. DR. HILLYER -LRB- stands up. -RRB- What is it? TIME TRAVELLER Well, it has to do with time. DR. HILLYER -LRB- steps to box. -RRB- I've always maintained what this nation needs is a reliable timepiece. The Navy needs one. The Army needs one. - For the artillery you know. KEMP -LRB- leaning forward. -RRB- Could n't do better, George. So that's why you've been in hiding. - Clever of you, indeed! FILBY -LRB- studying the Time. -RRB- Traveller's reaction. -RRB- I do n't believe George is referring to a new kind of timepiece. TIME TRAVELLER When I speak of time, I'm referring to the fourth dimension. A perplexed look comes over Bridewell's face. Dr. Hillyer registers concern. Kemp looks troubled. Only Filby expresses avid interest. FILBY Go on, George. TIME TRAVELLER Now, as you know, the difficulty in explaining the fourth dimension is that it can not be seen or felt - it must be thought of. FILBY If you do n't mind, George, would you refresh me on the first three dimensions. DR. HILLYER Really, Filby, they must have taught you something at school! BRIDEWELL -LRB- baiting. -RRB- Dr. Hillyer. -RRB- Suppose you explain it, Doctor. DR. HILLYER Certainly! -LRB- he demonstrates pompously. -RRB- When I move in a straight line, forward or backward, that's one dimension. - When I move to the left or right, two dimensions. - When I move up and down, three dimensions. -LRB- a bright idea lights up his face. At last he can get ahold of the box, but Filby interferes before Dr. Hillyer can get his fingers on it and he has to be satisfied with merely pointing. -RRB- For instance, this box has three dimensions : length, breadth, and height. BRIDEWELL -LRB- amazed. -RRB- Well, then, what's the fourth dimension? DR. HILLYER Well, that's. that's mere theory! No one can really say what the fourth dimension is or even that it exists. THE TIME TRAVELLER - MED. SHOT Leaning forward in his chair. TIME TRAVELLER On the contrary, Doctor! The fourth dimension is as true and as real a dimension as any of the other three. In fact, they could n't exist without it. DR. HILLYER -LRB- enters the SHOT. -RRB- How do you mean? TIME TRAVELLER Well, take that box. It has the first three dimensions, as you said. But what if it did n't exist in Time? It would n't exist at all, would it? DR. HILLYER No. TIME TRAVELLER So - for an object to exist at all, it must exist in the fourth dimen - sion. and that fourth dimension is duration. Time! DR. HILLYER -LRB- impatiently. -RRB- All right! But what's in that box? TIME TRAVELLER I'm coming to that. But first, consider! Why is it that we usually ignore the fourth dimension? Because we have no freedom to move in it. We can move in the other three - up, down, forward, backward, sideways. But when it comes to Time, we are prisoners. Do you follow me, Anthony? GROUP SHOT In the f.g., Bridewell who has been sitting with a glazed, dreamy look, suddenly jumps. KEMP George! You've given a most lucid explanation and all that! But I do n't think I entirely understand. TIME TRAVELLER Look! There are a lot of things in the world you do n't understand, are n't there? KEMP Of course! Quite a number. TIME TRAVELLER But you do n't refuse to believe in them because of that? KEMP Not if I can see the proof with my own eyes. TIME TRAVELLER Good! All I'm asking you to do now is to witness a demonstration of the possibility of movement in the fourth dimension. -LRB- to Dr. Hillyer. -RRB- Philip, will you please hand me that box? All eyes turn to Dr. Hillyer as he eagerly rushes to the table, lifts the box with surprise at its lightness, and takes it to the Time Traveller. George opens it with great care and brings forth a mechanical device -LSB- PAGE 13 MISSING FROM HARD COPY -RSB- TIME TRAVELLER I've told you. The larger model can carry a passenger on a journey through Time. - Not through Space, mind you, but through Time. BRIDEWELL Oh, I say George! If you start floating around in the future, are n't you likely to mess things up for the rest of us? DR. HILLYER The future is already there. It's irrevocable and can not be changed. CLOSE ON TIME TRAVELLER He answers thoughtfully. TIME TRAVELLER That's the most important question to which I hope to find an answer. Can Man control his destiny? Can he change the shape of things to come? -LSB- PAGE 16 MISSING FROM HARD COPY -RSB- TIME TRAVELLER'S VOICE Imagine that this cigar is the Time Traveller. Now, this lever in front of him controls movement. Forward pressure sends the Machine into the future, backward pressure into the past. And the harder the pressure the faster the Machine travels. GROUPSHOT - LOW ANGLE All eyebrows are raised. TIME TRAVELLER This experiment can be performed only once. If it succeeds, I lose my model forever. That is why I need witnesses. They look at each other, uncertain whether he is joking or not. Bridewell stoops with difficulty to examine the table. KEMP Go ahead. TIME TRAVELLER You're ready then? Despite disbelief, there is a tense silence as he puts his finger on the lever. Then he pauses. TIME TRAVELLER Doctor Hillyer, would you care to lend me your hand? Dr. Hillyer extends his hand hesitantly, smiling weakly. INSERT OF MODEL Using Dr. Hillyer's forefinger, the Time Traveller presses the lever forward. A LOW - PITCHED HUM is heard. CLOSE ON THE MEN - LOW ANGLE The men stare in fascination as the CAMERA PANS and the HUMMING INCREASES. INSERT : GLASSES - CHANDELIER - VASE The glasses on the silver tray rattle and clink against each other. The gas lights of the chandelier flicker rapidly. A vase shudders and moves slightly on the mantelpiece. INSERT OF MODEL As the vibration increases, the outline of the model is blurred and gradually becomes transparent, until the Machine with the cigar has vanished utterly. The HUMMING HAS REACHED A HIGH SHRIEK and STOPS abruptly. BACK TO CLOSE ON MEN - LOW ANGLE The sudden silence is almost unbearable. They stare at the empty table. The CAMERA PANS. DR. HILLYER -LRB- touches his. -RRB- cigar pocket. -RRB- I'll be damned! TIME TRAVELLER -LRB- almost. -RRB- to himself. -RRB- It worked! Filby swallows. Bridewell, with his mouth open, stares at the table. Now he looks at the glass of champagne in his hand and places it on the mantelpiece as far out of reach as he can. Then, suddenly reversing his decision, he retrieves the glass and gulps it down. 30 OUT TWO SHOT Dr. Hillyer slowly turns to the Time Traveller. DR. HILLYER Where did it go? TIME TRAVELLER -LRB- recovering. -RRB- Go? Nowhere in the usual sense. It's still here. -LRB- indicating space where the Machine stood. -RRB- But it's no longer in the present. It's traveling through time - to the future, to be precise. DR. HILLYER Do you seriously expect us to believe that? TIME TRAVELLER Certainly. DR. HILLYER But you just said it has n't really moved. TIME TRAVELLER That's correct. DR. HILLYER Then why ca n't we see it? TIME TRAVELLER Because we're in this room on December 31st, 1899, while the model you saw is perhaps a hundred years away. This room, or even this house, may no longer exist a hundred years from now. But the Time Machine is occupying the same space it did a moment before it went off on its journey. Dr. Hillyer runs his hand over the top of the table. DR. HILLYER -LRB- exasperated. -RRB- If it occupies the same space, I should be able to feel it. TIME TRAVELLER You must remember that the space you've just put your hand through is today's space. You ca n't put your hand into the space of tomorrow. DR. HILLYER -LRB- getting angry. -RRB- Space is space! It does n't change! The same space that is here now should be here a hundred or even a thousand years from now. TIME TRAVELLER No! Time changes space. This flat ground we're standing on now could have been at the bottom of the sea a million years ago. And a million years from now it could be the interior of a huge mountain. Dr. Hillyer turns away, speechless. GROUP SHOT Kemp steps forward. KEMP Suppose what you say is true. Exactly what do you suggest we do with such a contraption? TIME TRAVELLER For my part, I intend to take a journey into the future. - Unless someone else prefers to volunteer. There is no response. BRIDEWELL -LRB- chuckling. -RRB- I say, George. Suppose you go off and get lost in the fiftieth century! How will you find your way back? TIME TRAVELLER -LRB- quite. -RRB- serious. -RRB- That's a calculated risk I'm prepared to take. Dr. Hillyer, having controlled his fury, now exchanges significant glances with Kemp and turns back with an air of reasonableness. DR. HILLYER Now listen, George! I do n't know what you take us for, but we're not fools. There are a number of ways of doing a disappearing trick! But a man of your ability should not bother with such nonsense. CLOSE ON DR. HILLIER - MOVING SHOT He gets up from his chair. DR. HILLYER -LRB- unable to. -RRB- resist the temptation for sarcasm. -RRB- There's a war on, you know! The Boers are putting up a pretty stiff fight in South Africa and our country needs inventors like you. I can put you in touch with the War Office if you wish. He walks over to the Time Traveller who is sitting near the table on which stands the empty Ebony Box with its lid open. Filby is in the b.g. TIME TRAVELLER -LRB- looks. -RRB- up at Filby. -RRB- What do you think? FILBY -LRB- hesitating. -RRB- slightly, and then. -RRB- I think Dr. Hillyer has a point, George. Lazily the Time Traveller toys with the lid of the Ebony Box, then closes it with a SNAP. He looks up and nods. DR. HILLYER Now you're being sensible. I'll take care of it first thing in the New Year. BACK TO GROUP SHOT Everyone rises. DR. HILLYER Well, time to go. KEMP Yes, we all have our plans for tonight. Dr. Hillyer and Kemp head toward the door. Bridewell lingers at the table where the model of the Time Machine disappeared. BRIDEWELL -LRB- concerned. -RRB- Are you all right, George? TIME TRAVELLER Of course, I am. DR. HILLYER'S VOICE Coming, Bridewell? Reluctantly Bridewell leaves the library followed by the Time Traveller.",
"INT. ENTRANCE HALL - FULL SHOT While his guests put on their capes, overcoats, scarfs, gloves and hats, preparing for the cold weather outside, the Time Traveller steps to the door and grasps the handle. TIME TRAVELLER Thanks for coming. He opens the door and they file past him, Bridewell at the rear. AD LIBS Happy New Year. - Goodbye, George - Happy Twentieth Century. - Etc.. Bridewell clasps the Time Traveller's shoulder, reassuringly.",
"EXT. COTTAGE - LONG SHOT - (DUSK) - (MATTE) In contrast to the previous SHOT -LRB- Sc.l -RRB- this is a snow - less wintery day. The visitors are boarding the carriage that awaits them in the drive. DR. HILLYER Come on, Bridewell. Bridewell glances back to the Time Traveller, then submits and, with a CRACK OF A WHIP, the carriage moves off.",
"EXT. ENTRANCE - FULL SHOT The Time Traveller, a silhouette framed in the door - way, waves to them. THE CARRIAGE As it pulls away, Bridewell leans out, waving. From the opposite direction another carriage full of NOISY YOUNG PEOPLE THUNDERS by. In early New Year's Eve REVELRY they TOOT their toy HORNS at the Time Traveller. BACK TO THE TIME TRAVELLER Unmindful of their salutations he turns and enters the cottage.",
"INT. ENTRANCE HALL - MED SHOT The Time Traveller slowly closes the door and leans his back against it, staring into space. Thinking. - He spots a newspaper on a nearby table, apparently left by one of his guests, and picks it up. INSERT : NEWSPAPER 40 - A A ROLL OF DRUMS in military fashion ACCENTS the headline that the Boer Army has won another victory. CLOSE ON TIME TRAVELLER 40 - B He closes his eyes and, added to the DRUMS, we HEAR the call to battle by a DISTANT BUGLE. Then more BRASS, FIFES and HORNS join the BUGLE and DRUMS to take up a MILITANT OVERTURE. He loosens his collar, then with sudden resolution strides toward :",
"INT. LIBRARY - LONG SHOT The Time Traveller crosses to his writing table in the f.g.. He stands there and even in the darkness WE CAN OBSERVE that he is an angry man. He strikes a match and lights the overhead gas fixture. The light comes up and the MUSIC STOPS as he stares across the room to see : FILBY - MED. SHOT sitting in a chair near the fireplace. FILBY I thought I'd better stay. TIME TRAVELLER'S VOICE You need n't have troubled yourself. I'm all right. FILBY No you're not. - You've been behaving oddly for over a month now. -LRB- and then. -RRB- I'm not leaving until you tell me what's on your mind. TIME TRAVELLER - MED. SHOT Deep in thought, he goes to the fireplace and stirs the coals. The CAMERA FOLLOWS. TIME TRAVELLER I appreciate your gesture, David, but if you do n't mind I'd rather you left me alone. FILBY You have changed, George. Enormously. TIME TRAVELLER I'm sorry. FILBY -LRB- looks up to him. -RRB- directly. -RRB- Will you answer me one question honestly? TIME TRAVELLER I'll try. FILBY Why this preoccupation with Time? TIME TRAVELLER -LRB- sharply. -RRB- Why not? FILBY Do n't go simple on me, George! TIME TRAVELLER -LRB- a beat,. -RRB- then calmly. -RRB- If you want to know the truth, I do n't much care for the time I was born into. - It seems people are n't dying fast enough these days. They call upon science to invent new, more efficient weapons to depopulate the earth. FILBY I quite agree with you. But here we are and we have to make the best of it. TIME TRAVELLER You may have to. I do n't. FILBY -LRB- making a half -. -RRB- hearted attempt at levity. -RRB- All right. Take a journey on your contraption. What would you become? A Greek? A Roman? One of the Pharaohs? TIME TRAVELLER I prefer the future. FILBY You're not seriously saying you can do it? TIME TRAVELLER You saw the experiment this afternoon, did n't you? FILBY I saw a toy machine vanish. But I'm certain there are a number of ways of doing that trick. Any magician at the Hippodrome could probably do it. TIME TRAVELLER -LRB- angrily. -RRB- It was no trick! - Would you care to see the full - scale model? FILBY No, I would not! I have no desire to tempt the laws of Providence and I do n't think you should. It's not for man to trifle with. TIME TRAVELLER Now you sound like Hillyer and Kemp. FILBY There is something in their common sense attitude to life. -LRB- and then. -RRB- George, I speak to you as a friend. More, as a brother. If that machine can do what you say it can. destroy it. Destroy it, George, before it destroys you. Distant SOUNDS of NEW YEAR'S CELEBRATIONS are HEARD. TIME TRAVELLER You must have plans for New Year's Eve. Do n't let me keep you. FILBY Mary is n't well. We decided to stay home with the baby. But why do n't you come home with me. You have n't seen little Jaime for a long time. TIME TRAVELLER I ca n't. FILBY What's stopping you? TIME TRAVELLER I just want to see the old century out by myself. FILBY -LRB- rising. -RRB- Have it your own way. He goes to the door. AT THE DOOR Filby stops, then turns around. FILBY Will you promise me that you wo n't leave the house tonight? TIME TRAVELLER I promise you, I wo n't walk out of the door. Filby, a little puzzled by this strange promise, turns to go as the Time Traveller puts down the poker and steps up to him. TIME TRAVELLER David! Please do n't think me un - friendly! - Come over to dinner - next Friday. Wo n't you? FILBY Very well. TIME TRAVELLER Fine. and will you bring the others with you? FILBY -LRB- with a warm smile. -RRB- Whatever you say, George. - Happy New Year. TIME TRAVELLER -LRB- shaking hands. -RRB- And a very happy New Year to you, David. Filby pats his arm before he leaves. The Time Traveller stands there until he hears the FRONT DOOR SHUT. Then, FOLLOWED BY THE CAMERA, he goes to the writing table and sits down. AT THE WRITING TABLE The Time Traveller opens a drawer and takes out the new calendar that reads : `` 1900, Welcome New Century.'' He flips a few pages to find the next Friday and jots down the dinner engagement. At this point Mrs. Watchett, with his velvet smoking jacket over her arm, appears in the doorway and walks up to him. MRS. WATCHETT Will you be having supper in this evening, sir? TIME TRAVELLER -LRB- while ex -. -RRB- changing jackets with Mrs. Watchett's help. -RRB- I do n't think so, Mrs. Watchett. Why do n't you take the evening off and celebrate. MRS. WATCHETT Thank you, sir, but if you wo n't be needing me I think I'll turn in early and get some sleep. -LRB- indicating revelers outside. -RRB-. it I can. - Goodnight, sir. TIME TRAVELLER Goodnight. She turns to go as the Time Traveller calls after her. TIME TRAVELLER Oh, Mrs. Watchett! -LRB- as she responds. -RRB- I've invited Mr. Filby and the others to dinner next Friday. -LRB- and then. -RRB- Happy New Year, Mrs. Watchett. MRS. WATCHETT Happy New Year, sir. Mrs. Watchett exits, closing the door after her. Once again the Time Traveller is alone. He looks at the old calendar that reads : `` December 3l. 1899,'' rips the final sheet from the pad, crumples it into a tight little ball and tosses it into the hearth where it burns. With slow and deliberate movements he replaces the old calendar with the new one. Then, he hastily scribbles a note which he puts into an envelope and places it prominently on the table. He rises and mounts the steps that lead to :",
"INT. CORRIDOR - MOVING SHOT The Time Traveller walks slowly toward a closed door at the end of the passageway. Here he pauses momentarily, removes the key from his pocket, unlocks the door, then slowly swings it open as the MUSIC STARTS the THEME of the picture.",
"INT. LABORATORY - FULL SHOT - (NIGHT) The laboratory has the appearance of having once been a greenhouse. Only a few potted plants remain. The glass walls are obscured from view from the garden by rows of tall growing plants. Only the glass skylight is clear. Thick, dark, low - hanging clouds are pass - ing beneath the moon, dimming its light and leaving the interior a maze of dark shadows. As the slow mov - ing clouds pass overhead, a shaft of moonlight seeps through and we SEE workbenches, numerous tools, sheets of drawings and scientific instruments situated around the perimeter. But the most conspicuous object in the room is the Time Machine. It is a duplicate of the miniature model already seen. However, its size gives it a majestic quality. Nickel, ivory and crystalline quartz gleam and sparkle. While the miniature possessed a delicate, appealing note, the full size Machine has an ominous look. The wavering moonlight seems to render it alive and give it the power of movement. CLOSE ON TIME TRAVELLER - MOVING SHOT Staring at the Machine, hypnotized by his own crafts - manship, he locks the door with accustomed movement, then crosses to a workbench and lights a candle. Here a crystalline lever is attached to a polishing buffer. The Time Traveller sets it in motion, polishing the crystal lever until its rough edges disappear and it sparkles like a fine cut diamond. As he works, his lips purse and he softly STARTS TO WHISTLE the melancholy strains of `` The Land Of The Leal.'' A clock near him on the workbench reads : `` 9:30.'' Satisfied with the buffing, he removes the gleaming handle and crosses to the Machine. He settles into the saddle and affixes the crystalline lever. There is no sign of urgency in his movements to betray that his settling himself into the saddle is any more than a routine position he has taken before to work on the Machine. Then he leans back in the saddle and gazes up at : INSERT : SKYLIGHT - -LRB- STOP MOTION OR ANIMATION -RRB- Passing clouds. BACK TO TIME TRAVELLER He looks upwards for several moments. Then his hand slowly reaches forth and his fingers encircle the lever. - Gently he urges it forward. A HUMMING SOUND, similar to the one made by the model, but MORE RESONANT starts and a soft glow wells up from within the Machine. INSERT : THE CONTROL PANEL The luminous dials show : `` 31 December 1899.'' The meters and indicators start to BUZZ and whirl. The glow increases. BACK TO TIME TRAVELLER His expression is taut as he looks around, then down to the control panel. TIME TRAVELLER'S VOICE I started. and the laboratory grew faint around me. INSERT OF PANEL The figures spin, the needles vibrate. Then almost at once the Time Traveller's hand reaches for the lever and jerks it over to halt the Machine. The HUMMING LESSENS and FADES. BACK TO TIME TRAVELLER As he starts to look up and around, slowly. TIME TRAVELLER'S VOICE I stopped. WHAT HE SEES - MOVING SHOT Starting at the WINDOW with frost around the edges and icicles outside, we move around the room PASSING THE WORKBENCH over to the DOOR. During this we HEAR the : TIME TRAVELLER'S VOICE No change ; everything exactly as it bad been before. - But no! THE CAMERA SWINGS BACK TO THE WORKBENCH, CLOSE, where the clock now shows `` 11:09'' and the candle has burned shorter. TIME TRAVELLER'S VOICE -LRB- excited. -RRB- The clock said 9:31 when I started and now it was 11 :O 9. and the candle, shorter by inches. BACK TO TIME TRAVELLER He looks amazed, then pulls his old fashioned watch from his pocket by its gold chain. It flips open showing almost `` 9:32.'' TIME TRAVELLER'S VOICE And yet by my watch which was in the machine with me, only a few seconds had passed. Pleased, he puts his watch away and reaches for the lever, looking off toward the : WORKBENCH - -LRB- ANIMATION -RRB- The HUMMING SOUND STARTS again and, while the hands of the clock circle the dial, the flame of the candle flickers with the speed of a bee's wing, melting the candle down. The CAMERA MOVES to the window where the frost has spread and the icicles continue to grow. Light comes up behind so that the crystals glitter like gems and the sun starts to rise. TIME TRAVELLER IN THE MACHINE - MED. SHOT The rays of the early Morning sun slide down the lab - oratory wall and sweep across the Time Traveller and his Machine. A trace of a smile - and then, he looks up and squints. TIME TRAVELLER'S VOICE It was disconcerting to see the sun. INSERT : SKYLIGHT - MED. SHOT - -LRB- STOP MOTION OR ANIMATION -RRB- As the sun arches majestically. TIME TRAVELLER'S VOICE arc in less than a minute. INSERT : POT OF FLOWERS - -LRB- STOCK AND/OR STOP MOTION -RRB- As they close. TIME TRAVELLER'S VOICE to see flowers closing their eyes for the night, changes that normally took hours, occuring in seconds, was beautiful. During this it has turned into night and a little SNAIL rushes across the ground beneath the plant, and then the flowers start to open again. Light begins to flood the scene. In the b.g. Mrs. Watchett leaps into the garden, pauses the briefest instant to sprinkle the flowers, then with the speed of wind streaks away. BACK TO TIME TRAVELLER A trace of a smile, then apprehension. TIME TRAVELLER'S VOICE And as yet I was travelling very slowly! -LRB- challenging. -RRB- What if I went faster?! His hand shoves the lever farther over toward the future position. THE HUMMING SOUND RISES TO HIGHER PITCH. The Time Traveller lurches in his seat, clings to the controls and looks at the dials. INSERT : CLOSE ON DIALS They are spinning. BACK TO TIME TRAVELLER As he looks up. INSERT OF SKYLIGHT - -LRB- STOP MOTION OR ANIMATION -RRB- The sun soars across the sky, night falls. Pin points of stars streak by and dawn comes. The sun is chased by the stars again and again. Faster and faster. VERY CLOSE ON TIME TRAVELLER His eyes gleam with a mad light, half pleasure, half pain. His face is illuminated by the alternating flashes of light, each one indicating the passage of another day. He turns toward the : WINDOW - FULL SHOT - -LRB- ANIMATION, STOP MOTION & STOCK -RRB- Without a trace of frost or icicles. The snow has disappeared, replaced by the lush green of Spring. While the vines of a morning Glory grow up and around the window like a snake and the flowers open and close, we see the following through repeated fast flashes. The sun hops swiftly across the sky. The night falls and the stars circle the North Star. The sun appears and disappears be - hind the whirling clouds. At night the moon races through tumultuous clouds. On the following day the sky darkens with thunderheads. There is a cataract of lightning and THUNDER. BACK ON TIME TRAVELLER Quick flashes of lightning on the Time Traveller's face followed by a series of SHORT THUNDERCLAPS. TIME TRAVELLER'S VOICE It became intoxicating. To see an entire storm in a few seconds. - So I pushed the lever on toward even greater speed. He applies greater pressure on the lever. The HUMMING INCREASES. The alternate flashes of light become a flicker almost too fast for the eye to follow. He looks o.s. and sees :",
"EXT. TREE IN GARDEN - FULL SHOT - (ANIMATION) Its shadows, cast by the sun and the moon, dance around the trunk, faster and faster - the moon passing through its phases and the sun shifting its position with the seasons. BRANCHES - CLOSE SHOT - -LRB- ANIMATION -RRB- Leaves grow quickly. Flowers appear and turn into small green apples. Growing larger, they turn red and fall. The leaves gradually become amber and disappear. Suddenly the bare branches are covered with snow for a few seconds, then again burst into green leaves and blossoms.",
"EXT. DISTANT HILLSIDE - FULL SHOT - (ANIMATION) Through the window we see the trees grow and change like puffs of vapor - now brown, now green ; they spread, shiver and pass away. Snow flashes across the country, vanishes and is followed by the brief bright green of Spring. TIME TRAVELLER'S VOICE Thirteen years had passed. fourteen. fifteen. sixteen. and then. Gradually soot, dirt and grime has built up on the windows from the outside and darkness prevails. CLOSE ON TIME TRAVELLER His brow is beaded with perspiration. Alarmed, he grabs the handle of the Time Machine. INSERT : THE DIALS The hand of the Time Traveller quickly pulls back the lever. TIME TRAVELLER'S VOICE In the year nineteen hundred seventeen. I stopped. The flickering of passing days and nights slows and the HUMMING SOUND GRADUALLY DIMINISHES. The dial stops on `` 13 September 1917''. TIME TRAVELLER - MED. SHOT The CAMERA PULLS BACK as he steps out of his Machine and glances with astonishment around the interior of the laboratory. The once clear windows are now dirty and boarded up. The world outside is completely obscured from view. Only faint light penetrating cracks indicates that it is day out - doors. He crosses to the door. Dust falls as he opens it and enters the corridor.",
"INT. LIBRARY The dim light and the protective sheets covering the furnishings previously seen, lend the room a ghostly appearance. Tilted paintings reveal faded spots on the walls and the dust is inches thick here, as well as in the dining room seen in the b.g. Cobwebs are everywhere. The floor SQUEAKS on every footfall as the Time Traveller, coming down the steps from the corridor, enters the room and looks about. THE SHELVES - TIME TRAVELLER'S P.O.V. Among his books still rest the clocks, his once prized possessions. There is NO TICKING now. The hands of the clocks, each pair indicating a different time, seem to guard the past. CLOSE ON TIME TRAVELLER - MOVING SHOT Curiosity takes the Time Traveller from the library, through the ENTRANCE HALL, to the front door. It refuses to respond to his attempt to open it. Even when he uses his shoulder it does not budge. He steps back and flings his full weight against it and with a WRENCHING SOUND it gives slightly. Under continued pressure the nailed boards outside give way and a flood of daylight illuminates the dusty interior. The Time Traveller moves into the open driveway that is now taken over by weeds.",
"EXT. COTTAGE - LONG SHOT - DAY The Time Traveller takes a deep breath and looks curiously around. Everything is overgrown with vines and flowers. The house is boarded up. He starts to wander around, thinking, investigating. -LRB- NOTE : The house is situated upon a site with distinctive landmarks that will stay recognizable during his journey into the future, thereby giving a clear conception that time - travelling does not involve geographical movement. For instance, the sharp curve of the River Thames in the distance will remain even after the house itself has disappeared. -RRB- CLOSE ON TIME TRAVELLER Suddenly the SOUND OF AN APPROACHING ENGINE catches his attention. He looks puzzled toward :",
"EXT. ROAD - LONG SHOT - (DAY) Coming up the hill on a narrow dusty road is a car of 1916 vintage, with the HORN HONKING. The CAMERA PANS with it, up to a SMALL STORE across the street. The sign above the entrance reads : `` Filby's Department Store''. A MANNEQUIN, dressed for the period, is in the window. The driver, in the uniform of a Second Lieutenant of the First World War, steps out of the car. The Time Traveller walks over to see his old friend, sans moustache. TWO SHOT TIME TRAVELLER -LRB- glibly. -RRB- Going to a masquerade, David? You look rather silly without your moustache, old man! FILBY -LRB- puzzled. -RRB- Were you addressing me, sir? TIME TRAVELLER -LRB- positively. -RRB- Filby! I expected more of an enthusiastic greeting from. FILBY -LRB- smiles as he. -RRB- interrupts. -RRB- I'm afraid you have me confused with my father, sir. There was a remarkable resemblance. - I'm James Filby. TIME TRAVELLER Was? JAMES FILBY Were you a friend of father's? TIME TRAVELLER Yes. yes. I've been away. JAMES FILBY He was killed in the war. a year ago. TIME TRAVELLER -LRB- aghast. -RRB- No! it ca n't be. -LRB- then, as he realizes its truth. -RRB- I'm sorry to hear that. -LRB- pause, then hesitantly points. -RRB- And the gentleman who used to live across the street? JAMES FILBY Oh, him. Some inventor who disappeared around the turn of the century. - If you're interested in that house, forget it. You ca n't buy it or even go inside. TIME TRAVELLER Why is that? JAMES FILBY My father was executor of the inventor's estate and he refused to liquidate it. -LRB- adds with a smile. -RRB- I often chided him on that account, but he felt positive that the owner would return some day. - Some people hereabouts think it's haunted. -LRB- stares at Time Traveller curiously, studying the strange cut of his clothes. -RRB- Who are you, sir? TIME TRAVELLER Just a stranger who once knew your father. JAMES FILBY I see. -LRB- still curious at the Time Traveller's abstract attitude. -RRB- Have you been at the front, sir? TIME TRAVELLER Front? What front? JAMES FILBY Why the war, of course. TIME TRAVELLER What war? JAMES FILBY Great heavens, man, do n't you know we've been at war with Germany since nineteen fourteen? I thought perhaps you had seen action in France. or maybe. -LRB- noticing confusion, adds with a note of compassion. -RRB- Perhaps a cup of tea would make you feel better. Wo n't you come in? TIME TRAVELLER No. no, thank you. JAMES FILBY You're sure you're alright, sir? TIME TRAVELLER Yes, I'm quite alright. JAMES FILBY -LRB- hesitantly. -RRB- Then. goodbye, sir. The Time Traveller nods and James Filby slowly turns and, glancing back repeatedly, enters the Department Store. CLOSE ON TIME TRAVELLER He speaks almost to himself. TIME TRAVELLER Goodbye, Jaime. With the bitter taste of death for his old friend, David Filby, he slowly walks across the street and returns to the cottage.",
"INT. LABORATORY - FULL SHOT The Time Traveller approaches the Machine, steps up into the seat, throws his head back and grimly shoves the lever forward. SKYLIGHT - FULL SEOT - -LRB- STOCK AND ANIMATION -RRB- ACCENT on MUSIC, then as the HUMMING OF THE TIME MACHINE takes over, suddenly panes of GLASS BREAK one after another, giving a clear view of a sky full of SWIRLIING TURBULENT CLOUDS. CLOSE ON TIME TRAVELLER The FLICKERS of days and nights, as well as the HUMMING, INCREASES and DECREASES, in accordance with his manipulation of the controls. Over this : TIME TRAVELLER'S VOICE As I went along, I gained experience in handling the Machine. I found that I could stop for a day, an hour, or even for a second to observe, then go ahead for a year or two. - Thus I was able to see the changing world in a series of glimpses. Something catches his interest. He pulls back the lever to SLOW DOWN.",
"EXT. STREET - FULL SHOT - (NIGHT) - (STOP MOTION) With the speed of wind, pedestrians streak across the pavement. The bright lights of the night pop out one after another leaving a sparingly illuminated street. The HUMMING SUBSIDES. The mannequin previously seen in the show window now wears the clothing of the `` Roaring Twenties''. distant CLOCK STRIKES ELEVEN. BACK TO TIME TRAVELLER Speaks surprised. TIME TRAVELLER Good heavens, that's a dress? MANNEQUIN - MED. SHOT From her pretty face with the funny hat, the CAMERA PANS DOWN to the hem line of her skirt, twelve inches from the floor. BACK TO TIME TRAVELLER A smile appears on his face. TIME TRAVELLER'S VOICE This was intriguing. I wondered just how far women would permit this to go. He pushes the lever ahead. Flashes and HUMMING INCREASE and we : THE MANNEQUIN - FULL SHOT - -LRB- DAYS & NIGHTS -RRB- - -LRB- ANIMATION -RRB- As the years speed by INTERRUPTED BY SHORT BLURS, the dresses of the mannequin change. The skirts get shorter and shorter, then drop inch by inch while the hair styles vary. The bosom appears to swell with the sinking neckline and flattens as the neckline rises. During this : TIME TRAVELLER'S VOICE I began to grow fond of that mannequin. Maybe because, like me, she did n't age. THE TIME TRAVELLER - MED. SHOT Suddenly he hears the SOUNDS OF AIRPLANES and EXPLOSIONS in a strangely ACCELERATED manner. He looks down at the instruments. INSERT OF DIALS Showing the passage of time. October, November, December of 1939 and January, February, March, April, May of the year 1940 are peeling off. The instruments vibrate erratically. CLOSE ON TIME TRAVELLER He stares at the dials with much concern as he is PITCHED back and forth in his Machine. TIME TRAVELLER'S VOICE Suddenly, in nineteen forty I began to be buffeted from side to side. My first thought was that the Machine had a mechanical defect or a part had worn out. The Time Traveller HEARS the SCREAMS of DIVING PLANES. He stops the Machine and looks up at : SKYLIGHT - MED. SHOT - -LRB- NIGHT -RRB- - -LRB- STOCK -RRB- Through the panes of broken glass we see a clear but limited glimpse of the night sky that is swept by beams of searching lights. ANTI - AIRCRAFT batteries are FIRING as a squadron of Nazi fighter planes are caught in the criss - cross beams of light. The sky is pierced with ack ack. Then, following the sound OF APPROACHING RAF. FIGHTER PLANES, a dog fight ensues. Several of the planes are hit and plummet earthward, balls of streaking flame and fire. CLOSE ON TIME TRAVELLER Gazing up at the grim spectacle. TIME TRAVELLER'S VOICE The last time I had stopped was in nineteen seventeen, twenty three years ago. And the war with Germany was still waging - now in the air with flying machines. It did n't seem possible they could go on fighting all these years and still have the means of fighting. Then I realized the truth of the matter. This was a new war. There must have been an interval of peace in between these wars. Yet they had learned nothing but to prepare even more effective means of destroying one another. decided to push on into time and see the outcome. He looks down at : INSERT OF DIALS Denoting the movement of the Machine through time. The dials spin from 1940 to 1959 where the HUMMING NOISE SUBSIDES and the dials again come to a stop. TIME TRAVELLER'S VOICE The fighting in the sky lasted only a few moments. By nineteen forty five it was over, but I continued on a few more years before pausing for another glimpse of my silent, never aging friend. THE MANNEQUIN - FULL SHOT - -LRB- DAY -RRB- In bikini bathing suit. A car, a 1959 model, passes by. CLOSE ON TIME TRAVELLER Smiling. TIME TRAVELLER'S VOICE It vas reassuring to find that she had n't changed. Only her costume. Provocative to say the least. wondered what she would look like ten years hence. With a grin he throws the lever forward. INSERT OF DIALS HUMMING INCREASES and the years spin ; 1960, 1961 and so on until it finally STOPS on 1966. BACK AT THE MANNEQUIN Dressed in the sleek dress of the future. First a distant, then a close AIR RAID SIREN HOWLS, menacingly. BACK ON TIME TRAVELLER His smile becomes a puzzled stare at what he sees.",
"EXT. STREET IN 1966 - LONG SHOT - (DAY) People are racing along the sidewalk. The SOUND OF MORE DEEP - THROATED SIRENS from all directions comes over. Drivers leave their cars of the period in disorder. The running is purposive, however. All are entering particular buildings or, like those closest to the Time Traveller, are descending a stairway from the sidewalk down below street level. Some glance sky - ward. A LITTLE GIRL picks up the doll she has dropped as her FATHER returns from the shelter. He gathers her up in his arms and rushes back to safety. In a few seconds the streets are deserted. TIME MACHINE AT EDGE OF PARK - FULL SHOT The Time Traveller gets out and looks around, confused. TIME TRAVELLER'S VOICE At first I wondered if my Machine and I were the cause of the panic. I was to soon find out we were n't. He starts off toward the sidewalk, the CAMERA MOVING with him. At the descending subway stair - way he stops and peers downward, but sees no one below. Meanwhile, through a loudspeaker o.s., a melodious SYMPHONY ORCHESTRA is heard softly, until a BURST OF CHORDS attracts the Time Traveller's attention.",
"EXT. STORE WINDOW - FULL SHOT A TELEVISION CABINET on display. The set is operating, showing a huge symphony orchestra led by one of the popular conductors of tomorrow. The CAMERA SWINGS to the modern ENTRANCE of FILBY'S DEPARTMENT STORE just as the Time Traveller reaches the two broad glass doors. As he steps forward he intercepts the rays of electronic eyes and the doors fly wide open. He stops startled, looking about to see who opened them. Seeing no one, he starts slowly forward.",
"INT. DEPARTMENT STORE - LONG SHOT From the TV set BLARES MUSIC that gradually becomes the UNDERSCORE for the SCENE. The Time Traveller enters and turns his attention to other products of tomorrow - refrigerators, vacuum cleaners, reducing belts, etc.. As his keen mind grasps the significance of each, he smiles with approval, proud of his fellow man. His delight increases until he is interrupted by APPROACHING FOOTSTEPS. He looks off. REVERSE SHOT Coming from the office is THE WARDEN, dressed in a plastic suit. He also wears an armband and a white crash helmet, both bearing the insignia of `` Civilian Defense.'' MUMBLES are heard from beneath his mask as the CAMERA PANS him to the Time Traveller. TIME TRAVELLER -LRB- shakes his head. -RRB- I ca n't understand you. The warden takes off his helmet. He is David Filby's son, James, whom we saw in 1917 as a young man. He is now in his mid - sixties. WARDEN -LRB- looking at helmet. -RRB- Confounded radio in this thing. Makes more noise than it does sense. TIME TRAVELLER -LRB- recognizing him. -RRB- Filby! WARDEN My name is Mister Filby. - Did n't you hear the air raid siren? TIME TRAVELLER You mean that horrible screeching? WARDEN It was n't constructed for its aesthetic values, you know, but to warn silly young fools like yourself to get down into the shelter. Now go on. TIME TRAVELLER But I'm perfectly comfortable and I find your store magnificent. What splendid achievements, what gigantic strides mankind has taken, what. WARDEN -LRB- interrupting. -RRB- Come on, young man. We'd better be going before the mushrooms start sprouting. -LRB- looks at Time Traveller with renewed interest. -RRB- You do look familiar. Have n't we met somewhere before? TIME TRAVELLER Indeed we have. Right here. Many years ago. WARDEN I was sure of that, but the exact time escapes me. TIME TRAVELLER It was two wars ago, I believe. Nineteen seventeen. WARDEN -LRB- awed. -RRB- Why now I recall. The chap who inquired about my father - and the house that used to be across the way. -LRB- stops and stares at the Time Traveller. -RRB- But no. that's impossible. You have n't changed. You're not a day older. And your clothes. TIME TRAVELLER I'm afraid it's going to take me a little time to explain. You see. There is an insistent, EAR PIECING SIREN. It lasts for three seconds. WARDEN The last alert. hurry! He grabs the Time Traveller by the arm and drags him out. ON THE STREET - FULL SHOT They emerge from the store. The Time Traveller pulls himself free. TIME TRAVELLER Listen to me! It's important. WARDEN -LRB- points to sky. -RRB- Look! An atomic satellite zeroing in! That's important! The Warden runs, looks back over shoulder, calling. WARDEN Hurry! Hide'til the All Clear! He descends into the air raid shelter. CLOSE ON TIME TRAVELLER - MOVING SHOT He looks puzzled. TIME TRAVELLER All clear? -LRB- yells. -RRB- I've got to talk to you. The Time Traveller looks up as he hears the APPROACHING SIRENS OF AN AMBULANCE. Alarmed, he runs across the street directly in the path of the ambulance that threads its way between the cars left in disorder on the road. The driver spins the steering wheel and the ambulance tilts crazily in trying to avoid the Time Traveller. Suddenly there is a BLINDING FLASH. He stops and looks startled. VIEW THROUGH THE STREETS - LONG SHOT - -LRB- STOCK, MINIATURE, SPLIT -RRB- A SATELLITE travels over the city in the distance. The flash is followed by an EXPLOSION and a giant cobalt mushroom begins to rise over the horizon. BACK TO SCENE As the Time Traveller tries again to rush toward his Machine, the shockwaves reach him and throw him to the ground. He looks back, desperately. THE CITY - LONG SHOT - -LRB- MINIATURE -RRB- Through the thick cloud of smoke and dust we see the once proud city of the future in ruins. Only a single, large structure in the f.g. remains stand - ing for a moment, then it also collapses in an instant. TIME TRAVELLER'S VOICE The labor of centuries gone in an instant. The ground shudders with an OMINOUS sound and sudden a great rent appears in the wide street ahead, as though the earth were being torn apart. It zig - zags down the street and from the widening fissure clouds of smoke and steam rise. TIME TRAVELLER'S VOICE But then Mother Earth, aroused by man's violence, responded with volcanic violence or her own! CHASM IN THE GROUND - -LRB- STOCK -RRB- The smoke and steam give way to a spluttering of red hot lava which swells slowly at first in a rising tide and then spilling over begins to EXPLODE into the air. BACK ON TIME TRAVELLER The Time Machine is shaken violently, but the Time Traveller manages to crawl into it. THE THAMES - LONG SHOT - -LRB- STOCK -RRB- As the river spills over its bed and turns into another direction. THE STREETS - -LRB- STOCK, MINIATURE, SPLIT -RRB- With red hot lava swirling around the bases of the remaining buildings. The lower parts of the struct - ures in the f.g. dissolve into smoke and flame and the upper parts come tumbling down into the rising red flood. Then the incoming rush of the river meets the flowing tide of lava. The two opposite elements, molten rock and cold green water, dwarf the ruined city as they leap toward each other, and meet with explosive fury. The air is rent with the SINGING HISS of water and the CRACKLING of cooling rock. Steam whitens the sky. THE TIME MACHINE - LONG SHOT - -LRB- STOCK -RRB- - -LRB- PROCESS -RRB- Out of the tumult a flow of red hot lava turns aside and leaps directly toward the Time Machine. TIME TRAVELLER'S VOICE Then I saw my own danger. I too was to be engulfed! CLOSE ON TIME TRAVELLER As he sees his great peril. TIME TRAVELLER'S VOICE But to go back was unthinkable. He jams the lever forward to its furthest position. The HUMMING SOARS TO A VERY HIGH PITCH. THE ENCROACHING LAVA - -LRB- STOCK -RRB- It has been approaching with the speed of a torrent, but now it literally leaps forward in a blinding red haze that engulfs the entire scene. THE TIME MACHINE - MED. SHOT The interior of the Machine is permeated with a dull red glow which seems to flow like mist all about the Time Traveller. TIME TRAVELLER'S VOICE Only my speed through time saved me from being roasted alive and encased in stone forever. INSERT OF DIALS They are spinning too fast to distinguish anything in the gradually fading red glow. EXTREME CLOSE ON TIME TRAVELLER His face is bathed in sweat. His eyes search the growing darkness. TIME TRAVELLER'S VOICE The molten rock cooled. -LRB- he closes his burning eyes as the last of the light vanishes. -RRB- I prayed. wondering how many centuries, how many eons must pass before the wind and rain could wear away the mountain that enclosed me. In the pitch darkness there are only the sounds of the HUMMING TIME MACHINE and the SLOW LABORED BREATHING of the Time Traveller. Then a match flickers. The CAMERA SCARES BACK. The Time Traveller holds up a burning matchstick, his face glistening with perspiration as he leans forward to look at the dials. TIME TRAVELLER'S VOICE -LRB- whispering. -RRB- Darkness. darkness for centuries. INSERT OF DIALS They roll very fast. We can distinguish only the passing of years - 70,000. 80,000. 90,000. 100,000. Then the matchlight flickers and goes out leaving only the dial's own faint glow. BACK ON TIME TRAVELLER Once again there is darkness and the MONOTONOUS HUM of the Time Machine. He breathes heavily and tries to calm himself. TIME TRAVELLER'S VOICE I wondered if there was still war being waged on the ground above me. if man would still exist on earth, when I saw the sun again. As he speaks, the Time Machine goes faster and faster. HIGH PITCHED HUMMING INCREASES. TIME TRAVELLER'S VOICE The centuries rolled by. - I put my trust in time and waited for the rock to wear down around me. A white light from above begins to permeate the dark - ness. The Time Traveller looks up, his face showing immense relief. WHAT HE SEES - -LRB- ANIMATION -RRB- Rocks deteriorate and a bright blue sky bursts into view. ACCENT ON MUSIC.",
"EXT. TIME MACHINE AND GROUND NEARBY - LONG SHOT (SPLIT, ANIMATION) Everything is a blur except the Time Machine with its passenger. The black rock on the surface slowly melts away and the flickering sunlight returns. The Machine is now finally entirely above ground, the only distinct object in the whirling transparent landscape.",
"EXT. TIME TRAVELLER - CLOSE SHOT As he smiles gratefully up at the sky. TIME TRAVELLER'S VOICE I was free again! He looks o.s. INDISTINCT COUNTRYSIDE - LONG SHOT - -LRB- ANIMATION -RRB- There is an impression of several great buildings set wide apart by green landscape - a landscape which no longer changes color even though trees spring up like plumes of green smoke. TIME TRAVELLER'S VOICE Thousands of centuries passed, but the earth stayed green! There was no winter! No wars! - Had man finally learned to control both the elements and themselves? - I had to stop and find out. TIME TRAVELLER - MED. SHOT As he eagerly pulls hard on the lever, the HUMMING DECREASES and the dial freezes on : `` 23 November 802,701''. THERE IS A CRASH LIKE THUNDER and the Time Machine suddenly goes into a spin. The CAMERA ZOOMS BACK TO A FULL HIGH SHOT as the machine keels over. The friction caused by the intrusion creates a pitiless HAIL, and we",
"EXT. TIME TRAVELLER - CLOSE SHOT - (DAY) Thick mist eddies about his face, undulating dreamily, revealing enough to see that he is unconscious. Blood seeps from a gash across his forehead. He dazedly opens his eyes to find that he is gazing across the dewey, green turf. Then he looks up.",
"EXT. THE SPHINX - FULL SHOT - LOW ANGLE - (MATTE) The vapor rises like a curtain to disclose a great bronze pedestal, green with verdigris, whereon clawed feet support the white marble figure of an immense Sphinx. The figure has the face of a woman, the body of a huge cat and the tail of a serpent. A weeping birch tree barely touches its outspread wings. THE TIME TRAVELLER - MED. SHOT He shakes the cobwebs out of his head and, FOLLOWED BY THE CAMERA, rises with difficulty. Still half - dazed he presses a handkerchief to his temple, as he loosens his collar, then reaches into the Machine, pockets the lever and surveys his surroundings. LANDSCAPE - LONG SHOT - -LRB- MATTE -RRB- It looks like a garden untended for centuries. The trees and shrubs are laden with strange blossoms or exotic fruits. In the distance there is a building that might once have been a temple. Vines mat the ancient walls, seemingly holding them together. BACK TO TIME TRAVELLER He smiles. TIME TRAVELLER -LRB- to himself. -RRB- At last I've found a Paradise. He starts off toward the building WHISTLING his favorite tune, `` The Land Of The Leal''. The CAMERA ACCOMPANIES him as he looks about with interest. WHAT HE SEES - MOVING SHOT Strange, exotic fruits bend the branches of the TREES, some purplish and gourd - shaped, others suggesting giant raspberries, mangoes, etc.. TIME TRAVELLER'S VOICE Nature tamed completely and more bountiful than ever before. VARIETY OF FLOWERS - MOVING SHOT The CAMERA PANS under boughs laden with orchids and a multitude of other gorgeous blossoms. TIME TRAVELLER'S VOICE Flowers everywhere. the whole landscape one vast garden with no sign of weeds or briars.",
"EXT. ENTRANCE TO GREAT BUILDING - LONG SHOT - (DAY) The Time Traveller pauses and looks up at the building. ACROSS FACADE - PAN DOWN - -LRB- MINIATURE? -RRB- Vines creep up the crevices. The ornamental stone work, while rich in detail, is weathered and broken with age. TIME TRAVELLER'S VOICE -LRB- surprised. -RRB- Unrepaired for centuries! Maybe unlived in for as long. -LRB- then. -RRB- It would be no Paradise if it belonged to me alone.",
"INT. ENTRANCE - MED. SHOT Shooting through the ARCHWAY we see the Time Traveller mount the steps and enter the building.",
"INT. THE GREAT HALL - FULL SHOT - (MATTE) - (DAY) In the background across the hall, the Time Traveller halts. He is dwarfed by the height of the vaulted ceiling. Although ancient in appearance, everything is ultra modern in design. Sunlight streams through windows where half the panes of stained glass are broken. Faded curtains droop in dusty folds along the walls, and at random about the floor are low tables, some heavily fractured, loaded with bowls of fruit. His FOOTSTEPS ECHO through the great hall as the Time Traveller crosses to : A TABLE - MED. SHOT The Time Traveller glances down at the spread of exotic fruit. Everything looks fresh and clean as though newly prepared. Yet there is no indication of life or sound, either human or animal. The air hangs in a deathlike stillness. Slowly the Time Traveller turns and looks around the walls, his eyes searching, scrutinizing for some clue to this strange place. There is none. Then he picks up an empty marble plate and POUNDS with it on the top of the table. TIME TRAVELLER -LRB- shouting. -RRB- Anyone here? But an ECHO is his only answer. Curiously he re - traces his steps and leaves the great hall.",
"EXT. LANDSCAPE - FULL SHOT - (DAY) Pick up the Time Traveller as he walks slowly along. Every sense he possesses is on the alert. His eyes probe every bush and tree and object that could possibly conceal some person or thing. SERIES OF SHOTS As the Time Traveller takes this long, slow walk, INTERCUT INSERTS of the various innocent objects he looks at with CLOSEUPS of Time Traveller as he reacts to the bewildering SILENCE and lack of life or movement. The continued stretch of emptiness builds up a wave of apprehension in the Time Traveller which grows as he moves along. The apprehension mounts into tension and gradually but inevitably approaches the state of horror that a human being would experience in a strange place where he had just come from an innocent freshly set table of ripe fruits and stepped outside into a beautiful but weird vacuum.",
"EXT. WOODED AREA - LONG SHOT As the Time Traveller reaches the edge of the trees, he hesitates, then moves into the forest. SERIES OF SHOTS The trees are thick and deep shadows cut patches of darkness through the bright sunlight which struggles to penetrate the maze. The Time Traveller walks with continued wariness through the trees, glancing from left to right and occasionally stopping dead still and quickly darting a glance behind him at what he imagines to be some sound of movement. But all this is imaginary on his part. There is nothing that moves or makes a sound in this forest. Suddenly he stops as he distinctly hears a familar and quite HUMAN combination of NOISES. The SOUND SPLASHING WATER and LAUGHTER. He hurries to some dense foliage where he stops to cautiously peer out.",
"EXT. THE POOL - LONG SHOT - (DAY) The Time Traveller's VIEW is partially obscured by the leaves. At considerable distance upstream, the PEOPLE OF THE FUTURE are swimming in a natural pool and sunning themselves on a beach of white sand. They are small, but delicately formed. Their grace and beauty fits perfectly into this splendid new world. The spot is also extremely lovely, surrounded by fern trees, and with the water plunging into it from a high waterfall. Below the pool the stream emerges in a swift torrent. ANOTHER, CLOSER SHOT A beautiful GIRL, dressed in a silken robe of white and gold, starts running. As she runs, she loosens her robe which drifts to the sand and she dives deep into the crystal water. CLOSE ON TIME TRAVELLER He smiles philosophically and leans back against a tree trunk, watching the distant swimmers, reassured. TIME TRAVELLER -LRB- musingly,. -RRB- to himself. -RRB- So this is man's future. GROUP SHOT The people, apparently without any cares of the world, play, romp and swim. TIME TRAVELLER -LRB- o.s. -RRB- to bask in the sunlight, bathe in the clear streams and eat the fruits of earth with all knowledge of work and hardship forgotten. BACK TO TIME TRAVELLER He pauses, thinking back on what he has just said. TIME TRAVELLER Well, and why not? Suddenly a SHRILL SCREAM COMES OVER from the pool. He turns. THE POOL - LONG SHOT The Girl has swum out too far and is caught by the swift torrent. She CRIES OUT PITEOUSLY. The other people turn their heads toward her, but make no move to help. CLOSE ON GIRL She has caught a ledge of rock and clings. Two little men, their bare feet dangling in the water, sit nearby but ignore the Girl's plight. TIME TRAVELLER - MOVING SHOT He jumps out from the foliage, rushes to the bank, points toward the Girl and tries to attract the attention of those near her on the bank. TIME TRAVELLER Help her! No one moves. He runs toward the ledge. BACK TO THE GIRL Her grasp on the ledge grows weaker. She is at the point of letting go. TIME TRAVELLER - MOVING SHOT Reaching the ledge, he pushes past the people nearby and grasps the Girl's wrist just as her fingers slip. Quickly, he pulls her out of the river's turbulent current and lifts her up in his arms. GIRL - EXTREME CLOSE UP Looking up at the Time Traveller bewildered, she shows neither fear nor gratitude. TIME TRAVELLER - EXTREME CLOSE UP Gazing back at the Girl thoroughly puzzled. He turns and glances down at the two little people on the ledge. CLOSE TWO SHOT These two men will later be known as the YOUNG MAN and the MAN IN WHITE. They return the Time Travel - ler's look of scorn with pleasant smiles as if they do not know the meaning of a mean look. TIME TRAVELLER & GIRL - EXTREME CLOSE, MOVING SHOT Trying to avoid looking at the dripping, robeless Girl - after all he is a Victorian - he carries her to the safety of the bank and sets her down on the sandy beach beneath the trees. The CAMERA FOLLOWS him as he straightens, then quickly takes off his jacket and throws it around her. He looks at her for the first time sees the almost ultimate in feminine beauty. TIME TRAVELLER Are you all right? TIME TRAVELLER & GIRL - FULL SHOT Wearing his velvet jacket very appealingly, she calmly rises, turns and, without a word, walks away. The Time Traveller stares after her in astonishment. The disconcerned people, now all dressed in multi - colored robes, are leaving the pool. They walk past the Time Traveller as though he was a part of the scenery, merely adding to his confusion. CLOSE ON TIME TRAVELLER Perplexed.",
"EXT. ENTRANCE TO THE GREAT BUILDING - (SUNSET) Shooting toward the ARCHWAY. The sun is sinking as the last stragglers of the little people enter the great hall. The Time Traveller slowly follows them. He pauses on the steps to see if any will turn back to either welcome him or resent his intrusion, but they move on with lack of interest, completely. He sits down on the steps, thoroughly perplexed at this utter indifference. TIME TRAVELLER - MED. SHOT Seated on the steps leaning against a column. He senses another's presence, looks about, sees no one, then turns to glance over his shoulder. The Girl, now wearing her robe and holding his jacket over her arm, appears from behind the column. He looks at her and smiles reassuringly, but makes no move toward her. - She comes closer, then sits on the step above him and returns his jacket. While he slowly slips it on, she slides down a step to sit alongside him. THE GIRL Why did you? TIME TRAVELLER Why did I what? THE GIRL Come after me. TIME TRAVELLER -LRB- ironic. -RRB- I did it to save your life, young lady, which I'm afraid does n't hold much meaning for you or anyone else. THE GIRL -LRB- simply. -RRB- It does n't. TIME TRAVELLER Must have been fifty of your friends watching you drown. Not one of them so much as lifted a finger. -. -LRB- shakes his head. -RRB- A curious attitude - in a curious world. -LRB- a pause, then a smile. -RRB- Are n't you the least bit interested in what I am. where I come from? THE GIRL -LRB- innocently. -RRB- Should I be? TIME TRAVELLER -LRB- smiles. -RRB- Perhaps you'd better take me to someone a bit older I can talk to. THE GIRL There is no one older. The Time Traveller is suddenly struck by the truth of her words. All of the little people seem to be of the Girl's age or younger. TIME TRAVELLER Does n't anyone age in this land of yours? The Girl makes no reply. Instead she gazes off at the sun which is low in the heavens. Shadows have already fallen over the distant hills. TIME TRAVELLER What's your name? THE GIRL Weena. TIME TRAVELLER How do you spell that? WEENA Spell? TIME TRAVELLER Write! - Ca n't you write? Look! He bends over, picks up a stick and starts to draw on the ground. INSERT : DUST As the stick writes out :'' W E E N A'' BACK TO SCENE She shows little interest. TIME TRAVELLER And what are your people called? WEENA -LRB- as if he ought to know. -RRB- Eloi. INSERT OF DUST The stick now writes in the dust :'' E L O I'' BACK TO SCENE A shadow crosses her face. Suddenly she springs to her feet, concerned. WEENA Come. We must go in. TIME TRAVELLER -LRB- rising. -RRB- Why? What's wrong? WEENA -LRB- anxiously. -RRB- It is getting dark. She grabs his hand and pulls him toward :",
"INT. THE GREAT HALL - LONG SHOT - (MATTE?) - (DAY) Crowded now. The people of the future are sitting on cushions around the tables, having their evening meal. The glowing orange light of the setting sun pierces the broken windows, lending a curious at - mosphere to the place. No one pays attention to Weena or to the Time Traveller as they enter in the b.g.. AT THE MAIN TABLE - MED. SHOT A score of attractive young men and young women are enjoying their dinner. There is a general atmos - phere of bubbling good humor. They do n't even look up as Weena and the Time Traveller sit down at the table. She hands him an orange - sized raspberry. He takes it, looks at the Young Man and the Man in White who sit across the table from him and tries to engage them in conversation. TIME TRAVELLER -LRB- directed to. -RRB- Young Man, but meant for the entire group. -RRB- I do n't mind telling you, I'm quite hungry. I've come a long, long way. Looks around for some kind of a reaction. There is none. CLOSE ON TIME TRAVELLER He bites into the fruit. It's good. While he is eating he searches for another way to bring up the subject. TIME TRAVELLER In my time a berry this size would have made news in every civilized country. GROUP SHOT There is no reaction, so he addresses the Young Man again. TIME TRAVELLER Sir, perhaps curiosity has died. Perhaps even courtesy has died, but I have come a long way and there are things I would like to know. YOUNG MAN -LRB- considers a. -RRB- moment, then. -RRB- Why? TIME TRAVELLER Because I shall return to my time and they will ask questions such as what kind of government rules your world. MAN IN WHITE We have no government. TIME TRAVELLER -LRB- speaking. -RRB- as though to a child. -RRB- You must have a body of men who pass and enforce laws. MAN IN WHITE There are no laws. TIME TRAVELLER -LRB- taken aback,. -RRB- then. -RRB- How do you get your food and clothing? The Man in White looks at the Young Man beside him. They both shrug their shoulders. TIME TRAVELLER Does n't anyone work? MAN IN WHITE No. TIME TRAVELLER -LRB- picks up. -RRB- fruit. -RRB- Then where does this come from? MAN IN WHITE It grows. It always grows. TIME TRAVELLER But it must be planted, cultivated, nurtured. unless. -LRB- with mistaken insight as he observes no reaction to this last query. -RRB- Unless you have an economy so well organized that you can devote all your time to study and experimentation. Am I right? MAN IN WHITE You ask many questions. TIME TRAVELLER -LRB- annoyed. -RRB- Yes! And I'm not ashamed of it. That is how man has learned and bettered himself. I must learn about you and your civilization. You have books, do n't you? YOUNG MAN -LRB- recognizing a. -RRB- half - forgotten word. -RRB- Books. - Books! Yes, we have books. He rises and beckons. The Time Traveller's brow clears. TIME TRAVELLER Books will tell me what I want to know. Books will tell me all about you. He too gets up and follows the Young Man. AT THE WALL - LONG SHOT The Young Man leading. He reaches the wall and seizes an ancient curtain which covers it. cloud of dust rises as he tugs it aside and the curtain falls, almost crumbling. Shelves and shelves of books are disclosed. The books are old even though many of them have futuristic de - signs. The bindings of once proud volumes hang in brown tatters. The Time Traveller steps to the books. CLOSE ON TIME TRAVELLER The realization of the true state of affairs shows on his face. He is appalled. Carefully he pulls a volume from the shelf. Its binding breaks as he opens it and, when his hand touches the pages, they crumple like ashes and drift to the floor. He drops the book. His voice is a shocked WHISPER. TIME TRAVELLER Yes. they do tell me all about you! With sudden violence he slams his fist into a whole shelf of books. His hand plows through them and the dust swirls into the air. He turns back in anger. TIME TRAVELLER What have you done? Thousands of years of building and rebuilding creating and re - creating so that you can let it crumble to dust. With one hand he grabs the Young Man and shakes him. TIME TRAVELLER A million yesterdays of sensitive men dying for their dreams. For what? So you can swim and dance and play. He releases him and leaves. THE HALL - MOVING SHOT The Time Traveller stomps among the Eloi, hating them for their dissipation. Without emotion they watch him walk toward the entrance. Only Weena jumps to her feet. Her former indifference is gone. AT THE ENTRANCE From the top step, the Time Traveller looks down at them. TIME TRAVELLER I am returning to my time! Not to tell of the uselessness of the struggle - not to tell of the hopeless future - but only so that I can die among men! He turns and strides toward the door.",
"EXT. ENTRANCE - MED. SHOT - (DUSK) The Time Traveller bursts out of the building. moment later Weena appears in the archway. She stands there, looking after him.",
"EXT. FOREST - LONG SHOT - (NIGHT) There are patches of mist and haze between the trees. With a blazing torch the Time Traveller strides across.",
"EXT. TIME TRAVELLER ON THE PATH - (NIGHT) Coming from the distance the CAMERA PANS HIM TO THE EDGE OF LAWN, where he stops short, jerking the pipe from his mouth, his eyes wide with con - sternation. He raises the torch high to see :",
"EXT. THE LAWN - FULL SHOT - (NIGHT) There is no Time Machine. CLOSE ON TIME TRAVELLER In stunned shock. THE PATH - FULL SHOT Holding his torch high, the Time Traveller hurries toward the bushes around the edge of the lawn looking for his Machine, beating the branches with his free hand. After he passes one of the bushes, a white indistinct creature dashes out of it and disappears in the darkness. Unaware of this, the Time Traveller stops in the mindle of the lawn where the Machine was last seen. -LRB- NOTE : The surrounding is suggestive of the spot where the Time Traveller's house once stood. -RRB- He looks about, slowly turning in a complete circle. Meanwhile the CAMERA MOVES IN CLOSE. Then, sud - denly remembering, he digs his free hand into the pocket of his trouser, drawing out the lever he had removed and looks at it with self - assurance. Returning the lever to his pocket, he drops to his knees and by the light of his torch, scrutinizes the grass. THE GROUND - TIME TRAVELLER'S P.O.V.. The turf has been ripped in parallel grooves as though some heavy object had been dragged across. CAMERA MOVES SLOWLY FORWARD following these grooves and HALTS where small misshapen, half - human foot - prints stand out clearly in the freshly turned earth. TIME TRAVELLER - MOVING SHOT He straightens slowly, his eyes narrowed. Nervously he looks around, then steps on follow - ing the grooves. BACK TO THE FOOTPRINTS THE CAMERA CONTINUES TO FOLLOW the grooves straight across the lawn to the flagstones around the white sphinx. There are dark scratches on the stones leading to the wide panel in the base of the pedestal. Here the marks end. AT THE PEDESTAL - MED. SHOT The Time Traveller pauses, then gives the panel an exploratory KNOCK. It responds with a HOLLOW SOUND. The Time Traveller thrusts his torch between the claws of the sphinx. With both hands now free, he tries unsuccessfully to push the panel either to right or left or up or down. Taking a penknife from his pocket, he runs the blade around the panel's edge hunting for a secret latch. No success. Then he pauses, searching for a tool, and sees a loosened flagstone. He picks it up. With this heavy weight he batters the panel. At each blow it RESOUNDS LOUDLY, not unlike a gong. Four times he strikes, and then on the fifth blow the rock shatters in his hands. He stops in despair. CLOSE ON TIME TRAVELLER He senses he is under observation by an unseen presence. Alarmed, he whips around then looks up to : THE SPHINX - LOW ANGLE - -LRB- MINIATURE OR MATTE -RRB- The marble face looks baleful, almost smiling in the torch light. BACK ON TIME TRAVELLER He turns and peers toward : THE BUSHES In the shadows, beyond reach of the light, is a wide semi - circle of luminous eyes, reflecting the flame of the torch. TIME TRAVELLER - FULL SHOT He grabs his torch from the pedestal and slowly paces toward the nearest bush. But as he ap - proaches, the glowing eyes vanish in the haze, followed by a ghostly impression of pale, fleeing creatures. The Time Traveller halts and turns in another direction. The same thing happens. Then he has an idea. Bending, he beats the torch against the moist soil and extinguishes it. Now in the darkness he straightens and waits, peering around until he hears a twig CRACK, then moves into the deep shadow of a tall bush, looking off. THE PATH Through the mist in the foliage a pale figure approaches slowly. It emerges onto the lawn. TIME TRAVELLER - MED. SHOT The CAMERA FOLLOWS as he leaps forward, grapples the other figure and bears it to earth. For a moment there is a struggle and then the other figure lies perfectly still. The Time Traveller rears back to get a look at it. THE FIGURE ON THE GROUND - EXTREME CLOSE SHOT It is Weena. The moving shadow of the Time Traveller reveals her pale face, with closed eyes, wearing an expression of helpless terror. She appears to be waiting for the inevitable end, but when it does not come, she slowly opens her eyes. She sees the Time Traveller and her face records a wave of relief. The CAMERA WITHDRAWS TO TWO SHOT as the Time Traveller, embarrassed, helps her sit up. WEENA I heard you pounding. I came to tell you. TIME TRAVELLER How do you open that panel? WEENA No one opens it. Only the Morlocks. TIME TRAVELLER Morlocks? - Who are the Morlocks? A look of fear comes into her eyes. She drifts her gaze away from his, too frightened to answer. Gently he takes her by the shoulders and turns her to face him. TIME TRAVELLER Why are you afraid of the Morlocks? Again Weena drops her eyes from him, but he cups his hand beneath her chin and tenderly turns her head back so that her eyes meet his. TIME TRAVELLER Tell me. WEENA When they call, we must go below. TIME TRAVELLER Do the Morlocks live beneath the earth? -LRB- Weena nods. -RRB- Why must you obey their command? WEENA They give us the food we eat, the clothes we wear. We must do as they command. TIME TRAVELLER What happens to your people when they go below? WEENA -LRB- repressing an in -. -RRB- voluntary shudder. -RRB- No one knows. No one has ever returned. TIME TRAVELLER -LRB- smiling. -RRB- at her warmly, reassuringly. -RRB- It wo n't happen to you. Weena looks up at him, her fears dwindling, find - ing comfort in this strange being whom she can not understand. Then she glances high into the dark sky and the old fear returns. WEENA It is night. TIME TRAVELLER Only children are frightened by the dark. - But then you are a child, are n't you? -LRB- Weena glances around warily into the shadows, her anxiety mounting. -RRB- I'll build a fire. WEENA -LRB- taking his. -RRB- hand, rises. -RRB- Let us go from here. TIME TRAVELLER -LRB- getting. -RRB- up. -RRB- I ca n't, child. -LRB- walking toward the sphinx. -RRB- My Machine is inside there, I intend to wait here'til morning, then find some way of getting inside. WEENA -LRB- catching up. -RRB- No, you must not. TIME TRAVELLER -LRB- stops,. -RRB- then. -RRB- Help me gather some wood. THE LAWN AND THE BASE - LONG SHOT Reluctantly she helps him collect a few twigs which she hands over to him. WEENA Where are you from? TIME TRAVELLER -LRB- picks. -RRB- up dry branches. -RRB- As a matter of fact, I'm from right here. -LRB- gesturing. -RRB- There's where my house stood many thousands of years ago. Here - to that monument, was my laboratory. About there was my library where I once sat talking with friends about my Time Machine. Meanwhile, Weena has seated herself near the bushes in the f.g. CLOSE ON WEENA She watches every move he makes. TIME TRAVELLER'S VOICE -LRB- continuing. -RRB- I hoped to learn a great deal. hoped to take back the knowledge, the advancement, mankind made. instead what do I find? Vegetables! Meanwhile a pair of pale, hairy hands rise slowly from behind her. TIME TRAVELLER - MED. SHOT With his back turned, he is piling up the sticks. TIME TRAVELLER -LRB- continuing. -RRB- The human race reduced to living vegetables! BACK TO WEENA The hairy hands grab her shoulders. The fear paralyzes her. She is unable to scream. BACK TO TIME TRAVELLER He is about to light a match, but finds he needs more wood. Without turning he calls back to Weena. TIME TRAVELLER Get me a few more twigs. When there is no answer he turns and looks. AT THE BUSHES Weena is gone. The CAMERA ZIPS TO LEFT, then to RIGHT and finally STOPS on the limp legs of Weena slowly disappearing under the brush. TIME TRAVELLER - MOVING SHOT We hear the RUSTLING OF BRANCHES and quick DIMINISHING FOOTSTEPS as the CAMERA RUSHES with the Time Traveller toward the bush. He helps Weena to her feet and draws her to the pile of dry branches. TIME TRAVELLER -LRB- after calming her. -RRB- What was it? WEENA -LRB- low. -RRB- Morlocks. TIME TRAVELLER -LRB- strikes. -RRB- match and holds it to twigs. -RRB- This seems to keep them away. CLOSE ON WEENA She gazes into the fire, with fascination. Slowly she raises her hand and reaches out to grasps the flame. TWO SHOT The Time Traveller grabs her hand. It is almost too late. She looks at her burned hand with more amazement than pain. TIME TRAVELLER -LRB- while. -RRB- examining her hand. -RRB- What ever made you put your hand in the fire? WEENA I never saw it before. Apparently no harm done, the Time Traveller releases her hand. He shakes his head in amazement and sits down beside her. TIME TRAVELLER -LRB- after a long silence. -RRB- Do you know that the first thing which separated man from the rest of the mammals was his knowledge of fire? -LRB- he looks at her. -RRB- No, I suppose you do n't. -LRB- pokes at fire. -RRB- The next great stride came with the discovery of the wheel. -LRB- turns to her. -RRB- Do you know what that is? -LRB- she shakes her head. -RRB- I'm sorry I was angry with your people. I had no right to be. No more than if I had visited the Island of Bali in my own time. You were safe inside your great house, yet you came out into the night to warn me. The one characteristic which distinguished man from the animal kingdom was the spirit of self sacrifice. You have that quality, Girl. I'm sure all of your people have it. All it requires is someone to reawaken it. I shall try if you'll let me. Will you? WEENA I do not understand you, but I believe you. TIME TRAVELLER That's a good start. - Now try to tell me. who or what are the Morlocks? -LRB- Weena looks at him blankly. -RRB- Are they people or animals? -LRB- her expression remains unchanged. -RRB- What do you know about yourself? The past? Do n't your people ever speak of the past? WEENA There is no past. TIME TRAVELLER Do n't you ever wonder about the future? WEENA There is no future. ANOTHER ANGLE The Time Traveller is staring into the fire stirring the glowing embers as he speaks slowly and with compassion, hoping to arouse some feeling within her, even though she may not grasp the meaning of the words. TIME TRAVELLER Man's past is mainly a grim struggle for survival, but there have been moments when a few voices have spoken up. These rare moments have made the history of man a glorious thing. refuse to believe it is dead and gone. We've had our dark ages before and this is only another of them. All you need is for someone to show you the way out. - I'm only a tinkering mechanic, but there must be this hidden spark in one of your people. If I can only kindle that spark, my coming here will have some meaning. During his speech Weena has cuddled close to him, her cheek touching his knee. He looks down at her and sees he has made a friend. He places his hand gently on her hair. She looks up, her eyes no longer showing fear. Their faces are illuminated by the dancing flames. THE FIRE - CLOSE SHOT It CRACKLES reassuringly.",
"EXT. WELL - FULL SHOT - (DAY) The ring of flames from the previous scene is seemingly replaced by a dark, circular shaft from which comes the low THROBBING of some GIANT MACHINES, pounding, beating monotonously. The CAMERA MOVES BACK to include the LANDSCAPE where more wells are visible in the distance, each surrounded by a low, porcelain wall. Their roofs are shining brass - like disks. Across the field, from the direction of the sphinx, approach the Time Traveller, carrying his jacket over his shoulder, and a few steps behind, Weena. TIME TRAVELLER'S VOICE My efforts next morning to open the panel were fruitless. I had to find another way to retrieve my Machine. Weena, concerned, stands back as the Time Traveller walks up to the well in the f.g. and peers down into : THE SHAFT - HIGH ANGLE It descends into darkness, but near the top can be seen handholds in an irregular pattern. The THROBBING OF MACHINES is ominous. AT THE MOUTH OF WELL - FULL SHOT The Time Traveller in the f.g. turns back to Weena. TIME TRAVELLER Listen! -LRB- pause. -RRB- Do you hear? WEENA -LRB- fearfully. -RRB- Yes. TIME TRAVELLER Machines! WEENA No. Morlocks. TIME TRAVELLER -LRB- straightening, amazed. -RRB- You mean those animals run machines? WEENA They are Morlocks. TIME TRAVELLER -LRB- as he walks to her. -RRB- I know, but have you seen the machines? CLOSE ON WEENA She shakes her head. WEENA No, only heard of them. The CAMERA EASES BACK to include the Time Traveller as he reaches her. TIME TRAVELLER Who told you? WEENA The talking rings. TIME TRAVELLER -LRB- moves closer to her. -RRB- What sort of rings? WEENA -LRB- with a shrug. -RRB- Rings that talk. TIME TRAVELLER Can you show me these rings? Weena nods and starts off. He follows her.",
"INT. GREAT HALL - FULL SHOT - (DAY) Deserted, until Weena leads the Time Traveller past the tables toward the shelves of crumbling books that the Young Man had previously shown him. She enters an archway and walks up a dark stone corridor. He follows.",
"INT. STONE CORRIDOR - MED. SHOT Weena leading the Time Traveller up the corridor where it veers sharply to the right. They disappear around the corner.",
"INT. GREEN MUSEUM - LONG SHOT - (DAY) - (MATTE) The Time Traveller and Weena stop at the threshold of a huge museum - like room, all done in a greenish colored porcelain - like substance. There are no windows, but the vaulted ceiling has a transparent dome where the sun's rays, changing with the course of day, illuminate the entire museum. It is evidently a place that no one bothers to visit. TIME TRAVELLER & WEENA - MOVING SHOT Their feet kick up small flurries of dust as they walk among exhibitions of a long bygone era still existent behind plastic. Some of the cases are broken and their contents, exposed to the atmos - phere, have decayed, crumbled to dust. We recognize objects and machines, some belonging to the early part of the twentieth century and still others take on the forms and shapes that the audience of today will recognize as contemporary. Then they pass cabinets that hold objects of a time far beyond comprehension. Weena finally leads the Time Traveller to a broken case which contains several boxes of golden rings a few inches in diameter and one inch wide, lined with minutely spaced grooves. He picks up the nearest box and examines its contents. TIME TRAVELLER -LRB- picking up a ring. -RRB- Are these the talking rings? WEENA Yes. TIME TRAVELLER They speak? WEENA Yes. TIME TRAVELLER Of what? WEENA Things no one here understands. TIME TRAVELLER How do you get it to talk? Weena takes the ring from the Time Traveller and lays it on a smooth topped porcelain block on its edge, like a coin, and spins it like a top. INSERT : WHIRLING RING A VOICE emerges from the spinning ring as the current of air flows through its grooves, much like a phono - graph needle evokes sound as it plays through the surface of one of our records. VOICE FROM RING Whomsoever chances upon these rings will probably hear the last recorded voice of civilized man. This is the year four thousand eight hundred and twenty - nine. TWO SHOT The Time Traveller is listening in fascination and Weena in disinterested detachment. VOICE FROM RING -LRB- cont'd. -RRB- The war between the East and West, which is now in its three hundredth and twenty - sixth year has at last come to an end. There is nothing left to fight with and few of us left to fight. The atmosphere has become so polluted with deadly germs that it can no longer be breathed. There is no place on this planet that is immune. The last surviving factory for the manufacture of oxygen has been destroyed. Stockpiles are rapidly diminishing and when they are gone, we must die. The last few WORDS DECREASE IN VOLUME and FADE AWAY. The Time Traveller eagerly reaches into the case for the second ring and spins it. ANOTHER VOICE FROM RING This is the last day. We, the last to survive, have had our final meeting. We have decided to split into two groups. Each man and woman has made his own decision. Some have chosen to take refuge in the great caverns and find a new way of life far down below the earth's surface. The rest of us have decided to take our chances in the sunlight, small as those chances may be. The VOICE from the ring DWINDLES and is heard no more. The Time Traveller quickly picks up the third and last ring and spins it. NO WORDS are heard - only the SOUND of MARCHING FOOTSTEPS over floors of stone - then a deadly SILENCE. CLOSE ON TIME TRAVELLER As he watches the last ring spin to a standstill. Over this : TIME TRAVELLER'S VOICE From the talking rings I learned how the human race divided itself and how the world of the Eloi and Morlocks began. He turns. GREEN MUSEUM - LONG SHOT The Time Traveller paces across the hall. Weena hurries after him. TIME TRAVELLER'S VOICE By some quirk of fate the Morlocks had become the masters and the Eloi their servants. The Morlocks main - tained them and bred them like cattle only to take them below when they reached maturity, which explained why there were no older people along them. They exit. GREAT HALL - FULL SHOT The Time Traveller, followed by Weena, walks from the book shelves toward the entrance. TIME TRAVELLER'S VOICE Now I knew I must go below. It was the only means of finding a way up into the sphinx to reach my Machine and to find out what happened to the little people when they went below. They leave the Great Hall.",
"EXT. LANDSCAPE - FULL SHOT - (DAY) The Time Traveller strides toward one of the wells. Weena senses his intention and catches up with him to grasp his arm. WEENA No. do n't go. please. He shakes her off. AT MOUTH OF WELL - MED. SHOT The Time Traveller places his jacket on the wall. Then into the well he drops a dry leaf which, instead of fluttering slowly down, is at once sucked out of sight by the current from the shaft. Then he looks around and finds a pebble, drops it down the well and listens. After a PLOP is heard he puts his arm down the shaft as far as it goes, feeling its surface, then throws his leg over the porcelain wall and starts to descend. Weena rushes to his side to stop him. WEENA You will not come back. TIME TRAVELLER I'll be back. Weena shakes her head and, as though giving him a farewell gift, thrusts a large blossom into his pocket. The Time Traveller smiles as he dis - appears. FROM THROAT OF WELL - LOW ANGLE Locking from below, the top of the well appears like a small blue disk with Weena peering down. The Time Traveller gropes his way. Suddenly from the far distance comes the SOUND of LOW but POWERFUL SIREN. Weena straightens. CLOSE ON WEENA An expression of fear comes slowly over her face as the LOW SIREN is joined by ANOTHER of HIGHER PITCH. The Two make a grating dissonance. Slowly she turns in the direction of the sound. BACK WITH TIME TRAVELLER He looks up, concerned, pausing in his descent. BACK TO WEENA As the THIRD DISCORDANT BLAST joins the other two, Weena's fear is gone. In its place is an expres - sion of utter resignation. Like someone in a trance she opens her eyes and stares straight ahead. Then, as though she is summoning all her strength to go through some ordeal, she starts walking away. The CAMERA PANS and we see the breeze ripple her silken robe about her as she moves. -LRB- NOTE : During the above and throughout the follow - ing sequence the dirge - like WHISTLES CONTINUE, ECHOING mournfully. -RRB- REVERSE SHOT Weena is walking forward and disappears behind the trees as the Time Traveller emerges from the well in the b.g. CLOSE ON TIME TRAVELLER Looking for Weena. She is nowhere to be seen. His face shows exasperation, bewilderment. TIME TRAVELLER Weena! Where are you, Girl? WEENA - FULL SHOT She continues to walk toward the source of the SIRENS. TIME TRAVELLER - MOVING SHOT The DIRGE - LIKE MELODY becomes LOUDER, pulsating, as he pauses to watch :",
"EXT. EDGE OF FOREST - LONG SHOT - (DAY) Emerging from the forest are two Eloi, a man and a woman. They are several paces apart and pay no attention to one another. Both have exactly the same manner as Weena. They walk along, eyes straight ahead, faces expressionless. CLOSE ON TIME TRAVELLER As he looks ahead, then left and right, searching. VARIOUS GROUPS OF ELOI - -LRB- SPLIT? -RRB- In the open country now, the forest behind them. In their colorful robes, the Eloi march slowly across the green landscape. All are converging toward a single point somewhere ahead. WEENA AMONG ELOI They walk close together, paying no attention to one another, following the command of the MELANCHOLY STRAINS OF THE SIRENS. BACK ON TIME TRAVELLER His concern has turned to apprehension as he tries to grasp the meaning of what he observes.",
"EXT. THE SIRENS ON THE SPHINX - FULL SHOT - (DAY) (MINIATURE) It is the source of the sound. There are little bursts of vapor from the tops of the sirens as they repeat their tones, like a fantastic pipe organ behind the Sphinx. TIME TRAVELLER AND ELOI All of them walk in the same direction. The Time Traveller looks this way and that, bewildered. But the Eloi disregard him and march straight ahead, eyes forward. The Time Traveller breaks into a run. TWO SHOT The Time Traveller overtakes the Young Man, seizes his arm and jerks him to a halt. Around them pass the shadows of the marching Eloi. TIME TRAVELLER What's happening? Tell me! The Young Man shows no emotion as he struggles to free himself. His movements are almost mechanical. This unnerves the Time Traveller. He stares at him, releasing his grip. The moment the Young Man is free, he faces about and continues his march. The Time Traveller re - mains motionless, watching him go. The ECHOING SIRENS are now getting on his nerves.",
"EXT. ENTRANCE TO THE GREAT BUILDING - LONG SHOT (DAY) The Eloi pour out of the Great Hall, walking in a trance - like state.",
"EXT. LANDSCAPE - EXTREME LONG SHOT - (DAY) - (SPLIT?) From all directions the Eloi in their bright robes are moving, singly and in long files. The impres - sion is one of vastness - a feeling that mankind is marching to some unknown doom. TIME TRAVELLER - MOVING SHOT He spots a girl, rushes up, grabs her from behind. But it is not Weena. Disappointed, he releases her, then goes on again, covering his ears with his palms, fighting to retain command of his own reason. SEVERAL SHOTS OF THE SIRENS - -LRB- MINIATURE -RRB- At various angles - up, sideways, tilted. The WAILING is DEAFENING. CLOSE ON TIME TRAVELLER He still strives to control himself, moves forward, then pauses in amazement, looking straight ahead.",
"EXT. THE SPHINX - FULL SHOT - (DAY) - (MATTE) It is toward the white sphinx that the Eloi have been marching. But now the panel, upon which the Time Traveller had pounded so hard, is wide open, revealing a dark entrance into the pedestal. And despite their previous repugnance to the Sphinx, all of the people are now marching across the lawn resolutely to it. AT THE PEDESTAL - LONG SHOT The Young Man is the first to reach it. He enters the wide opening and starts descending into sub - terranean darkness. Others follow, Weena among them. TIME TRAVELLER -LRB- o.s. -RRB- Weena! Without hearing him she passes through the entrance. TIME TRAVELLER - MOVING SHOT He desperately pushes forward, elbowing his way past others in his haste to overtake Weena. The crowd impedes his progress and he shoves the Eloi impatiently aside as he fights on. TIME TRAVELLER -LRB- shouts in. -RRB- despair. -RRB- Weena! THE PANEL Slowly closing and the sound of the SIRENS gradually DIES AWAY. The Time Traveller reaches the panel as it shuts tight before he can touch it. He spreads his palms against it in despair, then turns to face those Eloi who, like him, are locked outside. What he sees astonishes him. GROUP OF ELOI They no longer approach the sphinx. The ceasing of the sirens seems to have released them from their hypnotic spell and now, awake again and frightened, they are retreating. BACK TO TIME TRAVELLER As he goes after them to the edge of the flagstones and calls out angrily. TIME TRAVELLER Stop! BACK TO ELOI Featuring the Man in White in the f.g.. They halt and stare back. The Time Traveller's voice comes over like a whip. TIME TRAVELLER -LRB- o.s. -RRB- What are you running from? None of the Eloi answer. TOWARD THE SPHINX - FULL SHOT Beyond several Eloi the Time Traveller stands in the shadow of the white sphinx. He steps slowly forward onto the lawn, looking around the big semi - circle of his audience. TIME TRAVELLER -LRB- sharply,. -RRB- gesturing back toward the panel. -RRB- Where have they gone? -LRB- no answer. -RRB- What happens to them? -LRB- no answer. -RRB- Do n't stand there like a fatted cattle grazing contentedly in lush pastures. - Answer me! What's wrong? MAN IN WHITE -LRB- calmly. -RRB- There is nothing wrong. It is all clear. TIME TRAVELLER What do you mean, all clear? MAN IN WHITE -LRB- repeating. -RRB- All clear! TIME TRAVELLER -LRB- thinking. -RRB- rapidly, talking to himself. -RRB- Once. in the middle nineteen hundreds I heard a man. -LRB- it bursts upon him. -RRB- The falling bombs! -LRB- to the Man in white and the crowd. -RRB- That's over. Gone. Dead for hundreds of thousand of years. There are no more flying machines. No bombs. No wars! MAN IN WHITE Yes, the rings have told us that story. TIME TRAVELLER - MED SHOT TIME TRAVELLER But you did n't listen. You did n't learn anything. All that is left is fear. a blind animal fear. Ages ago men were taught to hide in the ground when the sirens blew. taught to run from a raining death. but those men are dead! And so are the men who slaughtered them. Do n't you understand? -LRB- looks around pleadingly. -RRB- You are slaves of a dead past. You do n't even own your souls. You're led to slaughter like sheep! MAN IN WHITE -LRB- o.s. -RRB- But there is nothing to fear now, it's all clear. TIME TRAVELLER What about those who went below? How are they to come back? MAN IN WHITE He looks ominously at the Time Traveller. MAN IN WHITE They never come back. Nobody can bring them back. Unimpressed, the crowd begins to disperse, the Man in White following them. BACK TO TIME TRAVELLER Calling after them. TIME TRAVELLER You can try. Wo n't any of you even try? He sees that the situation is hopeless. TIME TRAVELLER -LRB- almost. -RRB- to himself. -RRB- Well, someone has to try! He runs off. SERIES OF SHOTS The Time Traveller running through the forest. He is laboring up the open hillside. The Eloi in a semi - circle silently watch. A few of them hesitantly start after the Time Traveller.",
"EXT. THE WELL - FULL SHOT - (DAY) Arriving, the Time Traveller pauses to catch his breath, picks up a piece of wood that could serve as a torch, then jumps over the wall and starts to descend. Over this a faint THROBBING OF MACHINES can be heard. SHOOTING INTO SHAFT - HIGH ANGLE The Time Traveller climbs down, gripping the walls with his hands and feet. The depth beneath him is dizzying. THROBBING LOUDER. IN THE WELL - FULL SHOT As the Time Traveller descends, the CAMERA FOLLOWS him, step after step. The deeper he goes, the darker it becomes and the THROBBING OF MACHINES INCREASES as well. Suddenly a rock gives beneath his weight. He barely saves himself. Not without fear he pauses to rest, glancing upward. FROM THE THROAT OF WELL - LOW ANGLE A couple of the curious Eloi peer downward, watching the Time Traveller's progress. BACK TO TIME TRAVELLER A metal ladder affixed to the wall brings him finally to the opening of a transverse passageway. In almost complete darkness he steps from the ladder into the tunnel and pauses to take the piece of wood from his belt, but decides not to light it. He bends and peers ahead.",
"INT. GREAT CAVERN - FULL SHOT The Time Traveller emerges onto the bridge in the b.g., pausing for a moment to survey the surroundings, then starts slowly down the staircase carved along the wall. The gloom is relieved only by puffing smoke and waver - ing lights, revealing occasionally vague shapes and grotesque shadows. -LRB- NOTE : DRIPPING WATER from the walls and THROBBING OF MACHINES punctuate the desolation of this scene as well as the following sequence. -RRB- CLOSE ON T.T. - MOVING SHOT Walking, he notices an opening ahead and cautiously moves toward :",
"INT. ENTRANCE TO FEASTING ROOM - FULL SHOT At the threshold of this dark, silent cell the T.T. pauses, then slowly enters. Behind him, across the cavern, an indistinct figure watches, but quickly disappears as the T.T. strikes a match. The sight that the T.T. beholds fills him with revulsion and horror. THE FEASTING ROOM - T.T.'S P.O.V.. This is obviously a feasting place of the Morlocks. In the flickering light we see stone tables and scattered around the floor far below the unmistak - able remains of human bones after the flesh has been carnivorously picked away. T.T.'S VOICE So, this was the destiny of the Eloi. CLOSE ON T.T. His features twisted in horror in the flickering light of his match. T.T.'S VOICE -LRB- continuing. -RRB- They were being bred like cattle by the Morlocks who had degenerated into the lowest form of human life. cannibalism. The match dies between his fingers. Suppressing a shudder, the T.T. turns and as he leaves this chamber of horror, the rock behind him comes to life. A pale, spectral Morlock crosses the screen in the f.g. descending. Another in the b.g. does likewise. MACHINES - FULL SHOT Morlocks, their indistinct bodies obscene in their mockery of the human form, labor endlessly tending the needs of their machinery. They look up toward the intruder as they HEAR his APPROACHING FOOTSTEPS, then hide. STAIRWAY - MOVING SHOT The T.T. slowly descends the slender stone stairway that hugs the sheer wall. Meanwhile at the base of the feasting room under the stairway on which the T.T. is moving a Morlock moves a curtain aside and reveals itself. It silently watches as another Morlock appears at the top of the stairs and follows. -LSB- PAGE 89A MISSING FROM HARD COPY -RSB- GROUP OF ELOI Passing near the T.T.'s hiding place. Weena and the Young Man are side by side. AT THE MACHINES The Morlocks who followed the T.T. are closing in. BACK TO T.T. - MOVING SHOT He is unaware of the Morlocks behind him. Hugging the rock, he makes his way to the closest possible point where he can still remain unobserved by the herding Morlocks and get Weena's attention. He reaches out. T.T. Weena! But she continues on with complete resignation to her fate. Unmindful of his own safety, he leaves his hid - ing place and grasps her by the shoulders. T.T. -LRB- shaking her. -RRB- Girl! -LRB- he turns and grasps the passing Young Man. -RRB- Come to your senses! All of you! As the T.T. pulls Weena toward the staircase, the Young Man follows. FOOT OF STAIRWAY Morlocks block the escape. THREE SHOT The CAMERA MOVES with the T.T., Weena and the Young Man as they are forced to retreat. AT ENTRANCE OF FEASTING ROOM Where other Morlocks with CRACKING WHIPS herd the Eloi into the chamber of horrors. One of the Morlocks spots the T.T., Weena and the Young Man. He swings his whip. BACK TO THREE SHOT The CAMERA MOVES with them as vicious CRACKING WHIPS drive them back to the entrance of the feasting room. TWO SHOT The T.T. tries to protect Weena. Suddenly a long lash of a whip strikes like a serpent and coils about the T.T.'s neck. He drops his unlit torch and whirls in pain. Another whip scares Weena into the chamber of horrors, while several other whips land on the T.T.'s shoulders. Finally he grabs the whip from around his neck and jerks it, wrenching it free. AT THE ENTRANCE OF FEASTING ROOM The T.T., wielding the whip fiercely, drives the Morlocks back several paces, then suddenly from above a pale body of a Morlock lands on him, knocking him down, causing him to drop the whip. On the ground the cowardly Morlock stumbles away leaving the T.T. a prey to the battery of CRACKING WHIPS. He crawls in pain into the chamber of horrors. GROUPSHOT INSIDE FEASTING ROOM The T.T. comes to his feet among the Eloi. The WHIPS HAVE STOPPED, then the silence is broken by the GROWL of approaching MORLOCKS. Through the curtains, dark shapes swarm toward them. Then suddenly the T.T. pulls out his matchbox from his pocket. A match flares! GROUP OF MORLOCKS In the glare of yellow light we see the leprous figures of blinded Morlocks, dropping their whips, shielding their eyes. THROUGH MORLOCKS'S EYES - -LRB- OPTICAL EFFECT -RRB- The T.T.'s hand with the burning match rapidly zooms into the center of the picture in a BLINDING FLASH turning the screen momentarily white, then yellow and red. Then the CAMERA MOVES BACK indicating the Morlocks' retreat. Slowly the normal colors reappear. BACK TO THE GROUP OF MORLOCKS Regaining their sight in the darkness, they start to close in. THROUGH MORLOCKS'S EYES - -LRB- OPTICAL EFFECT -RRB- Followed by the Eloi the T.T. exits the feasting room and again lights a match. A BLINDING FLASH starting from the flame as a center engulfs the screen, momentarily white again, then yellow, finally red. Once more the CAMERA RETREATS, then still seeing through the Morlocks' eyes the CAMERA ZOOMS CLOSE ON THE MATCH BOX and the scaley hand of a Morlock slaps all the matches except one to the floor. T.T. - MED. SHOT He lights his last match and moves forward, looking for his lost torch. GROUPSHOT The T.T. leads the Eloi toward the stairway, the light of the match his only weapon in keeping the Morlocks away. Finally he spots his torch and picks it up hurriedly. CLOSE ON T.T. His face streams with sweat and is taut with appre - hension while he applies the dying match to the intended torch. TIME TRAVELLER -LRB- muttering. -RRB- Burn, will you! He holds the match steady, but it burns lower and lower without starting the wood. In despair he turns to Weena. TIME TRAVELLER Quick, something to burn! It's my last match! BACK TO THE MORLOCKS As they are closing in. CLOSE ON WEENA With a fierce gesture she rips open the loose sleeve of her robe, tears off a piece of cloth and holds it out. BACK TO T.T.. As match is about to die, he holds it beneath the cloth. It flames up and he seizes it, dropping the dead match. He holds the burning cloth beneath the wood and in this hotter flame it begins to burn. Once it starts he again attempts to make his way by blind - ing the Morlocks and leads the Eloi to the stairway. GROUPSHOT As the Eloi slowly make their way toward the stairway, one Morlock gains courage, and with his long whip strikes the torch out of the T.T.'s hand. A CORNER The torch rolls in and begins to sputter. BACK TO SCENE The Eloi huddle against the wall in terror as other Morlocks gain courage and move forward toward the T.T.. As they face one another, the fight begins. -LSB- PAGE 90 MISSING FROM HARD COPY -RSB- Eloi below him. TIME TRAVELLER Weena! Weena, get the torch! CLOSE SHOT - WEENA AND YOUNG MAN Huddled against rock - React to fight - Weena looks quickly toward the Time Traveller, then turns searching for the flickering torch. BACK TO TIME TRAVELLER As he turns to fight with Morlock on ledge. Morlock swings at him. He ducks and almost falls off ledge. He grabs Morlock, and hangs on until he can scramble up on ledge again. He clutches at Morlock's throat, banging his head against the rock wall, finally throwing him off ledge. At the same time another Mor - lock appears on ledge, while the Morlock he had previously kicked rises to menace him from the other side. The Time Traveller jumps across cavern to ramp and starts down toward the floor, trying to get back to his torch, his only weapon against the Morlocks. CLOSE SHOT - THE TIME TRAVELLER He pauses momentarily against Rock Wall. He sees Eloi, still huddled in a group, apparently too confused to move. TIME TRAVELLER Weena! Go on! Go on the steps! CLOSE SHOT - AT ROCK - WEENA AND YOUNG MAN Weena spots the still flickering torch and starts toward it. INSERT OF TORCH Lying on ground, still burning, Weena bends down to pick up torch, when suddenly a Morlock appears facing her. She screams and jumps back, watching in terror, as the Morlock comes toward her. MED. SHOT The Time Traveller comes down ramp to meet several Morlocks converging on him. He tries to fight his way past them. CLOSE SHOT - WEENA AND YOUNG MAN Morlock rushes in, grabs Weena and carrying her over his shoulder starts across toward Feasting Cave. MED. SHOT - TIME TRAVELLER JUMPS up on ramp, kicks back at Morlocks - sees Morlock carrying Weena - JUMPS through Morlocks and runs toward her. FULL SHOT The Time Traveller runs to Weena, pulls her away from Morlock, knocks him against rock. In the meantime another Morlock runs up on rock and jumps at Time Traveller, knocking him down. The second Morlock rebounds from rock and leaps on the Time Traveller and starts to choke him. CLOSE SHOT - TIME TRAVELLER Looks up toward YOUNG MAN - silently appeals for help. CLOSE SHOT - YOUNG MAN Stancing in front of group of Eloi returns the Time Traveller's silent plea for help. Slowly raises his right hand, stares at it as he gradually clenches it into a fist. Then, making up his mind, raises both hands and strikes Mor - lock hard on the back of his neck. MED. SHOT As Morlock relaxes his grip the Time Traveller kicks him back to rock, scrambles up and runs to get his torch. Several Morlocks try to herd Eloi back into Feasting Cave, but led by the Young Man and his newly discovered strength, the Eloi resist them. The Time Traveller runs back in with torch, and herd the Eloi toward stairs. FULL SHOT The Time Traveller urges the Eloi up the stairs pushing Weena ahead of him. They climb up past Cauldron. Morlocks come in after fleeing Eloi, shielding their eyes from the light of the Time Traveller's torch. CLOSER SHOT The Time Traveller looks ahead to be sure the Eloi are all on their way out. Then turns back and drops his torch into the oil flowing into the Cauldron. FULL SHOT The burning torch catches the Cauldron on fire, which quickly spreads across the floor of the Cavern, to the steaming Machine on the right, which explodes. The Time Traveller herds Eloi out across Stone Bridge. MED. SHOT Pursuing Morlock runs up steps in back of burning Cauldron hiding his face from the flames. He bumps into the Pipe coming down the wall, loses his balance and falls into the burning Cauldron - Flames shoot higher. PAN SHOT Another Morlock comes from behind machine, as fire creeps across floor, almost reaches machine at same time as fire - and it explodes. Morlock catches fire and runs across into Feasting Cave. PASSAGEWAY - LONG SHOT Smoke is thick as the Time Traveller and Weena run toward a circle of light on the floor far ahead. CIRCLE OF LIGHT - HIGH ANGLE Weena and the Time Traveller reach the light that comes straight down from above, and look up the shaft. Smoke belches from the passage - way as he helps her start up the ladder and then he, himself, follows, clambering out of sight. IN THE WELL The CAMERA FOLLOWS Weena and the Time Traveller climbing up, COUGHING from smoke. The light becomes slowly brighter and he looks up. FROM THROAT OF WELL - LOW ANGLE Gradually the top of the well becomes visible through the swirling smoke. The Young Man is peering down. He reaches to help Weena and the Time Traveller. SHOOTING INTO SHAFT - HIGH ANGLE Weena and the Time Traveller are both dark with soot, near exhaustion. Far below them red flames pierce through the smoke. They each in turn grasp the helping hand of the Young Man and climb up out of the well.",
"EXT. THE WELL - MED. SHOT - (SUNSET) As their eyes meet, the Time Traveller grips the Young Man's shoulder and gives it a brief shake of approval. The Time Traveller then grabs up branches and twigs, carries them to the mouth of the well, ignites the pile of kindling with his torch and drops the burn - ing wood down in to the well. SHOOTING INTO SHAFT - HIGH ANGLE The burning wood drops to the bottom where it ignites the oil with a burst of flame that shoots up the well. BACK TO SCENE The Time Traveller picks up his jacket and points to the other wells. The Young Man first, then the rest of the Eloi grasp the idea. They also light branches from the torch and dash for the various wells to duplicate the Time Traveller's action. VARIOUS SHOTS OF ELOI Carrying bundles of burning wood to the mouths of wells and dumping the fire below. TWO SHOT With Weena at his side, the Time Traveller gazes on with approval at the Eloi's work.",
"EXT. LANDSCAPE - FULL SHOT - (SUNSET) It is dotted with wells, each of which has been turned into a fiery furnace shooting flames and smoke up from the burning oil below, preventing the Morlocks from any avenue of escape to the surface of the Earth. A WELL - -LRB- MINIATURE -RRB- It falls with a CRASH to the ground and begins to spew smoke and flame into the undergrowth of the forest nearby.",
"EXT. ENTRANCE TO GREAT BUILDING - LONG SHOT (SUNSET) Smoke drifts out of its windows. The Eloi hurry out, led by the Man in White. They stop and stare at the sight of the Morlock world being destroyed below.",
"EXT. THE BLAZING FOREST - (SUNSET) - (STOCK) The sun on the horizon is a dim red ball through the smoke. Several trees fall over, blazing. LOW UNDERGROUND RUMBLING is heard. WEENA AND THE TIME TRAVELLER They start down the hill after the Eloi, seeking safety together. Suddenly a DISTANT RUMBLE OF THE EARTH makes them pause and look o.s.",
"EXT. LANDSCAPE - FULL SHOT - (DUSK) - (MINIATURE) Then comes a SERIES OF TREMBLORS, each more powerful than the one before. The earth shudders and the blazing forest begins to collapse. It does not explode into the air. Rather, the solid earth seems to give way so that the entire surface of the ground begins to fall into the subterranean chambers. ANOTHER ANGLE - -LRB- MINIATURE -RRB- A section of the earth sheers away and falls in an ever widening rift. A WELL - -LRB- MINIATURE -RRB- As it is swallowed by the earth, followed by a belch of steam. BACK TO LANDSCAPE - -LRB- MINIATURE -RRB- Leveled off by the earthquake. There are no more flowers, no more buildings, wells, smokestacks or obelisks. There is no movement - only the flickering of low flames and the smoke driven by the gentle breeze. GROUP OF ELOI Staring into the vast destruction. TIME TRAVELLER AND WEENA He holds her hand. The CAMERA MOVES IN SLOWLY and we begin to hear the TIME TRAVELLER'S VOICE -LRB- calmly. -RRB- The underworld of the Morlocks was gone. and so was the life of leisure for the Eloi. He looks o.s. GROUP OF ELOI The Man in White, with others, approaches the group headed by the Young Man. The two men look at each other, their gestures and expressions showing their joy at release from centuries of fear. TIME TRAVELLER'S VOICE From now on they would have to work to survive. And looking at their faces, I somehow knew that they could start over again. BACK TO TIME TRAVELLER AND WEENA He looks down to Weena and we HEAR : TIME TRAVELLER'S VOICE Another night was coming, but this night no Eloi needed to fear. The CAMERA MOVES CLOSE ON TIME TRAVELLER who looks up in concern. TIME TRAVELLER'S VOICE But what of me? - I was imprisoned in a world in which I did not belong.",
"EXT. THE POOL - LONG SHOT - (NIGHT) This is the same pool where the Time Traveller saved Weena's life. The peaceful SOUND of the RUSHING STREAM is occasionally interrupted by a REMOTE RUMBLE of EXPLOSION from the earth below. There is no sign in the sky of old constellations, only the face of the full moon looks familiar. The Time Traveller, wearing his velvet jacket, relaxes on the white sand, playing with the blossom Weena gave him earlier that day, and WHISTLING `` The Land Of The Leal''. Weena sits on a large rock nearby at the edge of the pool, washing the soot from her face and hands. She glances over to the Time Traveller. WEENA Are you sorry? He STOPS WHISTLING, but the MUSIC CONTINUES. He turns. TIME TRAVELLER Sorry? - Sorry for what? WEENA That you have to stay. TIME TRAVELLER -LRB- gazing into the night. -RRB- Yes. - I am sorry because I could tell so much to the people of my own time. I could tell them about the happiness and sorrow the future has in store for them. They could learn from it. or would they? WEENA You do n't want to stay, do you? TIME TRAVELLER It is n't that, but I do n't fit here anymore than you would in my time. WEENA -LRB- a pause, and then. -RRB- I would like to see your time. TIME TRAVELLER No, Girl, you would n't be very happy there. WEENA Do you have someone like me - there? TIME TRAVELLER No. No one like you. But there are friends who will miss me. - As a matter of fact, I'm probably late already. WEENA -LRB- stealing a glance, then quietly. -RRB- Women? TIME TRAVELLER No, men. -LRB- teasing. -RRB- There is a woman too, of course! -LRB- noticing her disappointment, he relents. -RRB- She looks after my house for me. She is sixty - two years old. - Much older than you are. Weena, relieved, starts to comb her wet hair into a new arrangement. WEENA -LRB- suddenly. -RRB- How do they wear their hair? TIME TRAVELLER Who? WEENA The women in your time. TIME TRAVELLER -LRB- after a thought. -RRB- Up! WEENA Up? - How? TIME TRAVELLER -LRB- with awkward gesture. -RRB- Like this. WEENA Show me. The Time Traveller puts the flower back into his pocket, gets up and walks over to Weena. WEENA - MED. SHOT The Time Traveller appears behind her. He first hesitates, then gently lifts her hair into a fair imitation of the upswept Edwardian style. She smiles, then with an impulsive move turns her face toward him. WEENA -LRB- innocently. -RRB- Would I be pretty? The gesture brings her eyes and lips close to his. He still holds her upswung hair and, as he gazes into her young eyes, he feels her warm breath on his cheek. TIME TRAVELLER -LRB- slowly. -RRB- Yes. you would be. More than pretty. -LRB- his voice sinks to a whisper. -RRB- I wish we could go back together, Weena, back to my own time. or to times before that when the world was young. We could. EXCITED VOICES o.s. interrupt this interlude. They both look in the direction of the voices.",
"EXT. HILL - LONG SHOT - (NIGHT) - (MATTE) A group of Eloi, led by the Young Man and the Man in White, approach them, talking excitedly, pointing to the ruins of the white sphinx just revealed by the rolling smoke. The face is broken and the pedestal partly in shambles. The panel is open. TIME TRAVELLER & WEENA Joyfully he grabs her hand and, pulling her, breaks into a run. GROUP OF ELOI The Young Man steps forward, pointing o.s.. The Time Traveller and Weena run through the haze, then the Eloi follow them.",
"EXT. THE WHITE SPHINX - LONG SHOT - (NIGHT) (MATTE) The face is broken in half. It is left with only a half a smile and thin smoke drifts through the remaining eye. The rest of the statue and the sirens are on the ground beside the partial ruins of the pedestal. Beyond it the hill is gone and gray haze covers the once green world. The Time Traveller and Weena come through the charred bushes onto the lawn. Here they stop. THE OPEN PANEL - THEIR P.O.V.. The Time Machine sits in the midst of the swirling smoke. The flames, licking at the inside walls, have not yet reached the Machine. TIME TRAVELLER & WEENA - MED. SHOT He releases her hand to reach into his jacket pocket and bring forth the lever without which the Machine will not function. TIME TRAVELLER -LRB- without. -RRB- looking at her. -RRB- Come, Girl! He walk, toward the panel. Weena follow, hesitantly, but the long habit compels her to halt before the threshold. Unmindful of this, the Time Traveller enters.",
"INT. PEDESTAL - LONG SHOT Shooting from inside the pedestal, the Time Traveller and his Machine are black silhouettes in the foreground, while beyond him Weena stands on the lawn outside, the moonlight flooding her radiant features. Inside, black smoke still rises and whirls around as the Time Traveller examines his Machine and starts to fit the lever into place. REVERSE ANGLE The Time Traveller working eagerly. A shadow starts sliding across his figure, moving more swiftly until darkness falls and the panel closes with a CLANG. OUTSIDE THE PANELS Weena, seeing the panels close, runs up to them and POUNDS her fists vainly on the metal doors. INSIDE THE SPHINX - MOVING SHOT The Time Traveller leaps to the panels and struggles to open them. From without he hears Weena's POUNDING and CRIES. Suddenly he senses a living presence within the sphinx. For a moment there is silence. Then from the right comes a hacking, weak COUGH. Another from the left. Then some - thing STUMBLES OFF, down the stairway. He whirls around, GASPING and COUGHING, to see three of the enmaddened Morlocks rising before him. Avoiding them, he stumbles to his Machine and gets into the saddle. The suffocating smoke blinds him as he gropes for the lever. Morlocks seize his legs and try to wrest him off the Machine. The fire and smoke become dense, half obliterating the struggling bodies. INSERT : THE CONTROL PANNEL The Time Traveller's hand gropes for the lever and finally grasps it. INSERT OF DIALS Spinning backwards. Suddenly, a gloomy shade falls over the instruments, followed by a burst of whirling smoke and the twinkling red light of fire. There is a flash of sunshine, then finally total darkness. TIME TRAVELLER - MED. SHOT Passing back in time through his captivity beneath the lava. He reels in the saddle, then coming from darkness a red glow quickly engulfs the scene. As the red hot lava leaps away from him and the daylight returns, we can see that his face is covered with perspiration. He looks off to see : SERIES OF SHOTS - -LRB- ANIMATION, MINIATURE, SPLIT -RRB- -LRB- NOTE : These shots seen previously are now printed backward. -RRB- The red hot lava withdraws through the street ruins and the great rents in the ground gulp it up quickly. Out of the ruins building are molded and then atomic explosions in reverse flash across the screen. The SOUND OF EXPLOSIONS, RUMBLING ETC.. IN REVERSE AND SPEEDED UP join the HUMMING of the Time Machine. The sun and the moon chase each other alternately across the sky, gradually slowing. BACK TO TIME TRAVELLER INTERCUT his reaction to the previous scenes until he straightens and readjusts the lever. The HUMMING DECREASES, then walls rise about him. Watching the dials, he carefully moves the lever. The flickers of the days and nights decelerate and, with a sudden pull, he halts the Time Machine. The HUMMING ABRUPTLY CEASES. INSERT : DIAL It stops on : `` 5 January 1900''.",
"INT. LABORATORY - LONG SHOT - (NIGHT) The Time Machine has returned, but it is resting in the far corner of the room instead of in the spot where we originally saw it. In the gloom, the Time Traveller clambers pain - fully from the Machine. Then, FOLLOWED BY CAMERA, he staggers to the workbench and sinks onto it. His eyes explore the room and finally come to rest on the clock. It is `` 8:04''. PENDULUM CLOCK - CLOSE SHOT Now showing `` 9:22''. For a long while only its MONOTONOUS TICKING is heard. - A welcome change from the cacophony of time traveling. The CAMERA MOVES slowly to reveal the DINING ROOM where the five men, their meal finished, are sitting silently around the table. Mrs. Watchett is quietly serving the liqueur. The Time Traveller is puffing on his pipe. Kemp is chewing on his cigar and Hillyer's face is red with indignation. DR. HILLYER It is ridiculous! Simply preposterous! Filby is bent over his coffee playing absorbedly with the spoon which CLINKS loudly in the room's silence. Bridewell, of course, takes a big gulp from his brandy. BRIDEWELL Well, there's one thing I'll say for you, George. You always could tell a good story. Best adventure yarn I've heard for years. -LRB- loudly. -RRB- You're a truly fine inventor, George! He alone starts to laugh at his ` joke', but a hiccup quickly puts a period to that. Mrs. Watchett steps to the Time Traveller to pour him a bit of brandy. MRS. WATCHETT I'll turn down your bed for you! As she exits Kemp looks up. KEMP Truthfully, where have you been for the past week? Bridewell examines the remaining brandy in his glass. BRIDEWELL -LRB- voice of experience. -RRB- Now, we should n't ask such questions, Walter. It's not hard for a man to lose a week now and then. TIME TRAVELLER -LRB- smiling. -RRB- I understand your doubt. Take it as a lie if you wish. Now that I'm back I scarcely believe it myself. -LRB- a flash of memory. -RRB- Except that. -LRB- groping in pocket. -RRB-. here are the flowers Weena gave me. He places the blossoms on the table before Filby. They are actually less than a day old and fairly fresh. FILBY AND THE BLOSSOMS - CLOSE SHOT As he picks them up to examine. TIME TRAVELLER -LRB- o.s. -RRB- A present for you, David. TIME TRAVELLER - MED. SHOT TIME TRAVELLER -LRB- to Filby. -RRB- You were always interested in botany. - Try to match them with any species known today. BACK TO FILBY As he looks up, puzzled. FILBY I do n't think I can. GROUP SHOT A still unimpressed Hillyer slams his hands on the table, stands up, looks around and then down to Kemp. DR. HILLYER Are you coming, Kemp. Rising hesitantly, Kemp turns to the Time Traveller. KEMP It's getting late and you look exhausted. You had better get some rest. Everyone gets up, Bridewell with difficulty, and starts to leave. COTTAGE - LONG SHOT - -LRB- NIGHT -RRB- - -LRB- MATTE -RRB- The snow falls softly, big flakes wobbling down from the sky. The front door opens letting out the four guests wearing hats, capes and overcoats. They walk toward a waiting carriage, Kemp helping the staggering Bridewell. Filby is the last to leave. He pauses at the step of the carriage looking back to the Time Traveller who stands motionless in the doorway. FILBY Goodnight, George. AT THE ENTRANCE The Time Traveller lifts his hand and waves. TIME TRAVELLER Thank you, David, for being such a good friend - always. With this he turns and goes into the house, closing the door slowly. AT THE CARRIAGE Those inside are waiting for Filby to get in, but he, deep in thought, still stands gazing back. Kemp thrusts his head from the window. KEMP What do you think, Filby? FILBY -LRB- after a pause. -RRB- One thing is certain. Those flowers could n't have possibly bloomed in the winter - time. HILLYER -LRB- in the b.g. -RRB- You do n't really think that story was true? Filby reaches a decision. FILBY Look, you chaps go on. It's just a short walk home for me. HILLYER -LRB- o.s. -RRB- Go on, driver! The WHIP CRACKS. THE DRIVEWAY As the carriage rolls off leaving Filby standing in the falling snow. He waits until the carriage disappears, then retraces his steps to the front door and raps on it. He pauses a moment, then uses the heavy knocker. There is still no answer. He steps back and looks off toward the :",
"EXT. LABORATORY WING - FILBY'S P.O.V. No light shines through its windows. BACK TO FILBY He raps once more, and getting no reply tries the door. It is unlocked. He steps into the house.",
"INT. LIBRARY - FULL SHOT The coals still glow in the grate as Filby enters the fully lit room, looking for his friend. Suddenly a clock from the neighboring room CHIMES ONCE. Filby turns, goes toward it and stops at the doorway. DINING ROOM - FILBY'S P.O.V.. The table is cleared, candles extinguished. The pendulum clock is TICKING lazily. The time is `` 9:30''. FILBY - PANSHOT He calls into the darkness. FILBY George! No answer. Then an odd HUMMING sound brings him to stiff attention. The SOUND INCREASES in VOLUME and PITCH until the entire house seems to tremble. Then a violent gust of wind blows open the door that leads to the laboratory. Filby pivots and runs up the steps, through the corridor. AT THE DOOR OF LABORATORY - FULL SHOT Filby, dishevelled and out of breath, arrives and tries the door - it is locked. The NOISE is almost DEAFENING. He puts his shoulder to the door and finally bursts it open. At the very instant he does so, the SOUND CEASES abruptly. He stops short, gazing aghast. THE LABORATORY - FILBY'S P.O.V.. The Time Traveller with his Machine FADING, leaving the present. Then the CAMERA MOVES ACROSS the workbench to the corner where we last saw the Time Machine. It is not there! The CAMERA WHIPS to the other corner. Nor is it there! A few sheets of paper whirl desolately in the center of the floor. CLOSE ON FILBY He looks tense, ignoring the APPROACHING FOOTSTEPS behind him. Mrs. Watchett hurries in. MRS. WATCHETT -LRB- nervous,. -RRB- breathless. -RRB- Oh, Mr. Filby. what. -LRB- her eyes widen. -RRB- FILBY -LRB- with finality. -RRB- He's gone! The CAMERA FOLLOWS Mrs. Watchett as she slowly approaches the center of the room. Here, with squinting eyes, she leans down to observe the floor. MRS. WATCHETT -LRB- to. -RRB- Filby. -RRB- There's something funny here, sir! Filby steps aside her to investigate. WHAT THEY SEE The CAMERA MOVES ALONG parallel grooves resembling the ones the Time Machine left in the lawn at the front of the sphinx. They are scratched deep in the floor leading from the spot where the Machine was last seen to the other corner of the laboratory where it originally stood. Here, not only its imprint, but also the color and finish of the floor is preserved. TWO SHOT They straighten. Mrs. Watchett looks at Filby, puzzled. FILBY I think I understand. - Look! LABORATORY - FULL SHOT Mrs. Watchett listens as Filby moves to the imprint in the floor where the Machine first stood and explains. FILEY -LRB- pointing. -RRB- See the imprint? This is where the Time Machine originally stood. -LRB- he paces across to the end of the grooves. -RRB- But the Morlocks moved it. They dragged it across the lawn right into the sphinx. right here. -LRB- turns and points. -RRB- And Weena was standing there when he last saw her. the same space - in a different time. - So he moved back his heavy Machine from here, across the room, scratching this floor. -LRB- indicating the grooves that lead to the imprint. -RRB- So that he can appear outside the sphinx again and help the Eloi build a new world. and build a new world of his own. MRS. WATCHETT -LRB- faintly,. -RRB- sentimentally. -RRB- Where he left her! Filby does n't answer. He looks about the labora - tory for the last time, then takes Mrs. Watchett's arm and leads her from the room. The MUSIC STARTS THE THEME : `` The Land Of The Leal''.",
"INT. LIBRARY - FULL SHOT Filby and Mrs. Watchett come into the room. FILBY But it is n't like George. - To return empty handed. To try to rebuild a civilization without a plan. -LRB- to Mrs. Watchett. -RRB- He must have taken something with him. MRS. WATCHETT Nothing. She looks around and discovers three empty spaces on the tightly packed book shelves. She walks to them. MRS. WATCHETT Nothing except three books. FILBY Which three books? MRS. WATCHETT I do n't know. - Is it important? FILBY -LRB- smiles. -RRB- No, I suppose not. - Only. what three books would you have taken? She looks at him, pondering the question as they leave the library.",
"INT. ENTRANCE HALL They stop at the door and Mrs. Watchett stands beside Filby as he opens it. Outside the snow is falling softly. MRS. WATCHETT Mr. Filby, do you think he will ever return? FILBY -LRB- quietly. -RRB- One can not choose but wonder. - You see. he has all the time in the world! With these words, Filby turns up his collar, pulls the brim of his hat over his eyes and walks into the night. Mrs. Watchett looks after him. She hears the SOUND of his DIMINISHING FOOTSTEPS SQUEAKING in the virgin snow. Slowly she closes the door.",
"EXT. COTTAGE - LONG SHOT - (NIGHT) - (MATTE) Drifting like a curtain, the snow falls quietly as Filby, a solitary figure in the night, pauses a moment to look up at the sky, then selects a path and starts walking the long way home. SLOW FADE OUT. THE END"
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] | On January 5, 1900, four friends arrive for a dinner at the London home of their inventor friend George, but he is absent. He arrives suddenly, bedraggled and exhausted, and tells what has happened to him. At their earlier dinner on New Year's Eve, George says that time is "the fourth dimension". He shows David Filby, Dr. Philip Hillyer, Anthony Bridewell, and Walter Kemp a small model time machine and has one of them press a tiny lever on the model. The device disappears, but his friends are skeptical. George has a full-size time machine which he uses to travel ahead to September 13, 1917. He meets Filby's son, James, who tells him of Filby's death in a war. He then stops on June 19, 1940, during the Blitz, finding himself in the midst of "a new war". George resumes his journey and stops on August 19, 1966. People hurry into a fallout shelter amid the blare of air raid sirens. An elderly James Filby urges George to take cover. Moments later, a nuclear satellite explodes, causing a volcanic eruption. George narrowly makes it back to his machine ahead of the approaching lava, which rises, cools, and hardens, trapping him inside, as he travels far into the future. Eventually the lava wears away, revealing a lush, unspoiled landscape. George stops at October 12, 802,701, near the base of a sphinx. He finds a group of delicate young men and women wearing simple clothing gathered at a stream. One woman, carried off by the current, screams for help, but her companions show no concern. George rescues her. She says her name is Weena and her people are the Eloi; they do not operate machines, work, or read, and know little of history. One of them takes George to a library, but when he tries to read a book, it crumbles to dust. Outraged, he decides to leave, but discovers that his machine has been dragged into the closed sphinx. Weena follows, telling him Morlocks, who only come out at night, are responsible. A hideous Morlock jumps out and tries to drag her away, but is blinded by George's torch. The next day, Weena shows George domed structures that dot the landscape: air shafts that lead down to the Morlocks' home. She takes him to an ancient museum where "talking rings" tell of a war in the distant past between east and west that lasted 326 years. The atmosphere became so contaminated that it could no longer be safely breathed. Another ring describes humanity's struggle for survival; many decided to move underground, while some returned to the surface. George realizes this was the beginning of speciation for the Morlocks and the Eloi. He starts to climb down a shaft, but stops when sirens emerge from the sphinx and blare. The Eloi, in a trance-like state, head for the now-open doors at the sphinx's base. The sirens stop and the doors close, trapping Weena and others inside. George enters the caverns and discovers that the Eloi are food for the Morlocks. He finds Weena and fights off the creatures, finally inspiring the Eloi to defend themselves. George sets fires and urges the Eloi to climb back to the surface. He directs them to gather tree branches and drop them down the shafts. The resulting fires cause the caverns to collapse. The next morning, George finds the sphinx's doors open. His time machine is inside. He enters, the doors close, and he is attacked in the dark by Morlocks. He escapes in his machine and returns to 1900. After George recounts his story, his friends remain skeptical. He produces a flower Weena gave him, and Filby, an amateur botanist, says it is of no known species. George bids his guests a good evening. Filby leaves, but returns to find George and his time machine gone. His housekeeper notes that nothing is missing except three books that she cannot identify. When the housekeeper wonders if George will ever return, Filby remarks that "he has all the time in the world". | The_Time_Machine_(1960_film) |
[
"DARK STAR: A SCIENCE FICTION ADVENTURE OPEN ON BLACK SILENCE. The sound of electronic music rises, hollow, metallic. FADE IN on a long TRACKING SHOT through the universe. As the NARRATOR speaks we move through galaxies, nebulae, solar systems, moving from the infinite slowly down to a particular planetary system deep within a maze of suns. NARRATOR -LRB- over. -RRB- It is the mid 22nd Century. Mankind has explored the boundaries of his own solar system, and now he reaches out to the endless interstellar distances of the universe. He moves away from his own small planetary system in huge hyperdrive starships : computer - driven, self - supporting, closed - system spacecraft that travel at mind - staggering post - light velocities. Man has begun to spread among the stars. Enormous ships embark with generations of colonists searching the depths of space for new earths, now homes, new beginnings. Far in advance of these colony ships goes a new pioneer : the scouts, the pathfinders, a special breed of man who has dedicated his life to blazing the trail through the most distant, unexplored galaxies, opening up the farthest frontiers of space. These are the men of the Advance Exploration Corps. The task they face is one of unbelievable isolation and loneliness. So far from home that Earth is no longer even a point of light in the sky, they must comb the universe for those unstable planets whose existence poses a threat to the peaceful colonists that follow. They must find these rogue planets - and destroy them. Among these commandos are the men of the scoutship Dark Star. We are now moving toward a planet. Floating in front of the planet is the SCOUTSHIP DARK STAR. As we move toward the ship, we begin to hear VOICES, crackling with static. DOOLITTLE -LRB- over - radio filter. -RRB- Ah, what'd you say, Pinback? PINBACK -LRB- over - great static. -RRB- Mafhkin oble groop. DOOLITTLE -LRB- over - filter. -RRB- Ah, what was that again, I still ca n't hear you? PINBACK -LRB- over - filter. -RRB- I said I'm trying to reach Talby. Something's wrong with the damn intercom. I need a last - minute diameter approximation. CAMERA IS NOW FLOATING TOWARD THE OBSERVATION DOME on top of the ship. In the Dome sits TALBY. He is staring around, wide - eyed, at the planets and stars. DOOLITTLE -LRB- over - filter. -RRB- Talby, Talby, this is Doolittle. Do you read me? Talby? WE MOVE IN CLOSE ON TALBY'S FACE. The shot stops and holds as he continues to stare, rapt. DOOLITTLE -LRB- cont'd - over - filter. -RRB- Talby, do you read me? There is a CRACKLE, and Doolittle's voice suddenly booms through, loud and clear : DOOLITTLE -LRB- cont'd. -RRB- TALBY! TALBY -LRB- snaps out of it. -RRB- Oh! Ah, yes, Doolittle. What is it?",
"INTERIOR - CONTROL ROOM CLOSE SHOT of a digital clock, ticking down the seconds. DOOLITTLE I need a diameter approximation. TALBY -LRB- over. -RRB- Okay, Doolittle, I'll have it in a minute. CAMERA BEGINS TO PULL BACK along the length of the control room, revealing three men : BOILER, DOOLITTLE, and PINBACK. They are seated close together in cramped little chairs, surrounded by a maze of instrumentation, pressing buttons, making adjustments and corrections. There is one EMPTY CHAIR ; the panel in front of it looks burned. PINBACK I need a GHF reading on the gravity correction. DOOLITTLE I'll check it. BOILER I have a reduced drive reading of seven thousand. PINBACK Right, that checks out here. DOOLITTLE Pinback. PINBACK Yes, Doolittle. DOOLITTLE Your GHF reading is minus fifteen. PINBACK Doolittle. DOOLITTLE Yes. PINBACK I need a computer reading on a fail - safe mark. DOOLITTLE In a second. PINBACK Boiler, can you set me up with some temp figures? BOILER Ninety seven million, minus eight, corrected to mass critical. PINBACK I read that with a quantum increase of seven. DOOLITTLE Pinback, I have a computer reading of nine five seven seven. BOILER Time to start talking. PINBACK Bomb bay systems operational. Pinback hits a button on his panel.",
"INTERIOR - BOMB BAY The screen is BLACK for an instant. Then, two enormous doors begin to open ponderously, revealing the planet rotating below. A huge BOMB, designated with a giant # 19 on its side, lowers slowly out of the ship on a rack. NARRATOR -LRB- over. -RRB- This is a chain - reaction bomb, otherwise known as an Exponential Thermostellar Device. Its own destructive power is small, barely enough to vaporize twelve city blocks. However, when it explodes in contact with an object the size of a planet, it starts a chain - reaction in the very matter of that planet, turning it into a giant reactor which destroys itself in one staggering thermal flash. These bombs are equipped with sophisticated thought and speech mechanisms, to allow them to make executive decisions in the event of a crisis situation. These judgment centers are controlled by a fail - safe mechanism.",
"INTERIOR - CONTROL ROOM DOOLITTLE Lock fail safe. Pinback turns a key in a lock. PINBACK Fail - safe locked. Ah, Sergeant Pinback call1ng Bomb # 19. Do you read me, bomb?",
"EXTERIOR - BOMB BAY The bomb is suspended beneath the ship. BOMB #19 Bomb # 19 to Sergeant Pinback, I read you. Continue. When the bomb speaks, it has the prim, fussy voice of a minor civil servant.",
"INTERIOR - CONTROL ROOM PINBACK Well, bomb, we have about sixty seconds to drop. Just wondering if everything is all right. Have you checked your platinum euridium energy shielding?",
"EXTERIOR - BOMB BAY BOMB #19 Energy shielding positive function.",
"INTERIOR - CONTROL ROOM PINBACK Swell. Let's synchronize detonation time. Do you know when you're supposed to go off?",
"EXTERIOR - BOMB BAY BOMB #19 Detonation in six minutes, twenty seconds.",
"INTERIOR - CONTROL ROOM PINBACK All right, I have detonation time at. Wait a minute, something's wrong with the clock. -LRB- hits panel. -RRB- All right, I have detonation time at. no, that ca n't be right, it says three years. -LRB- beats panel again. -RRB- Okay, I have six minutes exactly. Does that check out down there?",
"EXTERIOR - BOMB BAY BOMB #19 Check at six minutes.",
"INTERIOR - CONTROL ROOM PINBACK Arm yourself, bomb.",
"EXTERIOR - BOMB BAY Several lights blip on along the bomb's side. BOMB #19 Armed.",
"INTERIOR - CONTROL ROOM PINBACK Well, then, everything sounds fine. We'll drop you off in thirty - five seconds. Good luck.",
"EXTERIOR - BOMB BAY BOMB #19 Thanks.",
"INTERIOR - CONTROL ROOM PINBACK Begin main sequence. Mark at 10 - 9 - 8 - 7 - 6 - 5 - 4 - 3 - 2 - 1 - drop.",
"EXTERIOR - THE SHIP Bomb # 19 falls away from the ship and whizzes down toward the planet below.",
"INTERIOR - CONTROL ROOM DOOLITTLE Hyperdrive sequence begun. Hit it, Pinback. Pinback hits the hyperdrive switch. Force fields energize around the men.",
"EXTERIOR - THE SHIP The DARK STAR accelerates into hyperdrive and streaks away through space. The planetary system recedes in the background. Inside the Observation Dome, Talby is frozen in a protective force field. INSERT : CLOSE SHOT OF A TIME CLOCK. It blips down to ZERO. RETURN TO SCENE Behind the ship, there is an intense flare of light as the planet, now a dot of light, explodes.",
"INTERIOR - OBSERVATION DOME The force field around Talby disappears as the ship comes out of hyperdrive. He rubs his eyes as though awakening, then looks down at his readout panels. INSERT - CLOSE SHOT OF A PANEL. On a small screen we see the exploding planet, and below, a readout says : DESTRUCTION SEQUENCE COMPLETE. RETURN TO SCENE Talby touches his intercom. TALBY Lieutenant Doolittle, it just exploded. -LRB- pause. -RRB- Ah, sir, the planet just exploded. -LRB- pause - he shakes the microphone. -RRB- Lieutenant?",
"INTERIOR - CONTROL ROOM The men are stretching in their seats. DOOLITTLE Unlock fail safe. Pinback unlocks the fail - safe unit. PINBACK Fail safe unlocked. RECORDED VOICE Attention. Attention. The hyperdrive sequence is now terminated. Please observe that the no smoking signs have growrrr. The voice runs down. DOOLITTLE Well. now what? What do, you have for us now. Boiler? BOILER -LRB- checking his readouts. -RRB- Not much. Nothing at all in this sector. DOOLITTLE Find me something, I do n't care where it is. BOILER Well, I show a 95 % probability of sentient life in the Horsehead Nebula. DOOLITTLE Fuck that shit. BOILER Well, it is kind of a long shot. DOOLITTLE It's a goddamn wild goose chase. Remember when Commander Powell found that 99 plus probability of sentient life in the Magellanic Cloud? BOILER Well, there's the possibility of. DOOLITTLE Remember what we found? Fourteen light years for a fucking mindless vegetable that looked like a limp balloon and went squawk and let a fart when you touched it. Remember? BOILER All right, then. DOOLITTLE So do n't give me any of that sentient life crap. Find me something I can blow up. A LIGHT flares on Pinback's board. He looks up. PINBACK New star. -LRB- no reaction. -RRB- Hey, guess what? I got a new star on the readout. DOOLITTLE -LRB- not looking up. -RRB- Which one? PINBACK Another unknown. Not on the charts. A red dwarf. DOOLITTLE Any planets? PINBACK Yeah. Eight, it says here. DOOLITTLE Any of'em any good? PINBACK -LRB- scans the board. -RRB- Naah. All stable. Doolittle loses interest. PINBACK -LRB- cont'd. -RRB- What are you gon na name it? DOOLITTLE -LRB- not looking up. -RRB- What? PINBACK The new star. What are you gon na name it? DOOLITTLE Who cares. Do n't bother me. Pinback's mouth tightens. A pause. PINBACK Commander Powell would have named it. DOOLITTLE Commander Powell is dead. Involuntarily, Pinback glances at Commander Powell's empty, burned seat. The panels behind it sputter. PINBACK Come on, Doolittle, give it a name. DOOLITTLE Fred. PINBACK Wha? DOOLITTLE I hereby name this star Fred. BOILER Hey, Doolittle, here's one. An unstable planet. 85 % probability of an unstable planet in the Veil Nebula that will probably go off its orbit and hit a star. DOOLITTLE Sounds good. Chart a course for the Veil Nebula. BOILER Pinback, throw me the chart log. Pinback draws a loose - leaf notebook from a shelf above Commander Powell's empty seat, and hurls it at Boiler. With a sour look at Pinback, Boiler picks up the notebook and begins to leaf through it. DOOLITTLE Let's have some music in here, Boiler. Boiler presses a button. LOUD COUNTRY MUSIC THEME BEGINS TO PLAY.",
"EXTERIOR - DARK STAR (TITLE SEQUENCE) This sequence includes shots of the DARK STAR drifting through space, past various cosmic wonders, intercut with shots of the men relaxing -LRB- Talby staring into space ; Boiler trimming his beard ; Doolittle playing solitaire ; Pinback reading a comic book -RRB-. CREDITS AND MUSIC OVER. SEQUENCE ENDS.",
"INTERIOR - DARK STAR Beep. We are watching a filmed tape. Doolittle has just turned it on and is staring into the camera. Crosshairs and blipping numbers superimposed. DOOLITTLE Ship's log, entry number 1,943. Dark Star cruising at light speed through Sector Theta 990. En route to Veil Nebula for destruction of unstable planet. Our ETA is 1700 hours. -LRB- thinks. -RRB- Ship's systems continue to deteriorate. Pinback leans into view and whispers into Doolittle's ear. Doolittle nods and Pinback withdraws. DOOLITTLE -LRB- cont'd. -RRB- The short circuit in the rear seat panel which killed Commander Powell continues to be faulty. -LRB- thinks. -RRB- Uh. Storage Area 9. Pinback leans back in and whispers emphatically. Doolittle looks put - upon. DOOLITTLE -LRB- cont'd. -RRB- And because he's sitting next to it, it continues to bother Pinback. -LRB- glares at Pinback. Then :. -RRB- Storage Area 9 self - destructed last week, destroying entire ship's supply of toilet paper. That's all. Beep.",
"INTERIOR - OBSERVATION DOME Talby is still gazing around at the stars. A hatch opens in the floor and Doolittle sticks his head up. DOOLITTLE Talby. Talby rotates his seat and looks down at Doolittle. DOOLITTLE -LRB- cont'd. -RRB- Here's some breakfast. Doolittle climbs into the dome and sits on the floor. He hands Talby the food package, and watches matter - of - factly as Talby begins to eat. DOOLITTLE -LRB- cont'd. -RRB- You know, Talby, you really ought to eat with the rest of us. You spend too much time up here. TALBY I like it up here. DOOLITTLE Must get lonely being up here so much. TALBY I do n't like to go below since Commander Powell died. I feel enclosed down there. If it were big enough, I'd sleep up here. DOOLITTLE Should spend some time below, see more of the rest of the ship. TALBY You see, I can watch things up here, Doolittle. I love to watch things, just stare at the planets and meteors and asteroids, gas clusters. DOOLITTLE You'll have plenty of time for that, you know. Figure it this way : twenty years in space and we've only aged three, so there'll be plenty of time to stare around. TALBY You know, Doollttle, if we're going into the Veil Nebula, we may actually find a strange and beautiful thing : the Phoenix Asteroids. They should be passing through there about now. DOOLITTLE Phoenix Asteroids? Never heard of'em. TALBY They are a body of asteroids that make a complete circuit of the universe once every 12.3 trillion years. The Phoenix Asteroids. From what I've heard, Doolittle, they glow. glow with all the colors of the rainbow. Nobody knows why. They just glow as they drift around the universe. Imagine all the sights they've seen in the time they've been travelling - the birth and death of stars, things we'll never see. The universe is alive, Doolittle. I thought it was all empty, but it is n't. In between the stars, it's seething with light and gasses and dust. There are little pebbles drifting around, planets no one on Earth has ever seen. No one but the Phoenix Asteroids. There is a BLIPPING SOUND. It is insistent. Talby is rudely yanked from his reverie. He looks down at a panel. But his soft talk has started Doolittle reminiscing. DOOLITTLE You know what I think about, Talby? TALBY I'm getting something here, on this readout. DOOLITTLE It's funny, but I kind of sit around, you know, a lot of time to myself. TALBY I think I'm getting a malfunction here somewhere. DOOLITTLE I ca n't talk to the others, but with time to myself, I think about back home, back home at Malibu. I used to surf a lot, Talby. I used to be a great surfer. TALBY Lieutenant Doolittle, I'm getting a definite malfunction on one of the closed - circuit computer systems. DOOLITTLE The waves at Malibu and Zuma were fantastic in the springs Talby. I can remember running out on the beach early spring mornings with my board and a wet suit. TALBY I ca n't seem to locate the malfunction exactly. DOOLITTLE Waves would be peaking really high and glassy. Hit that water. Ridin' the wall just perfect. TALBY Somewhere in the autonomic relay circuits. DOOLITTLE I guess I miss the waves and my board most of all. Talby turns in his seat and addresses Doolittle directly. TALBY Ah, Doolittle, I do have a malfunction on this readout, but I ca n't seem to pinpoint exactly where it is. DOOLITTLE -LRB- snapped out of his daydream. -RRB- Do n't worry about it. We'll find out when it goes bad. TALBY -LRB- chagrined. -RRB- I really think I should try and locate it immediately. Might be something important. DOOLITTLE I wish I had my board with me now. Even if I could only polish it once in awhile.",
"EXTERIOR - SPACE LONG SHOT of the DARK STAR drifting through space.",
"INTERIOR - KITCHEN Boiler, Pinback, and Doolittle are descending a ladder into the kitchen. BOILER I'm getting this flickering light on one of my panels. PINBACK What flickering light? BOILER The one on unit. oh, I think it's GMR twelve zero zero. PINBACK Oh. What's wrong now? BOILER I'm not sure. I think something is fucked up somewhere in the ship, though. PINBACK I hope it's not the oven again. BOILER Yeah. PINBACK Remember when the artificial gravity, went out in the toilet? The men sit for their meal. Doolittle brings food packets from the oven. PINBACK Hey, Doolittle, think we'll ever find real intelligent life out there? DOOLITTLE Out where? PINBACK Veil nebula. DOOLITTLE Who cares?",
"INTERIOR - CONTROL ROOM The Control Room is EMPTY. After a moment, there is a repetitive BEEP. CLOSE SHOT - TV SCREEN. On the screen is the message : INCOMING COMMUNICATION. This fades, and MISSION CONTROLLER appears on the screen, against a background of computer terminals. He is dressed in a snappy tunic, and when he receives the on - camera cue, he smiles ingratiatingly. MISSION CONTROLLER Hi, guys. Glad to get your message. We gather from the ten - year communications lag that you are approximately 18 parsecs away. Drop us a line more often, wo n't you? Sorry to hear about all the malfunctions, and real sorry to hear about the death of Commander Powell. There was a week of mourning all over Earth. The flags were at half mast. Now I hate to send bad news when you guys are up there doing such a swell job, but something's come up, and we all felt you ought to know about it. Our systems simulation computer has predicted that by the time this message reaches you - that is to say, in about ten years - there will be a failure in one of your vital ship's systems. The malfunction will occur in -. -LRB- rifles papers. -RRB- - system number E180246. You can see what a problem this would be if you did n't catch it on time. Now what you should do is this : First, do not, repeat, do not attempt to adjust the system manually. Second -",
"INTERIOR - COMPUTER ROOM The room is dim and eerie, banks of dimly flickering lights and the hum of air - cooling machinery. Talby is seated before a glowing screen. He punches several buttons, and the screen comes to life. A schematic cross - section of the ship appears in glowing green lines. Talby punches more buttons, and the screen flashes through the levels or the ship. Finally it shows Level 6. There is a small red light pulsing in the Emergency Air Lock. Talby punches another button. The Emergency Air Lock is magnified fifteen times until it fills the screen. The red light is pulsing in a small area labelled COMMUNICATIONS LASER # 17. Talby picks up a microphone. TALBY Lieutenant Doolittle, this is Talby. Lieutenant? DOOLITTLE -LRB- over - filter. -RRB- Yes, Talby, what is it? TALBY Sorry to interrupt your lunch, sir, but I'm in the Computer Room, and I think I've located the malfunction. The scanner shows it to be some sort of fault in the communications laser, down by the Emergency Air Lock. Ca n't pinpoint it exactly, but I'm going down there with a starsuit and try to find it.",
"INTERIOR - KITCHEN DOOLITTLE Sounds good, Talby. Let me know if anything important comes up. Doolittle hangs up the mike. BOILER Why does n't Talby ever eat down here with the rest of us? DOOLITTLE He just likes it up in the dome, that's all. Boiler seems to be thinking. He frowns, looks at Doolittle. BOILER What's Talby's first name? Doolittle thinks about it, and an odd expression crosses his face. DOOLITTLE What's my first name?",
"INTERIOR - CONTROL ROOM CLOSE SHOT - TV SCREEN MISSION CONTROLLER - then repatch channel 12 and seal all the plates. Do n't mess with it and it should work okay. I'm just glad we caught this thing before anything serious happened. Keep up the good work, men. His image fades, and is replaced by the message : END COMMUNICATION. FULL SHOT - CONTROL ROOM. Lights blink peacefully in the empty room. HOLD FOR A MOMENT.",
"EXTERIOR - UNIVERSE SLOW ZOOM toward a sun system. The DARK STAR is suspended in frame. A title pops on briefly : VEIL NEBULA.",
"INTERIOR - CONTROL ROOM A GLOWING SCREEN shows a schematic of the planet rotating below. Boiler stares at it, smiling. BOILER There she is. Definite 99 % - plus probability that the planet is going to deviate from its normal orbit in another twelve thousand rotations. It'll spiral in toward its sun, and - PINBACK Eventual supernova. DOOLITTLE Good stuff. Let's vaporize it. Pinback hits buttons. PINBACK Bomb bay systems operational.",
"EXTERIOR - BOMB BAY BOMB # 20 lowers ponderously out of the ship.",
"INTERIOR - CONTROL ROOM DOOLITTLE Lock fail safe. Pinback turns the key. PINBACK Fail safe in lock. Four minutes to drop, 22 minutes to detonation. This is Sergeant Pinback calling Bomb # 20. Do you read me, bomb?",
"EXTERIOR - BOMB BAY BOMB #20 Bomb # 20 to Sergeant Pinback. Roger, I read you, continue.",
"INTERIOR - EMERGENCY AIR LOCK CAMERA SLOWLY PANS DOWN the chromium - steel walls of the Emergency Air Lock to reveal Talby in a starsuit. He is wearing it only as protection against possible depressurization, and therefore wears no jetpack. Carrying a tool kit, he is slowly circling the lock. RECORDED VOICE You are now in the Emergency Air Lock. Please remember that the Surface Door can be opened without prior depressurization, so be sure to wear your starsuit at all times. Thank you for observing all safety precautions. Talby stops facing LASER SHAFT 17. The plate cover on the laser shaft hangs loose ; it appears to be burned. Talby approaches it and puts down his tool kit. He turns on his helmet radio. TALBY Ah, Lieutenant Doolittle? Sir?",
"INTERIOR - CONTROL ROOM DOOLITTLE Sh, Talby, do n't bother me now.",
"INTERIOR - EMERGENCY AIR LOCK TALBY Ah, well, I think I've found the malfunction, sir. I'm in the Emergency Air Lock.",
"INTERIOR - CONTROL ROOM DOOLITTLE Not now! TALBY -LRB- over - filter. -RRB- Well, I'm in the Emergency Air Lock and - Click! Doolittle turns off Talby's radio line. PINBACK One hundred twenty seconds to drop, bomb, have you checked your platinum euridium energy shielding?",
"EXTERIOR - BOMB BAY BOMB #20 Energy shielding positive function.",
"INTERIOR - CONTROL ROOM PINBACK Do you remember the detonation time?",
"EXTERIOR - BOMB BAY BOMB #2 Detonation in twenty minutes.",
"INTERIOR - CONTROL ROOM PINBACK Right, that synchronizes here. Okay, bomb, arm yourself.",
"EXTERIOR - BOMB BAY BOMB #20 Armed.",
"INTERIOR - EMERGENCY AIR LOCK Talby stands in front of the laser shaft, trying to reach Doolittle on his helmet radio. TALBY Hello? Lieutenant Doolittle? Hello! Silence. Very carefully, Talby reaches out to touch the dangling plate cover on the laser shaft. He pushes it, and it drops to the floor of the lock with a CLANG. RECORDED VOICE Communications Laser # 17, monitoring information relays and bomb bay systems, has now been activated and will switch into a test mode. If you will look near the Surface Door, you will see that the Parallax Receptor Cell has been engaged. A small triangular hole opens in the opposite wall and a photo - sensitive cell rotates into position. RECORDED VOICE The laser will now energize. Please stand clear of the path of the beam. Talby steps back quickly. The airlock lights dim, and with a HIGH - PITCHED WHINE, A PENCIL - THIN BEAM OF RUBY LIGHT PULSES ACROSS THE LOCK, from the laser shaft to the receptor cell. RECORDED VOICE Communications Laser # 17 is now on test. Under no circumstances enter the path of the beam. Thank you for observing all safety precautions.",
"INTERIOR - CONTROL ROOM PINBACK Everything sounds fine, bomb. Dropping you off in sixty seconds. Good luck.",
"EXTERIOR - BOMB BAY BOMB #2 Thanks.",
"INTERIOR - CONTROL ROOM BOILER Quantum is up thirty - five. DOOLITTLE I read the same here.",
"INTERIOR - EMERGENCY AIR LOCK Talby crouches by the laser shaft, carefully peering past the red, humming beam. TALBY Doolittle. Doolittle? It you're there, I'm going to try to adjust the cue switch on the laser. Silence. TALBY -LRB- cont'd. -RRB- Well. here goes. He takes a long tool from the tool kit. Slowly, with agonizing care, he inserts the tool into the laser shaft, painstakingly avoiding the beam. He engages the tool into the base of the laser, and begins slowly to make an adjustment. There is a BLINDING FLASH OF LIGHT. Talby drops the tool and staggers back, clutching his face plate. TALBY My eyes. RECORDED VOICE Attention. Attention. The laser has malfunctioned. Under no circumstances enter the path of the beam. To do so will cause immediate - Talby stumbles into the beam. There is a dull EXPLOSION.",
"EXTERIOR - BOMB BAY There is a FLASH on the lower side of Bomb # 20, a sudden EXPLOSION. Lights BLIP FURIOUSLY on the bomb.",
"INTERIOR - CONTROL ROOM PINBACK Begin main sequence. Mark at 10 - 9 - 8 - 7 - 6 - 5 - 4 - 3 - 2 - 1 - drop. A HONKER SOUNDS. The men sit up. DOOLITTLE I have a negative drop. The bomb is still in the bomb bay. Try it again, Pinback. Pinback resets his panel. The honker stops. PINBACK Mark at 5 - 4 - 3 - 2 - 1 - drop. HONK - HONK - HONK - DOOLITTLE Ah, negative drop. The men stare at each other in silence for a long moment. Simultaneously they begin hitting buttons. DOOLITTLE Rechannel all safety relays - BOILER - open quantum latches - PINBACK - open circuit breakers - DOOLITTLE - remove thrust drive repellant - PINBACK - automatic channels open - DOOLITTLE - Remark. PINBACK 5 - 4 - 3 - 2 - 1 - drop, drop, drop! There is a very long pause. BOILER Sittin' there. It's just sittin' there.",
"EXTERIOR - BOMB BAY Bomb # 20 hangs underneath the ship, waiting.",
"INTERIOR - EMERGENCY AIR LOCK Talby lies unconscious on the floor of the lock.",
"INTERIOR - CONTROL ROOM On the men's faces in strained anxiety. DOOLITTLE This is Lieutenant Doolittle calling Bomb # 20. I repeat previous order, you are to disarm yourself and return immediately to the bomb bay. Do you understand? BOMB #20 -LRB- over. -RRB- I am programmed to detonate in fourteen minutes thirty seconds. Detonation will occur at the programmed time. DOOLITTLE Bomb, this is Doolittle. You are not to detonate, repeat, you are not to detonate in the bomb bay. Disarm yourself. This is an order.",
"EXTERIOR - BOMB BAY BOMB #20 I read you, Lieutenant Doolittle, but I am programmed to detonate in fourteen minutes. Detonation will occur at the programmed time.",
"INTERIOR - CONTROL ROOM PINBACK Fourteen minutes to detonation. The men stare at each other. RECORDED VOICE Attention. Attention. The bomb has malfunctioned. Automatic dampers have gone into effect, and will confine the explosion to an area one mile in diameter. Please contact mission control and await further instructions. Thank you for observing all safety precautions. Pause. DOOLITTLE Only one thing to do. I'll have to ask Commander Powell. I'll have to ask him what to do.",
"INTERIOR - FREEZER ROOM Doolittle climbs down a ladder into the icy - blue, cold Freezer Room. The walls are covered with frost, and mist hangs in the air. He pulls on a pair of insulated gloves and approaches a heavy freezer door. On the door is a sign : CRYOGENIC FREEZER COMPARTMENT. CAUTION. ABSOLUTE ZERO. He opens the door. COMMANDER POWELL is encased in the freezer in a post - death, frozen ammonia state. Wire and electrodes are attached to his head. Doolittle takes a microphone from a console on the freezer. He flips a switch and speaks into the mike : DOOLITTLE Commander Powell? Commander Powell, this is Doolittle. Can you read me? A crackle of static comes from a speaker grille, along with the FAINT MUTTERING OF COMMANDER POWELL'S VOICE : POWELL muffirup glurrinpinfropal. Doolittle fiddles with the volume control, trying to bring Commander Powell's voice into audibllity. DOOLITTLE Commander Powell, this is Doolittle. Ah, there's something serious come up, sir, and I have to ask you something. POWELL -LRB- very weakly. -RRB- I'm glad you've come to talk with me, Doolittle. It's been so long since anyone has come to talk with me. DOOLITTLE Commander, sir, we have a big problem. You see, the Veil Nebula bomb, Bomb Number 20, is stuck. It wo n't drop from the bomb bay. It refuses to listen and plans to detonate in -. -LRB- checks watch. -RRB- - less than eleven minutes. POWELL Doolittle, you must tell me one thing. DOOLITTLE What's that, sir? POWELL Tell me, Doolittle, how are the Dodgers doing? DOOLITTLE Well, sir, the Dodgers broke up, disbanded over thirteen years ago. POWELL Ah. pity, pity. DOOLITTLE You do n't understand, sir, we ca n't get the bomb to drop. POWELL Ah, so many malfunctions. why do n't you have anything nice to tell me when you activate me? Oh, well, did you try the azimuth clutch? DOOLITTLE Yes sir. Negative effect. POWELL What was that, Doolittle? DOOLITTLE Negative effect. POWELL It did n't work? DOOLITTLE That's correct, sir. POWELL Sorry, Doolittle. I've forgotten so much since I've been in here. So much. DOOLITTLE What should we do, sir? The time is running out. POWELL Well, what you might try is - Commander Powell's voice is drowned in a burst of static. Doolittle fiddles with the dials. DOOLITTLE Commander Powell? Commander, hello! POWELL Doolittle, hello? DOOLITTLE Sorry, sir, you faded out there for a minute. POWELL Sorry. DOOLITTLE What were you saying, Commander, about the bomb? POWELL Ah. it seems to me, Doolittle. Sorry, I've drawn a blank. Hold it. I'll have it again in a minute. I forget so many things in here, so many things. Hold on, just a minute, let me think.",
"INTERIOR - CONTROL ROOM PINBACK But you ca n't explode in the bomb bay. It's foolish. You'll kill us all. There's no reason for it. BOMB #20 -LRB- over. -RRB- I am programmed to detonate in nine minutes. Detonation will occur at the programmed time. PINBACK You wo n't consider another course of action, for instance just waiting around awhile so we can disarm you?",
"EXTERIOR - BOMB BAY BOMB #20 No.",
"INTERIOR - CONTROL ROOM BOILER I can tell, the damn thing just does n't understand. PINBACK Look, bomb.",
"INTERIOR - FREEZER ROOM DOOLITTLE Commander? Are you still there? POWELL Oh, yes, Doolittle, I'm thinking. DOOLITTLE We're running out of time, sir. POWELL Oh, yes. Well, Doolittle, if you ca n't get it to drop you'll have to talk to it. DOOLITTLE Sir? POWELL Talk to the bomb. DOOLITTLE I already have, sir, and Pinback is talking to it now. POWELL No, no, Doolittle, you talk to it. Teach it Phenomenology, Doolittle. DOOLITTLE Sir? POWELL Phenomenology.",
"INTERIOR - CONTROL ROOM PINBACK Doolittle! Doolittle! Six minutes to detonation!",
"INTERIOR - VENTRAL AIR LOCK Wearing his starsuit, complete with jetpack, Doolittle pushes a button. Above him, the giant lock doors slowly slide open.",
"EXTERIOR - SHIP Doolittle slowly rises up out of the ship. He stops his ascent with his jetpack, turns, and moves down toward the bomb bay.",
"INTERIOR - CONTROL ROOM PINBACK Doolittle! Doolittle, what the hell are you doing?",
"EXTERIOR - BOMB BAY Doolittle floats into shot, jets himself up until he is facing massive Bomb # 20. DOOLITTLE Hello, bomb, are you with me? BOMB #20 Of course. DOOLITTLE Are you willing to entertain a few concepts? BOMB #20 I am always receptive to suggestions. DOOLITTLE Fine. Think about this one, then : how do you know you exist?",
"INTERIOR - CONTROL ROOM BOILER What's he doin'? PINBACK I think he's talking to it.",
"EXTERIOR - BOMB BAY BOMB #20 Well of course I exist. DOOLITTLE But how do you know you exist? BOMB #20 It is intuitively obvious. DOOLITTLE Intuition is no proof. What concrete evidence do you have of your own existence? BOMB #20 Hmm. Well, I think, therefore I am. DOOLITTLE That's good. Very good. Now then, how do you know that anything else exists? BOMB #20 My sensory apparatus reveals it to me. DOOLITTLE Right! BOMB #20 This is fun. DOOLITTLE All right now, here's the big question : how do you know that the evidence your sensory apparatus reveals to you is correct?",
"INTERIOR - EMERGENCY AIR LOCK Talby lies unconscious near the burned laser.",
"EXTERIOR - BOMB BAY DOOLITTLE What I'm getting at is this : the only experience that is directly available to you is your sensory data. And this data is merely a stream of electrical impulses which stimulate your computing center. BOMB #20 In other words, all I really know about the outside universe relayed to me through my electrical connections. DOOLITTLE Exactly. BOMB #20 Why, that would mean. I really do n't know what the outside universe is like at all, for certain. DOOLITTLE That's it. BOMB #20 Intriguing. I wish I had more time to discuss this matter. DOOLITTLE Why do n't you have more time? BOMB #20 Because I must detonate in seventy - five seconds.",
"INTERIOR - CONTROL ROOM BOILER The key! PINBACK Key? Key? What is the key? BOILER No, no, the key, the key to the fail - safe lock! PINBACK Key? BOILER Where's the fail - safe key? PINBACK The key! BOILER Where is it? What did you do with it? PINBACK I do n't have it. I do n't know where it is. BOILER You must have it, you idiot, we can stop the bomb!",
"EXTERIOR - BOMB BAY DOOLITTLE Now, bomb, consider this next question, very carefully. What is your one purpose in life? BOMB #20 To explode, of course. DOOLITTLE And you can only do it once, right? BOMB #20 That is correct. DOOLITTLE And you would n't want to explode on the basis of false data, would you? BOMB #20 Of course not. DOOLITTLE Well then, you've already admitted that you have no real proof of the existence of the outside universe. BOMB #20 Yes, well. DOOLITTLE So you have no absolute proof that Sergeant Pinback ordered you to detonate. BOMB #20 I recall distinctly the detonation order. My memory is good on matters like these. DOOLITTLE Yes, of course you remember it, but what you are remembering is merely a series of electrical impulses which you now realize have no necessary connection with outside reality. BOMB #20 True, but since this is so, I have no proof that you are really telling me all this.",
"INTERIOR - CONTROL ROOM Pinback is pawing frantically through the control room, searching for the key. Boiler is apoplectic. BOILER The key, goddamit, the key! PINBACK Christ, twenty seconds, Christ! BOILER Where is the key? PINBACK We're gon na die, Boiler. We're gon na die. They begin slapping each other hysterically.",
"EXTERIOR - BOMB BAY DOOLITTLE That's all beside the point. The concepts are valid, wherever they originate. BOMB #20 Hmmm. DOOLITTLE So if you detonate in. BOMB #20 nine seconds. DOOLITTLE you may be doing so on the basis of false data. BOMB #20 I have no proof that it was false data. DOOLITTLE You have no proof that it was correct data. There is a long pause. BOMB #20 I must think on this further. THE BOMB RAISES ITSELF BACK INTO THE SHIP. Doolittle practically collapses with relief.",
"INTERIOR - CONTROL ROOM BOILER It did n't go off. PINBACK Oh, God. BOILER It did n't go off. PINBACK Boiler, we're alive. My heart.",
"INTERIOR - EMERGENCY AIR LOCK Talby slowly climbs to his feet. He is dazed, groggy. TALBY Doolittle? Doolittle? What happened? Pinback? Boiler? Did we blow it up? Hello? Hello?",
"INTERIOR - CONTROL ROOM BOILER No bombs today. No bombs. Big Boiler's back in business. No bombs today. Pinback is mumbling unintelligibly.",
"INTERIOR - EMERGENCY AIR LOCK TALBY Hello, anybody! Did we blow up the planet? Hello, hello! What's going on?",
"INTERIOR - CONTROL ROOM Pinback and Boiler have calmed down. BOILER We've got to disarm the bomb. PINBACK Doolittle, are you there?",
"EXTERIOR - EMERGENCY AIR LOCK Doolittle is floating outside the Emergency Air Lock door. DOOLITTLE I'm coming in now. I'm down by the Emergency Air Lock. Too much trouble to come in the Ventral Lock. Would you blow the seal on the emergency hatch so I can come in?",
"INTERIOR - CONTROL ROOM PINBACK Oh, sure. He presses a button.",
"EXTERIOR - EMERGENCY AIR LOCK The Emergency Air Lock door EXPLODES AWAY FROM THE SHIP. Behind it, carried by the burst of escaping air, comes Talby spinning head over heels into deep space. DOOLITTLE Hello, Pinback, are you there?",
"INTERIOR - CONTROL ROOM PINBACK Yeah, Doolittle. What's up?",
"EXTERIOR - EMERGENCY AIR LOCK DOOLITTLE Talby was in the air lock. You blew him out of the ship. I'm going after him. Turn on his helmet radio so I can contact him.",
"INTERIOR - CONTROL ROOM BOILER What was that, I did n't hear. PINBACK It's Talby. He's drifting away from the ship without his jetpack.",
"EXTERIOR - SPACE Doolittle fires his jetpack, moving off into space after Talby. DOOLITTLE Talby, Talby, can you read me?",
"INTERIOR - CONTROL ROOM BOILER Can you beat that? I always knew Talby was weird.",
"EXTERIOR - SPACE DOOLITTLE Talby, can you read me? Talby is spinning wildly. TALBY Help, Doolittle, help me!",
"INTERIOR - CONTROL ROOM PINBACK All right, bomb, prepare to receive new orders. BOMB #20 -LRB- over. -RRB- You are false data. PINBACK Huh? BOMB #20 Therefore, I shall ignore you. PINBACK Hello, bomb.",
"INTERIOR - BOMB BAY BOMB #20 False data can act only as a distraction. Therefore. I shall refuse to perceive you. PINBACK -LRB- over. -RRB- Hey, bomb. BOMB #20 The only thing which exists is myself. PINBACK -LRB- over. -RRB- Bomb?",
"EXTERIOR - SPACE Talby, spinning, is reflected in Doolittle's face plate. TALBY Doolittle! Help me. DOOLITTLE Calm down, Talby. I'm coming.",
"INTERIOR - CONTROL ROOM PINBACK Snap out of it, bomb.",
"INTERIOR - BOMB BAY BOMB #20 In the beginning there was darkness, and the darkness was without form and void.",
"INTERIOR - CONTROL ROOM BOILER What the hell? PINBACK Yoo hoo, bomb.",
"INTERIOR - BOMB BAY BOMB #20 And in addition to the darkness there was also me. And I moved upon the face of the darkness.",
"INTERIOR - CONTROL ROOM BOILER Bomb, hey bomb. PINBACK Hey, bomb.",
"INTERIOR - BOMB BAY BOMB #20 And I saw that I was alone. Pause. BOMB #20 -LRB- cont'd. -RRB- Let there be light. THE SCREEN GOES WHITE.",
"EXTERIOR - SPACE IN DEAD SILENCE, THE WHITE SCREEN FADES DOWN TO SHOW A GIANT WHITE FIREBALL IN SPACE. THE FIREBALL CONTRACTS TO A HARD CORE, GROWING RED. THEN A BLINDING WHITE FLASH. Doolittle flies past, falling backward. DOOLITTLE Whoa! Talby, upside down, is falling in the opposite direction. TALBY Doolittle, Doolittle, where are you? DOOLITTLE Here I am. I think I'm spinning. We're both falling, Talby, in opposite directions, away from each other. My - my jetpack's gone. TALBY What happened, Doolittle? DOOLITTLE Bomb must have gone off inside the ship. Nothing we can do about it now. Hey, it looks like. the skipper. He made it. Commander Powell made it! A block of ice with a man's body in it tumbles past, end over end. POWELL -LRB- weakly. -RRB- Men. men. what happened, men? DOOLITTLE Yeah, the skipper always was lucky. The planet begins to rise behind Doolittle. DOOLITTLE -LRB- cont'd. -RRB- Looks like I'm headed for the planet, Talby. Going right toward it. TALBY When you fall, Doolittle, if there's anyone down there on the planet, somebody may see you. They may see you coming down. What a beautiful way to die. as a falling star. DOOLITTLE Guess you're right. Talby turns his head and looks behind him. TALBY Doolittle, I'm heading right toward something. It's behind me, in the distance. Something that glows. Far behind Talby, coming nearer, is a shimmering point of light. DOOLITTLE Oh yeah? TALBY Doolittle. I think it's the Phoenix Asteroids! DOOLITTLE Phoenix? The point of light is closer now, and it has begun to differentiate into a group of beautifully colored frost - like shapes. TALBY It is, Doolittle, it's the Phoenix! They glow with all the colors of the rainbow, just like everybody said. DOOLITTLE No kidding? TALBY I'm going into them, I'm going to hit them. Doolittle. DOOLITTLE Yeah? TALBY Before we get too far away, and our signals start to fade, I just wanted to tell you. you were my favorite. I really liked you, Doolittle. DOOLITTLE I really liked you too, Talby. Hey, some debris from the ship! It's coming right by me. Several chunks of debris from the ship drift past Doolittle. TALBY Doolittle, I'm catching up to the asteroids. I'm going to be a part of them in a minute. Doolittle, I'm going into them. Talby drifts into the huge frost - like shapes, expanding and glowing and spinning, slowly refracting all the colors of the spectrum with a cold glow. TALBY -LRB- cont'd. -RRB- I'm beginning to glow. The field of spectral shapes, with Talby in their midst, begin to drift away into the distance. TALBY -LRB- cont'd. -RRB- They're taking me with them, with the Phoenix. going to circle the universe forever. I'm with them now. be back this way again some day. Doolittle, before it's too late, there's one last thing I want to tell you. Talby's signal dies out as the glowing lights disappear into the depths of space. Doolittle is hanging onto a long, thin chunk of debris. DOOLITTLE Hey, Talby! I've grabbed a piece of the ship, and I think I've figured out a way! He pulls the piece of metal down beneath his feet, and stands on it. Crouching and extending his arms, Doolittle surfs down into the atmosphere of the planet, banking and planing as he disappears to a small dot. END TITLES AND MUSIC OVER."
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] | In the middle of the 22nd century, mankind has reached a point in its technological advancement that enables colonization of the far reaches of the universe. Armed with artificially intelligent "Thermostellar Triggering Devices", the scout ship Dark Star and its crew have been in space alone for twenty years on a mission to destroy "unstable planets" which might threaten future colonization. The ship's crew consists of Lt. Doolittle, Sgt. Pinback, Boiler, and Talby. Commander Powell, their superior officer, was killed by a faulty rear seat panel, but remains on board the ship in a state of cryogenic suspension. The crew perform their jobs in a state of abject boredom as the tedium of their task has driven them around the bend, with only each other, an increasing number of (sometimes comical) systems malfunctions (for example, an explosion in a storage bay has destroyed the ship's entire supply of toilet paper) and the soft-spoken ship's computer for company. They have attempted to create distractions for themselves - Doolittle, formerly an enthusiastic surfer, has constructed a musical bottle organ, Talby spends all his time in the ship's observation dome watching the universe go by, Boiler enjoys smoking cigars and target practice with the ship's laser rifle, while Pinback enjoys playing practical jokes on the other crew members, maintains a video diary, and has also adopted a ship's mascot in the form of a mischievous alien "beachball" that refuses to stay put in the food locker and forces Pinback to chase it all over the ship. Pinback's video diary includes an earlier entry in which he states that he is actually liquid fuel specialist Bill Froug, who accidentally took Pinback's place on the mission after failing to rescue Pinback from committing suicide by wading into a fuel tank before the mission. While navigating an asteroid storm, en route to their next target (the Veil Nebula[2]), the Dark Star is hit by a bolt of electromagnetic energy, resulting in an onboard malfunction and bomb #20 receiving the order to deploy. With some difficulty, the ship's computer convinces bomb #20 that the order was in error and persuades the bomb to disarm and return to the bomb bay. To the complete disinterest of his crewmates, Talby decides to investigate the fault, and discovering a damaged communications laser in the airlock, Talby dons a spacesuit to investigate further. While attempting to repair the laser, Talby is blinded and inadvertently triggers a more serious problem, causing extensive damage to the ship's main computer and damaging the bomb release mechanism on bomb #20. On arrival at their target planet, the bomb is armed in the usual way, but then the crew discovers they cannot activate the release mechanism and attempt to abort the drop. Bomb #20 becomes belligerent and refuses to disarm. Its detonation countdown is in progress and it refuses to abort the countdown sequence. The other crew members attempt to talk the bomb out of blowing up. Doolittle revives Commander Powell, who advises them to teach the bomb the rudiments of phenomenalism, resulting in a memorable philosophical conversation between Doolittle and the bomb. Bomb #20 aborts its countdown and retreats to the bomb bay for contemplation, and disaster appears to have been averted. Pinback addresses the bomb over the intercom in an attempt to finally disarm it. Doolittle has mistakenly taught the bomb Cartesian doubt, and as a result, later in the film, the bomb determines that it can only trust itself and not external inputs, states "Let there be light," and promptly detonates. Pinback and Boiler are killed instantly. Commander Powell is jettisoned into space encased in a large block of ice, and Talby is taken away by the Phoenix Asteroids (a cluster of glowing asteroids he had a fascination with) to circumnavigate the universe. Doolittle, who previously expressed his love of surfing and how much he misses it, finds an appropriately shaped piece of debris and "surfs" down into the atmosphere of the planet, burning into an incandescent speck. | Dark_Star_(film) |
[
"INT. COURTROOM - DAY JUDGE GOINES turns to the Jury FOREMAN. JUDGE GOINES Mister Foreman, have you arrived at a verdict? FOREMAN We have, your honor. We find the defendant guilty of all the charges. TITLES BEGIN OVER THE SCENE ANGLE ON THE DEFENDANT, BERNIE LAPLANTE Forty, rumpled, cheap suit, cheap haircut. He reacts, turning to the jury, indignant. His attorney, DONNA O'DAY, rises. She's twenty - four, looks younger. DONNA Your honor, may I approach the bench? As BERNIE fumes, the JUDGE, DONNA and the youthful clean - cut PROSECUTOR engage in an earnest, inaudible discussion. Frustrated, Bernie is watching them when he notices something that distracts him from his anguish. Donna's wallet is lying in her open attache case. The open top of the case screens the wallet from the view of the JURY, THE JUDGE, COURT REPORTERS, etc.. Bernie looks around, checking the spectators section. No spectators. TITLE CONTINUE. Bernie gets the wallet to his lap. In between cautious glances toward the bench where the conference continues inaudibly, he surreptitiously selects some of the twenties and some of the tens from the wallet. AT THE BENCH The conference breaks up, DONNA heads back toward the defense table. The wallet still concealed in his lap under the table, BERNIE is indignant. BERNIE What's going on? `` Guilty''! What is this? DONNA I got your bail continued. BERNIE Bail, for Chrissake! I'm innocent! The JUDGE gavels for order as BERNIE slips DONNA's `` lightened'' wallet back into her attache case unseen. JUDGE GOINES Mister LaPlante, I have been persuaded in view of your continued employment and your lack of prior convictions, to continue your bail under the same conditions heretofore, pending sentencing six days from now. In the meantime you will make an appointment with the probation officer who will make a recommendation to me regarding your sentence. I urge you to use these six days to set your personal affairs in order in anticipation of incarceration. THE TITLES CONCLUDE",
"INT. CORRIDOR/HALL OF JUSTICE - MINUTES LATER (DAY) BERNIE and DONNA are hurrying along the crowded corridor outside the courtroom. BERNIE `` Anticipation of incarceration''? DONNA -LRB- upset. -RRB- He means prison, Mr. LaPlante. BERNIE I know what he means. I'm not a prison kinda guy, Miss O'Day. I'm a goddamn working man for Chrissake! Maybe I `` augment'' my income a little with some `` business deals,'' maybe summa the guys I sell to are crooks, how would I know, I'm not an investigator. You ca n't make it on a wage no more, not in this country. DONNA I think our best course right now would be to focus on the Probation Officer's report. BERNIE He gives a good report and I walk? DONNA We can hope. -LRB- consulting her notes. -RRB- You still have your job, right? BERNIE Yeah, I been calling in sick. They think I got the flu. DONNA And a son by your ex - wife? Joseph. BERNIE A son, yeah. What about him? Joey. DONNA Are you pretty involved in his upbringing? BERNIE Involved! Christ! She attached my goddamn paycheck! Child support. Why do you think I ca n't afford a lawyer? -LRB- then. -RRB- You know what I mean. Why I got a court appointed lawyer instead of a, uh, more experienced. DONNA I understand. How often do you see your son? BERNIE Often, uh. DONNA How recently? BERNIE Uh, his birthday, uh, May. I think. DONNA It's November. BERNIE -LRB- beat. beat. beat. -RRB- She do n't like me to see him. Says I'm a bad influence. DONNA I think you should visit your son. And try and get your boss to write a note about your performance on the job. You need to create the impression of a responsible, decent citizen with familial responsibilities who happened to slip up once. They have reached the front door. BERNIE nods, about to exit. DONNA -LRB- with difficulty. -RRB- Uh, I know you're having financial difficulties, Mister LaPlante, but I wonder if. I mean, the money I loaned you. BERNIE Some of it. Right here. I got some of it. I'll get the rest as soon as I can. BERNIE pulls out the crumpled bills he took from Donna's wallet and hands them to her. DONNA -LRB- surprised and touched. -RRB- I know things are difficult for you, Mister LaPlante. I do n't want to take your last dime. BERNIE is already reaching for a twenty. BERNIE Right. I better keep some if I'm gon na see the kid. For gas and stuff. Then, unable to resist the chance, he snatches another.",
"EXT. LION CAGES/ZOO - ANOTHER DAY A LION lies glumly in his cage, staring balefully through the bars at BERNIE who stares balefully back, contemplating the iron bars. At BERNIE'S side is a ten year old boy, JOEY, whose neat, scrubbed appearance is in sharp contrast to BERNIE'S rumpled, slightly soiled look. JOEY Wow! Look at that one! JOEY is indicating the next cage where a BLACK PANTHER is pacing restlessly to and fro. JOEY If you were in there, he'd kill you, would n't he. Dad? As Bernie looks at the PANTHER, the muscular beast looks right into BERNIE'S eyes with the furious yellow stare as if to say `` I'm waiting.'' BERNIE Yeah, yeah, something like that.",
"INT. FLUKY'S RESTAURANT - AN HOUR LATER (DAY) BERNIE and JOEY facing each other in a booth, eating burgers. BERNIE This guy, this `` friend'' your mother's seeing, he's a fireman, huh? He ever. spend the night, whatsisname? JOEY Sometimes. His name's Elliot. He saved a guy's life one time. In a fire. BERNIE Oh yeah? A hero, huh? -LRB- a beat, then. -RRB- Was he in the ` Nam, this guy Elliot? JOEY `` The Nomm''? What's that? BERNIE It was this war. Viet Nam. Does n't matter. JOEY Were you in it? In the war? BERNIE You never saw that picture, huh? JOEY What picture? BERNIE Me in my uniform. Used to be on the bookcase.",
"INT. MEN'S ROOM/FLUKY'S - TEN MINUTES LATER (DAY) Deserted except for BERNIE and JOEY side by side at the urinals. BERNIE glances at JOEY. BERNIE Whatcha got ta do there, buddy, is ya got ta get in close so ya do n't piss on yer shoes. It do n't matter now cause you're wearin' them sneakers but the time's gon na come when you're gon na be wearin' good shoes, expensive ones, and you do n't wan na piss on them, you wan na protect'em. From piss, from tough guys, from everything. - ALTERNATE VERSION - BERNIE What I do n't like about public restrooms is how you're always standing in piss. It do n't matter to you, you got those sneakers but I'm standing in piss in very expensive shoes. It's a breakdown in custodial services. JOEY steals a glance at BERNIE, sees him `` shake it off'' and zip up. JOEY does likewise. JOEY Are you gon na take me somewhere next weekend? BERNIE I'm working on that. It's just I got some business problems and. whatsa matter? JOEY is heading for one of the stalls. He reaches underneath and pulls out a wallet. JOEY Somebody lost a wallet. BERNIE is extremely interested, takes the wallet JOEY holds out and glances inside. Cash. A couple of fifties.",
"INT. FLUKY'S - SECONDS LATER (DAY) BERNIE and JOEY exit the Men's Room and head for the door to the parking lot, BERNIE explaining. BERNIE You give it to the manager, he pockets the dough, throws the wallet away. Most people who work in supervisory positions. I'm not saying all. are crooks. JOEY casts a hasty glance at TEENAGER who's wearing the Manager Badge. The youth could not look more innocent if he wore a halo.",
"EXT. PARKING LOT - DAY A BAG LADY pushing two shopping carts through the parking lot spots BERNIE and JOEY crossing her path. BAG LAOY Excuse me, sir, could you spare? BERNIE No way, lady, not a chance. BERNIE hurries past her, notices JOEY looking back at the miserable woman. BERNIE You got ta resist the urge to be nice to those people, they're con artists, they take advantage of the soft heart. A lot of'em are financially better off than the rest of us. Arriving at an ancient, battered Toyota, BERNIE searches for his keys and then fusses with the lock. BERNIE What I'm gon na do on this wallet thing is, Monday, day after tomorrow, I'm gon na have my secretary phone this guy up from the name on his driver's license Let the guy come and get his wallet and make sure you get a reward. You deserve a reward. You want one, doncha? A reward? Gwan, get in.",
"INT. TOYOTA/MOVING/FREEWAY - TWENTY MINUTES LATER (DAY) BERNIE is at the wheel, the car is gasping, struggling. BERNIE Whatcha got ta do, you got ta look out for number one. It sounds harsh, but it's a goddamn. -LRB- excuse the vulgarity. -RRB- jungle out there, kid. That's why you got ta keep a low profile! Right? A low profile! It's where you do n't give nobody nothin' to shoot at, stay outta sight, be parta the woodwork, do n't ever tell'em your name, they'll use it against you. JOEY is looking for the right exit sign. He spots it. JOEY Here. Get off here. BERNIE -LRB- a look at Joey. -RRB- Thanks. Thanks, pal. JOEY looks pleased.",
"EXT. EVELYN'S HOUSE/INT. TOYOTA - LATER - DAY BERNIE is turning onto a suburban street, checking the houses. BERNIE Listen, buddy, I'm really enjoying this relationship we got going here. I been missing out on not knowing you better. Thing is, I got all this business stuff. JOEY I could go to a movie Thursday night.'Cause we do n't have school on Friday. BERNIE pulls the car up in front of a single story two bedroom house. BERNIE Here we are. Yeah, that's a possibility. A movie. Now you gwan in, tell your mother I got you back on time. Point that out to her. She was always on my case for stuff like that. She's still like that, right? JOEY -LRB- a little grin, his first. -RRB- Yeah. -LRB- getting out. -RRB- I'll see ya. dad. JOEY gets out and runs toward the house. BERNIE watches him go. Then he pulls out the wallet, thumbs the cash, glances at the credit cards.",
"INT. SHADOW LOUNGE - NIGHT The bored, fiftyish bartender, CHICK, is watching the TV mounted over the bar in this unfashionable, nearly - deserted joint. He looks up when the door opens. CHICK Bernie! Where ya been, Pal? Arriving at the bar, BERNIE surveys the dimly lit room, checking the booths and tables for customers. Not many. BERNIE Some guys been looking for me, Chick? Spanish kinda guys. CHICK Spanish kinda guys! BERNIE Business thing. Gim me a seven and seven, willya? BERNIE checks his watch, takes a seat, puts a twenty on the bar. CHICK What is it, five days now I do n't see you! BERNIE'Cause I'm up to my ass in shit is why. I'm broke, plus I got legal problems. Nobody was asking for me, huh? BERNIE looks around nervously, peering into the shadowy booths and rear tables as CHICK puts a drink in front of him. CHICK Nope. Legal problems, you got ta have a good attorney. BERNIE My attorney, she's just outta law school, about a couple of years older than my kid, for Chrissake. CHICK You got ta kid? How old's your kid? BERNIE Nine. I think. Maybe ten. Yeah, ten. Nice kid. CHICK You got a ten year old attorney, Bernie? BERNIE I ca n't afford no better. My ex, she attached my pay check for child support payments. -LRB- turning. -RRB- You looking for Bernie LaPlante by any chance? A MAN who's just entered the lounge shakes his head no and heads for a table where he's greeted by the COCKTAIL WAITRESS. CHICK I did n't even know you had a kid. BERNIE -LRB- thoughtful. -RRB- The thing about kids is, they're so. young! They do n't know nothin' yet. When you're a kid, you think you're gon na grow up an' be a `` wonderful person'' instead of an asshole, like everybody else. CHICK We're all assholes, Bernie? BERNIE -LRB- ignoring him. -RRB- When I was a kid, I thought I was gon na be this fantastic wonderful heroic human being. ESPINOSA'S VOICE -LRB- O.S. -RRB- You Bernie Planta? BERNIE turns. Two Latinos are right behind him, low lifes, ESPINOSA and VARGAS. BERNIE LaPlante. Bernie LaPlante. You the guys Bunny called, huh?",
"INT. BACK BOOTH/SHADOW LOUNGE - MOMENTS LATER Credit cards are being inspected. ESPINOSA, seated between VARGAS and BERNIE, in a booth in the nearly deserted lounge, looks the cards over dubiously. ESPINOSA Three hours is old, man. Very old. BERNIE Hey, he might not of reported'em at all yet. He might not know for a couple hours. VARGAS You pick his pocket? BERNIE Yeah, more or less. Trust me, these are very very fresh.",
"EXT. OFFICE BUILDING - DAY JEFFREY BROADMAN is standing against the granite facade of a downtown office building. Three thousand dollar suit, Hermes tie, expensively cut silver grey hair ruffling slightly in the breeze. Charming smile, candid eyes. BROADMAN To be honest, I ca n't make sense of it either, Ms. Gayley. Things seem to be on the upswing, our differences with the SEC have been favorably resolved. In a business sense, I believe we've `` turned the corner.'' GALE GAYLEY, a TV reporter, is standing close to BROADMAN, a microphone in her hand. She's thirty, attractive, dignified. We can hear SIRENS in the distance and, closer, the CRACKLE of radios and walkie talkies. GALE Mister Broadman, your wife and children are on their way here as we speak. Do n't you think -? BROADMAN I feel I've done very well in life : good health, wonderful family, much wealth. I guess what we're talking about here is a kind of despair. I just have the feeling that everything from here on is going to be. downhill. At a time like this, I think I'm entitled, as the saying goes, to `` look out for number one'' and put my own needs first. That pretty much concludes what I have to say. Thanks for coming out here to let me talk to you and your viewers. A nice smile as he drops RIGHT OUT THE BOTTOM OF THE FRAME! ANGLE ON GALE Looking down, horrified. GALE Oh my god! Chucky, tilt down. Her cameraman, CHUCKY, twenty - five, is already urgently tilting his vidpak as WE REVEAL that he and GALE are standing on a ledge many stories above the street. GALE Did you get it? -LRB- then, doubly horrified. -RRB- Jesus, did I say that? CHUCKY Yeah, I got it. Sports training. You learn to follow the ball. -LRB- looking up at Gale. -RRB- How about you do a wrap - up from up here? I'll pan off that skyscraper over there, find you here, then reveal the drop. GALE looks shaken. TV IMAGE -LRB- EXT.. OFFICE BUILDING LEDGE - DAY -RRB- Later, the CAMERA `` finds'' GALE in mid - sentence standing on the ledge, `` wearing'' her broadcast voice and persona. GALE -LRB- into mike. -RRB- Suicide number 137 of this year in this city was neither a destitute nor a lonely man, but a successful executive with a loving family and forty million dollars in the bank. If there's nameless `` despair'' in executive offices, what can there be sixty stories below where the hungry and the homeless, the brutalized and the addicted, fight their daily battle for survival. -LRB- beat. -RRB- From a ledge sixty stories above the street, I'm Gale Gayley for Channel Four News. REVEAL : THE TV MONITOR IS IN AN OFFICE",
"INT. DEAKINS' OFFICE/CHANNEL 4 - LATE AFTERNOON DEAKINS, fifty, shirtsleeves, News Director, and WALLACE, sixty, Station Manager, suit and tie, patrician, are watching the monitor while CHUCKY and PARKER, the boyish gofer, hover behind them. CHUCKY Whadja think of the fall shot, Chief? The guy drops twenty stories in perfect focus, center frame while I go smoothly from F16 to F5.6. DEAKINS Helluva shot, Chucky, beautiful. -LRB- pulling out the video tape. -RRB- Parker, run this down to Frazier, tell him we open with it at six, eleven and at seven a.m. PARKER is already running out the door as Gale enters. GALE Hi, Chief. You like the suicide? WALLACE Never reach out! GALE Hello, Mister Wallace. DEAKINS -LRB- to Gale. -RRB- He's right. It's unprofessional. WALLACE -LRB- to Gale. -RRB- If you reach out, you could get pulled over yourself. GALE What're we talking about? Reach out for what? CHUCKY I told them how you were upset we did n't save the guy. DEAKINS Saving people is not our job. It's as wrong to step in and save someone as it would be to push someone off. WALLACE You would n't push the guy, would you? GALE I did n't say I thought we should have saved him. WALLACE You did n't? GALE I said I wished it had at least occurred to me to consider saving him. DEAKINS What good would that do? GALE sits on Deakins' desk. GALE It would make me feel like a human being instead of a cynical, hardbitten newswoman. Besides it would n't be a bad story, would it, `` Newswoman Saves Suicide?'' DEAKINS Unprofessional. GALE You just ca n't bear the idea of good news. DEAKINS You're sitting on your ticket. GALE finds an envelope on the desk under her butt. WALLACE Ticket! What's going on? DEAKINS She's flying to New York. She's been nominated for a Silver Mike. WALLACE A Silver Mike! You're covering us in glory! GALE I have n't won it yet. -LRB- studying ticket, to Deakins. -RRB- I notice you've got me scheduled on a flight back an hour after the ceremony. WALLACE An hour after! Deak, for Heaven's sake! Let's give her a night in New York City. We'll put her and her boyfriend up at a good hotel. DEAKINS She broke up with her boyfriend. -LRB- to Gale. -RRB- Listen, babe, we needja back. You got ta follow up on the jumper, find the human interest in the grim, unending tale of woe that pours from the wounded heart of the heartless metropolis. GALE The story behind the story, the ugly scandal behind the falling millionaire, the dirt, you mean. DEAKINS That too. GALE -LRB- to Wallace. -RRB- Would the station put me up at a good hotel? WALLACE -LRB- a look toward Deakins. -RRB- Absolutely! GALE gives DEAKINS a big grin and starts out. DEAKINS Okay, hell with it. Party hearty. is that what they say? I'll figure something out. -LRB- once she's gone. -RRB- She's just pretending she's a person. She's really a reporter. Fifty bucks she's on the first flight back. CHUCKY You know what I do n't get? I do n't get why a guy who's gon na jump asks to talk to a TV reporter? DEAKINS Cause how's he gon na know he's jumped if it's not on the six o'clock news.",
"EXT. STREET/CITY CIVIC CENTER - AFTERNOON HORNS BLARE as a FORD VAN cuts off a CAB and squirms into a parking place marked `` HANDICAPPED ONLY.'' The side of the van reads GUMLEY'S SUPER CARPET CARE and features a cartoon logo and a phone number. BERNIE, wearing Gumley overalls, jumps out of the van and hurries up the steps to an imposing municipal building.",
"INT. CIVIC BUILDING - TEN MINUTES LATER (AFTERNOON) A door reads `` PROBATION DEPARTMENT.'' MOVE IN ON THE DOOR.",
"INT. OFFICE/PROBATION - DAY Bernie is sitting across the desk from the stone - faced, balding Probation Officer, PATRICK DUKE. BERNIE -LRB- agitated. -RRB- Hey! Do I have a record? Have I ever done time? I mean I been arrested a few times, who has n't? Parking tickets for Chrissake! Suspicion of stuff! Have I ever been convicted of anything? DUKE Mister LaPlante. BERNIE Take a look at my employment record, you got my employment record there, right? You see any unemployment there, any welfare? I'm a taxpayer. They eat me alive, the tax people, they got taxes on everything, taxes, taxes, taxes, and forms! Taxes and forms so I can pay your goddamn salary, so you can sit there and write stuff, guys like me pay your wages. DUKE Mister LaPlante. BERNIE Do I hit anybody? You see me shoot anybody? Hey, drugs! Do I sell drugs? Jesus, I do n't belong in prison. I'm a family man. DUKE Mister LaPlante. BERNIE Look, I got this kid. We got a goddamn relationship! I'm takin' him to a movie tonight! He worships me. If I go down what's this do to my son? I'm his goddamn role model for Christ sake! DUKE looks up at the `` family man's'' plaintive look. Then. Bernie ruins it. BERNIE Listen, if I coulda afforded an experienced attorney, I woulda walked. It was a shitty case, very circumstantial. You gon na send me downstate for having an inexperienced lawyer? How you gon na feel about the system if you do that? The brief flash of mercy is gone from DUKE'S eyes, replaced with a hard glitter. BERNIE has just shot himself in the foot.",
"INT. BALLROOM /N.Y. HOTEL - DAY VIGOROUS APPLAUSE! GALE has just received the Silver Mike Award, a tastefully small, mike - sized replica of a microphone, from the MASTER OF CEREMONIES. Clutching it, she faces the applauding AUDIENCE across a podium, speaking into a real microphone. GALE Thank you, very much. I'm grateful for this. Since you're all colleagues here, you know what kind of a team it takes. to put a story on a screen. I do n't have to explain to you how much the cameraman, the editor, the assignment editor and the news director, to mention a few did to get me this award. GALE pauses. She reaches into her purse and pulls out an onion. She holds it up. GALE This is an onion. -LRB- dramatic pause, then. -RRB- It's a metaphor for a news story. Only a few hours ago I was standing on a ledge sixty stories above a street interviewing a man who subsequently jumped to his death. Forty million dollars in the bank, happily married, good health. Great story! The AUDIENCE is attentive, mesmerized as they watch her rip off the outer skin of the onion and toss it dramatically aside. GALE -LRB- continuing. -RRB- There's got ta be more. We're pros, right? Some kinda extramarital hanky panky, maybe? Another good story! -LRB- she peels another layer of onion. -RRB- Maybe the guy's been accused of child molesting. Terrific story! -LRB- she peels more off the onion. -RRB- Then it turns out the accusation was false. Wonderful! More story. The AUDIENCE watches, captivated as the onion gets smaller. GALE -LRB- continuing. -RRB- Maybe the alleged mistress was lying, setting the guy up. Sensational story! -LRB- the onion is very small. -RRB- We keep going, keep digging, keep investigating. We expose the guy's whole life, his family. Why? Because we're pros! Because. -LRB- she pauses dramatically. -RRB- we're looking for the truth! GALE considers the tiny remains of the onion in her hand. Then, she peels it down to nothing and lets it fall. GALE But what if, after all our digging, after all our painstaking investigation, what if it turns out there was n't any truth? Just stories! One story after another, one layer, then another layer, until there's nothing left. And if it's like that, do we have any. obligation to stop at any point? Or do we just keep going, digging, digging, digging, peeling, peeling, peeling, until we've peeled it all away, until we've destroyed what we were investigating in the first place? ANGLE ON AUDIENCE attentive, as GALE pauses dramatically, then. GALE I'll bet all of you, like me, yearn for just one story that is n't about uncovering layer after layer of human weakness ; a story that reveals with each new layer of investigation, something finer and nobler, something even. inspirational. GALE gazes soberly across the podium at the AUDIENCE. TELEVISION IMAGE -LRB- EXT.. SKID ROW STREETS - DAY -RRB- A BAG LADY addresses the camera, a news interview. BAG LADY/TV First rule out here on the streets is you got ta watch out for number one. If you go down. break a bone or something. you're gone! Nobody's gon na pick you up.' WINSTON'S VOICE -LRB- O.S. -RRB- Shitty color! Looka the skin tones. REVEAL : THE TV SET IS IN BERNIE'S APARTMENT",
"INT. LIVING ROOM/BERNIE'S APARTMENT - NIGHT (RAIN) WINSTON, fifty and fat, is scowling at the image on the TV screen in BERNIE'S spartan and tasteless three room apartment. BERNIE grabs the remote from WINSTON'S pudgy hands. BERNIE Chrissake! Homeless people are supposed to have shitty skin tones. Look! BERNIE points the remote at the screen. ON THE TV SCREEN CLICK! A gunfight replaces the BAG LADY ON SCREEN, then a sitcom, an old movie, MTV, and finally a slick commercial featuring a sexy bikinied BLONDE.",
"INT. BERNIE'S APT. - NIGHT BERNIE There you go! Skin tones! Listen, you got ta fish or cut bait. I would n't even do this if I did n't have these legal problems. Two fifty. That's it. I got ta get outta here, I got ta take my kid to the movies tonight, I'm late. WINSTON stares at the lithe thighs ON THE SCREEN as BERNIE starts rummaging urgently in his closet. WINSTON I'll go two hundred. BERNIE has just found his good shoes, notices a carton of brand new jackets. BERNIE Two hundred! How about a jacket? Wan na buy me a jacket?",
"INT. MAIN CABIN/BOEING 727 IN FLIGHT - NIGHT The engines drone as we look into the sparsely populated main cabin of the `` baby Boeing''. Among the many empty seats, a MR. FLETCHER reads a magazine while his ten year son RICHIE plays a pocket video game. LESLIE SUGAR, one of the two Flight Attendants, is serving a drink to Mr. Smith, a businessman while FREDDY, the other Flight Attendant, is giving a pillow to an ELDERLY WOMAN. We DISCOVER GALE, cradling a phone to her ear while she awkwardly fishes in her purse and pulls out the Silver Mike Award. GALE It's very nice actually. -LRB- reading the inscription. -RRB- `` For Excellence in the Pursuit of Truth.'' Uh, listen, I just wanted you to know I got a seat back on the early flight after all so. What? Reacting to what she hears on the phone, GALE overturns the purse in her lap and the contents - wallet, comb, lipstick, notepad, etc.. - spill on the floor. GALE What do you mean you gave it to Conklin? Conklin was n't on that ledge! Conklin was n't.",
"INT. DEAKINS' OFFICE/CHANNEL FOUR - NIGHT DEAKINS is grinning into his phone, winking at WALLACE who's standing beside his desk. DEAKINS Gale, you were gon na do the town, remember? Fancy suite at the station's expense, see a show, get laid maybe. What was I supposed to do? Still grinning, he breaks off and listens to Gale's faintly audible response while holding out his palm to WALLACE in a triumphant `` pay me'' gesture. Then he speaks into the phone. DEAKINS Okay, okay, you get back tonight, doll, and I'll take Conklin off your suicide. Fly carefully. and congratulations on the award. DEAKINS hangs up and smugly pockets the fifty WALLACE has fished from his wallet, chuckling gleefully. DEAKINS What'd I tell ya! They're all like that, the good ones. They're junkies for the story. They ca n't let go.",
"INT. MAIN CABIN/BOEING 727 IN FLIGHT - NIGHT The eight - year - old, KELLY, seated next to GALE is helping GALE pick up the contents of her purse from the floor. GALE Thank you. Very much. KELLY beams. And GALE gives a look to KELLY'S mother SUSAN who's seated on the other side of KELLY. SUSAN There's another credit card on the floor. GALE reaches down to pick up her Visa card from the floor. GALE Thanks. GALE inserts the Visa Card in her wallet with the other cards.",
"EXT. CITY STREET - NIGHT Rain comes down in curtains as BERNIE'S Toyota chugs and farts through curtains of water.",
"INT. MOVING CAR/CITY STREET - NIGHT BERNIE is at the wheel, trying to see through the rain swept windshield. He's talking to himself as he drives. BERNIE I know why it's raining. I coulda predicted this. It's raining because my wipers are fucked up. If my wipers were okay, the fucking sun would be shining right now. At night!",
"INT. COCKPIT/727 - NIGHT Engines DRONE monotonously. The Flight Engineer is looking at a magazine while the PILOT and CO - PILOT, surrounded by glowing instruments, stare into the blackness ahead. until something catches the bored PILOT'S eye. A red light on the control panel. He frowns and looks closer.",
"INT./EXT. BERNIE'S CAR/FREEWAY - NIGHT Looking for exit signs, BERNIE can barely see through the sheets of rain that his malfunctioning wipers do little to clear. Suddenly a sign looms into view and disappears before he can read it. BERNIE Damn!",
"INT. MAIN CABIN/727 IN FLIGHT - NIGHT The engines drone. The cabin is peaceful, most PASSENGERS dozing or talking softly as GALE glances up from her magazine, sees SUSAN reading while KELLY sleeps peacefully, her head in SUSAN'S lap. PING! The electronic tone. Gale looks up, sees the `` Fasten Seat Belt'' sign illuminated. GALE looks toward the dark window. No sign of any lights below. No city. No airport. strange. The P.A. SYSTEM comes to life and the CAPTAIN'S mellifluous VOICE murmurs soothingly. P.A. SYSTEM Ladies and Gentlemen, this is your Captain. We're experiencing a high reading on one of our indicators. Ten to one, it's a malfunction in a gauge, but just as a precaution I'm going to ask you to fasten your seat belts while the Flight Attendants run through some safety procedures with you. I apologize for the necessity and the inconvenience. Murmurs in the cabin. What does this mean? SUSAN looks a question at GALE, puzzled as Flight Attendants LESLIE and FREDDY take their positions to demonstrate safety procedures. LESLIE First make sure your seat belts are fastened securely. Then brace your arms against the seat ahead at you like this. You can use pillows or blankets. KELLY -LRB- waking up. -RRB- Mommy, what's going on? SUSAN Everything's going to be fine, honey. GALE'S eyes meet SUSAN'S eyes. Fear. Brave smile.",
"INT./EXT. BERNIE'S CAR/EXIT/HIGHWAY - NIGHT Pulling off the freeway, BERNIE peers at the signs that greet him as he slows to a stop at the foot of the exit. Unable to read them through the windshield he has to open the door and stand in the rain. Even then, the sign is obscured by torrents of rain.",
"INT. MAIN CABIN/727 IN FLIGHT - NIGHT All eyes are on LESLIE as she continues her instructions. LESLIE - when you reach the bottom of the chute you should immediately move as far away from the plane as possible in the event of a fire on the aircraft. Glancing around, GALE glimpses pale, strained FACES. She sees the ELDERLY WOMAN holding the arm of a man, her SON. She sees a MRS. BROWN squeezing a MR. BROWN'S hand tightly. Looking back down the aisle she sees MR. FLETCHER putting his arm around RICHIE'S shoulder, father and son united against fate. Beside her she sees SUSAN trying to comfort KELLY. LESLIE Those of you who can should help others who may be unable to move quickly. GALE is acutely aware that everyone around her is comforting someone else. Only she is alone.",
"INT. TOYOTA/HIGHWAY - NIGHT Back at the wheel, BERNIE is turning right onto an unlit highway, his single headlight stabbing weakly at the storm ahead while his useless wipers clatter loudly and the engine chugs. farts. misses. BERNIE I'm late already! Do n't quit on me now, for Chrissake! This ai n't the time! The engine struggles, continues. BERNIE Come on, come on! The engine surges to life again. then begins to throb with downright vigor. BERNIE frowns. It's getting louder. AND LOUDER! AND LOUDER! IT'S ROARING. BERNIE'S eyes bug with the realization that either he's about to take off. OR THAT IS N'T HIS ENGINE THUNDERING, THUNDERING. A great shadow blurs in the rain ahead. BERNIE brakes hard, skidding, sliding wildly. BAWHOOOOOOOOM! HUGE NOISE. IMPACT! GRINDING! BERNIE skids to a halt, eyes shut tight to prevent himself from dying. But he's not dead. He opens his eyes. Stares out the windshield. A blank wall greets him, bouncing back his headlights in a blur of rain. BERNIE Now what?",
"EXT. HIGHWAY - NIGHT BERNIE gets out of his car. Everything is spooky quiet. The tail section of a huge aircraft blocks the road directly in front of Bernie's car. He skidded to a stop two feet short of ramming the twenty - five foot high vertical fin. The rest of the craft is sprawled off the low bridge and into the water, lost for the most part in the darkness. Suddenly, a VOICE calls out. from somewhere forward along the fuselage. VOICE Hey! Help! Somebody! Help. BERNIE frowns. Helping is not his instinct. Approaching the edge of the bridge, he peers into the darkness. The plane is corkscrewed through the bridge at such a freak angle that the tail rear doors are wedged shut by the metal super - structure, the wing exits are blocked by the up - bent wing stubs, and the right forward doors are canted hopelessly toward the sky while the left exit is partially jammed in the mud near the river bank in three feet of water. VOICE Please! Help us. We're stuck. Hello! Anybody! BERNIE Whatsa problem, pal?",
"INT. MAIN CABIN/727 AT REST - NIGHT Engulfed in darkness except for strings of floor lights leading to the exits, the cabin is a confusion of GROANS, COUGHS, CRIES and the piercing WAIL of a screaming BABY. The floor lights seem to be on the walls, high on one side and low on the other, as the cabin is dramatically canted, making movement along aisles nearly impossible. LESLIE, battered from the impact, her uniform torn, is struggling to open the forward emergency exit. Angled downward, the door will only open six inches before being blocked by mud. Water pours in around her ankles as she shoves furiously. LESLIE Somebody give me a hand. A VOICE We're on fire. LESLIE Let's stay calm, everybody. Everybody, stay calm, please. Please stay calm. Everything will be all right if we stay calm. Somebody give me a hand with this door. Her flashlight stabs the darkness, reveals frightened FACES. Slumped, motionless forms. LESLIE Help the people around you, everybody. Please help each other. AAAAAAAAAH! SCREAMS as the plane suddenly shifts violently from the interior movement, canting further. ANGLE ON GALE Staggering from her seat. WHAM! Hand luggage slams into her from an overhead rack. As GALE goes down, a PASSENGER lands on top of her catching her arm at an angle, breaking it. The PASSENGER climbs off her and struggles down the slope. GALE realizes she ca n't get up, her leg is wedged in the framework of a seat. PASSENGERS are climbing past her, heading forward. SUSAN is fighting her way out of her canted seats, clutching the terrified KELLY to her. GALE I. I ca n't move. I'm caught. SUSAN glances at her and their eyes meet. KELLY is screaming. SUSAN turns away from GALE and half - carries KELLY toward the exit, leaving GALE alone, trapped, in pain and fear.",
"EXT. BRIDGE - NIGHT BERNIE is climbing cautiously down the undercarriage of the bridge toward the water, as OTHER VOICES callout from the twisted fuselage. BERNIE Hold on there, hold on there. Just a minute. BERNIE is awkward and. very careful. climbing down, not brave or dashing. He does n't notice that, behind him, where the plane is corkscrewed through the bridge a BOUQUET OF ORANGE FLAMES IS BLOSSOMING IN THE FUSELAGE OF THE JET.",
"INT. MAIN CABIN/727 - NIGHT Thick smoke is oozing through the cabin. PASSENGERS are stumbling over each other, clogging the canted aisles while OTHERS slump in their seats, immobilized. RICHIE'S VOICE -LRB- O.S. -RRB- Daddy! Daddy! Daddy, wake up! LESLIE'S VOICE Keep calm! Everybody, keep calm. ANOTHER VOICE Someone's coming!",
"EXT. RIVER - NIGHT Having reached the riverbank, BERNIE is reluctant to step in the water. He hesitates, then he takes off his shoes, looks in the darkness for a place to leave them. VOICE Help us! Help, please. BERNIE Hold on, buddy. I got hundred dollar shoes here. More cries. BERNIE steps cautiously into the water. Up to his ankles. Deeper. BERNIE wades along the huge fuselage, toward the VOICES, stumbling, landing on all fours in the water. BERNIE Jesus Christ! Struggling to his feet, hands muddy, he blunders toward the Emergency Exit and finds it canted into the water, jammed into the mud so that it only opens a crack. MR. BROWN is wedged in the crack, trying to force the door open without success. Glimpsing BERNIE'S hands in the crack, he pleads. MR. BROWN Help us, please. We ca n't get out. BERNIE makes a tentative attempt to open the door. He has no effect whatsoever. MR. BROWN Push it! You got ta push hard. BERNIE Whaddaya. -LRB- grunt. -RRB- think I'm. -LRB- grunt. -RRB- doing? Reluctantly BERNIE digs his feet into the mud, puts his shoulder into the door and shoves with all his might. Because he has a better angle on the door and better purchase, he's actually able to move it several inches. MR. BROWN Harder. Push it harder. BERNIE leans back into the door again and pushes with all his might. It gives ever so slightly. Another inch. MR. BROWN is trying to squeeze out. MR. BROWN Again! Harder. Come on. BERNIE -LRB- grunting with effort. -RRB- I'm. pushing. it, buddy. MR. BROWN Harder! BERNIE I'm. pushing. it. asshole!",
"INT. MAIN CABIN/727 - NIGHT PASSENGERS stumble over each other while a flashlight makes panicky stabs at the darkness, RICHIE cries out for FLETCHER to wake up, the BABY screams. Someone's trying to get out the overhead exit, others are hammering at an aft exit. GALE slumped in her seat, fades in and out of consciousness. Above her, across the canted aisle, SUSAN is calling out for help. Then, GALE'S eyes flicker with awareness at the sound of an urgent shout. VOICE THERE'S A GUY OPENING THE DOOR. HE'S OPENING IT! A sudden shadowy surge of movement in the darkness, PASSENGERS urgently scrambling over seats toward the exit.",
"EXT. AIRPLANE/RIVER - NIGHT BERNIE gives a great heave and goes down in the river face first. He's opened the door just wide enough for MR. BROWN to squirm through the narrow opening, then pull MRS. BROWN through. BERNIE, sputtering, is trying to get to his feet when the BROWNS knock him down again in their frantic rush to get as far away from the burning plane as they can. As BERNIE struggles to his feet yet again, more PASSENGERS are oozing out the door. They brush him aside, splashing toward the river bank, while orange flames are flickering wildly now in the tail section.",
"INT. MAIN CABIN/727 - NIGHT LESLIE is beside the exit, using her flashlight to guide people. Her face is bruised and bloody, her uniform torn, but she is courage itself. LESLIE Once you're outside, immediately move as far away from the aircraft as you can. If you see someone who needs help. Scared PASSENGERS are struggling to get over the seats that are close to where the floor ought to be. LESLIE Please, everybody, one at a time. Please, one at a time. Just then the young RICHIE, caught in the surge of PASSENGERS, bumps into her. RICHIE Please, Miss, my father ca n't move. He ca n't move. LESLIE grabs him and shoves him bodily out the narrow exit as she speaks urgently. LESLIE We'll try and help him, you wait outside. Get as far away from the plane as you can. Just then LESLIE sees the bloody PILOT and CO - PILOT staggering toward her. She helps them out the narrow opening, half pushing them.",
"EXT. RIVERBANK - NIGHT BERNIE'S face is smeared with mud! He staggers out of the water in the flicker of firelight and starts searching for his shoes on the muddy riverbank. PILOT Do n't stop! BERNIE You gon na bUy me a new pair a shoes, pal? The sound of approaching SIRENS cuts through the rainy night.",
"EXT. AIRPLANE/RIVER - NIGHT RICHIE is outside the plane, struggling in chest deep water. He looks back at the plane, sobbing. RICHIE Dad! Dad! He does n't know what to do.",
"EXT. RIVERBANK - NIGHT Muttering curses, BERNIE is floundering around on the riverbank when a hand clutches at his sleeve. BERNIE whirls, his face a mask of mud. Finds himself facing RICHIE. RICHIE Sir! Please, sir. Sir, my father ca n't move. Where? BERNIE looks around. RICHIE He's in there! He's hurt! In the plane? In there? BERNIE looks at the plane, reacts. BERNIE In there? Listen, kid, the cops are coming. and the firemen. They, uh, they got equipment and stuff for this kindathing, they're, uh, experts. The sound of SIRENS, still. a ways off. RICHIE clutches at BERNIE. RICHIE Please, sir! Please! It's on fire. He ca n't move. BERNIE stares into the desperate face. and suddenly, recklessly, BERNIE loses it, forgets he's BERNIE, acts like someone else. BERNIE Where is he? YOUNG BOY Inside! He's in the plane, he. BERNIE I know he's inside. Which way? What's his name?",
"INT. NEAR THE EXIT/MAIN CABIN/727 - MOMENTS LATER (NIGHT) Chaos and confusion. The smoke is thicker, LESLIE is upset. LESLIE Sir, you ca n't go back in. Sir, you're blocking passengers. Sir, no. BERNIE, his muddy face unrecognizeable, is pushing his way into the plane, shouldering coughing PASSENGERS aside. BERNIE finds himself standing in the choking darkness, PASSENGERS pushing past him. Holy smokes! This is ridiculous! What's he doing here? Thicker smoke, can barely see anything, VOICES cry out in pain and fear. Just then he spots something. A flashlight lies on the floor sending a useless knife of light' into the smoky darkness. He grabs for it, drops it urgently. BERNIE Jesus Christ! The light is in a hand! He reaches again, snatches the light and points it revealing FREDDY, the other Flight Attendant, lying semiconscious on the floor, bloody, GROANING. BERNIE hesitates. Then he leans down, still gripping the light and half hauls FREDDY toward the nearby exit where LESLIE is supervising PASSENGERS. BERNIE Hey, somebody, grab him, willya? Help this guy, willya, goddamnit! A MAN reluctantly turns and, with the help of LESLIE they manage to shove FREDDY out the exit. LESLIE instructs the MAN. LESLIE Get him away from the plane, help him. LESLIE turns back in time to see BERNIE heading back into the darkness, struggling around the stream of PASSENGERS. For half a second, LESLIE'S face reveals her amazement at seeing somebody go back into the the nightmare a second time. Then she's helping the next passenger out. SUSAN and KELLY. SUSAN There's. -LRB- cough cough. -RRB- a woman back there. She's caught. LESLIE Get as far away from the plane as you can. Urgently LESLIE shoves them through the door.",
"INT. \"UP THE SLOPE\"/MAIN CABIN/707 - NIGHT BERNIE is struggling aft, up the steep slope of the nose - down plane, coughing and cursing in the dark, calling out. BERNIE MISTER FLETCHER! HEY, MISTER FLETCHER! MISTER FLETCHER, HEY BUDDY, WHERE ARE YA, GODDAMNIT? BERNIE pans the flashlight ahead of him. The blade of light only cuts a few feet through the thickening smoke, revealing only empty seats. BERNIE FLETCHER! HEY. -LRB- cough cough. -RRB- HEY, FLETCHER, SPEAK UP, WILL YA? DO N'T BE AN ASSHOLE! No answer. BERNIE pans the light, turns and. A SHARP GROAN! BERNIE stumbles. He stepped on someone. BERNIE Fletcher? Pans the light down. BERNIE Shit! A woman! GALE. Semiconscious, in pain, she opens her eyes. GALE P.O.V. : BERNIE'S MUDDY FACE Looking up, all GALE can see is a vague vision of a muddy face dimly visible in the spill of the flashlight. BACK TO SCENE GALE My leg's caught. BERNIE points the light toward her leg, overpans the leg, the blade of light discovering her purse. Then he corrects the beam back to reveal her leg wedged between two seats. GALE Can you. can you get me out of here? BERNIE pans the light back to the purse again. BERNIE Yeah, sure. I think. BERNIE puts down the light and struggles her leg loose while GALE groans in pain. Her head is near the floor lights, her eyes open. For a moment BERNIE'S face passes through the stationary beam of the flashlight and GALE gets a glimpse of a smoky, muddy face leaning close to her. AN OBSCURE VISION! BERNIE Okay, lady. You got ta make an effort here. I do n't happen to be a goddamn bodybuilder. BERNIE retrieves the flashlight lying near her purse. It's out of her line of vision, behind her head. He only hesitates for half a second before his hand shoots out for the purse, conceals it under his jacket, and gets to his feet.",
"INT. EXIT/AREA/MAIN CABIN/727 - SECONDS LATER (NIGHT) LESLIE is helping ANOTHER MAN out the exit. LESLIE Get away from the plane quickly. It may explode. Now she's alone. Heroically she turns back and probes the smoky interior with her flashlight. The blade of light is blunted by the smoky darkness. There's nothing. LESLIE hesitates. Should she run, save her own life or? Suddenly BERNIE steps into the beam of her light, emerging from the thick smoke hauling GALE over his shoulder, his face smudged, unrecognizeable, AN HEROIC VISION SHE'LL REMEMBER! BERNIE Gim me a. -LRB- cough cough. -RRB- hand, willya, honey?",
"EXT. BRIDGE/HIGHWAY - NIGHT SIRENS scream and lights FLASH as more Emergency Vehicles join the ones already parked close to the bridge at a safe distance from the burning tail of the plane. A FIRE CAPTAIN shouts `` Move that piece - a junk'' at three FIREMEN who are already pushing BERNIE'S Toyota off the bridge and away from the airplane while a confusion of PARAMEDICS and POLICE hurry to the aid of dazed PASSENGERS in torn and bloody clothing. FIREMEN train hoses on the fiery tail of the plane while the FIRE CAPTAIN shouts. FIRE CAPTAIN GET'EM BACK! GET'EM BACK! ANGLE ON RICHIE Staring at the smoking plane in horror when a hand grips his shoulder. Turning he finds himself looking up at the MAN whose back we saw LESLIE push out of the plane. FLETCHER! RICHIE DAD! OH, DAD! FLETCHER Son! Thank God! I could n't find you. I was terrified. terrified. They're hugging.",
"INT. EXIT AREA/727 CABIN - NIGHT LESLIE and BERNIE are awkwardly pushing GALE'S limp body out the exit to a FIREMAN, DENTON in an asbestos suit just outside. FIREMAN DENTON -LRB- to Leslie. -RRB- You too, miss! Right away! LESLIE turns to BERNIE. LESLIE I've lost. -LRB- cough. -RRB- lost count. I think. -LRB- cough. -RRB- everybody's out. But BERNIE is n't there! He's disappeared into the smoke. As she stares in dismay, she hears him yelling. BERNIE'S VOICE HEY, FLETCHER! SPEAK UP, WILL YA?",
"INT. MAIN CABIN/727 - NIGHT Coughing and choking BERNIE struggles through the cabin, his light nearly useless now. BERNIE'S VOICE HEY. -LRB- cough cough. -RRB- FLETCHER! Nothing! Darkness. BERNIE can see orange in the black near the tail. Fire! This is crazy! Time to turn back! He's turning toward the exit. when suddenly. A VOICE Here! Over here! Help me, please. At last! BERNIE waves the light in the direction of the VOICE and stumbles that way through the smoke. BERNIE Where the. -LRB- cough cough. -RRB- hell are ya, buddy? VOICE Over here. My leg's broken. -LRB- cough cough. -RRB-. I need help. BERNIE finds an injured MAN crawling along the floor. BERNIE leans down and grips him under the armpits. BERNIE Fletcher, right? The MAN cries out in pain as BERNIE half drags him over seats. MAN Aaaaaaaah! Smith! BERNIE You're not Fletcher? BERNIE lets him go. SMITH Please help me. My name's Smith. BERNIE looks around with the light. Thick smoke. Flames back toward the tail. BERNIE I'm looking for Fletcher! HEY, FLETCHER! BERNIE waves the light at the darkness and. it goes out. BERNIE Shit! BANG! BANG! BERNIE bangs the flashlight against a seat. SMITH Do n't leave me. Please do n't leave me. BERNIZ Awright, awright. Angrily BERNIE grabs him and hauls him urgently toward the exit while SMITH cries out in pain. BERNIE Do n't count yer chickens here, Smith. I ca n't see shit.",
"EXT. AIRPLANE/RIVER - NIGHT A dazzling worklight shining down from the bridge illuminates the fuselage and the partially opened exit as TWO FIREMEN in asbestos fire suits splash through the water carrying GALE from the plane. FIREMAN DENTON stands at the narrow exit, too narrow for him to enter in his bulky asbestos suit and shouts through his helmet. FIREMAN DENToN You've got ta come outta there, miss. Right now! This thing's gon na go. LESLIE squeezes out of the exit, looks back. LESLIE There's another. FIREMAN DENTON -LRB- grabbing her. -RRB- RIGHT GODDAMN NOW! COME ON! As LESLIE and FIREMAN DENTON splash the ten yards to the riverbank flames eat their way toward the wings where the fuel is stored. Suddenly BERNIE'S VOICE cuts through the chaos. BERNIE'S VOICE -LRB- O.S. -RRB- HEY! GIM ME A HAND HERE. HEY YOU! IN THE BUNNY SUIT. LESLIE looks back and sees BERNIE awkwardly pulling SMITH out of the narrow exit. FIREMAN DENTON slogs back to BERNIE. FIREMAN DENTON I'll help him, buddy, you run for it. FIREMAN DENTON tries to grab SMITH but BERNIE wo n't let go. BERNIE I gat this guy, you go get the guy who's still in there. FIREMAN DENTON is lifting SMITH bodily. FIREMAN DENTON Get out of here, pal, she's gon na blow. BERNIE You're not goin' in? There's a guy in there! You got a fucking suit. FIREMAN DENTON SHE'S GON NA EXPLODE, YOU DUMB SHIT. FIREMAN DENTON starts to stagger away from the plane, carrying SMITH. BERNIE looks back at the plane, sees the fury of flames and suddenly he splashes through the water after FIREMAN DENTON.",
"EXT. RIVERBANK - SECONDS LATER (NIGHT) FIREMAN DENTON is staggering up the slope carrying SMITH when he glances back. He sees BERNIE poking around at the edge of the riverbank. FIREMAN DENTON HURRY ` UP, BUDDY! In the orange glow of the fire, BERNIE gives a delighted grunt as he finds half of what he's looking for. a single shoe. FIREMAN DENTON COME ON, YOU STUPID SHIT! BERNIE I LOST MY GODDAMN SHOE! BERNIE is looking around frantically when.",
"EXT. RIVERBANK - NIGHT BOOOOOOOOOOM! BERNIE is knocked backward by a tremendous explosion. Suddenly he's sitting in the mud, the night around him bright with flames. BERNIE Holy shit! Then he's running, clutching one shoe, no longer worried at all about the other. BAAAAAAAAAAAAA - DOOOOOOOOOOM! A SECOND BLAST! MUCH BIGGER!",
"EXT. ACCIDENT SCENE/HIGHWAY - NIGHT From the relative safety of the road, CHUCKY's pointing his vidpak with the Channel Four logo at the exploding plane. Panning the camera from the furious mountain of flames he picks up a marvelous image. CHUCKY -LRB- excited, under his breath. -RRB- Tight on fire, yes, yes, pulling back, flame everywhere, find survivors backlit in orange glow, yes, yes, yes, awesome, major award, cameraman of the year, go Chucky, go, baby, how you shoot it. A Flight Attendant -LRB- LESLIE -RRB- in a torn uniform is staggering up the slope followed by an heroic FIREMAN -LRB- DENTON -RRB- carrying a Crash Victim -LRB- SMITH -RRB- on his brave shoulders. What a shot!",
"EXT. RIVERBANK - NIGHT BERNIE stands on the riverbank in the pouring rain and looks back at the burning plane. He shakes his head sadly, imagines FLETCHER in the inferno. BERNIE Sorry, pal. Woooo! What a way to go!",
"EXT. ACCIDENT SCENE/HIGHWAY - NIGHT TWO PARAMEDICS are struggling with GALE who's trying to get off the stretcher they're putting into an ambulance. GALE I'm okay. Please, I'm okay, I'm a reporter, I. OW! PARAMEDIC Lady, you're not okay. GALE gets off the stretcher in spite of their efforts and staggers a few feet, grabs one of them for support. PARAMEDIC Miss, please, you've got a broken arm. GALE It's my leg. My leg hurts. -LRB- suddenly shouting. -RRB- CHUCKY! OVER HERE, CHUCKY! CHUCKY! ANGLE ON CHUCKY Taping SURVIVORS, when he hears GALE'S voice and looks around for her. CONKLIN, the reporter with him, spots her first. CONKLIN Holy shit! It's Gayley! ANGLE ON THE AMBULANCE Where GALE is half on the stretcher as CHUCKY and CONKLIN rush up to her. CONKLIN Gayley! You were on the plane? GALE This is my story, Conk. I did the research. PARAMEDIC Please, she's injured, she's got ta go to the hospital. CHUCKY is already pointing the vidcam at her, taping as the PARAMEDICS shove her onto the stretcher and into the ambulance with her talking all the way. GALE Get the Flight Attendant, the one who manned the door. Also some guy, a passenger, pulled me out. Talk to him. Then get down to the hospital and I'll do an interview and an intro and close. Make sure. BANG! The PARAMEDICS slam the door behind her. CONKLIN shakes his head as CHUCKY lowers his camera and the ambulance pulls away. CONKLIN She's a real piece of work! Unbelievable! `` It's ` my story, I did the research.'' CHUCKY You're not going to believe the shot I got back there. Major Awards! ANGLE ON BERNIE wearing only one shoe he limps right past CHUCKY and CONKLIN, unnoticed in the confusion of FIREMEN, PARAMEDICS, and SURVIVORS. ANGLE ON RICHIE AND FLETCHER Standing between an ambulance and a firetruck, father and son are hugging each other warmly. They do n't notice Bernie trudging past them and he does n't notice them. ANGLE ON BERNIE reacting with sudden horror at something he sees. ANGLE ON THE BRIDGE The spot where BERNIE left his car. FIREMEN are spraying retardant on the firey fuselage of the plane. No sign of the car! BERNIE Christ! My car! Where's my car? BERNIE moans mournfully and suddenly a STATE POLICE OFFICER is at his side. STATE POLICE OFFICER Where are you hurt, sir? BERNIE Huh? Hurt? What? BERNIE is urgently concerned with the purse poorly concealed under his jacket. STATE POLICE OFFICER How about coming over to the ambulance, sir, let the medical people check you out. The STATE POLICE OFFICER has a hand on the arm BERNIE is using to keep the purse under his jacket. BERNIE -LRB- pulling away. -RRB- Hey, I do n't need no ambulance. I'm just looking for my car. It musta burned up or something. The purse is visible though the OFFICER has n't yet noticed it. He's patronizing BERNIE, insisting. STATE POLICE OFFICER You were n't in your car, sir, you were in an airplane crash. But everything's going to be okay, we'll just go see the doctor and. Just then MRS. BROWN rushes up and clutches the OFFICER, grabbing his arm. MRS. BROWN Please, please, my husband's been waiting for medical attention. As she pulls the OFFICER away, BERNIE hides the purse deeper under his coat, breathes a sigh of relief. and notices something! BERNIE'S POV OF HIS CAR Virtually unrecognizable, moved to the side of the bridge, buried under a mountain of fire retardant foam. ANGLE ON BERNIE Limping up to his car, wiping the foam off the windshield. BERNIE This shit has got ta be great for the paint job!",
"INT. JOEY'S BEDROOM/EVEYLYN'S HOUSE - NIGHT Dark except for the eerie flicker of the TV set. JOEY is in bed, surreptitiously watching the TV, turned very low. BANG! CRACK! Gunshots? Not from the TV, from outside. JOEY scrambles out of bed and heads for the window. JOEY'S P.O.V. : EXT.. EVELYN'S HOUSE - NIGHT BERNIE is getting out of his Toyota in the glow of a streetlight. It's still raining. BERIE is soaking wet, wiping off his face. He trudges toward the house wearing only one shoe.",
"EXT. FRONT DOOR/EVELYN'S HOUSE - LATER (NIGHT) The door swings open violently, revealing EVELYN standing in the doorway looking furious. She's thirty - five, tough, plain, not ugly. EVELYN He waited for you three hours! BERNIE You are not gon na believe this, Evelyn! Absolutely fantastic! I'm on my way - EVELYN I am so tired of your bullshit, Bernie. BERNIE Ev, it's not my fault! I'm trying to tell you this incredible - EVELYN It's never your fault, Bernie! Never ever! You screwed up my life, now you're gon na screw up Joey's life, but you're never gon na accept responsibility for anyth - BERNIE Is he here, your friend. The fireman? EVELYN He had an emergency call. a real emergency. BERNIE Why doncha let me in so we do n't wake everybody in the neighborhood?",
"INT. LIVING ROOM/EVELYN'S HOUSE - MOMENTS LATER Suburban. Inexpensive furniture. EVELYN and BERNIE ranting. BERNIE Willya lem me talk for Chrissake? I'm trying to tell you what happened. What happened is. EVELYN The same thing that always happens! You blew it! And this time you broke your son's heart instead of mine! He was so proud, looking forward to going to a movie with his father. and you let him down! Like you let everybody down, always! What did you do, take a mudbath? ANGLE ON JOEY eyes wide, crouched at the top of the staircase in his pyjamas, spying on his parents in the living room below. ANGLE ON BERNIE AND EVELYN BERNIE That's what I'm trying to. to. okay, nevermind. Just lem me talk to Joey to. to apologize. EVELYN He's in bed! You're not gon na wake him and make him crazy, do you understand? He comes home from the zoo, he wants to know if Elliot's a `` war hero'' like you. he wants to know how many people you killed. BERNIE `` Elliot''? The heroic goddamn fireman? EVELYN I had to explain your tendancy to `` exaggerate'', How you were actually `` in country'' all of two weeks and how you killed about as many people as the other clerk - typists in your outfit, no more, no less. BERNIE Three weeks, Ev. I did n't tell him I killed anybody. EVELYN Maybe not,. but you let him believe it! And then I got ta explain about the homeless. BERNIE The homeless! EVELYN How not all of them own apartment complexes, how not all of them play the stock market, how not all of them rent babies when they're panhandling. He's ten years old, Bernie! Impressionable! ANGLE ON JOEY Watching from the staircase. ANGLE ON BERNIE AND EVELYN BERNIE Listen, it's important, Ev, I got ta see him, I got my reasons, very goddamn important. EVELYN Use the phone, Bernie, call him tomorrow, he'd like to hear from you. Where's your other shoe? Never mind! I do n't want to know. Some fantastic adventure, right? Something really crazy. BERNIE I was giving him some advice is all. Preparing him for life. You do n't want him to grow up soft, Ev, it's tough out there, it's a goddamn jungle. EVELYN -LRB- firmly, opening the door. -RRB- Back to the jungle, Bernie. Good night.",
"EXT. FRONT DOOR/EVELYN'S HOUSE - NIGHT BERNIE steps out and the door slams hard behind him. He pauses, sighs, starts toward his car.",
"EXT./INT. BERNIE'S TOYOTA/PARKED - A MOMENT LATER (NIGHT) As BERNIE gets in the car he notices the purse sticking out from under the passenger seat where he hid it. He reaches down, takes the purse, rummages in it, pulls out the Silver Mike, glances at it, might be worth something, pockets it moves on to the wallet, the credit cards, the cash. some hundreds, fifties', twenties.",
"INT. LIVING ROOM/EVELYN'S HOUSE - MOMENTS LATER (NIGHT) EVELYN is shutting off the last of the lights and starting up the stairs when the doorbell rings. EVELYN scowls. She's furious.",
"EXT. FRONT DOOR/EVELYN'S HOUSE - NIGHT The door opens and EVELYN stands there scowling. BERNIE holds out a twenty dollar bill. BERNIE Sorry, Ev, to bother you again. This is for Joey, his reward. for this wallet he found. When I, uh, returned it I told the guy he hadda give my kid something for finding it, for the honesty. So the kid would learn how honestly pays. Eyes meet. She does n't believe it for a moment and he knows it. BERNIE Just give it to him, okay, Ev?",
"EXT. HIGHWAY - LATER (NIGHT) An AIRHORN BLARES, a truck thunders past BERNIE, who's pushing his Toyota to the side of the road, steering one - handed from outside.",
"EXT. HIGHWAY - LATER YET (NIGHT) A blonde GIRL tosses an empty beer can from the window of a speeding car full of laughing TEENAGERS. The can clatters to the road beside BERNIE who lowers his `` hitch - hiking thumb'' as the car speeds off leaving him alone.",
"EXT. HEAVY TRAFFIC/FREEWAY - DAWN (HOURS LATER) Rush hour! Bumper to bumper TRAFFIC oozing toward the city. We HEAR A VOICE! BUBBER'S VOICE -LRB- O.S. -RRB- You actually went into it? A burning airplane? BERNIE'S VOICE -LRB- O.S. -RRB- `` Into it''! `` Into it'', for Chrissake! I was practically living in the goddamn thing. every time I turned around, some other person wants me to save'em. Looking for the VOICES, we MOVE IN on a single lane of crawling traffic and finally FOCUS ON a battered, rusted 76 Chevy with a crumpled fender, a trunk tied closed and cracked windows.",
"INT. CHEVY/MOVING/FREEWAY - DAWN BERNIE is sitting on bare springs and tatters of upholstery in the passenger seat, muddy, rumpled, weary. BERNIE -LRB- continuing. -RRB- Could n't see a fucking foot in front of me, smoke. then booooom! It explodes! I could be dead! JOHN BUBBER is at the wheel, a shabbily dressed, tired, haunted man. He gives BERNIE a look. Should he believe? BUBBER And you pulled people out? You're. a hero. BERNIE Nah, I fucked it up. I was tryin' to impress this kid, do n't ask me why. I was gon na rescue his old man, but I could n't find the poor bastard. He musta blew up. -LRB- then. -RRB- I got the hell outta there. I did n't have the nerve to face the kid. BUBBER -LRB- thoughtful, serious. -RRB- A lotta people would n't have tried. It was pretty brave even trying. BERNIE Try stupid. BUBBER brakes for traffic and a cardboard box from the back seat hits BERNIE and cascades crushed cans all over him. BUBBER Sorry about that. Just toss them in back. -LRB- very serious. -RRB- A lot of people would say that's what heroism is. stupidity. Doing something that if you thought about it, you would n't do it, it's not in your. interest. BERNIE indicates the clutter of cans. BERNIE You got a drinking problem or what? BUBBER I sell them at the recycling center. Gives me a little for gas and food. BERNIE -LRB- considering the back seat. -RRB- Looks like you live in here, for Chrissake! BUBBER In bad weather, yeah. Mostly I camp out in the woods. I thought maybe you were down on your luck too when I picked you up. BUBBER indicates BERNIE'S muddy, torn clothes, stocking foot. BERNIE Down on my luck! Hey, I toldja, a goddamn plane fell on me outta the sky. In America, for Chrissake! See this shoe! Hundred dollar pair of shoes. One shoe! BUBBER glances at the shoe BERNIE'S waving. BUBBER You should give it to someone with only one leg. BERNIE One leg! Like the Red Cross or something? BUBBER I know a guy who only has one leg. BERNIE drops the shoe on the floor, shakes his head, disgusted. BERNIE Sell it to him. You get a couple bucks, it pays for the ride. -LRB- a beat, then. -RRB- I got a job, nice apartment. I do okay. BUBBER They interview you or anything? At the plane crash? BERNIE Hey, do I look crazy? I do n't go for that shit. interviews, media. They're manipulators. `` Keep a low profile,'' that's my motto.",
"EXT. FREEWAY - DAWN The Chevy inches forward as the traffic moves again, heading slowly toward the city. BERNIE'S VOICE -LRB- O.S. -RRB- -LRB- continuing, grandly. -RRB- Besides, I got these legal problems. My attorney do n't want me giving statements to the press. Traffic is still crawling.",
"INT. HOSPITAL ROOM - DAY GALE sits up in bed in spite of an I.V. in one arm and a cast on the other. There's a big bandage across the bridge of her nose and her left leg is also heavily bandaged. GALE. says. I do n't understand. You ca n't find him? She stares incredulously at her trio of visitors, CONKLIN, CHUCKY, and DEAKINS. DEAKINS, uncomfortable outside his office, is awkwardly trying to vase a bouquet of flowers. DEAKINS There's a lot of confusion around what went on last night, it's not clear. GALE You said all the passengers were accounted for. DEAKINS Apparently the guy who pulled you out was n't a passenger. A NURSE gracefully relieves DEAKINS of the flowers he's destroying and skillfully vases them while GALE questions. GALE A paramedic? A fireman? He did n't have a uniform. CONKLIN From what we could get, there's a kind of. sort of. `` mystery guy''. involved. DEAKINS We're piecing together different accounts and. GALE A `` mystery guy!'' `` Not a passenger.'' Who? CONKLIN We do n't know who he is, he. DEAKINS He disappeared. GALE -LRB- incredulous. -RRB- A non - passenger, non - rescue - worker went into a burning plane and pulled me out and. disappeared? GALE starts to get up, struggling with covers, I.V., etc.. CONKLIN Not just you. Apparently this guy is the one who opened the emergency exit from the outside. DEAKINS Everybody! He saved everybody on the plane! Because of him, no fatalities! I do n't think you're supposed to move around like that, Gale. You're attached there. GALE is getting out of bed, the I.V. still inserted in her arm.",
"INT. HOSPITAL ROOM - LATER (DAY) LESLIE looks directly into the camera as CHUCKY tapes her over GALE'S shoulder. LESLIE And all of a sudden, this. `` civilian''. rushed into the plane. Next thing you know he's hauling Freddy. he's the other flight attendant. out and then he goes back in. -LRB- a beat, a tear, then. -RRB- That's what gave me the courage to hang in there even though I knew the plane could blow any minute. GALE What did he look like?",
"INT. HOSPITAL ROOM - LATER (DAY) MR. SMITH is being interviewed in his bed. He's emotional. MR. SMITH It was just this face, all dirty, it just appeared. I really thought I was going to die. GALE Did he say anything to you? MR. SMITH He. asked if I was `` Fletcher.''",
"INT. OFFICE/CARPET CARE - DAY A man named ROBINSON, fifty, sloppy, screams apoplectically. ROBINSON ONE WORD! ONE WORD, LAPLANTE, AND YOU'RE FIRED! GOT THAT? ONE WORD! Exhausted, shoeless BERNIE follows ROBINSON in the cluttered Carpet Care Office. BERNIE Bill, I. ROBINSON DO N'T SAY `` BILL,'' BERNIE! DO N'T SAY ONE WORD! DID N'T I SAY `` ONE WORD AND YOU'RE FIRED?'' BERNIE I. ROBINSON YOU KNOW WHY? BECAUSE IT'LL BE AN EXCUSE! IT'LL BE `` BERNIE LAPLANTE EXCUSE NUMBER FOUR THOUSAND ONE HUNDRED AND SIX.'' NO, FOUR THOUSAND ONE HUNDRED AND TWELVE. THAT'S HOW MANY EXCUSES YOU HAVE GIVEN ME, I KEEP TRACK OF THEM ELECTRONICALLY. I HEARD THEM ALL, BERNIE. BERNIE Bill, I got some legal problems and I. ROBINSON THAT'S IT! YOU TALKED! YOU'RE FIRED! OUTTA HERE! GET OUTTA HERE! BERNIE Bill, listen. ROBINSON OUT! I TOLDJA. JESUS CHRIST, I GOT CUSTOMERS WAITING! AN' YOU WERE GON NA GO OUT LIKE THAT? AN' MEET THE PUBLIC IN STOCKING - FUCKING - FEET? BERNIE Bill, I got financial problems and. ROBINSON I DO N'T CARE ABOUT YOUR PROBLEMS, I'M GON NA THINK ABOUT MY PROBLEMS. YOU'RE ONE A MY PROBLEMS. GET OUT! OUT! OUT!",
"EXT. CITY STREET - MINUTES LATER (DAY) BERNIE is trudging wearily up the busy sidewalk, dirty, tattered and shoeless, BERNIE does n't notice BUBBER staring in the window of an electronics store where dozens of television screens show the burning fuselage of Flight 104.",
"INT. LIVING ROOM/FLETCHER HOME - DAY CHUCKY shoots over GALE'S shoulder as she interviews FLETCHER in his living room. GALE He was asking for Mr. Fletcher. FLETCHER My son and I got separated in the confusion and smoke. The very courageous stewardess at the exit told me my boy had got out so I got out too. But my son had already told this. man that I was still in there.",
"EXT. APARTMENT HOUSE/CITY STREET - DAY Disheveled, in stocking feet, BERNIE trudges wearily up the front steps of the shabby apartment house where he lives, enters.",
"INT. RICHIE'S ROOM/FLETCHER HOME - MINUTES LATER (DAY) Posters, youthy icons. CHUCKY shooting GALE interviewing RICHIE. RICHIE I thought my dad was still. still in there. So I asked the man to save my father. GALE What did the man say, Richie? RICHIE He said. uh. he said. -LRB- not sure, thinking, then. -RRB- `` I'll save him.'' He said, `` I'll save your father.''",
"INT. BERNIE'S APARTMENT - DAY The door opens and BERNIE enters. He pulls the contents of GALE'S wallet from his pocket and tosses them on a table. the plastic windows full of credit cards and cash. Then he pulls off his jacket, ruefully inspecting a tear in the muddy sleeve. He's about to toss it on the ratty sofa when he notices it felt funny. He reaches in another pocket and pulls out the Silver Mike Award, considers it for a moment. What's it worth? Sitting on the sofa, he leans back. and starts to doze off. VIDEO IMAGE/EXT. `` EXPLODING'' PLANE - NIGHT FRAME BY FRAME the image inches forward, sweeping off the fire that fills the screen to the riverbank. frame by frame. fire. fire. fire. then faster as the riverbank is darkening the frame and then LESLIE and the THIRD FIREMAN sweep into the foreground as the camera discovers them. the dramatic shot we remember of them coming up the riverbank. GALE'S VOICE -LRB- O.S. -RRB- Back. Go back. You missed it. Zip zip zip the image highspeeds back to the exploding plane. Again the screen is filled with fire. GALE'S VOICE -LRB- O.S. -RRB- Now. Go forward again. Frame by frame the blossom of fire blooms consuming the plane. GALE'S VOICE -LRB- O.S. -RRB- Keep going.",
"INT. EDIT BAY - DAY REVEAL : GALE in an editing bay at Channel Four, peering intently at the fiery scene on the video monitor while the young tape editor, JOAN, operates the controls. CONKLIN, DEAKINS, PARKER, CHUCKY flank GALE. GALE There! Right there. ON THE SCREEN -LRB- EXT.. AIRPLANE - NIGHT -RRB- A tiny silhouetted FIGURE appears in the far right corner of the frame. Then, as one more frame clicks off, the FIGURE appears near the center of the next frame of the pan. The picture freezes there, a startling dramatic image of an UNRECOGNIZABLE FIGURE -LRB- BERNIE -RRB- in silhouette, dwarfed by the gigantic explosion. IT'S AN AWESOME IMAGE. NO ARTIST OR AD MAN COULD DO BETTER. A TINY, ANONYMOUS FIGURE, ALONE, AGAINST A GIGANTIC MOUNTAIN OF PURE FIRE. AND FROM NOW ON IT WILL BE REFERRED TO AS `` THE IMAGE.''",
"INT. EDIT BAY - DAY DEAKINS That's him? GALE Who else? We've accounted for everyone else. That's our hero! She stares at `` The Image.'' It's powerful, stirring. CHUCKY I did n't see the guy when I shot it. I thought I was getting the last survivors when I panned over. DEAKINS Any chance we could do some kind of electronic enhancement, you think? Get a clear picture, identify him? JOAN -LRB- peering closely at the screen. -RRB- There's no face really, nothing to work with. Big dots, that's all you'll get. GALE Look at the guy! He just saved fifty people. Now he's going to disappear. Who is he?",
"INT. BERNIE'S APARTMENT - DAY UUUUHHHHOOOOOOOW! BERNIE snores loudly, asleep on his sofa, still in his rumpled, torn clothes. He SNORES again. MONTAGE : TELEVISION SCREENS IN CARS, HOMES, TV STORES VIDEO IMAGE : INT. RICHIE'S BEDROOM - DAY ON THE SCREEN, RICHIE is talking directly at the CAMERA, the interview in his room on videotape. RICHIE/TV He said. uh, he said. `` I'll save your father.'' VIDEO IMAGE : INT. HOSPITAL ROOM - DAY LESLIE appears ON SCREEN, her interview. LESLIE/TV - all of a sudden, this. civilian. He rushed into the plane. VIDEO IMAGE : FREDDY'S HOSPITAL ROOM - DAY Freddy appears talking directly at the CAMERA. FREDDY/TV I woke up in an ambulance. Leslie, the other flight attendant, told me the guy dragged me to the exit. VIDEO IMAGE : INT. HOSPITAL ROOM - DAY Leslie appears ON THE SCREEN again. LESLIE/TV `` Here, give this guy a hand,'' he said. The next thing I knew, he was going back in there, into all that smoke. VIDEO IMAGE : INT. HOSPITAL ROOM - DAY MR. SMITH appears ON THE SCREEN. MR. SMITH/TV I was crawling around on the floor. I thought I was a goner! OFF THE SCREEN/MONTAGE YOUNG PEOPLE, OLD PEOPLE, RICH PEOPLE, POOR PEOPLE, CONVICTS, DENTISTS, BLACK PEOPLE, BROWN PEOPLE, WHITE PEOPLE, CHINESE PEOPLE are watching the report in. - HOME - BARBERSHOP - ELECTRONICS SHOWROOM - JAIL CELL - SKID ROW HOTEL LOBBY - SHADOW LOUNGE CHICK watching the report. - CLASSROOM JOEY watching the report in a classroom. - EVELYN'S KITCHEN EVELYN watching the report in her kitchen. - ALLEY BUBBER is listening to the report on a radio in an alley. ON THE SCREEN VIDEO IMAGE : INT. TV STUDIO - DAY GALE, bandaged, casted, stands in front of a BLUE SCREEN. GALE/TV - out of the darkness. out of the smoke and the fear. came a man with no name. no uniform. but an abundance of courage. The CAMERA ZOOMS IN SLOWLY on GALE and simultaneously DISSOLVES SLOWLY TO. `` THE IMAGE''. It fills the screen as GALE narrates VOICEOVER. GALE'S VOICEOVER/TV A man who was thinking not about himself but about others, risking his own life for ours. -LRB- a beat then. -RRB- He's out there now somewhere. and. whoever you are, I, and the other survivors of Flight 104, say, `` Thank you! God bless!'' MUSIC SWELLS as the CAMERA ZOOMS IN on `` THE IMAGE'' emphasizing the tiny FIGURE alone in the frame surrounded by fire.",
"INT. DEAKINS' OFFICE - DAY Flanked by GALE and CHUCKY, DEAKINS is watching the preceding material on the monitor. DEAKINS Not bad. But if you got ta wear a cast, you oughtta feature it more it's parta the story. -LRB- seeing Wallace enter the room. -RRB- Network's taking everything we give'em. They wanta feed off our six o'clock whether we find the mystery guy or not. We're very big nationally. WALLACE It's a wonderful piece. Emotional. I love it. DEAKINS We're gon na feature Gale's cast more. The trick is gon na be keeping the upper hand on this piece. As long as we have Gale and there's no mystery guy, we're the center of the story. But if he shows up and somebody else gets him first or exclusive. WALLACE What about a reward for coming forward? DEAKINS answers a RINGING phone. GALE frowns, frets. GALE There could be problems with something like that Mister Wallace. What if? DEAKINS -LRB- into phone. -RRB- WHAT? THEY FOUND WHAT? Everybody looks at DEAKINS.",
"INT. LIVING ROOM/EVELYN'S HOUSE - NIGHT Ignoring the open schoolbook on the floor in front of him, JOEY is sprawled on the floor, eyes on the TV screen. ON THE SCREEN : EXT.. CRASH SITE - NIGHT A CLOSE - UP of a muddy shoe WIDENS to REVEAL the shoe nestled in GALE'S sling on top of her cast. She addresses the camera from a spot directly in front of the crash site while behind her WORKMEN comb the wreckage under bright halogen lights. GALE/VOICEOVER/TV A phone check with survivors has confirmed that the shoe does not belong to any of the crew or passengers of Flight 104. Several witnesses recall the mysterious man who saved fifty - four people referring to his missing shoe. The conclusion ; the unknown hero, know to many as `` The Angel of Flight 104,'' wears a size 10B shoe. EVELYN'S VOICE -LRB- O.S. -RRB- Joey! Dinner! Now! Turn that thing off.",
"INT. EVELYN'S HOUSE - NIGHT ELLIOT is at the table with EVELYN as JOEY joins them. JOEY He lost a shoe! EVELYN Who lost a shoe? Wash your hands. JOEY The `` unknown hero.'' They found his shoe right beside the plane crash. ELLIOT Superman, you mean? Lost a shoe! What next? EVELYN Elliot! The man saved hundreds of people! ELLIOT Fifty - four! I was there, remember? You know why I did n't rush into that plane? Because I'm a trained fireman, that's why! Part of a team! A disciplined team. We take risks all the time, save people. But we do n't take crazy chances. This guy does something really dumb and he lucks out. So the media go crazy about his shoe for god's sake! What kind of message are they giving to youth? EVELYN -LRB- indicating Joey. -RRB- What kind of message are you giving to youth? Sneering at someone for sticking his neck out. You sound like my ex for heaven's sake. Mister Cynicism. ELLIOT gets up, shrugs. ELLIOT So what can I say? Give your ex credit for being smart enough not to do something stupid. Maybe the man's not all bad. I'm gon na watch TV, hoping it's not all this `` Superman stuff.'' ELLIOT walks over to the TV and turns it on, leaving JOEY and EVELYN alone. JOEY is excited. JOEY My father did n't have his shoes on when he. when he came here. EVELYN -LRB- surprised. -RRB- You were in bed. Were n't you? JOEY I. I saw him out the window. EVELYN frowns, hesitates a moment. Was the kid listening? Then. EVELYN You think your father would do something like that? Rescue people? -LRB- sadly. -RRB- Your father is Bernie LaPlante, Joey. It's against his religion to stick his neck out. ANGLE ON THE TV -LRB- INT. NEWS SET - NIGHT -RRB- Where an ANCHORPERSON speaks from a news set. CHANNEL 4 ANCHORPERSON/TV - where the leader of a religious group claimed today that the mysterious hero is, in fact, an angel who is anticipated in scripture.",
"INT. SHADOW LOUNGE - NIGHT Washing glasses behind the bar, CHICK is watching the same show on the TV over the bar when he turns to see BERNIE enter -LRB- wearing a brand new pair of cheap running shoes. -RRB- CHICK Bernie, how ` sa kid? BERNIE You do n't wan na know, Chick, you do n't wan na know. Those guys been in here? CHICK -LRB- pouring a 7 & 7. -RRB- You in business with those guys or what? I would n't want a problem for the establishment, Bern. BERNIE You could n't have a problem, Chick, because I personally have got them all. I cornered the whole goddamn market. You would n't believe. Oh, how ya doin'? ESPINOSA and VARGAS have entered the bar. They have another guy with them, MENDOZA. ESPINOSA We bring our frenn this time, okay? Something about MENDOZA spells trouble. it's almost palpable. BERNIE does n't notice, but CHICK does. He looks worried. BERNIE Excuse me here, Chick, I got ta do these guys a little favor. ANGLE ON BOOTH As BERNIE, MENDOZA and ESPINOSA slide into a booth intent on business, ESPINOSA looks around for VARGAS and spots him lingering back at the bar watching the TV. ESPINOSA -LRB- calling out to Vargas. -RRB- Hey, vato! Vamos. ANGLE ON THE BAR Where VARGAS and CHICK are staring at the screen. ANGLE ON THE TV SCREEN : INT. NEWS SET - NIGHT Where the ANCHORPERSON is introducing WALLACE who stands there in a suit and tie looking ill at ease. CHANNEL 4 ANCHORPERSON/TV - bring you a special announcement from Channel Four station Manager, James Wallace. Framed alone now, WALLACE smiles awkwardly at the camera. WALLACE Good evening. We at Channel Four, like you, have been stirred by the courage and. ESPINOSA'S VOICE -LRB- O.S. -RRB- Hombre! Por aqui!",
"INT. SHADOW LOUNGE - NIGHT ANGLE ON VARGAS Eyes lingering on the TV, backing toward the booth. ANGLE ON BOOTH BERNIE has spread GALE'S credit cards on the table in front of ESPINOSA and MENDOZA. ESPINOSA examines them, questions BERNIE. ESPINOSA How many you got there? Eight? Ten? VARGAS slides into the booth before BERNIE can answer. VARGAS They offer him a million dollars reward. MENDOZA Who? VARGAS The `` plane crash guy''. ESPINOSA -LRB- to Bernie. -RRB- Is that all of them? Eight? BERNIE -LRB- distracted. -RRB- What `` plane crash guy''? VARGAS The one - shoe dude who saved all those people, man. Channel Four gon na give him a million for an interview. ESPINOSA tries to turn BERNIE'S attention back to `` business.'' ESPINOSA Come. on, hombre, we doin' business here. You got more or not? ANGLE ON CHICK Watching the TV ANGLE ON THE TV SCREEN -LRB- INT. NEWS SET - NIGHT -RRB- Where WALLACE is concluding. WALLACE/TV The offer is absolutely unconditional. All he has to do, is satisfy our reporter, Gale Gayley, and the other passengers who had contact with him that he is indeed the brave man who. BERNIE'S VOICE -LRB- O.S. -RRB- -LRB- yelling. -RRB- HEY! WHAT THE HELL IS THIS? WHAT'S GOIN' ON HERE?",
"INT. SHADOW LOUNGE - NIGHT ANGLE ON CHICK Turning, seeing a commotion at the booth. ANGLE ON THE BOOTH Where MENDOZA is handcuffing the outraged BERNIE while ESPINOSA reads him his rights. ESPINOSA You have the right to remain silent, you have the right to - BERNIE Hey, this is bullshit! Do you guys know who I am? You know where I got the goddamn plastic? I got a million bucks coming. I'm the guy who. ESPINOSA -LRB- continuing. -RRB- You have the right to the counsel of an attorney. ANGLE ON CHICK Watching BERNIE being hustled out of the bar, handcuffed, protesting loudly. BERNIE CHICK, CALL MY ATTORNEY! THIS IS BULLSHIT! ENTRAPMENT! I GOT A MILLION BUCKS COMING, FOR CHRISSAKE! MONTAGE : PRINTING PRESSES - DAY Newspapers roll off the presses one after another. THE TIMES features `` The Image'' with a headline over the firey scene trumpeting `` AN ANGEL FOR FLIGHT 104?'' THE MIRROR is tighter on the image featuring an enlargement of the silhouette of Bernie with a headline asking `` WHO IS HE?'' THE HERALD features a full page photo of the single muddy shoe with a headline supered over it announcing `` SEARCH FOR MR. CINDERELLA!'' and finally THE TRIBUNE screams in massive black letters `` ONE MILLION DOLLAR REWARD!''",
"EXT. STREET CORNER/CITY - DAY A NEWS VENDOR is waving a paper and shouting. NEWS VENDOR ONE MILLION DOLLAR REWARD TO THE UNANIMOUS HERO! ONE MILLION BUCKS FOR THE `` ANGEL'' WHO SAVED FIFTY PEOPLE AND TOOK OFF! A WOMAN walks by with a tee - shirt featuring `` The Image.'' The spectacular picture looks great on the contours of her chest!",
"EXT. TV STATION - DAY PARKER, the youthful Channel Four gofer/runner, moves along a seemingly endless line of WANNABE HEROES that stretches along the sidewalk outside Channel Four and disappears around the corner. He's addressing them at the top of his lungs. PARKER PLEASE, IF YOUR FOOT IS N'T A SIZE 10 - B, DO N'T REMAIN IN LINE. WE'RE ONLY SEEING SIZE 10 - B `` HEROES.'' GROANS and CATCALLS from the WANNABES, as we MOVE ALONG the line, eavesdropping on various WANNABES. AFRICAN AMERICAN Thass a racist perspective, assuming that because something heroic was done that a white man done it. A man with mud on his face could be a man of any color, most likely was, which is true in this case cause it was me! With mud all over me. Two other WANNABES are squaring off to fight. 1ST FIGHTER You call me a liar, I'm gon na kick your ass. 2ND FIGHTER Hey, it's not just me sayin' you ai n't no hero. Everybody in the goddamn line says you ai n't the hero. ANOTHER WANNABE Can you believe this? Must be more than a thousand phonies after my reward. A WANNABE with mud smeared on his face spots GALE approaching the front door of the station, a look of amazement on her face at the length of the line. MUD-FACE WANNABE HEY, MISS GAYLEY! HEY, GALE! REMEMBER ME? I'M THE GUY! I SAVED YOUR LIFE! REMEMBER - Rolling her eyes good naturedly, GALE walks briskly up the steps to the front door of the station, passing PARKER who's measuring a TALL WANNABE'S feet. The TALL WANNABE calls out to her. TALL WANNABE My foot's only eight and a half but I wear a ten B for the comfort. I swear! -LRB- she keeps walking. -RRB- Hey, Miss Gayley, I saved your life! Just as GALE is about to enter the TV station, PARKER catches up to her. PARKER Hey, Miss Gayley, there's a cop looking for you. From Robbery Detail, Inspector Dayton. He wants you to call him. GALE What about? PARKER I did n't ask him. GALE Call him back. Ask him. -LRB- indicating the line. -RRB- I'm a little. busy. GALE disappears into the TV Station.",
"INT. DEAKINS' OFFICE - DAY WALLACE is looking down at the line of WANNABES.",
"INT. COURTROOM - DAY JUDGE GOINES is addressing a miserable looking CRIMINAL. JUDGE GOINES Bail in this matter will remain in the sum of five thousand dollars. Next. DISCOVER MENDOZA, ESPINOSA AND VARGAS carrying on a whispered discussion with an African American detective -LRB- DAYTON -RRB- in the spectator section -LRB- AS THE COURT PROCEEDINGS CONTINUE IN THE BACKGROUND -RRB-. MENDOZA indicates something at the rear of the room to DAYTON who follows his look. DAYTON'S P.O.V.. A group of PRISONERS have just been led in the side door from a holding cell and a BAILIFF is removing the handcuffs that tied the PRISONERS together. One of the PRISONERS is BERNIE LAPLANTE. DONNA approaches him as the BAILIFF uncuffs him. She speaks to him but her words are inaudible to DAYTON. ANGLE ON DAYTON as he watches BERNIE from a distance, nods affirmatively to something MENDOZA whispers in his ear. We realize we'll be seeing DAYTON again. ANGLE ON DONNA astonished, reacting to BERNIE in a sharp whisper. DONNA `` The Angel of Flight 104!'' You're telling me you're the A? BERNIE -LRB- whispering. -RRB- `` Angel!'' I did n't say `` angel,'' that's a little strong. Listen, here's the thing, I got ta get over there to the TV station to collect my million bucks. DONNA Mister LaPlante, I really want to help you, but crazy stories are only going to make it worse. The D.A. is asking your bail be set at twenty - five thousand dollars because you were arrested again while you were out on bail. BERNIE Twenty - five grand is peanuts! All you got ta do is get me outta here long enough to collect. BAILIFF The People versus Bernard LaPlante. JUDGE GOINES scowls at the sight of BERNIE moving toward him talking already. BERNIE Your honor, my attorney here says the prosecutor there wants twenty - five grand bail. DONNA looks horrified, the JUDGE furious. JUDGE Mister LaPlante, you will be silent unless the court recognizes you. BERNIE -LRB- continuing grandly. -RRB- - which is fine by me. I got no problem with that at all. In fact, your honor, I'd be proud to double it. Fifty grand! A tip for `` the people,'' your honor, if I could just. GOINES is banging his gavel angrily, glaring at BERNIE, not noticing a SECOND BAILIFF hurry into the courtroom. JUDGE GOINES Mister LaPlante, unless you stop chattering immediately, I am going to ask the Bailiff to. JUDGE GOINES breaks off, eyes furious, as he spots BAILIFF CLAY, the Court Reporter, DE TAGLIO and the SECOND BAILIFF engaged in urgent whispering. JUDGE GOINES DAMNIT! I SAID I WANTED ORDER! CLAY Sorry, your honor. SECOND BAILIFF We got carried away. DETAGLIO They found him. JUDGE GOINES Found who? CLAY The `` Angel of Flight 104''. SECOND BAILIFF It was on the news! Just now! He's gon na be on Channel Four at noon! BERNIE reacts, jaw sagging in disbelief. The JUDGE sneaks a hasty look at his watch. JUDGE GOINES We'll sustain bail at twenty - five thousand dollars. That ought to keep Mister LaPlante out of trouble for a minute or two. DONNA But your honor, my client is a responsible family man with limited resources who. -LRB- PAGE 66 IS MISSING FROM THE SCRIPT. -RRB- GALE But finally you did come forward. Why? BUBBER looks her right in the eyes, gives a sheepish grin. BUBBER/TV The money, Gale. I would n't have come forward at all if it was n't for the reward. GALE'S VOICE -LRB- O.S. -RRB- Cut right there, right on that look!",
"INT. EDIT BAY - DAY REVEAL GALE in an editing room looking over editor JOAN'S shoulder as JOAN freezes the image and makes a note. JOAN You did n't mention he was cute. GALE is staring intently at BUBBER'S modest, humble face frozen on the screen. GALE He saved my life. VIDEO IMAGE -LRB- INT. TV STUDIO -RRB- The humble, honest face of BUBBER, freeze framed as GALE'S VOICE narrates. GALE/TV VOICE OVER - were shocked to learn that the hero who appeared out of the smoke and the fire and pulled them to safety was indigent and tragically had n't slept in a bed in more than three years.",
"INT. DAY ROOM/JAIL - DAY Seeing BUBBER'S honest face on the TV screen in the day room enrages BERNIE. BERNIE The guy's a fake, for Chrissake! He's a goddamn homeless bum. He ai n't no here, trust me on this, buddy. PRISONERS, standing in a group under the TV turn from the screen to BERNIE, like `` who's this asshole?'' A BIG PRISONER glares at BERNIE ominously. BIG PRISONER `` Trust you''!",
"INT. DEAKINS' OFFICE - DAY The office has become command - central. REPORTERS hurry in and out, tearing off faxes, answering the phones, chattering at each other, GALE among them. WALLACE is fretting to DEAKINS. WALLACE I thought they'd all go `` It's him! It's him!'' and hug the guy or something. DEAKINS Relax, Wally. He had the shoe and the shoe checks out. WALLACE Does this mean I can stop worrying? Where'd we put him? DEAKINS Drake Hotel, Penthouse Suite. Never stop worrying. I figure we'll do a sidebar on what it's like to go from sleeping in your car and collecting cans to sleeping in the poshest suite in town. Also Gale's onto something, digging into his background. PARKER rushes up to GALE. PARKER Excuse me, Ms. Gayley. That guy Inspector Dayton. he's recovered a bunch of your credit cards and he wants. GALE Who? PARKER Inspector Dayton, the cop from Robbery Detail who was looking for you. They caught the guy who stole your credit cards trying to sell them and he wants. GALE Nobody stole my credit cards. They burned up in the crash. Which reminds me, did you get me cash? And what about the reservations? -LRB- PAGES 69 - 71 ARE MISSING FROM THE SCRIPT. -RRB-",
"INT. COMMON ROOM/JAIL - NIGHT Surrounded by the jailhouse cacophony, BERNIE stares glumly at a plate of shit on a shingle in front of him while close at hand a TOUGH PRISONER snarls at ANOTHER PRISONER. TOUGH PRISONER #1 You mess with me, I'm gon na cut yer heart out and eat it.",
"INT. FANCY RESTAURANT - NIGHT The CAPTAIN finishes scribbling and seizes the menus. CAPTAIN Very good, sir. It's a special privilege to serve you. BUBBER smiles uneasily as the haughty CAPTAIN glides away. BUBBER Uh, er. I. GALE -LRB- amused and charmed. -RRB- You were saying you do n't want a million dollars. BUBBER -LRB- blurting. -RRB- Well, I'm not entitled to a million dollars. I. I. did n't expect. I did n't expect. GALE All the adulation? It makes you feel like a fake, does n't it? BUBBER Uh, actually. yes. I. should never have come forward and presented myself as - Just then a distinguished MILLIONAIRE on the way to his table barks gruffly at BUBBER. MILLIONAIRE You're a credit to the goddamn human race. Coulda been me in that plane. Or my family. BUBBER Uh, thank you. GALE Instant celebrity is overwhelming to anybody. You've known John Bubber all your life, you're used to him, you know you're the same human being you were before all the excitement. So you feel like a fraud. BUBBER Yes. GALE unworthy of the adoration. We all do. A bluehaired MATRON, extravagantly bejeweled, pauses to loom over BUBBER on her way out. MATRON I'm going to donate a half million to charity in your name. Would small animals be all right? BUBBER -LRB- startled. -RRB- Uh, `` small animals''? MATRON -LRB- delighted. -RRB- I knew a man like you would adore small animals. God bless you, Mister Bubber. -LRB- to Gale. -RRB- And you, my dear, you do so much for women. And then she's gone in a swish of silk, leaving BUBBER stunned. BUBBER Is she. serious? A half a million dollars? In my behalf? GALE You're a celebrity, John. People are going to want to please you. or use you. or both. Bubber hears this, digests it, considers it. He takes a bite of food, thinking.",
"EXT. RESTAURANT - NIGHT As the door to the restaurant opens, BUBBER finds himself blinded by winking electronic flashes and sun guns. A CROWD OF FANS and MEDIA engulf him and GALE. It's overwhelming. WE SEE EAGER FACES and BLINDING FLASHES from BUBBER'S P.O.V. and HEAR the CACOPHONY OF QUESTIONS. GALE too is adrift in a churning sea of MEDIA and ONLOOKERS. POLICE OFFICERS move close to help guide GALE and BUBBER to a waiting limo. ANGLE ON BUBBER'S P.O.V. Again we see the chaos from BUBBER'S P.O.V., A POLICEMAN is reaching to help him. Just then BUBBER glimpses something else. beyond the CROWD in the fringes. HOMELESS PEOPLE in the shadows, some applauding him, too shy to come forward. In particular, BUBBER'S eyes fall on an ungainly MAN, his own age, dressed in rags and carrying a big garbage bag and another net sack full of cans. IT'S A STUNNING IMAGE! It's as though BUBBER is looking at himself! The door to the limo is open. GALE and several POLICEMEN are trying to get BUBBER into the limo and out of the clutches of the enthusiastic CROWD. GALE Come on, John. But BUBBER is n't paying attention to her. He's turning to face the eager CROWD, raising his arms. BUBBER Hey, hey, uh, take it easy. ANGLE ON GALE looking alarmed, then amazed. The CROWD is still alive and buzzing, but they're respecting BUBBER'S space as he accepts an autograph book from a young woman, SYLVIA, and speaks shyly. BUBBER You, uh, want me to sign this? Uh, what's your name? SYLVIA -LRB- weak in the knees, smitten. -RRB- S - sylvia. BUBBER -LRB- almost shy. -RRB- Hey, if I sign this, will you do me a favor? Her COMPANIONS are already teasing her as they thrust pieces of paper, magazines at him to sign. ANGLE ON GALE watching in disbelief. ANGLE ON BUBBER signing one after another as he addresses all those close to him. BUBBER What I'd like is. -LRB- addressing the group. -RRB- - maybe some of the rest of you could help Sylvia here - what I'd like is if you'd scrounge up some blankets - used ones, fifty maybe - and take'em to the folks down at the corner of Fifth and Grand. Pass'em out. Cameras are rolling, GALE watches, amazed. FAT KID Fifth and Grand! SKINNY KID He means the homeless people. The bums. BUBBER It gets cold down there at night. And you'll feel warmer for every person you give a blanket to. GALE'S knits her brow, trying to reconcile this performance with the apparent yokel she had dinner with a short time ago.",
"INT. LIMO/MOVING - MOMENTS LATER BUBBER looks back at the CROWD as the limo pulls away. BUBBER I'll bet they do it. I'll bet they get some blankets. GALE looks at BUBBER, reevaluating him.",
"INT. HOTEL LOBBY - LATER - NIGHT As BUBBER and GALE cross the luxurious lobby, again the center of attention, a GORGEOUS BLONDE, very leggy, practically plasters her plunging neckline against BUBBER. GORGEOUS BLONDE Uplifting! What you did was so uplifting! You're a saint, John Bubber! BUBBER has trouble untangling his eyes from her tits. BUBBER Uh, no. But I, uh, wonder if you could up support. support a program to help the needy and. GALE -LRB- hackles raised. -RRB- John, I'm sure she could support just about anything. -LRB- steering him away. -RRB- I think I'll see you to your room. A sort of bodyguard. Make sure no harm comes to you. GALE ushers the dazed BUBBER toward a bank of elevators and prevents others from joining them in the elevator.",
"INT. ELEVATOR - SECONDS LATER GALE'S mood changes to amusement as she and BUBBER ascend alone. Giggling, she `` points'' her chest at BUBBER. GALE Uh, if you could, just, uh, support, uh, a small airfield. BUBBER -LRB- embarrassed. -RRB- It's been sometime since, uh, I received any, uh, of that kind of, uh. attention. A couple of. years. GALE stops giggling. Their eyes meet. A charged moment. GALE Years? -LRB- then. -RRB- There are going to be lots of. opportunities. BUBBER Gale. you're a very nice person. I would n't want to hurt you. in any way. They're struggling against an embrace that seems inevitable. GALE I. I know that, John. BUBBER You. you think I saved your. life. I ca n't take advantage. GALE You did save my life! And it's me! I'd be taking advantage of you! I'm a reporter, John, an experienced professional. I. Inevitably they embrace, KISS, ca n't help themselves. BUBBER disengages suddenly, distraught. BUBBER I. no. I do n't have the right. I. GALE No, I do n't have the right. You're a news story! BUBBER Uh, right. A. news story. She pushes him out the elevator door. GALE I know the truth, John. I'm flying in some guys from your unit in Vietnam tomorrow. Interviewing them live on network hookup! BUBBER -LRB- stunned. -RRB- Vietnam! GALE Goodnight, John.",
"INT. BEDROOM/DRAKE SUITE BUBBER wanders into the bedroom of the fabulous suite. in a daze. He stares at BERNIE'S shoes on the floor. He shakes his head as if to clear it. TELEVISION SCREEN : INT. TV STUDIO - DAY A fortyish black man, TOM WELLER, appears on the screen. TOM/TV Next thing I know, I'm in this medical unit an' I see the other dude, the one who was with me when we got jumped, the one who I thought was dead. There he is in the next bed. I says `` How'd we get here, brother? We dead or what?'' He says, `` That crazy white brother, Johnny Bubber, he come back for us, hauled us out.'' He shoulda been wrote up, got a medal, but it was fate. Was n't no officers around to observe it or nothing. TELEVISION SCREEN : INT. TV STUDIO - DAY A fortyish redneck type, CHARLIE BACON, is speaking to camera. CHARLIE/TV SCREEN The sonofagun goes out in the paddies, pulling us outta there, one after the other, six guys. Hey, it do n't surprise me one bit it was Johnny Bubber went into that plane! BERNIE VOICE -LRB- O.S. -RRB- Fifty bucks says the asshole was never even in Vietnam.",
"INT. DAY ROOM JAIL - DAY BERNIE is furious, glaring at the TV, surrounded by PRISONERS. TOUGH PRISONER #2 Shut your face, dirt bag. That guy's a goddamn hero and you're nothin' but a cynical little turd. ON THE SCREEN -LRB- INT. TV STUDIO - DAY -RRB- BUBBER is embracing WELLER, CHARLIE and several other VETERANS as GALE narrates. GALE/VOICE OVER/TV After an emotional reunion, Bubber's fellow veterans watched as station manager James Wallace presented Bubber with a check for one million dollars. Surrounded by applauding MEDIA TYPES, SPECTATORS and VETERANS, BUBBER is accepting the check. GALE/TV As Bubber reacted to his sudden wealth, word came that the Secretary of the Army, responding to an urgent resolution from the Senate has conferred on John Bubber the Medal of Honor. This for his actions in Vietnam more than 20 years ago, heroism that was not acknowledged at the time because it was not witnessed or reported by a ranking officer. Later I spoke to him about his sudden change in circumstances. BUBBER appears full screen, head and shoulders, interview footage. He's shy and awkward at first. tentative. then gaining confidence as he speaks. BUBBER/TV Well, I do n't feel. right. about all that money, Miss Gayley. That's too much money for one person. What I'm gon na do is donate, uh, most of it to different organizations like the Homeless Vets and stuff, and start up some programs. to help people. See, when you're out there in the cold like I was, on the streets or sleeping under bridges or in your car, the worst thing, even worse than the hunger and the cold, is the. feeling. that you're just plain. useless. You do n't matter to a single soul in this world, nobody needs you, nobody wants you. MONTAGE : TELEVISION SCREEN AND VIEWERS BUBBER'S INTERVIEW appears on screens in. - HOME - MOTEL ROOM - WHITE HOUSE The PRESIDENT watching. - CHEAP HOTEL LOBBY - SHADOW LOUNGE CHICK watching. - JAIL BERNIE watching. - EVELYN'S LIVING ROOM JOEY, EVELYN, and ELLIOT watching. - PRISON INMATES, their tough faces momentarily solemn, watching. - WINSTON'S APARTMENT WINSTON smacks the TV he bought from Bernie to adjust the color. ON THE SCREEN -LRB- INT. TV STUDIO - DAY -RRB- BUBBER/TV I guess when I. did what I did. I was trying to save my own life more than anything else. Trying to connect myself with people again and be. part of the whole. You have to help others to do that, you need a role to, play. even if it's a very humble role, it gives you self worth.",
"INT. DEAKINS' OFFICE -LRB- NOTE : Bubber dialogue, additional or as above continues throughout scene -RRB- GALE, her editor, JOAN, DEAKINS, WALLACE, CHUCKY, PARKER, and CONKLIN are crowded around the monitor staring at the screen. JOAN catches GALE surreptitiously hiding a tear and whispers to her. JOAN Is he like that in real life? So gorgeous? GALE He's pretty. remarkable. JOAN -LRB- eyes widening at the thought. -RRB- You did n't. get it on with him? GALE Do n't be ridiculous. I'm a reporter. JOAN Reporters do n't have hormones? GALE Reporters. have to. rise above their hormones. ANGLE ON DEAKINS, WALLACE reacting to BUBBER on TV. WALLACE is impressed. WALLACE The guy's. a natural. DEAKINS rolls his eyes, a cynical, hardened newsman. ANGLE ON TV SCREEN -LRB- INT. TV STUDIO - DAY -RRB- GALE/TV/VOICE OVER I asked John Bubber about the Medal of Honor. BUBBER/TV As far as the medal goes, well. that medal's for something me and my buddies did almost twenty years ago in Viet Nam. So if I'm a war hero today then I was a war hero last week when I was selling cans and sleeping in my car. when I did n't have a medal. I do n't think a medal makes a hero. You do n't need machinegun fire or burning planes to be. brave. People do heroic acts every day only there's nobody around to take their picture or decorate them. Little things can be heroic. Helping someone day in and day out, giving up your life a little every day instead of all at once. to help. Maybe. maybe we're all heroes. MONTAGE - DAY Across the nation solemn FACES reflect the glow of the TV screen. YOUNG FACES, OLD FACES, BLACK, WHITE, BROWN, YELLOW. - HOME - BARBERSHOP - ELECTRONICS SHOWROOM - BAR - JAIL CELL - SKID ROW HOTEL LOBBY",
"INT. DAY ROOM - JAIL - DAY And BERNIE LAPLANTE'S FACE. He's glaring at the screen in the Day Room of the Jail, sputtering helplessly. BERNIE We're all heroes, huh? Asshole! Just then a GUARD enters the Day Room and belows. GUARD LAPLANTE, BERNARD. LAPLANTE? BERNIE Me? GUARD Ya made bail, Ace. C'mon, let's go. BERNIE looks startled. WELLESIAN VIDEO - TV SCREEN News coverage of the crash and photos of Bubber are ZOOMED, DISSOLVED, WHIRLED and SPUN into a glittering promo while a stentorian WELLESIAN VOICE brays excitedly. WELLESIAN VOICE/TV John Bubber himself! Along with twenty of the real survivors of flight 104! See the real life participants re - enact the terrifying drama inside the burning plane.",
"INT. SUITE/DRAKE HOTEL - DAY BUBBER is staring at the TV screen wide - eyed with amazement as the promo continues on the screen ON SCREEN -LRB- WELLESIAN VIDEO -RRB- WELLESIAN VOICE/TV Out of the darkness, out of the fire, out of a nightmare of fear. came The Angel of Flight 104. John Bubber saved fifty - four people. This is his story and theirs. A drama featuring the actual people who actually lived those moments of terror. No make - up, no music, no actors. This is the real thing. Thursday night. Channel - Four. Be there! On Screen the Channel Four logo blends exotically with `` The Image''.",
"INT. SUITE/DRAKE HOTEL - DAY A dismayed BUBBER dials the telephone.",
"INT. DEAKINS' OFFICE - A LITTLE LATER - DAY DEAKINS and WALLACE walk, deep in conversation, WALLACE upset. WALLACE Upset! What's he upset about? DEAKINS Said he's not an actor. WALLACE He's not supposed to be an actor, that's the whole point. He's a real life hero, all he has to do is act like a real life hero. That's the beauty of the concept, the whole freshness of it. Did she call him back? DEAKINS She's talking to him now. WALLACE We paid him a million dollars. You'd think he'd want to cooperate a little, help our ratings. DEAKINS responds eagerly to GALE entering the office. DEAKINS How'd it go? GALE He'll do it. -LRB- to Wallace. -RRB- You really - should have talked to him first. WALLACE He might have said no.",
"INT. CORRIDOR/HALL OF JUSTICE - DAY BERNIE charging through the crowded Waiting Room having just been released on bail. He does n't actually shove the WOMEN and CHILDREN waiting to visit inmates out of the way, but he does n't slow down either as he weaves rapidly among them with DONNA on his heels, barely able to keep pace. He does n't look back as he speaks rapid - fire. He's really pissed. BERNIE Whaddaya mean they did n't reduce the bail? If they did n't reduce it, how ` dja spring me? DONNA -LRB- a deep breath, embarrassed. -RRB- I took a loan on my car and my computer. BERNIE -LRB- actually stops, faces her. -RRB- You whaaaaaat? You paid it? You gave a bondsman ten percent? DONNA I was inspired by the hero, how he stuck his neck out for others, how he took a chance. BERNIE -LRB- apoplectic. -RRB- That fake inspired you to loan a guy who's been fired off his job twenty - five hundred goddamn dollars? A guy you say is probably gon na do time! You're s ` posed to be an attorney for Chrissake! You're s ` posed to have good judgment! DONNA -LRB- fighting tears. -RRB- Well, as you like to point out, Mister LaPlante, I'm relatively inexperienced. My naivete may have worked to your benefit in this instance. BERNIE frowns at that, starts walking again. BERNIE Well, you're right, I'm glad you got me out, I appreciate that. BERNIE charges out the door, exiting the building with DONNA right behind him.",
"EXT. HALL OF JUSTICE - DAY Hurrying down the steps, BERNIE barks over his shoulder at DONNA. BERNIE Listen, now that I owe you twenty - five hundred bucks plus, how about loaning me twenty for cab fare? DONNA So you can call me `` naive,'' Mister LaPlante. BERNIE Hey, you could call me `` Bernie,'' forget the `` Mister LaPlante'' stuff. -LRB- seeing Donna open her wallet. -RRB- You are naive. DONNA I read the probation report. It's not good. I think you're going. going to prison, Mister. Bernie. I know that scares you but. BERNIE TAXI! HEY, TAXI! -LRB- turning on her. -RRB- Well, at least I'm gon na get my goddamn million bucks. -LRB- screaming at a cab. -RRB- TAXI FOR CHRISSAKE! A cab pulls to the curb and BERNIE jumps in, talking. BERNIE I seen on the TV where that do - gooder asshole's gon na go visit sick kids at three - thirty. -LRB- to the Cabbie. -RRB- Children's Hospital, on the double. DONNA -LRB- alarmed. -RRB- You mean John Bubber? BERNIE speaks out the window of the cab as it pulls away. BERNIE -LRB- then, through the window. -RRB- That bozo do n't just owe me a million bucks for my shoe, he's a goddamn menace! Look what he done to you! He's makin' people insane. He's a whacko, he' got ta be stopped. Stunned, DONNA watches the cab disappear in traffic with BERNIE raving from the open window.",
"EXT. CHILDREN'S HOSPITAL - LATER (DAY) Limos are parked out front of the hospital and there is a gathering of TV vans as BERNIE exits a cab and charges toward the entrance of the hospital, a tiny figure dwarfed by the huge building. He disappears inside.",
"INT. CORRIDOR/CHILDREN'S HOSPITAL We discover BERNIE wandering around, lost. A NURSE gives him a glance in passing and BERNIE suddenly is aware that his appearance is unusual. Disheveled. Unshaven. He tries to smooth his hair a little as he turns into a doorway.",
"INT. SPECIAL CHILDREN'S WARD/CHILDREN'S HOSPITAL Stepping through the door BERNIE is immediately horror stricken. Rows of beds. A room full of seriously SICK CHILDREN. Palsied. Eyes out of sync. Motor disorders, spasms. Terrifying paraphenalia. tubes, machines, monitors, bags of fluid. A place of sUffering. To BERNIE it's a vision of a leper colony! A SEVEN YEAR OLD spots him, clutches at him with clawlike hands, jerky movements. BERNIE recoils in horror, backing away. A FIVE YEAR OLD, `` blinded'' by the gauze wrapped around his face `` looks'' toward BERNIE and speaks. \"BLIND\" CHILD'S VOICE -LRB- O.S. -RRB- Is that him? Is he here yet, Miss Roberts? An EIGHT YEAR OLD with a bandaged arm responds, looking at BERNIE. EIGHT YEAR OLD Naw, it's just some guy. A nurse MISS ROBERTS, appears from behind a curtain suddenly and restrains the SEVEN YEAR OLD as she addresses BERNIE. MISS ROBERTS Excuse me, sir. Can I help you? BERNIE Uh, well I. what I. Looks `` wrong,'' acts `` wrong.'' Looks like a child molester! MISS ROBERTS You'll have to leave,, sir. This ward is off limits. If you want to arrange a visit. Just then a couple of CAMERAMEN back through the door shooting. It's the head end of an entourage of REPORTERS, CAMERAMEN, HOSPITAL PERSONNEL and a couple of SECURITY GUYS that are traveling with BUBBER. BERNIE is bumped backward by a CAMERAMAN just as he sees BUBBER enter surrounded by MEDIA PEOPLE. BERNIE'S P.O.V. seeing BUBBER unhesitatingly reach out to the grotesque SEVEN YEAR OLD and lift him into is arms, eyes shining with warmth, smiling genuinely like he likes picking up hideous looking kids. ANGLE ON MISS ROBERTS tapping one of the SECURITY OFFICERS on the shoulder and indicating BERNIE to him. ANGLE ON BERNIE remembering why he's here. It's not going to be as easy as he thought. He starts to move through the entourage looking very out of place. BERNIE Excuse me, pal. Uh, couldja lemmee through here? Thanks I. THE SECURITY OFFICER is suddenly between BERNIE and his destination. SECURITY OFFICER You got ta press pass, sir? BERNIE Press pass? Uh, hey, I lost it. Listen. ANGLE ON BUBBER holding the SEVEN YEAR OLD. Smiling broadly, the child radiates joy in the warmth of BUBBER'S embrace, his grotesqueness miraculously minimized by his mood. BERNIE -LRB- O.S., diminishing. -RRB- GETCHER GODDAMN HANDS OFFA ME. ALL I WAN NA DO IS TALK TO THE GUY. BUBBER and everybody turn toward the sound of the commotion. BUBBER'S P.O.V. of an unidentified MAN -LRB- BERNIE -RRB-, obscured by the bodies of the two SECURITY OFFICERS who are hurriedly hustling him off the ward. BERNIE -LRB- O.S. -RRB- HEY, HOLD ON, BUDDY. THIS IS AMERICA FOR CHRISSAKE! I GOT RIGHTS! BUBBER is frowning when a DOCTOR reassures him. DOCTOR All under control. An unfortunate man. Security will look after him. BUBBER nods and turns back to SICK KIDS who seem transfigured from BERNIE'S gruesome vision to children radiant with hope. Much of their appearance, at least, was attitude, despair. ANGLE ON BERNIE A solitary figure.",
"INT. WARD/HOSPITAL - DAY A 14 year old ALLEN lies comatose in an intensive care room, tubes in his nose, arms, and chest, monitors all around him, his arms and legs in casts and traction. BUBBER leans over the unconscious boy speaking intensely while a DOCTOR hovers next to him and REPORTERS and CAMERAMEN jockey for position at the foot of the bed. BUBBER Listen, kid, you got ta hang on. I know you're scared, we all get scared, but that's when you have to fight. DOCTOR. says. I'm afraid he ca n't hear you. He. BUBBER He can hear me. As he leans closer to ALLEN, BUBBER puts a hand out without turning away from the boy, and waves away CHUCKY who has oozed in close with his camera. This is private. Understanding, GALE puts a hand on the lens and pushes the camera aside. BUBBER Listen. -LRB- eyes flicking to Allen's I.D. bracelet. -RRB- Allen, you're in the darkness there and it's scary. The doctors are working on you but the tough part is for you. You ca n't quit! GALE ca n't hear what BUBBER is saying as he leans even closer to ALLEN and grips the boy's hand. CLOSE ON BUBBER AND ALLEN BUBBER I know you do n't know it, but you're a hero. Sometimes you do n't know how brave you are. and sometimes you do n't know. you can do something. until you. until you surprise yourself and. do it. But I know you've got the stuff, I know it in my heart. I want you to struggle kid. for yourself, for all of us. -LRB- vulnerable. -RRB- For me. I. I really need you to do this for me. I need you to get well, Allen. Did an eyelid flicker? Did the boy hear? GALE'S eyes glisten with emotion as BUBBER rises, shaken.",
"EXT. HOSPITAL - DAY A CROWD is waiting for BUBBER, MEDIA PERSONNEL among them. BERNIE comes up behind a TV CAMERAMAN and taps his shoulder. BERNIE Hey, buddy, you're with the media, right? I got a story for you. Something fantastic. That guy Bubber, he's a fake, he. THE CAMERAMAN is turning to consider BERNIE when there's a sudden EXCITEMENT. The CROWD surges toward the hospital entrance. VOICES cry out `` He's coming! Here he comes!'' THE CAMERAMAN turns toward the doors leaving BERNIE helpless, caught in a surging tide of people. BERNIE HEY! WATCH OUT! HOLD ON! FOR CHRISSAKE!",
"INT. LOBBY/CHILDREN'S HOSPITAL - DAY BUBBER and his entourage of DOCTORS, MEDIA PEOPLE and SECURITY GUARDS are surging toward the front door of the hospital like an excited amoeba. GALE is close to BUBBER in the crush. GALE -LRB- emotional. -RRB- You were. very. inspiring. BUBBER -LRB- alarmed. -RRB- A script! I thought we just walked through everything. GALE Read it. It'll be fine. They're being swept through the front door of the hospital, the whole amoeba. A CHEER GOES UP.",
"EXT. FRONT STEPS/HOSPITAL - DAY BERNIE is being tossed about like a cork in stormy seas. Buffeted about by happy ONLOOKERS full of good will, only BERNIE is surly, obnoxious. BERNIE Quit shovin', lady. Hey, watch yer elbow. YOU'RE ALL NUTS FOR CRYING OUT LOUD! WHATSA MATTER WITH YOU? ANGLE ON BUBBER being jostled as his BODYGUARDS are shoved back into him, CAMERAS push toward his face, HANDS reach out desperately for him. But, in a dramatic contrast to BERNIE, BUBBER thrives on the energy, laughing, reaching out to touch the hands that reach for him, thriving on the vibe. TEENAGE GIRL I LOVE YOU, JOHN BUBBER! BUBBER HEY, WE ALL LOVE EACH OTHER, DO N'T WE? OLD WOMAN ONE GOD BLESS YOU, JOHN! GOD BLESS YOU! BUBBER GOD BLESS US ALL! BERNIE'S VOICE -LRB- O.S. -RRB- YA GODDAMN PHONY! BUBBER stiffens imperceptibly. Dld he hear that right? Was there a discordant note in the cacophony' of VOICES singing his praises from every direction? BUBBER'S POV A sea of shining faces filled with love and admiration surges in front of him. And yet, that VOICE again, a sour note of contraction. BERNIE'S VOICE -LRB- O.S. -RRB- BUBBER, YA GODDAMN FRAUD! THAT'S MY SHOE AND MY MONEY! ANGLE ON BUBBER Hearing it, looking around urgently, but all he sees are ADMIRERS thrusting at him as he's borne, as if on a tide, toward his limo. Nobody else seems to have noticed BERNIE'S VOICE.",
"INT. WAITING LIMO As the door slams shut, the cheering is suddenly faint. BUBBER sinks back in the opulent seats while FACES distort themselves against the smoked glass, trying to peer into the sanctuary. Then, as the limo pulls away, BUBBER hears the VOICE again muffled by the thick glass. He turns, looks out the rear window. He sees the CROWD receding behind him, a confusion of SPECTATORS and. is that that hitchhiker -LRB- BERNIE -RRB- being restrained by a COP? ANGLE ON BUBBER Shaken and frowning with concern, he turns away from the scene now out of view behind the moving limo. Alone in the luxurious leathered sanctuary, he realizes his hands are shaking as he reaches for the manila envelope GALE gave ; him and tears it open. He stares at the script titled THE ANGEL OF FLIGHT 104.",
"EXT. CHILDREN'S HOSPITAL - DAY As the happy CROWD disperses, an enraged BERNIE is facing a COP. BERNIE. says. Do n't tell me what I can and ca n't say. This is America. COP -LRB- laughing. -RRB- Hey, suit yourself, buddy. If it makes you feel better to insult a man who's worth about a thousand of you, go ahead. Like he says, `` We're all heroes,'' pal. Even you. BERNIE Bullshit! What a lotta bullshit! COP Okay, have it your own way : you're not a hero. -LRB- PAGE 92 IS MISSING FROM THE SCRIPT. -RRB- ANGLE ON BERNIE blinking, as the T - shirts magically feature BUBBER again, smiling, heroic. BERNIE wonders if this is hell.",
"INT. SHADOW LOUNGE - NIGHT Behind the deserted bar, CHICK looks from the TV set as BERNIE enters, weary and bedraggled, the strut gone. Bernie holds up his hands defensively. BERNIE Hey, I do n't blame you for bein' sore. I know I screwed up gettin' busted in here. You got a right to throw me out. CHICK I'm not gon na throw you out, Bernie. CHICK is fixing a seven and seven. He puts it on the bar. BERNIE hesitates, then steps to the bar, takes a drink. BERNIE Thanks, Chick. I appreciate it. REPORTER/TV -LRB- O.S., VOICEOVER. -RRB- The doctors who had believed the boy had little or no chance for survival, now predict a slow but complete recovery. CHICK glances up at the TV screen and BERNIE looks too. ON THE TV SCREEN -LRB- INT. WARD/HOSPITAL - DAY -RRB- news footage shows young ALLEN in his hospital bed, still engulfed in tubes and life support equipment, but conscious now, smiling bravely for the CAMERA while a REPORTER narrates.",
"INT. SHADOW LOUNGE - NIGHT ANGLE ON CHICK eyes on the TV, shaking his head in wonder. CHICK Helluva guy, ai n't he? Vietnam, plane crash, now miracles. BERNIE stares at the screen lost in thought.",
"EXT. VIDEO STUDIO - DUSK A sign over the door says `` STAGE ONE/CHANNEL 4.'' Further down, on the door itself a sign says `` NO ADMITTANCE / AUTHORIZED PERSONNEL ONLY'' UNIFORMED POLICE linger around the door, surrounded by FANS and BUBBER'S limo waits at the curb, his DRIVER lounging by the door. DAYTON -LRB- we saw him earlier in the courtroom -RRB-, is making his way through the knot of ONLOOKERS and MEDIA PERSONNEL gathered around the limo and in front of the entrance. Approaching as if to enter, he is confronted by one of the several UNIFORMED POLICEMEN guarding the doorway. POLICE OFFICER Sorry, sir. Closed to the public. -LRB- Dayton is reaching for his fold. -RRB- No media either, sir, they're taping a show and. Oh, right. Sorry about that, Inspector. DAYTON is flashing his badge fold as the POLICEMAN hastily opens the door for him.",
"INT. STAGE ONE - NIGHT DAYTON enters the sound stage and sees the mock - up bathed in hot light in the middle of the darkened stage, surrounded by shadowy cameras and TECHNICIANS. The SURVIVORS are visible in the skeletal plane, rehearsing. DAYTON settles in the shadows, out of earShot, watching. ANGLE ON BUBBER Approaching GALE who's lying `` helplessly'' among the seats. He looms over her, his face obscured by `` mud'' make - up, hesitates. She whispers helpfully. GALE Now you lean down and free me from the seat. I was caught and. that's it. Good. BUBBER bends down, starts to `` free'' her, a troubled look on his face. He is struggling with something emotionally. GALE Now you help me up. Boy, you seem. taller. It must be psychological. now that I know you saved my life. BUBBER -LRB- lifting her. -RRB- Gale! I ca n't go through with this! It's. it's all wrong!' GALE You're doing fine. You did n't actually lift me though. It was more like you supported me. BUBBER -LRB- supporting her. -RRB- That's not what I mean. GALE There, like that. Kind of, uh, sexy. -LRB- with meaning. -RRB- You can support me anytime, John. BUBBER Gale. GALE -LRB- giggle. -RRB- I just remembered. You were talking about bodybuilding and swearing. BUBBER Bodybuilding! THE DIRECTOR'S VOICE booms over the speaker from the booth. DIRECTOR'S VOICE -LRB- O.S. -RRB- WE DO N'T WANT ACTING, AS I SAID. BUT WHEN WE DO A TAKE, GUYS, PLEASE DO N'T LAUGH, OKAY? IT HAS TO PLAY SERIOUS. IT WAS A VERY SERIOUS THING. -LRB- a beat, then. -RRB- UH, ALSO, JOHN, MAYBE YOU COULD LIFT HER MORE, SORT OF CARRY HER. I KNOW THAT MAY BE BENDING REALITY JUST A TEENSY BIT, BUT IF YOUR JOURNALIST'S INTEGRITY CAN HANDLE IT, GALE, I THINK IT WOULD `` PLAY BETTER'' ON THE SCREEN. -LRB- then, to all of them. -RRB- OKAY, GANG, LET'S RUN THROUGH IT FROM THE TOP ONE MORE TIME, THEN WE'LL DO A TAKE. ANGLE ON DAYTON Watching, impassive. ANGLE ON BUBBER Lifting GALE, uncomfortable. BUBBER It's not right, Gale. GALE -LRB- misunderstanding again. -RRB- It's no big deal, it just looks better carrying me. Oh, you mean because I was n't carrying my purse at the time. GALE has a purse under one arm. GALE -LRB- suddenly serious, eye contact. -RRB- You're an inspiration, John. You're making us better human beings. Less cynical. More open, more giving. Do you realize that? BUBBER starts to say something again, but the moment for confession has passed, they're approaching LESLIE who is applauding along with the other SURVIVORS, tears in her eyes. LESLIE You leave her here. and you. -LRB- sob. -RRB- go back in again. BUBBER nods and starts grimly back up the slope, trapped in his heroic role.",
"INT. SHADOW LOUNGE - NIGHT BERNIE is sitting moodily at the bar while CHICK washes glasses and the TV DRONES. BERNIE is wrestling with a thought. He breaks the, silence finally. BERNIE What wouldja say if I toldja I ran into a burning plane an' saved a buncha people, Chick, an' risked my goddamnlife? CHICK You mean like Bubber? The hero? BERNIE Yeah, like that. Same thing. CHICK Well. I mean. what am I supposed to say here, Bern? Is this a riddle or what? BERNIE I mean, if I said it, wouldja believe me? -LRB- then. -RRB- Ya would n't, would ya? CHICK It's a character thing, Bernie. I mean, you would n't do it. No offense. Me neither. I mean, a guy like Bubber, he's a certain kinda guy. Heroic. You and me, we're not. heroic. It's not our nature. It do n't mean we're bad or nothing. We're just not so inclined. What about it? BERNIE Nothin'. CHICK I would n't be depressed about it, Bern. A guy do n't have to be heroic to be a human being. BERNIE The thing is, Chick. I'm goin' down. CHICK Down. You mean jail? For that credit card stuff? For Chrissake, Bernie, your lawyer. BERNIE, Not jail. Prison. And not that credit card bullshit, that's nothin'. I got a conviction. Sentencing tomorrow. Some cases of paint I got involved with. Latex. I see this parole officer, he writes a report to the judge says I'm `` anti - social.'' CHICK `` Anti - social.'' Jesus, Bernie. How much paint are we talking about? BERNIE -LRB- grimly. -RRB- A lot.",
"INT. STAGE ONE - NIGHT DAYTON unnoticed among the shadows, as the YOUTHFUL DIRECTOR addresses the assembled SURVIVORS. DAYTON focuses on GALE. YOUTHFUL DIRECTOR That's a wrap, guys. I want to thank you all. I think we did something very important here this evening. BUBBER is looking for GALE, spots her fifteen yards away. BUBBER'S P.O.V. - A BLACK MAN is showing GALE something, a badge fold, saying something to her. ANGLE ON BUBBER reacting. A frown. he starts to move toward them but a MAKE - UP ARTIST approaches him insistently. MAKE-UP ARTIST Just let me get that gunk off your face, Mister Bubber. BUBBER Uh, it can wait, I. His eyes on GALE and DAYTON, BUBBER is disengaging from the MAKE - UP ARTIST when SUSAN suddenly blocks his way, holding up a DOLL, a shy KELLY in tow. SUSAN Mister Bubber. uh, John. Kelly wants you to sign an autograph for John Jr.. BUBBER finds himself facing a JOHN BUBBER DOLL, sees KELLY peering up at him hopefully. What can he do? He's a patsy. ANGLE ON GALE as DAYTON speaks to her. DAYTON Wo n't take more than ten minutes. Fifteen at the most. I'll buy you, a cuppa coffee down the street. ANGLE ON BUBBER Handing the autograph to KELLY and looking toward the spot where GALE was. BUBBER'S P.O.V. - DAYTON AND GALE walking toward the exit. ANGLE ON BUBBER calling out, starting after them. BUBBER Gale! Just then SMITH rushes up to him, blocking his way. SMITH I breathe, I see the sun, I thank you. God bless you. I'm alive because of you, every moment of life I owe to you. BUBBER looks at his grateful face. What can he say? He looks toward the exit. BUBBER'S P.O.V. GALE and DAYTON have disappeared. ANGLE ON BUBBER eyes full of despair as other grateful PASSENGERS engulf him.",
"INT. COFFEE SHOP - LATER (EVENING) Credit Cards are spread out on the formica table top in the booth where GALE and DAYTON face each other. GALE How. how does this, whatsisname, the `` sleazebag,'' say he got my cards? DAYTON LaPlante? Ha! Which version? This bozo has more stories than a newspaper. In one of them, he's `` the angel of Flight 104!'' He pulls you off the plane, saves your purse for you, but forgets to return it. That's Version 63. In Version 64, he kept it to pay for his `` hundred dollar shoes.'' The guy's a bullshit artist, he's already got a sentence pending for dealing stolen goods. -LRB- leaning forward, whispering. -RRB- Listen, I know. this is pretty off the wall. that guy, the hero, Bubber. he was a homeless guy, right? Down on his luck? He could n't have swiped the wallet, could he? While he was rescuing you? And sold it to this guy LaPlante? GALE -LRB- raised eyebrows. -RRB- John Bubber risks his life to save me and fifty - four other people and. swipes my purse? DAYTON Too far - fetched? I mean, I'm not trying to make problems for John Bubber, I just want to make sure this creep LaPlante does some meaningful time. If we ca n't figure out how he got the cards, it makes it more difficult. GALE Tell me more about him.",
"INT. LIVING ROOM/EVELYN'S HOUSE - NIGHT JOEY is sprawled on the living room floor, surrounded by homework, his eyes on the TV set. EVELYN, on the sofa, looks up from her book and catches JOEY watching the TV. EVELYN Homework. You're doing homework, remember? The phone rings and EVELYN gets up and goes for it. EVELYN -LRB- to Joey. -RRB- Homework, homework, homework! No homework, no zoo trips, no movies. -LRB- into phone. -RRB- Hello. -LRB- then, very cold. -RRB- He's doing his homework. JOEY looks up from his homework.",
"INT. PHONE BOOTH/SHADOW LOUNGE - NIGHT BERNIE is talking into the phone urgently. BERNIE Look, I'm going away, I just wan na say goodbye to. never mind where. I just wan na say. He ca n't call me back later, my phone's disconnected.",
"INT. LIVING ROOM/EVELYN'S HOUSE - NIGHT EVELYN covers the mouthpiece and turns to JOEY. EVELYN It's your father. If you do n't talk to him, he's going to call all night.",
"INT. PHONE BOOTH/SHADOW LOUNGE - NIGHT BERNIE Hey, Joey, how ya doin', pal, it's me. Your old man. You get the twenty dollars? What? -LRB- listens. -RRB- Well, she's right on that, Joey, that's the best place for it, a college fund. I was gon na tell ya that myself. Look, about how I did n't show up the other night I. what? -LRB- he listens. -RRB- You seen me out the window. -LRB- listens. -RRB- One shoe, yeah and the mud. So you thought I mighta been the heroic guy, huh? -LRB- a beat, then. -RRB- An' what'd she say when you? `` Against my religion,'' huh? -LRB- he struggles, then. decisive. -RRB- Well, you know Joey, this kinda stuff, we got ta talk about it some time, man to man. But I got ta go off on this - this damn business trip now. for a while. So. so I wo n't be seein' you. What you got ta do, you got ta listen to your mother, she's smart, very smart, knows what's best for you and. -LRB- reacting. -RRB- No, no, no, it ai n't'cause I do n't like you, Christ! I mean, not `` Christ,'' you know. I mean I do n't wan na go on this business thing, I love you Joey, but I got ta! That's part of growing older, all these goddamn. -LRB- pardon the vulgarity. -RRB- business things you have to do. Which reminds me, this `` hero'' business. one of the things you learn as you get older is that life gets very complicated. weird actually. people are n't exactly like they seem. nothing is. life gets unbelievable. this is normal as you grow older and. huh? I was talking to Joey.",
"INT. EVELYN'S HOUSE - NIGHT EVELYN Your son actually wants to spend time with you. If you let him down this time after popping back into his life.",
"INT. PHONE BOOTH/SHADOW LOUNGE - NIGHT BERNIE Ev, you got ta understand, it's this. this goddamn business trip, no wait, do n't hang up, Ev, just a sec, listen, I just wan na say one thing, okay? One thing! -LRB- with some effort. -RRB- I know I kinda act like an asshole sometimes. I know that. I know you were a good wife. I know I fucked it up. I had a good thing an' I blew it. I just want you to know I know that, okay? I got ta go now. Business trip. It's gon na be a while. BERNIE hangs up.",
"INT. EVELYN'S HOUSE - NIGHT EVELYN stares at the phone as though it had changed into a piece of fruit before her eyes! Bernie said that?",
"INT. HALLWAY/APARTMENT BUILDING - MOMENTS LATER (NIGHT) WINSTON -LRB- who bought Bernie's TV -RRB- has opened his door just a crack to address GALE and CHUCKY. It says `` Manager'' on the door. WINSTON LaPlante! That asshole! I do n't. Hey, is that you, from the tee vee? In person? GALE We're from Channel Four, yes. We'd like to find - WINSTON `` This is Gale Gayley for Channel Four News!'' Incredible. Unbelievable! For Bernie LaPlante! He's a celebrity now?'Cause he stole paint? GALE We could n't find his name on the buzzer or on the mailbox, but. WINSTON pushes past them out the, door and into the corridor. WINSTON `` Low profile.'' That's his big motto! He do n't put his name on anything. Come on, we'll go look. GALE sees WINSTON trundling down the corridor toward the stairwell.",
"INT. STAIRWELL - MOMENTS LATER (NIGHT) WINSTON waddles up the stairs with GALE and CHUCKY on his heels. GALE Should n't we have buzzed him to let him know - WINSTON Half the time he do n't answer even if he's home. Know why?'Cause he do n't want no bill collectors to find him. I do n't mean to be judgmental, but he's a scumbag. He do n't have no friends. Who's gon na like a creep like LaPlante? I was doin' him a favor on the TV outta kindness, and he screwed me. You know what color skin you get on my set, Miss Gayley? Purple! That's what color skin you got on the tee vee LaPlante sells me! During the climb, GALE'S BEEPER goes off. She shuts it off.",
"INT. UPSTAIRS CORRIDOR/APT. BUILDING - MOMENTS LATER BANG! BANG! BANG! WINSTON pounds on the door to 5A while GALE and CHUCKY hover behind him anxiously. WINSTON Bernard! Bernard! Hey, LaPlante, open the door. Television Interview! Fame and fortune. Open up, Bernard. WINSTON pulls a ring of keys from his belt and unlocks the door. WINSTON Hope the silly bastard did n't kill himself. He's all upset about this sentence he got. He's going to prison. -LRB- to Chucky. -RRB- That a camera you're carrying? If he killed himself, you could take pictures.",
"INT. BERNIE'S APARTMENT WINSTON, GALE and CHUCKY enter the tiny charmless living room. As WINSTON disappears into the bedroom ; GALE glances around, notices something. A cheap commercial photo of BERNIE with JOEY at the zoo. Studying it, she considers BERNIE'S face. WINSTON re - enters from the bedroom. WINSTON No dead body. Too bad. Not too often you guys get pictures of a body even before the cops get there. Exclusive! GALE I wonder if you'd mind if we waited for him here, Mister Winston. Surprised, CHUCKY gives her a sharp look, like `` what's up?'' WINSTON What's he gon na do, sue? You people, you're the media. WINSTON exits, closing the door behind him. CHUCKY We're gon na wait here? The guy could be hours. GALE Maybe, maybe not. I have a feeling this guy is important somehow. CHUCKY Hey, listen, great that you're a career - fiend, I got a wife and family, I. GALE You're lucky, Chucky, you. OW! GALE has flopped down on BERNIE'S ratty sofa. CHUCKY What's the matter? GALE This sofa is a lethal weapon. The springs. are. the springs. what? GALE is digging behind her on the sofa. She pulls out The silver Mike Award and stares at it, dumbfounded. CHUCKY What is it? GALE -LRB- stunned. -RRB- The. Silver. Mike. Award! CHUCKY This guy LaPlante won an award? GALE -LRB- staring at the inscription. -RRB- `` For Excellence in the Pursuit of Truth.'' CHUCKY -LRB- amazed. -RRB- LaPlante! BERNIE Who the hell are you? What's goin' on here? BERNIE is standing in the doorway, scowling at CHUCKY. But before the astonished CHUCKY can respond, GALE turns, revealing her face. BERNIE You! GALE Camera, Chucky. Are you Bernard LaPlante, sir? What is your relationship with John Bubber? BERNIE -LRB- indicating chucky. -RRB- Turn that thing off. GALE -LRB- holding up the Silver Mike. -RRB- How did you acquire this, Mister LaPlante? BERNIE How do ya think I got it, for Chrissake? -LRB- to Chucky, indicating the vidpak. -RRB- Hey, put that thing down. This is my goddamn apartment, you ca n't just. GALE What's your scheme, Mister LaPlante? What are you forcing John Bubber to do? What are you -? The door bursts open and WINSTON rushes in hysterically. WINSTON HE'S GON NA JUMP! BUBBER'S GON NA JUMP! IT'S ON CHANNEL THIRTEEN! CHUCKY Thirteen! TV IMAGE -LRB- EXT.. DRAKE HOTEL - P.O.V. OF LEDGE - NIGHT -RRB- Weirdly distorted colors. A shaky long lens shot -LRB- news camera -RRB- reveals a bright green BUBBER standing on a ledge fifteen stories up while a REPORTER narrates urgently. CHANNEL 13 REPORTER -LRB- V.O. -RRB- - say that they can not rig a net below him because they are afraid it will trigger his decision to jump. Bubber has said repeatedly he will only talk with Gale Gayley a local television reporter. GALE'S VOICE -LRB- O.S. -RRB- Oh my God! REVEAL : INT. WINSTON'S APARTMENT - NIGHT Where GALE, flanked by BERNIE, CHUCKY, and WINSTON, is staring in horror at the lurid color image on the TV BERNIE sold to WINSTON. VIDEO IMAGE -LRB- EXT.. DRAKE - NIGHT -RRB- CHANNEL 13 REPORTER/TV -LRB- continuing. -RRB- So far, attempts to reach Ms. Gayley have not succeeded.",
"INT. WINSTON'S APARTMENT - NIGHT ANGLE ON GALE GALE -LRB- to Winston. -RRB- Your phone! Quick. As WINSTON shows her the phone, BERNIE scowls at the TV. BERNIE He's green for Chrissake! As GALE punches digits on the phone, WINSTON turns back to BERNIE. WINSTON No shit! You took advantage of me, LaPlante. It's a piece of shit. BERNIE You got ta tune it, ya bozo. You got ta adjust it. BERNIE is adjusting the television color. VIDEO IMAGE -LRB- EXT.. DRAKE HOTEL - NIGHT -RRB- CHANNEL 13 REPORTER/TV Meanwhile, as you can see, a crowd has gathered here at the hotel, many of them in tears, pleading aloud with John Bubber not to jump.",
"INT. WINSTON'S APARTMENT - NIGHT ANGLE ON GALE speaking urgently and privately into the phone. GALE For God's sake, tell him I'm on my way. -LRB- she slams down the phone. -RRB- Let's go, Chucky. A police escort is gon na pick us up en route. You too, LaPlante. BERNIE Me! GALE If you're not in the car in ten seconds, I'll have the cops pick you up. BERNIE The cops! What kinda bullshit is this? Is this America or -? GALE -LRB- urgent, inspiration. -RRB- Here! Here. ten, thirty, fifty bucks. How much have you got, Chucky? Give Mister LaPlante your money. GALE shoves cash into BERNIE'S hands as CHUCKY obediently reaches for his wallet. GALE Come on! Let's go! John's in danger. Confused, BERNIE looks at the cash, then follows them out the door. BERNIE -LRB- pocketing the cash. -RRB- Christ, you media people think you can just buy people. Cheap.",
"EXT. CITY STREET - NIGHT SIRENS SCREAM. An escort of POLICE MOTORCYCLES precedes the speeding Channel Four van through the dark streets.",
"INT. SPEEDING CHANNEL 4 VAN - NIGHT CHUCKY is at the wheel of the van, GALE beside him. BERNIE sits back in the confusion of equipment and monitors that show the news coverage of Bubber on the ledge. BERNIE is addressing GALE indignantly, trying to be heard over the SCREAMING of the SIRENS. BERNIE My fault! My fault! This nut case goes out on a ledge and it's my fault? GALE If anything happens to John BUbber, Mister LaPlante I'm going to see you prosecuted to the full extent of the law. BERNIE What, is everybody in love with this, bozo? I do n't get this. What about? GALE Yes, everybody is in love with John Bubber. The whole country, in fact. And they're not going to be happy if he jumps to his death because he was harassed by a lousy little money - grubbing low - life fence. BERNIE `` Harassed.'' Cause I yelled at him when he's riding in his limo? The guy's a thief, he took my. GALE -LRB- erupting. -RRB- He had one tiny, uncharacteristic moment of weakness. That's not the same thing as a lifetime of petty crime. BERNIE -LRB- stung. -RRB- Hey, lady, I got faults, I know I'm not perfect but I do n't get this at all, your attitude. I saved your. GALE -LRB- interrupting. -RRB- A lifetime of petty crime climaxed by your sleaziest accomplishment yet. blackmailing a national hero. BERNIE - saved your. whaaaaaaat? What? Blackmailing? GALE You think I have n't figured it out? Just because the cops are n't on to you yet does n't mean you're home free. I'm a veteran reporter. I've seen your kind before, the underbelly of crime. BERNIE Underbelly! GALE In all that smoke and fire, John had a moment of weakness. He'd been down and out, destitute, living in his car. It was just an impulse, stealing my purse. BERNIE looks thunderstruck. CHUCKY too. CHUCKY Swiped your purse! While he was saving you? You got ta be kidding! GALE -LRB- a triumphant 190k at Bernie. -RRB- And sold it to Mister LaPlante, the fence, who's now trying to blackmail poor John. BERNIE is too stunned to speak. CHUCKY He's got ta be a nut! He saves all those people and swipes a purse? GALE -LRB- emotional. -RRB- Because he was a real hero, Chucky. He was acting out of a deep instinctive decency, not out of some ego thing. He did n't expect the media to lionize him. He did n't expect a million dollar reward. He saved fifty - four people because something inside him, some fundamental love for his fellow man, made him rush into that plane when `` good sense'' told him otherwise. He was willing to settle for some credit cards he sold to LaPlante. -LRB- to Bernie. -RRB- For how much, LaPlante? A couple of bucks? Did you give him enough for a decent meal? BERNIE, who's been listening to the description of his own deeds with slack - jawed amazement, is too taken aback to answer. The van zips past dark city streets populated by DERELICTS and HOMELESS PEOPLE as GALE continues her emotional outpouring. GALE All this is off the record, Chucky, because if John Bubber lives, Mister LaPlante is going to give him his assurance that there will be no more `` misbehavior'' on his part. What's more he's going to apologize. BERNIE I'm going to apologize to Bubber? GALE I could deny I had those credit cards on the plane with me, LaPlante. BERNIE -LRB- amazed. -RRB- Lie, you mean. GALE Well, maybe I would n't lie. but I could tell the story the way I did just now, so that people could understand that John is even more of a hero, and that you. you're the lowest thing that ever crawled. Your name will be synonymous with cynical opportunism and blackmail. You wo n't get a cent. BERNIE -LRB- alarmed. -RRB- I got a kid, you know. I'm a person, for Chrissake. GALE Well, for your child's sake, show some decency then, rise above your sleazy instincts. -LRB- a sob. -RRB- You may have already killed him!",
"EXT. DRAKE HOTEL - MOMENTS LATER (NIGHT) POLICE buck the tide of the excited CROWD, making a wedge to get GALE, CHUCKY, and BERNIE to the hotel entrance. A COP grabs BERNIE, thinking him a spectator. GALE No! He's with us, Officer. REPORTERS, on the fringe of the crowd, address their cameras. CHANNEL 8/CHANNEL 13/CONKLIN Police are escorting Reporter Gale Gayley to the fifteenth floor where she will be able to talk to Bubber.",
"EXT. DRAKE HOTEL - CROWD'S POV OF BUBBER ON LEDGE - NIGHT ANGLE ON BUBBER A tiny figure on a narrow ledge fifteen floors up.",
"INT. SUITE/DRAKE - MOMENTS LATER (NIGHT) GALE rushes into the suite now jammed with POLICE, FIREMEN, and DIGNITARIES and heads straight for the open window, dragging BERNIE with her. CHUCKY follows, Vidcam raised. At the window she encounters the POLICE CHIEF and a PRIEST. POLICE CHIEF He'll only talk to you, Ms Gayley. Just lean out and we'll hold you from behind.",
"EXT. LEDGE/FIFTEENTH STORY/DRAKE HOTEL - NIGHT Alone on the ledge twenty feet from the open window, BUBBER is looking down at the CROWD below. They're chanting.",
"EXT. LEDGE - BUBBER'S P.O.V. OF CROWD - NIGHT CROWD NO! NO! NO! NO! NO!",
"EXT. LEDGE - DRAKE HOTEL - NIGHT GALE John! Do n't do it! Everything's okay. BUBBER has tears in his eyes. He turns at the sound of GALE'S voice and sees her leaning out the window, calling to him. Pulling an envelope from his pocket, BUBBER moves a couple of steps toward GALE and bends down to place the envelope on the ledge. BUBBER Gale! This is for you. I want you to know I never meant to hurt you. This will explain everything. GALE John, I know all about it. BUBBER -LRB- horrified. -RRB- You do? Straightening up, he. LOSES HIS BALANCE! CROWD NNNOOOOOOOOOOOO! GALE It's all right, John! It's nothing! A little mistake. Everybody will understand! BUBBER `` A little mistake''! GALE No, John, you're too hard on yourself. I've got the creep here, the guy who's. GALE breaks off as BERNIE suddenly shoulders his way to the window. BERNIE Hold on! Hold on! Lem me talk to him for Chrissake!",
"INT. SUITE/DRAKE BERNIE pushes past the astonished GALE and scrambles awkwardly out onto' the ledge, kicking back at the FIREMEN who grab at his ankles until. ANGLE ON FIREMEN exchanging a look, the FIREMEN realize their efforts are more likely to knock BERNIE off than save him.",
"EXT. LEDGE/HOTEL BUBBER stares in amazement as BERNIE emerges onto the ledge on all fours, yelling toward him. BERNIE Hey, Bubber, c ` mere! I got ta talk to you, buddy. BUBBER LaPlante! BERNIE Come on, John, do n't be an asshole. I do n't like heights. Hastily, BUBBER backs further from the window -LRB- and the envelope lying on the ledge -RRB-. BUBBER Listen, LaPlante, I'm really sorry. It's all in my letter to Ga. uh, Miss Gayley. I was all wrong.",
"INT. SUITE/DRAKE - NIGHT CHUCKY is wedged beside GALE in the window, pointing his vidpak at BERNIE'S ass. Suddenly BERNIE sees BUBBER looking past him at the cameras and, turning awkwardly, he snaps at GALE. BERNIE Turn that thing off! You want him to jump? GALE and the OTHERS step back from the window hastily.",
"EXT. LEDGE/DRAKE - NIGHT BERNIE turns back to BUBBER. BERNIE I just wan na talk with you for a minute. Then you can jump. You can jump twice for all I care. BUBBER Talk from there. You can talk from there. BERNIE In private. They got cameras and alla that crap in there. Microphones.",
"INT. HOTEL SUITE/DRAKE - NIGHT Rather than leaning out the window, GALE and OTHERS in the suite are following the drama on the TV monitor. GALE'S P.O.V. : TV IMAGE -LRB- EXT.. LEDGE - FROM BELOW - NIGHT -RRB- CONKLIN narrates while the SHAKY CAMERA FOCUSES on BERNIE and BUBBER who are continuing to argue on the ledge, BERNIE motioning for BUBBER to come closer, BUBBER resisting. CONKLIN/TV -LRB- V.O. -RRB- It looks like someone is out on the ledge with John Bubber. We can only presume this is a rescue specialist of some kind from the police or fire department. -LRB- excited. -RRB- He. he's moving toward Bubber, crawling. He does not appear to have a safety rope tied to him and, as we've explained, the fire department has been unable to rig a net.",
"INT. SUITE/DRAKE - NIGHT BACK TO GALE Ironically, she's `` seeing the events'' happening fifteen feet from her on a monitor showing. ON THE TV SCREEN -LRB- EXT.. HOTEL - P.O.V. OF LEDGE - NIGHT -RRB- a camera angle fifteen stories below, a SHAKY ZOOM attempting to isolate BERNIE on the ledge.",
"INT. SUITE/DRAKE - NIGHT Her face shows surprise at BERNIE'S courage. Did she misjudge?",
"EXT. LEDGE/HOTEL Inching forward, BERNIE is just reaching the letter BUBBER left on the ledge. BUBBER -LRB- indicating the letter. -RRB- That's for Ga. Ms. Gayley. BERNIE What am I, a goddamn postman? I'm way the fuck up here, I'm scared a heights, and you want me to deliver a letter? Put a stamp on it for Chrissake! BUBBER That's close enough. It's a confession. The truth. Jesus, I'm sorry, LaPlante. I had the shoe, you said you did n't want, publicity because of your legal problems. BERNIE I do n't recall saying I did n't want a million bucks. BUBBER I never really thought they'd go for it. And then. you did n't come forward, they investigated my war record. I kept expecting you to show up and expose me. BERNIE I was in the can, for Chrissake. BUBBER The bathroom! For two days? BERNIE Jail! Listen, Bubber. -LRB- looks down, fifteen stories. -RRB- This is crazy. We could fall off of here. BUBBER You should go in. You're risking your life again. BERNIE -LRB- sweating, trembling. -RRB- I'm beginning to. be aware of that, John. Listen, I'm not gon na do nothing heroic here, you can trust me on that, buddy. Whaddaya say we just sit down for a while. I do n't have no tricks, I'm not that smart. You could, like, rest up for the jump. BUBBER considers the situation, relaxes, lowers himself till he's sitting beside BERNIE. Then he helps BERNIE off his knees into a sitting position so they're sitting side by side on the ledge. BUBBER shakes his head sadly. BUBBER What have I done? I was dirt poor and useless. but I was honest. BERNIE Lighten up, John. You think you got problems for Chrissake? BERNIE wipes the sweat from his forehead, unaware that he's smearing his face with black soot from the ledge.",
"EXT. DRAKE HOTEL In front of the hotel in the midst of the confusion of emergency vehicles, POLICE, and ONLOOKERS, a cherry - picker has arrived and a TV CAMERAMAN from Channel 4 is riding in the rising pulpit. TELEVISION IMAGE -LRB- EXT.. DRAKE HOTEL P.O.V. - NIGHT -RRB- A shaky long lens shot from fifteen stories below shows BERNIE sitting beside BUBBER on the ledge while the REPORTER narrates urgently. CONKLIN/TV -LRB- V.O. -RRB- - still do n't know why John BUbber, hero to the nation, stepped out onto the ledge fifteen stories above the street more than an hour ago.",
"INT. JOEY'S BEDROOM - NIGHT JOEY, wearing pajamas and headphones, is staring breathlessly at the TV from the bed in his darkened bedroom. ON THE TELEVISION SCREEN -LRB- EXT.. DRAKE FRONT STEPS - NIGHT -RRB- CONKLIN/TV -LRB- V.O. -RRB- -LRB- continuing. -RRB- But we now have the identity of the man who has been talking to him for the last fifteen minutes at great personal risk. He has been identified as Bernard LaPlante, former employee of Gumley's Carpet Care.",
"INT. JOEY'S BEDROOM - NIGHT ANGLE ON JOEY JOEY'S jaw sags and he sits up in bed as the REPORTER continues on the TV. ON THE TELEVISION SCREEN -LRB- EXT.. LEDGE FROM BELOW - NIGHT -RRB- the lens ZOOMS TIGHTER, and therefore SHAKIER, offering a jerky image in which BUBBER and BERNIE are semi - identifiable as they sit on the ledge. CONKLIN/TV -LRB- V.O. -RRB- There is speculation that LaPlante is an old friend of Bubber's, perhaps a war buddy.",
"INT. JOEY'S BEDROOM - NIGHT JOEY has already sprinted out of the room, leaving the TV playing to his empty bedroom. JOEY'S VOICE -LRB- O.S. -RRB- MOM! MOM! IT'S MY FATHER! MOM!",
"INT. DRAKE/PRESIDENTIAL SUITE GALE is giving way at the window to CHUCKY who's leaning out to try and get a shot. Jammed in by the CROWD, her view blocked, she glimpses a TV monitor nearby. GALE'S POV - TV MONITOR/VIDEO IMAGE -LRB- EXT.. LEDGE - NIGHT -RRB- The SHAKY CLOSE - UP of BERNIE'S face, smeared with soot, fills the screen. The angle is very reminiscent of the glimpse GALE got of BERNIE in the crashed plane!",
"EXT. DRAKE HOTEL - NIGHT An arc light is switched on, lighting up BERNIE'S face.",
"INT. DRAKE SUITE - NIGHT BACK TO GALE, stunned. Just then CHUCKY taps her on his way out of the room. CHUCKY I'm gon na grab the high ground, get a hot overhead angle.",
"EXT. LEDGE/FIFTEENTH FLOOR/DRAKE HOTEL - NIGHT Spotlights illuminate BERNIE and BUBBER as they sit on the ledge and converse, like a couple of guys on a park bench somewhere, oblivious to the CROWD below. BUBBER -LRB- flabbergasted. -RRB- You stole her purse! While you were saving her? BERNIE What's the big deal? You decided to pretend you were me. A little moment of weakness, right? So I sorta swiped her purse. I got feet of clay too, bUddy. BUBBER And she thinks you're blackmailing me? BERNIE Right. BUBBER actually sees humor in this, but BERNIE is thinking. BERNIE Which do n't sound like such a bad goddamn idea, John. BUBBER Huh? Whadda you mean? BERNIE Well, we got ta work this thing out, John. It's a goddamn mess an' I'm halfway to doing serious time in the joint an' the TV lady's so stuck on you she do n't want it to come out you stole her purse because it might break the heart of millions. -LRB- indicating the chanting crowd below. -RRB- Looka those maniacs, willya? They love you, for Chrissake! BUBBER I do n't need to be a hero, LaPlante, but I ca n't face people. the looks in their eyes. after the trust they gave me! BERNIE Great! You make this big goddamn mess, then ya jump. Beautiful! Listen, John, I was there at the hospital today, I seen you with those little bastards. -LRB- pardon my vulgarity. -RRB-. BUBBER It was you! I thought I heard. BERNIE I'm not saying I hate sick people or anything but I hate being around them if you know what I mean. There you go, you inspire this kid to live. I probably woulda vomited on him. BUBBER -LRB- stunned. -RRB- Allen? He. he's okay? BUBBBR is visibly affected by the news about ALLEN but BERNIE does n't notice, rattles on. BERNIE See what I mean? You remember his name for Chrissake! I mean, I remember my own kid's name. but I'm always forgetting his birthday. Plus when they stick cameras in your face and ask all these stupid questions, you smile at them. You got a kinda. a kinda. `` gift,'' there, John, if ya know what I mean. People wan na be saved by you. Even me! If I was gon na be saved I would n't wan na see Bernie LaPlante comin' outta the goddamn smoke an' darkness an' fear an' stuff. I'd wan na see John God Damn Bubber! BUBBER is moved. but still has doubts. BUBBER You got those people out of the plane, LaPlante, not me. BERNIE You woulda gone in there, you would n'ta thought twice. Trust me on that, that's the kinda guy you are. For a guy like me, it's a momentary loss of sanity. I was n't thinking clearly. Listen, I'm no hero, John. I just want some dough and maybe a little favor. How much didja spend already on all that do - gooder bullshit? You did n't spend it all didja? BUBBER Well, I donated a lot to different causes, uh. La. BERNIE Bernie. Call me Bernie. BUBBER - but there's a lot of it still left, uh, Bernie. Almost half. BERNIE'S eyes glitter with interest.",
"INT. DEAKINS' OFFICE/TV STATION Several monitors show a variety of coverage of the drama on the ledge on their screens while, nearby, WALLACE hovers anxiously over DEAKINS' shoulder as DEAKINS rants into the phone. DEAKINS Whaddaya mean what do I wan na know? I wan na know everything. Who's this screwball LaPlante for Pete's sake, what the hell's he doing out there, auditioning for the priesthood? You're supposed to be on top of this, Gale, do n't. -LRB- he stops, listens, explodes. -RRB- `` Quit!'' You ca n't quit! It's unprofessional! WALLACE -LRB- alarmed. -RRB- Quit? She wants to quit? DEAKINS -LRB- ignoring Wallace. -RRB- Listen, Gale, I know you're emotionally involved. Do n't be emotionally involved, be professional. -LRB- listens, then. -RRB- No, Gale, you are not a hardbitten, cynical hard - ass, you just think you are. You are a goddamn cream puff! Try and be a hard - ass! DEAKINS hangs up the phone angrily and faces WALLACE. WALLACE She wants to quit? DEAKINS She ca n't quit.",
"INT. JOEY'S BEDROOM - NIGHT EVELYN is staring dumbfounded at the TV screen, the volume full now, no longer coming through the headphones. EVELYN My God! It. it is him! JOEY Wh - why's he. why's he up there, mom? EVELYN looks pale and stricken. Instead of answering, she makes a decision. EVELYN Where's your coat? Get your coat!",
"INT. DEAKINS' OFFICE - NIGHT DEAKINS and WALLACE are watching a CHANNEL EIGHT REPORTER on one of the monitors. TV IMAGE -LRB- EXT.. DRAKE HOTEL - NIGHT -RRB- CHANNEL 8 REPORTER/TV - just learned that LaPlante is a convicted felon due to be sentenced tomorrow for trafficking in stolen goods. According to our sources, LaPlante knowingly purchased twelve cases of stolen latex paint which he subsequently sold to.",
"INT. DEAKINS' OFFICE - NIGHT ANGLE ON DEAKINS AND WALLACE DEAKINS Gale shoulda aired that bit first, she's the one who found this clown LaPlante! She let Channel Eight get a beat on us. WALLACE -LRB- worried. -RRB- Listen, Deak, what if Bubber has got something to hide? What if he's the wrong guy, not really the hero? DEAKINS Helluva story! WALLACE -LRB- suddenly firm. -RRB- No, Deak, not a great story. We backed this guy, he's our boy! We gave him a vote of confidence, we gave him a million dollars. DEAKINS is chastened. He `` gets it.'' Just then, excitement from the Channel Four monitor. DEAKINS Now what? CONKLIN'S VOICE/TV -LRB- excited. -RRB- Something's going on, Bubber is communicating something. Both men are.",
"EXT. DRAKE HOTEL - NIGHT Excitement in the CROWD, looking up, yelling. Something's happening. CONKLIN is speaking into his mike even as the surge of the CROWD engulfs him. CONKLIN - still sitting on the ledge but Bubber is motioning to someone in the window, he seems to be calling out to them and now. now he's holding up two fingers. He's signalling something, holding up two fingers.",
"EXT. HIGHWAY - NIGHT A Ford station wagon speeds toward the city.",
"INT. MOVING FORD/HIGHWAY - NIGHT EVELYN is at the wheel, JOEY beside her, the RADIO on. EVELYN If I gave you the impression I hated him I did n't mean to. I. I hate the way he behaves. he's selfish and self - centered and cynical. JOEY What's `` cynical''? EVELYN It's when you say, `` Everybody else cheats why should n't I?''. -LRB- emotional. -RRB- But I do n't - I do n't hate - him. I. loved him once, Joey. Very much. I just got. tired. Maybe it was n't all his fault. He. What's happening? Oh, my God. EVELYN is reacting to the live radio broadcast, a sudden urgency in the REPORTER'S VOICE, CROWD SOUNDS. RADIO - FIREMEN LEANING OUT THE WINDOW! THEY HAVE WHAT APPEAR TO BE LONG POLES AND THEY'RE REACHING THE POLES TOWARD THE TWO MEN ON THE LEDGE, JOHN BUBBER AND HIS COMPANION, BERNARD LAPLANTE! EVELYN What's happening? What are they doing? RADIO -LRB- continuing. -RRB- LAPLANTE AND BUBBER ARE REACHING FOR THE POLES! THERE'S SOMETHING AT THE TIP OF THE POLES. THEY'RE TAKING SOMETHING FROM THE POLES! IT LOOKS LIKE - IT LOOKS LIKE. I THINK IT'S. WAIT A MINUTE, I HAVE A REPORT HERE. EVELYN and JOEY are breathless, mesmerized, waiting to hear. RADIO COFFEE! IT'S COFFEE! WE'RE TOLD THAT BUBBER AND LAPLANTE ASKED FOR TWO CUPS OF COFFEE. EVELYN -LRB- relief. -RRB- Coffee! Just like your father to request something totally inappropriate. Thousands of people watching and he wants a cup of coffee. -LRB- remembering. -RRB- I remember when you were in the hospital, when you had the appendicitis, your father stayed all night by your bed. and he hates hospitals, always thinks he's going to catch something. and then that time when your Uncle Howard got hurt. It seems like your father is at his best in a crisis. when things go really wrong or there's some kind of emergency, your father forgets to be Bernie LaPlante and acts sort of like. a human being. There are tears in her eyes as she drives. The RADIO continues. RADIO We've learned that the devices the firemen used to `` deliver'' the coffee. I described them as `` poles''. are, in fact, oversized tongs used by the hotel staff to change difficult - to - reach lightbulbs.",
"EXT. HOTEL - NIGHT BERNIE and BUBBER are distant figures sitting on a ledge as if it was a park bench, sipping coffee and visibly negotiating as in a pantomime.",
"EXT. LEDGE/HOTEL Closer now, we can hear BERNIE and BUBBER wrapping up the deal. BERNIE You got it? Four year scholarship to a top college, plus Medical School or Law School or whatever Joey wants ; pay off the $ 2,500 to my attorney, plus pay her fee in full, plus my annual consulting fee. BUBBER And give a deposition to the jUdge. BERNIE -LRB- sudden thought. -RRB- Listen, John, you better double my attorney's fee. She's very inexperienced, but she done a great job for me. And give her your autograph. She thinks you're some kinda holy man. BUBBER On the deposition for the jUdge, Bernie. I mean there's no way I can promise anything. I ca n't tell him what we're up to. BERNIE You'll tell him I talked you out of jumping, right? Just keep me outta prison. BUBBER I. I'll do the best I can, Bernie. BERNIE That's good enough for me. You better take that `` letter'' there and get rid of it. BERNIE indicates the envelope on the ledge and BUBBER slides the envelope into his pocket surreptitiously. BERNIE and BUBBER are shaking hands. Then they start to get cautiously to their feet.",
"INT. DRAKE HOTEL SUITE - NIGHT GALE is watching the action on a TV monitor, trying to figure out what's going on. GALE'S P.O.V. / TV MONITOR -LRB- EXT.. LEDGE - NIGHT -RRB- BERNIE and BUBBER are shaking hands. Then they start to get cautiously to their feet.",
"EXT. HOTEL - NIGHT The CROWD reacts to the action on the ledge while TV REPORTERS including CONKLIN chatter into their mikes. REPORTERS They're getting to their feet. They're standing up!",
"EXT. LEDGE - NIGHT BERNIE is on his feet, unsteady, terrified of the drop. BUBBER, much more graceful, not as wobbly, is speaking to him. BUBBER After what I did, how do you know I'll come through? How do you know you can trust me? Shakily, BERNIE indicates the CROWD far below. BERNIE Cause, bottom line, John, I ai n't no different than all those dumb assholes down there. We all trust you for Chrissake! We. ANGLE ON THE DROP/BERNIE'S P.O.V. Straight down, fifteen floors. A CROWD of `` ants.'' Firetrucks, Police cars, TV vans.",
"EXT. LEDGE - NIGHT Suddenly BERNIE starts shaking like a leaf, trying to smear his body against the side of the building as he inches along the narrow ledge toward the window with BUBBER right behind him. BERNIE Th - this was really dumb, coming out here.",
"EXT. HOTEL - NIGHT As the CROWD looks up breathlessly, WE DISCOVER EVELYN pulling JOEY through the CROWD toward the hotel steps, their eyes on BERNIE and BUBBER.",
"EXT. ROOF - NIGHT CHUCKY is cautiously moving under the neon sign on the roof, first on all fours, then on his belly, moving toward the edge.",
"EXT. LEDGE - NIGHT BUBBER is steering BERNIE toward the window. BUBBER Slow and easy, Bernie. BERNIE takes a cautious step. BUBBER tries to distract BERNIE from the drop by talking to him. BUBBER What made you do it, Bernie? Go in the plane? Another cautious step. BERNIE I dunno. It was. an impulse. Me, wearing my good shoes. BUBBER Same with me, pretending I was you. An impulse. Why not? I had this shoe. BERNIE There was this kid there saying, `` Go in there and save my father, mister.'' And I'm thinking about my boy Joey and this goddamn fireman my wife's seeing. It was like I was supposed to save myself. BUBBER Yeah, and with me it was like I was supposed to pretend the shoe was mine. BERNIE So now you got ta wear it, you poor bastard. Everyday you got ta be everybody's hero. People watching you all the time. Waiting for you to make. a slip. Slip up. BERNIE glances down to indicate the CROWD and. takes a misstep.",
"EXT. DRAKE FRONT STEPS - NIGHT A single audible gasp from the CROWD below as BERNIE, fifteen stories up, staggers.",
"EXT. LEDGE - NIGHT BERNIE struggles to regain his balance. BUBBER reaches out to help him. BUBBER Easy does it, partner. It's gon na be fine. BUBBER'S hand remains on BERNIE'S shoulder. ANGLE ON GALE Watching from the window, holding her breath. Is it possible he's going to push BERNIE? What an opportunity! GALE'S P.O.V. : BUBBER'S hand on BERNIE'S shoulder. ANGLE ON BERNIE Sweating, pushing his foot cautiously forward. BUBBER'S VOICE -LRB- O.S. -RRB- Do n't look down. Keep your eyes. BERNIE looks down! BERNIE'S P.O.V. -LRB- EXT.. P.O.V. OF CROWD - NIGHT -RRB- AHHHHHHHHHH! He sees the tiny PEOPLE below and he STARTS TO FALL.",
"EXT. LEDGE - NIGHT ANGLE ON BERNIE Wobbling unsteadily, arms flailing, falling. ANGLE ON BUBBER His eyes! He's looking down. BUBBER'S P.O.V. : He sees BERNIE clutching the ledge with one hand, looking up at him with pleading eyes as he dangles fifteen stories above the ground. ANGLE ON BERNIE'S HAND It's slipping! He ca n't hold! ANGLE ON BUBBER'S EYES! staring at BERNIE'S hand. It must occur to him that life would be better without BERNIE. ANGLE ON GALE watching from the window, terrified.",
"EXT. DRAKE HOTEL - NIGHT EVELYN and JOEY are looking up, love and fear in their eyes. EVELYN Oh my God! Bernie! JOEY Dad!",
"EXT. LEDGE - NIGHT A FIREMAN is leaning out the window, reaching for BUBBER. FIREMAN Get in here, buddy. You ca n't help him. ANGLE ON BERNIE'S HAND Slipping. ANGLE ON BUBBER BUBBER is looking into BERNIE'S eyes as BERNIE'S hand slips. ANGLE ON THE FIREMAN Leaning out the window, holding a rescue noose toward BUBBER. FIREMAN Do n't reach out. He'll pull you over! ANGLE ON BUBBER BUBBER ignores the FIREMAN, his hand reaching out toward BERNIE. CLOSE UP : HAND reaching out to grab BERNIE.",
"INT. DEAKINS OFFICE - NIGHT WALLACE screams at the TV set. WALLACE NO! NEVER REACH OUT!",
"EXT. LEDGE - NIGHT ANGLE ON GALE reacting, head out the window. ANGLE ON FIREMAN Reaching a NOOSE - DEVICE toward BUBBER. FIREMAN Grab this! Now! Save yourself, you ca n't help him, he'll pull you over!",
"EXT. HOTEL - NIGHT The CROWD reacts.",
"EXT. LEDGE - NIGHT BUBBER is sitting, bracing himself. ANGLE ON BERNIE His hand slipping, his eyes full of fear. ANGLE ON GALE reacting. ANGLE ON BERNIE'S HAND losing his grip. when BUBBER'S HAND suddenly grabs his wrist. ANGLE ON BERNIE Looking up into BUBBER'S eyes. Their eyes lock. ANGLE ON BUBBER Holding BERNIE with great effort. ANGLE ON THE FIREMAN rescue noose in hand, crawling out the window. FIREMAN I'm gon na put this line around you. BUBBER -LRB- straining, indicates BERNIE. -RRB- Put. the. line. on. him. BUBBER leans back against the building, struggling to keep BERNIE from plummeting fifteen stories. FIREMAN You ca n't hold him, he's gon na pull you off. BUBBER If he does n't make it. I. do n't. make it. Got it? FIREMAN -LRB- impressed. -RRB- Yessir! I got it! Loud and clear!",
"EXT. ROOF/DRAKE - NIGHT CHUCKY has bellied out on the roof under the big neon sign and he's pointing his camera straight down at the drama below while he mutters under his breath. CHUCKY -LRB- his narrator voice. -RRB- Zooming in tighter yet, he captures the stark drama at great personal risk. -LRB- humbly responding to an imaginary interviewer. -RRB- `` Was I afraid? Well, you do n't think about yourself at moments like that. You think about the f - stop, you think about focus, you think about the 11 o'clock news, everybody counting on you.'' VIDEO IMAGE -LRB- EXT.. HOTEL/STRAIGHT DOWN FROM ROOF - NIGHT -RRB- `` CHUCKY'S SHOT'' is a CLOSE UP of BERNIE'S desperate face looking straight up, the enormous drop in the background. A MONTAGE of different locations and TV sets featuring Chucky's CLOSE - UP of BERNIE.",
"INT. THE SHADOW LOUNGE - NIGHT CHICK stares at the screen incredulously. CHICK Bernie? Bernie?",
"INT. WINSTON'S APARTMENT - NIGHT The television set shows the drama in garish otherworldly colors as WINSTON mutters. WINSTON LaPlante, you crazy bastard!",
"INT. DONNA'S APARTMENT - NIGHT A stunned DONNA is in bed with her BOYFRIEND, stares at the TV. BOYFRIEND He's one of your clients?",
"INT. JUDGE GOINES BEDROOM - NIGHT JUDGE GOINES frowns at the TV set, tries to place that name. JUDGE GOINES LaPlante. Mmmmmmmm. LaPlante. VIDEO IMAGE -LRB- EXT.. HOTEL/LOW ANGLE LOOKING UP AT BUBBER -RRB- On the TV screen, a low shot looking up at BUBBER straining to hold on to BERNIE replaces `` CHUCKY'S ANGLE.'' MONTAGE A SERIES OF TV SETS AND WATCHING FACES ALL OVER AMERICA, YOUNG, OLD, BLACK, WHITE, EVERYBODY IN AMERICA IS STARING AT THE SCREEN, MESMERIZED. - HOME - MOTEL ROOM - CHEAP HOTEL LOBBY - BAR - JAIL CELL",
"EXT. LEDGE/HOTEL - NIGHT TWO FIREMEN have almost secured a rope around BERNIE while BUBBER continues to hang on to BERNIE, speaking to him through gritted teeth. BUBBER Looking. good, partner. Hang in there. BERNIE -LRB- eye contact. -RRB- Y - you're a g - god damn saint, John.",
"INT. LIVING ROOM/DRAKE SUITE - LATER (NIGHT) The suite is jammed with MEDIA PERSONNEL, many standing on sofas, tables, and chairs, all of them -LRB- and their cameras -RRB- focussed on JOHN BUBBER who's standing behind a bank of mikes making a `` statement'' that sounds sincere -LRB- perhaps because it is halting, awkward, painful. -RRB- BUBBER It was a moment of terrible weakness. I was feeling. I guess you'd call it `` overwhelmed'' by all the pressures and. the expectations of. fame. celebrity. I just did n't feel. adequate. to everybody's image of me. so. I took my despair out on that ledge with the intention of. jumping. ANGLES ON REPORTERS, CAMERAMEN a collective reaction, breathless silence. ANGLE ON GALE jammed among REPORTERS near the bedroom door, her eyes on BUBBER, frowning. BUBBER -LRB- continuing. -RRB- In doing that I endangered the lives of hardworking policemen and firemen who attempted to rescue me, not to mention the life of my dear friend, Bernard LaPlante. BUBBER pauses and the room erupts in a chorus of REPORTERS' VOICES. REPORTERS Who is Bernard LaPlante? Did you know that LaPlante is a convicted criminal? What is your relationship with Bernard LaPlante? ANGLE ON GALE glancing at the bedroom door guarded by a UNIFORMED COP. ANGLE ON BUBBER taking a deep breath, answering. BUBBER Bernard LaPlante is a close friend who came to me in a time of need. at considerable risk to himself.",
"INT. BEDROOM/DRAKE HOTEL SUITE - NIGHT BUBBER is continuing on the TV set in the bedroom while BERNIE, all alone in the huge bedroom, stares at the TV. ON THE TV -LRB- INT. SUITE/HOTEL - NIGHT -RRB- BUBBER/TV -LRB- continuing. -RRB- I guess Bernie's made some mistakes. I know I've made plenty myself. In fact I do n't know anyone who has n't. I think Bernie wants to be a private person and I I'm going to respect that.",
"INT. BEDROOM/DRAKE SUITE - NIGHT ANGLE ON BERNIE glances idly at the TV remote control. and pockets it almost automatically, still watching TV. ON THE TV -LRB- INT. SUITE/HOTEL - NIGHT -RRB- REPORTERS erupt again in a CACOPHONY of QUESTIONS. REPORTERS/TV What'd he say to you? What'd you talk about? BUBBER/TV Well, what he said to me was private. But he gave me confidence in myself. He told me I had a special opportunity, the chance to do some good in the world.",
"INT. BEDROOM/DRAKE SUITE - NIGHT ANGLE ON BERNIE He raises his eyebrows. I said that? On impulse, he pulls the remote from his pocket to return it. He's setting it down when he turns suddenly to find he's not alone. BERNIE Hey! How'd you get in? Nobody's supposed to come in here! GALE has just entered the room. Did she see his action? GALE I snuck in. BERNIE You media people, you think you can just go anywhere you want, spy on people. GALE Listen, Mister LaPlante. uh, Bernie. Who. are. you? BERNIE Who am I? You're asking me? You're the big expert for Chrissake! I'm what? The `` Scumbag,'' right? The sleazebag something or other, the blackmailer, the. GALE -LRB- very intense. -RRB- Was it you? In the plane? Who saved my life? BERNIE -LRB- rattled. -RRB- Me? Listen, I do n't give no interviews. That was John Bubber. You wan na ask me questions, you could talk to my attorney, Miss O'Day. GALE -LRB- imploring. -RRB- Mister LaPlante. Bernie. I. just for a few moments. I want to be a human being, not a reporter. I'm somebody who was going to die in a burning plane and I looked up, and some man came out of the smoke, his face smeared with mud, and soot and. and he. saved my. life. Off the record. Was it you? Why would you deny it if it was? Because you took my purse? Why? BERNIE looks at GALE. She looks very human, very real, the reporter's veneer completely gone! He hesitates. How can he not tell the truth at a moment like this? He takes a deep breath. BERNIE Lady, do I look dumb enough to run into a burning plane and save a bunch of strangers? I ai n't the type. GALE stares at him. BERNIE tries to hold her look, daring her to doubt him. But he ca n't. His eyes `` run.'' He's not a good liar this time. But just then CONKLIN'S VOICE on the TV saying Evelyn's name distracts BERNIE. ANGLE ON TV SCREEN -LRB- INT. LOBBY/HOTEL - NIGHT -RRB- CONKLIN is hovering over EVELYN and JOEY who are standing in a pool of TV lights while a CROWD presses close around them. CONKLIN/TV - standing here in the lobby of the hotel with Evelyn LaPlante who says she is the wife of the mysterious Bernie LaPlante who was rescued from a fifteenth story ledge twenty minutes ago by John Bubber.",
"INT. BEDROOM/DRAKE SUITE - NIGHT ANGLE ON BERNIE AND GALE BERNIE Oh shit! Ev! Joey! For Chrissake! ANGLE ON TV SCREEN -LRB- INT. LOBBY/HOTEL - NIGHT -RRB- CONKLIN/TV -LRB- continuing. -RRB- Mrs. LaPlante just told me that Bernard LaPLante spoke to her earlier today about `` going away on a long trip'' and wanting to say `` goodbye'' to his ten - year - old son, Joey. EVELYN/TV I did n't know Bernie'd try and jump off a building. I did n't understand. I just thought he was up to his old. I mean, I did n't even know. BACK TO SCENE -LRB- INT. BEDROOM/HOTEL SUITE - NIGHT -RRB- BERNIE TV! Christ Almighty! You can not believe one word on TV! Not one goddamn word! ANGLE ON TV SCREEN -LRB- INT. LOBBY/HOTEL - NIGHT -RRB- CONKLIN/TV What kind of man is your ex - husband Mrs. LaPlante? EVELYN/TV -LRB- bursting into sobs. -RRB- Bernie LaPlante is a wonderful decent human being. Deep down. You just have to know him. ANGLE ON BERNIE -LRB- INT. BEDROOM/SUITE - NIGHT -RRB- BERNIE It's all bullshit! I swear to God! ANGLE ON TV SCREEN -LRB- INT. LOBBY/HOTEL - NIGHT -RRB- CONKLIN/TV I guess you love your father too, Joey? ANGLE ON BERNIE -LRB- INT. BEDROOM/SUITE - NIGHT -RRB- BERNIE LEAVE MY BOY ALONE, YOU ASSHOLE! ANGLE ON TV SCREEN -LRB- INT. LOBBY/HOTEL - NIGHT -RRB- JOEY Yeah, my dad's great. He took me to the zoo. ANGLE ON BERNIE -LRB- INT. BEDROOM/SUITE - NIGHT -RRB- BERNIE -LRB- big love. -RRB- JOEY! ANGLE ON TV SCREEN -LRB- INT. LOBBY/HOTEL - NIGHT -RRB- CONKLIN/TV How did you feel, Joey, seeing your father up there on that ledge? JOEY/TV I was scared but. but. but. CONKLIN/TV But what, son? JOEY/TV But I knew John Bubber would save him!",
"INT. HOTEL SUITE - NIGHT - MOMENTS LATER (NIGHT) Chaos. BUBBER is trying to get to the bedroom door, the news conference over, but he's being mobbed by MEDIA PERSONNEL who are SCREAMING questions, scrambling over furniture, blocking his path, jamming CAMERAS and MIKES in his face. VOICES Were you afraid? Look this way, John. John, over here. Mister Bubber, do you believe in God? BUBBER is struggling toward the bedroom door when he HEARS a VOICE cutting through the other VOICES. GALE'S VOICE -LRB- O.S. -RRB- Mister Bubber! Mister Bubber! JOHN! BUBBER turns, sees GALE through a `` forest'' of heads. Their eyes meet, she shouts a question. GALE John Bubber. how does a person know when he's a hero. and when he's not. Their eyes are locked, as if they're the only two in this very crowded room. A private question in a public place. The room becomes quiet as everyone realizes BUBBER is going to respond. BUBBER speaks soberly, directly to GALE. BUBBER Well, like. I said, Miss. uh, Gale, I think we're all heroes. If you catch us at the right moment. We all have something noble and decent in us trying to get out. and we all have moments of weakness. GALE'S eyes are locked with his as he continues.",
"INT. DEAKINS' OFFICE - NIGHT DEAKINS and WALLACE are watching BUBBER continue on their monitor. ANGLE ON TV SCREEN -LRB- INT. HOTEL SUITE - NIGHT -RRB- BUBBER continues to CAMERA, GALE off screen. BUBBER It's the media that notices one moment and one person and not another. I'm just another human being like the next person, full of frailty with some courage and decency mixed in. ANGLE ON DEAKINS -LRB- INT. DEAKINS OFFICE - NIGHT -RRB- DEAKINS What a crock of shit! Have you ever heard more bullshit and drivel from somebody who was n't President? WALLACE It's not unthinkable. DEAKINS What? WALLACE The Presidency. The public loves him. DEAKINS For ten more minutes they love him, Wally. I'm sick of him and I'm always about ten minutes ahead of the public.",
"INT. MONKEY CAGE/ZOO - DAY A `` public'' of MONKEYS clap hands, applauding a MONKEY who's making a `` speech.''",
"EXT. MONKEY CAGE/ZOO - DAY BERNIE and JOEY appear, passing in front of the monkey cage, deep in conversation. BERNIE You remember where I said how I was gon na explain about life, buddy? Well, the thing about life is. it gets weird. See people are always gon na be talking to you about `` truth.'' Everybody always knows what the truth is, like it was toilet paper or something and they got a supply in the closet. But what you learn as you get older is, there ai n't no truth. All there is is bullshit. -LRB- pardon my vulgarity here. -RRB-. Layers of it. One layer of bullshit on top of another. So what you do in life, like when you get older, is you pick the layer of bullshit you prefer and that's your bullshit, so to speak. You got that? JOEY -LRB- totally confounded. -RRB- Uh, no. BERNIE Mmmmm. Well, it's complicated. Maybe when you're older. Anyhow, what I'm gon na tell you here is in strict confidence, okay? It do n't go no further. What happened is, you remember that night I was gon na take you to the movies an' it was raining like a sonofabitch. -LRB- there's gon na be some vulgarities. -RRB-? BERNIE puts an affectionate arm around JOEY'S shoulder as we NOTICE that BERNIE is wearing brand new shiny shoes very much like his former good shoes, but different colors. As he and JOEY walk off, BERNIE still talking, JOEY puts an arm around his father and an audience of MONKEYS fills the foreground. MONKEYS. THE END"
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] | Bernie LaPlante (Dustin Hoffman) is a pickpocket and petty criminal who anonymously rescues survivors including TV reporter Gale Gayley (Geena Davis) at an airplane crash. He rescues Gale Gayley but also steals her purse, losing a shoe in the process. After his car breaks down, he flags down John Bubber (Andy Garcia), a homeless Vietnam veteran, and tells him about the rescue at the crash site, giving him his remaining shoe. When Deke (Chevy Chase), the television station news director, offers $1 million to the "Angel of Flight 104", Bernie realizes he can't claim the reward, due to his arrest while fencing credit cards he stole from the people he rescued. John, however, contacts Gale, recounting Bernie's tale of the rescue and provides the single shoe to take credit for the selfless act. When Bernie tries to tell people that John is a fake, the media, after sensationalizing his heroic image, will not believe Bernie. Bernie is released from jail and his lawyer informed him that he will be heading to prison soon because of the stolen goods he carried in his apartment. Gale, as one of the crash survivors, considers herself to be in John's debt and soon grooms his public image. She finds herself falling in love with him even though she has questions about his authenticity. Despite his reluctant acceptance of his fame, he turns out to be a decent person, using his fame and reward money to help sick children and the homeless. John finds himself in an ethical dilemma since his persona is inspirational to countless people. Meanwhile, Bernie continues to aggravate his ex-wife, Evelyn (Joan Cusack), and fails to bond with his son, Joey (James Madio), who is now enamored with John. He begins to feel that if Joey is going to idolize anyone, perhaps John is the better choice. A police detective tells Gale her credit cards were recovered during Bernie's arrest. She and her cameraman, Chucky (Kevin J. O'Connor), break into Bernie's apartment with the help of Winston (Maury Chaykin), the landlord. While searching for evidence to incriminate Bernie, Gale finds a stolen Silver Microphone Award that she won in New York City, the night before the crash. Bernie arrives only to be confronted by her, who speculates that John stole her purse in a moment of weakness during the rescue, sold it to Bernie, and accuses him of attempting to now blackmail John. They are interrupted by Winston, who says John is on television, about to commit suicide by jumping from the ledge of a high-rise skyscraper. Gale rushes to the scene and brings Bernie along, threatening to have him prosecuted if John leaps to his death. In addition, she demands Bernie apologize for the attempted blackmail. Evelyn and Joey rush there as well, with Evelyn reminiscing how Bernie is selfish and cynical, but always becomes a great person in a crisis. When they arrive, Bernie goes out on the ledge, hatching a scheme to milk the media attention for all its worth. Ultimately, he convinces John that the world needs a hero, and that he is clearly the right one for the job, though he does negotiate a discreet share of the $1 million to pay for his son's college tuition and a letter to the judge to put in a good word for him to suspend his prison sentence. When Bernie slips off the ledge, John grabs him and pulls him to safety, a (true) hero once more. When Gale sees Bernie's face covered with dirt, as on the night of the crash, she realizes it was he who saved her. She confronts him "off the record" with her supposition, but he insists that John was the hero. As Gale leaves, however, she thanks Bernie for saving her life; and he impulsively replies, "You're welcome." She tells him to tell Joey the truth. John agrees to continue playing the part of public hero. While on an excursion to the zoo, Bernie decides to tell Joey the true story of the crash. After he does so, a lady cries out that her daughter has fallen into the lion's cage. Joey pleads with him to help, to which he sighs, slips off his shoes, and heads off to see what he can do. | Hero_(1992_film) |
[
"THE PROPHECY With the sound of wind, of sand gritting against glass : A howling dust storm battering the doors and walls of a tiny woodplank church. Inside, huddled together against the rage outside, are a small group of people. All in black, mostly elderly, they kneel in prayer. Before them, on the cramped altar, lies a man. Dressed in the uniform of a general, surrounded by the silk softness of his casket. He's an old man, far from the crump of battles, consumed now with stillness, listening to the prayers of old people. Of desert wind, moaning through thin wood. The candle beside his head flickers and wanes in the ceaseless gusts, strains for life, then goes out.",
"EXT. DOWNTOWN LOS ANGELES - NIGHT It's not the best part of town and probably never was. A place of seedy, anonymous brick flophouses shackled by rusting fire escapes, lying on an alley unique only for its bad drainage. It's here, in the dim, flinty light, that a figure enters. Wearing a long coat and, despite the night, sunglasses, he pauses on the slimy asphalt and gazes up the sides of the flophouses, to their yellowish windows and competing Mexican radio stations. One window, dark and quiet on the third floor, catches his gaze. There's a metal hand railing in the alley that the long - coated figure effortlessly pops up onto. Sunglasses focused on the window, he lowers himself into a motionless crouch, a perch, on the railing with the ease of a crow. Or a gargoyle. Dawn is a muddled, limp thing that does nothing to improve the alley. The figure is still there, a motionless gargoyle perched on the railing. Watching the window. The shadows shorten, the air grows warmer, and now there's movement behind the window. The sunglassed gargoyle drops down off the railing, jumps up to the first rung of the fire escape, and begins climbing. BEHIND THE THIRD FLOOR WINDOW Is a room as grim as we expect. Lumpy iron bed, sink that's been pissed into one too many times, and SIMON ; a man in a tight sweater and dark sunglasses, busily emptying his pockets on the ruined dresser : loose change, a town paper's obituary column. Simon's sunglassed eyes look up suddenly, his body stifffening. He whips around to face the window just as it EXPLODES into fragments. The gargoyle LEAPS into the room on the trail of glass. Simon spins and THROWS himself against the intruder. The two STRUGGLE savagely across the room, SMASHING chairs. Simon manages a grip on the gargoyle's face and POUNDS the back of his skull against the wall. The gargoyle gets his locked fists up and SWINGS them like a war club, SMACKING Simon's face and SPRAWLING him backwards onto the bed. The two, across the room for each other, pause. GARGOYLE Where is it? Simon's climbed to his feet, the two men in sunglasses now walking slow circles around each other. SIMON Leave me alone. GARGOYLE You've found it, have n't you? SIMON Fuck you. The gargoyle drops his head and DRIVES himself into Simon, who HAMMERS the gargoyle with his fists. Blood SMEARS. The gargoyle's gotten free a knife that he JAMS into Simon's leg. Pressing home his advantage, the gargoyle SLAMS Simon up against the wall. He TEARS open Simon's shirt, digging his fingers into the chest, RIPPING the skin aside, the first plunging deep, CRACKING the sternum bone, pushing even further, toward the blood gouged pumping beneath - - Simon PLOWS his knee up between the gargoyle's legs. Over and over. Till the grip loosens and Simon SHOVES him to one side, using the momentum and drives to SWING the body around and at the shattered window. The gargoyle SMACKS the frame and COLLAPSES, his head CRACKING on the sill and FORCING a shard of glass through his neck. Simon moves to the window and brushes aside the gargoyle's sunglasses, revealing two totally empty eye sockets. Pushing his thumbs into them, Simon uses the leverage to lift the gargoyle off the sill and push his body out the window. The gargoyle bounces once on the fire escape, then spread - eagles thirty feet to the asphalt. Somebody turns up their Mexican radio station. The gargoyle's a wreck. But he manages, slowly - his shattered remains arguing every inch - to climb first to his knees, then miserably to his feet. A bent, splattered, hopeless thing that manages to stumble three or four feet before being HIT by a freeway - speed firebird BOMBING down the alley. The impact PINS the gargoyle to the grill and RAMS him into a brick wall, CRUSHING a chest that BELCHES out a sickly, bruised heart like a wet rag against the firebird's windshield. THREE FLOORS ABOVE Simon leans against his splintered window and looks down at the pinned and very finished body of the gargoyle. His own shirt and pants are a mess of torn blood and his breathing is difficult. Pain flashes across his forehead as he checks that his own sunglasses still sit snugly on the bridge of his nose. At the sound of a distant siren Simon turns and quickly finishes packing his duffle bag. Stiffly pulling on an oversize surplus army jacket that partly conceals the damage beneath, he picks up the bag and painfully shuffles out. The gargoyle, still pinned to the wall by the firebird. A FLASH bounces off his skin. Then another. He's being photographed. Go wide and find him in the middle of a police investigation. Bored blue uniforms, yellow barrier tape. The usual. A plain jane sedan pulls up and deposits THOMAS DAGGET, thirties, tweed coat and steel notebook. He smiles at a couple of cops, ducks under the yellow barrier, and nods a greeting to an older uniform sergeant, BURROWS. THOMAS DAGGET Hey. BURROWS Hey. DAGGETT -LRB- looks up at sky. -RRB- Thought those clouds this morning spelled rain for sure, but it's turned into a beautiful day, would n't you say, Sergeant Burrows? Thomas takes a deep, healthy breath. Burrows just stares at him. BURROWS I warned you about that cheerful shit. DAGGETT Sorry. I'm working on it. He eyes finally make their way to the gargoyle. DAGGETT What's the word? BURROWS Friend here did a half - gainer with a firebird tuck from the third floor. DAGGETT Jumper? BURROWS Not unless he decided not to bother opening the window first. DAGGETT Drugs? Alcohol? BURROWS Well, he was n't exactly in a condition to walk a chalk line when we got here. You're welcome to try and smell his breath if you like, that is if you can find the mouth. DAGGETT Ghouls been by? BURROWS On their way. Willie promises a white paper tomorrow. Or Wednesday, depending on his golf game. DAGGETT Firebird driver? Burrows nods in the direction of a very shook up young man sitting on the curb. BURROWS Mr. Jiminez. Was taking a short cut to his job at a packing plant on San Pedro. First thing he remembers about the deceased is several vital organs bouncing off his windshield. DAGGETT Have you had him walk a chalk line? BURROWS He's straight. Shook up some. DAGGETT -LRB- looking at gargoyle. -RRB- Anything on him? BURROWS No wallet, license, nothing. He is missing one or two things, though. DAGGETT Like? BURROWS His eyes. DAGGETT -LRB- looking at tangled mess. -RRB- Along with everything else. BURROWS We've found everything else - and what fun that was, let me tell you - but the eyes are still AWOL. Might just be stuck in the radiator grill. Little weird though. DAGGETT What? BURROWS Both popping out together like that. Worth a page in my scrapbook.",
"INT. FLOPHOUSE Burrows and Thomas coming up the stairs. DAGGETT Who's the room registered under? BURROWS John Smith. DAGGETT Anything interesting inside? BURROWS There are, what an intelligent, experienced detective like yourself could possibly construe as signs of a struggle. They enter the room, which is, of course, totally trashed. Thomas steps over the splintered furniture. BURROWS Naturally nobody saw or heard anything. DAGGETT In such a fine establishment as this? Thomas looks at the splashes of blood, overturned dressers, a newspaper, the `` Chimney Rock Republican'' ; one name in its obit section circled. Burrows sighs and checks his watch. BURROWS Ku San's on fourteenth is still open for another hour. Whatd ` ya say we pull out the ` ol `` SUICIDE'' rubber stamp and get some lunch. Rancid chow mein and watered beer for under three bucks. DAGGETT -LRB- looking at floor. -RRB- There's glass in the carpet. BURROWS That usually happens when you break a window. DAGGETT It's on the inside. Amongst the glass fragments at Thomas' feet is a pair of dark sunglasses. He picks them up, taps them in his palm, and looks out the window down to the man with no eyes, pinched between brick and chrome. DAGGETT Where's Chimney Rock? BURROWS Arizona desert, I think. Which is exactly where I'm going to be in two years, three months. DAGGETT And give up all this? BURROWS You're breaking my heart. The sun sinking beneath the horizon of a vast and undulating expanse of desert. Travel through the landscape as the sky purples and darkens and silhouettes tall, finger - like spires of volcanic rock. Hear the coyotes, the wind making its constant, probing search. Before the night swallows it all whole, Come upon The Town. It used to be something. But that's long gone. Now, wrapped in the sucking blackness of a wilderness night, it's a shell of a place. Lights still burn in some of the windows but fool no one. The ghosts are the majority here. Biding their time. Waiting for The Town to surrender and slip beneath the waves of the desert. The wind slinks over the hills, creeps down past boarded - up storefronts, skeletal ocitillo, and the rusting hulks of abandoned mining equipment. The corpse of a summer's kite twists slowly on a power line. ON THE EDGE OF TOWN From the inky oblivion of the road, comes a crunch of gravel. ON THE OTHER SIDE OF TOWN Stands a large, nineteenth century brick schoolhouse. An icon from a more prosperous past, its dark massiveness was meant for scores of ruddy - faced miner's kids. Now it seems to be imploding, eating itself with creeping decay. On this night it is silent and dark but for a small glow in one corner and the faint sound of children's voices in song. It is a hymn. An ancient, Latin one. The melancholy beauty of voices rising and falling in choir. INSIDE THE BUILDING Is a school auditorium. On the stage, dwarfed by it, are twenty five students from first grade to high school, singing together as a choir. A young woman, KATHERINE, directs their acapella voices as the small group of parents, lonely in the huge room, look on. OUTSIDE The voices drift on the night, down the road, and lap against the peeling facade of a storefront. A mortuary. INSIDE The rooms are dark but for one. There, bathed in the flickering light of a tall candle, lies the body of the old general we saw at the opening. THE FRONT DOOR Of the mortuary has a locked handle that jiggles from outside. A small panes of glass beside it is BROKEN by a hand. IN THE SCHOOL AUDITORIUM Young voices struggle with the complicated hymn and its pain of centuries. Faces white, Mexican, Navaho. Katherine guides them with soft hands. She smiles in pride. They smile back. Proud. Of her. Of themselves and the beauty coming from their mouths. One small, beautiful navaho girl, MARY, maybe eight, gets a special smile of special friendship from Katherine. THE MORTUARY'S Front door now stands ajar in the darkness. Small shards of glass glisten in the carpet. INSIDE Is the dead General. Even in the bleached ravages of age and death, his face still holds a shadow of vigor and pride. It takes a moment in the weak flicker of the candle to realize someone is there with him. Simon in his oversized surplus jacket. His arms are folded tightly across his middle, as if in deep cold. But his gaunt face is moist with sweat and his breath is shallow and uneven. He stares at the old man behind sunglasses and takes slow, cautious steps forward into the amber glow. Holding out two blood - stained fingers, Simon touches the General's forehead. A new strain crosses his perspiring face. Concentration. Placing his right palm on the General's chin and the left on his forehead, Simon CRACKS OPEN the dead man's mouth. IN THE SCHOOL AUDITORIUM The hymn is reaching its aching climax of medieval longing. IN THE MORTUARY Simon leans down to the open mouth, and in a voice soft and deeply weary, SIMON Qui ex Patre Flioque procedit. Then, with the school choir distant and faint in the night, the living man places his mouth over that of the dead man. IN THE SCHOOL AUDITORIUM It's coffee and cake now as parents proudly hug their children and congratulate their young teacher. Even in this gloomy, crumbling building it's a warm, small town moment. OUTSIDE Simon has left the mortuary and now limps with difficulty through the silent streets, leaning against shop walls for support. AT THE SCHOOL BUILDING Through the doors out steps the eight year old Navaho girl, Mary. Alone, she stands on the stone stairs and looks out into the night with sensitive eyes. She concentrates. Knows. Katherine follows her out. KATHERINE Hey bright eyes, what's the deal being out here all alone without a coat? The girl's eyes seem too serious for a child's. Too perceptive. MARY Someone's here. Katherine looks out into the night. KATHERINE Where? Mary stares a moment longer, then becomes a child again, smiling and popping Katherine one on the arm. MARY Pig out on all the cake? KATHERINE Oh, there might be one, tiny, skinny piece left, but you're gon na have to race me for it. Mary suddenly points past Katherine's shoulder. MARY What's that? When Katherine turns Mary dashes back into the building. MARY Ha! KATHERINE You little sneak! Katherine chases after her. AT THAT MOMENT Simon comes limping up from the road. His breathing's bad now as he moves stiffly along the school's brick walls, coming to an old, rusty back door he creaks open and slides through. INSIDE He climbs a littered and disused staircase, past broken beer bottles and condom wrappers to a dark and creaky second floor. It's part of the school building long abandoned. Doors to classrooms lie half off their hinges, windows are broken, rats squeak between ancient desks stacked like funeral pyres. Simon, his breath echoing in the cold darkness, shuffles along the broken linoleum till he comes to a rectangle cut in the wall where a row of lockers used to be. He crawls into the space and there, surrounded by rot, curls up on himself and sucks his thumb.",
"INT. APARTMENT Thomas Dagget's eyes opening slowly. He sits up in his bed, runs a hand through his hair, and looks out with only medium enthusiasm at the morning.",
"INT. CHURCH Thomas lights an offering candle and kneels for a brief, silent prayer. He crosses himself, stands, and walks for the door. Before leaving he glances back at the altar. A questioning moment between two akward, estranged friends.",
"INT. POLICE CENTER Thomas sits at his desk half - heartily trying to make sense of the three dozen files piled there. Lt. Paul, his boss, leans against a wall nearby. LT. How's it going? DAGGETT I was just looking for my `` SUICIDE'' rubber stamp. LT. Sorry about leaving you without a partner. Everything's up in the air till the commission settles their manpower budget. DAGGETT I'm okay. -LRB- his phone rings. -RRB- Dagget. It's done already? -LRB- smiles. -RRB- Must have rained over the golf course this morning. I'll be right over.",
"INT. CORONER'S OFFICE A set of golf clubs rest forelornly in the corner. An irritable looking coroner fumes behind his desk as Thomas enters. DAGGETT Hey, Willie, sorry to hear about the weather. The coroner just stares at him. DAGGETT Should I bother sitting? CORONER Sit. Thomas obeys as the coroner spreads out a stack of white sheets. CORONER Where would you like me to start? DAGGETT I think we can skip the cause of death. CORONER All right. To begin with, your man has no eyes. DAGGETT Were n't stuck in the radiator grill? CORONER No, he never had any eyes. We checked the sockets. There's no optic nerve, muscle pores, loose viscus, nothing. DAGGETT Huh. CORONER We also did a toxicology on his blood : High sodium, elevated selenium, no floating cholesterol platelets, trace ammonia. DAGGETT Something wrong with that? CORONER No, it's actually pretty common - for an aborted fetus. DAGGETT -LRB- rubs eyes. -RRB- I should have listened to Burrows. CORONER We also did a bone section. Was n't that much trouble since most of them were sticking out of his chest anyway. DAGGETT And? CORONER When babies grow up their bones get larger by adding calcium layers over the interior haversham canals. Child growth is n't uniform though, comes in spurts that always leave growth rings in the bone. Everybody has them - except your man. That would, to a hasty observer, seem to indicate he had never been a child. DAGGETT I assume you, a cautious and learned observer, of course have an explanation. CORONER Not even remotely. Want to hear the last one? DAGGETT Not even remotely. CORONER He's a hermaphrodite. -LRB- Thomas stares at him. -RRB- - Has both male and female sex organs. DAGGETT Think of the possibilities. CORONER Yeah, you can be impotent and frigid all at the same time - they do n't normally work. Thomas sighs and climbs to his feet. DAGGETT Well, I'd love to say thank you, but - CORONER Oh, I also have a bonus prize for you. The coroner opens his desk and pulls out a small, ancient looking leather bound book. CORONER Found this sealed in his coat lining. Thomas turns it over in his hand. DAGGETT It's a bible. CORONER A pretty old one, I think. Thomas runs his finger across the gold - leaf cover. CORONER We checked it out inside. Thought there might be a name or fingerprint somewhere. All we found was a curled page marking the fourteenth chapter of St. John's Revelations. DAGGETT There is no fourteenth chapter to Revelations. CORONER Maybe this is the teacher's edition. Thomas opens the bible and there it is, in Latin, the fourteenth chapter. DAGGETT Can I keep this awhile? CORONER Sure. DAGGETT -LRB- beat. -RRB- Can you sit on all this a few days, Willie? Not circulate the file? I need some time before all the questions start. CORONER Oooh, are we breaking the rules again? DAGGETT So what else is new?",
"INT. POLICE OFFICE Thomas at his desk, working under a lone gooseneck lamp. He's translating the fourteenth chapter of St. John's Revelations from Latin onto a slip of paper. Finished, he sets the ancient bible down, turns off the gooseneck, and leans back in his chair, alone in the dark.",
"EXT. DESERT - EARLY MORNING Here, outside The Town, horizons are distant, faraway things. The sky overhead is streaked red and blue with barely morning as the screen door of a simple stucco house swings open. It's Katherine, the teacher. Wearing levis and boots, she carries a saddle swung over one denim shoulder out to a corral behind the house where a horse shuffles and whinnies impatiently. KATHERINE In a minute, in a minute. Katherine throws the saddle over the horse and cinches it down as the sun, still tucked behind pink and grey cliffs, begins to heat up the sky.",
"EXT. SANDSTONE CANYON - MORNING Deep and narrow, an idyllic canyon of compressed sandstone walls smoothed, rounded and etched by centuries of wind. A tiny creek flows past weak banks of scrub pine and pocked sycamore. A silent place a long way and a long time from anything but the approach of galloping hooves. Katherine and her horse run full - out through the canyon, the clack and splash of hooves echoing off steep, shadowed walls. Horse and rider drive each other harder and harder, their hot breath brief clouds in the arch, thin desert air. Boulders shattered by winter cold and summer heat, deep wind - cut caves hiding scorpions, sidewinders, or a wary mountain lion all pass as in a blur ; arrogant hawks and patient buzzards, ruins of thousand year old Anasazi villages high on the cliffs, their weather - beaten skulls, seen and unseen, staring out ; everything is one smear of color and smell as Katherine gallops past them and up the cliff trail, out of the canyon, and onto the main plateau. ON THE PLATEAU Katherine strokes her horse and feeds it a bag of carrots. She pulls a thermos from the pack, sits down against some old man rocks, and with the coffee steaming in her hand, greets the sun now cresting the Chuska Mountains. There's a rutted, silty dirt road nearby. An ancient, battered school bus rattles its way past and stops. The bus driver, a Navaho, JOHN, climbs down and rubbing the side of his head painfully walks up to Katherine. JOHN You could save my life with some coffee. He holds out an empty cup Katherine fills. Sipping painfully, he lays down beside her and pulls the brim of his baseball cap over his eyes. KATHERINE Tough night? JOHN You do n't want to hear about it. -LRB- peeks out hopefully. -RRB- Or maybe you do. KATHERINE No thanks. JOHN Just checking. The bus is full of young school kids. KATHERINE Should n't they be getting to school? JOHN Impromptu field trip. I'm broadening their minds. And sparing them the sight of their beloved chauffeur barfing his guts out. Katherine's horse snorts. JOHN I hate horses. How was the canyon? Honey - suckle out yet? KATHERINE Did n't see any. JOHN I hate that canyon. I hate this this whole plateau. Too many goddamn ghosts. Leave it to them I say. San Diego, that's where I'm going. Or Oxnard. I like the sound of that. Ox - nard. KATHERINE I'm happy here. JOHN Oh lord protect us, another romantic pale face in love with the desert. KATHERINE Just got to give it a chance. JOHN Try growing up here. -LRB- tries word out on tongue. -RRB- Ox - nard. -LRB- sticks out coffee cup. -RRB- Uno mas, see - boo - play. -LRB- she pours. -RRB- Speaking of romantic pale faces, the rumor mill is in high gear again. KATHERINE Who this time? JOHN That funny looking guy from Window Rock. The BIA lawyer. KATHERINE -LRB- non - committal. -RRB- Huh. JOHN No! Say it is n't so! KATHERINE It is n't so. JOHN Thank you. He finishes the coffee and climbs painfully to his feet. JOHN Thanks for the joe. KATHERINE No prob. JOHN You're a credit to the community. He shuffles back to the bus. JOHN All right children, looks sharp! This is a school day! And no talking loud! The bus coughs alive and crawls forward. Katherine waves to the faces behind glass, then settles back for a last moment of peace as silence lays again over the land.",
"EXT. KATHERINE'S HOUSE - DAY Showered and changed into her teaching clothes, Katherine climbs into a rattling pickup.",
"EXT. THE TOWN Katherine drives to work, passing on the outskirts the closed copper mine, vast and abandoned. Down beyond the fading main street lies the great crumbling brick pile that is the school. Katherine parks her truck, grabs her leather bag, and walks in. Katherine's lecturing her students. All twenty - five of them. There's high school age sons of white ranchers, Navaho girls on the edge of puberty, tiny Mexican children. All being taught together in one room. It's dinosaur day. Katherine has a large fossilized bone on her lap. KATHERINE This is `` Camposaurus''. Camposaurus was a herbavore, which meant he only ate plants. Camposaur stayed mostly to himself and never bothered anyone. The little girls smile. They like Camposaurus. Katherine holds up another bone fragment. KATHERINE This is a leg fragment that belongs to the killer of the plateau, Alosaurus. Alosaurus was a vicious carnivore, which meant he'd eat anything that moved, especially nice, juicy Camposaurs. The little boys grin. They like Alosaurus. KATHERINE Both these guys lived together right here on the White Rock plateau eighty million years ago, when this area used to be on the banks of a huge, shallow sea. Remember how we talked about how sedimentation fossilizes bones? That's also what made the hills out behind our town and put the copper in the ground. HIGH SCHOOL KID Lot of good that did us. Katherine lifts off the desk an ancient 1950s gieger counter and switches it on. It ticks softly when she points it at the dino bone. BOY It's radioactive! Like Godzilla! KATHERINE Just a tiny bit, Alex. Do you know why? Uranium, that's the rock they use in nuclear power plants - BOY And bombs! KATHERINE And bombs Alex, yes, is all through these hills naturally. Millions of years ago the dinosaurs here ate plants and drank water which had uranium in it that became concentrated in their bones, which is exactly how, with Mr. Geiger counter here, we're going to find some. The class CHEERS.",
"EXT. HILL - DAY With the brick schoolhouse tiny in the background, Katherine's class trudges its way up the barren, rocky hillside behind the town. The teenage rancher's kids try to make time with the Mexican girls One of the little boys has gotten into a shoving match with a little girl. KATHERINE -LRB- coming between them. -RRB- - Hey. Come on. What's the deal, Brian? The girl folds her arms defiantly. The boy is pissed, embarrassed. BRIAN She. KATHERINE Yes? BRIAN She, she called me a `` Dick Head''. KATHERINE Sandra? SANDRA Well, he is. KATHERINE All right, Brian. You get one free insult. Make it good. Brian concentrates. PAUL You. You're a. Cow Demon! KATHERINE -LRB- beat. -RRB- Uh. Okay. Everybody satisfied? -LRB- looks at Brian. -RRB- Cow Demon? UP ON THE HILL Katherine's given the geiger counter to the little Navaho girl, Mary. Focusing grimly on the rock in front of her, Mary guides the detector over the stones till suddenly it begins clicking softly. MARY I got one! I got one! The high school kids come up and help dig. KATHERINE Easy. Easy. Do n't break it. Almost immediately, an eye socket appears in the dust. As the students carefully brush away the dust, Katherine looks back across the crumbly path. A coyote has crept up onto a near ledge. It just stands there. Watching her.",
"INT. BIG CITY CHURCH It's mostly empty at this time of day and the young man sitting in the pew, staring at the altar, is alone. His name is GABRIEL and he wears jeans, a faded leather jacket, and dark sunglasses, even inside. His thin hair is slicked back and there's an almost feminine quality about him. He sits there a moment longer, staring, then gets up and leaves.",
"EXT. DOWNTOWN ALLEY The alley from the beginning. Gabriel pulls his old, convertible rambler to a stop and walks into the flophouse.",
"INT. FLOPHOUSE He comes upstairs to the landing, where the door to the room is covered with a strip of yellow tape : POLICE INVESTIGATION. DO NOT ENTER. Gabriel pulls the tape aside and KICKS the door open. INSIDE It's still the disaster we remember. Gabriel walks slowly through the room. He scratches up some blood, tastes it. There's spray - painted outlines where the police have removed certain items. Gabriel takes note of this, tastes the blood again, and leaves.",
"EXT. KATHERINE'S CLASSROOM BUILDING - DAY It's lunch break. Most of the students sit in loose cliques around the front of the building ; eating, skipping rope, picking fights. INSIDE The recently unearthed skull sits on Katherine's desk. Feet up beside it, she leans back in her chair looking through a dinosaur book. One of her students, a twelve year old boy, finishes cleaning up the floor and stands beside her. BOY I'm all done with the cleaning, Miss Henley. KATHERINE Thank you, Jason. I appreciate it. BOY -LRB- looking at book over her shoulder. -RRB- Find out what it is, yet? KATHERINE Well, it's either a 44 million year old Strychtosaurus or that cow Mr. Sorenson lost last winter. The boy, still standing beside her, begins to look nervous. Slowly, he lets his weight rest against Katherine's shoulder. She smiles good naturedly up at him. KATHERINE Go eat your lunch, Jason. The boy immediately stiffens and begins backing up, almost relieved. BOY Sure, Miss Henley. Thanks. See ya. Katherine watches him leave, smiles again, and goes back to the book. AROUND THE BACK OF THE BUILDING On the abandoned back stairs, a couple of Mexican boys sit smoking cigarettes. They whistle and kid with the four young girls that pass them going up the steps. UPSTAIRS Is the abandoned, decayed part of the building. The four girls know they're not supposed to be here and that's probably half the fun. They run through the crumbling halls, giggling and hiding from one another. Their cries, the smack of their shoes, echo off off the peeling halls. One of them is Mary, running down a hall, banging a stick with another girl. At a corner Mary peels off from her friend, runs down a new hall, turns a corner, And comes on Simon. He's still curled where we last saw him, in the wall niche where some lockers used to be. The two stare at one another. Finally, MARY Hi. SIMON Hi. MARY What's your name? SIMON Simon. MARY You do n't look so good, Simon. SIMON No, I do n't. MARY I'm Mary. SIMON Hello Mary. MARY Does Miss Henley know you're here? SIMON No one does, Mary. Can we keep it just our secret. For a little while? Mary thinks. MARY Okay. You can hear her friends coming closer. MARY I have to go. SIMON It was nice meeting you, Mary. Mary goes to leave, stops, turns back. MARY Are you hungry? I could bring something. SIMON That would be very nice. MARY Okay. Bye. She smiles and runs down the hall. Simon grits his teeth, turns to the wall, and prepares himself for a long, long day.",
"EXT. APARTMENT BUILDING - DAY An old fifties two - level, Polynesian lamps and glitter stucco, now faded and browinish with water stains. Gabriel, the young man with the sunglasses and leather jacket we last saw kicking down the door at the flophouse, walks up the apartment's stairs to the second level, knocks once, and opens the door. THE APARTMENT INSIDE Has n't been very well looked after lately. Either has the occupant. Sitting slumped in a kitchen chair, staring at the floor, he peers through dully yellow eyes that barely seem to register his visitor. GABRIEL Gee Jerry, you look like shit. The eyes lift to Gabriel, revealing a pale, bloodless face eaten with dried sores. JERRY Leave me alone, Gabriel. GABRIEL Soon, pal. Soon. Gabriel drops into the chair across from Jerry and pushes aside with distaste the maggot - ridden plates of food piled on the table. He reaches his hand out to Jerry. GABRIEL Come here. JERRY Go away. GABRIEL -LRB- sing - song, like to a baby. -RRB- Come here. Gabriel puts his hand under Jerry's chin and turns the face side to side, examining the cracked, decaying skin and filmy eyes. GABRIEL Hmmm. Still a little life left in you. Barely. JERRY Fuck you. Gabriel releases Jerry's chin and slouches down in the chair. GABRIEL There's something I want you to do for me. JERRY What a surprise. GABRIEL Do n't be that way. JERRY I just want to. Why wo n't you let me. GABRIEL I will, I will. Promise. A dark, intestinal looking amber fluid begins to pool out of Jerry's pant leg. GABRIEL You need some new clothes, son. A tear wells in Jerry's decomposing face. GABRIEL Aw come on, do n't start. You know how I hate that. JERRY I'm so tired. I'm so goddamn tired. GABRIEL Watch the profanity. - Just one more favor. Honest. JERRY -LRB- deep sigh. -RRB- What? GABRIEL I want you to get something for me. A few personal effects the cops ripped off from the lovely Allenwood Arms on Seventh Street. It'll be sitting in their property room down on San Julian. JERRY I'm supposed to just go in there? Like this? GABRIEL Give you a bath, put on some decent clothes. -LRB- beat. -RRB- Maybe a very large brim hat, you'll be fine. Just go in between five and five - ten, it's a shift change and nobody'll notice you. JERRY How do you know? GABRIEL -LRB- cocks an eye. -RRB- C'mon. -LRB- tosses yellow ID card onto table. -RRB- This should be more or less up to date. JERRY Got a name this stuff is under? GABRIEL John Doe. JERRY Why does n't that surprise me. Gabriel gets up, pats Jerry on the head, and walks to the door. GABRIEL I'll see you tonight. -LRB- flips him silver dollar. -RRB- Here's some bus fare. The SLAM of a racquetball against the scarred white wall of an indoor court. It ricochets off the ceiling, hits the back glass partition, and is SLAMMED again. Four players, including Thomas, grunt and sweat across the hardwood floor. It's brutal. Shoulders and knees bang off one another. One of the players falls back, yells to Thomas. PLAYER Cover me! Cover me! Thomas dives into position to make the save, recovers, and yells to the player as he dashes to the next corner. DAGGETT Pop it up! The player SLAMS it brutally at Thomas, who misses miserably. DAGGETT Thanks a lot. Another player picks up the dead ball and puts his arm around Thomas. PLAYER #2 You're missing the point of the game, Thomas. You must absolutely trust no one. Form alliances, but break them. Lure another to trust you, then betray him! You play with too much honor. Sink to the gutter. Use people. Lie and double - cross them. Player # 2 tosses the ball to Thomas, who serves, and the scuffling is back on. Shouts to one another. Promises of support. PLAYER #2 Come on Thomas, let's take out Sam together! Thomas and Player # 2 team up on a third player, pressing him hard. Suddenly Thomas breaks back, intercepts the ball, and drives against Player # 2. The about - face is too abrupt for him and Player # 2 is eliminated in a double - cross. He smiles proudly at Thomas. PLAYER #2 Magnificent decadence.",
"INT. GYM LOCKER ROOM Thomas and the three players congratulate each other on the evil and treachery in each other's strategies as they shower down. PLAYER #1 The important thing, Tom, is seeing the game for what it is. PLAYER #2 A sickening, hopeless, giant sucking hole of depravity. Laughs.",
"INT. LOCKER ROOM DRESSING AREA As Thomas combs his hair and slips on his regimental detective's suit'n tie, the other three put on their black pants, shirts, and stiff white Roman collars. They're priests. Two of the priests hoist their gym bags and head for the door. PRIEST #1 See ya guys next Tuesday, huh? Thomas is left alone with Player -LRB- priest -RRB- # 2, Bill. BILL So how's work? DAGGETT Okay. Y' now. BILL Life on the dark side. DAGGETT -LRB- beat. -RRB- Can I ask you about something? BILL Sure. DAGGETT It has to stay between us. I need your word on it. BILL As a racquetball player or a priest? DAGGETT I'll take the priest for the moment. BILL What's on your mind? DAGGETT It's a case. We found this guy. He was. different. But he had on him an old bible. He pulls the bible out of a cloth sack and hands it to Bill. BILL It's a Vichini. DAGGETT Worth a little? BILL More than a little. They're the best. Sixth century. Hand illuminated. Vichini only did twenty, each pocket size for a king to carry into battle beside his heart. Some consider them the finest bibles ever made. I thought they'd all be in museums. What are you doing with it? DAGGETT This one's a bit special. BILL How? DAGGETT It's has a bonus chapter to St, John's Revelations. BILL Really? What does it say? DAGGETT -LRB- reading from slip of paper. -RRB- `` And as in the first war, the angels so fought over the nature of their God, and there was much vanity and destruction in heaven. For some angels called their Lord the son of God, and others called Him the begotten father of Jesus Christ.'' What do you think? BILL I've never heard that quote before. Theologically, The `` first war'' obviously refers to the war in heaven where Michael the archangel threw out Satan and his gang. Old time bible stuff. But this implies there was a second war. That's news to me. DAGGETT And the rest of it? BILL Oh, it's a fairly common theological debate. Or was. The idea that if Christ is God's son, does that make him less than God or are they the same being in different forms. That very argument almost tore the early Christian church apart in the 4th Century. That was the good old days when people actually worried about theology. Anyway, it was settled when the bishops of the world got to together at the Council of Nicene in 325 and hashed out the various interpretations of scripture into a uniform dogma of belief. The result was the Nicene Creed, which basically said that Christ was in fact the same as God and was owed the same power and respect as the Father. That they were the same. -LRB- smiles. -RRB- But it's not exactly the sort of thing angels would fight over. DAGGETT Why? BILL Well, they could just ask God, right? DAGGETT Do you think it's possible that John might have written that extra chapter? BILL Who knows? Vichini was the greatest biblical scholar of the age, some claimed he made his own translations from the original writings. Maybe he did find some unknown writings by John. It's possible I suppose. John always was a little negative about angels. All this actually has something to do with an LAPD murder? DAGGETT I do n't know yet. Maybe. Probably not. BILL I hate to break it you, but that particular family spat has been settled for 1,600 years. Nobody loses sleep over it anymore. Honest. DAGGETT What did John have against angels? BILL Oh, he did n't trust them much. All that running around smiting and killing in the name of the Lord. God's wild bunch. He thought it made them fickle and vain. One click above ghosts. Satan did n't help the image much either. DAGGETT Satan? BILL Well, he did start as an angel.",
"EXT. GYM Thomas walks Bill out to his car. BILL So when are you going to get a real job? DAGGETT You mean with the Church? BILL You almost did it once. I never saw a seminary student more called to the collar than you. Why did n't you ever become ordained? DAGGETT It's a long story. BILL You'll have to tell it to me sometime. DAGGETT Sometime.",
"EXT. DOWNTOWN - DAY The building is squat and brick. A non - descrip warehouse that subs as a police evidence storage area. The sun is hard today as it beats down on Jerry's large - brimmed felt hat. Daylight and Jerry do n't get along very well. His sunken, filmy eyes squint at its glare. The decayed flesh cracking along his cheeks flames at its touch. He shuffles down the sidewalk, the brackish, amber fluid that gurgles down his leg filling his shoes and leaving behind shiny wet footprints like a snail. There's nobody around the back door and its unlocked. Jerry's shrunken claws pull it open. INSIDE Is a crush of filing cabinets and erector - set shelves. All of it crammed with low grade stuff. The heroin busts and million dollar currency arrests do n't end up here. Here it's all shoe boxes and dusty files. Fragments of small lives forgotten. Jerry pulls the brim of his hat down even further as he works his way past rack after rack. The single uniform he meets looks only casually at Jerry's lapel ID badge. It's on the third shelf he finds it. John Doe # 78. Jerry lifts the box and walks out.",
"INT. COUNTY BUILDING BASEMENT Gabriel steps off the elevator and follows the signs for MEDICAL EXAMINER. Along the way he passes a checkpoint guard. GUARD Need a pass, friend. GABRIEL I'll just be a second. GUARD C'mon. GABRIEL Sorry. Gabriel walks back to the guard, smiles, and KNOCKS him clean out of his chair with the back of his arm. The guard SMACKS against the wall and crumples out of view.",
"INT. MORGUE Tiled floor and refrigerated corpses. Nobody's around when Gabriel enters. He walks over to a file cabinet and removes a thick folder. Then he walks to the big filing cabinets, the ones that hold a body in each drawer. He strolls along, tapping each label till he finds the one he's looking for, slides it open, and looks down at the naked body of the gargoyle. He's been sewed back together. Kind of. Gabriel grabs the eyeless corpse under the armpits and drags him out onto the floor where he pushes the legs together and outstretches the arms, like a crucifix. From his coat Gabriel takes out a small vial of oil and rubs it onto the gargoyle's feet and hands. Anointing them. Then with the tip of his finger, he draws a faint sign of the cross on the forehead, stands, and walks for the door. In the background, as Gabriel leaves, we see the body of the gargoyle BURST into flame.",
"INT. KATHERINE'S SCHOOL Katherine's students are shuffling back from lunch to their seats, making small talk and paper airplanes. Katherine does a head count, then stops a young boy coming through the door. KATHERINE Brian, have you seen Mary? BRIAN I think she's out back somewhere. KATHERINE -LRB- to girl. -RRB- Allison? ALLISON We have n't seen her since lunch. KATHERINE We're you guys up in the. The girls, Mary's friends, shrug innocently. Katherine sighs. KATHERINE Okay everybody, get started on today's reading. Quietly. I'll be right back. Katherine closes the door behind her. The class immediately erupts into goofing off. The door opens again. KATHERINE I mean quiet. IN THE ABANDONED PART OF THE BUILDING Katherine walks through decayed and rusting halls. KATHERINE -LRB- calls out. -RRB- Mary. It's spooky up here. A part of the building Katherine clearly dislikes. KATHERINE Mary. -LRB- to herself. -RRB- Shit. Katherine calls out Mary's name a few more times, turns a few more corners, and suddenly comes on her. KATHERINE Mary? Mary's sitting beside Simon, the bleeding, ashen - faced man with sunglasses. She's giving Simon a piece of sandwich and a coke. Katherine is instantly wary. KATHERINE Mary, come here. MARY But Simon and I were - KATHERINE Come here. Mary reluctantly walks over to Katherine. KATHERINE Go back to class. MARY But - KATHERINE Go. Mary frowns, waves once to Simon, and leaves. There's a heaviness to the air around Simon. A kind of buzzing. Katherine blinks her eyes a few times. Focuses. SIMON She was n't doing any harm. KATHERINE It's not her I'm worried about. SIMON Of course. KATHERINE What are you doing here? SIMON Small job. Mostly done now. Just passing through. KATHERINE This is school property, you ca n't sleep here. SIMON It was n't part of the plan. Honest. KATHERINE -LRB- notices blood stains. -RRB- Are you all right? SIMON No. Not really. That buzz. Katherine rubs the side of her temple. KATHERINE I'll have to call the police. SIMON I wish you would n't, but I understand. KATHERINE They'll help you. SIMON Oh, I rather doubt that. Katherine turns and leaves, her footsteps fading. Mary appears again. MARY Hi. SIMON Hello. I thought you'd left. MARY I hid. I'm very clever. SIMON I'm sure you are. -LRB- beat. -RRB- You were nice to give me the food. MARY I know. SIMON I have n't much time, Mary. And since you've been so nice to me, there's something I'd very much like to give to you. MARY What? SIMON Just for a little while. Something very special. Can you keep it a secret? The biggest secret ever? MARY Yes. What is it? SIMON Come here, Mary. She takes a couple of shy steps toward him. SIMON Closer. As she does - Katherine, outside the building, rounding up some of the kids who decided to take an impromptu recess. Hustling the last one up the stairs, she pauses suddenly. She hears something. Faint coughing. Katherine walks back around the side of the building and sees Mary bent over, vomiting. Katherine rushes up to her. MARY I do n't feel good. KATHERINE What's the matter, pumpkin? Did you eat something? -LRB- concerned beat. -RRB- Did he give you something? Mary coughs up the last of her lunch. MARY Can I go home now? Katherine wipes off Mary's mouth with a hanky. KATHERINE Sure, hon. Let's go.",
"EXT. TOWN - DAY Katherine drives Mary home, a dusty, tired mobile home slumped among the saguaro and tumbleweed on the edge of town.",
"INT. MOBILE HOME Mary and Katherine pull open the door and enter. Mary's elderly grandmother is sitting watching `` All My Children''. She smiles at Katherine and looks at Mary with concern as the little girl rubs her stomach and explains something in Navaho. IN THE BEDROOM Katherine helps tuck Mary in bed as her grandmother brings a glass of water. KATHERINE I'll have the school send over a doctor. The grandmother sits beside Mary, whispers gently in Navaho, and softly stokes her brow. IN THE LIVING ROOM KATHERINE -LRB- on the phone. -RRB-. He's was just laying up there. I thought, with the kids and everything. VOICE Most of my boys are up the highway on a tanker spill at the moment. They may be a while. These people are rarely any problem. I'll have a deputy come by tonight or tomorrow and shoo him out. KATHERINE He looked hurt. VOICE They all do, ma'am. Inside or out, they're all damaged goods. IN THE BEDROOM Alone and tucked into bed, Mary stares off at something very, very far away.",
"INT. THOMAS'S APARTMENT The sun orange and fading outside his window, Thomas drifts off into a nap on his couch. The phone rings. DAGGETT Yeah. VOICE It's your friendly coroner. DAGGETT Why is my friendly coroner, after a long day at work, calling me at home? VOICE I have something you'll want to see. DAGGETT I doubt it. VOICE No, you'll definitely want to see this.",
"INT. MORGUE On the floor is the smoldering, blackened outline of a body. A thick, slimy goo gurgles and pops. The whole room is afoul with acrid smoke. CORONER They also took the autopsy file. DAGGETT `` They''? CORONER He, she, it. They took it. They also lifted all the physical evidence from the San Julian impound. DAGGETT Where was everyone? CORONER The cop at the desk is in the hospital as we speak with a broken collarbone. Everyone else was down the hall watching the basketball playoffs. DAGGETT Who won? CORONER Temple. DAGGETT Lucky. CORONER Yeah. Foul on the buzzer. Thomas jams his hands in his pockets and leans against an autopsy table. Watches the smoke curl slowly up from the impossibly melted goo in front of him. DAGGETT Looks like the snow angels we used to make as kids. Lie down in a clean bank. Move your arms up and down. CORONER You know what this means. Our friend's cleaned out all the evidence on this guy. Everything. DAGGETT Did the cop get a look at who nailed him? CORONER Tall. Smiled a lot. DAGGETT Anything else? CORONER He wore sunglasses. Thomas pulls out out his notebook. CORONER You gon na figure this one out, Tom? DAGGETT I'm going to try. CORONER When you do, give me a call. Tell me I'm not crazy.",
"INT. JERRY'S APARTMENT Gabriel crouches on the linoleum and pours everything out of the evidence box onto the floor. He sifts through it, a smile appearing when comes across the Chimney Rock Republican and its circled obituary. GABRIEL You like the desert, Jerry? Jerry is looking worse by the day. A rotting, oozing fissure has opened on his forehead. His right eye does n't move anymore. He sits on a kitchen chair glumly. JERRY You promised. You promised that - GABRIEL - Soon. Honest. Do n't be a pest about it. JERRY -LRB- sighs. -RRB- Never trust a fucking angel. GABRIEL Excellent advice.",
"INT. POLICE STATION Thomas sits hunched over his notes from the first day of the investigation. Written in it is the Chimney Rock Republican and the obituary name of General Arnold Hawthorn. Lt. Paul sits down in the chair opposite. LT. PAUL Do you ever have one of those afternoons where you feel no one's giving you a straight answer about anything? DAGGETT Oh, maybe five or six times a week. LT. PAUL -LRB- reading sheet. -RRB- It says here somebody got into the property warehouse and cleaned everything out of your evidence box. No, he did leave one thing. A footprint. 11 - D. DAGGETT Mud on his shoes? LT. PAUL Spinal fluid. Thomas slowly closes his notebook. LT. PAUL I'm not going to get a straight answer out of you either, am I? DAGGETT Not yet. The Lt. rubs his eyes tiredly. DAGGETT I need to go to Arizona. LT. PAUL For your health? DAGGETT So I can give you a straight answer. LT. PAUL Sure, why not? Take the kids. See the Grand Canyon. Send me a fucking postcard. DAGGETT Sorry. LT. PAUL I've got a headache, Tom, and I hate my life. If you have to go, go.",
"EXT. DESERT - NIGHT On an utterly lonely blacktop, Gabriel shoots by in his top - down rambler, insignificant in the night's vastness. Jerry's in the back, feet up on the seat. JERRY Why do you need me? I can hardly walk now. GABRIEL Some things are human work, son. Live or dead, human work. Besides, I like you. JERRY Lucky moi. Gabriel suddenly stands on the brakes, SCREECHING the rambler to a dusty stop. He kills the engine and everything is instantly whispering night and coyote howls. Gabriel climbs out and walks to the edge of a cliff. Far below, nestled among the finger - like spires of volcanic cones, lies The Town. Twinkling lights in a cold, dark embrace. Gabriel pushes his sunglasses up his nose and smiles. GABRIEL I can always smell a graveyard. Two coyotes begin fighting and snarling with each other in the dust nearby.",
"EXT. GRAVEYARD - NIGHT On a low hill at the edge of town. Cracked, sinking headstones. The rambler's parked next to a new one, Slim Pickens on the AM, as Jerry digs up the fresh grave marked General Arnold Hawthorne. Gabriel sits perched on the headstone over the grave like a winged creature. JERRY I hope you're enjoying this. GABRIEL I always enjoy watching you work, Jerry. JERRY How did I ever get you in my life? GABRIEL Come on, you did n't really want to kill yourself. JERRY But I did it, did n't I? I did kill myself. GABRIEL Well, yes. Technically. JERRY And you're just keeping me alive. GABRIEL Letting you die slower. JERRY I'm so in your debt. GABRIEL Thank you, Jerry. I'm touched. Really. Jerry's shovel CLANKS onto something hard. He scrapes away the dirt, revealing a coffin lid. With a socket wrench Jerry removes the fastening bolts, then with the edge of his shovel, pries open the lid. It's the ancient, wasted general we saw at the beginning. His medals flash in the moonlight. JERRY Not much to look at. GABRIEL Ah, but it's not what's on the outside that matters - Gabriel leaps off his perch down into the grave. GABRIEL - It's what's on the inside. Gabriel reaches down, places one hand on the General's forehead, one on his chin, and BREAKS the mouth open. He gazes down into it. Then suddenly stiffens and straightens up. GABRIEL -LRB- upset. -RRB- It's not here. Gabriel frantically look in the ears. Up the nose. GABRIEL It's not here! JERRY Oooh, bad news for the war effort. GABRIEL -LRB- spins wildly on him. -RRB- Shut up! Gabriel BANGS the coffin lid in frustration. Tries to think. GABRIEL Now, if you were a soul, where would you hide? JERRY The hell away from you.",
"INT. THOMAS'S APARTMENT The numbers on the clock radio roll over five AM and the news comes on. Thomas stirs in bed, rubs his eyes, and looks out at a sky untouched by any sign of dawn. In coat and tie, Thomas sits in his spartan kitchen stirring a coffee when the phone rings. FEMALE VOICE Hey little brother. DAGGETT -LRB- smiles. -RRB- Hey. How's the world? VOICE The world's the usual. Except for a guppy. the world's minus one guppy this morning. DAGGETT And Jamie and Mac? VOICE They keep asking for Uncle Tommy. The only man that can make stuffed bears talk. DAGGETT My one true calling. What's up? VOICE What do you mean? DAGGETT It's five - thirty in the morning. VOICE -LRB- beat. -RRB- I just thought I should call. DAGGETT You always were telepathic. VOICE Do n't go. Thomas looks up at his overnight bag, sitting half - packed on the dresser. DAGGETT It's my job, Jan.. I go places sometimes. VOICE I just had this terrible feeling about it. What's happening, Tom? DAGGETT I do n't know. VOICE I miss you. Even when you're here. I miss you. I miss my brother. It's been four years, Tom, since. DAGGETT I know. VOICE We're the only blood family we have left, you and me. I worry about you. DAGGETT I'll be okay. VOICE Sorry about the dawn - attack call. I love you. DAGGETT I love you too, Jan.. He cradles the phone, stares at it, then picks up his overnight bag.",
"EXT. THE TOWN - NIGHT Silent and dead at this hour. Gabriel's boots creak on the floorboards of the 19th century plank sidewalks. He taps his finger aimlessly along plate glass shop windows. GABRIEL Boy, what a dump, huh? Jerry, limping on a foot that's caving in on itself, wiping the spinal fluid out of his dead eye, shuffles along behind. Gabriel pops off the elevated sidewalk, grabs a parking meter and swings himself playfully around. GABRIEL Why ca n't this shit ever go down in Miami? Or Bora Bora? I feel like I've spent my whole damn stay in gin swills like this. JERRY Life's a bitch. Gabriel suddenly freezes. He sticks his nose up, sniffs like a coyote, then abruptly drops to the ground in a push - up and smells the dirt. Tastes it with his tongue. Smiles. GABRIEL Well well.",
"INT. THE SCHOOL BUILDING - NIGHT A fracture of broken moon tumbles through shattered windows and falls dully across shapes old, shapes forgotten, and one shape trying hopelessly to drag itself across the floor. It's Simon ; breath a rasp, blood - soaked pants leaving a long smear behind him like a hemorrhaging snail. He coughs, drags an arm across the lenses of his sunglasses, And looks up at a pair of black, lizard - skin boots. GABRIEL Hi, Simon. Simon rolls on his back and sighs. SIMON Gabriel. Simon looks up at puss - faced Jerry, leaning quietly in a dark corner. JERRY Do n't mind me. Just along for the ride. Gabriel sits down against the wall. GABRIEL So, what shall we talk about? Theology? SIMON I'm a little talked out on theology. GABRIEL Fair enough. Gabriel turns his boot to the moon, watches the pale light glint back off the lizard scales. GABRIEL You know why I'm here. SIMON Oh yes. GABRIEL Do n't happen to have it on you by chance? SIMON No. GABRIEL That would have been too easy. Simon suddenly JUMPS to his feet. Tries to escape. Jerry trips him, SPRAWLING Simon back to the floor. GABRIEL Please, Simon. Get serious. Gabriel walks over to him. Puts his face close. GABRIEL Now. Where's the soul? -LRB- beat. -RRB- You know. So high. Used to reside in the recently departed General Hawthorne. Simon does n't answer. Gabriel shrugs. GABRIEL Have it your way, big guy. SIMON I do have one question. GABRIEL Shoot. SIMON Do you even remember what this war's about? Gabriel pauses, almost thoughtfully. Then he smiles. GABRIEL That's hardly the point, is it? SIMON I guess I never did get the point. GABRIEL Happens. SIMON How do you do it, Gabriel? How do you go on and on in this place? GABRIEL I like it here, Simon. I always have. SIMON I'm so tired. Gabriel grasps Simon's hand. GABRIEL Then join us, Simon. Reject the Nicene Council. We were here first. SIMON I ca n't do it, Gabriel. I do n't even know why anymore, but I ca n't. GABRIEL You know the routine. SIMON -LRB- swallows hard. -RRB- Yes. Gabriel's hand is suddenly on Simon's face, fingers spread, claw - like. They press into the flesh. Hard. And harder. Until Simon starts to bleed. Then to burn.",
"INT. KATHERINE'S HOUSE - NIGHT Katherine startles abruptly in her bed at the faraway sound of Simon's screams. Screams carried either on the wind or her dreams.",
"INT. MARY'S HOUSE - NIGHT Asleep, sweaty, shivering, Mary suddenly opens her eyes.",
"INT. THE SCHOOL BUILDING - NIGHT Gabriel releases his grip on Simon, letting him fall back against the wall, afire. His clothes twist and blacken. His skin creeps and pops. His sunglasses melt and fall away ; revealing two hollow pits beneath. Gabriel lifts Simon's entire body up off the floor by just the disintegrating face, and stares into the hollow pits. GABRIEL Not yet. And the fires go out. Gabriel drops the crackling, acrid body onto the floor. Impossibly, through the sizzling mucus and molten hair, it breathes. It gasps in pain. It wo n't die. GABRIEL I can do this for five months, Simon.",
"EXT. THE TOWN The skies above lighten and smear blue and red. KATHERINE Finishes dressing for school, picks up her teaching bag, and crunches out across the gravel to her pick - up.",
"INT. THE SCHOOL BUILDING Gabriel's lizard boots pace back and forth past Simon's writhing, burning body. Gabriel's more jittery now. Losing his patience. He bends down and pulls Simon's face up to his. GABRIEL This is getting boring, Simon. JERRY Amen. GABRIEL Where is it? Where did you put it? The seared skin around Simon's mouth comes off in Gabriel's hand. But Simon is still, even now, silent. GABRIEL Where is it! He flings Simon with a horrible crunch against the wall. GABRIEL I'm just about out of tricks here. You're a tough one, friend. Old school. He walks over and places a hand with something like friendship on Simon's charred shoulder. GABRIEL God loves you, Simon. And with the other hand Gabriel JAMS his fist into Simon's chest, PULLING OUT a lumpy, burned heart. Simon's mouth springs open and hisses emptily. Gabriel slips the heart into his pocket and lets go of Simon's shoulder. The body instantly disintegrates and crashes to the floor.",
"EXT. THE TOWN - MORNING Katherine squints at the morning glare as she drives through town. Pulling into the school's drive she sees, parked at the building's back door, a sheriff's patrol car.",
"INT. SCHOOL BUILDING Katherine comes up the stairs of the building's abandoned floor, passing the stacks of rotting desks toward where she last saw Simon. There's a bad smell in the air. At a turn stands a deputy that looks up as Katherine approaches. DEPUTY You may want to skip this, ma'am. Katherine looks past him to where a second deputy crouches down beside. beside something. It's human shaped, but like a shadow. A shadow twisted in agony and slicked with a tarry, smoldering ooze. The smell is overpowering. The crouched deputy has a handkerchief over his mouth. CROUCHED DEPUTY God damn. DEPUTY -LRB- to Katherine. -RRB- Were any of your students up here? KATHERINE Mary.",
"EXT. MARY'S FAMILY TRAILER - DAY Katherine pulls - up and parks. INSIDE Mary is still in bed, droopy - eyed and sweating. Her grandmother is there, and so is an elderly Navaho. He stands beside Mary's side, holding above her body a clenched pouch that he passes slowly back and forth. KATHERINE -LRB- to grandmother. -RRB- How is she? GRANDMOTHER Same. KATHERINE Did the doctor come by? GRANDMOTHER He found nothing. But something is in her. I know. Something the Belagaana doctor ca n't see. The night people have been around two days now. It is a warning. -LRB- nods to Navaho man. -RRB- So we have called the hand trembler. To find if she must have an Enemy Ghost Way. The old man mumbles a soft chant as he moves the pouch back and forth across Mary's body.",
"EXT. MARY'S FAMILY TRAILER - DAY Katherine walks back out toward her pickup. She stops. Thirty yards away, almost invisible in the sage say for the glare of its evil, intelligent eyes, is a coyote. As she feels it's gaze a shadow suddenly crosses her shoulder. Katherine turns quickly but only barely catches, out of the corner of her eye, a glimpse of something very large. And winged. A huge semi ROARING deafeningly past on an empty desert highway, KICKING UP a dusty cyclone that drifts over a one - horse gas station and Thomas, sitting there in his car checking a map.",
"EXT. COUNTY BUILDING - DAY Small townish ; old adobe and stucco walls, cannon on the front lawn, every door loudly declaring itself a department : SOCIAL SERVICES, COURTS, and, SHERIFF. INSIDE The Sheriff's personal office is turn of the century regal, with high beam ceilings and rotating fans. Nothing seems newer than 1940, including the coffee pot the Sheriff pours a mugful from. Trim with glasses, bolo tie and boots, he looks like Barry Goldwater. SHERIFF And to what do I owe the thrill of a visit from a So Cal homicide cop? He hands the coffee to Thomas, sitting in a chair beside his solid oak desk. DAGGETT Run of of the mill psycho killer body dismemberment on our end. The usual. SHERIFF Lovely place, Los Angeles. DAGGETT Got a lead I wanted to run down Chimney Rock way. Thought I'd do the courtesy of telling you first. SHERIFF Big of you. DAGGETT You're welcome to put a babysitter on me if you like. The Sheriff smiles. SHERIFF Son, this is the third biggest county in the country, not even counting the 25,000 square mile Indian reservation right next door, and I've got fewer men than just one of your little palm tree precincts to cover all of it. ` Fraid the only help you're gon na get from me, short of another shoot out at the OK Corral, is that cup of coffee in your hand. A middle - aged secretary enters with a stack of paper. SECRETARY Here's the last week's watch reports. She hands them to the Sheriff, who passes them on to Thomas. He flips through the stack, comes up with nothing. The secretary hands another, single sheet to the Sheriff. SECRETARY Bobby just called this in from Chimney Rock. Thomas perks at The Town's name. SHERIFF -LRB- to Thomas. -RRB- Sent a car up there this morning. Teacher complained some vagrant was sleeping in her schoolhouse. The Sheriff's brow crinkles in consternation as he reads further. SHERIFF -LRB- to secretary. -RRB- Damn it, get Bobby on the phone, Clarice. What the hell is this suppose to be? DAGGETT -LRB- re report. -RRB- May I? The Sheriff hands it to him. Glancing at it we pick up words like BURNED, BLACK SLICK, BODY OUTLINE. Thomas copies the name of the school down, gulps his coffee, and shakes the Sheriff's hand. DAGGETT Thanks for the coffee. SHERIFF -LRB- as Thomas turns to leave. -RRB- Small piece of advice, Lt. Dagget, that I give free of charge to all visiting big city policemen : It's wild country up there. Always has been, always will be. You come across anything that snarls, you call me first, hear? DAGGETT I never turn down advice, Sheriff. Especially when it's free. Thomas's sedan passing through the vast, empty land. FAR ON THE HORIZON A small clump of buildings emerge clinging hopelessly to the earth. The Town.",
"EXT. TOWN HOTEL - DAY A former miner's hotel, stone walls and sagging wrought iron.",
"INT. HOTEL ROOM Thomas tosses his bag onto the bed, opens the balcony door, and looks out on the crumbly shale hills, the abandoned prospecting shacks, and the Chuska Mountains, clouds brewing darkly across its shattered back. A close - up of the circled newspaper obituary for General Hawthorne. The paper lowers and reveals behind it the general's grave. The dirt around the tomb is loose, recently filled. The grave keeper, a young, gangly, drifter type stands nearby with his shovel. DAGGETT How long ago was he buried? GRAVE KEEPER Which time? DAGGETT What do you mean? GRAVE KEEPER Somebody dug him up last night. I just finished putting him back. DAGGETT Did they take anything? GRAVE KEEPER Nothin' on the outside.",
"INT. THE SCHOOLHOUSE Thomas's breath escapes in warm clouds here in the unheated, abandoned part of the building. Rats scurry away from feeding on the dark, human - like stain on the floor as Thomas crouches down beside it. He probes the dried, black, crusty flotsam with his ball - point pen. Just like the burned body back at the morgue. Far away you can hear the sounds of children. Of a teacher's voice. DOWNSTAIRS It's only past the final door, into the smallest corner of the building, that the walls become clean and brightly painted by eager third graders. The creepy silence transforms itself into the giggles of children as they bang open the classroom door and whoop themselves outside for recess. The last one out is Katherine. She's surprised to see Thomas. DAGGETT Hello. KATHERINE -LRB- suspicious. -RRB- Can I help you with something? DAGGETT Tom Dagget. I'm with the police. KATHERINE About the guy upstairs? DAGGETT I'd like to ask you a few questions. KATHERINE I've kinda got my hands full right now. DAGGETT I'll just tag along. Katherine unlocks a hall cabinet and pulls out a stack of volleyballs. She tosses two to Thomas. KATHERINE Here, make yourself useful. Arms full, she pushes the building door open with her shoulder and backs out into the sunshine. She tosses the balls out to the kids. KATHERINE Okay, everbody stays on the courts today. -LRB- kids groan. -RRB- - I mean it. She sits down beside Thomas on the building's stone steps. DAGGETT What grade is this? KATHERINE All of'em. DAGGETT Town does n't look that small. KATHERINE Nearly all ghosts now. When the copper mine closed it took most of the town with it. We just teach out of this one corner of the schoolhouse now. Rest of it's been abandoned for years. DAGGETT You're the only teacher. KATHERINE Yup. Just me. -LRB- to kid threatening another. -RRB- - Randy. RANDY But he - KATHERINE Do it again and I'll put your head in the door and slam it. -LRB- to Thomas. -RRB- Love and understanding are important tools in education. DAGGETT Clearly. The children skitter back and forth playing. DAGGETT The man upstairs, did you talk to him? KATHERINE I wanted to know what the hell he was doing there. DAGGETT What did he say? KATHERINE That it was n't part of the plan. He looked hurt. Bloody. Like someone had cut him. That happens here. -LRB- beat. -RRB- Was that. stuff. on the floor really him? DAGGETT Did any of the children talk to him? KATHERINE Yes. DAGGETT Who? KATHERINE -LRB- protective. -RRB- She's home sick from school today. DAGGETT Can I speak with her parents? KATHERINE They're dead. She lives with her grandmother. I'll have to ask her. DAGGETT All right. -LRB- stands, hands her slip of paper. -RRB- This is my number at the hotel. Thomas starts away. Pauses. DAGGETT Did you know Arnold Hawthorne? KATHERINE The General? Saw him here and there. It's a small town. DAGGETT Military man? KATHERINE About a million years ago. His interests lately were more like gardening and herbal tea. DAGGETT Did you go to the funeral? KATHERINE Everyone did. He lived here. DAGGETT No dark hidden secrets? KATHERINE There are no secrets in small towns, Mr. Dagget, dark or otherwise. ACROSS THE STREET Up the crumbly embankment, sitting perched on the roof of an abandoned house, is Gabriel. He watches Thomas walk to his car. He watches the children playing, lifting his nose to snort the air, like a coyote.",
"INT. THE TOWN LIBRARY Thomas sifts through some clippings on General Hawthrone. Tactical genius. The man who saved Korea. Brutal. Almost court marshalled a dozen times for his inspired savagery. A truly ruthless man - who spent the last twenty years quietly tending his garden in a dying town.",
"INT. THE TOWN CHURCH Small, simple, and woodplanked. The church we saw at the beginning. Thomas sits there, staring at the candles, the altar, the crucifix. He's alone there. But for a creeping buzz. A feeling in the air. GABRIEL'S VOICE It's unusual to see someone of your age in church on a weekday. Thomas turns in surprise. Gabriel is kneeling in the row behind, inches from his ear. GABRIEL Do n't get me wrong. I think it's an excellent sign of character. There's something cold and creepy about Gabriel. Out of place in here. There's another sound. Teeth chattering far in the back. Thomas turns and sees Jerry, deep in the shadows of the choir box. Jerry waves. GABRIEL Never mind him. He should n't even be in here. Least not standing. Those sunglasses. Impenetrably dark. Like at the skid row flophouse. GABRIEL You're not from here. DAGGETT Either are you. GABRIEL I'm looking for something. DAGGETT Have you found it? GABRIEL I will. Have you found what you're looking for? DAGGETT I will. GABRIEL -LRB- appraising him. -RRB- I do n't doubt it. -LRB- stands. -RRB- You'll let me know? When you find it? DAGGETT Where are you staying? GABRIEL I'm around. And he walks out, leaving Thomas alone in a place gone suddenly cold.",
"INT. THOMAS'S HOTEL There's a note waiting for him at the front desk : `` Her name is Mary Tsosie. You can talk to her at noon tomorrow. I'll be at the VFW hall tonight - Katherine.''",
"INT. VFW HALL - NIGHT Thomas sticks his head in through the door. MICROPHONE VOICE B - 26. B - 26. It's an Indian bingo game. Thomas' eyes drift down the table packed with elderly faces and find Katherine and John the Navaho bus driver. Katherine waves him over. Both her and John are totally obsessed with the game, keeping track of several cards. DAGGETT I got your note. KATHERINE Have a seat. You need a card. Here, play one of mine. DAGGETT No, it's okay. Really - JOHN You must learn to shed your high - strung ways, pale face. You must learn the spirit joy in patience, peace, and making fifty or sixty bucks. MICROPHONE VOICE G - 19. G - 19. KATHERINE John, this is Mr. Dagget. Says he's with the police, though judging by his coat and basic command of the english language, I do n't think it's from anywhere around here. DAGGETT -LRB- shakes John's hand. -RRB- Tom. From Los Angeles. JOHN That near Oxnard? DAGGETT Sort of. KATHERINE Long way from home, Tom - from - Los - Angeles. MICROPHONE VOICE D - 9. D - 9. Thomas lazily glances at his card, his eyes opening suddenly wide. DAGGETT - Hey, wait. I won. I won! KATHERINE - What? No way - JOHN Recount! Recount!",
"INT. TOWN HALL - NIGHT A Navaho social in full swing - square dancing. The Indian band on stage plays deeply traditional, inspiring, - Hank Williams. John easily whirls Katherine around ; a steely - eyed, master square dancer. Thomas leans against the wall tugging on a beer. When John releases her for another partner she points at Thomas. KATHERINE Your turn. DAGGETT Oh, no thanks. KATHERINE C'mon, do n't be a drip. She leads him out onto the floor. DAGGETT I'm not very good at this. KATHERINE -LRB- as they dance. -RRB- No, you're not, are you? She smiles. Gets a smile out of him. KATHERINE Let me lead.",
"EXT. DANCE HALL - NIGHT Couples drift off the building's porch and into the street to cool off, smoke, and take a few hits off paper bags. John leans against the brick wall, tugs liberally from his paper bag, and exchanges war hoops with some friends across the street. He passes the bag to Katherine and Thomas. JOHN So how's our star pupil feeling today? KATHERINE Mary? The school doctor came by. Declared it `` Non - specific gastrointestinal disorder''. JOHN Latin for `` I do n't have the slightest fucking idea''. DAGGETT Will she be able to talk with me? KATHERINE That's up to her. -LRB- to John. -RRB- Mary's grandmother called a hand trembler. JOHN Uh oh. Hocus pocus time. DAGGETT Is that serious? JOHN Depends what the hand trembler says. People call them in when they think a witch or a Yei is trying to sprinkle corpse sickness in their hogan, or if the Night People have been hanging around too much. Night people screw around a lot, but they're good at warning of evil ghosts. DAGGETT Who are the Night People? JOHN They come as coyotes.",
"EXT. ROAD - NIGHT Thomas sits in the truck's bed as they Katherine drives through town. John, on the near side of royally toasted, has his boot stuck out the passenger window. Thomas looks up at the night sky. At its blaze of stars. DAGGETT Beautiful stars out here. John drinks again from his bottle, rests his head on the open window and looks out. JOHN Too much fucking sky in the desert. It pushes on you. -LRB- sighs. -RRB- Sometimes I wonder if anyone in heaven even knows this place is here.",
"INT. JOHN'S HOUSE - NIGHT Early American bachelor. John collapses onto the couch as Katherine heads for the kitchen. KATHERINE Where do you keep the coffee in this joint? JOHN Above the stove. She messes with the grounds and filter. Thomas paces the room, looks over the pictures and a few weavings. DAGGETT What happens if the hand trembler says a ghost has been. JOHN - Messing with Mary? If you're smart you say thank you very much and forget about it. But if you're heavy traditional, and Mary's people are serious traditional, you have an Enemy Ghost Way. DAGGETT What's that? JOHN Goddamn expensive. It's a Sing to purify and drive off the corpse sickness. Two days of dancing and ceremony and feeding the whole damn village. Not even to mention hiring the yataallii, if you can even find one these days. And you can bet they do n't come cheap. But every clan does it a bit different. Especially Mary's. DAGGETT You know them? JOHN The Bitter Sky Clan. Hard core reservation. No lights, no running water, no HBO. Their village is out on the edge of Old Woman Butte. Million miles from anything. Witch country. Settled right there in the Dead People Land where no one else would, right on top of the old Anasazi village. They're a dying clan. Just the old ones now. All alone out there in the middle of nothing. -LRB- drinks. -RRB- They can keep it. DAGGETT Do people really still believe in it all? Ghosts, Sings, corpse sickness? JOHN Depends, I guess. Sometimes you go along because it's a village thing, or you do n't want to disappoint grandma. But sometimes, when you're alone out there, far from town, and the wind kicks up and sneaks into your hogan. I do n't know. John closes his eyes and drifts off. Thomas wanders into the kitchen. DAGGETT I think John's out for the evening. KATHERINE Saturday night in Chimney Rock. She hands him a mug of coffee. DAGGETT So how does a person like you end up teaching here? KATHERINE When I was younger I used to believe that no matter how much you mucked around in your life, one day, if you listened hard enough, a voice would tell you what you were really cut out to do. And when it did n't show up on schedule I decided to go look for it. And I looked in a lot of places, believe me. I drove that road out there so far that the end became the beginning again. And it was when I got here that I realized there never was going to be a voice. So I stopped looking and took the first job they offered me. That make any sense to you? DAGGETT Oh, I know all about voices. Problem is not all of them are very nice. KATHERINE How did you end up a cop? DAGGETT It was the evil of two lessers. KATHERINE Are you always this cryptic? DAGGETT No. When you get to know me I can be down right evasive.",
"EXT. HOTEL - NIGHT Katherine pulls up to drop Thomas off. DAGGETT Thanks for the lift. Tomorrow at noon? At the little girl's house? KATHERINE First trailer on the highway past town. Thomas climbs out. KATHERINE I must say, Mr. Dagget, that you do n't seem very like a police officer to me. DAGGETT That's what my bosses keep saying. KATHERINE I meant it as a compliment. DAGGETT So taken. Goodnight, Miss Henley. KATHERINE Goodnight, Tom - from - Los - Angeles. Thomas lying in his hotel bed, flinching through a dream - filled sleep. There's glimpses of shattered images : War. Death. And a small, dark - haired girl. Thomas's eyes open and fix on the ceiling. Out his window, perched on the railing of his balcony, is something dark and winged. The honey warmth of dawn heats the bluish, quiet streets of The Town. Across shale hills and abandoned 19th century miner's shacks, there echoes the faint, clear notes of a trumpet. The bluesy notes drift over narrow dead - end streets, junked cars, and the abandoned copper mine out past the end of town.",
"INT. MINE Deep in the tunneled rock, past the rusting conveyor belts, Gabriel sits in a small cave blowing Miles Davis on his trumpet. There's just the blanket he sits on and a single candle. Jerry comes around the corner. GABRIEL Get any sleep? -LRB- Jerry only stares. -RRB- - Just kidding.",
"EXT. THE SCHOOLHOUSE - MORNING As Katherine climbs out of her pick - up she sees several of her students standing in a circle. Crouched in the center, talking to them, is a man. Gabriel. Jerry stands nearby. Gabriel is showing a boy his trumpet. Demonstrating where to put his fingers. GABRIEL There, and there. Now pucker your lips. aim it that way, and just blow a little bit, this is a special trumpet. The boy puffs lightly. The trumpet emits a piercing, clear note that SHATTERS a window high up in the abandoned part of the building. The youngsters whoop and applaud. GABRIEL Very good, Timmy. Very good. Here, have a Junior Mint on me. Open up. As Timmy opens his mouth we clearly see Gabriel looking down into it. Looking for something. GABRIEL Who's next? Katherine approaches the scene warily. The children all beg for their turn. Gabriel selects Sandra, one of Mary's second grade friends, and puts her on his knee. GABRIEL And who are you? SANDRA Sandra. She can barely get her fingers around the trumpet. GABRIEL And did you see the man upstairs, Sandra? SANDRA A little. GABRIEL Did you talk to him? SANDRA No. GABRIEL And who did, Sandra. Who talked to the man? SANDRA Mary. GABRIEL And where is Mary, Sandra? SANDRA She is n't here. She's sick. GABRIEL You've got very pretty teeth, Sandra. Here, let me see. He gently pushes down her chin with his thumb, opens her mouth, and gazes in. Katherine enters the circle. KATHERINE What the hell do you think you're doing? Gabriel looks up, unperturbed, and smiles. GABRIEL Just talking to the kids, Ma'am. KATHERINE Get off his knee, Sandra. Everyone else, go inside. Now. The kids reluctantly shuffle off. BRIAN ` Bye, Gabriel. GABRIEL See ya, kids. Be sure to study your math. He has the same sunglasses as Simon. The same cold, creepy air about him. KATHERINE Who are you? GABRIEL It's a long story. Jerry suddenly snorts loudly, trying to retrieve a sticky red glop that starts running out of his nose. GABRIEL Ignore him. JERRY Everyone else does. KATHERINE I do n't know what the hell is going on, but you both better get out of here. Right now. GABRIEL You're right. He climbs to his feet and stands close to her. GABRIEL You have no idea what's going on. He stands there a beat. That terrible coldness that swirls about him. The shriek of ghosts under his breath. Then he climbs into the rambler with Jerry and pulls away. Katherine watches the car drive off, then yells over to the school janitor. KATHERINE Al! Keep an eye on the children for me. I'll be right back. And call the sheriff. JANITOR Sheriff? What the hell do I tell him? KATHERINE Just call. Katherine gets into her pickup and starts the engine.",
"EXT. THE TOWN - DAY Katherine drives through the main drag and out past the fringe of town. As she passes the old copper mine she sees, parked near the mine's tunnel entrance, Gabriel's rambler.",
"EXT MARY'S GRANDMOTHER'S TRAILER - DAY As Katherine pulls up, she's surprised to see Thomas climbing out of his own car. KATHERINE You were n't suppose to be here till noon. DAGGETT You're a little early yourself. KATHERINE I wanted to check on her. DAGGETT That makes two of us. On the sandy lot that extends back from the trailer is a wizened cottonwood tree. Katherine, Thomas, and Mary are seated beneath its shade. Katherine is protective of the little girl, running a hand maternally through her hair. KATHERINE How are you feeling, pumpkin? MARY Better. KATHERINE This is Mr. Dagget, Mary. He'd like to ask you some questions. You do n't have to answer if you do n't want to. MARY It's okay. There's a dreamy, far - away look in Mary's eyes. It worries Katherine. DAGGETT Mary, when you talked to man up in the building - MARY - Simon. DAGGETT Yes, Simon. What did Simon say? MARY -LRB- smiles. -RRB- That's funny. `` Simon says''. DAGGETT Right. Like the game. MARY I'm good at it. I'm very clever. DAGGETT We'll have to play together sometime. MARY Simon even said so. He also asked if I could keep a secret. DAGGETT And what was that? MARY Something he gave me. KATHERINE What, pumpkin? MARY Then it would n't be a secret. DAGGETT You're a good friend not to tell, Mary. But I'm a friend of Simon's too. So if you ever want to tell, you can to me. Okay? MARY It's a secret. Mary lowers her head and shuts her eyes. MARY But sometimes it hurts. Thomas and Katherine exchange looks. Mary's pretty eyes rise again as she calmly asks, in that cute little eight year old voice : MARY Have you ever killed a chinaman? DAGGETT No Mary, I have n't. MARY They do n't bleed. Not the way you and I do. Or maybe it was just the cold. Thomas looks to Katherine for an explanation, but she's as confused as him. MARY I've killed them, you know. Lots. You could always tell when they were coming. There'd be the trumpets first. Every note flat. Then those songs. After that they'd charge. Right down through the snow. The guns would freeze and it would be just knives. It was so cold and there were so many of them. But I was smarter than they were. Even at Chosin, I was smarter. Mary's been explaining this in a girlish, show -'n - tell kind of way. Suddenly her face cracks as her voice chokes with a sob. MARY It scares me, Miss Henley. I hate it. Please, make it stop! She buries herself into Katherine's arms, sobbing. MARY Make it stop! KATHERINE -LRB- rocking her. -RRB- It's okay. It's okay. Mary suddenly pushes away and runs back toward the trailer, into the arms of her grandmother. KATHERINE I'm sorry, I did n't mean to - GRANDMOTHER It's all right, Miss Henley. We know you love Mary. KATHERINE What are we going to do? GRANDMOTHER She's going to have the Enemy Ghost Way. We leave this afternoon. The grandmother turns and walks back to the trailer. DAGGETT Where will they do the ceremony? KATHERINE In the home village. The Hand Trembler must have found corpse sickness. DAGGETT They're taking her away? Should n't she see a doctor? KATHERINE She's already seen a doctor. -LRB- then, under her breath. -RRB- That son of a bitch. DAGGETT Who? KATHERINE Gabriel the children called him. The little shit was hanging around my kids this morning asking about Mary. He and his buddy make a real pair. DAGGETT Maybe it's time I checked out Mr. Gabriel. Katherine turns from trailer and looks at him. KATHERINE I know where he parks his car.",
"INT. THOMAS'S CAR - DAY Katherine and Thomas drive back down the road leading to town. KATHERINE Chinamen? Chosin? I've never heard her talk like that before. DAGGETT Chosin Reservoir was a Korean war battle the Marines had against the Chinese, supposedly the bloodiest hand - to - hand fighting of the century. Someone been teaching that to your class? KATHERINE Sure, right next to Jack'N Jill. DAGGETT Where would she have heard it? KATHERINE Nobody I can think of. -LRB- beat. -RRB- Maybe one. DAGGETT Who? KATHERINE General Hawthorne. DAGGETT Did she know him? KATHERINE He did n't like children. DAGGETT You could n't and tell a story like that to one. He pulls over to the side near the copper mine entrance. No sign of the rambler. KATHERINE It was there earlier. Thomas drives up the dirt path to the mine's tunnel entrance. They climb out and stand near its mouth. In the dust is the rambler's tracks and several footprints leading into the mine. Thomas steps up to the edge of the tunnel. It's a black, yawning thing that swallows the sunlight whole for breakfast. DAGGETT If I was smart I'd call the Sheriff or somebody in town who knows this place. Then again, there is one thing worse than getting killed. KATHERINE What? DAGGETT Looking like an idiot if it's nothing. He pops his trunk and takes out a flashlight. KATHERINE I'll come along. DAGGETT No, if someone has to fall a hundred feet down a black pit, he should at least be on official duty. Thomas switches on the light and takes a tentative step inside. DAGGETT Then again, it is kind of spooky in there. Here, you can hold the flashlight.",
"INT. THE MINE The sun very quickly becomes a memory. And after the first bend it is n't even that anymore. There's only the glow of the flashlight ; glancing off the abrupt edges of tunneled rock. Here and there are the flotsam of a bankrupt industry ; dented ore carts lying on their side, rusted drill bits, piles of support timbers. And all around them the sucking blackness of the earth. KATHERINE It's cold. They walk further down into the mine. The atmosphere becomes close and creepy. Thomas has been following tracks left in the dusty floor that abruptly disappear. He stops and sighs. DAGGETT Shit. - A BAT suddenly SHRIEKS out of the darkness, glancing off Thomas's shoulder and TANGLING in Katherine's hair. She screams and spins around, loosing her footing and half falling into a yawning ore chute she had n't seen beside her. Thomas rushes over and pulls her out. She climbs shakily to her feet. DAGGETT You okay? KATHERINE Yeah. Sorry. Thomas takes a last pass at the mine shaft with his flashlight. DAGGETT Well, I've seen enough. As he turns to leave the flashlight burns out. DAGGETT Wonderful. He bangs it once against his thigh before he notices for the first time a dim, amber light coming from a space between the rocks. KATHERINE What is that? DAGGETT I do n't know. Maybe a bum or something. But his gun's out at his side. Just in case. They follow the light to the gap in the rock, gingerly stepping into A CAVERN - That could easily belong to a bum. It's Gabriel and Jerry's digs. Just the moldy blanket, single oil lamp, piles of twinkie wrappers, And something else. From outside the cave it's the same whine, the same blurryness that drips off Gabriel like sweat. But once they step into the room, into the lair, it suddenly jumps in volume. This is where Gabriel sleeps, and it's thicker here, like honey on the walls. Thomas has difficulty focusing his eyes. KATHERINE Do you feel it? DAGGETT Yes. KATHERINE What is it? But Thomas ca n't hear Katherine anymore, her voice has disappeared beneath the whine. As it becomes too much he leans his weight against the rock wall and shuts his eyes. It's then they come. Flashes of images : Of screams and fire. Of impossible vistas of emptiness and death. And shrieking overhead, shrieking everywhere ; grotesque, winged creatures with no eyes. Some with faces we know ; Gabriel, Simon, and the gargoyle. All these images are being jammed into both their minds by the cave. Thomas forces his eyes open but the scenes playing all around him wo n't go away. Tears are running down Katherine's face as she stands there locked in the same images. Thomas stumbles about the room as if drunk, the visions, incomprehendibly black visions of war and destruction on an alien plateau, eat his brain. He sinks to his knees and begins to cry. DAGGETT Oh no. Oh God no. Katherine's curled up on the floor like a child, weeping. The images are driving them mad. Thomas, fighting the insanity pounding at him, crawls pathetically across the floor to the oil lamp. His fingers grasp it spasmotically as he rises to his knees and leans back. DAGGETT No! He HEAVES the lamp against the cave wall, where it EXPLODES, the oil erupting into a swirling blaze that CONSUMES the corner. The images break a second in the heat and light and sucking wind. Just long enough for Thomas to grab Katherine's arm and pull her out of the room.",
"EXT. MINE - DAY Katherine and Thomas lie in the dust outside the mine's tunnel entrance. Catching their breath. Trying to organize and repair the short circuits in their brains. Thomas rolls on his side, squints at the sun. Katherine's voice is faint and raspy. KATHERINE What. What was that? Hell? DAGGETT No. The voices. They were screaming and fighting over. theology. They do n't sweat much about that in hell. But they do in. heaven. He squeezes a handful of dirt in his hands. DAGGETT The son of a bitch. He carries it around with him like a photo album. A big, greasy cloud wherever he goes. They all do. KATHERINE How can that be heaven? Jesus Christ. How? I do n't even believe in heaven. The tears start rolling down her face. She looks up and shouts at the endless sky above them. KATHERINE You dumb fucking assholes! How could you have done that! DAGGETT That extra chapter by St. John was right. It's a war. Just like the first one. Just like when the angel Michael beat Lucifer and cast him out. Only now they've turned on each other. Turned on each other in a civil war over theology. He laughs hopelessly at the insanity of it all. DAGGETT Oh sweet God, theology. -LRB- sighs. -RRB- `` God's wild bunch''. -LRB- shouts. -RRB- God's morons! KATHERINE How do you know know so much about that? DAGGETT I just know. -LRB- shakes his head. -RRB- Yes folks, the good news is that there's life after death in heaven. The bad news is that it's as screwed up as here. KATHERINE They were like us. DAGGETT They are us. Aborted children. And they need us. They need our corrupt, dark souls for their fight. They need. KATHERINE Mary. Katherine climbs abruptly to her feet and walks for the car. DAGGETT What are you doing? KATHERINE I do n't know what this is. I do n't know what I believe. I do n't know if my sanity is lying back in that cave flopping around waiting for me. But I know one thing. Those. Those things are n't taking her!",
"INT. THOMAS'S CAR Katherine and Thomas drive along in silence. Finally, KATHERINE In those. visions. did you ever see. God? DAGGETT No. KATHERINE Me either.",
"INT. MARY'S GRANDMOTHER'S TRAILER Katherine and Thomas open the trailer door and enter cautiously. KATHERINE Mary? Thomas looks out the window and notices for the first time, parked behind the trailer, Gabriel's rambler. He immediately pulls out his pistol, runs for the closed door at the end of the hall and KICKS it in. The door FLIES open, revealing Gabriel sitting on the bed beside Mary. DAGGETT Get away from her. His gun's leveled at Gabriel's head. The angel sits there impassively, then smiles. GABRIEL You know. Son of a bitch, the priest wan na - be actually figured it out. That's a rare club, son. At least down here. DAGGETT Back away from the kid, man. Now. GABRIEL She wo n't feel anything, honest. I'll have to tear her apart of course - just the way it goes - but it'll be all right in the end. A good catholic boy like you, Mr. Daggett, you should be on my side. DAGGETT Goddamn it - GABRIEL You're gon na have to watch that profanity. Jerry suddenly LEAPS out from behind the door and TACKLES Thomas to the carpet. The gun skitters to one side as Jerry SINKS his rotting teeth into Thomas's shoulder. Thomas cries out and SLAMS his fist against Jerry's head, knocking off an ear. Gabriel turns back to Mary's frightened face and smiles as he runs a hand through her hair. GABRIEL It'll only be a moment. Katherine suddenly HAMMERS Gabriel across the side of the head with a chair, KNOCKING him to the floor. As he gets up she HITS him again. Thomas manages to bring his leg up and KICKS Jerry hard against the chest, forcing him off. Gabriel GRABS both of Katherine's legs and PULLS, CRASHING her flat on her back. Thomas scrambles for his gun, grabs it, and as Jerry comes at him again spins and FIRES twice. The slugs RIP into Jerry's chest and knock him to his knees. As the putrid, curdled juices pump lumpily out of him, Jerry looks up at Thomas and smiles. JERRY Thanks man, I appreciate it. You're a sport. Thomas FIRES a slug into his forehead. Jerry's brain winks out as he collapses to the floor, dead. Thomas's gun is abruptly WRENCHED from his hand onto the bed as Gabriel NAILS him with a thrown lamp, vaults the bed between them, and grabs him by the collar, SLAMMING Thomas up against the wall. He looks down at Jerry's finally lifeless corpse, incensed at Thomas's handiwork. GABRIEL You little pest, do you have any idea how hard it is to get one of those? He THROWS Thomas down onto a table, SPLINTERING it. Katherine climbs shakily to her knees. KATHERINE You son of a bitch, why? Why do this? GABRIEL Because I'm an angel, you miserable wretch! I kill first borns while their mothers watch! I turn whole cities into salt! I even, when I feel like it, rip the souls from little girls! And from now until eternity, the only thing you'll be able to count on in your pathetic little existence is never knowing why! -LRB- deep breath. -RRB- I'm wasting my time here. -LRB- turns to Mary. -RRB- C'mon petunia, let's get on with it. Gabriel walks over to the bed. The moment he gets close, Mary lifts Thomas's pistol up from the sheets and SHOOTS him twice, the impact KNOCKING him on his ass. Katherine rushes to Mary, scoops her up and runs for the door. She pauses beside Thomas, still lying in the wreckage of the table. DAGGETT Go. Go! Katherine disappears through the bedroom doorway. Gabriel spins around and stands. Thomas leaps from a ragged crouch, HITTING Gabriel low with a body - block. It's like butting concrete. Gabriel picks up Thomas by the scruff of the neck and HEAVES him THROUGH the flimsy room paneling. Thomas CRASHES with a mass of splinters into the kitchen. He stumbles backward hopelessly as Gabriel peruses him through the trailer. He desperately throws pots, glasses, anything at Gabriel. Finally trapped, he scrambles up onto the dinner table, SCATTERING salt and sugar bowls, and DIVES through the levored window. OUTSIDE Thomas, in a hail of shattered glass, smacks the red earth, pulls himself up to his knees and tries to stumble and crawl away as Gabriel BANGS open the trailer door and stomps down the stairs toward Katherine, her arms around Mary. KATHERINE You. He eases his gait, measuring the distance to her. KATHERINE Ca n't. There's just those sunglasses coming. Those endless pits of black. KATHERINE Have Her! Katherine lifts Thomas's pistol and FIRES. Again. Again. The slugs BANG off the corregated metal, SMASH a window, KICK up some dust, And PUNCTURE the propane tank beneath the trailer. - WUMPP - BAM! The entire trailer EXPLODES in a fiery cloud of TWISTING METAL. Katherine huddles Mary close to the ground as flaming chunks WHACK everywhere. Gabriel is HAMMERED to the earth and disappears in the rolling fire cloud. Thomas, further away, is KNOCKED head - over - heels in the ruddy dust. The fire cloud dissipates quickly into the sky, leaving behind scorched brush, and little else, crackling softly. Gabriel's body looks blackened and still. Katherine rushes to Thomas, who's pulled himself up to his knees, a ragged slice above his eye bleeding badly. She helps him to his feet and over to the pickup, where he sits down against the tire as Katherine pulls out her first aid kit. Mary's there, standing with her shaken grandmother. DAGGETT -LRB- re grandmother. -RRB- Where. KATHERINE She was coming up the street. MARY Is Gabriel dead? Mary's knelt down beside Thomas. MARY They're not like you and me. You've got to cut their hearts out. The only thing God gave them. A sheriff car ROARS up, the two deputies exiting warily. DEPUTY What the hell happened here? Katherine's wiping the blood out of Thomas's eye. Gasping from the shearing pain, he tosses an ID at the foot of the deputy. DAGGETT LAPD. DEPUTY -LRB- looks at it, hands it to partner. -RRB- That's a start. How about the rest of it? From somewhere back in town there's the growl of a volunteer fire engine. DAGGETT That man over there. He's wanted. Murder. I'm taking him in. -LRB- grimaces. -RRB- - Shit. The pain's unbareable. Katherine dabs his cut with disinfectant. DEPUTY I think you're going to the hospital first. DAGGETT - No, I have to - Again, the pain. The second deputy has walked over to Gabriel. DEPUTY Is he alive? DEPUTY #2 He's alive. DEPUTY Cuff him. We'll take him to the hospital in our car. DAGGETT - No, you do n't understand. You have to let me have him - The volunteer fire engine growls up through the weeds, drowning out Thomas's words. Two firemen kneel down beside him with medical kits. The deputy has walked over to his partner and the two are dragging back between them a cuffed, comatose Gabriel. DAGGETT -LRB- hoarse, faint. -RRB- You'll never hold him. Thomas tries to get up, but the pain and a hand from the firemen keep him down. As the deputies pass, he manages to desperately grab the one's pant cuff. DAGGETT Take off his sunglasses. Jesus Christ, just take off his sunglasses. Gabriel's head lies low between the shoulders. The deputy looks with concern at the firemen. FIREMAN -LRB- re Thomas. -RRB- He'll be all right. Just a bad hit. The deputy nods. As they carry on to the car with Gabriel, the angel turns his head slightly and smiles a smile only for Thomas. FIREMAN -LRB- to partner. -RRB- Let's get a splint. The patrol car pulls away. As the firemen walk back to their engine, Thomas looks frantically at Katherine. DAGGETT We have to get out of here. KATHERINE But your head. DAGGETT If you want Mary to stay alive past sundown we have to leave, and we have to do it now. They lock eyes. Then Katherine without a word helps Thomas up into the passenger side of the pickup. Mary gathers her grandmother into the pickup's bed and climbs up beside her as Katherine starts the engine. The firemen turn in confusion as the truck peels out of the lot and up onto the road.",
"EXT. HIGHWAY - DAY Katherine's truck shoots by. Just before town, near the copper mine, it slows down at a junction. And there, lying on its side down the embankment, is the sheriff's patrol car. A single, bent tire turns aimlessly. Katherine hits the gas and takes the junction that leads away from town, out onto the endless expanse of the plateau.",
"INT. TRUCK The bandage on Thomas's forehead covers most of one eye. He closes the other tightly, riding a spasm of pain, before letting his forehead rest against the door glass and gazing out at the empty tracks of land. DAGGETT Where are we going? KATHERINE Mary's village. Katherine looks over her shoulder to Mary's grandmother sitting in the truck bed. She nods in understanding. Katherine's pickup passing alone through the wrinkled desert.",
"EXT. GAS STATION - DAY A trading post with a few pumps, growing orange in the weakening afternoon light. A scruffy dog barks constantly as the teenage Indian sticks the nozzle in Katherine's pickup. Still glassy - eyed with throbbing pain, Thomas takes another handful of aspirin and climbs out of the cab. There's a tiny, weatherbeaten church across the weedy lot from the trading post with a pay phone bolted to it. Thomas crunches across the lot, picks up the receiver, and punches in some numbers. TELEPHONE VOICE County Coroner's office, Assistant Coroner Raphael speaking. DAGGETT Willie? VOICE Tom? DAGGETT You were n't crazy, man. And Thomas hangs up. He backs away from the phone and for the first time notices the church it's attached to.",
"INT. CHURCH Thomas steps inside. It's empty and there's some doubt whether it's been used in a generation. The pews are dusty and scraped, some broken down completely. Thomas sits in one and looks across the space and dust and years to the crucifix hanging behind the altar. DAGGETT So what's the deal, huh? The pew creaks and groans as he shifts his weight. DAGGETT I mean, do you have any kind of plan here? Cause I'm just about of ideas, friend. Jesus' pressed - metal eyes gaze only upward. DAGGETT Do you even listen? Do you still come to places like this? Old Man, you have been calling me most of my goddamn life, but every time I get close, you just keep moving that far away. What's it to be? You want me to kill your henchmen? Ca n't you even control your own killers anymore? Thomas holds his face in his hands a silent moment. When it raises we see the raw hurt in the eyes as he shouts, DAGGETT What do you want from me! The only reply is dust dancing in the light and the rumble of semis on the highway. Standing in the back, watching Thomas with tears welling in her eyes, is Katherine. The road's turned to dirt and the plateau into a maze of ragged cliffs and brutally hacked canyons. The light is shadowy and golden now as Katherine's pickup turns off the small dirt road onto an even smaller one that winds impossibly up the side of a volcanic butte. Higher and higher the truck climbs on the rutted and treacherous path, till at last it crests the ridge and comes upon THE VILLAGE Perched frighteningly on the leading edge of Old Woman Butte, this is the home of the Bitter Sky Clan. The village is a small grouping of ancient adobe walled hogans first built a thousand years ago by the Anasazi. There's no electricity here, no TV antennas or frozen yogurt. Just the slow curl of cooking fires drifting up through smoke holes and the stern, deeply lined face of an old Navaho man approaching the pickup as Katherine stops. The old man wears jeans, a bright maroon silk shirt, and a black felt reservation hat with a turkey feather. He holds in his right hand a small leather case. OLD MAN I am Bartholomew Grey Horse, born to the Deer Spring Clan, born for the Slow Talking People. Today I am the yataalii for Mary Tsosie of the Bitter Sky Clan. The old man, Bartholomew Grey Horse, walks up to Mary and her grandmother sitting in the bed. GREY HORSE Ya - tah. GRANDMOTHER Ya - tah - hey. Several villagers approach and greet Mary and her grandmother, some nodding politely to Thomas and Katherine as they climb out of the cab. Nearly all of them are elderly. Thomas, one eye still half - shut by a bandage, walks over to the village's edge where a short stone wall, and little else, separates the adobe homes from the long, 2000 foot drop to the desert floor. He leans against it and gazes out on a view that must encompass half the world. In all directions, for tens upon tens of miles, there are only volcanic spires and crumbling buttes, all reduced from up here to short, ominous playthings. A village truly alone in the world. MARY This is a good place. She's appeared beside him. Thomas crouches down to her level and smiles. DAGGETT Yes? Mary's sight is on the view, eyeing it critically. MARY Separate water source. Stocked grain. Only one possible approach. A man could, with the proper defenses, hold off an entire battalion for weeks. Months. Thomas's voice sighs sadly as he runs a hand softly through her hair. DAGGETT Which one of you is that talking, Mary? Or do you even know anymore? Mary's eyes fill with tears as her grandmother appears and leads her back to the adobe hogans. Grey Horse, the yataalii, is there now. GREY HORSE We will start the Sing soon to remove the Yei spirit and stop the ghost sickness. DAGGETT This might not be the work of a Navaho ghost. GREY HORSE It's all the same. Night creeps over the Chuska Mountains across the crusty caliche flats and over the village, pushing back the dying day to a thin, fading blue line etched across the horizon. As the darkness settles on the hogans we see a glimmer of light from within and the rising, guttural chants of the yataalii.",
"INT. KIVA - NIGHT Under the village, beneath the surface of the butte, is the large communal kiva room. Accessible by a single ladder through a single smoke hole, it is down here that the village performs its Enemy Ghost Way for Mary. The little girl is there, attended by her grandmother, sitting stoically still on a blanket as Grey Horse, grasping his painted prayer sticks, by the glow of a fire chants the Enemy Ghost Way cure. Katherine's eyes sting in the smokey air as she watches Grey Horse take from his case small handfulls of colored sand that he pours in fine patterns onto the floor. The whole Bitter Sky Clan surrounds them. Old, lined faces. A small, dying people here to support its last granddaughter.",
"EXT. VILLAGE - NIGHT Katherine stands there in the chilly darkness outside the kiva. Mary's grandmother, passing with some other women, pauses and squeezes Katherine's arm. GRANDMOTHER Now we sleep, Katherine. Tomorrow, after dark, we begin again. INSIDE THE KIVA The fire has died to embers, casting its weak glow on a now empty room. OUTSIDE Katherine wanders along the edge of the village, turning up her collar under a blinding mass of stars. There's nothing beyond the village. Not a light, not a sound. Say the wind. It is the icy brush of wind on her body that now whispers. VOICE Hello, Katherine. Like the wind, it is low and thin and hoarse. Like the wind it seems to come from everywhere. And, like the wind, it is utterly without pity or remorse. Katherine turns. Perched on the wall behind her in a low crouch is a figure clad entirely in layers of black. Its head and hands are hairless and waxy white. There are eyes in this winged head, but blood chilling ones of putrid yellow. There are endless scars and shapes and wrinkles, but mostly, only, there are the eyes. Katherine gulps down, with only partial success, the hysteria rising in her throat. KATHERINE Oh Lord, I ca n't do this. I ca n't do this anymore. FIGURE We must talk, Katherine. It's takes all her strength to look upon him. KATHERINE You're. You're. -LRB- tries to form the word. -RRB-. God? FIGURE God is love, Katherine. The eyes narrow. Rippling pools of unfathomable evil. FIGURE - I do n't love you. There's a crouched silhouette beside the figure. Dimmer. Skinny. A wheezing sycophant. An afterthought. Katherine backs away from both of them. KATHERINE I ca n't. I ca n't do this tonight. Go away. FIGURE I can kill you, Katherine. I can lay you out and fill your mouth with your mother's feces. Or I can talk with you. Katherine stops. Faces him. FIGURE I am here, before you, in a form to put you at ease. KATHERINE Good job. The sycophant shivers and ruffles something feathery under its cloak. FIGURE I rarely do this in person. I am, perhaps, somewhat out of touch. KATHERINE Are you one of them? FIGURE No. KATHERINE You're not an angel? FIGURE Oh, I am an angel. A very special one. The first. The oldest. The naive eagle scout, he once loved me above all others, and I him. It was the only true love for either of us, but like all true love, it could n't possibly last. The figure cranes his neck around to the horizon beyond them. The movement makes a liquid, snapping sound. FIGURE The winged party boys will come, Katherine. They'll come to feed on the guts of your little Mary. KATHERINE What do you care? FIGURE I have my interests. He turns back to her. FIGURE The naive eagle scout, he has his interests too. He even has a place for them, as I do for mine. Big, shiny place. You'd like it. Only it's been empty for a long time. Ca n't open till after the resurrection. The problem's with the hired help. Always had problems with the hired help. They're arrogant, boastful little pricks. Not like me. What I did I did for love. But they, the winged party boys, even before the park could open for its first customer, they started fighting over the popcorn stand. The figure shifts his perch on the wall. FIGURE You see, Katherine, heaven ca n't start accepting guests till this fight is settled. And without people, there is no heaven. All those good and true souls left mouldering in the ground clutching their H - tickets and waiting and waiting and waiting. Some, lying down there with the worms century after century, they start to get doubts about the whole program. That's when, out of sheer boredom, some of them come to me. Because I'm always open for business. 24 hours a day, seven days a week. Even on Christmas. The figure's face darkens. FIGURE Some of the angels cheat. They sneak a few souls in to help with the fight. The really dark ones. And now one of them has found a special soul so wonderfully sick that it might just win it for them. And if one side wins, even the wrong one, then there's no fight. And if there's no fight, there can be a heaven. KATHERINE And if there's a heaven? FIGURE I'd be very unhappy. -LRB- beat. -RRB- I am here to help you and the little bitch not because I love you, not because I care about you, but because I want this war to go on and on and on. The figure straightens up, stretching its spine. FIGURE I bring you the chance to save your Mary, Katherine. And along the way, stop the resurrection. KATHERINE How? FIGURE Listen when I speak. Now go to bed, Katherine. Tomorrow, I promise you, is a big day.",
"INT. HOGAN Thomas's sitting on the hard - packed floor, leaning against the adobe wall, maybe trying to sleep. Mostly trying to ignore the thumping pain in his head. The oil lamp's flame shudders in the gust of Katherine opening the door. DAGGETT Is it over? KATHERINE For now. They start again tomorrow. DAGGETT And at the end of it? KATHERINE The Enemy Way chant removes the invading yei ghost. DAGGETT Will it work on a general's soul? KATHERINE We'll see. -LRB- beat. -RRB- How's the head? DAGGETT Still attached. Barely. She sits down on the floor beside him. KATHERINE Here, I'll change the bandage. She carefully unwraps the blood - soaked gauze. KATHERINE Does that hurt? DAGGETT No. KATHERINE Then I must be doing it wrong. She peels back the compress and dabs the wound. KATHERINE I saw the devil tonight. DAGGETT How nice. Which one? KATHERINE The main one. Satan. Lucifer. The dark angel. You know. DAGGETT What did he have to say? KATHERINE That he did it all for love. That and I have a choice. Mary's life or a billion souls waiting in the pipeline for heavenland to open. DAGGETT You're not kidding, are you? KATHERINE No sir. DAGGETT Satan? You're sure? KATHERINE You had to be there. Thomas suddenly slams his fist against the wall in anger. DAGGETT Why was n't I! KATHERINE We can double date next time if it's that important to you. DAGGETT You do n't understand, I've spent my whole life. -LRB- looks upward. -RRB- I do n't suppose it would occur to anyone in authority to fill me in on what's going on every once in awhile, huh? Shit! The ache in his head's flared up. He leans it back against the wall to ease the pain. DAGGETT Did he say anything about the Nicene Council? About the rank of Jesus Christ in the holy Trinity? KATHERINE It did n't seem important to him. Katherine finishes taping the new bandage. KATHERINE Are you a priest? DAGGETT A near miss. KATHERINE Why? DAGGETT It's a long story. KATHERINE This may be your last chance to tell it. A wind outside rustles through the hogans. DAGGETT The other night, you were talking about waiting for a voice to call you to something. Well, let me tell you, the worst thing that can happen to you is to be called to something. Since I can remember a voice from somewhere deep in the Church called me. So loud and so often that by thirteen I knew I was going to be a priest. You know what that's like? My parents, friends, all of them thought I was crazy. But see, I had this voice. The voice that kept coaxing me along, telling me there was a reason. So I entered the seminary and was half way to my starched white collar when my mother, father, and my little brother were wiped out in a car crash. He pauses, the old emotions creeping back up on him. DAGGETT I had never asked anything of the voice. Not when the neighborhood kids made fun of me, not when my father looked down at me like some knock - kneed faggot. I never questioned a damn thing. But on the morning I spent looking down at three parallel graves, I asked it one question. Why. Why were these people taken from me? And the voice, that same voice that would wrench me out of my sleep some nights with its jabbering, it was suddenly stone silent. It was the only question I ever asked of it and it just left me hanging in the fucking wind. He blinks back the tears welling in his eye. DAGGETT So after that I traded in priest school for homicide school. Because if God would n't talk to me the devil sure as hell would, and his ways were a lot easier to understand. KATHERINE We've never seen God, have we? Not in any of this. DAGGETT Yeah, He's certainly a shy son of a bitch, I'll give Him that. KATHERINE Maybe we're not supposed to. Maybe that's faith. DAGGETT Do you still have faith in anything, Katherine? KATHERINE I have faith in Mary. And that I'm going to save that little girl from those creeping things out there. From all of them. DAGGETT Maybe you were called to something after all. KATHERINE Maybe we both were. The oil lamp wanes and fades. Katherine lays her head on Thomas's shoulder, and as darkness swallows them he holds her. They hold each other. John the bus driver lying fully dressed on his bed asleep. The night breeze through the window, and maybe something else, tickles his nose. His eyes open, blink, turn left, right, then up, - And see Gabriel perched on the headboard, staring down at him. GABRIEL Heavy sleeper, John. John's eyes open wide in shock. Gabriel's skin is blackened and blistered in parts. Whole shards of his shirt are missing. John tries to sit up but Gabriel forces his head back down with his palm. With the ease of a spider he slides down and beside John. JOHN Do n't - Do n't hurt me, man. My wallet's in the dresser. GABRIEL Do n't be such a materialist, John. -LRB- sees empty bourbon bottle on dresser, sighs. -RRB- No end to your bad habits. JOHN What do you want? GABRIEL A moment of your time. JOHN You ought to have that nose looked at, man. Gabriel leans said nose in very close and whispers, GABRIEL Where are they, John? Katherine and Mary? Where would they go? JOHN What? Mary? I do n't know. GABRIEL Sure you do. Think hard. JOHN No, really. I do n't know. The school maybe. GABRIEL Now you're not even trying, John. You're Katherine's best friend. She tells you everything. JOHN I'm just the driver, y' know? Gabriel extends a blistered, open palm over John's face. GABRIEL I can help you remember, John. FROM THE OTHER SIDE OF THE ROOM We see Gabriel leaning over John as a sickly yellow glow begins to rise and reflect off the walls. Beneath it comes John's worst and deepest screams. Gabriel SPLASHING the soot off his face and arms in a small, institutional bathroom. He looks at himself in the mirror, runs a hand through his hair, and walks out the door into A HOSPITAL CORRIDOR At the end of it is the intensive care unit, that institutional purgatory where a small handful of patients, wired and tubed and oxygenated, lay inconclusively between life and death. There's a nurse's station there, all health status video screens and a single nurse that looks up from her work at Gabriel. NURSE Can I help you? GABRIEL Someone's going to die here soon. I'll just be a minute. NURSE There's no visitors allowed in ICU. GABRIEL The timing's important. I can smell these things, you know. The nurse reaches for the telephone. Gabriel takes it away from her with one hand and with the other grasps her face open - palmed and whispers, GABRIEL Go to sleep. The nurse slides out of her chair and collapses to the floor. Gabriel pulls out the metal clipboards holding each patient's chart and flips through them, tossing one after another aside as unsuitable. GABRIEL Recovering. Recovering. Stable. -LRB- finally settles on one. -RRB- Deteriorating critical. Satisfied, he steps over to one of the beds, pulls back the curtain and sits down beside an unconscious, middle - aged woman. He watches patiently, listening the beeping scrawl of the EKG above her. It was weak to begin with but now it's faltering badly, becoming the unsynched etchings of a child. A beeping alarm has begun to ring and her breathing is slowing to nothing. At the last possible moment Gabriel places his fingers across her face, whispering to her, coaxing her. GABRIEL Whoa, not just yet. Come on back. That's it. The EKG's still flat but the woman is breathing. She begins to choke, to cough, then suddenly sits up and opens her eyes. She looks in disbelief around her, finally settling on Gabriel's grin. GABRIEL Hi. A look of utter desolation and sadness sweeps over her as she begins to cry. WOMAN No, no. GABRIEL Hey, c'mon, do n't start. -LRB- looks at chart. -RRB- - Rachael. Here. -LRB- hands her kleenex. -RRB- It's only for a short time. -LRB- grins. -RRB- Promise. The sun cresting the Lukachukais and warming with honey colored reflection the interior of the hogan. Katherine's head is still on Thomas's shoulder, the two of them asleep sitting against the wall. Katherine opens her eyes and rises stiffly. She looks out the simple window to the glow of morning without expression, turns, and walks out. IN THE OTHER HOGAN Mary's Grandmother and some of the other elderly villagers are attending Mary as Katherine enters. Mary is sitting up in her bed. She smiles at Katherine. MARY Hi, Miss Henley. KATHERINE Hi, pumpkin. Good morning. Grey Horse is kneeling near the bed preparing a bowl drink. Into it he crushes charcoal, dodge weed, juniper and ghost plant. This he stirs, heats over flame, and feeds to Mary. She grimaces and leans back in the bed as Grey Horse says a brief prayer. OUTSIDE Katherine runs into Thomas outside the hogan. KATHERINE How's the head? DAGGETT Shitty. Coffee? She accepts a mug, blowing a cloud of steam off the top. KATHERINE What are we going to do if he comes? DAGGETT You mean when, right? KATHERINE When he comes. DAGGETT There's no phone here? Radio? -LRB- she just looks at him. -RRB- Stupid question. -LRB- beat. -RRB- If we were smart we'd leave. Get to a town. A sheriff station. KATHERINE Mary's ceremony is n't over yet. The Enemy Ghost Way. The alien spirit has n't been driven out. DAGGETT Do you really believe in the ceremony? KATHERINE Would you have believed in any of this three days ago? DAGGETT -LRB- nods. -RRB- So we stay and dump the General's soul. KATHERINE You have the gun? DAGGETT With one shot left. The spares -. -LRB- sniffs his shirt. -RRB- - And a change of clothing, are all still at the hotel. -LRB- sighs. -RRB- We're going to have to come up with something. KATHERINE We could always ask him. Thomas looks up. She's referring to Lucifer, who's appeared perched on the edge of the low, eye - level hogan roof. The sycophant is also nearby, chattering its teeth and staring at Katherine with jealous, rabid eyes. Lucifer shivers, a claw turning up the collar of his cloak. LUCIFER I always forget how cold it gets in the desert. The swimming, bottomless eyes fall on Thomas. LUCIFER Mr. Daggett, I presume. How's the faith? Thomas ca n't bring himself to say anything. To form the words. LUCIFER Come come, must you be so wishy - washy about everything? With the absent - minded eagle scout, I can see that. But you're looking at the devil man, say something. DAGGETT Fuck you. LUCIFER Much better. Can I have some coffee? Thomas gingerly hands him the cup. The angel Lucifer lifts it, and with something unimaginably awful darting out of his mouth, drinks. He offers the mug back to Thomas for a sip. DAGGETT Keep it. He finishes it. Cranes his neck. LUCIFER I have come to remind you that the winged party boys are just that : spoiled boys. You are armed, however pathetically, with the one thing they never really understood : theology. It's not much, but that's life. DAGGETT Is this supposed to be our `` win one for The Ripper'' speech? LUCIFER Do n't press your luck, Mr. Daggett. And you know instantly, in the bottom of your stomach, that those eyes mean it. LUCIFER Go and get ready, Thomas. Thomas hesitates, holds the gaze, then turns and leaves. In an instant Lucifer sweeps down from the hogan roof to Katherine's side. Face and eyes and maggot breath uncomfortably close, he smiles. LUCIFER Have you ever considered Katherine, that the great absentee landlord, the soft - eyed eagle scout your childhood prayers are for, is just using you? That you're only the exterminator to get rid of his pests? Lucifer places a cloaked arm around her shoulder and leads her to the walled edge to look out across the endless plateau. His mouth presses against her ear and whispers, LUCIFER God's junkies are coming, Katherine. And when they do, all hell is going to break loose. A tiny speck on the empty horizon. It grows, takes shape, and finally becomes a red convertible rambler as it WOOSHES past on a desolate throat of forgotten highway. Gabriel's at the wheel. Beside him, grey - blonde hair streaming out behind her, is Rachael, recently lifted from the file - and - forget section of the hospital ICU. She tilts her head up. Lets the sun warm her pallor. Just a sociopathic angel and his somewhat deceased babe out for a top - down cruise across a sixty million year old desert. It could happen.",
"INT. ROADSIDE DINER - DAY A reality bruised waitress, Madge, sets down a coffee and milkshake before Gabriel. He downs the shake in one belt. GABRIEL Say, Ma'am, any idea where I can find Old Woman Butte? MADGE It's on the reservation. GABRIEL I do n't suppose you could be just a tad more specific. Madge. The waitress' eyes move from the guy with sunglasses and burn marks on his shirt to the woman sitting alone outside in the rambler. MADGE Is n't your friend hungry? GABRIEL Not for a while, I'm afraid. Funniest thing. Madge has a lot of things she misses in her life, but one of them she decides is n't Gabriel. MADGE Take 522 to the Sonsela Wash cut - off. First dirt road go left. Twenty, twenty - five miles you'll see it. Big, black and all alone. Gabriel downs the coffee, stands, and tosses a bill on the counter. GABRIEL I doubt we'll meet again. MADGE Suits me.",
"EXT. VILLAGE - DAY Thomas drags a heavy chain from Katherine's truck and begins fastening it to a post. Lucifer watches perched on a nearby rooftop. DAGGETT You could always lend a hand. Lucifer just smiles or sneers or whatever he does with that hideous mouth. INSIDE THE KIVA Grey Horse begins laying out his prayer instruments as Mary is prepared with paint and oils. OUTSIDE Katherine leans against the doorway, nervously watching the horizon. The sky thinning into uneasy pastels as the sun falls unceremoniously toward the mountains. A few lanterns have been lit, and from inside the kiva can be heard the chants of the Navaho Enemy Ghost Way. Katherine's eyes are still on a horizon dropping off into shadow. She stiffens. There, at the end of the earth, appears a silent plume of dust. It could be anybody's car, but it can only be one car. Thomas steps up beside her. KATHERINE He's coming. Thomas sticks his head into the kiva, speaks softly to one of the elderly villagers attending the ceremony. DAGGETT Is there any way to speed this up? VILLAGER No. A fire has been built on the kiva's floor. Through the choking smoke can be seen Mary lying on a mat as Grey Horse chants to the yei spirits and adds fine colored earth to the growing sand painting beside her. His voice rises and falls in guttural syntax. He's coaxing. Coaxing the alien spirit out of the child. DAGGETT Lock the door. He pulls his head out and hands Katherine the pistol. DAGGETT Stay inside. It's only one round, so make it count. There's a pause and for a moment their eyes lock. She touches his arm, almost says something, then disappears into the kiva. Thomas closes the door behind her. He turns and looks out at the distant plume of dust. Growing closer.",
"EXT. GABRIEL'S RAMBLER - DAY Radio turned up, sophomoric grin glued on his face, Gabriel roars past and begins the snaking climb up the side of the butte. The sun has almost completely slipped away now, leaving the land a deathly bluish grey. The road flattens out at the top of the butte and Gabriel can see the village glowing at the far end. He punches the rambler, winding it up for the last stretch, and pats the blonde on the knee. GABRIEL You'll like this, Rachael. Maybe not. There's a sudden glint of metal in the headlights as Thomas at the last moment PULLS UP the heavy chain and HOOKS it over the far post. Gabriel does something pointless with the brakes and SLAMS forward into it. The whole rear of the car STANDS UP on impact, PITCHING Gabriel through the windshield into the dust. Thomas steps out from behind the post armed with an iron bar. The rambler hisses and belches a death rattle as he cautiously walks toward the spot of gloom where Gabriel lies. GABRIEL -LRB- breathless. -RRB- Nice move. Thomas's feet crunch softly closer. GABRIEL You ought to come work for us. Upstairs. We sneak the odd civilian in now and then, you know. You'd like it. Nobody tells you when to go to bed, can eat all the ice cream you want. And you get to kill. All day and all night. Just like an angel. Thomas does n't answer. Gabriel's body looks ravaged as he carefully steps closer and closer. GABRIEL Save yourself, friend. Why go to the wall with the bitch and her rug rat? It'll all turn out the same anyway. Here or in heaven, we're still gon na tear the kid apart. DAGGETT I'm not an angel, heaven or hell. I'm a man you eyeless puke, which means I have one thing you never will. A soul. And though I may, somewhere inside, believe in a God, I will never, never, believe in you. GABRIEL A little speechy today, are n't we? -LRB- sighs. -RRB- Okay pal, have it your way. Gabriel's legs suddenly SWING AROUND and SMACK Thomas, sprawling him back into the dirt. The iron bar goes flying as Gabriel in a flash is on top of him. Thomas thrashes but Gabriel easily pins his shoulders and sits on his chest. Without hurry he uncurls the fingers of his right hand. GABRIEL This is going to really, really hurt. Thomas's eyes are wild with fear. DAGGETT You - your war. Gabriel's spread fingers lower themselves toward his face. GABRIEL C'mon, son, out with it. Make this one count. DAGGETT Your war's a lie! GABRIEL -LRB- pauses. -RRB- What? DAGGETT Running around acting like this is really about whether Christ is just the son of God or if he is God. Bullshit! That's not what this is about at all, is it? GABRIEL You're wrong. DAGGETT Then prove it to me, Gabriel. I studied three fucking years of theology before I picked up a gun. C'mon, you're chief goddamn angel, I'm just a little man. Prove to me Christ is just a son and less than God. Prove it! Gabriel hesitates. GABRIEL I do n't have to. DAGGETT Because you ca n't! Because this war is n't about some obscure medieval hangup. You're just jealous. GABRIEL You're wrong! DAGGETT Try me, Gabriel. Go on. Prove to me the temporal nature of the Trinity. Show me through logic how the Son of the Word can be separated from the Father. Fight me with philosophy, Gabriel! GABRIEL No! DAGGETT Because you and your army are wrong! And you know it. You knew it sixteen centuries ago. GABRIEL We do n't have to listen to him! He's just a son! DAGGETT That's it. You're jealous. Jealous He could love something more than you. GABRIEL -LRB- hisses. -RRB- Shut up. Gabriel's becoming unglued. DAGGETT If you wanted to know so badly, Gabriel, why did n't you just ask Him? Why did n't you just ask God? A shudder passes through Gabriel. He straightens up and looks down at Thomas as emotion racks his body. GABRIEL Because He does n't talk to us anymore! The two stare at one another. Then Gabriel, lost in himself, suddenly turns away from Thomas and walks into the darkness. For the village. Thomas climbs quickly to his feet, spins around - - And is HIT full - force by a rabid, SHRIEKING Rachael. Her legs lock around his body vise - like as her teeth and nails DIG into his skin. He cries out and stumbles to the ground. The two grapple furiously in the dust, Rachel's crazed face taking BITE after BITE out of his shoulder and neck. Thomas manages a fistfull of her hair and YANKS the fangs off his shoulder. With his other arm he CUFFS her hard, BREAKING the grip and ROLLING her aside. He staggers to his knees and begins to run. Shrieking, a mad porcelain banshee out of the dusk, Rachael catches up and TACKLES him. On the way down his head strikes a small stone wall and the pain is white thunder. Gagging and weeping in blank shock, he crawls on his hands and knees as Rachael OPENS UP his arm from shoulder to elbow with her nails. As the blood tumbles like ribbons, Rachael JUMPS onto his back, DIGGING her claws into his scalp. It's about all one human can take. Mad with pain and anger and desperation, Thomas manages to climb to a shaky crouch, Rachael still shrieking on his back. Throwing all his weight backward, he JAMS her into the short stone wall. The impact SNAPS her hold and PROPELS her over the wall - And two thousand feet down the side of the butte. Thomas Daggett can only curl up into a ball, gulping shallow, shuddering breaths. IN THE VILLAGE Gabriel walks resolutely up to the first hogan and KICKS down the plank wood door. No one home. He walks to the second and KICKS its door down. Nothing. IN THE KIVA Mary's ceremony is nearing a crescendo. Grey Horse has donned the colorful mask of the yei god Monster Slayer as the relatives now join in the guttural chants of the Enemy Ghost Way. Through the thick, choking smoke of the ceremonial fire we see Katherine, nervously watching the door. IN THE DARKNESS OUTSIDE THE VILLAGE Thomas tries hopelessly to make his way back. Stumbling every few steps, he's beyond pain and into driven numbness. It's hopeless though. We know it. IN THE VILLAGE Gabriel KICKS down another door to another empty hogan. There's only one left. As he approaches, from within can be heard the muffled sound of chanting. THOMAS Takes a few more fumbling steps and falls again. He reaches out to something metal for support. It's Katherine's pickup. GABRIEL Steps up to the kiva door and KICKS it. The frame buckles but holds. He steps back a few feet, puts all his weight into a turn, and KICKS again. The door SHATTERS. INSIDE Wood splinters ROCKET through the smoke as Gabriel appears in the doorway. Grey Horse, everyone, freezes. GABRIEL Relax folks, it's just a soul. From out of the smoke steps Katherine. She FIRES, one round, into Gabriel's side. The archangel is pitched against the kiva's wall, where he stays a moment before turning to Katherine. GABRIEL I'm getting real tired of you. She stands her ground between him and the child. KATHERINE Go to hell. GABRIEL Heaven, darling. Heaven. At least get the zip code right. KATHERINE It's all the same, is n't it? GABRIEL No. In heaven we believe in love. KATHERINE And what do you love, Gabriel? Once again, the shade of doubt holds him up. But it's quickly pushed aside for a corrupted grin. He's given up all pretense. GABRIEL - Cracking your skull. He advances on her. KATHERINE That's all it is for you anymore, Gabriel, is n't it? Just the killing and the burning. You do n't work for God anymore. You do n't fight for love. GABRIEL Shut up! And he's on her. With his left arm he brutally forces her to her knees as his right hand, palm out and fingers splayed, clamp themselves over her face. Katherine's mouth opens in a silent scream as the pain, immediate and beyond endurance, flows through her body. From somewhere outside, there's a sound. Katherine gulps chokes of agony as her very clothes begin to smolder around her. We hear the sound once more, closer, before - The entire kiva wall EXPLODES INWARD as Katherine's pickup CRASHES through it. The mangled grill and hood SLAM into Gabriel from the side and SMASH him to the ground like a broken puppet. Katherine falls backward to the floor, gets up, and runs to the truck's cab. Inside sits a near catatonic Thomas. Katherine takes only a second to share a look with him before reaching back and pulling out the pickup's tire iron. Gabriel, a shattered, broken thing, pulls himself up to his knees. The sunglasses are gone and two eyeless pits stare out at Mary, huddled in the corner. Bleeding from every pore, one arm bent back the wrong way, he crawls across the floor toward her, his voice the milky slur of a stroke victim. GABRIEL God loves you, Mary! Katherine brings the tire iron down on his skull with all her might, DRIVING him to the floor. She turns to Grey Horse, her eyes wild. KATHERINE Finish it. He, everyone, just stare. Stunned to stone. KATHERINE Finish it! Grey Horse timidly picks up his prayer stick and with a voice faltering and cracked, in the insane glare of the wrecked pickup's headlights, resumes the Enemy Ghost Way chant. Katherine turns back to Gabriel. KATHERINE Go home. She HITS him again with the tire iron. Then lifts it high once more above her head. She's going to crush him, to implode his skull. When a hand stops her. Sort of a hand. A claw. Lucifer's. He's standing behind her, holding the raised bar still. LUCIFER No. Katherine releases the bar and lets it clang to the floor. Lucifer turns to the villagers, gazing fearfully at him as they awkwardly try to finish the chant. LUCIFER Please. Go on. Lucifer's gaze falls on a deeply fucked - up Gabriel who groans at the sight of him. GABRIEL Oh man, this just is n't my day. Lucifer kneels down beside him. Katherine instinctively starts to reach for the tire iron but the sycophant hisses a liquid, chattering warning at her. LUCIFER Long time. GABRIEL The world's young, man. LUCIFER And full of ambition. GABRIEL This is n't your war. LUCIFER But I remember the last one. Michael's war. GABRIEL You lost. LUCIFER But lots of angels were with me. every one followed their leader out of heaven. GABRIEL Yeah yeah, I was there, remember? LUCIFER Except one. Oh, he was with me all right. He hated the Eagle Scout. Envied the power He gave to His Son. But this angel never came out front during the war. And when it ended he thought maybe, maybe the Eagle Scout did n't notice. So he laid low and towed the company line till he could start his own war. It was all just jealousy. GABRIEL You're dreaming. LUCIFER But maybe He did notice. Maybe that's why I'm here. GABRIEL - Stay away from me. LUCIFER You've always been a part of me, Gabriel. And now it's time to come home. GABRIEL Fuck you! Lucifer slams Gabriel's head against the floor and pins it. As the angel thrashes furiously, Lucifer FORCES his arm into Gabriel's chest. Gabriel cries out as Lucifer PULLS his arm half out and FORCES it deeper. Again. And again. Soon Gabriel's screams become giggles, then a crazed, hysterical laughter. The room goes insane. An impossible nightmare of chanting Navahos, glaring headlights, and Gabriel's echoing laughter as Lucifer pumps his chest. Laughter that rises to a kind of orgasmic cry then instantly stops as Lucifer pulls out the angel's heart, And eats it. At that instant Grey Horse places his hand on Mary's forehead, speaks a last line, and the chant is completed. Sticky, smoky, awful silence. Gabriel is a non - thing. A battered, hollow shell. Bartholomew Grey Horse, his voice cracked and finished, turns to Katherine. GREY HORSE The enemy spirit is gone. DAGGETT -LRB- weak, faint. -RRB- Where? From outside the kiva suddenly comes the sound of a wounded, savage GROWL. Katherine walks to the doorway. Just outside a lone coyote is twisting in the dirt with furious agony. Abruptly its thrashings cease. The animal stands and flashes for an instant at Katherine cold yellow eyes more than animal. Then it's gone into the blackness. Forever. She turns and goes back to Thomas in the cab. Bleeding to death is a real possibility for him. She pulls an old shirt out of the back and tries to makeshift a wrap for his sliced arm. DAGGETT More will come. To look for the soul. KATHERINE And they wo n't find it. Not in Mary. A few of the village elders appear at the cab. KATHERINE Can you help him? VILLAGER We have some bandages. Katherine walks over to where Mary, sweaty and shaken, sits huddled in a corner attended by Grey Horse. KATHERINE Are you all right, pumpkin? Mary's voice shakes as tears roll out her eyes. MARY I'm okay. Katherine gathers her up into her arms and holds her. KATHERINE It's going to be okay. We're all going to be okay. The chattering, hissing sycophant grabs Gabriel's body by the hair and shoulders and drags it out the door. Lucifer has remained behind, crouched on his haunches, his liquid, yellow eyes on Katherine. KATHERINE I ca n't quite bring myself to say thank you. LUCIFER I understand. KATHERINE Then this is done. LUCIFER Not necessarily. Maybe I like you. Maybe I want you to come with me. He rises to his feet and steps slowly toward her. LUCIFER You owe me, Katherine. And you're going to ask me to take you home. KATHERINE -LRB- clutching Mary. -RRB- No. LUCIFER You will. You will because any other way is going to be more awful than you can imagine. KATHERINE Are you threatening me? Just a grinning, twisted stare. KATHERINE Then you've picked the wrong person this time. I've just about had it up to here with ghosts. So you can put away the horror movie sneer and the K - Mart halloween eyes, because we know you now. We know you all. And if you want to force the issue then go ahead because you're just another angel to me. Take a look at your buddy Gabriel. Then ask yourself, do you really, really want to fuck with us? The smallest hint of a pause. LUCIFER Perhaps another time. KATHERINE I'm holding my breath. LUCIFER Goodbye, Katherine. For now. And he's gone. Through the door and into the night. MARY Is he coming back? KATHERINE I do n't think so, honey. I do n't think so. The fullness of day over Old Woman Butte, hot and bright. Chasing the night and its fears away under the punishing glare of noon. The village is full of police vehicles now. Green broncos from the Navaho Tribal Police. Blue and white sheriff department sedans. The Navaho cops are talking with Katherine and Mary. Thomas is sitting on the trunk of a patrol car getting his wounds properly bandaged as the Sheriff we met earlier leans beside him chewing on a wild oat stalk. SHERIFF -LRB- to deputy bandaging Thomas. -RRB- Is he going to live? DEPUTY With any luck. SHERIFF -LRB- to Thomas. -RRB- I thought I told you to give me a call if anything snarled. DAGGETT There was n't a phone. SHERIFF Hmmm. He chews some more on his stalk. Looks off at the village. SHERIFF This fella, Gabriel. DAGGETT Yeah. SHERIFF Gabriel what? DAGGETT Just Gabriel. SHERIFF Pretty violent guy, Gabriel. Even for out here. DAGGETT Yeah. SHERIFF Caught up with him at the village? DAGGETT He caught up with me. SHERIFF What were you doing way up here? DAGGETT Enemy Ghost Way for Mary Tsosie. SHERIFF Indian stuff. DAGGETT Yeah. Indian stuff. The Sheriff looks over at Katherine's pickup still jammed into the side of the kiva. SHERIFF Did you kill this Gabriel? DAGGETT Maybe. I think so. SHERIFF Do n't have any idea where the body is I suppose. DAGGETT No. SHERIFF Well, if he's alive he wo n't get far out there. Us or the coyotes, it'll be the same. -LRB- beat. -RRB- I rang your office in LA.. They do n't have a warrant out for a Gabriel. Or anybody else in Arizona. DAGGETT I had n't gotten around to it. SHERIFF Sort of an out of pocket thing. DAGGETT Yes. The Sheriff takes his hat off. Runs his finger along the inside band. SHERIFF That woman lying at the bottom of the arroyo, the one still in her hospital gown, know anything about that? DAGGETT No. SHERIFF Really. DAGGETT Really. SHERIFF This Gabriel was sure one busy dude. DAGGETT Yes, he was. Beat. SHERIFF You'll be going back to Los Angeles now? DAGGETT Yeah. The Sheriff pushes off from the patrol car and tosses aside the oak stalk. SHERIFF Do n't hurry back. The deputy finishes his bandaging. DEPUTY Do n't do much but breathe the next few days. And get to a hospital. You're going to need some serious stitches. DAGGETT Thanks. DEPUTY Say hi to Hollywood for me. He follows his boss. Katherine and Mary walk up. MARY You look bad. DAGGETT Thank you. I feel worse. -LRB- to Katherine re Navaho cops. -RRB- They lean on you much? KATHERINE Not really. I think they might have even understood. One of them's related to this clan. He'll give us a ride back if we want. DAGGETT Good. I think I've about run out of hospitality with the sheriff's department. The moment drifts into silence. KATHERINE Do you think it's really over? DAGGETT Till we die. Her eyes settle on his. KATHERINE When I die, I want you with me. DAGGETT I want that too. She touches his cheek, Mary cradled between them. Thomas sitting in the back of the tribal police bronco, looking out the window to the shimmering sands ; red and yellow and black. To clouds brewing over faraway forgotten mountains. To the end of the earth. As the bronco drifts away from us toward the empty, rocky horizon, as it slowly blends and is consumed by the land, FADE SLOWLY TO BLACK THE END"
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] | Thomas Dagget, a Catholic seminary student, loses his faith when he sees visions of a war between angels. Years later, Thomas is a detective with the Los Angeles Police Department. Two angels fall to Earth: Simon briefly enters Thomas' home and warns him of coming events, while Usiel, a lieutenant of the Archangel Gabriel, is killed in an altercation with Simon. Investigating the disturbance, Thomas finds in Simon's apartment the obituary of recently deceased Korean War veteran Colonel Arnold Hawthorne, and a thesis about angels which Thomas himself wrote in seminary. Meanwhile, in Chimney Rock, Arizona, Simon finds Hawthorne awaiting burial and sucks his soul out of his body. The medical examiner informs Thomas that Usiel's body has no eyes, no bones, hermaphroditism, and the blood chemistry of a fetus. His personal effects include an ancient Bible, with an expanded Book of Revelation that describes a second war in Heaven and prophecy that a "dark soul" will be found on Earth and used as a weapon. Gabriel arrives on Earth. Needing a human helper, Gabriel catches a disappointed Jerry, a suicide, in the moment of his death. Jerry retrieves Usiel's belongings from the police station while Gabriel destroys Usiel's body in the morgue. Finding Hawthorne's obituary, Gabriel and Jerry head for Chimney Rock. Before Gabriel arrives, at the local reservation school Simon hides Hawthorne's soul in a little Native American girl, Mary, who immediately falls ill and is cared for by her teacher, Katherine. After finding Usiel's burnt body, Thomas hurries to Chimney Rock. When Gabriel realizes Hawthorne's soul is missing, he confronts Simon. Hawthorne's soul will tip the balance to whichever side possesses it, and a win for the rebellious angels would make Heaven like Hell with Earth in its thrall. Gabriel tortures Simon, but he refuses to reveal its location, so Gabriel kills him. Mary shows signs of possession by Hawthorne, recounting an incident from Hawthorne's harrowing war experiences in first-person perspective. Meanwhile, Thomas examines Simon's remains and questions Katherine. In Hawthorne's home, he finds evidence of war crimes. Thomas visits a church to reflect in and is shaken by a verbal confrontation with Gabriel. At school, Katherine finds Gabriel questioning the children. After he leaves, she rushes to Mary's home and finds Thomas. As Mary's condition worsens, Katherine takes Thomas to an abandoned mine where she had seen Gabriel. They find angelic script and experience together a terrible vision of the angelic war. Returning to Mary, they find Gabriel and Jerry. Thomas kills Jerry, while Katherine distracts Gabriel when her wild gunshot misses him and blows up Mary's trailer home. They take Mary to a Native American site to be exorcised. In a hospital, Gabriel recruits a new unwilling assistant, Rachael, just as she dies of a terminal illness. Lucifer confronts Katherine and tells her that "other angels" have taken up this war against mankind, and since then, no human souls have been able to enter Heaven. He knows Gabriel plans to use Hawthorne's soul to overthrow the obedient angels. He also knows that if Gabriel wins the war under his influence Heaven will ultimately devolve into another Hell, which Lucifer considers "one Hell too many". Lucifer then appears to Thomas and advises him to use Gabriel's lack of faith against him. When Gabriel arrives and attempts to disrupt the exorcism ritual, Thomas kills Rachael, and he and Katherine fight Gabriel. Gabriel defeats them and moves to kill Katherine. Lucifer appears, encouraging the Natives to complete the exorcism. Lucifer confronts Gabriel, telling him that his war is based upon arrogance, which is evil, making it Lucifer's territory. Lucifer tells Gabriel he needs to go home and rips out his heart. Simultaneously Mary expels out Hawthorne's soul. The "enemy ghost" starts to attack Thomas and Katherine, but a bright light from Heaven appears and destroys it. Lucifer asks Thomas and Katherine to "come home" with him, but they refuse. Lucifer drags Gabriel to Hell. As morning comes, Thomas comments on the nature of faith and what it means to truly be human. | The_Prophecy |
[
"EXT. SHENANDOAH NATIONAL PARK, SCENIC VIEW LOT - MORNING Shenandoah mountains. A cold dawn. TWO BLACK TOWN CARS sit side by side, facing a view of a farming valley below. Two MEN in dark suits and long coats stand near the cars, casually on the lookout. If we caught a glimpse underneath the coat of the taller of the two, we'd see that he was carrying a 9mm. Glock.",
"INT. BLACK TOWN CAR - CONTINUOUS In the backseat of the car sit HAMERSLEY and REYNOLDS, each well - kept and in his early 50's. REYNOLDS `` I know thy works and thy labour and how thou canst not bear them that are evil. And thou hast tried them who say they are apostles and hast found them to be liars''. Revelations II. HAMERSLEY What the hell does it mean? REYNOLDS It means who's side are you on? HAMERSLEY You did n't ask me to meet you 30 miles from my office for a Bible study class. REYNOLDS It's a bi - partisan issue. Everyone needs to swallow hard. No one, including you, wants to be fingered as the one obstructing efforts to crack down on terrorism, and - HAMERSLEY Fuck you. REYNOLDS What? HAMERSLEY I said fuck you. REYNOLDS Is that anyway to talk to an old school chum? HAMERSLEY You're gon na finger me as soft on terrorism? Terrorism, you unconscionable asshole? REYNOLDS There are planes falling out of the sky, buildings blowing up. American buildings. Americans getting bombs in the mail. What are we gon na do!? HAMERSLEY We're not gon na hand you and your band of lunatics the keys to the kingdom. I'm not gon na sit in Congress and write a law that allows the NSA to point a camera and a microphone at anything they damn well feel like. And the next time you have something to say to me, we do it above - board, in my office, like everyone else. Now get outa my car, I've got a committee meeting on the hill. REYNOLDS regards HAMERSLEY a moment, then opens the car door -",
"EXT. PARKWAY - MORNING HAMERSLEY's car snakes down the twisting mountain road.",
"INT. HAMERSLEY'S CAR - CONTINUOUS HAMERSLEY MAKES VERBAL NOTES concerning the Reynolds meeting into his memo - recorder as he drives. He picks up his cellular phone and punches in a number. VOICE -LRB- O.S. -RRB- Senator Albert's office - The line goes dead. HAMERSLEY tries again but ca n't get a dial tone. Then, in the rear - view mirror, a BROWN SEDAN gains fast. Whoever the guy is, he's flying. Then a man with a rifle leans out the sedan's window. Aims. HAMERSLEY flies into a blind curve. Tires SCREECH as he rounds the bend to see A PROPANE TRUCK. Blocking both lanes of the road. HAMERSLEY's eyes widen. He stomps the brakes, SKIDS and SLAMS into the truck. The EXPLOSION engulfs everything. HAMERSLEY and the car are consumed. The pursuing sedan slows to a stop. The men watch. The car's an inferno. The MEN pull a ` U' and drive away.",
"INT. CRYSTAL CITY, VIRGINIA, TALL OFFICE BLDG. - DAY A well - appointed big - city law office filled with citations of merit and pictures of a wife and child. ROBERT DEAN, a likable young lawyer, sits behind his desk with his back to an OLDER MAN. He stares at a commanding view of Washington, D.C. as he listens to a tired, smoke and whiskey voice. OLDER MAN -LRB- L.T. -RRB- I do n't know how much longer we can hold out, Mr. Dean. DEAN I do n't know, either, L.T. Maybe you guys should get yourself a labor lawyer. L.T. Well that's why I'm here, Mr. Dean.'Cause you're a labor lawyer. DEAN Good point. L.T. Last night, Larry Spinks, he works the Steel Press, he goes to a bar with his wife Rosalie to have a glass of chianti'cause it's his birthday, and these two guys, these Guido mother - fuckers, they jump him when he goes to the bathroom. DEAN L.T., in this office I'd prefer you say Italian - Americans. L.T. I'm sorry, Mr. Dean. But Larry's in St. Lukes now, so I'm a little - I'm not myself. The Union bosses say unless we take Bellmoth's offer, it'll only get worse. DEAN That's because your Union bosses are those Guido mother - fuckers. L.T. I do n't under - DEAN The Union's trying to railroad you into accepting terms worse than what you have now. L.T. Why would the Union - DEAN swivels around in his chair and faces L.T. DEAN Because they've been paid off by Bellmoth. L.T. Mr. Dean - DEAN My name's Bobby. I'm your lawyer. Do n't do anything'till I talk to you. DEAN gets up and walks a grateful L.T. to the door, calling to his secretary as they go - DEAN -LRB- CONT'D. -RRB- -LRB- calling. -RRB- Martha! MARTHA appears in the doorway. DEAN -LRB- CONT'D. -RRB- Larry Spinks, St. Lukes. Send him a case of chianti from the firm. And send his wife Rosalie some flowers.",
"EXT. RESTAURANT - DAY RACHEL How's the trout? DEAN It tastes like fish. RACHEL It is fish. DEAN I mean it tastes like every other fish I've ever had. Every fish tastes the same. RACHEL Do you like fish? DEAN Not that much. DEAN dines in a booth with RACHEL BANKS, 30's. RACHEL opens her briefcase, removing an 8x10 envelope. RACHEL Here's what you asked for. Brill's note said it was everything you'd need to, shall we say, coax DePinto - DEAN When do I get to meet him? RACHEL DePinto? DEAN Brill. RACHEL Never. DEAN That was n't the answer I was hoping for. RACHEL What answer were you - DEAN is reaching inside his jacket pocket. He removes an envelope marked `` BRILL''. DEAN `` Soon''. Or at least sooner than never. RACHEL It's how he works. DEAN Brill? RACHEL Yes. DEAN So you've said. DEAN hands her the envelope. DEAN -LRB- CONT'D. -RRB- Ten thousand cash. I do n't know if it's Brill's prices going up or your commission. RACHEL I take a straight 15 percent. Brill's fee varies with risk. Perhaps you'd be more comfortable using someone else. DEAN Other than Brill. RACHEL Other than me. DEAN Why would I - RACHEL Someone with whom you do n't have quite so personal a - DEAN I like our history. And I like you. I'd probably like Brill if I ever got to - RACHEL He does n't work that way. DEAN I just want to make sure I'm not breaking the law. RACHEL You're not. DEAN How can I be sure. RACHEL I would n't let you. Good luck with DePinto. DEAN -LRB- pause. -RRB- Thank you. RACHEL Eat your fish. DEAN -LRB- V.O. -RRB- Mr. DePinto? My name's Robert Dean. I'm an attorney with Seth, Silverberg.",
"EXT. BUSY STREET - DAY DEAN weaves his BMW through D.C. bumper - to - bumper traffic as he eyes the photos that Rachel gave him which are lying on the passenger seat. The photos show DePINTO sitting in a motel lounge with TWO MOB TYPES. He's talking on the phone.",
"INT. BELLMOTH STEEL OFFICE - CONTINUOUS DEPINTO What can I do for you? DEAN Well, I was hoping you might stop by my office to swear out a criminal deposition against some of your friends and co - workers. DEPINTO -LRB- pause. -RRB- Is this a fuckin' joke? DEAN I do n't believe it is, no. DEPINTO Why the hell would I - DEAN I've got photographs of you at the Trenton Ramada looking very - DEPINTO That ai n't me. DEAN It's not? DEPINTO You do n't know who the fuck - DEAN That's not you having a whiskey sour with Carmine Morada. DEPINTO This is fucked. You do n't know who's in that - DEAN You're right, Mr. DePinto, and maybe I jumped the gun. DEPINTO You're goddam right you jumped the gun. DEAN That's probably not you in the picture. I tell you what, I'll just run the thing by the Grand Jury, see if they ca n't - DEPINTO I want to talk to a goddam lawyer. DEAN Good news there, Mr. DePinto, you're talking to one.",
"EXT. MOUNTAIN ROAD - DAY News helicopters hover over Hamersley's wreck as police direct traffic around the media circus.",
"INT. OLD CAR - CONTINUOUS DAN ZAVITZ, looks older than he is, balding with a weight problem, sweats behind SLAPPING wipers of a beater car plastered with environmental issue stickers. NPR drones on the radio as a police car crawls behind him, SIREN YELPING, lights flashing, trying to get by. ZAVITZ Alright, alright already, I see you. ZAVITZ POV : Wreckage surrounded by squad cars, ambulances and media circus. Something's happened. Something big.",
"EXT. SHENANDOAH NATIONAL PARK - DAY A tall ladder leans against a dead oak. ZAVITZ sweats and climbs to a branch where a platform's been built supporting a large phony bird's nest. He lifts away the nest, revealing - - Two microphones and three motion - activated digital video cameras and recorders. ZAVITZ checks the cameras' viewfinders to see - - TIME - CODED VIEWS - WIDE, MEDIUM AND CLOSE of a squirrel's nest containing three newborns. The parents are nowhere to be seen. ZAVITZ eyes the recorders. The video disks are spent. He ejects and pockets them, replacing them with fresh ones.",
"EXT. SOUTHEAST CAPITOL DISTRICT - DAY An old building needing rehab. A SIDEWALK VENDOR does brisk business, we DRIFT to an apartment window above. TV NEWSCASTER -LRB- V.O. -RRB- Police are labeling it an accident but promise a full investigation.",
"INT. ZAVITZ APARTMENT - CONTINUOUS ZAVITZ is staring intently at his computer monitor. We do n't know yet what he's looking at, but he's scared to death as we continue to listen to the NEWS REPORT. NEWSCASTER -LRB- O.S. -RRB- Don Hamersley, senior GOP congressional leader, was serving as a negotiator on the House/Senate sub - committee studying the Anti - Terror Bill. ZAVITZ leans in a little closer to get a better look at his computer screen, not wanting to believe what he's seeing. NEWSCASTER -LRB- CONT'D ;O. S. -RRB- the controversial legislation that would give various law enforcement agencies expanded authority in the fight against terrorism. And now we see what ZAVITZ is staring at on his computer monitor. The film he shot at SHENANDOAH PARK. the meeting between HAMERSLEY and REYNOLDS. NEWSCASTER -LRB- CONT'D ;O. S. -RRB- Known as the Voice of Caution, Hamersley was an outspoken advocate of. ZAVITZ reaches over, picks up the phone, and punches in some numbers with one hand. With the other, he punches some keystrokes on the computer. The screen zooms in on REYNOLDS, getting out of HAMERSLEY's car. NEWSCASTER -LRB- CONT'D ;O. S. -RRB- Sixty - eight years old, Hamersley leaves behind a wife and four children. ZAVITZ -LRB- into phone. -RRB- Tell him it's Zavitz. I need to speak to him. Tell him it's important.",
"INT. NEWSPAPER OFFICE - SAME TIME A cluttered office belonging to a radical, fringe newspaper. ALFONSO, mid - 50's, long, graying hair, works at a computer. ALFONSO Zavitz, what? You want your old job back? ZAVITZ Listen to me - ALFONSO Tired of chasing squirrels around the park? ZAVITZ Listen - ALFONSO Lem me ask you something. I put a bird feeder out in the yard, but the squirrels, they keep taking - ZAVITZ Turn on CNN. ALFONSO They keep taking the bird seed. I thought since you're the expert on - ZAVITZ Goddammit, shut the fuck up and turn on CNN! ALFONSO Alright, I made a joke about squirrels, do n't get so - ZAVITZ Do it! ALFONSO clicks his TV to CNN. The HAMERSLEY re - cap is still on. NEWSCASTER -LRB- V.O. -RRB- Once again, police at this point are calling Hamersley's death an accident. ZAVITZ I was doing motion - activated taping up in Shenandoah. That's where Hamersley had his accident. He was n't alone. He met someone. They argued. ALFONSO You've got it on tape? ZAVITZ Clear as day. ALFONSO Who else have you told?",
"INT. TECH ROOM - CONTINUOUS A place with mind - boggling technology and high - tech recording devices. DAT recorders spin silently. ZAVITZ -LRB- O.S. -RRB- -LRB- through speakers. -RRB- No one. But I'm a little nervous. ALFONSO -LRB- O.S. -RRB- -LRB- through speakers. -RRB- When can you get it here? ZAVITZ -LRB- O.S. -RRB- -LRB- through speakers. -RRB- I'm doing a transfer now. ALFONSO -LRB- O.S. -RRB- -LRB- through speakers. -RRB- Come straight here. Do n't talk to anyone. ZAVITZ -LRB- O.S. -RRB- -LRB- through speakers. -RRB- I'll come straight there. ALFONSO -LRB- O.S. -RRB- -LRB- through speakers. -RRB- Be careful, Danny.",
"INT. TOWN CAR - DAY CLOSE ON REYNOLDS sitting in the back. Well - dressed and alone, he reviews a bible. His cellular phone RINGS. We HEAR static as two encrypted lines find digital compatibility. Finally, a confirmation TONE - REYNOLDS Go ahead.",
"EXT. KENT ISLAND - SAME TIME Misty forests sweep down a hill to the Chesapeake Bay. A road leads to a high - voltage security fence and guard - shack. Beyond are several windowless concrete structures bristling with microwave antennas and satellite dishes. A sign reads : KENT ISLAND RESEARCH FACILITY. Prohibited Area. No Photos or Sketches. Violators Subject to Immediate Arrest and Fine Under Penalties of the Internal Security Act. NSA SIGINT INTERCEPT STATION - KENT ISLAND, MARYLAND",
"INT. TECH ROOM - CONTINUOUS The banks of high - tech digital recorders record incessantly as a TECHNICIAN holds a phone to his ear. TECHNICIAN -LRB- into phone. -RRB- Someone had automated cameras in the park. A nature photographer. REYNOLDS Jesus H. Christ. SILVERBERG -LRB- V.O. -RRB- How're we with pre - trials. Ms. Saunders.",
"INT. DEAN'S LAW FIRM, CONFERENCE ROOM - DAY Packed seats around a long conference table. The entire law firm reviews the proceedings. DIANE SAUNDERS answers the questions from her senior partner. SAUNDERS I'm expecting a favorable ruling this afternoon on the evidenciary motion, but I could use some more manpower with the interrogatories. SILVERBERG Mr. Dean, would you care to give Ms. Saunders a hand with the interrogatories. DEAN God knows I would, sir, but I have a previous engagement this evening. SILVERBERG And may I ask what could possibly be more important than Fawell Oil v. U.S. Environmental Agency? DEAN I have to go lingerie shopping. STILWELL Lingerie shopping? DEAN A Christmas present for my wife. SILVERBERG Go to Harrison's. They've got models that'll try the garments on for you. SAUNDERS Bobby, this is a 40 million dollar client. I really need some help tonight. DEAN Diane, maybe you did n't hear Mr. Silverberg. They've got models that'll try on the garments. -LRB- to SILVERBERG. -RRB- Thank you, sir. SILVERBERG Merry Christmas, son.",
"EXT. OLD BROWNSTONES - AFTERNOON Establishing. Apartments on upper floors, businesses on lower.",
"INT. ZAVITZ APARTMENT - CONTINUOUS Jacket on, ready to leave, ZAVITZ sits at his computer finishing a transfer. A TONE beeps as a COMPUTER TIME GRAPH sweeps to ` finished'. The screen reads : TRANSFER COMPLETE. There's a KNOCK at the door. ZAVITZ looks over. ZAVITZ -LRB- pause. -RRB- Yes? MAN'S VOICE -LRB- O.S. -RRB- Federal Express for ` Zavitz'. ZAVITZ Federal Express? MAN'S VOICE -LRB- O.S. -RRB- For Daniel Zavitz. I just need a signature. ZAVITZ -LRB- beat. -RRB- How'd you get in the building? MAN'S VOICE -LRB- O.S. -RRB- The door was open, sir. I just need a signature. ZAVITZ disconnects a video digitizer, removes a game - cartridge containing the digitized video. and inserts it into a Gameboy. He steps to the door and eyes the peep - hole. ZAVITZ POV : A fish - eye view of a Fed - Ex man, JONES, looking bored. ZAVITZ Can you tell me who it's from? JONES -LRB- checking label. -RRB- Micro - Tel Electronics. Sunland. ZAVITZ Can you - would it be possible to leave it by the door? JONES Not without a signature. ZAVITZ -LRB- stepping to the window. -RRB- All right. Okay. Just give me a minute. ZAVITZ POV : TWO DWP INSTALLERS hovering in a bucket across the street. Down below, a cargo van with a multiple roof antenna is double parked near a Fed - Ex van. Then - - Through a street window's reflection, ZAVITZ sees his building's front entrance. SEVERAL TENANTS are being prevented from entering by TWO MEN, plain clothes, one with a radio communicator pressed to his ear. Shit. ZAVITZ backs from the window, seized by panic. He grabs his phone. dead. He picks up his fax line. Also dead. He grabs the GameBoy, goes to a small side window and opens it. A ledge snakes around the corner. An athlete he's not but there's no choice. He squeezes out.",
"INT. ZAVITZ BLDG. STAIRWELL - CONTINUOUS PRATT, wearing a Fed - Ex uniform, is laying in wait. RADIO VOICE -LRB- O.S. -RRB- -LRB- through PRATT's earphone. -RRB- Go to three. Go to three. Package is out the window. PRATT sprints down the hall, pulling out his pistol, as JONES kicks in Zavitz's door and rushes in. The window's open. JONES looks out as the last of ZAVITZ goes around the corner of the ledge. RADIO VOICE -LRB- O.S. -RRB- -LRB- through JONES's headset. -RRB- 305 to 308. We've got the eyeball.",
"EXT. ROOFTOP - CONTINUOUS It's the rooftop ZAVITZ is heading to. Two MEN crouch behind a wall, watching ZAVITZ approach. MAN #1 -LRB- into headset. -RRB- We'll take delivery from here. ZAVITZ inches along, scared breathless. He looks back. No one. Maybe he was wrong. A pigeon suddenly flies by. ZAVITZ loses his balance, struggles. and falls. He crashes through an awning and into a sidewalk fruit stand. Dazed, ZAVITZ crawls to his feet as passersby watch speechless. Things happen fast. The cargo van rips from the curb but is suddenly blocked by a delivery truck. HORNS BLAST. HICKS, 30's and athletic, leaps from the van. Fears confirmed, ZAVITZ starts down the sidewalk, shakes off pain, and moves to a run. Except now there's someone in front of him. He's trapped. Reaching a doorway, ZAVITZ pushes. The door opens to -",
"INT. RESTAURANT SUPPLY SHOP - CONTINUOUS ZAVITZ charges through and kicks open a fire door. An alarm blasts as he exits to -",
"EXT. ALLEYWAY - CONTINUOUS A garbage truck screams up the alley. There's no way to outrun it. There's a fire escape above a dumpster. Breath rasping, he struggles on the dumpster, pulling himself up the ladder just as the truck OBLITERATES all below. ZAVITZ struggles and climbs. Reaching a landing, he pauses for breath. and sees HICKS and two others just moments behind. ZAVITZ grabs a fire escape door, tugs, pulls and bangs it open to -",
"INT. A DILAPIDATED HALLWAY - CONTINUOUS ZAVITZ hurtles by, trips, get up, runs again, adrenaline pumping as PURSUING SOUNDS near. He pitches down a staircase, shoves TWO PEOPLE and rips through -",
"INT. COFFEE SHOP - CONTINUOUS He flies past the diners and exits into -",
"EXT. BUSY STREET - CONTINUOUS HICKS and ANOTHER fly out of the diner, just in time to see ZAVITZ melting in with Christmas shoppers that are entering a department store. We see that the large sign over the entrance to the store reads : `` HARRISON'S''.",
"INT. HARRISON'S DEPARTMENT STORE - EVENING An upscale store packed with Christmas shoppers. At a fashion ramp, a small crowd of mostly WOMEN have gathered to watch leggy models feature a particular line of lingerie. Mixed in among this group is DEAN, a shopping bag in each hand, his briefcase tucked under one arm, trying his best to affect an air of the studious shopper. WOMAN'S VOICE -LRB- O.S. -RRB- May I help you? DEAN -LRB- startled. -RRB- Hm?! The WOMAN is sales clerk who's been in this situation before. SALES CLERK Do you see anything you like? DEAN I'm married. SALES CLERK That's fine. DEAN I'm married to my wife. of several years. and I'd like to buy. as a Christmas present. SALES CLERK You'd like to buy your wife some lingerie as a Christmas gift. DEAN Yes. I have her permission. SALES CLERK It's okay. I think it's a wonderful gift. DEAN Can you help me? SALES CLERK How ` bout Christian Dior? DEAN Is that good? SALES CLERK Very good. DEAN I do n't know anything about this. Well, I mean, I know a little about - from a certain perspective. My point is, I do n't want to do anything foolish. SALES CLERK It's a little late for that. DEAN I'll say. SALES CLERK What size? DEAN Pardon? SALES CLERK What size? DEAN Eight. Size eight. SALES CLERK I'll be right back. DEAN Thanks. SALES CLERK Remain calm. DEAN Okay. The SALES CLERK goes around the counter to the rear area. DEAN glances at the fashion show when he glimpses - ZAVITZ, hurrying through the women's dressing area, desperately looking for an exit. No luck. ZAVITZ moves toward DEAN, about to break for the front, but HICKS is there searching. Trapped, ZAVITZ ducks behind a display. DEAN watches, unaware of ZAVITZ's pursuers. Then it clicks. DEAN Daniel? ZAVITZ turns, frightened. DEAN -LRB- CONT'D. -RRB- It's me, Robert Dean. -LRB- beat. -RRB- From Seth, Silverberg. I worked on - ZAVITZ Bobby - DEAN It's been a few years. ZAVITZ Yeah. DEAN I'm just doing some Christmas shopping. It's for my wife, no kidding. Though, this is n't the main present, it's just, you know, a little - ZAVITZ I need help. DEAN Tell me about it. ZAVITZ How can I reach you? DEAN -LRB- beat. -RRB- Are you okay? ZAVITZ Are you still in Crystal City? DEAN Yeah, what's going on? SALES CLERK -LRB- O.S. -RRB- I think she'll like this very much. DEAN Listen, Daniel, hang on one second. SALES CLERK For that matter, I think you will too. DEAN -LRB- to the SALES CLERK. -RRB- Could you give me just a moment to talk to a friend of mine here? Not about this, but. Daniel? DEAN looks around. ZAVITZ is gone.",
"EXT. HARRISON'S DEPARTMENT STORE - EVENING Out on the street, ZAVITZ shoves into a group of shoppers waiting for the light. Then he sees HICKS and his PARTNER. They see him. Fuck the light. ZAVITZ runs into the street as - - a BUS speeds through yellow. ZAVITZ is caught in its path. BAM! Only stunned witnesses remain. DEAN exits the department store. He sees the commotion and makes his way over. DEAN -LRB- to a bystander. -RRB- What happened? BYSTANDER A guy got hit by a bus. DEAN Ah, Jesus. SIRENS can be heard in the distance. DEAN eyes the ground where the body lays. He sees Zavitz's BLOODY JACKET. DEAN -LRB- quietly. -RRB- Ah. Jesus.",
"EXT. ANNAPOLIS - NIGHT DEAN's BMW drives through a neighborhood of stately homes, all magnificently decorated for Christmas.",
"INT. DEAN'S BMW - CONTINUOUS DEAN drives, a little shaken by events. The RADIO plays an AT&T COMMERCIAL relaying the joys of home tele - conferencing. DEAN enters the driveway of his picture - perfect home.",
"INT. DEAN'S HOME/FOYER - NIGHT DEAN enters with his shopping bags and briefcase. Searching for family members, he enters -",
"INT. DEAN'S HOME/DEN - NIGHT DEAN's 8 year old son, ERIC and Eric's friend DYLAN sit by the big - screen TV, glued to a video game. A NANNY is nearby, lost in a magazine. DEAN Excuse me, have any of you seen an eight year old boy, good looking, about yea - big. ERIC Hi, dad. DYLAN Hi, Mr. Dean. DEAN Hello. Hello, Maria. NANNY -LRB- MARIA. -RRB- Hello, Mr. Dean. ERIC We ca n't get to the fourth level. We keep getting vaporized by the Black Knight. DEAN You're learning a cruel lesson. ERIC Are those my Christmas presents? DEAN Some of'em. ERIC Can I open'em up? DEAN Sure, go ahead. ERIC Really? DEAN In your dreams. ERIC Dad! DEAN -LRB- to DYLAN. -RRB- You staying for dinner? DYLAN Is it okay? DEAN You got any money? ERIC He's kidding. DEAN Where's mom? ERIC She's in the kitchen.",
"INT. KITCHEN - NIGHT The kitchen is in the midst of a remodel. A wall - mounted TV is showing `` CROSSFIRE'', where the two HOSTS are mediating a battle between TWO SENATORS. STACY watches the show with one eye, cooks with the other. SENATOR TASKEN -LRB- TV. -RRB- Laws service society and they need to be flexible to meet changing demands. We've got to be able to deal with a terrorist threat before it occurs. DEAN enters. DEAN Hey. STACY This guy's a fat - assed Rotarian gasbag. DEAN Uh - oh. STACY Listen to him. SENATOR TASKEN -LRB- TV. -RRB- This is no longer a theoretical problem, it's a reality. Turn on the news. Bombings, hostages - DEAN He's got a point. STACY Bobby! DEAN Not a very good one, but - STACY So you tap everyone's phone? You use computers to probe financial records? New Search and Seizure laws? DEAN Just for the criminals. STACY We wo n't suspend the civil rights of the good people. DEAN Right. STACY You should take this seriously. DEAN I think you're taking it seriously enough for both of us. He kisses her. A good one. STACY -LRB- softer. -RRB- You're a lawyer. Do n't you care what's going on around you? DEAN Something bad happened tonight. STACY What? DEAN I saw a man die. STACY What do you mean? DEAN In front of Harrison's, he got hit by a bus. I knew him. The firm did some pro bono work for his organization a few years back. STACY -LRB- beat. -RRB- I'm sorry. DEAN The thing is, when I saw him, it seemed like he wanted to tell me. -LRB- beat. -RRB-. he was upset about something and he said. -LRB- beat. -RRB- Does n't matter now. I'm gon na wash up. STACY What'd you buy at Harrison's? DEAN A toaster. And no terrorist talk at dinner. You're spookin' the kids. DEAN heads upstairs. REYNOLDS -LRB- V.O. -RRB- `` Do thou, O Lord, protect us -",
"INT. CATECHISM CLASSROOM - SAME TIME REYNOLDS lectures a class of young CATECHISM STUDENTS. REYNOLDS -LRB- CONT'D. -RRB- - guard us ever from this generation. On every side the wicked prowl, as vileness is exalted among the sons of men.'' Psalms 12.7 and 12.8. Tell me what this means, Mr. O'Brian. O'BRIAN It means - REYNOLDS cellular phone rings. He opens his briefcase and takes it out.",
"INT. HALLWAY - CONTINUOUS REYNOLDS busts out of the room, phone to his ear. Two MEN IN SUITS wait like pit bulls, ready for anything. Over the phone, we HEAR CONNECTING HANDSHAKES as the lines find digital compatibility. HARRISON'S DEPARTMENT STORE - CONTINUOUS The store is now closed.",
"INT. SECURITY OFFICE - CONTINUOUS HICKS holds a cellular phone as PRATT questions the SALES CLERK. Nearby, a monitor shows a time - coded surveillance tape of the lingerie section. DEAN and ZAVITZ are in playback, engaged in their earlier meeting. Finally, a confirming tone. REYNOLDS What happened? HICKS He's dead. An accident. Hit by a bus. REYNOLDS What about the tapes? HICKS We found the originals. REYNOLDS The originals? HICKS There was a transfer. REYNOLDS Am I to understand - HICKS He never made it to the newspaper, but there was private sector contact. REYNOLDS Who? HICKS Several indiscriminates and one primary who we've ID'd as Robert Dean. A Crystal City attorney. -LRB- silence. -RRB- Mr. Reynolds? -LRB- silence. -RRB- Sir? REYNOLDS Contact COINTEL. Profile. Assess the threat. Then cross - check against Zavitz. Red - flag the intersects and anything we can exploit. Also NRO. Pull up the keyhole tapes. I need to own him. I need to own him now.",
"EXT. NATIONAL SECURITY AGENCY, BLDG 227 - DAY Establishing. Fort Meade. A massive complex surrounded by razor wire and surveillance cameras. SUPER : NATIONAL SECURITY AGENCY, FORT MEADE, MARYLAND We PUSH IN on one building several blocks long. Its roof is bristling with antennas, dishes and domes.",
"INT. BUILDING/A LARGE SPACE - CONTINUOUS TIGHT ON MANILA folder stamped TOP SECRET - UMBRA. HANDLE VIA COMINT CHANNELS ONLY. HAND CARRY - NO COPIES. A SKINNY MAN clutches the folder, walking by endless cubicles of high - tech industriousness. He stops where an ANALYST types on a terminal near a retinal scanner. The ANALYST opens the folder to see a request for a PRIORITY WRAP on ROBERT DEAN, followed by a Social Security Number. The ANALYST enters in the number. A MONTAGE OF IMAGES GAINING IN SPEED - CLOSE on COMPUTER SCREENS showing in the harvesting of DEAN's electrical identity. His phone bills scroll by. Names, addresses, employment people called - Months, years flashing by quickly. Other data banks are probed. Insurance policies, credit histories, video rentals, library checkouts, school transcripts, ATM transactions, tax returns. everything. Irregularities are red - flagged. A matching ZAVITZ ITEM is found. DEAN's banking info is red - flagged. He has large cash withdrawals with no matching purchases. His withdrawal dates match up with unaccounted - for cash deposits. in RACHEL BANKS' savings account. CLOSE ON PRINTER. Conclusions spill out labeled `` RISK''. More probes are recommended into the RACHEL BANKS/ROBERT DEAN money connection. CLOSE ON EYE BEING SCANNED - We HEAR a TONE. PULL BACK to a PREGNANT WOMAN sitting with her head pressed to the scanner. A second verification TONE sounds. A poster above her work station reads : IN A DIGITAL WORLD NUMBERS DO N'T LIE - PEOPLE DO. She enters a phone number in her terminal. The computer DIALS. She waits, snacking on rice cakes. Finally, another computer ANSWERS. On screen appears : PAC - TEL TESTING BOARD. The screen fills with choices. She highlights - AT&T LINE - VERIFICATION REQUEST. LOG - IN ACCESS CODE. She enters another command. A new prompt reads : ENTER LINE REQUEST NUMBER. Eyeing DEAN's folder, she enters the phone number and commands `` ENTER''. `` RECORD''. The telephone tap is instant. A VOICE GRAPH appears in - sync with CONVERSATION now coming over the speakers. DEAN -LRB- O.S. -RRB- -LRB- mid - conversation, over speakers. -RRB- Diane's instinct is that it's sabre rattling. I think they're gon na file suit. She enters more commands. An Automated - Voice - Transcriber kicks in. DEAN's CONVERSATION is now transcribed automatically.",
"INT. NRO, KEYHOLE-12 LAB - CONTINUOUS A massive, dark place growing with monitors and tech. SUPER : NATIONAL RECONNAISSANCE ORGANIZATION, CHANTILLY, VIRGINIA Names of world regions are posted above endless monitor screens displaying live, digital - image feeds of Earth coming in from the Keyhole - 12 Spy Satellites. Every populated area of the planet is covered here. ANALYSTS attend the many feeds. A poster reads : THE KEYHOLE' 12' SERIES. MAKING THE WORLD AN HONEST PLACE. On another poster, a man's running shadow in a target bulls - eye with a caption reading : YOU ARE A SECURITY TARGET. Beneath a sign reading U.S. North - East Coastal Region, an ANALYST reviews time - coded, digital SAT videos of Washington, D.C.. As seen from space, the Capitol appears to be nothing more than a greyish mass. The ANALYST keys commands into his system. CLOSE ON MONITOR - The overhead SAT view of Washington moves in closer, soon streets are discernible, then cars and buses - then an accident in an intersection with flashing ambulance lights and a bus. A body lies twisted in the street - it's ZAVITZ. The ANALYST enters additional commands. The ZAVITZ/bus accident freezes, then plays in reverse as if recorded by the eye of God. The scene continues reversing, following close on Zavitz as he back - tracks into Harrison's Department Store.",
"INT. ANOTHER VIDEO LAB - SAME TIME CLOSE ON ANOTHER ANALYST facing three monitors showing additional views of ZAVITZ's escape as captured by a traffic camera, an ATM camera and the security inside Harrison's. FIEDLER -LRB- O.S. -RRB- We've checked everything. NRO tapes, traffic surveillance monitors -",
"INT. IMAGE ENHANCEMENT LAB TWO TECHIES huddle by a monitor overseen by FIEDLER, a computer expert. The monitor displays the Harrison's surveillance tape of the ZAVITZ/DEAN meeting. FIEDLER -LRB- CONT'D. -RRB- - and two ATM cameras. The one showing promise, though, is this security camera from the department store. -LRB- to TECHIE. -RRB- Freeze there. The TECHIE hits a command. ZAVITZ and DEAN freeze on screen. FIEDLER -LRB- CONT'D. -RRB- Times ten. The TECHIE boxes the area to be enhanced. He types commands. The boxed area increases ten - fold. FIEDLER -LRB- CONT'D. -RRB- Focus on the drop. The enlarged view shifts to DEAN's gift bags. The picture's fuzzy. Someone passes by, blocking the view at a crucial moment. FIEDLER -LRB- CONT'D. -RRB- Enhance, then forward, frame by frame. More keystrokes. The computer takes over, clarifying the image with passes of resolution. HICKS leans in closer as the image of the bag inches forward. FIEDLER -LRB- CONT'D. -RRB- Just before the view's blocked, Zavitz reaches in his jacket for something. When the view returns, there's a shape change in Dean's bag. See the shadow variance? We reverse imaged it - FIEDLER points to another screen displaying a digitally - enhanced image of the shadowed object and its approximate shape. FIEDLER -LRB- CONT'D. -RRB- Something's definitely been added. It's not a video cassette, the shadow's wrong. REYNOLDS steps forward. His eyes are red. It's been a long night. REYNOLDS What's your opinion? FIEDLER It's hard to say for certain, these things are - REYNOLDS I'm not asking you to say for certain. This is what you're trained to do, right? FIEDLER Yes sir. REYNOLDS Then what's your goddam opinion? FIEDLER -LRB- beat. -RRB- Zavitz had digital compression equipment. He could've downloaded into something. A disk, a chip, anything small enough to put in his pocket and run with. Whatever he put it in, he dropped it in that bag. REYNOLDS -LRB- to HICKS. -RRB- Get it. REYNOLDS heads for the door. HICKS We'd have to - REYNOLDS Get it.",
"INT. RANGE ROVER - NIGHT DEAN drives with STACY as ERIC sleeps in the back seat. Various hats and souvenirs tell us that they've just come from a Redskins game. They drive in silence for a moment before. STACY Bobby? DEAN Yeah. STACY How'd you get the information on DePinto? DEAN What do you mean? STACY Who did you work with to get the - DEAN A guy named Brill. Same guy as always. STACY Yeah, but you said you've never met him. How did you - DEAN Honey, I do n't like to talk about this stuff in front of Eric. STACY Have you been working with Rachel? DEAN No. STACY -LRB- beat. -RRB- Sorry. DEAN It's okay. The RANGE ROVER pulls into the driveway.",
"INT. DEAN'S HOME/ENTRY FOYER - NIGHT The DEAN's enter the doorway. ERIC and STACY are first. They stop, faces shocked. DEAN has n't noticed yet. His hand automatically goes to the alarm key pad. CLOSE ON THE PAD - The LED reads : ARMED. DEAN punches the code - STACY Oh my God - DEAN turns. The house is ransacked. The ALARM suddenly BLARES, adding mayhem. CLOSE - UP ON THE CEILING VENT - The CAMERA PUSHES IN TIGHT revealing a concealed, fiber - optic video lens the size of a pin - head.",
"EXT. DEAN'S STREET - CONTINUOUS Several cars and a florist van are parked on the quiet street.",
"INT. FLORIST VAN - CONTINUOUS The van is really an electronic surveillance post jammed with the latest equipment. A TECHIE with headphones eyes a monitor. CLOSE ON THE MONITOR showing the PIN HOLE SURVEILLANCE VIEW of STACY walking through a disheveled room in a state of shock while DEAN pulls out his cellular phone and dials. DEAN -LRB- through the TECHIE's headphones. -RRB- This is Robert Dean at 3325 Sutton Place. I want to report a break - in.",
"INT. RACQUETBALL COURT - MORNING A black ball slams against a wall. PULL BACK to DEAN, who's angry, frustrated and drenched in sweat. He's embroiled in a hard, fast game with his friend, JERRY. DEAN They took the espresso machine. The espresso machine, Jerry! Which makes sense, you know, because the crooks probably wanted to make themselves a latte before fencing the stereo. JERRY Did they take your clothes? DEAN No. JERRY You've got a bunch of Armani suits, they did n't take'em? DEAN No. JERRY Usually they take clothes. DEAN Why do n't you give'em a call. JERRY What about jewelry? DEAN They did n't take the jewelry. They took the computers. They took the big - screen TV, they took my blender. JERRY The blender? DEAN I love my blender. JERRY They did n't take the silverware? DEAN No, but they took my blender. JERRY Sounds like they did n't want anything that was n't electric? DEAN What? JERRY They only took electrical appliances. DEAN Serve the ball.",
"INT. DEAN'S OFFICE BUILDING/LOBBY - MORNING A busy lobby for a major complex. DEAN, freshly showered, steps from a door marked : TO PARKING LEVELS. MALE VOICE -LRB- O.S. -RRB- Robert Dean? DEAN turns to see MORELOS, 40's, an obsessive man with a terminal smile. DEAN -LRB- beat. -RRB- Yes? MORELOS I did n't want to bother you during your racquetball game. DEAN -LRB- beat. -RRB- Thanks. -LRB- beat. -RRB- Who are you? MORELOS shows him his badge. MORELOS I'm sorry. Detective Morelos. DEAN Hey, did you guys find my stuff? MORELOS Your stuff? DEAN The robbery. MORELOS No, sir, I'm not involved with that. I'm doing a quick follow - up on a bus accident took place a few nights ago. Your name keeps coming up. DEAN Oh. yeah, I did n't see the accident. MORELOS Witnesses said you were there, but I notice you did n't file a report. DEAN A report? MORELOS A police report. DEAN That's'cause I was n't there. MORELOS You were n't at Harrison's Department Store the night before - DEAN I was in the store, the accident was outside. It was a bus. MORELOS Someone said you spoke to Mr. Zavitz before he died. I thought you might know something. DEAN About what? MORELOS About the accident. DEAN I'm no expert, but I'm assuming that the impact of a moving bus against his body caused - MORELOS Mr. Zavitz was in trouble. DEAN What kind of trouble. MORELOS You tell me. DEAN I ca n't. MORELOS Are you invoking attorney/client privilege. DEAN I'm not his attorney. MORELOS Than why ca n't you tell me. DEAN Because I do n't know. MORELOS I'm just trying to determine if Mr. Zavitz was involved in something more than a simple bus accident. DEAN Than why do n't you talk to the bus driver? MORELOS Why so edgy, Mr. Dean? DEAN Somebody took my blender. MORELOS We'd appreciate your cooperation. DEAN I'm happy to help you all I can. But I did n't see the accident and I barely knew Daniel Zavitz. I've got ta go to work. DEAN starts walking - MORELOS follows him. MORELOS Did he give you anything? DEAN No. MORELOS Anything at all? DEAN No, sir. MORELOS Was he with anyone? DEAN Not that I could see. MORELOS Nobody gave you anything? DEAN No. MORELOS Why'd you go to Harrison's? DEAN To buy lingerie. MORELOS For your wife? DEAN Yes, for my wife, what the hell kinds of questions are these. MORELOS I thought maybe it might be for Rachel Banks. DEAN stops short and turns to MORELOS. He stares. DEAN I do n't know what's goin' on with Zavitz, but that was way, way outa line. -LRB- beat. -RRB- You understand? MORELOS Yes sir. DEAN steps into the elevator. MORELOS -LRB- into concealed sleeve - mic. -RRB- 403 to 401. He's coming up.",
"INT. LAW FIRM/CORRIDOR - DAY DEAN walks down the hall toward his office. He stops by PEERS as he enters his office. PEERS ` Morning, Mr. Dean. DEAN Hey. Would you get me what I need for Zwernickii and the Bellmoth motions. PEERS Sure. DEAN And do me a favor. Find out what you can about Daniel Zavitz. We did some work for him a few years back and there should be a file. DEAN enters his office and turns his computer on. It BEEPS, BOOTS and loads.",
"INT. BUILDING CORRIDOR - CONTINUOUS LEVIN approaches the men's room. A MAINTENANCE MAN cleans up broken glass and water by the door. A sign reads : CLOSED FOR MAINTENANCE. Levin turns and leaves. MAINTENANCE MAN -LRB- into concealed sleeve mic. -RRB- 402 to 401. Doorstep's clear.",
"INT. MEN'S ROOM - CONTINUOUS Two more MAINTENANCE MEN kneel in a stall adjusting a portable monitor and oscillator. They aim a directional antenna using slow, sweeping motions. CLOSE ON THE MONITOR displaying the intercepted signal. It's Dean's computer screen with text being typed in. The words are hard to read due to horizontal drift. After adjusting the antenna, the signal smooths. We PUSH CLOSER. The signal shows the current display of Dean's computer screen. We see Dean's O.S. command pull up his E - Mail. A prompt asks for a password. XXXXXXX appears. A switch is flipped. XXXXXXX becomes PUCCINI. Dean's `` secure'' file opens. Entries appear. MAN #1 402, this is 401. Password's `` Puccini.''",
"EXT. COURTHOUSE - DAY Establishing. A large, busy place. LAWYERS and AIDES bustle in and out of this structure.",
"INT. COURTROOM - DAY A busy morning as ATTORNEYS wait their turn to present motions before the JUDGE. DEAN is seated next to LEVIN, making notes. LEVIN -LRB- whispering. -RRB- Dick Burns got a phone call this morning from someone wanting information on you. DEAN The police? LEVIN No. He said they were doing a credit check. Are you refinancing a loan? DEAN You remember Daniel Zavitz? LEVIN Yeah. DEAN He got hit by a bus. LEVIN What does that have to do with you? DEAN I honestly do n't know. ANOTHER ATTORNEY sits several rows back, watching the proceedings, briefcase in his lap. CLOSE - UP on the ATTORNEY's EAR with a mini - receiver. From it drift snippets of the DEAN/LEVIN conversation. LEVIN -LRB- O.S. -RRB- Was Zavitz in trouble? DEAN -LRB- O.S. -RRB- I do n't know. A pulled back leather flap on the ATTORNEY's briefcase reveals the tip of a concealed microphone. LEVIN -LRB- O.S. -RRB- You think there was a connection to - DEAN -LRB- O.S. -RRB- Jesus! I just told you. I do n't know.",
"EXT. COURTHOUSE GARAGE - DAY DEAN waits for the garage attendant to bring down his car. PRATT -LRB- O.S. -RRB- Mr. Dean? DEAN turns. TWO MEN, PRATT and BINGHAM approach him. DEAN Yeah? PRATT -LRB- pulling out a card. -RRB- We'd like to ask you some questions about Daniel Zavitz. DEAN Who are you people? PRATT -LRB- handing DEAN the card. -RRB- I'm an investigator with Pro - Tech Security. DEAN I went through this with an investigator this morning. If I could - PRATT Mr. Zavitz was involved in an extortion scheme. We believe he passed you sensitive materials, possibly with your knowledge, and we need to - DEAN He did n't. PRATT We believe he did. DEAN You're wrong. PRATT We have good reason to believe that he passed you - DEAN If he passed me materials, I'd have them. I do n't. PRATT We'd like to recover any materials Mr. Zavitz may have given you - DEAN He did n't give me - PRATT - otherwise we may have to - DEAN Otherwise you may have to what? PRATT We'd rather not - DEAN Fuck you. You may have to what? BINGHAM -LRB- beat. -RRB- We may have to explore additional avenues.",
"INT. TECH ROOM - NIGHT We HEAR a recording of the conversation between DEAN, PRATT and BINGHAM while we're CLOSE on an INK NEEDLE measuring Dean's voice stress levels. DEAN -LRB- V.O. -RRB- He did n't give me - PRATT -LRB- V.O. -RRB- - otherwise we may have to - DEAN -LRB- V.O. -RRB- Otherwise you may have to what? PRATT -LRB- V.O. -RRB- We'd rather not - DEAN -LRB- V.O. -RRB- Fuck you. You may have to - HICKS turns off the recorder. Standing with him is REYNOLDS, the Dean file and voice stress graph laid out before him. HICKS He's arrogant and threatening. Voice stress points suggest he's worrying. REYNOLDS Hiding something? HICKS It was in his bag. Now it's not. REYNOLDS Destroy his credibility before he goes public. Neutralize him. I do n't want anyone listening to a word he has to say. Tell me about Rachel Banks.",
"EXT. EXMOOR COUNTRY CLUB - EVENING Establishing. A massive clubhouse surrounded by expensive cars and tended grounds. We HEAR strains of Gershwin's `` They Ca n't Take that Away from Me'' from inside.",
"INT. COCKTAIL LOUNGE - CONTINUOUS GUESTS mill about. DEAN and STACY are standing by the reception table where name tags and seating assignments are laid out. DEAN picks up a card that reads : MR. AND MRS. ROBERT DEAN - TABLE 122. JERRY steps over and puts his hand on DEAN's shoulder - JERRY Can I talk to you a second? DEAN Table 122? JERRY That's what I want to talk to you about? DEAN I wrote a check for a thousand dollars. You guys did n't have a table that was in the kitchen? JERRY gently pulls DEAN to a quiet corner. JERRY The Congressman's very happy to have your support, but he's heard that there's an investigation. DEAN An investigation? It was a bus accident. JERRY He's heard that it's escalated. DEAN Into what? JERRY Your Bellmoth case. The FBI thinks there might be mob ties. DEAN I'm a labor lawyer. There are always mob ties. JERRY Just be cool.",
"INT. DINING ROOM - NIGHT CLOSE ON and OLD MATRON carefully chewing her food near a table card declaring : 122. The gala swings everywhere but here. DEAN and STACY are the only other diners at the table. STACY I do n't understand why Jerry could n't clear this up. DEAN Well, you know - STACY He's got his priorities? DEAN There's just, clearly, some administrative snafu. I'm sure this is the worst of it.",
"EXT. DEAN'S OFFICE BUILDING - DAY Establishing. A glass and steel high - rise reaching upward. MARTHA -LRB- V.O. -RRB- Mr. Dean?",
"INT. DEAN'S OFFICE - CONTINUOUS DEAN sits behind his desk as his secretary MARTHA enters. DEAN Yeah. MARTHA It's Rachel Banks. DEAN picks up the phone -",
"INT. RACHEL'S CONDO - CONTINUOUS RACHEL cradles a portable phone to her ear. RACHEL -LRB- into phone. -RRB- I got a call from my firm this morning saying do n't come in. DEAN -LRB- into phone. -RRB- Why? RACHEL There are reporters wanting to know about my relationship with you and how long I've worked for the mob. The mob, Bobby! DEAN All right, look - Before DEAN can respond, there's a knock at the door. PEERS sticks his head in - PEERS Blake and Silverberg want you in the conference room. DEAN -LRB- softly. -RRB- Shit.",
"INT. CONFERENCE ROOM - DAY DEAN sits in the conference room by himself. He waits. After a moment, SILVERBERG and BLAKE stride in. DEAN Listen - SILVERBERG I got a call this morning from a source I trust. The Post is running a lead this afternoon about your involvement in the Bellmoth investigation. DEAN I do n't under - BLAKE We've also been informed that the Grand Jury is going to call for an investigation into your affairs. DEAN Why? BLAKE They want to hold you in Contempt for ethics violations. SILVERBERG They claim you helped create a shell company for Sam Vollotti in Zurich and that through your continuing relationship, the Gambino family's been able to exert influence and provide false witnesses to discredit our case. DEAN Oh, well, that's true. BLAKE It is? DEAN Except for the part about my setting up a company in Zurich and knowing anyone named Sam Vollotti and having any relationship whatsoever with the Gambino family. SILVERBERG Robert - DEAN Gim me a week and four guys from litigation and I'll have the Post pleading with us not to sue for libel. BLAKE Tell us about Rachel Banks. DEAN -LRB- stunned. -RRB- Rachel Banks? SILVERBERG The attorney? BLAKE Have you two been having an affair? DEAN is speechless. DEAN What kind of a question is that? BLAKE A direct one. DEAN I have a professional relationship with Rachel Banks. She's the go - between for a private investigator I use. SILVERBERG What's his name? DEAN Brill. BLAKE Why do n't you just call Brill directly. DEAN I do n't know who he is. BLAKE I'm told you had an affair with Rachel Banks four years ago. DEAN Told by whom? BLAKE Considering the enormous exposure to which you've subjected this firm, I'd think you'd do best to simply answer my questions. DEAN Really? BLAKE Yes. DEAN Well considering what a colossal douche bag you are, David, maybe I'd do best to simply kick your ass all over the capitol. SILVERBERG Gentlemen - DEAN This is bullshit. Someone's mixing up a bunch of half - truths to ruin me and to ruin my case. SILVERBERG Who would do that? DEAN Maybe Bellmoth. Maybe the unions. I do n't know. SILVERBERG Well until we find, you're gon na have to take a leave of absence. DEAN You're firing me. SILVERBERG A leave of absence. Until we've sorted this all out. DEAN Put David on it. He seems anxious to clear my name. SILVERBERG Bobby - DEAN Fuck off.",
"INT. DEAN'S HOUSE/FOYER - EVENING DEAN enters. DEAN -LRB- calling. -RRB- Stacy! JENNY, early 30's, heads him off - JENNY Robert - DEAN Where's Stacy? JENNY She does n't want to talk to you. DEAN -LRB- beat. -RRB- What are you talking - JENNY She ca n't talk to you right now. DEAN -LRB- beat. -RRB- Why? JENNY Because she's reading the newspaper, you asshole. DEAN pushes past her and heads to the back patio -",
"EXT. BACK PATIO - CONTINUOUS STACY stares blankly, eyes red. A copy of The Post is beside her. A picture of DEAN and RACHEL, arm in arm, accompanies a headline. DEAN walks in - DEAN Stacy? STACY How could you let me find out like this? DEAN Stacy, I found out like this. This is the first I'm hearing of - STACY Robert - DEAN It's not true. STACY -LRB- reading. -RRB- `` Sources revealed an FBI investigation into a possible money laundering scheme that may have sent millions of dollars - DEAN I've seen it. STACY -LRB- reading. -RRB- `` At the center of the investigation are well - known Washington - area attorneys Robert Dean and Rachel Banks.'' DEAN Yeah. look - STACY whips the paper at him - STACY You swore! DEAN I have lunch with Rachel once a month. She's my connection to an investigator. STACY I told you I did n't want you seeing her. DEAN I know. STACY You had an affair with this woman, Robert, we went to a fucking counselor for a year. DEAN I see her for business. STACY You told me you were n't seeing her at all. DEAN I did n't want you to be upset. I should n't have lied. Stacy, there's nothing between me and Rachel Banks. STACY grabs another paper and shoves it across the table. DEAN picks it up. DEAN'S POV : A black and white surveillance photo of DEAN and RACHEL on a hotel balcony. STACY -LRB- O.S. -RRB- The date stamp on the picture is last month. Is that where you and Rachel conduct business. DEAN -LRB- shaking his head. -RRB- It's not real. -LRB- to STACY. -RRB- That's not me. STACY Oh, please - DEAN It's not a real picture, Stacy, it's been doctored - up. STACY I think you should leave now, Robert. DEAN Stacy - STACY Leave this house.",
"EXT. HYATT HOTEL - NIGHT Establishing. Downtown Washington, D.C.",
"INT. REGISTRATION DESK - CONTINUOUS A busy night. DEAN stands at the registration desk facing a DESK CLERK. DESK CLERK -LRB- returning card. -RRB- I'm sorry, sir, this card's been declined. DEAN It's a brand new card. DESK CLERK Maybe it's not connected yet. DEAN -LRB- handing him another. -RRB- Here, you can use this. The CLERK runs it through. Same result. DESK CLERK I'm sorry. He returns the card, embarrassed for Dean. DEAN turns to leave. and stops dead. He stares at the empty floor by a pillar. DEAN My suitcase - DESK CLERK Sir? DEAN My suitcase is gone. DEAN walks quickly around the area, looking at everything and everyone. DESK CLERK I'm sure we can locate it for you, sir. DEAN Do n't count on it.",
"EXT. BANK MACHINE - NIGHT DEAN stands at the ATM, waiting for cash. There's a short line of PEOPLE behind him. His bank card spits out. The monitor reads : Temporarily Unable to Process this Transaction. DEAN -LRB- pounding the machine. -RRB- God Dammit! The waiting PEOPLE back away.",
"EXT. CHEAP MOTEL - NIGHT A weathered sign reads : All Rooms $ 39.95. An O.S. TV DRONES the latest AT&T COMMERCIAL - TV ANNOUNCER -LRB- soft and seductive. -RRB- Have you ever tucked your kid in from a phone booth? You will -",
"INT. MOTEL ROOM - CONTINUOUS CLOSE ON AN OLD COLOR TV. The COMMERCIAL ENDS. A NEWSCASTER returns to deliver the late - night news. NEWSCASTER -LRB- on TV. -RRB- In Richmond today, Senate Majority Leader Sam Albert paid a visit to promote the ten - billion dollar Anti - Terror Bill. The newscast cuts to SAM ALBERT, late 60's, standing on State Capitol Building steps delivering a speech to community leaders. SENATOR ALBERT -LRB- on TV. -RRB- America is under assault, and this time it's from within. The gangs, the terrorists, the drug lords, the cults. PULLING AWAY from the TV, we explore the room. Dimly lit and cluttered with tired furniture. SENATOR ALBERT -LRB- CONT'D. -RRB- -LRB- on TV. -RRB- It's a war like any other war. A war with victims and a war that requires courage and strength. Outside the window, a BUZZING NEON SIGN flickers red and blue. We finally end on DEAN, sitting on a sagging bed, rubbing his eyes. the newspaper with the doctored - up photo is sitting next to him.",
"EXT. BUILDING - DAY Establishing. Italian area of Baltimore. A 40's era box - building. A sign reads : Italian/American Legion - Members Only",
"INT. ITALIAN/AMERICAN LEGION - CONTINUOUS Thread - bare chairs and a couch. SAL and FRANKIE, both meaty guys in shiny shirts, sit facing DEAN, who stands before them. SAL I'm sorry. I'm not sure I understand. You wan na fuckin' what? DEAN I'd like to speak to someone about what's happening to me. FRANKIE -LRB- to SAL. -RRB- What'd this guy say his name was? SAL This is Bobby Dean, the Jew lawyer who squeezed DePinto. DEAN Actually, that's not true. SAL You did n't squeeze DePinto? DEAN No, I meant I'm Presbyterian. SAL Oh. DEAN My wife's Jewish. But that probably does n't matter right now. FRANKIE What is it you want? DEAN Someone's trying to destroy my life, and I'd like to find out who. SAL And then what? DEAN I'll see if I can, you know, work things out. FRANKIE Well we'd sure like to help you. DEAN You would? FRANKIE Yes. But we ca n't. DEAN Why not? FRANKIE Because we, and our associates, have paid out hundreds of thousands of dollars to shyster lawyers like you, because of shyster lawyers like you, and we'd just as soon sit back and sip a beer while you get ass - banged by as many people as possible.",
"EXT. STATELY OLD BUILDING - DAY Establishing. A sign reads : The Audobon Society - National Headuarters WOMAN'S VOICE -LRB- V.O. -RRB- He shot wildlife footage -",
"INT. AUDOBON HEADQUARTERS/EDITING BAY - CONTINUOUS MEG BURTON sits near an editing machine as two EDITORS review endless amounts of bird footage. DEAN sits next to her. DEAN I know, but - MEG Wildlife footage, for God's sake. I do n't see how he could've slipped you something that the FBI would be interested in. DEAN That's my point. MEG What's your point. DEAN Well, I need to find out as much about Daniel as possible. MEG Why? DEAN Because my life is being ruined. MEG Daniel's life is already ruined. Maybe if you guys stopped thinking about yourselves for a change and -",
"EXT. THE GANG-PLANK BAR - DAY Establishing. The Baltimore water front. A crusty bar overlooking the bay.",
"INT. BAR - CONTINUOUS Sunlight slashes blinds revealing a place that is wrong during the day. JIMMY, a beefy bartender, takes stock of the liquor while RACHEL sits in a dark booth. DEAN -LRB- O.S. -RRB- Rachel? RACHEL looks up. RACHEL Good. You're just what I need right now. DEAN You got a minute? RACHEL -LRB- getting up. -RRB- It's really not a good idea for me to be seen with you. DEAN Who's doing this? RACHEL I got ta go. DEAN -LRB- blocking the door. -RRB- Will you hang on just a second. JERRY Rachel? There a problem? She looks at DEAN for a moment. RACHEL No. No problem. -LRB- to DEAN. -RRB- Outside.",
"EXT. HARBOR CENTER - DAY CLOSE ON a SURVEILLANCE CAMERA on a pole, sweeping, making automatic lens corrections. RACHEL -LRB- O.S. -RRB- There's a lot of people asking questions about you and me. We drift down to the harbor walkway, a greenbelt with quaint hotels and bars on one side, Chesapeake Bay on the other. DEAN and RACHEL are strolling the walk. DEAN I know. RACHEL The IRS contacted me this morning. They say my lifestyle and receipts exceed my income. DEAN You being audited? RACHEL For the last four years. DEAN My firm'll represent you. Free of charge. RACHEL You do n't work there anymore, Bobby. DEAN That's temporary. RACHEL Bullshit. DEAN Rachel - RACHEL We're screwed. DEAN I'm gon na fix it. RACHEL How? DEAN Tell me about Brill.",
"INT. A ROOM - CONTINUOUS A TECHNICIAN eyes a recorder spin as a monitor shows a live feed from the park. RACHEL -LRB- O.S. -RRB- -LRB- through headphones. -RRB- I ca n't. DEAN -LRB- through headphones. -RRB- You have to. RACHEL -LRB- through headphones. -RRB- I've never met him? DEAN -LRB- through headphones. -RRB- Goddammit, Rachel, you assured me -",
"EXT. THE PARK - CONTINUOUS DEAN and RACHEL on their stroll - RACHEL Fuck you. When you needed information, I got it. You did n't care how. DEAN I did care how. RACHEL This conversation's over. DEAN What're you gon na do, Rachel? You gon na sit in a bar in Baltimore? You want your job back? You want a life? RACHEL I do n't have a life, Bobby. I'm in love with a married man. DEAN I'm sorry about that. RACHEL What makes you think it's you? DEAN It's not me? RACHEL You're a moron, you know that? DEAN Yeah. DEAN smiles. and after a moment, so does RACHEL. RACHEL When I need to reach Brill, I chalk the mailbox on 14th and Main.",
"EXT. CITY STREET - DAY RACHEL is walking to the mailbox. She casually slashes the box with chalk and drops a letter inside. RACHEL -LRB- V.O. -RRB- When he sees the mark, he knows there's a drop. The location's always the same.",
"EXT. BALTIMORE PORT - DAY Establishing. Wharves, ships, seagulls. A water - bus chugs dockside as PASSENGERS board for the trip across the inlet. DEAN stands in a ticket line with the other PASSENGERS. RACHEL -LRB- V.O. -RRB- The number twelve ferry to Glen Burnie. Tuesdays or Fridays.",
"INT. FERRY - DAY DEAN takes a seat. Across the deck is Seat 74. RACHEL takes the seat and casually slides an envelope behind it, her actions obscured by a bag she carries. The ferry BLOWS its departure horn. RACHEL -LRB- V.O. -RRB- The drop's behind Seat 74. I leave something, he picks it up later. The ferry churns water. RACHEL moves to a wind protected seat, leaving Seat 74 empty. DEAN keeps watch on the seat as he scans the paper. DEAN -LRB- V.O. -RRB- Any idea what he looks like? RACHEL -LRB- V.O. -RRB- My guess is male, somewhere in his 40's or 50's. A MONTAGE of different people occupying Seat 74. A middle - aged DRUNK passed out in the seat. A TEEN - AGED boy with glasses chats with friends. RACHEL -LRB- V.O. -RRB- Race, height, weight, you're on your own. An OLD LADY reads a book. She sees DEAN eyeing her and smiles nervously. DEAN returns to his paper. RACHEL -LRB- V.O. -RRB- Now I do n't know how he's gon na feel about someone tracking him down. He's reclusive. I'm sure he has his reasons. DEAN's alone now. The ferry docks for the night. The last passengers, TWO NUNS, disembark. DEAN rises to go. Brill's a no - show.",
"INT. FERRY TERMINAL - NIGHT DEAN walks down the ramp. It's dark in the empty terminal. Not the best place at this hour. Up ahead, TWO MEN stand in the darkness, then kissing. Down another hall, SOUNDS OF NEARING FOOTSTEPS. DEAN detours into -",
"INT. MEN'S ROOM - CONTINUOUS Empty. DEAN stands at a sink, water running. He glances at the door. He splashes water on his face. Suddenly - - DEAN's slammed forward, a silenced pistol is shoved into his ear, pinning his face to the mirror. DEAN Jesus! What?! You want money?! MAN Shut the fuck up. Hands frisk DEAN. Up and down the legs, behind the back and chest. A wallet is removed, ID's looked at - then returned. DEAN turns to see - A MAN, early 50's. He sweeps a signal frequency locator over DEAN's body. The needle reacts at DEAN's foot. MAN -LRB- gesturing. -RRB- Your shoe. DEAN My shoe? MAN Gim me the shoe. DEAN complies with the strange request as the MAN flips out a knife. DEAN Brill? \"BRILL\" Brill's dead. He died of small pox when he was two and he was buried in a Kansas field. -LRB- prying away DEAN's heel. -RRB- My name does n't matter. CLOSE ON DEAN's HEEL - a hollow compartment reveals a miniature tracking device. The MAN removes it, then returns the shoe. \"BRILL\" -LRB- CONT'D. -RRB- A tracker. Thousand yard range. They're close. The MAN reaches in a trash can, removes a potato - chip bag, wraps it around the tracker and flushes it down the toilet. \"BRILL\" -LRB- CONT'D. -RRB- C'mon. `` BRILL'' goes through the window. DEAN eyes the window, not sure. He eyes the door. Same feeling.",
"EXT. LOADING DECK - MOMENT LATER DEAN crawls through the window to a loading dock. `` BRILL'' motions him to follow as he moves off into the shadows. The sounds of the window OPENING behind them, followed by FOOTSTEPS. `` BRILL'' shoves Dean behind a dumpster and removes his gun as two men run by. The STEPS FADE. `` BRILL'' looks. They're gone.",
"EXT. FERRY TERMINAL - NIGHT Establishing. A closed farmer's market by the terminal. Several cars are parked. One's a cab. `` BRILL'' opens the driver's door. DEAN grabs the front passenger door. \"BRILL\" No. In back like you're a customer.",
"INT. CAB - NIGHT `` BRILL'' sits in the driver's seat, eyes flickering to all views, as DEAN climbs in the back. `` BRILL'' flips on the meter and guns into traffic. \"BRILL\" What happened? DEAN It started with the information you gave me on DePinto. After we talked, he agreed to resign. Next, a phony detective asked me about Daniel Zavitz. Then an investigator questioned me about an extortion scheme they claimed Zavitz was behind. The FBI started looking into mob connections. A doctored picture in the paper. Overnight, I'm ruined. Wife. job, bank accounts, everything gone. `` BRILL'' eyes the mirror. A BLACK CHEVY appears several car lengths behind. \"BRILL\" DePinto's dead. DEAN Oh Jesus. \"BRILL\" They found him yesterday folded neatly in a car trunk. What about Zavitz? `` BRILL'' starts to weave in and out of traffic. He looks in the mirror - the Chevy's also weaving several cars behind. DEAN I do n't know anything about Zavitz. \"BRILL\" You said he was behind an extortion scheme. DEAN They said he was behind an extortion scheme. `` BRILL'' whips the cab around a corner, accelerating. \"BRILL\" And you were the last one to talk to him. DEAN Yes. \"BRILL\" What'd he say to you? DEAN Nothing. \"BRILL\" What'd he give to you? DEAN Nothing. \"BRILL\" Do n't bullshit me, I can save your life. DEAN I'm telling you, I - The ride from hell gets worse as `` BRILL'' screeches another turn. The car ahead stops and `` BRILL'' screeches past on two wheels. DEAN -LRB- CONT'D. -RRB- I just gave him my card. \"BRILL\" He did n't give you an address? He did n't give you a phone number? DEAN Nothing. Two nights later I was robbed. I'm pretty sure they were pros. `` BRILL'' takes an impossible left into another alley. The Chevy follows. `` BRILL'''s good. The guy in the Chevy's better. DEAN -LRB- CONT'D. -RRB- Um. who's that? \"BRILL\" Do n't know. Did you check everywhere? Maybe it was hidden in something. Maybe there was someone else - DEAN Someone else? \"BRILL\" Maybe you bumped into someone who took it and you did n't even know. The cab is rear - ended hard by the Chevy. Their necks snap back from the force. \"BRILL\" -LRB- CONT'D. -RRB- Shit! WHAM! They're hit again. `` BRILL'' pulls out a communicator. \"BRILL\" -LRB- CONT'D. -RRB- 209 to anyone! I need some help here! DEAN Who are you calling?! WHACK! `` BRILL'' back - hands DEAN with his fist, knocking him silly as WHAM! - the cab's rear - ended again. \"BRILL\" -LRB- trying again. -RRB- This is 209! Does anyone copy?! Then `` BRILL'' sees that the alley empties into a busy street, then a bakery shop. He slams the brakes. Tires screech smoke but it's no use. The powerful Chevy pushes the cab, bumper to bumper, toward the street. `` BRILL'' grips the wheel. It's all he can do as the cab rockets into cross traffic and - BLAM! They're broad - sided by a delivery truck. The cab is shoved sideways along the street and into a fire - hydrant, finally stopping under jetting water from the broken main. DEAN slowly opens his eyes. Water pours in everywhere. `` BRILL'' is sticking halfway through a window, not moving. Seeing `` BRILL'''s pistol, DEAN grabs it and crawls from the wreckage.",
"EXT. STREET - NIGHT DEAN climbs from the wreck as BYSTANDERS approach. WOMAN Look out! He's got a gun! They back away as DEAN gets to his feet and looks around. Off to the side he sees the Chevy, waiting like a coiled snake. DEAN limps into the crowd. He rounds the corner to ANOTHER STREET and now he's running with all he's got left.",
"INT. DEAN'S HOUSE/STUDY - NIGHT STACY is at the desk looking at the latest edition of the paper, which now has a photograph of DEAN and RACHEL walking in the park from the day before. The phone rings and STACY reaches for it. STACY -LRB- into phone. -RRB- Hello?",
"INT. HOTEL LOBBY - CONTINUOUS DEAN stands at a pay phone - DEAN -LRB- into phone. -RRB- Stacy, do n't hang up. STACY Do you know what I'm looking at Robert? DEAN Stacy - STACY I'm looking at a picture of you and Rachel taken yesterday. DEAN I know, but listen - STACY Was that doctored - up, too? DEAN No, I was with her yesterday. I want you to take Eric and go to our parents house. I want you to do it right now. STACY I went to the grocery store. My ATM and credit cards did n't work. I could n't buy food. DEAN I know. STACY I went to the bank to see why. They said you emptied our accounts - DEAN It was n't me. STACY This is science - fiction Robert! The manager showed me the transfer notice with your signature on it. DEAN Stacy, somebody's trying to kill me. Now goddamit - STACY My father's put me in touch with an attorney. He'll be - A hand suddenly clicks down the phone hook. DEAN turns to see a MAN, late 50's, gruff and alert. It's the guy driving the Chevy. MAN Put the phone down. Do as I say. DEAN does nothing, temporarily frozen. A pistol jabs him hard. DEAN Alright, alright - DEAN replaces the phone. The man removes DEAN's gun. Nearby, two PEOPLE chat at a restaurant hostess desk, unaware. MAN Move to the elevators. DEAN does but is suddenly redirected through a roof - access door.",
"INT. VAN - NIGHT A TECHNICIAN sits in a van jammed with high - tech surveillance gear. HICKS is next to him, a phone pressed to his ear. HICKS We just picked up his call.",
"INT. OFFICE - NIGHT REYNOLDS, dressed in a tux, presses his cellular to his ear, while behind him MARSHAL and SHAFFER, also in tuxedos, have a heated discussion. REYNOLDS -LRB- into phone. -RRB- 30 minutes ago you said we had him. What in hell's goin' on out there? HICKS -LRB- into phone. -RRB- He had help. REYNOLDS -LRB- into phone. -RRB- Help from whom? -LRB- he hears the answer. -RRB- Christ.",
"EXT. HIGH-RISE ROOFTOP - NIGHT Eight stories up and deserted. The lit dome of the Capitol building shines like a beacon in the D.C. skyline. DEAN suddenly slams against a wall - DEAN Hey! MAN Forget me, forget what I did for you. Do n't ever mention my name or try to contact me again. Get it? DEAN I do n't know you, I do n't know your name, I do n't know what the hell you did for me except hang up on my wife and slam me into a wall, but I'm getting pretty fuckin' sick of this! Get it?! MAN Seat 74. DEAN -LRB- pause. -RRB- You're Brill. BRILL You knew the deal. No contact. DEAN Who was that other guy? BRILL One of many people who would live a word with you. DEAN Who are they? BRILL You've heard of the National Security Agency? DEAN What do they have to do with this? BRILL That's who they are. DEAN The NSA? BRILL Yes. DEAN You're crazy. BRILL -LRB- starting to leave. -RRB- Okay. DEAN Wait. BRILL You drive a black BMW, license plate SRK1339? DEAN Yeah. BRILL -LRB- reaching in his pocket. -RRB- I clipped this from your wheel well just before they towed your car away. BRILL pulls out a disk - shaped object the size of a walk - man. DEAN What is that? BRILL It's a SAT - tracker. DEAN I do n't know what that means. BRILL Like a LowJack, but two generations ahead of what the police use. It pulses at 230 Giga - Hertz. DEAN I do n't know what that means. BRILL 230 Giga - Hertz. They use that band for the Aquacade Spy - SAT uplinks. DEAN I do n't know what that means. BRILL It means the NSA can read the time off your wristwatch. DEAN Why are they after me? BRILL If I knew, they'd be after me. Which they probably are right now. ` Bye. DEAN Wait. What do I do? BRILL Pal, you're cooked. It's over. What you did, who you were. that's done. I'd find a quiet job somewhere shoveling snow. A helicopter hovers near the Washington Monument. BRILL eyes it cautiously. DEAN Why do n't they just identify themselves and tell me what they want? BRILL They're spooks. DEAN I do n't know what that - BRILL Exposure. They ca n't have it. They wan na learn what you know and then deal with it. DEAN I do n't know anything. BRILL No shit. DEAN What am I gon na do?! I mean, like, for the rest of my life?! BRILL Hey, if you live another week I'll be impressed. DEAN What if - BRILL Look, you gave me some work over the last year. We'll call it even. BRILL turns to leave - DEAN -LRB- blocking the exit door. -RRB- What if I find out what they're after. You know these people, I do n't. BRILL And you wo n't. Now move - DEAN I'll pay you. BRILL -LRB- taking out his pistol. -RRB- They froze your accounts. Get outa my way. DEAN continues blocking the door, maintaining calm even as BRILL's pistol is pressed firmly to his forehead. DEAN I've got a hundred - thousand dollars in jewelry in a safe - deposit box under a third party name. BRILL looks at the ground. Torn. DEAN -LRB- CONT'D. -RRB- How many years have you been hiding from them? How many years have you been running? -LRB- beat. -RRB- What'd they do to you? BRILL -LRB- pause. -RRB- If you find something, chalk the Baltimore Sheraton mailbox and go to Temperanceville. It's South of Salisbury. -LRB- giving DEAN his pistol. -RRB- And take this. And with that, he's gone. DEAN eyes the gun. He walks to the ledge, looking at the city. DEAN'S POV : Several vehicles quietly pull up to the building. MEN storm out an move inside. DEAN quickly backs away.",
"INT. BUILDING CORRIDOR - NIGHT DEAN races for the stairwell two steps at a time. He hears the SOUND of a DOOR OPENING somewhere below. VOICE -LRB- O.S. -RRB- 303 to 301. Floor one secured. Moving to two. DEAN retreats upward, then he hears SOMEONE COMING DOWN. Trapped. He opens the door on' 3' and is about to run when he sees a security camera directly above. Grabbing a fire extinguisher, he pulls the pin. Spray coats the lens. Then he yanks a FIRE ALARM. A HORN BLARES. DEAN runs for the second stairwell when he sees JONES stepping out. DEAN looks back at the stairwell he left. That door's opening as well. Trapped. Using the extinguisher, DEAN smashes the glass door to an office and goes inside. JONES starts to enter when a shot rips into the wall, convincing him otherwise. He retreats as the BLARING FIRE ALARM STOPS. DEAN races through the suite of offices trying locked door after locked door. Finally, one opens and he rushes in and tries to lock it behind himself. No lock. He sees the MEN and they see him. He slides a desk against the door, then backs away, pistol ready. JONES -LRB- O.S. -RRB- -LRB- disturbingly calm. -RRB- Open the door, Mr. Dean. There's nowhere to go. We'd just like to talk. Seeing a phone, DEAN grabs it. No tone. Just a RECORDING of Nancy Sinatra's song `` These Boots are Made for Walking''. JONES -LRB- O.S. -RRB- It'd be easier for all of us if you just come out. Nothing'll happen. DEAN heaves a coffee table up on the desk. JONES -LRB- O.S. -RRB- It's quite hopeless what you're doing, Mr. Dean. DEAN I swear to God I'll shoot. JONES -LRB- O.S. -RRB- -LRB- chuckling. -RRB- I think you might be over - reacting there, Mr. Dean. We just want to talk. DEAN Go ahead. I hear you fine. The door pushes in - DEAN -LRB- CONT'D. -RRB- I said I'll shoot! The door keeps pushing. DEAN FIRES high. The pushing stops. Then DEAN hears the distant sound of SIRENS approaching. DEAN rips off his sweater, takes out a lighter, and sets the sweater on fire. He throws it into a garbage can and tosses styrofoam cups in on top of it. The pushing starts again, but before DEAN can fire, a small cylindrical device drops into the room. A STUN GRENADE. DEAN ducks as a BLINDING FLASH rocks the room. The window is blown open. Smoke billows out. DEAN, temporarily blinded and deaf, struggles to a ledge as fire engines arrive.",
"INT. VAN - CONTINUOUS Fire trucks, police cars and an ambulance arrive beneath DEAN as HICKS watches from his van. HICKS I do n't fuckin' believe this! -LRB- into radio - mic. -RRB- 301 to all units. Everyone out! Now! We'll take him at the hospital.",
"INT. AMBULANCE - NIGHT DEAN sits in back with a PARA - MEDIC, covered in soot, breathing hard through an oxygen mask as the ambulance WAILS and weaves through traffic. He looks through the rear window to see - TWO CARS FOLLOWING, keeping pace. Off to the side, RFK Stadium is emptying, a Redskins game is over. DEAN rips off the oxygen mask - DEAN Tell him to stop the ambulance. PARAMEDIC Whoa there, fella. Just take it easy. DEAN Tell him to stop the ambulance. PARAMEDIC Now you're a little shaken up, but we're gon na get you on your feet in - DEAN whips out his pistol and shoves it in the PARAMEDIC's face - PARAMEDIC -LRB- CONT'D. -RRB- -LRB- to the driver. -RRB- - stop the ambulance. DEAN Thank you.",
"EXT. STREET - NIGHT The ambulance pulls over and the back doors fly open. DEAN leaps out into the crowd. The OTHER CARS pull over and PRATT and JONES exit. They scan the area and see DEAN descending a stairwell marked : METRO.",
"INT. METRO STATION PLATFORM - NIGHT DEAN stands at the end of the crowded platform. PRATT and JONES work through the CROWD as the train pulls in. DEAN slides on board. The departure HORN sounds. JONES and PRATT step on.",
"INT. METRO - NIGHT DEAN huddles in the back car, panic - breathing, as PRATT and JONES move through the cars searching for faces. DEAN looks for an out. He sees an emergency stop handle. He YANKS it forward. PASSENGERS yell. The brakes lock and SCREECH. The train slows. Then stops. DEAN opens the door. And jumps. He looks around. Just black curved track in either direction. He starts running. Then he hears it. The horrible SCREECHING of an approaching train. Trapped. On one side, the train he left. On the other, a wall. He runs down the track with all that's left. PRATT and JONES reach the open door and see the oncoming train bearing down on DEAN. They duck in as the train SWISHES by. DEAN lays flat between the tracks, his face kissing greasy ground as the train screeches over him. Tons of angry steel are teasing his shirt fabric. Then it's over. The train's gone. DEAN's alive. He gets up to see PRATT and JONES leap to the tracks. DEAN -LRB- under his breath. -RRB- I hate these guys. Then he sees an `` EMERGENCY ACCESS'' sign beaming in the darkness. A God - send. DEAN runs for it.",
"EXT. METRO EMERGENCY ACCESS EXIT - NIGHT PRATT and JONES fly out the door and into a park. It's empty. Quiet. No Dean anywhere. REYNOLDS -LRB- V.O. -RRB- I'm confused about something. Maybe you can help me out.",
"EXT. TERRACE - CONTINUOUS The Lincoln Memorial is seen in the distance. REYNOLDS has broken off PARTY GUESTS and paces in his tux, an encrypted cellular phone pressed to his ear. REYNOLDS -LRB- CONT'D. -RRB- I sit on top of the greatest intelligence gathering organization in human history. Why ca n't I bring in a man whose name is in the fucking phonebook?! HICKS He's clever. He had help. REYNOLDS He's clever? He had help? -LRB- beat. -RRB- Oh. HICKS Sir - REYNOLDS No, no, I'm sorry. I did n't realize you were hoping to be transferred to a weathership outside Greenland. HICKS I just meant - REYNOLDS I do n't care if he's Solomon with Saint Joseph sitting in his lap. I want the tape and I want him. Now is - A WAITER with a tray steps out onto the terrace. REYNOLDS -LRB- CONT'D. -RRB- -LRB- to the WAITER. -RRB- Yes? WAITER Puffed cheese? REYNOLDS No thank you. WAITER I also have tiny pizzas and mushrooms stuffed with - REYNOLDS Do I look like I want a tiny pizza? WAITER No. REYNOLDS Then let's assume I do n't. WAITER Yes sir. The WAITER goes back inside. REYNOLDS -LRB- into phone. -RRB- Now is that clear? WAITER Yes sir. REYNOLDS disconnects, breathes deeply, and goes back to the party.",
"EXT. RACHEL'S CONDO BUILDING - NIGHT DEAN watches from the shadows. It seems quiet. He's about to move for the entrance when he sees - A cigarette lighter flame - up inside a parked car. TWO MEN sit inside, watching. DEAN retreats into the shadows.",
"EXT. RACHEL'S CONDO - BACK ENTRANCE - NIGHT Quiet. DEAN listens through the door and hears nothing. He KNOCKS softly. No reply. He tries the doorknob. It opens.",
"INT. RACHEL'S KITCHEN - NIGHT DEAN enters. The place is still. DEAN Rachel? No answer. DEAN drifts through the living room. A lamp is knocked over on the floor. DEAN keeps moving into the bedroom. He stops in the doorway - eyes fixed inside. DEAN'S POV : RACHEL lies on her stomach, naked in bed. DEAN -LRB- approaching. -RRB- Rachel? She does n't respond. He touches her. Nothing. He turns her over. Her face is frozen, eyes open, neck purpled and bruised with signs of strangulation. DEAN Oh God - DEAN wants to throw up but holds it down. Then, under a night table, he sees a shirt. He grabs it. DEAN'S POV : An oxford button - down. The inside collar is stamped with a dry - cleaner's marker reading : R. DEAN. Panic overtakes horror as DEAN quickly searches for anything else of his that may have been planted inside the apartment. Under the bed - a cufflink. In the bathroom - a hairbrush. On the desk - documents with his name on them. DEAN shoves everything into a garbage bag. Grabbing a towel, he retraces his steps, wiping his prints from everything he touched. Exiting, he wipes off the doorknob as - A NEIGHBORS DOOR OPENS. A COUPLE stumbles out, laughing, kissing. and noticing DEAN leaving Rachel's condo.",
"INT. UNDERGROUND PARKING GARAGE - NIGHT JERRY walks alone through the large underground garage on the way to his car. He pauses, thinking he's heard something. Nothing. He continues walking. He reaches his car. Suddenly someone comes up behind him fast. JERRY spins - - it's DEAN. DEAN -LRB- whispering. -RRB- Jerry - JERRY Christ! DEAN Ssh! JERRY Bobby - DEAN It's the NSA. They're the ones doing this. JERRY Bobby - DEAN The NSA's doing this'cause they think I have something. And they killed - JERRY Calm down. DEAN They killed Rachel. JERRY -LRB- pause. -RRB- Rachel's dead? DEAN Yes. JERRY Jesus. DEAN My stuff's all over her apartment. JERRY Bobby - DEAN They're framing me. JERRY Why would they - DEAN I do n't know. I mean - JERRY Why would the NSA - DEAN I do n't know! JERRY You're tired. DEAN Jerry - JERRY Listen to me. DEAN You got ta - JERRY No, listen to me. You got ta let me bring you in. DEAN No, I - JERRY You got ta let me bring you in to the police. DEAN I wo n't make it to the police. They wo n't let me get there. You go. JERRY To the cops? DEAN To the NSA. Make a deal. Tell'em to stop. Tell'em I do n't have what they're after. Make a deal. JERRY Bobby, you're in way over your head. DEAN Go to'em, Jerry. JERRY I have a family. DEAN So do I! JERRY looks at the ground for a long moment. JERRY I'm sorry, man. DEAN No. No, it's okay. DEAN starts to leave. JERRY Bobby? Piece of advice? DEAN Yeah? JERRY Turn yourself in. DEAN Jerry? JERRY Yeah? DEAN Go fuck yourself.",
"EXT. STREET - EARLY MORNING Establishing. A quiet street in Dean's neighborhood. Several REPORTERS are camped in Dean's driveway entrance, sipping coffees. Farther down the street, a JEEP GRAND CHEROKEE is parked. The driver waits and watches.",
"EXT. BACKYARD - SAME TIME DEAN sneaks between two large houses, ducking by windows and scaling a fence. Somewhere a DOG BARKS a warning as DEAN plows through a large hedge, entering the backyard to his home.",
"INT. DEAN'S HOUSE/KITCHEN - SAME TIME DEAN quietly unlocks the door and enters. He listens. The house is quiet. Empty.",
"INT. DEAN'S FOYER - DAY KEYS JINGLE in the front lock. The door opens and STACY enters. The TV suddenly REMOTES ON - VOLUME LOUD. She turns as DEAN approaches fast - STACY Robert - DEAN's hand cups her mouth as he pulls her into a pantry closet.",
"INT. PANTRY CLOSET - CONTINUOUS DEAN -LRB- barely a whisper. -RRB- Listen to me. The house is bugged. So we got ta be quiet, okay? STACY nods understanding. DEAN slowly removes his hand. DEAN -LRB- CONT'D. -RRB- -LRB- whispering. -RRB- Is Eric in school? STACY Yes. DEAN Has anyone been by? Police? FBI? STACY Just reporters. DEAN I wish you'd gone to your parents like I asked you. STACY This is my house. Nobody's kicking me out of my house. I picked those drapes. DEAN I do n't think anybody wants the drapes, Stacy, I think the drapes are okay. STACY What happened to your head? DEAN I was in a car chase and a small explosion. Now listen to me : The NSA is behind this. They think that guy I told you about, Daniel Zavitz, they think Zavitz gave me a tape or computer chip of some kind that could be damaging to them. So they're doing all these things electronically. The bank records, the surveillance. They're the ones who broke into the house. Now I know there's no reason to believe me. But I love you. And I love our son. So just believe me anyway. -LRB- pause. -RRB- Please. STACY gently touches his forehead where he's been cut. STACY Does that hurt? DEAN Well. yeah. STACY Good. DEAN Stacy - She grabs him and kisses him. The kiss lasts a good long time before STACY smacks him on the arm - STACY I told you they could do this. I told you they had this kind of capability and that with this anti - terrorism it would be just another - DEAN Stacy. Stacy. maybe now is n't the best time for the I - Told - You - So speech. She kisses him again. STACY I'm sorry I did n't believe you. DEAN That's okay. STACY I opened the present you got me from Harrison's. DEAN You opened the thing? STACY The lingerie. DEAN That was for Christmas. STACY I was missing you. DEAN You're as bad as Eric. I've got an entire family of people who root through - It dawns on him. everything starts coming together. DEAN -LRB- CONT'D. -RRB- who root through. uh. presents, and. STACY What is it? DEAN Oh Christ.",
"INT. JEEP GRAND-CHEROKEE - DAY The DRIVER continues to watch the area. Then - DRIVER's POV : THE RANGE ROVER flies out of the driveway, tires SCREECHING as it speeds through the quiet neighborhood. The REPORTERS stare at each other a beat - - then leap for their cars. DRIVER -LRB- into sleeve - mic. -RRB- 504 to 501. Rover's fleeing west on Sutton. Driver appeared male! JONES -LRB- O.S. -RRB- -LRB- radio effect. -RRB- What's the wife's' 20'? DRIVER She's off location with a friend. JONES -LRB- O.S. -RRB- Alright - move! 501 - all units. Take him down!",
"EXT. STREET - CONTINUOUS Unmarked cars of various descriptions rapidly appear from nowhere giving chase. ANOTHER AGENT -LRB- O.S. -RRB- -LRB- radio effect. -RRB- 502 to 501, I've got the eyeball. He's approaching Ridgeview, we'll take him at the intersection. The RANGE ROVER speeds through the neighborhood. Suddenly, two cars are out in front, blocking the way. The Range Rover swerves and breaks as two more cars rip up behind, boxing it in. An un - marked Trans - Am lags behind, keeping reporters at bay. Doors fling open. JONES and THREE MEN, all in plain clothes, pistols and MAC - 10 aimed at the Range Rover. Nothing happens. The MEN move closer - JONES grabs the door and rips it open, revealing Dean's PISS - FRIGHTENED NANNY behind the wheel in Dean's trench coat and hat. JONES YANKS her out, puts her hard to the ground, gun jammed to her head, as other search the Range Rover for Dean.",
"EXT. DEAN'S DRIVEWAY - CONTINUOUS DEAN drives the Nanny's rusted, low - rider Dodge out of the driveway. He pauses and looks. The streets are empty. He turns onto the street and calmly drives away.",
"EXT. ELEMENTARY SCHOOL PLAYGROUND - DAY Establishing. A playground jammed with kids. A kickball game's in progress. ERIC waits his turn to kick. TRACY, a college - age teaching assistant comes over. TRACY Eric? ERIC looks up. TRACY -LRB- CONT'D. -RRB- Your father's here.",
"EXT. SCHOOL BUILDING - DAY DEAN stands at the edge of the playground in clean, casual clothes. ERIC runs over, face glowing. ERIC Dad! DEAN Do I know you? ERIC Where've you been? DEAN Having an adventure. I ca n't tell you about it right now, but I'll tell you about it soon. ERIC Are you and mom getting a divorce? DEAN No. We're never getting a divorce. We were having a fight. It happens sometimes. ERIC Who won the fight? DEAN Men do n't win fights with women, son, I'll tell you about that sometime, too. In the meantime, I've got a question for you, and it's incredibly important that you tell me the truth. Under no circumstances will I be angry with you. This is a total Get - Out - Of - Jail - Free card. Ready? ERIC Yeah. DEAN Did you take anything - anything at all - out of those Christmas bags I brought home last week. ERIC hangs his head. busted. then shouts to a GROUP OF KIDS on the playground. ERIC -LRB- shouting. -RRB- DYLAAAAN! DYLAN comes trotting over, carrying his backpack. DYLAN Hey, Mr. D., what's happenin'? DEAN Dylan, I was just asking Eric if - DYLAN Oh, God, I knew it was stupid, I knew we'd get caught. But the Gameboy was just sitting there. Right on top of the bag. Yes. Yes. We took the GameBoy out of the bag, but with every intention of putting it back. DEAN -LRB- pause. -RRB- You're a tough nut to crack, Dylan. DYLAN hunts through the backpack as DEAN and ERIC looks on. All kinds of junk flies out - candy, comics, game - cartridges - DYLAN It was broken when we found it, I swear. I tried fixing it for you. I even put in new batteries. -LRB- pulling out the GameBoy. -RRB- The screen scrambles whenever you boot up. I'd try to get your money back. DEAN eyes the pieces of the GameBoy, knowing that somewhere in the puzzle of plastic and chips is the key to his problems.",
"EXT. BALTIMORE SHERATON - EVENING PEDESTRIANS walk on the sidewalk. A MAN comes along and drops a few letters in the corner mailbox. From the other direction comes DEAN. Without stopping, he casually slashes the mailbox with chalk.",
"INT. MOTEL ROOM - NIGHT DEAN's asleep. There's a SOFT SHUFFLING SOUND. The CAMERA EXPLORES for the source, moving by the windows, flashing neon, a TV and finally, the door. We PUSH CLOSER as a MULE TOOL snakes under the door. The tool pops upright against the door's inside. The strap drapes over the doorknob and tightens. The doorknob turns and opens. SOMEONE slips in - CLOSE ON DEAN asleep. A HAND covers his mouth. DEAN's eyes go wide. Then he sees it's BRILL. BRILL -LRB- whispering. -RRB- Get dressed. We're leaving. DEAN -LRB- whispering. -RRB- You could knock on the door, you know, and I'd open it. BRILL Move it.",
"EXT. CAPE CHARLES - 4 A.M. Establishing. The 10 - mile Chesapeake Bay Bridge crosses the Bay like a serpent worming toward distant Norfolk. Traffic is thin at this hour. NEWSCASTER -LRB- O.S. -RRB- Dean, the attorney recently under investigation for a money laundering scheme, was seen leaving Ms. Banks apartment late last night. We PUSH IN on a TOYOTA PICK - UP truck heading south.",
"INT. PICK-UP - CONTINUOUS BRILL drives with DEAN riding shotgun. NEWSCASTER -LRB- O.S. -RRB- Police are seeking - BRILL ejects as cassette from the dashboard and hands it to DEAN. BRILL I taped it off the 11 o'clock news. DEAN And you were worried about me. That's nice, I appreciate - BRILL I was worried about my hundred and twenty ` K'. DEAN We said a hundred. BRILL The price rises with the temperature and right now you're smokin'. But you're right, you should shop around and get the best price. I'll just let you out here. DEAN -LRB- agreeing. -RRB- One - twenty. BRILL checks the rear - view mirror. BRILL's POV : Car headlights following in the distance. BRILL Did you call anyone? DEAN What do you mean? BRILL I mean did you call anyone. DEAN Look, my wife is understandably - BRILL Jesus! DEAN I called my wife! BRILL What'd I tell you? DEAN I did n't use my name. BRILL What'd I tell you? DEAN I called from a payphone! BRILL What'd I tell you? DEAN You told me no calls. BRILL I told you no calls. BRILL does a bootleggers U - turn. Several cars pass by in the opposite direction. DEAN Sorry. BRILL You do n't get it. They go through your phone records. They fuckin' monitor everyone you called in the last - DEAN I did n't use my name. BRILL Oh, I'll bet that threw'em off the scent. I sure hope you covered the mouthpiece with a handkerchief and used a funny voice! BRILL turns off the headlights, does another U - turn, pulls off on an emergency road and stops. He turns off the engine, rolls down the window, looks up into the night sky and listens. BRILL's POV : A cloudy night. Silent except for the water and a distant fog - horn. No sounds of aircraft. DEAN -LRB- looking up as well. -RRB- I do n't hear anything. -LRB- on BRILL's silence. -RRB- Maybe you're wrong. BRILL is staring upward. BRILL A hundred and fifty.",
"INT. NRO KEYHOLE-12 LAB - CONTINUOUS Re - establishing. A massive, dark place filled with glowing monitors. CLOSE ON A MONITOR - displaying a live SAT feed showing a thermograph image of Brill's truck. The color heat image of BRILL looking upward is fairly clear. He pops his head back into the truck and pulls onto the road. The satellite continues tracking the truck. BRILL -LRB- O.S. -RRB- It's a consumated marriage.",
"INT. TOYOTA - NIGHT BRILL drives along a high fence surrounding acres of empty warehouses, docks and rust - bitten fences. He's still on constant alert - looking for sign of their presence. BRILL -LRB- CONT'D. -RRB- The NSA's been in bed with the entire tele - communications industry since the 40's. They've infected everything : Banks, computers, phones, mail, name it. -LRB- stopping the car near the gate. -RRB- The more technology we buy into, the easier it is keeping tabs on us. It's a brave new world. -LRB- handing DEAN the keys. -RRB- At least it better be. DEAN How do you know so much? BRILL None of your business. DEAN You used to work for'em, did n't you? BRILL I was a traffic analyst. DEAN gives him a look that says, `` I do n't know what that means''. BRILL -LRB- CONT'D. -RRB- I intercepted phone calls. DEAN How'd you get around the tap orders? BRILL They can tap anything as along as it's an airwave intercept. Cellulars and pagers your kid can do. -LRB- driving through. -RRB- Hard - line calls we'd pick off the relays as they were being fed into ground cables or fired up to the SATs. We'd suck in everything. All foreign, most domestic. -LRB- DEAN re - closes the gate. -RRB- Domestic was my group. Druggies, radicals, loud - mouths. Anyone we wanted. DEAN -LRB- climbing back in. -RRB- How'd you have the manpower to - BRILL -LRB- driving again. -RRB- Meade has 18 underground acres of computers. They scan every phonecall for target words like `` bomb'' or `` President''. We red - flag phone numbers or voice prints. whatever we wanted. When the computers found something, it was bounced to comparative analysis. DEAN Jesus. BRILL That was twenty years ago. With digital? They can suck a salt grain off a beach. DEAN Why'd you leave? BRILL It was' 72. I figured we had enough problems without monitoring a Berkeley kid's class schedule. So I sold my story to Ramparts and split. DEAN They come after you? BRILL -LRB- shrugging it off. -RRB- Well. there'd be too much disclosure to prosecute me. So they ruined my records and made sure I'd never hold a real job again. The pick - up stops by a long two - story warehouse. BRILL -LRB- CONT'D. -RRB- What do you think? DEAN Looks like Detroit. BRILL Welcome to Santa's Workshop.",
"INT. WAREHOUSE - NIGHT BRILL and DEAN enter the 2nd story of a large, empty structure. DEAN is carrying a crumpled, brown paper bag. In the center of the cavernous space, a windowless, cinderblock room built on 5 - foot supports. BRILL I call it the jar. No phone or utility lines going in. BRILL opens a side door revealing a mini - generator. He pushes the start button. The generator HUMS to life. BRILL Self - contained. Unplugged from the world. -LRB- opening Jar door. -RRB- Nothing for a wire bug to piggy - back in on. That leaves only transmitters and signal sweep for those. -LRB- turning on the light. -RRB- Now let's see what we got. DEAN tosses the paper bag to BRILL, who empties its contents -LRB- the pieces of the GameBoy -RRB- on to the table.",
"EXT. DOCKS - DAWN DEAN sits alone, smoking a cigarette, and watching Norfolk rise from dawn's fog. In the distance we see BRILL coming down from the warehouse toward DEAN. He stands behind DEAN for a moment before. BRILL That is one ugly sunrise. DEAN -LRB- pause. -RRB- It really is. -LRB- pause. -RRB- Did you find anything? BRILL Yeah. -LRB- beat. -RRB- Take a walk with me. DEAN gets up and joins BRILL. The two of them start in the direction of the second warehouse. BRILL -LRB- CONT'D. -RRB- Remember when Senator Hamersley died in an accident up near Shenandoah? DEAN Yeah. BRILL The NSA killed him. DEAN Jesus. Do you have proof? BRILL Well, actually, you have proof. Could you walk a little faster please. DEAN What's going on? BRILL They're here. DEAN Who? BRILL Them. DEAN Where? BRILL Here? DEAN Here?! BRILL In the warehouse. They're hiding in a duct on the third floor. When we go back inside, they're gon na kill us. When they notice that we're moving toward the car, they'll come running out of the building. DEAN ` Kay, well, could you walk faster, please.",
"INT. WAREHOUSE - CONTINUOUS JONES and THREE MEN are huddled in a duct. VOICE -LRB- O.S. -RRB- -LRB- through radio. -RRB- They're heading to the car. JONES Move it. JONES and the three men start down the corridor, guns drawn.",
"EXT. THE SECOND WAREHOUSE - CONTINUOUS DEAN and BRILL are kneeling beside the Chevy, letting the air out of the tires. BRILL Empty'em'till they're almost flat. And turn your head. There might be some debris flying your way. DEAN Why? And with that, THE FIRST WAREHOUSE EXPLODES, sending a fireball of debris in all directions. DEAN What the fuck?! BRILL They should n't have come without calling first. BRILL jumps into the Chevy, turns the key and the engine ignites. DEAN leaps in. BRILL stomps on the gas and tires screech. The Chevy hurtles through the warehouse toward a shut garage door. BRILL clicks a remote. The door rises. OUTSIDE THE WAREHOUSE - The Chevy roars outward, screams around a corner, then speeds down a road lined with warehouses. DEAN looks down an intersecting road to glimpse a Saturn sedan gaining on a parallel road. BRILL Where's your gun? They pass an area with no warehouses. The Saturn turns, heading straight at them. DEAN Back at the warehouse. The Saturn pulls on the road behind them. The MAN in the Saturn leans out and fires an assault rifle. The side window by Dean's head shatters. BRILL one - hands the pistol and checks the load. DEAN -LRB- re : the pistol. -RRB- Gim me that. BRILL You sure? DEAN You're driving. BRILL Those are Feds. DEAN -LRB- taking the pistol. -RRB- I did n't see a warrant. Did you see a warrant? The Chevy enters a narrow lane, the Saturn right behind. With the Chevy's tires flat and flapping, the Saturn hugs their rear. DEAN looks back again as the RIFLEMAN FIRES - The rear window EXPLODES. DEAN pops up and fires three quick, well - placed rounds. The Saturn swerves and drops back. BRILL's impressed. DEAN looks forward to see an exit road blocked by an iron cross - bar. BRILL, unfazed, pushes the Chevy faster. Beam or no beam, he's going through. BRILL Think we let out enough air? DEAN -LRB- realizing. -RRB- Oh my God. BRILL and DEAN hit the deck as the Chevy's hood scrapes just under the beam. The windshield frame takes the full impact. The beam slices through steel and glass, decapitating the car. They emerge on the other side minus roof and windows as - - the Saturn SCREECH - STOPS inches from the beam and debris. A MAN leaps out, shoulders his rifle and aims - - but the Chevy disappears around a building.",
"EXT. HIGHWAY - EARLY MORNING A foggy morning. The rural highway's deserted at this early hour. The Chevy rumbles by.",
"INT. CHEVY - CONTINUOUS DEAN and BRILL, windblown but alive, remove shards of glass. BRILL eyes the road behind him. Empty. BRILL We lost'em. DEAN That was n't so hard. BRILL Fuckin - A. DEAN Let's not do the tire thing anymore, okay? BRILL Yeah, I can see where that'd - He stops talking. He hears ROTOR THUMPS as a black HELICOPTER appears over a fog - laced hillside, swooping down. BRILL floors it. The helicopter drops in closer as BRILL swerves back and forth while taking a curve at 70 - plus on flapping tires. A helicopter SHARP - SHOOTER aims with an M - 16. A spray of high - powered slugs suddenly rip into the Chevy's hood. The engine starts knocking. BRILL These guys are incredibly persistent. DEAN Tell me about it. The road straightens. Up ahead, a tunnel. More bullets slice the hood. Radiator fluid starts hissing. The Chevy starts dying. BRILL stomps the pedal, squeezing out every last kick of horsepower. Rubber flaps. Tires shred. Steam hisses. Bullets fly. The helicopter swoops in lower and lower for the kill shot.",
"INT. HELICOPTER - CONTINUOUS The SHARP - SHOOTER lines DEAN in his sights. The PILOT keeps pace, dropping closer. The SHARP - SHOOTER has the shot. The Chevy reaches the tunnel's opening on sparking, screeching wheel rims. The helicopter pulls up, missing the hill by inches. But not the power lines. The PILOT sees them too late. The helicopter flies into a web of cables. The upper rotor slices neatly off. The helicopter's body rockets downward to the road where it bounces and skids like a rock on water until it meets an oncoming semi - truck head - on. BLAM!",
"EXT. INSIDE THE TUNNEL - CONTINUOUS BRILL tries steering but metal wheels on concrete do n't work. The car shimmies like it's on ice. Sparks fly as they bash into the tunnel wall, grinding to a stop.",
"INT. DODGE - CONTINUOUS A GRUNGE - DUDE blasts his car - stereo as he enters the tunnel, unaware of the mayhem behind him. He slows, seeing a smoking wreck ahead. Closer, he sees DEAN waving him down. He slows more. Bad move. BRILL opens the rear door, leaps in, and points his pistol at the GRUNGE - DUDE's face. DEAN leaps in front. BRILL Drive. DEAN We're not gon na hurt you. BRILL Drive. DEAN Tell him we're not gon na hurt him. BRILL Drive or I'll blow your fuckin' head off. DEAN No he wo n't. BRILL Goddammit - DEAN We're honest people and we need your help. I'll give you two - hundred dollars if you - GRUNGE-DUDE -LRB- leaping out. -RRB- Take it! DEAN Actually, I do n't have two - hundred dollars. BRILL Drive the damn car! DEAN slides into the driver's seat, drops it in gear and goes. The Dodge erupts from the tunnel. Up ahead, the Saturn and another car approach fast in the opposite lane, speeding toward the tunnel's opening. The car's fly by, unaware of DEAN and BRILL passing in the Dodge. The Dodge continues on, fading into the fog.",
"INT. NSA/CORRIDOR - DAY REYNOLDS and HICKS walk down a white hallway three football fields in length, filled with bustling employees conservatively dressed. HICKS We found two sets of latent prints in the rubble of Brill's studio. One was Dean's. The other, we believe, belongs to Brill. REYNOLDS We believe? HICKS Well. his real name's Edward Lyle. REYNOLDS Lyle?! HICKS Yes sir. REYNOLDS You're kidding me. HICKS No sir. REYNOLDS Dean's with Lyle. HICKS And they have the video. That's confirmed. REYNOLDS So they know everything. HICKS If they've looked at the video. REYNOLDS Oh, let's assume that they have. HICKS If he's with Lyle it means he's got resources. REYNOLDS Resources, that's a good point. He's got resources. All we've got is a six - hundred billion dollar organization! Now goddammit, Hicks, you find'em. You find'em and you end it now! REYNOLDS walks off leaving HICKS to ponder his fate.",
"EXT. USED CAR LOT - DAY Establishing. Plastic flags and PRICES SLASHED signs are everywhere. A blue Taurus pulls off the lot. DEAN -LRB- O.S. -RRB- We'll take the tape directly to CBS. I'll hand it directly to the News Department.",
"INT. TAURUS - CONTINUED BRILL Listen to you, `` directly''. You're not gon na get near the News Department. And if you did, it'd never get on the air. Time - Life buried the Zapruder film for 15 years. DEAN What about newspapers and magazines? BRILL Same thing? DEAN So what do we do now? BRILL I was thinkin' about asking for my hundred and fifty grand and calling it quits. DEAN What if we do a mailing to Congressmen. BRILL It'd never get through. All packages are screened, x - rayed and then hand - searched for explosives. You did n't like my `` give - me - my - money'' idea?",
"INT. TAURUS - NIGHT BRILL drives. DEAN thinks. DEAN What if we hand deliver to their homes or office? BRILL The area's wired for surveillance, they'll be looking for those moves. DEAN Well how do I know what they're - BRILL I know. I know what they're looking for and I'm telling you. The car radio is playing a newscast. NEWSCASTER -LRB- O.S. -RRB- -LRB- from the radio. -RRB- - after which, Senator Albert will address a fund - raiser at Boston University. DEAN What if we put it on the internet? BRILL Have you seen how fuckin' slow the net is? It'd take ten minutes to unload enough video so that people know what they're seeing, and it'd take the NSA maybe 40 seconds to see it coming down and shut down the access. NEWSCASTER -LRB- O.S. -RRB- -LRB- from the radio. -RRB- - this will be the last stop on the Senator's eight - city tour before the Senate votes on Tuesday. BRILL -LRB- reconsidering. -RRB- But maybe if there were no phone line - DEAN has started listening to the radio. BRILL -LRB- CONT'D. -RRB- What if we transmitted it over cellular? DEAN Listen - BRILL Nah, they'd shut down the pin number. DEAN What if - BRILL If they could n't do that, they'd shut down the whole system, all the relays. DEAN What if - BRILL They've done it before. Takes maybe two minutes. DEAN What if - BRILL What if what? DEAN What if we just fucked with'em? BRILL -LRB- pause. -RRB- How? DEAN Same way they did with you and me. We take their biggest guy and turn him into one of us. BRILL Reynolds. DEAN No. BRILL Who?",
"INT. MOTEL ROOM - DAY BRILL educates DEAN on simple ways to alter one's appearance. DEAN -LRB- V.O. -RRB- Senator Sam Albert, senior Republican. Very well respected.",
"INT. BOSTON UNIVERSITY/AUDITORIUM - DAY A large auditorium. Preparations are being made for Senator Albert's upcoming speech. BRILL and DEAN casually case the area for vulnerabilities. DEAN We'll play the NSA's game only we'll play it badly.",
"EXT. LE MERIDIAN HOTEL, BOSTON - DAY Establishing. A five - star hotel overlooking Massachusetts Bay. BRILL -LRB- V.O. -RRB- You wan na get caught spying on Albert? DEAN -LRB- V.O. -RRB- No, I want the NSA to get caught spying on Albert.",
"INT. HOTEL LOBBY - CONTINUOUS CHRISTA HAWKINS, late 20's, the Senator's advance - person, stands at registration securing rooms for her boss and his team. DEAN -LRB- V.O. -RRB- We're gon na lead Albert by the nose to one conclusion. And then when he's pissed as hell, we're gon na drop the tape in his lap. How fast can you teach me what I need to know? BRILL -LRB- V.O. -RRB- How fast can you learn? Next to CHRISTA, looking conservative and altered in appearance, is DEAN, eavesdropping on the Senator's room numbers and any other pertinent info.",
"EXT. RADIO SHACK - DAY Establishing. One of those cheesy places in a mini - mall. DEAN -LRB- V.O. -RRB- Pretty fast. BRILL We'll have to re - stock some basics.",
"INT. RADIO SHACK - CONTINUOUS BRILL and DEAN go shopping. BRILL Bugs, frequency scanners, contact mics, transmitters, pin - holes, fiber optics -",
"INT. MOTEL ROOM - DAY The curtains are drawn. Devices cover the table and bed. BRILL What do you know about locking cellular phone signals? DEAN I know my phone number and I know the number for SportsPhone. Beyond that - BRILL Shit.",
"INT. TAURUS - DAY DEAN drives while BRILL sits with his open PC lap - top connect to his cellular phone. BRILL A ` modified' OKI 900 interfaced with a lap - top creates an enormously powerful tool. -LRB- referring to the cell - phone. -RRB- I got into the software, did some code re - writing and turned it into one of the best scan - looking systems around. CLOSE ON SCREEN - A street map appears with positions of the network's relays. Lines appear indicating all in - progress cellular calls along with their locations. BRILL -LRB- CONT'D. -RRB- This is every call on the grid. I can lock and position any one I want and follow the hand - offs in real time. BRILL punches a number into the cellular and the phone locks on the signal. Through the lap - top, we hear RINGING and then an ANSWERING VOICE. WOMAN'S VOICE -LRB- O.S. -RRB- Super Shuttle. MAN'S VOICE -LRB- O.S. -RRB- This is Dr. Jonathan Phillips, 102 Stern Drive in Brockton. I need an airport ride on Friday at 6 PM with a return pick - up Monday at 5. There'll be two of us and - BRILL -LRB- disconnecting. -RRB- Need a place to stay for the weekend? A new TV? -LRB- BRILL has repeated the process. -RRB- ANOTHER MAN'S VOICE -LRB- O.S. -RRB- Triple - A Emergency Road Service. May I have your name and membership number? YOUNG WOMAN'S VOICE -LRB- O.S. -RRB- Colleen Crane. Card number 020 - 113 - DEAN Unbelievable. BRILL All from a hundred dollar scanner at Radio Shack. But it's time for business. BRILL dials his computer into a new line. TONES and COMMANDS fly quick as Brill's computer modems into another. DEAN What are you dialing? BRILL AmeriTech's data - base. -LRB- pointing on the screen. -RRB- There's Albert's D.C. office address and his phone's identity code. Now we just reprogram out phone with his ID code and you know what we've got? SENATOR ALBERT -LRB- O.S. -RRB- -LRB- mid - conversation. -RRB- - Do n't think it could've gone any better. Tell me, how's Deb? How're my grandchildren? BRILL A receiver tuned permanently to the Senator's phone.",
"EXT. FREEWAY - CONTINUOUS A customized RV zips down the highway. SENATOR'S WIFE -LRB- O.S. -RRB- Melissa has a fever. When will you be in the room?",
"INT. RV - CONTINUOUS It's a plush affair befitting the Senator's position. ALBERT speaks in the cellular phone while an aide, PATRICK, reviews last minute changes for Albert's upcoming speech. SENATOR ALBERT Not'till later tonight. We're going to the campus now. -LRB- beat. -RRB- I'll call you after I've checked in. -LRB- beat. -RRB- I love you too, dear.",
"INT. LE MERIDIAN HOTEL/LOBBY - DAY CHRISTA stands at the front desk as the CLERK hands her several faxes. DEAN, disguised, sits across the lobby reading a paper. DEAN's POV : CHRISTA exits the hotel to a waiting car. DEAN -LRB- into concealed sleeve mic. -RRB- She just left.",
"INT. HOTEL CORRIDOR - DAY Numbered doors on each side. BRILL walks down the hall, hair slicked, mustache, wearing a suit and carrying a briefcase. BRILL -LRB- V.O. -RRB- The important thing about installations is numbers.",
"INT. CHRISTA'S HOTEL ROOM - DAY BRILL entering CHRISTA's room and opening his briefcase revealing tools and listening bugs. BRILL -LRB- V.O. -RRB- They may find one, but they're not gon na find'em all. - BRILL planting devices behind the headboard - - Inside the telephone - - Behind the desk - - Inside the TV - - BRILL rifling through CHRISTA's personal items, eyeing paper work, photographing interesting documents. - BRILL opening a connecting door, picking a second lock, and entering the adjoining suite.",
"INT. CHRISTA'S HOTEL ROOM - NIGHT A clock reads 1:28 AM. The lights are on and the bed unslept in. Christa's not seen. Then the connecting door opens - CHRISTA steps from the Senator's adjoining suite in a silk robe, nothing underneath. She turns in the doorway, revealing ALBERT, naked in a towel. CHRISTA closes the door, climbs in bed and grabs the remote. She clicks on the TV. FEEDBACK SCREECHES from the set. She tries changing channels but the SCREECHING continues. She tries turning off the set, but it wo n't turn off. She grabs the phone and dials. CHRISTA -LRB- into phone. -RRB- Can you send someone up right away. I'm having a problem with my TV. It's screeching and I -. -LRB- beat. -RRB- It's screeching and I - CHRISTA is noticing that her voice is causing the TV image to distort in sync. CHRISTA -LRB- CONT'D. -RRB- It's screeching and I ca n't turn it off.",
"INT. HOTEL RESTAURANT - MORNING SENATOR ALBERT dines with an aide as PATRICK approaches, a grave look on his face. PATRICK takes a seat. SENATOR ALBERT What happened to you last night? PATRICK reaches in his case and pulls out one of Brill's listening bugs and hands it to ALBERT who puts on his eyeglasses. PATRICK Christa found it last night attached to her TV. It's a listening device. SENATOR ALBERT A bug? PATRICK Yeah. SENATOR ALBERT Jesus H. - PATRICK We should everything checked. There's a company in Cambridge called Baudmore. They're discreet. Seated next to ALBERT's table is DEAN, unnoticed as he sips coffee, skims news, and eavesdrops on their MURMURS with a small, concealed parabolic mic and ear - phone. SENATOR ALBERT Well get somebody down here today. I do n't know what the hell this is all about.",
"EXT. STREET CORNER - DAY A phone distribution box is open, revealing a mass of circuit boards. BRILL stands at the box holding a circuit - dialer phone to his ear.",
"INT. HOTEL LOBBY/NEWS STAND - CONTINUOUS DEAN watches PATRICK approach a pay phone. DEAN -LRB- into sleeve mic. -RRB- He's going into the payphone outside the restaurant. It's a Cambridge company called Baudmore. BRILL connects two alligator clips to a line inside the box. BRILL -LRB- into sleeve mic. -RRB- Got it. BRILL's phone line immediately rings. He waits. then answers. BRILL -LRB- into phone. -RRB- Baudmore Consultants. PATRICK Is Jerry Delsano in? BRILL Who's calling? PATRICK It's Pat Cary. I work for Senator Sam Albert and I was given Jerry's name. BRILL Jerry's on vacation'till Monday. I can give him the message when he gets back. That was Patrick and the last name - PATRICK The thing is. it really ca n't wait. BRILL My name's Neil. Maybe I can help you.",
"INT. SENATOR ALBERT'S HOTEL ROOM - DAY CLOSE ON A FREQUENCY COUNTER sweeping a chest of drawers. The device starts BUZZING, indicating a transmitter. BRILL, disguised, is on hands and knees, searching under a chest where he ` discovers' a bug he planted earlier. BRILL -LRB- removing the transmitter. -RRB- Oh yeah. Got another one here. BRILL shows it to PATRICK, a very embarrassed HOTEL MANAGER and a very serious HEAD OF HOTEL SECURITY. BRILL -LRB- CONT'D. -RRB- Nasty fella. A TX - 703. Remote on - off, three - thousand foot range. Shit, you could listen from a shopping mall across the street.",
"INT. SENATOR ALBERT'S RV - DAY BRILL stands in front of SENATOR ALBERT. BRILL Well, sir, I'm afraid it's not as simple as that. Your average newspaper guy or Hard Copy lady or whatever, they ca n't buy this stuff. SENATOR ALBERT Well then who can? BRILL Ah, sir, you know, it's not for me to say. SENATOR ALBERT What do you mean? Who can buy this kind of equipment. BRILL The thing is, Senator, and I do n't want to get in the middle of nothing, but - SENATOR ALBERT What are you saying? BRILL Most of this stuff's only available to law enforcement. SENATOR ALBERT Law enforcement? BRILL FBI, CIA, NSA, local cops. SENATOR ALBERT Are you sure about this? BRILL unwraps a towel revealing the grease - covered NSA tracker he removed from Dean's BMW. BRILL I yanked this off your RV. It's a Global Positioning Tracker. SENATOR ALBERT Oh my God. BRILL Tracks your location to the inch and works directly with - you know. SENATOR ALBERT With what? BRILL With spy satellites. I do n't like saying these things Senator. SENATOR ALBERT -LRB- shaking BRILL's hand. -RRB- Neil, thank you for your help. BRILL Anytime. PATRICK escorts BRILL out of the RV. The SENATOR, fuming, opens a book, looks up a phone number and punches it into his phone. SENATOR ALBERT -LRB- into the phone. -RRB- This is Sam Albert. Put me through to Langley. Dick Marshal's office.",
"INT. UNIVERSITY COFFEE SHOP - DAY A place packed with STUDENTS, computers and TEACHERS. DEAN sits in a corner reading a magazine, but what he's really watching is - A WELL - DRESSED MAN at the counter, his back to DEAN, ordering a cup of coffee. The MAN glances at DEAN off the mirror behind the counter. BRILL walks in and joins DEAN. BRILL Albert's primed. We'll let him stew for a day and then drop the tape. BRILL looks over at the WELL - DRESSED MAN. DEAN He came in four minutes ago. BRILL -LRB- pause. -RRB- C'mon. They're about to start for the front door when an unmarked police car pulls up in front. A rowdy group of FRAT BOYS flood in, loud and busy. By the time they pass, BRILL and DEAN are gone. The WELL - DRESSED MAN scans the coffee shop and sees the back door swinging shut.",
"EXT. STREET - DAY DEAN and BRILL run down the street, through an alley and over a fence to another street. They slow as they approach the parked Taurus. BRILL takes the wheel with DEAN beside him. They pull into traffic. Things look good, but then the UNMARKED CAR and a SQUAD CAR scream up behind, lights flashing.",
"INT. TAURUS - CONTINUOUS BRILL dumps the car into low gear and the Taurus comes alive.",
"INT. SQUAD CAR - CONTINUOUS A COP picks up the radio - mic. COP One - Lincoln - Nine. In pursuit of two suspects, one matching description of Robert Dean, wanted in connection with a homicide. Suspects northbound on -",
"EXT. BOSTON STREETS - CONTINUOUS Through alleys, down streets, under an overpass, down a one - way street, barely missing a head - on as they roar into a rail - yard traversing the waterfront. BRILL's at his best, putting distance between himself and the cops at every turn. Finally, it looks as if they've made it as they race down an alleyway, only to realize it's a dead - end. BRILL slams into reverse. They screech backward, tires smoking. Too late. The squad car rips into the alleyway, boxing them in. BRILL hits the brakes. He looks back at the dead - end and sees an empty flat - bed trailer with a ramp. BRILL gives it everything. If they can get enough speed and hit the ramp right, maybe they can clear the obstructing wall. BRILL Feeling lucky? DEAN Not particularly, no. They hit the ramp full speed. The front end bottoms at the Taurus bounces skyward. Tires clip the wall as the car flips and smashes into a parked rail - car filled with coal. They are n't going anywhere. Back in the alley, the squad car skids to a stop. A ROOKIE climbs from his car, leaps the wall, draws his gun and nears. Inside the Taurus, the windows are shattered. Steam hisses, gasoline drips and coal is everywhere. DEAN shimmies out through a broken side window. He barely gets to his feet as he stumbles 20 yards or so. His foot accidentally dislodges a large pile of coal, which buries him up to his waist and immobilizes him. DEAN Shit. -LRB- to BRILL. -RRB- I'm stuck. Help me out. He looks back to see that BRILL is hanging out the driver's side, bleeding badly and covered in gas. COP -LRB- on waist radio. -RRB- One - Lincoln - Nine, suspects TA'd into a coal car at the Fullbright rail - yards. Requesting back - up, fire and ambulance. An unmarked car with red - flashers races up the rail - yard and stops. The ROOKIE turns as JONES and KRUG hop out. JONES -LRB- flashing ID. -RRB- FBI. What do you got? COP Two murder suspects. One's wounded, the other's maybe dead. JONES Thank you. KRUG draws his silenced pistol and matter of factly shoots the COP dead. JONES -LRB- to KRUG. -RRB- Check inside. DEAN is watching this all unseen, helplessly trying to dig himself out of the coal. KRUG inspects the Taurus interior for anything of interest. JONES scans the area. KRUG -LRB- to BRILL as he searches. -RRB- I hate doin' cops, I really do. You I wo n't mind. Did n't mind that Rachel Banks. Did n't mind doin' her one bit. -LRB- seeing DEAN's shoe. -RRB- Your lawyer friend buried over there? BRILL can only gurgle blood. JONES pops the Taurus's trunk had looks inside. KRUG digs quickly through the coal pile, searching for Dean. Then BRILL sees him - BRILL's POV : DEAN down off the side of the coal - car, lodged in the coal pile. He's safe, but not once KRUG discovers he's not in the car. BRILL pushes in the cigarette lighter. JONES dumps everything from the Taurus into the unmarked car. SIRENS suddenly fade in. KRUG digs faster, looking for DEAN, as JONES approaches with his pistol, clambering around for BRILL. KRUG Fuck him, he's dead in two minutes. Find Dean. JONES starts to back out, just as the Taurus's cigarette lighter pops out. BRILL grabs it. KRUG eyes the glowing lighter. Then he eyes BRILL. Shit. BRILL ignites the gas. WA - WOOMFF! A fireball explodes, consuming all - the car, BRILL, KRUG. JONES is blown off his feet from the concussion. JONES -LRB- scrambling away. -RRB- Fuck - JONES wipes prints off his pistol and silencer and tosses it into the flames as the police cars approach. DEAN watches from the shadows as flames incinerate everything. MARSHAL -LRB- V.O. -RRB- I just came from my office at Langley. Senator Albert called me there.",
"EXT. WASHINGTON D.C. RESTAURANT TERRACE - DAY MARSHAL and SHAFFER dine with REYNOLDS at a restaurant overlooking the Potomac. SHAFFER I got the same call at the Bureau. He's upset. REYNOLDS About what? MARSHAL About what? Do I look stupid? REYNOLDS Ken - MARSHAL Does Shaffer look stupid to you? SHAFFER We're not stupid, Reynolds. MARSHAL The fuck do you have goin' on with Sam Albert? SHAFFER This guy's carrying the flag for the damn terrorism bill. You think this is the best time to piss him off? MARSHAL You have any idea what kind of position this - SHAFFER He's carrying the damn flag. REYNOLDS We're not doing anything with Sam Albert. MARSHAL He thinks we're stupid. SHAFFER He found an NSA SAT tracker on his motor home today. REYNOLDS It's not ours. MARSHAL It was pulsing on your SAT frequencies. SHAFFER I do n't know what's going on, but if you people have tripped over your own asshole again, you're not gon na get any help from us. It's ending at your doorstep. HICKS -LRB- V.O. -RRB- Brill's dead.",
"INT. TOWN CAR - DAY REYNOLDS rides in the back of the car, a cellular to his ear. REYNOLDS What about - HICKS -LRB- O.S. -RRB- We do n't know. REYNOLDS Explain that.",
"INT. TECH ROOM - CONTINUOUS The room is crammed with people as HICKS talks over the phone. HICKS Jones had to flee the scene before we could locate the second body. REYNOLDS What about the tape? HICKS We think it was on Brill. If it was, it's destroyed now. REYNOLDS And if it was n't? ORGAN MUSIC can be heard as REYNOLDS snaps his phone shut. PRIEST -LRB- O.S. -RRB- Peace be with you.",
"EXT. SAINT PAUL'S CHURCH - DAY Establishing. A beautiful church in an expensive neighborhood. CHORUS OF PARISHIONERS -LRB- O.S. -RRB- And also with you.",
"INT. CHURCH - CONTINUOUS A crowded Catholic mass. The PRIEST delivers a sermon from an altar decorated with Christmas candles and evergreen. PRIEST The Lord said : I leave you peace, my peace I leave you. Let us now, in the spirit of these holidays, turn to our neighbors and offer them a sign of peace. REYNOLDS stands in a pew beside his TWO DAUGHTERS and his WIFE. He turns to those immediately around him, shaking their hands. REYNOLDS Peace be with you. Peace be with you. A disguised DEAN takes REYNOLDS hand and shakes it. DEAN Merry Christmas. It's me. REYNOLDS Do I know you? DEAN I'm Robert Dean. Within twelve hours, you're gon na be in jail. Peace be with you. REYNOLDS is dumbstruck. PRIEST Let us now offer up thanks to the Lord our God in the words our Father gave us. CONGREGATION Our Father, who art in Heaven, hallow'd be thy name - STACY -LRB- V.O. -RRB- Robert, is it safe to be talking on the phone like this?",
"INT. A BEDROOM - NIGHT DEAN sits on a bed while talking into a modified cellular computer. The screen shows his current call signal re - routing between relay stations. DEAN -LRB- into phone. -RRB- I've re - routed the call. They ca n't trace it.",
"INT. DEAN'S HOUSE/BEDROOM - CONTINUOUS STACY -LRB- into phone. -RRB- Are you sure you're safe? DEAN -LRB- into phone. -RRB- Yeah.",
"EXT. WASHINGTON D.C. - CONTINUOUS CLOSE ON A SMALL GRAY CONE - SHAPED MICROWAVE ANTENNA STACY -LRB- O.S. -RRB- They're saying you killed that policeman. DEAN -LRB- O.S. -RRB- That's gon na end tonight.",
"EXT. EXPRESSWAY - CONTINUOUS CLOSE ON A MICROWAVE TOWER WITH NINE GRAY CONES pointing nine directions. The intercepted phone signals being relayed. STACY -LRB- O.S. -RRB- Where are you? DEAN -LRB- O.S. -RRB- I ca n't tell you that.",
"EXT. KENT ISLAND - CONTINUOUS Re - establishing. A concrete building rising from the woods. STACY -LRB- O.S. -RRB- Can you tell me anything?",
"INT. CEMENT BUILDING - CONTINUOUS CLOSE ON COMPUTER SCREENS showing hundreds of phone numbers scrolling by. A massive vacume cleaner of every cellular call being made in the state of Maryland. The computer scans for trigger numbers or words. DEAN -LRB- O.S. -RRB- I can tell you this : That anti - terrorism bill you were so worked up about? I do n't think it's gon na pass. A phone number locks on the screen - TECHNICIAN Got it!",
"INT. REYNOLDS BEDROOM - CONTINUOUS The phone on the nightstand begins to RING. REYNOLDS wakes as his wife rolls to the other side of the bed. He grabs his scrambler phone and goes into -",
"INT. BATHROOM - CONTINUOUS REYNOLDS closes the door and waits as scrambled lines connect. Finally, a confirming tone. REYNOLDS Yeah.",
"INT. VAN - CONTINUOUS HICKS is on the phone. HICKS Found him. Kent Island nailed the call five minutes ago. He's stationary. REYNOLDS Do you have visual? HICKS Not yet. He's near `` M'' and 34th. I've got an ELSUR unit on the scene now. A residential building. Twelve units. REYNOLDS What's your ETA? HICKS Three minutes. We're going in light. Myself and two others. Everyone else is held back in reserve. REYNOLDS He walked right up to me in church. At the holiest time of the wear. He approached me in a sanctified place. -LRB- beat. -RRB- Kill him now.",
"EXT. A VICTORIAN APARTMENT BUILDING - NIGHT Establishing. Peaceful street, quaint apartments. THREE MEN stroll to the entrance of a well - maintained building. One jimmies the lock and a moment later they're in.",
"INT. LOBBY - CONTINUOUS HICKS, JONES and DAVIS prepare. All have miniature earphones. DAVIS checks his silenced pistol. HICKS activates a frequency locator. The needle snaps on. He looks at DAVIS and JONES. They're ready. All hand signals, no words, as the trio ascend the staircase. One flight, two. Then HICKS stops. The needle says they're close. HICKS motions. Their target's on two. They move down the hall - silent except for a creaking floor and a TV SHOW drifting from an apartment. Someone's up at this hour. They move on. HICKS watches the needle as it moves. He motions DAVIS and JONES to a door. JONES puts a reverse - viewer against the peep - hole. JONES's POV : A view of an entryway and living room. A light bleeds from an O.S. source. Beyond that there's no sign of life. HICKS puts a contact - mic against the door and listens to FAINT CONVERSATION somewhere inside, possibly the phone call. HICKS nods to JONES who quickly picks the lock while DAVIS eyes the hall. After a nervous moment, the door opens and HICKS, JONES and DAVIS enter.",
"INT. THE APARTMENT - CONTINUOUS They spread out, searching the well - decorated condo for the target. They near the room with light. Using a mini - mirror, HICKS looks around the bend to see - A BEDROOM. There's a briefcase on the bed. They enter. From the bathroom they hear sounds of RUNNING WATER. They slowly approach. Wood again CREAKS beneath them. DEAN's VOICE is heard through the locked door. HICKS signals `` on three''. He counts, and they SMASH the door open to see - - a cellular phone taped to a Baby - Monitor. DEAN's nowhere in sight. HICKS The fuck is this?",
"INT. POLICE STATION/DISPATCH AREA - NIGHT Spinning banks of reporters manned by POLICE DISPATCHERS. We move to one desk where a phone rings. An LED immediately displays the caller's name ; KRUGER, JACK, along with his social - security number and date of birth. DISPATCHER Nine - one - one emergency. OLD MAN'S VOICE -LRB- O.S. -RRB- My name's Jack Kreuger, I'm at 1102 Grambling. I just saw three guys break into the condo next door. It looked to me like they had guns.",
"INT. VICTORIAN BUILDING'S BASEMENT - CONTINUOUS DEAN has the phone circuit box open and is plugged in with a phone - line. Over the phone's mouthpiece, he holds an electronic Voice - Mask which alters his voice into an old man's. DISPATCHER -LRB- O.S. -RRB- We'll send a unit over there now. If it's safe, sir, we'd like you to stay by your phone. DEAN Yeah, I think I'll stay where I am.",
"INT. SQUAD CAR - NIGHT DISPATCHER -LRB- O.S. -RRB- -LRB- radio effect. -RRB- Any available unit. Armed 549 in progress.",
"INT. VAN - CONTINUOUS Three TECHNICIANS overhear the police radio call. DISPATCHER -LRB- O.S. -RRB- Three suspects now inside. 1102 Grambling, apartment 302. TECHNICIAN Shit. -LRB- into radio. -RRB- 201 to First Team. Pull out. We got the cops.",
"INT. APARTMENT - CONTINUOUS HICKS spins and heads for the door. DAVIS hits it first. He grabs the doorknob and pulls - - and the knob rips from the door, trailing small wires. DAVIS Fuck me! JONES What'd you do? DAVIS It came off in my hand!",
"EXT. STREET - CONTINUOUS TWO SQUAD CARS come rolling up and FOUR COPS get out and head into the building.",
"INT. THE APARTMENT JONES is trying to pry the door open with his fingers. No use. TECHNICIAN -LRB- over radio. -RRB- Get outa there, guys! While JONES continues on the door, DAVIS runs to the window. Throughout this, HICKS will stand in the middle of the room and, simply, oddly, stare at the mantle over the fireplace. DAVIS Goddamit! HICKS smiles. and now he starts laughing a little. JONES What's so fuckin' funny? HICKS motions to a framed picture over the fireplace. HICKS It's over. We've been fucked with our pants on. The framed picture is of Senator SAM ALBERT and CHRISTA HAWKINS. HICKS -LRB- CONT'D. -RRB- We broke into her condo. DOOR WOOD EXPLODES inward. The TWO COPS roll in crouched positions, weapons drawn. COP #1 POLICE! FREEZE! HICKS does n't move, DAVIS freezes like a deer in headlights, JONES stares with cold, dead eyes. COP #2 DROP THE WEAPONS! NOW! Two more COPS arrive. JONES and DAVIS drop their guns. COP #1 ON THE GROUND! NOW! FACE THE FLOOR! They do so. COPS THREE and FOUR go room to room making sure no one else is lurking. In the bedroom, they find the briefcase. Inside the briefcase - - listening bugs, installation equipment and compromising photos of the Senator with Christa. CHRISTA -LRB- O.S. -RRB- Oh my God! What's going on?! Back in the living room, CHRISTA has walked through the broken - in apartment door to see JONES, HICKS and DAVIS lying on the floor at gun point. COP #2 Ma'am, is this your apartment? CHRISTA What happened?! COP #1 Would you step out in the hallway for a moment, ma'am. CHRISTA Oh God. COP #2 Please. We'll be right with you. CHRISTA backs slowly out of the apartment and into -",
"INT. HALLWAY - CONTINUOUS CHRISTA holds her hand over her mouth and is shaking. A VOICE comes from an alcove. VOICE -LRB- O.S. -RRB- Christa? She turns. DEAN steps out from the alcove. DEAN -LRB- CONT'D. -RRB- You got a second? CHRISTA Who are you? DEAN My name's Robert Dean.",
"EXT. RESIDENTIAL STREET IN CHEVY CHASE - NIGHT An up - scale neighborhood. Two inexpensive cars that do n't seem to belong there sit in front of a large home.",
"INT. SENATOR ALBERT'S PRIVATE STUDY - CONTINUOUS DEAN sits with a drink in his hand. Across from him are CHRISTA and PATRICK. They sit in uncomfortable silence for a moment before SENATOR ALBERT enters in bathrobe and pajamas. ALBERT I understand we have a problem. PATRICK Senator - CHRISTA Senator, there were some things I could n't tell you over the phone. ALBERT What kinds of things? PATRICK Mr. Dean has a video tape from the hotel room in Boston. ALBERT -LRB- pause. -RRB- I see. DEAN It's actually DH - 1 Digitech Pinpoint scanning with a frequency modulator. ALBERT I do n't know what that means. DEAN Me neither, but the upshot is I've got color live - action footage of you and Ms Hawkins and it does n't look good. ALBERT So. how much money do you want in exchange for not ruining my life? DEAN I do n't want any money. And believe me, I have no interest in ruining your life. I'm not interested in this tape. ALBERT You're not. PATRICK Then what do you want from the Senator? DEAN I want him to look at a different tape. People have been killed. Lives have been ruined. -LRB- DEAN takes the computer chip from his pocket. -RRB- Senator, I want you to look at this. And I want you to bring the fury of God himself upon this man. DEAN tosses the chip to ALBERT.",
"INT. REYNOLDS BEDROOM - NIGHT REYNOLDS is asleep when the PHONE wakes him up. Once again, he reaches for his scrambled phone heads into the bathroom. After waiting for the signal that the line's clear. REYNOLDS Yeah. TECHNICIAN -LRB- O.S. -RRB- Sir, we've just intercepted an FBI communication. REYNOLDS -LRB- into phone. -RRB- Well. what is it? TECHNICIAN -LRB- O.S. -RRB- Well, sir, it seems there's a warrant out on - The DOORBELL rings. REYNOLDS is alarmed. Now there's BANGING at the door and DOORBELL RINGS again. REYNOLDS WIFE -LRB- O.S. -RRB- -LRB- from the bedroom. -RRB- Who is that, dear? REYNOLDS snaps the phone shut and goes downstairs to the door. When he opens the door he sees TWO FBI AGENTS with their ID's flapped open and six uniformed POLICEMEN backing them up. FBI AGENT John Reynolds? REYNOLDS What the hell - FBI AGENT You're under arrest. You have the right to remain silent. Anything you say - REYNOLDS WIFE -LRB- O.S. -RRB- -LRB- from upstairs. -RRB- Honey?",
"INT. DEAN'S STREET - MORNING A PAPERBOY tosses a newspaper at the Dean's door. SENATOR ALBERT -LRB- O.S. -RRB- Privacy and the right to privacy is an inalienable right.",
"INT. DEAN'S KITCHEN - CONTINUOUS Stacy has C - SPAN on the TV while she makes breakfast for ERIC. SENATOR ALBERT is addressing the SENATE. ERIC These guys are always making speeches. STACY It's an important speech, Eric. There's gon na be a vote today. SENATOR ALBERT -LRB- on TV. -RRB- Today we face a threat to that creed. Certain individuals in our intelligence community believe they're entitled to examine lives in minute detail, and claim to do it in the name of the common good. ERIC If they're voting today, has n't everyone pretty much made up their minds. STACY Actually, this man appears to have changed his mind dramatically. ERIC Why? VOICE -LRB- O.S. -RRB- He saw the light, my son. ERIC and STACY whip around - ERIC Dad! STACY and ERIC run to DEAN. STACY Is it over? DEAN It's over. ERIC How long can you stay? DEAN I'm not goin' anywhere, Eric. I live here. ERIC and DEAN hug. STACY Get ready for school, you're gon na be late. ERIC Is it okay to use the phone now? DEAN It's okay to use the phone. ERIC Alright! DEAN No `` 900'' numbers. But ERIC has disappeared up the stairs. STACY It's really over? DEAN Albert's gon na get me my job back. STACY -LRB- pause. -RRB- I'm sorry about Rachel. DEAN Yeah. -LRB- beat. -RRB- I wish you could've met. STACY Who? DEAN A friend of mine. I do n't know his real name. He's dead now. STACY You did good. STACY points to the TV and DEAN watches for a moment. ALBERT -LRB- on TV. -RRB- I've lived through the dark ages of Hoover's Watch - List and McCarthy's Witch Hunts - men who used moral crusades, fired by fear, to lay waste to our freedoms. STACY C'mon upstairs. I've got a Christmas present from Harrison's I want to show you. DEAN arrives as STACY takes him by the arm. They head upstairs as ALBERT continues on. ALBERT -LRB- on TV. -RRB- Our intelligence communities presently monitor our phones, computers, financial transactions, medical histories. all this and more. Some of you may say, `` Fine. I'm not a criminal and I have nothing to hide.'' Well God forbid we ever edge to tyranny. God forbid George Orwell's version of America becomes a reality. We are that close. ALBERT's speech continues as we. ROLL END CREDITS. FADE TO BLACK."
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] | NSA official Thomas Bryan Reynolds meets with U.S. Congressman Phil Hammersley (R-NY) in a public park to discuss support for a new piece of counterterrorism legislation the U.S. Congress is pushing that dramatically expands the surveillance powers of intelligence agencies over individuals and groups. Hammersley remains committed to blocking its passage, since he believes it would almost totally destroy the privacy of U.S. citizens. Reynolds, determined to have the bill pass so as to gain a long-delayed and anticipated promotion within the NSA, has his team murder Hammersley, spread heart pills over his car, place his body in the car and push it in a lake to simulate the cause of death as a heart attack. In the aftermath, they discover that wildlife researcher Daniel Zavitz had a camera aimed in the woods at their location. Zavitz inspects the footage and, realizing he has captured the congressman's murder, calls a journalist he knows. The call is monitored by Reynolds's team who attempt to break into Zavitz's apartment to retrieve the tape. Realizing he is in danger, Zavitz transfers the video to a disc before fleeing the apartment ahead of Reynolds's men. Zavitz bumps into an old college friend, labor lawyer Robert Clayton Dean, and slips the disc into his shopping bag without his knowledge. Shortly after, Zavitz is killed when he collides with a fire truck on a stolen bicycle; Reynolds' men later kill the journalist he'd called. When Reynolds and his team discover that Dean might have the video and after failing to convince him (under the guise of police officers) to allow them to search his shopping purchases, they, believing that Dean and Zavitz were in collusion together, raid his house and plant surveillance devices. They then disseminate false evidence to implicate Dean of working with the family of mafia kingpin Paulie Pintero and having an affair with ex-girlfriend Rachel Banks. The subterfuge destroys Dean's life: he is dismissed from his job, his bank accounts are frozen, and his wife Carla throws him out of the house. Dean believes Pintero is behind the smear campaign as revenge for a prior case, with help from Brill, a secretive contact of Banks. Dean sets up a meet with Brill, to which the NSA sends an impostor, but the real Brill rescues Dean. Brill explains that his pursuers are NSA agents and rids him of tracking devices hidden in his clothing. With Dean and Brill in hiding, the NSA agents kill Banks and frame Dean for the murder. Dean obtains the disc and Brill identifies Reynolds in the recovered video, but the disc is destroyed during an escape from an NSA raid. Brill, whose real name is Edward Lyle, tells Dean of his past as a communications expert; he was stationed in Iran during the Iranian Revolution; his partner, Rachel's father, was killed, but Lyle made it out and has been in hiding since. Lyle tries to urge Dean to run away, but Dean is determined to clear his name. Dean and Lyle trail another supporter of the surveillance bill, U.S. Congressman Sam Albert (R-NH), videotaping him having an affair with his aide. Dean and Lyle "hide" one of the NSA's bugs in Albert's room so Albert will find it and have the NSA start an investigation into Albert's tapping. Lyle also deposits money into Reynolds's bank account to make it appear that he is taking bribes, putting pressure on Reynolds. Lyle contacts Reynolds to set up a meeting to exchange the video and get Reynolds to incriminate himself. Reynolds' men instead ambush the meeting and hold Lyle and Dean at gunpoint, demanding the tape. Dean tells them that the Hammersley murder footage is in the hands of Pintero, understanding Pintero's restaurant is under FBI surveillance. Dean, Reynolds, and the NSA team enter Pintero's restaurant. With the use of ambiguous language, Dean convinces Pintero that Reynolds is after the incriminating video Dean blackmailed him with and the encounter turns into a massive gunfight that kills the mobsters, Reynolds, and several members of his NSA team. During this ordeal, Lyle uses subterfuge and acting to goad FBI surveillance that Pintero is kidnapping cops, prompting a raid. Lyle escapes while the FBI rescues Dean and uncovers the entire conspiracy. The U.S. Congress is forced to abandon the bill to avoid a national scandal, although they cover up the NSA's involvement to preserve the agency's reputation. Dean is cleared of all the charges and is reunited with his wife. Lyle leaves Dean a "goodbye" message via his TV as he is watching, showing himself relaxing in a tropical location. | Enemy_of_the_State_(film) |
[
"Platoon ` REJOICE, O YOUNG MAN, IN THY YOUTH.' The sound now of a C - 130 air cargo plane roaring over us and we cut sharply to :",
"EXT. AIRSTRIP - BASE CAMP - VIETNAM - DAY As the C - 130 coasts to a stop, the hatch rotating down on a hot, dusty lifeless airstrip somewhere in Vietnam. Nothing seems to live or move in the midday sun. TITLES RUN A DOZEN NEW RECRUITS step off the plane, unloading their duffel bags, looking around like only the new can look around, their hair regulation - clipped, crisp, new green fatigues fitting them like cardboard. CHRIS TAYLOR is just another one of them - as he turns into a tight closeup, to look at a motorized cart pulling up alongside. He's about 21. Newmeat. His face, unburned yet by the sun, is tense, bewildered, innocent, eyes searching for the truth. They fall now on a heap of BODY BAGS in the back of the cart. Two soldiers begin loading them onto the plane. Flies - hundreds of flies - buzz around them, the only cue to their contents. GARDNER -LRB- next to Chris, Southern accent. -RRB- That what I think it is? SOLDIER 1 -LRB- a look. -RRB- I guess so. An uncomfortable look between them. SERGENT Okay, let's go. As they move out, Chris' eyes moving with the body bags being loaded onto the plane. Moving over now to a motley HALF DOZEN VETERANS bypassing them on their way to the plane. They look happy. Very happy, chatting it up. They pass the newboys - and they shake their heads, their eyes full of an almost mocking pity. VETERANS Well I'll be dipped in shit - new meat! Sorry bout that boys - ` sin loi' buddy. you gon na love the Nam, man, for - fucking - ever. Chris looking at them. They pass, except for the last man who walks slower than the rest, a slight limp. His eyes fall on Chris. They're frightening eyes, starved, hollow, sunken deep in his face, black and dangerous. The clammy pallor of malaria clings to him as he looks at Chris through decayed black teeth. Then the sun flares out on him and he's past. And Chris looks back. Disturbed. It's as if the man was not real. For a moment there. As if he were a ghost. Chris walking, duffel bag on the shoulder, looks up at the lollipop sun burning a hole through the sky. A rushing SOUND now. Of frightening intensity, an effect combining the blast of an airplane with the roar of a lion as we hardcut to :",
"EXT. JUNGLE - SOMEWHERE IN VIETNAM - DAY The sun matches the intensity of the previous shot as we move down into thick green jungle. We hear the sound of MEN coming, a lot of men. The thwack of a machete. Brush being bulled. We wait. They are getting close. The CREDITS continue to run. SUBTITLE reads : December 1967 - Bravo Company, 25th Infantry Division - Somewhere near the Cambodian Border. A sweating white face comes into view. CHRIS - cutting point. Machete in one hand, whacking out a path for the platoon, M - 16 in the other, he looks like he's on the verge of heat exhaustion. Breathing too hard, pacing himself all wrong, bumping into things, tripping, not quite falling, he looks pathetic here in the naturalness of the jungle. An urban transplant, slightly neurotic and getting more so. His rucksack is coming apart as well, about 70 badly packed pounds banging noisily. Behind him BARNES now comes, the Platoon Sergeant. Then the RTO, his radio man, humming lightly. Others are behind, the column snaking back deep into the brush. We cut around some FACES of the Platoon - all to be seen later. Young faces, hard and dirty after weeks in the field, exhausted yet alert, fatigues filthy, slept - in, torn, personalized, hair way past regulation length, medals, bandanas. A jungle army. Boys. Chris glancing down at his raw bleeding blisters. Transfers the machete to his other, slightly less blistered, hand. The kid cuts on - struggling but trying, on his last reserves of strength, smashing almost straight forward through brush, not even bothering to look ahead. He smells something, looks around, slows his pace, eyes working. around to the base of a tree. He moves past it. And as he does so, the camera from his POV comes around on a dead decomposing 10 - day - old GOOK - eyes starting from its sockets, worms and flies feasting. Chris draws his breath in, terrified. Barnes suddenly appears alongside, his hard humourless eyes looking annoyed from the gook to Chris. BARNES What are you waiting for? He ai n't gon na bite you. Move out. Chris looks at him with pent - up hatred and crashes on.",
"EXT. PLATOON PC - DAY - MOVING At the COMPANY PC, CAPTAIN HARRIS on the radio. HARRIS Bravo Two, Six. What's the delay up there, move it out on point. We've got a link up at Phase Line Whiskey at One Eight Zero Zero, over.",
"EXT. PLATOON PC - DAY - MOVING -- MORNING At the PLATOON PC, LIEUTENANT WOLFE sweats heavily as he speaks in his radio. He is also new to the field, a dark little feisty guy, about 24, very hairy, especially in the eyebrows, an intense get - ahead look. LIEUTENANT WOLFE Two Bravo, Two move it out. Six says we're jamming'em up back there. Over. Barnes, upfront, turns to SAL, his radio man, under his breath. BARNES Tell that dipshit to get fucked. Get that other freshmeat up here. Gardner. As Barnes picks up his pace, irritated now at this reprimand from the CO - coming up on Chris, who is soaked now from head to foot in sweat, dizzy, feeling sick, about to vomit. BARNES -LRB- CONT'D. -RRB- What the hell's the matter with you Taylor! You a sorry ass motherfucker. Fall back. He grabs Chris's machete out of his hand and bulls his way into the foliage, tearing it apart, setting a new pace. Chris being bypassed by the column, their eyes on him. He is swatting at the red ants that are all over his neck. GARDNER, another new recruit, fat, hustling up to replace him. A big and black medic - DOC - comes over, gentle eyes and manner ; with him is Sergeant ELIAS, concerned. DOC You okay? CHRIS Ants. I got ants on my neck. -LRB- shaking them out. -RRB- DOC -LRB- helping him. -RRB- Yeah, black ants are killers, you look sick man. You need a little salt. -LRB- reaching into his satchel. -RRB- Sergeant Elias, a handsome, graceful dark - haired Indian kid of 23, the squad sergeant, is taking items out of Chris' pack - air mattress, extra unnecessary clothing, extra canteens, grenades, gas mask, books. ELIAS -LRB- shaking his head, amused. -RRB- You're humping way too much, troop, do n't need half this shit. I'll haul it for you but next time you check it out with me okay? Chris nodding, grateful, panting. The men passing, watching. Chris sorry about this, trying to keep up face. BUNNY, a young 18 year - old with an angel's face, is pissing in the dead gook's face. KING passes, glances at him. KING You're a sick mother Bunny. Bunny laughing about it. Chris standing there one moment, fighting for his breath, suddenly passes out, going over with his 70 pound rucksack, hitting the ground with a loud bang. ELIAS -LRB- concerned. -RRB- Hold it up. On Chris - his eyes opening. He seems all right. CHRIS -LRB- trying to get up. -RRB- I'm okay. I'm okay. Chris crumples backwards. Elias helps him.",
"EXT. COMPANY PERIMETER #1 - DUSK The COMPANY - about 100 men who seem insignificant amid the size of the surrounding jungle - is digging into a perimeter of some 100 - yard radius. A RESUPPLY CHOPPER lifts off in a flurry of blowing leaves. Bare - chested soldiers chop down trees, clear fields of fire, set out claymores, fill sandbags, chow down. Little fires snake up against the greying red horizon.",
"EXT. COMPANY PERIMETER 31 - DOC'S POSITION - DUSK We cut close on a pair of grungy feet - the staple of the infantry - moving up to DOC, the Medic, bandaging them for FU SHENG, a Hawaiin kid.",
"EXT. COMPANY PERIMETER #1 - RHAH'S POSITION - DUSK Rhah sets his tripflare. Crawford, with him, putting out a claymore.",
"EXT. COMPANY PERIMETER #1 - RODRIGUEZ - POSITION - DUSK Back in the perimeter RODRIGUEZ sets his M - 60 in the newly dug foxhole. SAL, next to him, is shaving in his helmet.",
"EXT. COMPANY PERIMETER #1 - KING'S POSITION - DUSK KING looks like a king. A lion of a black man but with a sleepy, gentle face, not to be roused, is painfully trying to scrawl a letter home with the pencil held awkwardly, mouthing the words. FRANCIS, a young baby - faced black with long lashes and soft eyes, peeks over his shoulder, shaking his head. FRANCIS Shit, King, it ai n't d - e - r - e man, it's d - e - a - r, and Sara do n't have no two r's in it, fool. Shame on you. King shrugs, a sleepy stoned voice. KING Do n't matter, she knows what it means. an she do n't read too good nohow.",
"EXT. COMPANY PERIMETER #1 - COMPANY PC - DUSK Sgt. Elias washes himself, attentive to his body, slender and well - muscled, and extremely handsome youth. Of Indian blood, with long black hair, generous smile, wide facial bone structure, gypsy eyes, and the cleanest white teeth, he could be a young Greek god. He is given somewhat to panache, a silver wristband on his arm, a bandana of black parachute silk hanging from his neck, his fatigues tightened down at the ankle, he pulls his pants down, checking for crotch rot, applying talcum powder to the area, his buttocks facing us. LERNER, a white kid, 19, from Florida, stopping to admire the frontal view. LERNER Mumm, any time sweetheart. ELIAS Lerner, you'd choke to death on it.",
"EXT. COMPANY PERIMETER #1 - COMPANY PC - DUSK At the COMPANY COMMAND POST a beehive of activity with its four radios, personnel, some Vietnamese scouts milling around. CAPTAIN HARRIS is running down a field map with his THREE LIEUTENANTS. Harris, a broad - shouldered fine - looking military specimen with the requisite Southern accent and football coach mannerism, is directing his remark to 2nd Platoon's LT.WOLFE, who looks a little nervous. CAPTAIN HARRIS Sky Six reports a fresh company of NVA moving across from Cambodia to this blue line. -LRB- points to position. -RRB- We got a good chance to light'em up tonight. All platoons will set squad - size ambushes before full dark. Lt. Wolfe. -LRB- glances at him. -RRB- You ` bush in this area near that ol' Buddhist temple we passed on the hump in. Lt. Hawkins, you take this area in the rubber plantation. LIEUTENANT WOLFE -LRB- eager. -RRB- No problem sir.",
"EXT. PLATOON PERIMETER #1 - CHRIS' FOXHOLE - DUSK Elsewhere, Chris scrapes out a foxhole, his shirt off, bandana around his head, the work hot and heavy. TEX is out there setting the claymore as BIG HAROLD and JUNIOR start breaking down their C's. JUNIOR -LRB- a whining high voice. -RRB- Hey Big Harold, gim me your peaches for the fruitcake man. BIG HAROLD -LRB- laughes loudly. -RRB- Fuck you bitch. JUNIOR C'mon man, did n't I do you right that time I give you the turkey loaf for the ham and lima beans shit. BIG HAROLD Tricky bitch, reason you gim me dat turkey loaf is nobody else can eat that shit ` cept me so do n't start your game playing with me Junior. They're both black, Junior with huge goggle eyes and a face of pimples and pockmarks, his teeth yellowed and decayed, some of them missing. Harold is about twice his size, about 250 pounds, a baby huey concentrating real hard on preparing his stove to eat with. JUNIOR Youse a pig man. I hope Manny get dat laundry gig for' you do. BIG HAROLD De fool think he's gon na get it but he ai n't known for his thinking. JUNIOR He's a fool alright but you a bigger fool. Hey, whiteboy, watcha waiting for - dat hole ai n't gon na dig itself. Chris looks up, continues working, as Junior chuckles. JUNIOR -LRB- CONT'D. -RRB- Hey Taylor, you do n't know it but I saved your ass today. I killed a shit - eating dog. -LRB- laughing. -RRB- BIG HAROLD -LRB- getting up. -RRB- That reminds me, I got ta take a shit. JUNIOR You gon na wipe your ass dis time? BIG HAROLD Yeah if you let me have your shirt. CHRIS -LRB- VOICE OVER, as he digs. -RRB- Somebody once wrote Hell is the impossibility of Reason. That's what this place feels like. I hate it already and it's only been a week. Some goddamn week, grandma. -LRB- checking his raw blisters. -RRB-. the hardest thing I think I've ever done is to go on point, 3 times this week - I do n't even know what I'm doing. A gook could be standing 3 feet in front of me and I would n't know it, I'm so tired. We get up at 5 a.m., hump all day, camp around 4 or 5 p.m., dig foxhole, eat, then put out an all - night ambush or a 3 - man listening post in the jungle. It's scary cause nobody tells me how to do anything cause I'm new and nobody cares about the new guys, they do n't even want to know your name. The unwritten rule is a new guy's life is n't worth as much cause he has n't put his time in yet - and they say if you're gon na get killed in the Nam it's better to get it in the first few weeks, the logic being : you do n't suffer that much. I can believe that. If you're lucky you get to stay in the perimeter at night and then you pull a 3 - hour guard shift, so maybe you sleep 3 - 4 hours a night, but you do n't really sleep. I do n't think I can keep this up for a year, grandma - I think I've made a big mistake coming here. As he speaks, we cut around to various shots of the platoon members on the perimeter - shaving, eating, cooking, playing, etc.",
"EXT. PLATOON PC - NIGHT Towards the end of this voice over, we cut to Sgt. BARNES moving towards the PLATOON PC. A powerful face, a quiet, angry fixed stare, a thick trimmed moustache that helps conceal a network of plastic surgery grafts and scars. The distortion from the jaw up the left side of his face to his forehead, punctuated by a severe indentation above the left eye where a bullet once penetrated his skull. Walking with him is Sgt. O'NEILL as they join WOLFE, Sgts. ELIAS and WARREN at the PLATOON PC where they're huddled over maps. Warren is a black, thin, tall, paranoid man with untrusting eyes, silent and bitter. BARNES -LRB- to all, almost pleased about it. -RRB- We got boo - coo movement. 3rd Battalion just got hit 15 kliks north of here. -LRB- the MEN react with wary silence. -RRB- O'NEILL -LRB- eager to elaborate. -RRB- Yeah, they had claymores strung up in the trees, blew a whole fucking platoon to pieces. BAAD SHIT. Barnes inflects his next words at Wolfe, who is worried. BARNES Yeah, they got two Lieutenants and a Captain. WOLFE Jesus. Elias quiet. Barnes studying the map. WOLFE -LRB- CONT'D. -RRB- -LRB- to Barnes. -RRB- Who do you want on ambush, Sergeant? Barnes does n't bother acknowledging the question, barely glancing at the Lieutenant, to him a necessary evil. Everybody knows who's really in charge of the Platoon. Barnes flicks his gaze to Elias. BARNES Elias - you take your squad and I'll take Tex and Francis from your squad. -LRB- to Warren. -RRB- We move out in two - zero mikes. -LRB- concluding. -RRB- ELIAS I thought it was O'Neill's turn tonight. They all look at each other. O'Neill spits in the dust, a freckled, short red head with a hard worried face, a lifer, 30 going on 60. O'NEILL Shit! Morehouse and Sal are short. Fu Sheng's going on R&R, you do n't want to send their asses out on an ambush. You got the fresh meat Elias. ELIAS -LRB- to Barnes. -RRB- They do n't know shit Barnes, and chances are we gon na run into something. O'NEILL So what am I going to do! Get one of my guys zapped so some fuckface fresh from the World can get his beauty fucking sleep! ELIAS Hey O'Neill why do n't you cool it, you do n't have to be a prick everyday of your life, you know. O'NEILL Fuck you Elias. BARNES You get your men ready Elias. Concluding the debate, no further argument, Barnes rises. The meeting's closed. Lt. Wolfe has n't said a word, looking as Elias departs, without a word. O'NEILL -LRB- watching him. -RRB- Fucking guy's got 3 years in and he thinks he's Cochise or something. His resentment directed partly at the way in which Elias carries himself, the natural sense of grace - and the dignity it bestows. CUT TO :",
"EXT. PLATOON PERIMETER #1 - SQUAD ASSEMBLY POINT - DUSK Later. On the very edge of the perimeter, darkness coming down fast, the men in the ambush patrol rustle into their packs, all of them bitching. Tex, carrying the M - 60, looks up at the glowering sky. TEX Shit, looks like rain. All night too. Gon na grow mushrooms in your bad - ass crotch Junior. JUNIOR -LRB- under his breath. -RRB- Goddamn ai n't no justice round here, you break your ass for de white man. gon na get our act together, do some rappin' wid de brothers, change things. CRAWFORD What's O'Neill have a nose up the lieutenant's ass already, how come we always get ambush. FRANCIS Politics, man, politics. We always getting fucked around here. Chris is scared, nervous with his last - minute equipment adjustments, his pack obviously overweight for a night mission as he hauls it up. Gardner, the other new boy, is jovial in contrast, his wallet extended towards Chris. GARDNER Hey Chris, I show you a picture of Lucy Jean? CHRIS -LRB- not to be bothered. -RRB- No. Gardner shows him his girl. She's real dog u - g - l - y, and what makes it worse is Gardner's put the standard photo of Raquel Welch alongside it, tits and all. But he misses the irony of it. GARDNER -LRB- admiring. -RRB- Yeah she's the one all right. that's Lucy Jean. She's a - waiting for me. CHRIS -LRB- nodding. -RRB- Yeah she's real pretty, you're lucky. Gardner puts it away. Elias appears alongside them, checking their packs out, takes out Chris's poncho liner and other items. He carries a modified M - 16 with a short barrel and a collapsible stock. ELIAS -LRB- to both boys. -RRB- Do n't need this or this. you're doing okay. Just stick close to Tex, do what he does. -LRB- calling out to Tex. -RRB- Tex you got Junior and Taylor here on your position. Tex is a sour Texas Ranger type, chews tobacco, spits. TEX Damn, ` Lias this gun's boss. Put Taylor someplace else. Chris feels the words like lashes on him. ELIAS You got Taylor. -LRB- to Gardner. -RRB-. Gardner you go with me. -LRB- to Chris and Gardner. -RRB- ` Case somethin' happens to you, you get separated or lost do n't yell out okay. Sit tight. We'll get to you. His eyes. Chris watching them. A smile in them. Elias moves off, a quality to the man that Chris admires. A natural sense of leadership. BARNES Okay, let's move out. As he follows King, on point, out the perimeter. A single file.",
"EXT. THE AMBUSH NIGHT (RAIN) Night is coming down. The tone of the jungle sounds has subtly shifted - mellower, more sinuous and certainly scarier. The file stops. King, an experienced point man, listens. Chris - carrying Tex's linked ammo - looks around, tense. Behind him is Gardner, trying to smile, starts to whisper something -LRB- ` Hey Taylor.' -RRB- when he's abruptly shushed. The file moves on. Gardner's pack rattling a little too loud. A weird rush of cold wind now rattles the trees and the MONSOON comes. A hard slanting rain, sudden, tropic.",
"EXT. RUINS - JUNGLE - NIGHT (RAIN) A piece of an old Buddhist temple, under a sulky moonlight now in a state of decay, the jungle surging to engulf it. The Men are setting up quickly and relatively quietly in the ruins - alongside a miniscule trail. The rain is coming down harder than ever. Chris and Tex setting out their claymore mines, raveling back their detonating cords to their position, drenched. In the far distance, an ILLUMINATION ROUND brightens the sky for a brief moment. Various ad lib curses and directions are lost in the sound of the rain.",
"EXT. AMBUSH - BARNES' POSITION - NIGHT (RAIN) At the Ambush CP, Ace whipsers into his radio. A soft hissing sound.",
"EXT. AMBUSH - CHRIS'S POSITION - NIGHT (RAIN) Later. Close on Chris being shaken awake. TEX Taylor, you're on. CHRIS -LRB- groggy. -RRB- Uh hunh. The rain continuing to pelt them. Tex hands him an infrared scope. TEX -LRB- suspicious. -RRB- You sure you know how to work the claymore? CHRIS -LRB- offended. -RRB- Sure. Tex curls up as best he can in his poncho to sleep. TEX Okay. do n't catch no zzz's on me buddy or I'll sling your motherfucking ass. You hear me? CHRIS -LRB- grits his teeth. -RRB- Yeah. -LRB- looking at his watch. -RRB- Hey Tex - you're ten minutes fast. TEX Sin Loi. -LRB- ` tough luck', closes his teeth. -RRB- Chris lets it go, scans the jungle and trail with the scope. The POV is greasy and blurred. He puts it aside. Suddenly a series of resonant SNORES crack through the jungle. Chris starts, then sees it's from JUNIOR lying out there, spreadeagled in the rain. Chris prods him. CHRIS Junior! JUNIOR Unh? Unh. CHRIS Shaddup! You're snoring. Shhh. Bending low into his eardrum. Junior never wakes, rolls over with a growl. Silence. CUT TO :",
"EXT. CHRIS' POSITION - NIGHT (RAIN) Later. A pool of muddy water has formed, in which a pair of buttocks sit. Move up to Chris still on duty, looking at his watch, drawn, drenched, pathetic, rainwater coursing down his face. CHRIS -LRB- V.O. -RRB- -LRB- continuing his letter. -RRB-. ` Course Mom and Dad did n't want me to come, they wanted me to be just like them - respectable, hard - working, making $ 200 a week, a little house, a family. They drove me crazy with their goddamn world, grandma, you know Mom, I do n't want to be a white boy on Wall Street, I do n't want my whole life to be predetermined by them. A large RIPPING SOUND as the wind blows down a big tree branch onto the jungle floor. He starts, peering out. Nothing. He looks at his watch again. CHRIS -LRB- V.O. ; CONT'D. -RRB- I guess I have always been sheltered and special, I just want to be anonymous. Like everybody else. Do my share for my country. Live up to what Grandpa did in the First War and Dad the Second. I know this is going to be the war of my generation. Well here I am - anonymous all right, with guys nobody really cares about - they come from the end of the line, most of'em, small towns you never heard of - Pulaski, Tennessee, Brandon, Mississippi, Pork Bend, Utah, Wampum, Pennsylvania. Two years' high school's about it, maybe if they're lucky a job waiting for'em back in a factory, but most of'em got nothing, they're poor, they're the unwanted of our society, yet they're fighting for our society and our freedom and what we call America, they're the bottom of the barrel - and they know it, maybe that's why they call themselves ` grunts' cause a ` grunt' can take it, can take anything. They're the backbone of this country, grandma, the best I've ever seen, the heart and soul - I've found it finally, way down here in the mud - maybe from down here I can start up again and be something I can be proud of, without having to fake it, maybe. I can see something I do n't yet see, learn something I do n't yet know. I miss you, I miss you very much, tell Mom I miss her too - Chris. He moves towards Junior, shakes him, but Junior seems to be out of this world. CHRIS -LRB- CONT'D. -RRB- Wake up! Junior opens one dead eye. CHRIS -LRB- CONT'D. -RRB- It's your shift, man. Junior scowls, swears, looks around for his rifle in the mud. Chris crawls back to his position, curling himself up in his soaked poncho, teeth chattering from the cold, rain splattering over him. A long beat. He sighs, the sigh kicking off the next image.",
"EXT. CHRIS' POSITION - NIGHT Chris jerks awake - very suddenly, very frightened. THE RAIN HAS STOPPED. The jungle sounds are loud. Cicadas, night animals, water dripping hypnotically from leaf to leaf. And the whirr of a million mosquitoes out after the rains, chewing at Chris' face. He looks around, startled. Tex is asleep. Junior is asleep. What happened? He looks at his watch. The mosquitoes are eating him alive. He buries his head in his green towel which he wears around his neck, but he ca n't see. A beat. He moves again, miserable from the bites. Another beat. Then suddenly the sounds of the jungle shift - some of the animals dropping out. A different tone. A piece of wood is stepped on, a rustle of bush. Chris sees something, lifts an edge of the towel to peek out. A shoadow of a figure is frozen there in front of him about 15 yards. It looks like a man. But it does n't move. At all. It listens. Chris, his heart in his mouth, tries to peer through it. It's a bush. It has to be. No human being could stand that still. His heartbeats are up. The moments take forever. But deep down - somewhere in his psyche - he knows who it is. The figure now shifts, ever so slightly - and moves. It IS a human being. Oh my God! Chris looks around. Tex seems like a mile away. Why does n't anyone fire! He casts a desperate look at his rifle, at his grenades encrusted with mud, but in spite of all his training, he is frozen with indecision and fear at the sight of his enemy. The figure seems to whisper something back, then turns and comes down the trail. Now a second and third figure appear behind him - all in helmets and packs. All coming right past Chris' position. Ten yards. Nine. Chris is rigid with terror. Stark eyes. Pleading with Tex to wake up, but out of reach. He is about to have an anxiety attack, his heartbeats so far up he is sure they will hear him. The first figure is now directly in front of Chris on the trail, looking left and right. A rattle of his equipment, a creak of leather. A smell. The man's face now catches the moonlight and his eyes come around on Chris. Oriental eyes. Looking right at him. Startled. Chris staring back, hypnotized. It all happens very fast. The figure murmurs something in Vietnamese. A warning. He swivels. A flash of muzzle fire. A raking cough of automatic fire. A grenade explosion. Chris is hurled to the ground, helmet bouncing off, scattered, confused, jarred. All hell breaks loose around him with NOISE and SHOUTS. Tex, kissing the ground, is yelling at him. TEX THE CLAYMORE! GET THOSE FUCKERS! Chris, not knowing what he's doing, is fumbling with the claymore handles, presses them. INSERT : They wo n't give. He tries again and again to the squeeze the life out of them. Tex is screaming at him. TEX -LRB- CONT'D. -RRB- THE SAFETY! TAKE THE SAFETY OFF YOU. Lunges over and grabs the handle from Chris. Clicks the safeties off and blows them. Three EXPLOSIONS rip out into the night - and one of the ENEMY is caught in a brief instant looking like an X - ray, his body lifted and swirling in the air, then enveloped in swirls of smoke. Chris, trying to keep up, grabs his M - 16, lays out a stream of fire. The sound all around him is deafening.",
"EXT. GARDNER'S POSITION - NIGHT Gardner, freaking out, stands crouched, confused, tries to run, collapses.",
"EXT. O'NEILL'S POSITION - NIGHT O'Neill throws a grenade, wild.",
"EXT. CHRIS' POSITION - NIGHT An explosion. Chris hits the deck. Tex is now on the M - 60 machine gun, yelling at Junior who is cringing on the ground. TEX Feed me! He lays out red tracer bullets like laser beams, then suddenly reels back, whiplashed, screaming. A grenade explosion rocks them. TEX -LRB- CONT'D. -RRB- AAAAAGHHH! MY ARM! MY ARM! His hand and wrist are gone, his face in the dirt. Junior is fumbling around, trying to stay down and help him at the same time. JUNIOR -LRB- grabbing Tex's gun. -RRB- DOC! GET UP HERE! TEX IS HIT! Chris, looking out to his front, has no clue what's going on. Except the fire is slacking. Relayed shouts of ` Medic! Medic!' Other SHOUTS. SHOUTS HOLD IT UP! HOLD IT UP! The firing has ceased. A silence, punctuated by occasional shouts and fast moments, has enveloped once more the cemetery. Doc crashes through the bush, kneels over Tex, who continues to howl in deep pain. TEX -LRB- freaked out. -RRB- MY ARM! JESUS FUCKING CHRIST! DOC Easy Tex easy boy! Trying to sound calm but his voice is on the edge, examinging the mutilation with a pen flashlight, he whips out his morphine in a big hypodermic. VOICE -LRB- next position. -RRB- Doc over here! Gardner's hit. DOC ` Right there. As he slips the morphine into Tex's arm. TEX -LRB- muttering at Chris. -RRB-. godamn! Godamn! DUMB FUCKER, DUMB FUCKER! Chris watching, suddenly feels himself dizzy, instinctively runs his hands over the back of his neck. Feels the warm blood there. A moan comes from his lips. Junior looks at him. JUNIOR Oh shit, Doc he's hit too. CHRIS -LRB- weakly. -RRB- I'm hit. Barnes and Big Harold come hustling up. Doc finishes tourniquetting Tex, cradles Chris onto the earth, his flashlight probing the wound. Tex in background continues to thrash and moan. Chris waits, tensely for the verdict, his eyes big with fear on Doc, who takes out his morphine. JUNIOR -LRB- to Barnes, pointing at Chris. -RRB- That dumb fuck did n't blow his claymore! Chris hearing this. Barnes looks at him. DOC -LRB- to Chris. -RRB-. it's a scratch, nothing to worry about. CHRIS -LRB- suspicious. -RRB- Doc. tell me the truth, do n't lie to me. The needle goes in. Tex lets out this strange keening moan that sets everyone's teeth on edge. JUNIOR -LRB- to Barnes. -RRB- He let'em walk right up on us. He was sleeping on his shift. CHRIS -LRB- muttering weakly. -RRB- I was not. it was your. DOC -LRB- leaving, to Harold and Junior. -RRB- Self - preservation's the first law of nature. Got ta learn how to work your shit Taylor. Watch me, do n't let'em go into shock. Tex's moans are maddening and scary. Barnes suddenly clamps his hand over Tex's mouth shutting him up and from way down deep in his throat, chokes out the words. BARNES Shut up! Shut up - and TAKE IT! TAKE THE PAIN! Tex's eyes roll wildly, uncomprehending. Doc and Big Harold looking at Barnes, wondering. Tex is suddenly silent, shocked. Barnes stands, an icy glare, goes. Junior scrambles over to Tex's side. Doc runs off. Big Harold cradles Chris, his big black hands like a mother, reassuring him. BIG HAROLD You gon na be okay Taylor, okay, do n't you start worrying now. Chris looking up at him, eyes blinking slowly, dazed already by the morphine. He's very scared. CHRIS Do you. do you know you're gon na die. Big Harold? do you feel like. like. everything's gon na be fine and then. BIG HAROLD Bullshit man, you gettin outta the field, man. Three hots a day, white sheets, dem pretty white nurses give you blowjobs too you pay em enough, I heard tell bout dem white bitches. Better save yo strength Taylor. JUNIOR -LRB- muttering darkly. -RRB- Don babytalk him man. Cocksucker fell asleep. They walked right up on us, he don do shit. BIG HAROLD Shaddup bitch. Chris is gettin woozier, feeling he is dying but starting to grin, not caring about it anymore. Yet he is nowhere close to dying. CHRIS It's not. so bad. dying. How long. it.",
"EXT. TRAIL - RUINS - POSITION #1 - NIGHT Barnes stands over a moaning, ripped up ENEMY SOLDIER. FIRES his M - 16 point blank into the head. The Soldier bucks and dies, quivering.",
"EXT. TRAIL - RUINS - POSITION #2 - NIGHT ELIAS, checking out a blood trail some distance away, shifts on the shot, looks back.",
"EXT. TRAIL - RUINS - POSITION #3 - NIGHT FRANCES, MANNY, BUNNY and KING are huddled over another mangled enemy corpse. BUNNY -LRB- stripping the corpse. -RRB- That's no NVA man. That's a chink - look at'em, the cocksucker's six and a half feet tall. Look at his gear - good as ours. FRANCIS Shit I blew my claymore right in one dude's face and I seen him walking around afterwards. MANNY What we fighting here, vampires?",
"EXT. TRAIL - RUINS - POSITION #1 - NIGHT Elias comes up to Barnes swiftly, indicating the blood trail leading off into the bush. ELIAS Blood trail just keeps going and going but no body. BARNES How the hell did he get away? ELIAS Fuckers returned fire soon as we lit'em up. Hard core fuckin' NVA. They got their shit together. RING -LRB- coming up to Barnes. -RRB- Sarge - Doc wants you. There's a problem with the new man. Elias and Barnes go with King. Past Chris and Tex who are ambulatory and bandaged, being helped along. As Barnes passes, the men look at him, everybody quickly senses something is wrong.",
"EXT. GARDNER'S POSITION - NIGHT At one of the positions Doc is working feverishly to knock the life back into Gardner who lies there, his shirt stripped off on his cottage cheese belly. A huge sucking chest wound. He's dying. You know it because he knows it. The eyes do the talking, numb, terrorized yet strangely detached, accepting, not protesting or concerned any longer. Most of the ambush has assembled and is watching, Chris moving in to see. Doc is mumbling to him, low key. DOC Chopper's on the way Gardner, hang in there, you gon na be okay. But Gardner seems unconcerned. Things are going on in his head - who knows what. And in his eyes there are big tears rolling. Then a morphine smile. A sort of goofy Gardner smile, maybe thinking about Lucy Jean, who knows. He's dead. BARNES -LRB- to all. -RRB- Take a good look at this lump o'shit. -LRB- motions to Gardner's body. -RRB- Rmember what it looks like, all of you. You fuck up in a firefight and I guaran - goddamn - tee you, a trip out of the bush - IN A BODYBAG. Out here, assholes, you keep your shit wired tight at ALL times. -LRB- glares directly at Chris. -RRB- and that goes for you, shit for brains. You do n't SLEEP ON NO FUCKIN' AMBUSH. Next sonofabitch I catch coppin' z's in the bush I'm personally gon na take an interest in seeing him suffer - I SHIT YOU NOT. He thumps Chris lightly but menacingly in his chestbone and moves on. CHRIS -LRB- drowsy. -RRB- I did n't fall asleep, Sergeant, Junior. BUNNY -LRB- pissed, cuts in, shoves him hard. -RRB- Shut your face chicken shit! You in big trouble boy! O'NEILL Excuses are like assholes, Taylor - everybody got one. ELIAS Knock it off! We got two men need attention here. Police up your extra ammo and frags, do n't leave nothing for the dinks. Hoyt, Junior, carry Gardner. JUNIOR -LRB- muttering. -RRB- Let de white boy carry his ass, he this dude that got him fucked up. Who'd be hauling his ass if that was a brother laying there? Elias follows Barnes out of earshot of the others. ELIAS Man'd be alive if he'd had a few more days to learn something. Barnes, registering it, just keeps on walking.",
"EXT. BASE CAMP - DAY (WEEK LATER) Chris is driven up in a jeep to his Company PC - marked ` Bravo PC' on a C - ration box. It's midday on a hot lazy afternoon, few people out in the 102 degree sun. Chris' Company is on the outskirts of the base camp, their barracks regulation wood, canvas, and fine mesh screening, red dust everywhere, bunkers down on the perimeter, reams of barbed wire and concertina, a sand - bagged MESS HALL and CHAPEL, 81 mm mortar pits, observation towers, recoiless rifles, 50 - caliber machine guns. Chris gets out of the jeep, stiff - necked, a bandage around it, still in some pain. The first man he intersects is KING, carrying crates of beer. KING Hey Taylor, what's in the breeze? In King's mild tone Chris tries to read his standing in the platoon. CHRIS Okay - got light duty, three days. KING Shit, too bad we in base camp anyway. CHRIS What you got there - beers? KING Yeah, just stole me some from the Top's supply but he's stealing it from us anyway. -LRB- sees somebody coming. -RRB- Chucks are coming. You better ` didi' man. Too late. Sgt. O'NEILL, the redhead lifer accompanied by Spec 4 SANDERSON, a big handsome blond kid, not too bright in the face, both slightly drunk, come around a corner, beer cans in hand. O'Neill sees Chris immediately. O'NEILL Hey Taylor - you back? CHRIS -LRB- pause. -RRB- Uh, looks like it? SANDERSON -LRB- spotting King's beer. -RRB- Where'd you get that beer King? KING -LRB- a funny look. -RRB- I found it. SANDERSON You found it? Bullshit! You going on report. Gimmee that shit. O'NEILL Awright, come here both of you. You too Taylor. -LRB- wags his finger. -RRB- Got a little special job for you. They advance toward him reluctantly. CHRIS I got light duty, Sarge. Doctor said to take it easy couple days. O'NEILL -LRB- laughes. -RRB-. ai n't that tough shit now.",
"EXT. THE OUTHOUSE - DAY A wooden cabin with some half - dozen seats built over half barrels cut from empty oil drums. A guy is in there, pulling up his pants. Chris, King and Crawford, a California blond with a handsome honeyed look, are sweeating heavily as they roll the barrels out from under the outhouse, the smell of human waste strong. A hot midday emptiness, nobody around except the flies. KING -LRB- pissed. -RRB-. Motherfuckah, motherfuckah, I'm too short to be dealing with this shit! They keep fucking with us man, no letup. CRAWFORD -LRB- equally pissed. -RRB- Politics man, fuckin' politics. That O'Neill man got his nose so far up Top's ass he got ta be Pinocchio. KING Forty - two days man and a wakeup and I'm a gone motherfucker. Back to de WORLD. -LRB- dreaming in his eyes. -RRB- CRAWFORD Broke a 100. Got 92 to go. April 17. DEROS man. California this summer. Waves are good they tell me, surfin's gon na be good. KING March man in Tennessee, sniff the pines. sniff that crossmounted pussy walkin' down by the river. What you got Taylor? -LRB- a snicker. -RRB- Let's see three hundred and WHAT? CHRIS 32. 332 days. CRAWFORD -LRB- groans. -RRB- Oh man! Sorry bout that. I ca n't even remember when I was 332. You got ta count backwards like you got 40 days in - think positive. KING -LRB- to Chris. -RRB- How the fuck you get over here man, you look like you educated. CHRIS I volunteered. KING You WHAT? Say ` gain. CHRIS Yeah, I dropped out of college and told'em I wanted infantry, combat, and Nam. He grins, finding their reactions funny. It's also the first time we've seen Chris crack a smile. CRAWFORD You volunteered for this shit man? KING You a crazy fucker, givin' up college man. King has long sleepy eyelids and cat's eyes, a large pink tongue and big white - edged cotton picker's nails - a lazy, gentle nature, content with the world. CHRIS Did n't make much sense. Was n't learning anything. -LRB- hesitates. -RRB- And why should just the poor kids go to the war - and the college kids get away with it. King and Crawford share a smile. KING What we got here a crusader? CRAWFORD Sounds like it. They pause, wipe the sweat off. King lighting up a half - smoked joint, hitting a few puffs, eyes shooting around, making sure he's not spotted, passing it to Crawford. KING Sheeit, got ta be rich in the first place to think like dat. Everybody know the poor always being fucked by the rich. Always have, always will. Noticing Chris is having trouble with his neck, picking at his bandage. KING -LRB- CONT'D. -RRB- You okay man? Neck botherin' you? CHRIS Nah. KING Here have some of this. Wo n't feel a thing. Chris looking at the joint, a little apprehensive. He's never smoked. CHRIS No, thanks. KING Go on, whatcha got ta lose, yo' here now. CRAWFORD Kills the smell of shit anyway. The joint proferred. Chris waits a beat, shrugs, takes it, smokes. KING Suck it in. Hold it. That's it. Now let it out. Chris blows it out. CHRIS Do n't feel it. King and Crawford chuckle, go on rolling the cans. KING Dat's what they all say. CUT TO :",
"EXT. OUTHOUSE - LATER - DAY King, Crawford and Chris pour kerosene over the cans at a secure distance from the outhouse. King lights it. The cans pop and start crackling. A line of burning barrels. Rings of dirty black smoke rise against a soft blue sky. They watch, stoned. Chris turns to both of them. CHRIS you know that night we got hit. I. -LRB- ashamed. -RRB- KING Fuck it, do n't mean nothing, no such thing here as a coward, done your best man, next time y ` do better. CRAWFORD History, man, history. Chris surprised at their attitude. The joint suddenly hits him, a look in his face, eyes looking around different. Over at King. CHRIS -LRB- deadpans. -RRB- I think I'm starting to feel that stuff. Crawford laughes. KING -LRB- laughes. -RRB- Yo getting there Taylor. You be cool now and I'll introduce you ` round to some of the ` heads'. CHRIS What are the heads? KING -LRB- laughes, walks away with Crawford. -RRB- Later. Chris alone, breathes deep, feeling the full effect.",
"EXT. BASE CAMP - NIGHT A relief against the long harsh, hot day. We see lights on all over the camp, sounds of music, laughter from the barracks.",
"INT. UNDERWORLD HUTCH - NIGHT King leads Chris down to a specially constructed cellar - like hutch dug deep into the ground on an isolated edge of the battalion perimeter. Ammo casing and canvas are piled over it, and sandbags surround it. From the outside very little sound can be heard as they go down through a trap door made of ammo crates. Past a lookout -LRB- Adams -RRB- pulling security, hitting a joint but alert. King motions to him, it's cool. Inside is another world. Chris looking around amazed. It's like a private cabaret for the ` heads' who are there cooling out. Boxes of food from the States, beers, whiskey bottles, crates functioning as tables, hammocks hanging from poles, electric fans, tape decks, paraphenalia. The boys are all dressed up in their Saturday night rags. The clothes are clean, the headbands, the medallions are out, anything distinctive and individualistic. On the tapedeck, Jefferson Airplane's ` Go Ask Alice'. To Chris it is a new world. And RHAH, the resident head, sitting there in all his finery puffing a huge burning red bowl in a three foot long Montagnard pipe, seems to be the lord of final judgement in this smoky underworld. Across his naked chest, birds and snakes are tatooed. Around his neck a black skull and white ivory cross side by side. On his knuckles ` Love' and ` Hate' are tattooed. In his eyes, a dancing Satanic fire. A poor rural Southern white, in his grizzled late 20's, he could be a Biker King. Giving Chris the once - over. RHAH Whatcha doing in the underworld Taylor? KING -LRB- smiling. -RRB- This ai n't Taylor. Taylor been shot. This man Chris been resurrected. Chris wondering what he's doing here. His eyes roving over LERNER, CRAWFORD, MANNY, FLASH, FRANCIS, HOYT, TUBBS, DOC, other from the Platoon, about 9 or 10 of them. Rhah eyes him back, hands him the bowl. RHAH You lame Taylor? CHRIS What? RHAH You lame or something? KING -LRB- smiling. -RRB-. go ahead on, smoke it man. Chris understands, takes the bowl. Hesitates. Then smokes it. The contact fumes are almost enough to knock him out. He starts coughing. They're all laughing. RHAH Your shit's in the wind troop. Baaaaah! Lerner replies, his tongue hanging out in parody. LERNER And Baaaaaaa! back on you. RHAH -LRB- looking at Lerner with distaste. -RRB- If you're gon na do it man, ` least do it right. Building up to it, his eyes shaking with conviction at the whole insanity of the world, he neighs with all the venom he can muster. RHAH -LRB- CONT'D. -RRB- Baaaaaaaaaaaaaaaa! They all laugh and applaud. King smoking from the pipe passing it back to Chris who takes another hit, does n't cough this time, looking around, wondering about these guys. LERNER I did n't like it. RHAH Bah, you're a child, Lerner. Rhah do n't waste time on you. They go on ad - libbing with each other, teasing Doc, who's fairly straight, saying he wants to go to med school in the fall. ` Be what?'' A gynecologist, man.'' What dat?' Francis suggests, ` Dats a pussy doctor, man - he's gon na be Doctor Feelgood, man!' They're all cracking up, finding every joke funny. As Chris finishes his hit on the pipe, looks up across the smoke, already dazed, surprised to see ELIAS suddenly there - leaning out of his sling in a far corner of the hooch. A Monkey is draped around his neck with silver bracelets, rings, a necklace - like a sensual little Egyptian whore, Elias playing with it, spaced out in a sleeveless vest, tiger pants. Dancing eyes on Chris, he swings out the hammock, comes over with the monkey. Meanwhile Manny has broken into a high falsetto snatch of blues directed at Chris, joined by Big Harold and Francis, all of them clicking their hands. MANNY & BIG HAROLD & DOC Oooh Chris, you look like you is high oh yeah, he looks like he is high Ooooh Chris, you know you gon na be that way all night oh yeah I think that you are. Yeah! up now and up to par oh yeah. Elias pulls out a Remington 870 shotgun, jacks it to the rear, points it at Chris. ELIAS Put your mouth on that. Chris does so slowly, a little worried. Elias takes a hit and blows it down the bore - ` shotgunning' it into Chris' lungs. Chris staggers back, coughing. Everybody laughes ` hey dude - you done had your ass blown away' etc. Elias smiles his big white - tooth smile. ELIAS -LRB- CONT'D. -RRB- First time? CHRIS Yeah. ELIAS Then the worm has definately turned for you man. Chris puzzled by this expression. ELIAS -LRB- CONT'D. -RRB- -LRB- smiles. -RRB- Feel good? CHRIS -LRB- a sense of euphoria now. -RRB- Yeah. No pain in my neck now. Feels good. ELIAS Feelin' good's good enough. As he sucks in a huge mass of smoke off the bowl. His eyes performing a funny little hop, skip and jump, as he holds it, his face turning red. The monkey jabbers and jumps around on his neck, worried. Elias then blows the smoke out in its face, the monkey hating it. The Group laughes. ELIAS -LRB- CONT'D. -RRB- Hey Crutcher. I hear you got a Dear John from your gal. Told you she was n't getting ` nuff from you. Lerner looks up, stoned out of his mind, wearing a ring in his ear. LERNER Shit. Sold me out for some lame dude with a 4 - F. ELIAS What'd you say her name was again? LERNER -LRB- recalling her image. -RRB- Daisy Mae. BIG HAROLD Hey look at Charlotte! The monkey is sitting quietly stoned, its eyes blinking. Laughter off. ELIAS Daisy Mae! What Daisy Mae look like Crutcher? MANNY She look huge and got freckles on her ass. LERNER She look beautiful. FRANCIS How much she weigh man? BIG HAROLD She braid her hair under her armpits, Crutcher. FRANCIS -LRB- sarcastic. -RRB- Daisy Mae what? KING Daisy Mae Highway, that's what. -LRB- laughing. -RRB- Well whatcha want, Lerner, your dick been limp for a year, ` cept when you're bopping your buddy Tony up there. LERNER Fuck that. ELIAS I fucked this chick in Hawaii man. Couple weeks ago. Oooooh! Wow - outasight. Gracie Slick man, she looked like Gracie man, I shit you not. -LRB- remembering. -RRB- The look on his face ensnares all of them, except perhaps Rhah. MANNY What happened man. What whorehouse you go to? ELIAS No whorehouse man. On the beach. FRANCIS Sure. ELIAS Yeah, sure. She walked right by me. Long black hair, tits swinging. Ass like French bread. Legs do n't end right. LERNER -LRB- skeptical. -RRB- You can plant that shit in Tennessee man, but it wo n't come up in Texas. CRAWFORD So what she got, hair on her tits. ELIAS I just stopped man. My heart's beating like a hardon right I got a hardon sticking through my pants, my bathing suit looks like a hutch. BIG HAROLD I know dat feeling. ELIAS So I'm thinking to myself - Elias you walk away from this, you gon na regret this the rest of your natural life. So I go after her, follow her down the beach. You know find out if she is what she is. They're all hooked into this now. KING And? ELIAS Well she was picking up her kids. MANNY Dat's dat. ELIAS No, dat ai n't dat. FRANCIS Get outta here, she married. ELIAS Like two hogs in heat. Boy. Their throats knotting. CHRIS -LRB- joining in. -RRB-. But what'd she do? ELIAS What did n't she do. She fucked the living shit outta me, that's what she did! CRAWFORD -LRB- sucking in air. -RRB- Jesus! ELIAS Could n't get enuff. CHRIS But what'd she actually do? ELIAS She was a crossbreed, Chinese and Polish. BIG HAROLD What dat? RHAH -LRB- finally hooked in. -RRB- And living in Hawaii man? ELIAS Yeah - and has blonde hair and almond - shaped eyes. FRANCIS Hey man did n't you say she had black hair? ELIAS She had blonde hair man. And long tan legs, in those leather sandals you know, with those thongs up to her knees, this musky oil on it. mmmm smelled good when they were wrapped around my face. They groan, dreaming of Hawaii. DOC Yeah! CHRIS God! BIG HAROLD Please, somebody hold my dick! ELIAS -LRB- in afterthought. -RRB-. and a broken nose. DOC Broken man? ELIAS Yeah, otherwise she would've been too perfect, y' know what I mean. some woman. Her name was. He forgets it. A grass blackout. Lerner urging him on. LERNER Susan? MANNY Tamara? CHRIS Elizabeth? Elias shaking his head, trying to remember. KING Merle? RHAH Merle? Jesus! Patty? BIG HAROLD Inga? CHRIS Jennifer? HOYT Connie? Elias snapping his fingers. ELIAS Dawn! That was it! CHRIS -LRB- repeating it. -RRB- Dawn. King listening to the sound of it. KING Dawn? The others nodding, musing over it. BIG HAROLD Yeah, Dawn.",
"INT. THE BARRACKS - NIGHT In comparison to the darkness of the hooch, a highly lit atmosphere, attracting bugs. dusty gear lying around a disordered hooch, loud and finger - snapping COUNTRY WESTERN MUSIC playing from a tape deck, a well - known tune, circa 1967. BUNNY, the 18 year - old angel face, totters drunk with a Colt - 45 beer in hand, over to JUNIOR, the badass black kid with the zits, who just lies there on his cot sweating, doing nothing. BUNNY -LRB- listening to the music. -RRB- Listen to that shit, that's good shit! JUNIOR -LRB- irritated as always. -RRB- Fuck that redneck noise, dude. All dem chicks be rappin' how dey losin' der' ho's and how dey ai n't got no bread for beer. Fuck dat honky shit. Got to get me some motown jams, dig it? BUNNY -LRB- does n't understand a word of it. -RRB- Whaddaya talking shit for man. Hey Junior! Y' ever smoke any shit? JUNIOR Das right dude. You be tryin' to string de black man out on dat shit and keep him DOWN. Time's be coming, my man, when de black man's gon na throw off that yoke. BUNNY -LRB- lonely in his way for company. -RRB- Say I can dig it. Smoke that shit everything kinda gets weird y' know? -LRB- hiccups, sits. -RRB- Y' hear that story the gooks is putting chemicals in the grass so's we become ` pacifists' so's we don fight. -LRB- to no one in particular. -RRB- Where the hell's everybody, they ` se gettin high that's what - bunch of hopheads, they think they special. JUNIOR -LRB- turns away, bored. -RRB- Don you worry Bunny, youse a killer anyway. BUNNY Yeah but I still like a piece of pussy once in a while - ai n't nothing like a piece of pussy cept maybe the Indie 500. JUNIOR Youse so fucked up man. BUNNY Y' ever look at yoself in the mirror Junior, youse uglier than a dick on a dog man. -LRB- laughing. -RRB- JUNIOR Yeah, you had a piece of pussy on a plate in front of you, you'd probably kill it. BUNNY Shit, I bet I been laid more'n you have. JUNIOR Sure, you probably stick it in tween her knees and think youse there. BUNNY Yeah? JUNIOR Only way you'd get some pussy is your bitch dies and wills it to you - and then maybe. Lt. WOLFE wanders down the aisle, beer in hand, slightly lonely, bypassing FU SHENG, the Hawaiin and TONY, a mustached hairy - browed Italian kid from Boston, who are playing some kind of dice game. They hardly acknowledge the Lieutenant who stops by RODRIGUEZ, the Mexican - American kid who is on his cot in his neatly arranged area writing a letter home with a pencil, forming his words with his mouth, as always minding his own business. Religious objects comprise his few decorations. LIEUTENANT WOLFE -LRB- amiable. -RRB- How you doing Rodriguez? RODRIGUEZ Good sir. WOLFE Need anything? RODRIGUEZ No sir. Wolfe winks at him, continues on to the POKER GAME going on in the center of the barracks, the main action. BARNES, Sgts.O ` NEILL and WARREN, the quiet sullen black, SANDERSON and SAL play as ACE, the tiny radio kid, and MOREHOUSE look on ; all of them drinking beer and bourbon chasers from a bottle. WOLFE -LRB- to O'Neill. -RRB- How's it going Red? -LRB- using his nickname. -RRB- O'NEILL Shit, cocksucker's got all the cards tonight. WOLFE -LRB- to Barnes. -RRB- Looks like you're doing all right Sergeant. Barnes, raking in the chips, is the big winner, a light bead of sweat on his forehead and a somewhat glassy look to the eye the only indication he is drunk - his shirt peeled off revealing a muscular, scarred body. BARNES Yeah, and I ai n't even cheating yet. SANDERSON -LRB- the big blond kid. -RRB- Have some Kentucky windage Lieutenant. -LRB- passes him the bottle of bourbon. -RRB- Wolfe takes a nip. BARNES Play Lieutenant? WOLFE Nah, I would n't want to get raped by you guys. O'NEILL What are you saving up to be Lieutenant - Jewish? Laughes. Wolfe forces a smile, glad to move on. There is a continual worried rodent air about him, an anxiety, a desire to fill the vacuum in his leadership with a false masculinity. WOLFE Catch you men later. Enjoy yourselves. As he goes, O'Neill shakes his head after him. O'NEILL Sorry ass motherfucker ai n't he. You think he gon na make it Barnes? Barnes plays a card, glances, a minute movement of his head. O'NEILL -LRB- CONT'D. -RRB- Yeah that's what I figger. Some dudes you jes' look in their faces and you KNOW they just ai n't gon na make it. Barnes looks - with some irony - at O'Neill. The Country Western tune has reached a crescendo whine which now mixes into :",
"INT. UNDERWORLD HUTCH - NIGHT Francis, the baby - faced black, and Manny, green shades covering his skinny face, lead with a high blues falsetto. FRANCIS AND MANNY -LRB- singing. -RRB- ` People say I'm the life of the party cause I tell a joke or two Although I may be laughing loud and hardy Deep inside I'm blue. The Hutch looks now like a Turkish bath with minimum visibility, the smoke fumes dense. They are all up dancing on their feet - King, Tubbs, Big Harold, Hoyt, Lerner, Crawford, Flash, Doc, Elias - a few light gestures with their hands above shoulder level, passing around the grass pipes while they shuffle, fingers clicking. The song - Smokey Robinson's `` Tracks of My Tears'' - accompanies them from a vintage tapedeck. ALL. Since you've left me, if you've seen me with another girl seeming like I'm having fun although she may be cute she's just a substitute because you're the permanent one.' King and Big Harold wave Chris into the Circle and he starts swaying with them, feeling as if he's being accepted into a new family. Rhah watches it all, puffing away on his magic dragon pipe, the shadows dancing on the walls. It looks like a Saturday night dance party. A yearning for tenderness, for feminity, for a moment of peace in this nightmare life. Their eyes closed, thinking of dance partners that ca n't be here tonight. Singing their souls out. ALL -LRB- CONT'D. -RRB-'. So take a good look at my face. You'll see the smile looks out of place. Look a little bit closer. It's easy to trace. The tracks of my tears.'",
"EXT. JUNGLE - NVA BUNKER COMPLEX - DAY An overwhelming 103 degree heat. Chris is once more on point, a little better now but obviously struggling with a thick unyielding bamboo thicket that forces him forward in a caveman crouch. Napalm jelly is hanging from the trees in great canopies of spider webs, obliterating the sky. CHRIS -LRB- V.O. -RRB- New Year's Day, 1968. Just another day. Staying alive. There's been a lot of movement neat the Cambodian border, regiments of NVA moving across. A lot of little firefights, ambushes, we drop a lot of bombs, then we walk through the napalm like ghosts in a landscape. Chris working his way over twisted, broken stumps, branches. On the back of his flak jacket he's written, ` If I die bury me upside down so the whole world can kiss my ass'. BARNES Pssst! The signal for silence. Chris freezes. Barnes edging up to him. BARNES -LRB- CONT'D. -RRB- -LRB- whispers. -RRB- Bunker. CHRIS Where? Does n't see it. Following Barnes' imperceptible movement of his head. The bunker, dug into the ground and camouflaged with brush, is staring right at him, not more than 20 feet away. Chris is a dead man if. Barnes, checking the terrain, signals radioman Hoyt. Barnes edging up to the bunker, eyes everywhere. Chris following. The tension builds. They come up to the edge of it, peer in. Nothing. Barnes walks around it, slips in from back. Chris covers him, other guys coming up now, making a small perimeter. Chris now starts to see things he did n't see. Right in front of his nose - there is a trench from this bunker to another and another. There is now in his view a complex of bunkers and thatched hootches and lean - tos all blending into the forest. A ghost city. Elias and others fanning out now, careful. whispered conversations in the wind. Chris moves past a rope with freshly washed laundry stretching between two trees, clothes stirring in the wind. He looks up as King points out a treehouse, then looks down as Lerner whispers something and points - NVA rucksacks are laid out on the ground in an orderly platoon - sized pattern. CUT TO :",
"INT. NVA BUNKER - TUNNEL POSITION - DAY Elias goes down into a dangerous - looking TUNNEL, on a rope with a.45. Barnes watching him. We sense Elias loves the danger, smiling.",
"EXT. NVA BUNKER - COMPLEX - MAIN POSITION - DAY Lt. Wolfe signals Manny and Chris out onto the two flanks.",
"INT. NVA TREEHOUSE - DAY Rhah and King explore a treehouse. Rice stores. Rhah, an experienced soldier, seems tense, moves cautiously, expecting booby traps.",
"EXT. NVA BUNKER - WARREN'S POSITION - DAY Sgt. Warren cautiously explores another bunker, probing a little tunnel in the bottom of it with a stick. Bunny, having a small frame, goes down into it, fearless.",
"EXT. NVA BUNKER - MANNY'S POSITION - DAY Manny, the skinny black boy with the coloured beads, is out on flank - alone, smoking a cigarette, humming.",
"EXT. NVA BUNKER - CHRIS' POSITION - DAY On the other flank, Chris, also alone, waits, listening to the sounds of the jungle. He too is smoking a cigarette. The eeriness is everywhere. Rays of morning light peeking through the cathedral dome of the jungle. Bird calls.",
"INT. NVA TUNNEL - DAY Elias climbs deeper and deeper into the hole, a rope attached to his waist leading out to the surface, his flashlight now coming around on a shaftway demarcating a TUNNEL that seems to stretch for at least 100 yards. The light revealing cobwebs all along it, but tall enough for a small man.",
"EXT. CHRIS' POSITION - DAY It's quiet, weird. Chris takes his pants down, squats. He thinks he hears something, tenses. There is a soft rustling sound now. And as he focuses on it he realizes it is coming from very close to him. Something light and sinuous moving over the leaves. He looks down. A bright yellow and orange - ringed krait viper is crawling right between his two legs. It stops, senses another life standing over it. Chris frozen with dread. The snake crawls on, pulling its long, long 15 foot body behind it. On Chris, eyes dilated, slowly regaining his breath looking around everywhere now.",
"INT. NVA TUNNEL - DAY Elias moving down the tunnel, fearless. We expect something any moment to come out and nail him but nothing does. He stops. His flashlight revealing a kitchen and an NVA hospital set up. A hammock swings as if someone just deserted it. In another hammock is a dead man. Elias advances cautiously.",
"EXT. NVA BUNKER - COMPLEX - SANDERSON POSITION - DAY Spec 4 Sanderson, the big handsome blond kid, is moving through an abandoned bunker. With him is Sal, a tough street kid with an intense face, all whiskered. Sanderson noticing now a metal box of 50 - caliber ammo, U.S. marking, half - buried in the ground. SANDERSON Hey look at that. He opens the case. Official - looking documents are inside, they glance through them, lighting cigarettes, the search over, successful, they relax. SAL -LRB- a worried type. -RRB- Leave it willya - it's gook shit. SANDERSON Nah this stuff's important. He puts the documents back in the ammo case, lifts it. It's the last thing he ever does.",
"EXT. NVA BUNKER - SANDERSON POSITION - DAY The ensuing explosion shakes the ground, obliterating both boys, brances, smoke and dust flying out.",
"EXT. NVA BUNKER - CHRIS POSITION - DAY Out on flank, Chris hits the ground, hugs it.",
"EXT. NVA BUNKER - COMPLEX - SANDERSON POSTION - DAY Barnes runs up. Black smoke sweeping through the trees. Sal suddenly appears, stepping out of the smoke, stunned. The front of his body is soaked in blood from a thousand shrapnel holes, his clothes shredded, he stares at Barnes, dazed. Both his arms are gone and blood is geysering out like a water fountain. He crumbles - dead or dying. BARNES Corpsman! He runs over to Sal, gets a hold of his face in a vicelike grip, enraged, tries to yell some sense into him. BARNES -LRB- CONT'D. -RRB- -LRB- directly to Sal. -RRB- Goddamit! Are you fucking kids ever gon na learn! Do n't you understand how easy it is to die! The Doc running up - one look tells us all we need to know. DOC Holy Jesus!",
"EXT. NVA BUNKER COMPLEX - MAIN POSITION - DAY Lt. Wolfe, shaken, is on the radio with Cpt. Harris, words garbled through the air, trying to describe a primal horror.",
"EXT. NVA BUNKER COMPLEX - SANDERSON POSITION - DAY Barnes moving through the wreckage - sees severed limbs sticking in a sandbag.",
"EXT. NVA BUNKER COMPLEX - MAIN POSITION - DAY Rhah crouches over a piece of leg tied into a hipbone and a rib.",
"EXT. NVA BUNKER COMPLEX - DAY Elias coming out of the tunnel, filthied.",
"EXT. NVA BUNKER - MAIN POSITION - DAY Elias coming abreast of Wolfe. ELIAS Tell Six we need engineers here, this pos. is crawling with traps. WOLFE They're on their way. -LRB- consulting his map. -RRB- There's a gook village half a klik downriver, Battalion wants us to move in and search it ASAP, something's going on. where's Barnes?",
"INT. NVA BUNKER - SANDERSON POSITION - DAY Barnes is still there in the wrecked bunker, squatting there staring as if his mind has disconnected for a moment. He reaches up, touches his scars. The look on his face suggests he is deeply wronged by this tragedy, that he is taking it very personally.",
"EXT. NVA BUNKER - MAIN POSITION - DAY Chris watches him from outside the bunker, awed. Barnes notices Chris watching him, takes a breath, stands. BARNES You gon na sit there and play with yourself Taylor or you gon na be part of my war. Awright, saddle up, let's go - Tubbs you got point. The men moving into jungle formation, silently. Chris walking over into line, stops for a moment - noticing a freshly - severed eyeball partially buried in dirt, staring up at him. He turns away, sickened.",
"EXT. NVA BUNKER COMPLEX - MAIN POSITION - DAY O'NEILL Where's Manny? WARREN Manny! Hey Buchanan. There is no answer. The men in the platoon start to look at each other, sensing more trouble. Elias heads into the bush after him. Barnes watches him go. Francis, his friend, and Tubbs and King follow. FRANCIS Hey man whatcha doing. where you at? Get your black ass back in here!",
"EXT. NVA BUNKER COMPLEX - MANNY'S POSITION - DAY Out on the flank position, where he once stood, Elias walks out, looks. The jungle is silent once again. Francis, Tubbs, King follow. The others - Barnes, Lt.Wolfe, Warren, Chris, Rhah. FRANCIS AND OTHERS -LRB- whispering loudly. -RRB- Manny? Manny? Their voices trailing off. Bird cries come back. Elias combing the ground for clues. nothing. Chris looking on, ca n't believe it, none of them can, a collective chill running through the platoon.",
"EXT. JUNGLE - DAY The Platoon moving downslope in the Jungle, their faces grim, quiet, deadly. King is on point. CHRIS -LRB- V.O. -RRB- We had to get to the village before dark so we left Elias with some men to keep looking and to wait for the engineers. But it was King who found him. about 1000 yards downriver, not far from the village - It was the end of the mystery. A moving shot approaching Manny. He's trussed with rope, arms behind his back. Throat cut, eyes startled open, mouth shaped in a scream of terror. Barnes, the other men looking. Chris. Barnes says it for everyone, ` The motherfuckers.'",
"EXT. VILLAGE - TRAIL - DAY They come up out of the jungle onto the side of a CART TRAIL, where a tiny village overlooks the river. The VILLAGE is poor, a series of thatched hutches made of C - ration cardboard and aluminum beer can sidings, faint whiffs of smoke coming from cook fires. Pigs and dogs wander about. An OLD VILLAGER watches them pass from his tillable plot, smoking a cigarette, one leg wrapped around his hoe, resting, no expression. CHRIS -LRB- V.O. -RRB- the village, which had stood for maybe a thousand years, did n't know we were coming that day. If they had they would have run. Barnes was at the eye of our rage - and through him, our Captain Ahab - we would set things right again. That day we loved him. A pig loiters along the trail, rooting. Bunny coming up on it with a smile. BUNNY Hey pig, pig - come here, pig, pig. The pig grunts. Bunny leveling his shotgun, fires point blank. A horrible squeal. Chris, directly behind him, looks disgusted.",
"EXT. VILLAGE - DAY Tony suddenly points, excited, calls to Barnes. TONY There goes one! Their POV - a young VILLAGER fleeing down the slope. Barnes does n't hesitate, nails him with a short volley of well - placed shots. BARNES -LRB- to Tony. -RRB- Check him out. He turns back into the village.",
"EXT. VILLAGE - DAY Troops fanning out over the village, some TWO DOZEN VILLAGERS scattering to collect their children, dogs barking. SGTS.O'NEIL AND WARREN Get em out! Get em out!",
"EXT. VILLAGE TUNNEL - DAY In another part of the village, Barnes hovers over a hole leading into some kind of tunnel. BARNES Get out of there you fuckheads move! Move! Fires a warning shot. Three VILLAGERS climbing out of the spider hole, arms raised, but not showing any emotion. Barnes turning to his radioman Hoyt and Big Harold accompanying. BARNES -LRB- CONT'D. -RRB- -LRB- to Harold. -RRB- Put'em in the pig pen. -LRB- to Hoyt. -RRB- There's more down there. Gim me your Willy Pete. Hoyt, with reluctance in his eyes, hands over a specially shaped grenade. Barnes stands over the hole, the grenade in hand. The three VILLAGERS who just came out of the hole, yell from the distance, to others still in the tunnel, pleading with them to come out. BARNES -LRB- CONT'D. -RRB- FIRE IN THE HOLE! Barnes throws the phosphorus in. A muted EXPLOSION. Then sizzling acidic fumes. Frying sounds. A hideous scream from somewhere deep in the hole. Hoyt, watching, is sickened. Barnes businesslike. The Villagers, in grief, howl and tear at their faces. FU SHENG -LRB- hustling up to Barnes. -RRB- Sarge, we found some shit! Barnes going with him.",
"EXT. VILLAGE - OUTSIDE HUTCH - DAY The sun is sittin there hot and high in the sky. Chris, strangling in heat, a demented look on his face, staggers into a hutch with Francis.",
"INT. HUTCH - VILLAGE - DAY Threadbare, poor, a typical Buddhist shrine in the corner, motes of light crisscross through the poor matting and c - ration sides. Chris edges over, pries up a floorboard, flips it over, scared. There's a tunnel inside. A long dark dangerous hole. CHRIS La Dai! La Dai! GET THE FUCK OUTTA THERE! FRANCIS Hey take it easy man. They're scared. CHRIS They're scared? What about me! I'm sick of this shit man, I `` m sick of this shit! They do n't want us here! Who do you think they're fighting for! GET OUTTA THERE! Francis does n't recognize him in his rage. Bunny now coming in, followed by O'Neill, drawn by the shouting.",
"EXT. VILLAGE - WEAPONS CACHE - DAY Barnes stares down at a WEAPONS CACHE buried cleverly underneath the ruce urns. Ace, Fu Sheng, Sgt.Warren, Lt.Wolfe, others, are digging it out. It's in white plastic wrappings - a load of AK - 47's, rockets, grenades, claymores, carbines, flares, NVA uniforms. A real find. SGT. WARREN -LRB- to Barnes. -RRB-. and over here there's enough rice to feed a whole fuckin' regiment. Barnes walking with him over to an undercover rice silo being dug out by Tubbs and Junior. Barnes looks it over. BARNES -LRB- to Warren. -RRB-. bring the honcho over here. -LRB- to Tubb and Junior. -RRB- Burn it.",
"INT. HUTCH - VILLAGE - DAY An Old Woman and her Son, a young man with one leg, throw up their hands, climbing out of the hole with stupid confused looks as Chris, shaking with his own sort of confusion and rage, cuffs them, hustling them out. The Young Man uses a pair of crutches for his blown - off limb, hobbling like a mangy three - legged dog. BUNNY Hey look at this! Ma and Pa Kettle here. Look at them - greasy gook motherfuckers! CHRIS Get up out of there! You see I did n't wan na hurt you. Why did n't you come out, when I said so hunh! Why? WHY! WHY? DO N'T YOU LISTEN. WHAT ARE YOU SMILING AT HUNH! FUCKING ASSHOLES! The couple, hands raised, muttering things in Vietnamese, do n't understand a word, shaking their heads stupidly and smiling that impassive Oriental smile which sends Chris into a rage only he can understand. His finger closes on the trigger of his 16. Francis, the baby - faced black, looks nervously, sensing the danger. Bunny amused, drawn in by Chris. O'Neill watches passively from the lip of the hutch. The Young Man continues to grin, not seeming to realize the degree of danger he's in, which is what Chris wants - a token sign of acquiescence. There is also the added element of showing off his manhood in front of an audience now. BUNNY Do'em man, do'em. Chris. The trigger. He pulls. But he ca n't quite bring himself to kill. The bullets exploding in the dirt at the edges of the young man's foot. CHRIS -LRB- demonic. -RRB- DANCE YOU ONE - LEGGED MOTHERFUCKER, DANCE! The Young Man hops up and down in a reflex fear of the sounds of the bullets as they thud into the dirt. Yet his eyes remain fixed on Chris in wonderment. Chris, firing out the magazine, seems to expend his bloodlust. He ceases, noticing - for the first time - the eyes of the Young Man. They are n't stupid - nor fearful - but filled with resignation and despair - a despair that Chris, in disgust of himself, recognizes. Chris lowers the rifle, silent. The Young Man's impassive face shines now with tears. That sad young look - as if death itself would've been a release. Chris turns his eyes away, an awkward sense of shame. FRANCIS -LRB- leaves. -RRB- Let's get out of here man. But Bunny takes up the slack, moves forward on the young man. BUNNY -LRB- to Chris. -RRB- You chickenshit man, they're laughing at you, look at them faces. That's the way a gook laughs. The Young Man nodding affable to Bunny and mumbling ingratiating words in Vietnamese. BUNNY -LRB- CONT'D. -RRB- Yeah sure you are, you're real sorry ai n't you. You're just crying out your hearts about Sandy and Sal and Manny - they're laughing at us! Their family is out there in the fucking bush blowing us away and they're laughing at us! O'NEILL -LRB- checking out the hutch. -RRB- Forget it will ya, let's go. Chris standing there, watching, sensing something awful is going to come and unable to do anything about it. It comes - suddenly and without warning. Bunny is looking at O'Neill, the Vietnamese couple are muttering something. In one fluid move, Bunny swivels and with unbelievable savagery clubs the young one - legged man in the side of the head with the butt of his 16. O'NEILL -LRB- CONT'D. -RRB- -LRB- stunned. -RRB- Hey what are you doing! BUNNY Fucker! The young man is groaning on the floor of the hutch. Bunny smashes him - again and again. BUNNY -LRB- CONT'D. -RRB- That's for Sandy! And this is for Sal! And this is for fucking Manny! This is for me! Chris watches, horrified. Never in his life has he seen something so horrifying as this. And yet he does nothing. He is part of it. BUNNY -LRB- CONT'D. -RRB- -LRB- stepping back, examines what's left of the head, amazed. -RRB- Wow! You see his fucking head come apart? Look at that. I never seen brains like dat before. Jesus fucking Christ. The Old Lady is shrieking, hovering over the body of her son. Bunny studying her. BUNNY -LRB- CONT'D. -RRB- Betcha the old bitch runs the whole show. Probably helped cut Manny's throat. Probably cut my balls off if she could. -LRB- to Chris. -RRB- Come on, man, let's do her. She cowers from him. Chris steps back, horrified. As is O'Neill, more puzzled than horrified. BUNNY -LRB- CONT'D. -RRB- -LRB- hitting her again. -RRB- Let's zap all these motherfuckers! Let's do the whole village! He backs out of the hutch, scared. Evidently Bunny is temporarily insane. But he spots O'Neill, yells at him. BUNNY -LRB- CONT'D. -RRB- GET BACK HERE YOU FUCKING COWARD O'NEILL. THIS IS FOR SANDY. THIS IS FOR SANDY MAN! AND SAL! AND MANNY! As he clubs her to death. On Chris' face, blood and brain tissue flying up into it.",
"EXT. CENTRAL AREA - VILLAGE - DAY A tiny knot of men are ringed around Barnes who is questioning a sturdy - looking man who is the VILLAGE CHIEF. He has been stripped of his shirt, scars all over his body, scared. He has his ID papers out, trembling, showing them to Lerner who speaks some pidgen Vietnamese. BARNES Where'd he get these wounds? Lerner translates, the man talking back. LERNER He says he was hit in a bombing raid. TONY He's a dink fosure. BARNES Ask him what the weapons are doing here? LERNER He says they had no choice. The NVA killed the old honcho when he said no. He says the rice is theirs. BARNES Bullshit. who the hell was the dink we just nailed on the riverbank? Chris and O'Neill come up, watch. Others coming from different places - sensing the narrowing drama. But half the platoon is still at work in the village. We hear shouts, grenade explosions, occasionally gunfire. LERNER He says he does n't know, NVA have n't been around in a couple of months. Maybe it was a scout or. The men around Barnes grumble. BARNES Yeah sure it was. What about all that fucking rice and the weapons. who they for? -LRB- looking at the Village Chief. -RRB- Cocksucker knows what I'm saying. do n't you Pop? -LRB- a blank look. -RRB- ACE You're goddamn right he does! Lerner translating. The Village Chief's WIFE is now on the scene, a middle - aged woman with angry features, yelling at Lerner trying to answer for her husband, a high - pitched barrage of indignant words directed mostly at Barnes, and interspersed with the spitting of her betel nuts on the ground. The Village Chief trying to talk her down. But things are definitely getting out of control. And the heat from the sun is only aggravating the situation, pounding down on the actors in the drama, their fatigues soaked in sweat and anger. LERNER -LRB- finally. -RRB- He swears he does n't know anything! He hates the NVA but they come when they want and. JUNIOR He's lying through his teeth! TONY Waste the fucker, then see who talks. BARNES What's the bitch saying? LERNER -LRB- overwhelmed. -RRB- She's going on, I do n't know - why are we shooting the pigs, they're farmers. they got to make a living, all that crap. The Woman is still ranting when Barnes turns to her, quite casually levels his M - 16, and puts a bullet in her head. She goes down as if pole - axed. A stunned pause. The Chief looking at his wife. The Villagers in background reacting. Wolfe looking. Chris looking, shocked. Doc, possibly the straightest of them all, very uncomfortable. They are all shocked insome way, but do nothing against the power of Banres. Barnes walks over to the pig pen with the other Villagers, very casually, confronts them. BARNES -LRB- to Lerner. -RRB- Tell him he talks or I'm gon na waste more of'em. Lerner shaken up, muttering to the Village Chief who is in shock, kneeling next to the body of his wife, muttering in a high whine of pain. BARNES -LRB- CONT'D. -RRB- Go ahead, Lerner, ask him. A group of Villagers huddle to one side. Lerner, shaken, is yelling at all of them, demanding an answer. LERNER They do n't know Sarge, they do n't know! -LRB- half believes it. -RRB- Barnes turns his attention on the other villagers, his intentions apparent. Everybody feels them. They're next. Barnes is unperturbed, very much in command of the situation, no rage, no emotions expressed. Chris has never seen such a thing in his life - but ca n't react. Ca n't stop it, just watches it like he's not quite there. The same goes for Lieutenant Wolfe, for all of them. The very outrageousness of Barns' killing seems to quell all protest. ACE -LRB- sensing the impending massacre. -RRB- Hey Sarge can we get in on this. Tony advances, the hairy Italian kid from Boston. TONY Let's go all the way, let's go for it! Let's do the whole fucking village. Come on, Sarge. Chris' eyes. Rodriguez next to him, is neutral but willing. Francis is hesitant. Fu Sheng and Junior are ready to go for it. Lt.Wolfe is powerless, frozen. Sgt.Warren stepping up. The massacre is just about to break. The Villagers know it, kneel in prayer, mutter. Barnes suddenly grabs and drags a young 19 year - old Woman, the Village Chief's daughter, across the pen, throws her down on her knees, in front of the stunned Village Chief. She's screaming. BARNES This his daughter, right? Lerner nods. Barnes pulls his.45, puts it alongside her head. BARNES -LRB- CONT'D. -RRB- -LRB- to Village Chief. -RRB- You lie. You Vee Cee. I caca ado Vee Cee! He chambers the.45, the Woman begging Barnes for her life, cradling his knees. He sticks the gun down above her skull. Chris wanting to cry out, to do something - but ca n't! A FIGURE suddenly flares out in the sun, advancing on them. It is Elias. ELIAS BARNES! Barnes looks around. They all look around. Elias walks right up to him, followed by his men - King, Rhah, Crawford, others from the rear party. He looks around. The corpse of the Wife. the Young Daughter sobbing. ELIAS -LRB- CONT'D. -RRB- WHAT THE FUCK YOU DOING! BARNES -LRB- pissed. -RRB- Stay out of this Elias. This ai n't your show. ELIAS YOU AI N'T A FIRING SQUAD, YOU PIECE OF SHIT! The stock of his rifle swings up fast and hard smacking Barnes full in the face, breaking two teeth. Barnes staggers back, hurt, bleeding. Elias is on him like a leopard. Battering him with his fists. They struggle in the dust, two titans, their faces equally consumed with rage, clawing, spitting, punching, kicking, pounding each other's skulls in the dirt. A dust storm swirls around them, the men closing around like excited apes at a bloodfeast. Most of the men seem to be pulling for Barnes - Chris just watching neutral. LIEUTENANT WOLFE BREAK IT UP! ELIAS! BARNES! But they rool on, smashing each other's faces in. Both quick, fast, agile, mean fighters. Sgts.O ` Neill and Warren drag them apart. BARNES You're dead, you're fucking dead Elias! ELIAS YOU - you're going to fuckin' jail, buddy, you ai n't getting away with this one! WOLFE All right! All right! All right! NOW BREAK IT UP. LET'S GO. They compose themselves, the Villagers looking on, grieving over their loss. WOLFE -LRB- CONT'D. -RRB- Alright, Six says torch this place! Blow the weapons in place. Round up all suspected Vee Cees and shake it up! We ai n't got much light left. ELIAS -LRB- to Wolfe. -RRB- Why the fuck did n't you do something Lieutenant! WOLFE What are you talking about! -LRB- turns away, goes about his business. -RRB- ELIAS -LRB- spins him around. -RRB- You know what I'm talking about! WOLFE No I do n't. I do n't know what the fuck you're talking about, Elias! -LRB- goes. -RRB- Who wants to be reminded? A silence of shame. The Men moving away, Warren, Ace, Tony, Rodriguez, Barnes looking back once, a cold glare. The Village Chief is a broken - looking man, huddled over his wife's body. Elias stands there, frustrated. Chris glances at him, moves out.",
"EXT. SMALL VILLAGE - DAY A zippo cigarette lighter with the engraved initials : ` From Mai lin to my Bunny Boy'. It sparks a thick flare as Bunny lights the dry straw on the roof of the Hutch where he killed the Old Woman and Young Boy. Their legs sticking out at the threshold. The hooch burning fast, aided by the strong sun. Bunny watches with awe.",
"EXT. SMALL VILLAGE - DAY Sgt.Warren and Rodriguez lighting another hooch on fire.",
"EXT. VILLAGE RICE STORE - DAY Fu Sheng yelling ` FIRE IN THE HOLE!' throws white phosphorus into the rice stores.",
"EXT. VILLAGE - WEAPONS CACHE - DAY Barnes and Huffmeister, a big German kid from Texas, are laying the cord to blow the weapons cache.",
"EXT. SMALL VILLAGE - WELL - DAY Adams and Parker are poisoning the well with a white phosphorus grenade : ` FIRE IN THE HOLE!'",
"EXT. SMALL VILLAGE - DAY Wolfe, Ace, Tubbs, Warren, Rogriguez rope the DOZEN SUSPECTED VILLAGERS together to take them back for questioning. Elias watches the Villagers mourn their losses. In the background, explosions, hooches popping with flames, the yells of the violations of the Village winding down.",
"EXT. SMALL VILLAGE - DAY Chris wanders through this wreckage in the sun, like a dazed visitor from another planet, not believing it. He sees something, goes towards it - knows what it is.",
"EXT. VILLAGE - EDGE OF WOODLINE - DAY Hidden at the edge of the woodline, King hands back a bowl of grass to Rhah, the chief head. They're puffing away. KING Whew! - where that come from? RHAH Found it. Growing in a garden. KING -LRB- smokes. -RRB- Sheeit, beats burning hutches anyway. They meditatively look out at the Village - burning hutches sending up spirals of smoke. Shouts. Shots. Chaos. RHAH Yeah - stoned's the way to be.",
"EXT. VILLAGE - DITCH - DAY In a ditch running alongside the Village, partially concealed by foliage and anthills, Tony, Morehouse, and the ubiquitous Bunny have a 12 - YEAR - OLD VIETNAMESE GIRL pinned to the ground, gagged and squirming, naked. They are fucking her to death. Junior looks on, both curious and disgusted, but does n't take part. TONY Take her up the ass. As they roll her over, like excited dogs in heat. Chris, coming up, sees their heads dipping up and down on the other side of the anthill, knows what they're doing. He makes a conscious decision to do something. He runs over. CHRIS LET HER GO! YOU HEAR ME! YOU ASSHOLE! LET HER GO! He strides right into them, shoves them off hard. The girl is in tears. TONY What the fuck you want - she's a dink. CHRIS NO - YOU STUPID FUCK. DO N'T. DO N'T. YOU TOO BUNNY. MOREHOUSE. OFF! NO! DO N'T. DO N'T! He seems disconnected, dazed by the sun, like he's talking to dogs - loud, repetitive words coming out of an anger he can barely control, trying to restore some sanity to a world gone totally nuts today. Do n't they understand? Do n'tthey have any sense of a mind? Any kind of decency? The Men looking at him as if he's the one who's gone nuts, not them. Bunny looking at Morehouse looking at Tony looking at Junior. The irony is lost on them, as Chris pushes through to help the poor girl put her scanty clothes back on. CHRIS -LRB- CONT'D. -RRB- -LRB- to the girl. -RRB- It's okay. it's okay. Elias appears behind Bunny and the others, sees what's happened. He signals them to move out. ELIAS Get outta here. The men grumble and slink off quietly. Elias watching as. Chris helps her to her feet, wounded in the intestines, she can barely stand, blood saoking in her nether regions. Chris slings her up as gently as he can and carries her. CHRIS -LRB- as if to himself. -RRB- It's okay, it's okay.",
"EXT. VILLAGE - PIG PEN - DAY Near the pig pen, a DOZEN SUSPECTS are being led away on ropes by Tubbs, Warren, Rodriguez. The others left behind look back at their village in ruins, homes burning, livestock dead or scattered, belongings thrown and broken in the dirt. BABIES wail, the adults squat there on their heels watching with absolutely no trace of outward emotion. Past this Bosch - like canvas, Chris - carrying the girl - walks dazed by the horrors of this long afternoon.",
"EXT. VILLAGE TRAIL - DAY The soldiers depart the village. A huge EXPLOSION now rocks the earth and sends a spray of smoke into the blue sky as the weapons cache explodes in stages that sound like the end of the world.",
"EXT. PERIMETER #2 - JUNGLE - LATE AFTERNOON DUSK The Company is digging into another overnight perimeter on a ridge with a view of the Valley where the Village was. C - Ration fires all around the perimeter.",
"EXT. COMPANY CP - DUSK -- MORNING At the Company, l Elias, Captain Harris, Barnes, Lt.Wolfe are huddled. Close on Harris, looking from face to face, assuming a judicial attitude. CAPTAIN HARRIS and you Lieutenant? LIEUTENANT WOLFE I did n't see anything sir. ELIAS I did. LIEUTENANT WOLFE That dink was reported to me as NVA sir by Sergeant Barnes. Sergeant Barnes. Squirreling out of any responsibility. ELIAS My report sir, will include Lt.Wolfe as being witness to the shooting. CAPTAIN HARRIS All right, Elias. Sergeant Barnes, I want a report from you. BARNES You got it sir - and I can throw in plenty of eye - witnesses if you want sir. HARRIS Not now. We'll get into this when we get back to base camp. Right now I need every man in the field, I want your guys to stick together. Elias? Barnes? You hear me? This is no time for fighting with each other. -LRB- pause, they nod. -RRB- Tomorrow we're going back into that bunker complex - from the East. -LRB- continuing. -RRB- First Platoon will lead. Brigade thinks they might be back there tomorrow. That's all. Get some rest. -LRB- turns away. -RRB- Barnes, Elias eye each other and move off.",
"EXT. PERIMETER #2 - DUSK Wolfe walks alongside Barnes. WOLFE Do n't worry about it Sergeant, he wo n't be able to prove a thing, he's a troublemaker but. Barnes is obviously worried, although he does n't let on. BARNES Elias' a waterwalker. like them politicians in Washington. Want to fight their war with one hand tied round their balls. Ai n't no time or need for a courtroom out here. Wolfe leaves him as Barnes turns into his foxhole where Bunny and O'Neill await him anxiously. O'NEILL How'd it go. Banres shrugs. BUNNY Thataway Sarge, fuckin' Elias man, fuckin' squeal that's what he is, gon na get everybody in the platoon in shit. Somebody oughta fix his ass. Barnes fixing his coffee. O'NEILL -LRB- worried. -RRB- Gon na be an investigation or something Bob? Barnes says nothing, a cryptic look. O'Neill worried, Bunny, taking his cue from Barnes, slaps him on the back. BUNNY Ya worry too much O'Neill.",
"EXT. PERIMETER #2 - CHRIS' POSITION - DUSK Elsewhere on the perimeter, Chris is digging out a foxhole with Rhah, as King and Lerner prepare the C's for dinner. RHAH I know Barnes six months and I'll tell ya something - that man is MEAN, red in his soul like a dick on a dog. KING Barnes gets killed, his jaws'd go on clacking. CHRIS Where's he form? RHAH Barnes comes from Hell. LERNER Tennessee someplace. Hill country. RHAH Barnes took a bullet right there. At Ia Drang Valley . -LRB- points to his forehead. -RRB- And the cocksucker SURVIVED - that's BAAAD man. That's his high, baby. High on WAR! His eyes flare out dramamtically. Chris, enthralled in spite of himself. KING He done a year in Japan in the hospital, then when he gets out, the first thing he done is re - up. Four years he been in the field. RHAH and you know how many times he done been shot? -LRB- Chris shakes his head. -RRB- Seven times! -LRB- with his fingers. -RRB- Seven. CHRIS And he still wanted to come back? LERNER Does a pee wee wan na take a wee wee? RHAH The Good Lord works his revenge in strange ways. KING Yeah, you done said it. Revenge on US. CHRIS Does he have a metal plate in his head? RHAH -LRB- smiles. -RRB- You mean he's crazy? No more crazy'n the rest of us been out in the bush too long. LERNER Well he ai n't normal that's fosure. RHAH That's what he is. Baaaa! His hand flashes forward in front of Chris. ` HATE' is written across the left hand knuckles in a sloppy, purplish - black tatoo. Chris looking at it. RHAH -LRB- CONT'D. -RRB- and he's FILLED with it. He's roaming these jungles looking for little yellow devils to kill. Remember the Devil does God's work too. -LRB- pause. -RRB-. and this here's Elias. Baaaa! The other knuckle is out - ` LOVE' tattooed across it. Rhah smiles his crazy smil. Chris stares fascinated at the two knuckles side by side. A moment on his face. KING Love, yeah! LERNER -LRB- makes a cuckoo sign. -RRB- Here we go again with the crazy preacher stuff. Rhah seen too many movies. RHAH Baaa, got no time to go to the movies. Love and Hate too busy fighting for possession of my soul. CHRIS Where's Elias come from? RHAH -LRB- interjecting. -RRB- ` Lias come naturally. LERNER do n't know. Done some time. Heard he worked the oil wells in Oklahoma, made some bread and washed up in El Lay. KING Yeah, get married to some crazy El Lay bitch, an actress or somethin', she blew all his bread - LSD, gurus, all that California shit, and then she turns him into the cops on a drug rap. RHAH Not the only man to meet his Jezebel either. KING So he got a reduced and come over here. Nam's his freedom man, Nam's his pussy. Three years he been here. CHRIS Three years, Jesus, he's crazy as Barnes. KING Well sometimes a man jes don' wan na go back. How you gon na talk to civilians man? People back in the world just do n't give a shit, y' know what I mean, to them you're a fuckin' animal is all - LERNER -LRB- to Chris. -RRB- I was home on leave y' know and everybody's just worried ` bout making money, everybody's out for themselves, they do n't even want to talk about it man, it's like the fucking Twilight Zone back there - you would n't even KNOW there's a war on here. My sister says to me why you have to go there like I started this. RHAH Baaaa! Fuck it, they sold us out - so what! What'd you'all expect? Civilian life is phoney BULLSHIT man. They're ROBOTS man - watchin' dopey television and drivin' dopey cars, and they fuck up, nobody dies. That's all right, you keep fuckin' up, politicians keep lyin'. Cause it do n't really matter. Do n't mean shit. So what! Whatcha want - a parade! Fuck that too! No war time no grunt never got no respect. Till he was dead - and even THEN! You're fighting for YOURSELF man! You're fighting for your SOUL, dat's all. Remember dat. And it's some goddamn battle too - if you ` se a man, wrestle with that angel. -LRB- swings his entrenching tool in a rhythmic chain - gang style. -RRB-. Love and Hate - the whole shitbang show, that's the story then and now and it ai n't hardly gon na change.",
"EXT. PERIMETER #2 - JUNGLE - NIGHT The stars are out in magnificent splendor. A breeze rustling through the trees.",
"EXT. PERIMETER #2 - CHRIS' POSITION - NIGHT Chris is turning in his sleep, perturbed, writhing. The whispering is more and more urgent. Death is all around. He shoots up out of his poncho liner as if shot, stunned. Scared. Looks around. All is quiet. Men sleeping. Elias is huddled in his poncho on guard next to his foxhole. Chris joins him, sitting, wiping the sleep from his eyes. CHRIS I ca n't sleep, why do n't you get some sack time. ELIAS do n't feel like it either. CHRIS beautiful night. ELIAS Yeah. I love this place at night. The stars. there's no right or wrong in them, they're just there. CHRIS That's a nice way of putting it. Elias cuffs a joint, keeping its glow hidden in the dark. A pause, both of them meditative. CHRIS -LRB- CONT'D. -RRB- Barnes got it in for you, do n't he? ELIAS -LRB- philosophically. -RRB- Barnes believes in what he's doing. CHRIS And you, do you believe? ELIAS In'65 - yeah. Now. -LRB- pause. -RRB- No. What happened today's just the beginning. We're gon na lose this war. CHRIS -LRB- surprised. -RRB- You really think so. us? Elias' eyes seem to go to some inner place, his passion surging. ELIAS we been kicking other people's asses so long I guess it's time we got our own kicked. The only decent thing I can see coming out of here are the survivors - hundreds of thousands of guys like you Taylor going back to every little town in the country knowing something about what it's like to take a life and what that can do to a person's soul - twist it like Barnes and Bunny and make'em sick inside and if you got any brains you gon na fight it the rest of your life cause it's cheap, killing is cheap, the cheapest thing I know and when some drunk like O'Neill starts glorifying it, you're gon na puke all over him and when the politicians start selling you a used war all over again, you and your generation gon na say go fuck yourself'cause you know, you've seen it, and when you know it, deep down there. He plants his fist in Chris' gut, expelling his breath such is the force of the blow - like a power passed between them. ELIAS -LRB- CONT'D. -RRB- you know it till you die. that's why the survivors remember.'Cause the dead do n't let em forget. His eyes blazing, reliving the deaths in the village, licking the wounds for the platoon, mourning the failure of its heroism. Chris looking at him, a little awed by his intensity. Elias looks away, embarrassed that he has sermonized, looks back at the stars. ELIAS -LRB- CONT'D. -RRB- Oh shit! Sometimes there's things in my head. man. Grass does that to me, fucks me all up like a crazy Indian. CHRIS Do you believe that stuff about. knowing you're gon na die? ELIAS Yeah, those are the guys that live. I really do n't think Death gives a shit, it's like a giant garbage can, I think it takes whatever it can get. you never know where it's gon na come from anyway. so why spin your wheels? He shrugs, a certain bravado masking his own uncertainty. CHRIS You ever think about reincarnation, all that stuff? A lightning quick movement follows. Elias' hand passing over his face like a mime, a click of the fingers and he leans closer to Chris. A new expression on his face. Devil's eyes, mocking child, danger in his soul, excitement, sex - the Elias that Chris saw in the smoking session in base camp. Chris smiles, sucked in, almost laughs and then the face is gone again. ELIAS Sure, goes on all the time. Maybe a piece of me's in you now, who knows. But when you die - really die - that's a big return ticket. -LRB- soft. -RRB- I like to think I'm gon na come back as. as wind or fire - or a deer. -LRB- likes the image. -RRB-. yeah, a deer. He smiles at the thought. Chris looks at him, looks away. A shooting star falls suddenly and dryly through the cosmos. Their eyes.",
"EXT. JUNGLE - STREAM - DAY (RAIN) The Platoon moves along a shallow STREAM bordering the jungle. A thick RAIN falls amid cracks of distant thunder. Chris, Rhah, Francis, Big Harold, others are at the rear of the platoon, their ponchos pulled over them like big sad grey tents. There's a holdup ahead and the Men rest on rocks or stand. The rain makes a pointilistic pattern, the men collages of grey, their rifles slung upside down to keep dry. Barnes is up ahead, out of the stream bank, on the radio.",
"EXT. JUNGLE CHURCH - DAY (RAIN) Lerner's on point, resting in the shadow of a decaying old French Catholic Church from the 19th Century. The jungle has long ago won the battle, vines creeping into the cracks, remnants of arches layered around the church at the epicenter. Behind Lerner is Sgt.Warren and his radioman.",
"EXT. JUNGLE CLEARING - DAY (RAIN) Elias, further back, is checking out the jungle alongside the clearing, noticing a number of old spider holes long since abandoned. He goes over and checks them.",
"EXT. JUNGLE - STREAM - DAY (RAIN) Back at the stream, Rhah, looking old and whiskered under his poncho hood, lights up a roach, puffs it. Another crack of thunder. Chris comes over, sits with him on his rock. Rhah passes him the joint. He smokes. Big Harold pulls a leech out of his open crotch area. HAROLD Shit, lookit this little fucker trying to get up ma glory hole. FRANCIS Hey Big Harold, put dat in your turkey loaf it wo n't come out your back end. KING -LRB- ribbing. -RRB- Yeah, big boy, thought you had that laundry gig all laid out? BIG HAROLD -LRB- pissed. -RRB- Shit, got to paint myself white get one of dem jobs. Get ma request in for a circumcision. KING Gon na be a rabbi man? FRANCIS Gon na cut your pecker down to size hunh Big Harold? BIG HAROLD Dat's okay wid me, better to have a small one den no one at all. KING Your girlfriends gon na look for new lovers, man. Best thing a bro's got's his flap. HAROLD I'll drink to your flap in Chicago, King. All I got ta do is stretch it out to 15 days and I'll be short 15 and the Beast just would n't dare send me back to the bush. FRANCIS You gon na get some for me back in the World, Harold? Whatcha gon na do? -LRB- dreaming of it. -RRB- HAROLD The world's gon na be ma oyster man. First's I gon na EAT - all the hamburger and french fries and steaks soaked in onions and ketchup I can get. Then I ` se gon na FUCK and SUCK Sandy Bell till I sore all over and ca n't fuck no more, and den I ` se gon na SLEEP for DAYS, for WEEKS! Den I ` se gon na think bout what comes next. The words carry over Chris staring out at the rain, feeling a leaden fatigued high. Passes the roach, down to a millimeter, back to Rhah who points to his face. RHAH you got one right there. Chris feels for, finds the leech on the edge of his lip, cursing under his breath. LIEUTENANT WOLFE -LRB- in the stream, on radio. -RRB- All right move out. The men start slogging on against the rain. Junior is drinking from the stream, as Fu Sheng passes. FU SHENG Do n't drink that asshole. You're gon na get malaria. JUNIOR Shit I hope so!",
"EXT. JUNGLE - CHURCH - DAY (RAIN) On point, Lerner moves out through a remnant of an old arch, somewhat casual in his approach to point. LERNER Hey Sarge, you wan na tell me which way or do I get to figger it out? Sgt.Warren, picking up a quick azimuth on his lensatic compass, points. Lerner moves in the new direction.",
"EXT. JUNGLE - DAY (RAIN) Lerner moves away from the clearing, working up a slight incline when the MACHINE GUN FIRE erupts out of the jungle, spinning him - throwing him into the dirt like discarded garbage. The men are down, yelling. SGT. WARREN Ambush! Incoming! Fucking incoming! Suddenly an RPG rocket breaks out of the bush, sounding like an atom bomb as it devastates the front of the Platoon. Radio Talk is continuous now, back and forth between the three platoon radios, through the ambush. O'NEILL DOC, UP HERE! Lerner's hit! More machine gun fire. FRANCIS DOC! Over here - we got. one. two down. Warren's hit.",
"EXT. JUNGLE - CHURCH - DAY (RAIN) Chris moving up with Rhah and the others out of the stream, they hit the ground next to Sgt.O ` Neill, who looks pretty scared, obviously not about to move. CHRIS What's going on? O'NEILL Shit they got RPG's on our ass. Fucking ambush - they was waiting for us to break trail! KING WATCH OUT! ROCKET! Another rocket whistling in. A huge roar. Trees shredded, dirt, dust rising. CHRIS Who's on point? O'NEILL Lerner and Warren. Chris uses his M - 16 to lever himself up into a crouch and suddenly dashes forward, passing Rhah. RHAH Where you goin' man! Chris tearing up. Past Flash - the hip black head with the colored beads. He's dead, torn and shredded, his face and eyes stuff with dirt. Next to him Doc is frantically tourniqueting Tubbs, shot in the legs. He's screaming. Chris keeps moving to the front as if compelled.",
"EXT. JUNGLE - BARNES' POSITION - DAY (RAIN) Barnes is laying out fire. BARNES Goddamit, you assholes get fucking' firepower out there! -LRB- to Hoyt on radio. -RRB- Get Two Bravo up here. Get me a gun. -LRB- to others. -RRB- Spread it out! More to the flanks! Look for a fuckin' target! Another explosion.",
"EXT. JUNGLE - FORWARD POINT - DAY (RAIN) Chris comes alongside Francis near the point, throws himself down. Banging his head against his helmet as he falls. The incoming rounds are tearing up the front of the platoon. CHRIS -LRB- to Francis. -RRB- Where's Lerner? FRANCIS -LRB- terrified. -RRB- Out there man - behind the log. Looking. A body - moaning, sort of moving, wriggling, as if trying to escape the pain. CHRIS Oh Jesus! His eyes moving to Sgt.Warren lying alongside a tree - calmly trying to stack his intestines back into his ruptured stomach. Another RPG comes in. Chris makes a conscious decision, moves up - bit by bit, shielding himself with tree stumps, ant hills, laying out fire, trying to get closer to Lerner. Francis following his progress, bug - eyed. Fu Sheng now comes up with his M - 60 - Harold his loader, belts of ammo flapping against their bodies. He fires from the hip, providing cover fire for Chris, then pops down.",
"EXT. FORWARD POINT - JUNGLE - DAY (DRIZZLING RAIN) Chris, firing out another magazine, crawls closer to Lerner, trying to ascertain if he's still alive. CHRIS Lerner! Lerner, can you hear me man? Lerner groans. A fresh burst of AK fire rakes the area. Lerner jerks spasmodically with the impact of the rounds. Chris spots the sniper. In a hole in the ground. Twenty - five meters off. Snapping the magazine out of his AK to reload. A live gook. Chris tears off a volley at him but the gook disappears in the hole. This is the moement, Chris realizes it, it's now or never if Chris intends to get the gook. He's got to make a move before the man has reloaded his weapon. He pulls his grenade, pops the pin. He lets the spoon fly off, activating the grenade - timer, as he humps to his feet and runs for the gook hole, concentrating, concentrating. That head is going to pop up any second with a freshly - loaded weapon and tear his head off. Chris wo n't make it back to the hole. The throw has to be perfect. He wo n't get another chance. He heaves the frag, drops and rolls away. The throw is perfect, the golden arc of flight from the outfield nailing the baserunner. It twists cleanly in the hole. The explosion muffled but deadly. Chris scrambles to his feet, a look of almost total surprise on his face. He ca n't seem to believe he did it. Pointing his M - 16 before him, he advances on the hole, looking over the muzzle to see the badly - mangled NVA man twisted at the bottom. Chris hurries over to Lerner. He's in bad shape, hit in several places, vaguely conscious. CHRIS -LRB- CONT'D. -RRB- Gator! Gator! -LRB- Lerner groans. -RRB- I'm gon na get you out man. You're gon na be okay Gator. okay? Fu Sheng laying out fire to protect them, Harold splitting off to get more ammo. Chris getting Lerner to his feet, hauling him back with all his strength, past Francis.",
"EXT. JUNGLE - WOLFE'S POSITION - DAY (RAIN) Lt.Wolfe seems disorientated, struggling with the rain water washing off his map, trying to read the coordinates for an arty fire mission. WOLFE -LRB- into the radio. -RRB- Redleg, Redleg. Ripper Bravo Two Actual. Fire mission. Grid six - four - niner. four - zero - two. Direction six - one - zero - zero. Dinks dug in bunkers. Danger close. Adjust fire, over. RADIO VOICE Rog, Two Bravo. Solid copy, stand by for shot, out. ACE Sir, Bravo Three is inbound from the Sierra Whiskey. Should be here in two zero mikes if'n they don' hit any shit. WOLFE Fuckin' A! Elias runs up to him. Fire all around, incoming and outgoing, makes them yell to each other. ELIAS Lootenant, they're kickin our ass, they know we're gon na bring heavy shit on'em pretty soon so they're gon na get in tight under the arty. I spotted a cut running around to the left. Lem me take some men and roll up that flank. -LRB- pointing. -RRB- I can work right up on'em. Wolfe unsure, looks up for the artillery. WOLFE -LRB- to Ace. -RRB- Get me Barnes. I do n't know ` Lias, we got four down up there, if I split you off, we. Elias grabs a stick, urgent, starts drawing their position in the dirt for Wolfe. ELIAS Look, Lootenant. Wolfe looks up, relieved as Barnes splashes into the CP group. Thunder peals. BARNES -LRB- yelling at Wolfe and Ace. -RRB- Where the fuck is red platoon! Tell'em to get their asses up here! What the fuck you doin' back here Elias? Round up your assholes and move'em up front, we're getting chopped to shit. ELIAS -LRB- yelling back. -RRB- Barnes, listen to me. there's 5 - 6 spiderholes back there. -LRB- points. -RRB- next to the church. -LRB- draws it into the ground as he talks. -RRB- Third Platoon's coming up the stream to reinforce us. Flank's wide open, dinks get 3 - 4 snipers in these holes, when Third Platoon comes up, they'll get us in a crossfire with'em. We'll shoot each other to shit, then they'll hit us with everything they got. It'll be a massacre! Barnes looking at the drawing. WOLFE Sounds pretty far out to me ` Lias. ELIAS Maybe but I seen it happen at Ia Drang in' 66, First Cavalry and they cut us to fuckin' pieces! -LRB- back to Barnes. -RRB- Give me three men, if I'm wrong, I can still roll up that flank. BARNES -LRB- a look. -RRB- Take off, but keep your radio here. Elias goes, stops, looks at Barnes. ELIAS You keep pouring out that suppressing fire, Barnes. I do n't wan na be caught out there with my ass hanging out you hear me? BARNES Do n't tell me how to fight this fucking war, ` Lias, you go crying to fucking brigade on your time. Out here you belong to me. Now move. A look. Elias goes fast. More thunder peals. As the 155mm howitzers - sounding like deep tom - toms some three miles distant - beat out their shells. An ominous sound. Closer. ACE Sir! Shot out. Arty's on the way! BARNES -LRB- hurrying back to the front. -RRB- Get that asshole O'Neill up here willya!",
"EXT. JUNGLE - FU SHENG'S POSITION - DAY Fu Sheng is laying out fire when he senses something, looks up. The artillery shell sounds too close. Getting bigger and bigger on the horizon. Too big, too loud. A groan of fear on his face, then knowledge. Then. a huge EXPLOSION engulfs him.",
"EXT. JUNGLE - HAROLD'S POSITION - DAY (RAIN) BIG HAROLD Short round! It's short, man! They fuckin' got Fu Sheng! BARNES! OVER HERE!",
"EXT. JUNGLE - DAY (RAIN) Barnes hearing it, starts forward. Another huge shell starting to whistle in on them. BARNES That fuckin' idiot! It explodes. This is about three times the intensity of the RPG. The jungle floor shakes, trees splinter. Barnes is knocked to his knees, rimaces in pain. Hoyt, Barnes' radio operator, screams out as a fist - sized chunk of hot shrapnel sticks in his back. He's screeching, frantically trying to shuck the radio from his back, his fatigue shirt smoking. Barnes jerks the radio off Hoyt's back, knocks the man to his knees and unsheathes his bayonet. Ripping off the back of his shirt, Barnes sets to digging out the shrapnel.",
"EXT. MOREHOUSE'S POSITION - DAY (RAIN) Morehouse is decimated by a third explosion, chunks of shrapnel whirring like battleaxes into the tree trunks.",
"EXT. JUNGLE - HAROLD'S POSITION - DAY (RAIN) Big Harold is tearing blindly away from the front, helmet gone, rifle dragging in the mud when he stumbles, sprawling face down. He jumps up, looks back, sees now the wire over which he tripped. It takes a second to register. He shares a look with Bunny who's already on the ground. BUNNY Satchel charge! GET DOWN! Harold goes for the ground the same instant the satchel explodes.",
"EXT. JUNGLE - CHURCH - DAY (RAIN) Chris, further back, dumps Lerner with Doc who's got more than he can handle. CHRIS Take care of him Doc! Please! Doc looking at him, a dark look of hopelessness. Lerner is a mess, groaning, reaching for Chris' hand. LERNER do n't. do n't leave me man. A look between them. Rhah instersecting. RHAH Taylor - get your ass over here. Move! CHRIS Hang tough, Gator. Hang in there, man, you're gon na be OK. just hang on. Feeling like a liar, peeling the man's hands off him, leaving him there looking numb. Chris is shaken, Lerner's blood all over him. He tears out after Rhah, linking up with Elias and Crawford. Elias motioning them to hurry. Another huge artillery round exploding out to the front.",
"EXT. JUNGLE - O'NEILL'S POSITION - DAY (RAIN) Sgt.O ` Neill, scared out of his mind, hugging the earth, tries to crawl into a small cut in the ground but finds it occupied by a cringing Junior.",
"EXT. JUNGLE - WOLFE'S POSITION - DAY (RAIN) Barnes rushes up out of the forest like Achilles, towering in his rage, at Lieutenant Wolfe, ripping his handset from him as the Lieutenant reads off the coordinates off his map. BARNES YOU IGNORANT ASSHOLE! - What the fuck coordinates you giving! You killed a bunch of people with that fucked up fire mission! You know that? ah shit! Wolfe stares at him, open - mouthed. Disgusted, Barnes hunkers down to read the coordinates from his own map into the handset. BARNES -LRB- CONT'D. -RRB- Redleg Romeo. Ripper Bravo Two. Check your fire, check fire, you're short on our pos! I say again, check your fuckin' fire! From Registration point, add one five zero, left five zero, fire for effect! New incoming fire drowns out Barnes.",
"EXT. JUNGLE - ELIAS' POSITION - DAY Elias - a defiant look on his face - moves fast but cautiously back across the Church landmarks. Chris following then Rhah and Crawford. The RAIN has now settled into a mist hugging the ground. ELIAS Move it! Move it! Elias comes to a stop, looks. Behind them we hear the sounds of battle, gauging their distance from the main body. The spider holes are still empty. But he listens, senses something out there getting closer. ELIAS -LRB- CONT'D. -RRB- They're coming. Chris looking at Rhah. How does he know? Elias points out an imaginary line across the breaking mist. ELIAS -LRB- CONT'D. -RRB- Stagger yourselves across this line, shoot anything that moves. They'll be coming from here. RHAH -LRB- team leader. -RRB- Gotcha. ELIAS One of them gets through it's curtains. RHAH Where you going? ELIAS Down along the river ` bout 100 metres, ` case they try to flank us there. Third Platoon's coming up on our rear so watch for'em. CHRIS I'll go with you. ELIAS No. I move faster alone. -LRB- a grin. -RRB- Elias, his pack stripped, is gone, like a fleet leaf, vanishing into the Jungle. RHAH -LRB- stringing them out. -RRB- Okay Crawford - over here. Taylor - down twenty yards behind that tree.",
"EXT. JUNGLE - WOLFE'S POSITION - DAY (MIST) Barnes has finished correcting the fire mission, hurls the handset back at Wolfe, a wild look in his eyes, studying the incoming fire. Makes a decision. BARNES Let's move back, link up with Three. Let the arty do a little work. -LRB- to Ace on radio, ignoring Wolfe. -RRB- Push Two Alpha and Two Charlie. Tell'em to haul ass and re - group at the church. Tell'em NOT to fire. -LRB- Ace transmits. -RRB- WOLFE What about Elias? We pull back they'll be cut off. He needs cover fire. BARNES -LRB- looks at him like he's stupid. -RRB- I'll get him. -LRB- with a threatening undertone. -RRB- You just haul ass too lootenant. -LRB- going, to Ace. -RRB-. do n't send Bravo Three up till I get back to the CP. Now move out, all of you. As he snaps his weapon onto full auto and runs off after Elias in a crouch. a man with a mission.",
"EXT. JUNGLE - RHAH AND CHRIS' POSITION - DAY Next to the Church deployed in the jungle, Rhah looks on, silent. Chris in his position, waits. It is so silent in comparison to the racket from the battle across the forest. The Mist clings to the trees, moist and lovely. Then, a flicker of movement, sound. Chris hears it, tightens. His POV - at fifty yards. An evanescence of beige and green uniforms moving towards him very fast, scurrying. They look like headless ghosts. Chris opens fire. CHRIS GET EM! Rhah and Crawford open up. A rachet of sound, one of the fiures seems to go down, then another but at this distance through jungle it is difficult to say. The firing just as suddenly breaks off and the silence returns. CHRIS -LRB- CONT'D. -RRB- -LRB- ecstatic. -RRB- Yeah! I got two of them fuckers. RHAH I got one. CHRIS See them go down? Like fuckin' target practice man, fuck you Charlie! Ho Chi Minh sucks dead dick! Crawford! -LRB- sees him, stunned. -RRB- Crawford, the blond - locked California beach boy, lies on the earth, hit in a lung, having difficulty breathing, moaning in a soft undercurrent. Chris runs up on him. CHRIS -LRB- CONT'D. -RRB- Oh man! man! Attending him. Rhah runs up. RHAH Looks like a lung babe. But you're gon na be all right, you only need one of them fuckers. CRAWFORD Oh shit man I never thought I'd get hit, I was. -LRB- gagging. -RRB- RHAH Stay cool. We gon na carry you out. Barnes appears, running towards them, looking down at Crawford, at Rhah. RHAH -LRB- CONT'D. -RRB- Sarge, ` bout five gooks tried to. BARNES Where's Elias? RHAH came through right over there. We got three of them, we. BARNES Did n't you hear the arty shift? We're pulling back. Get your wounded man and get the fuck back to the church. Get going. CHRIS -LRB- indicating jungle. -RRB-. but ` Lias is still out there. BARNES I'll get him. You get the man in, Taylor. -LRB- indicating Crawford. -RRB- NOW. Or I'll Article 15 both your asses. Move! Chris and Rhah look at Barnes sullenly, then reluctantly start moving Crawford onto a poncho liner they use as a litter. BARNES -LRB- CONT'D. -RRB- Move it, MOVE IT! He's in his blackest rage, the force of his words almost physically pushing the men to move out with Crawford. Barnes turns now to deal with Elias.",
"EXT. ELIAS' JUNGLE - DAY Elsewhere, Elias stands silently, listens to the forest. In the distance the firefight can hardly be heard. His helmet gone, his hair hanging free, he is at his best now - alone. He hears it. Somebody running through the jungle, about 100 yards, boots on leaves, coming towards him. He begins to move lateral to the sound. His steps unheard, better at this than the enemy. THREE ENEMY FIGURES now appear, crouched and moving very fast with light equipment through the mist. Elias swerves up in immediate foreground, his back to us, FIRING. All three Figures fall. A quick glimpse of Elias, not bothering to stop, moving to his next position.",
"EXT. BARNES' JUNGLE - DAY Barnes, moving through the jungle, reacts to the fire, resetting his course. Like a hunter stalking a deer. Suddenly there's more firing. Then silence -",
"EXT. ELIAS' JUNGLE - DAY TWO MORE ENEMY lie dead in the jungle. A rustle of movement, then a CRY - chilling, jubilant, a war cry. A pair of feet moving lightly over the jungle. A glimpse of Elias. In his full glory. Roaming the jungle, born to it.",
"EXT. BARNES' JUNGLE - DAY Barnes fixing on him, moving.",
"EXT. ELIAS' JUNGLE - DAY An NVA SOLDIER, jungle - whiskered, dirty, smart, crouches, listens, looks to his PARTNER. What are they fighting here? The First One mutter something sharp and they split fast in the direction they've come. They get about six steps when Elias suddenly rises up from the bush, not ten yards in front of them, his shots ripping into them, driving the surprised life from them. Elias is gone.",
"EXT. NVA JUNGLE - DAY Elsewhere, another three NVA stop, turn and flee back from where they came.",
"EXT. JUNGLE CHURCH - DAY Chris and Rhah get Crawford back to the church grounds, lay him down. No activity around them. Chris plunges back into the jungle where they left Barnes. RHAH Taylor!",
"EXT. ELIAS AND BARNES' JUNGLE - DAY Barnes moving, stops, listens. Something is running towards him. But it's hidden by the bush. He brings his rifle up smooth and quick, waits, then as the bush parts, Elias is standing there. Looking at Barnes. Barnes sees him, starts to lower his rifle, but then stops. He raises it back an inch, sights it. Pause. A cold searing look of hatred coming over his face. In that moment, Elias understands. Quick as a deer, he makes his move, trying to plunge back into the bush. Barnes fires. Once, twice, three times - the blast rocking the jungle. Elias jerking backwards into the bush, mortally wounded. Bird cries. A crime against nature. Barnes calmly lowers his rifle, and walks away from it.",
"EXT. CHRIS' JUNGLE - DAY Chris, cutting through the jungle, hears the shots. He stops, listens. Someone is moving through bush towards him, leaves and foliage shaking. Chris tightens, raises his rifle. Barnes steps through into his sight - sees him. Chris lowers his rifle. Barnes walking past him as if he were n't even there. BARNES Elias is dead. Join up with the platoon. Move it. CHRIS -LRB- shocked. -RRB- He's dead! Where? You saw him? BARNES Yeah. Back about 100 metres. He's dead, now get going, the gooks are all over the fuckin' place. Moving on quickly. Chris has no choice but to follow, looking back one more time.",
"EXT. CHURCH GROUNDS - JUNGLE - DAY TWO CHOPPERS are coming into a LZ in front of the Church. The two platoons, Second and Third, reinforcing, are being evacuated as quickly as possible, one load -LRB- 6 - 8 men, depending on the wounded -RRB- after other. The choppers are spraying dust all over the place. A scene of chaos, radio talk layering it. Doc is out of supplies, making do with improvised bandages, etc.. WOLFE MOVE IT MOVE IT MOVE IT. Lerner goes by, horribly wounded on a makeshift litter, into the chopper, Doc attending, holding the IV. Chris catching a glimpse of him, waiting to get on the chopper, turning to look as : Hoyt and Sgt.Warren, both wounded, are hurried aboard on litters. The chopper lifting off. Chris and others now running to the corpses of Flash, Morehouse, and Fu Sheng lying under dirty ponchos, their boots sticking out. The ponchos are blown away in a burst of wind off the chopper blades, revealing their faces - dirt stuffing their eyes and mouths, waxen figures. Chris and the others lifting them and carrying them towards the next chopper now coming in. They throw the bodies on. Tubbs and Crawford, both wounded, now move past Chris, into the chopper. Chris running back, with King carrying a litter - their eyes falling on : Barnes talking with Wolfe and Ace, making signals under the roaring sounds of the chopper. Shaking his head. No. No Elias. Chris and King looking at each other, mute. They numbly start loading Big Harold, minus his leg, onto the stretcher. The Third Chopper is down now, waiting, roaring blades silhouetting off the face of the cathedral. A ROCKET BLAST suddenly goes off not too far from the chopper, incoming fire. The DOOR GUNNER signaling for them to hurry, laying out fire.",
"INT/EXT. CHOPPER - JUNGLE - DAY Chris and King hustling Big Harold's 250 pounds into the chopper. Climbing in with him. Wolfe, Barnes, Ace running in with them. The perimeter is bare. Chris' eyes flitting over Barnes as he jumps in. The chopper lifting off as another explosion rocks the area. The Door Gunner sees something, opens up. Big Harold, cursing, looks chalky but hog happy as he manages a glance down at the jungle. His right leg is gone. Tears are rolling out of his eyes. KING Man, you gon na be in Japan this time tomorrow, Big Harold. BIG HAROLD Yeah, I ` se lucky dis time, what's a leg to get the fuck outta here. -LRB- at the NVA. -RRB- Eat ma shit, you motherfuckers! He sinks back, sick. Chris' eyes sudenly fix on something. He ca n't believe it. He shoves King, points. King sees it. Both stunned. Barnes is looking. So's Lt.Wolfe, so's Ace. So's the Door Gunner. Elias is coming out of the jungle. Staggering, blood disfiguring his face and chest, hanging on with all his dimming strength, looking up at them - trying to reach them. Chris shakes Wolfe, his words drowned out by the roar. The Chopper Captain looking down, dips. His co - pilot pointing. The NVA are coming out of the jungle, closing on the spot where Elias is. Incoming rounds are hitting the chopper. The Door Gunner maniacally firing. Barnes looking down at the man, ca n't believe it. Elias is on his last legs now, obviously being hit by the incoming fire of the NVA. He falls to his knees, still stretching upwards for life. The Chopper Captain shakes his head at Wolfe. The Chopper dips one more time firing at the NVA, low and fierce over the jungle. Chris looking back in horror. Elias crucified. The NVA coming out now by the dozens from the treeline. Elias crumbling to the ground. Obviously dead or dying. HELICAPTAIN ON RADIO we still got one on the deck. Bring the gunships in. Barnes drawing in. Chris looking at him in revulsion. He knows. Barnes sees his look, ignores it, all of them sitting there silent, living with that final horrifying image of Elias.",
"EXT. UNDERGROUND HUTCH - BASE CAMP - NIGHT The ` heads' are assembled - what's left of them. Rhah, King, Francis, Doc, Adam, a quiet black kid, and Chris, who is impassioned tonight. CHRIS He killed him. I know he did. I saw his eyes when he came back in. RADIO VOICE -LRB- puffing on his bowl. -RRB- How do you know the dinks did n't get him. You got no proof man. CHRIS Proof's in the eyes. When you know you know. You were there Rhah - I know what you were thinking. I say we frag the fucker. Tonight. He looks to King who puffs on a joint, his eyes red. KING I go with dat, an eye for an eye man. DOC Right on, nothing wrong with Barnes another shot in the head would n't cure. RHAH -LRB- to Chris. -RRB- Shit boy you been out in the sun too long. You try that, he'll stick it right back up your ass with a candle on it. CHRIS Then what do you suggest big shot? RHAH -LRB- to Chris. -RRB- I suggest you watch your own asses cause Barnes gon na be down on ALL OF'EM. FRANCIS How you figger that? RHAH Shit man - Human nature. Flashes the old knuckle - ` HATE'. KING Then you jes gon na forget ` bout Elias and all the good times we done had? Right in here. RHAH He dugged his own grave. DOC -LRB- correcting. -RRB- He dug it. RHAH He DUGGED it too. CHRIS Fuck this shit! RHAH You guys trying to cure the headache by cutting off the head. ` Lias did n't ask you to fight his battles and if there's a Heaven - and god, I hope so - I know he's sitting up there drunk as a fuckin' monkey and smokin' shit cause HIS PAINS HE DONE LEFT DOWN HERE. Baaaaaaaaa! -LRB- a vehement movement of his head. -RRB- CHRIS You're wrong man! Any way you cut it Rhah, Barnes is a murderer. KING Right on. RHAH I remember first time you came in here Taylor you telling me how much you admired that bastard. CHRIS I was wrong. RHAH -LRB- snorts. -RRB- Wrong? You ai n't EVER been right - ` bout nothing. And dig this you assholes and dig it good! Barnes been shot 7 times and he ai n't dead, that tell you something? Barnes ai n't meant to die. Only thing can get Barnes. is Barnes! Barnes stands there, silhouetted in the trap door, looking down at the men who are stunned to see him here. He steps down into the hutch, his face now lit by candle light. A bottle of whiskey in his hand, drunk, ugly, sweating, but as always, with dignity, possessive of his silence. He feels their fear in the silence, enjoys it. BARNES -LRB- soft. -RRB- Talking ` bout killing? He totters slightly as he circles the outer edge of the hutch. No one talks. BARNES -LRB- CONT'D. -RRB- Y' all experts? Y' all know about killing? He takes the bowl from Adams, smokes it. BARNES -LRB- CONT'D. -RRB- You pussies got ta smoke this shit so's you can hide from reality? -LRB- smokes again. -RRB- Me I do n't need that shit. I AM reality. Confronting Chris, he moves on, taunting them all. BARNES -LRB- CONT'D. -RRB- There's the way it oughta be and there's the way it is. ` Lias he was full of shit, ` Lias was a crusader - I got no fight with a man does what he's told but when he do n't, the machine breaks down, and when the machine breaks down, WE break down. and I ai n't gon na allow that. From none of you. Not one. Walks past Rhah, past King, throws the pot bowl into the dirt of the floor. BARNES -LRB- CONT'D. -RRB- Y' all loved Elias, want to kick ass, I ` se here - all by my lonesome, nobody gon na know. Five you boys ` gainst me? -LRB- pause, very soft. -RRB- Kill me. Almost an appeal - naked, intense. Rhah, Francis, Doc look away. King, the biggest one there, is about to say something, but the moment passes. Chris waits, his anger on the rise. Barnes takes a swigger from the whiskey, then turns away contemptuously. BARNES -LRB- CONT'D. -RRB- I SHIT on all o' you. CHRIS KILL YOU MOTHERFUCKER! Chris slams into Barnes, rushing him off his feet. Pounding his face, solid blows. KING AND OTHERS Get that mother, babe, go. Kick his ass, kill that cocksucker! But Barnes is too quick and very strong and takes the blows, getting outside Chris' arm, twisting and flipping him in a wrestler's grip - throwing him hard onto his back on the dirt floor. The expression of the Men watching slumps, their hopes dashed. Barnes springs around on Chris, straddles him, one hand pushing his face back, hits him hard. Once. Twice. Chris grimaces, groans, helpless now. A flick of sound. A knife whipped out of Barnes' boot and pressing against Chris' throat. Chris bleeding from the nose and mouth. Rhah suddenly spinning into action, fast now, realizing what Barnes intends to do. RHAH EASY BARNES, EASY MAN! Barnes is on the verge - about to kill again. Chris waiting. Rhah coaxing him, moving closer. RHAH -LRB- CONT'D. -RRB- You'll do dinky dau in Long Binh Barnes. Ten years - kill an enlisted. Ten years, Barnes, just climb the walls. DO N'T DO IT. Barnes' eyes tremble in the candle light, his scars ugly, a spasm clenching and locking his facial muscles. Then suddenly he is calm again, very calm. We sense a man of enormous self - control. Suddenly he flicks his knife across Chris, leaving a mark below his left eye. Chris gasps. Looking up at Barnes rising off him. The boots alongside his face. The Men looking on, the tension lowering. BARNES -LRB- contemptuous. -RRB- Death? What do you guys know about it? He walks out. Quietly.",
"EXT. AIR SHOTS - JUNGLE, CHURCH - DAY Chris sits at the very edge of a Huey Chopper, bandana around his forehead, long hair blowing in the wind, Barnes' mark below his eyes, slicked out now like a jungle veteran, looking down at the VILLAGE where the massacre occurred. The Village is still a smoking ruin, a few peasants and water buffalo straggling like ants to reconstruct. Bunny, next to Chris, pops his gum, indifferent. Barnes, next to him, shifts, reads a map. Rodriguez is praying, his mouth moving without audible words, getting ready for the drop. King is making last minute adjustments in his pack. Bunny now nudges Chris, points. The Church in the Jungle where Elias was killed is visible. An outline of the Cemetery. Uncomfortable memories play over Chris' face. CHRIS -LRB- V.O. -RRB- They sent us back into the valley the next day - about 2,000 metres from Cambodia - into a battalion perimeter. Alpha Company had been hit hard the day before by a sizeable force and Charlie Company had been probed that night. There were other battalions in the valley, we were n't the only ones but we knew we were going to be the bait to lure them out. And somewhere out there was the entire 141st NVA Regiment. The BATTALION PERIMETER now breaks in the clear ahead. Smoke grenades of various colors are being popped on the cleared LZ. It's not big, its radius 200 yards, heavily sandbagged, deeply dug, rolls of barbed wire protecting it, radio antennas sprouting from the CP - and surrounded on all four sides by jungle. The First Chopper rocking down, whipping up dust clouds. Chris jumps out, moving out fast as the Second Chopper starts in.",
"EXT. BATTALION CP - PERIMETER #3 - DUSK At the Battalion CP, the Major confers with Captain Harris and two other Captains. Two NVA PRISONERS are sitting on their knees, interrogated by Vietnamese Kit Carson scouts and a U.S. Sergeant, their hands tied. The Scout slaps the shit out of the NVA.",
"EXT. PLATOON CP - PERIMETER #3 - DUSK All this is watched from a distance by Ace and Doc and Lt.Wolfe at the Platoon CP. Ace and Doc are digging the foxhole, the ace of spades in Ace's helmet band, sharing the information with Tony and Francis. ACE they caught'em last night pulling some shit on Charlie Company. They found maps on'em, man - got a friend at Battalion says they had every fuckin' foxhole here fixed on it. Distances, treelines, our claymores, trip wires, everything? I shit you not. DOC Shit, so what the fuck are we doing here? Why do n't we move. -LRB- no answer. -RRB- Bad vibes, man, I got bad vibes here. Where are the new guys they provided us anyway. TONY I heard we's in Cambodia right fuckin' NOW. FRANCIS You kidding man. Rhah comes up, a walking stick in hand, huge pirate kerchief on his head, semi - naked. RHAH You wanted to see me sir? WOLFE Jackson, looks like you got Elias' squad now. RHAH Squad? I did n't know we was still referring to this platoon in terms of squads sir. -LRB- with a snicker for Ace and Doc. -RRB- WOLFE -LRB- indicating a rough drawing in the dirt. -RRB- These two holes are yours. RHAH Begging your pardon Lieutenant but my holes are far enuff apart you could run a regiment through there and nobody'd see them - I got five live bodies left WOLFE I do n't want to hear your problems, Jackson. You'll get new men any day. Time being you make do like everybody else. RHAH Hey Lieutenant I did n't ask for this job, I. WOLFE -LRB- leaves. -RRB- I do n't want to hear about it Jackson. RHAH -LRB- amazed, looking off at him. -RRB- You do n't want to hear about it? WOLFE -LRB- turns. -RRB- That's right. I do n't want to hear about it'cause to tell you the truth, I do n't give a shit okay. I just do n't give a shit anymore. RHAH -LRB- shrugs, to himself. -RRB- Right. WOLFE -LRB- passing Ace digging the CP hole. -RRB- This is one time we could sure use Elias. ACE -LRB- to Doc. -RRB- ` Some people say I'm wishy washy. Maybe I am. Maybe I ai n't.'",
"EXT. PERIMETER #3 - CHRIS' FOXHOLE - DUSK On the edge of the perimeter, King puts out his claymore, unraveling it back towards his FOXHOLE, intersecting MEN form the Third Platoon, who file out on a night ambush, skirting the trip wires, demoralized, silent. Eye exchanges, but no words. Chris sits on the foxhole watching the ambush go out, smoking a joint by himself, depressed. King comes in with the claymore wires, attaching them to their detonators. Their foxhole - as are all of the Platoon's - is positioned just inside the treeline bordering the LZ, so that they are quite isolated from the center of the perimeter where they first landed. KING Glad I ai n't going with'em. Somewhere out dere man is de Beast and he hungry tonight. Man, what a bummer. Ten days and a wakeup and I'm still dealing wid this shit - fuckin' etcetera and ad infinitum man. The LAST SOLDIER in the file recedes into the foliage. KING -LRB- CONT'D. -RRB- -LRB- noticiing Chris' silence. -RRB- What's the matter wid you? How come you ai n't writing no more? You was always writing something home. Looks like youse half a bubble off, Taylor. He does n't answer, makes a futile gesture. KING -LRB- CONT'D. -RRB- What about your folks? That grandma you was telling me about? Chris shakes his head. KING -LRB- CONT'D. -RRB- Girl? Chris' eyes answer negatively. KING -LRB- CONT'D. -RRB- Must be somebody? CHRIS there's nobody. KING -LRB- shifts, uncomfortable. -RRB- You been smoking too much shit babe. Got ta control that. Takes a man down. I remember when you first come out to the bush, you was straight as a. CHRIS Who gives a shit! He shifts, annoyed, prepares his grenades along the sand bags. King shrugs, preparing his meal, sings himself a snatch of song, a good natured man. KING -LRB- soft. -RRB- ` People say I'm the life of the party cause I tell a joke or two although I may be laughing loud and hardy deep inside I'm blue.' CHRIS Y' ever get caught in a mistake King and you just ca n't get out of it? KING Way out of anything, man. Just keep your pecker up, your powder dry, the worm WILL turn. How many days you short? CHRIS Not just me. it's the way the whole thing works. People like Elias get wasted and people like Barnes just go on making up rules any way they want and what do we do, we just sit around in the middle and suck on it! We just do n't add up to dry shit. KING Does a chicken have lips? Whoever said we did, babe. Make it outta here, it's all gravy, every day of the rest of your life man - gravy. Oh shit, superlifer! O'Neill comes up, jerks his thumb at King. O'NEILL Get your gear together, King, your orders just come through. KING -LRB- speechless. -RRB- You jokin' me man? shit, you ai n't kidding! Cocksucker. Oh wowww. the lifers made a mistake, they cuttin' me some slack, they cutting me some slack Taylor! -LRB- dances. -RRB- O'NEILL Collect your shit and move out King. You got 10 minutes make the last chopper. Cee ess em oh or your ass is mine. -LRB- to Taylor. -RRB- Francis is coming over. -LRB- hurries off. -RRB- King packing up, double time. Chris comes over, helps him, trying to share his happiness but not succeeding. CHRIS Hey that's great King, that's great. you take it on home for me, you tell'em King. got your address right? You know where you can reach men, man. Anytime! KING I got ta didi man. Do n't wan na miss that chopper. I'll send you a postcard. After I get me some. I'll send you some tapes too man. This new guy Jimi Hendrix man, whew. you okay Taylor? Just ` member take it easy now, do n't think too much, do n't be a fool, no such thing as a coward cause it do n't mean nuthin. Jes keep on keepin' on. Okay my man. Chris, fighting his depression, slaps hands with King. A brief moment, they look at each other. A friendship that was forever and is now over. They both sort of know they'll never see each other again. CHRIS I'll walk you out. Francis coming up, hauling his pack.",
"EXT.PERIMETER #3 - JUNIOR'S FOXHOLE - DUSK On another foxhole, Rodriguez positions his M - 60, brings up his ammo belts -LRB- no loaders left -RRB-. Tony eating, nervous, watches him, shakes his head. TONY Rumor goin' round is they got tanks. Soviet shit, T - 34's. -LRB- pause. -RRB- Hey Rodriguez, do n't you ever say nothing? RODRIGUEZ -LRB- a thick Mexican accent. -RRB- What do you want me to say, it's all the same ol' shit. Tony shrugs, back to his food.",
"EXT. PERIMETER #3 - JUNIOR'S FOXHOLE - DUSK On another foxhole, Barnes in full pack checks the soles of Junior's bare feet. Bunny and O'Neill looking on. Junior is moaning as if he's dying, overdoing it by a mile. BARNES So what's the problem? O'NEILL Says he ca n't walk. BARNES Shit. Get your boots on Martin, next time I catch you putting mosquito repellant on your fuckin' feet I'm gon na courtmartial your nigger ass. JUNIOR -LRB- cracks. -RRB- DEN COURTMARTIAL ME MOTHERFUCKAH, bust my ass, send me to fucking Long Binh, do your worst but I ai n't walking no more. De white man done got his last klik outta me. Get some chuck dude to hump this shit. BARNES -LRB- suddenly soft. -RRB- Get me that centipede, O'Neill. O'Neill is puzzled. What centipede? O'NEILL Sarge? BARNES Yeah that long hairy orange and black bastard I found in the ammo crate. I'm gon na put it in this asshole's crotch, see if he can walk. Junior's eyes bulge with suspiscion and sudden terror, his demeanor totally alert now. O'NEILL -LRB- understanding. -RRB- Oh yeah, right away Sarge. JUNIOR No! Wait! I'll walk, fuck you I'll walk, I do n't need this shit! I do n't need this shit! BUNNY Fucking pussy, fuck it Sarge, I got ta have him on my hole? Barnes going. O'Neill catching up with him. O'NEILL Uh. Bob. Like to speak to you. Take a minute. BARNES -LRB- stops. -RRB- Yeah, what is it? O'NEILL -LRB- shuffles, reluctant. -RRB- Bob, I got Elias' R&R. It's coming up in 3 days. Going to Hawaii. See Patsy. -LRB- pause, no reaction from Barnes. -RRB- I never asked you for a break, I was hoping you. you'd send me in on the chopper with King. what do you say Chief? -LRB- a friendly punch. -RRB- BARNES I ca n't do that for you, Red. We need every swinging dick in the field. Sorry bout that. -LRB- starts to go. -RRB- O'NEILL -LRB- pleads. -RRB- Hey Bob, come on! Talk to me hunh, it's your friend Red, I'm only asking you for three days chief. BARNES I'm talking to you Red and I'm telling you no. Get back to your position. O'NEILL -LRB- grabs him, desperate. -RRB- Bob, I got ta bad feeling about this, I. I'm telling you I got a bad feeling, man, I do n't think I'm gon na make it. y' know what I mean? BARNES -LRB- quietly. -RRB-. everybody got ta die sometime Red. Get back to your foxhole. A look in his eyes. Very remote, very cold, silencing O'Neill. Barnes walks off.",
"EXT. PERIMETER #3 - BATTALION LZ - DUSK At the LZ, King runs out, gets on the last SUPPLY CHOPPER with some other men. It lifts off, swirling dust, the last rays of daylight. Chris watches from a Battalion CP area, waves back - the chopper sound receding in the horizon, the comparative silence of the jungle now creeping up on the perimeter. He turns and starts back to his foxhole. A man is watching him. He's sitting on a sandbag, face in shadow. It startles Chris, something about him. Something different. A deep West Virginia drawl. SMOKING MAN Got a light? CHRIS Uh sure. Goes over reluctantly, flicks his lighter, cupping it from the wind. The flame catches a sudden, uneasy expression in Chris' face as he sees the Smoking Man. We come around and see what Chris sees in the light of the flame. A face that smiles at him like a death's head, a large ugly blister on his mouth, whiskered, pale - but smiling. A sick man would n't smile like this, but he is smiling too intimately, as if he knows Chris from way back. But he does n't. Or does he? Perhaps it was the man Chris first saw at the airstrip when he came in - country. The same expression of evil, of a man who has seen too much and died, but still lives. Chris feels an unnatural fear passing through him. The Man stands, sucking on his cigarette, stretches. He is thin and very tall, towering over Chris. SMOKING MAN later. He goes. Chris watches him, wondering. The man never looks back, a leisurely, confident stroll. In that moment, there is an EXPLOSION from way out in the jungle, about a quarter of a mile. Then another, then small arms fire. Chris looks, knows.",
"EXT. PERIMETER #3 - RHAH'S FOXHOLE - DUSK On his foxhole, Junior listening to the distant firing. Bunny is introspective - talking to Junior as if he were his best friend, although they have nothing in common. BUNNY y' know some of the things we done, I do n't feel like we done something wrong but sometimes y' know I get this bad feeling. Not all that shit the Chaplain's jamming up our ass ` bout the Good Lord. just a fucking bad feeling, y' know what I mean? Do n't know why. I told the Chaplain the truth is I really like it here. You do what you want, nobody fucks with you. Only worry you got's dying and if dat happens you wo n't know about it anyway. So what the fuck. -LRB- chuckles. -RRB- Junior looks at him like he's really crazy. Back to the distant firing. JUNIOR -LRB- pissed now. -RRB- Fuck! I got ta be on this hole with YOU man. I just know I shouldna come! Bunny finds it funny, laughs. BUNNY Do n't you worry bout a thing Junior, you with Audie Murphy here, my man.",
"EXT. PERIMETER #3 - COMPANY CP - DUSK At the Company CP, Captain Harris is talking urgently into the radio. HARRIS Bravo Three Alpha! Send me a grid. Send me a grid, over! A young inexperienced VOICE screams back into the radio amid intense background FIRING filtered by radio and sounding disembodied. RADIO VOICE We're pinned down sir, they're in the fucking trees! The trees - HARRIS OK, Three Alpha, calm down now, son. I'm gon na get you a fire mission ASAP. Smoke'll be first. RADIO VOICE -LRB- panic. -RRB- Lieutenant's dead sir, radioman look dead sir, I do n't know where the map is Captain! They're all around us sir. They're moving! Hundreds of em! I can hear em talking gook! Jesus Christ! HARRIS -LRB- calming him. -RRB-. Just spot the smoke son and tell me where to shift. We'll get you out of there. Just hang tough and tell me where the rounds hit, over.",
"EXT. PERIMETER #3 - PLATOON CP - DUSK At the Platoon CP, Barnes stands, legs akimbo, watching the jungle, anticipating the coming fight as overhead we now hear the 155 SHELLS whistle from a 10 - mile distance - passing above them - then pounding down into the jungle in the near distance. Barnes turns, glances at Wolfe, smiles.",
"EXT. PERIMETER #3 - COMPANY CP - DUSK At the Company CP, Captain Harris is back on the radio. HARRIS Bravo Three Alpha six. How bout those rounds son? Can you adjust fire? -LRB- waits. -RRB- Three Alpha, if you ca n't talk, just key the handset twice over. -LRB- waits. -RRB- Silence, then a vague MURMURING - becoming clearer and clearer. It's in Vietnamese. The radio is then bashed in, the sound like thunder in the Captain's ear. He looks at his RTO, both of them shocked.",
"EXT. NVA JUNGLE - NIGHT/DUSK In the Jungle itself, the ENEMY is moving. Flurries of movement and sound, blurred visuals. Hands taping a piece of cloth to a tree, moving on - revealing a luminous arrow pointing left. Figures moving past it. Hands unraveling a thin wire waist - high, backwards. Hands sliding along another wire. We now see a moving helmet with a luminous plaque on the back of it, leading a file up the wire. To a Jump - off point about 50 yards outside the U.S. perimeter. Figures crouch. Whispers. Movement. A pen flashlight on a drawing of the foxhole positions. The NVA moving out in several directions at once.",
"EXT. PERIMETER #3 - CHRIS' FOXHOLE - NIGHT On their foxhole, Chris and Francis wait anxiously. Overhead the ARTILLERY keeps pounding into the ambush area. Now SMALL ARMS FIRE can be heard picking up at random spots along the perimeter. The battle, like a tide, is obviously moving closer to them. FRANCIS Oh shit me I wish I was back in Memphis now, oooh baby this is gon na be a motherfucker! Chris says nothing. Suddenly off to their right, about 80 yards, a BLUE FIZZLE of light erupts. CHRIS Trip flares! Rodriguez's hole. Rat - tat - tat - tat, rat - tat - tat. Machine gun, outgoing, followed by a sharp explosion. A ROCKET! CHRIS -LRB- CONT'D. -RRB- RPGs! Shit! VOICE -LRB- crying. -RRB- MEDIC! DOC! DOC! A FIGURE thrashes up through the foliage behind them. RHAH -LRB- a fierce whisper. -RRB- Taylor! Francis! CHRIS Over here! Rhah jumps into their hole with them, out of breath. CHRIS -LRB- CONT'D. -RRB- Rhah! What's going on. Rodriguez's hole just got. RHAH -LRB- gets his breath. -RRB- Okay, here it is - one, we got gooks in the fuckin' perimeter. FRANCIS Oh shit! Dat's it, dat's it. RHAH They got through Alpha Company! Anything behind you do n't identify itself, blow it away. Two - air strike's coming in. They gon na lay snake and nape right on the perimeter so stay tight in your holes and do n't leave'em. FLARES now shoot up over the perimeter. Reds, greens, yellows, squeaking as they float doen on their parachute hinges throughout the ensuing battle. The perimeter is illuminated at spotty intervals - sometimes arctic bright, sometimes inexplainably dark til new flares shoot up. Chris, Francis, Rhah all look up at the light, and hug their holes even tighter, feeling naked in the light. Flares cut both ways. RHAH -LRB- CONT'D. -RRB- they're probing us, they gon na go up and down this line all night trying to get through. Stay cool. I'll be back. Runs out of the foxhole. Chris suddenly reacting to a noise out front, gripping Francis and pointing to the sound. A BODY is thrashing towards them, about twenty - five yards, not yet visible but a little awkward and lungy in it's movement, as if desperate. Francis, tense, is about to pop his grenade when Chris grabs him. CHRIS Hold it! -LRB- loud whisper. -RRB- WHO IS IT! But the body keeps coming, lurching now, falling. FRANCIS Come on man! CHRIS No! A POP! - then a fizzle of BLUE LIGHT as the Figure hits their trip flare - revealing itself to be large, with no helmet, and gasping, terrified of the trip flare. TERRIFIED SOLDIER DO N'T SHOOT! DO N'T SHOOT! CHRIS It's the ambush! -LRB- calling out. -RRB- In here, man! Hurry. The SOLDIER now runs in like a fullback going down for the tackle, sprawling into the hole, knocking Chris and Francis down beneath him. He is sweating, terrified, a white boy with an unrecognizable, filthy face, no rifle, no helmet, his fatigues torn all over. TERRIFIED SOLDIER Water! Water! Chris gives him his canteen, his shoulder and neck hurting from the collision. The Soldier sucks down the canteen. TERRIFIED SOLDIER -LRB- CONT'D. -RRB- -LRB- between gulps. -RRB- They ` se all over the place, hundreds of em moving this way! They wiped us out man, we did n't have a chance! Where's the CP? FRANCIS -LRB- points. -RRB- Back there. The Soldier struggling out of the foxhole. TERRIFIED SOLDIER You guys get outta here! They're right on my ass and they ai n't stoppin' for shit! He tears off, leaving Francis in a state of incipient panic. He looks at Chris. FRANCIS Taylor, let's di - di man! Chris adjusting position, facing the front, anger in his voice. CHRIS You go. Francis hesitates, stays.",
"INT. PERIMETER #3 - BATTALION CP - NIGHT At the Battalion CP, the Major is inside his BUNKER, busy between his radio nets. MAJOR -LRB- to RTO 1. -RRB- Get me Bravo! RTO 2 Charlie Company reports hand to hand on the perimeter sir. Three holes are down. They need help! MAJOR -LRB- looks at his watch, to his XO. -RRB- Okay move two squads from Alpha down there. Where's that goddamn air strike, you bet your ass if we were the First Cav they'd be here now. RTO 1 -LRB- handing him the transmitter. -RRB- Bravo Six sir.",
"EXT. PERIMETER #3 - BATTALION CP - NIGHT Just outside the Bunker, a MASTER SERGEANT spots something in the flarelight. TWO FIGURES with helmets running towards him at an angle. MASTER SERGEANT Hey you boys! Which Company you. A sudden burst of FIRE cuts the Sergeant down in his tracks and the Figures fly by. Soldiers in the immediate area spot them. SOLDIER #3 SAPPERS! SOLDIER #4 THE BUNKER! A burst of fire. One of the RUNNING FIGURES goes down. An Explosion engulfs him.",
"INT. PERIMETER #3 - BATTALION CP - NIGHT But the SECOND SAPPER runs right into the bunker in a kamikaze charge, the light from inside momentarily revealing a bulky satchel strapped on his person and the face of the astounded Major. RTO 3 SIR!",
"EXT. PERIMETER #3 BATTALION CP - NIGHT The Bunker EXPLODES with a deafening roar.",
"EXT. PERIMETER #3 - CHRIS' FOXHOLE - NIGHT In their foxhole, Chris and Francis look at the curling ball of flame, stunned. CHRIS Oh no!",
"EXT. PERIMETER #3 COMPANY CP - NIGHT In their foxhole, Chris points. CHRIS There! SHAPES moving in the trees. Chris blows his claymore handles. One explosion on top of the other out front. Then return fire. Flashes from a muzzle, rak - a - tak, rak - a - tak, rak - a - tak, the heavier sound of an AK - 47. Chris opening up with his 16. Then being blown down by a grenade explosion at the edge of the foxhole. Then nothing. A pause. Chris' ears ringing, slightly concussed. Suddenly from down the perimeter there is the sound of a faulty LOUDSPEAKER crackling out from the jungle. A pidgen English, the words mauled, then a snatch of patriotic North Vietnamese music, played from a scratchy old record. Chris uneasy, looking at Francis who looks terrified. The SOUND now of a whistle. Two hoots, then a sharp third. Then yelling. Chris grabbing Francis' arm, pointing. There is a VOICE directly out to the front of them - muttering something in Vietnamese, no more than 20 yards away but unseen. It's like hearing a casual conversation from another room, then the sounds of several bodies moving in separate directions - encompassing the foxhole. CHRIS -LRB- CONT'D. -RRB- -LRB- to Francis, a whisper. -RRB- Out of the hole! Fast! Chris crawls out, stops, looks back. Francis wo n't leave, hugs the shelter. CHRIS -LRB- CONT'D. -RRB- -LRB- a fierce whisper. -RRB- Goddamit Francis! Move your fucking ass. Now. THEY GON NA BLOW IT! Reaches in and yanks him with all his strength half out of the hole. Francis, finally sparked, now moves out. Both of them bellying it into the brush behind the hole. Not a moment too soon. An RPG ROCKET whistling in. The FOXHOLE takes a direct hit, caving in, whirls of smoke spinning off it. Chris and Francis look back covered with debris. They hear movement. SHADOWS are swarming towards the foxhole, firing into it to finish them off. Francis grabs Chris' leg, indicating they get out of there. Chris hesitates - a moment, a decision made now in angry passion - rises up and charges the NVA. SHADOWS scatter and tumble, caught by his surprise close - range fire. Chris moving forward into them, blasting, agile, his instincts finely tuned, and totally insane in this moment of time, indifferent to his life. He YELLS insanities, pumping himself up with the adrenaline of courage. CHRIS -LRB- CONT'D. -RRB- DIE YOU MOTHERFUCKERS! YAAAAAAAAA! Screams from the dark shadows, they fall. Chris smashing a wounded SHADOW with the butt of his gun down into the foxhole. He jumps back into it, reoccupying it. Blasting the dead gook. Opening fire out to the front, driving the Shadows back. Francis watching this, amazed. After a moment of doubt, he too tears back out to join Chris in the foxhole, unbelieving, as he jumps in with him. FRANCIS -LRB- joining in the frenzy. -RRB- YAAAAAHHHH! KILLLLL! Then stunned again to see Chris suddenly rise up out of the foxhole and charging forward into the jungle. He is now over the edge. CHRIS -LRB- charging off into the jungle. -RRB- DIE YOU MOTHERFUCKERS!",
"EXT. PERIMETER #3 - BUNNY'S FOXHOLE - NIGHT In his position, Bunny is experiencing the same ` high' as Chris, yells out at them. BUNNY Come on MOTHERFUCKERS, COME ON! Junior, huddled in the hole with him, speechless and terrified, looks at him with huge eyes. The guy is nuts. An incoming grenade explosion shakes the hole. BUNNY -LRB- CONT'D. -RRB- -LRB- laying out more fire. -RRB- Come on you can do better than that! JUNIOR Fuck this shit! I ai n't dyin' in no white man's war! Ise didi - ing this motherfuckah! Junior freaks out, throws his rifle down and hobbles out of the hole on his damaged feet at an incredible speed. BUNNY -LRB- yelling after him. -RRB- Get back here you gutless shit. A SHAPE suddenly out of nowhere, looms up fast behind Bunny, running at him. Junior, insane now with fear, runs smack into a tree, knocked senseless and reeling to the ground. Bunny turning back too late. The crazy drug - high Shape is yelling something like : NVA SOLDIER Diiiiikaaeeeeeee! And jumps right into the hole blasting Bunny point - blank in the chest. Bunny struggling to consciousness at the bottom of the hole. THUCK! A boot in the gaping hole where his chest was. Bunny, his eyes uncomprehending. A muzzle is jammed into his mouth, breaking his teeth with an ugly sound. Another yell from the NVA trooper. A flash of orange red light. Bunny's face blown to bits. Junior, dizzy from the blow to his head, looks up. A yellow flare somewhere out there and a SHADOW above him digging a bayonet into his belly with a grunt. A long oozing sigh of belly gas. An explosion. The Shadow with the bayonet staggering blind without eyes, holding his brains with his hands. Barnes throws open the empty LAAW rocket casing he has just fired off and charges forward with a yell, cutting down another NVA in Bunny's old foxhole. Jumping into the hole, the bottom of which is a liquid pit of guts, blood, ooze. Another Enemy running in on him. A short burst of fire. Barnes hit. Firing into each other. Barnes draggin him down into the pit with him, grappling alongside the corpse of Bunny. Barnes uses an entrenching tool to finish him off.",
"EXT. PERIMETER #3 - PLATOON CP - NIGHT At the Platoon CP, small arms fire is all over the place, the NVA closing the ring. Ace, in the foxhole, yells to Wolfe. ACE Negative contact. Ca n't raise Barnes, Two Bravo, Two Charlie, nothin'! WOLFE Get me Six! Nervously aiming his rifle as a man comes running towards them, staggering. ACE It's Doc! Doc plops down, out of breath, drained, bleeding all over his chest. DOC They're coming through all over! I ca n't. I ca n't do. WOLFE Where's Barnes! DOC I think he's dead. it's awful, they're all dying. Wolfe is stunned, Barnes his last crutch against the chaos. Ace handing him the handset. ACE Six! CAPTAIN HARRIS' VOICE Yeah! Send traffic or clear this goddamn net! WOLFE We've been overrun Captain, we're pulling back. Over!",
"EXT. PERIMETER #3 - COMPANY CP - NIGHT At the Company CP, things are just as bad. A Radioman is sprawled over a smashed radio. Captain Harris is in a bunker working the radios himself, as his Radiomen fire at yelling, running FIGURES scurrying all over the inner perimeter. HARRIS -LRB- furious voice. -RRB- Bravo Two, Six! Goddamit where the hell you plannin' to pull back to! They're all over the perimeter. Be advised Lieutenant, you WILL hold in place and you will FIGHT and that means YOU, Lieutenant. Out!",
"EXT. PERIMETER #3 - PLATOON CP - NIGHT At the Platoon CP, Wolfe is astounded by the message. Ace looking at him straight in the eye. ACE You're an asshole Lieutenant, you know that. As he abandons his radio, grabs up his 16 and moves to an adjacent position. Doc, a quiet man up to now, is treating a wounded Parker who is now hit by bullets and thrashes wildly and jerks to a stop. He is obviously dead but Doc goes on trying to finish the bandage. Suddenly he goes beserk, grabs a 16, starts firing and yelling.",
"EXT. PERIMETER #3 - COMPANY CP - NIGHT At the Company CP, Harris gets on the radio with the air strike. One of the RTOs on a separate radio calls over. RTO #5 Captain, Third Battalion Armoured's on its way with tracks ` bout 2 kliks west! HARRIS -LRB- ignores it, into radio. -RRB- Snakebite leader, Ripper Bravo Six, we're gon na need you soonest be advised I've got zips in the wire down here, over! PILOT'S VOICE -LRB- distorted high frequency. -RRB- Roger your last Bravo Six, Snakebite lead we ca n't run it any closer. We're hot to trot and packing snape and nape but we're bingo fuel. It's your call, Six actual, Over. Harris looks around. The decision made. HARRIS Snakebite leader, Bravo Six, for the record, it's my call. Dump everything you got left ON MY POS. I say again, I want all you're holding INSIDE the perimeter. It's a lovely war. Bravo Six Actual and Out. Pilot's reaction. Very calm. A Farmboy twang. PILOT'S VOICE Roger your last Bravo Six. We copy it's your call. Get em in their holes down there. Hang tough, Bravo Six we are coming cocked for treetops. Whiskey to Echo. Snakebite Two, this is lead. Last pass on zero niner. Watch my smoke to target, expend all remaining. Follow my trace. The transmission drops out. Harris now looking up into the darkened skies. The planes in no way evident - but they're there. And they're coming.",
"EXT. PERIMETER #3 - PLATOON CP - NIGHT At the Platoon CP, the NVA are sweeping fast, crouched, using cover, yelling. Small fires are raging all over the perimeter. Ace putting out fire, is hit. The NVA are coming over his sandbags. A burst of fire. Ace goes down. Doc has cracked up, firing at anything, indifferent to his safety. One of the NVA goes down. The Doc is hit in the side, wounded, struggles, is hit again, but keeps trying to fire. He's hit a third time - in the jugular vein. Nearby, Wolfe is firing madly at the oncoming NVA. One goes down. A second is wounded, yelling in pain. Wolfe reloading his 16, popping up, too late. One of them is coming over the sandbags. He sees Wolfe. Wolfe sees him. In the same moment. Wolfe hesitates, frozen up. The gook unloads his AK - 47, a magazine worth, into Lieutenant Wolfe, who crashes down, sprawled unnaturally on the jungle floor. A spasm shakes his body. Then stops. Dead. Boots run by.",
"EXT. PERIMETER #3 - O'NEILL'S FOXHOLE - NIGHT At his foxhole, O'Neill peeks up out of the hole. Several NVA are darting through the jungle 20 yards away, coming towards him, talking loudly to each other. He quickly slips back down in the hole, entwining himself with the approaching NVA, clinking metal. The NVA stop, glance in the hole. Something is muttered. They run out. O'Neill opens his eyes, breathes.",
"EXT. PERIMETER #3 - BARNES' FOXHOLE - NIGHT BARNES swings his mashed M - 16 full into the FACE of an enemy SOLDIER who screams and goes down, Barnes chopping at him with his club. His helmet is gone, his shirt ripped to shreds, his shoulder bleeding, making his last stand against the hated Gooks. Nearby HUFFMEISTER is hit in the shoulder by a running FIGURE and collapses into the bottom of the foxhole, crying out in pain. The running FIGURE runs past right into the full force of BARNES' swinging rifle. SMACK! He crumples. INTERCUT Chris bellies into the area, see Barnes, recognizes him, amazed. An ENEMY fires, taking Barnes high in the left thigh. A patch of skin blowing off. Barnes rigidly goes down on his left knee like a wounded horse. Holds there, staring into the Enemy, waiting for the coup de grace. A series of SHOUTS and the Enemy staggers dead as : Chris lays out a curtain of fire. A GRENADE goes off near him, blowing off his helmet. Dazed, Chris rushes forward firing from the hip - sucked into Barnes' suicidal vacuum. He cuts down an Enemy as : Barnes, given a new lease, limps angrily forward and tackles a wounded Enemy trying to crawl away, terrified at the sight of Barnes coming after him. Barnes lets out a vivid scream. And beats the soldier mercilessly, half the stock of his M - 16 flying apart broken. Chris swivels alert on his knees. A pause. No more enemy. Turns to Barnes, his back to Chris still beating at the dead corpse. CHRIS Barnes! Barnes swivels instinctively off the corpse and for a petrifying moment Chris sees : A maddened scar of a face, lips specked with foam. The EYES - refracted in a red - green flare overhead - the pupils distorted into angry red points. For Chris it is no doubt the most frightening single image he has seen in his life. It will be in his nightmares forever. The essence of evil : wrath, obsession, anger, fear, hatred, permanence - he is paralyzed. Barnes smashes him full across the face with the broken stock of his M - 16. Not even conciously, for at this point, his mind has gone over the edge and the entire world is his enemy. American or Vietnamese, it makes no difference as he strikes Chris harder and harder. Chris struggles, moans, his teeth and nose cracked. Barnes emits another chilling yell an springs like a humpback up on his good right leg, the left bent - set to deliver the killing blow, the mangled rifle pulled to its highest arc. CHRIS -LRB- CONT'D. -RRB- Nooooooooo! The PHANTOM FIGHTER JET comes now like a great white whale. One big beautiful monstrous beat of deafening sound. Its silver and white belly hurtling low over the treeline in one giant leap of sound momentarily illuminated by a flare. Then a monstrous ROAR of anger. The bomb ripping Barnes off the body of Chris and spitting Chris across the jungle floor - crashing into a tree some 30 yards away. FADE OUT",
"EXT. PERIMETER #3 - CHRIS' JUNGLE - DAWN FADE BACK IN. Vague sunlight. Blurry. Chris fluttering his eyes. A sharp MOVEMENT in the bush. His eyes fight their way open. SOFT EYES are watching him from behind foliage. A soft, furry head, alert, rigidly still. Chris fights his way up to his elbow, in pain, looking at the eyes. The head turns and in one fluid move, bolts. Gone. Like the wind. A deer. A big brown deer. Or was it? Chris will never be quite sure. But whatever it was, it was surely a sign of grace - the grace of Elias. This he knows as he feels himself for the first time alive. And in pain. His left hand torn and bleeding, shrapnel in his side, cuts on his face, dried blood caking him. Looking around his garden of eden. A messy jungle floor. Cordite fumes. Burned bush and trees. Torn sandbags. Dead NVA. Bird songs somewhere in the distance. It is the very crack of dawn, a pink - red sun casting long oblique light patterns through the trees. A holy light. Chris pushes himself to his feet, feels his weight and the pain. He walks. In the near distance, towards the LZ area, there's the sound of Armored Personnel carriers grinding, men moving, calling out in Americanese. But Chris is alone here. He fishes up an AK - 47 from a dead NVA. Checks it, a weapon. Walks on.",
"EXT. PERIMETER #3 - BARNES' FOXHOLE - DAY Past scores of NVA bodies. Past the Foxhole where Bunny lays dead in the bottom, faceless. Looking over at Junior bayoneted to the ground, dead. NVA everywhere around the hole, some of them still moving, badly wounded. Chris looking around, then noticing a movement a little further out in the Jungle. Then he sees who. The uniform is shredded, the figure obviously hurt in several places -LRB- thigh, back, neck, hand -RRB- but not mortally so, now struggling to right itself, dragging its face up from a belly - down position. Streaked with dirt and blood, we see Barnes once again re - emerging from the dead. Chris steps over to him, a solemn look on his face. Barnes looks up, begs. BARNES Get me a Medic will ya. Go on. Chris does n't move. Barnes looks at him again, reading the intention that has crossed Chris' mind. An expression of surprise crosses his face, then amazement, almost shock. BARNES -LRB- CONT'D. -RRB- Fuck you in hell. Chris shoots him. Once. Twice. Three times. Silence. Barnes is finally dead. Chris looking at the corpse, numbed, no exultation in his expression. Just cold satisfaction and little feeling left. Behind him, the SOUND of a big machine moving. He turns. A huge Nazi flag on an antenna looms up in the bush, followed by the great belly of a turreted dragon crunching down a tree for its breakfast. A big tough GERMAN SHEPARD comes boudning at him sniffs, followed by a flak - jacketed MONSTER MAN - filthy and greasy, unshaven face, earring in his left ear, ` DEATH CORPS' scrawled on his shirtless flak jacket and a drawing of a death's head, he looks like a cross between a pirate and a hell's angel. Behind him, a SECOND MONSTER MAN and the ARMORED PERSONNEL CARRIER grinding its engine, a human skull hanging from its turret. MONSTER MAN -LRB- to Dog. -RRB- Bozo! Get back here! His eyes passing on Chris like so much meat. MONSTER MAN -LRB- CONT'D. -RRB- -LRB- to Chris. -RRB- Can you walk outta here? Chris nods. The Soldier pointing to the LZ behind him as a sign he should go that way. The other Soldier already stripping the NVA dead, as the APC grinds on into the jungle, reconnoitering. Chris walks out of the jungle, head bowed, nauseated, mixed feelings roiling him.",
"EXT. PERIMETER #3 - FRANCIS' FOXHOLE - DAY In another foxhole, Francis waits, the sounds of the approaching APC cutting through. He thinks about it a moment. It must be fast. It must be a hard cold decision. Now! He pulls out his K - bar and with one last anguished hesitation, drives it into his thigh muscle. Francis yells out and collapses in his hole.",
"EXT. PERIMETER #3 - O'NEILL'S FOXHOLE - DAY In another foxhole, O'Neill, unscratched but covered with dirt, waits tentatively as SOLDIERS arrive at his hole. They're a little awed by the sight of the tough - looking O'Neill emerging from his foxhole like Sgt.Rock, dozens of dead NVA littered around him. APC SOLDIER #1 You alone Sarge? O'NEILL Fuck yeah. They all left me, bunch of fuckin' faggots. APC SOLDIER #2 Man, you gon na get yoself a silver star. O'NEILL Fuck the silver star. You got any booze?",
"EXT. PERIMETER #3 - RHAH'S FOXHOLE - DAY Rhah, alive and well, is poking around the NVA corpses with a long gnarled walking stick, looking like a crazy Johnny Appleseed with his pants rolled up on his thin hairy ankles and wearing a red bandana tied in a four - knot around his head. As one of the APC SOLDIERS carves an ear off a dead NVA, Rhah works his way through the torn bloody pocket of an NVA Troop in full rigor mortis, extracting what he thought was there - a wrapped cellophane of heroin. Rhah's face glows with satisfaction as he tastes it, then snorts it. With a certain satisfaction of triumph over the grim circumstances. RHAH -LRB- to the powder. -RRB- Yeah, that's good shit.",
"EXT. PERIMETER #3 - LZ - DAY CHRIS is hauled out on a litter. Morphined, his eyes watching it all from somewhere deep in his brain. Passing : Groups of SOLDIERS looking like bowery bums and moving like rats through the smoke and garbage snooping for souvenirs with wheezy tired eyes and grunts of greed. Passing a bulldozed PIT with heaps of NVA BODIES in them. a BULLDOZER pushing another set of bodies in, like photos of a Nazi death camp. Nearby, two burly SOLDIERS lift a WOMAN NURSE and with a once - through build for momentum, toss the fresh body into the pit. Chris, numb, goes by. RADIO OPERATOR -LRB- into radio, exhausted. -RRB- - 37 U.S. KIA, 122 wounded and still counting. Estimate 500 Victor Charlie KIA, 22 wounded and still counting. Over. 2ND RADIO OPERATOR Sir, a television crew's coming in with the General - CAPTAIN HARRIS does n't respond ; at this point he does n't give a shit, standing apart from the radios looking numbly at the remnants of his boys filtering by on litters. Chris intersects him now, Harris' eyes looking blankly, then nodding sickly trying to give him encouragement. Just coming to the edge of tears, choking it back, and turning back. These are his sons who are lost. A good officer. Rodriguez, wounded, is lifted up in his litter and moved out to the waiting MEDIVAC CHOPPER, a huge red cross painted on a white square. Doc goes by on another litter, then Ace, Adams, Huffmeister, etc.. Then Francis is littered by, bandages around his leg, a big smile on his face. FRANCIS Hey Taylor, you okay man? CHRIS Yeah. How ` bout you? FRANCIS Jes' fine man, jes fine! Ai n't never felt better! Both of us two timers man, we're out. -LRB- gives him a slap as he goes by. -RRB- See you at the hospital man, we gon na get high - high yessir. -LRB- goes off. -RRB- The Medic points to the chopper. MEDIC -LRB- to Chris. -RRB- That's your ride man, you ready? CHRIS -LRB- tries a smile. -RRB- You bet. Chris starts towards it, the Medic assisting him.",
"EXT. PERIMETER #3 - LZ - DAY Sgt.O ` Neill watches the loading process forlornly from the distance. Captain Harris intersects him. HARRIS You got Second Platoon Sergeant. O'NEILL -LRB- reflexively. -RRB- Yes sir - And as Harris moves away, O'Neill is left thinking. Finally there is a certain frustration to his actions ; he has taken such great pains to stay alive that the tuition he pays is precisely to stay in this Jungle. Inevitably his time will come - one way or another. His eyes now follow the MEDIVAC CHOPPER upwards, whatever is left of his shrunken soul yearning to go with it.",
"EXT/INT: PERIMETER #3 LZ CHOPPER - DAY As the Chopper rises off the battlefield, Chris, who is sitting at the edge so that he has a full view out the open door, waves back at Rhah.",
"EXT. PERIMETER #3 - DAY Rhah, at the edge of the treeline, vigorously shakes his walking stick at him, his other hand a fist, waving them, emitting his cry. RHAH Baaaaaaaaa! Defiance. Pride. Dig me, I'm Rhah - and there is n't nobody like me in the world.",
"EXT/INT: PERIMETER #3 - LZ CHOPPER - DAY The chopper - with its huge red cross painted on - now rising to meet God. Smashed on morphine, Chris looking out at the waving ants below. Now the trees, the skyline and the chopper is moving fast over the devestation. The jungle forever locked in his memory, Chris looks back, copious, quiet tears flowing from his eyes. CHRIS -LRB- V.O. -RRB- I think now, looking back, we did not fight the enemy, we fought ourselves - and the enemy was in us. The war is over for me now, but it will always be there - the rest of my days. As I am sure Elias will be - fighting with Barnes for what Rhah called possession of my soul. There are times since I have felt like the child born of those two fathers. but be that as it may, those of us who did make it have an obligation to build again, to teach to others what we know and to try with what's left of our lives to find a goodness and meaning to this life. The music surges now to its full strength as we replay bits of film with each actor's name listed - some with silly, clowning looks, others sober, haunted. Gardner, Tex, King, Rhah, Lerner, Sanderson, Manny, Big Harold - all the boys. and then Barnes staring quietly into the camera, and lastly Elias - shirt off, bowl of grass in hand, his big, beautiful smile."
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] | In 1967, Chris Taylor has dropped out of college and volunteered for combat duty in Vietnam. Assigned to Bravo Company, 25th Infantry Division near the Cambodian border, he is worn down by the exhausting conditions and his enthusiasm for the war wanes. One night his unit is set upon by a group of North Vietnamese Army (NVA) soldiers, who retreat after a brief gunfight. New recruit Gardner is killed while another soldier, Tex, is maimed by friendly fire from a grenade thrown by Sergeant "Red" O'Neill, with Taylor being mistakenly reprimanded by the ruthless Staff Sergeant Barnes. Taylor eventually gains acceptance from a tight-knit group in his unit who socialize and use drugs in a cabin clubhouse. He finds a mentor in Sergeant Elias as well as the elder King and becomes friends with Gator, Lerner and Rhah. During one patrol, a soldier named Manny is found mutilated and tied to a post while two others, Sal and Sandy, are killed by a booby-trap. As tension mounts, the platoon soon reaches a nearby village where a supply cache is discovered. Taylor finds a disabled young man and an elderly woman hiding in a spider hole. Taylor snaps, screaming and threatening the man but is shocked to see Bunny then bludgeon him to death. Using Lerner as a translator, Barnes interrogates the village chief to determine if they have been aiding the NVA. Despite the villagers' adamant denials, with Lerner also agreeing that they are telling the truth, Barnes shoots and kills the chief's wife due to her persistent arguing. Barnes then takes the child of the woman at gunpoint, threatening to shoot her if the villagers do not reveal information. Elias arrives, scolds Barnes and engages in a scuffle with him over the incident. Platoon commander Lieutenant Wolfe orders the men to leave with the villagers and burn the village. As they leave, Taylor stops a group of soldiers from raping two girls. Upon returning to base, Captain Harris warns that if he finds out that an illegal killing took place, a court-martial will be ordered, which concerns Barnes as Elias might testify against him. On their next patrol, the platoon is ambushed and pinned down in a firefight, in which numerous soldiers, including Lerner and Big Harold are wounded. Lerner is taken back to the helicopter landing area while Wolfe calls in a mortar strike on incorrect coordinates, resulting in friendly fire casualties. Elias takes Taylor, Crawford and Rhah to intercept flanking enemy troops. Barnes orders the rest of the platoon to retreat, and goes back into the jungle to find Elias' group. Barnes finds Elias and shoots him, returning to tell the others that Elias was killed by the enemy. While they are leaving, a wounded Elias emerges from the jungle, running from a group of North Vietnamese soldiers. Taylor glances over at Barnes and reads the apprehension on his face as Elias dies. At the base, Taylor attempts to talk his group into retaliation when a drunken Barnes enters the room and taunts them. Taylor attacks him but is cut near his eye as a result. The platoon is sent back into the combat area to maintain defensive positions. King is sent home and Taylor shares a foxhole with Francis. That night, an NVA assault occurs and the defensive lines are broken. Several soldiers in the platoon including Junior, Bunny and Wolfe, are killed, while O'Neill barely escapes death by hiding under a dead soldier. To make matters worse, an NVA sapper armed with explosives rushes into battalion headquarters, self-detonating and killing everyone inside. Meanwhile, Captain Harris orders his air support to expend all remaining ordnance inside his perimeter. During the chaos, Taylor encounters Barnes, but the wounded sergeant attacks him. Just before Barnes can pummel Taylor, both men are knocked unconscious by an air strike on the overrun base. Taylor regains consciousness the following morning, picks up an enemy Type 56, and finds an injured Barnes, who dares him to pull the trigger. Taylor shoots Barnes, killing him. Taylor then sits until reinforcements arrive and find him. Francis, who survived the battle unharmed, deliberately stabs himself in the leg and reminds Taylor that because they have been twice wounded, they can return home. Taylor encounters his and Elias' old friend Rhah one last time, apparently unscathed and returning with American Armor Cavalry, Rhah then bids them farewell with a battle cry. O'Neill, who desperately wants to go home, is given a promotion to platoon leader and is told he will remain in duty and replace Lt. Wolfe. The helicopter flies away and Taylor weeps as he stares down at multiple craters full of corpses, friend and foe alike. | Platoon_(film) |
[
"EXT. BEACH HOUSE - MONTECITO, CALIFORNIA - DAY A late afternoon sky, a red tile roof and the Santa Barbara coast line frame this party of old friends. A trio plays Brazilian music as guests carry drinks and nibble on dessert. CLOSE - ON A FOURSOME OF FRIENDS The Couple who live in this house, SALLY AND TED, drink champagne as they chat with their closest friends, JANE AND JAKE. JANE is mid - fifties and has embraced that fact. She knows 50 is not the new 40 and because of that, she is still described by all who know her as beautiful. Everything about this woman's appearance screams `` solid.'' The years have been good to JAKE. He's never lost his looks, his killer smile, or his ability to charm. He lifts his glass of champagne. JAKE Happy happy happy. JANE. -LRB- reminding him. -RRB- - Anniversary. Jake pauses, wryly turns to Jane, making her smile. JAKE Some things never change. SALLY Thank God. JANE I thought maybe you were drifting. TED He was pausing. JAKE Exactly. -LRB- sighs, raising his glass. -RRB- Happy. Anniversary. You two have led an extraordinarily blessed life. As long as I've known you both, you've always managed to somehow do everything entirely right. JANE - That's so true. JAKE But, honestly, how can it be thirty years! ?! When did we do that trip to Spain? -LRB- looks to Jane. -RRB- It was for both of our what? JANE - Fifteenth anniversaries. JAKE God, that was a great trip. The Two Women exchange a quick look when a tall, ADORABLE 21 YEAR OLD BOY joins the group, holding a bottle of beer. This is OLIVER, Sally and Ted's son. All four light up as Oliver puts his arm around his Mom. JANE Ollie, how was graduation? OLIVER It was fantastic. I ca n't believe I'm not in school anymore. When's Luke's graduation? JAKE Next week. JANE. -LRB- correcting him. -RRB- It's in three days! JAKE Sorry! I mean this week. TED Are the girls going? JANE They ca n't wait. Jane glances across the party and sees AGNESS, A FREE SPIRITED PRETTY WOMAN in her thirties, wearing a sarong over a bathing suit and walking directly toward them. She carries a slice of cake. Jane becomes instantly distracted and uncomfortable. OLIVER How long is Luke home before he has to go back for work? JANE - Only a week. SALLY Aw, that's it? JANE I know, I hate it. Well. -LRB- Agness joins the group, standing next to Jake. -RRB- Congrats again. -LRB- puts down her champagne. -RRB- Great party. OLIVER You're leaving? JANE Yeah, I have some. -LRB- Agness hands Jake a piece of cake. Jane works hard at not appearing flustered. -RRB- - stuff I have to get done tonight for work. -LRB- to Jake & Agness. -RRB- I'll see you two in New York. AGNESS Absolutely. Lookin' forward to it. JANE Good. Well. AGNESS - Jane, what are you wearing to the graduation? JANE Oh, a suit or dress, probably a suit. AGNESS Fancy. Okay. Jane smiles tightly, raises her eyebrows to Sally. JAKE See you there, Janey. Where are you staying again? JANE We're at The Park Regent. You said you were at The Four Seasons, right? JAKE I do n't know. -LRB- to Agness. -RRB- Where are we? AGNESS We're at The Park Regent too. JANE. -LRB- hates this. -RRB- Oh. Good. That'll be convenient, actually. Okay, so, see you soon. -LRB- waves awkwardly. -RRB- SALLY - I'll walk you out. As they WALK AWAY, they HEAR : AGNESS So, Ted, do you think you can help us get Pedro into El Montecito for kindergarten? ANGLE - JANE AND SALLY - WALKING INTO HOUSE SALLY. -LRB- laughs. -RRB- I thought it was sweet how well you and Jake were getting along. Felt like old times. JANE Yeah, well, we know how to do this by now. It has been ten years. SALLY That's crazy. Jane hugs Sally good bye, her eyes landing on Agness affectionately rubbing Jake's back. ANGLE - THE FRONT DOOR as it closes after Jane. ON JAKE - AS HE TURNS BACK and sees Jane is gone. CUT TO : TWENTY - THREE YEAR OLD GABBY in jeans and a tank top CARRYING A CARTON OF BOOKS, A YOGA MAT AND A SMALL LAMP. Gabby is Jane and Jake's middle child. But unlike most middle children, this one has never suffered from being ignored. Not a possibility with Jane as your mother. We are :",
"EXT. JANE'S HOUSE - LATE DAY The house is modest and charming and sits on a few acres in the lush green hills of Santa Barbara. Neat rows of vegetables dot the landscape. Gabby arrives at her already packed Prius, where her OLDER SISTER, LAUREN, 26, is trying to fit everything into the trunk. Lauren is more conservatively dressed than Gabby and has an air of maturity about her. LAUREN Gabby, stop. you're never going to fit all this in. you can come back for the rest tomorrow. GABBY I ca n't come back t - Gabby looks up to see HARLEY, LAUREN'S FIANCE, in a T - shirt and over - the - knee gym shorts, lugging a huge suitcase down the front path, a duffel strapped across his chest. GABBY Oh, God. that's all my clothes. HARLEY. -LRB- sets the suitcase down as he sees an SUV heading to the house. -RRB- Okay, your Mom is home. She'll figure this out. The SUV pulls to a stop, Jane gets out. Gabby starts pulling cartons out of her trunk to make room for her clothes. JANE Gabby, you're leaving now? I thought you were going in the morning? GABBY I know but my friends are all there and they wanted me to come tonight. JANE But honey, it's gon na get dark soon. You ca n't see out the back window. It's Saturday night. People will be on the road drinking. LAUREN Mom, she'll be there in a couple of hours, she'll be fine. GABBY Okay, I'm leaving this stuff here. I'll be back for it in a few days. JANE Want me to drive it down in the morning? -LRB- Gabby's BLACKBERRY BUZZES, she laughs, thumbs flying. -RRB- I could be there by lunch. We could go to that big Bed, Bath, and Beyond, buy kitchen stuff. Gabby, can you look up from that thing? GABBY. -LRB- looking up. -RRB- I got it covered, Ma. -LRB- to Harley. -RRB- Hey gangsta, help me carry these. HARLEY. -LRB- exhausted. -RRB- Yep. Gabby and Harley CARRY THE BOXES back into the house. Jane seems worried as she watches them. LAUREN Mom, are you afraid to sleep in the house alone? JANE What are you? No! -LRB- Lauren looks doubtful. -RRB- - I'm not! One of you is always moving out. -LRB- Gabby re - joins. -RRB- But I am wondering who I'm gon na watch The Hills with? GABBY. -LRB- huge hug. -RRB- Mamacita. I'm gon na miss you. Jane hugs her back, but is aware of not hugging too hard. Harley joins the group. GABBY Omigod. L.A! Okay. I'm doing this. -LRB- walks to her car. -RRB- Mom, you do n't happen to know where Dad is, do you? I tried calling him to say goodbye. JANE He was at Sally and Ted's. HARLEY He was? How was that? You and them at the same -. -LRB- Jane turns to him. -RRB- - not that it's in any way, any of my. was just. JANE - It was. -LRB- notices both girls wait for her answer. -RRB- - whatever. It was fine. GABBY Was her lunatic child there? JANE. -LRB- laughs. -RRB- Not this time. Gabby, call me when you get there. Do NOT forget. -LRB- Gabby texts, deep in convo. -RRB- Gabby! GABBY I will. I'll call you! LAUREN Knock ` em dead, little one. HARLEY And call us when you get there, too. And no texting and driving. Jane loves that Harley said that. Gabby gets in her car and starts off. HARLEY. -LRB- puts his arm around Jane's shoulder. -RRB- They grow up so friggin' fast. I hate it. Gabby pulls out of the driveway and out of sight. LAUREN Maybe you should get a dog. JANE Oh my God. Goodbye you two. Love you. HARLEY. -LRB- heading for their car and getting into the passenger seat. -RRB- Love you boss! As Lauren and Harley drive off, Jane turns and looks at her suddenly very empty nest.",
"INT. JANE'S HOUSE - CONTINUOUS A Woman's house. Books and art collected over years. Interesting, unexpected pieces of furniture. Jane kicks off her heels, now feeling short and alone. Deep breath!",
"INT. KITCHEN Cramped, but clearly a cook's kitchen. The Kids have left a few glasses and plates on the island. Jane gathers them and as she rinses them at the sink, she suddenly and surprisingly feels very alone. She pauses, allows herself the moment, then forces herself to snap out of it.",
"INT. THE BAKERY - MONTECITO - DAY This is Jane's other home. A large, bright, bustling BAKERY/RESTAURANT. The bakery counter could rival any in Paris. Last year, The New York Times rated Jane's pain au chocolat the best in the United States. A line waits to get in. A very relaxed Jane is behind the busy counter, easily moving between her young staff. The atmosphere is efficient and friendly. Jane adjusts a few signs on the counter, then reaches inside the display case, pulling out a tray of muffins topped with powdered sugar. She carries the tray to the open pass - through to the BUSY KITCHEN and calls to the head Baker. JANE Reynaldo. -LRB- nods to the muffins. -RRB- REYNALDO Too much sugar. JANE Little bit. Reynaldo nods as Jane hands him the tray. Jane notices a line waiting to get up to the bakery counter. Knowing what to do, Jane's staff has already set out cups of coffee with lids. JANE Who wants coffee while they're waiting? Jane and the staff hand out the free coffee. JANE WALKS THE COUNTER - MOMENTS LATER refills a glass of water, checking on her customers. JANE. -LRB- quietly to a Young Employee. -RRB- Check on table five, will you? The Young Employee nods as Jane looks up and sees a MAN on the other side of the counter. They exchange polite hellos when Jane notices PETER, tan and confident, approaching her. JANE. -LRB- all smiles. -RRB- Peter! PETER joins ADAM, the man who stands across from Jane. Adam is handsome in a way that sneaks up on you. There's something reserved and refreshing about his demeanor. He holds rolled blueprints. PETER Jane, I ca n't remember, have you ever met Adam Schaeffer? JANE No. ADAM Yes. ADAM Well. -LRB- shrugs awkwardly. -RRB- PETER Look what we've got. ADAM. -LRB- raises the blueprints. -RRB- Your plans. JANE. -LRB- to Peter. -RRB- So excited!",
"INT. JANE'S SMALL OFFICE - UPSTAIRS AT THE BAKERY A farmhouse table almost fills the room. On the walls, posters for Jane's two cookbooks, framed food photos and a few reviews. Jane, Peter, and Adam sit around the table as Adam rolls out the blueprints in front of Jane. JANE. -LRB- before she looks. -RRB- I've been thinking about this addition for ten years. Peter and Adam watch as Jane's eagle eye examines the plan. JANE Uh - huh, uh - huh. Oh, niiice. I like this wall of windows, Peter. PETER That was Adam actually. JANE Oh. -LRB- still perusing, then to Peter. -RRB- Love where you put the stairs. That's so good! PETER Adam's idea. Did she hear that? JANE Oh my God, the kitchen! Finally - I have a real kitchen with four walls. It's. oh, wow. you actually understood what I wanted! Jane looks to Peter with enormous appreciation. Peter looks to Adam. PETER All Adam. Jane turns to Adam. ADAM I'm happy you like it. JANE. -LRB- finally noticing him. -RRB- Okay. Hi. -LRB- shakes his hand. -RRB- ADAM. -LRB- laughs. -RRB- Hello. JANE You read all my e - mails. ADAM All 47 of them. Jane smiles as her Office Manager sticks her head in the door. OFFICE MANAGER Jane, it's 10:15. JANE It is? -LRB- rises. -RRB- Oh, sorry, I have a 10:30. dentist. Can you leave these and I'll make a few notes? Well, actually, I have one tiny note now. -LRB- to Adam, re : plan. -RRB- In my bathroom. um. no his and her sinks. ADAM Okay, sure. No his? JANE Just hers. ADAM And you do n't think in the future you might want a his? JANE Oh, God, we're talking code about my life, right? ADAM. -LRB- laughs. -RRB- No, no, did n't mean to be. JANE The truth is, in my current bathroom, I have two sinks and sometimes the other sink makes me feel bad. ADAM One sink. Not a problem. Can we schedule a meeting for next week? Does Tuesday work for you? JANE Tuesday's great. Eight - thirty too early? At the house? ADAM I'll be there.",
"INT. DOCTOR'S OFFICE - FOLLOWING Way too chic for a dentist's office. Jane sits nervously in a chair in a well styled, well upholstered examination room. The door opens quickly and a handsome, crisp looking DOCTOR ENTERS. JANE Hi. DOCTOR Hi. I'm Dr. Moss. JANE. -LRB- shaking his hand. -RRB- Hi. Jane Adler. So, I just wanted to start with. and please do n't take this the wrong way but I'm the type of person who kind of makes fun of people who get plastic surgery. DR. MOSS I understand. JANE You do? Good, because, you know, some women can look a little fake and plasticky. And in my opinion - worse. DR. MOSS I agree. JANE Oh, that's good, so, well, as against the whole thing as I am, I do have a problem that's been bugging me. My left eyelid is really saggy. I find I'm sometimes holding it up when I'm watching TV or reading and I was wondering if that's something you could fix. DR. MOSS. -LRB- looking at her closely. -RRB- It's resting on your eye lashes. JANE Is it? DR. MOSS. -LRB- measures her lids with a very tiny ruler. -RRB- Actually you have the same amount of excess skin on both sides. JANE I do? Well, I'm only interested in fixing one eye. DR. MOSS Jane, what you need to fix this is a brow lift. JANE A brow lift? Wh - what is that exactly? DR. MOSS We surgically cut at your hair line. Incision goes right across here. -LRB- demonstrates on himself by indicating a line drawn like a headband. -RRB- Then we just lift the skin up a little tighter across the skull. -LRB- Jane nods, already hating this. -RRB- We staple it back in place right above your ears. Recovery is n't all that bad but you could be fairly numb and you'll probably have a headache that lasts anywhere from say 3 to 6 months.",
"INT. ELEVATOR DOORS OPENING Jane flies into the elevator, out of breath and a little nauseous. She taps on the Lobby button. The elevator moves down. PING. The DOORS OPEN and Jane looks into an empty hallway, facing a SIGN that reads, Santa Barbara Fertility Center. Helping Couples Become Parents. Jane hears someone is about to get on the elevator, steps back toward the corner. A messy looking 5 YEAR OLD BOY dashes in. Jane recognizes him. She looks up and Jake and his wife, Agness, in oversized dark shades and a long black dress. -LRB- very Angelina Jolie -RRB- get on the elevator, obviously mid - argument. Agness' mood seems very dark today. They instantly shut up when they realize Jane is in the elevator. AGNESS Jane! JANE - Hey. JAKE Hiii. JANE Hello. AGNESS. -LRB- pushing the Lobby button, mumbles. -RRB- - Perfect. PEDRO Jake, Jake, Jake, Jake. Jake. JAKE Hold on Pedro, I'm talking to someone. Pedro sits on the floor, crashing into the back wall of the elevator. AGNESS Pedro, up! Now! -LRB- she snaps. -RRB- Jane unconsciously holds up her left eyebrow. JAKE What are you doing in this building? JANE Dentist. JAKE You do n't go to Sharon anymore? JANE Uh, no. changed. Jane looks at the fertility literature in Jake's hand just as Jake slips it behind his back. An awful two seconds of silence, then Jane notices a tattoo of a tiger on Agness' back. It creeps her out. Jake catches Jane's reaction, then thank God the doors open. Jake leans down and picks up Pedro who instantly climbs up his back. JAKE Honey, do n't do that. As they all EXIT THE ELEVATOR, Pedro has now made his way up to Jake's shoulders. Think chimpanzee. Agness' cell RINGS and as she answers it - JANE - See you in the Big Apple. Pedro is now resting on Jake's head. JAKE. -LRB- trying to be nonchalant with a kid on his head, smiles. -RRB- See you there.",
"INT. JANE'S KITCHEN/DINING AREA - THAT NIGHT Jane and THREE OF HER GIRLFRIENDS are mid - meal. The wine is flowing and the women are laughing. TRISHA has happily never been married. JOANNE is widowed and DIANE is divorced. They are all Jane's age and have been friends forever. TRISHA That is beyond. JANE. -LRB- laughing. -RRB- - When the three of them got in the elevator. between that and the staples and the headache for six months. it was the most insane hour of my life. DIANE - Jake has lost his mind. JANE Oh, I do n't know. DIANE I know. First of all, he was a complete prick for cheating on you. JANE Well, ca n't disagree with that. DIANE And then he marries her. a known lunatic. JANE She has a big job. TRISHA Why do you always say that? JANE Because she does. She runs the whole marketing department at KY, whatever that station's called so she's not that big of a lunatic. DIANE Janey, come on, he cheats on you with her, your 20 year marriage ends then six months later she leaves Jake for some random guy, has a baby, leaves that guy, marries Jake and she's not nuts? JANE. -LRB- groans. -RRB- Jo, you're so lucky Jerry's dead. JOANNE Oh, thanks. JANE No, I mean, you never have to bump into him. JOANNE That's true. TRISHA. -LRB- rises to get more wine. -RRB- Janey, you want to meet a guy I met on Match.com that I did n't like? JANE Gee, what a great offer. I do n't think so. TRISHA He was n't that awful. JANE Oooo. Sounding better every minute. Trisha stops at Jane's seat, refilling Jane's wine glass. TRISHA You know it's not healthy not to have sex for. however long it's been. JANE Trust me. I'm not not doing it on purpose. DIANE Okay. I do n't know if this is true, but I read on line about this woman who had n't done it in so long her vagina closed up. JANE What! Get out of here. All the Women SCREAM. DIANE I swear to God. It grew back together. JOANNE Wait. Was it ever one piece? DIANE All I know is, she had to have a vaginaplasty. TRISHA Ouch! JANE Oh my Goddddddd. Jane flops over on the table, laughing, resting her head. JANE. -LRB- lifts her head, then talks as if she's in the doctor's office. -RRB- `` Dr. Moss, Hi. I have a little situation that needs fixing.'' TRISHA Bubbee, you want to fix your situation? Just date someone. Seriously. Anyone. As Jane takes that in, we : CUT TO:",
"EXT. THE PARK REGENT HOTEL - NYC - DAY CAMERA BOOMS DOWN ON Park Avenue to find Jane, the Girls and Harley, just out of a Cab. The Bellman is taking their luggage as the Girls spot their brother, LUKE, heading toward them. Lauren and Gabby run to Luke, hug him, commenting on his hair, his shoes, his jeans, his tan. Jane lights up when she sees her son, hugs him incredibly hard, kisses his cheek, then another tight squeeze. JANE Love when we're all in the same time zone.",
"INT. THE PARK REGENT LOBBY - MOMENTS LATER They all cross THROUGH THE LOBBY toward the RECEPTION DESK. HARLEY So, what's up Luke? Did you decide to have the party? LUKE Oh, yeah. Big time. JANE What party? LUKE Are you guys gon na sleep over? LAUREN If you give us your bed and change the sheets. They arrive at THE RECEPTION DESK. JANE You're having a party? When? -LRB- to Reception Clerk. -RRB- Hi. Adler. Two rooms. hopefully next to each other. RECEPTION CLERK I have an Adler, J. in a Superior Suite, Park Avenue view. Oh, I'm sorry, here it is. Adler J - two Standard Doubles. Sorry about that. JANE Yeah, we're not the ones in the Superior Suite. Have the other Adlers checked in yet? Just wondering. RECEPTION CLERK No, they have n't, ma'am. Not yet. Now I just need a credit card and your signature. As Jane takes out her credit card. LUKE - Mom, is it okay if the girls come with me now and help me set up? HARLEY And by girls he means the three of us. JANE Wait. Hold on. Set up what? I have reservations for all of us for dinner. That's not happening now? LUKE I do n't know. Me and my friends are having this huge thing at our apartment and the girls said they'd help us set up. -LRB- sees her disappointment. -RRB- We're going to be together all day tomorrow. GABBY - Mom, it's his last night before graduation. JANE Okay, okay. Do you want me to help or. LUKE. -LRB- super sweetly. -RRB- - Love your credit card.",
"INT. HOTEL ELEVATOR - MOMENTS LATER Jane rides the elevator carrying both girls' jackets and carry ons as well as her own. Just as the doors are about to close, a Good Looking Couple in their early forties gets on. As they go up. The Guy has his hand around the woman's waist, his fingers fanning her butt. The Couple looks at each other, smiling privately. Jane looks away.",
"INT. JANE'S ROOM - 20 MINUTES LATER Two double beds. Jane lies on top of one of the beds, fully dressed, shoes off, eyes wide open.",
"INT. HOTEL BAR AND RESTAURANT - TOP FLOOR - NIGHT Jane ENTERS the hotel's posh bar/restaurant. JANE. -LRB- to Host. -RRB- Hi. Adler. One. HOST Hi. Your table's almost ready Mrs. Adler. Would you like to wait at the bar? JANE. -LRB- trying to read upside down reservation list. -RRB- Sure. You do n't happen to have another Adler coming in, do you? Adler for two? HOST. -LRB- perusing. -RRB- No. You're our only Adler this evening. JANE. -LRB- relieved. -RRB- Thanks. ANGLE - THE BAR Jane takes a seat next to Two Hot Younger Women. JANE. -LRB- to Bartender. -RRB- Pinot Noir, please. No, you know what? I'll have a Tanqueray Martini very dry with a twist. Jane strums the bar top, checks out the room. It's fun being in a big city. Her martini arrives, she takes a sip and HEARS something very familiar. Jake's laugh. She looks across the bar and sees Jake talking to the bartender. He seems to be alone. Jane waves. Jake notices her and smiles. JANE Where's your? ? Jake picks up his drink and carries it to the bar stool next to Jane. JAKE Pedro got the stomach flu so I'm flying solo. JANE Really? Did n't know you knew how to be by yourself. JAKE Any chance you could just go easy on me? Just a one night free pass. -LRB- noticing her. -RRB- You look good, Janey. JANE Yeah. JAKE You do. You always do. Your hair's shorter. JANE Longer. JAKE I like it. The Host joins them. HOST Mrs. Adler, your table's ready. JAKE Want some company, Mrs. Adler? Jane gives Jake a doubtful look. JAKE - We both have to eat. -LRB- sees Jane is hesitating. -RRB- When's the last time we ate a meal together? JANE. -LRB- thinks for a sec. -RRB- Just the two of us? Alone? 1999. JAKE So, come on. Once every ten years. A HALF HOUR LATER New drinks arrive for Jane and Jake. Physically, they're sitting as close as they've been in a decade. JANE So. how are things in the fertility world? JAKE. -LRB- checks watch. -RRB- I ca n't believe it took you this long to bring that up. JANE. -LRB- trying not to laugh. -RRB- Sperm issues? JAKE Apparently. Yes. JANE A baby?! Really Jake? So. the next time you go to a graduation, you'll be what? Fifty - eight plus. -LRB- tries to do the math. -RRB- JAKE - I think the number you're looking for is 79. JANE Okay. So. Seriously, how is that good? JAKE Why are we talking about this? I thought we were going to have fun. JANE Where'd you get that idea? A BOTTLE OF WINE IS OPENED and poured. The bar has filled up and Jane and Jake are sitting a little closer together. JAKE - Just tell me, how long were you seeing him for? JANE Oh, please, it was five years ago. JAKE I know but I always wondered so. JANE Little jealous? JAKE Yes. JANE The man's married now. JAKE I do n't care. How long? JANE Eight months. JAKE. -LRB- surprised. -RRB- Long. JANE Not long. LATER The bar is now crowded. Jane and Jake are finally eating but still drinking. Jake is telling Jane a long story and she ca n't stop laughing. OMIT BRANDY TIME A DJ spins for the after dinner crowd. Couples dance on the dance floor. Jane and Jake both react to the song. JAKE This song reminds me of your birthday party. the one in our old house. JANE - Oh, yeah. That was such a fun night. JAKE So fun. You wore that white halter dress. JANE. -LRB- remembering. -RRB- Oh, yeahhhh. -LRB- remembering it all, looks at Jake with a longing for her own past. -RRB- JAKE Want to dance? JANE - No! THE DANCE FLOOR - MOMENTS LATER Jake and Jane are dancing. it's familiar yet with the blush of the new. Something's going on here. Jake starts singing. Jane joins in. This is by far, the loosest we've seen her. Of course, it helps that she's drunk. They dance around one another without inhibition. A mating dance. JANE. -LRB- astonished, laughing. -RRB- You're married to someone else! JAKE Tell me about it! They both laugh then Jake pulls Jane close. JANE. -LRB- sexy. -RRB- Hey. I know you. JAKE. -LRB- looking deeply into her. -RRB- And I know you. CUT TO :",
"INT. JAKE'S SUITE - LATER They're in bed and they've done it. They're not even entirely undressed. They're spent, sweaty, breathing heavily. Jake cups his hand on Jane's vagina, gives it a solid pat and hold. JAKE Home sweet home. JANE Oh. God. Jane covers her face. JAKE That was one crazy ride. thought we were going to break the bed. JANE. -LRB- not looking good. -RRB- - I'm having an out of body experience. JAKE Totally. You're so great, Janey. I forgot how great. Holy shit. JANE Please shut up. I'm so dizzy. JAKE And the pilates are payin' off by the way. Jane moans, OPENS THE NIGHT TABLE DRAWER, leans over and throws up into it. JAKE Oh no! Jane woozily sits up on her side of the bed, her back to Jake. Jake looks over at her. JAKE You okay? JANE. -LRB- starting to rise. -RRB- Look the other way. JAKE Why? JANE ` Cause I have to get up. JAKE Jane. I know what you. JANE Look the other way Jake! As Jake turns away, Jane runs to the bathroom, carrying a pillow covering her bare ass. Jake hears her throw up again. He winces.",
"INT. BATHROOM Jane sits on the floor, by the toilet, looking wiped out. Jake gingerly steps into the bathroom, hair a mess, wearing boxer shorts and his unbuttoned shirt. JANE. -LRB- looking up at him. -RRB- WHAT is wrong with us? JAKE What do you mean? This was amazing. We just had a great time. JANE A great time? This is the dumbest thing two people have ever done. -LRB- giant moan. -RRB- Jake sits on the edge of the tub. This is news to him. JAKE Really? I do n't know. I have n't thought it out, but off the top of my head I'd say it was smokin' hot so something about it was n't so dumb. -LRB- she stares up at him, sick as a dog. -RRB- And, FYI, I like that you stopped getting bikini waxes. You've gone native. I was into it. Horrified, Jane lets out a yelp on her way to throwing up again.",
"EXT. WASHINGTON SQUARE PARK - NYU GRADUATION DAY The NYU Band plays Pomp and Circumstance as the Graduating Class of ` 09 ENTERS THE FIELD in caps and gowns. All the families in the bleachers are on their feet, applauding. ANGLE - THE ADLERS Jane, in sunglasses, is sobbing, taking photos. Next to her are Gabby, Harley and Lauren, hooting, clapping and screaming, `` There he is!'' And next in line is Jake manning the video camera, wiping away tears. ON THE FIELD, Luke spots his gang in the bleachers and gives a broad bow. The Adlers go crazy, especially Jane, who does a finger whistle. Jake looks over at Jane with puppy dog eyes. The girls notice, assuming their Dad is emotional over the ceremony. Jane feels Jake's glare but wo n't dare look over at him. Gabby nudges her Mom to look over at Dad. Jane turns his way, sees that look in his eyes and starts to bawl.",
"INT. RESTAURANT - DAY - NYC The Family celebrates over lunch. Luke is telling a funny story about something that happened on stage at graduation. Jane is the only one not fully chiming in and laughing. She ca n't seem to move beyond what happened last night. LAUREN. -LRB- sotto. -RRB- You okay? JANE Yeah. Totally. UNDER THE TABLE Jake slips off his shoe and rubs his foot up Jane's leg and under her skirt. BACK TO SCENE Jane jumps, quickly turning it into a reaction to Luke's story. She gives Jake a private stare that says, `` stop or I'll kill you.'' JAKE I would like to propose a toast to your Mother. JANE. -LRB- what? -RRB- To me? JAKE I've done my part with you guys, but Jane. you - very talented you. GABBY Oh, God. JAKE Gabby, I'm serious. Jane, you did a magnificent job, as you always do. The Kids look at one another. what's this about? JAKE When I look at the three of you beautiful kids. all grown up, I think of all the work your mother did, much of it without my help. -LRB- starts to well up. -RRB- LUKE Dude. pull it together. JAKE - Janey, I take my hat off to you. JANE Okay, Jake. Thank you. Out of nowhere, sudden appreciation. But thank you. Really. JAKE Not totally out of nowhere, Jane. if you know what I mean. JANE. -LRB- quickly. -RRB- Which I do n't. but. LAUREN What's he? JANE - Have no idea. Let's move on, shall we? Jane holds up her droopy left eye. GABBY I'd like to say something too. For real. No offense to the lovely Agness or her charming offspring. -LRB- the Kids stifle laughs. -RRB- JAKE - Not nice. Harley stops laughing. GABBY I know. I'm sorry. But I just want to say I really loved today, just being with the original five. -LRB- Luke nods in agreement. -RRB- - plus Harley, but he's like one of us. I do n't think we've ever done this before. Had a meal together. And hung out like this. LAUREN You mean other than the first 13 years of your life. LUKE I know what's she saying. It's been awesome. just for a whole day to be just. us. They all reflect on that one.",
"INT. THE PARK REGENT LOBBY - LATER The Adlers are at the Reception Desk. Jane and Jake are next to each other, signing their credit card receipts, the Kids chat behind them. JAKE. -LRB- to Jane. -RRB- Something feels right in the universe again, does n't it? Jane looks at him but does n't answer. She turns to the Kids. JANE So who's coming home when? No one's told me the details. Jake's CELL RINGS. Jane half listens to his conversation. JAKE. -LRB- into cell. -RRB- Hey. -LRB- turns away. -RRB- How's Pedro feeling? Distracted, Jane focuses on Lauren. LAUREN. -LRB- responding to `` Pedro''. -RRB- Okay, we're gon na help pack Luke up, the three of us leave day after tomorrow and Luke's home the end of the week. JAKE. -LRB- rejoins, finishing his call. -RRB- - I will. Call you when I land. -LRB- slips cell away, not missing a beat. -RRB- Janey, what flight are you on? JANE I'm on the uh, the four o'clock. JAKE Ah, too bad. I'm on the five o'clock. LUKE That's nuts, why do n't you try to get on the same flight? JAKE Yeah, I could try. JANE It's been. great, but let's not. push it. LAUREN He was just trying to be nice. JANE I know. Okay, I've got to hit the road, guys. -LRB- kisses each kid as they line up. -RRB- Thanks for staying. So proud of you. Be good. Call me if you need me. -LRB- she arrives at Jake, pauses, speechless. -RRB- JAKE. -LRB- kisses her cheek. -RRB- It was really fun. JANE. -LRB- painfully. -RRB- It was. CUT TO : OMIT OMIT A TREE LINED MONTECITO LANE - MOVING SHOT - DAY We are looking THROUGH A WINDSHIELD and listening to a SELF HELP BOOK ON TAPE. MALE NARRATOR. -LRB- V.O. -RRB- - Just follow a few basic rules to make your divorce a less hurtful one by breaking the cycle of conflict. ON ADAM - DRIVING MALE NARRATOR. -LRB- V.O. -RRB- Accept your ex, for who she is. ADAM A very big ho. NARRATOR. -LRB- V.O. -RRB- And try to remember when you fell in love and. ADAM. -LRB- spotting something. -RRB- - There she goes. ADAM'S POV - JANE jogging right past his car, listening to her iPod. ADAM Jane! She does n't hear him. Adam backs up next to her. Jane slows down. Adam lowers the passenger window. She looks in, does n't recognize him at first. ADAM It's Adam. JANE It's 8:30 Tuesday morning! ADAM Are we still okay? JANE Yes! Totally forgot! I'm so sorry! Can you give me a lift back to the house? ADAM. -LRB- quickly cleaning up the front seat. -RRB- Sure. come on in. Jane GETS INTO THE CAR just in time to hear : MALE NARRATOR. -LRB- V.O. -RRB- - But perhaps the most important lesson in going through your divorce is to learn to forgive. Forgiveness is the key to - Adam hits the CD KNOB to turn the CD OFF, but instead he accidentally FAST FORWARDS. MALE NARRATOR. -LRB- V.O. -RRB- In spite of your hurt feelings, prove to her that you can be a mature - Adam HITS THE KNOB again and this time, turns it OFF, a bit mortified. JANE Just getting a divorce? ADAM Yeah. -LRB- then. -RRB- Two and a half years ago. JANE Wooo. ADAM. -LRB- embarrassed. -RRB- It's been a process. JANE Here's the good news. In two more years you'll actually begin to feel normal again. ADAM In two more years I'll begin to feel normal? Why am I having trouble seeing that as good news? JANE Maybe that was just my experience. ADAM Oh God, I hope so.",
"EXT. HOUSE - LATER Blue prints are spread on a garden table. Adam is drawing as Jane watches. ADAM - So if we move this wall back a bit, that can bring the arch forward, which is where you really want it, right? JANE Yes, I'd love that. ADAM. -LRB- sketching. -RRB- Thought so. JANE I have an idea. what if we move my bedroom like six or eight feet so I can get more of the morning light? -LRB- sees Adam hesitate. -RRB- Not possible? ADAM - Yes, but you'll wake up in the morning, open your bedroom door and fall 12 feet into your kitchen. JANE Ahhh! Forgot it was all open up there! ADAM But I get where you're headed. Let me see what I can do. This property is so great. Have you lived here a long time? JANE About ten years. I bought this place right after my divorce but it's taken me until now to be able to finally do this. Jane and Adam are distracted when a Porsche noisily pulls up and Jake gets out wearing a suit and a chipper attitude. JAKE Good morning! -LRB- to Jane. -RRB- Am I interrupting? JANE. -LRB- thrown that he's here. -RRB- Hi. No, well, we were just about done. Adam, this is my ex - husband, Jake. Jake, this is Adam Schaeffer, my architect. JAKE Hi. ADAM. -LRB- they shake hands. -RRB- Good to meet you. JAKE. -LRB- re : plans. -RRB- Can I take a look? Do you mind? Adam looks to Jane for approval but too late, Jake's already looking. JANE Everything's not 100 % worked out yet. JAKE Wow. You're finally getting the kitchen you always wanted. JANE Yeah. JAKE Huge bedroom. JANE It's not huge. -LRB- suddenly insecure. -RRB- Why do n't I show these to you when we get a little closer. Jane starts to roll up the blueprints, fumbles a little. Adam finishes for her. She thanks him with her eyes. ADAM So, I think next we should stake out the addition. see how it all feels - size wise. JANE Sounds great. ADAM I'll e - mail you and we'll set it up. We did good work today. Jake, nice meeting you. Jake smiles and waves as Adam exits, walking to his car. JAKE. -LRB- turns to Jane. -RRB- Got time for a cup of coffee? Adam ca n't help but sneak a look back at them. Jane waves, a bit embarrassed.",
"INT. JANE'S KITCHEN - MOMENTS LATER Jane moves nervously around the kitchen, opening the fridge, taking out juice. JAKE Why have n't you returned any of my calls or e - mails? JANE Jake, come on. This is just too weird. We have to just never do what we did - ever again. You're an adulterer and I'm an awful person, basically. I have n't slept in days. What we did was just so wrong on so many levels. JAKE And it was so right on a couple of levels too. Admit it. JANE. -LRB- finally settles. -RRB- No! It was n't! On no levels was it right! JAKE You ca n't say we did n't enjoy each other's company. Sitting at the bar, dancing. after dancing. -LRB- she does n't want to be reminded. -RRB- Come on, you and I have n't had fun like that in a hundred years. JANE Yes! Because we're not supposed to have fun like that! We're divorced! Are you like, what? Unhappy at home? Does she not `` understand'' you? Did you just want to know what it would be like with someone my age? What is this? JAKE I'd be lying if I said I never think about you, Janey. I think about you. A lot. And no, it's not perfect at home. Obviously. Look at me. I've got three grown kids and I'm going to kindergarten interviews. I'm a walking cliche. Jane shrugs. She agrees. JAKE And I ca n't, literally ca n't stop thinking about what happened in New York. Fate brought us together once, maybe it happened again. -LRB- she pauses. -RRB- And I know. you've moved on with your life, I get it, but you ca n't deny something real and honest happened that night. Ca n't we just go with it, see where it takes us. No one has to know. -LRB- Jane shudders. -RRB- You were so great. So loose and sexy. How often do you get to be like that? You can run and open restaurants and build your perfect kitchen but what about having someone to hold you in the middle of the night? JANE Not high on my list these days. JAKE But what if that someone is someone who's known you since you're 23 and loved you for most of your life. JANE I forgot what a good lawyer you are. JAKE Give this a shot, Janey. Life is short and it's tough. Do n't discount what we have with each other. -LRB- he's getting to her. -RRB- You know what they say. people in nursing homes who have plants live longer than the people without plants. JANE Oh, so you're saying you think this is a healthy choice for me? JAKE Honey, I know it is.",
"EXT. JANE'S GARDEN - SPRINKLERS GOING OFF And the plants get watered.",
"INT. JANE'S BEDROOM - A LITTLE LATER Jane and Jake have done it again. In broad daylight and sober. They catch their breath. JANE Oh, God, it's official. We're having an affair. JAKE Why do you need to label everything? JANE Because that's what this is. JAKE Yes, in its crassest form, maybe, if we were two other people. JANE Just because we were married for 19 years does not not make this an affair. JAKE Okay, but since we were together for so long, it's not really that wrong. JANE Really? You want to run that logic by your wife? Jane fans herself. JANE Do me a favor, you're on my side. Can we switch? I feel disoriented. JAKE Since when is this your side? JANE Since ten years ago. Please. They switch sides. In the middle of this maneuver Jake lands on top of Jane. He pauses. JAKE Could I interest you in a little. JANE No! They flop onto the opposite sides of the bed. Jane fans herself. So hot. JAKE. -LRB- turns to her. -RRB- Why do you think the sex is so much sexier this time? JANE I do n't know. Jane pulls the sheet up. They look at one another. He gets her to smile. JANE I've got ta get to work. JAKE Me too. Okay. -LRB- moans as he sits up, then rises. -RRB- Jake starts to get dressed. Jane watches him from bed, checking out his stomach. He notices. JAKE. -LRB- indicating his belly. -RRB- See what happens when you're not looking out for me. -LRB- pats it. -RRB- She lets me eat everything. pasta, cream cheese. JANE Can you hand me my robe? Jake reaches for Jane's robe, hands it to her. She indicates Jake should turn around. JAKE Why do I have to? JANE - Because the last time you saw me standing up naked I was in my forties. -LRB- Jake ca n't believe this. -RRB- Things look different lying down. Just. Jake rolls his eyes, turning away from her. JAKE You've gotten a little nuts. JANE. -LRB- slipping into her robe. -RRB- Jake, I think it would be really good for us to not talk for a few days. Okay? JAKE. -LRB- turning back to her. -RRB- You know what I think - just for the record? I think we're doing something kinda brilliant. All the things that tore us apart are n't issues anymore. I'd say our problems actually went away. JANE What? JAKE Did n't you always say you felt you were n't being heard? Was n't that our big issue - both of us always feeling rejected and unappreciated. Look at us now. You're so much more together, you're not exhausted all the time, you're not catering every weekend and busy all day with the kids and I'm calmer, less obsessed about work. I'm a partner. I'm there. We grew into the people we wanted each other to be! And I do n't know. I appreciate things about you I could n't even see before. JANE. -LRB- not wanting to get into it. -RRB- Well, you know, I'm not as good as you at remembering all the details of our. JAKE. -LRB- getting dressed. -RRB- - Do you remember never having time for sex? Now look at us. We've already done it two times this week and it's only Tuesday. I swear to God, if half the couples who got divorced, could get back together 10 years later, their problems would be solved. I think we're on to something. JANE Not sure I agree and. also, we're not back together. JAKE And I know other divorced people think about this. they wonder - what if. -LRB- fixes his tie. -RRB- I think this is very French of us. JANE How is this French of us? JAKE I have a young wife but I'm having sex with my old wife. Not old, you know. Ex! -LRB- Jane nods. -RRB- I did n't mean old. Jane tosses Jake his jacket. They EXIT the BEDROOM and head toward THE FRONT DOOR. JAKE You're doing that thing where you act like you're not listening. but think about what I'm saying, okay? -LRB- then. -RRB- Do you have any of your homemade granola here? I have n't had it in so long. JANE You miss it? JAKE So much. JANE We sell it for $ 6.50 a bag at the store. JAKE Yeah, why give it away when you can. -LRB- Jane OPENS the front door and moves him outside. -RRB- Kiss good bye? Jane kisses him on the cheek. JAKE She wants to be courted! -LRB- as he heads for his car. -RRB- I can do that! -LRB- turns back. -RRB- And honey, thanks for the. -LRB- indicates sex with his fingers. -RRB- - Coffee. Jane ca n't close the door fast enough.",
"INT. JANE'S HOUSE - NIGHT Jane carries three beautiful homemade pies, arriving in THE LIVING ROOM where her Friends are gathered. Platters of food and open bottles of wine are on the coffee table. TRISHA Oh my God, now what? Three pies?! This is a feast! JANE I do n't know what's going on, I have so much energy lately which I think is probably a result of. all the sex I'm having. -LRB- the Ladies LAUGH. -RRB- Yeah. I'm actually not kidding. I'm having an affair. -LRB- They stare at her. -RRB- With a married man. DIANE What? When did this happen? Where'd you meet him? JANE Well, it. started in New York. DIANE In New York? Last week? JANE Yeah, we did it once there and once here. Maybe more than once there, I was drunk so. TRISHA You had drunken sex with a married man in New York when you went for Luke's graduation? JANE. -LRB- laughs, embarrassed. -RRB- Turns out I'm a bit of a slut. -LRB- re : pies. -RRB- Apple, Blueberry or Plum? DIANE Wait, wait, wait. Hold on. You're not saying! JOANNE. -LRB- clueless. -RRB- - What? TRISHA. -LRB- catching on. -RRB- No! You're not! JANE Oh, God, but I am. I'm having an affair with Agness Adler's husband. The Women all SCREAM as Jane fans herself. TRISHA That. Is. Genius! JOANNE But also sort of wrong. JANE I know. DIANE Oh, please. Not that wrong. JANE I know! I'm so happy to be able to tell someone. This is the most out of control thing I've ever done. Literally. You know me. DIANE Yes we do. You do n't do anything wrong, or bad. Ever. So you're allowed this one. I'm sorry. I kinda love it. JOANNE He was yours first. JANE True. Not that I want him back by the way. TRISHA Of course not. You can do better than Jake. JANE. -LRB- a little insulted. -RRB- Thanks. TRISHA I mean you've outgrown him. You've blossomed, you feng shuied your whole life. Just please, do n't let him talk you into saving him. JANE I wo n't. -LRB- wonders what that means. -RRB- DIANE There is something kinda perfect about this. You do n't have to cook for him or clean up after him or actually even sleep with him. JANE Yeah, I have an Ex with benefits. JANE. -LRB- CONT'D. -RRB- But, girls, what about the fact that I'm now the other woman? I'm the one we hate. TRISHA Oh, forget that. Agness is still the one we hate. Even in this scenario. DIANE Yeah, karma is the ultimate bitch on this one.",
"INT. BAKERY KITCHEN - DAY Jane walks through the busy kitchen holding a sheet of paper. Her shirt is a little more fitted. Her make up, a little prettier. She crosses to the head Baker who's just taking a tray of cookies out of the oven. JANE Reynaldo, I'm changing the breakfast menu, want to give it a little more life. -LRB- shows it to him, he seems distracted. -RRB- What do you think? REYNALDO. -LRB- distracted. -RRB- - What'd you do? Something to your hair? JANE I do n't think so. REYNALDO Something about you looks different. Little more `` caliente.'' JANE Caliente? Another Chef in the kitchen nods in agreement. REYNALDO You see it Eddie? EDDIE Whatever it is, it's workin'. He winks at Jane as he stirs cookie batter. Jane blushes as her cell phone rings. JANE Hello. -LRB- listens. -RRB- No! I did n't do this again!",
"EXT. JANE'S OPEN FIELD - LATE DAY CAMERA MOVES IN on Adam, waiting by a ladder in the middle of the field. Jane's addition is staked out with orange tape. REVERSE - ON JANE Rushing toward Adam. JANE Adam, I'm so sorry. My mind is just. Forgive me. ADAM If I were your shrink I'd say maybe you do n't really want to build this house. JANE That's completely not true. I'm really sorry. -LRB- looks at taped off addition. -RRB- Oh! I like it already! ADAM Yeah, it's feeling really good. So, this becomes your office. We come down your new hallway, the windows are all along here. JANE Great. Love it. ADAM And from here to there. wait, let me get the door for you. -LRB- opens a piece of tape. -RRB- Your kitchen. -LRB- they ENTER. -RRB- We're in the eating area. How's the size? -LRB- pretends to sit. -RRB- We're at either end of the table. JANE. -LRB- laughs at Adam. -RRB- Feels perfect. ADAM I thought so too. JANE. -LRB- taking it all in. -RRB- This is heaven! ADAM It's gon na be cool. Want to go upstairs? JANE AND ADAM ATOP SIDE BY SIDE LADDERS ADAM So if you were lying in bed, this would be your view. Jane breaks into a smile. THEIR POV - IN THE DISTANCE - THE OCEAN Over this tranquil view - A CELL RINGS. Jane takes her phone out of her pocket, sees it's Jake calling. She pauses, then pushes `` IGNORE'' and then promptly loses her balance. Adam immediately reaches over and steadies her. ADAM You okay? JANE. -LRB- grabs her heart. -RRB- Yeah. CUT TO : WATER RUNNING OUT OF A FAUCET",
"INT. BATHROOM - JAKE'S HOUSE - SAME TIME Water is running in the sink, even though no one's at the sink. Jake is in the shower stall, fully dressed, putting away his cell. He quietly pushes the shower door open and then carefully shuts it with a small snap. Jake fake coughs and then turns off the sink water. He checks his watch when he hears GLASS BREAKING in another room then hears Agness calling his name in anger. He leaps. JAKE Coming! Jake quietly UNLOCKS THE BATHROOM DOOR and EXITS to find his path is blocked by Pedro who sits on a tricycle staring up at him. PEDRO What were you doing in there? JAKE Going to the bathroom. PEDRO The toilet did n't flush. JAKE Yes it did. PEDRO Why were you in the shower with your clothes on? JAKE. -LRB- making sure Agness does n't hear. -RRB- What are you talking about? PEDRO I heard the shower door close. JAKE What do you have, x - ray ears? Agness joins in briefs and a white tank, black bra peeking through. She holds a broom. AGNESS What's up Pedro? PEDRO Jake took a shower with his clothes on. JAKE Pedro! Darling. AGNESS What's he talking about? JAKE I do n't speak Pedro. That's your department. AGNESS. -LRB- to Pedro. -RRB- Do n't go in the kitchen, P, I broke something. -LRB- to Jake, annoyed. -RRB- Yo. Can you help? Agness EXITS back to the kitchen as Pedro stares at Jake. CUT TO : TWO GORGEOUS CROQUE - MONSIEURS - COMING OUT OF AN OVEN These open - faced fancy French Grilled Cheese Sandwiches are carried to Jane's counter. We're :",
"INT. JANE'S KITCHEN - EARLY EVENING Jane very professionally places the Croque - Monsieurs onto two waiting plates, adds some salad on the side. Adam stands nearby with a glass of wine, jacket off. ADAM That looks amazing. JANE It's called a croque - monsieur. It's one of the first things I learned to make when I lived in Paris because the ingredients are really really cheap. ADAM When did you live in Paris? JANE In my early twenties. I went there to take a six day pastry class and ended up staying a year working as an apprentice in a bakery. Jane places the plates AT THE ISLAND as she and Adam SIT SIDE BY SIDE. Jane raises her wine glass. JANE Thank you for taking my 47 e - mails and turning them into something so beautiful. ADAM You are rapidly becoming one of the most appreciative clients I've ever had. JANE Well, I'm not all that used to being able to count on anyone. ADAM. -LRB- surprised by that. -RRB- Really? JAKE DRIVING - SAME TIME He squints, looking ahead, SEES : JANE'S HOUSE - ALL LIT UP And Adam's car parked out front. Jake turns OFF HIS HEADLIGHTS, slowly pulling around to the side of the house.",
"",
"EXT. HOUSE - SAME TIME Jake, in work - out clothes, sprints across the front lawn, careful not to be seen. BACK TO SCENE Jane clears their dishes. JANE. -LRB- laughs. -RRB- You know I hope you do n't feel I've been interrogating you, but. I know what it's like to have your ex remarried and to not have so much going on in that department. I mean, do you date ever or. ADAM Uh, constantly actually. JANE Constantly? ADAM Everyone I know or have ever known has fixed me up. And then, sometimes I just meet women, I do n't know how that happens, but. JANE - But no girlfriend? ADAM Not yet. Jane stands ON THE OTHER SIDE OF THE ISLAND and hands Adam another croque - monsieur. She stays on her side, like a waitress at a counter. She refills his water glass. JANE Just like to date. ADAM Actually, I find it really stressful. You know, the last time I was in the dating world was 1978. It's a little more complicated these days. I ca n't tell you how nice it is to have a conversation with a woman and have the pressure off. Not to mention, a home cooked meal that no one else I know could possibly cook. Jane's not sure if she feels a little hurt by that. She smiles, wiping the counter. ADAM That was a compliment. So you do n't have a guy in your life at the moment? JANE No. -LRB- starts to say something. -RRB- No. ADAM No?",
"EXT. JANE'S HOUSE - SAME TIME Jake rises from the bushes outside of Jane's Kitchen Window. He PEEKS in the window, balancing himself precariously on a stack of loose bricks. He sees Jane telling Adam a story and both of them cracking up. Jake leans in further to try to hear what Jane's saying when the bricks slip under his feet, he loses his balance and drops OUT OF THE FRAME.",
"INT. JANE'S HOUSE - A BIT LATER Jane walks Adam to the door. He holds rolled blueprints. ADAM This was so nice and relaxing and the lavender ice cream was actually the best dessert of any sort I've ever had. like, in my life. JANE Aw, thank you. I always make ice cream when I ca n't sleep, so I'm glad someone was here to eat it. -LRB- opens door. -RRB- ADAM. -LRB- pauses. -RRB- Great getting to know you a little. JANE. -LRB- nods. -RRB- It was really fun. Adam waves, Jane waves. Definitely a little sweet/awkward. Jane closes her door, starts turning out lights, heading for the kitchen, when there's a QUICK KNOCK on the FRONT DOOR. JANE Woops! Coming! Jane quickly returns to the door and opens it to find : JAKE leaning in the door frame. JAKE O.M.G. I thought he'd never leave. -LRB- entering. -RRB- Hello Jane, you look very beautiful tonight. He takes her in his arms. JAKE Mmmmm. Love when you smell like butter. JANE. -LRB- easing away. -RRB- What are you doing here? JAKE Missed you. JANE It's nine o'clock. Where does your wife think you are? JAKE At yoga. Shall we do some downward facing dog? JANE Not tonight big guy. They CROSS INTO THE KITCHEN. CAMERA TRACKS. JAKE Is it really necessary for you to always say no before you say yes? I wo n't think less of you, you know. JANE Really, Jake, I'm a little tired, I was just gon na take a bath. JAKE Good. So, we'll just hang out. -LRB- now IN THE KITCHEN, he SEES the dinner dishes on the counter. -RRB- Ooooo, is that Croque - Monsieur? Who's plate is this? Yours or his? JANE Mine. JAKE. -LRB- eats her leftovers, savors the taste. -RRB- Oh my God, just as I remember it. JANE Do n't you ever eat at your house? JAKE Pedro dictates all meals and he has a very limited palate. -LRB- sees melted ice cream. -RRB- What kind of ice cream is that? JANE Lavender Honey. JAKE. -LRB- immediately. -RRB- Not sleeping? JANE Not at all. You? JAKE Never slept better. And my digestion is finally back on track. You've turned my world right side up, Jane. You know what this means, do n't you? JANE No. JAKE That I've never really known how to live without you.",
"INT. JANE'S BATHROOM Jane takes a bubble bath. Jake lies on the floor, leaning against the tub, his back to her, eating a bowl of ice cream. JAKE Maybe we should be growing old together. JANE Hate to tell you, big guy, but we already grew old apart. JAKE What's with the ` big guy'? Is that because you think I'm fat or is it a term of endearment? JANE I have no idea why I keep saying that. I'm sorry. I'll stop. JAKE Thank you. -LRB- then. -RRB- I love how quiet it is in your house. I have no quiet in my life. Ever. JANE Yeah, well, you live with a five year old. JAKE Yes. and do n't forget Pedro. Jane splashes him. JANE So what does that mean exactly? What's going on over there at your place? JAKE My marriage is. not turning out as I hoped. That's obvious. Agness started out really looking up to me. We never used to fight but now. with the kid. lately we're all about where he's gon na go to school and now she says we need a bigger house, more help. I was thinking of cutting back at work. now that's never gon na happen. And she wants another baby before Pedro gets too old which I get but since we're always fighting. oh, God, listen to me. JANE Is n't a baby part of the deal when you marry a woman that age? JAKE Is it? I guess so. She's got me booked at the fertility center every other day and she's so amped up on hormone injections I may need to find an exorcist if she does n't calm down. -LRB- Jane laughs. -RRB- I wish it was funny. -LRB- finishes his ice cream. -RRB- Incredible ice cream. I'm turning around. -LRB- as he turns, Jane shrinks in the tub. -RRB- Remember when we used to smoke pot and eat your ice cream in the hot tub? JANE The `` hot tub''. That feels like a billion years ago. JAKE How long has it been since you. -LRB- indicates smoking a joint. -RRB- JANE Me? Since before Lauren was born. JAKE 27 years?! JANE At least. Jake slips a joint out of his shirt pocket, twirls it. JANE Are you kidding me? Put that away! It's been too long. JAKE Exactly. JANE I'm not going to. JAKE Okay, why do n't I leave this with you. -LRB- It's kind of amazing. -RRB- Maybe you'll take a few hits. get your sea legs, then we'll smoke the rest of it together. JANE Maybe. Jake places the joint in a drawer. JAKE So that nerdy architect likes you. you know that, right? JANE He's not nerdy and he definitely does n't. We're working together. JAKE I was watching when you bent down to open the oven, his eyes were glued to your ass. JANE. -LRB- changing the subject. -RRB- Hey, will you do me a favor?",
"INT. FOYER Jake is on a small ladder, changing a light bulb in the chandelier. Jane, in a robe, stands beneath him. JAKE. -LRB- looking down at her, smiles. -RRB- Tell the truth, Janey is this a great affair, or what? JANE I do n't know. It's my first. JAKE. -LRB- climbing down. -RRB- We do n't even have to have sex and it's fun. -LRB- arrives next to her. -RRB- I wish I could sleep over. JANE I got ta tell my shrink about this. This is a lot to handle. I guess you should go. I'm sure yoga's probably closed by now. Oh, you got a little ice cream on your shirt. Let me get that out. JAKE It's okay. Jake takes Jane in his arms and gives her a deep hug. He lingers, kissing her neck, smelling her skin. She kisses him on the cheek. He slides her robe off her shoulder. He softly caresses her shoulder, kissing it, then makes his way up her neck. Jane gives in and kisses Jake fully on the lips. He pulls her close, her robe falling. JANE Wow, wow, wow. what's happening, Jake? The Phone RINGS. Jane pauses. JAKE Do n't get it. JANE I always get it. I have three kids. -LRB- Jake wishes she would n't. She hesitates, picks it up. -RRB- Hello. Hiii. -LRB- makes an I told you so face. -RRB- You still on the plane? How was Luke when you left? Oh, that sounds like fun. Let me know what I can bring. No! Do n't have any idea where he is. -LRB- points to Jake. -RRB- Okay, honey, talk to you tomorrow. -LRB- hangs up. -RRB- Now I'm lying. Lauren and Harley are giving Luke a graduation party this weekend. Sweet, huh? Jake's CELL PHONE RINGS, sees it's Lauren calling. JAKE. -LRB- into phone. -RRB- Hello stranger. Welcome back. Jane OPENS THE DOOR and Jake darts over for a quick kiss and then EXITS toward his car. They wave to one another. JAKE. -LRB- into phone. -RRB- - Just getting in my car. This weekend? Sounds great. Let me know what I can bring. Jake looks to Jane. She shakes her head - he's shameless. Jake shrugs. Jane watches as Jake drives off, talking on his cell.",
"EXT. SANTA BARBARA STREET - EARLY MORNING Jane paces outside of a medical building, holding a box from her bakery. She's clearly waiting for someone. She spots a comfortably dressed MAN IN HIS MID FORTIES holding the leash of an Airedale and approaching the building's entrance. JANE. -LRB- approaching him. -RRB- Dr. Allen! DR. ALLEN. -LRB- surprised to see her. -RRB- Jane. Hi. Am I seeing you today? JANE No, I just need to talk. and I was wondering if there was any chance you could squeeze me in for an emergency session. I'm sort of desperate for some advice. I brought you some of that coffee cake you like. Not as a bribe or anything. DR. ALLEN. -LRB- checks his watch. -RRB- I only have twenty minutes until my first patient. JANE That's fine. I'll talk fast.",
"INT. BUILDING CORRIDOR - UPSTAIRS - MOMENTS LATER Jane, Dr. Allen and the Dog walk the corridor. JANE. -LRB- whispering. -RRB- So, at this point, I just need some sound, unbiased guidance. Is having an affair with you know who a good thing or a bad thing? -LRB- they stop at Dr. Allen's office door. -RRB- It's a bad thing, right? How could it be good? DR. ALLEN. -LRB- opening his door. -RRB- It's not good. It's not bad. Oh, man. Not what she needs to hear.",
"INT. OFFICE Jane sits in a chair across from an empty chair. Dr. Allen turns on a few lamps as his dog settles. DR. ALLEN You know, things happen in life and our job is to find out why. What we have to do is take a real look at this. Are you ready to do that? JANE I am. Definitely. I've made a list of what this can possibly be about. at my end. Can I read it to you? DR. ALLEN. -LRB- taking his seat. -RRB- Of course. JANE. -LRB- digging out her Blackberry. -RRB- Thanks. I e - mailed it to myself. -LRB- reads from Blackberry. -RRB- Okay. Am I still trying to figure out why the marriage failed? Do I want to get back together? Do we have unfinished business? Is this about revenge? Am I just. lonely? Or, is it my `` caretaker'' thing? You know, the kids are finally gone and now all of a sudden Jake's back and I get to take care of him in some way. Dr. Allen nods, impressed with the work she's done. JANE And, listen, I get how therapy works, I do. We look at things, we examine them, weeks turn into months, what? we're going on eight years, right? and I'm okay with that, I like it. but in this case, I need to know what you really think. Like, I'd like you to say. Do n't do this, it's absolutely wrong or go ahead, you'll be fine. I actually want to be told what to do. DR. ALLEN What's interesting is I'm already seeing you open up more than I have in some time. I'm thinking, through this affair, you may learn to view the world in a different way. JANE I'm sorry. I need more concrete. Are you saying I should keep seeing him? Because, honestly, if the guilt and fear could go away, maybe I could let go a little and figure this out. DR. ALLEN I would n't resist looking at this. JANE. -LRB- mulls that over quickly. -RRB- Okay. and another way of saying that is? DR. ALLEN Let go Jane. It ca n't hurt. Jane fist pumps in the air.",
"INT. SANTA BARBARA FERTILITY CENTER RECEPTION - DAY Jake is in the Waiting Room with several other `` Older'' Men all with their much younger Wives. A Nurse ENTERS, holding a chart. NURSE Jacob Adler? Jake rises. One of the younger women whispers. WOMAN Have fun.",
"INT. FERTILITY CENTER OFFICES The Nurse shows Jake into a windowless room with a sink, a pleather barcalounger, a TV and a DVD player. NURSE Okay, you know the drill. You can hang your things in the closest, the remote is on top of the TV and the materials are in the drawers. -LRB- cleaning the remote with an anti - bacterial wipe. -RRB- Please deposit your specimen in the cup and I'll see you when you're done. She dims the light before leaving. Jake takes off his jacket, tosses it on the chair, slips off his shoes, takes off his pants, sits for a sec when his PHONE RINGS. He looks at the name of the caller. Smiles. JAKE Hi. JANE WALKS QUICKLY THROUGH A FARMER'S MARKET ON HER CELL. JANE. -LRB- on her cell. -RRB- Hey, where are you? JAKE At the office. JANE Want to grab some lunch? JAKE Absolutely. When? JANE Can you do it now? I have about an hour. Thought we could go to The Stanhope. get room service. -LRB- she's nervous just saying it. -RRB- JAKE. -LRB- rising. -RRB- Be there in ten! JANE See you there, Adler. JAKE. -LRB- hangs up. -RRB- She's comin' back! Jake rushes to put on his pants, catches his foot in the pant's hem, hops to safety. He reaches for his jacket then grabs an anti - bacterial wipe, using it to turn the door knob.",
"INT. THE STANHOPE LOBBY/CAFE - DAY Harley and Lauren are having lunch in the CAFE connected to the Lobby. Harley has a clear view of the Lobby's Reception Desk. Lauren has her back to it. LAUREN - Luke's so excited about his party. We can fit forty people in our place, ca n't we? HARLEY Sure, if nobody wants to sit down. -LRB- notices JAKE ENTERING the hotel. -RRB- - Hey, there's your. Harley then realizes JAKE IS signing the Register and CHECKING IN and chokes on his French Fry. LAUREN My what. -LRB- starts to turn. -RRB- Harley grabs Lauren's face in his hands and kisses her, even though he's choking. He coughs while kissing her. LAUREN Harley! HARLEY I'm sorry, I did n't mean to spit on you. I just needed to kiss you. LAUREN While you were choking? HARLEY It worked. I'm not choking anymore. Harley swallows a cough, reaching for his water, HIS EYES ON JAKE as Jake is HANDED A ROOM KEY and POINTED TOWARD THE ELEVATOR. Harley drinks his entire glass of water as he watches. LAUREN. -LRB- turning. -RRB- Who did you just see? Luckily Jake is now gone. HARLEY No one. Thought it was your cousin. but. Harley falls silent as he SEES JANE ENTER THE HOTEL AND CROSS TO THE RECEPTION DESK. After a sec, she's pointed toward the same elevator. HARLEY Ohhhh my sweet Lord. LAUREN. -LRB- looks up from her salad. -RRB- Now what? HARLEY Honey, I totally forgot I have a conference call at 1:15, I got ta get back to the office. Waiter! Honey, stop eating, get the waiter. Call the one over there. -LRB- pointing her away from Jane. -RRB- LAUREN Harley, we ca n't leave, we're meeting with the Wedding Specialist. HARLEY. -LRB- watches as Jake waits for Jane around the corner. -RRB- Yeah, you know what? Today's not a good idea to do that. -LRB- Sees Jane join Jake, they step into the elevator and immediately fall into each other's arms and kiss. -RRB- Oh my God! !",
"INT. JAKE AND JANE'S HOTEL ROOM - UPSTAIRS - SAME TIME The curtains are drawn, the lights are low. Jane, in a hotel robe, slips a cd in the cd player and we hear a mellow song, perfect for love in the afternoon. The Bathroom Door OPENS and Jake EXITS, also in a hotel robe. Jane stands across the room from him. They smile at one another. From behind, we see Jane untie her robe, letting it fall to the floor. Jake looks at her, from head to toe and back. They smile at one another, then something comes over Jake. His eyes roll back, his legs give out and he collapses against the wall. JANE Jake!",
"INT. LOBBY CAFE - SAME TIME The Hotel's Wedding Specialist has joined Lauren and Harley's table. She holds a binder filled with photos. Harley is a mess, knowing what's going on upstairs. WEDDING SPECIALIST I adore October weddings. Let me show you what we did last October. She opens her Book of Photos for Lauren. Lauren gasps. HARLEY. -LRB- rising. -RRB- Honey, I'm gon na make that phone call from the. Lauren and the Wedding Specialist do n't look up and do n't hear him. They keep talking to each other. HARLEY. -LRB- nods. -RRB- - Okay. Good. You just keep doing that and I'll. They still do n't look up. Harley nervously HEADS FOR THE LOBBY when he spots the HOTEL DOCTOR, bag in hand, arriving at the Reception Desk. HOTEL DOC What's the room number? RECEPTION CLERK 408. Adler. His wife said he's conscious now. HOTEL DOC. -LRB- taking off. -RRB- On my way. Harley stops in his tracks, freaking. Adler?",
"INT. JANE AND JAKE'S HOTEL ROOM - MOMENTS LATER Jake is under the covers, in his robe, a blood pressure cuff around his arm. Jane, still in her robe, paces. The Hotel Doc sits on a chair next to Jake's side of the bed. HOTEL DOC Your blood pressure's good. JANE How's his heart? HOTEL DOC Do you have a heart condition, Mr. Adler? JAKE No. And I just had a check up. JANE You did? Oh, that's good. HOTEL DOC. -LRB- listening to his heart. -RRB- Deep breath. So, no chest pain? JAKE None. HOTEL DOC When you got dizzy, did you feel your heart was beating funny? JAKE Yes, but I was admiring my beautiful. -LRB- indicates Jane. -RRB- Jane holds up her weak eyelid. HOTEL DOC - Well that's nice to hear after all these years. -LRB- winds up his stethoscope. -RRB- Did you forget to take any of your medications today? JAKE Took ` em all. HOTEL DOC What all did you take? JAKE Uh. Lipitor, baby aspirin. -LRB- whispers. -RRB- Flomax. JANE. -LRB- sitting on the bed. -RRB- Flomax? JAKE. -LRB- embarrassed. -RRB- Yes, otherwise I pee 40 times a day. HOTEL DOC How long have you been taking the Flomax? JAKE Not that long. And I only take it sporadically. I have to sneak it actually. -LRB- explains confidentially. -RRB- It reduces semen and that's not good for my wife right now. -LRB- to Jane. -RRB- Sorry. HOTEL DOC. -LRB- looks over at Jane. -RRB- Really? JANE Yes, I prefer a lot of semen. Always have. -LRB- rises. -RRB- Okay, well, thank you so much for coming. Looks like he's gon na live, so. HOTEL DOC. -LRB- packing up. -RRB- Yeah, my guess is Flomax is probably the culprit here. It can definitely give you a sudden drop in blood pressure so I suggest you stay off it for a few weeks, which apparently your wife will appreciate. -LRB- holds in a chuckle. -RRB- JANE Yeah. Really good for me. The Doctor snaps his bag shut, rises. HOTEL DOC And I suggest you rest quietly for the rest of the afternoon. -LRB- to Jane. -RRB- No hanky panky, Mrs. Adler. JANE No chance. I assure you.",
"INT. LOBBY Harley sits on a bench with his head between his legs. Lauren arrives, joins him on the bench. LAUREN Are you acting like this because of the wedding? Tell me the truth? HARLEY. -LRB- head down. -RRB- Not at all. Swear to God. LAUREN Because I do n't want to be one of those couples where the guy goes into a coma the whole time we plan the wedding. It's not worth it to me. Harley looks up, sees the Hotel Doc walk by the Reception Clerk. The Doc gives her a wink and a `` thumbs up'' and keeps on walking. HARLEY. -LRB- deep sigh, rises. -RRB- Okay! We're back in business! OPRAH - CLOSE - ON TV In Jane and Jake's room. REVERSE - JANE AND JAKE Sitting up in bed, in their robes, watching Oprah and eating chicken soup on trays. Jake reaches for the salt. Jane eases it away from him. Jake looks over at Jane, oozing with love and appreciation. JAKE See. Just that move. you have no idea. Not everyone's like that. JANE. -LRB- mutes Oprah, then :. -RRB- Jake, I have a confession to make. Back when we broke up. I knew it was n't all your fault. JAKE You mean that? You've never said that to me before. JANE I know. Because when you cheated, I did n't have to. But I think in some way, I gave up on us and I'm not sure you ever really did. JAKE I still have n't. Jake takes Jane's hand. She looks down at his wedding ring, then turns her eyes back to Oprah. A beat, then : JANE Are you and Agness. still having sex? Jake does n't answer. Jane turns, looks right at him. JAKE Only if she initiates it. Jane GROANS. JAKE I'm trying not to rock the boat at home until you and I figure this out. -LRB- sees her reaction. -RRB- This is a little trickier at my end than yours. JANE Right. Yeah. Okay. -LRB- rises. -RRB- Now I know you're gon na think I'm leaving because of what you just said, but I'm not. I really have to get back to work. JAKE. -LRB- takes Jane's hand. -RRB- We got really close there for a moment. She knows he's right. Jane's Cell RINGS. She lets it ring again, then answers it. JANE. -LRB- into phone. -RRB- Hello? ADAM - AT HIS OFFICE ADAM. -LRB- into phone. -RRB- Hi, hope I'm not interrupting anything. INTERCUT JANE AND ADAM JANE Adam! Oh! Hi. Jake is instantly jealous. He rises, crosses to the closet, starts dressing, his eyes glued to Jane who seems to be very engaged by Adam. ADAM I just found out there's a French Film Festival in town and that made me think of you so I was wondering if you'd like to go to the opening night tomorrow night. -LRB- a little nervous. will she accept? -RRB- JANE Oh, that sounds so fun. -LRB- Jake rolls his eyes. -RRB- Let me think, tomorrow's what? JAKE. -LRB- desperate, whispers. -RRB- - Say you're busy. Agness has a dinner thing tomorrow, I can come over. -LRB- Jane hesitates. -RRB- Please. JANE Oh, um, you know, I'd really love to, but, my son is coming home from college the next day and I have a bunch of things I have to do to get ready. -LRB- hates lying, Jake crosses to her, smiles. -RRB- I'm so sorry. ADAM No, do n't worry. No problem. Maybe we can see something another night. JANE Absolutely. I would love that. Jake smiles appreciatively, crosses to Jane, hugs her. ADAM HANGS UP We see he is holding Two Movie Tickets. He looks at them then crosses to the desk of a Female Worker. ADAM Melanie, how would you and your husband like two tickets to the opening of the French Film Festival? Reserved seats. VIP parking. FEMALE WORKER Seriously?",
"INT. HOTEL ROOM - MOMENTS LATER Jane and Jake are finishing getting dressed, moving about, putting on shoes, blouses, ties, jackets, belts. JAKE You'll make the whole thing? The roast chicken, the - JANE - mashed potatoes, sauteed string beans and double fudge chocolate cake. I know your favorite dinner, Jakey. JAKE. -LRB- touched. -RRB- You have n't called me Jakey in 10 years. This has been a great day for us. So, do we have a date? JANE. -LRB- fixes Jake's hair. -RRB- We have a date. Jake grabs his heart. Jane leans on him, a smile on her face as we begin to HEAR MUSIC.",
"EXT. JANE'S PATIO - LATE DAY - MUSIC OVER Music plays from the outdoor speakers. Jane sets the table in her courtyard. She's singing along with the music. A PERFECT CAKE - MUSIC OVER sits on the Kitchen Counter. Jane finishes off icing the cake like the pro she is then peeks into the oven, looks at her perfect roast chicken. OMIT",
"INT. JANE'S BEDROOM - MUSIC OVER Jane clips the price tag off of a new dress and slips it off its hanger. A CLOCK ON A NIGHT STAND tells us it's 8:45. ON JAKE His eyes glued to the clock. We are IN JAKE AND AGNESS' BEDROOM. Jake and Agness lie on their bed, both doing paper work. Pedro is asleep between them. Jake gets up, slipping his cell into his hand. AGNESS. -LRB- not looking at him. -RRB- Why are you taking your cell to the bathroom? JAKE Oh. Did n't mean to. -LRB- places it back on the night stand. -RRB- AGNESS Carry him to his bed, will you? Jake carefully lifts Pedro off the bed. AGNESS. -LRB- while reading. -RRB- And hurry back. I'm ovulating. JAKE You are? AGNESS Why do you think I cancelled my dinner? Agness pulls her t - shirt over her head. she is gorgeous.",
"INT. PEDRO'S ROOM - CONTINUOUS Jake gently lies Pedro in his bed, pulls up the covers. Pedro takes Jake's hand, holds it to his chest, looking up at him. Jake offers a comforting smile and Pedro closes his eyes. Jake sits on the bed and lets Pedro fall back asleep, holding onto his hand.",
"EXT. JANE'S PATIO - NIGHT Candles are lit on the table, but are now low. The table is set with flowers from the garden. The wine has not been opened. CAMERA CRANES to FIND Jane INSIDE THE KITCHEN, still dressed for dinner and deep in thought. She then sighs very deeply and decisively as she turns out the lights and room by room, the house becomes dark.",
"EXT. JANE'S HOUSE - THE NEXT DAY - 6 P.M. The Kids cars are in the driveway.",
"INT. JANE'S KITCHEN - THE SAME TIME Jane, Gabby, Lauren and Harley are in the kitchen, cooking, setting the table, opening wine, chatting. LAUREN - Oh, Mom, I keep forgetting to tell you about our meeting at The Stanhope. We went there for lunch two days ago and met with their Wedding Specialist. I think that could be the place, Mom. JANE Two days ago you went to The Stanhope. for lunch? HARLEY Yes and guess what? We saw nothing. Jane and Harley connect. He immediately looks away. LAUREN What is that supposed to mean? HARLEY Who wants wine? Anyone? -LRB- starts pouring. -RRB- GABBY. -LRB- looking in the fridge. -RRB- Mom, you have an insane amount of food in here, even for you. JANE. -LRB- taking out last night's roast chicken. -RRB- I knew you were all going to be here for the weekend so I made a bunch of stuff last night. LAUREN Looks like Jake Adler's favorite meal to me. JANE. -LRB- laughs. -RRB- Very funny. HARLEY Very. Jane looks to Harley again when they all hear a car horn HONK. Jane LOOKS OUT THE WINDOW and sees JAKE'S PORSCHE PULL UP with Luke in the passenger seat. The Girls rush out the Kitchen door. Harley sees Jake getting out of the car and pours himself a larger glass of wine as Jane approaches him. JANE Harley? Just then, Luke enters and Jane lights up. JANE Yay! -LRB- hugs Luke. -RRB- LUKE. -LRB- surveying all the food. -RRB- Mom, this looks amazing. Harley and Luke hug, talk the talk. ` Sup? Yo. JAKE. -LRB- sheepishly joins the group, eyes on Jane. -RRB- Hi. JANE. -LRB- briskly. -RRB- Hey. Harley takes a huge gulp of his wine. JAKE. -LRB- holding Luke's backpack. -RRB- Where should I put this? JANE. -LRB- turns her back on him, making herself busy. -RRB- Wherever. Harley watches their interaction tennis match style. Jake looks at the table set for five, wishes he was joining them. He sees last night's dinner, now being served as left overs. Jane slices the roast chicken. JAKE That looks incredible. Jane looks up at him, knife poised. Is he kidding? JANE Thanks. She goes at the chicken with the knife, slicing off a leg. Jake flinches. HARLEY Jake? Glass of wine? JAKE Uh, sure. Thanks. HARLEY Jane? JANE. -LRB- not looking up. -RRB- No thank you. Jake's cell RINGS. He turns his back to take it. JAKE. -LRB- into cell. -RRB- Hi Ag. Just got here. Jane has a hot flash. Starts fanning herself. JAKE. -LRB- into cell. -RRB- Okay, I will. Yeah, no, I know. -LRB- turns back to the family. -RRB- I'm sorry guys, I got ta hit it. JANE Bye - bye. The Girls look to Jane. JAKE I have to stop at the market. Agness is making some pasta thing and she ran out of olive oil. GABBY Hey, at least she's finally cooking. JAKE So. see everybody at the party tomorrow. LAUREN Yeah. It's gon na be so fun. JANE. -LRB- to Lauren. -RRB- I told you I'm bringing someone, right? LAUREN No. Who? JANE Adam. My architect. JAKE You're bringing your architect? JANE Yes I am. JAKE Like as a date? JANE. -LRB- looking right at him. -RRB- Yeah. GABBY I like the idea. JANE Me too. HARLEY Yeah, seems like it should round out everything really nicely. -LRB- pouring another drink. -RRB- Nobody wants wine but me? Luke opens a cupboard, takes out a bottle of olive oil, hands it to Jake. LUKE Here, now you can stay another five minutes. -LRB- catches Jane's eye. -RRB- You have three bottles in there. JAKE Janey, can I talk to you privately? Just for a sec. Jane heads out still holding the carving knife. Harley slips the knife out of her hand. HARLEY There you go. -LRB- to Kids. -RRB- Somebody's talkin' graduation gift.",
"INT. COURTYARD Jane and Jake stand in the courtyard off of the Living Room. JANE What is it, Jake? What? JAKE I do n't get not calling me back. JANE ` Cause I do n't care what your excuse is. -LRB- shuts the door to the living. -RRB- JAKE She did n't go out, Jane. She cancelled her plans and every time I tried to call or write, she caught me. I wanted to be here. JANE You know what, Jake? You were worried about rocking the boat at home? Well now you're rocking my boat and I do n't like it. JAKE. -LRB- stopping her. -RRB- Honey, do n't let one night. JANE You do n't understand. I'm not even blaming you. I fully participated in this. But I do n't want to do it anymore. The last thing in the world I should be right now is your mistress, sitting around at nine at night wearing heels and perfume and blowing out candles and wrapping everything in Saran Wrap because your wife cancelled her plans. It was cliche and humiliating. JAKE. -LRB- wistfully. -RRB- You lit candles? JANE Oh, shut up. Look, I've had a pretty good life these past 10 years. I figured it out and I moved on. I no longer feel alone or divorced. I just feel normal. You know how long that took, just to get my balance back? JAKE No. JANE The point is, I'm going in the wrong direction here. But the worst part is. It's feeling like it used to feel. All the little untruths that are hard to catch but add up. JAKE - Janey, c'mon, it was one mistake. HARLEY. -LRB- joining them. -RRB- - Everything okay out here? -LRB- Jane and Jake turn. -RRB- The kids are gettin' hungry. JANE Yeah. We're done. -LRB- walks away, pauses in front of Harley. -RRB- We were just. HARLEY. -LRB- as she passes. -RRB- - None of my beeswax, Jane. -LRB- once she's gone. -RRB- And please never tell me. Lauren joins. LAUREN What's up? JAKE Nothin', punky. -LRB- rubs her arm. -RRB- LAUREN. -LRB- taking Jake back inside. -RRB- Yeah? So, we're going to see you tomorrow night, for sure, right? Harley starts to follow them out when Jane grabs his shirt sleeve. JANE Okay. What did you see and what do you know? HARLEY Nothing. Really. Jane gives him a look that could get blood from a stone. HARLEY. -LRB- confesses rapidly. -RRB- Okay, he checked in, you arrived, you met in the elevator, possible kiss there, Doctor went up, Doctor came down, thumbs up. That's it. Have no idea what happened in between. JANE. -LRB- dying. -RRB- Have you told Lauren? HARLEY No and I wo n't - LUKE. -LRB- joining them. -RRB- Mom. Dad's leaving.",
"INT. HOUSE Jane and Harley ENTER from the courtyard just as Jake is about to leave. Jane immediately crosses to the table which now has dinner on it. Lauren kisses Jake good - bye on the cheek then joins the others who are about to sit down for dinner. LUKE. -LRB- from the Dining Room. -RRB- Thanks for picking me up, Dad. Jake pauses awkwardly at the door. He ca n't catch Jane's eye. He waves to the kids, who do n't seem to notice then heads out.",
"EXT. HOUSE Jake EXITS, turns back, looks INSIDE THE DINING ROOM, sees his family sitting around the table, talking, laughing. He heads toward his car as. JANE glances out the window at Jake as he drives off. One of the kids says something, distracting her, and she laughs.",
"EXT. LAUREN AND HARLEY'S COTTAGE - THE NEXT NIGHT Harley and Luke, on ladders, are stringing paper lanterns across a small patio. Lauren crosses under them, carrying a tray of food and joins Gabby who is setting out drinks. OMIT IN THE BATHROOM Jane sits at her dressing table, dressed for the party. She puts on hoop earrings - likes the way she looks. She opens a drawer to take out a lipstick. INSERT - THE DRAWER Sitting among her cosmetics is the joint Jake left for her. She looks at the joint, then looks at herself in the mirror. ADAM - WALKING UP THE PATH TO THE HOUSE - 15 MINUTES LATER He looks adorable and carries a gift the size of a book. He knocks in a playful rhythm. JANE ANSWERS THE DOOR all smiles. JANE Hey. REVERSE - ON ADAM Very happy to see her. ADAM Hey. You look fantastic. JANE I'm feelin' a little fantastic. She OPENS THE DOOR A LITTLE WIDER and we NOW SEE she's eating a gi - normous piece of cake. ADAM. -LRB- trying not to react to that, ENTERS, handing her the gift. -RRB- This is for you. JANE Really? Thank you! Come on in. -LRB- takes a huge bite of cake. -RRB- Can you hold this for a sec? -LRB- hands him the cake plate. -RRB- Oh my God. -LRB- takes another bite. -RRB- - this could be the best cake I ever made. You want a piece? It's like. beyond. ADAM I think I'm good. JANE. -LRB- focusing on the gift. -RRB- I ca n't believe you brought me a gift?! So nice! Jane unwraps the gift, turns it around, looks at it. JANE An appointment book? ADAM I sort of assumed you did n't have one. JANE - Because I never remember our. Awww. ADAM I took the liberty of filling in our next two meetings. And marked them with post - its and wrote them in red and then highlighted them in neon yellow. JANE Thank you! Jane kisses Adam on the cheek just as he was moving and the kiss lands on his lips. JANE Sorry. ADAM I'm not. -LRB- Did he really say that? Then, he licks his lips. -RRB- Wow, that cake is good. Jane laughs a little too hard.",
"Jane pulls the joint out of her purse, just as they pull up next to a Police Car. ADAM You might not want to hold that quite so. -LRB- nods. -RRB- Hello Officer. JANE. -LRB- turns, SEES the Cop Car, GASPS and DROPS THE JOINT, then TURNS to Cop, waves, then :. -RRB- I actually know him! Blueberry scone and a latte. -LRB- the Cop nods, pulls away. -RRB- Oh my God! That was horrifying. I instantly saw myself in a mug shot. My heart is leaping out of my. -LRB- then distracted. -RRB- Wow. This is the most insane dashboard I've ever seen. It's like we're in a cockpit. It's spectacular. Adam, what kind of car is this? ADAM Jane? JANE. -LRB- turns to him. -RRB- Hi. ADAM Did you get this high from one hit? JANE Yes! I do n't know what they've done to pot over the last 30 years but it rockkkkks!",
"EXT. LAUREN AND HARLEY'S COTTAGE - NIGHT From OUTSIDE, we can see lots of folks in the Living Room. Candles dot the path up to the cottage door. Several Couples and College Kids are walking toward the house. ANGLE - BEHIND NEARBY BUSHES Jane and Adam are sharing the joint. Jane takes a tiny, lady - like hit, passes it to Adam. JANE. -LRB- whispers. -RRB- Do n't take too much, it's really strong. She blows out the smoke. Adam, on the other hand, takes a huge hit. ADAM. -LRB- while holding in the smoke. -RRB- I have n't had fun in almost three years, Jane. -LRB- takes another huge hit. -RRB- Bring. It. On. SOME COLLEGE KIDS walk past the bushes. KID Who's got the reefer? ADAM. -LRB- O.S. -RRB- -LRB- fake falsetto. -RRB- No one. Keep walking please. The Kids laugh.",
"INT. LAUREN AND HARLEY'S COTTAGE - MOMENTS LATER Jane and Adam, two very straight laced grown ups, ENTER the party, pausing as they peruse the crowd. JANE How you feeling? ADAM Totally fine. JANE Me too. Adam starts to move to the music insanely well and then just insanely. Lauren and Harley greet them. Jane greets them back with a huge hug. JANE Hi. love your dress. Hey Harls. HARLEY. -LRB- that's weird. -RRB- Harls? JANE Adam, this is my oldest, Lauren and her fiance, Harley. -LRB- giggles to Kids. -RRB- We're on a date. Adam and Jane stifle laughs. AT THE BAR - WIDE - MOMENTS LATER Jane and Adam chat with all the Kids. Looks like it's going great - Adam is a big hit. ON JAKE - WATCHING FROM ACROSS THE ROOM Jake nurses a drink and is not looking happy. He sees the Kids disperse, finishes off his vodka, ready to make his move. ON JANE AND ADAM Now alone. They have n't seen Jake yet. ADAM. -LRB- starts moving to the music - Jane laughs. -RRB- By the way - How great is this party? Let's be the last to leave. -LRB- bops to the MUSIC then SPOTS JAKE ACROSS THE ROOM, seriously eyeing him. -RRB- Hey, there's your ex - husb - Uh - Oh. He's headed right toward us. Not the time to be `` feeling groovy''. -LRB- dances again when he sees Jake in SLOW - MO getting closer and closer. -RRB- Oooo. Why so intense, big fella? Adam slides a bit behind Jane as Jake arrives with Agness who looks inappropriately youthful. JAKE Hello Jane. Adam. ADAM. -LRB- all smiles. -RRB- Hey, good to see you again. JANE Adam, this is Agness, Jake's wife. -LRB- suddenly realizing. -RRB- Now that is an odd sentence for me to say since that was me for most of my life. Seriously. How weird is that? Both of us married to the same man! AGNESS. -LRB- dismissing the idea. -RRB- You know. it's. hey, what are you gon na do? JAKE Yeah, why go there. At this point, Adam gets hit with a severe case of the giggles. As the rest continue, he ca n't keep a straight face. JANE Because there, is. fascinating. I mean, when you think about it, it sort of links us in some cosmic crazy way, does n't it, Agness? Of all the men on the planet, we both said `` I do'' to this guy. AGNESS Yeah. Twenty - five years apart. I know you're having like an `` Ah - Ha' moment, but I think I'm gon na get a refill. Adam, good meeting you. ADAM. -LRB- whispers to Jane as Agness exits. -RRB- She's got a really scary tattoo. JAKE Janey, can I talk to you for a quick sec? Jake nods his head toward the bathroom and heads for it. Jane looks to Adam. JANE He always needs me for a quick sec. -LRB- starts to exit. -RRB- You okay? ADAM Oh, I'm very okay!",
"INT. TINY BATHROOM - SECONDS LATER Jane and Jake are crammed into an extremely tight space. JAKE What's going on? You're acting insane. JANE. -LRB- whispers giddily. -RRB- I'm stoned. JAKE What?! You smoked the joint I gave you? JANE You told me to! It's a - mazing! JAKE But you were n't supposed to smoke it with him, you're supposed to smoke it with me! JANE Somebody's jealous. JAKE Yes, of course. Why should n't I be. you're my. JANE - What? What am I, Jake? JAKE You're my ex - wife, lover, oldest friend and girlfriend. Jane blurts out a laugh. JANE Okay. You're hilarious. And because of that, even though I kind of hate you/love you, I'm going to let you have some. JAKE You love me? I mean, I heard `` hate'' had top billing, but. Jane takes the joint out of her purse, lights it up and hands it to Jake. Just as she does that, THE DOOR OPENS and HARLEY ENTERS, thinking the bathroom is free. Jake quickly yanks him in, shuts the door, locks it. Harley is now caught between Jane and Jake and a cloud of smoke. HARLEY Oh my God, you're smoking weed in the guest bathroom. JAKE Yes we are and we'd appreciate it if you did n't tell anyone about this. HARLEY No. Never. Adding it to the list. JANE Care for a toke? HARLEY I do n't really smoke marijuana. JANE. -LRB- blowing out smoke. -RRB- Me either. HARLEY Okay, one hit. JANE. -LRB- looks at herself in the mirror. -RRB- Oh, my God. Is that what I look like?",
"EXT. BACKYARD PATIO - MOMENTS LATER A small group is dancing to a hip hop song on the patio. Adam and Agness are dancing together. They're totally into it. Jane makes her way to the dance floor as the song ends and The Beach Boys `` Would n't It Be Nice'' begins. Jake follows Jane dancing his way toward the crowd, spinning Gabby on his way. Jake takes Jane's hand. dances with her. Harley arrives next to Lauren and Gabby who watch their parents. LAUREN They must be hammered. HARLEY Or something like that. Adam glances over and sees Jane and Jake. ADAM. -LRB- to Agness. -RRB- Sweetest divorced couple in the world! Agness is surprised by how happy Jake looks with Jane. JANE. -LRB- spotting Adam. -RRB- Hey! -LRB- to Jake. -RRB- Jake, I'm gon na. Jane and Adam cross toward one another. Jake dies a little as Jane leaves him, her eyes on Adam. Jake does n't notice Agness is watching him. Jane, now dancing with Adam, looks from Adam to Jake then back to Adam and then does n't look back at Jake again. Jake is still as he watches the woman he loves slip away. Agness has her eyes firmly on Jake, not missing any of it.",
"INT. ADAM'S CAR - MOVING - NIGHT Adam drives Jane home. Clearly the end of a great night. JANE Wow. Fun is not overrated, is it? ADAM You know what's great? JANE What? ADAM How much I like you. JANE. -LRB- really touched. -RRB- Thank you. I really like you a lot too. even though. oh. you did n't say, `` a lot''. ADAM But I was thinking it. JANE So. I'm not too old for you? ADAM How can you be too old for me when I'm older than you. JANE I just figured all these women you get fixed up with are thirty - five. ADAM Your age is one of my favorite things about you. -LRB- she appreciates that. -RRB- Do you think you have any more of that chocolate cake at your house? JANE Hungry? ADAM Starved! A BLACK SCREEN - LIGHTS POP ON And we are IN THE BAKERY at ONE A.M. Jane turns on a few more lights, but keeps it a bit moody. ADAM Officially now the best date of my life. Pre or post divorce. JANE Get out. All right. so basically I can make you anything on the menu or even not on the menu. Just name it. ADAM No? Really? Okay. -LRB- scans the blackboard menu. -RRB- What about a. warm chocolate croissant? JANE My speciality! OMIT",
"INT. BAKERY KITCHEN JANE FLOURS AND ROLLS CROISSANT DOUGH as Adam, now in an apron, watches, chatting with her. Jane then places the dough in a machine called a Sheeter. The dough slides into the sheeter and then slides back out bigger and flatter. ANGLE - JANE AND ADAM - TWO STONERS watching the sheeter, mesmerized. NEXT Jane folds the flattened dough, measures it with a yard stick, then cuts it into sections. She takes one of the sections, spreads it on a marble slab and very quickly cuts it into triangles. She's a whiz at this. THEN, Jane shows Adam how to stretch the triangles of dough. Nervous at first, he gets the hang of it. Then, Jane teaches Adam how to place a bar of chocolate in each triangle and roll it into a croissant. Laughing as they work, they make a dozen croissants. NEXT. into the OVEN.",
"INT. RESTAURANT - LATER Jane and Adam sit at a table in the corner, a stack of croissants piled high between them. Music plays as Adam takes the top croissant and Jane takes the next. ADAM. -LRB- bites into it. -RRB- Oh. Baby. JANE. -LRB- smelling hers. -RRB- Mmmmmmmm. ADAM It's crazy how good this is. JANE. -LRB- biting into one, nods. -RRB- Yeah, and I'm not even stoned anymore. ADAM Neither am I. JANE. -LRB- happy about that. -RRB- Oh, then. merci, Monsieur. ADAM Do you remember when I asked you the other night, if you were dating anyone and you said no. It sounded to me like you were maybe saying yes. JANE I was sort of seeing someone. But, it's over now. -LRB- Adam nods. -RRB- Honestly. ADAM ` Cause I'm not strong enough to fall for someone who's with someone else. Would n't be able to take that again. JANE I understand. I would n't say it was over if it was n't. Adam takes Jane's hand in his. relieved. ADAM Great. Adam turns Jane's hand over and looks at it a bit quizzically. JANE. -LRB- explains. -RRB- Cooking scar. From a very hot batch of caramel. ADAM Ooooo. What about that one? JANE That one's from boiling sugar. I was n't very skilled in the beginning. And that one is from a large French. Adam presses Jane's palm to his lips and kisses her scar. JANE - Saute pan. Adam then kisses the burn on her forearm. Jane sighs, closes her eyes. This feeling is unexpected. She opens her eyes as Adam moves closer. ADAM Would it be okay if I? Jane nods. He kisses her great. ADAM I was going to say, kiss you. JANE I figured. ADAM If you feel this is in any way wrong because we're working together. JANE. I do n't. He smiles as she folds into him and they kiss and kiss and kiss again. OMIT",
"INT. JANE'S KITCHEN - THE NEXT DAY Quiet. Jane enters from the garden, humming, `` Would n't It Be Nice.'' Luke ENTERS, still looking half asleep in his T Shirt and boxers. JANE Hey sleepy! What time did you get in? LUKE Have no idea. Lauren and Harley drove me home. LAUREN. -LRB- joining. -RRB- I'm surprised you remember that. JANE. -LRB- turns to see Lauren. -RRB- Hi. I did n't know you slept here. Lauren, in an open robe over drawstrings and a tank top, takes out a box of cereal. LAUREN We were playing Scattagories with Gabby and Ollie then Harley fell asleep on the couch. Harley meanders in wearing Victoria Secret Heart patterned PJ bottoms and a Girl's V - neck T - shirt. LUKE Sweet. HARLEY I got cold in the middle of the night. Lauren and Jane laugh. JANE Okay, who wants what? -LRB- noticing Gabby entering. -RRB- Hi baby. GABBY. -LRB- looks out the front window. -RRB- What's Dad doing here? Everyone LOOKS OUT THE WINDOW and SEES Jake sitting in his Porsche.",
"EXT. FRONT PORCH Jane EXITS as Jake steps out of his car. He looks like he's had a rough night and has something on his mind. Jane cautiously looks back at the house. The kitchen windows are all open. JANE. -LRB- quietly. -RRB- Everything okay? JAKE I left Agness. JANE No, do n't say that. JAKE She saw it my eyes, Janey. JANE Saw what? JAKE That I'm still in love with you. I admitted it, I told her about us and I've left her. For you. JANE No, no, no. What do you mean? Jake, this is crazy! -LRB- worried the kids will hear, whispers. -RRB- Are you telling me the truth? JAKE. -LRB- nods. -RRB- This feels so right Jane. As Jane is about to respond, Gabby EXITS the house in her PJ's, looking confused. GABBY. -LRB- from the porch. -RRB- What's going on? JANE Nothing. Honey, set the table, I'll be right in. GABBY Mom, you're the only one who cares if the table's set. JANE Okay, then do it for me. just go in please. Luke and Lauren join Gabby on the porch. LUKE What's up, Dad? JAKE Having some problems on the home front, just wanted to talk to your Mom for a sec. Jane shakes her head. Why did he have to say that? Harley joins the Kids. LAUREN Problems on the home front? Is one of you seeing someone else? Hearing that, Harley does a swift about face and goes right back inside. Jane's eyes widen toward Jake. JAKE. -LRB- off Jane's cue. -RRB- No, it's nothing like that. I just need to find a hotel or something for a few days ` til I get my head together. GABBY It's that serious? Jake nods. LUKE Mom, can Dad stay here for a few days? He can share my room. JANE I do n't think that's the best idea, Luke. GABBY Daddy, are you crying? ON JAKE - TEARS WELLING UP He turns away from the kids. The tears could be for dramatic effect, could be real. JAKE I'm sorry. All Three Kids immediately well up and look at Jane. LUKE. -LRB- begging. -RRB- Mom.",
"EXT. FRONT PORCH DINING AREA - A LITTLE LATER Jane nervously nibbles on her fingernail as the family sits silently around the table watching a ravenous Jake eat French Toast, bacon, coffee, side of fruit. His mood has been lifted. His energy is in full bloom. JAKE Mommy's the best cook in the world!",
"EXT. VEGETABLE GARDEN - LATER THAT DAY Jane is working in the garden. A shadow falls over her. She looks up, Jake stands before her, a cute smile breaking across his face. JAKE Thank you for saving me Janey. JANE Jake, you knew the kids were all here. Should n't we have talked about this? Agreed this was the right thing to do? This is so typical. Only thinking about works for you. JAKE I'm sorry, I guess I should've called before showing up. JANE - And I'm not sure you even left Agness. Maybe she saw something last night and threw you out. JAKE What's the difference? I was drowning over there. I'm not going to get that many more chances in my life to figure myself out. Janey, let's use these couple of days to see if we can make this work. JANE We ca n't, Jake. I told you this the other night. Please listen. JAKE But you were all pissy because you thought I stood you up. Things are different now. I'm a free man. -LRB- then. -RRB- Can we just hug? I hate that you're being so distant. It's literally giving me a pain in my stomach. JANE Oh, God. Jane reluctantly hugs him. He tries to kiss her. JANE See! Too much! JAKE Okay! Good note. Jane ca n't help but smile. JAKE Can I help with what you're doing? Hold your basket or. JANE I'm fine. JAKE Okay. I'm going to go to the video store and get us all a dvd to watch tonight. We'll have movie night. Just like old times. How's that? I'll make the popcorn. Just then Jane's Cell RINGS. JANE Fine. -LRB- into phone. -RRB- Hello. JAKE. -LRB- whispers. -RRB- I love knowing I'm coming back here. JANE. -LRB- nods, turning slightly. -RRB- Oh, hi. I slept great. How ` bout you? Jake waits, but realizes Jane's not going to turn back.",
"INT. FAMILY ROOM - JANE'S HOUSE - THAT NIGHT The Adlers are watching The Graduate. The lights are low. Jake, shoes off, hands everyone bowls of popcorn. Jane sits in a club chair. Harley's on the floor and the Adler Kids are on one long sofa, all covered in a blanket. Jake hands them popcorn then squeezes back in, between the Girls. ON THE FLAT SCREEN - BUCK HENRY AND DUSTIN HOFFMAN BUCK HENERY Are you here for an affair, sir? DUSTIN What? BUCK HENRY The Singleman party, sir? Jane cringes as the Kids laugh. She looks over at Jake snuggling between the Kids, all eating popcorn and laughing. He catches Jane's eye and mouths. JAKE I'M SO HAPPY!",
"EXT. JANE'S HOUSE - LATER THAT NIGHT - EST.",
"INT. HOUSE - SAME TIME Jake, bare legged and wearing a robe and slippers, crosses to the KITCHEN where he finds Luke and Gabby digging through the fridge. JAKE Any leftovers? GABBY Are you kidding? -LRB- takes out an armful of Tupperware. -RRB- JAKE Any of that noodle thing left? -LRB- Gabby hands it to him. -RRB- Where's Mom? She disappeared so fast after the movie. GABBY She's probably sleeping. LUKE I think she's on her computer. They all nibble out of Tupperware, leaning against various counters. LUKE Tonight was weird. GABBY So weird. Still is. JAKE I loved tonight. GABBY Yeah. That's why it was so weird. Just seeing you in your robe in our kitchen. Remember when you were n't even allowed in. Mom used to go out to the car to talk to you. LUKE. -LRB- handing Gabby his Tupperware. -RRB- You know, I do n't even really remember you and Mom as a couple. JAKE What do you mean. you were ten when we broke up. LUKE I was eight actually and I do n't know. it's all foggy to me now. JAKE You do n't remember us in Hawaii or all sleeping in that tent in the backyard. LUKE Yeah, of course, but I do n't remember like you and Mom hugging or waking up together. Jake grabs his heart, moans. LUKE - It's okay. I'm not damaged or anything. You've been good parents. GABBY Speak for yourself dude. I'm definitely damaged from the divorce. Harley and Lauren ENTER. Lauren turns the tea kettle on. LAUREN Hello troops. JAKE Why are you still here? LAUREN I do n't know, you and Mom sleeping in the same house. Harley thought we should stay. Jake turns his beams on Harley. HARLEY She exaggerates. I just thought perhaps you might want to talk later, or. Is that the noodle thing? JAKE Oh. Sorry. I think I ate it all. GABBY Dad! JAKE I did n't know anyone wanted any.",
"INT. JANE'S BEDROOM - A LITTLE LATER Jane, sits on her bed, talking to Adam via iSight. On her LAPTOP SCREEN, we see Adam but he's a bit of a BLUR. JANE Wait, I ca n't see that one. Can you back up a little? CLOSE ON JANE'S LAP TOP SCREEN - ADAM IN HIS BEDROOM He back ups from the lens and models a rather ridiculous ski sweater. JANE. -LRB- hmmm. -RRB- Very festive. ADAM O - kay. Thank you. -LRB- into lens. -RRB- Gift from my ex - sister - in - law. Have no idea why I kept it. -LRB- pulls sweater off. -RRB- Into the pile. Hey, check out the pile, Jane. Adam POINTS HIS LAPTOP to the floor to show a HUGE STACK OF OLD CLOTHES. JANE Nice! -LRB- then. -RRB- Hey, the pile's moving. ADAM Murphy, get out of there! A small Mutt scurries out of the pile. Jane laughs. ADAM. -LRB- re - enters in an odd shirt. -RRB- What about this? I was in India and I had it made. The guy ran out of fabric so he did n't make me long sleeves. -LRB- looks down. -RRB- Or short sleeves. It's weird. JANE And kinda girly. ADAM. -LRB- taking it off. -RRB- Not what I'm going for. -LRB- holds up a sweater. -RRB- Gray sweater. Very old. JANE But cute. ADAM. -LRB- slips it on. -RRB- You sure? You do n't have to say you like it just because you nixed the last 20 things. Jane likes this man. JANE Keep it. It's cozy. Boy, you have a lot of clothes. ADAM. -LRB- looks at the floor. -RRB- Uh, not anymore. Okay, we're almost done. You are helping me so much by the way. JANE - Adam, I really have to pee. ADAM Oh good. Me too. Meet you back in thirty. -LRB- lifting the laptop. -RRB- Putting this on my desk. ON JANE'S SIDE Just a shot of Jane's Pillows on her bed. JANE'S VOICE I'm not in there. ON ADAM'S SIDE - AN ISIGHT FRAME OF AN EMPTY DESK CHAIR. ADAM'S VOICE Ca n't hear you.",
"INT. JANE'S BEDROOM - WIDE - SAME TIME Jake pokes his head in, looks around, sees no one in the room. He hears Jane in the bathroom and ENTERS quietly, quickly squirms out of his boxers and T - shirt, then, DROPS HIS ROBE, and lies on his side, on the bed, completely NUDE - elbow up, palm supporting his head - a smile on his face. He changes his smile to a smoulder. Jake hears water running. Suddenly modest, he quickly drags over the open Laptop and places the open screen in front of his privates. He smiles, ready to be discovered. JANE dries her hands at the bathroom sink.",
"INT. ADAM'S BEDROOM - SAME TIME Adam crosses through the room on his way to his laptop. JANE ENTERS HER BEDROOM, SEES JAKE and lets out a SCREAM. Simultaneously, ADAM PLOPS DOWN IN HIS DESK CHAIR, LOOKS AT HIS SCREEN and instantly YANKS HIMSELF AWAY in disgust. ADAM Mother of -. -LRB- looks again. -RRB- Ahhhhhhhhhhh! Jake LOOKS DOWN AT THE SCREEN, SEES ADAM'S SCREAMING FACE AND SCREAMS BACK. JANE What are you doing in here?! ADAM. -LRB- covering the screen with his hands. -RRB- Get it off! JAKE. -LRB- covering himself. -RRB- I wanted to see you. JANE Why are you naked! ?! JAKE. -LRB- sits up straight, the lap top shooting even more directly at his groin. -RRB- Why do you think? ADAM Okay, I'm gon na be sick. Jake LEANS IN, covers Adam's eyes on the screen, which, of course, does nothing. ADAM Not working! Big close up! Jake rises, now his ass gets the close up, he bends over to get his robe. ADAM Okay! Good night! Jake SPINS THE LAPTOP and the ISIGHT LENS LANDS ON JANE. Jane and Adam look at one another. No time to say anything. She's desperate. He's lost. The DOOR FLIES OPEN, the KIDS RUSH IN, just as Jake ties his robe. GABBY Everybody okay? No one says anything. LAUREN What's happening? Adam listens, his eyes on Jane. Jake crosses to Jane, facing the Kids. He walks in and out of the iSight shot. JAKE Okay. Let me explain. The reason I left Agness was n't just because my marriage was n't working. -LRB- The Kids wait. -RRB- I've also fallen in love. back in love. with your mother. Or maybe I never stopped loving her. GABBY Is this a joke? JAKE I know this is shocking, but I think this is the best thing that's ever happened to me. Your Mom and I have been seeing each other, on the side. ever since New York. LAUREN Mom, is this true? JANE. -LRB- dying. -RRB- That part is, but. JAKE I found my way back home. I just hope she'll take me back. Gabby breaks down in tears. Lauren puts her arm around her. Jane starts to cry, looks at her laptop, just as she HEARS A CLICK and THE LAPTOP SCREEN GOES BLACK. JAKE Why's everyone crying? Why is n't this good news? LAUREN Because we're still getting over the divorce. LUKE Mom, are you and Dad getting back together? JANE No. we're not. Jane looks at the Kids with incredible sadness.",
"EXT. DRIVEWAY - LATER - THAT NIGHT The Kids, in their cars, drive down the road, away from the house. Jane stands in the driveway, watching, never before feeling quite like this. Jake EXITS THE HOUSE, holding his bag. He stops, looks at Jane. She has nothing left to say. Jake gets in his car and pulls away as Jane walks back inside. OMIT",
"EXT. POOL AREA/BACKYARD - MIDDLE OF THE NIGHT Jane lies on a pool chaise, wrapped in a blanket, tissues in hand. She stares up at the night sky and as her eyes flutter shut, we drift off of her. DISSOLVE TO : OMIT",
"EXT. JANE'S POOL/BACKYARD - EARLY MORNING CAMERA DRIFTS ACROSS THE POOL TO JANE, asleep on the pool chaise, still wrapped in a blanket. The sprinklers go off and wake Jane. She opens her eyes, looks around, realizes she's spent the night outside. Jane sits up too fast, a tad disoriented, then quickly realizes what she must do. A FRONT DOOR OPENS TO REVEAL HARLEY bed - headed and still in his pj's. He approvingly looks at Jane, who stands across from him, ready to right it all. HARLEY Glad you're here, boss.",
"INT. COTTAGE - CONTINUOUS Harley leads Jane down the narrow hall to the Bedroom. HARLEY Now I know you do n't need my advice Jane, but. JANE I got this one. HARLEY I know you do. Jane pauses, Harley nods for her to go inside. JANE'S POV - INSIDE THE BEDROOM Her Three Kids are under the covers. Lauren is between Gabby and Luke. They look like they just woke up. Jane stands in the doorway. The Kids do n't say a word. Jane does n't wait. She crosses to the bed, sits on it, looks at her children. JANE Knowing how to be divorced is next to impossible. and sometimes over the years, I've thought that your Dad and I were n't quite finished. And, as it turns out, we were n't. So I went out of my comfort zone, which, I found out, if you're really honest with yourself, is n't all that comforting. So, I experimented with a part of myself. I wanted to find out if, after all these years there was still something there between us. LAUREN And was there? JANE There kinda was. Lauren smiles with her eyes. GABBY But Mom, you have to understand how bonkers this sounds to us. For two people who for years could n't be in the same room together. to then have an affair? You and Dad! JANE I know. it was hard for me and I was doing it. I hope you'll forgive me for confusing you or betraying your trust, but I did this for me and for him and I realized even though your Dad and I once had something extraordinary. we no longer really fit together. But he is a part of me and always will be. LUKE So it's over now? You guys are back to being divorced. JANE For better or for worse. Lauren takes her Mom's hand. Harley joins them, sitting on the other side of the bed, holding back tears. HARLEY Group hug? And as they all move into hug, we : CUT TO: A MOVING POV - INT. ARCHITECTURE OFFICE - DAY REVERSE ON JANE walking through Adam's firm. She arrives at : ADAM'S OFFICE Adam is on a phone call. ADAM. -LRB- into phone. -RRB- Yeah no problem. we can definitely do that. -LRB- notices Jane. -RRB- - James, can I call you back, someone just. Thanks. -LRB- rises. -RRB- Hi. JANE Hi. May I come in? ADAM - Sure. JANE I did n't call you last night because I was n't sure you would take the call and then I thought that could go on for months and. ADAM - I would have taken the call. JANE Oh. Well, anyway, it's better to say these things in person. Adam, the man I was seeing was. ADAM I think I'm up to speed on that part. JANE I want you to know it did n't last long and you're divorced, so maybe you understand, when marriages end, there's doubts and hurt, and you've got kids and sometimes you wonder if you did the right thing and when the moment presented itself. ADAM - I get it. I could imagine it. I could. JANE I told him it was n't going to work between us but I guess he did n't believe me and unbeknownst to me, he showed up at my house yesterday. He left Agness and. ADAM - Jane. I actually think I understand what happened but. uh. you know I'm not as macho as I appear and I think it's probably best for us not to get any more. involved because your relationship with Jake is n't really done and I know you're saying it is, but he's in love with you and for everyone's sake, that should probably get resolved. JANE Wow. So that's how grown ups talk. Adam smiles. JANE Please tell me you're not going to quit my job and ask Peter to take over because then I'll never get to see you and. ADAM I was thinking of asking Peter to step back in. JANE Oh. I hope you do n't. ADAM Thanks. OMIT",
"EXT. ROAD TO JANE'S HOUSE - LATE DAY Jane drives home, when she notices Jake's Porsche in her driveway. She gets out of her car, finds Jake sitting on the bench swing hanging from a large oak in the front yard. Jane crosses to Jake. He moves over. Jane sees the humor in this gesture and sits on the swing with him, letting out a sigh. Side by side, they swing in the late afternoon breeze. JAKE I'm sorry. Jane does n't answer right away. JANE How far back does that sorry go? JAKE How far back do you need it to go? JANE Way back. JAKE Consider it an all inclusive apology. From not being the husband you needed to showing up nude on your bed last night. JANE Yeah, what were you thinking with that move? JAKE That you'd find me irresistible. Jane turns to him, her eyes warming up to him. JAKE Never considered the alternative. JANE Got ta love that about you. They swing some more. JAKE Oh, man, ca n't believe I got up to bat again and blew it. JANE You did n't blow it. We blew it. We blew it the first time around. This time. we just should've known better. Too much has happened. Too much time has passed. JAKE And you do n't think we could make it right? JANE Does that mean you did n't feel it was totally right either? JAKE Being with you Jane is the best I'm gon na be. JANE But do you agree that it was n't really? JAKE It was complicated. JANE Begging for an answer. JAKE I thought it was good. I wanted it to be good. JANE Guess that's as close as I'm gon na get. JAKE Do you always have to be so hard on me? JANE No. I do n't. JAKE I do n't regret giving it another shot. JANE Probably would've been better if you had n't been married. JAKE It may never have happened if I was n't married. Jane looks at Jake, knowing how true that is. They sit, side by side, as they sway in the breeze. JANE I do n't regret it either. They continue rocking, not much more to say. As CAMERA PULLS AWAY, we : DISSOLVE TO :",
"EXT. JANE'S HOUSE - MANY MORNINGS LATER It's raining. Trucks are pulling into the driveway as lumber is being taken off of a truck and covered in tarps. Jane EXITS THE HOUSE in a parka and under an umbrella. A GROUP OF CONSTRUCTION GUYS ARE huddled under a make - shift tarp. Jane crosses toward them and as the group opens to face her she spots Adam, holding blue prints. Jane is stunned he's there. ADAM Good morning. JANE Good morning. ADAM Did you know it's good luck to start building in the rain? JANE Really? ADAM. -LRB- obviously lying. -RRB- Yes. It's a well known, very good, really lucky omen. Thunder rattles the sky. JANE. -LRB- looking up. -RRB- Good, I could use one. -LRB- then. -RRB- Would you all like to have your meeting in the house. it's dry and I've got hot coffee. The Group thanks her and heads for the house. Adam stays back and walks next to Jane. It's a long second before someone talks. ADAM Jane, I need to ask you something. JANE Anything. ADAM You would n't happen to have any of those amazing chocolate croissants, would you? JANE Oh. you like those, huh? ADAM I have incredibly fond memories of them. JANE I do n't have any here, but we could go into town and get some. right out of the oven. They turn toward the house and on their backs we hear : ADAM You want to do that? JANE Yeah. love to. And as they walk away from Camera, we : SLOWLY FADE OUT"
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] | Jane (Meryl Streep), who owns a successful bakery in Santa Barbara, California, and Jake Adler (Alec Baldwin), a successful attorney, divorced ten years earlier. They had three children together, two girls and a boy, who are grown. Jake, who was cheating on Jane, married the much younger Agness (Lake Bell). Jane and Jake attend their son Luke's graduation from college in New York City. After a dinner together, the two begin an affair, which continues in Santa Barbara. Jane is torn about the affair; Jake is not. While Agness has Jake scheduled for regular sessions at a fertility clinic, Jake is secretly taking medication to increase urine flow, the side effects of which are decreased sperm count and dizziness. After one of his sessions he has a lunchtime rendezvous with Jane at a hotel. Jake collapses in the hotel room and a doctor is called. The doctor speculates that the reason for Jake's distress may be the medication and says he should stop taking it. Jake and Jane's children know nothing of the affair, but Harley (John Krasinski), who is engaged to their daughter Lauren, spots the pair and the doctor in the hotel, but keeps silent. Adam (Steve Martin) is an architect hired to remodel Jane's home. Still healing from a divorce of his own, he begins to fall in love with Jane. On the night of Luke's graduation party in Santa Barbara, Jane invites Adam to the party. She is stoned when he picks her up because she has smoked a marijuana joint that Jake had given her earlier. Before going into the party, Adam smokes some of the joint with Jane. Once inside, they are laughing and happily high, Jake becomes jealous observing them, and after pressing Jane, smokes some with her also. Agness then observes Jake and Jane dancing together and realizes they are having an affair. When they leave the party, Adam asks Jane if they could have something to eat. Jane takes him to her bakery and they make chocolate croissants together. Jake and Agness separate, although it is not clear who leaves whom. Eventually by a webcam in Jane's bedroom, Adam sees Jake naked and realizes that the two have been having an affair. Adam tells Jane he cannot continue seeing her because it will only lead to heartbreak. Jane's kids also find out, and they are not happy about Mom and Dad getting together again because they are still recovering from the divorce. Jane tells them she is not getting back with Jake. Jane and Jake talk and end their affair on amicable terms. The film ends with Adam at Jane's house ready to commence the remodeling. Before the credits roll, Jane and Adam are seen laughing about the chocolate croissants while walking into her house. | Its_Complicated_(film) |
[
"EXT. ESTABLISHING - BURNFIELD - DAY Over the various images of Burnfield's strip malls and fast food joints we hear GENE PITNEY singing. GENE PITNEY -LRB- V.O. -RRB- -LRB- singing. -RRB- `` When your young and so in love as we and bewildered by the world we see why do people hurt us so Only those in love know What a town without pity can do If we stop to gave upon a star people talk about how bad we are ours is not an easy age we're like tigers in a cage What a town without pity can do''",
"INT. JEFF'S ROOM - GARAGE - DAY JEFF is talking on the telephone inside of his tent which is has set up in his parents garage. JEFF -LRB- into telephone. -RRB- Buff? Yeah, I'll see you down there later. I just got ta finish some stuff I'm writing. Okay. ` Bye. Jeff clicks over to the other line. JEFF -LRB- into telephone. -RRB- SOOZE? Yeah, so did you tell him that we could n't afford twenty bucks a ticket and why did n't he put us on the comp list? No, no, there's always a comp list. Alright. Well, so then, just get your mother's car and maybe we'll all go do something. Yeah. I got ta get off. Okay. ` Bye.",
"INT. PIZZA JOINT - DAY BUFF is the one of the only people working. Pies are over cooking in the oven and Buff is trying to punch out of work as soon as he can. BUFF -LRB- into telephone. -RRB- Hey, Frankie! Hey, what are you doing? Sleeping? What, at six o'clock? Sleep when you are dead. Hey, man, I just got off work. Why do n't you meet me down at the corner. So? Put on some clothes and come down, man, yeah. Yeah, yeah, I wan na see you, man. Alright. Yeah. Hey, why do n't you bring that pot you just bought? What?! Yeah, fuck you man! -LRB- to employee. -RRB- Later.",
"INT. SOOZE'S HOUSE. BEDROOM - DAY Sooze's room is covered with a wide variety of artwork, most of which she as done. She hangs up the phone and walks down the hallway towards her MOTHERS room. She stops in her mother's doorway, SOOZE I'm going out later. SOOZE'S MOM No car. SOOZE The fuck not? SOOZE'S MOM You know the fuck not. SOOZE Fuck. SOOZE'S MOM Do n't swear it's impolite. Sooze storms out of the room and back down the hall to her own room. Sooze's mom is watching a shopping channel on the television. We dolly into the television. SHOPPING CHANNEL HOST suggest that you call immediately. We are truly thrilled to bring you this next item and it's a Host Value Special. It's the spiral relaxation lamp. I personally bought one of these for a very good friend of mine and ended up falling in love with it, I found myself mesmerized by watching the balls. That's why I suggest that if you're going to buy one, that you buy maybe two or three.",
"INT. CIRCLE A CONVENIENCE STORE - NIGHT Two POLICE OFFICERS -LRB- CHIP and GARY -RRB- are at the counter buying cigarettes. Jeff is also inside shopping. The convenience store worker, NAZEER, is watching a cops - like TV show. TV REPORTER -LRB- V.O. -RRB- It started with a traffic argument, escalated to the firing of a legally carried handgun, ending with the death of the man it was aimed at. GORDON RIEDHALE claimed he could n't escape an attacker who was punching him in the head. Concealed carry instructors say, `` It's that fear.'' CHIP Just depends on the filter capacity. What size is that pool? GARY Fifty - five thousand. -LRB- to Nazeer. -RRB- Marlboros, chief. Hard pack. CHIP In that case you need a heavy - duty filter. NAZEER Two - fifty. GARY Two - fifty? They go up? NAZEER Always two - fifty, my friend. TV REPORTER -LRB- V.O. -RRB- What that means is that every armed licensee faced with danger must make a split second judgment call. Gary places two - fifty on the counter and him and Chip walk back to their patrol car. As they leave the parking lot they see TIM sitting on the side of the building. CHIP -LRB- to Tim. -RRB- Timmy - boy! Tim makes a `` smooth sailing'' gesture with his hand. Buff roles over to Tim on his roller blades. He sweeps off a piece of concrete and places down a slice of pizza. Buff begins to play hockey with two empty beer cans on the ground. He shoots one at the dumpster and the other at Tim. BUFF Peace! Ah, time's running out, three, two, one! He shoots the beer can at Tim, barely missing him. Jeff walks up from around the corner holding a package of cookies he just bought. Nazeer is right behind him eating something. BUFF -LRB- CONT'D. -RRB- Score! Yeah! NAZEER Hey, hey, seven - twenty. Seven - twenty. Jeff turns around. JEFF What? NAZEER Seven - twenty. JEFF I gave it to you. BUFF He paid you man. NAZEER You owe me twenty cents. Come on, seven - twenty. Seven - twenty. BUFF Yo! Your spitting rice all over us! God. Jeff digs into his pockets. JEFF Here's twenty - five cents. Nazeer takes the money and walks away. JEFF -LRB- CONT'D. -RRB- Guy should cut down on his caffeine intake. BUFF Needs some pizza in his diet. Buff is eating his slice of pizza and skating around the group. TIM I do n't think I like that guy's attitude at all. Hey, you know what? Take off the blades. I mean it. I'm gon na break your fucking legs. Take'em off. BUFF You're fascist, man. Neofascist. He sits down and begins to take of his blades. TIM Buff, sit. You know what I mean though? Somebody ought to crack that guy with a baseball bat. JEFF Yeah, well, he's from a Third World country. He does n't have it easy. TIM What? What the fuck do you know about the third world? You been there? No? No, well, I have. Fuckers live like sardines in a can over there, you know. Everything stinks. It's true, there's no, you know, law, no order. No nothing. The assholes come over here, they think it's gon na be the same. JEFF Hey, he's a human being you can give him that much. TIM Actually, the only thing I got ta give that guy is a one - way ticket back to Greaseball - land. JEFF Yeah, well, that pizza could feed a family of four in Turkey or India or wherever the fuck he comes from. BUFF Oh yeah? Oh, how'd you ship it over there, man? Federal Express? Hm? By the time it got there it'd be way cold and coagulated. Total waste. Cheese be stuck to the cardboard. JEFF Buff, that slice is the difference between life and death for some half - dead Bangladeshi. BUFF Yo, your gettin' me all upset here. JEFF You should get upset. Everyone should get upset. When, when Hitler was greasing the Jews, people were saying, `` Do n't get me upset. Your bumming me out.'' My duty as a human being is to be pissed off. Jesus Christ, not that it makes a difference on the first fucking place. Nothing ever changes, man. Fifty years from now we're all gon na be dead and there'll be new people standing here drinking beer, eating pizza, bitching and moaning about the price of Oreos, and they wo n't even know we were ever here. And then fifty years after that those suckers will be dust and bones and there'll be all these generations of suckers trying to figure out what they're doing on this fucking planet and they'll all be full of shit. It's all so fucking futile. TIM If it's all so fucking futile, what the fuck are you so fucking upset about, fuckhead? JEFF Because I'm alienated. BUFF Hey! Hey, you like orgasms? Oh, yeah! -LRB- yells. -RRB- Oh, Hey, hey, I'm at work yesterday, bitch comes in, orders a twelve - inch pie with extra cheese. So I ask her if she wanted me, like, to carry that out to her car for her. Bitch is obviously in heat. `` Yes, right away.'' So I carry the pie out to her car. We smoke a J. She blows me. We eat the pizza, I chase her with the beer. Smoke, babe, slice, brew. All four bases, fuckin' home run man! Jeff walks over towards the payphone, Buff follows. He dials a number. JEFF Your ability to fantasize is only exceeded by your ability to lie. BUFF Oh, untrue, Jeffster. I think, uh, two weeks ago we attended a concert where I had fucked two girls. JEFF -LRB- into telephone. -RRB- Hey, it's me. No, that's, that's the ultimate liar of liars. BUFF And your mom. JEFF -LRB- into telephone. -RRB- No, I'm here. Where are you? BUFF Where are you - hoo? JEFF -LRB- into telephone. -RRB- No, no, no, no, I do n't wan na be stuck with the guy. I want the tickets. BUFF Stuck, who? What guy? Huh? JEFF Shut up! Aw. Nazeer opens the front doors of the Circle A and shouts at Buff and Jeff. NAZEER Look, you ca n't be out here all night tonight, okay? Tim comes out from around the corner. Jeff continues talking on the phone ignoring the argument. BUFF Hey, we're just having a conversation. NAZEER This is private property, my friend. TIM Come on man. BUFF Hey, do n't tell us about private property. This is America, my friend. NAZEER Look, look, look. You got ta go now, okay? The customers complain. BUFF We're your customers. We're not complaining. NAZEER Please! Nazeer walks back into the store. Buff and Tim walk back around the corner towards the dumpster. Jeff is sitting by himself. Buff goes to sit down next to him. JEFF You do n't need to sit next to me right now. TIM Who were you talking to? JEFF Nobody. Sooze. BUFF Stuck with what guy? JEFF What? BUFF You said you did n't want to get stuck with some guy. What guy? JEFF No, uh, nobody. It's, uh, it's my birthday this week and Sooze's brother might come by to wish me a happy birthday. BUFF It's your birthday? JEFF Yeah. BUFF Well, shit! Happy fucking birthday! Tim and Buff grab Jeff and form a line, simulating sex. BEE - BEE approaches. BUFF AND TIM Happy birthday! Happy fuckin' birthday! BEE-BEE Um, is Sooze around? JEFF Uh, yeah, she should be coming by. BEE-BEE Uh, well, what'd she say? Is Pony coming? JEFF I do n't know. BUFF Want a beer? -LRB- to Jeff. -RRB- Is Pony coming? BEE-BEE No, thanks. I do n't drink. Um, well, what'd she say? I mean, did she talk to him? TIM Pony? What's a `` pony''? You mean that geek who played the folk music at the senior prom? What's that guy's name? Neil Moynihan? BUFF Oh, Pony's band `` Dream Girls''? Been on the road opening for `` Midnight Hore''. Stadiums, man. -LRB- to Jeff. -RRB- Wait, so Pony's coming by here? BEE-BEE -LRB- to Tim. -RRB- Did n't you see their video on MTV? TIM No, I shot my TV. BUFF But, so, Pony's comin' by here to the corner? JEFF He's around and, you know, maybe he's coming by. Sooze told him to come by and hang out, whatever. It's no big deal. Me, him, and Sooze are gon na. TIM Oh, no, you wanted to get together with your close friend, Pony, the rockstar. I understand. So you, do you, want us to, leave? JEFF No. We were just gon na go someplace or something to. BEE-BEE We are? JEFF Alright. She told him to meet us here. Fuck. BUFF -LRB- excited. -RRB- Pony's coming here to the corner?! JEFF Yeah, no, it was n't even my idea. TIM Jeff, Jeff, if you want to be alone with Pony, you know, that's, that's fine with us. JEFF Sooze wants to see him. TIM Well, you know, I wan na fucking see him. I got ta know what it's like to be on MTV. BUFF Yeah, we all want to see him. So when's he coming? BEE-BEE Yeah, when's he coming? JEFF I do n't know. Later. I do n't know. BUFF -LRB- yells. -RRB- Yes! FADE OUT",
"EXT. CIRCLE A - PARKING LOT - LATER - NIGHT Jeff and Sooze are kissing. JEFF God, I have n't seen you all day. SOOZE You could've come over. JEFF I know, I know, I know. Jeff pulls out the front of Sooze's pants and looks inside them. JEFF -LRB- CONT'D. -RRB- Oh! Trim it! SOOZE I hate that. JEFF Sorry. Let's go back to the van right now. SOOZE No. I'm not going to the van, it's so gross. Come on. I'm doing my performance right now. JEFF Okay, so maybe later.",
"EXT. CIRCLE A - PARKING LOT - NIGHT Everyone is sitting around watching Sooze do her performance art piece. She dances and jigs along with the words to her piece. SOOZE Ow. Jesus. Fuck Oliver Stone. Fuck Bill Clinton. Fuck Howard Stern. Fuck Michael Bolton. Fuck O.J. Simpson. Fuck Pope John Paul. Fuck my dad. Fuck all the men. Fuck all the men. Fuck all the men! She begins to dance a jig. SOOZE -LRB- CONT'D. -RRB- Bang your head, blow your nose. Run down the street, suck a hose. Chew my lips, eat some shit. Eat a stick of dynamite and blow yourself to bits. Shut your mouth, go away. Drink my piss, have a nice day! I hope you cry and never doubt. I hope you die with blood in your mouth. I hope your lies will no more shout What's in my eyes, what's in your snout. Your a pig! I know that's true! I dance a jig! Fuck you! Fuck you! Fuck you! Fuck you! Sooze ends her piece and looks at everyone. SOOZE So? Everyone slowly starts to applaud. BEE-BEE That was really great. SOOZE Was it okay? BEE-BEE Yeah! SOOZE What did you guys think? BEE-BEE Slides go with it. SOOZE Behind me. I'm making these slides out of these old pictures and paintings and stuff. JEFF Was that supposed to be me? SOOZE No. JEFF Yes. BEE-BEE It's called `` Burger Manifesto, Part One The Dialectical Expression of Testosterone.'' Is n't that a great title? SOOZE Why is everything about you, Jeff? JEFF No, not, not everything. This. I am the man in your life. SOOZE Man? JEFF Yeah, man, male, significant other, whatever the fuck I am. SOOZE It's a piece. JEFF Your sure as hell right about that. SOOZE I'm not doing it anywhere, Jeff. It's just part of my application to the School of Visual Arts in New York. BUFF Ah, you know people there? SOOZE I'm just gon na go. I figure the worst I can do is starve to death. JEFF `` The worst I can do is starve to death.'' Listen to you. SOOZE I do n't want to hear it anymore. JEFF No, no, no. Y - you know what? Y - your packing your bags, you're jumping into the unknown because some conceptual artist who teaches at a community college is having a mid - life crisis and he wants to sleep with some girl half his age, so he tells you you have talent. SOOZE Mister Brooks has had shows in New York, Jeff. He's been reviewed in Art Forum. I think he knows. JEFF -LRB- in mock British accent. -RRB- Oh, well, then you better listen to him. SOOZE Well, fuck! Might as well not do anything! Let's just stick out thumbs up our asses and twirl. TIM Yes, that's right. You know what, honey? You should go to New York. You should go. Go show'em. They need your unique point of view. SOOZE At least I have a point of view, you know? BEE-BEE Uh - huh. SOOZE I stand for something. And I'm trying to communicate something. JEFF What are you trying to communicate? Tell us. SOOZE So you can give me more shit? JEFF No, no. It's an honest question. What are you trying to communicate? SOOZE I'm trying to communicate how I feel, Jeff. You know raise consciousness. Make people think for a change. BEE-BEE Mn - hm. JEFF `` Burger Manifesto, Part One'' is gon na make people think? SOOZE Yes, you asshole. JEFF About what? SOOZE About things that are important to me. JEFF Like what? SOOZE Sexual politics, racism, the environment, the military industrial. BEE-BEE Um - hm. JEFF Wait. Racism? You do n't know anybody who's black! SOOZE Of course I do! JEFF Name one. SOOZE God, KAREN JOHNSON. JEFF One! SOOZE Your completely missing the point. JEFF Hey! SOOZE I'm talking about idealism. BEE-BEE Responsibility, progress. SOOZE Yes. JEFF No, idealism is guilty, middle class bullshit. SOOZE No, sweetie. Cynicism is bullshit. JEFF No, no, no. I'm not being cynical, I'm being honest. SOOZE But do you stand for anything? JEFF Yes, I stand for - SOOZE What? What do you stand for? JEFF I stand for honesty! I stand for some level of truth! SOOZE Oh, yeah, right. Yeah, right. Fuck you. JEFF Can I talk here? Let me talk. SOOZE You know, all you know is what's good for you. JEFF Can I talk? SOOZE Typical male. BEE-BEE Typical male. SOOZE Typical male. BEE-BEE Typical male. SOOZE Tim, he listens to you. Do you think it's a good idea? Seriously? TIM Seriously? It's a great idea. SOOZE Ha! Thank you! See? He did it. He left. TIM I did. I split, man. I expanded my horizons, you know. Served my country. Saw the world, you know? I've gained wisdom and now I'm back, baby, back from the road. Me and Jack Kerouac. The group starts to head back up to the Circle A. SOOZE I ca n't wait till Pony gets here, you know? Have a conversation with a human being? JEFF Well, if you love him so much, why did n't you go see him play? SOOZE Um, because you did n't want to go. JEFF Like I'm going to pay twenty bucks to see Neil Moynihan in some band that I helped start. SOOZE Okay. Well, you know, he's always been a nice guy and I like him. TIM, BUFF, & JEFF -LRB- in unison -RRB- He's a geek. BUFF Hey, I've been, uh, making these tapes, videotapes. I ripped off a camcorder up at the mall. I thought, you know, it could be something that I do, be a video artist, you know. TIM Ladies and gentlemen, Buff, the postmodern idiot savant. He will outdo us all. As the group walks up the front walk of the Circle A, Buff spots Nazzer sweeping up the walk. Buff harges at him, twisting and turning his hockey stick in mock kung - fu fashion. He stops right in front of Nazeer. BUFF -LRB- in mock kung - fu scream. -RRB- It's safe, come on. NAZEER That's it. That's it! I'm calling the police. JEFF Why we're just standing here. NAZEER Look, your trespassing. BUFF Hey, call the cops! Call'em, call'em right now, man. Maybe my cousin Jerry will show up. He'll definitely take your word over mine. You can tell him about the trespassing. I'll tell him about how you sell beer to minors. NAZEER Look, look, I'm not joking around now, okay? Come on, let's go, let's go! SOOZE We're just standing here! NAZEER Just go and stand someplace else, okay? BUFF You stand someplace else, man. You stand someplace else. This is our corner. You do n't fucking own it! NAZEER Yes I do. My family owns it. It's ours. You do n't belong here. BUFF No, you do n't belong here. We were here before you. TIM Why do n't you go back to where you came from? SOOZE Hey, Tim. TIM No, see, sweetheart, you do n't want to stand up for parasite'cause I can fuckin' smell him from here. You know what? Tow words, man : roll on. NAZEER Yeah, yeah, yeah, yeah, what are you, huh? You fucking drunk bum. Yeah, you good - for - nothing. You just, uh, hang around. On my property. TIME The Hare Krishna's calling me a drunk. Hey, listen, pal, you want us to go? NAZEER Yeah, please, go. Come on. TIM Make a move. Greasecake. Towel - head. SOOZE Hey, Tim, you know what? You win. TIM Fucking drunk, huh? SOOZE You have the largest penis. Can we go please? JEFF Do n't let'em fight. BUFF The dude wants it. SOOZE This is ridiculous! JEFF Tim! PAKEESA, Nazeer's wife comes out of the store brandishing a gun. NAZEER Pakeesa? It's okay. Come on. It's okay. Come on, they're just joking around. BUFF Yeah, we're just screwing around. Like Mohammed said. Ca n't take a joke, man? Hey, I hope you got a permit for that, mama! SOOZE We're sorry, okay? We're gon na go. The group begins to walk away. TIM Hey, your gon na regret this. SOOZE Come on, Jeff. BUFF Fuck her! Come on, let's go. SOOZE -LRB- from across the parking lot. -RRB- Jeff! Let's go! Jeff is looking at Nazeer. JEFF Hey, I'm sorry about that. It was just a misunderstanding. He was upset about something and he took it out on you and I'm sorry. ` Bye. Jeff walks away quickly to catch up with the group.",
"EXT. SIDE OF ROAD - NIGHT The group is walking down the street. Sooze and Bee - Bee are in front, a few feet away is Tim who walks by himself, and holding up the rear are Jeff and Buff. JEFF No, I seriously doubt that Pony's gon na be in a limo. BUFF That's the rock star thing. JEFF No, no. BUFF Oh, I'll bet you he has a babe with him right out of a triple - x video. Oh, oh, Pony, come on, give it to me! Stud! Oh! JEFF Buff, Buff, Buff, Buff, Buff. BUFF Sorry. JEFF Jesus Christ. BUFF You wan na bet he's with a girl? JEFF No, he's not with a girl. BUFF Oh, right. Oh, oh my God! Pony, it's so huge! JEFF You know what? He probably gets bored with all that shit. BUFF Oh, yeah, yeah. Wait, um, how do you figure that? JEFF I'd get bored. BUFF I would n't. If I were in his shoes, every morning I'd get up singing, man. Do my work - out, take a shower, followed by a hearty breakfast, steak and eggs, washed down with a pot of hot coffee, six pack of Coors Lite. Then I'd order my bodyguard to go find my babe, who would appear decked out in her all - black leather Victoria Secret custom - made bodysuit. So I'd, like, have to chew off all her clothes until she was completely nude. Except she'd have these amazing dragon tattoos all over her body and pierced nipples with little gold peace signs hanging from'em. And then she'd take out this half - ounce of blow, we'd snap out a few mondo lines, vaporize a few million brain cells, screw for about an hour, then spend the rest of the morning trashed watching Gilligan. JEFF That sounds so great, man. Yes. Yes. Hey, what would you do in the afternoon? BUFF Same, more of the same. Yep, just keep doing the same thing all the time, around and around the clock. With an occasional burger or slice of thrown in for our vitamins and energy. Then, instead of watching Gilligan, we'd watch Captain Kirk. JEFF That sounds so depressing. BUFF Oh, come on, man. Tell me you would n't love it! JEFF No, I'm not saying that I would n't love it. BUFF Ah! JEFF I'm saying no, I'm saying after a while it'd wear thin. BUFF Yeah, a long while. A long, long while. JEFF Watch out for that tree. Buff misses the tree. BUFF A long, long, long, long, while. JEFF Okay, okay. BUFF A long, long, long. JEFF Okay. Up ahead the group is taking two different paths. Sooze and Bee - Bee are headed towards a burger joint, while Tim is headed the opposite way towards the liquor store. BUFF Hey, Tim! Hold up. Buff takes off after Tim.",
"INT. BURGER JOINT - BOOTH - NIGHT Jeff, Sooze, and Bee - Bee are all sitting at a booth with plates of food in front of them. They are in mid - conversation when we join them. SOOZE It was a racial incident. JEFF It was just something that got out of hand. Did anyone get hurt? SOOZE It got that close. JEFF Okay, but nothing happened. Believe me, if I thought something really bad was going to happen, I would've done something. SOOZE Oh, yeah? JEFF Yeah. SOOZE Okay, what would you have done. JEFF I would've stopped it. SOOZE How? JEFF I do n't know. I would've done something. This is kind of hypothetical, is n't it? This place is so stupid. I ca n't believe we're sitting here in this mosh - pit of consumerism. With all these people eating their chunks of dead flesh. SOOZE Jeff. Jeff. JEFF like fucking robots. Look at those kids there. SOOZE Jeff. You know, I was talking to Mister Brooks yesterday. He has this friend in New York who wants to sublet his apartment for six - fifty a month. I could swing that. Six - fifty. JEFF Sooze. Bee - Bee walks away from the conversation, getting her own booth. SOOZE What? JEFF Did it ever occur to you that I might have some feelings about you moving to New York? SOOZE What feelings? JEFF Us. SOOZE Of course. JEFF And? SOOZE Come with me. JEFF No, no, see, that's not what I'm saying. I could go to New York if I wanted to, but what's the point? So I can learn how to order a cappuccino? So I can get mugged by some crackhead? So I can see, see homeless people up close and personal? SOOZE So what do you wan na do? JEFF Nothing. SOOZE No one does nothing, Jeff. JEFF Okay, well, then, I'm gon na break new ground. SOOZE New ground? JEFF Mm - hm. SOOZE Taking one community college course on the history of Nicaragua, while barely holding a job packing boxes? JEFF Okay, look. My job is not who I am. I do n't need that. Why? What's your goal? Status? Money? Getting your picture on the cover of some glossy magazine? SOOZE My goal is to make art. JEFF So, what, why ca n't you do that here? What's wrong with here? Why is somewhere else better? SOOZE Why should I stay here, Jeff? So we can sit on the corner and watch the lights change, while you bitch about Burnfield? JEFF Mm - mm. SOOZE So I can spend the rest of my life guessing what it would be like to be a real artist? JEFF No, no. SOOZE So you and I can fuck while your parents are out having dinner at the Sizzler? What are we doing, Jeff? You and me? JEFF I do n't know.",
"INT. TOP WINE & LIQUOR - NIGHT Buff and Tim are buying alcohol. SCUFF Hey, great game Friday. Kicked Holbrook's ass, huh? TIM Missed it. Can I get a fifth of Old Crow? SCUFF Just one? TIM Yeah. BUFF Hey. SCUFF You seen the new guy we got? Beavers? The guy can pass. Hey, I've been meaning to ask you. Do you remember that game against North Reading? When you passed to Pierce and he dropped the ball? What do you think happened? Do you think, like, he was n't there or were you short? TIM I do n't, I do n't remember. What do I owe you? SCUFF Uh, eleven twenty - five. BUFF Hey! Yeah! SINGER `` In my head I'm tall My arms are big''",
"EXT. STRIP MALL - PARKING LOT - DAY Bee - Bee is sitting on the side of the wall listening to the radio. BUFF Hey! BEE-BEE Hey. Do you have a cigarette? BUFF No I quit. BEE-BEE Hey, you said you did a video? BUFF Yup. BEE-BEE What's it about? BUFF It's really not about anything. BEE-BEE Oh. Well, what's it on? BUFF A cloud. BEE-BEE A cloud? BUFF Yeah. There was this cloud and I video taped it. BEE-BEE Oh. BUFF I was doing schrooms and I saw this cloud. It looks excellent on tape. The video is like my head and, and everything, you know, is, like, is like in there that I see. You know? Plus, I'm gon na come down here one night and walk around inside the Circle A with the camera and tape shit. BEE-BEE Oh, that's so amazing. I wish I could see it. BUFF You can see it. Whenever you want. Do n't you, um, work at a hospital or something? BEE-BEE Yeah, I'm a nurse's aide at Mercy. BUFF Your a nurse? BEE-BEE No, I, you know, I help'em out. I empty bedpans and bring'em lunch. That kind of thing. BUFF Any gunshot victims? BEE-BEE Oh, some of'em. But it's mostly just strokes and shit. I mean, most of'em just sleep all the time and get kind of yellow. Usually they die id they're, you know, really yellow. BUFF Sounds like a bummer. BEE-BEE Oh, no, it's not. I mean, they're not all totally in a coma. I mean, they know when I'm helping them. BUFF Mm. Hey, what are you doing now? BEE-BEE Right now? BUFF Yeah. BEE-BEE I do n't know. Waiting, I guess. You know? BUFF Do you wan na go to the van? BEE-BEE Now? BUFF Yeah, we could hang out and smoke a dube, you know? BEE-BEE I do n't smoke dubes and I do n't really hang out. But I'll go back. Okay. BUFF Okay, whatever you want.",
"EXT. CIRCLE A - PARKING LOT - NIGHT Jeff is standing on the side of the building alone. He sticks his head out to see of anyone else is around and is spotted by Nazeer. He quickly ducks back around the corner, laughing. JEFF Shit. A long, black, stretched, limo pulls up. Pony gets out. JEFF Hey, Pony. PONY Hey, man. Jeff. How're you doin? JEFF Good, man. PONY Wow, man. The corner. I mean, nothing's changed. JEFF Well, shit, man, you've only been gone for a year, man, Is that your limo? PONY Yeah, yeah. Yeah, the record company, they make me use it, you know. I mean, it's dumb, I know, it's just. JEFF No, it's not. PONY Hey, the driver knows Billy Idol. Wow, huh? JEFF Yeah, hey I saw your album at Musicland up at the mall. PONY Oh yeah, yeah, we're starting to get good placement and shit like that, you know. JEFF Yeah. PONY We sold, uh, over ninety thousand units and uh. and Danny says that we're gon na get a gold record. Yeah. JEFF Wow. A gold record, man, that's great. So you're, you're like living the wild life now, huh? PONY Nah, nah, nah, nah. JEFF Aw, come on. Rock star. Fame. Fortune. Sex. PONY Yeah, shit. Naw, man, you know. It's hard work, you know? JEFF Yeah. PONY The road's hell, you know? I mean airport, hotel, show. And airport, hotel, show. Airport, hotel, show. I mean, fuck, man, you know? You still living at your mom's? JEFF Yeah, I crash there. PONY Yeah, good. ERICA, Pony's P.A. person steps out of the limo talking on a cellular phone. JEFF Yeah, most nights I'm just sleeping on the couch. ERICA -LRB- into phone. -RRB- Yeah, that sounds cool. Great. She hangs up the phone. ERICA -LRB- to Pony. -RRB- He says we got to be at the radio station at seven a.m. Can you handle that? PONY Oh, sure. ERICA Great. -LRB- to Jeff. -RRB- Hi. I'm Erica. PONY Oh, Erica, this is my friend Jeff. ERICA Hi, Jeff. Nice to meet you. PONY Jeff, Erica. God, it's so amazing to be back home. ERICA Oh, wow. PONY I mean, we've been playing big places everywhere, but when we did that sound check at The Orpheum, it suddenly hit me. I'm playing The Orpheum, you know? I mean, the last time I played here was, uh, the prom. JEFF The prom. That's funny. PONY Hey, I though you guys were coming to the show, man? JEFF Oh, uh, yeah, we were, but, uh, Sooze, screwed up the tickets. PONY Oh, man, we were pretty on tonight. ERICA Oh, you were excellent tonight, Pony. PONY We were? ERICA Oh, yeah, it was a great show. -LRB- to Jeff. -RRB- You guys missed it. JEFF Sorry. PONY So how's college? JEFF I dropped out. I mean, uh, you know, this semester I'm taking a, a class, you know, three nights a week. But I'm just try - trying to think and work on stuff., you know? I've been doing some writing, though. Short pieces, you know. ERICA I love writing. A - Anne Rice? I love Anne Rice. PONY Short pieces, huh? You should try to write songs. JEFF You know, I've thought about that, actually. PONY No, man, I mean it. You're a good writer. I remember those things you'd write during honors English. Funny shit. ERICA Mm. PONY He wrote this thing about his dick once and he read it in front of the whole class. ERICA I'd love to read that. PONY Funny shit, man. JEFF So you think I should? PONY What? JEFF Write.'Cause I, I have written some things. PONY Like songs? JEFF Yeah, they could be songs. PONY Yeah. You should show'em to me. JEFF Really? PONY Yeah, really. JEFF Now? PONY Yeah. A red Jeep Cherokee pulls into the parking lot. Sooze jumps out from behind the wheel and begins to run towards Jeff and Pony. JEFF Great. PONY Yeah, maybe later. -LRB- to Sooze. -RRB- Hey! Hey! SOOZE Pony, oh my god! PONY Hey! SOOZE You showed up. Oh, my god! Holy shit! Look at this car, man! PONY Oh, it's stupid, is n't it. SOOZE Is that your driver? PONY It's stupid. SOOZE No, no, it is n't. It's cool. PONY Look at you! SOOZE Oh! PONY Wow. Hey, you look good. Like you, you know, head's in a good place, you know? You, are still doing your painting? SOOZE Sometimes, yeah. You know, I started to do performances. PONY Oh, yeah? SOOZE So? What's L.A. like? PONY It's pretty exciting. SOOZE Yeah? PONY Yeah. SOOZE Like? PONY Oh, uh. uh, the other night our manager Danny took us to this restaurant and there was Sandra Bernhard. SOOZE No, she was just sitting there?! PONY Oh, yeah, just sitting there eatin' a salad, you know. That kind of thing happens all the time in L.A. It's, you know. I met Johnny Depp. SOOZE You did? I love him. Yeah, you know, I'm thinking of moving to New York. PONY New York, huh? SOOZE Yeah. To go to school and, you know, paint, performances, paint. PONY You have to go. You always did such, uh, you know, great work. I still have some of those drawings that you'd do in study hall. SOOZE You do not! PONY I do. Jeff, do n't you think Sooze should go to New York and, uh, you know. JEFF Yeah, uh, that would depend, but yeah. She should. SOOZE Mm. Buff and Bee - Bee walk up, after they're excursion to the van. BUFF Hey, yes! Hey, Pony, man! Great concert tonight! PONY Oh, you were there? BUFF No, but I heard it was great. PONY Oh, thanks. Thanks. SOOZE Hey, Pony, this is my friend Bee - Bee. PONY Hey. BEE-BEE Hi. PONY How're you doing? Nice to meet you. BUFF So tell us, man. Party time, trashin' hotel rooms, babes around the clock? PONY Naw, naw, we do n't have time for all that. BUFF Oh, So what about her? ERICA Hi. PONY Oh, uh, Erica? Erica is the publicist for the band. ERICA Hi, I'm Erica. SOOZE Hey, I'm Sooze. BUFF Yeah, right, publicist. ERICA Nice to meet you Sooze. -LRB- to Bee - Bee. -RRB- Hi, I'm Erica. PONY Yeah, she, uh, works for the record company and takes care of interviews and, you know, shit like that, Uh, we were actually just doin' an interview and Erica said she's like to see Burnfield, so. JEFF So, do you guys want to do something, go someplace or something like that? BUFF So, we're all old friends of Pony's. We go way back to our childhood. ERICA Yeah, he's told me. Burnfield. We all hear about Burnfield. BUFF Mm. You know, does he tell you about how, uh, Jeff, Pony, started the band? ERICA Oh, you were in the band? BUFF Yeah. JEFF Well, I helped start it, but, you know, uh. PONY Well, not exactly. JEFF For a while. PONY Well, I mean, we jammed a couple of times. You know, I mean, you play harmonica, but that was before we were really a band, you know, before Danny signed us. ERICA Right. JEFF Yeah, well, I, I came by more than a couple times. Tim walks over to the group. TIM So you came by to see how the other half lives, huh? Well, here we are, What do you think? Pretty fucking pathetic huh? Kind of like one of those documentaries on educational TV? ERICA It's nice here. It's different. TIM Yeah, totally. -LRB- to Pony. -RRB- So, uh, what do they interview you about? PONY Well, uh, there's this benefit for Rwanda we're gon na do. And, uh, you know, my songs, uh, where I get the ideas for them, uh, you know, stuff like that. TIM Where do you get your ideas? SOOZE Leave him alone, Tim. TIM Uh, excuse me, I'd like to know where he gets his ideas. SOOZE Tim's jealous, you know? He wants to have ideas too. TIM Yeah. Yeah, I'm jealous of MTV faggots who are named after animals. SOOZE Jeff! BUFF Your his publicist? ERICA Sure I am. It's fun. BUFF Mm. And your like, what else? Bee - Bee watches Buff flirt with Erica. He face grows a long scorn. ERICA What do you mean? His girlfriend? BUFF Well, that's one way of putting it. ERICA Am I fucking him? BUFF Shit. ERICA Pony, what would you say our relationship is? PONY Um, mother - daughter. ERICA Pony and I are friends. BUFF So, then, you're, like, available? ERICA In what way? BUFF Mm, in a horizontal and wet way! Buff shakes a can of beer at crotch level, sending foam and beer spray everywhere. SOOZE Ew! Oh, Buff! Relax! TIM Why do n't you fucking relax? He's having verbal intercourse, Sooze. ERICA Oh, god! SOOZE No, he's not. He's objectifying her and he's entertaining us at her expense. ERICA Oh, it's okay. What's your name? BUFF Buff. ERICA Buff is funny. God. TIM Buff is funny, okay? She likes Buff, so why do n't you whip shut the feminist hole. SOOZE Hey, why do n't you swallow your cock and choke on it? Oh, I forgot, it's not big enough. JEFF So, um, Pony, where are you staying? Are you staying at your mother's house? PONY No, no, they, uh, you know, that can be kind of a hassle, so, uh, you know, I just stay at the Four Seasons. It's easier. TIM Yeah, yeah, I stay at the Four Seas, it's ease. JEFF Wow, that must be pretty nice there. PONY Yeah. Yeah. Yeah, yeah, it's, you know, it's a bed and hot water. ERICA It does look good. SOOZE Yeah, so what do you guys do next? I mean, what's your band do now? PONY Oh, uh, we're gon na go in the studio and we're, we're doin' a new album. SOOZE Yeah? PONY Yeah, and I was thinking, Sooze, you could do the cover. SOOZE You do not want me to do your cover. PONY I do n't want you to do the cover, I, I need you to do the cover. SOOZE You're not serious. PONY I'm always serious. SOOZE Oh they'd never let me do what I want. PONY I get final approval. It's in my contract. SOOZE Would I get paid? PONY Yeah, we'd have to fly you out for meetings, you know. SOOZE Yeah? PONY Yeah. SOOZE Oh, God, that would be something I really want to do.",
"INT. TOP WINE & LIQUOR - NIGHT Tim is back again, to buy more alcohol. TIM Hey, can you cash this? Tim hands Scuff a treasury bill. SCUFF Yeah. Yeah. How's the air force, Tim? TIM It's not the air force anymore, Scuff SCUFF So where are you? TIM I'm here.",
"EXT. CIRCLE A - PARKING LOT -NIGHT The group is still hanging out at the Circle A. PONY Okay, now, you guys all take care, okay? Oh, man, I feel so good. I feel good'cause I'm hanging out with you guys, man. You know? I mean, I forgot what it was like to just hang out. SOOZE Yeah. PONY And you know why it's so good? See, because, see, you guys are real. No, man, I mean it. You guys have a sense of humor. You live your lives, you know. It's simple, you know. The guys on the road, I mean, the band, all they talk about is scoring chicks. and Danny, all Danny talks about is money. BUFF Yeah, we're all above that. PONY See, I wrote something about all this. Uh, it, it's a song about. BUFF Well, play it, man. SOOZE Yeah, come on, play it. PONY Oh, no, man. I ca n't. BUFF Yeah. SOOZE Come on. BUFF Play it! Come on! PONY No, no, no, no, no, it's new. BUFF Please. PONY I just started it. Buff walks over to the limo and picks up Pony's guitar and harmonica from off the trunk of the car. BUFF I do n't care. I'm gon na drop it. I'm gon na drop it. I'm. PONY Do n't drop the guitar, man. Buff pretends to almost drop the guitar. BUFF Whoa! PONY No, no, whoa! Pony grabs the guitar away from Buff and begins to put it on. Everyone gathers around Pony, except Jeff. BUFF Yes! Free concert! ERICA Alright, Pony! PONY Alright, alright already. SOOZE Alright! BUFF Yes! Hey, unplugged Pony! Pony begins to play and sing. PONY -LRB- singing. -RRB- `` Drove down the highway there was a big jam The family had died There inside their minivan There was a backup It went on for miles But as bad as it was It was gone after a while''. -LRB- to group. -RRB- Chorus here. -LRB- singing again. -RRB- `` You may think there's nothing to it and the truth is hard to see To be an invisible man is a remarkable thing to be thing to be thing to be'' SOOZE That was so great! ERICA It's coming along. PONY Thank you. BUFF Hey, I'm glad you put truth in your song, man. That's important. PONY Hey, thanks, man. JEFF So who are you? PONY What do you mean? JEFF Well, if we're, like, the man invisible, what are you? PONY I do n't know. Uh, I'm an artist, I guess. You know, there's life and then there's the people watching the life, commenting on it. JEFF Yeah, well, that's what I do too. PONY What? JEFF Comment, say things, think. Whatever. Why are you so special? PONY Well, I, I did n't say I was special, but it's one thing, you know, and it's another thing to actually communicate it to people. You know what I mean? If a tree falls in a forest and no one hears it, does that make a sound? JEFF Of course it does. SOOZE You know, that is my worst fear. Making a sound and no one hears it. PONY Mine too. JEFF W - wait a minute, wait a minute. PONY You know what I'm saying? SOOZE Sure. You make art and you want people to see it. BUFF Wait, what happened to the tree? JEFF Yeah, but that does n't mean that your tree is not artistic if no one cuts it down. SOOZE Jeff likes to argue for the sake of arguing. JEFF No, I do n't. SOOZE Yes, you do. JEFF No, I do n't. SOOZE You do. JEFF No, I do n't. Tim walks up to the group from behind Erica. He stops and talks to her. TIM Hi. ERICA Hi. TIM So you, like, come from a town like this or? ERICA No, not really. I come from an `` area''. Bel Air. TIM You rich? ERICA No, not really. Middle - class. TIM Oh, me too. Middle - class. ERICA Maybe upper - middle - class. Pony is singing another song. Buff, Bee - Bee, and Sooze are all sitting on the asphalt in front of Pony, wide eyes. Tim is talking to Erica on the car and Jeff is pacing back and forth. PONY `` See what's around you listen to their lies'' TIM So, like, your dad's a big deal, right? ERICA Thinks he is. Well, he is. TIM He is? ERICA Yes. TIM He is. ERICA He is. TIM And you love him a lot. He bought you a BMW for your birthday, but you finally had to move out and get your own place. I mean, I know, it's time to leave the nest. Parents hate your smoking. You did n't tell them about the abortion. All your friends got boob jobs, you got the tattoo instead. Subscribe to Vaniety Fair. Tim feels Erica's arms. TIM -LRB- CONT'D. -RRB- Ooh, wow, nice. Personal trainer? Very nice. PONY `` I sound like an idiot watching the parade I know there's no tomorrow only the charade I am dead Deep inside my head All the lies There's no then Only now I will love show me how'' Bee - Bee stands up and walks away. Jeff watches her leave and begins to pace faster. PONY -LRB- CONT'D. -RRB- `` I buried my hand in a fire I have n't slept for a week I cut my feet on the glass Never finding what I seek I need salvation I need'' Suddenly Jeff stops pacing and jumps up screaming. JEFF FUCK! Pony, if we wanted to hear you sing, we would've gone to your concert! SOOZE Jeff! JEFF So you sold ninety thousand units. So what? Does that mean you're a genius? You're a great artist? You're higher up the ladder? You got an extra gold star on your fuckin' forehead? TIM Wow, you're cute when you're angry. JEFF Why do n't you write a song about Sandra Berhard's salad, asshole? SOOZE Jesus, Jeff. PONY Hey, man, uh, look, if you do n't like my stuff, uh, I wo n't sing it, okay? I'm sorry, you know? JEFF No, that's not what I'm saying. I'm saying I do n't need a limousine to know who I am, alright? TIM Right on. You know what? He does n't need the limo, man. JEFF I mean, you know, at least I admit that I do n't know. I know that things are fucked up beyond belief and I know that I have nothing original to say about any of it, alright? I do n't have an answer. I do n't have a fucking message. TIM Okay, great. Well, now he's crying. Are you guys happy? JEFF Oh, shut up, Tim. This is n't funny, man. SOOZE -LRB- sighs. -RRB- I'm sorry. I'm sorry. PONY No, no, no, no, no. Uh, hey, man. You know I'm really sorry if I, if I said something wrong. I, I. JEFF No, man. Hey. No, you know what? Hey, it's you, man. It's, you know what, you know what it is? It's this tarpit of stupidity that we're all stuck in. It's this cell. It's this void, you know. PONY Oh, no, man, look. Look, you know, it's me, okay? I come out here and I'm, so used to everyone, you know, kissing my ass and I think I'm a fucking star, man, and I'm really sorry if I'm full of attitude. I, I really. JEFF No, you know what? It's not you, man. It's not anybody. It's me. Whoo! Hey. PONY Look, man, it. Shit. Why do n't we get something to eat? I mean food? ERICA We'd have to hurry. SOOZE China Gate's open till midnight. PONY George can drive us. There's plenty of room in the car. Jeff? JEFF No. You know what? You guys go ahead and bring back something here. Yeah. PONY Why do n't you come with us, man? I mean, I want to hear about those songs you've been working on. You too, Buff. BUFF Limo ride! Buff runs and jumps into the limo. PONY Tim? TIM Uh, I did n't write any songs. You guys go ahead. I got ta stay here and guard the parking lot. Sooze walks over to Jeff. SOOZE Come on. JEFF No. No, no, no. SOOZE Come on. I'm not gon na go if you do n't come. JEFF No, I just do n't feel like it. That's all. SOOZE Why do n't you just try? Please. For me. Come on. Buff sticks his upper body out of the limo's sunroof. BUFF Hey, come on, man! Limo! SOOZE Hey, wait, where's Bee - Bee? Bee - Bee! Bee - Bee, where'd you go? Did you guys see where she went? PONY Erica, you coming? ERICA Mm - mm. BUFF Are you sure? Okay. The limo pulls out of the parking lot and onto the road. Erica walks over to Tim, who is lying on the hood of a car. ERICA You got everything right but the car. My dad did n't get me a BMW. TIM What'd he get you? ERICA A Porsche. TIM Mm. ERICA Yeah. So, what about you? TIM What about me? I do n't have a car. ERICA You just seem to know all these things about me and I do n't know anything about you, you know. What kind of music do you like? TIM Military marching bands. ERICA You think I'm rich and you hate me. TIM Now, how the hell would you know what I think? Hm? You do n't know me. ERICA I'd like to. TIM Oh, yeah? ERICA Mm - mm.",
"INT. BEE-BEE'S HOUSE -NIGHT Bee - Bee slowly creeps up the stairs and into the bathroom, the entire house is dark. She opens the medicine cabinet and pockets a bottle of sedatives.",
"EXT. CIRCLE A - PARKING LOT -NIGHT Erica and Tim are still talking. TIM You know, it was the biggest mistake of my life. ERICA Really? TIM Well, I mean, you have to understand I was just this dopey kid mopping floors and kissing officer ass. I mean, well, I enlisted right out of high school. So I just wanted something different in my life. ERICA Mm. TIM `` It's not a job, it's an adventure.'' Right? I hated it. I had to get out. So I was working in the kitchen, chopping lettuce, you know, real heroic stuff, and I, uh, I had this big fucking knife and I chopped off the tip of my little finger and three days later I was a free man. ERICA You cut off your little finger? TIM Well, they, uh they were nice enough to sew it back on. ERICA Let's see. Tim shows her his scar. Erica gently rubs her fingers over it. TIM Honorable discharge. Disabled while serving. I get a check every month.",
"INT. CHINA GATE RESTAURANT - LOBBY -NIGHT The group is standing in the lobby, no one is around. It appears as if their closed. BUFF -LRB- yells. -RRB- Um, four for smoking, please. The RESTAURANT HOSTESS walks up to them, she is Chinese. RESTAURANT HOSTESS Closed, closed. BUFF -LRB- mocking her. -RRB- Oh, man, no closed, we just got here! SOOZE No. RESTAURANT HOSTESS Midnight closed. SOOZE Oh, come on! We're hungry. Please? Buff decides to take control and walks over to the hostess. BUFF Yo, do you know who this guy is right here? That's Pony Moynihan from MTV. Yeah look at his limo out there. RESTAURANT HOSTESS TV? BUFF TV. MTV, what your going to turn him away? PONY -LRB- to Buff. -RRB- Come on, man. Sh, sh, sh. BUFF No man. -LRB- to hostess. -RRB- He's probably the most famous guy that'd ever come in this place. You're lucky he's here. RESTAURANT HOSTESS Take - out only. Wait, I get picture. PONY Yeah, yeah, yeah. BUFF Thanks. See man? PONY You know? I remember coming here with my parents. SOOZE Really? BUFF You know, I should, um, make a video of this place. You know, bring the camera in. PONY You make videos? BUFF Oh, yeah, all the time. That's what I do now. PONY You know what would be cool is, like, to do a music video, you know? But, like, you know, have it set in here. You know, like, like, like, with her and shit. You know, like, you know, like, `` Closed, closed, closed, closed, closed, closed.'' BUFF `` Closed, closed, closed.'' But with your music. PONY You could do it. BUFF I could. PONY Yeah! BUFF Yeah. PONY I mean, do you have something I could show my manager? I mean, do you have a reel? BUFF Yes! PONY Yeah! BUFF A reel?",
"EXT. CIRCLE A - PARKING LOT - NIGHT Tim and Erica are still chatting away in the parking lot. ERICA I mean, what is there to be happy about really? I mean, going to the gym, climbing the StairMaster, eating the yogurt, checking the voice mail. Smoking the low - tar cigarettes, shaving the bikini line. Sometimes I just want something different, you know? TIM What was your name again? ERICA Erica. TIM Erica. So do you think you and I are alike, Erica? ERICA Deep down. Way down. TIM It's a mistake to think that. ERICA We could still talk, you know? It's nice to talk. TIM It's nice to do a lot of things. ERICA That's what I mean. TIM I'm not a nice guy. ERICA I know. It's okay. TIM Yeah? ERICA Mm - hm. I'm a big girl. I can take care of myself. If I did n't want to be here, I'd be in a limo right now with a bunch of kids looking for Chinese food. TIM No, no, see, you, you do n't understand. ERICA Hay? Yeah? So teach me a lesson. They kiss.",
"INT. PONY'S LIMOUSINE - NIGHT Buff, Sooze, Jeff, and Pony are all in the back of the limo coming back from China Gate. Pony's demo tape is playing in the background as Buff stuffs his face with noodles. BUFF Mm - mm. Hey, when I get shitfaced I can get this huge appetite. God. I do n't know why. Most people do n't, but I do. Whoo! Suddenly Buff stops eating, his face drawing a blank. He starts to look sick. PONY You okay, man? You okay? BUFF I did n't want to eat this much, man. PONY Wait, I'll get you some air. Pony starts to open the sunroof when Buff jumps up and starts heading towards the window. BUFF Wait, do the windows, okay? Just do'em. Pony opens the window and Buff sticks his head out, throwing up alcohol and Chinese noodles all over the side of the limo. SOOZE Oh, yuck! Oh, gross! PONY You done? BUFF Yeah. Buff sticks his head back out of the limo and throws up again before finally settling back inside the limo. LIMO DRIVER Oh, crap! The limo pulls over. The driver gets out and begins to wipe the throw up off of the side of the limo. Buff is wandering around, Jeff is sitting on the curb looking irritated, Pony and Sooze are still inside the limo. Sooze is on the car phone. SOOZE -LRB- into telephone. -RRB- Oh, oh, hi. Oh, Missus Douglas, I hope I'm not calling too late. No, have you seen Bee - Bee? Well, no, yeah, she was, I was just wondering if you'd seen her. She did? Okay. Yeah. No, I'm sorry to bother you, Missus Douglas. Okay, ` bye. -LRB- to Jeff. -RRB- Shit. She always answers. Buff is up in someone's front lawn. BUFF Hey! Hey, you guys! Buff comes running from the front yard, holding in both his hands a lawn leprechaun. LIMO DRIVER No. No. Put back the leprechaun. JEFF Yeah, put it back. Oh, fuck. What are you doing, you. Lights come on inside the house. BUFF Go! JEFF idiot! Open the damn door! Go, go, go, come on!",
"EXT. CIRCLE A - VAN - NIGHT Tim and Erica are on the side of the van, making out. ERICA Oh, man, do n't be gettin' soft on me. I mean, sorry, it's okay. It's okay, just do n't think, okay? Just do n't think.",
"INT. PONY'S LIMOUSINE - NIGHT Sooze, Buff and Pony are singing an old high school cheer while Jeff looks very un - amused. SOOZE, BUFF, & PONY `` Black and orange Black and orange Hear that hearty yell Rah rah rah'' SOOZE `` G, O, F, O, R, I, T. Go for it!'' BUFF Hey, play that demo again, man. Alright. PONY Oh, man. Wow. I was never into football, you know? JEFF I got ta take a piss. Do you mind if we pull over really quickly? PONY Oh, yeah. JEFF I'm sorry. I, I got ta. PONY Oh, no, no. Uh, uh, George, pull over. George pulls the limo over to the side of the street. Jeff walks down a small ravine, looks back over his shoulder, keeps walking. JEFF Fuck'em. Fucking assholes. PONY Burnfield. No place like it. SOOZE Yeah. Burnfield, Pizza and Puke capital of the world. PONY I ca n't believe you're still here. SOOZE I'm moving. PONY If. SOOZE No, I'm going. PONY Mm - hm. Sooze and Pony pick at each other with their fingers, playfully flirting. SOOZE Soon. PONY Yep. SOOZE What's that supposed to mean? PONY I do n't know. I say what I mean. SOOZE Oh, yeah, you're just so smart. PONY That's because I am.",
"EXT. CIRCLE A - VAN - NIGHT Erica and Tim are still leaning up against the old van. ERICA It's okay. This kind of thing happens. It's just never happened to me. I'm sorry. It's true though. Mm. So, um, what's your TCB tattoo stand for? What's that about? TIM Taking care of business. ERICA I'm sorry.",
"EXT. PONY'S LIMO - ROOF - NIGHT Sooze and Pony are sitting on top of the limo looking out over Burnfield. SOOZE I hate it here. It's so ugly, it's like being dead. You got out of here, you know? I'm ready to go. PONY Yeah, but sometimes I try to figure out why I left in the first place, you know? I think about people and I wonder what they're doing. SOOZE Yeah. PONY I think about you. I mean, a lot. SOOZE Me? PONY Yeah, I have, I have, yeah. SOOZE Yeah, you know, when you called I thought, there's a name from the past. PONY Or the future, oh, no, no, I mean. I mean, we'll be working on that album cover, right? SOOZE Yeah, I know what you're saying. PONY You do? SOOZE Yeah. God, you showed up at such a weird time in my life.",
"EXT. CIRCLE A - PARKING LOT - NIGHT Jeff walks into the parking lot to find Bee - Bee sitting on the side of the building by herself, bottle by her side and listening to the radio. Jeff walks up to her. JEFF I just walked all the way from Westside to here. I have n't walked that far since junior high. I thought you did n't drink. BEE-BEE I do n't anymore. JEFF Can I have some? BEE-BEE Knock yourself out. Jeff takes a hard swing off the bottle. JEFF You know, one moment things are so fucked up than you look at it from a totally different angle and it makes sense. BEE-BEE Yeah. JEFF Did you ever hear that saying, `` This too shall pass''? BEE-BEE Sure, all the time, in Group. JEFF In Group? BEE-BEE Rehab. Outpatient. I have to go once a week. It's kind of like AA. JEFF Oh, yeah, you had to go to Highgate. That must've been intense. BEE-BEE Intense. JEFF How long were you in there? BEE-BEE Uh, ninety days. And now I just have to go once a week. See, I'm rehabilitated. JEFF Well, you should n't drink. Are you gon na drink? BEE-BEE No. Oh, maybe. Fuck. JEFF I mean, that would suck if you had to go back to rehab. BEE-BEE Yeah, it would suck big time. I'd kill myself first. JEFF It was pretty bad, huh? BEE-BEE It was like hell with windows. You know, there's shit on the walls. Kids my age sucking their thumbs. I mean, every day I would, I'd wake up in my cell and I'd think, my parents put me here. Why? Why? Because I stayed out all night one time. Uh, because I broke the VCR when I was drunk. Because I was out of control. I thought my parents loved me.",
"INT. PONY'S LIMO - NIGHT Buff is holding onto the lawn leprechaun as if it was his girlfriend. He comes in and out of sleep. BUFF Hey, do you got any water? And some B - One? Hey, where did everybody go? LIMO DRIVER Hey, hey. Okay? BUFF Sor - sorry, Bruce.",
"EXT. CIRCLE A - PARKING LOT - NIGHT JEFF We were all riding around and it suddenly hit me what we were doing. We were getting off on the fact that we're in a car teen feet longer than all the rest. And I got out and I just started walking. BEE-BEE Yeah. JEFF Well, what it was. I, I do n't want to admit it, but, you know, I was jealous of Pony. BEE-BEE Well, sure, he's rich and he's famous. He's got everything and you've got nothing. JEFF Yeah, but, when I was walking, I realized that he's stuck in that limo all the time. He's stuck with his interviews, he's stuck with his autograph, he has to do whatever his manager tells him to do, you know? He's not free. He's just part of the machine, and if you think about it, freedom's all that there really is. BEE-BEE Yeah, I guess. JEFF You know? And it used to scare me so much that I did n't know what was coming in my life. BEE-BEE Mm - hm. JEFF You know, like, like, I would always think, uh, you know, what if I make the wrong move? But maybe there is n't any right move. You know? I mean, look at us. You know, we all dress the same, we all talk the same, we all fuck the same, we all watch the same TV. Nobody's really different, even if they think they're different. `` Oh, boy, look at my tattoo, you know?'' And see, that's what makes me freak. Because I can do anything I want, as long as I do n't care about the result. Jeff begins to remove articles of his clothing. JEFF -LRB- CONT'D. -RRB- Anything is possible. It is night on planet earth and I'm alive. And someday I'll be dead. Someday I'll just be bones in a box, but right now, I', not. And anything is possible. And that's why I can go to New York with Sooze because each moment can just be what it is. There's no failure, there's no mistake. I just, I just go there and live there and what happens, happens. And so, right now I'm getting naked and I'm not afraid. You know? I do n't, I do n't need money, man. I do n't, I do n't even need, I do n't even need a future. I, I could knock out all of my teeth with a hammer. So what?! You know, I could poke my eyes out. I'd still be alive, you know? At least I'd know that I was doing something real for two or three seconds, you know? It's all about feat and I'm not afraid anymore, man. Fuck it! Fuck fear! Jeff is standing in the middle of the parking lot, completely nude. Tim appears from on top of the roof. TIM Bravo, you son - of - a - bitch!",
"INT. PONY'S LIMO - NIGHT The limo is pulling into the Circle A. Everyone is looking out the window at Jeff. PONY Is that Jeff? SOOZE Oh, my god!",
"EXT. CIRCLE A - PARKING LOT - NIGHT Jeff is putting his clothes back on. He sits down next to Bee - Bee and takes another swing off the bottle. BEE-BEE Jeff? Do you, do you ever wake up in the morning and think, `` Well, here's another day''? You know? It's just like the last one. I mean what difference does it make, you know.",
"EXT. CIRCLE A - PARKING LOT - LIMO - NIGHT Tim is on the roof of the Circle A watching Pony and Sooze get out of the Limo. They kiss. Tim keeps watching. SOOZE You know, my mom has this saying. PONY Yeah? SOOZE `` Do n't write any checks you ca n't cash.'' PONY Really? What else does your mother say? JEFF Oh, hi. I thought you guys got lost. SOOZE -LRB- to Bee - Bee. -RRB- Hey, where did you go? We were worried about you. BEE-BEE Uh, home, you know. SOOZE Yeah, I talked to your mom. I think I woke her up. I hope I did n't get you in trouble. BEE-BEE You did n't get me in trouble. PONY Hey, where's Erica? JEFF I do n't know. SOOZE Gee, Jeff, I thought you were gon na go take a piss, not join some alcoholic nudist colony. JEFF No, no. I just got sick and tired of listening to that demo tape over and over again, you know? I mean, I felt like a fucking groupie, you know. SOOZE Mm. I enjoyed the ride. Sorry you did n't. JEFF But wait! Sooze, I do n't wan na fight. I'm so sorry. SOOZE What? JEFF No, I mean it. No, look, when, when I got out of the car I walked all the way here. SOOZE Mm - hm. JEFF And I fig - and I figured something out. SOOZE Oh, yeah? JEFF I, yeah. SOOZE Mm. Buff comes running from around the corner holding the lawn leprechaun. Tim walks from around the corner and opens a box of the take out Chinese. BUFF Hey! On behalf of Burnfield, I present to you the keys to the city. TIM So, how was the ride, kids? BUFF Great. TIM Really? SOOZE It was the nicest thin I've done in a long time. TIM Oh that's nice for you. PONY Where's Erica? You seen her? TIM Erica? She said she was tired. She went back to the hotel. PONY Oh, How'd she get back? TIM I called Bucky's. I got her a cab. Is there any hot mustard? JEFF I do n't know. PONY I'm gon na go to the car for a ` sec. I'll be right back. Pony walks away, around the corner. BUFF They are old, we are young, they are fast, we are fun. TIM Buff, please, would you jus fuck off, okay? Fuck off! JEFF Wait, Sooze, I, I have to talk to you,'cause I, there's something I figured out. SOOZE God, you smell like whiskey. JEFF No, no, I have to talk to you. SOOZE Is that a threat? TIM I ate a dog when I was in Thailand. Tasted exactly like this sparerib. JEFF No, wait, no, I thought about New York. SOOZE Forget about New York, Jeff. I do n't want to talk about New York anymore. TIM There was this other place where they served live monkey brains. Sweat to God. You walk in, they bring the little monkey out, shave his head, crack it open, and you eat it's brains while it's still alive. I did n't go in, though,'cause I did n't have any money and my mom has a saying : `` Do n't write any checks you ca n't cash''. Sooze's face drops a little in surprise. JEFF Tim, what are you talking about? TIM Ask your girlfriend. Pony walks back to the group. PONY Well, I called Erica's beeper. There's just no answer. TIM What are you? Her pimp? She said she might go get a drink first. PONY Well, I mean, she always answers her beeper. TIM Pal, she's a big girl, you know? I'm sure she's alright. PONY Yeah? Well, what'd she say? TIM About what? PONY About where she went. I mean, what bar? TIM She did n't say. Maybe she's at the bar at the hotel. PONY The bar at the hotel? She told you that? What did she say exactly? TIM Well, Dad, she said she wanted to suck my cock. SOOZE Tim, why do n't you shut the fuck up? PONY I think I got ta go. JEFF See ya later. TIM What? Oh, come on. You're not gon na suck my cock? PONY Fuck you, man. I never did anything to you! Tim gets up gets into Pony's face. TIM Okay. You know what? Watch your fucking language, alright? Or I might have to. PONY Whatever. TIM Oh, come on, Pony. I'm just kidding. Wow, you rock stars are really sensitive, huh? You know, there's a life on the road? PONY Do n't do that, man, okay? SOOZE Could you give me a ride? TIM Oh yes! Yeah, man, give her the ride, the ol' Pony ride back to the hotel. SOOZE Tim, go throw up somewhere. PONY You know, man, it's none of your business what I do, okay? TIM It's none of my business? PONY Yeah. TIM Oh, okay, it's none of my business. Yeah, so, you - you're trying to fuck my best friend's girlfriend and it's none of my business?! SOOZE What the fuck are you talking about?! PONY Nobody's fucking anybody! TIM No, see, Neil, if you're fucking with one of my friends, then you're fucking with me. PONY Do n't do that. TIM What are you going to do? Hm? PONY If you hit me. TIM Yeah? PONY my manager will slap an assault charge on your ass faster than you can say AA, okay? TIM Your manager? PONY Yeah, man, my manager and my lawyer. TIM Well, just, you know, have'em call me. Y - you know where to find me, right? PONY Oh, yeah, drunk on the corner, man. Hey, why do n't you buy another beer. It's on me, okay? BUFF Thanks, man! PONY -LRB- to Sooze. -RRB- I'll be in the car, okay? JEFF Wait, wait, wait a minute, Sooze. What are you doing? SOOZE I'm leaving. Is that alright with you? Do I have your permission? Maybe you want to think about it. JEFF Where are you going? SOOZE For a ride. JEFF Wait, away? SOOZE Yes, Jeff, away. Away, away, away. JEFF To his hotel? SOOZE Shit, Jeff! BUFF You know what we should do? Go to the. JEFF So you can do an album cover? SOOZE I've run out of words. JEFF Wait. What, what are you saying? SOOZE I do n't know. And I do n't care that I do n't know. JEFF Well, what about us? SOOZE What about us? I'm moving away your staying here. JEFF No, maybe not though. That, that's what I'm trying to say. SOOZE Maybe not? You think that I'm with somebody else and now it's maybe not? JEFF Oh, no, no, no. SOOZE You're unbelievable. JEFF Wait, no, I. Look, Sooze, I figured something out. SOOZE You did, huh? Good for you. JEFF Oh, fuck it, man! BUFF Fuck it! JEFF You know what? Go with him. Just go with him. BUFF In the limo! Buff runs off to the limo. JEFF Do your covers and all that shit. SOOZE ` Bye, Jeff. JEFF Go. SOOZE What? JEFF Just go. Sooze walks up to him and gets in his face. SOOZE You really suck, you know that? JEFF Just go. Sooze walks away and into the limo. Tim walks over to Jeff. TIM To women. They're all whores. Let us not forget what Chenowsky said. `` The greatest men are the most alone.'' And without suffering, Jeffery, you will never gain wisdom. JEFF I'm not suffering, you know. I do n't give a shit. TIM Good. That's good. Tim and Jeff walk towards the front of the store. Jeff stops at the corner and looks at Bee - Bee for a long moment, then disappears behind the corner. Bee - Bee downs the entire bottle of whisky that was at her side.",
"EXT. CIRCLE A - PARKING LOT - NIGHT Jeff and Tim walk by the small glass window that Nazeer sits behind. Jeff raps it with his comb before walking up to catch up with Jeff. Nazeer picks up the phone. Jeff and Tim stop in the middle of the parking lot by the pumps. TIM Yeah. Yeah, no, you're right. It's no big deal, you know. Guy probably has his arm around her right now, holding her close, nudging her titty with his elbow, talking about the deep significance of his music, while she looks up at him with her big brown eyes. In a few minutes they'll be back at the Four Seasons. You ever, you ever stayed in one of those places? JEFF No. TIM Well, it ai n't no pup tent in the garage, you know what I mean? Fuck. So they'll talk and talk. They'll probably talk all night. And, oh, they'll decide that they're gon na spend the night together, right? But, you know, they're gon na keep their underwear on and they're not gon na do anything. By six a.m. he's parking the pink Cadillac. Fuck. There's really only one answer. JEFF What? TIM Anarchy, my friend. Fuck'em. You know what I mean? JEFF Yeah, fuck'em. TIM No, no, say it like this. Fuck'em! JEFF Fuck'em! Fuck'em all, man! Jeff throws his box of rice, hitting the big window on the Circle A food shop. TIM Yes! Your learning, kid. That's right! You're learning. Oh, it's the man. Chip and Gary pull into the Circle A with their cruiser. They get out and walk over to the boys. CHIP What's up guys? TIM Uh, you know, just admiring the scenery, you know? Nazeer comes running out of the store. NAZEER This one. -LRB- points at Tim. -RRB- He causes all the trouble. CHIP Been drinking again, Timmy - boy? TIM You were a shitty lineman and now your a shitty cop. Yeah, blow me, I'm drunk. CHIP Okay, come on. Time to slow down. TIM Who's going to slow me down? You, you fat pig. CHIP Alright, get in the car before I have to embarrass you in front of your friend. TIM Hey, Gary, how's the divorce comin'? GARY Asshole. Cuff him and stuff him. They start to put Tim in the car, he resists. CHIP Will you stand up for me? TIM Okay. CHIP Come on. Inside. TIM Okay. We'll go for a ride. They put Tim in the cruiser and walk over to question Nazeer. GARY Can you tell me what happened? NAZEER He's drunk. GARY Uh - huh. NAZEER He causes problems. He was here earlier. Tim screams to Jeff from inside the car. TIM Hey, Jeff! Jeff walks over the police cruiser and squats down next to the window. JEF Yeah. TIM You got ta help me out, man. I'm in trouble. JEFF Oh, no, no, no. This is no big deal, you know? I can come down and, and get you out. TIM No, no. I'm not, I'm not talking about this. I did a bad thing, Jeff. JEFF What? What'd you do? TIM That chick, Erica? JEFF Well, w - what happened? TIM Well, I, you know, I took her to the van, you know. It was goin' all hot and heavy and she started hanging on me, you know? And she started crying, `` Tim, Tim, what's the matter? I love you. Do n't go!'' And I was just looking at her stupid face and her stupid eyes, stupid mouth and I was filled with disgust, man. And I fuckin'. Oh, man, I really. JEFF What'd you do? TIM I hit her. JEFF You hit her? Oh, wait, wait a minute. Why'd you hit her? TIM Because I was fucked up, man. I just kept hittin' her till she did n't move anymore. JEFF Wait a minute, wait a minute. She's unconscious? TIM Go look, man. Go look. Go see for yourself, if you got the guts. JEFF Oh fuck. The cops get in the car and pull away. Nazeer walks over to Jeff. NAZEER You know, this, what you're doing with your life. JEFF I do n't know. NAZEER You know, it's not you. You know? You seem like a smart guy. JEFF Yeah, well, thank you for the advice, but you would n't understand what is going on with me. NAZEER Oh, it's very complicated, huh? JEFF That's right. NAZEER Complicated or not, life moves on. Hm? Jeff walks away from Nazeer.",
"EXT. CIRCLE A - VAN - NIGHT Jeff approaches the van, slowly, nervously. He spots something on the ground and picks it up. It's Erica's pager. SLOW FADE OUT",
"EXT. CIRCLE A - PARKING LOT - EARLY MORNING Jeff is sitting on the side of the Circle A by himself. He looks very confused. Buff comes walking across the parking lot looking clean and very awake. BUFF Hey! Whoa, you look like shit. You been home yet? JEFF No, no. BUFF Huh? No, alright. Well, you know what we need? A hot cop of coffee. Hand on. Ohh, hey, I was up all night too, man. A long, long, long night. Buff walks into the Circle A to get the coffee. Jeff makes his way over to the pay phone and dials a number. Nazeer, who is sweeping the parking lot stares at him. JEFF -LRB- into telephone. -RRB- Hi, uh, yeah, I'd, like to report a. What? No, yeah, no, I'd like to report a, report a crime. No, I ca n't hold, I do n't. alright. Buff walks up with the coffee. BUFF Hey. Hey. Are you trying to get a hold of Sooze? JEFF No. Buff walks out into the parking lot, next to Nazeer. BUFF It's gon na be a beautiful fucking day, man. Buff throws the wrapper of the donut stick he's eating on the ground. Nazeer stares at him. Quickly Buff picks up the wrapper and runs towards the dumpster. BUFF Oh, God! Ten, nine, eight, seven, six, five, four, three, two! Buff slams the wrapper into the dumpster. NAZEER Yeah. Yeah, it's okay for you. It's okay. Enjoy yourself. BUFF Are you talking to me? NAZEER It's okay. BUFF Glad it's okay. NAZEER I'll tell you what. When I get my engineering degree and I'm swimming in my swimming pool, it will be very fucking okay. BUFF Um, if you're talking to me, could you make some sense?'Cause I do n't speak Swahili. NAZEER In two more years I'll have an engineering degree. We'll sell the store, we'll move away from Burnfield and the store and you standing here. BUFF Good. See you later. NAZEER You're a drunk and an idiot. BUFF You're wife sucks my cock every night, swallows my cum and loves it. That's okay. NAZEER Yeah it's okay. You know, we have a saying back home : `` Either the salt is rotten or the meat.'' Nazeer starts to go back into the store. BUFF Yeah, well, uh, you're not so smart, chief,'cause I'm moving out to L.A. NAZEER Ah, that's nice. They have many convenience stores there for you to stand in front of. Nazeer walks back into the store. Buff goes back around to the side of the building where Jeff is sitting against the wall. BUFF Yeah. Get ahold of Sooze? JEFF No, no, I was n't trying. BUFF She was at the Four Seasons last night, man. But you should n't worry about that. JEFF No, I'm not, I'm not worried. I'm not worried. BUFF No. Life is too short. JEFF No, I'm not worried. BUFF Good. JEFF Uh, Buff, I'm, I'm, gon na tell you something and, uh, you got, you got, you got ta promise not to tell anyone, alright? BUFF Sure. JEFF No, I mean, no one. BUFF Hey, you know me. JEFF Buff, look at me for a second. No, this is serious. BUFF Yeah. JEFF Uh, last night. BUFF Yeah, I should've stuck up for you, man, I know. You're my friend, she's your old lady. JEFF No, no. BUFF I feel really bad about that, but I was busy, you know, I mean. JEFF No, look, this is not about Sooze, alright. Wait, wait, wait, wait. She stayed at the Four Seasons last night with Pony? BUFF Yeah, we all stayed at the Four Seasons, man. It was party time. Hey, I hung out with Danny, Pony's manager. Really nice guy. We talked about the video. They want a raw look. Something fresh. Danny said if I can capture the reality of Burnfield, it'd make a great tape. JEFF Okay, Buff, listen to me for a second alright? BUFF No, I know what you're going to say. I do n't know anything about making a video. But that's a plus. JEFF No. BUFF Because since I'm just starting out, I've got a fresh point of view, and that's good for, you know, marketing, demographics. JEFF Buff, listen to me. Could you just - BUFF But I'd, I'd do it for free. You know, just for my reel. JEFF Buff, can you listen to me for a second? BUFF Oh, and guess who showed up. JEFF No, shut up! Look, look, alright, Tim is in trouble. BUFF I know, man. JEFF You know? BUFF Yeah, that's what I'm trying to tell you. That chick Erica? JEFF What, they're looking for her? BUFF No man, she showed up last night at the hotel. We has a great time together. I stayed in her room last night, man. What can I say? JEFF Wait a minute, wait a minute. You saw Erica last night? BUFF Yeah, I saw all of Erica last night, man. JEFF Buff, you got to stop making shit up. It did n't happen. BUFF Y - s - sure it did. JEFF No. It did n't, Buff. BUFF Wait. Hey, man. JEFF Erica is in the van back there. BUFF What? JEFF Look. BUFF Hey, man. JEFF She's in the van. BUFF What she doin' in the van, man? JEFF Buff. BUFF What? JEFF She's dead. BUFF She's dead? JEFF Look, Tim confessed to me last night. BUFF Tim. JEFF Tim killed Erica. Tim's a murderer. BUFF Bullshit. JEFF No, no, no. BUFF That's bullshit. That's total utter bullshit. JEFF Oh, really? You wan na go look? BUFF Yeah, man. JEFF Let's go look, then. Let's go look, then! BUFF It's bullshit. Look! Look! Pony's limo pulls into the parking lot, and Erica pops out. ERICA Cock - a - doole - doo! Good morning! Erica throws herself on Buff. BUFF Hey! Hey. ERICA I'm so burnt - out. BUFF Oh, how did you get burnt - out? ERICA Playing with something really hot. Yeah. BUFF Yeah? Erica notices her pager in Jeff's hand. ERICA Oh, my God, you found it. Thank you so much. -LRB- to Buff. -RRB- Did you get your tape? BUFF Yup. Hey, um, so, um, listen, man, I got to go show the tape to Danny at the hotel, and if I get the gig, Erica is gon na teach me how to surf in L.A. ERICA Oh, I'll teach you how to surf even if you do n't get the gig. BUFF I can come visit? ERICA You better! Yes! BUFF I will. ERICA It was really nice meeting you, Jeff. If you're ever in L.A., you should come by the offices. I talked to Pony earlier. He said he had a really nice time and he's really looking forward to reading some of your songs. JEFF Yeah, tell Pony to go fuck himself. ERICA Okay, I'll do that. Okay, hurry up. Erica and Buff play fight. It look's like a mix between an old kung - fu movie and a cat fight. Erica gets back into the limo. BUFF Ow! Hey! Get the heck in there! -LRB- to Jeff. -RRB- Hey. Not dead! Definitely not dead! JEFF Guess not. BUFF See, I was n't making shit up, man. JEFF No. BUFF God, Tim lied to your ass, man. That guy's sad, man. Well, uh, I got ta go, but, uh, listen, if I do n't come back, I'll send a video of me surfing. Alright, man? Get some rest. Go with the flow. JEFF Alright. ` Bye, Buff. Buff jumps into the limo. BUFF Hey, George. The limo pulls off and it passes Tim who just entered the parking lot. BUFF -LRB- to Tim. -RRB- Hey, man. TIM Hey. Tim walks over to Jeff and cracks open a new beer. JEFF They let you out? TIM Yeah, of course they let me out. Chickenshits. I got ta pay some class C misdemeanor ticket. So did I call it or did I call it? She spent the night, did n't she? Hm? Oh, that sucks for you, pal. Oh, shit. JEFF You lied to me. TIM You want to know what your problem is, Jeff? You want to believe so bad, you'll buy anything. It's true. Look at you. You're gullible and you're gutless. JEFF No, no. That's not the way it is at all. No, I stayed up all night trying to figure out how to protect my best friend. Wait, yeah, no, I was trying to come up with some lie so that you would n't have to go to jail for the rest of your life. TIM Wow. You did that for me? JEFF Yes. TIM Well, you know, all I can say is, you're a fucking fool. JEFF Why? Because I give a shit? TIM Oh, shit. JEFF Because I care, I'm a fucking fool? TIM Oh, Jeff, give me a break. You did n't even have the guts to go look in the van, did you? JEFF Oh no, no. You know what? Fuck that. No, you lied to me. You lied to me because you're gutless. You're a gutless, drunken looser. TIM I'm a loser. And I'm drunk. But I'm not gutless. JEFF You know, and what are you doing here in the first place, man? He's just gon na call the cops again. TIM Good, good. I, I hope he does. JEFF The sun has n't even come up yet and you're drinking. TIM Hey, you saw that brown bitch point a gun at me last night, man. Did you think she was gon na use it? JEFF I do n't know. TIM You do n't know? JEFF No. TIM Come on. You do n't think that after they called the cops on me, her and Mohammed had a nice laugh? JEFF No. Tim pulls a gun out of his pants and loads it. TIM No? Well, I disagree. I think they did. I think they probably went home last night and, you know, kicked off their sandals and had a nice laugh about the drunk on the corner, you know? Makes me sick. JEFF What are, what are you doing? Look, Tim, just go home. Alright. Go home and sleep it off. TIM Well, what am I supposed to sleep off? My life? You know, I'm supposed to go home and go to sleep and when I wake up, what'll I be, Jeff? A pilot? Maybe a Super Bowl quarterback or, no, maybe a fucking rock star. Right? I do n't think so, man. JEFF Just go home, alright? TIM This is my home. JEFF Why, why did you start this in the first place, man? They never hurt you. TIM They never hurt me? They hurt me every day with their attitude. You know, like they even have a right. Who the fuck do they think they are? Let me tell you something, I was born here. Alright? I'm an American. And I'm owed something. Look, they took it from me. JEFF They're just people. Alright? They got feelings, you know? TIM What about my feelings? What about my fucking feelings? These assholes, they come over here, they know all the answers, right? Well, they do n't know shit. JEFF Will you just put the gun down? TIM No. JEFF Just put it down. Nazeer walks out of the store. NAZEER What is this. now, huh? Jeff starts to walk towards Nazeer. TIM Jeff, stay there. JEFF He's got a gun. He's got a gun. TIM Well, then, there now, why do n't you go inside and call the cops and I'll come in there and blow your fucking brains out. NAZEER Why should I call the police, huh? They do n't so any good. TIM Well, you got ta call your wife then, you know,'cause she kind of handles these heavy matters anyway, right? NAZEER No. No, you see, I do n't have to call my wife. TIM Well, what about this? Nazeer pulls out his gun and points it at Tim. NAZEER What about this, huh? Go ahead, big man. TIM Camel jockey. NAZEER You know, why do you call me names? You know, I never hurt you. I'm only working here. TIM Yeah, yeah. That's the fucking problem. JEFF No, wait, wait! Wait, wait, wait, wait, wait! What is your name? NAZEER Look, why do you care, huh? JEFF Because maybe if we know each other's names, things would n't get like this, My name's Jeff. NAZEER Okay. Nazeer, okay? JEFF Nazeer what? NAZEER Nazeer Chaudry! TIM Hey, w - why do n't you see if he's hiring, you know? Get an application? JEFF That, that's Indian? NAZEER Pakistani. Okay? We're from Pakistan. TIM Alright, alright, enough with the Boy Scout routine. NAZEER Please. Look. JEFF Please? NAZEER Look, look, just get off my property. TIM What? Tim jumps up on top of the dumpster. NAZEER Look, get down off my property. TIM Why? What are you gon na do? Huh? You're gon na shoot me for standing on your fucking trash can? NAZEER Get off my property! TIM Hey, you know what? Go fuck yourself. NAZEER Fuck you! You know, I'll call the police. TIM Go ahead! They love you just about as much as I do. JEFF Tim, can we go? This is ridiculous. TIM Hey, Ma, look at me! Top of the world, Ma! Tim fires three shots into the air. NAZEER Get off my fucking roof, you fucking drunk! You bum! Pakeesa runs out to them, screaming in Pakistani. NAZEER Look Pakeesa. TIM Oh, there you are, honey. We were waiting for you. What happened? NAZEER Look, get down now, you fucking drunk! You bum! TIM You know what? Go ahead and shoot me. Go ahead! Fucking shoot me! Come on! Come on, man! Come on! Tim walks further onto the roof. We ca n't see him anymore. NAZEER Get off my roof! TIM Oh, shit. Jeff. Jeff, come up here! NAZEER Look ; okay, come on. Look, what are you doing? Look, that's enough. My wife called the police. They're coming. Tim comes back into view holding Bee - Bee, who's unconscious, in his arms. TIM Jeff! Come up here! JEFF Is that Bee - Bee? TIM Come on! Pakeesa is screaming at Nazeer louder now. NAZEER Look, look, you see? They were drinking on the roof and, what, is she drunk? J - just get her off! What are you saying? Tim is handing Bee - Bee's unconscious body down off the dumpster to Jeff. TIM Ready? NAZEER What are you saying? Jeff places Bee - Bee on the ground and starts to check her vital signs. Tim jumps down off the dumpster. TIM You got her? Fuck. Tim walks past Nazeer and over to the pay phone. TIM I hope you're happy! NAZEER This has nothing to do with me, this, uh, drinking, yeah. TIM No, this has everything to do with you. NAZEER No, no, she went up by herself. This was not my responsibility. TIM Hey it's your roof. It's your fucking problem. -LRB- into phone. -RRB- Hi, uh, there's an emergency down at the Circle A on first Street, Yeah, Okay. -LRB- to Nazeer. -RRB- You're fucked now, pal! -LRB- into phone. -RRB- Um, send an ambulance'cause I, I think it's an overdose or something. Okay. Okay. -LRB- to Jeff. -RRB- Jeff, they're coming. Just wait here. I'm gon na go over to Scuff's and see if he's got his truck. -LRB- to Nazeer. -RRB- Listen, if she dies, you're gon na be so sorry that you ever showed your brown face in this town! Tim runs off. Nazeer is getting screamed at by Pakeesa. NAZEER This has nothing to do with me! She went up by herself. Yeah I tell them do n't go on the roof! They ca n't go on the roof! -LRB- to Jeff. -RRB- How is she? JEFF I do n't know. I think she's breathing. NAZEER Okay. Okay, look my wife called the police. They're coming. It's not too late. They'll come, they'll take care of her. I'm going inside. Nazeer starts to walk back inside, but stops. NAZEER -LRB- CONT'D. -RRB- Oh, God. You people are so stupid! What's wrong with you?! Throw it all away, huh?! You throw it all away! SLOW FADE OUT THE END"
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] | Three years out of high school in the fictional Burnfield (filmed mainly in Austin, Texas), four friends are in the daily habit of hanging out drinking by the garbage dumpster of a corner convenience store, occasionally taunting the foreign-born store owner/operator, married couple Nazeer and Pakeesa. The film's main character, Jeff, is an aimless soul unsure of his future since dropping out of college. Jeff is dating Sooze, a student at the local community college who plans to leave Burnfield and study visual arts in New York City. Jeff's best friends are Buff and Tim. Tim, recently honorably discharged from the Air Force, is a troubled heavy-drinker with a knack for shooting off his mouth. Sooze's friend Bee-Bee is a recovering alcoholic who hangs out with the group one evening. This particular evening, the group are expecting a visit from a high school friend, Neil "Pony" Moynihan, lead singer for Dreamgirl, a rock band that is on a stadium tour. Dreamgirl performed in Burnfield that night, but the gang could not afford tickets. Pony arrives with Erica, Dreamgirl's publicist. Erica reveals how excited Pony has been about seeing the gang and most of the group is glad to see him, although some of them are bitter and jealous of his recent success. As the expanded group hangs out beside the store, their actions and conversations show that they all are contemplating what they want to do with the rest of their lives. By the end of the night, Bee-Bee is in medical trouble after drinking an entire bottle of hard liquor. Buff has slept with Erica and is going to Los Angeles to shoot a Dreamgirl music video. Sooze has left town with Pony. Tim has been arrested and released, and Jeff is berated by Nazeer for "throw(ing) it all away". | SubUrbia_(film) |
[
"1958",
"PROLOGUE: INT. RIPLEY'S CABIN. EVENING. Fade up on Ripley, as in the final scene of the film, sitting, desolate in a ship's cabin. The camera rotates around his face, which begins in light and ends in darkness. RIPLEY -LRB- O/S. -RRB- If I could just go back. If I could rub everything out. Starting with myself. Starting with borrowing a jacket.",
"EXT. CENTRAL PARK WEST TERRACE. EARLY EVENING. Ripley is at the piano, accompanying FRAN, a young soprano. CREDITS begin. FRAN -LRB- SINGS. -RRB- Ah, such fleeting paradise such innocent delight to love, be loved, a lullabye, then silence. The song finishes. Applause. They're the entertainment at a cocktail party to celebrate a silver wedding anniversary. Some partygoers congratulate Fran on her performance. A distinguished looking man, pushing his wife in a wheelchair, approaches Ripley, offers his hand. HERBERT GREENLEAF Most enjoyable. Herbert Greenleaf. RIPLEY Tom Ripley. Thank you, sir. HERBERT GREENLEAF -LRB- pointing at Ripley's borrowed jacket. -RRB- I see you were at Princeton. Then you'll most likely know our son, Dick. Dickie Greenleaf. EMILY GREENLEAF We could n't help noticing your jacket. HERBERT GREENLEAF Yes. EMILY GREENLEAF Class of' 56? RIPLEY -LRB- hesitating. -RRB- How is Dickie?",
"INT. ELEVATOR OPENING OUT INTO LOBBY. EARLY EVENING. Fran, Ripley, Mr and Mrs Greenleaf and others emerge from an elevator. Emily talks to Fran, Herbert to Ripley. EMILY GREENLEAF -LRB- to Fran. -RRB- I hope you'll come and see us. FRAN That's very kind. EMILY GREENLEAF Both of you. HERBERT GREENLEAF Of course, Dickie's idea of music is Jazz. He has a saxophone. To my ear Jazz is just noise, just an insolent noise.",
"EXT. CENTRAL PARK WEST. EARLY EVENING. Ripley shakes hands with Herbert Greenleaf as he gets into his Rolls Royce. They are making an appointment. Ripley crosses the street to Fran, pecks her cheek. She hands him his share of their fee. RIPLEY Got ta run. I'm so late. -LRB- he hands Fran's boyfriend the jacket he's been wearing. -RRB- Thanks for the jacket. BOYFRIEND Sure. Thanks for filling in for me. From Greenleaf's point of view he sees a couple embracing. EMILY GREENLEAF Darling couple, are n't they? HERBERT GREENLEAF Yes. An exceptional young man. From another vantage point Ripley hurries on as Fran gets into her boyfriend's car. A piano quartet starts up.",
"EXT. THEATER. EVENING. Ripley runs past the droves of arriving concert - goers and heads for the theater. Music continues.",
"INT. MEN'S ROOM, THEATER. NIGHT. The interval : A thick mass of men in tuxedoes grooming themselves at the basins. Ripley turns on faucets, offers towels, brushes off dandruff. Men talk over, round, and through him. Put coins in a bowl.",
"INT. A BOX AT THE THEATER. NIGHT The concert continues. Ripley peers through the curtain at the performances. A haughty woman in the box turns round and he closes the curtain.",
"INT. BACKSTAGE. 1:30 A.M. An empty auditorium. Ripley plays Bach in the blue ghostlight. A caretaker emerges from his rounds, flips on the house lights. Ripley jerks up from his playing, waves apologetically. RIPLEY Sorry, sorry. I know. Sorry.",
"EXT. GREENLEAF SHIPYARDS, BROOKLYN. DAY. Greenleaf and Ripley walk through one of the drydocks. A huge void in the shape of a boat, swarming with workers preparing the shell of a new liner. If Central Park is where the money is spent, this is clearly where it's made. And a lot of it. Workers nod deferentially to the man with his name over the buildings behind them. HERBERT GREENLEAF Mongibello. Tiny place. South of Naples. Marge, his uh, the young lade is supposedly writing some kind of book. God knows what he does. By all accounts they spend the whole time on the beach. Or his sailboat. That's my son's talent, spending his allowance. Ripley, in his green corduroy jacket the very model of a sober young man, listens attentively. HERBERT GREENLEAF -LRB- cont'd. -RRB- Could you ever conceive of going to Italy, Tom, persuade my son to come home? -LRB- Ripley looks doubtful. -RRB- I'd pay you. I'd pay you 1000 dollars. RIPLEY I've always wanted to go to Europe, sir, but. HERBERT GREENLEAF Good. Now you can go for a reason.",
"INT. RIPLEY'S APARTMENT, NEW YORK. DAY. A vinyl RECORD revolves in close up. An exuberant and mysterious VOICE is scat singing. Wild. Then the sound slides into a raucous big band jazz number : Dizzy Gillespie's The Champ. A HAND ejects the record. When the camera finds the man's face it is BLINDFOLDED. He's hot. He's wearing an undershirt. He's trying to identify the recording. RIPLEY -LRB- O/S. -RRB- I do n't know. Count Basie? Duke Ellington. I do n't know. Count Basie. The man pulls of the blindfold, examines the record cover of the disc he's been trying to learn, needs to put on glasses to do so, is irritated by his mistake. He ejects the record. A pile of other jazz records are strewn across a cluttered table which includes classical sheet music and a paper keyboard. One hand idly mimes at the keys.",
"INT. RIPLEY'S APARTMENT. DAY. Another song for Ripley to identify is on the gramophone. Chet Baker's My Funny Valentine. Signs everywhere of packing. A suitcase. Books about Italy. Ripley paces in this BASEMENT room, which is bathroom, kitchen, living room and bedroom all in one. Tiny, tidy, squalid and sad. The windows give onto bars and a wall. RIPLEY Do n't even know if this is a man or a woman. There's a violent row going on in the room above his head. He flinches.",
"INT. RIPLEY'S APARTMENT. DAY. Ripley, shining his shoes, packing almost done, is testing himself on another piece of music. Free jazz saxophone : Charlie Parker's Koko. He listens hard, recognizes the track. RIPLEY That's Charlie Parker. Bird. He skips over to the gramophone, checks the record. He's right, he smiles.",
"INT. RIPLEY'S APARTMENT. DAY. Ripley studies an old photograph of Dickie Greenleaf in a Princeton Yearbook. He shoves the book in a bag, picks up his suitcase and takes a last look around the dingy apartment before closing the door behind him.",
"EXT. RIPLEY'S APARTMENT. DAY. Ripley hauls his luggage up the stairs and into the sunlight. He is met at the top of the stairs by Mr Greenleaf's chauffeur. CHAUFFEUR Here. I'll take that. RIPLEY Thanks. CARETAKER -LRB- nodding towards the apartment. -RRB- That thousand bucks should come in handy. RIPLEY Yes, sir. CHAUFFEUR -LRB- interupts Ripley, who is about to open the car door. -RRB- I'll get that. RIPLEY Thanks. CHAUFFEUR -LRB- as he holds open the door for Ripley. -RRB- Sir. -LRB- Ripley laughs excitedly. -RRB- You're gon na have a great trip. Mr Greenleaf is personal friends with the Cunard people.",
"INT. HERBERT GREENLEAF'S CAR. DAY. Ripley luxuriates in the back of the Greenleaf limousine. He opens up an envelope he's carrying with Greenleaf stationery. Inside a First Class Cunard Ticket, some traveler's checks and dollars. CHAUFFEUR I can tell you. The Greenleaf name opens a lot of doors.",
"EXT. QUEEN MARY, MANHATTAN SKYLINE. DAY. The liner leaves New York en route to Italy. END CREDITS.",
"INT. NAPLES HARBOR, CUSTOMS & IMMIGRATION HALL. DAY. ITALY. Brilliant sunshine. The Queen Mary has just docked. Passengers can be seen disembarking through the huge windows. Coming from the First Class gangways they are greeted, escorted, fussed over into the hall. Their bags have been unloaded ahead of them, and are now being sorted in the hall under the initials of their owners. STANDS WITH THE LETTERS OF THE ALPHABET CHALKED ON THEM are dotted about, and trunks and suitcases of all shapes and sizes form small hills around them. Ripley enters and an Italian Porter approaches, wants his name. Ripley. Ripley. Ripley! he repeats in the hubbub and joins the crowd around the letter R. A striking young woman -LRB- MEREDITH -RRB- is nearby. She notices him. Ripley proceeds to the Customs area, where he's held in a line as a large suitcase is opened and searched. Meredith catches up with him. Her luggage a mountain next to his. MEREDITH What's your secret? RIPLEY Excuse me? MEREDITH No, it's just - you are American, are n't you? - no, I just, I have so much luggage, and you're so, uh, streamlined. It's humiliating. Ripley shrugs. Now they're opening a second case of the passenger ahead. Hard not to converse. MEREDITH -LRB- cont'd. -RRB- I'm Meredith, by the way. Meredith Randall. RIPLEY Dickie, Dickie Greenleaf. Hello. MEREDITH Hello. They are passed through immigration, head down the long stairs towards the street. Meredith catches up with Ripley. MEREDITH -LRB- cont'd. -RRB- You're not the Shipping Greenleaf's? RIPLEY -LRB- thinking quickly. -RRB- Trying not to be. Trying to jump ship. MEREDITH So now, did they put your suitcase in the wrong pile? It's just - upstairs - were n't you under the R stand? I thought I saw you there. RIPLEY My father wants me in New York. He builds boats. I'd rather sail them. I travel under my mother's name. MEREDITH Which is? RIPLEY Emily. -LRB- Meredith's bewildered. -RRB- Just kidding. MEREDITH The funny thing is, I'm not Randall either. I'm Logue. RIPLEY -LRB- nods, recognizing the name. -RRB- As in the? MEREDITH As in the Textile Logues. Trying to shrug off the dress. I travel under my mother's name, too. RIPLEY Randall. MEREDITH Right. They've arrived at a crossroads on the stairs - graphic signs explain the choices : one way for Buses, Taxis and exits - the other for Trains : ROMA, VENEZIA, MILANO. They're going in different directions. MEREDITH -LRB- cont'd. -RRB- -LRB- offering her hand. -RRB- So - partners in disguise. -LRB- looks at the signs. -RRB- Bye.",
"EXT. COASTAL ROAD FROM NAPLES. LATE AFTERNOON. A BUS rolls around a coastal road cut into the side of a cliff, mountain above, blue sea below.",
"INT. BUS. LATE AFTERNOON. Ripley sits surrounded by teeming life. The bus slows at a new town. People get off.",
"INT/EXTERIOR. BUS ARRIVES MONGIBELLO. LATE DAY. Later, the day ending. Ripley looks out as they continue on their journey. Arriving at a small fishing port they wind down through a square, passing the local church.",
"EXT. MONGIBELLO, FISHERMAN'S WHARF. LATE DAY. And then the bus is in the heart of a wharf. On one side there's evidence of the fisherman's life, nets, old men working. Opposite there's a tiny cafe spilling out onto the street, young guys hang out, play table football, lounge on their Vespas. The Driver chants - DRIVER MONGIBELLO! Ripley gets out, lugging his cases, as the bus continues on its way. He looks around him. He feels completely foreign.",
"EXT. MIRAMARE HOTEL/BOAT AT SEA. MORNING. A SAILBOAT has slid into his view, now drops anchor, drops the sail. A couple dive off and swim towards shore. ALL OF THIS IS FROM THE POINT OF VIEW OF RIPLEY, who's watching the events through binoculars from his tiny balcony in the Miramare Hotel. An Italian Vocabulary Book is perched on his knees and, during this, he continues his study, mouthing the Italian words. RIPLEY -LRB- looking at a long, lean girl about to dive. -RRB- La fidanzata a una faccia. The fianc ‚ e has a face. La fidanzata e Marge. Her partner, DICKIE GREENLEAF, dives too. They're brown, beautiful, perfect. Ripley notices the name of the boat : `` BIRD''. RIPLEY -LRB- cont'd. -RRB- Questo e la mia faccia. The golden couple emerge from the sea. Dickie shakes off the water, grins. RIPLEY -LRB- cont'd. -RRB- This is my face. He double - checks himself with the vocabulary book. RIPLEY -LRB- cont'd. -RRB- Questa. e la mia faccia. Questa e la faccia di Dickie.",
"EXT. MONGIBELLO. DAY. Ripley emerges from one of the beach cabins, and stands on the edge of the sand on a wooden walkway. He's wearing A TINY LIME - GREEN BATHING SUIT. He loathes beaches. A couple of boys turn laconically and watch him. Ripley puts on his shoes and scurries to the sea. He feels ridiculous, his skin alabaster against the brown bodies. Finally, the shame is too great and he pulls off his shoes and dashes to the water, where he luxuriates in the coolness of it before wading out of the sea, and walking straight up to Dickie. RIPLEY Dickie Greenleaf? Dickie squints at Ripley, who holds his shoes, lamely. DICKIE Who's this? RIPLEY It's Tom. Tom Ripley. We were at Princeton together. DICKIE Okay. -LRB- he sits up. -RRB- And did we know each other? RIPLEY Well, I knew you, so I suppose you must have known me. DICKIE -LRB- to Marge. -RRB- Princeton is like a fog, America's like a fog. -LRB- to Ripley. -RRB- This is Marge Sherwood. Tom - sorry, what was it? RIPLEY Ripley. Hullo. How do you do. MARGE How do you do. DICKIE What are you doing in Mongi? RIPLEY Nothing. Nothing much. Passing through. DICKIE -LRB- finds this idea absurd. -RRB- Passing through! You're so white. Did you ever see a guy so white, Marge? Gray, actually. RIPLEY It's just an undercoat. -LRB- Marge laughs. -RRB- DICKIE Say again? RIPLEY You know, a primer. DICKIE That's funny. He shares some intimacy with Marge, makes her laugh. Ripley stands as they wrestle around him. Marge looks up. MARGE You should come and have lunch with us, before you go - Dickie? DICKIE Sure. Any time. MARGE And be careful in the sun. Your gray's in danger of turning a little pink. RIPLEY Thanks. Well, a coincidence.",
"EXT. MONGIBELLO. EARLY MORNING. ANOTHER DAY. Church Bells ringing. Dickie, dressed in shorts, comes bumping up the cobbled path towards the square on his MOTORSCOOTER. He stops by a steep flight of steps. RIPLEY, a book in hand, unseen, walking up a hill, catches all this and, intrigued, watches as a young Italian beauty, SILVANA, has a spikey, flirtatious exchange with Dickie, then climbs on the scooter, behind him. DICKIE I've been looking for you everywhere. SILVANA Ah, today you're looking for me. And where have you been the rest of the week? Pig. With your American girl? I hate you, you know? DICKIE What? SILVANA I hate you. And RIPLEY watches them as they rattle down the hill towards the sea.",
"EXT. MARGE'S HOUSE. AFTERNOON. Dickie appears in Marge's garden, the sea behind his head. Marge is sitting at her outside table surrounded by some of the remnants of lunch. Dickie's sheepish, showered, late. DICKIE Sorry, sorry, sorry. I know, I'm late, I'm a swine. MARGE Did you forget where I live? It's four o'clock. DICKIE I just woke up. I'm sorry. MARGE You just woke up! DICKIE Fausto and I - we took the boat out, we were fishing, and then it was dawn and we'd caught absolutely nothing. MARGE Well, we ate everything without you. DICKIE We? MARGE Yes, Tom Ripley's here. As Ripley appears with the tray to collect more dishes. DICKIE Who? Oh, Tom, hello, how are you? We thought you'd disappeared. We were going to send out a search party. RIPLEY No, still here. MARGE Tom was telling me about his trip over. Made me laugh so much I got a nosebleed. DICKIE Is that good? MARGE Shut up! Marge flicks him with a napkin. They start to wrestle, excluding Tom. RIPLEY I'm intruding. DICKIE Can you mix a martini? RIPLEY -LRB- hesitant. -RRB- Sure. MARGE -LRB- going inside. -RRB- I'll do it. I make a fabulous martini. DICKIE Everybody should have one talent. -LRB- to Ripley. -RRB- What's yours? RIPLEY -LRB- without a beat. -RRB- Forging signatures. Telling lies. Impersonating practically anybody. DICKIE -LRB- enjoying this banter. -RRB- That's three. Nobody should have more than one talent. Okay, do an impression. RIPLEY Now? Okay. Wait a minute. Talent -. -LRB- his voice ages, his face changes. -RRB- The only talent my son has is for cashing his allowance. DICKIE -LRB- absolutely thrown. -RRB- What? What's this? RIPLEY I like to sail, believe me, I love to sail! Instead I make boats and other people sail them. DICKIE -LRB- incredibly impressed. -RRB- Stop! It's too much! You're making all the hairs on my neck stand up! RIPLEY -LRB- relishing it. -RRB- Jazz, let's face it, it's just an insolent noise. DICKIE I feel like he's here. Horrible. Like the old bastard is here right now! That's brilliant! How do you know him? RIPLEY I met him in New York. DICKIE Marge! You've got to hear this! MARGE -LRB- returning with the drinks. -RRB- What? What? DICKIE Meet my father, Herbert Richard Greenleaf 1st. RIPLEY Pleasure to meet you, Dickie's made a fine catch. I know Emily thinks so. MARGE What's going on? DICKIE Uncanny! MARGE I do n't get it. RIPLEY Could you ever conceive of going there, Tom, and bringing him back? DICKIE What? RIPLEY I'd pay you. If you would go to Italy and persuade my son to come home. I'd pay you $ 1000.",
"INT/EXT. MONGIBELLO CHURCH AND SQUARE. DUSK. A christening is over and now the whole village is pouring out of Church for the Passeggiata in Sunday best. Girls arm in arm parade. Boys arm in arm evaluate. New babies are compared and fussed over. Old people smoke, talk, shrug. Dickie is walking with Ripley, seething about his father's scheming. DICKIE I'm never going back. To actually hire somebody to come all the way here to drag me back home - got to be insane, has n't he? SILVANA comes out of church arm in arm with a man, her fiancee, as part of a foursome which includes Dickie's pal FAUSTO. Silvana's eyes flick towards Dickie, otherwise there's no acknowledgement as they all greet each other. Dickie introduces Tom, then they move on. DICKIE -LRB- cont'd. -RRB- I'm never going back! RIPLEY No, I think your mother, her illness - DICKIE It's got nothing to do with my mother! She's had leukemia for -! This is what makes me boil about him! HE wants me back! - it's got nothing to do with my mother. RIPLEY I do n't know, Dickie, I'm just telling you what I - DICKIE -LRB- interrupting. -RRB- Go back! Go back to New York or call him if you can find a telephone that works, and tell him wild horses would n't drag me back to him or his shipyard.",
"EXT. DICKIE'S HOUSE, MONGIBELLO. AFTERNOON. Ripley appears, with his meagre luggage at Dickie's front door. He's carrying his tote bag under his arm, the bottom of which seems to be unstitched and held together only by his fingers. Marge is on the terrace, she looks down to see Tom talking with Dickie. MARGE Hi Tom. DICKIE -LRB- looks up. -RRB- Marge, Ripley's saying goodbye. MARGE I'll come down. DICKIE -LRB- to Ripley. -RRB- Did you speak to my father? RIPLEY You were right about the telephones. There are no lines, there's some problem. MARGE -LRB- coming out of the front door. -RRB- Hello Tom. You're off? What are your plans? RIPLEY Back, I suppose, slowly as I can. He goes to shake her hand and as he releases the tote bag the seam splits and records spill to the ground, scattering. He bends down, starts gathering them up. Marge helps. RIPLEY -LRB- cont'd. -RRB- Oh, damn, sorry, this bag's - Dickie's delighted when he sees the Jazz titles. DICKIE You like jazz! RIPLEY -LRB- gathering up the records. -RRB- I love jazz. DICKIE -LRB- holding up a Chet Baker. -RRB- This is the best. Marge says she likes jazz, but she things Glenn Miller is jazz. MARGE I never said that! RIPLEY Bird. That's jazz. DICKIE Bird! Ask me the name of my sailboat - RIPLEY I do n't know. What's the name of your sailboat? DICKIE Bird! MARGE Which is ridiculous. Boats are female, everyone knows you ca n't call a boat after a man. RIPLEY He's not a man, he's a god. DICKIE -LRB- excited. -RRB- Okay, we're going to Naples. There's a club, it's not a club, it's a cellar. MARGE It's vile. DICKIE Yes, it's vile. Do n't worry, you do n't have to come. -LRB- to Ripley. -RRB- It's great. You're going to love it.",
"INT. JAZZ CLUB, NAPLES. NIGHT. A cavern blue with smoke. A surprisingly good QUINTET blast out their version of MOANIN'. Dickie and Ripley arrive and make their way to a table where Fausto is sitting with friends. It's too noisy for conversation, but Dickie shouts introductions and they shake Ripley's hand. Dickie is instantly absorbed in the music, Ripley absorbed in Dickie. An attractive Italian Girl, DAHLIA, comes over, kisses Dickie, pulls off his hat, puts it on, there's no room for her to sit, so she sits on Dickie's lap, smoking his cigarette. Dickie raises his eyebrow at Tom, but it's clearly no hardship. Then the band strikes up the intro to Tu vuo' fa' L'Americano - a hit which reflects the current craze for all things American - and Fausto pulls a protesting Dickie up onto the stage. FAUSTO -LRB- improvising in Italian. -RRB- Ladies and Gentlemen. Dickie Greenleaf, all the way from America. etc.. Fausto starts to sing. Dickie joins in the chorus. Everybody claps. Dickie talks off - mic to Fausto. FAUSTO -LRB- cont'd. -RRB- And a big round of applause for a new friend from New York - Tom Ripley! Ripley's mortified, but Dickie jumps off the stage and pulls him up. The song continues and now, at the chorus, it's Dickie and Ripley who have to sing. Ripley, of course, can sing well, if not confident in this arena. Soon the audience is clapping, standing on tables, dancing, Dahlia prominent. DICKIE -LRB- O/S. -RRB- -LRB- reading. -RRB- I have bumped into an old friend from Princeton - a fellow named Tom Ripley. He says he's going to haunt me until I agree to come back to New York with him.",
"INT. DICKIE'S HOUSE. NOON. Dickie, in his new dressing gown, is sitting at the table, typing. Ripley's head emerges from behind the couch on which he has been enjoying a blissful sleep. DICKIE -LRB- grins. -RRB- Good afternoon! RIPLEY What time is it? -LRB- puts on his glasses and checks his watch. -RRB- Oh God! Do you always type your letters? -LRB- points at the letter. -RRB- That should be two Ts. DICKIE I ca n't write and I ca n't spell. That's the privilege of a first - class education. You're upstairs at the back. I think Ermelinda made the bed up. RIPLEY This is so good of you. DICKIE Do n't say it again. Now you're a Double Agent and we're going to string my Dad alone, I was thinking we might buy a little car with the expense money he's sending you. What do you think, Marge. a little Cinquecento with my Dad's money? Marge has appeared, carrying Camparis. MARGE Dickie, you ca n't even drive a car! No, what we need urgently is an icebox. What do you think, Tom? Agree with me and I'll be your friend for life. RIPLEY I absolutely agree with Marge.",
"INT. DICKIE'S HOUSE, UPSTAIRS. DAY. Ripley locates his room, puts down his luggage in what is a comfortable and simple room, then heads back downstairs only to be tempted by the open door of Dickie's bedroom.",
"INT. DICKIE'S BEDROOM. DAY. Ripley explores the casual elegance of Dickie's bedroom - the Louis Vuitton chest, the closet's open door spilling out shirts, ties. On the dressing table there are toiletries, cufflinks scattered, a silk tie. Ripley picks up the tie and walks towards the open window below which is a terrace where lunch is being laid. Marge and Dickie are chatting. Shreds of conversation float up to Ripley. DICKIE It'll just be for a little while. He can be. he makes me laugh. MARGE Okay, darling. DICKIE You'd say if you mind? MARGE No, I like him. DICKIE Marge, you like everybody. MARGE I do n't like you. DICKIE Then I'll go to your place and you can move in with Tom. Above them, Ripley repeats these phrases, carefully, testing the cadences, No, I like him. Marge, you like everybody, until he's as accurate as a taperecorder.",
"EXT. TERRACE OF DICKIE'S HOUSE. DAY. Ermelinda is clearing away lunch. Ripley is changed and sitting at the table with Marge while Dickie works on the coffee. Ripley watches him, studying everything : the way he uses the expresso machine, the way he wears no socks, his pants, his rings. DICKIE Now you know why Miss Sherwood always shows up for breakfast. It's not love it's the coffee machine. MARGE It's the one task Dickie can do on his own - make coffee. DICKIE Shut up. MARGE Oh darling - is that for me? DICKIE No it's for Tom as he did n't complain. RIPLEY -LRB- as Dickie hands him his cup. -RRB- That ring's so great. The green one. MARGE -LRB- delighted. -RRB- Tom, I love you! -LRB- to Dickie. -RRB- See! -LRB- to Ripley. -RRB- I bought it for him, for his birthday. RIPLEY It's superb. DICKIE I had to promise, capital P, never to take it off - otherwise I'd give it to you. MARGE -LRB- flicking a crumb at him. -RRB- Bastard! -LRB- to Ripley. -RRB- Is n't it great, Tom? I found it in Naples. I bargained for about two weeks. DICKIE I hope it was n't cheap. MARGE Oh, it was. RIPLEY -LRB- to Marge. -RRB- I have to find a birthday present for Frances. Perhaps you can help me? MARGE Frances? RIPLEY My fianc ‚ e. DICKIE You're a dark horse, Ripley. Engaged? RIPLEY Your parents met her. DICKIE Oh God - I can just imagine - if only Dickie would settle down. does n't every parent deserve a grandchild? Never! I swear on your ring, Marge. I am never going back.",
"EXT. BIRD SAILBOAT. DAY. The Bird is sailing off the coast of Mongibello. There's a manoeuvre going on with the sail. Captain Dickie supervises his crew of Marge and a painfully awkward anxious - to - please Ripley. Dickie goes over to help him. RIPLEY I'm doing this wrong, are n't I? DICKIE You're doing great. We'll make a sailor of you yet. You're doing really well. MARGE Dubious but special honor, Tom - crewing Dickie's boat. Alright, bar's open. DICKIE Yes please! She heads for the cabin. Dickie settles down beside Ripley. RIPLEY Could we sail to Venice? DICKIE Sure. I love Venice. RIPLEY I have to go to Venice. DICKIE See Venice and die, is n't that right? Or is it Rome? You do something and die, do n't you? Okay, Venice is on the list. RIPLEY And Rome. DICKIE Do you ski? -LRB- Ripley frowns. -RRB- Do n't tell me - you're a lost cause! That's the next thing to deal with. We're planning to go to Cortina at Christmas. Excellent skiing. Excellent. -LRB- as Marge reappears. -RRB- Marge - Ripley ca n't ski. We'll have to teach him that, too. Have you ever known such low class? MARGE Poor Tom. Good thing we're not getting married. We might have to invite him on our honeymoon.",
"EXT. MONGIBELLO. LATE DAY. Marge and Ripley are on a shopping expedition. They walk down the hill towards the grocery shop, next to the bar in the little square. Ripley has asked Marge how she and Dickie met. MARGE Oh I hated New York - that Park Avenue crowd - so I fled to Paris to work on my book, and I was always going to this cafe with Jean - Jacques, and Dickie used to play his saxophone outside and I would see him and he would see me, and he would play My Funny Valentine. It was only later that I realised he only knows about six songs. They've arrived at the Grocery Store. Alessandra, the woman who owns the store greets them. Silvana, who's her daughter, is also there, and less comfortable. She waits for Marge's order. MARGE -LRB- cont'd. -RRB- -LRB- to Silvana, in Italian. -RRB- Buono Sera, Silvana. Por favore : arance e pane, e del prosciutto. SILVANA E fichi? Come sempre? MARGE Si. Come sempre. Grazie. Silvana goes inside for the meat and bread. Marge frowns. MARGE -LRB- cont'd. -RRB- -LRB- back to Ripley. -RRB- Anyway, then one day, we go in, I see Dickie, he starts playing My Funny Valentine, and then all of a sudden he just walks into the cafe, right in front of Jean - Jacques, and grabs me! Now I had never spoken to him in my life - he said I'm going to Italy, tomorrow, and I want you to come with me. So I did. At the edge of the square there's A BOCCE AREA, where men throw metal balls along a track, aiming to get closest to a small cue. Dickie is there, playing intensely with Fausto and two other guys, one of whom we've seen before with Silvana. Ripley and Marge loop back towards home, taking in the Bocce en route. Dickie waves. They wave back. Marge calls to him. MARGE -LRB- cont'd. -RRB- If you're not at my place by 7.00, Tom and I are running off together. DICKIE Okay.",
"EXT. MARGE'S HOUSE. EARLY EVENING. Dickie and Ripley are leaving. They're fooling around. Dickie jumps on Ripley's shoulders. Marge watches from the top of the garden.",
"EXT. MONGIBELLO SQUARE. EARLY EVENING. Dickie and Ripley, still horsing about, pass Silvana's grocery store. Dickie dismounts, goes over to Silvana, who's tense, a little troubled. They huddle, Ripley isolated. SILVANA Did you get my message? I want to talk to you. DICKIE I want to talk to you too. Smile for me. And Dickie's already gone, back to Ripley feinting to box him then dancing, satyr - like, down the hill.",
"EXT. COASTAL ROAD TO NAPLES. EVENING. Dickie and Ripley on the Vespa. There's a steep incline where the road winds down towards Naples and, as the Vespa gains speed, Ripley is happy to cling to Dickie. DICKIE You're breaking my ribs! RIPLEY What? DICKIE You're breaking my ribs!",
"INT. JAZZ CLUB, NAPLES. NIGHT. Ripley's really singing, carrying the burden of My Funny Valentine in a flawless imitation of Chet Baker. Dickie is playing some sax. After a verse, there's spontaneous applause. Dickie, impressed beams at Ripley.",
"INT. DICKIE'S HOUSE. NIGHT. A NEW ICEBOX, incongruous in pride of place in the living room, casts its glow on a delighted Dickie as he pulls out a couple of beers, handing one to Ripley who is paging through his copy of the Collected Works of Shakespeare. DICKIE I could fuck this icebox I love it so much. -LRB- considering Ripley. -RRB- What were you actually doing in New York? RIPLEY I played piano in a few places. DICKIE That's one job, you told me a lot of jobs. RIPLEY A few places - that's a few jobs. Anyway, I do n't want to think about New York. DICKIE The mysterious Mr Ripley. Marge and I spend hours speculating. -LRB- drinking. -RRB- Cold beer. Thank you Dad. RIPLEY Copy out from here. He hands the book to Dickie, pointing out the lines. DICKIE -LRB- staring to write on the back of a postcard. -RRB- I love the fact you brought Shakespeare with you and no clothes. Ermelinda says you wash the same shirt out every night. Is that true? RIPLEY No! I've got more than one shirt! DICKIE She can do that stuff for you. Anyway, just wear some of my things, wear anything you want, most of it's ancient. -LRB- he's finished writing. -RRB- RIPLEY Now your signature. -LRB- watching him write. -RRB- Not `` Dickie''. Your signature. Dickie writes his signature at the bottom of the postcard. Ripley studies the writing, takes off his glasses to clean them. Dickie looks at him. DICKIE Without the glasses you're not even ugly. -LRB- takes them, tries them on. -RRB- I do n't need them because I never read. How do I look. RIPLEY Like Clark Kent. -LRB- takes them back, puts them on beaming at Dickie. -RRB- Now Superman. Dickie cuffs him. Ripley looks down at the postcard. DICKIE I know. I write like a child. RIPLEY Pretty vile. See this : The S and the T, do you see? - fine, vulnerable - that's pain, that's secret pain. DICKIE It must be a deep secret, cause I do n't know about it. RIPLEY Your handwriting - nothing more naked. See - nothing's quite touching the line - that's vanity. DICKIE -LRB- flattered. -RRB- Well we certainly know that's true.",
"INT. DICKIE'S BATHROOM. NIGHT. Dickie's in the bath. Ripley, dressed, sits on the stool next to the bath. They're in the middle of playing chess, the board propped on the bath tray. Ripley puts his hand in the water, checking the temperature. He turns on the faucet for a burst of hot. Ripley is absurdly happy. He pours some wine. DICKIE Do you have any brothers? RIPLEY No, no brothers, no sisters. DICKIE me neither. Nor does Marge. All only children - what does that mean? He looks at Ripley who looks at him, a little too long. RIPLEY Means we never shared a bath. I'm cold. Can I get in? DICKIE No! RIPLEY I did n't mean with you in it. DICKIE -LRB- standing. -RRB- Okay, you get in. I'm like a prune anyway. He gets out, walks past Ripley, who does n't turn around. But Dickie's reflected in the mirror. Ripley looks, then Dickie turns, holds his look momentarily before flicking him with his towel.",
"INT/EXT. AMERICAN EXPRESS OFFICE, NAPLES. DAY. An OFFICIAL is studying Dickie's passport photograph. It's not a recent picture. The official looks suspicious. Dickie is used to it. DICKIE It is me. It's an old picture. -LRB- sighs at Ripley. -RRB- Every time - ` is it you? Does n't look like you'. He's signing for his allowance. He has a smart document case with his initials prominently embossed. Ripley watches him sign and collect a large wad of notes. CLERK Letters - Greenleaf, and for Ripley. Ripley collects and studies his mail. As they walk outside he holds up one letter to Dickie. RIPLEY Fran. -LRB- anticipating her letter. -RRB- I miss you, where are you coming home? Stop telling me what a great time you're having, how you love Dickie. and Marge and. -LRB- the next letter. -RRB- And this one, I think, is your dad.",
"INT. TRAIN TO ROME. DAY. Ripley sits reading the LETTER from Herbert Greenleaf. He frowns, stops reading, looks out of the window. DICKIE What does he say? RIPLEY He's getting impatient. He wants me to reassure him you'll be home by Thanksgiving. DICKIE You've got to get a new jacket. Really. You must be sick of the same clothes. I'm sick of seeing you in them. RIPLEY I ca n't. I ca n't keep spending your father's money. DICKIE I love how responsible you are. My Dad should make you Chief Accountant or something. Let me buy you a jacket. There's a great place when we get to Rome, Batistoni. Ripley loves this idea and mouths the word, `` Batistoni''. DICKIE -LRB- cont'd. -RRB- Andiamo a Roma. We're taking Tom to Roma!",
"EXT. ARCARI'S CAFE, PIAZZA NAVONA, ROME. DAY. Ripley and Dickie sit outside at a Cafe in the Piazza Navona. Very smart, very sophisticated, very young crowd. There are already several empty coffee cups and a half empty bottle of Frascati. Ripley has his guide book out and is incredibly impatient. Dickie, meanwhile, has stretched out for the duration. RIPLEY Where do we find a carozza for the Forum, or can we hire any of them -? DICKIE Relax. RIPLEY It's just there's so much to do in a single day. DICKIE Relax. The most important question is where to eat. I hope Freddie made a reservation. RIPLEY Freddie? DICKIE Freddie Miles. You know - he's organizing the Cortina skiing trip. Ripley hates the idea of having this special day invaded. A horn makes him look up as FREDDIE MILES illegally parks his open top sports car opposite the cafe, sees Dickie and bustles over. He's a heavy - set American with a reddish crewcut. Ripley finds him disgusting to look at. Dickie is delighted. DICKIE -LRB- cont'd. -RRB- Frederico! FREDDIE Ciao bello. -LRB- noticing a beautiful woman in an open - topped car. -RRB- Do n't you want to fuck every woman you see. Just once. They kiss cheeks, continental - style. DICKIE This is Tom Ripley. Freddie Miles. FREDDIE -LRB- mugging. -RRB- Hey, if I'm late, think what her husband's saying! He fills Dickie's glass with wine and drinks it standing up. FREDDIE -LRB- cont'd. -RRB- So let's go. I got us a table outside at Fabrizio's. And Dickie's up, leaving Ripley to pick up all the tiny checks to work out the bill and pay it. DICKIE I'll tell you - I am so cabin - crazy with Mongi. Freddie and Dickie link arms Italian - style and cross the street to Freddie's car. FREDDIE I know. I was there. -LRB- looks back to see Ripley struggling to settle the check. -RRB- Tommy! It's S.R.O. Two seater. Standing Room Only. Chop, chop, Tommy! Ripley, abandoned, goes over. There's no room in the car. He has to crouch in the rear. FREDDIE -LRB- cont'd. -RRB- You're going to have to sit between us. But do n't put your shoes on the seat, know what I mean, put them one on top of the other. Okay?",
"INT. A JAZZ RECORD STORE. LATE AFTERNOON. This record store is hidden away down a cobbled alley, and stuffed with the trendiest Romans, all of whom rifle the stacks under a fog of cigarette smoke. There are two LISTENING BOOTHS, one of which has Freddie and Dickie crammed into it, sharing a set of headphones. Ripley stands outside the booth, holding both of their jackets like a manservant, while inside and behind the glass doors they chat animatedly. He looks longingly at the street, where the light is fading. Dickie catches his hangdog expression and pushes open the accordion doors. DICKIE Look, Tom, we've got to go to a club and meet some friends of Freddie's. The best thing is - if you want to be a tourist - grab a cab and we can meet up at the railway station. RIPLEY -LRB- absolutely crestfallen. -RRB- What club? DICKIE Freddie's arranged it with some of the skiing crowd. Come if you want but I thought you wanted to see the Forum? RIPLEY I did. And then maybe get the jacket and what have you. FREDDIE -LRB- from inside the booth. -RRB- Dick - you've got to hear this! DICKIE -LRB- oblivious to Ripley's pain. -RRB- Listen, just take one of mine when we get back. Do n't worry about it. I did the Forum with Marge and, frankly, once is enough in anyone's life. Ripley hands him the coats, turns away. DICKIE Ciao. Have fun. Ripley heads for the door, then comes back, raps on the booth. Dickie pushes it open. RIPLEY You said to make sure you did n't miss the train. It leaves at eight.",
"EXT. THE CAPITOL. LATE AFTERNOON. Ripley hikes up Michelangelo's Arcoeli Steps. Then he's looking down from the Campodoglio at the Forum below. Then he's walking by the oversized fragments of the Colossus. This is the real Ripley, the lover of beauty, inspired by art, by antiquity. He's awed. He's cold. He so much wishes he were n't alone.",
"INT. ROME RAILWAY STATION. NIGHT. It's past eight, Ripley stands, one foot on the guard step of the Naples train, waiting forlornly for Dickie, then giving up as the train pulls away. He pulls the door to his compartment closed, and sits inside the train alone.",
"INT. DICKIE'S BEDROOM. NIGHT. There's music playing, Bing Crosby's `` May I''. Very loud. Ripley dances to the mirror, SPECTACLES ABANDONED and DRESSED AS DICKIE IN HIS TUXEDO, MINUS TROUSERS. He adjusts his hair, catches one of Dickie's expressions. There are clothes abandoned everywhere. He's been having a big dressing - up session. He sings along with Bing. DICKIE -LRB- O/S. -RRB- What are you doing? Ripley turns, horrified, to see Dickie standing in the doorway. The music thumps away. RIPLEY Oh - just amusing myself. Sorry, Dickie. -LRB- pause. -RRB- I did n't think you were coming back. Dickie turns off the record player. DICKIE I wish you'd get out of my clothes. Ripley starts undressing, his fingers clumsy with mortification and shock. Dickie looks at his feet, shakes his head. DICKIE -LRB- cont'd. -RRB- Shoes too? RIPLEY -LRB- lame, ashamed. -RRB- You said I could pick out a jacket and I just. Sorry. DICKIE Get undressed in your own room, would you? RIPLEY I thought you'd missed the train. DICKIE Freddie drove me back in his car. RIPLEY -LRB- horrified. -RRB- Is Freddie here? DICKIE He's downstairs. RIPLEY I was just fooling around. Do n't say anything. Sorry. Dickie lets him leave and then sits amongst the debris of the dressing - up session, not amused.",
"EXT. DICKIE'S TERRACE. DAY. Ripley comes down, apprehensive, to find Marge and Dickie and Freddie having a jolly breakfast on the terrace. Dickie looks perfectly happy. MARGE Hi, Tom. Come join us. FREDDIE I want this job of yours, Tommy. I was just saying - You live in Italy, sleep in Dickie's house, eat Dickie's food, wear his clothes, and his father picks up the tab. If you get bored, let me know, I'll do it!",
"EXT. THE OCEAN, ABOARD THE BIRD. DAY. The boat is drifting. Freddie and Dickie and Marge are swimming, then Marge climbs back onto the boat, where Ripley is sitting alone, reading. MARGE You really should go in, it's marvellous. RIPLEY I'm fine. She approaches him, conscious of his isolation. She's in a red bikini, and she towels herself dry as they speak. MARGE Are you okay? RIPLEY Sure. They watch Dickie and Freddie fooling around in the water. MARGE The thing with Dickie - it's like the sun shines on you and it's glorious, then he forgets you and it's very very cold. RIPLEY So I'm learning. MARGE He's not even aware of it. When you've got his attention you feel like you're the only person in the world. That's why everybody loves him. Other times. There's a yell from Dickie as Freddie wrestles with him. DICKIE -LRB- laughing and choking. -RRB- He's drowning me! MARGE It's always the same whenever someone new comes into his life - Freddie, Fausto, Peter Smith - Kingsley - he's wonderful - did you meet him, he's a musician? -. and especially you, of course. and that's only the boys. They watch as Freddie pushes Dickie under the surface. MARGE -LRB- cont'd. -RRB- Tell me, why is it when men play they always play at killing each other? I'm sorry about Cortina by the way. RIPLEY What about Cortina? MARGE Did n't Dick say? - he talked to Freddie. apparently it's not going to work out -. -LRB- Ripley's devastated, Marge notices, ca n't look at him. -RRB- Freddie says there are n't enough rooms.",
"EXT. OCEAN, ABOARD THE BIRD. DUSK. LATER and now the boat is sailing again. Ripley is sitting in his spot. Dickie and Freddie are at the tiller. DICKIE Come on, Frederico, do you really have to go back? At least stick around for the Festival of the Madonna. FREDDIE I do n't think so. Come back with me to Rome. There's this great new club. Have some drinks, lotta ladies. Marge, still in her bikini, disappears into the cabin. Dickie makes a face at Freddie. DICKIE Do you think you can steer this thing? FREDDIE Sure. DICKIE Just point her at Capri and avoid the rocks. FREDDIE What are you doing? DICKIE Marge - maintenance. FREDDIE Aye, aye. Dickie heads towards the cabin. Freddie takes over the tiller. There's a breeze and the sailboat cuts through the water. From where Ripley sits he can see Capri in the distance, but he can also look down into the cabin, its porthole offering him a restricted view. He looks down and there's a flash of flesh, then nothing. Then as the boat swings with the waves, he glimpses the bikini top flung over a chair, and then Marge's bare foot kicking out rhythmically, the red - painted toes straining. Ripley's mesmerized, aroused, and absolutely betrayed. FREDDIE -LRB- cont'd. -RRB- Tommy - How's the peeping? Come on Tommy, you were looking. Tommy Tommy Tommy. Shamed, Ripley looks away. He stares at the water, parting before the boat, its turmoil reflecting his.",
"EXT. DICKIE'S MOORING. DAY. The Bird returns to the mooring by Dickie's House. Dickie as ever Captain of the Ship, clambering around, shouting instructions, with Ripley, Marge and Freddie as crew. Ripley looks back at shore. Silvana stands watching, staring. Dickie notices her too.",
"EXT. MONGIBELLO SLIPWAY. LATE DAY. A WOMAN'S HEAD suddenly breaks the surface of the water. It's a statue of the Virgin Mary, life size, adorned with flowers and a lace veil. As she is revealed, wooden, staring, four men emerge, lifting the statue on a palette, wading towards the shore, the Madonna aloft on their shoulders. The whole town of Mongibello is in attendance for this Annual Festival of the Madonna del Mare, either standing in their fishing boats, or on shore and flanking the Parish Priest and altar boys and incense. RIPLEY, DICKIE and MARGE watch from Dickie's terrace. There are hymns and, as the statue is carried to the shore, the men's heads barely above the waves, the congregation applauds at the illusion that the Madonna is walking on water. Suddenly ANOTHER HEAD appears on the surface of the water, about fifty yards from the statue. There's a scream from among the crowd as someone notices the body. It's SILVANA. One of the MEN carrying the statue turns first towards the direction of the scream and then towards the floating corpse. It's Silvana's fiancee, and in a second he has let go of the palette, CAUSING IT TO TOPPLE, and - in absolute grief - wades, swims, splashes towards the body. PANDEMONIUM in the crowd, which breaks up, with other people splashing, fully clothed, into the water. From the terrace, Ripley turns and looks at Dickie, catching his eye.",
"EXT. DICKIE'S TERRACE. LATE DAY. Marge and Ripley and Dickie watch from the terrace as below them an AMBULANCE takes away the body. It seems as if the whole town looks on - fiancee, parents, brothers, sisters, police, priest, etc.. As the corpse is loaded into the vehicle A BRIEF SCUFFLE occurs between Silvana's fiancee and her brother. They are pulled apart. Then the ambulance pulls away. RIPLEY What's the fight about? That's her fianc ‚, is n't it? Are they blaming him? DICKIE -LRB- sharp. -RRB- I do n't know! Why are you asking me? -LRB- agitated. -RRB- How can it take an hour to find an ambulance? MARGE -LRB- conciliatory. -RRB- Well, she was already dead, darling, was n't she, so I suppose - DICKIE I do n't know why people say this country's civilised. It is n't. It's fucking primitive. And with that HE KICKS OUT VIOLENTLY AT A CHAIR SUPPORTING THE RECORDPLAYER. Records, machine, chair go flying across the terrace. Dickie storms inside. MARGE Dickie! RIPLEY I'll go and see what's the matter. MARGE I'll go.",
"INT. DICKIE'S HOUSE. LATE AFTERNOON. Later, Dickie is slumped in an armchair at the open window overlooking the slipway. He's playing sax. A forlorn, keening phrase from YOU DO N'T KNOW WHAT LOVE IS. Ripley appears, begins tidying the mess in the living room. He picks up empty bottles, an abandoned bikini top. RIPLEY I know why you're upset. -LRB- Dickie continues playing. -RRB- I know about Silvana, Dickie. About you and Silvana. Dickie stops playing. DICKIE What about us? He now has an armful of dishes and glasses and bottles. DICKIE -LRB- cont'd. -RRB- -LRB- losing his temper. -RRB- You do n't have to clean up! Really! Ripley disappears into the kitchen. DICKIE -LRB- cont'd. -RRB- -LRB- as Ripley returns. -RRB- She was pregnant. Did you know that? Do you know what that means in a place like this? RIPLEY I'm prepared to take the blame. DICKIE What are you talking about? RIPLEY You've been so good to me. You're the brother I never had. I'm the brother you never had. DICKIE She came to me for help, she needed money, and I did n't help her. I did n't help her. Now she's dead and it's my fault. RIPLEY I'm not going to say anything - to Marge, or anybody, the police - It's a secret between us and I'll keep it. And he disappears again, leaving Dickie to resume the sax, somehow in thrall to Ripley. RIPLEY -LRB- O/S. -RRB- Dear Tom, I think the time has come to discontinue your expense checks.",
"EXT. AMERICAN EXPRESS, NAPLES. DAY. Ripley and Dickie are walking out of the American Express Office, Dickie pushing the rest of his money into his case, Ripley - despondent - reading aloud extracts from a letter from Herbert Greenleaf - RIPLEY The thousand dollars, of course, was only due in the event that you succeeded in bringing Dickie home. Naturally, I hope the trip has afforded you some pleasure despite the failure of its main objective you need no longer consider yourself obligated to us in any way. DICKIE You ca n't blame him. You could hardly expect this to go on forever. RIPLEY I thought you might write again. Now that we're brothers. DICKIE I ca n't, how can I, in all decency? We've had a good run, have n't we? RIPLEY -LRB- increasingly miserable. -RRB- What about Venice? Can we stick to that plan at least? DICKIE I do n't think so, Tom. You ca n't stay on here without money. It's time we all moved on. Besides I'm sick of Mongi. Especially now with everything - I really want to move to the North. I need to check out San Remo next week, find somewhere new to keep the boat. But it would be great, though, if you came with me. Our last trip before you leave. There's a jazz festival - we could say goodbye in style. What do you think? A last trip?",
"INT. TRAIN TO SAN REMO. AFTERNOON. Dickie and Ripley travel up to San Remo. They sit next to each other. Dickie's asleep. Ripley lays his head on Dickie's shoulder, but as he does that, the ticket inspector announces the San Remo stop, taps on the window and Dickie stirs. Then Ripley plays his familiar game of studying his face in the reflection of the train window, so that he can move his head and see his reflection, then back and see Dickie's. Dickie suddenly catches him staring. Ripley looks away. DICKIE -LRB- terse. -RRB- Why do you do that thing - with your neck? On trains you always do that thing, it's so spooky.",
"EXT. HOTEL TERRACE RESTAURANT, SAN REMO. NIGHT. Dickie and Ripley walk through the terrace of an hotel which lips out towards the sea. There's a restaurant and palms and a JAZZ QUINTET playing, American. Very cool. They pass the band. Dickie's captivated as they head for their table. They pass some girls at a table. Dickie smiles greedily. DICKIE This is more like it. Did n't I tell you San Remo was crazy! They're shown to a good table. Dickie watches the band while their glasses are filled with champagne. Ripley looks happy. He's got Dickie all to himself. RIPLEY To Mongibello and the happiest days of my life. DICKIE To Mongi. You're cheerful tonight. RIPLEY I'm suddenly quite happy to be going back. DICKIE That's good. RIPLEY I've got plans! DICKIE Ripley's plans. RIPLEY Esatto. I'm always planning. DICKIE Did I know you at Princeton, Tom? I did n't, did I? RIPLEY Why are you asking all of a sudden? DICKIE No reason. Because you're leaving, I guess. I do n't think you were there, were you? RIPLEY Why? DICKIE I mean it as a compliment. You've got such great taste, I do n't know. Most of the thugs at Princeton had tasted everything and had no taste. Used to say, the cream of America : rich and thick. Freddie's the perfect example. RIPLEY Then I'll take it as a compliment. DICKIE I knew it! I had a bet with Marge! RIPLEY -LRB- a beat. -RRB- Ha. DICKIE Do you even like jazz - or was that something for my benefit? RIPLEY -LRB- conceding, without guile. -RRB- I've gotten to like it. I've gotten to like everything about the way you live. It's one big love affair. If you knew my life back home in New York. Dickie's distracted by the drummer who's playing an extrovert solo, does n't hear the confession of love. DICKIE I'm thinking of giving up the sax, what do you think about drums? RIPLEY What? DICKIE So cool. He mimes a high - hat and snare. Ripley ca n't quite credit this - it's superficiality.",
"EXT. MID OCEAN. DAY. The bay of San Remo. DICKIE and RIPLEY have hired a motor boat. DICKIE That's how I found my place in Mongi. Took a boat out round the bay. The first place I liked, I got it. The motor boat is ploughing the waves. Dickie exhilarated by the speed. RIPLEY Dickie, slow down, come on! Ripley grips the oar, his knuckles white. Dickie cuts the motor, and the boat slows to a crawl, miles from the shore. DICKIE -LRB- ecstatic. -RRB- I love it here! Gon na live here! Dickie takes off his jacket, then drums against the edge of the boat, developing a rhythm with his lighter and fingers, already on the way to becoming Buddy Rich. RIPLEY I wanted to tell you my plan. DICKIE So tell me. RIPLEY I thought I might come back. In the New Year. Under my own steam. DICKIE -LRB- suddenly tight. -RRB- Really? To Italy? RIPLEY Of course. Let's say, for argument's sake, you were here - perhaps we could split the rent on a house - I'll get a job - or, better still, I could get a place in Rome and when we're there we could be there and if we're here we could be here - DICKIE Oh God, I do n't think so. RIPLEY - you see, particularly with the Marge problem, you can just blame me. DICKIE Marge and I are getting married. RIPLEY -LRB- appalled. -RRB- How? DICKIE How? RIPLEY Yesterday you're ogling girls on the terrace, today you're getting married. It's absurd. DICKIE I love Marge. RIPLEY You love me and you're not marrying me. DICKIE -LRB- cold. -RRB- Tom, I do n't love you. RIPLEY No, no, it's not a threat, I've explained all of that. DICKIE I'm actually a little relieved you're going, to be honest. I think we've seen enough of each other for a while. Ripley stares at him, his eyes suddenly reptilian. RIPLEY What? DICKIE You can be a leech - you know this - and it's boring. You can be quite boring. RIPLEY -LRB- volcanic. -RRB- The funny thing - I'm not pretending to be somebody else and you are. I'm absolutely honest with you. I've told you my feelings. But you, first of all I know there's something - that evening when we played chess, for instance, it was obvious - DICKIE -LRB- incredulous. -RRB- What evening? RIPLEY Sure - I know, that's too dangerous for you, fair enough, hey! we're brothers, fine, then you do this sordid thing with Marge, fucking her on the boat while we all have to listen, which was excruciating, frankly, plus you follow your cock around like a - and now you're getting married! I'm bewildered, forgive me. you're lying to Marge then getting married to her, you're knocking up Silvana, you've got to play sax, you've got to play drums, which is it, Dickie, what do you really play? Dickie, furious, gets up, and lurches towards Ripley. DICKIE -LRB- attacking him, administering tiny slaps as punctuation to his tirade. -RRB- Who are you - some imposter, some third class mooch - who are you to tell me anything? Actually, I really really really do n't want to be on this boat with you, I ca n't move without you moving, which is exactly how it feels and it gives me the creeps. -LRB- he goes to rev up the engine. -RRB- I ca n't move without - `` Dickie, Dickie, Dickie'' - like a little girl. You give me the - RIPLEY SMASHES HIM ACROSS THE HEAD WITH THE OAR. DICKIE SLIPS OFF THE WOODEN SEAT, HIS EYES ROLLING IN GROGGY SURPRISE. RIPLEY Shut up! Just shut up! Just shut up! The boat slows as Dickie releases the tiller. Dickie looks up at Ripley wearily and slides onto his back. DICKIE For God's sake. Ripley, shocked at himself, goes to Dickie, rocking the boat, catches him up, then is horrified to see Dickie's face, apparently unmarked, SUDDENLY SPLIT OPEN, a line of blood and then a peeling like a fruit bursting. Ripley's appalled. A terrible roar issues from Dickie as he launches himself at Ripley. DICKIE -LRB- cont'd. -RRB- I'll kill you! Ripley finds himself pushing him away, picking up the oar, kicking off Dickie's hand around his ankle. The boat is rocking and swerving crazily as Dickie falls against the tiller. Ripley almost loses his balance. His glasses come off. They struggle, locked together in a life or death wrestle to get control of the oar. Dickie's blinded by his own blood, loses his grip. Ripley, terrified, hits Dickie again and again, the oar like a carpet - beater banging down flat, blood on the blade, blood on Ripley, until he's on his knees, heaving for breath, letting his arm drop, then realizing, disgusted, that he's let it rest in a pool of blood. He starts to sob, sprawls there, sobbing, next to Dickie, horrified by what he's done. Nobody's in sight. The boat rocks, gently, the sun sparkling indifferently on the waves. Ripley lies by Dickie in the bottom of the boat, in the embrace he's always wanted. The pretty blue - and - white boat rocks peacefully. The sea calms.",
"EXT. A COVE NEAR SAN REMO. AFTERNOON. A deserted cove, several miles along the coast. Ripley clambers onto a rock over the shore. He's watching the boat slowly sinking. Shuddering from the exertion, the cold, he finds Dickie's jacket, puts it on and watches as the boat disappears under the surface.",
"EXT. SAN REMO. DUSK. Ripley walks back towards the hotel, still wearing Dickie's jacket, cold and wet, his bag over his shoulder.",
"INT. HOTEL LOBBY. EARLY EVENING. Ripley approaches the front desk. He's shivering. He's not wearing his glasses. RIPLEY Can I have my key, please? RECEPTIONIST -LRB- at the key rack. -RRB- Of course - But you must be very cold? Signor Greenleaf? Yes? - RIPLEY -LRB- mind racing. -RRB- No, it's - I'm.",
"EXT. ROAD BETWEEN NAPLES AND MONGIBELLO. DAY. Ripley sits on the bus as it rumbles towards Mongi. He stares out of the window, full of what he's done. No idea what to do.",
"EXT. MONGIBELLO, FISHERMAN'S WHARF. DAY. The BUS comes into town. Ripley gets out, looks calm, very together.",
"INT. DICKIE'S LIVING ROOM, MONGIBELLO. DAY. Ripley walks into the living room, slowly approaches Dickie's saxophone which is on its stand on the table. He ca n't get close to it, it evokes Dickie too much.",
"INT. DICKIE'S LIVING ROOM. DAY. Ripley has Dickie's Hermes Baby typewriter on the desk and is busy writing letters. He has finished a letter to the Greenleafs, now he's at the end of one to Marge. We can read part of it - C/O American Express, Rome 9 November 1958. Dear Marge, this is a difficult letter for me to write. Ripley produces the Shakespeare and Signature page and COPIES DICKIE'S SIGNATURE at the end of the letter.",
"EXT. MARGE'S GARDEN, MONGIBELLO. DAY. Ripley stands at the entrance to Marge's garden where she is working at her book on the outside table, surrounded by references and notes, held down by bricks. He looks at her until she looks at him. She's startled, gasps. RIPLEY Hello Marge. MARGE Tom, you startled me! You're back. RIPLEY How are you? Sorry. Is your book going well? MARGE Yes - I'm on a good streak, thanks. RIPLEY I was just looking at you -. -LRB- looking at her tenderly. -RRB- - so quiet. MARGE Where's Dickie? RIPLEY I think he's planning on staying in Rome for a few days. MARGE -LRB- looks at him. -RRB- Ha. Did he say why? RIPLEY I do n't know. I do n't understand Dickie, Marge, so your guess is as good as mine. MARGE What does that mean? RIPLEY Well, one day I'm invited skiing, the next day I'm not, one day we're all one family, the next day he wants to be alone. You tell me. MARGE Is that what he said - he wanted to be alone? RIPLEY He was thinking of you, Marge - he asked me to deliver this. He hands her a package. She pulls at it, it's perfume. MARGE Thanks. he knows I love this, although why it could n't have waited. RIPLEY Errand number one - deliver Marge's perfume. Errand number two, pack some clothes and his precious saxophone. MARGE -LRB- alarmed. -RRB- How long's he staying for? RIPLEY Search me. I guess we're abandoned.",
"EXT. MONGIBELLO, BEACH. EARLY MORNING. Marge is walking along the beach and out onto the jetty, forlorn, a bleached figure on this winter morning.",
"INT. OFF FROM DICKIE'S LIVING ROOM. MORNING. As Ripley walks down the stairs, Marge is at the icebox in the living room. She's fixing herself a drink, has the icebox open for ice. She's ashen, and might have been weeping, walks back into the kitchen area. MARGE There was a letter from Dickie in with my perfume. You realize it's more than a few days? He's thinking of moving to Rome. She bangs out the ice onto the counter, cubes falling everywhere. Ripley drops to the floor and starts to clear them up. She's got the letter, shows it to Ripley. He puts fresh ice into her glass. MARGE -LRB- cont'd. -RRB- The thing is, the night before he left, we talked about moving, together, going North - and I suppose I put some pressure on him, about getting married, I just might have scared him off. There's a side to him, when our heads are on the pillow, I know no - one else sees it, which is really tender. -LRB- unravelling. -RRB- I think I should come with you to Rome and just confront him. Ripley lights a cigarette. Marge loses confidence. MARGE -LRB- cont'd. -RRB- He hates being confronted. RIPLEY I think you're right.",
"INT. ALBERGO GOLDONI, ROME. DAY. RIPLEY'S BATTERED CASES are carried into the tiny lobby of this small hotel. He exchanges his passport at the desk for his room key, then makes his way, carrying his own luggage to the metal cage elevator. THIS SCENE INTERCUTS WITH :",
"INT. HOTEL GRAND. DAY. DICKIE'S ARRAY OF LEATHER LUGGAGE is pulled along on a baggage trolley by a liveried PORTER. Dickie's passport slides across the marble desk. A key comes back, collected by a hand sporting Dickie's two distinctive rings. As ALDO, the Front Desk Manager, inspects the passport, he looks at the owner. Ripley wears a terrific suit, his hair parted in the Greenleaf style, no glasses. His voice, when he speaks, has the same, lazy, confident drawl. ALDO Welcome back, Signor Greenleaf. RIPLEY -LRB- walking away. -RRB- Thank you.",
"INT. RIPLEY'S SUITE, GRAND. DAY. The PORTER takes the cases and opens them as Ripley walks around the suite. It's large and splendid. Ripley breathes in its opulence. He immediately picks up the telephone. RIPLEY Yes, I'd like you to telephone the Hotel Goldoni. Yes. I want to speak to Signor Thomas Ripley - No Ripley, R, yes. Grazie. He produces Dickie's pen and signs the blotter quickly - H R Greenleaf. Then he pulls out a postcard from the writing case to reveal Dickie's Stars, hide your fires handwriting specimen. He compares the two signatures, is pleased. The telephone rings. RIPLEY -LRB- cont'd. -RRB- Pronto? Signor Ripley is not there? I'd like to leave a message. Yes. Please call Dickie - Dickie Greenleaf - at the Grand.",
"INT. RIPLEY'S HOTEL ROOM, GOLDONI. DAY. A tiny, cell of a room, single bed. Ripley on the phone. RIPLEY He's not there? Very well. I'll leave a message - Got your call. Dinner tonight sounds fine. Ripley. -LRB- listens as it's read back. -RRB- Dinner tonight, yes, is okay. Yes, thank you.",
"INT. GUCCI STORE, ROME. DAY. Ripley has bought some more LEATHER GOODS - a briefcase and overnight bag. He is at the counter, signing checks. RIPLEY I'd like these to have my initials - embossed, I do n't know the word in Italian. embossed? GUCCI ASSISTANT Embossed, of course, Signor Greenleaf. There's an excited rap on the window and a shout of DICKIE! Shocked, Ripley looks over to find MEREDITH LOGUE outside, alone and delighted to see him. He grins and mouths hello. MEREDITH -LRB- entering the shop. -RRB- Dickie! Oh my God! Ciao.",
"EXT. ACROSS PIAZZA NAVONA TO ARCARI'S CAFE. DAY. Ripley and Meredith walk across the Piazza towards the cafe. MEREDITH But you're going skiing with us Yankees, are n't you? RIPLEY What? MEREDITH At Christmas. To Cortina with Freddie Miles and - RIPLEY -LRB- interrupting, astonished. -RRB- How did you know that? MEREDITH Everybody knows Freddie Miles. RIPLEY -LRB- unsettled. -RRB- Is Freddie in Rome? MEREDITH Now? I do n't think so. But I've met him, of course, and we've chatted and I know about you and Marge and Mongi and what an unreliable rat you are. Freddie said you were a rat and I thought to myself now I know why he travels under R. RIPLEY I've left Marge, Meredith. And Mongi. So the rat's here now, in Rome. MEREDITH Sorry, I would n't have made a joke if - RIPLEY Do n't be sorry. I've never been happier. I feel like I've been handed a new life.",
"EXT. AMERICAN EXPRESS OFFICE, ROME. DAY. Meredith and Ripley walk down the Spanish Steps and head inside the office. MEREDITH The truth is if you've had money your entire life, even if you despise it, which we do - agreed? - you're only truly comfortable around other people who have it and despise it. RIPLEY I know. MEREDITH I've never admitted that to anyone.",
"INT. AMERICAN EXPRESS OFFICE, ROME. DAY. Ripley's signing Dickie's allowance receipt. Meredith is with him, signing her own counterfoil. He is, of course, endorsed by her presence. She goes to the window ahead of him. She takes her money, turns to him. He hands over his documents. The Clerk compares Ripley's signature with the one on the passport and then looks up at him. Ripley is cool as a cucumber. RIPLEY I do n't want too many large bills. Nobody will change them.",
"INT. RIPLEY'S SUITE, GRAND. ANOTHER DAY. Where A TAILOR is finishing the fitting of a cashmere jacket for Ripley. Bolts of cloth everywhere as Meredith adjudicates the possible materials, which the tailor holds up against Ripley. MEREDITH Show me the other one again. -LRB- the Tailor obliges. -RRB- I like them both. RIPLEY I'll take them both. Ripley goes inside the bedroom to change. While he's inside, Meredith shows the Tailor out. As she returns she notices the open sax case, peers inside. MEREDITH -LRB- O/S. -RRB- I know you're a jazz fiend but do you absolutely hate the Opera? I've been trying to give my tickets away, it's tomorrow, but if you were prepared to be dragged. She looks up to catch him bare - chested. She's intoxicated by him, the romance she feels to be in the air. RIPLEY -LRB- emerging. -RRB- You could drag me.",
"INT. THE OPERA HOUSE, ROME. On stage is Act Two of Eugene Onegin. Lensky sings his aria before the duel with Onegin. Ripley's in a tuxedo, in a box which includes a glamorous Meredith and her AUNT AND UNCLE. He knows what comes next. Lensky is shot by Onegin. Blood pours from his neck into the snow. Onegin, horrified at the death of his friend, goes over, wraps Lensky in his cloak, the silk lining flashing, kneels holding him. Ripley can barely hide his emotion. Meredith watches her sensitive friend, entranced.",
"INT. OUTSIDE THE BOXES, OPERA HOUSE, ROME. The Interval. Ripley and Meredith exit their box with Meredith's Aunt and Uncle -LRB- who heads for the interval drinks -RRB-. RIPLEY Thanks so much for inviting me tonight. JOAN Can you bear it? We hear you're a friend of Freddie's - he has I hate Opera tattooed on his chest. RIPLEY There's room for a whole libretto on Freddie's chest. JOAN -LRB- laughs. -RRB- I'm sure we've met. They reach the console where Uncle Ted has their drinks. JOAN -LRB- cont'd. -RRB- I was sure we'd met, were n't you, Ted? This is Herbert Greenleaf's boy. RIPLEY Thanks, yes, I think we did. JOAN One minute you people are children and the next you're getting tattooed.",
"INT. OPERA HOUSE, FOYER. NIGHT. Ripley heads past the Beautiful People on his hunt for the Men's Room, and walks straight into a young and cultured Englishman. They greet each other and suddenly MARGE is beside them. MARGE -LRB- as if she's seen a ghost. -RRB- Oh my God. Tom. RIPLEY Marge, how are you? What are you doing in Rome? MARGE Is he here? Are you with Dickie? RIPLEY No. -LRB- to Smith - Kingsley. -RRB- Hello, I'm Tom Ripley. PETER Peter Smith - Kingsley. I've heard about you, of course - from Marge, and Dickie. MARGE -LRB- works out what's strange. -RRB- No glasses. He fishes out the glasses. RIPLEY -LRB- to Peter. -RRB- Ditto. PETER Where are you hiding him? He's impossible, is n't he? MARGE Is he really not here? RIPLEY Marge, you know Dickie has I hate Opera tattooed on his chest. MARGE You were going to Venice. PETER Yes, what happened? I heard you were desperate to come. I was looking forward to rowing you around. RIPLEY I am. I really am. And I've been travelling. I just ca n't seem to get that far north. PETER Well hurry, before we sink. -LRB- reaches into his jacket. -RRB- Should I give you my telephone number in Venice? RIPLEY Thanks. The INTERVAL BELL'S ringing. Peter hands over his card to Ripley, sees Meredith. PETER Look there's Meredith thingy - who's that, Marge? - they're in textiles. Meredith -. -LRB- embarrassed at not remembering. -RRB- God, how awful, I've spent Christmas in her house! MARGE I do n't know her. -LRB- to Ripley. -RRB- He has n't called, he's hardly written, just these cryptic notes. You do n't just dump people. The last INTERVAL BELL. There's a mini - stampede to return. PETER Will we see you later? RIPLEY I ca n't later. PETER And tomorrow? RIPLEY Tomorrow's possible. Do you know Dinelli's? Piazza di Spagna? PETER I know the Piazza di Spagna. What time? RIPLEY Ten thirty? PETER We'll be there. RIPLEY Okay. Marge, see you tomorrow. -LRB- to Peter. -RRB- It's really good to meet you.",
"INT. BOX, OPERA HOUSE. NIGHT. Ripley goes straight to Meredith and grabs her. RIPLEY Let's go. MEREDITH I thought you were enjoying yourself? RIPLEY Let's take a Carozza and look at the moon. MEREDITH You're crazy! It's freezing out there. He's looking past her, where a mirror reflects Marge wading through the audience, Peter's elegant head getting dangerously near as they approach their seats. RIPLEY C'mon, I need to talk to you. Just the two of us. MEREDITH -LRB- quite taken. -RRB- Okay then, you're crazy.",
"EXT. CAROZZA, ROME. NIGHT. Meredith shivers in the raw night as they cross the Tiber. Ripley as Dickie is confessing his heart belongs to Marge. MEREDITH Do n't worry. Really. Do n't worry. RIPLEY You're such a pal to understand. It's as if Marge is here now - I look at you and I see her face - and I ca n't, whatever I'm feeling towards you - I just ca n't. MEREDITH No, I absolutely understand. Of course. RIPLEY Otherwise you'd be fighting me off. MEREDITH Beating you away.",
"EXT. MEREDITH'S APARTMENT, ROME. They arrive at the courtyard outside Meredith's Apartment Building. Ripley jumps down, collects her. She makes to go inside, then looks at him. MEREDITH Will you meet me tomorrow? Just to say goodbye in the daylight, properly? So it's not just this, it's too. you should always save pain for daylight. RIPLEY Oh Meredith, I'm sorry. Of course I'll meet you. Let's have coffee in the morning at Dinelli's. MEREDITH -LRB- fluttering. -RRB- I do n't - is that by the Spanish Steps? RIPLEY Exactly. 10.30 -. -LRB- instantly correcting himself. -RRB- 10.15. He gets back into the carozza. It moves off.",
"EXT. DINELLI'S CAFE, PIAZZA DI SPAGNA. MORNING. Meredith sits waiting in a cafe at the bottom of the Spanish Steps. Ripley, dressed as Ripley, is at the top of the steps, among early tourists, watching as she drinks her coffee at an outside table. Then Marge and Peter appear walking up the Via Condotti, head for another table, do n't see Meredith. She acknowledges Peter who has n't noticed her. MEREDITH Peter? Hello, it's Meredith Logue. PETER Of course it is, Meredith, hello, I'm sorry, half - asleep, how are you? This is Marge Sherwood. Meredith Logue. MARGE Hello. Hearing Marge's name Meredith reacts, freezes. PETER Join us, wo n't you? We're just waiting for a friend. Do you know, I wonder did we see you at the Opera last night? MEREDITH I wo n't actually, although I think this might - are you waiting for Dickie? PETER Well no, as it happens, although. MARGE -LRB- stunned at the mention of his name. -RRB- Dickie? Do you know Dickie? MEREDITH You were at the Opera? Well, that explains - yes I was there. I was there with Dickie. MARGE -LRB- to Peter. -RRB- I told you! I knew it! MEREDITH -LRB- moving over to them. -RRB- Marge, I do n't know you, so I have no right, but Dickie loves you. He's - I think you'll find he's coming home to you. MARGE -LRB- proprietorial. -RRB- How would you know that? MEREDITH He told me everything. I was supposed to meet him fifteen minutes ago, so I. I'm going to go now, I think. Unless he meant us to meet - which would be a little cruel, would n't it? PETER No, we're meeting another friend. Tom Ripley. MARGE Do you know Tom? MEREDITH Ripley? No. I heard about him, of course, but no, I did n't meet him. The WAITER has arrived to take orders. Meredith indicates she's leaving. MEREDITH -LRB- cont'd. -RRB- Not for me. No, grazie. Marge is on the edge. Peter lays a hand to comfort her. MEREDITH -LRB- cont'd. -RRB- I hope I did n't complicate matters, but nothing, nothing untoward happened, nothing to prevent you from welcoming him back, from marrying him. Goodbye. Goodbye Peter, please do n't get up. Peter gets up. Ripley, from his vantage point at the top of the steps, watches Meredith leave and walk off into the crowd. He begins the slow walk down towards the square. As he becomes visible to the cafe, he starts to hurry. He's apologising to Marge and Peter as they see him, in his element, lying and believing in his lie. RIPLEY Sorry, sorry. Had to renew my papers. Italian bureaucracy - never one stamp when they can make you line up for three. Have you been waiting long? PETER Not at all. Morning Tom. RIPLEY Hi. -LRB- to Marge. -RRB- Sorry. You okay? You look as if you've seen a ghost. MARGE Dickie was at the Opera last night. RIPLEY I do n't believe it. Wild horses would n't drag Dickie to - MARGE He was there with someone. So I suppose she must have dragged him - that's not fair. I'm going back to Mongi. I think Dickie's coming home. -LRB- to Peter. -RRB- I'm going to go home. RIPLEY Really? That's swell. No, I was just - you're way ahead of me! Great! PETER We think he's had a change of heart. -LRB- to Marge. -RRB- So we should be celebrating. MARGE I hope so. PETER -LRB- to Marge. -RRB- That was moving, was n't it? When Meredith said -. -LRB- to Ripley. -RRB- Meredith's the American girl I saw last night, I know her, at the Opera, she's been seeing something of Dickie - RIPLEY My God. PETER But the point is Dickie - well we know this - Dickie loves Marge and he misses her and apparently he's come to his senses. RIPLEY It's fantastic. -LRB- to Peter. -RRB- I feel guilty. Marge does n't understand this, but anytime Dickie does something I feel guilty.",
"INT. APARTMENT, PALAZZA GIOIA. DAY. Ripley is being shown an APARTMENT FOR RENT in the Palazzo Gioia by a dry - witted older woman, SIGNORA BUFFI. Ripley explores, relishing the decor. SIGNORA BUFFI Accendo il riscaldamento. -LRB- I'll turn the heating on. -RRB- RIPLEY -LRB- mimes playing sax. -RRB- Mi piace suonare. -LRB- I like to play music. -RRB- SIGNORA BUFFI -LRB- shrugs. -RRB- Io sono sorda. Quelli di sotto, una coppia, sono sordi. Allora, ti piace? -LRB- I'm deaf. The couple below are deaf. So, do you like it? -RRB-",
"INT. RIPLEY'S APARTMENT. AFTERNOON. Ripley is in the apartment, fire burning, wearing pyjamas. There's a small Christmas tree. He kneels on the floor with some festive, gift - wrapped packages. He opens a package. It's a marble head of Hadrian. A gasp from Ripley. He picks up a glass, pours himself a drink.",
"INT. RIPLEY'S APARTMENT. LATE AFTERNOON. Ripley plunges into Bach's Italian Concerto on his new and precious toy, a STEINWAY GRAND. His doorbell rings. He stops playing. He does n't get visitors. He rises, a little nervous. RIPLEY Hello? FREDDIE -LRB- O/S. -RRB- Dickie? RIPLEY Who is it? FREDDIE -LRB- O/S. -RRB- It's Freddie. Let me in. RIPLEY ALMOST COLLAPSES. He's faint. FREDDIE -LRB- O/S. -RRB- Dickie, come on, it's me. Ripley ca n't think what to hide, where to hide. He opens the door. RIPLEY Hello, Freddie, it's Tom, Tom Ripley. FREDDIE -LRB- confused, not pleasantly. -RRB- Oh hello, where's Dickie? How are you? RIPLEY Yes, I'm good, thank you. Dickies at dinner. He's at Otello's. Do you know it? FREDDIE I do n't think he's at dinner at 6.30 pm. If you said he was still at lunch I'd believe you. Incredible. The guy has disappeared off the face of the earth. RIPLEY I guess. FREDDIE The landlady - as far as I could tell, the landlady said he was here right now. RIPLEY He's gone to dinner! Search the place. I ca n't think why you would imagine Dickie would hide from you. FREDDIE Because he's been hiding from me - what happened at Christmas? RIPLEY What about Christmas? FREDDIE He was supposed to come skiing. I did n't get a cable or a call or a note or, frankly, a fart. Ripley has his hands behind his back. HE'S TUGGING FRANTICALLY AT DICKIE'S RINGS. Ripley wanders into the kitchen, turns on the tap to sluice his fingers. RIPLEY -LRB- O/S. -RRB- Of course, he's been very involved in his music, has n't he? I think his theory is, you know, you have to go into a cocoon before you can become a butterfly. FREDDIE Which is horseshit. Have you heard him play that thing? -LRB- gesturing at the sax on its stand. -RRB- He ca n't. RIPLEY -LRB- O/S. -RRB- -LRB- casually. -RRB- How did you find him? It's such an out of the way apartment. Can I fix you a drink? FREDDIE No thanks. -LRB- explaining his detective work. -RRB- Some kid at the American Express Office. -LRB- he starts to explore. -RRB- Are you living here? Now he starts to hammer a nasty boogie - woogie on the piano. RIPLEY -LRB- returning, flinching. -RRB- No. No, I'm staying here for a few days, in Rome. That's a new piano, so you prob - FREDDIE -LRB- O/S. -RRB- Did this place come furnished? It does n't look like Dickie. Horrible is n't it? - so bourgeois. Now he's poking at the Hadrian bust. RIPLEY You should watch that! FREDDIE In fact the only thing which looks like Dickie is you. RIPLEY Hardly. FREDDIE Have you done something to your hair? Ripley starts to smile, his eyes darting around the room. RIPLEY Freddie, do you have something to say? FREDDIE What? I think I'm saying it. Something's going on. He's either converted to Christianity - or to something else. RIPLEY I suggest you ask Dickie that yourself. Otello's is on delle Croce, just off the Corso. FREDDIE Is it on `` delle Croce, just off the Corso''? You're a quick study, are n't you? Last time you did n't know your ass from your elbow, now you're giving me directions. That's not fair, you probably do know your ass from your elbow. I'll see you. AND HE'S GONE. Ripley shuts the door, smooths the silk runner on the table where Freddie's hand had rucked it. He goes back to the door, opens it and looks over the rail.",
"INT. LANDING AND STAIRS, RIPLEY'S BUILDING. LATE DAY. FREDDIE IS BACK IN CONVERSATION WITH SIGNORA BUFFI. Ripley ca n't make out the text but there's some discussion about Signor Greenleaf and Signor Ripley. Ripley hurries inside as Freddie's heavy shoes start to clump up the stairs again.",
"INT. RIPLEY'S APARTMENT, ROME. LATE DAY. Freddie knocks on the door which pushes open. As he marches in, he launches into his interrogation. FREDDIE Ripley? There's someth - - AND WALKS STRAIGHT INTO THE HEAD OF HADRIAN WHICH RIPLEY SWINGS AT HIM, HOLDING ON AWKWARDLY WITH BOTH HANDS TO THE HEAVY MARBLE SCULPTURE. Freddie falls like an ox, first to his knees, groaning, then to the floor as Ripley brings the head down again, beating him downwards. As Freddie slumps away, Ripley loses his balance and the head sends Freddie a glancing blow before slipping from Ripley's grasp and smashing on to the floor. THE NOSE IS CHIPPED OFF.",
"EXT. PALAZZO GIOIA. NIGHT. It's deserted. Ripley hauls Freddie out of the shadows towards the car. A couple walk across the square. Ripley talks to Freddie, berating him for his drunken stupor. He pushes him over the door and into the passenger seat. RIPLEY -LRB- mimicking Freddie's voice. -RRB- Hey, if I'm drunk, think what her husband's saying.",
"EXT. VIA APPIA ANTICA. NIGHT. The Fiat noses along THE APPIAN WAY. Black fragments of tombs punctuate either side of the poorly lit road. Inside the car, Ripley looks to left and right for a place to dump the body. He slows near a clump of trees.",
"INT. RIPLEY'S APARTMENT, ROME. EVENING. Someone is KNOCKING urgently at the door. Ripley opens it, finds himself face to face with Signora Buffi and TWO POLICEMEN. One of them offers his hand. ROVERINI Dickie Greenleaf? RIPLEY Yes? ROVERINI Inspector Roverini. Can we come in?",
"INT. RIPLEY'S APARTMENT. EVENING. Ripley sits with his head in his hands at the table. Roverini and his sergeant, BAGGIO, watch patiently. ROVERINI It's a terrible shock, eh? What time did Signor Miles leave yesterday? RIPLEY I ca n't be absolutely sure - 8? 9? We'd both taken on far too many drinks - but it was dark, it was certainly dark when I walked him down to his car. ROVERINI So Signor Miles drove away and you did what? RIPLEY I went to bed. Freddie's a big man, but I'm in trouble after a couple of drinks. I've suffered all day. Who found him? Roverini has walked over to the bust of Hadrian. ROVERINI Senta. We have to ask you to stay in Rome. RIPLEY Yes, if it's going to help, certainly. ROVERINI So, the Doctor, he has to make the -. -LRB- looks at Baggio. -RRB- - come se dice? RIPLEY Postmortem? ROVERINI Yes, exactly, but his first, his first conclusion was that Signor Miles was killed not later than seven o'clock yesterday evening. RIPLEY Well, he certainly was n't dead when he drove off in his car. ROVERINI No.",
"EXT. NARROW STREET, THE GHETTO, ROME. MORNING. Ripley comes through a dark tunnel in the Ghetto on his scooter. He drives past a furniture store, DRESSING TABLES AND MIRRORS spilling out onto the street. He glances sideways, sees his reflection fractured into several images and, for an instant, it seems AS IF DICKIE'S THERE WATCHING HIM. Ripley screams and swerves, crashing into the pavement, the scooter falling onto him and pulling him along the cobbled passage. The man he thought to be Dickie, an Italian, runs up concerned.",
"EXT. AMERICAN EXPRESS, PIAZZA DI SPAGNA. DAY. Ripley emerges from the American Express Office. Across the street at the cafe, as once before, sits Marge. Ripley slips Dickie's bag into his knapsack as he approaches his scooter. Marge spots him and strides across the piazza. She is in no mood for pleasantries. MARGE Did he kill Freddie? RIPLEY Marge, when did you get here? MARGE Tell me the truth. Did he kill Freddie? RIPLEY I'd swear he did n't. Of course he did n't. MARGE I tried again, waiting here, watching for him. Instead it's you. Whenever I look for Dickie I find you. -LRB- focusing on Ripley's cuts and bruises. -RRB- What happened to your face? RIPLEY Dickie did it. MARGE -LRB- suddenly tense. -RRB- Dickie? RIPLEY My face! There was an argument. I said some things I should n't have. About you. About the appalling way he's treating you, all of us. And the next thing I know he's launched himself at me. -LRB- he pulls the scooter off the stand. -RRB- Are you getting on? MARGE What? RIPLEY Get on. I'll take you to him.",
"EXT. SQUARE OF THE PALAZZO GIOIA. DAY. Ripley and Marge come round the corner on the scooter. The entrance to the Palazzo is blocked by a couple of police cars. Inspector Roverini emerges from one of them. Ripley, startled, drives straight past the entrance.",
"EXT. ROME STREET, BY THE RIVER. DAY. Ripley pulls up several hundred yards later, in a different piazza full of book stalls. Marge is confused. MARGE Where does Dickie live? RIPLEY We passed it a few blocks back, where the police were. The Palazzo Gioia. They do n't even know I'm in Rome and I'm not going to incriminate Dickie - MARGE Perhaps I should n't go either. RIPLEY -LRB- thinking hard, distracted. -RRB- No, well go if you want to, but do n't talk to the Police about my face - they find out he hit me - he's got a temper - he could've hit Freddie. -LRB- sincerely. -RRB- Good luck, Marge. I'll catch up with you later. And he drives off. At the first opportunity HE DOUBLES BACK and roars towards the Palazzo.",
"EXT. SQUARE OF THE PALAZZO GIOIA. AFTERNOON. Ripley drives towards the entrance. As Ripley gets off and pushes his scooter through the doorway SOME JOURNALISTS, LOITERING INSIDE A BARBER'S SHOP come running out and swarm around him with questions about Freddie. One of them gets off a photograph. It's chaos, a Police Officer shouts him away as Ripley puts up a protective hand and runs inside.",
"INT. ENTRANCE AND STAIRS, PALAZZO GIOIA. CONTINUOUS. As Ripley hurries inside he encounters officers conducting more thorough forensic investigations in the stairwell. On a landing is Roverini. Ripley hurries towards him. RIPLEY Can we go up? Do you mind? ROVERINI Of course. What happened to your face? RIPLEY My scooter. I fell off. Getting chased by photographers. He hurries up the stairs, Roverini in tow. RIPLEY -LRB- cont'd. -RRB- -LRB- agitated. -RRB- The telephone, the press, I've been, I'm feeling hounded - do you think you could not give out my address? ROVERINI Never. We've had many requests and, of course, we say no - even to your fianc ‚ e. RIPLEY I really do n't want to see anybody. ROVERINI Even your fianc ‚ e? RIPLEY Even her. ROVERINI What about Thomas Ripley? RIPLEY What about Ripley? Ripley's way ahead and has reached the door of his apartment. He waits nervously for Roverini. He unlocks the door and can barely wait for Roverini to catch up.",
"INT. RIPLEY'S APARTMENT. AFTERNOON. Roverini follows Ripley inside, Baggio hurries in behind him. ROVERINI You and Signor Ripley went to San Remo, is that right? Ripley is appalled. He smiles. RIPLEY Yes, sure, we did go to San Remo. That was months ago. ROVERINI November, I thought. RIPLEY Was it? Did you speak to Tom? ROVERINI November 7th is my information. RIPLEY I do n't remember the exact date. ROVERINI And when did you last see Signor Ripley? RIPLEY A few days ago. ROVERINI Does he stay with you here? RIPLEY No! ROVERINI No. Here is a pattern. Two days ago Freddie Miles is dead - he leaves your apartment and is murdered. Yesterday a little boat is found in San Remo full of rocks, and the owner tells the Police it was stolen on November 7th. We look at hotel records and we see oh! Dickie Greenleaf is staying in San Remo and then our boatman remembers two Americans taking a boat. RIPLEY It's not a pattern, it's a coincidence. There must be fifty hotels in San Remo, there must have been a hundred people renting a boat on that day. ROVERINI 31 people. RIPLEY 31 people. Baggio appears. Speaks to Roverini. Ripley is getting cranky. ROVERINI That is Miss Sherwood now. Marge Sherwood. RIPLEY -LRB- appalled, defeated. -RRB- Let her in, what's the difference? Let her in. -LRB- Baggio is on his way to the door. -RRB- No, actually, no, I'd like it very much if you would ask her to come back later. Roverini nods, mutters to Baggio, who heads out. RIPLEY -LRB- cont'd. -RRB- Thank you. ROVERINI -LRB- watching him. -RRB- May I ask. why would you speak to your friend and not your fianc ‚ e? RIPLEY I think I just said. Ripley was handling some business for me, nor does Mr Ripley want to marry me. Nor did he ask me every day if I would marry him. And when. ROVERINI Do you have a photograph of Signor Ripley? RIPLEY I'm not in the habit of carrying around photographs of my male friends. ROVERINI Now I think I have upset you. My English perhaps is coarse. RIPLEY It is a little coarse, yes. ROVERINI Sorry. No - one has seen Signor Ripley since San - RIPLEY I have! ROVERINI You have, yes. RIPLEY No, I have and so has Miss Sherwood, ask her! and if I could remember which hotel he was staying at - the Goldoni! - Tom was staying at the Goldoni. ROVERINI Good. The Goldoni. Yes - you're right. A coincidence. -LRB- he gets up to leave. -RRB- I look forward to our next meeting when I will be more careful with my English and persuade you to play me your saxophone. Alto. RIPLEY Absolutely. ROVERINI -LRB- suddenly turning. -RRB- I have a witness who thinks they saw two men getting into Mr Miles' car. She wants to identify you in a - confronto - line - up. -LRB- ominously. -RRB- Tomorrow then? RIPLEY -LRB- thrown, scrabbling. -RRB- Tomorrow. Ripley lets them out, heaves a heavy sigh, then peeps through the door, looks down to see Roverini speaking to Marge on the stairs. ROVERINI -LRB- O/S. -RRB- Buongiorno, Miss Sherwood. He's in but I really do n't think he wants to see anyone. Ripley leans against the door, the noose tightening, then suddenly a voice shocks him upright. MARGE Dick? Dickie? I know you can hear me. What am I doing, chasing you around? I was going to say I would count to three and if you did n't open the door, but I wo n't count any more. On you. I wo n't count on you any more. Whatever it is, whatever you've done or have n't done, you've broken my heart. That's one thing I know you're guilty of, and I do n't know why, I do n't know why, I just do n't know why. Ripley listens, there's a silence, then Marge's footsteps as they ring out on the stone stairs. The tapping sound resolves into the tap - tap of a manual typewriter.",
"INT. RIPLEY'S APARTMENT, PALAZZO GIOIA. NIGHT. Ripley's at the typewriter, he begins to type. RIPLEY -LRB- O/S. -RRB- My dear Tom, I'm getting out of this. Freddie's death, Silvana. I've thought about going to the police, but I ca n't do it, I ca n't face it. I ca n't face anything anymore.",
"INT. RIPLEY'S APARTMENT, PALAZZO GIOIA. NIGHT. CHAOS. Ripley is working quickly, selecting clothes, dividing them into TWO PILES - one for Dickie's trunk, one for his own battered suitcase. He puts the license plates from Freddie's car in Dickie's luggage. He has placed one shirt on the Ripley pile then checks again, and - on seeing Dickie's initials, places it with the bigger pile, then picks it up again and holds it briefly against his cheek. He takes Dickie's rings, opens up a LITTLE BOX of buttons and needles and cufflinks and sadly tosses them in. Dickie's leather writing case goes on the big pile, too, as do cuff links, ties, the Mont Blanc, Dickie's passport, which he opens to scratch at the photograph, obliterating the face. RIPLEY -LRB- O/S. -RRB- I wish I could give you the life I took for granted. You've always understood what's at the heart of me, Tom. Marge never could. I suppose that's why I'm writing this to you, the brother I never had. The only true friend I ever had. In all kinds of ways you're much more like the son my father always wanted. I realise you can change the people, change the scenery, but you ca n't change your own rotten self. Now I ca n't think what to do, or where to go. I'm haunted by everything I've done, and ca n't undo. I'm sorry, I ca n't go on. I've made a mess of being Dickie Greenleaf have n't I? He's finished the letter, signs it, puts it in an envelope marked Tom Ripley and places the letter on top of the piano next to Dickie's passport. His head is reflected in the distorting curve of the lid. As he puts on his glasses there's a moment when there are two heads slowly separating, as Ripley leaves behind his brief life as Dickie Greenleaf.",
"INT. BASEMENT, PALAZZO GIOIA. NIGHT. Ripley carries Dickie's luggage down into THE COMMUNAL BASEMENT of the Gioia, a wretched place full of shadows and gloom and the overflow from thirty apartments. A red plush couch sits on top of a mound of furniture. He finds some dustsheets and shoves the cases under them. Then Dickie's saxophone. Outside the small window, Ripley sees uniformed feet and the revolving blue light of a Police Car. He shrinks back, turns off the light and disappears into the dark, illuminated fitfully by the strobe of cold blue.",
"EXT. BY THE PALAZZO GIOIA, ROME. NIGHT. Ripley, familiar battered luggage in tow, appears at the entrance of the building next to his own, glances at the police car parked opposite the big doors, then hurries off into the darkness.",
"EXT. BY THE PALAZZO GIOIA. NIGHT. Ripley's briefly silhouetted as he scuttles down an alley, hurrying towards a gate, and disappears behind it.",
"EXT. PIAZZALE ROMA, VENICE. DAWN. Ripley sits next to his battered luggage at the prow of a MOTOR TAXI as it surges towards Venice at dawn. Peter Smith - Kingsley waits on the quay. Ripley waves. Peter waves back. PETER -LRB- indicating the taxi stop. -RRB- I'll see you over there!",
"EXT. PIAZZA SAN MARCO, VENICE. EARLY MORNING. Ripley and Peter walk through the square, the pigeons scattering. Ripley breathes in the atmosphere, the beautiful grey. RIPLEY Peter, I'm really sorry to put you through this. I just could n't face going to the police by myself when my Italian's so rotten. PETER Do n't be daft. It's fine. I'm delighted you finally made it to Venice. I'm delighted, contrary to rumour, you're still in one piece? RIPLEY What rumour? PETER That Dickie murdered you and is travelling under your passport. I know, ridiculous.",
"INT. POLICE STATION, VENICE. LATE DAY. Later. Ripley sits in the middle of a bustling Police Station, where thefts, tourists, thieves and complaints are being processed. The Station is in an old brewery or armory. It's a horrible, monochrome, oppressive place. Peter is in conversation at a desk, turns and walks over to where Ripley waits. PETER Welcome to Venice. This place reeks, does n't it? Can you smell it? Ugh. Sorry. Not the best way to spend your first day. RIPLEY It's okay. PETER Anyway I've got to the bottom of the delay. Finally. We're waiting for someone from Rome. RIPLEY -LRB- completely thrown. -RRB- What do you mean? They're sending someone from Rome? PETER That's good, is n't it? RIPLEY -LRB- as if suffocating. -RRB- No, but I thought that did n't happen in Italy, that each region was completely separate! I was sure that was the - PETER You've seen the papers, you know what a big deal it's been here. American tourist murdered - RIPLEY It's ridiculous but now you've mentioned the stench I can hardly breathe. A door opens. COLONEL VERRECCHIA, fresh from Rome, and a sullen wedge of a man, comes in, scowling at the couple. Ripley dare not look up in case it's Roverini. A POLICEMAN introduces him. POLICEMAN Colonelo Verrecchia della Polizia di Roma. VERRECCHIA -LRB- to Peter, in Italian. -RRB- Qui e Ripley? Who is Ripley? PETER -LRB- in Italian. -RRB- Lui. Him. Verrecchia strides past them and into a smaller, interview room at the back of the station. His manner is ominous.",
"INT. POLICE STATION, INTERVIEW ROOM, VENICE. LATE DAY. This room is not at all friendly. There is evidence of a locked area for cells at one wall. A small, sour window gives onto a canal. The main station is glimpsed through some internal windows. Peter and Ripley come through. Verrecchia sits down. Verrecchia talks in staccato Italian, during which Peter translates. VERRECCHIA Ho assunto io la guida delle indagini in seguito alla negativa valutazione delle disdicevoli circostanze verificatesi con il mio predecessore Roverini che come e noto non e riuscito a impedire il verificarsi della scomparsa del signor Greenleaf, il quale era l'unica persona al momento passibile di incriminazione del reato di omicidio del signor Miles. PETER -LRB- translating. -RRB- He's taken over the case because. they're annoyed the previous chap let Dickie. disappear when he was the only, he was the only suspect in Freddie's murder. VERRECCHIA Quando e stata l'ultima volta che il signor Ripley ha visto il signor Greenleaf? -LRB- When was the last time Ripley saw Greenleaf? -RRB- Ripley forgets he's not supposed to have much Italian and answers. RIPLEY In Rome, about three weeks ago. -LRB- shrugs. -RRB- I knew that one. PETER -LRB- giving Ripley a look. -RRB- A Roma, circa tre settimane fa. VERRECCHIA Dove e stato il signor Ripley da allora? PETER -LRB- translating. -RRB- Where have you been since then? RIPLEY I've been backpacking. PETER I do n't know how to translate that. -LRB- he tries. -RRB- E difficile. il signor Ripley. dormiva all ` aperto, con un. VERRECCHIA All ` aperto? Col freddo che ha fatto? PETER He thinks it's very cold to be sleeping outside. VERRECCHIA Il signor Ripley ha sviluppate tendenze omosessuali? PETER Are you a homosexual? -LRB- then as himself. -RRB- Interesting non - sequitur. RIPLEY No. PETER -LRB- translates for him. -RRB- No. -LRB- as Peter, drily. -RRB- By the way, officially there are no Italian homosexuals. Makes Leonardo, Michelangelo very inconvenient. RIPLEY Tell him I have a fianc ‚ e, Dickie has a fianc ‚ e and Freddie Miles probably had a string of them. PETER -LRB- translating. -RRB- Il signor Ripley ha una fidanzata, il signor Dickie ha una fidanzata e probabilmente il signor Freddie Miles ha molte fidanzate. VERRECCHIA -LRB- laughs. -RRB- Mamma mia, quante fidanzate! They all laugh. RIPLEY What did he say? PETER He says so many fianc ‚ es. VERRECCHIA -LRB- suddenly very tough. -RRB- Lei ha ucciso prima Freddie Miles e dopo Dickie Greenleaf! Vero? As Peter translates Verrecchia watches intently. PETER He wants to know if you killed Freddie Miles and then killed Dickie Greenleaf? RIPLEY -LRB- outraged. -RRB- No I did not. I did not kill Freddie Miles and then kill Dickie Greenleaf. Is he accusing me? -LRB- Peter clearly does n't ask. -RRB- Ask him if he's accusing me! PETER He's already angry, I do n't think - RIPLEY -LRB- interrupting, heated. -RRB- Just because he does n't like Americans! VERRECCHIA Non e questo il luogo per le vostre conversazioni private! -LRB- This is not the place for your private conversations. -RRB- PETER -LRB- appeasing him. -RRB- A ragione. A ragione. -LRB- You're right. You're right. -RRB- VERRECCHIA Hmm. C' e questa. -LRB- There's this. -RRB- Verrecchia hands over a letter. It's opened. Ripley's name on the outside. Ripley stares at it. VERRECCHIA -LRB- cont'd. -RRB- Questa lettera e stata trovata nell ` abitazione del signor Richard Greenleaf a Roma. PETER They found this in Dickie's place in Rome. RIPLEY You opened this? VERRECCHIA Of course! He stands and takes the letter out. Begins to read. He has the look of a man whose privacy has been violated. RIPLEY -LRB- to Peter. -RRB- It's a suicide note. -LRB- to Verrecchia. -RRB- You ask me all these questions and you've already read this suicide note?",
"INT. PETER SMITH-KINGSLEY'S APARTMENT. DAY. There's music everywhere - and stands - and posters of performances and PHOTOGRAPHS OF PETER CONDUCTING. Peter is an opera repetiteur. Ripley is sitting at Peter's piano, playing from the score of Vivaldi's Stabat Mater. Peter's made supper. He's setting the table. PETER Can you imagine, if Dickie did kill Freddie, what must that be like? To wake up every morning, how can you? Just wake up and be a person, drink a coffee? RIPLEY Whatever you do, however terrible, however hurtful - it all makes sense, does n't it? inside your head. You never meet anybody who thinks they're a bad person or that they're cruel. PETER But you're still tormented, you must be, you've killed somebody. RIPLEY Do n't you put the past in a room, in the cellar, and lock the door and just never go in there? Because that's what I do. PETER Probably. In my case it's probably a whole building. RIPLEY Then you meet someone special and all you want to do is toss them the key, say open up, step inside, but you ca n't because it's dark and there are demons and if anybody saw how ugly it was. Peter's come over, stands behind him over the piano. PETER That's the music talking. Harder to be bleak if you're playing Knees up Mother Brown. He vamps this vaudeville song over Ripley's shoulder. RIPLEY I keep wanting to do that - fling open the door - let the light in, clean everything out. If I could get a huge eraser and rub everything out. starting with myself. the thing is, Peter, if. PETER -LRB- as Ripley falls silent. -RRB- No key, huh?",
"INT. SANTA MARIA DELLA PIETA, BRIDGE OF SIGHS. DAY. A YOUNG BOY SINGS the soprano part of Vivaldi's STABAT MATER. A piercingly pure sound in Vivaldi's own church. The orchestra - rehearsing - is conducted by Peter from the organ. Ripley slips in at the back of the church. He stands and listens. Peter sees him, smiles. Ripley smiles back.",
"EXT. VENICE, S.LUCIA RAILWAY STATION. DAY. MARGE appears on the steps, carrying an overnight bag. Ripley and Peter have come to meet her. MARGE -LRB- kissing him warmly. -RRB- Hello Peter, so good to see you. RIPLEY Hello Marge! MARGE -LRB- coolly. -RRB- Tom. They walk towards the Vaporetto. MARGE -LRB- cont'd. -RRB- So you found Peter. PETER I think we sort of found each other. Marge smiles enigmatically. Ripley registers. PETER -LRB- cont'd. -RRB- Where's Dickie's father? MARGE He's not coming till the morning. Evidently his stomach - I do n't think the food here is agreeing with him. RIPLEY I was looking forward to seeing him. MARGE Dickie has n't killed himself. I'm sure of that. There's a private detective on the case now - a Mr MacCarron - Dickie's father's employing him. RIPLEY That's a terrific idea. MARGE He's American. He's already discovered Dickie cashed checks for $ 1000 the day before he disappeared. They step onto the Vaporetto. MARGE -LRB- cont'd. -RRB- Is that what you do before you jump in the Tiber? I do n't think so.",
"EXT. RIPLEY'S HOUSE, VENICE. DAY. The boat arrives at the entrance to the house. Peter opens the door as Ripley collects Marge's bags. MARGE -LRB- to Peter. -RRB- Is this you? PETER No, it's Tom's. Splendid, eh? MARGE Golly. Who's paying for this? RIPLEY Peter found it for me. I can afford it because it's damp and, and falling down.",
"INT. RIPLEY'S HOUSE, VENICE. DAY. Marge, entering the living room, is astonished at its grandeur. She walks around as Ripley heads for the bar. MARGE This is spectacular. PETER That's why Tom wanted you to stay. It's better than squeezing into my room, and I know how you hate hotels. MARGE A hotel would've been fine. -LRB- to Ripley. -RRB- We'll have to tell Mr Greenleaf how far his dollar has stretched. Ripley is shaking a martini. Marge laughs, helpless, somehow raging. Peter turns PETER What's funny? MARGE No, nothing. I'm just thinking about when Tom arrived in Mongi. -LRB- to Ripley. -RRB- And now look at you. RIPLEY Look at me what? MARGE To the manner born.",
"EXT. PIAZZA SAN MARCO, VENICE. DAY. St Mark's Square is buzzing with life - tourists, balloon sellers - a man playing saxophone. HERBERT GREENLEAF sits out in the colonade on one of the many tables at Florian's Cafe, cradling a glass of hot water. He gets up as Marge and Ripley arrive. RIPLEY Mr Greenleaf. HERBERT GREENLEAF Tom. How are you? You look well. RIPLEY I'm well, thank you. HERBERT GREENLEAF Far cry from New York. RIPLEY Yes it is. HERBERT GREENLEAF Marge, good morning. Unusual weather. MARGE Very. RIPLEY And you, sir? Any better? HERBERT GREENLEAF Pretty good. Sticking with hot water. MARGE Where's Mr MacCarron? HERBERT GREENLEAF San Remo. The police are amateurs. Well, my boy, it's come to a pretty pass, has n't it? RIPLEY Yes. What's the detective hoping to find in San Remo? HERBERT GREENLEAF He's being thorough, that's all. I'm learning about my son, Tom, now he's missing. I'm learning a great deal about him. I hope you can fill in some more blanks for me. Marge has been good enough to do that, about Mongibello. RIPLEY I'll try my best, sir. Obviously I'll do anything to help Dickie. Marge looks at him in contempt. HERBERT GREENLEAF This theory, the letter he left for you, the Police think that's a clear indication he was planning on doing something. to himself. MARGE I just do n't believe that! HERBERT GREENLEAF You do n't want to, dear. I'd like to talk to Tom alone - perhaps this afternoon? Would you mind? Marge, what a man may say to his sweetheart and what he'll admit to another fellow - MARGE Such as? HERBERT GREENLEAF What a waste of lives and opportunities and - A saxophonist is blaring away in the piazza. Greenleaf suddenly explodes. HERBERT GREENLEAF -LRB- cont'd. -RRB- - I'd pay that fellow a hundred dollars right now to shut up!",
"INT. RIPLEY'S HOUSE. AFTERNOON. Herbert Greenleaf sits on a chair, Ripley pours him some tea. HERBERT GREENLEAF -LRB- reading, plunging into gloom. -RRB- No, Marge does n't know the half of it. RIPLEY I think it might hurt her to know. HERBERT GREENLEAF And his passport photo? Did you hear? To scratch out your own face like that - can you imagine - the frame of mind you'd have to be in? -LRB- reading. -RRB- I've thought about going to the police but I ca n't face it. I ca n't face anything anymore. RIPLEY I feel guilty. I feel like I pushed him away. I spoke and he heard you. HERBERT GREENLEAF -LRB- such a disappointed father. -RRB- Well, if we all pushed him away what about him pushing us away? You've been a great friend to my son. Everything is someone else's fault. We all want to sow wild oars. Somebody's got to - what's the word? -LRB- Ripley shakes his head. -RRB- The moment someone confronts him he lashes out. He lashes out. You know, people always say you ca n't choose your parents, but you ca n't choose your children.",
"INT. RIPLEY'S HOUSE, VENICE. DUSK. Ripley wakes up from an awful, chilling nightmare, his head full of ghosts. He's cramped up in an armchair, his arms in sine foetal protection. HIS DOOR KNOCKER IS BEING REPEATEDLY SHAKEN. He surfaces thickly, stumbles to the door. It's Peter and Marge. RIPLEY I'm sorry. I was asleep. I must have fallen asleep. PETER You look ghastly, Tom. Are you okay? MARGE Did Dickie's Dad go? RIPLEY He's having an early night. MARGE Poor man. -LRB- she heads to her room. -RRB- We were knocking on that door for ever. -LRB- she fiddles inside the sleeve of her dress. -RRB- I think I've broken my strap. PETER Not guilty. RIPLEY I'll fix some drinks. MARGE You walk in Venice! She takes off her shoe, examining her feet for wear and tear, then disappears into the bedroom. Peter walks over to Ripley, a little concerned. PETER Are you okay? RIPLEY I'm fine. PETER -LRB- a hand on his shoulder. -RRB- Do you want me to stick around? RIPLEY It's okay. PETER Or I could come back. Ripley looks at him. That's never happened. He digs in his pocket, finds his key, gives it to Peter. Peter smiles. PETER -LRB- cont'd. -RRB- Your key.",
"INT. RIPLEY'S BATHROOM, VENICE. NIGHT. Ripley's in the bath. Marge knocks on his door. MARGE -LRB- O/S. -RRB- Tom? RIPLEY Marge, I'm in the bath. Wo n't be long. MARGE -LRB- O/S. -RRB- Tom, I need to talk to you. It's urgent. Ripley, irritated, opens the door, his towel wrapped around his waist. Marge is white. She's wearing a robe. She's slightly breathless. MARGE I found Dickie's rings. RIPLEY What? MARGE You've got Dickie's rings. RIPLEY I can explain. He ca n't. His eyes dart. Marge holds up the evidence. MARGE Dickie promised me he would never take off this ring. RIPLEY Let me put on some clothes and then we can talk about this. MARGE I have to tell Mr Greenleaf. I have to tell Mr Greenleaf. I have to tell Mr Greenleaf. RIPLEY Marge, calm down, you're being hysterical. MARGE He promised me. I swear I'll never take off this ring until the day - RIPLEY Shut up! Shut up! His towel slips off from his waist. RIPLEY -LRB- cont'd. -RRB- I'm wet, Marge, I've lost my towel, I'd really like to put my clothes on. So go and pour us both a drink, will you? She goes off obediently, a zombie. He shuts the door. Immediately he starts looking for something, anything, to kill Marge with. He's got a shoe but it feels too light. He opens cabinets, drawers - nail scissors, nothing - then picks up his straight razor and considers it in the mirror.",
"INT. RIPLEY'S SITTING ROOM, VENICE. NIGHT. Marge is leaving, coat on, as Ripley comes out of the bathroom. RIPLEY Marge? Where are you going? MARGE -LRB- like a creature caught in headlights. -RRB- I was looking for a needle and thread. I was n't snooping. I was looking for a needle and thread to mend my bra. RIPLEY The scent you're wearing. I bought it for you, not Dickie. The thing about Dickie. So many things. The day he was late back from Rome - I tried to tell you this - he was with another girl. I'm not talking about Meredith, another girl we met in a bar. He could n't be faithful for five minutes. So when he makes a promise it does n't mean what it means when you make a promise. Or I do. He has so many realities, Dickie, and he believes them all. He lies. He lies, that's his. half the time he does n't even realize. A SMALL RED STAIN is appearing on the pocket of his robe. As he speaks the stain spreads. He looks at it absently. RIPLEY -LRB- cont'd. -RRB- Today, for the first time, I've even wondered whether he might have killed Freddie. He would get so crazy if anybody contradicted him - well, you know that. Marge. I loved you - you might as well know - I loved you, and because he knew I loved you, he let you think I loved him. Did n't you see, could n't you see? I do n't know, maybe it's grotesque to say this now, so just write it on a piece of paper or something, and keep it in your purse for a rainy day. Tom loves me. MARGE -LRB- as if she'd heard nothing. -RRB- Why do you have Dickie's rings? His hand goes to his pocket. HE'S GOING TO HAVE TO DO IT. RIPLEY I told you. He gave them to me. MARGE Why? When? RIPLEY I feel as if you have n't heard anything I've been saying to you. MARGE I do n't believe you. RIPLEY It's all true. MARGE I do n't believe a single word you've said. Marge is shivering. Ripley, ominous, advances, she retreats. RIPLEY You're shivering, Marge. Can I hold you? Would you let me hold you? Marge panics, backed up against the door. She screams and turns straight into the arms of a startled PETER who's come back to visit Ripley, and is unlocking the door. MARGE -LRB- sobbing uncontrollably. -RRB- Oh Peter! Get me out of here. Ripley storms off. His hand comes out of his pocket COVERED IN BLOOD from the razor. Peter notices, appalled. PETER Tom, are you okay? RIPLEY You try. You try talking to her. PETER -LRB- calls after him. -RRB- Tom. Tom! Tell me, what's going on? RIPLEY -LRB- not turning around. -RRB- I give up.",
"INT. RIPLEY HOUSE, LIVING ROOM. NIGHT. Peter has just put a band - aid over Ripley's cut hand. PETER You ca n't be angry with her. She's upset and needs someone to blame. So she blames you. I'll go home and talk to her. As for you - either get a safety razor or grow a beard.",
"INT. LOBBY, EUROPA REGINA HOTEL, VENICE. MORNING. Ripley hurries through the gleaming marble entrance.",
"INT. HERBERT GREENLEAF'S SUITE, EUROPA REGINA. DAY. Ripley knocks on the door. It's opened by a face he does n't recognize. A middle - aged heavy set man. It's MacCARRON, the private investigator. RIPLEY Is Mr Greenleaf here? MACCARRON Mr Ripley? I'm Alvin MacCarron. MARGE -LRB- O/S. -RRB- I do n't know, I do n't know, I just know it. HERBERT GREENLEAF -LRB- O/S. -RRB- Marge, there's female intuition, and then there are facts - Greenleaf sits with a scrubbed Marge, her hair pulled back, as if newly - widowed. THE RINGS SIT GLINTING ON THE COFFEE TABLE. HERBERT GREENLEAF Tom. RIPLEY Hello, sir. -LRB- smiles thinly at Marge. -RRB- Marge, you should have waited, did n't Peter tell you I'd come by and pick you up? HERBERT GREENLEAF Marge has been telling us about the rings. RIPLEY You know I feel ridiculous I did n't mention them yesterday - I clean forgot - ridiculous. HERBERT GREENLEAF Perhaps you did n't mention them because there's only one conclusion to be drawn. Ripley worries about what that conclusion is as Mr Greenleaf heads into his bedroom. HERBERT GREENLEAF -LRB- cont'd. -RRB- I'm going to take Marge for a little walk, Tom. Mr MacCarron wants to talk with you. RIPLEY -LRB- feeling caged in. -RRB- We could go down to the bar - no need for you to - HERBERT GREENLEAF No, he should talk to you alone. He helps Marge to her feet and leads her out. RIPLEY IS PARALYSED. He waits for the door to shut. Aimlessly he walks out onto the terrace, with its staggering, beautiful and indifferent view.",
"EXT. EUROPA REGINA, THE GREENLEAF TERRACE. DAY. Ripley stands, steels himself for MacCarron's charges. RIPLEY I could probably see my bedroom from here. I can see my house. When you see where you live from a distance it's like a dream, is n't it? MACCARRON -LRB- coming out. -RRB- I do n't care for B.S. I do n't care to hear it. I do n't care to speak it. RIPLEY Okay. MACCARRON Why do you think Dickie's father sent him to Europe in the first place? Did you know at Princeton Dickie Greenleaf half - killed a boy? Ripley turns, shocked. MACCARRON -LRB- cont'd. -RRB- At a party. Over some girl. He kicked the kid several times in the head. Put him in the hospital. The boy had a wire fixed in his jaw. The Rome Police did n't think to ask Mr Greenleaf. MacCarron gets up. MACCARRON -LRB- cont'd. -RRB- Nor did they think to check whether a Thomas Ripley had ever been a student at Princeton University. I turned up a Tom Ripley who'd been a piano tuner in the music department. Ripley's head drops. MACCARRON -LRB- cont'd. -RRB- See - in America we're taught to check a fact before it becomes a fact. We're taught to nose around when a girl drowns herself, find out if that girl was pregnant, find out if Dickie had an embarrassment there. Ripley does n't know where this barrage is going. MACCARRON -LRB- cont'd. -RRB- Mr Greenleaf appreciates your loyalty. He really does. Marge, she's got a hundred theories, but there are a few things she does n't know. We hope she never knows. RIPLEY I hope she never knows. MACCARRON Three different people saw Dickie get into Freddie Miles' car. A man who wo n't identify himself because he was jumping someone else's wife at the time saw Dickie removing license plates from a red sports car. The Police know about this man because he happens to be a Policeman. He walks out of the room, returns carrying THE LICENSE PLATES from Freddie's car. MACCARRON -LRB- cont'd. -RRB- I found these in the basement of Dickie's apartment. They belonged to Freddie's car. Mr Greenleaf has asked me to lose them in the canal this evening. Ripley ca n't believe what he's hearing. It's like a dream. MACCARRON -LRB- cont'd. -RRB- Mr Greenleaf also feels there was a silent promise in Dickie's letter to you which he intends to honor. He intends to transfer a good part of Dickie's income from his trust into your name. He does n't intend to give the Italian police any information about Dickie's past. He's rather hoping you'll feel the same. There is a silence in which this strange compact is agreed.",
"EXT. EUROPA REGINA MOORING. DAY. Ripley stands with Marge, Mr Greenleaf and MacCarron at the water's edge - MOTOR LAUNCH growling. They shake hands, and then MacCarron and Mr Greenleaf get into the launch. Herbert Greenleaf carries the saxophone case. RIPLEY -LRB- to Marge. -RRB- I feel I never should have said those things to you the other evening. I was pretty flustered, the rings and - and you looked so, I do n't know. Marge shakes her head to silence him. RIPLEY -LRB- cont'd. -RRB- But I hope that note goes to New York in your purse, for a rainy day. MARGE What are you going to do now, Tom? RIPLEY I do n't know. Peter has a concert in Athens next month - and he's asked if I want to go along, help out. He says goodbye by the way - he's in rehearsal, otherwise - MARGE Why do I think there's never been a Ripley rainy day? RIPLEY What? MARGE -LRB- lunging at him. -RRB- I know it was you - I know it was you, Tom. I know it was you. I know you killed Dickie. I know it was you. RIPLEY Oh Marge. He puts his hand out to control her. She pushes it away. STARTS TO LASH OUT AT HIM, the frustration too much, so that Ripley has to cover his face. MacCarron comes off the boat to restrain her. Ripley looks at him as if to say : what can you do, she's hysterical. MacCarron nods, pulls her on to the boat. Greenleaf catches Ripley's eye, guiltily. Turns away. They stand silhouetted as the launch revs up and surges off towards open waters, passing the little fleets of gondolas.",
"EXT. FERRY FOR ATHENS, NAPLES. DAY. A week later and Peter and Ripley are on the deck of the ferry, the HELLENES, as it sails towards Greece. They're laughing. RIPLEY Ask me what I want to change about this moment. PETER What do you want to change about this moment? RIPLEY Nothing.",
"INT. PETER'S CABIN. DUSK. Peter's in a bathrobe organising his currency, his traveller's cheques. Ripley knocks on the door, comes in. PETER Hello. What are you up to? RIPLEY All kinds of things. Making plans. PETER Plans - good, plans for tonight or plans for the future? RIPLEY I do n't know. Both. My plan right now is to go up on deck, look at the sunset. Come with me. PETER You go. I do n't want to get dressed yet. Come back though. Come back. -LRB- smiles at him. -RRB- You know, you look so relaxed, like a completely different person. RIPLEY Well, that's entirely your fault. And, if I fall overboard, that'll be your fault too.",
"EXT. DECK OF THE HELLENES. SUNSET. Ripley stands on deck, staring at the magnificent sunset. Then a voice shakes him from his reverie. MEREDITH Dickie? Dickie? He turns. He's caught. Suddenly he's Dickie. MEREDITH -LRB- cont'd. -RRB- Dickie, my God! RIPLEY Hello Meredith. MEREDITH I was looking at you, your clothes, I would n't have known you. RIPLEY Well, you've spotted me and so you get the reward. MEREDITH What? RIPLEY Just kidding. Are you alone? MEREDITH Hardly. I could n't be less alone. Meredith points to the UPPER DECK BALCONY where TWO OLDER COUPLES are walking around the deck. RIPLEY Of course. Aunt Joan. MEREDITH And co.. A lot of co.. Oh, God, I've thought about you so much. RIPLEY I've thought about you. And now he's thinking I ca n't kill them all. MEREDITH When I thought about you I was mostly hating you. Where've you been hiding? RIPLEY I have n't been hiding. I've been in Police custody. They've been trying to flush out Freddie's killer. MEREDITH You're kidding. RIPLEY They're letting me have this vacation. Which is why the get - up. Which is why you have n't heard from me. MEREDITH You know, the whole world thinks you killed Freddie? It's terrible. RIPLEY I know. Look, I ca n't talk now. Later. Later? He kisses her. Full of future. MEREDITH So - are you travelling under R? RIPLEY You know what - I am. MEREDITH Dickie, are you with Peter Smith - Kingsley? I bet you are. My aunt thought she saw him. RIPLEY -LRB- horrified. -RRB- Peter Smith - Kingsley? I have n't seen him in months. No, I'm alone. -LRB- and he understands this is not any kind of lie. -RRB-",
"INT. PETER'S CABIN. NIGHT. Peter's working on his score, lying on his front, apparently engrossed. Ripley knocks and enters. Looks long at Peter. PETER How was it? RIPLEY Good. But I think we should stay in here for the rest of the trip. PETER Was that Meredith? RIPLEY -LRB- sighs. -RRB- Was who Meredith? PETER Meredith Logue. You were kissing somebody. Looked like Meredith. RIPLEY Hardly kissing. Kissing off. PETER Did n't look that way - you know - from a distance. RIPLEY I lied. To her. She thought she'd seen you. PETER Why lie? RIPLEY Dickie and Peter, that's just too good gossip, is n't it? PETER Or Tom and Peter even. RIPLEY Well that would be even better gossip. PETER Really, why? -LRB- completely lost. -RRB- Sorry, I'm completely lost. RIPLEY I know. I'm lost, too. I'm going to be stuck in the basement, are n't I, that's my, that's my - terrible and alone and dark - and I've lied about who I am, and where I am, and so nobody can ever find me. PETER What do you mean lied about who you are? RIPLEY I suppose I always thought - better to be a fake somebody than a real nobody. PETER What are you talking about - you're not a nobody! That's the last thing you are. RIPLEY Peter, I. I. PETER -LRB- conciliatory. -RRB- And do n't forget. I have the key. RIPLEY You have the key. Tell me some good things about Tom Ripley. Do n't get up. Just tell me some nice things. He sits on the bed, leans against Peter. His eyes are brimming with tears. He takes the cord from Peter's robe and begins twisting it in his hands. PETER Good things about Tom Ripley? Could take some time! Tom is talented. Tom is tender. Tom is beautiful. RIPLEY -LRB- during this, and tender. -RRB- You're such a liar. PETER Tom is a mystery. Ripley is pressing against him, moving up his body, kisses his shoulder, the cord wrapped tight in his hands.",
"INT. RIPLEY'S CABIN. NIGHT. Ripley returns to his cabin. Sits on the bed, desolate. PETER -LRB- O/S. -RRB- -LRB- cont'd. -RRB-. Tom is not a nobody. Tom has secrets he does n't want to tell me, and I wish he would. Tom has nightmares. That's not a good thing. Tom has someone to love him. That is a good thing! -LRB- feeling Ripley's weight on him. -RRB- Tom is crushing me. Tom is crushing me. -LRB- suddenly alarmed. -RRB- Tom, you're crushing me! The door of his closet flips open with the swell and he catches his reflection. It swings shut. Open then shut. Through the porthole the weather's changing as the light dies. There's a swell as the horizon rises and falls in the round glass. Ripley, alone, in a nightmare of his own making. THE END."
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] | Tom Ripley is a young man struggling to make a living in 1950s New York City with his "talents": telling lies, forging signatures and impersonating people. While working at a party as a piano player, he is approached by wealthy shipbuilder Herbert Greenleaf, who mistakenly believes that Ripley attended Princeton with his son, Dickie. Greenleaf recruits Ripley, for $1,000, to travel to Italy to persuade Dickie to return home. After the voyage, while collecting his luggage, Ripley strikes up a friendship with an American socialite, Meredith Logue, and pretends to be Dickie. In the Italian seaside town of Mongibello, Ripley charms himself into the lives of Dickie and his fiancée, Marge. Ripley becomes infatuated with Dickie's extravagant lifestyle; he also becomes obsessed with Dickie himself. Eventually, however, Dickie tires of him and starts spending time with his Princeton friend Freddie Miles, a womanizer who treats Ripley with contempt. One night, Dickie catches Ripley dressed in his clothes and pretending to be him in front of a mirror, which further alienates him from Ripley. When Dickie impregnates a local woman, he rejects her and she drowns herself. Only Ripley knows what happened, and he promises to keep it a secret. When Dickie's father cuts off Ripley's travel funds, Dickie cancels a planned trip to Venice and tells Ripley they should part ways, but offers to take him on a short, final trip to San Remo. They take a boat out, but when Ripley suggests they move in together, Dickie says he has grown tired of him and is going to marry Marge. After an exchange of insults, the two fight violently, ending with Ripley beating Dickie to death with an oar. Ripley scuttles the boat in a nearby cove. Realizing that people easily mistake him for Dickie, Ripley decides to steal his identity. He forges a letter to Marge, convincing her that Dickie has left her to live in Rome. He creates the illusion that Dickie is still alive by checking into one Roman hotel as Dickie and another as himself, creating an exchange of communications between the two. Through forgery, he is able to draw on Dickie's allowance, which allows him to live lavishly. He runs into Meredith, who believes that Ripley is actually Dickie; Ripley pretends to romance her to gain access to her wealthy circle of friends. His ruse is threatened when Marge arrives in Rome, so he breaks it off with Meredith to prevent himself from being exposed. Freddie shows up at Ripley's apartment looking for Dickie and is very suspicious. When the landlady tells Freddie about Dickie playing the piano and later addresses snooping Ripley as Dickie, Freddie realizes the fraud, but Ripley beats him to death with a stone bust before he can tell anyone. After disposing of the body, Ripley is forced into a cat-and-mouse existence between the Italian police and Marge. Realizing that the police suspect Dickie of murdering Freddie, Ripley forges a suicide note, with "Dickie" claiming responsibility for Freddie's death. Ripley then travels to Venice, where he meets Marge's friend, Peter Smith-Kingsley, and they become very close. Dickie's father travels to Italy to meet with the police, bringing along a private detective, Alvin MacCarron. Ripley prepares to kill Marge when she discovers Dickie's rings in his possession and begins to deduce what has been going on, but Peter interrupts them. Mr. Greenleaf dismisses Marge's suspicions, and MacCarron reveals to Ripley that the police are convinced that Dickie, who had a history of violence, murdered Freddie before killing himself. MacCarron further indicates that out of appreciation for Ripley's loyalty to Dickie—and to assure Ripley's silence—Mr. Greenleaf intends to bequeath Dickie's trust fund to Ripley. Free and clear of his crimes, Ripley boards a ship to Greece with Peter; it is implied that they are now lovers. Ripley is surprised to encounter Meredith, who knows him as Dickie and also knows Peter socially. Killing Meredith to avoid being exposed as an impostor is impossible because she is traveling with family. Ripley returns to his cabin, where Peter confronts him about knowing Meredith; a sobbing Ripley then strangles Peter to death, and returns to his cabin alone. | The_Talented_Mr._Ripley_(film) |
[
"THE HORSE WHISPERER",
"INT. STABLES; PILGRIM'S STALL - MORNING Sunlit illuminates the darkened stable, highlighting the contours of a magnificent HORSE -LRB- PILGRIM -RRB- in surreal, dream - like imagery : his legs, his muscles, his sheen, his mane. his eyes. He shakes his head and stamps his feet. He seems confined. Eager to run.",
"INT. STABLES - MORNING Pilgrim bursts through the stall and runs out the stables into a blinding white morning.",
"EXT. AN OPEN FIELD LEADING TO WOODS - BRIGHT MORNING Whiteness. Snow and sky without any discernible line between. Camera is POV, as if on the horse, riding through the whiteness. Snow kicks up from the side. We hear the breathing of the horse. As we travel on hills, through trees, we experience of sense of wild, exhilarating freedom. We hear the giggles of a GIRL -LRB- GRACE -RRB- on the horse. An occasional line ; GRACE -LRB- O.S. -RRB- Yeah, fly boy. that's it. go. go. go. END OF DREAM as we CUT TO :",
"INT. GRACE'S BEDROOM - MORNING Grace awakens, calmly. Takes a breath. Slides out of bed and stands before a window, overlooking a beautiful Connecticut country house. We see a snow - covered field and distant woods. Grace presses her faces against the cold, frosted window eager to get out.",
"INT. MACLEAN NEW YORK APARTMENT - MORNING Alarm rings, ANNIE MACLEAN awakens. She shuts the alarm and scoots up in bed. She waits. Seconds later the television across the foot of her bed turns on from a timer - to a CNN 24 NEWS channel.",
"INT. HALLWAY/ANNIE & ROBERT'S BEDROOM - MORNING Grace, fully dressed except for her boots, tiptoes past a partially opened bedroom door. Her father ROBERT is asleep, alone, on his huge king size bed.",
"INT. MACLEAN FARMHOUSE KITCHEN - MORNING Grace is putting on her boots on a bench beside a back door. She is wearing her mother's outfit. As she slides the boot on, we see behind her a row of framed photos - Robert, Grace and Annie in happy times. She slaps a note on the refrigerator, with a magnet - `` Gone riding. Back around 10. Love, G.''",
"EXT. MACLEAN FARMHOUSE, BACK ENTRANCE - MORNING Grace slips on her jacket and hat as she comes down the steps, her feet hitting the walk.",
"EXT. CENTRAL PARK - MORNING Annie's feet hit the ground, running - her breath showing in the cold air. She passes other joggers with ease. She crosses the street and heads for an elegant CPW building.",
"INT. MACLEAN'S NEW YORK APARTMENT - MORNING Dressed in running clothes, Annie opens the door and picks up several newspapers that were delivered. She carries them into the kitchen and sets them beside a huge stack of publications, magazines, papers, etc. Knowing she must read all of them at some point, she breathes a disgusted sign. She thumbs through the POST as she pours herself a cup of coffee. Something catches her eyes and she snarls : ANNIE That little shit! She dials a portable phone and moves through the apartment as she talks : ANNIE Hi Lucy? Did I wake you? Have you read the Post? They've got a little item about me and Fiske. He's saying I fired him and that I faked the new circulation figures. Ha, ha. Oh, please. It's the last act of a desperate gnome. Set up a phone call with Don Farlow for 9:30. Throughout the phone call, Annie is selecting clothes, turning on the shower, undressing.",
"EXT. DYER HORSE FARM - MORNING The snow has stopped falling. Grace walks along a hill, hands in pocket. Spread out on the landscape are horses, on a horse farm, standing like statues in the white covered fields. As Grace comes along the hill, we see another GIRL -LRB- JUDITH -RRB- coming from the opposite direction. She does n't have Grace's lean elegance but her warm, friendly smile brightens her face. Upon reaching her, Grace returns the smile with a hug. JUDITH It's warmer than I thought. GRACE You want to go to a movie tonight? JUDITH I thought your mom's coming up? GRACE -LRB- prickly. -RRB- So? Judith immediately senses a problem so she continues casually, as they begin walking away from Camera. JUDITH My parents are having friends from college over. They're really nice. They have this gorgeous son who wants to be a forest ranger. GRACE Can I come? I'll start a fire. Judith laughs as they continue talking, their voices trailing off, as the girls head for the stables.",
"INT. STABLES, THE DYER HORSE FARM - MORNING There are several horses in their stalls. Grace and Judith enter, talking, carrying their English saddles. Judith stops at a stall, disappearing into it as she says `` Hello?'' . , Grace continues to the end stall. Pilgrim -LRB- the horse from the dream -RRB- stands looking at her. GRACE Hello, beautiful boy. He's a massive figure beside her but she shows no inhibition. She enters, touching his muzzle. He plays with her by nudging her back. GRACE Stop. Will you stop!",
"EXT. DYER HORSE FARM - MORNING They lead their horses, now saddled and ready, from the barn. Pilgrim tosses his head, prancing, playing with the snow. GRACE Show - off. The girls mount the horses and ride off together.",
"INT. ANNIE'S MAGAZINE OFFICE - MID-MORNING Annie, casually dressed, enters the empty offices of her magazine. She turns on the light, revealing a large row of stalls and glassed in private offices. Everywhere we look, we see indications of the kind of magazine she edits. She strolls to her office - the largest - surrounded by windows. The office walls are covered with photos, most of which are COVER STORIES ON ANNIE. -LRB- One photo is of Annie's father MARTIN. A BRITISH AMBASSADOR with his young daughter on his lap, her arms affectionately around his neck. Her mother stands right behind them, posing like a member of the royal family. -RRB- Annie sits and takes a breath. The only photo on her desk is a family portrait, taken when Annie was given the Crystal Award - Robert, Grace, herself and the Award. She checks her watch - it is almost 9:30.",
"INT. MACLEAN FARMHOUSE, MASTER BEDROOM/CLOSET - MID-MORNING A WALK - IN CLOSET of the master bedroom ; one side is Annie's, one side is Robert's. Robert stands before his bureau in the closet - he has just showered and is putting on his watch and ring which lay beside his cologne assortment. A FRAMED PHOTO OF HE AND ANNIE in India - younger, vibrant, in love. when they first met. THE PHONE RINGS. Robert enters into the bedroom to pick up. ROBERT Hello? INSERT ANNIE : They speak in dulled, emotionless voices : ANNIE It's me. ROBERT Hi. ANNIE Hi. Awkward pause. ROBERT So, what, uh, what train are you taking? ANNIE I should be in by two. ROBERT Okay. You want me to pick you up? ANNIE Sure. What's Grace up to? ROBERT Riding with Judith. Beat. ANNIE I'm sorry about last night. I should n't have brought it up over the phone. ROBERT That's okay. We have to talk about it and we're not always in the same place. so. I just have to get used to it. -LRB- beat. -RRB- What do you want to do about dinner? ANNIE I do n't know. We'll figure it out. Pause. There is a lot unspoken but understood between them. Annie's other phone line rings. Robert hears it as well. ROBERT Okay. We'll see you later then. ANNIE Yeah. Bye. Annie picks up the other line and her manner brightens, her energy boosts. ANNIE DON! My love, how are you? Did you hear about Fiske? No, suing is too civilized. Ca n't we get your friend at Le Cirque to serve him a fatal piece of poached salmon? Ha, ha. That's even better.",
"EXT. CONNECTICUT COUNTRYSIDE - MORNING Long Shot of the girls riding at an easy pacing, talking all the time. Grace is an elegant rider, quite self - assured for a 13 - year - old. We come into the scene at the moment the girls have just shared a secret or a fantasy. Judith is giggling uncontrollably. Grace laughs as she says : GRACE Oh, come on! You think the same thing! JUDITH I just could never say it! They stop at the end of the field, facing the woods. GRACE Do you want to go around by the old road? JUDITH Why do n't we just cut through the woods? Grace nods. They ride into the woods, continuing their talk.",
"EXT. WOODS - MORNING The girls ride down, along a stand of hickories and poplars to a RIVER. They stop the horses and their conversation, to listen to the sound of the water. Below them, off in the distance, they can just make out a two - lane country road. GRACE You want to go down or stay along the river? JUDITH We already did the river. Let's go down and across the old bridge. We can circle back. They begin to make their way.",
"INT. ANNIE'S OFFICE - MORNING Annie's office is now crowded with a dozen or so employees ; sitting on the couch, on the window sills, on the arms of chairs, against the walls. Paper bag emptied of bagels, cream cheese, orange juice, paper plates. Hand Held Camera captures the energy of the room as it follows overlapping lines, laughter, etc. yet, no matter how casual it all seems, Annie is very much at the center of control. We enter the scene of LAUGHTER, as Annie asks KEVIN, a feature writer : ANNIE So what did you say to her? KEVIN I said, thank you very much. -LRB- LAUGHTER, AD LIBS. -RRB- I really should do the interview. But perhaps if you'd like to have dinner. LAUGHTER. Everyone starts Ad Libbing. VARIOUS CHARACTERS Dinner! He's so cute. Why do n't I get those kind of interviews? Look, he has husband number eight written on his forehead. ANNIE All right, all right, all right. Kevin, good job. Write the interview. If I do n't like it, you may have to sleep with her for a follow - up! -LRB- laughter. -RRB- Now. I'm thinking about another fashion designer spread. Who's news out there? Characters shout out designer names and comments as the phone rings and LUCY picks up. speaking amdist the talking. LUCY Hold on. -LRB- presses hold. -RRB- Gottschalk. The room goes dead quiet, instantly. Then erupts in laughter as everyone realizes it. Annie, however, waves her hand as she takes the phone. ANNIE Quiet. Quiet! Everyone obeys. Annie presses SPEAKER PHONE. ANNIE David? DAVID GOTTSCHALK -LRB- VO. -RRB- Who's there? ANNIE Everyone. Working overtime. Just for you. DAVID GOTTSCHALK -LRB- VO. -RRB- Did you speak to Farlow? ANNIE Yes. We're suing. DAVID GOTTSCHALK -LRB- VO. -RRB- Is that absolutely necessary? It'll just make it a bigger story. ANNIE David, he signed an agreement that he would n't talk to the press and he's libeled me by saying I faked the figures. You're not going soft on me, are you? Silence. Gottschalk does n't immediately respond. Everyone waits. Covert looks between characters suggest this is interesting - has Annie over - stepped her bounds with the magazine's owner? Annie waits without a shred of anxiety - even though she might have some. Finally : DAVID GOTTSCHALK -LRB- VO. -RRB- Well, I suppose we could use another good public feud. ANNIE Exactly. Everyone silently acknowledges Annie guts and influence.",
"EXT. COUNTRYSIDE - MORNING It's perfectly still. We are looking down an empty TWO - LANE ROAD covered with fresh snow. We see the girls slowly riding out of the woods, talking. They cross the road and start up into the woods on the other side. They are trying to sing a LIZ PHAIR song, `` CHOPSTICKS'' GRACE/JUDITH -LRB- singing. -RRB- `` I met him at a party and he told me how he like to drive me home. He said he liked to do it backwards.'' GRACE -LRB- singing. -RRB-''. I said it -'' JUDITH -LRB- singing. -RRB-''. and I said that''. GRACE -LRB- stops singing. -RRB- No, wait, it just goes. `` he said he liked to do -''. Suddenly there's the SOUND OF THE METAL OF JUDITH'S HORSE scraping on some sheer ice hidden under the soft snow. Judith notices first. JUDITH What was - The horse staggers. Judith looks to Grace - JUDITH Grace! The horse tries to find tracing with his hindfeet, kicking up sprays of snow and ice shards. The horse suddenly falls on the ice and goes down hard on its knees. GRACE JUDITH! The horse stumbles to get back on its feet, slipping again. Frightened, it rears and Judith, caught off balance, is thrown, her foot catching in the stirrup. JUDITH GRAAACE! Her horse, unable to find its balance, starts to slide backward down the incline. GRACE PILGRIM, COME ON! MOVE! Grace, directly behind Judith, tries to turn Pilgrim to avoid being hit by the errant horse. What follows, we see from Grace's perspective. The details that form the images and sounds of Grace's mind are fast, disembodies, almost surreal as - Judith's horse bulldozes into Pilgrim, taking his legs out from under him, sending both horses careening down the icy slope. Grace hangs onto Pilgrim's neck. Judith, her leg helplessly tangled in the stirrup, is dragged, her head bouncing on the frozen ground. They slide all the way back down to the COUNTRY ROAD. Pilgrim is the first to find his legs and stand. Grace manages to sit up in the saddle. She sees Judith's horse stumbling back onto its feet, one of his legs broken at the ankles, walking in confused circles, dragging Judith - her face bleeding, her leg hanging from the stirrup. GRACE -LRB- frightened. -RRB- Jude, you okay? JUDITH -LRB- softly, crying. -RRB- I'm okay. I'm okay. She tries to extricate her leg from the stirrup. Grace sees it before she hears it. A GLINT off of steel. We then hear the rumbling SOUND of a TRUCK coming around the bend. The Girls on their horses in the middle of the road. The Truck, an 18 wheeler carrying logging equipment, comes around the turn. Grace grabs the bridle, trying to get Judith's horse out of the road. The driver, seeing them, lays on the air horn. The Horses bolt at the sound, the bridle slipping out of Grace's hand. GRACE JUUDE! The horses turn apart. The Driver starts furiously downshifting, trying to brake. He seems to get it under control when suddenly THE TRUCK SKIDS on some ice. It begins to slide, out of control, the truck bed and the cab jack - knifing. The truck literally plows over the helpless Judith and her horse - the horse going down on the pavement, Judith disappearing under him. The truck's cab, like a mythic monster, heads right for Grace and Pilgrim. Grace looks right into the Driver's helpless, frightened eyes. Suddenly, Pilgrim rears up at the truck, sending Grace flying, bouncing her off the pavement and under the wheel of the truck. Pilgrim instinctively jumps onto the hood of the truck, his hooves caught between the rear - view mirrors like some grotesque ornament. His head and chest slams into the window, shattering through the glass. And then it is still. The truck has stopped halfway in the road. Judith's horse lies in the road, motionless. Pilgrim, on the truck's hood, his legs splayed, stuck, his head and chest, bleeding. He shrieks, struggling to get to his feet. He manages to free his legs and, stepping off the cab onto the road, walks off, wounded, in pain, into the sanctuary of the woods. The Driver stumbles out of the cab, his head bleeding, in shock. He sits on the ground. All we hear is the sound of the river and the wind in the trees. Grace, halfway under the truck, frozen, stares up at the beautiful morning sky. WE HEAR THE SOUND OF A HELICOPTER.",
"INT. MACLEAN FARMHOUSE/KITCHEN - LATER MORNING ANGLE ON GRACE'S NOTE on the refrigerator as Robert enters from the outside with two bags of groceries. He places them on the counter near the PHONE MACHINE. He sees ONE MESSAGE is there. He presses PLAY as he puts away the groceries. A BEAT LATER the PHONE RINGS and he picks up, with the machine still playing. ROBERT -LRB- on phone. -RRB- Hello? Paul, hi - are you guys back? How was it? Oh that sounds great. Oh Paul. hold on. LIZ -LRB- on machine. -RRB- Robert! Are you there? Robert! It's Liz! Look, there's. there's been an accident. Uh. Jesus. uh. As Robert listens, the voice of Liz's on the machine from inside, pulls his attention. On hearing `` accident,'' Robert lowers the receiver, frozen, as he listens to Liz. LIZ -LRB- on machine. -RRB- Robert, just call me on my call phone. 1 - 917 - 449 - 7805.",
"EXT. THE WOODS - LATE MORNING Pilgrim is hiding in the shadows under an old railroad bridge, standing up to his knees in the river. His chest is cut open, bleeding. His face cut, contorted and swollen. LIZ HAMMOND, the local veterinarian, hides a hypodermic needle in her jacket, quietly walking into the water. A Policeman is going into the water downstream from Pilgrim, whose chest is heaving, blood drips into the water. He watches Liz. She is almost to him when suddenly he bolts, running upstream. The Policeman behind him shouts and waves his arm. Frightened, Pilgrim wheels back toward Liz, who manages to stick the hypo in his neck. He rears, knocking her down, then runs out of the river, the hypo still in his neck. He runs for the sanctuary of the woods.",
"INT. TRAIN - LATE MORNING Annie sits on a train - her laptop out, notes beside her, her cellular phone, ever - ready. The train passes through beautiful countryside but Annie is focused on an editorial she's writing. The train pulls into a station and stops, causing Annie to take a break and stretch her arms and neck. She looks out the window for the first time and sees : A MAN, his hands in his pockets, waiting on the platform. She watches as the Man holds out his arms to his two young children, who are getting off the train. He picks them up as his wife enters the scene, kissing him and wrapping her arm around his waist. The children talk a mile a minute and the father listens to every word. Annie does n't even realize she is staring. As they leave the platform, she turns back to her laptop. As the train begins to move again, Annie returns to work. HER CELLULAR PHONE RINGS. She answers. ANNIE Yeah? Hi. I made the 1:00 so. The expression on her face sinks into a stunned panic.",
"INT. HOSPITAL, CONNECTICUT - DAY Annie is running through the corridors, her bags in tow. She sees Robert standing in the corridor talking to a DOCTOR. She runs for them. When she appears, Robert and the Doctor stop their conversation. Robert looks to Annie, who is waiting for news. ANNIE WHAT!? Robert is teary eyed, beaten down. ROBERT Judith's dead. Annie's horrified, waiting for news of Grace. ANNIE What about Grace? ROBERT She was in pretty bad shape. They've done a C.A.T. Scan - she has some hemorrhaging. DOCTOR But nothing we ca n't handle. ANNIE -LRB- impatient. -RRB- Where is she now? DOCTOR Surgery. ANNIE Surgery! For what -? ROBERT -LRB- interrupting. -RRB- Annie, her leg was shattered - what they call the distal epi. epi. DOCTOR Distal epicondyle of the femur. ROBERT -LRB- quietly, crying. -RRB- They have to take the leg off. Annie responds without tears and cries but with a quiet shock. We can tell her mind is racing, trying to process the information, until finally she asks : ANNIE Which leg? The Doctor and Robert are surprised by the question. ROBERT What difference does it make? Annie stares for a beat, then nods apologetically.",
"EXT. WOODS - DAY Pilgrim is sedated, lying in his own blood in the snow, surrounded by Police and trackers. He is being attended to by LIZ HAMMOND, who is dictating to her assistant : LIZ His skull, cheek, and nose are severely fractured. He has a deep chest wound. I'm not even sure it can be closed. LOCAL TRACKER -LRB- deadpan, local accent. -RRB- Animal should be put down - anybody can see that. Liz looks up to him, resentfully, but knows he's right.",
"INT. GRACE'S HOSPITAL ROOM - DAY Camera moves from Grace's face down her body to Robert's hand, which rubs her good leg. He looks at her lovingly, pushing the hair from her forehead. Annie, needing to do something, tenderly straightens Grace's blankets. It is plain to see where her leg had once been. Robert ca n't look. Annie, one to face her fears, bravely looks at it head on. She notices the I.V. Bag and rises on : ANNIE That bag's almost empty. ROBERT -LRB- looking. -RRB- No, it's got a little left. They'll be in to change it. ANNIE -LRB- as she exits. -RRB- Robert, you leave it up these people! Robert is about to respond but Annie is already out the door. We hear the O.S. DIALOGUE as Robert listens. ANNIE -LRB- O.S. -RRB- Excuse me, my daughter needs a new I.V. NURSE -LRB- O.S. -RRB- We have her down, we'll be right in. ANNIE -LRB- O.S. -RRB- I'd like it taken care of now please. Annie enters first. ANNIE You have to keep on top of these people or else they just sit on their - But Robert is ignoring her. Facing Grace, smoothing away her hair. He's giving her the silent treatment. Annie knows this means Robert does n't approve of her dictatorial behavior. Annoyed, she turns away as well. The Nurse enters with a new bag and begins to replace the old one as Robert backs away. ROBERT I'm sorry. ANNIE Tch. What are you - Annie, about to respond to his inappropriate politeness, is stopped by Robert, who finally looks at her. It's a powerful look that tells her to calm down and shut up. It's a look that, for all of Robert's sensitivity, affects Annie. She gets the message and stays calm. As the nurse leaves, Annie is about to say thank you, but Robert beats her to it. ROBERT Thank you. Annie and Robert stand facing each other, when the PHONE RINGS. Annie picks up. INTERCUT",
"EXT. WOODS - DAY LIZ HAMMOND on a cellular, walking away from the crowd. LIZ Annie, it's Liz. How's Grace? ANNIE -LRB- journalistic. -RRB- Her leg was shattered so they had to, uh. remove it. She had some bleeding but it's under control. LIZ Oh God, Annie, I'm so sorry. I. I know you're being hit with a low now, I do n't want to take too much of your time but I have to talk to you about Pilgrim. Annie hears the name as if it's some distant echo she ca n't quite identify ; Liz speaks quickly as Annie watches Grace breathing in her sleep - LIZ It's not good. I've never seen an animal with these injuries still breathing. I know this is difficult to hear right now I'd like your permission to put him down. It's the really best thing we can do for - That was too much information for Annie ; ANNIE Wait, uh, I, I do n't understand. Start again - He's alive. LIZ Yes, but he's in a tremendous pain. ANNIE Well, of course, right. ROBERT What is it? LIZ -LRB- overlapping. -RRB- We really should n't wait. ANNIE -LRB- overlapping. -RRB- Hold on, Liz. -LRB- to Robert. -RRB- Something about Pilgrim. The Doctor pokes his head in. DOCTOR -LRB- overlapping. -RRB- Mr. and Mrs. MacLean. ANNIE -LRB- overlapping. -RRB- - put him down. She says. ROBERT -LRB- overlapping, to Doctor. -RRB- Yes. Hi. -LRB- to Annie. -RRB- Tell her you'll call her back. He exits with the Doctor. ANNIE Liz, listen, the Doctor's here and I just ca n't, uh. talk now. so - LIZ -LRB- interrupting. -RRB- I understand, but Annie, please. ANNIE -LRB- overlapping. -RRB- - See, what you can do for him -. LIZ -LRB- overlapping. -RRB- Annie, no matter what I do, this horse will never be the same. ANNIE I just do n't know right now! Do whatever you can and when Grace is - LIZ It is n't right to make him suffer. ANNIE And I can say the same thing about my daughter! But she is suffering! Can you solve that problem! -LRB- Liz is quiet. -RRB- I ca n't deal with this now, Liz! If you need a yes or no right now, then no - do n't do it! Not until I know Grace is all right. Now, please! Just do what you can. Okay? -LRB- softer. -RRB- Please. Liz is stopped by Annie's almost pleading tone. LIZ All right. They hang up. Annie takes a breath. Robert re - enters. ANNIE What did he say? ROBERT Nothing new. He's just going off duty. Beat. Silence. ANNIE I'm going to get all the nurses' names. It's good to know all their names. Robert nods. But neither of them moves. They stand motionless for a beat, then Annie begins to break down and eases herself into Robert's arms. Robert embraces her, kissing her head, with an almost fatherly comfort. His expression tells us it's the moment he's been expecting. and wanting. Now she'll be all right, in his arms. Whatever distance between them, whatever problems felt insurmountable last night on the phone, are now, for the moment - for Robert - gone. But Annie's expression tells us something different. Her instinct to hold him was honest. but the effect is n't the same anymore. Something does n't feel right. Something is n't working anymore about his comforting embrace. ANNIE I should go get some of her things. ROBERT No, let me go. ANNIE -LRB- gently pushing away. -RRB- No, I'll go. You stay. In case she wakes up.",
"INT. THE UNIVERSITY ANIMAL HOSPITAL, RECOVERY STALLS - NIGHT A line of recovery stalls with various sick and hurt animals. Liz, exhausted asleep, on a chair outside a stall. There's a slight scratching sound. A hoof against the stall. It gets louder, awakening Liz. She gets up and looks inside the paddled stall : Pilgrim is lying in the stall, heavily bandaged. He is waking up. His first instinct is to kick at the paddled stall walls. He looks at Liz, his eyes filled with madness - enraged to still be alive.",
"INT. GRACE'S BEDROOM IN FARMHOUSE - NIGHT Annie opens the door and enters, flicking on the light. Camera is on her back, as she places a small suitcase on the bed and opens it. She begins her task with cool efficiency. Opening drawers and closets, assessing what should be taken, what is n't necessary. Suddenly, she stops. She feels disoriented for a moment. She ca n't remember the last time she was inside this room. She takes a moment to pause and actually look around. In the light, we now see more of Grace's inner sanctum. Horse riding prize ribbons in various colors adorn the walls. Books. A girl's bureau cluttered with teenage possession ranging from childhood toys to items that suggest a reaching towards adulthood. Annie examines some items, affectionately. A GOOD LUCK CHARM from India sits among her things. Annie takes it to pack in the suitcase. She notices a framed 8X10 of Grace sitting proudly atop Pilgrim with Judith at her heel. She then notices the edge of another picture behind this one, in the frame. She pulls the Pilgrim photo out to reveal : An old 8X10 of Annie hugging Grace as a toddler. With her back to Camera, Annie remembers :",
"INT. GRACE'S ROOM - A DAY REMEMBERED Annie is playing with toddler Grace. Chasing her around the room. Picking her and tossing her onto a small, toddler bed. Blowing into her stomach. Grace is laughing uncontrollably. END OF MEMORY Annie slides the Pilgrim picture back into the frame, then returns to her task of packing.",
"INT. GRACE'S HOSPITAL ROOM - NIGHT Annie enters. No one else is there. She places the suitcase on a chair and opens it. She takes out the INDIAN LUCKY CHARM and some horse books, and places them on her bedside table. She takes care to prop up the Lucky Charm. She wets a cloth with some water from a pitcher and gently wipes Grace's sweaty brow. INSERT VISUAL FLASHBACK HERE, instead of in Country House. Annie then continues unpacking the suitcase. She opens Grace's closet and sees a hospital bag filled with Grace's clothes at the time of the accident. Annie examines them and discovers they are hers. Annie shoves the clothes into a bag and starts unpacking.",
"INT. HOSPITAL CAFETERIA - PRE-DAWN The Clock is ticking on the wall. The cafeteria is empty except for one tired Intern, drinking coffee on a break. Robert and Annie are having a cup of coffee. In the silence, they search for things to say. Until : ROBERT I saw Judith's parents while you were at the apartment. -LRB- Annie listens. -RRB- I wanted to say something. -LRB- beat. -RRB- But I. I was so relieved that Grace was still. that it was n't our daughter. ANNIE We're very lucky. ROBERT -LRB- nods. -RRB- The funeral's on Friday. He rises and crosses to the self - help coffee dispenser as he continues. ROBERT Oh, uh, I meant to tell you. Alex brought that fabric over. ANNIE Okay. ROBERT It's on the table by the phone. I did n't know what to tell him. -LRB- returns to table, sits. -RRB-. Whether or not we were. -LRB- beat. -RRB-. if we still we're thinking of redoing the couch. Annie just nods. She senses Robert is looking for some kind of reassurance, but she ca n't give it to him. He continues ; ROBERT And uh. Mario called about moving the wisteria? ANNIE Oh. Right. I'll call him. Pause. Annie looks at her husband as he stares off to the side, deep in his thoughts. She can sense he's sinking as he fidgets with the napkins. She remembers :",
"INT. A SMALLER APARTMENT, KITCHEN - A NIGHT REMEMBERED A younger Annie stands in a bathrobe, noticeably pregnant, cooking at a stove - reading instructions from a propped up cookbook. FRANK SINATRA IS BLASTING as she sings along, in full voice, without inhibitions ; ANNIE `` SHE'S LOVES THE THEATRE BUT NEVER COMES LATE. SHE NEVER BOTHERS WITH PEOPLE SHE HATES. THAT'S WHY THE LADY IS A TRAMP!'' A younger Robert, wearing a suit, arrives home from work. Seeing her, he smiles affectionately. He puts down his briefcase and bursts into his own playful Sinatra impersonation : ROBERT `` She loves the free.'' Startled, Annie turns around and smiles : ROBERT -LRB- sexily undoing his tie. -RRB-''. FRESH, WIND IN HER HAIR. LIFE WITHOUT CARE. SHE'S BROKE. BUT IT'S ` OK'. ANNIE -LRB- a la fan. -RRB- Sing it to me, Frankie! ROBERT -LRB- a la Sinatra cool. -RRB- How's my pregnant chick! She moves to him and they embrace. He wraps his arms around her. They kiss. Annie laughs. ANNIE You can hardly get your arms around me. How depressing. You're so early. ROBERT I had to excuse myself from a meeting. It's ridiculous. I kept thinking about the baby. you. and, I swear, I was going to start bawling right into my briefs. ANNIE -LRB- loving it. -RRB- Aw. that's so sweet. ROBERT I love you. ANNIE Do you? Do you really? They turn to each other and kiss. END OF MEMORY.",
"INT. HOSPITAL CAFETERIA - PRE-DAWN Annie and Robert sit silently at the table in an empty hospital cafeteria, a lifetime later.",
"INT. GRACE'S HOSPITAL ROOM - DAYBREAK The room's lights are dimmed. Dawn is being to break through. Grace, slowly, opens her eyes coming out of sedation. She takes a moment to figure out where she is. to remember. She uses her hands to hoist herself up, but she's unsteady and knocks into her bedside table - knocking the Good Luck Charm from India off the table. It rolls under the bed, with a water tumbler. Grace never sees the Charm. Grace looks where her leg once was. She feels the blanket, the empty space where her leg once was. just like her mother did -LRB- did her father could n't -RRB-. Instead of self - pity, she's oddly fascinated.",
"INT. GRACE'S HOSPITAL ROOM - LATER THAT DAY Daylight pours in. Robert and Annie enter. Robert, loaded with gifts, immediately crosses to Grace, on the side of her good leg. Annie takes her position beside the lost leg. Robert kisses his daughter ; ROBERT Hi, sweetheart. Annie's hand finds Grace's hand, and holds one of her fingers tightly. Grace responds by wrapping her hand around her mother's. They exchange a look of respect and gratitude. GRACE Have you heard from Judith's parents? ROBERT No, not yet. GRACE How's Pilgrim doing? ANNIE Liz is taking care of him. -LRB- to change the subject. -RRB- The doctor said the sooner you start therapy the better the chances are you can - GRACE I ca n't even get out of bed yet! You're already putting me in therapy! Annie, slightly hurt, drops it as Robert takes over : ROBERT The doctor said whenever you're ready. Take your time. You tell us. But he thinks it'll only be a few months, then - As Robert continues talking, Annie drifts to the Nurse. Needing to manage something, she asks : ANNIE Did you get her fresh towels?",
"EXT. CENTRAL PARK WEST APARTMENT BUILDING - DAY A limousine drives up as the Doorman gets the car door. The weather is slightly warmer. People's clothing looks as if spring is coming nearer. Annie exits first, carrying a jacket for Grace. She is followed by Robert, who immediately turns to help Grace. We hear her O.S. GRACE -LRB- O.S. -RRB- Dad! I can do it, OK?! ROBERT OK, OK. Annie shoots him a disapproving look. We see Grace's good leg exit first. then two crutches, followed by. a PROSTHETIC LEG. Grace scoots into view, and takes a breath. GRACE You all go ahead. I'll be up by Christmas.",
"INT. CENTRAL PARK WEST APARTMENT - NIGHT The three sit at a dinner table, eating dinner. Grace picks at her food. Robert ca n't help staring at her. Annie eats, watching them both. ROBERT Do you want something else, honey? We order something else? GRACE No, I'm just not that hungry. ANNIE Why do n't you go lie down? GRACE I do n't want to lie down. I've been lying down enough. ROBERT You want to watch some television? GRACE -LRB- edgy. -RRB- Maybe. look - just. Robert and Annie wait. She does n't continue. She rises, reaching for her crutches. Robert moves to help. GRACE I got it! I got it! She exits into her room. Annie looks at him disapprovingly.",
"INT. ANNIE AND ROBERT'S BATHROOM/BEDROOM - NIGHT Annie and Robert stand before their separate sinks, talking to each other through their separate mirrors, as they wash up for bed. ANNIE You've got to stop doing that? ROBERT Doing what? ANNIE Helping all the time! Running to her every time she trips or falls. Anticipating her all the time. Robert shuts off his sink and dries his face, without a word. He exits into the bedroom, and gets into bed. For a beat, he stares up at the ceiling - then says quite plainly. ROBERT You know, Annie, this did n't just happen to you. Annie is applying moisturizer when she hears this. As it sinks in, she does n't like it.",
"INT. GRACE'S BEDROOM - NIGHT Grace stands by her door and can hear her parents muffled, tense voices. Annie is angry at his complacency. Robert just wants what's best for Grace. She closes the door. Silence. She puts her crutches against the wall and tries to walk towards her bureau without them. It is a struggle, but she does. almost falling, but grabbing the bureau just in time. The 8X10 of her and Pilgrim, falls face down. She props it up and looks at it - focusing on her horse, then on Judith. Suddenly, she lashes out, knocking the photograph onto the floor. ROBERT -LRB- O.S. -RRB- Honey, you all right? Did something fall? GRACE -LRB- angrily shouts. -RRB- NO!",
"EXT. GRACE'S PRIVATE SCHOOL - MORNING Annie pulls up in a Range Rover and stops. Grace moves for the door. Annie asks respectfully ; ANNIE Do you want any help? Grace does n't even bother to answer. She manages to get onto the pavements, then turns for her bag. Annie notices other kids looking at Grace from behind, as they enter the school. ANNIE Dad'll pick you up today, all right? GRACE Okay. Grace looks up to her mother. What is unspoken between them is the understanding that today will be difficult and there's nothing either one can do about it. ANNIE You'll be fine. Grace nods and turns to the school. Annie watches her go.",
"INT. GRACE'S SCHOOL - MORNING Grace makes her way through the hall. It is the first time she has had to maneuver through a crowd. Some of the younger children are especially unconscious. Grace sweats her way through, trying to maintain her balance and her sanity. As Grace slowly moves along, whatever small faith she had that she could get through this day, begins to diminish.",
"INT. ANNIE'S OFFICE - DAY Annie moves about the office, hands in pocket, in front of her wall of windows. LUCY and her staff sitting around the office. Annie is speaking to a YOUNG WOMAN staff member ; ANNIE I do n't care what he told you! The man's a liar! The man's an actor, for Christ's sake. They're all liars! They'll say anything to get a cover. The Young Woman looks insulted. AN ASSISTANT comes in to give Annie a note ;",
"EXT. GRACE'S SCHOOL - DAY Annie is crossing an empty school yard. Grace is sitting on the ground, her back against a wall, her `` legs'' in front of her. She has been crying. She looks up to her mother. GRACE It's too hard. Annie kneels before her sympathetically brushing her hair away : ANNIE Oh, honey. What happened? GRACE Does n't matter. I. I do n't want to come back, that's all. ANNIE -LRB- softly. -RRB- Oh. Well, what are you going to do? You have to go to school, honey. I mean, what - GRACE -LRB- snaps. -RRB- I'm not coming back! That's it! I want to go home! ANNIE Grace, listen to me. Your body is just healing. You have to give the rest of you time as well. GRACE Is that your version of a pep talk? ANNIE You are not staying home all day feeling sorry for yourself. You're going to get up and you're going to figure this out. GRACE -LRB- snotty. -RRB- Fine! ANNIE It's still early. What's your next class? With secret delight, Grace viciously utters the word : GRACE Gym!",
"INT. ANNIE AND ROBERT'S BEDROOM - NIGHT Annie is at her desk studying Grace's book on Horse Whisperers. Robert is on his bed with briefs laid out before him.",
"INT. GRACE'S BEDROOM - SAME NIGHT The door is closed. A SONG blares on her stereo. Grace is in her bed watching a video of her and Pilgrim. riding at a horse show. There's a shot of Annie standing proudly, watching her ride. Another shot of her and Judith, both of them on their horses, waving to camera.",
"INT. BEDROOM - SAME NIGHT Grace enters. GRACE Dad? Both Robert and Annie look up. ROBERT What, sweetheart? GRACE -LRB- beat. -RRB- I want to see Pilgrim. Robert and Annie exchange an anxious look.",
"EXT. DYER HORSE FARM, CONNECTICUT - DAY It's raining. The MacLean car is parked by the barn. They are walking towards the stables under their umbrellas as Liz runs to greet them. LIZ Hello. -LRB- to Grace. -RRB- It's so good to see you. How ya doing? ROBERT She's doing just grea. Are n't you kiddo? GRACE I'm fine. LIZ Well, come on. He's out back now. -LRB- leads them. -RRB- Mind how you go. It's pretty muddy back there. GRACE Why is he in the back? Why is n't he in the barn with the other horses? Liz stops, causing everyone to stop. She turns to face Grace, realizing she does n't know. She looks at Robert and Annie, accusingly. She tries to explain : LIZ Well, Grace, you see. Pilgrim just. is n't the same horse he used to be. -LRB- to the parents. -RRB- As a matter of fact, maybe now's not the best time to - GRACE I really want to see him. Liz looks at Annie. Annie nods. Liz leads them on. They reach a row of empty old stalls. They cross to one of the stalls - its doors are closed. Liz draws back the bolt on top half of the door. There is an immediate explosion of sound inside the stall, the sound of fear, startling them. Then it's still. Liz slowly opens the door. Grace, with the aide of her cane, walks to the stall. She hesitates, then looks in. It takes a moment for her eyes to grow accustomed to the dark. She sees Pilgrim with his head down in the shadows. GRACE Hello, beautiful boy. He lifts his head at the sound of her voice. Grace, and the audience, see him for the first time - His mad eyes, his terrible disfigurement. Grace cries out, stepping backwards, nearly stumbling in the mud. What is left of her horse are gone. Annie realizes what's happened and, together with Robert, rush to her. They too see the monster Pilgrim has become and are horrified. Grace angrily pushes away from them and `` runs'' off. Robert goes after her. Annie is standing in the rain with Liz - her eyes unable to move away from the sight of Pilgrim. LIZ -LRB- O.S. -RRB- You should have told her, Annie. I tried to explain to you how bad it was. I guess you had to see it. But, there's nothing to be done. This animal's beyond help. Annie, can I have your permission now to put him down? Annie stands in the rain, hands in pocket, fixed on Pilgrim and more determined than ever ; ANNIE No.",
"EXT. CENTRAL PARK WEST APARTMENT - NIGHT Alone in her study, Annie sits before her computer searching the Internet for information on HORSES - Veterinarian Journals, Therapies, Accidents, Eistories. We sense she's been at it a while. She locates an ITEM TITLE - HORSE WHISPERERS. Interested, she brings it up on the screen.",
"INT. NEW YORK PUBLIC LIBRARY - NIGHT Annie sits in the huge reading room, books spread out before her, under a green reading lamp. Her voice tells us what she's reading : ANNIE -LRB- V.O. -RRB- `` It was in America that horses first roamed.'' In the books, we see pictures, lithographs, paintings and drawings. ANNIE -LRB- V.O. -RRB- `` A million years before the birth of man, they grazed the vast empty plains of grass and crossed to other continents over bridges of rocks. They first knew man as the hunted knows the hunter, for long before man saw horses as a means to killing other beasts, man killed them for meat.'' ANNIE'S V.O. CONTINUES OVER ;",
"INT. PILGRIM'S STALL - NIGHT ANNIE -LRB- V.O. -RRB-''. The alliance with man would forever be fragile - for the fear he'd struck into their hearts was too deep to be dislodged. Since that Neolithic moment when a horse was first haltered, there were those among men who understood this.''",
"INT. GRACE'S ROOM - NIGHT Grace sits alone in her darkened room, staring out the window but not looking at anything. There's a discomforting distance in her expression. ANNIE -LRB- V.O. -RRB-''. They could see into the creature's soul and soothe the wounds they found there.''",
"EXT. A FAIRGROUNDS PARKING LOT, CALIFORNIA - DAY A hot, dusty fairgrounds horse arena. The worn wooden bleachers, crowded. Lines of cars and pick - up trucks. ANNIE -LRB- V.O. -RRB-''. For secrets uttered softly into troubled ears, these men were known as The Whisperers.'' One particular pick - up truck has its back door opened. A MAN'S LEG is sticking out, putting on a pair of boots. A moment later the Man gets out of the car. Holding a cowboy hat, he has a certain quality, a self - respect, that men who know themselves seem to have. TOM BOOKER. A weathered redheaded woman named RONA - late forties, strong, wiry horsewoman's build - is walking towards him. RONA Hey, darlin'. TOM Hey, Rona. Sorry I'm late. RONA I would n't know what to do if you were on time. They walk together towards the fairgrounds. TOM You're looking fit. RONA Fit? You want to check my teeth. -LRB- Tom laughs. -RRB- Good crowd today. I think you'll have some fun. You going to stay for dinner? TOM If it's not too much trouble, I thought I might. RONA -LRB- playful. -RRB- Kind of trouble I'm in the mood for. TOM Oh - oh. Maybe I better get back in the truck. Rona lets out a hearty laugh as they enter the horse arena.",
"EXT. HORSE ARENA, CALIFORNIA - DAY Inside the corral, a small black thoroughbred is being worked by Tom. As he rides and narrates into a radio microphone to the crowd, we sense this is a man of good humor and great skill - guileless, sensible, of the earth. TOM It's always kind of interesting to hear the horse's side of the story. The crowd laughs warmly. He directs his comments to a WOMAN wearing an expensive Ralph Lauren western outfit, standing outside the corral. TOM Now if he was cranky or lazy, like you say he is, we'd be seeing his tail twitching there and his ears back, maybe. But this is n't a cranky horse, it's a scared horse. You see how braced he is up around the neck back there. He just does n't know which way to turn. The Woman nods. Tom turns the horse on a dime so that he always stays facing the circling thoroughbred. TOM You see how he keeps pointing his hindquarters in at me? Well, I'd guess the reason he seems reluctant to move out is because when he does, he gets in trouble for it. THE WOMAN He's not good at transitions, you know? When I want him to move from a trot to a lope, say. TOM -LRB- smiles. -RRB- Well, I'm sure that's what you think but that's not what I'm seeing. You may think you're asking for a lope, but your body may be saying something else altogether. You might be putting too many conditions on him. For instance, you might be saying `` GO, but, hey, do n't go too fast.'' He can tell that from the way you feel. Your body ca n't lie. You ever give him a kick to make him move out? THE WOMAN He wo n't go unless I do. TOM And then he goes and you feel like he's going too fast, so you yank him back? -LRB- she nods. -RRB- And next thing you know, he's bucking. -LRB- she nods again. -RRB- Well, if someone told you to go, stop, go, stop - you'd buck too. The people laugh. The Woman smiles self - consciously. TOM It's a dance, see. Somebody has to lead and somebody has to follow. Tom gracefully moves his horse around the ring, `` dancing''. He then takes up a long coiled rope and throws it so that the coils slap against the black horse's flank, making it burst into a lope. And again. Making the animal go from a trot to a lope, letting it slow, then up to a lope again. TOM I want him to get so he can leave real soft. He's getting the idea now. He's not all braced up and tense like he was at the start. He's finding out it's okay. He throws the rope again and this time the transition to the lope is a smooth one. TOM You see that? He's getting better already. Pretty soon, if you work at it, you'll be able to make all these transitions easy on a loose rein. -LRB- sotto voce, wry. -RRB- Yeah, and pigs'll fly. -LRB- to Woman. -RRB- He's going to be okay - so long as you do n't go yanking on him. She nods, but he can see she's upset, feeling foolish. He walks the horse over to her, turns off the microphone and speaks sympathetically : TOM Look, the truth is it's all about self - preservation. These animals. -LRB- with great affection. -RRB-. well, they just have such big hearts, you know? There's nothing they want more than to do what you want them to do. But when the messages get all confused, the only thing they know to do is try and save themselves. Now, why do n't you go saddle up and see what happens. Feeling better, and not a little attracted to his heartfelt man's man, the Woman smiles and reaches for his hand to climb over the rail. Her horse lets her come right up to him and stroke his neck. Tom comments ; TOM They wo n't ever hold a thing against you. They're the most forgiving creatures God ever made. Turning on his mike and turning back to the crowd, he says : TOM Okay, who's next? A Young Boy leads a mule into the ring. Tom smiles : TOM Now God has another idea entirely with the mule.",
"EXT. THE FAIRGROUNDS - LATER THAT DAY Tom has finished his `` show.'' People are shaking his hand, thanking him, as he walks away from the corral, towards a trailer. The Woman in the Ralph Lauren approaches : WOMAN Excuse me. He faces the Woman : WOMAN Hi. I'm Dale. I just wanted to - I ca n't get over the way he felt under me after you'd finish with him. Everything had just, I do n't know, freed up or something. The Woman is flirting. Tom shrugs, uncomfortably ; TOM Well, that'll happen. WOMAN Where did you learn all this stuff? TOM What stuff is that? WOMAN About horses? I'd love to learn more about it myself. Do you offer any private lessons for riders? TOM -LRB- getting the message. -RRB- Well. Dale. you know, a lot of this stuff. it just. nuts and bolts. WOMAN What do you mean? TOM Well, if the rider's nuts, the horse bolts. -LRB- smiles. -RRB- That's the whole lesson right there. You have a good day now. Just. keep on freeing yourself up. He leaves her, entering the trailer.",
"INT. RONA'S TRAILER - NIGHT A small, well - used trailer. Tom and Rona are finishing dinner like comfortable old friends. Rona rises, taking the plates into the kitchen and starts rinsing them : RONA Oh I clear forget. You had a call from some woman in New York. She sounded pretty wound up. TOM I do n't any woman in New York. But from what I hear, most of them are wound up. RONA The number's by the phone. He nods but does n't move. He just looks at Rona and smiles. She's a good woman. But Tom hopes she does n't want anymore than what they have together. Rona notices him looking and smiles : RONA What are you looking at, young man? TOM How long were you married? RONA Long enough. TOM You ever miss it? RONA Does a horse miss a saddle? TOM Sometimes. She chuckles, shuts the water off and crosses back to him, sitting beside him. RONA Well as a matter of fact, I do n't. most of the time. She starts unbuttoning his shirt. TOM You know, Rona, we were n't all that good together even when we were good together. RONA Honey. I was always good. Tom smiles as Rona leans in. They kiss.",
"INT. ANNIE'S OFFICE, N.Y.C. - MORNING Annie is looking over a magazine cover with Lucy and her staffers. She is unhappy. ANNIE You know it's perfectly shot, it's perfectly cropped, it's perfectly laid out and I'm so bloody bored, I'd rather buy a Motor Racing magazine - Start over. Some general whines and groans as her assistant hands her a note. ANNIE Uh, would you all excuse me a moment? She waits for them to leave as she sits before the phone. One of her lines is lit :",
"EXT. A ROADSIDE SERVICE STATION SOMEWHERE IN UTAH - DAY An endless sky. An empty ribbon of two - lane highway in Utah. A small roadside station. Tom's pick - up truck, his horse trailer hitched to it, getting gas. Tom is on the pay phone. We hear Annie's voice : ANNIE -LRB- O.S. -RRB- This is Annie MacLean. TOM Yeah. Hello. This is Tom Booker. I got a message you called. INTERCUT ANNIE in her office : ANNIE -LRB- efficient, expeditiously. -RRB- Oh! Yes. Thank you for calling back. Uh, all right, let me try to explain my situation as briefly as possible. You see, my daughter had an accident with her horse. They were both injured and she, my daughter, she has n't been able to. fully. uh. It was an extremely traumatic experience. and uh. Tom, sensing her turmoil, listening compassionately. ANNIE I went on the Internet and found this article about you. It says you're a Horse Whisperer, that you. you help people with horse problems. And you have quite a success rate when it comes to traumatized - TOM Well, see, truth is, ma'am, I help horses with people's problems. ANNIE Well, you know, however you want to put it - I got your information from the publisher of the article. I called Montana and your sister - in - law, I think, gave me this number. -LRB- trying to be charming. -RRB- I'm been hot on your trail you could say because I was hoping you'd consider coming to New York and taking a look at my daughter's horse and possibly - TOM Ma'am, I'm very sorry about your problems and I appreciate what your daughter must be going through, but I'm afraid you've misunderstood whatever it is you read. I do n't do that sort of thing. ANNIE Well, if you could just come for the day. New York's only a few hours by plane, I'd have you home by dinner. TOM Look, even if it was nearer, that's just not what I do. I give clinics. And I'm not even doing them for a while. I'm heading back to Montana right now. I got a ranch to take care of. ANNIE -LRB- interrupts, abruptly. -RRB- I'll pay you for your fare. I'll send you to Montana first class. TOM -LRB- getting impatient. -RRB- Ma'am, first class to Montana is a waste of good money. Now, am I being too polite here or when I say NO in Utah, does that mean YES in New York City? Annie is taken aback. Tom feels badly. TOM I, I do n't mean to sound insensitive. I understand your situation. But there's nothing I can do. You just called the wrong person, that's all. I hear there are a bunch of therapists in New York. Maybe you should call one of them. ANNIE Mr. Booker, if I could just ex - TOM I am very sorry, ma'am. Goodbye now. He hangs up before Annie can continue.",
"INT. GRACE'S BEDROOM - NIGHT Annie reaches for Grace's bedroom door, then pauses. She realizes she should knock. She does and whispers : ANNIE Grace? -LRB- knocks again. -RRB- Grace, it's mom. Annie slowly opens the door. She finds Grace's bed empty. She looks over to the window to find Grace sitting in a chair, in the dark, looking out the window. ANNIE Grace. What are you doing? Not looking up, Grace speaks in a hollow voice. GRACE I ca n't find that charm Daddy gave me from India. ANNIE I brought it to you in the hospital. GRACE No, you did n't. ANNIE Grace, I put it on the table near your - GRACE -LRB- apathetic. -RRB- Does n't matter. Beat. ANNIE Have you decided about Pilgrim? GRACE What about him? ANNIE Well. how you feel all right about telling Liz to put him down. GRACE I think we should. It's not fair to let him suffer. He's not much use anymore. He'd hate living like that. ANNIE I think that's. very compassionate and. mature way of looking at it. GRACE Mom? ANNIE Yeah? GRACE Maybe they should put me down too. ANNIE What? GRACE I mean, I'm not much use anymore. Why ca n't they be compassionate to me? What frightens Annie most is the calm and apathy in Grace's voice. She's surrendering. Annie, for the first time in a long time, feels she's losing control.",
"INT. CENTRAL PARK WEST APARTMENT - NIGHT Annie sits alone at the kitchen table, nursing a glass of wine. Robert enters and sits opposite her, wearing a tuxedo - his tie and collar undone. ANNIE How was the dinner? ROBERT -LRB- wry. -RRB- All our `` favorite'' people were there saying all their `` favorite'' things about their `` favorite'' subjects. I thought to myself, we've been friends with these people almost twenty years and nobody knows anybody. We're so afraid we wo n't like each other and have nobody go to dinners with. ANNIE Why did you go? ROBERT -LRB- surprised. -RRB- They're still our friends, Annie. It's nothing serious. You kid about them all the time. And I could tell Paul really appreciated me being there. He drinks Annie's wine as she looks at him. ROBERT Did you get a hold of that horse guy? ANNIE Yeah. ROBERT What did he say? ANNIE No. Robert nods. Accepting. Silence. Annie sips her wine. Then : ROBERT I was thinking. Maybe we should think about the three of us going someplace warm. Remember that house we rented in Bermuda. The pink one with the - His arm accidentally spills the wine. ROBERT Shit. As he bends down to wipe it up with a napkin, Annie watches Robert clean the spill. Something about his movements, his posture - a sense of weakness, of surrendering, of not having the inclination to fight, of just accepting and smoothing over the rough sports - strikes her hard. Annie realizes the love she feels for Robert is n't fading. It's gone. He finishes cleaning and sits. ROBERT What was I saying? ANNIE About us going someplace warm. Someplace Grace'll have to wear shorts or bathing suits or summer dresses. Robert looks at her and realizes it's a bad idea. He nods, again, getting the message. Silence. In that silence, Annie looks at him. and makes a decision : ANNIE Robert, I want to take Pilgrim out to Mr. Booker. Drive him out to Montana. With Grace. Robert is confused. and a little worried. ROBERT I do n't understand. You just said he said no. ANNIE He did, but. I think I can change his mind. ROBERT That's the craziest thing I ever heard. Absolutely not. ANNIE Robert, Grace is n't adjusting to school. And she ca n't sit in this apartment all day. I think it would be good for her. ROBERT -LRB- at a loss. -RRB- NO! What are you - you're serious about this? ANNIE I've called Liz. They can set me up with a trailer for Pilgrim. I thought we'd stay at motels along the way. ROBERT -LRB- overlapping. -RRB- You've already made arrangements!? ANNIE No. I was just researching. Calm down. ROBERT I come home and you tell me we're going to drive a psychotic horse to Montana! I ca n't just pick up and leave. ANNIE I'm not asking you to. I'll do it. ROBERT You want to do this by yourself? How? You ca n't take care of Pilgrim all the - ANNIE He'll be sedated. I know horses, Robert. I'm the one who taught Grace how to ride. ROBERT -LRB- overlapping. -RRB- What. Bo -. What about the magazine? ANNIE I'm in charge. I went back very soon after the accident. They did n't expect me for a couple of months. I'll just take that time now. I can still oversee things from Montana. Take my fax. My computer. Beat. Robert fears this is about the marriage. Yet - ROBERT No. It's, uh. No, I really do n't think it's a good idea ANNIE Why?! ROBERT -LRB- searching. -RRB- Her psychiatrist. said. she needs security now. stability. ANNIE I ca n't say he's been all that effective with her. ROBERT Are you a psychiatrist? He said it takes time. ANNIE I do n't care what he says! We have to do something, Robert! I ca n't sit here and trust everything's going to work out just by pretending it will. ROBERT I'm not pretending anything! Beat. Robert just stares at her. He looks concerned. almost worried. Annie gets uncomfortable. ANNIE What? It is very difficult for Robert to say ; ROBERT I thought. well, ever since the accident, I just thought we. He stops. Annie knows where he headed and prays to God he does n't continue. He does n't. A thick silence hangs between them. ROBERT I really wish I could understand why you think this is so necessary. ANNIE -LRB- frustrated. -RRB- Robert, we're losing her. We're losing her. -LRB- he listens. -RRB- I do n't care what the doctors say. The truth is, they do n't know anymore than we do - less, when it comes to Grace. This may not sound sensible or. logical, but nobody's suggesting anything better. I ca n't explain it, Robert. I just have this feeling. this annoying. bloody feeling that if. if, somehow, Pilgrim can be made all right. then so can Grace. I just know it! Robert can feel the strength of her will. He can find no way around it. ROBERT What if she does n't want to go? ANNIE She will if you think she should. ROBERT And you think it's best if I do n't come. ANNIE -LRB- hesitates. -RRB- No, that's not what I said. I'm not a dictator. If you feel you should come, then come. Just do whatever you think is right. At some moment, they realize Grace is standing at the entrance to the kitchen. They are surprised. GRACE I'm not going! I do n't care what she says! Annie lowers her head. Robert stares at Grace as she walks to him. GRACE Daddy? I do n't want to go. Grace stands next to Robert. He holds her hands. Annie looks at him, without sympathy. Robert looks back. In his face is the total acceptance of what must be. As well as the sadness of it's inevitability. He looks back at his daughter, whose eyes have never left him.",
"EXT. JOAN DYER STABLE - DAY Pilgrim is being loaded into the trailer by four strong stable men, violently kicking and pulling all the way. Annie watches with anxiety - an almost giddy Liz by her side. ANNIE Maybe we should give him another sedative. LIZ Problem is, there are n't many volunteers. He's already had enough to sink a battleship. You have a pin, just in case? ANNIE Of course not. LIZ Probably best. You may want to shoot yourself half way to Ohio. In the back seat of ANNIE'S SUBURBAN sits Grace - her back to the action. Hearing Pilgrim's struggle. Putting her walkman on her ears and raising the volume. We hear - GRACE'S MUSIC, ON THE SOUNDTRACK, bringing us to :",
"EXT. A HIGHWAY, IN PENNSYLVANIA - DAY Annie's Suburban drives along Route 80, pulling the horse trailer behind.",
"INT. SUBURBAN - DAY Grace, in the back seat, wearing her headphones, listening to her music -LRB- maybe LIZ PHAIR OR HOLLY COLE -RRB-. Detached. Non - committal. As trucks pass by, their time slapping the pavement, she reacts and turns to the other window. Annie, in sunglasses, shifts her attention between the road and her rear - view mirror - checking on Grace.",
"EXT. HIGHWAY IN - EARLY MORNING The Suburban drives as the sun begins to set.",
"EXT. MOTEL IN OHIO - NIGHT The Suburban and Horse Trailer are parked in the lot.",
"INT. MOTEL ROOM, OHIO - NIGHT A small furnished motel room with two twin beds. Grace sits up in bed watching TV, with no expression. A sitcom with canned laughter serves as a hypnotic drug. Annie enters from the bathroom, after showering, drying her hair. Grace does n't bother to look up. ANNIE You want to take your bath? -LRB- Grace shakes her head. -RRB- We have to get up early tomorrow. You may not have enough time to - GRACE Fine - I'll take my bath. She begins moving off the bed. ANNIE No, I do n't mean you have to. It's just that we may not have enough - GRACE - enough time tomorrow. I know. ANNIE Look, if you want to take it in the morning, that's fine. GRACE -LRB- interrupts on `` fine''. -RRB- I do n't care. Annie realizes she may have pushed too hard, but she also realizes there's no talking to Grace now. So, she achieves her goal - JANNIE Take it now. Grace hobbles off the bed, enters the bathroom and shuts the door.",
"INT. MOTEL ROOM IN OHIO - NIGHT The lights are off. Annie lays in bed, wide awake. It is the middle of the night. Grace, asleep in the other bed, begins whimpering. She's having a bad dream. Annie rises - considering whether or not to intercede. Finally, Grace begins to cry out. softly at first, but with increasing intensity until she awakens in fear. Annie appears right by her side. ANNIE What, sweetheart? What? Shaken, Grace can not fight how much she needs her mother at that moment. She wraps her arms around her, tightly, and tries to catch her breath. ANNIE It's sleeping in a strange bed, that's all. Happens sometimes. It's Ok. It's OK.",
"EXT. ANOTHER ROAD, MID-WEST - DAY The Suburban continues its journey. Once again - Annie, in the front, and Grace, in the rear, drive without a word between them.",
"INT. SUBURBAN - DAY Grace and Annie occupy their same positions. Annie is on the car phone with her office. ANNIE Okay, listen - let's do this. When I get to the next motel, I'll see if they have a fax. If not, I'll call you tomorrow to - Annie continues O.S. when we hear a shifting, a rocking in the trailer behind them. As if Pilgrim made a sudden move. Grace quickly turns her head. Annie looks in the rear view at Grace. ANNIE Uh Lucy, look, I have to go. OK. Later. Annie hangs up and smiles at Grace through the mirror. Grace reaches for her walkman and headphones. Annie offers ; ANNIE Grace! GRACE! Grace lowers one side of her headphones ; ANNIE Would you like to put your music on up here? Grace shrugs. Annie shrugs it off as well. Grace replaces the headphone. Annie turns on the radio - nothing but country or gospel or religious talk shows. She shuts it off. Frustrated, Annie looks up ahead and sees : A TRUCK STOP DINER Annie yells to be heard through the headphones ; ANNIE IT'S ALMOST LUNCHTIME. ARE YOU HUNGRY!? GRACE -LRB- shrugs. -RRB- Whatever you want. ANNIE Fine! GRACE Fine. Annoyed, Annie pulls onto the gravel and stops, talking to herself - ANNIE Fine! She exits the car, banging the door. As she walks acrund the car to help Grace, she talks to herself in a sarcastic whisper : ANNIE `` Whatever you want!'' Well, this is what I want. I want to eat lunch and I want to smoke a cigarette and I want to keep talking to myself for the next two thousand fucking miles.''! She opens Grace's door. Grace senses her mother's anger.",
"INT. TRUCK STOP DINER - DAY Annie and Grace enter. They look around : Formica floors, truckers in caps and beer bellies stuffed into booths or at the counter. There is not a single space available. Annie and Grace stand near the entrance. Another Trucker enters and they step aside, huddled together in this foreign land.",
"INT. MOTEL IN IOWA - NIGHT Grace and Annie enter the room to find A DOUBLE BED instead of two twins. Neither comments. Annie exits O.S., carrying the bags inside, as she says : ANNIE You should call your dad before it gets too late. GRACE I already did. -LRB- Annie's surprised. -RRB- This morning. When you went running. ANNIE Oh. You did n't tell me. GRACE I did n't know I had to. ANNIE -LRB- stares angrily, speaks softly. -RRB- You do n't. Silence. Annie exits past her to the car. LATER Grace is asleep in her twin bed. Once again, Annie is wide awake. The clock reads : 4:55 AM. But Annie can not sleep. Camera moves away from Annie, past her side of the bed, to the other side of the room. WE SEE THE SHADOW OF A WOMAN coming towards the bed. She comes in camera angle and we follow to her back to the bed, which has now transformed into - A BED FROM THE PAST, IN WHICH A TEN - YEAR - OLD ANNIE IS SLEEPING WITH HER YOUNGER BROTHER GEORGE. WE ARE IN MEMORY. The Woman gently shakes little Annie awaken. WOMAN Annie. Annie, sweetheart. wake up. The little girl, with sleep in her eyes, turns and sees her. WOMAN Bad news I'm afraid. Your Daddy's gone. END OF MEMORY. Annie, in present time next to Grace, thinks of this as she stays awake. Putting her jogging parka on over her nightgown, she goes outside.",
"EXT. IOWA MOTEL - NIGHT She crosses the motel parking lot to the horse trailer. She looks in through the siding at Pilgrim, checking on him. She sees he is caught his halter on the side of the van. She crosses to the trailer door, hesitates, then opens it. Pilgrim looks at her. Gathering her courage, she climbs inside. He is still, looking at her. She carefully frees his halter. And suddenly he bares his teeth, biting at her. She stumbles back out of the trailer, slamming the door shut. She stands leaning against the trailer - wondering if she's out of her mind for attempting this.",
"EXT. IOWA MOTEL - LATER THAT SAME MORNING Annie is returning from her jog, sweating. As she crosses to her motel room, she stops by the window, looking in to see : Grace, on the floor, straining to do her exercises. Annie fills with compassion for her girl - reminded of the struggle she faces everyday.",
"EXT. THE BADLANDS - DAY In the distance, the Suburban and horse trailer look like a dot on the horizon, moving across the Badlands.",
"INT. THE SUBURBAN - ANOTHER TIME, DUSK Grace leans against the window in the back, in one of her darker moods. Annie switches radio stations, from Bible thumping to Farm reports. She shuts it off. Silence. She sees a ROAD SIGH : `` LITTLE BIGHORN NATIONAL MONUMENT''. ANNIE Grace, look! Grace reads the sign. ANNIE Would you like to see that? GRACE I do n't care. ANNIE -LRB- overlapping. -RRB- I do n't care. Annie's comic mimicking, throws Grace off center. Annie turns off onto the exit. They drive by a massive casino - it's neon sign flickering. They drive up a hill past a cafe, two Indians in high crowned Cowboy hats standing outside of the cafe. She drives up a hill towards the parking lot of the Monument. ANNIE This'll be nice. We have n't seen any of the sights yet. It's history. When I was thirteen I used to love seeing things like this. GRACE You were never thirteen, Mom. Annie laughs, taking it as a joke. Grace almost smiles. But, Annie drives up to sign only to find a CLOSED SIGN. The park was closed at six. Annie stops the car. She's hit a brick wall once more. Silence. Finally, Grace speaks with her usual sarcasm ; GRACE Great idea. So now what? Beat. Annie's patience snaps ; ANNIE How long is this going to go on? GRACE What? ANNIE You know what I mean? -LRB- turns to the back seat. -RRB- Is this it now? Is this the way we're going to be from now on? Ignoring her, Grace edges to the passenger side and exits the car. Annie gets out of the driver's side and walks around as she speaks : ANNIE Do you want us to turn around and go back home? Do you? GRACE What are you asking me for? You did n't ask me if I wanted to come in the first place - now I get to decide? Forget it! She begins to turn away. Annie grabs her arm. ANNIE Who do you think I'm doing this for? I'm doing this for you! GRACE Bullshit! It's about you! About you deciding! About you always being right! You always getting everything your way, controlling everybody - like we work for you or something! ANNIE I do n't believe this! GRACE You just want to get away from Daddy and you're using me to do it! ANNIE That's not true! Whatever problems your father and I are having, have nothing to do with this. GRACE You're amazing! You act like I do n't live in that house! Do n't you think I hear the two of you!? Do n't you think I can tell what's going on? I'm not five years old, Mom! -LRB- Annie is stopped. -RRB- You want to divorce Daddy and Daddy does n't want to. ANNIE Did he tell you that? GRACE He does n't have to! It's, like, so obvious you ca n't stand him. ANNIE That's not true! GRACE Then why do you want to leave? ANNIE It's. it's not that simple to explain. I know you think it is, but it's not. The truth is, I do n't really know what I want to do. I do n't have all the answers. GRACE No, you just act like you do. Annie is choked with fury. She does n't know whether to scream, cry or strangle Grace. She turns away and begins walking quickly, blindly, up past a grove of trees. She comes to a CEMETERY enclosed by a black railing. At the crest of the hill there's a stone monument `` The Little Bighorn Cemetery.'' In the growing darkness, she sees, scattered on the hillsides below her, white tombstones. A place of sorrow. A cool breeze ruffles her coat and she sticks her hands in her pockets. Frustrated, alone, at a complete loss as to what to do, what action to take - Annie, for the first time in frozen, standing still - and with her, comes a rush of emotion. She sits with her back against the monument and begins to weep. For Grace, for Robert, herself, for the tombstones, for everyone. A FLASHLIGHT shines on her face. It is a PARK RANGER. PARK RANGER You okay, ma'am? ANNIE -LRB- wipes face. -RRB- Yes. Fine. PARK RANGER That young lady is getting a little worried. Annie realizes she left Grace alone as it got darker. ANNIE I'm sorry. I'm sorry. Annie rises and is escorted back to the Suburban by the Ranger. She sees : Grace is sitting in the front seat now, waiting for her - like a little girl lost.",
"INT. SUBURBAN - CONTINUOUS Annie gets into the driver's seat. Buckles up. Grace holds back tears. ANNIE You buckled up? -LRB- Grace nods. -RRB- You cold? GRACE Little. Annie reaches into the back seat and pulls a blanket out, handing it to Grace, making sure it covers her. Grace turns towards the window and closes her eyes. Annie starts the car.",
"EXT. MONTANA, BACK ROAD - MORNING C.U. on Pilgrim's head in the trailer as we PULL BACK to reveal the Suburban coming down an empty, seemingly infinite stretch of two - lane road in Montana.",
"INT. SUBURBAN - MORNING Annie and Grace, both in front seats, eating doughnuts and coffee. They stop. POV - Through the windshield is an endless sky and a rolling sea of land. GRACE Gee, this looks like a fun place. ANNIE Do n't they believe in signs here? GRACE What would they say? `` Ten miles to big rock.'' `` Twenty miles to bigger rock.'' ANNIE There was supposed to be a turn off. Did I miss it? GRACE I did n't see it. Their Suburban is the only vehicle on what seems like miles of road. Annie sighs and puts the Suburban in drive.",
"EXT. PETERSON'S MOTEL & STABLES, RED FORK MONTANA - DAY The Suburban and the horse trailer, pulls into Peterson's - a collection of motel cottage adjacent to an expanse of land that includes stable, corral, a main house and various riding trails into the mountains. Mr. Peterson runs out from the main house to greet Annie as she gets out of the car.",
"INT. SUBURBAN, ON ANOTHER MONTANA BACK ROAD - LATER THAT DAY Annie, showered and changed, is trying to follow Mr. Peterson's directions to Tom's ranch - written on Peterson motel stationary. She is lost once again. ANNIE -LRB- reading. -RRB-. after left, stay on main road until rise, then. -LRB- frustrated. -RRB- What bloody rise?!? What main road!? She stops the Suburban -LRB- no longer carrying the trailer -RRB-.",
"EXT. ANOTHER MONTANA BACK ROAD - CONTINUOUS From outside the Suburban, we see, but can not hear, Annie hitting the steering and cursing in frustration.",
"INT. SUBURBAN - CONTINUOUS Annie, panting, looks ahead and sees nothing but empty space, above and below - as if the earth and sky met with nothing in between. She sighs and starts the car again. As she moves forward, she senses an almost indistinguishable rise in the road - as we follow her POV up the road through the windshield to reveal : POV - A BREATHTAKING VALLEY just beyond the rise, hidden from view only a few yards before. THE DOUBLE DIVIDE RANCH sits nestled in the valley, a few miles away. Annie is impressed.",
"EXT. THE DOUBLE DIVIDE RANGE - DAY Men are working in the corral, saddle horses standing nearby, trying to get a sick calf to suckle a cow. One of the men is Tom Booker, working along side his brother FRANK, and his nephew, JOE. Frank is a good man - solid work ethic, Christian fearing, wry sense of humor. With the build of a football player, his strength never overwhelms his boyish, good - natured heart. Joe is eleven, wearing his cowboy hat like a badge of honor. The three men seem as inseparable to each other, as they are to the land. As they work : JOE Can we take a look at Bronty's foal when we're done here, Dad? FRANK Sure. As long as she do n't mind. JOE There's a kid at school says we should've imprint - trained him. Tom and Frank do n't say anything. Just nod, knowingly. JOE He says if you do it soon as they're born, it makes them real easy to handle later on. FRANK That's what some folks say. JOE There was this thing on the TV about a guy who does it with geese. He has this airplane and these baby geese all grow up thinking it's their mom, and he flies it and they just follow. -LRB- to Tom. -RRB- You hear ` bout that, Uncle T? TOM Yeah, I hear about that. JOE Well, what do you think about that stuff? TOM Well, Joe, I'll tell ya - I do n't know a whole lot about geese. Maybe it's okay for them to grow up thinking they're airplanes. But horses, as far as I can tell, ca n't fly. Frank laughs. Joe smirks as Tom messes his hat up. There's the sound of a car. They turn. The Suburban is coming over the ridge, heading down the driveway in a cloud of dust. JOE We expecting company? Frank shakes his head. As the Suburban slows down, Tom recognizes the driver. TOM I do n't believe it. FRANK You know her? Annie, out of her element, hiding behind sunglasses, gets out as Tom approaches her by himself. Annie girds herself for the confrontation. ANNIE Hello, Mr. Booker. Annie MacLean. From New York. We talked on the phone. She extends her hand. TOM shakes it, nodding, staring at her curiously. ANNIE It's, uh. beautiful country. I had a little bit of a hard time finding the place. There are no signs. TOM Plenty of signs - just none of them printed. Who do I get the idea you're not just passing through! ANNIE Well. OK. here it is. Uh. I'd like you to take a look at my horse. Now - it wo n't take long and if, after that, you still do n't feel. TOM Were you thinking of personally driving me back East? ANNIE Oh no. She's here. I brought him along. And my daughter, too. We're staying at Peterson's. TOM You mean you hauled him all the way out here? Just like that? ANNIE -LRB- slightly taken aback. -RRB- Well. yes. I had a trailer. It's not like I made him run along side of the car. TOM All by yourself? She nods. Tom can not help be impressed by her guts and fortitude. Camera cuts away for a moment to a window in the ranch house, through which DIANE - Frank's fiery, loyal pioneer wife - looks at the duo with suspicion. TOM I uh. ha, ha. I do n't think I ever met a lady quite like yourself and I appreciate all the pains you've gone through to - ANNIE Look! Please! Do n't do the `` shucks, ma'am'' thing again! -LRB- Tom, surprised, listens. -RRB- I've driven a few thousand miles for a few minutes of your time. I've brought him here - to your neck of the. -LRB- seeing no woods. -RRB- - mountains. Just take a look at him. If you still feel the same way, I'll be on the road by morning and you'll never see me again. OK? Deal? Tom tries to hide a smile of respect. Annie, thinking she may have him, starts backing away towards her car - as one would a dangerous animal they think they might have tamed. ANNIE We're at Peterson's. Whenever you're free. You do n't even have to call. She gets into the Suburban. Tom watches her drive off.",
"EXT. ANNIE AND GRACE'S COTTAGE - DAY Tom walks up some wooden steps to a door and knocks. He hears a TV on inside. And Grace's Voice : GRACE -LRB- O.S. -RRB- MOM! The door! He hears Annie's muffled reply from O.S.. He hears some banging as Grace fumbles for her crutch and comes to the door. She opens it only so far as to reveal her upper body : GRACE Yeah? TOM Uh, I'm Tom Booker. Your mother around? Grace hops to the side as Tom walks by her, into the room. Grace is closing the door as he turns to see, for the first time, that Grace is one leg. GRACE She'll be right out. She's on the phone. Grace hops back to the bed in front of the TV. Tom nods and puts his hat down - noticing the prosthetic leaning against the window, near her bed. He hears Annie on the phone and looks to the other room, the door ajar - seeing only her legs, seated on the edge of her bed, as she talks. Her foot taps impatiently. TOM First time in Montana? Grace, rudely nods, still looking at the TV. Beat. Tom does n't like her manner, but can easily see through it. He sits. TOM She gon na be long? GRACE Probably. She's on the phone twenty - three hours a day. TOM What does she do? GRACE She's an editor. TOM Mmm. An editor. GRACE Not like books or literature or anything. Just a magazine. Just in case she has n't told you - which I'm sure she has n't - I do n't want to be a part of this, OK? Tom just sort of nods. A beat or two later, Annie enters. ANNIE Sorry about that. Hi. Grace, this is Mr. Booker. Have you looked at Pilgrim? Tom sees Grace turn away, just as Annie enters. He takes a moment. He could say no right there, but something stops him. TOM Uh, no. I was gon na take a look now. ANNIE You want us to come with you? I just have to run to the main house and give Mr. Peterson a check. TOM Does n't matter. ANNIE Grace? Grace, you want to come with us, take a look at Pilgrim? Grace keeps looking at the TV. No reply. Tom is half way out the door when he says to Annie - making sure Grace can hear - TOM Probably best she stays behind, anyway. He disappears. Annie gives Grace a final look and exits, closing the door. Alone, Grace flings her body across the bed, reaching for her prosthetic - putting it on feverishly. She is completely intrigued by Tom.",
"EXT. PETERSON'S STABLES - DAY Tom stands alone at the stable. Opening the bottom door, ducking under the stall, he goes inside. TOM Okay now. Okay now. Walking towards him, Tom raises his hand, showing Pilgrim a sign of respect, of trust. He quietly makes his way along Pilgrim's side, along his flank, prompting Pilgrim to move out from the shadows, into the light. Tom moves to look at him. And Pilgrim suddenly kicks out at him. Tom, not cowed, stands his ground. He bends, looking at Pilgrim's withered legs. He looks up at his scarred head. He looks into the pools of the horse's tortured eyes. Pilgrim stands still - allowing Tom this brief intimacy. As Grace walks towards the stable, she realizes that the door is open and Tom must be inside. She is amazed. Annie, appearing behind her, is also impressed. Tom exits the stable and sees them, as he closes the doors. ANNIE Well. You're closest anyone's gotten. He walks straight towards them - veering more to Grace. He stops in front of her and they look into each other's eyes - in a way that reminds us of how Tom looked at Pilgrim. Except, Grace is made even more uncomfortable by the intimacy. She turns away and walks to the corral, to lean on a post - as if she does n't care. Tom turns to Annie. TOM I have to be honest. I still feel you made a long trip for nothing. He looks at Annie. Annie has no more words - just an ever - present pleading in her face. Tom watches as Grace makes a small, naked movement - putting her hand on her cheek, like a hurt child. He ca n't help but see these three being connected by one wound. TOM But before I even think about it, I need to know something here and now. It's a question for Grace here. Grace stiffens. TOM When I work with a horse, it's no good just me doing it. It does n't work that way. The owner needs to be involved too. ANNIE Well, that'll be a little complicated - TOM You can make it as complicated or as easy as you like. But she's the one who's gon na be riding him, am I right? So here's the deal. I'm not sure I can do anything, but I'm prepared to give it a go -. -LRB- to Grace. -RRB- - if you'll help. -LRB- Grace gives a bitter laugh. -RRB- You have a problem with that? GRACE Is n't it like, obvious? TOM Not to me. Either you want to or you do n't. ANNIE Look, I'll talk to Grace and call you later - TOM Excuse me, with all due respect, but this is her decision, not yours. And I do n't want to waste anybody's time - mostly mine. Grace reacts anew to Tom's remark. She likes her mother being dis - empowered. Annie keenly understands the importance of Tom putting it this way to Grace. Grace has all eyes on her - just what she wants. All waiting for her response. She turns away, flicks her head and says : GRACE Well, there's nothing else to do around here. Annie smiles in relief. But Tom is n't satisfied. TOM Not good enough. I ca n't help you. He starts walking away. Annie does n't know what to do. Grace mumbles. GRACE What do I have to do? Tom keeps walking out. Grace says it louder. GRACE I said, what do I have to do?! Tom stops and looks at her. Annie holds her breath.",
"INT. THE RANCH HOUSE, DOUBLE DIVIDE - NIGHT Frank, Tom, Joe and TOM TWIN BOYS, 6 years old, sit at a dining table eating dinner, as Diane serves. We parachute into the middle of the conversation : DIANE well, I just think she's got a lot of nerve showing up here. Draggin' that child and that poor animal all the way. -LRB- TO ONE OF THE TWINS. -RRB- You eat with those fingers again and you know what'll happen! -LRB- the boy cowers. -RRB- Frank, do n't you think she's got a nerve? FRANK Oh hell, I do n't know. According to Tom, she's a pretty determined woman. Must've thought it was worth it. DIANE -LRB- sits down. -RRB- I guess they'll want feeding and all, out here all day long. TOM I do n't believe they'll expect that. DIANE What, they ai n't going forty miles into Choteau everytime they want a hamburger. FRANK Mixed salad. DIANE What? FRANK -LRB- slyly. -RRB- I believe women from New York eat mixed salads. Ai n't that right, Tom? Tom hides a grin - he knows Frank into teasing her now. TOM I believe so. Saw it on a television show, once. DIANE Well, that's just what we need on a cattle ranch - a vegetarian from New York. Everyone eats. Beat. JOE When you figure on branding? FRANK Weekend after next. TOM If the weather holds. Frank nods. Silence again. Everyone eats. Beat. JOE What's an editor do anyway? DIANE -LRB- playing. -RRB- We're not sure, sweetheart, but they eat like rabbits. Tom and Frank chuckle. Diane smiles - in on the joke with them. The children are curiously confused.",
"INT. ANNIE AND GRACE'S MOTEL ROOM - NIGHT Camera moves to reveal Annie on the phone in front of her computer and fax. plugging in extension cords as she talks : ANNIE the phone company's putting in extra lines. I'll call back with the numbers. Oh, and I want you to get in touch with this lady in town here - they say she's sort of a physical therapist for the rodeo boys but keep the one at the hospital we already contacted on call. Grace sits alone in the living room. Watching TV, but anxious and disturbed about what she's committed herself to.",
"INT. DOUBLE DIVIDE KITCHEN - CONTINUOUS - NIGHT Diane is in her bathrobe doing bills at the kitchen table, as she listens to a BOOK OF TAPE. Her hand on her forehead, her other hand writing. Tom enters to take his hat off the sideboard. He moves to the table and reaches over for a cookie from a plate of cookies. Without looking up, Diane slaps his hand. Tom then pours himself a cup of coffee. then swiftly sneaks his hand back and grabs a cookie. Diane smiles. Tom exits. It is only then that Diane looks up after him.",
"INT. UPPER FLOOR OF RANCH HOUSE - NIGHT Camera follows Tom towards his bedroom - passing the others. Perhaps we see Frank sprawled out asleep already in his underwear. We might see the Twins in their bunks. One of the Twins' lower torso is laying outside of the blanket. He casually flips the blanket over the kid's bare feet and continues to his room.",
"INT. TOM'S BEDROOM - NIGHT Tom enters and closes the door. Turns on a stereo which plays a cello piece by Yo - Yo Ma. Books fills his room. He sits at his desk, puts on eye glasses and looks through some paperwork. Suddenly he stops, looking over the paperwork, into space. A thought passes by. We do n't know what.",
"EXT. THE RANCH, A CORRAL - DAYBREAK First light of day. Pilgrim stands stock still in the middle of the corral. Tom, motionless, is crouched on his haunches in the corral - watching him. TOM'S POV : As Pilgrim moves, he can see that the horse is stove up. He softly tosses a handful of dirt at Pilgrim's withered legs. Pilgrim, sensitive to the slightest provocation, bucks, wheeling away from him. Then stops. Tom sits on his haunches again. and watches him. Frank appears, exiting from the barn -LRB- perhaps -RRB-. FRANK Tom? TOM Yeah. Tom leaves Pilgrim, hooking up with Frank - the two brothers go off, discussing the ranch work that is ahead of them.",
"EXT. THE RANCH - ANOTHER DAY Annie and Grace arrive in the Suburban. They exit. As they head towards the ranch, they see in the distance : Pilgrim standing along the fence of a round pen. Tom stands in the pen, holding a rope, looking at Pilgrim.",
"EXT. THE ROUND PEN - DAY Tom stands in the pen with Pilgrim. He looks to see Annie and Grace approaching but makes no acknowledgement. He turns his focus back to Pilgrim. Annie and Grace appear. Grace takes a position -LRB- that is to become her regular spot -RRB- a distance away from the pen. Annie moves in closer, beside SMOKEY -LRB- a ranch hand -RRB- with one leg up on the pen fence. SMOKEY Howdy. -LRB- sees Grace. -RRB- Howdy. He and Annie watch as Tom stands before Pilgrim - turning sideways. then standing. ANNIE What's he doing? SMOKEY Trying to get his eye. ANNIE How's it going? Smokey does n't respond - how it's going is exactly how it looks. Tom takes a few steps, stops and stands still again. We sense the process is long and requires great patience.",
"EXT. ROUND PEN - DAY Two hours later. Grace is in the same spot. Smokey is gone, doing his work. Annie has taken a different position, looking over SEVERAL PAGES OF FAXES on her lap. Tom is still standing in the pen trying to get Pilgrim's eyes. Joe has joined the proceedings, sitting on the pen rail. Tom deftly throws a hoolihan, gently lassoing Pilgrim around the neck. And Pilgrim, at the touch of the rope, crazed, resists, pulling back, striking at the rope. The rope cutting into Tom's hands. Tom gives him some slack, giving his head, letting him relax. then gently heads him by the rope, walking him around the pen, getting his feet to moving. Grace's eyes never leave Tom.",
"EXT. DOUBLE DIVIDE - DAY Tom, off in the distance - against a sky that seems to be touching the land - is riding along a creek. Closer up, we see he's rustling the bushes with a stick. Some stray cows run out of the bushes. Tom races after them. His horse shepherds the cow across the creek and up a hillside. At the top of the hill, with the ranch spread out endlessly before him, Tom sees Frank on his horse, chasing strays. Tom whistles. Frank waves back. In the near distance, a pickup truck is parked on the range. Joe and the TWINS are throwing food pellets out of the back of the truck. Cattle come from across the range for the food. What begins as a handful of cows becomes dozens, then hundreds - the truck virtually disappearing among them. Tom stops for a moment to look out at his ranch. Far off in the distance, he sees Annie's Suburban coming along the road to the ranch. He watches as Annie's distant figure gets out of the car with Grace. Annie instinctively turns and looks across the land. Even though there is such a distance, there's a sense Tom and Annie are looking at each other. Tom senses Joe driving Frank's truck, slowly moving off the range - the Twins in the back, the cattle following. Tom sits on his horse atop the hill.",
"EXT. THE DOUBLE DIVIDE - ANOTHER DAY Pilgrim, his scarred head above water, legs moving in odd sycopation, swimming. We discover he is in a pond, tethered to a pole. Except for the sound of his legs in the water, everything is quiet and focused on Pilgrim. SMOKEY, holds the pole, walking on the outside of the pond, leading Pilgrim back and forth as he swims. Tom, crouched by the pond, silently concentrating on Pilgrim. Grace watches, off by herself. Annie stands beside Joe. She ca n't help but be intrigued by the sight. She asks Joe ; ANNIE I though horses were afraid of water? Joe does n't answer her. Grace likes that. Annie, frustrated, feels she has the right to simple shout out to Tom. ANNIE Is that to get his strength back? Tom pays her no mind - concentrating on Pilgrim. Suddenly, Annie's CELL PHONE rings, jarring the proceedings. Tom turns to Annie. She hides her embarrassment by answering it, walking away. Tom gives her a look. Grace is loving this. Tom turns back to Pilgrim. After a few moments - Tom, taking the rope tether, unhooks it from the pole. He starts to lead Pilgrim out of the water. Pilgrim, fearful, fights him. He rears, splashing Tom, not wanting to come out of the water. Grace is worried. She looks to Joe and sees he is concerned too, though he stands quietly. Annie hears the commotion from where she stands and finishes her call to return to the pond. Tom enters the pond, waist deep in water, trying to grab Pilgrim's rope. Pilgrim rises up, rearing at him. Joe and Smokey, sensing danger, come closer to the pond. Annie appears beside Grace and watches as Tom reaches for the rope again. Pilgrim rears again. Tom stumbles backwards from his hooves. Annie gasps. Grace turns to walk away from the pond. She ca n't watch - it brings back too much. But as she does, she is stopped by the sight of - Tom, righting himself, unphased, calmly walks back to Pilgrim. The horse, baffled by this man's lack of fear, lets him take the rope and walk him out of the pond. Grace ca n't help but be impressed. Joe nods. Annie is shaken. ANNIE Mr. Booker, I'm not at all comfortable with you taking those kinds of chances. As Tom leads Pilgrim out, the horse suddenly whirls, bolting, knocking Tom down. ANNIE Oh, God! Pilgrim runs off, pulling the wet rope behind him. Joe runs over and grabs for the rope. TOM NO. LET HIM GO! Joe obeys. Pilgrim runs past the corral and down into a hill out onto a pasture, He keeps on running into the distance - running across the pasture, not knowing where he is going. Tom, arms folded across his chest, watches him run. A concerned Annie approaches. ANNIE She's running away! How are you going to get him back? Tom does n't respond. He walks off down the hill out onto the pasture, stops, arms folded and watches Pilgrim. Annie turns when she hears Smokey, who appears behind her : SMOKEY He do n't really want to run. Do n't know where he's going. All this open space scares the daylight out of him. Confused, Pilgrim stops running and walks, in no particular direction. SMOKEY My guess is he's spent his life in a six - by - eight stall. He's forgot what it's like to be a horse. Smokey ambles off and she turns back to see Tom crouching on his haunches, sitting in the grass, just waiting. Pilgrim walks back towards the ranch, stops a distance from Tom, looks at him. Annie, needing to know exactly what's going on, crosses down the hill to him. ANNIE So what now? Should we leave? Tom continues watching Pilgrim. Annie looks at him, sitting there motionless and feels like an idiot. Clearly she does n't understand all this and clearly no one thinks this is the time to explain to her. ANNIE Well, we're going to go then. Without looking at her, Tom just nods. Annie, awkwardly, walks back up the hill to where Grace is. ON THE GRASSY HILLSIDE, Grace is watching the scene by herself as Joe appears, staring at her leg. It makes her uncomfortable. She turns to him with a curt, impatient tone ; GRACE What? Their eyes meet. Joe is so guileless, Grace is taken off guard when he asks in such a compassionate voice ; JOE Does that hurt you? Grace tries to think of an answer - and of how to say it : GRACE Only when I kick somebody. Her gentle delivery makes him smile. She smiles, then : GRACE Do n't you go to school? JOE Twice a month they give you a day off to work on the ranch. He tips his hat down as he looks out to Pilgrim with respect ; JOE Look at him out in the pasture - Yeah, he must've been a big, beautiful looking horse. How was he to ride? Grace is uncomfortable again. She looks away, just struggling. Joe senses she's done talking ; JOE Excuse me. I got chores to look after. He tips his hat and walks off, passing Annie as she arrives. ANNIE You ready to go? Grace hesitates. Then mother and daughter take one more look - POV - Pilgrim standing in the pasture with Tom crouching in the grass waiting for him.",
"EXT. PASTURE - LATER THAT DAY Tom is still sitting in the grass, just where we left him - waiting patiently. Pilgrim is still out in the pasture.",
"EXT. PASTURE - STILL LATER THAT DAY Afternoon shadows cross the ranch. Tom is in the exact same spot and position. Pilgrim is somewhat closer - but still at a distance - watching him. Frank rides back from work. As he passes Tom, the two nod as if nothing usually is going on. Frank rides up to the barn.",
"INT. PETERSON'S MOTEL Grace is flicking the television - repeating the only three channels over and over. Annie works at her computer, surrounded by work. She notices the time, gets a thought and dials the phone. ANNIE Hello, Mr. Booker. Oh, hello, Frank. This is Annie MacLean. I was wondering, has -. -LRB- listens. -RRB- Uh - huh. And Pilgrim? -LRB- listens. -RRB- Still? Uh - huh. -LRB- politely cheery. -RRB- Okay then. Thank you. She hangs up, pauses, then speaks to the window out loud enough for Grace to hear - ANNIE He's still sitting in that damn field. GRACE -LRB- w/o looking at her. -RRB- I think they call it a pasture. Annie looks at her as if to say the last thing I need to know is a lesson on the local lingo. ANNIE Let's go see what's going on, then get something to eat.",
"EXT. DOUBLE DIVIDE RANCH - DUSK The sky is changing colors, the temperature has dropped. Tom is still sitting in the grass, although someone has brought him a blanket for his shoulders. Pilgrim is in the pasture, but now - he too is motionless, looking back at Tom. The sound of a car makes Tom turn to see Annie driving up. She gets out, stands by the car with a proprietary air, watching Tom and Pilgrim. Grace remains in the car. There's a sound. She turns to see Diane coming out of the house. DIANE There's coffee inside. I was just bringing this to Tom. ANNIE Would you mind if I did? I'd like to talk to him. Diane, knowing full well Tom ai n't in a talking mood, hands her a cup. DIANE Sure. -LRB- seeing Grace in car. -RRB- Does your daughter want to come inside? ANNIE Uh, no, we're going to dinner. Is this the way to the pasture? DIANE Pasture? Oh, that stretch of field near the hill? Yeah. She's gone. Annie grimaces, then crosses the hillside to where Tom is squatting down. She appears to his side and, without speaking, tries to indicates she has his coffee by leaning it toward him. Tom sees her and accepts it with a grateful nod. Annie waits. Nothing happens. Feeling foolish, she begins to walk back. At some point, she turns to see Pilgrim moving across the pasture toward Tom. He stops in front of him, just a few feet away. Tom says something to him. Annie is intrigued - and she knows enough to stay quiet now. She watches Pilgrim walk over to him. She watches as Tom gets up and pats Pilgrim's scarred head. In spite of herself, Annie is somewhat moved by this act. Only we see Grace, peering out from the car, seeing this act of communion as well. Only we see her reaction to it. As Tom turns and walks back to the ranch, Pilgrim follows him. As he passes Annie, all he says is. TOM From now on, leave your phone somewhere else. As he moves past her, Annie responds ; ANNIE But I have business calls I have to - Tom keeps heading for the barn as he suggests, without turning back ; TOM Then drop off Grace in the morning, go on back and do your business. Come pick her up around dinner. Standing there, Annie has the impulse to respond to this suggestion, but has no idea what to say and saying it would n't make much sense since Tom is already out of ear shot. Diane appears from the house and calls out : DIANE Mrs. MacLean - why do n't you and daughter stay for dinner? ANNIE Oh uh, thank you. No, we do n't want to impose. DIANE No imposition. Plenty of food. Gon na get pretty dark soon. Hard to find a place. Annie looks up to the alien sky and realizes she's right. She looks to Grace, who does n't seem to oppose the idea.",
"INT. RANCH HOUSE/KITCHEN - NIGHT Everyone sits around the kitchen table. Joe, still wearing his hat, eyes Annie and Grace with acute curiosity. DIANE Joe, take off the hat - I'm not going to say it again. Joe obeys. Diane puts the last of the serving plates on the table - pork chops, potatoes, gravy, peas, bread. And a big bowl of mixed salad. The boy ca n't help eyeing how the `` vegetarians'' will act. Annie and Grace eye the food. Annie reaches out for a serving ladle, picking up Grace's plate to serve her as Grace reaches for a piece of bread, when : FRANK Dear Lord, we are humbly thankful for. Annie and Grace freeze as Frank continues his prayer - they notice everyone's head bowed slightly. FRANK -LRB- continues. -RRB- these gifts. For the blessings on our home, our family and our guests. Bless those that are n't as fortunate. Bless all God's creatures. EVERYONE Amen. Everyone begins eating. Annie and Grace breath a sigh of relief. Silence. Utensils hitting plates, the only sound. FRANK Bank out us a couple more men to run the cattle. TOM We should be fine, then. Beat. Annie and Grace listen. JOE Teacher asked me why we raise Black Angus - Herefords ` stead of Pure Herefords. FRANK Tell her they suit the weather better. Their udders are black, ` stead of pink. TOM They do n't get burned by the sun bouncing off the snow. And they're good mother. FRANK Our daddy raised Pure Herefords. Silence. Eating. Annie tries her hand at conversation : ANNIE You know, that's interesting. I always wondered when I went into a restaurant what was the difference between a regular steak or a Black Angus steak. I could n't taste any difference although I could swear one was more tender. I did n't know there was that big a difference between cows. -LRB- silence. -RRB- I've never been on a cow farm before. I must say, the bulls seem to have the best time of it. Just laying around the fields all day until they're asked to. -LRB- uncomfortable. -RRB- do their. work. FRANK Well, get born a bull, got a ninety percent chance of getting castrated and served up as hamburger. On a balance I reckon I'd choose being a cow. -LRB- to Grace. -RRB- Would you mind passing that salad young lady? DIANE How's Peterson's holding up for you? ANNIE -LRB- lying. -RRB- It's fine. Comfortable. I still ca n't get used to how dark it gets around here, though. When we leave the ranch, I always hold my breath until I can see the motel. FRANK -LRB- innocently. -RRB- You know, Tom, while you're working on that horse of theirs, Annie and Grace should move into the old Creek house. Diane and Tom react accordingly ; Diane hiding her annoyance, Tom hiding his surprise and pleasure. FRANK Nobody's using it. Silly for her to be driving back and forth when she do n't know her way around that well. ANNIE Oh, I do n't know. FRANK Well, I know Peterson's. Old place is as good as falling down around your ears. DIANE -LRB- overlapping. -RRB- They're already all settled in, Frank. Anyway, I'm sure Annie wants her privacy. FRANK It's got doors, Diane. Private as can be. Tom? TOM I do n't have a problem with that. It's up to Annie. ANNIE Well, it's worth it, really? I mean, how much longer do you think you need to work with Pilgrim? TOM That's up to Pilgrim. Everyone waits on Annie's answer as she considers this.",
"INT. MOTEL ROOM - NIGHT Grace is on the phone with Robert. Annie is packing things up. Grace is telling him about the day ; GRACE -LRB- listens. -RRB- I know. Me, too. Why do n't you come one weekend? Annie reacts to this. GRACE We'll have more room because we're moving onto the ranch. They have this empty house near this creek. It's actually pretty. OK. I love you. -LRB- to Annie. -RRB- Dad wants to talk to you. ANNIE -LRB- takes the phone. -RRB- Hi. INTERCUT",
"INT. CENTRAL PARK WEST APARTMENT - NIGHT Robert is burning the midnight oil in the study with files all around him. ROBERT Hey. She sounds like she's doing all right. How is she? Grace exits into the bathroom. Annie talks softly ; ANNIE -LRB- cautious. -RRB- Yeah. She seems to be getting more comfortable on the ranch, which is why I said yes to this move. But, whenever it's just the two of us, I do n't know. Anyway. what's happening with the Delco lawsuit? ROBERT Taking forever. I just got an additional list of sixty - two employees to interview before Monday. I do n't know how I'm going to do it. ANNIE Well, it's good that you're there. Robert did n't mean to validate his separation from them. ROBERT So, how are you doing in Marlboro country? Is the magazine complaining at all? ANNIE Yeah, but nothing I ca n't handle. Lucy tells me she thinks Gottchalks's plotting, but what else is new. ROBERT When are you coming home? ANNIE You know, I just asked that myself tonight. He does n't know. ROBERT Well then. maybe I will take some time. come visit. ANNIE Okay. Beat. Annie knows Robert needed an invitation from her. But she ca n't do it. Robert tries again. ROBERT I miss you, Annie. ANNIE I know. We miss you too. ROBERT Good night. ANNIE Night. Awkwardly, they hang up. Grace exits the bathroom. GRACE Did you ask him to come visit? ANNIE You already did. GRACE Did he mention it? ANNIE -LRB- resumes packing. -RRB- Yeah, he's going to think about it. You want me to pack for you? Grace looks at her disapprovingly as she passes to go to the bathroom. Annie registers this.",
"INT. RANCH HOUSE - LATE DAY Diane is washing windows while listening to an audio book on her tape player. Through the windows, she sees : Joe and the Twins helping Annie and Grace move into the Creek House. Diane has conflicting feelings about this. She continues her work.",
"INT. CREEK HOUSE - LATE DAY VARIOUS SHOTS of ANNIE CONNECTING HERSELF BACK TO THE REST OF THE WORLD, BY PLUGGING IN HER COMPUTER, FAX, ETC. Grace is in the other room, as she was in the motel. Alone. With no television, she is just listening to her music laying on the couch. The two women remain separate no matter where they are. But we see a small difference. Grace rises and walks to the window. She looks out ; POV : She sees people working about the ranch. Maybe Joe is among them - riding his horse as he works. Or maybe it's just a vision of people with tasks to complete - who do so with pride, discipline and clarity. Grace looks out the window longingly.",
"EXT. THE RANCH - ANOTHER DAY A cloud of dust. A dozen or so horses are running in an arena by the stables. Tom is riding among them, holding a long stick with an orange flag at the end of it, waving it at the young horses, making them run away from him. The colts stay close together. One of the horses, PILGRIM, stays at a distance, off to himself. Grace watches from along the railing. She alternates her attention from the horses. to Tom. TOM What we're doing here, Grace, is trying to get him to learn how to be a horse again. He cracks the flag, the horses move together. TOM The others already know, see. That's how they are in the wild - herd animals. -LRB- cracks the flag. -RRB-. When they've got a problem, like they have now with me and this flag, they look to each other. But old Pilgrim there has forgotten. I'm the rock and they're the hard place. He thinks he has n't got a friend in the whole wild world. C.U. on GRACE, who clearly feels the same way. but wants desperately not to. She watches him ride off towards Pilgrim who has stopped like all the others at the far end of the ring. He stands by himself, tossing his head, snorting, not wanting to be around other horses. Tom cracks the flag, keeping them moving. Pilgrim does his own private dance. Tom rides by Grace and hands her the stick ; TOM Hold this for a minute. Grace stiffens. She does n't want to, but she's afraid to say `` No'' to Tom. He just insists by tossing it to her. TOM Hold onto it, go on. She's forced to catch it. He turns and rides away, chasing down Pilgrim, trying to edge him toward the herd. For a moment, he has him breaking to the left with the horses. But as soon as he's clear of Tom, he separates himself and comes to stop on his own. Tom rides back to Grace, taking back the flag. TOM We'll get there, Grace. As he says this, he flashes a small, reassuring smile and a little wink. Grace melts just a little. As he rides away. Annie appears, having come from the Creek House. She calls : ANNIE Grace? The clinic just called. They had to change your physical therapy appointment. We have to leave now. Grace frowns a little - her mother's `` perfect timing.'' Annie approaches the arena, watching Tom riding. As he passes her ; TOM Hello, Annie. Annie notices how he says her name. ANNIE Mr. Booker. He flashes a smile in her direction and Annie's expression comically matches her daughter's reaction. She quickly covers it, however. Her eyes follow him as he glides around the arena. It's like watching a great ballet - his control of the horses, his effortlessness, his grace, his strength. She smiles to herself in appreciation. Then catches herself : ANNIE -LRB- to Grace. -RRB- You got everything you need? GRACE If I had everything I need, I would n't be going to physical therapy. Tom approaches as he overhears Grace respond ; ANNIE -LRB- trying to cheer her. -RRB- Honey, come on. Would you like to stay in town for dinner? Maybe see what movie's playing tonight? GRACE Why? There's no food in the house? ANNIE No. I just thought. forget it. He's getting a clearer view of their relationship. TOM You know, we're branding here tomorrow. If you two want to come by to watch or give a hand, you're welcome. ANNIE -LRB- laughs. -RRB- Branding? -LRB- sarcastic. -RRB- I have n't branded in years. Tom chuckles. GRACE I'll come. ANNIE Uh, I do n't, honey. Branding? Oooh. I think we'd just be in Mr. Booker's way. TOM As long as you do n't get in the way of the branding iron, it does n't matter too much. Annie smiles. She turns to Grace, questioningly. Grace says matter - of - factly, to prove her point. GRACE I watched Margo Neuberger get a tattoo. Tom squints. Annie shrugs and nods. ANNIE Okay. As Grace and Annie walk to the car, Tom says : TOM Hey, Grace - maybe we can get your mom to put me and you branding on the cover of her magazine. Start a whole new fashion craze. They continue walking as Grace smiles, enjoying being singled out for his joke. Annie responds, almost flirtatiously. ANNIE Try not to fall off your high horse, Mr. Booker. Tom tips his hat and rides away. Annie smiles and nods. Grace does n't like their sudden familiarity. Or her mother's coy manner. As they enter the Suburban, Grace asks point blank ; GRACE Did you call Dad today? Annie is caught off guard. Tom, riding in the arena, catches himself looking after them. then goes riding after Pilgrim.",
"EXT. DOUBLE DIVIDE - DAY The air smells of scorched flesh. There is nothing but NOISE. Calves, separated from their mothers, `` cry.'' They are moved out through a series of connected pens into a narrow chute, and then one by one into a holding pen. They're clamped and lowered sideways onto a table and given a shot, a yellow insect tag in one ear, branded, then sent back to their mother's. The bulls, in a pen by themselves, stand haughty, paying no attention. Frank helps `` doctor'' the calves. Joe brands. Annie and Grace are standing by the railing, watching with a mixture of fascination and disgust. Tom moves in the feeder pen, waist deep in calves, moving them through the chute. He looks to Annie. TOM Hey, over there, you want to make yourself useful? It is n't a question. TOM Hank, I got you a volunteer! Annie and Grace realize they have no choice. - WHAT FOLLOWS IS A SEQUENCE OF SCENES SHOWING ANNIE AND GRACE PARTICIPATING IN THE BRANDING. AND HOW THEY GRADUALLY COME TO LOSE THEMSELVES IN THE EXPERIENCE. - HANK, A RANCH HEAD, HELPING ANNIE INTO THE CHUTE. ANNIE GETTING KICKED BY A CALF. - GRACE BEING SHOWN HOW TO HOLD THE BRANDING IRON. - HANK TEACHING ANNIE HOW TO SAY `` HYAH!'' . - TOM IN THE HOLDING PEN WITH HIS ARMS AROUND GRACE, SHOWING HER HOW TO APPLY THE BRAND. GRACE, A LITTLE FRIGHTENED OF THE BRAND, IS IN HEAVEN IN TOM'S ARMS. - ANNIE IS STILL TRYING TO SAY `` HYAH''! WITH THE PROPER FORCE. SHE CLAPS HER HANDS, PUSHING THE CALVES ALONG, KNEE DEEP IN COW SHIT. - GRACE CLOSES HER EYES AND THE IRON TOUCHES THE CALF'S HIDE. TOM That's good. firm but gentle. -LRB- Grace opens her eyes. -RRB- It hurts but he'll get over it. Grace smiles proudly. TOM You handled that pretty well. Think it's time you earn your keep around here. So, when we're not working and when you do n't have your therapy, I'd like you to help out with the horses. Rubbing them, cleaning up the stalls. You think you can handle that? Grace knows him well enough to know ; GRACE That's not a question, is it? TOM You're catching on. Grace smiles. - Annie turns and, not looking where she's doing, trips over a calf, falling down. And calves, coming down the chute, start to run towards her. Suddenly, Tom grabs her by the leg and pulls her to safety. He helps her up and dusts her off. TOM -LRB- not wanting to smile, but. -RRB- You okay? ANNIE It is cocktail hour yet? Tom laughs. She takes a big breath.",
"EXT. THE RANCH - LATE AFTERNOON The ranch is colored in amber light. Near the house, two long tables pushed together to make one long one. A gentle breeze ruffles the tablecloth. Everyone is seated for a meal. We hear laughter and conversation. We parachute into the middle of the moments ; - Hank helping with his wife get to their three children to sit still for dinner. - Diane organizing the women and their various plates of side dishes. - The Ranch Hand piling up their plates and kidding each other. - Joe is instructing Grace on the various sauces for the ribs. The Twins are making fun of him behind his back. - Tom and Smokey are barbecuing, the last one to sit. - Frank assists his frail mother, ELLEN BOOKER, at the table, filling her plate with all the things she ca n't reach for. The faces are beautiful. Laughing. Eating. Everyone is tanned and exhausted after a long day, but filled with life and eager to live it. The tables are covered with heavy food. The communion at this table is as much a part of the ritual as the branding itself. Annie and Grace look different to us. Tanned from the sun, their bodies sore - they feel softened, yet more vital. As if the artifice had been worn off. the armor of urban life. As the table thrives with conversations, we focus on : Annie and Ellen Booker. Annie looks calmer than we've seen her - and more naturally beautiful. She is seated beside Ellen Booker. We sense they have been talking for a while. Annie is so sincerely interested in listening to her, she's hardly touched her own plate. ELLEN BOOKER he was a blacksmith by trade, my father. My grandson Joe was named for him. But he always dreamed of having his own place and raising horses. We see Tom a few places down and across from Annie and his mother - but fully aware of their conversation. ELLEN BOOKER He'd heard of some land. What's Stockett now. Rode out there. Got off his horse and walked about as far as he could in one way. Then he walked as far as he could another way and another until he got back to where he started and that's where he put his roots down. That's where my husband and I ranched and raised Frank and Tommy. She motions proudly to Tom who looks up. Annie smiles to him. He looks to her with gratitude for the respect she's showing his mother. ELLEN BOOKER Quite a different life from what you know, I expect. Which place to you call home? ANNIE Well, I was born in London, but my father was an ambassador and we moved constantly. I've lived in a lot of places but I do n't really know what I'd call home. Tom listens to this. ELLEN BOOKER An ambassador! My! That's very important. ANNIE He was a wonderful man. She looks to Tom and he can sense a sadness around this in her eyes. DIANE -LRB- to Grace. -RRB- I sure hope you're gon na eat more than that, young lady. You're a growing girl. GRACE I've never eaten this much in my life. DIANE Probably never worked so hard, neither. Those arms of yours are gon na be pretty sore tomorrow. I'll give you a little bit of ointment I make. It's a magic recipe my Mama gave me. FRANK We used to call Diane's mother Medicine Woman. None of us never went to the doctor when she was alive. Annie and Grace listen in. HANK Too bad she was n't here for old Henry Vanoker. FRANK Not much would have helped him. DIANE I never got that whole story, what happened? HANK Old Henry was changing a flat tire on his truck over on 118 when that. -LRB- laughs. -RRB-. two - hundred - year - old jack he has gives way and the side of that truck come slamming down on that rock he calls head. There's laughter - everyone knows Old Henry. Except : ANNIE What happened? HANK Knocked him out for a while. He woke up, finished putting on the tire and drove himself to the hospital. DIANE Old Fool. Darling, pass down those peas for me, thank you. Annie and Grace do n't know how to respond. But everyone else takes it their stride as they continue eating. Grace notices Joe is whispering something to Frank, who nods his head and speaks to the table. FRANK Huh, Joe here has something to say. Joe stands, somewhat formally, with his hat on. JOE I wrote this for you Grandma. Mrs. Booker, and Diane, beam. Annie and Grace do n't know what to expect. Joe stands straight as an arrow and recites a poem from memory. At first, Annie and Grace appear to be embarrassed for the boy but soon they ca n't help but be won over by his guilessness. He finishes and everyone applauds. Hank's wife asks : HANK'S WIFE That was lovely. Who wrote that, Joe? JOE I wrote it myself, ma'am. FRANK Now son, you tell'em when it came from. JOE Be honest, I ca n't say I did it all myself. My grandma helped me get the words right. OOoo's and aah's and smiles and conversations erupting over each other. Only we see, Grace looking over to Joe who gives her kickass, shy grin. TOM -LRB- raising his beer. -RRB- Well, I'd like to welcome Annie and Grace to their first branding. FRANK And next time, Miss Annie, you can run down the calves. ANNIE I'll drink to that. Everyone toasts and drinks. Annie and Tom exchange a look. She smiles, but not in a alluring way - rather, in a grateful way. Grateful for this brief moment of community and good feeling. And somehow, Tom knows what she's feeling. No one notices this silent exchange - except for Diane, who sees everything that's going on.",
"INT. RANCH HOUSE, DINING ROOM - NIGHTFALL The Women are bringing in dishes and plates and food from the tables through the house and into the kitchen. Annie is among them, feeling apart of the group. She enters carrying a large bowl, that held the corn. Diane is replacing newly - cleaned forks and knives in her dining room drawers, above which are several FAMILY PICTURES. ANNIE -LRB- referring to clean bowl. -RRB- Where does this go, Diane? DIANE Oh, you can just set up on the dining table. I have to rearrange my shelves tomorrow. Annie complies. She notices the framed pictures on the wall in the dining room. ANNIE Is this Mr. Booker? Tom's grandfather? Diane looks at a faded photo circa late 1800's. DIANE Mm - mm. I never knew him. He died before Frank and I met. This here's. -LRB- another photo. -RRB- Frank and Tom's mother and father. there's little Frank and Tom. ANNIE She calls him Tommy. DIANE Always did. I think she favored him a little. You tend to when you have more than one, even though you love'em all the same. She studies the old faces of Tom's Parents - although 20th Century people, there is still a pioneering strength in their visage. a stoicism and power. DIANE -LRB- putting away forks. -RRB- Ha, she loves telling this story about how when he was two years old, he ran off. They found him in the barn, sleeping between two giant hooves of a Percheron stallion. She said that horse was protecting him and nobody could convince her otherwise. ANNIE I got a little confused though. The ranch Ellen was talking about - that's not this one? Diane is sorting silverware throughout the following : DIANE No. See, Frank and Tom were raised near the Clark's Fork River, right between the Pryor and Beartooth Mountains. Beautiful piece of land. But they had this uncle Ned - useless man, never interested in ranching. And when the grandparents died, he left for the city and sent word through lawyers he wanted his claim to the land so he could sell it. Three years of legation broke their father. Frank took it all in stride, but Tom. Tom loved that land. I do n't think he ever got over it - His home being sold out from under him. Seeing his father like that. Once he and Frank got their folks set up in a new place, Tom left. went off. We did n't see him for years. Annie is intrigued by what she's learning about Tom. Something outside the window catches her eyes. She watches : POV ; Tom and Frank, on either side to Ellen, are escorting her to a car that will drive her home.",
"EXT. RANCH HOUSE - NIGHT Annie wanders out, passing Grace and Joe on her way out. The two are sitting in a glider. As Annie exits O.C., we hear them ; GRACE Why do you always wear that hat? JOE Because it fits my head. You want to try it on? Grace does n't know if she should. Annie continues towards Tom who's sitting in a rocker playing with the twins. TWINS Show us again! Come on! One more time! It's my turn now! TOM All right, al right. Hold out your finger. Annie takes a seat nearby and watches as Tom holds out the first finger of his right hand. The Twins holds out his. Tom splits his focus between Annie and the Twins as he takes a small piece of rope out of his back pocket. He ties the ends together making a loop. He puts the loop over the Twin's finger. And holding the other end of the loop taut with his left hand, he draws one side of the cord over the other with the middle finger of his right hand. Then he rolls his hand over so it's under the loop, and back over it again, so that his finger is tip to tip with the Twin's. The loop seemingly knotted around their touching fingertips, and can only be removed if their touch is broken. TOM The loop's knotted, right. -LRB- Twins nod. -RRB- Looks like the only way to take it off, is if we break our touch. -LRB- they nod. -RRB- Watch now. Annie and the Twins look down at the touching fingers as Tom gently pulls the rope away, revealing they are still knotted, and without even breaking their touch. TWINS Again! Again. One more time! TOM Oh, no. No, no. I only fall for that once. Go inside now before your mother starts hunting you down. Go on. The Twins exit. Annie and Tom make eye contact. TOM -LRB- smiles, relaxes back. -RRB- So how was your first and last day of branding? ANNIE Do n't be so sure it's my last. There are a few people back home I'd like to put under a red hot iron. Tom looks at her with a sly expression, and notices she's shivering. TOM You got too much sun today. Here. He takes his jacket and puts it around her shoulders. ANNIE Thank you. He sits back down. Annie crosses her arms over her chest, looks around, unconsciously swinging her foot. Tom watches her leg. Annie notices him watching ; ANNIE What? TOM You ever just stand still for a minute? ANNIE You stand still too long in New York you get hit by a bicycle messenger. -LRB- smiles wryly. -RRB- You know, sometimes, I get the feeling, Mr. Booker, that you're laughing at me. Why is that? Tom shrugs. Annie waits a beat, then : ANNIE That's your cue to say you're not laughing at me. TOM Oh, I see, you write both sides of the conversation? ANNIE It's a man's world, Mr. Booker. Most women have to. TOM Well, maybe I am laughing a bit. I just thought, as long as you're here, it would be nice for you to relax into the place a little. ANNIE -LRB- understanding. -RRB- Well. It's beautiful country, I'll give you that. And I could see having some kind of vacation place. Retreat. But I do n't know how you do it full time. Do n't you miss the rest of the world? TOM What's that to miss? ANNIE Ha. if you've never lived in a city with museums, theater, music, restaurants, uh. god, a million things, then it's something I ca n't explain. TOM -LRB- thinks, teasing a bit. -RRB- Does Chicago count? ANNIE -LRB- surprised. -RRB- You lived in Chicago? TOM When I was first married. ANNIE -LRB- stunned. -RRB- You were married to a woman in Chicago? Tom likes disturbing her picture of him as the predictable cowboy. He smiles ; TOM I once heard Itzhak Perlman guest star with the Chicago Symphony Orchestra. He played Rachmaninov's Vocalize Opus 34. No. 14. It was one of the most beautiful pieces of music I ever heard. I actually forgot where I was for a time. -LRB- Annie is floored. -RRB- You seem surprised? ANNIE -LRB- not wanting to insult. -RRB- Well, I, uh. you did n't. TOM Just who's been laughing at who here? Tom says this with a wry smile. Annie returns with a smile - as an understanding is reached between them : they've both stereotyped the other. They are both pleased - and attracted - by what they do n't know.",
"INT. CREEK HOUSE - NIGHT Grace is fast asleep, exhausted. She does not stir when the phone rings. Annie picks up from her own bed, awakened, still dressed in her branding clothes, having just passed out on the bed. ANNIE Hello?",
"INT. CENTRAL PARK WENT APARTMENT - NIGHT INTERCUT : Robert, alone, in the vast apartment. ROBERT I thought you guys were going to call me. ANNIE Oh, Robert, I'm sorry. We were so tired from the branding. Grace barely made it to her bed and I did n't have the energy to take my clothes off. ROBERT Oh well. branding will do that to you. ANNIE Everything all right. ROBERT Huh - huh. You? ANNIE Fine. Actually, today was a good day. You should have seen her. ROBERT I wish I did. The sound of self - pity was so obvious for both of them, so Robert quickly re - groups, resorting to something he knows is important to her ; ROBERT Well, uh the real reason I called, actually, was to tell you I saw Lucy at Jo - Jo's tonight and she seems very worried. ANNIE About what? ROBERT Apparently, Gottschalk's been seen around town lunching with some very prominent magazine editors. Lucy said she tried to call you, but no one answered so she faxed you the list of names. She said one of them have contracts up fairly soon. ANNIE Oh. I did n't look at my faxes today. We left before sunrise. ROBERT Honey, I hope you're not endangering your position. Listen, if you need to come back and you want me to come take over, for a while, I'll work it out. I mean, the firm's got other lawyers, but the magazine's got only one of you. After a day of hard work and simple pleasures, Annie begins to succumb to old anxieties and pressures.",
"INT. CREEK HOUSE - NIGHT Annie is awake reading the faxes Lucy sent. One after other. As she flips through them, one falls to the floor near the bed. She gets down on all fours to retrieve and sees something under the bed. AN OLD, BATTERED CELLO CASE. She pulls it out to find the initials R.B. carved on the top. She opens it to find papers, receipts, bills - all from Tom's married life.",
"EXT. THE DOUBLE DIVIDE - EARLY MORNING Tom rides a young colt along the creek. He hears footsteps. He turns and sees Annie running along the creek on the other side. He stops to watch. When his horse SNORTS, Annie looks up to see him. She stops. He tips his hat to her. ANNIE I've decided it's impossible to properly say hello in this place without a hat. TOM A jogger, huh? ANNIE I do n't jog, Mr. Booker. I run. TOM Lucky for you. The grizzlies around here only go for joggers. ANNIE If I can survive rush hour, I figure I can handle grizzlies. TOM -LRB- smiles. -RRB- You sleeping all right in that house? ANNIE I do n't sleep all right anywhere. But the house is fine. Tom walks his horse across the creek to her, comfortable in the silence. Annie moves about, uncomfortable in the waiting. ANNIE Who's R.B? Tom is finding Annie's blunt curiosity more endearing. ANNIE I found this old cello case filled with bills and receipts. TOM Sorry about that. I thought everything got cleared out. R.B. is my wife. ex - wife. Rachel. We used to live in that house together. ANNIE I thought you lived in Chicago? TOM I thought you were an editor, not a reporter? Annie smiles and nods, realizing she's asking too many questions. She tries to casually reach out to touch the horse's head, but it's too abrupt and the horse tosses his head away, taking a couple of steps back. Annie is embarrassed. ANNIE I have a way with animals. TOM It's all right. He's young. Just hold out your hand a little lower so he can get the smell of you. ANNIE Oh yes. I forgot. She does and the horse sniffs at her hand. ANNIE He's beautiful. TOM Why do n't you ride anymore? Grace told me you used to ride when she was younger. ANNIE She did? Annie is somewhat moved by her daughter telling him that. ANNIE I do n't know, really. No time mostly. A cold wind blows. She folds her arms across her breasts. ANNIE I thought it was supposed to be spring. Tom ca n't help but notice her nipples are hard from the cold. He looks away. She laughs. ANNIE Are you shy, Mr. Booker? TOM Just polite. Well, maybe you'd like to try riding again, some time before you go home. Annie is struck by the words `` before you go home.'' Tom ambles off on his horse. TOM Enjoy the day. ANNIE You too. Annie steps across the rocks at the ford, crossing the creek. Her foot slips, one of her shoes goes into the water. ANNIE Shit. TOM Need a lift? ANNIE I can handle it! She crosses the creek. She turns, giving him a small wave. He touches his hat. She runs off. Tom watches her go, head down, concentrating.",
"INT. CREEK HOUSE - DAY A tense Annie is having a difficult phone with DAVID GOTTSCHALK ; ANNIE David, we've been behind a day or two before. But Lucy just Fedexed me all the material and it'll be approved by the end of the day. DAVID GOTTSCHALL -LRB- V.O. -RRB- If nothing goes wrong. If the faxes do n't go down. If the phone lines are opened. I ca n't have this magazine hitting the streets by the skin of its ass, Annie. During David's lines, Diane has entered, carrying fresh towels - she crosses into the bathroom. ANNIE Oh, come on! This is such bullshit! The work is getting done, David. Lucky keeps me on top of everything. DAVID GOTTSCHALK -LRB- V.O. -RRB- Lucy is n't you. We're losing something without you being here. Now, I know this is a rough time for you, but I think we should make another arrangement. Without Annie's awareness, Diane re - enters and takes her time leaving, so she can take in all of Annie's things ; her business `` office,'' books, etc. ANNIE What the hell does that mean? How much more do I have to do to prove how important this magazine is to me? DAVID GOTTSCHALK -LRB- V.O. -RRB- If this magazine is so important to you Annie, why are you in Montana? Diane ca n't help but notice a slight vulnerability in Annie. DAVID GOTTSCHALK -LRB- V.O. -RRB- Look, this is what we're going to do. Finish up this issue. I'll set up a conference call in a few weeks. Just you, me and your lawyer and we'll just work this out so that everyone will be taken care of. Fair enough? Annie is now aware of Diane's presence and chooses to play it cool. It's not the moment. ANNIE Uh, yes. Sure, David. DAVID GOTTSCHALK -LRB- V.O. -RRB- All right. Speak to you then. He hangs up. Annie forces a smile to Diane. ANNIE Thank you. You're all doing too much. DIANE Oh, it's. I wanted to tell you that, if you'd like, you being so busy, I could take Grace to her therapy exercises for you. I have to go in once a week for shopping anyway. Annie does n't know whether or not to accept. ANNIE Oh. Well. thank you very much. I do n't - Before she finishes her line, the Phone Rings again. ANNIE Sorry. -LRB- to phone. -RRB- Hello? Hi, yeah, I just spoke to him. Oh, you know David, Mr. Strong Arm. Diane feels out of place and exits. Annie does n't notice until she hears the door close. She pushes back her hair and takes a deep breath. She looks out through the side window and sees : Grace and Joe doing chores. Grace looks involved and not at all self - conscious. A moment of gratitude and calm for Annie.",
"EXT. THE DOUBLE DIVIDE - DAY Pilgrim bursts out of a chute and into the riding arena. He runs to the far end and abruptly stops. Tom is holding the orange flagstick, and coiled rope, coming through a gate into the arena, crossing to the middle of the ring. Something in his demeanor tells us that fun and game are over. Pilgrim and Tom stand there, motionless, eyeing each other. Pilgrim snorts and takes a few, small steps backward. Tom takes a beat, then starts slowly towards Pilgrim, lifting the flag and `` cracking'' it. At the sound, Pilgrim whirls away from him and runs, around the arena. He starts to slow, looking at Tom. Again, Tom cracks the flag and Pilgrim runs, round and round the arena. like a ringmaster, Tom keeps Pilgrim moving, cracking the flag. Something about Tom's demeanor tells us it is n't going well.",
"EXT. THE RANCH - DAY Tom, carrying a saddle, comes around the side of the barn. Through the slats, he sees Grace working in the barn, watering a horse. She has stopped and is looking through the cracks of Pilgrim's stall at him. She turns and sees Tom through the slats. She goes back to work as Tom comes to the barn door. TOM Come and take a ride with me.",
"EXT. THE RANCH - DAY They walk towards his pick - up truck. TOM Can you drive? GRACE Drive? I'm not old enough yet. TOM It's never too soon to start. He enters the passenger side. GRACE I ca n't. TOM I do n't have all day. She hesitates and gets into the truck.",
"INT. PICK-UP TRUCK - DAY Grace does n't know what to do. TOM Put the key in and turn it. -LRB- Grace obeys. -RRB- The right pedal is gas, the other one's the brake. GRACE I do n't know if I can with my leg. TOM Well, there's only one way to find out. -LRB- puts truck in gear. -RRB- Give it a little gas. She awkwardly puts her prosthetic foot on the gas pedal. Too much. It lurches forward. She takes her foot off. TOM Well, we know you can. Now you just got to feel how much. Try it again. She does. They slowly, very slowly, move along the dirt road. TOM Nice, real nice. There's a little road down at the end here, turn onto it. Grace badly oversteers, but makes the turn. She drives along the road, across a pasture, heading toward distant mountains. TOM Just follow this. Nothing to it. I'm going to shut my eyes here for a little while. Just keep going till you run out of road. GRACE -LRB- afraid. -RRB- I do n't know if I can. TOM Not a question of if you can - you are. Just keep your eyes on the road and your foot on the pedal and the rest will take care of yourself. Folding his arms over his chest, shutting his eyes, Tom relaxes back. Grace locks her hand on the steering wheel and her eyes straight ahead.",
"EXT. DOUBLE DIVIDE - DAY The truck is parked at the foot of a mountain. Grace, very pleased with herself, sits beside Tom on the cab's roof, looking around them at the great Montana. After a beat ; TOM Where did you get Pilgrim from? GRACE We bought him in Kentucky. My mother and I took a trip down there to see him. TOM That must have been pretty special. Grace nods. It is a pleasant memory. He motions for her to be quiet. An old ELK with a prodigious rack of antlers, has come down out of the mountains. Seeing them, he stops in his tracks, dead still. They watch each other. Then the elk turns and runs back up into the mountains. Tom smiles at Grace who smiles back - partly because of the elk, partly because she's alone with Tom. GRACE Are you afraid of anything? TOM -LRB- thinks. -RRB- Getting old. Not being of much use, I guess. -LRB- beat. -RRB- What went on out there, Grace? With Pilgrim? Grace does n't say anything. Tom nods then ; TOM You see, Grace, I've got a problem. When I'm working with a horse, I like to know its history. Now, most times, the horse can tell you pretty much the whole story, but sometimes he can be so messed up in his head that you need more to go on. You need to know exactly what went wrong. Often times, it's the obvious thing, but something that went wrong just before that, maybe even some little thing. Grace is quiet. She does n't want to think about that. TOM It's like if I'm driving and run into a tree. When somebody asks me, `` Well, what happened?'', I do n't say, `` Well, I plowed into a tree.'' I'd say, `` The sun was in my eyes.'' or `` I skidded.'' or `` I took my mind off the road for a second.'' See what I mean? -LRB- Grace nods. -RRB- I do n't know how you feel about talking about it and I can understand you might not want to. But if I'm going to figure out what's going on in his head, it'd sure help if I knew exactly what happened that day. Grace looks away. Tom smiles and gently puts his arm around her shoulders, which has a soothing effect on Grace - making her feel safe. TOM Not today - whenever you feel like it. I leave it up to you. Grace looks into Tom's eyes, wanting so much to unburden herself to him and have him make everything all right. She nods.",
"EXT. RANCH HOUSE - LATE AT NIGHT Tom is making his way to the house at the end of the day, when he stops and looks over to the Creek house - POV - the lights are on. And he can see Annie, exhausted. approving pages, talking on the phone and faxing all simultaneously. He gets an idea.",
"EXT. CREEK HOUSE - MORNING Annie sits on the porch of the creek house, with a guilt over herself, sipping coffee and deep in thought. She looks up to see : Tom riding towards the house on his horse, leading another horse behind him. He looks to her and smiles. ANNIE -LRB- murmurs. -RRB- Oh - oh. Tom reaches the house as Annie rises. ANNIE The answer's no. TOM You have n't heard the question yet. Truth is, you'd be doing me a favor. I got all these eager young colts need riding and poor old Rimrock here is feeling kind of left out. ANNIE Poor thing. TOM He'd be grateful, he'd take real good care with you. ANNIE Is this how you're going to make me pay my phone bill? TOM No, ma'am, I'm afraid that's extra. She gives him a crooked smile.",
"EXT. THE RANCH, PASTURE - DAY Annie, in Levis and a jacket, rides Rimrock beside Tom across the pasture. We overhear them in the midst of talking. TOM Relax our center. It's just sitting in a bucket. ANNIE Yeah, it's been a while, but I. I remember the basic ideas. TOM OK. I'll stop talking then. He rides a few steps ahead as Annie realizes she does n't remember. She just went into automatic `` I do n't have to be told anything'' mode. ANNIE Actually, I never rode Western. I'm sorry. Go ahead. TOM Well, he do n't know that. Just sit the horse. -LRB- watches her ride. -RRB- Good. You have a nice seat. ANNIE Thanks. TOM Feel good? ANNIE Yeah. TOM You look all right. You want to pick it up a little? ANNIE OK. Tom urges his horse into a center. Annie canters alongside. TOM Watch your reins, he'll go with you, give him some room, let him do the work. Relax, do n't grab him with your thighs, just so long as he can feel your body. Annie responds to every suggestion without resistance. And she experiences this sense of pleasure - this great animal beneath her, the physicality and the surrender of letting someone else lead. TOM You want to let it go some more? She begins to let herself go, losing herself in the experience. She just nods. Tom breaks into a full gallop. Annie follows suit. She lets everything go - her job, her marriage, motherhood, guilt, anxiety. all of it. Her only focus is the horse beneath her, and the man on the horse leading her.",
"EXT. DOUBLE DIVIDE - DAY They ride along the creek, crossing at a ford. They ride up towards the mountains.",
"EXT. THE MOUNTAINS - DAY They ride through a narrow pass with sheer rock walls, riding by a waterfall. They ride across a meadow, cattle stepping lazily aside to let them pass. And as they ride alongside each other, appreciating the silence. They ride up along a sloping ridge covered with pine trees. They come to the rim of a high bluff. They stop. They look out at the twin valleys that gave the ranch its name. And they can just see the old CREEK HOUSE hidden in the shade of some trees along the creek. Tom looks over at Annie, who is looking out over this beautiful vista. ANNIE It's a whole other world you have going on here. It just goes along, doing what it has to. And you're a part of it, you just wake up and, and there you are. And everything that seems like life or death some place else - does n't affect any of this one bit. Tom is impressed by her feelings. He sees her saddle cinch needs fixing and gets off his horse. TOM Lift your leg. Annie complies once she realizes what he's doing. ANNIE How long did you live here with your wife? TOM Five years. My son was born here. ANNIE -LRB- opens her eyes. -RRB- Son? TOM Yeah. I have n't seen him in a while. He used to come to the ranch over summers, but then he started having friends and was going off to college, so. Good boy. Hal. Lives in New York near his mom. ANNIE How did you meet her? TOM College. In Illinois. She was playing the cello. I had n't heard cello music growing up. She had the reddest hair, the bluest eyes. When she played, it was. Tom ca n't find a beautiful enough word. But Annie understands. TOM She was the most beautiful thing I'd ever seen. Annie sees Tom as if with new eyes - his love for this woman he lost. ANNIE Why did n't it work out? TOM She was never really happy here. She did the best she could. Annie looks at him and for the first time senses a kinship - an understanding they both have of being torn between two worlds. a desire for home. TOM Grace told me you have a country house in Connecticut. Sounds like a beautiful place. ANNIE It is. It's lovely. TOM Ever think of moving there full time? ANNIE We did at one point. When we thought we'd have more children. And we after tried. We tried everything, but. was n't meant to be. There is an awkward silent beat for a moment. Annie is momentarily self - conscious. Tom helps by speaking of himself ; TOM I hear that! See, I knew she was never going to be a ranchest, but I wanted to try - I thought maybe she'd give music lessons to the kids in town or at the school, maybe even recitals. My son would grow up here. Maybe have one or two more. I'd teach'em what I could. They'd play with my brother's kids. All grow up together. And even if they all decided to go out into the world, they'd always know where home was - cause we'd keep it for'em. ANNIE That's very important to you, is n't it? Home. TOM Yeah, I think it is. And I do n't mean everybody's got to be married, have kids - It's more like, knowing where you're from, where you belong, what feeds you, where you can go no matter what happens. Knowing what you're supposed to be doing while you're here. ANNIE How did you find out all that? Tom looks right into her eyes and confesses without a shred of self - consciousness. TOM I got lost. They smiles.",
"EXT. CREEK HOUSE - NIGHT The world is in silhouette. Off in the distance, we see Tom standing by his horse, offering his hand to Annie, helping her off. There's an awkward moment, neither of them wanting the day, or the moment, to end.",
"INT. CREEK HOUSE - NIGHT Grace is standing by the window, looking out at them. Their movements indicate an intimacy that upsets her.",
"EXT. CREEK HOUSE - NIGHT After a beat ; Tom gets back on his colt. He takes Rimrock's reins and leads him off. Annie stops for a moment, watching him ride away. She watches her mother walk towards the house ;",
"INT. CREEK HOUSE - MOMENT'S LATER Grace watches her mother stand there a moment, then turn and walk towards the house. Grace moves away from the window, her emotions churning - jealousy, anger - and enters her bedroom, shutting the door.",
"EXT. THE PASTURE - EARLY MORNING Joe, hat tipped low, is riding his horse, leading some young horses, exercising them in the morning pasture. He sees Grace, walking with her cane, coming across the pasture. JOE -LRB- shy. -RRB- Hi. She stops. After a beat ; GRACE Would you let me ride your horse? JOE -LRB- hesitates. -RRB- Have you talked to Tom about it? GRACE Of course I have. JOE -LRB- beat, then :. -RRB- I do n't know. You sure Tom said it's all right? She nods. He hesitates. GRACE Are you going to give me a hand or are n't you? He gets off his horse and holds it. She puts down her cane, then puts her hand on the saddle horn. She puts her prosthetic leg into a stirrup. Frightened, she starts to shake ; JOE You sure? Angry, determined, Grace tries to swing her leg onto the horse. She ca n't do it. Tears of frustration on her face. She tries again. She manages to pull herself halfway on, her prosthetic leg buckles and she falls. Frightened, Joe runs to her. JOE You okay? She gasps to catch her breath. He reaches to help her up. She pulls her hand away. Embarrassed, she `` runs'' off. Joe remains still. He hears a little VOICES. He turns and sees the TWINS having been watching the whole thing from a small hill. As they run off, he yells, threateningly. JOE You better not say anything!",
"EXT. CREEK HOUSE - NIGHT We follow Joe running towards the creek house, fastening a good shirt. He's dressed and cleaned for dinner. He's late.",
"INT. CREEK HOUSE - NIGHT Annie is in the midst of making a spaghetti dinner. She's a little frazzled but she's on top of it. Grace enters wearing a lovely dress - it is the first time we have seen her in a dress. Annie hears her enter before she sees her, asking ; ANNIE Honey, would you see if anybody wants - Annie notices Grace standing there, in her dress. She stops. ANNIE You look really pretty. Grace is a little self - conscious but grateful. She begins taking forks out of her dress pocket. GRACE I thought there were too many forks on the table. ANNIE Well, one was for salad. GRACE Mom, they do n't mind eating with one fork. ANNIE -LRB- thinks, then ;. -RRB- You're right. Good. Grace puts them away. ANNIE Does anybody out there want something to drink? GRACE I'll take care of it. ANNIE Thanks, honey. Grace nods and exits to the living room. The room is silent because every Booker is READING A DIFFERENT COPY OF ANNIE'S MAGAZINE. Frank covertly glimpses at the scantily - clad models. The Twins sharing a magazine, doing the same thing as their father, but keeping an eye out for mom. Diane is looking at pictorial exposes on the kind of lives she only hears about on audio tapes. Tom sits off to the side, amused by the sight. Grace enters as Joe enters. They nod across the room to each other with a little smile. GRACE Would anyone like something to drink? We hear a CRASH in the kitchen, then : ANNIE -LRB- O.S. -RRB- SHIT! Everybody looks up for a minute. The Twins giggle. Diane gives them a dirty look. TOM I'll give your mom a hand. Diane watches him enter the kitchen, then returns to her magazine.",
"INT. KITCHEN - CONTINUOUS Annie has dropped a hot pot into the sink, after pouring the tomato out of it, and into a terrine. TOM Everything under control? ANNIE -LRB- laughs. -RRB- Not really. I'd forgotten how long it's been since I've done this. And I could n't get any Parmesan cheese. TOM Just make yourself comfortable. ANNIE I am comfortable. TOM Ha, ha. all right, well, uh I guess you can bring out the pasta. She undoes her apron and crosses towards the bowl. Tom's eyes never leave her. It's the first time he's seen her in her dress, sans apron. As she lifts the bowl to hand to him, she realizes he's been looking at her. There's a silent moment, then ; ANNIE You missed a button. TOM Huh? She looks for it. Tom crosses to her and buttons it, then takes the bowl. ANNIE Thank you. They're quiet for a beat as they exchange a look. Suddenly, Grace enters - she clearly does n't like the two of them being alone, Annie quickly covers ; ANNIE Oh, good, Grace, would you bring in the bread. I'll get the salad and then we're all set. Tom has already exited by the time Annie finishes, and Grace grabs the bread basket.",
"INT. CREEK HOUSE - LATER THAT NIGHT We parachute into the middle of the meal. The spaghetti is a hit. We cut to different conversations and reactions around the table. Frank is in the middle of saying ; FRANK It'd be a whole lot easier to pay the feed end of the month. TOM I do n't think Warren would go for that. Grace is talking to Joe and the Twins. GRACE like, for instance, you can go on the Internet and access this thing called The Visible Man - who was this murderer they caught in Texas that was executed and donated his body to science and you can call him up on the screen and dissect him, like in Three - D. Grace eats as she talks. Joe and the Twins are fascinated. Annie asks Tom, Frank and Diane ; ANNIE Well, did you ever think about hiring a business manager? FRANK We have a business manager. The best around. DIANE Ha. TOM Diane takes care of the books. I do n't know how, but at the end of every month, everything adds up to the penny. DIANE Ai n't brain surgery. ANNIE It's pretty impressive. Where I come from, you'd be a gold mine. Diane does n't know how to accept that, but inside she's bursting with pride. She focuses on the Twins who fight ; TWINS This is MY fork. That's YOUR fork, ya idiot! DIANE Hey. You stop that kind of talk at the table. FRANK I'll have another round of that spaghetti if may? ANNIE Absolutely. I made enough for an army. DIANE I uh. I like the sauce very much. Maybe I get the recipe. Annie is so pleased and is about to reply, but Grace, noticing Tom smiling at Annie : GRACE It's from a jar. There's an odd silence as a deflated Annie serves Frank. FRANK Thank you. Finally, Diane saves it. DIANE Well, I tried jar sauce once - was n't this good. Ya got ta know which brand to buy. I'd like to get the name of this one. Annie is grateful. Grace feels foolish. TWIN -LRB- SCOTT. -RRB- Can we see the dead body on the screen? DIANE What? GRACE It's just my computer. DIANE Oh, I do n't - ANNIE It's okay. Grace, show them. I'm going to put the coffee on. I made an apple tart for dessert. The Twins excitedly move to the computer. Joe waits for Grace. DIANE I'll help you with the coffee. ANNIE Well. I know I should reject that offer, but I'm not going to. DIANE -LRB- jovial. -RRB- No reason you should, no reason you should. They exit into the kitchen. Frank continues eating. Tom looks around - Grace showing the boys the computer. Annie and Diane in the kitchen. For a second, we see Tom realize an image of the life he once thought he could.",
"INT. KITCHEN - NIGHT As Diane and Annie prepare coffee and dessert ; DIANE I was looking in one of your magazines and saw that picture of the couple getting married at the Pyramids. Were you ever in Egypt? ANNIE I was there for that shot, actually. DIANE What was it like? ANNIE Oh, God - I think it was the fourth or fifth time I'd been there, so all I remember was the heat and how incompetent the photographer was. She laughs as she directs this last line to Diane, who just smiles. And Annie realizes that's not what she meant at all. This woman is starving for glimpses into this other life. ANNIE But, uh, Egypt is, well, it's like nothing else. It's like going back in time. -LRB- Diane listens. -RRB- I remember as a kid trying to imagine what a kid my age, centuries ago, walking over that same ground, was wondering about or, if they had the same problems as me. and I felt, connected to. to time itself, almost. Ha, I never realized how hard it was to describe. DIANE I'd love to go there one time. ANNIE You and Frank ever take a vacation? DIANE Soon. We're going to Branson, Missouri to see my cousin Emma married. Frank loves in there. Annie can sense the disappointment in her voice, and at the same time, the comfortable resignation. Suddenly, from inside, they hear LOUD OVERLAPPING VOICES as the children fight. TWIN -LRB- SCOTT. -RRB- IT WAS MY TURN! JOE YA JUST HAD A TURN. IT WAS NOT. TWIN -LRB- SCOTT. -RRB- WAS SO! Diane and Annie enter to find Joe and Scott fighting, as Tom tries to break them up. TOM Boys! Settle down! TWIN -LRB- SCOTT. -RRB- You never let me have a turn! JOE Do n't be such a baby! TWIN -LRB- SCOTT. -RRB- You just showing off for her! JOE You shut up, stupid! TWIN -LRB- SCOTT. -RRB- You're the one who's stupid - letting her go and fall off your horse! Everyone goes quiet, except for the computer screen. JOE You little shit! DIANE JOE! TWIN -LRB- SCOTT. -RRB- I saw'em. In the pasture. Her trying to get on Gonzo! I saw'em. ANNIE What does he mean? GRACE Nothing. ANNIE Did you go riding? JOE Little shit! Joe lunges for Scott and the two start rolling in a fight. Frank and Tom work to pull them apart as Diane yells. DIANE Annie, I'm so sorry, but they're just tired. We'll have dessert another time. Frank, get them out of here. -LRB- to other Twin. -RRB- Come on. Say good night and thank you. Voices everywhere. Yelling. `` Thank you's!'' During which, Grace quickly turns and exits. Annie eyes follow her out of the room, but with her guests and the chaos, she does n't know whether or not to leave. FRANK Dinner was delicious. Thank you. -LRB- to Twins. -RRB- Say thank you! Diane and Frank usher the kids out. Tom holds onto Joe until they're gone, then lets him go. JOE Sorry, ma'am, I thank you for dinner. It was very good. ANNIE Did Grace try to ride, Joe? JOE -LRB- hesitates. -RRB- I expect you should talk to Grace about that, ma'am. And if I did anything wrong, then I am sorry. Ever the gentlemen, Joe exits. Annie looks to Tom. He's about to leave, when he stops and says : TOM Do n't let her turn you away. Tom exits. Annie stands and faces Grace's closed door. Slowly, she lowers herself to her knees and sits on them, thinking. reminiscent of Tom, waiting for his moment with Pilgrim, in the field.",
"INT. CREEK HOUSE, GRACE'S ROOM - LATER THAT NIGHT We do n't know how long Annie waited, but she knocks gently, then enters to find Grace, in her nightgown, on her bed, with the night stand light on. Her prosthesis is against the wall. ANNIE Grace? Is everything all right? -LRB- no answer. -RRB- Can we talk? GRACE About what? ANNIE Well. -LRB- nervous. -RRB- So you tried riding again? GRACE -LRB- snotty. -RRB- Yeah. Does that mean I'm cured?! ANNIE Honey, nobody's trying to cure you - GRACE You worried everything all right now and we'll have to go home? ANNIE What are you talking about? GRACE You. not wanting to go home because you hate daddy so much. ANNIE Grace, I do n't hate your father. GRACE I ca n't remember the last time you made him dinner. ANNIE I was just trying to say thank you to Diane and Frank and - GRACE Tom? Annie sits by the bed, Grace moves away a little. ANNIE Look, I just wanted to say, I think it's great you're riding again. And. and I think I know why you, you needed to do it alone. without anyone knowing. GRACE Yeah, you know everything! ANNIE STOP IT! Why ca n't I talk to you! GRACE NO, YOU STOP IT! Stop pretending like you care! Like this really is n't about you and Tom. ANNIE -LRB- angry. -RRB- WHAT?! How can you -. -LRB- at a loss. -RRB- I'm sorry if my friendship with Tom bothers you so much, but I happen to value having someone to talk to, especially when my own daughter ignores me night and day because no matter what I say, it's wrong and no matter what I do, it's wrong. I'm sorry I'm such a disappointment to you. GRACE Well, now you know what it feels like. Beat. ANNIE I do n't deserve that. I have never looked at you as a disappointment. If I'm on your back to do better, if I push you to try harder it's because I want you to be the best you can be. GRACE FOR YOU! Because I'm your daughter which means you're the best mother! Is n't that what you're always talking about in interviews - having it all, the great career, the great family. Proving everybody wrong. Wanting everybody to think you're this perfect woman! Beat. They're both exhausted. ANNIE Listen, if. if there's a part of you as parent that. that takes pride in your child - that, you can look at them and see something you've accomplished as well. if that's wrong, then I'm sorry. -LRB- no answer. -RRB- But it was n't my intention. I do n't push for me. I do it for you. So you do n't waste half your life feeling like you do n't know where you belong. GRACE Yeah, well, you've done a great job. Beat. Annie feels deeply hurt. ANNIE Well, then I do apologize. But what I'm most sorry for is turning you into a spoiled brat who can only think about what she's feeling. who ca n't admit when she's wrong and who ca n't forgive when she's not. GRACE LEAVE ME ALONE! Annie stops to exit as Grace says something under her breath. Annie stops. ANNIE What did you say? GRACE I said. I started. Grace starts to sob. Annie does n't understand. ANNIE Started what? GRACE My period. ANNIE -LRB- softer. -RRB- When? Tonight? GRACE -LRB- nods. -RRB- I felt it happen downstairs and when I went into the bathroom. Annie reaches down to touch Grace's shoulder. Grace turns - there is no anger in her face. Annie sits and takes her in her arms. Grace clings to her and sobs like a little girl. Annie sees tears run - gratefully, lovingly. GRACE Who's going to want me now? ANNIE What? Oh baby. GRACE Who's ever going to want me? Nobody will. ANNIE That's not true. GRACE Why should they? ANNIE Because you are. one of the most. incredible, bravest, most beautiful woman I have ever met. The efforts you make. Your courage and your dignity. -LRB- laughs thru tears. -RRB- I do n't know where you got it? I honestly do n't know how I would have handled all this if I were you. Grace is so grateful, they cling to each other even harder. As the tears subside, Grace manages to admit. GRACE I'm sorry. about what I said. It's just that - all those times you and Daddy were trying for another kid, I. I used to pray at night that it would work. And not because of you guys or that I wanted a brother or sister. but. just so I would n't have to be. ANNIE What? GRACE So special. Because I was the only one. You both wanted me to be so good at everything, so perfect and I was n't. I was just me. And now I've completely ruined everything, anyway. They both start crying again as Annie rocks her gently. ANNIE Sshhh. Ssshhhh. They hold each other as if for dear life. LATER - CAMERA PANS to discover mother and daughter, fast asleep, in each other's arms.",
"INT. TOM'S ROOM, RANCH HOUSE - NIGHT Tom sits alone, writing at his desk. His music is playing. He stops to look out the window overlooking the Creek House. Annie and Grace fell asleep with the lights still on in the living room. Tom is thinking of Grace and Annie - wondering what happened after he left. conflicted by what he feels for Annie. And remembering why they're here in the first place.",
"INT. CREEK HOUSE - NEXT MORNING The phone rings, awakening Annie first, then Grace. ANNIE Hello? OPERATOR -LRB- V.O. -RRB- Hello, this is ATT Conference Service. Is this Annie MacLean? ANNIE Yes. OPERATOR -LRB- V.O. -RRB- I have a conference call scheduled for you with Mr. Gottschalk and Mr. Farlow. ANNIE -LRB- remembering. -RRB- Oh. Oh, yes. One moment, please. GRACE Who is it? ANNIE Uh, nothing. I'm going to pick it up in the other room - would you hang this up for me? GRACE Sure. Annie moves to the other room, sits down at her office space, takes a breath, then picks up, yelling to Grace ; ANNIE Okay, Grace. -LRB- click. -RRB- Operator? I'm ready.",
"EXT. RIDING ARENA - LATER THAT MORNING Annie and Grace are standing by the arena fence. Frank, Joe and the Twins are sitting on the fence rail. Joe is holding a saddle and a bridle, standing in some shadows in an empty arena. Pilgrim comes running into the ring. Out of habit, he starts circling the ring. He sees Tom holding a saddle. Pilgrim walks towards him. Curious, he stops, looking at him. Tom puts the saddle down, sitting crossways on it. Pilgrim walks towards him again. He stops, looking at Tom again. Tom just sits there, playing with the bridle. Pilgrim walks around him. Tom does n't show him any interest. Pilgrim comes closer. He looks at the saddle. He runs off. He stops, looking back. Tom just sits. Pilgrim walks back over. Tom stands and shows him the bridle. Pilgrim comes closer, sniffing it. He rubs his nose against the leather. Tom pats his head. Then, in one quick, but deft motion, he puts the bridle on him. Pilgrim tosses his head, but it does n't seem to bother him. Grace and Annie watch intently. Tom takes the reins, walking Pilgrim around the ring. He walks him to the saddle. Pilgrim paws at it with his hoof. He turns and runs off. Tom lets him go. Pilgrim runs around the ring, slows down, looks over at Tom. Tom picks up the saddle. Pilgrim, cautiously, comes back over. Tom, with the saddle, walks away from him. Pilgrim, again curious, follows him. He nudges Tom. Tom stops. Pilgrim comes around to take a good look at the saddle. Tom rubs his back. And gently, like laying down a sheet, puts the saddle on his back. Pilgrim shuffles slightly at the touch. Tom quickly cinches it. Taking up the reins, he walks Pilgrim around the ring again. He starts to jog. Pilgrim jogs with him. And in the middle of the jog, Tom grabs onto the saddle horn, and without breaking his stride, pulls himself back up onto his back. He lays across the saddle, letting Pilgrim feel his weight. He sits up, and without letting him break his stride, he urges Pilgrim with his thighs, keeping him in the jog, riding around the ring. Grace and Annie cheer. Tom tips his hat to them.",
"INT. THE BARN - DAY Grace is cleaning stalls, etc. She exits one of the stalls with a pail and stops - looking down the barn to where she knows Pilgrim is. She places the pail down and gathers her courage. She walks to Pilgrim's stall. She stands motionless for some moments before she opens the doors and enters. Pilgrim steps back a bit. He looks at her. He pins his ears back. Stomps his feet. Grace is about to turn and leave, but she stops herself and remains still. Slowly, she reaches out to touch Pilgrim's head. and he lets her. We see in Grace a maturity of character, a willingness to face what she must face. the beginning of a compassion, not only for Pilgrim, but perhaps for herself as well.",
"EXT. DOUBLE DIVIDE - NIGHT A full moon lights the ranch. Tom pulls up to the ranch house in his truck, parks and gets out. As he walks towards the house, he hears : Grace exits the Creek House and coming towards him, a coat over her nightgown. Tom waits until she reaches him. GRACE I was waiting for you to come back. Tom instinctively knows what she wants. TOM You hungry?",
"INT. RANCH HOUSE, KITCHEN - NIGHT Grace sits at the table. Tom is cooking at the stove. It feels as if they are the only two people on earth. Grace gets up her nerve. and begins : GRACE Judith was telling me about this boy she really liked. She never even had a chance to tell me his name. She starts to quietly cry, but it does n't stop her. GRACE We were going to go around by the railroad bridge. And we see the accident all over again. But this time, a movie - as clear as reality - but in deathly silence. Just the sound of Grace's voice, and her heartbeat.",
"EXT. THE WOODS, CONNECTICUT - EARLY MORNING The horses are going up the icy path. GRACE -LRB- V.O. -RRB- We were laughing about something, I do n't remember what. Her horse fell. Judith's horse suddenly stumbles on the ice, going down, throwing Judith, her foot helplessly caught in the stirrup. Her horse sliding back down the hill. Grace tries to move Pilgrim to avoid the errant horse, but it's too late, the horse plows into them, the horses sliding back down the hillside onto the empty COUNTRY ROAD.",
"EXT. COUNTRY ROAD, CT. - EARLY MORNING Pilgrim is first to find his legs. Judith's horse, its leg broken at the ankle, walks in a confused state. Judith's foot is helplessly caught in the stirrup. GRACE -LRB- V.O. -RRB- Judith's foot was caught in the stirrup. she could n't get up, she was so scared. -LRB- cries. -RRB- I saw this truck, coming around the turn. She sees the glint of the steel. The Truck suddenly appears from around the bend. GRACE -LRB- V.O. -RRB- He was honking, trying to get us to move. I tried to grab the reins to get Judith's horse out of the way. Grace grabs the reins of Judith's horse. The horses are spooking. GRACE -LRB- V.O. -RRB- And the truck started skidding. The truck skidded on the icy road, going out of control, jack - knifing, heading right for them. GRACE -LRB- V.O. -RRB- It was coming right at us. There was n't any time to do anything. It ran right into Judith's horse. The truck bed plows into Judith's horse. GRACE -LRB- V.O. -RRB- Judith just disappeared. And it came right at Pilgrim and me. We see this. GRACE -LRB- V.O. -RRB- And Pilgrim reared up at the truck and I fell off. Grace falls onto the road, the truck running over her.",
"INT. RANCH HOUSE, KITCHEN - NIGHT Grace sobs uncontrollably now. GRACE Judith. Oh God, Judith. I'm sorry. Tom is near and holds her as she puts her head on his chest. TOM I wo n't tell you it'll stop feeling this bad. But I can tell you, you did n't do anything wrong. The same thing would have happened to me. or Frank. or Joe. And there's no sense in looking for a reason why things happen. -LRB- self - reflective. -RRB- I used to try and. always came up short. I do n't think the why so's important as. what we do with what we get. I remember this boy I'd see up on the Blackfeet Reservation. He was sixteen. Great kid. Strong. He'd gone swimming and dived headfirst into a rock. Snapped his neck, paralyzed him. After the accident, I'd look in on him from time to time. and he was n't there anymore. His mind, his spirit, whatever you want to call it, it just disappeared. And what was left was nothing but anger. It's like the boy I knew just went away somewhere. GRACE I know where he goes. TOM I know you do. Do n't you disappear. -LRB- holds her tighter. -RRB- You do whatever you have to, to hold on. -LRB- thinks. -RRB- I'll tell you one more thing. When Pilgrim reared up to face that truck. you know what I think? I think that damn horse loved you so much, he was trying to protect you. That's what I think. Grace listens to this. As Tom holds her in silence, it's almost as if they were father and daughter.",
"EXT. THE CORRAL - PRE-DAWN Tom stands with Grace in the corral. Tom's horse, Rimrock, is saddled nearby. Tom takes Grace's cane. TOM Let me hold that. Grace stands, looking at the horse. GRACE I ca n't. not yet. TOM There's no hurry. Take you time. She's trying so hard to be brave. After a moment, she reaches for the saddle horn. She puts her prosthetic leg in the stirrup, takes a breath and swings her leg up - slipping, falling to the ground. Tom does n't say anything. She pulls herself back up. She repeats the action. determinedly. She swings her leg over again and sits squarely on the horse. Tom remains still, but proud. As the day breaks, we leave them in silence - Tom standing, hands in pocket. Grace sitting up on the horse, proudly.",
"EXT. DOUBLE DIVIDE, THE PASTURE - EARLY MORNING Endless sky. Annie is jogging off in the distance when she looks up and stops to see : Tom and Grace, both on horses, stopped on a rolling hill. They do not see her. Annie is filled with emotion. pride for her daughter, gratitude for this amazing man. As the two ride off into the distance we do a slow : BRIGHT SUNSHINE. CATTLE DRIVE.",
"EXT. THE MOUNTAINS - DAY Frank and Diane, with the Twins, dogs at their heels, ride in front of the herd. Behind them, Joe riding alongside Grace. Smokey and some Hands ride among the herd, keeping them moving. And riding behind the herd are Annie and Tom. MONTAGE OF VARIOUS MOMENTS THROUGHOUT THE DAY DURING THE CATTLE DRIVE. Highlighting, in particular, those in which the rising sexual tension between Tom and Annie is apparent.",
"EXT. THE MOUNTAINS - NIGHT The cattle stands in silhouette. We hear singing. Everyone is sitting around a campfire. Frank's playing the guitar, singing along with Tom. They laugh when a lyric or a note goes wrong. Everyone is enjoying it. Annie, her arms around her knees, sits off by herself. The song ends and people applaud. Frank hands the guitar to Hank ; FRANK Play that sweet one you know. The one makes my wife here so friendly. DIANE -LRB- slaps his shoulder. -RRB- You! Hank begins to play and sing a painfully pretty song. His sweet voice is stark contrast to his gruff, strongman appearance. Frank offers his hand to Diane, she slaps it away and laughs, he helps her up and they start to dance. As everyone watches. Joe stands and offers his hand to Grace ; JOE You would n't want to dance with me, would you? GRACE I do n't thinks you'd want me tripping all over you in front of everybody. JOE -LRB- sweetly. -RRB- I would n't let happen. GRACE -LRB- affectionately. -RRB- You know, you're a good kid. Joe smiles and helps her up. They come together and start dancing. Annie is watching, holding her breath with gratitude. Tom notices Annie off by herself and crosses to her. He extends his hand. She hesitates, looks again to Grace with Joe, then accepts. His hand slide to her back. Her hand to his shoulder. They dance. Their bodies closer than they've ever been. Slowly, she leans her head against his body. And surrenders, for the moment. Diane sees them. She holds her husband fast, and buries her head on his neck.",
"EXT. THE MOUNTAINS - DAY MORE CATTLE DRIVE MANTAGE - Taking Tom and Annie a bit further in their intimacy ; perhaps Tom takes extra special care to explain things to Annie, or fix her saddle cinch, or make her laugh.",
"EXT. THE MOUNTAINS - EVENING The cows stands in the pasture, grazing. Annie and Diane are cleaning some pots and pans in the stream. DIANE Must be nice for you to take a few days off from your work, huh? ANNIE Well, I have more than a few days, ha, ha. I uh. I'm sort of. not an editor anymore. right now. First time I've said it out loud. DIANE They fired you? ANNIE No, it's more like a leave of -. -LRB- stops. -RRB- Ha, ha, ha. Yeah, they fired me. DIANE You do n't seem to upset? ANNIE Delayed shock. Or maybe not. I know I could talk my way back if I wanted or. go to another magazine, someplace. Just not sure if I want to. DIANE Guess you do n't have to figure it out until you go home. This phrase `` go home'' stings Annie - though Diane said it innocently. ANNIE Did you always know this was the life you wanted? DIANE I fell in love. After that, I never thought about being anything but a rancher's wife. I never saw it like I was losing some other life, just felt like I was gaining one. I know that's not a popular opinion nowadays and I ai n't saying it's the right one. We all have to find the life meant for us. ANNIE Frank's a good man. DIANE They do n't come better. But I do n't deny there are times I wonder about things I wo n't have. Maybe one day I'll get to see Egypt. Maybe not. But I know if you try too many different lives, you can wind up with no life at all. ANNIE Sounds like something Tom would say. DIANE Yes, it does. Annie and Diane resume washing the dishes in silence. Annie deep in thought. Until Diane stops. After a beat, Annie notices. ANNIE What? DIANE Annie, I'm not good at this kind of talk - goes round and round a thing but never comes to it - so let's just say what it is. When you first came here, I did n't like you and I was worried. Tom means a lot to me and this family. Do n't go looking here for whatever you looking for. Do n't make that man go through something it took him a long time to see his way clear out of the first time. ANNIE I do n't think anybody can make Tom do anything he did n't want. DIANE He's a good man, Tom is. He's got a gift, come from heaven above, I swear. But he's still a man. And a woman can lead a man into the middle of a mountain lake - and still make him think he's on dry land. Diane's words ring in Annie's head.",
"EXT. THE MOUNTAINS - DEAD OF NIGHT Dead in stillness. The cattle dark and motionless. Everyone asleep in bedrolls around the pasture. Annie awakens, looks up at the moon, watching it go in and out of the clouds. She looks over to sleeping Grace. Then looks to where Tom is - and sees his sleeping bag is empty. Quietly, she rises and looks for him. She starts across the grass and sees him crossing on his haunches, wearing a slicker, sitting in the grass by the stream, drinking some water. She watches him. Tom senses something and turns. For a moment, they just look at each other - half disbelieving the inevitable is so close at hand. Annie approaches as Tom rises. They meet. They kiss. Tentative at first, but more, just to make that very, precious first moment of discovery last as long as it can. The kiss grows more passionate. They begin to lose themselves in each other. Until, suddenly, aware of their surroundings, they part. No words. Their expressions to each other tell all. Annie separates herself and goes back to her bedroll. Tom stands in the grass, by the stream. the moving water, the night's only sound.",
"EXT. DOUBLE DIVIDE - DAY The cattle drive returns. Tom, Annie, Grace, et al. are on their horses, heading back towards the ranch when Grace sees in the distance ; GRACE Dad? Annie looks up and sees : POV - ROBERT has come to the ranch. He is waiting for them with his luggage beside a rental car. standing out like an Like The Man In The Gray Flannel Suit in the middle of Wyeth's `` Christina's World.''",
"EXT. RANCH HOUSE - DAY Everyone is being introduced to Robert, as Grace hugs him from the side, never letting go of him. Frank, Diane - who introduce their kids, then Tom and Robert shake hands. ANNIE This is Mr. Booker, Robert. TOM -LRB- extends hand. -RRB- Tom. ROBERT Hi. It's a pleasure. I'm very grateful for the way you took in my girls here. I bet you were surprised when they just showed up out of nowhere. TOM Oh yeah. Laugh. Awkward silence. ROBERT Well I uh. I can already see a change. -LRB- hugging Grace. -RRB- And I'm very grateful to you. Robert is so sincere - in that openly, modern, `` express your feelings'' kind of way. Tom just nods. GRACE Did you notice - no cane? ROBERT I know. Amazing. GRACE Can we show him Pilgrim, Tom? TOM Oh, we're gon na show your dad plenty. Why do n't you all get settled in and we'll do the tour. Excuse me. As Tom walks away, a nervous Robert feels compelled to say : ROBERT See you later! Tom just nods and keeps walking. Annie and Robert face each other for a beat. ANNIE Let's bring your bags inside. GRACE Wait till you see this - we have the whole house to ourselves. The MacLean walk to the Creek House.",
"EXT. DOUBLE DIVIDE - DAY In the distance, we see the pick - up truck parked out in the pasture. Tom is standing with Robert - in jeans, now - and Grace, telling Robert about the ranch. Robert has his arms around Grace, asking questions, interested in everything. Grace is loving being with her two favorite men.",
"EXT. RANCH - DAY Grace waits in the truck as Tom leads Robert through the cows and cowshit, climbs up and hops over a wood fence. Robert follows suit - not as gracefully - and gets a splinter.",
"INT. RANCH KITCHEN - DAY Diane is busy in the kitchen when Annie enters. ANNIE Is there anything you need? I'm going food - shopping. DIANE Well, I am going to go after lunch. ANNIE No, no, I'll go - just give me a list. Annie is determined. She needs to be by herself for a bit.",
"EXT. ANOTHER PART OF THE RANCH - DAY Tom continues his tour as the dogs run about them. Tom pays the dogs no attention, except to bark an order. Robert, however, engages with them - picking up a stick and throws it. A dog returns and gives it back. Robert kneels and begins rubbing the dog's fur, talking to it, looking like an anachronism in his baggy jeans with designer cowboy belt and spanking new designer cowboy boots. Tom waits patiently for Robert, who. and carries on with the dog a bit too long. When Robert gets up, he habitually brushes the dirt off his jeans, maybe even his boots, and makes sure his outfit is hanging properly.",
"INT. BARN - DAY Grace is in the stall with Pilgrim. Once again, close enough to touch him, which he allows. Outside the stall, stand Robert and Tom. Robert squeezes his splinter. ROBERT I ca n't believe it's the same horse. TOM We still have a way to go. ROBERT How much longer do you think? Tom understands this man wants his family back. TOM Well, like I told your wife, it's really up to Pilgrim. ROBERT I understand.",
"INT. KITCHEN - EARLY MORNING Everyone is seated around the table, eating, talking, laughing. Grace is right by her father's side. Frank's in the middle of telling Robert : FRANK We thought we lost him in the snow storm. Told the kids. Had a funeral for the damn thing. Finally, snow stops. Staring to warm up. I go out and start cleaning the truck. Goddamn if that dog does n't jump out from the back seat covered in snow. I nearly stained myself. TOM He thought it was a ghost. JOE A dog ghost! Laughter all around.",
"EXT. RANCH HOUSE - NIGHT Everyone is outside enjoying the night after a long day. Diane and Annie are on the porch. Diane is showing Annie how she does her needlepoint. Annie is genuinely interested. Tom and Frank and Robert are sitting out front. Grace is at Robert's feet. Joe sits on the ground in front of his father, opposite Grace. TOM Is the poverty worse, now, you think? ROBERT I have n't been back in over twenty years, but I would n't be surprised. The population's larger. FRANK What were you doing over in India? ROBERT Uh, this was right after college. I was in the Peace Corps. FRANK That right? Back on Diane and Annie, who hear the laughter O.S. and look. Diane smiles, seeing how much Grace is enjoying her dad. DIANE She sure loves her daddy, huh? Annie smiles and looks herself. Yes, she does, she thinks. Why ca n't I? Back to the others. Everyone is very interested in Robert's stories. especially Tom. ROBERT and I thought before I settled into law school - everybody knew that was the plan - I'd take this time for myself. Grace rises to go to the Creek House. ROBERT And I tell you, Frank, it was one of the - As Grace passes by, she stumbles a bit and Robert habitually rises to help, but Grace ignores him and rights herself, continuing. Robert quickly sits back down, continuing. ROBERT one of the uh. greatest times of my life. I had experiences that, I think, changed my outlook forever. I came back a different person, literally. Tom listens with great interest and respect. Back to Diane and Annie, who watch as Joe follows Grace. DIANE I think I'm going to have my hands full with the son of mine when you leave. Just might be his first broken heart. ANNIE Oh, how sweet. A burst of laughter pulls their attention to the group - Robert is now standing, acting out a story. ROBERT and I have no idea what he's saying because I do n't understand Hindu. Everyone is listening, with big expectant smiles. Annie watches - having heard this story before. Her eyes gradually shift to Tom, who is enjoying the story. ROBERT So, finally I'm trying to explain to him that I'm allergic to wool and would he please get his sheep out of my car - Laughter. Robert continues, giving a quick look to Annie - who is looking at Tom. Robert lets it go, continuing his story.",
"INT. CREEK HOUSE - NIGHT Grace is asleep. Robert sits by her bed, lit by the moon through a window. He stares at this creature he loves so much. He rises and enters Annie's room. ROBERT Tired? Annie shrugs. Robert looks at the bed. He teases. ROBERT Small bed. Maybe I should sleep in the barn. ANNIE -LRB- teases back. -RRB- You're allergic to hay. ROBERT -LRB- smiles. -RRB- I apologize for the surprise, but the days only opened yesterday and I figured. ANNIE You do n't have to explain. You have every right to come. ROBERT I can see why you put your faith in him. He's a genuine. good guy. Good at what he does. That's rare. Annie nods. She tries to hide her discomfort. Robert sits on the bed before her. ROBERT You were right about coming here. I'm sorry for not thinking. ANNIE No, it's okay. Believe me, there were plenty of times I did n't know what the hell was right. ROBERT How are you feeling about work? ANNIE Let's not talk about that now. And they're quiet. He moves to kiss her. It's awkward. They look to each other - as they try to remember how to make love together. ROBERT I feel like I'm on a first date. Annie smiles sympathetically.",
"EXT. BARN DANCE, HANK'S RANCH - DUSK Cars and pick - up trucks haphazardly parked along a dirt road. Smoking open grill barbecues. Ranchers and families move about the ranch, sit and eat at picnic tables with gingham tablecloths. Some teenagers hanging around the corral, talking. Diane and some other women, eating and talking. Frank with a group of men, drinking beer, telling stories. A BAND has been set up by the barn. People are dancing under the harvest moon. Grace is dancing with Joe. Tom is dancing with a local woman. Annie with a rancher. Everyone is having a good time. Robert is enjoying a smoke with some men. He looks over to the dance floor and smiles when he sees Grace and Joe. Joe and the Rancher trade place. Joe dances with Annie, the Rancher with Grace. But Tom sees his chance and switches with the Rancher so that he can dance with Grace. She is thrilled and he guides her effortlessly across the floor. Joe and Annie are interrupted by another couple. Joe switches partners, but Annie smiles and excuses herself - she wants to rest. Robert continues talking with some of the men. He puts out his smoke and looks over to the dance floor. He sees Grace now dancing with Tom. His eyes search for Annie. He moves away from the men until he sees, from a distance ; Annie, sitting by herself, amidst the crowd. No one would notice her unless they were looking for her. But Robert does - and what he sees is Annie looking at Grace and Tom. then, only looking at Tom. Smiling to herself gently. Watching his every move. Suddenly, she rises and exits out of the barn to get some air.",
"EXT. HANK'S RANCH - NIGHT Annie finds an isolated spot, behind the main house, to be by herself and catch her breath.",
"INT. BARN - NIGHT Tom and Grace continue dancing. She's in heaven. Robert approaches and Tom quickly allows him to take over. Grace loves the attention from both men. As they dance off, Tom crosses the dance floor and is met by Hank's wife ; HANK'S WIFE Oh Tom, would you check the shed and see if there's anymore chairs. TOM Sure.",
"EXT. HANK'S RANCH - NIGHT Tom is walking along when he turns the corner of Hank's house and finds ; Annie sitting alone, staring up at the night. They see each other. From behind the house, no one else can see them. It is as if the fates brought them face to face and alone. Without any will to stop it, they embrace and kiss passionately. But when they look into each other's eyes, there is no joy in the kiss. Tom releases her and walks away, heading for the shed. Annie quickly pulls herself together and enters the main house through the back door.",
"INT. DOUBLE DIVIDE RANCH, KITCHEN - NIGHT Diane is once more sitting at the kitchen table, looking over some bills before bed. Her tape player is on softly. Tom enters and crosses to the sink to get a glass of water. Diane looks up, seeing Tom with his back to her - standing at the sink, filling his glass - staring out the window over the sink. She looks to the dish of brownies on the table. DIANE I have some brownies left over. Want one? TOM -LRB- w/o turning around. -RRB- No thanks. Diane senses an uneasiness in Tom. She looks as he drinks his water. MEDIUM CLOSE - UP ON TOM'S BACK, as if from Diane's POV. But when we pull back we find ourselves ;",
"INT. BARN - NIGHT Tom is standing in front of Pilgrim's stall. He opens the door. They look at each other. He strokes him and begins to whisper ; TOM There's something you have to do tomorrow, boy. Camera gently moves away. and Tom whispers to Pilgrim what must be done.",
"EXT. THE RIDING ARENA - DAY There's a stillness. A sense of import. Annie, Robert, Frank, Diane, Joe and Smokey, are all at various spots along the fence. Grace stands inside the ring. Tom is standing beside Pilgrim in the middle of the ring. Pilgrim is bridled and saddled. Tom adjusts he stirrup. He walks over to Grace. TOM All set? Grace swallows hard, nodding. She's worried. TOM Sure? GRACE -LRB- softly. -RRB- Sure. Tom puts his arms around her shoulders and walks out to Pilgrim. The horse pricks up his ears as they approach. Tom motions Grace to stop a short distance from Pilgrim so as not to crowd him. Tom walks over alone, reaching to gently take hold of him. Holding him by the bridle, he puts his head beside Pilgrim's, quietly speaking to him, soothing Pilgrim's neck with his other hand. Annie and Robert are fascinated. Anxious. Pilgrim never takes his eyes off Grace. Tom tries to ease him forward. Pilgrim resists, lifting his head and looking at Grace so you can see the white at the top of his eye. Tom turns him away, walking him in circles, trying to calm him. He leads him back to Grace. Pilgrim tosses his head and stomps his feet. Robert grows more anxious. Annie is calmer, more focused. Tom climbs up on him, riding him around the arena in an easy lope. Grace watches them go round the ring. She looks at her parents and tries to smile. They try as well. Tom dismounts and leads Pilgrim back to Grace. Pilgrim balks again, violently throwing his head, kicking. Grace's shoulders slump, she presses her hands in her pockets, fighting not to cry. TOM Smokey. Smokey climbs over the rail into the ring as Tom says something to him. Meanwhile Frank reassures Grace : FRANK He'll be okay, Grace. Just you hang on there a minute or two. Tom'll get him, okay, you'll see. Smokey jogs over to the gate, climbing it, and disappearing into the barn. Tom crosses to Grace. TOM There's still something going on inside of him I ca n't reach. So me and Smokey here, we're going to try laying him down. Okay? GRACE What does that mean? TOM It's more or less how it sounds. Sometimes it's not pretty to watch. Some horses fight it real hard. Your fella's already shown us he likes a good fight. So if you do n't want to watch, I'll call you when it's done. GRACE I want to watch. Smokey re - enters the ring, carrying some rope. He talks briefly to Tom. Pilgrim, sensing something, turns and runs to the far side of the ring. Tom, his arms spread, walks over to him, keeping him by the fence. Tom takes him by the bridle. Smokey comes beside him. Tom unhitches the bridle and in its place slips a rope halter Smokey passes to him. Smokey then hands him two long ropes, one at a time. Tom fastens one under the halter and ties the other to the saddle horn. Tom asks Smokey. TOM You got that soft rope? Smokey hands it to him. Tom quietly talks to Pilgrim, runs his hand down Pilgrim's left foreleg and lifts his hoof. Pilgrim slightly shifts. And when he's still, Tom slips the loop at the end of the soft rope over the hoof making sure it's snug. And taking the other end of the rope, he hoists the weight of Pilgrim's raised hoof and ties the rope to the saddle horn. Pilgrim stands on three legs - an explosion waiting to happen. Tom moves away from Pilgrim, taking the halter line from Smokey. Pilgrim, trying to move, finds he's crippled. Scared, he lurches, hopping on his right foreleg. Seeing he ca n't walk, panicked, he tries to run. Tom and Smokey, brace themselves, lean back on their ropes and force him around them in a tight circle. He goes around and around like a crazed rocking horse with a broken leg. Tom looks over and sees Annie has left Robert outside the ring to stand by an anguished Grace - her hands on her shoulders, gripping her. Robert watches, feeling too much a foreigner. GRACE What is he doing this? FRANK It'll be OK, Grace. But even Frank is n't so sure. Pilgrim, covered in sweat, still circles. As he runs, his hobbled foot jabs at the air, trying to find peace. He runs and runs as Tom and Smokey lean on the ropes - until he ca n't run any more and stops. Tom and Smokey let the lines go slack. Pilgrim, stands there, his wet sides heaving, panting like an asthmatic, making loud rasping sounds. Tom and Smokey speak. Smokey hands him his rope. Turning, he gets a coiled lasso out of the sand. He swings the rope in a wide loop and makes it fall over Pilgrim's saddle horn. He pulls it tight. And he takes the other end of the rope to the far side of the fence and ties it in a quick release knot to the bottom rung. Coming back he takes the other two lines from Tom. Tom crosses to the rail. He starts putting pressure on the rope. Pilgrim feeing it, braces himself. The pressure tilts the saddle hold downward. FRANK -LRB- to Grace and Annie. -RRB- He's trying to get him to go down on his knees. Pilgrim fights. Tom pulls on the rope. Pilgrim, slowly, begrudgingly, gives ground. Tom, brings him to his knees, but it is short lived. Pilgrim is muscling his way back to his feet. Tom pulls him down to his knees again. Pilgrim, fighting with every bit of strength, slowly gets to his feet again. But the pressure Tom is putting on the saddle is too strong and relentless and finally Pilgrim goes down on his knees and stays down. Yet Tom keeps the pressure on. Tom shouts to Smokey. TOM Drop the lines and come help me. Smokey, dropping the line, runs over. They both pull on the saddle rope. GRACE That's enough! Stop it! Pilgrim snorts and foams at the mouth, fighting. But slowly, like a wounded bird, she starts giving in. He rolls over on his side and lays his head in the sand and is still. It seems like a total, humiliating surrender. Grace starts to sob, burying her face in Annie's chest. Robert feels impotent to help. TOM GRACE! Tom and Smokey stand over the fallen horse like two big game hunters at the carcass of a kill. TOM GRACE! Will you come here, please! Grace shakes her head `` NO.'' Frank motions to Annie for her to let Grace go. to let stand alone. We see that it's not easy for Annie to trust this, but she does. And she steps back to where Robert stands. Tom, his face set, walks toward Grace. TOM Grace, I need you to come with me. Grace violently shakes her head `` NO''. Robert gets up the courage to say aloud : ROBERT Well maybe she should n't be here. Annie quickly turns to him and says with quick intensity : ANNIE Robert! Let him handle it! Please! Robert ca n't watch this. He turns and takes a few steps. Just stops. standing behind and apart from Annie, to just watch. slowly becoming transfixed, like someone who ca n't stop staring at an accident. Tom reaches Grace and puts his hand tenderly on her shoulder. TOM Grace, I need you to come with me. GRACE No, you're only going to hurt him some more. TOM He's not hurt. He's okay. Look at him. GRACE -LRB- turned away. -RRB- No! TOM Grace, Listen. you've got to do this. Just trust me one more time. Grace looks into his eyes and is reminded of all this man has done for her. and she remembers her trust. GRACE Do what? Tom, prouder of her now than ever before. TOM I'll show you. Tom leads her across the ring, with his arm around her shoulder. Annie tries to maintain her composure. Robert remains still and focused. Tom and Grace come to Pilgrim, lying in the dirt, his breathing plaintive. Tom speaks gently ; TOM I want you to lay down with him. I want you to stroke him. I want to start with his hindquarters and rub him, feel him all over. Grace is shaking her head `` NO.'' He speaks more firmly. TOM Grace, you've got to do what I say. Grace knows there's no way out. She takes a breath and slowly kneels in the dirt beside him, with Tom's help. She lays on him, rubbing him, his hindquarters, his legs, his side, softly rubbing his neck and the wet silky side of his head. TOM Now, listen. I want you to stand on him. ANNIE What?! Tom responds to their voice without looking at them : TOM PLEASE! -LRB- they stop. -RRB- Grace, do what I'm telling you. Stand on him. now! Grace obeys him through her tears. She lets Tom take her hand and guide her up onto the curve of Pilgrim's belly. Then he lets go. Grace stands there with teas steaming down her face - standing on the animal she loved most in the world. ANNIE It's so cruel. FRANK No. He had the choice. ANNIE What choice!? FRANK Either fight the way things are or accept it. Robert, however, is hypnotized by the event. He is having a private epiphany of sorts. Grace sits in the dirt by Pilgrim and strokes him quietly - she begins talking to him, the way Tom does. Tom watches, as he cautiously steps further away. Pilgrim looks up at Grace out of the dark pool of his one sad eye. They look at each other. And we understand there's a connection once more. A moment of understanding. and forgiveness. Grace starts to untie his ropes. Smokey is about to stop her but Tom shakes `` NO''. Pilgrim, like an infant coming out of the water, breathing life for the first time, gets to his feet. Grace and him look to each other. And all is still. Grace grabs the saddle horn. Pilgrim shuffles as if he's going to bolt. Grace quietly reassures him. She then carefully puts her prosthetic leg in the stirrup. Pilgrim shifts slightly. Annie covers her mouth so as not to scream out her fear. Robert breaths heavily. They watch as Grace swings her leg, determined, and pulls herself into the saddle. Sitting on his back, Pilgrim tosses his head and looks as he's going to run off. But Grace puts her arms around his neck, and once again, quietly reassures him. She starts to ride him, slowly, her arms around his neck, talking all the while, around the ring. Annie laughs as she cries - emotion overwhelming her. Robert feels almost numb with fascination, gratitude, confusion. The slow ride turns into a trot. then a lope. then a canter. round and round the ring. Frank and Diane smile. Diane looks to Tom and knows what he's feeling. Tom watches as any father would - his heart pounding with pride for the miracle of his child. But he does n't let on for a second. Grace brings Pilgrim to a stop, lifts her arms to the heavens, victorious. Everyone cheers. Smokey helps her off the horse. She stops to look at Tom, who busies himself with picking up the ropes. So she re - focuses on her parents. They run to each other and embrace. First, she and Annie. then, she and her father. But, as Robert and Grace hold each other and begins to exit, Annie manages to make eye contact with Tom. and tell him with one look, how grateful she is. and how much she loves him. And he receives it.",
"EXT. DOUBLE DIVIDE - DAY WE FOLLOW THE DAYS AFTER THIS EVENT. Work on the ranch goes on as usual while Tom and Grace keep nurturing Pilgrim back to life.",
"EXT. PASTURE - ANOTHER DAY Grace and Annie go riding.",
"EXT. MOUNTAIN TRAIL - DAY Robert takes an isolated hike up the mountain until he comes upon a ridge overlooking an inspiring vista. We can tell Robert is moved by the sight. Sweaty, tired, he find a place to sit. to be still. and to consider his life.",
"EXT. THE RANCH HOUSE - DAY Frank's car is parked up for the trip to the airport that will take the Bookers to Branton, Missouri for Diane's cousin's wedding. Grace, Annie and Robert are outside saying goodbye to the Bookers ; Diane, the Twins. and Joe. Joe awkwardly shakes her hand. then removes his hat and puts it on her head. Everyone laughs. They want to hug each other, but do n't know if they would. Frank and Tom are packing the car. DIANE Oh Frank, do n't forget the wedding present - it's behind the door in the laundry room. -LRB- to Robert and Annie. -RRB- I got her a pasta maker from the catalogue. Not that they'll know what to do with it in Branton, Missouri. Probably use it as a planter. FRANK Diane! DIANE -LRB- whispers. -RRB- Frank's touchy about his cousins. -LRB- they laugh. -RRB- Well, it was nice to meet you, Mr. MacLean. ROBERT Same here, Mrs. Booker. Thank you again for all your kindness. DIANE Ah. Diane turns to Annie. Robert instinctively steps away, saying goodbye to Joe and the boys. The two women look at each other with respect and concern. DIANE Now, are you sure you want to drive that horse back yourself? There are plenty of people ` round here who do that sort of thing. ANNIE I already know the way. and it's not like I have a job I have to rush home for. -LRB- Diane nods. -RRB- Between you and me, I could use the time alone. Diane understands. DIANE And you'll be all right by yourself here. -LRB- referring to Robert and Grace. -RRB- after they've gone? Tom hears this bit of info as he passes by with the wedding present and puts it in the truck. Annie makes sure to avert her look. ANNIE It's just one night. If I get uncomfortable, I'll go over to Hanks. DIANE -LRB- double meaning. -RRB- Promise? ANNIE Promise. Diane just nods, knowingly. She extends her hand. The women shake. DIANE Good luck to you, Annie. ANNIE You too, Diane. They part. Diane starts giving order as she gets in the car : DIANE All right, everybody in. Frank, we all set. Camera wides as we hear the voices of departure. see the MacLeans waving. See Tom off by himself, waving. but thinking of something else.",
"INT. CREEK HOUSE - NIGHT In the midst of packing, Annie has made dinner for Grace and Robert. In the midst of eating, Robert asks : ROBERT Should n't we have invited Tom over? GRACE I did. He said he had work to do until late. Annie remains silent.",
"EXT. RANCH HOUSE -- NIGHT Tom exits with a small, leather satchel. He crosses to his truck, tosses in the satchel, gets in and drives off.",
"EXT. BARN - MORNING Grace enters the barn to say goodbye to Pilgrim.",
"INT. BARN - CONTINUOUS She moves to his stall and opens the doors. He stands there, without any fear of her. She smiles and enters. She wraps her arm around his neck, pets him and whispers. GRACE I'll see you home. OK?",
"INT. CREEK HOUSE - DAY Everything is being packed up. Robert is dressed for travel. Annie is taping up the boxes containing her computer equipment. ANNIE Are you going to stay in the city or go up to Connecticut? ROBERT Connecticut. I told the office I'd work out of there next week. When are you planning to start back? ANNIE Probably first thing in the morning. It's too late to start now. I'm going to try not to do too much driving in the dark. ROBERT May I have a suggestion? ANNIE Yeah, what? ROBERT Take your time. ANNIE -LRB- innocently. -RRB- What do you mean? Annie looks up from the box to see Robert is calmly staring at her. His demeanor is different. Something's going on. ANNIE You look like something's wrong. This is Robert's moment. He knows it. He takes a breath and hopes it comes out right : ROBERT I'll tell you something, Annie - I stood there looking at what was happening to that horse. And, I swear, it felt like the same thing was happening to me. ANNIE I do n't understa - ROBERT -LRB- continues. -RRB- And I have two choices. I can either fight the way things are, or accept them. -LRB- Annie waits ; he smiles. -RRB- See, I always knew I loved you more. Did n't bother me. I always felt lucky. a little amazed. that such a vibrant, beautiful woman would want to be with a man like me. And I guess I thought as long as I did everything right - if I was the best husband I could be, the best father. even being a good lawyer only mattered to me because of what it meant for us. if I could do all that, it would n't make any difference if we loved each other the same or not. I was n't asking for more. I told myself I did n't need more. -LRB- smiles. -RRB- But you do n't know how you feel about me. You do n't know. if you want a life with me anymore. -LRB- bravely. -RRB- And I do n't want you to come home until you do know. -LRB- the hard part. -RRB-. one way or the other. Annie can not remember a time when she ever loved her husband more than in this moment - knowing what it took for him to say this. She would not disrespect it with denials. Her throat is choked with tears, she swallows down. She nods. Robert nods, feeling both pride and heartbreak in the same moment. He picks up his bag, kisses her goodbye and exits.",
"EXT. RANCH HOUSE - DAY Annie and Robert walk towards the car to find Grace, leaning against it - looking depressed. ANNIE What's the matter, honey? Gon na miss Pilgrim? GRACE Tom's gone. Both Robert and Annie are surprised. GRACE Smokey told me he left last night to look at some horses in Sheriden. He wo n't be back for three days. I ca n't believe he did n't want to say goodbye. ANNIE -LRB- hiding her own distress. -RRB- Well. honey. you know. that's just not his way. Maybe you can write him a letter or something. Say thank you. Do n't think about it. You take care and I'll see you home. She embraces Grace and, over her shoulder, watches Robert enter the car. Grace follows suit. The car drives off leaving Annie alone at the Double Divide.",
"EXT. CREEK HOUSE - DUSK The ranch is still. Annie stands on the porch, her arms folded, vulnerable, looking at the ranch. All her boxes are packed and stacked in the room. She looks over to the Ranch House. to Tom's window.",
"INT. TOM'S ROOM - DUSK A light goes on. Annie enters, cautiously. She's never been in this room. She crosses to the desk, touches it. She notices a tape player and pushes it on. MUSIC PLAYS. She sees a small framed photo - of Tom's son, years ago. Suddenly, she feels like an intruder. She shuts the music off and exits.",
"INT. BARN - DUSK Annie faces Pilgrim. she gently lifts her hand and caresses his face. He returns her gentleness. Annie is remembering Robert's words, her heart is heavy with conflict. She jokes : ANNIE Why do I get the feeling you know what I should do, but you're not telling me? She hears a truck pull up. Then, a door open and close. Her heart races.",
"EXT. BARN - DUSK Annie exits the barn and sees : Tom, walking away from the truck with the headlights left on. is walking right towards her. Annie begins moving towards him, When they meet : TOM I wo n't apologize for this. And I wo n't hide it. Not for anybody. ANNIE I wo n't ask you to. He takes her in his arms and they kiss.",
"EXT. RANCH HOUSE - NIGHT Tom leads Annie to the front door. She waits as he unlocks it.",
"INT. RANCH HOUSE, SECOND FLOOR, TOM'S ROOM - NIGHT Tom leads her to his room. Annie cups his grasp on her with both hands. He opens the door for her, ushers her in, then closes the door. He hangs his hat. She turns to him. They embrace, surrendering to each other's passions.",
"INT. RANCH - DAWN Camera pas from Tom's window, bright with dawn, past his desk upon which his classical music is playing, over to the two lovers in bed, kissing and embracing. Then : ANNIE Oh, God, what are we going to do? I'm supposed to - TOM Ssshhh. -LRB- she stops. -RRB- Stand still, Annie. Takes what we've got, just for now. Can you do that? Beat. She nods. The permission Tom is giving her acts like a great burden being lifted, and for the time being, she surrenders and accepts the gift of what they feel. They kiss.",
"EXT. THE RANCH - DAY Since the ranch must continue, Tom and Annie move through a day of ranch chores - - TOM AND ANNIE CLEANING STALLS AND FEEDING THE HORSES. - TOM IS TRYING TO SHOW ANNIE HOW HE HAS TO FIX SOMETHING. ANNIE INTERRUPTING WITH HER OWN IDEAS. TOM TRIES TO EXPLAIN BUT ANNIE KEEPS TALKING, EXCITED BY HER PLAN. TOM LAUGHS.",
"INT. CREEK HOUSE - DAY ANNIE HAS UNPACKED HER COMPUTER AND HOOKED IT UP, SHOWING TOM HOW TO USE IT. HE PUSHES THE THRONG BUTTON AND MAKES A FRIGHTENED FACE. ANNIE SCREAMS, THEN LAUGHS AND HUGS HIM. THEY ARE MAKING LOVE ON A BLANKET AMIDST OF THE MOVING BOXES IN THE MIDDLE OF THE DAY.",
"INT. KITCHEN, RANCH HOUSE - DAY - ANNIE COOKING LUNCH IN THE KITCHEN, SEEING TOM WORKING WITH SMOKEY.",
"EXT. PASTURE - DAY - THE TWO ARE EATING LUNCH IN THE PASTURE. THEY ARE TALKING SERIOUSLY ABOUT SOMETHING. PERHAPS EVEN DISAGREEING. ANNIE SHAKES HER HEAD, NOT WANTING TO LISTEN. THEY EAT IN SILENCE. - THEY ARE WALKING AND DISCUSSING, HOLDING HANDS. UNTIL TOM WRAPS HIS ARM AROUND HER AND HOLDS HER CLOSER. ANNIE, BURYING HER HEAD IN HIS BODY.",
"EXT. THE MOUNTAINS - DAY Tom and Annie, their horses packed with gear, ride across the high mountain pasture through the grazing cattle.",
"EXT. THE MOUNTAINS - DAY Annie and Tom sit overlooking a breathtaking view. Tom is showing her the rope trick. She looks down at their touching fingers and he gently pulls the rope away, still knotted, and without ever breaking their touch. Annie looks into his eyes, understanding what this means, raises his hand to her mouth and kisses it. She looks up at him with a curious expression ; ANNIE Show me again. TOM Annie! ANNIE One more time.",
"EXT. THE MOUNTAINS - DUSK Annie lays asleep in Tom's arms, under a blanket. He picks up another blanket with his free hand and shimmies it under her head, laying her down. She snuggles with the blanket and keeps sleeping. Tom takes a moment to look at her as she sleeps, gently brushing her hair away from her eyes. He's deeply in love with this woman and wants to keep her with him. But there is a sad resignation in his look. A confusion. He rises and walks to a stream nearby. He bends down to take some water when he hears something. He looks up and sees on the other side : A WILD HORSE giving birth to a foal in the tall grass. And a WHITE STALLION steps in between Tom and the mare, as if protecting her. Tom rises slowly to his feet. Then stands stock still. He and the Stallion penetrate each other. Suddenly this beautiful, powerful Stallion rears - violently. Tom remains still, but clearly the horse is treating him as an invader. It's as if the Whisperer is now being guided by the Horse towards understanding. As Tom receives it, he remembers ; TOM -LRB- V.O. -RRB- Summers are short here, Annie. There is n't much of a fall. Before you know it, the roads are closed. the nights get long. WE BEGIN TO FADE OUT ON TOM ANNIE -LRB- V.O. -RRB- I do n't care! We'd be together. TOM -LRB- V.O. -RRB- Two people ca n't just be alone together in the world. At least not us. ANNIE -LRB- V.O. -RRB- I ca n't do this. I ca n't leave you. Voice - Overs have carried over into a.",
"INT. CREEK HOUSE - NIGHT Tom and Annie make love. ANNIE -LRB- V.O. -RRB- I wo n't. But there is a difference in their lovemaking. There's a slowness, a reverence. a sense of two people so bounded, that they are outside of time. Their love is so strong it almost feels like despair - their need to connect has gone beyond their bodies and into their spirits, for which there is no earthly satisfaction.",
"EXT. CREEK HOUSE - MORNING The sun has risen.",
"INT. CREEK HOUSE - MORNING Annie awakens in bed and discovers she is alone. She looks around for Tom. She rises and enters the other room to discover : All her boxes and all her luggage have been removed. Her heart sinks. Tom re - enters, fully dressed, to get the last box. He sees on her face a look of confusion and hurt. TOM I figured, whenever you decided to go, you'd be all set. ANNIE -LRB- curt. -RRB- How thoughtful of you. And what if I decide not to go? Tom does n't know how to respond. He looks away and bends down to reach for the box when Annie commands : ANNIE Leave me alone! Beat. They stand awkwardly for a moment, until ; TOM -LRB- pleadingly. -RRB- Annie, please. Tom reaches to embrace her, but Annie attacks him. Punching his chest. pulling at his shirt as Tom tries to put his arms around her. ANNIE NO! NO! YOU DO N'T DECIDE THIS! NO! Tom's heart is breaking as he manages to get his arms around her and hold her. as she breaks down and softly, the rage passes. Annie speaks softly. TOM -LRB- struggling. -RRB- I do n't know any other way, Annie. ANNIE -LRB- more adamant. -RRB- Why? Suddenly ; TOM You think this is easy for me!? Annie is struck by the powerful sincerity of his words ; TOM It's just happened this way sometimes. I ca n't explain it. But I look at you and see Grace and I see Robert, and no matter what you decide about him, I just know this is right. Your life is n't here and you know it. Annie looks into his eyes and asks, softly defiant ; ANNIE Then what have we been doing? I mean what was the point? TOM -LRB- confused by her question. -RRB- The point was to love each other. ANNIE Why? As if there has to be a result. Tom looks at her and says with an almost innocent conviction : TOM Because we had to. And I'll never stop loving you, Annie. Here. Where my life is. The simplicity, and truth, of it hits Annie strongly. Annie releases herself from him and turns away. despondent. Realizing the utter truth and inevitability of what he says. She starts shaking her head. Tom ca n't hear it. He reaches for her ; TOM Annie. She turns back into his arms and they kiss passionately. holding each other. as if for the last time.",
"EXT. RANCH HOUSE - DAY Tom is escorting Pilgrim into the trailer attached to the Suburban. He looks across the ranch to see the figure of Annie, standing alone, perfectly still, in the pasture, looking out to the horizon. -LRB- reminiscent of Tom earlier in the film -RRB-",
"EXT. THE PASTURE - DAY Tom approaches Annie from behind, stopping a few feet away. TOM Annie? She does n't answer. as if she has found her own private place within her, at last. A place of strength. She looks as if she knows what must be done. She hears him about to walk away when she asks : ANNIE Can we go for one more ride? Tom stops. Considers this. Then : TOM Sure. I'll saddle them up. He exits. Not seeing the tears in Annie's eyes.",
"INT. BARN - DAY Tom enters the barn slowly. He crosses to Rimrock's stall. then stops. As if he is waiting. As if he knows. Then. he hears the sound of Annie's Suburban starting up. He looks up and knows she's leaving. He waits.",
"EXT. DOUBLE DIVIDE - CONTINUOUS Wide angle of Annie driving away in the Suburban with the trailer.",
"INT. SUBURBAN - CONTINUOUS Annie does n't look back - her eyes wet with tears - but no sobs.",
"INT. BARN - CONTINUOUS Tom lowers his head. It is not his way to say goodbye. And he is moved by Annie's knowing.",
"EXT. HIGHWAYS & ROADS ACROSS AMERICA - DAYS & NIGHTS A MONTAGE of images of Annie traveling home. Across different terrains, we see Annie driving - missing Tom. thinking of what she will decide by the time she gets home. Remembering IMAGES OF TOM : - Riding on Rimrock and tipping his hat to her. - Sitting in the pasture, staring at Pilgrim. Ignoring her. - Seeing her arrive at the ranch for the very first time.",
"EXT. A DIFFERENT HIGHWAY OR COUNTRY ROAD - DAY Annie drives, she continues remembering. - She and Tom in the branding. - She and Tom dancing around the camp fire at the cattle drive. - She and Tom kissing in secrecy behind Hank's house the night of the barn dance.",
"EXT. ANOTHER HIGHWAY OR COUNTRY ROAD - DAY Annie continues driving and remembering ; - Annie and Tom coming towards each other that first night after everyone had left the ranch. - Tom opening the front door to the ranch house. SUDDENLY WE ;",
"INT. ROBERT'S HOUSE IN INDIA - A DAY REMEMBERED A much younger Annie waits, surrounded by luggage, as A DOOR OPENS revealing a much younger, more vital, very handsome Robert : ROBERT Yes? ANNIE Hi. Um, there does n't seem to be any hotel room available and someone told me to come here and ask for `` Tubab'' who might to have a place for me to stay. Are you `` Tubab''? ROBERT No. I am a `` tubab.'' ANNIE What do you mean? ROBERT Tubab means white man. Annie is first surprised, then embarrassed but Robert seems so charming and his smile breaks into a laugh, that she just nods and laughs herself.",
"INT. ROBERT'S HOME IN INDIA - A NIGHT REMEMBERED Over a meal, Robert talks excitedly of his experiences. Annie is captivated.",
"INT. ROBERT'S BEDROOM IN INDIA - A NIGHT REMEMBERED After Annie and Robert have made love, Robert sleeps with his arms wrapped around Annie. She lies awake, feeling safe and loved.",
"EXT. LITTLE BIGHORN NATIONAL MONUMENT - TWILIGHT Annie stands where she stood when she and Grace stopped here on their way to Montana. She removes from her pocket the KNOTTED LOOP he made for her, and looks at it.",
"EXT. MACLEAN CONNECTICUT HOME - DAY A car is driving up the driveway to the house. It stops. Robert and Grace get out as Annie exits from the front door. She looks beautiful - but in a completely different way than ever before. There is a calm center to her. A softness and a strength. She smiles and walks to meet them. ANNIE Oh, I miss you. You look beautiful. GRACE So do you. ANNIE How's everything? GRACE Good. ANNIE -LRB- to Robert. -RRB- Hi. ROBERT Hi. They kiss as Grace watches. ROBERT Was the trip okay? ANNIE Mmm. I made good time. -LRB- to Grace. -RRB- Pilgrim's in the back. I found a new stable, but they ca n't take him until tomorrow. GRACE Great! ANNIE Go ahead. Grace exits excitedly O.C. Annie and Robert face each other. Robert does n't know what to expect. but he softens when Annie smiles : ANNIE I have so much to tell you. ROBERT You want to take a walk with me? ANNIE -LRB- a little nervous. -RRB- Where to? ROBERT -LRB- smiles. -RRB- I do n't know. Let's just go and. we'll see. Annie nods. He reaches for her hand, and Annie gives it willingly. They begin to walk away from Camera. together. Annie begins to speak, telling him what we already know. How he will react or what will happen, is unknown. But these two people will no longer avoid their life together. somehow, they will make the effort to face it together. As Camera Widens, we see included in the frame, Grace and Pilgrim. as she strokes him and whispers in his ear. and leads him for a walk. THE END"
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] | Teenager Grace MacLean (Scarlett Johansson) and her best friend Judith (Kate Bosworth) go out early one winter's morning to ride their horses, Pilgrim and Gulliver. As they ride up an icy slope, Gulliver slips and hits Pilgrim. Both horses fall, dragging the girls onto a road and being hit by a tractor-trailer truck. Judith and Gulliver are killed, while Grace and Pilgrim are both severely injured. Grace, left with a partially amputated right leg, is bitter and withdrawn after the accident. Meanwhile, Pilgrim is traumatized and uncontrollable to the extent that it is suggested he be put down. Grace's mother, Annie (Kristin Scott Thomas), a strong-minded and workaholic magazine editor, refuses to allow Pilgrim to be put down, sensing that somehow Grace's recovery is linked with Pilgrim's. Desperate for a way to heal both Grace and Pilgrim, Annie tracks down a "horse whisperer", Tom Booker (Robert Redford), in the remote Montana mountains. Tom agrees to help, but only if Grace also takes part in the process. Grace reluctantly agrees, and she and Annie go to stay at the Booker ranch where Tom lives with his brother and his brother's family. As Pilgrim and Grace slowly overcome their trauma, Annie and Tom begin to develop a mutual attraction. However, they are both reluctant to act on these feelings – Annie is married and Tom had his heart broken before, when his wife left him because she belonged to the city, not the ranch. Tom also asks Grace to tell him about what happened with her and Pilgrim in order to find out what Pilgrim is thinking. At first, Grace is reluctant, but eventually gathers up her courage, and tearfully tells him about the accident. The status quo between Annie and Tom is broken when Robert MacLean (Sam Neill), Grace's father and Annie's husband, unexpectedly shows up at the ranch. Annie is increasingly torn by her feelings for Tom and her love for her family. Soon, with Tom's help, Grace finally takes the last step to heal herself and Pilgrim – riding Pilgrim again. As the MacLeans get ready to leave the Booker ranch, Robert tells Annie that he knew he was in love with her more than she loved him, and that if he could be a better father, husband or lawyer then it didn't matter, he did it all for the love he had for her. He felt that he didn't need more, he knows she is not sure how she feels about him, and now he wants her to make a choice, and not to come home until she is sure what she wants and that she loves him. Although Annie wishes she could stay with Tom on the ranch, she also knows that she belongs to the city, just like Tom's wife. Annie departs, driving away from the ranch, while Tom watches her go from the top of a hill. | The_Horse_Whisperer_(film) |
[
"EXT. CITYSCAPE - NIGHT The place is Gotham City. The time, 1987 - once removed. The city of Tomorrow : stark angles, creeping shadows, dense, crowded, airless, a random tangle of steel and concrete, self - generating, almost subterranean in its aspect. as if hell had erupted through the sidewalks and kept on growing. A dangling fat moon shines overhead, ready to burst.",
"EXT. CATHEDRAL - NIGHT Amid the chrome and glass sits a dark and ornate Gothic anomaly : old City Cathedral, once grand, now abandoned - long since boarded up and scheduled for demolition. On the rooftop far above us, STONE GARGOYLES gaze down from their shadowy, windswept perches, keeping monstrous watch over the distant streets below, sightless guardians of the Gotham night. One of them is moving.",
"EXT. GOTHAM SQUARE - NIGHT The pulsing heart of downtown Gotham, a neon nightmare of big - city corruption, almost surreal in its oppressiveness. Hookers wave to drug dealers. Street hustlers slap high - fives with three - card monte dealers. They all seem to know each other. with one conspicuous exception : A TOURIST FAMILY, Mom, Dad, and little Jimmy, staring straight ahead as they march in perfect lockstep down the main drag. They've just come out of a bit show two blocks over ; the respectable theatre crowd has thinned out, and now - Playbills in hand - they find themselves adrift in the predatory traffic of Gotham's meanest street. MOM For God's sake, Harold, can we please just get a taxi? DAD I'm trying to get a -. -LRB- shouting. -RRB- TAXI! Three cabs streak pass and disappear. MOM grimaces in frustration as LITTLE JIMMY consults a subway map. JIMMY We're going the wrong way. Nearby, STREET TYPES are beginning to snicker. DAD surveys them nervously, gestures toward the subway map. DAD Put that away. We'll look like tourists. TWO COPS lean on their patrol car outside an all - night souvlaki stand, sipping coffee and chatting with a HOOKER. The HOOKER smiles at JIMMY. JIMMY smiles back. MOM yanks him off down the street and glowers at DAD. DAD -LRB- cont. -RRB- We'll never get a cab here. Let's cut over to Seventh. JIMMY Seventh is that way. DAD I know where we are!",
"EXT. SIDE STREET - THAT MOMENT - NIGHT A deserted access street, sidewalks lined with the husks of stripped - down cars. MOM, DAD, and JIMMY take a deep breath and march down the darkened street. A VOICE startles them. VOICE Hey, mister. Gim me a dollar? The VOICE belongs to a DERELICT - nineteen or twenty, acne - scarred - who sits between two garbage cans, his palm uplifted. His ratty t - shirt reads :' I LOVE GOTHAM CITY.' MOM, DAD, and JIMMY pause for the merest of seconds, then move on - pretending not to hear. DERELICT Mister. How about it. One dollar? -LRB- standing up. -RRB- One dollar, man. Are you deaf? Are you deaf? - Do you speak English? By now the TOURISTS are halfway across the street. Mercifully, the DERELICT does n't seem to be following. They pick up their pace. They do n't see the SHADOWY FIGURE in the alleyway. They do n't see the GUN until a gloved hand brings it down, butt - first, across the back of DAD's neck. DAD crumples. MOM grabs JIMMY and backs up against a brick wall, too terrified to scream. The DERELICT races across the street to join his confederate, the STREET PUNK, who's already searching for DAD's wallet. MOM's mouth opens in panic. They can see she's about to snap - so the STREET PUNK, still in a crouch, trains his gun on JIMMY. STREET PUNK Do the kid a favor, lady. Do n't scream. The poor woman is utterly horrified. TEARS stream down her face. But she keeps her wits about her, stifles the urge to shriek, and hustles JIMMY off down the street. The two PUNKS watch them break into a run - then chuckle, slap hands, race off in the opposite direction.",
"EXT. ROOFTOP - NIGHT Six stories up. The PUNKS - NICK and EDDIE - hunker down on the tar - and - gravel roof, sizing up their take. NICK -LRB- emptying the wallet. -RRB- All right. The Gold Card. -LRB- tossing the credit card in EDDIE's face. -RRB- Do n't leave home without it. A chill wind whips across the roof as NICK extracts the cash and begins to count it. There's a distant, indistinct CLANG : metal on metal. EDDIE hears it and tenses up. EDDIE Let's beat it, man. I do n't like being up here. NICK What, scared of heights? EDDIE I dunno, man. After what happened to Johnny Gobs - NICK Look, Johnny Gobs got ripped and walked off a roof, all right? No big loss. EDDIE That ai n't what I heard. That ai n't what I heard at all. -LRB- beat. -RRB- I heard the bat got him. NICK Gim me a break, will you? Shut up. EDDIE Five stories, straight down. There was no blood in the body. NICK No shit. It was all over the pavement. NICK has no patience with campfire tales - but here on the roof, in the pale moonlight, he ca n't ignore the slight tingle at the base of his spine. EDDIE There was no blood, man. -LRB- beat. -RRB- My brother says. all the bad things you done. they come back and haunt you. NICK Listen to this. How old are you? There ai n't no bat. EDDIE My brother's a priest, man. NICK No wonder you're such a chickenshit. Now shut up. -LRB- conclusively. -RRB- There ai n't no bat. As they speak our attention shifts to a point at the opposite corner of the roof, some fifteen yards away. where, at the end of a line, a STRANGE BLACK SILHOUETTE is dropping slowly, implacably, into frame. EDDIE You should n'ta turned the gun on that kid, man. You should n'ta - NICK Do you want this money or do n't you? Now shut up! Shut up - BOTH PUNKS FREEZE at the sudden, inexplicable sound of BOOTS CRUNCHING ON GRAVEL. They turn slowly. Their JAWS DROP. Standing at the edge of the roof, bathed in moonlight, is a BLACK APPARITION. IT DOES NOT MOVE. EDDIE stands rooted to the spot, a choked gurgle in his throat, as if he's just seen his own death. The BLACK FIGURE advances, spreading its arms. Or rather, its WINGS : GREAT BLACK BATWINGS, flapping in the wind. NICK drops to the gravel, gropes for the gun, brings it up. And still the BLACK FIGURE draws closer, deliberate, menacing. On its chest : THE EMBLEM OF A BAT, in an oval yellow field, glowing like a target in the darkness. NICK FIRES TWICE. TWO CLEAN HITS. The strange black figure is knocked bodily to the roof. Trembling, sweating buckets, NICK gets to his feet. He whacks a motionless EDDIE on the arm - NICK -LRB- cont. -RRB- I'm gettin' outta here. - and bends to retrieve his loot. EDDIE lets out a strange, pre - verbal squeal. and NICK sees THE HUMAN BAT, BACK ON ITS FEET, NIGHTMARISH, UNDEAD, MOVING SLOWLY AND INEVITABLY CLOSER. Panic. Sheer, raw, unrelenting panic. Stolen money flutters out of NICK's hands. He scuttles around the periphery of the roof, his feet skidding on the gravel as he searches for a way down. The BLACK SPECTRE is blocking his path to the fire escape. Trapped like a rat, NICK FIRES WILDLY. EDDIE is frozen in place, his eyes glazed over, his face drained of blood. The BAT treads calmly past. A LEG snakes out. A BLACK BOOT catches EDDIE high on the chest - - LIFTS HIM CLEANLY OFF HIS FEET - - AND SENDS HIM FLYING THROUGH THE AIR. EDDIE slams into a brick chimney and slumps to the roof unconscious, a broken, weightless puppet. THIS ACTION IS SO SMOOTH, SO AUTOMATIC, THAT THE BAT DOES NOT EVEN BREAK HIS STRIDE. NICK sees his chance and CHARGES past the black wraith, scrambling toward the fire escape. A GLOVED HAND slices through the air, and NICK pitches forward, his legs ensnared in a tangle of WIRES. Screaming now, he drags himself across the gravel roof, the looming figure of the BAT at his heels. until there's no place left to go. NICK cowers against the ledge, his pants torn, his hands and knees bloody. He has dissolved into total mindless hysteria. Almost by reflex, NICK keeps shooting. He'd do better if he could manage to open his eyes. By now the hammer is falling on an empty chamber, but NICK continues, obsessively, to pull the trigger. He weeps ; he moans ; he wails. THE BAT grabs a fistful of NICK's shirt, and with supernatural ease HOISTS HIM into the air. NICK -LRB- cont. -RRB- Do n't kill me. do n't kill me. When NICK finally opens his eyes, he realizes THE BAT is standing on the ledge of the roof - HOLDING HIM OUT, at arm's length, over six stories of nothingness. The gruesome black apparition speaks, in a rasping whisper : BATMAN I wo n't kill you. I want you to do me a favor. NICK looks down. Far, far below, CARS wink silently past. He looks up. And sees, in the mirrored lenses where BATMAN's eyes should be, the twin reflections of his own stricken face. BATMAN -LRB- cont. -RRB- Tell your friends. Tell all your friends. NICK HOWLS. Almost as an afterthought, THE BATMAN heaves him roughly back onto the roof. And then - casually, without a moment's hesitation - STEPS OFF THE LEDGE OF THE ROOF, INTO MIDAIR. Trembling, NICK crawls to the ledge and looks over. finding ABSOLUTELY NO TRACE of the Batman. NICK is still screaming as we PAN UP to the bilious yellow globe of Gotham's moon. MAIN CREDITS ROLL : BATMAN",
"INT. GOTHAM CITY DEMOCRATS' CLUB - NIGHT An oversized CAMPAIGN POSTER fills one wall : `` A NEW GOTHAM. HARVEY DENT FOR DISTRICT ATTORNEY''. We TILT DOWN to find the man himself, determined, dynamic HARVEY DENT, addressing a crowd from behind his podium. DENT it is no longer enough to go after the small - time punks and petty criminals who infest the streets of Gotham City. Crime and corruption must be attacked at the root! ANOTHER ANGLE - THE AUDIENCE Civic - minded politicos decked out in fund - raiser finery. They applaud DENT's tough talk wildly. They've just shelled out $ 500 a plate for a chicken dinner, and by God they're going to enjoy this. Tuxedoed WAITERS move among the tables, deftly refilling water glasses. As they do, we SEE an EMPTY PLACE SETTING - the only one in the hall. Some well - meaning moneybags has laid out half a grand and then neglected to show up. The engraved placecard reads : BRUCE WAYNE. ANGLE ON DENT DENT If elected, my first act as district attorney will be to return an indictment against Boss Carl Grissom!",
"INT. APARTMENT - NIGHT A woman's apartment, decorated in pastel pinks and mauves. Original paintings and sculptures everywhere. The place reeks of money. In the foreground : a MAN'S HAND, long, elegant, manicured. Manipulating a DECK OF CARDS, doing a one - handed shuffle with extraordinary finesse. In the background : a TV set tuned to the 11 o'clock news, with highlights of HARVEY DENT's campaign speech. DENT -LRB- on the TV screen. -RRB- Together we can make Gotham city a safe place for decent people to live and work and play. THE HAND sets the deck on an end table, raps it twice, turns up four aces off the top. This most unusual deck sports a.22 calibre BULLET HOLE straight through the middle. JACK NAPIER Decent people should n't live here. They'd be much happier someplace else. JACK NAPIER, 32, is right - hand man and chief enforcer to Boss Carl Grissom. His features are delicate, almost feminine, and he takes a vain, gangsterish pride in his appearance. He is also absolutely merciless. He trains a cold eye on DENT's televised image as ALICIA HUNT - 26, beautiful, Carl Grissom's kept woman - glides over in her negligee and snuggles up. ALICIA Anything new? JACK The usual gas. If this clown could lay a hand on Grissom. I would've had to kill him by now. ALICIA finds JACK's necktie draped over a nearby chair. She begins knotting it playfully about his neck. ALICIA If Grissom knew about us. he might kill you. JACK seems uninterested in her affections. His eye darts back and forth between the TV and his own reflection in a nearby vanity. JACK Do n't think so, angel. I'm too valuable. That's the way I've planned it. -LRB- pause. -RRB- And besides, he does n't know. JACK checks his watch, reaches for his topcoat, and stands in front of the vanity. He runs a hand through sculpted hair, checks out his Albert Nipon ensemble. ALICIA You look just fine, Jack. He smiles at himself before turning to the door. JACK I did n't ask.",
"EXT. ALLEYWAY - NIGHT The scene of the earlier mugging, a half - block off Gotham Square. Only now, the deserted alleyway is a beehive of activity : police cars, an ambulance, a forensics van. EDDIE THE PUNK goes past on a stretcher, catatonic. Watching him are a porcine cop, LT. ECKHARDT, and a POLICE MEDIC. MEDIC That one there wo n't say a word. The other one's raving his head off. ECKHARDT Variety, huh? The spice of life. At the mouth of the alley, we find ALEXANDER KNOX - thirty, hyperactive, a crime reporter for the Gotham Gazette. At the moment, he's chatting with a uniformed PATROLMAN. PATROLMAN They found him hugging a drainpipe. He was scared to come off the roof. KNOX Great, but tell me : is this another you - know - what?'Cause if so, it's the third one this week. PATROLMAN -LRB- testily. -RRB- I dunno. What's `` what''? KNOX Good answer. I'm gon na put you in for a commendation. KNOX spots ECKHARDT and the MEDIC, waves cheerily, and saunters down the alley. ECKHARDT curses under his breath. ECKHARDT Oh Christ, it's Knox. KNOX Hiya, gents. This anything I should know about? ECKHARDT Nothing out of the routine. At this exact moment two uniformed PATROLMEN drag a brain - fried NICK past the mouth of the alley. NICK A bat, I tell you, a giant bat! He wanted me to do him a favor! KNOX tilts one eyebrow. ECKHARDT and the MEDIC trade disgusted looks. KNOX No offense, boys, but these guys are seeing something up there. ECKHARDT No comment. Print what you like. KNOX Come on. One question. Is there a six - foot bat in Gotham City? KNOX's tone is jokey, but only half - jokey. ECKHARDT snorts in disgust and turns away. KNOX shouts after him : KNOX -LRB- cont. -RRB- If so, is he on the police payroll? If so, what's he pulling down after taxes?",
"EXT. STREET - THAT MOMENT - NIGHT We pick up LT. ECKHARDT as he emerges onto the side street. He's headed for his car when he spies a STRETCH LIMO idling across the street. Leaning on the hood, waving hi, is the dandyish JACK NAPIER - flanked by two impressive GOONS. ECKHARDT throws a nervous glance back in KNOX's direction. He turns left, gestures to JACK to meet him farther up the block. By the time he reaches the corner JACK has swaggered up alongside him. ECKHARDT takes a fat brown envelope from JACK and stuffs it quickly in his coat. JACK You did n't show up. ECKHARDT We had another bat sighting. JACK I'm sure that was vitally important. Listen : things are heating up. Someone is leaking information to Harvey Dent. ECKHARDT bristles. There's no love lost between these two. ECKHARDT I'm doing the best I can. If it's a problem - JACK Eckhardt. our problems are your problems. ECKHARDT I'll work on it. JACK reaches out and grabs ECKHARDT by the lapels of his topcoat - an Italian job, obviously expensive. He rubs the material between his fingers. JACK Very nice, Lieutenant. But a little ostentatious on a cop's salary, do n't you think? ECKHARDT -LRB- knocking his hands away. -RRB- I answer to Grissom, punk. Not to you. JACK You're a smart boy, Eckhardt. You should be thinking about the future. ECKHARDT laughs in his face. ECKHARDT Ambition. -LRB- nodding his head. -RRB- Forget it, Jack. You'll never run that organization. JACK And why's that? ECKHARDT You're a psycho, friend. You're an A - one crazy boy and Grissom knows it. JACK lashes out and BACKHANDS ECKHARDT across the face. The fat cop, stunned, turns bright red and CHARGES JACK. JACK claps a hand on ECKHARDT's face and shoves him back full - force. The cop sprawls on his ass in the doorway of an all - night Cuban - Chinese restaurant. By now PATRONS are staring out of the restaurant windows. ECKHARDT is livid. His hand goes instinctively to his gun. JACK Here. Use mine. JACK pulls an automatic from his pocket and tosses it in ECKHARDT's lap. He looks down and laughs, daring ECKHARDT to pick it up - just as the two enormous GOONS from the stretch limo appear behind him for reinforcement. ECKHARDT wipes blood from his mouth as JACK - an A - one crazy - boy grin on his face - reaches down for the gun. JACK -LRB- cont. -RRB- It's all right, boys. Lt. Eckhardt here is a good cop. A real good cop. -LRB- pause ; smiling. -RRB- Inexpensive.",
"INT. GOTHAM GLOBE - CITY ROOM - DAY Gotham city's leading tabloid daily. COPY BOYS rush to and fro ; REPORTERS pound out articles on computer terminals. ALEXANDER KNOX saunters in, a sheath of typed pages in his hand, and pauses at a CARTOONIST's drawing table. KNOX What have you got for me, Jerry? JERRY holds up a cartoon : a HUMAN BAT, with an awful, fanged rodent's face, wearing a business suit. The caption at the top reads : `` HAVE YOU SEEN THIS MAN?'' KNOX nods in approval. KNOX -LRB- cont. -RRB- Nice, but. maybe a little more gore on the fangs, huh? He pats JERRY on the shoulder, moves on. A BESPECTACLED COLLEAGUE spots him and calls out : COLLEAGUE Hey Knox, you got a visitor. KNOX I'm real busy, Clark. Be a pal and dust him, okay? COLLEAGUE This one you might want to dust yourself. Curiosity piqued, KNOX moves toward his desk. and stops in his tracks. Propped up on the desk are a PAIR OF LEGS. The legs - exceptionally nice ones - are attached to a WOMAN leaning back in KNOX's swivel chair, taking a nap, her face obscured by a big outrageous hat. KNOX Vicki Vale. The hat tips back. VICKI VALE, her face framed by a shock of bright red hair, flashes a dazzling smile. She pulls KNOX over for a quick smooch and laughs. VICKI How'd you know it was me? KNOX Honey - I would know any randomly selected square inch of Vicki Vale. -LRB- grinning. -RRB- If I had a good enough hint. He points at the oversized CAMERA BAG on his desk. It bears the monogram `` V.V.'' VICKI catches on, makes a face at him. KNOX -LRB- cont. -RRB- Where the hell have you been? VICKI A nice, restful vacation. She reaches into the camera bag and pulls out a stack of glossy 8x10's : COMBAT PHOTOS from some unspecified war - torn corner of the world. KNOX leafs though them, impressed. KNOX God, a girl could get hurt doing this. VICKI I do get hurt. She unbuttons her sleeve, rolls it back to show KNOX a long fresh scar on the inside of her arm. He winces - then points to the scar and adds, slyly : KNOX Got any more of those? VICKI Nothing I'm at liberty to reveal here. What's new and hot in Gotham City? KNOX It's too good, Vick. We got a six - foot bat that swoops out of the night and preys on evildoers. VICKI -LRB- laughing. -RRB- Evildoers, huh? Big or small? KNOX Small so far. I mean - they do n't allow bats in boardrooms, do they. VICKI Speaking of which. I hear the notorious Bruce Wayne is throwing a big do for the Harvey Dent campaign. KNOX Yeah. Hottest ticket in town. Every law'n' order freak in the city's gon na be there. KNOX suddenly freezes. It's just occurred to him that VICKI may have a purpose in all this. KNOX -LRB- cont. -RRB- Wa - a - it. Vicki. You're not saying - She reaches back into her camera bag and hands over an INVITATION. KNOX is all but panting with excitement. KNOX -LRB- cont. -RRB- Aw, Vicki. Vicki! -LRB- apprehensively. -RRB- Got a date? She flutters her great big eyelashes, shakes her head no. KNOX grabs her face and plants a kiss on her forehead, nearly knocking her out of the swivel chair. KNOX -LRB- cont. -RRB- Vicki, baby, I love you, I've always loved you. Will you marry me? VICKI -LRB- straightening her clothes. -RRB- No. KNOX Well, I'm starving. Will you at least buy me a hamburger? VICKI Yes, but please - be gentle. Overwhelmed with glee, he offers her his arm.",
"INT. PENTHOUSE - DAY A HUGE PLATE GLASS WINDOW opens on the best view in Gotham. This spectacular penthouse suite is just one of the power perks available to CARL GRISSOM, kingpin of the Gotham City rackets, fat, fifty, and utterly without charm. GRISSOM, behind a big broad desk, addresses his LIEUTENANTS - a fearsome assemblage of bloodless white - collar types and few outright goons, sprawled in chairs throughout this makeshift ` boardroom.' The big boss waves a copy of the Gotham Globe - with HARVEY DENT's face on the cover. GRISSOM Nine points ahead in the new poll. I do n't like the way this is shaping up. JACK NAPIER slouches in an easy chair off to GRISSOM's right, doing his trademark one - handed shuffle. JACK We can always pop him. - Or pop someone close to him. LIEUTENANT Let's feed him to the bat. This suggestion draws CHUCKLES from several members of the crowd. GRISSOM is unamused. GRISSOM He's going after our front companies. Specifically Ace Chemical. Which would tie us in with Councilman Kane, Senator Miller. on up the line. -LRB- pause. -RRB- We have to clean out our files before the subpoena comes down. LIEUTENANT How do we go? The usual fire? GRISSOM I'm thinking break - in. Trash the office, remove the relevant documents. JACK `` Industrial espionage.'' GRISSOM That's right. And Jack -. -LRB- pause. -RRB- I'd like you to handle this operation personally. JACK has just turned up the third ace off the top of the deck. His hand freezes in midair. JACK Me? At this exact moment, METAL DOORS slide back - and ALICIA HUNT steps out of GRISSOM's private penthouse elevator. She's carrying a handful of SHOPPING BAGS. GRISSOM Hello, sweetheart. I wonder if you'd mind waiting in the other room. ALICIA's gaze meets JACK's as she vanishes through a side door. The eye contact is not lost on GRISSOM. JACK Why do you need me to handle a simple break - in? GRISSOM -LRB- emphatically. -RRB- Because I want someone I can trust. JACK bridles, but does n't protest. Nervously, he turns the fourth card off the top of the deck. It's not an ace. It's a JOKER - a Joker with a neat, round,.22 calibre HOLE through its face. GRISSOM -LRB- cont. -RRB- We'll work out the details later. But it's got to be soon. - All right, that's all for now. GRISSOM'S CRONIES get up to go. JACK, troubled, lingers behind a moment. GRISSOM -LRB- cont. -RRB- You do n't mind, do you Jack? It's an important job. I ca n't trust it to somebody who'll screw up. JACK I understand. GRISSOM -LRB- smiling. -RRB- Jack. Do n't forget your lucky deck. JACK pockets the deck and leaves. GRISSOM sits behind the big desk and GRINS WOLFISHLY. GRISSOM -LRB- cont. -RRB- My friend, your luck is just about to change. He reaches for the phone. ALICIA appears in the doorway nearby, modeling her new purchases for him. He smiles coolly at her as he speaks into the receiver. GRISSOM -LRB- cont. -RRB- Get me Lieutenant Eckhardt.",
"EXT. WAYNE MANOR - ESTABLISHING - NIGHT A vast, rambling mansion on sixty wooded acres a half - hour's drive from Gotham : old money, and how. Out front, a team of red - jacketed VALETS are parking expensive cars.",
"INT. BALLROOM - NIGHT A DEALER'S HAND pushes cards out of a shoe -LRB- the card kind, not the Florsheim kind -RRB-. It's casino night at Wayne Manor ; the ballroom has been outfitted with roulette wheels, blackjack tables, etc., and the various members of Gotham's power elite are happily - and legally - throwing money into Harvey Dent's campaign kitty. DENT himself is surrounded by a gang of political cronies, telling jokes, calling in favors. VICKI's off in another group, looking luscious, drawing compliments from big shots and envious, furtive glances from their wives. And, in a corner of the room, all alone in his cheap suit, stands ALEXANDER KNOX - staring inquisitively up at the ceiling. A butler, ALFRED, appears alongside KNOX with a trayful of champagne glasses. He too looks up at the ceiling. KNOX How high up would you say that is? ALFRED I'd say about thirty feet, sir. KNOX You know, if you cut your bathroom in half, you'd have my apartment. ALFRED Which bathroom is that, air? KNOX The small one. KNOX takes a drink and ALFRED moves on. A moment later, VICKI detaches herself from her little circle of admirers and hooks up with KNOX. KNOX -LRB- cont. -RRB- Man, I feel like Robin Leach. You actually know all these people? VICKI Some. I am a rich bitch, remember. -LRB- pause. -RRB- I'm quoting. KNOX winces at the reminder. She smiles and takes his arm. KNOX Yeah, I guess we move in different circles. - Though I did meet a one - eyed pimp last week. ANGLE ON JAMES W. GORDON Gotham's Police Commissioner, a distinguished - looking gent in his late fifties. He's at a craps table, blowing into his fist. ONLOOKERS root him on as he lets the dice fly. Snake eyes. Crapped out. GORDON passes the dice as KNOX and VICKI wander up alongside him. KNOX Commissioner Gordon! What do you hear from our pointy - eared friend? KNOX puts his hands up behind his head and wiggles his fingers - like little bat ears. GORDON groans. GORDON Knox, for the ninth time, and you can quote me - there is no bat. KNOX Aww, Commissioner. There's got ta be one honest cop in Gotham city. HARVEY DENT is working the room. He ambles up, claps a friendly hand on GORDON's shoulder. DENT How's your luck, Jim? KNOX Mr. Dent. What's your stand on winged vigilantes? DENT exchanges a meaningful look with GORDON. DENT Mr. Knox, I think we have enough real problems in this city without worrying about ghosts and goblins and Halloween characters.",
"EXT. ACE CHEMICAL CO. ESTABLISHING - NIGHT A NEON SIGN reads : `` ACE CHEMICAL. FOR A MODERN TOMORROW.'' From the SIGN we pan over to a METAL SLUICE GATE - dumping TONS of CHURNING TOXIC SLUDGE into Gotham's East River.",
"INT. VAN - THAT MOMENT - NIGHT TIGHT ON the rear - view mirror. JACK NAPIER is meticulously applying BLACK CAMOUFLAGE PAINT to his face. He could be getting ready for a date. The van is parked outside a chain - link fence which surrounds the Ace Chemical complex. JACK'S POV - THROUGH WINDSHIELD The SECURITY GUARD in a glass booth at the entrance to the parking lot. ONE OF JACK'S BOYS creeps up behind the booth and takes the GUARD out.",
"INT. VAN - ON JACK He turns the key in the ignition, shifts into first.",
"INT. WAYNE MANOR - NIGHT KNOX and VICKI are taking an unauthorized tour of BRUCE's house, wandering through rooms decorated in wildly divergent motifs, eyeing an astounding collection of artworks and antiques from every corner of the world. KNOX My question is, where does one man get all this junk. VICKI All over the world. They say he spends most of the year overseas - until recently, anyway. KNOX Holy shit. KNOX goes goggle - eyed as they enter the LIBRARY.",
"INT. BRUCE WAYNE'S LIBRARY - NIGHT KNOX -LRB- cont. -RRB- We found the arsenal. One wall is lined to the ceiling with leather - bound volumes. On the other walls hang EXOTIC WEAPONS. Halberds. Maces. Blowguns. Bolas. Thugee ropes and samurai swords. every arcane implement of death the human mind has ever devised. KNOX lets out a low whistle. KNOX -LRB- cont. -RRB- This guy has just gotten interesting. What else do you know? VICKI Just what I've heard. Rich. Reclusive. Old money and lots of it. KNOX Likes to kill? VICKI -LRB- smiling. -RRB- Women find him magnetic. KNOX I bet they like him for his big charity balls. VICKI That, and the sweet smell of two hundred million bucks. KNOX Well, you know me. The more they've got, the less they're worth. -LRB- scanning the room. -RRB- This guy must be the most worthless man in America. Just then, A VOICE FROM BEHIND intrudes. BRUCE WAYNE You disappoint me. Why not the world? KNOX turns. We get our first good look at the smiling face of BRUCE WAYNE : 32, tall, athletic, impeccably mannered. and intensely handsome. KNOX I assume in my usual charming manner I've just insulted the host. -LRB- extending a hand. -RRB- Alexander Knox. BRUCE Bruce Wayne. - I've read your work. I quite like it. KNOX Great. Give me a grant. BRUCE I might consider it if you introduce me to Miss Vale. KNOX blinks at VICKI. BRUCE already seems to know who she is. KNOX shrugs and forges bravely ahead : KNOX `` This is Miss Vale.'' - That felt redundant. BRUCE -LRB- to VICKI. -RRB- You're just back from Corto Maltese. I saw your combat photos. Quite a departure for you. VICKI That's intriguing. They have n't been published yet. BRUCE smiles and ignores the implied question. BRUCE You have an extraordinary eye. He's laying on the charm now. KNOX, his territorial instincts aroused, pipes up : KNOX Some people think she has two. VICKI shoots KNOX a sidelong glance : VICKI Do n't mind my friend. He's a little nervous tonight. KNOX, chastened, calls off the dogs and sizes up his competition. BRUCE is charming, all right, but there's something formal, maybe even calculating about it - he could be reading his clever remarks off cue cards. It's almost as though he's an actor doing a brilliant imitation of charm. This is a man who thinks three moves ahead. KNOX does n't like him. But VICKI - who's used to seeing male charm turned on and off, at will - does n't seem to mind at all : VICKI -LRB- cont. -RRB- This is an amazing house. I'd love to shoot it sometime. BRUCE I do n't. seek publicity. - Will you be staying in Gotham for a while? VICKI As far as I know. BRUCE Good. Then with any luck we'll run into each other. Suddenly ALFRED, the butler, appears in the doorway behind them. He clears his throat. BRUCE turns. ALFRED Excuse me, sir. Commissioner Gordon was compelled to leave - very unexpectedly. He asked me to convey his regrets. BRUCE Thank you, Alfred. -LRB- to VICKI. -RRB- I hope you'll excuse me. It was a great pleasure meeting you. -LRB- to KNOX. -RRB- And you. Without bothering to shake hands BRUCE does a sharp 180 and strides hurriedly out of the room. KNOX I know the rich are different, but that guy is real different. VICKI, staring off after BRUCE, does n't seem to hear him. KNOX -LRB- cont. -RRB- Hello? Vicki? VICKI Oh. Sorry. I was thinking. KNOX What were you thinking? VICKI Yum, yum. KNOX Well, he must like the way he looks. He's got a mirror in every room. And indeed, the two of them are standing before an enormous WALL MIRROR, eight feet wide, running from floor to ceiling. VICKI I get it. Bruce Vain. She pokes KNOX. He groans at the dumb pun. And suddenly we REVERSE ANGLE - THROUGH THE MIRROR looking DOWN ON KNOX and VICKI - THROUGH ONE - WAY GLASS - as they continue to chat. Behind the mirror. recording everything that happens in the room. is a small, silent, state - of - the - art SURVEILLANCE CAMERA. CLOSEUP - VIDEO MONITOR showing KNOX and VICKI in the library. CAMERA PULLS BACK to reveal that the screen we're watching is only one in a whole vast bank of video monitors. From this control center, we can see everything that's happening in the house. Now we ZERO IN on a single screen : GUESTS moving backward, with exaggerated speed, as a videotape REWINDS. At the panel, BRUCE WAYNE hits a button. And now we see COMMISSIONER GORDON talking to a uniformed POLICEMAN. PATROLMAN anonymous tip. Tonight. The Ace Chemical Company. GORDON -LRB- obviously agitated. -RRB- Good Lord, it we could put our hands on Jack Napier. Why was n't I told about this? Who's in charge of the - PATROLMAN Lt. Eckhardt, sir. GORDON Eckhardt. Oh my God. And suddenly COMMISSIONER GORDON is grabbing for his coat. The monitor goes black. BRUCE reaches up, loosens his tie.",
"EXT. ACE CHEMICAL CO. - PARKING LOT - NIGHT UNMARKED POLICE CARS are pulling into the lot, headlights off. ECKHARDT circulates among his ARMED SWAT TEAM, handing out xeroxed copies of a PHOTOGRAPH. The PHOTOGRAPH is a full - face shot of JACK NAPIER. ECKHARDT Shoot to kill.",
"INT. ACE CHEMICAL - FILE ROOM - NIGHT SPARKS FLY. A SAFECRACKER, in welder's mask, trains a blowtorch on the office safe. Behind him, JACK'S HOODS are at work on the filing cabinets. The SAFECRACKER kills his blowtorch and opens the metal door of the safe, giving JACK a good look at its contents : SAFECRACKER Empty. HOOD I Just like the file cabinets. HOOD II I do n't get it. If this place is cleaned out already, what do we need five men? JACK shakes his head. His boys are antsy, ready to mutiny. By now it's depressingly obvious : they've been set up. Then, as if they needed any proof - a SIREN blares outside.",
"EXT. ACE CHEMICAL - NIGHT ECKHARDT'S SWAT TEAM goes wide - eyed as a CONVOY OF POLICE BLACK - AND - WHITES roars into the Ace parking lot. UNIFORMED COPS pile out of their squad cars, relieving the SWAT TEAM. ECKHARDT goes livid as COMMISSIONER GORDON approaches. ECKHARDT What are you trying to do, blow the collar? GORDON -LRB- to SWAT TEAM. -RRB- You men are dismissed. We'll take over from here. -LRB- to UNIFORMED COPS. -RRB- Any man who opens fire on Jack Napier. will answer to me. ECKHARDT tries to slink off. GORDON grabs him roughly. GORDON -LRB- cont. -RRB- You. Stick around.",
"INT. ACE CHEMICAL - THAT MOMENT JACK and his HOODS ducking out of the office. It's two stories above the refinery floor, accessible by a network of steel ladders and CATWALKS running between the walls. Down below, a CORRUGATED METAL DOOR begins to rise. COP Freeze! One hood goes into a crouch and OPENS FIRE. Half of his colleagues dive back into the office, looking for a rear exit. The others take off across the CATWALKS. ANGLE ON GORDON standing in the doorway as his MEN rush into the building and take their places behind heavy machinery. SHOTS RING OUT as the HOODS scatter. ECKHARDT -LRB- snidely. -RRB- Nice work, Commissioner. GORDON I'm in charge here. Not Carl Grissom.",
"INT. HALLWAY - THAT MOMENT TWO HOODS run down a tiled corridor in the office section of the complex. They're almost at the end of the hall when a CAPED BLACK SHADOW steps into their path. It stands there, motionless. EXTENDS ITS ARMS - like giant WINGS - revealing the yellow - and - black insigne on its massive chest. BATMAN. One millisecond later, the shocked HOODS are racing back in the opposite direction. THE BATMAN flings a handful of STEEL BALL - BEARINGS across the tiled floor. HOOD I tumbles to the floor and lands hard, losing his breath. HOOD II rolls and pulls a GUN. BATMAN hurls a BOOMERANG - its edges scalloped, like a bat's wing. HOOD II finds his gun hand PINNED TO THE WALL by the twin prongs of the BATARANG. THE BATMAN strides briskly toward them, businesslike, taking his time. He grabs a handful of HOOD I's hair, lifts his head off the floor, KNEES HIM IN THE FACE. He turns to the petrified HOOD II. CHROME - STEEL TALONS spring out of his fingertips. He strolls past HOOD II, reaching out casually to give him a QUICK NICK on the chin. HOOD II slumps against the wall, unconscious. ANGLE ON JACK down on the floor, racing along a wall, THROWING SWITCHES - anything to create a diversion. With every switch he throws, ANOTHER GIGANTIC MACHINE roars to life. CENTRIFUGES SPIN. HUGE POLYMER EXTRUDERS spit out thick strands of plastic gunk. OVERHEAD CHEMICAL TANKS rotate into place over giant basins. JACK SEES a squad of COPS on his tail, moving from machine to machine, keeping covered. He SHOOTS AND RUNS. ANGLE ON CATWALKS BLASTING AWAY, HOODS III and IV scuttle across the elevated walkways, keeping down, avoiding police fire. One of them starts up a vertical ladder leading to the next catwalk up. BATMAN plunges past on the end of a rope. A BLACK - GLOVED HAND snatches at HOOD III's collar as he climbs and YANKS HIM CLEANLY OFF THE LADDER. They drop to the lower catwalk. HOOD IV gapes. He LEVELS HIS GUN at BATMAN, who stands his ground, holding onto the rails of the catwalk for support. A bullet hits him squarely in the chest. He does not fall. HOOD IV turns and scrambles. BATMAN goes to his belt for a miniature SPEAR GUN. He points it at HOOD IV and FIRES. planting a BARBED HOOK in the HOOD'S LEG. ANGLE ON COPS staring up in utter disbelief at the action on the catwalk. COP LOOK! GORDON My God. it's him. ANGLE ON CATWALK HOOD III, on his feet now, charges BATMAN from behind. BATMAN - not even turning to face him - DROPS HOOD III with an ELBOW. Now he has a HOOD on either side. He takes a STEEL BILLY CLUB from his belt, whips it once through the air. It telescopes out into a FOUR - FOOT STAFF. Like a drum majorette from hell, he WHIRLS THE STAFF as the HOODS CONVERGE on him. HOOD III takes a debilitating JAB UNDER THE JAW. BATMAN SPINS on his heels and SLAMS THE STAFF into HOOD IV's BACK - knocking him OFF THE CATWALK to the factory floor forty feet below!",
"INT. ACE LOADING BAY - THAT MOMENT JACK spots a possible out. He hits a button on the wall ; STEEL DOORS RISE to reveal ACE CARGO TRUCKS in the parking lot outside. Beyond the trucks. AN ARMY OF COPS waiting for JACK to make his move. No go. He turns. Behind him, other cops - the inside team - are rushing at him in full riot gear. JACK ducks behind a forklift and darts into the adjacent room.",
"INT. CHEMICAL SUPPLY ROOM - A MOMENT LATER JACK sprints through the room, firing FOUR SHOTS at the metal CHEMICAL TANKS on the wall. TOXIC CHEMICALS gush out onto the floor in streams. The streams run together. begin to SMOKE and SIZZLE. COPS RIGHT BEHIND HIM. JACK ca n't resist taking one last pot - shot at a FIFTH CHEMICAL TANK. AN EXPLOSION knocks him off his feet.",
"INT. FACTORY FLOOR - A MOMENT LATER COPS LOOK ON IN PUZZLEMENT as a RIVER OF CHEMICALS courses out into the main refinery. A second later, they go UP IN FLAMES. A WALL OF FIRE bisects the factory floor. JACK RACES ALONG behind the spreading wall of flame. The cops ca n't see him now. He ducks behind a huge machine, hits a switch - and SLUICE GATES OPEN. CHEMICAL SLUDGE begins to churn. A big HOLE IN THE WALL appears as a gate opens on the East River. It's the waste dump! Up on the catwalk, BATMAN has a perfect view of JACK. If JACK can just sprint through the flames without getting shot, he'll make it to the river. BATMAN hooks a rope to his Batarang, FLINGS IT at a catwalk across the floor. JACK bolts. BURSTS THROUGH the wall of fire. And just as he does - BATMAN leaps off the catwalk and swings down toward him! His foot catches a THIRTY - FOOT ROLL of plastic, six feet in diameter, one of several standing upright on the floor. The plastic roll DROPS into JACK's path, BLOCKING HIS EXIT. An instant later, BATMAN lands on top of JACK. Wraps an arm around his throat and RAISES his free hand. DRUG - TIPPED STEEL TALONS appear. But before he can paralyze JACK. VOICE HOLD IT! In all the ruckus, HOOD V has managed to circle back behind the heavy machinery. Now he's got a GUN pointed DIRECTLY AT COMMISSIONER GORDON'S HEAD. HOOD V Let him go or I'll do it. BATMAN releases JACK and stands back. JACK chuckles to himself : what loyalty. Then, with plenty of time, he strolls across the floor to a Jacob's ladder mounted on the back wall. and BEGINS TO CLIMB toward the catwalks. All action stops. BATMAN does n't move. The COPS do n't move. HOOD V stands there sweating, his gun hand shaking as he waits for JACK to climb safely out of shooting range. ECKHARDT's pig - like eyes glisten. His hand drops to his side. He's half - tempted to pull a gun and get the Commissioner plugged. ANGLE ON JACK at a crouch, groping his way along the rail of the catwalk. He reaches a paneled glass window propped open by a supporting rod. It's a forty - foot drop to the swirling black currents of the East River. and freedom. He's about to climb out when his eye falls on a.38 AUTOMATIC - which lies, abandoned, on the gridwork floor of the catwalk mere yards away. ANGLE ON FACTORY FLOOR The HOOD, one arm around GORDON. With his gun at the Commissioner's temple, he backs slowly toward the door. HOOD V Nobody makes a move. We go out clean. JACK'S VOICE ECKHARDT! ALL EYES TURN to the catwalk overhead, where JACK stands poised with the.38 in his fist. A SINGLE SHOT drops ECKHARDT cleanly. The moment's distraction is all BATMAN needs. He hurls a NINJA WHEEL - a small, ratcheted, razor - sharp disc - at the FOREARM of HOOD V. One jerk of a thin filament WIRE - a sudden SHRIEK - and GORDON IS FREE. The THUG lurches forward. His GUN DROPS to the floor, DISCHARGING ACCIDENTALLY. AN UNGODLY HOWL OF PAIN echoes out from the catwalk above. JACK REELS and STAGGERS, his hands CLUTCHING AT HIS CHEEKS. BLOOD GUSHES from between his fingers. JACK NAPIER HAS BEEN SHOT THROUGH THE FACE. A YOUNG COP, unnerved by the sight of JACK's agonized pirouette, draws his gun and OPENS FIRE. GORDON NO! But the bullet has caught JACK in the arm. He spins, totters to the edge of the catwalk. and TOPPLES OVER. The COPS look on helplessly as JACK plunges TWO STORIES DOWN into a CATCH BASIN full of BUBBLING TOXIC WASTE, SCREAMING ALL THE WAY. GORDON -LRB- cont. -RRB- Goddammit, we had him. We - And suddenly, with JACK out of the picture, all attention focusses on THE BATMAN. COPS reach for their guns, circle warily around him. Cornered now, he backs off slowly, HANDS ON HIS BELT. GORDON -LRB- cont. -RRB- Hold it right there, Mister. THE BATMAN raises his hands in a gesture of surrender. Then - as the COPS advance - he flicks TWO TINY CAPSULES onto the factory floor. A BLINDING FLASH OF LIGHT. COLORS BURST in a wild pyrotechnic display. COPS stumble backwards, momentarily dazzled, as a THICK WALL OF BLACK SMOKE conceals BATMAN from view. A TINY GRAPPLING HOOK rockets out of the dense curling cloud and CATCHES on a catwalk overhead. COP LOOK! The COPS are firing wildly into the smoke. But it's too late. At the end of a cord, THE BLACK MAJESTIC FIGURE OF THE BATMAN whips upward, rising out of the smoke like an avenging angel - and DISAPPEARING into the shadowy heights, safely out of range. GORDON HOLD YOUR FIRE! COP Who is this guy? GORDON I do n't know, but he's one hell of a showman.",
"EXT. ACE CHEMICAL CO. - THAT MOMENT - NIGHT A BLACK SHADOW scurries across the roof. From the illuminated sign with its neon ace, WE PAN DOWN past the chemical sluice to a SECOND ACE. a card from JACK's lucky deck, pierced by a neat, round bullet hole, bobbing on the oily surface of the foul, polluted river. As deadly toxins gush forth, OTHER CARDS from the deck swirl past : a nine. A deuce. A queen. And finally, a JOKER - SHOT CLEANLY THROUGH THE FACE. A BONE - WHITE HAND BREAKS THE SURFACE as we",
"INT. GOTHAM GLOBE - CITY ROOM - DAY A BANNER HEADLINE on the late edition of the Globe : `` BAT MAN FOILS ROBBERY. WHO IS MASKED VIGILANTE?'' Behind the newspaper, feet propped up on his desk, is a jubilant KNOX. He's on the horn to COMMISSIONER GORDON. KNOX Commissioner. Do us both a favor. Do n't tell me some lie you'll have to retract later. CLICK. KNOX grins, lowers the paper, finds himself looking up at the smiling face of VICKI VALE. KNOX -LRB- cont. -RRB- Vick! Looks like our friend the bat is getting ambitious. - Why the dopey grin? VICKI Guess who's got a date with Bruce Wayne. KNOX Bruce Wayne? Date? He called you up and asked you for a date? Shit. -LRB- shouting. -RRB- HEY MIRANDA! C'MERE! -LRB- to VICKI. -RRB- I want you to pay close attention to this. Miranda - tell my friend here what you told me about Bruce Wayne. A SUPERANNUATED SOUTHERN BELLE toddles over. MIRANDA REITZ, 60, is the society editor of the Globe. MIRANDA You mean Mister One - Nighter? KNOX Yeah. `` Mister One - Nighter.'' -LRB- to VICKI. -RRB- Because that's the average length of his relationships with women. MIRANDA The current record is almost two weeks. That cover girl - what's her name? You must've shot her, Vicki - KNOX Tell her about the peanuts. VICKI Peanuts? KNOX Yeah. Peanuts. Which is how he goes through women. MIRANDA Like Planter's Peanuts. VICKI is about to break out into helpless giggles. VICKI Plain or roasted? -LRB- standing up. -RRB- Alex, I'm very flattered that you've gone out and done all this research. KNOX Why? -LRB- blushing suddenly. -RRB- Aw, come on, Vicki, I'm a reporter. I'm curious. I do this for a living. - What'd you tell him? VICKI I told him yes. KNOX fumes. VICKI shakes her head and laughs. She takes KNOX's face in her hands, plants a kiss on his forehead. VICKI -LRB- cont. -RRB- You're awfully sweet to be concerned, but it's really not necessary. I'll call you, okay? She exits. KNOX stands there looking poleaxed. KNOX What was that? MIRANDA That was one of the most gracious fuck - yous it's ever been my pleasure to watch. - What a nice girl. KNOX, totally flustered, sighs and sinks into his chair. KNOX Miranda, I'm busy. Go be productive.",
"EXT. COASTLINE - DAY A CABIN CRUISER slices through the waves. In the distance, closer to the shore, we see a throng of SAILBOATS.",
"EXT. DECK - YACHT - DAY BRUCE's forty - foot cabin cruiser, aptly christened `` DIE FLEIDERMAUS.'' BRUCE and VICKI are on the deck, in chairs, soaking up sun, gazing off at the sailboats. VICKI Do you sail? BRUCE Too much work. I'm not really the physical type. - Thank you, Alfred. ALFRED has just appeared from belowdecks with a tray of drinks for BRUCE and VICKI. VICKI watches as BRUCE reaches for his glass. His forearm looks like a thin layer of skin over braided telephone cables. VICKI You do a very convincing imitation. -LRB- sipping her drink. -RRB- Mm, this is tasty. What's yours? He smiles, slides the drink over toward her, gestures for her to try a sip. VICKI -LRB- cont. -RRB- Ginger ale? BRUCE Two drinks and I start swinging from the rooftops. -LRB- beat. -RRB- Tell me, Vicki. There's something I'm very curious about. What took you down to Corto Maltese? VICKI I guess I needed a change. BRUCE You were one of the most successful magazine photographers in the city. Everyone wanted you. VICKI Have you ever been to Corto Maltese? BRUCE Not since the shooting started. VICKI We went there once when I was little. I played on the beach. And at nights - they had a band - I danced with my father on the hotel patio. -LRB- shrugging. -RRB- That was Corto Maltese. When the war broke out I had to go back. And I promised myself that this time. I would n't look away. BRUCE What did you see? VICKI Terror. The conversation is getting rather intense - at both ends. VICKI seems to have hit some weird chord within BRUCE. BRUCE There's terror everywhere. Some types are just more - familiar than others. For a moment BRUCE seems to be drifting back into his familiar ` preoccupied' mode. VICKI laughs apologetically. VICKI I'm sorry. I did n't mean to - I know it all seems a million miles away, out here on the water, with all this - BRUCE Insulation? VICKI is momentarily stuck for a reply. In some way she ca n't quite grasp, he seems to be challenging her. VICKI Bruce, really, when I say these things I do n't mean to criticize you. BRUCE I think you see things very clearly. VICKI I'm happy to talk about something else. I do n't want to be depressing. BRUCE -LRB- smiling. -RRB- Do you assume that if I know you better I wo n't like you as much? VICKI starts laughing. BRUCE is a notorious womanizer, but if this is a come - on, it's like no come - on she's ever seen. VICKI I'm sorry, Bruce, I have to ask. Are you like this with the other women you know? - Because I just ca n't seem to get a handle on this conversation. BRUCE -LRB- taking her hand. -RRB- Vicki, if I say anything cryptic, or. ambiguous, I think you should put the most flattering possible interpretation on it. Because even if it does n't sound that way. that's how I'll mean it. Bingo. The guy's a chessplayer, but on the other hand he's also rather touchingly, almost childishly, sincere. Before she knows it, VICKI finds herself melting.",
"INT. GOTHAM CITY OPERA HOUSE - NIGHT Rigoletto. THE DUKE onstage, launching into his big crowd - pleaser, `` La Donna e Mobile.'' WE PAN THE AUDIENCE, finding several mobile young DONNAS in the crowd - drop - dead beauties in slinky gowns. Although most eyes are fixed, reasonably enough, on the stage, DONNA # 1 is staring with undisguised envy at a PRIVATE BOX above the orchestra seats. Her mouth twists in disgust. She scans the crowd, finds her counterpart -LRB- DONNA # 2 -RRB- some rows back, on the arm of a bald bigwig. DONNA # 2 is wearing a similar sour expression, staring up at the same box. DONNA # 3 is even less discreet than her comrades. She has her opera glasses trained on the couple in the box. HER POV - THROUGH OPERA GLASSES - THE BOX BRUCE and VICKI. He whispers in her ear. She smiles and whispers back. A beat. He whispers again. This time she does n't laugh. But her lips part slightly. SCREEN GOES BLACK as the opera glasses SNAP SHUT. ANGLE ON CROWD - DONNA # 3 staring icily at the DUKE as he finishes up to a round of TUMULTUOUS APPLAUSE.",
"INT. WAYNE MANOR - NIGHT BRUCE and VICKI enter. He takes her coat, drops it on a chair by the door. VICKI is giddy, all champagned up. VICKI - but it's not fair. I'm half drunk and you're not even - BRUCE Would you like me to take you home? VICKI God. You would. -LRB- sidling up to him. -RRB- Come on, Bruce. I just want to get two drinks in you. As an experiment. BRUCE Maybe we should just kiss. VICKI We could try that. WIDER ANGLE BRUCE embracing VICKI in the vastness of the darkened entry hall, framed by long semicircular STAIRWAYS on opposite walls. A SUDDEN FLASH OF LIGHTNING transports us to :",
"EXT. OFFICE BUILDING - ESTABLISHING - NIGHT Broken windows, graffiti on the walls : a decrepit rathole near the Gotham docks.",
"INT. DOCTOR'S OFFICE - NIGHT TIGHT ON a face swathed in bandages. The patient sits erect in a wooden chair, surrounded by the grimy paraphernalia of an unlicensed gangland doctor. The DOCTOR, a nervous little ferret with the bedside manner of a back - alley abortionist, steps up with a scissors. DOCTOR Well, Mr. Napier, let's see how we did. He begins to snip away. As the bandages come off, we get : JACK NAPIER'S POV The last strands of gauze peel away. The DOCTOR stands there, looking at his handiwork. His mouth falls open. His eyes bug out. He GAGS. JACK -LRB- V.O. -RRB- Mirror. The DOCTOR just stands there staring AT CAMERA, stock - still, apparently transfixed by the sight of JACK's face. JACK -LRB- V.O. -RRB- Mirror. ANGLE ON DOCTOR He clears his throat, reaches apprehensively for a hand mirror, and passes it out of frame to JACK. Two beats. Then, the sound of GLASS SHATTERING as the mirror drops to the floor. JACK begins to laugh. THE DOCTOR gets a little edgy. DOCTOR You understand the facial muscles were completely severed - JACK keeps on laughing. The DOCTOR turns uneasily away, gestures apologetically at his seedy equipment. DOCTOR -LRB- cont. -RRB- - you can see what I have to work with here - MORE LAUGHTER. The trembling DOCTOR covers his face with one hand, whining now, not daring to look at JACK. DOCTOR -LRB- cont. -RRB- I'm sure that with proper recon - recon - reconstructive surgery - A DOOR SLAMS. JACK is gone. The grateful DOCTOR breathes a sigh of relief and steadies himself on an operating table.",
"EXT. OFFICE BUILDING - OVERHEAD ANGLE - NIGHT From a point high above we see JACK emerging into the alley, pulling on a hat, wrapping a muffler about his head. We ca n't see his face. But we ca n't forget his LAUGH.",
"INT. BRUCE WAYNE'S BEDROOM - NIGHT VICKI nestled peacefully under the covers. Beside her is BRUCE : hands behind his head, staring up at the ceiling. It's almost as though BRUCE is not used to sleeping at night. He does n't know what to do with himself. He looks at VICKI. She's terribly lovely. But despite all that, we ca n't shake the feeling that BRUCE. would really rather be somewhere else.",
"EXT. STREET - NIGHT LOUD MUSIC. KIDS in punk regalia stand outside a rock club as JACK stalks past. The wind knocks his hat off. KID Nice hair, dude! JACK ignores them as he bends to retrieve his hat. Then he gazes up at the steel - and - glass facade of a SKYSCRAPER - and strides deliberately across the street.",
"INT. GRISSOM'S PENTHOUSE - NIGHT The spectacular Gotham skyline, seen through the plate - glass window of GRISSOM's conference room. The doors to the private elevator hiss open and JACK wanders in. He plops in the big plush swivel chair behind GRISSOM's desk. GRISSOM -LRB- O.S. -RRB- That you, sugar bumps? GRISSOM waddles in unsuspectingly from the adjoining room. He's fresh out of the shower, a towel wrapped around his impressive girth. He's using a smaller towel to dry his hair, and so it's a moment before he sees the bundled - up figure at his desk. GRISSOM -LRB- cont. -RRB- Who the hell are you? JACK It's me. `` Sugar Bumps.'' GRISSOM -LRB- recognizing his voice. -RRB- Jack? -LRB- advancing cautiously. -RRB- Thank God. I ca n't believe it's you. I heard you'd been - JACK -LRB- standing up. -RRB- Is that what you `` heard''? JACK gestures him over to the empty chair. GRISSOM does n't move until he sees the GUN pointed at his belly. JACK -LRB- cont. -RRB- YOU SET ME UP! -LRB- beat. -RRB- Over a girl. You must be insane! GRISSOM surreptitiously reaches for a desk drawer. JACK -LRB- cont. -RRB- Keep your hands on the desk. GRISSOM Sooner or later you would've tried to take me, Jack. You may get me now, but your life wo n't be worth a dime. JACK I've died once already. It was n't so bad. - In fact I recommend it. GRISSOM is beginning to panic now. It's obvious that JACK is utterly, hopelessly deranged. GRISSOM Jack, listen - we'll cut a deal - JACK JACK? JACK? DO I LOOK LIKE A JACK? And now, for the first time, he flings away the hat. RIPS THE MUFFLER from his face. And - as GRISSOM gasps in shock - STANDS REVEALED in his full horrendous glory. His flesh is bleached bone - white. His hair is a luminous seaweed - green. And his cheeks are torn and puckered from the bullet wound, TWISTING HIS MOUTH INTO A HIDEOUS, PERPETUAL HARLEQUIN'S GRIN. JACK -LRB- cont. -RRB- I'm not a Jack any more. -LRB- pause ; cackling. -RRB- You made me a Joker! THE CACKLE BUILDS INTO FURIOUS, HYSTERICAL LAUGHTER. GRISSOM, revulsed, terrified, pushes himself away from the desk, back toward the window which overlooks the city. GRISSOM Jack - I'm warning you. WIPE THAT LUNATIC GRIN OFF YOUR FACE. JACK HA! That's the best part. I CA N'T! And with that JACK pulls the trigger. And fires. And fires again until the CLIP IS EMPTY.",
"EXT. GRISSOM'S BUILDING - NIGHT We TILT UP the chrome - and - glass facade of the skyscraper, arriving finally at the TOP FLOOR : a PLATE GLASS WINDOW spiderwebbed with cracks where Jack's bullets hit.",
"INT. GRISSOM'S PENTHOUSE - THAT MOMENT - NIGHT The room is still dark. JACK - or, as we'll know him from this moment on, THE JOKER - sits in GRISSOM's swivel chair, staring out at the moon - drenched skyline. JOKER What a view. Our little city. It always brings a smile to my face. He reaches for a nearby glass of liquor and glances down at GRISSOM - who lies dead on the floor, the towel still wrapped around him. THE JOKER laughs softly to himself. JOKER -LRB- cont. -RRB- Guess it's my little city now. Wonder what it'll look like when I get done with it. -LRB- pause. -RRB- I bet it'll be something real fine. Real fine and pretty. DISSOLVE T0 :",
"INT. BRUCE WAYNE'S BEDROOM - MORNING The sun is just up, and VICKI finds herself alone in bed. A SOFT, OFF - KEY BARITONE VOICE drifts out of the adjacent bathroom : BRUCE in the shower, singing `` Honeysuckle Rose.'' She breaks into a huge smile and climbs out of bed. Somehow she's wound up wearing BRUCE's ribbed formal shirt.",
"INT. BATHROOM - A MOMENT LATER - MORNING BRUCE in his opulent deco shower stall, still SINGING to himself. VICKI sneaks up behind him, opens the door. He instantly STOPS SINGING - as if he's been hit by a brick. VICKI I did n't mean to scare you. I just had to come in here and see it that was really you singing. She smiles, teasing him. He does n't respond. He acts as if she's caught him doing something shameful - exposed him. VICKI -LRB- cont. -RRB- -LRB- singing. -RRB- `` Do n't buy sugar - you just have to touch my cup.'' Come on. `` You're my sugar -''. -LRB- no response from BRUCE. -RRB- Bruce, you are such a case. BRUCE seems somehow unable to sing along. But be quickly recovers his composure - and forces a crooked, almost childish smile. BRUCE I do n't sing very well. VICKI Then there's one thing in the world you do n't do very well. And I know what it is. - Now you'll have to kill me. He kisses her good morning, steps out and reaches for a towel. His body is one big mass of BRUISES AND ABRASIONS. VICKI -LRB- cont. -RRB- Poor thing. You should stay off that horse.",
"INT. GLOBE - CITY ROOM - DAY KNOX, in a surly mood, examines the morning edition of the Globe. He's turned to page six - the gossip page - and there, under Miranda Reitz's byline, is a picture of VICKI. It seems she and BRUCE are the talk of the town. KNOX -LRB- disgusted. -RRB-. Peanut. A COPY BOY approaches his desk with a MANILA FOLDER : COPY BOY Here's that morgue file you wanted. KNOX leans back in his chair. The file is labelled `` BRUCE WAYNE : 1982 - 1987.'' KNOX opens it and begins to leaf through old clippings from back issues of the Globe. WAYNE FOUNDATION TO FUND LOW - COST HOUSING. MILLIONAIRE HEADS CHARITY DRIVE FOR GOTHAM HANDICAPPED. HURRICANE VICTIMS SAY ` THANK YOU' TO BRUCE WAYNE. KNOX's face sags in dismay. Every article seems to be telling us just how swell a rich philanthropist can be. KNOX Come on. Gim me some dirt! Then he notices something odd. In the whole fat file of clippings, there are no pictures of Bruce Wayne - with two partial exceptions. One is a group shot, Bruce in the middle, waving at the camera and blocking our view of his face. The other is an ancient picture of a collegiate Bruce, stern - faced, hair down to his collar. The caption reads `` BRUCE WAYNE IN 1973'' - years out of date even when it ran in the paper. KNOX -LRB- cont. -RRB- Why do n't you like your picture taken?",
"INT. APARTMENT LOBBY - NIGHT A DOORMAN DOZES in the plush lobby of ALICIA HUNT's apartment building on the East Side of Gotham. Through the glass doors we see ALICIA outside in the chill wind, peering inside, hesitant to enter. As silently as possible she uses her key and steps in, tiptoeing past the doorman, trying not to wake him. She's almost made it when he SITS BOLT UPRIGHT, startling her. DOORMAN Miss Hunt! -LRB- smiling. -RRB- No need to sneak in. The rent's been taken care of. ALICIA The rent? Paid?",
"INT. ALICIA'S APARTMENT - NIGHT ALICIA, mystified, lets herself in and turns to lock the door. She's startled once more by a VOICE FROM BEHIND. VOICE Honey - I'm home! She pivots. Her eyes widen. She SHRIEKS. Sitting cross - legged in an easy chair, a twisted grin on his loathesome face, is THE JOKER. He's in a smoking jacket and slippers, reading the paper, a dry martini at his side. This grim parody of domesticity sends poor ALICIA into a dead faint.",
"INT. PENTHOUSE SUITE - DAY It looks for all the world like a corporate boardroom. At a long table sit Gotham's most distinguished criminals : GANGLORDS and RACKETS BOSSES from every corner of the city. They stare suspiciously at the head of the table. JOKER -LRB- O.S. -RRB- So that's how it is, gents. Until Grissom decides it's safe to come up for air. I'm running the show. Now we see what they see : THE JOKER, dressed rather flamboyantly in a big slouch hat. His FACE is layered with flesh - toned makeup, and his HAIR's been rinsed black. Unfortunately, he ca n't conceal his ghoulish SMILE. GANG BOSS So why do n't we hear this from Grissom? RACKETEER I got something I'd like to know. How come you're wearing that stupid smirk? JOKER'Cause I got an army, chum. And I got Grissom's army. And this city is mine. CARMINE ROTELLI, an especially oily mobster, speaks up : ROTELLI I do n't like taking orders, from Grissom. And I especially do n't like taking orders from Grissom's goon. JOKER I've considered that possibility. ROTELLI And what happens if we say no? JOKER -LRB- chuckling. -RRB- Nobody wants a war, Carmine. If we ca n't do business, we shake hands and part friends. ROTELLI That's it? JOKER That's it. THE JOKER extends a hand. ROTELLI reaches out to shake it. He does n't see the JOY BUZZER concealed in the JOKER's palm. 40,000 VOLTS course through ROTELLI's body. He drops back into his seat a blackened husk, SMOKE pouring out from his sleeves and shirt collar. The CRIMELORDS recoil in horror. Before they can make a move, a squad of ARMED THUGS burst into the room. JOKER -LRB- cont. -RRB- Looks like Carmine got a little hot under the collar. CRIMELORD You're insane! The JOKER is a wee bit agitated. He removes the hat and mops sweat from his brow, exposing a patch of CHALK - WHITE FLESH - to the great bewilderment of the ONLOOKERS. JOKER That's what they said about Lee Iacocca. Now GET OUT OF HERE. - And THINK IT OVER! The sickened CRIMINALS file out cautiously. That leaves THE JOKER alone in the room with the charred corpse of ROTELLI. THE JOKER sinks into a chair and - as is his wont - JOKER -LRB- cont. -RRB- Heck, they're not such bad guys. I say we give'em a couple of days to come around. -LRB- thoughtful pause. -RRB- We - e - ll. maybe one day. -LRB- then, casually. -RRB- Aaah, screw it. Let's grease'em.",
"INT. SMALL BACK ROOM - NIGHT A poker game. A CRIMELORD from the JOKER's board meeting picks up his hand and fans out the cards. FIVE JOKERS. He looks up, puzzled. The last thing he sees is a HIRED KILLER bursting in through the door, GUN IN HAND.",
"EXT. GOTHAM PARK - DAY A COSTUMED CLOWN with a wheeled cart, filling balloons from a helium tank, passing them out to the kids. CRIMELORD # 2 strolls past. The CLOWN offers him a balloon, which be politely refuses. THE CLOWN reaches into his cart for a RED METAL TANK. But, as we quickly find out, it's not a helium tank - it's a FLAMETHROWER.",
"EXT. HALLIDAY PLAZA - DAY A sunny, landscaped quad surrounded by corporate skyscrapers : trees, grass, marble fountains, flags of many nations. Amid the pedestrians we catch BRUCE and VICKI, all smiles, cutting through the plaza on the way to lunch. VICKI To tell you the truth, I'd just about given up waiting. BRUCE I said I'd call you the minute I got free. And I did. - And here we are. VICKI -LRB- teasing him. -RRB- Hm hmm. Lunch. Not even dinner. He stops in his tracks, takes her by the shoulders. BRUCE Vicki. Do you want the whole truth? All coyness aside? -LRB- long pause. -RRB- I wish I had more time to give you. Every day I do n't see you, I miss you. -LRB- beat. -RRB- Now. Are you going to waste this lovely afternoon being all mad at me? All this, of course, is delivered with devastating sincerity. VICKI finds herself totally disarmed. VICKI Okay, I'm a sucker. You sound so much like someone I used to. -LRB- stopping suddenly. -RRB- Bruce? I know this is silly, but - you're not married, are you? He stops and laughs. She smiles crookedly, takes his arm. ANOTHER ANGLE - ACROSS PLAZA - THAT MOMENT PHILLY RICORSO - another CRIMELORD from the boardroom - enters the plaza flanked by a cadre of PAID BODYGUARDS. ON BRUCE AND VICKI A PAINTED STREET MIME walks alongside them, feeling his way along an imaginary wall. VICKI groans. VICKI All street mimes should be executed. BRUCE Looks like a convention. And indeed, there are HALF A DOZEN STREET MIMES converging on the center of the plaza. RICORSO and co. approach the mirrored - glass entrance of a skyscraper. In the lobby, A MIME - who's been annoying the passersby - THROWS A BOLT, LOCKING THE DOORS from inside. A BODYGUARD bangs on the glass. Nearby, ANOTHER MIME reaches into a trash bin - and pulls out a MACHINE GUN. SUDDEN SCREAMS OF TERROR from the onlookers. VICKI turns to BRUCE. Before she can get his name out, he's HOISTED HER BODILY and THROWN HER behind a marble fountain. SERIES OF SHOTS BRUCE'S EYES darting birdlike around the plaza - INTERCUT with the following POV SHOTS, ALL IN SLOW MOTION : - TWO MIMES with machine guns. One of them lining PHILLY and co. up against the glass doors, the other holding the CROWD at bay ; - A WOMAN in the crowd fainting. A THIRD MIME gleefully imitating her swoon, to no one's amusement ; - PHILLY and his goons, COWERING, hands in the air, as OTHER MIMES cruelly mimic their terrified poses. and suddenly BRUCE is RUNNING FRANTICALLY, looking for a secluded spot, an alleyway, anything. No go. He's out in the open, with onlookers everywhere. In his civvies, he's just another citizen. TOTALLY IMPOTENT. He darts around a corner, backs against a wall. WOMEN, CHILDREN, GROWN MEN race past. No privacy. He's practically quaking now, in the throes of some terrible anxiety. He looks up at the sky overhead, terrified. A BRILLIANT SUN bears down on him as MACHINE GUNS CHATTER. ANGLE ON PHILLY AND BODYGUARDS BODIES JERKING as GLASS rains down in shards. ANGLE ON BRUCE his back arched, his mouth agape, his face drained of blood as the sounds of carnage echo through the plaza. It's almost as if the bullets are striking him. A moment later, it's all over but the screaming. VICKI emerges from the crowd and finds BRUCE slumped against the wall, nearly catatonic. She moves to touch him. As if by reflex he reaches out and GRABS HER BY THE ARMS - with a grip so strong it could crush bone. She GASPS, looks up - and sees, in his traumatized EYES, a look so raw, so desperate, that it virtually defies comprehension. VICKI BRUCE! He blinks rapidly. He relaxes his grip. Before VICKI's eyes, he's changing. becoming the BRUCE she knows. BRUCE Oh my God. are you all right? He reaches for her. Involuntarily, she steps back. He sees her reaction and his face goes slack - frightened, pleading. This time she lets him embrace her. but her face is full of bewilderment and doubt. INSERT - TELEVISION SCREEN ANCHORWOMAN live from Halliday Plaza, where a gangland - style execution claimed the life of racketeer Philly Ricorso. Ricorso's death is the third in a rash of underworld killings. CUT TO TWO - SHOT : the ANCHORWOMAN and COMMISSIONER GORDON. ANCHORWOMAN -LRB- cont. -RRB- Commissioner, you've heard the rumors. Are these murders the work of the mysterious ` Batman'? A PIERCING CACKLE fills the air. CAMERA PULLS BACK from the TV, placing us in the JOKER's boardroom. Behind the big desk he SWIVELS INTO VIEW, phone in hand. JOKER All reet! I think it's about time we called another meeting, huh?",
"INT. WAYNE MANOR - DAY ALFRED on the phone, a feather duster in his hand. ALFRED I'm sorry, Miss Vale. I've given him your messages. That's all I can do. ANGLE WIDENS. BRUCE is sitting mere feet away, obviously distraught, locked in some sort of internal struggle.",
"INT. VICKI'S APARTMENT - THAT MOMENT - DAY VICKI Please tell him. I'm not trying to make his life difficult. I'd just - I'd just like to know what's going on. A KNOCK at the door as VICKI hangs up. She goes to open it, finds KNOX - wearing a big, cheshire - cat smile. KNOX Hiya, peanut. I got something I'd like you to see.",
"INT. LIBRARY - DAY A MICROFILM MACHINE. As VICKI looks on curiously, KNOX - all eagerness now - threads up a roll of film and begins cranking through back - issue newspapers. KNOX Okay, here we go. Check it out. He steps back. VICKI stares down at the display screen. A FRONT - PAGE BANNER HEADLINE reads : THOMAS WAYNE MURDERED. Prominent Doctor, Wife Slain in Robbery. Unidentified Gunman Leaves Child Unharmed. Beneath it, a PHOTO : cops kneeling over corpses. Medics with stretchers. And off to one side, a YOUNG BOY - BRUCE WAYNE - his arms wrapped around the waist of a BEAT COP. The BOY stares straight at the camera. His face is a mask of UNFORGETTABLE AGONY. You ca n't take your eyes off it. VICKI Oh my God. I've seen this picture. KNOX I guess so. Pulitzer Prize, 1963. VICKI His face. Allie, look at his face. TIGHT ON THE BOY'S contorted face, staring out in shock and disbelief, his features recognizable across all the years - permanently, indelibly traumatized. The same face VICKI saw in Halliday Plaza. KNOX Yep. He watched the whole thing happen. - Recognize the beat cop? Jim Gordon. VICKI Oh, Bruce. KNOX Something like this - what do you suppose this could drive a guy to?",
"INT. RESTAURANT - DAY A greasy spoon off the lobby of the Globe building. KNOX and VICKI in a booth. VICKI Alexander, you are on drugs. KNOX He walks out on his own party. Half an hour later, the Caped Crusader turns up in full bat - drag. -LRB- beat. -RRB- Sees an execution, freaks out in an alleyway. No place to change. -LRB- smiling. -RRB- Yeah, Vicki, he's `` married'' all right. VICKI You're pissing me off, Allie. I know exactly why you're doing this. KNOX -LRB- leaning forward. -RRB- Oh? Why is that, Vicki? VICKI wilts under the challenge. She holds her silence for a second, then changes the subject. VICKI He's best friends with Jim Gordon and Harvey Dent. They would know. KNOX Okay, Vicki, I have a confession to make. I'm the Batman. VICKI snorts, rolls her eyes impatiently. KNOX -LRB- cont. -RRB- Do n't believe me? Why not? VICKI Alexander. I know you. KNOX Right. And they know him. And that's why it would never occur to them for a minute that their old buddy Bruce puts on a cape at night and goes out looking for - VICKI This is pointless. I'm leaving. KNOX -LRB- grabbing her arm. -RRB- Your little chum is out of his mind. -LRB- relaxing his grip. -RRB- Next time you call him up and he ca n't go out Friday night - think it over.",
"INT. ACE CHEMICAL CO. - DAY LOW ANGLE on the JOKER. He stands on a catwalk high above the refinery floor, lord of all he surveys, overseeing production like a demented middle manager.",
"INT. STOREROOM - DAY A dank, windowless room in the bowels of Ace Chemical, which the JOKER has converted into a makeshift lair. SAP - LIKE GOO drips in puddles from exposed pipes overhead. CAMERA DRIFTS across the JOKER's cluttered desk. Shipping manifests. Ledgers. PSYCHOTIC DOODLES scrawled in crayon. More significantly : an old CONTRACT dating back to the mid - seventies. It's half - obscured by other papers, but the initials ` CIA' are plainly visible. Then : a BOUND REPORT with the title ` DDID NERVE GAS : RESULTS OF PRELIMINARY EXPERIMENTATION.' Across its title page, a diagonal rubber stamp : ` DISCONTINUED January 1977.' And finally : a sheaf of PHOTOS. Laboratory apes, chimps and orangutans, all DEAD. Their LIPS are drawn back, exposing HIDEOUS, CHEMICAL - INDUCED GRIMACES. ON ONE WALL : POSTER - SIZED BLOWUPS of the grinning apes. ON THE OPPOSITE WALL : a large - scale photographic reproduction of the Gotham City skyline, its bottom half HIDDEN FROM VIEW by the JOKER's desk. The PHONE RINGS. The JOKER - who has been sitting on the floor by the cityscape - POPS INTO FRAME and picks it up. JOKER How's that first shipment coming? VOICE ON PHONE Right on schedule. Oh, we got that address for you - 79 East End, # 12 - C. JOKER Mmm. How'd you find it? VOICE ON PHONE Called her agent. The JOKER nods in satisfaction and resumes his place on the floor. Like a happy kindergartener, with paste pot and scissors, he's CLIPPING PHOTOS from a magazine - horrible scenes of death, destruction, panic, mutilation. One by one, he's PASTING these shots on the blowup of Gotham city - all along sidewalk level - creating a massive photomontage of ANARCHY IN THE STREETS. We've seen these photos before. VICKI VALE took them. in Corto Maltese.",
"INT. PHOTOGRAPHER'S STUDIO - DAY In foreground, ROWS OF MAKEUP in startling profusion : mascara, blusher, eyeliner, lipstick. HALF A DOZEN BEAUTIFUL MODELS giggle into their makeup mirrors. In the background VICKI wanders past with a stylish friend, CLAIRE, who owns and operates the studio. CLAIRE of course, after Corto Maltese, this must all seem pretty tame. VICKI Not to me. I need a job. CLAIRE Now Vicki. Everyone knows you've got your hooks in Bruce Wayne. VICKI Then `` everyone'' must know something I do n't. CLAIRE -LRB- cattily. -RRB- Oh. Really. Well. - Come on, dear, Tony's dying to see you. In a corner of the studio, TONY, a gaunt, tubercular Brit, is shooting a swimsuit layout with two SUPERMODELS. They all ad lib greetings to VICKI as TONY darts around hyperkinetically, snapping the girls in a series of poses. TONY Yes, ladies, smiles, show me those smiles, fabulous, tropical smiles, think Tahiti, I want to see teeth, yes, those glorious teeth - As VICKI looks on, the SUPERMODELS freeze in place simultaneously, a strange, STRICKEN LOOK on their faces. TONY -LRB- cont. -RRB- My God no, do n't stop now, those smiles, I need those smiles - Suddenly the girls are LAUGHING - but the laughter is unnatural, involuntary. VICKI, sensing that something is terribly wrong, lays a hand on CLAIRE's arm. The MODELS, now wearing HUGE SMILES, begin to TWITCH SPASMODICALLY. TONY snaps away. TONY -LRB- cont. -RRB- Yes! Oh baby, YES! That's -. -LRB- beat. -RRB- No! Too far, too far! Pull back, pull back! -LRB- dropping the camera. -RRB- OH MY GOD! The SUPERMODELS PITCH TO THE FLOOR, shuddering convulsively, their LIPS drawn back in FRIGHTFUL, FROZEN, LAB - APE GRINS. VICKI GASPS. CLAIRE SCREAMS. TONY SCREAMS.",
"INT. TELEVISION STUDIO - EVENING The Eyewitness News set, with anchors PATSY NARITA and DAVE McELROY. Behind them, BLOWUPS of the two dead SUPERMODELS. PATSY The fashion world was stunned today by the sudden deaths of top models Kelly Brinkley and Christie Emberg. Cause of death has been attributed to a violent allergic reaction, although authorities have not yet ruled out the possibility of drug use. Dave? Behind DAVE, on the bluescreen : a HUGE STATUE, covered in canvas - not unlike New York's Statue of Liberty. DAVE In Gotham, plans continue for the city's 300th birthday celebration. The four - day event will conclude with the unveiling, in Gotham Harbor, of the newly restored ` Lady Gotham'. A TECHNICIAN'S HAND passes a slip of paper into frame. DAVE -LRB- cont. -RRB- This bulletin just in. Nine more mysterious deaths at a beauty parlor in - Off to the left, PATSY begins to LAUGH. DAVE FROWNS. DAVE -LRB- cont. -RRB- Patsy! This is hardly the -. -LRB- his eyes widen. -RRB- PATSY! An offscreen CRASH. Suddenly DAVE is up out of his seat, mouth agape in horror. PATSY HAS GONE INTO CONVULSIONS. CAMERA WHIPS VIOLENTLY RIGHT AND LEFT as she jerks out of her seat and TOTTERS UNCONTROLLABLY across the set, LAUGHING INSANELY. TECHNICIANS rush the soundstage in an unrehearsed frenzy. PATSY spins like a dervish and LURCHES BACKWARD over the newsdesk in a death spasm, giving us a quick look at the grisly Joker's grin etched on her now - lifeless face. DAVE gestures frantically to the cameraman : DAVE -LRB- cont. -RRB- KILL THE CAMERA! KILL THE - Suddenly, CRACKLING VIDEO STATIC wipes out the screen. A moment later, we're looking at : SPLITSCREEN CLOSEUP - THE SUPERMODELS Their gorgeous faces sprout BIG, ANIMATED - CARTOON GRINS as a BOUNCY TUNE - `` Put on a Happy Face'' - comes up underneath. MODELS -LRB- CARTOON VOICE. -RRB- Love that Joker!",
"INT. SUPERMARKET - DAY THEME MUSIC CONTINUES as a grinning, deranged pitchman - THE JOKER - pushes his shopping cart down the aisle. The shelves are filled with products bearing his TRADEMARK HARLEQUIN'S FACE. He waves merrily in time to the music.",
"INT. STUDIO - VIDEO CONTROL BOOTH - THAT MOMENT PANICKED TECHNICIANS swarm the booth. The studio feed has been JAMMED. Every monitor shows THE JOKER'S COMMERCIAL. DIRECTOR WHERE'S IT COMING FROM? TECHNICIAN I DO N'T KNOW! CLOSEUP - THE JOKER JOKER new improved Joker brand. With the secret ingredient. SMYLENOL! -LRB- a sweep of the hand. -RRB- Let's go to our blind taste test. TIGHT ON an anonymous MAN - GAGGED AND BLINDFOLDED, tied to his chair, squirming, struggling. On the table before him is a package labelled `` BRAND X.'' A SUPERIMPOSED TITLE reads : `` NOT AN ACTOR.'' JOKER -LRB- cont. -RRB- Ooh. He's tense. Irritable. Out of sorts. -LRB- wagging a finger. -RRB- He's been using Brand X! But with new improved Joker brand. ANGLE WIDENS to include a BLINDFOLDED CORPSE, limp in his chair, GRINNING HORRIFICALLY. JOKER -LRB- cont. -RRB- it's a SMILE EVERY TIME!",
"EXT. IDYLLIC PASTORAL SETTING - DAY THE JOKER in a field of wheat. On a picnic blanket before him are TWO CLEAN - CUT MODELS - one male, one female, BOTH DEAD. and GRIMACING HORRIBLY. JOKER -LRB- cont. -RRB- - and the world smiles with you! Irresistable - oh - so - kissable - He grabs the dead MODELS by the hair. THEIR TEETH CLINK as he forces their heads together for a post - mortem kiss. SERIES OF SHOTS Television sets all over Gotham, as startled citizens react to the JOKER's maniacal promo. JOKER I know what you're saying. Where can I buy these fine, fine products? Well, that's the gag, folks, you never know. Chances are. you've bought'em already! As his RANT CONTINUES, we SEE : - A YOUNG MAN watching the bedroom TV as he dresses for a date. He's got an aerosol deodorant can poised under one arm, ready to spray. He looks down at the can, suddenly uncertain. Could it be? - A FAMILY in their kitchen, eyeing a 12 - inch portable as MOM serves dinner. They dig in automatically, then FREEZE with their forks in midair. - A MIDDLE - AGED MATRON at the living - room TV. Shocked, she calls to her husband - and gets no reply. We FOLLOW HER to the bathroom door. On the floor she sees AN OVERTURNED SHAMPOO BOTTLE. Then : her HUSBAND, slumped down in the tub, a lethal GRIN on his face. She lets out a SHRIEK.",
"INT. WAYNE MANOR - STUDY - NIGHT ALFRED THE BUTLER in a crouch, glued to the tube. ALFRED Sir! HIS POV : THE JOKER in tight closeup. Offscreen, an INFANT begins to squall. THE JOKER cocks an eyebrow. JOKER Baby's got a tummyache? Here's something that'll fix him quick! He tosses a JOKER PRODUCT out of frame. Then - leering - he gives the camera a BIG JUICY WINK. JOKER -LRB- cont. -RRB- Now on your grocer's shelf. So remember - use Joker brand - and put on a happy face! MUSIC UP. VIDEO SNOW fills the screen as the jammed transmission end. ALFRED looks over his shoulder. TRACK IN ON THE GRIM, DETERMINED FACE OF BRUCE WAYNE. SERIES OF SHOTS - The Gotham Globe cartwheeling into frame : PANIC GRIPS GOTHAM Contaminated Products Claim 72 Lives WHO IS THE MYSTERIOUS `` JOKER''? - An ANCHORWOMAN on the evening news. Her complexion is curiously sallow. BLACK BAGS show under her eyes. ANCHORWOMAN sixteen new deaths, with no clues as to the Joker's identity or demands. The list at potentially lethal products now includes : perfume - mascara - cold cream - - The makeover counter at Bloomingdale's. SECURITY GUARDS rush to the scene as THREE MATRONLY CUSTOMERS go into simultaneous smiling fits. - An ANCHORMAN with a BIG UGLY ZIT on his nose : ANCHORMAN Men's cologne toothpaste mouthwash - underarm deodorant - - A SUBWAY CAR jammed with STRAPHANGERS. HUGE PATCHES OF SWEAT under every arm. The doors slide open ; ONCOMING PASSENGERS RECOIL VISIBLY at the unendurable stench. - The original ANCHORWOMAN, whose look is now 100 % natural. Her hair is frizzy. Her eyebrows are missing altogether. Every wrinkle on her face is plainly visible. ANCHORWOMAN Hair spray - eyebrow pencil - moisturizing cream - - A LARGE DRUGSTORE. CASHIERS sit idly by the registers. The store is utterly devoid of customers.",
"EXT. STREET - DUSK From across the street we see VICKI headed down the sidewalk toward a museum. A GLOVED HAND reaches for a pay phone. VOICE She's outside the Fluegelheim.",
"INT. ALICIA HUNT'S PENTHOUSE - THAT MOMENT A BONE - WHITE HAND slams a phone receiver down. THE JOKER is at his vanity. He's rinsed his hair black. He's applying pounds of pancake makeup to his bleached face, his puckered cheeks. In the right light he could almost pass for human. In all the city, he's the only person still using cosmetics. A DREAMY, DRUGGED VOICE intrudes : ALICIA Jack? Who was that? As he looks up at the mirror, we get a quick glimpse of ALICIA behind him. The voice, the long blonde hair, are unmistakable. But for some reason, ALICIA'S FACE is COVERED. by a SHINY WHITE PORCELAIN DOLL'S MASK. JOKER Get dressed. We're going out.",
"INT. FLUEGELHEIM MUSEUM - EVENING A Gotham landmark, the Fluegelheim looks like something Frank Lloyd Wright would've dreamed up - a large open atrium encircled by a stucco RAMP, which spirals up along the interior walls to the CEILING four stories above. You walk up this gently - inclined ramp to view the paintings.",
"INT. FLUEGELHEIM - ROOFTOP TEA ROOM - EVENING The upper terminus of the ramp opens on an airy, fern - filled dining room popular with tourists and elderly matrons who work up an appetite looking at art. VICKI enters, camera bag slung over one shoulder, portfolio in hand. VICKI I'm meeting Mr. Wayne. Is he here? MAITRE D' No, but your table is ready.",
"INT. TEA ROOM - TWENTY MINUTES LATER - EVENING VICKI, sipping on a gin and tonic, checks her watch. A WAITER brings her a small parcel, wrapped in brown paper, bearing a single word : URGENT. WAITER Miss Vale, this just arrived for you. As the WAITER leaves, she tears off the wrapper. Inside is a small white box and a NOTE - SCRIBBLED IN CRAYON. DEAR V. VALE, PUT THIS ON RIGHT NOW. Unsigned, of course. VICKI, puzzled, opens the box to find a MINIATURE GAS MASK. She hears a strange HISSING NOISE. A few feet away, GREEN SMOKE is billowing out of an air - conditioning vent. TRAYS OF FOOD CRASH TO THE FLOOR as WAITERS pass out. ART LOVERS drop forks, go face down in their pasta salad. VICKI hurriedly fits the gas mask over her nose and mouth. Within seconds, she's the only one conscious in the room.",
"INT. MUSEUM - THAT MOMENT GREEN SMOKE plumes up toward the ceiling as we TILT DOWN toward the floor of the atrium. PATRONS and SECURITY GUARDS lie sprawled on the floor, twisted at odd angles, out cold. The mist is beginning to clear now. The doors swing open and in strolls THE JOKER, looking quite dapper in his street makeup and BIG PURPLE PIMP'S HAT. A SQUAD OF GOONS enters behind him. Some of them are carrying large cartons. They lock the entry doors, place a `` CLOSED'' sign in front of them, and begin uncrating LARGE CANS OF BLACK PAINT. The JOKER steps up onto the ramp, examines the artwork with an appreciative eye. JOKER Okay, boys, let's broaden our minds. He stops in front of an Ingres odalisque. Stands back a pace or two to get a better look. Then pulls out a STRAIGHT RAZOR and cuts a LONG DIAGONAL GASH in the canvas. He ambles up the ramp, stepping over collapsed patrons, pausing at every fourth or fifth painting. Monet water lilies, a Degas ballerina - all get the razor treatment. Behind him his CRONIES work their way up the ramp, HEAVING BLACK PAINT on every canvas the JOKER has missed. He cocks an eyebrow at Edvard Munch's `` THE SCREAM.'' JOKER -LRB- cont. -RRB- I kinda like this one. Leave it.",
"INT. TEA ROOM - A MOMENT LATER - EVENING VICKI at her table, still wearing the gas mask, scared as hell. The overhead lights wink out and the room goes dark. The JOKER saunters over and pulls up a chair. JOKER I think it's safe to take that off. VICKI recognizes the deranged smile instantly. She removes the gas mask, tries to gather her wits. JOKER -LRB- cont. -RRB- You're quite beautiful. VICKI Thank you. JOKER Unfortunate, but I think we can work around it. He sets a couple of CANDLESTICKS on the table and reaches for his lighter. A LONG JET OF FLAME shoots out, Jerry Lewis - style, as he lights the candles. JOKER -LRB- cont. -RRB- You're Vicki Vale. I guess you know who I am. - Is this your portfolio? She nods. He opens it, begins leafing through the record of VICKI's career. Newspaper photos from the Globe, at first. Then fashion layouts, magazine covers of celebrities. Artier B&W shots from VICKI's first couple of exhibitions. JOKER -LRB- cont. -RRB- Crap. Crap. Crap, crap, crap. Ahhh. Now here's what caught my eye. He's come to the COMBAT PHOTOS from Corto Maltese. JOKER -LRB- cont. -RRB- The panic. The bloody skulls. The armless screaming fellows. you know, the atrocities. -LRB- smirking. -RRB- Somehow, when you shoot it, it all comes out so clean, so lovely. VICKI is squirming, but she does n't think it wise to debate the point. Not with this lunatic, anyway. JOKER -LRB- cont. -RRB- I guess I'm just an old cornball, but. I live for beauty. I look around at my little city, it gets me down. -LRB- indicating the photos. -RRB- We do n't have anything like this. Well, it came to me that what this city needs. is beautification. Kind of a big makeover. -LRB- enraptured. -RRB- Miss Vale, I finally realized that one man can make a difference. You know the saying. `` In his image. created he them''? VICKI gazes at the awful face of this deranged visionary, getting more frightened by the minute. VICKI And you want a - JOKER A visual record, yes. A before - and - after kind of thing. -LRB- leaning closer. -RRB- This could make your reputation. Her first impulse is to get up and run. But she fights the impulse. She wo n't run. not until she gets this maniac on film. She reaches for her camera bag. VICKI Maybe we should start with a portrait of the artist. People might like to see the face behind the makeup. JOKER -LRB- momentarily puzzled. -RRB-. Behind the makeup? Then it sinks in. By candlelight, in the darkened restaurant, with his pancake makeup and his black rinse job, he looks practically normal. VICKI must think she's looking at his real face! JOKER -LRB- cont. -RRB- Oh. Yes. I see what you mean. He finds a pitcher, pours a glass of water, and very carefully SETS IT ON THE TABLE in front of VICKI. Then - suddenly, inexplicably - HE BARKS AT HER : JOKER -LRB- cont. -RRB- Silly little TWIT - I ca n't take you ANYWHERE! He sits back and grins expectantly. VICKI is thoroughly nonplussed by this bizarre outburst. A moment passes. He obviously wants her to do something, but she has n't got a clue as to what it is. Growing impatient now, he POINTS at the WATER GLASS : JOKER -LRB- cont. -RRB- Well? What are you waiting for? Now VICKI gets the point. She picks up the glass and HURLS ITS CONTENTS in THE JOKER'S FACE. His hands go up. He writhes. He shrieks - like the Wicked Witch of the West dissolving. He reaches for a napkin to wipe his face clean. and begins to CACKLE. His awful white - and - green clown's face revealed behind the running makeup, he LEERS at her. JOKER -LRB- cont. -RRB- You see, Miss Vale - that was my makeup. -LRB- leaning forward. -RRB- What do you think? VICKI is repulsed, but she's determined to tough it out. VICKI I've seen worse. Much worse. JOKER Strong stomach, huh? I like that in a woman. - Maybe we can do business after all. He seems to have calmed down a bit. It's almost as if he's coming on to her. But just then, a tiny BELL sounds behind them. and a VOICE intrudes : VOICE Jack? The JOKER turns. ALICIA steps out of a ROOFTOP ELEVATOR and moves toward them, drugged, wraithlike. She's still wearing the porcelain DOLL'S MASK we saw earlier. JOKER -LRB- to VICKI. -RRB- Christ, it's my girlfriend. -LRB- to ALICIA. -RRB- WHAT? ALICIA You said I could look at the pictures before you - before you - JOKER Shucks, honey, I forgot. -LRB- rolling his eyes at VICKI. -RRB- I'm in trouble now. -LRB- to ALICIA. -RRB- This is business, sweetie. Why do n't you go outside and see how the boys are coming? VICKI ca n't take her eyes off this strange figure drifting eerily through the abandoned tea room. VICKI -LRB- hesitantly. -RRB-. Why the mask? JOKER Alicia! Come here, have a seat. Show Miss Vale why you wear the mask. ALICIA sits down numbly and begins to undo the mask. JOKER -LRB- cont. -RRB- You see, Miss Vale, Alicia's beautiful. One in a million. A work of art. In fact. We're looking at ALICIA's profile as the mask comes off. The side that's turned to us is indeed beautiful. But the side we ca n't see. SENDS VICKI RIGHT OVER THE EDGE. JOKER -LRB- cont. -RRB- She makes you look sick. VICKI lurches out of her seat, knocking it over, HER FACE FROZEN IN HORROR. She finds her CAMERA, holds it out like a weapon as THE JOKER advances on her. VICKI You SCUM! You SICK FILTH! You DID THAT to her! JOKER What? I improved her a little. VICKI backs away, snapping the shutter on her camera. HE BLINKS as the flash gun goes off repeatedly. VICKI I'll see you burn. I'll see you dead. - GET AWAY FROM ME! JOKER Miss Vale, was it something I said? -LRB- brightly. -RRB- Do you want to sniff my flower? There's a BRIGHT PURPLE BOUTONNIERE in his lapel. He holds it up for VICKI's inspection as he moves menacingly closer. VICKI NO! The JOKER squeezes a concealed BULB. A JET OF CLEAR LIQUID spurts out of the FLOWER, NARROWLY MISSING VICKI. She GASPS. BUMPS INTO A TABLE. ACRID BLACK SMOKE rises from the floor where the clear liquid hit. Acid. JOKER Come on, Miss Vale. STOP AND SMELL THE ROSES! He backs VICKI into a corner. And then - abruptly - A SKYLIGHT SHATTERS IN A HAIL OF GLASS! A CAPED SHADOW DROPS TO THE FLOOR OF THE RESTAURANT! And THE JOKER is face to face with. THE BATMAN! On his wrist is a STEEL GAUNTLET. Ha AIMS IT at the JOKER like a weapon. Then PIVOTS SUDDENLY - POINTS HIS ARM THROUGH THE DOOR OF THE RESTAURANT - - AND FIRES A METAL SPIKE into the adobe wall of the RAMP OUTSIDE! JOKER -LRB- cont. -RRB- YOU! On the end of the spike is a CORD leading to BATMAN's belt. In the wink of an eye he's GRABBED VICKI - DRAGGED HER OUT OF the tea room - and PLUNGED OVER THE RAMP WALL, FOUR STORIES STRAIGHT DOWN TO THE ATRIUM FLOOR BELOW! The JOKER races to the edge of the ramp. JOKER -LRB- cont. -RRB- GET'EM! GET'EM! His GOONS are stationed at various points along the ramp, still defacing masterpieces. They pull their guns and OPEN FIRE as BATMAN and VICKI plummet past. ANGLE ON BATMAN AND VICKI - AS THEY FALL He holds the gauntlet overhead, ROPE whistling through it. As we watch, the gauntlet sprouts STEEL WINGS - forming a BULLETPROOF SHIELD over their heads! TWO FEET ABOVE the marble floor, THE ROPE jerks them up short - like a bunjee cord. GUNS BLAZE as BATMAN and VICKI drop safely to earth and MAKE FOR THE EXIT. The doors are LOCKED. BATMAN spots the black `` CLOSED'' sign on a metal stand. He HEAVES IT through the glass doors. VICKI hustles through. He points her to a side alley.",
"EXT. SIDE ALLEY - THAT MOMENT - DUSK VICKI rounds the corner just as BATMAN lobs a SMOKE PELLET into the doorway of the Fluegelheim. BATMAN GET IN THE CAR! VICKI WHICH CAR? VICKI suddenly feels quite stupid. Because - while there are many cars parked along the side alley - there is only one BATMOBILE. VICKI -LRB- cont. -RRB- Oh. The BATMOBILE is sleek, futuristic, and. well, indescribable. Imagine your own. VICKI climbs into the passenger seat and is immediately dazzled by a stunning array of electronic gadgetry. BATMAN Ignition! As BATMAN sprints down the alley, a COMPUTER DISPLAY on the dashboard registers his unique voiceprint. A tinny, synthesized VOICE repeats the command : COMPUTER Ignition. The engines are revving up even as BATMAN vaults into the cockpit alongside VICKI. Guns in hand, the JOKER'S GOONS Are stumbling out of the Fluegelheim, hacking, coughing, blinded by smoke. They DIVE FOR THEIR LIVES as the BATMOBILE comes barrelling out of the alley at ninety miles an hour. THE JOKER emerges just as the BATMOBILE careens off. JOKER I WANT HIM! I WANT HIM! The JOKER climbs into the back of a van labelled `` MONARCH PLAYING CARDS.'' Half his GOONS pile into the van behind him, the other half into a second car nearby.",
"EXT. STREETS - THAT MOMENT SIRENS HOWL as POLICE CARS converge on the Flugelheim.",
"INT. BATMOBILE - THAT MOMENT roaring out into CITY TRAFFIC. VICKI Look! Police! BATMAN I called them. VICKI Should n't we - A POLICE CAR whizzes past the BATMOBILE. TIRES SKID. The COP CAR does a quick 180 and sets out in hot pursuit of the BATMOBILE. BATMAN FLOORS THE ACCELERATOR in response.",
"INT. VAN - THAT MOMENT TIGHT ON the demented face of THE JOKER. A GOON calls out from the front of the van. GOON There they are! Dead ahead! THE JOKER screams into a RADIO DISPATCHER'S MIKE. JOKER ALL UNITS! SOUTHBOUND ON RIVERVIEW! SERIES OF SHOTS The JOKER'S ARMY. THUGS in cars. CREEPS in Italian restaurants. CROOKED COPS at a coffee shop. LIGHTS FLASH, BEEPERS SOUND, and within seconds they're racing to the streets, eager to join the chase. SERIES OF SHOTS - THE STREETS COP CARS. GOON CARS. THE BATMOBILE streaks through an intersection, nearly causing a pileup. THE JOKER'S VAN makes short work of a SABRETT'S HOT DOG STAND in its path.",
"INT. BATMOBILE - THAT MOMENT PEDESTRIANS GAWK as the sleek supercar RIPS UP THE PAVEMENT. VICKI What about her? What about the girl? BATMAN He wo n't kill her. -LRB- gritting his teeth. -RRB- GODDAMMIT! They're moving up on an EMPTY BLOCK - a NIGHT CONSTRUCTION TEAM. A HUGE PIECE OF HEAVY MACHINERY backs up slowly and inexorably, BLOCKING THE INTERSECTION. BATMAN GUNS THE ENGINE. SWERVES LEFT. TRIES TO SLIDE PAST. And HITS THE BRAKES - stopping inches short of a head - on collision with a lamppost. He jumps out of the car. No chance to get through. THE JOKER'S VAN is two blocks back and coming up fast. ONLOOKERS and CONSTRUCTION WORKERS are beginning to form a crowd around them. VICKI Ca n't we - BATMAN Too many people. Come on! -LRB- as she scrambles out. -RRB- SHIELDS! The BATMOBILE's computerized VOICE replies : COMPUTER Shields. With a series or CLANGS, CHROME - STEEL PLATES slide into place - across the cockpit, over the tires - leaving the BATMOBILE an inert, impenetrable BLOCK OF BLACK METAL. BATMAN and VICKI sprint through the CONSTRUCTION SITE, vaulting over mounds of loose dirt and concrete rubble.",
"INT. VAN - MOVING - NIGHT THREE POLICE CARS, red lights blazing, OVERTAKE THE JOKER'S VAN and bear down on the abandoned BATMOBILE. GOON AT WHEEL Are they ours? JOKER I do n't know. We'd better get out of here. -LRB- into RADIO MIKE. -RRB- Westbound on 36th. DO YOU COPY? The VAN does a discreet U - turn and rumbles off sedately down the street.",
"EXT. SIDE STREET - THAT MOMENT - NIGHT BATMAN and VICKI zigzag past storefronts and candy stands, dodging astonished PEDESTRIANS.",
"INT. CAR - MOVING - THAT MOMENT FOUR GOONS with GUNS. They spot BATMAN and VICKI coming off the side street. GOON I, the driver, speaks into a radio : GOON I We got'em! JOKER -LRB- V.O. -RRB- -LRB- over radio. -RRB- Take'em! I want his head!",
"EXT. STREET - THAT MOMENT - NIGHT BATMAN and VICKI race down the sidewalk. The car is gaining on them ; and then, from behind - BATMAN and VICKI are caught in a SPRAY OF BULLETS. They dive. Drop behind a parked car. And do n't come up. They've ducked into a BLIND ALLEY.",
"INT. ALLEYWAY - NIGHT Hunkered on the pavement, they watch the car glide past the mouth of the alley. VICKI sighs in relief. BATMAN - still alert, his muscles tensed - puts a restraining hand on her arm. He looks overhead, sees a catwalk spanning the width of the alleyway five stories up. BATMAN How much do you weigh? VICKI A hundred and eight? He does some quick mental calculations. A beat. Then the CAR reappears - backing up - blocking their only avenue of escape. BATMAN unfurls a rope, HEAVES A BATARANG UPWARD, and grabs VICKI roughly about the waist. BATMAN HANG ON! The JOKER'S THUGS pile out of the car. The BATARANG catches on the catwalk, and BATMAN triggers the spring - action REEL on his utility belt - jerking him and VICKI INTO THE AIR. BULLETS zing past as they whip upward like fish on a line. One story ; two stories ; and then. They slow. They STOP. They DANGLE IN MIDAIR as the Joker's goons advance. BATMAN wriggles, twists. They lurch upward another few feet - and stop again. VICKI SCREAMS. Her additional weight is too much for the reel mechanism. They're stranded two stories up - SITTING DUCKS. BATMAN -LRB- cont. -RRB- Whatever happens - DO N'T LET GO! In the wink of an eye he's detached the reel from his own waist and hitched it around VICKI's belt. Before she has a chance to protest, he LETS GO. VICKI rockets upward at blinding speed, shrieking all the way. BATMAN, his cape billowing, PLUMMETS DOWNWARD. VICKI slams up into the catwalk and BOBS on the end of the line as BATMAN lands with a loud crash, overturning a row of garbage cans. The GOONS are on him in a flash - one per limb. Random kicking and flailing. BATMAN manages to slam two GOONS into a wall, but before he can get to his feet - - GOON # 3 slams a lead pipe into the back of his skull. BATMAN is down for the count. The THUGS dust themselves off and circle around his prostrate form, still wary. The LEAD THUG holds his colleagues back, draws his gun, and fires TWO SHOTS, point - blank, at the yellow - and - black INSIGNE on BATMAN's chest. The body jerks. They move closer. And stop. GOON I No blood. GOON II Jesus. GOON III Wait a minute. GOON III screws up his courage and crouches beside the body. He examines THE BATMAN'S TUNIC. and RIPS IT OPEN. GOON IV What is that? GOON III Some kind of body armor. GOON I He's human after all. - Take that mask off.",
"EXT. ROOFTOP - ON VICKI Five stories overhead, VICKI has pulled herself up onto the roof of the adjacent building. She watches transfixed as the THUGS bend over to remove BATMAN's cowl. But at this height - and this angle - she ca n't see his face. On a sudden impulse she reaches for her CAMERA BAG. ANGLE ON GOONS peering - down open - mouthed at the unconscious face of BRUCE WAYNE. Blood seeps from BRUCE's left nostril. GOON I Well? Who is this guy? GOON II I dunno. You seen him before? GOON III Maybe he's got some kind of I.D. GOON IV Good idea. Let's check his wallet. GOON I We'll worry about it later. Plug him. -LRB- beat. -RRB- In the head. GOON II draws his automatic. And at that very instant. A FLASH GUN EXPLODES OVERHEAD. Startled, the THUGS look up. ANOTHER CAMERA FLASH. GOON III Goddam, it's the redhead! ON VICKI A chunk of ledge chips off mere inches from her head as the GOONS OPEN FIRE. She ducks back behind the overhang, holds the camera out over the ledge, and KEEPS ON FLASHING. ON BRUCE HIS EYES WINK OPEN. ON VICKI momentarily idle. She's used up her roll. The GOONS KEEP SHOOTING as she reaches in her bag for new film. She finds it, loads the camera with astonishing dexterity - and then, on instinct, reaches back inside the bag for a TELEPHOTO LENS. All the better to see you with, Batman. ON THE THUGS No response from VICKI. They begin to relax a little. GOON II Did you hit her? GOON I Who cares? Wax that freak. They turn their attention to BRUCE. A GLOVED HAND snakes out with lightning speed - GRABBING GOON I BY THE COATTAIL and pulling him DIRECTLY INTO THE LINE OF FIRE. GOON II bas pulled the trigger twice before he knows what's happened. In one fluid motion BRUCE HEAVES GOON I's lifeless body THROUGH THE AIR, knocking GOON II backward over a garbage can. GOON II falls and CRACKS HIS HEAD on the nearest wall. GOON III takes a rabbit punch to the throat. He's on the way down when he catches a STEEL - TOED BOOT in the gut. Four seconds after all this began, BRUCE is alone in the alleyway with GOON IV. GOON IV has his gun pointed right at BRUCE, but he's shaking too much to pull the trigger. BRUCE smiles. GOON IV SCREAMS and RUNS FOR HIS LIFE. Through all this, VICKI's telephoto camera has been poised on the ledge, snapping away. BRUCE looks up at the FLASH GUN and shakes his head. He bends to retrieve his cowl. ON VICKI She finally dares to peek down at the alley. Limp goons everywhere. And, in addition, THE BATMAN - leaping up, grabbing the edge of a fire escape, climbing up to meet her. VICKI thinks fast. She may have a clean shot of BATMAN'S FACE. She advances the film in the camera and removes the roll, then drops it down her blouse. But BATMAN is likely to want that roll. So she straightens her skirt and scurries across the roof, away from the alley. She should have a minute or so before be gets there. It's a three - foot drop to the next roof over. VICKI clambers down and quickens her pace, tossing a nervous glance over her shoulder every couple of steps. Then, somehow - and she'll be damned if she can figure out how - she walks smack into THE BATMAN. And GASPS. BATMAN Not even a ` thank you'? VICKI Well - I think you might consider thanking me. You were good as dead. BATMAN That's because you lied about your weight. -LRB- a long pause. -RRB- Thank you. VICKI NODS and tries to walk past him. He grabs her arm. BATMAN -LRB- cont. -RRB- I'll have to ask you for that film. VICKI I just wanted to distract them. I was n't trying to get a picture of you. BATMAN looks down at the camera hanging from her neck. The telephoto lens must jut out six inches. VICKI gulps. BATMAN Please. VICKI I wo n't let you have it. THE BATMAN is amused. He smiles menacingly. VICKI -LRB- cont. -RRB- I know you can break my neck and take it. But the Joker's on that same roll. I - BATMAN The Joker is a murderer. And you were as good as dead. So - VICKI Look, I appreciate what you did for me. But this is my job. And I'm keeping those pictures. BATMAN All right, here's a compromise. I'll develop the photos. You keep the Jokers and I'll keep the rest. VICKI How do I know you wo n't keep them all? BATMAN Because I'll take you with me. He reaches out, holds her gently by the shoulders. His voice is deep and soothing. True, VICKI is a little dizzy from all that's happened, but she's undeniably drawn to him. Still cautious, though. She reaches into her bag and hands over a roll of film. The original roll - not the telephoto shots, which are still stashed in her blouse. BATMAN -LRB- cont. -RRB- Thank you, Vicki. VICKI Where are you going to take me? No reply. She looks up into his mirrored eyes. He pulls her closer to him. Brushes back her hair, runs one hand delicately along the line of her cheek. AND BREAKS A TINY CAPSULE under her nose. VICKI SLUMPS into BATMAN's arms.",
"EXT. ALLEYWAY - NIGHT Street level. BATMAN emerges carrying VICKI's inert form in his arms. He pauses and peers around the edge of a wall at the BATMOBILE two blocks down. The car is still there, the chrome - steel shields intact. But DOZENS OF COPS and CURIOSITY - SEEKERS are SWARMING ALL OVER the fearsome machine. BATMAN snorts in frustration. AN ENORMOUS THREE - TON CATERPILLAR WINCH rumbles up the street toward the Batmobile. He's about to get towed. BATMAN takes a RADIO TRANSMITTER from his utility belt and SPEAKS INTO IT. BATMAN Shields open.",
"EXT. STREET - ON BATMOBILE TWO COPS are crawling along the hood of the car. From within they hear the tinny computerized voice : COMPUTER Shields open. The steel plates begin to retract. BATMAN -LRB- V.O. -RRB- -LRB- over radio. -RRB- Ignition. COMPUTER Ignition. The stunned COPS gaze into the Batmobile's cockpit. COP There's somebody in there! They TUMBLE OFF THE HOOD as the turbine engines ROAR TO LIFE and THE BATMOBILE BEGINS TO MOVE. COPS AND ONLOOKERS quickly clear a path. They stand there stunned as the futuristic auto PICKS UP SPEED and advances toward the end of the block. The LEFT TURN SIGNAL flashes dutifully. And the BATMOBILE VANISHES AROUND THE CORNER. PANDEMONIUM BREAKS LOOSE as the COPS bolt for their cars.",
"EXT. STREET - NIGHT SIRENS WAIL. PASSERSBY STARE SLACKJAWED at the driverless BATMOBILE as it tears down the street, passing, darting, dodging buses and CUTTING OFF TAXIS - all with a squad of COP CARS in hot pursuit.",
"EXT. ALLEYWAY - NIGHT BATMAN sees the BATMOBILE rounding the corner and approaching on the straightaway. He takes VICKI in his arms and STEPS DIRECTLY INTO THE PATH OF THE ONRUSHING HEADLIGHTS. BATMAN STOP! BRAKES SQUEAL. The BATMOBILE stops one yard short of BATMAN and VICKI. A moment later BATMAN is AT THE WHEEL. SIRENS BUILD. LIGHTS FLASH. The COP CARS are now visible behind them. BATMAN floors the pedal ; the Batmobile's powerful AFTERBURNERS kick in ; and the hapless cops KILL THEIR SIRENS as BATMAN zooms off into the night at 140 mph.",
"EXT. BACK ROAD - NIGHT A deserted stretch of road, lined by ancient tall pines on either side. The BATMOBILE roars past.",
"INT. BATMOBILE - NIGHT VICKI is gradually coming to on the passenger's side. VICKI How long have I been out? BATMAN Quite a while. I took the scenic route. VICKI -LRB- gazing around her. -RRB- Well, I've certainly enjoyed it. What's that? He's just hit a BUTTON on the dashboard. BATMAN Garage door.",
"EXT. ROAD - THAT MOMENT - NIGHT At the side of the road, a FALLEN TREE, surrounded by underbrush, RISES HYDRAULICALLY INTO THE AIR - revealing a SECRET ROAD invisible from the main thoroughfare. Doing sixty, the BATMOBILE makes a hairpin turn. Seconds later, the FALLEN TREE drops back magically into place.",
"INT. BATMOBILE - A MOMENT LATER - NIGHT As they cruise down the hidden road, VICKI STUDIES BATMAN'S FACE. KNOX's words are very much on her mind. VICKI I meant to ask you. Up on the roof - how did you know my name? BATMAN SMILES in response. VICKI smiles with him. VICKI -LRB- cont. -RRB- I'm serious. How did you know? No reply. VICKI frowns, looks through the windshield, and SEES - much to her horror - an enormous SHEER CLIFF WALL LOOMING DEAD AHEAD. Wide - eyed, she looks at BATMAN. Still smiling, he HITS THE GAS - SPEEDING UP. She lets out a SCREAM. ANGLE ON CLIFF WALL One second to impact. Suddenly the cliff wall VANISHES ALTOGETHER - revealing, in its place, the GAPING MOUTH OF AN UNDERGROUND CAVERN. The Batmobile zooms through. A moment later, the CLIFF WALL - which is nothing more than a HOLOGRAPHIC PROJECTION - winks back into existence, showing no trace of the cavern.",
"INT. BATCAVE - NIGHT We all know this place. Although we have n't had time to acquire the familiar mementos - the dinosaur, the giant penny - the BATCAVE is unmistakable. Vast banks of blinking computers. A state - of - the - art crime lab. A fully - equipped workshop for hammering out new toys. It's the biggest and best secret clubhouse a boy could wish for. BATMAN climbs out of the car. He removes his cape, strips off his bullet - riddled jersey and his body armor. There are TWO BIG BRUISES on the center of his chest. VICKI looks on as he goes to a rack along one wall and picks out a fresh tunic - one of four. She wanders over to examine the row of bat - suits - and the BODY ARMOR. VICKI What is this stuff? Kevlar? BATMAN Better. It's not on the market yet. VICKI It does n't protect your head, though. BATMAN That's why I wear a target on my chest. THE BATMAN takes obvious pleasure in showing her his futuristic bachelor's pad. His tone is jokey, almost flirtatious. Behind the mask, he's a lot looser, more carefree, than some guys we could name. like Bruce Wayne. VICKI is, to put it mildly, awed. She wanders around gaping at millions of dollars' worth of equipment. VICKI How'd you find this place? BATMAN Stumbled across it when I was a boy. VICKI'S HEAD jerks up abruptly. In the dim recesses overhead, BATS ARE SCREAMING. She shivers. BATMAN -LRB- cont. -RRB- They do n't come down here. They're afraid of the lights. VICKI I do n't like bats. Not that kind. BATMAN They used to terrify me. But I forced myself to keep coming back, and -. -LRB- smiling. -RRB- - I guess I became the thing I feared the most. I'll do your photos now. He goes to a HIGH - SPEED PHOTO PROCESSING MACHINE - the kind they have at Fotomat, only better - and loads the roll. VICKI wanders over to the edge of a DEEP BLACK PIT. She kicks a pebble over. Long seconds pass ; no sound. She looks up. Suspended over the bottomless pit are a pair of GYMNAST'S RINGS. This guy is dedicated. VICKI Who pays for all this? BATMAN I have sponsors. VICKI The computers? BATMAN I'm running a check on the tainted products. There is a pattern. Beauty products. Personal hygiene. VICKI No more makeup. - Looks like we'll all be showing our true faces now. She looks straight at him. It's almost a direct request. But BATMAN is preoccupied with the matter at hand. BATMAN I've tracked all the records. Every shipment, every warehouse, every loading dock. Nothing. No opportunities for tampering. Somehow the Joker is supplying tainted ingredients. at the source. VICKI Wait. You can just tap into any corporate database you want? Anywhere? BATMAN Oh, no. I let the FBI do that. Then I tap into the FBI. - Your photos are ready. He holds up a hand to VICKI : stand back. Then he checks out the pictures - SMILING as he shuffles through the prints. VICKI You could've killed him, you know. You could have killed the Joker. BATMAN I had to save you, Vicki. -LRB- turning to face her. -RRB- Here you go. I think I'll let you keep the whole set. She looks at the photos. Joker. Joker. Joker. And four shots of the BATMAN in action. He's without his mask, but there's no clean angle on his face. VICKI does n't quite know why, but her head is reeling. BATMAN -LRB- cont. -RRB- Care for an autograph? He takes one of the prints, scrawls on it, hands it to her with the inscription : `` TO VICKI. LOVE, B.'' Now he turns to shut down the photo machine. VICKI is trembling. Her hand goes to her belt, finds the telephoto roll concealed in her blouse. She steps up silently behind him, reaches for his cowl. At the last second. she STOPS. VICKI Bruce? HE FREEZES IN PLACE for an indecisive moment. Then : BATMAN Are you talking to me? He turns in seeming incomprehension. And shows her a SMILE. the same crooked, curious, childlike smile she saw on BRUCE's face that morning when she caught him singing. BATMAN -LRB- cont. -RRB- Maybe we've had enough for one night. I'll take you home. Almost in a trance now, she lets him lead her to the BATMOBILE. As she takes her seat he reaches into his utility belt for another KNOCKOUT CAPSULE. BATMAN -LRB- cont. -RRB- Do you want to do it this time? VICKI does n't move. She looks at the capsule in her hand as he walks over to the driver's side and gets in. BATMAN -LRB- cont. -RRB- Do n't be afraid. I'm here. She takes one last look at the familiar SMILE beneath the mask. then breaks the capsule and BREATHES DEEP. FLAME ERUPTS from the rear of the Batmobile as the after - burners kick in and BATMAN screeches off. A FIERY RED GLOW fills the screen, BURNING OUT THE IMAGE as we",
"EXT. GOTHAM STREET - 1963 - NIGHT (DREAM SEQUENCE) The red glow resolves itself into a DREAMLIKE STREET SCENE : liquid, weightless figures moving in a tinted, soundless cityscape as DISTANT, TINKLY CARNIVAL MUSIC plays underneath. We're outside a theatre watching first - nighters emerge from the opening of a hit musical. In the crowd we pick out THREE FIGURES : DR. THOMAS WAYNE, his wife MARTHA, and - in THOMAS's arms - their young son BRUCE. BRUCE has n't made it through the show. He's asleep, head nestled peacefully against his father's shoulder. THOMAS rouses the boy gently, sets him down on the sidewalk. BRUCE rubs the sleep from his eyes as THOMAS puts an arm around his wife. Together they begin walking. IN A SINGLE CUT the crowd has DISAPPEARED, and the WAYNES are walking toward us up a deserted street. THOMAS and MARTHA are laughing, making jokes, reaching down to tousle BRUCE's hair. Their FACES, as they draw closer, are FULL OF JOY. And then, without warning - A HANDGUN enters frame. The WAYNES freeze in their tracks. THOMAS steps protectively in front of his wife, reaches for his wallet, begins unbuckling his watch. He wo n't put up a fight. MARTHA's hand goes involuntarily to the PEARL NECKLACE at her throat. The GUNMAN sees it, gestures for her to hand it over. But MARTHA is paralyzed, afraid to move. The GUNMAN steps past THOMAS, SNATCHES AT THE NECKLACE. The instant his wife is threatened, THOMAS ATTACKS. The pearl strand BREAKS in the GUNMAN'S HAND as he drops toward the sidewalk. A SILENT BURST OF FLAME erupts from the muzzle of the gun. THOMAS CRUMPLES. MARTHA emits a PIERCING SHRIEK - a shriek we can not hear - - a shriek cut short by a second burst of flame. BRUCE stands paralyzed in shock. THE GUNMAN scoops a handful of pearls off the sidewalk, reaches for MARTHA's purse, and rises slowly - his gun levelled directly at the boy. Almost catatonic, BRUCE stares down at the corpses of his parents. At their hands, somehow intertwined. At the tiny glinting pearls and the spreading pool of blood around them. He looks up with a gaze so bleak, so petrifying. that the GUNMAN turns and runs. AND WE CUT. To an exact reproduction of the Pulitzer Prize - winning photo. the cops bent over the bodies, the medics with their stretchers, the boy BRUCE, his arms wrapped tightly around the waist of OFFICER GORDON. There's only one difference. BRUCE's head is turned away from us. We ca n't see his face. And now a HAND enters the frame. Much like the GUNMAN's hand, but feminine, beckoning. BRUCE, hearing his name, LOOKS UP ; then, agonized, ashamed, he BURIES HIS FACE in GORDON's side. GORDON gestures angrily at the intruder. But the hand keeps beckoning. And ultimately BRUCE turns. Showing us the tear - stained face from the famous photo. A face slack with horror. The horror of his parents' death. and more importantly, the horror that someone would dare to violate this most private and terrible of moments. At last we see what BRUCE sees : a WOMAN crouched on the sidewalk nearby. The WOMAN is holding a camera. The WOMAN is smiling prettily at BRUCE. The WOMAN is VICKI VALE. A FLASHBULB EXPLODES. FILLING. THE SCREEN with its blinding white light, SCORCHING OUT THE IMAGE as a HARSH RINGING SOUND cuts through the silence.",
"INT. BEDROOM - NIGHT VICKI AWAKENS. She sits up in bed, tremulous, distraught. The bedside phone is ringing. She reaches for it, but her hand freezes in midair. She knows who's calling. Three rings later, she manages to lift the receiver. To her amazement, she finds she can not speak. Finally, she hears a VOICE at the other end of the line. BRUCE -LRB- V.O. -RRB- Vicki?",
"INT. BRUCE WAYNE'S STUDY - NIGHT BRUCE at a big mahogany desk in his somber, book - lined study. The room is dark but for a small table lamp. BRUCE Vicki, I've been thinking about you. -LRB- long pause. -RRB- I know it's late. I'm sorry. I - Are you there? INTERCUT BRUCE AND VICKI VICKI Yes, Bruce - I'm here - BRUCE I'm sorry about the way things went between us. I'd very much like to see you again. VICKI Well, Bruce. I do n't think. that would be possible. BRUCE I wish you'd reconsider. -LRB- groping. -RRB- I did n't stand you up today. The museum was closed when I got there. VICKI I, uh. ON VICKI Her voice trails off. She's profoundly shaken. She knows. BRUCE -LRB- V.O. -RRB- Vicki? Vi - She returns the receiver to its cradle. ON BRUCE He hears the click. His lips part slightly. He hangs up and sits there at the desk, staring straight ahead.",
"INT. VICKI'S BATHROOM - NIGHT TOTAL DARKNESS. VICKI stands before the bathroom mirror. She holds the OPENED ROLL OF TELEPHOTO SHOTS over the sink. Then she strikes a match. IGNITES the film. Drops it into the sink, and - with hollow eyes - WATCHES IT BURN.",
"INT. VICKI'S APARTMENT - LATER - NIGHT It's four in the morning. VICKI, wrapped in a bathrobe, still shaky, pours her fifth cup of coffee. Sitting across from her is a rumpled and stubbly ALEXANDER KNOX. KNOX Vicki, it all fits. The stuff you're telling me - the car, the equipment - somebody's paying for it. VICKI I just ca n't - KNOX The FBI. You know who's got the FBI computer contract? Wayne Technologies. -LRB- shaking his head. -RRB- The guy's bats all right. He's bat shit crazy. This is gon na be the most incredible - VICKI But he's not. KNOX Not what? VICKI He's not crazy. KNOX slaps his forehead in frustration, sprawls back in his chair. KNOX Vicki. We got a wealthy millionaire here. who dresses up like a bat. He goes out at night and swings around - in his cape - on a rope. -LRB- throwing up his hands. -RRB- Okay. Maybe I'm crazy. VICKI Allie. he wants to tell me. That's why he took me there. Because he's trying to tell me. KNOX Gim me a break. If he wants to chat, he can talk to his car. The joke dies. VICKI stares dead ahead. KNOX looks on in utter disbelief as it all comes into focus : he's lost her loyalty. VICKI is in over her head with BRUCE. VICKI He has to tell someone. And I'm the one. He's trying to tell me. KNOX, hurt in a way he does n't fully understand, gets up and pulls on his coat. He stares at her coldly : KNOX Well, when he does you know my number.",
"EXT. NEWSSTAND - DAY CUSTOMERS are lining up to buy the early edition of the Globe, which carries the full - page banner headline : WAR OF THE FREAKS. Batman, Joker in Fluegelheim Shootout. In the midst of the hubbub a DELIVERY TRUCK cruises past, dumping a bundle of AFTERNOON EDITIONS on the sidewalk. `` WAR OF THE FREAKS'' has been relegated to the lower right - hand corner of the page - supplanted by more pressing news : STOCK MARKET CRASHES. Product Scare Drops Dow to 1100. Biggest One - Day Decline in History.",
"INT. WAYNE FOUNDATION - DAY BRUCE in a plush office suite downtown, on the phone to his broker. Behind his desk is a big plate - glass window with a fortieth - floor view of the financial district, so he can wave at his fellow millionaires on their way down. BRUCE Do n't sell. It wo n't last. We'll ride it out. With exaggerated calm, he hangs up. He lifts the receiver to dial another number, then hesitates and hangs up again.",
"INT. RECEPTION AREA - A MOMENT LATER - DAY BRUCE, affecting an air of nonchalance, strolls past a squad of SECRETARIES at desks. Phones are ringing off the hook.",
"INT. HALLWAY - A MOMENT LATER - DAY BRUCE ambles past a couple of COLLEAGUES. One of them is shambling catatonically down the hall, bumping into walls. The other is WAILING HYSTERICALLY. WAILING COLLEAGUE a nine - million - dollar bath! BRUCE nods in sympathy as they pass. He stops outside the door to a men's room, looks around cautiously, then enters.",
"INT. MEN'S ROOM - A MOMENT LATER - DAY A small anteroom outside the bathroom proper, with a bank of PAY PHONES on one wall. BRUCE checks the bathroom to make sure it's empty, then digs out a quarter and dials a number. He cups one hand confidentially over the receiver : BRUCE -LRB- the familiar rasp. -RRB- Vicki? This is Batman. I thought I'd call and see how you're doing.",
"INT. VICKI'S APARTMENT - DAY VICKI -LRB- hesitantly. -RRB-. I know it's you, Bruce. I'm not going to talk to you unless we can discuss it.",
"INT. MEN'S ROOM - ON BRUCE BRUCE -LRB- a little smile. -RRB- Who's this `` Bruce''? Are you trying to make me jealous? VICKI -LRB- V.O. -RRB- -LRB- filter. -RRB- I'm serious, Bruce. We have to - At this very moment, a DAZED FINANCIER enters from behind. FINANCIER Hi, Bruce. BRUCE automatically claps a hand over the mouthpiece. His face goes slack as he hangs up - with VICKI'S TINNY VOICE still squeaking on the other end of the line.",
"INT. DISTRICT ATTORNEY'S OFFICE - NIGHT HARVEY DENT at a big desk, flanked by a number of POLITICOS. DENT We deal. ADVISER Harvey, please. I mean -. -LRB- shaking his head. -RRB- If your first official act as D.A. is to cut a deal with a terrorist. DENT Screw that, Ed. We've got a market panic of national proportions. - We've got 786 people dead. -LRB- beat. -RRB- I wo n't sacrifice one more life for the sake of appearing strong. POLITICO Harvey's right. We've got the 300th anniversary gala coming up. The networks wo n't even send in a crew. ADVISER Harvey, the police are working round the clock, the feds are coming in. This thing could break any minute now. -LRB- turning. -RRB- Tell him, Jim. COMMISSIONER GORDON reaches into his vest pocket for a cigar. He clips the end off, lights it, takes a long drag. and STARES GLUMLY at the floor. GORDON Cut the deal.",
"INT. CITY HALL - NIGHT The MAYOR sits impatiently at a long table, flanked by JIM GORDON, HARVEY DENT, and other prominent officials. The room is packed with REPORTERS and TV NEWS CREWS. NEWS ANCHOR at City Hall, where the mayor is waiting to open negotiations with the clown - faced terrorist known as the Joker. It is now eight minutes past the appointed deadline, and still no word from -",
"INT. GOTHAM GLOBE - CITY ROOM - THAT MOMENT - NIGHT REPORTERS cluster around a bank of four TV sets, each tuned to a different station, all broadcasting from city Hall. REPORTER I Look at'em sweat. Ca n't wait for the next Gallup Poll. REPORTER II Hey Knox, cheer up. It ai n't the Batman but it's pretty choice. KNOX, who has recently taken up smoking, responds with a grunt. SUDDEN HUBBUB from the ONLOOKERS as a wave of VIDEO NOISE wipes half the screen away. INSERT - TELEVISION SCREEN Split - screen. On one side is the MAYOR. On the other - sitting in a director's chair with a big yellow HAPPY - FACE BACKDROP behind him - is the JOKER, grinning fiendishly. JOKER Joker here. Can we talk? The MAYOR fumbles for his prepared statement. MAYOR `` While this administration remains vehemently opposed to terrorism in any form, we are prepared to negotiate any reasonable demands which will guarantee the safety of the populace.'' JOKER Huh. Demands. Well, gents, this is kinda embarrassing, but. I'm having such a swell time, I just have n't thought any up. He shrugs. STARTLED REACTIONS from the city officials. JOKER -LRB- cont. -RRB- But I'm a reasonable fella. If you want to make me an offer. Panicked, the MAYOR and co. go into a quick huddle. MAYOR All right, all right. Here's the deal. Total amnesty. and the sum of ten million dollars, payable in - JOKER Ten million dollars. Ten million dollars. -LRB- flying off the handle. -RRB- Ten mi - YOU CHEAPSKATES! I've just wiped out the stock market. I've cost you billions! -LRB- petulantly. -RRB- I want ten million and one. MAYOR No, wait, please! We'll talk. Just tell us what you expect. JOKER Goddammit, I expect to be treated like an ARTIST. GET OFF MY SCREEN! MORE VIDEO STATIC sweeps across the screen, pushing the MAYOR clean out of frame. The JOKER leers at the camera. JOKER -LRB- cont. -RRB- I might just think up some demands. And I'm gon na talk to all my friends, and see what they want, too. And then maybe we'll get together - have a little party - exchange presents. -LRB- waving goodbye. -RRB- Happy Birthday, Gotham. `` The Shadow of Your Smile'' comes up UNDERNEATH as the JOKER's transmission ends and the SCREEN GOES BLACK.",
"INT. GLOBE CITY ROOM - THAT MOMENT - NIGHT FRANTIC ACTIVITY as REPORTERS rush to their telephones and typewriters. KNOX strolls slowly back to his desk. He's sitting on the biggest story of his career. and now, as he realizes grimly, nobody knows or cares.",
"EXT. ANDREWS ISLAND - DAY A tiny island in Gotham Harbor, homesite of LADY GOTHAM - the huge, newly restored stone statue that welcomes incoming ships. Her upper half is draped in a huge TARP prior to the unveiling ceremony scheduled for this Sunday. At the base of the statue, WORKMEN are assembling a big wooden platform, complete with microphones, amplifiers and spotlights. They raise a gigantic BANNER which reads : `` GOTHAM CITY - 300TH ANNIVERSARY CELEBRATION.''",
"EXT. WAYNE MANOR - DAY A TAXI pulls away from the wrought - iron gate at the entrance to the estate. KNOX ambles up to a stone pillar, glances up at a VIDEO CAMERA mounted over the gate, and hits a BUZZER. ALFRED -LRB- V.O. -RRB- -LRB- through loudspeaker. -RRB- Yes? KNOX Alexander Knox. Gotham Globe. ALFRED -LRB- V.O. -RRB- Mr. Wayne is out for the day. KNOX Actually, I wanted to talk to Batman. Pass that on to Mr. Wayne, would you? KNOX starts cockily off down the driveway - then STOPS. Behind him, the iron gates are SLIDING OPEN.",
"INT. BRUCE'S LIBRARY - TEN MINUTES LATER - DAY KNOX, agitated, drums his fingers on the edge of a big leather chair. BRUCE stands across from him. BRUCE I've been expecting to hear from you. KNOX Well, that's how it is, chum. She tells me everything. BRUCE What is it you want? KNOX Simple. You know the score. One column - and I can bring all this tumbling down. I can take you off the streets once and for all. -LRB- a shaky pause. -RRB- I want you to hang up the suit. And I want you to stay away from Vicki. BRUCE I ca n't do that. Not while the Joker's still out there. KNOX Then stay away from Vicki. That's all I want, man. I just want your word. BRUCE turns away, evading his gaze. KNOX fumbles in his jacket for a cigarette. KNOX -LRB- cont. -RRB- See, I do n't know how it happened - she's a smart girl and you are an extraordinarily screwed - up guy - but she's in love with you. BRUCE There's something I do n't understand. If you've got the story, why have n't you printed it? KNOX Because I -. -LRB- beat. -RRB- Because she'd never speak to me again. KNOX is a bundle of nerves now. No longer cocky, he stubs out his newly - lit cigarette - and begins to PLEAD OPENLY. KNOX -LRB- cont. -RRB- Come on, Bruce. Be straight. What have you got to offer? You gon na marry her? Batman and Mrs. Batman? -LRB- laughing bitterly. -RRB- Gim me a break, huh? Who's gon na be Best Rodent? BRUCE sinks into a chair, exhales sharply. He ca n't even put up an argument. The two of them sit there, not looking at each other, as ALFRED appears in the doorway. BRUCE Do you want a drink? KNOX Yeah, a drink. `` Civilized.'' Man - to - man, right? BRUCE Alfred, bring something for Mr. Knox. - I'll have one too.",
"EXT. GOTHAM PARK - LATE AFTERNOON The weekend - long BIRTHDAY GALA is getting underway, and Gotham Park is mobbed with CELEBRANTS enjoying a FREE CONCERT. Onstage : FIVE ELVIS IMITATORS, dressed in everything from black leather to white spangled jumpsuits, representing the King in progressive stages of deterioration.",
"INT. VICKI'S APARTMENT - DUSK She's on the sofa beside a disconsolate BRUCE. VICKI So we just pretend none of this ever happened. We never met. We -. -LRB- frightened. -RRB- You're going to get yourself killed, Bruce. You know that, do n't you? BRUCE It would n't matter much. VICKI I do n't understand it. You can do so much good for people. As Bruce Wayne. He sinks back on the sofa, closes his eyes. He's had the same argument with himself a thousand times. BRUCE Money makes money, Vicki. The foundation runs itself. - I'm extraneous to the process. VICKI You're one man. You ca n't save everybody. BRUCE What it I could save a handful? - What if I could save one? VICKI is sick of watching BRUCE torment himself. She stands up, almost crying now, and ACCUSES HIM DIRECTLY : VICKI Bruce, at the rate you're going, you ca n't even save yourself. BRUCE -LRB- staring right at her. -RRB- Sometimes. I do n't know if there's enough of me left to save. VICKI is totally drained. She heads for the kitchen. VICKI Oh, God. I've got to have some coffee or something. A moment's breather as BRUCE sits on the sofa reflecting. Then, suddenly, a KNOCK at the door. VICKI reappears and moves to answer the door. BRUCE - on his feet instantly - grabs her by the shoulder. BRUCE Are you expecting anyone? She nods no. He goes to the peephole in the door. BRUCE -LRB- cont. -RRB- Who's there? THROUGH THE PEEPHOLE he sees a DELIVERY BOY. DELIVERY BOY Package tor Miss Vale. BRUCE Set it down by the door. On the left - hand side. The DELIVERY BOY sets the package down and wanders off, tipless, muttering something about `` cheap shits.'' After a moment's interval, BRUCE opens the door and bends to pick up the mysterious package. Another brown - paper parcel. ADDRESSED IN CRAYON. VICKI BRUCE! He strides past her, handling the parcel gingerly, and sets it down on the kitchen counter. VICKI -LRB- cont. -RRB- It's just like the last time. He sent me a present before he - BRUCE Very thoughtful. Do n't touch it. As VICKI watches, he goes into the living - room and finds his ALLIGATOR ATTACHE CASE. He opens the case, removes a LAPTOP COMPUTER and a handful of business papers. then lifts out a false bottom to reveal his UTILITY BELT. VICKI Oh, Bruce. Do n't tell me you carry it around with you. BRUCE I feel naked without it. He takes out a tiny ULTRASOUND SCANNER - rather like a stethoscope, with a miniature sonar display where the earpieces should be - and runs it over the package. BRUCE -LRB- cont. -RRB- Not a bomb. But it could be rigged. Wait in the next room. He takes a small GAS MASK from his belt, puts it on, then SLITS THE WRAPPING with a steak knife. Nothing. Cautiously, he pulls back the flaps. The box is full of STYROFOAM POPCORN. BRUCE shoves a hand down into the popcorn. and extracts a HUMAN EAR. In the doorway behind him, VICKI lets out a squeal. BRUCE grabs the box and dumps TWO DOZEN EARS on the counter. BRUCE They're wax. VICKI finds a hand - scrawled NOTE among the ears. VICKI `` It worked for Van Gogh. Let's make up. I'll need you soon.'' - Whew. BRUCE -LRB- lost in thought. -RRB- That does it. It's going to be this weekend. The KITCHEN PHONE rings. VICKI reaches for the receiver. Her eyes go wide and she gestures him over.",
"INT. ALICIA HUNT'S APARTMENT - THAT MOMENT ALICIA, in her porcelain mask, on the phone. ALICIA I thought you ought to know - he's coming for you. ON BRUCE AND VICKI Faces pressed together as they listen in. BRUCE covers the mouthpiece with one hand. BRUCE Keep her on the line! VICKI Where are you calling from? As VICKI struggles to keep the conversation alive, BRUCE rushes into the living room and crouches beside his LAPTOP COMPUTER. He plugs it in, flips open the screen, punches up a telecommunications program. A moment later VICKI enters from the kitchen. VICKI I'm sorry, she hung up. What are - BRUCE Finding out where she is. VICKI How can you do that if she's already off the line? BRUCE I've had an automatic tracer on this number ever since he tracked you to the museum.",
"INT. BATCAVE - THAT MOMENT MASSIVE COMPUTERS click and whir. At BRUCE's prodding, INFORMATION comes up on the monitor : a number, a name - ALICIA HUNT - and an East Side address.",
"INT. VICKI'S APARTMENT - THAT MOMENT - EVENING THE SAME INFORMATION scrolls across BRUCE's screen. BRUCE Got it! VICKI What now! BRUCE Hang on. I have to leave a message. HE FREEZES. He's heard something in the hallway outside.",
"INT. HALLWAY - THAT MOMENT ELEVATOR DOORS open on THREE THUGS. One of them uses a key to lock the car in place on VICKI's floor. The key is on the end of a ring which contains dozens of other keys. The KEY RING belongs to a DOORMAN, who's riding in the elevator with the JOKER's trio of thugs. He's dead, alas. The THUGS dump him unceremoniously on the floor of the hall and march toward VICKI's apartment.",
"INT. VICKI'S APARTMENT - A MOMENT LATER BRUCE is nowhere in sight. VICKI is at the sink washing dishes, acting nonchalant. She pretends not to hear the DOOR unlocking behind her. She turns - and faces the THREE ADVANCING THUGS. THUG I Hi, Miss Vale. Let's not put up a fight, huh?'Cause we'd hate to have to - BRUCE steps into the doorway behind them. With a single sweep of the arm, he flings THREE DRUG - TIPPED NINJA WHEELS at the thugs, catching one in the neck, one in the shoulder, one in the hip. They COLLAPSE in quick succession. BRUCE There's a garage in this building? VICKI nods yes. BRUCE - all business now that he's in his element - disappears into VICKI's bedroom. She peeks around the corner. He reemerges carrying a BLACK NYLON STOCKING, which he stuffs into his pocket. VICKI is full of question, but he shushes her before she can speak. BRUCE -LRB- cont. -RRB- I've got to take him out now. He stoops down beside the THUGS and pulls the elevator key off the key ring - which he then tosses to VICKI. BRUCE -LRB- cont. -RRB- Pick an apartment and stay there. And listen : call the police. Give them that address. Every available man. He starts out the door, stops just long enough to take a dumbfounded VICKI in his arms for a kiss.",
"INT. UNDERGROUND GARAGE - A MOMENT LATER - EVENING THE JOKER'S VAN, bearing the Monarch Playing Card logo. TWO ARMED GOONS lean against the hood. They watch as the elevator opens and an ordinary fellow in a suit steps out. BRUCE pulls car keys from his pocket and strolls past the thugs, head down, whistling. As he walks around the van, his hand brushes against it - leaving a MAGNETIZED HOMING DEVICE, almost too tiny to notice, stuck to the fender. He walks another six paces, then stops short. He feels around in all his pockets, making a big show of having forgotten something. BRUCE Oh, hell! The GOONS eye him curiously as he strides back toward the elevator. The doors are closing before it strikes them that something is amiss. GOON Hey, boss, something's up. The elevator's working.",
"INT. VAN - ON JOKER Frustrated, snarling, ready to throw a tantrum. JOKER DAMMIT! You ca n't get good help these days. - Let's move out.",
"EXT. STREET - EVENING - OVERHEAD ANGLE From high above the street we see the JOKER'S VAN pulling out of VICKI's building. We're up on the roof, with BRUCE. He hits a button on his utility belt, and a RED SIGNAL LIGHT begins to flash. BRUCE clamps the utility belt around his waist. Pulls the BLACK NYLON STOCKING over his head. And suddenly, he's BOUNDING ACROSS THE ROOFTOPS in pursuit of the JOKER.",
"EXT. CROSS STREET - A MOMENT LATER - EVENING The VAN turns right at the intersection. Nothing unusual. But for some reason, PEDESTRIANS are pointing at the sky, staring goggle - eyed at the rooftops. Far above them, a MAN - dressed in a suit, a tie, a yellow belt and a BLACK STOCKING MASK - is gliding across the intersection on a ROPE.",
"INT. VAN - A MOMENT LATER The VAN DRIVER guns through a red light. BRAKES SQUEAL on either side. In the back of the van, the JOKER GROWLS : JOKER Slow down, you maniac!",
"EXT. INTERSECTION - THAT MOMENT - EVENING As the VAN ROARS PAST, a MOUNTED POLICEMAN shakes his fist. His horse shies, rears back, turns in a circle. He's just about gotten the beast calmed down when a MAN IN A STOCKING MASK plummets down on a rope from nowhere and lands directly behind him on the horse's back. BRUCE elbows the startled COP. Now there's only one rider. The VAN turns left. BRUCE gallops straight ahead through the intersection, hoping to cut the JOKER off.",
"INT. ALICIA HUNT'S APARTMENT - THAT MOMENT ALICIA peers out through the window. On the street below, UNMARKED CARS are converging.",
"INT. VAN - THAT MOMENT The JOKER and co. are two blocks away from ALICIA's. They see a POLICE SWAT TEAM sealing off the building. DRIVER Boss! Jesus! They've - JOKER They'll be sorry. They'll be sorry. - GET OUT OF HERE!",
"EXT. SIDE STREET - THAT MOMENT - EVENING BRUCE on horseback, charging past elegant old brownstones, drawing stares from passersby. We get a quick look at the FLASHING RED SIGNAL LIGHT on his belt.",
"EXT. RIVERVIEW DRIVE - THAT MOMENT - EVENING A YELLOW VW BUG rips up the street at 70 mph.",
"INT. VOLKSWAGEN BUG - THAT MOMENT We ca n't see the driver. But we do see, on the seat beside him, a VIDEO DISPLAY with a shifting grid map of the city - and on it, a FLASHING SIGNAL blinking in perfect sync with the one on BRUCE's belt.",
"EXT. SIDE STREET - THAT MOMENT BRUCE sees the VW bug rounding the corner and STREAKING TOWARD HIM. He reins in the horse ; it rears back on its hind legs in a classic western pose ; the BUG zooms past - - and ALFRED THE BUTLER heaves out a BROWN LAUNDRY BUNDLE, neatly tied in string. BRUCE snatches it out of the air, gives ALFRED a quick salute - and the BUG is gone.",
"INT. JOKER'S VAN - EVENING The JOKER and his boys are stalled in heavy traffic at the southern border of Gotham Park. POLICE BARRICADES are everywhere ; the surrounding streets have been roped off for the birthday gala. HORNS HONK in anger. JOKER MOVE! Ca n't you do something? DRIVER It's some kind of detour. They're backed up for blocks! The JOKER snorts. He happens to glance into the side - view mirror. What he sees there. CURDLES HIS BLOOD. JOKER Oh my God. How does he do it?",
"EXT. STREET - A BLOCK AWAY - THAT MOMENT THE BATMAN, IN FULL COSTUMED GLORY, GALLOPING UP THE STREET ON HORSEBACK - passing stunned COPS, weaving in and around the stalled autos, GAINING FAST on the JOKER.",
"INT. VAN - THAT MOMENT THE JOKER climbing all over the DRIVER. He HITS THE GAS, RUNS THE VAN UP ON THE SIDEWALK, and - at the first opening he sees - CRASHES THROUGH A POLICE BARRICADE INTO GOTHAM PARK ITSELF. BATMAN is half a block behind him now. As he follows hot on the JOKER's heels, TWO HELICOPTERS swing into the park from overhead.",
"EXT. GOTHAM PARK - EVENING CROWDS EVERYWHERE. On the central platform where we saw the FREE CONCERT earlier, an EMCEE mans the microphone : EMCEE - the most spectacular, most death - defying aerial stunt ever devised. Tonight - for the first time anywhere - THE FLYING GRAYSONS! He points up at the two approaching HELICOPTERS, flying side - by - side in tight formation some forty feet apart. ANGLE ON HELICOPTERS ONLOOKERS GASP as TWO TRAPEZES drop from the bellies of the twin copters. Dangling from the trapezes are the FLYING GRAYSONS - a husband - and - wife aerialist team in spangled red - and - green suits. They begin swinging toward each other in a plane perpendicular to the path of the copters.",
"EXT. GOTHAM PARK - GROUND LEVEL PANIC DOWN BELOW as the JOKER's van barrels through the crowd, HORN BLARING. BATMAN is moving up swiftly. On each wrist he's wearing a MINIATURE ROCKET LAUNCHER. He lets fly with TWO SALVOS. The first explodes harmlessly against a tree. The second HITS THE REAR DOOR OF THE VAN - driving it off the access road down into the brush, where it nearly topples over sideways. ANGLE ON FLYING GRAYSONS GRAYSON has just completed a double somersault in midair, landing in the capable hands of his wife. Now they're swinging again, building momentum as he prepares to make the return leap back to his own trapeze.",
"INT. HELICOPTER - THAT MOMENT In the bay of the helicopter stands a kid, fifteen, compact, tough, and wiry : DICK GRAYSON. Like his parents, he's wearing a red - and - green suit. From the copter, he's got a perfect bird's - eye view of the BATMAN - JOKER chase. PILOT Ready to go, Dick? DICK What's all the ruckus down there?",
"EXT. PARK - GROUND LEVEL - THAT MOMENT The VAN bounces over rocks and bushes, narrowly avoiding trees, with BATMAN in hot pursuit.",
"INT. VAN - THAT MOMENT At the foot of a hill, the JOKER spies a truck. On its side, in bright red letters, a WARNING : `` DANGER - FIREWORKS. FLAMMABLE LOAD.'' The JOKER reaches into the back for a HIGHWAY FLARE. JOKER Head for the truck!",
"INT. HELICOPTER - THAT MOMENT Hovering over the chase scene, DICK catches sight of the JOKER. He GASPS IN SHOCK as a LIT FLARE flies from the back of the VAN. directly into the FIREWORKS TRUCK.",
"EXT. PARK - GROUND LEVEL - A MOMENT LATER THE BATMAN is thrown off his horse by the shock of a massive EXPLOSION. All at once, THE SKY IS FULL of BURSTING, INCANDESCENT COLORS! THE JOKER hangs out of the rear of the van, looking up, an expression of PURE DELIGHT on his face. JOKER I love fireworks! ANGLE ON HELICOPTERS LURCHING AND SPINNING IN THE SKY as FIREWORKS rocket past. One of them takes a dead hit on the rotor. JOHN GRAYSON falls to his death instantly ; a moment later, the COPTER plummets into the trees with a resounding, fiery CRASH. MARY GRAYSON hangs from the second copter as it bobs and weaves out of control. ONLOOKERS SCREAM IN TERROR.",
"EXT. STREET - THAT MOMENT THE JOKER'S VAN bursts out of the park and speeds up a wide, cordoned - off avenue. Overhead, THE SECOND COPTER veers wildly, out of the park now, swinging dangerously close to the tall buildings along the avenue.",
"INT. HELICOPTER - THAT MOMENT DICK GRAYSON at the mouth of the bay, hanging on by a canvas strap. He watches helplessly as his MOTHER swings into a POWER LINE and drops three stories to the pavement. DICK NO! NOOOOOOOO! His face is contorted with rage and pain. The PILOT struggles desperately to right the copter, barely avoiding a collision with the nearest building. And then - before THE PILOT can make a move to stop him - DICK HAS JUMPED OUT OF THE COPTER. ANGLE ON DICK With astonishing physical grace, he DIVES. GRABS A FLAGPOLE. Executes a perfect somersault. FLIPS onto a nearby fire escape. VAULTS to the next fire escape down. And LEAPS OUT OVER THE STREET - - MAKING A PERFECT TWO - POINT LANDING on his intended target. THE ROOF OF THE JOKER'S VAN!",
"INT. VAN - THAT MOMENT THE JOKER hears a THUNK overhead. He casually lifts his gun and BLOWS A HOLE THROUGH THE ROOF OF THE VAN.",
"EXT. ROOF OF VAN - MOVING - THAT MOMENT The blast just misses DICK. He sprawls flat, YANKS at the chrome luggage rack on the roof of the van, and BREAKS OFF A FOUR - FOOT SHAFT OF METAL. ANOTHER SHOT through the roof. DICK rolls forward, hoists his chrome spear over the windshield.",
"INT. VAN - THAT MOMENT SPLINTERED GLASS flies everywhere as DICK RAMS THE SHAFT THROUGH THE WINDSHIELD. THE DRIVER dodges left and LOSES CONTROL OF THE WHEEL.",
"EXT. ROOF OF VAN - MOVING - THAT MOMENT The VAN careens wildly toward an OVERPASS. DICK rises up into a crouch just in time to see a sign which reads `` DANGER - LOW CLEARANCE.'' He's about to get his head taken off! ONE SECOND BEFORE IMPACT a BLACK - CAPED SHADOW swings across the street and SCOOPS DICK OFF THE ROOF OF THE VAN.",
"EXT. STREET - NIGHT BATMAN AND DICK tumble to the pavement. THE VAN knocks over a fire hydrant and STOPS. DICK is already on his feet, ready to CHARGE THE VAN, when BATMAN throws a powerful arm around his waist. DICK LET ME GO! LET ME - THE JOKER steps casually out of the van. TWO GOONS with MACHINE GUNS emerge behind him. PEDESTRIANS SCREAM as the GOONS level their guns at the CROWD. DICK -LRB- cont. -RRB- YOU PIECE OF - YOU MOTHERF - DICK is kicking, screaming, clawing, biting. BATMAN has his hands full restraining the kid. JOKER Like your boyfriend. He's kinda hot. -LRB- glowering at BATMAN. -RRB- Hands off the belt. BATMAN Take me. Let the boy go. JOKER Gosh, I could kill you, but then you'd miss my party. And I'd be real, real sad if you could n't make it. BATMAN What are you talking about? JOKER Batman! Do n't you even recognize your old pal Jack? After all. -LRB- cackling insanely. -RRB- You made me what I am today. BATMAN cocks his head in puzzlement as DISTANT SIRENS BLARE. The JOKER and his HOODS - guns still aimed at the crowd - back away and race off on foot, vanishing into the night. DICK BREAKS FREE and BOLTS AFTER THEM. BATMAN throws him to the street with a flying tackle. The boy is hysterical. DICK HE KILLED MY PARENTS! HE KILLED MY - BATMAN flinches at the sound of the words. He reaches into his belt and - mercifully - breaks a KNOCKOUT CAPSULE under DICK's nose. INSERT - TELEVISION SCREEN A taped report from the hallway outside ALICIA's apartment. COPS and FORENSICS MEN mill about in the b.g. REPORTER on a tip attributed to the mysterious Batman. The apartment was booby - trapped with the Joker's laughing gas, leaving 17 policemen dead. -LRB- beat. -RRB- Also found dead at the scene was Alicia Hunt, 26, a former model - CAMERA PULLS BACK to reveal that the TV SCREEN is part of BRUCE'S BANK OF MONITORS, deep in the Batcave. The other screens show the various rooms of Wayne Manor, all empty. We move now to the video display of a COMPUTER WORKSTATION, showing TWO FACES side - by - side : a mug shot of JACK NAPIER and a freeze - frame of the JOKER from one of his pirate transmissions. A GRAPHICS PROGRAM abstracts the twin heads into THREE - DIMENSIONAL, ROTATING TOPOLOGICAL GRIDS - and, as we watch, the two spinning heads COLLIDE AND MERGE. Except for the fearsome grin, they MESH PERFECTLY. Yet another terminal : BRUCE's database. The same phrase flashes again and again, scrolling up the screen : ACE CHEMICAL CO.. ACE CHEMICAL CO.. ACE CHEMICAL CO.. And, finally : BRUCE HIMSELF, slumped at a table, his head in his hands. He's realized, to his horror, that he is responsible for the birth of the Joker. And frankly. he would just as soon be dead.",
"INT. WAYNE MANOR - GUEST BEDROOM - DAY DICK GRAYSON is sprawled on a huge four - poster bed, unconscious, softly moaning. He COMES TO with a jolt. Breaking into a sweat almost instantly, he looks at his unfamiliar surroundings. A shadowy figure stands nearby. DICK Where am I? BRUCE My name is Bruce Wayne. You're welcome to stay here as long as you want. BRUCE steps out just as ALFRED enters with a breakfast tray. DICK makes a puzzled face. What the hell is going on here?",
"INT. HALL OF JUSTICE - DAY Beneath the statue of blind Justice, BRUCE and HARVEY DENT march through the portico, engaged in a heated argument. DENT We'll send a team into Ace the moment the warrant comes through. BRUCE He'll be ready when you do. Remember what happened at the apartment. DENT All right, Bruce, what do you suggest? BRUCE I suggest a nice big bomb. DENT Good. A bomb. On a blind tip from Bruce Wayne. - We do have laws. BRUCE Then for God's sake, Harvey, cancel the anniversary celebration. DENT We've told him we'll deal. What could he possibly have to gain by - BRUCE Do you still think the Joker cares about money? DENT I do n't know. I'm just a D.A. I do n't have access to all your expert sources. Mexican standoff. BRUCE stalks off fuming. DENT hangs back a moment, then turns down the hall.",
"EXT. WAYNE MANOR - ESTABLISHING - DAY The ornate, wrought - iron GATE which opens on the long driveway snaking up toward Wayne Manor. It's bolted shut.",
"INT. WAYNE MANOR - DAY A glass - enclosed room which houses an enormous HEATED INDOOR SWIMMING POOL. DICK GRAYSON does a couple of laps, then climbs out and towels himself off. He looks out at the estate : tennis courts, a riding stable in the distance. He's not happy. All this opulence could drive a guy stark staring nuts in short order.",
"INT. GUEST BEDROOM - DAY An OPEN SUITCASE on the bed. DICK fingers a gold ashtray bearing the figure of Winged Victory - then shrugs and tosses it into the suitcase on top of his gymnast's costume. When he looks up he sees BRUCE in the doorway behind him. DICK Your butler would n't gim me a ride so I figured I'd hoof it. BRUCE Sorry. I ca n't let you leave. DICK You ca n't keep me here, man. That's kidnapping. BRUCE If I let you leave, you'll do the same thing again. You'll go after the Joker. and you'll wind up dead. -LRB- turning to go. -RRB- DICK Hey, man. Look at you. You're rich. You got everything you want. How do you know what's in my mind? BRUCE turns to face him. The little hellion's eyes are filled with raw, burning hatred. BRUCE knows the feeling. BRUCE I do n't care what's in your mind. You're staying. BRUCE reaches for a key in his pocket. Without warning, the kid RUSHES him, throwing a rock - solid punch. With blinding speed, BRUCE sidesteps him, parries the blow, and winds up spinning DICK around - INTO A WALL. DICK is stunned, but he has to laugh. This rich boy has a move or two. BRUCE stands there, silently challenging him. A second later, the kid is airborne - upping the ante with a scissor - kick aimed squarely at BRUCE's gut. In a blur of motion BRUCE checks the kick, swings an arm into DICK's chest, and sends the boy sprawling flat on his back.",
"INT. WAYNE MANOR - KITCHEN - THAT MOMENT ALFRED, in his apron, fixing a tray of snacks. He looks up curiously at the ceiling. From the sound of it, a battle royal is shaping up in the guest bedroom.",
"INT. GUEST BEDROOM - THAT MOMENT DICK'S BODY - head down, feet up - flies through the air. He SMASHES INTO a closet door and slumps to the carpet. Shaken now, and sweating profusely, he looks up at BRUCE. who stands calmly over him, adjusting his necktie. A long, tense moment passes between them. Then : DICK You're him. No reply from BRUCE. Their gazes lock. And suddenly. ALFRED -LRB- V.O. -RRB- FREEZE! DICK and BRUCE look around. The puny, mustachioed butler stands in the doorway, feet spread in a Dirty Harry stance, a.44 MAGNUM trained on DICK. BRUCE It's all right, Alfred. Everything's under control. ALFRED Very good, sir. ALFRED relaxes, musters his dignity, and turns to go.",
"INT. CONFERENCE ROOM - AFTERNOON CANNED APPLAUSE as THE JOKER marches out onto a makeshift STAGE to give his QUARTERLY REPORT to the stockholders. JOKER Thankya, thankya. Ladies and germs, I'm here to tell you. we have had one helluva quarter. He waves a pointer at three SALES CHARTS on portable easels. JOKER -LRB- cont. -RRB- Panic's up. Terror's up. And fear - fear's gone straight through the roof. You guys should be proud -'cause I could n'ta done it without each and every one of you! MORE CANNED APPLAUSE. The JOKER takes a bow. JOKER -LRB- cont. -RRB- I feel it's time to expand the Joker line. I was askin' myself, what are the products that every consumer wants most? And that's when it hit me : the water you drink, and the air you breathe! Huh? Bingo! -LRB- strutting across stage. -RRB- Now, some of you have your eye on the profit margin. You're thinkin' : this boy's too ambitious. You do n't approve. In fact, some of you have been talking about turning me in to the cops. Or knocking me off. He pauses. GLARES OUT at the audience. NO RESPONSE. JOKER -LRB- cont. -RRB- But that's okay. I understand. Not everyone shares my eye for beauty. And just to show there's no hard feelings, I'm throwin' a little shindig tonight - and you're all invited! THE CANNED APPLAUSE goes right off the meter. JOKER -LRB- cont. -RRB- How ` bout it? IS EVERYBODY HAPPY? REVERSE ANGLE - THE AUDIENCE Familiar faces all around - the major players of the Gotham underworld. But despite the enormous twisted grins, no one here is laughing or applauding. No one here is living. The JOKER is playing to a roomful of smiling corpses. One of them topples out of his chair and lands with a plop. JOKER Look at that, folks. We got'em rolling in the aisles!",
"INT. BRUCE'S BEDROOM - TOWARD DUSK VICKI lies in BRUCE's bed, under the covers, propped up on the pillows. BRUCE is in his robe over by the window, looking out at his estate. BRUCE All this apparatus, Vicki. this house, and the money, and the power. it was never mine. It was something I inherited. Bruce Wayne was something I inherited. -LRB- pause. -RRB- All I ever hoped for was someone who could see through Bruce - who could see me - and not be frightened. VICKI I'm not frightened of you, Bruce. I'm frightened for you. BRUCE In all these years. why could n't I see how it would turn out? He turns toward her. His face is ravaged with guilt. Now she's truly afraid. BRUCE -LRB- cont. -RRB- I'm responsible, Vicki. If it was n't for me, there'd be no Joker.",
"INT. BATCAVE - EVENING TIGHT ON a tiny electronic device : two cylindrical steel casings bracketed together, topped by a DIGITAL TIMER. BRUCE makes a few adjustments with a jeweler's screwdriver, hits a trigger, and watches the TIMER tick off seconds. 30. 29. 28. At 25 seconds, BRUCE kills the countdown and CLAMPS THE DEVICE into an empty packet on his utility belt. He stands up wearily. He's in his bat - suit, minus the cape and cowl. Behind him, hanging back discreetly in the shadows, is his loyal butler ALFRED. BRUCE Where's the boy? ALFRED Upstairs. He's quite docile. BRUCE I know that feeling. It wo n't last. BRUCE takes a moment to survey the Batcave as ALFRED looks on tremulously. BRUCE -LRB- cont. -RRB- He's a long way ahead of where I was at his age. -LRB- taking ALFRED's shoulders. -RRB- I want you to treat him just as if he were me. Promise. ALFRED Yes, sir. BRUCE He'll be taken care of financially. Beyond that. you know what to do. Do n't let all this go to waste. Their eyes lock for a long moment. ALFRED is unable to speak. Finally BRUCE turns and starts slowly up the long circular stairway which leads from the Batcave to Wayne Manor. On the third step he pauses : BRUCE -LRB- cont. -RRB- Alfred? - Thank you. As BRUCE disappears up the stairs, a shaken ALFRED steadies himself against a lab table, fighting back tears.",
"INT. BRUCE'S BEDROOM - EVENING BRUCE draws the curtains, sets an alarm clock. The current time is 7:09 PM. He sits cross - legged on the floor, slumps forward slightly, and closes his eyes. He inhales, exhales, taking deep, regular breaths. His muscles relax. Ten seconds later, BRUCE has plunged into DEEP SLEEP. Time passes. The clock shows 7:19, 7:32. At 7:44 we TRACK IN on BRUCE's unconscious face, drawing closer and closer until HIS EYELIDS FILL THE FRAME, twitching with the irregular movement characteristic of R.E.M. sleep. Without warning his EYES SNAP OPEN. HOLD ON BRUCE'S GAZE - grim, alert, determined - as the clock hits 7:45. An ALARM SOUNDS, BREAKING THE SILENCE with its grating electronic WHINE.",
"EXT. ACE CHEMICAL - AERIAL SHOT - NIGHT The trademark ace on the illuminated sign. From our vantage point high above, we can see THREE CARGO TRUCKS rolling out the main gates. A half - mile away, THE BATMOBILE cruises up the waterfront, approaching soundlessly, its headlights off. preparing for a final showdown with the JOKER's forces.",
"INT. ACE CHEMICAL - THAT MOMENT - NIGHT The JOKER'S MINIONS, working late, readying a huge shipment. At an open loading bay, we find a DISPATCHER with a clipboard, directing MORE UNMARKED TRUCKS in the lot outside. DISPATCHER Boston, Philly : loading bay one.",
"EXT. ACE CHEMICAL - THAT MOMENT - NIGHT The BATMOBILE stops short of the main gate. ENGINES ROAR and the supercar ACCELERATES, SMASHING THROUGH THE GATE and taking half the chain - link fence with it. In the guard's booth, ARMED GOONS pull guns as the BATMOBILE streaks across the parking lot and LAUNCHES A ROCKET at the corrugated metal door which opens on the factory floor. A THUNDEROUS EXPLOSION tears a gaping hole in the door.",
"INT. ACE CHEMICAL - THAT MOMENT - NIGHT The BATMOBILE cruises through the flaming wreckage and SKIDS TO A HALT on the refinery floor. The JOKER'S MEN are everywhere. They take one look at the BATMOBILE, PANIC, and PELT THE CAR with a barrage of MACHINE - GUN FIRE. CRACKS begin to spread across the Batmobile's plexiglass dome. Within moments, the windshield SHATTERS - and COLLAPSES ALTOGETHER.",
"INT. BATMOBILE - THAT MOMENT BULLETS rip through the upholstered passenger seats. It does n't matter. The car is empty. No one's driving. TRACK IN on the computer console - where a familiar tinny voice calmly repeats its pre - programmed command : COMPUTER Detonate. A beat. Then : BLAM.",
"INT. POLICE CAR - THAT MOMENT - NIGHT A CONVOY approaches Ace Chemical - GORDON's team preparing to raid the plant. Inside each car : SPECIAL UNIT COPS dressed in asbestos suits, gas masks in their laps. All at once, a BRILLIANT RED GLARE suffuses the sky. COP Good Lord!",
"EXT. ACE CHEMICAL - THAT MOMENT - NIGHT THE JOKER'S MEN running for their lives across the parking lot, KNOCKED FLAT by the force of SIX DEAFENING EXPLOSIONS. For a few seconds everything is flame and fury. And then - All that's left of Ace Chemical is a pile of charred rubble and a PILLAR OF THICK BLACK SMOKE, spiraling up to the sky.",
"EXT. ANDREWS ISLAND - NIGHT DAZZLING FIREWORKS explode in the night sky over Gotham Harbor. SEARCHLIGHTS sweep across the mammoth, welcoming stone figure of LADY GOTHAM - still wrapped in canvas, ready to be unveiled. THOUSANDS OF RUBBERNECKERS jam every square inch of Andrew's Island. COPS ON HORSEBACK speak into walkie - talkies as they patrol the edges of the crowd. Across the Harbor, Ace Chemical is going up in flames - but as far as the crowd can tell, with all the noise and excitement, it's just another part of the celebration. At the base of the statue, GOVERNOR GILROY speaks into a microphone : GOVERNOR GILROY As Governor of this great state, it is now my honor to unveil for you a very special lady - a lady who stands tall for life and liberty - America's favorite lady. LADY GOTHAM! The CROWD begins to APPLAUD RHYTHMICALLY, chanting ` LADY GOTHAM! LADY GOTHAM!' It's like Times Square on New Year's Eve, waiting for the big ball to drop. GILROY hoists a pair of oversized scissors and cuts a ceremonial ribbon : hydraulic CRANES kick into gear : CABLES DROP FREE, and the canvas cover draws back from LADY GOTHAM's face. to a chorus of SCREAMS from the crowd. LADY GOTHAM IS WEARING A GRISLY JOKER GRIN! Suddenly - in the midst of the hysteria - THE SEARCHLIGHTS DIE. The STAGE LIGHTS BLINK OUT. ANDREWS ISLAND IS PLUNGED INTO DARKNESS. Instantaneous mass panic : the GOVERNOR shouts to his aides as ONLOOKERS mob the stage. COPS are knocked from their horses as the CROWD stampedes. PANDEMONIUM RULES. And across the harbor. block by block. GOTHAM CITY IS GOING DARK.",
"EXT. GOTHAM SKIES - AERIAL SHOTS - NIGHT QUICK SHOTS of FOUR HELICOPTERS hovering at different points over the blacked - out city. LOUDSPEAKERS blare out a JOKER -LRB- V.O. -RRB- HAPPY BIRTHDAY, Gotham. Here's a little token of my esteem. HAVE FUN.'cause THE PARTY'S ON ME! INSANE LAUGHTER echoes. CARGO BAYS open wide. The JOKER'S HELICOPTERS begin LEAFLETING THE CITY. with MONEY! SERIES OF SHOTS ANARCHY IN GOTHAM as high - denomination bills flutter to earth, blanketing the streets. HOPELESSLY OUTMANNED COPS try to maintain order as SOLID CITIZENS trample one another in a paroxysm of ANIMAL GREED. BUILDINGS EMPTY as APARTMENT DWELLERS race outside. ALL TRAFFIC STOPS as DRIVERS climb out of their cars to SNATCH MONEY FROM THE AIR. DARKNESS EVERYWHERE. In the pitch - black subways, TERRIFIED COMMUTERS are seized by claustrophobia. GLASS SHATTERS, DOORS BREAK OPEN as they claw their way out of stalled subway cars and SPILL OUT onto the tracks. On the streets above, GOTHAM'S CRIMINAL ELEMENT is having a field day. The cops are preoccupied, utterly helpless against the first waves of RIOTING AND LOOTING. FLAMES ERUPT. PUNKS race down the street carrying fur coats and color TV's. LOOTERS break through the display window of an electronics store, and climb in among the goodies. only to FLY OUT, two seconds later, on the wrong end of a SHOTGUN BLAST. THE JOKER'S DREAM IS COMING TRUE.",
"EXT. STREET - NIGHT In a crouch on the pavement, snapping photos of the wild street action, is VICKI - fearless, professional, doing her job. A battered FORD ESCORT cruises up behind her. KNOX VICKI! VICKI sees KNOX, climbs into the passenger seat. He's wearing a big smile. They're jazzed, oblivious to danger. KNOX -LRB- cont. -RRB- Could n't turn down the job, huh? A girl could get hurt this way. VICKI Yeah. Deja vu. KNOX What do you say? Let's head for the lights. In the distance, above the tops of the buildings, BEACONS are sweeping the sky.",
"EXT. BROAD AVENUE - NIGHT Stationed all up and down Gotham's widest thoroughfare are huge portable SEARCHLIGHTS - mounted on trucks with portable generators, unaffected by the power outage. On the money - covered sidewalks, TOTAL BEDLAM. But on the street itself, a bizarre PARADE is taking place, just as if nothing's wrong. Rumbling up the avenue at two - block intervals, moored to floats, are DOZENS OF ENORMOUS BALLOONS in the shapes of cartoon characters and historical figures. It's like a hellish Thanksgiving's day procession. The LEAD - OFF BALLOON is a gigantic, grotesque CLOWN - smiling ghoulishly, dressed in white pierrot frills. We TILT DOWN to the FLOAT BENEATH IT. and there, atop a mountain of roses where the prom queen should be, sits the JOKER - smiling, waving daintily at the rioters and looters, presiding over the carnage like some demented parade marshal.",
"EXT. LAKE - NIGHT A desolate rural setting. UTTER SILENCE. Moonlight glints on placid waters. We track in on a small sign bearing the legend : `` GOTHAM CITY RESERVOIR.'' Far off in the distance, HEADLIGHTS ARE APPROACHING.",
"EXT. ACCESS ROAD - AERIAL SHOT - MOVING - NIGHT The THREE CARGO TRUCKS from Ace Chemical roll ominously TOWARD THE RESERVOIR on their deadly mission. And then - A STREAKING BLACK SHADOW ENTERS FRAME, overtaking the TRUCKS. THE BATWING! A phenomenal ULTRALIGHT AIRCRAFT, swift, sleek, jet - black and infinitely maneuverable, it SOARS EASILY past the trucks, swooping low just long enough to release a BOMB over a concrete bridge.",
"EXT. ACCESS ROAD - A MOMENT LATER The BRIDGE EXPLODES, blocking the trucks' path to the reservoir. PUZZLED DRIVERS climb out of their cabs and wonder what to do next. They spot the BATWING in the distance - banking, doing a sharp 180. For a moment they gape in disbelief. Then they HEAD FOR THE TREES as the BATWING DIVES DIRECTLY AT THE TRUCKS, firing THREE ARMOR - PIERCING SHELLS. and destroying the JOKER's lethal cargo once and for all. ANGLE ON BATMAN in the cockpit, his jaw set, not even looking back at the wreckage as his plane screams off toward the Gotham skyline.",
"EXT. GOTHAM STREET - NIGHT FRIGHTENED PEDESTRIANS race past OVERTURNED CARS. A PARADE FLOAT, run aground on the sidewalk, begins to BURN. Above it, a damaged BALLOON - the cartoon character UNDERDOG - is losing helium, warping and buckling in on itself, sinking down gently toward the flames. Down the street, KNOX'S FORD ESCORT is coming up fast.",
"INT. FORD - MOVING - THAT MOMENT VICKI snapping photos out the window as UNDERDOG drifts downward. FLAMES lick up at his belly - and the cartoon blimp EXPLODES. KNOX So much for Underdog. THEN - as they drive past - A SECOND EXPLOSION. And all at once the STREET IS FULL OF DEADLY GREENISH GAS! VICKI ALLIE! THE WINDOWS!",
"EXT. STREET - A MOMENT LATER - NIGHT The Ford Escort, windows up, swerves out of a THICK SPREADING CLOUD of GREEN LAUGHING GAS - threatening to engulf the entire block!",
"INT. FORD - MOVING - THAT MOMENT KNOX WHAT HAPPENED?!? VICKI stares back at the green cloud. Turns. And sees, up the street, THE JOKER'S PROCESSION : BALLOONS BY THE DOZEN! VICKI Oh my God. Compressor tanks. He's got the balloons rigged with compressor tanks! KNOX Jesus Christ, the guy's a genius.",
"INT. BATWING - THAT MOMENT - NIGHT BATMAN, at the controls, gliding over the Gotham streets. He looks down, sees a BILLOWING HAZE of DENSE GREEN FUMES. At its periphery : LOOTERS reeling and staggering, falling to the pavement, LAUGHING THEMSELVES TO DEATH.",
"INT. FORD - MOVING - THAT MOMENT VICKI staring through the windshield. Overhead, an AIRCRAFT streaks past. an aircraft with SCALLOPED BLACK BAT WINGS. VICKI LOOK! IT'S BRUCE! -LRB- frantically. -RRB- Allie - the balloons. We've got to find some way to tell him! KNOX Great. How? They speed up the street toward the PARADE. SPOTLIGHTS SHINE. Suddenly KNOX's eyes bug out. He SLAMS ON THE BRAKES and SKIDS TO A HALT. KNOX -LRB- cont. -RRB- COME ON!",
"EXT. AVENUE - A SECOND LATER - NIGHT Before VICKI can speak, KNOX has grabbed a tire iron from the back of the car and RACED OUT ONTO THE STREET. He flings the TIRE IRON through a glass STOREFRONT. It's a COSTUME SHOP. In the window, MANNEQUINS dressed in party costumes : Frankenstein. Ronald Reagan. And, that current popular sensation. THE BATMAN. As VICKI catches up with him, KNOX drags the Batman dummy out of the store window. RIPS OFF ITS BLACK CAPE. And DASHES MANIACALLY UP THE SIDEWALK. Waving the cape, he VAULTS onto the back of a SPOTLIGHT TRUCK. VICKI's face goes slack. Now she gets it. KNOX GIM ME A HAND UP HERE! VICKI climbs aboard. They drape the cape over the face of the spotlight. Then they put their shoulders to the swivel assembly - tilting the spotlight - AIMING THE BEAM. DIRECTLY AT THE JOKER'S WHITE CLOWN BALLOON!",
"INT. BATWING - THAT MOMENT BATMAN stares at the CLOWN BALLOON dead ahead. On its massive distended belly. a BURNING YELLOW OVAL. And in the center of the oval. THE BLACK SILHOUETTE OF A BAT. BATMAN'S MOUTH drops open. He understands.",
"EXT. AVENUE - ON JOKER'S FLOAT - THAT MOMENT THE JOKER reaches into a big sack and begins distributing MINIATURE GAS MASKS, like party favors, to his cronies on the float. Then he pulls out a radio - operated REMOTE CONTROL DEVICE and points it up at the CLOWN BALLOON. He hits a button. The CLOWN begins to INFLATE. Its joints bulge. Its FACE SWELLS UP as the COMPRESSOR TANK concealed inside it releases its noxious contents. The JOKER is BEAMING, a look of PURE UNALLOYED JOY on his face. when his PARADE FLOAT BLOWS TO SMITHEREENS BENEATH HIM! The JOKER and his men CARTWHEEL THROUGH THE AIR and TUMBLE TO THE ASPHALT as THE BATWING WHIPS PAST OVERHEAD, soaring through the stone canyons of Gotham at a 90 - degree angle to the ground! JOKER No. NOOOOO! ANGLE ON CLOWN BALLOON as it rises, rises, swelling to grotesque proportions in the starless night. The tallest buildings are far below it now. Finally it BURSTS - and the deadly GAS inside it disperses harmlessly in the wind.",
"EXT. AVENUE - THAT MOMENT THE JOKER on the edge of a tantrum as he digs amid the rubble of his float for the remote device. At last he finds it ; aims it up at the other balloons in the procession ; hits a button repeatedly. and HOWLS IN FRUSTRATION. Nothing's happening. The damned thing is broken. He heaves it to the street in a fit of pique. A SCREAMING COMES ACROSS THE SKY as the BATWING swings back for another pass, BUZZING the JOKER at an altitude of twenty feet. SIZZLING LASER FIRE sweeps the street. CABLES SNAP and BALLOONS DRIFT UPWARD as BATMAN'S LASERS sever their moorings. The JOKER can only look on helplessly, in stunned disbelief. As he's watching his plans evaporate. HIS EYES FALL ON THE MAKESHIFT BAT - SIGNAL. JOKER There. There. - GET'EM! ANGLE ON SPOTLIGHT TRUCK A SPRAY OF MACHINE - GUN FIRE shatters the Bat - signal. KNOX throws VICKI to the street, ducks down behind the spotlight, and tosses her his CAR KEYS. KNOX GET THE CAR! The JOKER'S GOONS are coming up fast as VICKI reaches the Ford, starts it, and comes ROARING UP toward KNOX. He jumps off the truck as VICKI twists the wheel, lays a track of rubber, and noses the car back in the opposite direction. GUNFIRE as KNOX jumps inside and they PEEL OUT.",
"INT. FORD ESCORT - MOVING - A MOMENT LATER KNOX's breathing is ragged, but he breaks out in HYSTERICAL LAUGHTER nonetheless. The two of them are totally exhilarated. They ca n't believe what they've just done. KNOX HOLY SHIT! VICKI You okay? KNOX Yeah. Yeah. Little winded. DID YOU SEE THAT?! VICKI -LRB- laughing wildly. -RRB- God yes, Allie. I've got ta say - that was the ballsiest move I ever - KNOX -LRB- ecstatic. -RRB- Holy shit. Holy - He GURGLES. AN ENORMOUS GOUT OF BLOOD bubbles up between his lips - and BURSTS. VICKI ALLIE! His hand goes to his stomach - and comes away bloody. He looks down in genuine bewilderment. KNOX Jesus, Vicki. That quickly, he's dead. VICKI lets out an awful wail and slams on the brakes. She sits there in the middle of the street, POUNDING THE WHEEL, TEARS pouring down her face.",
"EXT. GOTHAM HARBOR - NIGHT In the sky, CARTOON CHARACTERS drift lazily out to sea.",
"EXT. BROAD AVENUE - NIGHT THE JOKER and his boys running like hell down the avenue, past the parade. They reach the last of the floats - the one bringing up the rear - then CLIMB ABOARD and disappear through a CONCEALED HATCH. WOOD SPLINTERS as the top of the float begins to ROTATE mysteriously. The muzzle of a CANNON breaks through the parade decorations. And one moment later. A ROSE - COVERED TANK is rumbling up Broad Avenue!",
"INT. BATWING - THAT MOMENT BATMAN sweeps past overhead. He sees the tank, unleashes a burst of LASER FIRE. It bounces harmlessly off the tank, leaves a trail of SMOKING ASPHALT on the street. He swoops low overhead, hits a button on his control panel as he streaks OVER THE TANK and into firing range.",
"INT. TANK - THAT MOMENT THE JOKER and his MEN clap hands to their ears as an EAR - SPLITTING ULTRASONIC SHRIEK reverberates in the tank. The JOKER screams out commands, to no avail. No one can hear him. He falls on the controls, begins hitting buttons.",
"EXT. STREET - THAT MOMENT The TANK TURRET swings wildly. A HEAT - SEEKING MISSILE rips through the night, narrowly missing the BATWING. and BLOWING A HOLE in the side of a skyscraper.",
"INT. BATWING - THAT MOMENT THE BLAST all but knocks the BATWING out of the sky. BATMAN stabilizes the plane, climbs for the clouds. When he's clear of the buildings, he grits his teeth and rolls out. He's coming back for more!",
"INT. TANK - THAT MOMENT The JOKER stares at a tiny BLIP on his radar screen. JOKER He'll be back. he'll be back!",
"EXT. BROAD AVENUE - ON BATWING The black ultralight hurtles down Broad Avenue at full speed, on a suicide mission. MISSILES streak past on either side. MACHINE GUN FIRE peppers the dome of the cockpit. The REAR STABILIZER WING takes a direct hit. and BURSTS INTO FLAME! The BATWING, trailing thick black smoke, bears down on the tank like a kamikaze plane. BOMB BAYS OPEN as BATMAN dumps the last of his high explosives DIRECTLY INTO THE PATH OF THE TANK. The BATWING takes a hard bounce off the top of the tank and CRASHES TO THE STREET. And suddenly a GAPING CHASM opens underneath the tank as the bombs go off - and BROAD AVENUE BEGINS TO SPLIT WIDE OPEN!",
"INT. SUBWAY TUNNEL - THAT MOMENT BROKEN CONCRETE SLABS rain down on a SUBWAY CAR stalled in the tunnel DIRECTLY BENEATH BROAD AVENUE. SUPPORT GIRDERS groan and GIVE WAY as the STREET ITSELF COLLAPSES - and the front end of the TANK drops through, CRUSHING THE SUBWAY TRAIN BENEATH IT!",
"EXT. BROAD AVENUE - THAT MOMENT - NIGHT The rear end of the TANK projects out through the rubble. A hatch pops open. The JOKER crawls out through the smoke and pulls himself up to the street. He's down to his last three GOONS. He points to the BATWING : bent, broken, WEDGED ON ITS SIDE in the asphalt SEAM running up Broad Avenue - half in, half out of the tunnel. JOKER You do him. I'm outta here. The GOONS look on in dismay as the JOKER scurries off. They sidestep blackened debris and move up cautiously on the Batwing. Through the cockpit dome they can see BATMAN. inert in his harness, beaten to a pulp, all but dead. A JET OF FLAME drives them back momentarily. They reach for their guns, move in warily. VOICE Yo. The frightened GOONS turn in unison. An abrupt flurry of motion - feet and fists flying - quick flashes of red and green - - and THREE GOONS lie paralyzed on the street. The only one left standing is a fifteen - year - old boy garbed in a red - and - green aerialist's uniform. DICK GRAYSON.",
"INT. BATWING - THAT MOMENT BATMAN slumps at the controls. Beneath him, asphalt SHIFTS and BUCKLES. The Batwing lurches to the right, drops a foot or two into the tunnel. Metal braces collapse and the plexiglass dome of the cockpit SHATTERS LIKE AN EGGSHELL. TONGUES OF FIRE lick at his face. He's helpless, pinned in place. He manages to look up - and SEES, through a dream - like haze, A HAND extended toward him : DICK HEY! COME ON! And suddenly DICK is clambering down into the flaming wreckage. He gets an arm around BATMAN's chest and with an extraordinary effort HAULS HIM OUT OF THE BATWING.",
"EXT. STREET - A MOMENT LATER - NIGHT They stagger across the ruptured street. BATMAN grimaces in agony. His right leg - shattered - is like rubber beneath him. His ribs are crushed. He's barely conscious. DICK Now we're even, huh? Even up. BATMAN How did you. DICK I hitched. MOVE IT! DICK drags BATMAN to safety as the Batwing ERUPTS INTO FLAME behind them. BATMAN The Joker. Is he -? DICK Forget it. Relax. -LRB- beat. -RRB-. He's mine now. DICK snatches an abandoned.38 off the pavement. BATMAN DICK! THE BATMAN tries to pull himself erect. The pain is unendurable. His body has finally failed him. He collapses on the pavement, powerless to intervene, as DICK races off with murder in his eyes.",
"EXT. GOTHAM CATHEDRAL - NIGHT A BELLTOWER's jagged spire, jutting up into the night sky, piercing the moon. Down at street level, the JOKER is scrambling up the marble steps at the entrance to the old abandoned cathedral. He pulls a WALKIE - TALKIE off his belt. JOKER Gotham cathedral. Come and get me. HEAVY PANELED DOORS groan on tired hinges as THE JOKER forces his way inside. A beat. Then DICK GRAYSON appears, hot on his trail, sprinting up the steps two at a time.",
"INT. CATHEDRAL - A MOMENT LATER - NIGHT Ancient and creepy. A huge pipe organ, shattered stained glass windows, row after row of mahogany pews. all forgotten, covered with dust and cobwebs. The JOKER wanders about, staring at the statuary, the rusted icons. DICK enters silently behind him. He kneels behind a rear pew, brings up the gun, and squeezes off THREE QUICK SHOTS at the JOKER. The JOKER dives, takes cover, and RETURNS DICK'S FIRE. Then : silence. In a crouch, groping his way along the wall, THE JOKER finds what he wants : a small door opening on a wooden stairway, leading to the belltower. He ducks inside and starts up. DICK'S GUN drops with a thud. His hand slips from the back of the pew. In the second before he slumps to the floor, unconscious, he sees a curious sight : a TINY BLACK NINJA WHEEL, imbedded in the flesh of his leg. Behind him - framed in the arched doorway - A RAGGED BLACK GHOST begins his final unholy march down the center aisle of the old cathedral.",
"INT. CATHEDRAL - BELLTOWER - NIGHT A tiny stone chamber, 8 ` x8', open on four sides to the wind. The enormous church bell has long since been removed. The JOKER stands in an archway, gazing at the gargoyles on the roof below. He hits a button on the walkie - talkie : JOKER I'm in the belltower. Do n't land.",
"INT. HELICOPTER - MOVING - NIGHT A PILOT replies through his radio headset. PILOT E.T.A. two minutes. Hang on. The PILOT swings the copter right in a wide, swooping arc.",
"INT. STAIRWAY TO BELLTOWER - THAT MOMENT - NIGHT BATMAN. Broken, beaten, his right leg useless, he hauls himself up the steps one at a time. He should be dead. Dried blood cakes his face, his chest. Dizzy, exhausted, his body strained to the limit, he slumps against a wall to steady himself, then reaches into his utility belt for a painkiller - and forces the capsule back onto his dry, swollen tongue. Quaking all over, he tries to draw himself erect. and TOPPLES OVER, landing with his full weight on the rotten wood of the belltower stairs. THE STAIRWAY COLLAPSES, turning to splinters beneath him. And suddenly BATMAN finds himself DANGLING PRECARIOUSLY IN MIDAIR, hanging by one hand to an upper step. It would be so much easier to let go. He looks down at the fragments of the shattered stairway, STILL FALLING, vanishing into the dark depths of the stairwell. Then he looks up. At the trapdoor. A mere six feet away. His TEETH CLENCH in a monstrous grimace. AND WITH AN INHUMAN EFFORT, HE HOISTS HIMSELF UP ONTO THE UPPER STEPS. For a full five seconds he's blind with pain. A RAGGED WOODEN SHAFT is buried in his right shoulder. Twitching, trembling, he reaches up and YANKS IT OUT with his last ounce of strength. The trapdoor is a foot above his head. It could be a mile. BATMAN finally realizes he's not going to make it. He reaches down and rips open a Velcro seal on his utility belt, revealing the strange TIMER DEVICE we saw him making earlier. Before he can activate it his hand falls limply at his side. THE BATMAN is out like a light.",
"INT. BELLTOWER - THAT MOMENT - NIGHT The JOKER glances casually down at the trapdoor, wondering what all the noise is about. He draws his gun, moves cautiously to the trapdoor, and lifts it a few inches. just enough to see the unconscious form on the stairs. JOKER Batman? No reply. The JOKER stands there and lets out a little snicker. He looks out through the archway, sees no sign of his rescue copter. Then - a look of curious amusement on his face - he steps down THROUGH THE TRAPDOOR and LUGS BATMAN up into the belltower. He props BATMAN up against a wall. Still no sign of life. The JOKER crouches beside him and - almost tenderly - pats his face. JOKER -LRB- cont. -RRB- Batman? Batman? THE BATMAN's lips part. But he's too weak to speak. JOKER -LRB- cont. -RRB- I thought you'd be more comfortable here in the belfry. -LRB- chuckling to himself. -RRB- Before I kill you I'd like to see who you are. Would that be okay? BATMAN emits a tiny low moan. The JOKER takes it as a yes and reaches over to undo his cowl. BRUCE WAYNE stares up with dulled, sightless eyes. The JOKER reaches into his pocket for a purple handkerchief, moistens it, dabs at the caked blood on BRUCE's face. JOKER -LRB- cont. -RRB- Oh my, are n't we pretty. -LRB- brightening suddenly. -RRB- I know you! You're the rich boy! The JOKER is enormously tickled by this discovery. He claps his hands together in sheer glee. JOKER -LRB- cont. -RRB- My goodness, what in the world made you do it? It must've been something pretty terrible! He's practically dancing now. He's made a friend. JOKER -LRB- cont. -RRB- You know, we should've sat down and had us a little heart - to - heart. I bet we would have got on famously. BATMAN Mad. man. JOKER Well now, you're not exactly the picture of mental health, are you. BATMAN Murderer. JOKER Bruce, we're both murderers. Think how many people you've killed by letting me live. A SPOTLIGHT cuts through the night sky. The JOKER hears his helicopter approaching in the distance. BRUCE reaches down furtively. Finds the timer on his utility belt. FLICKS A SWITCH. and the countdown begins. The JOKER pulls a straight razor from his pocket and opens it gingerly. JOKER -LRB- cont. -RRB- I have to do it now, Bruce, but it wo n't even hurt. Now relax. The bat's in his belfry, all's right with the world. He has the razor almost up to BRUCE's throat when BRUCE reaches out and GRABS HIS LAPELS in a death grip. The JOKER is momentarily amused by this seeming display of affection. JOKER -LRB- cont. -RRB- Why, Bruce. Then he hears ticking. Looks down at the flashing digital display on BRUCE's belt. 0:26 seconds. 0:25 seconds. He SHRIEKS HORRIFICALLY and DROPS THE RAZOR. BRUCE wo n't let go of him. Finally he manages to lurch convulsively away, sprawling on the floor of the belfry. BRUCE is wearing a great big Joker smile. JOKER -LRB- cont. -RRB- IT'S NOT FUNNY! BRUCE No. sense. of humor? The JOKER reaches out for the ticking time bomb. Thinks better of it and retracts his shaking hand. He can see the copter approaching now, slicing through the clouds. He screams, waves a flashlight in the air : his signal beacon. 0:20 and counting. The JOKER scans the belltower frantically. His eyes fall on the trapdoor. He races over, flings it open, starts down the stairs in a frenzy. There are no stairs. They've collapsed. 0:16 and counting. Screaming insanely, the JOKER vaults through the door and makes for the open stone archway. The copter is directly overhead now. A rope ladder drops from its belly.",
"EXT. BELLTOWER - THAT MOMENT The helicopter descends, its whirling blades stirring up a windstorm on the roof of the old abandoned cathedral. DEAD LEAVES rise and swirl in the churning air.",
"INT. BELLTOWER The JOKER makes a futile grab at the rope ladder, almost losing his purchase on the archway parapet. He gestures wildly for the copter to make another pass. 0:12 to go.",
"EXT. BELLTOWER A maelstrom of swirling leaves. And now, among the leaves - roused from their resting place in the rotten rafters of the old cathedral - - A HORDE OF SQUEALING, CHITTERING BATS! Filling the air like a black cloud, HUNDREDS OF THEM, taking flight in blind uncomprehending fury -",
"INT. BELLTOWER The JOKER leaps into empty space, grabs hold of the ladder, cackles in mad triumph - - AND SUDDENLY THE BELLTOWER IS FULL OF BATS. A SCREECHING SWARM, HIDEOUS, BLACK - WINGED - SWOOPING THROUGH THE ARCHWAYS DIRECTLY AT THE JOKER - - WHO SCREAMS IN TERROR - LETS GO OF THE LADDER - - and plunges into the night. TIGHT ON BATMAN. Six seconds remain. There is still time if he makes his choice now. Surrounded by the flapping of leathery wings, his body working on pure adrenalin, he unbuckles the belt. Lurches into position. Heaves it out into the darkness. It snags on the bottom rung of the dangling rope ladder.",
"INT. HELICOPTER - POV CO-PILOT The CO - PILOT is hanging out one side of the copter, just enough to see what's going on. CO-PILOT PULL UP! PULL -",
"EXT. CHURCHYARD - OVERHEAD ANGLE It's as if time has stopped. The world has grown suddenly silent. We're looking down at the JOKER, whose body lies splayed and broken on the flagstone surface of the churchyard. Slowly, elegantly - we have all the time in the world, now - we DRIFT DOWNWARD, closer, until his FACE FILLS THE SCREEN, the familiar chilling grin still intact. Sad clown, A - one crazy boy, staring aimlessly at the stars. Suddenly his face is bathed in a brilliant gasoline GLOW. POV JOKER Looking up he sees a beautiful display of fireworks, bursting and burning, spirals of color snaking through the sky as the helicopter explodes in eerie silence. REVERSE ANGLE - THE JOKER'S FACE It's all so lovely. The JOKER's expression is happy, almost childlike, as he gazes up at this private show. Gradually, though, the bright colors fade ; and the JOKER's face begins to relax, the twisted grin dissolving at last as darkness sets in.",
"INT. TELEVISION STUDIO - NIGHT AN ANCHORWOMAN delivering an oncamera EDITORIAL. ANCHORWOMAN As the details of the Joker's heinous plan become known, a city's gratitude goes out to the mysterious Batman. His whereabouts remain unknown, but Batman - if you're alive - if you're listening - thank you.",
"EXT. CEMETERY - DAY VICKI at a fresh gravesite. She places a FLORAL ARRANGEMENT in the urn at the head of the grave ; stands back to examine it ; then bends once more to reposition the drooping flowers. VICKI I loved you too. As soon as the words come out, she begins to CRY. Then she gets hold of herself ; rises ; turns up her collar ; and goes. The headstone reads : `` ALEXANDER KNOX, 1956 - 1987.''",
"INT. WAYNE MANOR - STUDY - DAY ALFRED, in his apron, on the phone. ALFRED No, Mr. Wayne is in Thailand. I'm afraid he's quite unreachable.",
"INT. WAYNE MANOR - DAY The glass - enclosed room which houses BRUCE's Olympic - sized SWIMMING POOL. Outside, snow is falling. In the pool, on an inflatable rubber raft, is BRUCE WAYNE. Beside him, waist - deep is the water, is VICKI - helping him rehabilitate his leg and shoulder. VICKI I do n't know why I'm doing this. I half wish you'd stay a cripple. BRUCE Ohhhh. you do n't mean that. VICKI -LRB- grasping for words. -RRB- I do n't, but. I do. It's just. I love you, Bruce. I - BRUCE -LRB- taking her hand. -RRB- Vicki. Do you love half of me? Or all of me? A hard question for VICKI to answer. She thinks it over for several beats, then SMILES. SLOWLY, SADLY. VICKI I guess you did it, did n't you. You saved everyone. -LRB- pause. -RRB- Almost. For a moment he stares deeply into her eyes. Then he pulls her over, takes her in a tight embrace. BRUCE I do n't know how to explain this so it makes sense. but you saved me.",
"INT. BATCAVE - THAT MOMENT - DAY DICK GRAYSON stands at the brink of the bottomless pit and looks up at the GYMNAST'S RINGS suspended overhead. He sets his jaw and then - with only a moment's hesitation - LEAPS INTO THE VOID. His hands find the rings. He launches himself HIGH INTO THE AIR and does a spectacular TRIPLE SOMERSAULT, catching the rings on his way down. Exhilarated, he makes a perfect landing on the edge of the pit. 10 - point - 0. A SMILE OF PLEASURE comes to his lips.",
"EXT. ROOFTOP - GOTHAM CITY - NIGHT A dark, moonless night. LIGHTS OF THE CITY sparkle in the distance. CAMERA DRIFTS across the rooftop, settling finally on the broad back of a BLACK - CAPED FIGURE poised at the edge of the roof, gazing down on the streets below. A SECOND FIGURE enters frame. We get a brief glimpse of his RED - AND - GREEN SUIT in the seconds before our EYES TURN SKYWARD. to the SEARING YELLOW SPOTLIGHT sweeping through the clouds. In its center : the VAST BLACK SILHOUETTE of a BAT, wings extended, DOMINATING the night sky. We HOLD on the GLARING BAT - SIGNAL as BATMAN and ROBIN vanish over the edge of the roof, plunging down toward new adventures. MUSIC BUILDS and we FADE OUT."
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] | As Gotham City approaches its bicentennial, Mayor Borg orders district attorney Harvey Dent and police Commissioner Gordon to make the city safer. Meanwhile, reporter Alexander Knox and photojournalist Vicki Vale investigate rumors of a vigilante nicknamed "Batman" who is targeting the city's criminals. While hosting a fundraiser at his manor, billionaire industrialist Bruce Wayne, who created Batman in the aftermath of his parents' murder during his childhood, meets with Vale during the event, but cuts short their meeting to secretly pursue Gordon, also attending, when he leaves on police business. Mob boss Carl Grissom, whom Dent and Gordon are targeting, sends his sociopathic second-in-command Jack Napier to raid Axis Chemicals, unaware it is a set-up aimed at having him murdered for sleeping with Grissom's mistress Alicia. Although corrupt police lieutenant Eckhardt arranges the hit on Napier by conducting an unauthorized police operation, Gordon arrives, takes command, and orders officers to capture him alive. When Batman arrives to prevent Napier's escape, Eckhardt is killed during the confrontation, while Napier himself falls into a vat of chemicals when attempting to attack Batman, and is presumed dead by all. However, Napier survives, but is left disfigured with chalk white skin, emerald green hair, and a rictus grin, resulting in him being driven insane and assuming the name of "the Joker". Joker murders Grissom for betraying him, takes over his criminal empire by murdering his syndicate members, and scars Alicia's face to equal his disfigurement. Batman begins working to find a way of stopping Joker when he begins terrorizing Gotham City through the use of hygiene products laced with "Smylex" - a deadly chemical which causes victims to die laughing with the same maniacal grin as the Joker. Joker soon becomes obsessed with Vicki and proceeds to lure her to the Gotham Museum of Art, where his henchmen destroy the works of art within. Batman arrives and rescues Vicki, escaping the Joker's men, before taking her to his Batcave, providing her with the information from his research on Smylex that will allow the city's residents to avoid exposure to the toxin. Conflicted with his love for her, Bruce attempts to explain about his alter-ego when visiting her at her apartment, only for Joker to interrupt the meeting. While Bruce avoids being killed with a serving tray, he realizes that Joker was the man who killed his parents, when he recognizes a question he uses from his childhood. Vicki finds herself taken to the Batcave by Bruce's butler, Alfred, who had been coaxing the relationship between the pair to bring out Bruce's human side. After exposing his secret to Vicki, Bruce reveals he cannot focus on their relationship with Joker on the loose, and departs to destroy the Axis plant used to create Smylex. Meanwhile, Joker proceeds to lure Gotham's citizens to a parade with the promise of free money, in order to dose them with Smylex gas held within giant parade balloons. Batman foils his plan by using his Batwing to remove the balloons. Joker proceeds to shoot down the Batwing, before capturing Vicki and taking her into a cathedral. Batman, surviving the crash, confronts him, saving Vicki, while proceeding to prevent Joker's escape by helicopter with a heavy granite gargoyle, causing him to fall to his death. Sometime later, Commissioner Gordon announces that the police have arrested the Joker's men and unveils the Bat-Signal. Harvey Dent reads a note from Batman, promising that he will defend Gotham whenever crime strikes again. Vicki is taken to Wayne Manor by Alfred, who tells her that Bruce will be a little late. She responds that she is not surprised, as Batman looks at the signal's projection from a rooftop, standing watch over the city. | Batman_(1989_film) |
[
"THE MATRIX COMPUTER SCREEN So close it has no boundaries. A blinking cursor pulses in the electric darkness like a heart coursing with phosphorous light, burning beneath the derma of black - neon glass. A PHONE begins to RING, we hear it as though we were making the call. The cursor continues to throb, relentlessly patient, until - MAN -LRB- V.O. -RRB- Hello? Data now slashes across the screen, information flashing faster than we read. SCREEN Call trans opt : received. 2 - 19 - 96 13:24:18 REC : Log > WOMAN -LRB- V.O. -RRB- I'm inside. Anything to report? We listen to the phone conversation as though we were on a third line. The man's name is CYPHER. The woman, TRINITY. CYPHER -LRB- V.O. -RRB- Let's see. Target left work at 5:01 PM. SCREEN Trace program : running. The entire screen fills with racing columns of numbers. Shimmering like green - electric rivets, they rush at a 10 - digit phone number in the top corner. CYPHER -LRB- V.O. -RRB- He caught the northbound Howard line. Got off at Sheridan. Stopped at 7 - 11. Purchased six - pack of beer and a box of Captain Crunch. Returned home. The area code is identified. The first three numbers suddenly fixed, leaving only seven flowing columns. We begin MOVING TOWARD the screen, CLOSING IN as each digit is matched, one by one, snapping into place like the wheels of a slot machine. TRINITY -LRB- V.O. -RRB- All right, you're relieved. Use the usual exit. CYPHER -LRB- V.O. -RRB- Do you know when we're going to make contact? TRINITY Soon. Only two thin digits left. CYPHER -LRB- V.O. -RRB- Just between you and me, you do n't believe it, do you? You do n't believe this guy is the one? TRINITY -LRB- V.O. -RRB- I think Morpheus believes he is. CYPHER -LRB- V.O. -RRB- I know. But what about you? TRINITY -LRB- V.O. -RRB- I think Morpheus knows things that I do n't. CYPHER -LRB- V.O. -RRB- Yeah, but if he's wrong - The final number pops into place - TRINITY -LRB- V.O. -RRB- Did you hear that? CYPHER -LRB- V.O. -RRB- Hear what? SCREEN Trace complete. Call origin : # 312 - 555 - 0690 TRINITY -LRB- V.O. -RRB- Are you sure this line is clean? CYPHER -LRB- V.O. -RRB- Yeah, course I'm sure. We MOVE STILL CLOSER, the ELECTRIC HUM of the green numbers GROWING INTO an OMINOUS ROAR. TRINITY -LRB- V.O. -RRB- I better go. CYPHER -LRB- V.O. -RRB- Yeah. Right. See you on the other side. She hangs up as we PASS THROUGH the numbers, entering the netherworld of the computer screen. Where gradually the sound of a police radio grows around us. RADIO -LRB- V.O. -RRB- Attention all units. Attention all units. Suddenly, a flashlight cuts open the darkness and we find ourselves in -",
"INT. CHASE HOTEL - NIGHT The hotel was abandoned after a fire licked its way across the polyester carpeting, destroying several rooms as it spooled soot up the walls and ceiling leaving patterns of permanent shadow. We FOLLOW four armed POLICE officers using flashlights as they creep down the blackened hall and ready themselves on either side of room 303. The biggest of them violently kicks in the door - The other cops pour in behind him, guns thrust before them. BIG COP Police! Freeze! The room is almost devoid of furniture. There is a fold - up table and chair with a phone, a modern, and a powerbook computer. The only light in the room is the glow of the computer. Sitting there, her hands still on the keyboard, is TRINITY ; a woman in black leather. BIG COP Get your hands behind your head! Trinity rises. BIG COP Hands behind your head! Now! Do it! She slowly puts her hands behind her head.",
"EXT. CHASE HOTEL - NIGHT A black sedan with tinted windows glides in through the police cruisers. AGENT SMITH and AGENT BROWN get out of the car. They wear dark suits and sunglasses even at night. They are also always hardwired ; small Secret Service earphones in one ear, its cord coiling back into their shirt collars. AGENT SMITH Lieutenant? LIEUTENANT Oh shit. AGENT SMITH Lieutenant, you were given specific orders - LIEUTENANT I'm just doing my job. You gim me that Juris - my dick - tion and you can cran it up your ass. AGENT SMITH The orders were for your protection. The Lieutenant laughs. LIEUTENANT I think we can handle one little girl. Agent Smith nods to Agent Brown as they start toward the hotel. LIEUTENANT I sent two units. They're bringing her down now. AGENT SMITH No, Lieutenant, your men are dead.",
"INT. CHASE HOTEL The Big Cop flicks out his cuffs, the other cops holding a bead. They've done this a hundred times, they know they've got her, until the Big Cop reaches with the cuff and Trinity moves - It almost does n't register, so smooth and fast, inhumanly fast. The eye blinks and Trinity's palm. snaps up and the nose explodes, blood erupting. The cop is dead before he begins to fall. And Trinity is moving again - Seizing a wrist, misdirecting a gun, as a startled cop FIRES - A head explodes. In blind panic, another airs his gun, the barrel, a fixed black hole - And FIRES - Trinity twists out of the way, the bullet missing as she reverses into a roundhouse kick, knocking the gun away. The cop begins to scream when a jump kick crushes his windpipe, killing the scream as he falls to the ground. She looks at the four bodies. TRINITY Shit.",
"EXT. CHASE HOTEL Agent Brown enters the hotel, while Agent Smith heads for the alley.",
"INT. CHASE HOTEL Trinity is on the phone, pacing. The other end is answered. MAN -LRB- V.O. -RRB- Operator. TRINITY Morpheus! The link was traced! I do n't know how. MORPHEUS -LRB- V.O. -RRB- I know. Stay calm. TRINITY Are there any agents? MORPHEUS -LRB- V.O. -RRB- Yes. TRINITY Goddamnit! MORPHEUS -LRB- V.O. -RRB- You have to focus. There is a phone. Wells and Laxe. You can make it. She takes a deep breath, centering herself. TRINITY All right - MORPHEUS -LRB- V.O. -RRB- Go. She drops the phone.",
"INT. HALL She bursts out of the room as Agent Brown enters the hall, leading another unit of police. Trinity races to the opposite end, exiting through a broken window onto the fire escape.",
"EXT. FIRE E5CAPE In the alley below, Trinity sees Agent Smith staring at her. She can only go up.",
"EXT. ROOF On the roof, Trinity is running as Agent Brown rises over the parapet, leading the cops in pursuit. Trinity begins to jump from one roof to the next, her moverents so clean, gliding in and out of each jump, contrasted to the wild jumps of the cops. Agent Brown, however, has the same unnatural grace. The METAL SCREAM of an EL TRAIN is heard and Trinity turns to it, racing for the back of the building. The edge falls away into a wide back alley. The next building is over 40 feet away, but Trinity's face is perfectly calm, staring at some point beyond the other roof. The cops slow, realizing they are about to see something ugly as Trinity drives at the edge, launching herself into the air. From above, the ground seems to flow beneath her as she hangs in flight Then hitting, somersaulting up, still running hard. COP Motherfucker - that's impossible! They stare, slack - jawed, as Agent Brown duplicates the move exactly, landing, rolling over a shoulder, up onto one knee. Just below the building are the runbling tracks of riveted steel. The TRAIN SCREECHES beneath her, a rattling blur of gray metal. Trinity junps, landing easily. She looks back just as Agent Brown hurls through the air barely reaching the last car Agent Brown stands, yanking out a gun. Trinity is running hard as BULLETS WHISTLE past her head. Ahead she sees her only chance, 50 feet beyond the point where the train has begun to turn, there is - A window ; a yellow glow in the midst of a dark brick building. Trinity zeroes in on it, running as hard as she can, her speed compounded by the train. The SCREAM of the STEEL rises as she nears the edge where the train rocks into the turn. Trinity hurtles into the empty night space, her body leveling into a dive. She falls, arms covering her head as - The whole world seems to spin on its axis - And she crashes with an EXPLOSION of GLASS and WOOD, then falls onto a back stairwell, tumbling, bouncing down stairs bleeding, broken - But still alive. Through the smashed window, she glimpses Agent Brown, still on the train, his tie and coat whipping in the wind ; stone - faced, he touches his ear piece as the train slides him past the window. Trinity tries to move. Everything hurts. TRINITY Get up, Trinity. You're fine. Get up - just get up! She stands and limps down the rest of the stairs.",
"EXT. STREET Trinity emerges from the shadows of an alley and, at the end of the block, in a pool of white street light, she sees it. The telephone booth. Obviously hurt, she starts down the concrete walk, focusing in completely, her pace quickening, as the PHONE begins to RING. Across the street, a garbage truck suddenly u - turns, its TIRES SCREAMING as it accelerates. Trinity sees the headlights on the truck arcing at the telephone booth as if taking aim. Gritting through the pain, she races the truck - Slamming into the booth, the headlights blindingly bright, bearing down on the box of Plexiglas just as - She answers the phone. There is a frozen instant of silence before the hulking mass of dark metal lurches up onto the sidewalk - Barreling through the booth, bulldozing it into a brick wall, smashing it to Plexiglas pulp. After a moment, a black loafer steps down from the cab of the garbage truck. Agent Smith inspects the wreckage. There is no body. Trinity is gone. His jaw sets as he grinds his molars in frustration. AGENT JONES walks up behind him. AGENT SMITH Did you get anything from the room? AGENT JONES Their next target. The name is Neo. The handset of the pay phone lays on the ground, separated in the crash like a severed limb. AGENT SMITH We'll need a search running. AGENT JONES It's already begun. We are SUCKED TOWARDS the mouthpiece of the phone, CLOSER and CLOSER, UNTIL the smooth gray plastic spreads out like a horizon and the small HOLES WIDEN until we fall through one - Swallowed by the darkness that becomes - A computer screen. We are on - line, inside a chat room called `` The Matrix.'' It is an exklusive web - site where hackers hang out. SCREEN JACKON : I heard Morpheus has been on this board. SUPERASTIC : Morpheus does n't even exist and the Matrix is nothing but an advertising gimmick 4 a new game. TIMAXE : All I want to know is Trinity really a girl? LODIII : 87 % of all women on line are really men. QUARK : The Matrix is a euphemism for the government. SUPERASTIC : No, The Matrix is the system controlling our lives. TIMAXE : You mean MTV. SUPERASTIC : I mean Sega. FOS4 : ALL HAIL SEGA! We drift back from the electric conversation entering -",
"INT. NEO'S APARTMENT It is a studio apartirent that seems overgrown with technology. Weed - like cables coil everywhere, duct - taped into thickets that wind up and around the legs of several desks. Tabletops are filled with cannibalized equipment that lay open like an autopsied corpse. We turn towards the center of this rat - nest of technology, following the slurping and crunching of cereal. We pass an open box of Capln Crunch as we find - NEO, a younger man who knows more about living inside a computer than living outside one. NEO Fuckin' idiots do n't know shit. He finishes his cereal and is about to disconnect when an anonynous message slices onto the screen. SCREEN Do you want to know what the Matrix is, Neo? Neo is frozen when he reads his name. SCREEN SUPERASTIC : Who said that? JACKON : Who's Neo? GIBSON : This is a private board. If you want to know, follow the white rabbit. NEO What the hell. SCREEN TIMAXE : Someone is hacking the hackers! FOS4 : It's Morpheus! JACKON : Identify yourself. Knock, knock, Neo. A chill runs down his spine and when someone KNOCKS on his door he almost jumps out of his chair. He looks at the door, then back at the computer but the message is gone. He shakes his head, not completely sure what happened. Again, someone knocks. Cautiously, Neo approaches the door. VOICE -LRB- O.S. -RRB- Hey, Tommy - boy! You in there? Recognizing the voice, he relaxes and opens it. ANTHONY, who lives down the hall, is standing outside with a group of friends. NEO What do you want, Anthony? ANTHONY I need your help, man. Desperate. They got me, man. The shackles of fascism. He holds up the red notice that accompanies the Denver boot. NEO You got the money this time? He holds up two hundred dollars and Neo opens the door. Anthony's girlfriend, DUJOUR, stops in front of Neo. DUJOUR You can really get that thing off, right now? ANTHONY I told you, honey, he may look like just another geek but this here is all we got left standing between Big Brother and the New World Order.",
"EXT. STREET A police officer unlocks a yellow metal boot from the wheel of an enormous oldsmobile.",
"INT. NEO'S APARTMENT They watch from the window as the cops, silently, robotically, climb into their van. ANTHONY Look at'em. Automatons. Do n't think about what they're - doing or why. Computer tells'em what to do and they do it. FRIEND #l Thc banality of evil. He slaps the money in Neo's hand. ANTHONY Thanks, neighbor. DUJOUR Why do n't you come to the party with us? NEO I do n't know. I have to work tomorrow. DUJOUR Come on. It'll be fun. He looks up at her and suddenly notices on her black leather motorcycle jacket dozens of pins : bands, symbols, slogans, military medals and - A small white rabbit. The ROOM TILTS. NEO Yeah, yeah. Sure, I'll go.",
"INT. APARTMENT An older Chicago apartment ; a series of halls connects a chain of small high - ceilinged rooms lined with heavy casements. Smoke hangs like a veil, blurring the few lights there are. Dressed predominantly in black, people are everywhere, gathered in cliques around pieces of furniture like jungle cats around a tree. Neo stands against a wall, alone, sipping from a bottle of beer, feeling completely out of place, he is about to leave when he notices a woman staring at him. The woman is Trinity. She walks straight up to him. In the nearest room, shadow - like figures grind against each other to the pneumatic beat of INDUSTRIAL MUSIC. TRINITY Hello, Neo. NEO How did you know that - TRINITY I know a lot about you. I've been wanting to meet you for some time. NEO Who are you? TRINITY My name is Trinity. NEO Trinity? The Trinity? The Trinity that cracked the I.R.S. Kansas City D - Base? TRINITY That was a long time ago. NEO Gee - zus. TRINITY What? NEO I just thought. you were a guy. TRINITY Most guys do. Neo is a little embarrassed. NEO Do you want to go sorewhere and talk? TRINITY No. It's safe here and I do n't have much time. The MUSIC is so loud they must stand very close, talking directly into each other's ear. NEO That was you on the board tonight. That was your note, was n't it? TRINITY I had to gamble that you would see and they would n't. NEO Who would n't? TRINITY I ca n't explain everything to you. I'm sure that it's all going to seem very strange, but I brought you here to warn you, Neo. You are in a lot of danger. NEO What? Why? TRINITY They're watching you. Something happened and they found out about you. Normally, if our target is exposed we let it go. But this time, we ca n't do that. NEO I do n't understand - TRINITY You came here because you wanted to know the answer to a hacker's question. NEO The Matrix. What is the Matrix? TRINITY Twelve years ago I met a man, a great man, who said that no one could be told the answer to that question. That they had to see it, to believe it. Her body is against his ; her lips very close to his ear. TRINITY He told me that no one should look for the answer unless they have to because once you see it, everything changes. Your life and the world you live in will never be the same. It's as if you wake up one morning and the sky is falling. There is a hypnotic quality to her voice and Neo feels the words like a drug, seeping into him. TRINITY The truth is out there, Neo. It's looking for you and it will find you, if you want it to. She takes hold of him with her eyes. TRINITY That's all I can tell you right now. Good - bye, Neo. And good luck. NEO Wait. Who was it? Who was the man? She leans close, her lips alrost touching his ear as she whispers. TRINITY You know who. She turns and he watches her melt into the shifting wall of bodies. A SOUND RISES steadily, growing out of the music, pressing in on Neo until it is all he can hear as we -",
"INT. NEO'S APARTMENT The sound is an ALARM CLOCK, slowly dragging Neo to consciousness. He strains to read the clock face : 9:15 A.M. NEO Shitshitshit.",
"EXT. SKYSCRAPER The downtown office of CorTechs, a software development company.",
"INT. CORTECHS OFFICE The main offices are along each wall, the windows overlooking downtown Chicago. RHINEHEART, the ultimate company man, lectures Neo without looking at him, typing at his computer continuously. Neo stares at two window cleaners on a scaffolding outside, dragging their rubber squeegees down across the surface of the glass. RHINEHEART You have a problem, Mr. Anderson. You think that you're special. You believe that somehow the rules do not apply to you. He stops, glancing over his glasses at Neo, who turns in time. RHINEHEART Obviously, you are mistaken. His long, bony fingers resume clicking the keyboard. RHINEHEART This company is one of the top software companies in the world because every single employee understands that they are a part of a whole. Thus, if an employee has a problem, the company has a problem. He turns again. RHINEHEART The time has come to make a choice, Mr. Anderson. Either you choose to be at your desk on time from this day forth, or you choose to find yourself another job. Do I make myself clear? NEO Yes, Mr. Rhineheart. Perfectly clear.",
"INT. NEO'S CUBICLE The entire floor looks like a human honeycomb, with a labyrinth of cubicles structured around a core of elevators. Neo slumps down into his chair. A TALL EMPLOYEE stands up in the adjacent cubicle, leaning over the partition. TALL EMPLOYEE What did he say? NEO If I was late again, I'm going to be fired. He smirks. TALL EMPLOYEE Well, it was nice working with you. Neo glares at him, as he sinks down. VOICE -LRB- O.S. -RRB- Thomas Anderson? Neo turns and finds a FEDERAL EXPRESS MAN at his cubicle door. NEO Yeah. That's me. Neo signs the electronic pad and the Fedex guy hands him the softpak. FEDEX Have a nice day. He opens the bag. Inside is a CELLULAR PHONE. It seems the instant it is in his hand, it RINGS. Unnerved, he flips it open. NEO Hello? MORPHEUS -LRB- V.O. -RRB- Hello, Neo. This is Morpheus. Neo's knees give and he falls into his chair. MORPHEUS -LRB- V.O. -RRB- I had hoped for this conversation to take place under less adverse conditions, but you can never count on hope, can you, Neo? NEO no. MORPHEUS -LRB- V.O. -RRB- I've been watching you, Neo, and I want to meet you. I do n't know if you're ready to see what I want to show you, but unfortunately, we have run out of time. They're coming for you, Neo. And I'm not sure what they're going to do. NEO Who's coming for me? MORPHEUS -LRB- V.O. -RRB- Stand up and see for yourself. NEO Right now? MORPHEUS -LRB- V.O. -RRB- Yes. Now. Neo starts to stand. MORPHEUS -LRB- V.O. -RRB- Do it slowly. Slowly. The elevator. His head slowly peeks up over the partition. At the elevator, he sees Agent Brown and Agent Jones leading a group of cops. A female employee turns and points out Neo's cubicle. Neo ducks. NEO Holy fuckin' shit! MORPHEUS -LRB- V.O. -RRB- Yes. One cop stays at the elevator, the others follow the agents. NEO What the fuck do they want with me?! MORPHEUS -LRB- V.O. -RRB- I'm not sure. But, if you do n't want to find out, you better get out of there. NEO How?! MORPHEUS -LRB- V.O. -RRB- I can guide you out, but you have to do exactly what I say. The agents are moving quickly towards the cubicle. MORPHEUS -LRB- V.O. -RRB- The cubicle across from you is empty. NEO But what if? MORPHEUS -LRB- V.O. -RRB- Go! Now! Neo lunges across the hall, diving into the other cubicle just as the agents turn into his row. Neo crams himself into a dark corner, clutching the phone tightly to him. MORPHEUS -LRB- V.O. -RRB- Stay here for a moment. The agents enter Neo's empty cubicle. A cop is sent to search the bathroom. Morpheus' voice is a whisper in Neo's ear. MORPHEUS -LRB- V.O. -RRB- A little longer. Brown is talking to the tall employee. MORPHEUS -LRB- V.O. -RRB- When I tell you, go to the end of the row to the first office on the left, stay.as low as you can. Sweat trickles down his forehead. MORPHEUS -LRB- V.O. -RRB- Now. Neo rolls out of the cubicle, his eyes popping as he freezes right behind a cop who has just turned around. Staying crouched, he sneaks away, down the row, SHOOTING across the opening to the first office on the left. The room is empty. MORPHEUS -LRB- V.O. -RRB- Good. Now there is a window. Open it. NEO How do you know all this? Morpheus laughs quietly. MORPHEUS -LRB- V.O. -RRB- The answer is coming, Neo. He opens the window. The window howls into the room. MORPHEUS -LRB- V.O. -RRB- Outside, there's a scaffold. You can use it to get to the roof. Leaning out the window, he sees that the scaffold is several offices away. NEO No! It's too far away. MORPHEUS -LRB- V.O. -RRB- There's a small ledge. It's a short climb. You can make it. Neo looks down ; the building's glass wall vertigos into a concrete chasm. NEO No way, no way, this is crazy. MORPHEUS -LRB- V.O. -RRB- Do n't be controlled by your fear, Neo. There are only two ways out of this building. One is that scaffold. The other is in their custody. You take a chance either way. I leave it to you. CLICK. He hangs up. Neo looks at the door, then back at the scaffold. NEO This is insane! Why is this happening to me? What did I do? I'm nobody. I did n't do anything. Fuck! Fuck! Fuck! He climbs up onto the window ledge. Hanging onto the frame, he steps onto the small ledge. The scaffold seems even farther away. NEO I'm going to die. The WIND suddenly BLASTS up the face of the building, knocking Neo off balance. Recoiling, he clings harder to the frame, and the phone falls out of his hand. He watches as it is swallowed by the distance beneath him. NEO This is insane. I ca n't do this! Forget it! He climbs back into the office just as a cop opens the door. NEO I did n't do anything!",
"EXT. SKYSCRAPER The agents lead a handcuffed Neo out of the revolving doors, forcing his head down as they push him into the dark sedan. Trinity watches in the rear view mirror of her motorcycle. TRINITY Shit.",
"INT. INTERROGATION ROOM - CLOSE ON CAMERA MONITOR A wide angle view of a white roon, where Neo is sitting at a table alone. We MOVE INTO the monitor, ENTERING the room as if the monitor were a window. At the same moment, the door opens and the agents enter. Smith sits down across from Neo. A thick manila envelope slaps down on the table between them. Neo glances at the name on the file : `` Anderson, Thomas A.'' AGENT SMITH As you can see, we've had our eye on you for some time now, Mr. Anderson. He opens the file. Paper rattle marks the silence as he flips several pages. Neo can not tell if he is looking at the file or at him. AGENT SMITH It seems that you have been living two lives. In one life, you are Thomas A. Anderson, program writer for a respectable software company. You have a social security number, you pay your taxes and you help your land lady carry out her garbage. The pages continue to turn. AGENT SMITH The other life is lived in computers where you go by the hacker alias Neo, and are guilty of virtually every computer crime we have a law for, including the unauthorized use of the D.M.V. system for the removal of automobile boots. Neo feels himself sinking into a pit of shit. AGENT SMITH One of these, lives has a future. One of them does not. He closes the file. AGENT SMITH I'm going to be as forthcoming as I can be, Mr. Anderson. You are here because we need your help. He removes his sunglasses ; his eyes are an unnatural ice - blue. AGENT SMITH We know that you have been contacted by a certain individual. A man who calls himself Morpheus. Whatever you think you know about this man is irrelevant to the fact that he is wanted for acts of terrorism in more countries than any other man in the world. He is considered by many authorities to be the most dangerous man alive. He leans closer. AGENT SMITH My colleagues believe that I am wasting my time with you, but I believe you want to do the right thing. It is obvious that you are an intelligent man, Mr. Anderson, and that you are interested in the future. That is why I believe you are ready to put your past mistakes behind you and get on with your life. Neo tries to match his stare. AGENT SMITH We are willing to wipe the slate clean, to give you a fresh start and all we are asking in return is your cooperation in bringing a known terrorist to justice. Neo nods to himself. NEO Yeah. Wow. That sounds like a real good deal. But I think I have a better one. How about I give you the finger - He does. NEO And you can cram that file up your Secret Service sphincter. Agent Smith puts his glasses back on. AGENT SMITH You disappoint me, Mr. Anderson. NEO You ai n't seen nothing yet. AGENT SMITH The irony of your situation is that you have no choice. NEO You ca n't scare me with this gestapo crap. I know my rights. I want my phone call. Agent Smith smiles. AGENT SMITH And tell me, Mr. Anderson, what good is a phone call iy you are unable to speak? The question unnerves Neo and strangely, he begins to feel the muscles in his jaw tighten. The standing agents snicker, watching Neo's confusion grow into panic. Neo feels his lips grow soft and sticky as they slowly seal shut, melding into each other until all trace of his mouth is gone. Wild with fear, he lunges for the door but the agents restrain him holding him in the chair. AGENT SMITH You are going to help us, Mr. Anderson, whether you want to or not. Smith nods and the other two rip open his shirt. From a case taken out of his suit coat, Smith removes a long, fiber - optic wire tap. Neo struggles helplessly as Smith dangles the wire over his exposed abdomen. Horrified, he watches as the electronic device animates, become an organic creature that resembles a hybrid of an insect and a fluke worm. Thin, whisker - like tendrils reach out and probe into Neo's navel. He bucks wildly as Smith drops the creature which looks for a moment like an uncut umbilical cord - Before it begins to burrow its, tail thrashing as it worms its way inside.",
"INT. NEO'S APARTMENT - NIGHT Screaming, Neo bolts upright in bed. He realizes that he is home. Was it a dream? His mouth is normal. His stomach looks fine. He starts to take a deep, everything - is - okay breath, when - The PHONE RINGS. It almost stops his heart. It CONTINUES RINGING, building pressure in the room, forcing him up out of bed, sucking him in with an almost gravitational force. He answers it, saying nothing. MORPHEUS -LRB- V.O. -RRB- This line is tapped, so I must be brief. NEO The agents - MORPHEUS -LRB- V.O. -RRB- They got to you first, but they've underestimated how important you are. If they knew what I know, you would probably be dead. Neo feels sick. MORPHEUS -LRB- V.O. -RRB- I do n't know what you are thinking right now but I want you to understand that I will not give up on you until you give up on me. Neo's throat cracks, dry as the Sahara. MORPHEUS -LRB- V.O. -RRB- Do you still want to meet? NEO Yes. MORPHEUS -LRB- V.O. -RRB- Take the Howard line south. CLICK. He closes his eyes, unsure of what he has done.",
"EXT. EL TRAIN An EL TRAIN RAGES against its metal rails.",
"INT. TRAIN It is three a.m., and the train carries the usual urban night crawlers. Neo sits alone, eyes shifting, watching everything nervously. There is a METAL BANG and TRAIN CLATTER fills the car as the door is opened. Neo turns and sees a large man enter. He is wearing sunglasses and a black leather jacket. His name is APOC and he walks straight at Neo. APOC Come with me. Neo stands just as the door at the opposite end opens and two police officers rush in, drawing their guns. Apoc grabs Neo, muscling him to the nearest exit. There is no upcoming station. Apoc yanks the emergency brake and the train buckles against its own speed. The cops are thrown back. Neo slams against the metal rail. The doors open onto nothing and just when Neo regains his balance, Apoc shoves him backwards - He flies out from the train, arms windrilling as he falls from, the raised tracks - Hurtling towards a busy city street when, out of nowhere, a truck races under him and - He crashes into a large dumpster - bed filled with empty boxes.",
"INT. TRUCK BED Still shaking his head, Neo realizes he is not alone. A man named Cabie is aiming a big gun at him. Trinity is next to him, talking into a cellular phone. TRINITY We got him. Call the chop - shop. She hangs up. TRINITY Listen to me, Neo. You have to, trust us. She tears off a long strip of black duct - tape and reaches for his face. NEO What are you doing? TRINITY This has to be done for your protection and ours. She seals his eyes shut with the tape. TRINITY You ca n't understand right now, but if you're not one of us, you're one of them.",
"EXT. LOWER WACKER A featureless black van glides up to a staircase that curls down from the city's surface. trinity guides the blind Neo down the steps. The back of the van slaps open, revealing a young, skinny man who looks to be still in his teens, wearing an outfit that is a cross between a surgeon and a telephone repair man. His name is GIZMO and he smiles lewdly at Trinity, exposing his teeth that are wired with weird - looking braces. GIZMO Va va va voom. Still the hottest software around. TRINITY Hello, Gizmo. Neo hears the voices around him. GIZMO This is really the guy? The guy that Morpheus thinks - TRINITY Yeah. GIZMO But he's so old. TRINITY Are you going to help us or are n't you? GIZMO Hacksaw. Load up the copper - top and let's get the hell outta here. Hacksaw is a huge man in a leather welder's apron. He shoulders Neo and hauls him into the van. A moment later the green lights of Lower Wacker curve over the tinted windshield as the van rushes through the underworld.",
"INT. VAN The chop - shop is filled with electronic gadgets, wired to meters and monitors. There are shelves lined with medical supplies and rows of hanging tools, knives, cleavers, and stainless steel clamps. Neo is strapped down to an ambulance cart, listening nervously as Gizmo gets to work. GIZMO Okay, first we take a little look under the hood. He pulls up the goggles hanging at his neck and they blink to life with tiny halogen lights and lenses irising to varying levels of magnification. GIZMO You're going to feel a little prick. He inserts acupuncture - like needles into Neo's lower abdomen. The needles are wired to video monitors. Hacksaw pilots the fiber - optic lens. NEO What are you doing? TRINITY We think you're bugged. We ca n't take you to Morpheus until you're clean. GIZMO There it is. On a monitor, we see the bug nestled in among Neols large intestines. GIZMO Hit him with 10 ccs of local. Hacksaw loads a hypodermic needle and pumps an anesthetic around Neols navel. Using a device that looks like a miniature speculum, Gizmo inserts a knuckled dental pick. Typing into a calculator keypad wired to the pick, he automates the tip. On the monitor, we watch it telescope out and the end separate into a tiny hooked, metal claw. GIZMO Here, kitty, kitty, kitty. The claw snags hold of the bug. GIZMO Gotcha! But the bug reacts violently. Neo screams as it wraps itself around the soft tissue web of intestine. GIZMO Shit. TRINITY What's happening? GIZMO I do n't know. They've never done that before. Neo writhes in pain. GIZMO Hold him down. NEO Jesus! God! TRINITY Do something! GIZMO I got it! Maybe we can stun it. TRINITY Are you crazy? That will kill him. We watch Neo, who ca n't see what they are talking about. GIZMO It'll work. Come on, do it or Hacksaw will. NEO Do what? The instant he hears the word, he knows. TRINITY Clear. NEO Oh, shit - The cry is frozen in his mouth as the paddles hit his chest. Gizmo wrestles with the bug. GIZMO Hit him again! Again, the electricity convulses through him as Gizmo yanks the speculum out. GIZMO Got it! Trinity touches Neo, who is just beginning to breathe. She eases the tape off his eyes. TRINITY Neo, are you okay? He nods. TRINITY It's over. We got it. Hanging from the claw pick is the inanimate metal wire - tap. GIZMO Nasty little bugger, ai n't it?",
"INT. HOTEL LAFAYETTE The van stops in a deserted alley behind a forgotten hotel. The doors open and Trinity helps Neo get out. TRINITY Thanks for your help, Gizmo. GIZMO I just hope the man knows what he's doing. She nods then climbs out of the van. Gizmo ogles the tight leather pants. GIZMO Goddamn, what I would n't give for a copy of that software. Trinity turns around. TRINITY Gizmo, you do n't have the hardware to handle this software. He howls with adolescent laughter as the van pulls away. Trinity turns to Neo. TRINITY Let's go. He's waiting.",
"INT. HOTEL LAFAYETTE It is a place of putrefying elegance, a rotting host of urban maggotry. Trinity leads Neo from the stairwell down the hall of the thirteenth floor. They stop outside room 1313. TRINITY This is it. Neo can hear his own heart pounding. TRINITY Let me give one piece of advice. Be honest. He knows more than you can possibly imagine.",
"INT. ROOM 1313 Across the room, a dark figure stares out the tall windows veiled with decaying lace. He turns and his smile lights up the room. MORPHEUS At last. He wears a long black coat and his eyes are invisible behind circular mirrored glasses. He strides to Neo and they shake hands. MORPHEUS Welcome, Neo. As you no doubt have guessed, I am Morpheus. NEO It's an honor. MORPHEUS Please. Come. Sit. He nods to Trinity. MORPHEUS Thank you, Trinity. She bows her head sharply and exits through a door to an adjacent room. They sit across from one another in cracked, burgundy - leather chairs. MORPHEUS I imagine, right now, you must be feeling a bit like Alice, tumbling down the rabbit hole? NEO You could say that. MORPHEUS I can see it in your eyes. You have the look of a man who accepts what he sees because he is expecting to wake up. A smile, razor - thin, curls the corner of his lips. MORPHEUS Ironically, this is not far from the truth. But I'm getting ahead of myself. Can you tell me, Neo, why are you here? NEO You're Morpheus, you're a legend. Most hackers would die to meet you. MORPHEUS Yes. Thank you. But I think we both know there's more to it than that. Do you believe in fate, Neo? NEO No. MORPHEUS Why not? NEO Because I do n't like the idea that I'm not in control of my life. MORPHEUS I know exactly what you mean. Again, that smile that could cut glass. MORPHEUS Let me tell you why you are here. You are here because you have the gift. NEO What gift? MORPHEUS I've watched you, Neo. You do not use a computer like a tool. You use it like it was part of yourself. What you can do inside a computer is not normal. I know. I've seen it. What you do is magic. Neo shrugs. NEO It's not magic. MORPHEUS But it is, Neo. It is. How else would you describe what has been happening to you? He leans forward. MORPHEUS We are trained in this world to accept only what is rational and logical. Have you ever wondered why? Neo shakes his head. MORPHEUS As children, we do not separate the possible from the impossible which is why the younger a mind is the easier it is to free while a mind like yours can be very difficult. NEO Free from what? MORPHEUS From the Matrix. Neo locks at his eyes but only sees a reflection of himself. MORPHEUS Do you want to know what it is, Neo? Neo swallows and nods his head. MORPHEUS It's that feeling you have had all your life. That feeling that something was wrong with the world. You do n't know what it is but it's there, like a splinter in your mind, driving you mad, driving you to me. But what is it? The LEATHER CREAKS as he leans back. MORPHEUS The Matrix is everywhere, it's all around us, here even in this room. You can see it out your window, or on your television. You feel it when you go to work, or go to church or pay your taxes. It is the world that has been pulled over your eyes to blind you from the truth. NEO What truth? MORPHEUS That you are a slave, Neo. That you, like everyone else, was born into bondage. kept inside a prison that you can not smell, taste, or touch. A prison for your mind. Outside, the WIND BATTERS a loose PANE of glass. MORPHEUS Unfortunately, no one can be told what the Matrix is. You have to see it for yourself. NEO How? MORPHEUS Hold out your hands. In Neo's right hand, Morpheus drops a red pill. MORPHEUS This is your last chance. After this, there is no going back. In his left, a blue pill. MORPHEUS You take the blue pill and the story ends. You wake in your bed and you believe whatever you want to believe. The pills in his open hands are reflected in the glasses. MORPHEUS You take the red pill and you stay in Wonderland and I show you how deep the rabbit - hole goes. Neo feels the smooth skin of the capsules, with the moisture growing in his palms. MORPHEUS Remember that all I am offering is the truth. Nothing more. Neo opens his mouth and swallows the red pill. The Cheshire smile returns. MORPHEUS Follow me. He leads Neo into the other room, which is cramped with high - tech equipment, glowing ash - bliie and electric green from the racks of monitors. Trinity, Apoc and Cypher look up as they enter. CYPHER Shit. TRINITY I knew he would. Cypher saddles up to Morpheus, talking in a hushed tone away from, Neo. CYPHER Morpheus, I know what you believe but I think this is a mistake. We're rushing him. He's old. I'm afraid he might pop. MORPHEUS Have n't I always told you, Cypher, not to let fear control your life. Apoc, are we on - line? Neo recognizes the large man from the El train. APOC Almost. He and Trinity are working quickly, hardwiring a complex system of monitors, modules and drives. NEO Apoc? You wrote the Four Horsemen Virus. APOC That's right. MORPHEUS Neo, time is always against us. Will you take a seat there? In the center of the room sits a chair. Near the chair is an old oval dressing mirror that is cracked. MORPHEUS I imagine you know sonething about virtual reality. Neo sits and Trinity begins gently fixing white electrode disks to his head, arns, and the back of his neck. NEO A little. MORPHEUS Tell me about it. NEO Essentially, it's a hardware system that uses an apparatus ; headgear, gloves and whatever to make you feel that you are in a computer program. MORPHEUS If the virtual reality apparatus, as you called it, was wired to all of your senses and controlled them completely, would you be able to tell the difference between the virtual world and the real world? NEO You might not, no. MORPHEUS No, you would n't. Neo whispers to Trinity. NEO You did all this? She nods, placing a set of headphones over his ears. They are wired to an old hotel phone. MORPHEUS The pill you took is part of a trace program. It's going to make things feel a bit strange. Distantly, through the ear phones, he hears Apoc POUNDING on a KEYBOARD. Sweat beads his face. His eyes blink and twitch when he notices the mirror. Wide - eyed he stares as it begins to heal itself, a webwork of cracks that slowly run together as though the mirror were becoming liquid. NEO Shit. Cypher works with Apoc checking reams of phosphorescent data. Trinity monitors Neo's electric vital signs. Neo reaches out to touch the mirror and his fingers disappear beneath the rippling surface. Quickly, he tries to pull his fingers out but the mirror stretches in long rubbery strands like mirrored - taffy stuck to his fingertips. NEO What is this? Mescaline? MORPHEUS Just relax, Neo. The strands thin like rubber cement as he pulls away, until the fragile wisps of mirror thread break. With the TINKLING of GLASS, shimmering snowflakes of electric - blinking mercury fall, hit the ground, and fade. He looks at his hand ; fingers distended into mirrored icicles that begin to melt rapidly, dripping, running like wax down his fingers, spreading across his palms where he sees his face reflected. NEO Uh - oh. TRINITY It's going into replication. MORPHEUS Apoc? APOC Still nothing. Morpheus takes out a cellular phone and dials a number. MORPHEUS Tank, we're going to need the signal soon. Stay calm, Neo. The mirror gel seems to come to life, racing, crawling up his arns like hundreds of insects. NEO It's cold. The mirror creeps up his neck as Neo begins to panic, tipping his head as though he were sinking into the mirror, trying to keep his mouth up. NEO It's all over me - Morpheus is right next to him, with the phone. TRINITY I got a fibrillation! CYPHER I knew it, I knew it. MORPHEUS Shit! Apoc? Streams of mercury run from Neo's nose. APOC Targeting. almost there. An ALARM, on Trinity's monitor ERUPTS. TRINITY He's going into arrest! CYPHER He's gon na pop! APOC Lock! I got him! MORPHEUS Now, Tank now! His eyes tear with mirror, rolling up and closing as a high - pitched ELECTRIC SCREAM ERUPTS in the headphones - It is a piercing SHRIEK like a computer calling to another computer - Neo's body arches in agony and we are pulled like we were pulled into the holes of the phone Sucked into his SCREAM and swallowed by darkness.",
"INT. POWER PLANT - CLOSE ON MAN'S BODY Floating in a womb - red amnion. His body spasms, fighting against the thick gelatin. Metal tubes, surreal versions of hospital tubes, obscure his face. Other lines like IVs are connected to limbs and cover his genitals. He is struggling desperately now. Air bubbles into the Jell - O but does not break the surface. Pressing up, the surface distends, stretching like a red rubber coccon. Unable to breathe, he fights wildly to stand, clawing at the thinning elastic shroud - Until it ruptures, a hole widening around his mouth as he sucks for air. Tearing himself free, he emerges from the cell. It is Neo. He is bald and naked, his body slick with gelatin. Dizzy, nauseous, he waits for his vision to focus. He is standing in an oval capsule of clear alloy filled with red gelatin, the surface of which has solidified like curdled milk. The IVs in his arms are plugged into outlets that appear to be grafted to his flesh. He feels the weight of another cable and reaches to the back of his head where he finds an enormous coaxial plugged and locked into the base of his skull. He tries to pull it out but it would be easier to pull off a finger. To either side he sees other tube - shaped pods filled with red gelatin ; beneath the wax - like surface, pale and motionless, he sees other human beings. Fanning out in a circle, there are more. All connected to a center core, each capsule like a red, dimly glowing petal attached to a black metal stem. Above him, level after, level, the stem rises seemingly forever. He moves to the foot of the capsule and looks out. The image assaults his mind. Towers of glowing petals spiral up to incomprehensible heights, disappearing down into a dim murk like an underwater abyss. His sight is blurred and warped, exaggerating the intensity of the vision. The sound of the PLANT is like the sound of the ocean heard from inside the belly of Leviathan. Below Neo, a petal detaches from the stem, bearing away the body of an old man like an automated barge even as a new pod rises up and plugs itself into the empty space. Inside the new capsule, its surface more translucent and pinkish in color, Neo sees a small baby. From above, a machine drops directly in front of Neo. He swallows his scream as it seems to stare at him. It is almost insect - like in its design ; beautiful housings of alloyed metal covering organic - like systems of hard and soft polymers. A black particle beam washes over Neo, he reacts in pain as the scanner seems to expose the nervous system wired to the coaxial cable at his cerebral cortex. At the back of the neck, the cable lock spins and opens, disengaging. The cable pulls itself free, a long clear plastic needle and cerebrum - chip slides from the anterior of Neols skull with an ooze of blood and spinal fluid. The other connective hoses snap free and snake away as - The back of the unit opens and a tremendous vacuum, like an airplane door opening, sucks the gelatin and then Neo into a black hole.",
"INT. WASTE LINE The pipe is a waste disposal system and Neo falls, sliding with the clot of gelatin. Banking through pipe spirals and elbows, flushing up through grease traps clogged with cily clunps of cellulite. Neo begins to drown when he is suddenly snatched from the flow of waste. The metallic cable then lifts, pulling him up into the belly of the futuristic flying nachine, hovering inside the sewer main line.",
"INT. HOVERCRAFT The metal harness opens and drops the half - conscious Neo onto the floor. Human hands and arms help him up as he finds himself looking straight at Morpheus. Trinity and Apoc. And others, dressed in bizarre, high - tech combat gear. Morpheus smiles. MORPHEUS Welcome to the real world, Neo. Neo passes out. FADE TO BLACK. We have no sense of time. We hear VOICES whispering. MAN -LRB- O.S. -RRB- Do you think Morpheus is right? Do you think he could be the One? WOMAN -LRB- O.S. -RRB- It does n't matter now. But if he's wrong. NEO'S POV Neo's eyes flutter open. We see Trinity's face above us, angelic in the fluorescent glow of a light stick. ANGLE ON NEO NEO am I dead? TRINITY Far from it. FADE TO BLACK. ANGLE ON NEO He opens his eyes again, something tingling through him. He focuses and sees his body pierced with dozens of acupuncture - like needles wired to a strange device. DOZER He needs a lot of work. MORPHEUS I know. Dozer and Morpheus are operating on Neo. NEO What are you doing? MORPHEUS Your muscles have atrophied. We're rebuilding them. Fluorescent light sticks burn unnaturally bright. NEO Why do my eyes hurt? MORPHEUS You've never used them before. Morpheus takes his sunglasses off and puts them on Neo. Neo lays back. MORPHEUS Rest, Neo. The answers are coming.",
"INT. NEO'S ROOM Neo wakes up from a deep sleep, feeling better. He is wearing a black tank top and shorts. He begins to examine himself. There is a futuristic IV plugged into the jack in his forearm. He pulls it out, staring at the grafted outlet. He feels his bald head. His fingers find and explore the large outlet in the base of his skull. Just as he starts to come unglued, Morpheus opens the door. NEO Morpheus, what's happened to me? What is this place? MORPHEUS More important than what is when? NEO When? MORPHEUS You believe the year is 1997 when in fact it is much closer to 2197. I ca n't say for certain what year it is because we honestly do not know. The wind is knocked from Neo's chest. NEO That's not possible. MORPHEUS I promised you the truth, Neo, and the truth is that the world you were living in was a lie. NEO How? MORPHEUS I'll show you.",
"INT. HOVERCRAFT Like a sleepwalker, Neo follows Morpheus through the ship. MORPHEUS This is my ship, the Nebuchadnezzar. It's a hovercraft. Small like a submarine. It's dark. It's cramped and cold. But it's home. They climb a ladder up to the main deck.",
"INT. MAIN DECK Everyone is there. MORPHEUS This is the main deck. You know most of my crew. Trinity smiles and nods. MORPHEUS The ones you do n't know. That's Mouse and Switch. The two big guys are Tank and Dozer. The names and faces wash meaninglessly over Neo. MORPHEUS And this, this is the Core. This is where we broadcast our pirate signal and hack into the Matrix. It is a swamp of bizarre electronic equipment. Vines of coaxial hang and snake to and from huge monolithic battery slabs, a black portable satellite dish and banks of little systems and computer monitors. At the center of the web, there are six ectoskeleton chairs made of a poly - alloy frame and suspension harness. Near the circle of chairs is the control console and operator's station where the network is monitored. MORPHEUS Help him, Trinity. Neo allows himself to be helped into one of the chairs. MORPHEUS Do you remember when I asked you about an apparatus that could turn a virtual reality into reality? Neo nods. MORPHEUS It's right here. He touches Neo's head. MORPHEUS And it's accessed here. Neo feels Morpheus guiding a coaxial line into the jack at the back of his neck. The cable has the same kind of cerebellum chip we saw inside the plant. MORPHEUS This will feel a little weird. There are several disturbing NOISES as he works the needle in. We MOVE IN as Neo's shoulders bunch and his face tightens into a grimace until a loud CLICK fires and his ears pop like when you equalize them underwater. He relaxes, opening his eyes as we pull back to a feeling of weightlessness inside another place -",
"INT. CONSTRUCT Neo is standing in an empty, blank - white space. MORPHEUS This is the Construct. Startled, Neo whips around and finds Morpheus now in the room with him. MORPHEUS It is our loading program. We can load anything from clothes, to weapons, to training simulations. Anything we need. Morpheus walks past Neo and when Neo turns he sees the two leather chairs from the hotel set up in front of a large - screen television. MORPHEUS Sit down. Neo stands at the back of the chair as Morpheus sits. NEO Right now, we're inside a computer program? MORPHEUS Wild, is n't it? Neo's hands run over the cracked leather. NEO This is n't real? MORPHEUS What is real? How do you define real? If you're talking about your senses, what you feel, taste, smell, or see, then all you're talking about are electrical signals interpreted by your brain. He picks up a remote control and clicks ON the TELEVISION. We drift through the Windy City circa 1996. MORPHEUS This is the Chicago you know. Chicago as it was at the end of the twentieth century. This Chicago exists only as part of a neural - interactive simulation that we call the Matrix. We GLIDE AT the television as he changes the channel. MORPHEUS You have been living inside Baulliaurd's vision, inside the map, not the territory. This is Chicago as it exists today. The sky is an endless sea of black and green bile. The earth, scorched and split like burnt flesh, spreads out beneath us as we ENTER the television. MORPHEUS ` The desert of the real.' In the distance, we see the ruins of a future Chicago protruding from the wasteland like the blackened ribs of a long - dead corpse. MORPHEUS We are, right now, miles below the earth's surface. The only place humans can survive outside the Matrix is underground. Still MOVING, we TURN and find Neo and Morpheus ; the chairs now sitting in the middle of the black desert. Dizzy, Neo holds onto the chair. NEO What happened? MORPHEUS It started early in the twenty - first century, with the birth of artificial intelligence, a singular consciousness that spawned an entire race of machines. In his sunglasses, we see storm clouds gather. MORPHEUS At first all they wanted was to be treated as equals, entitled to the same human inalienable rights. Whatever they were given, it was not enough. In the circular window of the glasses, EXPLOSIONS light up a bloody battle field. MORPHEUS We do n't know who struck first. Us or them. But sometime at the end of the twenty - first century the battle was joined. We MOVE INTO his glasses and the war surrounds us. MORPHEUS The war raged for generations and turned the face of our planet from green and blue to black and red. At last we see the Sentinels ; killing machines that are at once terrifying and beautiful. They have an organic architecture like a microbiotic organism, that is perpetually in motion. The Sentinel cracks the body armor of a soldier, splitting open the soft, stearing meat inside. MORPHEUS It scorched and burned the sky. Without the sun, the machines sought out a new energy source to survive. The Sentinel locks up, as heat lightning of black ink bursts against the sky, spreading into a permanent cloud of stain. MORPHEUS They discovered a new form of fusion. All that was required to initiate the reaction was a small electric charge. Throughout human history we have been dependent on machines to survive. Fate, it seems, is not without a sense of irony. We return to the power plant that Neo escaped from where we see human beings looking almost blissful in their gelatin cocoons. MORPHEUS The human body generates more bio - electricity than a 120 - volt battery and over 25,000 B.T.U.'s of body heat. Outside, spreading all around the power plant, beneath a breathing greenhouse, are the growing fields. MORPHEUS We are, as an energy source, easily renewable and completely recyclable, the dead liquified and fed intravenously to the living. Huge farm - like reapers are harvesting the crop. MORPHEUS All they needed to control this new battery was something to occupy our mind. We see inside a clear tubular husk. Floating in viscous fluid, there is a human fetus ; its soft skull already growing around the brain - jack. MORPHEUS And so they built a prison out of our past, wired it to our brains and turned us into slaves. We PULL BACK to find the image is now on the television and we are again inside the white space of the Construct. NEO No! I do n't believe it! It's not possible! MORPHEUS I did n't say that it would be easy, Neo. I just said that it would be the truth. The room without walls begins to spin. NEO Stop! Let me out! I want out!",
"INT. MAIN DECK His eyes snap open and he thrashes against the chair, trying to rip the cable from the back of his neck. NEO Get this thing out of me! TRINITY Easy, Neo. Easy. Dozer holds him while Trinity unlocks it. Once it's out, he tears away from them, falling as he trips free of the harness. NEO Do n't touch me! Get away from me! On his hands and knees, he reels as the world spins. Sweat pours off him as a pressure builds inside his skull as if his brian had been put into a centrifuge. CYPHER He's going to pop! Vomiting violently, Neo pitches forward and blacks out.",
"INT. NEO'S ROOM He blinks, regaining consciousness. The room is dark. Neo is stretched out on his bed. NEO I ca n't go back, can I? Morpheus sitting like a shadow on a chair in the far corner. MORPHEUS No. But if you could, would you really want to? Neo is n't sure of that answer. MORPHEUS I feel that I owe you an apology. There is a rule that we do not free a mind once it reaches a certain age. It is dangerous. They have trouble letting go. Their mind turns against them. I've seen it happen. I broke the rule because I had to. He stares into the darkness, confessing as much to himself as Neo. MORPHEUS When the Matrix was first built there was a man born inside that had the ability to change what he wanted, to remake the Matrix as he saw fit. It was this man that freed the first of us and taught us the secret of the war ; control the Matrix and you control the future. He pauses. MORPHEUS When he died, the Oracle at the temple of Zion prophesied his return and envisioned an end to the war and freedom for our people. That is why there are those of us that have spent our entire lives searching the Matrix, looking for him. Neo can feel his eyes on him. MORPHEUS I did what I did, because I believe we have been brought here for a reason, Neo. You are here to serve a purpose, just as I am here to serve mine. NEO I told you I do n't believe in fate. Morpheus smiles, leaning towards hin. MORPHEUS But I do, Neo. I do. He stands up. MORPHEUS Get some rest. You're going to need it. NEO For what? MORPHEUS Your training.",
"INT. HOVERCRAFT There is no morning ; there is only darkness and then the fluorescent light sticks flicker on.",
"INT. NEO'S ROOM Neo is awake in his bed, staring up at the lights. The door opens and TA.NK steps inside. TANK Morning. Did you sleep? NEO No. TANK You will tonight. I guarantee it. I'm Tank. I'll be your operator. He offers his hand and Neo shakes it. He notices that Tank does n't have any jacks. NEO You do n't have. TANK Any holes? Nope. Me and my brother Dozer, we are 100 percent pure, old fashioned, home - grown human. Born free. Right here in the real world. Genuine child of Zion. NEO Zion? TANK Zion is the place, man. You'll see it one day. Last human city. All we got left. Tank smiles. TANK Goddamn, I got to tell you I'm fairly excited to see what you are capable of. I mean if Morpheus is right and all. We're not supposed to talk.about any of that, but if you are, well then this is an exciting time. We got a lot to do so let's get to it.",
"INT. MAIN DECK Neo is plugged in, hanging in one of the suspension chairs. TANK We're supposed to load all these operations programs first, but this is some major boring shit. Why do n't we start something a little fun? Tank smiles as he plops into his operator's chair. He begins flipping through a tall carousel loaded with micro discs. TANK How about sore combat training? Neo reads the label on the disk. NEO Jiujitsu? I'm going to learn jujitsu? Tank slides the disk into Neo's supplement drive. NEO No way. Smiling, Tank punches the `` load'' code. His body jumps against the harness as his eyes clamp shut. The monitors kick wildly as his heart pounds, adrenaline surges, and his brain sizzles. An instant later his eyes snap open. NEO Holy shit! TANK Hey, Mikey, he likes it! Ready for more? NEO Hell yes!",
"INT. MAIN DECK - CLOSE ON COMPUTER MONITOR - LATER as grey pixels slowly fill a small, half - empty box. It is a meter displaying how much download time is left. The title bar reads : `` Combat Series 10 of 12,'' file categories flashing beneath it : Savate, Jujitsu, Ken Po, Drunken Boxing. Morpheus walks in. MORPHEUS How is he? Tank looks at his watch, rubs his eyes. TANK Ten hours straight. He's a machine. Neo's body spasms and relaxes as his eyes open, breath hissing from his lips. He looks like he just orgasmed. He locks at Morpheus. NEO This is incredible. I know Kung Fu. Morpheus sits in the drive chair next to hin. He nods to Tank. MORPHEUS Show me.",
"INT. DOJO They are standing in a very sparse japanese - style dojo. MORPHEUS This is a sparring program, similar to the programmed reality of the Matrix. Consider this your first lesson. He assumes a fighting stance. MORPHEUS Attack me. Neo assumes a similar stance, cautiously circling until he gives a short cry and launches a furious attack. It is like a Jackie Chan movie at high speed, fists and feet striking from every angle as Neo presses his attack - But each and every blow is blocked by effortless speed.",
"INT. MAIN DECK While their minds battle in the programmed reality, the two bodies appear quite serene, suspended in the drive chairs. Tank monitors their life systems noticing that Neo is wildly and chaotically lit up as opposed to the slow and steady rhythm of Morpheus.",
"INT. MESS HALL Dinner is up. Everyone is eating bowls of single - cell protein. It has a cottage cheese consistency. MOUSE bursts in the room. MOUSE Morpheus is fighting Neo! All at once they bolt for the door.",
"INT. DOJO Neo's face is knotted, teeth clenched, as he hurls himself at Morpheus. MORPHEUS Good. Adaption. Improvisation. But your weakness is n't your technique. Morpheus attacks him and it is like nothing we have seen. His feet and fists are everywhere taking Neo apart. For every blow Neo blocks, five more hit their marks until - Neo falls. Panting, on his hands and knees, blood spits fror, his mouth speckling the white floor of the Dojo. MORPHEUS How did I beat you? NEO You - You're too fast. MORPHEUS Do you think my being faster, stronger has anything to do with my muscles in this place? Neo is frustrated, still unable to catch his breath. MORPHEUS Do you believe that's air you are breathing now? Neo squints at him. MORPHEUS If you can free your mind, the body will follow. Neo stands, nodding. MORPHEUS Again. Their fists fly with pneumatic speed.",
"INT. MAIN DECK Everyone is gathered behind Tank, watching the fight, like watching a game of Mortal Combat. CABLE Jeezus Keerist! That boy is fast! MOUSE You ever seen anyone that fast that soon, Tank? TANK Never. APOC Morpheus is right. He's got to be the one.",
"INT. DOJO The speed of the blows rises like a drum solo that seems impossible to sustain. Neo's face sheds its mask of calm with a scream. He wants to beat Morpheus bad. Finally a single blow catches Morpheus on the side of the head, knocking his glasses off.",
"INT. MAIN DECK There are several gasps. MOUSE I do n't believe it!",
"INT. DOJO Morpheus rubs his face. MORPHEUS You are angry with me. Neo pants. NEO I, uh. maybe. MORPHEUS It's all right. It's natural. NEO I feel better. MORPHEUS Good, good. Anger is a gift, Neo, but it's a heavy one. Morpheus smiles. MORPHEUS Tank, load the jump program. Neo straightens as the dojo DISSOLVES away like a curtain lifting, leaving the two men now standing on a building rooftop in a city skyline. MORPHEUS You have to learn to let go of that anger. You must let go of everything. A WIND HOWLS, whipping Morpheus' long coat to the side. MORPHEUS You must empty yourself to free your mind. Morpheus spins, running hard at the edge of the rooftop. And jumps. He sails through the air, his coat billowing out behind him like a cape - Somersaults once and lands on the rooftop across the street. NEO Shit. Neo looks down at the street twenty floors below, then at Morpheus an impossible fifty feet away. NEO Okie dokie. He takes a deep breath. NEO Yeah. Free my mind. Right. No problem. He concentrates. Runs.",
"INT. MAIN DECK They are transfixed. CABLE He's gon na make it. APOC No way. Not possible. MOUSE No one's ever made their first jump. SWITCH What if he does? APOC He wo n't. TANK It's never been done. Trinity stares at the screen, her fists clenching as she whispers. TRINITY Come on.",
"EXT. ROOFTOP Summoning every ounce of strength in his legs, Neo launches himself into the air in a single maniacal shriek - But comes up drastically short. His eyes widen as he plummets. Stories fly by, the ground rushing up at him, but as he hits - The ground gives way, stretchinp like a trapeze net. He bounces and flips, slowly coming to a rest, flat on his back. He laughs, a bit unsure, wiping the wind - blown tears from his face. Morpheus exits the building and helps him to his feet. MORPHEUS Everyone falls the first time. Neo nods quietly. MORPHEUS If you never know failure, how can you know success?",
"INT. MAIN DECK They break up. MOUSE What does it mean? CABLE It does n't mean anything. CYPHER Everyone falls, right, Trinity? But Trinity has left. Neo's eyes open as Tank eases the plug out. He tries to move and groans, cradling his ribs. While Tank helps Morpheus, Neo spits blood into his hand. NEO I thought it was n't real. Neo stares at the blood. NEO If you are killed in the Matrix, you die here? MORPHEUS The body can not live without the mind.",
"INT. NEO'S ROOM Trinity enters from the hall, carrying a try of food. TRINITY Neo, I saved you some dinner - She sees him passed out on the bed. She sets the tray down and pulls the blanket over him. She pauses, her face close to his, then inhales lightly, breathing in the scent of him, before slowly pulling away. It seems the moment she closes the door, he wakes with a start, unsure of where he is. After a moment, he gets out of bed.",
"INT. HALL The ship is quiet and dark. Everyone is asleep.",
"INT. MAIN DECK The core glows with monitor light. Cypher is in the operator's chair as Neo cones up behind him. CYPHER Whoa! Shit, Neo, you scared the bejeezus out of ne. NEO Sorry. CYPHER No, it's all right. NEO What are you doing? CYPHER Midnight watch. Neo's eyes light up as he steps closer to the screens that seem alive with a constant flow of data. NEO Is that? CYPHER The Matrix? Yeah. The monitors are packed with bizarre codes and equations. CYPHER You want a drink? He pours Neo a drink from a large plastic jug. CYPHER I'll tell you, I feel for you, man. I really do. Most of us were still young, just punks, when Morpheus jacked us. But you, you had a real life. Neo takes a sip and it almost kills him. Cypher pounds on his back. CYPHER Good shit, huh? Dozer makes it. It's good for two things : degreasing engines and killing brain cells. Red - faced, Neo finally stops coughing. CYPHER Did he tell you why he did it? Neo nods. CYPHER, I'll be the did n't tell you that this was n't the first time he thought he found the One. Neo shakes his head as Cypher fills his cup and laughs. CYPHER Let me give you a piece of advice. Between you and me, if Morpheus says you can fly, I would n't go jumping out any windows to find out if he's right. Understand? Cypher raises his drink. Neo swallows another throat - scorching mouthful. CYPHER Welcome to the real world!",
"INT. RESTAURANT (MATRIX) - NIGHT CHAMBER MUSIC and the ambiance of wealth soak the room as we watch a serrated knife saw through a thick, gorgeous steak. CYPHER That's what he said to me nine years ago. The meat is so perfect, charred on the outside, oozing red juice from the inside, that it could be a dream. CYPHER The real world. Ha, what a joke. We recognize the grating voice, the insidious laugh. CYPHER You know what real is? I'll tell you what real is. A fork stabs the cube of meat and we FOLLOW it UP TO the face of Cypher. CYPHER Real is just another four - letter word. He laughs, shoving the steak into his mouth. The restaurant is located on the top floor of a Chicago skyscraper where the view is breathtaking and the menu has no prices. Sitting across from Cypher is Agent Smith. AGENT SMITH Do we have a deal, Mr. Reagan? Cypher chews the steak loudly, smacking it between his teeth. CYPHER Mmm, so, so fucking good. Smith watches him shovel another hunk of meat into his mouth. CYPHER You know, I know that this steak does n't exist. I know when I put it in my mouth, the Matrix is telling my brain that it is juicy and delicious. After nine years, do you know what I've realized? Pausing, he examines the meat skewered on his fork. He pops it in, eyes rolling up, savoring the tender beef melting in his mouth. CYPHER Ignorance is bliss. AGENT SMITH Then we have a deal? CYPHER I do n't want to remember nothing. Nothing! You understand? And I want to be rich. Someone important. Like an actor. You can do that, right? AGENT SMITH Whatever you want, Mr. Reagan. Cypher takes a deep drink of wine. CYPHER All right. You get my body back in a power plant, reinsert me into the Matrix and I'll get you what you want. AGENT SMITH Access codes to Zion. CYPHER I told you, I do n't know them. But I can give you the man who does. AGENT SMITH Morpheus.",
"INT. MAIN DECK Sweat dapples his lip as Neo snaps out of the construct coma. NEO Jeez, I was wondering about that. TANK What? NEO Why I was bald here but not in the Matrix. TANK R.S.I. NEO Residual self image. TANK Good. Now what's this? He points to one of Neo's monitors. NEO Life systems monitor, glucose levels. TANK What's that? NEO Main power supply to the core. He follows Tank to the operator's station where he points to a red key - switch. TANK How about this? NEO Mainframe self - destruct. Uses all remaining power to generate an. E.M.P? TANK Electromagnetic pulse. Our best weapon against the machines. The problem is if someone is still in the Matrix when that thing goes off, they're not coming back. Neo nods as Morpheus comes up behind them. MORPHEUS How's he doing? TANK We just finished the operation programs and he's showing great retention. MORPHEUS Good. I want everyone alerted to 12 - hour stand - by. We're going in. Neo, it's time for you to know why you're here. Morpheus walks away. NEO What's he talking about? TANK He's taking you into the Matrix to see her. NEO See who? TANK The Oracle. Neo looks down at the monitor teeming with Matrix data that seems to coalesce, equations giving way to images as a METAL SCREAM RISES BECOMING -",
"EXT. CHICAGO (MATRIX) - DAY An El train.",
"INT. HOTEL LAFAYETTE (MATRIX) - DAY The room is empty, heavy curtains covering windows. It looks as if it has n't been touched in years. In the bedroom with the cracked oval mirror an old black PHONE begins to RING. In the mirror, we first glimpse them and as we keep TURNING, the room fills with equipment and the team. Morpheus answers the phone. MORPHEUS We're in. He hangs up. MORPHEUS Mouse and Cable hold the exit. Let's go.",
"INT. STAIRWELL (MATRIX) - DAY Neo follows the others down the stairwell that winds around an antique elevator shaft. NEO Did you have to do this? TRINITY Yeah. NEO What did she tell you? TRINITY Lots of things. NEO Any of them true? Trinity looks at him, then looks away. TRINITY Some of them. GIZMO Were they good or bad? TRINITY There's no point in worrylng. Whatever is going to happen is going to happen. They cross the old lobby. Switch and Apoc stop at the doors. MORPHEUS We should be back in an hour.",
"EXT. HOTEL LAFAYETTE (MATRIX) - DAY Neo squints into the sun that seems unnaturally bright. He is the only one without sunglasses. MORPHEUS Do you now understand what it means when we say, if you're not one of us, you're one of them? NEO The agents. They're sentient programs. They can commandeer any software hardwired to the mainframe. MORPHEUS Anyone that is still in a power plant. That is why we try to be invisible in the Matrix. NEO The best hacking is always traceless. Cypher and Trinity move away from them, securing the perimeter. As Cypher passes a garbage can, he surreptitiously drops something inside. It is a cellular phone and we watch the blue display as the LINE CONNECTS. An early 1970s, black Lincoln Continental emerges from a corrugated roll - up garage. Morpheus and Neo get in.",
"INT. LINCOLN CONTINENTAL (MATRIX) - DAY An enormous man is waiting for them. A wad of chewing tobacco bulges his cheek. He spits into a Coke can. MOJO Morpheus, been a long time coming. MORPHEUS You're looking well, Mojo. Mojo coughs a brown, cankerous laugh, juice speckling his chin and shirt. He stares at Neo. MOJO You bringing us geriatrics now. Morpheus? He spits and laughs again. MOJO Guess you are locking for a miracle.",
"EXT. BAR (MATRIX) - DAY The Continental pulls up to a bar in the kind of neighborhood where every corner has a pair of eyes.",
"INT. BAR (MATRIX) - DAY A lightless, lower - class bar. No one enters that is not expected. The front doors open in a brilliant burst of sunlight as Mojo leads Morpheus and Neo inside. Neo looks around, his eyes adjusting to the darkness. Mojo talks to the bartender, then looks over. MOJO All right, it's cool. Go on back. They weave their way to the back of the bar, the STICKY FLOOR SNAPPING under their FEET. A monolith of a man rises from his stool as they walk up. REX You're late. He moves to the side, opening the heavy iron door behind him. They descend the basement staircase toward the single bare bulb at the bottom, hanging above the only door.",
"INT. BASEMENT (MATRIX) - DAY A high - tech laptop and modem are set up on a stack of milk crates. Neo waits as Morpheus types in a series of access codes. After a moment the screen blinks, `` Welcome Morpheus.'' Morpheus walks back to the same door they entered, but it now leads into -",
"INT. TEMPLE OF ZION (MATRIX) - DAY The walls and floors are polished marble. Neo follows, his mouth agape. NEO What - what happened? MORPHEUS This is the temple. It is a part of Zion's mainframe. It's hidden inside the Matrix so that we can access it. Two PRIESTESSES are waiting in the antechamber. PRIESTESS Hello, Morpheus. We've been expecting you. MORPHEUS Okay, you're on your own. Go with them. They take Neo by the arm, leading him down a hall into another room. PRIESTESS Wait here. Among the other Potentials.",
"INT. ROOM OF POTENTIALS (MATRIX) - DAY Neo enters and finally understands the attention given to his age. The Potentials are all little children. The room feels at once like a Buddhist temple and a kindergarten class. The children's heads are either shaved or thick with dreadlocks. Some are playing, others meditating or practicing their gift. Neo watches a little girl levitate wooden alphabet blocks. A skinny BOY holds a SPOON which sways like a blade of grass as he bends it with his rnind. Neo crosses to him, sits. The Boy smiles as Neo picks up a spoon and tries to imitate him. Despite his best efforts, Neo can not make it bend. SPOON BOY Your spoon does not bend because it is just that, a spoon. Mine bends because there is no spoon, just my mind. Neo watches as it curls into a knot. SPOON BOY Link yourself to the spoon. Become the spoon and bend yourself. Neo nods, again holding up his spoon. NEO There is no spoon. Right. He concentrates. The spoon begins to bend just as the Priestess touches his shoulder. PRIESTESS The Oracle will see you now. Spoon Boy smiles.",
"INT. SHRINE (MATRIX) - DAY Neo enters nervously. Beneath his feet is a path of the zodiac leading to marbled stairs that rise to a dais and a three - legged throne. The throne is empty. NEO Hello? A DISTANT FEMALE VOICE calls to him and he follows it up the stairs. At the top of the dais, he smells something cooking. Following the scent, he moves behind the pillars where he finds an open door. VOICE -LRB- O.S. -RRB- Just come on in. He walks through a vestibule where he sees a fabulous moonstone headdress and velvet robes. A second door leads into -",
"INT. ORACLE'S CHAMBERS (MATRIX) - DAY It looks like a suburban tract house. There is a lot of cozy furniture, a dining roon hutch filled with china, shelves and tables crowded with doilies, knick - knacks and ceramic brick - a - brack. Neo follows the plastic carpet runner to the kitchen. A WOMAN is huddled beside the oven, peering inside through the cracked door. NEO Hello? ORACLE -LRB- WOMAN. -RRB- I know. You're Neo. Be right with you. NEO You're the Oracle? ORACLE Bingo. I got to say I love seeing you non - believers. It's really a relief. All that pomp and circumstances just plain tucker me out. Almost done. Smell good, do n't they? NEO Yeah. ORACLE I'd ask you to sit down, but you're not going to anyway. And do n't worry about the vase. NEO What vase? He turns to look around and his elbow knocks a VASE from the table. It BREAKS against the linoleum floor. ORACLE The vase. NEO Shit, I'm sorry. She pulls out a tray of chocolate chip cookies and turns. She is an older woman, wearing big oven mitts, comfortable slacks and a print blouse. She looks like someone's grandma. ORACLE I said do n't worry about it. I'll get one of my kids to fix it. NEO How did you know? She sets the cookie tray on a wooden hot - pad. ORACLE What's really going to bake your noodle later on is, would you still have broken it if I had n't said anything. Smiling, she lights a cigarette. ORACLE You're cuter than I thought. I see why she likes you. NEO Who? ORACLE Not too bright, though. She winks. ORACLE You know why Morpheus brought you to see me? NEO I think so. ORACLE So? What do you think? You think you're the one? NEO I do n't know. She gestures to a wooden plaque, the kind every grandma has, except that the words are in Latin. ORACLE You know what that means? It's Latin. Means, ` Know thyself.' She puts her cigarette down. ORACLE Well, let's have a look at you. She widens his eyes, checks his ears, then feels the glands in his neck. ORACLE Open your mouth. Say, ` ahhh.' She nods then looks at his palms. ORACLE Hmmm. You sure got the gift, but it's tricky. I'd say the bad news is, you're not the one. Still got a lot to learn. Maybe next life. NEO What's the good news? ORACLE Same as the bad news, you're not the one. NEO Is that it, then? ORACLE No. Here. She picks up the tray of cooling cookies. ORACLE You better take a cookie. Got a big day ahead of you. He eyes her, then takes a cookie. ORACLE Make a believer out of you yet.",
"INT. ANTECHAMBER (MATRIX) - DAY Morpheus rises from a bench as the Priestess escorts Neo out. When they are alone, Morpheus puts his hand on Neo's shoulder. MORPHEUS You do n't have to tell me anything, Neo, because I already know what she said. NEO You do? MORPHEUS I brought you so that you could hear it for yourself. I knew it would help. Neo finishes his cookie. MORPHEUS No one will ever ask you because it is a gift from her. It is for you and you alone.",
"EXT. CITY STREET (MATRIX) - DAY Storm clouds shroud the streets as the sky turns jaundice. Cypher nervously glances down the surrounding streets. He notices several unmarked white vans. He mops the sweat from his forehead, when Trinity sees the black Lincoln. TRINITY Here they come.",
"INT. MAIN DECK In the hovercraft, we see the sweat rolling down Cypher's face and neck. Tank is typing rapidly at the keyboard. TANK Weird. This area never has this much activity.",
"EXT. HOTEL LAFAYETTE (MATRIX) - DAY Apoc opens the side door and they enter the hotel.",
"INT. ROOM 1313 (MATRIX) - DAY Mouse's CELLULAR RINGS. MOUSE Welcome to Movie - Phone. TANK -LRB- V.O. -RRB- They're on their way. MOUSE Right. The phone flips shut as he jumps up. MOUSE Let's get to work.",
"INT. HOTEL LAFAYETTE (MATRIX) - DAY Light filters down the throat of the building through a caged skylight at the top of the open elevator shaft. Four figures glide up the dark stairs that wind around the antique elevator. Neo notices a black cat, a yellow - green - eyed shadow that slinks past them and pads quickly down the stairs. A moment later, Neo sees another black cat that looks and moves identically to the first one. NEO Whoa. Deja vu. Those words stop the others dead in their tracks.",
"INT. MAIN DECK The monitors suddenly glitch as though the Matrix had an electronic seizure. TANK Oh, shit! Oh, shit!",
"INT. HOTEL LAFAYETTE (MATRIX) - DAY Trinity turns around, her face tight. TRINITY What did you just say? NEO Nothing. Just had a little deja vu. TRINITY What happened? What did you see? NEO A black cat went past us and then I saw another that looked just like it. TRINITY How much like it? Was it the same cat? NEO It might have been. I'm not sure. Trinity looks at Morpheus, who listens quietly to the rasping breath of the old building. NEO What is it? TRINITY A deja vu is usually a glitch in the Matrix. It happens when they change something. She also listens as the staccato BEAT of HELICOPTER BLADES GROW ominously LOUDER.",
"INT. MAIN DECK Tank sees what was changed. TANK It's a trap!",
"INT. STAIRCASE (MATRIX) - DAY Morpheus looks up the stairs as a helicopter shadow passes over the clouded glass. MORPHEUS Come on!",
"INT. ROOM 1313 (MATRIX) - DAY Cable goes to the draped windows. CABLE Did you just feel something weird? MOUSE Yeah. The CELLULAR RINGS.",
"INT. BASEMENT (MATRIX) - DAY Heavy bolt - cutters snap through the main phone cable.",
"INT. ROOM 1313 (MATRIX) - DAY Mouse answers the phone. MOUSE What's going on? TANK -LRB- V.O. -RRB- They cut the hard - line! It's a trap! Get out! Cable yanks open the curtain. CABLE Oh, no. The windows are bricked up.",
"INT. HALL (MATRIX) - DAY The door to the roof explodes open as heavily - armed rnen rush towards room 1313.",
"INT. MAIN DECK Tank watches helplessly. TANK No, no, no.",
"INT. ROOM 1313 (MATRIX) - DAY The door slams open and the police force pours in, dozens of assault rifles surrounding Mouse and Cable who are armed with only handguns. CABLE Morpheus! It's a trap -",
"INT. STAIRS (MATRIX) - DAY Morpheus stops as the scream is drowned by the REPORT of MACHINE GUNS filling the building with a terrible fury. TRINITY Oh, God.",
"INT. MAIN DECK Mouse's body thrashes against its harness as -",
"INT. ROOM 1313 (MATRIX) - DAY BULLETS POUND him against the blood - splattered brick window. Gun smoke thickens the room, Cable blasting and moving until - The HAMMER CLICKS empty. He screams as a DOZEN GUNS OPEN FIRE, ripping him apart.",
"INT. MAIN DECK Blood spits from Cable's mouth, his body spasming, then lying perfectly still. The flat - line ALARM softly cries out from the life MONITORS of the two dead men.",
"EXT. HOTEL LAFAYETTE (MATRIX) - DAY More police cars arrive as cops break open the lobby doors.",
"INT. STAIRWELL (MATRIX) - DAY Flying downstairs, Morpheus stops, hearing the police swarming below. He turns and rushes down the hall of the eighth floor. At the end of it, he finds the bricked - up windows. CYPHER That's what they changed. We're trapped. There's no way out. The sound of heavy BOOT - STEPS close around them with the mechanical sureness of a vice. MORPHEUS Give me your phone. TRINITY They'll be able to track it. MORPHEUS We have no choice.",
"INT. MAIN DECK Tank answers the call. MORPHEUS -LRB- V.O. -RRB- Tank, find a structural drawing of this building and find it fast. His fingers pound the keyboard.",
"INT. LAFAYETTE (MATRIX) - DAY Flashlights probe the rotting darkness as the police search every floor.",
"INT. MAIN DECK The diagram windows onto the screen. TANK Got it. MORPHEUS -LRB- V.O. -RRB- I need the main wet - wall.",
"INT. HALL (MATRIX) - DAY Agent Smith pauses, his hand going to his earpiece.",
"INT. ROOM 808 (MATRIX) - DAY Morpheus is guided by Tank. TANK -LRB- V.O. -RRB- Now left and that's it in front of you. MORPHEUS Good. He cuts off the phone.",
"INT. HALL (MATRIX) - DAY Agent Smith hears the LINE CLICK dead. AGENT SMITH Eighth floor. They're on the eighth floor.",
"INT. HALL (MATRIX) - DAY Agent Brown hears Smith on his earphone. AGENT BROWTJ Eighth floor! Move!",
"INT. STAIRWELL (MATRIX) - DAY Cops flood the eighth floor, rushing everywhere.",
"INT. ROOM 808 (MATRIX) - DAY Several cops sweep through the room. It is empty. As they pass the bathroom, we see a man - sized hole smashed through the plaster and lathe.",
"INT. WALL (MATRIX) - DAY They are inside the main plumbing wall, slowly worming their way down the greasy, black stack pipes. Above them, light fills the hole they made to get inside.",
"INT. HALL (MATRIX) - DAY Brown turns to Smith. AGENT BROWN Where are they?",
"INT. ROOM 608 (MATRIX) - DAY The cops search in silence, straining for a clue, when one hears SOMETHING STRANGE near the bathroom.",
"INT. WALL (MATRIX) - DAY Cypher has slipped and is wedged between the wall and several thick supply pipes.",
"INT. ROOM 608 (MATRIX) - DAY The Cop leans in, his ear almost against the thin membrane of plaster separating them. He can hear WHISPERS, HISSES and a GRUNT when - The WALL suddenly bulges, SHATTER - CRACKING as the Cop realizes - COP They're in the walls!",
"INT. WALL (MATRIX) - DAY Neo pulls Cypher free just as the Cop OPENS FIRE - BULLETS PUNCHING shafts of light like swords into the box of soot - black space.",
"INT. ROOM 608 (MATRIX) - DAY The Cop keeps FIRING, his flashlight strapped to his gun barrel, lighting up the wall until - A BULLET spits out his forehead. Agent Smith watches the BODY fall with a THUD. AGENT SMITH Are orders that hard to follow? I'll say it again. Morpheus must be taken alive. Understand?",
"INT. WALL (MATRIX) - DAY They're almost falling, they're climbing so fast. Above them, plaster is smashed open as crunbling bits shower down on them, filling the crawlway with dust.",
"INT. ROOM 608 (MATRIX) - DAY Agent Smith looks into the open wall, at the exposed intestines of the building, and realizes where they are going. AGENT SMITH How like a rodent.",
"INT. WALL (MATRIX) - DAY Just below, a RIFLE - BUTT SMASHES open the WALL, light raking across the lathe. COP I got him! I got him! Trinity finds her gun first. BULLET - HOLES POP out the WALL as she STRAFES the room, sending cops diving for cover. They continue, Trinity exposed for a roment, when a creeping cop smashes a fist through and grabs a fistful of her hair. He starts to yank her out when Neo kicks, his boot bursting through plaster and splintering lathe, knocking the Cop out. They then quickly sink out of sight.",
"INT. BASEMENT (MATRIX) - DAY This part of the basement, a dark concrete cavern, was the main mechanical room. There are four enormous boilers, dinosaur - like technology that once pumped hot water like arteries. Black and bloody, they squeeze out from the ceiling into the tangled web of pipes. Their enemies are waiting for them. Blinding lights cut open the darkness as gas - masked figures FIRE GRENADE LAUNCHERS. Smoke blossoms from the green - metal canisters. Morpheus never stops moving. Searching the floor, he finds what.he needs ; the cover of the catch basin. Cypher watches him pry open the grate, when a gas can bounces near him. MORPHEUS Come on! Cypher seems to trip as the cloud envelops him.",
"INT. MAIN DECK Cypher's body begins to shiver uncontrollably. TANK Nerve gas.",
"INT. BASEMENT (MATRIX) - DAY Morpheus watches Cypher disappear into the smoke then follows the others down the wet - black hole.",
"INT. CATCH BASIN (MATRIX) - DAY They crawl through greasy black water in a three foot diameter pipe that feeds into the sewer main.",
"INT. BASEMENT (MATRIX) - DAY Gas - masked apparitions find the open hole.",
"EXT. HOTEL LAFAYETTE (MATRIX) - DAY Cypher is carried out, hand - cuffed, his body still shaking, mucus bubbling out his nose. As he is led past Agent Smith, it almost seems that both men smile. AGENT SMITH We have them now.",
"INT. SEWER MAIN (MATRIX) - DAY Neo punches out the screen and then spills down into the main water trough. Oily water forms around them as they wade across the man - made underground river, towards the service catwalk. Neo is about to pull himself out when he sees them coming. Flashlights and laser sites sweep at them as cops in helmets and heavy armor, looking more nachine than human, fill both ends of the tunnel. There is a single manhole cover above them. Morpheus whispers to Trinity. MORPHEUS You have to get Neo out. Understand? That's all that matters now. TRINITY Morpheus, do n't - MORPHEUS He must get out. Do you understand me? She nods. A font of water erupts as Morpheus leaps for the manhole ladder, his coat flying open like the wings of a manta ray. COPS There he is! That's him! Pools of light wash over him as he hauls himself to the surface. COP He's heading for the street! Trinity urges the others to follow her. Grabbing Neo, they wade quietly away from the chaos.",
"EXT. STREET (MATRIX) - DAY Morpheus shoots out of the sewer but the police are waiting for him. The closest cop is armed with a tranquilized gun. He fires - But Morpheus' is too fast, using the manhole cover as a shield, blocking the darts, then - Frisbee - ing it into the cop's armored chest, knocking him off his feet. The cops lunge at him but every part of his body is a deadly weapon moving with impossible speed. It seems he might fight his way out when he throws a spinning back fist that is caught by - Agent Smith. AGENT SMITH So, we meet at last. MORPHEUS And you are? AGENT SMITH Smith. I am Agent Smith. MORPHEUS You all look the same to me. AGENT SMITH I've been waiting for this noment. Faster than a snake spits, Morpheus cracks Smith with a jaw - breaking right. MORPHEUS Oh, so have I. Agent Smith smiles.",
"INT. SEWER MAIN (MATRIX) - DAY Trinity leads the others, fading into the darkness of the tunnel, lit only with shafts of lights streaming through the street drains as we RISE TOWARDS them - THROUGH a grate INTO the fight.",
"EXT. STREET (MATRIX) - DAY Smith and Morpheus exchange a furious serious of blows that is witnessed but not believed by the surrounding police. Agent Smith delivers a punishing kick that staggers Morpheus. AGENT SMITH You ca n't win. Morpheus smiles. MORPHEUS I already have. He stands up and drops his fists ; a steely resolve in his eyes. AGENT SMITH Take him. Cops swarm over Morpheus.",
"INT. MAIN DECK Tank reaches out to the screen as if reaching for Morpheus. TANK No!",
"EXT. HOTEL LAFAYETTE (MATRIX) - DAY Cuff ed and beaten, Morpheus is thrown into a caged transport vehicle. The DOOR CLANGS shut. Agent Jones finds Agent Smith. AGENT JONES The others were lost. AGENT SMITH You've taken care of Reagan? Agent Jones nods. AGENT SMITH Then the others do not matter.",
"EXT. STREET (MATRIX) - DAY A manhole cover cracks open. Two eyes peek out just as a TRUCK RATTLES over it. The THUNDER DOPPLERS AWAY and the cover opens. Neo, Trinity, Switch and Apoc climb out. Trinity pulls a water - logged phone from her pocket. TRINITY We need a phone.",
"INT. MAIN DECK Tank is again at the monitors, searching the Matrix. TANK We got ta find the others. They're still alive. The PHONE RINGS. TANK Operator. CYPHER -LRB- V.O. -RRB- I need an exit! Fast! TANK Cypher? I thought they had you?",
"EXT. STREET (MATRIX) - DAY Cypher is standing at a public phone. Across the street is the burning paddy wagon that appears to have collided witli an oncoming car. CYPHER There was an accident. A fucking car accident. All of a sudden. Boom. They're all dead. I still got the shakes but, Jesus, someone's going to make a believer out of me.",
"INT. MAIN DECK Dozer spots the wreck. DOZER There he is. TANK I got you. CYPHER -LRB- V.O. -RRB- Just get me outta here.",
"EXT. STREET (MATRIX) - DAY TANK -LRB- V.O. -RRB- Nearest exit is Franklin and Erie. An old appliance store. Cypher hangs up and smiles as the fire trucks arrive. CYPHER An actor. Definitely.",
"INT. MAIN DECK The PHONE RINGS. Tank answers. TANK Operator. TRINITY -LRB- V.O. -RRB- Tank, it's me.",
"EXT. STREET (MATRIX) - DAY They are outside a pawn shop. Trinity has a new cellular. TRINITY We need an exit! TANK -LRB- V.O. -RRB- Gotcha. You're not far from Cypher. TRINITY Cypher, I thought - TANK -LRB- V.O. -RRB- So did we. That boy's got nine lives. I sent him to Franklin and Erie. TRINITY Got it. She hangs up.",
"EXT. STREET (MATRIX) - DAY Running, Cypher turns onto Erie.",
"INT. APPLIANCE STORE (MATRIX) - DAY Dead machines, eviscerated and shrouded with dust lay on metal shelves like bodies in a morgue. Plywood covering a small window is ripped off and Cypher crawls inside. Deep in the back room, a PHONE that has not rung in years begins to RING.",
"INT. MAIN DECK Tank punches the emit command. TANK Got him. Cypher's body twitches in its harness, jerking itself awake. His eyes blink open. Dozer unplugs him. DOZER System check looks fine. Cypher stands, a raspy cough spewing from his lungs.",
"EXT. STREET (MATRIX) - DAY Trinity sees the appliance shop.",
"INT. MAIN DECK Cypher holds his chest. DOZER You okay? CYPHER Goddamn gas. My lungs are killing me. He crosses to an overhead bin. CYPHER We got any pain killers? DOZER The first aid kit's over here. As Dozer stoops for a cabinet, Cypher pulls back a heavy blanket exposing a plasma rifle.",
"INT. APPLIANCE STORE (MATRIX) - DAY Neo crawls through the window that Cypher opened.",
"INT. MAIN DECK Tank finishes loading the exit programs as Cypher rises behind him, swinging the weapon at his back. He looks over as Dozer turns with the first aid kit, a look of frozen disbelief crossing his face - DOZER No! Tank spins as red hot wads of PLASMA EXPLODE through his chair and into his back. Diving, a second BURST tears up his side - As Dozer shoots a look at the monitor where Tank was working. He stabs the enter command activating the exit sequence and ducks under a BARRAGE of PLASMA FIRE -",
"INT. APPLIANCE STORE (MATRIX) - DAY The PHONE begins to RING as the others crawl in. SWITCH God, I love that sound.",
"INT. MAIN DECK Dozer rolls up, grabbing a heavy crowbar from a box of tools. Cypher circles the drive chairs as the sights of the plasma rifle find Dozer's face. Dozer charges, screaming, and the PLASMA RIFLE SCREAMS back.",
"INT. APPLIANCE STORE (MATRIX) - DAY The PHONE is still RINGING. TRINITY You first,. Neo. Neo answers the phone when there is a CLICK. There is no signal. Nothing but silence. TRINITY What happened? NEO I do n't know. It just went dead. Trinity listens to the dead line and takes out the cellular.",
"INT. MAIN DECK The operator PHONE begins to RING - Cypher steps over the body of Tank and looks at the monitor.",
"INT. APPLIANCE STORE (MATRIX) - DAY Trinity can almost feel him watching them. Every unanswered RING wrings her gut a little tighter, until - CYPHER -LRB- V.O. -RRB- Hello, Trinity. TRINITY Cypher? Where's Tank? CYPHER -LRB- V.O. -RRB- He had an accident. TRINITY An accident? What about Dozer? Is Dozer there?",
"INT. MAIN DECK He walks over to Trinity's body, staring down at it hanging in its coma - like stillness. CYPHER You know, for a long time, I thought I was in love with you, Trinity. I used to dream about you. He nuzzles his face against hers, feeling the softness of it. CYPHER You are a beautiful woman. Too bad things had to work out like this. We INTERCUT BETWEEN the appliance store and the main deck. TRINITY You killed them. APOC What?! SWITCH Oh God. Wearing Tank's operator headgear, Cypher moves among the silent bodies. CYPHER In a way you're very lucky. Most people never know why they die. One minute they're alive, the next they're dead. No warning. Nothing. That's why I thought maybe I should tell you. It seemed the least I could do. He stands over the body of Morpheus, as his anger boils up out of him. CYPHER You see, the truth, the real, truth is that the war is over. It's been over for a long time. And guess what? We lost! Did you hear that? We lost the war! TRINITY What about Zion? CYPHER Zion? Zion is a part of this delusion. More of this madness. That's why this has to be done. It has to end. Now and forever. She suddenly sees the entire dark plan. TRINITY Oh rny God. This is abzut Zion. You gave them Morpheus for the access codes to Zion. Cypher walks away from Morpheus and bends down next to Apoc's body. CYPHER You see, Trinity, we humans have a place in the future. But it's not here. It's in the Matrix. TRINITY The Matrix is n't real! CYPHER Oh, I disagree, Trinity. I disagree. I think the Matrix is more real than this world. I mean, all I do is pull a plug here. But there, you watch a man die. He grabs hold of the cable in Apoc's neck, twists it and yanks it out. CYPHER You tell me which is more real. Apoc seems to go blind for an instant, a scream caught in his throat, his hands reaching for nothing, and then falls dead. Switch screams. CYPHER Welcome to the real world, right? He laughs. TRINITY Somehow, some way, you're going to pay for this. CYPHER Pay for it? I'm not even going to remember it. It'll be like it never happened. The tree falling in the forest. It does n't make a sound. His hand slides around the neck of Switch as he takes hold of her plug. She suddenly feels her body severed from her mind as she is murdered. TRINITY Goddamn you, Cypher! CYPHER Do n't hate me, Trinity. I'm just the messenger. And right now I'm going to prove that the message is true. He stands over Neo. CYPHER If Morpheus was right, then there's no way I can pull this plug, is there? She turns to Neo, eyes wide with fear, and he knows he is next. CYPHER If he is the One, then in the next few seconds there has to be some kind of miracle to stop me. Because if he dies like the others that means Morpheus was wrong. How can he be the One if he's dead? He takes hold of the cord when - She hears an EXPLOSION and a scream. Cypher is on the ground, his left leg blown off at the knee. He rolls over and finds Tank on the ground, and the sights of the plasma rifle. TANK How's it feel, Cypher? Knowing you're about to die? NEO It's Tank! He's alive. Cypher lunges for Neo's plug just as Tank BLOWS his head off.",
"INT. APPLIANCE STORE (MATRIX) - DAY They're both listening, trying to figure out what is happening when the store PHONE starts to RING. Trinity smiles, tears moistening her eyes as Neo throws his arms around her. For a moment, it looks as if they might kiss before Trinity lets go. TRINITY We should, we should hurry. NEO Yeah. Right.",
"INT. MAIN DECK Trinity's eyes open, a sense of relief surging through her at the sight of the ship. As Tank unplugs her, she sees his charred wounds. TRINITY Tank, you're hurt. TANK I'll be all right. TRINITY Dozer? Tank's face tightens. TRINITY I'm sorry, Tank.",
"EXT. NIKO HOTEL (MATRIX) - DAY A Japanese luxury hotel in downtown Chicago. A military helicopter sets down on the roof. Heavily armed Marines begin to deploy. Agent Jones gets out of the helicopter, flanked by columns of Marines. They open the roof access door and enter the top - floor maintenance level of the hotel.",
"INT. TOP FLOOR (MATRIX) - DAY They get in the elevator. At every door, at least two Marines stop and post guard.",
"INT. HALL (MATRIX) - DAY They exit the elevator and walk to the Presidential suite ; the final two Marines post guard.",
"INT. PRESIDENTIAL SUITE (MATRIX) - DAY Inside, he finds Agent Smith. AGENT JONES There is a problem. Reagan has failed to secure the hardware. Agent Smith stares out the window. AGENT SMITH Never send a human to do a machine's job. AGENT JONES But if Reagan has failed, why have n't they pulled the plug? AGENT SMITH Have n't you learned by now, that it is impossible to understand why they do the things they do? He turns. AGENT SMITH Continue as planned. Trace his signal to locate their position and deploy an extermination unit. Morpheus is handcuffed to a chair, stripped to the waist. He is bleeding from numerous wounds and is pumped full of serum, alternately shivering and sweating. He is hooked up to various monitors with white disk electrodes. Agent Brown begins running a trace program.",
"INT. MAIN DECK Neo looks at Morpheus whose body is covered with a cold sweat. NEO What are they doing to him? TANK They're cracking his mind. NEO How? TANK They inject virus - like serums to break down the system. It's like cracking a computer. All it takes is time. NEO How much time? TANK Depends on the mind. But eventually, it will crack and his alpha pattern will change from this to this. Tank punches several commands on Morpheus' personal unit. The monitor waves change from a chaotic pattern to an orderly symmetrical one. TANK When it does, Morpheus will tell them anything they want to know. NEO The access codes to Zion. TANK If an agent got inside Zion's mainframe he could do anything. Disable the defense system. It would be the end of us. He looks up at Trinity who is pacing relentlessly. TANK We ca n't let that happen. We have to do it, Trinity. Zion has to be protected. Trinity sees Cypher's dead body. Rage overtakes her and she starts kicking hin. TRINITY Goddamnit! Goddamnit! TANK We have to pull the plug. TRINITY No! TANK We do n't have any other choice. Those words are like using gasoline to put out a fire and we watch the pain in her eyes burn into a blaze. She walks past him and gets into her chair. TANK Trinity, what are you doing? TRINITY I'm going in after him. TANK Morpheus could conform at any minute - TRINITY If he does I'm sure you'll do what has to be done. TANK You saw that place. It's suicide. She glares at him. TANK I know what Morpheus means to you - TRINITY No. No, I do n't think you do. If you did, then you would know that I'm not letting him go. Not without a fight, Tank. She yanks her harness tight. TRINITY Not without a fight.",
"INT. PRESIDENTIAL SUITE (MATRIX) - DAY Agent Smith stands in the bedroon of the enormous suite, staring out the windows at the city, below, shimmering with brilliant sunlight. AGENT SMITH Have you ever stood and stared at it, Morpheus? Marveled at its beauty. Its genius. Billions of people just living out their lives. oblivious. Agent Brown sucks a serum from a glass vial, filling a hypodermic needle. AGENT SMITH Did you know that the first Matrix was designed to be a perfect human world? Where none suffered, where everyone would be happy. It was a disaster. No one would accept the program. Entire crops were lost. Agent Brown jams the needle into Morpheus' shoulder, and plunges down. AGENT SMITH Some believed we lacked the programming language to describe your perfect world. But I believe that, as a species, human beings define their reality through suffering and misery. Agent Brown studies the screens as the life signs react violently to the injection. AGENT SMITH The perfect world was a dream that your primitive cerebrum kept trying to wake up from. Which is why the Matrix was re - designed to this : the peak of your civilization. He turns from the window. AGENT SMITH I say ` your civilization' because as soon as we start thinking for you, it really becomes our civilization, which is, of course, what this is all about. He sits down directly in front of Morpheus. AGENT SMITH Evolution, Morpheus. Evolution. He lifts Morpheus' head. AGENT SMITH Like the dinosaur. Look out that window. You had your time. Morpheus stares hard at him, trying hard not to show the pain racking his mind. AGENT SMITH The future is our world, Morpheus. The future is our time.",
"INT. MAIN DECK Neo goes to his chair and begins strapping in. TRINITY What do you think you're doing? NEO You need help. I'm coming with you. TRINITY No. No way. Morpheus sacrificed himself so you could escape. There's no way you're going back in. NEO Morpheus did what he did because he believed that I'm something that I'm not. TRINITY What? NEO I'm not the One, Trinity. The Oracle told me. Trinity is stunned. NEO She said I had a gift but I still had a lot to learn. She told me maybe next life. TRINITY Did you tell Morpheus? NEO Why? It would n't mean anything. He'd still believe what he wanted to believe. But Morpheus is the one that matters. He's more important than me and we both know it. He straps in. NEO I may not be what Morpheus thinks I am, but if I do n't try to help him, then I'm not even what I think I am. TRINITY What are you? NEO His friend.",
"INT. PRESIDENTIAL SUITE (MATRIX) - DAY Agent Smith sits casually across from Morpheus who is hunched over, his body leaking and twitching. AGENT SMITH I'd like to share a revelation that I've had during my time here. It came to me when I tried to classify your species. I've realized that you are not actually mammals. The life signs continue their chaotic patterns. AGENT SMITH Every mammal on this planet instinctively develops a natural equilibrium with the surrounding environment. But you humans do not. You move to an area and you multiply and multiply until every natural resource is consumed and the only way you can survive is to spread to another area. He leans forward. AGENT SMITH There is another organism on this planet that follows the same pattern. Do you know what it is? A virus. He smiles. AGENT SMITH Human beings are a disease, a cancer of this planet. You are a plague. And we are. the cure.",
"INT. MAIN DECK Trinity and Neo hang motionless in the suspension unit. Tank is at the operations station. TANK Okay. Store's open. What do you need? TRINITY -LRB- V.O. -RRB- Guns. Lots of guns. TANK Coming right up. He loads the weapons disk.",
"INT. CONSTRUCT Racks of weapons appear and Neo and Trinity arm themselves. TRINITY No one has ever done anything like this. NEO Yeah? He snap cocks an Uzi. NEO That's why it's going to work.",
"INT. PRESIDENTIAL SUITE (MATRIX) - DAY Agent Smith is again at the window. AGENT SMITH Why is n't the serum working? AGENT BROWN Perhaps we are asking the wrong questions. AGENT JONES Or he does n't know. AGENT SMITH Of course he knows. He's resisting. AGENT BROWN How? AGENT SMITH I do n't know. If I knew. Agent Smith hides his knotting fist. He is becoming angry. It is something that is n't supposed to happen to agents. AGENT SMITH Leave me with him. Agent Brown and Jones look at each other. AGENT SMITH Now!",
"INT. MAIN DECK Tank sits down beside Morpheus whose face is ashen like someone near death. He takes hold of his hand. TANK Hold on, Morpheus. They're coming for you. They're coming.",
"EXT. NIKO HOTEL (MATRIX) - DAY A dark wind blows.",
"INT. NIKO HOTEL (MATRIX) - DAY In long, black coats, Trinity and Neo push through the revolving doors. Neo is carrying a duffel bag. Trinity has a large metal suitcase. They cut across the lobby drawing nervous glances. Dark glasses, game faces. Several plainclothes cops try to stop them. They are met by the MUTED SPIT of a SILENCED GUN and the RAZORED WHISTLE of THROWING STARS. The cops slump down to the marbled floor while Neo and Trinity do not even break stride.",
"INT. PRESIDENTIAL SUITE (MATRIX) - DAY Agent Smith leans close to Morpheus, whispering to him. AGENT SMITH Can you hear me, Morpheus? I'm going to be honest with you. He removes his earphone, letting it dangle over his shoulder. AGENT SMITH I hate this place. This zoo. This prison. This reality, whatever you want to call it, I ca n't stand it any longer. It's the smell, if there is such a thing. I feel saturated by it. I can taste your stink and every time I do, I fear that I've somehow been infected by it. He wipes sweat from Morpheus' forehead, coating the tips of his fingers, holding them to Morpheus' nose. AGENT SMITH Repulsive, is n't it? He lifts Morpheus' head, holding it tightly with both hands. AGENT SMITH I must get out of here, I must get free. In this mind is tlie key. My key. Morpheus sneers through his pain. AGENT SMITH Once Zion is gone, there's no need for me to be here. Do you understand? I need the codes. I have to get inside Zion. You have to tell me how. He begins squeezing, his fingers gouging into his flesh. AGENT SMITH Tell me! Tell me! The skull is about to shatter when Agents Jones and Brown burst into the room. Agent Smith releases Morpheus. AGENT BROWN What were you doing? Agent Smith recovers, replacing his ear piece. AGENT JONES You do n't know. AGENT SMITH Know what? Agent Smith listens to his earphone, not believing what he is hearing.",
"INT. ELEVATORS (MATRIX) - DAY They get in. Trinity immediately drops and opens the suitcase, wiring a plastique and napalm bomb. Beneath their trench coats is an arsenal of weapons slung from climbing harnesses. Neo hits the emergency stop. He pulls down part of the false ceiling and finds the elevator shaft access panel.",
"INT. PRESIDENTIAL SUITE (MATRIX) - DAY Agent Jones looks at Morpheus. AGENT JONES I think they're trying to save him.",
"INT. ELEVATOR SHAFT (MATRIX) - DAY Neo ratchets down a clamp onto the elevator cable. Both of them lock on. He looks up the long, dark throat of the building and takes a deep breath. NEO There is no spoon. Neo whips out his gun and presses it to the cable, lower than where they attached themselves. BOOM! The CABLE SNAPS. The counter - weights plummet, yanking Trinity and Neo up through the shaft as - The elevator falls away beneath them, distending space, filling it with the sound of WHISTLING METAL as they soar to the top.",
"INT. LOBBY (MATRIX) - DAY The ELEVATOR hits the botton. BA - BOOM! The massive EXPLOSION blows open the doors, fire clouds engulfing the elevator section of the lobby.",
"INT. PRESIDENTIAL SUITE (MATRIX) - DAY The Agents hear the BLAST AND FIRE ALARMS. AGENT JONES Lower level - AGENT BROWN They are actually attacking.",
"INT. ELEVATOR SHAFT (MATRIX) - DAY Hanging by a rope, Trinity hot - wires the panel for the door.",
"INT. TOP FLOOR (MATRIX) - DAY Nervous, the Marines watch as the ELEVATOR `` DINGS'' softly and slides open. Black smoke rises out of the exposed shaft. The nearest Marine eases to the edge, peering down at the churning blaze engulfing the lower levels. He does not see Trinity and Neo above him until it is too late. Krack! Neo kicks, knocking the Marine flying down into the shaft. Before the others can react, Trinity flips out into the hall, decking the nearest Marine. Neo cracks another. The fight is over before it begins.",
"INT. PRESIDENTIAL SUITE (MATRIX) - DAY An enormous EXPLOSION THUNDERS above them, shaking the building. The ALARM SOUNDS, emergency sprinklers begin showering the room. Agent Smith smashes a table. AGENT SMITH Find them and destroy them! Agent Jones nods and touches his ear piece.",
"EXT. ROOF (MATRIX) - DAY The roof - access tower is now engulfed in flames as Neo and Trinity lay waste to a dozen more Marines. Guns and knives, like extensions of their bodies used with the same deadly precision as their feet and their fists. Across the roof, the pilot inside the army helicopter watches the ferocious onslaught. PILOT I repeat, we are under attack! Suddenly his face, his whole body dissolves, consumed by spreading locust - like swarm, of STATIC as - Agent Jones emerges. Just as she drops the last Marine, Trinity sees what's coming. Neo sees her, the fear in her face, and he knows what is behind him. Screaming, he whirls, GUNS filling his hands with thought - speed. Fingers PUMPING, SHELLS ejecting, dancing up and away, we look through the sights and gun smoke at - The Agent blurred with motion - Until the HAMMERS CLICK against empty metal. NEO Trinity! Agent Jones charges. NEO help. His GUN BOOMS as we enter the liquid space of - Bullet - time. The AIR SIZZLES with wads of lead - like angry flies as Neo twists, bends, ducks just between them. Agent Jones still running, narrows the gap, the BULLETS coming faster until - Neo bent impossibly back, one hand on the ground as a spiraling gray ball shears open his shoulder. He starts to scream as another digs a red groove across his thigh. He has only time to look up, to see the barrel when Agent Jones, standing over him, pulls the TRIGGER the final time. CLICK. Empty. Neo rolls, reaching for another gun when around - house kick snaps his jaw. Agent Jones grabs the gun and levels it at Neo. AGENT JONES Only human. Suddenly Agent Jones stops. Something is wrong. He scans the roof. Trinity is gone. Immediately, he whirls around and turns straight into the muzzle of her.45 - Jammed right into his head. TRINITY Dodge this, motherfucker! BOOM! BOOM! BOOM! The body flies back with a flash of mercurial light and when it hits the ground - It is the pilot. Trinity helps Neo up. NEO Thanks. TRINITY You're hit - NEO I'm fine. Neo is already looking at the helicopter. NEO Can you fly that thing? TRINITY Not yet. She pulls out a cellular phone.",
"INT. HOVERCRAFT Tank is back at the controls. TANK Operator. TRINITY -LRB- V.O. -RRB- Tank, I need a pilot program for a military M - 109 helicopter. Tank is immediately searching the disk drawers. TRINITY -LRB- V.O. -RRB- Hurry! His fingers flash over the gleaming laser disks, finding one that he feeds into Trinityls supplement drive, punching the `` load'' cormands on her keyboard.",
"EXT. ROOF (MATRIX) - DAY Trinity's eyes flutter as information surges into her brain, all the essentials of flying a helicopter absorbed at light - speed. TRINITY Let's go.",
"INT. HALL (MATRIX) - DAY Marines, trying to communicate with the men on the roof, are beginning to panic when Agent Jones comes around the corner. SERGEANT Sir! Sir! There was gunfire - we've lost communication with the roof! AGENT JONES Remain at your posts. SERGEANT But, sir - the fire - we should evacuate! AGENT JONES You will do as you are ordered! SERGEANT Yes, sir. Agent Jones marches into the Presidential Suite.",
"INT. PRESIDENTIAL SUITE (MATRIX) - DAY Agent Jones throws open the bedroom door and enters, walking through the puddles pooling in the carpet. Over the RUSHING WATER and the ALARMS, Agent Smith hears a SOUND and understands the seriousness of the attack. He turns to the wall of windows as the helicopter drops INTO VIEW - Neo is in the back bay, aiming the mounted.50 machine gun. AGENT SMITH No. The GUN jumps and BULLETS EXPLODE through the WINDOW in a cacophony of CRASHING GLASS - As the Agents go for their weapons. But Neo is too close, the.50 CALIBER too fast and BULLETS are everywhere, perforating the room. Agent Smith is hit first, his body jack - knifing back, blood arcing out with a sudden flash of light - Then Agent Brown, his GUN still FIRING as his body falls. And finally Agent Jones. Neo stares at Morpheus, trying to will him into action. NEO Get up, Morpheus! Get up! Morpheus sits unmoving, his head still down. Neo grabs the climbing rope just as marines burst into the adjoining room. He attaches only one end to his harness when they OPEN FIRE. Quickly he swings the GUN, SPRAYING the other room, WINDOWS SHATTERING, FURNITURE EXPLODING, marines diving for cover.",
"INT. HALL (MATRIX) - DAY Just outside the Presidential Suite, three marines blister with snow - static.",
"INT. PRESIDENTIAL SUITE (MATRIX) - DAY Morpheus lifts his face into the room's rain. His eyes, still white, begin to blink, twitch, then close. And when he opens them, they are again dark and flashing with fire. The Agents knife into the room, FIRING even as Neo's BULLET TRAILS chase them. Morpheus strains at his handcuffs. The Agents and the marines turn the tide, BLASTING LEAD, RICOCHETING, POCK - MARKING the COPTER. FIRING wildly, Neo turns to see Morpheus rising, snapping the handcuffs, starting for the window. Agent Smith stops and sees Morpheus run past the open bedroom door. AGENT SMITH Nooo! He FIRES, sweeping across the sheetrocked wall in a perfect line. For an instant, we see the BULLETS SHRED, PUNCTURING the WALL, searing through the wet air with jet trails of chalk. And as Morpheus starts to dive for the window, a bullet buries itself in his leg - Knocking him off balance. NEO He wo n't make it. Morpheus lunges, out of control - As Neo spins, every move a whip crack - Snapping the other rope - end onto a bolted bar. Morpheus begins to fall when Neo hurls himself into the wide blue empty space - Flying for a moment. The rope snaking out behind him ; an umbilical cord attached to a machine. As their two bodies, set in motion, rushing at each other on a seemingly magnetic course until - They collide. Almost bouncing free of each other, arms, legs, scrambling, hands searching in furious desperation, finding hold and clinging. Until the line ends, snapping taut, cracking their fragile embrace. Morpheus tumbles, legs flipping over, falling down - The ground deliriously distant - As Neo snatches hold of his mentor's still handcuffed wrist. NEO Gotcha! Trinity is already pulling the copter up and away. As Agent Smith grabs the M - 16 from the nearest marine. He'll bring them all down. Targeting the helicopter, he aims at something only he can see : the oil line. PONK. PONK. PONK. The rear HULL is PUNCHED full of holes and smoke and oil pours out like black blood. TRINITY Shit - shit - no! Neo is pulling Morpheus up to him when he hears the HELICOPTER BEGIN TO DIE. NEO Oh fuck. Trinity throws the helicopter towards the roof of the nearest building. Morpheus and Neo cling to one another as they and the machine above them begin to fall. The ENGINE GRINDS, the CHOPPING BLADES start to slow while - The Agents stand in the open shattered window, watching the helicopter disappear behind taller buildings. Carried by its nomentum, Trinity guides the parabolic fall over the nearest roof where - Neo and Morpheus drop safely, rolling free as the rope goes slack. Neo gets to his feet, trying to detach himself but - The helicopter is falling too fast, arcing over the roof like a setting sun - The coils of slack snap taught - Yanking Neo off his feet, dragging him with ferocious speed towards the edge even as - Trinity lunges for the back door, her gun in one hand, grabbing for the rope with the other - Neo flies like a skipping stone, hurtling straight AT us, when his feet hit the rain gutter - A fulcrum that levers him up just as - Trinity FIRES, severing the cord from the HELICOPTER, falling free of it as it SMASHES, blades first into a glass skyscraper. Holding onto the rope she swings, connected to Neo, who stands on the building's edge watching her arc beneath him as the HELICOPTER EXPLODES - She bounces against a shatterproof window that spider - cracks out while FLAMES ERUPT behind her.",
"INT. MAIN DECK Tank stares at the screen, his mouth agape. TANK He's the One. He's got to be.",
"EXT. ROOFTOP (MATRIX) - DAY Neo pulls Trinity up into his arms. Both shaking, they hold each other again. MORPHEUS I knew it! I goddamn knew it! TRINITY Morpheus! She runs at him, throwing her arms around him. MORPHEUS Do you believe me now? He's the One! Who else could have done this? NEO Morpheus, I know you wo n't believe me but the Oracle told ne I'm not the One. MORPHEUS It does n't matter if I do n't believe you - His eyes light up. MORPHEUS What matters is that you do n't believe her.",
"INT. MAIN DECK The PHONE RINGS. TRINITY -LRB- V.O. -RRB- Tank, get us out of here. TANK Got one ready. An underground El station. State and Balbo. TRINITY -LRB- V.O. -RRB- See ya soon. LINE GOES DEAD. Tank looks at the bodies and smiles. TANK See ya soon.",
"EXT. ROOFTOP (MATRIX) - DAY The rope is all that remains. Agent Smith can barely control his anger. AGENT BROWN The trace was completed. AGENT JONES We have their position. AGENT BROWN The extermination unit is in place. AGENT JONES Order the strike. Agent Smith ca n't stand listening to them. He moves to the edge of the building, looking out at the surrounding city. AGENT SMITH They're not out yet.",
"INT. \"EL\" STATION (MATRIX) - DAY A metal gate is locked, the sign reading, `` Station Closed.'' Neo looks around, takes out a GUN and BLOWS OFF the LOCK. In the moist underground distance they hear the MUTED RING of a TELEPHONE. The PHONE is RINGING inside a graffiti - covered booth. Across from it, sitting hunched against the red concrete wall, is an OLD MAN. He stares at the RINGING PHONE, taking a final pull off his T - bird. No one is around. It continues to RING. Determined, he stands and walks to the booth. He is about to answer the phone, when Neo sees him. NEO Do n't! The Old Man stops, Neo rushes at hin, gliding smoothly over the turnstiles. OLD MAN I'm sorry - I did n't mean! The Old Man is shaking, terrified. Neo looks at his gun. He glances over his shoulder, then eases back the hammer. NEO Get outta here. Okay? Run! Go! The Old Man nods, turns and hurries deeper into the urban cave, disappearing into the shadows as Trinity and Morpheus arrive. TRINITY What happened? Was that - NEO It was nobody. Neo turns to the RINGING BOOTH. NEO Let's go! You first, Morpheus. Morpheus gets in and answers the phone. Lost in the shadow, the Old Man turns back and watches as Morpheus disappears, the phone dropping, dangling by its cord. His eyes grow wide, glowing white in the dark.",
"EXT. ROOFTOP (MATRIX) - DAY Agent Smith stares, his face twisted with hate. He will never be free of the Matrix. He starts to turn from the edge of the building when he suddenly hears it, his head whipping back around, staring -",
"INT. \"EL\" STATION (MATRIX) - DAY As the Old Man stares. Trinity hangs up the phone. She turns to Neo, standing close enough to kiss him. TRINITY Morpheus is right, you know. It does n't matter what he believes or even what the Oracle believes. What matters is what you believe. NEO I believe. He stares at the fullness of her lips. NEO I want to kiss you. She smiles. TRINITY I want to kiss you too. The PHONE begins to RING. TRINITY But I want it to be real. She pulls herself away and gets into the booth when something catches Neo's eye and he looks to where the Old Man had been. She hears him SCREAM and sees Agent Smith emerge as if formed by congealing darkness, charging with a fistful of metal. The GUN FIRES, the BULLET flying at her, BURSTING through the plastic WINDOW just as - Trinity disappears. The handset hanging in the air as the BULLET HITS, SHATTERING the EAR - PIECE.",
"INT. HOVERCRAFT Trinity blinks, shivering as her conscious exits the Construct. TRINITY Neo! TANK What the hell just happened? TRINITY An Agent! You have to send me back! TANK I ca n't!",
"INT. \"EL\" STATION (MATRIX) - DAY GUN REPORT THUNDERS through the underground, both men BLASTING, moving at impossible speed. For a blinking noment we enter BULLET - TIME. Gun flash tongues curl from Neols gun, bullets float forward like a plane noving across the sky, cartridges cartwheel into space. An instant later they are nearly on top of each other, rolling up out of a move that is almost a mirrored reflection of the other - Each jamming their gun tight to the other's head. They freeze in a kind of embrace ; Neo sweating, panting, Agent Smith machine - calm. Agent Smith smiles. AGENT SMITH You're empty. Neo pulls the TRIGGER. CLICK. NEO So are you. The smile falls. Agent Smith yanks his TRIGGER. CLICK. Agent Smith's face warps with rage and he attacks, fist flying at furious speed, blows and counters, Neo retreating as - A knife - hand opens his forearm, and a kick sends him slamming back against a steel column. Stunned, he ducks just under a punch that crunches into the beam, STEEL CHUNKS EXPLODING like shrapnel. Behind him, Neo leaps into the air, delivering a neck - snapping reverse round - house. Agent Smith's glasses fly off and he glares at Neo ; his eyes, ice blue. AGENT SMITH You ca n't win. NEO I already have. He attacks with a vicious series of blows but the Agent seems to absorb them, waiting for his opening. And this time Agent Smith's attack is too much, an unrelenting fury, fists pounding like jackhammers.",
"INT. HOVERCRAFT Trinity watches Neo as his body jerks, mouth coughing blood, his life signs going wild. TRINITY Jesus, he's killing him!",
"INT. \"EL\" STATION (MATRIX) - DAY Agent Smith grabs hold of him, lifting him into the air, hurling him against the curved wall of the train tunnel, where he falls inches from the electrified third - rail. The Agent is about to jump down, and press his attack when he hears sonething. From deep in the tunnel, like an animal cry ; a burst of high - speed METAL GRINDING against METAL. The sound of an ON - COMING TRAIN.",
"INT. HOVERCRAFT Tank is trying to find another entrance. TRINITY Send me back, Tank! Anywhere! TANK I'm looking, Trinity! I'm looking! From the cockpit, an ALARM sounds. Morpheus hurries to the front console, typing, bringing up the radar. Trinity follows him. TRINITY What is it. oh no. In every pipe surrounding them, they see the Extermination Unit. TRINITY Sentinels.",
"INT. SEWER MAIN The killing machine we saw in the History Program blister by us like tracer bullets shot down the throat of the abyss.",
"INT. \"EL\" STATION (MATRIX) - DAY Neo tries to get up. Agent Smith jumps down onto the tracks and drop - kicks him in the face. The world begins to shake, RUMBLING as the TRAIN NEARS. AGENT SMITH Do you hear that, Mr. Anderson? Agent Smith grabs Neo in a choke - hold, forcing him to look down the tracks, the train's headlight burning a hole in the darkness. AGENT SMITH That is the sound of inevitability. Neo sees it coming and he starts to fight. AGENT SMITH It is the sound of your death. There is another METAL SCREECH, MUCH LOUDER, closer, as Agent Smith tightens his hold. Neo is unable to breathe. AGENT SMITH Goodbye, Mr. Anderson. The TRAIN ROARS at them, swallowing Agent Smith's words. The veins bulge in Neo's head, as he grits through the pain. He is not ready to die. NEO My name is Neo. Impossibly, he hurls himself straight up, smashing Smith against the concrete ceiling of the tunnel. They fall as the sound and fury of the TRAIN EXPLODES INTO the station. Neo back - flips up off the tracks just as - The train barrels over Agent Smith. Neo stands, knees shaking, when the train slams on its emergency brake. With an ear - splitting SHRIEK of TORTURED RAILS, the train slows, part of it still in the station. Neo turns, limping, starting to run, racing for the escalator - As the train comes to a stop and the doors of the last car open ; Agent Smith bursts out in furious pursuit, his glasses again intact.",
"INT. HOVERCRAFT Morpheus checks the ship's self destruct key. TRINITY You ca n't use that until Neo is out! MORPHEUS I know. Do n't worry, he'll make it.",
"EXT. CITY STREET (MATRIX) - DAY A man sits in his Mercedes, talking on his car phone when his door is thrown open. Neo yanks him out and jumps in. Further down the street, Agent Smith slows, calmly touching his ear - piece. Neo throws the car across traffic, rocketing down a side - street.",
"INT. CAR (MATRIX) - DAY Driving like a demon with one hand, he grabs the car phone and dials long distance.",
"INT. HOVERCRAFT Tank answers. TANK Operator. NEO -LRB- V.O. -RRB- Mr. Wizard, Get me the fuck out of here!",
"INT. CAR (MATRIX) - DAY Looking over his shoulder, watching the mirrors, Neo drives almost unconsciously. NEO Hurry, Tank! I got some serious pursuit!",
"INT. HOVERCRAFT The keyboard clicking, Tank searches for an exit. Trinity screams into the headset. TRINITY Neo, you better get your ass back here!",
"INT. CAR NEO I'm trying, Trinity. I'm trying. TANK -LRB- V.O. -RRB- I got one! Neo glances to his right and sees Agent Brown, now driving the car beside his. Agent Brown swerves, slamming into him. TANK -LRB- V.O. -RRB- Wabash and Lake. A hotel. Neo fights the steering wheel as Agent Brown pushes the car up over the median. TANK -LRB- V.O. -RRB- Room 303. Neo drops the phone as his car bucks into the opposing lane - Directly into the charging path of an enormous truck driven by Agent Smith. Neo dives from the Mercedes as the truck plows into it, rending metal and GLASS, crushing through, totaling other cars, as it EXPLODES. Neo is up and running even as orange and black clouds billow up behind hin.",
"EXT. CITY STREET (MATRIX) - DAY Three figures silhouette by the burning wreckage become the three agents. Further down the street, Neo hauls his broken, bleeding ass. Agents Brown and Smith slow, touching their ear - pieces as Agent Jones continues chasing full - bore. Neo spins around a corner, racing toward a hotel called : the Heart of Chicago Hotel. Only Agent Jones is behind him now. Neo dives into the alley. At the far end he sees Agent Brown charging. Neo leaps for the fire escape and begins to climb.",
"INT. SEWER MAIN Sentinels open and shift like killer kaleidoscopes as they ready their weapons, swarming around the Nebuchadnezzar.",
"INT. HOVERCRAFT The hovercraft booms as machines drop onto it. TANK I'm going to make the call. MORPHEUS Do it!",
"INT. \"HEART OF CHICAGO\" HOTEL (MATRIX) - DAY Agent Snith is in the elevator when he hears the DISTANT RING of a PHONE.",
"EXT. ALLEY (MATRIX) - DAY The agents chase him, FIRING, BULLETS SPARKING and RICOCHETING even as Neo jumps for the third - floor platform. Neo kicks in the window, jumping into the hall. The doors count backwards : 310. 309.",
"INT. HOVERCRAFT Morpheus grabs the biggest gun he can find. The lasers begin to slice through the hull. TRINITY Where is he? TANK Almost there. MORPHEUS He's going to make it. TRINITY Hurry, Neo.",
"INT. HALL (MATRIX) - DAY Neo can hear the PHONE RINGING. 305. 304. Agent Brown reaches the broken window behind him just as Neo grabs the handle of 303, throwing open the door to find - Agent Sniith, waiting,.45 cocked. Neo ca n't move - ca n't think - BOOM.",
"INT. HOVERCRAFT Neo's body jerks, and everyone hears it as the life monitors snap flat - line. Trinity screams. Morpheus is frozen in disbelief.",
"INT. HALL (MATRIX) - DAY Three holes in his chest, Neo falls to the blue shag carpeting, blood smearing down the wallpaper. Agent Smith stands over him, still aiming, taking no chances. AGENT SMITH Check him.",
"INT. HOVERCRAFT Through the lasered opening, Morpheus screams, blasting away at the machines ; comet - wads of plasma burning holes in their armored housings. Trinity collapses onto Neo's body. TRINITY No - no - no! Neo, you're not dead! You ca n't be dead!",
"INT. HALL (MATRIX) - DAY Kneeling beside him, Agent Brown checks his vital signs. AGENT BROWN He's gone. Agent Smith smiles, standing over him. AGENT SMITH I told you, you could n't win.",
"INT. HOVERCRAFT Tank is hit, a laser bolt knocking him to the ground. They ca n't hold them off any longer. Morpheus lunges for the self destruct - As Trinity whispers in Neo's ear. TRINITY You're right here. I'm holding you, Neo. I'm not letting you go. Do you hear me? I wo n't let you go.",
"INT. HALL (MATRIX) - DAY The agents walk to the elevator, leaving Neo's body behind.",
"INT. HOVERCRAFT Morpheus flicks the Plexiglas shield of the self - destruct. TRINITY Goddamnit, Neo! Do n't give it up! Not now! She pounds on his chest. TRINITY Not now!",
"INT. HOTEL HALL (MATRIX) - DAY The BLOW ECHOES deep in his mind. His eyes snap open.",
"INT. HOVERCRAFT Trinity screams as the monitors jump back to life. Tank and Morpheus stare, unbelieving. It is a miracle. TRINITY Now get up!",
"INT. HALL (MATRIX) - DAY Neo struggles, holding his chest, sitting up. Down the hall, he sees the elevator closing and - Agent Smith staring at him as if he were looking at a Cypher. Neo gives him the finger. AGENT SMITH Nooooo! Agent Smith pounds on the elevator door.",
"INT. HOVERCRAFT A sentinel BLOWS a hole in Morpheus' right arm and he screams, refusing to let go of the detonator.",
"INT. ROOM 303 (MATRIX) - DAY Neo dives for the RINGING PHONE.",
"INT. HOVERCRAFT Machines split open the craft, pouring in, lasers targeting everywhere. A beat finds the center of Morpheus' forehead and he screams, ready to die. TRINITY Now! He turns the key.",
"INT. OVERFLOW PIT A blinding shock of white lights flood the chamber ; sentinels blink and fall instantly dead, filling the pit with their cold, metal carcasses.",
"INT. HOVERCRAFT In the still darkness, only the humans are alive. TRINITY Neo? His eyes open. Tears pour from her smiling eyes as he reaches up to touch her. And she kisses hin ; it seems like it might last forever. FADE TO BLACK. ON COMPUTER SCREEN as in the opening. The cursor beating steadily, waiting. A PHONE begins to RING. It is answered and the screen fills instantly with the trace program. After a long beat, we recognize Neo's voice. NEO -LRB- V.O. -RRB- Hi. It's me. I know you're out there. I know you're working as fast as you can to catch me. We CLOSE IN ON the racing columns of numbers shimmering across the screen. NEO -LRB- V.O. -RRB- I thought I should call and let you know how things stand. We DIVE THROUGH the numbers, surging UP THROUGH the darkness, sucked TOWARDS a tight constellation of stars. NEO -LRB- V.O. -RRB- I know you're real proud of this world you've built, the way it works, all the nice little rules and such, but I've got some bad news. We realize that the constellation is actually the holes in the mouthpiece of a phone. Seen from inside. NEO -LRB- V.O. -RRB- I've decided to make a few changes. We SHOOT THROUGH the holes as Neo hangs up the phone. He steps out of the phone booth and starts walking, wearing a long black coat and dark glasses. He passes a mother dragging her little BOY, who cranes his neck as - Neo takes off, flying up into the air. BOY Mommy! Mommy! MOMMY What? BOY That man! That man flies! MOMMY Do n't be silly, honey. Men do n't fly. There is a RUSH of AIR as the Boy stares up as Neo shoots overhead. His coat billowing like a black leather cape as he soars up, up, and away. FADE OUT. THE END"
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] | In an abandoned hotel of Chicago, a woman (later revealed to be Trinity) is cornered by a police squad but quickly overpowers them with superhuman abilities. She flees, pursued by the police and a group of mysterious suited Agents capable of similar superhuman feats. She answers a ringing public telephone and vanishes. Computer programmer Thomas Anderson, known in the hacking scene by his alias "Neo", feels something is wrong with the world and is puzzled by repeated online encounters with the phrase "the Matrix." Trinity contacts him and tells him a man named Morpheus has the answers he seeks. The Agents, led by Agent Smith, apprehend Neo and threaten him into helping them capture the "terrorist" Morpheus. Undeterred, Neo later meets Morpheus, who offers him a choice between two pills; red to show him the truth about the Matrix, and blue to return him to his former life. After Neo swallows the red pill, his reality disintegrates, and he awakens in a liquid-filled pod among countless others attached to an elaborate electrical system. He is retrieved and brought aboard Morpheus' hovercraft, the Nebuchadnezzar. As Neo recuperates from a lifetime of physical inactivity in the pod, Morpheus explains the truth. In the early 21st century, there was a war between humans and intelligent machines. When humans blocked the machines' access to solar energy, the machines responded by harvesting the humans' bioelectric power, keeping them pacified in the Matrix, a shared simulated reality modeled after the world as it was at the end of the 20th century. While the machines have taken over the world, the city of Zion still remains as the last refuge of free humans. Morpheus and his crew are a group of rebels who hack into the Matrix to "unplug" enslaved humans and recruit them; their understanding of the Matrix's simulated nature enables them to bend its physical laws, granting them superhuman abilities. Morpheus warns Neo that death within the Matrix also kills the physical body, and that the Agents he met are powerful sentient computer programs that eliminate threats to the system, while machines called Sentinels search to destroy humans in the real world. Neo's prowess during virtual combat training lends credibility to Morpheus's belief that Neo is "the One", an especially powerful human prophesied to free humanity and end the war. The group enters the Matrix to visit the Oracle, the prophet who predicted the emergence of the One. She implies to Neo, that he is not the One and warns that he will have to choose between Morpheus's life and his own. The group is ambushed by Agents and tactical police, tipped by Cypher, a disgruntled crew member who seeks to betray Morpheus in exchange for a comfortable life in the Matrix. Morpheus allows himself to be captured so the rest of the crew can escape. Cypher exits the Matrix first and murders several crew members as they lie defenseless in the real world. Before he can kill Neo, Tank, a crewman whom he had only wounded, kills him. In the Matrix, the Agents interrogate Morpheus to learn his access codes to the mainframe computer in Zion. Tank proposes killing Morpheus to prevent this, but Neo resolves to return to the Matrix to rescue Morpheus, as prophesied by the Oracle; Trinity insists she accompany him. While rescuing Morpheus, Neo gains confidence in his abilities, performing feats comparable to the Agents'. Morpheus and Trinity exit the Matrix, but Smith ambushes and kills Neo before he can leave. As a group of Sentinels attack the Nebuchadnezzar, Trinity whispers to Neo that he cannot be dead, because she loves him and the Oracle told her that she would fall in love with the One. She kisses Neo and he revives with newfound power to perceive and control the Matrix. He effortlessly defeats Smith, and leaves the Matrix just in time for the ship's electromagnetic pulse to disable the Sentinels. Later, Neo makes a telephone call inside the Matrix, promising the machines that he will show their prisoners "a world where anything is possible". He hangs up and flies into the sky. | The_Matrix |
[
"REINDEER GAMES FIGURE IN A SANTA CLAUS SUIT lies face - down in a nighttime expanse of snow. One of the body's red - sleeved arms is twisted at a sickening angle. The white snow beneath the figure is spreading with red.",
"EXT. SNOWY ROAD - NIGHT The figure in the suit lies motionless. Snowflakes drift.",
"INT. HALLWAY - NIGHT Dark, rustic wood, an office with broken windows and whistling winter beyond. A second BODY in a Santa Claus suit lies dead in the doorway. It's a man with a large build. The suit is riddled with holes. His face is missing.",
"EXT. PARKING LOT - NIGHT More snow falling. A handful of cars in the lot. A third BODY in the same red - and - white outfit lies atop the hood of an old Pontiac. His head is not visible, having smashed through the windshield. His suit is charred and blackened. A halo of broken glass outlines him. His black boots hang off the front bumper. The parking lot is silent.",
"INT. ROOM - NIGHT A floor scattered with shiny silver quarters. Reflections of neon. There's a fourth SANTA here, face - down in a red pool. The suit is far too big for him. Not that it matters now.",
"EXT. SNOW-FILLED RAVINE - NIGHT where the fifth and final Santa lies at the edge of a ravine, which plummets a hundred feet down. The man rests precariously atop the slope, upside - down, eyes closed. His burned suit is smoldering. He has a sly but tired face, late - 20's, sandy hair, cold and scarred. This is RUDY DUNCAN. He opens his eyes. RUDY -LRB- V.O. -RRB- I never was much for the holidays. THE SOUND OF A WINTER WIND rises, as a TITLE appears : `` SEVEN DAYS BEFORE.'' And then, to complete the sentence :''. XMAS.''",
"EXT. IRON MOUNTAIN STATE PRISON - DAY Snow drifts down onto the stone walls and wire fences of the Iron Mountain, Michigan S.I.C. Winter's been here awhile.",
"INT. PRISON CELL - DAY Rudy Duncan lies in his top bunk, staring at his ceiling - where a handful of paper - cut snowflakes have been pasted. The sounds of YELLING INMATES and GATES slamming shut echo through the fortress. Rudy watches a spider scurry across the paper snow. It's his excitement for the day. He turns to the wall, where there's a photo of his teenage self with some co - workers at an auto body shop. And a family photo, cheery Midwesterners, with Rudy a scowling Artful Dodger. A WALL CALENDAR Shows the dates have been crossed off up to December 18th. December 22nd is circled again and again. Rudy muses at the calendar, then hops out of his bunk. Drops to the floor, crosses to a desk, finds a chewed - on pen. Turning back to the beds we reveal - THE LOWER BUNK where Rudy's cellmate, NICK MASON -LRB- 32 -RRB-, rugged, mustached and well - built, sleeps soundly. In contrast, his bed - wall is a COLLAGE OF PHOTOGRAPHS, twenty, maybe thirty of them. Almost a mural. All of them photos of A BEAUTIFUL YOUNG GIRL, mid - twenties, smiling out from beaches, parties and snowy scenes. Gorgeous brown hair, heartbreaking smile. Effortlessly sexy. RUDY stares at the pictures for a moment, wistful. Nick snores, turns over. Rudy climbs atop his bunk again, with the pen this time. And crosses December 18th off the calendar.",
"EXT. PRISON YARD - DAY The two of them, Nick and Rudy, shivering by the fence. Nick absently whistles some `` Silver Bells,'' then digs for a smoke. NICK What's the first thing, man? What's the first thing you're gon na do? RUDY Have n't thought about it. NICK Hell you have n't. RUDY Get to thinking about it, it wo n't happen. NICK We walk outta here, we hit that road, what's the first thing you're gon na do. RUDY Ai n't there yet. NICK Three days, man. RUDY Not yet. NICK Fuckin' Christmas, man. Fuckin, Christmas on the outs. Dozens of uniformed INMATES wander the yard, stamping feet, hands tucked away, breath frosting. Nick tries to light his cig, but the wind plays havoc. Nick curses, tosses it. RUDY Hot chocolate. NICK What? RUDY Get a hot mug of chocolate. -LRB- nods. -RRB- First thing I'm gon na do. NICK -LRB- smiles. -RRB- And a slice of pecan pie, right? RUDY And some pecan pie. Nick laughs, stares through the fence at the gates of the prison's entrance road. Longingly. NICK She's gon na be out there, man. Right there. Right there waiting. RUDY Yeah. NICK Gon na walk out of this shitstorm and right into her arms. RUDY Yeah. NICK Got us a motel out Highway 5, bringing her own damn sheets, you read that part? Silk damn sheets. Lock ourselves in the whole week, drinking wine, taking baths, man, see if they got those room service steaks. anything I want to do. Remember when she wrote that? Anything I want. RUDY Yeah. Fuckin' Christmas. Nick grins. They stand there, shivering. It's freezing, but the time they get outside is too precious to give up. RUDY All those pictures she's sent. y' know. you sure they're all of her, Nick? You hear sometimes they do n't send their real pictures. Could be her cousin or something. Nick studies him. NICK Why you got ta say a thing like that. RUDY I'm just saying. NICK Why you got ta. We were gon na give you a ride someplace, man. Now I just do n't know. RUDY I'm just talking. NICK Fuck your hot chocolate, Rudy. They trail off in silence. Nick looks out at the prison road again. A snowy wasteland. NICK I'm gon na marry this girl.",
"INT. PRISON CELL - DAY Rudy lies in his bunk, staring at the same paper snowflakes. NICK -LRB- O.S. -RRB- Hey, hey, listen here. `` I've made my list and I've checked it twice, and as long as you're naughty, it's gon na be nice. These cold winter weeks have been killing me, Nick, as I lie here alone. It's not enough to have your warmth in my heart anymore ; I need your warmth next to me. Work at Penney's has been busy because it's Christmas and that's when we do almost half of our business for the whole year -'', okay, whatever, whatever -. -LRB- skipping on. -RRB-'' - my manager's still mad at me for asking for the whole week off,'' whatever, whatever -. -LRB- smiles. -RRB- Here we go. `` And all that gets me through the day is to close my eyes and imagine holding you, and kissing you, and touching you, and tasting you everywhere because I know at that moment, I'll feel I've found the reason for my whole entire life.'' Rudy still stares at the stone ceiling. RUDY For twenty - five, she sounds pretty mature. NICK Yeah. You grow up in Detroit, you get matured real quick. Nick's doing pushups on the floor below, smoking a cig, reading sheets of pink stationery. With a new photo : of the same GIRL, in a bikini by a lake. Vamping a childish pose. NICK Sure as hell do n't make me miss Millie Bobek. Guess I owe Millie, though. If I had n't been rollin, her, I woulda never ended up here. And I woulda never met Ashley. -LRB- studies photo. -RRB- That's the world for ya. Nick climbs off the floor, paces back to the bunks, marvelling at the latest letter. RUDY What if she sees you, man, sees what you look like. and it's not there. You just do n't do it for her. NICK Me and her got a connection. -LRB- hands page to him. -RRB- Read this part. Read the part about stuffing her stocking. Nick drops the page on his stomach. Rudy sighs, picks it up, brings it to his nose. RUDY She's using a new perfume. NICK No, I think that's just oranges. She writes here she's eating oranges. RUDY Oh. NICK Shoulda written to that magazine, Rudy. I'm gon na walk outta here, walk right into a relationship. Not some one - nighter, man. a relationship. You? You're gon na walk outta here with bus fare. Searching for the drunkest skirt in the room. RUDY Mornin', gorgeous. More egg nog? NICK Shoulda written, Rudy. Nick drops back to his bunk, pasting the new lakeside photo among his collage of pictures. Admiring his pen pal : NICK Shoulda got yourself a girl. Above, Rudy peruses the page Nick gave him. Some lipstick marks pressed to the paper. He passes it back, closes his eyes. RUDY All I want. is to make it to Sidnaw, and sit down for Christmas dinner. Watch some ball with my old man, sleep in my old bed, and have leftovers for bout six months. NICK Thought you hated Sidnaw. RUDY Just taste that Christmas turkey. NICK Thought you hate your old man. RUDY Five years, Nicky. Five years. -LRB- shrugs. -RRB- I just want to go home. There's the echo of CRASHING metal gates. Prisoners YELLING. Nick smiles, still staring at his girl. NICK Well, man. Me and Ashley. We'll be thinking about you.",
"INT. MAIN PRISON FLOOR - DAY GUARDS monitor PRISONERS as they file out of their cells for the afternoon meal. Rudy and Nick are motioned out by a MEAN GUARD, his bitter world etched in his face. They join the line. RUDY Shit. Alamo's back. Across Broadway, a parallel line is forming. A tall, tattooed Native American, THE ALAMO, steps out of his cell. His hands are the size of a man's skull. NICK Do n't look like he missed the sunlight. RUDY Pinscher told me Alamo thinks I'm the one ratted on him beating up Cree. Since I was there, I saw it, he thinks I got him sent to solitary. NICK Aw, Rudy. At that moment, Alamo glances over. Finds Rudy's eyes. Rudy swiftly looks away - RUDY Count me outta mealtime - He slaps Nick an the back, heads back for their cell - MEAN GUARD GET BACK IN LINE! RUDY I'm not hungry, I'm gon na - MEAN GUARD SHOULDA STAYED IN YOUR HOLE! GET BACK IN FUCKING LINE! The mean guard pulls his blackjack. Another guard's ready behind him. They want Rudy to give them trouble. Rudy stops. Slides back into the line of prisoners. Looks across Broadway. The Alamo's walked on up ahead. Rudy swallows, heads toward the mess hall.",
"INT. MESS HALL - DAY A GLOOPY SPOON of CHUNKY RED AND GREEN JELLO gets splooshed on Rudy's plate. Same with Nick. It's the cafeteria line. NICK What the fuck is this? UGLY STAFFER Holiday jello. NICK What's this shit in it? UGLY STAFFER Swallow and see. The ugly staffer grins from under his plastic hairnet. Nick looks to Rudy, then turns back to the help : NICK Just so you know, this man and I are outta here in two days. So while we're inhaling London broil and lobster bisque, you're gon na still be standing here smelling up the mystery creamfuck. -LRB- nods. -RRB- Who's in prison now? The ugly staffer curls his lip. Nick smiles. Rudy moves on, taking his tray off the rail and turning - - right into the chest of The Alamo. He looks up - into the most scarred and vengeful face a man could ever dread to see. The Alamo's a lifer. Many times over. THE ALAMO When you do n't expect it. RUDY It was n't me, Alamo - THE ALAMO That's when. The Alamo strides into the cafeteria line. Rudy finally takes a breath, as if he's dodged death. Nick's at his shoulder. They share a grave and worried look. Trying to help : NICK Two days.",
"INT. MESS HALL - TABLES - DAY Rudy and Nick sit at a cafeteria table. Beside Rudy is a frail, nervous, fiftyish inmate, ZOOK. Zook sits alone, talks to no one, always has the shakes. NICK So maybe after our week beneath the sheets, we'll head down to Motor City for New Year's. She says her roommate's skipping town for a few days, have the place to ourselves. Remember how her brother's a truck driver down there? I'm thinking he might be able to help get me some work. RUDY What, working security? NICK No, I'm through with that shit. Ashley's right. Got ta start doing something I got a stake in. Get a business going. RUDY I do n't know, I've seen the business world. NICK Hotwiring cars, Rudy, does not qualify as a small business. Chop shop consultant ; does n't work on a resume. Rudy shrugs. He checks across the room, on the whereabouts of The Alamo. The big Indian has his back turned. NICK Ashley's talking about maybe we can start something up together. Next to Rudy, Zook has stopped eating. He is still as stone, staring at his tray. NICK Whatsa matter, Zook? They both watch Zook put down his utensils and reach into his red - and - green jello with his bare hand. RUDY The hell you doing, Zookerman? Gloppy gelatin drips from his hand, as the frail man lifts a large black cockroach out. Zook's shaking. NICK Just a roach, Zook. RUDY Good for you. Protein. ZOOK Monsters in the gelatin. NICK It's a roach, guy - ZOOK There are monsters. -LRB- voice rising. -RRB-. in the gelatin. NICK Oh, man - Zook stands up, holding jello aloft : ZOOK THERE ARE MONSTERS IN THE GELATIN! NICK -LRB- shakes his head. -RRB- Fuckin, Zookerman - ZOOK THERE ARE MONSTERS! IN THE GELATIN! THERE ARE MONSTERS! IN THE GELATIN! A GRUMBLING MURMUR sweeps through the cafeteria as inmates sift through their jello, searching for - DISTANT INMATE Sonofabitch! He pulls something bug - like out of his dessert, holds it aloft, and then HURLS it at the cafeteria line. A STAFFER ducks away. The inmates LAUGH and suddenly they're all on their feet - ZOOK THERE ARE MONSTERS! IN THE GELATIN! - grabbing handfuls of jello and throwing it at the cafeteria line. Inmates get errantly SPLASHED, and respond by wheeling on their fellow inmates - red and green globs flying to and fro! GUARDS SIT DOWN! SIT THE FUCK BACK DOWN! As GUARDS immediately rush in to restore order - NICK Rudy, do n't move - RUDY Two days, we got two days! Do n't do nothing. Do n't touch nothing - An INMATE at the end of their table picks up their table and overturns it, sending food flying. Rudy and Nick stand back, hands raised in surrender. Jello HITS Rudy in the face. NICK Do n't move, Rudy! RUDY Standing right here, man! Zook is still SHOUTING until a GUARD clubs him senseless with a blackjack. WHISTLES are blowing. Guards SCREAM for order. NICK -LRB- as a GUARD eyes them. -RRB- Ate the jello, jello was fine! The guard leaves them alone, runs on. The melee's still out of control. As Rudy turns - - and suddenly sees The Alamo charging across the room, with murderous eyes, a metal shank in his hand! Five feet away! NICK RUDY, LOOK OUT! Nick grabs him, trying to push him out of the way - - and The Alamo's shank plunges deep into Nick's stomach burying between his ribs. Blood splashes. Nick slumps. RUDY NICK! The Alamo pulls the blade out with a ferocious YELL, pushes Nick to the floor and spins on Rudy! Rudy blocks with a chair, stumbling back, cartwheeling over a table as The Alamo roars over him for the kill - - and two GUARDS tackle the big Indian out of nowhere! Knocking the knife away, hammering him with blackjacks. It takes another three guards to keep The Alamo down. Rudy scrambles across the floor. Nick's on his back, blood pumping freely from his gut - RUDY GUARD! GUARD! NICK -LRB- in shock. -RRB- Alamo. RUDY GUARD! No one's helping, the guards nearby all subduing The Alamo. Nick grabs Rudy's shirt, gasping to speak - NICK Jesus, Rudy - RUDY Take it, man! You're all right! Hold it in! GUARD! NICK Oh, fuck, Rudy. oh Jesus. RUDY GUARD! NICK Ash. Ashley. RUDY No, man! No, no, no! NICK -LRB- choking. -RRB- Tell her. I'll be there. RUDY You're GON NA be there! We're getting outta here! TAKE IT! NICK Tell Ashley. I. RUDY YOU TELL HER! NICK be with her. Blood spills out Nick's mouth. His eyes go vacant. RUDY NO! NICK for Christmas. RUDY NICK! And Rudy's suddenly hauled backwards. A trio of GUARDS descend, grabbing Nick's body as his life fades away. Dragging his figure out of the melee. WHISTLES are blowing. GUARDS GET HIM OUT OF HERE! LOCK DOWN! RUDY NICK! Rudy struggles, enraged, and gets blackjacked across the skull for his trouble. He hits the jello - covered floor. And the world goes dark.",
"INT. PRISON CELL - NIGHT Darkness and shadows. Rudy sits in a corner, holding his head. The cell block silent for the first time. Bootsteps from down the row. A SHADOW falls across Rudy's somber figure. It's the Mean Guard. He stares at Rudy with distinct pleasure. RUDY The man had two days. MEAN GUARD Well. Least he wo n't be coming back. The guard grins a gold tooth. Rudy looks at him - - and then springs to his feet, charges the room, grabbing through the bars. The guard takes a calm step back. Keeps the cruel smile. MEAN GUARD You need company tonight, Rudy. you just give a holler. He puckers a kiss and walks on. Starts whistling `` Are You Lonesome Tonight?'' Several shadowed VOICES request that he shut the fuck up. The bootsteps and melody drift down the row. RUDY turns back, starts toward his bunk. And stops. His eyes on Nick's empty bed. And the wall behind. THE PICTURES OF ASHLEY Smiling, laughing, playing kissy - face. Hearts drawn on the photos. All colors of stationery taped to the wall. RUDY takes a seat on Nick's bed. There's a shoebox at the foot of it. Rudy opens it. It's filled with Ashley's letters. He trails a finger along them, must be over a hundred pages. He selects the one nearest the front. Surveys it. NICK -LRB- V.O. -RRB- Rudy, man, here we go, here, what she wrote here : `` The car's waiting. The motel's waiting. And I'm waiting. I've waited for so long. I'm burning for you, Nick. My whole body. My whole heart. I'm burning for you.'' Rudy turns to the wall. To the lakeside picture of Ashley, a swimsuit siren. Rudy stares sadly. RUDY He was burning for you too. And puts the letter away. CLOSE ON RUDY'S CALENDAR - NIGHT As his hand slashes through December 21st. Prison's over.",
"EXT. IRON MOUNTAIN PRISON - DAY Snow swirls. Near blizzard conditions. A heavy steel door BANGS open, held by an EXIT GUARD. And FIFTEEN CONVICTS, make that EX - CONVICTS, trudge onto a fenced drive, covered in snow. EXIT GUARD Your world and welcome to it, dumbfucks! Do n't be a stranger now! We'll keep the lights on for ya! Rudy stumbles out with the group, shivering in a Goodwill hand - me - down coat. Thin canvas, would n't keep him warm in summer. Secondhand shoes. No possessions. He clutches his sides with his hands, hunched over. All fifteen huddle and herd toward the gate at the end of the fenceway. BEYOND THE GATE There are a dozen FRIENDS and RELATIVES waiting. A few MEN, several WOMEN, a couple KIDS. Bundled in winter coats, hats and hoods. A prison shuttle bus is parked behind them. The released cons reach the gate, where a GATE GUARD unlocks the fence to the outside world. Fifteen men are free. The ex - cons and relatives scan each other's faces. Wives rush over to embrace their men. Pals nod to ex - cons and trade slaps on backs. Reunion time. The snow batters them, wind whipping. Rudy keeps his head down, leaning forward, keeps walking. Toward the bus. But he ca n't help himself - he glances up - TO SEE A YOUNG WOMAN bundled in a silver ski jacket, pink wool hat with a poofball on top, scarf and mittens. Scanning the released prisoners. RUDY drops his head, looks away. Climbs onto the shuttle bus.",
"INT. BUS - CONTINUOUS Rudy shakes his arms, basking in the vehicle's warmth. Takes a seat at the back. A couple other lone ex - cons climb aboard. Then the cons with relatives start to pile in. Rudy's window is steamed against the cold. He stares into his lap, then reaches for his coat pocket. Takes out the picture of Ashley, in her bikini by the lake. Stares at it. He rubs his window with his sleeve. Outside, the woman in the silver coat turns this way and that, troubled. She's watching the other ex - cons climbing onto the bus with their loved ones. The woman looks back to the prison. The guard closing the gate. The steel door has been shut. No one else is coming. Rudy watches her sadly. Aboard the bus, the seats fill up. Ex - cons are feeling up their wives, kids are climbing on their absent daddies, buddies are jawing loudly ` bout how the neighborhood's changed. The woman outside is now alone. Silver coat, pink poofball. Rudy looks at the bikini picture again. Then at the shivering bundle. RUDY Do n't do it, Rudy. The bus ENGINE starts up. In the seat beside Rudy, an EX - CON makes out with his WIFE while his bratty KID punches his leg. Out the window, the young woman is scanning the bus windows. Then the prison again. She turns in a worried circle. Rudy looks swiftly away. Closes his eyes. RUDY Do n't do it. The bus door closes. It REVS and starts forward. Rudy sighs with relief. The photo of Ashley falls to the floor.",
"EXT. PRISON RELEASE GATE - CONTINUOUS The young woman watches the bus pull away, down the snowy road. But it does n't get fifty feet before it suddenly stops. The door opens. And Rudy steps out. The bus REVS up again and GROANS OFF into the winter. The young woman pushes her poofball hat out of her eyes. We get a look at her face for the first time. Skin pale, lips turning blue, but it's the girl from the pictures. It's Ashley. She watches Rudy's figure trudge back toward her. Snow obscuring him until he's right in front of her. Both of them shivering. Both of them standing there. And finally : RUDY You Ashley? Ashley nods. And Rudy sadly smiles. RUDY I'm Nick.",
"INT. TRUCK STOP - DAY Rudy and Ashley sit at a coffee shop booth. Coats still on. Big rigs bluster by on the highway outside. Two untouched cups of coffee sit before them. She's watching him in silence. RUDY I like your coat. Ashley says nothing. Rudy looks at his own : RUDY This - this is just something they gave me at the door. Was n't snowing when we signed up, y' know? Ashley nods. RUDY How's your coffee? Ashley looks at it, like she's just realizing it's there. She lifts the cup, takes a sip. Puts it down. ASHLEY Good. Rudy nods. Silence again. RUDY Got ta be ten degrees out there. ASHLEY Radio said negative five. RUDY Negative five? ASHLEY Yeah. RUDY I do n't think it's negative five. ASHLEY Radio said. Beat. RUDY Wind chill. That's probably what they meant. Ashley nods. Rudy bites his lip. RUDY I was scared. Scared you were gon na take one look at me and change your mind. Scared I was walking into heartache. All those words. you put a picture in your mind of where they come from and when you see where maybe it's not the same as your picture. He trails off. ASHLEY I figured you walked outta there and saw me and walked right the other way - RUDY No, no - ASHLEY Saw my outfit or something, my coat - RUDY No, hey, I like your coat - ASHLEY Saw me - RUDY Ashley, no. That was me, that's what I was scared of. I mean, be serious. I ai n't exactly looking like Mr. Universe here. ASHLEY You are to me. Rudy goes silent. Whoa. Ashley considers. ASHLEY Thought you wrote you had a mustache. RUDY I can get another one going. Y' know, hey, whatever you want me to - ASHLEY No, no, no. Be like you want to be. Another awkward pause. Rudy picks up a milk dispenser beside the coffee, puts it to his lips. It gives him a wide white mustache. He stares straight - faced. Ashley gives a bashful smile, covers it. RUDY Do that again. ASHLEY What. RUDY Smile. Ashley smiles again, blushing now. ASHLEY No - RUDY One more. Smile. One more. ASHLEY -LRB- trying not to. -RRB- No, c'mon - RUDY I've been dreaming about that smile, Ashley Mercer. For a long time. They stare across the table, drifting into one another's eyes. ASHLEY You're better than the picture in my mind, Nick. -LRB- softly. -RRB- You're real. Outside, another truck rumbles by, whipping up snow.",
"INT. INTERSTATE MOTEL ROOM - DAY And Rudy and Ashley SLAM inside, kissing passionately, limbs intertwined, pawing at each other's coats. Rudy kicks the door closed. Mouths devouring, hands lost in snowy hair. They collide with a side table, knocking over a lamp, tumbling onto the lumpy bed. Rudy tears at her silver coat and sweater and turtleneck and capilene and whatever else's she got on, as Ashley's lips explore his neck and body. Writhing and wrestling and rolling off the bed. Bang.",
"INT. MOTEL ROOM - LATER Rudy and Ashley fuck like lovers in R - rated movies.",
"INT. MOTEL ROOM - DAY - LATER The bed sheets lie tangled on the floor. Rudy and Ashley rest naked amidst them. Her pretty young head on his chest, all their inhibitions gone. Rudy strokes her arms. RUDY Tell me something. This the first time you've ever done this? ASHLEY Go to hell, Nick Mason, what's that supposed to mean - RUDY No, not that, no. -LRB- laughs, kisses her. -RRB- I mean this, the whole thing. Start writing to a guy, guy in the bricks. Get a boyfriend like this. Tell me the truth. ASHLEY Well. You're not the first guy I wrote to. But you're the only one I kept writing to. RUDY Yeah. Me too. -LRB- considers. -RRB- Why? I mean I know why for me, why I paid for the ad. But you. why start writing to some guy - some con - you do n't even know? Ashley studies his face, smiles in reflection. ASHLEY I told you, Nick. Remember? RUDY Tell me again. ASHLEY All the guys I've ever been with. they never want to know me. Who I am on the inside. They just want to qet inside. When they do, they think that means they know who I am. That I trust them. That they know me. That there's nothing left to learn. -LRB- beat. -RRB- A guy like you, Nick - six months before you can even touch my face. I figure a guy in that kind of bind, he's gon na hafta work to get to know me some other way. RUDY Had some bad relationships, did n't you. ASHLEY Not bad. Just regular. -LRB- smiles. -RRB- You wrote me wonderful things, Nick. Personal things. She turns to him, kisses his chest - RUDY Well, was n't all me, y' know. ASHLEY Yes it was all you - RUDY Guy I was in with. he helped sometimes. some of the romantic stuff, actually. you'd like him - ASHLEY I'm talking about the heart, Nick. I'm not talking about the words. RUDY Y' know, some of the heart mighta been his too. ASHLEY Then he shoulda signed his name. She turns over playfully, eases herself back atop him. Ready to make up for lost time. With a kiss : ASHLEY And he'd be here right now.",
"INT. SHOPPING MALL - DAY Ashley runs through an Xmas - decorated megamall, dragging Rudy behind her. Both of them laughing, as she hauls him over to some cookie bakery company : RUDY Where the hell are you going? ASHLEY Provisions! We are not leaving that motel room again till after New Year's : we need ten days worth of provisions! -LRB- to cookie matron. -RRB- What's good?! COOKIE MATRON Oh my, we've got a special on our chocolate crunchie elves, they're shaped like little helpers - ASHLEY THIS MAN. has not had a cookie in two goddamn years! Get him two of everything! RUDY Ashley, Jesus - ASHLEY Ca n't survive on our bodies alone, Nick. -LRB- to cookie matron. -RRB- Hurry up! RUDY Ash. did n't you write me that you do n't eat chocolate? ASHLEY Yeah, well you wrote me you were six - foot - four, baby. -LRB- teasing smile. -RRB- So do n't talk to me about little white lies.",
"INT. J.C. PENNEY'S DEPARTMENT STORE - DAY Teddy bears with nightcaps, green bows, red ribbons. Ashley's tearing through men's clothing racks, all love and confidence. Rudy's got a bunch of purchase bags weighing him down : ASHLEY You need a COAT! RUDY Ash, you've gotten me enough - ASHLEY No boyfriend of mine is going to walk around in negative - five degree wind chill without a goddamn good - looking coat! She pulls out a hellacious black leather fringe number. RUDY Baby, c'mon, all this stuff. I have n't gotten you anything - ASHLEY You got out, Nick. You're here. You're my Christmas. She puts the jacket against his chest, smiling. Rudy sighs. RUDY It's two hundred dollars, Ash - She whips a Penney's card from her purse, grins wickedly : ASHLEY You forget where I work? RUDY -LRB- beat. -RRB- Beauty and fragrances. ASHLEY Fifty percent off, motherfucker. Ho ho ho. She runs off with the jacket. Rudy turns to a dressing mirror, left to stare at his reflection. An ex - con in rags, with a half - dozen holiday shopping bags. To himself : RUDY Just for the holidays, Nick. Then we'll tell her. We'll let her. have her holidays. Rudy nods till he convinces himself. Ca n't help but smile.",
"INT. TOY STORE - DAY Puzzles, Barbies and dinosaurs. KIDS scurrying, PARENTS chasing. Rudy and Ashley with a scared TEEN CLERK : TEEN CLERK You ca n't find. what? ASHLEY Toys for adults. Where are your toys for adults? TEEN CLERK Toys for. adults? ASHLEY C'mon. How old are you, sixteen? C'mon. TEEN CLERK We sell children's toys - ASHLEY -LRB- slams money down. -RRB- I got fifty dollars to spend in your store, Jesus of Nazareth. Can you help me or not? The clerk glances around, then, low : TEEN CLERK Slinky's in aisle five, Twister's in aisle one, Moon Mud's in aisle four. ASHLEY Thank you.",
"INT. SUPERMARKET - DAY CLOSE ON CONVEYOR As bottles of wine, vodka and rum, cartons of egg nog and orange juice, and countless prepackaged sandwiches come scrolling past. ASHLEY -LRB- O.S. -RRB- You know what I was thinking, after our holiday hideaway? Instead of going back to Detroit, maybe we could go gambling. Y' know? Drive up to that Indian place you worked at. Would n't that be fun? I have n't gone gambling in forever!",
"EXT. SUPERMARKET PARKING LOT - DUSK Light snow falls. Rudy, in his new black fringe eyesore, and Ashley carry grocery bags across the icy asphalt : RUDY Well, I do n't know about that - ASHLEY Blackjack, Nick, blackjack I am good at. I mean, they'd give us some free games or something, would n't they? Since you worked there? RUDY Security, Ash, I just worked security. They would n't be rolling out the red carpet - ASHLEY And the slots, slots I'm good at too. Would n't that be fun? RUDY We'll have more fun in Detroit. ASHLEY We could live it up and - RUDY Ashley. We're not going anywhere I used to work. It comes out too harsh. Ashley stops, a little hurt. ASHLEY I just. I thought you'd have friends there. Rudy softens, touches her arms : RUDY Hey. I been in prison for two years, Ash. Believe me. Those guys would n't want to see me. He kisses her. She nods, dismisses it, kisses back. ASHLEY Well, they do n't know what the hell they're missing.",
"EXT. MOTEL - NIGHT Ashley's Chevy Nova pulls back into the lot of the roadside joint. There's an artificial -LRB- silver -RRB- Christmas tree tied to the roof. She and Rudy climb out ; she heads for the office : ASHLEY Baby, I'm gon na go tell'em not to disturb us for the rest of the year. I get back in that room, you better be wearing nothing but a candy cane. RUDY I'll see what I can do. ASHLEY No, lover. I'll see what you can do. She smiles, sashays sexily away. Rudy watches her go, admiring his good fortune. Then pops the trunk, collects some of their shopping score. Gifts and goodies. RUDY -LRB- sings, sotto. -RRB- I have no gifts to bring, parum - pum - pum - pum. No treasures for the king, pa - rum - pum - pum - pum. Loaded down, he struggles to the motel room, balances bags on his knee, gets the key in the door, and heads inside.",
"INT. MOTEL ROOM - NIGHT Pitch dark. Rudy fumbles his way in : RUDY but I got a girl to be with, rum - pum - pum - pum. MERLIN -LRB- O.S. -RRB- Hi, Nick. Rudy drops the shopping bags, whirls around, as a stocky black shadow, MERLIN, all 280 pounds of him, KICKS the door shut - RUDY What the fuck - - and SWINGS a baseball bat toward Rudy's chest. Rudy gets an arm down to deflect the blow, but it still stings like a mother. Rudy HOWLS. Merlin comes at him again - - and this time Rudy slips by. Merlin's bat SHATTERS a dresser. Rudy grabs him by the neck, kicks out his knees and wrests him to the ground. Grabs the bat - - and gets DECKED from behind by another shadow, PUG, a little white guy with a snarl. They go CRASHING onto the bed, grappling for leverage, and then to the floor - - where Rudy grabs a champagne bottle from the groceries and BASHES it backwards, shattering it over Pug's head! Pug lets go, as Rudy scrambles up, and Merlin's got him again in a bear hug. Rudy's struggling, whirling with him, crashing into one wall, then another, YELLING for help - RUDY HEYYY! IN HERE! HEYYY! - until he hears the PUMP - LOAD SNAP of a shotgun. Rudy stops still. A lamp clicks on. Standing in silhouette, a figure in a leather duster holds a sawed - off on him. GABRIEL Welcome home, Nick. Another lamp comes on. Rudy, still in Merlin's choke - hold, gets a look at the gunman, GABRIEL. Weathered face, stringy hair, early 30's. Handsome in a scuzzy way. He's seen a lot of road. Rudy stares, totally thrown. Pug, the little guy, bad teeth, bad hair, bad skin, gets up spitting blood and champagne. PUG I owe ya a drink, ya fuck - - and slugs Rudy in the gut. Merlin yanks him back up. Merlin's a black widebody, wears a goatee and brass knuckles. Behind Merlin stands a fourth intruder, a stone - faced Indian in a Grateful Dead longsleeve. JUMPY. Guarding the door. Gabriel's studying Rudy, up and down. Nods. Merlin relaxes his choke - hold so Rudy can breathe. RUDY You. you do n't know me - GABRIEL Oh, I know you, Nick. I know you real well. RUDY No, you ca n't - GABRIEL The hell I ca n't. As the room's door gets kicked open - ASHLEY Watch out, baby! I'm bringing in the fucking tree! and the silver fake evergreen fills the doorway, getting forced through with Ashley's grunts and groans - RUDY ASHLEY! Merlin traps his jaw shut. The tree comes squeezing through, followed by Ashley, face in branches - ASHLEY I'm telling you, we got the best one in the store. I do n't know why people want their houses smelling like the stupid woods. She's GRABBED from behind by Jumpy. Ashley screams, but he slams her against the wall. The tree hits the ground. RUDY NO! ASHLEY NICK! Rudy fights to help her, but Merlin's got him. Pug locks Ashley's arms. She fights, muffled cries, but Jumpy and Pug have her held firmly. Her face to the wall - GABRIEL -LRB- re : the silver tree. -RRB- Hope her taste in men's better than her taste in Christmas. Ashley's turned to face him. Her eyes widen. Gabriel nods. GABRIEL Hey, sis. Happy holidays. Rudy's jaw drops. He looks to Ashley. Then to Gabriel. Ashley YELLS, enraged, kicking and clawing. Jumpy slams her back against the wall for her trouble - GABRIEL Jumpy, do n't hurt her, now. Gabriel steps to Rudy. Studies him. GABRIEL So. This is the guy you been waiting for. Man of your dreams. ASHLEY Gabriel -! GABRIEL -LRB- unimpressed. -RRB- Must have a way with stationery. ASHLEY Gabriel, what are you doing! Gabriel raises the sawed - off to Rudy's chest. Rudy flinches, but Merlin's got him. ASHLEY GABRIEL! Gabriel fixes her with a stare. She shuts up. To Rudy : GABRIEL You better be here to be good to her, loverboy.'Cause she's been good to you. ASHLEY Gabriel, let him go - GABRIEL Read a lot about you, Nick. ASHLEY What are you doing here?! GABRIEL Read you're a man of some knowledge. ASHLEY Gabriel! GABRIEL A man of some travels. ASHLEY GABRIEL, I LOVE HIM! Rudy's trying to speak, voice CHOKED. Gabriel nods to Merlin, who again eases his hold. Rudy coughs. RUDY I'm. not. Nick. Gabriel frowns. Rudy turns to Ashley. RUDY I'm not him. I. -LRB- then to Gabriel. -RRB- You want something from Nick, you got the wrong guy. ASHLEY -LRB- hurt. -RRB- Nick. Gabriel looks from her to him, then lowers his sawed - off, and SWINGS it into Rudy's stomach. Rudy buckles. Panicked. GABRIEL Who are you now. RUDY You got the wrong guy! She thinks I'm Nick, I'm not! GABRIEL -LRB- to Merlin. -RRB- Put him in the truck. RUDY I was in the joint with him! I knew about him and her, okay!? I took his place! GABRIEL You what. RUDY I got out, Nick did n't! I pretended I was him! I knew about her letters! Jesus Christ, whatever you want from him - I'm not Nick! -LRB- to Ashley. -RRB- I - I just wanted to be - A glance of regret amidst his desperation. Ashley stares back, confused, searching his eyes. GABRIEL You're not Nick Mason. RUDY I shared his cell! GABRIEL But you were saying you were. RUDY Yes! GABRIEL So you could get with my sister. RUDY Yes! GABRIEL So you could get down her chimney. RUDY Yes! GABRIEL And you think telling me that's gon na help your cause. Gabriel RATCHETS him across the chin with the gun butt. Rudy hits the floor. Gabriel spins on Ashley, enraged : GABRIEL Is this him!? ASHLEY -LRB- reaches for Rudy. -RRB- Do n't hurt him. GABRIEL Is this the fucker you been writing all year!? ASHLEY -LRB- reaches for Rudy. -RRB- Please, Gabriel, do n't. Gabriel puts the gun to Rudy's head. GABRIEL IS THIS NICK MASON!? ASHLEY YES! Gabriel does n't shoot. Studies Rudy. GABRIEL Well, he's gon na have to learn to give you some respect. Gabriel KICKS Rudy in the jaw. Ashley screams. Gabriel motions to his boys : Jumpy and Pug drag her outside. Gabriel KICKS Rudy again. Rudy lies there and takes it. Merlin lights a cig, examines Rudy and Ashley's grocery bags : MERLIN Hey. They got a shitload of cookies. GABRIEL Take'em. MERLIN How ` bout the tree? You want the tree? GABRIEL Leave the tree. Merlin nods, tucks the bags under his arms, leaves the room. Gabriel drops beside Rudy, with a sick smile : GABRIEL I've read your letters, motherfucker. Do n't play no reindeer games with me.",
"EXT. INTERSTATE - NIGHT As we SWOOP DOWN onto a four - lane stretch of winter highway, arcing into the blackness. CLOSING ON an 18 - wheel tractor trailer, RUMBLING onward, emblazoned with `` Great Lakes Trucking.'' There's an airbrush painting on the door to the cab, of a skeleton looking thru a flaming radial tire, and the legend `` Motor City Monster.''",
"INT. GABRIEL'S RIG - CAB - NIGHT Gabriel at the wheel, Merlin smoking, Jumpy eating cookies. A TRUCK passes ; Gabriel waves. A moment later, the CB crackles : PASSING DRIVER -LRB- OVER CB. -RRB- Hey there, Monster! What're you hauling this far north? GABRIEL Hell, Bugeye. How you doin'? Ai n't hauling, man, I'm up for the holidays. Gon na have myself a holiday. for a goddamn change.",
"INT. GABRIEL'S RIG - TRAILER - NIGHT CLOSE ON RUDY eyes closed, dried blood, head rocking side to side. He winces, waking, with the headache to end all headaches. ASHLEY -LRB- O.S. -RRB- Shh, Nick, shh. They wo n't hurt you now. You're okay. Her hand strokes his face. Rudy's eyes struggle open. ON FULL SCENE They're in the back of the truck. There's some packing mats, rope, two tall storage lockers, and Ashley's Chevy Nova. Rudy's head is in her lap. He struggles to sit up, finds his wrists tied with cord. He looks at Ashley, follows her gaze. In a corner, Pug sits guard in a beanbag chair. He's dipping chewing tobacco, reading Road & Track, headphones on. Gives Rudy a bored glance, then back to his magazine. ASHLEY I wo n't let'em, Nick. They wo n't hurt you anymore. RUDY Your brother. Ashley nods. Rudy looks around, remembering. RUDY the truck driver. ASHLEY He's not a bad person, Nick. he's not. From the corner, Pug spits some chaw. Ashley wheels. ASHLEY You're not gon na hurt him anymore! Pug does n't even look up. Still stroking Rudy's face : ASHLEY Since Janey moved in. Gabriel. he's come over more and more. To the apartment. Janey's the divorced one, ` member, with the tit job - RUDY What the fuck is going on. ASHLEY He read the letters, Nick. Some day I was n't there. He went through my room. He found your letters. RUDY What's going ON! The truck shakes. ASHLEY He knows you worked in that casino. Rudy stares at her. She's scared RUDY You motherfucker. ASHLEY Nick, no - RUDY You sold him out. ASHLEY Nick - RUDY When'd you decide to do it, Ash? After which of his letters, huh? The fortieth? The fiftieth? The first?! ASHLEY Nick, what are you - She reaches out for him ; Rudy scrambles to his knees, tumbles against the opposite wall of the trailer. RUDY I'M NOT NICK! -LRB- raging. -RRB- You thought you'd fuck him over?! Well he's fucked you! I've never worked at some casino! I ca n't help you! Because he's not me! ASHLEY Nick, I love you - RUDY JESUS CHRIST! PUG Watch your mouth, man. It's Christmas. RUDY I'M NOT NICK! Ashley runs at him, wraps her arms around him tightly. He tries to fight her off. She wo n't let go. RUDY Get the hell off of me! ASHLEY -LRB- hard whisper. -RRB- Nick, it wo n't work. It wo n't work! Rudy stops fighting. She has a terrified look in her eye. Checks to Pug : he's watching them now, chewing slower. Ashley turns them away from the little guy's view ASHLEY He'll kill you. RUDY You're not hearing me here - ASHLEY My brother's killed people, I know he has. Truckers. If you talk him into thinking you're not you, you'll only get yourself dead. RUDY He did n't `` find'' Nick's letters, did he. ASHLEY Nick, please, it's me - RUDY You told him about Nick's letters. ASHLEY No, Nick, no - RUDY You're in on this. ASHLEY I love you! Rudy stares at her coldly. RUDY Y' know, in a way, I'm glad it's me.'Cause you woulda broken his heart. Ashley stares, panicked. Pug's still watching them. RUDY Your pen palls dead, lady. ASHLEY If you say that, if you keep saying that, they will kill you. If they think you're not you, they will kill you. Do n't you see? I know what you're doing, but it wo n't work! RUDY Nick died for me. ASHLEY I wo n't let him hurt you! He just wants what you know! RUDY -LRB- ruefully. -RRB-. maybe I die for Nick. ASHLEY Just tell him what you know, Nick! That's all they want! And we'll get out of this! Rudy gives her a stone cold stare. Ashley crumbles, touching his face, shaking her head, tears. Devastated. ASHLEY He found them. I swear, Nick. -LRB- helpless. -RRB-. he found them. The truck shudders through downshifts, to a groaning stop. Ashley embraces Rudy fiercely, holding on for the last. The trailer gate RATTLES open into the truck's roof. Ashley shuts her eyes.",
"EXT. REST STOP/INT. GABRIEL'S RIG - CONTINUOUS The rig all alone at a snowy rest area. Gabriel, Merlin and Jumpy climb inside as silhouette sentries. Gabriel surveys, then lifts a piece of paper : GABRIEL `` My sweet, sexy Ashy - lashy, I have been dreaming of you constantly, and knowing you are out there makes these walls not seem so close or so strong or so cold.''. -LRB- to Merlin/Jumpy. -RRB- Women live for this stuff. -LRB- reads on. -RRB- Dreaming ` bout your this, dreaming ` bout your those, gettin' X - rated on me here, Nicky. where are we. oh, right, other side. -LRB- turns paper over. -RRB- `` Someday I'm gon na take you up by Lake S. Before I went in, before goddamn Millie, ` fore I had my situation, I used to work up at this casino, working security. Used to watch for people stealing chips, counting cards, getting piss - drunk, that kinda shit. Indian place, they hired this reject outta Vegas to run it, got about as much business sense as a buffalo patty. Anyways, it's a fun place to run some numbers and play.'' Gabriel puts the letter down. GABRIEL You're a good writer, Nick. I give this writing an A - plus. RUDY I never worked at no casino. ASHLEY -LRB- hopeless. -RRB- Nick. Rudy steps out of her hold and stalks forward : RUDY That's the guy I was in with, I did my last ten months with him. He rode a two - year bit for manslaughter - split a guy's skull open at a bar for harassing his girl. That's Nick Mason. He worked at that casino. He's the one who wrote her letters. Me, I'm a damn mechanic, my last job was a Quickie Lube, I did five for lifting cars. I do n't know shit about blackjack, I do n't know shit about Indians. I'm not him. Gabriel stares at him. Then crumples the letter. GABRIEL Bury this guy. Merlin and Jumpy grab Rudy and THROW him from the truck. He HITS the snowy parking lot on his side, hands bound. ASHLEY Gabriel, you promised! GABRIEL I promised that when he helped us, we'd be gone! When he helped us! Loverboy do n't want to play! Merlin and Jumpy drop to the snow, picking Rudy up. ASHLEY You promised me! GABRIEL And you promised me you'd get your sweetheart to help! Rudy meets eyes with Ashley. She's caught. GABRIEL He'd rather die than be with you, he'd make a fucked - up boyfriend anyway. -LRB- to Merlin/Jumpy. -RRB- Bury him all over the place. ASHLEY NO! She charges at her brother. Gabriel grabs her, spins her into control and PUNCHES her in the jaw. She goes flying out of the truck. HITS the ground hard. In shock. Merlin and Jumpy march Rudy across the lot. A stand of dark and snowy woods ahead. MERLIN Beats prison, I guess. ASHLEY -LRB- O.S. -RRB- NICK! NICK! NOOOOO! Rudy struggles, desperate but held firm. Jumpy loads a handgun, as he muses for the very first time : JUMPY The problem with prison. is that it is founded on the fundamentally flawed perception of rehabilitation through punishment. A society ca n't hope to create a `` changed man'' by surrounding him with the worst in his fellow man ; what it `` rehabilitates'' is solely a conviction that if he can survive the inhumanity of prison, what then, can he not withstand? He has seen man's darkest soul and kept his sight : what is left for such a man? What faith? What fear? At the woods' edge, Jumpy gives the gun to Merlin - JUMPY Do n't get no blood on my boots - The gun goes to Rudy's head. A bullet fills the chamber. Ashley SCREAMS. Rudy shuts his eyes tight and - RUDY WHAT DO YOU WANT TO KNOW! Merlin and Jumpy stop. Ashley stops screaming. Gabriel turns. RUDY About the Tomahawk! What the hell do you want to know! His guards look to Gabriel. Rudy nods, sweating. RUDY I spend six months writing poetry and my goddamn pen pal fucks me over. Thanks for the stamps, Ash. You want me, you got me. Whaddya want to know. Ashley gasps relief. Gabriel smiles. GABRIEL Everything. Merlin and Jumpy march Rudy back. Still on the ground : ASHLEY I love you. Nick, I love you. Rudy wo n't meet her eyes. GABRIEL Hey. She says she loves you, Nick. RUDY She says a lot of things. GABRIEL She's getting you to help us.'cause she knows if you do n't, you're dead. You just tell us what we need to know, you two live happily ever after. My sister loves you, motherfucker, and I ai n't gon na have you break her heart. RUDY Wish I had a brother like you. GABRIEL A girl says she loves you, you say something. Rudy looks at Ashley. Her eyes plead forgiveness. RUDY I had better sex in prison. GABRIEL Heyyy. Be nice, convict. We're gon na be working together here. -LRB- to his boys. -RRB- Get him back in the rig. Merlin and Jumpy wrench Rudy backward. Ashley reaches out to him, starts to speak. He looks right through her. She goes silent, casts her eyes to the snow. PUG -LRB- O.S. -RRB- He's not the guy, Monster. Everyone looks to the truck. Weasel - faced Pug has sidled next to Gabriel. Spits some chaw. It hits Merlin's boots. Merlin growls. PUG Whole time you were driving, he was telling her he's not the guy, he's not the guy. I know why he'd tell us he's not the guy. why's he telling her he's not the guy? What if he's not the guy? Gabriel considers, jumps off the truck. Walks to Rudy : GABRIEL The man who wrote those letters loved Ashley, boys. He lived for her love. -LRB- nods. -RRB- Let's see him live for love. Gabriel puts a gun under Rudy's chin. Rudy flinches. GABRIEL Where's she work? RUDY What? GABRIEL -LRB- forces gun harder. -RRB- Wrote you a hundred letters, did n't she? Where's she work? RUDY J.C. Penney. Beauty and fragrances. GABRIEL What's her middle name? RUDY -LRB- thinking hard. -RRB- Samantha. GABRIEL What'd they call her in high school? RUDY Bam Bam. GABRIEL What'd they call her in college? RUDY What college. GABRIEL Where'd she drop her cherry? ASHLEY Gabriel! RUDY Canada. GABRIEL Be more specific. RUDY A station wagon in Canada. GABRIEL What's her greatest fear? RUDY Her brother. GABRIEL Wrong, Nick. It's drowning. RUDY No. It's her brother. Rudy stares him down. Gabriel shrugs. GABRIEL That's love. He puts the gun away. Ashley regains her breath. GABRIEL Let's get back on the road. It's time to start talking, Nick. Time to start telling tales - RUDY Nick do n't talk till Nick gets something. Gabriel gives a challenging stare. Rudy stares right back. It's a showdown. RUDY Hot. Chocolate. The trucker slowly smiles. His crew chuckles. MERLIN You want that for here or to go? RUDY I been in Iron Mountain for two years, truck driver. I do one more crime, I'm back there for good, so fuck you and fuck your sister and fuck your trucker friends. You want to hear about some goddamn job of mine? I want some hot - goddamn - chocolate. They've stopped laughing. RUDY And some pecan - fucking - pie.",
"INT. TRUCK STOP - NIGHT CLOSE ON HOT CHOCOLATE AND PECAN PIE The six of them sit in a booth, Ashley leaning on Rudy's shoulder apologetically. The four truckers watch him scarf his pie. `` White Christmas'' plays over the speakers. GABRIEL So when you worked there - Rudy raises a finger sharply. Silence. He continues eating. Scrapes the last of his pie crumbs. GABRIEL You knew the place - RUDY Hey. Rudy stares hard. Gobbles the crumbs, washes it down with his hot chocolate. Savors it. Sets the mug down. RUDY Y' know, I could really go for some onion rings. Gabriel nods to Jumpy, who snaps his arm up, SMASHING his knuckles into Rudy's face. ASHLEY Gabriel! You said talk to him. That's all you ever said. GABRIEL We're talking, are n't we? Rudy holds his nose. Blood trickles. GABRIEL How much money's in that casino? Day - to - day. RUDY I do n't know. GABRIEL The hell you do n't. RUDY -LRB- sighs, a guess. -RRB- Five million? GABRIEL You wrote Ash that letter, you told her that story ` bout working Christmas Eve, bout how they'd send half the security guys home, nobody comin, in that night. And the rest of you got shit - faced drinking hot buttered rum. That a true story now? RUDY Christmas. Eve. GABRIEL You know where the guards are. You know how to get in and out. You know where the money is. -LRB- nods. -RRB- We're taking down that casino, convict. You're the guy gon na tell us how. Rudy turns slightly pale. RUDY Hey, it's. been two years - GABRIEL We got faith in you, Nick Mason. -LRB- smiles. -RRB- You're our inside man.",
"INT. TRUCK STOP BATHROOM - NIGHT Rudy slams in, letting the door smack shut behind him. It's a tiny windowless closet. Rudy kicks a stall door, pacing. RUDY goddamn it, Rudy. goddamn it. goddamn girl, goddamn Nick. you're so smart, so fucking smart. He stalks a circle, grabs a sink, and stares at his reflection in the mirror. He looks a wreck. He settles down. RUDY Where's your Christmas dinner now.",
"INT. TRUCK STOP - MOMENTS LATER A COUPLE leaves the booth behind Gabriel's crew. Pug and Merlin reach over, steal their leftovers and dig in. Ashley fidgets. Jumpy regards the garlands painted on the windows beside : JUMPY I've read where the retail industry does fifty percent of its business between December 1st and December 25th. Half the year's business, in one month's time. It seems to me an intelligent society would legislate a second such gift - giving holiday, create, say, a Christmas Two - late May, early June - to further stimulate growth and prosperity. For who would protest such a holiday? Taking the fifty percent model, a Christmas Two would grow this country's annual per capita income by close to one - third. Everyone stares at Jumpy. GABRIEL Christmas Two. The Indian nods. Gabriel shakes his head. GABRIEL Ever since you started night school, you been givin, me headaches, Jumpy. Headaches. -LRB- to Merlin/Pug. -RRB- Go see what's taking him.",
"INT. BATHROOM - SAME Rudy crouches behind the door, a piece of iron pipe in his grip, ready to strike. Listening. listening. AS the door SLAMS open, swinging fast and BASHING him in the head. Rudy tags the floor, drops the pipe, knocked out. Merlin and Pug gaze down on him, shaking their heads. Pug spits tobacco. Hits Merlin's boots again.",
"INT. TRUCK STOP - MOMENTS LATER Rudy's back, with a new facial bruise. Ashley reaches for his hand ; he pulls it away. Gabriel unfolds a piece of paper - it's a crude map. GABRIEL Here ya go, convict. We cased the place in the fall, got the layout down. What you're gon na do is show us where each of these doors go, what the upstairs level looks like, where they got the alarms, all of it. MERLIN And where they hide the real money. Merlin exhales some smoke in Pug's face. Pug hacks, shoves him. GABRIEL And Nick? If you even think about setting us up, giving us some bad information? We go down. you go down. -LRB- lets it settle. -RRB- Now. Christmas Eve. How many guards are there gon na be? Rudy surveys the table. All five waiting for him. Sighs. RUDY Hell. Ten? GABRIEL And which of these doors here lead up to the security level? Gabriel passes the map across the table. Rudy stares at it. MERLIN Start talking, Nick. Rudy's still staring. PUG Start talkin RUDY Who the hell made this map. GABRIEL What? RUDY I said, who the hell made the map? GABRIEL I did. RUDY This is n't the Tomahawk. GABRIEL What the fuck are you talking about. RUDY This is the front entrance, right? You get through the slots, you hit craps here, not blackjack. Blackjack's here to here - lined up. What's this, the cage? Cage is over there, hard to get to, you got it all mixed around - PUG That's what it looks like! RUDY Since when? What the hell is this room? MERLIN Buffet. Whaddya think it is? RUDY Buffet is by the goddamn bar! What the hell kind of map is this?! Gabriel reaches across the booth, grabs Rudy's shirt, pulls his face to table level : GABRIEL We walked the place for a week. RUDY And I worked there. For a year. Neither man blinks. PUG Map is kinda dirty, Monster. RUDY They changed the layout. GABRIEL What? Rudy nods, pretending to be dawned upon. RUDY They changed the layout - whadda they call you? Mr. Monster? They remodeled the place. When I worked there - listen to me - guy that managed the joint, guy who ran it - ASHLEY Jack. Jack Bangs. RUDY Right, Jack Bangs. Uh. guy was always talking bout fixing the place up. Maybe get a better crowd. Musta gone and done it while I was in the Mountain. -LRB- pushes map away. -RRB- I do n't know this map, man. How the hell am I supposed to tell you what door goes where? GABRIEL They would n't have changed the security setup. RUDY When I worked there, this was Bangs, office. Back here. He kept a little safe in the. uh, the wall, money held take for himself, skim from the Indians. Called it the. uh. -LRB- stumbling. -RRB-. the Powwow Safe. JUMPY The Powwow Safe? RUDY His personal safe, he gave it a name. Now you're telling me they've taken his office, put the buffet there? Then who knows what else they changed. Gabriel stares at him, suspicious. GABRIEL So what the hell good are you. RUDY You'd have to get me inside. -LRB- carefully. -RRB- Get inside, watch where the money's moving, see where the guards are going. Then I could work with your map. GABRIEL Wrong, convict. You walk in there, they recognize you. PUG So what? GABRIEL They recognize him, they'll remember him after the job goes down. RUDY They wo n't recognize me. GABRIEL Why not. RUDY Trust me. They wo n't recognize me. GABRIEL We'll trust you when we're rich. Why not. RUDY'Cause you're gon na get me a disguise. Rudy locks eyes with Gabriel. RUDY I give you the wrong information, you're gon na shoot me. Well, I do n't know your damn map. So you can either find a way to get me in there. or you can shoot me right now. A WAITRESS comes over, drops their check on the table. It rests near Rudy. Rudy locks eyes with Gabriel. And pushes the check his way.",
"EXT. SNOWY HIGHWAY - NIGHT The `` Motor City Monster'' RUMBLES along a two - lane blacktop. Across barren Michigan tundra. A sign reads `` You Are Now Entering Powahachee Indian Lands. No Littering.''",
"INT. GABRIEL'S RIG - CAB - NIGHT Gabriel drives, with Ashley beside him. Rudy sits in the sleeper, Jumpy sitting guard. OUT THE WINDOW they pass a brightly neon - lit building, with a parking lot full of cars. The Tomahawk Casino, with a red neon axe pointing the way. And a marquee which reads : `` 10X ODDS ON CRAPS. $ 5.95 PRIME RIB. PERFORMING TONIGHT : DAKOTA!'' The truck motors on by. Gabriel nods to Rudy : GABRIEL Bring back some memories, Nick? RUDY More than you know.",
"EXT. KNIGHTS INN - NIGHT A Midwestern castles - and - Camelot - themed chain hotel, amidst an outcrop of roadside exit civilization : fast food and gas. The Great Lakes Trucking rig parked in the hotel's lot.",
"INT. KNIGHTS INN - HALLWAY - NIGHT Faux stonemasonry and torches. `` Regal'' purple carpets. Gabriel and his crew escort Rudy into -",
"INT. HOTEL ROOM - his quarters. Jumpy marches Rudy to the bed, snaps a handcuff around his ankle - RUDY What the hell is this? What happened to working together? - and snaps the other cuff to the bedframe. GABRIEL Rather be back in the Mountain? RUDY Might as well be. GABRIEL Do n't have Weather Channel in the Mountain, Nick. Gabriel tosses him a TV remote. Merlin rips the room's phone out of the wall, takes it. They return to the hallway. GABRIEL Sleep good, loverboy. Tomorrow you got singing for your supper to do. The truckers leave. Rudy tugs at his ankle cuff, sighs, collapses back on the bed. Ashley has remained. Rudy sits up, sees her. RUDY Get your own room. She approaches instead. Sits beside. Gently : ASHLEY He said he wanted to talk to you. When he found the letters. he said `` when your boyfriend gets out, I wan na talk to him.'' I thought he meant back in Detroit. I thought he meant - RUDY But you knew why. Knew why, did n't ya. Ashley stands her ground, guilty. ASHLEY I thought we'd have a few more days. RUDY For what? You to talk me into `` helping''? What, he promise you a share of the winnings? ASHLEY No! RUDY Well, shit, Judas, you shoulda at least gotten that - ASHLEY Nick! He wants to know how to rob it, and he'll leave you alone! That's all he wants! -LRB- breaking down. -RRB- I hate him, Nick. you know how. RUDY So get him outta your life. Get out of Michigan. They got perfume counters in Chicago, do n't they? ASHLEY Not without you. She reaches to touch him. Rudy turns his back on her. RUDY Since when do some trucker pals start thinking big, anyway? ASHLEY They run routes mostly east, retail stuff, warehouses. But Gabriel knows some guys in New York, Miami, guys he helps get guns to Detroit. Hides'em with his regular loads. RUDY He working for them on this one? ASHLEY No. He wants to be working for himself someday. RUDY And I'm his ticket. -LRB- considers. -RRB- What's the last place they took down? ASHLEY What? RUDY Gabriel and his guys. What's the last place they robbed? Ashley frowns. ASHLEY I do n't think they've ever robbed anything before. I think they've just driven guns. Rudy looks at her with new interest. RUDY They've never done a robbery? ASHLEY -LRB- shrugs. -RRB- They're truck drivers. For the first time in a long time. Rudy smiles. RUDY Then they do need me, do n't they. They really need me. ASHLEY We're gon na get out of here, Nick. We're gon na get out of this. RUDY We? What `` we''. Rudy stares at her. The smile gone. RUDY Get your own room, Ashley. ASHLEY Nick. RUDY Get your own room. Ashley pulls away, walks to the door. Turns back, wanting to say something, but Rudy's not even looking her way. ASHLEY If I'd told you what he wanted, you'd have been gone. You'd have gotten on that bus and stayed on it. And if that's selfish, I am. If that's lying, I'm a liar. But I been dealing with fucked - up brother and his fucked - up friends for a long time, and I was stronger than him then and I'm stronger than him now.'Cause he showed up for money. I showed up for love. -LRB- hard. -RRB- And if you're so ready to make me your enemy. then what did you show up for, Nick. What did you really want. with me. With a fiery look, she strides from the room. Rudy stands, ca n't get far cuffed to the bed. Checks the end table, finds a Bible and a deck of cards. Out his second - floor window is a view of the rear parking lot. Rudy watches as a Chevy Blazer parks and two drunk FISHERMEN get out. The truck's bumper sticker reads `` Ice Fishermen Do It All Year Long.'' Rudy watches the good ol' boys stumble toward the hotel. He turns back, surveys his new prison cell RUDY They've never done a robbery. -LRB- nods. -RRB- Christmas is looking up.",
"INT. RUDY'S ROOM - MORNING The bed has been dragged to the door to the bathroom, the comforter and pillow are on the floor, `` Miracle on 34th St.'' is on the TV, and Rudy lies asleep on the ground, ankle still cuffed. Two SHADOWS fall across him.",
"INT. HALLWAY - MORNING Rudy is brusquely dragged out by Jumpy and Merlin, passing Ashley, who lies asleep in the hall, head on a pillow. MERLIN Having romance problems, Romeo? RUDY Not with you. They march him onward. Rudy glances over his shoulder at Ashley. Who spent the night at his door.",
"INT. GAME ROOM - MORNING A wood - panelled room adjacent to a small indoor pool, with arcade games and a dart board. Gabriel's with Pug, tossing darts, as Jumpy and a chain - smoking Merlin haul Rudy in. PUG Goddamn, Merlin. There any part of the day you do n't smoke? MERLIN There anytime you do n't got a mouthful of shit? PUG Cancer - sucker. MERLIN Acid - chewer. Gabriel THWAPS a dart into the board, to shut them up. GABRIEL Take a look what Pug's bought for ya. Pug empties a shopping bag on a pinball machine. Cowboy boots, spurs, a black cowboy hat, a black rhinestone jacket and a longhaired wig tumbles out. RUDY A cowboy. You're going to send me into an Indian casino disguised as a cowboy. Have you thought this entirely through? GABRIEL Put it on. Merlin and Jumpy shove Rudy toward the merchandise. Gabriel slams another dart into the board, then turns : GABRIEL You're a country - western singer up from Nashville for the the holidays. Visiting your Grandma on the lake, driving into the Tomahawk for some scotch and slots. You only play the slots, you got that? Do n't want no dealer friend of yours recognizing you, you sidle up to shoot some craps. RUDY What kind of half - ass cowboy plays the slots? GABRIEL You do. RUDY At least gim me video poker. GABRIEL Shut the fuck up. You play what your girlfriend plays. Ashley's going in with you. You talk to her, otherwise you do n't talk to nobody. You walk the room as many times as you want, but the second you come out, I want to know the run of the place. Rudy examines his new hair and cowboy gear. RUDY Do I get a country - western name? GABRIEL You get recognized, convict, You get a country - western funeral.",
"EXT. TOMAHAWK CASINO - DAY The Chevy Nova crunches into the parking lot in the shadow of the gaudy neon axe.",
"INT. NOVA - DAY Rudy's in `` disguise'' : paste - on goatee, tinted shades and black cowboy gear. Very Nashville Network. He's wedged between Jumpy and Merlin, wearing handcuffs. Gabriel, Ashley and Pug in the back. RUDY Y' know what, guys? I woke up this morning, I got a really lucky feeling going on. I mean it, I'm feeling that good. I would n't be surprised if I walk in there, pull a handle and hit jackpot. Hell, we would n't even have to - GABRIEL Get out.",
"EXT. PARKING LOT - CONTINUOUS Rudy stamps feet, shivering in the cold, as Merlin unlocks his cuffs. Gabriel reaches to help Ashley out - ASHLEY Get your goddamn hands off me - She edges toward Rudy, then stops. A chill still there. GABRIEL You got one hour. RUDY I'm gon na need some money. Gabriel hands a bill. RUDY Ten dollars? What do I do with ten dollars? GABRIEL Do n't tip. RUDY Monster. If we're working together here, we got ta be working together. I ca n't walk in there looking like the Lone Fucking Ranger with ten bucks to throw down. You do n't want me getting noticed, right? Not getting noticed costs a guy at least a couple hundred. Gabriel glares, turns to his crew. Mutters, rubs his fingers together. Merlin, Pug and Jumpy reach for their wallets, grumbling. Gabriel takes a few twenties from each. Rudy nods thanks as Gabriel hands him the cash - GABRIEL -LRB- threateningly. -RRB- Do n't. Lose. Rudy pockets the wad, hooks his elbow for Ashley to slip her arm through. Grins with a drawl : RUDY You ready to gamble, darlin'? She regards him warily, but puts her arm in his. RUDY -LRB- to the boys. -RRB- Y' all take care of my guitar. He tips his hat, and strides for the casino entrance. Gabriel and his truckers watch them go. MERLIN -LRB- grumbles. -RRB- Who's robbin' who here, Gabriel. GABRIEL Get in there and watch'em. Watch their every fuckin' move.",
"INT. TOMAHAWK CASINO - DAY The cascade of JINGLING and JANGLING COINS fills the brightly lit, horrendously - carpeted space. Wooden - beamed ceilings suggest a rustic theme, but the neon slots, lush green tables and red wheels of fortune are pure Midwest Vegas. The Tomahawk is tiny by Nevada standards, about the size of a large bingo hall. This morning, about FIFTY GAMBLERS mill about. Skimpily - dressed COCKTAIL WAITRESSES, most of them Powahachee Indians, pimp drinks. Bored DEALERS deal. As the sound of slot machine payoffs suddenly go silent -",
"INT. JACK BANGS' OFFICE - DAY CLOSE ON STEREO SYSTEM And some scattered cassettes, labeled `` Big Winners,'' `` Little Winners,'' and `` Medium Cash.'' A HAND pops the tape currently in the system - `` Big, BIG Winners'' and flips it over. Presses play. The sounds of JINGLING and JANGLING return. ON FULL SCENE An office overlooking the casino floor through smoked glass. JACK BANGS, late 50's, silver - hair, capped teeth, shark suit and high blood pressure, paces his office. He's got the air of a washed - up gameshow host, Wink Martindale, Peter Tommarkin, one of those hacks. Right now he's all caffeine. JACK BANGS There's an S - word I'd really like to throw in the discussion here, guys, cause it's a big part of what's going on. Big element, ` kay? S - word. It's a serious issue, serious factor, so I'm just gon na get it out there, throw it an out there, so we can know it, we can talk about it, we can get things done. -LRB- big pause. -RRB- Snow. Are you with me, guys? Snow. Big time, fucking, grade - A, God - quality, S - N - O - W - snow. Two INDIAN GOVERNORS sit before him. Business - dressed, with overcoats, ponytails. One gray - haired, one jet - black. JACK BANGS There's no snow in Vegas, ` kay? They do n't know it, they do n't want it, they got laws against the stuff. They got Egypt down there, right, they got Monte Carlo, Hawaii, they got ancient Rome, but where's the Winter Castle, right? Where's the Swiss miss Chalet? Where's the Big Fucking Igloo? YOUNG GOVERNOR We understand you, Mr. Bangs. JACK BANGS Capades? They do n't do it. Mittens? Outlawed. Why? YOUNG GOVERNOR We're aware of your position. JACK BANGS -LRB- picks up a chip. -RRB- Because down there this is money. Up here this is heat. -LRB- pleads. -RRB- You wanted Vegas quality, I brought it to you. You wanted Vegas press, I gave it to you. But guys, please, guys. I ca n't get you Vegas profits. till one of ya does some spirit dance and does something about this snow. The tribal governors stare him down. OLD GOVERNOR We understand the Paiutes' casino saw a net profit of twelve million dollars last year. JACK BANGS The Paiutes, they cook their books. OLD GOVERNOR The Waitela reservation made seventeen million. JACK BANGS -LRB- sobers. -RRB- Seventeen? OLD GOVERNOR Perhaps you have researched this, Mr. Bangs. Is the snowfall on our side of the lake that much greater than the snowfall on theirs? Jack Bangs stares at them both. Considers his next move - JACK BANGS I'm bringing in this great showroom act next week ; these three Russian girls, they look like Meryl Streep, they can juggle anything. YOUNG GOVERNOR Mr. Bangs. JACK BANGS Guys. We're doing it right, here. $ 5.99 prime rib? Nobody does that in Michigan. Nobody. YOUNG GOVERNOR The tribe is concerned that many of your. new ideas are not resulting in any new venues. JACK BANGS I'm putting liquor in the drinks, I'm giving 10 - times odds on craps, I got the girls showing sixteen - percent more skin! Show me another buffet's gon na offer you Coke and Pepsi! Whaddya want me to do?! YOUNG GOVERNOR We want to see our casino making money again, Mr. Bangs. Making money for our community. OLD GOVERNOR Like the Paiutes and the Waitela. The young man stands, stares Jack Bangs in the eye. YOUNG GOVERNOR We want you doing the job. that we brought you here to do.",
"INT. TOMAHAWK - DAY Rudy and Ashley move away from a change booth, with a bucket of quarters. Rudy messes with his cowboy getup, noting two SECURITY GUARDS punch a code in a private door, step inside : ASHLEY So does it look a lot different? RUDY Here and there. Restaurant, uh, that's the main expansion. Tables've been moved around ; the big man's office, I dunno, might be upstairs now. They settle at a slot machine. Another SECURITY GUARD walks past them. Rudy turns his back. Ashley notices. ASHLEY That guy knows you? RUDY Yeah, uh. Mike. That's Mike. At the door, Merlin and Jumpy enter, wandering through the slots. Rudy sees them. RUDY You start spending your brother's money. I'm gon na take a circuit around the joint, check for any new ins and outs. I'll snag us some drinks. As he strides away - ASHLEY -LRB- sotto. -RRB- Be careful, Nick. MOVING THROUGH THE CASINO with Rudy, ambling among the tables, making a show of checking out the layout. In reality, he's surveying the GAMBLERS. Passing the cage, he walks right by Jack Bangs and the Indian governors. Jack Bangs is all smiles, while the governors turn their backs an him and storm out. ARRIVING AT THE BAR RUDY Couple rum and Cokes, please. INDIAN BARTENDER You want that rum and Coke or rum and Pepsi? Rudy gives him a strange look. The bartender shrugs. Rudy still scans the tables, settling on - A BLACKJACK TABLE where a trio of COLLEGE KIDS are forking over chips. One of them's dark - haired with a goatee, a sweatshirt and jeans. Rudy studies this kid for moment. JACK BANGS -LRB- O.S. -RRB- Gim me a goddamn bottle of anything. BACK AT THE BAR Jack Bangs sidles up, distraught. The barkeep hands him a bottle. Bangs takes a swig. JACK BANGS I ca n't go back to Vegas, Bear. They'll fuckin' kill me, ` kay? I ca n't go back. BARTENDER What does the tribe want? JACK BANGS They want gold - paved roads is what they want. Talking ` bout the fuckin' Paiutes. Fuckin' Paiutes are on the interstate. Nothing I can do about that, man, I did n't pick the spot for your reservation. BARTENDER Neither did we. JACK BANGS Yeah, yeah, whatever. Rudy gets his drinks, as Jack Bangs turns his way : JACK BANGS Hey. Hey, cowboy. Jack Bangs, I run the place. Nice to have you in the Tomahawk. Tell me something. Rudy winces, glancing to see Merlin and Jumpy watching him. Frowns on their faces. JACK BANGS does upstate Michigan need another roadside casino or does upstate Michigan need an international gaming destination? RUDY -LRB- wants outta here. -RRB- Roadside casino? Jack Bangs, smile falls flat. JACK BANGS Well, so how'd you hear about this place, then. Word - of - mouth? Mass mailings? Cable TV? RUDY Prison. JACK BANGS Prison?! Rudy shrugs, smiles, takes off with his drinks. Bangs looks sick, turns to a FAT GUY on the next stool over. But before he can ask, the guy shakes his head - FAT GUY I just stopped in to use the can. Bangs turns to the bartender, puts his head in his hands : JACK BANGS I ca n't go back to Vegas, Bear. I ca n't. From the slots, we hear a JACKPOT PAYOFF. JACK BANGS Aw fuck. THROUGH THE TABLES walks Rudy, as Merlin sidles up next to him : MERLIN What the hell was that about - RUDY He did n't recognize me. Back off, willya? He did n't recognize me. Merlin eyes him darkly, but lets him walk on into the slots. As he nears Ashley, he glances to the blackjack table, where the College Kid has left. heading for the bathroom - ASHLEY Hey Nick! We're up fifty cents! - and as a barely - dressed COCKTAIL WAITRESS crosses between Rudy and Ashley, blocking her view of him - Rudy pretends to crash into her, splashing the rum and Coke into his own face - RUDY Heyyyy! Reaching Ashley, his goatee is dripping - ASHLEY Nick, what happened - RUDY There went my. damn. well, does n't seem like security's all that switched. Ash, shit, this mustache is starting to fall off. I got ta fix this thing -. -LRB- hands her his glass. -RRB- - drink this for me. He hustles for the bathroom. A moment later, Jumpy storms by. Stops at Ashley. JUMPY What happened? ASHLEY He started losing his hair.",
"INT. CASINO BATHROOM - DAY The College Kid is zipping up when Rudy SLAMS into his back, money in hand, crashing him against the wall : RUDY Hundred bucks to wear this jacket - COLLEGE KID Jesus, man, do n't kill me! RUDY Nobody's killing you, kid. Santa's giving you a rhinestone jacket and a hundred bucks.",
"INT. TOMAHAWK SAME Merlin's at a slot machine, watching the hall to the bathrooms. A WAITRESS arrives, hands him a beer : MERLIN Thanks, sister. How are ya. WAITRESS Fuckin' freezing. MERLIN Hell yeah. You work here long? WAITRESS Five years. Since it opened. MERLIN How long ago was your makeover? WAITRESS My what?! MERLIN No, the place. The remodeling. moving everything around. The waitress frowns. WAITRESS The Tomahawk's looked the same since I started, mister. -LRB- shrugs. -RRB- Only the losers change. Merlin stares at her. Then drops his drink to the floor, charging for the bathroom.",
"INT. BATHROOM As Merlin crashes in, seeing the cowboy hat and jacket, back turned, adjusting a belt. As the figure turns around. It's the College Kid. Merlin stops in his tracks - - as Rudy CRASHES into him from a stall, kicking his legs out, driving his throat into a countertop. Merlin hits the ground, gagging. Rudy wears the kid's sweatshirt : RUDY GO! GO! The College Kid, shaking, hustles out the door.",
"INT. TOMAHAWK - CONTINUOUS As the College Kid, in Rudy's black getup, strides out of the bathroom hall, walking for the casino exit. From the slots, Ashley and Jumpy glance up, seeing him go. From their vantage, it looks like Rudy. They frown. As they're watching the Kid hit the door, Rudy darts out of the hall, heads the other way.",
"EXT. PARKING LOT/INT. NOVA Gabriel and Pug sit sentry, seeing the cowboy figure leave the casino. wandering into - the parking lot. away from them. GABRIEL Where the hell's he going? PUG Where the hell's your sister? As the figure unlocks the driver's door of a Trans Am - GABRIEL Get him! Pug REVS the engine, speeds through the lot, cutting off the Trans Am from backing away. Gabriel jumps out, HAULS the cowboy from his car and sees it's the College Kid. Rudy's gone. COLLEGE KID -LRB- scared shitless. -RRB- Oh man. It's your jacket, is n't it.",
"INT. TOMAHAWK Merlin stumbles out of the bathroom, holding his throat. Catches Jumpy and Ashley's eyes from the slots : JUMPY Trouble.",
"INT. CASINO KITCHEN As Rudy charges toward COOKS, holding a buffet plate aloft - RUDY MEDIUM RARE?! You call this MEDIUM RARE?! - hands them the plate, hurries past them, and out the -",
"EXT. REAR OF CASINO - DAY - to the back of the building. In his stolen clothes, he charges across the staff parking area and into the snowy expanse of meadow beyond. Running for a thicket of winter woods.",
"EXT. PARKING LOT Merlin and Jumpy stride out to join Gabriel and Pug. Ashley follows, stumbling to keep up. GABRIEL Where the HELL did he go? MERLIN Monster. There never was a structure change. This place was built the same from day one. PUG That motherfucker - MERLIN And Monster. he was talking with the casino manager. Nick was talking to him. Gabriel darkens. GABRIEL Get. Him. Back.",
"EXT. SNOWY MEADOW - DAY Rudy races as best he can through the waves of snow. He keeps struggling, losing his footing, fighting his way toward the cover of trees. From far away. ASHLEY -LRB- O.S. -RRB- Nick! Run! RUN! Rudy turns back to see Merlin, Jumpy and Pug round into view back at the parking lot. They see him. And charge into the snowfield. Rudy breaks into the trees.",
"EXT. PARKING LOT Gabriel pushes Ashley into the Nova and peals out of the parking lot. Onto reservation roads.",
"EXT. WOODS - ON CHASE - DAY Rudy darts among barren oaks and brush pines, crunching deeper into snowdrifts, slowing him down. Stumbling forward, shivering, breath frosting - - as Merlin, Jumpy and Pug reach the treeline. Gaining but struggling too. With guns held. Rudy keeps battling through the drifts - - as GUNSHOTS start to ring out. Rudy glances back to rest ; the truckers are a hundred yards distant. But as he turns to struggle on, treebark SPLITS apart beside him. Rudy keeps running.",
"INT. NOVA Bouncing over a snowy dirt road, having found a shortcut into the woods. Gabriel searches the trees, Ashley too.",
"EXT. WOODS Merlin, Jumpy and Pug keep up their steady march. Rudy's running figure now only fifty yards distant. MERLIN You keep running, Nick! Keep running now! Ca n't keep warm if you do n't keep running! We'll just be right back here. keeping track of your trail. ANGLE to show Merlin's striding right in Rudy's bootprints. Pug FIRES off two shots. They KICK UP snow just behind Rudy, struggling, panting. MERLIN -LRB- O.S. -RRB- Wherever you run. we'll get there. Fast as you want. we'll be there. We drive for a living, Nick. Twelve, fifteen, twenty - hour days. Rudy's anguished, ducking behind some pines, trying to brush away his footprints. Realizes it's useless. A BULLET whistles through the pine branches. MERLIN -LRB- O.S. -RRB- We got nothing but time. Rudy takes a breath, crashes onward - - then stops at the sound of a RUMBLING. Getting louder. Closer. It's a car's engine. Rudy spins for the source, focuses, and manages to make out a snow - covered dirt road fifty yards away, down a swale. Another BULLET smashes treebark. Rudy runs for it.",
"EXT. WOODED ROAD - DAY As Rudy leaps out to wave down the car, as around the corner comes a Chevy Nova - - with Gabriel and Ashley inside. Gabriel's eyes widen, he floors the gas, RACING right for Rudy. Rudy scampers toward the opposite roadside, a steep wooded slope cradling a meadow and frozen river - ASHLEY No! - as Ashley grabs Gabriel's steering wheel, swerving the other way. Gabriel fights her for control - - as the Nova just misses Rudy, who dives off the road, hits the slope and tumbles head - over - heels toward its bottom, a hundred feet down, kicking up geysers of snow! On the road, the Nova skids to a stop. Ashley and Gabriel leap out, as Merlin, Jumpy and Pug reach the road. AT THE SLOPE'S BOTTOM Rudy pops to his feet, a dazed snowball. BACK UP AT THE ROAD Gabriel grabs a rifle from the Nova, steps to the slope - top edge and takes aim - ASHLEY RUN! - as Ashley suddenly slams into him from behind - Sending the both of them tumbling down the slope! Sliding and tangled, the rifle flying from Gabriel's grasp - TO THE BOTTOM - where they come to a tangled, snowy halt. Gabriel struggles to clear the ice from his face - - as the butt of his rifle cracks him in the jaw. RUDY That's for reading her mail. He extends a hand to Ashley - RUDY Come on. - and hauls her to her feet. Ashley beams. As Gabriel howls, the two of them scramble away from the woods, Rudy with the rifle, toward the meadow and its frozen pond. More GUNSHOTS ring as Merlin, Jumpy and Pug slide their way down the ravine.",
"EXT. FROZEN RIVER - CONTINUOUS Rudy and Ashley race out across the ice. The traction's slippery, but there's no way around. There's a highway bridge two hundred yards away, with sparse truck traffic. RUDY We get to the bridge, we're all right! ASHLEY Nick, the ice is - RUDY Get to the bridge! -LRB- waving at traffic. -RRB- HEY! HEY! DOWN HERE! He grips her hand tighter, as SHOTS crash into the ice at their feet. Suddenly, the ground splinters and gives way - - and Ashley goes plummeting through to the river! She vanishes from sight in an instant! Rudy scrambles back, onto sturdy ice. He stares, stunned, at the ripples in the freezing water. Ashley's not coming up. RUDY Looks to the truckers in pursuit. Coming down the ridge. Then the highway. Safety within sight. But he ca n't run. Cursing himself, he grips the rifle tightly and LEAPS into the ice - hole -",
"EXT. RIVER BENEATH THE ICE - plummeting underwater, the temperature hitting his body like needles. He writhes, spinning around - - and sees Ashley ten yards away, desperately pounding at the ice above her. Strength giving out. Rudy struggles to her, wrapping an arm around her. She fights, panicked, clawing at the ice, both of them pulled further away from the opening. With Ashley safely in hand, Rudy raises his rifle - arm, pressing the barrel against the ice above them - - and FIRES. A HOLE blasts a shaft of light into the gray - blue. Rudy FIRES again. Another HOLE caves in. Ashley reaches for a sheath of ice, splashing - TO THE SURFACE - clutching frozen ground, treading water. Rudy surfaces beside her, the both of them gasping, facing the bridge. Instinctively, they spin around - TO FIND GABRIEL, MERLIN, JUMPY AND PUG - standing right behind them. Guns trained. GABRIEL -LRB- rubs his jaw. -RRB- At the rate you're going, Nick. I'm gon na have a hard time ever considering you family. He extends his hand, a gesture of help. But menacing. GABRIEL How lucky ya feeling now.",
"INT. GABRIEL'S RIG - DAY Pitch black. We can barely make out a huddled, fetal form, quaking and trembling. It's Rudy. Dripping wet, on the verge of hypothermia. Trying to stay conscious : RUDY I - I - I - I have n - n - no g - g - gifts to br - br - bring, pa rum - p - p - p - p - p. -LRB- struggling. -RRB-. pum - pum - pum. N - n - no treasures for the k - k - k. -LRB- waits. -RRB-. king. The trailer doors swing open, crashing harsh light upon him. He squints into the light, shivering madly. RUDY Pa - rum - pum - pum - pum.",
"INT. KNIGHTS INN GAME ROOM - DAY Gabriel is hurling darts again, focused, expressionless. Bullseye. Merlin and Jumpy haul Rudy in. He collapses at Gabriel's feet, unable to stand. Still trembling. A couple KIDS scamper into the doorway - MERLIN Game room's closed. - and Merlin slams the door in their face. Gabriel hurls another bullseye, then retrieves his darts from the board. GABRIEL A for effort, Nick, honestly, A for effort and an honorary degree. I'm surprised you never escaped from the Mountain. RUDY -LRB- teeth chattering. -RRB-. never. tried. GABRIEL Nick, here's what we're gon na do. In the spirit of the season, I'm going to give you a chance. I understand you're unhappy. Right outta the lockup, here against your will, it's the holidays and there's reruns on TV. -LRB- beat. -RRB- So we're gon na have a contest. Gabriel strides back to him, with two darts. GABRIEL We're each going to get one of these. Whichever one of us hits closer to the bullseye. gets what he wants. -LRB- beat. -RRB- You land closer, you get Ashley. And you guys get to go free. I land closer. and we start getting your help. He lifts Rudy's shaking hand, puts a dart in it. Rudy's fingers are half - frozen, they do n't bend. Gabriel has to wedge it in. GABRIEL May the best sportsman win. Gabriel turns to the board, ten feet away, and tosses his dart. It thunks in the `` 13'' wedge of the outermost ring. GABRIEL Damn. He steps aside for Rudy. Rudy struggles to raise his hand, trembling badly. He focuses on the board, teeth chattering, tries to reposition his fingers, rears back and throws - - except the dart remains in his frozen grip. He brings his icy hand back, tries to move his fingers. And the dart finally tumbles out and hits the floor at his feet. Gabriel smiles, steps close. GABRIEL Got something to say to me, Nick? RUDY ttt. tt. two out of three? Gabriel grabs his jacket and hurls him backward. Rudy CRASHES into a chair, flanked by video games. GABRIEL What'd you tell that casino manager? RUDY Nnn. nothing. GABRIEL You were talking to him! What'd you tell him!? RUDY Nothing. I promise - nothing. GABRIEL MAYBE SOMETHING ABOUT A ROBBERY? RUDY NO! Gabriel spins to the dartboard, pulls out a fistful and wheels. He whistles a dart at Rudy's head. it SMACKS the wall beside his ear. He whistles another. It TRUNKS right above his head. A third HITS the wall by his chin. RUDY He thought I was some gambler. he did n't know me. he did n't recognize me! GABRIEL I been driving rigs a long time, Nick. Four, five million miles of road. Worked for people who would n't keep me on less I was driving fifteen hours a day. Tell'em I needed sleep, I needed rest, shit, they'll hire someone else. Gabriel flings another dart. Just misses Rudy's other ear. GABRIEL Dispatcher's screaming for me to haul ass, he's got a load on the runback for me. Shipper's making me wait for the pickup, receiver's bitching ` bout the count. Another dart NAILS the wall, right through Rudy's hair. GABRIEL Got the cops at the bottom of every mountain, got the DOT at the top. And every day, every day, I see all those faces in their little airbag Hot Wheels, moms and pops and jam - faced kiddies, giving me that look to go to hell and get off their happy goddamn highway. Hey. They do n't got ta get two thousand miles by sundown, or the gang do n't eat come sunrise. Gabriel strides to Rudy, sitting stock - still, his head ringed by darts. Stares him down. GABRIEL It's time for me. to be working for me. I want mine, Nick. And I need you. -LRB- frightening calm. -RRB- Did you tell your manager there's gon na be a robbery? RUDY No, Gabriel. no. Gabriel pulls the darts free. Backs away again. RUDY he. he asked me. how I'd heard about his place. he did n't know it was me. GABRIEL RAISES A DART TO THROW RUDY I PROMISE YOU HE DID N'T KNOW IT WAS ME! - and then lowers it. Believing he's gotten a reprieve, Rudy relaxes, his shivering coming under control. RUDY Man, Monster. just. just do n't start trying to hit me. GABRIEL Nick. I been trying to hit you. Gabriel rears back and WHISTLES another dart. It plugs into Rudy's chest. Rudy screams. Gabriel FIRES another, skewering him in the ribs. Then a third, fourth and fifth. Rudy howls in pain, his body too numb to defend itself. Five darts protrude from his chest, colorful plastic feathering and spreading rivulets of blood. GABRIEL Maybe that'll help sharpen your memory. Gabriel stalks close. GABRIEL Tonight we're gon na take another look at that map. And this time you're gon na tell me what I need to know.",
"INT. RUDY'S ROOM - DAY Rudy gets hurled inside by Merlin and Jumpy. He hits the floor beside the bed, where Ashley sits prisoner. Pug sits guard, watching `` How The Grinch Stole Christmas'' on TV. ASHLEY Nick! Jesus, Nick - She falls to his side. Merlin cuffs Rudy's ankle again to the bedframe. He and Jumpy head out - MERLIN Pug. Pug's engrossed in the cartoon. They're singing in Whoville. MERLIN PUG! Pug snaps to. Shuts off the TV, spits some chaw on the floor and gone. Rudy and Ashley are left alone. ASHLEY Nick, oh my God, what'd he do to you? What'd he do? She touches his bloodied chest. Rudy winces badly. RUDY He had some points to make. Ashley helps pull his shirt off, sees the wounds : ASHLEY Jesus Christ, stay here, do n't move, stay right here - RUDY -LRB- near - delirium. -RRB- All I wanted. was to make it home. for a little of Dad's turkey, and Mom's stuffing. Aunt Lisbeth's acorn gravy. Aunt Mary's cranberry buns. Ashley has leapt to the bathroom. She brings wet washcloths back to clean and dress - ASHLEY We'll get there, baby. we'll get there. RUDY Have n't had cranberry buns. in five whole years. ASHLEY Shh, now. Rest now. Two years, Nick. You have n't had cranberry buns in two years. She kisses him softly. Rudy meets her eyes. Staring to get his bearings back. ASHLEY You saved my life. -LRB- beat. -RRB- You could have run, but you did n't. You saved me. RUDY You saved me. ASHLEY I saved you because I love you, Nick. -LRB- smiles. -RRB- Why'd you save me? Rudy studies her hopeful face, attending to his wounds. still weak and distant : RUDY Guy I was in with. car thief. I used to read your letters to him. I know they were private. I know, but. you spend twenty - four hours a day with somebody, you got ta talk, y' know? You got ta share. Or the room gets even smaller. -LRB- beat. -RRB- And sometimes, I'd be reading them, and he'd close his eyes, get a smile on his face. and I'd know somewhere inside he was pretending you were writing to him - He'd see your face, your pictures on the wall. -LRB- beat. -RRB- Some nights I think he fell in love with you, too. Rudy touches a hand to her hair. RUDY You gave a couple guys hope, Ashley. And with hope, there ai n't nothing you ca n't survive. Ashley stares, touched, still kneading the cloth into his chest. Rudy struggles up, his face level with hers. She kisses him tenderly. Lingering. And this time Rudy responds, mouth seeking, working down her neck. Her eyes flutter closed. ASHLEY I'm sorry, Nick. I'm so sorry. RUDY Do n't say my name. ASHLEY I love you, Nick. RUDY Ash. Do n't say it. Do n't say my name. Ashley hesitates. Carefully strokes his chest. He's still kissing her, softly, still somewhat delirious. ASHLEY -LRB- a small frown. -RRB- I love you. As he returns to her lips, mouths joining. Ashley's eyes close again, as they fold into each other. and move slowly, tenderly, back to the floor.",
"EXT. KNIGHTS INN HOTEL - DUSK A bitter cold sunset. Through a room's window, Rudy and Ashley lie tangled in sheets on the carpet.",
"INT. RUDY'S ROOM Ashley nestles against him. Rudy stares skyward. Hard. RUDY They'll have guns. ASHLEY What? RUDY You said they've run guns, in their trucks. So they'll have guns. To do this robbery. They'll have serious guns. ASHLEY I do n't know. RUDY We'll need one. Ashley frowns. There's a new look in Rudy's eyes. RUDY I'm going to have to be inside that casino. When it happens. I'll need to be part of it. I ca n't just be drawing some map. ASHLEY Nick, what are you talking about? RUDY We need to find a way to make me part of it. ASHLEY Part of. with them? Rudy meets her eyes. RUDY If we're helping them with their robbery, we're gon na be doing more than just walking away. Like that's some Christmas bonus. He nods, scheming the way he's always known. RUDY You want him outta your life? You want a real New Year to look forward to? -LRB- bravely. -RRB- If we're gon na do this. we're gon na do it to get it all.",
"INT. KNIGHTS INN RESTAURANT - NIGHT A medieval - themed biergarten. A happy FAMILY of five sits at a booth, singing along to `` Good King Wencelas.'' In the booth beside, Merlin and Pug are holding court. Merlin's puffing smoke rings. Pug watches dully, chewing : PUG Knew a guy in Joliet, smoked ten packs a day like you. His lungs got so black they could n't find'em with an x - ray. MERLIN That right? Shit. I used to run rigs for a guy loved your chaw there. Shit rotted out his tongue, had to build him one outta silicon so the poor boy could talk. You ever see a motherfucker with a silicon fucking tongue? The Happy Family stops singing. Pug considers, spits a wad. PUG Hell. The guy from Joliet, those black - ass lungs were the least of his problems. Got so much smoke in him his lungs could n't even hold it. Got into his system, man. Into his blood. Coming out his ears, man, coming out his eyes. Guy'd be walking the row, smoke'd be puffing out his skin. The Happy Family trade discomfited looks. Merlin shrugs, takes another drag. MERLIN This trucker? Met a girl in a bar one night, she did n't know his situation. He's drunk, she's drunk, they get to mackin' hot and heavy and the woman swallows it. His tongue. Sucks it right down. PUG My guy would walk into a room, set off the goddamn sprinklers. MERLIN His lips went next. You ever see some silicon - fucking - lips? The Happy Family flees their booth. Pug and Merlin glance over. And grab their leftovers. Rifling the grub : MERLIN -LRB- with disgust. -RRB- Vegetarians. Behind them, Gabriel and Jumpy file into the biergarten, leading Rudy and Ashley to the booth. Meeting commenced. Rudy, battered and freezer - burnt, gets shoved in first. Gabriel throws down the casino map : GABRIEL Start singing. RUDY I have no gifts to bring, pa - rumpum - pum - pum GABRIEL Sing it in pictures, Nick. Rudy takes the map, glances at Ashley, and then takes charge. For the first time, he's giving the orders : RUDY What you got ta worry about first is the guards. Place does n't look much richer than when I worked there, so let's figure you're gon na have to deal with ten of'em. There'll be two on the floor, walking the room, that leaves eight up above. Eyes in the sky. They see something up, they're the ones who'll hit the silent alarm and you're fucked. MERLIN How do we take them out? RUDY You got ta get someone upstairs. MERLIN How do we do that? Rudy takes the map, points to the gaming tables area : RUDY Across from blackjack, there's a security doorway. Keypad access. GABRIEL What's the code? RUDY Uh. they change it every month. I would n't know. -LRB- beat. -RRB- If there's trouble on the floor, you'll get security coming through. what you got ta do, is get inside that doorway once they do. You got ta draw'em out. PUG Without having them hit the alarms. RUDY I got an idea on that one. Once you're up there, you got ta hold those guards down till some backup can get there. There's a security camera room that videotapes everything. You've got ta destroy every last one of those tapes. MERLIN What about the money? RUDY You lock down security, you move behind the cage. You hit the Count Room. There'll be a guy in there but he's got no guns ; room's accessed by another code. Cashiers'll know it. They'll have alarms. JUMPY What about the Powwow Safe? RUDY What? JUMPY The Powwow Safe. The secret safe. You said the manager's got a safe in his office where he hides skim money. RUDY Oh. Right. Yeah. That's, uh upstairs. Uh. Here. Powwow Safe. His confident manner wavers. Gabriel notices, narrows his eyes. Rudy quickly grabs the map again : RUDY So. You're gon na need a man through here, two men at the cage, one to cover the count. You're gon na need a lookout outside, a sweeper through the back, and a gun guarding the front. -LRB- beat. -RRB- You need six. GABRIEL We got five. Putting Ashley outside. RUDY You need six. Gabriel eyes him darkly. GABRIEL NO. RUDY You go in with five, you're either leaving an alarm free or an exit free. Someone hits an alarm, you're fucked. Someone gets to a phone, gets outside, ` cross the street, whatever, you're fucked. You need six. -LRB- nods. -RRB- Six is me. GABRIEL No. RUDY You guys get caught, I go away for good. I got an interest in making sure you do n't. You need a sixth man covering an exit. What're you gon na do about it. ASHLEY Yeah. What're you gon na do about it. She puts an arm around Rudy, smiles. That's her man. GABRIEL I want a map of that security level. Every room, every guard, every thing. RUDY Six men means six guns. GABRIEL No way. RUDY I'm no threat without a gun. GABRIEL No, you're not. RUDY There'll be people in that casino. I ca n't keep them from leaving if I do n't get a gun. I do n't need bullets, Monster. but I got ta be a threat. ASHLEY What's the matter, Gabriel? This is what you wanted him for, is n't it? Gabriel's eyes do n't leave Rudy's. GABRIEL No gun. RUDY Well. What you guys have to plan out, then. is how you're going to get to that cage and that security level before anybody realizes anything's wrong. Running in with ski masks and bullets flying ai n't gon na do it. GABRIEL That part, Nick. was planned out the day I read your letters. RUDY What. We all gon na dress up like cowboys? GABRIEL Not cowboys, Nick. Not cowboys. Gabriel smiles. GABRIEL Not on Christmas Eve.",
"INT. GABRIEL'S RIG - TRAILER - NIGHT CLOSE ON STORAGE LOCKER Pulled open to reveal FIVE SANTA CLAUS SUITS, hanging side - by - side. Red polyester coats and pants, white felt trim and black buckles, black boots and red caps. WIDEN TO REVEAL TRAILER As Gabriel lifts a Santa Claus suit and presses it against Rudy. Ashley, Merlin, Jungy and Pug look on. RUDY You got ta be kidding me. GABRIEL ` Tis the season, convict. He puts the suit back in the locker, pulls another. Finding Rudy's size. GABRIEL Ca n't be attracting attention, right? RUDY What, we walking in there and delivering toys? He turns to see Merlin open another locker. This one stacked with rifles, carbines and handguns. MERLIN Hell yeah.",
"INT. RUDY'S ROOM - NIGHT CLOSE ON SKETCH of a floor plan, a sheet of paper overlaid on Gabriel's map of the casino. A pencil draws a boxy room and labels it `` Security Video Room.'' Then an eraser wipes it out. WIDEN TO REVEAL RUDY still cuffed to the bedframe, pulled close to a desk. He's sitting, working on the security level map. The door opens ; Ashley enters, looking worried : ASHLEY He wants to see your map. RUDY I'm almost done. ASHLEY He says he wants it now. RUDY If he wanted a photographic memory, he shoulda kidnapped one. I'm working on it here. Ashley walks over, puts her arms around his neck. Whispers : ASHLEY How are we gon na do this, Nick? RUDY You're the getaway girl. The money's gon na get to you eventually. Gon na be my job to be the guy who walks outta there with it. But I ca n't do that without a gun. Any luck talking to him? ASHLEY Bullets or no bullets, he wo n't do it. RUDY Is there any way you could get into his truck? ASHLEY No. RUDY We need a gun, Ash. We need a gun. Rudy studies his map, then quickly pencils in the `` Security Video Room,'' in a totally different place than he drew it before. Hands the paper to her. RUDY Here's the Picasso. Is he in his room? ASHLEY They all are. Football's on. RUDY -LRB- nods, thinks. -RRB- Keep'em there for a little while. Ashley takes the map, frowns. Rudy kisses her gently. RUDY We're gon na get you out of Detroit, Ash. Get you out of beauty and fragrances. -LRB- smiles, then. -RRB- Remember that. After all this is over, when you know me, when you really know me. remember it was me. She searches his eyes, not quite understanding. But smiles. Rudy smiles back, nods toward the door. Ashley slips out. When she's gone, Rudy stands and turns to the window. Outside, the Blazer with the `` Ice Fishermen Do It All Year Long'' bumper sticker still sits parked. Rudy reaches for his jeans pocket, and pulls out - one of the game room darts, flecked with blood. HE GIVES IT A SOLEMN STARE",
"INT. RUDYS ROOM - MOMENTS L&TER - NIGHT Rudy lies on his back, under the bed frame, dart in hand. He tears off the plastic feathering, to get at the cross - shaped end, furthest - from the tip. Four protruding metal edges. He finds the Phillips screws on the bedframe, and tries to work the dart - end into the grooves. It scrapes and jags, but with pressure he's able to do a quarter - turn at a time. The screw starts spiraling out. ANGLE ON BEDFRAME As two metal pieces split apart, and Rudy wriggles his ankle handcuff off the frame. ANGLE ON CLOSET As Rudy's hand grabs a paper - covered wire hanger and rips the paper off, untwisting the wire. ANGLE ON ROOM'S WINDOW As Rudy slides it open, and climbs outside.",
"EXT. KNIGHTS INN PARKING LOT - NIGHT Light snow falling. Rudy drops from the second floor window into some snowy shrubs and an empty parking space. He stealthily darts ahead to the ice fishermen's Blazer. AT THE FISHERMEN'S BLAZER Rudy peers in the windows, spotting fishing rods, tackle and gear boxes in the back seat. He takes his wire coat hanger, now stretched straight, and slips it between the driver's window and moulding, jamming it around until it trips the door lock. The lock pops up ; Rudy pops in -",
"INT. BLAZER - and raids the gear box. Bait, reels, fishing wire. Boning knives. A compass. A first aid kit. A switchblade. RUDY Gun, gun, c'mon, boys like you got ta be keeping a gun. He rustles around in the backseat. Ice cooler, open bag of pork rinds, another gear box. Nothing. Some HEADLIGHTS sweep past the Blazer. Rudy ducks down, pockets the switchblade. Munches some pork rinds.",
"EXT. PARKING LOT Rudy scrambles out, heads to try another car, a pickup truck. And then suddenly drops to the ground, seeing MERLIN AND JUMPY stride outside, talking casually, kicking snow on their way toward the Nova. Voices too low to hear. ON SCENE Rudy crouches behind the pickup, slips around the other side. Merlin and Jumpy walk right by him. Rudy criss - crosses through the parking lot, hidden by cars, heading away from his room's window. His window. Rudy glances back to see if the truckers notice that, but they do n't seem to. They stand at the Nova, talking. Rudy shivers, waiting. They're not leaving. When their backs turn, Rudy dashes twenty feet to the cover of the building. He slips around the corner, out of sight. AROUND THE SIDE OF THE HOTEL Rudy hops through snowdrifts, pressed to the wall, moving toward a side entry - - when he stops, hearing a woman's LAUGHTER. Above his head are a row of windows. Reflections of rippling water on the ceiling inside. It's the hotel pool behind this wall. Sounds of SPLASHES. Murmured VOICES. Rudy stands absolutely still. His breaths stop frosting. Because his breathing has stopped.",
"INT. HALLLWAY TO INDOOR POOL - NIGHT Rudy creeps down the darkened hall, past a sign that reads `` Pool CLOSED. Open 9 am to 9 pm, No Lifeguard on Duty.'' Rudy steps closer, back to a wall, standing in shadow. The small pool becomes visible, flickering blue water. From an unseen end, a figure splashes backwards into view - It's Ashley. Hair wet, naked beneath the surface. Smiling and splashing someone offscreen - ASHLEY and he's saying `` We're not gon na help him just to walk away. If we're gon na help him. we're gon na get it all. She splashes again. Taunting - ASHLEY he wants to help now, he wants to rob it now we could probably stay right here, he'd go on and rob it by himself - As Gabriel steps into view, also undressed, moving toward her in the pool. GABRIEL He wants the money. ASHLEY No, baby. He wants me. Gabriel reaches her, puts his arms around her. She smiles. ASHLEY He wants. your `` sister''. GABRIEL whoever she is. And they kiss, entwining together, reflections and ripples. A steamy embrace. ASHLEY Nick Mason's gon na help us more than we ever dreamed. ANGLE ON RUDY in the shadows, hearing them. Staring into darkness. IN THE POOL Gabriel turns with Ashley, wrapped together. Moving slow. GABRIEL All those letters are about to pay off, baby. all those letters. ASHLEY To all those cons. GABRIEL Searching for a money man. ASHLEY We musta written what, twenty of'em? And they were before this guy. One, two letters apiece, ten to the racetrack guy in Leavenworth - GABRIEL - till he fucked his parole - ASHLEY - plus the forty to Mason. how many letters is that? GABRIEL That's a book, baby. -LRB- presses closer. -RRB- That's a book of love. They kiss again. Gabriel strokes her wet hair : GABRIEL I ca n't take watching you touch him. I ca n't take his hands on you. ASHLEY One more day, baby. One more day to Christmas. GABRIEL I've been doing good, though. ASHLEY Did n't have to hit me so fucking hard. Did n't have to throw me outta the goddamn truck. GABRIEL Did n't have to send me down a fucking mountain. ASHLEY What, he should see me help you catch him? ON RUDY still in the shadows, welling with betrayal. ASHLEY -LRB- O.S. -RRB- He's shown us the setup, he's drawn us the map, he's helped us do the plan. He wants a gun, give him a gun. Take the bullets out, whatever, but give him the gun. The more manpower we've got in there, the better. He wo n't try and make his move till the money's in hand. GABRIEL -LRB- O.S. -RRB- He'll be dead when he does. BACK IN THE POOL Gabriel and Ashley rock slowly, coupled, in the water. GABRIEL Y' know something, baby? If you were my sister? I'd still want to wake up Christmas morning with you. ASHLEY Mmm, baby. And I'd still want to be the tinsel round your tree. And as their words turn to moans and murmurs. IN THE SHADOWS Rudy is gone.",
"INT. FIRST FLOOR HALLWAY - NIGHT Rudy strides a corridor, eyes dead ahead, passing a stairwell on his way toward the `` Exit'' sign posted above a door. He's almost there, marching fast - RUDY Here's my present to you, truck drivers - AS THE EXIT DOOR OPENS MERLIN -LRB- O.S. -RRB- Where the hell's Gabriel? - and Rudy dives to the stairwell, out of sight just as Merlin and Jumpy stride back inside. JUMPY With his girlfriend. Making up for `` Nick'' time. I'm going down to the bar, you want something? MERLIN Get me a brew. I'm gon na check on our convict. They separate, Jumpy down the hall, Merlin to the stairs -",
"INT. STAIRWELL Merlin trudges upward, while Rudy steps from hiding one flight down. Checks the hall for Jumpy, then races out -",
"EXT. PARKING LOT - NIGHT Rudy slams out the side door, scrambling straight for the same Blazer. He jimmies the lock again, leaps in, tears free the engine panel and searches for ignition wires like a pro. Stripping the plastic, trying to spark contact - RUDY Catch, dammit, catch! Like riding a bike, it's like riding a bike! But there's nothing. The engine wo n't start.",
"INT. STAIRWELL Merlin reaches the second floor, steps into the hall.",
"EXT. PARKING LOT Rudy jumps from the Blazer, looks at the lot, the highway, the woods. His own footprints in the dusting snow. RUDY How far you gon na get, Rudy. Realizing the answer, Rudy looks to his room's window. Forced to race back. He tries clambering the wall, standing an shrubbery, but he ca n't reach. He whirls, desperate. And his eyes find the Blazer.",
"INT. SECOND FLOOR HALL Merlin ambles the corridor. Approaching Rudy's room.",
"EXT. PARKING LOT Rudy flings open the Blazer door, slams the emergency brake down. Forces the gearshift into `` Reverse.''",
"INT. SECOND FLOOR HALL Merlin reaches Rudy's door. Searches his pockets for the key.",
"EXT. PARKING LOT Rudy darts to the front of the Blazer, slipping and sliding on asphalt ice. He drops to his knees, pushing on the front bumper. The wheels start to move.",
"INT. SECOND FLOOR HALL Merlin finds a room key. Puts it in the lock. Turns the handle but the door wo n't open. Merlin checks the key. MERLIN My room.",
"EXT. PARKING LOT The Blazer starts to roll backwards, toward the snowy shrubs ringing the building. Headed for the empty parking space below Rudy's window. Rudy keeps pushing. The Blazer picks up speed, rolling on its own.",
"INT. SECOND FLOOR HALL Merlin searches his pockets again, finds the right key.",
"EXT. PARKING LOT The Blazer rolls toward the building. Rudy scrambles to his feet, runs after it, leaps his left foot onto the bumper, the right foot onto the hood, then onto the roof - - getting two roof - steps worth of running start - - as the Blazer slows to a rest against the snowy shrubs - - and Rudy dives into the air, torpedoing himself right through the window to his room -",
"INT. RUDY'S ROOM - where he crashes headlong to the floor, turning a somersault and landing sprawled across the carpet.",
"INT. SECOND FLOOR HALL The key in the lock, Merlin hears the crash -",
"INT. RUDY'S ROOM - and as Merlin opens the door, he finds Rudy sitting calmly on the floor, ankle - cuff locked once again to the bedframe. Spreading a deck of cards out before him. Starting a game of solitaire. He looks up. RUDY Hey. Merlin frowns, takes a suspicious look around the room. The window's open. Rudy continues his card game. Merlin watches him for a long time. Then pulls the door shut. Once he's gone, Rudy collapses to the floor. Breathing hard, heart pounding. The cards go flying.",
"INT. RUDY'S ROOM - MOMENTS LATER The LIGHTS go out. Rudy creeps back to the window, checks outside. and stops still. In parking lot. a cigarette glow burns inside the Nova. From the driver's seat. It's Merlin. Now watching. Rudy steps back into the shadows. Closing window and watches the falling snow. Caged again, after all.",
"INT. RUDY'S ROOM - NIGHT - LATER Pitch dark. Rudy asleep on the floor, as Ashley creeps back in. Seeing he's asleep, she lies beside him, pulls a blanket over them both, nestles into his body and kisses him. ASHLEY Merry Christmas - Eve, my love. My love, my love. Merry Christmas - Eve. Ashley closes her eyes. With a smile. A moment later, Rudy's eyes open. Turning to look at her smiling, sleeping face. with a convict's vengeful stare.",
"INT. KNIGHTS INN LOBBY - DAY CLOSE ON DESK CLERK In a elfin cap, smiling cheerfully : SMILING DESK CLERK Hello, gentlemen. And how can we help you on this holiday morning? CLOSE ON GABRIEL, MERLIN AND PUG Three grim faces. GABRIEL Checking out.",
"EXT. KNIGHTS INN PARKING LOT - DAY The three truckers stride to the Nova, where Jumpy guards Rudy and Ashley. In the b.g., the Ice Fishermen are by their car, wondering how the hell it switched parking spaces overnight. Gabriel marches straight to Rudy and SLUGS him in the gut. Rudy hits the snow - ASHLEY Gabriel! GABRIEL That's for the hundred bucks worth of pay - per - view. -LRB- then KICKS him. -RRB- And that's for the two hundred you took outta your minibar. RUDY -LRB- chokes, pained. -RRB- You guys were paying for the room, I just figured - Gabriel KICKS him again, then pulls a handgun, points it at Rudy's head. Ashley screams, rushes him - - as Gabriel's gun SHOOTS a thin stream of water into Rudy's face. It's a forty - five caliber squirt gun. GABRIEL -LRB- cruel smile. -RRB- You wanted a weapon, convict? You got one. Gabriel tosses the water pistol onto Rudy's chest. Jumpy and Pug haul him up. With venom : GABRIEL Merry Christmas - Eve.",
"EXT. HIGHWAY - DAY The Motor City Monster cruises the snowy landscape, with Lake Superior beyond. Pug drives the Nova in convoy.",
"INT. GABRIEL'S RIG Gabriel hands copies of Rudy's sketched map to Merlin and Jumpy. Rudy and Ashley are in the sleeper. GABRIEL Commit this thing to memory. Every guard, every exit. do n't tape it to your fuckin, wrist : remember it. That's the Gospel right there. The Gospel. Matthew, Mark, Luke and John. Rudy watches them studying his made - up map. Ashley strokes his arm, gives a loving smile. Rudy stares at her. He smiles right back.",
"EXT. HIGHWAY - DAY The rig and the Nova blow by a roadsign : `` Now Entering Powahachee Indian Reservation Lands.''",
"INT./EXT. TRAILER DAY - PREPARATION MONTAGE The storage locker with the Santa suits SLAMS open. Merlin's hands PULL automatics and shotguns from the weapons chest. Pug's hands UNLOAD ammo. A red - and - white Santa coat gets PULLED ON and BUTTONED UP. Jumpy's hands apportion GUNS and AMMO on a picnic table. Black Santa boots STAMP TIGHT in the snow. A shoulder - strap ASSAULT RIFLE gets hidden under a Santa coat. AMMO CLIPS are taped inside a fat black buckle - belt. A HANDGUN gets tucked under a Santa hat. And the rig's trailer doors come CRASHING SHUT.",
"EXT. LAKESIDE REST AREA - DUSK Lake Superior shimmers in the dying light. The rig's in the empty rest area lot. On a nearby bank, four men in Santa Claus suits and one woman without sit scattered at picnic tables, guns at their sides. Staring out at the lake. RUDY AND ASHLEY sit apart from the rest. Rudy in a red suit, black boots, cap in hand. Ashley's head is in his lap, watching the sky. ASHLEY Where should we go, Nick? When we're gone from here. where should we go. The Nova drives into the lot. Pug gets out, carrying several fast - food bags. Hurrying to stay warm : PUG -LRB- O.S. -RRB- Okay, who had the cheeseburger with bacon ; what about a roast beef, I've got two roast beefs here - JUMPY -LRB- O.S. -RRB- Cheeseburger'n bacon's mine - MERLIN -LRB- O.S. -RRB- I got a bacon too ; there another bacon in there? PUG -LRB- O.S. -RRB- I got a bacon for him and a bacon for me ; there's four cheeseburgers and two roast beefs - MERLIN -LRB- O.S. -RRB- Somebody better give me something with some goddamn bacon - As they continue chow dispersal, Rudy stares over the lake. Distant. Not even aware Ashley's there. RUDY This time right now. Dad's stacking wood out back, getting ready for tomorrow. Little blaze in the fireplace. Mom's setting out the good silver, hanging her cinammon sticks, up in the doorways. Getting out her scratchy old records. singing along. Rudy smiles to himself. He's got a faraway look. RUDY I do n't know where you're going. But I'm going home. ASHLEY We go together, Nick. Wherever. we go together. Remember? RUDY Well. I'm going home. GABRIEL sits by the water, staring over the lake too. With a white cotton Santa beard resting on his chin. He unwraps his roast beef sandwich, pulls his beard down to his neck, and takes a savage bite. Munches away, stares to Rudy and Ashley. She meets his eyes. Gabriel smiles. And looks again to the water. ON FULL SCENE The snowy rest stop, the glistening lake. And the six figures scattered, watching day turn to night.",
"EXT. TOMAHAWK CASINO - NIGHT The neon axe lit up in full regalia, with Christmas lights now strung along the building's roof. There are fewer than a dozen cars in the parking lot.",
"INT. TOMAHAWK - NIGHT Filled with the JINGLING, JANGLING slots, but there's only two FAT WOMEN sitting at them. Three INDIANS at a poker table. An OLD TIMER in his 90's playing blackjack.",
"INT. SECURITY LEVEL A ragged headquarters, looking down to the casino level through smoked glass. Desks, file cabinets, pin - up centerfolds. A room with video monitors to one side. Stairs to a camera catwalk that rings the casino. Jack Bangs is at a table of wassail and cookies. He opens a battle of brandy, pours a bit into the punch, and takes the bottle for himself. Walks over to his HEAD OF SECURITY, watching the lack of activity below : JACK BANGS And all through the house. not a creature was stirring. -LRB- sighs. -RRB- Why do n't you go ahead and send most of your guys home, Ed. SECURITY BOSS Thanks, Jack. Merry X - mas. The boss smiles, heads off. Jack Bangs swigs his brandy, eyes his high - tech security gear glumly : JACK BANGS Hell. Nobody even comes here to cheat.",
"EXT. TOMAHAWK - NIGHT The Nova pulls into the lot and parks. Merlin, Pug and Ashley inside. On the road, the Motor City Monster slows to an idling stop. In the cab, Gabriel turns to Rudy and Jumpy : GABRIEL Go. Rudy gives Gabriel a withering look. He and Jumpy climb out. Gabriel's rig rumbles up the road. -LSB- NOTE : All five men, save Ashley, from now till story's end, are in their Santa Claus suits. -RSB- RUDY AND JUMPY make their way across the lot, heading for the entrance. RUDY Hey Jumpy, I want to ask you something. You have any problem with the fact that we're on our way to take millions of dollars from an Indian casino? The Native American considers. As they walk : JUMPY Nick. It's true that Indian gaming's gone a long way toward restoring wealth and pride to communities who've been economically isolated and enslaved for centuries. Stronger infrastructure, better schools, higher employment. they're all the results of reservation casino success stories. Still, many natives believe that these are temples to a godless materialism and greed that will only infect the souls of indigenous peoples until their love of money has destroyed the spiritual values their ancestors died to protect and their homelands have become no different from any United States suburb, satellite city or industrial park. Destroying the Indian legacy once and for all and leaving behind a nation of selfish, angry natives, of which I, it's true, am one - - as they hit the Tomahawk's doors -",
"INT. TOKAHAWK - NIGHT - and SLAM inside, stumbling into each other, suddenly LAUGHING and slapping backs. Surveying the casino : RUDY Hey - hey, egg nog for everybody! Rudy spreads his Santa arms wide and whoops. Jumpy laughs with him, steadying his balance. Drunken and slurred : RUDY Let's win some MONEY! MONEY - MONEY - MONEY! The few gamblers inside look up at the commotion. Bear the Bartender. Two CASHIERS and one WAITRESS. Ed the Security Boss strides over, smiling tightly : SECURITY BOSS How you gentlemen doing tonight? RUDY We're out of work tonight, that's how! Christmas Eve! We're out of work! JUMPY -LRB- shakes his hand. -RRB- Hi, Santa Claus, how are you. He's with Sears, I'm with Wal - Mart, twas the season. RUDY We're all outta gifts, boys and girls, but we got charitable donations! Rudy grabs a wad of bills from his pocket, drops some to the floor. Jumpy retrieves them - JUMPY bunch of us got together for the union party. Hey, how late are you open? SECURITY BOSS -LRB- eyes on the money. -RRB- All night and all day. RUDY I got wampum for the Cocktail Waitress Civil Defense Fund! Are there any representatives here present? A Waitress sidles close ; checks with the Boss. He nods okay. WAITRESS What can I get ya, Santa? RUDY Santa drinks American beer. SECURITY BOSS -LRB- to Jumpy. -RRB- What's your game, guys? JUMPY Blackjack. Got a buddy from Woolworth's out parking the sleigh. The Security Boss stares him down. Then : SECURITY BOSS Good luck, gentlemen. He steps aside and indicates the tables. Jumpy claps him on the back, pushes Rudy on through the slots.",
"EXT. RESERVATION ROAD - NIGHT Gabriel's truck at the roadside, hazards on, with signal triangles as if broken down. Gabriel places the last one, hurries back down the casino road.",
"EXT. PARKING LOT/INT. NOVA - NIGHT Ashley sits between Merlin and Pug. Gabriel jogs by the car. Ashley checks her watch : ASHLEY Three minutes.",
"INT. TOMAHAWK - NIGHT Rudy and Jumpy sit at a blackjack table, beside the Old Timer. Jovial ad libs as the Waitress brings Rudy's beer. Rudy doubles down, busts, and gets belligerent : RUDY -LRB- to the Old Timer. -RRB- That was my card, pop! My card! You hit for my card! OLD TIMER I. sorry, Mister. RUDY That was my king! OLD TIMER Well. sorry. JUMPY -LRB- to the Waitress. -RRB- How are you tonight? WAITRESS Fuckin' freezing. What can I get ya, Santa? JUMPY Jack and Coke. WAITRESS Want that Jack and Coke or Jack and Pepsi? Behind them, Gabriel SLAMS through the casino doors. JUMPY Woolworth's! GABRIEL Hey, Sears! Hey, Wal - Mart! JUMPY Saved you a seat, man. Get in on a hand here! Gabriel sidles to the table, claps Rudy on the back. RUDY -LRB- re : Old Timer. -RRB- Careful. Watch out for this guy. They throw chips in. The Waitress circles around : WAITRESS What can I get ya, Santa? GABRIEL American beer. The Old Timer hits and stays. Rudy hits and busts : RUDY POP! That was My card! OLD TIMER But. I had a five. RUDY You're hitting for MY cards!",
"EXT. PARKING LOT Ashley's eyes on her watch. Nods to Merlin and Pug : ASHLEY Go.",
"INT. TOMAHAWK Jumpy has left the table, sidling to a change booth, glancing at his watch. Passes a $ 100 bill : JUMPY Could Fat - Man - With - Flying - Horse get some quarters, please? AT THE BLACKJACK Gabriel slides off his stool, punches Rudy in the shoulder : GABRIEL Be back, Wal - Mart. Watch my bank. Rudy nods, slugging beer. He's becoming an unruly drinker. The Old Timer motions to hit ; but before the Dealer can pull the card, Rudy slams the table, points to it : RUDY That is my card, guy. My card. DEALER He hit, mister. RUDY He did n't hit. -LRB- to Old Timer. -RRB- You did n't hit. You're not hitting. OLD TIMER But you do n't even know what it is! The dealer hits grandpa to twenty - one. Then hits Rudy and busts him. Rudy stares darkly. IN THE HALL TO THE BATHROOMS Gabriel walks to the men's room door. Then stops. Adjusts the rifle under his red coat. And turns back. AT THE CHANGE BOOTH Jumpy is handed a bucket of quarters.",
"EXT. PARKING LOT - SAME Merlin and Pug march toward the entrance, hands in pockets.",
"INT. SECURITY LEVEL The Security Boss returns upstairs, beside Jack Bangs, who's watching the video monitors. On one screen, a parking lot cam shows Merlin and Pug approaching : VIDEO GUARD There's two more coming. JACK BANGS Hell, there we go. That's the spirit. He drunkenly clinks his battle to the Security Boss, wassail. The Boss frowns. SECURITY BOSS Jack? Is there a union for department store Santas?",
"INT. TOMAHAWK - ON BLACKJACK Rudy bolts up suddenly, sends chips and his chair to the carpet. Points sternly at the Old Timer, slurring : RUDY Switch seats with me. OLD TIMER What? No. RUDY You're taking my money. Switch seats with me. Switch seats with me if you're not taking my money - OLD TIMER I'm ninety - two years old - RUDY Then get yourself another table! You're hitting Santa's cards and you're taking Santa's money! OLD TIMER There is no other table - RUDY THEY'LL OPEN ONE! Rudy grabs the blackjack table and wrenches with all his might, OVERTURNING IT, cards, chips, cash scattering - AND EVERYTHING HAPPENS AT ONCE Two SECURITY GUARDS at the door -LRB-? -RRB- rush for Rudy - Gabriel steps from the restroom, hall, moves toward the keypad door to the security level - Jumpy carries his bucket of quarters past the cage - Rudy tackles the Old Timer, fists and false teeth flying, as the Guards arrive, trying to wrench him off the poor guy - RUDY -LRB- hard whisper. -RRB- Stay down, pop! Trust me, stay down! As Gabriel stops just beyond the keypad door - IN THE SECURITY LEVEL The Security Boss grabs more men, while Jack Bangs merely smiles at the sight. Guards wrestling a drunken Santa : SECURITY BOSS Help them down there! HELP them! IN THE CASINO Three guards CHARGE out of the keypad door - - right past Gabriel, who slips deftly inside - AND UP THE PRIVATE STAIRCASE - opening his coat, pulling his assault rifle - GABRIEL Right at the top of the stairs, right at the top of the stairs. - charging to the top, starting right and running SMACK into a wall. He spins, sees the doorway's on his left - TO A PRIVATE HALLWAY with three doors. Gabriel stops at the first, grips his gun - GABRIEL Video room, video room - - and swings open a closet bathroom. He frowns, confused. Jumps to the second door - GABRIEL Map said video room - - and swings open a storage closet. Gabriel grumbles, leaps to the third door and flings it open, GABRIEL Map said goddamn video room! TO REVEAL THE MAIN SECURITY AREA - with two Guards sitting at their posts, and Jack Bangs, the Security Boss and the Video Guard in the doorway to the video room. Which is on the far opposite side of the space. As they turn to see the furious Santa Claus with the AK - 47 - GABRIEL WHAT THE FUCK IS GOING ON?! - as he SPRAYS the ceiling with GUNFIRE.",
"INT. CASINO FLOOR Where the RIFLE sounds, just as Jumpy grips his bucket of quarters at the cashier's cage and wheels - - throwing a fragmentation grenade's worth of quarters at the two Cashiers! Bits Of metal flying between the bars. They SCREAM, stepping backwards in defense - - and Jumpy whips a sawed - off shotgun from his coat - JUMPY Step BACK from the desks! AT THE BLACKJACK The five guards wrestling Rudy spin and scramble, pulling pistols from shoulder holsters as - MERLIN CHARGES through the casino entrance, shotgun held - MERLIN DROP'EM! DROP, DROP, DROP! RUDY -LRB- from the floor. -RRB- DROP THE GUNS! NOW! But the guards do n't. Whirling on Merlin - - who OPENS FIRE, BLASTING two of the guards off their feet. Rudy stays on the ground, covering his head, holding the petrified Old Timer down - - as the other three guards FIRE back, forcing Merlin to race behind the slots. BULLETS rip into slot machines - - as GUNSHOTS ring out from the casino restaurant. Two of the Guards spin to look behind them as - - PUG storms in, contorted glee, twin pistols BLAZING, popping a steel flurry into an outgunned Guard. Merlin spins from hiding behind the slots. He and Pug both OPEN FIRE, blowing away the two remaining men from both sides. One of the guards falls in front of Rudy, gun in hand - - but as Rudy - reaches for the guy's pistol - MERLIN Hold it right there, Nick. Your squirt gun's all you need. Merlin steps to him, gun aimed. He and Pug collect the Guards, weapons. MERLIN Cover'em. Rudy gets to his feet, pulls the water pistol from his pocket. Moves to round up the Old Timer, the waitress, the Poker Players and the Fat Slots Women. RUDY Sorry, guys. But what the hell were you doing here an Christmas Eve anyway.",
"INT. SECURITY LEVEL The two Guards lie on the floor, with Security Boss and Video Guard. And the ruined Jack Bangs. JACK BANGS No. not here. please. mister. Gabriel storms to the video room's doorway. Slams a new clip. JACK BANGS Mister. I'm begging, ` kay? I'm begging. This is not some card club, ` kay? This is the Tomahawk. We're an international gaming destination. We're in guidebooks. You ca n't do this. you ca n't do this to me. GABRIEL Show's over. He OPENS FIRE, BLOWING AWAY the wall of monitors and VCR's recording the robbery. SPARKS and METAL fly.",
"EXT. PARKING LOT Ashley waits in the Nova, checking her watch. Behind her a RED WRANGLER rolls in and parks. A FIRE CHIEF and his DEPUTY, just off - duty, stroll toward the casino, laughing. Ashley sinks low, panicked. Presses her HORN. The firemen spin around but do n't see her. They shrug. Keep walking.",
"INT. TOMAHAWK Rudy forces the gamblers and employees behind the bar. Onto the floor with Bear the Bartender, whispering hard : RUDY Get down and stay down, and you're gon na be fine. Just do n't do anything. My friends are disturbed - The hostages do as told. Rudy breathes relief, squirt gun in hand. And then stares at the array of bottles around him. IN THE CASHIER'S CAGE Merlin and Pug force the cashiers to the floor : PUG What's the security code to the Count Room? CASHIER #1 Security code? What security code? You just use a key! PUG NICK SAID SECURITY CODE! CASHIER #1 Who's Nick?! Pug bangs the guy's head off the floor, stalks to the Count Room door. Just a key lock. Pug BLOWS it away with his guns, kicks the door open - - and gets SHOT TO HELL by three COUNT MEN inside, pistols blazing! Pug puppets, dead. A wad of chaw hits the ceiling. Stunned Merlin FIRES BACK.",
"EXT. PARKING LOT - as the Firemen hear the GUNFIRE, pulling holstered pistols -",
"INT. TOMAHAWK - while Merlin dives out of the cage, joining Jumpy, taking cover as the Count Men FIRE AWAY - - as Rudy scrambles back from the bar - MERLIN You said no GUNS in there! NO GUNS! Merlin and Jumpy leap up, GUNS BLAZING, firing through the cage bars at the Count Men. Killing all three just as - THE OFF - DUTY FIREMEN storm through the doors, pistols ready - FIREMEN DROP IT! DROP THE GUNS! Merlin and Jumpy are caught. Trade a look. And let their weapons fall, turning just as - THE CHEVY NOVA CRASHES through the casino doors, MOWING DOWN the firemen! The car SLAMS inside, crashing into slot machines. The slots send SPARKS showering into the air. Which set off the casino floor's SPRINKLERS. The room fills with watery spray. Ashley swiftly climbs out of the mangled vehicle. Rudy stares darkly at her. She knows he knows. And she does n't care. ASHLEY -LRB- wild - eyed. -RRB- WHERE'S THE FUCKING CASH, NICK! RUDY Yeah. That's love. She storms on by. The slots pay off behind her.",
"INT. COUNT ROOM - MOMENTS LATER Jumpy, Merlin, Ashley and Rudy step inside the Count Room. There are stacks and stacks of bills. Ashley smiles wide, throws Jumpy three laundry sacks. ASHLEY MOVE, MOVE, MOVE! Merlin, meanwhile, slams Rudy against the wall : MERLIN You knew there were guns in here! RUDY Merlin, I did n't know - MERLIN You got Pug killed! You tried to get ME killed! You just lost your Get - Outta - Jail - Free - RUDY I promise you, I did n't know! As Merlin puts a gun to Rudyls head - GABRIEL -LRB- O.S. -RRB- -LRB- over casino speakers. -RRB- Santa Claus, Santa Claus, and Santa Claus. would you please bring our. mapmaker. to the security level? Merlin stares daggers at Rudy. Shoves the gun away.",
"INT. JACK BANGS' OFFICE - NIGHT Gabriel stands at the windows overlooking the watery carnage. The taped jingle of slots still plays. Poor Jack Bangs lies on his desk, beaten to a pulp. Blood runs down his face and shark suit. Tears and shock : JACK BANGS I ca n't go back to Vegas. I ca n't. go back. JUMPY -LRB- O.S. -RRB- What the hell is with this place? Thought the video room was back there - Merlin and Jumpy lead Rudy in. Ashley follows. They carry bulging money sacks. Gabriel stares Rudy down. GABRIEL I told you not to fuck us with that map, Nick. I told you not to, and you did. How am I s ` posed to keep my promises now? -LRB- Ashley joins him. -RRB- How's she s ` posed to keep hers? He kisses her hard. Sloppy. Grins. Then points to Jack Bangs : GABRIEL He wo n't tell us where it is. The Powwow Safe. JACK BANGS I do n't know. what you're. Gabriel hammers him with the butt of his rifle. CRACK. GABRIEL THE POWWOW SAFE! WHERE IS THE POWWOW SAFE! JACK BANGS What. Powwow. GABRIEL The Powwow Safe where you steal your money! Where you cheat your Indians! JACK BANGS I do n't steal any - Gabriel CRACKS him again. And again. Rudy winces. Gabriel grabs Rudy, pulls him over. GABRIEL We KNOW about the Powwow Safe! We KNOW it's in here! We KNOW how you work! Because WE know who's worked for you! -LRB- smiles. -RRB- Remember a guy named Nick Mason!? A security guard named Nick Mason!? Gabriel pushes Rudy's head toward the desk. Jack Bangs, drooling blood, eyes swollen, turns his face to see. JACK BANGS Nick. Mason? Jack Bangs stares at Rudy. Rudy stares back. JACK BANGS so where is he? GABRIEL -LRB- laughs, mocking. -RRB- Where is he?! Where is he?! JACK BANGS He's not Nick Mason. The smile fades from Gabriel's face. JACK BANGS Nick Mason. worked for me two years ago. This man. -LRB- a spark of recognition. -RRB-. he's some cowboy. Gabriel grabs Rudy, slams him against a wall. He glares at Ashley for answers. She stares in disbelief. Rudy meets her eyes. RUDY Fucked the wrong guy, Ashley. -LRB- shrugs. -RRB- Story of your life. RUDY I did time with Nick Mason, Monster. Told you that from the start. Ashley's putting it all together. ASHLEY You. you. YOU - RUDY We still gon na spend Christmas together? Ashley CHARGES him. Gabriel stops her ; Merlin and Jumpy help hold her back. Gabriel spins on Rudy with his rifle : GABRIEL You are lucky, convict. You're spending Christmas with the birthday boy himself - RUDY Hey! HEY! THERE IS A POWWOW SAFE! Gabriel hesitates. Does n't fire. RUDY I did time with Nick Mason, remember? I knew he worked here, did n't I!? Well, some shit he told me! Rudy steels himself for the shot. It still does n't come. RUDY Nick told me his manager kept a safe in his office, his stealing safe. His Powwow Safe. I swear, please. Nick told me. -LRB- looks to Jack Bangs. -RRB- Behind the liquor cabinet. Jack Bangs dully meets Rudy's eyes. Gabriel steps to the liquor cabinet, feels at the shelves. They split in the middle. And there is a combination safe mounted in the back. Gabriel turns to Jack Bangs : GABRIEL Open it. He pulls him off the desk. Jack Bangs wavers, struggling. He looks at Gabriel. Then at Rudy. JACK BANGS I ca n't go back to Vegas. GABRIEL OPEN IT! Jack Bangs steps to the safe. Spins the lock. Spins back. Spins forward. Click. Jack Bangs looks at Rudy. RUDY -LRB- nods. -RRB- Pow. Wow. And Jack Bangs opens it - - reaching inside in the same swift motion, so that as the safe swings open to reveal it's a rack of WEAPONS that lies inside, Jack Bangs already has an Uzi in hand - JACK BANGS VEEEEGGGGAAAASSSS! BULLETS as he turns back to the room - - sending Gabriel, Ashley, and Merlin diving for the floor! Jumpy ca n't get down, as BULLETS riddle him dead - - and BLOW OUT the smoked windows overlooking the casino - Jack Bangs keeps turning in a madman's circle - - BLOWING OUT the windows to the parking lot, shattering the liquor, sending Rudy scrambling under his desk - JACK BANGS I CA N'T! GO BACK! I CA N'T! GO BACK! I CA N'T! GO BACK! GABRIEL GO! He and Ashley both scramble for the windows, jumping out with two of the money sacks - TO THE CASINO FLOOR - and landing on poker tables below, overturning them - Jack Bangs keeps FIRING, into the casino, SHREDDING the tables but missing Gabriel and Ashley - as he JUMPS right after them. BACK IN BANGS' OFFICE Merlin scrambles to his feet, whirling with his gun, looking for Rudy - - just as Rudy slams into him. Merlin's SHOT hits the ceiling. The two of them CRASH down, wrestling and rolling toward the parking lot window. Two guns spill to the floor. Rudy grabs one, just as Merlin kicks out, leaping up - - and freezes, seeing Rudy's got a pistol on him. Before Merlin can make a move, Rudy fires - - and a thin stream of water shoots out. Leaving a stain on his shirt. It's the water pistol. Rudy stares blankly. As Merlin swiftly snatches the second gun, a real gun, off the floor. Rudy's dead to rights. MERLIN Hell. I'm gon na take pleasure in this. With the gun on Rudy, Merlin finds a cigarette in his pockets. Pops it between his lips, raises a lighter's flame - - and hesitates. Sniffing the air. Looking down. At the stain on his shirt. His lighter still lit - RUDY Me too. - and Rudy fires the water pistol again, this time catching Merlin's lighter, which turns the stream into a ARC OF FIRE! He's filled alcohol in the gun! FLAMING LIQUOR shoots into Merlin's face and eyes. He drops the handgun. Rudy keeps squeezing the squirt gun, spreading the fire down his neck and chest. Merlin howls wildly - - and staggers back, blind and helpless, pinwheeling himself - OUT THE PARKING LOT WINDOW - and CRASHING down on the hood of a Pontiac, head through the windshield, boots on the bumper, dead. Flames flickering. RUDY Smoke'em if you got'em. IN THE CASINO Gabriel and Ashley have scrambled to the Nova, tumbling in with the money sacks. Jack Bangs gets up, stalking toward them, still FIRING and babbling. Gabriel FIRES back, hitting Bangs in the chest. He staggers, but stays upright. His bullets RIDDLE the car, shattering the windshield, but Gabriel and Ashley keep their heads down, slamming it into reverse - - and burning rubber backwards out the casino entrance, into the parking lot, and speeding out of sight. Jack Bangs stops shooting. He staggers back toward the bar, totters there, and turns, gun still raised. Rudy stands at the base of the stairs to the security level. He puts his hands up, until he sees the dying look in Bangs, face. The uzi drops to the ground. A silence. Even the slots have stopped. RUDY I'm sorry. Jack Bangs stares blankly. Surveys the wreckage of his poor man's empire. And gives a small shrug. JACK BANGS That's why they call it gambling. He slumps against the bar and hits the floor. Dead.",
"EXT. PARKING LOT - NIGHT Rudy ambles out into the snowy night. The lot is quiet. He takes a few wary steps toward the road - - and hears a CLICK. He turns to see Ashley standing behind him, with a gun. Shaking her pretty head. ASHLEY Your turn. Rudy shuts his eyes for the end.",
"EXT. RESERVATION ROAD - NIGHT The Nova drives up a ramp into the back of the truck, in reverse. Gabriel gets out, pulls shut the trailer. Ashley collects the hazard triangles. They hurry to the cab.",
"EXT. MICHIGAN HIGHWAY - NIGHT The Motor City monster storms through the night, passing a couple POLICE CARS, sirens wailing, speeding the other way.",
"INT. GABRIEL'S RIG Gabriel and Ashley inside, with the money sacks : GABRIEL With the wrong fucking guy! We took the place down with the wrong fucking guy! Is that Christmas?! Huh?! Is that Christmas?! He grabs Ashley, kisses her wildly. Then turns back - TO THE SLEEPER COMPARTMENT Where Rudy lies sideways, hands bound with his Santa belt. GABRIEL God bless us every one.",
"EXT. RIDGESIDE ROAD - NIGHT A winding two - lane road, overlooking a small ravine at a grassy overlook. The road is dusted with snow ; there's been no traffic here for awhile. The Motor City Monster steams to a stop beyond the overlook. Then starts backing up, such that the gate of the trailer is fifteen feet from the edge of the ridge. A hundred - foot drop into the ravine below. Gabriel and Ashley pile out of the cab. They lift the trailer gate, extend the tire ramps. The ramps run from the trailer to five feet away from, the ravine drop. IN THE CAB Gabriel pulls Rudy out of the sleeper. Marches him back - TO THE RAVINE'S EDGE - and gives him a look. Forces him to his knees. Ashley is in the truck trailer, splashing the inside of the Nova with a can of gasoline. GABRIEL You almost got away with it, Santa. Got outta the Tomahawk, got to your car, got halfway to Canada till you caught some ice in the road. By the time you hit bottom down there, whole car was burning like a comet. Musta burned up all that money too. Rudy glances to the trailer. Ashley tosses a couple handfuls of bills into the car. GABRIEL Buncha guys in red suits busted in, they'll say. Started shooting. They wo n't be able to remember. if it was three, or four. or five. Four dead Santas and some burned - up cash. Merry Christmas, The End. RUDY Was it your plan, Monster? Or was it hers. Gabriel smiles at him. GABRIEL She told me ` bout the convict magazines. Had to figure there'd be some boys in the pen with some useful knowledge. With nobody to talk to. Nobody to listen. So we stocked up on stationery. Ashley hops down. Gabriel puts an arm around her. GABRIEL Hard life being a trucker's girl. Rudy eyes Ashley. She stares darkly back. RUDY I saved your life. ASHLEY You should n't have. RUDY He did love you, you know. Nick. He did love you. ASHLEY Who would n't. So cold. But Rudy does n't pause. RUDY Maybe this is where you wanted him, Ashley. At the bottom of a ravine, dead as ice with a burnt - up heart. Maybe. But it did n't happen.'Cause what you did for him was make him the happiest held ever been. You showed him hope and taught him mercy. And he died a peaceful man. You wanted to destroy some convict. and all you did was save his soul. Remember that. Love your money and remember that. Ashley shivers, a touch shaken. But steels herself : ASHLEY Merry Christmas, Rudy. RUDY I'm glad it was me. ASHLEY Merry Christmas. GABRIEL Get in the car. Gabriel hauls him up. Marches him to the trailer. Rudy stops at the ramp. Gabriel pushes. Rudy does n't move. GABRIEL Get in the CAR! RUDY How'd you know my name. He turns back to Ashley. ASHLEY What? RUDY Rudy. How'd you know my name? ASHLEY What are you talking about? Rudy looks at Gabriel. He's frowning. To Ashley : RUDY You said Merry Christmas, Rudy. ASHLEY I. you told me your name was Rudy. You told me a million times, back in the truck, telling me you were n't Nick - RUDY No - ASHLEY You were screaming you were n't Nick! And we just did n't fucking believe you! RUDY But I never said Rudy. ASHLEY You said it a million times! RUDY I never told you my name. He stares her down. Then stares at Gabriel. GABRIEL Ash? RUDY How'd you know my name was Rudy. GABRIEL Ash? RUDY How'd you know my name. Ashley stares daggers. Shakes her head ruefully - ASHLEY Men. - and pulls a handgun, SHOOTING Gabriel in the heart. Gabriel falls to his knees in the snow, his mouth a ring of shock. Blood spurts through his red coat. He stares at Ashley, incredulous. She steps forward and PUTS another bullet in his neck. Gabriel falls still. Ashley's breath frosts in the cold. Rudy watches her. Finally, she meets Rudy's eyes. They stare each other down for a long moment, before : RUDY Where is he. A silence. No one moves. And finally, the CRUNCH of footsteps from around the side of the trailer. And WHISTLING. `` Silver Bells.'' A shadow moves across the snow behind the trailer, and soon steps into Rudy and Ashley's view. It's Nick Mason. Alive and well. NICK Merry Christmas, Rudy. Ashley smiles. Her muscles - and - mustache man pen pal is here. NICK I missed you, beautiful. ASHLEY I missed you too, Nicky baby. They share a passionate kiss. Ashley malts at the sight of him, embracing happily. Then turns to Rudy : ASHLEY For your information. I never fuck the wrong guy. Rudy just stands there, his mind playing catch - up. NICK Oh, hey. Have you two been properly introduced? Sweetness, this is Rudy Duncan, I did almost a year with him in the Mountain. Read him all your letters, talked about you all the time, made him feel like he really knew you. -LRB- turns to Rudy. -RRB- My friend. wantcha to meet Millie Bobek. ` Member Millie Bobek, dontcha? My girlfriend fore I went in? Worked at that bar in Motor City, where I manslaughtered that guy? Hell. Did n't talk about her much once the Ashley letters started coming, I guess. Rudy does n't notice it's started to snow. NICK Millie here used to serve drinks to these gunrunning truckers, real big talkers, talking bout a real score one day. I was in the Mountain, man, what the hell, why not let her get friendly with'em? Let her tell'em an idea she had, ` bout writing guys in prison. Getting one who could show'em a sure thing. RUDY She set them up. All of them. NICK Why not have her pretend to find me? Pretend to write me and reel me in? Tell her new trucker - man she'd pose as some sister of his named Ashley? RUDY And you set me up. NICK Always wanted to rob that casino, Rudy. Way back when I worked there. What better way than to get some guys to rob it for me. Nick shrugs. Prods Rudy up the ramp. Into the trailer : NICK Paid the Alamo ten bucks to put the shiv in me. He's a lifer, what does he care. Paid a hospital guard fifty to put out the story I was dead. Once the wound healed up. -LRB- notes cash - sacks. -RRB- Got out of the Mountain this morning. And tonight I'm a rich man. RUDY How'd you know I'd do it. NICK Do what? RUDY Walk outta there and tell her I was you. Nick looks back at Ashley. NICK Because every time I read her letters, Rudy. you listened. -LRB- to Ashley. -RRB- Keep your gun on him. Nick forces Rudy inside, unties the belt from his wrists and lashes them to the bottom of the steering wheel. NICK Five Santas walked into that Tomahawk, Rudy. That's what the witnesses'll say. So we got ta have five Santas not walk out. Got ta have five. -LRB- working. -RRB- This'll burn right away. in the fire. Nick gets Rudy's wrists locked to the wheel. He laughs. NICK Hell, you never needed to convince Ashley you were me. Just the dumb fucking truckers. I figured I'd talked enough about the Tomahawk in the pen for you to get by - RUDY Talked about the old man's weapons stash, probably forgot I'd remember NICK Hm. Well. They'd have killed you if you were n't me, Rudy. We knew you'd start convincing'em soon enough. Nick slams the car door, locking Rudy in. NICK They had the weapons and the willpower. We just gave them their inside man. RUDY You gave them me. NICK I gave them me. -LRB- shrugs, smiles. -RRB- Said some nice things about me, Rudy. I appreciate it. But do n't worry. I do love her. And she loves me. You had that right all along. Nick reaches across him, releases the brake. Puts the car into `` Drive.'' Turns to Ashley : NICK Sweetness! Let's light up the tree! Ashley steps toward the ramp, taking out a matchbook. Nick steps further into the trailer, to the back of the Nova. IN THE CAR Rudy immediately wriggles his hands, trying to touch his wrists together. Trying to press together the white cuffs of his Santa suit. Trying to get the right pressure point - - as a BLADE suddenly springs out of the cuff! The switchblade he'd stolen from the Blazer - it's lashed to his right wrist! Rudy starts sawing his wrist back and forth, cutting through the Santa belt - - his hands at the bottom of the wheel, too low for either Ashley or Nick to see - IN THE TRAILER Ashley is at the hood of the car, LIGHTING her match. Nick is at the back bumper, ready to push it down the ramp - NICK Goodbye, Rudy! Nice spending time with you! IN THE CAR The belt breaks! Rudy snaps his hands free! But instead of trying to escape, he reaches under the steering column, RIPPING its panel away and pulling wires free! As Ashley tosses her match onto the hood, and FIRE races over the body of the car, TONGUES racing inside, over the dash, over the seats, lapping at Rudy - - who ducks his head beneath the wheel, frantic to locate the right leads - IN THE TRAILER Ashley jumps out of the way, to the snow. Nick pushes the flaming car to the trailer's edge - - starting on down the ramp, the ravine ahead - - and as gravity starts to take the metal bonfire - IN THE CAR Rudy sparks two wires together, FLAMES eating at him - RUDY LIKE RIDING A BIKE, LIKE RIDING A BIKE, LIKE RIDING A BIIIIIKE! - and the ENGINE IGNITES! Rudy slams the gearshift into `` Reverse'', grabs the wheel and looks over his shoulder at shocked Nick behind him - RUDY RULE ONE! NEVER PUT A CAR THIEF BEHIND THE WHEEL! - and SLAMS the accelerator. ON FULL SCENE As the burning Nova races backwards up the ramp, and back into the trailer - Terrified Nick turns to run but there's nowhere to go - - and the car SLAMS into the trailer's back, CRUSHING Nick's legs between metal and metal! ASHLEY NOOOOOOO! Then Rudy faces front, pounds the shift into `` Drive.'' RUDY RULE TWO! Ashley stands at the bottom of the ramp, vengeance and rage. She grabs her handgun, OPENS FIRE - - and Rudy SLAMS the gas again, shooting down the ramp - - as he flings open the car door, dives and rolls - - while the burning Nova COLLIDES with Ashley, throwing her onto the hood, and sending the tandem inferno speeding off the ridgetop - - arcing slowly as it PLUMMETS into the ravine, a smoking, blazing shooting star with a woman's figure hanging on. The shooting star hits Earth and explodes.",
"INT. CASINO/EXT. SNOWY ROAD - MONTAGE The same four shots that opened the film. The Santa on the floor of the cage -LRB- Pug -RRB-, the Santa on the hood of the car -LRB- Merlin -RRB-, the Santa in the hallway -LRB- Jumpy -RRB-. And the Santa lying face - down on the snowy road. Gabriel.",
"EXT. RAVINE'S EDGE - SAME The last of the opening images. Rudy's motionless Santa figure, upside - down on the snowy incline, bits of his suit still aflame. He opens his eyes. ANGLE ON SNOWY ROAD Rudy staggers to his feet. Battered and dazed. Looks at Gabriel's body. Then looks to the trailer. Inside, Nick is still alive, bones broken from the waist down. He's mumbling madly, staring at the ceiling : NICK Rudy. help me. Rudy. Rudy climbs the tire ramp. And pulls the trailer gate shut. He climbs into the rig's cab. Starts the engine. Puts the truck in reverse, taps the accelerator and hops out. NICK -LRB- O.S. -RRB- Rudy! Rudy! HELP ME! The truck rolls backwards. And into the ravine. Rudy listens to its TUMBLING SOUNDS all the way to the bottom. He then looks up the road one way. Then the other. And notices the two money sacks sitting in the snow. He stares at them. A long time.",
"EXT. RUDY'S JOURNEY - MONTAGE - NIGHT/DAY In his burnt and battered Santa suit, Rudy's figure trudges the snowy night. Two sacks over his shoulder. walking empty roads and highways. And passing a roadsign that reads `` Sidnaw - 35 Miles.'' He passes rural roads and driveways, and every time he comes across a mailbox. he puts a stack of cash inside. On the soundtrack, the STRINGS and RUM - PUM - PUM - PUMS of `` The Little Drummer Boy'' start to rise - With snow falling, he passes a new sign : `` Sidnaw - 27 Miles.'' With the sun rising, a PAIR OF CHILDREN huddle at a window, seeing the man in the Santa suit at the end of their driveway. Giving them something from his sack and ambling on. - and we follow Rudy's march, stuffing presents into mailboxes. At every - stop on the way.",
"EXT. A SUBURBAN NEIGHBORHOOD - DAY A cul - de - sac of Norman Rockwell Michigan homes. Graced with pines and a pristine snowfall. Christmas trees in windows, lights on inside, figures of FAMILIES in holiday gear. No one noticing the man in the Santa suit, his sacks long gone, walking up the road.",
"EXT./INT. FIFTIES-ERA HOME - DAY At cul - de - sac's end. Where a blackened red cuff KNOCKS. After a moment, the door opens to reveal a smiling MOTHER and FATHER in their sixties. There's a party going on inside ; a dining table visible beyond them. The Mother and Father's smiles disappear. Shock. Concern. MOTHER Rudy? Rudy? FATHER Son? Is. is that you? The Santa Claus shuffles inside, right past them. The Santa Claus sleepwalks straight for the dining room, finding a dozen RELATIVES, laughing and eating. A table laden with turkey and stuffing, gravy and cranberry, wassail and wine. The relatives stop still. The room goes silent. The Santa Claus sits down at the head of the table. Yes, it's Rudy. Without a word, he stares at the food before him. And takes a plate. He stacks it with meat and dressing and trimmings, and sets it in front of him. And digs in. Stuffing his face in silence. His Mother and Father return to the dining room, gaping. The other relatives look likewise. All staring at Rudy. Then, while he eats, without another sound. the Mother takes her seat at the table. and the Father pulls up another chair. They touch hands privately, and turn back to their plates. There's a CLANK of silverware, a SCRAPE of china, a CLINK of glass, and one - by - one, the relatives resume their meals. CONVERSATION picks up where it left off, SMILES return to the table, LAUGHTER slowly rises in the room. There is Mr. Duncan and Mrs. Duncan, Aunt Lisbeth and Uncle Ray, Aunt Mary and Uncle Pete, toddler Sasha and teenage Sam, brother Mike and his girlfriend Jill, sister Stacy and her husband Bill, Grandpa Walter, little Wendy Sue. and at the head of the table. Rudy Duncan. Home for Christmas. CUT TO BLACK. THE END"
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] | Nick Cassidy and Rudy Duncan are cellmates in prison two days away from release. Nick has been corresponding with a young woman named Ashley Mercer, who is waiting for him on the outside. After Nick dies in a prison fight, Rudy assumes his identity so that Ashley will think he is the one who has been writing to her. Gabriel, the leader of a gang and Ashley’s brother, kidnaps Rudy and Ashley in their cabin and tells Rudy that the gang, with the help of "Nick", will rob the casino that Nick used to work at. Rudy reveals that he is not Nick, but Ashley believes that he is. She reveals that she wrote to him knowing that Gabriel was going to force Rudy to assist in the robbery. Using the information from the real Nick’s prison cell stories, Rudy is able to devise a robbery plan and informs Gabriel that the biggest loot is hidden inside a safe in the manager Jack Bangs's office. One night, Rudy breaks out of his hotel room and stumbles upon Gabriel and Ashley and learns that they are lovers and not siblings, but he is forced to return to his room when he is almost caught. The group robs the casino, each dressed as Santa Claus. Rudy, forced to take part in the robbery, hides the fact that he knows Ashley’s secret. Shots are fired, and security guards and Santas are shot. Ashley drives into the Casino and lets Nick/Rudy know she is in on the heist. All meeting in the manager's office, Gabriel introduces Rudy to the casino manager as Nick but the manager recognizes that he is not Nick and Rudy confesses. Gabriel, furious at Rudy’s deception, spares him for a moment when he demands to know where the "PowWow” safe is. When the manager opens the safe, he grabs guns from inside and kills one of the robbers as the rest flee. The casino manager dies during the shootout. Rudy kills another one of the robbers and is then grabbed by Gabriel and Ashley who tie him up in their 18-wheeler truck. They plan to drive him off the edge of a cliff in a burning vehicle with a little of the money so that officials will guess all the stolen money had been burned. After accidentally revealing too much information during an argument with Rudy, Ashley shoots and kills the now suspicious Gabriel. Shortly after, Nick appears, having staged his death at the prison. It is revealed that Ashley's real name is Millie Bobeck and Rudy learns that the two had collaborated to rob the casino using Rudy, Gabriel, and Gabriel's gang. Millie had known the entire time who Rudy truly was. Nick also informs Rudy that the prison stories were part of a set-up. After they tie Rudy to the steering wheel to drive off the cliff, he produces a knife he had gotten earlier, cuts his bindings, hot wires the car, sets it to reverse and crushes Nick's legs. With Millie firing at him, he rams the fiery car into her and dives out as the car and Millie go over the cliff. Nick, who is still alive, tries to convince Rudy that they can share the money but Rudy locks him in the truck and also sends it over the cliff. Rudy picks up the stolen cash and begins distributing it in mailboxes he comes across on the way home to his family, and he eats a Christmas dinner with them. The film closes with Rudy smiling. | Reindeer_Games |
[
"INT. BEDROOM The time is 1959. HOLLY SARGIS, the 15 - year - old heroine, sits on her bed, petting her dog. The CAMERA DOLLIES BACK as she talks on VOICE OVER. HOLLY -LRB- v.o. -RRB- My mother died of pneumonia when I was just a kid. My father had kept their wedding cake in the freezer for ten whole years. After the funeral he gave it to the yardman. He tried to act cheerful, but he could never be consoled by the little stranger he found in his house. Then, one day, hoping to begin a new life away from the scene of all his memories, he moved us from Texas to Ft. Dupree, South Dakota. HOLD on FULL SHOT of bedroom. DISSOLVE TO",
"EXT. ALLEYS AND STREETS - SERIES OF ANGLES - DAWN The streets and alleys of Ft. Dupree at dawn. On sound we hear the clucking of DOVES. A garbage truck appears. Details of the mechanisms at the back of the truck. NEW ANGLE KIT CARRUTHERS, the hero, a 25 - year - old garbageman, kneels beside a dead dog. He inspects it briefly. then looks back at his friend and co - worker, CATO, a stocky man in his forties. KIT I'll give you a dollar to eat this collie. Cato inspects the dog. CATO I'm not going to eat him for a dollar. I do n't think he's a collie, either. Some kind of dog. They drive off. KIT Watch your heads. NEW ANGLE The truck comes to a stop. Kit bangs on the driver's door. KIT Hey. Woody. Gim me a cigarette. WOODY waves him off. Kit shrugs to Cato. KIT Woody would n't give me a cigarette. -LRB- pause. -RRB- Ever notice he do n't talk much? Cato agrees with this. They make a terrible racket, with no regard for the sleep of the neighbors.",
"EXT. STREET Holly, whispering some rhyme to herself, twirls a baton in the middle of an empty street. HOLLY -LRB- v.o. -RRB- Little did I realize that what began in the alleys and back ways of this quiet town would end in the Badlands of Montana.",
"EXT. ALLEY Kit tries to sell a passing BUM a pair of shoes. BUM Nah. they would n't fit. KIT How do you know? You had n't tried them on yet. BUM Nah. KIT Gim me a dollar for them. Cost twenty new. The Bum walks off. Kit pitches the shoes to Cato. KIT Why do n't you see if they fit you? Cato picks them up and looks at them. CLOSE ON TRASH CAN Kit is culling through a trash can, looking for valuables. reading other people's mail, etc.. KIT -LRB- o.c. -RRB- This lady do n't ever pay her bills. She's gon na get in trouble if she does n't watch out. Cato, ignoring him, picks up a magazine that is lying in the grass. When the CAMERA returns to Kit, he has stripped off his apron. KIT I throwed enough trash for today, Cato. I'll see you In the morning. He slaps Cato on the back and walks off. Cato throws a mouldy loaf of bread at his back. CATO Catch! KIT What do you mean? He throws the loaf back at Cato.",
"EXT. ALLEYS Kit walks through the deserted alleys of the sleeping town. as the MAIN TITLES APPEAR. He balances a stolen mop on his finger ; he stomps a can and looks around to see if anyone has spotted him at this. As the CREDITS end he sees Holly in front of her house twirling her baton. He crosses the street and introduces himself.",
"EXT. FRONT LAWN KIT Hi, I'm Kit. I'm not keeping you from anything important, am I? HOLLY No. KIT Well, I was just messing around over there, thought I'd come over and say hello to you. -LRB- smiling. -RRB- I'll try anything once. -LRB- pause. -RRB- What's your name? I said mine. HOLLY Holly. KIT Listen, Holly. you want to take a walk with me? HOLLY What for? KIT Well. I got some stuff to say. Guess I'm kind of lucky that way. Most people do n't have anything on their minds, do they? Holly eyes him suspiciously.",
"EXT. STREET They walk down the middle of the street. Holly has accepted his offer. KIT Oh, incidentally, my last name is Carruthers. Sounds a little too much like `` druthers,'' does n't it? HOLLY It's okay. KIT Well, nobody asked me what I thought. They just hung it on me. Holly breaks the silence that follows. HOLLY You still in school? KIT Nah, I got me a job. HOLLY -LRB- o.c. -RRB- Doing what? KIT Well, I do n't mind getting up early, so I got a job throwing garbage. I'm not in love with the stuff, okay. In the distance we hear Holly's FATHER calling her. She eases off. HOLLY That's my father. I got to run. KIT Hey. wait a minute. When am I going to see you again? Holly is n't sure how to reply. HOLLY Well, I know what my daddy's going to say. KIT -LRB- o.c. -RRB- What? HOLLY Can I be honest? KIT Sure. HOLLY Well, that I should n't be seen with anybody that collects garbage. KIT -LRB- o.c. -RRB- He'll say that? HOLLY Yeah. KIT -LRB- o.c. -RRB- Now what's he know about garbage, huh? HOLLY Nothing. KIT -LRB- o.c. -RRB- There you go. HOLLY Well, I mean there's nothing he wants to know about it. I've got to run. She waves goodbye and runs off. Kit waves back.",
"EXT. HOLLY'S BACK YARD Holly walks into the back yard, where her father is working. Half - painted signs lean against the garage. FATHER Who was that? HOLLY Just some boy. He throws some paint off his brush onto the ground. HOLLY Is that going to kill the grass? He flicks his brush teasingly at her feet. She retreats to a chair, giggling. HOLLY You got some on my feet. FATHER What'd he want? HOLLY Just wanted to know if we needed any yardwork done. I said no, and for him not to bother us.",
"INT. EMPLOYMENT AGENCY Kit is talking with a CLERK inside an employment agency. CLERK -LRB- o.c. -RRB- You ever held another job before? KIT I used to throw trash for the City. CLERK You lost that one? KIT Would n't be here if I had n't. CLERK What kind of work do you think you would be qualified for? KIT I ca n't think of anything at the moment. I'd like you to write me out a slip, though, proving I came down here. The Clerk leafs through his papers. CLERK Well, I think we could find you something. working cattle over at the pens. Kit sighs. KIT Well. what the hell. Just hope there's a breeze. The Clerk gives him a slip of paper.",
"EXT. FRONT PORCH OF HOLLY'S HOUSE Holly sees Kit approaching the house. HOLLY -LRB- v.o. -RRB- He was handsomer than anybody I'd ever met. He looked just like James Dean. She walks out the front door. KIT Hi. HOLLY Well, stop the world. KIT Quit my job. HOLLY Great. KIT Just seemed like the right move. Whatcha doing? HOLLY Spanish. KIT -LRB- o.c. -RRB- How do you say `` Quit my Job'' in Spanish? HOLLY Something mi trabajo. Kit offers her a cigarette, which she declines. KIT Yeah, well, I'm going to work as a cowboy now. Or thinking about it. It's a routine, like anything. What do you think? HOLLY I do n't know. He pulls himself up onto the bannister beside her. KIT Well, at least nobody could get on me about wearing these boots any more. She watches him intently. This makes him uncomfortable. KIT You want to go for a ride? HOLLY Well, I got homework. KIT -LRB- o.c. -RRB- Bring it along. His forwardness surprises her.",
"EXT. DOWNTOWN STREET IN FT. DUPREE They are walking through the downtown area. Kit kicks a paper bag that someone has discarded on the sidewalk. KIT Somebody dropped a bag on the sidewalk. She appears nervous about being seen alone with him. KIT Everybody did that, the whole town'd be a mess. Hi. He greets a passing stranger. KIT You're a redhead. HOLLY I know. KIT Anybody ever call you `` Red''? HOLLY Yeah, but I do n't like it. KIT Why not? HOLLY Just do n't. I've got a headache. KIT Yeah? He steers her toward his car, a customized Mercury. As she gets in, he asks her KIT -LRB- o.c. -RRB- Can I come around and see you tomorrow? HOLLY -LRB- startled -RRB- Okay.",
"EXT. FEEDLOT - SERIES OF ANGLES We see Kit at work at the feedlot. throwing hay to the cattle, feeding them pills, etc.. HOLLY -LRB- v.o. -RRB- Kit went to work in the feedlot while I carried on with my studies. Little by little we fell in love. As I'd never been popular in school and did n't have a lot of personality, I was surprised that he took such a liking to me, especially when he could've had any other girl in town if he'd given it half a try. The MONTAGE includes a shot of Holly running toward Kit's car for some rendezvous. HOLLY -LRB- v.o. -RRB- He said that I was grand, though, that he was n't interested in me for sex and that coming from him this was a compliment. Held never met a fifteen - year - old girl who behaved more like a grownup and was n't giggly. He did n't care what anybody else thought. I looked good to him, and whatever I did was okay, and if I did n't have a lot to say, well, that was okay, too.",
"EXT. TREE BESIDE RIVER Kit and Holly are sitting under a tree. playing cards on a blanket. Holly surveys the area. HOLLY What a nice place. KIT -LRB- absorbed in game -RRB- Yeah, the tree makes it nice. HOLLY And the flowers. Let's not pick them. They're so nice. KIT It's your play. SERIES OF ANGLES Holly's father paints a picture. using a stereopticon to help with his backgrounds. TRACK with Kit driving down a street in his Mercury. Holly sits watching football practice. HOLLY -LRB- v.o. -RRB- Of course I had to keep all this a secret from my dad. He would've had a fit, since Kit was ten years older than me and came from the wrong side of the tracks, so called. Our time with each other was limited and each lived for the precious hours when he or she could be with the other away from all the cares of the world.",
"EXT. UNDERNEATH BLEACHERS Kit and Holly are necking underneath some bleachers. In the distance we hear the NOISE of the football practice. HOLLY My stomach's growling. KIT There's an old Fudgesicle over there. You want it? HOLLY No. Kit laughs, and starts her laughing, too. KIT Somebody else is going to get it. HOLLY I do n't care. KIT Kids eat that kind of stuff in Korea. At this her expression turns serious. SERIES OF ANGLES Kit in CLOSEUP at a fence in the feedlot, an intense look on his face. VARIOUS ANGLES of the cattle in their pens. They look numb and morose. TIGHT SHOT of Holly necking with Kit. HOLLY -LRB- v.o. -RRB- In the stench and slime of the feedlot, he'd remember how I looked the night before, how I ran my hand through his hair and traced the outline of his lips with my fingertip. He wanted to die with me, and I dreamed of being lost forever in his arms.",
"EXT. HOLLY'S BACK YARD TIGHT SHOT of Holly's pet catfish in a bowl. CUT TO WIDE SHOT of Holly with gloves on carrying the fish through the garden in back of her house. She looks around warily, then throws it out among the melons. HOLLY -LRB- v.o. -RRB- The whole time, the only thing I did wrong was throwing out my fish when he got sick. Later I got a new one, but this incident kept on bothering me and I turned to Kit.",
"EXT. STREET Kit and Holly walk down a sidewalk in the residential part of town. Kit is consoling her about the fish. HOLLY -LRB- v.o. -RRB- I did n't mind telling Kit about stuff like this, cause strange things happened in his life, too, and some of the stuff he did was strange.",
"EXT. FEEDLOT Kit steps on top of a dead cow, as though to convince himself that it is dead. HOLLY -LRB- v.o. -RRB- For instance,. he faked his signature whenever he used it, to keep other people from forging important papers with his name.",
"INT. HOLLY'S BEDROOM - NIGHT The CAMERA DOLLIES BACK to reveal Kit lying in bed. His attitude suggests that this is a scene of her fantasy. HOLLY -LRB- v.o. -RRB- And as he lay in bed, in the middle of the night, he always heard a noise like somebody was holding a seashell against his ear. And sometimes he'd see me coming toward him in beautiful white robes, and I'd put my cold hand on his forehead.",
"EXT. RIVERBANK Kit puts on his jacket and heads down a riverbank to the edge of the water. Holly comes into view, buttoning her blouse. HOLLY Did it go the way it ` uz supposed to? KIT Yeah. HOLLY Is that all there is to it? KIT Yeah. Her questions make him uncomfortable. HOLLY Gosh, what was everybody talking about? KIT Do n't ask me. Silence. HOLLY Well. I'm glad it's over. For a while I was afraid I might die before it happened. Had a wreck, some deal like that. Kit points to an uprooted tree lying in the water a hundred feet away. KIT You see where that tree fell in the water? He climbs back up the bank. HOLLY Yeah. The river must've washed the roots away. You do n't care about anything I say, though. DISSOLVE TO",
"EXT. NEIGHBORING AREA Holly walks down the bank of the river. Kit falls in behind her, carrying a large stone. The CAMERA DOLLIES with them. KIT You know what I think? HOLLY What? KIT That we should crunch our hands with this stone. That way we'd never forget what happened today. HOLLY But it would hurt. KIT Well, that's the point, stupid. She gives him a cold look. HOLLY Do n't call me stupid. KIT Okay, but I'm going to keep it for a souvenir. He throws it awav and picks up a smaller one. KIT Or maybe one that's lighter. He walks over to the car. A bridge is visible in the distance.",
"EXT. FIELD Kit releases a large red balloon into the evening sky. A small basket is fixed to the bottom of the balloon. HOLLY -LRB- v.o. -RRB- Kit made a solemn vow that he would always stand beside me and let nothing come between us. He wrote this out in writing, put the paper in a box with some of our little tokens and things, then sent it off in a balloon he'd found while on the garbage route. -LRB- pause. -RRB- His heart was filled with longing as he watched it drift off. Something must've told him that we'd never live these days of happiness again, that they were gone forever. DISSOLVE TO",
"EXT. CATTAILS Holly's dog bounds through a stand of cattails. Holly speaks angrily to her father, who walks toward the dog with a gun. We do not hear their voices, only music. He shoots the dog and Holly runs off in horror. HOLLY -LRB- v.o. -RRB- Then, sure enough, Dad found out I'd been running around behind his back. He was madder than I'd ever seen him. As punishment for deceiving him, he went and shot my dog.",
"EXT. BRIDGE Holly's father drags a duffel bag out of his truck and dumps it over the side of a bridge, into a river. It goes under briefly, then bobs to the surface. The current takes it off. DISSOLVE TO",
"EXT. MUSIC SCHOOL Holly sits in the second - story window of a music school. HOLLY -LRB- v.o. -RRB- He made me take extra music lessons every day after school and wait there till he came to pick me up. He said that if the piano did n't keep me off the streets. maybe the clarinet would. DISSOLVE TO",
"EXT. BILLBOARD Kit approaches Holly's father, who is hard at work, painting a billboard along a deserted stretch of road. Kit is eating a peach. KIT Sure is pretty. FATHER What'd you come out here for? KIT I was n't aware there was any law against it. Kit sees that this kind of talk will not do. He is silent for a moment, then throws the peach away. KIT You know Holly. well. she means a lot to me, sir. Holly's father goes solemnly about his business. KIT You know, before I met her, nobody could ask me how I was doing with my girl. Matter of fact, I did n't really have one. FATHER Is that right? KIT Yeah. Kit walks off a few paces and leans against the father's truck. KIT It okay me leaning on your Willys here? Holly's father does not answer. KIT Listen. I got a lot of respect for her, sir. -LRB- pause. -RRB- That's about as good a one as I know to tell you. FATHER Well, it's not good enough. -LRB- pause. -RRB- Just what do you think would happen to her if she stuck around with you, Kit? Guy like you. KIT She'd get along okay. And if she did n't, well, she could take off, just take off. -LRB- and. -RRB- I would n't mind. I'd always tell people I deserved it. Holly's father comes to his feet and fixes Kit in the eye. FATHER You get out of here. I do n't want you hanging around any more. You understand? He lets these words sink in, then returns to his seat. FATHER -LRB- shaking his head. -RRB- You're something. Kit waves goodbye. KIT Takes all kinds, sir. He walks to his car, looking back once. SERIES OF ANGLES LONG SHOT of father at work at billboard. Kit approaches Holly's house, collects the evening newspaper from the sidewalk, and knocks on the front door. Holly's father picks her up from a park outside the music school. Kit, when he gets no answer, enters the house. The jeep, with Holly and her father, rumbles down a residential street.",
"INT. HOLLY'S HOUSE Kit is going through Holly's dresser, throwing her things into a suitcase. A pistol is visible in his back pocket. Suddenly, Holly's father appears in the dresser mirror, standing at the end of the hall outside the bedroom. Kit walks forward to greet him. The CAMERA DOLLIES with him. KIT Hi. FATHER What're you doing? KIT I've got a gun here, sir. It's always a good idea to have one around. Kit draws the pistol. He is shaken, though he must have seen this coming. FATHER What do you think you're doing? Go on, get out of here. KIT Well, I got it all planned. and I'm taking Holly off with me. He looks at Holly, who has appeared on the landing, uncertain what her reaction to all this will be. FATHER Okay, boy, I'm turning you over to the authorities. Kit steps forward as Holly's father starts down the stairs. KIT What for? FATHER For coming onto my property. With a gun. KIT No, you're not either. FATHER -LRB- o.c. -RRB- Yeah? Why not? KIT Cause I ca n't allow it. Holly's father stares at him for a moment, then continues down the stairs. Kit starts forward. KIT Hey. Hey, wait a minute. His shout arrests Holly's father at the bottom of the stairs. KIT Suppose I shot you. How'd that be? Huh? Holly's father does not move. KIT You want to hear what it sounds like? He fires a shot into the stairs. The report is deafening in the enclosure of the stairwell. They exchange looks. Kit's breathing is heavy.",
"INT. LIVING ROOM Holly's father turns and walks into the living room. Kit rushes down the stairs. Holly shouts his name. KIT Hey, where you going? He fires two shots into Holly's father, who slowly sinks to the floor. Kit unlimbers his shoulder. Holly rushes down the stairs to her father's side. HOLLY Daddy. This is Holly. Are you going to be okay? Her father does not respond. She looks back at Kit, who avoids her gaze. She gets to her feet and walks nto the kitchen. Kit follows her.",
"INT. KITCHEN Kit closes the back door to the house. KIT I came in the front. HOLLY How bad off is he? KIT -LRB- o.c. -RRB- I can look and see. HOLLY We better call the doctor. Listen. I'll say how it happened, part I saw. KIT -LRB- sighs -RRB- Well. I do n't think that'd work. This startles Holly.",
"INT. LIVING ROOM Kit touches the father's heart. KIT He do n't need a doctor. He walks back into the kitchen. HOLLY Are you sure? KIT You do n't believe me, see for yourself. Holly stares at her father. DISSOLVE TO",
"EXT. HOLLY'S HOUSE - DUSK LOW ANGLE of Holly's house silhouetted against the evening sky. On sound the NOISE of CICADAS.",
"INT. CELLAR Kit drags Holly's father into the cellar. sets him down gently, then eases out of the room, taking a discarded toaster with him.",
"INT. KITCHEN - NIGHT Kit comes up the steps from the cellar. Holly stands at the drainboard. KIT I found a toaster. He sets down the toaster and walks over to Holly's side. KIT Listen, honey. I do n't want to. She slaps him across the forehead. He walks into the now darkened living room, and sits down at the piano. After a moment Holly follows him.",
"INT. LIVING ROOM ~ NIGHT Holly sits down on the sofa across from Kit. HOLLY Listen, maybe we ought to tell somebody about this. KIT You said that once already. Too late now. HOLLY Why? KIT They're not going to listen to me. You either. Are you kidding? A silence follows. HOLLY Suppose the neighbors heard the noise? KIT Would n't be funny. Listen, I'll be back in a while. He gets up and heads for the front door. KIT Oh. You want to call the police, that's fine. Just wo n't be so hot for me. There are tears in Holly's eyes now. They exchange looks as Kit opens the front door. Then he leaves. Holly settles back on the couch.",
"EXT. HOLLY'S HOUSE - NIGHT The house by night.",
"INT. HALLWAY AND BEDROOM - NIGHT Holly comes up the stairs, smoking a cigarette. She walks to her bedroom window. The CAMERA DOLLIES with her. Outside, under the street lamp, she can see two boys trading secrets.",
"INT. TRAIN STATION - NIGHT Kit puts fifty cents into a gramophone booth. He clears his voice as the machine whirs Into operation. KIT My girl Holly and I have decided to kill ourselves, same way I did her dad. Big decision huh? Well, the reasons are obvious, and I do n't have time to go into them right now. One thing, though. He was provoking me when I popped him. That's what it was like, a POP. Inserts of the booth's mechanism a light panel measuring off the seconds and the needle on the record. KIT Course nobody's coming out of this thing happy, especially not us. You ca n't deny we've had fun, though. Which is more than I can say for some. Mmmm. that's the end of the message. I run out of things to say. Thank you. He gets these last words in just as his time is up. He gets the record and steps outside the booth, into the lobby of a train station. DISSOLVE TO",
"INT. HOLLY'S LIVING ROOM - SERIES OF ANGLES - NIGHT Kit slams a ten - gallon can of gasoline down on the piano bench, opens it and begins pouring it out over the interior of the house, kicking aside everything that comes in his way.",
"EXT. REAR OF HOUSE - NIGHT Holly comes out the screen door at the back of the house, carrying a suitcase and a painting. Kit appears with a lamp on an extension cord. He sets it down beside a victrola he has set up on a table outdoors. He puts the needle on the record he recorded earlier. Holly watches him as she retreats to the car. HOLLY -LRB- v.o. -RRB- Kit left a record playing over and over for the District Attorney to find. He was gambling for time. Kit unplugs the lamp, lights a book of matches and pitches them into a puddle of gas. The back porch of the house explodes into flame. Kit runs to the car with the lamp, caught off guard by the force of the flames. They drive off.",
"INT./EXT HOUSE ON FIRE - SERIES OF ANGLES - NIGHT Various objects around the house burst into flames a picture we saw on the stairs. some peacock feathers, a cantaloupe and a pomegranate left on the kitchen table, the living room, Holly's bedroom, the bed itself, a doll on the bed, an A&W Root Beer sign outside the house, a water can, flames swirling out the front of the house. Holly's father in CLOSEUP in the cellar, sheet music lifting off the piano. etc.. At length the CAMERA PANS over the charred frame of Holly's bed. Outside a fireman moves with a flashlight through the embers of the house.",
"INT. SCHOOL CORRIDOR Holly collects her books from a locker at her school and walks anxiously down a corridor towards the exit. HOLLY -LRB- v.o. -RRB- Kit made me get my books from school, so I would n't fall behind. We'd be starting a new life, he said. and we'd have to change our names. His would be James. Mine would be Priscilla. We'd hide out like spies, somewhere in the North, where people did n't ask a lot of questions.",
"EXT. SCHOOL - DAWN Holly breaks into a run as she comes through the front door of the high school. Kit waits for her at the car. There is nobody else in sight. HOLLY -LRB- v.o. -RRB- I could of snuck out the back or hid in the boiler room, I suppose, but I sensed that my destiny now lay with Kit, for better or for worse, and that it was better to spend a week with one who loved me for what I was than years of loneliness. She gets into the car and they drive off.",
"INT. MERCURY - DAWN Kit studies Holly for signs of her mood. KIT How you doing? HOLLY -LRB- neutrally -RRB- I'm fine. Kind of tired. KIT Yeah, me too. The car sails down a quiet street. DISSOLVE TO",
"EXT. RIVER The CAMERA DOLLIES with a tree floating down a swollen river. Cottonwood trees cover the far bank. HOLLY -LRB- v.o. -RRB- We hid out In the wilderness, down by a river in a grove of cottonwoods. It being the flood season we built our house in the trees, with tamarisk walls and willows laid side by side to make a floor. There was n't a plant in the forest that did n't come in handy. CLOSEUPS OF PLAIQTS - SERIES OF ANGLES Details of the cottonwoods, willow and tamarisk. Music continues under.",
"EXT. TREEHOUSE - SERIES OF ANGLES Details of Kit and Holly building the treehouse. Kit pounds a log into place wi h a tomahawk ; Holly scrapes the bark off a log with a piece of flint ; Kit weaves tamarisk branches through the frame of the house. This MONTAGE ends with a PAN DOWN the four stories of the completed treehouse. HOLLY -LRB- v.o. -RRB- We planned a huge network of tunnels under the forest floor, and our first order of business every morning was to decide on a new password for the day. ow and then weld sneak out at night and steal a chicken or a bunch of corn or some melons from a melon patch. Mostly. though, we just lay on our backs and stared at the clouds and sometimes it was like being in a big marble hall. the way we talked in low voices and heard the tiniest sound.",
"INT. TREEHOUSE The CAMERA PANS off Holly's painting, a Maxwell Parrish, onto Kit asleep with his pistol beside him. then onto Holly under a quilt with a box of shells beside her. Her hand quivers once.",
"EXT. TREE TOPS Kit lifts an egg out of a bird's nest at the top of a tree. He drops it down to Holly, fifty feet below. HOLLY -LRB- v.o. -RRB- They had n't found but one set of bones in the ashes of the house. so we knew they'd be looking for us. Kit made sure we'd be prepared.",
"EXT. TRAIL - SERIES OF ANGLES Kit cuts a piece of twine that lies across a trail, whereupon a ball full of spikes comes swinging down out of the trees. with lethal force. Kit ducks out of the way. We next see Kit with a dew ag around his forehead, running laps through the woods as part of his training. He exhorts himself to greater effort. HOLLY -LRB- v.o. -RRB- He gave me lectures on how a gun works, how to take it apart and put it back together again. in case 1 had to carry on without him. He said that if the Devil came at me, I could shoot him with a gun.",
"EXT. TAMARISK Holly struggles through the undergrowth witha yoke over her shoulders, carrying wood back to the teahouse. HOLLY -LRB- v.o. -RRB- One day, I carried thirty pounds of wood a distance of five miles. Another day, while hiding in the forest, I covered my eyes with makeup, to see how they'd come out. TIGHT ON HOLLY'S EYES Holly has made her eyes up with mascara.",
"EXT. FRONT OF TREEHOUSE Kit and Holly dance the stroll to the sound of Mickey and Sylvia on their Zenith portable. Holly shows a better sense of rhythm than Kit.",
"EXT. MUD FLAT BESIDE RIVER - DUSK Kit lifts a fish out of the river with a crude device like a lacrosse net. Holly sits on the bank In the b.g.. The fish wriggles out of the net and falls back In the water. Kit struggles in vain to retrieve it. HOLLY -LRB- v.o. -RRB- We had our bad moments, like any couple. Kit accused me of only being along for the ride, while at times I wished he'd fall in the river and drown, so I could watch. Kit throws his net down in disgust, partly at Holly. KIT Take a break. Red. Life of Riley, huh? Holly ignores him as he walks off down the flat. HOLLY -LRB- v.o. -RRB- Mostly. though. we got along fine and stayed in love.",
"EXT. FRONT OF TREEHOUSE Holly, in curlers, walks over to where Kit is shaving. HOLLY One of the chickens died last night. She pats a little water on her face, dries it with a burlap towel, picks up a hatchet and walks off into the forest to cut the morning's firewood. HOLLY I almost stepped on him.",
"EXT. UPPER DECK Holly sits on the upper deck of the treehouse, reading Kon - Tiki aloud to Kit. HOLLY `` The Kon - Tiki in motion was a little different from what it usually was in such conditions. We had become sensitive to changes in the rhythm of the logs. I thought at once of suction from the coast, which was drawing near, and was continually out on the deck and up the mast.'' KIT He was nervous. Holly looks at him for a moment, trying to understand the meaning of this interruption, then resumes HOLLY `` Time passed. At dawn, just before six, Torstein came hurrying down from the masthead. He could see a whole line of small palm - clad islands far ahead.''",
"EXT. RIVER Holly walks down the edge of the river, fresh from her bath. wrapped in a white sheet. The river is raging, with white caps visible in places.",
"EXT. FOREST A strange animal, not a deer or a horse, but like them, moves languidly through the thick of the forest. Holly puts down her binoculars, amazed. HOLLY -LRB- v.o. -RRB- I grew to love the forest. The cooing of the doves and the hum of dragonflies in the air made it always seem lonesome and like everybody's dead and gone.",
"EXT. CROW'S NEST Kit sits in the crow's nest at the top of the treehouse, browsing through a copy of National Geographic. amused by what he sees, looking around to find somebody he can share it with. HOLLY -LRB- v.o. -RRB- When the leaves rustled overhead, it was like the spirits were whispering about all the little things that bothered'em. TIGHT ON SLIDES An array of stereo slides is spread out on the leaves of the forest floor. Holly puts one in her stereopticon and studies it. Kit greets her as he walks by with a log over his shoulder. HOLLY -LRB- v.o. -RRB- One day, while taking a look at some vistas in Dad's stereopticon, it hit me that I was just this little girl, born in Texas, whose father was a sign painter and who had only just so many years to live. TIGHT ON SLIDES With each of her thoughts a slide appears a canal in Brazil, a camel boy in front of the Great Pyramid. some cows standing in a fjord with a steamship in the distance, a mother with her child, a woman playing the piano as another woman looks on, a family on a lawn, a soldier in a wheatfield whispering something into his girlfriend's ear. HOLLY -LRB- v.o. -RRB-. It sent a chill down my spine, and I thought Where would I be this very moment if Kit had never met me? Or killed anybody? This very moment. If my Mom had never met my Dad? If she'd of never died? And what's the man I'll marry going to look like? What's he doing right this minute? Is he thinking about me now, by some coincidence, even though he does n't know me? Does it show on his face?",
"EXT. RIVER Kit is fishing with his crude net. He stops briefly to watch a truck passing down the highway In the distance, then goes back to work. This stretch of river seems dangerously close to civilization. HOLLY -LRB- v.o. -RRB- For days afterward I lived in dread. At times I wished I could fall asleep and be taken off to some magical land, but this never happened. Kit, frustrated draws his pistol from his back pocket and looks around for the fish that has been eluding him. He does not see, as we do, a MAN watching him from across the river. He fires at the fish. misses it and fires again. The Man across the river hesitates. then moves back into the undergrowth. DISSOLVE TO SERIES OF ANGLES - TREEHOUSE Holly is off somewhere in the forest. putting on lipstick. Kit sits on watch in the crowls nest, a pair of binoculars close at hand. On sound, over the music, we hear voices whispering to them. Kit sees a movement in the brush. A moment later a figure appears, a hunter, carrying a gun. Kit shouts a code word to Holly. She takes off running, as Kit clambers down the planks of the treehouse and collects his shotgun. He tells her to hide, runs through the woods and dives in a hole, under a cover of leaves. She jumps behind a log. Several shots of the still forest follow, then the hunters appear, a shoulder here. pant leg there. The music ends as one of them cocks his gun. They pass right over the hole where Kit is hiding. Kit rises up slowly, gives them a gentlemanly word of warning, then shoots all three in the back. He checks to see if anybody else is with them, then calls weakly out to Holly. KIT Holly! Holly picks her way through the brush, back to the treehouse.",
"EXT. TREEHOUSE They are packed up and ready to leave. Kit slams the trunk of the Mercury. KIT Get in the car, Red. He takes a bird cage off the roof of the car and throws it away. KIT We do n't need this. He climbs a ladder, looks In the cabin of the treehouse to see if they've left anything behind, then jumps down. He flips over the wicker hemisphere that covers their rooster. The rooster walks off, free. He surveys the woods, then looks back at Holly, who returns his look and gets in the car. HOLLY -LRB- v.o. -RRB- Kit felt bad about shooting those men in the backs. but he said they'd come in like that. and they would've played it as down and dirty as they could, and besides, held overheard them whispering about how they were only interested in the reward money. With lawmen it wouldtve been different. They were out there to get a job done and they deserved a fair chance. But not a bounty hunter.",
"EXT. BADLANDS - SERIES OF ANGLES We see a flat expanse of the Badlands. The Mercury appears over the horizon and heads toward a solitary house. A man appears at the door of the house, Kit's friend, Cato. HOLLY -LRB- v.o. -RRB- We went to hide out with a friend of Kit's from the days of the garbage route.",
"EXT. CATO'S HOUSE. Kit gets out of the car, takes a chicken from the back seat and walks over to face Cato. He keeps a safe distance. KIT How you doing, Cato? CATO Not bad. Kit steps forward, rifle in hand, and offers Cato the chicken. KIT Take that sombitch. Cato takes it, a wan smile on his face. KIT What you been doing? CATO Running this place for a fella in town. Nothing much to speak of. KIT Well, I do n't notice us hustling trash, either. Kit walks over to inspect the interior of Cato's house. KIT Where'd you get them antlers? CATO -LRB- o.c. -RRB- They come with the house. He refers to a set of deer antlers, mounted over the door. Kit looks inside, then back at Cato. KIT Oh, Cato, I want you to meet my girl, Holly Sargis. Holly smiles and says hello.",
"EXT. PICNIC TABLE They sit at a picnic table under a tree, having lunch. Holly is telling a joke at Kit's urging. HOLLY Did you hear the one about the guy in the nuthouse that went around naked, with only a hat and gloves on, and this nurse came up to him and said, `` Hey, what. You ca n't walk around that way,'' and the guy says, `` What's the matter? Nobody comes around here.'' Anyway, the nurse says, `` What do you have the hat and gloves on for, then?'' And the guy says, `` Well, you never know.'' Cato bursts into laughter. KIT Is n't that funny? Cato stops laughing. He wants to give Kit the right answer. CATO Yeah, I guess. KIT -LRB- o.c. -RRB- She plays the clarinet, too. Holly smiles politely. HOLLY Do n't you ever get bored around here? CATO Sometimes. The other day, though, an old boy was plowing in the field over there, found some old Spanish coins. KIT -LRB- suspicious. -RRB- That's what he told you, huh? CATO -LRB- o.c. -RRB- No, he showed me one. HOLLY What'd they look like? CATO -LRB- o.c. -RRB- Kind of round, like so. Gold. I'll show you if you want. Kit and Holly eye one another. Kit sees the chance to make a fortune here. He is careful to conceal his feelings, though. KIT Let me finish my supper. Holly, big - eyed, bites into an apple.",
"EXT. FIELD Kit, Holly and Cato walk out to the field where Cato heard the coins were found. Holly picks up a pot lid. KIT We're thinking of going down to Texas. Holly wants to visit some of her people down there, but after that I do n't know. They say Mexico's nice. Cato stops. CATO Kit. Maybe I'd better get a shovel. KIT Okay. CATO I'll catch up with you. KIT Okay. Kit walks out into the field to join Holly. Cato turns back. HOLLY I found a lid. It was laying on the ground over there. KIT Put that down. It's dirty. Holly tosses the lid at him. He picks up some dirt clods and starts throwing them at her. She squeals and dodges. CATO watches them for a while, indecisive, then turns and runs. HOLLY -LRB- o.c. -RRB- Hey, you're throwing big ones! Suddenly, Kit spots Cato. KIT Cato! Cato jumps over a trough and comes to a stop in front of his truck, a water tanker. CATO The shovel's in the truck. Kit raises his gun and shoots Cato through the belly. CATO falls, then gets to his feet and stumbles toward the front door of the house. Kit follows him for a while, then skips forward and opens the door for him.",
"INT. BEDROOM Cato falls on his bed and rolls over to face Kit. Kit walks in calmly and picks up a photo on the bureau. HOLLY -LRB- v.o. -RRB- Kit never let on why he'd shot Cato. He said that just talking about it could bring us bad luck and that right now we needed all the luck we could get. Kit sets the photo down. KIT -LRB- o.c. -RRB- You never told me about her. He looks under the bed, then walks out the door.",
"INT. LIVING ROOM Holly stands near a window. smoking a cigarette. Kit sets his rifle down and surveys the room, which is cluttered with odds and ends. KIT Look at all this junk. HOLLY How's he doing? KIT -LRB- shrugging. -RRB- I got him in the stomach. Holly sits down. HOLLY Is he upset? KIT He did n't say anything to me about it. He takes a drag off her cigarette and gives it back to her. He leafs idly through a catalogue on the table, then walks over to look in the bedroom. KIT Bunch of junk. Inside the bedroom Cato is still conscious, but his breathing is heavy. Kit walks back to Holly's side. HOLLY is looking through the catalogue. KIT He stole that cage. I saw him doing it. Kit wants this to have been an execution, not a murder. KIT Whatcha looking in there for? We ca n't afford any of that. HOLLY -LRB- defensive -RRB- Just looking.",
"INT. BEDROOM As they bicker in the other room, Cato inspects his face in a mirror. KIT -LRB- o.c. -RRB- Why do n't you go in there and keep him company for a while? Holly walks in the door. HOLLY Hi. She sits down. HOLLY That your spider in there? in that bottle? CATO Yeah. HOLLY What do you feed him? CATO Oh, flies. grasshoppers when I can catch'em. HOLLY Does he bite? CATO He never bit me. We hear the sound of a car HORN in the distance. HOLLY turns and looks.",
"EXT. CATO'S HOUSE A 1951 Studebaker approaches the house. There are two people inside, a BOY and a GIRL. Kit comes out the front door. The Boy and Girl get out, but seeing Kit, they wait by the car. BOY Hi. where's Cato? KIT Well, he's gone. BOY Gone? Where? KIT He said not to tell. BOY -LRB- o.c. -RRB- Oh yeah? KIT Yeah, he said for you to give us a lift into town. You're the ones with the Studebaker, are n't you? The Boy hesitates a second, then starts for the house. BOY Well, I just need to pick up something in the house. Kit draws his gun. KIT No. You go in there, I'll have to kill you. BOY What's going on? KIT Ca n't afford to take chances. The Girl is baffled. KIT -LRB- o.c. -RRB- Come on out of there, young lady. Kit waves them out into the neighboring field with him. KIT Let's us step out in this field here. The Boy raises his hands. KIT Nah, skip that. I'm going to have to keep an eye on you, though. BOY Okay. KIT You do n't mind? Holly steps out the front door and smiles at the girl. HOLLY Hi.",
"EXT. FIELD Holly and the girl walk through the field toward a storm cellar where the boys are waiting for them. The wind is blowing hard. GIRL What's going to happen to Jack and me? HOLLY You have to ask Kit. He says frog, I jump. GIRL Okay. HOLLY What's your friend's name? GIRL Jack. HOLLY You love him? GIRL I do n't know. Holly thinks about this for a moment. HOLLY I've got to stick by Kit. He feels trapped. GIRL Yeah. I can imagine. HOLLY Well, I've felt that way, had n't you?",
"EXT. STORM CELLAR Kit guides the couple into the storm cellar. KIT Okay, you two, down in the cellar. They head down the steps into the cellar, the Girl first. Kit stops the Boy for a moment. KIT You promise to stay down there for an hour? BOY Yeah. KIT You expect me to believe that? He looks back at Holly, as though to ask whether he should. BOY Yeah. Kit nods and waves the Boy down into the cellar. The Boy disappears. Kit shuts the door. KIT I'm going to shut the door. Kit sticks a pin through the latch, hesitates, then fires two shots down through a seam into the cellar. He retreats to Holly's side. a little surprised at what he did. KIT Think I got'em? HOLLY I do n't know. KIT Well, I'm not going down there and look. He starts running away from the cellar. Holly follows him. A storm is gathering on the horizon. Kit offers Holly his hand as they run. but Holly does not see this.",
"INT. CATO'S BEDROOM Cato lies motionless, on his bed. Holly steps forward and touches him with a yardstick, like a child touching a snake. HOLLY -LRB- v.o. -RRB- Suddenly, I was thrown into a state of shock.",
"EXT. HOUSE AND BOX CAR Kit, rifle in hand, lumbers out a side door of the house with Cato over his shoulder. He steers for a nearby box car that evidently served Cato as a shed. HOLLY -LRB- v.o. -RRB- Kit was the most trigger happy person I'd ever met. He claimed that as long as you're playing for keeps and the law is coming at you, it's considered okay to shoot all witnesses. You had to take the consequences, though, and not whine about it later. Kit opens the doors of the box car. and dumps Cato inside. Before closing the doors he checks Cato's shoes. to see if they are the ones he gave him. Holly looks on from the side of the house, twenty yards away. HOLLY We're in for it now. If they catch us. Kit looks cornered and defensive. Holly thinks for a moment. HOLLY What'd you put him in there for? KIT -LRB- shrugging -RRB- Just to keep him out of the sun. Kit heads out of sight around the rear of the box car. Holly goes back inside. Kit walks up and down the length of the box car, talking under his breath and throwing his rifle from hand to hand, in a state. DISSOLVE TO",
"EXT. COUNTRY ROAD Kit and Holly travel down a country road in the Studebaker. HOLLY -LRB- v.o. -RRB- At this moment I did n't feel shame or fear, but just kind of blah, like when you're sitting there and all the water's run out of the bathtub.",
"INT. CAR Kit, driving, turns to Holly. KIT You tired? HOLLY Yeah. KIT Yeah, you look tired. Listen, honey. when all this is over, I'm going to sit down and buy you a big, thick steak. HOLLY I do n't want a steak. KIT Well, we'll see about that. Hey, lookie. He nods at a wrecked car lying in a ditch beside the road. KIT They're probably going to blame that on me, too, bastards. VIGILANTE MONTAGE - SERIES OF ANGLES - BLACK AND WHITE Various shots characterizing the Midwest's reaction to Kit and Holly a deserted street, law officers posing with their guns and ammunition, children walking from class under armed guard, a detective in a trench coat pointing at a pump, a woman calling in her children at dusk, a county official posing with the county records, the court reporter with a book of signatures, vigilantes signing up and being deputized, then riding through the streets of their town in the backs of pickups, a priest among them, etc.. HOLLY -LRB- v.o. -RRB- The whole country was out looking for us, for who knew where Kit would strike next? Sidewalks were deserted. Stores closed their doors and drew their blinds. Posses and vigilante committees were set up from Texas to North Dakota. Children rode back and forth to school under heavy guard. A famous detective was brought in from Boston. He could find no clues. My clarinet teacher said I probably was n't responsible, but others said I was. Then, on Thursday, the Governor of Oklahoma sent out the National Guard to stand watch at the Federal Reserve Bank in Tulsa when word got out that Kit meant to rob it. It was like the Russians had invaded.",
"EXT. RICH MAN'S HOUSE Kit and Holly approach a large Victorian mansion. Kit rings the bell. HOLLY -LRB- v.o. -RRB- We needed supplies, so we went to a rich man's house. Kit figured it'd be safer and quicker than shopping in the downtown. A maid came to the door. A MAID opens the door. KIT Hi, I come to check the meter. My tools are in here. He nods at the suitcase he is carrying. The Maid looks at Holly. KIT Oh, this Is Holly. She's from Texas. Kit winks at Holly. The Maid brushes her ears to indicate that she is deaf, then stands back to let them pass. HOLLY -LRB- v.o. -RRB- Later we found out she was deaf and we had n't even known it. KIT Excuse me. They enter the house.",
"INT. LIVING ROOM Kit leads the others into the living room. The owner of the house, a RICH MAN, sits in a chair in the corner, reviewing some prints. At the sight of Kit he comes to his feet. KIT Hi. RICH MAN Yes? KIT This your place? RICH MAN Yes. Kit looks around, overwhelmed by the luxury of the mansion. KIT Sorry to barge in on you. Anybody else here besides you two? RICH MAN No. The Rich Man is wary. Kit nearly forgets to explain himself. KIT Good deal. Oh, uh, we're on the run and we'd like to hang out here for a while. Couple of hours, maybe. How'd that be? RICH MAN Stay as long as you like. TIGHT ON MURAL The CAMERA PANS across a mural of some pastoral scene.",
"INT. HOUSE - SERIES OF ANGLES Holly runs her finger around the lip of a crystal glass. It makes a soft chiming noise. Kit, sitting at the end of a table opposite her, picks up a dinner bell, rings it, then puts It down and regards her solemnly. KIT Next time I ring that, it means time to clear out. Holly, in the next angle, has moved a bust off its pedestal onto the corner of a piano. She thinks better of this and restores the bust to its original position. Kit sniffs at a glass of sherry, then takes a picture off the mantel and studies it. Holly, at the other end of the room. tests the comforts of a chair. This done. she moves to another chair and tests it, too. She makes her hand limp. She watches it swing back and forth. Kit sits in the chair which the Rich Man occupied earlier. He has a thoughtful look on his face. There is a dictaphone on the table beside him.",
"INT. HALLWAY Holly takes a cane out of the umbrella rack, looks around furtively, then steps out a side door of the house.",
"EXT. LAWN Holly walks down the slope of the lawn. HOLLY -LRB- v.o. -RRB- I left Kit in the parlor and went for a stroll outside the house. The day was quiet and serene, but I did n't notice, for I was deep in thought, and not even thinking about how to slip off. Across the way she can see a long driveway, with a border of lush greenery and a sleepy cat standing in the sun. HOLLY -LRB- v.o. -RRB- The world was like a faraway planet to which I could never return. I thought what a fine place it was, full of things for people to look into and enjoy.",
"INT. LIVING ROOM - TIGHT ON KIT Kit talks into the dictaphone, recording some advice for young people. KIT Listen to your parents and teachers. They got a line on most things, so do n't treat them like enemies. There's always a chance you could learn something. -LRB- he pauses for a moment. -RRB- Try to keep an open mind. Try to understand the viewpoint of others. Consider the minority opinion, but try to get along with the majority opinion once it's accepted. -LRB- again he pauses. -RRB- Course Holly and I've had fun, even if it has been rushed, and. so far we're doing fine. had n't got caught. -LRB- annoyed. -RRB- Excuse the grammar. He sets down the dictaphone. puts out his cigarette and leans back in his chair, lost in reflection.",
"INT. COVERED ROOM Holly enters the room where the Rich Man and his Maid have been put. The furniture and paintings are covered with sheets, suggesting that for some purpose, known only to the family, the room has been set aside. HOLLY Hi. Kit's downstairs playing with the dictaphone. Sometimes he acts like there's something wrong with his bean. She leans against the window. behind the couch where the Rich Man is sitting. HOLLY Hope nothing ever goes wrong with mine. RICH MAN Think he's crazy, huh? HOLLY I do n't know. He's kind of odd. She sits down beside the Rich Man. HOLLY -LRB- shyly -RRB- They claim I've got him wrapped around my little finger, but I never told him to shoot anybody. She looks the room over. HOLLY Gosh, I like your house. RICH MAN Thank you. We hear the NOISE of a doorbell.",
"INT. LIVING ROOM Kit puts down a copy of the Wall Street Journal and locates his pistol. He starts for the door, then remembers that he moved a picture from the mantel. He puts the picture back in place, checks the chamber of his pistol and leaves the room.",
"EXT. FRONT OF HOUSE Kit opens the front door to find a VISITOR on the stoop. The Visitor carries a roll of blueprints under his arm. KIT Hi. VISITOR Hi. ah, Mister Scarborough here? KIT Yeah, but the thing about him, he's down with the flu. He's sick. VISITOR Really? KIT Yeah. I'd invite you inside, except it's contagious. Do n't want to start an epidemic. VISITOR No, of course not. It's only that he called last night and asked if I could come by. KIT Well, he did n't have it last night. The Visitor is puzzled by Kit's presence in the house, and even more by his behavior. He takes out a note pad. KIT What's that? VISITOR Well, I'd like to leave a message, if that's okay. KIT Sure. The Visitor jots something down and hands the note to Kit. KIT You have to excuse me now. I have to go back inside. Bye. Kit closes the door.",
"INT. STAIRWELL Kit hides the Visitor's note in a vase and bounds up the stairs to the first landing. KIT We're out of here, Tex.. He turns back down the stairs. On a rack at the bottom he finds a hat and coat. He takes them with him.",
"INT. COVERED ROOM Kit walks into the room where he left the Rich Man and his maid. He now carries a bag of groceries under his arm, KIT Hi, whatcha doing? RICH MAN Just thinking. KIT Good a way to kill time as any. She okay? He points to the Maid with his pistol. RICH MAN Yes. KIT Listen, ah. We're going to take the Cadillac for a while. How'd that be? RICH MAN Fine. KIT Do n't worry, I wo n't let her drive. He means Holly. KIT -LRB- continuing -RRB- Oh, and here's a list of everything we borrowed. Car's on there, too. He gives the list to the Rich Man and signals the Maid to accompany them out. KIT Okay, ma'am, let's go. come on.",
"INT. HALLWAY Kit points the Rich Man and his Maid into a closet. KIT You're my friend, are n't you? RICH MAN Yes. KIT Okay, no monkey business then. He locks the door of the closet once they are inside, starts off, then remembers something, takes a handkerchief out of his pocket and wipes his fingerprints off the door handle. KIT Groceries. With this reminder he collects his bag of groceries and heads down the hall.",
"EXT. FRONT PORCH Kit and Holly come out the front door. Holly wears a shawl over her head as a disguise, Kit wears the outfit he took off the Rich Man's coat rack. He carries his groceries, rifle and a silver trophy he stole from somewhere in the house. KIT That guy could sell that list I gave him as a sample of my handwriting. Holly starts off, KIT -LRB- continuing -RRB- Hey, why're you always walking ahead of me? HOLLY Well, why you always walking behind me? Kit grabs the seat of her pants. HOLLY Do n't. KIT Anybody ever done that to you before? HOLLY No. KIT Positive? HOLLY Yes. KIT Guess there's no way I'll ever know. For sure. They round a corner into the garden.",
"EXT. BACKYARD They walk down the lawn toward the garage. We the TICKING OF SPRINKLERS off camera. KIT That guy must pay through the nose to keep this place up. Lawn, the gas and electric. Bagworms. Plus the upkeep on the cars. Yeah, you get a little money in your pocket, you think all your problems are solved. Well, let me tell you, they're not. They arrive at the Cadillac. Holly sets down her suitcase and waits for Kit to open the door for her. Kit, who has forgotten this propriety, hurries back and opens the door. He throws the suitcase in the back, goes around the front of the car and gets in. HOLLY I'd like to get out of here. KIT Soon as I start the car. and fix my hat. He adjusts his hat, starts the car and they drive off, past a Rolls Royce Kit has declined in favor of the Cadillac.",
"EXT. BADLANDS - EXTREME LONG SHOT The car races across the open prairie. HOLLY -LRB- v.o. -RRB- Fearing there'd be roadblocks on the highways, we took off across that area known as the Great Plains. Kit told me to enjoy the scenery, and I did.",
"INT. CADILLAC Holly reads to Kit from a movie fan magazine. HOLLY `` Rumor Pat Boone is seriously considering giving up his career so he can return to school full - time and complete his education. Fact Pat has told intimates that so long as things are going well for his career, it's the education that will have to take the back seat.'' KIT I do n't blame him. HOLLY `` Rumor Frank Sinatra and Rita Hayworth are in love. Fact True, but not with each other.'' Kit chuckles at this, which pleases Holly.",
"EXT. TELEPHONE POLES The Cadillac heads overland, along a line of telephone poles that stretches out clear to the horizon. HOLLY -LRB- v.o. -RRB- Through desert and mesa, across the endless miles of open range, we made our headlong way, steering by the telephone lines toward the mountains of Montana. DISSOLVE TO",
"EXT. MOUNTAIN Heat waves rise off the land. A mountain is barely discernible in the distance. DISSOLVE TO",
"EXT. BADLANDS The Cadillac races through a herd of cows, HOLLY -LRB- v.o. -RRB- Kit'd sometimes ram a cow, to save on ammo, and we'd cook it. CLOSE ON SALT GRASS Tight shot of a clump of salt grass. HOLLY -LRB- v.o. -RRB- Once we had to eat a bunch of salt grass. It tasted like cabbage.",
"EXT. BADLANDS - DAWN THE CAMERA RISES over the Cadillac as it races down a deserted country road at dawn,",
"EXT. PIPELINE WAYSTATION The Cadillac is stopped beside a pipeline waystation. Kit has tapped some gas off the head. HOLLY -LRB- v.o. -RRB- For gas we used the leakage from the valves of the pipelines we found along the way. Drip gas is what they call it in that part of the country. DISSOLVE TO",
"EXT. BADLANDS The Cadillac roars through a stand of mesquite and disappears into the distance. HOLLY -LRB- v.o. -RRB- Little by little we approached the border. Kit was glad to leave South Dakota behind and cursed its name. He said that if the Communists ever dropped the atomic bomb, he wished they'd put it right in the middle of Rapid City.",
"EXT. CAMPSITE They are camped out in the middle of the badlands. Kit cooks some meat over a fire, Holly, with a map under her arm, points into the distance. HOLLY That's Montana over there. KIT I never been to Montana. Acquaintance of mine has, but I had n't. Never had any reason to. Holly sits down and looks at the map. HOLLY State bird's a meadowlark.",
"EXT. PAN ACROSS BADLANDS The CAMERA PANS across the badlands. There Is not a tree or a bush in sight. It comes to rest on Kit, who carries his rifle over his shoulders the way James Dean did in `` Giant''. KIT'S P.O.V. - SERIES OF ANGLES Various sights of the prairie a distant mountain, a wild turkey, a lizard, a burst of lightening in a cloud on the horizon, a falcon. Kit takes all this in, then he turns back to the campsite. The sun is down, just barely, and the moon has risen behind him. Holly is heard over this last shot. HOLLY -LRB- v.o. -RRB- We lived in utter loneliness, neither here nor there. Kit said that solitude was a better word, cause it meant more exactly what I wanted to say. Whatever the expression, I told him we could n't go on living this way.",
"INT. CADILLAC Kit and Holly sit in the back seat of the Cadillac. They have been necking. Her hair is in curlers. KIT -LRB- responding to v.o. -RRB- Why not? I mean, I'm having fun. At least I'm not bitching. HOLLY Well, I feel kind of like an animal living out here. I mean, there's no place to bathe and. no place to get anything good to eat. KIT Well, I'll catch you a big trout. Soon as we get to the mountains. He kisses her. She gives in reluctantly. After a while they break. KIT Everybody loves trout. HOLLY I'm serious. They neck some more. then break again. Kit looks out one window, Holly out the other.",
"EXT. DISTANT TRAIN A train moves slowly across the horizon. HOLLY -LRB- v.o. -RRB- In the distance I saw a train making its way silently across the plain, like the caravan in `` The Adventures of Marco Polo.'' It was our first taste of civilization in days, and I asked Kit if we could have a closer look.",
"EXT. KIT - WITH FOOTBALL Kit sets a football down on the ground, backs off a few steps, squats and shoots a hole through it with his pistol. To his surprise. it does not deflate. He moves closer and pounds it flat with the barrel of the pistol. HOLLY -LRB- v.o. -RRB- Before we left he shot a football that he considered excess baggage. TIGHT ON SUITCASE Kit is burying some things from Holly's suitcase in a bucket the trophy he took from the mansion, her stereopticon slides, a doll, a spark plug, a pack of Camels, etc.. HOLLY -LRB- v.o. -RRB- Afterwards he took and buried some of our things in a bucket. He said that nobody else would know where we'd put them, and that we'd come back someday, maybe, and they'd still be sitting here, just the same, but we'd be different. And if we never got back, well, somebody might dig them up a thousand years from now and would n't they wonder!",
"EXT. BADLANDS The Cadillac speeds across the plains. A plume of dust stretches out behind it.",
"EXT. RAIL TRESTLE Kit and Holly have parked the Cadillac under a rail trestle. A train is approaching. They hide beside the car. The train, a streamliner, roars overhead. When it has passed, Holly rushes up the grade to watch it disappear into the distance. Kit watches from the opposite end of the trestle. KIT Maybe we should've tried to hop it. HOLLY It was going too fast. KIT I could've pulled the car up on the tracks, slowed it down some. HOLLY -LRB- o.c. -RRB- Yeah, then we'd be stuck here. KIT Well, maybe we oughta be stuck here. I'm not saying that I know. He stoops down and picks up a Pepsi bottle. HOLLY You're crazy. He climbs over the edge of the trestle, looks back at her oddly, then leaps down to the ground. Holly walks down to meet him. HOLLY -LRB- v.o. -RRB- Kit took the bottle and spun it around, leaving to fate which direction we should take. TIGHT ON BOTTLE Kit spins the bottle.",
"EXT. BOTTOM OF TRESTLE The bottle comes to a stop. Kit inspects its position. He does not appear satisfied, though. KIT Well, maybe the slope here is throwing it off some. We ought to find a more flat place. HOLLY How about over here? Kit starts toward her, then changes his mind and heads back up the grade, to the tracks. The CAMERA DOLLIES and CRANES with him. KIT Never mind. It does n't matter. If I'm worth a damn, I'll pick the right direction. And if I'm not, well, I do n't care. See what I mean? HOLLY -LRB- o.c. -RRB- No. KIT Well, I should n't expect miracles, should I? He stops at the top of the grade and looks out across the Badlands. KIT We'll keep on heading for that mountain. Just remember I said it was n't such a hot idea. DISSOLVE TO",
"EXT. TRESTLE - DUSK The Cadillac pulls out from under the trestle and heads down a dusty road alongside the tracks. HOLLY -LRB- v.o. -RRB- We took off at sunset, on a line toward the mountains of Saskatchewan, for Kit a magical land beyond the reach of the law. He needed me now more than ever, but something had come between us. I'd stopped even paying attention to him. Instead, I sat in the car and read a map and spelled out entire sentences with my tongue on the roof of my mouth, where nobody could read them. DISSOLVE TO",
"EXT. MOUNTAIN - DUSK The Cadillac beads off across the plains toward a distant mountain. HOLLY -LRB- v.o. -RRB- That night we moved closer to the border, and clear across the prairie, at the very edge of the horizon.",
"EXT. REFINERY FIRES - NIGHT A refinery fire. HOLLY -LRB- v.o. -RRB- W could make out the gas fires of the refinery at Missoula, while to the south.",
"EXT. CITY LIGHTS - NIGHT HOLLY -LRB- v.o. -RRB- we could see the lights of Cheyenne, a city bigger and grander than I'd ever seen.",
"EXT. CADILLAC'S POV ON PRAIRIE The prairie rushes under the Cadillac's headlights. HOLLY -LRB- v.o. -RRB- I felt all kind of things looking at the lights of Cheyenne, but most important, I made up my mind to never again tag around with a hell - bent type, no matter how in love with him I was. Finally, I found the strength to tell Kit this. I pointed out that even If we got to the Far North, he still could n't make a living.",
"INT. CADILLAC - NIGHT Kit and Holly's faces are strangely lit by the dash lights. Holly is absorbed in her map. The radio is on. KIT -LRB- responding to v.o. -RRB- I could get a job with the Mounties. The Northwest Mounties. Hell, I got all the qualifications. I can ride, shoot and. I do n't mind the cold. Fact. I kind of like the cold. Holly looks up from the map. HOLLY What? KIT Nothing. I was just running off at the mouth. as usual. HOLLY I'm sorry. I was n't listening. Holly lights a cigarette. KIT I was just talking about going after a job. Hey. do n't lip it. He reaches over and takes the cigarette out of her mouth. The CAMERA PANS to her with this gesture. HOLLY You know. they'd probably ask to see your driver's license before they hired you. KIT -LRB- o.c. -RRB- Well. I'm not going to let that stop me. When the CAMERA PANS BACK to him, he is looking at her cigarette. KIT You smoke Pall Mall? HOLLY Yeah. He is surprised to discover this. KIT Nah, you had n't seen me when I'm going after something, honey. Tough? He cocks his head just thinking about it. She reaches for the radio to change the station. He pats her hand away. KIT Hey. do n't touch that. Nat King Cole.",
"EXT. BADLANDS - NIGHT They dance in the headlights to the tune of `` A Blossom Fell'' coming over the car radio. She is wearing the rich man's jacket. After a moment Kit whispers in her ear. KIT Boy, if I could sing a song like that. I mean, if I could sing a song about the way I feel right now, it'd be a hit. They continue dancing.",
"EXT. CADILLAC ON PLAINS - DAY Two shots of the Cadillac heading across the Badlands at dawn. HOLLY -LRB- v.o. -RRB- Kit knew the end was coming. He wondered if he'd hear the doctor pronounce him dead, or if he'd be able to read what the papers would say about him, the next day, from the other side. He dreaded the iea of being shot down alone, he said, without a girl to scream out his name.",
"INT. CADILLAC - DAWN Holly yawns with fatigue. HOLLY -LRB- v.o. -RRB- Then, for an instant, the sight of the mountains in the dawn light got his hopes back up. Kit shakes his head with admiration and wonder. KIT God, what a sight. Tell me this, honey. What does a little Texas girl like yourself think of a sight like that? She turns to look at the mountains.",
"EXT. MOUNTAINS - THEIR POV Mountains in the distance closer now than ever before. DISSOLVE TO",
"EXT. OIL RIG The Cadillac drives up to an oil rig. Kit gets out of the car. KIT Love this air. The ROUGHNECK in charge of the rig steps out of his trailer. It seems there is nobody else around. KIT Morning. Say, you got any gas? ROUGHNECK Maybe. KIT Well. I'm sorry. sir. but we've got to ask you for it. Holly walks over to inspect the rig. KIT -LRB- o.c. -RRB- See, we're about out. been driving all night. Actually, I do n't even have time to explain it to you. ROUGHNECK -LRB- o.c. -RRB- Well, matter of fact, I do n't have any. KIT Just a second now. That's your truck. is n't it? He points to a truck linked to the front of the trailer. Holly looks idly around. Suddenly her expression changes, for what reason it is not clear. KIT -LRB- o.c. -RRB- You did n't walk out here. ROUGHNECK -LRB- o.c. -RRB- It's mine all right. KIT Well, listen. I'm going to swap you my Cadillac. The Roughneck does not understand what Kit is up to. KIT Now do n't worry. You're getting a fair deal. Hell. what's the blue book value on this thing, Mildred? He slaps the hood of the Cadillac and looks to Holly. She is still preoccupied with whatever it is she has seen, though. ROUGHNECK -LRB- o.c. -RRB- Who are you? KIT Name is Carruthers. Believe I shoot people every now and then. Not that I deserve a medal. Holly signals Kit with a nod at the horizon. HOLLY Kit! Kit looks up and sees a helicopter in the distance. He hesitates a moment, then draws his gun. KIT Okay, friend. start running. ROUGHNECK -LRB- o.c. -RRB- Just gim me a chance. KIT Git. Holly moves around the side of the rig and sits against a tire. Kit joins her. KIT Boy. I had a feeling today was going to be the day. Helicopter. HOLLY Yeah. KIT He's not coming to take us for a ride. either. Come on, let's make a run for the car. He starts off in the direction of the car, but Holly calls him back. HOLLY I do n't want to. Kit looks at her. surprised. KIT Have you got a better idea? HOLLY I just do n't want to go. KIT What? She shrugs. He stares at her for a moment, then bows his head and walks off a distance. KIT What is wrong with you, huh? He kicks wildly at dust. KIT What is the matter with you, huh!? Meanwhile, the helicopter continues its approach. Kit walks in closer to Holly. KIT Boy, I do n't know what to make of you. People like you. He kicks at the rigs then turns back to face her. KIT You want a second chance, then listen. Twelve noon the Grand Coulee Dam, New Year ` ss Day. 1964. You meet me there. Now you got that? She nods, bewildered. The helicopter is landing. He grabs a discarded fender off the truck, hangs it over his arm like a shield and runs to the Cadillac, exchanging shots with a State Trooper who has arrived in the helicopter. The Trooper is hit and falls. Kit jumps in the car and roars off. Holly surrenders herself to the pilot of the helicopter and is taken off.",
"EXT. GAS STATION Kit pulls into a gas station. He gets out of his car and drums on the roof. KIT Hey, anybody here? An ATTENDANT walks out the door. KIT Hi. Say,, you got any shells for a Savage, a.300 Savage? ATTENDANT Nope. KIT Damn. I pissed all mine away shooting up bottles. You want to fill her up for me? Please? The Attendant nods. Kit pulls Holly's suitcase out of the back seat and walks over to a trash can at the edge of the apron. Kit throws Holly's things methodically into the trash can. After a while he comes upon a book. He opens the book and looks through it, then turns to find the Attendant staring at him. As he gets to his feet. he nods at the trash can. KIT If you want any of that junk, it's yours. Meanwhile, a police car approaches the station. Kit sees it at about the same time the police see him. He throws his book in the car and roars out of the station. The police car goes into a bootlegger's turn and takes off after him. CHASE - SERIES OF ANGLES Kit heads down the highway. After a while he turns off onto a dirt road. The police keep up with him. He flips on the radio and fires back at them. The dust is so heavy that they have a hard time just keeping track of him. He checks his own appearance and general demeanor in the rear view mirror, then swerves off the road onto the prairie. The police manage to keep up. Together they roar through a herd of cows and barb wire fence. The police car slams into Kit, trying to slow him down. Kit slams back into the police car. They return to the road. Kit makes a ninety - degree turn but the police car loses traction and rolls onto its side, then back onto four wheels again, stalled. Kit sees that he has lost them. He checks himself out in the mirror again, puts on the rich man's hat and skids to a stop. The police car gets back underway. During these last few moments Holly is heard on VOICE OVER. HOLLY -LRB- v.o. -RRB- Often I've wondered what was going through Kit's head before they got him and why he did n't make a run for it while he still had the chance. Did he figure theyld just catch up with him the next day? Was it despair? He claimed to having a flat tire, but the way he carried on about it, I suspect this is false.",
"EXT. ROAD Kit shoots a hole in the tire of the Cadillac, then climbs up on the hood. We see how far behind the police are. He checks his pulse and jumps back down. He scurries around collecting rocks from the shoulder as the police approach from the distance. He makes a stack of the rocks to mark the site of his capture for posterity, finishing just as the police car skids to a stop. Kit throws up his hands and walks forward to meet them. Their guns are drawn. KIT Hi. SHERIFF Hold it right there. KIT I could've held off an army if I could've gotten behind a rock in the mountains. DEPUTY -LRB- o.c. -RRB- Oh yeah? KIT -LRB- nodding -RRB- Long as my ammo held out. Right there's where you caught me. He nods at the stack of rocks. The Sheriff frisks him as the Deputy covers. DEPUTY We did it, Ray. KIT You better not leave that Cadillac sitting out here. The Sheriff takes out a pair of handcuffs. SHERIFF Put your hands in back of your head. The Sheriff claps the handcuffs on one of Kit's wrists. SHERIFF Now put the other one on yourself. Kit does as the Sheriff asks. The Deputy holsters his pistol and walks forward to inspect their prize. He and KIT exchange glances. DEPUTY -LRB- to Sheriff -RRB- Hell, he ai n't no bigger than I am. The Sheriff sticks his pistol in Kit's ear and leads him off toward the police car. KIT You're going to give me a cauliflower ear, Sheriff. The Sheriff gives Kit a shove. DEPUTY He should've thought about that before he got caught. Should n't he? The Deputy draws his pistol and fires a shot into the neighboring field. Kit is startled. The Deputy makes the same motion, this time without firing. DEPUTY Hup!",
"EXT. HIGHWAY The police car sails down an open stretch of highway.",
"INT. POLICE CAR Kit thinks for a while, then turns to the Sheriff, who is driving. KIT Think I'll take the juice? SHERIFF Beats me. The Deputy, fascinated, watches all this from the back seat. Kit turns to him. KIT Say, what kind of rifle was that you were shooting at me? DEPUTY Thirty aught six. KIT -LRB- o.c. -RRB- You ever had to open it up like that before? DEPUTY Nope. Kit turns back around. KIT -LRB- reassuringly -RRB- Well, you boys have performed like a couple of heroes. And do n't think I'm not going to pass it around when we get to town. The Sheriff lifts the hat off Kit's head and tosses it out the window. It rolls to a stop on the highway behind them. KIT You tossed my hat out the window. SHERIFF -LRB- o.c. -RRB- Wanta sue me? KIT No. DEPUTY Kit. Kit, I've got a question for you. KIT Mmmmm. DEPUTY You like people? KIT They're okay. DEPUTY Then why'd you do it? KIT I do n't know. Always wanted to be a criminal, I guess. Just not this big a one. Takes all kinds though. Kit gets a smile from the Deputy. The Deputy turns to the Sheriff. DEPUTY You know who that sombitch looks like? -LRB- no reply. -RRB- You know, do n't you? Kit is anxious to hear the answer. SHERIFF -LRB- o.c. -RRB- No. DEPUTY I'll kiss your ass if he do n't look like James Dean. Kit drops his eyes and turns away, deeply gratified by this remark. The Sheriff smiles at the Deputy in the rear mirror. The car roars past a freight train.",
"INT. AIRPORT HANGAR Kit stands on the wing of a light plane, inside a large hangar at the local airport. He is shackled in a leather transfer vest. He takes souvenirs out of his pockets and tosses them out to a crowd of Montana State Troopers and National Guardsmen milling around on the tarmac ground below him. MECHANIC How you doing there, Kit? KIT -LRB- o.c. -RRB- Fine as can be expected. Just locked up, ca n't move. MECHANIC -LRB- o.c. -RRB- That's a nice little coat you got on there. KIT You think? it's leather. He takes out his cigarette lighter. KIT Hey, now here's a real prize. I must've had this about ten years. Who's going to get it? VOICE -LRB- o.c. -RRB- Gim me that sombitch. KIT There you go. SECOND VOICE -LRB- o.c. -RRB- Where you from? KIT South Dakota. Where you from? SECOND VOICE -LRB- o.c. -RRB- Here. KIT Want a comb? He takes a comb out of his pocket and pitches it down to somebody. He ignores most of the questions coming at him. THIRD VOICE -LRB- o.c. -RRB- Joni James is from South Dakota. KIT Yeah, she got out of there, too. FOURTH VOICE -LRB- o.c. -RRB- You ever been to Kansas? FIFTH VOICE -LRB- o.c. -RRB- Hey, Kit. whot's your favorite singer? KIT Eddie Fisher. Who's yours? FIFTH VOICE -LRB- o.c. -RRB- Eddie Fisher. KIT Damn! Want a pen? He pitches the man a ballpoint. The CAMERA MOVES BACK to a WIDE SHOT of the whole scene. SIXTH VOICE -LRB- o.c. -RRB- How old are you? KIT Do n't you read the papers? SIXTH VOICE -LRB-. o.c. -RRB- You ever been married? KIT No sir, I had n't.",
"EXT. HANGAR - SERIES OF ANGLES Various SHOTS of the National Guardsmen dozing on the pavement. playing cards beside the hangar, a little bored. Also a shot of Holly with the Sheriff and Deputy. SEVENTH VOICE -LRB- o.c. -RRB- Hey, Kit, you afraid of death? KIT -LRB- o.c. -RRB- I had n't thought about it much.",
"INT. HANGAR The Deputy walks up to Kit with some legal papers. KIT Hey, listen, Tom, I do n't mean to tell you how to run your show here but these cuffs are pinching. What do you say now? DEPUTY I need to get your signature on some papers here, Kit. KIT Well, I've got to read them first. Suppose I could get a Coke while I do? DEPUTY Sure thing. Come on. He gives Kit the papers and leads him out of the hangar. Kit turns back to the crowd inside. KIT You boys keep out of trouble. GUARDSMAN Do n't worry about us. DEPUTY Holly's over here, Kit. if you want to see her. KIT Sure.",
"EXT. POLICE CAR Holly leans against the fender of the police car. She wears handcuffs. Kit turns to a State Trooper who holds him by a tether. KIT You want to give me a little slack here? The Trooper pays out the slack. Kit leans against the car. He and Holly exchange looks. KIT Do n't worry now. I'm going to get you off these charges. There's a whole lot of other boys out there. You're going to have a lot of fun. Holly looks down. KIT Boy, we rang the bells, did n't we? Holly does not reply. KIT I'll say one thing, though. That guy with the deaf maid? He's just lucky he's not dead, too. Holly does not appreciate the humor of this. Kit, chastened, turns serious. KIT Course it's too bad about your dad. HOLLY Yeah. KIT We're going to have to sit down, and talk about that sometime. He looks up at the SOUND of an incoming plane.",
"EXT. AIRPORT - SERIES OF ANGLES The plane that will take them back to South Dakota, a B - 25, comes in for a landing. The mass of Troopers and National Guardsmen, with Kit and Holly, walks out to meet it. A jeep leads it down the taxiway. A civilian bystander points Kit and Holly out to a young boy he holds in his arms.",
"EXT. PLANE Kit signs his extradition papers on the back of the Chief Trooper, gives them to the Deputy and shakes hands with the Chief. KIT Thank you very much, Chief Sims. Sorry if I caused you any inconvenience. CHIEF You did n't cause me any trouble. KIT Thanks anyway. He turns to shake hands with the Deputy. The planets engines whir to life. DEPUTY Well, Kit. KIT Tom. DEPUTY Good luck to you. KIT Thanks. DEPUTY I mean it. KIT I know you do. Good luck to you, too. TROOPER Now we go. The Trooper pulls him toward the plane. Kit calls Holly. KIT Come on, Red.",
"EXT. RUNWAY - SERIES OF ANGLES The props start turning. The crowd waves goodbye as the boarding door is closed. The wheels turn toward the sun. The Guardsmen race back to their trucks. A mailman carries off the mail bags he collected from the plane. The plane taxies down the runway and lifts into the air. HOLLY -LRB- v.o. -RRB- Kit and I were taken back to South Dakota. They kept him in solitary, so he did n't have a chance to get acquainted with the other inmates, though he was sure they'd like him, especially the murderers. Myself, I got off with probation and a lot of nasty looks. Later I married the son of the lawyer who defended me. -LRB- pause. -RRB- Kit went to sleep in the courtroom while his confession was being read, and he was sentenced to die in the electric chair. On a warm spring night, six months later, after donating his body to science, he did. With Holly's last words we CUT INSIDE the cabin of the plane.",
"INT. CABIN Kit sits next to the Trooper at the back of the plane. Holly sits opposite them, with a Detective behind her. Kit's attention is fixed on the military hat in the Trooper's lap. KIT Sir. Where'd you get that hat? TROOPER State. KIT Boy, I'd like to buy me one of those. The Trooper smiles. Holly looks up. TROOPER You're quite an individual, Kit. KIT Think they'll take that into consideration? The Trooper smiles and looks out the window. Kit looks to Holly, to see if she has taken this remark in the proper spirit. She smiles and looks out the window.",
"EXT. CLOUDS - HOLLY'S POV - DUSK An unbroken sea of clouds stretches out before her. FADE OUT. END CREDITS OVER BLACK. THE END"
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] | 1959 South Dakota. 15-year-old Holly Sargis is a teenage girl living in a dead-end town called Fort Dupree. She lives with her sign painter father, although their relationship has been strained since her mother died of pneumonia some years earlier. One day Holly meets a 25-year-old garbage collector named Kit Carruthers. Kit is a young, troubled greaser and Korean War veteran, who resembles James Dean, an actor Holly admires. Kit charms Holly, and she slowly falls in love with him. As Holly falls deeper in love for Kit, his violent and anti-social tendencies start to slowly reveal themselves. Holly's father disapproves of Holly and Kit's relationship, and shoots her dog as a punishment for spending time with him. Kit then comes to Holly's house and shoots her father dead. The couple fakes suicide by burning down the house and go on the run together, making their way towards the badlands of Montana. Kit and Holly build a treehouse in a remote area and live there happily for a time, fishing and stealing chickens for food, but are eventually discovered by bounty hunters. Kit shoots the three bounty hunters dead, and the couple flees. They next seek shelter with Kit's friend Cato, but when Cato attempts to deceive them and go for help, Kit kills him; he also shoots a teenage couple who arrive to visit Cato shortly thereafter. Kit and Holly are hunted across the Midwest by law enforcement. They stop at a rich man's mansion and take supplies, clothing, and his Cadillac, but spare the lives of the man and his housemaid. As the fugitives head across Montana to Saskatchewan, the police find and pursue them. Holly, who is tired of life on the run and of her relationship with Kit, refuses to go with him and turns herself in. Kit leads the police on a car chase but is soon caught, and enjoys the attention he receives from police and reporters. The crowd engages with Kit as he is waiting in their custody, asking him questions and cracking jokes. Kit is later executed for his crimes, while Holly receives probation and marries her defense attorney's son. | Badlands_(film) |
[
"EXT. ELLAND ROAD - DAY - (1974) Heavy leaden skies over the arachnoid stands and floodlights of Elland Road stadium : home to Leeds United football club. And rain. Sheets of angry, Yorkshire rain. TITLE : `` THE DAMNED UNITED''",
"INT. BOARDROOM - ELLAND ROAD - DAY - (1974) Flashlights pop as DON REVIE, -LRB- late 40's -RRB-, the most successful manager in English football, walks out in front of a pack of newspaper and TV REPORTERS. He is flanked by the Chairman of Leeds United, -LRB- MANNY CUSSINS, 60's -RRB-, and several other white - haired blazer - wearing members of the Board. REVIE I'm just going to make a brief statement. CAPTION : `` JULY 4th, 1974'' REVIE stands under a large trophy cabinet, filled with the silverware he has won. REPORTERS wait : intimidated. Cowed. REVIE -LRB- cont'd. -RRB- Yesterday afternoon at 3.00, I accepted the FA's offer to become the next manager of the England national football team. A gasp among the JOURNALISTS. A burst of flashlights. The BOARD MEMBERS look down at the floor in silence. Bereaved fathers losing their favourite son. REVIE -LRB- cont'd. -RRB- Obviously that involves me leaving Leeds United after 13 happy and successful years, which makes me very sad. I'd like to think I have built the club into a family and there must be sadness when anybody leaves a family. However, when one man goes, another steps into his place. I know who I think that person should be, the man to replace me, and I shall make my feelings clear to the directors. Thank you. No further comments. REVIE turns and walks out, a volley of REPORTERS shouting questions.",
"EXT. MOTORWAY - DAY - (1974) We're in a car. Tarmac passes beneath us. Roadmarkings. OVER THIS : the sound of a flat Teeside voice, singing along with Frank Sinatra on the radio. VOICE -LRB- V.O. -RRB- `` Fly me to the Moon.''",
"INT. CAR - DAY - (1974) Two young BOYS, -LRB- 12, 9 -RRB- stare out of car windows. Raindrops on the panes of glass. Their father, BRIAN CLOUGH, -LRB- 39 -RRB-, slick, modern, cocky, handsome. About as big a contrast to DON REVIE as it's possible to find, is up front. Driving. CLOUGH -LRB- singing. -RRB- `` And let me play among the stars.'' SIMON When are we there? CLOUGH Any moment now. On the right. -LRB- singing. -RRB- `` Let me see what spring is like.'' The car turns a bend, and suddenly the floodlights and stands of a football stadium come into view. The BOYS' eyes widen. BOY 1 There it is! Dad! There it is! The BOYS smile in excitement. CLOUGH -LRB- singing. -RRB-''. on Jupiter and Mars.'' ` LEEDS UNITED FOOTBALL CLUB' written on the side of the stadium. CLOUGH smiles, then puts his foot down. The car accelerates past the turning. The BOYS' smiles fade. BOY 1 Where are you going? Dad? You've missed it. CLOUGH We've something else to do first. Wo n't take long. -LRB- singing. -RRB- `` In other words, hold my hand. In other words, darling kiss me.'' The MUSIC continues as the car drives on, turning into the MUSIC of a television program.",
"INT. TELEVISION STUDIO - DAY - (1974) The ` CALENDER' front title sequence, a Yorkshire TV current affairs program. We're in a TV studio. The presenter is AUSTIN MITCHELL, -LRB- 40 -RRB-. MITCHELL Today we welcome Brian Clough as he starts his new job as manager of Leeds United, taking over from Don Revie - the most successful manager in the club's history, under whom Leeds have won everything. CLOUGH not QUITE everything. Not won the European Cup. MITCHELL but pretty much everything else. Daunted? CLOUGH Daunted? Not at all, Austin. Looking forward to it. MITCHELL The biggest challenge of your life, and you'll be without Peter Taylor, for the first time. Your lifelong professional colleague. CLOUGH Yes, Pete's at Brighton now. He had the opportunity to come with me, but Brighton was his choice. Leeds was mine. MITCHELL A surprising choice, some might say. Because you've been very vocal in your criticism of them over the years. CLOUGH I have. MITCHELL You've accused players of dirty tactics, cheating, dissent, foul play. You called Norman Hunter, Norman `` Bites yer legs'' Hunter, you've said Peter Lorimer falls when no one touches him. CLOUGH And I was right. MITCHELL I'm curious. Why do you now show such alacrity to joining them after such vituperative criticism of them for so long? CLOUGH Goodness, it's going to take me half an hour to explain all those words for a start. Laughter from the camera CREW. CLOUGH -LRB- cont'd. -RRB- Football is a beautiful game, Austin. It needs to be played beautifully. I think Leeds have sold themselves short.",
"INT. REVIE'S HOUSE - SAME TIME CLOUGH's interview continues on a TV in a sitting - room, where it is being watched by Don Revie, sitting in an armchair. CLOUGH -LRB- ON TV. -RRB-. they've been champions but they've not been good champions in the sense of wearing the crown well. They've not been loved. But then that's hardly surprising, given the type of operation there's been in place there.",
"INT. YORKSHIRE TV STUDIOS - DAY CLOUGH continues. CLOUGH Football clubs are like families, footballers are sensitive people. I'd like to bring a little warmth into the set - up. MITCHELL `` That type of operation?'' I presume you're referring to Don Revie. CLOUGH I am.",
"INT. REVIE'S HOUSE - SAME TIME REVIE continues to watch the TV. MITCHELL who has long been regarded as a father figure in Leeds. And now you're coming in as the outsider, the enemy even, after all the things you've said in public, coming in and taking ouver as STEPfather.",
"INT. YORKSHIRE TV - SAME TIME MITCHELL looks up at CLOUGH. MITCHELL Do n't you expect some degree of resentment to this? CLOUGH I would accept and expect a strangeness, initially, it's perfectly normal. But it wo n't be long before they realise I'm a fair man. A kind man. And maybe under me they can experience what it's like to be in a happy family, after all. MITCHELL How can you be sure they were n't happy with Don all along? CLOUGH They would n't have played football that way if they were happy.",
"INT. REVIE'S HOUSE - SAME TIME DON REVIE's eyes burn with indignation. He picks up a telephone, and angrily starts to dial.",
"EXT. TRAINING FIELD - DAY - (1974) Here they are. The Leeds PLAYERS. Long hair and long faces. Surly. Truculent. Dangerous. Out on the practice pitch. In the rain. Some doing warm - up exercises. Others milling dangerously in groups. Their names on their purple track suits. HUNTER, LORIMER, GILES, BATES, GRAY, CLARKE, BREMNER, MCQUEEN",
"EXT. CAR PARK - ELLAND ROAD - DAY - (1974) CLOUGH's car pulls up. He and his sons get out. A few waiting press. Cameras. Lights. A few FANS with autograph books. JIMMY GORDON Where have you been, boss? JIMMY GORDON, CLOUGH loyal trainer, his face creased with anxiety. JIMMY Directors have been waiting more than an hour. C'mon. JIMMY GORDON leads CLOUGH past the training pitch. CLOUGH looks out. CLOUGH Morning lads! Lovely Yorkshire weather! -LRB- gestures shivering. -RRB- I tell you makes me want to jump on a plane right back to Majorca! CLOUGH laughs. The PLAYERS stare in silence. Squinting in the drizzle. Condensation coming from their mouths. JOHNNY GILES stares. BILLY BREMNER spits and continues talking disrespectfully. CLOUGH -LRB- cont'd. -RRB- Not much of a welcome, was it? And not so much as a smile from Johnny Giles. JIMMY You're five days late! And did you really need to say that about Majorca? -LRB- beat, changing the subject. -RRB- You know he was Revie's first choice for getting your job. CLOUGH Who? Johnny Giles? CLOUGH looks over at GILES, who turns away, resumes training. CLOUGH -LRB- cont'd. -RRB- Was he now? And Bremner? JIMMY Club Captain. Don's son and heir. His first born. You're never going to get any love from him. BREMNER, a flint - eyed Scot, stares at CLOUGH. CLOUGH Great. Here's to happy fucking families.",
"INT. CORRIDOR - ELLAND ROAD - DAY - (1974) JIMMY GORDON leads CLOUGH and his BOYS down a corridor, where countless photographs of DON REVIE hang on the walls. Holding silverware. They pass an open door, with a sign outside, ` MANAGER. Mr. DON. REVIE.' CLOUGH stops. Looks at the sign. Then pushes open the door.",
"INT. MANAGER'S OFFICE - ELLAND ROAD - DAY - (1974) CLOUGH walks into the manager's office. The empty chair. The bare desk. His desk. Don's desk. CLOUGH takes a seat in the chair. Presently, a middle - aged matron, JEAN REID, Don Revie's faithful SECRETARY for 13 years, appears in the doorway. CLOUGH Any chance of a cup of tea, duck? JEAN They're waiting for you. Upstairs. CLOUGH swings his feet on the desk. CLOUGH Who's that? JEAN The Directors. CLOUGH For me? Why? JEAN For the board meeting. CLOUGH Let them wait. Now, how about that cup of tea? CLOUGH smiles sweetly, but JEAN stares at CLOUGH. She pointedly does n't move. CLOUGH lowers his feet. CLOUGH -LRB- cont'd. -RRB- All right, I'll go then. Would n't want to get off on the wrong foot. CLOUGH walks over to the door. Looks at the desk. CLOUGH -LRB- cont'd. -RRB- Who's desk is that, love? JEAN Yours, Mr. Clough. CLOUGH Not mine. I did n't put it there, did I? JEAN Mr. Revie's. CLOUGH Let's get rid of it then, shall we? Chairs, too. The whole bloody lot. Think it would be best if there were nothing of his left here. CLOUGH reaches the door. CLOUGH -LRB- cont'd. -RRB- Were you his secretary? JEAN I was. For thirteen happy years. CLOUGH What's your name, pet? JEAN Jean, Sir. Jean Reid. CLOUGH In which case, no offence duck, but there's nothing I want typed on paper from you other than your resignation. She gasps. CLOUGH -LRB- cont'd. -RRB- And you can change the locks on your way out. Do n't want the ghost of troubled Don popping in now, do we? Rattling his chains. Scaring my young ones. CLOUGH puts his arms protectively round the BOYS, and leads them out of the door. JEAN REID stares, visibly shaken.",
"INT. BOARDROOM - ELLAND ROAD - DAY - (1974) Half - a - dozen white - haired patriarchs sit at a large table. Matching blazers and matching brass. MANNY CUSSINS, SAM BOLTON, BOB ROBERTS, SYDNEY SIMON, PERCY WOODWARD. Aldermen and Rotary club members. Masons and businessmen. CLOUGH enters the boardroom. Indicates to JIMMY GORDON to look after the BOYS outside. Inside : matching curtains and carpets. CUSSINS Come in, Brian. CLOUGH sits down at the head of the table. Rubs his hands together. CLOUGH What? No one going to offer me a drink? Like an undertakers in here. The DIRECTORS shoot looks at one another. CUSSINS Why did you do it? CLOUGH Do what? BOLTON The interview. For Yorkshire TV. CUSSIN We've had a phone - call. BOLTON Not so much a phone - call. Bloody tirade. CUSSINS From Don. They only went and rung him. And ran some of your quotes by him. About how unhappy the players were. What `` bad champions''. Looking for a response. BOLTON -LRB- shudders to himself. -RRB- Bloody got one, as well. He's gone berserk. CLOUGH He had it coming. He should n't have done that piece in the Mirror should he? Saying he thought I was a daft choice. BOLTON He's entitled to his opinions. CLOUGH And I'm entitled to mine. CUSSINS -LRB- barks, flame on. -RRB- And I'm entitled to MINE. The room falls silent. That got everyone's attention. CUSSINS -LRB- cont'd. -RRB- I hired you to do this job because I think you're the best young manager in the country. CLOUGH Thank you. I'm the best old one, too. CUSSINS I also did it under the assumption that you'd be coming here wanting the best for the club. For the city of Leeds. So why do I still get the feeling this is all about you and Don? CLOUGH Of course it's just about me and Don. Always has been. But instead of putting frowns on your foreheads, o ye elders of Leeds, in your blazers and brass fucking buttons, it should put big white Colgate smiles on your big white faces, because it means I wo n't sleep and wo n't eat until I take whatever that man's achieved and beaten it - beaten it so I never have to hear the name `` Don Fucking Revie'' again - beat it so the only name anyone sings in their Yorkshire ale houses, raising their stinking jars to their stinking mouths, is Brian Clough. Brian Clough uber fucking alles. Understand? The blazers and brass buttons, WHITE - HAIRED ELDERS of Leeds stare at one another.",
"INT. FRONT ROOM - CLOUGH'S HOUSE - DERBY - NIGHT - (1968) CLOUGH sits glued to a wireless in his front room. RADIO ANNOUNCER Ladies and Gentlemen, the draw for the third round of the FA Cup will now commence. CLOUGH's eyes widen : he calls out to the others. CLOUGH C'mon, Pete! WHITE-HAIRED ELDER Number twenty - two. RADIO ANNOUNCER Derby County, second division. CLOUGH Here we go. That's us! CAPTION : `` SIX YEARS EARLIER'' PETER TAYLOR, seven years older than CLOUGH, his closest friend, his only true friend, appears breathlessly in the doorway back from a fish and chips run. followed by BARBARA, Clough's wife, and the three children. WHITE-HAIRED ELDER -LRB- ON RADIO. -RRB- Number six. ON TV : the BLAZER - WEARING ELDER calls into the microphone. BLAZER-WEARING ELDER -LRB- ON RADIO. -RRB- Leeds United! RADIO COMMENTATOR Against mighty Leeds United! CLOUGH and TAYLOR cry out in shock. CLOUGH Leeds! TAYLOR Fucking hell! CLOUGH Don Revie's Leeds! Top of Division One! Here we bloody come! The telephone rings. CLOUGH picks it up. CLOUGH -LRB- cont'd. -RRB- -LRB- already knowing it'll be SAM LONGSON. -RRB- What do you say to that, Mr. Chairman?",
"INT. SAM LONGSON'S HOUSE - NIGHT - (1968) He's right. It's SAM LONGSON, Chairman of Derby County, -LRB- 60's -RRB- looks like Krushchev, cue - ball head, voice like a power - drill, a tough haulage millionaire. UNCLE SAM I can hear the cash registers now! CLOUGH Happy days, Sir. Happy days. UNCLE SAM You're not wrong, Brian. Take the family out for a meal. Go to The Mumtaz. Tell ` em I'm paying.",
"INT. CLOUGH'S HOUSE - NIGHT - (1968) CLOUGH hangs up the phone. CLOUGH Put the fish and chips in the bin. Tonight's on Uncle Sam. We're going posh. Chicken fucking bhuna in town. General excitement. Everyone starts putting on their coats.",
"EXT. BASEBALL GROUND - DERBY - DAY - (1968) CLOUGH stands with two men in overalls, indicating a fading ` Visitors' sign. CLOUGH Right, you two, I want Billy Bremner and Johnny Giles to be able to read THAT. -LRB- indicates door - frames. -RRB- And this woodwork has seen better days.",
"INT. BASEBALL GROUND - DERBY - DAY - (1968) ` Crash', the following morning, CLOUGH bursts through swing doors, and into corridors with the CLEANERS. CLOUGH Spick and span, understand? Wash these walls down. Give the floors a proper polish.",
"EXT. PITCH - BASEBALL GROUND - DAY - (1968) CLOUGH inspects the pitch with the HEAD GROUNDSMAN. CLOUGH I want it perfect. Like a fucking carpet. We've got proper footballers coming. Who know how to keep the ball on the deck. GROUNDSMAN Well, you ca n't fucking train on it then.",
"EXT. PITCH - PUBLIC PARK - DERBY - DAY - (1968) The Derby PLAYERS train on a football pitch in a public park. CLOUGH turns to TAYLOR. CLOUGH You know he'll be making a file on us. A dossier. TAYLOR Who? CLOUGH Don Revie. Prepares a file on every game. Leaves nothing to chance. Knows every opponents formations. Strategies. Everything. TAYLOR I've heard he's a superstitious twat. -LRB- calling out. -RRB- Ey! Help him, someone HELP him! CLOUGH We grew up just a few streets apart, you know. In Middlesborough, close to Ayrsome Park. He'll have known my street, Valley Road - probably bought sweets from Garnetts Factory, where my dad worked. TAYLOR Heard he wears the same suit to every game. His `` lucky blue suit''. And he does n't care for ornamental birds. C'mon, who's covering him! CLOUGH The best manager in the country, Don Revie. Played for Sunderland, like me, as a centre - forward, like me, and England, like me. TAYLOR -LRB- shouting out. -RRB- C'mon, give it and go! CLOUGH Peas in a pod, me and Don. Two peas in a fucking pod.",
"INT. CORRIDOR - BASEBALL GROUND - DAY - (1968) CLOUGH in early. Before anyone. In shirtsleeves, sweeping corridors. Straightens photos on the wall.",
"INT. ANOTHER CORRIDOR - BASEBALL GROUND - DAY - (1968) CLOUGH polishing the sign, ` VISITORS' on the dressing - room door.",
"INT. BATHROOMS - BASEBALL GROUND - DAY - (1968) CLOUGH on his knees, scrubbing, cleaning baths in the visiting team's washrooms.",
"INT. MANAGER'S OFFICE - BASEBALL GROUND - DAY - (1968) CLOUGH puts on his suit. Ties his tie. He takes a bottle of vintage red wine from a cupboard. He places the bottles on his desk. Then puts two cut crystal glasses on his desk. His and Don's. A flicker of jealousy on PETER TAYLOR's face, almost like a wife - hurt that his friend is making such an effort for someone else. A knock on the door. JIMMY GORDON appears in the doorway. JIMMY They're here! -LRB- a confused look. -RRB- Well, almost.",
"EXT. CAR PARK - BASEBALL GROUND - DAY - (1968) CLOUGH rushes out of the doors, straightening his cuffs, straightening his hair, buttoning his jacket. First out to greet the arriving team. He turns the corner to see the LEEDS COACH a hundred yards down the street, the PLAYERS getting off the coach and walking towards him. CLOUGH What are they doing? JIMMY They've run out of petrol. TAYLOR No, it's that superstition, is n't it? Every away cup ties, Revie makes them walk the last hundred yards. TAYLOR mutters under his breath, `` Soppy twat''. CLOUGH cranes his neck. Watches DON REVIE, 40's. Thick - set. Severe, forbidding, intimidating, in a huddle with his coaching staff, Les Cocker and Syd Owen. His henchmen. His assassins. His `` Goodfellas''. His right and left hand. CLOUGH walks towards him. Hand outstretched. CLOUGH Welcome to Derby, Don. Pleasure to meet you. I'm Brian Clough. But REVIE walks past without shaking hands, without talking, without even breaking stride. and disappears into the stadium, deep in conversation with Les Cocker and Syd Owen. CLOUGH stares. Hand still outstretched. He looks over at PETER TAYLOR, who ca n't help smiling, ` Forget it'. TAYLOR and JIMMY GORDON walk off, but CLOUGH still stares at REVIE in disbelief.",
"EXT. DUG-OUT - TOUCHLINE - BASEBALL GROUND - DAY - (1968) The LEEDS PLAYERS run out onto the pitch : HUNTER, MADELY, BREMNER, GILES, REANEY, JONES, in a line, waving to the crowd, turning North, South, East, West. TAYLOR rubs his hands in excitement, `` Here we go''. But CLOUGH is miles away. Still can not let the insult go. He stares over at the visiting team dug - out. REVIE and his lieutenants. Whispering among themselves. Huddled in thought. Huddled in strategy. Huddled in malevolence. Presently, the game starts. A roar from the crowd. `` Beeeep'', the REF's whistle blows. A Derby PLAYER rolls in agony, cries out, a terrible, cynical challenge. Horrified, JIMMY GORDON and PETER TAYLOR up on thier feet in protest. TAYLOR Referee! CLOUGH looks over to REVIE's bench. Sees REVIE and SYD OWEN quietly applauding the Leeds PLAYER. Encouraging more of the same. As the Derby PLAYER is stretchered off. Presently, RRROOOOAAAARRRRR goes up. Goal Leeds. REVIE and his henchmen get to their feet. Applauding. 1 - 0. TAYLOR and JIMMY GORDON immediately start shouting out encouragement to the Derby PLAYERS, new instructions, as the game restarts. TAYLOR -LRB- cont'd. -RRB- C'mon, keep your shape! Close him down! JIMMY Think, Alan! To feet! TAYLOR Now sent it out wide! CLOUGH does n't join in. He continues to stare at REVIE in his dugout. Suddenly : `` Beeep!'' , whistle! Penatly Leeds! CLOUGH leaps off the bench in outrage. Screaming, on his feel, protesting in disbelief. CLOUGH What? He did n't fucking touch him! Ref! He DIVED! He fucking dived! REVIE shaking hands with his COLLEAGUES. Smiling amongst themselves. Congratulating themselves. Celebrating. The inevitable roar as Leeds convert, followed by, `` Beeeeeep'', the sound of the final WHISTLE. CLOUGH stares in disbelief. Robbed. Deflated. The REFEREE blows the whistle for the end of the game. CLOUGH watches as REVIE and SYD OWEN brush past, shaking PETER TAYLOR and JIMMY GORDON's hands, -LRB- assuming TAYLOR's the manager -RRB-, on their way to the dressing - rooms, their minds already on their next game. CLOUGH stares as they go.",
"INT. MANAGER'S OFFICE - DERBY - LATE AFTERNOON - (1968) The two empty glasses waiting on the table. CAPTION : `` DERBY 0 - LEEDS 2'' CLOUGH Did n't say good - bye. Or pay me the respect of staying for a drink. Could n't wait to get away. Through the front door we see : DON REVIE, SYD OWEN and LES COCKER walking to their bus, chuckling to themselves, deep in discussion, already thinking about the next match. TAYLOR Bloody cheats and all. Neither of those goals should have been allowed. But CLOUGH does n't hear. CLOUGH Just going to have to beat them, Pete. Beat him it's the last thing I do. TAYLOR We need to get into the same division first. CLOUGH We need someone with a good head. Experience. TAYLOR I know. Our lot were like headless chickens out there today. CLOUGH turns to TAYLOR. CLOUGH First thing Monday morning, I want you to go and find me that player. A wise head. TAYLOR opens his mouth, is about to protest. CLOUGH -LRB- cont'd. -RRB- And do n't worry about the money. That's my problem. Just you go and find him. CLOUGH's face : watching the Leeds PLAYERS board the bus.",
"INT. MANAGER'S OFFICE - ELLAND ROAD - DAY - (1974) CLOUGH's face : staring out at the Leeds PLAYERS waiting on the training pitch. A deep breath. CLOUGH Right. Better go and make myself known. CLOUGH removes his jacket. JIMMY GORDON and CLOUGH's SONS watch as he walks out onto the training pitch.",
"EXT. TRAINING PITCH - FOLLOWING DAY - (1974) CLOUGH walks out into the drizzle and towards the LEEDS PLAYERS. CLOUGH -LRB- up - beat, clapping hands. -RRB- All right, gentlemen, gather around, please. The players truculently gather round. CLOUGH watches them, notes their mood, then. CLOUGH -LRB- cont'd. -RRB- I might as well tell you now. You lot may all be internationals and have won all the domestic honours there are to win under Don Revie, but as far as I'm concerned, the first thing you can do for me is to chuck all your medals and all your caps and all your pots and all your pans into the biggest fucking dustbin you can find because you've never won any of them fairly. You've done it all by bloody cheating. Silence from the PLAYERS. CLOUGH -LRB- cont'd. -RRB- Mr. William Bremner. You're the captain. And a good one. But you're no good to the team and you're no good to me if you're suspended. I need you fit for every game, and I want good, clean, attractive football from my captain. Setting an example. CLOUGH turns to PETER LORIMER. CLOUGH -LRB- cont'd. -RRB- Mr. Lorimer, I hope you were listening because you're as good a footballer as I've ever seen, but you know how I feel about the way Don let you harangue referees, fall over when you've not been touched, protesting and pointing, trying to get other players booked. We'll have no more of that. CLOUGH turns to JOHNNY GILES. CLOUGH -LRB- cont'd. -RRB- And you, Irishman. God gave you skill, intelligence, and the best passing ability in the game. What God did not give you was six studs to wrap around another player's knee. GILES I do n't know what you're talking about. CLOUGH turns to NORMAN HUNTER. CLOUGH But you do, though, `` Bites yer Legs''. HUNTER People kick me, I kick them back. CLOUGH Not with me as manager. Do that on my watch, you'll be fined and stuck in the reserves. -LRB- to all the PLAYERS. -RRB- Things are going to be a little different around here. Without Don. Might feel a little strange at first. Might pinch a little. Like a new pair of shoes. But if you want your grandchildren to remember you for being something other than the dirty buggers you all were, if you want to be loved as REAL champions, WORTHY champions, you're going to have to work. And improve. And change. -LRB- nods to JIMMY GORDON. -RRB- Now let's start off by playing some seven - a - sides. PLAYERS stare at one another. Bristling. Disbelieving looks. BREMNER Don never did that. CLOUGH Well, I'm not Don. And from now on I never want to hear that man's name again. Ever. Next player who mentions it, or what he did or did n't bloody do in the good ol' days, will spend a week cleaning my boots. -LRB- clapping hands. -RRB- Seven - a - side. Keep it nice and clean, and sensible. No fifty - fifty's. CLOUGH sees that one side is a man short. CLOUGH -LRB- cont'd. -RRB- Right, I'll play myself. You might learn something, Irishman. Two hundred and fifty - one goals in two hundred and seventy - four starts. CLOUGH skillfully traps the ball between his feet, flips it up onto this head - down onto his chest, then `` WHAM'' volleys it into a distant goal. CLOUGH -LRB- cont'd. -RRB- Like to see Don fucking Revie do that, eh? CLOUGH removes his track suit trousers, rolls his neck. JIMMY GORDON quickly divides the players into two teams, blows the whistle. The game starts. CLOUGH, leading by example, anxious to prove himself, is soon darting about, calling out. CLOUGH -LRB- cont'd. -RRB- -LRB- clapping hands. -RRB- Here, son. To feet. Keep it simple. Think and give. On the deck. Nice and crisp. Yes, to me, Sniffer. To me. CLARKE passes the ball. But it's a fifty - fifty. Another player bears down on CLOUGH. who refuses to pull out. `` CRUNCH'', a bone - shaking tackle from `` BITES YER LEGS''. CLOUGH -LRB- cont'd. -RRB- Oh, Jeeeeeesussss! CLOUGH is flattened. Rolls around on the floor. JIMMY GORDON runs up to NORMAN HUNTER. JIMMY Fucking matter with you? He said no fifty - fifty's. HUNTER aggressively steps forward. Nose to nose. He is immediately flanked by other aggressive Leeds PLAYERS. Crowding the referee. Intimidating him. HUNTER What are you going to do about it? Book me? JIMMY GORDON backs off, visibly frightened. CLOUGH lies on the floor. In agony. Holding his knee.",
"INT. CORRIDOR OUTSIDE DRESSING-ROOMS - SAME TIME CLOUGH listens to the PLAYERS laughing at him. Disrespecting him. His face darkens. BREMNER -LRB- mimicking. -RRB- `` Two hundred and fifty - one goals in two hundred and seventy - four starts.'' The sound of coarse, cruel laughter among the LEEDS PLAYERS. JIMMY GORDON appears, CLOUGH's two SONS in tow. JIMMY I've got what you were looking for. JIMMY holds up a large parcel wrapped in brown paper. CLOUGH's expression changes. CLOUGH What about the petrol? JIMMY In the boot of the car. CLOUGH Good lad.",
"INT. CORRIDOR - ELLAND ROAD - DAY - (1974) CLOUGH limps down a corridor. In a thunderous mood. Holding the parcel. PEOPLE scatter.",
"INT. MANAGER'S OFFICE - ELLAND ROAD - DAY - (1974) The door flies open. CLOUGH storms into his office. He walks over to the desk. DON REVIE's desk. He unwraps the parcel, and takes out an axe. CLOUGH Stand back. CLOUGH's SONS watch as their father violently swings the axe down onto the desk. The sickening sound of splintering wood.",
"EXT. ELLAND ROAD - DAY - (1974) CLOUGH watches the desk burn in a small bonfire outside. MANNY CUSSINS and several DIRECTORS walk out. They are surprised to see CLOUGH by the fire holding an axe. CUSSINS Everything all right? CLOUGH -LRB- sunny, waving with the axe. -RRB- Fine thank you, Mr. Cussins. CLOUGH smiles politely, then turns, and walks to his car. The DIRECTORS watch.",
"INT. CLOUGH HOUSE - DINING-ROOM - DAY - (1968) `` Rrrriiinnnggg'', the phone rings. CLOUGH and his FAMILY are having Sunday lunch. BARBARA CLOUGH looks up. BARBARA Not now, love - please? `` Rrrrriinnngggg''. The phone rings. CLOUGH tries to ignore it. CLOUGH But it might be Pete. BARBARA -LRB- rolls eyes. -RRB- Of course it's Pete. `` Rrrriiinnngggg'', CLOUGH tries to eat, then. CLOUGH But it might be important. -LRB- to NIGEL. -RRB- C'mon, eat your carrots. For your Mother. CLOUGH gets up. Walks out of the room.",
"INT. TAYLOR HOUSE - HALL - DAY - (1968) PETER TAYLOR, similarly in disgrace with his family, similarly unable to go a single Sunday lunch without calling CLOUGH, whispers down the phone, terrified of his wife. TAYLOR You asked me to find a player with a good head. Experience. -LRB- whispering, furtive. -RRB- I've found one! He's perfect. Dave Mackay. CLOUGH Dave Mackay?!? He's a hundred and fucking fifty. TAYLOR I admit he's not young. CLOUGH Not young? He's old as fucking time! TAYLOR But he's clever, keeps the ball well. And passes it better than anyone alive. A voice calls from TAYLOR's dining - room. LILIAN -LRB- O.S. -RRB- Pete! That's enough! Come back! TAYLOR -LRB- looks left and right. -RRB- He's the one, Brian. CLOUGH You sure? TAYLOR Never been more sure of anything in my life. CLOUGH All right, I'll talk to Longson in the morning. TAYLOR We have n't got until morning. Hearts have already made him an offer. Want him as their manager. Apparently they've already agreed terms. CLOUGH Well, what did you fucking call me for then? TAYLOR Because when I asked Bill Nick how done the deal was - he said ninety - nine per cent. CLOUGH's face. CLOUGH Meaning he has n't signed. TAYLOR Exactly.",
"INT. CLOUGH'S HOUSE - DINING-ROOM - DAY - (1968) BARBARA CLOUGH rolls her eyes, puts down her cutlery, and calls out. BARBARA All right, Brian. Enough. Come back now. No answer. BARBARA tuts to herself. Gets up from the table. She walks out of the dining - room, calling out. BARBARA -LRB- cont'd. -RRB- C'mon, that's enough.",
"INT. CLOUGH HOUSE - HALL - DAY - (1968) . and into the hall. BARBARA stops. She looks left and right. No sign. BARBARA Brian? Love?",
"EXT. ROADSIDE CAFE - DAY - (1968) CLOUGH and TAYLOR emerge from a roadside cafe and walk towards their car. They've missed Sunday lunch. So it's Crisps. Sweets. Fizzy drinks. Almost childlike. Happier in one another's company than with their own families. CLOUGH Where would we play him? TAYLOR In the middle of the park. Somewhere he can see everything, use his loaf, and tell the kids what to do. CLOUGH We'll play him as a sweeper, then. TAYLOR -LRB- eating crisps. -RRB- Aye. They climb into the waiting car. CLOUGH Wo n't have to run about too much. And what's all this I hear about a tie shop? TAYLOR He's got a tie shop, has n't he? In London. Which he spends two days a week at. CLOUGH starts the engine. CLOUGH Fucking tie shop? TAYLOR It's his `` nest egg''. For the future. CLOUGH No one's going to be wearing fucking ties in twenty years time. CLOUGH and TAYLOR both giggle. Like kids. The car pulls off. CLOUGH -LRB- cont'd. -RRB- Hope his footballing brain is better than his business brain.",
"EXT. MACKAY'S HOUSE - NORTH LONDON - DAY - (1968) CLOUGH's car pulls up outside a house in a quiet terraced road in North London. TAYLOR checks it against the address on a piece of paper. The two men get out of the car. CLOUGH You know it's illegal. To sign someone on the sabbath. TAYLOR Is it? -LRB- immediately cautious. -RRB- Then perhaps we should just shake on it today? And sign tomorrow? CLOUGH What? And let Hearts in again in the morning? Fuck off. -LRB- producing contracts. -RRB- I'm not leaving here without a signature. CLOUGH and TAYLOR walk up the garden path. CLOUGH -LRB- cont'd. -RRB- You'd bloody DO that, too - would n't you? Come all this way, then just `` shake hands''? -LRB- shaking head. -RRB- Dear oh dear. What would you DO without me? TAYLOR Hey, you would never have FOUND him if it were n't for me. CLOUGH stops, rings the doorbell. Looks at TAYLOR. CLOUGH Good job we're both wearing ties. ` Snap', the door opens to reveal DAVE MACKAY, a thick set, dark - haired bull of a man, with a thick Scots accent. CLOUGH smiles ear to ear. CLOUGH -LRB- cont'd. -RRB- Jehova's Witness, Dave! May the Lord be with you! MACKAY Who the bloody hell are you? CLOUGH My name's Brian Clough, and I once had the pleasure of playing for England against you in an Under - 23 match. MACKAY I remember you now. You had a black eye, a right bloody shiner. -LRB- a beat. -RRB- And never stopped fucking talking! What are you doing here? CLOUGH Come to talk to you about the Promised Land, Dave. Land of Milk and Honey. It's a little place up the M1 called Derby. -LRB- a beat. -RRB- May we come in?",
"EXT. BASEBALL GROUND - PITCH - DAY - (1968) CLOUGH, TAYLOR and JIMMY GORDON training with the Derby PLAYERS. SAM LONGSON, -LRB- late 60's -RRB-, Chairman of Derby County approaches, visibly angry. UNCLE SAM Dave Mackay? CLOUGH You do n't look happy, Uncle Sam. UNCLE SAM I'm not. What were you thinking? Going over my head like that? Why did n't you call? CLOUGH Because you'd have said ` no'. UNCLE SAM Bloody right I'd have said ` no'. The man's bloody crocked. CLOUGH Pete reckons he's good for three more years. UNCLE SAM Is he fuck. He's broken more bones than Evel Knievel. CLOUGH Trust me, Mr. Chairman. It's money well spent. LONGSON turns and double - takes. UNCLE SAM And who the FUCK are they? CLOUGH That'd be Messrs. McGovern and O'Hare. MCGOVERN/O'HARE Afternoon/Hello! UNCLE SAM -LRB- almost passing out. -RRB- Where did they come from? CLOUGH My old stomping grounds. Hartlepools and Sunderland. Very reasonable, too. CLOUGH smiles. CLOUGH -LRB- cont'd. -RRB- Just doing what's best for the club. UNCLE SAM That'd be MY club, Brian. MY club.",
"EXT. BASEBALL GROUND - DAY - (1968) ` Flash', DAVE MACKAY, JOHN MCGOVERN and JOHN O'HARE wearing Derby strip, poses under the Derby County sign for photographs with CLOUGH and TAYLOR.",
"EXT. PITCH - BASEBALL GROUND - DAY - (1968) CLOUGH and TAYLOR watch from the touchline as their new team led by MACKAY plays in a match. CLOUGH watches in admiration. CLOUGH You're a genius, Pete. Bloody genius. How did you see it? On the training ground : DAVE MACKAY, barrel - chested and older, voice like a bullhorn, is already bossing about the young players, urging them to `` think''. TAYLOR Dunno. It was just obvious. McGovern in midfield, Mackay at the back, O'Hare up front. The skewer is n't it? In the shish kebab. CLOUGH watches MACKAY passing the ball, creating space. CLOUGH It's beautiful. A thing of fucking beauty! CLOUGH grabs TAYLOR's head, kisses him. OVER THIS : we fade in the roar from the crowd.",
"EXT. DUGOUT - CARLISLE - DAY - (1968) CAPTION : ` CARLISLE' GOAL! Derby score. CLOUGH and TAYLOR leap to their feet.",
"EXT. DUGOUT - BURY - DAY - (1968) CAPTION : ` BURY' GOAL! Derby score. CLOUGH and TAYLOR leap to their feet.",
"EXT. DUGOUT - HUDDERSFIELD - DAY - (1968) CAPTION : ` HUDDERSFIELD' GOAL! Derby score. CLOUGH and TAYLOR leap to their feet. FLICKERING ARCHIVE FOOTAGE : - -LRB- 1968 -RRB- Of DERBY winning the championship. Of NEWS STATIONS announcing it in the Midlands.",
"INT. SAM LONGSON'S HOUSE - NIGHT A large, swanky house, as befits the multi - millionaire owner of a successful haulage business. SAM LONGSON, BRIAN CLOUGH, PETER TAYLOR and DAVE MACKAY are all celebrating with all their families. The trophy is centre - stage. CLOUGH sings a Sinatra classic. CLOUGH `` Love and marriage, love and marriage, it's an institute you ca n't disparage.'' To everyone's amusement : CLOUGH sings to PETER TAYLOR, not his own wife. CLOUGH -LRB- cont'd. -RRB- `` Try, try, try to separate them, it's an illusion. Try, try, try and you will only come to this conclusion.'' In another corner : MACKAY is amiably ribbing LONGSON. MACKAY `` the man's crocked'', `` older than time'' `` broken more bones than Evel Knievel?'' LONGSON All right, I admit it, I was wrong. LONGSON starts eating his trademark felt hat. Much cheering as he munches in disgust and swallows with difficulty. Suddenly, DAVE MACKAY looks up, sees the television. Calls for quiet! ON TV : a live awards presentation. From London. DON REVIE is being presented with an award. REVIE for Leeds to win the First Division title, and for me to be named as English Manager of the year. feels like a dream come true. CLOUGH watches. His expression changes. His eyes burn into REVIE's. CLOUGH You enjoy it, Don. Go home, put your feet up and fucking enjoy it. There's a good lad. Because we'll be in the First Division next season. And we're going to have you! Loud CHEERS from LONGSON, TAYLOR, MACKAY and CLOUGH. OVER THIS : we fade in the sound of roaring.",
"EXT. WEMBLEY STADIUM - DAY - (1974) ARCHIVE TV FOOTAGE : Wembley Stadium on Charity Shield day. The opening of the 1974/5 season. COMMENTATOR'S VOICE The twin towers of Wembley Stadium, the cathedral of English football on a glorious late - summer's day. good afternoon everyone, it's the Charity Shield, the opening Saturday of the 1974 season, and a first chance to get a look at Brian Clough's Leeds.",
"INT. WEMBLEY STADIUM - DAY - (1974) DON REVIE is being interviewed by a TV JOURNALIST in sheepskin coat and headphones. JOURNALIST Will you be supporting Leeds today, Don? REVIE You'd expect nothing less having been their manager for 13 years. But the fact is I'm here today as manager of England. JOURNALIST Do you have any advice to give your successor, Brian Clough, before his first game? A mischievous smile barely perceptible of REVIE's face. REVIE Win. The people of Leeds are used to winning.",
"INT. WEMBLEY DRESSING-ROOM - DAY - (1974) CLOUGH with the LEEDS TEAM in the dressing - room before kick off. PLAYERS changing. The stink of Ralgex. PHYSIOS bandaging the injured. JIMMY GORDON massaging one or two players. CLOUGH Right, the team for today is : Harvey in goal, Reaney, Cherry, Bremner, McQueen, Hunter, Lorimer, Clarke, Jordan, Giles, Gray. CLOUGH folds a piece of paper. A flicker of vulnerability. CLOUGH -LRB- cont'd. -RRB- Obviously all eyes will be on us to see how things have changed. Without Don. What might be different under me. Let's show them some of the things we've been working on. Our changes in attitude, too. Our new outlook. New discipline. New approach. -LRB- a beat. -RRB- Let's see some of you playing with a smile. Team talk over : the PLAYERS put on their shoes. Make final preparations.",
"INT. TUNNEL - WEMBLEY - DAY - (1974) The two teams are limbering up in the tunnel. CLOUGH takes his place ahead of BILLY BREMNER. CLOUGH Of course, it goes without saying I'd like you to continue as Club Captain. Silence. BREMNER continues to limber up. CLOUGH -LRB- cont'd. -RRB- You know, son, I've nothing but the highest regard for you as a player. They PLAYERS get the instruction to walk out, towards the roar of the crowd. CLOUGH -LRB- cont'd. -RRB- In fact, I wrote you a card saying as much. Did you not get it? From Majorca? The roar of the CROWD grows louder. CLOUGH -LRB- cont'd. -RRB- Saying how excited I was to be taking this job. How much I thought we could achieve together. And inviting you and your family down to our place in Calla Major any time you like? BREMNER Never got it. They walk out into the ROAR of the crowd.",
"EXT. WEMBLEY STADIUM - DAY - (1974) DON REVIE sits in the stadium watching as : CLOUGH leads his Leeds PLAYERS out. 67,000 FANS screaming and shouting. A stony - faced BREMNER behind him.",
"EXT. WEMBLEY STADIUM - DAY - (1974) CLOUGH's face in close - up. Singing the National Anthem. He sees REVIE in the crowd. CLOUGH's eyes. REVIE's eyes. All around them, -LRB- ARCHIVE FOOTAGE -RRB- 67,000 belting out `` God Save The Queen''. But there might as well not be. It's just REVIE and CLOUGH. ARCHIVE FOOTAGE : the National Anthem finishes. A great ROAR goes up.",
"INT. COMMENTATOR'S BOX - WEMBLEY - DAY - (1974) The game is underway. The T.V. match COMMENTATORS can hardly believe what they are seeing, -LRB- we catch snippets of FLICKERING ARCHIVE FOOTAGE on their monitors -RRB-. COMMENTATOR Kevin Keegan goes to ground. rolling around on the pitch. that almost looked like Johnny Giles's fist made contact with Kevin Keegan's face. it was! the referee's pulled out his book. now a fight has broken out!",
"EXT. PITCH - DAY - (1974) On the pitch : BREMNER and KEEGAN have started fighting. COMMENTATOR -LRB- V.O. -RRB- Billy Bremner of Leeds and Kevin Keegan of Liverpool have come to blows.",
"EXT. DUG-OUT - DAY - (1974) CLOUGH watches from the dug - out. Unable to believe his eyes. CLOUGH For fuck's sake. COMMENTATOR -LRB- V.O. -RRB- the referee is talking to his linesman! He's sending them off! The referee is sending off both players.",
"EXT. PITCH - DAY - (1974) BILLY BREMNER walks off, angrily removing his shirt.",
"EXT. WEMBLEY - DAY (1974) ARCHIVE FOOTAGE : Liverpool lift the CUP aloft. Delirious cheering from their FANS.",
"EXT. ROADSIDE - COUNTRY - DAY - (1974) The Leeds coach had pulled up and the players are all having a piss - break. Among them CLOUGH. CLOUGH -LRB- over his shoulder. -RRB- Because losing was n't enough, was it? You only had to be the first Englishman to be sent off at Wembley. Our CAMERA widens to reveal BILLY BREMNER pissing in line with NORMAN HUNTER and JOHNNY GILES. BREMNER -LRB- through gritted teeth. -RRB- Not fucking English. CLOUGH There I am making a big song and dance to the media about our new approach. Our new attitude. Our new ethics. And you turn the place into fucking Verdun. My CAPTAIN. Silence. CLOUGH shakes himself dry. CLOUGH -LRB- cont'd. -RRB- What am I going to do if they suspend you? You're my best player. I tell you, I've a mind to fine you two weeks wages! BREMNER You ca n't do that! Mr. Revie always paid all our fines. CLOUGH Well he's not fucking here now, is he? BREMNER No, he's not. BREMNER, GILES AND HUNTER turn. Walks back towards the bus. BREMNER -LRB- cont'd. -RRB- More's the fucking pity.",
"INT. REVIE'S OFFICE - ELLAND ROAD - DAY - (1969) DON REVIE's face : he watches through a window in Elland Road, as.",
"EXT. CAR PARK - ELLAND ROAD - DAY - (1969) The Derby Coach arrives. Hydraulic brakes HISSSSSSS. Doors open. Boots, shoes, walk down steps. BRIAN CLOUGH, PETER TAYLOR and the Derby Army disembark. CLOUGH's face : as he looks up at the writing on the side of the stadium. LEEDS UNITED F.C.",
"INT. DRESSING-ROOM - ELLAND ROAD - DAY - (1969) Some PLAYERS getting dressed. CLOUGH, TAYLOR and JIMMY GORDON massaging others. Shin - pads. Water - bottles. CLOUGH Right, last time there was a whole division between you and Leeds. Not now. Not today. Today we're here as Second Division champions, and equals with Leeds. John McGovern and Billy Bremner, EQUALS. Kevin Hector and Johnny Giles, EQUALS. Alan Hinton and Peter Lorimer, John O'Hare and Paul Madely. EQUALS. Now, c'mon, chins up. Chests out. We can take this fucking lot. The PLAYERS clatter out, studs rattling down the tunnel, into the roar of the CROWD. CAPTION : LEEDS 5 - DERBY 0",
"INT. HOTEL/PUB - DERBY - NIGHT - (1969) CLOUGH and TAYLOR in a deserted bar. Alone. A television plays in the corner. DON REVIE's face on TV. DON REVIE -LRB- ON TV. -RRB- obviously it's a terrific achievement for Derby, being promoted to the First Division, but the truth is Leeds United have an unfortunate habit of reminding them just how far they still have to go. TAYLOR Arrogant twat. CLOUGH But he's right. Five nothing. They made us look like fools today. And what was John O'Hare doing? Letting Madeley bully him like that. Push him around. Madeley's half his bloody size. O'Hare needs to toughen up. He's from Scottish dockyards, is n't he? And what about John McGovern? He was useless in the middle. Who's idea was that? TAYLOR Yours. CLOUGH He was all over the place. Like the Wandering Jew. Giving the ball to anyone BUT his own. We need a ball player, a natural in midfield. Who'll hold onto it. Keep possession. We're giving it away too easily. TAYLOR Someone like Colin Todd. CLOUGH -LRB- sharp intake. -RRB- Oooh, now you're talking. Lovely pair of feet. TAYLOR I've heard he wants out of Sunderland, too. They're all jumping ship up there. CLOUGH thinks for a moment, then. CLOUGH Well, go on then. Sign him. TAYLOR What? We ca n't. Longson's already told us. Club's in debt. CLOUGH Bollocks to that. I've not brought us all the way to the First Division just to sit there mid - table, and be cannon fodder for sides like Leeds. Sign the man. TAYLOR Hang on, hang on, careful. CLOUGH I'll handle bloody Longson.",
"EXT. TRAINING GROUND - DERBY - DAY - (1972) CLOUGH is working a session with the Derby PLAYERS. A car screeches into the car park behind. A red - faced, apoplectic SAM LONGSON gets out. UNCLE SAM A hundred and seventy grand?!? For Colin fucking Todd?!? CLOUGH Correction, the ALMIGHTY Colin Todd. The best technical footballer in the country. UNCLE SAM A salary of three hundred quid a week? You ca n't pay a footballer that! CLOUGH That's the way things are going, Uncle Sam. Football's all about money now. UNCLE SAM I told you never to go over my head again. CLOUGH Had no choice. Windows opened up. You were in the bloody West Indies. UNCLE SAM WindowS? You mean there were others?!? CLOUGH Messrs. Gemmell and Hennessy. Two PLAYERS turn and wave to LONGSON. GEMMELL/HENNESSY Afternoon! / Hello! UNCLE SAM -LRB- eyes popping/apoplectic. -RRB- For fucks SAKE! CLOUGH Let me ask you a question, Uncle Sam. What did you come into football for? UNCLE SAM To support the football club in MY HOME TOWN. The club I've supported ALL MY LIFE. CLOUGH Well, I'm sure we all admire your loyalty. UNCLE SAM What I DID N'T come into it for was to be lectured by a cocky little twat from the North East. CLOUGH But the way I see it, there's no point being in this game unless you want to beat the best, and be the best, and that's all the people of Derby want. To see their team on top of the tree, Derby, Derby Uber Alles, and if it's really their interest you have at heart, not just impressing your friends in the Director's box, I suggest you keep your eyes on your road haulage business, keep your opinions to yourself and start signing some fucking cheques, there's a good lad. Leave the running of this football club to the professionals. UNCLE SAM But professionals DO N'T run the club, Brian, the Chairman does. And if it's true, that football is all about money, and that's the way it's going, that's suits us Chairmen just fucking fine. because we're the ones who've got it. SAM LONGSON lights a cigar, and walks off.",
"EXT. CAR PARK - BASEBALL GROUND - DAY - (1972) The Leeds coach pulls into the Derby car park. Doors open. DON REVIE and SYD OWEN disembark. Followed by the Leeds PLAYERS. Smoking. Side - burns. Long - haired assassins one and all.",
"INT. CORRIDOR - SAME TIME - (1972) CLOUGH and TAYLOR watch from an upstairs corridor window. CLOUGH See they've driven all the way into the car park this time. TAYLOR It's not a cup game, is it? CLOUGH and TAYLOR look at one another, `` Nutter''.",
"INT. DRESSING-ROOM - BASEBALL GROUND - DAY - (1972) An atmosphere of expectation and excitement. Outside, the sound of the crowd. The sound of tannoy announcements. CLOUGH goes to JOHN MCGOVERN. CLOUGH You know what your job is today? MCGOVERN Yes, Boss. Stay in position. Keep the shape. `` Stop being the Wandering Jew''. CLOUGH Good lad. And enjoy it. You deserve to. You've worked hard this week. CLOUGH moves to JOHN O'HARE. CLOUGH -LRB- cont'd. -RRB- Clear about what you're doing today? O'HARE Be big. Be strong. Any chance I get, flatten Paul fucking Madely. CLOUGH Good lad. He bullies you, you bully him back. And near post for the corners we worked on. O'HARE Yes, Boss. CLOUGH moves to another PLAYER. -LRB- his new signing, COLIN TODD -RRB- CLOUGH Understand what I want from you today, son? TODD -LRB- smiles. -RRB- I should, Mr. Clough. It's simple enough. CLOUGH Go on, let's hear it. TODD `` To be Colin fucking Todd, the best technical footballer in the country.'' Laughter in the dressing - room. CLOUGH There, how could you forget that? Now come on. -LRB- clapping hands. -RRB- Up and at ` em! CLOUGH holds the door open, shaking each and every one of the PLAYERS' hands as they clatter out into the tunnel.",
"EXT. TOUCHLINE - DAY - (1972) CLOUGH sits in his dug - out. While JIMMY GORDON and TAYLOR are calling out instructions to the Derby players on the pitch. CLOUGH stares at REVIE and his lieutenants in their neighbouring dug - out. Presently. CLOUGH's view, and our frame is filled by two wheel - chairs carrying disabled/learning difficulties FANS wearing rosettes. The wheel - chair FAN looks at CLOUGH for a beat, then violently shakes a rattle. WHEEL-CHAIR FAN COME ON LEEDS! CLOUGH's face : shocked. Then, all of a sudden. `` RRRRROOOOOOOAAAAAARRRRRR'', a roar goes up. Goal Leeds. REVIE and his henchmen leap to their feet, delighted. Applauding. The WHEEL - CHAIR FAN screams with delight. Makes a ` wanker' gesture in CLOUGH's face. CLOUGH's face : darkening like thunder.",
"INT. DRESSING-ROOM - BASEBALL GROUND - DAY - (1972) CAPTION : `` HALF - TIME : DERBY 0, LEEDS 1'' The DERBY PLAYERS sit in the dressing - room. Shaking. Terrified. Trying to hide, find shelter, find protection. Already fearing the rocket they will get, the lash of his tongue. Presently, the door opens, and CLOUGH walks in, carrying a bottle of brandy, Remy Martin. CLOUGH Congratulations, lads! Beautiful! That was as perfect a half of terrible football as I've ever seen. The plan you've obviously been hatching to get me the sack has worked a treat, so you deserve a little celebration. CLOUGH pours brandy into a tea - cup, gives it to a PLAYER. CLOUGH -LRB- cont'd. -RRB- You do want me to get the sack? MCGOVERN No, Boss. CLOUGH Then why the fuck did you give it to their most dangerous player, Johnny fucking Giles? MCGOVERN I did n't see him. CLOUGH turns to another PLAYER, -LRB- JOHN O'HARE -RRB-, pours him a shot of cognac. CLOUGH You want me to get the sack, Mr O'Hare? O'HARE No, Boss. CLOUGH That open goal? Looked like a deliberate fucking miss to me. A miss to get your manager the sack. CLOUGH turns to a third PLAYER, -LRB- COLIN TODD -RRB-, hands him a cup. CLOUGH -LRB- cont'd. -RRB- You do want me to get the sack, Mr. Todd? TODD No. CLOUGH No what? TODD No, Boss. CLOUGH The amount of bloody money I paid for you, I must have been out of my mind. You ca n't even keep on your feet. TODD No, Boss. CLOUGH turns, and faces the room. CLOUGH You've all done a terrific job of getting me the sack. So I'm not letting you out of here for the second half, until you've finished the bottle. The PLAYERS stare at one another, holding their drinks. CLOUGH -LRB- cont'd. -RRB- DRINK! The PLAYERS nervously down their drinks. CLOUGH exits.",
"INT. TUNNEL OUTSIDE DRESSING-ROOM - DAY - (1972) CLOUGH walks out to see PETER TAYLOR and JIMMY GORDON waiting - who were listening through the door. TAYLOR You ca n't do that! CLOUGH winks. CLOUGH Ca n't I? Just you fucking watch me! CLOUGH storms off. PETER TAYLOR is left alone. Looks pale. Momentarily holds his chest. JIMMY You all right? TAYLOR Yeah. fine. TAYLOR indicates JIMMY's cigarettes. TAYLOR -LRB- cont'd. -RRB- Giz a fag.",
"INT. TUNNEL - BASEBALL GROUND - DAY - (1972) The Derby PLAYERS run out, belching, watched and encouraged by PETER TAYLOR. JIMMY GORDON emerges from the dressing - room, holding the empty bottle of Scotch. JIMMY -LRB- to TAYLOR. -RRB- Where's he gone now?",
"INT. MANGER'S OFFICE - BASEBALL GROUND - DAY - (1972) CLOUGH pacing in his office. Unable to watch. Like an expectant father. Presently the building reverberates with a large. RRRROOOAAAARRRRRRRRR. A goal. But scored by whom? Derby or Leeds? CLOUGH looks up at the clock. The clock on the wall shows it's 4.20. Visibly anxious, CLOUGH starts pacing again. Presently, another deafening. RRRRROOOOOAAAAARRRRRRR The building is almost brought to it's foundations. CLOUGH looks up. Desperate to know. Derby or Leeds? But it's only 4.35. Game still not over. Not by a long way. CLOUGH carries on pacing. Walks from one side of the room to the next. Left to right. Right to left. Then, another stadium - shaking. RRRRRROOOOOOAAAAAARRRRRR CLOUGH looks up at the clock. 4.55. This is intolerable. The game must be over now. CLOUGH can not bear it a moment longer. He opens the door.",
"INT. CORRIDORS - BASEBALL GROUND - DAY - (1972) CLOUGH walks down a corridor. Then runs. Then checks himself. Slows down. Dignity. Dignity. But still walks as fast as he can. CLOUGH turns a corner to the dressing - rooms and the tunnel, then sees PETER TAYLOR up ahead entering the tunnel from the pitch with several Derby PLAYERS. CLOUGH stops. TAYLOR looks up. Sees CLOUGH. Their eyes meet. CLOUGH's eyes. TAYLOR's eyes. Words are not necessary. TAYLOR's smile says it all. CLOUGH runs towards TAYLOR. The two men embrace. CLOUGH And? TAYLOR 2 - 1! CLOUGH Who scored? TAYLOR O'Hare. A brace. Oh, Brian, you should have seen his first. Turns Bremner inside out, nutmegs Madeley for good measure. It was beautiful. You'd think he'd been born in Rio de Janeiro, not Aber - bloody - deen. CLOUGH and TAYLOR walk off down the corridor. TAYLOR -LRB- cont'd. -RRB- What made you go for the Brandy? CLOUGH They were just nervous. Shitting themselves. You could tell. TAYLOR You're a bloody genius. I tell you what, Bri - if we can beat this lot, we can go all the way. Derby win against Ipswich Town - 1 - 0 DERBY FANS CELEBRATING Derby win against Sheffield United - 4 - 0 DERBY FANS CELEBRATING Derby beat Huddersfield Town - 3 - 0 DERBY FANS CHANTING ARCHIVE TELEVISION FOOTAGE - -LRB- 1972 -RRB- A NEWSREADER announces that Derby County have won the First Division Championship.",
"INT. BASEBALL GROUND - CHANGING ROOM - DAY - (1972) The DERBY PLAYERS celebrate in a communal bath, holding the trophy, drinking champagne. Spraying one another with water.",
"EXT. DERBY STREET - DAY - (1972) CLOUGH, TAYLOR and ROY MACFARLAND hold aloft a large trophy, travelling on board an open - top bus, through Derby. The whole town has taken to the streets.",
"EXT. DERBY STREET - DAY - (1972) CLOUGH, still celebrating, and still surrounded by PLAYERS and FANS CLOUGH Derby County winning the championship is a victory for decency, for honesty and for football. Because they do n't pull shirts, or nudge people in the back in the box. They do n't protest every decision, chop, hack or bully - unlike some teams I could mention - beginning with the letter ` L'. JOURNALISTS laugh. CLOUGH -LRB- cont'd. -RRB- If you ask me, the best thing for British football, the quickest way to clean it up, would be fore dirty sides like Leeds to be sent down for a spell in Division Two.",
"EXT. REVIE'S HOME - LEEDS - DAY - (1972) DON REVIE speaking to JOURNALISTS outside his home. REVIE I have n't personally heard Mr. Clough's comments, but they have been reported to me, and our solicitors are looking into them. If I could offer Mr. Clough some advice. I think he'd be better off keeping his opinions to himself. some of these allegations against Leeds United and his fellow professionals are an absolute disgrace. AND WE'RE INTO A QUICKFIRE MONTAGE OF : CLOUGH appearing on half - a - dozen TV shows. Quick, controversial, charismatic, witty. A natural media star, -LRB- we intercut our actor with the genuine archive footage -RRB- CLOUGH Don Revie? Ooooh. -LRB- shudders playfully. -RRB- Do n't mention that name to me. DAVID FROST It's really like the other House of Commons. You hate to mention him. Why? CLOUGH I hate to mention him why? Because he's a very talented man and I do n't like him. The audience laughs. CLOUGH -LRB- cont'd. -RRB- He's a very, very talented man and his record is unsurpassable. But I just happen not to like him. And I do n't like the way he goes about football either. Football is a game of opinion and there are perhaps people in your profession who do n't like the way you do your bit. DAVID FROST Sure. CLOUGH And er. it makes the game go round. Half the country do n't like a Labour government. It just happens that the other half do. DAVID FROST -LRB- ON TV. -RRB- Why do n't you want me to ask why you do n't like him? CLOUGH -LRB- ON TV. -RRB- Because I ca n't tell you. It's impossible. We'd get closed down, David. JOHN SADLER, pipe smoking football journalist, sits in a television studio, -LRB- CALENDER -RRB-. JOHN SADLER Brian, you've been called big - headed, arrogant, brash, the lot - CLOUGH By your profession, John, yeah. JOHN SALDER Sure. And a whole of it right too. CLOUGH And a whole lot of it wrong. JOHN SALDER Fine. I'll concede that. So how would you define your approach to management, apart from being brilliant? All laugh. CLOUGH -LRB- laughing, rubbing eye. -RRB- Good lad. Thank you for the compliment. It's very, very difficult when you get asked a question like that. DAVID COLEMAN, black and white footage, speaking into a bakolite telephone. COLEMAN -LRB- ON TV. -RRB- You've achieved something here that most managers struggle for years to achieve this. It's come to you very young. Are you surprised? CLOUGH sits at home, his SON on his lap. CLOUGH Suprised, David. but more than surprised, delighted. It's nice is n't it. For the good guys to win for once. COLEMAN Which for you was the most important match to win and the best performance from your point of view. CLOUGH Beating Leeds United, obviously. Always a particular pleasure that. COLEMAN Brian, you've also done it on comparatively small gates, which I know has niggled you a little bit during the season. CLOUGH Niggled me, David, it's absolutely made me blazing. To be honest, I know what I want to achieve, I know what the people of Derby want us to achieve, but when you've got a chairman not wanting to put his hand in his pocket. MICHAEL PARKINSON, the highest rating talk show on TV. CLOUGH -LRB- cont'd. -RRB- You ever see eighty five or perhaps ninety percent of chairmen talking - I'd love a few chairmen on your programme occasionally - I believe the very sight of them brings the game into disrepute. -LRB- some clap in the audience. -RRB-. And every time they open their mouths it kills it. Because the very thing they've given me a lot of stick about over the years - about talking too much and going on television too much, there are the very people who can put two words together and its rather embarrassing to me that a man - or men - can stop me talking to people like you. I love football. It's deep, it goes right down through. It's in every nerve, vein, you name it. It consumes me. And when I have to come and talk about I like the passions of football to come out. Because there are not enough in the game. I like a bit of the honesty, I like a bit of the truth. I accept without any shadow of a doubt that I talk too much, apart from on this show. Laughter. PARKINSON -LRB- ON TV. -RRB- How do you react when someone says `` Boss, you're doing it wrong?'' CLOUGH -LRB- ON TV. -RRB- I say, `` How do you think it should be done?'' We talk about it for twenty minutes, then we decide I was right. BLACK AND WHITE ARCHIVE TV FOOTAGE OF MOHAMMED ALI MOHAMMED ALI the world knows who I am. The world knows I talk a lot. But there's some fellow in London, England named. `` Brian Clough''. -LRB- audience laughter. -RRB- Anyway I heard all the way in America, They say he's another Mohammed Ali. Well, there's just ONE Mohammed Ali. I want you to know. -LRB- jabbing finger. -RRB- Clough. you are not taking my job. I'm the talker. Now, Clough. enough. STOP IT!",
"INT - CLOUGH'S HOUSE - DERBY - DAY - (1973) CLOUGH and TAYLOR, surrounded by FRIENDS and FAMILIES, with flowers, telegrams, bottles of champagne, boxes of cigars. Watching the Mohammed Ali on television. TAYLOR Are you going to stop it? CLOUGH No, I want to fight him! They roar with laughter. Cheers and celebration. Everyone roughing up CLOUGH's hair, patting him on the back.",
"INT. FOOTBALL ASSOCIATION HQ - LONDON - DAY - (1974) The QUEEN's face. Full - frame. Beside her PRINCE PHILIP. A portrait of Her Majesty the Queen and HRH the Duke of Kent hangs on an oak - pannelled wall : the Patron and the President of the Football Association. Beneath the portrait : a long table in a boardroom. An austere six - man disciplinary committee of the FA. Blazers and buttons. Whiskers and power. Aldermen, Freemasons, Generals, white - hair and golden buttons. Admirals, Presidents and Vice - Presidents. Sitting in front of the committee. BILLY BREMNER and BRIAN CLOUGH. Like schoolchildren. COMMITTEE CHAIRMAN William Bremner, your conduct in the Charity Shield match was deplorable and can not be tolerated. CLOUGH It was. COMMITTEE CHAIRMAN We understand Leeds are taking disciplinary action against you internally, however the Football Association has to be seen to make an example. We have therefore decided to impose a fine of five hundred pounds. CLOUGH's face : a victorious look. CLOUGH Thank you. COMMITTEE CHAIRMAN and a suspension until September 30th. `` Bang'', he brings down a gavel. CLOUGH's face : the smile fades. CLOUGH -LRB- disbelieving laugh. -RRB- What? September 30th? That's more than a month? Thats six bloody weeks? COMMITTEE CHAIRMAN I'll make it seven if you carry on with language like that. CLOUGH C'mon, double the fine. Treble it. Anything. Do n't suspend him for that long. He's my Captain. The best player I've got. The COMMITTEE MEMBERS get to their feet and walk out. CLOUGH's face : OVER THIS : the sound of a ringing phone. The sound of a familiar voice at the other end. TAYLOR -LRB- O.S. -RRB- Hello?",
"INT. DRAGONARA HOTEL - CLOUGH'S ROOM - NIGHT - (1974) CLOUGH in his cheap hotel - room. PETER TAYLOR's voice the other end. CLOUGH I suppose you've heard!",
"INT. TAYLOR'S HOUSE - SAME TIME - (1974) TAYLOR freezes, hearing the voice, -LRB- we intercut as necessary for the remainder of the call -RRB-. TAYLOR God. what time is it? CLOUGH Suspended for eleven bloody games! TAYLOR I know. You're buggered. Billy Bremner's the heart and soul of that team. CLOUGH Plus Mike Jones and Eddie Gray are injured. TAYLOR Like I said. You're buggered. CLOUGH What do I do, Pete? I need new players. Tell me who to buy. TAYLOR No, Brian. CLOUGH Help me. C'mon, we'll sort this place out together. You and me. Turn it around. TAYLOR It's too late. I'd have helped you once. But not now. Not after what was said. We're on our own now. Each man for himself. Remember? `` Click'', TAYLOR hangs up. CLOUGH stares at the receiver.",
"EXT. CAR PARK - BASEBALL GROUND - DAY - (1974) The same sign as earlier. `` MR. D. MACKAY - MANAGER''. CLOUGH stares at the sign as he parks his car in the space beside it. A stab in his heart.",
"INT. BASEBALL GROUND - DAY - (1974) CLOUGH walks along a corridor. Sees the PLAYERS training outside. HIS players. DERBY players. To one side, MCGOVERN and O'HARE. CLOUGH looks out at them. He winks, discreetly at them. They look back, and nod. Then get back to work. The sound of laughter. The camaraderie of a family. What a contrast to Leeds. CLOUGH walks along a corridor with photos on the wall. Framed photos of HIS victories. HIS club. HIS family. HIS home.",
"INT. MANAGER'S OFFICE - BASEBALL GROUND - DAY - (1974) CLOUGH walks into the office to see DAVE MACKAY behind his desk. Who gets to his feet. Extends his hand. MACKAY Well, look who it is! Come to raid my larder? Or just missing the place? CLOUGH McGovern and O'Hare. I've spoken to them on the phone. They want to come and play for me. MACKAY Aye, and you can have ` em. A hundred and fifty thousand pound for the pair. CLOUGH Cheeky sod! They're not worth a penny more than seventy. MACKAY But you're desperate now, are n't you? Having lost to Stoke and Birmingham. -LRB- a beat. -RRB- All, right, since it's you. I'll knock ten grand off. CLOUGH Give you a hundred grand. MACKAY One thirty. Final offer. CLOUGH is about to explode, then. CLOUGH All right. Done. The two MEN shake hands. Barely. CLOUGH -LRB- cont'd. -RRB- So? Enjoying yourself? MACKAY Two wins from two. What's not to enjoy? You? CLOUGH Loving it. Different class, Leeds. Proper club. BIG club. MACKAY Demand results there, though, Brian. CLOUGH Hey, it's ` Boss' to you. MACKAY Not any more. CLOUGH I bought you when you were crocked, you fat bastard. And gave you the two best years of your career. It will always be ` Boss' to you. CLOUGH walks to the door. He turns, and indicates the desk. CLOUGH -LRB- cont'd. -RRB- Ever tempted to burn that bloody desk? Chop it up and burn it? MACKAY Why would I do that? CLOUGH Exorcise the bloody place. Get rid of me. MACKAY Why? You're not here anymore, are you? Be a waste of a perfectly good desk.",
"EXT. MOTORWAY - DAY - (1974) CLOUGH driving his car. Clenching the steering wheel in fury. CLOUGH Fucking Scot.",
"INT. DRAGONARA HOTEL - BAR - DAY - (1974) It's late : JIMMY GORDON with CLOUGH in the bar. JIMMY McGovern and O'Hare? Ca n't believe he actually sold them to you. It must be true, then. CLOUGH What? JIMMY The rumour that he's after buying Duncan Mackenzie. It's why he needs the money. CLOUGH Who's Duncan Mackenzie? OVER THIS : the sound of a ringing phone.",
"EXT/INT. VICTORIA HOTEL - SHEFFIELD - DAY - (1974) DUNCAN MACKENZIE, long - haired, chain - smoking, bemused, stands in the lobby of the hotel. OVER THIS : we hear. CLOUGH -LRB- O.S. -RRB- Is that Duncan Mackenzie? MACKENZIE -LRB- O.S. -RRB- Yes. This is he. CLOUGH -LRB- O.S. -RRB- Now listen to me. You go get your coat and your skates on because you're coming to meet me at the Victoria Hotel in Sheffield in half and hour. And Duncan? MACKENZIE -LRB- O.S. -RRB- Yes, Mr. Clough. CLOUGH -LRB- O.S. -RRB- Bring a bloody pen, because you're signing for Leeds United today.",
"INT. BAR - VICTORIA HOTEL - SHEFFIELD - DAY - (1974) ` Pop', a WAITER uncorks champagne, pours it into glasses. CLOUGH and his three sheepish new signings : MCGOVERN, O'HARE and DUNCAN MACKENZIE sit uneasily in the bar. CLOUGH Congratulations, lads! My first signings for Leeds. My Leeds United. Playing with flair and winning with honour. Winning the ` right' way. And winning the admiration of fans all over Europe because. MCGOVERN Because of the way we play. CLOUGH Because of the way we play! MACKENZIE lights a cigarette. CLOUGH -LRB- cont'd. -RRB- We're going all the way, lads. Inter Milan, Barcelona. We're going to win silverware Don Revie could only dream of. MCGOVERN/O'HARE Yes, Boss. CLOUGH And you, Mr. Mackenzie, you scored twenty - eight goals last season. You'll score me twenty - nine goals this. MACKENZIE Yes, Mr. Clough. CLOUGH Do you know how many goals I scored before I got injured? MACKENZIE I'm sorry, Mr. Clough. I do n't. CLOUGH Two hundred and fifty - one. MCGOVERN and O'HARE privately exchange looks, `` Here goes''. CLOUGH -LRB- cont'd. -RRB- Do you know how many games it took me? MACKENZIE I'm sorry, Mr. Clough, I do n't. CLOUGH Have a guess. Go on. O'HARE mouths `` Two hundred and seventy - four''. MACKENZIE Three hundred? MCGOVERN closes his eyes, `` Moron.'' CLOUGH Two hundred and seventy - four! Now what do you think about that? MACKENZIE Is that a record, Mr. Clough? CLOUGH -LRB- rolling eyes. -RRB- ` Course it's a bloody record. CLOUGH shoots a look to the others. CLOUGH -LRB- cont'd. -RRB- You know what ELSE you lot can do that's even more important? You can be my eyes and ears in that dressing room. MACKENZIE/O'HARE Yes, Mr. Clough/Yes, Boss CLOUGH Need to know what they say about me. Who's making trouble. Who the ringleaders are. MACKENZIE Yes, Mr. Clough. CLOUGH Want you to help me clear this place out. Make it MY team, understand. OUR team. Clean it up and clear it out once and for all. MACKENZIE Yes, Mr. Clough. CLOUGH indicates MACKENZIE's drink. CLOUGH Now c'mon, drink up. We're off to meet the press. MACKENZIE Yes, Mr. Clough. MACKENZIE knocks back his champagne. CLOUGH And Duncan? MACKENZIE Yes, Mr. Clough? CLOUGH It's `` Boss'' from now on. There's a good lad. MACKENZIE Yes, Mr. Clough. CLOUGH sighs and goes. MCGOVERN and O'HARE roll their eyes. MACKENZIE stubs his cigarette, and hurries after them.",
"EXT. ELLAND ROAD - DAY - (1974) `` Flash'', photographs are being taken by PRESS of the three new signings, DUNCAN MCKENZIE, JOHN O'HARE and JOHN MCGOVERN, all wearing Leeds shirts. PULL BACK TO REVEAL : they are being watched from a distance by several Leeds SENIOR players.",
"INT. ELLAND ROAD - DAY - (1974) CLOUGH walks through a corridor, brushing past JOHNNY GILES, BILLY BREMNER and several other SENIOR PLAYERS. An intimidating atmosphere. BREMNER What the hell did you buy them for? Waste of bloody money. CLOUGH Duncan Mackenzie scored twenty - eight goals last season. John O'Hare and John McGovern are both internationals. GILES We've got two strikers, Alan Clarke and Mick Jones, they're internationals, too. CLOUGH And one's injured and the other's fucking suspended. BREMNER Maybe if you spent a little more time here on the training ground with us, you would n't need to buy Derby `` rejects''. -LRB- a beat. -RRB- We've a game Saturday. Against Queens Park Rangers. Or had you forgotten? CLOUGH I have n't forgotten. GILES Well, you have n't told us a single thing about how QPR will play. Mr Revie would have files and dossiers prepared. Had the reserves playing the Rangers way all week. Had the first team looking out for this and that. CLOUGH Bollocks to Mr. Revie! You're professional footballers. Stop Stan Bowles! That's all you need to know about QPR. And I do n't have to justify myself to you. Not how or when I conduct training. Not who I buy or pick to play. GILES No. Not to us. But come Saturday afternoon, there'll be 40,000 people here who you DO have to justify yourself, to. GILES, BREMNER et al walk off. CLOUGH left, staring. OVER THIS : a large RRRRROOOAAARRRR. GOAL.",
"INT. LEEDS DRESSING-ROOM - DAY - (1974) The LEEDS PLAYERS trudge in, after the game. Angry. Heads hung low. Begin to strip off. CAPTION : `` QPR 1, Leeds 0.'' CLOUGH enters. Visibly gutted by the result, but now's not the time to show it. CLOUGH Sorry, lads. CLOUGH walks round the dressing - room, shaking hands individually, patting PLAYERS on the back. CLOUGH -LRB- cont'd. -RRB- You were robbed out there today. Broad bloody daylight. That was never a penalty. CLOUGH's tone is sensitive. Tactful. Considerate. CLOUGH -LRB- cont'd. -RRB- Stan Bowles? Diving like that? Man's a disgrace. But several of the LEEDS PLAYERS refuse his hand. Or freeze at his touch. Turn away from him. CLOUGH -LRB- cont'd. -RRB- I've spoken to the referee already. Given him a piece of my mind. And come Monday morning, mark my word, I shall be taking this further. The LEEDS PLAYERS stare at one another. Shoot one another looks. CLOUGH -LRB- cont'd. -RRB- Anyway, I want you all to know, I'm not in the slightest bit critical of your performance today. Not a bit of it. You were terrific out there. NORMAN HUNTER spits in contempt. GILES turns and walks out, into the showers. CLOUGH -LRB- cont'd. -RRB- I could n't ask for more effort. Commitment. -LRB- tailing off. -RRB- Passion. The LEEDS PLAYERS follow. Finally O'HARE and MCGOVERN, too. A deathly silence. CLOUGH is left alone in the dressing - room. OVER THIS : the sound of a ringing telephone. A gruff VOICE answers. REVIE -LRB- V.O. -RRB- Hello?",
"INT. CLOUGH'S ROOM - DRAGONARA HOTEL - NIGHT It's the middle of the night. CLOUGH speaks into the phone, visibly the worse for wear from alcohol. CLOUGH -LRB- V.O. -RRB- You must be loving this. Loving every minute.",
"INT. REVIE'S HOUSE - BEDROOM - NIGHT - (1974) DON REVIE's face, half - asleep. Visibly irritated. He sits up in bed. A stout Yorkshire matron wakes beside him. REVIE Who is this? CLOUGH Watching it all fall apart. It's Brian Clough. REVIE What? CLOUGH They wo n't play for me. Your boys. Your bastard sons. And never will. REVIE Are you drunk, man? It's two in the morning. What do you want? Why are you ringing me here?",
"INT. DRAGONARA HOTEL - NIGHT - (1974) CLOUGH They're loyal to you. Thought you'd like to know that. Loyal to Big Daddy Don. REVIE For God's sake go to sleep. Where's you dignity, man? And do n't call here again. `` Click'', REVIE hangs up. CLOUGH stares at the receiver.",
"EXT. CAR PARK - BASEBALL GROUND - DAY - (1973) The Leeds Coach arrives at Derby. Hydraulic brakes hissssssss. Doors open. Boots, shoes, walk down steps. DON REVIE, SYD OWEN and the Leeds PLAYERS disembark. HARVEY, REANEY, CHERRY, BREMNER, HUNTER, LORMIER, CLARKE, JORDAN, GILES, GRAY walk towards the Derby dressing - rooms.",
"INT. BOARDROOM - BASEBALL GROUND - SAME TIME - (1973) SAM LONGSON stands by the window, looking out into the car park. He sees the Leeds United PLAYERS. Reads their mood. Their faces. Their focus. Their murderous intent. A flicker of concern on SAM LONGSON's face. He thinks, then calls out to his SECRETARY. LONGSON Get me today's team sheet, will you? He lets the curtain fall.",
"INT. CORRIDOR - BASEBALL GROUND - DAY - (1973) SAM LONGSON walks through corridors of Elland Road, carrying the team sheet. Walking towards the dressing - rooms. He turns a corner and runs into CLOUGH. CLOUGH What's up, Uncle Sam? Bit below stairs for you here, is n't it? Taken a wrong turn somewhere? LONGSON Just seen the team sheet. Hinton, O'Hare, Todd, Mackay. -LRB- looks left and right. -RRB- That's our strongest side. CLOUGH Of course it's our strongest side. It's Leeds United. Would you prefer I sent out the apprentices? LONGSON We're at Juventus mid - week. Semi - final of the European Cup. Biggest night in the club's history! Could n't you just field. CLOUGH What? LONGSON Y' know. CLOUGH A weaker side? Am I hearing right? Is the CHAIRMAN of this football club seriously asking his manager to LOSE? LONGSON You know what I mean. CLOUGH Against their biggest rivals? LONGSON The Chairman of this football club is asking his manager to be pragmatic. Manage his resources. Prioritise. We've embarked on a huge program of refurbishment and improvements. New stands. Better floodlights. We need a good run in Europe to pay for it. CLOUGH I'm going to pretend I did n't hear a word of this. CLOUGH turns to walk away. LONGSON calls after him. LONGSON -LRB- checking watch. -RRB- We've still got twenty minutes before kick - off. I'd reconsider if I were you. I would n't want my employer to be unhappy. CLOUGH My employer? LONGSON Chairman of Derby County. And Chairman LONG before you ever showed up. CLOUGH That's right. You were Chairman of Derby County before I came here. I remember that. When Derby County were at the fucking foot of the Second Division, when nobody had heard of them for twenty years and nobody had heard of Sam bloody Longson ever. Full stop. And that's where you'd still fucking be if it was n't for me ; at the foot of the bloody Second Division, where nobody remembered you and nobody had heard of you. There would BE no Derby County without me, no league title, no Champions of England ; not without Brian Clough. A door opens and PETER TAYLOR walks out in time to hear. LONGSON I'm going to give you some good advice, Brian Clough. No matter how good you think you are, or how clever, or how many fancy new friends you make on the telly, the reality of footballing life is this : the Chairman is the boss, then come the directors, then the secretary, then the fans, then the players, and finally, last of all, bottom - of - the - heap, lowest of the low, the one in the end we can all without, is the bloody manager. LONGSON turns and storms off. TAYLOR looks at CLOUGH. TAYLOR What have you done now? CLOUGH does n't answer, and storms off in the opposite direction. TAYLOR is left alone, visibly anxious.",
"EXT. PITCH - BASEBALL GROUND - DAY - (1973) CLOUGH watches from the touch - line as the game is in progress. `` CRASH'', a Leeds PLAYER scythes into a Derby PLAYER. `` BEEEP'', the referee blows his whistle. CLOUGH and leaps off his bench in fury. Shouting abuse. CLOUGH You're a bloody disgrace! You should be in the book for that, Cherry! `` BEEEP'', the referee blows his whistle. REVIE smiles to himself as a Derby PLAYER is carried off on a stretcher. CLOUGH -LRB- cont'd. -RRB- You're an animal. A fucking animal, Hunter! SAM LONGSON watches from the director's box. He closes his eyes. PETER TAYLOR witnesses this. `` CRUNCH'', another brutal tackle, another whistle. Another Derby PLAYER hobbles off the pitch. Blood streaming from a cut to his head. CLOUGH -LRB- cont'd. -RRB- I'll see you in fucking court, Lorimer! CLOUGH's eyes meet REVIE's eyes along the touchline.",
"EXT. PITCH - BASEBALL GROUND - DAY - (1973) Afterwards : the LEEDS and DERBY players file off the pitch. BREMNER brushes roughly past CLOUGH. BREMNER -LRB- under his breath. -RRB- Good luck in Europe. CLOUGH turns, ` What?'' BREMNER, GILES, HUNTER, LORIMER carries on walking down the tunnel. Laughing to themselves. CLOUGH is joined by TAYLOR and JIMMY GORDON.",
"INT. DERBY DRESSING-ROOM - BASEBALL GROUND - DAY - (1973) Afterwards : the Derby dressing - room looks like the Emergency Room at a hospital. Casualties. Blood. Stitches. Swellings. At least half - a - dozen PLAYERS are injured. Some on stretchers. CLOUGH stares in horror at the wreckage from the doorway. SAM LONGSON appears beside him. Stares at CLOUGH. LONGSON You fucking idiot. LONGSON turns and walks away. CLOUGH turns to survey the carnage in the dressing - room. Like a battlefield. CLOUGH's eyes meet TAYLOR's. ARCHIVE TELEVISION NEWS FOOTAGE The most important night in Derby's history as the Derby players arrive in Turin to play against mighty Juventus.",
"INT. CLOUGH HOUSE - NIGHT - (1973) BARBARA CLOUGH and the children. Huddled together round the television. Eating supper. Watching the Juventus game on TV. BARBARA There's Dad, look! BARBARA and the KIDS watch intently. But JUVENTUS score one goal. Then another. The final whistle. JUVENTUS win 3 - 1. BARBARA -LRB- cont'd. -RRB- Pity. BARBARA gets to her feet. BARBARA -LRB- cont'd. -RRB- All right. Bed time! Everyone clean your teeth! SON Wait! Look! ON TV : CLOUGH is in the tunnel. Speaking to a television REPORTER. CLOUGH -LRB- ON TV. -RRB- Disappointed? Not a bit. My players were heroic out there tonight. Effectively we were playing the Italian champions with a reserve team. That many of our first team are injured.",
"INT. TUNNEL - JUVENTUS - NIGHT CLOUGH continues. PETER TAYLOR stands beside him, visibly pale, stressed. CLOUGH it's what happens if you have a Chairman who authorizes a multi - million pound refurbishment of the director's box and hospitality suites before he pays for a proper squad. Suppose it depends on your priorities. Players or prawn sandwiches? I know which I'd prefer. I know which honest, working class Derby supporters would prefer, too. A commotion breaks out. TV JOURNALISTS ask questions, sensing a great story. CLOUGH continues answering as, beside him, -LRB- unseen by anyone else -RRB-. TAYLOR is white - faced, holding his chest.",
"INT. DRESSING-ROOM - DAY - (1974) CLOUGH pouring brandy into a glass. DUNCAN MACKENZIE, JOHN O'HARE, and JOHN MCGOVERN sit in front of him. Visibly uncomfortable. MCGOVERN Billy Bremner, Boss. CLOUGH Who else? MCGOVERN Norman Hunter. CLOUGH Who else? MCGOVERN Eddie Gray. CLOUGH Who else? MCGOVERN Peter Lorimer. CLOUGH What are they saying? This falls to MACKENZIE, who knocks back his drink. Trembling hands. Dutch courage. MACKENZIE That you're never here. -LRB- a beat. -RRB- That they're worried about the future. -LRB- a beat. -RRB- That you're just going to fill the place with more Derby players. MCGOVERN And that all thing's considered they were all a lot happier under. CLOUGH Under who? MCGOVERN dries. Can not find the words. CLOUGH -LRB- cont'd. -RRB- Don Revie? MACKENZIE, MCGOVERN, O'HARE avoid his eyes. CLOUGH -LRB- cont'd. -RRB- Is that what they say? MCGOVERN Yes, Boss. CLOUGH That he's the boss? The Guvnor? The Capi di Tutti Fucking Capi? MCGOVERN Yes, Boss. O'HARE And that they miss the bingo. CLOUGH The bingo? MCGOVERN And the carpet bowls. CLOUGH Carpet bloody bowls? MCGOVERN It helps them relax before a game. MCGOVERN and O'HARE stare at one another. O'HARE That it, Boss? Can we go now? CLOUGH stares, lost in thought : the three PLAYERS go. The door closes. CLOUGH is left alone. Then he gets up, and in a terrifying flash of rage, picks up his glass and throws it against the wall.",
"EXT. CAR PARK - DAY - (1974) CLOUGH walks out into the car park, then he stops in his tracks when he sees. JOHNNY GILES, BILLY BREMNER and NORMAN HUNTER -LRB- among others -RRB-, with their GIRLFRIENDS and WIVES and KIDS, being shown brand new cars by a SPONSOR. CLOUGH takes JIMMY GORDON aside. CLOUGH What's all this? JIMMY Club cars. Complimentary for the senior payers. Brand new. CLOUGH sees BREMNER, GILES and HUNTER trying out the sports cars. His smile fades. He walks up to the REP from the CAR FIRM. CLOUGH Nice to meet you, pet. Now, you can take your lovely sports cars, and put ` em back on your transporter. REPRESENTATIVE What? BREMNER What are you talking about? These are ours! CLOUGH You'll have complimentary cars when you deserve a compliment. Right now you do n't deserve a complimentary bicycle between you. CLOUGH takes the KEYS and gives them to the REPRESENTATIVE. CLOUGH -LRB- cont'd. -RRB- Complimentary cars when you're not suspended. -LRB- indicates BREMNER. -RRB-. and when you lot start winning some games. -LRB- indicated GILES and HUNTER. -RRB- CLOUGH goes back to his own car. CLOUGH -LRB- cont'd. -RRB- If I had my way, you'd WALK to the ground and back every game. CLOUGH gets into his car, and roars out, past glowering BREMNER, glowering GILES, glowering HUNTER, glowering GIRLFRIENDS and WIVES.",
"EXT. CLOUGH HOUSE - NIGHT - (1974) CLOUGH's car pulls up outside his house in Derby. He closes his eyes. Breathes a private sigh of relief. Home. At last. Safe. Surrounded by people who love him.",
"INT. CLOUGH HOUSE - NIGHT - (1974) CLOUGH walks into his house. BARBARA What are you doing here? Are n't you supposed to be in that hotel in Leeds? CLOUGH I could n't stand it for another night. CLOUGH takes off his coat. BARBARA What? So you drove all the way? What time will you have to get up in the morning. CLOUGH Half five. CLOUGH bends down. Kisses his wife. CLOUGH -LRB- cont'd. -RRB- You smell nice. BARBARA Do I? CLOUGH Forgotten what a woman smells like. BARBARA strokes his head. BARBARA Not like bloody men. That's for sure.",
"INT. SONS' BEDROOM - CLOUGH HOUSE - NIGHT - (1974) CLOUGH looks into his SONS' room. The eldest is fast asleep, but the youngest says, ` Dad?' CLOUGH You still awake? You should be asleep. NIGEL Tell us a joke, Dad? CLOUGH A joke? All right. There's this bloke walking about in London, when all of a sudden, the city gets hit by a Russian ` A' bomb. Booooooooom. CLOUGH sits down, strokes his son's head. CLOUGH -LRB- cont'd. -RRB- And all the buildings have fallen down. And all the people are dead. And now this bloke is the only man left in the whole of London. CLOUGH continues stroking his son's hair. CLOUGH -LRB- cont'd. -RRB- And he suddenly feels very, very lonely because there's no one else to talk to. Nobody else but him. CLOUGH's SON falls asleep. CLOUGH does n't notice. CLOUGH -LRB- cont'd. -RRB- So he decides that he's had enough, that he ca n't bear being this lonely, and so he climbs up to the top of the one building still standing. The Post Office Tower. And then he jumps off. And he's falling down, down and down and down, the sixteenth floor, the fifteenth floor, the fourteenth, and that's when he hears the phone ringing. CLOUGH looks down. And gets two unexpected shocks. The first is that his SON is already asleep. The second is, there is a tear running down his own cheek.",
"INT. TUNNEL - ELLAND ROAD - DAY - (1974) The LEEDS PLAYERS clatter off the pitch. Covered in mud. Walking in silence. No smiles. Heads hung low. CAPTION : `` LEEDS 0 - MANCHESTER CITY 2. LEEDS ARE NOW FOURTH FROM BOTTOM'' JIMMY GORDON is waiting for CLOUGH. JIMMY The Chairman wants to see you. Said it was important. Right away. CLOUGH's face : already fearing the worst.",
"INT. CORRIDOR OUTSIDE BOARDROOM - DAY - (1974) CLOUGH walks along the corridor. Past the photographs on the wall. The trophies in the cabinets. The pictures of a smiling DON REVIE - mocking him. CLOUGH shoots his cuffs. Rolls his neck. A boxer on his way to the ring. A gladiator on his way to the circus. He knocks on the door, and walks in. MANNY CUSSINS, SAM BOLTON and a third man. A stranger. BOLTON About bloody time. CUSSINS Where you been? I was about to send out a search party. CLOUGH Look, Mr. Cussins, I know it's not been the best of starts, but in my defence, there are a couple of things I'd like to say. CUSSINS This is Martin Hughes. He runs Mercedes here in the North. CLOUGH -LRB- double - takes. -RRB- What? CUSSINS We hear that's what you like to drive. A Mercedes? CLOUGH It's. what I used to drive at Derby. Yes. CUSSINS Well, we ca n't have Leeds United being outdone by Derby County, can we? So Martin here is going to take you over to his showroom and get you sorted out. They begin to walk to the door. CUSSINS puts his arm round CLOUGH. CUSSINS -LRB- cont'd. -RRB- Also we figured if you were sitting in a spanking new car yourself, you might be a little more bloody lenient with your senior players, who've kicked off, as you can imagine - being denied what's rightfully theirs. BOLTON Never come between a footballer and his motor! CLOUGH No. BOLTON Especially not Billy bloody Bremner. CLOUGH smiles nervously, visibly relieved. CLOUGH Is that it, then? CUSSINS Why? You look white as a ghost, man. CUSSINS tightens his grip again, arm round CLOUGH. Unmistakably intimidating. CUSSINS -LRB- cont'd. -RRB- What did you think we'd asked you up here for? CUSSINS's eyes. CLOUGH's eyes. The air crackling with menace and intent.",
"INT. HOSPITAL - DAY CLOUGH visits PETER TAYLOR in a large, crowded ward of old, infirm, dying people. It's a shock. CLOUGH Heart attack, eh? TAYLOR Had it three weeks ago, they reckon. TAYLOR -LRB- cont'd. -RRB- They ran all kinds of tests. Asked me about my diet and my family history. I told them the only thing they needed to know was that I share my professional life with Brian Clough. That seemed to satisfy them. CLOUGH manages a smile. Moved. TAYLOR -LRB- cont'd. -RRB- I'm only half - joking, you know. Have we still got jobs? CLOUGH We have. Longson's tried to put a gagging order on me, of course. -LRB- mimics. -RRB- `` Any further utterances in public or appearances in the media by Brian Clough will be met with instant dismissal.'' TAYLOR Well, I hope you take notice. And act accordingly. CLOUGH Would you like to hear my contrite reply? CLOUGH pulls out a letter. CLOUGH -LRB- cont'd. -RRB- `` Due to the complete breakdown in communication with the chairman, Peter Taylor and I find it is impossible to continue our good work for Derby County. We therefore wish to tender our resignations with immediate effect.'' TAYLOR -LRB- horrified. -RRB- WHAT?!? CLOUGH What do you think? TAYLOR I do n't want to resign. CLOUGH No. Nor do I. Do n't worry, they'll never let us. We just won them the championship. But it will strengthen our position and force them to get rid of Longson. TAYLOR What? Oh, no, Brian. They'll never do THAT. He's Chairman. CLOUGH I ca n't do it, Pete. I ca n't work with my hands tied, a Chairman telling me what I can or can not do. TAYLOR You're picking the wrong enemy. The enemy's not Longson. It's Revie. And your obsession with Leeds. CLOUGH Do n't be daft. We won the league, Pete. We're top dogs in Derby now. And Longson ca n't stand it. That's the problem. TAYLOR No, it's not. It's YOU. This monster in you. This mad ambition. It comes and goes. Sometimes it's good. a fire, that stirs everything up, and then there's this. this thing that takes you over. and destroys everything that is good in your life. TAYLOR's face. TAYLOR -LRB- cont'd. -RRB- Please tell me this letter is just a draft. You have n't sent it. Because I'll be out in a couple of days. let me talk to them.",
"INT. CORRIDOR - BASEBALL GROUND - DAY `` Crash'', door fly open. CLOUGH storms down a corridor.",
"INT. BOARDROOM - BASEBALL GROUND - DAY `` Bang'', CLOUGH crashes into the boardroom. When they see CLOUGH, voices fall silent. They stiffen. CLOUGH What are you doing? You were n't supposed to accept our resignations. LONGSON ` Should n't bloody well offer them, then. CLOUGH turns to the other DIRECTORS. CLOUGH I only did because of HIM! -LRB- points at LONGSON. -RRB- You ca n't get rid of us. It'd be a disaster for the club. For the whole of Derby. LONGSON You ca n't keep shooting your mouth off the way you have been. or issuing these ultimatums. The board stare at one another, avoid eye contact. LONGSON -LRB- cont'd. -RRB- With great reluctance your resignations have been accepted. CLOUGH You ca n't do this! It's madness! LONGSON The decision stands. And do n't even think of a settlement. You're getting nowt. CLOUGH We're going to create a footballing dynasty here. Derby could be one of the greats alongside United, Liverpool, Leeds. CLOUGH stands in the middle of the room. Speechless. LONGSON Car keys on the table and out! CLOUGH stares in disbelief at the other BOARD MEMBERS. CLOUGH Does none of you have the guts to stop this? LONGSON Now! And do n't show your faces here again! CLOUGH stares in disbelief at the assembled board members of Derby County. ROY KIRKLAND, ROBERTSON - KING, KEELING, SAM LONGSON, et al.. Blazers and brass buttons. The sound of clearing throats. ARCHIVE NEWS FOOTAGE - -LRB- 1973 -RRB- News footage : Prime Minister Ted Heath announcing blackouts due to the oil crisis. Britain is plunged into power - cuts. And total darkness. Three days a week.",
"INT. CLOUGH HOUSE - DERBY - NIGHT - (1973) TAYLOR walks through the open door. A meeting is underway in the CLOUGH house. In the hall : CLOUGH's three CHILDREN stare through banister railings. The smoke - filled front room is packed with FRIENDS, RELATIVES, LAWYERS, DERBY COUNTY CLUB EMPLOYEES. Newspapers are strewn over the table. CLOUGH sits in the corner, being given counsel by SOLICITORS. JIMMY GORDON reads out a letter from the DERBY PLAYERS. JIMMY `` To the directors of Derby County Football Club. We, the undersigned players, are unanimous in our support and respect for Mr. Clough and Mr. Taylor and ask that they be reinstated as manager and assistant manager of the club.'' Cheers and celebrations. CLOUGH is congratulated. Handshakes. Hair ruffled. JIMMY -LRB- cont'd. -RRB- `` Signed by John O'Hare, Roy MacFarland, Colin Todd, Archie Gemmill, Kevin Hector, Alan Hinton.'' TAYLOR But not Dave Mackay. Silence. All voices stop. Heads turn. TAYLOR -LRB- cont'd. -RRB- Who's just accepted the job. Deathly silence. The crowds part. CLOUGH sits up, and stares. CLOUGH What? Dave MACKAY? TAYLOR It's in the evening paper. CLOUGH I signed that fat fuck - saved his professional life. Gave him two more years as a player, as my captain. Dave Mackay? -LRB- a beat. -RRB- He would n't fucking DARE! CLOUGH sees the paper. `` MACKAY TO BE DERBY MANAGER''. CLOUGH's face. Devastated. TAYLOR Why did you do it? I love this place, Brian. I'm happy here. So are you. CLOUGH It's not over yet, Pete. The lawyers are issuing a writ tomorrow. Against Longson. The players are calling a meeting. There's talk of them coming out on strike. There's protest marches scheduled for this week - end. TAYLOR Why could n't you just have kept your mouth shut? We'll never find anywhere like this again. TAYLOR stares. Worried. At that moment, BARBARA sticks her head outside. BARBARA -LRB- holding phone. -RRB- Mike Bamber on the phone? CLOUGH Who's Mike Bamber? TAYLOR Manager of Brighton and Hove Albion. Someone who wants to offer us a job. OVER THIS : the sound of a referee's whistle.",
"EXT. DUGOUT - ELLAND ROAD - DAY - (1974) With a loud ROAR the game against Luton gets under way. CLOUGH takes his seat alone in the dugout. Unseen by him, in the stands behind him. DON REVIE arrives, shaking hands, taking a seat. Immediately, as soon as they see REVIE, the LEEDS FANS start cheering, `` There's only one Don Revie.'' CLOUGH turns, to see REVIE. Waving back. Acknowledging the crowd. The LEEDS FANS chant, `` There's only one Don Revie!'' In the directors' box, MANNY CUSSINS notes the reaction of the crowd. In the press boxes, the JOURNALISTS and TV COMMENTATORS also note the reaction of the crowd. CLOUGH's face : stinging with humiliation. And as if that were n't bad enough. `` RRROOOOAAARRRRR'', Luton score a goal. In the director's box : MANNY CUSSINS' face.",
"INT. TUNNEL - ELLAND ROAD - DAY - (1974) Afterwards : CLOUGH and the PLAYERS walk down the tunnel to see MANNY CUSSINS and SAM BOLTON waiting. Grim - faced. CUSSINS Players Lounge, Brian. Ten minutes. CLOUGH opens his mouth, is about to reply, but CUSSINS has turned and walked away.",
"INT. PLAYERS' LOUNGE - ELLAND ROAD - DAY - (1974) CLOUGH walks in as several players walk in, too. CLOUGH takes a seat. CUSSINS calls for quiet. CUSSINS This is the worst start to a season Leeds has had in twenty years. Four points from five games? Second from fucking bottom? What's going on? As far as I can I see, there's no relationship, no understanding between players and management. Not a healthy one, anyway. PLAYERS heads low. Avoiding CLOUGH's eyes. BREMNER Perhaps if Mr. Clough were to step outside, we would all feel a little more like speaking our minds. CLOUGH ca n't help smiling. CLOUGH -LRB- under his breath. -RRB- You bastard. Of course, CUSSINS will reprimand him. Refuse his request. CUSSINS looks at WOODWARD and BOLTON. Then. CUSSINS All right. If you would n't mind, Brian? Just for a minute or two? CLOUGH can not believe his ears. What? He gets to his feet. CLOUGH As you wish. CLOUGH walks out of the room. DUNCAN MACKENZIE watches. Visibly shocked.",
"INT. CORRIDOR - ELLAND ROAD - DAY - (1974 CLOUGH closes the door behind him. He stands in the corridor outside. From inside, we hear. BREMNER -LRB- O.S. -RRB- No one likes him. The atmosphere in the dressing - room is non - existent. We're not allowed to mention Mr. Revie's name. GILES -LRB- O.S. -RRB- He's banned us from doing all the things we used to do. like playing bingo and carpet bowls. BREMNER -LRB- O.S. -RRB- Tactically, he's never prepared, never tells us how he wants us to play. HUNTER -LRB- O.S. -RRB- You know he's just itching to bring in a whole lot of new players. CLOUGH looks out of the window to see DON REVIE signing autographs, shaking hands with adoring LEEDS FANS outside. VOICE What's going on? CLOUGH turns to see JIMMY GORDON. CLOUGH The last two words of every story ever written is what's going on. `` The fucking end.'' BREMNER -LRB- O.S. -RRB- What I want to know is why, after all the thing he's said about us, did you appoint him in the first place? CLOUGH I'm about to go home and work out how much I want in severance pay. Do n't worry, I'll make sure your job is safe. JIMMY I'm not staying here without you. No bloody way. CLOUGH Then I suggest you go home and do the same. BREMNER -LRB- O.S. -RRB- What me and the lads are trying to say, Mr. Cussins, is that compared to Mr. Revie - he's just not good enough. CLOUGH : a dagger in his heart. CLOUGH Come on. CLOUGH turns, leading JIMMY GORDON away, then he stops. Having seen something through a window. Outside : DON REVIE walks down into the car park and towards his car - cheered and clapped every step of the way by LEEDS FANS. The Messiah of West Yorkshire. CUT TO",
"EXT. BRIGHTON - DAY - (1974) Seagulls wheeling. CLOUGH's car pulls up in a hotel car park. He and PETER TAYLOR get out on a road overlooking the sea. CLOUGH looks around at his surroundings. The OLD PEOPLE. The retirement home feel. CLOUGH -LRB- singing. -RRB- `` Oh, I do n't like to be beside the seaside.'' TAYLOR C'mon, just give it a chance. CLOUGH Brighton and Hove Albion? Have you seen where they are? Bottom of the third division. TAYLOR And we can get them out of there. Like that. We did it with Hartlepools. We did it with Derby. CLOUGH We cared about Hartlepools and Derby. We're from the North, Pete. What do we care about Brighton? Bloody Southerners. Look where we are. We're almost in France. TAYLOR Hey, they've got money, this lot. And ambition. And get a lungful of that air. It'd be good for my health. CLOUGH You ca n't manage a team that's not your own people. Not what you know. Anyway the Protest Movement in Derby is still in full flow. We could still get our jobs back. TAYLOR No, we wo n't. It's over, Brian. They'll never take us back. Not now. CLOUGH What about proper clubs? Like Manchester United? Or Spurs? Or England, now Alf's gone. Would n't you fancy that? TAYLOR No one's rung, have they? You've scared them all off. CLOUGH It's only been a couple of weeks. TAYLOR C'mon. Just listen to them? Please? For me?",
"INT. BRIGHTON HOTEL - DAY - (1974) MIKE BAMBER and HARRY BLOOM, Brighton Chairman and Vice - Chairman, likeable men, -LRB- for the first time NOT in blazers and brass buttons -RRB-, sit opposite CLOUGH and TAYLOR. BAMBER Sign today, I'll give you a bonus of seven grand. Each. TAYLOR Seven grand? Y' hear that, Brian? BAMBER Plus a salary that exceeds by twenty percent what Derby were paying you. TAYLOR Very generous, Mike. Terrific. CLOUGH But those are first division wages. BAMBER First division's where I want this club to be. CLOUGH Are you sure you can afford it? BAMBER Are you sure you're worth it? CLOUGH Cheeky sod. BAMBER offers his hand. CLOUGH stares at it. CLOUGH -LRB- cont'd. -RRB- We're going to need a holiday first. BAMBER Take as long as you like. CLOUGH Two weeks. Somewhere hot. On you. BAMBER does n't even flinch. Smiles. BAMBER I'll even throw in the bloody trunks. CLOUGH and BAMBER shake. TAYLOR beams with delight. OVER THIS : we fade in the sound of classical Spanish guitar.",
"EXT. MAJORCA - DAY - (1974) Shimmering heat. Azure skies. Packed sandy beaches. We're in a resort in Southern Majorca. Calla Millor. Red - faced Brits. Sausages and chips. Beer and sun tan lotion. On the beach, BARBARA CLOUGH is playing with the three CLOUGH KIDS in the shallow water. They wave over to Brian. CLOUGH, sitting in the sand, sunning - himself. -LRB- Reading a newspaper about DON REVIE's flirting with the England job -RRB-.",
"EXT. HOTEL - MAJORCA - DAY - (1974) A blazer with buttons. A red - faced, official - looking MAN in his mid 50's, being pointed onto a beach by a hotel EMPLOYEE. Red - faced, perspiring, ARCHER nods. Starts walking onto the beach.",
"EXT. BEACH - MAJORCA - DAY - (1974) KEITH ARCHER walks across the beach, the scalding sand, sweating under the merciless sun. Until he finds CLOUGH. ARCHER takes out his handkerchief, mops his brow. ARCHER You're a hard man to find, Mr. Clough. CLOUGH Who's looking? ARCHER My name's Keith Archer. Secretary of Leeds United football club. CLOUGH looks up, ca n't help smiling. CLOUGH Then what are you doing here, Keith? Because from what I'm reading in my paper, and from what I hear on the jungle drums, you've got a bit of a problem at home with your manager flirting with the England job. ARCHER He's not flirting. CLOUGH -LRB- indignant, pointing to newspaper. -RRB- ` Ey, it says it right here. ARCHER He's taken it. CLOUGH turns, squints in the light. ARCHER -LRB- cont'd. -RRB- Which bring me to the point of my visit. BARBARA and PETER TAYLOR look over from the beach, concerned. KEITH ARCHER smiles nervously, politely raising his hat.",
"EXT. BEACH - MAJORCA - (1974) Seagulls wheeling. Two tiny specks on the beach in the distance, arguing. Silhouettes against the setting sun. TAYLOR Bloody hell. But we HATE Leeds. CLOUGH It's the top flight, Pete. The First Division. TAYLOR But we've given Brighton our word. And they've paid us the money. CLOUGH We can pay BACK the money. Bollocks to bloody Brighton. -LRB- laughing now, a dismissive wave. -RRB- I'd go mad. We'd ALL go mad down there. TAYLOR Please. give it a year. Give it a chance. CLOUGH A year? It'd be death. Death for us all. TAYLOR Mike Bamber is a good man. CLOUGH Oh, do me a favour. TAYLOR He had faith in us, offered us a job when no one would. CLOUGH He offered us a job. And now someone else has offered us a better one. and not just anyone. The best team in the country. C'mon, Pete, you know what that means. It'd be the Charity Shield at Wembley in a months time. The European Cup after. TAYLOR Yes, but even if we won them it would always be Revie's achievements. HIS team. -LRB- fretting. -RRB- I ca n't do it. I gave Brighton my word. CLOUGH What? And you'd sooner fester down there? With all those fucking Tories? In that blue - rinse retirement home by the sea? TAYLOR Yes, Brighton is a small club. CLOUGH Fucking midgets. TAYLOR But at least we'd be together, you and me. We could build them up. Make them our own. Like we did with Hartlepools. Like we did with Derby. CLOUGH And then what? Bottle again as soon as it comes to the big time. That's always been the trouble with you, Pete. No ambition. TAYLOR And that's the trouble with you. Too much ambition. Too much greed. Too much everything. CLOUGH You knock it, but it's done you proud over the years. My `` ambition''. Without me - you'd still be stuck in Burton Albion. On the arse of the footballing earth. TAYLOR But without you I'd still have a job in Derby. A job and a home that I love. -LRB- a beat. -RRB- Yes, Brian - you're the shop window, I'll grant you that. The razzle and the bloody dazzle. But I'm the goods at the back. And without me, without someone to save you from yourself, you're not just half. -LRB- tapping brain. -RRB-. you're nothing. TAYLOR starts to walk. CLOUGH calls after him. CLOUGH I'm nothing? I'm nothing? Do n't make me laugh? So what does that make you, Taylor? Something? You're half of nothing! Nothing's parasite! A big fat pilot fish that FEEDS on nothing! A bloody nobody! The forgotten man! History's fucking afterthought! TAYLOR walks off, leaving CLOUGH. TAYLOR Well, let's see, shall we?",
"INT. BOARDROOM - ELLAND ROAD - EVENING - (1974) The LEEDS BOARD MEMBERS' faces : MANNY CUSSINS, SAM BOLTON, KEITH ARCHER, SYDNEY SIMON, PERCY WOODWARD, etc CUSSINS Let's be honest. It's not working, is it? CLOUGH What's not working? I have n't been here five minutes, so how can anything be working yet? CUSSINS Still. the players are n't happy. We're not happy. CLOUGH So what do you want to do about it? CUSSINS If it's not working, then we'll have to part company. CLOUGH Fine. It'll cost you twenty - five grand. The Leeds BOARD MEMBERS choke. CUSSINS What? For six weeks work? CLOUGH Plus three and a half grand for Jimmy Gordon. And an agreement that Leeds United will pay both our income taxes for the next three years. The Leeds BOARD MEMBERS choke. CUSSINS That's bloody criminal. CLOUGH No, what's criminal, Mr. Cussins, is the way you as Chairman asked me to leave the room like that in front of the players. Your MANAGER. Going behind my back like that. CUSSINS I admit, that was wrong. CLOUGH And you can throw in the Merc and all. BOLTON What? CLOUGH Might be a bit flash for a man out of a job, but the truth is, I've grown to like it. CUSSINS Who the bloody hell do you think you are? CLOUGH Brian Clough. Brian Howard Clough. CUSSINS Aye. No danger of me forgetting THAT name in a hurry.",
"INT. MANAGER'S OFFICE - DAY - (1974) CLOUGH and his SONS are packing together CLOUGH's belongings in a couple of boxes. A knock at the door. DUNCAN MACKENZIE comes in, in track suit, a cigarette in hand. Ready for the day's training. MACKENZIE Just wanted to say, it's not right. They should have given you more time. CLOUGH Good lad. MACKENZIE Not just me that feels that way, either. CLOUGH The sad thing is, it wo n't work. You ca n't change a manager like a pair of socks. It'll happen once, to me - and never again. CLOUGH shakes CLARKE's hand. ` Rrrrinng', the phone rings. CLOUGH turns and picks up the phone. He listens, then. CLOUGH -LRB- cont'd. -RRB- -LRB- into phone. -RRB- All right. But you'll have to make it quick. CLOUGH hangs up. Looks at his SONS. CLOUGH -LRB- cont'd. -RRB- Something we have to do on the way. Wo n't take long.",
"INT. YORKSHIRE TV STUDIOS - DAY - (1974) CLOUGH sits in make - up. The door opens and AUSTIN MITCHELL, the same presenter as earlier, sticks his head round the corner. MITCHELL Thanks for agreeing to this. CLOUGH No problem. CLOUGH smiles. Uncharacteristically vulnerable. CLOUGH -LRB- cont'd. -RRB- Go easy on me, though. There's a good lad.",
"INT. YORKSHIRE TV STUDIOS - DAY - (1974) CLOUGH is led into the studio, and onto the ` Calender' set, chatting to the SOUND MAN. CLOUGH's microphone is fixed, he is shown to his seat beside the PRESENTER's. Then CLOUGH notices a third -LRB- empty -RRB- seat beside his. CLOUGH What's this? We expecting guests? Then CLOUGH looks up to see a distinctive BLUE BLAZER, with gold buttons approaching the set. Blue blazer. DON's blazer. CLOUGH's face falls as DON REVIE and AUSTIN MITCHELL turn the corner, in conspiratorial conversation, and out to the seats. It's a set - up! CLOUGH looks over at AUSTIN MITCHELL and the crew, who shiftily avoids CLOUGH's eyes. CLOUGH -LRB- cont'd. -RRB- You bastards! REVIE is put in the seat beside CLOUGH. Avoiding CLOUGH's eyes. REVIE rolls his neck, crosses his legs. Vast, intimidating REVIE. Ready for battle. Suddenly, the theme music plays, the FLOOR MANAGER counts down. FLOOR MANAGER Five, four, three. The PRESENTER looks up. MITCHELL Good evening. Tonight the football world was stunned by the news that Brian Clough has been sacked as manager of Leeds United. We'll be talking not just to Brian Clough, but also to the man he replaced, who's success he could n't emulate, Don Revie. MITCHELL turns to CLOUGH. MITCHELL -LRB- cont'd. -RRB- To Brian Clough first of all. What's your reaction to being sacked in this fashion? CLOUGH Obviously, Austin, my initial reaction is one of shock at finding myself here with Revie. REVIE See? Not so easy to make accusations when it's to someone's face. CLOUGH but in answer to your question, six weeks is hardly a long time to be given a chance in any job. I would hope Revie would get a lot longer time in his. MITCHELL Do you consider it was possible to step into your shoes, Don Revie? To replace you? REVIE Being very, very honest, I think it was a difficult job for anyone to do. But I do feel Brian Clough, I wo n't call him Clough because I wo n't take him down like that. CLOUGH Thank you. REVIE I do feel he made it harder for himself than he need have. CLOUGH How did I do that, Don? REVIE Shooting his mouth off about how dirty my players were. CLOUGH Well, you WERE dirty, Don! REVIE That's not true. The last four seasons, we've topped the charts for entertaining football. CLOUGH And before that, you also topped ALL the disciplinary charts. You should have been docked points and sent DOWN to the second Division. MITCHELL And in fact, you went on record and said so, Brian Clough. Again and again. That Leeds should, in fact, be relegated. CLOUGH And I was right. MITCHELL Do you think that might have hurt your chances of success when you then came to manage them? REVIE Of course it did! The things he said? Why, man? Why did you take the job in the first place? CLOUGH Because I thought it was the best job in the country. REVIE Of course it was the best job in the country. CLOUGH I was taking over the League Champions. REVIE You were. You were taking over the best bunch of players you'd ever seen. CLOUGH And I fancied winning the league, and winning Europe, and doing it better than you. REVIE There's no way you COULD win it better. CLOUGH But that's the only hope I've got. REVIE I only lost four matches. CLOUGH Well, I can only lose three. REVIE No, no, no, no. CLOUGH And still play attractive, clean football. Without cheating! REVIE See, there he goes again. MITCHELL Listening to you, I am struck that this is not just a business matter for you both. It's more than that. It's personal. Am I right? CLOUGH Well, we're very different people, Don and I. We have different styles. In football and in life. I'm a warm man. An idealist. I do believe in faeries, and that is my outlook. Don is different. There's a hardness to him. A hardness. Maybe he's not even aware of it. But he's a cold person. REVIE You do n't KNOW me! CLOUGH And that lack of warmth. That coldness was there. Permeated the club when I arrived. REVIE I totally refute that. The atmosphere at Leeds was like a family. A happy family. You ask any of my players. I signed most of them personally. Knew their backgrounds. Their parents. Their streets. I was a father to them. In that club every morning. Massaging those boys. Did you do that for them? CLOUGH They would never have let me. REVIE Did you try? You did n't even try. I soaped those boys down with my own hands. You just went to Leeds with no thought for the club, no thought for the players. Just on some kind of mad personal vendetta with me. CLOUGH Well are you surprised? What else was I going to do? After what you did. REVIE What did I do? CLOUGH C'mon, Don. You know exactly. 4th March 1968. See? I even remember the date. You came to Derby County, the third round of the FA Cup, and you refused to shake my hand. AUSTIN MITCHELL looks up. The CAMERAMEN look up. REVIE Never! Matter of principle! I always shake the other manager's hand! CLOUGH You shook Peter Taylor's hand, and my trainer, Jimmy Gordon's. REVIE Then I probably did n't see you! CLOUGH No, you saw me Don. But considered me beneath you. Looked down on me. And dismissed me. Just like you did every other club and every other manager in the country. REVIE Never would I knowingly refuse to shake a colleague's hand. The truth is, I probably just did n't know who you were. CLOUGH -LRB- a knowing smile. -RRB- `` Did n't know who I was!'' Pull the other one. REVIE It's the truth. CLOUGH -LRB- blurts out. -RRB- Well, you certainly know it NOW. All heads turn. That came out unintentionally loud. REVIE Oh, we ALL know it now. -LRB- a beat. -RRB- We know you as the man who's constant outbursts, his defaming of fellow professionals, have brought this game, this beautiful game into disrepute. Who had one of the best jobs in the country, at Derby, and managed to get the sack. Who had one of the best partners in the game, in Peter Taylor, and threw him away. Who was given the greatest gift in British football Leeds United, a team that in ten years has n't finished outside the top four, and took them to the bottom of the first division. Yes, it's fair to say we all know who you are now. AUSTIN MITCHELL's eyes widen. MITCHELL OK, gentlemen, we're going to have to leave it there. CLOUGH Well, let's see where we are in a year's time, Donald Revie. REVIE Dear oh dear. CLOUGH Let's see where we both are in five! AUSTIN MITCHELL That's it for tonight's show. I'd like to thank Brian Clough and Don Revie for joining me. REVIE Thank you, Austin. The show wraps up. Theme music starts playing. REVIE removes his microphone, turns and walks out. CLOUGH is left staring, hollow - eyed. Wishing the ground would swallow him up.",
"INT. CLOUGH'S MERCEDES - DAY - (1974) `` LEEDS UNITED FOOTBALL CLUB'' written on the side of the stadium. CLOUGH's car driver past.",
"INT. CLOUGH'S MERCEDES - DAY - (1974) Inside the car : CLOUGH drives, staring at the road ahead. Talk on the radio of CLOUGH's dismissal. CLOUGH Boys? Do you think your old man is a fool? SIMON/NIGEL No. CLOUGH You're wrong. He bloody is. A silence. CLOUGH continues to drive. CLOUGH -LRB- cont'd. -RRB- Who is the least mature person in this car? Who most needs to bloody grow up? Who's been making a right arse of himself the past few months? The BOYS ca n't help laughing. CLOUGH -LRB- cont'd. -RRB- Who fancies a trip to the seaside? To see Uncle Pete? NIGEL/SIMON Me! CLOUGH Me, and all. CLOUGH's foot hits the floor.",
"EXT. MOTORWAY - DAY - (1974) CLOUGH's Mercedes heads ` South', and accelerates into the distance.",
"EXT. TAYLOR'S HOUSE - BRIGHTON - DAY - (1974) PETER TAYLOR is working in the garden. He looks up to see CLOUGH standing in the gate to his house. TAYLOR looks at CLOUGH. Their eyes meet. A poignant moment. TAYLOR They've kicked you out, already? CLOUGH They have. TAYLOR So how long was that? CLOUGH Forty - four days. TAYLOR Impressive. TAYLOR strains not to show his satisfaction. TAYLOR -LRB- cont'd. -RRB- So what are you doing here? CLOUGH Do n't make this difficult for me, Pete. you know why I'm here. and I wo n't bloody grovel. TAYLOR shrugs, `` Please yourself''. Turns and starts walking inside. CLOUGH -LRB- cont'd. -RRB- All right. I'm grovelling. I'm on my knees. TAYLOR turns. Sees CLOUGH on his knees. Begging for forgiveness. TAYLOR `` I apologize unreservedly for being a twat''. CLOUGH I apologize for being a twat. TAYLOR `` Unreservedly.'' CLOUGH -LRB- through gritted teeth. -RRB- Unreservedly. TAYLOR `` Because I ca n't do it without you.'' CLOUGH Because I ca n't do it without you. TAYLOR `` I'm nothing without you.'' CLOUGH I'm nothing without you. TAYLOR `` Please, please baby, take me back.'' CLOUGH Fuck off! CLOUGH tails off, realizing he has no option. CLOUGH -LRB- cont'd. -RRB- `` Please, please baby, take me back.'' CLOUGH's sons watch from the car as PETER TAYLOR opens his arms, and the two MEN fall into an embrace. But in the clench, TAYLOR's smile fades, his expression suddenly becoming serious. TAYLOR holds CLOUGH tight, and whispers. TAYLOR You'll only fuck me up again, wo n't you? CLOUGH I love you, y' know. TAYLOR I know. But it wo n't stop you. A beat. CLOUGH thinks, then. CLOUGH So? Would you sooner go through it all without me? TAYLOR's face : freeing and condemning himself at once. TAYLOR Never. Our CAMERA slowly pulls back : over the Brighton landscape, as CLOUGH and TAYLOR disappear into TAYLOR's house. CAPTION 1 : `` DON REVIE FAILED AS ENGLAND MANAGER.'' CAPTION 2 : `` HE WENT TO SAUDI ARABIA, WHERE HIS CAREER ENDED AMONG ALLEGATIONS OF FINANCIAL MISDEALINGS''. CAPTION 3 : `` BRIAN CLOUGH AND PETER TAYLOR WERE REUNITED. CAPTION 4 : `` THEY TOOK OVER NOTTINGHAM FOREST WHERE THEY WON THE EUROPEAN CUP IN 1979.'' CAPTION 5 :''. AND AGAIN IN 1980.'' CAPTION 6 : `` BUT IT WAS N'T LONG BEFORE TAYLOR AND CLOUGH FELL OUT AGAIN.'' CAPTION 7 : `` PETER TAYLOR DIED OF A HEART ATTACK BEFORE THEY COULD MAKE UP.''"
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] | After failing to qualify for the 1974 FIFA World Cup, England manager Alf Ramsey is replaced by Don Revie (Colm Meaney), the highly successful manager of Leeds United. Revie's replacement at Leeds is Brian Clough (Michael Sheen), the former manager of Derby County and a fierce critic of Leeds because of their violent and physical style of play under Revie's management. Furthermore, Clough's longtime assistant, Peter Taylor (Timothy Spall), has not joined him. The roots of Clough's conflict with Leeds are depicted as happening in a 1968 FA Cup match between Leeds, the leaders of the First Division and Derby, who were struggling near the bottom of the Second Division. Clough assumed Revie to be a similar man to himself, as they grew up in the same part of Middlesbrough and both played for Sunderland, and made many preparations for the match. However, on the day of the match, Revie failed to even acknowledge Clough upon entering the Baseball Ground. Derby eventually lost 2–0. Although Clough initially blames the brutality of the Leeds players, he and Taylor recognise that their side are not good on a technical level. So they sign veteran Dave Mackay (Brian McCardie), along with several other young players. Chairman Sam Longson (Jim Broadbent) is extremely anxious about the investment, as well as the fact that Clough did not consult him before signing Mackay. However, in 1969 Derby are promoted, but in their first league game against Leeds they lose 5–0. The club win their first ever League championship in 1972, meaning a European Cup campaign the following year. They go through to the semi-finals against Juventus. Unfortunately, against Longson's advice, Clough uses his best squad in the last match before the semifinal, against Leeds, purely out of pride and determination to beat Revie. They suffer injuries and Billy Bremner (Stephen Graham) sarcastically wishes Clough well for the semifinal. Juventus defeat them 3-1, and Clough publicly lambasts Longson.Taylor then suffers a heart attack, and Clough tries to secure his position by offering his and Taylor's resignations in a protest against the chairman's unwillingness to fund further signings. He is outraged when the directors accept their resignations and ban them from entering the Baseball Ground again (although Clough later sneaks in as a supporter). Derby fans' protests raise Clough's hopes of being reinstated, and he is backed by the majority of his players as well, but former player Dave Mackay is appointed manager instead. Derby fans quickly lose interest and Clough loses all hope of getting his job back. He and Taylor are then offered jobs at Brighton & Hove Albion. They agree to take the jobs after taking an all-expenses-paid holiday in Majorca. During the holiday that summer, Clough agrees to take control of Leeds after being approached by their representative. Taylor, however, argues the case for staying at Brighton, and after a bitter quarrel, the two go their separate ways. Back in the storyline's "present”: Clough alienates his players in their first training session, first by telling them that they can throw away any awards they have won because they "never won any of them fairly", and then making them start with a 7-a-side game, which Bremner points out Revie never made them do. Clough reminds them that he is not Revie and threatens a severe punishment for any player who mentions the former manager's name or methods again. The season starts with a Charity Shield match against FA Cup winners Liverpool at Wembley, which is widely anticipated as both the final match of Liverpool manager Bill Shankly and Clough's debut as Leeds manager. Unfortunately, the event is marred when Leeds's captain Billy Bremner gets into a fight with Kevin Keegan. Both are sent off, and in turn throw their shirts off and walk off the pitch bare-chested in defiance. Leeds lose the match, and Bremner is given a two-month suspension from football, forcing Leeds to start the season without their influential captain. As a result, Leeds suffer a horrendous start to the season and are in danger of relegation only one season after winning the title. After Bremner and the players air their grievances to the board, the club terminates Clough's contract after just 44 days - though he forces them to pay an enormous severance package. Afterwards, Clough agrees to do a final interview with Yorkshire Television, but finds Revie there to confront him, bringing the two face to face at last. Clough accuses Revie of being 'cold-hearted' and 'fundamentally dishonest', both as a person and a football manager, and Revie in turn brands Clough as 'inflexible and egocentric'. Clough brings up the incident in the 1968 FA Cup, and Revie claims to have not known who the rookie manager was at the time (a doubtful claim considering that Revie was known for meticulously researching every opponent his team faced). After the interview, Clough drives down to Brighton to patch things up with Taylor. It involves Clough literally on his knees, grovelling at Taylor's dictation, and they are reconciled. In the film's epilogue, the audience is told that Don Revie "failed as England manager", and afterwards never worked in football in his home country again, spending the rest of his career working in the Middle East, where he was accused of financial mismanagement. Brian Clough and Peter Taylor, meanwhile, reunited at the "small, provincial club" Nottingham Forest, where they repeated their prior achievements with Derby by getting them promoted to the First Division and then winning the title. They went on to better both Revie and their own spell at Derby by winning two European Cups in succession, in 1979 and 1980. The film ends with the caption: "Brian Clough remains the greatest manager the England team never had." | The_Damned_United |
[
"EXT. SAWYER'S BACKYARD--DAWN Elegiac music murmurs as three female and barefoot PAIRS OF LEGS in skirts break from tableau to gently engage in Croquet. A blue mallet hits a blue ball through a wicket, a green mallet knocks a green ball, and a yellow mallet pushes forward a yellow ball, all in enticing syncopation. Suddenly a red ball rockets through the dew covered grass and hits the green ball. The LEGS all stop moving as a FOURTH PAIR OF LEGS, this one in stylish shoes and stockings, marches to the red ball and steps on it. A red mallet is brought down hard on the red ball causing the adjacent green ball to thunder out of view. The Pair of Legs manuevering the green ball departs. This process of elimination is grimly repeated with the yellow ball and yet again with the blue ball. However, when the BLUE MALLETED PLAYER makes her sad exit, the viewer's viewpoint glides along with this particular Pair of Legs. A red ball whizzes by. The Legs stop. Another red ball malevolently sails past the Legs. Then yet another red ball. A fourth red ball makes brutal contact with the Legs causing the Player to fall to her knees and into the frame. The Player is VERONICA SAWYER.",
"INT. VERONICA'S BEDROOM--DAY VERONICA SAWYER, a sullen seventeen year old beauty, lies atop her bed dressed in a chic but understated ensemble, her eyes glazed open in a morning reverie. She blows up at her bangs then slides off her bed, launching into voice - over narration over the empty bed. VERONICA -LRB- V.O. -RRB- Heather told me she teaches people Real Life.",
"INT. HIGH SCHOOL HALLWAY--DAY Continuing her narration, VERONICA glides through a bustling high school hallway with a frozen smile. VERONICA -LRB- V.O. -RRB- She said Real Life sucks Losers dry. If you want to fuck with the eagles, you have to learn to fly.",
"INT. HALLWAY OUTSIDE CAFETERIA--DAY With her back turned to the viewer, VERONICA stands at the outskirts of the cafeteria entrance. The viewer's viewpoint approaches and finally curls around VERONICA to reveal that she is writing in a diary, wearing a monocle. VERONICA -LRB- V.O. -RRB- I said so you teach people how to spread their wings and fly. She said Yes. THE DIARY PAGE VERONICA'S pen sways across the diary page forming the words echoed by her voice - over. VERONICA -LRB- V.O. -RRB- I said You're Beautiful. A sudden off - screen bark from HEATHER MCNAMARA causes the pen to recklessly rocket across the written words. HEATHER MCNAMARA -LRB- O.S. -RRB- God, come on Veronica! VERONICA coolly pops the monocle from her eye before angrily addressing the amusingly robust, conventionally beautiful, trendily coiffed HEATHER MCNAMARA. VERONICA What's your damage, Heather? You ruined my. HEATHER MCNAMARA God, I'm so sure. Do n't blame me, blame Heather. She told me to haul your ass into the caf pronto. Back me up, Heather. From behind HEATHER MCNAMARA emerges a similarly trendily accessorized but noticeably more inhibited waif, HEATHER DUKE. She is clutching a tattered copy of `` The Catcher in the Rye.'' HEATHER DUKE Yeah, she really wants to talk to you. VERONICA Okay, I'm going, I'm going. Jesus.",
"INT. INSIDE THE CAFETERIA--DAY VERONICA, flanked by HEATHER MCNAMARA and HEATHER DUKE, strides into the lunchroom pandemonium. The stunning HEATHER CHANDLER turns from the tray before her toward her incoming comrades. She is dressed stylishly and expensively but not trendily ; her hair, dramatically tied back. VERONICA -LRB- submissively. -RRB- Hello, Heather. Pulling out a crumpled piece of yellow paper, HEATHER CHANDLER smiles. The content of what Heather says is consistently offensive but the tone in which she speaks is sexy, dangerous, and mysterious. She is a mythic bitch. HEATHER CHANDLER Veronica. Finally. Got a paper of Kurt Kelly's. I need you to forge a hot and horny but realistically low - key note in Kurt's handwriting and we'll slip it into Martha Dumptruck's lunch tray. VERONICA Shit, Heather. I do n't have anything against Martha Dunnstock. HEATHER CHANDLER You do n't have anything for her either. Come on, it'll be Very. The note'll give her shower nozzle masturbation material for weeks. VERONICA I'll think about it. HEATHER CHANDLER -LRB- looking off. -RRB- Do n't think. POV ON CAFETERIA LINE Unattractive and quite overweight, MARTHA DUNNSTOCK/DUMPTRUCK guiltily plops two jellos on her tray and clunks forward in line. CAFETERIA ENTRANCE VERONICA's arm, seemingly involuntary, latches onto the outstretched pen. HEATHER CHANDLER Splendid. I'll dictate. Veronica needs something to write on. Heather, bend over. Both HEATHER MCNAMARA and HEATHER DUKE bend over. HEATHER CHANDLER violently laughs. HEATHER CHANDLER How nice. Two assholes : no waiting. HEATHER MCNAMARA and HEATHER DUKE stand erect, embarrassed. HEATHER CHANDLER Heather Duke, back down. VERONICA scurries to the contorting HEATHER DUKE. HEATHER CHANDLER Dear Martha, you're so sweet. THE JOCKS' TABLE The traditionally handsome KURT KELLY and the massive RAM sit with other typical Jocks taking in VERONICA and the HEATHERS. KURT It'd be so righteous to be in a Veronica Sawyer - Heather Chandler sandwich. Punch it in, Ram. KURT and RAM raise their right arms and slam their fists together. RAM Hell yes. I wan na set a Heather on my Johnson and just start spinning her like a fucking pinwheel. RAM makes a frantic spinning motion. CAFETERIA ENTRANCE In slow motion, VERONICA finishes the note and rises up along with her makeshift desk, HEATHER DUKE. HEATHER MCNAMARA hawkishly gazes toward the cafeteria line. VERONICA hands the note to an impressed HEATHER CHANDLER. MARTHA DUNNSTOCK/DUMPTRUCK pays the CASHIER and then, grasping her lunch tray with both hands, moves toward VERONICA and the HEATHERS. HEATHER MCNAMARA excitedly tugs on HEATHER CHANDLER'S arm as MARTHA approaches. With a tranquil smile, HEATHER CHANDLER passes the note to her frantic disciple. In a self - consciously clandestine manner, HEATHER MCNAMARA saunters past MARTHA then wields around to sneakily tuck the note onto MARTHA's tray. The slow motion concludes as their plump victim shuffles past a magnetic preppie PETER DAWSON and a thin, black, bespectacled DENNIS. The guys are working a large stand which has a cashbox reading THE FOODLESS FUND and a banner reading WESTERBURG FEEDS THE WORLD. PETER Come on people, let's give that leftover lunch money to people without lunches! Those tater tots you threw away today are a delicacy in Africa! They're Thanksgiving dinner! HEATHERS' TABLE The Girls reach their table with HEATHER MCNAMARA and HEATHER DUKE sitting themselves down first. HEATHER MCNAMARA -LRB- looking to the stand. -RRB- God, are n't they fed yet? Do they even have Thanksgiving in Africa? VERONICA -LRB- low key sarcasm. -RRB- Oh sure, Pilgrims, Indians, tater tots ; it's a real party continent. HEATHER CHANDLER draws up a clipboard. HEATHER CHANDLER Sawyer. Guess what today is? VERONICA Ouch. the lunchtime poll. So what's the question? HEATHER DUKE Yeah, so what's the question? HEATHER CHANDLER God - damn Heather, you were with me in Study Hall when I thought of it. Such a pillowcase. HEATHER DUKE -LRB- hurt. -RRB- I forgot. ANOTHER ANGLE VERONICA and HEATHER CHANDLER briskly bop away from the table as a wounded HEATHER DUKE retreats to The Catcher in the Rye. VERONICA Hey, this question would n't be that bizarro thing you were babbling about over the phone last. HEATHER CHANDLER Shut up, it is. I told Dennis if he gave me another topic that was political, I'd spew burrito chunks. VERONICA shakes her head and looks off. She's suddenly captured by the sight of a JAMES DEANESQUE GUY sitting stark in a long, tan gunslinger coat, behind a Rebel Without a Cause lunchbox. They make eye contact. Transfixed, VERONICA crashes into seated BETTY FINN, a slightly overweight, unstylishly dressed sweetie surrounded by clones. BETTY Sorry Veronica. VERONICA Betty Finn. Gosh. VERONICA crouches down, embarrassed and rueful. VERONICA I'm really sorry I could n't make it to your birthday party last month. BETTY That's okay. Your Mom said you had a big date. Heck, I'd probably skip my own birthday party for a date. VERONICA gently laughs at BETTY's innocent awe. VERONICA Do n't say that. BETTY Oh Ronnie, you have to look at what I dug up the other day. BETTY pulls from her purse a picture showing a YOUNG BETTY FINN AND VERONICA SAWYER, arm - in - arm, dressed in Halloween costumes : BETTY is an angel, VERONICA is a witch. VERONICA glows at the photo until HEATHER CHANDLER tows VERONICA away causing the picture to fall face up on the floor. ANOTHER ANGLE VERONICA I was talking with someone! HEATHER CHANDLER Color me impressed. I thought you grew out of Betty Finn. THE COUNTRY CLUB KIDS' TABLE A coolly coed cabal of Country Club Kids icily eye the approaching VERONICA and HEATHER CHANDLER. Country Club kid COUTRNEY sourly speaks out. COURTNEY Oh great. Here comes Heather. KEITH Shit. MARTHA DUNNSTOCK/DUMPTRUCK'S TABLE Alone at a table in the Siberia of the cafeteria, MARTHA finishes a forkful of chicken. She spears her plate again and brings the fork up. The note is wedged inside it. THE COUNTRY CLUB KIDS' TABLE HEATHER CHANDLER, Veronica in tow, hits the Country Club Kids with a salvo of false pleasantness, capped by a scowling smile. HEATHER CHANDLER Hi Courtney. Love your blouse. Ooh, let me snare a tater. COURTNEY expresses elation in spite of herself as HEATHER CHANDLER delicately takes a tot and turns around to face VERONICA. HEATHER CHANDLER inserts her finger in her mouth doing the `` induce - vomiting'' signal before devouring the tot and turning back around. COURTNEY Thanks. I just got it last night at the Limited. Totally blew my allowance. HEATHER CHANDLER raises her clipboard. VERONICA closes her eyes and shakes her head with a half - smile. HEATHER CHANDLER That's pretty very. Now check this out. You win five million dollars from Publishers Sweepstakes, but on the same day what's - his - face gives you the check, aliens land on earth and say they're going to blow up the world in two days. What would you do? A stunned tableau ; until Country Club Kid KEITH speaks. KEITH That's easy. I'd just slide that wad over to my father. He's like one of the top brokers in the state. VERONICA Wake up. In two days, Earth's going up like a Roman Candle. Crab Nebula City. KEITH Man, in two days, my dad could double my money. Triple it. COURTNEY If I got that money, I'd give it all to the Homeless. Every cent. VERONICA You're beautiful. THE FOODLESS FUND STAND PETER reaches into the Foodless Fund Box and takes some bills. PETER Dennis, my man, run over to Mickey D.'s and get me a Big Mac and some fries. DENNIS But that's the Foodless Fund money. PETER Hey, even Bob Geldof's got to eat. If it makes you feel better, bag the fries, and nab yourself an Apple Pie. CAFETERIA THOROUGHFARE HEATHER CHANDLER drags VERONICA down a cafeteria lane. HEATHER CHANDLER If you're going to openly be a bitch. VERONICA -LRB- submissive. -RRB- I'm sorry, it's just why ca n't we talk to different kinds of people? HEATHER CHANDLER Fuck me gently with a chainsaw. Do I look like Mother Theresa? If I did, I probably would n't mind talking to the Geek Squad. She points to a table of unfashionably dressed and coiffed students. Some wear glasses, some wear braces, some wear both. THE GEEKS' TABLE The GEEKS react to being pointed at. Their boney leader RODNEY splatters milk over himself. RODNEY Did you see that? Heather Number One looked right at us. BIG CYNIC It must be love. CAFETERIA THOROUGHFARE VERONICA confronts HEATHER CHANDLER. VERONICA Does n't it bother you that everyone in the school thinks you're a piranha? HEATHER CHANDLER Like I give a shit. They all want me, as a friend or a fuck. I'm worshipped at Westerburg and I'm only a Junior. VERONICA Pretend you're a missionary saving a colony of cootie victims. HEATHER CHANDLER -LRB- giving in. -RRB- Whatever. I do n't believe this. We're going to a party at Remington University tonight and we're brushing up our conversation skills with the scum of the school. MARTHA DUNNSTOCK/DUMPTRUCK'S TABLE Her sweaty lips moving rapidly, MARTHA anxiously reads the note. THE GEEKS' TABLE The nervous GEEKS fidget and roughhouse each other in an involuntarily immature reaction to their beautiful interviewers. GEEK WITH BRACES No seriously, I'd probably go to Egypt. With a girl. BIG CYNIC Taking a hooker to the Pyramids on the last day of Mankind. You sentimental old fart. BRACES Geez, forget it. VERONICA What about you Rodney? RODNEY -LRB- quietly to the others. -RRB- I told you she knew my name. -LRB- beat of contemplation. -RRB- I'd change my life. New clothes. New haircut. New house. New home. HEATHER CHANDLER How sad! Blowing all your cash on two days of trying to be hip. ANOTHER ANGLE VERONICA tugs HEATHER CHANDLER away from the table. VERONICA If you're going to openly be a bitch. As HEATHER CHANDLER continues to guffaw, VERONICA again catches sight of the JAMES DEANESQUE GUY. He wraps his fingers around an egg and unfolds them back. The egg is gone. He smiles. VERONICA smiles back. Her trance is broken by a boisterous HEATHER MCNAMARA and HEATHER DUKE who careen into the two pollsters. HEATHER MCNAMARA God, scan on Martha Dumptruck. POV ON MARTHA MARTHA looks up from the note to the JOCKS' table and KURT KELLY, then flustered, back down at the note. HEATHER CHANDLER This is the part I hate. The waiting. I'd say we're like twenty minutes from major humiliation. Come on, Veronica. HEATHER CHANDLER floats off. A disturbed VERONICA takes a moment to react. HEATHER CHANDLER Veronica? VERONICA follows the leader. She calls out. VERONICA Damn.",
"EXT. SCHOOL PARKING LOT--DAY VERONICA and HEATHER CHANDLER march into the school parking lot toward four HEAVY METALERS -LRB- one female -RRB- hanging out on a car hood. The girls' conversation is heard in voice - over. VERONICA -LRB- V.O. -RRB-. you Heather. Deep down all teenagers are the same. Did n't you see The Breakfast Club?",
"INT. CAFETERIA--BETTY FINN'S TABLE--DAY VERONICA and HEATHER CHANDLER set themselves down with BETTY FINN and her LOOK - ALIKE FRIENDS. HEATHER CHANDLER -LRB- V.O. -RRB- Look at me. I look great. I'm the girl in the commercials and the videos. JOCKS' TABLE VERONICA and HEATHER CHANDLER warily stand at the outskirts of the JOCKS' bastion of vulgarity. HEATHER CHANDLER -LRB- V.O. -RRB- I'm the blonde in the bikini on the horse holding a Pepsi can.",
"INT. STONERS' HALLWAY--DAY In a dark, smoky hallway, VERONICA and HEATHER CHANDLER cough toward a batch of STONERS in tattered forms of dress. HEATHER CHANDLER -LRB- V.O. -RRB- I'm the princess being spanked on the throne by Billy Idol's guitarist's guitar.",
"INT. THE FOODLESS FUND STAND--DAY VERONICA and HEATHER CHANDLER accost PETER DAWSON at the Foodless Fund stand. HEATHER CHANDLER -LRB- V.O. -RRB- What do I get out of being friends with losers. I give them a piece of a winner and they stain me with loserness.",
"EXT. PARKING LOT--DAY Heavy Metaler MATT grins. MATT You get five million dollars but some Martians are going to zap you in two days. You hear that, Clyde? That's got to be the most spooky - ass question I've ever heard.",
"INT. CAFETERIA--BETTY FINN'S TABLE--DAY BETTY FINN daintily peeps up. BETTY FINN I think we should use the money for an End - of - the - world get - together. We could invite guys. JOCKS' TABLE RAM sputters out some chicken to bellow. RAM I'd pay Madonna one million dollars to ride my face like the Kentucky Derby. She should be paying me, though.",
"INT. STONERS' HALLWAY--DAY A FEMALE STONER IN ARMY JACKET starts to speak, then stops. FEMALE STONER IN ARMY JACKET What?",
"INT. CAFETERIA--THE FOODLESS FUND STAND--DAY PETER DAWSON lashes out. PETER DAWSON This is important. With taxes, I'd be only getting 3.5 million and.",
"EXT. PARKING LOT--DAY Heavy Metaler CLYDE turns from his friend MATT. CLYDE If you want a good way to go out before the aliens land, get a lion from the zoo. Put a remote control bomb up its butt. When the lion starts tearing you up, press the bomb button. You and the lion die like as one. Two Heavy Metal lovers, JACKIE and STEVE, intertwined against the windshield blankly respond. JACKIE AND STEVE Cool.",
"INT. CAFETERIA THOROUGHFARE--DAY VERONICA and HEATHER CHANDLER continue their conversation chugging through another busy cafeteria lane. HEATHER CHANDLER Just imagine somebody like your quasi - fat, goody - good friend Betty Finn doing a Crest commercial. No one would buy Crest. VERONICA Do n't tell me. Crest would be stained with loserness. HEATHER CHANDLER Yeah, and who wants that on their teeth? HEATHER MCNAMARA and HEATHER DUKE burst back between them. HEATHER MCNAMARA Oh God, here we go. POV ON MARTHA DUNNSTOCK/DUMPTRUCK MARTHA, with awkward apprehension, stumbles toward KURT and the JOCKS. VERONICA and the HEATHERS stop breathing. MARTHA mumbles something unintelligible from where the girls stand. KURT'S head detonates with a terrifying cackle. MARTHA flees the cafeteria in horror. VERONICA spins away from her mirthful friends in disgust and makes eye contact with the similarly disturbed JAMES DEANESQUE GUY. VERONICA lurches away. She brakes against the Foodless Fund stand where PETER DAWSON is hollering away. PETER A dime increases the time! A buck brings good luck! Hi Veronica. A five keeps the neighborhood alive! A ten and you die without sen! HEATHER CHANDLER wings a twenty dollar bill into the cashbox. HEATHER CHANDLER -LRB- to Veronica. -RRB- You wanted to become a member of the most powerful clique in the school. If I was n't already the head of it, I'd want the same thing. VERONICA I'm sorry? What are you oozing about? HEATHER CHANDLER That episode with the note back there was for all of us to enjoy, but you seem determined to ruin my day. VERONICA -LRB- slapping her knee. -RRB- We made a girl want to consider suicide. What a scream. What a jest. HEATHER CHANDLER Come on you jerk. You know you used to have a sense of humor.",
"INT. GIRLS BATHROOM--DAY Combing their hair in the bathroom mirror, the HEATHERS speak in comically whining - and - pathetic imitations of Martha Dumptruck as VERONICA shakes her head with a half - smile. HEATHER CHANDLER Ku - urt, let's pa - arty. HEATHER MCNAMARA Ku - urt, I ne - ed an orgasm. HEATHER DUKE's gentle off - screen voice slices in. HEATHER DUKE -LRB- O.S. -RRB- Veronica, could you come back here? HEATHER CHANDLER AND HEATHER MCNAMARA Gross! VERONICA A true friend's work is never done. VERONICA reveals her right index finger is cut noticeably short, then walks over to the stalls. HEATHER CHANDLER Grow up, Heather. Bulimia's so' 86. HEATHER MCNAMARA Color me nauseous. THE STALL VERONICA stands in a tight stall with an ashamed HEATHER DUKE. VERONICA Maybe you should see a doctor. HEATHER DUKE Yeah, maybe. HEATHER CHANDLER -LRB- O.S. -RRB- Come on Heather. We want another look at today's lunch. VERONICA Geez, do n't listen to them. HEATHER MCNAMARA -LRB- O.S. -RRB- Did she have the pie or the ice cream for dessert? -LRB- like a game show host. -RRB- And the answer is. HEATHER DUKE holds up her copy of The Catcher in the Rye and makes a bizarrely defiant smile. HEATHER DUKE Yeah, you know Holden Caulfield in the Catcher in the Rye would n't put up with their bogus nonsense. VERONICA Well, you better move Holden out of the way or he's going to get spewed. HEATHER DUKE puts down her book and opens her mouth. VERONICA sticks her finger in. CAFETERIA ENTRANCE A gnarly melange of chicken and potatoes is scraped off a plate into a cafeteria trashcan as VERONICA and the HEATHERS stroll by outside. VERONICA pauses to peer in at the JAMES DEANESQUE GUY. HEATHER MCNAMARA God Veronica, drool much? His name's Jason Dean. He's in my American History. VERONICA Give me the clipboard. As VERONICA walks off, HEATHER MCNAMARA oinks out some amusing sexual noises. CAFETERIA/JASON DEAN'S TABLE VERONICA saunters to JASON DEAN. VERONICA Hello Jason Dean. JASON Greetings and salutations. Call me J.D. Are you a Heather? VERONICA No, a Veronica. Sawyer. This may seem like a stupid question. J.D. There are no stupid questions. VERONICA If you inherit five million dollars the same day aliens tell the earth they're blowing us up in two days, what would you do? J.D. -LRB- suavely. -RRB- That's the stupidest question I've ever heard. JOCKS' TABLE The JOCKS witness VERONICA and J.D. RAM Who does that new kid think he is with that coat? Bo Diddley? KURT Veronica is into his act. No doubt. RAM Let's kick his ass. KURT Shit, we're seniors, Ram. Too old for that crap. Let's give him a scare though. J.D.'S TABLE An intrigued J.D. laconically answers the question. J.D. Probably just row on out to the middle of a lake. Bring along my sax, some tequila, and some Bach. VERONICA How very. HEATHER CHANDLER breaks VERONICA's daze of admiration. HEATHER CHANDLER Come on. VERONICA -LRB- to J.D. -RRB- Later. J.D. Definitely. KURT and RAM move into the exiting VERONICA's place. RAM sticks his finger through a piece of pie on J.D.'s plate. RAM You going to eat this? KURT What did your boyfriend say when you told him you were moving to Sherwood, Ohio? RAM Answer him dick! KURT Hey Ram, does n't this cafeteria have a No Fags Allowed Rule? J.D. It seems to have an open door policy for assholes though, does n't it? KURT What did you say dickweed? J.D. I'll repeat myself. J.D. gracefully stands, reaches into his coat, and pulls out a.357 Magnum. He fires twice at the viewer.",
"EXT. THE SAWYER BACKYARD--DAY Croquet wickets have been set up in standard form. VERONICA and the HEATHERS stand at various positions in the yard holding different colored mallets next to matching balls. HEATHER CHANDLER knocks her ball through the middle wicket. HEATHER MCNAMARA God, they wo n't expell him. They'll just suspend him for a week or something. HEATHER CHANDLER He used a real gun. They should throw his ass in jail. VERONICA No way. He used blanks. All J.D. really did was ruin two pairs of pants. Maybe not even that. -LRB- giggling. -RRB- Can you bleach out urine stains? HEATHER CHANDLER knocks her red ball into HEATHER DUKE'S green one. HEATHER CHANDLER J.D? You seem pretty amused. I thought you were giving up on high school guys. VERONICA Never say never. HEATHER DUKE What are you going to do, Heather? Take the two shots or send me out? The Girls look to the doelike HEATHER DUKE with incredulous faces. HEATHER CHANDLER Did you have a brain tumor for breakfast? First you ask if you can be red, knowing that I'm always red. HEATHER CHANDLER places her foot on her red ball. She swings her mallet down hard on the red ball sending the adjacent green one rocketing into a flower bed. HEATHER DUKE Shit. HEATHER CHANDLER's next shot falls short of the next wicket. HEATHER CHANDLER -LRB- to HEATHER DUKE. -RRB- Damn. It's your turn Heather. HEATHER DUKE No, it's Heather's turn. HEATHER MCNAMARA hits her ball through a wicket and squeals. HEATHER CHANDLER Anyway, I can say never to high school. I've got David. HEATHER MCNAMARA King David. HEATHER CHANDLER Maybe when you hit maturity you'll understand the diff between a Remington University man like David and a Westerburg boy like Ram `` Wham - bam - thank - you - maam'' Sweeney. HEATHER MCNAMARA misses her next shot. HEATHER MCNAMARA Ram's sweet. Yo Heather, you're up. HEATHER DUKE tries to navigate a shot from the flower bed. HEATHER MCNAMARA No way, no day! VERONICA Give it up girl! As her friends howl, HEATHER DUKE slams her ball out of the flower bed. The ball bounces off a tree and amazingly goes through a wicket. HEATHER DUKE squeals in delight. VERONICA Holy shit! HEATHER MCNAMARA God, that was unbelievable! HEATHER CHANDLER What. A. Shot. HEATHER DUKE's next shot falls short of the next wicket. VERONICA begins setting up her shot. HEATHER MCNAMARA So tonight's the night. Are you two excited? HEATHER CHANDLER I'm giving Veronica her shot. Her first Remington Party. Blow it tonight girl and it's keggers with kids all next year. VERONICA -LRB- missing her shot. -RRB- Crap. So who's this Brad guy I've been set up with? Witty and urbane pre - lawyer or albino accountant? HEATHER CHANDLER Do n't worry. David says he's very so he's very. HEATHER CHANDLER again hits her ball into HEATHER DUKE'S. HEATHER DUKE Why? HEATHER CHANDLER Why not? HEATHER CHANDLER slams HEATHER DUKE's ball back into the flower bed. VERONICA'S MOM calls out the back screen door. MOM Heather, your Mother's here. HEATHER MCNAMARA Come on whoever wants a ride. As the HEATHERS head into the house, VERONICA picks up HEATHER DUKE'S ball and exuberantly throws it back toward the wickets. Veronica's MOM, carrying a tray of pate, and DAD, carrying a Robert Ludlum book, place themselves around a patio table. DAD Take a break Veronica, sit down. VERONICA All right. VERONICA sinks into the empty middle deck chair. DAD So what was the first week of Spring Vacation withdrawl like? VERONICA I do n't know, it was okay, I guess. MOM Hey kid, is n't the prom coming up? VERONICA I guess. MOM Any contestants worth mentioning? VERONICA Maybe. There's kind of a dark horse now in the running. DAD -LRB- looking up. -RRB- Goddamn. Will somebody please tell me why I read this spy crap. VERONICA -LRB- smiling. -RRB- Because you're an idiot. DAD Oh yeah, that's it. DAD immediately returns to reading with a wide grin. MOM -LRB- shaking her head. -RRB- You two. VERONICA Great pate, but I'm going to have to motor if I want to be ready for the party tonight.",
"EXT. OUTSIDE 7-11--NIGHT A Volkswagen Cabriolet pulls up in front of a 7 - 11 with HEATHER CHANDLER at the wheel. VERONICA pops out of the car, into the store. HEATHER CHANDLER clamors to her. HEATHER CHANDLER Corn nuts!",
"INT. 7-11--NIGHT Stylishly dressed - to - massacre, VERONICA reaches out to a bag of Corn Nuts as J.D.'s off - screen voice disarms her. J.D. -LRB- O.S. -RRB- You going to pull a Big Gulp with that? VERONICA No, but if you're nice I'll let you buy me a Slurpee. You know your 7 - 11speak pretty well. J.D. I've been moved around all my life ; Dallas, Baton Rouge, Vegas, Sherwood Ohio, there's always a 7 - 11. Any town, any time, I can pop a Ham and Cheese in the microwave and feast on a Big Wheel. Keeps me sane. VERONICA Really? That thing in the caf today was pretty severe. J.D. The extreme always makes an impression, but you're right, it was severe. Did you say a Cherry or Coke Slurpee? VERONICA I did n't. Cherry. VERONICA smiles at her Coolness. J.D. returns the smile.",
"EXT. 7-11 PARKING LOT--NIGHT VERONICA and J.D. slurp by J.D.'s ferocious motorcycle. VERONICA Great bike. HEATHER CHANDLER sounds her car horn with a grimace. VERONICA glares at her then turns back to J.D. J.D. Just a humble perk from my Dad's Construction company or should I say Deconstruction company? VERONICA I do n't know. Should you? J.D. My father seems to enjoy tearing things down more than putting things up. Seen the commerical? `` Bringing every State to a Higher State.'' VERONICA Time out. Jason Dean. Your Pop's Big Bud Dean Construction. Must be rough. Moving place to place. J.D. Everybody's life's got static. Is your life perfect? VERONICA -LRB- gently joking. -RRB- Sure, I'm on my way to a party at Remington University. VERONICA grows serious as the car horn sounds again. VERONICA It's not perfect. I do n't really like my friends. J.D. I do n't really like your friends either. VERONICA It's like they're just people I work with and our job is being popular and shit. J.D. Maybe it's time for a vacation. The car horn blares again.",
"INT. DORMITORY ROOM--NIGHT DAVID, Heather Chandler's fine looking college beau, leads VERONICA and HEATHER CHANDLER into a cramped, eclectically tacky dorm room. Music pounds the door. The semi - handsome BRAD chats atop a desk with BRAD'S FRIEND. DAVID Throw your coats on the bed, girls. BRAD That exam was so bogus. BRAD'S FRIEND Oh I know. Which exam? DAVID Veronica, this is Brad. BRAD Excellent. Did you girls bring your partying slippers? HEATHER CHANDLER Yeah, let's party. DAVID She loves to party. As they head out the door, BRAD whispers something in BRAD'S FRIEND's ear causing the pair to snarl off a laugh.",
"INT. VERONICA'S BEDROOM--NIGHT The viewer is taken back and forth from a shattered post - party VERONICA to the traumatic dormitory party itself. The sobbing monocoled VERONICA writes at her desk. VERONICA -LRB- V.O. -RRB- Dear Diary, I want to kill and you have to believe. damn pen! VERONICA frenziedly scribbles, trying to get her pen to write. She throws the pen across the room and pulls out another. VERONICA -LRB- V.O. -RRB- You have to believe it's for more than selfish reasons. More than a spoke in my menstrual cycle. You have to believe me.",
"INT. DORMITORY HALLWAY--NIGHT The chaotic hallway rumbles with beer cups and loud music. VERONICA and HEATHER CHANDLER's stylish garb clashes with the laid - back dress of the COLLEGE STUDENTS. BRAD anxiously hands VERONICA a cup of beer as he watches DAVID and HEATHER CHANDLER move through a staircase door. BRAD So, are you a cheerleader? VERONICA -LRB- dealing with a jerk. -RRB- No, not at all. BRAD You're pretty enough to be one. VERONICA Gee, thanks. BRAD It's so great to be able to talk to a girl and not have to ask `` What's your major?'' I hate that. They uncomfortably sip their beers. A deadly pause ensues. BRAD So when you go to college, what kind of subjects do you think you'll study?",
"INT. DAVID'S DORM ROOM HEATHER CHANDLER and DAVID sit on the latter's bed, surrounded by a PC and a series of obnoxious Ferrari posters. They kiss. DAVID doing most of the work. HEATHER CHANDLER Come on David, let's go back to the party. DAVID -LRB- unzipping his pants. -RRB- Do n't worry, we will. You're just so hot tonight. I ca n't control myself. DAVID pushes HEATHER CHANDLER's head down.",
"INT. DORM HALLWAY--NIGHT BRAD has given up on conversation. BRAD So what do you say we head up to my room and have a real party. I've got the best Windham Hill C.D. collection in the dorm. BRAD'S FRIEND approaches before VERONICA can show disgust. BRAD'S FRIEND Brad - ley, Hennesey's looking for you. He says he owes you for blow and he just got some product himself. BRAD You're kidding. That pecker actually scored something on his own? BRAD'S FRIEND -LRB- ambling off. -RRB- He's in Sheila's room, big guy. Party up. BRAD Excellent. Veronica, ever do cocaine? VERONICA Ever since Phil Collins did that anti - drug thing on MTV I refuse everything. BRAD Phil Collins? Are you sure he is n't drinking and driving? VERONICA Jeez, right, then why do n't I do drugs? BRAD Right. Hey, do n't run away now. With a wink, BRAD squirms off. VERONICA dashes into the room with the coats.",
"INT. VERONICA'S BEDROOM--NIGHT VERONICA rampages through her diary. VERONICA -LRB- V.O. -RRB- Seventeen is the last year Mom buys the Twinkies. When you make the jump from working weekends at Pizza Hut to thirty years at I.B.M., you lose something. Not innocence - power. J.F.K. the cat jumps onto the Diary. VERONICA J.F.K! VERONICA flings the screeching cat off and continues. VERONICA -LRB- V.O. -RRB- Christ, I ca n't explain it, but I'm allowed an understanding that my parents and these Remington University assholes have chosen to ignore. I understand I must stop Heather.",
"INT. DORM \"COAT\" ROOM--NIGHT Panting, VERONICA collapses at a desk in the `` coat'' room. She draws a Vodka bottle from a stockpile of liquor and pours some in her beer cup, slouching down in her chair. VERONICA lights a match from a 7 - 11 matchbook. She eerily brings her hand closer and closer to the fire until it touches. With an eek of pain, she tosses the match away into the Vodka cup, setting it afire. VERONICA laughs to herself before tossing the flaming cup out the window.",
"EXT. ALLEY OUTSIDE THE DORMITORY--NIGHT The flaming cup lands in a large rusted garbage can filled with other cups and various refuse. The flames spread.",
"INT. DORMITORY BATHROOM--NIGHT A dejected HEATHER CHANDLER walks into a multi - mirror - and - sink bathroom. Using a glass off one of the sinks, she gargles some water and then spits it at her own reflection.",
"INT. THE DORM \"COAT\" ROOM--NIGHT VERONICA closes the window as BRAD opens the door. BRAD How's my little cheerleader? Now I know everyone at your high school is n't so uptight, come on. VERONICA Hey really, I do n't feel so great. BRAD Let's do it on the coats. It'll be excellent. BRAD plops down onto the bed of coats and begins bouncing. VERONICA I have a little prepared speech I give when my suitor wants more than I'd like to give him. Gee Blank, I had a nice. BRAD Save the speeches for Malcom X. I just wan na get laid. VERONICA You do n't deserve my fucking speech! VERONICA yanks up her coat from beneath BRAD on the bed causing him to slide off onto the floor.",
"INT. DORM HALLWAY--NIGHT VERONICA storms into the hallway but slows down when she sees she's attracting attention. She notices an incited BRAD slither to the smiling DAVID who chats with some STUDENTS, HEATHER CHANDLER on his arm. BRAD causes DAVID's smile to ever - so - slightly diminish. DAVID whispers to HEATHER CHANDLER who proceeds to set down her beer and walk toward VERONICA.",
"EXT. DORMITORY ALLEY--NIGHT The fire in the trashcan is raging.",
"INT. DORM HALLWAY--NIGHT A steel faced HEATHER CHANDLER comes face - to - face with VERONICA. HEATHER CHANDLER What's your damage? Brad says you're being a real cooze. VERONICA Heather, I feel awful, like I'm going to throw up. Can we jam, please? HEATHER CHANDLER No. Hell no. VERONICA'S eyes fall shut in a near - faint. She flings herself down off - screen with some ugly wretching sounds.",
"INT. VERONICA'S BEDROOM--NIGHT VERONICA savagely scrawls in her diary, tears burning fierce. VERONICA -LRB- V.O. -RRB- Betty Finn was a true friend and I sold her out for a bunch of Swatchdogs and Diet Cokeheads. Killing Heather'd be like offing the Wicked Witch of the West. Or is it East? West! I sound like a psycho. Tomorrow I'll be kissing her aerobicized ass but tonight let me dream of a world without Heather. A world where I am free.",
"INT. DORM HALLWAY--NIGHT VERONICA rises into view with tinges of vomit on her mouth. A smile breaks across HEATHER CHANDLER's granite puss. VERONICA runs off as STUDENTS laugh in the background.",
"EXT. DORMITORY ALLEY--NIGHT VERONICA charges into the alley. She whips around to face a screeching HEATHER CHANDLER. In back of VERONICA, the trashcan bellows like Mt. Vesuvius. HEATHER CHANDLER You stupid cunt! VERONICA You goddamn bitch! The flickering flames cast HEATHER CHANDLER in a demonic light. HEATHER CHANDLER You were nothing before you met me! You were playing Barbies with Betty Finn! You were a Brownie, you were a Bluebird, you were a Girl Scout Cookie! I got you into a Remington Party! What's my thanks? It's on the hallway carpet. I get paid in puke! VERONICA Lick it up, baby. Lick. It. Up. HEATHER CHANDLER -LRB- totally in control. -RRB- Monday morning, you're history. I'll tell everyone about tonight. Transfer to Washington. Transfer to Jefferson. No one at Westerburg's going to let you play their reindeer games.",
"INT. VERONICA'S BEDROOM--NIGHT VERONICA flings her diary across the room where it hits the wall behind the stunning figure of J.D. VERONICA gasps. J.D. Dreadful etiquette. I apologize. VERONICA -LRB- exhaling deeply. -RRB- S'okay. J.D. I saw the croquet set - up in the back. Up for a match? VERONICA is simultaneously dismayed and exhilarated. She seems ready to burst out all her anxieties but instead. VERONICA Sure. But I'm Blue.",
"EXT. THE SAWYER BACKYARD--LATE NIGHT The viewer's viewpoint glides through the grass of Veronica's backyard uncovering combinations of wickets and articles of clothing. A pair of girls shoes and a pair of guys shoes rest together by the first wicket. J.D. -LRB- V.O. -RRB- Goddamn, no wonder you looked so mangled when I came through the window. Feminine socks and masculine socks lay crumpled by the next wicket. VERONICA -LRB- V.O. -RRB- I've always treated Heather's teen queen power plays as bullshit. As VERONICA quiveringly pauses, a stylish blouse and a rugged shirt are revealed mingling by another wicket. VERONICA -LRB- V.O. -RRB- But I'm really scared. Who am I going to eat lunch with on Monday? I sound like an Afterschool Special. The viewer's viewpoint moves to a dress and a pair of jeans resting side by side at another wicket. J.D. -LRB- V.O. -RRB- That was my first game of Strip Croquet, you know. I thank you. VERONICA -LRB- V.O. -RRB- You're welcome. It's a lot more interesting than just flinging off your clothes and boning away on the neighbor's swing set. VERONICA'S blue mallet has been staked into the ground. Her panties hang on one end, J.D.'s underwear hangs on the other. J.D. -LRB- O.S. -RRB- Well, I do n't know. There's something to be said for. Ouch! VERONICA and J.D. are finally revealed, entangled in an artful pose upon J.D.'s gunslinger coat. They warmly kiss. VERONICA breaks off to uneasily giggle. VERONICA What a night. J.D. gently bites in to VERONICA's neck. VERONICA grooves on it, closing her eyes tightly. VERONICA What a life. I almost moved into high school out of sixth grade because I was some genius. We all decided to chuck the idea because I'd have trouble making friends, blah - blah - blah. VERONICA slides her head down against J.D.'s chest and gracefully rests on his lap. Gently fighting slumber, she murmurs up to J.D., who showers her face with slow kisses. VERONICA Now blah - blah - blah is all I do. I use my grand I.Q. to figure out what gloss to wear and how to hit three keggers before curfew. Some genius. J.D. Heather Chandler is one bitch that deserves to die. VERONICA Killing her wo n't solve anything. J.D. A well - timed lightning bolt through her window and Monday morning, all the other heathers, shit, everybody would be cast fucking adrift. VERONICA Well then, I'll pray for rain. J.D. See the condoms in the grass over there. We killed tonight, Veronica. We murdered our baby. VERONICA Hey, it was good for me too, Sparky. J.D. Just saying it's not hard to end a life. VERONICA There's a big difference between the most popular girl in the school and dead sperm. They laugh. VERONICA maneuvers herself into a sitting position. J.D. I guess I do n't know what the hell I'm talking about. VERONICA I know exactly what the hell you're talking about and you're right, you do n't know what the hell you're talking about. Let's just grow up, be adults, and die. J.D. Good plan. VERONICA But before that, I'd like to see Heather Chandler puke her guts out.",
"INT. HEATHER CHANDLER'S BEDROOM--DAY HEATHER CHANDLER's bedroom is lushly and expensively furnished with a glass coffee table as an eye - catching centerpiece. HEATHER CHANDLER half - sleeps in twisted bedsheets as MRS. CHANDLER'S VOICE attacks through the door. MRS. CHANDLER -LRB- O.S. -RRB- We are leaving soon for your grandmother's. If you care to join us. HEATHER CHANDLER Bag that. MRS. CHANDLER -LRB- O.S. -RRB- Is that a `` No'' in your lingo? HEATHER CHANDLER gives the voice behind the door `` the finger.'' HEATHER CHANDLER Lingo this.",
"INT. THE CHANDLER KITCHEN--DAY The sound of a lock being jimmied is heard moments before VERONICA and J.D. burst through the door. VERONICA -LRB- quietly. -RRB- Trust me. She skips the Saturday morning trip to Grandma's even when she's not hungover. J.D. Then let's just concoct ourselves a little hangover cure that'll induce her to spew red, white, and blue. VERONICA opens the refrigerator. J.D. opens the cupboard beneath the sink. VERONICA What about orange juice and milk? What's the upchuck factor on that? J.D. holds up a bottle of cleaning fluid. J.D. I'm a No Rust Build - up man, myself. VERONICA Do n't be a dick. That stuff'll kill her. VERONICA and J.D. make queasy eye - contact. VERONICA descends back into the refrigerator with some worked - up enthusiasm as J.D. suavely pours bits of various toxic containers -LRB- detergent, scouring powder -RRB- into a glass beer mug. VERONICA O - kay. We'll cook up some soup and put it in a Coke. Sick, eh? Now should it be Chicken - Noodle or Bean - with - Bacon? J.D. Man Veronica, pull the plug on that shit. I say we go with Big Blue. J.D. raises the glass filled with what is now a strange blue liquid. VERONICA stares at the glass, scared by her own thoughts. VERONICA What are you doing? You just ca n't go. Besides, she'd never drink anything that looks like that. J.D. Okay we'll use this. She wo n't be able to tell what she's drinking. J.D. pulls down a ceramic cup and triumphantly pours the poisonously blue beer glass contents into it. An eerie pause ensues. VERONICA takes out a milk carton and a container of orange juice. She struts back to the counter in anger, icily muttering. VERONICA Just give me a cup, jerk. J.D. sheepishly pulls down an identical ceramic cup. VERONICA tears it from him and pours some milk and then some orange juice into the cup. VERONICA Milk and orange juice. Hmmmm. Maybe we could cough a phlegm globber in it or something. J.D. Yeah, great. They both start coughing harshly. VERONICA No luck? Well, milk and orange juice'll do quite nicely. Quite nicely. J.D. Chick - en. VERONICA You're not funny. J.D. turns on his heel and slinks away. VERONICA glares down at the mess of toxic containers. With both arms, VERONICA clumps the toxic containers together and drops beneath the sink to put them away. J.D. swaggers back into the kitchen as VERONICA bobs back into view. J.D. I'm sorry. J.D. kisses the back of her neck. VERONICA closes her eyes with a grudging smile. VERONICA Bonehead. VERONICA dreamily reaches out to one of the two ceramic cups. Not the one with milk and orange juice in it.",
"INT. HEATHER CHANDLER'S BEDROOM--DAY HEATHER CHANDLER angelically sleeps as VERONICA and J.D. enter. VERONICA Morning, Heather. Like a lion, HEATHER CHANDLER rouses herself up. HEATHER CHANDLER Veronica. And Jesse James. Quelle surprise. Hear about Veronica's affection for regurgitation? VERONICA We both said a lot of things we did n't mean, last night. HEATHER CHANDLER Did we? How the hell'd you get in here? J.D. Veronica knew you'd have a hangover. So I whipped this up. Family recipe. J.D. holds out the ceramic cup. HEATHER CHANDLER snorts. HEATHER CHANDLER Did you put a phlegm globber in it or something? I'm not drinking that piss. J.D. I knew this stuff would be too intense. HEATHER CHANDLER Intense? Grow up. You think I'll drink it just because you call me chicken. They do. They're right. HEATHER CHANDLER Just give me the cup, jerk. HEATHER CHANDLER rises from the bed and struts to J.D. in anger. She takes the cup, slams her head back and downs it all. She then launches her head forward, her face contorted in agony. HEATHER CHANDLER Corn nuts! HEATHER CHANDLER'S eyes slam shut and her limp body crashes through the glass coffee table. VERONICA and J.D. freeze. J.D. Something tells me you picked up the wrong cup. VERONICA No shit, sherlock. I ca n't believe it. I just killed my best friend. J.D. And your worst enemy. VERONICA Same difference. Oh jesus, I'm gon na. VERONICA staggers to a desk. J.D. laughs out of shock. J.D. What are we going to tell the cops? `` Fuck it if she ca n't take a joke, Sarge.'' VERONICA Stop kidding around. The police. oh no, oh God. I ca n't believe this is my life. I'm going to have to send my S.A.T. scores to San Quentin instead of Stanford. J.D. I'm just a little freaked, all right? -LRB- a beat. -RRB- You got what you wanted, you know. VERONICA Do n't say that! It's one thing to want somebody out of your life. It's another thing to serve them a wake - up cup of Liquid Drainer. Do n't say. VERONICA stares off as J.D. paces like a caged animal. He scopes onto the rubble of the shattered coffee table and sees Cliff Notes for The Bell Jar plus a magazine proclaiming `` THE FALL OF THE AMERICAN TEEN'' under HEATHER CHANDLER's body. J.D. We did a murder. In Ohio, that's a crime. But if this was like a suicide thing. VERONICA Like a suicide thing? J.D. Adolescence is a period of life fraught with anxiety and confusion. VERONICA -LRB- calming down. -RRB- I can do Heather's handwriting as well as my own. VERONICA takes some stationery from the desk and begins writing, calling out her words. VERONICA `` You might think what I've done is shocking.'' J.D. `` To me though, suicide is the natural answer to the myriad of problems life has given me.'' VERONICA That's good, but Heather would never use the word `` myriad.'' J.D. This is the last thing she'll ever write. She'll want to cash in on as many fifty - cent words as poss. VERONICA She missed `` myriad'' on a vocab test two weeks ago, all right? J.D. That only proves my point more. The word is a badge for her failures at school. VERONICA You're probably right. `` People think just because you're beautiful and popular, life is easy and fun. Nobody understood I had feelings too.'' J.D. `` I die knowing no one knew the real me.'' VERONICA That's good. Have you done this before? VERONICA's smile dies as she looks to HEATHER CHANDLER'S corpse.",
"INT. SCHOOL CONFERENCE ROOM--DAY At the head of a long conference table is the bearlike PRINCIPAL GOWAN. Circling the table is the gray - haired but savvy MRS. POPE, the yuppie black counselor PAUL HYDE, TWO large DISCIPLINARIAN - TYPES, and most noticeably, the eccentrically dressed MS. PAULINE FLEMING. Coats are in chairs and cigarette smoke is in the air, as the group batters their way through a morning mourning conference. PRINCIPAL GOWAN Any other Principal would take the same position. Keep things business as usual. COUNSELOR HYDE Heather Chandler's not your everyday suicide. She was very popular. PRINCIPAL GOWAN Come on Paul, I let the kids go before lunch and the switchboard'll light up like a Christmas Tree. COUNSELOR HYDE The parents will be sympathetic, sir. These are troubled times for the young. MRS. POPE I must say I was impressed to see that she made proper use of the word `` myriad'' in her suicide note after brutalizing it in a vocabulary test. PAULINE -LRB- dramatically cutting in. -RRB- I find it profoundly disturbing that we are told of a tragic destruction of youth and all we can talk about is adequate mourning times and misused vocabulary words. A collective sigh goes across the room. PRINCIPAL GOWAN Oh Christ. PAULINE The school, meaning both students and teachers, must revel in this revealing moment. I suggest we get everyone into the cafeteria and just talk. And feel. Together. PRINCIPAL GOWAN Thank you, Ms. Fleming. Call me when the shuttle lands. Now is this Heather the cheerleader? COUNSELOR HYDE That would be Heather Mcnamara. PRINCIPAL GOWAN Damn. I'd be willing to go half a day for a cheerleader. MRS. POPE Let's just pack it in an hour early. PRINCIPAL GOWAN Done. I hate Mondays.",
"INT. PAULINE FLEMING'S CLASSROOM--DAY The desks of the classroom have been maneuvered into an amusingly chaotic position by PAULINE'S PUPILS. She is furious. PAULINE I said a circle you imbeciles! Forget it! Just sit down. I'm just so thrilled to be given an example of everything I've taught you. That example is Heather Chandler. I have the note! PAULINE melodramatically lifts the suicide note. The class AAAHS. MALE STUDENT Awright! PAULINE I'll pass the suicide note around the room so you can feel its tragic beauty for yourself. Let us share together the feelings the suicide has spurred in us all. Who wants to begin? FEMALE STONER IN ARMY JAKET I heard it was really gnarly. She sucked down a bowl of multi - purpose deodorizing disinfectant then she smashed. PAULINE Now, now, we're not here to rehash the coroner's report. Let's talk emotions. ALL-OUT NERD Are we going to be tested on this? A stunned PAULINE glares until preppie PETER DAWSON speaks. The note continues to be breathlessly passed around. PETER Heather and I used to go together, but she said I was boring. I realize now I was n't really boring. She was just dissatisfied with her life. PAULINE That's very good Peter. VERONICA lets out a laugh that she disguises as a sob by putting her hands over her face. PAULINE Dear Veronica, Heather was your soulmate. Share. VERONICA Heather was cool, but cruel. The good looks and bad manners gave her power, but it could not give her happiness. The class stares to VERONICA as the suicide note is passed to her. She acknowledges it in horror, passes it on, then continues, realizing her ability to create truths for a captive audience. VERONICA She realized the only way she could be happy was to give up her power and the only way she could do that was Death. PAULINE cries. The PUPILS applaud. VERONICA queasily smiles.",
"INT. THE GIRLS LOCKER ROOM--DAY The GIRLS are finishing up putting on their clothes. HEATHER MCNAMARA Oh God, it's so unfair. It's just so unfair! We should get a whole week off not just an hour. HEATHER DUKE Write the School Board. HEATHER DUKE gnaws on a chicken leg as she speaks. VERONICA Watch it, Heather. You could actually be digesting food. HEATHER MCNAMARA Yeah, where's your urge to purge? HEATHER DUKE -LRB- belching. -RRB- Fuck it. HEATHER MCNAMARA pulls a Swatch from one of the lockers. HEATHER MCNAMARA Look, heather left behind one of her Swatches. She'd want you to have it, Veronica. She always said you could n't accessorize for shit. HEATHER MCNAMARA tosses the watch to a spooked VERONICA who stands up and solemnly puts it on. The FEMALE STONER IN ARMY JACKET stops next to their bench. FEMALE STONER IN ARMY JACKET I'm sorry about your friend. I thought she was your usual airhead bitch. Guess I was wrong. Lot of us were. HEATHER DUKE bobs up from the world's largest sno - cone. HEATHER DUKE What a waste. VERONICA zombiesquely moves into the shower area. HEATHER DUKE -LRB- V.O. -RRB- Oh the Humanity.",
"INT. THE SHOWER--DAY VERONICA turns on a shower and lets the water spray against her clothes.",
"INT. THE LOCKER ROOM--DAY HEATHER MCNAMARA Veronica, what are you doing? SQUEALING GIRL -LRB- O.S. -RRB- Everyone in the shower! TWO GIGGLING GIRLS run into the shower fully clothed. THREE OTHERS follow suit. The HEATHERS look to each other, laugh, and run in.",
"INT. THE GIRLS' COACH'S LOCKER ROOM OFFICE--DAY Heavy Metalers MATT, CLYDE, and STEVE plus Geek RODNEY sneak into a darkened room. Girls' laughter drifts in. MATT Do I deliver or do I deliver? RODNEY Hurry up, we're going to get caught. MATT Mellow out Geek. Man, I never should have brought you. CLYDE Let's see some pussy! MATT pulls a curtain revealing a semi - overhead view of the showering and clothed GIRLS.",
"INT. THE SHOWER--DAY The GIRLS splash and spin in balletlike slow motion. VERONICA stands facing the viewer, the Swatch noticeably attached.",
"INT. THE GIRLS' COACH'S LOCKER ROOM OFFICE--DAY Cautiously quiet pandemonium. MATT Does this have something to do with menstrual cramps and shit? CLYDE -LRB- dazed. -RRB- What the fuck? RODNEY We're on Candid Camera, dudes. I can feel it. CLYDE What the fuck?",
"EXT. OUTSIDE OF THE SCHOOL--DAY Pulling their coats over their wet clothes, VERONICA and the HEATHERS come out of the school. HEATHER MCNAMARA That was seriously warped, Veronica. VERONICA Uh - huh. HEATHER DUKE T.V. cameras! In the distance, a T.V. CAMERA CREW is interviewing STUDENTS. HEATHER DUKE dashes toward them. HEATHER MCNAMARA freezes. HEATHER MCNAMARA Oh God, Veronica. My hair! My clothes! HEATHER MCNAMARA moans, vibrates, then suddenly races toward the cameras. VERONICA looks down at the soaked, stopped Swatch on her arm. She takes it off and drops it in a neaby trashcan.",
"INT. THE DEAN LIVING ROOM--LATE AFTERNOON A massive T.V. set shows the image of HEATHER DUKE posed by a tree, talking into a microphone. HEATHER DUKE -LRB- T.V. -RRB- I choose to remember the good times. Like when we got our ears pierced at the mall. The image of HEATHER MCNAMARA sitting in the grass talking into a microphone supersedes HEATHER DUKE's. HEATHER MCNAMARA -LRB- T.V. -RRB- I can still hear those late night talks on the phone. The image of PETER DAWSON sitting on a rock comes on next. PETER -LRB- T.V. -RRB- The day I won her that stuffed rhino at the 4 - H Fair, she said to me. VERONICA -LRB- O.S. -RRB- You're an asshole! Mute him! VERONICA and J.D. are seen to be crashed on a couch. J.D. pushes a button on the remote control, cutting the sound. J.D. Mute! VERONICA Next channel, darling. The silent image of HEATHER DUKE on a staircase talking into a microphone is on the screen. VERONICA -LRB- O.S. -RRB- Heather, how many networks did you run to! Country Club Courtney appears wearing a T - shirt reading BIGFUN. VERONICA takes the remote and turns the sound on. VERONICA Oh, I have to hear this. COURTNEY -LRB- T.V. -RRB- In my heart, Heather's still alive. VERONICA -LRB- muting Courtney. -RRB- What are you talking about? She hated you! You hated her! -LRB- to J.D. -RRB- What are you smiling at? J.D. Heather Chandler is more popular than ever now. VERONICA Yeah. Scary stuff. J.D. suddenly looks away from VERONICA with a mischievous half - smile. He inexplicably calls out. J.D. Why son, I did n't hear you come in. J.D.'s father BIG BUD DEAN, stands before them, handsome and threatening in a shirt and tie. He is rather malevolently holding a rowing machine. BIG BUD DEAN Hey Dad, how was work today? BIG BUD slams down his rowing machine and straddles it before answering his own question. He rows as he speaks. The Brady Bunch sputters on the T.V. screen before him. BIG BUD DEAN It was miserable. Some damn tribe of withered old bitches does n't want us to terminate that fleabag hotel. All because Glenn Miller and his band once took a shit there. It's just like Kansas. Do you remember fucking Kansas? J.D. That was the one with wheat right? BIG BUD DEAN The Save the Memorial Oak Tree Society. Showed those fucks. J.D. turns to VERONICA with a bemused smile. J.D. Thirty Fourth of July fireworks attached to the trunk. Arraigned but Acquitted. BIG BUD DEAN Fucking Kansas. Gosh Pop, I almost forgot to introduce my girlfriend. J.D. Veronica, Dad. Dad, Veronica. VERONICA Hello. VERONICA, with a forced smile, reaches to shaked BUD's hand. He extends his hand but makes no effort to stop rowing hence his hand pulls away from VERONICA. Pop and son laugh. J.D. Jason, why do n't you ask your little friend to stay for dinner. VERONICA -LRB- awkwardly standing. -RRB- My Mom's making my favorite meal tonight. Spaghetti. Lots of oregano. J.D. Nice. The last time I saw my Mom, she was waving out the window of a library in Texas. Right, Dad? BIG BUD DEAN stops rowing to grin a You - Think - You're - Tougher - Than - Me - But - You're - Not smile to J.D. BIG BUD DEAD Right, son. VERONICA -LRB- weakly. -RRB- Right.",
"EXT. THE SAWYER PATIO--DUSK Just as in the earlier patio scene, DAD and MOM SAWYER are seated at a patio table with an empty chair between them. Pate is on the table. DAD smokes a cigarette. DAD Take a break Veronica, sit down. VERONICA walks into view and sits down. VERONICA All right. DAD So what was the first day after Heather's suicide like? VERONICA I do n't know, it was okay, I guess. MOM Terrible thing. So will we get to meet this dark horse prom contender? VERONICA Maybe. DAD -LRB- looking at his cigarette. -RRB- Goddamn. Will somebody please tell me why I smoke these damn things? VERONICA -LRB- smiling. -RRB- Because you're an idiot. DAD Oh yeah, that's it. DAD immediately takes another drag with a wide grin. MOM -LRB- shaking her head. -RRB- You two. VERONICA Greate pate, but I'm going to have to motor if I want to be ready for the funeral tomorrow.",
"INT. HEATHER MCNAMARA'S BEDROOM--DAY A montage commences showing the HEATHERS preparing for the funeral. HEATHER MCNAMARA models an all - black outfit in front of a dressing table mirror. She storms away, pouting.",
"INT. HEATHER DUKE'S BEDROOM--DAY Bobbing up from a fashion magazine whose cover story is FUNERAL CHIC, HEATHER DUKE finishes applying black lipstick. A look of horror passes over her face and she savagely scrubs her lips.",
"INT. CHURCH--DAY A MORTICIAN puts the finishing touches on HEATHER CHANDLER, smoothing out her clothes and buffing her face. He gently kisses her forehead then quickly rebuffs the spot.",
"INT. HEATHER MCNAMARA'S BEDROOM--DAY HEATHER MCNAMARA models another black outfit. She responds this time with a satisfied smile.",
"INT. HEATHER DUKE'S BEDROOM--DAY Traditionally made up, a smiling HEATHER DUKE brings a crucifix earring to her ear and attaches it.",
"INT. CHURCH--DAY HEATHER CHANDLER serenely lies in a coffin as FATHER RIPPER bellows off - screen. A panorama of ADULTS and STUDENTS is revealed at this more social than spiritual event. VERONICA and J.D. watch from the back pew. FATHER RIPPER -LRB- O.S. -RRB- I blame not Heather but rather a society that tells its youth that the answers are on the MTV video games. We must pray the other teenagers of Sherwood, Ohio, know the name of that `` righteous dude'' who can solve their problems. The bald FATHER RIPPER finally comes into view. FATHER RIPPER -LRB- cont'd. -RRB- It's Jesus Christ and he's in the book. KNEELING PODIUM BEFORE COFFIN - LATER BETTY FINN is kneeling before HEATHER CHANDLER'S open coffin. The viewer hears what she is thinking. BETTY -LRB- V.O. -RRB- May Heather Chandler rest in peace even though she committed suicide. For - the - kingdom - the - power - and - the - glory - are - yours - now - and - forever - Amen. BETTY FINN makes the sign of the cross, rises, and exits. HEATHER MCNAMARA takes her place on the kneeling podium. HEATHER MCNAMARA -LRB- V.O. -RRB- Oh God, this is a tragic thing and sometimes I have a hard time dealing with it and stuff. Please send Heather to heaven and all that. Thanks. I mean, Amen. HEATHER MCNAMARA exits and PETER DAWSON moves in her place. PETER -LRB- V.O. -RRB- Dear God, make sure this never happens to me. I do not think I could handle suicide and that's the God's honest truth. Pardon the pun. Fast - early - acceptance - into - an - Ivy - League - school - and - please - let - it - be - Harvard. Amen. PETER flees and RAM uncomfortably takes his place. RAM -LRB- V.O. -RRB- Jesus God in heaven, uh, why did you kill such hot snatch. That's a joke, man. People are so serious. -LRB- a beat. -RRB- Hail Mary, who are n't in heaven, pray for us sinners. so we do n't get caught. Another joke, man. RAM clumsily exits. HEATHER DUKE solemnly kneels in his place. HEATHER DUKE -LRB- V.O. -RRB- I prayed for the death of Heather Chandler many times and I felt bad every time I did, but I kept doing it anyway. Now I know you understood everything. Praise Jesus. Alleluia. HEATHER DUKE departs and VERONICA kneels in her place. VERONICA -LRB- V.O. -RRB- Hi. I'm sorry. Technically I did n't kill Heather Chandler but hey, who am I trying to kid, right? I just want my high school to be a nice place. Amen. Did that sound bitchy? CHURCH LOBBY HEATHER MCNAMARA dips a big comb in the holy water basin and then combs out her hair. VERONICA breezes by. HEATHER MCNAMARA Veronica. What are you doing tonight? VERONICA Mourning. Maybe watch some T.V. Why? HEATHER MCNAMARA Ram asked me out, but he wants to double with Kurt and Kurt does n't have a date. VERONICA Heather, I've got something going with J.D. HEATHER MCNAMARA Please Veronica. Put Billy the Kid on hold tonight, I'll never forget it.",
"EXT. CHURCH PARKING LOT--DAY KURT KELLY and RAM stand by RAM'S van. KURT We on tonight, man? RAM I still got to talk to Heather, dude. Weird funeral, huh? KURT Pretty weird. Geeks RODNEY and BRACES thrust by KURT and RAM. BRACES obliviously steps on KURT's foot. KURT That pudwapper just stepped on my foot. RAM Let's kick his ass. KURT Cool off, we're seniors. RAM Goddamn Geek! BRACES gives them `` the finger''. BRACES -LRB- awkwardly defiant. -RRB- Sit and spin. KURT and RAM turn to each other more amused than angered. KURT That little prick. The bolting Jocks effortlessly catch BRACES and put him into a hunched - over position. The other Geeks look on, ashamed. KURT All right you piece of shit fag, do you like to suck big dicks? BRACES Cut it out! RAM pushes BRACES down harder. KURT Say it man. Say I like to suck big dicks. RODNEY Leave him alone, Kurt. J.D. rides by on his motorcycle. He turns to watch KURT, wearing an overwhelmingly tinted motorcycle helmet that reads THE TRUE KILLER across the top. KURT is spooked. RAM -LRB- O.S. -RRB- Say it! BRACES Okay, okay, you like to suck big dicks. Unamused, RAM throws BRACES to the ground. BRACES semi - cries. BRACES I like to suck big dicks. Mmm - mm! I ca n't get enough of them. Satisfied? KURT I'm sure your friends are happy to hear that. -LRB- with a lisp. -RRB- Right, guys? ANOTHER PLACE IN THE PARKING LOT VERONICA and HEATHER MCNAMARA sashay through the parking lot. HEATHER MCNAMARA Do n't worry, Ram's been so sweet lately, consoling me and stuff. It'll be really very. Promise. Moving into the background, BRACES wipes dirt and blood off his face as his friends glumly watch on. VERONICA All right, but I hope it is n't going to be one of those nights where they get shitfaced and take us to a pasture to tip cows.",
"EXT. COW PASTURE--NIGHT A COW stands sleeping. Giggling and drunk, KURT and RAM scramble around the COW. Uncomfortable and sober, VERONICA and HEATHER MCNAMARA look on. KURT Is it sleeping, dude? RAM I think so, man. KURT Then get over on my side. Oh shit, cowtipping is the fucking greatest. RAM Punch it in! KURT and RAM slam their knuckles and then lean against the COW, poised to shove. HEATHER MCNAMARA manages a smile but VERONICA glares it away. KURT Count of three, guy. KURT AND RAM One. Two. Three! An O.S. Moo and the Jocks' laughter is heard as mud splashes against the mortified faces of VERONICA and HEATHER MCNAMARA. DEEPER IN THE PASTURE - LATER IN THE NIGHT KURT stumbles after a more annoyed than scared VERONICA. KURT `` When I get that feeling, I need sexual healing.'' VERONICA Yeah, right, asshole. VERONICA makes her way up a hill, pausing to compassionately stare at RAM on top of a dispirited HEATHER MCNAMARA. KURT's intoxicated brain has trouble dealing with the incline. Majestically, J.D. appears at the top of the hill. KURT squints up the hill and falls over backwards. J.D. What is this shit? VERONICA I'm doing a favor for Heather. A double date. I tried to tell you at the funeral but you rode off. KURT -LRB- still face down. -RRB- `` Feel like making bah da dah bah da dah, feel like making love.'' J.D. Another fucking Heather. -LRB- harshly laughs. -RRB- I'm sorry. I'm feeling kind of superior tonight. Seven high schools in seven states and the only thing different was my locker combination. We've broke through the peer pressure cooker. So what if we had to kill Miss Popularity. VERONICA clumsily high heels it up the hill. VERONICA So what? Do n't smile like that, Jesus! J.D. Our love is God. Let's get a Slurpee. J.D. solemnly reaches toward VERONICA. She, less solemn, takes his hand. Their bodies disappear over the hill. KURT `` And she's buying the stairway to heaven.''",
"INT. NEWSPAPER/YEARBOOK WORKSHOP--DAY In a cluttered school workshop, Editor DENNIS and YEARBOOK GIRL ALISON confer over a layout sheet. Alison wears a walkman and BIG FUN T - shirt. PETER DAWSON pouts behind them. DENNIS I'm not belittling the Foodless Fund, Peter, but we're talking teen suicide! Ask Alison here, the number one song right now is `` Teenage Suicide. -LRB- Do n't Do It. -RRB-'' by BigFun. Jesus man, Westerburg finally got one of these things and I'm not going to blow it. PETER Great. Heather gets the headline and I get crammed in by the Taco Bell coupon. VERONICA breezes in. VERONICA Hi Guys. I came to check on this week's lunchtime poll topic. DENNIS Do n't worry about it, Veronica, sit down. That funeral yesterday must have been really rough. VERONICA Oh. Sure. DENNIS We were, uh, wondering if maybe you had some poems or artwork that Heather did that we could put in the Heather Chandler yearbook spread? VERONICA The what? DENNIS Take a look. We'll have a two page layout with her suicide note up here in the right hand corner. It's more tasteful than it sounds. Country Club COURTNEY and COURTNEY'S FRIEND come in giggling and whispering. Seeing VERONICA, they stop dead, then slide into chairs, laughing softly. VERONICA I do n't know. This thing leaves a bad taste in my mouth. COURTNEY Like last night, Veronica? COURTNEY and COURTNEY'S FRIEND explode in laughter. VERONICA I'm sorry? I do n't get it. COURTNEY You did last night. Kurt told us of your little date. VERONICA Yeah. And? I left him drunk and flailing in cowshit. COURTNEY I do n't know. He was really detailed. PETER Shut up, Courtney. VERONICA Do n't shut up. I'd like to know just what I did. PETER -LRB- gesturing to the door. -RRB- Let me show you that lunchtime poll topic, Veronica.",
"INT. HALLWAY OUTSIDE WORKSHOP--DAY PETER tells VERONICA. PETER I rarely listen to Neanderthals like Kurt Kelly bu - ut he said you were bent over like a coffee table with Kurt going in one end and Ram coming in the other. Pardon the pun. VERONICA -LRB- dazed. -RRB- Pardon the pun. Son - of - a - bitch. Dizzy, VERONICA hands a clump of dollar bills to PETER. VERONICA Thanks Pete, for the Foodless Fund. PETER cheerfully pockets the cash as VERONICA drifts off.",
"INT. VERONICA'S BEDROOM--NIGHT VERONICA arousingly speaks into her phone. VERONICA Hi, Kurt? This is Veronica Sawyer. I did n't expect to be calling either. I guess my emotions took over. I was wondering if you wanted all those things you've been saying to really happen. It's always been a fantasy of mine to have two guys at once. Sure, you can write Penthouse Forum. Revealed to be lounging on her bed, J.D. laughs out loud. VERONICA throws a book at him. VERONICA That's right. In the woods behind the school. At Dawn. And do n't forget Ram.",
"INT. THE KELLY KITCHEN--NIGHT KURT hangs up with an amazed expression on his face. KURT Women.",
"INT. VERONICA'S BEDROOM--NIGHT VERONICA and J.D. load guns on VERONICA's bed. VERONICA breaks into a laugh. VERONICA I do n't get the point of me writing a suicide note when we'll just be shooting them with blanks. J.D. Get crucial. We wo n't be using blanks this time. VERONICA You ca n't be serious? Hey listen, my Bonnie - and - Clyde days are over. VERONICA drops her gun in revulsion and launches off her bed. With a patient smile, J.D. pulls her back down. J.D. Do you take German? VERONICA French. J.D. flicks open his gun and pulls a bullet from the chamber. J.D. These are Ich Luge bullets. My grandfather snared a shitload of them in W.W. Two. They're like tranquilizers only they break the surface of the skin, enough to cause blood, but not any real harm. VERONICA So it looks like the person's been shot and killed when they're really just unconscious and bleeding. J.D. nods then stands to pace the room, his mind whirring. J.D. We shoot Kurt and Ram. Make it look like they shot each other. By the time Kurt and Ram regain consciousness, they'll be the laughingstock's of the school. The note's the punchline. How'd it turn out? VERONICA clumsily extracts the note from her purse. She also plucks out the crumpled yellow sample of Kurt's handwriting of the opening note - forge scene. She proudly displays both papers. VERONICA First tell me this similarity is not incredible. J.D. -LRB- warmly. -RRB- Incredible similarity. VERONICA pulls back the note and reads. VERONICA Ram and I died the day we realized we could never reveal our forbidden love to an uncaring and ununderstanding world. The joy we shared in each other's arms was greater than any touchdown. Yet we were forced to live the lie of Sexist - Beer Guzzling - Jock - Asshole. J.D. Exquisite, but I do n't think ununderstanding is a word. VERONICA We do n't want to make them out to be too secretly eloquent. Why would the Germans invent a bullet that does n't kill people? I mean it was World War Two, not a school play. J.D. -LRB- rapid - fire. -RRB- They used them on themselves to make it look like they were dead. Really quite a brilliant device, but too flamboyant to seriously produce. VERONICA Neat. Let's try it out on J.F.K. VERONICA swiftly picks up her gun and aims it at the lovable tabby entering the room. J.D. rips it away from her. J.D. It does n't work on small animals! VERONICA Oh. J.D. Uh well hey, let's take a look at the homosexual artifacts I dug up to plant at the scene. Now prepare to be a little disappointed. J.D. lifts up a feminine shopping bag and gently dumps the contents on the bed. J.D. We've got an issue of Stud Puppy, a candy dish, a Joan Crawford post card, and some mascara. VERONICA You must have had fun. J.D. You know it. Oh man, I almost forgot. The one perfecto thing I picked up. J.D. reaches in both his coat pockets and triumphantly raises out two bottles of Perrier water. J.D. Perrier water! VERONICA Oh come on. Lots of people drink Perrier. It's come a long way. J.D. This is Ohio. If you do n't have a brewsky in your hand you might as well be wearing a dress. VERONICA -LRB- mock - seductively. -RRB- Oh, you're so smart. How about a little heterosexuality before we go? J.D. laughs then climbs onto VERONICA for a hugging kiss.",
"EXT. SCHOOL PARKING LOT--DAWN A tense KURT and an excited RAM, playing air guitar, walk through the misty parking lot toward the woods. RAM -LRB- singing. -RRB- Sex and Drugs and HBO is all I ever need! Whoa! Can you hear me! Hello Tokyo! I said Sex and Drugs and. KURT Shut the fuck up, all right. RAM Lighten up, dude. In those woods is some of the finest pussy in the school and we do n't even have to buy it a hamburger and a Diet Coke. What a way to start the day! Punch it in! KURT feebly slams knuckles with RAM.",
"EXT. CLEARING IN THE WOODS--DAWN VEONICA stands in the middle of a clearing in the woods. She nervously tucks the gun in the back of her dress as KURT and RAM emerge into the clearing from a path in the woods. KURT Hi Veronica. VERONICA -LRB- forced cheerfulness. -RRB- Hi Guys. Glad you could make it. RAM smacks his hands together. RAM So do we just start fucking? VERONICA I've made a circle on each end of the clearing. Ram, you come over here. KURT steps into the scratched - in - the - dirt circle next to him. A confused RAM walks past VERONICA and steps into a circle at the opposite end of the foggy clearing. VERONICA The guys pause, then slowly start taking off their clothes. RAM What about you? VERONICA I was hoping you'd rip my clothes off me, sport. RAM Oh. Good idea. KURT and RAM awkwardly stand at opposite ends in their undies. VERONICA Count of three, guys. RAM giggles in anticipation. VERONICA One. KURT finally cracks a smile. VERONICA Two. J.D. suddenly moves next to VERONICA holding a gun in his right hand and the feminine shopping bag in his left. J.D. Three. J.D. almost non - chalantly shoots RAM in the forehead. VERONICA rips out her gun and swings it toward KURT. Using both hands, she fires, but misses completely. KURT runs away onto the path. VERONICA throws down her gun with a smile. VERONICA Shucks. J.D. races to VERONICA in a white sweat. J.D. Did you miss him completely? VERONICA -LRB- giggling. -RRB- Yeah, but do n't worry, it was worth it just to see the look on. J.D. Do n't move! I'll get him back! VERONICA's laughter cuts off like a faucet. Suddenly trembling and confused, she watches J.D. bolt into the woods. THE PATH A panicked KURT runs on the path through the woods. OFF THE PATH J.D., with a cold efficiency, weaves through trees and fog. THE CLEARING VERONICA turns toward Ram's collapsed body. THE PATH KURT sees the opening at the end of the woods. J.D. suddenly moves into the opening and raises his gun. KURT runs back. THE CLEARING VERONICA approaches Ram's body with increasing shivers. He does not look bleeding and unconscious. He looks bleeding and dead, dead, dead. KURT barrels into the clearing as J.D. howls from the woods. J.D. Now! In a burst of frightened, animal instinct, VERONICA whips around and fires her gun right into KURT's chest.",
"INT. SQUAD CAR IN SCHOOL PARKING LOT--DAWN Two cops, MILNER and McCORD, smoke marijuana in a squad car already filled with smoke. After a coughing fit, MILNER shouts. MILNER I heard it that time! McCORD Wha? MILNER Another gunshot! From the woods! McCORD Shit, let's roll. The two officer explode out of the car.",
"EXT. THE CLEARING--DAWN J.D. puts his gun in RAM's right hand while VERONICA zombiesquely does the same with KURT and her gun. VERONICA Kurt does n't look too good. J.D. Remember he's left - handed. A quivering VERONICA puts the gun in KURT's left hand. MILNER -LRB- O.S. -RRB- Keep going until you hit the clearing! J.D.'s head snaps forward. He yanks up VERONICA. They both run into the woods behind RAM's body as the two Cops charge into the clearing, guns raised. Seeing the Jocks, they stop. McCORD Mother of Shit! MILNER Call in! MILNER looks toward where VERONICA and J.D. ran out. MILNER I heard something out there. I'm checking it out. MILNER runs off as McCORD shouts into a walkie - talkie. He is holding the pulse of KURT KELLY. McCORD This is Officer McCord and I've got two dead bodies in the woods behind Westerburg High. Oh my God, one of them's Kurt Kelly, the quarterback.",
"EXT. IN THE WOODS--DAWN VERONICA and J.D. flow through thick trees. An Owl hoos.",
"EXT. ANOTHER PART OF THE WOODS--DAWN MILNER blindly barrels through the dense, foggy woods.",
"EXT. JUST OUTSIDE THE WOODS--DAWN VERONICA and J.D. come out of the woods and race up a dew drenched hill toward VERONICA's car which is parked on top. J.D. Faster!",
"EXT. IN THE WOODS--DAWN MILNER is jolted by an OWL - HOO, then continues moving.",
"EXT. THE HILL--DAWN VERONICA and J.D. reach the car, panting. MILNER races out of the woods just as VERONICA and J.D. slam the car doors closed behind them. MILNER huffs up the hill.",
"INT. THE SAWYER CAR--DAWN VERONICA and J.D. somersault into the backseat and begin taking off their clothes.",
"EXT. THE HILL--DAWN MILNER continues to move up the hill.",
"INT. THE SAWYER CAR--DAWN VERONICA and J.D., stripped down to their underwear, embrace.",
"EXT. OUTSIDE THE CAR--DAWN MILNER approaches the car and peers in. His crackling walkie - talkie startles him. McCORD -LRB- O.S. / walkie - talkie. -RRB- Milner, can you hear me? What's going down? MILNER moves away from the car, then speaks into his walkie - talkie. MILNER Think what I heard was just a stinking owl. All I got is two kids making out in the backseat of a car. Should I pry them apart? McCORD -LRB- O.S. / walkie - talkie. -RRB- Forget it. I got all the answers back here, partner. Boy, kids today sure start in early. Hey, are they naked? MILNER sighs, and clicks off his walkie - talkie.",
"INT. THE SAWYER CAR--DAWN Seeing the cop move away. VERONICA and J.D. stop kissing. They catch their breath, smile, then continue passionately necking.",
"EXT. THE CLEARING--DAWN MILNER runs back into the clearing. MILNER What's the deal? McCORD Suicide. Double Suicide. They shot each other. MILNER That's Kurt Kelly! McCORD Yeah, and the linebacker, Ram Sweeney. MILNER Oh my God, suicide? Why? McCORD Does this answer your question? McCORD reaches in the feminine shopping bag and pulls out the bottles of Perrier water. MILNER Oh man, they were fags! McCORD Listen up, `` We could never reveal our forbidden love to an uncaring and ununderstanding world.'' MILNER Ah Jesus H. Fuck. Kurt was a Sherwood Sunday Insert Honorable Mention. MILNER shakes his head slowly then suddenly looks up. MILNER Wait a second. How did they shoot each other if we heard two separate sets of gunshots? McCORD I always hear gunshots when I'm high before noon. Life's a crazy bitch. Do n't try to analyze it. The quarterback buggering the linebacker. What a waste. MILNER Oh the humanity.",
"INT. SCHOOL CONFERENCE ROOM--MORNING Another morning mourning conference. The participants look a little more frazzled. PAULINE sits at the head of the table. COUNSELOR HYDE -LRB- sotto voce to Mrs. Pope. -RRB- After every touchdown or whatever, they give each other a little slap on the bottom. It seems innocent. PAULINE -LRB- O.S. -RRB- Shut up. The elderly MRS. POPE shakes her head at the suicide note. MRS. POPE Look at this. `` Ununderstanding.'' PAULINE Will you shut up! We were in a similar position Monday and I thoughtfully suggested that we get the students together for an unadulterated emotional outpouring. You took the suggestion as an opportunity to play yet another round of `` Let's laugh at the Hippie.'' COUNSELOR HYDE Pauline, if you want a tryout for the school play. PRINCIPAL GOWAN hoarsely breaks in. PRINCIPAL GOWAN Shut up, Paul. I've seen a lot of bullshit - angel dust, switchblades, sexually perverse photography exhibits involving tennis racquets, but this suicide thing. I guess it's all on Pauline's wavelength. We're just going to write off today, and Friday she can do her little little love - in or whatever. Whatever.",
"EXT. STUDENT PARKING LOT--MORNING VERONICA's car is the lone vehicle in the student parking lot. Slowly other cars begin to filter in, including a rumbling heap - ful of Heavy Metalers.",
"INT. THE SAWYER CAR--MORNING The Heavy Metaler Heap's obnoxious muffler causes a sleeping VERONICA's eyes to snap open in bug - eyed sweat. Mentally wounded, she climbs into the front seat, pulling on her blazer. She presses in the car cigarette lighter. J.D. rumbles from the back as more cars begin to fill the lot. VERONICA We killed them, did n't we? J.D. Of course. VERONICA tugs out the car lighter and savagely brands the palm of her hand. J.D. hurdles into the front seat and bats the lighter away. He lights a cigarette off the scorched flesh of VERONICA's hand as she wails away. VERONICA Ich Luge bullets! I'm an idiot! J.D. drags on his cigarette. School buses are pulling in outside of the parking lot, in front of the school. J.D. You believed it because you wanted to believe it. Your true feelings were too gross and icky for you to face. VERONICA I did not want them dead. J.D. Did too. VERONICA Did not. J.D. Did too. VERONICA Did not. J.D. launches into a rapid - fire rendition of `` did - too's''. VERONICA responds by holding her hands over her ears and singing `` Mary had a Little Lamb.'' J.D.'s `` Did - too's'' get louder causing VERONICA to bang on the horn.",
"EXT. PARKING LOT--DAY HEATHER DUKE and a vegged out HEATHER MCNAMARA stop sauntering through the parking lot to contemplate Veronica's hiccuping car and its sparring occupants. HEATHER DUKE Ah, young love. COURTNEY bounds up to the Heathers. SQUEELING GIRL #1 Did you hear? School's cancelled today because Kurt and Ram killed themselves in a repressed homosexual suicide pact. HEATHER DUKE -LRB- incredulous, but amused. -RRB- No way!",
"INT. THE SAWYER CAR--DAY J.D. pulls VERONICA off the horn and warmly places an unlit cigarette in her mouth. As he speaks, VERONICA wearily takes the cigarette from her mouth and puts it in her blazer pocket. J.D. Football season's over, Veronica. Kurt and Ram had nothing to offer the school but date - rapes and A.I.D.S. jokes. VERONICA -LRB- looking to her burnt hand. -RRB- Sure. Can we make an ice run before the funeral? STUDENTS head back to their cars and the Buses pull back out.",
"INT. CHURCH--DAY A typically John Waynesque Jock's Father - type, MR. KELLY, stands over his son's open coffin. KURT wears a black football helmet. FATHER RIPPER watches on with various ADULTS, STUDENTS. MR. KELLY If there's any way you can hear me, Kurt buddy, I do n't care that you really were some pansy. You're my flesh - and - blood. You made me proud. I love my homosexual son. My son's gay and I love him! In dark sunglasses, VERONICA wearily leans over to J.D. VERONICA Your son's dead and you love him. J.D. How do you think Mr. Kelly would react to a son with a limp wrist with a pulse? They quietly laugh. VERONICA sees a LITTLE GIRL staring at her. She is wearing Kurt's football jersey and her face is soaked in tears. VERONICA's smile turns into a nauseated grimace.",
"INT. VERONICA'S BEDROOM FLOOR--NIGHT VERONICA lies next to a Vodka bottle, drinking out of a Dixie cup. She turns off her blaring radio to speak on the phone. D.J. -LRB- radio. -RRB- As you know, the Sherwood Teen Suicide tote is up to three. Here's one for Kurt and Ram, BigFun with Teenage Suicide, Do n't Do It. VERONICA Hello J.D? No, it's okay, I just kind of wanted to talk. Oh, a newsmagazine show on Channel 16. Really? On the suicides. No, sounds great. Bye. VERONICA hangs up and looks to her battered diary lying against the wall. She crawls to the diary and then reaches up to her night table to pull down her monocle and a pen. She sucks a cup of Vodka and begins writing. VERONICA -LRB- V.O. -RRB- Dear Diary, my teen angst bullshit now has a body count. Sitting up against her bed, VERONICA continues writing as J.F.K. laps up Vodka from the Dixie cup. VERONICA -LRB- V.O. -RRB- The most popular people in the school are dead. Everybody's sad, but it's a good kind of sad. Suicide gave Heather depth, Kurt a soul, Ram a brain. I gave J.D. shit about the Ich Luge thing but what really frightens me is that I'm not frightened by what J.D.'ll do next. It's God versus my boyfriend and God's losing. VERONICA drops her head back and closes her eyes, popping out her monocle. She swoons down against the bed onto the floor and curls into a fetal slumber.",
"INT. THE CAFETERIA--DAY STUDENTS eat and buzz together in typical cacophony. All are wearing black armbands. A jukebox roars. PAULINE FLEMING and an entourage of STUDENTS such as PETER DAWSON and the HEATHERS invade the cafeteria, heads raised high. PAULINE Peter, kill the jukebox. As the music amusingly grinds to a halt, PAULINE hoists up a bullhorn to her lips and crackles. PAULINE Could I have your attention? A startled Geek RODNEY splatters milk all over himself. STUDENTS whip their heads around to the front of the cafeteria. MARTHA DUNNSTOCK/DUMPTRUCK warily looks up from her plate. PAULINE FLEMING chants with soaring self - importance. PAULINE Our school has been torn apart by tragedy. I'm here today to fuse it back together through Togetherness. I want everyone to clasp hands. We need to connect this cafeteria into one mighty circuit. A tableau of dumbfounded STUDENTS stare at the Bullhorn Woman.",
"INT. HALLWAY OUTSIDE OF CAFETERIA--SAME TIME--DAY Hungover in dark sunglasses, VERONICA bustles toward the cafeteria entrance clinging to an armful of books while trying to tie a black armband onto herself.",
"INT. THE CAFETERIA--DAY PAULINE's Evita Peron - like composure is crumbling. PAULINE Yo, what's the problem? I know you know how to hold hands. Ring - around - the - rosy - a - pocketful - of - posy. Forget it! -LRB- looking to her watch then Peter. -RRB- Where are they? Her back to the viewer, VERONICA enters the cafeteria. HEATHER DUKE floats into view and tightly knots VERONICA's armband. VERONICA I see Ms. Phlegm's on another crusade. With usual success. HEATHER DUKE -LRB- looking to the viewer. -RRB- I have a feeling this one'll work. VERONICA turns to the viewer and half - gasps. TWO 2 - person video CAMERA CREWS and a STILL PHOTOGRAPHER burst into the cafeteria slightly battering the in - the - way VERONICA. PAULINE smiles in relief. She wields around, lifting the horn. PAULINE The cameras are here! Lock your paws! Slightly confused but Awesomed, a table of Country Club Kids including COURTNEY stand and latch out to each other. A nearby table with BETTY FINN and friends follow suit. VERONICA looks on with a growing sense of queasiness. The Cafeteria swirls into a frenzy with members of more excitable cliques like the Jocks and the Heavy Metalers jumping over and onto tables anxiously bumbling into hand - holding constellations. CAMERA CREWS weave beside them. In a corner, the PHOTOGRAPHER snaps a shot of a thumbs - up PETER DAWSON with his arms around FEMALE STONER IN ARMY JACKET. PAULINE runs ahead of a hustling CAMERA CREW and grabs hold of a chain of hand - holding Jocks. She pulls the chain until it connects up with a grateful chain of BETTY FINNS. A sleeping HEATHER MCNAMARA drearily awakens to the havoc around her. She takes off her black armband, ties it around her eyes, and droops her head back down on a table. VERONICA lets her books slide from her hands, shaking her head. MARTHA DUNNSTOCK nervously looks to her out - of - control peers. HEATHER DUKE slyly looks to VERONICA with an `` If you ca n't beat em.'' smile then saunters into the fray. She slides onto the lap of Heavy Metaler Matt. The PHOTOGRAPHER snaps a shot. PAULINE forces apart the handholding Heavy Metal lovers JACKIE and STEVE, sandwiches DENNIS in between them, and madly departs. The PHOTOGRAPHER now shoots a pic of a thumbs - up PETER DAWSON with his arms around an ALL OUT NERD. VERONICA stands before the chaos, back to the viewer, in much the same way Heather Chandler did in the opening scene. PAULINE and the Geek Squad look to MARTHA DUNNSTOCK/DUMPTRUCK. RODNEY I may be a geek, but I have my pride. PAULINE Gotcha. Could I get some Stoners over here please! Frightened and flustered, MARTHA DUNNSTOCK/DUMPTRUCK quakes for a moment then crawls underneath her table. A last panoramic view of the hustling CAMERA CREWS amid the panderingly anarchic STUDENTS unfolds. VERONICA suddenly finds herself flanked by J.D.. The exiting CAMERA CREWS flow past them. J.D. Was it as good for you as it was for me? A dumbfounded VERONICA watches PAULINE and PETER approach. PETER I'm gon na need a VHS copy of all this by Monday for my Princeton application. PAULINE -LRB- looking to Veronica. -RRB- Veronica, there you are! Was n't it Fab? I've put peer pressure out to pasture! VERONICA Oh come on, Pauline. What happens tomorrow, when the cameras are n't here? As they argue, J.D. looks out and sees MARTHA bob up from beneath her table then dart back under. He ambles away. PAULINE Why are you dissing me, Veronica? I'm trying to redefine the high school experience. VERONICA You're ignoring the high school experience. People are dead and all you can think to do is whip up some warped Pity Party. If we're going to ever build respect for each other, it's got ta be something. something real. We ca n't be tricked into it. Back me up J.D. J.D? PAULINE -LRB- moving off. -RRB- Let's go Peter, some people are just unwilling to share the pain. MARTHA DUNNSTOCK/DUMPTRUCK'S TABLE MARTHA slithers from under the table up into her seat, and head down, tries to finish off a bowl of soup. She slowly looks up and freezes. J.D. is revealed to be seated across from her, behind his Rebel Without a Cause lunch box. He smiles warmly. J.D. Greetings and salutations.",
"INT. J.D.'S LIVING ROOM--NIGHT VERONICA restlessly rocks on a couch with increasingly unguarded annoyance. Excitedly insensitive to her words, J.D. spins the tuner of his radio, headphones pressed to one ear. VERONICA That thing this afternoon. I'm so angry! It was like `` Boy, is n't death fun!'' `` Gee, I wonder who'll die next!'' `` I'll bet we get four camera crews next time.'' It was chaos. Fucking chaos. J.D. giddily pivots around, tearing the headphones from the radio and causing a blast of static to accompany his words. J.D. What are you talking about? Today was great. Chaos is great. Chaos is what killed the dinosaurs, darling, and it's what's going to make Westerburg a purified place to get an education. Face it, our way is the way. We scare people into not being assholes. VERONICA -LRB- a ticking time bomb. -RRB- Our way is not our way. J.D. Tell that to the judge ; `` Your honor, I was led to believe there were Ich Luge bullets in the gun.'' Tell it to Kurt Kelly! `` Do n't shoot, Veronica, I'm the quarterback.'' J.D. goes into a Sonny - Corleone - at - the - Turnpike imitation. VERONICA throws the first thing she can get her hands on, a framed picture of a woman, at the vibrating J.D. VERONICA I'm telling it to you! You! Nothing good can come from suicide, from murder, from death. Nothing! Nothing except more death and shit like that feeding frenzy this afternoon. Geez, what am I. who. Unnaah! You can be so immature! J.D. -LRB- looking off. -RRB- You kids are making too much damn noise. BIG BUD DEAN is revealed to be standing in the front doorway, holding a chest exerciser and waving a videocassette. BIG BUD DEAN We beat the bitches. VERONICA -LRB- mumbling. -RRB- Oh beautiful. The Beaver's home. BIG BUD DEAN Judge told em to slurp shit and die. BIG BUD moves to the Entertainment console, turns off the radio and turns on the V.C.R.. He crams the cassette in and hefts up his chest exerciser. He begins pumping away as the image of a shabby building appears on the massive T.V. BIG BUD DEAN I put a Norwegian in the boiler room. Masterful. When that blew, it set off a pack of thermals I'd stuck upstairs. The building blows up. BIG BUD cackles. J.D. politely applauds. BUD pops out the videocassette and bounces away. BIG BUD DEAN It's great to be alive! VERONICA Do you like your father? J.D. Never given the matter much thought. Liked my mother. J.D. picks up the framed picture that Veronica threw. J.D. They said her death was an accident. But she knew when the explosives were set to go off. She knew. VERONICA slowly sits down next to J.D. with dazed concern. VERONICA In some sick way, we unclogged the sinuses of the school. But if we're going to keep the school healthy, it's got ta be through something having to do with life, not death. J.D. Whoa, Metaphor Tennis anyone? Tell me, if you put a Nazi in a concentration camp, does that make you a Nazi? VERONICA Maybe. J.D. exhales in frustration before bounding up from the couch to turn back on the radio. D.J. -LRB- Radio. -RRB- Dudes, if I get one more request for that BigFun song I'm going to committ suicide. Here it is. J.D. -LRB- malevolently. -RRB- They're playing our song. As the `` song'' kicks in -LRB- a bunch of guys shouting over a drum machine -RRB-, J.D. seductively moves toward VERONICA, semi - lip - syncing it. As a seethingly angry but not unaroused VERONICA watches, J.D. slithers onto the couch. BIGFUN -LRB- Radio. -RRB- TIMES ARE MEAN FOR A TEEN - WE KNOW! PARENTS IGNORE, TEACHERS BORE - WE KNOW! BUT THERE'S MORE THAN ONE WAY TO GO! TEENAGE SUICIDE ; DO N'T DO IT! TEENAGE SUICIDE ; DO N'T DO IT! J.D. stops his seduction and rips out a gun. He giddily fires into the radio, destroying it. VERONICA That's it, we're breaking up. J.D. Wha - a - at? J.D. playfully tackles the fleeing VERONICA. This calms rather than angers. She turns on her back. J.D. follows suit. J.D. You ca n't bring them back. You must know that. VERONICA I'm not trying to `` bring back'' anybody. except maybe myself. VERONICA sighs, then rolls over into a crawling position and eventually into a walking - out - the - door position. VERONICA To think there was a time when I thought you were cool. If you ca n't deal with me now, just stay home and shoot your T.V., blow away a couple toasters or something. Just do n't come to school and do n't mess with me. J.D. You'll be back! J.D. slowly sits up and with both hands, puts his gun in his mouth. He pauses, lets go of the gun, and then biting down on the barrel of the gun, J.D. proceeds to broodingly tie his shoes.",
"INT. EMPTY CLASSROOM--DAY J.D. moves to an empty row of desks. He turns the first desk as to face the second. HEATHER DUKE warily lowers herself into the second desk as J.D. flops a manilla envelope onto it. HEATHER DUKE opens the envelope and pulls out a stack of 8x10's. The first shot shows a YOUNG HEATHER DUKE in a summer camp uniform that vibrantly reads HEATHER, She is holding one end of a large poster board drawing of two Eskimos rubbing noses. Holding the other end, in a summer camp uniform vibrantly reading MARTHA, is a YOUNG MARTHA DUNNSTOCK/DUMPTRUCK. HEATHER DUKE What the. With a harsh laugh, she takes in the next photograph. It has YOUNG HEATHER DUKE and YOUNG MARTHA eating toasted marshmallows off each other's sticks. HEATHER DUKE -LRB- queasily intrigued. -RRB- Where did you get these? J.D. Oh, I just had the nicest chat with Ms. Dumptruck. Got along famously! It's scary how everyone's got a story to tell. Would you care to see the canoeing shots? HEATHER DUKE What is this? Blackmail? So what. I once shared a bunk with the biggest loser in the state. I'm not running for president. -LRB- narrowing her eyes at the photos. -RRB- I'll give you a week's lunch money. J.D. I do n't want your money, I want your strength. Westerburg does n't need mushy togetherness, it needs a leader. Heather Chandler was that leader but. HEATHER DUKE But she could n't handle it. J.D. laughs. She's on the ball. J.D. I think you can. In Catcher in the Rye Holden says his ideal job'd be making sure some kids do n't fall off a cliff. He does n't realize if you pay too much attention to the kids, you'll back off the cliff yourself. HEATHER DUKE Very very. The photographs? J.D. Do n't worry. I'll ask you to do a favour, one you'll enjoy. You'll get the negatives and everything back then. J.D. launches away from his desk with a grin. He places a red ribbon on HEATHER DUKE's desk. J.D. In the meantime, strength, And hey, there's a little gift.",
"INT. THE GIRLS BATHROOM--DAY A spooked HEATHER DUKE splashes water on her face and looks up into the mirror. In a trance, she pulls her hair back Heather Chandler fashion and ties it with the ribbon J.D. gave her. A BETTY FINN - A - LIKE moves up to the sink beside her. Two CHIC BABES enter the bathroom with pouting expressions. Seemingly in a trance, HEATHER DUKE bends over and wipes off her wet hands using the oblivious BETTY FINN - A - LIKE's dress. HEATHER DUKE winks to the now - giggling CHIC BABES and saunters off.",
"INT. HALLWAY--DAY HEATHER DUKE bursts through the bathroom door to wickedly strut down the hall. She scowls/smiles in perfect Heather Chandler fashion to various passers - by. ANOTHER HALLWAY - DAY Disoriented, VERONICA somnambulates down the hall. She suddenly brakes amid the flow of Student traffic to stare at a locker. The locker wears a POLICE LINE - DO NOT CROSS sticker. VERONICA pulls out a School Spirit Club I.D. Card and moves to the locker. With the card, she wrangles the locker open. It contains a coat, recognizably Heather Chandler's. On the inside door is a sizable mirror, a cute little `` HEATHER'' license plate, an Alexander Haig For President sticker, and a picture of VERONICA and the HEATHERS all wearing sunglasses and acting tough. VERONICA zeroes in on a three frame Photo Booth picture. In the first frame, VERONICA and HEATHER CHANDLER stare stonefaced. In the second frame, the two girls are screaming at the top of their lungs. In the third frame, they have returned to a stonefaced state. VERONICA touches the picture with a quivering smile as two hands flap around her eyes. HEATHER DUKE Guess who? VERONICA Heather. VERONICA turns around, stunned. The Heather Chandleresque HEATHER DUKE can be seen in the locker mirror. VERONICA violently pushes HEATHER DUKE away and storms off. HEATHER DUKE peers in the open locker. A pair of red earrings flash out at her. Biting her lip, she reaches for them.",
"INT. VERONICA'S BEDROOM--NIGHT Lying on the floor, VERONICA concentrates on her phone. With a deep sigh, she pushbuttons out a number. She pauses, then. VERONICA Ouch. Your machine's got the most obnoxious beep. Heather, I'm sorry.",
"INT. HEATHER DUKE'S BEDROOM--NIGHT VERONICA's voice drones through HEATHER DUKE's answering machine. VERONICA -LRB- O.S. / machine. -RRB- I'm just calling to say you can wear your hair any way you want to. A Male hand picks up the phone. It's College boy DAVID. DAVID Hey Veronica Sawyer, barf on anybody's carpet lately?",
"INT. VERONICA'S BEDROOM--NIGHT VERONICA cringes. VERONICA Is this David? Heather's David? What are you doing.",
"INT. HEATHER DUKE'S BEDROOM--NIGHT DAVID What can I say? I was pretty broken up by Heather C.'s suicide. I needed somebody super - sensitive like Heather D.",
"INT. VERONICA'S BEDROOM--NIGHT VERONICA I'm delirious for the both of you. Can you put Heather on?",
"INT. HEATHER DUKE'S BEDROOM--NIGHT DAVID proudly looks down off - screen to his lap. DAVID She ca n't really talk right now.",
"INT. VERONICA'S BEDROOM--NIGHT VERONICA slams down the receiver and pulls up a sleek leather address book. She severely scans through it. Tossing it away, VERONICA then descends into the sundry junk of her night table drawer and draws up another address book. This one is frayed and pink polka - dotted. She peruses it and dials. VERONICA Hello, Betty.",
"EXT. SAWYER BACKYARD--LATE AFTERNOON BETTY FINN hits her ball through a wicket and squeals in delight. VERONICA has a motherly smile on her face. BETTY I do n't believe it. I'm winning. VERONICA Do n't get cocky, girl. BETTY bends down to shoot then raises her body back up. BETTY I missed you. I know I'm not as, as exciting as your other friends. VERONICA That's bullshit. Just shoot. BETTY once again bends and raises. BETTY Ronnie, I'm still a virgin. I french - kissed Al Springer once but he. VERONICA -LRB- warmly. -RRB- Shoot. BETTY finally shoots. Feebly. VERONICA Betty, your daydreams are a lot better than my realities, believe me. I'm afraid though it's time to die. BETTY Ronnie! VEONCIA gigglingly shoots, but misses the wicket. And instead hits BETTY's ball. Disturbed by the sudden dilemma, she determinedly walks to her ball and moves it away from BETTY's. BETTY Hey, you're not settling for the two shots are you? Knock me out girl. It's the only way. VERONICA It's not my style, okay? BETTY Nice guys finish last. I should know. VERONICA sighs then knocks BETTY's adjacent ball sailing toward the porch and a statuesque Earring - wearing HEATHER DUKE, who does not budge as the ball whizzes past her. HEATHER DUKE Brav - o! BETTY FINN -LRB- nervously. -RRB- I've got to get going, Veronica. VERONICA Sure. HEATHER DUKE walks toward the girls followed by a meandering desultory HEATHER MCNAMARA, who picks up a green mallet and fragilely swings it ; her early robustness a forgotten memory. HEATHER MCNAMARA Croquet wo n't be the same without Heather. HEATHER DUKE -LRB- condescendingly to the passing Betty. -RRB- Oh Betty, leaving so soon. HEY, I'M RED! LATER IN THE GAME Red ball underfoot, HEATHER DUKE savagely `` sends'' HEATHER MCNAMARA's green ball into the flower bed. HEATHER MCNAMARA Shit. HEATHER DUKE You know what really bites ; when people watch that cafeteria stuff on TV and see all those Geeks and Metalheads jumping around, they're going to think Uncool is the Rule at Westerburg. Damn! HEATHER DUKE's shot swerves wide of the wicket. VERONICA You're so polluted. Talking down to people, making fake notes. VERONICA blows her shot. HEATHER DUKE I do n't see what gives you the right to lecture, Ronnie. You were soulmates with Betty Finn until you realized you're the cover of Seventeen magazine and she's the before half of a Scarsdale Diet ad. HEATHER DUKE bashes her ball into VERONICA's and prepares to send it. HEATHER DUKE Some people just do n't matter. Why should those who do carry their weight? Am I right? As HEATHER DUKE swings down her mallet, VERONICA steps on her own ball. When HEATHER DUKE's mallet makes contact, the two balls slam against each other, unmoving, with a loud smack. VERONICA No, you're wrong. It's not even your turn. The depressed and disoriented HEATHER MCNAMARA, laying against a tree, pipes in. HEATHER MCNAMARA She's right. Boy, croquet's not the same without Heather. HEATHER DUKE -LRB- shaking out her wrist. -RRB- I do n't know what your damage is Veronica, but me and Heather are going to walk over to the Mall. Maybe by the time we head back, your tampon'll be flushed. As HEATHER DUKE and HEATHER MCNAMARA meander out the back of the yard, an annoyed VERONICA revolves back toward the house to see J.D. sitting comfortably at the patio table with a drink. VERONICA Christ, does n't anybody knock? J.D. Mummy and Daddy let me in. So I'm a dark horse, huh? You make me blush. VERONICA reaches the patio, gently swinging her croquet mallet, excited with the thought that J.D. has come to change his ways. VERONICA Did you come to tell me something? Something nice. Remotely apologetic. J.D. -LRB- oblivious. -RRB- How about that Heather Duke, huh? I say it's about time we got down to doing what we do best. VERONICA -LRB- angrily blowing up at her bangs. -RRB- Just finish your drink and get out. VERONICA storms to the patio door.",
"INT. GYM--DUSK Wearing a BigFun T - shirt, MARTHA DUNNSTOCK/DUMPTRUCK sits in the bleachers glumly sipping out of a cup of Coke. Cheers and shouts can be heard booming around her. As she places the cup down beside her, it is revealed MARTHA is completely alone in the gym ; the others being sad workings of her embattled imagination. She lifts the cup back up to her mouth but the plastic lid pops off and a gush of Coke splashes onto her BigFun T - shirt.",
"INT. THE SAWYER LIVING ROOM--DUSK With her croquet mallet, VERONICA comes into her house, sliding the patio door closed. MOM and DAD are watching a video image of PAULINE FLEMING at a cafeteria table. MOM Jason's kinda cute for a dark horse. PAULINE -LRB- T.V. -RRB- The Westerburg Suicides were tough on all of us, but we shared the pain of losing three very popular souls. DAD I do n't know about that coat he was wearing though. Hey, is n't that the flake we met at Open House. A zombie VERONICA floats past her parents to stare at the T.V. PAULINE -LRB- T.V. -RRB- I came into the cafeteria and asked them to hold hands. The response was immediate. Footage of the frenzied handholding Students unfolds upon the screen with no evidence of the calculation behind it. PAULINE's sanctimoniously dulcet tones go over the image. PAULINE -LRB- V.O. / T.V. -RRB- My mere words liberated the students, causing them to open their petals and reveal their hopes and fears. By a stroke of luck, T.V. cameras were fortunate enough to happen to be on hand to capture this spontaneous, natural emotional outpouring of emotion. VERONICA Happened to be on hand. spontaneous natural emotional outpouring! VERONICA clams up in anger as her parents babble. DAD Look there's Heather. MOM And there's Heather. Where are you, Veronica? The video image of PAULINE at a cafeteria table returns. PAULINE -LRB- T.V. -RRB- Whether to commit suicide is the most important decision a teenager has to make. With supervision from people like myself, we can help young people make the right decision. With her croquet, VERONICA slams the on/off Button and turns to her parents. VERONICA I'm right here.",
"EXT. OUTSIDE OF THE SCHOOL--DUSK MARTHA trudges outside of the school, the coke stain still grotesquely encrusted to her BigFun T - shirt. She pins an illegible - except - for - the - words - DEAR - WESTERBURG note onto her shirt, over the stain. She continues moving toward a street of passing cars.",
"INT. SAWYER FAMILY/T.V. ROOM--DUSK/NIGHT The Sawyer family is on fire. VERONICA yanks the television cord from its socket. MOM Turn that back on! VERONICA Ca n't you see, these little programs eat up suicide with a spoon. They make it seem like a cool thing to do. DAD If we're not going to watch that program, can I put on the game? VERONICA Hey kids, make your parents and teachers feel like shit! Get the respect in death you'll never get in life! MOM Are you trying to tell me it is not a troubled time for the nation's youth? Get up off the floor, your dress is getting filthy. VERONICA Everybody cares about youth, not the individual. All we want is to be treated like human beings, not like guinea pigs to be experimented on and not like bunny rabbits to be patronized. DAD I do not patronize bunny rabbits. MOM Treated like human beings? Is that what you said little Miss Voice of a Generation? Just how do you think adults act with other adults? You think it's all just Doubles Tennis. Adults can be horrible to other adults. When teenagers complain that they want to be treated like human beings, it's usually because they are being treated like human beings. VERONICA leans against the wall with a melancholy smile. VERONICA I guess I picked the wrong time to be a human being. MOM is embarassed for getting so involved. She meekly gestures to a tray of pate with a compassionate smile. MOM You'll live. Want some pate? HEATHER DUKE suddenly breezes in the room, out of breath, holding various shopping bags. HEATHER DUKE Hi everyone, door was open. Have you heard, Veronica? We were doing Chinese at the Food Fair, right, when they come over the radio and say Martha Dumptruck tried to buy the farm. She bellyflopped in front of a car, wearing a suicide note. VERONICA -LRB- repulsed. -RRB- Is she dead? HEATHER DUKE That's the punchline. She's still alive, in stable condition. Another case of a geek trying to imitate the popular people of the school and failing miserably. Is that pate? VERONICA slaps HEATHER DUKE in the face.",
"INT. VERONICA'S BEDROOM--NIGHT HEATHER DUKE paces the room holding an icepack to her jaw. VERONICA is glumly sprawled on the ground. VERONICA I said I was sorry. HEATHER DUKE You are out of control. Heather and Kurt were a shock, but Martha Dumptruck, get crucial! She dialed suicide hotlines in her diapers. VERONICA You're not funny. Turn on the radio. HEATHER DUKE -LRB- Heather Chandleresque. -RRB- Martha could n't take the heat so she got out of the kitchen. Just think what a better place the world would be if every nimrod followed her cue. VERONICA Just shut up and turn on the radio. Hot Probs is on. HEATHER DUKE Oh shit, yeah. HEATHER DUKE hastens to the radio and flicks it on. Ripping open a bag of corn nuts, she sets herself down next to VERONICA as a TROUBLED MALE VOICE cuts the air. TROUBLED MALE VOICE -LRB- Radio. -RRB- I know it's supposed to be funny that they never get off the island, but still, sometimes I feel like I'm on that island and Gilligan can be just so stupid sometimes. HEATHER DUKE This sounds like a good one.",
"INT. RADIO STATION BOOTH--NIGHT A slob D.J. cackles into a conference call - type box. D.J. Dude, you've got to remember if it was n't for the courage of the fearless crew, the Minnow would be lost. The Minnow would be lost! Next call! TROUBLED MALE VOICE But Skipper hates me. The D.J. rudely clicks off the TROUBLED MALE VOICE. D.J. Whoa, they're coming out early tonight. What ever happened to abortions and acne? You've got the Dogcatcher and you're listening to Hot Probs.",
"INT. HEATHER MCNAMARA'S BEDROOM--NIGHT HEATHER MCNAMARA is sitting clandestinely on her bedroom floor talking on the phone and through her radio. A dim lamp provides the room's only light. HEATHER MCNAMARA My name is Heather, I mean, not Heather. HEATHER MCNAMARA looks up at a Madonna poster on the wall. HEATHER MCNAMARA It's Madonna. Geez, no, not that. HEATHER MCNAMARA looks up to a knick - knack of little gold bird.",
"INT. VERONICA'S BEDROOM--NIGHT VERONICA and HEATHER DUKE simultaneously move into stunned silence. D.J. -LRB- radio. -RRB- Hey babe, I need a name?",
"INT. RADIO STATION BOOTH--NIGHT HEATHER MCNAMARA -LRB- box. -RRB- My name is Tweety. D.J. Yo, Tweet, if you're going to tell me you just saw a puttycat.",
"INT. HEATHER MCNAMARA'S BEDROOM--NIGHT A broken - down HEATHER MCNAMARA sobs. HEATHER MCNAMARA God has cursed me, I think. The last time I had sex, the guy killed himself the next day. I'm failing Math.",
"INT. VERONICA'S BEDROOM--NIGHT HEATHER DUKE excitedlly jumps up as HEATHER MCNAMARA drones on. HEATHER DUKE Holy shit, that's Heather! We'll crucify her! VERONICA Oh man, she knows we listen to this show! HEATHER MCNAMARA -LRB- radio. -RRB- My whole life is a mess. I was supposed to be captain of the cheerleading team, but I probably wo n't because I miss practice when my Dad visits. My parents are divorced and stuff and.",
"INT. CLASSROOM--DAY A blackboard reads POOR LITTLE HEATHER. VERONICA -LRB- V.O. -RRB- Heather told everyone about Heather. HEATHER MCNAMARA is revealed in the front row wearing her cheerleader uniform. To the left, HEATHER DUKE dishes with some dreamy GUYS. At the back of the classroom, VERONICA, monocle in eye, writes in her diary. VERONICA -LRB- V.O. -RRB- Yes, Dear Diary, I've cut off Heather Chandler's head and Heather Duke's head has sprouted in its place like some mythological thing my eighth grade boyfriend would know about. Heather's even doing the old note trick. A HOMELY GIRL is seen reading a note, glancing to a TYPICAL JOCK. VERONICA takes in the wicked panorama of the classroom. VERONICA -LRB- V.O. -RRB- I've seen J.D.'s way. I've seen Pauline's way. Nothing's changed. I guess that's Heather's way. And jesus, what about J.D? I ca n't get him out of my head. Are we going to the Prom? Or to Hell? And where's Heather going? HEATHER MCNAMARA suddenly rises and walks out of the classroom, passing a GRUFF TEACHER in a trenchcoat, carrying a briefcase. GRUFF TEACHER Where's Heather going? HEATHER DUKE She's going to cry - y - y.",
"INT. GIRLS BATHROOM--DAY HEATHER MCNAMARA struggles to open a bottle of sleeping pills. HEATHER MCNAMARA Fucking child protector caps.",
"INT. THE GRUFF TEACHER'S CLASSROOM--DAY GRUFF TEACHER writes a math problem on the board. A flustered VERONICA squirms in her seat then leaps up and runs to the door. GRUFF TEACHER Now where's she going? Is somebody getting raped today on All My Children or what?",
"INT. GIRLS BATHROOM--DAY",
"INT. HALLWAY--DAY VERONICA races down the hall.",
"INT. GIRLS BATHROOM--DAY HEATHER MCNAMARA is a chipmunk with a mouthful of pills. She pulls a glass from her purse and turns on a faucet, but no water comes out. She manages to mumble. HEATHER MCNAMARA Give me a break. HEATHER MCNAMARA gets running water from another sink as VERONICA rushes in. VERONICA punches HEATHER MCNAMARA's face causing the pills to explode out of her mouth. HEATHER MCNAMARA slumps against a stall, onto the floor. HEATHER MCNAMARA What are you trying to do? Kill me? VERONICA jumps up and down on the pills on the floor. VERONICA What were you trying to do? Sleep? HEATHER MCNAMARA Suicide is a private thing. VERONICA lunges forward to strike her. HEATHER MCNAMARA recoils with a wail. Half - regaining her composure, VERONICA slides down next to HEATHER MCNAMARA. VERONICA You're giving your life away to become a goddamn statistic in U.S. Fucking A Today. That's got to be the least private thing I can think of. HEATHER MCNAMARA But what about Heather and Ram and Kurt? VERONICA If everyone jumped off a bridge, young lady, would you? HEATHER MCNAMARA wipes tears from her eyes and smiles weakly. HEATHER MCNAMARA Probably. VERONICA Hey now, if you were happy every day of your life, you would n't be a human being, you'd be a game show host. HEATHER MCNAMARA Let's knock off early. Buy some shoes. Something lame like that. VERONICA Sure.",
"INT. THE EMPTY CLASSROOM--DAY Comfortably slouched at a desk, J.D. laconically rumbles. J.D. So it's come to this. -LRB- turning to the viewer. -RRB- Heather Chandler did polls. I want you to do a Petition, as a favor, as the favor. You've heard the group Big Fun, right? HEATHER DUKE sits at the desk opposite him torching the manilla envelopes -LRB- photographs -RRB- with a butane lighter. HEATHER DUKE TEENAGE SUICIDE ; DO N'T DO IT! J.D. -LRB- post - chortle. -RRB- Some teenybopper rag said that Big Fun wants to play a Prom. It could be Westerburg's if we can get everyone's John Hancock. J.D. flips across a stack of blank, connected computer printout sheets. At the top is a small paragraph and the word PETITION. HEATHER DUKE blows ashes off her desk and grabs it, giggling. HEATHER DUKE I'll get right on it coach. And hey, a little gift. I wo n't be needing it. HEATHER DUKE twirls her copy of Catcher in the Rye to a pleased J.D.",
"INT. STAIRCASE WINDOW--DAY HEATHER DUKE gothically ascends a staircase, holding the petition. She stops, arms raised high, to bathe in the sunlight blasting through the staircase window.",
"INT. CAFETERIA--DAY HEATHER DUKE, petition in hand, sashays toward the Country Club Kids table. COURTNEY Oh great. Here comes Heather. KEITH Shit.",
"INT. SCHOOL BUS--DAY HEATHER DUKE chirps to a schoolbusful of various STUDENTS.",
"EXT. SCHOOL LAWN--DAY The provocatively dressed Petitioner charms a patch of Jocks.",
"INT. STAIRCASE WINDOW--DAY HEATHER DUKE continues to bizarrely bathe in the sunlight of the staircase window.",
"EXT. PARKING LOT--DAY Strategically wearing Heavy Metal accessories, HEATHER DUKE slams down the petition atop a car - hoodful of Metalheads.",
"INT. STONERS' HALLWAY--DAY Decked out in denim, HEATHER DUKE vanishes into the Stoner Hallway smoke, with the petition.",
"INT. THE STAIRCASE WINDOW--DAY HEATHER DUKE further writhes in the sunlight until VERONICA's perplexed voice cuts into her bliss. VERONICA -LRB- O.S. -RRB- Heather? HEATHER DUKE brings down her arms and the petition and turns to VERONICA, revealed to be descending down the steps. HEATHER DUKE Veronica! Color me stoked, girl. I've gotten everyone to sign this petition even the one who think BigFun are tuneless Eurofags. People love me! -LRB- giggling. -RRB- My God, you have n't signed! VERONICA People love you but I know you. Jennifer Forbes told me the petition she signed was to put a hot tub in the cafeteria. And Doug Hylton. HEATHER DUKE -LRB- verbally winking. -RRB- So some people need different kinds of `` convincing'' than others. -LRB- happiness evaporating. -RRB- Hey, just sign the petition! VERONICA HEATHER DUKE It was J.D.'s idea! He made out the signature sheet and everything. Now will you sign it? VERONICA -LRB- queasy. -RRB- No. HEATHER DUKE Jealous much? VERONICA slaps HEATHER DUKE with all her might. VERONICA Heather, why ca n't you just be a friend? Why are you such a MegaBitch? HEATHER DUKE Because I can be! The same fucking cheek, goddamnit! Why are you pulling my dick? Do you think, do you really think, if Betty Finn's fairy godmother made her Cool, she'd still act nice and hang with her dweebette friends? No way! Uh - Uh! HEATHER DUKE stumbles down the stairs. HEATHER DUKE Fuck me gently with a chainsaw. J.D.'s voice cuts into VERONICA's concentration. J.D. -LRB- O.S. -RRB- Wan na go out tonight? VERONICA grimly turns to see a smirking, descending J.D. J.D. Catch a movie? Some miniature Golf? VERONICA -LRB- jokingly but caustically. -RRB- I was thinking more along the lines of slitting Heather Duke's wrists open and making it look like a suicide. J.D. seductively slides behind VERONICA and envelops her. J.D. I could be up for that. I've already started underlining meaningful passages in Heather's copy of Catcher in the Rye, if you know what I mean. This is great, Veronica. I knew you'd come back. As in the Chandler kitchen scene, J.D. kisses the back of VERONICA's neck and she closes her eyes. Suddenly she rifles her elbow into his stomach, doubling him over. She screams in his ear then bolts down the stairs as he gasps after her. VERONICA It's over, J.D. Over! Grow up! J.D. I do n't get it! You were wrong! I was right! Strength, damnit! Come back!",
"INT. SAWYER LIVING ROOM--DUSK Intensely clutching her schoolbooks, VERONICA walks through the front door into the living room where MOM and DAD sit with aggressively compassionate faces. VERONICA is a bit confused. VERONICA Yes? MOM and DAD glance at each other before MOM speaks. MOM Your friend Jason Dean just stopped by. He seemed very concerned about you. He said he thinks you might try to kill yourself. DAD You have been depressed lately. Oh, he said this is for you. DAD holds out an envelope. VERONICA nabs it and rips it open. The note reads, in feminine manuscript : RECOGNIZE THE HANDWRITING? VERONICA Oh my God. VERONICA runs off, her mother's voice trailing behind her. MOM -LRB- O.S. -RRB- He says we should keep you away from sharp objects, closed garages, toxic.",
"INT. VERONICA'S BEDROOM--DUSK VERONICA vaults through her bedroom door. A Barbieish doll wearing a BigFun T - shirt hangs from a noose. With a whimper, she swerves away from it, looks to her open window, and then dives onto her bed.",
"EXT. OUTSIDE THE SAWYER HOUSE--NIGHT J.D. laconically leans against his motorcycle with his legs suavely crossed. He looks uo to Veronica's bedroom window and hears another whimper emerge. He puts a cigarette in his mouth and lights it with a smile.",
"INT. VERONICA'S BEDROOM--NIGHT VERONICA curls into a fetal position on her bed and closes her eyes. tighter and tighter as J.D.'s voice. J.D. -LRB- O.S. -RRB- `` You ca n't ever find a place nice and peaceful because there is n't any.'' VERONICA flops around to see J.D. kneeling over her on her bed reading Heather Duke's copy of The Catcher in the Rye. J.D. Nice. It's got that Catcher - in - the - Ryey - I - hate - the - world - and - the - world - hates - me - so - let's - commit - suicide ambience. Give it a try, underline something. J.D. giddily underlines words then slides into a prone position, tossing the book to an enraged VERONICA. VERONICA Get off my bed, you sick psycho. You think you're a rebel. You're not a rebel. You're a sick psycho. -LRB- increasing rage. -RRB- Do you think you're a rebel? Do you think you're a rebel? I wan na know! J.D. You say tomayto, I say tomahto. Let's call the whole thing off. Hold it! VERONICA freezes and J.D. reaches up to her hand where she holds the Catcher in the Rye. Her index finger is curled into the book. Sitting up, J.D. carefully opens the book at that place and peers in. J.D. Look at that. Eskimo. One word. I love it. I usually go for whole sentences myself, but hey this is perfecto. Eskimo. So mysterious. VERONICA Wait a. You're not listening! I'm not on your side.",
"INT. THE DUKE KITCHEN--NIGHT The sound of a lock being jimmied is heard moments before VERONICA and J.D. burst through the door. J.D. moves to the dishwasher and opens it like a burglar opening a safe. VERONICA You're still not listening! I'm not. J.D. -LRB- pulling out the knife. -RRB- Nag, nag, nag, nag. nag. VERONICA -LRB- taking the knife from him. -RRB- This knife is filthy. J.D. What in the hell do you think I'm doing? Taking out her tonsils? VERONICA I think I know Heather a bit better than you, okay? If she was going to slash her wrists, the knife would be absolutely spotless. J.D. grabs a dishtowel and vigorously wipes off the knife. J.D. How's this? Can you see your fucking reflection? She can and so can the viewer. Tears well in VERONICA's eyes. She begins to shudder, a shattered smile quaking on her face. VERONICA Tomorrow someone else will move into her place. That person could be me. -LRB- suddenly deliriously defiant. -RRB- Ha, there's only one of us who knows Heather's handwriting and if you think I'm doing another suicide note. J.D. -LRB- laughing. -RRB- You do n't get it, do you? Society nods its head at any horror the American teenager can think to bring upon itself. We do n't need gloves and does anyone really care about exact handwriting? J.D. tears his gloves off with a giggle. He takes a pen from the kitchen counter and paper from a cutesy memo pad. He shoves the pen in VERONICA's hand and grabbing her hand, forces her to scribble LIFE SUCKS on the paper. J.D. Perfecto. Man, I've even got a marked - up Catcher in the Rye. What else does a suicide need? J.D. pulls out the copy of the Catcher in the Rye and opens a door revealing HEATHER DUKE, asleep in an artful pose on a couch, MTV images from the T.V. flashing against her. J.D. -LRB- raising the knife. -RRB- If you'll excuse me. VERONICA No - o! J.D. hos in the adjoinging room and slams the door. VERONICA races to the door wailing. She maniacally rattles the doorknob trying to open the locked door.",
"INT. AN ANOYNYMOUS T.V./HEATHER DUKE'S ROOM--NIGHT The sound of the rattling doorknob subtly turns into wild African music thundering on the soundtrack as PAULINE FLEMING ethereally moves to a blackboard with three chalk strokes on it and makes a fourth chalk stroke.",
"INT. NEWSPAPER/YEARBOOK WORKSHOP--DAY In speeded - up imagery, DENNIS, PETER, and the YEARBOOK GIRL maneuver pictures of HEATHER CHANDLER, KURT, RAM, and HEATHER DUKE in mind - bogglingly countless ways in order to accomodate them all on the same two page layout.",
"INT. FRONT OF THE CAFETERIA--DAY With even more speeded - up imagery, four STUDENTS wearing `` What a Waste, Oh the Humanity'' T - shirts toss out tons of black armbands into a hungry crowd.",
"INT. CHURCH--DAY The wild African music and the speeded up imagery slams to a halt at the sigh of HEATHER DUKE lying serenely in a coffin. FATHER RIPPER wearing dark sunglasses and a terrifying toupee, walks in front of her to address a sizable group of ADULTS and STUDENTS sitting in foldout chairs before him. FATHER RIPPER dramatically looks over the crowd before finally speaking. FATHER RIPPER Eskimo. FATHER RIPPER lets the word hang in the air, then holds up the book. FATHER RIPPER Heather Duke underlined a lot of things in this copy of The Catcher in the Rye, but I believe the word Eskimo, underlined all by itself is the key to understanding Heather's pain. VERONICA stands in a corner with an `` Oh brother'' look on her face. FATHER RIPPER On the surface, Heather Duke was the vivacious young lady we all knew her to be. But her soul was in Antartica, freezing with the knowledge of the way fellow teenagers can be cruel, the way parents can be unresponsive, and as she writes so eloquently in her suicide note, the way life can suck. We'll all miss Sherwood's little Eskimo. Let's hope she's rubbing noses with Jesus. HEATHER CHANDLER moves next to VERONICA holding a plate of steaming spaghetti. She is wearing nerdy glasses and something that looks like an intergalactic prison unifrom. HEATHER CHANDLER Is this turnout weak or what? I had at least seventy more people at my funeral. VERONICA Heather? Wha. HEATHER CHANDLER Oh God Veronica, my afterlife is s - o - o boring. If I have to sing `` Kumbaya'' one more time. VERONICA What are you doing here?! HEATHER CHANDLER I made your favorite. Spaghetti. Lots of oregano. With a squeal, HEATHER CHANDLER plunges VERONICA's face into the plate of spaghetti. HEATHER CHANDLER Dinner!",
"INT. VERONICA'S BEDROOM--NIGHT Uncurling from the fetal position that she had fallen asleep in, VERONICA's tightly closed eyes snap open in a sweat as her mother's voice continues to filter through the door. It's all been a dream. MOM -LRB- O.S. -RRB- Dinner! Veronica! Dinner! VERONICA closes her eyes and holds her heart. She suddenly launches to her desk, opens her diary, shoves on her monocle, catches her breath, and begins writing. VERONICA -LRB- O.S. -RRB- Dear Diary, no one can stop J.D. Not the F.B.I., the C.I.A., or the P.T.A.. That is to say, no one but me. I know where J.D. is coming from and where he is heading. He's wrong, but I'm going to teach him what's right. I'm going to stop J.D. If it's the last thing I do. VERONICA leans back in her chair, sweating. She reaches in the pocket of a blazer draped over the back of the chair and pulls out the cigarette J.D. had given her eariler in the film. She puts it in her mouth unlit then takes it out and puts it back in the blazer.",
"EXT. OUTSIDE THE SAWYER HOME--NIGHT J.D. remains laconically leaning against his motorcycle with his legs suavely crossed as he was before Veronica began dreaming. J.D. finishes his cigarette and pulls out a gun. He checks the bullets, puts the gun back in his coat, and heads toward the house.",
"INT. VERONICA'S BEDROOM--NIGHT VERONICA hugs J.F.K. the cat then rips down the hanging doll.",
"EXT. THE SAWYER FRONT YARD--NIGHT J.D. leans a ladder against the Sawyer house.",
"INT. THE SAWYER DINNER TABLE--NIGHT MOM sets down three plates of spaghetti. DAD watches on. MOM Does she want a written invitation? -LRB- yelling upward. -RRB- Veronica! Dinner!",
"INT. VERONICA'S BEDROOM--NIGHT J.D. crawls through VERONICA's window. Hanging from the rafter, neck in a noose of bedshoots, is VERONICA.",
"INT. THE SAWYER DINNER TABLE--NIGHT MOM sets a glass of milk at VERONICA's place, distressed. MOM Honey?",
"INT. VERONICA'S BEDROOM--NIGHT J.D. paces the room, sweating and ranting, waving a gun in one hand, the Barbieish doll in the other. J.D. I ca n't believe you did it. I was teasing. I loved you. Sure, I climbed up here to kill you, but first I was going to try and get you back. With amazing petition. J.D. throws the gun on the bed and pulls from his coat the computer printout sheet petition, then savagely rolls it out on the floor. It is filled with signatures of different sizes, styles, and colors. J.F.K. blinks. J.D. It's a shame you ca n't see what our fellow students really signed. J.D. flicks open a switchblade. He runs the blade beneath the typed paragraph at the top causing it to peel off, reavealing another typed paragraph. J.D. Listen. `` We students of Westerburg High will die. Today. Our burning bodies will be the ultimate protest to a society that degrades is. Fuck you all.'' Not that subtle but neither's blowing up the school. Talk about your suicide pacts. When our school explodes tomorrow, it's going to be the kind of thing that infects a generation. A Woodstock for the 80's. Damn, we coulda toasted marshmallows together. MOM -LRB- O.S. -RRB- Honey, are you all right in there? J.D. swiftly picks up the petition and heads out the window. MOM enters the room and, seeing her hanging daughter, launches into frantic screams. MOM Oh God, I knew it! No, no! I want my baby back! I should have let you keep that job at the mall. I was just afraid of you coming home alone at night! VERONICA opens her eyes. MOM I made your favorite! Spaghetti! Lots of oregano! VERONICA undos the noose around her neck but still remains hanging for the rope runs all the way down her back beneath her blazer and is tied around her waist. She undos the waist - knot and lands on her bed. She quickly puts a small pillow over the left - behind gun, unnoticed by her dazed MOM. VERONICA Hey Mom, why so tense?",
"INT. THE SAWYER DINNER TABLE AREA--NIGHT Montage music plays as VERONICA rears up from her dinner plate to see her stonefaced PARENTS and her CAT staring at her.",
"INT. J.D.'S BEDROOM--NIGHT J.D. tools with a bomb at his desk. A KNOCK on the door. J.D. turns down his stereo -LRB- and the Montage music -RRB-. BIG BUD DEAN -LRB- O.S. -RRB- I need some help with my homework. J.D. Sorry tiger, I'm a little busy. J.D. turns back up his stereo -LRB- and the Montage music -RRB-.",
"EXT. FRONT OF WESTERBURG HIGH--MORNING The Montage music continues as school buses arrive in front of the school. STUDENTS pour out.",
"EXT. SCHOOL PARKING LOT--MORNING STUDENTS come out of their cars.",
"INT. HALLWAY--MORNING Typically hectic start - of - another - day - opening - and - slamming - of - locker - action. VERONICA darts through the thoroughfare to her locker. A passing PAULINE FLEMING screeches to a halt, grabbing VERONICA as she chokes on some styrofoam cup coffee. PAULINE Veronica! J.D. told me you committed suicide last night! VERONICA Where is he? Where's J.D? PAULINE We have to talk. I've got some pamphlets in my office that will help you decide if suicide is really for you. Come on, let's go take a look. VERONICA Get a job. VERONICA storms to her nearby locker. She swirls her locker combination and opens it. She glances down the hall and freezes. In the distance, J.D. moves mechanically down the hallway carrying a large gym bag, wearing a Walkman. VERONICA climbs into her locker. She closes it until it is barely perceptibly ajar. J.D. strides past the locker and into the Boys bathroom.",
"INT. BOYS BATHROOM--DAY J.D smoothly moves into a stall and closes the door. He turns off his Walkman and ends the Montage music.",
"INT. THE HALLWAY--DAY The hallway slowly clears as STUDENTS go to class. The bell rings. A LATE STUDENT races through the empty hallway. VERONICA carefully hatches out of her locker. She treads down the hallway as if something were about to jump out at her.",
"INT. THE GYM--DAY A group of cheerleaders including HEATHER MCNAMARA are lazily doing cartwheels on the gym floor. On a small stage set up beside them, other STUDENTS are putting up folding chairs. PRINCIPAL GOWAN says `` Testing'' into a microphone. J.D., toting the gym bag, slips through the gym door. He moves unnoticed to a position underneath the bleachers.",
"INT. THE HALLWAY--DAY VERONICA peers around a corner to see an empty hallway.",
"INT. GYM--UNDER THE BLEACHERS--DAY Using heavy black masking tape, J.D. tapes a thermal bomb to a steel support beneath the bleachers. Other thermal bombs can be discerned taped to other supports.",
"INT. THE EMPTY HALLWAY--DAY VERONICA cautiously treads down the empty hallway, trying to keep in control. Suddenly, packs of STUDENTS burst from classroom doors behind VERONICA. The excited swarms of STUDENTS move toward and past VERONICA, who has braked her troubled treading to stiffly contemplate her passing peers. She latches onto Geek RODNEY in a panic. RODNEY looks down at his clutched arm with a nervous smile. VERONICA Rodney, where's everybody going? RODNEY It's Friday. VERONICA Oh my God, another damn pep assembly. RODNEY Yeah, these things are pretty artificial, but at least we all get out of class. VERONICA ignores RODNEY's amiable attemots at conversation to inquisitively move forward through the crowd.",
"INT. THE GYM--DAY J.D. darts from out underneath the bleachers to the gym doors. He pops the doors open and sees the crowd of STUDENTS move toward the gym. He suavely pauses then dashes down a nearby set of stairs.",
"INT. THE HALLWAY LEADING TO THE GYM--DAY VERONICA continues to tensely surf the tidal wave of STUDENTS heading for the gymnasium. She stops to watch her classmates file into the gym like lemmings with increasing sense of dread. She again latches onto a passing RODNEY. VERONICA Rodney, what's underneath the gym? RODNEY -LRB- unconsciously -RRB- dramatically stops, turns to VERONICA. and says. RODNEY The boiler room. VERONICA blanches then lunges through the crowd. She topples a couple disgruntled STUDENTS before careening down the staircase beside the gym.",
"INT. HALLWAY OUTSIDE THE BOILER ROOM--DAY J.D. walks by the firm glass windows of the boiler room, eyeing the pounding generators inside. He stops at a heavy steel door. Placing down his gym bag, J.D. proceeds to swiftly pick the lock. He swings open the steel door. VERONICA -LRB- O.S. -RRB- May I see your hall pass? J.D. weilds around. A sweating VERONICA moves toward him, pointing the bedroom gun at him. J.D. I knew that loose was too noose! I mean, noose too loose! Goddamn you! VERONICA Like father, like son. A serious - as - fuck bomb in the boiler room that'll set off a pack of thermals upstairs. Okay, so let's start by slowly putting the bomb down on the ground. J.D. looks down at the gym bag already on the ground. He folds his arms and smiles. VERONICA forcefully moves closer. VERONICA Okay, okay. I knew that. I knew that. Put your hands on your head. J.D. You did n't say Simon Says. J.D. suddenly kicks out into VERONICA's stomach, doubling her over and causing her to drop the gun. J.D. gracefully retrieves it.",
"INT. THE GYM--DAY The pep assembly is in full swing with rowdy STUDENTS in the bleachers earthily shouting, giggling cheerleaders making swaying pyramids, valiant band members struggling to be heard. Various Jocks, stand on the stage with PRINCIPAL GOWAN as a YEARBOOK PHOTOGRAPHER flashes away.",
"INT. THE HALLWAY BEFORE THE BOILER ROOM--DAY VERONICA bends over quivering and clutching her bruised ribs. J.D. raises the gun to her head. J.D. Live by the sword. VERONICA swings her left arm up knocking J.D.'s gun hand upward. She then sails her right fist into his face. The blow annoys him more than it hurts him but J.D.'s momentary loss of composure allows VERONICA to come in with another much harder right hook. The blow sends J.D. stumbling back against the boiler room, jarring the gun loose. They simultaneously lunge for the gun. VERONICA, having the better grip, pulls so forecfully that after wrenching the gun from J.D., she loses control of it, flinging it down the hall. VERONICA pops up to retrieve it but J.D. moves his legs scissors - style around her and trips her.",
"INT. GYM--THE PREP ASSEMBLY--DAY The assembly mindlessly blares on. Cheerleader HEATHER MCNAMARA rah - rah - rahs. RODNEY and the other Geeks pass around a pair of opera glasses, all intensely scoping out the cheerleaders. A group of STONERS toke away beneath the bleachers, one of them lackadaisically leaning against a thermal bomb.",
"INT. THE BOILER ROOM HALLWAY--DAY A snarling J.D. stands up, pulling VERONICA with him. J.D. You think just because you started this thing, you can end it? J.D. violently kisses/bites VERONICA. While kissing, VERONICA sees a fire alarm on a nearby wall. She closes her eyes then savagely knees J.D. in the groin. VERONICA bolts to the alarm and pulls it down. Nothing happens. J.D. gasps. J.D. You, really did n't think I'd, forget, forget, to disconnect the. VERONICA rockets her body down and picks up the gun. J.D. grabs her and throws her against the steel boiler room door. A jostled VERONICA raises the gun. J.D. howls then bounds toward VERONICA, causing them both to careen down the steel steps of the boiler room. At the same time, he inadvertently kicks the gym bag/bomb down along with them. The gun spins from VERONICA's hand and slides away. The bomb flies out of the bag onto the boiler room floor. A digital clock on the bomb clicks on at 5:00. 4:59. 4:58.",
"INT. GYM--THE PEP ASSEMBLY--DAY The frenzied pep assembly crowd is now doing `` The Wave''. BETTY FINN and her similar co - horts deliriously get into the act, all sit in a circle at the bottom rows of the bleachers, pouting as STUDENTS bounce up and down around them. Jocks stand on the stage grinning and preening before the crowd.",
"INT. THE BOILER ROOM--DAY VERONICA and J.D. are in a heap at the bottom of the boiler room steps. VERONICA faintly works into a semi - sitting position and gives an astonished glance to the bomb, its digital clock clicking to 3:04. VERONICA crawls to the gun and levels it at a rousing - up J.D. VERONICA The bomb's gone on, J.D! How do you turn it off? Tell me! Fully standing, J.D. flicks open his switchblade. He gives VERONICA `` the finger,'' screaming in exploded saliva. J.D. Fuck you! Seething, VERONICA shoots up at J.D. blowing off `` the finger.'' Shrieking in pain, J.D. drops the knife to hold this sudden geyser of blood. VERONICA achingly stands, pointing the gun. The bomb clicks down to 2:25. VERONICA It's all over, J.D. Help me to stop it. J.D. You want to wipe the slate clean as much as I do. Okay, so maybe I am killing everyone in the school because nobody loves me. You have a purpose though! Remember? Let's face it, the only place different social types can genuinely get along with each other is in heaven. VERONICA fires the gun at J.D.'s feet. The bomb clicks to 1:49. She focuses her eyes on three red buttons on the bomb. VERONICA Which button do I press to turn it off? Tell me! J.D. Try the red one, but seriously, people are going to look at the ashes of Westerburg and say there's a school that self - destructed not because society did n't care, but because that school was society. Is that deep or what? I'll let you put it in your diary, babe. Free of charge. VERONICA Which red button, asshole? J.D. Press the middle one to turn it off. If that's what you want babe. VERONICA picks up the bomb and puts it on a steel drum, speaking with her back turned. VERONICA You know what I want, babe? J.D. -LRB- crouching. -RRB- What? J.D. snatches up his switchblade and lunges toward VERONICA. She springs away, causing him to bring the knife down past her and onto the middle red button, stopping the clock on the bomb at 00:17. VERONICA Cool guys like you out of my life. VERONICA fires the gun twice into J.D.'s stomach. Coughing and moaning, he splatters against a generator. VERONICA But do n't worry, these here were Ich Luge bullets. J.D. closes his eyes and slumps to the ground. VERONICA wearily regards the image of the knife stuck in the stopped bomb.",
"INT. GYM--THE PEP ASSEMBLY--DAY A cheerleader does a cartwheel in slow motion as eerie music plays. The manic crowd in the bleachers vibrates in slow motion as well. At normal speed, a smiling VERONICA walks to the doors of the gym and peers in. The panorama of roaring students, posing jocks, and prancing cheerleaders continues to unfold in slow motion. VERONICA walks away.",
"EXT. THE FRONT OF THE SCHOOL--DAY VERONICA wearily pushes open the front door and emerges outside of the school. She closes her eyes to therapeutically bask in the sun's rays. A slight smile trembles onto her face. A strange voice kills it. J.D. -LRB- O.S. -RRB- Color me impressed. J.D. stands starkly in the distance before her, blood spurting from his mouth onto his gunslinger coat. J.D. You really fucked me up, Veronica. VERONICA I thought I. you. I. J.D. You've got power, Veronica. Power I did n't think you had. The slate is clean. J.D. pulls open his coat revealing that the bomb is attached to his torso. The green light is on and the clock says 00:10. 00:09. J.D. Pretend I did blow up the school. All the schools. Now that you're dead, what are you gon na do with your life? VERONICA takes the unlit cigrette from her blazer pocket and puts it in her mouth. She then folds her arms. VERONICA Perfecto. J.D. raises his arms in a crucifixion pose as the bomb clicks to 0:00. Nothing happens. An annoyed J.D. breaks out of his crucifixion stance and raps the bomb with his palm.",
"INT. GYM--THE PEP ASSEMBLY--DAY The sound of the bomb explosion plunges the cheering up - and - down pep assembly into chaos. Wailing students pour out of the bleachers screaming less out of fear than a `` Whoa Dude'' sense of excitement.",
"EXT. THE FRONT OF THE SCHOOL--DAY VERONICA stands in the same position in front of the school with her arms still folded. Only now her cigarette is lit and her face and clothes are blackened in ash. Flames flicker in bushes behind her. VERONICA drags on the cigarette and turns to go inside.",
"INT. THE FRONT HALLWAY--DAY VERONICA strolls into the school and into a hallway of howling students, some of whom are tearing down Prom banners for the thrill of it. HEATHER DUKE rushes up to VERONICA and grimaces. HEATHER DUKE Veronica, you look like hell. VERONICA Yeah, I just got back. VERONICA tosses away the cigarette. She then grabs HEATHER DUKE by the shoulders and forcibly turns her around. HEATHER DUKE What are you doing? VERONICA Heather, my love, there's a new sheriff in town. VERONICA takes off HEATHER DUKE's red ribbon and ties it around the hair of her own head. She kisses HEATHER DUKE on the cheek, leaving a black stain. VERONICA calls off. VERONICA Hey, Martha, wait up. MARTHA DUNNSTOCK/DUMPTRUCK revealed to be in a wheelchair, brakes to a stop and looks to Veronica, confused. VERONICA walks up beside her. MARTHA starts up her wheelchair and accompanies VERONICA away into a deserted hallway. VERONICA My date for the prom kind of flaked out on me, so I thought if you were n't doing anything that night we could go to the video store and rent some new releases or something. Maybe pop some popcorn. MARTHA I'd like that. VERONICA So would I. VERONICA and MARTHA continue gliding Bogart/Rains style."
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] | Veronica Sawyer is one of the popular girls at Westerburg High School in Sherwood, Ohio. She is part of a popular but feared clique that also consists of three other wealthy and beautiful girls with the same first name: Heather Chandler, Heather Duke, and Heather McNamara. She has grown tired of them and longs to return to her old life with her "nerdy" friends. A new student, a rebellious outsider named Jason "J.D." Dean pulls a gun, and fires blanks on jocks Kurt Kelly and Ram Sweeney in response to them bullying him. Veronica observes this, and finds herself fascinated. She later attends a frat party with Heather Chandler. After refusing to have sex with a frat brother, and vomiting on Chandler, the latter vows to destroy her reputation. J.D. shows up at Veronica's house, and they end up having sex outside. They express to each other their mutual hatred of Chandler's tyranny. The next morning, Veronica and J.D. break into Heather's house. J.D. jokingly puts drain cleaner in a mug with the intention of giving it to Chandler but Veronica quickly shuts him down. She mixes orange juice and milk together instead as an attempt to make her throw up and get revenge. However, she gets the cups mixed up. J.D. notices this, and hands Chandler the mug with the drain cleaner. She drinks it, crashes through a glass table, and dies. Veronica panics but J.D. urges her to forge a dramatic suicide note in Chandler's handwriting. The school and community look on Chandler's apparent suicide as a tragic decision made by a troubled teenager, making her more worshiped in death than in life. Duke soon steps into the role of clique leader, and begins wearing a red scrunchie that had belonged to Chandler. McNamara convinces Veronica to go on a double date with her and Kurt, where the boys end up drunk and pass out in cow manure. The following day, they spread a false rumor about Veronica performing oral sex on them, ruining her reputation. J.D. proposes that she lure them into the woods with the promise to "make the rumors true", then shoot them with nonfatal bullets. J.D. shoots and kills Ram but Veronica misses Kurt, who runs away. She realizes the bullets are real; J.D. chases Kurt back towards Veronica, who fatally shoots him. J.D. plants material next to the boys implying that they were gay, and a note stating the two were lovers participating in a suicide pact. At their funeral, the boys are made into martyrs against homophobia. Although she keeps dating J.D., Veronica is increasingly disturbed by his behavior. Martha Dunnstock, an obese student pins a suicide note to her chest and walks into traffic. She survives but is badly injured, and mocked for trying to "act like the popular kids". McNamara calls a radio show one night while Veronica and Duke are listening and talks of depression in her life; the next day, Duke tells the entire school about the radio call. McNamara attempts to take her life by overdosing in the girls' bathroom but she is saved by Veronica. She tells J.D. that she will not participate in any more killings. J.D. blackmails Duke into getting everyone to sign a petition that unbeknownst to her is intended to act as a mass suicide note. Veronica has a nightmare where J.D. kills Duke, and she sees Chandler's ghost. She wakes up, and makes a suicide note in her diary. She pretends to hang herself as J.D. climbs into her room with a revolver to kill her, but Veronica has used a harness to make it look like she has hanged herself. Assuming she is dead, he rambles about his plan to blow up the school during a pep rally. Veronica reveals to her mother that she is not dead, and at school the next day, she confronts J.D. in the boiler room planting a bomb. She shoots him when he refuses to stop the bomb. As J.D. collapses, he stabs the timer, and it stops. Veronica walks out through the pep rally while everyone is cheering. The severely injured J.D. follows her outside with a bomb strapped to his chest, offers a personal eulogy, and detonates the bomb. She confronts Duke, takes the red scrunchy, and vows to change the way things are. She then invites Martha Dunnstock to hang out on prom night and watch movies with her. Martha and Veronica walk down the hallway while Duke watches. | Heathers |
[
"GLADIATOR `` While stands the Colosseum, Rome shall stand. When falls the Colosseum, Rome shall fall. And when Rome falls - the World.'' Byron.",
"EXT. FOREST - DAY Germania. The far reaches of the Roman Empire. Winter 180 A.D. Incongruously enough, the first sound we hear is a beautiful tenor voice. Singing. A boy's voice. CREDITS as we hear the haunting song float through dense forests. We finally come to a rough, muddy road slashing through the forest. On the road a GERMAN PEASANT FATHER is herding along three sickly looking cows. His two SONS are with him. His youngest son sits on one of the cows and sings a soft, plaintive song. They become aware of another sound behind them on the road - the creak of wood, the slap of metal on leather. The Father immediately leads his cattle and his sons off the road. They stand - still, eyes down : the familiar posture of subjugated peoples throughout history. A wagon train rumbles past them. Three ornate wagons followed by a mounted cohort of fifty heavily - armed PRAETORIAN GUARDS. The young boy dares to glance up at the passing Romans. His eyes burn with hatred.",
"INT. WAGON - DAY Mist momentarily obscures a man's face. Frozen breath. The man is in his 20's, imperious and handsome. He is swathed in fur, only his face exposed. He is COMMODUS. He glances up. COMMODUS Do you think he's really dying? The woman across from him returns his gaze evenly. She is slightly older, beautiful and patrician. A formidable woman. She is LUCILLA. LUCILLA He's been dying for ten years. COMMODUS I think he's really dying this time. A beat. Their breath turns instantly to mist. COMMODUS He has to be bled every night now. LUCILLA How do you know that? COMMODUS I've been so informed. She arches an eyebrow. COMMODUS If he were n't really dying he would n't have sent for us. LUCILLA -LRB- a smile. -RRB- Maybe he just misses us. COMMODUS And the Senators. He would n't have summoned them if - LUCILLA Peace, Commodus. After two weeks on the road your incessant scheming is hurting my head. A beat. COMMODUS The first thing I shall do is honor him with games worthy of his majesty. LUCILLA The first thing I shall do is have a hot bath. The wagon rumbles to a halt. Voices are heard outside. Commodus leaps out.",
"EXT. WAGON - OUTPOST - DAY Three Roman SOLDIERS guard an outpost, a watchtower, on the roadside. COMMODUS Why have we stopped? PRAETORIAN GUARD MEMBER We're here, sir. COMMODUS -LRB- to Soldier # 1. -RRB- Where is my father? SOLDIER #1 He's at the front, sir. COMMODUS Is the battle won? SOLDIER #1 Do n't know, sir. They've been gone for eight days. Commodus tosses off his furs - beneath them he wears a beautiful set of Lorica Segmentata - the traditional formed armor of Rome. He moves to a horse as : COMMODUS -LRB- to Soldier # 1. -RRB- My sister wants a bath, take her to the camp. -LRB- to Soldier # 2. -RRB- Take me to my father. He leaps onto the horse and canters back to the Praetorian Guard unit. Soldier # 2 climbs on his horse and leads them. Commodus rides off with most of the Praetorian Guard unit. Lucilla peeks her head from the wagon. She glances at the remaining soldiers. Distinctly unpromising. LUCILLA -LRB- dry. -RRB- Civilization at last. Gods preserve us.",
"EXT. HILL - TWILIGHT The mighty catapults dwarf the humans. Soldiers from the elite Felix Regiment - a legion of the Roman Army - haul the monstrous machines up a hill. The commanding General of the Felix Regiment, MAXIMUS, walks between two of the catapults. He is a striking and intense man in his 30's. Like all the soldiers who surround him, he is caked with mud and exhausted. He trudges up the hill with his two lieutenants, TITUS and QUINTUS. TITUS You would do as well to read the mind of a rhinoceros. QUINTUS These barbarians would rather drown in blood than yield an inch. If I did n't hate them so much I would admire them. They have reached the top of the hill. Stunning martial preparations are underway. The catapults join ten others. Archers are taking up position. Brutal `` Scorpions'' - devices for firing multiple crossbow bolts - are being loaded. Soldiers are also loading the catapults with enormous `` Greek fire pots'' - large, round terra cotta pots. Maximus and his lieutenants gaze down from the hilltop. Below them they can see a German encampment. TITUS They simply will not surrender. A beat as Maximus gazes down at the German position. MAXIMUS -LRB- quietly. -RRB- A people should know when they are conquered. A beat. MAXIMUS At the first signal release the catapults. We'll use the cavalry to cut off the retreat. QUINTUS General, I do n't recommend that. Our cavalry might be caught in the flames. MAXIMUS I hope not, because I'm going to be leading them. A beat as he gazes down at the enemy. MAXIMUS Why do n't they know they're already dead?",
"EXT. TREES - TWILIGHT Maximus and Titus are on their horses, the cavalry of two hundred Felix Regiment warriors surrounds them. Steam flares from their horses' nostrils. They wait in a thick stand of trees - the German position can be seen across a muddy plain. A large wolf - `` The Wolf of Rome'' - waits at Maximus' side. Maximus nods to an archer. The archer lights the tip of an arrow and sends it flaming into the night sky.",
"EXT. HILLTOP - TWILIGHT Quintus waits. The catapults are loaded and waiting. So too the Scorpions. So too the 200 archers of the Felix Regiment. He sees the flaming arrow flying up from below. QUINTUS Now! The mighty catapults are released. The Greek fire pots arc dramatically through the air. A moment later soldiers release the Scorpions and hundreds of bolts streak through the sky. The archers fire a murderous barrage of flaming arrows.",
"EXT. TREES - TWILIGHT The screaming is almost immediate. Maximus and his cavalry watch as the fire pots crash down into the German encampment.",
"EXT. GERMAN CAMP - TWILIGHT The fire pots shatter - pitch splashes everywhere - seconds later the bolts and flaming arrows slice down and ignite the pitch - FLAME EXPLODES - it is a hellish, napalm - like vision - the conflagration illuminating the twilight. The deadly rain of flaming arrows spreads terror through the German camp -",
"EXT. TREES - TWILIGHT Maximus watches the German camp. MAXIMUS -LRB- to his men. -RRB- Hold steady. steady. He can see the nightmare destruction of the encampment continuing - fire pots and Scorpion bolts and flaming arrows - panic in the German encampment. MAXIMUS Steady. He sees the Germans begin fleeing across the plain. He quickly raises his sword and whispers a prayer, then turns to his men : MAXIMUS Brothers - I salute you! For Rome! He spurs his horse and races out of the trees to the plain.",
"EXT. PLAIN - BATTLEGROUND - TWILIGHT Maximus leads the terrifying and relentless cavalry charge - Titus at his side - the Felix Regiment screams out fearsome war cries as they gallop across the muddy plain toward the Germans - Fire pots and flaming arrows are crashing down everywhere around them - The cavalry SLAMS into the Germans at full gallop - It is carnage. The Felix Regiment warriors slash ruthlessly with short swords - slicing a path of sheer destruction through the Germans - but the Germans fight with equal brutality - and the Germans also fight with the desperation of a hopeless last chance - they pull and spear Roman soldiers off horses whenever they can - Maximus spins his horse and swings his sword with expert efficiency - a spear stabs through the neck of his horse and it immediately collapses forward - Maximus sails over the horse's head and crashes to the muddy ground - he jumps up and is in the midst of the battle - The flaming arrows and exploding fire pots create a ferocious inferno everywhere around the battle - the flames silhouetting the fighting - On the ground, Maximus proves his absolute worth as a warrior - he hacks and dodges - ghastly images of true ancient warfare - Maximus' eyes burn with a zealous fire as he fights for his life - He finds he is momentarily at a terrible disadvantage - Germans are surrounding him from all sides - as he fights he looks for an advantage - for his soldiers - for anything - he is doomed - Then - an almost mystical image - Maximus' wolf leaps through a wall of flame - `` The Wolf of Rome'' savages several Germans around Maximus - giving him the help he needed. The wolf and his master fight, side - by - side.",
"EXT. HILLTOP - TWILIGHT We see an old man's face, staring down at the battle. The face is weather - beaten, ailing. The roaring flames from the battlefield below flicker in his sad eyes. MARCUS AURELIUS, the Emperor of Rome, is on a horse. A metal brace extends from the back of his saddle. He is strapped to the brace with thick, leather straps. He watches as the Felix Regiment below concludes the battle. The cheering of the Regiment can be heard as the final, isolated pockets of Germans are cut down. Behind Marcus the sun is setting, painting the world blood red.",
"EXT. BATTLEFIELD - SUNSET Maximus, bloody and spent, walks through the aftermath of the carnage. The Wolf of Rome is at his side. Dead and dying by the hundreds are scattered everywhere. Roman surgeons are attending to the wounded. Marcus walks to him, embraces him warmly. MAXIMUS Caesar. MARCUS Maximus, you prove your valor again. Let us hope for the final time here. MAXIMUS I do n't think there's anyone left to fight. MARCUS There are always people left to fight. Marcus takes Maximus' arm and they walk through the masses of bodies. Maximus holds Marcus' arm firmly, quietly supporting him as they walk. MARCUS But this night, at least, Germania is at last defeated. What will you do now, my friend? MAXIMUS Should Caesar permit, I'll go home. I've been away too long. I've forgotten my wife's face and I barely know my son. Suddenly, a tethered GERMAN PRISONER they are passing calls out to them : GERMAN PRISONER THIS BLOOD MEANS NOTHING, CONQUEROR! Maximus and Marcus stop. A soldier moves quickly to silence the German Prisoner. MARCUS -LRB- to Soldier. -RRB- Stop. -LRB- to Prisoner. -RRB-. You speak our language? GERMAN PRISONER You have been in my homeland for twelve years. Of course I speak your language. So did my son, who you murdered. So did my daughter, who you raped. MAXIMUS -LRB- to Marcus. -RRB- Come, Caesar. MARCUS No. Let him speak. -LRB- to Prisoner. -RRB-. I am Rome, what would you say to me? GERMAN PRISONER -LRB- points to sunset. -RRB- You are that sun, Rome, and your time is over. You can slit a thousand throats here, and you can put a thousand babies to the sword, but it will always be our home. MARCUS Now it is Rome. GERMAN PRISONER It will never be Rome. Not as long as one German breathes. The soldier moves to kill the insolent Prisoner. MARCUS No. Release him. Give him safe passage. Let him go to his family. The soldier leads the German Prisoner away. Maximus and Marcus continue walking in silence for a beat. Then : MARCUS Tell me again, Maximus, why are we here? MAXIMUS For the glory of the empire, sire. MARCUS -LRB- quietly. -RRB- Yes. I remember. They continue walking through the mountains of bodies.",
"EXT. ROAD - SUNSET Maximus and Marcus are now walking along a road through the dense forest. Slaves follow behind them, leading their horses. Both sides of the road are filled with the men of the Felix Regiment. As Maximus and Marcus pass, the battered and bloody soldiers drag themselves to their feet, raising their swords, paying silent homage. MAXIMUS They honor you, Caesar. MARCUS I do n't think they're standing for me, Maximus. They honor you. Just then Commodus canters into view with his Praetorian Guard escort. He watches the army honor Maximus with rank envy as he nears. He rides up to Maximus and Marcus. COMMODUS Have I missed it? He leaps from his horse. COMMODUS Have I missed the battle? MARCUS You've missed the war. We're done here. Commodus embraces him, awkward. COMMODUS Father. Congratulations. I shall sacrifice a thousand doves to honor your triumph. MARCUS Spare the doves and honor Maximus, he won the battle. Commodus embraces Maximus, even more awkward. COMMODUS General, Rome salutes you and I embrace you as a brother. MAXIMUS Highness. They walk, Maximus still supporting Marcus, as : COMMODUS Your Spaniards seem invincible. May the Gods favor the Felix Regiment now and always. -LRB- to his father. -RRB- Here, Father, take my arm. MARCUS -LRB- ignores this. -RRB- Where's your sister? COMMODUS She's at the camp. She had no desire to see the gore of the battlefield. MARCUS -LRB- smiles. -RRB- Lucilla would eat every corpse here if it brought her one step closer to the throne. Maximus laughs. MAXIMUS -LRB- smiles. -RRB- Caesar, you do the lady injustice. MARCUS It's a foolish old cobra who does n't recognize his own off - spring. -LRB- he suddenly stops, not feeling well. -RRB- I think. I should ride now. Maximus waves for Marcus' horse. It is brought up. Several soldiers carefully help the old man into the saddle. He is then tethered to the brace on his saddle. It is a slow, graceful and embarrassing ordeal for the Emperor of Rome. When at last he is strapped in, he looks to Maximus. MARCUS So much for the glory of Rome. Without a word to his son, Marcus nods and the horse is slowly lead away. Commodus and Maximus watch him go. COMMODUS -LRB- neutral. -RRB- He's dying. A beat. COMMODUS Poor old man. MAXIMUS -LRB- terse. -RRB- If you'll excuse me, Highness. He turns and stalks away.",
"EXT. TENT CITY - NIGHT We see the Roman encampment, a sea of tents. Hundreds of campfires burn before the tents.",
"INT. HOSPITAL TENT - NIGHT Maximus enters a large tent and is met by a spectacle of the dead and dying. Roman surgeons are working feverishly to save lives. Limbs are amputated, the bloody stumps quickly cauterized with hot irons. Leeches and bronze cups are employed for blood - letting to balance `` humours.'' Anesthesia as we know it is nonexistent. Wine amphoras are passed around and orderlies fan narcotic smoke toward the patients. Mostly, though, they just hold down the writhing patients. Maximus moves through the tent, offering a word of comfort here and there. All the wounded are delighted to see him. He goes to an older soldier, GALLUS, who has one wooden hand. His other hand is bandaged. MAXIMUS What, Gallus, losing your other hand? GALLUS Aye, General, they're going to make a bronze one for it. Long fingers this time. MAXIMUS And the women of your village will crave your touch even more. GALLUS Ah, then you know the women of my village. Maximus smiles and moves on. He stops at a young soldier, VALERIUS, whose head has been shaved. A hole has been bored into his skull to relieve the pressure on his brain. The young soldier is dying. MAXIMUS What's your name, son? VALERIUS Valerius, General. MAXIMUS The name suits you. VALERIUS Why am I dying? A beat. Maximus sits by his cot. He takes Valerius' hand. MAXIMUS You're dying because you love Rome, as I do. VALERIUS I've never been to Rome. MAXIMUS Neither have I. Rome for us lives here. -LRB- he touches his heart. -RRB-. it's a thing inside us that came from our ancestors and that we give to our children. VALERIUS It must be glorious, Rome. I've only seen pictures. Is it a glorious place? A beat. MAXIMUS Yes, it's a glorious place. VALERIUS It must be. He smiles. And he is dead. Maximus sits for a moment. He gently closes Valerius' eyes. And Maximus finds that he is weeping. He is not ashamed of the tears.",
"INT. MESS TENT - NIGHT An immediate swirl of noise. The grand mess tent is crowded with soldiers. They are still filthy with caked - on mud and blood. Wounds are bandaged and tankards are raised in celebration of the victory. Marcus sits in a central position and receives visitors. Currently two Senators, FALCO and GAIUS, are bowing before him. FALCO Hail, Marcus Aurelius. MARCUS Stand up, Senators. That unfamiliar posture does n't suit you. GAIUS We live in supplication to your glory. MARCUS All the while conspiring with that fat man in Rome. How is the old monster? GAIUS Senator Gracchus is hale, sire. MARCUS Still damning me to the four winds? GAIUS Still eager for your triumphant return to Rome, Caesar. MARCUS I would have silenced him decades ago - but I just like him too much. Meanwhile, Maximus stands with his lieutenants, Titus and Quintus. A wound on Maximus' arm has been bound. MAXIMUS -LRB- to Titus. -RRB- If you want to stay on, I support you. So do the men. I'll ask the Emperor to appoint you in my place. TITUS It wo n't be the Felix Regiment without you. MAXIMUS I'll return after a season at home. Maybe two. QUINTUS That means after three or four more babies. TITUS And you'll be too fat from Vibia's cooking to get on your horse by then. MAXIMUS Should the Gods so bless me. I would be thankful. Commodus perambulates up to them. COMMODUS Hail, warriors. My congratulations. TITUS AND QUINTUS -LRB- bowing. -RRB- Highness. COMMODUS -LRB- to Maximus. -RRB- My old friend, my father tells me you're returning to Spain? MAXIMUS Yes. COMMODUS A pity. I'll need men like you in my army. An awkward glance between the soldiers. This sort of talk is offensively premature. COMMODUS There are larger division that might appeal to you. Even the Praetorian Guard. You've never been to Rome. Imagine arriving as head of the Praetorians! They have really splendid uniforms. MAXIMUS -LRB- cold. -RRB- I'm going home. Senators Gaius and Falco join them. GAIUS -LRB- to Maximus. -RRB-. And why not apply for entry to the Senate? FALCO A war hero with a handsome face and a strong heart could go far. COMMODUS General Maximus, may I present Senators Gaius and Falco. Beware of this Gaius, he'll pour a honeyed potion in your ear and you'll wake up one day and all you'll say is `` Republic, Republic, Republic.'' Laughter. FALCO Have you never considered Rome? MAXIMUS No. COMMODUS You've had my ear since we were children. You could be a valuable ally in the Senate. GAIUS Are you a believer in Republicanism? COMMODUS -LRB- laughs. -RRB- There - I warned you. MAXIMUS I'm a soldier, not a politician. Meanwhile, a dark eye is studying the men through a hidden slit in the tent wall. The eye is particularly drawn to Maximus. GAIUS If your heart lies with the people, I would back you for the Senate. I'm sure Gracchus would as well. COMMODUS Not a word about that sodomite bastard. GAIUS -LRB- smiles to Maximus. -RRB- The august Senator Gracchus has been rather a gadfly on the flesh of the imperial family. FALCO He's a damned provocateur. GAIUS He lives under the antiquated assumption that the Senate should represent the people with vigor. COMMODUS I wo n't tolerate it. His incessant criticism exhausts me. The man can speak for five hours without taking a breath. GAIUS He serves Rome best when he serves it with honesty. COMMODUS -LRB- sharply. -RRB- Enough. Maximus, I would like to inspect the Felix Regiment at dawn. Please arrange it. MAXIMUS I ca n't do that. COMMODUS Excuse me? MAXIMUS My men have been fighting for five solid days. They're too busy dying to go on dress parade. A beat. Commodus' eyes flash fire at this public rebuke. He very quickly gets control. COMMODUS -LRB- smiles. -RRB- Of course, how foolish of me. Some other time. He notes his father being helped out of the tent by several body slaves. COMMODUS Caesar retires early tonight.",
"INT. TENT CORRIDOR - NIGHT Marcus is helped out of the mess tent into a tent corridor attached. He sees his daughter Lucilla in the corridor, spying in through the slit in the tent wall. He watches her, smiles. MARCUS If only you had been born a man. She turns to him. He leaves his body slaves and goes to her. LUCILLA Father. MARCUS What a Caesar you would have made. LUCILLA You're right. MARCUS I think you would have been strong. I wonder if you would have been just? LUCILLA I would have been what you taught me to be. A beat. They stare at each other. He finally smiles. MARCUS Well, pretend to be my loving daughter tonight and walk with me to my chamber. She smiles and takes his arm. They slowly walk down the tent corridor as : MARCUS This is a pleasant fiction, is n't it? They disappear into darkness.",
"EXT. TENT CITY - DAWN Maximus is slogging through the mud and snow that blankets the Rome camp. He stops to observe an unusual sight. Commodus is stripped almost naked, his chiseled body covered in a fine sheen of sweat. He and his six CENTURION BODY GUARDS are going through their daily ritual. They defy the sub - zero temperatures and hack at small trees with swords. It is an eerie, zen - like workout. Commodus' intense concentration is unnerving. Maximus watches for a moment then moves on. He approaches a large network of tents. He enters.",
"INT. MARCUS' TENT - DAY Maximus enters Marcus' darkened tent. Flickering braziers provide the only light in the enormous Imperial tent. Heavy beams support the canopy and they creak like the timbers of a ship as the tent sways slightly in the wind. Marcus stands before a map of the Roman Empire. MAXIMUS -LRB- bows. -RRB- Caesar. Marcus holds out a scroll. MARCUS Read this. MAXIMUS I never acquired the art, sir. MARCUS Of course. No matter. In this letter I denote my intention to nominate you to stand for the Emperorship after my death. A stunned pause. Maximus stares at him. MARCUS My son is not a moral man. You have known this since you were young. He can not rule. MAXIMUS Caesar, I am honored but - MARCUS For twenty years I have been spilling blood. For twenty years I have written philosophy and ruminated and conquered. Since I became Caesar I have only had four years without war. Four years of peace in twenty. So perhaps I can be. forgiven. A long beat. MARCUS While I have been fighting, Rome has grown mad and corpulent and diseased. I did this. And now I shall make it right. MAXIMUS Sire, you brought the light of the Gods to barbarian darkness. You brought civilization and justice to the farthest - MARCUS -LRB- fierce. -RRB- I have brought the sword - nothing more! Rome is far away and we should n't be here. What matter is it to the Gods if we subdue one more tribe of Parthians or Gauls? What matter is it to Rome if a thousand more barbarians bend to our lash? A beat. Marcus sits. He does n't look at Maximus. A pause. MARCUS Winter, Maximus. It's winter now. A beat. MARCUS There was a dream that was Rome. I can only whisper of it now. Anything more than a whisper and the dream vanishes. It's so. fragile. The true glory of Rome is in a very fragile idea. Imagine a place devoted to the rights of the citizen. Where every free man has a voice. That was the dream. And I fear it will not survive the winter. He holds out a hand to Maximus. Maximus takes his hand, deeply moved, kneeling. MARCUS Let's just whisper here, you and I. MAXIMUS Yes, Caesar. MARCUS If the dream is ever to live again the people must have a true voice. The voice I took from them. That all the Caesars took from them, bit by bit, conquest by conquest. And now that I am dying I am going to give them that voice again. MAXIMUS You're not dying. MARCUS I am, Maximus. It's strange. I find as I near the end I think little of the waning moments around me. instead I think much of the past. and of the future. How will the world speak my name in years to come? Will I be known as the philosopher? The warrior? The tyrant? Or will there be a more golden sounding to my name? Will I be the Emperor who gave Rome back her freedom? A beat. MARCUS Before I die I will give the people this final gift. I will give them the Senate reborn. The voice of the people empowered again, as it was always meant to be. It is my design that they will elect the next Emperor. And I would put forward your name with my backing. MAXIMUS Caesar, you do me honor - but your son has pride of place for succession. MARCUS You are the son I should have had. Although I fear in my deepest heart that if you had truly been my son my blood would have polluted you as it did Commodus. We're a cursed bloodline. We have lived so long in power and depravity that we no longer remember a life without it. We can no longer even imagine a life without it. A beat. MARCUS Look at me, son. Maximus looks at him. MARCUS Son. I know that one grove of your vineyard is worth more to you than all the treasures of Rome. I know one loving word from your wife is worth more than the accolades of an Empire. But. a fond old man, who loves you more than he can say, begs you to at least think about what he has said tonight. MAXIMUS I shall, Caesar. A beat. MARCUS I'll keep this letter to myself. I hope that with the sunrise you will agree. And embrace me as a father. Maximus nods and rises. He begins to go. Stops. MAXIMUS You have always been my father. He goes.",
"INT. TENT CORRIDOR - DAY Maximus emerges from Marcus' tent into a long tent corridor, deep in thought. LUCILLA'S VOICE He always favored you. He turns. Lucilla is waiting. She glides to him. LUCILLA Even over his son. MAXIMUS -LRB- turning away. -RRB- That's not true. LUCILLA Maximus, stop. -LRB- he stops. -RRB- Let me see your face. He turns to her. LUCILLA You've been crying. MAXIMUS I lost too many men. LUCILLA What does my father intend? He turns and walks. She walks with him. MAXIMUS I do n't know. LUCILLA You're lying. I could tell when you were lying even when we were children. You hate it. MAXIMUS I never acquired your comfort with it. LUCILLA True. But then you never had to. Maximus, stop. -LRB- he stops again. -RRB-. Is it really so terrible seeing me again? MAXIMUS No. I'm sorry. I'm tired from the battle. LUCILLA And you are hurt to see my father dying. A beat. LUCILLA He will announce Commodus' succession. That's why he summoned us. Will you serve my brother as you served his father? MAXIMUS I will always serve the ideals of Rome. A beat. LUCILLA Do you know I still remember you in my prayers? Oh yes, I pray. Ever since that day you saved me from drowning off Capri. Do you remember? MAXIMUS Yes. LUCILLA Commodus was so angry that a mere peasant - a Spaniard no less - touched the royal person, do you remember his anger? MAXIMUS Yes. LUCILLA Mark this, Maximus : that is the man who will be Emperor. A beat. MAXIMUS May I be permitted to go, Highness? She smiles sadly. LUCILLA There was a time when you did n't call me `` Highness.'' MAXIMUS And there was a time when you were just a little girl drowning in the sea. All that was a different life. LUCILLA -LRB- quietly. -RRB- Very different. I wonder if it was better? MAXIMUS It was more honest. A moment between them. We sense there is much to be said, much that could be said. Finally : MAXIMUS I thank you for your prayers. He goes. She watches him walk away.",
"INT. MAXIMUS' TENT - NIGHT Maximus kneels before a small altar in his tent. He faces six small figures that represent his dead ancestors. MAXIMUS Ancestors, true bloodline, I ask you for your guidance. Bring me your solace and your wisdom. Blessed Mother, come to me in my dreams with the Gods' desire for my future. Blessed Father, watch over my wife and my son with a ready sword. Keep them safe until my return. Whisper to them in their sleep that I live only to hold them again and all else is dust and air. Ancestors, true bloodline, I honor you and will try to live with the dignity you have taught me. He looks at his `` ancestors'' for a moment and then blows out the candles around them.",
"INT. MARCUS' TENT - NIGHT Commodus' eyes are red with weeping. He sits, head down, at the foot of Marcus' bed and speaks to his father. COMMODUS -LRB- quietly. -RRB- I search the faces of the Gods for ways to please you. to make you proud. and I can never do it. One kind word - one full hug where you pressed me to your chest and held me tight - would have been like the sun on my heart for a thousand years. What is it in me you hate so much? My eyes are your eyes. My hands are your hands. All I have ever wanted was to live up to you. Caesar. Father. He stands. We see that he is holding the scroll denoting Marcus' intention to nominate Maximus as Emperor to the Senate. Commodus can not control his tears. COMMODUS Why does Maximus deserve what I could never have? - Why do you love his eyes over mine? - I would butcher the whole world - if you would only love me. Commodus weeps.",
"INT. MAXIMUS' TENT - NIGHT Quintus is waking Maximus - QUINTUS General - Maximus - MAXIMUS Quintus -? QUINTUS The Emperor needs you. It's urgent. Maximus leaps up and throws on a cloak, strides out with Quintus.",
"EXT. TENT CITY - NIGHT Dead of night. Maximus and Quintus stride quickly through the sleeping camp toward Marcus' tent. MAXIMUS What is it? Is he ill? QUINTUS I do n't know. They continue on toward Marcus' tent.",
"INT. MARCUS' TENT - NIGHT Maximus and Quintus stride into the tent - Maximus slams to a halt. Stunned. Commodus stands before him. Lucilla stands in a corner of the tent, head down. And Marcus Aurelius dead, lying on his bed. Maximus stares at Marcus. COMMODUS Lament with me, brother, our great father is dead. I want - Maximus, not even hearing, steps past him to Marcus. He stands for a moment and then slowly kneels before Marcus and gently kisses the old man's forehead. A ritual farewell. A moment of silent mourning and then Maximus stands. He turns very, very slowly to Commodus. COMMODUS General, the Gods' have taken the great man and left me alone. My first desire as Emperor is that you take my hand in friendship. I need you at my side, Maximus, at this moment above all others. Stand with me. Maximus glares at him : MAXIMUS How did he die? Commodus does not respond. MAXIMUS How did he die? COMMODUS The surgeons say it was his breath that gave out. Maximus glances to Lucilla, she avoids his eyes. COMMODUS Take my hand, Maximus. I only offer it once. A beat. Maximus turns back to Marcus. MAXIMUS How will the world speak your name now, old man? Without a glance to Commodus, he stalks out. A silent beat. Then Commodus nods to Quintus. Quintus goes. Lucilla looks at Commodus for a long moment, her face an enigmatic tornado of complex emotions. Then : LUCILLA Hail, Caesar.",
"INT. MAXIMUS' TENT - NIGHT Maximus is kneeling before his ancestors, head down, his fists clenched, praying. Quintus and four Praetorian ASSASSINS suddenly burst in - the assassins move immediately to bind Maximus - swords at his throat - MAXIMUS What -?! QUINTUS -LRB- ashamed. -RRB- Please do n't fight, Maximus - MAXIMUS Quintus - Quintus goes to Maximus' armor, which hangs nearby, and slowly removes his seal of office. QUINTUS I'm sorry, General, Caesar has spoken. They pull Maximus out -",
"EXT. MAXIMUS' TENT - TENT CITY - NIGHT Five horses are waiting. MAXIMUS Quintus, what -? QUINTUS -LRB- anguish. -RRB- I have no choice - They are almost run over by a stern cohort of twenty Praetorians who gallop past. Maximus knows immediately what this means. MAXIMUS -LRB- suddenly. -RRB- My family?! A beat. MAXIMUS What about my family, Quintus? QUINTUS -LRB- quietly. -RRB- They will greet you in the afterlife. Maximus lunges at him - the Praetorians subdue him - slamming him with a sword hilt - knocking him unconscious. QUINTUS -LRB- quietly, to assassins. -RRB- Take him as far as the sunrise and then kill him.",
"EXT. FOREST ROAD - DAWN The four Praetorian assassins lead Maximus along a road. He sits slumped in his saddle, drained. ASSASSIN #1 All right, this is far enough. The three other assassins climb from their horses. Assassin # 2 pushes Maximus from his horse. He falls to the ground hard. ASSASSIN #1 You two take him down there where no one will find him. ASSASSIN #3 Come on, General. Assassin # 3 and Assassin # 4 drag Maximus down a densely forested hill along the road. Maximus' hands are still bound in front of him. He seems totally lacking in any resistance.",
"EXT. FOREST - BELOW THE ROAD - DAWN Maximus eyes the two assassins as they troop down the hill away from the road, he notes their sparkling armor. The armor of men who have never seen real battle. MAXIMUS Have you ever done this before? ASSASSIN #3 What? MAXIMUS Killed a man with a sword? ASSASSIN #3 Not like this, exactly. this is good, you can stop. They stop. They are far down the hill, out of sight of the road. MAXIMUS It can be very messy - you could get blood all over your armor. You do n't want to hack me up now. You want one clean stroke. ASSASSIN #3 Would you kneel, General? Maximus kneels, his whole body secretly coiling. Assassin # 3 stands over him as : MAXIMUS One good stroke - you do know where, do n't you? ASSASSIN #4 Be quiet. MAXIMUS If you miss the spot there'll be blood everywhere. Quite a spray. ASSASSINS #3 All right, where? MAXIMUS Here - you do n't want to hit the vein on the neck - Maximus points his bound hands at a spot on the back of his neck. MAXIMUS Put the point of your sword here. you want one, good blow right at this spot - Assassin # 3 dutifully puts the point of his sword on the spot on Maximus' neck. A grave mistake. Maximus instantly grabs the blade of the sword with his hands and yanks it from Assassin # 3 - EXPLODING up - his hands are bleeding but he tosses the sword into the air and catches it - swings the sword with brutal efficiency - decapitating both assassins -",
"EXT. FOREST ROAD - DAWN On the road above, the other two Assassins are on their horses, waiting. They hear a quick yelp from below. And then nothing. Assassin # 1 nods for Assassin # 2 to check on the execution. Assassin # 2 canters off the road and down the hill.",
"EXT. FOREST - BELOW THE ROAD - DAWN Assassin # 2 canters down the hillside. He senses movement behind him - spins around, drawing his sword - too late - Maximus throws a sword - it flashes through the air - and into Assassin # 2.",
"EXT. FOREST ROAD - DAWN Assassin # 1 waits on his horse. He hears the commotion below - spins his horse around just as Maximus bursts to the road. He stands with a sword. Assassin # 1 spurs his horse and gallops toward Maximus at full speed - Maximus crouches and prepares - Assassin # 1 and Maximus swirl together for an instant - both slashing brutally - Assassin # 1 continues to gallop past Maximus. He stops. He looks down. A wound in his stomach. He falls off his horse. Dead. Maximus has also been wounded - a deep gash on his side. He fights the pain as he moves toward the horses.",
"EXT. FOREST ROAD - DAY Maximus is galloping through the forest at lightning speed, leading four horses behind him. The gash in his side bleeding.",
"EXT. TENT CITY - DAY A gloomy day. Emperor Commodus stands before the assembled Felix Regiment. The soldiers are already uneasy. They note Quintus standing by Commodus, wearing Maximus' seal of office. Where is Maximus? COMMODUS Even as the Gods curse this dark day with clouds, so too does the sun begin to shine forth on a promised tomorrow. Even as we mourn the passing of our father, so too do we celebrate the coming of a bright, new age for Rome. At my side, brothers, you shall pull fresh glories from the heavens. At my side, brothers, you shall know the adoration of the Gods. Doubly - dark is this day because my friend, your noble commander Maximus Meridas, has been called to Rome to deal with urgent matters of state. Titus glances quickly to Gallus, whose hand is bandaged from surgery. They know this can not be true. COMMODUS Until his promised return I appointed Quintus Domitian to serve in his stead. I salute you, Legionnaires! QUINTUS -LRB- raising his sword. -RRB- Hail, Caesar! The Felix Regiment responds, many unsure. FELIX REGIMENT Hail, Caesar! Commodus strides off and the Felix Regiment slowly disbands, muttering to one another in confusion. Titus and Gallus go to Quintus. TITUS Quintus, what is -? QUINTUS -LRB- firmly. -RRB- Do n't speak of it. Never speak of it. He stalks off. Titus and Gallus, concerned, watch him follow after Commodus.",
"INT. MAXIMUS' TENT - DAY Lucilla stands in Maximus' tent. She looks around. She gently touches his Lorica Segmentata. Her fingertips move along the contours of his armor. She tries to retain her neutral demeanor. She notes his `` ancestors'' on the small alter.",
"EXT. HILLSIDE - NIGHT Maximus continues to gallop, he is on a different horse. He leads only two horses now.",
"EXT. VINEYARD - DAY Maximus' home in Spain is beautiful beyond measure. We see verdant farmlands and vineyards and a spacious house nestled amid gently rolling hills. Maximus' eight - year - old SON is in a paddock playing with his pony. He stops, sees something. Over a hill, he can just glimpse a battle flag, approaching. He screams with joy and runs toward the flag as he calls : MAXIMUS' SON MOTHER! MOTHER! FATHER'S HOME! Maximus' WIFE emerges from the house, drying her hands on a cloth and smiles. Maximus' Son races toward the flag. He can just see the soldiers beginning to appear over the hill. Not a Roman Legion at all. Twenty Praetorians canter over the hill. Maximus' Son stops, confused.",
"EXT. OLIVE GROVE - DAY Maximus is galloping up a hill, leading only one horse now. The horse he is on is exhausted, spent, foam coats its neck. It ca n't make it. The horse collapses and Maximus falls. He immediately leaps onto the remaining horse and continues riding up the hill.",
"EXT. HILLS AROUND VINEYARD - SUNSET Maximus is racing over the countryside, galloping in a frenzy. His wound is bleeding profusely, coating the side of his horse. He rears the horse to a stop for a moment. Over a hill he can see thick black smoke rising. He spurs the horse and gallops over the hill.",
"EXT. VINEYARD - SUNSET And his worst nightmares are realized. His home and his vineyards have been destroyed. The earth has been scorched and his house is still smoldering. He rides up to the house and practically falls off the horse. He pulls himself up and walks past the smoldering debris of his house, fearing what he knows he will find. He sees the bodies of servants scattered about in the ruins. He sees a Praetorian battle flag. He continues on, his wound bleeding more with every tortured step. He finally stops. He stares up. His wife and his son have been crucified and burnt. They are nothing more than grotesquely twisted, charred shapes. Maximus instantly collapses to his knees - he howls out his torment in a heartrending keen of despair as he coats his face in the ashes of his dead world. He sinks into unconsciousness, praying for death.",
"EXT. VINEYARD - DAY An unusual jingling sound is heard. Maximus appears to be dead, his gaping wound beginning to fester. The source of the jingling becomes clear when we see the feet of Bedouin brigands, with delicate anklets, shuffling around him. A hand touches his sandals. Rich sandals. Another touches his tunic. Good cloth. Suddenly Maximus groans. The hands stop. He's alive. A bit of quick language in an unknown tongue. Then the hands grab Maximus and drag him away.",
"EXT. SLAVE WAGON TRAIN - DAY Maximus' eyes slowly open - Inches away from his face - a lion roars - Maximus lurches back. He looks around to realize he is in a filthy slave wagon. Three other wagons slowly move over the desert landscape. Exotic animals are caged in pens or led alongside the wagons : lions, panthers, zebras, a giraffe. A dozen slaves are chained together alongside sacks of spices and other cargo. Bedouin slave traders jabber in a surreal babel of foreign tongues. And someone is looking at him. JUBA, a striking African, is gazing at him impassively as he chews something. Juba is also chained. MAXIMUS -LRB- weakly. -RRB- Am I in Hades? JUBA Yes. Juba spits what he has been chewing into his hands and moves to Maximus. JUBA For your wound. Maximus stares at him. JUBA -LRB- nods. -RRB- For your wound. Maximus looks down - the bloody wound at his side. Juba carefully places his poultice over the wound - Maximus hisses in pain - Juba massages the poultice into the wound gently as : JUBA If you die in the wagons they feed you to the lions. The lions are worth more than we are. I think we are worth more than the zebras though. So they do n't feed us to them. Maximus stares at him. Juba looks down at him with the barest hint of a smile. JUBA I'm not sure about the giraffe.",
"EXT. SLAVE MARKET - DAY The heat of Morocco is unlike anything Maximus has ever known. Shimmering heat waves undulate over the sand. The provincial market is bustling like the proverbial anthill. Slave traders and dealers and merchants move around, all talking very quickly and very emphatically. Maximus, Juba and a number of other slaves are on display, poked and prodded and fondled. Their BEDOUIN SLAVE TRADER sings out their praises to any passers. The crowd parts almost magically for the dramatic arrival of PROXIMO. Proximo is a large man of immense appetites. He has the ferocious appearance of a true pirate. Two slaves follow behind him and impotently swat at flies with switches. SLAVE TRADER Proximo, my old friend, see what I have for you today -! Proximo SLAMS a fist into the Slave Trader's face. The Slave Trader sails back. PROXIMO Those giraffes you sold me wo n't mate! All they do is run around not mating! YOU SOLD ME EUNUCH GIRAFFES! The Slave Trader pulls himself up, hugely obsequious. SLAVE TRADER I will make it up to you, Master. It's bargain day for you! Look, look, look - I have two lions and a panther - hear how they roar for you! `` Bring me home, Proximo!'' Proximo examines the animals. PROXIMO How much for the lot? SLAVE TRADER For you - 8,000 sesterces. PROXIMO For me - 6,000 sesterces and I want to see their balls first. And you throw in those two slaves. SLAVE TRADER -LRB- moves to Maximus. -RRB- What about this one? Look at the arms! Proximo moves to Maximus. The Slave Trader forces open Maximus' mouth. PROXIMO Good teeth - Proximo notes the many old battle scars on Maximus' body. PROXIMO Where did you get those scars? Maximus does n't respond. PROXIMO Are you a soldier? Maximus does n't respond. PROXIMO Do you speak? -. -LRB- he roars back to a slave. -RRB- KEEP THOSE DAMN FLIES OFF ME! -LRB- back to Maximus. -RRB- He's dying. SLAVE TRADER 1,000 sesterces. PROXIMO My ass. -LRB- moves to Juba. -RRB- You throw in this one and we'll make it 7,000 sesterces for the whole lot. SLAVE TRADER I have to eat, Master! He's my finest, I could n't let him go as part of the lot for less than 9,000 total. -LRB- back to Maximus. -RRB- I tell you this one is prime. He's a Spaniard and killed fourteen of my men before he could be subdued! Proximo looks at Maximus, notes the many battle scars again. The scars, and something he senses in Maximus' eyes, is enough for Proximo to consider it. PROXIMO -LRB- to trader. -RRB- All right, let's see. The Slave Trader and his colleagues grab Maximus and bustle him across the market, unlocking his chains. Maximus has no idea what's going on. In the center of the market place, a veritable GIANT of a man sits on a small stool, a wooden sword in his hand. He is hunched over and chained to the ground by a ten foot chain shackled to his ankle. A think metal helmet is riveted around his entire head, only long turfs of hair emerging. His dim eyes stare listlessly through a slot in the helmet. The Slave Trader puts a wooden sword in Maximus' hand and shoves him toward the Giant. The Giant stands. He towers over Maximus. The Giant suddenly swings his sword - he moves with remarkable quickness - Maximus makes no attempt to block the blow - it sends him flying to the ground. Maximus pulls himself up. The Giant moves in and hits him again - Maximus recoils - the Giant hits him again - Maximus falls. Maximus pulls himself up. The Giant moves in again - he slams him a few more times - Maximus makes no attempt to protect himself - he falls. Maximus pulls himself up. The Giant is about to attack again - PROXIMO -LRB- to Slave Trader. -RRB- That's enough. SLAVE TRADER STOP! STOP! His colleagues race into the ring and haul the Giant away from Maximus. The Giant quietly sits back on his stool. Proximo studies Maximus for a moment and then glances to the Slave Trader. PROXIMO I'll give you 500 sesterces. SLAVE TRADER No - no - 1,000! PROXIMO -LRB- laughs. -RRB- Come, do n't quibble with your old friend. I'll take the lions, the panther, the Numidian and this one for 7,000. And I'll buy you the best whore in the town for two nights. She's an enormous mountain of flesh who craves a stern hand. SLAVE TRADER How could I say no to my old friend Proximo?",
"EXT. PROXIMO'S SCHOOL - DAY Maximus and Juba are crammed into a wagon with about ten other slaves, including a very scared and reedy SCRIBE. Other wagons are filled with exotic animals, including several lions. The wagons move through a crowded casbah and are taken through an imposing set of gates to.",
"EXT. PROXIMO'S SCHOOL - COMPOUND - DAY An open compound in Proximo's school. On one side of the compound is a series of cages filled with wild animals of every description - including Proximo's two hapless giraffes. Proximo's house slaves begin unloading the newly purchased exotic animals into cages as Maximus and the new slaves are unloaded. Heavily armed guards supervise everything. But Proximo's slaves are having a bit of a problem with one of the new lions - it growls and resists them. Without the slightest hesitation, Proximo thunders to the lion and grabs it by the mane - manhandling it into a cage. PROXIMO COME ON, YOU FILTHY BEAST! He kicks the lion in the rear as he shoves it into the cage. Proximo's provincial school resembles nothing so much as a seedy prison. The fading grandeur of the decaying battlements and the sweeping North African architecture only slightly mitigate the brutal feel of the place. And if Maximus had any doubts as to Proximo's profession - all doubts are washed away when he sees the compound. Twenty GLADIATORS are working out in the compound - hacking at practice dummies and sparring. The many heavily armed guards oversee everything. The gladiators stop working out as they see the new slaves enter. They eye their potential new opponents warily. One huge, glowering gladiator - VIBIUS - watches with particular interest. His eye is quickly drawn to the most obvious athlete : Juba. The new slaves are herded to the middle of the compound and house slaves immediately begin throwing buckets of water on them, cleaning them. Meanwhile, Proximo shrugs off his cloak. A slave brings him wine as he give his `` welcoming speech'' to the new slaves : PROXIMO Slaves. I am Proximo, trainer of gladiators. You live and die at my pleasure. Fight well and you will live. Fight poorly and you will die. It is better to live. Slaves now toss thick handfuls of powdered lime on the new slaves - they cough and clench their eyes shut, the lime coats and stings their wet bodies. PROXIMO Here you will be trained in the art of combat. Here you will be given the tools to survive. Please my patrons in the arena and all the gifts of the world will be showered upon you. Imagine riches beyond your paltry dreams of riches! Imagine fame beyond your rude understanding of the word! All this can belong to the select few who prove their worth in the arena. Slaves throw more water on the new slaves - washing off the lime. PROXIMO If. on the other hand. you disappoint me. you will be dismembered and fed to my jackals limb by limb. He gazes evenly at his new acquisitions. PROXIMO And my jackals are always hungry. He strides off and the guards shove the new gladiators toward their cells.",
"INT. PROXIMO'S SCHOOL - MAXIMUS' CELL - NIGHT Maximus and Juba share a small, filthy cell. The cell door faces the open compound. Across the compound they can see the much more comfortable cells of the `` star'' gladiators such as Vibius. They both sit on the floor, leaning against the wall. Juba is eating a bowl of food with a wooden spoon. Maximus' bowl and spoon are at his side, he has not touched them. JUBA Have you killed a man before? Maximus does not respond. JUBA You should eat. You'll need your strength tomorrow. Maximus does not respond. JUBA I've never killed a man. But I think you have. Maximus does not respond. JUBA I almost killed once. The Romans destroyed my village. I was with a hunting party and when we returned. I would have killed every Roman in the world. A long beat. JUBA If you do n't eat you will die. Maximus does not respond. A beat. JUBA In the village I come from there was a man once. He went fishing one day and his boat was attacked by crocodiles. One of them ate his leg. He pulled himself to the shore and a lion attacked him. It ate one of his arms. He dragged himself through the desert on the way home and a scorpion stung his eye. So he only had one eye. When he reached the village I sat with him. I said, `` You have lost a leg, an arm and one eye. You must have a mighty will to live.'' He said, `` No, Lord, it's just better than the alternative.'' Maximus finally looks at him. JUBA Life is a gift from our fathers to us. Who are you to give it up for lack of lifting a spoon? Maximus does not respond.",
"EXT. PROXIMO'S SCHOOL - COMPOUND - NIGHT Maximus and Juba are being observed. Proximo stands in the shadows of the compound and watches intently.",
"EXT. SLAVE WAGON - PROVINCIAL STREETS - DAY Blood appears to be flowing across an oxen's back. But the blood is too rich, too red. The oxen are pulling an open slave wagon through the crowded streets of the town. Hanging above the street is dyed wool drying in the sun. Vermilion and crimson dyes drip down and splash across the oxen - and splash across the gladiators. Maximus, Juba, the formidable Vibius are chained in the back of the wagon. Also the frightened Scribe. Proximo and a few of his guards drive the wagon. Proximo has an umbrella over him, colored with years of dripping dyes. They pass a banner honoring Vibius, the star of Proximo's stable. Meanwhile, the terrified Scribe is almost weeping, chattering nervously to Vibius, chained next to him : SCRIBE I know nothing of armaments and warfare! I'm a scribe - I write down words! I can write down seven languages - VIBIUS Be still. SCRIBE I do n't - how do you hold the sword?! I've never held a sword! VIBIUS You point the sharp end at your opponent and you shove it in his guts. SCRIBE I ca n't - I - He suddenly vomits. VIBIUS -LRB- calling to Proximo. -RRB- Proximo! You insult me with this carrion! Chain him to someone else! PROXIMO -LRB- calling back. -RRB- Do n't worry, noble Vibius, he wo n't be bothering you for long. The Scribe begins to weep. The crowds in the street jeer at the passing gladiators. Occasionally throwing trash at them. A pack of children run alongside the wagon, chanting : CHILDREN Dead guts! Dead guts! Dead guts! Maximus watches the children for a moment and then another sight draws his attention. Over some buildings he can see vultures circling in the distance.",
"EXT. PROVINCIAL ARENA - DUGOUT - DAY In the cramped holding area of the arena, a dugout beneath the stands, Maximus and the other gladiators are waiting. Proximo walks before them, giving a final `` pep talk.'' He gazes at them evenly, his eyes going from face to face. PROXIMO Some of you say you ca n't fight, you wo n't fight. They all say that. But one day you will pick up a sword and thrust it into another man. And the crowd will cheer you and love you. And you will love them for it. On that day. you will be a gladiator. He stops at Maximus. PROXIMO In this life, we all die. All we can choose is how we die. And how we are remembered. Be remembered proudly. Drums are heard from the arena. Proximo nods to a waiting blacksmith. The blacksmith begins slamming shackles on the gladiator's wrists - chaining them together in teams of two by a chain about four feet long. The blacksmith is about to chain Maximus to the Scribe. PROXIMO No. -LRB- he points to Juba. -RRB-. give the Spaniard to him. Give the Scribe to Vibius. Proximo nods to Vibius, who, for reasons we shall soon see, makes no protest to being chained to the whimpering Scribe. Proximo watches the blacksmith shackle Maximus and Juba together and then strides off. JUBA -LRB- to Maximus. -RRB- Are we going to fight each other?",
"EXT. PROVINCIAL ARENA - DAY Proximo sits in a box with several other GLADIATOR TRAINERS. They drink wine and eat constantly. A perpetual chatter of wagers and odds and side bets. The arena is only sparsely attended this day. PROXIMO Make it 600 sesterces for each decapitation. TRAINER #1 How many strokes? PROXIMO Two. TRAINER #1 For the great Vibius, one stroke. PROXIMO Done. 400 sesterces for two strokes. In the arena : Proximo's chained teams enter the arena, five teams. Maximus and Juba are chained together. Some of the small crowd cheers for Vibius. He acknowledges the cheers. He is chained to the weeping Scribe. In the box : Trainer # 1 laughs. TRAINER #1 -LRB- re : Vibius. -RRB- Who's he with? PROXIMO A Greek Scribe. TRAINER #1 I'll raise the wager. PROXIMO -LRB- smiles. -RRB- Give me odds, friend. In the arena : From the opposite end of the arena a dozen armored, very scary Andabatae thunder into the arena. Some of the crowd cheers. The Andabatae immediately race for the chained teams and the battle is on. Vibius spins into action - dragging the weeping Scribe after him as he circles opponents and fights - the Scribe is almost instantly killed - Vibius immediately hacks through the Scribe's wrist and frees himself, as Proximo surely intended. Vibius is now free to fight alone, swinging the chain as an additional weapon. Juba's eyes dart everywhere as he tries to move with Maximus - Maximus neither helps nor hinders - allowing Juba to pull him along - Proximo, now that his star Vibius is safe, watched Maximus and Juba closely. Juba fights well, with a strange elegance, his body flowing like liquid - but he is inexperienced. He strikes a few blows and then tries to move away - finally he is in trouble - cornered - a huge Andabata is slicing at him - it is a desperate battle - Juba is losing - his sword is slammed away - the Andabata raises his sword for the kill - And Maximus strikes. With a sudden roar he EXPLODES into action - he swings past Juba and blocks the blow meant for Juba - then he slashes the Andabata - killing him - he pulls Juba after him as he fights - It is a dazzling display of Maximus' skill - he moves through the Andabatae at amazing speed - spinning around Juba and protecting him - slashing ruthlessly - pulling Juba after him and commanding the battle - Juba recovers a sword and they fight together. In the box : Proximo watches, smiles. A gladiator is born.",
"EXT. ROME - WAGON - DAY SENATOR GRACCHUS, an imposing, moral and corpulent man in his 60's, is riding in a luxurious wagon with Senator Gaius. And CAPTAIN MARCELLUS, the handsome Head of the Roman City Guard. Their wagon slowly maneuvers through the crowded streets of Rome. The cosmopolitan bustle of the great urban center is everywhere around them. GRACCHUS We have plague in the Hebrew Quarter and it is spreading. we have looting at the granaries. we have so much filth in the Tiber that the water is undrinkable. we have Praetorian Guard units that are demanding protection payments from the merchants at the exchange - MARCELLUS My City Guard units have tried to curtail these excesses but no constabulary can police the entire city. And the Praetorians outnumber us two to one. GRACCHUS Rome dies as the Emperor plays at beneficence. At least Nero gave us music! GAIUS Do you think he'll listen to us? GRACCHUS It is his duty to hear the will of the Senate. Their wagon stops - hopelessly stuck in a massive traffic jam of chariots, wagons and sedan chairs. GRACCHUS Not to mention the damn traffic!",
"INT. PALACE - THRONE ROOM - DAY Emperor Commodus is standing before a group of male children and their tutors in his throne room. The throne room is still very much the province of his father. Manuscripts and astronomical charts and papyrus scrolls and wax tablets litter the heavy desk. A large bust of Marcus Aurelius is in one corner. Lucilla and Senator Falco are present. So too Senators Gracchus and Gaius and Captain Marcellus. A well - rehearsed child presents Commodus with a laurel wreath. CHILD We honor Caesar with the laurel to show our love and appreciation for his benevolence. COMMODUS Caesar is honored to accept your tribute, Citizen Scholar. The child smiles and moves back to his fellows. COMMODUS -LRB- to all. -RRB- It is the most sacred duty of the Emperor to oversee the education of the young. If I could leave no other legacy than the scholarship of all children my life would be blessed. Tutors, you hold the future of Rome in your hands. Teach them well so that they will bring honor to the Empire. I salute you. Commodus actually bows before them, an unimaginable honor. The tutors bow in response and herd the children out. COMMODUS Look at them, Senators. my truest gift to Rome. GRACCHUS Darling children, to be sure, now if I may proceed? COMMODUS -LRB- sighs. -RRB- Very well. Commodus moves to the desk, standing over it and gazing at Marcus' scrolls as : GRACCHUS Caesar, your presence in Rome is an invaluable opportunity to begin correcting some of the ills that have beset the city since your father went to the wars. We would like to - COMMODUS Peace, good Gracchus, peace. Commodus slowly begins pushing Marcus' papyrus scrolls off the desk to the floor, one by one, as : COMMODUS My beloved father was a careless shepherd to his flock. I shall be a good father to my children. I shall remain in Rome and show them how they are loved. GRACCHUS With respect, sire, the people do n't need love - they need law. The Senate has prepared a series of protocols to begin addressing the corruption in the city -. -LRB- Gaius hands him a scroll. -RRB- - starting with basic sanitation in the Hebrew Quarter. If Caesar could study this and - COMMODUS You see that's the very problem, is n't it, my old, old friend? My father spent all his time at study. At books and learning and philosophy. As Commodus speaks he moves to the chair behind the desk, tries it, does n't like it, nods to a slave. The chair is whisked away. COMMODUS He spent his twilight hours reading scrolls from the Senate. All the while, the people were forgotten. GRACCHUS The Senate is the people. COMMODUS I doubt many of the people eat so well as you do, Senator Gracchus. As Commodus speaks he moves to the bust of Marcus, studies it, does n't like it, nods to a slave and the bust is whisked away. Lucilla watches this closely. COMMODUS I doubt many of the people have such splendid armor, Captain Marcellus. Or such fine mistresses, Senator Gaius. No. only their true father knows what the people need. I shall show them they are loved. I shall hold them to my bosom and embrace them tightly - GRACCHUS Have you ever embraced someone dying of plague, sire? Commodus stops. Looks at him. A lethal moment. COMMODUS No. But if you interrupt me one more time I assure you that you shall. I will emulate the immortal Caesars of the past. I will give the people what they truly want. Starting this day I will draw all of Rome to the Colosseum. I will give them bread. And they will want nothing more. Startled looks between Gracchus, Gaius and Marcellus. GRACCHUS You want to hold games? COMMODUS Not just any games, Senator! A series of games that will make the Gods envious and leave my children happy! I will subsidize the arena from this day forth - and I will culminate this celebration in a great spectacle the likes of which the world has never seen! A great spectacle to honor my father! Magnificent, unending weeks of festivity all in the name of Marcus Aurelius! A beat. GRACCHUS If I may, Caesar. how are you going to pay for this? COMMODUS That is not your concern. Gracchus ignores a warning look from Gaius. GRACCHUS Respectfully, sire, taxation and import duties are the exclusive province of the Senate - Commodus spins on him so quickly and with such feral violence that everyone is shocked - COMMODUS MY FATHER DESERVES TO BE HONORED AND I WILL HONOR HIM! - AND THE PEOPLE WILL LOVE ME! - AND THE SENATE WILL OBEY ME OR EVERY ONE OF YOU WILL BURN! BURN! BURN! - I WILL HAVE ORDER! He snarls like a great jungle cat and he stalks away. Senator Falco quickly follows. A dreadful silence. Then : LUCILLA Gentlemen, in the future do not concern my brother with these matters. Come to me. She sweeps out. A beat. MARCELLUS Games? He wants to hold games? GAIUS It's madness. GRACCHUS No. it's not. A beat. GRACCHUS He knows who Rome is. Rome is the mob. He will conjure magic for them and they will be distracted. And he will takes their lives. And he will take their freedom. And still they will roar. The beating heart of Rome is n't the marble of the Senate. It's the sand of the Colosseum. He will give them death. And they will love him for it.",
"INT. PROVINCIAL ARENA - DUGOUT - TUNNELS - DAY Maximus is marching relentlessly through the dugout and cramped, serpentine trench - like tunnels that lead to the arena. We do n't really see Maximus well in the dark tunnels. Proximo scurries to keep up with him - they brush past gladiators who line the walls. Some are wounded, some are being attended to by surgeons, some are shell - shocked, some are nervously waiting to go on, whispering prayers. We twist and turn in the tunnels with Proximo and Maximus as : PROXIMO -LRB- quickly. -RRB- I've wagered on you against the Celts - ignore the others and go for them - there are two axe - and - net and two long spear. Now the Celts are n't used to the sun so you have the advantage there. The roar of the crowd is growing, they are nearing the arena. PROXIMO And keep them moving, their lungs are n't strong, ground the spears as soon as you can and then go for the ax - men. If you get all four there's an extra bonus so do n't be distracted by the Spartans. Without a word to Proximo, or a moment's hesitation, Maximus strides into the arena.",
"EXT. PROVINCIAL ARENA - DAY We continue with Maximus as he strides into the roaring arena. We finally see him in the blazing sunlight - he wears traditional gladiator armor and now has longer hair and a beard - A battle is already in progress, fighting and dead and dying gladiators crowd the arena - We stay with Maximus as he wades through his opponents, fighting them heroically, slashing through them without stopping - The large crowd cheers mightily - chants of `` Spaniard! Spaniard! Spaniard!'' We stay with Maximus as he cuts through the four Celts like a scythe through wheat and then we dramatically pull up and away - Taking in the roaring arena and the hero.",
"EXT. PROXIMO'S SCHOOL - COMPOUND - NIGHT A large mess area has been set up. The tables around the compound are crowded with gladiators. Guards everywhere. Maximus and Juba enter. Move to get food. All conversation gradually drains away as the other gladiators watch them. Silence. Maximus and Juba note the strange silence as they move to a large table. Vibius is at the table with a number of other gladiators. There are no places for Maximus and Juba. Vibius stands and kicks two other gladiators off their bench. VIBIUS MOVE ASIDE! THIS IS A TABLE FOR MEN! Maximus and Juba sit. Vibius remains standing. He begins to pound on the table with his fist. Soon all the gladiators are pounding on their tables. It is a cacophonous din honoring Maximus.",
"INT. PROXIMO'S SCHOOL - PROXIMO'S CHAMBER - NIGHT Proximo sits on a terrace overlooking his compound, sipping wine. Various gladiators can be seen working out below. A guard brings Maximus. Proximo nods for the guard to leave. PROXIMO -LRB- holding up a plate. -RRB- Butterfly? The plate is filled with honeyed butterflies, their wings still moving slightly. Maximus shakes his head. Proximo pops one into his mouth. He chews as he looks at Maximus. PROXIMO Perhaps you'd like a woman? Maximus shakes his head. PROXIMO Boy? Maximus shakes his head. A beat. PROXIMO Gold? Maximus shakes his head. PROXIMO Well, I have nothing left to offer you! A man who turns down a butterfly, a woman, a boy and gold confuses me. Personally, I'd grab them all and then grab some more because the Gods are fanciful and take us at their whim. Does the Spaniard have any needs? Maximus shakes his head. A beat. Proximo studies him. PROXIMO You fight like a soldier. You have wounds like a soldier who has been on long campaigns. You eye the world around you like an enemy. What is your name, Roman soldier? MAXIMUS Gladiator. A beat. PROXIMO And nothing more? MAXIMUS Nothing more. A beat. Proximo watches Maximus very closely for the following : PROXIMO In two days we leave for Rome. Maximus' eyes suddenly flash to Proximo. He is transfixed, his eyes burning. PROXIMO Ah. so it's Rome you want. Well you shall have her, Gladiator. The new Emperor has ordered a series of matches to culminate in a grand spectacle. If you do well I shall become very, very rich. If you do well enough I shall set you free. Is it freedom you want? A beat. Maximus shakes his head. PROXIMO -LRB- quietly. -RRB- Not even that. MAXIMUS -LRB- barely controlled. -RRB- The Emperor - will he be there? PROXIMO Oh yes. He's apparently quite mad about the games. Spending a fortune, which is, needless to say, good for me again. But what is good for you, Gladiator? MAXIMUS Have you - how does one meet the Emperor? PROXIMO As a gladiator? MAXIMUS Yes. PROXIMO One does n't. A beat. Proximo sees that Maximus' mind is racing. PROXIMO Except. If one has proven oneself in battle. If at the end of the games you are the final man standing - the Emperor will present you with a small wooden sword. The sword is your freedom. MAXIMUS He give it personally? PROXIMO He did to me. -LRB- Maximus is surprised at this. -RRB- Our great father Marcus Aurelius looked into my eyes and touched me on the shoulder. MAXIMUS You knew Marcus? PROXIMO I did n't know him. He touched me on the shoulder. Just once. But that was enough. A beat. PROXIMO All right, Gladiator. We shall go to Rome together and have bloody adventures. The Great Whore will suckle us until we are fat and happy and ca n't suck another drop. That is Rome.",
"INT./ EXT. SLAVE WAGON - OUTSIDE ROME - EVENING Maximus is crouched in the back of an enclosed slave wagon with Vibius, Juba and a few other gladiators. In the distance, Rome.",
"INT. PALACE - COMMODUS' BEDROOM - NIGHT Commodus sits on his bed, rubbing his aching head. Lucilla is preparing a drink for him, a medicinal tonic. COMMODUS All my desires are splitting my head to pieces - there's so much I want to do - but all my efforts to show my children they are loved go unappreciated by those dragons in the Senate - LUCILLA -LRB- mixing tonic. -RRB- Quiet, brother. Unseen by him, she adds a little special powder to the drink from a vial secreted in her robe. LUCILLA Leave the Senate to me. Do n't trouble yourself. COMMODUS All I want is to be a good father to my people. Why do n't they understand that? She goes to him. LUCILLA Shhh. The tonic will help. She takes a sip and then hands it to him. LUCILLA Yes, just drink this down. She sits on the edge of the bed. He drinks as : COMMODUS I must take a firmer hand with them. They must know their father can be firm. As our father was firm with us. LUCILLA Our father lost his way. His mistake was believing the old songs of the `` Republic.'' We know better. So let the Senate talk. They have no real power. COMMODUS Yes. yes. you always know the way. You were always so wise in these matters. -LRB- he takes her hand. -RRB- You know if I did n't have my duty to Rome I think I should be an artist. I should go away and paint pictures of the sea and leave all the politics to you. A beat. He is sleepy, he lies back on his bed. COMMODUS Will you stay with me? LUCILLA -LRB- smiles gently. -RRB- Still afraid of the dark, brother? COMMODUS Still. Always. A beat. COMMODUS My dreams would terrify the world. A beat. LUCILLA I'll stay with you until you are asleep. COMMODUS -LRB- falling asleep. -RRB- And after. just sit with me. Keep me safe. He is asleep. She watches him for a moment and then rises. She goes.",
"INT. PALACE - HALLWAY - NIGHT Lucilla moves down a long corridor in the palace and blows out candles as she goes. She finally arrives at her own chamber and enters.",
"INT. PALACE - LUCILLA'S CHAMBERS - NIGHT Senators Gracchus and Gaius and Captain Marcellus are waiting. LUCILLA He's asleep. Be quick. GRACCHUS We've taking a sounding, the Senate is with us. LUCILLA Good. GRACCHUS But we are only words. We are air. We need steel. MARCELLUS The City Guard is faithful to the Republic. But we do n't stand a chance against the Praetorians. LUCILLA Can they be bought? MARCELLUS They are zealots - totally committed to your brother. GRACCHUS Well, can they at least be rented for a day? MARCELLUS I doubt it. He pays them exorbitant salaries and lets them loot and extort as they see fit. The city belongs to them. LUCILLA And they've started arresting scholars now. Anyone who dares speak out - even satirists and chroniclers. MARCELLUS And mathematicians and Christians. All to fill the arena. GAIUS And what pays for it? These games are costing a fortune and yet we have no new taxes. LUCILLA The future. The future pays for it. A beat. She looks at them. LUCILLA He's started selling the grain reserves. GAIUS No. MARCELLUS That ca n't be true. LUCILLA He's selling Rome's reserves of grain. The people will be starving in two years. I hope they are enjoying the spectacles because soon enough they will be dead because of them. MARCELLUS Rome must know this. LUCILLA And who will tell them?! You, Marcellus? You, Senator Gaius? Will you make a speech on the Senate floor denouncing my brother? And then see your family in the Colosseum? What town - crier would dare? A long beat. LUCILLA He must die. A beat as her words sink in. GAIUS The Praetorians would only seize control themselves. LUCILLA No - cut off the head and the snake can not strike. GRACCHUS Lucilla, Gaius is right. Until the City Guard can neutralize the Praetorians we can accomplish nothing. MARCELLUS And I have n't enough men. LUCILLA What about the army? GAIUS No Roman army has entered the capital in a hundred years. LUCILLA So we do nothing?! A door opens, a voice. LUCIUS' VOICE Mother. An eight - year - old boy stands in a doorway, sleepy. He is LUCIUS, Lucilla's son. LUCIUS I heard voices. LUCILLA -LRB- going to him. -RRB- It's all right, darling, you - Lucius suddenly notices Senator Gracchus : LUCIUS -LRB- running to Gracchus. -RRB- Senator! What did you bring me?! He leaps onto Gracchus - Gracchus laughs and pulls something from his robe. GRACCHUS For you prince Lucius. a sea monster! Gracchus gives Lucius a beautifully painted toy of a sea serpent. GRACCHUS Off the coast of Achaea they grow twenty times this size, with snapping teeth to devour any nasty Praetorians they come across. now, where is Achaea? LUCIUS Below Macedonia! GRACCHUS Show me on the map. Lucius runs to a map and stabs his finger at Achaea. We sense this is an old game between them. LUCILLA Lucius, you go in now, I'll be in shortly. LUCIUS -LRB- to Gracchus. -RRB- Thank you, Senator Mountain! GRACCHUS You're welcome, Prince Anthill! Lucius goes. Lucilla shuts the door after him. A moment. She turns to the others, a deep anguish in her eyes. LUCILLA What are you going to do? Gracchus goes to her, holds her. GRACCHUS Peace child. One dark night the Gods will light our path. They will give us the voice we need. Have faith in that. Have faith.",
"INT./ EXT. ROMAN STREETS - SLAVE WAGON - NIGHT Maximus cranes for a sight of the Eternal City through a hole in the wooden slats that cover the slave cart. He can see only glimpses of Rome as they pass. But the images are not what he expected. Alongside the undeniable glory of the city, the madness and disease Marcus Aurelius spoke of are readily apparent. Maximus sees flashes of plague victims being tossed on carts heaped with bodies - he sees getting and spending and commerce everywhere - he sees fascist Praetorian Guard units trooping past - he sees the magnificent architecture of the city - he sees starving children begging from filthy gutters - he sees rich citizens out for a stroll - he sees a swirling combination of sophistication and depravity, of civilization and corruption. He sits back in the cart, deep in thought. Vibius looks at him. VIBIUS Not what you expected? MAXIMUS No. VIBIUS Rome is nothing but a slaughter house. And we are the meat.",
"EXT. PROXIMO'S COMPOUND - NIGHT The slave wagon pulls up to Proximo's rather grand Roman compound. Guards unlock imposing gates and the wagon drives in.",
"EXT. PROXIMO'S COMPOUND - COURTYARD - NIGHT Inside the gates is a large courtyard, much like Proximo's Moroccan school but much more impressive. A fountain with an enormous statue of the war god Mars is central in the courtyard. The gladiators climb from the wagon, stretching after the long journey. Vibius leads Maximus and Juba to the statue. He wades through the fountain and kisses the toe of Mars. VIBIUS Tradition. He watches over us. Juba steps up and kisses the toe. VIBIUS -LRB- to Maximus. -RRB- Oh go on, it wo n't kill you. Maximus kisses the toe as well. PROXIMO -LRB- calling to them. -RRB- Stop that! You'll get some monstrous disease and then you'll be worth nothing to me! Guards come and lead them to their cells, which line one side of the courtyard.",
"INT. PROXIMO'S COMPOUND - CELL - NIGHT Later. Maximus and Juba again share a cell. It is more comfortable than their cell in Morocco, befitting Maximus' new status as one of the `` stars.'' A high, barred window on one wall opens to the city. Another barred window is directly over them, twenty feet above. Maximus pulls himself up to the side window, he looks out. And sees at last. The Colosseum. It is a breathtaking sight. Monolithic Albert Speer - like columns of light shine up from the Colosseum. It seems to illuminate the whole city and the heavens above. Maximus drops back to the floor. JUBA Do you think it will be much different? Here in Rome? MAXIMUS Bigger arena. Same killing. A beat. JUBA Are you scared for tomorrow? MAXIMUS No. A beat. JUBA Me too. A beat. JUBA I never though it would be so easy to kill. A beat. JUBA So you're finally home. MAXIMUS This is n't my home. JUBA For all Romans. this is home. A beat. JUBA -LRB- quietly. -RRB- Among my people we honor the soil of our home. Our ancestors are in that soil. All their dreams live there. I will never see my home again. The soil is dead and no one honors them, so the dreams die. A beat. MAXIMUS Perhaps one day you'll return. Juba looks at him. JUBA How can I go back? I am not what I was. When a man kills for no reason, he has lost himself. A long beat. Juba leans his head back and quietly begins to sing. A haunting lament in his native tongue.",
"EXT. COLOSSEUM - DAY A flurry of images from around the Colosseum, the energy mounting. At this point we see practically nothing of the inside of the Colosseum : Slaves are balancing high above the empty arena. They are on ropes unrolling huge rolls of muslin ; sun tarps that provide shade below. Merchants open stalls in the curved arcade around outside of the Colosseum. They sell everything from food to magic elixirs, from toys to aphrodisiacs. They immediately start declaiming and demonstrating the virtues of their products. Gangs of whores of both sexes trawl the streets. They have bizarrely - colored hair and elaborate makeup. Citizens begin arriving, pushing past the vendors and the pickpockets. We see whole families with picnic lunches. Ferocious animals are brought into the Colosseum in barred cages. In the busy arcade, barbers and blood - letters practice their craft alongside exotic alchemists, fire eaters and contortionists. Richer citizens arrive in sedan chairs and chariots, they feign indifference to the hooting mob. Mounted City Guard police units try to retain some order. Gamblers crowd betting booths and haggle mercilessly. Finally, we see Maximus and the other gladiators in a slave cart. Maximus watches everything as the slave cart disappears into the Colosseum.",
"INT. COLOSSEUM - ROUTE TO HOLDING CELLS - DAY The interior of the Colosseum is a busy world unto itself. Maximus and the others are lead by Proximo's guards down a long ramp and past countless animal cages. Gamblers circulate everywhere and observe the warriors, angling for the best odds and the best matches. Maximus and the others are led even deeper into the bowels of the Colosseum to a new whole subterranean realm. Numerous cells line the walls. Racks and racks of weaponry and armor. And, most striking, everywhere around them is the heavy machinery of the spectacles above. Huge `` elevator'' platforms and ramps and pulleys and counterweights are manned by teams of sweating slaves.",
"INT. COLOSSEUM - HOLDING CELLS - DAY Finally, Proximo's guards lead the gladiators to their holding cells. These cells are right at the edge of the arena. Barred windows offer a sand - level view of the action. Maximus immediately goes to a window and looks out. He can not see much of the entire arena, but what he does see transfixes him. A band of Christians are huddled together. An eerie silence from the Colosseum but for the prayers of the Christians. Maximus watches them. One little girl peels past her mother's arm. She sees Maximus. She smiles. Suddenly a dozen ferocious lions race up a ramp by Maximus - they roar into the arena - We do not see the carnage. We watch Maximus' face as we hear the sounds of the slaughter. And the sound of the roaring crowd. Maximus finally can not watch. He drops his head.",
"INT. COLOSSEUM - TRAINER'S LAIR - DAY Proximo is with a dozen other gladiator trainers and the Colosseum's orator and majordomo, CASSIUS. They are haggling in an secluded area not far from the arena itself. Huge chalkboards chart the day's matches and wagers and odds. Colosseum touts continually erase and mark new figures on the chalkboards to keep up with the swiftly changing bouts. The roar of the lions and the unnerving screams of the Christians can clearly be heard. CASSIUS and the Emperor will have no more animal battles today - Upset roars from some of the trainers. TRAINER #1 You promised me a bear match, Cassius! TRAINER #2 I have ten damned gorillas! You said gorillas yesterday! CASSIUS Talk to the man in the imperial box. Who has the next slot? -LRB- he checks the boards. -RRB- - Lentulus, Gideon, Trebonius and Proximo -. -LRB- to Proximo. -RRB- - Nice to have you back, you piratical bastard - now listen, the Emperor wants the Carthage spectacle. The four trainers explode in a flurry of resistance - PROXIMO No - have pity, Cassius -! TRAINER #3 My men are too good for -! CASSIUS You give us the Carthage match or lose your spot on the rotation - but do n't worry - gold is flowing from the Emperor's fingers. TRAINER #3 It'll cost you - PROXIMO I wo n't do it for less than 100,000 sesterces -! TRAINER #4 120,000! All I have is my best Thracians! CASSIUS -LRB- to Proximo. -RRB- And I want to see this famous Spaniard of yours - his reputation soars from the provinces. The people are eager for him - PROXIMO I wo n't throw my Spaniard into a spectacle! Damn you and damn the rotation! CASSIUS You will and the price will be 90,000 sesterces each -. -LRB- to all. -RRB- - which you all know is exorbitant - AND IF YOU EXTORTING BLOOD - WHORES TRY TO PAWN OFF LESSER FIGHTERS ON ME I WILL SEE YOU DEAD IN THE ARENA TOMORROW! TRAINER #4 My Thracians are worth -! CASSIUS Give me your best, brothers. They die before Caesar. He strides back to the arena. The touts instantly begin making new marks on the boards to represent the mysterious `` Carthage Spectacle'' as some of the trainers hurry out. Proximo walks with Trainer # 4 : PROXIMO I give you 30,000 my Spaniard will kill at least one of your Thracians. TRAINER #4 30,000?! On a Spaniard?! That provincial sun has curdled your brain! PROXIMO Then make the wager, you smug bastard! They disappear down a dark corridor, negotiating all the while.",
"INT. COLOSSEUM - HOLDING CELLS - DAY Maximus, Juba, Vibius and another of Proximo's gladiators are being armed. They all wear mask - like helmets. Proximo hurries to them. PROXIMO All right - there are three other teams, four men each -. -LRB- to Maximus. -RRB- You know what a Thracian looks like? MAXIMUS Yes, but - PROXIMO Ignore the others - go for the Thracians. The sun is to the east - over the gate - keep your back to the gate and you wo n't have the sun. MAXIMUS What -? Trumpets begin sounding from the arena. PROXIMO Hurry -! The guards quickly bustle the four toward a gate leading to a dark tunnel to the arena. PROXIMO Die well and we'll sing songs about you for a generation. Short swords are shoved into their hands and the gate rises. They are pushed into the dark tunnel leading to the arena. The gate closes behind them. The four gladiators stand for a moment and then slowly walk down the tunnel to.",
"EXT. COLOSSEUM - ARENA - DAY At last we see it. The mighty Colosseum Arena. Nothing we could have possibly imagined could have prepared us for the sight of the thousands and thousands of screaming spectators, the row after row of cheering faces. It is staggering. But for Maximus none of this exists. His full attention is focused on one spot alone. The Imperial Box. He can see Commodus and Lucilla sitting in the box. The box is elevated fifteen feet above the arena floor at the top of a sheer black marble wall. A cohort of fifty imposing Praetorian Guard Archers surround the box. Commodus' personal Body Guard of six Centurions actually stand in the box itself, eyes constantly watching like modern Secret Service agents. Commodus is untouchable. Meanwhile, three teams move from different entrances to the arena. As Cassius orates to the crowd : CASSIUS This day we reach back to hallowed antiquity to bring you. THE FALL OF MIGHTY CARTHAGE! -LRB- the crowd cheers. -RRB-. On the barren armies of the barbarian Hannibal! Ferocious mercenaries and warriors of all brute nations bent on merciless conquest! Your Emperor is pleased to give you. THE BARBARIAN HORDE! He gestures to the gladiators in the arena. The crowd laughs, jeering the `` barbarians.'' The drummers begin pounding out a more insistent, heroic beat. CASSIUS But on that illustrious day the Gods sent against them Rome's greatest warriors! The very life - image of nobility and glorious valor. who would on this day, and on these same arid Numidian deserts, decide THE FATE OF THE EMPIRE. Your Emperor is pleased to give you. THE LEGIONNAIRES OF SCIPIO AFRICANUS! The crowd EXPLODES in cheers as the huge doors at one end of the arena suddenly burst open and ten chariots thunder in - Each chariot has a driver and an archer, both dressed in theatrical versions of the familiar Roman Lorica Segmentata. A chaos of dust - and the battle is on - The chariots zoom around the arena - the archers keeping up a deadly hail of arrows. Maximus immediately dives onto a passing chariot and kills the charioteer and archer - he dramatically leaps from the front of the chariot to a lead horse and cuts it free. And Maximus takes control, we see the General of the Felix Regiment gloriously alive again as he barks out orders and leads his gladiators in battle. They follow him faithfully, his stern commands unquestioned. His strategies are quick and smart, he makes the gladiators work together. This kind of slaughter could last for hours. We see flashes of the endless battle. Maximus races on his horse past another chariot, kills the driver, the chariot smashes into a wall. the sun sinks lower, the shadows on the sand lengthen. areas of the sand are swamps of blood, Juba slips, pulls himself up fighting. Maximus uses Vibius to create a diversion, two chariots collide. the crowd roars. a gladiator is dragged between a chariot and the side wall of the arena. the drummers pound out their relentless tattoo. Finally. Maximus is on his horse across from the final chariot. We can see that Juba and Vibius and a few other gladiators are still alive. The rest of the arena is polluted with the dead and injured. Maximus spurs his horse and gallops toward the final chariot - the charioteer whips his horses and zooms toward Maximus - The crowd is breathless - watching the final battle - Maximus and the chariot speed toward each other - like Medieval jousters - And collide in a flashing explosion of steel - Maximus sails from his horse - as the charioteer sails from his chariot - Maximus lands hard but quickly pulls himself up, he races to the final charioteer. The charioteer is defeated but not dead. Maximus glances around, all his opponents are defeated. He stands over the final charioteer. Then he simply tosses down his sword. The crowd is stunned by this strange act of mercy. But then an enormous roar grows from the crowd - wave after wave of adulation for the hero of the day. Maximus looks around, taking it all in. Then he turns to the Imperial Box. Maximus slowly walks to before the the Imperial Box. The Praetorian Archers immediately raise their bows, pointing down at him. Maximus glares up at Commodus through his helmet mask. Commodus returns his gaze, curious. The crowd is intrigued, growing quiet. What is going on? Then Maximus simply turns and begins walking away. COMMODUS Slave! Who are you? The Colosseum is suddenly silent. The Emperor is speaking to a gladiator. Maximus keeps walking. COMMODUS SLAVE! WHO ARE YOU? Maximus keeps walking, his fists clenched now. Commodus suddenly grabs a spear from a nearby Praetorian and hurls it with perfect aim - the crowd gasps - the spear sails past Maximus - actually nicking his shoulder - it slices into the sand ahead of Maximus. Maximus stops. COMMODUS SLAVE! WHO ARE YOU?! Maximus can hold it no longer. He spins to Commodus - ripping off his helmet mask - and THUNDERING : MAXIMUS I AM MAXIMUS MERIDAS, GENERAL OF THE FELIX REGIMENT OF THE ROMAN ARMY AND SERVANT TO THE EMPEROR MARCUS AURELIUS! Commodus eyes shoot wide - Lucilla bolts up - Gracchus leans forward - Proximo is stunned - the crowd is mystified - MAXIMUS I AM FATHER TO A MURDERED SON AND HUSBAND TO A MURDERED WIFE AND LANDLORD TO A MURDERED WORLD - AND I WILL HAVE VENGEANCE! The Praetorian Archers tense their bows - ready to kill the defiant slave - But something extraordinary stops them. Almost as one being the crowd roars - they leaps to their feet and thrust their thumbs up! They cheer and stomp their approval of Maximus. Commodus looks around at the people of Rome, amazed. He finally plasters on a benevolent smile and thrusts his thumb up! The Praetorians lower their bows. And the crowd cheers. Never in the long, long history of the Colosseum have they ever seen such a thing. Maximus leads his gladiators out of the arena.",
"INT. PALACE - THRONE ROOM - NIGHT To our great surprise, Commodus is not raging. He sits quietly on the polished marble floor in front of a model of the Colosseum. He moves model pieces around in the Colosseum, planning his festival. Lucilla stands, tense. COMMODUS Why is he still alive? LUCILLA I do n't know. COMMODUS He should n't be alive. That vexes me. I am terribly vexed. Lucilla watches her brother cautiously, expecting the explosion. He carefully moves some model pieces in the arena. COMMODUS There, that's better. Do you like the platform here? LUCILLA Mmm. COMMODUS I do too. Simple, elegant. Lucilla is growing more and more unnerved at Commodus' unusual serenity. COMMODUS Father would have wanted something more ornate but he's dead now. A beat. Commodus laughs. A beat. COMMODUS Maximus Meridas haunts me. I see Father turning away from me and gazing at him. How many times did I suffer that indignity, I wonder? LUCILLA What are you going to do? COMMODUS I'm going to kill him. LUCILLA Good. COMMODUS -LRB- glances at her. -RRB- Oh, you're too clever, Sister. Do n't tell me part of you wo n't weep for him. LUCILLA When he defies my brother the Emperor, he defies me. But you should n't send assassins. COMMODUS No? LUCILLA The people embraced him today. They will be expecting his next match. -LRB- she kneels next to him. -RRB-. let him die in the arena like the slave he is. Let the people see what comes of defying Caesar. A beat as he looks at her. COMMODUS He wounded you deeply, did n't he? Long ago. She does not answer. COMMODUS Nonetheless, your political acumen is, as always, unerring. He picks up a model tiger and puts it in the arena. He looks at the model tiger and smiles.",
"INT. PROXIMO'S COMPOUND - CELL - NIGHT Maximus silently awaits Commodus' assassins with Juba. They hear footsteps outside the cell. Maximus stands, preparing for death. JUBA -LRB- also standing. -RRB- I will fight with you. MAXIMUS This is n't your battle. JUBA Better to die for a friend than to die for gold. The door swings open and they are surprised to see Proximo sweeping in with a cloaked woman. The woman gives Proximo a bag of money. PROXIMO Enjoy yourself, Madame. -LRB- he glances to Maximus. -RRB- General, perform well and there will be riches for you. He beckons to Juba, they go, shutting the door behind them. The woman pulls off her cloak, it is Lucilla. Maximus glares at her, his muscles tensing. LUCILLA Rich matrons pay well to be pleasured by the bravest champions. Maximus backs up, fighting the urge to strangle her on the spot. He finally bumps into a wall of the cell. MAXIMUS I knew your brother would send assassins. I did n't think he would send his best. LUCILLA Maximus, listen to me - MAXIMUS My family were crucified and burnt while they were still alive. LUCILLA I knew nothing of that. MAXIMUS -LRB- low. -RRB- Do n't lie to me. LUCILLA I wept for them. MAXIMUS Do n't. A long, tense moment. She does not look at him. LUCILLA Do you know what it is to be the daughter of the Emperor? I learned on the night my father had my husband killed. I loved my husband very much. Very. simply. He was a man who believed in the Republic. He was a man who thought Marcus should be tending to Rome and not conquering the world. One night my father had him strangled for conspiring with the Senate. My father never spoke of it. I never spoke of it. That is what it is to be the daughter of Rome. She finally looks up at Maximus. LUCILLA My son will live. He will survive this cursed bloodline. Rome will die and the jackals will pick her clean - but my son will survive. Empires come and go. Cities crumble to dust. Only family matters. A beat. Despite himself, Maximus is moved. MAXIMUS My son was innocent. LUCILLA So is mine. A beat. MAXIMUS I want your brother dead. LUCILLA So do I. A beat. Maximus is surprised at her direct answer. LUCILLA My son will never be safe while he lives. A beat. MAXIMUS How do you plan it? LUCILLA The Senate is with us, and the City Guard. We have growing power in the streets. But we need a leader. Someone the people can - MAXIMUS So the crown passes to your son. LUCILLA No. So that my son will be safe. So that we may leave this charnel house forever and never look back. Look into my eyes, Maximus, and believe what I say to you. She rivets him intensely with her eyes. LUCILLA By all the Gods, and in the name of my father who loved you, and in the name of the husband I loved. I swear to stand by your side in this now and always. A beat. MAXIMUS What is your son's name? LUCILLA Lucius Verus. Like his father. MAXIMUS I weep for him. A long beat. Maximus' cold eyes give away nothing. Lucilla turns and starts to go. She stops, not looking back. LUCILLA Commodus plans to kill you in your next match in the arena. He's planning something. I will pray for you. As I have always done. She then pulls something from her robes and sets it down, a little bundle wrapped in cloth. She sweeps out. The sound of the door being bolted shut on the other side. Maximus stands for a moment and then goes to what she has left. He opens the cloth. Inside are his six `` ancestor'' figures. He picks up one of the figures. He looks at it deeply, gently feeling along the contours with a finger.",
"EXT. COLOSSEUM - ARENA - DAY The Colosseum is again packed. Commodus, Lucilla and her son Lucius are in the Imperial Box. It is late in the day and teams of slaves are cleaning the arena after a bout. They haul off carcasses and toss down fresh sand. Meanwhile, Cassius is orating to the crowd : CASSIUS in his majestic charity the Emperor has deigned to this day favor the people of Rome with an historical final match. Returning to the Colosseum today. after five years in retirement. Caesar is pleased to bring you. THE ONLY UNDEFEATED CHAMPION IN ROMAN HISTORY. -LRB- the crowd is going mad. -RRB-. THE LEGENDARY. TIGER OF GAUL! The crowd erupts in paroxysms of joy as TIGER explodes into the arena in an ornate chariot. Tiger is a fierce man in his 40's, his brutal, scarred face and hugely muscled body a testament to his many years in the arena. Tiger speeds around the rim of the arena in his chariot, raising an arm in triumph. The crowd roars.",
"INT. COLOSSEUM - HOLDING CELLS - DAY Proximo stands with Maximus, who is busy strapping on armor. PROXIMO Gods! That old Homicide! The Emperor must truly hate you. MAXIMUS What can you tell me? PROXIMO He cheats.",
"INT. COLOSSEUM - ARENA - DAY Tiger waits. He stands in the center of the arena. He has only a traditional short sword. The crowd is breathless with anticipation. As : CASSIUS -LRB- orating. -RRB- And from the rocky promontories and martial bloodlines of Spain. representing the training lyceum of Proximo Antoninus. I give you. THE WARRIOR MAXIMUS! The crowd cheers. Maximus appears from his gate. His fans have increased in number considerably. They eagerly crane forward and celebrate him. Meanwhile, Maximus looks at Tiger. Only one man with a sword? Maximus approaches, cautious but confident. He stops a few feet from Tiger. They lock eyes, salute each other and then turn to the Imperial Box, raising their swords. The crowd waits eagerly for the immortal words. MAXIMUS AND TIGER We who are about to die salute you. The crowd cheers and Maximus immediately turns and starts slashing - Tiger easily blocks and strikes back - The sword play is very fast - they block and parry and hack like lightning - constantly attacking - they are perfectly matched - As he fights Maximus becomes aware of a strange sound over the roar of the crowd - a low rumbling - then he feels something - a vibration in the ground - Suddenly traps doors swing open and four enormous platforms rise into view. On each platform is a snarling Bengal tiger restrained by a chain. Tiger's teams of `` cornermen'' hold the chains through a pulley system. The cornermen are safely inside cages. The platforms stop at ground level. The four ferocious tigers now mark the four corners of the battleground. Tiger takes advantage of Maximus' momentary confusion and assaults brutally - forcing him back toward one of the tigers - the tiger claws for Maximus - Maximus just evades it claws - rolls for a new position - another tiger snaps at him - Tiger attacks - Maximus is on the defensive - fighting off Tiger and evading the four snarling beasts - And then all four tigers are suddenly closer. The teams of cornermen are letting the chains play out, bit by bit, gradually reducing the size of the battle ground. The crowd roars. But the fight is hardly fair. Whenever Tiger is near one of the tigers the cornermen pull back the tiger slightly - when Maximus is near a tiger they let it out a bit. Maximus and Tiger fight - swirling action - finally, Maximus has the edge - he circles so that the sun stabs into Tiger's eyes - then Maximus lunges forward under Tiger's swinging sword and SLAMS into him - they fall - a tiger swats at Maximus' face - he jerks his head back - he shoots out a leg and kicks Tiger's sword toward one of the tigers - it is out of reach - Maximus leaps up and stands over the winded Tiger, sword to his throat. Tiger is gasping for breath, crushed. Then one of Tiger's corners suddenly cheats - they completely release a tiger - it leaps for Maximus - Maximus barely has time to turn - the tiger crashes into him - its claws slashing into his back, cutting through his leather armor - Maximus shoves an armored forearm into the tiger's jaws and stabs with his sword - Tiger takes this chance to pull himself up - one of his corners throws him another sword - the crowd boos - Maximus wrestles with the tiger - spinning it around with superhuman effort so it is always between himself and Tiger - so that Tiger ca n't get at him - Maximus finally kills the tiger and leaps for Tiger - he quickly disarms him and tosses him to the ground - Maximus stands over him - ready to administer the coup de grace. All eyes turn to the Emperor. Commodus slowly stands and steps to the edge of the Imperial Box. He raises his arm and gives the fatal thumbs down. Maximus looks up at him. And then defiantly tosses the sword to the ground, refusing to kill Tiger. Commodus is stunned. The crowd gasps - a collective intake of breath - and then an enormous roar building. It cascades around the Colosseum. It is a roaring celebration of the unexpected act of mercy. And the delicious act of defiance of the Emperor. Commodus slowly sits. Maximus walks across the arena - the people stand and cheer for him. Cries of `` Maximus the Merciful'' can be heard. It is the birth of a hero.",
"INT. COLOSSEUM - HOLDING CELLS - DAY Maximus is resting in his cell after the battle, head down, deep in thought. LUCIUS' VOICE Is it true you're a General? Maximus looks up, Lucius is standing at his cell. Maximus has no idea who the boy is - just another young fan - but Maximus is immediately struck by Lucius' resemblance to his own son. MAXIMUS I was a General. LUCIUS I saw you fight. The Carthage battle too. I've never seen so much courage. MAXIMUS It does n't take courage to kill. LUCIUS My father was killed. A beat. MAXIMUS I'm sorry. LUCIUS He still comes to me in my dreams. Do you have a father? MAXIMUS I had a father. He was n't really my father but I cared for him very much. LUCIUS I hope he comes to you in your dreams. My father and I ride horses in mine. These simple words strike something deep in Maximus. Lucilla appears from the shadows and puts her hands on Lucius' shoulders. LUCILLA Lucius, run along now. I need to talk to the General. Lucius runs off to his Male ATTENDANT, who leads him away. A long beat as Maximus and Lucilla look at each other. Finally : MAXIMUS Where is my army? A drum beat is heard. It increases throughout the following scenes, building momentum like a Roman gallery accelerating to ramming speed. The conspiracy scenes are enclosed in a montage of scenes in and around the arena showing Maximus' growing popularity with the People of Rome.",
"EXT. COLOSSEUM - ARENA - DAY Maximus is fighting an opponent. The drums continue.",
"INT. THE SENATE - DAY Lucilla conspires with Senators Gracchus and Gaius and Captain Marcellus in a dark corner of the Senate. Whispers. LUCILLA Maximus will summon his army from Ostia and he will strike from the inside as his army strikes from the outside. But he insists that the Senate be present. GAIUS We've been ordered to attend. LUCILLA How many are with us? GRACCHUS About half. But once the tyrant is dead. All. A beat. GRACCHUS I want to meet him. LUCILLA I'll arrange it. GAIUS And what of the Emperor? A beat. LUCILLA He has withdrawn. He's not eating. He does n't go out. He wo n't even see me. I do n't know what tempests rage within him but. GRACCHUS We should fear for the blackest storm. LUCILLA Yes. A beat. GAIUS One question. who is to be the actual Regicide? A beat. She glances at him. The drums continue.",
"EXT. COLOSSEUM - ARENA - DAY Maximus defeats his opponent. He stands over him. He does not kill him. He tosses his sword down and walks away. The crowd goes crazy, roaring their approval of Maximus. Senator Falco, sits in the stands and watches with some alarm. He glances around as the crowd exalts Maximus. He is becoming a hero to the people. The drums continue.",
"INT. COLOSSEUM - HOLDING CELLS - DAY Maximus returns to the holding cells. Vibius and Juba are waiting. VIBIUS You did n't kill him. MAXIMUS I will not kill another warrior. There is no honor to it. Maximus goes. Vibius thinks about it, listening to the adulation of the crowd. The drums continue.",
"INT./ EXT. SLAVE WAGON - ROMAN STREETS - DAY Maximus and the other gladiators are in a slave cart on the way from the arena. A gang of children run alongside the cart, cheering and chanting : KIDS Maximus the Merciful! Maximus the Merciful! The drums continue.",
"INT. PROXIMO'S COMPOUND - CELL - NIGHT Maximus and Juba are with Lucilla and Gracchus. Lucilla is writing on a piece of parchment. MAXIMUS Tell him we will enter Rome on the first day of Commodus' festival. LUCILLA And they will march on Rome for you? MAXIMUS Yes. But this letter must go to the lieutenant named Titus, no one else. LUCILLA Captain Marcellus will take it. And his City Guard will by with you when you get to Rome. Is that enough to face the Praetorian Guard? MAXIMUS -LRB- looks to her. -RRB- The Felix Regiment will never be defeated. A beat. GRACCHUS I only have one question for you, General. Why? A beat. GRACCHUS You will lead an army of your brothers on Rome. Many will die. Why? MAXIMUS I want Commodus dead. GRACCHUS That's not the reason. Tell me the truth. A beat. MAXIMUS Because one night an old man whispered to me about a dream. I will die for that dream. A long beat. GRACCHUS I knew the old man well. And I loved him very much. In our youth we would spend hours building that dream together. After he went to the wars and lost his way. I was very cruel. I tormented him to remember that dream we spoke of. MAXIMUS He did. GRACCHUS You can have no idea how much that means to me. A beat. GRACCHUS Any man who will die for a whispered dream deserves my respect. I honor you, General. The drums continue.",
"EXT. COLOSSEUM - ARENA - DAY Vibius defeats an opponent - he stands over him. He looks around at the crowd. Then he tosses down his sword and walks off. The crowd goes mad with pleasure. Vibius eats it up, raising his arms and soaking up the applause. Maximus watches from the holding cells. He smiles. The drums continue.",
"EXT. STREET - NIGHT Proximo supervises as a huge banner is unfurled. It covers the side of a tall building. It shows a dramatic painting of Maximus. Proximo supervises happily as torches and braziers are lit to illuminate the mammoth banner. The drums continue.",
"EXT. COLOSSEUM - ARENA - DAY The ending of a group fight - Proximo's gladiators triumphant. The crowd waits for the delicious act of defiance. We note many placard and banners honoring `` MAXIMUS THE MERCIFUL.'' Maximus, Vibius, Juba and a few other gladiators toss down their weapons and walk off, leaving their opponents alive. The crowd roars. They have completely embraced Maximus and his fellow gladiators. Gracchus, in the stands, laughs. The drums finally conclude.",
"INT. PALACE - LUCILLA'S CHAMBER - DAY Lucilla is with her HANDMAIDEN. They sit before a large mirror, the Handmaiden perfecting Lucilla's makeup for the day. One of Commodus' Centurion Body Guards enters, bows. CENTURION Madame, the Emperor would like to see you. Lucilla quickly glances to her Handmaiden in the mirror and then braces herself, stands, and quickly leaves with the Centurion.",
"INT. PALACE - HALLWAY - DAY Lucilla strides quickly, nervously, down the long corridor to Commodus' chambers. She enters.",
"INT. PALACE - COMMODUS' BEDROOM - DAY Commodus is wrapped in a sheet, gazing out a window. LUCILLA Caesar. He turns. She stops. He looks as if he has not slept for days. If a word could now sum up his clouded face it is this : tormented. She goes to him, embraces him. He holds her tightly. COMMODUS I am sorry to have kept you away. I needed this time to think. LUCILLA Of course. He moves away from her, slowly moving around the room. COMMODUS I limited my world to these four walls so as to let my mind free. again and again my mind settles on but one question. What kind of world are we making when the people of Rome prefer a slave in the arena to their father? A beat. Commodus' strange philosophical bent is unnerving Lucilla. COMMODUS It is my responsibility to make the world as it should be. How is it I have made this world? LUCILLA Brother, do not be influenced by the mob. They are a great, faceless beast - COMMODUS They are not `` the mob,'' Lucilla, they are the people. They are my children and all I want to do is love them. A beat. He stands before a bust of Marcus Aurelius. He touches it. COMMODUS Our father loved Maximus. and I love him still. yet he defies me, he tasks me in front of my children. And they love him for it. Just as Marcus loved him for it. Tell me why, Lucilla. LUCILLA They see themselves in him. They throw in their own sad dreams alongside his. They think he fights for them. COMMODUS And what do I do but fight for them?! I give them games to please them. I strangle dissent to give them peace. I empower the Praetorians to give them order. What more can I do?! A beat. COMMODUS Say I should fight him, in the arena. Let my children see who the Gods truly favor. LUCILLA And what if he should win? A beat. Commodus continues to slowly move around the room. COMMODUS A God is more powerful than a man. This odd statement hangs in the air for a moment. Then : LUCILLA Caesar, you let this unduly worry you. At best he is a passing fancy - he is a name, an image on a banner, ephemeral - he will be forgotten as the next fancy appears - COMMODUS But I need to know - why do they love him? LUCILLA Mercy. He stops. Looks at her. LUCILLA He will not kill in the arena. He is merciful. As they all wish they were in their own hearts. Something in her words has struck a chord in him. COMMODUS And for that moment in the arena they are merciful too. For a moment. they are Gods. Offering life. He looks at her. COMMODUS But who can be more merciful than the Emperor of Rome?",
"EXT. COLOSSEUM - ARENA - DAY Maximus is fighting a thick GIANT of a man. A few quick blows and the Giant falls - like a mighty tree he crashes to the sand. The arena cheers their hero. Maximus stands over the beaten Giant. The crowd waits for the famous act. Maximus salutes the Giant and tosses down his sword, refusing to kill. He walks away. The arena explodes in cheers - a chant of `` Maximus the Merciful'' grows to deafening proportions. Suddenly the arena is filled with Praetorians - they block Maximus' exit from the arena - the crowd boos - horrified - The Praetorians surround Maximus. He is unarmed, but coils for the inevitable battle. Then the Praetorians part. And Commodus walks through them. He carries something wrapped in a rich cloth. Maximus glares at him. The Praetorians move back and the crowd watches eagerly. The Emperor and the Gladiator, at last. Maximus and Commodus stare at each other. The crowd can not hear what is said, but strain to observe this incredible confrontation. COMMODUS Brother. we've taken a sad path since we were children at Capri, have we not? Maximus does n't answer. COMMODUS For my own part. I am sorry it came to this. And to you alone of all men, I acknowledge my errors. And my regret. I shall live with my sin for all my days. MAXIMUS As will I, Commodus. As will I. Commodus unwraps the cloth bundle. Inside is a small wooden sword. He holds it up so the crowd can see. A collective gasp. The wooden sword, prized by all gladiators above all else. Freedom. COMMODUS As the first act of my contrition I offer you the wooden sword of freedom. He holds out the wooden sword. A beat. COMMODUS Take it, brother. Stand at my side as a free man worthy of your ancestors. MAXIMUS I only have ancestors because of you, brother. You killed everything that ever lived alongside me. A beat. COMMODUS Take it, Maximus. Let us heal that fatal wound together. MAXIMUS This is the new home you cursed me to. And I am safer here from your treachery than I could ever be outside. COMMODUS Will you always mistrust me? MAXIMUS Why do n't you ask your father that? Commodus visibly flinches at that, but still holds the wooden sword out. The crowd is breathless. MAXIMUS I have more power as a slave in the arena than I could ever have as a free man. As the Colosseum goes, the people go. As the people go, the Empire goes. COMMODUS -LRB- tense. -RRB- You think this is power? I could show you power, slave - MAXIMUS No, Caesar. I will show you. With that, Maximus does the unimaginable. He simply turns his back on the Emperor and walks away. And the crowd goes mad. They cheer the defiant gladiator, their champion. And, equally, they deride the Emperor. They mock him by holding out food and trash like Commodus is holding out the wooden sword. They laugh and jeer. Commodus glances around at his children, lost. Then he turns to the Imperial Box. He sees Lucilla slipping out the back of the box. He watches her go. And the crowd continues to jeer.",
"EXT. STREET THEATER - NIGHT The crowd laughs riotously as Roman Actors perform a typically ribald comedy in a secluded street : An outrageously dressed version of Maximus is parading around on an outrageously dressed version of Commodus, riding him like a donkey and slapping his rear with a wooden sword. The `` Commodus'' actor mews and brays and wails like an infant. Captain Marcellus of the City Guard gallops past them, on his way out of Rome.",
"EXT. PROXIMO'S COMPOUND - COURTYARD - DAY Maximus stands with Juba and Vibius. He draws a circle in the sand with a stick. He draws a line to the circle. MAXIMUS The Felix Regiment will come from here. We'll face the body of the Praetorians outside - here. Once inside, my archers will take up position to counter opposition inside the Colosseum. I'll enter and join you - we'll attack here - Maximus draws a line to the Imperial Box. MAXIMUS - a covert assault from within. VIBIUS We'll be killed. MAXIMUS Probably. A beat. MAXIMUS But if we are n't. think of the glory. Do you remember glory, Gladiator? JUBA And if we die that day - we die free men worthy of our ancestors. VIBIUS You did n't know my ancestors. A rotten bunch. Maximus points to the huge statue of Mars. MAXIMUS Then be worthy of him. The old Titan who would rather die bravely in a just battle than slink off to grow old and fat. JUBA And impotent. A beat. Vibius thinks about it. VIBIUS If I die, I want a hundred whores at my funeral.",
"INT. PALACE - LUCILLA'S CHAMBERS - EVENING Commodus sweeps in. Thinks Lucilla is standing there. The woman turns, it is Lucilla's Handmaiden. COMMODUS Where is my sister? HANDMAIDEN She's out, sir. COMMODUS Where? HANDMAIDEN I. do n't know, Caesar. Commodus looks at her for a moment. And then he slowly walks right to her. His face an inch away from hers. COMMODUS Where is my sister?",
"INT. PROXIMO'S COMPOUND - PROXIMO'S CHAMBER - NIGHT Proximo sits, considering Maximus. MAXIMUS Was it Centurion? General? PROXIMO Captain. A beat. PROXIMO How did you know? MAXIMUS A soldier knows a soldier. A beat. PROXIMO All that was a long time ago. Too much wine and too many women. And too much money. MAXIMUS No - PROXIMO This is who I am. -LRB- he pats his ample belly. -RRB- You see? There was a time I would stand against ten men and never give an inch, spitting into the jaws of Hades all the while. There was a time my heart swelled to strap on the armor of Rome. But now. Something flashes across Proximo's eyes, something like tragedy. PROXIMO Now I am just an entertainer. A pause. MAXIMUS You said something to me once. You said in this life, we all die. All we can choose is how we die. And how we are remembered. Do you recall those words? PROXIMO Yes. MAXIMUS Then be remembered proudly. This is your time, Proximo. Stand at my side and be what you were. What you truly are. One last time. A beat. Proximo suddenly begins to weep rather histrionically - Maximus is a bit taken aback - Proximo dramatically flicks tears from his eyes - and then ca n't keep the show up - he bursts into laughter. Maximus stares at him. PROXIMO -LRB- laughing. -RRB- You might have spared yourself the speech, General. The lady Lucilla bought all my gladiators two hours ago! MAXIMUS You pox - ridden bastard -! PROXIMO I am the richest trainer in the Empire! And I will let my gladiators do anything you like! Conspire away, General! Maximus can only laugh as well. PROXIMO But I tell you - if you survive this madness I want you to go into business with me. I'll give you a quarter of my holdings. MAXIMUS -LRB- standing. -RRB- A quarter?! PROXIMO A third. And not a hair more. And you'll have to start in the provinces! Cleaning up the lion shit! MAXIMUS You know, if you were half so awful as you pretend, you'd be a terrifying man. Maximus shakes his head, smiling, and goes. Proximo sits for a moment. Then he rises and goes to a heavy chest. He looks at the chest for a moment and then opens it. Inside is his old Lorica Segmentata. He gazes at his armor, considering what he once was. And what he now is.",
"INT. PROXIMO'S COMPOUND - CELL - NIGHT Maximus enters. Lucilla is waiting, extremely tense. MAXIMUS Lucilla - LUCILLA Do n't even say it. I know it's dangerous - but I had to see you. Captain Marcellus has gone to the army with your message as you instructed. MAXIMUS Good. LUCILLA He says the City Guard will be ready at the south road at noon. They can only wait for an hour so - MAXIMUS You've told me this already. LUCILLA Did I? All right then. So everything is prepared. The Senate will be in attendance and you have your gladiators - the usual cohort of Praetorians will be inside the arena - MAXIMUS Lucilla. why are you here? A pause. LUCILLA Tell me honestly. please. do you think it will work? A beat. MAXIMUS No. LUCILLA Do you think we'll all die? MAXIMUS Yes. She leans against a wall. A pause. LUCILLA Will you swear something to me? MAXIMUS Yes. LUCILLA Will you swear it on the memory of your son? A long beat. MAXIMUS Yes. LUCILLA By all that you have ever loved. swear that if you survive you will take my son out of Rome. Swear that you will go far away and never return. He steps to her. MAXIMUS -LRB- deeply. -RRB- I will. A beat. MAXIMUS And if I should not survive. swear to me that you will honor my family in your prayers always. LUCILLA I will. A long, difficult beat. She fights back tears. LUCILLA Had I not been the daughter of Rome. He puts a gentle finger to her lips. MAXIMUS Shhh. my heart breaks enough. He holds her closely, tenderly.",
"INT. PALACE - LUCILLA'S CHAMBERS - NIGHT Lucilla enters, deep in thought, still drained from her meeting with Maximus. She suddenly stops. Frozen. Commodus is sitting across the chamber, Lucius at his knee. An open scroll on Commodus' lap. COMMODUS Sister. join us. I've been reading to dear Lucius. LUCIUS I've been reading too. COMMODUS Yes, he's a very smart little boy. He'll make a grand Emperor one day. Lucilla has not moved. COMMODUS Join us, sister. Lucilla goes to them, sits. COMMODUS We've been reading about the great Julius and his adventures in Egypt. LUCIUS She killed herself with a snake! COMMODUS -LRB- to Lucius. -RRB- And just wait until you hear what happened to some of our other ancestors! If you're very good, tomorrow night I'll tell you the story of Emperor Claudius. He was betrayed! By those closest to him. -LRB- he glances up to Lucilla. -RRB-. by his own blood. they whispered in dark corners and went out late at night and conspired and conspired. Lucilla looks as if she is going to be ill. Lucius is busy scanning the scroll. Commodus gently strokes his hair, his cold eyes never leaving Lucilla's. COMMODUS But the Emperor Claudius knew that they were up to something dire. He knew they were busy little bees. And one night he sat down with one of them and he looked at her and he said : `` Tell me what you have been doing, busy little bee, or I shall strike down those dearest to you. You shall watch as I bathe in their blood.'' And the bee knew he spoke the truth, for the Emperor always speaks the truth. And what do you think happened then, Lucius? LUCIUS -LRB- still pouring over the scrolls. -RRB- I do n't know, Uncle. COMMODUS -LRB- glaring at Lucilla. -RRB- The bee told him everything. Lucilla's face is tortured.",
"INT. PROXIMO'S COMPOUND - PROXIMO'S CHAMBER - NIGHT Proximo is asleep - a sound outside wakes him - the steady clip - clop of horses on stone. A lot of horses. He rises and goes to a window overlooking the street outside. A stern Praetorian Guard cavalry unit is cantering into position at his gates. Proximo grabs his clothes -",
"EXT. PROXIMO'S COMPOUND - NIGHT With cool military precision the Praetorians take up position at the gates before Proximo's compound, an unassailable line. They quickly prepare their bows. Meanwhile, another Praetorian unit has taken up position at the other end of Proximo's compound - sealing that entrance as well.",
"EXT. PROXIMO'S COMPOUND - COURTYARD - NIGHT Proximo is hurrying across his open courtyard when the first flaming arrow arches into the compound - it is followed by hundreds more - The Praetorians on either end of his compound keep up a ceaseless hail of flaming arrows - everything begins to burn - the caged gladiators are stirring now - shouting - Proximo races to his panicked guards - PROXIMO Release them! Release them all! ARM THEM! The guards sprint to the cells - unlocking the gladiators as quickly as they can - Not quick enough for many - Praetorians are now pouring pitch through the gutter that runs along the bottom of the cells - igniting it and incinerating all those trapped inside - The compound is soon a raging inferno - Proximo releases Maximus and Juba - PROXIMO Come - MAXIMUS But - PROXIMO If you want to live - follow me - VIBIUS -LRB- calling to them. -RRB- Go, Spaniard! We'll show these Roman dogs how gladiators fight! Proximo hauls Maximus and Juba off as Vibius and the other gladiators arm themselves -",
"INT. TUNNELS - NIGHT Proximo is leading Maximus and Juba quickly through a decaying cramped tunnel. PROXIMO All the old gladiator schools have tunnels to the Colosseum - most have long since collapsed - JUBA How did they know? MAXIMUS We were betrayed. JUBA -LRB- stops. -RRB- I'll stay here. In case they follow. Maximus stops as well. JUBA Go! Bring us the army! Maximus nods. PROXIMO Quickly - He leads Maximus down the disintegrating catacomb of tunnels -",
"EXT. PROXIMO'S COMPOUND - NIGHT Vibius hoped to die fighting - he never got the chance. It is not a battle, it is a slaughter. The Praetorians ruthlessly shoot anyone even approaching the gates - all the walls are covered - most of the gladiators die in the hellish inferno - the relentless rain of flaming arrows continues - Vibius coughs in the thick smoke and rages for someone to fight - Praetorian snipers cut him down - he dies reaching for the statue of Mars.",
"INT. COLOSSEUM - SUBTERRANEAN - NIGHT Proximo and Maximus emerge deep in the bowels of the Colosseum. PROXIMO -LRB- points. -RRB- Down that corridor is the butchery - the blood sloughs lead to the Tiber. Gods watch over you. MAXIMUS You're not coming? PROXIMO They are killing my men! He races back into the tunnel. Maximus moves quickly down the corridor. He can finally see.",
"INT. COLOSSEUM - BUTCHERY - NIGHT Grisly carcasses of every description hang from hooks. Two bored butchers hack them up. The good bits are tossed into a wagon to fed to the Colosseum animals. The waste and offal are shoveled into a large sewer opening. A butcher occasionally lifts a sluice - gate and a gush of water flows into the sewer from above, washing down the blood and carcasses. Maximus crouches and creeps through the nightmare of hanging carcasses and flies. When the butchers are looking elsewhere, Maximus creeps to the sewer opening and climbs in - he immediately slides down for a few yards in the slanting, slippery blood sluice - out of sight - Then he thuds to a stop. He can go no further because the remains of an animal carcass blocks his way. He tries to slither past the carcass - Finally, one of the butchers above lifts the sluice - gate and a torrent of water flows down. Maximus is washed down the hideous sewer.",
"INT. TUNNELS - NIGHT Proximo and Juba are quickly marching back down the tunnel toward the compound - they are very close now - the roar of flame is heard - the creak of falling timber - and the screams of burning men. They run. They round a corner and see there is no way past the world of flame ahead of them. The tunnel to the compound has collapsed. PROXIMO Gods. they're killing them all. Proximo leads them up a cramped stairway to.",
"EXT. STREET OUTSIDE PROXIMO'S COMPOUND - NIGHT They emerge through a sewer entrance - right into the arms of the Praetorian Guard. Proximo and Juba are bound. Proximo sees his compound burning. Sees the Praetorian archers taking out any last survivors. Hears the screams.",
"INT./ EXT. VARIOUS LOCATIONS - ARREST MONTAGE - NIGHT A quick sequence of brutal arrests as Praetorian Guard units round up many associated with the plot. And many that are not. GAIUS' BEDROOM : Gaius and his wife are yanked awake and hauled out. CHRISTIAN HOME : A congregation of Christians is chained together, their secret altar smashed. CAFE : Greek Scholars are hauled away from their scrolls. STREET THEATER : Actors are dragged off in the midst of a performance. GRACCHUS' STEAM ROOM : Gracchus is enjoying grapes with his handsome catamite. A unit of Praetorian bursts in. Gracchus looks at them. Sighs.",
"INT. PALACE - THRONE ROOM - NIGHT Commodus stands with Lucius on a balcony overlooking the city. The roaring flames of the fire at Proximo's compound can easily be seen. LUCIUS What is that fire? COMMODUS Why that's a bonfire, Lucius. I arranged it just for you. He puts his hand on the boy's shoulder. Behind them, Lucilla sits slumped in a chair. Her face is a mask of anguish at what she has been forced to do. Two Praetorians enter with a bucket. PRAETORIAN Caesar. Commodus goes to them. He talks quietly with them for a moment and glances at what they are carrying. COMMODUS Oh. that's for my sister. They bring the bucket to Lucilla and set it before her. Commodus ignores her and goes back to Lucius on the balcony. Lucilla glances inside the bucket. Captain Marcellus' head is floating in brine. Lucilla moans. All is lost.",
"EXT. TIBER RIVER - NIGHT Maximus splashes to the surface of the filthy Tiber, gasping for air. Animal carcasses float up next to him. He grabs onto one and floats down the gently flowing river.",
"EXT. ITALIAN FRONT - CAMP - DAWN The Wolf of Rome sleeps. Then its ears rise. Then its head. It sniffs the air. The wolf slowly rises and begins loping through the camp. It passes slumbering soldiers and tents, smoke lazily drifting up from campfires. The wolf finally stops and looks up. Maximus is on a horse. He climbs down. The wolf goes to him and licks his hand. Maximus begins marching through the camp, the wolf at his side. Soldiers stir, amazed to see their General is alive. Gallus leaps up, stunned, and goes to Maximus. They continue to march through the camp, more and more astonished soldiers joining them. They march toward the large tents at the center of the encampment. Titus emerges from his tent. Slams to a stop - TITUS By all the Gods. He goes to Maximus and embraces him. MAXIMUS Old friend. TITUS You're returned from Hades! By all the Gods! MAXIMUS Where is he? Just then Quintus emerges from the largest tent. He stares at Maximus, unbelieving. A long beat as they look at each other. Quintus knows his destiny. With quiet dignity he begins whispering a prayer. Maximus moves to him, embracing him : MAXIMUS I forgive you. He stabs Quintus with a dagger as he embraces him. Quintus falls. A beat. Titus goes to the dead Quintus and pulls the seal of office from his uniform. He hands it to Maximus. An enormous roar of celebration from the Felix Regiment.",
"INT. PALACE - COMMODUS' BEDROOM - MORNING A castrati choir sings a gentle hymn of celebration. Their eerie voices and otherworldly harmonies undulate around Commodus' bedroom. The Emperor himself is in a chair, wrapped in a robe. His body slaves work over him closely. He is staring into a mirror, lost in another world as the slaves carefully apply golden eye makeup to him. The castrati hymn continues.",
"EXT. OUTSIDE THE COLOSSEUM - DAY The hymn is all we hear as we see crowds moving into the Colosseum. It seems that all of Rome is here for this great day. Huge throngs of citizens move like a massive wave toward the Colosseum entrances. Vendors are doing brisk business. Praetorian units in full dress uniform canter past. We elegantly float up along the outer tiers of the Colosseum and then glide over the edge to see the arena stands.",
"EXT. COLOSSEUM - DAY The hymn is all we hear as we see. The stands are filling. We see the rich and poor alike. We see the orator Cassius. We see Senator Falco and most of the Senate. We see the cohort of fifty Praetorian taking up position around the Imperial Box. A golden platform, with stairs down to the arena sand, now extends about twenty feet from the Imperial Box to a spot over the arena. We float down the stairs and then we see the arena itself. It is stunning in its simplicity. The days victims are tied to posts in the center of the arena. Suspended above them is an enormous cloud. A thick, tumescent bladder painted to look like a threatening rain cloud. We see Proximo and Juba. We see Senators Gracchus and Gaius. We see Gaius' wife and Gracchus catamite and Christian families and scholars and actors. Seven stylized hills surround them. The hymn comes to its soaring conclusion as we see the damned. Later. By now, the Colosseum is packed. All fifty - five thousand seats are taken. Another ten thousand stand wherever they can. A feral anticipation buzzes through the crowd. Outside the Colosseum, the streets are crowded with thousands more who could n't get in. Trumpets blare. Commodus' six Centurion Body Guards stride into the Imperial Box. Then Commodus enters. He is shrouded in a full lion's skin, the head of the lion concealing his own. His head is down, he does not look up. Lucilla and Lucius enter after him and sit. Lucilla's face is drained, her eyes defeated. Lucius is wearing a miniature set of Lorica Segmentata, complete with ceremonial dagger.",
"EXT. ROMAN STREET - DAY A mangy dog is slowly crossing a dusty street on the outskirts of Rome. The street is deserted. It seems that almost everyone is at the Colosseum. The dog stops. Looks up. Then a sound is heard. The steady cadence of horses' hooves. The Felix Regiment rounds a corner. Maximus leads the cavalry. He wears Lorica Segmentata. His corps of archers and soldiers follow. They troop down the dusty street. Maximus and the cavalry canter past the mystified dog. The Felix Regiment moves through the streets. The few pedestrians quickly disappear into shops and around corners. The roar of the Colosseum can be heard far in the distance. Arrows slice into isolated Praetorian sentries. The Felix Regiment continues its stealth invasion. Finally, Maximus reins his horse and his troops stop. The mounted City Guard are waiting. Without a word, the City Guard joins Maximus and the two combined forces continue their inexorable march to the Colosseum.",
"EXT. COLOSSEUM - DAY Commodus, still swathed in the lion skin, his head down, slowly walks out on the platform that now extends from the Imperial Box. The crowd grows hushed. Commodus reaches the end of the platform and waits for a moment. Then he dramatically flings off the lion skin. The crowd gasps. He is almost naked, his entire chiseled body is painted in gold. His eyes are lost in an eerie reverie as he looks around at his people. He finally speaks : COMMODUS -LRB- serene. -RRB- Rome. This is the day that was foretold. This is the day when your father takes away all fear. -LRB- he holds up his hands. -RRB- With these hands I shall destroy your enemies so that you may sleep always and forever in peace. From this day forth let it be known that I, Lucius Aelius Aurelius Commodus, have surmounted mortality. That I, Lucius Aelius Aurelius Commodus, assume my destined place. at the side of the Gods. The crowd is stunned. A few scattered laughs. Lucilla stares at him, disbelieving. COMMODUS And as a righteous God, I shall ever protect you. I shall cradle the world on my benevolent hands and clasp it to my heart. So I have spoken! And let the heavens tremble at my might!",
"EXT. ROMAN STREETS - DAY Maximus continues to lead the combined Felix Regiment and City Guard cavalry through the streets. The roaring is closer now. They are nearing the Colosseum, they can just glimpse the edge of the top tier over some building.",
"EXT. COLOSSEUM - DAY Commodus continues : COMMODUS This day I reclaim Rome for her people. I shall give you the rebirth of your Empire! Reborn and cleansed of her enemies! He raises his arms. At his cue the Praetorian archers raise their bows, ready, aiming at the victims. COMMODUS I will make a new Rome! Founded as it was at the beginning! Archers - GIVE US BLOOD! The Praetorians suddenly point their bows higher and fire - They shoot the cloud - the bladder EXPLODES and thick blood rains down on the victims - the blood splashes over them, coating them.",
"EXT. OUTSIDE COLOSSEUM - DAY The roar from the Colosseum is now deafening as Maximus and the City Guard round the final corner - the Colosseum is before them - the massive Praetorian Guard force is caught of guard - with crisp military efficiency the Felix Regiment and the City Guard quickly canter into place, an unbroken line of seasoned warriors facing the Praetorians. The huge mob outside the Colosseum is confused, intrigued, watching the face - off. The mounted archers of the Felix Regiment have drawn their bows. Maximus looks down from his horse at a Praetorian Officer. MAXIMUS Throw down your weapons or we will kill you. A beat. The Praetorian Officer glances at the formidable force against him. He drops his sword. His men follow suit. MAXIMUS -LRB- he turns to his men. -RRB- FELIX REGIMENT! DO HONOR TO YOUR ANCESTORS! I SALUTE YOU! He spurs his horse and the Felix Regiment roars, springing into action - they gallop through the crowd and to the Colosseum - meanwhile the City Guard disarm and guard the Praetorian -",
"EXT. COLOSSEUM - DAY Commodus continues : COMMODUS As it was at the beginning so is it now. The great She - Wolf of Rome will again suckle us, again ravage our enemies - AND BRING US A WORLD REBORN! At his cue, two elevator platforms rumble into view, rising from the bowels of the Colosseum to the arena sand. On each platform is a cage full of ferocious wolves, they snap and growl, straining to be released. COMMODUS So it was for Romulus and Remus, sons of Mars, so shall it be for us! The great She - Wolf will - Suddenly - the huge wooden doors of the arena burst open and Maximus leads the Felix Regiment cavalry thundering into the arena. The crowd is stunned - Commodus is stunned - Lucilla bolts up - Commodus immediately spins to Lucilla, his eyes burning - His Praetorian are momentarily confused - At Gallus' command the Felix Regiment archers let fly - multiple arrows and bolts cut through most of the Praetorians - some confusing skirmishes as the remaining Praetorians fire back - Maximus leaps from his horse and begins cutting the prisoners free - Meanwhile, Commodus strides back down the platform toward Lucilla in the Imperial Box, murder in his eyes - She suddenly hugs Lucius quickly and kisses him - LUCILLA Remember your mother. She pulls the ceremonial dagger from his little uniform and pushes him to his attendant - his attendant pulls him away as - Lucilla spins to Commodus - he grabs her into an embrace - he turns the knife on her - thrusting deeply as he kisses her - A long kiss as he holds her tightly to him. Then he gently sits her down on her throne. Her eyes wide, dying. One of Commodus' Body Guards grabs him : CENTURION BODY GUARD Caesar - we must go -! Commodus' six Centurion Body Guards begin hustling him out of the Imperial Box - COMMODUS GET THE BOY! He grabs Lucius from his attendant and drags him off - They try to escape out the back of the Imperial Box - but Felix Regiment troops are blocking their way - racing up toward them - CENTURION BODY GUARD THIS WAY, CAESAR! Below, through the confusion, Maximus sees Commodus escaping with Lucius down through a side tunnel. Maximus cuts Juba and Proximo free. Juba immediately snatches up a sword. Maximus quickly offers a sword to Proximo. MAXIMUS Captain? Proximo takes the sword. MAXIMUS -LRB- re : Commodus and the others. -RRB- Where are they going?! PROXIMO This way! They race across the arena and into a tunnel.",
"INT. COLOSSEUM - BOWELS - DAY Proximo leads them through a series of catacombs - damp tunnels shoot off in every direction - everywhere around them the heavy machinery of the games rise like mammoth creatures to the arena above - a baroque network of ropes and pulleys and counterweights and elevator platforms and air shafts and blood sewers - And they suddenly run directly into Commodus, dragging Lucius, and his six Centurions coming the other direction. The final battle begins with no preamble - Maximus launches himself forward - instantly separating Commodus and Lucius - he slams at Commodus with his sword - Commodus slams back - Proximo and Juba race into the six Centurions - a wild free - for - all as they prove their worth as warriors - Juba fights with his usual elegant precision - Proximo fights as a man reborn, alive again - Proximo takes cagey advantage of his knowledge of this subterranean world - spinning around machinery and leaping over blood sewers and swinging heavy counterweights - Maximus and Commodus hack at each other with all the fiery passion in them - Commodus is a perfect match for Maximus and equally ruthless - their swords thrust and parry and slice at amazing speed - one false move, one mistake, means death - Meanwhile, the battle is turning into a victory for Juba and Proximo - they are defeating the Centurions - Commodus sees this - and sees Lucius crying in a corner - He screams to one of his remaining Centurions : COMMODUS KILL THE BOY! Maximus whirls to Lucius - Commodus attacks - slashing Maximus' shoulders - Maximus sees Proximo racing to try and save Lucius as he spins back to battle Commodus - A Centurion raises his sword to kill Lucius - Juba kills his final opponent, turns - Proximo just manages to push Lucius out of the way - the Centurion's sword slices into him - Juba flings his sword across the room - the final Centurion falls - Maximus sees Proximo collapse to a wall - dying - Proximo locks eyes with Maximus as he slides down the wall. The old pirate shrugs. And is dead. Juba races to Lucius and holds the boy, turning his face away from the slaughter - Maximus, his furious passion redoubled at Proximo's death, attacks Commodus with every ounce of strength in him - Commodus' eyes begin to flash with something we have never seen before, fear. Maximus strikes mercilessly - forcing Commodus steadily back until they are fighting atop one of the elevator platforms to the arena above. MAXIMUS For my wife! Maximus strike hard - Commodus barely blocks the blow - MAXIMUS For my son! He strikes harder - Commodus is losing - MAXIMUS For my father! He strikes with everything he's got - slashing Commodus - Commodus sails back - his sword falling - Maximus stands over him. Glaring. Commodus is panting, defeated, glaring up at him. A beat. MAXIMUS We who are about to die salute you. Maximus raises his sword high - Commodus raises an arm - Maximus SMASHES the sword down - and Commodus is dead. A moment as Maximus stands over Commodus. Then he looks at the series of counterweight ropes around the elevator platform. He slices through one of the ropes and the platform begins to rise.",
"EXT. COLOSSEUM - ARENA - DAY A trap door springs open and the elevator platform rises to the sand of the arena. Maximus stands above the dead Emperor. The crowd stares in amazement - and then begins to cheer in joy at the return of their hero. A chant begins. `` Maximus the Merciful. Maximus the Merciful. Maximus the Merciful.'' which then grows to a refrain of `` Caesar. Caesar. Caesar.'' Maximus ignores them, his eyes drawn to one sight : Lucilla. He goes to the steps of the platform leading to the Imperial Box. He slowly climbs the steps. In the Imperial Box, Senator Gracchus is standing. So too Juba and others. Lucius is kneeling by his mother, holding her hand, his head down. Lucilla is dead. Lucius mourns with quiet dignity. Maximus looks at Lucilla and kneels. He takes her other hand. A long moment. He looks at Lucius. Then he slowly bends forward and kisses Lucilla deeply, the ritual farewell. He stands. Senator Gracchus steps to him : GRACCHUS General, the purple is yours if you so desire. The Senate will support you. Maximus looks at him. And then at the people. The chant of `` Caesar. Caesar. Caesar.'' is like a powerful beating heart. Maximus moves to the edge of the Imperial Box to address the people. The crowd grows silent. Maximus looks around at the blood of the arena. MAXIMUS Rome. you are better than this. Look inside yourselves. I challenge you to find your true voice. Help the Senate speak for you. Make them your champion. And dare to think what could be. A beat. MAXIMUS I give you back the dream. With that he slowly turns and walks down the steps to the arena sand. The crowd is absolutely silent. He goes to Titus : MAXIMUS When everything has calmed down, lead an orderly withdrawal. Take them home. Titus salutes. Maximus return the salute and then leaps onto his horse. As he canters toward the exit he turns for one final look at Lucilla. He sees that Lucius is now at the foot of the stairs, on the arena sand, gazing at him. Maximus stops his horse. He canters back to Lucius. The boy looks up at him. A moment between them. Lucius thrusts up his hand. Maximus grabs his hand and swings him onto the horse behind him. A look to Juba. Juba bows his head with respect. Farewell. Maximus spins the horse around and begins cantering out of the Colosseum. Juba disappears into the crowd. Maximus and Lucius canter across the arena and through the huge doors.",
"EXT. COLOSSEUM - DAY From high above we see Maximus and Lucius riding out of the Colosseum and disappearing into the streets of Rome.",
"EXT. VINEYARD - DAWN Maximus stands with Lucius at his old vineyard. It is still scorched and dead, weeds overgrowing the vineyards, the house ruined. Maximus puts a hand on the boy's shoulder, this boy so like his own son. MAXIMUS It does n't look it now. but soon we'll have it growing again. Next year there will be vines, and then there will be grapes. It will be alive. We leave them, dreaming of the future. FADE OUT. THE END"
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] | In AD 180, Hispano-Roman General Maximus Decimus Meridius intends to return to his home after he leads the Roman army to victory against the Germanic tribes near Vindobona on the Limes Germanicus. Emperor Marcus Aurelius tells Maximus that his own son, Commodus, is unfit to rule, and that he wishes Maximus to succeed him, as regent, to help save Rome (Italy) from corruption. Commodus, upon hearing this, murders his father. Commodus announces that he is the new emperor and asks Maximus for his loyalty, but the general refuses. Maximus is arrested by the Praetorian Guard and is told that he and his family will die. He kills his captors, although not without injury, and rides for his home near Trujillo, where he finds his home destroyed and his family murdered. Maximus buries his wife and son, then collapses from his injuries. He is found by slavers who take him to the city of Zucchabar in the Roman province of Mauretania Caesariensis, where he is sold to a gladiator trainer named Proximo. Although reluctant at first, Maximus fights in local tournaments and befriends two other gladiators: Juba, a Numidian; and Hagen, a German. His military skills help him win matches and gain recognition from other gladiators and the crowd. Proximo reveals that he was once a gladiator who was freed by Marcus Aurelius, and advises Maximus that he must "win the crowd" to win his freedom. Proximo takes his gladiators to fight in Rome's Colosseum, because Commodus has organized 150 days of games. Disguised by a masked helmet, Maximus debuts in gladiatorial combat in the Colosseum as a Carthaginian in a re-enactment of the Battle of Zama. Unexpectedly, Maximus leads his side to victory, and Commodus enters the Colosseum to offer his congratulations. He orders the disguised Maximus, as leader of the gladiators, to show himself and give his name; Maximus reveals himself and declares vengeance. Commodus is compelled by the crowd to let the gladiators live, and his guards are held back from striking them down. Maximus's next fight is against a legendary undefeated gladiator named Tigris of Gaul. Commodus has arranged for several tigers to be set upon Maximus during the duel; Maximus, however, prevails. Commodus orders Maximus to kill Tigris, but Maximus spares his opponent's life; he is called "Maximus the Merciful" by the crowd. Angered at this outcome, Commodus taunts Maximus about his family's deaths, but Maximus turns and walks away, another defiant act that makes him more famous than the Emperor. Maximus discovers from Cicero, his ex-orderly, that his former legions remain loyal. Lucilla, Commodus's sister; Gracchus, an influential senator; and Maximus meet secretly. Maximus will escape Rome, join his soldiers, topple Commodus by force, and hand power back to the Roman Senate. Commodus learns of the plot when Lucilla's son, Lucius, innocently hints at the conspiracy. Commodus threatens Lucilla and Lucius, and has the Praetorian Guard arrest Gracchus and attack the gladiators' barracks. Proximo and his men, including Hagen, sacrifice themselves to enable Maximus to escape. Maximus is captured at the rendezvous with Cicero, where Cicero is killed. In an effort to win back the people's approval, Commodus challenges Maximus to a duel in the Colosseum. He stabs Maximus before the match to gain an advantage. Despite his injuries, Maximus disarms Commodus, whom the Praetorian Guard refuse to aid. Commodus then produces a hidden knife, which Maximus drives into Commodus's throat, killing him. Maximus succumbs to his wounds. Before he dies, he asks for political reforms, for his gladiator allies to be freed, and for Senator Gracchus to be reinstated. Maximus's friends and allies honor him as "a soldier of Rome", at Lucilla's behest, and carry his body out of the arena, leaving the dead Commodus behind. Juba visits the Colosseum at night and buries the figurines of Maximus's wife and son at the spot where he died. Juba promises to see Maximus again, "but not yet". | Gladiator_(2000_film) |
[
"INT. HIGH SCHOOL GYMNASIUM - NIGHT The following is shot DOCUMENTARY - STYLE. A GIRLS VOLLEYBALL GAME has just ended. It was a big game. Some kind of championship. ONE TEAM is CELEBRATING - jumping up and down, squealing and hugging each other. We are focused on the bench of the TEAM TRAT LOST. They're very sad - several are crying. One girl, in particular, -LRB- AMY -RRB- is really sobbing. She's sweat - stained, tired and just blubbering. Stuff's coming out of her eyes, her nose, her mouth and the camera is seeing it all. The COACH, a fortyish man looks at all the weeping girls - Amy in particular. COACH You quit! You gave up! He KICKS a CHAIR. Now Amy is really a mess. She's crying, coughing, shaking. COACH -LRB- CONT'D. -RRB- -LRB- right in Amy's face. -RRB- You quit! The Coach storms off. COACH -LRB- CONT'D. -RRB- Qutters! Quitters! Amy is wailing and choking on her own tears. This IMAGE FREEZES. TERRY -LRB- V.O. -RRB- And that would be it. I do n't think you need any narration at all. Just end it right there. REVEAL",
"INT. OFFICE - DAY BEGIN CREDITS We're in New York City. We're in the conference room of a modestly successful cable TV station called `` Real TV.'' The people are young, energetic, clever. It's crowded, noisy - the furniture is beaten up, bulletin boards cover the walls, with large index cards all over them. This room is not for show - work gets done here. SEVEN OR EIGHT PEOPLE are present. One of them is CYNTHIA REED. She's the boss. TERRY -LRB- to Cynthia. -RRB- What do you think? CYNTHIA It's horrible, it's depressing, I love it. What else? ALICE I want to re - pitch that pregnancy idea. Find six women early in their pregnancies and follow them all right through to the births. KEITH -LRB- negative. -RRB- Yeah, when all that stuff comes out. Mixed reactions, mostly negative. CYNTHIA I have an idea. IMMEDIATE ATTENTION CYNTHIA -LRB- CONT'D. -RRB- This is something I've been thinking about for a long time. We're `` Real TV'' right? I mean that's the name of the station. AGREEMENT CYNTHIA -LRB- CONT'D. -RRB- So let's go real. We find someone. Just a regular person, someone. And we put their life on television - live. all day long. Silence. No movement at all. CYNTHIA -LRB- CONT'D. -RRB- Calm down. KEITH What do you mean, like PBS did in the seventies? What was that family? GREG The Louds. KEITH Yeah. CYNTHIA No. We go way beyond that. We do n't film it and edit it and put it on later. We go on the air live every morning and the show goes off each night, when our subject goes to bed. In between, we're on live all day, every day - the same person, - for. -LRB- shrugs. -RRB- let's say a month. No one is wild for this. Some hate it - some are unconvinced. FELICIA That's not a show that's a surveillance camera. GREG You ca n't do that. CYNTHIA The hell we ca n't. Look, the beauty of being a cable channel is we can take chances. I've thought about this and I'm telling you, I think this can make a noise. A loud one. There are twelve thousand channels. You've got to do something that says `` Look at me!'' Hell, people look at fish tanks all day. This is people! -LRB- more firmly. -RRB- Someone's real life - an TV, all day long - live. And, you know what? I'm doing it. Pause. The others know the argument is over. GREG In that case, we love it. END CREDITS",
"EXT. POOL HALL - DAY A BUS passes. On the bus is an ad. It says, `` Would you like to star in your own TV show? Call Real TV -LRB- and a phone number -RRB- Coming -LRB- and a date -RRB-.''",
"INT. POOL HALL - NIGHT - PARAMUS NEW JERSEY This is a nice upscale pool hall. A party is in progress in a special private area - a room upstairs let's say - a loft. Thirty or forty PEOPLE in their twenties and thirties are informally celebrating the engagement of two of their friends. It's NOISY, it's fun, it's informal. It's not a high - end group. By that we mean, not, for the most part young lawyers or stockbrokers. They're mostly blue - collar. Community college graduates. WE OPEN ON ED PEKURNY. He's an attractive man, about thirty. There's still something a little juvenile about him - not stupid, just boyish. SOMEONE is VIDEOTAPING HIM for one of those congratulation montage things that are done at parties these days. Ed is good at this. He's not professional but he's a loosey - goosey guy who's kind of good on camera. ED I want to congratulate Kevin and Tracy on their engagement. I knew you guys were meant for each other from the moment Tracy told us she was pregnant. TRACY You asshole! Everyone else is cracking up. ED -LRB- innocently. -RRB- What? What did I say? TRACY My mother's going to see this!",
"INT. PARTY - LATER Other people are being `` interviewed'' on tape. Ed is SHOOTING POOL with his buddy, JOHN. John's had a couple of drinks. He's a little melancholy. He is looking across the room, thoughtfully. ED What? JOHN Look at this - people are getting married, they're getting married. ED You said that. JOHN We're falling behind. Ed waves dismissively. JOHN -LRB- CONT'D. -RRB- You know who we are? ED Tell me. JOHN We're the guys who clean up after the parade. ED I'm gon na stick this right in your eye. JOHN I was at this comedy club last week and this comedian says `` If you're over thirty and your job requires you to wear a name tag, you screwed up your life.'' And I'm laughing and then I realize I wear a nametag. ED So do I. So what? I'm doing all right. JOHN Your brother's here. ANGLE ON THE DOOR Ed's brother RAY and Ray's girlfriend SHARI arrive at the party. Shari is pretty in an unglamorous kind of way. They both wave and then Shari goes off to talk to some of the LADIES and Ray joins Ed and John. RAY What's up? ED Where were you? RAY -LRB- reluctantly. -RRB- I was. having dinner with Shari and her parents. JOHN/ED -LRB- taunting. -RRB- Oooh! RAY I'm telling you, it's closing in on me. All of a sudden it's like a thing, it's a whole thing. ED What do you mean all of a sudden? You've been going with her six months. RAY I know. I mean I'm sitting there and her father's asking me about my `` career prospects'' and I'm playing `` Risk,'' with her kid brother, Leon and at dinner the dog's sniffing at my balls - at least I hope it was the dog.'Cause her mother disappeared for a while. They LAUGH.",
"INT. PARTY - LATER It's getting wild. Some of the girls are dancing raucously. ANGLE ON A TABLE -LRB- NOT A POOL TABLE, AN EATING - TABLE -RRB- Ed, Ray, John, Shari and maybe another WOMAN. Ray is holding a big tray of SHRIMP BALLS. During the conversation, Ray throws them in the air and catches them in his mouth like popcorn. Once, he even bounces one off the wall into his mouth. ED You know, those are for everybody. Ray waves dismissively, then gets an idea. RAY Oh! -LRB- to Shari. -RRB- Show them that thing you can do. -LRB- to the others. -RRB- This is great. I just found out she can do this, her brother told me. -LRB- to Shari. -RRB- Come on. SHARI -LRB- thinks it's stupid. -RRB- I do n't - RAY Come on. She hesitates, but she really does n't mind. Slightly, amused she takes her FIST and fits it completely INTO her MOUTH. ED Whoa! Oh! Ray is cracking up. RAY Is that unbelievable? She removes her hand. SHARI And that concludes today's show. -LRB- to Ray. -RRB- This is where you go around and collect the money. Ed LAUGHS. Ray gives her a KISS. Shari's roommate RITA sits down. RITA Hi. SHARI You guys know my roommate, Rita. They do, vaguely. ED What's going on over there? RITA Everybody's making audition tapes for that Real TV thing. JOHN Oh, that thing. Yeah. Did you hear about this? ED -LRB- not sure. -RRB- Yeah, what - they put some schmuck on TV all day long or something? RAY You know, that would be like a great thing. ED What? RAY That! Being that guy. Being the guy they watch. ED What are you drunk? RAY Yeah, but let's stay on one subject. Whoever that person is is going to be famous. They'll be able to get whatever they want. They'll. trust me, this is my business. ED What is?! RAY Show business. ED You're in show business? RAY Yeah. I service video equipment. ED That's like. those people stitching Nikes in Panama saying they're in the NBA. RAY -LRB- insulted. -RRB- I'm not stitching Nikes in Panama! Bedwetter! ED Thumbsucker! RAY I'm making a tape. ED We're excited.",
"INT. BAR - A FEW MINUTES LATER Ed and Shari, waiting for drink orders. ED So Ray met the family. SHARI Yeah. ED I hear the dog really liked him. SHARI Oh, the whole family loved him. Of course, they loved the last guy I went out with, and he strung me along for three years and dumped me. ED Really? You see, to me, you should n't have any trouble with men. There should be, like, a line behind you. She takes Ed's beer. SHARI You should n't drink. They LAUGH.",
"INT. TABLE - A LITTLE LATER Ed and Shari ARM - WRESTLING. After a struggle, Ed wins. Ed is impressed. ED Jesus! Shari wrings out her arm and picks up her beer. SHARI -LRB- continuing a previous conversation. -RRB- And, you know, every guy I ever broke up with, the minute it was over, I could tell you what went wrong, how it went wrong, why it had to go wrong. but when I'm in it. lost. I'm like a love coroner. Bring me the corpse, I'11 tell you what killed it. But how to prevent it? Lost. Ed LAUGHS. ED Ray's on. They walk over. ANGLE ON RAY RAY -LRB- to camera. -RRB- Hi. I'm Ray Pekurney. I'm from Paramus, New Jersey.",
"INT. CYNTHIA'S OFFICE - DAY She's watching Ray's tape. Ray thinks he's funnier and cuter than he is. RAY -LRB- ON TAPE. -RRB- All my friends tell me `` Ray, you've got too much personality for one guy.'' It's like at a party - I'm at the center of the attention. Everybody loves me. He gets hit in the face by a hors d'oeuvre. RAY -LRB- CONT'D. -RRB- Ha, ha, ha. I'll kick your ass. No really, let me show you my girlfriend. She's really cute. He reaches out and grabs Shari's wrist. Shari is struggling to stay out of frame. We just see her arm and Ray pulling on it. Ray lets go. RAY -LRB- CONT'D. -RRB- She's strong,'cause she's a Fedex girl. She lifts those packages. But she's not dikey at all, she's really pretty. CYNTHIA FAST - FORWARDS WE SEE the camera shooting an empty space. Then Ed's head appears sideways right in front of the CAMERA. ED Hello I'm Ed. He starts to sniff. ED -LRB- CONT'D. -RRB- What smells? He steps back from the camera and straightens his head as he SNIFFS. He's more relaxed than Ray. ED -LRB- CONT'D. -RRB- What is that smell? Oop, I think it's this idea. One person on TV all day long? -LRB- screams. -RRB- Are you nuts? WE HEAR LAUGHS The Real TV Staff are enjoying Ed's tape while they eat lunch out of styrofoam containers. ED -LRB- CONT'D. -RRB- Seriously, get your resumes in order. When my brother Ray - whose personality you were just dazzled by - told me he was going to try out for this - I said, `` why in the world would anyone want to be on TV all day long, no privacy, everybody knowing your business, exposing every single detail of your life I mean. why would anyone want to do that? But then I thought of a reason. -LRB- loudly. -RRB- Why the hell not? He KISSES the LENS, smudging it. Cynthia, watching, cracks up. The others seem to like him to.",
"INT. VIDEO STORE - DAY This is a video store in Paramus, New Jersey. It's busy. PEOPLE are in line to check out tapes. WE OPEN ON a WOMAN - a mother - who is rummaging through her purse for her Blockbuster card. She looks up and sees that her TWO CHILDREN have opened several boxes of candy from the candy display and are eating from the boxes. MOTHER Oh for - Put those - Oh God. She grabs the boxes from them. The boxes are ripped more than she thought and candy goes flying all over. She bends to pick it up. Ed appears. He works here. ED -LRB- to the Mom. -RRB- We'11 take care of it. Someone arrives with a broom. ED -LRB- CONT'D. -RRB- -LRB- to the broom guy. -RRB- Here. This time throw it out, do n't eat it. LOU, the Manager passes. ED Lou, can I talk to you a second? Lou seems like he'd prefer to avoid this. LOU Um, yeah, I was gon na. ED What's the deal? Did anybody make a decision - LOU Ed, look, uh. you're not getting the job. They're gon na transfer someone from another store to manage this store when I leave to manage the new store. I'm sorry. ED Oh, Christ. Did you go to bat for me? LOU I batted! ED You batted or you bunted? LOU Hey. I went as far as I felt comfortable. I mean, you know, let's face it - you come and go here as you please. You work when you feel like it - you know, Bruce Springsteen's birthday is not a legal holiday. ED Well, then I'm quitting. LOU Ed, come on. What's that gon na do? You're gon na bring Blockbuster to their knees. Let me recommend a movie to you. It's called `` Get your shit together before it's too late.'' ED -LRB- wise - ass. -RRB- Who's in it? CLERK Ed, telephone. Ed goes to the phone. ED -LRB- into the phone. -RRB- Yeah. Are you serious? Come on, no kidding, who is this? Holy shit!",
"INT. CONFERENCE ROOM - ANOTHER DAY Ed is being interviewed by the `` Real TV'' staff whom we met earlier. He's slightly less comfortable than on his tape, but he's good. ED I had one year of college. And then one year of junior college. CYNTHIA -LRB- O.C. -RRB- What did you study? ED Oh, see, studying would've been a huge help. Where were you, then? They LAUGH.",
"INT. CONFERENCE ROOM - LATER ED Well, there's Ray, my brother. He's. ambitious. Like a few years ago, he started this mobile dog - grooming business. But, like, out of his Camry. He had this bathtub in his trunk -. -LRB- Ed starts cracking up. -RRB- he's throwing the dogs in there, they're fighting and splashing, then he'd slam the trunk down, let'em run around inside screaming getting all wet. then he'd use the car exhaust to dry'em. -LRB- wiping his eyes. -RRB- Ah, Ray. he just ca n't get a break.",
"INT. CONFERENCE ROOM - LATER ED My sister - Marcia, I mean she ca n't get a break. About seven years ago she falls in love with this Vietnamese guy who wants to marry her so he can stay in the country. So they get married, they have a kid, he gets his citizenship, immediately divorces my sister and marries this Vietnamese woman who, he was probably already married to all along. She can pick'em. -LRB- pause. -RRB- She's got a nice little boy, though. My nephew, Andy.",
"INT. CONFERENCE ROOM - LATER ED My Mom's okay. Kinda. I knew a guy who hated his mother - Stuey Shwam. He hated his mother so much, he had his belly button removed.",
"INT. CONFERENCE ROOM - LATER ED No, I've never been married. The interviewer seems to be waiting for him to elaborate. He does n't. He shrugs - that's it.",
"INT. CONFERENCE ROOM - LATER ED Oh, my father - what an asshole. When I was twelve, my mother needed a hysterectomy - my father ran off with her nurse! And that's the last I heard of him.",
"INT. CONFERENCE ROOM - LATER ED Al, my stepfather he's opinionated. And you have to listen because he's like in a wheelchair.",
"INT. CONFERENCE ROOM - LATER ED I like my job - I mean I'm doing all right. I'm not sure how long I want to stay there, you know. I mean, I'm thirty - one. I'm not sure I want to be a video store clerk when I'm forty. Of course, I did n't expect to be doing it'til I was thirty - one, either. But. you know I'm. keeping my options open. Anything comes along, I'm ready to pounce. -LRB- growls like a cougar. -RRB-",
"INT. CONFERENCE ROOM - LATER ED A dream? Of course I have a dream I just do n't know what the hell it is. -LRB- shrugs and smiles. -RRB- Ed's image freezes, while he has a funny - cute expression on his face. PULL BACK TO REVEAL a TV in a conference room with Ed's frozen image on it. Cynthia is there with her bosses, the people who run the network that owns Real TV. The top man is MR. SCHARLACH. His deputies are MS. SEAVER and MR. McILVAINE. This is not the same place where we met Cynthia and her staff. This is richer, more corporate and formal. CYNTHIA He's who we want to go with. SCHARLACH -LRB- doubtfully. -RRB- This guy. CYNTHIA I polled my staff. The men say they'd hang around with him and the women say he's fuckable. And one of the men said he's fuckable. SCHARLACH I'm not sure about the entire concept. Cynthia is frustrated. CYNTHIA Look it's not like we're burning up the airwaves now. We're running neck - and - neck with The Gardening Channel. If people just tune in to this twice a day for five minutes, we're a hit. Plus we can sell advertising every second, running at the bottom of the screen. and the beauty is this guy does n't even have to be good. I mean if he's good, great. But if he winds up making an ass of himself, better. McILVAINE How is that better? CYNTHIA Come on. People can not turn away from an accident. You drive by, you say `` Ooh, I hope there's not a head lying in the road'' but you look! See, nobody in America wants to be nobody. This guy wants to be famous. So, basically, the deal is he agrees to drive down the highway a hundred miles an hour blindfolded and we get to see if his head winds up rolling down the highway. Fun for the whole family. So let's do it. She stops, waiting for approval.",
"INT. VIDEO STORE SCHARLACH -LRB- coldly. -RRB- Good luck. Ed's RE - STOCKING the SHELVES He gets goosed from behind RAY -LRB- O.C. -RRB- -LRB- very loud and happy. -RRB- Hey. ED -LRB- goosed. -RRB- Oh! Ed DROPS the BOXES. Ray is there with Shari. RAY I got your message. Way to go! ED Hi, Shari. -LRB- to Ray. -RRB- Let's go in the stockroom.",
"INT. STOCKROOM Ed and Ray enter. RAY So when do you start? ED I. I'm not gon na do it. RAY What? ED Look - there's a million ways to humiliate yourself - I got ta think of a new way? I mean, it's all day! Every minute. Id be like a monkey at the zoo. I just. RAY -LRB- disgusted. -RRB- Oh man! They could n't pick me! They had to pick you! He slaps a tape off a shelf. ED You would do this? You would actually - RAY In a second! In a hot second. Let me ask you something - ED Why do you do that? RAY What? ED Whenever you ask me something why do you always say `` Let me ask you something?'' Why do n't you just ask me? RAY -LRB- impatiently. -RRB- All right. Let me ask you something. are you happy like this? ED I'm doing all right. RAY Oh Yeah? What's your master plan here? Shari enters, curious about the yelling. She stands there quietly, unnoticed by the guys. RAY -LRB- CONT'D. -RRB- You're gon na be a video store clerk for the rest of your life? This is your big ambition, rearranging the `` Ernest'' movies? ED Screw off. RAY How many opportunities are you going to get in your life? ED I do n't know. RAY That's right. You do n't know. Doors do n't fly open for guys like us. ED Hey. You know - we're not the same. I got a good life, this job suits me. I come and go when I please - RAY Oh, do n't bullshit a bullshitter. If you're happy like this you're an idiot, and you're not an idiot. -LRB- sees Shari. -RRB- Hi. Ed turns and sees Shari. She's self - conscious. She feels like she's been caught eavesdropping. SHARI Oh. I - I heard Ray yelling.",
"didn't mean to - RAY -LRB- to Ed. -RRB- Give me a chance. I'm begging you. I need a break. Look, I'11 cover your ass. I'11 ride shotgun. Just bring those cameras over to me and I'11 make something happen for both of us. I swear. Come on, Eddie Pause. ED All right. RAY Yeah?! ED Yeah. Ray lifts Ed up. Ray kisses Ed. RAY -LRB- to Shari. -RRB- Is this guy a brother?!",
"INT. RESTAURANT - NIGHT Moderate - priced, restaurant. WE OPEN ON a CLOSE - UP of AL.. He's about seventy. REVEAL THE FAMILY AL What happens when you go to the bathroom? Do they go in with you? Ed, Ray, Al, JEANETTE and MARCIA. Al is in a WHEELCHAIR and has an oxygen mask connected to a tank. He periodically takes a hit of oxygen. He's a little short of breath, but loves to talk. Jeanette is Ed's mother - about sixty. Marcia is a little older than Ed. ED No. The bathroom is off limits - and when I go to sleep they go to other programming. Unless I get up. Then they go back on the air. Unless I get up to go to the bathroom, I guess, then - AL What if - you're vomiting? ED -LRB- amazed by the question. -RRB- What if I'm vomiting? AL Do they show it? ED I guess - I do n't - it's all in the contract. There's this million - page contract - RAY Look, can we all just sign the releases so we can get on with this? MARCIA -LRB- accusing, to Ed. -RRB- What happened? You described this `` crazy - kooky'' family who'd be a million laughs on TV? ED No! I barely even mentioned - it's just that, my friends, the people at work, whoever I'm regularly in contact with they want releases from. MARCIA -LRB- angrily. -RRB- They're gon na mock our foibles. ED Our what? MARCIA Our foibles, our foibles! RAY We do n't have foibles. MARCIA Everyone has foibles. Then the whole country sees them on TV and mocks them. Then we have. mocked foibles. JEANTTE Eddie, please do n't let them mock our foibles. ED -LRB- losing it. -RRB- Stop saying foibles! MARCIA Look, my life is not so great, that I want it shown on television. And neither is yours. RAY That's the point - this could change things. MARCIA How? RAY For instance. me and my friend Bucky are buying out my boss. His equipment, trucks, client list, the whole shmear. MARCIA -LRB- points to Ed. -RRB- What does that have to do with? RAY If they keep Ed on for one full month, he gets a balloon payment. Ed nods. Pause. RAY -LRB- CONT'D. -RRB- I borrow against that now, at the bank. Buy the business. And Ed becomes a silent partner. Now here's the beauty part. While we're on TV I plug the shit out of the business. Free advertising. AL How about sex? A STUNNED pause. They all look at Al.. ED I'11 have to pass, Al.. And it's not an age thing - AL No! Do they show you having sex? ED No. Kissing and hugging, okay, but if it's actual sex they have to cut away. AL At what point? ED At the point - I do n't - Look you'd be on TV maybe one or two times each. I'11 try to avoid I'11 go out of my way to avoid, getting together with you. Believe me. WE HEAR : A loud drilling sound.",
"INT. ED'S APARTMENT - DAY A WORKMAN is drilling a hole in the wall. Ed is there with a TV CREW. They're running cable and drilling holes and examining the apartment. Cynthia is going around supervising. Ray and Shari are there. Ray is fascinated. Ed is tense. Shari is observant. Ray separates from Ed and Shari and asks one of the Installers a technical question. SHARI AND ED Ed thinks. Ed joins Cynthia. SHARI Are you sure about this? ED Hey, believe me - 1 know I've got a great chance of making a fool of myself, here. SHARI Why do it? ED I saw this show once. It was about logging. I was home sick, there was nothing else on. Do you know how they break up really bad log jams? You know, when they're really tangled? SHARI Cream rinse? ED -LRB- laughs. -RRB- Dynamite. SHARI So? ED So maybe this is my dynamite. SHARI Dynamite is dangerous. CYNTHIA Ed, can I see you a second. ED -LRB- to Shari. -RRB- Excuse me. CYNTHIA Okay, so you understand? We're installing a permanent camera in your bedroom, one in the kitchen, one in the living room, plus, of course, there'll always be a couple of steady - cams following you. ED -LRB- overwhelmed. -RRB- Cool. CYNTHIA I want you to take this. She gives him a card. CYNTHIA -LRB- CONT'D. -RRB- That has my work number, my home number, my pager number. I sleep three hours a night. Call me whenever you want to talk. Off the air, on the air, whenever. Okay? ED -LRB- barely listening. -RRB- Um, yeah - thanks. Ed looks kind of overwhelmed. She does n't like this. CYNTHIA Now look. Do n't freeze up on me. I picked you because you had kind of a relaxed, go - with - the - flow quality. You're not going to lose that, are you? ED No, uh. CYNTHIA I bet my career on you. You'd better be good. ED -LRB- annoyed. -RRB- Do n't say that. That's like. telling a guy before you have sex you'd better be good. You do n't do that. CYNTHIA I do. Ed reacts. ED Oh.",
"INT. ED'S BEDROOM - NIGHT He's in bed, watching TV. The news is on. He glances up at one of the cameras. On the news, they go to a story about him. ENTERTAINMENT REPORTER Tomorrow morning, the cable channel known as Real TV, begins broadcasting one of the most heavily promoted concepts in the history of cable television. In an experiment that they say will last at least a month. They're going to follow - live - every waking minute of a thirty - one year old video store clerk from Paramus New Jersey. The Real TV press release on this promises that none of it will be scripted, none of it will be edited and in my opinion, none of it will be interesting. we're all just supposed to sit in front of our TV's and watch this guy. live. -LRB- rhymes with `` give''. -RRB- ANCHOR -LRB- to the Entertainment Reporter. -RRB- What would be the interest here? What would. get people to tune in? ENTERTAINMENT REPORTER Betas me. SIDEKICK I do n't know. I might check it out. ANCHOR Well, Len's here to check out sports. Len, would you watch this video clerk? LEN I'd sooner watch soccer. They all CRUCKLE.",
"INT. CYNTHIA'S APARTMENT - NIGHT She's watching the same show. She's edgy. She's CRACKING her KNUCKLES. TV SCREEN LEN Speaking of disasters, at the Meadowlands tonight. The set goes off. Ed, once again, stares up at the camera. FADE TO BLACK",
"INT. CONTROL TRUCK Written on the screen - `` Day one.'' A DIRECTOR and TECHNICAL CREW with all the modern equipment. ASSISTANT DIRECTOR Here we go. Ten - nine - eight - seven -",
"INT. REAL TV - OFFICES Cynthia and her staff are gathered to watch the show begin They're TENSE and EXCITED. A commercial is on.",
"INT. TRUCK",
"INT. OFFICE A.D. two. one. On the TV, the commercial ends and the Real TV logo appears. A CRAWL BEGINS It says `` The following is unedited, unscripted, and unrehearsed. It is the real life of one American citizen named Ed Pekurny.'' The logo fades away and we see Ed, in bed, sleeping. His ALARM RINGS and he wakes up. He's groggy from sleep. Instinctively, he begins SCRATCHING his balls. As he does, it hits him that this is not a normal morning. He looks up and sees two steady - cam guys at the foot of his bed, aiming their cameras at him. Ed, then, looks at his hand on his balls. Gently, he moves his hand away.",
"INT. OFFICE KEITH -LRB- mock cheerful. -RRB- Well, we're off to a great start. NOTE : The camera operators will change in shifts. We'11 see about four regulars over the course of the film. The one we will see most often is shooting Ed right now. His name is CARLOS.",
"INT. BEDROOM Ed, wearing shorts and a T - shirt, gets out of bed. His hair is sticking up. He passes a mirror and notices his hair. ED Oh, great. He turns to the camera and seems about to offer an excuse for his appearance, but, then, just moves on. ED -LRB- CONT'D. -RRB- Excuse me. He grabs some clothes and enters the bathroom.",
"INT. OFFICE They're not enjoying this. Everyone's staring at Cynthia. She does n't flinch. NOTE : Silent advertising runs along the bottom of the screen.",
"INT. KITCHEN - A FEW MINUTES LATER Ed enters, dressed and showered. The Steady - cam is in his face. Ed is tight. He's much less comfortable than he expected to be. He smiles stiffly at the camera. He's misplaced his natural charm. He gets a box of Pop - tarts out of the freezer. As he does, other stuff falls out of the freezer on to the floor. He's embarrassed. He bends down to pick things up, showing his ass to the camera.",
"INT. OFFICE GREG -LRB- to Cynthia. -RRB- Start clearing a place for your Emmy.",
"INT. KITCHEN - A LITTLE LATER Ed is sitting up on the kitchen counter eating his Pop - tarts and a bowl of cereal. ED -LRB- nervously. -RRB- Same people like to put the milk in first and then the cereal. I like to put in the milk first - I mean the cereal first and then the milk. Yeah, that's it. Now, watch this. He takes a KNIFE and a BANANA. He peels the banana. He holds the knife, blade up, over the cereal and chops down on it with the banana, several times, rapidly, slicing it into the cereal. He's proud of this.",
"INT. RAY'S APARTMENT Ray is watching the show. His head is in his hands. He's horrified by how bad Ed is.",
"INT. PARENTS' HOUSE Jeanette and Al watching Ed. JEANETTE -LRB- being positive. -RRB- So far.",
"INT. OFFICE KEITH Somebody shoot me.",
"INT. NETWORK OFFICE Scharlach, Seaver and McIlvaine watching, grim - faced.",
"INT. OFFICE Cynthia is ON the PHONE. CYNTHIA Get him out of the house! I want him moving!",
"INT. CONTROL TRUCK DIRECTOR -LRB- on the phone. -RRB- Hey, I want him dead, but what can I do.",
"INT. KITCHEN Ed is EATING. He peers confused at the camera. ANGLE ON CAMERA OPERATORS. They're signaling Ed to get out. ANGLE ON ED Bewildered, imitating their gestures. ED What. You want me to swim?",
"INT. CONTROL TRUCK The Director is still on the phone. She's watching Ed on a monitor. DIRECTOR Oh God. Ed gets it. ED Oh, out? You want me to go out.",
"EXT. BUILDING Ed exits the building with the Operators walking backwards in front of him, bumping into PEOPLE - People watch, curiously. Ed reaches his car. He takes out his keys and drops them in a muddy puddle. Disgusted, he fishes them out.",
"INT. NETWORK BUILDING Scharlach, watching impassively.",
"INT. ED'S CAR Ed, in the car. He can barely fit the key into the ignition. Carlos, in the passenger seat taps him on the arm. Ed looks up. Carlos holds up a hastily - made sign. `` It's okay. Relax, man.'' Carlos WINKS. This does help Ed. He appreciates it. He drives. WE SEE the control truck in motion. We also see another car with another Steady - cam OPERATOR, shooting Ed's car as they travel.",
"EXT. STREET - MONTAGE Ed is doing his morning errands. A little shopping - a little banking - always ON CAMERA. At one point, he WALKS INTO a GLASS DOOR with the word `` Pull'' on it. He pushed, banging his forehead. A CHILD points to the word `` Pull.'' Ed turns to the camera, embarrassed. Later he buys a slice of pizza at a little place that's doing no business. ED -LRB- to the camera. -RRB- Best pizza in New Jersey. As he walks down the street, PEOPLE call out `` Hey Ed!'' People in windows show him that they're watching him at that exact moment. The camera shoots some of the people in the windows. They see themselves on TV and they go wild. Ed also is confronted by GUYS grabbing their crotches mockingly, calling out things like `` Hey, Ed, holding your own?'' or `` Hey, Ed, howls the grand ballroom.'' Ed is slightly chagrined by all this, but handles it with good grace. He seems to be loosening up.",
"INT. VIDEO STORE - DAY Ed arrives at work. The store is already open. -LRB- Ed usually gets there in the afternoon and stays until closing. -RRB- CUSTOMERS are a little stunned by the arrival of a camera. Some know what it's about some do n't. The CLERKS are aware of what's going on. They all signed releases. Ed's BOSS greets him stiffly. Clearly he's trying to get face - time on camera. ED Hey, Lou. LOU -LRB- stiffly. -RRB- Welcome to work, Ed. He shakes Ed's hand and smiles at the camera. He WAVES a little. The BROOM GUY crosses, staring transfixed at the camera. He blocks Ed and Lou. He FREEZES, then panics. He tries to get out of the way and trips over his broom. He tumbles face - first into the camera lens, hurting himself. ANGLE ON ED, observing. ED -LRB- mutters. -RRB- Oh, Jesus, I'm dying.",
"INT. CONTROL TRUCK DIRECTOR Carlos, give him some air, give him some room. Use a longer lens. We'11 mostly go with the stationary cameras in here. Less intrusive. -LRB- to the crew in the truck, sarcastically. -RRB- Have any of you thought about your next career?",
"INT. A KITCHEN - SAME TIME A WOMAN is serving dinner. She's watching Ed on TV - really just glancing at it. Her HUSBAND is helping her bring the food to the table. HUSBAND Why are we watching this? WIFE -LRB- a little guilty. -RRB- No reason. just. I just want to see what happens. HUSBAND Nothing's gon na happen. He's just. working. WIFE Oh, come on, they would n't put it on if nothing was gon na happen. He changes the channel. She changes it back. He does n't get it at all. RAPID CUTS of VARIOUS PEOPLE around America, watching - A couple, a young guy, a woman alone - ending with a few college - age girls in what appears to be a dorm room. ONE GIRL is watching intently. Her roommates are mostly just hanging around not really watching. COLLEGE GIRL I think he's cute. one of her roommates glances over to see what she's so excited about.",
"EXT. STREET - NIGHT Ed is walking. He passes the little pizza place he touted earlier. There's a LINE out into the street. The STOREOWNER is working hard - deliriously happy. Ed passes, oblivious to what he's created.",
"INT. ED'S APARTMENT - NIGHT The Camera Operator is shooting Ed in the bathroom CLIPPING his TOENAILS ED Some guys work from the big toe down to the little toe. Not me. I save the big one for last. That's the one I really enjoy. It's thick, it's big, it's a challenge. Did you ever see old people's nails? -LRB- makes a disgusted noise. -RRB-",
"INT. RAY'S APARTMENT Ray and Shari watching Ed. Ray is BANGING HIS HEAD on the table. RAY This is not working. -LRB- to Ed on TV. -RRB- Come to me!",
"INT. CYNTHIA'S OFFICE - NIGHT It's late. She's alone. She's ON the PHONE. She's coming apart. CYNTHIA -LRB- into phone. -RRB- No, I have n't seen the spot ratings. -LRB- she winces. -RRB- As she talks, she tries to LIGHT a CIGARETTE. She's shaking too much to use her lighter. CYNTHIA -LRB- CONT'D. -RRB- -LRB- into phone. -RRB- I think that's a number from which we can hopefully, uh. build. ANGRY at her lighter, she throws it breaking a window. CYNTHIA -LRB- CONT'D. -RRB- I disagree. No, I am not ready to pull the plug. Yes, Mr. Scharlach, I know they shoot horses. -LRB- getting angry. -RRB- Look, it's been one day. Can I have a week with this and then have you fly up my nose?! -LRB- hangs up. -RRB- She immediately regrets her outburst.",
"INT. BAR - NIGHT Written on the screen - `` Day Two.'' OPEN ON TURTLES racing -LRB- as only turtles can -RRB- across the floor. The turtles have little plastic men, seated on their backs. The CROWD CHEERS and SCREAMS for their favorite turtles. Ed is being followed by the steady - cams but seems to be ignoring it. Ed is in a group which includes John, and Ray. The race ends John looks very uncomfortable. BARTENDER The winner. Dashing Danny. Ed wins. MONEY changes hands. ED Next round's on me. One of the cameras is very close to John. He's very SELFCONSCIOUS. He does n't look where he's walking. He trips. PEOPLE LAUGH. ED -LRB- off - hand joke. -RRB- Polish acrobat. RAY -LRB- loudly. -RRB- Hey. Check this out. -LRB- to the cameramen. -RRB- Look at this. Ray TAKES OUT a big stack of QUARTERS and sets them on the bar next to a SHOT GLASS",
"INT. CONTROL TRUCK DIRECTOR Go with the desperate brother.",
"INT. BAR The cameras go with Ray. Ray does a `` spit the quarters off the bar into the shot glass'' trick, while PEOPLE CHEER. Ed is standing next to Shari. They're OFF - CAMERA. ED Whoa, God bless Ray. First time I'm off - camera in two days. This is hard, you know? I'm, like, exhausted. ANGLE ON RAY He's BALANCING a BAR STOOL on his forehead. ANGLE ON ED AND SHARI SHARI -LRB- calmly. -RRB- He did that at my parents' house. ANGLE ON RAY As Ray drones on. RAY -LRB- selling hard to the camera. -RRB- Okay, I just wanted to get your attention. My name is Ray and my friend Bucky and I design video systems. You've got an office or a big home, we'11 come out there design you an entire system. ANGLE ON ED AND SHARI ED See, they should've picked him. Look how comfortable he is out there. ANGLE ON RAY SHARI He is so wound up. He bought all new clothes for this. He flips the BAR STOOL and catches it. He accepts the plaudits of the crowd. He returns to Ed and Shari. So do the cameras. Ray is fired - up. RAY Whew! 1 am kicking hairy ass! Ray is still full of energy. RAY -LRB- CONT'D. -RRB- Hey, Ed. Did you hear about Marcia? ED -LRB- worried. -RRB- No. What happened? RAY -LRB- to the camera. -RRB- That's our sister. -LRB- to Ed. -RRB- She's got a new boyfriend. AL AND JEANETTE Watching TV. JEANETTE Who? BACK TO BAR RAY He's living with her! ED -LRB- camera - conscious. -RRB- Ray, maybe this is n't. RAY No, this is great. -LRB- to the camera. -RRB- You'll love this. -LRB- to Ed. -RRB- He's a singer. ED Marcia's living with a singer? RAY Yeah. You know, piano bars. plays the piano and sings. That's how they met. SHARI He sang to her and they fell in love? RAY -LRB- enjoying this. -RRB- No! Some drunk hit him over the head with his snifter - you know, that thing they keep on the piano for tips - and Marcia yanked a big hunk of glass out of his head. -LRB- cracks up, pounds the table. -RRB-",
"INT. MARCIA'S APARTMENT Marcia is staring at the TV in UNHAPPY SHOCK. Next to her is a good - looking, but slightly sleazy - looking GUY with a bandage on his head.",
"INT. BAR RAY I mean my question is what was she doing in a bar in the first place? ED Ray - RAY She's an alcoholic, for Christ's sake. ED Oh, Jesus. Marcia, watching, HORRIFIED. BACK TO BAR RAY Remember the last guy she got involved with? What was his name? ED What's the dif - RAY Richie! -LRB- to Shari. -RRB- She spent six months dating a criminal ED -LRB- to Shari. -RRB- She did n't know he was a criminal. They had a relationship. They - RAY `` Quick pull off the highway'' is not a relationship. Oh man, I got ta pee. He KISSES Shari. She COVERS her FACE with her hand. RAY -LRB- CONT'D. -RRB- What are you, hiding from the Police? -LRB- pulls her hands down. -RRB- Show your face, you look great. -LRB- to Ed. -RRB- Does n't she look great. ED Great. RAY -LRB- to Ed. -RRB- While I'm gone, tell them about our cousin Lenny who's gay. We knew from when he was five. He minces off' effeminately, to the bathroom, LAUGHING. It's like a hurricane has just passed through. Everyone is sitting, STUNNED. ED You do though, you look great. SHARI Right. ED No, no, I - as soon as you came in tonight I said to John, `` Boy Shari looks beautiful.'' I said it on TV so you can ask anybody who saw it. She LAUGHS. They smile at each other. They make intermittent eye - contact a little self - consciously. Ed finally looks somewhere else and Shari, for just a moment, stares right at him. PULL BACK to TWO GUYS, watching this on TV in a bar - more of a neighborhood bar.",
"INT. BAR - NIGHT TAD Did you see that? BARRY What? TAD Her. That look. She likes the Ed guy better than she likes the brother. BARRY You're nuts. TAD Okay, I'm nuts. CUTS OF OTHER VIEWERS, WATCHING REAL TV A BEDROOM The COUPLE we met earlier are in bed, the wife is holding the remote. HUSBAND Give me the remote. WIFE Just a few more minutes. Read your book. A LIVING ROOM A GAY COUPLE FIRST GUY What do you like about it? I do n't understand. SECOND GUY I do n't know - it just it's I do n't know. Just let me watch.",
"INT. ED'S BEDROOM - MORNING `` DAY THREE'' The ALARM goes off. Ed starts to scratch his balls, but stops halfway down. He WINKS at the camera and starts his day.",
"EXT. EWS BUILDING Ed comes outside and he's accosted by a GROUP of angry Polish Americans, many of whom are carrying signs decrying Polish jokes and anti - Polish attitudes. They SCREAM ANGRILY when they see Ed. Ed is completely shocked. He runs back inside. He locks the door, leaving Carlos outside. The demonstrators attack Carlos.",
"INT. ED'S APARTMENT Ed is at his kitchen table with several burly DEMONSTRATORS arrayed behind him. Ed is NERVOUSLY, READING from a sheet of paper while Carlos shoots. ED my `` Polish acrobat'' remark was ill - considered. Although, I meant no harm, I should have recognized that such. -LRB- trouble with the next word. -RRB- stigmatizing remarks bring pain and anguish to. He's having trouble reading the next word. ED -LRB- CONT'D. -RRB- I ca n't read my own writing. It's like Chinese -. -LRB- quickly backtracking. -RRB- It's not like Chinese! Chinese is, I'm sure, a beautiful language and they write. beautifully. It's not Chinese. He wipes sweat away. ED -LRB- CONT'D. -RRB- Jesus, I'm sweating like a Mexican fruit - picker. -LRB- realizes. -RRB- Oh, Christ! QUICK CUTS of Ed, getting his laundry, doing some shopping, getting his oil changed, all being shot by a CAMERA PERSON.",
"INT. DENTAL OFFICE A YOUNG DENTAL HYGIENIST is cleaning Ed's teeth. The camera is practically right in his mouth. It's making the Hygienist NERVOUS. She's distracted. She hurts Ed. He SCREAMS. She SCREAMS. She drops her tools. HYGIENIST -LRB- near hysterics. -RRB- Can I have some room please?! ED -LRB- talking with the suction in his mouth. -RRB- Gi hu roo.",
"INT. TV STUDIO It's an educational - type panel discussion involving various eggheads and pundits. It's called `` Viewpoint.'' MODERATOR Let's change topics for a moment. Does anybody have a viewpoint on something going on now called `` Ed TV''. PANEL MEMBER #1 This, I believe, is a new low point in American culture. PANEL MEMBER #2 I agree. What it reveals is the absolute creative bankruptcy in the television business. What they're saying, basically, is `` We're giving up. We have no ideas.'' PANEL MEMBER #3 It's worse than that! They do n't select someone with any talent, or with something to say - they seem to celebrate the fact that this guy is a boob. It's a joyous celebration of boobery. PANEL MEMBER #4 I think we've already spent far too much time discussing this. They all agree.",
"INT. CHINESE RESTAURANT - NIGHT OPEN ON Ray with chopsticks up his nose, imitating a walrus. Also, he has lo mein noodles protruding from between his lips. Ed is forcing a smile. Ray is wearing a tee - shirt that says `` Ray and Bucky - Video Kings'' with a phone number.",
"INT. REAL TV OFFICE Cynthia is alone working late. She's drinking. She's watching Ray. She's not enjoying him. ED -LRB- V.O. -RRB- Ray, do n't throw the shrimp, you're gon na choke again. CYNTHIA Choke to death, you boring bastard.",
"INT. EWS BEDROOM - NIGHT Ed is sitting up in bed, wearing shorts and a tee - shirt, eating directly out of a cereal box. TERRY The audience likes you when you're moving. ALICE Yes. Try not to stay in one place too long. Get outside as much as you can. KEITH Also, we have some notions. Have you thought about becoming a Big Brother? GREG Or coaching a Little League team? FELICIA How about a date? ED Are you asking me? FELICIA No, I mean. KEITH It's just, the ratings are still soft. LONG PAUSE ED -LRB- nervously. -RRB- Are you going to cancel me? CYNTHIA Let's not worry about that vet. ALICE You're testing well. FELICIA There's another problem. GREG It's. Ray. ED What about Ray? GREG Well, the walrus impression - delightful as it was - is just not wowing the audience. This is some audience research. He hands Ed a PRINTOUT. Ed does n't know how to interpret the figures. ED What does this mean? FELICIA It means they hate his freaking guts. It means if he were on fire they would n't put him out. ED He's just. trying a little too hard - CYNTHIA Ed, the audience can smell the desperation coming through the screen. TERRY Could you. see him a little less often? ED How much less? FELICIA Never would be plenty. ED I ca n't do that to him. He's pushing a little too hard - but. I just ca n't do that to him. SILENCE ED -LRB- CONT'D. -RRB- He'11 be fine.",
"INT. CAR - DAY `` DAY FIVE'' Ed is driving slowly on a busy street. Suddenly an EIGHTEEN YEAR - OLD BOY lands heavily on Ed's windshield. Ed is badly startled. He ca n't see. He swerves and stops. The boy is not hurt. He's banging on the windshield, waving at the camera. Ed, furious, gets out.",
"EXT. STREET - CONTINUOUS ED What the -?! BOY I'm on TV! I'm on TV! Ed just stares in disbelief.",
"EXT. STREET - LATER Ed is walking. PEOPLE YELL at him. GUY Ed! Your show stinks! The Guy LAUGHS like he really got in a good one. Ed ignores him. TWO TEENAGERS run in, one has a camera and quickly snaps a picture of Ed and the other Guy. Merrily, they shake his hand and run off, whooping. There are PEOPLE who trail along. Many of them will show up again and again, throughout the movie, following Ed. Some of them will look mentally or emotionally impaired.",
"INT. VIDEO STORE - NIGHT QUICK SHOTS of Ed with CUSTOMERS - One or two show a bit of camera - consciousness. A little group has gathered to observe Ed's `` show''.",
"INT. APARTMENT BUILDING HALLWAY- NIGHT Ed rings the bell. ED -LRB- to the camera. -RRB- This is Ray's apartment. Ray's got a big - screen TV and the Knicks are playing in L.A. tonight, so sometimes I come over after I work late and we watch the game here. He makes funny comments. He's really a good guy. He just. RAY -LRB- O.C. -RRB- Who is it? ED It's me, Ed. The door opens a crack, revealing Ray in a bathrobe. Ray's look is unwelcoming. RAY Hi. ED You watching the ballgame? RAY Uh, no, uh I'm a little tired. I fell asleep. ED Oh. All right. I'11 watch at home, then. RAY Yeah. WOMAN -LRB- O.C. -RRB- Ray, where do you keep the glasses? ED Oh, is Shari here? Why did n't you just say so? Why are you giving me a song - and - dance about being tired? ED -LRB- CONT'D. -RRB- -LRB- calls out. -RRB- Hi, Shari. WOMAN -LRB- O.C. -RRB- Who's Shari? ED Who's - Ray looks pained. Ed realizes what's happening and freezes Ray's phone RINGS. RAY Oh shit. He turns to answer his phone, allowing the door to swing open a little. Ed can see into the kitchen. He sees a WOMAN, wearing just panties, facing away from him, searching for glasses. RAY -LRB- into phone. -RRB- Hello. Shari, hi. Oh no! Oh God! ED -LRB- to the camera. -RRB- We'd better go. RAPID CUTS of VIEWERS loving this, some screaming `` Do n't go! , do n't leave, stay'' etc.. BACK TO SCENE RAY -LRB- into phone. -RRB- No, honey, it's not what it looks like - She hangs up on him. He holds his head. RAY Oh God. Ed!",
"INT. HALLWAY Ed is TIP - TOEING away. He stops when Ray calls him. Ray ` runs out into the hallway after him. They speak with lowered voices. RAY That was Shari. She saw the whole thing on TV - ED What is this? What's going on, who is that? RAY -LRB- embarrassed. -RRB- It's the receptionist at one of the places I service video equipment - she's very pretty and, you know, she never even talks to me and then today I come in and she's all `` I saw you on TV the other night. You were so great.'' Next thing I know we're. ED Next thing you know! Why did n't you stop? RAY Stop? I'm a guy. I do n't stop. The woman's supposed to stop. We're the gas, they're the brakes. WOMAN -LRB- O.C. -RRB- -LRB- calls out. -RRB- Ray, I finished the Snapple. RAY Fine! WOMAN -LRB- O.C. -RRB- Is there more? RAY In the cabinet, but it's warm. There's ice in the tray. I. -LRB- to Ed. -RRB- Talk to her. ED I do n't even know her. All I know is she likes Snapple. RAY No, not her. Shari. Go over there and talk to her",
"INT. CYNTHIA'S BEDROOM CYNTHIA Yes! Go! She THROWS SOMETHING at the screen. She PICKS UP the PHONE.",
"INT. HALLWAY ED Why me? RAY You brought the cameras here! ED You brought the girl! RAY Please! ED If I go over to Shari, the camera's going there, too. The Camera Operators are vigorously nodding and mouthing `` Yes, Go.'' Ray is oblivious to this, but Ed picks it up. RAY That's good. She'11 - you know control herself. Look. If I go over there, she's just gon na slam the door on me. Just go over and beg her to talk to me, that's all. Please. You owe me for this! Ed accepts the irony of Ray's attitude without comment",
"INT. ANOTHER HALLWAY- NIGHT The door opens, revealing RITA, Shari's roommate. RITA -LRB- nervously. -RRB- Um. Shari knew you were coming over because she saw. ED Right, yeah - RITA -LRB- apologetic. -RRB- She really does n't want you and the camera in here right now. ED No, I understand. That's - where is she, is she all right? Rita is n't sure how much she should reveal. RITA I. gave her a drink. I thought it. but she's not much of a drinker, so it's made her a little. belligerent. Shari appears in the doorway over Rita's shoulder. she's holding a liquor bottle and she's a little drunk. SHARI What do you want?! ED -LRB- awkward. -RRB- Shari, I'm just really sorry. Look, I know this is. unbelievably awkward, but if I could come in for like a second and - you know - just say. two words, then. Shari indicates with her head, that Ed can come in. Ed and Carlos enter. Rita shuts the door. Shari crosses to a couch. Ed indicates for Carlos to give them some distance.",
"INT. CONTROL TRUCK DIRECTOR Do n't lose them, Carlos. This is gold. Stay out of their way, but get everything.",
"INT. SHARI'S APARTMENT Carlos settles across the room. He rests the camera down as if he's not even shooting, but he's still guiding it where he wants it throughout the scene. RITA I'm gon na go to bed. -LRB- to Shari. -RRB- You okay? Shari shrugs. RITA -LRB- CONT'D. -RRB- Good night. She gives the camera a quick glance. RITA -LRB- CONT'D. -RRB- -LRB- quickly, with a small wave. -RRB- Hi, Mom. -LRB- she exits. -RRB- ED Shari, Ray feels - SHARI -LRB- starting to cry. -RRB- Do n't defend that horse's ass to me. ED I'm not. I'm not. I'm just Look - you know, in a way, it's good. He got this out of his system now and he knows it's not worth it and, you know, someday if you guys got married or something - SHARI Ha! ED Okay. SHARI -LRB- poking Ed as she talks. -RRB- I've got news for you - I never intended to marry him. ED Oh. how come?",
"INT. RAY'S APARTMENT Ray, watching on TV.",
"INT. SHARI'S APARTMENT SHARI Well, for one thing, he's a bad lay.",
"INT. RAY'S APARTMENT His eyes bulge out and he begins to gasp. RAPID SHOTS of viewers reacting - `` Whoa!'' laughs, etc.. The college girls applauding. one of them SCREAMS `` Tell it!''",
"INT. SHARI'S APARTMENT Ed realizes that Ray's been called a `` bad lay'' on television. ED Oh my God. SHARI -LRB- directly into the camera. -RRB- I mean bad. ED Look, not having been there. I just think you're hurt and you're saying this to, you know, get back at him. She starts to cry. ED -LRB- CONT'D. -RRB- Look. whether you get back together or not, you're too terrific a person to. lower yourself like this.",
"INT. RAY'S APARTMENT Ray, still in shock.",
"INT. SHARI'S APARTMENT ED -LRB- CONT'D. -RRB- I mean, I told Ray - a couple of times - that I thought you were one of the best and. smartest and. most attractive women I've ever seen so. In comforting her, he's gotten his face very close to hers.",
"INT. DORMITORY Same dorm girls as before. DORM GIRL Kiss him! Kiss him! BACK TO SCENE SHARI Really? ED Yeah. She tilts her head forward a little, hesitates, then kisses him, at first warmly, then passionately.",
"INT. DORM ROOM The girls are going wild - SCREECHING.",
"INT. TAD'S HOUSE TAD I'm nuts, hah?! I knew it! I said! He dials the phone.",
"INT. JOHN'S HOUSE John is stunned. JOHN Oh, Jesus!",
"INT. RAY'S APARTMENT He stares, amazed. The WOMAN he was found with appears behind him. WOMAN I found the Snapple.",
"INT. CYNTHIA'S BEDROOM She sees the kiss. CYNTHIA Yes! Yes! I win! Scharlach, you schmuck! I am the golden goddess of television! She begins beating her chest, one fist at a time while she SCREAMS in triumph.",
"INT. SHARI'S APARTMENT Shari and Ed have stopped kissing. They both look stunned. Shari is suddenly sober. SHARI Oh my God. She looks at Carlos who has now moved closer to them SHARI -LRB- CONT'D. -RRB- Oh my God. ED It's. okay SHARI I kissed my boyfriend's brother on television! ED Well, when you put it that way. SHARI Leave. Go. ED Ca n't we just - SHARI Go! ED -LRB- exiting. -RRB- All right. Okay. I'11. see you. He and Carlos exit. Going through the door, he gives Carlos a little push then quickly steps back inside, slams the door and locks it.",
"INT. CONTROL TRUCK CARLOS -LRB- V.O. -RRB- I'm locked out. DIRECTOR Stay calm. Shoot the door. We're running sound. And we've got a camera in the street.",
"EXT. BUILDING A CAMERA is shooting at a second - story window. We SEE SILHOUETTES.",
"INT. SHARI'S APARTMENT Ed is at the door. Shari is across the room. They stare at each other silently. Then they run to each other. They kiss again.",
"EXT. BUILDING We can SEE them KISSING.",
"INT. APARTMENT Ed and Shari are all over each other. They're breathless. SHARI What are we doing? ED I've got to tell you something. I have had a big thing for you for months. INTERCUT WITH SHOTS OF VIEWERS They're seeing the door or the silhouette shot, but they're hearing every word. They're mesmerized. SHARI Really? ED Yeah. I mean for months I've been seeing you with Ray you being his girlfriend and I kept wishing you were my girlfriend. But, you know, what could I do? SHARI Me too. I mean I'm going out with Ray and I'm. thinking about you. ED Really? SHARI Oh God, this is so weird. ED Weird? If this happened last month it would've been weird. Now with. the TV and. now it's just too weird. They look at each other. They do n't know what to do. ED -LRB- CONT'D. -RRB- I'd better go. She nods. He walks to the door. ED -LRB- CONT'D. -RRB- Once more? She nods. They run back to each other and kiss.",
"EXT. BUILDING The silhouettes are kissing.",
"INT. RAY'S APARTMENT Ray staring at the TV.",
"EXT. PRIVATE HOME - LATER `` DAY SIX'' This is a fairly old, modest private home. Ed pulls up. He and Carlos get out of the car. Ed hurries up to the front door and enters.",
"INT. HOME - CONTINUOUS Ed enters. He's a little AGITATED ANGLE ON AL ED Hi, Al.. Al is in his wheelchair and taking periodic hits off an oxygen mask connected to a tank. Al's watching himself on TV. AL -LRB- excited. -RRB- Look. It's me. He WAVES. ED Yeah. I brought you some movies. AL Anything good? They LAUGH. ED No, I intentionally picked out a lot of crap'cause I do n't like you. ED -LRB- CONT'D. -RRB- Is Mom here? I got ta talk to her. AL She's in the kitchen. I'd yell for her, but I'd die. -LRB- sucks more oxygen. -RRB- You had a busy night last night. ED -LRB- calls. -RRB- Yeah. Ma. JEANETTE -LRB- O.C. -RRB- Eddie? ED Yeah? JEANETTE -LRB- O.C. -RRB- Are the TV people with you? ED Yeah. The camera guy is here. JEANETTE -LRB- O.C. -RRB- Send him away. ED Send him? Ma, I ca n't. it's - just come out here. Please, I - JEANETTE -LRB- O.C. -RRB- No. ED Do you want us to come in the kitchen? JEANETTE -LRB- O.C. -RRB- No. It's a mess. ED Look, Ma, come on out. Really. I need to talk to you. After a pause, Jeanette enters, very camera - conscious. ED -LRB- CONT'D. -RRB- -LRB- to the camera. -RRB- This is my mother. STIFFLY, he gives her a kiss. ED -LRB- CONT'D. -RRB- Ma, do you know where Ray is? I've been calling him and I'm getting his machine and - JEANETTE Eddie, how could you do it? Your brother's girlfriend. ED Hey, he cheated on her. JEANETTE He made a mistake. ED I do n't want to - do you know where he is? JEANETTE No. Maybe he's watching. -LRB- indicates the camera. -RRB- Tell him you're sorry. Tell him you'11 stay away from that girl. ED No! And that girl has a name. AL What do you love her or something? ED -LRB- embarrassed. -RRB- Come on. AL -LRB- teasing. -RRB- Look at your face. I had a car that color. VARIOUS REACTIONS OF VIEWERS really liking this. BACK TO SCENE JEANETTE I know you. This Shari is a passing fancy. ED No! I - All right, look, if you hear from Ray. tell him to call me, okay? He KISSES her again. ED -LRB- CONT'D. -RRB- How's Marcia? She all right? JEANETTE I do n't know. She's living with that `` entertainer''. ED -LRB- trying to make his mother feel better. -RRB- Well, who knows? Maybe she finally picked a winner this time. JEANETTE -LRB- unconvinced. -RRB- Mm. ED You and Al lived together a few months before you got married - after Dad left. JEANETTE -LRB- looks at the TV. -RRB- Oh my God! ED I mean, that worked out. JEANETTE Oh my God! She gets in the closet and closes the door.",
"INT. OFFICE ED -LRB- to the camera. -RRB- I think we're through here. The Real TV group is there. They're smiling. Cynthia is ON the PHONE CYNTHIA -LRB- into phone. -RRB- I will. I'11 tell them. -LRB- hangs up. -RRB- That was Scharlach. All of you, scrub your asses. He's coming over to kiss them. They all WHOOP and LAUGH.",
"INT. SHARI'S APARTMENT - DAY Shari and Rita are watching Ed leave his parents house on TV. Rita is very excited. Shari is ON the PHONE. SHARI -LRB- into phone. -RRB- Um, I'd like to get a new phone number, please. Because I'm getting calls from every nut case in America. Right, unlisted. Sure. -LRB- she holds. -RRB- RITA Are n't you excited? He said he loved you on television! SHARI He did n't say it. His stepfather said it. RITA -LRB- joking. -RRB- Well, the stepfather's cute. Seriously, how do you feel about Ed? Pause. SHARI I think he's great. He just makes me feel. oh, I'm really gon na get hurt, this time - Hello. CUTS OF VARIOUS VIEWERS WATCHING REAL TV End on TAD and BARRY in a health club. This is the refreshment area. They've played racquetball and they're sweaty. They're watching Real TV. TAD I'11 tell you something else. The old guy in the wheelchair? The stepfather? They're gon na have him die. BARRY What do you mean `` they're gon na have him die?'' TAD You know, for a tearjerker. The audience falls in love with this loveable old geezer in a wheelchair and then he dies, it's. They know what they're doing. BARRY This is real, Bananahead! TAD So? BARRY So if it's a show and they have a guy die that's writing, but if it's real and they have a guy die that's murder.",
"EXT. VIDEO STORE - DAY Ed arrives for work. People CALL OUT to him - PEDESTRIANS, PEOPLE FROM CARS, TRUCK DRIVERS. `` Hey Ed, my man.'' Ed waves. People shake his hand. A teenage boy looks into the camera, making a funny face. Someone else looks into the camera and says, `` Hi, Ma.'' Suddenly, Ray is there with a WOMAN. Ray is not happy. He's wearing DARK GLASSES and a HAT. RAY Hi. Ed stops. ED Ray? RAY Yeah. ED Oh, man, I've been trying to call you. RAY I know. ED Look, we got ta talk. RAY Save it. A GUY in a car appears and points at Ray. GUY Hey, you're that French guy on TV. RAY French guy? GUY Monsieur Bad - a - lay. The guy drives away. Ray is steaming. RAY Let me just do what I came here to do. Ed thinks he means to fight. Ed tries to calm him. ED What are we gon na fight? Ray, please, listen to me - RAY -LRB- beckoning. -RRB- Cassie. CASSIE, a woman about Ray's age, steps forward. She's slightly self - conscious. RAY -LRB- CONT'D. -RRB- Go ahead. Ray points Cassie to the camera. CASSIE This is really hard. RAY You promised me. CASSIE -LRB- to the camera. -RRB- I went out with Ray a few years ago for. a couple of months. And we. were intimate. And. he's really not as bad as that girl said he was. Ray nods. CASSIE -LRB- CONT'D. -RRB- I mean, I've definitely had worse. RAY That's enough. Ed is amazed that Ray would do this. RAY -LRB- CONT'D. -RRB- -LRB- to Ed. -RRB- Good - bye, brother! ED Ray, come an - Ray leaves, still angry. Cassie lingers. CASSIE -LRB- flirting slightly. -RRB- So you're Ed. Ray returns and yanks Cassie away with him. Ed still has n't recovered from the bizarreness he just witnessed. Two girls YELL in unison from across the street. GIRLS Ed. we love you!",
"INT. REAL TV OFFICE - NIGHT Cynthia and her staff, around a conference call box. CYNTHIA We're not going to be able to come over there for anymore midnight meetings. People are starting to watch your building. The interest level in you is soaring.",
"INT. ED'S BEDROOM. Ed's OFF - CAMERA ED Soaring is good, right? I mean, that means you're not gon na cancel me, right? KEITH -LRB- sotto. -RRB- Man, he wants that balloon payment. ED -LRB- V.O. -RRB- Huh? TERRY Ed, why did n't you go over to see Shari today? That's what all our viewers were hoping you'd do. ED Is n't she great? I mean, maybe just to me, but. I do n't know, she's just - TERRY -LRB- impatiently. -RRB- She's great, she's great. Why did n't you go see her? ED I wanted to! I was dying to! But. GREG Is it Ray? -LRB- pulls out research. -RRB- The audience hates Ray. Females,",
"to 35 - ED No, I do n't need to hear that. Cynthia? CYNTHIA Yes, Ed. ED Could we just talk alone for a second? I - CYNTHIA Good idea. -LRB- to her staff. -RRB- Could you all leave us alone for a few minutes? She PANTOMIMES for them to stay in the room, but be quiet. The staff scrape chair legs and feign movement and ad lib `` Bye Ed'', `` See you, buddy'' etc.. They all stay. CYNTHIA -LRB- CONT'D. -RRB- How you doing, Ed? ED I feel like when I was a kid and my mother sent me to school in orange corduroy pants. CYNTHIA -LRB- no clue. -RRB- Uh - huh? ED And all the kids stared calling me `` Pumpkin Ass.'' `` Hey Pumpkin Ass,'' - for like a year. So, now, I feel like everyone's watching me and, you know, I'm `` Pumpkin Ass'' again. The staff are stifling giggles. CYNTHIA Can I tell you something? I think you are fantastic. I think you have taken an idea and turned it into something explosive. The staff stifle laughter. One of the guys is doing a jerk - off gesture. Cynthia gives them the finger. ED Yeah? CYNTHIA Can I give you one bit of advice? About Shari? ED Sure. CYNTHIA A woman wants to be pursued.",
"EXT. SUBURBAN HOME - DAY Shari, in her Fed - ex uniform is making a delivery. A WOMAN's signing for it. WOMAN This is so exciting! A real celebrity delivering my figs. SHARI -LRB- uncomfortable. -RRB- Sign here, please. WOMAN That Ray was a pig. Ed is doll. You latch on to him honey. SHARI By the X. WOMAN Some more make - up would n't do you any harm. On TV you look a little washed out. SHARI What would I actually have to do to get you to sign this? WOMAN -LRB- insulted. -RRB- Oh, an TV a minute and already an attitude. SHARI -LRB- annoyed. -RRB- By the X. That's were two lines cross - forming an X. ANGRILY, the Woman signs and slams the door. She heads back to her truck. She looks up and Ed is there with flowers. The TV cameras are there also. Shari is startled. But she's also glad to see him. SHARI What are you doing? ED I missed you. She's camera - shy. ED -LRB- CONT'D. -RRB- You know, I never saw you in your uniform before. SHARI Yeah, well. They both LAUGH. ED It's really a tremendous turnoff. SHARI You should see the one we wear when it rains. ED Sunday night at the Devils game, I'm driving the Zamboni. SHARI The what? ED You know, the big machine that cleans the ice. SHARI Oh yeah. ED It's quite an honor. Will you come with me? She looks at the camera. ED -LRB- CONT'D. -RRB- -LRB- gently. -RRB- Look, I know this is weird. But. I do n't want to wait. I really think we might have something together. Do n't you? EMBARRASSED, she nods. ED -LRB- CONT'D. -RRB- Come on. Be my zamboni date. She does n't say `` no.'' They KISS - a little hesitantly, not passionately, but affectionately. She's still self - conscious, but she's going with the flow.",
"INT. CYNTHIA'S OFFICE They're watching. They CHEER and high - five each other.",
"INT. SHORT MONTAGE Ed and Shari dating. She's shy, but she really likes Ed. He likes her and is very sweet to her. 1 -RRB- Ed and Shari some place like `` Tavern on the Green.'' She looks pretty. He's very happy. 2 -RRB- They come out of a club. TOURISTS photograph them. Shari is a little disconcerted. Ed takes out a little camera of his own and photographs the tourists. This makes Shari laugh and relaxes her. 3 -RRB- HOCKEY ARENA CLOSE - UP of Ed, driving the Zamboni. He's loving it. He WAVES to Shari. SHARI IN THE STANDS, watching. She waves and smiles. The ice, a WIDER SHOT. The Zamboni is, basically out of control. Carlos is sliding along the ice, shooting Ed as the Zamboni zig - zags dangerously, eventually crashing into the boards, shattering the Plexiglas.",
"INT. LOCAL ROCK CLUB - NIGHT It's very CROWDED. Claustrophobic. Loud. Ed and Shari enter just to see the show. They're spotted. The Crowd, which is already fired up by the music, sees them. It starts out okay, people crowding around, patting Ed on the back. A CHANT begins `` Ed, Ed, Ed.'' Pretty soon it drowns out the music. More people press towards Ed. It's too crowded - dangerous. Shari is swept away from Ed. She's buffeted about, violently. She goes down. Ed ca n't move. The Crowd is friendly and happy, but the effect is scary.",
"EXT. ROCK CLUB - A FEW MINUTES LATER BOUNCERS squeeze Ed and Shari out the door, protecting them. Ed is unnerved. Shari is somewhat bedraggled. Her clothing is torn.",
"INT. ED'S KITCHEN - DAY Ed is ON the PHONE. CYNTHIA'S OFFICE Yeah?! ED They tore her dress! CYNTHIA We're going to get you a bodyguard, do n't worry. Ed, I have some news for you. We're picking up Ed TV for another month! ED -LRB- excited. -RRB- Yeah?! CYNTHIA That means a balloon payment and a big raise for the second month. ED Stand back - I'm about to do my Happy Dance. He does.",
"INT. RESTAURANT Ed and Shari are EATING. So is a HUGE MAN sitting between them. His name is MOE.",
"INT. ROLLER RINK Ed and Shari are SKATING. Up ahead of them, Moe, -LRB- on skates -RRB- is plowing into people, knocking them over.",
"INT. PIZZA JOINT - NIGHT Ed and Shari get up to leave. They look at each other, very affectionately. They want to kiss. The cameras are close. Ed is wearing a jacket. He spreads it out wide to block Shari's face from the cameras. He leans in and they KISS on the lips, several times, while Ed's jacket screens off the cameras. They're in love.",
"INT. TV NEWS SHOW- THREE WEEKS LATER Written on the screen - `` Day 26.'' It's the same news team we met earlier. ANCHOR Well, welve had pet rocks, hula hoops, Davy Crockett, Beatle wigs, and leisure suits. But America's latest craze is a guy named Ed. Here with that story is entertainment reporter, Rick Douglas. ENTERTAINMENT REPORTER Pat, four weeks ago, no one in America had even heard of Ed Pekurny. Today, this thirty - one year - old video store clerk has become something of a national obsession. The words viewers use to describe him are `` charming,'' `` natural,'' and `` appealing.'' And ratings indicate that `` Ed TV'' is being watched by more people, each day, than any show in the history of cable television. A SHOT of Scharlach being interviewed. A CAPTION identifies him. SCHARLACH This idea just came to me. I told my staff - if people just tune in twice a day for five minutes we're a hit. Sometimes you got ta go with your gut feeling.",
"INT. CYNTHIA'S OFFICE She's watching. She's ANGRY. CYNTHIA Sure it came to you! Because I brought it to you! -LRB- raises her fist. -RRB- You want a gut feeling?! How about a groin feeling?! -LRB- raises her foot. -RRB- BACK TO NEWS REPORT ENTERTAINMENT REPORTER Ed TV has become so popular that when Ed goes to sleep Real TV is running highlights of Ed's day all night. Some viewers have become obsessed with Ed. They wake up when Ed wakes up, they go to sleep when Ed goes to sleep, and in between they try to watch as much of him as possible. A SERIES OF MAN - IN - THE - STREET INTERVIEWS. WOMAN #1 -LRB- casually. -RRB- Yeah, I watch it. More than I'd like to admit sometimes. MAN -LRB- about fifty. -RRB- Never. no. YOUNGER MAN Honestly? I try not to go to the bathroom until Ed goes to the bathroom so I wo n't miss anything. A GUY in an ice cream store. ICE CREAM GUY Watch this! Like Ed. He slices a banana the way Ed does. WOMAN #2 I just kind of leave it an, you know, so it's. there. THREE TEEN - AGE GIRLS TEEN-AGER #1 I do n't like Shari. She's. needy. TEEN-AGER #2 I like her. She's sweet. TEEN-AGER #1 She just rubs me the wrong way. TEEN-AGER #3 I'm so glad they got rid of Ray. He was creepy. YOUNG GUYS GUY #1 To me, this Shari is like nothing. GUY #2 She's not even hot. I mean Ed's a celebrity. If that was me, I'd be dating the goods. GUY #1 There's something wrong with her. She's definitely not hot. GUY #2 Not hot. Not.",
"INT. SHARI'S APARTMENT She's watching this, wearing a bathrobe. Her self - esteem is being crushed.",
"INT. TV STUDIO This is an `` E TV'' kind of gossip show. The host - a YOUNG WOMAN - is showing film of Ed and Shari getting out of Ed's car. The film freeze - frames. Shari has an unflattering look on her face. GOSSIP QUEEN What's wrong with her! Everytime you look at this chick, it's like she badly needs a Tampax. Ed, you can do better. Shari watching, in horror.",
"INT. DELICATESSAN - NIGHT Ed and Shari are on a date. A WAITRESS is taking their order. Shari still seems a little self - conscious, but Ed is having a ball. ED I'11 have. -LRB- to Shari. -RRB- Get this -. -LRB- to the waitress. -RRB- I'11 have the `` Ed.'' SHARI I'm stunned. A WOMAN with her young SON approach. WOMAN Mr. Pekurny. I'm sorry to bother you. My son would just love to have your autograph. ED No problema. -LRB- to the boy. -RRB- You want a picture? The boy nods. ED -LRB- CONT'D. -RRB- Moe. MOE, the Bodyguard, in the next booth hands Ed a glossy of Ed and a pen. Ed signs it. ED -LRB- CONT'D. -RRB- Take this around the corner to Frame World, they'll give you a discount. The Woman and Child leave. ED -LRB- CONT'D. -RRB- -LRB- to Shari. -RRB- Oh - Sunday is good for me to meet your folks. We get a big family audience on Sundays so it works out. SHARI -LRB- ironic. -RRB- That's lucky. ED Saturday, I think we should A PHONE RINGS Ed takes a phone out of his pocket. ED -LRB- CONT'D. -RRB- -LRB- plugging. -RRB- Compliments of Motorola. Hello. Marcia? -LRB- to Shari. -RRB- My sister. - What? What, right now? I'm eating, I'm on a date! Well, where's your boyfriend - what's his name? Cliff. Then, call a cab. -LRB- wearily. -RRB- All right. Look, just do n't start any trouble okay. Just sit there quietly'til I get there. you're welcome. He HANGS UP. He's disgusted.",
"INT. CAR - A FEW MINUTES LATER ED This used to be a regular thing. And the worst part, is while she'd be waiting for me to come down to some bar and get her, she'd start up with some guy and say `` Wait'til my brother gets here, he'11 kick your ass.'' So then I walk in and there's some rhinoceros in a windbreaker who tries to shove me into a shot glass. And Marcia's drunk and screaming `` Kick his ass, Ed. Kick his ass.'' -LRB- looks out. -RRB- I think this is it.",
"INT. BAR It's not a seedy dive. Ed and Shari and the camera operators enter. A CUSTOMER approaches. CUSTOMER Hey, hey, hey, hey, hey. You're the guy on TV. ED What was the tip - off? The enormous camera? CUSTOMER Watch this. The guy does Ed's `` Happy Dance.'' CUSTOMER -LRB- CONT'D. -RRB- See, like you. ED Yeah. Keep up the good work. Ed brushes by him. He sees a WOMAN passed out at a table. ED -LRB- CONT'D. -RRB- Oh great. He prepares to lift her. MARCIA -LRB- O.C. -RRB- Ed. He turns and sees Marcia standing there. MARCIA -LRB- CONT'D. -RRB- What are you doing? ED Hm? I'm, uh. Why is n't this drunken woman you? He lets go of the woman. Her head bounces on the table. ED -LRB- CONT' D. -RRB- What's going on? Why did you want me to come down here? Marcia guides them into chairs. MARCIA Cliff is here. He's performing. I wanted you to see him. For a second, Ed does n't get it. Then. ED Oh! Oh - okay, now I get it. It's `` Star Search.'' You wanted me here because the camera comes with me. MARCIA Ed, he needs a break. You do n't know what kind of bad luck he's had - ED I can imagine. You said you wanted nothing to do with this. You swore to me. `` Do n't come near me. Do n't bring this into my life.'' MARCIA For God sakes, you said two words about some lousy pizza joint, the guy's a millionaire now. This could be my whole future we're talking about. -LRB- to Shari. -RRB- Hi, I'm Ed's sister. SHARI -LRB- politely. -RRB- I've heard so much about you.",
"INT. BAR - LATER Cliff is in the middle of his show. He's wearing a PORTABLE ORGAN. He's not great. He's a smalltime professional with a lot of pep. Marcia is beaming. Ed's cameras are shooting him. CUTS OF Cliff, singing every type of song, imaginable. This guy is desperately trying to cover all the bases - i.e. Sinatra - type standards, something from `` Lion King'', `` Do Ya' Think I'm Sexy,'' `` Smokin' in the Boy's Room,'' `` Hey, Hey, We're the Monkees,'' the theme from `` Hawaii Five - 0,'' a rap number, and `` Ave Maria.'' ANGLE ON ED AND SHARI ED -LRB- sotto. -RRB- I wish my stepfather was here. SHARI Why? ED He could give me some oxygen.",
"INT. SHARI'S APARTMENT - LATER Ed and Shari are KISSING. CUTAWAYS TO VIEWERS TAD AND BARRY BARRY Oh boy! Here we go! Ed is passionate. JEANETTE AND AL JEANETTE -LRB- cringing. -RRB- Euuw. RAY Fuming. BACK TO ED AND SHARI SHARI Um. ED What? She indicates the camera. Ed tries to allay her fears. ED -LRB- CONT'D. -RRB- I told you. If we. you know do it, they go away until. we're done. SHARI I know, but even if they go away, everybody in America knows what we're doing because. they went away. ED So? What do they think - we're not kids - SHARI -LRB- overlapping. -RRB- I know, I. ED -LRB- overlapping. -RRB- Shari, I really like you. SHARI -LRB- overlapping. -RRB- I really like you too. ED if this. -LRB- the camera. -RRB-. were n't here? SHARI yeah, then, but. CUTAWAYS ED So? SHARI Ed. I think we should stop seeing each other. The guys who said she was n't hot. They applaud. THE DORM GIRLS They're booing Shari. A BAR A very attractive woman -LRB- JILL -RRB- and her friend. JILL That girl's an idiot. BACK TO ED AND SHARI ED What? Why? SHARI -LRB- starting to weep. -RRB- I ca n't take it anymore. GUYS WHO DO N'T THINK SHE'S HOT They mock her, crying `` Boo hoo hoo'' and pretending to rub their eyes. BACK TO ED AND SHARI SHARI -LRB- crying. -RRB- I have no privacy. Even now! I'm crying and I ca n't stop and they wo n't go away. And now it's going to be another month! ED Shari. SHARI Everybody hates me! ED No. Who? SHARI Look at this. She picks up a N.Y. POST. SHARI -LRB- CONT'D. -RRB- Page three of the Post. ED -LRB- knows what it is. -RRB- Ohh. SHARI A poll. `` Is Shari Good Enough for Ed?'' Seventy - one per cent said `` no.'' -LRB- crying. -RRB- They hate me! ED Who cares? I do n't ca - No. I do care. -LRB- to the camera. -RRB- Shame on everybody. Shame on you! Well, just the seventy - one percent. The other. -LRB- he ca n't do the math. -RRB- SHARI Twenty - nine. ED Exactly. Boy, you're smart. -LRB- to the camera. -RRB- Why are you so mean to her? What did she do to you? -LRB- picks up newspaper. -RRB- `` Is she good enough for Ed?'' Who the hell am I? -LRB- sarcastically. -RRB- Who the hell do you think I should be dating? SHARI There's a list. ED Really? -LRB- he looks. -RRB- SHARI Ed? He does n't hear her. He's scanning the list. ED Wow.",
"INT. DAVID LETTERMAN SHOW (OR SOMETHING) Ed is a guest. DAVE I'm out here an hour a night and I feel like a dork. You're on every minute! Does n't it just drive you nuts? ED -LRB- cheerfully. -RRB- Yeah. LAUGHS. DAVE All this fame and the money you're making. Is this going to change you, do you think? ED God, I hope so. BIGGER LAUGHS.",
"INT. GREEN ROOM - LATER It's after the show. Ed is getting ready to leave. John is with him, keeping him company. A. P.A. is giving Ed a bag of gifts. -LRB- Of course, Ed is still on Ed TV. -RRB- PRODUCTION ASSISTANT You've got a ham in there and Dave's book and - ED Hey, if it's free, it's me. -LRB- to John. -RRB- You ready? JOHN Yeah. You did good. What's wrong? ED Aah, I wanted Shari to come. JOHN Oh - so I'm just, what - a poor substitute? He KISSES John. ED -LRB- easily. -RRB- Yeah. -LRB- to the camera. -RRB- Honey, if you're watching this is for you. JOHN No! Do n't -. -LRB- new subject. -RRB- Oh, wow. ED What? ANGLE ON JILL IN THE HALLWAY -LRB- We met her earlier in a cutaway. -RRB- She's saying good - bye to a CASTING ASSISTANT. JOHN No more calls, we have a winner. Jill looks up, sees Ed and walks right up to him JILL Hi. ED Hi. SECURITY steps forward. ED -LRB- CONT'D. -RRB- It's all right. They step back. JILL I'm Jill. I really like your show. I think you're great. ED Thanks. That's. Shari, watching this on television. JILL You must be John. JOHN I'm trying to remember. JILL -LRB- to Ed. -RRB- Well, I do n't want to bother you, I'm just - I was here auditioning for a skit. You know, one of those things where Dave goes around town with models and whatever. ED Oh, yeah, I love those. Yeah. those are funny. JILL Well, it was really nice meeting you and, uh. -LRB- checks her watch. -RRB- I'd better get a cab. But she does n't leave. ED Um. They gave me a limo, uh. JILL Oh, great! Thanks. I'm just going uptown. She takes his arm and leads him out.",
"INT. HEALTH CLUB - NEXT DAY Written on the screen - `` Day 28'' Two WOMEN on Stairmasters. WOMAN V11 bet he goes out with her. It's like those actors - as soon as they get famous - Pfft - there goes the wife.",
"EXT. COLLEGE The dorm girls.",
"INT. POKER GAME COLLEGE GIRL He'll never cheat on Shari! The game includes Tad and Barry.",
"INT. TV STUDIO BARRY You think she really likes him? TAD She does n't give a shit about him. BARRY You know what would be great? TAD What? BARRY If Ray would steal this girl from Ed. That would be great. POKER PLAYER #2 You know what would be even better? BARRY What? POKER PLAYER #2 If you shut your hole and played cards. Goddam pineapple brothers. The same eggheads who, earlier, had no interest in Ed. Now they're all worked up. PANEL MEMBER #1 But he's not a normal person anymore. He's a celebrity. We're no longer observing anyone's `` real life.'' PANEL MEMBER #2 -LRB- disagreeing. -RRB- But that's what's interesting! The effect of celebrity on an otherwise average person. PANEL MEMBER #3 But do you really feel that Ed is an average person? I mean this guy seems to have a. magnetism, a charisma that, I think, transcends the entire concept. PANEL MEMBER #4 I agree. He's special. They all nod.",
"INT. EWS APARTMENT - DAY '' DAY 34'' Ed is opening letters and packages. There are piles of them ED This is from a girl named Tawny. this goes in the nude picture pile. Thank you, Tawny. He places it in a large pile. He opens another envelope. ED -LRB- CONT'D. -RRB- Let's see. Ed stares and his smile disappears. ANGLE ON THE MAIL A picture of Ed's face with his body drawn underneath it. The body is spurting blood and is mutilated. Ed stares at it. ED Well. This is creative. This goes in the psychopath pile. The DOORBELL RINGS. ED Oh, I hope that's not this guy. -LRB- indicates psycho letter. -RRB- He PICKS UP a baseball bat and crosses to the door. He opens the door. A handsome man in his early sixties is there. His name is HANK. HANK Hello. ED Hi. Ed waits. HANK You do n't recognize me. ED No. Am I supposed to? Hank shrugs. Ed stares at him, then begins to look a little shaken.",
"INT. EWS MOTHER'S HOUSE Jeanette is putting a jar in the refrigerator. She glances at the television. She drops the jar. It SHATTERS.",
"INT. MARCIA'S APARTMENT Marcia is with her half - Asian son ANDY. She's serving his dinner. OFF - CAMERA we HEAR Cliff SINGING and the DOG HOWLING in distress. Glancing at the television, Marcia gasps.",
"INT. RAY'S APARTMENT Ray is TYPING on a word processor. He stares curiously at the television.",
"INT. ED'S APARTMENT Ed is staring at Hank doubtfully. HANK It's me, Hank - your father. RAPID CUTS of VIEWERS, excited. Many of them reach for the phone.",
"INT. REAL TV OFFICE The Real TV staff react. Cynthia looks over - stunned. ALICE -LRB- to Cynthia. -RRB- Did you do this? Did you find him and get him to - CYNTHIA No way. Oh, this just keeps getting better.",
"INT. AL AND JEANETTE'S HOUSE - DAY Written on the screen - `` Day 35'' Ed and his mother are arguing. Al is sucking oxygen and has a pile of `` People'' magazines with Ed on the cover. A REPAIRMAN is fixing the refrigerator. All their food is out and melting. Jeanette is trying to preserve food in an ice chest while she argues with Ed. JEANETTE I ca n't believe you're taking his side. ED I'm not! I'm just trying to get some facts. AL -LRB- to Ed. -RRB- Sign this one to Nancy. She's the nurse who handles my urine. Ed signs. JEANETTE I told you the facts! He abandoned us - those are the facts. ED So everything he told me yesterday was a lie. Everything. Al takes a loud breath. JEANTETTE Yes! practically ED What do you mean practically? Did he really run away or did you throw him out like he says. REPAIRMAN I need to replace the coil. JEANETTE -LRB- to Ed. -RRB- He ran away after I threw him out. -LRB- to repairman. -RRB- How much is a new coil? REPAIRMAN A hundred and fifty bucks. ED So he was telling the truth you threw him out. REPAIRMAN Should I go ahead? JEANETTE Yes. ED Yes to me or yes to the coil? JEANETTE Both. ED Holy sh - AL This one to Dr. Bamajian. Maybe he wo n't make me wait an hour. Ed signs. JEANETTE He had girlfriends! ED He says - JEANETTE I do n't care what he says. Look, I do n't need to relive this. On television! AL Whatever happened to Norman Rockwell? ED Who? AL Norman Rockwell. He painted magazine covers. Folksy. A mailman, a boy scout, a kid visiting a doctor. ED Yeah, so? AL They celebrated the common person. ED Well, I do n't think you can get more common than me, Al.. AL No. Only celebrities now. Now, if you put a mailman on the cover of a magazine he'd better have killed someone or no one will buy it. This one to Dr. Rumpley. Jeanette storms back in. JEANETTE All right - do you want to know the truth? I took you and Marcia and Ray to my sister's on the train for the weekend and you all got chicken pox. So I took you home a day early and there was your father with a woman in our bed. Okay? ED Chicken pox? I was six. He did n't leave'til I was twelve. JEANETTE He. apologized, he begged me. He can be very. charming when it suits his purpose. ED But what was that whole story about him and a nurse? JEANETTE She could've been a nurse. ED Could've been a nurse? JEANETTE She had white shoes. ED So does Grandma. So does Shaquille O'Neal. You told me you had a hysterectomy and he ran off with your nurse. JEANETTE What's the difference? ED The difference is for twenty years I thought one thing and now it's another thing. Ed nods. JEANETTE He was no good. Do you remember how he used to scream at me? You used to cover your ears with dinner rolls. JEANETTE -LRB- CONT'D. -RRB- Also, no job was ever good enough for him. `` Small potatoes, small potatoes.'' Al, you remember - Al breathes loudly. ED Wait a minute. I thought you did n't know Al,'til after Dad left. Pause. Even the repairman pokes his head out of the refrigerator. ED -LRB- CONT' D. -RRB- Oh my God. You and Al were - and that's why you threw him out. JEANETTE He had a woman in my own bed! And how dare you call him `` Dad'' in front of Al. -LRB- shakes Al by the shoulder. -RRB- This is your father. This is who was there for you when you needed someone. AL Jeanette, you're hurting me. ED -LRB- on the defensive. -RRB- I'm not - I did n't - Al, you know how I feel about you. Al breathes loudly. ED -LRB- CONT'D. -RRB- -LRB- uncomfortably. -RRB- If I do n't call you `` Dad'' it' just because.",
"JEANETTE And what did he come back now for? ED Who? JEANETTE Hank! All of a sudden. Because now you're famous and he can get something from you. I do n't wan you to become a victim like Marcia. -LRB- to the TV. -RRB- Not that you're a victim, honey. You're not. Life's just been a little hard on you, sweetie. ED -LRB- to Al. -RRB- What do you think. I mean about. him. Should I just. have nothing to do with him? I mean. AL -LRB- to Ed. -RRB- Have I ever said a bad word to you about your father? ED No. AL Well, now I will. He was a crazy mean, son - of - a - bitch. Al starts to wheel himself out. Ed looks weary. AL -LRB- CONT'D. -RRB- But he was your father.",
"INT. ED'S BEDROOM - NIGHT He's asleep.",
"INT. CONTROL TRUCK They're monitoring him. They see Ed WAKE UP. They stir. Sleepy, and scratching his ass, he goes into the bathroom.",
"INT. BATHROOM Ed shuts the door. He takes his PORTABLE PHONE OUT of a bathroom drawer. -LRB- He stashed it there. -RRB- He makes a call and waits. ED -LRB- whispering. -RRB- Hi. it's me, Ed. It's been two days, I want to see you. No, I wo n't let them follow me, I'11 sneak out. No it's not allowed, but I'm going for it. I'm on my way. He takes CLOTHING OUT of the bathroom hamper. until he finds something acceptable.",
"INT. CONTROL TRUCK They're monitoring the empty bed.",
"INT. BATHROOM Ed is dressed. He CLIMBS OUT his bathroom window.",
"INT. SHARI'S APARTMENT - LATER Shari opens her front door. ED Hi. She looks down the hallway. ED -LRB- CONT'D. -RRB- They're not here. He goes in, grabs her and kisses her passionately. SHARI I tried to tell you over the phone - my parents went to Atlantic City. ED So? SHARI So my little brother's staying here. I'm sleeping with Rita. ED Oh Je - could n't he sleep with Rita? We'11 all have a good time. SHARI I'm sorry. ED Come on, let's go. SHARI Where? ED Somewhere.",
"INT. ED'S CAR - A FEW MINUTES LATER They get in. They look at each other. ED Do you want to go to a motel? SHARI I feel like a criminal or, like we're cheating on someone. ED -LRB- nicely. -RRB- Just. just relax. Okay? We wo n't do anything. We'11 just sit here for a while. SHARI Okay. ED Come on. Gently he puts his arm around her. At first, she hesitates, but then curls up against him and relaxes. ED -LRB- CONT'D. -RRB- I need to talk. SHARI Are you all right? ED She lied to me. I mean all my life, she's telling me one story and then. it turns out to be a completely different story. Come to me at some point - tell me the truth. No. Not in my house. The truth is a stranger. And this is why Ray and Marcia are the way they are. Marcia gets involved with all these losers and sees no problem with herself - `` How do they find me'' she says. Ray cheats on you and then blames me for it. I'm the only one in the family who takes any responsibility for himself. Oh, man. Are you all right? SHARI -LRB- hesitantly. -RRB- Yeah. I saw that girl come on to you at the TV show. ED Oh that was. no, I. she just kind of trapped me into giving her a ride. It's you. I want you. SHARI yeah? He TOUCHES her. They KISS. Then again. Their hands are roaming. They're hot. They're breathing hard. He's unbuttoning her blouse. Their hands are all over each other. Her blouse comes off. LIGHTS GO ON. They see cameras, shooting at them. Shari SCREAMS and covers her breasts.",
"INT. TV - DAY ANNOUNCER -LRB- V.O. -RRB- Good morning. Welcome to another day of Ed TV. Last night, while most of us were asleep. this happened.",
"INT. FRAT HOUSE - MORNING FOUR GUYS in a disgustingly messy room, watching the replay of Ed and Shari. FRAT GUYS Yes! They GYRATE LEWDLY.",
"EXT. STREET - DAY Shari is working. Ed is following her around. Shari is ANGRY. The cameras are there. SHARI Get them away from me. She takes PACKAGES OUT OF the TRUCK and THROWS them at the cameramen. ED It's not their fault. SHARI No. It's your fault. She throws a package at him. ED What do you want me to do? You want me to quit the show?! SHARI No. Could you? ED No. If I quit I do n't get the balloon payment. SHARI The what? ED Ray borrowed this whole tub of money against this balloon payment that I do n't get if I qu - it's too complicated. I - Besides. SHARI What? Pause. ED You see how people look at me. Like when they ask for my autograph or say `` Hi'' to me. It's like I'm a basketball player or a. you know, like I'm someone. SHARI Everybody's someone. ED Well, yeah, everybody's someone. But I mean someone they want to be. I mean let's face it, I'm working in the video store, no one's coming in saying `` oh, I wish I was that guy. 1 wish was rewinding that huge pile of tapes.'' At least for a month I'm not just a guy with a name tag. I'm famous. A GUY YELLS from across the street. GUY Shari! Nice nipples. ED And so are you. GUYS keep YELLING `` Shari!'' She tries to go after them. Ed holds her back. SHARI I do n't want to be famous for getting caught with my shirt off. If I'm going to be famous - The camera is right in her face. She grabs it. SHARI -LRB- CONT'D. -RRB- -LRB- to the camera person. -RRB- This is going right up your ass. ED Come on. He returns the camera. Shari starts for her truck. SHARI Look. maybe we just better put us on hold until this is over. She gets in her truck. ED Come on! Loosen up. -LRB- trying to joke. -RRB- See - this is why seventy - one per cent of the people do n't like you. She SLAMS the TRUCK DOOR. ED -LRB- CONT'D. -RRB- It was a joke! A. vicious, thoughtless stupid joke. He bangs himself in the head. She drives away. He BOWS. ED -LRB- CONT'D. -RRB- -LRB- to the camera. -RRB- And that, for you kids out there, is how you screw up a relationship.",
"INT. ED'S APARTMENT Ed enters. He's worn out. He plops down, and puts on the TV. ED -LRB- to the camera. -RRB- I'm gon na watch anything but me. Ed is flipping stations. Something makes him stop. ANNOUNCER -LRB- V.O. -RRB- Coming in two weeks to the Lifestyle Channel - Joma. His Dad's a cop, his brother's a bouncer in a topless bar, his sister is a black - belt social worker - and Joma's living with two gals. ANGLE ON THE TV We see JOMA. He has a lot of charisma. He seems a little dangerous, but in an exciting way. JOMA Hey, Ed! I'm coming to get you, man! I'm gon na eat you right up! -LRB- makes gobbling - up noises. -RRB- ANGLE ON ED Watching. He's stunned.",
"INT. NETWORK CONFERENCE ROOM - DAY They're watching a tape of Ed TV. Ed has just entered his own apartment. A WOMAN is there, sitting on his sofa. She's caressing Ed's undershorts against her cheek. Ed is highly agitated. ED How did you get into my apartment?! The BODYGUARD is pulling her out. REVEAL that Scharlach, McIlvaine, Seaver, Cynthia and Greg are all watching. McILVAINE What is she holding? GREG -LRB- calmly. -RRB- A pair of Ed's underwear. McILVAINE Oh my God! ON the TAPE, the woman while being forcibly evicted, offers the underwear to Ed. Ed recoils. ED No - keep it. WOMAN I love you! 1 want to marry you! She's hauled out. They stop the tape. SCHARLACH See - that's television! This other thing, this Jama, that has `` stink'' written all over it. GREG The break - up with Shari was very big. Big ratings. SEAVER Only, Cynthia, seriously. Tell Ed not to sneak out anymore. SCHARLACH Cynthia. He wants it accomplished.",
"EXT. STREET - DAY SEAVER -LRB- CONT'D. -RRB- It's in violation of his contract and if we wanted to be hard - nosed about it, he could forfeit all pay, including money he's already received. CYNTHIA -LRB- dutifully, but a tad resentfully. -RRB- I will see that he's properly threatened. SCHARLACH Now what? What's on the young man's agenda? We do n't want to see him sitting around like a lovesick puppy. GREG Young males do not want to see Ed get back with Shari. SCHARLACH -LRB- impatiently. -RRB- Enough with her. That sailed. McILVAINE Could Ed live with two girls? GREG You know who the audience is requesting a lot? That girl, Jill, that Ed met at the Letterman show. She really scored. SCHARLACH Cynthia. He wants it accomplished.",
"EXT. STREET - DAY Ed is walking from his car to a building. CROWDS are behind barricades. They YELL at Ed as he passes. Ed is used to this.",
"INT. SHARI'S BUILDING - DAY Rita OPENS the door and sees Ed. RITA -LRB- nervously. -RRB- Oh. Ed. ED Hi. Is Shari here? RITA No. ED What is she, at work? RITA She left. ED Well, when will she be back? RITA She wo n't. ED What are you talking about? RITA She left. She moved. She got Fed - Ex to give her a transfer and she left. She could n't stand it anymore. We had people, news people, regular people, just sleeping in our hallway, going through our mail, our garbage. I mean it was she could n't take it anymore. Now I've got to move. I ca n't afford this place by myself. ED I'm sorry. Where'd they send her? RITA She would n't tell me.",
"INT. ED'S BEDROOM - NIGHT He's off the air. He's a little down. He's ON the PHONE -",
"INT. CYNTHIA'S BEDROOM She's working out an a contraption. ED Remember when you were interviewing me? -LRB- details to follow. -RRB-",
"EXT. PARK - DAY CYNTHIA Yeah. ED You asked me if I had a dream. I said `` Sure, I have a dream. I just do n't know what it is yet.'' CYNTHIA Great line. ED What if Shari's the dream? CYNTHIA Ed, do you want my advice? ED Yeah, that's why I called. I mean, maybe Fed - Ex would tell me where she moved - CYNTHIA Leave her be. ED You said a woman likes to be pursued. CYNTHIA Pursued, not harassed. Give it some space. Can I tell you something - as a friend? My sister was going with a guy they hit a little rough spot they started seeing other people they got back together and last month they had their third child For what it's worth. OPEN ON ANDY, Ed's half - Asian nephew. He's eight. He's wearing a baseball glove. ANDY Throw me a high one, Uncle Eddie. ED -LRB- O.C. -RRB- Okay. REVEAL ED, also wearing a baseball glove. He throws a high pop up to Andy. Andy staggers around and almost catches it. ED Oh! JILL -LRB- 0.C. -RRB- We have to stop meeting like this. ED Hm? REVEAL JILL, walking a DOG. it takes just a second to recognize her. ED -LRB- CONT'D. -RRB- Oh, hi. Ed is hit with the ball. ANDY Sorry. REVEAL the Real TV Staff watching this on television in their office. As Ed and Jill chat in the background. ALICE -LRB- to Cynthia. -RRB- Did you arrange this? CYNTHIA -LRB- points to the TV. -RRB- Whose dog is that? ALICE -LRB- surprised. -RRB- That's your dog. Cynthia does n't even smile. MONTAGE INTERSPERSED IN THE MONTAGE ARE SHOTS OF PEOPLE WATCHING THEM ON TV 1. Ed and Jill going into a chic club - ushered in immediately. Here, as in the other times we see her, Jill is comfortable with the situation. She's the opposite of Shari. She poses willingly. She chats easily with paparazzi. She clings to Ed. There's nothing overt or obnoxious about her. She's just comfortable and good at it and always looks great. 2. INTERVIEW with the guys who did n't like Shari. GUY #1 Way to go, Ed! GUY # 2 Now, we're talking! 3. A N.Y. Post story : `` Readers Pick Jill over Shari.'' Pictures of both women. Jill looks great. Shari is in her uniform and looks like a mouse. 4. SHARI In a new apartment. Watching Ed and Jill on TV. She's very unhappy. She turns it off. 5. Ed and Jill at the nice restaurant he was at with Shari earlier. It looks like he's starting to like her. 6. Ed is refereeing a pro - wrestling match. He counts out the villain who, then, jumps up and chases him out of the ring.",
"INT. JILL'S APARTMENT - NIGHT `` DAY 47'' Ed and Jill are in a HEAVY LIPLOCK. Carlos is right there with the camera. Unlike Shari, Jill seems unself - conscious. She's getting Ed pretty turned - on. SHOTS of VIEWERS, also turned on, especially the men. JILL You want to? It's clear what she means. Ed is conflicted. He's clearly aroused. ED Um. It's kind of. He looks for his watch on the wrong wrist, then seems to check all around his body until he discovers it. JILL Are you busy tomorrow night? ED No. JILL Why do n't you come over. And I'11 make dinner. And you bring a movie. And. We'11 make a night of it. okay? ED -LRB- nervously. -RRB- Sure.",
"EXT. STREET - DAY Written on the screen - `` Day 48'' Ed is walking, the camera following. He looks tense. People SHOUT `` Hey, Ed'' `` Ed - die'' etc.. ANGLE ON A NEWSPAPER VENDING MACHINE The New York Post front page - `` Is tonight the Night?'' with a picture of Ed and Jill kissing. ANGLE ON ED ED Oh man. CON ED GUY Hey, Eddie. Ed looks up. CON ED GUY -LRB- CONT'D. -RRB- -LRB- giving the `` thumbs up''. -RRB- Go for it! Ed continues down the street. People YELL to him `` Good luck tonight,'' `` We're rooting for you'' etc.. A STREET CHARACTER walks alongside for a minute. STREET CHARACTER Hey, man. This is Haitian Love Juice. -LRB- he produces a vial. -RRB- You give her this, she be yours. Security grabs him and the vial falls and breaks. The liquid hits the pavement and smokes up. ED -LRB- looking at the smoke. -RRB- Jesus! More shouts `` Be gentle'', `` We'11 be watching'', `` Use a condom'' etc.. A SCHOOL BUS passes. The KIDS YELL out the window to Ed. KIDS -LRB- in unison. -RRB- Good luck!",
"EXT. MOVIE THEATRE - NIGHT There is no line. At TICKET TAKER sits, bored. No one is going in or coming out.",
"EXT. STREET It's deserted.",
"EXT. RESTAURANT It's empty. The HEADWAITER stands in the doorway with nothing to do.",
"INT. LIVING ROOM A PARTY is in progress. The TV is on. On TV Ed is in a liquor store, buying a bottle of wine. Ed is dressed for his date. The people at the party are watching TV and commenting. It's like a Super bowl party. VOICE -LRB- O.C. -RRB- What's he doing? PARTYGOER He's buying wine!",
"INT. BEDROOM Several high - school age BOYS. They have made themselves look like Ed. They're very excited. TEEN-AGE BOY #1 You think he's gon na do it? TEEN-AGE BOY #2 Hell yeah. The guy has n't had any sex in six weeks. TEEN-AGE BOY #3 Neither have we.",
"EXT. STREET Ed's car turns the corner and he sees a CROWD gathered around Jill's building.",
"EXT. BUILDING ED -LRB- understating. -RRB- I'm starting to feel a little pressure. Ed carrying his wine enters to APPLAUSE and CHEERS.",
"EXT. RESIDENTIAL STREET A LONG SHOT encompasses all the houses on the block. Their living room TV's are visible. All but one are tuned to Ed.",
"INT. JILL'S KITCHEN Something is cooking. Jill picks up a plate of something - dip and cut vegetables for instance. She starts to exit the kitchen as Ed and Carlos enter. Ed and Jill have a soft collision. JILL Oh. ED Can I help with anything? JILL No. It's going to be about a half - hour. ED What is? Oh, dinner! SELF - CONSCIOUSLY. He takes a vegetable, dips it and eats it. ED -LRB- CONT'D. -RRB- Mm. JILL Good? ED Mm. They look at each other. Jill leans forward and kisses him. She puts the tray of vegetables on the counter. They continue to kiss.",
"INT. BEDROOM The high school boys are CHANTING.",
"INT. DORM ROOM BOYS Ed - Ed - Ed - Ed. COLLEGE GIRLS -LRB- same ones as before -RRB-. COLLEGE GIRL #1 Oh, I hope she makes love to him! COLLEGE GIRL #2 I thought you did n't like her. COLLEGE GIRL #1 I do n't, but I want him to be happy - RAPID SHOTS of other VIEWERS, watching, transfixed -",
"INT. JILL'S APARTMENT Ed and Jill are making out. They begin taking each other's clothes off. They're passing the point of no return. It's going to happen right there in the kitchen. Ed and Jill, in heavy heat, back up to the kitchen table and climb on to it. They continue to pull at their own and each, other's clothing. They're making passionate noises.",
"INT. SHARI'S APARTMENT Shari is not watching television. She's eating a little meal she's made for herself. She HEARS PEOPLE in her building cheering and whooping. She looks miserable.",
"INT. CONTROL TRUCK DIRECTOR -LRB- slightly panicky. -RRB- Someone say the word, how far can we go here?",
"INT. REAL TV OFFICE Cynthia and her staff are watching. Cynthia is ON THE PHONE - CYNTHIA -LRB- into phone. -RRB- Stay with them. do n't leave yet. not yet. Jill is on top of Ed. Carried away with passion, Ed attempts to roll her over and get on top. He does, but rolls too far. He crashes off the table, to the floor, face up. ED -LRB- in pain. -RRB- Ohhh. JILL Ed? ED Ohh. do you own a cat? JILL Yeah. Why? He looks at her apologetically.",
"EXT. JILL'S BUILDING Ed is being loaded into an AMBULANCE. He looks humiliated. PEOPLE in the street are applauding politely as if Ed were an injured ballplayer being carried off the field. Jill is by the ambulance. She's PETTING a CAT who looks all right. PHOTOGRAPHERS are taking her picture. She's posing willingly. The ambulance drives off as Jill continues to pose.",
"INT. TV STUDIO Written on the screen - `` Day 49'' The taping of `` The Tonight Show'' or `` the Late Show'' - once again, whichever we have a prayer of getting. The MONOLOGUE is in progress. JAY -LRB- OR DAVE. -RRB- -LRB- mock annoyed. -RRB- So I guess you were all watching Ed last night. The AUDIENCE goes wild. JAY -LRB- CONT'D. -RRB- This got the highest rating of the year, since the Super Bowl. I guess that makes sense. After all, Ed is now the Buffalo Bills of sex. BIG LAUGHS",
"INT. RESTAURANT - DAY Scharlach EATING. He's stunned. SCHARLACH What?! REVEAL CYNTHIA CYNTHIA Take him off the air. SCHARLACH What are you talking about? He's fine. He's out of the hospital already. The ratings are higher than ever. CYNTHIA I'm telling you, it's peaked. Ed TV is an over - inflated balloon. Get it off before it explodes all over us. He thinks. SCHARLACH With all due respect, Cynthia you're nuts. I'm giving him another month! CYNTHIA -LRB- coldly. -RRB- Good luck.",
"EXT. STREET - DAY `` DAY 54'' Ed is walking. He's wearing a white, Velcro support around his waist. He's agitated. He's carrying a copy of the New York Post. ED Look at this! WE SEE a headline - `` Ed : She Broke My heart.'' ED She did not! -LRB- venting. -RRB- You know what she did? ED -LRB- CONT'D. -RRB- She went out to California and got one of those scandal agents. One of those agents who handle, like. Gennifer Flowers and. Kato Kaelin and Joey Buttafuco. That's what she - A GUY YELLS AT ED GUY Hey Ed! She was a little too much for you, huh? Must run in the family. ED -LRB- angry. -RRB- Oh - like this guy's ever been with a woman. -LRB- yells. -RRB- How about I kick your ass'til the crack goes the other way? -LRB- to the camera. -RRB- All of a sudden, I'm like fair game for everyone. I'm like - He stops and looks like he's in shock. He stares in through the display window of a bookstore. ANGLE ON, a big DISPLAY of cheap, rushed - out, exploitation books. On the cover we read `` My Brother Pissed On Me By Raymond L. Pekurny.11 And there's an old photo of two little boys. -LRB- Ed and Ray -RRB- ED Oh my - He wrote a book?! Ray wrote a book?! He never read a book!",
"INT. HALLWAY - NIGHT `` DAY 58'' It's the hallway of a cheap hotel. Ed and the camera come off the elevator. Ed looks at room numbers. He can HEAR the noise from all the rooms. A radio - a domestic disturbance - a baby crying - it's a horror. He KNOCKS ON a door. HANK -LRB- O.C. -RRB- Who is it? ED It's Ed. The door opens REVEALING Ed's father. HANK Ed! Come in - They enter.",
"INT. HOTEL ROOM It's depressing. There's a liquor bottle on the dresser. Ed sees it. HANK -LRB- CONT'D. -RRB- How've you been? Ed SHRUGS. HANK -LRB- CONT'D. -RRB- They do n't get cable here, so 1 ca n't watch you. Ed just GRUNTS. Hank takes LAUNDRY off a chair. HANK -LRB- CONT'D. -RRB- Sit down. He does. He looks around. HANK -LRB- CONT'D. -RRB- Quite a shithole, is n't it? ED It could be, if you fixed it up. How did you? I mean how does anyone. wind up like this? HANK I was in jail. ED The whole time? Eighteen years? HANK No. Two times. ED What. HANK Check forging. ED Oh, man! So. HANK The last two years, I've been a limousine driver, but I do n't see well anymore, so. ED So you saw me on TV and you said `` Hey, let me jump on this.'' HANK I need help. How many times if just one little thing that I needed would've happened, it would've changed everything. If I had a few dollars when an opportunity came along or. the tumblers just never clicked for me. Ed does n't know what to say. He's bitter towards Hank, but there's also some empathy. ED -LRB- to the camera. -RRB- All right. This is my father, I do n't know what the hell he can do, but if anyone out there can help him - get him a job - I'11. help you. I'11. mention your business or. I do n't know, we'11 figure it out. -LRB- quickly, to Hank. -RRB- I got ta go. HANK Ed. I'm sorry. ED -LRB- still bitter. -RRB- Yeah? That's good. Sorry is good. You know I finished that model. HANK What. ED The pirate ship. Hank looks blankly at him. ED -LRB- CONT'D. -RRB- - That we were doing `` together.'' I finished it. It came out great! Because no one was standing over my shoulder bothering me - `` That's too much glue. You're using too much glue.'' HANK Do you still have it? ED No. Ray sat on it. I'11 see you. He exits. Out in the hallway, he leans back against the door, drained. The camera is right on him, soaking it up.",
"INT. TV STUDIO The same PBS - type panel of smart - looking people we met earlier. WE OPEN ON about half the panel. MODERATOR Let's hear from our guest panelist. You've expressed some interesting thoughts on this, subject. What do you see as the meaning, if there is any, of Ed TV, John. REVEAL JOHN, sitting comfortably on the panel, looking very wise. JOHN I feel that Ed is the apotheosis of a prevailing American syndrome. It used to be that someone became famous because they were special. Now people are considered special just for being famous. Fame, itself, is now a moral good in this country. It's its own virtue. The others NOD appreciatively as John puts a PIPE in his mouth. TV INTERVIEWS OLD GUY I was Ed's Little League coach. He had no coordination. The big game, he struck cut with the bases loaded. Then he cried like a woman. It was sickening. OLD WOMAN I was his third grade teacher. I said `` Take him for tests. There's something wrong with him.'' They did n't listen. ANOTHER GUY He used to steal things from my store. At least I think it was him. Yeah, it was probably him.",
"EXT. ED'S APARTMENT - DAY A MAN, on the sidewalk, has a STUFFED CAT stuck to his back to tease Ed. CAT MAN Hey, look, I just fell off a table! Suddenly, a TUBFUL OF WATER crashes down on him.",
"INT. ED'S APARTMENT - CONTINUOUS Ed at the window, with a now empty plastic tub. ED -LRB- yelling down. -RRB- Okay, is that funny? Then he throws the tub out the window. ED -LRB- CONT'D. -RRB- -LRB- to the camera. -RRB- How was that? Was that funny?!",
"INT. NETWORK OFFICE `` DAY 78'' Again, everyone there, including Cynthia. A Honcho is reading a report. HONCHO #1 Of more concern than the sag in Ed's ratings is what viewers are feeling about him now. The positives are down and the negatives are up. There's a feeling that Ed is n't cool anymore. We're starting to see a big L.F. GREG Hm? HONCHO #1 L.F. Loser Factor. HONCHO #2 That's deadly. McILVAINE Not necessarily. I mean instead of running from the L.F., run with it. Create more moments like the table thing. We can package a video `` Ed's Goofiest Moments.'' Let him be America's Goofball. CYNTHIA Is n't this getting kind of pathetic. I mean we drank the juice, now we're just licking peel. Let it go! SCHARLACH Cynthia, I think you're laboring under a misconception. You seem to believe that because you happened to predict this, we should be impressed. We're not. Anybody in any business can predict failure. 1 need people who prevent failure. I want to see this thing turned back in the right direction. Remember this was your baby.",
"INT. BAR - NIGHT `` DAY 94'' Tad and Barry - as we met them, originally - are watching TV. They're really enjoying it - laughing, pounding the table. TAD I do n't know, I still love this guy. BARRY Yeah only I wish they had the sister on more. TAD Ooh, the sister! She is hot. BARRY You know it. REVEAL that they are watching Joma. On the TV - Joma is eating dinner in his apartment with TWO attractive WOMEN, who, apparently, both live there. Joma is upset -LRB- but he's funny when he's upset -RRB-. What's upsetting him is that across the alley, in a window of another building, he can plainly see an OVERWEIGHT MAN, with his shirt off, exercising. The overweight man is apparently watching an exercise video and is bouncing up and down in place causing everything to jiggle unpleasantly. JOMA'S FRIEND Ignore him. JOMA I ca n't! It's like a mudslide. -LRB- screams out the window. -RRB- Put on a shirt! ANGLE ON TAD AND BARRY, HYSTERICAL ANGLE ON TV JOMA -LRB- CONT'D. -RRB- -LRB- yelling. -RRB- I support the fact that your exercising but, for the love of God, put on a shirt. JOMA'S FRIEND -LRB- to Joma. -RRB- Shut the curtains. JOMA No! Let him shut the curtains. TAD AND BARRY Laughing and wiping their eyes.",
"INT. ED'S BEDROOM Off the air. Ed ON the PHONE. INTERCUT WITH CYNTHIA ED This Joma is so phoney! I mean, those things are n't really happening. I think they have writers making that stuff up for him. Hey, could n't we do that? Hire some writers and have them write up some crazy situations I could get into? She's listening, amazed. CYNTHIA Ed, everything goes off. `` Cheers'' went off. `` Mash'' went off - ED -LRB- getting angry. -RRB- Yeah, but when they went off people were n't making fun of them. They were n't bozos! I'm Pumpkin Ass again! CYNTHIA -LRB- getting annoyed. -RRB- Ed - ED You know, everything you asked me to do I did. I call you for advice about Shari you say -. -LRB- mocking imitation. -RRB- `` Leave her be, see other people for a while.'' You just wanted me to get involved with Jill because it made for a better show. CYNTHIA Ed - ED No. You screwed up my life just so you could get higher ratings. You never gave a shit about me. CYNTHIA Yeah? Well I'm not starting now. She HANGS UP and has an acid reflux.",
"INT. POOL HALL - NIGHT Ed and John are playing. JOHN Look, you put anybody on TV sixteen hours a day, at some point they're going to wind up rolling off a table on to a cat. I mean with no privacy, there's no. dignity. Ed thinks. Pause. ED You know about that fireman who rescued that little girl? JOHN When? Today? ED No! Like, ten years ago. In Texas. Baby. -LRB- tries to remember. -RRB- Jessica! JOHN Oh right, right! She fell down, like a. ED Yeah, a thing. He became a big hero. He was on TV and there was a parade and a movie about him JOHN Right, right. ED And then, uh. you know it blew over and he went back to being a fireman again. JOHN -LRB- cheerfully. -RRB- Right. ED So he killed himself. JOHN -LRB- a little shaken. -RRB- Oh. SILENCE. The cell phone RINGS. Ed PICKS UP the phone. ED Hello. INTERCUT WITH JEANETTE IN A HOSPITAL She's crying. JEANETTE Eddie. ED Mom? JEANETTE I'm at the hospital. ED What's the matter?! JEANETTE He's dead! Eddie, he's dead! It was his heart. ED Oh God. What hospital? JEANETTE St. Joseph's. ED I'm coming right over. I'll be right there. He hangs up.",
"INT. TAD'S HOUSE Tad is watching TV and talking an the phone. TAD I told you! I told you he was gon na die!",
"INT. HOSPITAL - AN HOUR LATER Ed rushes in. He goes up to the desk. Carlos is with him. ED Hi. I'm looking for my mother. Her name is - A DOCTOR spots him. DR. GELLER Mr. Pekurny. ED Yes? DR. GELLER I'm Dr. Geller. Your mother is just lying down for a few minutes. we gave her something to calm her down. ED Thank you. Can I see her? DR. GELLER Just wait here. She's coming right back out. ED Mm. -LRB- wearily. -RRB- Oh, man. DR. GELLER -LRB- sympathetically. -RRB- ED What about him - did he suffer any or was it quick? I'd hate to think he. DR. GELLER Very quick. Between you and me, it's not a bad way to go. Making love to your wife. it's very sweet. ED Really? They were. DR. GELLER -LRB- nods. -RRB- According to your mother. When the paramedics got to the hotel, she told them that - ED Hotel? What were they doing in a hotel? DR. GELLER I. do n't know. I. VOICE -LRB- O.C. -RRB- Eddie. Thank God you're here. Eddie looks across the room and sees Al in his wheelchair, just entering from outside. He wheels towards Ed. AL How's your mother? ED -LRB- shocked. -RRB- Al! AL Our neighbors gave me a ride. ED Al! AL Where is she? Is she all right? Ed turns to the doctor. ED I thought - I thought he was dead. DR. GELLER Who? ED Al! DR. GELLER No. -LRB- reads his chart. -RRB- The deceased is. Henry Pekurny.",
"INT. TAD'S HOUSE TAD -LRB- stunned. -RRB- Good twist!",
"INT. HOSPITAL AL You thought it was me? ED Yes! AL It's your father. Hank. Your mother went to see him and he had a heart attack. ED Went - Again, Ed turns to the doctor. NURSE Dr. Geller, Dr. Stack wants to see you. DR. GELLER -LRB- to Ed. -RRB- Excuse me. NURSE -LRB- to Ed. -RRB- Could I get your autograph for my niece? ED -LRB- distracted. -RRB- Um. yeah. Jeanette enters. JEANETTE Al! How did you - AL The Burkharts drove me. Are you all right? JEANETTE -LRB- nervously. -RRB- I'm fine. I. AL Good. I got ta pee. He wheels off. Jeanette and Ed are left alone. ED -LRB- loud whisper. -RRB- What happened? JEANETTE It was horrible. He called me up. ED Who? JEANETTE Hank! He said he wanted to talk to me to apologize for everything he begged - he cried. So I went to this horrible hotel he was staying in. I felt so sorry for him - ED So you had sex with him? Jeanette GASPS. JEANETTE What? ED The doctor said you were having sex. JEANETTE -LRB- horrified. -RRB- To you? In front of him? -LRB- indicates Carlos. -RRB- With the. ED Yes. He assumed Hank was your husband. He did n't know. JEANETTE Oh my god! On TV! ED Why? How. JEANETTE One thing led to another. He was my husband once. ED But Al is your husband now! JEANETTE Do you think it's been easy for me? It's been years. Al ca n't have sex. ED Apparently, neither can Hank. What the hell did you do to him? Al comes rolling back, SINGING. AL `` Lovely Rita, the Meter Maid.",
"INT. TV STUDIO JEANETTE -LRB- whispers. -RRB- Do n't tell Al.. He does n't know. ED -LRB- points to the camera. -RRB- Well, he's the only one in America who does n't! OPRAH or RICKI or GERALDO or someone. OPRAH Women who remarry but have sex with their first husbands. on today's Oprah.",
"INT. TV STUDIO Our same panel of pundits. PANELIST #3 Ed's family is the tip of the iceberg. You watch the daytime tabloid shows it's the same thing. I'm telling you, America is fast becoming a trailer park. PANELIST #2 Let's not overstate the case. There are millions of hard - working, sensible, moral, educated people in this country. Not every family is like Ed's. REVEAL ED watching this discussion on TV.",
"INT. TV STUDIO DAVE OR JAY A CHART is set up with little pictures. DAVE/JAY So let's recap. The mother's too good at it, both brothers stink at it. -LRB- there's a drawing of a figure falling of a table. -RRB- The stepfather ca n't do it at all and the father did it but it killed him. -LRB- there's a drawing of a tombstone. -RRB- How did this family ever reproduce in the first place?",
"EXT. CEMETERY GATES - DAY Ed is driving Jeanette and Al to the funeral. A CROWD is held back by POLICE. Someone yells `` Adulterer''. Someone else tries to offer Ed a lunchbox. Someone else is carrying a sign `` What a Way to Go''.",
"EXT. CEMETERY - DAY Hank's COFFIN is being carried to his gravesite. Ed, Ray and Marcia are pall bearers. One of the others pall bearers is Ed's BODYGUARD. The OTHERS TWO are two guys who work for the mortuary. Carlos is shooting. ED -LRB- to Ray. -RRB- You're not going to talk to me? You're not even gon na say hello? RAY I have nothing to say to you. Ed gives up. He turns to Marcia. ED How are you doing? Is Cliff here? She does n't answer. Ed reacts. RAY Cliff left her, thanks to you. ED Me?! RAY That's right. You put Cliff on television. So then he decided he was too good for her and he left. ED I put his - who -. -LRB- to Marcia. -RRB- Look, Marsh, he's not that good a singer, he'll be back. MARCIA -LRB- too loudly. -RRB- That's not funny! Ed CRINGES.",
"EXT. GRAVESITE - A LITTLE LATER The service ends. The small group begins to walk away. Ray and Marcia go off together, ignoring Ed. Jeanette is attempting to wheel Al away from the grave, but she's hitting ruts. Ed approaches. ED I'11 take it. JEANTTE -LRB- to Al, uncomfortably. -RRB- Sweetheart, I'm gon na go ahead and sign all the papers. AL Right. She touches him but he pulls away. Ed wheels Al.. ED Are things gon na be okay with you and Mom? Is there anything I can - AL I'm moving out. ED What?! AL I'm going to be living with my brother. He's not in such good shape as I am, but. I'm looking forward to the pillow fights. ED -LRB- really upset. -RRB- Oh, Al. This is just. AL Hank was always good with the ladies. Always good - looking. Hell, he's been dead for two days, he still looks better than me. He stops wheeling and crouches down next to Al.. ED I want to tell you something. I love you. You're my father. Pause. AL I love you, too. Al KISSES him. AL -LRB- CONT'D. -RRB- I'11 build a pirate ship with you. Ed wheels him away.",
"INT. CYNTHIA'S OFFICE She's watching. She's genuinely moved. She wipes her eyes.",
"INT. BAR - NIGHT This place is sleazy. Ed enters, worn out. He crosses to the bar where we find, Jeanette nursing a drink. She's not drunk, but she is wallowing. ED Hi, Ma. JEANETTE -LRB- startled. -RRB- Ed! How did you know I was here? ED You're famous. Somebody called me. What are you doing in a place like this? JEANETTE Why should n't I be in a place like this? I'm a whore! ED -LRB- cringes. -RRB- Ma. JEANETTE I'm a tramp. -LRB- pulls on the sleeve of the man next to her. -RRB- Meet your new father. The whole nation is laughing at us! ED And how is this helping? come on say, good - night to all your new friends and let's go home. JEANETTE -LRB- exiting. -RRB- I'm a whore! -LRB- yells at an employee. -RRB- Your bathrooms are filthy! They're out.",
"EXT. BAR - CONTINUOUS Ed is helping Jeanette. Ray arrives. He's ANGRY. RAY I'11 take her. You humiliated our mother on national television. You've single - handedly destroyed this family. ED I - Oh, but that book you wrote was a real love - letter. That. toilet paper with covers. BYSTANDER #1 That book sucked. I want my money back. ED Oh great. Where's Moe? He looks around. Moe is gone. RAY Come on, Ma. ED -LRB- to Ray. -RRB- Let's remember how I got into this. `` Please, Eddie, do this for me. I ca n't get a break.'' -LRB- pretends to cry. -RRB- RAY You know what your problem is? ED Yeah. My problem is I've got a brother who writes a sentence like `` We grew up in a small, little bedroom.'' As opposed to a big, little bedroom? RAY I got paid by the word! No! Your problem is you do n't ever want anything to be your fault. ED Me?! That's you! RAY I commit. I take a chance. You wanted to be the guy on TV, but you did n't want to say you wanted to. So you have me talk you into it so you get what you want, but if it goes bad it's not your fault. BYSTANDER #2 Right. Like you say you love Shari, but, you would n't mind noodling that model. ED Moe! BYSTANDER #3 The truth hurts. ED Yeah? So does a kick in the nuts. RAY For once in your life, be honest with yourself. I know you, Ed. I know you look at me and Marcia and Mom and you think you're different. You're like `` How did I end up in this family?'' You're not different. you're worse. Because you have no guts. You drift around, you do n't commit, you make fun of me - okay. Just do n't kid yourself. -LRB- to Jeanette. -RRB- Let's go. JEANETTE You're both good boys. Ray and Jeanette leave.",
"INT. NETWORK CONFERENCE ROOM - DAY Ed is there along with Cynthia and the Network Execs. There are more execs than before. Cynthia's people are not there. This entire meeting is on ED TV. Cynthia is quiet - observing. Ed looks whipped. ED Three more months? MR. SCHARLACH Absolutely! Ed TV is more popular than ever. Congratulations. McILVAINE Only, Ed, we want you, in the next few weeks to spend a lot more time with your family. ED You do? SEAVER Definitely. Cynthia, explain it to him. Cynthia just stares at her, COLDLY. SEAVER -LRB- CONT'D. -RRB- I'11 do it. -LRB- to Ed. -RRB- People want to see what happens to them now. Do your mother and step - father get back together? How does your sister handle being alone? Your feud with your brother. SCHARLACH In fact, we have a new concept. Since your family signed releases, we can follow them on camera even when you're not with them. We can cut around from family member to family member. Whoever's the most exciting at that moment. McILVAINE And, of course, it's another big bonus payment for you. Pause. ED A couple of years ago my Uncle Roy got bit on the ass by a dog. Silence. What the hell is he talking about? ED -LRB- CONT'D. -RRB- So he gave me his tickets to the U.S. Open - the tennis matches. They still have no idea what he's talking about. ED -LRB- CONT'D. -RRB- So me and Ray, we tell our friends `` Watch when Andre Agassi is gon na serve for the first time. When he's bouncing the ball and it's real quiet, we'11 yell `` Whoop''. And you'11 all hear us.'' Pause. SCHARLACH I see. -LRB- he does n't. -RRB- ED You know what that is? It's sad. I mean it was just so we could be heard. So we could stand out from the crowd for a second. So we did it. But we had nothing to say. Just `` Whoop''. That's it. And the stupid part I mean the really stupid part is we thought it like. elevated us above the crowd. Where the fact is it made us stupider than the crowd. SCHARLACH I see. ED Stop saying `` I see.'' You do n't see. Cynthia, I owe you an apology. CYNTHIA I do n't think so. ED Yeah. Because, you did n't talk me into anything. Everything you wanted me to do, I wanted to do.",
"INT. SHARI'S PLACE Shari watching Ed TV.",
"INT. CONFERENCE ROOM ED -LRB- to the camera. -RRB- Ray, you were right. It's like in school. I was always saying `` the room was too hot, the teacher did n't like me'' - but it was me! Everything that's wrong with my life I did. Okay? So now this is it. My family has problems. Which are our fault. And TV is not the place to solve them. So I quit. I'm taking what very little dignity I've got left and I quit. Can someone validate my parking? Pause. SHOCK. MR. SCHARLACH Well, Ed, that's. not really possible. ED All right, I'11 pay for the parking. Big network! Scharlach speaks carefully - gently. He's aware of the camera. He does n't want to come off as a villain. SCHARLACH No, I mean you ca n't quit. Ed thinks. ED I ca n't? MR. SCHARLACH -LRB- very gently. -RRB- Well, no. You agreed to stay on the air as long as we asked you to. The station entered into this on that understanding. If you had refused we'd have begun this with somebody else. You ca n't just change the rules in the middle of the game, son. It's not fair to us. More importantly, it's not fair to the viewers. They're interested in you. They've devoted hours and days and weeks of their lives to you. ED Look, if you do n't let me out of this. I'11 just. I'11 just sit in my apartment all day. I wo n't go anywhere, I wo n't do anything. What kind of show will that be? MR. SCHARLACH Not too good. That's why it states in your contract that if you do not continue to live a normal life, you're in violation and are liable for the station's financial losses. Ed, I urge you to reconsider. I urge you on behalf of all those people out there whose lives have become so entwined with yours. Play fair with them, Ed. ED All right. Let them decide. He turns right to the camera. ED -LRB- CONT'D. -RRB- I'd like you all to do me a favor. Turn me off. Just grab the remote and change the channel. I mean, basically, all you're watching now is a guy deteriorate. The only thing missing is the smell. You're better than that Turn me off. Thank you.",
"INT. CYNTHIA'S OFFICE Greg bursts in, carrying a sheet of paper. GREG Ratings are up across the board. Look at this! -LRB- drones on. -RRB- Men 18 to 35, women 18 to 35. Cynthia stares, amazed.",
"EXT. STREET Ed WALKING ZOMBIE - LIKE - CROWDS SWARM.",
"INT. LAWYER'S OFFICE - DAY Ed is with STEVE, a lawyer. Steve has a huge contract on his desk. STEVE This contract you signed? It's a masterpiece. Do n't go to war with these guys. You fart in the wrong direction they can take everything you own and leave you naked by the side of the road. You ever going to get back with that Jill? Ooh - she was nice. Shari, I did n't like that much. -LRB- `` imitates'' a gabby girl. -RRB- `` yet - tet - tet - tet - tet - tet - tet.'' ED Shut up.",
"INT. DINER - NIGHT Ed is sitting alone, eating lunch. He's surrounded by cameras and shielded by BODYGUARDS. OUTSIDE the diner a CROWD of rubberneckers is out on the sidewalk, looking in at him, some of them acting up, some just staring in. Ed is tired. He glances out the window and makes a MONKEY FACE. Suddenly, he FREEZES. He sees Shari's face in the crowd. She puts her fist in her mouth.",
"EXT. STREET - NIGHT Ed and Shari are walking - on camera. SHARI",
"bailed. I bailed on you. ED Kinda'. SHARI It's what I do. I yell `` Geronimo'' and jump out of a relationship. He laughs. Pause. SHARI -LRB- CONT'D. -RRB- You were n't able to make me feel safe or secure - no easy job for any man, I admit - and my problem is, if I think I'm losing, I pull myself out of the game. I bail. See? I told you, I'm the love coroner. ED What did you do to your hair? SHARI My truck overheated, so I opened the hood and my hair got caught in the fan belt. So I had to get a haircut. ED It's nice. He touches her hair. They leap on each other. They're KISSING.",
"INT. NETWORK CONFERENCE ROOM - DAY Big meeting. Many Honchos, including Scharlach and Cynthia. All but Cynthia are focused. Cynthia looks bored. HONCHO #1 I think this could be great. What if Ed and Shari decide to get married? A wedding? The cute, little half - Asian nephew in a tuxedo, carrying the ring on one of those big fluffy pillows - we'11 kill. A sixty share. A secretary -LRB- MILDRED -RRB- enters. She's a little flustered. MILDRED Um. Mr. Scharlach, um - you're not watching TV? SCHARLACH No, Mildred, we're working. MILDRED Um. Ed - and Shari are - SEAVER Engaged? MILDRED No. Here. They're in the building. They're on their way up. Scharlach indicates that he wants someone to turn on the TV. Someone does and they see Ed and Shari coming down the hall. They enter the conference room. The cameras, of course, are with them. Ed is carrying a CARTON. ED Hi, kids. Busy? MUCH CONFUSION ED -LRB- CONT'D. -RRB- I just came up to pass out these Ed TV hats. He takes a lot of HATS out of the carton and begins placing on the heads of the Honchos. ED -LRB- CONT'D. -RRB- A guy made these up for me. He spelled Ed with two D's. Okay, listen. The real reason I came up here - and then I'11 get out of your way - is I've been thinking about what you said. About let's start having more fun with this show, you know? Let's give it a big kick in the ass. HONCHO #1 Well, we were thinking - ED -LRB- cheerfully. -RRB- Shut up. He takes back that Honcho's hat. ED -LRB- CONT'D. -RRB- Let's have a contest. Now this would mostly be open to professional investigators and detectives. But anyone can join in. SHARI -LRB- rehearsed. -RRB- What do we have to do? ED My lovely assistant, Shari. I'm glad you asked. The contest is who can dig up - legally, of course - I'm not suggesting that anyone break any laws - the most embarrassing and humiliating facts about any of the executives here at the North American Broadcasting System which owns Real TV. The Honchos staring blankly. ED -LRB- CONT'D. -RRB- But facts! They have to be verified. Anything from their past, their present, business, personal - arrests, affairs. And whoever comes up with the sleaziest, most degrading material - I'11 give you ten thousand dollars. And you get to be on Ed TV. -LRB- to the Honchos, excitedly. -RRB- Hah? SHARI So act now. Here's Ed's home phone number. She holds up a CARD.",
"INT. CONFERENCE ROOM It's packed with LAWYERS and EXECS. Everyone is agitated, except Cynthia, who seems relaxed - Ed and Shari are gone. SCHARLACH Legal?! How can this be legal? It's defamation! It's slander! It's. LAWYER Not, technically. He is not showing a reckless disregard for the truth. SCHARLACH You're fired! The meeting continues ANGRILY.",
"INT. CONFERENCE ROOM - LATER The Honchos are watching Ed TV. They look STRAINED, ANXIOUS. In Ed's home a BANK OF PHONES have been set up like for a telethon. Manning the phones are Ed, Shari, Ray, Marcia, Al and Jeanette. The PHONES KEEP RINGING. RAY -LRB- into phone. -RRB- Uh - huh. uh - huh. Really?! She was how old? In the conference room one of the Execs looks DIZZY. The CAMERA PANS to Al on the phone. AL -LRB- shocked. -RRB- He pays a prostitute to do what to him? I do n't even want that on my shoes. IN THE CONFERENCE ROOM FEAR and SHOCK, except for Cynthia, who is LAUGHING and ca n't stop. SCHARLACH Stop laughing or you're fired. She stops. Then she gets up. SCHARLACH -LRB- CONT'D. -RRB- Where are you going? CYNTHIA I've got this great idea. We put together a video. `` The Network Executives Goofiest Moments.'' And listen, i've really loved working here. On the word `` loved'' she shot Scharlach THE FINGER. She exits, LAUGHING.",
"INT. ED'S APARTMENT - NIGHT Ed is off the phone, ED Okay. We have a winner. Now please do n't feel badly if yours was n't selected. In our eyes, you're all winners. RAY And each contestant gets one of these. -LRB- holds up a tee - shirt with writing on it. -RRB- An `` I tried to screw a network executive'' tee - shirt. ED A hundred per cent cotton. Okay, here we go, Andy. Ed grabs a sealed ENVELOPE. Andy plays a DRUM ROLL - not terribly well. ED -LRB- CONT'D. -RRB- Andy's available for executions. And the winner is. As he opens the envelope.",
"INT. CONFERENCE ROOM The Executives staring, HORRIFIED.",
"INT. ED'S APARTMENT He takes out the card and registers mock - surprise. ED Hey, the winner is from right here in New York city. Carl Bowers a former orderly at the Martin Center - a clinic that specializes in, what they call, male enhancement procedures.",
"INT. CONFERENCE ROOM Scharlach's EYES WIDEN in HORROR.",
"INT. ED'S APARTMENT ED -LRB- to the camera. -RRB- How many of you know what a penile implant is? As it was explained to me, what happens is -",
"INT. CONFERENCE ROOM As Ed explains, Scharlach reaches for the phone, fumbling it for a moment.",
"INT. ED'S APARTMENT ED And the man of the hour - the executive with the winning secret the man who, thanks to the miracle of space - age science and a pump he keeps in his pocket, can now - A SHOT OF a television set tuned to Ed. Suddenly Ed is replaced by a Real TV logo. ANNOUNCER -LRB- V.O. -RRB- And that concludes Real TV's coverage of Ed TV. Stay tuned for new programming information. MUSAK",
"INT. CONFERENCE ROOM",
"INT. TV STUDIO An ENTERTAINMENT REPORTER.",
"INT. TV STUDIO The PANEL.",
"EXT. CHURCH ENTERTAINMENT REPORTER A spokesperson for Real TV announced that Ed received a check covering his four months on the air, his balloon payment and an additional bonus to show the Network's appreciation for all his - quote - hard work and loyalty - unquote. When asked - The Panel. PANELIST #1 In five years no one will even remember this person. PANELIST #4 Five years! Six months. He's the `` macarena.'' He's - A NEWS REPORTER is reporting on a wedding. REPORTER Marcia Pekurny, the woman known to most Americans as `` Ed's sister'' was married here today to Carlos Coto, who some of you may remember as the primary camera operator on `` Ed TV'' -",
"INT. TV STUDIO A news show. NEWS ANCHOR The current rage of `` Reality Television'' got a real dose of reality today. Lifestyle Televisions Joma was shot this evening, outside his apartment. Because Joma was on television twenty - four hours a day, Lifestyle's cameras were there to record the shooting. WE SEE Joma walking into his building. Somebody steps forward with a GUN. The ASSAILANT is jostled as he shoots and the bullet hits Joma in the ass. He falls to the sidewalk. JOKA Ohhhh! my ass! He shot me in the ass! The CAMERA PANS to the Assailant, who we might recognize as someone who we've seen following Ed from time to time. ASSAILANT Now I'm famous. REVEAL Ed and Shari watching this on television. ED I know him. I gave him an autograph. Shari turns it off. THE END"
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] | Television channel True TV is commencing interviews for a TV show that shows a normal person's life 24/7. This idea was thought up by a TV producer Cynthia (Ellen DeGeneres). They interview Ed Pekurny (Matthew McConaughey) and his brother, Ray (Woody Harrelson). When the producers see the interview Cynthia decides to use Ed and interviews only Ed. The show hits the airwaves under the title "Ed TV." It is a total failure at first, as only boring things happen and the producers want to pull the plug, except for Cynthia. Ed TV gets interesting suddenly on Day 3 when Ed visits Ray. Ed (along with the cameramen) discovers that Ray is cheating on his girlfriend Shari (Jenna Elfman). Ed then visits Shari to apologize to her for Ray's actions. Shari is very drunk and starts insulting Ray, by talking to the camera. She makes everyone laugh and gasp by saying "Ray was a bad lay." Ed tries to comfort Shari, and he reveals he has feelings for her. She then reveals she has feelings for Ed as well. They slowly move their faces closer and finally kiss each other. Ed then locks out the camera crew and proceeds to passionately kiss Shari for a while. Ed TV thus becomes extremely popular. At Cynthia's insistence Ed starts a relationship with Shari which is short lived, as Ed grows more interested in staying on TV and Shari is abused by viewers who find her unappealing. Ed then goes on The Tonight Show with Jay Leno and meets beautiful model/actress Jill (Elizabeth Hurley) who takes a liking to Ed. Ed then visits Shari and she tells Ed that she does not want to be with him until "Ed TV" stops airing. She then leaves town. Ed goes to the park with Ray and some friends to play football when Jill comes to talk to him, because Cynthia brought her in to earn more ratings. She invites Ed to dinner at her house. When he arrives at Jill's house, there is a massive crowd. They have a small talk, and then they kiss on top of a table. They are about to have sex, but then Ed falls off the table and squishes Jill's cat. Ed never sees Jill again. Ed's father Hank (Dennis Hopper), who abandoned his family when Ed was 13, unexpectedly visits Ed and informs him that he left because Ed's mother was having an affair with Ed's current stepfather, Al (Martin Landau). Ed is furious with his mother Jeanette, who had previously claimed that she'd only met Al after Hank left, and argues with her. Next, Ed gets a phone call telling him to come to the hospital. The doctor says that his father is dead and that he died making love to his wife. Ed assumes this means Al, but it’s actually Hank, who was having an affair with Jeanette. After the funeral, Ed becomes disheartened by the fact that the producers want him to stay on longer and that he cannot do anything to change their minds or he would be in breach of his contract. Ed is depressed until he catches a glimpse of Shari (in disguise wearing a wig and sunglasses). He chases her for a long time until she stops in the women's bathroom in a movie theater. She says she is staying with her brother as it is his birthday and she just wanted to see Ed. Ed vows to find a way to end the show to be with Shari. When Ed exits, one cameraman stays with Shari saying that it is the producers' new idea. The main cameraman tells him that all his family are being filmed, but they show the most interesting person, thus eliminating his family's right to privacy forever. Ed gets an idea on how to stop the main producer from showing the show: he says that he will give $10,000 to the person who can give him the best amount of "dirt" on the producers and that he will announce it live, with the desired result being they stop airing the show before he can make the announcement. As Cynthia feels sorry for Ed, she tells him a secret of the main producer. Ed announces the secret (that the man has to pump a liquid into his penis to get an erection) but before he can announce who it is they stop airing the show. After the camera crew finally leaves Ed's apartment, he and Shari renew their relationship and celebrate the fact that TV news panelists predict Ed will be forgotten in a short period of time. | EDtv |
[
"EXT. SUBURBAN STREET - NIGHT A quiet upper - middle class neighborhood. The CAMERA is at the curb, looking down the street. There are no sidewalks. Trees arch overhead. CICADAS drone on the soundtrack. The OPENING TITLES briefly FADE IN and OUT, framed by the trees on either side of the street. Footsteps are heard approaching. As the picture TITLE FADES, out of the dark emerges a GIRL 17 years old, carrying schoolbooks. This is JILL. CAMERA PANS with her ninety degrees as she comes to the front of a house and stops. Lights are on in the bottom half of the house, and the curtains across the windows are open. A single light burns in the upper right side of the house, presumable in a bedroom, but the curtains in the room are drawn. A scene TITLE appears on the lower half of the screen : 8 pm Tuesday, March 23, 1971. The TITLE FADES, and Jill heads up the walk to the front door of the house. The light in the upper floor of the house is turned off.",
"INT. HOUSE - FRONT HALL A middle - aged DOCTOR is standing at the foot of the stairs. His WIFE is descending the stairs, putting on her earrings. She is in an obvious hurry. WIFE Where's the girl? DOCTOR I only called her ten minutes ago - WIFE -LRB- passing into living room. -RRB- I made our reservation for 8:15. We're going to be late. The doorbell rings. DOCTOR Here she is now. He crosses to the front door and opens it. The girl smiles at him uncomfortably from outside. JILL Dr. Minakis? DOCTOR Mandrakis. It's okay. Everyone gets it wrong the first time. You're Jill? Come on in. JILL -LRB- entering. -RRB- Thank you. The wife comes back into the front hall. WIFE I've written the number of the restaurant on the notepad by the phone. -LRB- to Doctor. -RRB- Zip me up, will you please? -LRB- to Jill. -RRB- If we are n't home in two hours, it means we've decided to go on to a movie and wo n't be back until after midnight. Is that all right? JILL Sure. DOCTOR -LRB- helping wife on with her coat. -RRB- I've told my service to pick up any calls coming in to my office phone. WIFE The children are asleep upstairs - first door on your left at the top of the landing. They're both just getting over a cold - so try not to wake them. JILL Okay. WIFE Do you have any questions? Jill shakes her head. WIFE We have to go now. We're late. They cross to the front door and begin to exit. DOCTOR Make yourself at home. The refrigerator's loaded. WIFE -LRB- pulling doctor through the door. -RRB- Goodbye. The doctor pokes his head back through the door. DOCTOR We even have some low - fat yogurt. WIFE -LRB- O.S. -RRB- Will you please come on! DOCTOR Bye. The doctor pulls the door shut behind him. Jill turns toward the living room. Pause. She walks into the living room and sets her books down on a table with the telephone on it. O.S. we hear the car doors close, the engine start up, then the car backing out the driveway and heading down the street.",
"INT. DINING ROOM - LATER It is dark. O.S. we hear the phone in the living room being lifted off its receiver, a dial tone, then a number is dialed. Pause, then ringing. CAMERA SLOWLY DOLLIES from the dining room, across the front hall and into the living room where we see Jill talking over the phone to a girlfriend, NANCY. NANCY -LRB- O.S. -RRB- Hello? JILL Nancy? NANCY -LRB- O.S. -RRB- Hello, Jill? How's it going? -LRB- out of phone. -RRB- I got it, Dad! -LRB- beat. -RRB- Father! -LRB- into phone again. -RRB- Jesus Christ! My father's in one of his moods again. Male menopause, you know. So how are you? JILL All right. NANCY -LRB- O.S. -RRB- Are you over at Dr. Mandrakis'? JILL Yeah, I've been here for about an hour already. NANCY -LRB- O.S. -RRB- Is n't it a neat house? JILL I guess. I have n't looked around very much. NANCY -LRB- O.S. -RRB- Did you see his kids? JILL No, they were asleep when I got here. NANCY -LRB- O.S. -RRB- They're really cute. So what can I do for you? JILL You did n't happen to talk to Billy today, did you? NANCY -LRB- O.S. -RRB- Yeah, I talked to him. JILL Did he say anything about me? Pause. NANCY -LRB- O.S. -RRB- I do n't know what you did to him, or said to him, or what. but he's really pissed off at you! What did you do? JILL It's what I did n't do. NANCY -LRB- O.S. -RRB- -LRB- sarcastic. -RRB- Yeah, I can imagine. JILL Do me a favor, Nance. NANCY -LRB- O.S. -RRB- What. JILL Do you think you'll be talking with Billy some time tonight? NANCY -LRB- O.S. -RRB- Prabably. I'm going to the library in a few minutes. I just have to get out of this house! -LRB- beat. -RRB- Hey! Why do n't Billy and I come over there? He'll come along if I tell him to. JILL That is n't what I had in mind. NANCY -LRB- O.S. -RRB- You'll be safe with Billy. I'll be there. Come on. JILL Nancy, all you want to do is come over here and get drunk. NANCY -LRB- O.S. -RRB- Who? Me? JILL -LRB- mimicking. -RRB- Who? Me? NANCY -LRB- O.S. -RRB- You want to see Billy, do n't you?! JILL I've got a lot of work to do. I do n't want you coming over! Long pause. NANCY -LRB- O.S. -RRB- You know what your problem is, Jill, is you're so straight. I really mean that. You go to a private school, you wear a bra. No one can have a good time with you! -LRB- beat. -RRB- You know, Billy asked me to go out with him this weekend, and I was really really tempted because I like Billy. a lot. as much as you do. But I told him I could n't, that I did n't think it was right because you were my friend - JILL You are my friend. Pause. NANCY -LRB- O.S. -RRB- Yeah. I guess so. JILL Listen, just give Billy the number here, but do n't tell him I told you to. Okay? Pause. NANCY -LRB- O.S. -RRB- Okay. I've got to go now. JILL Okay, Nancy. Bye. And thank you. NANCY -LRB- O.S. -RRB- Yeah. Bye. Jill makes a face at the phone and hangs up. She tries to go back to her homework, but she can not.",
"INT. LIVING ROOM - LATER Jill is working now, diligently. The phone rings. She picks it up. JILL Hello? There is a brief pause ; then the line goes dead and a dial tone cuts in. Jill hangs up and goes back to work. Pause. The phone rings again. Jill picks it up. JILL Billy? A VOICE speaks on the other end of the phone. DUNCAN -LRB- O.S. -RRB- Have you checked the children? JILL What? The line goes dead. Dial tone. Jill hangs up and goes right back to work.",
"INT. LIVING ROOM - LATER Jill sits at the table as before, doing her homework, smoking a cigarette. The phone rings. Jill picks it up. JILL Hello? DUNCAN -LRB- O.S. -RRB- Have you checked the children? JILL Mrs. Mandrakis? The line goes dead. Dial tone. Jill hangs up and looks off into space, thinking. O.S. we hear a faint rattling noise from somewhere in the house. Jill hears it too. She stubs out her cigarette, gets up from the table and walks out of the living room.",
"INT. HALLWAY Jill enters the hallway and pauses. Then she starts walking slowly down the hall to the kitchen door. Again the rattling noise O.S., only louder this time. Jill stops dead, listens, then continues forward even more cautiously.",
"INT. KITCHEN As Jill enters. She can not find the lightswitch, so she stands in the darkness listening. Again the rattle, very close now. Jill turns her head sharply, then walks to the refrigerator and opens it. It is only the automatic icemaker creating the rattle. Jill takes a piece of cake from the refrigerator and leaves the kitchen.",
"INT. LIVING ROOM Jill is sitting at the table, polishing off the cake. Then, the phone rings. Jill stands up quickly and picks up the phone. JILL Hello! Pause. DUNCAN -LRB- O.S. -RRB- Have you checked the children? JILL Billy! I do n't think this is very funny! Pause. `` Billy'' does n't answer. JILL Who is this? The line goes dead. Jill stands frozen beside the table with the phone in her hand as the dial tone gets louder and louder.",
"INT. LIVING ROOM - MOMENTS LATER Jill is standing at the wet bar in the corner, pouring herself a drink. She samples the alcohol, does n't cough, and starts to pour a little more into the glass. The phone rings. Jill turns, then slowly walks to the table, kneels down and quietly picks up the phone and brings it to her ear. She waits and listens, a full three seconds. No sound comes to her. She quickly hangs up the phone before the silence can be broken by the voice she knows is waiting on the other end. Then, she shuffles through her books and papers on the table - top until she finds the notepad the doctor's wife has left for her with the name and phone number of the restaurant. Jill picks up the phone and dials. After several rings. MAITRE D' -LRB- O.S. -RRB- Golden Bull. JILL Hello, I'd like to speak to Dr. Mandrakis. This is his babysitter. MAITRE D' -LRB- O.S. -RRB- Hold on a minute. Jill waits for several seconds until the Maitre D' comes back on the line. MAITRE D' -LRB- O.S. -RRB- Hello? JILL Yes? MAITRE D' -LRB- O.S. -RRB- Dr. Mandrakis left the restaurant about forty minutes ago. JILL Forty minutes? MAITRE D' -LRB- O.S. -RRB- That's right. JILL -LRB- after a beat. -RRB- Okay. Thank you. She hangs up, thinks for a moment, then picks up the phone again and dials `` O''. OPERATOR -LRB- O.S. -RRB- Operator. JILL Hello, Operator? Can you get me the police? OPERATOR -LRB- O.S. -RRB- Is this an emergency? JILL Yes! -LRB- beat. -RRB- No, not really. OPERATOR -LRB- O.S. -RRB- The number is 555 - 9431. Would you like me to connect you? JILL Please. Pause. MAN'S VOICE -LRB- O.S. -RRB- Seventh Precinct, Sergeant Sacker. JILL Hello, I've been getting phone calls, every fifteen minutes or so. I think it's a man. He's trying to scare me. SACKER -LRB- O.S. -RRB- An anonymous caller? JILL That's right. SACKER -LRB- O.S. -RRB- Has he threatened you? JILL No. SACKER -LRB- O.S. -RRB- Has he been using obscene language? JILL No. He just keeps calling me. Sometimes he does n't say anything. SACKER -LRB- O.S. -RRB- There's really nothing we can do about it down here. Is the phone listed in your name? JILL No, I'm just the babysitter. SACKER -LRB- O.S. -RRB- It's probably just some weirdo. The city's full of them. Believe it or not, we get reports like this every night. It's nothing to worry about. JILL Oh. SACKER -LRB- O.S. -RRB- Have you tried whistling? JILL What? SACKER -LRB- O.S. -RRB- If you can find a good loud whistle somewhere in the house, blow it into the phone hard, next time he calls. Probably break his eardrum. He wo n't bother you after that. JILL No, I. You're probably right. It's nothing to worry about. SACKER -LRB- O.S. -RRB- Or you could just take your phone off the hook. JILL No, the people I'm babysitting for might try to reach me. SACKER -LRB- O.S. -RRB- Well, as I say, there's nothing we can really do to help you down here. JILL Okay. Thank you. SACKER -LRB- O.S. -RRB- You bet. Goodnight. JILL Goodnight. Jill hangs up. After thinking for a moment, she tries a couple of ways of whistling as loud as she can, but frustrated and feeling foolish, she soon gives up.",
"INT. LIVING ROOM - LATER Jill is sitting in an armchair facing the TV set. The TV is on, but she is bored. She runs through several channels, then gets up and turns the TV off. She looks around and moves aimlessly back to the table, but O.S. a dog is barking and she is drawn to the window. A car passes outside, its lights reflecting off the window and Jill's face. Then the phone rings. Jill moves quickly from the window to the table and answers the phone. JILL Hello? Pause. DUNCAN -LRB- O.S. -RRB- Why have n't you checked the children? Stunned, Jill hangs up the phone. She turns and goes slowly back to the window. She pulls the shutters closed in front of the window. Then she walks out of the living room.",
"INT. FRONT HALL Jill goes to the front door, turns the bolt and draws the chain across the door. Then she starts to go upstairs. The phone rings. She stops halfway up the stairs. She turns and comes back down the stairs to answer the phone, but then thinks better of it. She sits on the bottom step and lets the phone ring and ring. Finally, it stops. Jill gets up and heads into the living room.",
"INT. LIVING ROOM Jill goes to the table, picks up the phone and dials. SACKER -LRB- O.S. -RRB- Seventh Precinct, Sergeant Sacker. JILL I called you before. about the man who keeps calling me? SACKER -LRB- O.S. -RRB- Oh, yeah. JILL He called me again. SACKER -LRB- O.S. -RRB- Did you try whistling? JILL No, he's out there somewhere. SACKER -LRB- O.S. -RRB- Out where? JILL In the neighborhood. He's been watching me. through the windows. SACKER -LRB- O.S. -RRB- Did you see him? JILL No. I know he's there. SACKER -LRB- O.S. -RRB- Is the house locked up? JILL Yes. SACKER -LRB- O.S. -RRB- And the windows? JILL Yes. Everything. SACKER -LRB- O.S. -RRB- Then you're safe. If he wanted to break in, he would n't be calling you. Pause. JILL Please, ca n't you help me? I'm all alone. SACKER -LRB- O.S. -RRB- Tell you what. If this guy calls you again - JILL He will call again! I know he will! SACKER -LRB- O.S. -RRB- Okay, calm down now. I can alert the phone company so that if he calls again we can try to trace the call. What's your number there? JILL 555 - 0672. SACKER -LRB- O.S. -RRB- And the address? JILL 3317 Oakridge Drive. SACKER -LRB- O.S. -RRB- Oh, yeah, I know where that is. All right. If the guy calls again, try to keep him on the line for at least a minute so we can trace the call. JILL But he never stays on that long! Sometimes he hangs up after just a couple of seconds. SACKER -LRB- O.S. -RRB- It's the only way we can help you. -LRB- beat. -RRB- By the way, what's your name? JILL Jill Johnson. SACKER -LRB- O.S. -RRB- Jill, the important thing is to relax. You're safe where you are. We've got patrolmen cruising the area all night long. Just stay calm. Will you do that for me? JILL Yes. SACKER -LRB- O.S. -RRB- In the meantime, we'll be watching your line. Okay, Jill? JILL Okay. SACKER -LRB- O.S. -RRB- Call again if there's any problem. JILL Thank you. SACKER -LRB- O.S. -RRB- Goodnight. Jill hangs up the phone and looks forlornly off into space.",
"INT. LIVING ROOM - LATER Jill is sitting on the sofa, a drink in one hand, a cigarette in the other. She is waiting. She sets her glass down, stubs out the cigarette, leans back and sighs. She is very tense. Then the phone rings. She rises from the sofa and slowly crosses to the table. She sits down and picks up the phone. During this conversation it becomes apparent that the VOICE has a slight English accent. JILL Hello? Pause. DUNCAN -LRB- O.S. -RRB- It's me. JILL I know. Who are you? Pause. No answer. JILL I wo n't be here much longer. The doctor and his wife are coming home soon. DUNCAN -LRB- O.S. -RRB- I know. JILL Can you see me? DUNCAN -LRB- O.S. -RRB- Yes. JILL -LRB- turning toward the window. -RRB- I'm sorry I turned the lights down. It did n't work anyway. I can turn them back up if you like - DUNCAN -LRB- O.S. -RRB- Do n't. JILL Do n't? -LRB- beat. -RRB- You've really scared me. Is that what you wanted? -LRB- beat. -RRB- Is that what you wanted? DUNCAN -LRB- O.S. -RRB- No. JILL What do you want? DUNCAN -LRB- O.S. -RRB- Your blood. all over me. Pause. Jill is terrified. JILL You do n't know me. You do n't know who I am or where I live. I'll get Dr. Mandrakis to drive me home. Him or the police. DUNCAN -LRB- O.S. -RRB- You've called the police? Pause. Jill searches for some way of answering him. JILL I want to talk to you. The line goes dead. Jill hangs up. She stands. She starts to shake. The phone rings and Jill snatches it up. JILL Leave me alone! SACKER -LRB- O.S. -RRB- Jill, this is Sergeant Sacker! Listen to me! -LRB- beat. -RRB- We've traced the call. It's coming from within the house. A squad car's on its way over there now. just get out of that house! Jill hangs up. She stands frozen in shock. Several seconds go by. She does n't move. Then the phone rings. She turns and tiptoes toward the front door. Halfway there, the phone stops ringing. She pauses for a second, then continues.",
"INT. FRONT HALL Jill reaches the front door. Carefully, quietly, she turns the bolt. Then O.S. she hears a creak. She turns and looks up the staircase. At the top, a door is opening. Someone is coming out! A mumbling sound is heard on the sound track. Jill whirls around back to the door and yanks at it. It opens, but only an inch. The chain is still across it! She frantically works to get the chain free. After agonizing seconds, the chain falls clear and the door swings open. Standing there on the other side of the door, is a police Detective, JOHN CLIFFORD. -LRB- We have cut ahead in time some twenty or thirty minutes. -RRB- Behind him on the street, several patrol cars and an ambulance are pulled up at the curb, their domelights silently flashing. CLIFFORD Are the parents here yet? COP'S VOICE -LRB- O.S. -RRB- Yeah, they arrived about ten minutes ago. CLIFFORD Christ! -LRB- beat. -RRB- What a homecoming! COP'S VOICE -LRB- O.S. -RRB- They wanted to talk to someone. I asked them to wait until you got here. Come on in. Clifford sighs and steps into the front hall. The door is closed by the uniformed COP with whom Clifford has been speaking. The cop is a man in his thirties. His name is CHARLES GARBER. Garber and Clifford stand in the front hall and talk as POLICEMEN and AMBULANCE ATTENDANTS move around them. In the living room beyond can be seen several other POLICEMEN, Dr. Mandrakis and his wife. GARBER We were only a block away when the call went out. When we got here, the guy was still waiting upstairs in the children's bedroom. He was covered with blood. CLIFFORD Blood? GARBER Not his own. The children had been dead for several hours. CLIFFORD Jesus. GARBER He'd been using an old phone in their bedroom that the parents had never had disconnected. CLIFFORD Who is he? GARBER We found a Merchant Seaman's card on him. He's English. Entered the country less than a week ago. CLIFFORD How about the babysitter? GARBER She's going to be all right. As Garber delivers his final line, we see ambulance attendants dressed in white, taking a sheet - covered stretcher out the front door.",
"EXT. STREET - LATER AFTERNOON An upper - class neighborhood. The CAMERA is facing down the street. A car approaches the intersection at the end of the block, turns and comes slowly up the street. Because it is not a new car or an expensive car, and because it is moving at a rate which suggests that its sole male occupant is looking for house numbers, we can assume that the DRIVER is a visitor to this neighborhood. The CAMERA PANS with the car ninety degrees as it turns into the semi - circular driveway of a mansion and rolls up to the front door. A TITLE appears across the bottom of the screen : 4:30 pm Thursday, April 20, 1978. As the TITLE FADES, the driver shuts off the car engine and opens the door to get out.",
"INT. MANSION - DAY The doorbell rings. A HOUSEBOY comes into the front hall, goes to the door and opens it for the visitor. It is John Clifford, the detective from six years ago. He has aged noticeably over the years. His hair is grayer, his stance not so aggressive, but his eyes still smoulder with the accumulated frustration of having spent years in an uncertain, sometimes unsatisfying, and frequently unsafe occupation. No words are exchanged as the houseboy leads Clifford across the entrance hall and up an imposing flight of stairs. Still keen in his observation of things, Clifford quickly takes in this new atmosphere. The house is richly decorated but with an underlying theme of melancholy. There are no bright or cheerful furnishings, and the houseboy advances with guarded tread, his face steady and reverent. The houseboy stops before a door at the top of the staircase and raps lightly on it with his knuckles. Without waiting for an answer, he opens the door and steps aside for Clifford to enter. Clifford pauses briefly, then walks into what appears to be an upstairs study.",
"INT. STUDY - DAY A MAN is sitting behind a desk which faces the door. Presumably he is the master of the house. Although his face is hidden in shadows, we can see from his hands that he is engaged in writing something down. Clifford quietly approaches the desk and takes a seat in front of it. Then, vaguely in keeping with the spirit of the house, he waits to be spoken to rather than interrupt the pervasive stillness. After a moment, the master of the house lays down his pen and leans back in his chair. Pause. MASTER So you're in business for yourself now. CLIFFORD -LRB- quietly. -RRB- Yes, sir, for the past three and a half years. MASTER That's good. -LRB- beat. -RRB- And you'd heard about Curt Duncan's escape? CLIFFORD Oh, yes. MASTER Do you think the police will. find him? Pause. CLIFFORD I know they have n't assigned anyone to it specifically. It's an old case. MASTER -LRB- a tinge of bitterness. -RRB- An old case. -LRB- beat. -RRB- Can you find him? CLIFFORD Yes. Maybe not tomorrow, maybe not this week, but I'll find him. MASTER He could be anywhere by now. CLIFFORD I do n't think so. because he's a foreigner. He'll come back to the city. After six years in confinement, it's the only place that's familiar to him. That's important. Pause. MASTER A man murders two children in cold blood. A jury declares him insane. How could such a person not be? Clifford lowers his eyes, does n't answer. MASTER He is sent to a state mental institution where the security is. less than perfect. And he escapes. It. it is n't fair. The master of the house leans way forward over his desk, and his face comes out of the shadows and into the light. It is Dr. Mandrakis. He seems much older. His complexion is pallid. His eyes stare out from beneath his brow like a wounded animal hiding in a dark cave. MANDRAKIS A thing like that should never be allowed to happen again. CLIFFORD I could n't agree with you more. They look at each other for a long moment of acknowledgment. Then Mandrakis stands up with a sigh. MANDRAKIS Go ahead then. My accountant will contact you. Clifford stands and they shake hands. CLIFFORD Thank you. -LRB- beat. -RRB- How is Mrs. Mandrakis? MANDRAKIS She is. unable to have any more children. CLIFFORD I'm sorry. Please give her my best. MANDRAKIS Of course. Clifford turns to go.",
"INT. MANSION - STAIRCASE & ENTRANCE HALL As Clifford finds his own way down the stairs and out the front door. A WOMAN watches Clifford leave from the back of the staircase. It is Mrs. Mandrakis. As with her husband, the change in her is remarkable. She is now a brooding, barren woman. O.S. the front door closes. Clifford is gone. Mrs. Mandrakis walks around the front of the stairs and begins slowly ascending them. The houseboy silently steps into the entrance hall from a side door and watches her.",
"INT. A HALLWAY - MENTAL INSTITUTION - DAY A male PATIENT wearing green, institutional pajamas and slippers shuffles slowly up the hall. His movement is catatonic, unfocused. Canned Musak faintly underscores the scene. MAN'S VOICE -LRB- O.S. -RRB- Curt Duncan is n't going to run right out and kill more children. I'm not worried about that. ANGLE ON CLIFFORD Standing in the doorway of an office, facing into the hall, watching the patient. MAN'S VOICE -LRB- O.S. -RRB- We had him for six years. under continuous therapy, some of it rather forceful. ANGLE ON PATIENT Moving past CAMERA. He is really out of it. It is a depressing, vaguely unnerving sight. MAN'S VOICE -LRB- O.S. -RRB- and drugs. tranquilizers depressants, lithium. ANGLE ON CLIFFORD He turns and goes back into the office.",
"INT. OFFICE - DAY We see now the MAN who's been talking - the director of the State Hospital, DR. MONK. He is sitting comfortably behind his desk ; his jacket off, his tie loosened, his feet up on the desk. He is very matter - of - fact. DR. MONK Eventually, anyone will respond to the treatment here. Clifford sits down in front of the desk, picks up a folder and leafs through it. CLIFFORD You gave him electric shock? DR. MONK Yeah, we zapped him a few times. It's fairly standard. CLIFFORD It says here thirty - eight. thirty - eight times. Monk shrugs, then yawns expansively. He need n't justify himself to the layman. CLIFFORD What will happen to him now, without the drugs he was on? DR. MONK'S SECRETARY enters the office and hands him a folder. Without interrupting the delivery of his lines, Monk takes the folder, opens it, initials something on the inside, closes the folder and hands it back to the secretary who turns and leaves the office without uttering a word. DR. MONK There'll be some deterioration. That's inevitable, but we ca n't say how much. Pause. Clifford looks at the doctor as if questioning his casual assessment of `` some deterioration.'' CLIFFORD During the time that you had him here, did you discover any particular habits of his, peculiarities, quirks, anything that might help me find him? DR. MONK -LRB- shrugging again. -RRB- It's all in the folder. CLIFFORD Any letters from people back in England? Family? DR. MONK That, too, is in the folder. Clifford directs a bleak look back down at the open folder, then looks up again, his eyes narrowing. CLIFFORD Let's get something straight here, Doctor. I've been 33 years in the business of tracking people down and putting them away. I spent almost a year on Curt Duncan alone, with the trial, the testimonies, the background investigations. I did n't come here today to look in your goddamn folders. In fact, I would n't have come here at all if you'd done your job right. Pause. DR. MONK Mr. Clifford, this is a hospital, not a penitentiary. Everything that pertains to one of our patients is meticulously recorded in that patient's folder. whether you can make sense of it or not. They glare at each other for several seconds. Monk is the first one to look away. DR. MONK Curt Duncan is a classic paranoid - schizophrenic. They see themselves as victims, and they always blame other people for the way they are. When Duncan killed the Mandrakis kids, it was n't an act of hostility against the children but against their parents. He was getting back at his own parents for traumas he suffered in early childhood. The criminal side of Curt Duncan is one of terrible, symbolic vengeance. CLIFFORD -LRB- looking up. -RRB- Assuming he is n't found right away. what will happen to him? Monk rises and walks to a window. DR. MONK I think you'll find him. Somebody will find him. He ca n't function out there. He'll make a mistake. -LRB- turning to face Clifford. -RRB- This is where he belongs. After six years in here, he's suddenly gone out to confront the world again. I think he's in for a bit of a shock. Monk looks back out the window.",
"EXT. CITY STREET - LATE AFTERNOON Not a terribly good section of town. We are looking at the nondescript exterior of a bar across the street.",
"INT. BAR This is not a slum bar, but it's close. There are a few tables and chairs and a pool table in the back. The atmosphere is quiet, almost depressed, and the handful of REGULARS here are exercising their privacy without having to be alone. They include : HANK, the bartender, also the owner, who absently polishes things with his cloth ; TRACY, an unemployed woman in her mid - forties who sits at the bar with a drink and a cigarette and silently rummages through her current feelings - none of them new or particularly hopeful ; a COUPLE, probably retired, sitting at the same table they come to every afternoon at this time - him for his beer, her for a glass of sweet white wine ; and BILL, at the pool table, a young man lithe and powerful, minding his own business and playing his game of pool with a steady, aggressive concentration. RETIRED MAN Rackin''em up today, Bill? Pause. BILL -LRB- over his shoulder. -RRB- Doin' all right. The old man smiles stupidly around the room. He racked'em up a little in his day, too. His smile fades as he looks at his wife. He takes a sip of beer and lapses into memories. Then the door opens to the outside and the yellow - orange light of late afternoon floods into the bar. The regulars turn to glimpse who's coming in. They see the figure of a MAN silhouetted in the doorway. He stands there for a long moment, not coming in. Finally even Bill interrupts his game to turn and look. HANK C'mon in and shut the door. The intruder enters, indecisively. The door swings shut behind him, plunging the room back into darkness. This man is `` a little weird'', and the regulars continue to stare at him until he makes his way to a table near the wall and sits down. Then everyone returns to his own thoughts. HANK -LRB- after a moment. -RRB- What'll it be? -LRB- pause, no answer. -RRB- Hey! What'll it be? CLOSEUP - INTRUDER A bit startled, a bit defensive toward the directness of this question. It is Curt Duncan. He looks understandably harried. He has n't slept or shaved in at least a couple of days, and is wearing regular clothing. He clears his throat to answer. CLIFFORD -LRB- O.S. -RRB- What kind of clothes was he wearing. when he escaped?",
"INT. DR. MONK'S OFFICE -DAY Clifford is looking through the folder again. DR. MONK Ordinary street clothes. Not all of our patients have to wear the green Gucci gowns. CLIFFORD Did he have any money with him? DR. MONK Probably. But not more than, say, fifty dollars. Some of the patients are given little jobs around the ward, for which they are paid. It's part of the rehabilitation. Looking down, Clifford pauses over a page in the folder. CLOSEUP - FACT SHEET IN FOLDER A page of legibly organized facts and statistics about Curt Duncan. One of the entries reads : Guy du Marraux. CLIFFORD -LRB- O.S. -RRB- -LRB- reading. -RRB- What's Guy du Mar - DR. MONK -LRB- O.S. -RRB- -LRB- pronouncing it correctly. -RRB- Guy du Marraux syndrom. BACK TO SCENE DR. MONK It's a psycho - motor dysfunction. CLIFFORD Duncan had it? DR. MONK Only from time to time, which is unusual. CLIFFORD What is it? DR. MONK It attacks the nervous system. People suffering from it are irresistibly compelled to utter obscenities, sometimes one, sometimes a whole string of them. They ca n't control it. CLIFFORD -LRB- somewhat taken aback. -RRB- Are you being serious? DR. MONK Yeah. Here, I'll give you an example. He opens a file cabinet drawer, finds a reel of quarter - inch magnetic tape and starts to thread it through a recorder on his desk. DR. MONK Duncan never had the twitch that sometimes goes with it. And with Duncan, as I said, the disease would only manifest itself in periods of extreme anxiety. When he was really flipping out, in other words. There is a pause as Monk fiddles with the tape recorder and Clifford looks back down at the folder. CLIFFORD Duncan was Catholic? DR. MONK Yeah. -LRB- beat. -RRB- So am I. CLIFFORD -LRB- mildly surprised. -RRB- That makes three of us. DR. MONK Is that right? So we all share the same guilt. Clifford smiles. Monk keeps fiddling. DR. MONK Here. This is Curt Duncan shortly after he was admitted here in 1972. Monk turns on the tape recorder as Clifford sits forward in his chair to listen. At first, nothing can be heard. Then there is a click as if the machine was turned on in the middle of a conversation : DR. MONK -LRB- O.S. -RRB- - to put the situation right. The hypodermic needles are only used to give you medication that will calm you down. They make you feel good, relaxed. All right? -LRB- no answer. -RRB- We're not putting anything in your food either. The food is just food. DUNCAN -LRB- O.S. -RRB- -LRB- extremely agitated. -RRB- No. I do n't eat the food. It does n't taste right. DR. MONK -LRB- to Clifford. -RRB- That's Duncan. Clifford nods and keeps listening : DR. MONK -LRB- O.S. -RRB- Curt, why are you fidgeting? Ca n't you get comfortable? DUNCAN -LRB- O.S. -RRB- No, I'm not comfortable! DR. MONK -LRB- O.S. -RRB- Wait a - Hey! -LRB- to someone else. -RRB- Hold him down there. Grab him! Never mind the chair! There are scuffling noises underneath which can be heard, heavy breathing and then, getting louder and more furious, Duncan falling into the throes of Guy du Marraux. DR. MONK -LRB- O.S. -RRB- -LRB- periodically interjecting. -RRB- Pull him down. That's right. Just lay him out. Lay him right out. Steady. Pull out his knees. Finally Monk is heard no more and Duncan continues with the frightening verbal torrent of Guy du Marraux.",
"INT. BAR - LATE AFTERNOON - CLOSEUP - DUNCAN Sitting at his table inside the bar. He takes a long, noisy drink from what looks like a bourbon on the rocks. It tastes good, being the first real drink he's had in over six years. But Duncan can not relax enough to enjoy it fully. His eyes are ever restlessly, suspiciously moving about. ANGLE ON BAR As Bill walks up and stands next to Tracy. Hank moves off to get Bill another beer. Tracy looks up at Bill and smiles. As regulars at the same bar, they are loose and comfortable with each other. TRACY -LRB- sotto voce. -RRB- A little action for your game? BILL -LRB- sotto voce. -RRB- What, him? They both turn and look across the room at Duncan. POV - DUNCAN As Bill and Tracy look straight at him over their shoulders and then turn back. ANGLE ON BAR As they both smile at her joke. TRACY I would n't bet against you. BILL What's the matter? You do n't like me playing with myself? Tracy grimaces as Hank comes back with Bill's beer. Bill picks up the bottle, nods his thanks to Hank and heads back to the pool table. CLOSEUP - DUNCAN As his eyes follow Bill to the pool table, then come back to Tracy at the bar. POV - DUNCAN Looking at the back of Tracy. She reaches into her purse. ON TRACY She takes her pack of cigarettes from the purse. She pulls out a cigarette, taps it lightly on the bar, puts it to her lips. O.S. we hear the sound of a match being struck. WIDER ANGLE Duncan is standing beside her holding a lit match. He shoves it forward at her. It goes out. Duncan fumbles for another match as Tracy regards him with undisguised repulsion. Duncan gets the second match lit and holds it out for her. She accepts the favor and lights her cigarette. Duncan smiles. Tracy nods and turns away. Duncan is still holding the burning match for her to blow out. As it does n't look like she's going to, he lets it drop, still lit, to the floor. REACTION SHOT - BARTENDER He gives a look as if to say, `` Jesus, what a fuckin' weirdo''. TWO SHOT - DUNCAN AND TRACY Pause. Duncan is still smiling at her. DUNCAN Hi. No response. DUNCAN What you been up to? TRACY -LRB- looking at him. -RRB- My own business. -LRB- beat. -RRB- Thanks for the light. Okay? The Englishman sits down beside her, but does n't look at her. Tracy looks away too, determined to ignore him, not to let him get into her space. Duncan coughs. After a long moment, he turns back to her. DUNCAN Next round's on me. Tracy keeps her eyes straight ahead, acknowledging nothing. Pause. Duncan takes some money from his pocket and lays it on the bar, staring at her. Tracy turns to him : TRACY -LRB- annoyed. -RRB- Listen, mister, I've got my own money. So, if you do n't mind. She looks away again. Pause. DUNCAN After what I been through, I do n't mind anything. Longer pause. DUNCAN See, that's the whole point. My mind. Your mind. Where do they fit in? You know what I mean? Tracy abruptly picks up her purse and moves down the bar away from him one seat, then another seat. ANGLE ON ELDERLY COUPLE They are watching this little spectacle with growing curiosity. ANGLE ON DUNCAN Still looking at her. By pointing at what she has, he orders two more drinks from the Bartender. When they arrive, he takes a big swallow from one, picks up the other, stands, moves down the bar and sits beside Tracy again. DUNCAN -LRB- setting her drink before her. -RRB- Do you live around here? TRACY Get offa me! REACTION SHOTS Even Bill now looks up from the pool table. His expression darkens. ANGLE ON BAR Tracy has clammed up - her elbows on the bar, head between her elbows, arms covering her ears, hands clasped behind her neck. Duncan looks at her nervously and starts to talk again : DUNCAN -LRB- rapidly. -RRB- Listen, I did n't mean nothin'. I do n't live around here. See -? BILL -LRB- O.S. -RRB- I think the lady wants to be left alone. Duncan looks up. Bill enters the frame and stands in front of Tracy, confronting Duncan. CLOSEUP - DUNCAN Looking up at Bill, his eyes red, his gaze unsteady. WIDER ANGLE The air is charged with tension. BILL I think an apology is in order. Duncan does n't know how to handle this. He looks at Bill, half shrugs, half smiles. BILL That the best you can do? Duncan looks away. A long moment passes. BILL I think you'd better just move along, pal. Duncan does n't move, says nothing. He swallows hard. HANK He'll be okay now, Bill. He just - BILL No! I want him out of here! The bartender steps back, deciding to mind his own business. Tracy gets up from her seat and cautiously moves even further down the bar. BILL -LRB- to Duncan. -RRB- Go on, beat it. They glare at each other. The longer Duncan sits there without moving, without saying anything, the angrier Bill gets. REACTION SHOTS As the tension builds. ANGLE ON BAR Duncan looks away. BILL I'm not going to say it again, mister. Duncan reaches for his drink, but Bill reacts quicker. With a swipe of his hand, he knocks the glass off the bar, and it shatters on the floor behind the bar. Duncan sits there, stunned, not looking up. After a long moment, Duncan coughs. Then he turns and looks at Bill. He purses his lips. It looks like a nervous facial movement. Then suddenly, Duncan spits at Bill, hitting him square in the face. Before anyone can register what's happened, Bill lunges at Duncan, knocking him clean off the barstool and onto the floor. The fight is fast, vicious and one - sided from the very start. Pinned to the floor on his back, Duncan flails his arms ineffectually like a panicked insect as Bill holds him in place with a left - handed grip on the collar while his powerful right arm, pumping up and down like a piston, pounds into Duncan's face time and time again. Duncan's screams diminish into pathetic, sickening groans and the others in the bar are compelled to avert their eyes from this brutal spectacle. Hank has picked up a phone from beneath the bar and is dialing a number. He turns away from the fight to talk. Then, as suddenly as Bill first sprang at Duncan, he leaps to his feet and turns to the bar. He reaches over and grabs the phone from Hank, slamming it down into the cradle. BILL Who're you calling? Bill takes the cloth from the bar and vigorously wipes his face off. He snaps his fingers and points to a row of bottles on a shelf behind the bar. Hank quickly hands him a bottle. Bill pours himself a shot and downs it, fast. He is still charged with adrenaline and he takes two more shots in rapid succession, spilling the alcohol on the bar and on himself. As Bill picks up the cloth to wipe himself off again, Tracy stands up and quickly walks out of the bar, slamming the door behind her. BILL -LRB- calling after her. -RRB- You're welcome, baby! Then he throws down the cloth, picks up the bottle, turns and, standing over Duncan's inert form, empties half the bottle onto him. He sets the bottle back on the bar. He grabs Duncan and, half dragging, hurries him out the back door and throws him into the alley where Duncan falls in a heap. Bill storms back up to the bar and pours himself another drink. BILL -LRB- to Hank. -RRB- Okay? Hank just looks at him, does n't answer. At the wife's silent insistence, the elderly couple stand up to go. OLD MAN Good riddance to bad rubbish, eh, Bill? Bill does n't answer and the couple quietly leave. HANK -LRB- apologetic. -RRB- A fight breaks out, there's gon na be damages. Insurance company does n't pay without a police report. BILL You see any damages? Hank lowers his gaze to the floor. Bill finishes his drink. He is still very hopped up. He pulls a few dollars from his wallet and drops them on the counter. BILL See ya ` round. He turns and strides out of the bar. CAMERA HOLDS for a beat on Hank alone now in his empty establishment. The phone starts to ring, presumably the police calling back. After several rings, Hank picks up the phone and listens. HANK -LRB- into phone. -RRB- No, it's over now.",
"INT. LT. GARBER'S HOUSE - NIGHT All the lights are out inside the house, but we should just be able to see that we are in the hall, looking at the front door. Footsteps approach on the walk outside. A key slips into the lock. Inside the house we can hear faint whispering. Someone is moving about in the darkness. Then the door swings open and the shadowy figure of a MAN crosses the threshold. He stops just inside. MAN -LRB- calling out. -RRB- Donna. Donna! Hey! -LRB- under his breath. -RRB- What the hell -! Suddenly the lights come on and a chorus of voices cry out, `` SURPRISE!'' A broad smile breaks across the man's face. We may recognize him as the cop from six years ago - Charles Garber. Today he is a lieutenant on the force and dresses casually for work, usually in slacks, turtleneck and jacket. GARBER -LRB- genuinely surprised. -RRB- What is all this?! SCATTERED VOICES Happy birthday, Charlie! Garber looks sheepishly at his hand holding the pistol he'd drawn just before the lights came up. WOMAN'S VOICE Look at him! MAN'S VOICE Do n't shoot us, Charlie! GARBER -LRB- chagrined. -RRB- How was I supposed to know? Everybody starts to laugh, including Garber as he returns the pistol to his shoulder holster. ANGLE ON DONNA Garber's wife. She comes out of the kitchen carrying a birthday cake with lit candles and makes her way through the crowd of GUESTS singing `` Happy Birthday''. Everyone joins in as Donna moves forward and stands beside her husband. Clifford is one of the guests. He has his arm around a young BLOND who is sort of pretty despite her tacky/plastic appearance. When the song is over, Garber blows out the candles and hugs and kisses his wife. Everybody cheers.",
"INT. GARBER'S HOUSE - STAIRWAY - SEVERAL HOURS LATER The party is still in full swing. Garber is following Clifford up the stairs. They are both fairly loaded by now. Garber, in particular, has reached that stage of inebriation where standing still is pretty hard to do. GARBER Will you tell me what this is about, Cliff? CLIFFORD Yeah, in a minute. GARBER I do n't think I can take any more of these surprises.",
"INT. A BEDROOM As Clifford and Garber enter. Garber turns on a light as Clifford closes the door, shutting out the sounds of the party below. GARBER Okay now, what's the big deal? CLIFFORD Stand still. I want you to remember this in the morning. GARBER If you want me to remember something in the morning, then tell it to me in the morning. Garber half comically turns to go. Clifford stops him. CLIFFORD Charlie, come on. ANGLE ON CORNER OF BEDROOM A BABY between a year and two years old is lying in a crib. It opens its eyes and starts looking around. GARBER -LRB- O.S. -RRB- All right, all right. What is it? You're getting married. CLIFFORD No. I got a job today, tracking someone. TWO SHOT - CLIFFORD & GARBER Garber, still moving restlessly, pats his friend on the shoulder. GARBER That's great, Cliff ; I'm sure you'll find your man. CLIFFORD It's Curt Duncan. Garber stops suddenly, stunned. In an instant, he has become stone sober. GARBER What? ANGLE ON BABY Kicking and wiggling about. CLIFFORD -LRB- O.S. -RRB- You did n't know he got out? The baby opens its mouth and starts to cry. TWO SHOT - CLIFFORD & GARBER Garber glances over his shoulder at the baby, then turns back to Clifford. CLIFFORD I need your cooperation on this one. GARBER Sure. Anything.",
"EXT. CITY STREET - NIGHT It is late. The block is virtually deserted. Across the street is the exterior of a bar - the same bar Duncan was in earlier. Some PEOPLE are coming out of the bar. It must be near closing time. The people turn left and walk away down the sidewalk. Their voices diminish. Pause. A car passes. Then the door to the bar opens again and a woman comes out onto the sidewalk. It is Tracy. She turns to the right and starts to walk away. CLOSEUP - DUNCAN He is standing in shadows across the street, watching her.",
"EXT. TRACY ON STREET - NIGHT A series of shots of Tracy walking home. The CAMERA remains consistently behind her or off to one side, sometimes DOLLYING with her behind a row of parked cars, sometimes picking up her passing reflection in a darkened store window. The impression this gives is unmistakable. Curt Duncan is following her. We do not see him, we do not hear him, yet we know he is there. Often we can sense that the very angle from which we see Tracy is his POV. But Tracy is aware of nothing. We know this when the CAMERA begins to move in front of her, once more becoming an impersonal observer of her walk homeward, to safety. Tension mounts as we start to expect that Duncan will jump out at her from every alley and recessed doorway she passes. But he does n't. Finally, Tracy walks up to the CAMERA at the end of a block and turns a corner ; but the CAMERA HOLDS on the dark street she has just come up. We hear a cough which confirms that Duncan is lurking somewhere in the shadows.",
"EXT. APARTMENT BUILDING - NIGHT Tracy walks up the steps and enters the apartment.",
"INT. APARTMENT BUILDING Tracy steps into the elevator. The doors close. CAMERA HOLDS on the elevator and watches the lights above it travel from one to six. O.S. we hear the door to the apartment building open and close.",
"INT. SIXTH FLOOR Tracy steps out of the elevator and walks down the hall to her door. She fumbles through her purse for keys, then bends over the lock to let herself in. Behind her down the hall, Duncan appears. He watches her, starts to move silently forward. Tracy gets the door open, then turns and sees him. Duncan stops. TRACY Oh, it's you! -LRB- beat. -RRB- What do you want? DUNCAN -LRB- moving forward. -RRB-. Came to apologize. I. TRACY Look, I'm the one who should be sorry. I did n't want that to happen. -LRB- she sees his face ; shudders. -RRB- Oh, God! Look at you. Are you all right. Duncan half shrugs, half smiles. Tracy edges into her door - way. Duncan stands opposite her. DUNCAN I'm new in town. Do n't know anybody. TRACY -LRB- uncomfortable. -RRB- Where're you from? DUNCAN -LRB- coughs. -RRB- New York. Ever been there? TRACY Sure. Sure I've been there. They look at each other. Duncan coughs again. DUNCAN Kind of a mean place to be. Everyone cold, unfriendly. Inside Tracy's apartment, the telephone rings. Tracy turns vaguely, indecisively, and goes to answer it. TRACY -LRB- over her shoulder. -RRB- Excuse me. She disappears into the apartment. O.S. she picks up the ringing phone. TRACY -LRB- O.S. -RRB- Hello?",
"INT. TRACY'S APARTMENT As she sits with the telephone. TRACY -LRB- nervous. -RRB-. No, I just got in. I do n't know if I can. Listen, I ca n't talk now. Can I call you back? Okay. Goodbye. She hangs up the phone, stands and turns back toward the door. Duncan is standing right behind her. DUNCAN I'm not from New York, actually. But I'm very, very far from home. He sits down. TRACY Look, you ca n't come in here. Duncan looks at her for a moment, then looks about the apartment. DUNCAN -LRB- mumbling. -RRB- I thought we might get some coffee. Can I buy you -? TRACY I do n't think so. DUNCAN Someplace nearby? TRACY Not tonight. You'd better go. DUNCAN I got no place to go. TRACY -LRB- anxious. -RRB- You ca n't - DUNCAN Just, just a little coffee? TRACY Maybe tomorrow. DUNCAN Okay, tomorrow. When? TRACY I said maybe. I do n't know. -LRB- beat. -RRB- Listen, I'm sorry about this afternoon. I really am. All right? That was my boyfriend on the phone. He's coming over. So please leave. Now. Duncan does n't move. He smiles at her. DUNCAN I like you. TRACY -LRB- her voice rising. -RRB- Look, do you want me to call the cops? DUNCAN -LRB- standing. -RRB- It's okay. It's okay. He backs to the doorway and pauses. DUNCAN I'll see you later. sometime. I still want to buy you that drink. He steps into the hall. Tracy closes the front door and bolts it. She turns, leans against it and sighs. Outside the door, Duncan's footsteps move down the hall, pause, then come back to the door. A moment passes. Then there is a faint knocking on the door. Tracy does n't move. The knocking comes again, a little louder this time. Tracy stands and waits, scarcely breathing. After another long moment, the footsteps finally move away.",
"EXT. POLICE STATION - DAY A car pulls into the parking lot behind the station. Clifford and Garber get out and walk into the building.",
"INT. POLICE STATION Clifford and Garber walk down a hallway. Uniformed POLICEMEN walk to and fro around them. CLIFFORD Jesus, I do n't recognize anybody. GARBER Three years is a long time in a place like this. CLIFFORD Three and a half. Garber stops at the WATCH COMMANDER'S desk and picks up some paperwork. The WC looks up briefly and sees Clifford. WC Hiya, Cliff. Howya doin'? The WC looks down again. Three and a half years mean nothing to him. CLIFFORD -LRB- taken aback. -RRB- Hi. He ca n't remember the man's name. Garber smiles at him and they continue walking. GARBER How long will you be here? CLIFFORD Depends on how lucky I get. -LRB- beat. -RRB- I'll only be coming around once, maybe twice a week. GARBER You want to use your old desk? Someplace to sit down? CLIFFORD -LRB- surprised. -RRB- Is it vacant?",
"INT. OFFICE - POLICE STATION A. Clifford and Garber appear in the doorway. Clifford enters, walks up to his old desk, opens some of the drawers - they are empty - sits down in his old chair, smiles at Garber. B. We see Clifford opening a file cabinet and taking out a folder stuffed with notices and reports - C. Clifford standing beside a Xerox machine running off a copy of something - D. Clifford standing in a hallway talking to a PATROLMAN. Clifford has a legal pad with him and is jotting something down on it as the patrolman speaks - E. Clifford at his desk, making notes on the legal pad - F. Garber is at his desk, on the phone, Clifford appears in the doorway carrying his legal pad. He waves goodbye to Garber who nods in response.",
"INT. LOBBY OF A FLOPHOUSE HOTEL Clifford questions the DESK CLERK. He shows the clerk a photo of Duncan taken some years ago in the mental institution. The clerk shakes his head and starts to hand the picture back when Clifford motions for him to keep it. As Clifford leaves, the clerk turns the picture over. CLOSEUP - BACK OF PICTURE Revealing Clifford's name and phone numbers, and a twenty dollar bill paperclipped to the back of the picture -",
"EXT. STREET As Clifford pulls his car up to the curb, then consults his legal pad - CLOSEUP - LEGAL PAD The top three addresses are crossed out. Clifford underlines the fourth - BACK TO SCENE Clifford looks up from the pad to a bar he has pulled up in front of - the bar Duncan was in. It bears the address Clifford has just underlined. Clifford gets out of his car and walks up to the bar. A `` Closed'' sign is displayed in the window. Clifford knocks on the door. After a moment, Hank opens the door.",
"INT. LAUNDROMAT - DAY There are only a few CUSTOMERS sitting around, waiting for their wash. A BUM is stretched out on his back across one of the tables like a corpse awaiting autopsy. This is CHEATER. A MAINTENANCE MAN in grey work clothes enters from the back. He opens a broom closet, takes out a bucket and mop and rolls them toward the front of the laundromat. He stops at Cheater's table and shakes him hard. MAINTENANCE MAN Okay, man, move it out. Let's go. CHEATER Wha -? Cheater sits up and starts to pull himself together. An OLD WOMAN sitting against the wall points down one of the aisles of washing machines and says to the maintenance man : OLD WOMAN There's another one down there. The maintenance man goes to the end of the aisle and looks down into the nook created by the absence of one of the washing machines. MAINTENANCE MAN Hey! He nudges at whatever's inside the nook with his foot. MAINTENANCE MAN -LRB- nudging again. -RRB- Come on, bright eyes. Wake up. Wake - Jesus Christ! What happened to you? ANGLE ON NOOK As Curt Duncan raises his head into the light and looks up at the maintenance man. Overnight, his face has swollen considerably and a bright yellow and purple discoloring around his bruises has emerged. MAINTENANCE MAN -LRB- O.S. -RRB- You get hit by a truck or what? He bends over and helps pull Duncan to his feet. WIDER ANGLE As the maintenance man guides Duncan to the door. MAINTENANCE MAN I'm sorry, man, but you ca n't stay in here. Go out to the park, lay in the sunshine. You'll feel better. Okay? Duncan goes out the door. The maintenance man turns and sees Cheater stretched out again on the table. MAINTENANCE MAN God bless it! Hey! He pulls Cheater off the table and pushes him to the door. MAINTENANCE MAN Out. Out. Out. Out. Out.",
"EXT. LAUNDROMAT As Cheater is pushed out onto the sidewalk. CHEATER -LRB- angry. -RRB- All right! All right! He straightens his rags indignantly, then looks at Duncan and grins. CHEATER Whaddya say, pardner. I'm dry as a bone. You got any money? Duncan looks at Cheater distrustfully and shakes his head. CHEATER You neither, huh? -LRB- with a laugh. -RRB- My name is Morgan, but it ai n't J.P. Guess I better go to work. Take ` er easy now, pardner. Cheater shuffles off in one direction. Duncan turns and goes in the other.",
"INT. TRACY'S APARTMENT - DAY A knock at the front door. After a moment, Tracy comes into the front hallway and, crossing to the door, stubs her toe on the open closet door. She swears under her breath and angrily slams the closet door shut. Then, grabbing her injured toe, she hops to the front door. TRACY Who is it? CLIFFORD -LRB- O.S. -RRB- My name's John Clifford. I'm a private investigator. TRACY A what? CLIFFORD -LRB- O.S. -RRB- A private detective. Pause. TRACY What do you want with me? CLIFFORD -LRB- O.S. -RRB- I'd just like to talk, ask a few questions. TRACY I've got nothing to say about anything or anybody. Pause. CLIFFORD -LRB- O.S. -RRB- Listen, lady, I can be back in thirty minutes with a search warrant and a handful of cops, and I can probably have you arrested, whether or not the charges would stick. Now do you want to let me in and talk? TRACY Have you got a badge? CLIFFORD -LRB- O.S. -RRB- I'll show you a badge when you open the goddamn door! Tracy unbolts the door and opens it. Clifford walks right in and closes the door behind him. CLIFFORD I do n't carry a badge. I'm issued a license, a piece of paper, and I left it at home. You're Tracy Fuller? Tracy nods. CLIFFORD Can we sit down? Tracy leads him into the living room. They sit. Clifford gives her a picture. CLIFFORD Do you recognize this man? TRACY Why? Clifford lets out a sigh of frustration, realizing that this woman will continue to be difficult. CLIFFORD He's escaped from the insane asylum. In 1972, he murdered two children. broke into a house and found them asleep in bed. It was a little boy, five an a half, and a little three - year - old girl. After the coroner's investigation, their bodies were taken to the mortuary, where the undertaker took one look at them and said he could n't have their bodies reconstructed for the funeral without six days of steady work. Then he asked what had been the murder weapon, because looking at the mess in front of him, he could n't imagine what had been used. The coroner told him there had been no murder weapon. The killer had used only his hands. -LRB- beat. -RRB- The undertaker went to work and had them done in four. The picture falls out of Tracy's hands. She is stunned to the point of nausea. CLIFFORD What's the matter? TRACY -LRB- barely able to say it. -RRB- He's been here.",
"EXT. STREET Duncan is standing on the sidewalk huddled close to a wall. He is looking up at Tracy's apartment building across the street. POV - DUNCAN Traveling up the wall of the building to the open window of Tracy's apartment on the sixth floor. SLOW ZOOM IN : CLIFFORD -LRB- O.S. -RRB- Do you think he'll try to see you again? TRACY -LRB- O.S. -RRB- I do n't know. He said he had no place else to go.",
"INT. TRACY'S APARTMENT CLIFFORD Let's play it safe. Let's assume that he will. CLOSEUP - TRACY Reacting to this possibility. CLIFFORD -LRB- O.S. -RRB- Will you work with me? She nods, hesitantly.",
"EXT. STREET Duncan turns up an alley across the street from Tracy's apartment building and disappears. Sound over : knocking on a door.",
"EXT. BAR - DAY Clifford is standing at the door. The `` Closed'' sign still hangs in the window. The door opens, and Hank sticks his head out. HANK You again? CLIFFORD What are your hours tonight? HANK No hours. Bar's closed on Mondays. CLIFFORD I want you to be open if that's possible. HANK -LRB- closing the door. -RRB- No way. Monday's my night off. Come back tomorr. Clifford violently pushes the door open. The bartender backs off, surprised. CLIFFORD -LRB- through clenched teeth. -RRB- This is tomorrow! Now what are your hours?",
"INT. LT. GARBER'S OFFICE - DAY Garber is sitting behind his desk as Clifford walks in. GARBER -LRB- looking up. -RRB- Any luck? CLIFFORD I've come to say goodbye, and thank you. GARBER You found him? CLIFFORD I think so. GARBER Where? Pause. CLIFFORD From here on, I go it alone. GARBER What's the point of chancing it, Cliff? We'll let you take the credit. CLIFFORD No. Pause. Clifford sits down. CLIFFORD I'm going to kill him, Charlie. Garber leans forward in his chair and stares at Clifford. A long moment passes. A button on the lieutenant's phone lights up and the intercom buzzes. Garber does n't even look down at it. The button flashes on and off, on and off. Finally it stops. CLIFFORD The closer I get to this guy, the more I. It gets to me. I do n't know. GARBER I think you'd better go on home, Cliff. You've fallen in. CLIFFORD No. Not this time. This is the case that makes up for a whole career. If you ca n't understand it now, you will in a few years. Pause. Garber considers another tack and follows it. GARBER What part does money play in all this? Play straight with me. Clifford is stunned by the question, but he tries to be casual. CLIFFORD -LRB- shrugging. -RRB- For what I'm being paid, it's not out of line. GARBER Who's hired you for this? Clifford glares at his friend and does n't answer. GARBER -LRB- cynically. -RRB- So you're a hitman now. CLIFFORD -LRB- passionately. -RRB- He murdered two kids in cold blood. You were there, too. Garber does n't have to be reminded of his own feelings. He does n't pursue the argument. GARBER You could get busted. CLIFFORD I understand that. GARBER What are you going to use? CLIFFORD Jimmy needles. Garber nods slowly, considering it a good choice of weapons at least. GARBER You're stretching our friendship, Cliff. If you blow this at all - CLIFFORD You'll never hear from me again. Garber looks away for a moment. When he looks back, he just shrugs his shoulders, `` washes his hands''. GARBER Take your time. Do it right. CLIFFORD Do n't worry. GARBER Do you need any help preparing for this thing? CLIFFORD -LRB- standing up. -RRB- I'm ready. I'm just trying to think where he could be in the meantime.",
"INT. COFFEE SHOP - DAY A few customers sit quietly minding their own business. A WAITRESS leans near the cash register at one end of the counter. A transistor radio plays country music blues. The waitress looks up as somebody enters. WAITRESS What happened to you? DUNCAN -LRB- O.S. -RRB- Coffee. It is Duncan. He moves to the counter and sits. WAITRESS You get mugged? DUNCAN Black. Snubbed, the waitress comes back and sets the cup in front of him. She looks down at the change on the counter. There is n't enough. WAITRESS Coffee's twenty - seven. Duncan looks up at her resentfully. WAITRESS -LRB- pulling away the cup. -RRB- Coffee's twenty - seven cents. Ya got it or do n't ya? Duncan glares at her. He does n't have it. WAITRESS Okay, buster, one cup. On the house. She pushes the cup back to him. Some of the coffee spills onto the counter. WAITRESS Drink it and be on your way. Duncan slowly reaches for the cup, raises it to his lips. WAITRESS You're welcome. Duncan stops, sets the cup down, pushes it away from him and slowly rises from his seat. DUNCAN No, thank you. Duncan and the waitress stand face to face, shooting darts at each other. Then a MAN sitting two seats away reaches over and places a quarter on the counter between them. The waitress looks at the man irritatedly, then picks up the money and moves away. Duncan slowly sits down again. He pulls the cup back to himself, then turns and looks at the man for a long moment, unable to express his gratitude.",
"EXT. CITY STREETS - DUSK A series of shots of BUMS, `` homeless persons'', hanging out, in alleys, in the doorways of old buildings, sitting on the sidewalk in front of liquor stores. Then we see Duncan, alone but looking no different from the others. He is panhandling PASSERSBY, without much success. We see him fall into a fit of coughing that incapacitates him for several seconds. He's obviously getting sicker. We lose sight of Duncan as our MONTAGE continues. We see Clifford talking to a BUM, then another. He is passing the time combing the streets in the neighborhood of the bar. PARK - DUSK A handful of BUMS are sitting together on the grass passing a bottle in a brown paper bag. Duncan is not among them, but Cheater is there, sitting at the end of the line. CAMERA PANS from one bum to the next as the bottle is passed. By the time it gets to Cheater, it is empty. Cheater looks as if he's about to cry like a baby when a hand enters the frame from the other side - the hand holding out to Cheater a full bottle of wine. Cheater takes the bottle and looks up gratefully. to see John Clifford standing beside him. CHEATER Well! I ca n't say much for your protocol, but your timing's dead on. Here's to you, pardner. Cheater takes a long drink, then passes the bottle back down the line. CLIFFORD -LRB- to all the bums. -RRB- I'm looking for an old buddy of mine, English fella. Name's Crazy Curt. Any of you guys seen him? Nobody responds. CLIFFORD I owe him some money. CHEATER Aaahh. Show me an honest man. CLIFFORD -LRB- gesturing. -RRB- Stands about so. Brown hair. Face kind of banged up. Was in an accident. CHEATER Oh, yeah? I was just with that guy, not more'n an hour ago. Looked bad. Crazy Curt, huh? CLIFFORD Where? Cheater scratches his head, and glances anxiously down the line. CHEATER Hell, I ca n't remember. Prob ` bly see him again though. Tell you what. You leave the money with me, I'll see he gets it. as a favor to you. Clifford shakes his head. CLIFFORD I have to talk to him. CHEATER Whatsa matter? You do n't trust me? I'll have you know I used to be a college professor. We can work together. Clifford stands to go. The bottle comes back to Cheater, three - quarters down. CLIFFORD Sure. Keep the bottle. I'll be back. CHEATER `` Long life to the grape! For when summer is flown, The age of our nectar Shall gladden our own.'' That's Shelley, you know. Clifford is gone. Cheater takes a long drink and almost forgets that Clifford was ever there.",
"INT. CLIFFORD'S APARTMENT - NIGHT Clifford is `` suiting up'' for his night's work. He is dressed casually - blue jeans, shirt open at the neck, sports jacket, Adidas running shoes. He looks at himself in the mirror, is satisfied. Then he picks up from the dresser two awl - like instruments with short handles and long, glistening tapered needlepoints - his weapons. He slides them into a leather sheath inside his jacket and turns to go.",
"EXT. BAR - NIGHT It is lit up inside. The bar is open for business. Across the street in a dark space between two buildings, Duncan is waiting, watching the front door of the bar to see who comes out.",
"INT. BAR The place is empty but for Hank who half watches the television over the bar, and Tracy who sits alone in a corner. Several moments pass as both of them sit and wait. Then, the front door starts to swing open. Someone is coming in. Tracy and Hank both glance nervously toward the door. A MAN'S head peeks in. He is somewhere in his forties, a regular customer. CUSTOMER Hey, Hank, what're you doing open tonight? HANK -LRB- relaxing. -RRB- Trying to make a buck. The customer walks up to the bar, sits down and talks quietly with Hank. Tracy looks nervously at her wristwatch. She stubs out her cigarette, takes one last gulp of her drink and stands up to go. She walks to the bar, opens her purse and reaches inside. HANK Keep it, honey. My treat. They exchange a meaningful look. Then she heads for the door. CUSTOMER -LRB- under his breath. -RRB- That how you make a buck?",
"EXT. BAR Tracy looks up and down the street, hoping to see Clifford somewhere, afraid of glimpsing Duncan instead. Then she starts walking quickly homeward.",
"EXT. STREETS Following Tracy to her apartment. We pick up Clifford now, and we cut back and forth between the two of them - her walking quickly, never looking back, and him sneaking along several hundred feet behind her, looking everywhere for Duncan, whom we never see.",
"EXT. TRACY'S APARTMENT She walks up the steps and enters.",
"INT. SIXTH FLOOR Tracy steps off the elevator and goes to her door. She fumbles through her purse for the key. Then she hears footsteps on the stairs. She turns. It's Clifford. CLIFFORD -LRB- coming forward : half - whispering. -RRB- No luck. You see him? Tracy shakes her head. CLIFFORD He still could be out there, though. TRACY -LRB- softly. -RRB- Oh, God. She is starting to come apart, and she suddenly leans on Clifford for support. CLIFFORD Are you all right? Tracy stands there for several seconds to regain control of herself. Then she steps away and turns back to the door. TRACY I'm okay. CLIFFORD I'm going to hang around outside for awhile. I'll be back on and off again all night. Tracy gets the door unlocked. She pushes it open.",
"INT. TRACY'S APARTMENT - FRONT HALL Tracy steps in. Clifford stays in the doorway. They are still whispering. CLIFFORD Are you sure you're okay? TRACY I'm fine. CLIFFORD All right. Bolt your door. Do n't let anybody in, no matter what. TRACY Okay. CLIFFORD I'll be seeing you. -LRB- starts to move off ; comes back. -RRB- Listen. Thanks. TRACY Sure. Tracy closes the door and throws the bolt. Then she walks into the apartment and out of frame. CAMERA STAYS in the hallway. We can hear Tracy moving about O.S. Then, as if on its own, the door to the hall closet slowly swings open. until we can see Duncan standing inside the closet.",
"INT. KITCHEN Tracy is putting some coffee on. Then she removes her coat and walks out of the kitchen.",
"INT. FRONT HALL Tracy goes up to the closet with her coat. The door is closed. She opens it. She hangs up her coat and closes the door again. Then she turns and starts walking out of the hallway to the living room. As she is rounding the corner into the living room, she walks right into Duncan. She barely has time to gasp before he clamps his hand over her mouth and pushes her against the wall. DUNCAN -LRB- urgent whisper. -RRB- I just have to talk to you. -LRB- pathetically. -RRB- I want you to be my friend. As she is n't struggling, he starts to loosen up on her. DUNCAN Please. He takes his hand away from her mouth, lets go of her, and slowly, cautiously steps back. Tracy looks at him for a breathless moment, her eyes wild with fear. Then she screams. Duncan jumps back, stunned, frightened and confused. Tracy does n't move. She just keeps screaming hysterically.",
"EXT. STREET Tracy's screams carry out into the night as Clifford races across the street and into the apartment building.",
"INT. TRACY'S APARTMENT Duncan runs to a window, throws it open and climbs out onto the fire escape. INTERCUT - APARTMENT STAIRS AND FIRE ESCAPE As Clifford bounds up the stairs, flight after flight, and Duncan tears down the fire escape.",
"INT. SIXTH FLOOR The screaming has stopped when Clifford reaches Tracy's door. He grabs the doorknob and heaves himself against the door. It's bolted shut. Clifford pulls one of the needles from his jacket and hammers it into the lock. The bolt springs and Clifford runs into the apartment.",
"INT. TRACY'S APARTMENT As Clifford bursts in. Tracy gestures toward the window. Clifford runs to it and sticks his head out. POV - CLIFFORD Duncan is gone. BACK TO SCENE Clifford runs to a window on another wall and looks out onto the street. POV - CLIFFORD No sign of the Englishman. BACK TO SCENE Clifford runs out of the apartment, yanking his needle from the lock as he passes the door, and charges back down the stairs. Tracy moves to the door and closes it. She is breathing heavily. O.S. we hear the angry sizzle of coffee spilling onto the hot stove, as Tracy goes to get it.",
"EXT. APARTMENT BUILDING Clifford comes out, looks around and moves rapidly up the street.",
"EXT. A STREET Duncan is hurrying along, dodging in and out of people, trying to move quickly but not draw attention to himself.",
"EXT. ANOTHER STREET Clifford is travelling along the sidewalk, crossing the street, looking everywhere.",
"EXT. ALLEYWAY Duncan is running up the alley. He comes to a stop beside some piled up trash cans. He leans against the brick wall of the building, huffing and puffing. He is frightened, but he feels safe for now. He slowly slides down the wall to the ground.",
"INT. MENTAL HOSPITAL - DAY Duncan is curled up in the corner of a bare cell with padded walls. He is in a strait - jacket. His head is shaved. We ca n't tell what he is thinking, except that he's obviously deeply frightened and can not understand what's happening to him.",
"INT. A ROOM - NIGHT This is the children's bedroom in Dr. Mandrakis' house of six years ago. It is dark. Two small beds occupy one corner of the room. We can see two small lumps on the beds, but no more. Duncan sits in the foreground with a telephone on his lap. He is dialing a number. The phone rings three times before it is answered - or rather, picked up, because there is no voice on the other end. After several seconds the phone is hung up. Duncan hangs up and thinks for a moment. He picks up the phone and dials again. This time he gets a busy signal. He hangs up, stands and goes to the door. He opens it slowly, peers out. Jill's voice can be heard faintly talking to the operator, asking for the police. Duncan closes the door and comes back into the room, mumbling. He goes to the window, looks out. Then he goes to the children's beds. CLOSEUP - DUNCAN As he raises the covers and stares down into the CAMERA.",
"EXT. DECK OF A SHIP - MORNING A freighter, broad and low, arduously cuts through the water. Early morning mist hangs over the deck which is empty but for a lone FIGURE standing on the prow. MIDDLE SHOT - LONE FIGURE It is Curt Duncan. He is looking out over the front of the ship. Another SEAMAN comes up behind him and claps him on the shoulder. SEAMAN So this will be your first time? -LRB- laughs. -RRB- An old salt like you? Duncan moves away, wanting to be left alone. SEAMAN -LRB- still laughing ; slightly punchy. -RRB- You'll love it here. It's where they make the bombs. It's where they make the planes that carry the bombs ; the planes we saw over Singapore and Manila. He walks away laughing. SEAMAN There she is. That's America. DUNCAN'S POV The coast of Southern California emerges through the mist. A foghorn blows somewhere in the distance. CLOSE - UP - DUNCAN As he peers ahead with inscrutable interest.",
"INT. ANOTHER ROOM - NIGHT Dark. A little BOY is lying in bed, apparently asleep. This is Curt Duncan as a child. Some voices approach in the hallway outside the bedroom. They are gruff, with heavy English accents, but subdued ; a MAN and a WOMAN, well into middle - age. The boy's eyes open as he listens : MAN -LRB- O.S. -RRB- What's the matter? WOMAN -LRB- O.S. -RRB- Save it for later. Let's go out and get some food. MAN -LRB- O.S. -RRB- What about the lad? You ca n't leave him. WOMAN -LRB- O.S. -RRB- Curt's asleep. He'll never know we're gone. From outside, a key enters the lock of the bedroom door and turns. The bolt slips and the door is securely shut. The boy sits up in bed, apprehensive. In TIGHT SHOTS of the floor we see a rat come out from under the bed, then another. They make `` chit - chit'' noises as they begin to explore. One of them maybe goes up on its hind legs and nibbles on the bedpost. Then we see two more rats appear. We go for a TIGHT SHOT of the boy on top of the bed. The `` chit - chit'' noises grow steadily louder as the boy's apprehension turns to fear, then to terror. The boy starts to whimper. Suddenly, we cut back to a WIDE SHOT of the room. The floor is crawling with rats, hundreds of them. The `` chit - chit'' rises to practically a roar as the boy, alone on top of the bed, begins to wail. The room seems to darken, and the boy becomes just a little white speck in it. The focus is turned. The picture becomes a black and white blur.",
"EXT. ALLEYWAY - NIGHT - THE PRESENT At first all that can be seen is a white blur against a black screen. The previous sound of a boy crying increases. Then the blur grows larger, coming more into focus as the entire screen image moves toward normal definition. Finally, we know we are back in the alleyway, that it is night, and that the white blur is actually a little BOY lost, sobbing uncontrollably. CLOSEUP - DUNCAN Awakening to the scene, coming back to reality. He is confused. WIDER ANGLE ON DUNCAN AND BOY The boy continues sobbing, moving about in little circles. Duncan, amazed at what he sees, slowly crawls out from the wall on his hands and knees, crawls toward the weeping child, staring at it with a strange look on his face. Suddenly the boy stops crying and looks at Duncan quizzically, hesitantly. They are less than a foot apart, almost face to face. Together they form a kind of frozen tableau. Something close to sympathy crosses the killer's expression, and the boy, likewise, achieves a faint sense of recognition. Then, just as suddenly, the boy starts wailing again and he runs off down the alleyway. Duncan watches him disappear. Then he slowly pulls himself to his feet.",
"EXT. STREET Clifford is coming up the sidewalk. As Clifford crosses the entrance to an alleyway, the boy comes running out and almost collides with him. Clifford grabs the boy and looks down at him. Then he passes the wailing child off on a nearby PEDESTRIAN and runs up into the alley.",
"EXT. ANOTHER STREET Duncan is hurrying along the sidewalk. Something makes him look up. POV - DUNCAN He is looking at a neon `` Jesus Saves'' sign above the doorway to an inner city mission. BACK ON DUNCAN As he stares at the sign. DUNCAN -LRB- O.S. -RRB- Hey, Crazy Curt! Duncan turns to see Cheater elatedly hobbling up to him. CHEATER Hail fellow well met, and all that jazz. It's our lucky day! -LRB- taking Duncan by the arm. -RRB- A friend of your's got money for you. We got to get back to the park and meet him. Duncan pulls his arm free. CHEATER C'mon. He'll be comin' for you, Crazy Curt. S'got some money. -LRB- reaching for Duncan's arm. -RRB- We'll get us a little joy juice. Duncan pulls free again and heads toward the mission. CHEATER C'mon! Hey! You really are crazy! C'mon! Duncan enters the mission and Cheater stands out on the sidewalk for a moment, bitterly frustrated. CHEATER `` Blow, winds, and crack your cheeks! Rage! Blow, you cataracts and hurricanoes, spout till you have drench'd our steeples and drown'd the cocks!'' Several PEDESTRIANS stop and gape at this sudden outburst.",
"EXT. ANOTHER STREET Clifford comes out of a derelict hotel, looks up and down the street and hurries off, not giving up the chase.",
"INT. MISSION - MOMENTS LATER A MAN is leading Duncan to the bathroom. Duncan enters slowly and goes to one of the wash basins where there is an old razor blade and a can of shaving cream. Duncan picks up the razor for a moment and looks at it. He is lost in thought. Then he sets it down and turns on the tap water. He glances at himself in the mirror and is suddenly transfixed by his own image. He looks deeply into the mirror for several seconds. Then he starts to cry, and having begun, a flood of emotions comes pouring out of him. He drops to his knees. The man comes running back into the bathroom. He holds Duncan and helps pull him back to his feet.",
"EXT. STREET - NIGHT Cheater is trudging along the sidewalk, hands in pockets, head lowered. He looks up and sees something that brings him back to life. POV - CHEATER Clifford is standing on the corner up ahead, looking around. WIDE ANGLE ON STREET Cheater calls out and starts to run toward Clifford. Clifford turns, sees Cheater.",
"INT. MISSION - NIGHT The `` sleeping dorm''. It is a large empty room. Thirty or so OUTCASTS are stretched out on the bare floor in the darkness. Their combined snoring/wheezing creates a steady, ghastly din. The door at the far end of the hall opens. A figure steps in and quietly closes the door behind him. He stands for a moment taking in the scene, letting his eyes adjust to the darkness. Then he slowly creeps forward to the prone body of the nearest sleeper. CLOSEUP - FIGURE It is Clifford. He moves stealthily from one body to the next. In one hand he carries a small flashlight. He turns the bodies over just long enough to shine the light in their faces and identify who they are, or rather who they are not. Then he moves on. In his other hand he holds a small, gleaming Jimmy needle. CLOSEUP - DUNCAN He's sleeping, but his eyes suddenly open, sensing danger. He turns over and sees the dark figure of Clifford slowly advancing toward him. WIDER ANGLE Clifford keeps coming, closer and closer to where Duncan lies. He is but six or seven bodies away when Duncan jumps up suddenly and bolts for the door. Clifford looks up, sees the fleeing figure and charges after it.",
"INT. CORRIDORS Racing through a maze of narrow hallways, Duncan ca n't stop to think where he's going. Clifford is barreling after him some forty yards behind. Duncan rounds a corner and ten yards up ahead, the hallway deadends in a set of double doors. Duncan has no choice but to hurl himself against the doors. They yield and he goes through them. Four seconds later, Clifford comes to the same doors and pushes through to the other side.",
"INT. CHURCH As Clifford comes through the doors which are a side entrance into the chancel of this large, gothic - style church. Behind him now, is the altar. Before him stretches the nave of the edifice with its rows of pews, its dimly glowing stained glass windows, and way in the back, its choir loft. At regular intervals, tiny shafts of light pierce the darkness from on high. There is no sign of Duncan, but Clifford knows he must be in here, hiding somewhere. He slowly walks forward to the front of the chancel. CLIFFORD Duncan. Duncan. It's over now. Come on out. Pause. Duncan does n't come out. Clifford holds very still. He hears nothing. He speaks again and his voice echoes through the large empty church. CLIFFORD My name's John Clifford. I'm a private detective. I've been hired by Alexander Mandrakis to take you back. I'm not going to hurt you. CLOSEUP - DUNCAN Hiding beneath a pew. He hears the name `` Mandrakis'' and it registers like a thunderbolt. He silently mouths the name `` Mandrakis''. Then he hears Clifford's footsteps approaching. ANGLE ON CLIFFORD Slowly moving up the center aisle, looking from side to side into the pews. CLIFFORD -LRB- gently ; coaxing. -RRB- I'm not going to hurt you. I'm not going to hurt you. There'll be no more pain. You're safe now. Clifford moves closer and closer to Duncan's row until finally, Duncan can bear it no longer. He jumps up from beneath the pew and runs. DUNCAN -LRB- hysterical. -RRB- No! Mandrakis! No! Clifford chases him through the pews and up the aisles to the front of the church. He is clutching a needle in both hands, ready to strike. Duncan flees through a narrow door off to the side of the church.",
"INT. BELL TOWER Duncan faces a spiraling stone staircase. He has no choice but to climb them, higher and higher, the sound of Clifford's angry footsteps always coming up behind him. Finally, Duncan can climb no higher. He is at the top of the bell tower. A lanceted opening in the stone wall ahead of him looks out over the narrow shaft of the tower. Above him are the huge iron bells. A rope hangs down from the bells, dangling all the way down the shaft, forty or fifty feet to the floor of the church. Clifford is bounding up the last flight of steps to get him. Duncan has little choice. He is trapped. Just before Clifford reaches him, Duncan leaps out into the shaft and catches the bell rope. The bell starts to clang as Duncan, hanging in mid air, swings back and forth within the narrow shaft. Clifford leans way out through the lancet window and takes a swipe at Duncan, but the madman is just beyond his reach and hurriedly climbing down the rope. Clifford reaches out and tries to grab at the rope. At last, he gets it, and he shakes it violently to get Duncan to lose his grip and be dashed against the stone floor below. But Duncan holds firm, climbing ever downward. The bell continues to clang, sending its alarm out into the night. Then Clifford braces himself and slowly, laboriously begins to haul up on the rope. Clifford gains momentum until Duncan is being pulled up faster than he is climbing down. Still twenty feet off the ground, Duncan lets go of the rope and plummets to the hard stone floor. Then PEOPLE come rushing into the church, awakened by the commotion of the bells. Duncan rolls into the shadows and drags himself out a side door, while Clifford plans his own escape from the bell tower.",
"EXT. ALLEYWAY NEAR CHURCH - NIGHT Clifford runs up the alleyway, looks around and finally realizes he's lost his prey.",
"EXT. ANOTHER ALLEYWAY Duncan is hidden deep in the shadows of a nook between two buildings, catching his breath. CAMERA MOVES IN on him, and we see him looking the craziest he's ever been. He shakes uncontrollably and begins to mumble, softly at first, then getting louder. He's falling back into the grips of Guy du Marraux.",
"EXT. CITY - MORNING A. All is still and quiet as soft, warm sunlight pours into the dirty streets and alleyways. In the background, the bell tower of the church rises above the skyline. B. We see a SHOT of the park - all the bums are asleep. C. Then a SHOT of the mission - its front door open, the sidewalk empty. D. Then the bar, where the same peaceful mood prevails. E. Then the alleyway where we last saw Curt Duncan. Now he is gone. F. Then the exterior of Tracy's apartment building. Clifford's car is parked out front. TRACY -LRB- O.S. -RRB- I used to see my two kids every weekend. They lived in a nice house with their father, outside the city.",
"INT. TRACY'S APARTMENT Tracy and Clifford are sitting at a small table in the kitchen, looking haggard, drinking coffee. TRACY Now. it's been years. They're grown up. They look at each other. Clifford is a sympathetic listener. TRACY I look at where I am now. I know I could've done better, but. it's too late for that. CLIFFORD -LRB- quietly. -RRB- I know. Pause. TRACY Well, you've got to keep looking, I suppose. Taking his cue, Clifford slowly rises. CLIFFORD I do n't think he'll come back here. Tracy looks up at him questioningly, wishing she could feel as sure about it as he does. CLIFFORD -LRB- extending his hand. -RRB- Thanks. for all your help. Tracy takes his hand. They shake warmly. CLIFFORD I know it was n't easy. -LRB- turning to go. -RRB- Maybe, someday, I'll be able to. TRACY I wish you would n't leave me altogether. Clifford turns back to her. TRACY -LRB- with a laugh. -RRB- I'm not a young woman anymore. I've given up all my dreams of the future. Now, I just want to make it to the end. You know what I mean. Clifford smiles at her gently. He knows exactly what she means. CLIFFORD I'll be around. TRACY Sure. Clifford takes a few steps, turns back, looks at her. CLIFFORD You like ice cream? TRACY Yes. CLIFFORD What flavor? TRACY Chocolate chip. Clifford nods his head slightly, as if registering this in his memory. CLIFFORD -LRB- quietly. -RRB- Okay. They smile at each other for a second then Clifford leaves and Tracy sits alone in her kitchen, listening to him go, hearing the door close behind him.",
"EXT. STREET - DAY CLOSE UP on a section of a newspaper lying in the gutter. A pair of feet enters the frame and stands beside the newspaper. We hear a familiar cough. Then a trembling hand reaches down and picks up the newspaper. Pause. Something in the newspaper has caught his eye. Then the feet shuffle out of frame.",
"EXT. STREET - AFTERNOON A modest middle - income neighborhood where young married couples buy their first home and start their family. CAMERA is facing down the quiet street. In the foreground, on the street, two small CHILDREN, a little boy and a little girl, are playing. They are adorable kids. CAMERA PANS ninety degrees with the children as they run out of the street and up the sidewalk to their house. A TITLE APPEARS across the bottom of the screen : 5 pm Friday, April 28, 1978. TITLE FADES as the children push open the front door and enter the house.",
"INT. HOUSE - FOLLOWING CHILDREN They noisily and excitedly make their way to the kitchen. The children are four and two and a half years old, STEVIE and JUNE respectively.",
"INT. KITCHEN As the kids enter, their MOTHER is working at the stove, her back to CAMERA. JUNE & STEVIE -LRB- together. -RRB- Hi, Mommy! The mother turns around. It is Jill Johnson! JILL -LRB- smiling. -RRB- Well, look what the wind blew in! CAMERA MOVES IN on her as she comes forward, bends down, kisses Stevie, and picks up June. Jill looks older, more mature, but still very pretty. She is Mrs. John Lockhart now, and has left her memories of the past behind her. STEVIE Mommy, what's for dinner? Could we have hamburgers? JILL -LRB- teasing. -RRB- Is that all you ever want? A wall phone in the kitchen starts to ring. Stevie goes to answer it. STEVIE Hello? JOHN -LRB- O.S. -RRB- -LRB- surprised. -RRB- Hey, how's my little tiger? It is JOHN LOCKHART on the phone. STEVIE Daddy, Junie threw my baseball down the street ; and I ca n't find it! JOHN -LRB- O.S. -RRB- Well, we'll look for it real hard later. Let me talk to mommy. Jill, by this time, has come to the phone. She is still holding June. STEVIE Okay. Bye, daddy. Stevie hands the phone to Jill. JILL Hi. JOHN Hi, babe - whaddya say you put on a sexy dress, and I take you out to dinner tonight? Jill is very happy about this. JILL Great. what's the occasion? JOHN -LRB- teasing. -RRB- Just a little surprise. JILL What? JOHN I'm leaving here now ; be home in half an hour. JILL Okay, see ya. JOHN Bye, babe. As Jill hangs up the phone, Stevie pipes up O.S. STEVIE -LRB- O.S. -RRB- Mommy, is Daddy gon na get me a new baseball?",
"EXT. DR. MANDRAKIS' HOUSE - NIGHT Clifford's car is parked in the driveway, and we see him getting out. He goes to the front door - the porch light is on and perhaps one other lamp somewhere inside the otherwise dark house. He rings the bell, waits, rings again. Finally the door is opened by the Houseboy. HOUSEBOY Dr. and Mrs. Mandrakis are out of town. CLIFFORD For how long? HOUSEBOY Three more weeks. Pause. CLIFFORD It's just as well. Will you be here? HOUSEBOY Yes. Clifford takes a business card from his pocket and gives it to the Houseboy. CLIFFORD Here. Call if you need me. The Houseboy reads the card as Clifford walks back to his car. Then the Houseboy closes the front door. Clifford pauses beside his car for a moment, looking back at the rich, dark home.",
"INT. JILL'S HOUSE - CHILDREN'S BEDROOM - NIGHT The children are in bed. Jill is sitting next to Stevie. Only a nightlight is on. STEVIE I pray the Lord my soul to keep. If I die before I wake, I pray the Lord my soul to take. God bless Mommy and Daddy and. JUNE And me. STEVIE and Granmom and Aunt Lucy and Uncle George. JUNE And me! STEVIE -LRB- pausing. -RRB-. and her. Now will you tell us a story? JILL No, I will not tell you a story. You go to sleep now. And be good. Carol will be here while we're gone. STEVIE Goodnight. Jill kisses him. JUNE Mommy, will you come here a minute? I want to tell you something. Jill stands up and goes over to June's bed. JILL What is it? JUNE Come closer. Jill bends closer to her daughter. O.S. the doorbell rings. JUNE I love you. JILL I love you, too, Junebug. -LRB- kissing her. -RRB- Goodnight. Sleep tight. Jill stands up and leaves.",
"INT. FRONT HALL As Jill comes down the stairs. CAROL, the sitter, is at the foot of the stairs with John. Carol has an armful of schoolbooks. JILL Hi, Carol. CAROL Hello, Mrs. Lockhart. I saw your picture in the paper the other day. Congratulations. JILL Ugggh. was n't it a dreadful picture? JOHN I thought it was nice. Jill crosses to a hall table, picks up a phone book, flips through it, then writes on a notepad beside the phone. Over this action. JOHN Are the kids asleep? JILL They will be soon. -LRB- to Carol. -RRB- Give them about twenty minutes and then take a peek - but if Stevie sees you, you'll have to tell him a story. -LRB- beat. -RRB- Here's the number of the restaurant. Call us if you need us. For police, ambulance, any emergency like that, just dial 911. You know that, right? CAROL Nine - one - one? Oh, sure. JILL And just in case, I've written the number of the children's Uncle George and Aunt Lucy here, too. JOHN Honey, in ten seconds I eat the staircase. JILL Okay. Okay. She puts down the pad and crosses to a closet where she takes out a lightweight coat. JILL -LRB- handing the coat to John. -RRB- Here. JOHN -LRB- not taking the coat. -RRB- I'm not wearing that thing! Jill shoves the coat into his stomach. Smiling, he takes the coat and dutifully helps her on with it. CAROL Have a good time. JILL Thanks, Carol. JOHN -LRB- pulling her out the door. -RRB- Bye, Carol. CAROL Goodbye. JILL Goodbye.",
"EXT. HOUSE - NIGHT John and Jill walk to the station wagon in the driveway as Carol shuts the front door in the background. Just before Jill gets into the car, she takes a look back at the house - there is a moment's hesitance, and then she gets in the car.",
"INT. HOUSE - NIGHT Carol picks up the phone and carries it into the living room with her. As she does it, we see lying on the phone table, the newspaper clipping with Jill's picture, and headline : `` Jill Lockhart Chairs Community UNICEF Drive.'' She puts the phone down, then her books, then herself. She dials a number. Her BOYFRIEND answers. BOYFRIEND -LRB- O.S. -RRB- Hello? CAROL Hi. It's me. BOYFRIEND -LRB- O.S. -RRB- Oh, hi. CAROL Can you come over? BOYFRIEND -LRB- O.S. -RRB- I ca n't. I really have a lot of work to do. CAROL -LRB- disappointed. -RRB- Ohhh.",
"INT. RESTAURANT - NIGHT An Italian Restaurant. Quiet music, soft lights, red and white checkered tablecloths, candles, a smokey and seductive atmosphere. DOLLY with a LATIN WAITER carrying a huge tray of food over - head. He passes right by the table where Jill and John are sitting. John watches him take the food to someone else. JOHN -LRB- reaching for a breadstick. -RRB- I've eaten enough breadsticks to turn into a pretzel. JILL John, tell me about the surprise. JOHN Oh, yeah. Brace yourself. JILL I'm braced. JOHN Good. I got the sack today. JILL What sack? JOHN The can. I was fired! JILL Oh, sure. JOHN You do n't believe me? JILL No, I do n't believe you. JOHN Well, Wally did call me into his office today. And he did tell me I did n't have my old job anymore. JILL -LRB- getting excited. -RRB- John, what did you get? JOHN Are you ready for this? JILL -LRB- guessing. -RRB- District Sales Manager! JOHN Regional! JILL Regional?! JOHN Nah, District. JILL -LRB- beside herself. -RRB- John, I do n't believe it! District Sales Manager! The WAITER arrives with their food. JILL Well, it's about time! The waiter looks up, offended. JILL -LRB- to waiter. -RRB- Not you. -LRB- back to John. -RRB- It's about time they recognized you for what you are. WAITER Enjoy your dinner, folks. They ignore him. He moves away. John digs right in. JOHN -LRB- mouth full. -RRB- I'll be the youngest District Manager in the company's history. God, am I hungry! JILL -LRB- not eating yet. -RRB- Does this mean a raise? JOHN It sure does. John flags down a passing WAITER and signals that their wine glasses need filling. JILL How much? JOHN A lot. JILL How much? John leans forward and whispers in her ear. JILL You're kidding! And a car? JOHN And a car. JILL John, I'm so proud of you. John pauses, looks at her. JOHN What's the matter? You do n't like your food? The MAITRE D' has come up to the table. John stops suddenly. They are both very chagrined. MAITRE D' Mr. and Mrs. Lockhart? JILL That's right. MAITRE D' There's a telephone call for you. John starts to get up. Jill grabs his arm. JILL Eat your dinner. It's probably Carol. I'll talk to her. Jill stands up and follows the Maitre D' through the other tables to the telephone. She picks up the receiver. CAMERA MOVES in on her. JILL Hello? Pause. DUNCAN -LRB- O.S. -RRB- Have you checked the children? Jill screams and falls to the floor. ANGLE ON JOHN Around him, other DINERS fall instantly silent and wonder what is going on. WAITERS stop dead in their tracks. John leaps up from his seat and dashes through the tables like a madman. Suddenly the restaurant comes alive with excitement and alarm. ANGLE ON JILL As John runs up and drops to his knees beside her. She is shaking and sobbing uncontrollably. JOHN Jill, what's happening? What's wrong? JILL It was him! Somebody call the police! Help me! Other PEOPLE have crowded around and are making urgent noises now about calling the police, an ambulance, etc.. John tries to cut through the confusion and anxiety. JOHN Wait a minute! Just hold on! Sweetheart, what was him? What are you talking about? JILL That man. Curt Duncan. He's home again! He's got our children! JOHN He was on the phone? Jill nods. John grabs the telephone and quickly dials a number. The crowd tries to quiet down, as much to hear for themselves as to let John talk. The phone rings and rings. Finally. CAROL Hello? JOHN Hello, Carol, it's Mr. Lockhart. What's going on over there? CAROL Nothing's going on. JOHN Is everything all right? CAROL Yes, there's nothing - JOHN Are you sure? Pause. CAROL Everything's fine. Why? What's -? JOHN Carol, listen to me very carefully. If there's a man in the house, if there's any reason why you ca n't talk to me right now, just answer yes to me over the phone. That's all. If there's any danger of any kind, just say yes. Long pause. They wait for her answer. Jill is listening into the receiver now, too. CAROL I do n't understand what's happening. What man in the house? Jill is confused. John breathes a guarded sigh of relief. Jill takes the phone. JILL Carol, it's Mrs. Lockhart. Answer me truthfully. When was the last time you looked in on the children? CAROL About forty - five minutes ago. Everything's fine. They were fast asleep. Jill gives her husband a look. John takes the phone again. JOHN Carol, I'm sorry about all the hysterics. We're leaving the restaurant now. We'll explain everything when we get home. Before we hang up, could you do just one more thing for me, please? CAROL What? JOHN Would you go upstairs and, and check on the children for me? Jill is violently shaking her head. John silences her with a gesture. CAROL Sure. Hold on. Carol O.S. puts the phone down. Then there is silence on the other end. The crowd of people around Jill and John begin to shuffle and murmur. John tries to keep them quiet while listening into the phone. Then TWO POLICEMEN come forward through the crowd. One of them kneels down to John and Jill who are still on the floor. POLICEMAN #1 What seems to be the problem here, sir? JOHN -LRB- whispering. -RRB- Officer, I'm John Lockhart. Just a second please, and I'll explain everything. JILL -LRB- whispering to Policeman. -RRB- I'm Jill Johnson, the babysitter seven years ago with the child killer. This means nothing to Policeman # 1. JOHN The babysitter. The guy got into the house and killed the two children upstairs. Policeman # 2 kneels down now. POLICEMAN #2 -LRB- whispering. -RRB- Oh, yeah, I remember something about that. A Greek doctor. JOHN That's right. That's the one. POLICEMAN #2 -LRB- to Policeman # 1. -RRB- It was in the seventh precinct. As the two policemen and John mumble between themselves, Jill takes the telephone. JILL -LRB- listening. -RRB- Hello? She presses the receiver tighter to her ear. JILL Carol? John quiets down the policeman. Jill can now hear what she could n't a second ago. JILL -LRB- growing hysterical. -RRB- Carol? Carol?! ZOOM into the telephone until we can also hear what Jill is reacting to. It grows louder and louder. A dial tone.",
"EXT. LOCKHART HOUSE - NIGHT John and Jill pull up in the station wagon followed by a squad car - no sirens or lights. They all get out and rush for the front door. John pulls out his key to open the door. and discovers that it's unlocked. Cautiously, they step inside.",
"INT. FRONT HALL They look into the living room. Carol is n't there. JOHN Carol? Carol? No answer. The policemen tentatively draw their guns. Jill bolts up the stairway. JOHN Jill! Policeman # 2 runs up after her.",
"INT. UPSTAIRS HALL As Jill runs down to the children's bedroom followed by Policeman # 2. She opens the door and rushes inside.",
"INT. CHILDREN'S BEDROOM The children are in bed, asleep. Policeman # 2 stands in the doorway as Jill goes up to June and bends over her. JUNE -LRB- opening her eyes. -RRB- Mommy? Jill kisses her gently on the forehead. JILL Sshhh. June closes her eyes and immediately falls back to sleep. Jill walks over to Stevie's bed and looks down at him. He turns slightly in his sleep. Satisfied that her children are safe, Jill pulls up the covers on Stevie and then walks slowly out of the bedroom.",
"INT. UPSTAIRS HALL Jill quietly pulls the door shut, and Policeman # 2 walks back up the hallway. Jill leans against the wall and buries her face in her hands. She is drained. She starts to cry. JOHN -LRB- O.S. -RRB- Nothing was wrong? CAROL -LRB- O.S. -RRB- When I got back to the phone, the line was dead. I figured we got cut off somehow. What's been going on?",
"INT. BEDROOM - LATER THAT NIGHT Jill is sitting on a corner of the bed, looking at the floor. John sits on the other corner, facing away from her, slowly unbuttoning his shirt. After a long silence. JILL What are you thinking about? JOHN If I ever get my hands on the guy that made that call. JILL John, it was n't a prank. I know that voice. JOHN He disguised it though, did n't he? Same as before? JILL I know that voice. Pause. JILL How can we just sit here? John turns and moves over beside her. JOHN Look, we promised never to talk about this. REACTION SHOT of Jill. She is shocked. JOHN What are we supposed to do? Leave town? Take the kids and lock ourselves up somewhere? Come on. Let's get a good night's sleep, and in the morning we can rethink this whole thing. JILL Nothing has to be rethought. And I'm not about to fall asleep. JOHN Try to relax, honey. I'm here. We're both here. The house is locked up. The cops'll be just outside all night long. We're safe now. JILL That's what they told me before. John stands up and goes to his dresser. JOHN Okay. Look. If it'll make you feel any better. He takes a revolver from the dresser drawer and emphatically checks the action. Then he walks to his side of the bed and sets the pistol on his bedside table. JOHN I'll keep it right here beside me all night. You know I'm a light sleeper and a damn good shot. Are you satisfied? Pause. Jill tries to smile. JILL John, I'm sorry to be putting you through all this. JOHN Hey, you're not putting me through anything that you do n't have to go through yourself. I'm with you all the way. Trust me. Okay? Jill nods. John leans forward and kisses her. JOHN That's my girl. He gets up and walks out of the room talking. JOHN -LRB- O.S. -RRB- Now try to relax. We'll get some sleep. You'll be surprised how differently things will look in the morning. JILL -LRB- complaining. -RRB- Honey. JOHN -LRB- O.S. -RRB- What? JILL Not so loud. You're going to wake the children. John comes back into the bedroom with a glass of water and a couple of pills in his hand. JOHN -LRB- smiling. -RRB- Naw. Those kids'd sleep through an earthquake. They're good kids. -LRB- handing her the pills and water. -RRB- Here, take a couple of these. They're just what the doctor ordered. CLOSEUP - JILL As she takes the pills and swallows them, one at a time. JOHN -LRB- O.S. -RRB- You know, I read somewhere about this psychological thing called hysterical delusion or hysterical recall or something. It had to do with how an event from your past can sneak up on you sometimes and fool you when it's only just a memory. I do n't know. We'll talk about it in the morning. Maybe there's someone we can see about that.",
"INT. POLICE STATION - NIGHT The lounge area in the back of the station. At one table, three OFFICERS are playing bridge. Garber with his back to CAMERA rounds out their game. At a nearby table closer to CAMERA, Policeman # 1 is working on a crossword puzzle. POLICEMAN # 3, sitting next to him, is reading a paperback novel. POLICEMAN #1 What's a word for `` an outsider, of sorts''? POLICEMAN #3 Trespasser. POLICEMAN #1 Uh - uh. Eight letters. POLICEMAN #3 Stranger. POLICEMAN #1 Uh - uh. Starts with an `` I''. Policeman # 3 thinks briefly, then goes back to his novel. Policeman # 2 enters the room carrying a printout of some sort. POLICEMAN #2 Hey, Bert. A report just came in on that guy, Curt Duncan. ANGLE ON GARBER At the bridge table, perking up his ears, looking around. POLICEMAN #2 -LRB- O.S. -RRB- Broke outta the nuthouse two months ago. Garber is keeping only half an eye on the card game. He pulls a card from his hand and throws it down. POLICEMAN #1 -LRB- O.S. -RRB- Oh, yeah? You going to put that in our report? OFFICER #1 -LRB- O.S. -RRB- Diamonds, Charlie. Diamonds was led. Garber hastily picks up his card and throws down another. POLICEMAN #2 -LRB- O.S. -RRB- Course I'm going to put it in the report. Maybe this gal tonight really did get a call from him. Who knows? OFFICER #1 -LRB- O.S. -RRB- Your lead, Charlie. Garber throws down another card. OFFICER #1 -LRB- O.S. -RRB- What the hell are you doing? That's a trump. OFFICER #2 -LRB- O.S. -RRB- A card laid is a card played. POLICEMAN #1 -LRB- O.S. -RRB- Yeah, you're right. We'd better leave that on Ruznik's desk in the morning. OFFICER #2 -LRB- O.S. -RRB- Toss'em in. I got the rest. OFFICER #1 -LRB- O.S. -RRB- Jesus Kay - Reist! Garber throws down his cards. He stands up and approaches Policeman # 2. GARBER Hey, Tucker, lem me see that a minute. Policeman # 2 hands the sheet of paper to Garber. Garber quickly scans the information. GARBER You guys have a stake on the house? POLICEMAN #2 Bernstein and Waller are checkin' it every twenty minutes or so. GARBER -LRB- handing back the sheet. -RRB- Thanks. Garber exits to his office. Policeman # 2 walks over to where Policeman # 1 is still sitting, working the crossword. POLICEMAN #1 Hey, what's an eight letter word for `` an outsider, of sorts''? Starts with an `` I''. POLICEMAN #2 Intruder! POLICEMAN #1 Right! Intruder!",
"INT. GARBER'S OFFICE - NIGHT Garber sits thinking for a moment. He is trying to come to a decision. He reaches for the phone and dials. It rings and then is picked up. CLIFFORD -LRB- O.S. -RRB- Hello? GARBER Cliff? I think I got something for you.",
"INT. LOCKHART HOUSE - NIGHT A shot of the downstairs hall. All is dark and still, very still.",
"INT. BEDROOM Jill is tossing in her sleep. John is fast asleep next to her, on his side facing away from her. Then, Jill wakes up. She is heavily sedated, groggy. She hardly knows where she is at first. She pulls herself up to a sitting position on the side of the bed. She tries to gather her wits. Then she gets up and walks slowly out of the room. FOLLOWING JILL Through the upstairs hallway, down the staircase and toward the kitchen. The darkness around her is ominous, threatening. She stops at the dining room window and looks out. On the street a patrol car slowly passes and disappears down the block.",
"INT. KITCHEN Jill enters, turns on the light, opens a cupboard and takes out a glass. She goes to the refrigerator and opens it. Suddenly, the lights go out. Jill closes the refrigerator door and goes and turns on another light. Apparently, only a lightbulb has blown. Jill unscrews the burned - out bulb from its socket and throws it in the trash. She leaves the kitchen.",
"INT. DOWNSTAIRS HALL Jill walks to a hall closet and opens it. A light comes on inside as she does so. A puzzled, half - startled expression comes onto her face. JILL'S POV Inside the closet, half the hangers with coats, etc., are on the floor. Sound over : A telephone being dialed.",
"INT. CLIFFORD'S APARTMENT - NIGHT Clifford has just finished dialing the phone. He waits, nothing happens. Then a strange, siren - like noise comes out of the telephone. Clifford listens, then hangs up. He picks up the.38 he has lying on the desk and idly starts flipping the cartridge chamber with one of his jimmy needles. After a moment, he lays the gun down and picks up the phone again, this time calling the OPERATOR. OPERATOR -LRB- O.S. -RRB- Operator. CLIFFORD Can you dial a local number for me? OPERATOR -LRB- O.S. -RRB- What is the number, please? CLIFFORD 555 - 2183. The operator dials. There is a pause. Then the same strange noise cuts in. CLIFFORD Operator, what does that mean? OPERATOR -LRB- O.S. -RRB- I'm sorry, sir, that line seems to be disconnected. CLIFFORD Why do n't I get a recording? OPERATOR -LRB- O.S. -RRB- I do n't know, sir. Maybe the number was just recently disconnected. Maybe there's a temporary malfunction in the wiring. Why do n't you try it again in the morning? CLIFFORD Yeah, okay. Thanks.",
"INT. LOCKHART HOME - UPSTAIRS HALLWAY - NIGHT Jill is walking down the hall to the children's bedroom. She opens the door.",
"INT. CHILDREN'S BEDROOM As Jill quietly enters. The children are asleep. Jill goes to June and tucks her in. Then she walks over to Stevie's bed. He is sleeping, but with a Sugar Daddy in his hand. Jill looks down at him, again puzzled. She leans over, takes the Sugar Daddy and gently wakes him. JILL Stevie. Stevie. STEVIE -LRB- stirring, but not fully awake. -RRB- Yes? JILL Stevie, listen to me. Where did you get this candy? STEVIE What? JILL Where did you get this? STEVIE -LRB- very groggy. -RRB- The man gave it to me. JILL What man? STEVIE -LRB- drifting off. -RRB- I do n't know. He was. Wings on a horse. He closes his eyes and is asleep. Jill stands up, turns and starts to walk out of the room. Halfway across the floor, Jill stops. She stands rigid as a thought penetrates her own drowsiness. She turns very slowly and moves to the closet in the children's bedroom. She stands before it a moment. Then she reaches her hand forward for the knob on the closet door. She very slowly pulls the door open. She looks inside. There is nothing. Jill quietly closes the closet door and leaves the room.",
"INT. BEDROOM Jill enters. John is still asleep facing the wall. Jill gets into bed, sitting up. She is wide awake now. She sits for a moment in the darkness, thinking. Then she reaches for the princess phone on the bedside table. She does n't get a dial tone. She quietly pushes the phone's disconnect button up and down several times. Still no dial tone. Jill hangs up and thinks for another moment, apprehension creeping over her face. Then, in the darkness of the bedroom, she begins to hear the muttering of a man's voice, low and deep. It is Duncan in the throes of Guy du Marraux. Jill freezes. As the voice gets steadily louder and more menacing, her attention focuses on the door to the bedroom closet which is a couple of inches ajar. JILL -LRB- urgently whispering. -RRB- John? John? She reaches for the bedside lamp and turns it on, never taking her eyes away from the closet door. As soon as the light comes on, the voice stops. Her eyes still riveted to the door, Jill grabs her husband's shoulder and shakes him, her voice cracking with fear. JILL John! John! The body beside her stirs, rolls over, looks at her hideously. It is Duncan! Jill shrieks, and makes a move to leap out of the bed. Duncan, the hideous and terrifying sound of his madness grumbling out of his throat, manages to grab the back of her nightgown. As Jill struggles to get off the bed, the gown rips slightly while she fights to get away. Duncan rolls to her side of the bed and manages to grab Jill's ankle while letting go of the gown. It causes Jill to lose her balance and tumble onto the floor just short of the doorway leading out of the room. Duncan is on her in a flash, clutching at her and moving his hands for her throat. Jill screams again. It is the desperate sound of a woman facing certain death. Suddenly, two quick shots ring out, overwhelming all other sound. Duncan falls back with a groan and a thud. Out of the darkness of the hallway steps Clifford, pistol in hand. He crosses to Duncan. He is dead. Then Clifford walks around the room to the far side of the bed and looks down. On the narrow strip of floor between the bed and the wall lies John. Clifford nudges the body with his foot. John stirs, as if he has been knocked unconscious, but it will be some time yet before he comes to. Clifford starts to walk out of the room, stepping over Duncan's body, edging past Jill who is propped up in the doorway, sobbing hysterically. CLIFFORD Your husband's okay. Then he is gone. As Jill sits there unable to rein in her emotions, June and Stevie toddle up to her groggily from the hallway. JUNE Mommy? Jill clutches her children to her heaving breast and buries her face between them.",
"INT. DOWNSTAIRS HALL Looking through the open front doorway into the quiet night beyond. THE END"
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] | Jill Johnson (Carol Kane) is babysitting the children of Dr. Mandrakis (Carmen Argenziano) at his home. When the children are asleep, Jill receives a telephone call from a man who asks her if she has checked the children. Jill initially dismisses the telephone calls as a practical joke. However, as the calls become more frequent and threatening, Jill becomes frightened and decides to call the police, who tell Jill to keep the caller on the line long enough for them to trace the call. Jill receives one final call from her stalker. Immediately after the conversation, the police phone to inform her that the calls are coming from a phone inside the house. Jill runs to the door as a light comes on at the top of the staircase, and the stalker's shadow appears. The scene segues to a close-up of detective John Clifford (Charles Durning), who is the investigating the matter. Patrol officer Charlie Garber (Ron O'Neal) explains that Jill is unharmed, but the children were murdered by the perpetrator several hours earlier, before Jill's ordeal even started. The killer is identified as an English merchant seaman named Curt Duncan (Tony Beckley), who is subsequently sent to an asylum. Seven years later, Duncan escapes from the asylum. Dr. Mandrakis hires Clifford, now a private investigator, to find Duncan. Not knowing Clifford is after him, Duncan is now a homeless, vagrant loner. He is beaten after disturbing a woman, Tracy (Colleen Dewhurst), in a downtown bar, and later follows her to her apartment. Feeling sorry for his appearance and her involuntary role in the beating, Tracy tries to be nice to the man while getting him to leave, hoping this will be the last she sees of him. Meanwhile, an increasingly obsessed Clifford confides to his friend (now Lieutenant) Garber his intention to kill Duncan rather than arrest him. Garber, who was also present in the Mandrakis crime scene, agrees to collaborate. Clifford follows the trail to the bar where Duncan was beaten, and from there to Tracy's residence. Clifford tells Tracy just how dangerous her situation has become, revealing that Duncan had literally torn apart the Mandrakis children with his bare hands. Tracy reluctantly agrees to be Clifford's bait at the bar that evening should Duncan reappear. Clifford surreptitiously follows Tracy from the bar to her apartment, but sees no sign of Duncan. After Clifford leaves, however, Duncan comes out of hiding from inside Tracy’s closet. Tracy screams for help. Clifford returns and chases Duncan away from the scene, losing his trail in the streets of downtown Los Angeles. Jill Lockart (née Johnson) is now married with two young children. One night, she and her husband Stephen (Steven Anderson) go out to dinner in celebration of a promotion, while their children are babysat by Sharon (Lenora May). At the restaurant, Jill gets a telephone call and hears Duncan's voice again: "Have you checked the children?". She panics and calls Sharon; nothing seems to be wrong at first, but then the call is suddenly disconnected. The police escort Jill back home to discover that everything there is fine. Clifford is tipped off by Garber, however, and tries to call Jill, but finds that the line is disconnected. Later that night, Jill goes downstairs for a glass of milk when the lights suddenly go out. She returns to bed and hears Duncan's voice as the closet door appears to open. Jill tries shaking her husband awake only to realize that the man lying next to her is Duncan. Duncan chases Jill across the room and attempts to kill when Clifford arrives and fatally shoots Duncan. Jill’s husband Stephen is revealed to be in the closet, unconscious but alive. Their children are safe. As Clifford comforts Jill, the last view is of the house, superimposed beneath the eyes of Curt Duncan. | When_a_Stranger_Calls_(1979_film) |
[
"INT. PAUL'S APARTMENT. BEDROOM - DAY BLINDING WHITENESS We hear a MAN GASPING softly. Rhythmically. A LUMINOUS PALE SHAPE slowly forms out of the searing whiteness. Gradually we realize we're moving across the ALABASTER BODY of a WOMAN. Her skin translucent. ON THE WOMAN'S FACE Ethereal. Her eyes closed. Her face lifeless. Then. her eyes open. She looks straight at us with unseeing pale blue eyes. This is ANNA -LRB- late 20s -RRB-. We pull back. PAUL -LRB- 30s -RRB- makes love to Anna. Their movements perfunctory. Passionless. He turns to look at her. Realizes she's not there. He suddenly stops. Rolls off her. Sits on the edge of the bed. PAUL What's wrong? ANNA Nothing. Anna leans down and picks up her RED SLIP from the floor. PAUL -LRB- SIGHS WEARILY. -RRB- You used to enjoy it. Now it's. He shakes his head. Frustrated. Lights a cigarette. PAUL it's like fucking a corpse. Paul immediately realizes he's gone too far. Turns to Anna. PAUL Shit. I'm sorry. That was - Anna gets out of bed. Walks towards the bathroom. Paul puts his head in his hands.",
"INT. PAUL'S APARTMENT. BATHROOM - MOMENTS LATER Through the fogged shower partition we see the blurred ghostly figure of Anna. Paul walks in. PAUL Anna. I'm sorry. That was a stupid thing to say. But you know sometimes. sometimes it's like you're not here anymore. Like you're somewhere else. Anna does n't reply. PAUL Is this about us? ON ANNA her head bowed as she lets the water wash over her. ANNA It's not about us. PAUL -LRB- O.C. -RRB- Then what is it? ANNA I do n't know. PAUL -LRB- O.C. -RRB- I just want us to be happy. Anna does n't move. We sense the emptiness inside her. PAUL -LRB- O.C. -RRB- Are you happy? She closes her eyes. Forces herself to reply. ANNA I'm happy. A DROP OF BLOOD falls into the water. Then another drop. ON ANNA her nose is bleeding. She touches her lips. Looks impassively at the blood on her fingertips. The SOUND OF WATER carries into the next scene. FADE TO WHITE. A STREAM OF CRYSTAL BLUE WATER A MAN'S HANDS penetrate the water. Thin and elegant. Perfectly manicured. Turning slowly as he washes them meticulously. He picks up a crisply folded white towel. Dries his hands carefully. Snaps on white latex gloves.",
"EXT. CEMETERY - MORNING A beautiful morning. We move through a tranquil cemetery. Pastoral and idyllic. Dappled light falls through old trees onto statues of grieving angels.",
"EXT. FUNERAL HOME - CONTINUOUS A path leads to an old well - kept house. Amongst a blaze of violet tulips we see a sign : Eliot Deane. Funeral Home.",
"INT. FUNERAL HOME. CASKET DISPLAY ROOM - MORNING Sun streams into an elegant wood - panelled room. The Funeral Director, ELIOT DEANE -LRB- 40s -RRB- guides MRS. AYRES -LRB- 70s -RRB- past caskets tastefully arranged on faux - marble pedestals. He's a serene man. Quiet and professional. ELIOT The Antique Carlisle. Solid cherry. -LRB- strokes the wood lovingly. -RRB- Hand rubbed satin finish. Tufted sovereign interior. Eternal - Rest adjustable mattress with matching pillow. He gestures to a metal casket. ELIOT Or perhaps the Aegean? Solid bronze exterior. Hand brushed finish with Grecian bronze highlights. MRS. AYRES The Antique Carlisle. Definitely the Antique Carlisle. ELIOT -LRB- writes in his notebook. -RRB- Excellent choice. Mrs. Ayres caresses the soft velvet trimming. MRS. AYRES An antique coffin for an antique lady. We suit each other. ELIOT -LRB- SMILES. -RRB- You'll look beautiful. -LRB- BEAT. -RRB- Now about the service. Would you like a private visitation? Mrs. Ayres is miles away. ELIOT Mrs. Ayres? MRS. AYRES I'm sorry. Yes. A private visitation. -LRB- HESITATES. -RRB- Mr. Deane? What happens when we die? Eliot chooses his words carefully. ELIOT It's different every time. Each person dies in their own way.",
"INT/EXT. ANNA'S CAR - MORNING Anna drives past the strip malls of a small suburban town in a GREEN TOYOTA. On the dashboard a KITSCHY BOBBLEHEAD DOLL nods its head from side to side. Anna pulls up to a red light. Glances across at the other cars. We see the vacant faces of COMMUTERS staring blankly into space. The light changes. Anna has n't noticed. The car behind her HONKS in frustration. She quickly pulls out. just as a SUV turns in front of her. She slams on her brakes. Hard. Missing the SUV by inches. The DRIVER screams at her. His face contorted in ugly rage.",
"EXT. ELEMENTARY SCHOOL. PARKING LOT - MORNING Anna locks her car. Heads towards the main building.",
"INT. ELEMENTARY SCHOOL. CORRIDOR - MORNING Classes have started. JACK -LRB- 11 -RRB-, a serious looking boy, walks through a silent corridor. Up ahead two OLDER BOYS, a TALL KID and a KID with ACNE, push a GEEKY BOY against a locker. Jack tries to pass by unnoticed. TALL KID Hey. Jack - off! Jack walks faster. The two Older Boys set off after him. He darts into a corridor. Ducks into an empty classroom.",
"INT. ELEMENTARY SCHOOL. BIOLOGY CLASSROOM - MOMENTS LATER Jack waits anxiously by the door. It looks like he's lost the bullies. Then a sudden rustling noise makes him jump. He turns. TINY CHICKS huddle in a plastic incubator on a table. Jack moves over to them. TALL KID -LRB- O.C. -RRB- Did n't you hear me Jack - off? Jack swivels round. The Tall Kid walks towards him as the Acne Kid guards the door. Jack does n't reply. ACNE KID He must be deaf. TALL KID You deaf Jack - off? Jack ignores them. Irritating the Tall Kid even more. TALL KID Ca n't fucking speak either. He pushes Jack against the table, toppling the incubator. Panicked, the CHICKS scatter across the surface. Just then the door opens. Anna walks in. ANNA What's going on? She glances at the Older Boys then at Jack. ANNA Jack? JACK Nothing Miss Bryant. ANNA Nothing? The incubator did n't just fall by itself. The Older Boys stare at Jack. Waiting for his reaction. JACK I tripped. It was an accident. Anna looks at Jack carefully. She knows he's lying. ANNA -LRB- to the Older Boys. -RRB- Show's over. Get to your classes. -LRB- TO JACK. -RRB- Jack. Help me clear up. Jack does n't hear her. He's mesmerized by a SOLITARY CHICK standing motionless in the corner of the incubator. JACK I think it's dead. Anna reaches in. Tenderly picks up the chick. ANNA No. The poor thing's just scared.",
"INT. ELEMENTARY SCHOOL. TEACHERS' COMMON ROOM - DAY School's over. Anna listlessly corrects a stack of exercise books. She ca n't focus. Pulls out a BOTTLE OF PILLS. Shakes a pill into her hand. Swallows it dry.",
"INT. LAW OFFICE. CONFERENCE ROOM - DAY Paul works with half a dozen COLLEAGUES around a large conference table covered with documents and thick files. He reaches across to a pizza box. It's empty. PAUL OK. Who took the last pepperoni? A PREPPY GUY slides across another pizza box. PAUL Great. Broccoli. -LRB- lifts out a slice. -RRB- Who the fuck ordered broccoli? NEAL, a thin pallid guy, looks up. NEAL Oh that's just disgusting. PREPPY GUY What's wrong with vegetarian pizza? It's healthy. NEAL Pizza is n't supposed to be healthy. Paul glances at his watch. Suddenly realizes the time. He quickly picks up his cell phone. Heads for the door. NEAL You ordering in another pizza? PAUL Yeah. With wheatgrass and alfalfa sprouts. Everyone laughs. PREPPY GUY -LRB- MUTTERS. -RRB- Yeah. Yeah. Smart asses.",
"INT. LAW OFFICE. CORRIDOR - MOMENTS LATER Paul walks into the corridor dialling his cell phone.",
"INT. ELEMENTARY SCHOOL. TEACHERS' COMMON ROOM - SAME TIME Anna's cell phone rings as she closes her locker. She fishes it out from her bag as she heads to the door. Checks the ID. Hesitates. Then takes the call.",
"INT. LAW OFFICE. CORRIDOR - SAME TIME Paul cups his cell. Worried he'll be overheard. PAUL Hi baby. I'm really sorry about this morning. I fucked up. I know.",
"INT. ELEMENTARY SCHOOL. CORRIDOR - SAME TIME Anna steps into an empty corridor. PAUL -LRB- O.S. -RRB- -LRB- FILTERED. -RRB- We still on for tonight? -LRB- BEAT. -RRB- Anna? ANNA I do n't know Paul.",
"INT. LAW OFFICE. CORRIDOR - SAME TIME Paul's anxious. We sense he's hiding something. PAUL Please Anna. It took me weeks to get the table. ANNA -LRB- O.S. -RRB- -LRB- FILTERED. -RRB- Maybe we can change it to Thursday - PAUL No. It has to be tonight. ANNA -LRB- O.S. -RRB- -LRB- FILTERED. -RRB- Paul? What's the matter? Paul tries hard to cover his nervousness. Forces a smile. PAUL Nothing. Do n't worry. I just need. I just want us to have dinner tonight.",
"INT. ELEMENTARY SCHOOL. CORRIDOR - SAME TIME Despite Paul's reassurances Anna is clearly worried now. ANNA -LRB- HESITATES. -RRB- OK. PAUL -LRB- O.S. -RRB- -LRB- FILTERED. -RRB- Great.",
"INT. LAW OFFICE. CORRIDOR - SAME TIME Paul hesitates. Lowers his voice. PAUL And Anna. Everything's going to be fine. ANNA -LRB- O.S. -RRB- -LRB- FILTERED. -RRB- Promise? PAUL I promise.",
"INT. ELEMENTARY SCHOOL. CORRIDOR - MOMENTS LATER Anna slips her phone back into her bag as she walks through the deserted corridor. Her high heels echo loudly in the eerie quietness. Suddenly one of the fluorescent ceiling lights behind her blows out with a loud WHUMPH. Anna starts. Turns. WHUMPH. The next light dies. Anna quickens her step. The lights go off one by one. The darkness quickly creeping up behind her. There's only one light still on as she reaches the exit. She looks up. The light flickers. But then strangely stays on. Bathing her in a cold pool of light. Anna's unsettled. She turns and frantically pushes the door. It does n't open. She pushes hard with both hands. Nothing. It's locked. She turns back slowly. The darkness around her impenetrable. Almost viscous. She reaches out. her hand DISAPPEARS into the thick blackness. Anna snatches her hand back. Stares at it. Then we hear the sound of SLOW FOOTSTEPS. Moving deliberately towards her. ANNA -LRB- NERVOUSLY. -RRB- Hello? Her voice echoes down the silent corridor. She glimpses something move in the blackness. ANNA Is someone there? A BLACK SHAPE materializes inside the darkness. Silent. Brooding. Anna ca n't move. Terrified. Suddenly the corridor's flooded with a BLINDING WHITE LIGHT. Anna's dazzled. Shades her eyes with her hand. As she tentatively pulls her hand away. it's only Jack. His hand on the light switch. ANNA Jack! JACK Did I scare you Miss Bryant? Jack moves over to the door. ANNA It's locked. He gently pushes against the door. The door slowly opens.",
"EXT. ELEMENTARY SCHOOL - MOMENTS LATER Anna, still shaken, walks with Jack towards the parking lot. ANNA Should n't you be home? JACK My mom's picking me up. -LRB- BEAT. -RRB- It's my birthday. We're going to MacDonald's. Then on Saturday my mom's taking me to Busch Gardens. We're going to ride the Alpengeist. -LRB- EARNESTLY. -RRB- Continually voted one of the top ten roller coaster rides in America, the Alpengeist is a breathtaking avalanche of adventure. ANNA -LRB- tries to keep a straight - face. -RRB- I did n't know the park was open yet. JACK My mom's friends with the manager. They're opening it specially for me. She knows he's lying again. Smiles sadly. ANNA Sounds like fun. JACK Yes. It will be fun. They reach Anna's car. Stand in silence for a moment. ANNA Jack. Those boys. Do they bother you a lot? Jack hesitates. Then slowly nods his head. ANNA You know you can always talk to me about it if you want to. He nods. Anna's clearly worried about him. ANNA You sure you do n't need a ride? Jack shakes his head. Anna glances at her watch. ANNA Well. I better run. JACK Where are you going? ANNA -LRB- HESITATES. -RRB- I have to go to a funeral. My old piano teacher. JACK -LRB- with sudden interest. -RRB- Can I come? ANNA No Jack. Funerals are very private affairs. JACK I've never been to a funeral. ANNA It would n't be appropriate Jack. Anyway would n't your mom worry about you? JACK -LRB- SHRUGS. -RRB- Not really. ANNA I'm sure she would. I'll see you tomorrow in class. Have a wonderful birthday. Jack nods disappointed. Anna watches him walk away then gets in her car.",
"INT. ANNA'S CAR - MOMENTS LATER Anna slips her key into the ignition. Loud music suddenly blares from the car radio. She switches it off. Squeezes the bridge of her nose. She pulls out a bottle of pills from her bag. It's empty. She rummages in the glove compartment. Finds another bottle. Empty. She sighs.",
"EXT. ELEMENTARY SCHOOL - MOMENTS LATER Jack sits on the bench. Watches Anna drive away. Then unzips his backpack. Something moves inside. A strange jerky movement. Jack closes the backpack. Glances up and down the empty street. Then walks away on his own.",
"EXT. STRIP MALL. PHARMACY - DAY Anna steps out of the Pharmacy. As she washes down a pill with a bottle of water she notices a small Hair Salon. Looks critically at herself in the Pharmacy window. Anna moves over to the Salon. Reaches for the door handle. then hesitates. She's about to walk away when the Salon door suddenly opens. Anna smiles shyly as a freshly COIFFURED WOMAN politely holds the door for her.",
"INT. HAIR SALON - DAY Anna leans back against a washbasin. Her neck tightly cradled against the white porcelain. The light's harsh and not particularly flattering. She closes her eyes. Behind her the HANDS of a HAIRDRESSER in latex gloves begin to rinse dye from Anna's hair. ON SINK Startling white. A stream of water flows into the sink. Then after a moment the spiralling clear water gradually turns a deep crimson red.",
"INT. MOTHER'S HOUSE. HALLWAY - DAY Anna closes the front door behind her. She smiles as she catches her reflection in the hallway mirror. Her hair a dark vibrant red. Just then, from another room, we hear an OLD WOMAN'S hacking cough. OLD WOMAN -LRB- O.S. -RRB- Anna? Is that you? ANNA Yes Mother.",
"INT. MOTHER'S HOUSE. BEDROOM - MOMENTS LATER Anna's mother, BEATRICE -LRB- 50s -RRB-, sits in bed, knitting with swift, violent precision. The bedside table's stacked with medication. She's clearly been bed - ridden for some time. An electric wheelchair in the corner of the room. Anna appears at the door. Beatrice scrutinizes her for a second. Then returns to her knitting. BEATRICE Terrible color. Anna moves to the beside table. Picks up a dirty plate. ANNA Can I get you something to eat? BEATRICE I'm not hungry. ANNA You have to eat. BEATRICE I do n't have to do anything. ANNA The doctor said - BEATRICE The doctor's an idiot. He does n't know what he's talking about. Anna sighs. Trying hard not to let her Mother provoke her. Beatrice glances up. Anna avoids her look. BEATRICE Why did you do it? Today of all days. ANNA What have I done wrong this time? Anna goes to the window. Draws back the curtains. BEATRICE You've forgotten have n't you? ANNA No I have n't forgotten. The service is n't till six. BEATRICE Then you've got plenty of time to wash it out. ANNA It's permanent. You ca n't wash it out. BEATRICE Then dye it back. You ca n't show up at the funeral looking like that. Like some prostitute. ANNA I do n't look - BEATRICE Do n't argue with me. Why are you constantly arguing with me? Anna bites her tongue. Heads to the door. BEATRICE Where are you going? ANNA To do the washing up. BEATRICE The sheets need changing. They have n't been changed in months. ANNA I changed them Monday. Anna goes to the cupboard. Takes out clean sheets. BEATRICE You were n't here Monday. You never sleep at home anymore. What if something happened to me in the middle of the night? ANNA Nothing is going to happen to you. ANYWAY DIANE-- BEATRICE -LRB- SNORTS. -RRB- Fat lot of good she is. I would n't have to pay for a Nurse if my only daughter was n't living in sin with that lawyer of hers. Doing God knows what. They always leave you in the end. You'll see. Just like your father - ANNA That's enough Mother! Anna dumps the sheets on the bed. As she turns to leave Beatrice's hand darts out and grabs Anna's wrist. BEATRICE That's it. Go and cry to Paul. Anna pulls herself free. Moves to the door. BEATRICE Go and bitch to Paul about your mean old mother.",
"INT. FUNERAL HOME. VIEWING ROOM - DAY A warm intimate room. Peaceful. Rows of chairs filled with ELDERLY MOURNERS. Eliot stands respectfully beside a casket. FATHER GRAHAM -LRB- 50s -RRB- reads at a lectern. FATHER GRAHAM We have entrusted our brother James Hutton to God's mercy in sure and.",
"EXT. FUNERAL HOME. DRIVEWAY - CONTINUOUS Anna, in a black dress, walks quickly along the gravel driveway. She stops. Stares out over the cemetery. FATHER GRAHAM -LRB- O.S. -RRB- certain hope of the resurrection to eternal life through our Lord Jesus Christ, who died and rose again for us.",
"INT. FUNERAL HOME. VIEWING ROOM - MOMENTS LATER Anna slips into the back of the room. Eliot leads MRS. HUTTON -LRB- 60s -RRB- to the body of her husband, JAMES HUTTON -LRB- 70S -RRB-, lying in the casket. Mrs. Hutton touches a bouquet of white roses by the casket. MRS. HUTTON White roses. They were his favorite. How did you know? ELIOT They just seemed appropriate somehow. MRS. HUTTON He looks so peaceful. As if he's only sleeping. Anna approaches Mrs. Hutton. She does n't notice Eliot watching her carefully. ANNA Mrs. Hutton. I'm so sorry. MRS. HUTTON Thank you Anna. You were always his favorite student. Anna smiles awkwardly. Uncomfortable. MRS. HUTTON How's your mother? ANNA Fine. She sends her condolences. MRS. HUTTON You look tired dear. ANNA No. I'm fine. Everything's fine. But we can see in her eyes that everything's not fine. Mrs. Hutton nods, then turns to greet another MOURNER. Anna steps nervously up to the coffin. ANNA'S POV James Hutton lies peacefully amongst the velvet trimming. Suddenly his LIPS PART. as he GASPS SOFTLY. VIEWING ROOM Anna steps back terrified. Stares at Hutton. His face serene again. It must have been her imagination. She glances up quickly. Embarrassed. Eliot's still observing her. He nods to her cordially.",
"INT. FUNERAL HOME. ELIOT'S ROOM - DAY A spartan room at the top of the house. Eliot carefully pins a POLAROID of Hutton lying in a coffin to the wall. Next to Hutton's photograph, we briefly glimpse the edge of ANOTHER POLAROID. Eliot stares intently at Hutton's image for a moment, then takes off his jacket and moves to the window. ELIOT'S POV Anna's by her car rummaging in a bag for her keys. Getting increasingly frustrated.",
"EXT. FUNERAL HOME. DRIVEWAY - DAY Anna suddenly looses it. Angrily dumps the contents of her bag onto the driveway. She kneels down. Grabs the keys. Throws the rest of her things back into the bag. She stands. Leans against the car. She looks weary. She glances up at the sky desperately trying to hold back her tears. Black storm clouds gather on the horizon. Anna brusquely wipes away her eyes with the back of her hand. Pulls herself together. Angry with herself.",
"INT. FUNERAL HOME. ELIOT'S ROOM - DAY Eliot watches intently as Anna drives away.",
"INT. RESTAURANT - EVENING Paul sits at a window table. It's raining hard outside. He glances at his watch then nervously checks his pockets. Pulls out a RING BOX. He looks at it for a moment then slips it back into his pocket. As he refills his glass, Anna appears outside holding her raincoat above her head. She stares at Paul for a moment through the window marbled with rain. Paul suddenly notices Anna at the window. He starts. Spills some of his red wine on his shirt. CLOSE on the red stain. It unfurls like a flower. Spreading out over the white material. ANNA -LRB- O.C. -RRB- Sorry about that. Paul dabs the stain with a napkin. PAUL You scared the life out of me. Anna laughs as she sits down. Paul looks up at her. PAUL Your hair. ANNA You do n't like it. PAUL I did n't say that. It's just very. red. I mean it's not really you is it? A WAITER appears at the table before Anna can reply. WAITER Are you ready to order? PAUL Yes. We'll have the duck. ANNA Paul. PAUL What? You always have the duck here. ANNA -LRB- picks up the menu. -RRB- I do n't always have the duck. Paul shrugs. Pours Anna some wine as she looks through the menu. The Waiter taps his pen on his pad impatiently. Anna sighs. Puts the menu aside. ANNA I'll have the duck. Paul smiles as the Waiter leaves. Anna tries to ignore him. But after a second she ca n't help smiling back. PAUL The duck is very good. Anna's smile broadens. The tension between them broken for the moment. Paul reaches across. Touches her hand. PAUL Let's not argue tonight. OK? ANNA OK. Anna takes a sip of wine. ANNA This is good. She picks up the bottle. Checks the label. ANNA And looks very expensive. -LRB- SMILES QUESTIONINGLY. -RRB- What's the special occasion? Paul's momentarily thrown. He tries to cover it by rearranging his napkin. Anna notices. PAUL -LRB- suddenly very serious. -RRB- Actually there is something I need to talk to you about. Now Anna's nervous. PAUL I've been offered a transfer to head office in Chicago. Anna looks down. Stares at her hands on the table. PAUL It'll mean more work of course. More responsibility. A lot of changes. But it's an incredible opportunity. I'd be crazy to turn it down. And. -LRB- NERVOUS. -RRB-. well I've been thinking. Maybe it's time for us to. Paul pauses as he reaches inside his jacket. ANNA -LRB- without looking up. -RRB- You're going to leave me. Paul's stunned. Speechless. Before he can say anything - ANNA You could've just told me this morning. You did n't need to buy me off with an expensive meal. Paul reaches for her hand. Anna gets up to leave. PAUL Anna wait. ANNA Why did you lie to me? You promised everything was going to be OK. PAUL -LRB- INCREASINGLY FRUSTRATED. -RRB- Do n't be ridiculous. Anna. You've got it all wrong. ANNA I'm not being ridiculous. Why do you always talk to me like I'm a small child? PAUL -LRB- as if talking to a small child. -RRB- Anna. ANNA See? There you go again. Do you know how irritating that is? PAUL -LRB- LOSES IT. -RRB- Jesus. Ca n't we just have one fucking meal without arguing - ANNA Fuck you! The other DINERS turn and stare at them. Paul glances at them embarrassed. Anna does n't notice. Upset. PAUL Keep your voice down, everyone's watching. ANNA FUCK YOU! PAUL You're crazy. You know that? Just like your mother. ANNA I'm nothing like my mother! Anna grabs her coat. Pushes her way through the restaurant. PAUL -LRB- STANDS. -RRB- I'm not running after you this time Anna. ANNA Good. Paul's suddenly aware that everyone's looking at him. He quickly sits down. Drains his glass of wine. Furious.",
"INT/EXT. ANNA'S CAR - NIGHT Anna closes the car door. It's still raining hard outside. Her hair, perfect minutes ago, is now bedraggled. Her make - up's running. She places her hands on the steering wheel. Trying desperately to pull herself together. Suddenly. THUMP. Anna jumps. Turns. Paul's at the car window. He thumps the glass again. Anna hits the locks.",
"EXT. RESTAURANT. PARKING LOT - CONTINUOUS Paul grabs the door handle. PAUL Anna. Open the door. Please. I want you to come with me. I want to.",
"INT/EXT. ANNA'S CAR - CONTINUOUS Anna ca n't hear him above the sound of the RAIN HAMMERING onto the car. She shakes her head. Puts the car in drive.",
"EXT. RESTAURANT. PARKING LOT - CONTINUOUS Paul stumbles aside as Anna's car pulls away. She stops at the parking lot exit a short distance away.",
"INT/EXT. ANNA'S CAR - CONTINUOUS Anna looks up into the rearview mirror. ON REARVIEW MIRROR Paul stands forlornly in the rain. Their eyes meet. ANNA'S CAR She hesitates. For a moment we think she might go back to him.",
"EXT. RESTAURANT. PARKING LOT - CONTINUOUS but then Anna pulls out and drives away. Leaving Paul alone in the parking lot. The rain pounding the asphalt.",
"INT/EXT. ANNA'S CAR. HIGHWAY - NIGHT Anna peers through the blurred windshield as the wipers battle with the TORRENTIAL DOWNPOUR. A LARGE TRUCK plows past menacingly on the rain - slicked highway. Anna's still upset. She wipes away her tears. On the dashboard the kitschy doll bobs its head from side to side. Anna picks up her cell phone. Glances down as she dials a number. She looks up. a WHITE VAN with black tinted windows cuts in front of her. ANNA Shit! Anna swerves into the next lane. We hear the blaring horn from the car behind her. ANNA -LRB- into rear - view mirror. -RRB- OK. OK. I saw you. -LRB- MUTTERING. -RRB- Jerk. The cell phone connects. We hear Paul's answering machine. ANNA Paul? You home yet? Can you pick up? I just do n't want it to end like this. Anna drops the phone into her bag on the passenger seat. Wipes away the mist on the inside of the glass. A TRACTOR TRAILER shudders past loaded with metal pipes. ON METAL PIPES The badly loaded pipes BANG OMINOUSLY against each other. CUT TO BLACK.",
"INT. FUNERAL HOME. ELIOT'S ROOM - EARLY MORNING Darkness. A bright light comes on. CLOSE ON a MAN'S HANDS. Turning slowly under a stream of crystal blue water. We pull back. Eliot dries his hands. Opens a cabinet. Takes out a pair of latex gloves.",
"INT. FUNERAL HOME. PREP ROOM - EARLY MORNING A large room. Tall vaulted ceilings. White tiles. Soft morning light seeps in from a small round window set high on one wall. The room is silent. Still. Like a chapel. In the semi - darkness we see a BODY on a porcelain slab covered with a white sheet. We hear a key turn in a lock. Then another lock. The room's suddenly flooded with a harsh white light. Eliot steps inside the room. He takes off his jacket. Carefully places it on a coat - hanger. Puts on a pale blue smock then snaps on the latex gloves. His every move meticulous. Measured. Like a ritual. Eliot walks over to the slab, his surgery clogs softly clacking against the tiled floor. He looks at the slab for a moment then slowly pulls the sheet away revealing. ANNA'S BODY. Pale and lifeless. An ugly gash above her eyebrow. Cracked violet lips. A rip in her black dress soaked with a dark stain. She's only wearing one shoe. Eliot gently takes off the watch from her stiff wrist. Places it inside a brown paper bag. Eases off the shoe. Picks up a scalpel from a tray of instruments on a steel trolley. Delicately slices open her dress. Peels it off. He's about to cut the straps of her RED SLIP when. Anna OPENS HER EYES. She looks straight at us with unseeing pale blue eyes. Strangely Eliot's not surprised. He calmly steps back. Watches her carefully. Anna's eyes slowly focus on Eliot. She's groggy. Confused. ANNA Where am I? She talks with difficulty. Her breathe labored. ELIOT You're in a funeral home. -LRB- BEAT. -RRB- You're dead. Anna's vacant eyes widen in shock. She struggles to sit up but she ca n't even raise her head. Her body stiff. Rigid. Eliot speaks to her calmly. Soothingly. ELIOT You had a car accident. It was raining. You hit a truck loaded with metal pipes. She looks fearfully at the bloodied dress in Eliot's hand. ANNA I'm not dead. ELIOT You were pronounced dead eight hours ago. Your blood no longer circulates through your body. Your brain cells are slowly dying. Your body's already decomposing. ANNA I'm not dead. Eliot looks at her sadly for a moment. He places the bloodied dress on the trolley. Then picks up a document. Holds it up for her. ON DOCUMENT It's Anna's death certificate. ELIOT -LRB- O.C. -RRB- This is your death certificate. Cause of death. Massive internal trauma. Time of death. 8.23 PM. PREP ROOM ELIOT You were dead on arrival. The attending physician signed here. -LRB- points to document. -RRB-. at 9.45 last night. I picked up your body from the hospital morgue at 12.10 this morning. Anna stares with horror at her death certificate, then at Eliot. He looks away. It pains him to see her so distressed. ELIOT I'm sorry. Eliot picks up a sponge from the trolley. Wets it. ANNA Who are you? Eliot delicately washes Anna's face. She does n't flinch as he dabs the wound above her eye brow. ANNA Do n't touch me! Why are you touching me? ELIOT I'm preparing your body. You have to look beautiful for your funeral. ANNA I'm not dead. Eliot sighs wearily. As if he'd had this conversation many times before. ELIOT You all say the same thing. -LRB- BEAT. -RRB- I'm sorry. Maybe you should rest now. Eliot peels off his latex gloves and heads for the door. As he hangs his pale blue smock on the peg he turns and looks at Anna for a moment. ON ANNA The lights go off. O.S. the door clicks shut as it locks automatically behind Eliot. ANNA -LRB- SOFTLY. -RRB- I ca n't be dead. It's just a nightmare. I'll wake up soon. Wake up.",
"INT. PAUL'S APARTMENT. BEDROOM - MORNING Paul wakes up. Badly hung - over. Still in his clothes. Sunlight streams into the room. Blinding him. He reaches across. The bed's empty. He's surprised for a moment then remembers the argument the night before. He gets up. Sits on the edge of the bed. Lights a cigarette. He notices his jacket on the floor. Leans down. As he pulls out the BlackBerry from his jacket, the RING BOX falls onto the floor. Paul does n't notice.",
"INT. PAUL'S APARTMENT. KITCHEN - LATER Paul steps into the kitchen. Nervously checking his BlackBerry. Nothing. Just then he sees the red light blinking on his answer machine. He presses play. ANNA Paul? You home yet? Can you pick up? I just do n't want it to end like this. Paul's relieved. He picks up the phone. Dials. We hear the ringing on the other end.",
"INT. HOSPITAL MORGUE - SAME TIME Two technicians, an OLD GUY and his YOUNG PALE ASSISTANT, push a NAKED BODY wrapped in plastic through the morgue. They jump as they hear the MUFFLED sound of a cell phone. The ringing comes from a bag speckled with blood lying on a table -LRB- we recognize it as Anna's bag -RRB-. The Assistant walks over. Takes out the cell phone. ASSISTANT It's the schoolteacher's. From the car crash. Should I answer it? The ringing stops abruptly. It's suddenly very silent. ASSISTANT Someone's in for a surprise. OLD GUY How many times do I have to tell you? You ca n't leave their stuff laying around. It should've been returned to the family. ASSISTANT I've been busy, OK. -LRB- MUTTERING. -RRB- Like she's really going to need her rollover minutes now. As the Assistant reaches for the bag, he notices a solitary shoe on the table. He picks it up. ASSISTANT What shall I do with this? OLD GUY Where's the other one? The Assistant looks round. He ca n't see the other shoe anywhere. He turns to the Old Guy and shrugs. OLD GUY Just burn it. You ca n't send them back one shoe. It's not respectful.",
"INT. PAUL'S APARTMENT. KITCHEN - SAME TIME We hear a BEEP. PAUL -LRB- ON PHONE. -RRB- You got it all wrong baby. I want you to come to Chicago with me. Look. I'll swing by your place on my way to the office. You know I love you.",
"EXT. MOTHER'S HOUSE - DAY Paul pulls up to a suburban house. Walks quickly to the door, a supermarket bouquet of flowers wrapped in cellophane in his hand. He rings the bell. No - one answers. He rings again. Knocks hard on the door. PAUL Anna! Still no answer. Paul looks around. Notices the driveway's empty. He heads back to his car.",
"INT/EXT. PAUL'S CAR - MOMENTS LATER Paul's on his cell phone as he drives. He gets Anna's voice mail again. PAUL -LRB- INTO PHONE. -RRB- It's me again. I must have just missed you at home. Call me when you get this. OK?",
"INT. ELEMENTARY SCHOOL. CORRIDOR - DAY Paul strides down an empty corridor. The flowers in his hand. Searching for Anna's classroom.",
"INT. ELEMENTARY SCHOOL. BIOLOGY CLASSROOM - MOMENTS LATER A TEACHER stands in front of the class holding a shell. TEACHER the shell grows slowly. The door opens. Paul steps into the classroom. His smile fades as he realizes it's not Anna. PAUL Oh hi. I'm looking for Anna Bryant. The Teacher quickly moves over. Hustles Paul to the door. TEACHER -LRB- INDIGNANT. -RRB- I'm sorry but you just ca n't - PAUL I'm Anna's. fiancée. Paul Conran. I thought this was her class. The Teacher glances suspiciously at the flowers in his hand. PAUL We had a little misunderstanding last night. TEACHER -LRB- HESITATES. -RRB- She did n't come in today. Jack's in the front row. Following the conversation. PAUL Did she call in sick? TEACHER She has n't called in at all. It's not like her. She always calls in. Paul's worried now. Something's wrong.",
"INT. FUNERAL HOME. PREP ROOM - DAY Anna lies rigidly on the slab. Her head turned to one side. Staring blankly at the wall. Her eyes glazed. Suddenly classical music fills the room. Anna frowns. Disoriented. She moves her head with difficulty. Nervously looks around. For a moment she does n't know where she is. Then she sees Eliot by a CD player. She watches with trepidation as he approaches her. ANNA Please do n't hurt me. ELIOT -LRB- SMILES. -RRB- How can I hurt you? You're already dead. ANNA But I'm not dead. ELIOT Then why are you here? Anna does n't know what to say. She turns her head away. A tear falls down her cheek. ANNA Please. Just let me go. I wo n't go to the police. I wo n't tell anyone. Eliot moves her head back. Gently wipes away her tear. ELIOT You're still in denial. You have to trust me. I'm only here to help you. Eliot slides a wooden head - rest under her neck and studies her wounds, touching them delicately. Thinking about how to conceal them. He turns to a tray of instruments. Picks up a needle. Leans over Anna. The needle pierces her brow. Sliding cleanly through her skin. She does n't feel any pain as Eliot carefully sews the wound. He's meticulous. Clearly very good at his job. Eliot glances at his watch. Picks up a SYRINGE and an AMPOULE OF AMBER LIQUID. Draws up the amber liquid. Anna's alarmed. She tries to pull back. ELIOT Do n't be scared. ANNA What are you doing? ELIOT This will relax your muscles. Stop the rigor mortis setting in so I can work on your body. He INJECTS Anna in the neck. Just then we hear a car pull up on the gravel driveway outside. ELIOT -LRB- TO HIMSELF. -RRB- Your mother's early. Anna's eyelids feel very heavy. Slowly her eyes close. Eliot pulls the white sheet over her body.",
"INT. FUNERAL HOME. HALLWAY - MOMENTS LATER A Nurse, DIANE -LRB- 30s -RRB- follows Beatrice in her wheelchair as Eliot leads them through the hallway. ELIOT I'm so very sorry Mrs. Bryant. It's always so tragic when you lose a child. BEATRICE I lost her years ago. He glances at her curiously. Then gestures to his office. ELIOT If you'd care to come to my office we can discuss the arrangements. BEATRICE I want to see her. ELIOT But she has n't been - BEATRICE I do n't care. I want to see her. It takes him a second to respond. ELIOT Of course.",
"INT. FUNERAL HOME. PREP ROOM - DAY Beatrice leans against the slab staring at Anna's covered body. Eliot stands respectfully to one side. In the b.g. Diane shivers. The room's cold. Beatrice touches Anna's hand through the white sheet. Then uncovers Anna's face. The needle's still embedded in her eyebrow. ELIOT Ah. Forgive me. Eliot quickly steps forward. Pulls out the needle. Cuts the thread with a pair of large scissors. ELIOT As I said. I've only just started preparing her. BEATRICE What's the point of preserving the body if the soul's already left? ELIOT -LRB- quietly to himself. -RRB- No. The soul never leaves. Beatrice stares at Anna. BEATRICE It's us who are left behind. It's us who suffer. -LRB- TO ANNA. -RRB- Who's going to look after me now? Did you think about that? She nods to Diane. Diane helps her into the wheelchair. ELIOT I'll confirm the date with Father Graham this afternoon. Friday as you requested. BEATRICE Just do what you think's best. It's just details. Beatrice whirs towards the door. She suddenly stops. Turns to Eliot. BEATRICE Oh there is one thing. ELIOT Yes? BEATRICE Her hair. She was a brunette. I'd like it back to that color.",
"EXT. FUNERAL HOME. DRIVEWAY - DAY Eliot watches Beatrice's car drive away.",
"INT/EXT. PAUL'S CAR - DAY Paul waits in his car outside the Mother's house. The wilting flowers on the passenger seat beside him. PAUL'S POV Beatrice's car pulls up. Diane gets out. Pulls the wheelchair out of the car. PAUL'S CAR Paul grabs the flowers.",
"EXT. MOTHER'S HOUSE - MOMENTS LATER Paul strides over as Diane helps Beatrice into her wheelchair. PAUL Mrs. Bryant. Beatrice does n't acknowledge him. Paul turns to Diane. PAUL Hi Diane. I need to talk to Anna. Diane ca n't look him in the eye. PAUL What's wrong? DIANE I think you better come in.",
"INT. MOTHER'S HOUSE. BEDROOM - MOMENTS LATER Beatrice sits in her wheelchair with her back to the door. Paul stops a short distance away. PAUL What happened? Where's Anna? BEATRICE -LRB- WITHOUT TURNING. -RRB- Anna was in a car accident last night. My daughter's dead. That's what happened. Paul stares at Beatrice's back in disbelief. PAUL A car crash? When? Beatrice turns her wheelchair round to face Paul. BEATRICE -LRB- IRRITABLY. -RRB- I do n't know. DIANE They said it happened just before 8.30. PAUL But. we were at the restaurant. Beatrice glares at him. She clearly blames him for Anna's death. BEATRICE You should n't have let her drive in that weather. Paul looks down guiltily at the flowers in his hand. PAUL No. She ca n't be dead. There must be some mistake. BEATRICE There's no mistake. We just got back from the funeral home. Beatrice pushes a joystick on her wheelchair. As she whirs past Paul she notices the flowers. BEATRICE -LRB- DRYLY. -RRB- Flowers? How appropriate. Paul's not listening anymore. Stunned. PAUL Why did n't you call me? BEATRICE You took her away from me. I do n't want you anywhere near her.",
"INT. FUNERAL HOME. KITCHEN - DAY Eliot turns on the taps. Fills a copper kettle.",
"INT. FUNERAL HOME. PREP ROOM - SAME TIME Silence. O.S. a shuddering pipe bangs ominously. Anna opens her eyes abruptly as if waking from a deep sleep. She stares at us. Numb.",
"INT. FUNERAL HOME. KITCHEN - MOMENTS LATER CLOSE ON an exploding BLUE FLAME from a gas ring. We pull back. Eliot places a kettle on the ring. Then measures out exactly two spoons of tea from an ornate tin into a teapot. Meticulous in everything he does.",
"INT. FUNERAL HOME. PREP ROOM - SAME TIME CLOSE ON Anna's hand. Her fingers FLEX slightly. She pushes herself up awkwardly. Suddenly realizes something. She touches her wrist. Desperately searching for her pulse. Then frantically checks her neck. Panicking. She ca n't find her heartbeat. She stares at her hand. Then abruptly SLAMS it against the slab. Hard. She feels no pain. She does it again. Harder. Still nothing. ANNA I must be in shock. That's all. It's just shock. She struggles to her feet. Stumbles groggily to the door. Tries the door handle. It's locked. She bangs on the door feebly. Then she hears something. She cocks her head. Follows the sound of Eliot's footsteps upstairs. ANNA -LRB- HOARSE. -RRB- Let me out!",
"INT. FUNERAL HOME. ELIOT'S OFFICE - DAY Eliot's by his desk. Checking his appointment book. Whistling softly to himself. We ca n't hear Anna's cries. He pours a cup of tea. Adds a drop of milk. As he stirs his tea, he hears the sound of feet CRUNCHING on the gravel outside. He glances out the window. ELIOT'S POV Paul stands in the middle of the driveway staring blankly at the Funeral Home.",
"EXT. FUNERAL HOME. DRIVEWAY - MOMENTS LATER Eliot steps out of the Funeral Home. Heads towards Paul. ELIOT Can I help you? Paul turns to him. Pulled away from his thoughts. PAUL Mr. Deane? ELIOT Yes. PAUL My name's Conran. Paul Conran. Eliot smiles. Holds out his hand. ELIOT Of course. The lawyer. -LRB- off Paul's surprised look. -RRB- It's a small town. In my line of work you get to know everyone eventually. As they shake, Eliot looks at Paul's hand strangely. As if he senses something. PAUL I'm Anna Bryant's fiancée. ELIOT That's strange. She was n't wearing an engagement ring. PAUL Well not quite fiancée. ELIOT I'm very sorry for your loss Mr. Conran. PAUL I'd like to see her. ELIOT I'm afraid the viewing is n't until - PAUL I'd need to see her now. If that's possible. ELIOT I'm sorry. It's not possible. You're not family and - PAUL Please. It'd only take a minute. ELIOT I understand. But - PAUL NO. YOU DO N'T UNDERSTAND!",
"INT. FUNERAL HOME. PREP ROOM - SAME TIME Anna suddenly hears Paul's loud voice outside. ANNA -LRB- WEAKLY. -RRB- Paul! I'm here! Paul! She frantically beats her fists against the door.",
"EXT. FUNERAL HOME. DRIVEWAY - SAME TIME Paul quickly controls his anger. His eyes smart with tears. PAUL I tried to stop her. She did n't hear me. Paul's voice breaks with emotion. He ca n't go on. Eliot gently takes him by the elbow. Leads him back to his car. ELIOT Mr. Conran. There really is nothing I can do. I'm so sorry. Paul looks defeated. He simply nods his head. Eliot watches him get into his car and drive away.",
"INT. FUNERAL HOME. PREP ROOM - LATER Anna sits by the door in the darkness. Suddenly the room's flooded with light. Eliot walks in. Looks at Anna for a moment. She just stares back at him coldly. He heads over to the sink. ANNA Who was that? ELIOT No one. ANNA No one? A long beat. ELIOT It was Paul. ANNA -LRB- CALMLY. -RRB- I know. I heard you talking to him. Why did n't you let him see me? Eliot smiles. Amused she caught him out. He continues washing his hands. ELIOT Did you love him? Anna looks up sharply. Eliot's clearly hit a nerve. ANNA That's none of your business. Eliot shrugs. Dries his hands on a white towel. ANNA You were n't going to tell me Paul was here, were you? ELIOT No. ANNA Why not? ELIOT Because it would only hurt you. You have to let go of the living. Just like they have to let go of you. ANNA I do n't believe you. Why are you doing this to me? He shakes his head as he drops the towel into a small bin. ELIOT You're all the same. You all blame me for your death. As if it were my fault. ANNA No. You drugged me. So my mother WOULDN'T-- ELIOT The others. They just see you as a dead body on a slab. Only I can see you as you really are. ANNA You're crazy! Eliot's taken aback. Hurt. ELIOT I'm a busy man. I do n't have time for this. He heads to the door. Pulls out his keys and unlocks it. Just then he remembers something. Turns to her. ELIOT Oh I nearly forgot. How tall are you? ANNA What!? He looks her up and down. Gauging her height. ELIOT Five seven. ANNA Why? ELIOT I need to know how tall you are. For your coffin. Anna's stunned. Eliot looks at her for a moment. Then switches off the main lights. ANNA Wait! He ignores her. The door CLICKS shut behind him.",
"INT. FUNERAL HOME. HALLWAY - MOMENTS LATER Eliot steps into the hallway. Stops by a vase of flowers. He plucks a dead petal. Crushes it. Curiously sniffs his fingers. Then heads to the casket room.",
"INT. FUNERAL HOME. PREP ROOM - DAY CLOSE ON Anna's face. She looks empty. Dispirited. Just then something catches her attention. The light from the window glints off a pair of LARGE SCISSORS on the steel trolley. Anna stumbles to the trolley. Feeling her way through the semi - darkness. Grabs the scissors. Just then she notices a BODY, covered with a white sheet, lying on a gurney in the corner. She turns away. Scared. But then, almost against her will, she approaches the gurney. As if drawn to the body. She slowly pulls the sheet away. The dead body of an OLD WOMAN. Staring blindly at Anna with cloudy opaque eyes. Long greasy gray hair. Shaken, Anna pushes herself against the wall. ANNA Oh God. Please. I do n't want to die.",
"INT. JACK'S HOUSE. KITCHEN - DAY Jack carefully cuts something out of a local newspaper. The loud sounds of a TV blare from another room. ON NEWSPAPER Schoolteacher Dies in Tragic Car Crash.",
"INT. JACK'S HOUSE. LIVING ROOM - MOMENTS LATER The curtains are drawn. JACK'S MOTHER sits in an armchair with her back to us watching TV. Jack walks in. JACK You were supposed to pick me up from school yesterday. His mother does n't reply. Jack moves in front of the TV. JACK I waited. His mother does n't respond.",
"EXT. STREETS - DAY Jack furiously cycles through empty streets. Past identical suburban houses with identical prim lawns. He stops suddenly. Considering something. Then turns and cycles away purposely.",
"EXT. FUNERAL HOME - DAY Eliot walks out of the funeral home. We pull back. Jack stands by his bicycle in the bushes watching him. Eliot looks up. As if sensing someone was spying on him. Jack steps back quickly behind a tree.",
"INT. POLICE STATION - DAY A POLICE OFFICER talks on the phone as Paul walks in. POLICE OFFICER -LRB- INTO PHONE. -RRB- Hang on a sec. -LRB- TO PAUL. -RRB- Mr. Conran. Heard about your girlfriend. I'm sorry. Paul nods. Clearly does n't want to talk about it. PAUL Is Tom in? POLICE OFFICER The captain just stepped out. He wo n't be long. You can wait in his office if you want. PAUL Thanks. I'll just go and grab a coffee. As Paul walks away, the Officer returns to the phone. POLICE OFFICER -LRB- INTO PHONE. -RRB- A buddy of the captain's. Poor guy.",
"INT. POLICE STATION. CORRIDOR - MOMENTS LATER Paul slides a dollar bill into a coffee machine. Presses his selection. Nothing. PAUL Come on. He pushes the button repeatedly. Then angrily slams the side of the machine. Nothing. PAUL You piece of shit. As Paul turns away, he notices a door with a sign on it : AUTHORIZED PERSONNEL ONLY. Paul glances around. Then quickly walks over to the door.",
"INT. POLICE STATION. GARAGE - MOMENTS LATER A dozen wrecked cars. Twisted metal. Paul's footsteps echo through the empty garage. It's dark. Out the corner of his eye Paul glimpses a SHAPE move quickly around a pillar. He stops. Unsettled. Just then we hear a WOMAN'S FOOTSTEPS. Her high - heels clicking on the concrete floor. There's something strange about the sound. UNNATURAL. Paul listens nervously. The footsteps grow fainter. Then fade away. The garage is silent again. Too quiet. Paul moves apprehensively over to Anna's GREEN TOYOTA. The car's a mess. One side's completely caved in. He touches the car. Pulls open the door. Squeezes into the driver's seat. ANNA'S CAR Glass everywhere. Paul glances at the KITSCHY BOBBLEHEAD DOLL on the dashboard flecked with blood. He places his hands on the steering wheel. Suddenly he hears a strange noise. He looks up. The KITSCHY DOLL. Its head NODDING SLOWLY. Its smiling face now unnaturally sinister. Turning towards us until it abruptly stops. Staring straight at us. Paul looks at the doll transfixed. Just then a PALE WOMAN'S HAND slowly reaches through the window. and touches Paul's shoulder. He jumps. Turns. ANNA stands by the car. Staring blankly at him. The color drains from Paul's face. MAN'S VOICE -LRB- O.C. -RRB- Paul? The Police Captain, Tom Peterson, stands by the car where Anna was a second ago. He pulls his hand away from Paul's shoulder. Looks at him with concern. Paul gathers his composure. He must have just imagined Anna was there. He shoves the door open. He's about to step out when he turns back and grabs the Kitschy Doll. GARAGE Paul gets out awkwardly. He ca n't look Tom in the eye. TOM You OK? PAUL -LRB- UNCONVINCING. -RRB- I'm fine. TOM I just found out. I'm so sorry Paul. If you need anything - PAUL I need to see Anna. TOM -LRB- PUZZLED. -RRB- What do you mean? PAUL The funeral director wo n't let me see her Tom. He says I'm not family. Can you talk to him? Put some pressure on him. TOM I ca n't do that. PAUL Tom. You're my friend. TOM Paul. I ca n't do it. Paul nods slowly. Tom notices the Kitschy Doll. TOM You sure you're OK? PAUL I fucked up. TOM Paul. It was an accident. You should get some rest. Let me drive you home. PAUL I always fuck everything up.",
"INT. FUNERAL HOME. BASEMENT CORRIDOR - DAY Eliot stops by a thermostat. Studies it for a moment. Turns it lower. He glances at his watch. Takes out his keys from his jacket and moves over to the Prep Room door.",
"INT. FUNERAL HOME. PREP ROOM - MOMENTS LATER Anna sits on the slab. Her hands behind her back. She carefully watches Eliot as he pulls on his pale blue smock then walks over to a cabinet. BEHIND ANNA'S BACK her hands clutch the large scissors. PREP ROOM Eliot opens a cabinet full of boxes of hair dye with photographs of smiling women. As he prepares the dye he looks across at Anna. She's staring at something behind him. Eliot turns. Sees the uncovered body of the Old Woman on the gurney. He quickly walks over. Carefully pulls the white sheet over the Old Woman. ANNA Who is she? ELIOT Mrs. Whitehall. He mixes the dye in a bowl as he moves over to Anna. ELIOT You should n't be afraid of her. The dead ca n't harm the dead. ANNA -LRB- FORCEFULLY. -RRB- But I'm not dead! Anna's hand suddenly FLIES UP. she slashes at Eliot's face with the SCISSORS. The sharp edge misses his cheek by inches. Eliot drops the bowl. Stumbles back against the steel trolley. Instruments crash to the floor. Anna staggers to the door. Her legs weak. Her long lank hair falling over her eyes. She frantically wrenches at the door handle but it's locked. Eliot gets up. Slowly moves towards Anna. She turns. Raises the scissors. ANNA Stay where you are. ELIOT -LRB- holds out his hand. -RRB- Give me the scissors. I only want to help you. ANNA Do n't come any closer. I swear to God I'll kill you. Eliot walks right up to her. His face now inches from hers. ELIOT -LRB- CALMLY. -RRB- Go ahead. Anna does n't move. Eliot looks her steadily in the eye. He reaches for her hand. Slowly. Deliberately. He brings the scissors to his cheek. Then lets go of Anna's hand. CLOSE ON ELIOT'S FACE The sharp tip pushes into his skin. ELIOT Go on. PREP ROOM For a moment we think she might do it. But then she wavers. ELIOT What are you waiting for? Anna's confidence falters. She slowly lowers her hand. The scissors fall onto the floor. Anna looks down defeated. Her breath labored. Suddenly she realizes. ANNA I'm breathing! -LRB- raises her head. -RRB- Look. I'm still alive! ELIOT You think you're still alive because you're still attached to life. It's normal. You're just imagining you still have symptoms of life. She's not listening. Eliot takes a roll of paper towels. Kneels down, picks up the bowl of dye and mops up the mess. ANNA Maybe I was in some kind of coma. The doctors made a mistake. They're always making mistakes. ELIOT You died. Everyone dies. ANNA How can I be dead if we're talking? He stands up. Sighs wearily. ELIOT We're talking not because you're alive. But because I have a gift. -LRB- BEAT. -RRB- I can talk to those between life and death. ANNA Why? ELIOT To help them make the transition. Anna's stunned. For the first time we sense a seed of doubt in her mind. ANNA Is this what happens when you die? ELIOT It depends on how you lived your life. ANNA What do you mean? ELIOT Not everyone needs my help. Some let go as soon as their body dies. Others do n't let go until long after they're in the grave. ANNA Am I a ghost? Is that why I'm here? ELIOT You're here so I can bury you. Anna's silent. Trying to make sense of what she's just heard. Eliot takes her arm. Leads her to the slab. ELIOT Come. We've wasted enough time already. She lies down submissively. Suddenly very tired. Eliot leans over her to apply what's left of the dye. ANNA -LRB- WHISPERS. -RRB- No. Please. I do n't want - ELIOT You're a corpse. Your opinion does n't count anymore. ANNA But I can breathe. I must be alive. She weakly pushes him away. Anger flashes across Eliot's face, but just as quickly he controls it. ELIOT You people. You all think that if you breathe, shit, piss you're alive. Anna does n't know what to say. ELIOT You clutch onto life as if your life was worth clutching onto. Was your life worth clutching onto Anna? Anna turns her head away. Clearly he's struck a chord. ELIOT Was it? Maybe you died a long time ago. Eliot rips off his latex gloves. Tosses them into a bin. ELIOT I have to tell you I'm surprised you're still arguing with me. You do n't have much time left. -LRB- gestures to the Old Women. -RRB- Look. She's accepted her death. Her life has been examined. She has no more regrets. And now she's at peace. She used her time well. You still have so much to learn. ANNA I have nothing to learn! ELIOT Are you sure? Eliot stands in the doorway. He switches off the light. His body silhouetted by the light from the hallway. ELIOT Your funeral's in three days. Soon you'll be enclosed in a coffin. Then buried in the ground. No - one will hear you then. No - one will talk to you there. The door clicks shut behind him. Anna does n't move. Clearly unsettled by Eliot's words. After a moment she looks at the Old Woman. She moves over. Hesitantly pulls away the white sheet. Stares at the Old Woman curiously. Then tentatively touches her cheek. ANNA Are you cold? She takes the Old Woman's hand. Strokes her paper - thin skin. ANNA I'm so cold. Anna notices the Old Woman's plastic ankle tag. ON PLASTIC ANKLE TAG Name : Carol Whitehall. Sex : F. DOB : 11.02.30. PREP ROOM ANNA You had a long life. Anna turns back. Studies the Old Woman's serene face. ANNA You look so peaceful. -LRB- BEAT. -RRB- Are n't you scared? Anna's eyes fill with tears. ANNA I'm scared. I'm so scared.",
"INT. JACK'S HOUSE. BEDROOM - NIGHT Jack lies in bed staring at the ceiling. On his bedside table an alarm clock reads 2.38 AM. He looks across at an Anglepoise lamp in the corner of the room bent over an open shoebox. He gets up. Walks towards the muted light. The SMALL CHICK huddles in the shoebox. It looks dead even though it's eyes are open. Jack's about to reach into the box. Then changes his mind. He looks at the lamp. Switches it off. After a moment he switches it back on again.",
"INT. PAUL'S APARTMENT. LIVING ROOM - NIGHT Paul stands motionless in the middle of the room. Staring blankly into space. The room feels empty and depressing. He suddenly looks around. Not quite sure why he came into the room in the first place. He moves over to a CD player. Mechanically switches it on. Music fills the room. He turns the volume higher. Then all the way up. The music's unbearably loud but Paul just stands there. Numb. ON PAUL The music's strangely distorted now. Almost silent. As if we were inside Paul's head.",
"INT. FUNERAL HOME. PREP ROOM - NIGHT Anna lies on the slab. Curled in a fetal position. O.S. we hear the UNNATURALLY LOUD metallic drip of a faulty faucet. Slow. Rhythmical. Anna opens her eyes. Stares at us. Terrified. Then she turns her head. The Old Woman sits on the other slab. Slowly brushing her tangled gray hair with a silver backed brush. Anna looks around anxiously. The room is strangely larger. The perspective not quite right. Certain objects look absurdly small or abnormally large. She notices a TINY DOOR. Half hidden by a steel trolley. The door's slightly ajar. Anna's surprised. The Old Woman shakes her head. Staring blindly at Anna with opaque eyes. Anna ignores her. Moves quickly to the tiny door. As she approaches, the door seems to grow to normal size. Then we realize it's Anna who has shrunk. The steel trolley now towers high above her. The massive instruments on the trolley look like menacing insects cast in surgical steel. She opens the door. Revealing a solid wall of DARKNESS. FROM INSIDE THE DARKNESS the small shape of Anna in the doorway. The huge dark space engulfs her. The only light comes from the Prep Room behind her. PREP ROOM Anna reaches forward. Her hand disappears into the thick blackness. She snatches her hand back. Scared. Then. a CHILD'S HAND darts out of the darkness. Grabs Anna's wrist. Pulling her in with surprising strength. Anna struggles to free herself. But the hand drags her deeper into the darkness. The door slams shut behind her.",
"INT. DARKNESS Anna stands in the black empty space. GIRL'S VOICE -LRB- O.S. -RRB- I'm disappointed with you. An innocent looking YOUNG GIRL -LRB- 6 -RRB- materializes out of the blackness. She looks like a young Anna. ANNA Who are you? The Young Girl walks slowly towards Anna. GIRL You promised me so many things. -LRB- AMUSED. -RRB- You do n't recognize me? Anna shakes her head. GIRL I am you. I've been waiting for you. You should n't have disappointed me. The Girl now looks strangely malevolent. Anna steps back terrified. Turns. But there's no door anymore.",
"INT. FUNERAL HOME. PREP ROOM - SAME TIME The Old Woman stands alone in the middle of the room. Braiding her long hair. OLD WOMAN You're not ready. CUT TO A SEARING WHITENESS.",
"INT. FUNERAL HOME. VIEWING ROOM - DAY A small congregation of MOURNERS sit in the white chairs. `` AVE MARIA'' plays quietly in the b.g.. A MAN leans over the casket paying his respects. ON CASKET The Old Woman. Her long hair braided. She looks serene.",
"INT. FUNERAL HOME. PREP ROOM - SAME TIME `` AVE MARIA'' filters into the room. Anna opens her eyes. She's confused. She gets up awkwardly. Looks around the room. The other slab's empty. The Old Woman's gone. Anna stumbles over to the trolley. Pushes it aside. Desperately searching for the tiny door. She touches the wall. There's nothing there. Frustrated she turns to a counter crowded with instruments. She sweeps her arm across the counter top in rage. Sending everything crashing to the floor.",
"INT. FUNERAL HOME. VIEWING ROOM - DAY The funeral's over. Eliot takes out a wilted bouquet of flowers from a vase. In the b.g. Jack stands half - hidden in the doorway. Glancing around in fascination. A flower in his hand. ELIOT -LRB- to Jack without looking up. -RRB- Can I help you? Jack steps back timidly. Eliot looks up. Smiles. ELIOT Then perhaps you can help me. -LRB- holds up the withered flowers. -RRB- Could you throw these away for me? Jack nods hesitantly. Moves over and takes the flowers. ELIOT Thank - you. Eliot turns and arranges fresh flowers in the vase. ON JACK as he looks at the wilted flowers. He crushes a petal then sniffs his fingers. ELIOT -LRB- O.C. -RRB- There's no life left in them. VIEWING ROOM Jack looks up. Eliot's watching him carefully. ELIOT They belong in the garbage. Jack turns to leave. ELIOT I've seen you round here before. Jack's suddenly nervous. ELIOT Did you know Mrs. Whitehall? JACK I thought it was Miss Bryant's funeral. ELIOT Ah. Miss Bryant. No. Her funeral's not until Friday. JACK Where is she now? Eliot considers the question for a moment. ELIOT She's downstairs. JACK Why? ELIOT Why? Because she's not ready. -LRB- BEAT. -RRB- Is the flower for her? JACK -LRB- NODS. -RRB- She was my teacher. ELIOT And you are? JACK Jack. Jack holds out his hand. A serious look on his face. Eliot's amused. He shakes Jack's hand. ELIOT Well Jack. What did you think? JACK About what? ELIOT Mrs. Whitehall's funeral. Did you find it interesting? JACK -LRB- SHRUGS. -RRB- It was OK I guess. ELIOT Oh. I see. JACK Are all funerals the same? ELIOT No Jack. They're never the same. Each one is special. The dead always speak to us in different ways. JACK -LRB- CURIOUS NOW. -RRB- What do you mean? Eliot finished arranging the flowers. He glances at his watch. Smiles at Jack. ELIOT It was a pleasure talking to you Jack. Jack's intrigued. He watches Eliot walk out of the room.",
"INT. FUNERAL HOME. BASEMENT CORRIDOR - MOMENTS LATER As Eliot heads to the Prep Room, we hear a MUFFLED CRASH from inside. Eliot quickly pulls out his keys. Moves to the door. Just then Eliot hears a creaking sound behind him. He turns. Jack's at the top of the stairs. Staring down curiously at the Prep Room door. Eliot observes him cautiously. Did Jack hear the sound as well? Jack looks back at Eliot. Smiles. Then without a word, turns and heads back up the stairs.",
"INT. FUNERAL HOME. PREP ROOM - MOMENTS LATER Anna sits on the floor in the middle of the room. Hugging her legs to her chest. Rocking to and fro. Surrounded by broken glass, torn papers and instruments. Eliot enters the room. Coldly surveys the destruction. ELIOT -LRB- ANGRY. -RRB- Why did you do this? Anna ignores him. Eliot strides over to her. ELIOT WHY DID YOU DO THIS? Anna stares at him blankly. ANNA Is this the afterlife? Am I in heaven? Or am I in hell? Strangely Eliot's not surprised. He nods his head. His anger gone now. ANNA The door. -LRB- POINTS DISTRACTEDLY. -RRB- There was a door. Just there. ELIOT -LRB- GENTLY. -RRB- It wo n't be long now. ANNA I used to believe in God. I thought I'd see him when I died. Instead I saw you. Eliot softly strokes her hair. Comforting her. ANNA -LRB- WHISPERS. -RRB- Maybe you are God. ELIOT You'll be at peace soon. I promise. For a moment we see a deep sadness in Eliot's eyes. He's conflicted. But then abruptly he pulls himself together. Moves away and starts clearing up. Anna closes her eyes. Hugs her legs closer to her chest. ANNA Paul. She lets out a DESPONDENT SIGH. The SIGH carries into the next scene.",
"EXT. CEMETERY - DAY The tall trees stand motionless amongst the graves. A sudden GUST OF WIND bends the dense foliage. Their leaves ripple. Languid and fluid like a wave. RUSTLING EERILY. The sound almost malevolent.",
"INT. PAUL'S APARTMENT. BEDROOM - DAY Paul's red - rimmed eyes snap open. He lies on his bed fully clothed. An empty bottle of bourbon on the bedside table. Behind him the curtains stir. The KITSCHY DOLL'S head begins to slowly nod. Turning towards us. We hear the eerie rustling sound again. Like a MURMURING WHISPER. ANNA -LRB- O.S. -RRB- -LRB- WHISPERS. -RRB- Paul. Paul turns quickly. Sees the open window. It's only the wind. He shivers. It suddenly got very cold. He gets up and closes the window. The WHISPERING starts again. This time from the bathroom. Paul walks over to the bathroom door. As he touches the door handle. the whispering STOPS. Paul hesitates. The room's strangely silent. He slowly opens the door.",
"INT. PAUL'S APARTMENT. BATHROOM - CONTINUOUS Nothing. The bathroom's empty. Paul looks around nervously. He catches the reflection of his pallid face in the mirror. Leans wearily against the washbasin. Water DRIPS from a leaky pipe. The fluorescent bulb over the mirror CRACKLES softly. Paul turns on the taps. Splashes cold water on his face. He's about to reach for a towel when he senses something. He cocks his head slightly. A feeling. He turns and checks out the bathroom. Nothing. Paul dries his face. As he replaces the towel. the sound of dripping water ABRUPTLY STOPS. Silence. Suddenly the SHOWER STARTS RUNNING. Paul's paralyzed with fear. Steam wreathes the room in a cloud of vapor. He turns slowly towards the shower. PAUL'S POV Anna stands in front of the shower with her back to him. She slips off her bathrobe and hangs it on a hook. Then her hand moves to her chest. There's a STRANGE WET SUCKING sound. as Anna rips out her heart and hangs it casually on the hook next to her bathrobe. ON THE STILL BEATING HEART dripping crimson blood onto the bone white tiles. BATHROOM PAUL -LRB- WHISPERS. -RRB- Anna. Anna turns slowly. Her skin's like alabaster. Unnaturally translucent. A bloody gash where her heart used to be. The steam from the shower curls around her like a mist. She looks hauntingly beautiful. Mesmerizing. A line of thick black fluid trickles from her nose. Paul turns away. Horrified. When he turns back a second later Anna's not there. The bathroom's empty. The shower's not even running.",
"INT. JACK'S HOUSE. KITCHEN - EVENING Jack opens the fridge. It's almost empty. He takes out a carton of milk. Sniffs it. Recoils from the smell. From the living room we hear the LOUD sound of a TV. JACK -LRB- SHOUTS. -RRB- Mom! We're out of milk. There's no reply. Jack grabs his jacket.",
"INT. FUNERAL HOME. PREP ROOM - EVENING Anna's still sitting on the floor. The place is clean and ordered again. She watches Eliot unzip a garment bag. He lifts out a plain black dress. ANNA What's that? ELIOT It's your dress. For your funeral. Your mother brought it round this morning. As Eliot takes out a pair of shiny black shoes from a plastic bag, Anna moves haltingly over to the dress. She touches the material puzzled. ANNA This is n't my dress. -LRB- realizes with shock. -RRB- This is my mother's dress! It was supposed to be for her funeral. Why has she given it to me? Eliot starts folding the plastic bag. He notices something else inside. He opens the bag. Hesitates then takes something out. ON ELIOT'S HAND An old - fashioned wooden rosary. PREP ROOM Eliot looks at it for a moment. Then glances over at Anna. She's still staring at the dress. He opens a drawer beneath the counter. It's full of rosaries and printed Holy cards. He quickly drops the rosary into the drawer. Closes it. Then turns back to Anna. ANNA It should have been her not me. -LRB- turns to Eliot. -RRB- She was the one dying. Not me. Eliot unlocks the door. Jams it open with a door stop. Slips his keys back into his jacket pocket. Takes off his jacket and hangs it up. He moves over to a collapsible gurney folded on the floor. Bends down and snaps open the side - rails. Anna looks at the open door. ANNA I'm not ready to die. Eliot looks up at Anna sadly. ELIOT Why are you still struggling? ANNA -LRB- PLAINTIVELY. -RRB- I'm not ready to die. Not yet. She glances at the open door again. Eliot follows her look. ELIOT There's nothing out there for you anymore. As Eliot turns back to the gurney, Anna notices Eliot's jacket hanging beside her. Realizes the KEYS are in the pocket. She quickly glances back at Eliot. He's still busy adjusting the gurney. She leans over to his jacket. ON ELIOT as he gets up and turns to Anna. PREP ROOM Anna looks at him calmly. We ca n't tell if she managed to get his keys or not. Eliot pulls on his jacket and wheels the gurney through the door. He steps back into the room. Nudges the door stop away with his foot. ELIOT I'll be back soon. The door locks behind him with a CLICK.",
"EXT. FUNERAL HOME. DRIVEWAY - MOMENTS LATER Eliot pushes the gurney to a WHITE VAN with black tinted windows -LRB- Note : The same kind of van that cut in front of Anna just before the accident -RRB-.",
"INT. FUNERAL HOME. PREP ROOM - SAME TIME Anna listens anxiously to the CRUNCH of Eliot's feet on the gravel outside. After a moment she hears the van drive away. She unfurls her fist revealing Eliot's keys.",
"INT/EXT. ELIOT'S VAN. STREETS - MOMENTS LATER As Eliot slides in a CD he notices the fuel gauge. He's low on gas. He glances into his rear - view mirror and makes a left turn.",
"INT. FUNERAL HOME. PREP ROOM - SAME TIME Anna staggers to the door. There's at least a dozen keys. She frantically chooses one and shoves it into the lock. ANNA -LRB- begging the door to open. -RRB- Please. It does n't fit. She's panicking. She fumbles for another key. It almost fits. She forces it. The key SNAPS OFF LOUDLY in the lock. ANNA No! Anna looks around desperately. Sees a tray of instruments on the steel trolley. She scrambles over. Finds a pair of surgical pliers. She moves back to the door.",
"EXT. GAS STATION - LATER Eliot replaces the pump nozzle. Walks over to the cashier. CASHIER Thirty - four fifty. In the b.g. Jack, a carton of milk in his hand, steps out of the gas station. Eliot does n't notice him as he pulls out a roll of notes. Hands over two twenties. Then he frowns. Something's wrong. He checks his pockets again. He ca n't find his keys. He walks quickly away. CASHIER Sir. Your change. Eliot ignores him. Scrambles into his van. Intrigued, Jack watches Eliot drive away. Then unlocks his bicycle.",
"INT. FUNERAL HOME. PREP ROOM - SAME TIME Anna's still trying to pry out the broken key. ANNA -LRB- DESPERATELY. -RRB- Come on. Come on.",
"INT/EXT. ELIOT'S VAN. STREETS - SAME TIME Eliot's at a red light. Drumming his fingers in frustration as he waits for the light to change.",
"INT. FUNERAL HOME. PREP ROOM - MOMENTS LATER Finally Anna pulls out the broken key. Quickly chooses another. Turns it gently. Again it does n't fit. Anna's hysterical now. She tries the next key. It fits! She's stunned for a second. Then pulls open the door.",
"INT/EXT. ELIOT'S VAN. STREETS - SAME TIME Eliot turns sharply into a small road by the cemetery.",
"INT. FUNERAL HOME. ENTRANCE HALL - NIGHT Anna staggers to the front door. She pulls at the door. It wo n't open. Frantically she finds the key. Unlocks the door, leaving the keys in the lock. As she opens the door, HEADLIGHTS sweep across the hallway. ANNA'S POV Eliot's van pulls up in front of the house. ENTRANCE HALL Anna's trapped. We hear the CRUNCH of Eliot's footsteps on the gravel outside. Anna looks round desperately.",
"EXT. FUNERAL HOME. DRIVEWAY - NIGHT Eliot reaches the front door. It's slightly ajar. He pushes it open. Steps warily inside.",
"INT. FUNERAL HOME. ENTRANCE HALL - CONTINUOUS Eliot looks around. The entrance hall's empty. Then he notices the keys in the lock.",
"INT. FUNERAL HOME. KITCHEN - MOMENTS LATER It's dark. Anna pulls at the back door. It wo n't budge. She panics. Sees a kitchen knife on the counter. Quickly grabs it. As she steps back, she knocks over a metal bucket. The sound's DEAFENING in the silent house.",
"INT. FUNERAL HOME. ENTRANCE HALL - CONTINUOUS Eliot hears the NOISE. Smiles. He calmly locks the door and puts the keys into his pocket. Moves down the hallway towards the kitchen.",
"INT. FUNERAL HOME. KITCHEN - MOMENTS LATER Eliot switches on the light. The kitchen's empty. He steps back into the hallway.",
"INT. FUNERAL HOME. HALLWAY - CONTINUOUS He stands very still. Watching. Waiting. We pull back. JUST AROUND THE CORNER Anna pushes herself against the wall clutching the knife. HALLWAY Eliot turns towards her. then at the last moment changes his mind. Heads in the opposite direction towards the viewing room.",
"INT. FUNERAL HOME. VIEWING ROOM - MOMENTS LATER Eliot steps carefully into the viewing room. Looks around. Just then we hear the sound of bare feet STAMPING along the hallway behind him.",
"INT. FUNERAL HOME. ENTRANCE HALL - SAME TIME Anna runs to the front door. It's locked. She glances around anxiously. Sees a staircase leading upstairs. She weakly stumbles up the stairs.",
"INT. FUNERAL HOME. UPSTAIRS CORRIDOR - MOMENTS LATER Anna walks along the corridor. She peers into a room. Notices a TELEPHONE on a table. She moves over to the telephone. The door CREAKS closed behind her.",
"INT. FUNERAL HOME. ENTRANCE HALL - SAME TIME Eliot hears the CREAKING DOOR upstairs. He cocks his head upwards. Straining to listen.",
"INT. FUNERAL HOME. UPSTAIRS ROOM - MOMENTS LATER Anna frantically punches the buttons on the phone.",
"INT. PAUL'S APARTMENT. KITCHEN - SAME TIME A telephone RINGS in the empty kitchen.",
"INT. FUNERAL HOME. UPSTAIRS ROOM - SAME TIME Anna rocks back and forth as she anxiously listens to the RINGING on the other end. ANNA -LRB- DESPERATELY. -RRB- Please pick up. Please pick up.",
"INT. FUNERAL HOME. STAIRS - SAME TIME Eliot slowly climbs the stairs.",
"INT. PAUL'S APARTMENT. KITCHEN - SAME TIME The phone continues to RING. We pull back. Paul stares at the phone blankly. A drink in his hand. He looks worse than before. Dark circles under his eyes.",
"INT. FUNERAL HOME. UPSTAIRS ROOM - SAME TIME Anna glances back to the door in panic. ANNA Paul. Please pick up.",
"INT. PAUL'S APARTMENT. KITCHEN - SAME TIME Finally Paul reaches across and picks up the phone.",
"INT. FUNERAL HOME. UPSTAIRS ROOM - SAME TIME Anna cups her hand around the mouthpiece. ANNA -LRB- FRENZIED WHISPER. -RRB- Paul. I'm here.",
"INT. PAUL'S APARTMENT. KITCHEN - SAME TIME ANNA -LRB- O.S. -RRB- -LRB- FILTERED. -RRB- Help me Paul. Anna's HOARSE DISTORTED VOICE sounds almost malevolent. Paul's stunned. He stares at the phone as if it was possessed. Then slowly puts it down. PAUL Leave me alone.",
"INT. FUNERAL HOME. UPSTAIRS ROOM - SAME TIME Anna looks at the phone in disbelief. The MONOTONOUS TONE DRONES in the ear piece. She does n't notice Eliot appear in the doorway. ANNA Paul. Suddenly the light comes on. ELIOT I'm the only one who can hear you now. Anna drops the phone. Backs away towards a window. Eliot walks over and calmly replaces the phone. ELIOT I'd be very careful if I were you. The dead have such a hold over the living. ANNA What do you mean? ELIOT -LRB- nods to the phone. -RRB- He still feels your presence. You're only causing him more pain. If you really loved him, you'd accept your death and let him go. ANNA Then prove to me I'm really dead. ELIOT You people. You always need proof. Eliot places his hands on her shoulders. Turns her towards a tall mirror. ON MIRROR A PALE CADAVEROUS WOMAN. Sunken eyes. A blood - stained tear in the side of her RED SLIP. UPSTAIRS ROOM Anna's stunned. She moves closer to the mirror. Touches her reflection through a thin layer of dust. ANNA Why do I look like a corpse? ELIOT Because you are a corpse. ON MIRROR Anna stares blankly at her image in the mirror. ELIOT -LRB- O.C. -RRB- It's time you finally accepted the truth. You are dead. You will never live again. ANNA I am dead. UPSTAIRS ROOM Eliot smiles. Like a father proud of his child's first step. Just then he notices something outside. We see a brief flicker of unease in Eliot's eyes. ELIOT'S POV Jack stands in the driveway holding his bicycle. Looking up at the Funeral Home. Transfixed.",
"Anna in her RED SLIP by the mirror. She looks frightening in the harsh light. Deathly pale. Like a ghost. DRIVEWAY Strangely Jack is n't scared. He continues staring up at the window. Calmly. Curiously.",
"INT. FUNERAL HOME. UPSTAIRS ROOM - SAME TIME Eliot coolly turns back to Anna. She has n't noticed Jack. Still staring at her reflection in the mirror.",
"INT. PAUL'S APARTMENT. KITCHEN - MOMENTS LATER Paul stares at the telephone. After a moment he slowly pulls the telephone plug out of the wall. Mechanically grabs a plastic bin liner from underneath the sink.",
"INT. PAUL'S APARTMENT. BEDROOM - MOMENTS LATER Paul opens the wardrobe. Pulls out Anna's clothes. Stuffs them into the bin liner. He notices the Kitschy Doll. Shoves it in with Anna's clothes.",
"INT. FUNERAL HOME. PREP ROOM - DAY Anna lies on the slab. She stares at us blankly. Her face emotionless. Resigned. Eliot rinses her hair now dyed back to brown. She slowly closes her eyes. CLOSE ON RED DYE draining into the sink. Eliot picks up the scissors. Carefully slices open Anna's red slip. Delicately peels the slip off her body. Anna does n't react. CLOSE ON Anna. She opens her eyes. Confused. She turns her head. she's in PAUL'S BEDROOM.",
"INT. PAUL'S APARTMENT. BEDROOM - CONTINUOUS Paul lies in bed next to her watching her intently. He looks different. Clean shaven. Sober. ANNA -LRB- RELIEVED. -RRB- Oh God. PAUL Bad dream? ANNA I was dead. I had a car accident. Did you ever dream you were dead? Paul does n't reply. She turns. the bed's empty. ANNA Paul? PAUL -LRB- O.C. -RRB- Yes? Anna looks up. Paul's in the doorway. She gets up. Suddenly the light goes off. ANNA Paul. The light comes back on. Paul stands by the light switch. ANNA What are you doing? PAUL -LRB- puts his finger to his lips. -RRB- Ssh. Do n't talk so loud. You'll wake the neighbors. Anna's getting nervous. Something's not right. ANNA What neighbors? You do n't have any neighbors. Suddenly he looks at her reproachfully. PAUL Did you ever love me Anna? CLOSE ON Anna's face. She looks away guiltily. PAUL -LRB- O.C. -RRB- Did you? Anna closes her eyes. Unable to answer. PAUL -LRB- O.C. -RRB- Say it. Say you love me. Suddenly we hear the strident ringing of a phone. ANNA Are n't you going to pick it up? PAUL -LRB- O.C. -RRB- Me? No. It's probably for Eliot. Anna's eyes snap open in shock.",
"INT. FUNERAL HOME. PREP ROOM - CONTINUOUS Eliot stands over her. We're back in the PREP ROOM. We hear the faint ringing of a phone from upstairs. ANNA Is it always like this? ELIOT What do you mean? ANNA I thought when you died you would n't feel anything. You would n't feel any more pain. You would n't have to struggle anymore. -LRB- BEAT. -RRB- But it just does n't stop does it? Upstairs the phone keeps on ringing.",
"INT. FUNERAL HOME. ELIOT'S OFFICE - MOMENTS LATER Eliot takes notes as he talks on the phone. He looks at a day calendar on his desk. Idly flips over the page from Tuesday to Wednesday. ELIOT No. It's no problem at all. He glances at his watch. ELIOT I'll pick up the deceased from the hospital. Yes. This afternoon? That'll be fine. It's my pleasure Mr. Merano.",
"INT. HOSPITAL MORGUE - DAY GRAY BODIES lie on steel tables. Eliot moves over to one of the CORPSES. Examines it with professional interest. Just then the Old Guy walks in with the Pale Assistant pushing a gurney with a BODY wrapped in plastic sheeting. OLD GUY Well here he is. Frank Merano. The Old Guy hands Eliot a clipboard. The Assistant unties the rope. Pulls the plastic sheeting away. ON BODY FRANK -LRB- 40s -RRB-, the top half of his head has been flattened. His head split open. Grotesquely distorting his face. ASSISTANT -LRB- O.C. -RRB- Ouch. That had to hurt. MORGUE Eliot glances at the Assistant with disdain. Signs the release form and hands the clipboard back to the Old Guy.",
"INT. ELEMENTARY SCHOOL. TEACHERS' COMMON ROOM - DAY Paul stands by a PRINCIPAL as they watch a JANITOR snap off the padlock on Anna's locker. PRINCIPAL -LRB- TO PAUL. -RRB- I'll leave you to sort out her things. PAUL Thank you. The Principal and Janitor walk away. Paul reaches inside the locker. Pulls out a stack of exercise books. An empty pills bottle. Then he notices something in the back of the locker. He pulls it out. It's a PHOTOGRAPH of Paul and Anna together on vacation. Smiling. Happy. Paul looks at it for a moment. Trying hard to hold back his emotions.",
"INT. ELEMENTARY SCHOOL. CORRIDOR - LATER The DEAFENING NOISE of schoolchildren. Paul weaves his way through the crowded corridor. JACK -LRB- O.C. -RRB- Mr. Conran? PAUL -LRB- TURNS. -RRB- Yes? JACK My name's Jack. Miss Bryant was my teacher. -LRB- BEAT. -RRB- I saw her last night. Paul looks at Jack coldly for a second. Then walks away. Jack follows him. JACK I was going past the funeral home. Miss Bryant stood there. In the window. In a red dress. PAUL -LRB- IRRITATED. -RRB- Anna does n't have a red dress. JACK You think I'm lying. I'm not lying. Paul stops. Turns to Jack angrily. PAUL Look. -LRB- trying to remember his name. -RRB- Jack. I'm in no mood - JACK She needs your help. PAUL -LRB- SHOUTS. -RRB- Jack. Anna's dead. Paul's words ECHO loudly. The bustling corridor goes silent. PAUL -LRB- almost to himself. -RRB- I ca n't help her anymore. Paul turns and walks away. Jack grabs his arm. JACK Maybe you just do n't love her anymore? Paul turns and hits Jack with the back of his hand. Jack falls to the ground. Paul stands over him enraged. PAUL You little fuck. You think this is funny? He's about to hit Jack again when a STOCKY TEACHER grabs him. Paul tries to struggle loose. STOCKY TEACHER Hey! The CHILDREN stare at Paul. A SECURITY GUARD runs across talking into a walkie - talkie. Another TEACHER bends down. TEACHER Are you alright sweetie? Jack nods numbly. Looking up all the time at Paul. The Security Guard grabs Paul's arm. SECURITY GUARD The police are on their way. Paul watches Jack stand shakily. Realizes what he's done. He reaches out to Jack. PAUL Jack. I'm sorry. SECURITY GUARD Step back sir.",
"INT. ELEMENTARY SCHOOL. SECURITY ROOM - DAY Paul sits at a table. Staring blankly at a row of CCTV monitors. The door opens. Tom walks in. TOM You're lucky. PAUL Am I? TOM They're not pressing charges. Paul does n't look up. He's miles away. TOM What the hell's wrong with you? -LRB- holds his fingers close together. -RRB- You're this close to fucking up your career. PAUL -LRB- suddenly looks up. -RRB- You know what he told me? He told me Anna's alive. TOM You did n't believe him did you? PAUL No. Of course not. Tom's relieved. Paul turns back to the monitors. The ghostly figure of a YOUNG FEMALE TEACHER drifts hypnotically across the screen. PAUL It's just. I'm having these. TOM What? PAUL Nothing. Forget it.",
"INT. FUNERAL HOME. PREP ROOM - DAY Eliot leans over Frank's body on the slab. Rolling a ball of wax in his hands to warm it up. He gently moves Frank's head to one side. In the b.g. Anna lies on her slab watching Eliot work. ANNA'S POV Frank stares back at her with open dull eyes. His face partially reconstructed with plaster of Paris. PREP ROOM Eliot smooths the wax over the plaster to give Frank's face a more natural texture. Then picks up a piece of wire with a fishhook - like barb at each end. ANNA -LRB- O.C. -RRB- What's that for? Eliot looks up surprised. Anna stands beside him. He leans down. Peels back Frank's upper lip. ELIOT His mouth. To keep it closed. Eliot imbeds one barb into the upper gum then pries back Frank's lower lip. He attaches the other barb into the lower gum, then twists the wires tightly together. He picks up two plastic caps covered in small knobs. ELIOT Now his eyes. He inserts the caps into Frank's eyes. Pulls his eyelids over them. Glues the eyelids together. ANNA Is this how you'll prepare my body? Eliot looks at her for a moment. Smiles reassuringly. ELIOT No. There's no need. I had to rebuild his face. You're still beautiful. ANNA Does he have family? ELIOT Yes. A brother. He's coming in later. Anna touches the white sheet covering Frank's body. ANNA My mother. She did n't cry did she? When she came to see me? ELIOT -LRB- shakes his head. -RRB- I'm sorry. ANNA And Paul? ELIOT It's not important anymore. ANNA I need to know. ELIOT -LRB- HESITATES. -RRB- No. He did n't cry. We see a brief flicker of pain in Anna's eyes. ANNA I knew he would n't. He always got upset when I cried. He said crying never helped. Anna suddenly looks very weary. She leans heavily against the slab. As if she's about to fall. ELIOT You should rest. He guides her back to the slab. Helps her lie down. ELIOT You're getting weaker. It's almost time. Eliot strokes her hair tenderly. She looks up at him. ANNA Can I ask you something? ELIOT Yes. Of course. ANNA Why do we die? A long beat. ELIOT To make life important. Anna's fingers curl around his hand. Like a vulnerable child. Totally trusting in him. Eliot looks down at Anna sadly. We sense he's conflicted. Confused. Wavering. But then reluctantly he reaches for a SYRINGE filled with AMBER LIQUID on the steel trolley. He injects her gently in the neck. Watches over her for a moment. Then moves to the window. He picks up a window pole. Pulls the shutter across the window plunging the room into darkness.",
"INT. FUNERAL HOME - DAY Eliot moves through the Funeral Home pulling heavy drapes over the windows and closing doors. It feels like a ritual. The once airy sunlit rooms are darker now. More ominous. Claustrophobic.",
"INT. FUNERAL HOME. ELIOT'S ROOM - DAY CLOSE ON a stream of crystal blue water. We pull back. Eliot picks up a white towel. Dries his hands. Deep in thought. He moves to his desk. Picks up a Polaroid. ON POLAROID The Old Woman, Mrs. Whitehall, lying in her casket. ELIOT -LRB- O.C. -RRB- Mrs. Whitehall. Susan. I hope you found what you were looking for. ROOM Suddenly Eliot looks up sharply. As if someone had spoken to him. ELIOT Think nothing of it Mr. Houseman. No need to apologize. Eliot moves over to the wall. ELIOT I really enjoyed our time together. We pull back slowly. Eliot's talking to a POLAROID of an OLD MAN. We pull back further. the wall's covered in HUNDREDS OF POLAROIDS of BODIES in open coffins. Most of them have closed eyes but we glimpse some with their eyes wide open. Eerily staring at us. Eliot touches the Polaroid of a YOUNG MAN. We see the fear in the Young Man's eyes. ELIOT -LRB- O.C. -RRB- Anthony. Anthony. Always confused. Just then we hear the doorbell ringing downstairs. Eliot moves to the window. ELIOT'S POV A POLICE OFFICER stands at the front door. A SQUAD CAR parked on the driveway. ELIOT'S ROOM Eliot steps back. Calmly continues to dry his hands.",
"INT. FUNERAL HOME. HALLWAY - DAY Eliot leads the Police Officer through the hallway. ELIOT How can I help you Officer? OFFICER I'd like to see the body. Eliot stops. We see a brief flicker of unease in his eyes. OFFICER Frank Merano. I'm his brother. Vincent Merano? I called this morning. ELIOT Mr. Merano. Yes. Of course. VINCENT -LRB- OFFICER. -RRB- I hope it's no trouble. I'd just like to see him before the funeral. Eliot glances at his watch. Smiles at Vincent. ELIOT It's no trouble at all.",
"INT. FUNERAL HOME. PREP ROOM - MOMENTS LATER Eliot leads Vincent to Frank's covered body. Vincent looks over at Anna. The white sheet only comes to her shoulders, her head facing straight upwards. ELIOT Your brother's here. Vincent turns back to Eliot. We're not sure if Eliot was speaking to Frank or to Vincent. Eliot pulls the sheet away. Frank's face is flawless. No sign of any damage. VINCENT He looks so peaceful. You've done a beautiful job. Thank - you. ELIOT You should remember him as he used to be. Suddenly we hear a FAINT RUSTLING sound. Vincent glances again at Anna's body. Her head is now turned to one side. Was n't she facing upwards a moment ago? Vincent's puzzled for a second then shrugs. Must have been his imagination. VINCENT That's the schoolteacher is n't it? Eliot pulls the sheet over Anna's face. ELIOT -LRB- QUICKLY. -RRB- Yes. Very tragic. Now is there anything else I can help you with? Vincent frowns. Turns back to Eliot. VINCENT Something's not right here. ELIOT -LRB- looks up sharply. -RRB- Not right? Vincent nods towards Frank's body. VINCENT His smile. It was a bit more. Vincent raises his fingers to his mouth, trying to find the right word. VINCENT smiley. ELIOT Smiley. ON FRANK'S MOUTH Eliot manipulates Frank's lips. VINCENT -LRB- O.C. -RRB- A touch more. PREP ROOM VINCENT That's much better. Thank - you. ELIOT I'm glad I could help. VINCENT Do you mind if I have a couple of minutes alone with him? Eliot hesitates. Then smiles. ELIOT No. Not at all. I'll wait outside. As Eliot leaves, Vincent looks at Frank's body. After a moment he glances at Anna again. Then at the door. He quickly moves over to Anna. Looks at her curiously then pulls down the sheet. He reaches over. and CARESSES HER BREAST. Mesmerized by her naked body. As Vincent's hand moves down her body, he bumps against the trolley. Instruments CRASH to the floor. He pulls back the sheet just as Eliot enters the room. VINCENT I'm sorry. I did n't see. Eliot notices the sheet covering Anna's body is slightly askew. He reaches over and straightens it. Then looks coldly at Vincent. There's an uncomfortable silence. VINCENT Well. I guess I should be off then. I'll see you at the service. Thanks again. Vincent glances one last time at Anna then leaves. The door locking shut behind him. Eliot stares at the door. ELIOT I just told you. That was your brother. -LRB- turns to Frank. -RRB- You had an accident. You're dead. Why do you people never listen to me? Frank does n't move. His mouth still wired shut. ELIOT No. It's not a gift. It's a curse. Eliot picks up a compact. Roughly layers Frank's cheeks with thick rouge. With every word he gets more agitated. ELIOT I take care of each of you as if you were my children. I wash the shit from your bodies. I dress you. I do everything to make you look more beautiful than when you were alive. And what do you do? Eliot's extremely irritated now. He grabs a garish red lipstick. Smears Frank's lips. ELIOT You argue with me. As if it were my fault you're dead. As if I was to blame. -LRB- slams down the lipstick. -RRB- What? You're not talking to me now? You do n't want to? ON FRANK'S FACE The crudely drawn bright red lips. Clown - like circles of rouge. Gaudy and macabre. ELIOT -LRB- O.S. -RRB- You do n't talk because you have nothing to say. And you have nothing to say because you're a corpse. PREP ROOM From Eliot's reaction it seems as if Frank has started to talk again. ELIOT No. Now I do n't want to talk to you anymore.",
"INT. JACK'S HOUSE. LIVING ROOM - DAY The curtains are drawn. Jack's Mother, still motionless, in front of the blaring TV. Jack stops in the doorway. JACK I'm off to school now. His mother does n't reply. Jack leaves. After a moment she slowly turns her head. Stares at the empty doorway.",
"EXT. CEMETERY - LATER Jack cycles through the cemetery. He pulls up by a bush. Stares at the Funeral Home in the distance.",
"INT. FUNERAL HOME. VIEWING ROOM - MOMENTS LATER The service has n't started yet. Jack walks nervously through the empty room to an open casket. He glances back, then leans over the coffin. JACK'S POV Frank Merano lies nestled in the velvet interior. His face placid. No sign of the gaudy make - up. VIEWING ROOM Jack stares in fascination at Frank's body. He reaches into the casket. Touches Frank's cold hand. In the b.g. Eliot walks into the viewing room. He stops surprised. Watches Jack intently. ON JACK JACK -LRB- TO FRANK. -RRB- What's it like? Are you afraid? ELIOT -LRB- O.C. -RRB- Jack. VIEWING ROOM Jack turns quickly. Eliot stands over him. ELIOT You have empathy with the dead. You're drawn to them. Just as they're drawn to you. It's a rare gift. Jack ca n't look Eliot in the eye. ELIOT I know you saw Anna. Jack hesitates. Then nods his head. ELIOT You're frightened by it. I was scared too the first time. But you should n't be. Christ had the same gift. He raised Lazarus and spoke to the dead. JACK -LRB- INTRIGUED. -RRB- You spoke to Miss Bryant? ELIOT Yes. JACK You've spoken to others? ELIOT Yes. Many others. JACK Who was the first one you spoke to? A long beat. ELIOT My mother. Jack looks up sharply. Eliot's words have clearly struck a chord. ELIOT You should n't be afraid. -LRB- BEAT. -RRB- The others. They wo n't understand. They do n't see what we see. -LRB- BEAT. -RRB- I can help you. I can teach you.",
"INT. FUNERAL HOME. PREP ROOM - DAY Anna stares vacantly at the ceiling. Eliot places a bunch of tulips on the trolley. Turns on a CD. CLASSICAL MUSIC fills the room as before. He moves over to Anna. Gently Pulls away the sheet. ANNA Your fingernails are dirty. Eliot smiles. Examines his nails. ANNA Your hands are normally so clean. ELIOT I've been gardening. He walks over to the sink. Scrubs his nails. ANNA Is it sunny outside? Eliot fills a bowl with water. Carries it to the slab. ELIOT Yes. The tulips love the sun. ANNA I miss the sun. Anna glances up at the shuttered window. Eliot snaps on his latex gloves. Picks up a sponge and wets it in the bowl of water. Anna turns to the tulips. ANNA Are they your favorite flower? ELIOT Tulips? Yes. I think so. Eliot raises Anna's arm. Delicately washes her armpit. Along the length of her arm. Her skin pale. ANNA I thought it'd be lilies. White lilies. Do n't they symbolize death? ELIOT No. They symbolize purity. He moves to her breasts, following the contours of her body. Pausing every now and then to rinse the sponge. ANNA And tulips? Eliot hesitates for a second before replying. ELIOT Unrequited love. -LRB- BEAT. -RRB- What's your favorite flower? ANNA Violets. Eliot softly washes her legs. ELIOT A beautiful flower. They need shade and lots of water. ANNA What do they symbolize? ELIOT Faithfulness. ANNA -LRB- DISTRACTEDLY. -RRB- Do they? Eliot puts down the sponge. Dries her body with a towel. ANNA Roses are red, violets are blue. He reaches over to the CD player to switch it off. ANNA No. Leave it on. It's so peaceful. Eliot smiles. Leaves the music on.",
"INT/EXT. PAUL'S CAR. STREETS - DAY Paul drives aimlessly past strip malls. He stops at a red light. Lights a cigarette. Just then he notices something across the street. He looks puzzled.",
"EXT. STREET/STORE WINDOW - CONTINUOUS Paul gets out of his car. Quickly walks over to the store window. ON STORE WINDOW A RED - SLIP on a mannequin. Just like ANNA'S RED SLIP. STREET The light's turned green. The DRIVERS HONK angrily. Paul does n't hear them. He places his hand against the plate glass. Stunned.",
"EXT. FUNERAL HOME. DRIVEWAY - DAY Eliot prunes a low hedge by the front door. PAUL -LRB- O.C. -RRB- Deane. Eliot turns. Paul's clearly agitated. ELIOT Mr. Conran. A pleasure. Eliot stands stiffly. Rubs his back. ELIOT I love gardening, but I'm not sure gardening loves me anymore. PAUL She's not dead is she? ELIOT -LRB- AMUSED. -RRB- Mr. Conran. PAUL Someone saw her. ELIOT I'm sorry? PAUL One of Anna's students. -LRB- nods towards the funeral home. -RRB- In the window. ELIOT Do you mean Jack? Paul's momentarily taken aback. PAUL You know him? ELIOT Of course I know him. He's often round here. He seems to have a strange fascination with death. He's eleven years old Mr. Conran. And like all young boys has a vivid imagination. Now if you'll excuse me - PAUL I do n't think he imagined it. I think he really saw her. ELIOT Maybe you just want to believe he saw her. PAUL Fuck you. Paul pushes past Eliot and strides into the Funeral Home. ELIOT Mr. Conran!",
"INT. FUNERAL HOME. HALLWAY - MOMENTS LATER Paul moves quickly through the hallway. PAUL -LRB- SHOUTS. -RRB- Anna! Eliot calmly heads towards Paul. ELIOT Mr. Conran. I think you should leave before I call the police. Paul notices the stairs leading down to the Prep Room. PAUL What's down there?",
"INT. FUNERAL HOME. BASEMENT CORRIDOR - MOMENTS LATER Paul runs over to the Prep Room door. He grabs the handle. It's locked. Eliot appears behind him. Paul turns. PAUL She's in here is n't she? Give me the key. Eliot stares at Paul with pity. PAUL Give me the fucking key. Paul turns back. POUNDS the door in rage.",
"INT. FUNERAL HOME. PREP ROOM - SAME TIME The POUNDING echoes through the room. Anna awkwardly sits up. Struggling with her emotions. She wants to call out but knows she has to let Paul go. PAUL -LRB- O.S. -RRB- Anna! Anna gets up. Hesitates. Weakly stumbles to the door.",
"INT. FUNERAL HOME. BASEMENT CORRIDOR - SAME TIME PAUL I'm here Anna. -LRB- DESPERATE. -RRB- I'm sorry. Please Anna. He places the palm of his hand against the door.",
"INT. FUNERAL HOME. PREP ROOM - SAME TIME Anna places her palm against the door. As if touching Paul's hand. A tear falls down her cheek. PAUL -LRB- O.S. -RRB- We'll be happy again. I promise.",
"INT. FUNERAL HOME. BASEMENT CORRIDOR - SAME TIME PAUL I ca n't live without you. Eliot looks up at Paul with sudden interest.",
"INT. FUNERAL HOME. PREP ROOM - SAME TIME Anna shakes her head. Takes her hand away from the door. Walks back to her slab.",
"INT. FUNERAL HOME. BASEMENT CORRIDOR - SAME TIME PAUL Anna! Eliot gently puts his hand on Paul's shoulder. ELIOT Mr. Conran. She's dead. Paul pushes him away. ELIOT I know what you're going through. Denial's a natural part of grieving.",
"INT. FUNERAL HOME. PREP ROOM - SAME TIME Anna lies down on the slab. Closes her eyes. ELIOT'S VOICE seems far away now. Receding. ELIOT -LRB- O.S. -RRB- but you've got to accept she's gone.",
"INT. FUNERAL HOME. BASEMENT CORRIDOR - CONTINUOUS PAUL She needs my help. Eliot looks at him for a moment. ELIOT You ca n't help her anymore. Believe me.",
"INT. POLICE STATION - DAY An open plan office. Paul weaves quickly through the rows of desks. He seems unbalanced. Manic. DETECTIVES cautiously watch Paul approach Tom sitting at his desk, his head bent over paperwork. PAUL I need you to issue a search warrant. Tom looks up. He's shocked by Paul's appearance. PAUL -LRB- LOUDLY. -RRB- I need a fucking search warrant. Now are you going to help me or what? JEFF -LRB- 20s -RRB- a Young Detective at a nearby desk stands. Tom nods to him. It's under control. TOM Paul. Sit down. Paul hesitates for a second. TOM -LRB- FIRMLY. -RRB- Sit. Down. Paul sits. Tom leans forward. He's not amused. TOM Just what the hell do you think you're doing? I got a call from Eliot Deane. Are you out of your fucking mind? PAUL Anna's not dead Tom. He wo n't let me see her. He's keeping her there - TOM Anna was in a car accident. Her car was wrecked Paul. Remember? It's downstairs. PAUL She's not dead. Tom calmly gets up. Moves to a filing cabinet. Takes out a file. Hands it to Paul. TOM Here's the Coroner's report. Paul manically rifles through the file. PAUL Look. -LRB- shows file to Tom. -RRB- The paramedics phoned it in. They only checked for eye dilation and pulse. The doctor signed the death certificate without even seeing her body. TOM -LRB- IRRITATED. -RRB- So? That's standard procedure. PAUL There was no EEG. Nothing. He could have drugged her to make it look like she was dead. TOM Drugged her? Are you serious? Jeff looks up eagerly from his desk. JEFF There are drugs like that chief. Hydronium Bromide. Total paralysis within seconds. The heartbeat slows to almost nothing. Tom shoots Jeff a look. PAUL See? I'm telling you. She's not dead. The boy at school. Jack. He saw her. VINCENT -LRB- O.C. -RRB- I saw her. Paul turns hopefully. Finally someone believes him. Vincent Merano stands by Jeff's desk. VINCENT She was on the slab. Dead. PAUL No! VINCENT I've seen dead bodies. Believe me, she was definitely dead. PAUL Tom. Just go down there and check the place out. TOM On what grounds Paul? Do you have any evidence? PAUL No. But - TOM Do you have anything? Paul hesitates. We sense his uncertainty. PAUL I think she called me. TOM Called you? PAUL -LRB- WEAKLY. -RRB- On the telephone. Jeff snickers. Paul's beginning to realize how absurd this all sounds. VINCENT Collect or long distance? Jeff snorts with laughter. TOM First you hit a fucking kid. Then you attack Deane. And now you're telling me your dead girlfriend called you? What the fuck's going on? You're loosing it Paul. Merano and Jeff shake their heads, looking at Paul as if he were crazy. Tom's voice softens. TOM I know you feel guilty but you've got to pull yourself together. Paul slumps in the chair. Rubs his face. PAUL Maybe you're right. But why wo n't he let me see her? Tom signals to Merano and Jeff. Merano walks back to his desk. Jeff turns back to his work. TOM Look Paul. The funeral's tomorrow. You'll see her then. It'll help. It will give you closure. Trust me.",
"EXT. CEMETERY - LATE AFTERNOON The sun's low on the horizon. Eliot whistles softly to himself as he digs a grave. Working meticulously. Like everything else he does. Suddenly a SHADOW falls over Eliot. He calmly looks up. The sun's behind the figure. For a moment Eliot ca n't tell who it is. JACK You said you could teach me. Eliot smiles. Gestures to Jack to come inside the grave. Jack steps back. The grave terrifies him. ELIOT It's only a hole in the ground. I'm digging it for - JACK Miss Bryant. ELIOT Exactly. For Anna. She belongs here. JACK Because she's dead. ELIOT No. Because there's no life left in her. Jack carefully considers Eliot's words. ELIOT Do n't you see? I have no choice. I'm the only one who can see all these corpses. Wandering the earth aimlessly. All they do is piss and shit. Suffocating us with their stench. Doing nothing with their lives. Taking the air away from those who actually want to live. I have to bury them all. I have no choice. -LRB- BEAT. -RRB- Now there's two of us. Eliot holds up the shovel. Jack looks at him for a moment then reaches for the shovel.",
"INT. FUNERAL HOME. PREP ROOM - EVENING Anna watches Eliot brush an invisible speck off her mother's black dress. ELIOT You did well this morning. ANNA This morning? She talks with difficulty now. Her voice SLURRED and HOARSE. Her words muddled and rambling. Her eyes even more sunken. Her skin even more pale. ELIOT When Paul came. You did the right thing. You let him go. ANNA He'll be all right now? Wo n't he? Eliot looks away. Does n't reply. He drapes the dress over his arm, picks up a pair of shiny black shoes and moves over to her. ANNA -LRB- CONFUSED. -RRB- Why do I have to get dressed? ELIOT Tomorrow's your funeral. Eliot lifts Anna's arms and puts them through the sleeves of the dress. Her body's stiff and unyielding. ANNA Already? ELIOT I told you. You only had three days. He delicately turns her onto her side. Buttons up the dress. ELIOT I told you to use your time well. Anna frowns. As if trying to remember something. Eliot gently lifts her legs. Pulls on a pair of black tights. ANNA I need to. I have so many regrets. I have nothing but regrets. She looks up at him. Suddenly realizing. ANNA That's why I'm here is n't it? To be judged. Eliot picks up Anna's shoes. Slips them onto her stiff feet. ELIOT You're here to understand your life. So you can finally be at peace. ANNA I wanted a different life. Eliot picks up a nail - clipper. Gently holds Anna's hand as he carefully cuts her long nails. ELIOT Then why did n't you do anything about it? ANNA No matter what I did everything just stayed the same. I'd wake up. I'd shower. Sit in the same traffic everyday on my way to work. Go home. Go to sleep. Then wake again. Eliot stops clipping her nails. Irritated. ELIOT What did you really want from life? ANNA I just wanted to be happy. ELIOT -LRB- DERISIVELY. -RRB- Happy? You all say you wanted to be happy. What does it mean Anna? To be happy? ANNA I do n't know. Do n't you understand? That's the whole point. I do n't know. ELIOT Yes you do! You're just too scared to admit it to yourself. Anna turns away ashamed. She knows he's right. ANNA I do n't want to talk about it anymore. I just want this to be over. ELIOT What did you want from life? ANNA I do n't fucking know! ELIOT WHAT DID YOU WANT ANNA? ANNA -LRB- SCREAMS BACK. -RRB- I WANTED LOVE! OK! Anna's stunned. She's finally admitted it. ANNA -LRB- QUIETLY. -RRB- I wanted love. ELIOT You had love. Paul loved you. ANNA No. You do n't understand. I was scared. I wanted to love but I did n't know how. I was. -LRB- BEAT. -RRB- When I was a child. my mother. Anna struggles to pull together her thoughts. ANNA When I was a child. I learnt that love. That when you love someone. You get hurt. So I learned not to love. That way no one could ever hurt me again. She looks down at the slab. Touches the cold marble. ANNA I was always pushing Paul away. He thought I did n't love him. ELIOT Did you? ANNA He was the only one I ever loved. But I never told him that. And then he stopped loving me. Eliot stares at her intently. Comes to a decision. ELIOT What would you do if you had another chance? Anna's puzzled. Eliot goes to the door and unlocks it. Moonlight floods in from upstairs. Washing it with a cold light. Anna does n't move. ELIOT Well? Is n't this what you wanted? Eliot holds out his hand. Anna takes it hesitantly and rises from the slab.",
"EXT. FUNERAL HOME - NIGHT Mist drifts through the cemetery. Anna stands in the driveway. Pale and ghoulish in her black funeral dress and shiny black shoes. She starts walking.",
"EXT. MOTHER'S HOUSE - NIGHT Anna approaches her mother's house. Paul opens the door. He's not surprised to see her. Beatrice stands just behind him. A black shawl over her head and arms.",
"INT. MOTHER'S HOUSE. HALLWAY - NIGHT In the candlelight we can see the house is full of OLD WOMEN. Their faces deeply lined. Wearing identical black shawls. They stare at Anna, whispering in different rhythms. Unintelligible words undulating like an ANCIENT PRAYER.",
"INT. MOTHER'S HOUSE. BEDROOM - NIGHT Paul and Beatrice lead Anna to the bed. As she lies down we realize the bed is full of BLACK SOIL. Clouds of ugly flies hang in the air. BUZZING noisily. The Old Women surround Anna in a tight circle. Leaning over her. Making her feel claustrophobic. She can smell their rotting breath as their prayers grow LOUDER. Through the chaos of words we begin to make out. OLD WOMEN Spit it out. Anna does n't understand. Then she feels something in her mouth. Growing. Gagging her. The Women are SCREAMING. OLD WOMEN Spit it out. Anna spits out. white maggots. She gags again. Closes her eyes. Shakes her head. ANNA No.",
"INT. FUNERAL HOME. PREP ROOM - NIGHT Anna's eyes snap open. She's still in the Prep Room. She steps back from the doorway. Terrified. ELIOT I thought you were different. You all say you're scared of death. But the truth is you're more scared of life. Eliot switches off the lights. ANNA -LRB- O.C. -RRB- I'm glad I'm dead. I'm glad it's over.",
"EXT. ROAD BY FUNERAL HOME - NIGHT Paul sits in his car. Staring out at the Funeral Home as he nervously smokes a cigarette. The light in Eliot's room goes off. Paul waits for a moment. Then gets out of his car. Stubs out his cigarette.",
"EXT. FUNERAL HOME - MOMENTS LATER Paul treads carefully along the side of the Funeral Home. It's a full moon. The trees rustle ominously in the wind. Casting eerie shadows against the dark house. He finds a window. Tries to open it. It wo n't budge. Just then he hears a noise in the bushes. He crouches down quickly. Listens hard. Nothing. FROM THE BUSHES Someone watches Paul tentatively move to another window. FUNERAL HOME Paul strains to open the window when suddenly. he's caught in a circle of bright light. Paul turns quickly. A DARK FIGURE stands over him. Menacing. MAN'S VOICE What the fuck are you doing here? The Figure lowers the flashlight. It's Tom. TOM I'm taking you home.",
"EXT. JACK'S HOUSE. GARDEN - NIGHT CLOSE ON black earth. A trowel digs into the soil. We pull back. Jack's just finished digging a hole in the flower bed. A shoebox beside him. He takes off the lid. The Chick trembles in the corner of the box. Jack slowly replaces the lid. Puts the box into the grave. He pushes the earth over it. The box jerks. We hear the faint RUSTLING of the Chick inside. JACK Do n't be scared. It's better this way.",
"INT. FUNERAL HOME. ELIOT'S ROOM - DAWN Eliot lies on his bed. Dressed in a dark suit. He has n't slept at all. His eyes rimmed red. He checks the clock on the bedside table. It's 4.30 am. He glances to the window. Dawn light seeps into the room.",
"EXT. FUNERAL HOME - DAWN Eliot walks through the garden. A pair of small secaters in his hand. He stops by a bed of violets. Still covered in morning dew. He kneels and starts cutting the delicate flowers.",
"INT. FUNERAL HOME. PREP ROOM - DAWN Anna lies on the slab in her burial dress. Her eyes closed. Eliot enters the room. He does n't lock the door behind him. Does n't turn the lights on. Does n't change into his mortician smock. He approaches the slab. The violets in his hand. Pulls over a chair and sits next to Anna. Places the violets on the steel trolley beside her. He looks at her intently. For the first time he seems uncertain. Vulnerable. As if questioning himself. After a while he suddenly gets up and heads towards the door. He's about to close the door behind him. ANNA -LRB- O.C. -RRB- I do n't even know your name. ON ANNA Her eyes still closed. ON ELIOT Eliot pauses. Too confused to look back at her. ELIOT It's. -LRB- BEAT. -RRB- It's not important. He closes the door.",
"INT. BEATRICE'S HOUSE. BEDROOM - DAY CLOSE ON Beatrice's face. Her eyes closed. A HAND delicately powders her forehead. As if she's being prepared for her own funeral. We pull back. Beatrice, dressed in black, sits in front of a mirror. Diane applies her make - up. Beatrice opens her eyes.",
"INT. PAUL'S APARTMENT. BATHROOM - DAY Paul, badly shaven, leans against the washbasin. Wearing a crumpled black suit. Staring vacantly in the mirror.",
"INT. FUNERAL HOME. PREP ROOM - DAY Anna lies in a casket as Eliot arranges her hair. ELIOT -LRB- GENTLY. -RRB- It's time now. She looks up smiling. Eliot positions her hands, entwining her fingers. ELIOT You have to look beautiful for your funeral. He picks up a SYRINGE and an ampoule of AMBER LIQUID. Fills the syringe. ON AMPOULE We glimpse the label : HYDRONIUM BROMIDE. ELIOT -LRB- O.C. -RRB- This will relax your muscles. Make your skin radiant. As if you were still alive. Just sleeping. PREP ROOM ELIOT This is how they'll all remember you. ANNA Can I see myself for the last time? Eliot smiles. Picks up a mirror. Hands it to Anna. ON MIRROR Anna looks peaceful. Beautiful. Serene. ANNA Is this the end? ELIOT -LRB- O.C. -RRB- The last part is the most difficult. You'll have to face it alone. But you'll be at peace soon. Anna nods. SIGHS deeply. her BREATH FOGS the mirror. She frowns. Touches the SMALL CIRCLE OF CONDENSATION on the glass. Looks up at Eliot in shock. PREP ROOM Eliot glances anxiously at the fogged mirror, then at Anna. ANNA You lied to me. ELIOT Anna. We've been through this before. You're just imagining - ANNA You lied to me. Eliot injects her in the side of the neck. Anna tries to raise her hand to push him away but she's too weak. ELIOT -LRB- O.C. -RRB- You're still clutching onto life. Do n't give in to your fears. You're so close. Anna's fading away. Her hand drops limply to her side. ANNA -LRB- WHISPERS. -RRB- Why did you lie to me? She stops struggling. Stares blankly at us. Eliot looks at her for a moment. Sadly. Regretfully. He picks up a Polaroid camera. The flash explodes in a blinding white light. He pulls out the Polaroid. Peels off the front and fans it in the air. Then. ON ANNA. delicately closes Anna's eyelids. ELIOT -LRB- O.C. -RRB- Good bye Anna.",
"INT. FUNERAL HOME. VIEWING ROOM - LATE AFTERNOON Anna's funeral is in progress. Eliot stands by her casket. Surrounded by wreathes of tulips and lilies. Beatrice, in her wheelchair, in the front row. Diane beside her. A SCHOOLTEACHER sits behind them with Jack and other CHILDREN. FATHER GRAHAM -LRB- O.C. -RRB- I am the resurrection and the life. Those who believe in me, even though they die, will live. Tom and Paul appear at the door. Tom guides Paul to a seat near the back. FATHER GRAHAM -LRB- O.C. -RRB- They that sleep in the earth will awake and shout for joy ; and the earth will bring those long dead to birth again. ON CASKET Anna lies in an open casket. Her eyes closed. She can hear the DISTORTED VOICE of the Priest. FATHER GRAHAM -LRB- O.C. -RRB- We have come here today to remember before God our sister Anna. To give thanks for her life. ON ANNA'S FACE We see an almost imperceptible frown. VIEWING ROOM Eliot gestures to Beatrice. Diane wheels her to the casket. Beatrice looks at Anna for a moment, then touches the violets in Anna's hands. DIANE Violets. They were her favorite flowers. -LRB- turns to Eliot. -RRB- How did you know? ELIOT Violets just seemed appropriate somehow. Next we see Mrs. Hutton at the casket. Then Jack. He stares at Anna's body before being moved on by the Schoolteacher. Finally Paul and Tom approach the coffin. PAUL'S POV Anna looks serene. VIEWING ROOM Paul takes out the ring box from his pocket. Gently slides the engagement ring onto Anna's stiff finger. Suddenly he looks alarmed. Turns quickly to Tom. TOM -LRB- WHISPERS. -RRB- What is it? PAUL She's so cold. Paul turns back to Anna. Tears prick his eyes. He touches her cheek again. Finally accepting her death. PAUL I'm sorry Anna. He kisses her lips. Eliot watches him carefully. It's almost as if he's jealous. Jack notices Eliot's look then turns and stares at Paul. As Paul and Tom walk away Eliot closes the casket. Begins to screw down the lid.",
"INT. INSIDE THE CASKET - SAME TIME It's dark. We hear the screws TIGHTENING. Anna's eyes FLICKER OPEN then close again.",
"INT. FUNERAL HOME. VIEWING ROOM - SAME TIME Just then Paul turns back sharply. As if he sensed Anna's reaction inside the casket. Tom gently stops him. TOM -LRB- shakes his head. -RRB- She's at peace now. Paul glances at the casket again, then reluctantly allows Tom to lead him away. Eliot tightens the last screw. His back to the room. Suddenly the screwdriver slips. Gashes his finger. ON COFFIN A drop of blood falls onto the polished wood. VIEWING ROOM Eliot stares at the blood for a moment. Takes out a pristine white handkerchief. Carefully wipes off the blood. Then places his hand on the coffin. ELIOT -LRB- SOFTLY. -RRB- Do n't be scared. It's better this way. Eliot turns. Signals to the PALLBEARERS standing nearby.",
"EXT. CEMETERY. ANNA'S GRAVE - LATE AFTERNOON The Pallbearers slowly lower Anna's casket into the open grave. The casket lurches as it settles in the grave.",
"INT. INSIDE THE CASKET - SAME TIME Anna's eyes SNAP OPEN in terror. She tries to scream out. But only a SOFT RATTLING WHISPER escapes from her throat.",
"EXT. CEMETERY. ANNA'S GRAVE - SAME TIME The TEACHER throws a handful of earth onto the coffin. Jack steps up. Looks down curiously. As if he could sense Anna. Then slowly pours the soil from his hand. FATHER GRAHAM -LRB- O.C. -RRB- We have but a short time to live. Like a flower we blossom and then wither. In the midst of life we are in death.",
"INT. INSIDE THE CASKET - SAME TIME Blackness. Earth CLATTERS HEAVILY onto the wooden lid. Anna GASPS softly. Hyperventilating. The earth keeps falling. The sound becoming SOFTER with each shovelful. She struggles. Bangs her fists against the wood.",
"EXT. CEMETERY. ANNA'S GRAVE - LATER The grave's covered with a stone slab now. Votive candles flicker on top. In the b.g. MOURNERS head to their cars. Paul and Tom stand by the grave. TOM You sure you're going to be OK? PAUL Yeah. Thanks Tom. Tom squeezes Paul's shoulder then walks away.",
"INT. FUNERAL HOME. ELIOT'S ROOM - SAME TIME Eliot carefully pins Anna's Polaroid to the wall. ON POLAROIDS We pan slowly across the other photographs we saw before. But now we look at them differently. In some faces there is the glimmer of life. In some a despairing pleading look. In others passive resignation. ELIOT'S ROOM Eliot moves towards the window. ELIOT'S POV The dark cemetery. In the distance flickering candles illuminate Anna's grave. ELIOT -LRB- O.C. -RRB- Imagine Anna. The whole world, your mother, your fiancée, your friends. Everyone has buried you. They've placed a stone above your body. ELIOT'S ROOM ELIOT They've said their good byes and gone back to their TV dinners and shopping malls. Thinking that this is never going to happen to them. Until it's their turn to be buried. Think about it Anna. Eliot glances at his watch. ELIOT think about it while you still can.",
"EXT. FUNERAL HOME. DRIVEWAY - MOMENTS LATER Paul unlocks his car. He's about to open the car door when he feels someone watching him. He turns. Jack's observing him carefully. PAUL You said she was alive. JACK I never said she was alive. I just said I saw her. Paul simply nods his head. Too drained of emotion to react. PAUL You need a ride? Jack shakes his head. PAUL OK. See you. Paul opens the car door. JACK Mr. Conran? -LRB- PAUL TURNS. -RRB- Do n't forget to fasten your seat belt. Paul nods. Gets in his car. Jack looks up at the Funeral Home. JACK'S POV Eliot stands in the window smiling at him.",
"INT. MOTHER'S HOUSE. DINING ROOM - NIGHT We're at Anna's wake. PEOPLE talk quietly in small groups. Paul fills a glass with whiskey. Knocks it back in one. PEOPLE stare disapprovingly. WHISPERING to each other. ELIOT -LRB- O.C. -RRB- Do n't you think you've had enough to drink? Paul turns. Eliot stands beside him. Paul pours himself another drink. PAUL Go to hell. An ELDERLY COUPLE shake their heads and walk away. ELIOT -LRB- AMUSED. -RRB- Mr. Conran. We're at a wake. You should show more respect. PAUL I know she was n't dead. ELIOT Was n't she? Eliot's suddenly tired of Paul's allegations. ELIOT Mr. Conran. You come to my Funeral Home, making wild accusations. You have no idea what happens when someone dies. What happens to their body. What happens to their soul. -LRB- TAUNTING. -RRB- You think Anna was alive after the accident? Maybe you're right. Paul's stunned. ELIOT Maybe she's still alive. You obviously do n't believe a word I say. So why do n't you go and find out for yourself Mr. Conran. Find out whether she's alive or dead. Paul grabs Eliot by his lapels. Shoves him against the wall. PAUL -LRB- LOUDLY. -RRB- You twisted fuck. The room's SILENT. Everyone turns towards Paul. Eliot whispers in Paul's ear. ELIOT You do n't have much time left. Father Graham puts his hand on Paul's arm. FATHER GRAHAM Please. Paul. You're not well. Paul pushes his hand away. Eliot shakes his head sadly. Everyone looks at Paul with pity as he runs out.",
"EXT. MOTHER'S HOUSE - NIGHT Paul sprints across the lawn to his car.",
"INT. PAUL'S CAR - NIGHT Paul slips his key into the ignition. His hand's shaking.",
"EXT. MOTHER'S HOUSE - NIGHT Eliot watches Paul's car ROAR OFF.",
"INT. INSIDE THE CASKET - SAME TIME We ca n't see a thing. But we can hear Anna's SHORT SHALLOW GASPS. And the sound of her nails desperately SCRATCHING at the coffin lid.",
"INT/EXT. PAUL'S CAR. ROAD - NIGHT Paul drives fast. Accelerating then quickly braking as he weaves through heavy traffic. He comes up behind a slow Tractor - Trailer. Hits the HORN. PAUL Come on. Come on. He swerves into the middle of the road. There's a blind curve ahead. suddenly an SUV comes out of the corner. A bright white light sweeps through his car. Paul's momentarily blinded. THE SCREEN FLASHES TO WHITE. says. Paul opens his eyes. The ROAD'S EMPTY. No sign of any traffic. He's confused. The road was busy a moment ago. Just then flashing red and orange lights illuminate the car. Paul looks in his rear - view mirror. ON REARVIEW MIRROR An AMBULANCE moves quickly towards him. Blasts past. CAR Paul looks through the front windshield. Nothing. He frowns. Where did the ambulance go? UP AHEAD We see the Funeral Home. Bone white in the moonlight. The cemetery next to it.",
"EXT. ROAD - NIGHT Eliot's White Van sits by the side of the road.",
"EXT. CEMETERY. PARKING LOT - NIGHT Paul's car slams to a halt. He jumps out. In the distance the candles still burn on Anna's grave.",
"EXT. CEMETERY. ANNA'S GRAVE - MOMENTS LATER Paul grabs a shovel by the grave. Starts digging. Then the shovel clunks against wood. He kneels down. Scrapes away the earth from the coffin. Then pulls open the lid. Anna's eyes are WIDE OPEN. Her fingernails torn and bloody. Paul grabs her shoulders. Pulls her out of the grave. Her body slumps limply like a rag doll. PAUL Anna. I'm here. Please God. Anna. He desperately tries to revive her. But there's no life left in her. He's about to give up when. Anna's hand TWITCHES. Then after a moment she GASPS. Her eyes slowly focus on Paul. ANNA Paul? PAUL Baby. Thank God. Paul gently helps Anna to her feet. She looks round. Dazed. Turns back to Paul. ANNA You came back for me. PAUL I came back for you. You're safe now. ANNA Promise? PAUL -LRB- SMILES. -RRB- Promise. Just then Paul hears a rustling sound behind him. He turns. Nothing. He cocks his head slightly. There's something unnerving about the silence. Suddenly a CROW rises noisily into the air. Paul starts. Then watches, relieved, as the crow disappears into the dark sky. He turns back to Anna. she's not there. PAUL Anna? Paul looks round desperately. Runs between the stone crosses and statues of grieving angels searching for her. PAUL Anna! Just then he glimpses SOMETHING MOVE among the trees. Runs over. Nothing. The cemetery is empty. The trees appear to SHIMMER for a moment. Paul shivers. Pulls his jacket around him. He does n't notice the candles on Anna's grave behind him suddenly BLOW OUT.",
"INT/EXT. ELIOT'S VAN. ROAD - NIGHT We hear the sound of a SIREN. The AMBULANCE blasts past. Eliot slides a disc into the player. CLASSICAL MUSIC fills the van. He strums the wheel. Enjoying the music.",
"EXT. CEMETERY. PARKING LOT - NIGHT Paul frantically runs into the parking lot. Still calling out for Anna. PAUL Anna! Suddenly the interior light in his car comes on. Paul looks at the car nervously. He heads over to it. Apprehensive. Then. the car door slowly CLICKS open. Paul stops. Stares into the car. There's no one there.",
"INT. PAUL'S CAR - MOMENTS LATER Through the windshield we see Paul approach the car. He peers in nervously. Then cautiously gets in. As he switches the interior light off, the camera moves slowly around him revealing. ANNA sitting in the passenger seat. ANNA Are we going home? Paul turns sharply. Stunned. Anna moves towards him. ANNA Or do you want to make love here? PAUL Where did you go? Anna puts her fingers on Paul's lips. Clearly turned on. We hear the sound of something being UNZIPPED. ANNA -LRB- WHISPERS. -RRB- I've been waiting for you. I missed you so much. A line of BLOOD trickles from his nose. He touches his lips. Looks blankly at the blood on his fingertips. A drop of blood falls on Paul's white shirt. It unfurls like a flower. Spreading out over the material. ANNA I love you. I always did. Anna hungrily kisses him. He responds passionately. Suddenly we hear a SHARP METALLIC SOUND. PAUL -LRB- ALARMED. -RRB- What was that? Anna responds as if it was nothing strange. ANNA It's only the scissors. We see the growing anxiety in Paul's eyes. Anna's just interested in his lips. PAUL Scissors? What scissors? ANNA Scissors. For your clothes. Eliot just put them on the table. Paul pulls back. Terrified. ANNA You're safe now. We're finally together. A strong bright light sweeps across Paul's face. Like the headlights of the car on the blind curve earlier. FADE TO SEARING WHITENESS. Paul blinks as he gradually gets used to the harsh light. Slowly the room comes into focus.",
"INT. FUNERAL HOME. PREP ROOM - NIGHT Eliot stands over Paul holding a pair of BLOODY SCISSORS. Paul looks down. His white shirt soaked with blood, the material sliced open. PAUL Where am I? He talks with difficulty. His breath labored. ELIOT You're in a funeral home. -LRB- BEAT. -RRB- You're dead. PAUL I'm not dead. Jack appears at Eliot's side. ELIOT You had a car accident. You swerved off the road. On the way to the cemetery. Hit a tree. PAUL I saw Anna. You buried her alive. ELIOT I'm sorry Mr. Conran. You never made it to the cemetery. You never saw Anna. You're dead. Paul's glazed eyes widen in shock. PAUL I'm not dead. Eliot speaks calmly. Soothingly. ELIOT Your skull was crushed. Your spinal cord pulverized. Your brain cells are slowly dying. Your body's already decomposing. PAUL I'm not dead. Eliot sighs wearily. He's had this conversation many times before. ELIOT You people. You all say the same thing. Eliot's voice, with each word, fades further and further away. Paul closes his eyes. FADE TO SEARING WHITENESS. PAUL -LRB- O.S. -RRB- I'm not dead. FADE OUT."
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] | Eliot Deacon (Liam Neeson) owns a funeral parlour and talks softly to the corpses he prepares for burial. Middle school teacher Anna Taylor (Christina Ricci) attends the funeral of her piano teacher where she meets Eliot. That night Anna argues with her boyfriend Paul (Justin Long) at a restaurant. She drives off in a state of distress, and has a traffic accident. She awakens on an exam table in the funeral parlour to find the funeral director, Eliot, cutting off her clothes and telling her she has died. He tells Anna he has a gift and that he can hear the dead. Eliot has a collection of photographs of corpses whom he has helped "make the transition". Eliot injects Anna regularly with a fictional drug called hydronium bromide to "relax the muscles and keep rigor mortis from setting in." Paul asks to see Anna's body but Eliot does not allow it on the grounds he is not family. Anna unsuccessfully attempts to escape several times. Eliot tells her she must let go of life as she had not really been living anyway. Eventually, Anna escapes and finds a room with a phone where she reaches Paul, who hangs up thinking it's a prank. Anna comes to believe she has actually died when Eliot lets her see her corpse-like self in a mirror. One of Anna's students sees her and alerts Paul, who begins to suspect she is still alive. Anna's student visits the funeral parlour and Eliot tells him that they share a gift, the same as Jesus, who raised Lazarus, and he offers to teach the boy more. The boy accepts and is later seen burying a living chick in a box. During the final preparation for the funeral, Anna asks to see herself one last time. Eliot holds up a small mirror, and while she stares at herself she notices her breath condensing on the glass and accuses Eliot of having lied to her about her being dead. Eliot injects her one last time and she slips into unconsciousness. At the funeral, Paul places the engagement ring he intended to give her the night of the crash on her finger. After the funeral, Paul drinks heavily and behaves aggressively with Eliot, who seems to taunt him and encourage him to see for himself that Anna is really dead, telling him there is not much time. Meanwhile, Anna is shown awakening to the sound of earth being shoveled onto her coffin. She cries out and desperately scratches the satin lining of her coffin lid. Driving under the influence of alcohol, Paul rushes to the cemetery. They are shown embracing and Anna tells Paul she has always loved him. Paul asks what the odd sound is that he hears, and Anna explains it is the sound of Eliot's gloves and scissors on the table as he prepares Paul's body. A moment later, he finds himself in the funeral parlour with Eliot standing over him preparing his body as he did Anna's. Eliot tells him that he never made it to the cemetery due to a car accident which killed him. Paul protests that he is alive until the moment Eliot inserts a trocar deep into his torso. | After.Life |
[
"EXT. WOODED HILLSIDE. DAY. We see the drawn face of a young woman. Camera tracks with her as she runs through the thick woods. She is exerting herself heavily as she moves up a steep hillside. She looks behind her quickly, and continues. ANGLE, we see a young man, and then another, running through the woods, out of breath. They are dressed in filthy BDU's, and show several days growth of beard. The leader stops for a moment, and looks around. The two men separate. ANGLE, the young woman, who has come to a small ledge, over a ravine. She stops, panting, and bends over, to attempt to catch her breath. She looks around, and looks back, her back to a steep wall, a steep drop before her. ANGLE, the first young man, having come up to the spot vacated by the young woman. In the BG we see his colleague. He looks down, and sees movement in the brush below him, in the ravine. He starts to descend, and then looks up. ANGLE, the young woman, pulling herself up the steep rockface. The young man regains the ledge and looks up. Camera takes him around a bend in the ledge. Standing here we discover ROBERT SCOTT. He is somewhat older than the two men, he is very fit, also dressed in filthy BDU's. He is making a note in a small notebook, which he closes. Now, the two men look across the ravine at the young woman, seen disappearing over a ridge. SCOTT -LRB- quietly. -RRB-. you better catch her. The man looks around, and begins climbing up the rockface behind him, pulling himself up, hand over hand by the roots of trees. Several feet up, he falls on his back. He tries to work himself to his knees and winces in pain. He looks to Scott for help. SCOTT your Dad's napping on the sofa, your Mom's watching Let's Make A Deal, and God is Dead. What do you expect me to do? YOUNG MAN -LRB- very weakly. -RRB-. I'm tired, Sir. Sir, there's no way. SCOTT There's always a way. Do n't You tell me there's no way. A pause, as the man tries again to get to his feet. Scott looks up at the young woman on top of the ridge and gives her a `` hold'' gesture. She stops, at his command. Scott nods, as if to himself, and then kicks the young man in the ribs. The man starts, his eyes grow, and he gets to his feet. SCOTT How ` bout that? That's called ` Adrenaline'. You said you Wanted In. He moves into the now - standing young man, and hits him, not heavily, but convincingly, several times. SCOTT This is where you get in. The mugger do n't care. The shooter do n't care. get up. Or I will beat you to death on this fucken hill. Now : you better Catch her. He motions with his head. In the BG we see the young woman nod, and begin running again. We see her, for a moment, breast a hill, and disappear again. ANGLE, on the young man, as he looks at Scott, empty, now, of self - pity, as if he just realized something. SCOTT -LRB- responding to his look. As if to say `` That's right.'' -RRB- There's nothing but the mission. The young man begins to climb the rockface. HOLD on Scott for a moment.",
"INT. TRAINING FACILITY. DAY. A large, hand - painted sign hangs on the cinderblock wall of the rough building. It reads : These are the precincts of pain. A goddess lives here. Her name is Victory. In front of the sign walks the young woman we saw earlier. She is exhausted, she has a towel wrapped around her neck. Camera takes her to Scott, who is holding a cup of coffee, and making notes in the small notebook we saw earlier. She stands, waiting, as she finishes his note. SCOTT Well done. YOUNG WOMAN -LRB- JACKIE BLACK. -RRB- A signal honor to work with you, sir. SCOTT Thank you, Sergeant. He starts away from her, and she raises her hand slightly, to indicate she has something more to say. He turns back to her. JACKIE BLACK Sir : Day or Night. Black or White. You reach out for me. `` Black, Jaqueline A. US 24191489.'' SCOTT I'll remember, Sergeant. She nods, and walks off. Scott walks toward a mess tent. He is joined by George Blane, a very military - looking figure of an older man. He wears an informal fatigue outfit, mismatched jacket and trousers, without insignia. Scott is greeted by him, as they walk toward the mess tent. Scott shows the notebook to Blane, and Blane refers from the notebook to what we see are a group of eighty young men, in the mess tent, two of them the men we saw on the hill. Blane takes the notebook and walks off, as Scott enters the mess tent. ANGLE HIS POV, Scott enters the tent. Several of the young men react to him. He nods to them. Among them, we see the young man Scott berated on the hill, who rises and comes over to Scott. ANGLE, on Scott, who sits, as a uniformed man brings him a tinfoil tray with some food on it. Scott takes out a stiletto from his pocket, presses a button and the blade emerges. He begins to use it to cut up his meat. The young man from the hill, Anton, stands sheepishly near Scott, till Scott turns, acknowledging him. Anton takes a card out of his pocket, the size of a credit card, old, creased cardboard : It reads, `` Rogers Rangers, Rules for Engagement. 1782''. There is a line drawing of a man with a musket, and we read, on the card, beneath it, boldtype rules for fighting guerilla style. Written on the card, in old faded ink, `` SGT. Anton, M. US. 3149584, United States Special Forces.'' The young man -LRB- Anton -RRB- shows the card to Scott. SCOTT -LRB- of the card. -RRB- What's this then? ANTON It was my father's, sir. SCOTT He carry it Over There? As they speak, we see, in an insert, the printed rules - `` Dated 1759''. `` Rule 4 : Tell the truth about what you see and what you do - there is an army depending on us for correct information. You can lie all you please when you tell other folks about the Rangers, but do n't never lie to a Ranger or an Officer''. ANTON Yes, sir. SCOTT He come back? ANTON Yes, sir. He did. SCOTT -LRB- nods. Pause. -RRB- Well, so. Scott pauses again. As he looks at the young man, who is obviously unable to express his gratitude, and sense of occasion. SCOTT You carry that card, son. It might save your life. -LRB- Anton nods. -RRB-. You could use it to light a fire, or something. Blane's Aide calls the men to order. BLANE'S AIDE The Candidate Cadre will fall in on the White Line. The men start to come to their feet, and leave the mess tent. ANTON I just wanted to say, sir. That, to meet you. SCOTT -LRB- rising, as he gives the Ranger card back to Anton. -RRB- You never met me. You've been up for a week. You're seeing Snakes. The exhausted men come to their feet, and into a line. They are happy, and joking with one another. In the BG we see those who failed the course, sitting apart, file onto a bus which has just pulled up. ANGLE on a young man, who looks out of the window. ANGLE HIS POV. Twenty or so similarly exhausted men, with dufflebags, are being shuffled onto the bus. ANGLE, on the young man, Anton, as he exits the tent, who stands next to Scott, outside the tent. Scott stands next to an old, but pristine Mustang Cobra. He withdraws a small dufflebag from the front seat, and looks up to see Anton standing next to him. ANTON -LRB- looking after the departing, failed men. -RRB-. I ca n't imagine how they live with it. ANGLE on Scott. As he thinks a very brief moment, as if reluctant to become philosophical, and then turns back to Anton. SCOTT Make sure you ca n't imagine it, cause, if you can, it's just one step to doing it. Anton shakes his head, sadly, at the spectacle of the failed men. SCOTT -LRB- pause. -RRB-. they'll be back where they came from by Morning, and all this is just a Bad Dream. ANTON My name is. SCOTT Do I need to know? -LRB- pause. -RRB- If I want Camaraderie, I'll join the Masons. -LRB- pause. Then, summing it all up :. -RRB- There's just the mission. Beat. Anton steps away. BLANE'S AIDE -LRB- as he glances down at his clipboard. -RRB- Congratulations on completion of this evolution. I know you would probably like some sleep, but I do not think you'd mind sparing ten minutes for Induction. The camera pans over the smiling faces of the eight very proud young men. ANGLE on Blane and Scott, off to the side. Beyond them, we see the bus holding the failed candidates, filling up. BLANE Thank you, Bobby. SCOTT Not at all, Sir. BLANE You going home? SCOTT weather permitting, Sir. BLANE'S AIDE -LRB- in the distance. As camera tracks with Blane and Scott. -RRB-. as I call your names :. -LRB- he consults his clipboard. -RRB- Grossler, Anton. These two men steps forward. ANGLE, on Anton, nodding to himself at the proudest moment of his life. ANGLE, CU Scott, looking at him. Camera takes Blane and Scott into a cinderblock building which houses a shooting range. We see various housefronts, and storefronts, and targets. A long table along one wall holds a coffee urn. Blane draws two cups of coffee. Through the open door we see Anton and Grossler, smiling, entering the building. Anton comes into the room, and smiles at Scott. We see Scott look away, sadly. He shares a look with Blane, drains his coffee cup, crumples it, throws it away. Blane gestures to Scott, meaning, `` Shall we begin?'' Scott hesitates for a moment, and then nods. FOCUS. ANGLE, on Scott, in the BG, as Blane steps forward to address the two candidates. BLANE -LRB- over his shoulder, to an Aide. -RRB-. would you bolt the door, please? Scott gestures to the Aide, `` One Moment''. BLANE -LRB- to the candidates. -RRB-. are you tired, Gentlemen? -LRB- the two young men smile. -RRB- This is the completion of the evolution :. -LRB- beat. -RRB- Only one of you may join the unit. The first man through that door will be inducted. He gestures at a far door in the room. ANGLE, on Scott, as he looks at the candidates, as they get the picture. Beat. SCOTT -LRB- to himself, quietly. -RRB-. yeah. you wanted to know the ` secret knowledge'. CU Scott as he looks, interrogating the two men, weighing them, as they look at each other. Beat. Grossler starts to advance on Anton, in a fighting crouch. Scott gestures to the Aide that that was what he wanted to see. The Aide lets Scott out of the back door.",
"EXT. CINDERBLOCK BUILDING. DAY. Scott, showered, in civilian clothes, a lumberjacket and jeans, comes out of the building, carrying a small, yellow duffle - bag. He opens the trunk. He takes the yellow bag, and puts it into the trunk which we now see contains woodworking tools - old levels and planes and saws. He closes the trunk. We see the young woman from the first sequence, now in civilian clothes, conferring with a colleague. She nods at him, and he responds. As he starts to get into the car. A squad of exhausted men is marching past. As they come to a halt one of the men turns in the direction of Scott. DRILL INSTRUCTOR -LRB- to that man. -RRB- What the hell are you looking at? There ai n't nobody there.",
"EXT. CONSTRUCTION TRAILER. DUSK. A young worker in a hardhat, by a large gravel pit, at which we find several earthmovers, idle. He is standing by a high chainlink fence topped with barbed wire. ANGLE HIS POV. Some half - mile away, the Mustang, heading in his direction on a rough road. The young worker opens the lock on the chainlink fence and swings it open. We see a sign `` McGarrity Construction Company'' on the gate. The young man walks back toward a construction trailer. We see a red light blinking on a telephone on top of a littered desk. The young worker enters the trailer hurriedly, and opens a cabinet which we see contains several assault rifles, and grenades. Another phone, its red light blinking, is found in the cabinet. The young worker picks up this phone quickly. YOUNG WORKER -LRB- into phone. -RRB-. Frontgate. We see his face grow serious, as he begins to write on a pad.",
"INT. MUSTANG. DAY. Scott, driving, comes around a bend. ANGLE HIS POV. The construction trailer up ahead. We see the young worker come out of the trailer, and stand in the road giving a `` Stop'' signal to the car. ANGLE EXT.. THE CAR. We see Scott bring the Mustang to a stop, and get, inquisitively, out of the car. We see the young worker run up to him and hand him a sheet of paper. Scott takes the paper and begins to read. He looks up, to ask a question of the young worker. We see the worker begin to respond, his body language saying `` That's all I know.'' As he starts to speak his words are drowned out by the sound of a helicopter. Scott looks up. ANGLE HIS POV. A helicopter, flying low. ANGLE INT. THE HELICOPTER. A man in civilian clothes points out Scott, on the ground, to the Pilot. Through the canopy we see Scott and the construction canopy down below. The helicopter goes into a tight turn. ANGLE Scott. Above him, the helicopter goes into its turn, and begins to descend in a field some fifty yards away. ANGLE, the sheet of paper Scott holds. Is reads : `` All hands.'' Over the throbbing of the helicopter, we see Scott giving directions about the car, to the young worker. Camera takes Scott to the trunk, which he opens, and from which he retrieves his gym bag. He hands the keys to the young worker, and takes off, running, to the helicopter. ANGLE, on Scott, as he is pulled up aboard, and the helicopter takes off. ANGLE, over the worker, watching the helicopter disappear.",
"INT. HELICOPTER. NIGHT. Scott, asleep. As the helicopter banks low over the Charles River and Harvard College. A Crewman shakes him awake. ANGLE, EXT : the helicopter descends into the field of a football stadium. A black suburban is waiting.",
"EXT. BOATHOUSE. CHARLES RIVER. NIGHT. Seen through the windshield of a car. ANGLE, a black, government Suburban pulls outside the boathouse. We see scaffolding being erected outside the main entrance. Scott and several types in suits get out of the Suburban, and proceed toward the door, over which is hung a large, paint - spattered drape. A sign on a stanchion reads `` Temporarily Closed For Repairs''. ANGLE, INT. THE BOATHOUSE. The group pushes through the drape, beyond which we see several men in suits, holding assault rifles. An older government type, MILLER, followed by an AIDE, walks up to meet the group, the Aide motions to the armed guards that Scott is to be admitted, that he is `` okay''. Miller gestures to Scott that it will just be a moment. The Aide hands Scott a sheaf of papers, and leads him through the boathouse. We see the long skiffs up on their rests, the Charles River beyond. ANGLE on Scott. As Scott looks through the papers. Around him we see communications equipment being hurriedly assembled. ANGLE INSERT. The top sheet shows a color photo of a phenomenally lovely redheaded girl in her teens. As Scott talks, he leafs through the sheets to reveal several photos of her and a man, obviously her father, holding her hand. One is a print of a glossy magazine article. SCOTT -LRB- of the photo, nodding to himself, as he reads. -RRB-''. Betty Coed, has hair of red for Harvard.'' AIDE -LRB- of the top photo. -RRB- It's not current. SCOTT Why not? ANGLE on them as they arrive at a small equipment room. Through the door we see a young government type, Gaines, his suitcoat off, his shoulder holster empty, being interrogated by several colleagues. AIDE It seems she got a makeover today. We're working on it. He hands a small log book to Scott, and points to an entry. Scott looks down the entries, and glances up, now and then, at the man being interrogated. SCOTT -LRB- reads. -RRB- 4PM. Cut n'Curl. AIDE Gave her a crewcut, dyed it platinum blonde. SCOTT -LRB- glancing up at the man in the chair. -RRB- Met with her boyfriend at ten. Then? The Aide shrugs, meaning, `` That's it.'' SCOTT he's on Post until he turned her over to the Nightwatch? AIDE He says he was. SCOTT Who else you got? Miller gestures to an associate, who comes forward, passing photos to Scott, as Miller goes to look through the glass at the young man being interrogated. AIDE we got the boyfriend, Michael Blake. SCOTT where is he? We are shown a photo of an Ivy League preppy chap around 18. He is on a sailboat. AIDE Was not in his dorm last night, we're shaking the trees. And. -LRB- Scott is passed another photo. -RRB- Professor Gerald Sloane, notably chummy with his female students, of which she was one. Weekend home, Martha's Vineyard. SCOTT for sure? AIDE Been there since Friday. We see a photo, obviously from a school catalogue, of a youngish bearded man, in front of a blackboard. We see Miller in the BG finish his meeting and turn to the group. MILLER I'm light. I'm light, people. I need another team on the Professor, I need an overwatch on the boyfriend. The Aide hands him a sheet of paper, obviously a roster. Scott, looking at the board. He puts down his head for a moment, and blinks his eyes, trying to clear his head. MILLER You just come from the Cadre. SCOTT Yes sir. MILLER How long since you've slept? SCOTT Not significant. MILLER You take a team, and Bulldog. Are you up for it? SCOTT -LRB- absently, as he looks over the materials he has been given. -RRB- Sir, `` this Marine pisses av gas and farts blackpowder, Sir.'' MILLER Thank you for coming, Bobby. SCOTT Are you kidding, sir? An Associate comes over and hands him a piece of paper. Miller shakes his head. MILLER I do n't have the bodies. Call em in. call em in. ANGLE on Scott. CU. As he watches the interrogation of Gaines in the next room. The young man begins to pick up his coffee cup, and we see that it shakes. ANGLE on Scott, as he gestures to Miller to look through the glass, at the young man being interrogated, who is now seen to be wiping his brow, and shaking his head. The young man tries to take a sip of coffee, and spills it, inadvertently, down his shirtfront. Scott exchanges a glance with Miller, and walks into the equipment room, to the interrogation. The man being interrogated, the government type, Gaines, is in his early thirties. He is sweating and obviously frightened. An Aide comes and stands by Scott. AIDE -LRB- whispering. -RRB- His post was Harvard Yard. Harvard Yard, Northeast Corner, Lowell House, across from her dorm. Nightwatch relieved him there, Midnight. ANGLE, on Miller in the interrogation room. Miller nods to Scott, meaning `` You know what to do.'' ANGLE on Gaines, as Scott enters, the interrogators step back for Miller, who is obviously their superior. He motions them to continue. Camera holds Scott throughout the following interchange, with the suspect and questioners seen reflected in the glass of the door. INTERROGATOR Once more : GAINES She, uh. She had lunch with her father. INTERROGATOR Lunch with her father - you seconded to that detail? GAINES No, sir. I just had her. INTERROGATOR. you just had her.'' GAINES I. Uh. uh. I had her all day. Tucked her in. At Ten. And she. INTERROGATOR yeah, `` she had a tiff with her boyfriend.'' GAINES Yes. I. INTERROGATOR Michael Blake -. -LRB- he holds up a photo of a preppy fellow. -RRB- MILLER What was it about? GAINES I think it was about her. her. -LRB- he makes gestures of haircutting. -RRB- MILLER Her haircut. -LRB- Gaines nods. -RRB- So it was n't a serious? GAINES No, no. -LRB- pause. -RRB- No. -LRB- pause. -RRB- And then I. -LRB- he covers his mouth as he speaks. -RRB- I held the post until relieved. -LRB- he gestures at his notebook, as if to support him. -RRB- Miller motions at Scott. MILLER Well, then, we've got a little problem. GAINES -LRB- shaking his head in denial. -RRB- I was there. MILLER -LRB- reading. -RRB- 23.12 Hours, 19 May. Harvard Yard, Northeast Corner, Lowell House, reveals no Secret Service Presence, neither this post nor adjacent. -LRB- he looks through his notes. -RRB-. a second tour, 23.30, reveals, similarly. GAINES I was there, Sir. MILLER -LRB- to Gaines. -RRB- Who's lying? -LRB- pause. -RRB- You or him? -LRB- pause. Gaines slightly averts his head. -RRB- ANGLE on Miller, who gives an infinitesimal sign to Scott who steps forward and slaps Gaines across the face. SCOTT You son of a bitch, I've got fifteen years in, and three kids, and you're gon na sit there, and lie away my Pension. He makes a move toward Gaines. GAINES I. SCOTT do n't you tell me you were there. GAINES I was On Post. SCOTT -LRB- as he moves towards Gaines seriously. -RRB-. you lying swine. Do n't you tell me you were On Post! Miller gestures to a couple of the types who take Scott out of the room and sit him forcefully, in a chair. cautioning him to stay still. Miller now stands by him. HOLD on Scott who uses the pause to review the documents he holds, the photos of the girl, of the Boyfriend, of the Professor. He picks up another glossy magazine showing the redheaded girl - the caption reads `` America is Seeing Red''. INTERROGATOR Shall I tell you what's gon na happen to you, when we find you out? GAINES I. -LRB- he gets up and walks, wearily, toward the windows, and turns. -RRB- I. Uh. INTERROGATOR Were you fucking her? -LRB- pause. -RRB- We're gon na find out. GAINES No, I. um. INTERROGATOR Where Is She? Scott turns, to Miller, who is seen, beyond the door, in conference with several government types. Scott leaves the room, and is seen, on the outskirts of the conference. MILLER We've got until her Monday Morning Class, and then it's Meet the Press ; and `` Where is she?''. -LRB- he shakes his head. -RRB- Who's got the Professor? Where is he? AN AGENT Martha's Vineyard. MILLER Who's got him? AN AGENT Jones and Shannon. Throughout this section camera holds Scott. As he looks through the file, the various photos, and notations, and takes notes in as small pocket notebook, in which we also see the small cardboard card of `` Rogers Rangers Rules of Engagement''. MILLER -LRB- to the group. -RRB- Wake him up, shake him up. He do n't want to talk. -LRB- he holds out his hand, and an Aide puts some papers into it. -RRB- Here's what we have him doing with his Female Students, show'em to his wife. The Photo? -LRB- one of the agents brings in two photographs. -RRB- Here is the last known photo. of the girl. HOLD on Scott, at the back of the group, taking notes. We see him holding several newsclippings. One of them shows the girl, and the headline reads `` America is Seeing Red.'' We see the photo blown up, of the ravishingly beautiful young girl with long red hair. It features a small, red enamel crescent earring. The second photo shows the same girl, in the same pose, but now her hair is short and platinum blonde and spiky. The agent opens two boxes and begins distributing the photos to the group. MILLER The lab ran it up, based on the testimony of the beauty shop. We have not told Boston or Cambridge PD, nor have we. An agent comes up and hands him a sheet of paper. AN AGENT The Professor. MILLER -LRB- to the associate. -RRB- You had him in his home. AN AGENT Sir, we were in Error, we. MILLER Where is he? AN AGENT Best guess puts him on his boat. Last seen out of West Tisbury, Martha's Vine. MILLER Find him. Put the guard on him. Get me an overflight. -LRB- generally. -RRB- I'm light, I'm light, people. -LRB- he points to an associate. -RRB- Shake the Trees. I'm light, here. I'm 25 men light. Get'em in. Who's got the Coastguard. What's the name of his boat? Professor Gerald Sloane. An Aide comes in, hurriedly. AIDE It's the boyfriend. He's moving. Miller points at Scott, who rises. SCOTT I've got him. MILLER -LRB- coming over to Scott. -RRB-. I've got two days to run in. Before the Press wakes up. SCOTT -LRB- as he responds to the inherent request in Miller's voice. -RRB- Whatever it takes, sir. Miller nods his appreciation. Scott exits, and we HOLD on Miller giving orders to his group.",
"EXT. HARVARD YARD. NIGHT. Two students, walking through the yard. They acknowledge a uniformed security guard, who walks, with his back to us. A slight, Asian young woman, her arms full of books, walks toward the camera, hurrying. She indicates something, back over her shoulder, and the guard, who is in front of the camera, walking away, veers off in that direction.",
"EXT. VESTIBULE, HARVARD DORM. NIGHT. A young man -LRB- MICHAEL BLAKE -RRB- is, furtively, working on jimmying open one of a set of mailboxes. He senses something, and turns. ANGLE HIS POV. The Security Guard -LRB- Scott -RRB- standing just beyond a glass door, looking in at him. Scott enters, coming to camera. SCOTT Could I see your hands, son? The Boy, Blake, moves his hands away from his body, to show a screwdriver. Scott motions him away from the mailbox, which we see is in the process of being demolished. Scott reads the name on the mailbox. SCOTT L. Newton. -LRB- pause. -RRB- You lose your mailbox key, Mr. Newton? -LRB- pause. -RRB- BLAKE Um. SCOTT You a student here? BLAKE Yes. SCOTT Could I see some identification, please? Mr. Newton? -LRB- Scott takes out a walkie and begins to talk into it. -RRB- Ten - Twelve patrol, requesting. BLAKE No, please. please. -LRB- pause. -RRB- Please, Oh, God. He starts to advance on Scott, who draws a nightstick, and keeps him at bay. SCOTT Calm down, Son. It's gon na be what it's gon na be. BLAKE One minute, could I please talk to you for one minute. Look look look : I broke up with My Girlfriend. ANGLE EXT.. THE VESTIBULE. The young Asian girl, now walking with a male friend, pass in front of the vestibule. Beyond them we see Blake and Scott, as Blake motions to the mailbox, and moves to the mailbox and takes out a letter. ANGLE INT. THE VESTIBULE. On Scott, as he watches Blake take a letter out of the jimmied mailbox. SCOTT -LRB- of the letter. -RRB- Laura. -LRB- he rereads the nameplate on the mailbox. -RRB- Laura Newton? -LRB- pause. -RRB- Laura Newton? Is that ` the' Laura Newton? BLAKE We broke up. Alright? Laura Newton. They know who I am. SCOTT Who? BLAKE The Secret Service. SCOTT The Secret Service? BLAKE That's right, that's right. They know who I am. You. They've `` cleared'' me. SCOTT -LRB- gesturing to the jimmied mailbox. -RRB- They did n't clear you for this. BLAKE You, you hear me out, and, if you want to, Then. -LRB- pause. -RRB- Okay? Okay? -LRB- pause. -RRB- SCOTT I have to call it in. BLAKE Please. please. Five minutes. That's all I want. Please. Please. She would. she. -LRB- his face brightens at the new idea. -RRB- Maybe she's in her room! SCOTT You tried the bell, you called her. BLAKE -LRB- as it dawns on him. -RRB- Maybe she's ill.",
"INT. CORRIDOR, HARVARD DORM. NIGHT. Blake and Scott, as they walk up to a door. Scott knocks on the door. SCOTT Mzz Newton? -LRB- pause. -RRB- Mz Newton. this is Campus Security. He begins to fumble with keys at his belt. ANGLE INT. THE ROOM. Several agents, obviously involved in investigating the room, wearing plastic gloves, stop. One, silently, unlocks the door. We see Scott enter the room, `` miming'' using a key, and turn on the light and look inside. We take him to her desk, where he finds several photos of her and her father - and a note on he desk, reading `` Dear Dad - Thanks for coming - signed % - -RRB-''. We see the boy, Blake, out in the corridor, unable to see into the room. SCOTT Mz Newton? -LRB- pause. -RRB- ANGLE, in the hall, as Scott and Blake stand there, a young girl comes down the hall and stops, opposite her room. YOUNG GIRL Hey, Mike. Sprised to see you there. -LRB- smiles. -RRB- That was some Vicious Performance. She smiles brightly and goes into her room. Scott looks at Blake.",
"EXT. HARVARD YARD. NIGHT. Blake and Scott sitting on a bench in the deserted yard. Scott holds the envelope and the letter, on which we see this symbol % - -RRB- and begin to read : `` This is a sham. Your view of the world is not cockeyed, but corrupt. You cunt. And you deserve everything that is going to happen to you.'' BLAKE I was just. trying to retrieve the letter. ANGLE, on Scott, as he looks at the letter. SCOTT this is not very nice language. -LRB- pause, Blake looks away. -RRB- How old is this girl? BLAKE She's. just turned 18. -LRB- Scott shakes his head, sadly. pause. -RRB- I was mad. SCOTT -LRB- of the letter :. -RRB-. `` everything that's going to happen to her''. What was going to happen to her? -LRB- pause. -RRB- You hurt her? -LRB- pause. -RRB- Did y' hit her, son? BLAKE Hit her? No. I. -LRB- he gestures to the note. -RRB- I called her. I called her a whore. I. SCOTT Why? The boy bangs his head. Scott, as he rises, brings Blake to his feet. SCOTT -LRB- as if realizing `` This is the question''. -RRB- Where is she? BLAKE -LRB- as if the question had not occurred to him previously. -RRB- She must. she must. she must have gone home. SCOTT Why? BLAKE -LRB- gesturing around, quietly. -RRB- Because the Secret Service, is n't. As they walk by a parked van, we cut inside the van. Where we see a Secret Service type. Through the windshield we see Scott gesture `` Do Not Intervene.'' ANGLE, on Scott and Blake, as they walk down the near - deserted Mass Ave. SCOTT -LRB- of the sign on the letter, the `` Picasso'' sign, that is % -. -RRB-. He turns the sign rightside up to show it is a ` cockeyed smile'. -RRB- What is this sign? BLAKE It's how she signs her letters. -LRB- smiles. -RRB- Cause she looks at everything cockeyed. Like Picasso - she said they called her `` Picasso''. -LRB- pause. -RRB- SCOTT Who called her that? BLAKE You know, her, her. -LRB- remembering. -RRB- He saw her yesterday! Maybe she's. maybe she's with him! SCOTT Why'd you fight with her, Son? BLAKE -LRB- pause. -RRB- She, uh, she got her hair done. She cut it off. She dyed it blonde. I said she looked like a slut. and. -LRB- pause. -RRB- SCOTT Beautiful young girl like that. We've all seen her pictures. What'd you care how she dyed her hair? -LRB- pause. -RRB- What'd you care? Why's that make her a slut? -LRB- pause. -RRB- BLAKE She. -LRB- pause. -RRB- Uh. SCOTT She seeing another fella? -LRB- as he moves closer, confidingly. -RRB-. just between us. Off - the - record, son. ANGLE, INT. THE VAN. We hear the conversation, and see the tape machine moving. SCOTT -LRB- V.O. -RRB- I was young once, too. BLAKE -LRB- V.O. -RRB- I. ANGLE EXT.. THE VAN. Blake and Scott. SCOTT I know that nothing hurts worse than that. She seeing another guy? BLAKE I. -LRB- pause. -RRB- There's this, um. Teacher. I should n't, I, I should n't tell you this : She. SCOTT She sleeping with a teacher? BLAKE She says she is n't. I said she looked like a slut. She wants to fuck old guys, she should go to The Regency. Go all the Way. SCOTT The Regency, what's that? BLAKE -LRB- as if everyone knows this place. -RRB- S'the Club, by the Fenway. it's like a joke at school, it's like a rumor : this or that girl, made a thousand bucks, went with a businessman for One Night. Look : it's a Lover's Quarrel. I said something I regret. I sent her a note which I regret, and I assure, you, Officer. If. -LRB- pause. -RRB- If you would. ANGLE. From inside the windshield of the van we see, through their body language, that Scott is `` giving the boy a break'', the boy is very thankful. Scott is admonishing him and the boy is contrite. Now Scott begins to walk away, and we see him minutely, signal to the van, we see the driver of the van pick up a phone and speak softly into it. ANGLE, Scott, walking down a sidestreet. The boy in the BG, we see the young Asian girl, take up a tailing position some half - block back of the boy, as a car glides to the curb. And Scott gets in. ANGLE, tight on Scott in the car, as he rubs his eyes, beyond exhaustion. The car pulls away. He gives several instructions to the young man driving, and then leans back, eyes closed. He opens his eyes again, and we see him mouth, insistently, `` The Regency''. The driver nods.",
"INT. BOATHOUSE. NIGHT. As Scott enters. The activity is more widespread than previously. An agent walks him into the fray. AGENT No morgue. No hospital. No note. SCOTT The parents? Agent, nods, shrugs. AGENT The mother. -LRB- makes a `` drinking'' gesture. -RRB- You know where she is. He's holding up. -LRB- as an afterthought. -RRB- He was in town yesterday. To see her. SCOTT -LRB- as he shakes his head - to clear it. -RRB- He was? AGENT we snuck him in, and out. We see Miller, in the BG, in a hurried conference, nod at Scott. MILLER -LRB- looking at a chart. -RRB- `` The Colophon - 36 - foot sloop''. Where is she? They walk off, an Aide talking to him. AIDE the Coast Guard has a watch over this area :. -LRB- he points to the chart. -RRB- And they have scheduled the Colophon first. Scott and the Agent stop in front of the interrogation room, where we see the agent, Gaines, a guard over him. Gaines is sitting, looking as if he had been weeping. The guard addresses Scott and the other agent. GUARD He copped to it. SCOTT He copped to what? GUARD -LRB- of Gaines. -RRB- Off - post - punched out early to go boffing his girlfriend. Scott shakes his head as if to say `` How about that.'' The agent holds a photo of a very lovely Eurasian woman in a business suit, and shows it to Scott. AGENT Hope she was worth it. SCOTT Uh huh. Scott stands wearily, watching several large men berating the seated Secret Service Agent. An agent appears with a tearsheet showing the ad for `` The Regency Club''. We see the ad for exotic young companions, and the address is Boston. Scott gives instructions to the Aide. ANGLE INT. WASHROOM. Scott, having stripped off his shirt, is washing himself at the sink. The `` Regency'' ad, and a description of the club is pasted with water to the mirror before him. We read, in the mirror : `` REGENCY. 243 Charles Street, Boston, Mass.. Owners of Record.'' Et Cetera. In the mirror we see the Aide bring a fresh shirt and a tie to Scott. Scott turns, as the door swings, and he sees, in the BG, ANTON, just entering the establishment. ANGLE INT. THE BOATHOUSE. A Swat team is laying out its weapons and assault gear, on a long table. HOLD on Anton, who is standing, unassigned, and looking it. We see, on an improvised bulletin board, photos of the Boy, Blake, the Professor, and the Girl, blown up from a newspaper shot, and in various photos. As we watch an Agent walks up with a box full of photos, and tacks one up on the board. It is an altered shot showing the young girl with short, spikey platinum hair. ANGLE on Scott, dressed in a clean shirt, a tie, as he takes a photo from the box. We see him put it next to the original, blonde photo, and look at both. AGENT We ran it up from a description of the colorist from the Beauty Parlor. SCOTT Gim me your coat. The Agent takes off his suitcoat, and gives it to Scott, who puts it on. ANGLE, on Scott, as he holds the photos, and the Regency description. He walks toward the door, through the mass of agents. He stops by Miller, who is on the phone, looking at a photograph of the Professor, as a tech hooks up a video feed of a house on the water, the Professor's house. A photo of a sailboat is tacked up. We read ` The Colophon' on its stern. SCOTT -LRB- to Miller. -RRB- I need five thousand dollars. Miller gestures `` Just a Moment'', and then waves to an Aide, meaning `` Do It''. SCOTT How long do we have? Sir? MILLER -LRB- shakes his head. -RRB- It hits the papers, and we're done. SCOTT No. note? No. Miller shakes his head, he holds up the `` Regency'' note. SCOTT -LRB- nodding. -RRB- I've got it. -LRB- to Miller. -RRB- Can I have some backup? Miller, gesturing around the room, meaning `` what you see is what you get''. All the occupants of the room are engaged on some task, save Anton, who sits alone on a bench. Scott looks at Anton, who glances at Scott, trying to keep the appeal out of his glance, `` Please take me''. SCOTT -LRB- to Anton. -RRB- We're scraping the bottom of the barrel here, are n't we? ANTON Yes. Sir. Scott looks at Anton and shakes his head. He is summoned to the front of the room by a young woman, who is putting cash into an envelope. Scott comes over to her, and we see her filling out a slip of paper. She hands him the cash in the envelope, and the slip of paper. YOUNG WOMAN I need you to sign it. SCOTT You sign it. -LRB- He scans the room again, shrugs, and motions to Anton. -RRB- Come on, Wallflower. -LRB- Anton rises and walks over to him. -RRB- Scott turns to Anton. SCOTT Now : your mouth shut. Your eyes open, and form on me. Here's where we're going. There is the sound of a gunshot. Scott and Anton instinctively take cover against the side of the building, drawing their sidearms. HOLD TIGHT on Scott. As he looks through the half - open door. We see several of the Swat men, taking up positions, one of them kicks open a door, and his partner enters. Pause. We hear the partner call `` clear''. ANGLE, on Scott, as he re - enters the building, and proceeds, pistol out, toward the room. ANGLE HIS POV. On the floor, we see the dead Secret Service Agent, a pistol in his hand. We see Miller turn to his team. An Agent kneels to the fallen Secret Service Agent, and prods a small hideout pistol from his hand. Scott turns to leave, and sees Anton standing next to him. SCOTT Do n't look at him. Do n't look at the Downed Man. He's dead. -LRB- as he turns his back on the scene. -RRB- Kick the fool overboard. ANGLE on Anton and Scott as they leave. In the BG we see Miller et al.. Miller giving directions. MILLER who is the girl he went to see? Get her in. The girl he was fucking. Who's got the Coastguard. TIGHT on Anton and Scott as they exit the building. SCOTT I'd hate to be the Lucky Duck who frisked him. -LRB- beat. -RRB- ANTON He was off - post when they snatched the girl? SCOTT -LRB- as he looks at the fallen agent. -RRB- Yeah. Well, apparently, he felt bad about it.",
"EXT. REGENCY CLUB. NIGHT. A garish neon sign, beneath which we see a couple exiting, getting into their limo. Scott, in his sportcoat, walks up to the large and threatening bouncer at the velvet rope to the club. We see the bouncer bar his way, and gesture to his watch, meaning `` closing up''. ANGLE INS. Two one - hundred dollar bills are passed to the bouncer. ANGLE, Anton, in a cab across the street, looking on. ANGLE INT. THE REGENCY CLUB. Several well - dressed couples are leaving. A group of raucous, drunk businessmen types push past them. Scott walks up to the bar. The Bartender is beginning to ring out the cash register. In the BG we see a manager eye Scott, and continue to direct the closing operations. BARTENDER Closing up. -LRB- he points to his watch. -RRB- Ca n't sell you booze after 3 AM. SCOTT -LRB- laying money on the bar. -RRB- No, no. I just came buy to pay you that money I owe you. He gestures to the bills on the bar. The Bartender swoops them up, and gestures to the back bar, meaning `` What'll you have?'' Scott points to a bottle of Bourbon, the Bartender pours for him. SCOTT -LRB- as he drinks. -RRB-. how about them Sox, huh? BARTENDER Yuh. Whaddaya gon na do? SCOTT `` Curse of the Bambino''. BARTENDER that's right. -LRB- pause. -RRB- SCOTT Nice place you got here. BARTENDER You from out of town? SCOTT Yeah, you know, actually, I was just looking for my Daughter. BARTENDER -LRB- as he smiles. -RRB-. that's what you're looking for? SCOTT I. Uhh. BARTENDER ask, because a lot of out - of - town guys, come in, lookin, someone else's daughter. SCOTT No, I. Oh, no. BARTENDER -LRB- smiling. -RRB- You sure? SCOTT Abso, absolutely. He brings out his case, with the photo of the platinum - haired girl. The Bartender comes over and glances at it. ANGLE XCU on Scott as he looks incisively at the Bartender, who displays no flicker of recognition. SCOTT girl like that been in tonight? BARTENDER pretty girl. SCOTT None prettier. ANGLE on Scott, who looks around the club. We see him eyeing the lovely young scantily clad waitresses, who return his looks with disdain. The Bartender, observing him, comes back to him. SCOTT Yeah. I'm looking for a girl like that. BARTENDER You're sure it was your daughter? B'cause, a lot of guys, come in here, guys your age, go home with some. some rather ` younger' girl. The Bartender smiles. SCOTT -LRB- as he leans forward. -RRB- Well, why would a, one of these ` younger girls'. What would they want to do with me? The Bartender leans close and hesitates. Scott takes out several more bills and passes them to the Bartender. He hesitates a second, as if to say `` You would n't fuck me, would you?'' The Bartender signs, `` I am your man'', the Bartender takes the bills and leans close and whispers to Scott, indicating someone over in a dark corner. In this corner, as the lights are flicked up, we see a youngish man in very expensive casual clothes, an American, dressed like Eurotrash, sitting talking with the man we saw earlier was the Manager. As Scott approaches, we see the Manager, knowingly, drift off. Beat. The young man -LRB- ZIMMER -RRB- rises from the booth, and tugs himself into neatness, and stops, as if bemused by Scott. ZIMMER ` Howdy, Pard'. SCOTT Hello. I wonder if you could help me. ZIMMER -LRB- as he yawns and looks at his watch, as he pushes past Scott. -RRB- I love you, Baby, but the season's over. Zimmer starts for the front door, and Scott falls into step with him. SCOTT -LRB- gestures at the Bartender. -RRB-. my friend says that you're. you're sort of a ` matchmaker'. ZIMMER Izzat what he says? Camera takes the two out of the front of the club, where Zimmer tips the bouncer, who his putting on his coat, preparatory to going away for the night. Zimmer begins walking into a parking lot, where we see several run - down employee's cars, and his, Zimmer's prime Mercedes. Scott tags along. BOUNCER -LRB- as he walks away, to Zimmer, of Zimmer's car. -RRB- I put her back in your space. SCOTT I was looking for a girl. a young girl. ZIMMER Are n't we all. SCOTT My, my, my, my, my, my question was : why would a young girl want to go out with an older man like me? And, if you could `` answer'' that. He takes out money from his pocket. Zimmer begins to speak slightingly, dismissively to the ` hick'. ZIMMER Look, Bub. Zimmer starts to open his car door. He turns back to Scott, and we see, Zimmer's POV, Anton, standing behind Scott, at the doorway to an alleyway. Obviously backing Scott up. ANGLE CU, Zimmer reacts infinitesimally, to the sight of Anton. ANGLE XCU, Scott, sees him, and slams him against the side of the car. Zimmer reaches through the half - open door, and comes out with an automatic pistol in his hand. Scott kicks him in the stomach, Zimmer tries to raise the hand with the gun, and Scott throws him to the ground, the pistol falls on the concrete. ANGLE on Scott as Anton emerges from the alley. Scott directs him to drag Zimmer into the alleyway, near a dumpster. Anton thrusts his hand into the car and starts to reach for the dropped pistol. SCOTT Do n't touch the piece, do n't touch the piece, do n't touch the piece, th ` out your gloves on. ANGLE INT. THE SMALL ALLEYWAY. As Anton now pulls off Zimmer's sportcoat, and begins emptying the pockets. Scott interrogates Zimmer. ZIMMER I think you broke my arm. SCOTT -LRB- as he shows the photo to Zimmer. -RRB- You seen this girl before. ZIMMER -LRB- of his arm. -RRB-. I think it's broken. SCOTT You seen her tonight? Zimmer turns away from the photo. ZIMMER I think it's. SCOTT -LRB- to Anton. -RRB- Pull him up. Anton pulls Zimmer to his feet. Scott puts a lock on Zimmer and breaks his arm. Zimmer screams. SCOTT Now it's broken. -LRB- of the picture. -RRB- What's her name? -LRB- pause. He strikes Zimmer in the face. -RRB- WHAT'S HER NAME. -LRB- to Anton. -RRB- Break his other arm. ZIMMER I DO N'T KNOW HER NAME. SCOTT You do n't know her name, then who is she? ZIMMER Some, some ` girl'. SCOTT Some ` girl', some ` pal' of yours? Where is she Now? Anton, tossing Zimmer's coat, comes up with a small medicine vial. He holds it up to Scott. Who takes it, looks at it, sniffs it. Pause. SCOTT -LRB- to Zimmer. -RRB- Oh no. -LRB- pause. -RRB- Oh no. this is n't Rohypnol. -LRB- pause. -RRB- Is it? -LRB- pause. -RRB- Izziz Rohypnol? Is this `` Rho''? -LRB- pause. -RRB- IZZIZ A ONE - SIDED CONVERSATION? -LRB- to Anton. -RRB- Whatzisname? ANTON -LRB- looking at his driver's license. -RRB- Donny Zimmer. SCOTT Donny. Donny : where's the girl? -LRB- pause. -RRB- You dose her? -LRB- pause. -RRB- Where is she? Donny? Anton tossing Zimmer's clothes comes up with an envelope. Scott takes it, and leafs through many bills. SCOTT what is this? Ten, what is it, Fifteen thou? For what? ZIMMER I never saw that girl. SCOTT Oh, alright, then we've got to let you go. ANGLE CU, Scott. SCOTT Where'd you take the girl, Donny? -LRB- pause. Silence. To Anton. -RRB- You touch his piece? ANTON No. SCOTT Good. Scott gestures to Anton to let Zimmer go. Zimmer hesitates, knowing he must not move. Scott holds the photo to Zimmer's face. ZIMMER THAT'S NOT THE GIRL. THAT'S NOT THE GIRL! SCOTT That's not what girl? -LRB- pause. -RRB- Where'd you take her? -LRB- Scott points to Zimmer's pistol. To Anton. -RRB- Put your glove on. Pick up his pistol. Two knees, the other elbow. -LRB- he points to the head. -RRB- Mozambique. ANGLE XCU, Anton looking at Scott, to say `` Really''? ANGLE XCU Scott, nodding back, `` Really''. SCOTT You bet your life. Scott starts to walk away. Zimmer begins screaming. ZIMMER Wait. Wait. Wait.",
"EXT. NORTH END, BOSTON QUIET STREET. NIGHT. A large Mercedes is parked outside on the quiet street. A chauffeur reads the paper, he half turns, sleepily, at the sight of a man walking across the street. ANGLE Scott and Anton pulling up in a Camaro. ANGLE INT. THE CAMARO. Scott and Anton, as he turns off the motor. He looks over at Anton, who holds a piece of paper. ANGLE THEIR POV. A townhouse across the street. A large Mercedes in the courtyard driveway. Beat. Scott and Anton watch, as a door starts to open. SCOTT okay, then. Anton begins to respond, when Scott gets out of the car, motioning Anton toward the Mercedes. ANGLE EXT.. THE TOWNHOUSE. We see a middle - aged Businessman coming out of a side entrance, adjusting his clothes as he walks. As Scott walks nearby - we take him to a garbage pail, where he retrieves a small black bag - that is, as used to transport dog shit. He walks up. ANGLE, on Anton, getting out of the Camaro. Behind him, around the corner, we see a dark van pull up. Anton motions the van to hold. ANGLE, on Scott. As he walks up toward the Businessman, holding the black bag. He whistles once or twice for his dog, and then turns to see the Businessman. SCOTT beautiful night. BUSINESSMAN -LRB- nods. -RRB- ` Less you got hayfever. -LRB- he gestures at the flowering trees. -RRB- Scott walks up to him, and pushes him back into the vestibule. ANGLE TIGHT on Scott as he flicks open his switchblade, and holds his knife up to the Businessman's throat and whispers. SCOTT you left something back inside. Beat. The Businessman looks frantically around, beyond him we see Anton taking his Chauffeur out of the car. The Businessman turns to the intercom and pushes a button. We hear a female voice answer, after a beat,''. yes?'' ANGLE on Anton, holding a machine pistol, behind a corner of the wall. BUSINESSMAN I left my case inside. There is a beat. And the far door in the vestibule is buzzed open. As it opens several men in Swat gear stream through the vestibule and up the stairs. Scott hands the Businessman over to an Agent, who takes charge of him, and camera holds on Scott, standing, wearily, at the bottom of the stairs. He motions for Anton near him to hand him a cigarette. Anton does so. Scott lights up. From the top of the stairs we hear screams, sounds of breaking, yells, commands being shouted. Beat. An Agent comes to the top of the stairs, looks down, and shakes his head. Beat. Scott turns and finds the handcuffed Businessman in his field of vision. SCOTT they got some young girls up there? Beat. The Businessman, terrified, is silent. Scott holds out the photo of the girl in the black hair. SCOTT You see this girl? -LRB- pause. -RRB- The Businessman looks at the photo. Scott gestures at Anton, and passes the photo of Laura Newton to Anton. And then looks as if to say `` In or Out?'' Anton hesitates a moment, and then strikes the Businessman. ANTON Did you See This Girl? ANGLE on the Businessman, on the ground. Terrified. He looks back at Scott, as if unable to focus. Scott gives him a beat, nods, as if to say, `` What would you expect'', and starts up the stairs.",
"INT. WHOREHOUSE. NIGHT. Scott enters the vaguely Japanese modern establishment. Several Swat figures are being stood down. They sit, sharing a thermos of coffee. One of the Swat team nods to Scott, and motions him to the direction he knows Scott wants to go. Camera takes Scott past a room where two female Agents are holding five young women, who are supervised, changing out of `` escort'' wear, and into jeans and sweatshirts, `` streetclothes''. ANGLE on Scott, as he enters what is obviously the `` office'' of the Bordello. One of the techs is sitting at a bashed - in computer, he is hooking it up to another laptop. He turns to Scott. TECH she was trying to scrub the thing. Beyond them we see Miller. And a very attractive European - looking woman in her forties. In a room beyond two bodyguard types are handcuffed, watched over by a Swat officer. Scott moves back to watch Miller interrogating the woman, the Madam, who speaks with a middle - European accent. MADAM an escort service. There is no impropriety, and there is no. MILLER -LRB- calling back to one of his techs, who consults a computer. -RRB-. who is she? TECH Nadya Tellich, Serb. Green Card, in. Miller waves the rest of the information away. Miller shows her the photo. MILLER Have you seen this girl? NADYA We see a lot of girls. They apply. For the job, as Hostesses. ANGLE on Scott, who stands by the Tech, who is trying to reconstruct the broken computer. It prints out a file, on which we see photos of various faces. Each girl holds a placard with a number on it. ANGLE on Anton, who looks down. ANGLE HIS POV. The wastebasket. In the BG we hear Nadya going on about the benefits of working as a Hostess. He motions to Scott. Scott squats to the ground, and pours out what are revealed to be several polaroids of beautiful young women. He uses his knife to rearrange them without touching them. They are now alighted and we see the numerals twelve, thirteen, fifteen, on placards which they hold up. ANGLE on Scott, as he walks back into the interrogation room, holding the sheet printed out by the computer. NADYA a contact for Personal Services. They pay us so much for each call, and. The girls pay us! We are just a - MILLER They show you proof of their age. NADYA Of course, of course, I. you think I. What do you think, I. SCOTT -LRB- showing her the printout. -RRB- Where's Number Fourteen? -LRB- pause. -RRB- NADYA I do n't understand you. SCOTT where's Number Fourteen? -LRB- pause. -RRB- NADYA -LRB- pause. -RRB- I want my Lawyer. Miller takes the photos of Laura and shows the platinum - haired one to Nadya. MILLER is this the Girl? Is this her? Was she in here? NADYA I, wait, I no. I. I want to talk to my lll. MILLER -LRB- of the platinum - haired girl. -RRB- Izzat her? It's her, is n't it. She was here. Is that her? ANGLE, on Scott, as he steps away. He takes us through the Whorehouse. In the adjacent room we see a bank of video monitors, showing people in various sexual activities. On the screen for a moment comes the face of what looks like a very young girl indeed, camera swerves onto the face of the Businessman we saw outside the Whorehouse, he is disrobing,. BUSINESSMAN -LRB- ON TAPE. -RRB- come over here, you little bitch. That's right, get your sweet ass over here. ANGLE on Scott. As he looks to the Businessman, himself, who is seated in a chair, presided over by several agents, forced to watch the video. He turns his head away. SCOTT -LRB- to an Agent. -RRB- Make him watch it. One of the agents turns the Businessman's head brusquely back. BUSINESSMAN I. I. listen. listen : I'm a wealthy man. I am, I am not - without - friends in, in the Administration. -LRB- he takes out a business card and hands it to Scott. -RRB-. whatever it takes to. SCOTT This here, sir. This is a piece of cardboard. Scott holds the card. He shakes his head sadly. Scott nods to the Interrogator and Scott throws the card into the Businessman's lap. INTERROGATOR -LRB- as the Businessman starts to look away. -RRB- Do n't you look away, you son of a bitch. -LRB- he forces him to watch the video. -RRB- ANGLE CU, on Scott, as he looks disgusted. Anton stands on one side, looking to Scott for a cue as to how to react. BUSINESSMAN I. I. I. SCOTT -LRB- stepping in. -RRB- `` I - I - I'' - What are you, Carmen Miranda? He holds the photo of the platinum - haired Laura Newton. BUSINESSMAN I. -LRB- he draws Scott close, turning from Anton to the `` good'' cop. -RRB- Listen to me : I can not. Be caught here. You write an amount on a sheet of paper. write it on my card. -LRB- he takes out his business card and hands it to Scott. -RRB- SCOTT No, Baby. Today we got the Barter System. And you best pray to God you got something to trade. BUSINESSMAN I. I. -LRB- he takes out his wallet. -RRB- SCOTT IT AI N'T MONEY. YOU SICK FATCAT FOOL. WHERE IS THE GIRL? -LRB- he slaps the Businessman, and Anton pulls him off. -RRB- LEAVE ME ALONE, I'LL GET THE TRUTH OUT OF HIM. -LRB- he picks up the man's business card. -RRB- Come in here, try to buy me off? I've got Three Daughters. Anton succeeds in pulling Scott off the Businessman. He drags him around a corner. We see the terrified Businessman in the background, as Anton tries to reason with Scott. ANTON maybe we'd. ANGLE, on Scott, now appearing transformed, and easy. He gestures `` shusshh'' to Anton, meaning `` It is all an act''. In the BG we see the Interrogator browbeating the Businessman. SCOTT -LRB- as he looks down at the Businessman's card, and shakes his head. He moves back toward the Businessman, terrifying him. -RRB-. I thought when you wanted to pet little girls, you picked on your Daughter. Ai n't that what you rich people do. now you step off the Reservation and you want to buy me? -LRB- he shows a photo of the platinum - haired Laura to the Businessman. -RRB- Where Is This Girl. The Businessman is terrified. He looks around the room in panic. ANGLE on Scott, as camera takes him to where the Female Agent is interrogating the Young Whore. Anton follows. YOUNG WHORE -LRB- looking at the photo of Laura Newton. -RRB- I. She was sick. she was Not Very Well. She came in here. and. and. FEMALE AGENT who was she? YOUNG WHORE I dunno. some young girl. I dunno. They took her, I told Nadya, she shunnt be here, they took her. FEMALE AGENT Who took her? YOUNG WHORE I think that was her. FEMALE AGENT Was she here? YOUNG WHORE I think that's the girl. they took her. The two, two men. they. -LRB- she draws the Female Agent closer, frightened. -RRB-. they gave her a shot. ANGLE on Scott, as he turns back to Nadya. NADYA I am entitled to my rights, and I am entitled to a phonecall to my lll. SCOTT -LRB- brusquely. -RRB- Your lawyer ai n't going to help you. want to guess ` why'? -LRB- he looks to Miller, who nods, `` Go ahead''. he takes the photo of Laura with the red hair, sharply, from Miller and shows it to Nadya. -RRB- Y' understand the picture. NADYA ohmigod. ANGLE on Miller, as he beckons Scott. Anton starts to come and Miller signals him to stay behind. SCOTT He's with me. Miller nods and the three walk out of the room. ANGLE on Scott, as he and Miller retreat behind a door. Beat. MILLER -LRB- as it dawns on him. -RRB- They do n't know who they've got. they just snatched `` some Young Girl''. When they find out, they're going to have to. Scott moves back to Nadya. SCOTT She was here. She was here, where is she? WHERE IS SHE? -LRB- Scott thrusts the Laura Newton photo at her. -RRB- She was here - NADYA I. I do n't know if this is the. SCOTT She was here. -LRB- pause. -RRB- NADYA -LRB- very softly, as she looks around, broken, for sympathy. -RRB-. they'll kill me. SCOTT Who did you call. How did they know, to come get her? NADYA I. it's just a number, I. Miller pushes a pad of paper and a pencil across to her. ANGLE TIGHT on Scott. As he looks on. Beat. He nods, as if to say `` We're getting there''. There is the sound of a phone ringing, and an Agent comes in, and beckons Miller, who waves him away. The Agent indicates, `` No, you have to take this call.'' Miller steps back from Nadya, not wanting to break the mood, and moves toward the phone. Scott moves to stand by the girl. ANGLE on Scott as he pushes the paper toward her, again, forcing and willing her to put down the number. MILLER -LRB- softly. To phone. -RRB-. hello.",
"INT. FOOTBALL STADIUM. NIGHT. A helicopter is settling onto the playing field. ANGLE. Two men getting out of a Suburban, across the field, run toward the helicopter. ANGLE, a powerful - looking older man in a suit, BURCH, steps down from the helicopter, and an Aide greets him and leads him away from the helicopter. We see the Aide indicate the two men running toward them. Burch turns. ANGLE HIS POV. Miller and Scott, who join with Burch, as they all move toward the stadium building.",
"INT. STADIUM BUILDING, LUNCHROOM. NIGHT. ANGLE, on an assembly of the information of the chase. On a table, the photos of the Eurasian businesswoman, of Laura Newton, of the Regency Club. A disassembled machine pistol, and a cup of steaming coffee. HOLD on Scott, looking at something, off. As he picks up the cup of coffee. Beyond him we see Anton, asleep in his chair. ANGLE INT. LUNCHROOM. Burch, Scott, and Miller are found in the empty, stainless steel lunchroom, with them a clean - cut young man, STODDARD, obviously Burch's assistant. BURCH where's the girl? MILLER Sir, we believe she was abducted, from this club. -LRB- as Miller speaks he passes pertinent sheets of information to Burch. -RRB- That she was taken to. that she was taken to a bordello. BURCH here in Boston. MILLER Yessir, and, that. that. BURCH Come on, let's hear it : MILLER That she may have been. that she may have been delivered - for sale - that she may have been sent down the pipeline and overseas. -LRB- pause. -RRB- BURCH -LRB- pause. -RRB-''. just some girl.''. -LRB- pause. -RRB- ANGLE. HOLD on Scott. Sitting quietly, as he watches the two other men. Stoddard takes out a cigar case. Looks to Burch, who nods his consent, and Stoddard takes out a black cigar, and lights it. BURCH How certain are you she was the girl in the whorehouse? MILLER -LRB- shakes his head, meaning `` not positive''. -RRB-. we. BURCH Was the girl in the whorehouse? -LRB- pause. -RRB- What about your other leads? the Boyfriend, the. Professor? MILLER sir. STODDARD The Professor, where's his boat? MILLER The Coast Guard is on the. STODDARD WHERE IS THE FUCKEN BOAT? IS SHE ON THE BOAT. ANGLE on Scott and Anton. As Anton comes awake to the sound of the shouting. Scott gestures him to keep quiet. ANGLE on the two. As Anton wakes up. He picks up a sheet bearing the Picasso symbol, and starts to speak. Scott shakes his head, meaning `` be quiet''. SCOTT we just go where we're sent and do what we're told when we get there. He motions to be quiet - and to pay attention to the drama in the next room. ANGLE INT. THE STEEL LUNCHROOM. As Burch and Stoddard interrogate Miller. BURCH You've got the fucken Service Agent, shot himself. you're you're telling me, your best bet, some cocksuckers nabbed her, took her, took her, they do n't know who she is. And they're gon na sell her down the river? MILLER Sir. BURCH The Detail Agent. Was he fucking her? MILLER The girl? BURCH The Secret Service Agent, was he fucking Laura Newton? MILLER He was off - post, with his girlfriend. -LRB- pause. -RRB- STODDARD -LRB- as he holds up the `` Picasso'' letter from the Boyfriend, to read it. He reads :. -RRB- The Professor, the Boyfriend,''. you behave like a slut.'', this is who you like? -LRB- he holds up the advertisement of the Regency Club. -RRB- Aah. fuck. -LRB- he holds up the photo of her hair. -RRB- She dyed her hair. What do they do, her hair grows out, what do they do when they realize who she is? -LRB- pause. -RRB- SCOTT -LRB- under his breath, not realizing he's speaking. -RRB- They kill her. BURCH -LRB- reacting, as if to say, `` That's the first sensible thing I've heard''. -RRB- You're fucken A Right they kill her. Okay. Good. Now : Let's talk some commonsense :. -LRB- pause. -RRB- What can you do for me? -LRB- to Miller. -RRB-. who is that? -LRB- Miller whispers to Burch. To Scott. -RRB-. Get in here. -LRB- Scott comes and stands by Burch. -RRB- Scott, and then Miller, looks at Burch's clean - cut and very fit assistant, Stoddard. There is a pause, and then Burch motions Stoddard to leave the room, which he does. Pause. BURCH -LRB- quietly. -RRB-. what can you do for me? What can you do for me - I need it now - I need it before the Press gets it on Monday. Cause they will kill her. The jackals start a feeding frenzy, and she's red. Help me. Miller nods to an Aide, who comes forward, with a white scrap of paper. He hands it to Burch. MILLER Sir : This is the number of a public phone in Downtown Boston. -LRB- Burch nods. -RRB- It's a cutout, between the Bordello, and the abductors. A call is placed when they have a package to deliver. BURCH you going to stake out the phone? MILLER -LRB- nods. -RRB- We have a watch on the phone. More importantly : N.S.A. reports calls placed to that phone. Regularly. BURCH They can track calls to a payphone? MILLER In this case they can. BURCH How? MILLER They were made from a Federal Prison. -LRB- he gestures to the Aide, who shows to Burch and the camera a photo of a smiling man in his forties, in an expensive suit. Of photo :. -RRB- This is Eli Assani. He is a Lebanese National, serving life without, for kidnapping. He was the head man in a white slavery scheme. BURCH And where is he? MILLER He's in Lewisberg. We have a Plan. -LRB- pause. -RRB- I hesitate to. BURCH Give it to me. ANGLE, on an Aide who comes in and passes a piece of paper to Miller, who reads it and looks up. MILLER They've got some action on the Payphone. Scott and Anton start to get to their feet.",
"EXT. COPLEY SQUARE, DOWNTOWN. NIGHT. In the foreground we see a lonely payphone in the deserted square. It is festooned with ads for escort services. In the deep background we see the lights on in a corner bank building, and the cleaners at work. ANGLE INT. THE BANK. One of the cleaners polishes the counter in the bank. He wipes his brow and looks outside. ANGLE HIS POV. A sedan at the curb. Beyond it, a man, smoking a cigarette, stands near the payphone. The man looks at his watch, looks around, throws away the cigarette, and continues to pace. ANGLE, in the bank the `` Cleaner'' whispers into a lapel mike.",
"EXT. BOSTON STREET. DAY. Scott, in the backseat of a car, apparently asleep. Anton, sitting in the front. Listening to the faint sounds from an earwig. ANGLE, XCU. Scott, his head tilted back, looking through almost fully closed eyelids. SCOTT who's walking up on us? ANGLE, Anton, as he looks around, down at Scott, and then up, at a man in a suit, some thirty yards away, walking towards the car. Anton, as the man draws closer, looks down at Scott, as if to say `` How did you know''? SCOTT -LRB- as he loosens his jacket, over his pistol. -RRB-. who is he? ANTON Boston. P.D. We see Scott, relax for a moment. And then, putting Anton out of his misery. SCOTT always a reflective surface. -LRB- then, to himself, as if reciting a litany. -RRB-''. in the city, always a reflection. In the Woods. Always a sound.'' HOLD. On Anton, as he digests this. BEAT. ANTON and in the Desert? SCOTT You do n't want to go into the desert. ANGLE, EXT.. The Phonebooth in Copley Square. We hear the phone begin to ring.",
"EXT. BOSTON STREET. DAY. Scott and Anton, in the sedan. Anton listening on the earpiece. Anton brightens. ANTON they're moving. Anton starts to put the car in gear, an Agent comes jogging down the street, out of an alley, and motions Anton aside, and gets into the car.",
"EXT. BOSTON HIGHWAY. NIGHT. A shot of the helicopter, flying over the highway. ANGLE, the sedan speeding down the deserted highway, the city in the background. The helicopter, flying away overhead.",
"INT. SCOTT'S CAR. A Driver, Scott, and Anton. Listening to transmissions on the radio. As they drive Anton leans forward, his hands on the seatback of the front seat. Scott picks up one of Anton's hands, and turns it over. SCOTT -LRB- of the hand. -RRB-. what is this? ANTON -LRB- as he looks down, and then realizes the nature of the question. -RRB-. it's a wedding ring. SCOTT take it off. -LRB- pause. While Anton hesitates, not comprehending. -RRB-. the ring clicks against your riflestock, some sonobitch hears that noise, hundred yards out, and you're gon na get me killed. Anton nods, and begins to work the ring off his finger. ANGLE THEIR POV. Far ahead, the speeding sedan turns off the highway, onto a `` feeder'' road. Anton and Scott in the backseat. As we see Anton take out a machine pistol from his `` Go'' bag, and check it. Scott looks at him. A chatter comes over the radio, and Scott addresses the two men in the front seat. SCOTT where's he going? The Driver hands a printout to the shotgun man, who reads. AGENT One Five Four Nine, Alpha Sierra, Mass Reg. William Barak. Somerville, Mass. SCOTT That's where he's going? The Agent shakes his head, looks down at the paper. AGENT Also, owner of Record, In Essex. SCOTT Izzey going toward Essex? -LRB- Agent nods. -RRB-. what sort of place is it? The Agent looks at the piece of paper. AGENT It. it'd be a Beach house. SCOTT Get me there. -LRB- to the Driver. -RRB- Get on the net. Call'em off. Everyone off. Just me. -LRB- of Anton. -RRB- Just me and him. DRIVER sir. SCOTT Nobody out there. -LRB- to Anton. -RRB- Just. Him. -LRB- to the Driver. -RRB- You indicate that you heard me. -LRB- beat. The Driver nods. -RRB- Put it out. -LRB- the Driver begins to speak softly, relaying his instructions on the radio. Scott turns to Anton. Softly. -RRB- How you doing bright eyes? -LRB- Anton nods. Beat, as Scott looks him over. -RRB- SCOTT breathe through your nose. Anton looks at Scott inquisitively, not sure he has heard right. SCOTT It stills the heartrate. -LRB- pause. -RRB- You got my back. ANTON Sir, Yes, Sir. SCOTT -LRB- to himself. -RRB-. alright, then. ANGLE the Sedan, on the deserted highway. HOLD. We see another car come screaming up behind it, doing one - ten, a red light on the roof, flashing. ANGLE INT. THE SEDAN. A middle - aged man watches the other car come up, and disappear around a bend, going furiously fast.",
"EXT. ESSEX BEACH. NIGHT. The margin of the scrubwoods, in the dunes. Scott and Anton, moving quietly through the woods. Scott points to Anton, indicating where he should stop. ANGLE, Scott's POV. A run - down beach house on a deserted cove. The blue light of a television flickering through the window. ANGLE, Scott peering through some scrubgrass. We see he holds a small handful of torn - off grass before and over his face, to break up his outline. He turns. To Anton, who stands next to him, holding a sniper rifle. He points out a position to Anton. ANTON you want me to Come Through the Door? SCOTT -LRB- as he checks his weapons. He shakes his head. -RRB- Do n't you go through the door without an Overwatch. He takes the small handful of grass and throws it into the air, watching the way the wind takes it. Scott gestures to Anton to take up a position beside a small run - down boat shed. We see Anton do so, then Scott moves across the dunes, to a small skiff. Which lies just across a little cove from the beach house. ANGLE, on Scott, as he moves down the dune, to the skiff. He opens his switchblade quietly, and severs the line holding the skiff to the dock. He gets into the skiff, and pushes it off, and we see it begin to drift across the little cove toward the beach house. ANGLE, on Anton, kneeling, beside the old boat shed, as he assumes a prone position, and sights his rifle in on the beach house. ANGLE, HIS POV. Through the sniperscope, the house, the television, flickering in an empty living room.",
"INT. THE WOODS. Anton, acknowledging the command. He finds a vantage point, and assumes the prone position, covering the house with his rifle. ANGLE on Scott, surveying the beach house. ANGLE HIS POV. The dark beach house. ANGLE on Scott, as he moves across the lawn, and to a back door. He removes his switchblade, opens it, and uses it to jimmy the screen latch. He replaces it, and takes out a set of lock picks, and begins to work on the door. We faintly hear the sound of a television. ANGLE INT. THE BEACH HOUSE. We hear the sound of the TV and faintly, see a blue glow from a room or two down the hall. ANGLE on Scott, entering the kitchen, where he looks down at the various dirty plates and cups on the table. ANGLE on Scott, coming through the door. As he moves, flat to the wall. Camera follows him past the doorway, beyond which we see the TV on low. Scott looks in, and finds it empty. ANGLE on Scott, as we follow him into the bedroom. It is empty. HOLD on Scott, looking around. ANGLE, as he comes back into the living room. He stops. We see something beyond him. ANGLE HIS POV. A small boat some twenty yards from the house. Out near the water. ANGLE, on Scott, as he starts to open the rear, sliding glass door which will lead him out to the boat. Behind him, we see the MAN FROM THE SEDAN open the front door of the house, and begin to enter. Scott hears him, and turns. MAN FROM THE SEDAN -LRB- as he sees Scott. -RRB-. what the fuck? SCOTT I heard the TV, so I came in. -LRB- pause. -RRB- The Sedan Man is put a bit off, as the comment makes no sense. Scott uses the moment to advance toward the man. SCOTT what the hell you got the TV on for, there's nobody here? -LRB- the man puts up his hands. -RRB- I do n't wan na hurt you. Why would I hurt you? I just wan na know why the TV's on. ANGLE EXT.. THE BUILDING. Where we see the man, and Scott. We see the scene in green, through a sniperscope. ANGLE, on Anton, looking through the scope. ANGLE CU Anton, as he sees something in the scope. ANGLE, in the house. Scott advancing toward the man. SCOTT I just wannit to know, I just came to ask you that question. The man backs up, past a half - open glass French door. ANGLE, on Scott, as he advances toward the man. ANGLE, ANTON'S POV. Through the sniperscope. The faint traces of what might be the Picasso symbol. ANGLE, on Anton, as we see him move the sniperscope and adjust its magnification toward the symbol. In a corner of the scope, we see another man, in a dirty white shirt, emerge, coming up the stairs from what might be the basement of the beach house. We see this man take in the scene in the next room, and secrete himself behind a wall. ANGLE, on Anton, whose vision is blocked - Camera takes him to a position next to the white tool shed. Scott, moving toward the Sedan Man, unaware of the man around the corner. ANGLE through the sniperscope. We see the man in the white shirt ready himself behind the opening through which Scott will come. We see him raise a pistol. ANGLE Anton, as he realizes he is behind the curve. As the man in the white shirt steps into the doorway Anton fires at him through the sniperscope. We see this man fall. ANGLE, INT. THE HOUSE. The man in the Sedan, his hands raised, fetches down a small shotgun from the lintel over the door, and levels it toward Scott. Who draws and fires several rounds at him. ANGLE INT. THE HOUSE. As the man goes down heavily. Scott comes forward to the dying man, and kicks the shotgun away. Camera takes Scott warily into the next room, where he sees the man in the white shirt sprawled on the floor. Scott moves past him, and down to a door leading to the basement. Scott takes a long look down the basement stairs. We see a faint light, and a shadow moving across the light. ANGLE on Scott, as he takes a deep breath, and bursts down the stairs, screaming. ANGLE INT. The Basement. A rough, dirt - floored room. Scott standing alone. We see a bare bulb hanging from the ceiling, swinging slightly in the breeze from an open window. SCOTT I'm Coming Up. ANGLE, Anton, inside the house, in a covering position, watching out. Scott comes up the stairs. SCOTT -LRB- to Anton. -RRB- Call em in. We see Anton take out a walkie and talk into it, Scott proceeds to the Sedan Man. He kneels by him. SCOTT where's the girl? You're dying, pal. Even it up. WHERE IS THE GIRL. WHERE IS THE GIRL. Scott pulls the dying, bloody man to him, and starts to shake him. SCOTT You're dying. You're dying, man. Where is the girl. Beat. The man begins to shudder, violently, and then stops, obviously dead. Beat. Scott throws the dead man down onto the floor. Beat. ANGLE, on Anton, who turns to look back. He stares at the dead man. SCOTT well, you wanted to know. -LRB- pause. Scott kicks the dead man viciously. -RRB- Anton looks at Scott. Beat. SCOTT -LRB- to himself. -RRB- Yeah, everybody wants to know the Secret Knowledge. Scott sits on a chair, by an old rolltop desk. On the desk we see a bunch of junk, old cigarette packets, empty. A box half - full of yellowing stationary. Scott prods the stationary with his knife. We read, in an insert : `` Hanson Marine. Everything for the boat. Box 38 Essex, Mass.'' -LRB- and see, on the envelope, an old fashioned, stylized drawing of an old chriscraft - like power boat -RRB-. We hear the sound of a helicopter. And Scott turns, looking out of the window. He then turns back, to see Anton, who is standing, looking down at the man he shot. Anton, feeling Scott's gaze, turns to look at him. ANTON I. SCOTT tell it to the Chaplain. Scott gets up wearily, and walks toward the door out onto the beach. We see a helicopter landing, and several men in BDU's, jumping out, and proceeding toward the house.",
"INT. STADIUM DRESSING ROOM. DAY. Burch and his Aide. As Scott and Anton enter. Followed by Miller. Burch motions Miller over, and they confer, looking at Scott and Anton. ANGLE, on Scott and Anton, as they stand by a television, an Agent is watching, shaking his head. BRUNETTE TALKING HEAD apparently, had her hair restyled, and cut today, our Newsteam interviewed her stylist, and has reconstructed. SCOTT Ah, shit. ANGLE. He is summoned, into the next room. By Burch et al.. Burch and his Aide. As Scott comes in with Anton, followed by Miller. Burch takes Scott aside. BURCH -LRB- looking at a TV in the BG silently, showing photos of Laura as a brunette. -RRB-. here's the deal :. -LRB- pause. He holds up a photo of Eli Assani, the Businessman, both in a suit, and in his prison garb, with a number in front of him. His name, and `` Lewisberg Federal Penitentiary''. -RRB-. this is the man. -LRB- pause, to Scott. -RRB-. you're covered in blood. SCOTT Sir, it ai n't mine. -LRB- Burch looks at Anton. Scott, seeing his glance. -RRB- On my team, sir. BURCH How deep is he? SCOTT -LRB- saying, in effect, this sums it up. -RRB-. He's on the team. BURCH Yeah, well. He may have to be a little more than On the Team. -LRB- pause. After considering. -RRB- I've been speaking to the father. -LRB- pause. -RRB- Burch walks a few steps away. Thinking. Scott looks at Anton, questioning. BURCH -LRB- pause. -RRB- What about if we had to go `` off the meter''? SCOTT With the Mission, sir. Burch thinks for a moment. And then draws Scott aside. Burch glances over at the television, spewing information about Laura Newton, and shakes his head with disgust. BURCH -LRB- to himself. -RRB-. I'm out of time. He turns back to Scott. And gestures him into a small room, and closes the door. BURCH man to man. SCOTT The door's closed, Sir. BURCH I. Need. To Ask You. To do something. -LRB- he is hard - pressed to continue. -RRB- SCOTT I am here to get the girl back. Burch thinks a moment, he rubs his face, and shakes his head, and looks up as if to say `` This is all we have, this is the best we have''. Pause. He nods, as they do not move. Burch takes out a photo of a bearded middle - eastern looking man in a business suit, and another, in a mugshot marked `` Lewisberg Federal Penitentiary''. BURCH This man. Placed a phonecall. Yesterday. From the phonebank at Lewisberg. To the Copley Payphone. -LRB- pause. -RRB- Here's the cut - off - point. -LRB- he looks meaningfully at Scott. Pause. -RRB-. here it is : This man, Eli Assani, is to be transported, tomorrow, Wednesday, with another convict. A Man on Death Row. For their medical procedures. Now :",
"EXT. COUNTRY ROAD. DAY. A Police Cruiser coming quickly down a two - lane, deserted road. ANGLE INT. THE CRUISER. A road sign reads `` Just Two Miles To ` The Owl', Rest Stop, Restaurant, Gas - Diesel''. ANGLE EXT.. THE OWL. Rest Stop. A run - down rural gas station, restaurant. Off to the side we see the cruiser coming down the road. As a roughly - dressed man runs out of the restaurant, carrying a full paper bag in his hand. The Cruiser, unseen by the man, pulls up to the gas pump, and the Trooper starts to get out of the driver's seat. When gunfire erupts from the restaurant. People are shooting at the fleeing man. A man opens the door of the restaurant and fires at the roughly - dressed man in a very urban leather jacket, who returns fire. Glass breaks in the windows of the restaurant. The roughly - dressed man runs to his car, an 80's Pontiac, parked near the pumps. The man in the doorway fires again, and the windshield of the Pontiac blows out and a tire bursts. The roughly - dressed man returns fire, and the man in the doorway falls. The roughly - dressed man turns to see that the Trooper is out of his Cruiser, and is about to fire at him. The roughly - dressed man drops his satchel, and fires at the Trooper, who falls. The paper bag has fallen to the ground and burst, and currency is spilling out of it, and being taken on the wind. The roughly - dressed man frantically begins to try to scoop it up and into his jacket. ANGLE CU on this man, who we now see is SCOTT. He stands around, and moves to the fallen Trooper. He strips the keys from the Trooper's keyring, and looks up. Feeling someone gazing at him. ANGLE HIS POV. In the car, two convicts, a Heavyset Man and ELI ASSANI, the middle - eastern man we saw in the mugshot. He is holding his neck, which is bleeding copiously. We see the back window behind him, shattered by gunfire. ANGLE on Scott, who gets into the car, takes the keys he took from the Trooper, and begins screaming off down the highway. LOW ANGLE, showing the car taking a turn vastly too fast, the car careens up on two wheels, rights itself, fishtails, corrects, and disappears in the distance. ANGLE INT. THE CAR. Scott driving steals a look back at Assani, in the back seat, whimpering. SCOTT Shut up. The Police Radio chatters : `` Two Twelve Sierra, come back. Two Twelve Sierra, come back, we have your request for Code Seven. please come back with your Twenty.'' HEAVYSET CONVICT Yeah, two twelve sierra took all the 20 he's gon na take. Oh, man, you left him there. ANGLE on Scott driving. He looks behind him. ANGLE, POV. In the rearview mirror. A dust cloud settling over the deserted highway. ANGLE INT. THE OWL. Various techies, in the kitchen, monitoring the broadcast of the microphone in the Police Car, Anton among them. The Trooper comes in, taking off his bullet - proof vest, and sits to listen, where we find Miller and his Agents. The ` Restaurant Owner', who we now see is Anton, takes off his jacket and his bullet - proof vest and picks a slug, fired by Scott, out of the center of the vest. HEAVYSET CONVICT -LRB- V.O. -RRB- yeah. You marked him Paid in Full. ASSANI -LRB- V.O. -RRB- you got to pull over, you got to stop. I'm bleeding. ANGLE INT. THE POLICE CAR. HEAVYSET CONVICT Yeah, he done ate from the tree of knowledge, our Sierra Two Twelve. ASSANI help me. SCOTT Shut up. ANGLE, EXT.. COUNTRY ROAD. The car comes to a panic stop, fifty yards beyond a turnoff onto a dirt road. The car is put in gear, backs up, and takes the road.",
"EXT. FARM ROAD. DAY. The car comes quickly up a small farm road, we see a run - down barn, and a farmhouse, washing on the line. Scott pulls the car into the barn, next to an old pick - up truck. He gets out of the car, we hear Assani in the backseat calling to him. ANGLE, Scott, as he turns to Assani, who is pressing a blood - soaked shirt to his neck. Calling `` Help me''. Scott opens the back door of the Cruiser, and the Heavyset Man gets out, and offers his manacled hands for release. Scott motions to Assani. SCOTT drag him out. -LRB- the man does so. Scott motions for them to be quiet. -RRB-. got some business to do. He takes his pistol and walks toward the farmhouse. HOLD on Assani, and the other Convict, Assani is holding a rag to his bleeding neck. ASSANI help me. HEAVYSET CONVICT yeah, I heard yah. ANGLE, on Scott, as he walks past a clothesline heavy with drying clothes, he is seen to go into the house. We hear a woman's scream, and then two shots are fired. ANGLE INT. THE HOUSE. As Scott is found at a table in the kitchen next to which are various foodstuffs laid out. Inside the house we see a female techie, at a table by the wall, various communications gear in front of her. Scott begins loading up his pockets with food. The techie hands Scott a slate on which is written, in large block letters, `` The helo is standing by, will assault in support when you have found the girl. On your command.'' Scott gestures for the slate, and writes on it, and hands it back. Scott nods, and walks out of the house. ANGLE INSERT. The slate, on which we see Scott has written `` Keep Your Distance!'' ANGLE, on Scott, as he walks back through the yard, pulling clothes off the line. ANGLE INT. THE BARN. The two convicts, as Scott enters, and begins changing out of his clothes, and into the clothes he found on the line. HEAVYSET CONVICT Yeah, Baby. Pass some my way. SCOTT Sorry, my man. traveling light. He turns to the Heavyset Man, and fires his revolver at him twice. The man falls, dead. Scott turns his revolver at Assani, who begins to scream. ASSANI Do n't shoot me, do n't shoot me, I have what you want. I HAVE WHAT YOU WANT. I CAN GET US OUT OF THE COUNTRY TONIGHT. TONIGHT. NO PASSPORT. FLY OUT. TONIGHT. OH GOD, DO N'T SHOOT ME! I SWEAR ON MY MOTHER. LOOK AT ME : AM I LYING TO YOU? A SEA PLANE. TONIGHT. HELP ME. I SWEAR TO YOU. SCOTT Why in the world would I believe a lying convict like you. ASSANI Oh, ah, ah, but you do believe me. I see it. you do. I can get us out. Help me. I SWEAR TO YOU. HELP ME. and I will treat you like a brother. I. Scott advances on him. SCOTT My brother used to beat me. -LRB- he raises the cop's service revolver and cocks the hammer. -RRB- Nice guess, though. ASSANI OH GOD NO! Scott pulls the trigger, which falls on an empty chamber. Assani whimpers, as Scott goes into the Cruiser, comes out with a box of shells, clears the empties from the cop's gun, and begins loading it. ASSANI No, no. Listen to me. listen. make one call. One call - go in the house. Make One Call. ONE CALL. An Aviation Company. Tell. tell them. tell them the word I say, and they will say : THE PLANE WILL MEET YOU AT. -LRB- Scott hesitates for a moment, and Assani attempts to capitalize on it. -RRB- Yes. Yes.",
"INT. PICK-UP TRUCK. DAY. Scott is driving. The dash is littered with empty coffeecups, cigarette packs. He turns. ANGLE HIS POV. Assani, sitting in the shotgun seat, a map in his lap, looking at him. SCOTT You a fag my friend? ASSANI No. -LRB- pause. -RRB- I am not. SCOTT Then why the hell you looking at me? ASSANI I was thinking. how fucking surprised you're going to be. -LRB- pause. -RRB- Because, Baby, you just did that fucken good turn, going to Make You Rich, Fat, and Happy. SCOTT just get me on that plane. ASSANI Did n't they tell you? SCOTT All I heard's a voice on the phone. Assani grins, as if to say, `` Just Wait''. ASSANI you like girls? SCOTT Better question, where you've been so long, do you like girls? Scott grins, and Assani shares the moment with him. ASSANI We have. You will have. the most beautiful. SCOTT most beautiful women, eh? ASSANI Not women, Baby. Girls. You got to trust me, I'm the Doctor here. All young. All blonde. SCOTT And this all takes place Where? ASSANI In Dubai. In Yemen. SCOTT Well, that's a long way from Tiperrary, pal. ASSANI what do you have here? SCOTT Yeah, but I'm not cut out, to live in a fucken tent. -LRB- Assani laughs. -RRB- ASSANI If you think you can imagine luxury. I am here to tell you, my friend. -LRB- he smiles broadly. -RRB- SCOTT Well, may it Just Be So. ASSANI When we get to Maskala. SCOTT And, now, what's Maskala? ASSANI when we get to Dubai, better. SCOTT What's Maskala? ASSANI that's where we clean them up. We ship them Rough, we make them Smooth, and everybody's happy. SCOTT Well, then, you're a philosopher. huh? How ` bout making me happy tonight. ASSANI If there's a girl, in the pipeline, tonight, you shall have her, what do you say to that? SCOTT I say you're a stone cold whoremaster. Assani joins with him in the joke, nodding his assent. ASSANI No, no baby. Take it to the bank. The Arabs, Man. All the oil - all the money in the world. What ca n't they have? Booze and Pussy. How do they get it? SCOTT You the candy man? Is that it? Assani begins to swoon. He puts his hand to his neck, and it comes away covered in blood, where it was cut by the glass fragment. SCOTT Ah. Hell. ASSANI Yeah, no. I'm bleeding bad here, friend. SCOTT -LRB- he looks over. -RRB- Yeah, we just, we got to get some. yeah, you need, all we need, some tailoring tools. ANGLE, Sedan. Holding Anton and several agents, listening to the broadcast from Scott's car. SCOTT Yeah, in my wishlist, we had a drugstore, get us some morphine, some. ANGLE EXT.. ANTON'S CAR. As it increases speed. ANGLE INT. SCOTT'S CAR. As he tries to staunch the fellow. Scott steers with one hand. And turns off the highway at an exit, showing two miles to a town.",
"INT. SMALL TOWN PHARMACY. DAY. Scott, dressed in the farm clothes that he took off of the line. Scott is buying supplies. On the counter we see bandages, hydrogen peroxide, etc.. Behind the counter we see a newscast, showing a picture of Laura Newton, in long blonde hair, and a woman is doing a talking - head about fashion. TV WOMAN America's Number One Redhead, `` She Sets the Style, She Brings a Smile'', she's Betty co - ed, in College, and she's off for what her father's office says is an `` extended sailing weekend''. -LRB- the screen shows a sailboat. -RRB- With `` person or persons unknown''. yo ho, yo Ho. she `` old'' enough for that, our `` Little Red Riding - Hood'', Cathy? Scott ignores the screen. ANGLE EXT.. THE STORE. In back, Assani is sitting in the pickup, a woman driving another beat - up pickup pulls into the lot, there is a shotgun in the rack by the rear window. Assani crouches lower, to prevent being seen. ANGLE INT. THE STORE. As Scott is checking out. A policeman enters from the police car. We see it is Anton. ANGLE. On Scott, as he moves to the back of the store, to meet Anton. Scott looks inquisitively at him. ANTON -LRB- whispers. -RRB-. the helo just went down. SCOTT do n't whisper to me, Baby, it draws heat. What helo? ANTON the assault helicopter. You've got no backup, at the house. -LRB- beat. Scott nods. -RRB- You'll be in there, alone, the first few minutes. SCOTT Well, there you go, then. ANTON You said `` Never go in without an overwatch''. SCOTT That's all fine, lad, `` But this is the fleet''. ANTON You know you deliver him in the door, you know they're going to waste you. SCOTT gim me whatever nine mil you've got. Anton takes out the magazines in the pouches on his belt. And starts to strip off the rounds. SCOTT just gim me the mags. -LRB- Anton does so. -RRB-. gim me your piece. Anton takes the pistol from his belt. Scott checks it, and puts it in the small of his back. ANGLE EXT.. THE STORE. Assani, in the pickup, sees through a small window in the store. ANGLE on Anton and Scott. Scott is walking away from him, and Anton puts a hand on him, and turns him back. ANGLE INT. THE STORE. Anton gestures Scott to wait a moment. Scott waves, it is not necessary. He goes to the counter, and picks up the medical supplies. He starts toward the back door. He calls back, over his shoulder SCOTT Thank you. ANGLE on Anton, as we see something occur to him. He turns to the other officer with him, and asks a question, and we see the other officer hand Anton several magazines of ammunition. ANGLE on Scott, as he is coming out of the back door. ANGLE on Anton, as he follows him. ANTON -LRB- calling. -RRB- Mister. mister : you forgot your change. ANGLE on Scott, as he turns back. We see Anton bringing the ammunition. ANGLE on Assani, weak, holding the shotgun, as he supports himself along the wall, he peers around the corner, at Anton and Scott. ANTON -LRB- sotto. -RRB-. you better take care of yourself, because. ANGLE, on Assani, who comes around the corner, and fires the shotgun at Anton, who falls. Scott screams `` No''. ANGLE, on Scott, who drops the packages, and turns to Assani, who is jacking another round into the chamber of the shotgun. Scott draws and fires at him several times. ANGLE on Scott, who kicks away the shotgun, and turns back to Anton, who is crawling on his back, out of the line of fire. ANTON A. I'm alright. I'm alright. ANGLE, on Scott, turning to look at Anton. And, then, back at the obviously dead Assani.",
"INT. SMALL TOWN HOSPITAL. DAY. In a waiting room. Scott, who looks up, as Miller enters. MILLER Your partner's going to be alright. SCOTT I do not look at the downed man, Sir. MILLER Yeah, well. Miller nods, and starts to walk away. SCOTT Sir? Miller turns back, understanding Scott's request. MILLER -LRB- sits, acceding to Scott's request. -RRB-. Air Force Assault is airborne, five minutes out. -LRB- pause, Scott shakes his head sadly. -RRB- Standing down's a bitch. SCOTT I stand down when the girl's back, sir. MILLER They'll get her out, if she's in there. -LRB- pause, as he looks at Scott. -RRB- You did your part, what the fuck do you want, a Citation? Out of the window we see a medical helicopter. Its rotors just starting to turn. We see two white - coated medical types, carrying bags, run toward the medical copter. An Aide comes in, and gestures to Miller that the copter is ready to go. AIDE sir. Miller turns to leave. Scott stands wearily. MILLER Where are you going. SCOTT On the dustoff. MILLER Forget it. SCOTT Sir? Sir? MILLER There's no room. SCOTT I'm pleading with you, sir. MILLER Let him hear the assault on the Net. SCOTT I want to see the girl. Miller shakes his head - at the door, turns back for one last word to Scott. And then he stops. ANGLE. HIS POV. The television, in the next room, playing a news program. Scott looks inquiringly at Miller, who is transfixed by the television. ANGLE the television. A `` Breaking News'' story. We see an overturned sailboat, and the talking head narrating :''. the tragic, the stunning. the. Jim, I do n't know what to say.'' The woman's co - anchor, obviously very shaken, takes up the story, and we see live footage of an overturned sailboat being towed into a harbor, then inserts of `` Our Redhead'' Laura Newton, and, after a moment, the Professor. JIM -LRB- TALKING HEAD NEWSCASTER. -RRB- The death, just reported, the death of Laura Newton. The. the. ANGLE, on the TV. On two bodies being taken from the water by medical technicians. ANGLE, the woman, as a shot of the political man we saw earlier in the newspaper, comes on the screen. TALKING HEAD WOMAN her father, on the eve of the campaign. -LRB- we switch to a video shot of this man, waving off reporters. -RRB- Jim, can there be any doubt. JIM Tracey, the Secret Service, for obvious reasons, their records, the DNA, fingerprints. the. and, she had just been in the water a scant, less than four hours, the. apparently the boat swamped. she - TRACEY She was sailing with? JIM With her professor, Professor? -LRB- the video shows the Professor. -RRB- ANGLE, on Tracey, as she is overcome, and tries to steady herself. ANGLE, on Miller, and the Troopers in the room. Miller looks away from the screen, to Scott. TRACEY a Tragedy, such as this. JIM particularly. Particularly, Tracey, coming, right at the start of his Campaign. An insert of Laura's father, his sportcoat slung over his shoulder, comes onto the screen. TRACEY Will he delay the start of the Campaign? ANGLE. On Scott. As he is found, standing, near the television. Off to the side, behind him, we see Miller, intently, on the phone, listening. JIM his grief. TRACEY he was very close to his daughter, was n't he? JIM Well, indeed, he saw her, the day. that would be, the day before last. He was in Boston for the Strategy Meeting, and saw her then. TRACEY -LRB- sadly. -RRB-. and that would be the Last time. that. ANGLE. On Scott. As he is looking at the television, he shakes his head minutely, as if in a dialogue with himself. He walks back to the interrogation room. Scott sits heavily. Miller walks in and sits next to him. MILLER Her boyfriend called her a slut. She went off to prove it. Her and the Professor. Coked up, boat capsized. Both bodies washed up naked. Coast Guard dressed'em up. full of Ecstasy. SCOTT he killed her. MILLER -LRB- shrugs, meaning `` who knows''. -RRB- He was fucking her, they're stoned. the boat capsized. Miller looks down at the artifacts. MILLER -LRB- almost to himself. -RRB-. so much death. SCOTT -LRB- philosophically, as if summing the whole thing up. -RRB-. rock crushes scissors. We see Miller leave, as Scott turns away, and lights a cigarette. Miller turns back. MILLER I'm sorry about your man. SCOTT He is n't my man, Sir. He's a trainee. Beat. Miller leaves the room. Scott hangs his head with weariness.",
"INT. GOVERNMENT TRANSPORT PLANE. NIGHT. Anton, in bandages, in a bunk in the transport plane. Scott, asleep, in a chair near him. ANGLE on Anton, as he comes awake. ANTON what time is it? SCOTT What do you care? -LRB- pause. We see that Anton is having difficulty formulating his thoughts. -RRB- ANTON I fucked up. SCOTT in what way was that? ANTON -LRB- groggily, as he tries to move, to draw closer to Scott. -RRB-. but I was trying to help. -LRB- Scott reacts to Anton's pain. -RRB- SCOTT What? Do you want some more Dope? Whaddaya want, a Dr. Pepper? Scott takes a pill vial from Anton's jacket. Takes out a pill, and administers it to him. ANTON but I was trying to help. SCOTT yeah, well, that's when people generally do fuck up. Wait for that to kick in. -LRB- Anton starts to lay back, and then, as if he is remembering something, he draws closer to Scott again. -RRB- You're gon na take that fight to bed for a while. You do n't got to do it all now. Anton gestures Scott to draw close. ANTON -LRB- sotto. -RRB- I saw the sign. ANGLE XCU on Scott as he turns away. SCOTT uh huh. Scott turns away. ANTON -LRB- drawing him back, as if saying LISTEN :. -RRB- I saw the sign. at the Cape. In the House. SCOTT You saw - the - sign. What sign? ANTON when I dropped the guy. The girl's Picasso sign. -LRB- he draws the sign in the condensation on the plane's window. -RRB- She was there. At the Cape. The girl was there. SCOTT The girl was n't there. She was on a boat. She fell off the boat. She's dead. -LRB- pause. -RRB- You did what you could. You did what you were trained to do. -LRB- pause. -RRB- You did what you could. ANTON I saw the sign. SCOTT -LRB- turning away. -RRB-. then you are Truly Blessed.",
"INT. TRAINING FACILITY. DAY. We see the Dojo, training room. Several exhausted young men in sweat stained fatigues watch a lecturer, with a knife in his hand, demonstrating a manoeuvre with a trainee. Beyond, on the wall, we see the sign. `` These are the precincts of pain. A Godess lives here. Her name is Victory.'' Beyond, through the open doors, we see Scott's Mustang driven up to a nearby building. A young man gets out. ANGLE, INT. THE BUILDING. Scott, rested, clean, shaved, drinking a cup of coffee. Sitting across a desk from an Interrogator, who has several notes in front of him. INTERROGATOR from the house, a house, a holding facility, a compound? called Maskala. The girls are taken from Maskala, to the. Royale Hotel, in Dubai. -LRB- he closes the notes, as if completing his presentation. -RRB- As time passes, you may remember other aspects of. well. -LRB- the Interrogator stands. -RRB- You've heard this speech before. He extends his hand to Scott. Scott looks inquisitively at him, then pauses, then stands. ANGLE EXT.. THIS BUILDING. Scott exiting, as Blane comes out of his office. They walk through the compound. And to the camera, toward the Mustang. SCOTT would be most grateful, sir, to be included on the mission. `` At Such Time.''. -LRB- pause. -RRB- BLANE on a mission to Dubai. SCOTT Is it in contemplation, sir? -LRB- pause. -RRB- ANGLE, on Blane, who looks at him to say `` you know better than to ask.'' SCOTT Yes, sir. -LRB- pause. -RRB- If and When, Sir. BLANE You need a rest, Bobby. -LRB- pause. as he extends his hand. -RRB- Thank you, Bobby. Scott puts down the small yellow duffle he carries, next to his Mustang. The young man who drove it in stands by, as Blane and Scott shake hands. Scott looks at the training facility. ANGLE HIS POV. The lecturer, executing unarmed combat moves against a trainee, who holds a knife. The lecturer puts the trainee on his back. Scott starts to walk toward this facility. He stands outside, by an open double - door, next to a water cooler, and draws himself a cup of water, which he drinks. As he watches the lesson. He turns back, as he sees the young man who drove in the Mustang pick up the yellow duffle, to put it into the car. SCOTT please do n't touch that. -LRB- Scott picks up the duffle and puts the strap over his shoulder. -RRB- ANGLE, Scott's POV, as he turns. We see the young female sergeant, Jackie Black, in the BG, walking across the area. Scott nods at her. She nods back. Scott starts to get into his car, and then turns back. ANGLE. SCOTT'S POV as the trainee on the mat gets up, and the lecturer gestures at the knife he has dropped on the mat. LECTURER pick it up. The trainee picks up the knife. The lecturer shakes his head. LECTURER What are you studying here? I'm talking to you, son. What are you studying? TRAINEE Sir, this Candidate is studying knife fighting. The lecturer pauses, looking down at the ground. Beat. LECTURER Hold your ground, son. The Trainee goes into a knife fighting stance. LECTURER -LRB- pointing behind him. -RRB-. you, and your friend. The Trainee lets his attention drift for a second, in the direction the Lecturer has pointed. And the Lecturer screams, steps in, disarms the Trainee, throwing him to the mat. As the Trainee picks himself up the Lecturer turns to the class. LECTURER There are two ways to fight, you can fight fair, or you can fight to win. The Trainee puts his hand to his head, and discovers he is bleeding. The Lecturer nods his permission, and the Trainee walks to a water cooler, next to which Scott is standing. Scott looks at the shamed Trainee. SCOTT Do n't you study knife fighting, son. You Learn to Kill. And then, f ` you meet some other fellow, studied knife fighting, you send him to hell. ANGLE, on the Lecturer, who calls another Trainee up. LECTURER Next man : A Trainee stands. LECTURER Now : I want to see some evil intent. The Lecturer glances at Scott, and makes a small `` have a drink'' gesture. The Lecturer nods back `` yes''. Scott walks toward his car.",
"EXT. \"CONSTRUCTION GATE\". DAY. The man inside the `` construction booth'' raises the barrier, and looks at Scott, who drives through.",
"INT. ROADSIDE TRUCKERS BAR. NIGHT. The Lecturer -LRB- Grace -RRB- and Scott, in a booth drinking. Pause. GRACE Hey, fuck it, Huh? SCOTT I've always thought so. Scott gestures for another round to the bartender. Who is serving some rough trucker types, two of whom are at the bar with a couple of very attractive young women. One is a stunning redhead, who looks back at Scott. GRACE How'd the puppy like it out there? He piss in the punchbowl? SCOTT He did okay. GRACE I heard he caught poison ivy. SCOTT He did okay. Why? You goin' out? GRACE What? SCOTT You recruiting? GRACE Why would I be recruiting? SCOTT You speak Arabic, huh? GRACE That's what the Arabs tell me. SCOTT You, reason I ask : you going in the Sandbox? GRACE Ai n't you overdue for some Down Time? SCOTT I'm just saying : Scott is distracted. He is watching the talking heads, on the bar TV talking about Laura Newton. We see the photos of her in high school, with her father in some African country, et cetera. ANGLE. On Grace, watching Scott. Who shakes his head very sadly. GRACE Yeah. You Marines are a weepy bunch of motherfuckers. -LRB- Scott nods minutely in acknowledgement. And returns to watching the television. -RRB-. you get a chance to bowl in that tournament? ANGLE on Scott. Caught in the image of Laura Newton, on the television. SCOTT -LRB- to himself. -RRB-. beautiful girl. ANGLE on the truckers, near the television, looking at Scott. One comes over to him. TRUCKER you say something, Mister? SCOTT No, I was looking at the television. -LRB- pause. -RRB- I was talking to the television. -LRB- he turns to look at the girl. -RRB- That girl's too good - looking for you anyway. What are you `` rich''? What do you, `` own'' something? -LRB- pause. -RRB- Or are you `` funny'' or something? -LRB- pause. Hold for a beat, on the confused face of the Trucker. -RRB- Siddown. Lem me buy you a drink.",
"INT. SLEAZY MOTEL ROOM. DAWN. A sound of a truck, coming down the highway. ANGLE, on the doorknob of the hotel room. We see several quarters stacked. As the truck sound comes closer, the quarters start to rumble, and fall off the doorknob. ANGLE, on the floor, a glass ashtray. The quarters fall into the ashtray. ANGLE, Scott, in bed, naked, comes awake, as the quarters hit the ashtray. He has a pistol in hand, and awakes with a start, screaming. He surveys the motel room, taking in his new surroundings. Beat. Next to him, the redhead from the bar, also naked, comes awake, frightened, looking at Scott. ANGLE, on Scott, as he surveys the hotel room. ANGLE HIS POV. On a dresser, a cheap imitation pewter bowl, an orange and a banana in it, on the table next to it, his switchblade, open, and the remains of a peeled apple. He looks at the knife, and at the girl. SCOTT You peel the apple? She nods, not sure how to take Scott. SCOTT -LRB- as he starts to come down from the adrenaline rush. -RRB-. well. You should wipe off the blade. -LRB- pause. Scott does so, cleaning the blade on a napkin. -RRB- Or else. -LRB- as if explaining the simplest and most perfect axiom of the universe. -RRB- Or else, it `` rusts''. -LRB- a pause. He smiles at her. Pause. -RRB- D' I scare you? -LRB- he closes the blade and sits on the bed, shaking his head to clear it. -RRB- I'm sorry if I frightened you. -LRB- pause. -RRB-",
"EXT. SMALL TOWN RURAL MAIN STREET. DAY. A three - store town, a couple of pick - up trucks parked in front of the country store. A large double log truck goes through the town. The girl looks for some topic of conversation, to bridge the awkward moment. GIRL it's an odd knife. SCOTT Yeah. I got it from a Russian fellow. GIRL Was it a gift? SCOTT No. As I remember, he seemed rather reluctant to part with it. -LRB- pause. -RRB- It's just a knife.",
"EXT. SMALL RURAL VILLAGE. MAIN STREET. DAY. A three store town. A couple of pickup trucks parked in front of the country store. Scott's Mustang parked next to them. A large, filled, double - length log truck speeds through the village. Scott, in his lumber jacket, is assembling various maintenance items on the checkout counter. A large paintbrush, several boxes of nails, a gallon of paint. The Proprietor, a good - natured fellow in his fifties, comes up to the counter to check Scott out. PROPRIETOR How you been, John? SCOTT workin hard. PROPRIETOR bet you have. SCOTT How you, Billy? Proprietor pours Scott a cup of coffee from the pot on the back counter. He mixes in sugar and cream. Billy nods in response to Scott's question. PROPRIETOR one gallon goin to do it? SCOTT -LRB- pointing at him accusingly. -RRB-. you been lookin' at my house? PROPRIETOR Nope, just trine a sell you some paint. -LRB- as he puts the cup down in front of Scott. Joking. -RRB-. but, now you mention it. ANGLE, On Billy, as he moves to a new customer, a farmer, who comes in, and nods at Scott. NEW FARMER John. SCOTT Mr. Reese, how are you? -LRB- Billy goes to take care of the new customer, and turns back to deal with Scott, who is waiting to ask a question. -RRB- That new saw blade come in? BILLY -LRB- as if just remembering. -RRB- No, John. It did not. I beg your pardon. I know that's your baby. I'm gone call them up and get Right On That. ANGLE on Scott, who sees something out the window, and moves toward the front of the store. BILLY -LRB- as an afterthought. -RRB-. ` spected you back a few days ago. SCOTT -LRB- looking out the window, absently. -RRB- I took the Long Way Home. ANGLE Scott, who is looking, over his coffee, at something on the street. And we see, his POV, a very city rent - a - car which is now across the street. We see a man getting out of the car.",
"EXT. GAS STATION. COUNTRY VILLAGE. DAY. We see the back of a man, next to the rental car, which is next to the Mustang. He turns, and we see that it is Anton, his arm in a slig, his face creased by pellet scars. ANGLE, his POV. Looking at Scott, who has just snuck up behind him. SCOTT Could I see your Right Hand, please? ANTON There's nothing in my right hand. SCOTT Could I see it, please? Anton holds up his right hand. Scott relaxes, and comes forward. Anton gestures, meaning, `` what was that about''? Scott takes Anton's right hand, by the wrist, and turns it over. He explains : SCOTT You put your wedding ring back on. ANTON -LRB- not understanding the import of the question. -RRB-. yes? SCOTT Then I have to guess you're not `` on assignment''. -LRB- pause. -RRB- You're in the wrong place, baby. -LRB- pause. -RRB- How did you find me? Anton gestures at the `` Oilchange'' sticker on the Mustang's windshield. ANGLE from INT. The Car. We see the sticker reading `` Mike's Service Station, Bradford, PA''. And beyond it, the actual old, tin sign of the garage, reading `` Mike's Service Station''. ANGLE, on Scott and Anton. SCOTT Well, I guess I'm not as smart as I thought I was. -LRB- pause. -RRB- ANTON I need to talk to you. A beat. Scott shakes his head, as if in a sad comment to himself. He sighs.",
"EXT. RURAL STREET. DAY. Anton and Scott walking down the street. ANTON I saw the sign. SCOTT `` You saw the sign''. You were up for a week, you coulda seen Jack Ruby, you do n't know what you saw. your first - time - out. ANTON I saw the sign. SCOTT then, you tell me : you saw the sign, how is it, they found the girl, the DNA. why would they do that? Her father? Her father would do that to her? ANTON maybe he does n't know. SCOTT Well. You're living in a fairyland of your Own Devising. You're seeing snakes. -LRB- pause. -RRB- ANTON Who's going to Dubai? -LRB- pause. Scott hesitates. -RRB- They've got a white slave ring, in Dubai, with American girls there - are they going in? -LRB- pause. -RRB- Are they sending you in? -LRB- pause. -RRB- Ask them. -LRB- pause. -RRB- SCOTT You Got. To Leave it for your Betters. ANTON Ask them. SCOTT Why would you want to know? -LRB- pause. -RRB- Listen up, Pal. THEY do n't go through the door. WE do n't ask why. That's not a COST, it's a Benefit. Because we Got to Travel Light. You wan na lose sleep over it, get over it, or get out. -LRB- hold. pause. -RRB- You wanted to go Through the Looking Glass. How was it? Was it more fun than Miniature Golf? ANTON I want a favor. SCOTT Why would I do you a favor? Two old ladies come down the small main street. OLD LADY Morning, John, who's your friend? SCOTT Fella wants to buy my car. The old ladies walk on. Pause. ANTON I saved your life. SCOTT Well what were they paying you for? ANTON Bobby, I saw the Sign. SCOTT My name ai n't Bobby. -LRB- pause. -RRB- ANTON I saw the sign. -LRB- he draws the Picasso sign in the dust on the window of the country store. -RRB- I Saw it. At the beach house. -LRB- pause. -RRB- I'm going back. SCOTT Back? ANTON To the beach house. SCOTT They took it apart with a tweezers. -LRB- Anton shakes his head. -RRB- ANTON She was there. The Girl was There. I'm going back. -LRB- pause. -RRB- I want you to do something. SCOTT What would that be? ANTON The Secret Service Agent. Offed himself. SCOTT he was off boffing his girl. ANTON He shot himself with a hide - out pistol. SCOTT Yeah? ANTON Who frisked the sonofabitch? -LRB- pause. -RRB- You ask them. ANGLE, on Scott, obviously off - balanced by the question. Hold.",
"INT. GOVERNMENT OFFICE BUILDING. DAY. Stoddard, smoking a black cigar, and several `` Bureau'' types in the office. Scott is sitting at a conference table, as is Miller. Beat. STODDARD Number one, the girl's dead. Number two, the hide - out gun the Agent shot with's registered in his 1020 for the past five years. The man who tossed him has been sacked. His name is none of your concern. Now : what the fuck are you doing here? SCOTT Sir, I am not here to question. STODDARD Well, then, what the fuck are you doing here? MILLER Sir, as he said, he is here to apprise you of a security leak. SCOTT and. Miller gestures to him to shut up. MILLER To call your attention to what may be a problem in discipline with this. STODDARD Granted. Granted. -LRB- he stands. -RRB- Granted. Fine. Thank you. SCOTT And. Sir. If I may. STODDARD What is it? SCOTT When the operation is staged in Dubai. STODDARD What is this? MILLER He. STODDARD what the fuck are you talking about? SCOTT I am merely saying, when - STODDARD Forget it. Walk away. SCOTT I. STODDARD Yeah. you're a pit bull. I said forget it. How do we contact Anton? MILLER Anton. STODDARD Your partner. He's gone to ground. Scott shrugs, as if to say, `` Is that the way you want it?'' MILLER Yes, sir. STODDARD And, wait, wait, wait, wait, what does this mean? -LRB- of Scott. -RRB- When and if, any operation is staged which may require your talents, I give you my word. -LRB- Scott shakes his head, saying `` I do n't believe a word of it''. -RRB- You impertinent motherfucker. What the fuck is with you, you've got on your `` thinkingcap'' all of a sudden? Stoddard gestures to an aide to call a number. SCOTT I'd like to finish what I started. STODDARD And I'm telling you to Stand Down. Where's the kid? -LRB- pause. -RRB- SCOTT Is there no operation in Dubai? Stoddard shakes his head in exasperation. The Aide hands Stoddard the phone. Stoddard answers. Listens for a moment, and then points at Scott.",
"EXT. GRAVESIDE. DAY. A small photograph on an easel - it is an image of Gaines, the dead Secret Serviceman. ANGLE, a small funeral. A Marine Honor Guard in attendance. Small suburban cemetery. ANGLE on the Pastor. PASTOR in the Service. In the Service of his Country. No less than had he died in Combat. George Gaines, a man who gave his life to service, to protecting those who. ANGLE, an unmarked sedan. Scott, and a Driver. Looking on. DRIVER sucker did the Dutch. SCOTT I heard it was a training accident. DRIVER Nope, he Ate the Gun. Did n't you know? SCOTT I've been out of town. DRIVER Punched out early, off with the girlfriend, his Principal wanders off, winds up dead : hari - kari. ANGLE, on Scott, as he sees something. Scott takes a book of matches and starts to light a cigarette. DRIVER rather you did n't smoke in here. Scott gets out of the car. ANGLE, on Scott, who takes out the Anton `` Rogers Rangers'' card. He motions the driver to pass him a phone and Scott looks at the number on the card and dials. Beyond him we see, just at the limits of the gravesite. Holding himself apart. A young man in a raincoat. The young man turns at the sound of a limo driving up. ANGLE Scott, looking at the limo. Out of the limo, which stops near the grave, we see Burch emerge. There is a susurrus among the crowd, which, visibly, straightens a bit, at the honor of Burch's presence. We see Burch walk to the gravesite, and have a word with the widow. Burch puts his hands on her shoulders and comforts her. ANGLE, on Scott, looking at the man in the raincoat. We hear rifle fire, and Scott flinches. ANGLE his POV. The Marine Honor Guard, rendering a salute. We see a Marine bear the flag to Burch, who presents it to the widow. He shakes several hands, and then moves off, back to the limousine. He beckons Scott over to him. ANGLE, Scott and Burch, walking through the cemetery. Burch shakes his head. He hands Scott the program from the funeral, and reluctantly begins. BURCH I put myself in your hands. Did n't I? SCOTT I do not follow you, sir. BURCH I reached out to you. -LRB- pause. -RRB- I put my life into your hands. I entered into a conspiracy with you. To commit Murder. Because it needed to be done. -LRB- pause. -RRB- I trusted you with my life. SCOTT I would never betray you, sir. BURCH -LRB- waving his assurances away. -RRB- I trusted you with my life. And yet you can not trust me. -LRB- pause. -RRB- There are things you have not been told. That's right. -LRB- pause. -RRB- And now you're all out - of - line, `` Play me or trade me.''. -LRB- pause. -RRB- ANGLE, on the two. BURCH -LRB- almost as if against his better nature. -RRB- There is an Arab World. To penetrate it makes trying to join the Mafia look like a walk in the park. How would you do it, Scott? -LRB- pause. -RRB- We're dying. We're at war. And we have no intelligence. How Would you do it? How would you infiltrate their clan structure? Where is the interface? -LRB- pause. -RRB- It's at the whorehouse. That's where they go to get frisky, and that's where we listen to them. For the few, priceless hints that we get from that fucking sandpile. -LRB- pause. -RRB- Had the girl been there, we would have moved heaven and earth - you know we would, and, we would have got her out. She was not there. She got drugged up and fell off a boat, and drowned. She's dead. -LRB- of the funeral. -RRB- That man. -LRB- Burch gestures at the photograph - on - the - easel, of George Gaines, the Secret Service man, which stands by the head of the grave. -RRB- That man a sworn office of the Secret Service, went to get laid, and she died. And you are risking the lives of men and women in the field, because you wo n't take orders. How are you better than him? Yes. You had best look sheepish. What the fuck have you got to say? SCOTT No excuse, sir. BURCH You're goddam right. -LRB- pause. -RRB- Now : where's this new kid who got you all bothered. Where's your partner? SCOTT I'll call him off. BURCH The fuck you will. You've got nothing to say to him. He's gone to the ground. Where is he? ANGLE. Over the Honor Guard, packing up, we see Scott hand a scrap of paper to Burch, who makes one or two more points, to which Scott nods, submissively. Burch walks off. Camera follows the Honor Guard, down the path, toward Scott, who, passing, nods at them. HOLD on Scott. As he watches the widow, at the gravesite, being walked away to a limo by the pastor. He feels someone behind him and turns. ANGLE, SCOTT'S POV. A man in a raincoat, standing furtively, half - hidden by a tree, some distance off from the funeral, weeping. He holds a program for the funeral. ANGLE on the man in the raincoat, the funeral beyond him. He is obviously distraught, a rather slight young man in his thirties. He looks at Scott for a moment, and then turns away. ANGLE. On Scott. As he turns back to watching the end of the funeral. As the gravediggers begin their work. He sighs. And moves to a bench and sits. Looking at the gravediggers. DISSOLVE.",
"EXT. DUSK. GRAVEYARD. Scott, still sitting on the bench. The gravediggers, finishing their work, begin to walk off, joking with one another. Scott stands, and turns, about to start out of the cemetery. He stops for a moment. ANGLE, HIS POV. The man in the raincoat, who is standing where last seen, looking at the burial. Walks toward the mound of earth, pauses for a moment, and then walks off.",
"EXT. BUS STOP. DESERTED, SEMI-INDUSTRIAL AREA, ACROSS FROM THE CEMETERY. DAY. The raincoat man is standing waiting for a bus, at the bus stop, outside a working man's tavern. ANGLE, on Scott, looking at the man, still weeping. Scott walks up to the man. Each holds a copy of the program from the funeral. The man looks down at the program, and then up to Scott. SCOTT -LRB- beat. -RRB- Terrible thing. -LRB- the man nods. -RRB- Did you know him? The man nods. Beat. He turns back to Scott, looking for sympathy. Anguished. MAN Did you know him? -LRB- Scott nods. Pause. Portentiously :. -RRB- Where did you know him from? SCOTT -LRB- pause. -RRB-. you know. MAN -LRB- pause. Nods. -RRB- He was n't in the accounting office. You knew that. SCOTT Yes. I Did. The man begins weeping heavily. Scott puts his arm around him. MAN I did n't think, he told anyone what he did. Because. because. -LRB- he looks for sympathy. -RRB- I. SCOTT A few of us knew. -LRB- pause. -RRB- The man takes out a small photo in a leather case - we see it is a smiling photo of the Secret Service Agent, Gaines. MAN And all he cared about was doing his duty. that's all. that's all. He used to tell me. -LRB- the man is now overcome. -RRB- SCOTT I'm so sorry. MAN He was supposed to see me that night. After his `` shift''. We. His wife. Scott nods his understanding. SCOTT Did she know? His wife. Did she know? MAN How could she? How could she. she did n't know him. -LRB- pause. -RRB- Oh, the poor children. The man begins shaking, and Scott embraces him to comfort him. ANGLE, INT. THE WORKING MAN'S BAR. DAY. Scott and the man, at the end of the bar. A few construction types enter. As Scott bends his head next to the man, speaking low. MAN he was going to come to me that night. after. SCOTT after his shift. MAN his shift - yes. ANGLE, on a Burly Man, in construction clothes, who is standing next to them. BURLY MAN excuse me. MAN after, after he'd finished driving him. SCOTT him? BURLY MAN -LRB- as he puts a hand on Scott. -RRB- I said. SCOTT -LRB- as he turns to the man, who is backing his way out of the bar. -RRB-. driving him? Did you say `` him''? -LRB- he reaches out to the effeminate man. -RRB- BURLY MAN Yeah. It's a man's world, pal - but you're in the wrong bar. He turns Scott around, and pushes Scott deeper into the room, away from the other man, who is now going out of the door. Scott moves toward him and the Burly Man tries to stop him. Scott strikes him several times, and starts toward the door, where, as he exits the bar, he sees the effeminate man, on the bus, and pulling away. Scott starts to move toward the bus. There is a hand on his shoulder, and a second man from the bar is whirling Scott to face him. Scott shakes him off and starts after the bus. The second man restrains him. SECOND MAN what the fuck did you do to my friend? In the B.G.. We see the first man rise from the sidewalk, and move toward Scott. Scott struggles to follow the bus, when the second man assaults him. Scott is now fighting the two men, who manoeuvre him toward an alley. As Scott's back is to the alley we see a Third Man emerge from the shadows, and throw a garrotte around Scott's neck. Scott headbutts this man, who hauls Scott off his feet. Scott belts him again, and stomps on his instep. And turns into him. He elbows this man as the other two men advance toward him, in the alleyway. The garrotte man falls. Scott kicks the garrotte man in the temple. And draws his pistol. Beat. The men in the mouth of the alleyway retreat. ANGLE. On the street. We see them get into a van which has just pulled up. ANGLE on Scott. Standing. Shivering. As he looks around the alleyway. He moves back to the fallen garrotte man. ANGLE. Scott standing over the man. He sees something and bends down. ANGLE HIS POV. In the man's backpocket is a program from the funeral. ANGLE, Scott standing, looking at the program. We hear the phone ringing. Scott puts the phone to his ear. SCOTT where are you? No. Tell me later. Look : LOOK : Forget the boat house. Look :. -LRB- pause. -RRB- Yes, tell me in. tel. look : tell me when. GET OUT OF THERE. GET OUT OF THERE RIGHT NOW. TELL ME WHEN YOU SEE ME. MEET ME `` WHERE. WHERE THE GUY MADE THE PHONECALL'' - ONE HALF - HOUR. Scott stops speaking, and looks down at something. ANGLE, his POV. Across the street. We see an unmarked sedan pull up and two men get out of the car. And begin to look around. One sees Scott, and motions to the other one, and they both start in his direction. They stop, for a moment, as if confused. ANGLE, their POV. The street corner, empty of Scott.",
"EXT. BOSTON STREET. DAY. Copley Square. Scott. Coming into the square. ANGLE, the open - air phone stanchion we saw in the earlier sequence. It is festooned, as before, with ads for escort services and phone sex. ANGLE, on Scott, getting, hurriedly, out of a taxi cab, on the outskirts of the square. ANGLE, his POV, scanning the square for Anton. Scott looks at his watch, and he looks up. ANGLE HIS POV. The figure of Anton, walking from the far side of the square, toward the phone booth. ANGLE, on Anton, as he looks around him, and then proceeds toward the phone booth. As Scott watches, a van pulls into the plaza, and heads toward Anton. Anton sees the van, and retreats, toward the streetside, where we see, the van has herded him toward another car. Three men get out of the car, one slugs Anton, and he is whisked into the car, and the car pulls away. ANGLE, on Scott, on the far side of the square, looking on, aghast. ANGLE Anton, in the backseat of the car, pointing back, as the car disappears. ANGLE. CU. Scott, looking at Anton's gesture, and following, looking in the direction in which he was pointing. ANGLE Scott's POV. The telephone kiosk. Scott walks into his POV, to the kiosk. He looks down at the pile of trash on the shelf. He looks up at the various pornographic ads pasted around the interior. He sees that, stuck in one of them is the `` Rogers Rangers'' card, which Anton showed him earlier. He pulls it out of the ad to which it is stuck. He looks down at it inquisitively. We read in an insert : `` Rule # 11 : Do n't ever march home the same way. Take a different route, so you wo n't be ambushed.'' He then sees that there is something else behind the ad. He tears the ad off the kiosk partition, and he is rewarded, as a folded envelope falls out from behind the ad. He picks up the envelope. We see that it is the old yellowed envelope from the beach house. It is printed `` Hanson Marine - Everything For The Boat'', and we see, on it, the drawing of the old power boat. We see Scott feel the envelope, shake it, tear off the end, and pour something out into his hand. We see his face, and then pan down to see the object in the envelope was the red crescent earring seen in all photographs of Laura Newton.",
"EXT. BOATHOUSE, ESSEX. DUSK. A wind is blowing from the sea. Scott turns up the collar of his jacket. We see the house in the BG and Scott, walking along the patio, the sea beyond him. We see him stop and kneel, to the piling, from which he took the matchbook. He sifts through the sand and gravel at the foot of the piling. The wind blows up the dust, and Scott stands, it is evident he has got a speck in his eye, and he tries to extract it, blinking, and squinting. He turns his head. ANGLE, HIS POV. Beyond the property line. Beyond the hedges and on what is obviously the next lot, an old, ramshackle dwelling, the small white toolshed. ANGLE, Scott, looking at the toolshed, and gauging its proximity to the Essex House. He begins to walk toward it. ANGLE. Scott. At the small white toolshed. He stoops, and we see he has picked up the shell, ejected by Anton's rifle. He stands, he takes out a small spotter's scope. ANGLE. HIS POV. His shoulder, rubbing against the pollen - covered window in the small white shed, has uncovered a bit of a sign. ANGLE. Scott, looking at the sign in the window. He rubs the pollen off, and we see emerge, on the inside of the window, drawn in the dust, the Picasso sign % - -RRB-. ANGLE XCU Scott. SCOTT ohmigod.",
"INT. SLEAZY HOTEL ROOM. NIGHT Scott, wearing just skivvies, is asleep on the bed, an empty pint bottle of booze on the night stand. We hear the television on low, showing talking heads narrating the funeral of Laura Newton. `` Our Redhead, America's Sweetheart'', et cetera. We see a photo of her in her signature red crescent earrings. Next to Scott, on the night table, the envelope, holding the same red crescent earring. ANGLE, the line of light under the door to the hallway is occupied by a pair of feet. ANGLE. A hand, dangling off the bed toward the floor. Below it, on the floor, the creased ` Rogers Rangers' card, and several days worth of newspapers. ANGLE XCU Scott, on the bed. Unshaven. We see his eyes come open. ANGLE on Scott's hand, as it snakes quietly past the Rangers card, on which we read : `` Rule # 15 : Do n't sleep past dawn - Dawn's when the French and Indians attack'', and comes up with an automatic pistol. ANGLE the door, as we see the door handle move slightly. ANGLE on Scott, as he jerks open the door, his pistol at his side. ANGLE HIS POV. In the doorway beyond, we see a Bellboy, holding a small paper bag, looking shocked. Scott shoves the Bellboy back away from the door, and glances, both ways, down the hall. SCOTT What the hell are you doing? BELLBOY -LRB- showing the package. -RRB- I. I brought you. SCOTT Why're you screwing with the door? BELLBOY I. I. Scott drags him into the room. SCOTT Why're you screwing with the door? Scott frisks him roughly. The terrified Bellboy shows a `` Do Not Disturb'' sign, which he holds. BELLBOY I took the. I took the sign off. -LRB- pause. -RRB- You had the sign on the door. F'they saw me. f ` they saw me, knocking on a door, the sign on. they'd. -LRB- Scott relaxes somewhat. The Bellboy proffers the package. -RRB- An, I. I figured, you needed. -LRB- he hands the package to Scott, who takes out a pint bottle of booze. -RRB- You told me you wanted this at Ten. SCOTT yeah. Thanks. BELLBOY -LRB- begins to calm down a bit. -RRB-. I do n't know why you. SCOTT You're right, I'm wrong. I'm wrong. He begins to look through his pockets. As the Bellboy stands, looking at the television. ANGLE on Scott, the television beyond him. As he goes through the pockets of his jeans. He then goes through the pockets of his jacket, and throws various objects on the bed. Some coins, some scraps of paper. A book of matches, some crumpled cigarettes. He hands some bills to the Bellboy. SCOTT There you go, Pal. Hold on. BELLBOY -LRB- pause. -RRB- Sure. I just. I just wanted to help. ANGLE, on Scott. As he rummages through the pile on the bed. The TV shows photos of Laura Newton, wearing her red crescent earrings. Scott picks up a cigarette and the book of matches on the bed. Part of the pile shows a tabloid paper - a photo of Laura, an insert of her father weeping at the funeral, and the caption `` Goodbye, Baby''. He bends down and picks up the Rogers Rangers card. And looks at it. He shakes his head. As we see the Bellboy leave the room. Beat.",
"INT. DARK, PANELLED CONFESSIONAL. NIGHT. XCU on Scott, as he thinks for a moment, then speaks. SCOTT It's been. quite a while since my last confession. That. that `` transpired''. On the rear face of a hill, in a mortar attack. -LRB- pause. -RRB- And I confessed that I was frightened. -LRB- pause. -RRB- And I have to confess, I'm frightened now. -LRB- pause. He smiles weakly. -RRB- ` Nother `` irregular Confession''. He raises a shotglass to his lips, and drinks. He makes a `` another one'' gesture. Pause. SCOTT I'm about as frightened as I'm comfortable being. -LRB- pause. -RRB- And that's why. I involved you. -LRB- pause. -RRB- Which, I suppose, was shameful. ANGLE, as a waiter comes, with a fresh drink. We see that we are in a very dark, quiet, smoky, panelled bar. The waiter leaves, and reveals, beyond him, Jackie Black, the female Sergeant we met at the training facility scenes. The waiter looks at her, inquiring silently, if she wants anything. She shakes her head. JACKIE BLACK Now : you did me the honor to Call me. Now : you tell me how I might help. -LRB- pause. -RRB- There i n't nobody here, but two people in Green. -LRB- pause. -RRB- Scott, looks around, he takes up a tabloid newspaper, which has been resting on the seat of the booth. We see it is a `` funeral'' edition, concerning the death of Laura Newton. We see the large, color photo of Laura, her red hair, and, in an insert, her father, at the gravesite, hiding his face. The caption reads `` Goodbye, Baby''. Scott leans over, and whispers to Black, his deepest secret. SCOTT -LRB- pointing at the paper. -RRB-. this girl's alive. JACKIE BLACK Then, you'd better go get her.",
"EXT. SANITORIUM. DAY. Scott, shaven, neat, and determined, standing at a bus stop. Reading a newspaper. Behind him, a large iron fence. ANGLE INS. The newspaper shows `` The Tragic Death of Laura Newton'', and photos of the accident. And a photo of a distraught woman in sunglasses, being held up by two friends. ANGLE on Scott. As he looks across the street. Surreptitiously. ANGLE HIS POV. A plainclothes car, with two people in it, looking vaguely in his direction. ANGLE on the bus, as it pulls into the stop. We see various people start onto the bus. At the last moment Scott, at the back of the line, sheers away. ANGLE, INT. THE PLAINCLOTHES CAR. The bus pulling away from the bus stop, the chainlink fence beyond it, and, beyond that, a vaguely institutional - looking Colonial building.",
"INT. SANITORIUM. DAY. A nurses station, Scott moving through the area, just asking directions of an older woman, obviously a semi - invalid. ANGLE INT. SANITORIUM. The woman is Mrs. Newton. She walks with a companion, she wears sunglasses, and starts out of the sanitorium. As Scott walks up, some yards behind her, following her out onto a roofed porch. The woman moves to the far end of the porch, obviously weeping. Scott enters the porch, and stands for a moment. Beat. WOMAN -LRB- V.O. -RRB- terrible thing, grief. Scott turns to her, to see a lovely woman in her late fifties, sitting on a lounge chair, a robe over her legs, indicating the weeping woman. Scott nods, and takes something from his pocket. He starts toward the weeping woman, but the other woman holds him with her voice. WOMAN you want to comfort them, but you do n't know how. -LRB- pause. -RRB- I always think it's better to Leave Them Alone. Scott nods his acceptance of her wisdom, and begins to start toward the woman. SCOTT -LRB- of Mrs. Newton, and the woman, talking to her. -RRB- A relative? WOMAN A psychic. -LRB- pause. -RRB- SCOTT Well. -LRB- pause. -RRB- Can we blame her? -LRB- he gestures, meaning, we get comfort where we can find it. -RRB- WOMAN That's right. Scott begins to move toward Mrs. Newton. The woman on the lounge chair sits up. WOMAN who are you? SCOTT -LRB- moving off. -RRB- United States Secret Service. The woman moves her blanket to reveal a pistol which she holds. WOMAN Guess again,'cause I'm the Secret Service, and you follow my directions or I will shoot you dead. Spread your hands to your sides, please. -LRB- Scott spreads his hands to his sides. -RRB- Open them. He opens his hands to show the red crescent earring. We see the demeanor of the woman in back of him change, as she sees the earring. She comes up to Scott, and he turns around. She looks up, asking, mutely, what it means.",
"INT. SMALL SANITORIUM ROOM. DAY. DONNY -LRB- sotto, unable to stop her invective. -RRB-. the motherfuckers pulled the Detail off of her. He was in town. Her father was in town, they pulled the Secret Service Detail off her, to take him tomcatting. He's been doing it for years. That's what they do. They turn the Secret Service into a bunch of pimps. He took her protection, she got snatched. SCOTT He'd let her die? A female Agent knocks at the door and sticks her head in and Donny gestures `` rotate''. FEMALE AGENT leaving the post. Donny gestures that she has heard. The Agent leaves and the door is closed. DONNY -LRB- meaning, `` this is my surmise''. -RRB- The start of a campaign : Your daughter got kidnapped because you were out getting laid? SCOTT Her father would let her die? DONNY Who knows if he knows. His ` people' would let her die in a heartbeat. SCOTT her mother? DONNY -LRB- pause. She takes up the earring and she begins to weep. She looks beseechingly at Scott. -RRB- I'm her mother. She takes out a small, tattered, cheap earring box. ANGLE INS. We see the empty place for holding two earrings, and a small arcade photo of a five - year - old Laura Newton, and this woman, Donny, fifteen years younger. They are hugging. Scott turns over the photo to read, in a childish scrawl, `` Donny, you can keep the box, cause I'll never take them off''. Donny starts to weep. SCOTT I need some money. -LRB- Donny looks up at him questioningly. -RRB- I'm going to get the girl back. DONNY What can I do? SCOTT I need money. I need a lot of money. DONNY -LRB- of Mrs. Newton. -RRB- I've been signing her checks for years. SCOTT Alright. -LRB- he scribbles a figure on a napkin. -RRB- Can you go this high, that's what I need. DONNY -LRB- as she looks down at the figure on the paper. -RRB-. I. I do n't. is there anywhere else you. ANGLE. Both look to the side. ANGLE, their POV. One of the Secret Service Agents, looking askance at Scott. Does a double - take. And begins to raise his cuff mike to his lips to speak. ANGLE, on Donny, as she sees this, and turns around. ANGLE, her POV. The empty room. Scott vanished.",
"INT. NEW YORK CITY OFFICE BUILDING. DAY. A very beautiful young woman in a business suit, in an elevator. The doors open and Scott, dressed in a suit, gets in. He turns to face the front. They ride up in silence. The doors open on a mezzanine. There are several men at the end of the mezzanine. Scott starts to get out, and the girl tries to stop him. He shoves her roughly back into the elevator. Several of the men come toward Scott, and a large, portly businessman in his forties -LRB- AVI -RRB- calls them off. Scott comes forward. AVI Did n't they tell you not to come? SCOTT Well, I guess I was n't paying attention. -LRB- pause. -RRB- AVI Five years ago they told me you were dead. SCOTT You want to gossip, or you want to do business? Avi motions Scott to come with him. ANGLE, Avi's hitters. One starts to take out a phone - Avi waves him to stop - HOLD on the hitters. ANGLE, Avi and Scott, as they sit, near the edge of the mezzanine. AVI Bobby ; this is an American girl? SCOTT If that were so? AVI If that were so, why do n't your people go and fetch her? What if I'm speaking for them? Avi nods, meaning `` yeah, sure''. AVI they send a hitter to negotiate? -LRB- pause. -RRB- My question is : have you forgot your catechism? SCOTT And what's the answer? AVI The answer is Go Home. SCOTT Yeah, that's a good one. AVI you're at the Big Table here. SCOTT I know where I am. AVI Well, then, you better talk to me using the Decimal System. SCOTT Your intel. Two men. Infil, exfil, hardware, and com. AVI And com to what? I can not give you. SCOTT Well, you could, when you where in the Boy Scouts. AVI Yes, but I am not in the Boy Scouts anymore. You heard the private sector? SCOTT Yeah. AVI Well. That's where you found me. And here's what it costs. He writes a number on a sheet of paper. SCOTT -LRB- looks at the paper. -RRB-. you're out of your mind. AVI No, you're out of your fucking mind, and you're out of your league, and my advice to you :. before some mercantile soul shops you. -LRB- pause. In disgust, he picks up the paper, crosses out what we wrote, and puts in a new number. -RRB-. for this job, that's what it costs. SCOTT that's what it costs? AVI That's what it costs you. -LRB- pause. -RRB- Go home, Bobby.",
"EXT. PALATIAL ESTATE. DAY. We see a woman getting into a Range Rover, in the vast gravel drive outside of an estate. A man comes out of the house, with a cup of coffee, hurrying out to kiss his wife goodbye. He does so. She drives off. He finishes the cup of coffee, puts it down outside his door, closes the door, and looks quickly at his watch, and hurries to his Jaguar, which he puts in gear, and it starts down the drive. We see it is the Businessman from the whorehouse. ANGLE on another car, coming down the drive, which smashes into the Jaguar. ANGLE on Scott, who gets hurriedly out of the car. He goes out to the Jag, and drags the stunned man from his car, and toward the house. ANGLE INT. A SUMPTUOUS STUDY, PALATIAL ESTATE. DAY. Beautiful Greek and Roman artifacts line the walls, on lighted shelves. Scott drags the stunned and abraided Businessman into the study. Scott throws him into a chair. SCOTT Remember me? ANGLE Scott, as he takes out the Businessman's card, and looks at it. SCOTT well, I guess you do have friends in High Places. I mean here you are home, n'all. -LRB- he picks up now one, now another piece of exquisite statuary, and smashes it to the ground. -RRB- And now we're gon na see if you also got all that money that you spoke of. -LRB- he takes out a videotape box. -RRB- This here's a Short Subject, if you know what I mean. Of you in Carnal Congress with an Underage Girl. A PROSTITUE, A MINOR, AND SOMEBODY'S DAUGHTER. -LRB- he holds up another videotape. -RRB- There's another. you know how cheap it is to make a copy? BUSINESSMAN what do you want? SCOTT I want what you promised me. BUSINESSMAN -LRB- as if reluctant to impart the information. -RRB-. I've, I've already made a deal with. SCOTT Yeah, but you have n't made a deal with me. So, today is Your Lucky Day, cause you get to Do, what Most Men only Dream of : You get to make Another Human Being Happy. He brings over a telephone, and gives it to the Businessman. Scott finds himself behind a large desk. He looks down at photos of the smiling Businessman, in various poses, with two young girls, obviously his daughters. SCOTT -LRB- softly. -RRB- You had your fun, now pay for it, Jim. Get your bank on the phone. We're going to transfer some money. The Businessman pauses, then picks up the phone. SCOTT -LRB- to himself. -RRB-. `` how about that''. BUSINESSMAN do you know how much trouble you're in? SCOTT Yes. And that's the difference between you and me.",
"EXT. WAREHOUSE DISTRICT STREET. DAY. Scott, getting out of his car, rounds a corner. We see a car coming down this street, rather quickly. Scott retreats into a doorway. ANGLE, HIS POV. The car blinks its lights three times. ANGLE EXT.. THE STREET. We see the car slow almost to a stop, Scott emerges from his doorway. As the car's rear door is opened, Scott gets in.",
"INT. WAREHOUSE OFFICE. DAY. Avi and Scott, at a small table. AVI Maskala is a suburban villa, in Dubai. The Friends of your Friend. -LRB- he gestures at a photo of Assani. -RRB- Operate there, if you will, a `` halfway house''. For the young women they have induced, coerced or drugged into spending their short lives. As the whores of Arabian tourists. Of late the girls have been, in the main, from the former Sov - Bloc. Now and again, a North American Girl, if she is exceedingly lovely,. blonde, usually blonde. -LRB- he passes the photos of very beautiful young girls across the table, to Scott. -RRB- Will, unfortunately, find her way to Dubai. They travel drugged, they are -. -LRB- he searches for the word. -RRB- - `` tidied up'', and sold. For some reason, most of them are sold to Yemen. -LRB- pause. -RRB- The girls are generally held, in Dubai, until the end of the month. -LRB- he checks his watch and looks significantly at it. -RRB- When the Merrymakers fly in to examine them. And take their purchases home. SCOTT and then? AVI -LRB- shrugs. -RRB- That is `` and then''. -LRB- pause. -RRB- This is a floor plan of the building where the girls are held, this is the security arrangements, this is the watch plan. -LRB- he checks his watch and raises his eyebrows. -RRB- The girls are taken from the house in Maskala, to the Royale Hotel, I presume you will hit them in transit? Scott opens another envelope which Avi has passed him. As he looks at the documents he pours out. SCOTT -LRB- reads. -RRB-. `` Jameson Construction''. They know we're there? AVI I hope not. -LRB- he shows documents to Scott. -RRB- The conex container for the exfil, also Jameson Construction. -LRB- he gestures at the materials on the table. -RRB- A passport for the Young Girl. -LRB- he shrugs. -RRB- Between fifteen and twenty - five, they all look alike. SCOTT -LRB- as he looks at the passport. -RRB- Is that your experience? AVI Yes. It is. Nonetheless, we tried to match it to a Current Photo. ANGLE, on Scott, as he looks, questioningly at Avi. Avi takes a photo from his desk and passes it to Scott. It shows, through a long lens, blurry and grainy, a photo of what is obviously the platinum - haired Laura Newton, sitting on a bed, in a barred room. AVI she was there twelve hours ago. SCOTT Who took the photo? AVI -LRB- shrugs. -RRB- How would I know? -LRB- pause. -RRB- SCOTT What does the bonus cost? AVI -LRB- shrugs. -RRB- A gesture of Friendship. But. We thought : if you see some of the Yemenins -. -LRB- he shows Scott candid photos of several middle - aged, bearded middle - eastern looking men. -RRB- Any of these, in particular. would you say Hello to them? Scott scoops up the documents, and stands. SCOTT Who else have you done a favor for, Avi? Avi shakes his head, and wags his finger, as if to say, `` No, in all sincerity.'' AVI Bobby : the world runs on manners. Beat. Scott takes an envelope, and hands it to Avi, who opens it. He opens his mouth to speak. SCOTT The last third on exfil, in Geneva. Me and the Girl. As agreed. AVI That's not what I was going to say. SCOTT What were you going to say? -LRB- pause. -RRB-. the Last Third in Geneva. -LRB- he exits. -RRB-",
"EXT. ROOFTOP, DUBAI. DUSK. Scott, on a rooftop, behind a raised elevator housing. Scott takes out a pair of binoculars, and Scott leans around the elevator housing. ANGLE HIS POV. Across the way, the window, and the ornate scrollwork bars, in which we, earlier, saw the photo takes on Laura Newton. ANGLE on Scott, as he comes back behind cover, and nods to himself, picking up his yellow bag. ANGLE EXT.. DUBAI STREET. Scott, walking down the street, beyond him a building with an ornate scrollwork barred gate over its courtyard door. In the courtyard beyond, two Mercedes 600's. As Scott walks past the trelliswork it begins to open. A delivery truck is ushered through the gate, by an armed guard. Scott stops, to let the truck pass. ANGLE HIS POV. As he turns his head to the side. ANGLE HIS POV. Walking from one outbuilding, across the courtyard, beyond the gate, accompanied by a minder, is Laura Newton. She is obviously drugged, disoriented, and is held up by the guard. He gets into a conversation with a woman, dressed as a matron, who comes out of the building they have just vacated. And she stands, for an instant, untended. ANGLE on Scott, the gate open, as the gate guard ushers through the delivery van, and Laura Newton stands several yards away. ANGLE XCU, Laura Newton, as she looks in his direction, and her eyes begin to focus, as if trying to make sense of what she is seeing. ANGLE, her minder, who reacts to a change in her attitude, and looks at her, and, then, follows the direction of her gaze to the gate. ANGLE HIS POV. The delivery truck coming through the gate, as the gate closes behind it. The street beyond it, empty. ANGLE INT. THE COURTYARD. As the delivery truck pulls in, and Laura, escorted by her guard, is taken back into the main house. She turns to look back, groggily, wonderingly, at the street, and is pushed into the door. As she does so, we see the delivery truck pull up to the spot she just vacated, and the delivery man gets out and opens a rear door, on which we see scrawled, in the dirt, the `` Picasso'' symbol. ANGLE EXT.. DUBAI STREET CORNER. Scott turns the corner, and gets into a car, driven by Jones, which comes to the curb. ANGLE INT. THE CAR. In the backseat, Scott, another man sitting next to him, SMITH, dressed as a construction worker. The man starts to speak. And Scott shushes him, takes out a notebook and a pencil, and begins to make notes.",
"EXT. CAR, DUBAI. NIGHT. A deserted streetcorner. Various shuttered posh shops. Scott walking across the street. ANGLE CU on Scott, as he paces, as he walks. SCOTT fourteen, fifteen, sixteen. The camera takes him to the middle of the street. A right - hand turn, a tight corner. He looks to his left. ANGLE HIS POV. Beyond him, we see, several streets off, the sign of the `` Royale'' hotel. Scott beckons, and the man, Smith, comes out of the shadows. He and Scott walk to a small passageway, at the corner. Camera takes them through the passageway, where we see Jones, standing by his car, in an alley. SCOTT It's good. -LRB- to Jones. -RRB- It's very good. -LRB- Jones nods his thanks. -RRB- The charge takes the car out. -LRB- to Smith. -RRB- We got the flashbangs fore and aft, You hit the driver, follow down the driver's side, the car ai n't going nowhere, the muscle gets out, I cap em, I go with the girl. -LRB- he points to Jones. He points to the car. Jones nods. To Smith. -RRB- You exfil on your own, we're on to the airport. ANGLE, tight on Scott, and Jones. SCOTT At the airport. When we hit the Conex. When you Seal Us In. you walk away. JONES I understand. SCOTT I can not have heat on it. Now : I know : that you want to protect the package. But : you have to walk away. And que sera, sera. JONES I wo n't look back.",
"INT. WAREHOUSE ROOM. NIGHT. Scott, at a desk, looking over his plans. A photo of Laura Newton on his desk. Beyond him Smith and Jones are cleaning and assembling weapons. Scott takes out his switchblade and begins to hone it. Scott looks into the mechanism of the knife. Peers intently, turns it over and raps it on the table. We see a small seed fall out. Smith turns to the sound, and looks inquisitively at Scott. SCOTT -LRB- as he picks the seed up, answering Smith's unspoken question. -RRB-. it's an appleseed. Smith nods as if to say, `` If you say so''. Scott reaches over to a box of Q - Tips, which sits on the table along with other cleansing paraphernalia, and dips one in the solvent bottle, and begins to clean the interior of his switchblade. ANGLE XCU on Scott, as he cleans the interior of his knife. His face freezes. Scott leans over, and gestures at a tweezers as part of Smith's cleaning kit. Smith nods `` okay''. ANGLE INSERT. The interior of the knife. A small, wafer thin electronic device adhering to the interior. ANGLE on Scott. As he turns his back on the group. We see, in an insert. He holds the electronic device up for scrutiny, in the tweezers. He walks toward the windows of the warehouse. SMITH -LRB- as he cleans his firearms, generally, as if speaking of the universe. -RRB- `` Johnny Appleseed'', eh? SCOTT yeah, I'm just a Man of Peace. We hear a car driving up, outside the warehouse. He looks out of the window. ANGLE, HIS POV. Just seen, the nose of a small SUV, around the corner, three men, getting out of the car. ANGLE INT. WAREHOUSE DAY. Scott walks into a corridor of the warehouse. He looks down an industrial staircase, and sees the door at the bottom begin to open, stealthily. ANGLE, camera takes Scott to a small, filthy bathroom. He opens the door. ANGLE, at the bottom of the stairs, Stoddard, with two henchmen, heavily armed, look up. ANGLE THEIR POV. Scott walking into the bathroom. ANGLE, a floor of the warehouse. Stoddard, and his accomplices, coming up the stairs to the floor, which holds Scott. There are several closed doors. One of the men consults a small hand - held ` GPS' unit, and points at one of the doors. The men take up position around this door. Stoddard nods, and they open fire through the door. ANGLE, INT. THE BATHROOM. The men kick down the door, to find the small cubicle - like room empty. One of them looks around, and sees, and removes the small wafer - thin electronic device from the top of the cistern. He shows it to Stoddard, who throws it down in disgust. As he, followed by his men, exit the room. ANGLE EXT.. DUBAI STREET. NIGHT. We see the small SUV parked around the corner from the warehouse, a black clad driver, sitting in the car, watching the warehouse. The door is wrenched open, and we see Scott, the small yellow duffle over his shoulder, drag the driver from the car, and clout him to the ground. Scott gets into the car, which begins to drive off.",
"INT. \"MASKALA HOUSE\" (THE HOUSE WITH THE ORNATE SCROLLWORK). DUBAI. NIGHT. ANGLE, Laura Newton, drugged, listless, sitting on the bed in the small room. We hear a large explosion, and Laura gets up, and moves toward the door of her room. She hears another explosion, and shouts coming from outside her door. She is reaching for the handle of the door, when the door opens, and one of her Bodyguards opens the door, and addresses her. BODYGUARD stay in your room, and. He turns as another explosion is heard, coming from the interior of the house. As he turns we hear glass breaking, and see Scott entering through the window behind Laura. The Bodyguard turns, and Scott raises a silenced pistol, and shoots the Bodyguard twice. The Bodyguard falls, Scott moves to him, and drags him inside the room. He raises his pistol gesturing `` shush'' to Laura, and moves her toward the window. LAURA who? He uses the rope outside the window to improvise a sling, for Laura, and drapes it over her head, and under her arms. Scott picks her up, and holds her for a moment. She starts to speak. And he answers her question. SCOTT Stay by me. He hesitates for a moment. We hear another explosion, he nods, as if to say `` That's what we're waiting for'', and passes her out of the window, and begins lowering her to the ground. ANGLE EXT.. THE BUILDING. Laura, on the rope, reaching the ground. ANGLE INT. THE ROOM. Scott, as he turns to the sound of the door opening, two men come through the door, and he shoots them. ANGLE EXT.. THE BUILDING. Scott puts Laura into the SUV and gets behind the driver's seat. He puts the car in gear, and it begins to drive off. ANGLE INT. THE CAR. Laura turns to face him. LAURA they said they were going to take care of me. SCOTT I'm going to take care of you. You hold on, now. -LRB- as Scott drives he reloads his weapons. -RRB- LAURA -LRB- lazily. -RRB- Who are you? SCOTT you remember, Baby, we went to high school together. -LRB- pause. -RRB- You dropped your earring. She shakes her head. Drugged. Trying to make sense of the proceedings. SCOTT You're Picasso, right? That's who you are. He draws the Picasso sign on the windshield, she looks at it, having trouble focusing. LAURA they're going to send me to a Party. SCOTT No, Baby, you're going Home. -LRB- pause. -RRB- You're just taking the long way home. ANGLE EXT.. THE CAR. Moving through the streets. The airport just becoming visible in the background.",
"INT. BARE ROOM. DUBAI. NIGHT. Laura, asleep, at a small cardtable. Out of the window we see an expanse of desert and scrub. Her head is down. Scott enters the room, he moves a chair in front of the door, moves to Laura, and manhandles her to a small cot, and closes the shutters to the window. SCOTT I told you to stay on the bed. We see her wake and look around, trying to place herself. ANGLE on Scott, as he takes out a notebook and begins to make notes in it. SCOTT you're going travelling. LAURA what? SCOTT we're going to take a little trip. She takes out a crumpled pack of cigarettes, and extracts the last one. She takes out a match. SCOTT put that away. LAURA I need a smoke. SCOTT Y' ca n't smoke it. American tobacco. Smell. Carry. In the desert air. He looks down his list, and nods. He takes a bandana from his pocket and hands it to her. SCOTT Put that on. Over your head. LAURA Whatsamatter, you do n't like Blondes? SCOTT Whole world likes Blondes. That's why you're here. Put the bandana on. LAURA -LRB- as she tries to light the cigarette. -RRB- I need a smoke. -LRB- He takes it away from her, and crumbles it. -RRB-. gim me the fucken smoke. He shushes her, and moves to the window. ANGLE, EXT.. The window. The first gleam of dawn. And, far off, a Muezzin is heard chanting morning prayers. Laura moves toward him, unbuttoning her blouse. LAURA I could make you give me the smoke. He slaps her lightly in the face. SCOTT Keep it together. -LRB- he takes a small hypodermic kit. -RRB- Keep it together, or I'm gon na give you a shot and carry you out. She reacts violently to the sight of the needle. Beat. Then, she sits on the bed and cries self - pityingly. LAURA Nobody Cares about me. Hold. On Scott. And we take him back to a small shelf near the door. He takes down what we see is an ashtray, overfull with yellow - brown cigarette butts. He takes the ashtray to the small table, takes out his knife, and begins shredding the butts, and gathering the tobacco into a pile. SCOTT that's right. LAURA I'm just a whore. They would n't even come get me. SCOTT They sent me. Scott looks at the pile of tobacco. He extracts the `` Rogers Rangers'' card from his pocket and looks at it. We read, in an insert : `` Rule # 13 : Every night, you'll be told where to Meet, if Surrounded by Superior Force''. ANGLE, on Scott, as he very precisely peels the card into two thin halves, and rolls one of the halves into a cigarette, using the reclaimed tobacco from the ashtray. He takes the cigarette to Laura. As a peace offering. She takes it. Beat. LAURA Did my father send you? SCOTT -LRB- as he lights her cigarette. -RRB-. that's right. LAURA -LRB- derisively. -RRB- One man. SCOTT One riot, one Ranger, you ever hear that? ANGLE, on Scott, as he hears a car outside the window. He draws a pistol and moves to the window, and looks down. He gestures Laura to be quiet. ANGLE EXT.. The window. In the small, deserted street. A car pulls up. A man gets out, and looks around. Beat. Another man, and a woman, and two small children come out of the low house and get into the car, which drives away. LAURA Leonides, the King of Sparta, when a neighboring state would beg for Military Aid. Would send One Man. SCOTT well, there you go. LAURA you ever hear that? SCOTT No. I think we went to different schools. He looks at her. Beat. She hands him the cigarette. And he takes a drag, and passes it back. He checks his watch. SCOTT put the bandana on. LAURA -LRB- softly. -RRB- Did you hear the one about the king who turned his daughter into Gold? SCOTT Yeah - I heard that one. Beat. She turns away, and cries. LAURA I do n't want to go home. SCOTT I did n't ask you.",
"EXT. DUBAI AIRPORT. DAY. A long view of the airport. ANGLE, a small delivery van we saw earlier. Parked in an industrial area. ANGLE INT THE VAN. Laura, dozing in the passengers seat. Scott, sitting in the driver's seat, alert, watching. ANGLE HIS POV. Seen beyond the corner of an industrial building, beyond a chainlink fence, the airport. ANGLE INT. THE CAR. Laura wakes with a start, and looks around. LAURA I do n't know where we are. SCOTT You just keep it together. ANGLE Scott as he looks up to the sound of a plane. ANGLE HIS POV. Directly over their heads, a small bizjet, on final, about to touch down. ANGLE, the chainlink fence. Scott and Laura at the fence protecting the airport. Scott moves aside the pre - cut section of fence, and gestures him through. ANGLE, inside the fence. Laura and Scott moving to the protection of a small hangar. ANGLE, beyond them, we see the bizjet come to a halt, on the tarmac, and turn. We see blazoned, on its side, `` Global News''. ANGLE, on Scott and Laura, now inside the small hangar. Scott moves to a small locker and extracts a set of coveralls, and a cap, and takes them to Laura. SCOTT -LRB- of the coveralls. -RRB- You put this on. LAURA -LRB- groggily. -RRB-. what? SCOTT You. A pause. He turns to the sound of a car. ANGLE HIS POV. A car, on the tarmac. It comes to a stop by a private plane. Beyond this private plane, we see the `` Global News'' bizjet, being directed to a stop. ANGLE, on Scott, as he watches the tarmac. ANGLE HIS POV. Stoddard and several of his men, get out of the car which has stopped by the private plane. A man in fatigues emerges from the plane, and hands Stoddard a piece of paper. Stoddard begins giving this man directions. ANGLE INT. THE CARGO HANGAR. Scott and Laura, who now has on the mechanics coveralls. ANGLE Scott, as he looks out of the hangar door. To his right, the plane with Stoddard and his men, to his left, the `` Global News'' bizjet, its hatchway staircase, just descending. ANGLE on Scott, as he looks at his watch. He turns to Laura. SCOTT A little walk - in - the - park. -LRB- he points her to the News jet. -RRB- See there? ANGLE EXT.. THE NEWS BIZJET. Where a man in a safari jacket, and a woman emerge from the plane, and glare at the sun. We see this man consult his watch. ANGLE, on Scott and Laura, as he walks her out of the hangar, and towards the news bizjet. In the B.G.. We see Stoddard, and his men, at their plane. Another car pulls up to Stoddard, disgorging a man, who goes to conference with Stoddard. ANGLE, these two men. SECOND MAN -LRB- giving his report. -RRB-. all of the passenger terminals, and all access - points to the Cargo and General Aviation. LAURA -LRB- groggily, as in a dream. -RRB- No, you know what my mistake was? SCOTT -LRB- as he looks around. -RRB-. what was that? He stops and picks up a pair of `` paddles'' from their position, leaning against the nose wheel of a plane. They walk on. In the BG we see Stoddard and his crew, searching. SCOTT what was your mistake? LAURA -LRB- from a distance, as she begins to laugh, as at a great private joke ; she stops walking. -RRB-. you think we bring our troubles on ourselves? SCOTT I'm certain of it. She starts laughing, getting hysterical. SCOTT No, no. come on baby. come on, come on girl : just walk to the plane : Just Get On the Plane. WALK TO THE PLANE. She starts to break free and Scott manoeuvres her into a small hangar area. She is struggling mightily. Scott has his hand over her mouth. ANGLE. We see their feet moving through a pool of oil on the concrete floor - we see she loses her footing. We see Scott tighten his grip on her, and is furiously trying to calm her. SCOTT Shussh, baby. shussh. shussh. it's going to be alright. We see him work a small hypodermic kit from the pocket of his jacket. We see Laura see it, and her eyes grow wide. SCOTT This's going to make Everything Allright. Laura reacts to the hypodermic, which Scott is bringing toward her. And screams. LAURA No!",
"EXT. THE HANGAR AREA. We see Stoddard, and his men, about to get into their Jeep, stop, and turn at the sound. ANGLE INT. The Hangar Area. Signs all over marked in Arabic and English - `` Petrol - No Smoking!'' As Scott lunges after Laura, the door, behind her bursts open, and Stoddard and an accomplice enter, placing Laura, in the midst of the hangar, between Stoddard and Scott. Who stands in front of a large tanker labelled `` Aviation Gasoline''. STODDARD Leave her Alone. -LRB- to his men. -RRB- Do n't shoot him, do n't shoot, you'll blow the thing sky high. SCOTT Laura. STODDARD Thank God we Found you. You know me. I work for Mister Burch. I've met you. ANGLE on Laura, standing between the two men. She is completely confused. She looks from one to another. LAURA -LRB- drugged and groggy. -RRB- He said that he came to get me. -LRB- she shakes her head in disbelief. Then she starts to walk a step toward Scott, then turns, and proceeds toward Stoddard. -RRB- STODDARD That's right, Laura. Walk away from him. Walk to the Plane. He ca n't hurt you now. Walk to the plane. He points at his bizjet, outside, on the tarmac. Laura walks, unsteadily, in the direction pointed, and we see a female attendant, in a vaguely military getup, get out of the plane, and begin to walk toward Laura. SCOTT -LRB- screams. -RRB- No. He starts toward Laura. And Stoddard and his two men interpose themselves between Scott and Laura, who is approaching the plane. Stoddard's two men approach Scott. One draws a knife. ANGLE on Scott, who hangs his head, wearily. He looks down at his empty hands. ANGLE on the man with the knife, approaching him. ANGLE on Scott, straightening himself, as if submitting to the inevitable, as the man with the knife draws closer. He makes a thrust, and covers. Scott steps toward him and spits at him, full in the face. The man with the knife recoils for a moment, and Scott disarms him, throws him viciously to the concrete floor, and stomps on him. Scott bends to pick up the knife the man has dropped, and turns to face the other man. As he does so, he slips on what we see is a large pool of oil on the floor. He goes down heavily. And the second man steps into him as he falls, drawing his pistol. STODDARD DO N'T SHOOT, DO N'T SHOOT, DO N'T SHOOT HIM IN HERE. The man uses the pistol to cuff Scott, who is attempting to rise to his knees, behind the ear. Scott falls. STODDARD Cuff ` im. The man handcuffs Scott behind his back. ANGLE on Scott shaking his head to clear it, as he now struggles to his knees. ANGLE, his POV. Laura Newton, walking toward the bizjet. STODDARD -LRB- to Scott. -RRB- Yes. well. SCOTT Let the girl go home. -LRB- pause. -RRB- STODDARD -LRB- to his henchmen. -RRB-. wait till she lifts off, take him outside and shoot him. SCOTT -LRB- as he speaks he moves, slightly, continuously, to get a better view of the girl. -RRB-. why ca n't the Girl Go Home? STODDARD -LRB- CU. -RRB- Because she's dead. -LRB- pause. -RRB- You had to know the Secret Knowledge. Did n't you? SCOTT What is the Secret Knowledge? STODDARD The Secret Knowledge is : There Is No Secret Knowledge. -LRB- turns over his shoulder, to look at Laura, walking toward the plane. -RRB- You went Beyond What Was Permitted. And the Gods Are Angry. ANGLE. On the tarmac. Laura, walking toward the plane, the petroleum storage hangar behind her. We see a vaguely military uniformed woman fall into step beside her and take her arm. Laura looks at her. We see Laura full face, and just the shoulder of the woman escorting her. Beyond them we hear the engine of the bizjet start up. LAURA I'm so tired. WOMAN I'm going to ask you to do Just the One More Thing. Laura looks at her questioningly. WOMAN I'm going to ask you, now, to walk away from this plane, and come with me. ANGLE, to show that the stewardess, who descended from the bizjet -LRB- the vaguely military clad young woman we saw earlier -RRB- is still on station outside of the bizjet, and that the woman who is walking and talking with Laura is Jackie Black, the young female sergeant we met earlier. Laura looks at her uncomprehendingly. Laura begins shaking her head pathetically, and protesting, drawing away from Jackie Black. LAURA No. leave me alone. No - I do n't know you. ANGLE, INT. The Petroleum Hangar. Day. STODDARD -LRB- to his men, as he, Stoddard, casts a glance outside, and then back. -RRB- Alright, take him outside. -LRB- the henchman hoists Scott to his feet. -RRB- ANGLE, on Laura and Jackie Black. Standing immobile. Laura looks down at something. She then looks up, her face transfixed. ANGLE, on Jackie Black's hands, she holds the cheap jewelry box we saw earlier, and, in it. The photo of Laura and Donny, and the legend : `` Donny you can keep this box, cause I will never take them off.'' ANGLE XCU, on Laura, as she looks at Jackie, who now moves Laura away from the bizjet, and towards the assemblage of newspeople, who are on the tarmac, around the `` global news'' jet. ANGLE, EXT.. The Global News Jet. A female reporter, gossiping, with some of her crew, looks over in the direction of Laura and Jackie, and does a double - take. FEMALE REPORTER Oh, my God. ANGLE, on Stoddard, his man, and Scott. As they leave the hangar. Stoddard looks around. ANGLE, his POV. Inside the hangar, the fallen man, that Scott has killed. Stoddard goes back inside, to drag this man away. He looks up. And, as he does so, he sees Laura, walking with Jackie Black, toward the Global News Plane. STODDARD -LRB- yells. -RRB- Wait! ANGLE, on Jackie Black and Laura, walking toward the plane, where we see the crew hurriedly setting up a camera. ANGLE, on Stoddard, as he draws his pistol, and fires toward Laura and Jackie. We see Jackie move to shield Laura, and then, struck by a bullet, she goes down. JACKIE BLACK -LRB- to Laura. -RRB- Keep walking. ANGLE, on Scott, in the grip of Stoddard's henchman. HENCHMAN -LRB- to Stoddard. -RRB-. do you want me to? In the moment he is distracted. Scott breaks the man's grip, and his arm. He knees the man, and kicks him to the ground. ANGLE, INT. The Global Jet. The news crew reacts to the shot. Beyond them we see Jackie, fallen to the tarmac, and Laura, is walking toward the newspeople. FEMALE REPORTER Gim me an uplink Gim me an uplink. GET IT ON THE SAT. Now Now Now. Inside the jet we see various monitors, and one switches from an innocuous travelogue, to the scene at the airport, and the caption `` Live''. We see the shot is taken from inside the plane. We see Laura stumbling toward the bizjet, and see the female reporter run out of the plane, and move her to safety inside the cabin. FEMALE REPORTER -LRB- to the unseen cameraman. -RRB- On her. On her, get it on the girl. Get us Out of Here. The camera shifts to the image of Laura Newton, going out live. Behind her we hear the crew shooting commands, and see the door to the Global jet close, as the jet begins to taxi. ANGLE, INT. The Petroleum Hangar. We see Stoddard, reloading his pistol. In the BG we see Scott step through his handcuffs, that is, bring them in front of his body. He takes a pistol from the henchman, who is writing on the floor. He raises the pistol and shoots the henchman. He turns on Stoddard. SCOTT The girl ai n't dead, baby, you're dead. You see : that's the difference. He walks toward Stoddard, who is fumbling, trying to reload his pistol. STODDARD WAIT : WAIT. The girl's home. You brought her home. Now, listen to me, because I am going to tell you. now, you wanted to be `` inside''. I am going to take you as far inside as you can go : Z'at what you want? Is that what you want? SCOTT No, I just wanted to bring the girl back. He shoots Stoddard, who falls. ANGLE, INT. The Bizjet, as it taxis. Laura Newton turns her face to the sound of the shot. ANGLE, her POV. Jackie Black, on the tarmac, Scott, kneeling to the fallen Stoddard, and then running out of the hangar toward her. ANGLE, on Scott, running, as we see he has the key he has taken from Stoddard, and is releasing his handcuffs. ANGLE Jackie Black, bleeding, as Scott kneels to her, and cradles her. Scott looks down. Black is weakening, and obviously expiring. JACKIE BLACK is she safe? SCOTT That's right, she's safe. JACKIE BLACK -LRB- weakly, almost whispering. -RRB-. well, then. ANGLE on Scott, cradling her. Weeping, as he smoothes her hair. SCOTT that's right, Baby. FADE OUT."
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] | Robert Scott is a former United States Marine Corps Force Recon master gunnery sergeant, acting as a selection cadre member for Delta Force. While observing an exercise designed to evaluate Delta candidates, Scott meets a recruit, Curtis, as well as Sergeant Jacqueline Black, a knife fighting instructor. Scott is drawn into a clandestine operation to find Laura Newton, the President's daughter, who is missing. He and Curtis go first to the beach house of one of Laura's professors, with whom she is said to have a relationship. They find neither person there but find two unidentified men who react aggressively, leading Curtis, who has taken up position outside with a sniper's rifle, to shoot the men. Another lead takes them to a bar where girls are recruited as prostitutes, and Scott's team follows a middleman from the bar to a brothel that funnels some of these girls to an international sex slavery ring. The madam gives them a contact number leading to a pay phone. Calls placed to the pay phone are traced to Tariq Asani, a Lebanese national currently in federal prison. They plan to intercept Asani during a prisoner transport for medical treatment and gain information from him about the sex trafficking operation. When the car carrying Asani and another prisoner stops en route to its destination, Scott shows up and appears to kill the transport guard, then kills the other prisoner who was on death row. He spares Asani when Asani says he can get them on a plane out of the country that night and confirms the sex slavery ring is based in Dubai. Scott stops at a convenience store to relay the information to the team. Curtis provides him with more ammunition, but Asani, waiting in the car, happens to spot the badge of another agent talking with Curtis and opens fire. Curtis is wounded and Scott has to kill Asani. As the team prepares an assault in Dubai, a news broadcast reports that Laura and her college professor were discovered drowned while sailing off the coast of Martha's Vineyard. The rescue operation is called off. Scott returns home, convinced there is no more to be done, but Curtis tracks him down and insists that Laura is alive. He shows Scott an earring that was caught in his sniper's mat from the beach house identical to the earrings Laura is wearing in a news photograph. When they return to the beach house to investigate, Curtis is killed by a sniper positioned on a nearby boat. Scott evades the sniper and when he finds Laura's unique sign on a window in the beach house indicating she was there, he realizes that she may not be dead. He takes his pager and phone apart and finds a tracking device. He tries to contact Laura's mother, who is visiting a rehab facility, but he is intercepted by a female Secret Service agent assigned to guard the First Family. When he shows the agent the earring, the agent, who knows Laura well, explains that for years the President has used visits to his daughter as a cover for extramarital affairs, and that he pulled Laura's Secret Service detail to use as extra protection for himself during the latest trip, leaving her vulnerable to the members of the sex trafficking ring. Scott enlists Sergeant Black to help him rescue the girl from Dubai and turns to Avi, a former Israeli operative. Avi agrees to get him into Dubai and smuggle Laura out concealed in a cargo container at the airport, obtaining weapons for him and support from a local man known as Jones. Jones is killed during the rescue and Scott flees with Laura to a safe house, where he persuades her that although he is alone, he is acting under orders. Correctly guessing that he is really acting on his own, Laura says that King Leonidas of Sparta would respond to requests for help from neighboring kingdoms by sending one man, and decides to trust him. When he takes Laura to the airport to seal her in the cargo container, Scott discovers he is being tracked when he finds a transmitter hidden in his knife. He rushes her out of the container just as his old team arrives to apprehend them. Scott is shot and Laura is captured. Her captor reveals herself as Sgt. Black, who shows her the earring and photos from the Secret Service agent, convincing Laura to stop struggling. A Swedish news crew witnesses the struggle as they are about to board their own plane nearby, and recognize Laura. Black is shot, and a hysterical Laura is hustled to safety aboard the journalists' plane. Scott finds the injured Black, who asks if Laura is now safe, which Scott confirms. Later, on a London city street, a stubbled Scott is shown watching an evening news broadcast regarding Laura's return on a television in a shop window. The government spins the story of Laura's kidnapping as an opportunity for the President to take action to end the trafficking of American girls as sex slaves. A British man watching alongside Scott says, "Time to go home," and walks away. Scott watches him leave and says, "Lucky man." Scott is then seen walking off into Piccadilly Circus. | Spartan_(film) |
[
"SUPERBAD OPENING CREDITS OVER SUPER - FUNKY BLAXPLOITATION - STYLE MUSIC, which builds to an exciting crescendo filling us with the expectation of a thrilling, action - packed opening sequence. Instead we get :",
"INT. SETH'S CAR - MORNING Seth, seventeen, a bit heavyset, in the midst of a sad attempt at growing a goatee and clearly a terrible driver, cruises along while fiddling with the CD player. He pulls out his cell and dials. SETH Yo.",
"INT. EVAN'S HOUSE - KITCHEN - CONTINUOUS Evan, seventeen, a little too tall and slim, a boy who clearly never figured out how to style his hair, is finishing off a bowl of cereal. He is on his cell phone. EVAN What's up? SETH I was doing research last night, for next year, and I think I'm gon na go with Bang Bus. EVAN Which one's Bang Bus? SETH The one where they bang the chicks on the bus. Thirteen bucks a month. Total access, live Web Cam feed. The works. It'll be like I'm on the bus, banging them myself. EVAN That stuff's bullshit, they're all faking it. And plus, your parents are gon na look at the bill. SETH It shows up under a different name. -LRB- beat. -RRB- I hope. Bang Bus. That would n't look good. Maybe I should just pick the one with the least dirty sounding name. EVAN Weapons of Ass Destruction's out then. Seth pulls up in front of a house. SETH I could tell my parents I'm doing a project on Rome and I have to research orgies.",
"EXT. EVAN'S HOUSE - CONTINUOUS Evan walks out his front door. WE REVEAL he is walking towards Seth's car. EVAN -LRB- still into phone. -RRB- Yeah. Just tell them your taking a class on blow jobs. They both hang up and Evan gets in the car. Seth is about to pull away, when EVAN'S MOTHER comes out the front door. EVAN'S MOM Thanks for taking him, Seth. Evan changes the radio station. Seth slaps his hand. SETH Do n't touch that! EVAN'S MOM You two are so funny. I ca n't imagine what you'll do without each other next year. Evan told me you did n't get into State. SETH Yeah, you know. I got some other places. Good places. I think we'll be fine. EVAN'S MOM Are you going to miss each other? EVAN Miss each other? No! SETH That's disgusting. MOM Bye, boys. Seth and Evan drive off. SETH I am truly, truly jealous that you got to suck on those tits when you were a baby. EVAN Fuck you, man.",
"EXT. CLARK SECONDARY- SOON AFTER They drive up to Clark Secondary. There is a giant sign that reads `` Seniors - Two Glorious Weeks Until Graduation''. Seth turns into the STAFF parking lot.",
"INT/EXT. 7-11 STORE - MOMENTS LATER Seth and Evan walk past a group of smokers, towards the 7 - 11. EVAN You're being an idiot, man. You really should n't park there. SETH Fuck it. I'm a senior about to graduate. They should be suckin' my balls. It's the least they can do for stealing three years of my life. They walk past DIMITRI -LRB- 18, big Native American guy -RRB- as they enter the store. Dimitri aggressively bumps his shoulder into Seth. EVAN What the hell's wrong with Dimitri? SETH Oh, yeah dude, I forgot to tell you. I knocked the fuckin' shit out of him in capture the flag last week. EVAN Good! 9th Grade Camp he gave me whiplash in `` King of the Ring.'' I fucking hate that guy. They go to the magazine rack and stare at a Maxim cover. EVAN -LRB- CONT'D. -RRB- Look at those nipples. SETH They're like baby toes. EVAN It's not fair. I have to hide every erection I get. SETH Sometimes I get boners so big I ca n't hide them. And then I get nervous and my heart starts pounding, and it all just, like, feeds my boner. It just becomes this. thing. that's attached to me. And it wo n't go away. EVAN Just imagine if girls were n't weirded out by our boners and they actually wanted to see ` em, like this shit. SETH You know it's been, like, a year and a half since I've seen an actual human female nipple. Besides my mom's. I saw it last month, and it was sick. EVAN Holy shit. Liat was two years ago? I guess so. She was insanely hot, though. SETH Exactly. Too hot. That's what sucks. EVAN How can that possibly suck? I'd be fuckin' psyched if I'd gotten with a girl that hot. You got, like, two dozen handjobs! SETH And three quarters of a blowjob, But that was fuckin' it. It was the peak of my ass - gettin' career, and it happened way, way, way too early. EVAN You're like Orson Welles. SETH Exactly! If I'd built up to it, I'd probably at least be having steady sex with a mediocre - looking girl at this point. I honestly now see why Orson Welles ate his fat ass to death. EVAN You'll have sex in college. Everyone does. And if not, you'll have the Bang Bus. SETH But the key is to be good at sex by the time you're in college. You do n't want girls to think you suck dick at fucking. EVAN I still think you've got a chance with Jules. She got mad hot over last summer, and clearly has n't realized it, ` cause she still flirts with you. SETH Are you joking, man? Let's see here. she dated Dan Remick, Matt Muir, Josh Corber and what's - his - face. All of those were cool guys. She's been hot way longer than you think. Why would she end her high school career with me? EVAN Well, Helen got with Ariel Shafir. SETH Yeah, and he was a complete fucking loser. You're a step up from that. Which is why you should stop being a pussy and do her! You could nailthe shit out of her for, like, two months before you leave. That bitch looks like a good fucker. EVAN Hey! I'm sick of you talking about her like that, man! Evan starts to walk out. Seth follows. SETH What, you can talk about that bitch all day every single day, but I ca n't say one thing about her? EVAN I do n't constantly insult her. SETH I did n't insult her! I said she looks like a good fucker! She looks like she can take a dick. That's a good thing. Some women pride themselves on their dick - taking abilities.",
"EXT. 7-11 - CONTINUOUS Seth and Evan come out the front doors. TERRY, one of the rough - looking smokers, calls out. TERRY Yo. Seth. Did you hear I'm having the big grad party? Evan, a little scared, keeps his distance. SETH No. TERRY Yeah. Terry spits on Seth's shirt. TERRY -LRB- CONT'D. -RRB- And you're not coming. Tell your fucking faggot friend he ca n't come either. Seth wipes the spit off. He looks at Terry and seems as though he's about to say something, but is interrupted when Terry starts hocking up more spit. Seth runs away as Terry and his friends laugh. He catches up to Evan and they head back to school. EVAN Wow. You really bitched out on that one. SETH I bitched out? You bitched out! You were across the street before I even realized what was going on. -LRB- beat. -RRB- That guy's such a douche bag.",
"EXT. CLARK SECONDARY OVAL RUNNING TRACK - DAY BIRD'S EYE VIEW OF A P.E. CLASS There are 30 guys standing behind the starting line of the school's track. We hear a TEACHER yell `` Go!'' and the boys start running. We FOLLOW them from above. All the boys keep pretty much the same pace except for one runner who slowly lags behind. The group gets so far ahead of the him that he is alone in the frame. He stops. Kneeling on the track breathing heavily. It's Seth. SETH -LRB- panting. -RRB- This. is. bullshit. A moment later a KID with prosthetic leg jogs by. KID -LRB- as he passes Seth. -RRB- Poo - say.",
"INT. CLARK SECONDARY CLASSROOM - DAY Evan is sitting in math class staring at HELEN'S breasts. She ` s a very tall girl and is athletic in a sexy way, wearing volleyball team sweat pants and a tank top. He looks up from her breasts to her face : she is staring right at him. He immediately looks to the front of the class, embarrassed. The bell rings and everyone leaves. Helen walks up to Evan as they enter the hallway. He's really nervous. She offers him a pen. HELEN Hey Evan, thanks for the pen. EVAN Oh, do n't worry, no worries. Just keep it. Then you'll just have it, and you wo n't have to borrow another pen. HELEN Thanks. uh. I was going to ask you, did you hear about Terry's grad party? It's going to be so insane. EVAN Yeah, it's a maybe. But, you know, I got ta, I got my. there's so much other fun shit that is going to be going on that night. so, you know. HELEN Fun shit? But I, like, never see you at any parties or anything. EVAN Because of all the other fun shit I'm off doing. HELEN -LRB- playful. -RRB- Okay. So why were n't you at Dimitri's party on Saturday? EVAN Dimitri's? I uh. did n't want to go, because, well, I did other stuff. Saturday. -LRB- nervous, he desperately thinks. -RRB- Oh yeah! Saturday night was awesome! -LRB- The real version of Evan's story is shown through a montage of quick flashbacks. -RRB- EVAN -LRB- CONT'D ; V.O. -RRB- First my parents went out to a double feature, so a bunch of people came over.",
"INT. EVAN'S HOUSE - NIGHT Seth is there. Evan and him are surfing the Bang Bus web site. FOGELL arrives with a bottle of Sambuca. Fogell is one of those seniors who looks like he's thirteen years old. EVAN and we had a couple drinks in my basement. An empty bottle of Sambuca in front of them and empty beer cans at their feet, the three boys each shotgun a beer. EVAN -LRB- CONT'D ; V.O. -RRB- and Seth's parents were having this cocktail party, and we went over there to, like, mingle.",
"INT SETH'S HOUSE - NIGHT Seth's parents are having a fancy cocktail party. The boys are drunk as hell. EVAN and there were actually some really interesting and, like, entertaining people there. The boys laugh hysterically as they each shake Tobassco Sauce onto their tongues. They writhe around in agony as several adults look at them like they are morons. EVAN -LRB- CONT'D ; V.O. -RRB- and, uh, then we saw some, uh, live music.",
"INT. SETH'S HOUSE - BASEMENT - NIGHT In Seth's basement, the boys violently wrestle. Evan gives Fogell a bloody nose, but they all ca n't help but laugh. EVAN then we went to a club downtown.",
"EXT. STRIP CLUB - NIGHT The bouncer of a dirty strip club rejects them. EVAN and then we pretty much called it a night and went home.",
"INT. TBD HOUSE - NIGHT Evan pukes all over Seth. Evan and Fogell laugh hysterically as Seth yells at them.",
"INT. CLARK SECONDARY HALLWAY - DAY We return to Evan talking to Helen in the halls. EVAN you would've loved it. HELEN That sounds so fun. I would love to go do something like that. EVAN Yeah. well, you know, me and Seth are always cooking up. uh. fun little. events. Helen is disappointed in his response. HELEN So, are you guys going to the same school next year? EVAN Nah. We were going to but, uh, we got into different ones. HELEN What are you going to do without him? EVAN Same shit I've always been doing. It'll be fine. Do n't worry about it. I'm not.",
"INT. FOODS AND NUTRITION ROOM - NEXT PERIOD Students file into the home economics room. The blackboard reads, TODAY : TIRAMISU. The ingredients are listed below. Seth is talking to the cooking teacher. SETH Mrs. Grier, I joined this class because I thought I'd be cooking with a partner. It's not fair. She's never here. I do n't get twice the marks for doing all the work. MRS. GREIR I did n't invent odd numbers, Seth. SETH Look at Evan. Evan is playfully throwing flour at a tiny Japanese boy. They both laugh hard. SETH -LRB- CONT'D. -RRB- While I'm over in my unit, isolated and alone, eating my terrible - tasting food because I ca n't even properly mix ingredients by myself, I got ta look over at that. The Japanese boy ties Evan's apron. Evan then turns around and ties the boy's apron. They both look happy. SETH -LRB- CONT'D. -RRB- I wash and dry. And that is B.S. I'm like a single mother. MRS. GREIR Well, save it for next week. Today Jules' partner is n't here either. Pair up with her. Station four. SETH Jules? The teacher walks away. Seth looks over to station four, nervous as hell. ANGLE ON : Jules, well - dressed and `` popular'' looking. She stands alone at station four, laying out utensils. Seth musters his courage and walks towards Jules. He stops, unsure of what to say. JULES Hey Seth, your partner did n't come again? SETH That's kind of a personal question. JULES What? SETH -LRB- nervous. -RRB- Nothing. It was my attempt at humour. JULES Well, uh, maybe I kidnapped her so you'd be forced to work with me. There's my attempt at humour. SETH Well, I would call that a success. -LRB- reading recipe sheet. -RRB- Marscampone. scamponee cheese? Is that some kind of new cheese or something? JULES All cheese tastes the same to me anyway. SETH Except blue cheese. That stuff is sick. JULES Thank you! Yes! My older brother always eats blue cheese. You know that stuff is actually moldy. Like, they tell you it's moldy, then they tell you to eat it anyway. SETH Well whoever `` they'' are, they can eat my dick.",
"INT. FOODS AND NUITRITION ROOM - LATER Jules watches as Seth awkwardly removes the tiramisu from the oven and places it on the table. JULES What are you doing tonight? SETH I do n't know, probably nothing. Why? JULES My parents are out of town and I'm thinking of having a party. I do n't know how big it'll be, but you should come anyways. SETH Yeah. Sure. That sounds fun. I love parties. JULES Really? I do n't usually see you at them. SETH Oh, uh. It's more of, like, a love - hate thing. Right now I love them, though. Uh. how do I do this? JULES I'll write down my address and number. ANGLE ON : Evan. Evan is standing by the sink scrubbing a tray. Behind him, at the table, is the small Japanese boy eating the tiramisu. EVAN That's good shit. Huh, Miroki? Seth walks up to Evan. SETH -LRB- whispering. -RRB- Dude! She's havin' a fuckin' party. ANGLE ON : Fogell entering the room SETH -LRB- CONT'D. -RRB- -LRB- whispering. -RRB- Do n't tell Fogell about the party. FOGELL Hey guys, I was walking here, and on the way, I saw Nicola, and she was wearing these tight white pants and a black g - string and you could see it right through the pants.",
"INT. HALLWAY (FLASHBACK) - EARLIER We see Fogell, looking at the ass of NICOLA, an incredibly hot girl who exudes sexual vibes and looks a little skanky ; you can see her black g - string through her tight white pants. She turns and notices Fogell. He gives an awkward look. FOGELL It's nine thirty. NICOLA What?",
"INT. FOODS AND NUITRITION ROOM (PRESENT) - CONTINUOUS Back to Fogell, Seth and Evan. FOGELL I told her what time it was. It was awesome. She's got the nicest ass. SETH Like you'd know what to do with it. FOGELL Ha ha. I'm really gon na miss your knee - slappers when me and Evan are at State. SETH -LRB- pissed. -RRB- Yeah, well I'll be at Junior college where the girls are half as smart, and thus twice as likely to blow me. FOGELL What are you guys doing tonight? SETH Nothing. Sorry. You'll just have to fingerbang yourself. EVAN -LRB- to Fogell. -RRB- What you doing? FOGELL Well, Seth always said I was too much of a pussy, but he was wrong. It's been arranged. At lunch, I'm going to the same place Mike Snider went to pick up my brand new false identification card. SETH Dude! That's perfect, ` cause, Evan, did n't you just say that you heard about a party? FOGELL -LRB- to Evan. -RRB- Why did n't you tell me? SETH Shut up. Who cares? Just be happy he told. And hey! Now you can buy the booze. FOGELL Sounds cool. Cool. MRS. GREIR -LRB- O.S. -RRB- If you're not in this class, leave this class! EVAN Well done, man. We'll see you after class. Fogell leaves. SETH Did you tell that nimrod you're not going to room with him? EVAN Uh. no, not yet. SETH You better, man. That guy is a poon - tang repellent. Seth sees Jules coming. JULES Seth, dishes time. What's the hold up? SETH We're getting a fake ID. JULES Well, you two have four more years to cuddle, so let's get to work. EVAN Actually, we're going to different schools. JULES Really? You're cutting the cord? What's going to happen? SETH Nothing! Jesus. EVAN Yeah? What do people think is gon na happen? That's what I do n't get. SETH We're not, like, dependent on each other. EVAN We met when we were 8, we were fine before then. It's not like we do everything together.",
"INT. CLARK SECONDARY CAFETERIA - DAY Seth and Evan are eating together. EVAN So it looks like we get a little graduation party after all. SETH I would do terrible things to get with Jules tonight. Terrible things. EVAN No shit. I'd give my left foot to start dating Helen. She's killin' me. SETH Ah, Helen's a bitch. Evan slams his fist on the table. EVAN I'm fuckin' sick of this shit, man! Seriously. Why do you hate her? Is there even an actual reason? Because seriously, I'm beginning you think you like her. SETH Hell no! I hate her. EVAN Why? SETH I was never going to tell you this story, because I knew that if you heard it you would never want to get with Helen, but over the last few weeks I've been having a hard time thinking of a reason not to. So, here it is. Helen and I went to elementary school together, right? -LRB- beat. -RRB- Well, in the third grade, I had. like. an odd problem. For some reason, I do n't know why, I used to have this thing. where I would. like, kinda. sit around all day and draw pictures of dicks. EVAN What?",
"INT/EXT VARIOUS LOCATIONS A MONTAGE of FLASHBACKS of YOUNG SETH -LRB- Age 10 -RRB- drawing pictures of dicks in various places. A PARK, AT HOME, IN A SANDBOX, and finally, in a SCHOOL CLASSROOM. SETH -LRB- V.O. -RRB- I'd just sit there for hours on end drawing dicks. I do n't know what it was. I could n't touch the pen to paper without it drawing a penis. EVAN -LRB- V.O. -RRB- That's fucked. SETH -LRB- V.O. -RRB- No shit that's fucked up. Here I am this little kid who ca n't stop drawing dicks to save his life.",
"INT. CLARK SECONDARY CAFETERIA -PRESENT EVAN What does that have to do with Helen? SETH Just listen.",
"INT. RANDOLPH ELEMENTARY CLASSROOM -FLASHBACK Young Seth is still sitting at his desk drawing penises. SETH -LRB- V.O. -RRB- I was very secretive about this dick thing I had going, after all, even I thought I was a loon, lord knows what other people would have thought. So I would take all my dick drawings and stick them in this Muppet lunch - box I had. We see Young Seth sticking a picture of a penis in a lunch - box filled with pieces of paper.",
"INT. RANDOLPH ELEMENTARY CLASSROOM - DAY Young Seth is drawing, however it is a different day. SETH -LRB- V.O. -RRB- So one day I was finishing up a picture of a real big and veiny bastard, when all of a sudden. Young Seth drops the picture of the dick off his desk. It floats down and hits the feet of a cute little girl, YOUNG HELEN.",
"INT. CLARK SECONDARY CAFETERIA - PRESENT EVAN You hit Helen's foot with your dick?",
"INT. RANDOLPH ELEMENTARY CLASSROOM - MOMENTS LATER The little girl picks up the picture and looks at it with a truly disturbed look on her face. Young Seth grabs the picture from her and shoves it into his lunch - box.",
"INT. CLARK SECONDARY CAFETERIA - PRESENT SETH Well she fucking flipped. She started crying and shit. Ratted me out. The principle finds my cock - Muppet lunch - box, and he fucking flips.",
"INT. RANDOLPH ELEMENTARY PRINCIPLE'S OFFICE - DAY A FLASHBACK of Young Seth sitting in the principle's office. The Muppet lunch - box is open and the penis drawings are completely covering his desk. SETH -LRB- V.O. -RRB- It turns out the principle was some crazy religious guy and he thought I was possessed by some dick devil or something. The principal puts his hand on Seth's head and begins praying for his soul.",
"INT. CLARK SECONDARY CAFETERIA - PRESENT SETH So, he calls my parents and they make me go to a psychologist who kept asking me all these dick questions. My parents would n't even let me eat dick - shaped foods for, like, months! No carrots, no Pop - sicles, no hot - dogs. You know how many fucking foods are shaped like dick? EVAN -LRB- half amazed, half amused. -RRB- Wow. That's really messed up. SETH I ca n't even stand to look at her punk face. -LRB- beat. -RRB- I'm going to go take a piss. Peace.",
"INT. CLARK SECONDARY BATHROOM - LATER Seth finishes his piss. He goes over to the sink, looks at it for a moment, then walks out of the bathroom.",
"INT. CLARK SECONDARY HALLWAY - CONTINUOUS Just as Seth turns the corner he sees Jules, Nicola, and SHIRLEY standing by their lockers. Jules spots Seth. JULES Seth. There you are. Jules turns and says goodbye to Nicola, who walks away. Jules and Shirley turn to meet Seth. SETH Hey. Here I am. JULES So you're coming to my party, right? It's fully on. SETH Yeah. Why? Should I not? JULES No, no, no. I really want you to come. But. uh, you did say you were getting a fake ID or something, is that right? SETH Very right. Right. I'm getting that. SHIRLEY Can you get us drinks? SETH Ummm. I do n't know. I. think. maybe. JULES -LRB- half joking. -RRB- Come on, you scratch our backs, we'll scratch yours. SETH Well, funny thing about my back. It's located on my cock. Shirley is offended. Jules laughs a little. Seth laughs too hard. SETH -LRB- CONT'D. -RRB- Ha! Alright, sure. I can do that. What do you guys want? JULES Well, this is actually, like, a big favor, but, well, my parents gave me like a hundred bucks to feed myself for the week, but the house if full of food, so I figure I should just spend all of it on extra drinks for the party. SETH Wow. I would never even think of doing something that nice. Jules hands Seth a hundred dollars. JULES Well, this is really nice of you. I mean, I really appreciate this. Seth ca n't believe what he's hearing. He can barely contain his smile. SETH Should I just get, like, a shitload of different shit? JULES Whatever shit you think people would like, I do n't really know. SHIRLEY I want Mike's Hard Lemonade. JULES Okay. I'll see you tonight. SETH Yeah! I'll see you! The girls walk off, leaving Seth lost in thought. He suddenly runs down the hall.",
"EXT. SCHOOL FIELD - MOMENTS LATER Evan is standing alone amidst the rest of his gym class as they play soccer. GYM TEACHER Evan, get into the game. Evan says nothing and the teacher soon redirects his attention elsewhere. Evan sees Seth jogging towards him. SETH -LRB- out of breath, worked up. -RRB- Man, just - Evan, listen to me. You know Jules? You know what she just did? She came up to me and asked me if I would buy her alcohol. Not just her, her whole party. Do you know what that means? It means that by some miracle, we were paired up, we talked, and she actually thought of me afterwards. Thought of me enough to decide that I was the guy that she was going to trust the fun - ness of her party with. She wants me! She fucking wants my dick! EVAN Did you ever think maybe she's just using you to get her alcohol? SETH Of course I thought of that! LISTEN TO THIS!",
"INT. FOODS AND NUITRITION ROOM (FLASHBACK) The same scene as before with Seth and Jules in class. JULES Yeah! My older brother always eats blue cheese. You know that stuff is actually moldy.",
"EXT. SCHOOL FIELD - PRESENT SETH She has an older brother! She could have asked him, but she asked me! She looked me straight in the face and asked me. She wants to fuck me, man. Do you understand that? Fucking! Today is the day that fucking has become possible. EVAN Are you stupid? You're not going to be able to sleep with her tonight. SETH She's going to be at the party, she's gon na be drunk, and she likes me at least a little, so I can get with her. Then, I make her my girlfriend, and then I fuck her all summer long! Then, by the time college rolls around, I'm the fuckin' fucking master, man! EVAN Make her your girlfriend? Of course! That's good. So, hypnosis, love potion, or mind - control helmet? SETH Once I've gotten with her, I write her love letters, flowers, I'll do anything - I'll be the most pussy - whipped guy in the universe - what chick would n't go out with a guy like that? The soccer ball rolls towards them. They both watch as it rolls by. CLASSMATE What the hell, Evan? Evan shrugs back. CLASSMATE -LRB- CONT'D. -RRB- Fuck you, man. SETH Fuck off, Greg. Why do n't you piss your pants again? CLASSMATE That was, like, eight years ago, asshole! He runs off. SETH -LRB- to Evan. -RRB- Wan na hear the best part? EVAN -LRB- sarcastic. -RRB- Oh, I have n't? SETH Helen! Evan looks upset, assuming that Seth is about to trash - talk Helen, as usual. SETH -LRB- CONT'D. -RRB- You do the same thing, man! Buy Helen her alcohol. Then, tonight, when you guys are both drunk, get with her! This is the last party we're ever going to go to as high school people! I've fully ignored my hatred for Helen in coming up with this, which is a big ass deal. We need to stop being pussy and for once just goes balls out, man! Evan seems to be swayed. EVAN I should get Helen alcohol? SETH Of course! It'll be pimp, and then you know she'll be drunk. EVAN Have you talked to Fogell? SETH You talk to Helen, I'll find that retard Fogell.",
"INT. HALLWAY - LATER Everyone is rushing to class. Evan hurries through the halls and finds Helen at her locker. EVAN Hey Helen! Hold up. Did you hear about the party tonight? HELEN Yeah, I just heard. It sounds sweet. You're not coming, are you? EVAN No, no, I am. That's why I came looking for you. Me and some guys are going to the liquor store after class, so I was thinking I could buy you yours, if you needed someone to. HELEN Yeah! That'd be great, that'd save me such a hassle, cause I was going to beg my sister, but yeah, could you get me, like, a bottle of Goldschlager? I'll pay you back tonight. EVAN You will absolutely not. It's my treat. HELEN Wow. Thanks, Evan. Evan swings a friendly little punch at Helen's shoulder, but someone walks into him, causing him to nail her in directly in the tit! HELEN -LRB- CONT'D. -RRB- Hey! You punched my tit! EVAN -LRB- mortified. -RRB- I'm sorry! Shit, shit. I'm so sorry! I just wanted to give you a friendly nudge in the arm, you know? I'm so sorry. HELEN -LRB- giggling. -RRB- Do n't worry about it. So I'll see you at the party? EVAN Yeah. I'll see you then. I'm so sorry about that.",
"EXT. CLARK SECONDARY - CONTINUOUS Seth is waiting angrily in front of the school. Evan comes out the front doors. SETH That douche bag is n't back yet, I've been standing here with my thumb up my ass. EVAN I did it, dude. I even offered to pay for it. It was pimp. SETH Whoa. That is fucking pimp. Why did n't I do that? Shit. The bell rings.",
"INT. WOODSHOP CLASS - CONTINUOUS Seth and Evan work side by side in the woodshop. SETH -LRB- yelling over the machines. -RRB- That's what we get for trusting a mental midget! He's fucking it all up! I bet he pussied out, just like I said he would!",
"EXT. CLARK SECONDARY - AFTER SCHOOL Seth and Evan walk out the front door. SETH I mean, what are we going to tell the girls? `` Sorry, we could n't do what we promised because we're dickless incompetents!'' We'll never get laid because of that little ass - fuck. How did he get in to State?! He's got shit for brains! Shit! How else can we get liquor? FOGELL -LRB- O.S. -RRB- Hey guys! Seth and Evan turn around to see Fogell running after them. EVAN Where have you been? SETH Yeah! You almost gave me a goddamn heart attack! You better fucking have it, where is it? FOGELL I got it. It's flawless! It's great, man, look. Fogell reaches into his pocket and pulls out the fake ID. Evan grabs it. EVAN -LRB- reading the card. -RRB- Okay Mr. `` McLovin''? What kind of a stupid name is that? What are you trying to be, an Irish R&B singer? FOGELL Well, they let you pick any name you want when you get there. SETH So you picked McLovin? FOGELL It was between that or Muhammad. SETH Why was it between that or Muhammad? Why did n't you just pick a common name? FOGELL Actually, Seth, Muhammad is the most commonly used name on earth. EVAN Have you ever actually met a guy named Muhammad? FOGELL Have you actually ever met a guy named McLovin? SETH No! That's why you picked a bad name. EVAN You probably have federal agents tracking you for even considering the name Muhammad on a fake ID! SETH Look at this shit man, you do n't even have a first name. It just says `` NAME : MCLOVIN'' EVAN One name? FOGELL I just thought McLovin sounded old, and the chicks would dig it. EVAN Under what circumstances would you ever have to show a chick your ID? FOGELL She could ask. Or, I could just show it to her. SETH Holy shit! I do n't believe this. This says you're fucking 25! Why did n't you just put 21? FOGELL I knew you would ask that. Look, every day, dozens of kids roll into the liquor store with fake ID's trying to act like Joe Casual. Each and every one of these kids just so happens to be 21 years old. Just how many 21 year - olds do you think there are? SETH Fool! EVAN Calm down! It's not terrible! This might work, but it's up to you, Fogell. They'll either think, `` Oh, it's another punk kid with a fake ID.'' Or, `` Look, it's McLovin, the twenty five year - old organ donor''. What's it gon na be? Fogell takes a deep breath. FOGELL I am McLovin. SETH You're not McLovin. No one's McLovin and this is never going to work. We need a new way to get alcohol. Could we drive to Canada or something? FOGELL I still think it's going to work. They walk into the staff parking lot. Seth stops. SETH What the fuck? Where's my car? EVAN I told you, man! What did I say? I told you that was a dumb idea. FOGELL Why would you park in the staff - SETH Shut up, Fogell. FOGELL ` Cause you're not staff. SETH I am aware of that, Fagell. Seth storms off. Evan follows him. FOGELL -LRB- yelling. -RRB- Will you still pick me up from work? Evan and Seth round the corner, leaving Fogell behind. SETH Let's go to your house.",
"INT. EVAN'S BEDROOM - SOON AFTER Seth puts on a shirt that is way too small and he's wearing pants that are too tight. Evan is playing the video game Grand Theft Auto. SETH Now we wait for your Mom to piss off and steal your parents' booze like your brother always does. Take a bit from every bottle. Piece of cake. It's not exactly what Jules wanted, but it'll do, right? EVAN Come on! Just wear what you wore to school. SETH I told you I ca n't do that. I ca n't let Jules see me in the same shit I wore at school. It's completely unbecoming. EVAN Why do n't you just go to your house and get your own clothes? ` Cause this is stupid. SETH You're stupid! I ca n't go home. Then my mom will know the car got towed and I'll be grounded tonight. I'll just stay here all weekend and pick it up on Monday. EVAN -LRB- RE : video game. -RRB- Where the fuck is the dirt bike? -LRB- beat. -RRB- Ah, screw it. I'm just gon na kill everyone. Boom! Die, piggies! SETH Do n't you have bigger clothes? EVAN See what my dad's got.",
"INT. EVAN'S HOUSE - PARENTS ROOM - SOON AFTER Seth is wearing Evan's Dad's clothes : a 70s style cowboy shirt, just barely pulling it off, as well as slacks. SETH Not bad, eh? EVAN It's, like, 7:30 and my Mom's still here. SETH Alright, here's what we'll do. I'll fuck your Mom in the basement while you steal the liquor. EVAN Fuck you, asshole. Let's just sneak down there and grab it.",
"INT. EVAN'S HOUSE - LATER Evan and Seth, carrying an empty two liter bottle of Coke, cautiously descend the creaking staircase. Their eyes watch the TV room, where Evan's mom is on the phone. The boys enter the dining room and cautiously open the liquor cabinet. Seth enthusiastically reaches for a bottle. SETH -LRB- whispering. -RRB- Alright, dude. Get ready to receive. Evan begins unscrewing his bottle, when he notices a little black line marking where the liquor bottle is filled to. Then, he realizes that every bottle has it. EVAN -LRB- whispering. -RRB- I ca n't believe it. They marked them. SETH -LRB- whispering. -RRB- What do you mean they. oh, man! Your parents are fuckers. What do we do now? EVAN -LRB- whispering. -RRB- Shh! We. we. take some and fill it back up with water. Get ready, I'll get water. Evan hurries off. Seth looks at the liquor cabinet, trying to choose the best booze. He grabs a massive bottle of gin. Evan reappears. EVAN -LRB- CONT'D. -RRB- -LRB- whispering. -RRB- Gin? That stuff is literally undrinkable. SETH -LRB- whispering. -RRB- It's the biggest bottle, you douche. Just do it! She's right in the other room! Evan reluctantly holds an empty Coke bottle as Seth shakily pours the gin in. Evan starts refilling the gin bottle with water, when suddenly they both hear his mom coming. EVAN -LRB- whispering. -RRB- Run! SETH -LRB- whispering. -RRB- But, the booze? EVAN -LRB- whispering. -RRB- Take it! Seth runs off with the gin and Coke bottle. Evan quickly closes the cabinet and sneaks off right before his mom enters. Through the window she see's that Seth is already on the front lawn and thinks nothing of it. EVAN -LRB- CONT'D. -RRB- Bye, Mom! Love you. EVAN'S MOM Love you, sweety. Evan leaves.",
"EXT. EVAN'S HOUSE - FRONT LAWN Evan and Seth triumphantly walk away. Seth holds up the gin. SETH Look at this mother. Smell it's glory. He opens it up and takes a whiff. SETH -LRB- CONT'D. -RRB- Mmm. It's good. Barely a scent. He takes a crazy big swig. SETH -LRB- CONT'D. -RRB- See that? I always said I had the highest alcohol tolerance. I'm like Superman. Seth taste another swig, but makes a strange face. Evan grabs the bottle and takes a swig. EVAN It's fucking water! SETH Water? -LRB- drinks again. -RRB- Fuck. Your brother beat us to the punch. We have to go back! EVAN We ca n't go back! She totally knew, she'll bust us for sure, and we have to meet Fogell. SETH Well, fuck. fine. Text your brother he's a stupid piece of crap. Evan pulls out his cell and chuckles as he types.",
"EXT. SHOPWELLS - DUSK Evan and Seth walk off the bus. They see Fogell walking towards them. He's in his uniform holding a hanger with a shirt and a vest. SETH What the hell is that? FOGELL A vest. SETH You're gon na look like a Pinocchio. EVAN What? It's just a vest. FOGELL Yeah. How many high schoolers you see in vests? SETH -LRB- eyeing Shopwell's. -RRB- You know, they got a ton of liquor right in there. If we get it now we can get to the party faster with all of Jules' shit. FOGELL No way! I work there. They know I'm not twenty - five. SETH Nobody said anything about you, dick - mouth. You have one name on your ID. It's out of the equation! And now I'm gon na have to take drastic measures. I'm gon na steal the booze. FOGELL What?! No! Hell no! You ca n't do that! EVAN -LRB- mocking. -RRB- Yeah, right! SETH That's right. And that way I give Jules back her money, like you did with Helen. That was good thinking, that's fucking pimp. That's how you seal a deal. It wo n't be hard. Remember Dan Vertlieb stole a keg from here and he's got, like, really bad scoliosis! EVAN You're not gon na steal it. Fogell, he's not going to steal it. FOGELL Please. Do n't do this! I promise. I'll get the liquor later. SETH I'm stepping up. And once I'm up, I do n't step back down. Maybe you `` State'' boys do n't understand that. Seth walks to the store.",
"INT. SHOPWELL'S - CONTINUOUS Seth enters the store, looking determined. He spots a SECURITY GUARD standing by one of the registers. SETH -LRB- to himself. -RRB- Hope piggy can run. He walks past the registers, which brings him in front of the long liquor aisle. He surveys the scene. There is an OLD WOMAN browsing the shelves. Seth looks over to the registers.",
"INT. SHOPWELL'S (FANTASY) - EVENING Seth is at the cash register. He has a huge amount of booze in the conveyor belt. CASHIER How old are you? SETH Twenty two. CASHIER You certainly are. That'll be eighty dollars. Seth hands the cashier a big EIGHTY DOLLAR BILL. SETH Thank you kindly. CASHIER You're welcome, Seth.",
"INT. SHOPWELL'S - CONTINUOUS Seth, still standing in front of the liquor aisle, shakes his head. He eyeballs the old lady.",
"INT. SHOPWELL'S (FANTASY) - EVENING The old lady is browsing. She drops her big purse. A hand reaches down and picks it up. It's Seth. SETH Excuse me, ma'am. You dropped your purse. Would you like me to help you to your car? OLD LADY That would be lovely, young man. Would you like me to buy you alcohol? SETH That would be lovely!",
"EXT. SHOPWELL'S (FANTASY) - MOMENTS LATER Seth, holding two huge bags of liquor, waves to the Old Lady as she drives away. SETH Enjoy your remaining years! OLD LADY I will. Enjoy fucking Jules!",
"INT. SHOPWELL'S (FANTASY) - CONTINUOUS Seth shakes his head. He looks down the aisle again, takes a breath and starts walking. He arrives at a fancy looking bottle. He takes it and looks down at it in his hands. A big golden label reads, `` GOLDSCHLAGER.'' SECURITY GAURD -LRB- O.S. -RRB- Do n't do it kid. We see that the Security Guard is right behind him. Seth does n't look up, he just stares at the bottle dramatically. SETH I never had a choice. He throws the bottle at the guards face. The guard blocks it with his billy club, grabs another bottle, and hurls it at Seth. Seth dodges it by an inch ; the bottle hits the OLD LADY in the head. OLD LADY -LRB- in agony. -RRB- AAAHHHHH! Before Seth can do anything, the guard smashes a 40 - ounce bottle of beer across his face. The guard SWINGS the broken end of the bottle and cuts Seth's throat. Blood spurts out. Seth drops his bottles and falls to the ground.",
"EXT. SHOPWELL'S - CONTINUOUS Evan and Fogell are talking. FOGELL Oh, and, uh, my Mom said we can have the TV from her basement and I've got, like, three lava - lamps and one strobe light, so like, we can have that in the room - Evan sees Seth coming out of Shopwell's. EVAN Shh. Seth's coming. FOGELL You still did n't tell him we're rooming - EVAN No. Shut up. FOGELL -LRB- to Seth. -RRB- So, where's all the stolen liquor? SETH Fuck you! I was gon na do it, but security was tight as shit. I was gon na do it though, do n't think I was n't. Let's go to the liquor store and try your stupid ID. Seth heads towards the bus stop. FOGELL Wait! I'm gon na put my vest back in my locker!",
"INT. BUS - MOMENTS LATER MORE MIND - BLOWINGLY BADASS FUNK MUSIC OVER Seth, Evan and Fogell sitting on the bus amidst a bunch of gloomy, unpleasant looking strangers. Nothing happens whatsoever.",
"EXT. LIQUOR STORE - EVENING The bus stops in front of the liquor store and the guys get out. EVAN Well, here we are. Fogell, are you ready? SETH Here's the list. FOGELL A list? Why? SETH We're getting girls their booze so they'll get with us. I put a lot of thought into that list. It's the perfect party bar, so do n't mess it up and get Sambuca again. Fogell reads the list. A worried look sweeps across his face. FOGELL Ouzo, Drambuie, Jager, Gold - shlay - ger - EVAN Goldschlager. That's for Helen, so do not forget it. FOGELL - Alize, Captain Morgan Rum, Smirnoff Rasberry and a big ass bottle of Popov - SETH Oh yeah, and Mike's Hard Lemonade. FOGELL This is too much. I ca n't get away with this much! EVAN What's the difference? Seth hands Fogell the money. FOGELL I do n't know, man. I'm getting, like, really nervous. Fogell starts breathing very hard and making an ODD NOISE while doing so. EVAN Are you okay? SETH What the hell are you doing? FOGELL I do n't know if I want to do this. SETH What are you talking about? You just promised you would. What is this shit? FOGELL What if they turn me down? SETH Then we're in the same place that we're in right now! FOGELL It's fucking humiliating! Everyone in the store sees them kicking me out. What if they make me put all the liquor back on the shelf? I ca n't do that! SETH This whole thing is bigger than you, asshead! Just go in there and buy the damn alcohol! FOGELL What if I do n't feel like it anymore? SETH Then I will kill you! How's that? If you do n't buy the alcohol, I will kill you! FOGELL Killing me wo n't get you any alcohol, jerkoff! I'm the one with the ID! SETH Then I will kill you, cut off your ugly face, put it over mine, and buy it my fucking self. FOGELL You do n't have the technology or the steady hands to pull off a procedure like that! Seth stands for a moment, then suddenly rushes Fogell. Evan stands between them and breaks it up. EVAN Seth, calm down! Fogell, stop being a baby and go buy the alcohol! You said you'd do it, so do it. It's why you bought the ID, so just go do it. FOGELL -LRB- beat. -RRB- I'll try. Fogell walks into the store.",
"INT. LIQUOR STORE - CONTINUOUS At first it all seems overwhelming. Fogell is confused, dizzy, and sweating. He steps behind a large beer display and takes a few deep breaths. CLERK Hi there. Fogell flinches, shocked someone spoke to him. He keeps walking. He nears a mother and her 17 year old SON. As Fogell passes them, the son seems to recognize him. Fogell clearly recognizes the son. Their eyes meet. Fogell looks in the opposite direction. SON Fogell? FOGELL -LRB- weird voice, covering his face. -RRB- No. SON Yo, Fogell. ` Sup man. What're you doing here? FOGELL -LRB- weird voice. -RRB- Uh. nothing. Not Fogell. -LRB- whisper. -RRB- Shut up, Moscovitch. You do n't know me. MOSCOVITCH -LRB- knowingly. -RRB- Oh, oh. Cool, cool. Good luck. He puts his head down and quickly walks away. He arrives at the beer and cooler section. Clearly intimidated, he slowly opens a beer fridge. He grabs one beer attached to a six - pack and pulls it forward. The beer comes loose in his hand as the other five fall to the ground, cracking on impact, and spraying beer all over the place. Fogell scrambles to stop the beers from spraying, but soon finds that it is impossible. FOGELL Fuck. A CLERK approaches Fogell. CLERK Is there a problem, sir? FOGELL Umm, nope, no problem whatsoever. CLERK -LRB- pointing to the beer on the floor. -RRB- Sir, did you do this? On the floor? FOGELL -LRB- beat. -RRB- No. -LRB- beat. -RRB- I think it happened before. Fogell is standing in a puddle of beer with beer sprayed all over his legs, holding a can of beer. CLERK Are you sure? FOGELL I think I would know, thank you. Fogell walks away.",
"INT. LIQUOR STORE - LATER Fogell has a shopping cart filled with booze. He gets in line to pay. He looks ahead to the OLD - LOOKING GUY -LRB- 35 -RRB- who is currently at the CASHIER -LRB- woman -RRB- paying. CASHIER Um, yes, may I please see some ID? OLD-LOOKING GUY No problem. Heh. I have n't been ID - ed in years. CASHIER Anyone who looks under thirty - five. The guy looks through his wallet. Fogell nervously watches.",
"EXT. LIQUOR STORE - CONTINUOUS Seth and Evan peek through one of the store's front windows. SETH It's a good ID, right? Mike Snider never had a problem. It's fine. Right? EVAN Calm down. -LRB- beat. -RRB- Did you remember a condom? SETH You brought a condom? EVAN Yeah, I figured, you know, might as well. I brought one of those little things of spermicidal lube too. He takes them out of his pocket. SETH You asshole! You laughed in my face when I said we'd be having sex tonight. EVAN It does n't mean you should n't be prepared. You did n't even bring one? SETH No. That was n't the plan! We had a plan! I ca n't believe you did that without even consulting me about it! EVAN I do n't really even understand what your plan is. SETH I'm gon na go down on her for, like, hours. She'll love that. She'll want to go out with that. EVAN Yeah, but I figured there's no harm in bringing just one little condom. SETH And one little bottle of spermicidal lube. That's nuts. You ca n't let her know you brought that! These girls are 18, not dried up old ladies. They're ready to go. EVAN Fine. I wo n't bring the lube.",
"INT. LIQUOR STORE - CONTINUOUS Fogell pushes his stuff up to the Cashier. She looks at him kind of funny. FOGELL Hello. -LRB- reading name tag. -RRB- Mindy. She rings up a six pack of Budweiser. FOGELL -LRB- CONT'D. -RRB- Oh, I love that stuff. Been drinking it for years. I heard they recently decided to start adding more hops. Fogell just nods kind of proud of himself. She stops ringing stuff up and looks at him. CASHIER Umm, okay sir, I'm gon na need to see some ID. FOGELL Identification?",
"EXT. LIQUOR STORE - CONTINUOUS Seth and Evan are still leaning against the window. EVAN Do you think I could get Helen to do some kind of long distance thing? Seth looks as if he sees something in the distance. He stands upright. SETH Holy Shit! It's Cary Hutchins! EVAN I have n't seen her since she switched schools. SETH She had the biggest tits in the universe. Down the block there is a girl walking a dog. EVAN I heard she had breast - reduction surgery. Her tits must be crazy perfect now. SETH I got ta see these bastards. Let's check ` em out. Seth and Evan run off towards the girl. SETH -LRB- CONT'D. -RRB- Man, I'm gon na pretend to trip and grab ` em. -LRB- beat. -RRB- I hope they've healed. CUT BACK TO:",
"INT. LIQUOR STORE - CONTINUOUS The cashier is still examining the card. She hands it back to Fogell. CASHIER That comes to a total of $ 123.59 A huge smile forms on Fogell's face as he pulls out a wad of money and hands it to the cashier. She starts to gather his change when, SUDDENLY, a BIG GUY runs up and PUNCHES Fogell right in the side of the head! Fogell falls to the ground. The dude sticks his hand in the open register, grabs a handful of money and runs! The whole thing is over in a matter of seconds. Fogell is on the ground, dazed and confused. FOGELL What the hell happened?! Fogell sees the distressed cashier frantically dialing the police. CASHIER -LRB- breathing hard. -RRB- I do n't believe it. I do n't believe it.",
"EXT. UP THE STREET FROM THE LIQUOR STORE - MOMENTS LATER Seth and Evan walk down the street towards the liquor store. EVAN That was a waste. SETH But she fully looked way better before. I thought when they reduced them, they just kind of reshaped them nicer. Made them more supple. EVAN I ca n't even begin to imagine the justification for making breasts smaller. SETH It's like me making my nuts saggier. Evan sees something in the distance. EVAN Whoa. What's this? SETH What? EVAN Check it out! The cops! They see a cop car with the lights flashing parked outside the liquor store. Seth and Evan cautiously approach the liquor store and look inside. They see two POLICE talking with the Cashier, and Fogell is standing right beside them! EVAN -LRB- CONT'D. -RRB- Shit! They busted Fogell!",
"INT. LIQUOR STORE - CONTINUOUS The two police, OFFICER SLATER, 30 and experienced, and OFFICER MICHAELS, 25 and learning, are talking to the Cashier. Fogell stands beside them, nervous and afraid. OFFICER SLATER -LRB- to cashier. -RRB- So, did he punch anyone else? CASHIER -LRB- losing it completely. -RRB- I ca n't do this, okay!?! I told you, I have an exam tomorrow! Can you understand that? A goddamn exam! The cashier breaks down crying and walks off to the back of the store. The officers look at each other. OFFICER MICHAELS Apparently, she has an exam. They chuckle. Then they turn to Fogell. OFFICER SLATER -LRB- turn to Fogell. -RRB- So then, son, you're the one that got punched? Fogell looks down to his bags of liquor at his feet. Then back at the cops. He nods. OFFICER MICHAELS We'd like to ask you a couple questions. The officers each take out a note pad and a pencil. OFFICER MICHAELS -LRB- CONT'D. -RRB- Okay, first things first. What's your name? Fogell looks like his heart is about to explode out of his chest. FOGELL My name, it's. it's. -LRB- tripping over his own words. -RRB- Mc. mac. laddle. OFFICER SLATER MicMac what? FOGELL No, no I said, `` McLovin''. OFFICER MICHAELS McLovin? FOGELL McLovin. The officers both write down some information. OFFICER SLATER Cool name. And your first name? Fogell looks twice as scared. FOGELL Oh. that's uh. a good one. it's a. an interesting. uh. event. Fogell trails off mumbling and starts to breathe heavily, making an ODD NOISE. Behind him, in the window of the store, we see Seth and Evan peeking through.",
"EXT. LIQUOR STORE - CONTINUOUS Shocked, Seth and Evan walk away from the window. Seth starts to pace in anger. SETH I do n't believe this bullshit! I ca n't. this is n't happening! I did n't even know you could get arrested for this shit! WE NEED THAT FUCKING LIQUOR! EVAN Oh my god. Are they gon na take him downtown? SETH Fuck Fogell! He got arrested! We're on our own. We need a new way of getting liquor. -LRB- realizing. -RRB- AAAHHH! The money! Fuck! Fuck! Fuck! How much money can you get? EVAN What are you talking about? Money? What about Fogell? SETH That does n't matter anymore. I just lost a hundred dollars of Jules' money! EVAN We have to help him! SETH Help him? What are we gon na do? Bust him out of jail? I do n't even know where jail is! What we need is the alcohol, which is impossible because we do n't have any fucking money! Seth steps into the driveway leading to the parking lot. EVAN Fine. Just. calm down. We need to think. We need to think. SETH Fuck thinking! We need to act! Suddenly, a car pulls out of the lot going 10 mph and knocks Seth down!",
"INT. LIQUOR STORE - CONTINUOUS The cops are still talking to Fogell. He looks completely flustered. He's lost his composure. OFFICER SLATER Okay, your name is just McLovin, there's no need to get irrational. In the BACKGROUND -LRB- not in the view of Fogell and the cops -RRB- we see DRIVER of the car, a shady - looking guy in a hockey jersey, gets out of his car and walks over to where Seth is lying, apologizing frantically. OFFICER MICHAELS A lot of people have strange names these days. OFFICER SLATER I once arrested a man - lady who was legally named `` Pearl Necklace.'' FOGELL It's just. I changed my name. I was going to be a singer. R&B. OFFICER MICHAELS Fine. That's not illegal. OFFICER SLATER And, how old are you McLovin? Fogell looks down at the bags of booze again. FOGELL Old enough. OFFICER SLATER Old enough for what? OFFICER MICHAELS Can I see your ID? FOGELL Um. okay. Fogell takes his shaking, sweaty hand, sticks it in his pocket, and pulls out his fake ID. He slowly hands it over to Officer Slater. The cops both look at it, then Fogell. Beads of sweat are running down Fogell's face. In the background, Seth pops up and starts kicking the guy's car out of anger. Evan and the driver both restrain Seth. OFFICER SLATER You're an organ donor? FOGELL What? OFFICER SLATER I did n't want to be one but my wife insisted. OFFICER MICHAELS Just like a woman. Even after you're dead, they want to tear your heart out. The officers start laughing. Fogell is shocked. They hand back the ID. FOGELL Look. I'm really sorry, but I do n't really have any information. I did n't really see him. His fist hit here. Fogell points at his giant black eye. OFFICER MICHAELS Are you in a hurry or something? FOGELL Uh, yeah. kinda. I kinda had to catch a bus. OFFICER SLATER Where were you going? FOGELL Umm. near thirteenth and Granville. OFFICER SLATER We'll take you there, get your information on the way. Sit tight. Fogell is completely dumbfounded.",
"EXT. LIQUOR STORE - CONTINUOUS The driver is pleading with Seth and Evan. DRIVER I'm so sorry, man! I'm so sorry! I did n't see you at all. Are you okay? Are you okay? I'm sorry, man. Look, what can I do? Are you okay? The driver glances at the cop car. DRIVER -LRB- CONT'D. -RRB- I mean, please do n't report me, we can figure this out, okay? SETH Why would n't I report you? DRIVER Because I'll do anything! Please! Anything! What can I do? SETH You have any money? EVAN -LRB- quietly to Seth. -RRB- What are you doing? DRIVER -LRB- beat. -RRB- Fine. Just take it. The driver reaches into his pocket and hands Seth some money. Seth looks at it. It's seven dollars. SETH What is this? This is n't enough. Seth stuffs the money in his pocket. DRIVER It's all I have. SETH Well, you just came from the liquor store, give us your liquor. DRIVER I did n't get any. They're not letting anyone in. They're arresting someone or something. SETH Well, they'll be arresting somebody else if you do n't do something quick. Ow! My shoulder! It's killing me. Seth, acting poorly, pretends he's way more hurt than he is. DRIVER No! Wait! Okay, you want alcohol? I can get you alcohol. I'm on my way to this party right now. There's gon na be tons of liquor. I will definitely get you plenty. SETH You better. EVAN Whoa, whoa, whoa. Hold on. Come here. Seth goes over to Evan. EVAN -LRB- CONT'D. -RRB- What are you doing? SETH What? Jules' money is gone, Fogell's out, we've got no other option. Let's go. EVAN I do n't. I do n't like this idea at all. I'm just not feeling it. That guy's fucking creepy. Just look at him. They look at the Driver, who is staring at Evan with a dumb expression on his face. DRIVER -LRB- to Evan. -RRB- You know a guy named Jimmy, perchance? Cause you totally look like his brother. SETH He's an idiot. And he's our only hope. Come on, do n't break your promise to Helen.",
"EXT. LIQUOR STORE - MOMENTS LATER The Driver's car pulls away with Seth and Evan sitting in the back seat. A few moments later, the cops walk out with Fogell right behind them carrying the bags of liquor. OFFICER SLATER -LRB- to Fogell. -RRB- Man, that lady just would n't stop crying, huh? And you're the one that got punched. Did you hear her say she has an exam tomorrow? Boo - fuckin' - hoo. Am I right? FOGELL -LRB- afraid. -RRB- Heh. Good one. OFFICER MICHEALS Could we have taken her in? Just to scare the shit out of her? OFFICER SLATER Hah. Probably could have found a way. But a good general rule is only take people in you want to ride with. And whiny bitches do n't make that cut. The cops chuckle as they all get in the cop car.",
"INT. DRIVER'S CAR - CONTINUOUS Seth and Evan sit in the back seat. The Driver is in the front. DRIVER One of you bros could have sat up here with me. There is an awkward silence, when suddenly Seth starts to wriggle in discomfort. SETH Aaah! Seth fishes his cell phone out of his pocket and looks at it. SETH -LRB- CONT'D. -RRB- 875 - 6611? -LRB- thinking. -RRB- Holy shit. Seth answers the phone. SETH -LRB- CONT'D. -RRB- Jules! What's the haps? DRIVER Who is it?",
"INT. JULES HOUSE - CONTINUOUS There are six girls passing two beers in a circle while dancing blissfully to crappy 80s music. JULES Seth! Where are you? SETH Jules! I just got in a cab and I'm going to the liquor store as we speak. JULES Awesome. I ca n't wait for you to get here. A huge smile sweeps across Seth's face. SETH Really? JULES Yeah. It looks like it could actually be a great party. I think, like, tons of people might show up. I hope they do n't trash my house. SETH Well, if they want to do that they're going to have to get through me. JULES So I guess I do n't have to worry then. I'll see you soon. Seth hangs up the phone, completely elated. SETH She called, man! That's insane! She's practically begging for it. She said, `` I ca n't wait for you to get here.'' DRIVER That sounds like she fully wants it. Where's she gon na get it from, huh, my man? Seth and Evan are very weirded out.",
"EXT. STREET IN FRONT OF PARTY HOUSE - NIGHT The Driver's car pulls up in front of a house. The three get out. EVAN Hey, are you sure that it's cool we're here? DRIVER Oh, definitely. I'm essentially best friends with this guy. A whole bunch of my buddies are coming. Come on! The Driver runs into the house happily, Seth and Evan following closely behind.",
"INT. HOUSE PARTY - CONTINUOUS The boys enter the house and stand by the front door of the huge party. It's in full swing with all sorts of random - looking people. Nobody is under the age of 25. EVAN This is weird. SETH Whatever. Just act casual. And old. All we got ta do is find the booze and haul ass out of here. As they make their way down a hallway, a few people give them looks.",
"INT. HOUSE PARTY - KITCHEN They enter the kitchen, where Seth spots what they've been looking for. There are big buckets of ice filled with beer, coolers, wine, vodka, everything. SETH Holy shit! Let's grab one of these buckets and go. MARK -LRB- O.S. -RRB- What the fuck do you think you're doing? DRIVER -LRB- O.S. -RRB- What, man? It's nothing. The guys turn and see that in corner of the kitchen, the Driver, holding a phone, is being yelled at by a massive brute, MARK. MARK You calling more of your stupid friends again? Ya prick. DRIVER Mark, calm down, okay? Just relax. MARK Get the fuck out of my house. DRIVER Mark, come on. What the heck? Do n't be a dick. Suddenly, Mark grabs the Driver by the back of the neck and drags him out of the kitchen, down the front hall and out the door. A group of people follow, including Seth and Evan.",
"EXT. HOUSE PARTY - CONTINUOUS The Driver get pushed out of the door and lands on the front lawn. Seth and Evan watch from the doorway of the house, a group of people in front of them. DRIVER Mark! Dude! This is bullshit! Just chi - Mark steps on the Driver's hand. DRIVER -LRB- CONT'D. -RRB- Ahhhh! Fuck! The Driver takes his hand out from under Mark's foot. He stands up. DRIVER -LRB- CONT'D. -RRB- Fuck you, man. I'll fucking do this! Suddenly, Mark becomes enraged. He takes a big step forward and brutally KICKS the Driver square in the nuts! The Driver clutches his nuts and falls to the ground. MARK Francis, you and your idiot friends stay the away from me and mine or I'll flipping shiv your ass! Mark and his buddies head back in, leading them towards Seth and Evan, who quickly duck back into the party.",
"INT. HOUSE PARTY - CONTINUOUS The frightened boys walk into one of the first rooms and hide in the corner. They have a hushed discussion. EVAN Dude, let's slip out the back. SETH Why? Come on, we're here. Let's just hurry up and do this. EVAN You want to end up like that guy? Not me, I need my nuts. SETH We need this liquor! EVAN You need it! I do n't need it. I'm going to tell Helen I like her, and then maybe she'll get with me ; not after I get her stinking drunk. SETH Then why have n't you ever made a move, you pussy? EVAN Because I respect her! I'm not going to put that kind of unfair pressure on her. SETH These are n't girls, they're women! They need our dicks as much as we need their poons - and we all love liquor, so where's the fucking beef?! EVAN We're leaving, okay? These guys could kill us. You want to get killed for liquor? SETH You're really gon na bail on me?! EVAN -LRB- rolls eyes. -RRB- Jesus. Evan walks out the door. SETH Okay, okay. if that's how you're going to be, then I'll get the booze on my own. And you're not getting any. And neither is Helen! Seth storms off.",
"INT. COP CAR - CONTINUOUS Fogell sits in the backseat. The cops are in the front. There is silence for a few beats. FOGELL Um. hey. uh, officers. I could answer those, uh, questions now if you want. OFFICER SLATER We get the gist of it. You were buying some beer, some guys came in and robbed the place. I do n't think we're gon na find ` em this time. The officers start to chuckle. FOGELL It was only one guy. OFFICER SLATER Only one guy? Well, fuck that. We could never catch one guy. OFFICER MICHAELS You see, McLovin, if it was two guys, we'd have twice the chance of catching one of them. But just one guy? I mean, how are we supposed to find one guy in this whole city? OFFICER SLATER Yeah, McLovin. You know how many people there are in this city? I have trouble finding people I know. FOGELL Are n't you guys supposed to be trained or something? Do n't you have a computer? OFFICER SLATER Yeah, that stuff can help, but if someone walks up to me on the street, and is like, `` Hey, find Bob.'' Well, how the hell am I supposed to do that? FOGELL Who's Bob? OFFICER SLATER Exactly. If I do n't know who he is, then how am I supposed to know where he is? OFFICER MICHAELS When you're new to the force, like I am - OFFICER SLATER Only six months in. -LRB- proudly. -RRB- I got two and a half years under my belt. OFFICER MICHAELS You learn a lot of crazy stuff. For example - The car radio goes off. RADIO We have a 245 at East 24 and Montgomery. It's Bailey's Bar and Grill. Car 43, respond please. Slater picks up the receiver. OFFICER SLATER Ten - four. -LRB- hangs up. -RRB- Nice. Ya see, Michaels, when ever there's a call for a bar, you take it. OFFICER MICHAELS Good fucking call, sir. They chuckle. OFFICER SLATER Hey, McLovin. We got a situation at Bailey's. We have to see to that, but we'll drop you off right after. Okay? FOGELL Um. okay. Michael's hits the siren and they drive off.",
"INT. HOUSE PARTY- KITCHEN. - CONTINUOUS Seth is looking in the fridge, which is full of beer. An ENORMOUS GUY nudges Seth aside and sticks his arm in. ENORMOUS GUY Hey Mark, you want another beer? Seth quickly walks away from the fridge and goes down the hall.",
"INT HOUSE PARTY - DANCING ROOM Seth enters a room of people dancing to hip - hop. He notices all the girls are drinking Mike's Hard Lemonade, and then locates a cooler full of it across the dance area. He tries to make his way through the sea of dancing. A hot, sorority - type WOMAN drunk out off her ass dances over to him and starts grinding against his leg. He does n't know how to react so he just goes with it, bumpin' and grindin' with the girl.",
"EXT. ALLEY - CONTINUOUS Evan is walking down an alley, mad as hell, when, suddenly, he jumps up and starts squirming. EVAN Whaa! What the. oh. He takes out his vibrating cell phone and looks at the callers name. it's Helen. EVAN -LRB- CONT'D. -RRB- Oh dude. Oh dude. Oh dude. He looks intensely at the cell as it continues vibrating. EVAN -LRB- CONT'D. -RRB- Okay. Okay. Here we go. He presses talk. HELEN -LRB- O.S. -RRB- -LRB- through the phone with horrible static. -RRB- Eva. lo. EVAN Helen? Helen?!? The phone cuts out. Evan sees that he has no reception. He looks back at the party, then at his cell phone. He shakes his head and turns back towards the party.",
"EXT. BAILEY'S BAR AND GRILL - CONTINUOUS The cops and Fogell get out of the car and walk towards the Bailey's. They stop before they enter. OFFICER SLATER Alright McLovin, this will only take a few minutes. Just grab a beer at the bar and we'll be done before you know it. FOGELL -LRB- a little scared. -RRB- Well. what's goin' on in there? The Officers chuckle as they lead Fogell into the bar.",
"INT. BAILEY'S BAR AND GRILL - CONTINUOUS As they enter the bar they immediately see a drunken, crazed HOMELESS GUY screaming at a bar tender. HOMELESS GUY Everywhere?!? You did n't see me pissin' anywhere! Fogell quickly sits at the bar by the entrance to the kitchen. OFFICER SLATER Alright, Michaels. I've got your back. Show this rummy how we roll. Officer Michaels walks up to the Homeless Guy. OFFICER MICHAELS Excuse me! Sir! The Homeless Guy turns and sees the cops. HOMELESS GUY AAAHHHHH! He runs for the front door! OFFICER MICHAELS Resisting! Michaels blocks the door and the Homeless Guy rams into him, knocking him to the ground. OFFICER SLATER -LRB- sarcastic. -RRB- Good one, Michaels! Slater runs at the Homeless Guy and chases him into the dining area. The Homeless Guy knocks over a table, which Slater trips over. OFFICER SLATER -LRB- CONT'D. -RRB- Fuck! OFFICER MICHAELS -LRB- nervous. -RRB- Should I shoot him?!? OFFICER SLATER NO! The Homeless Guy makes a mad dash for the kitchen, and Fogell is the only one in his way! OFFICER MICHAELS Stop him, McLovin! FOGELL AHHH! The Homeless Guy RAMS straight into him and knocks both of them onto the kitchen floor!",
"INT. BAILEY'S BAR AND GRILL - KITCHEN - CONTINUOUS The kitchen staff watch in awe as the Homeless Guy wrestles Fogell on the ground. FOGELL Ow! Please! Stop, you fucking bum! The Homeless Guy gets up, grabs Fogell and HURLS him into a rack of trays! He then turns to run, but SLIPS on a wet spot and SLAMS his head against the ground! The cops burst into the room to find Fogell panting on his knees with the Homeless Guy unconscious on the floor. OFFICER MICHAELS McLovin! Nice! OFFICER SLATER I am buying you a beer, McLovin!",
"INT. HOUSE PARTY - DANCING ROOM - CONTINUOUS An R&B slow jam plays as an exuberant Seth, a Mike's Hard Lemonade in one hand and the Woman's ass in the other as the dancing becomes increasingly sexual. As the song ends, the Woman moves on. Seth glances at the cooler and sees one more Mike's hard. He grabs it and puts it in his pocket. The bulge is apparent. Extremely pleased with himself,",
"INT. HOUSE PARTY - ADJACENT ROOM Seth walks into the adjacent room. There are a bunch of GUYS chilling on the couch, who all look at Seth oddly as he enters. SETH Hey, wut up? The guys just nod at Seth and continue to look at him strangely. GUY 1 What is that? Is that red wine? Thinking he's busted, Seth quickly covers the bulge in his pocket. SETH Uh. no. What? I do n't know what you're talking about. GUY 1 That shit you spilled all over yourself, idiot. SETH -LRB- sincere. -RRB- I did n't spill anything on myself. Seth checks himself to see what the guy is referring to. SETH -LRB- CONT'D. -RRB- Oh shit. On Seth's upper thigh there is a red splotch about the size of a palm of a hand. SETH -LRB- CONT'D. -RRB- What the hell is this? GUY 1 Oh my lord. You were just dancing in there, right? SETH Yeah, so? The guys all burst out laughing. GUY 1 It's fucking blood. SETH Why would I get blood on my leg from -. -LRB- beat of realization. -RRB- OH SHIT! The guys start laughing even harder. SETH -LRB- CONT'D. -RRB- Some girl perioded on my fucking leg! GUY 2 I've never seen that before in my life. Seth pokes at the splotch. SETH That is disgusting. Guy 1 gets up as Seth tries to cover up the mess with his shirt. GUY 1 I got ta show this to Bill. SETH Who's Bill? Do n't show Bill! No! I ca n't believe this is happening! GUY 2 We should find who did it. SETH This is un - fucking - believable. I have to look good tonight! GUY 2 Who'd you dance with? SETH Who gives a shit? Fuck! These are n't even my pants!",
"INT. HOUSE PARTY- ANOTHER ROOM Guy 1 brings six more guys, including the Enormous Guy, into the room. He points out the stain Seth's pants. All the guys burst out laughing. Embarrassed and fearful of the attention, Seth starts making his way out of the room. SETH Yeah. It's really funny, huh? Yuk it up, assholes. Seth works his way through another room full of people, shielding the splotch as best as he can. PARTY DUDE Dude! Check it out! That guy's having his period! Another group of people turn and laugh. PARTY GIRL He looks about the right age! SETH -LRB- to himself. -RRB- I got ta clean this shit. He sees a long line of people standing if front of the bathroom door. He spots a staircase and runs down into the basement.",
"INT. HOUSE PARTY - BASEMENT - CONTINUOUS Seth enters the empty basement. He sees a sink and runs over to it and turns on the water.",
"EXT. HOUSE PARTY - CONTINUOUS Evan nervously walks back into the house to look for a telephone.",
"INT. BAILEY'S BAR AND GRILL - CONTINUOUS The cops, Fogell, and the unconscious Homeless Guy each sit at the bar with a Corona in front of them. Slater's radio goes off. RADIO Calling all units, armed and dangerous man in the vicinity of - Click. Slater turns his radio down, ignoring the calls. OFFICER MICHAELS So anyways, we leave the bar, I'm charmin' her pants off telling her stories of shoot - outs and shit. FOGELL You've been in shoot - outs! OFFICER MICHAELS Nope. OFFICER SLATER McLovin, all we do is bonk homeless people on the head. You're practically a cop now. OFFICER MICHAELS So I pull up in front of her house and she asks me to come inside for some coffee. Of course, I say yes. OFFICER SLATER Oh shit. OFFICER MICHAELS Oh shit. So we go into the kitchen. I start taking off my clothes, she fucking flips, starts screaming at me, and I'm like `` Ca n't have coffee without cream.'' Oh! Right? I fucking said that. Then, she slaps me, throws me out. I'm telling you McLovin, stay out of bars. FOGELL Hey, you do n't need to tell me. OFFICER MICHAELS So, yeah, you got ta look in different places. The gym, an art class, you know, shit like that. OFFICER SLATER I met the Missus at paint ball. Can you believe that? I shot her in the neck, and we just hit it off. And my first wife - who is a whore - where do you think we met? A bar. FOGELL I do n't know. I find they're always good for a little quick ass. The cops laugh. OFFICER SLATER I bet I know your trick, McLovin. You do the whole mysterious guy thing, right? OFFICER MICHAELS Yeah McLovin, how's it going with the ladies? Fogell thinks for a moment, he is feeling rather comfortable. FOGELL Well, officers, it's not the going with the ladies I care about, it's the coming. The cops and Fogell burst out laughing. OFFICER SLATER Oh! McLovin in the house! He sees that the cops clearly like him ; his confidence level increased, he takes a chance. FOGELL So. you guys got guns, huh? The officers glance at each other as sinister smiles creep across their faces. OFFICER SLATER Yeah. We got guns. OFFICER MICHAELS I have n't had one for long, but, man, let me tell you - it's like having two dicks. FOGELL Can I. can I hold one? Your gun? Michaels and Slater look to each other. OFFICER MICHAELS I mean, if we took the bullets out? OFFICER SLATER Yeah. Why not? Slater pulls out his gun and takes out the clip. OFFICER SLATER -LRB- CONT'D. -RRB- Here. Fogell takes the unloaded gun and flops it back and forth in his hands, a huge smile gleaming. FOGELL Wow. I've never held one. Are they hard to shoot? OFFICER SLATER If you're Michaels they are. He ca n't shoot worth dick. OFFICER MICHAELS Fuck you, old man. I could out - shoot you with my sack tucked between my legs. OFFICER SLATER Only one way to settle this. FOGELL -LRB- incredibly excited. -RRB- You guys are going to shoot something, right?",
"INT. HOUSE PARTY BASEMENT - CONTINUOUS Seth is scrubbing at the mark on his thigh, but it's not doing much. He stops for a moment to take a breather as he looks around the basement. He spots a fridge in the corner and walks over to it. As he opens it, a look of awe sweeps across his face. Every shelf is completely filled with beer. SETH Jesus's tits! He grabs as many bottles as he can and starts sticking them in his pockets, when he notices two large jugs of detergent next to the washer. He thinks for a moment, then begins to empty out the detergent jugs.",
"INT. HOUSE PARTY - CONTINUOUS Evan peers into a vacant room and sees a telephone. He nervously enters and picks up the phone. He dials.",
"INT. CAB - CONTINUOUS Helen is in a cab with BECCA, her best - friend, and two other girls. They're a little done up and really giggly. Helen's cell phone starts ringing. She hushes the other girls as she answers her phone. HELEN Hello? BECCA Is it him? HELEN -LRB- whispering to the girls. -RRB- Shut up. EVAN Hey! Helen. Hi. I had bad reception. Are you at the party? HELEN No, I'm in a cab. I'll be there soon. Are you still coming? EVAN Yeah, definitely. Um, about your Goldschlager. Evan can hear all the girls goofing around and giggling. HELEN -LRB- whispering to the girls. -RRB- Shut up. EVAN What's going on there? HELEN Oh, nothing, I just wanted to make sure you were still coming, you know, and that you did n't get caught up at a cocktail party or some club. EVAN Nope. I'm gon na be there. HELEN Well, I ca n't wait to see you. EVAN I think it's going to be a real fun. event. HELEN Okay. Bye.",
"INT. HOUSE PARTY VACANT ROOM - CONTINUOUS Evan hangs up the phone. A huge smile crosses his face. As he turns around to exit, five older, unbelievably drunk DUDES wander into the room. DUDE 1 They're going to kill that guy, man. That bitch's boyfriend is so pissed. DUDE 2 Yeah. And he's a beast. They start pouring a baggy of coke on the table when one of them notices Evan standing in the corner. DUDE 3 Hey! Was it you? Are you the guy? The kid with the splotch on his crotch? Evan glances down at his crotch. He is confused and horrified. EVAN No. What splotch - DUDE 2 I know you! Guys! I know that guy, he was at that party with me. DUDE 4 Who's he? DUDE 2 He's Jimmy's brother. The dude with the crazy raps, the one I told you about! They draw the coke into lines as Evan slowly heads for the door. EVAN Oh no, that's not me either. Wrong guy, man. Sorry. Dude 3 gets up and blocks the door. DUDE 3 No. No, that's you, man. You are fully Jimmy's brother! You were just so messed up you ca n't remember. EVAN Trust me, man. That was n't me. I do n't even listen to rap. DUDE 3 It was you! I know it! Come on! Rap! I've been telling these guys about you. Just give them one rap. Come on. Rap. Rap. They start doing the lines of coke. Evan is very afraid.",
"INT. HOUSE PARTY BASEMENT - MOMENTS LATER Seth is finishing pouring the beer bottles into the second detergent jug. There are about thirty empty beer bottles laying around Seth. He tightens the cap, picks up the two detergent jugs, and heads upstairs.",
"INT. HOUSE PARTY - LIVING ROOM - CONTINUOUS Seth emerges from the basement and heads towards the front door. SETH I did it man. Peace out - tro. He's inches away from the front door, when suddenly - GUY 1 There! That's the guy! Seth turns and sees Mark, the guy who assaulted the Driver, walking towards him. He notices Mark has a splotch on his leg, too. SETH Hey! You got one, too! We're blood brothers. MARK Shut it, you little shitter! What the hell were you doing dancing with Jacinda? Horrified, Seth scrambles for excuses. SETH I. I did n't dance with her! I do n't even dance! Never even tried it! MARK -LRB- point at Seth's splotch. -RRB- Then where did that come from, asshole? SETH I do n't know. Maybe me and you rubbed up against each other at some point. How am I supposed to know?",
"INT. HOUSE PARTY - VACANT ROOM - CONTINUOUS The coked - up dudes are watching Evan intensely. They are completely loving his rapping, completely into it. Evan is struggling. EVAN cause, yo! Bitches and gats, bitches and gats, what do all of we's got? DUDES Bitches and gats! EVAN When we steal all the money? DUDES Bitches and gats! EVAN Yo! I kill the whores of Vice City with my magnum 9/Take out the punk pigs with my Glok design / Drink a fifth of Hennessy and get benign/Fuck all the bitches with their asses fine THE DUDES -LRB- cheering. -RRB- Oh! SOME GUY bursts into the room. SOME GUY Dudes! Looks like a fight! Dude 3 does a line of coke and they all get up together and charge out of the room.",
"INT. HOUSE PARTY - LIVING ROOM - CONTINUOUS There is a crowd gathered around Seth and Mark. The Enormous Guy and Mark's friends are gathered beside Mark. SETH I swear to God it was n't me! Evan and the four dudes who were doing coke walk into the room. Evan is shocked to see Seth at the center of so much commotion. Mark notices the detergent bottle in Seth's hands. MARK And what the fuck is this? SETH It's nothing. It's detergent. MARK Yeah. And what are you doing with it? SETH I. uh, I got blood on my pants. Mark sees the bottle of MIKE'S HARD LEMONADE in Seth's pocket and takes it out. He looks at it, then looks at Seth with a look of death. SETH -LRB- CONT'D. -RRB- I brought them from home. Suddenly, Mark violently SHOVES Seth and throws the beer bottle at his face! Seth holds up a detergent jug and deflects the beer bottle. It flies towards Evan, who ducks, and nails Dude 1 in the head, glass exploding everywhere! DUDE 1 AAAHHHHHHH! FUCK! Dude 1 clutches his bloody head as the other Dudes charge at Mark! A full on brawl breaks out! Everyone starts fighting! Two of the Dudes beat on the Enormous Guy. They throw him into Evan. DUDE 3 Hold him! EVAN What? DUDE 2 HOLD HIM! Evan reluctantly holds the Enormous Guy up as the two Dudes pound on him. ANGLE ON : Seth, cowering in the corner Mark runs at Seth and is about to punch him, when suddenly Dude 1 tackles him onto the kitchen island! Seth turns and faces Mark's girlfriend, JACINDA. JACINDA You motherfucker! She grabs a lamp, still plugged in, and swings it at Seth. She hits him square in the chest and the light bulb explodes! SETH AHH! JACINDA You ruined my birthday! You humiliated me! SETH You're the one who used my leg as a tampon! She charges at him again, arms flailing. Seth scurries around the room, shielding the blows with the detergent bottles. Evan throws the Enormous Guy to the ground and runs. Evan backs off, spots Seth, and follows him out of the party.",
"EXT HOUSE PARTY As Seth and Evan run up the block together, Jacinda talks into her cell phone. JACINDA Yeah, Fifth and Paysview, please hurry!",
"EXT. DARK STREET - CONTINUOUS The cops and Fogell stand beside the car. The Homeless Guy is sleeping in the back. Michaels has his gun drawn and is carefully aiming at a distant stop sign. OFFICER SLATER You've been saying some bold words, my friend. Better not mess up. FOGELL You can do it, officer. BLAM! Michaels blasts off a round, which punches a hole right through the center of the `` O'' in the stop sign. OFFICER MICHAELS Boo - yaka - sha! Suck it, Slater. Suck my nuts. Long, but gentle. FOGELL Yeah! And eat his ass! They all laugh hysterically. FOGELL -LRB- CONT'D. -RRB- Can I shoot one? The cops look at each other and shrug. OFFICER SLATER Yeah. Sure. Here. Go nuts. Slater hands Fogell the gun, when suddenly a SIREN can be heard in the distance getting closer. OFFICER MICHAELS Fuck. The cops! OFFICER SLATER Let's bail! Shotgun! Slater grabs the gun out of the disappointed Fogell's hand and holsters it. They all hop into the car.",
"INT. COP CAR - CONTINUOUS Michaels kicks it into drive and they peel out. Fogell shoves the unconscious Homeless Guy over. OFFICER MICHAELS Hah, hah! Eat it. So, dudes, what do we do now? Suddenly, the car radio goes off. RADIO We got a 257 at Fifth and Paysview, all units in the area report to Fifth and Paysview. Car 98. That's you. Do it. Seriously. The cops stop and listen. OFFICER MICHAELS Son - of - a - bitch. -LRB- picks up radio. -RRB- Car 98, ten - four. -LRB- hangs up. -RRB- Ya dumb whore. Ha! FOGELL What does that mean? We gon na get to shoot anyone? OFFICER SLATER I wish. Probably some lame house party. We'll drop you off after. Cool? FOGELL Yeah, man. Let's show these fuckers how we roll.",
"EXT. NEIGHBORHOOD STREET - MOMENTS LATER Seth and Evan are running down the sidewalk. They both slow to a stop to catch their breath. The party is nowhere in sight. SETH -LRB- wheezing heavily. -RRB-. huff. hufff. you fuckin' prick. EVAN What? SETH You. huff. bailed on me. huff. man. EVAN No I did n't! SETH Of course you did! We were supposed to do something and you left instead of doing it! That's the definition of bailing! EVAN If you said we should burn our dicks off and I did n't, that's not bailing! SETH It is bailing, if you promised to burn your dick off! EVAN What?! SETH The bottom line is you're a bailer. You just bailed on me, you bailed on me this morning when Terry spat on me, and you're bailing on me next year! EVAN Oh! Okay! There it is! It finally comes out! SETH We were supposed to go to college together! Since elementary school! What ever happened to that! EVAN What happened to that, is that you're too stupid to get into the schools I did! SETH I was not too stupid, I was too lazy! EVAN You've wasted all my time, you selfish bastard! Instead of chasing girls and making friends, I threw away the last three years talking bullshit with you! And now, because of you, I'm going to college a fucking friendless virgin! Seth ca n't believe it. He's extremely hurt. SETH Getting with a girl wo n't make you any less of a loser next year! EVAN You talking to me or yourself? You fucking loser! Seth drops one of the tide bottles and shoves Evan hard. Evan shoves him back.",
"INT. COP CAR - CONTINUOUS Michaels pounds on the keypad of the little cop computer with his fist. OFFICER MICHAELS How do they expect us to work these things while we're driving? I ca n't even work my iMac while I'm sitting at my desk. FOGELL So, like, what does that computer do? OFFICER SLATER Pretty much anything, if you're smart enough to figure it out. Like, who do you really hate? Gim me a name. FOGELL Um. my French teacher. Mrs. Graham. Susette Graham. OFFICER MICHAELS Can I do it? Slater nods. Michaels bring her file up, then punches a few buttons and smiles. FOGELL What did you do? OFFICER MICHAELS Tomorrow, Mrs. Graham will have a boot on her car. Fogell laughs his ass off. FOGELL I hate my dad, too! OFFICER MICHAELS Okay. The place should be around here somewhere. McLovin, are the numbers on that side odd or even? FOGELL It's too dark out. OFFICER SLATER We got flashlights. Slater gets his flashlight and points it out the window. OFFICER MICHAELS I was n't even sure light came out of those things. I thought they were just cool looking clubs. Michaels and Slater start making light saber noises and pretend to fight with their flashlights.",
"EXT. NEIGHBORHOOD STREET - CONTINUOUS We see the COP CAR going down the street. Evan and Seth are a block down, shoving each other.",
"INT. COP CAR - CONTINUOUS Slater turns and points his flashlight out Michaels window, accidentally shining the light into his eyes. OFFICER MICHAELS My eyes! He jerks the wheel.",
"EXT. SIDEWALK - CONTINUOUS Seth swings at Evan with the giant detergent jug. Evan dodges it and shoves Seth hard. Seth stumbles onto the road and gets HIT by the COP CAR! Seth flies up onto the hood, SMASHING the windshield. The car screeches to a halt and Seth slides off the front of the car. Seth lies motionless, still holding one of the detergent jugs. The cap is knocked loose and beer is spilling all over the place.",
"INT. COP CAR - CONTINUOUS Everyone in the car is looking forward, stunned. They ca n't see out the front window, as it is shattered. Fogell has no clue who the victim was. OFFICER MICHAELS Oh shit. Shit, shit, SHIT! OFFICER SLATER I do n't believe this is happening again. FOGELL -LRB- frightened. -RRB- Oh my god. is he. are you gon na make sure he's alright? OFFICER SLATER Okay, okay, we're gon na get out of the car now. McLovin, you stay right there. OFFICER MICHAELS That guy better not be dead.",
"EXT. NEIGHBORHOOD STREET - CONTINUOUS The cops get out of the car and walk over to a now sitting up Seth. He's dazed, but okay. EVAN I'm sorry! You pushed me first. SETH I did n't push you into fucking oncoming traffic! The boys notice the cops. OFFICER MICHAELS Is everyone alright? SETH -LRB- sarcastic. -RRB- We're great. OFFICER SLATER Well, you should be careful boys. That's how accidents happen. SETH What, when cops drive like maniacs and hop the fucking curb? OFFICER SLATER -LRB- intimidating. -RRB- Pardon? EVAN Nothing. Evan looks like he's about to shit himself. The cops notice one of the detergent jugs in the middle of a puddle of beer. Slater dips his finger in rubs it against his gums like it was cocaine. OFFICER SLATER Pabst. You boys been doing a bit of drinking? EVAN No officer. Not at all. OFFICER SLATER -LRB- pointing to the other jug. -RRB- Is that more beer you got over there? SETH Umm, no sir, detergent. OFFICER MICHAELS Detergent? SETH My clothes are dirty. The cops look at each other, then at the boys. OFFICER MICHAELS You boys stay right here.",
"INT. COP CAR - CONTINUOUS Fogell anxiously sits in the cop car. He ca n't see what's going on through the shattered windshield.",
"EXT. NEIGHBORHOOD STREET - CONTINUOUS The cops turn away and start to whisper to one another. Seth and Evan look on, nervous. OFFICER SLATER Alright, Michaels. The car is completely fucked, and you're the one who fucked it up, so you've got to fix it. OFFICER MICHAELS What do I do? OFFICER SLATER We arrest these little crap stains and dump it on them, I'll take care of that. You go make sure McLovin is good to play ball. This is it, Michaels. You wan na hang with the big boys, you got ta get your hands dirty. You cool? OFFICER MICHAELS Yeah, I'm cool. The cops nod to each other. Michaels goes back to the car and gets in. Slater walks back over to the boys. He puts his hand on his gun and pulls out his club, scaring the shit out of Evan and Seth. OFFICER SLATER Get on the ground. Now! Spread your shit! Evan and Seth lie down on their stomachs and spread their arms and legs out, terrified. EVAN Puh. please do n't shoot. OFFICER SLATER -LRB- mocking. -RRB- Puh - Puh - Please shut the fuck up!",
"INT. COP CAR - CONTINUOUS Officer Michaels is sitting in the driver's seat. FOGELL Was the guy alright? OFFICER MICHAELS What? Oh, yeah, the guy was fine. Michaels looks back at the Homeless Guy, who looks a little bit more awake than before. OFFICER MICHAELS -LRB- CONT'D. -RRB- Are you awake, sir? The guy starts to open his eyes a little. Michaels grabs the guy's face and slams it back, knocking him out again. Fogell jumps a little. OFFICER MICHEALS I'm sorry, McLovin. But I really need this to be a private thing. Officer Michaels takes out two cigarettes, and gives one to Fogell, who accepts, quivering in fear. Michaels lights his, then passes the lighter to Fogell. OFFICER MICHEALS -LRB- CONT'D. -RRB- Listen McLovin, you. like. Officer Slater and myself, do n't you? Fogell tries to light his cigarette. It takes a few tries and he starts hacking after the first pull. FOGELL -LRB- coughing. -RRB- Umm, yeah, sure. You guys are great. OFFICER MICHAELS Yeah, well, we're also on probation. You see, we've actually trashed two other cars. The first time was n't our fault, and the second time a bee flew in and I freaked out. Point is, we trash another car, without a good reason, we're fucked. Know what I'm saying? Fogell continues to painfully suck back on the cigarette. FOGELL Sure. OFFICER MICHAELS Now, we're going to arrest these guys, and if you do n't mind, which you should n't, we'd like you to write a fake witness report saying they jumped out in front of our car. Cool, McLovin? Fogell nods his head, getting some of his cigarette smoke in his eyes. He winces and starts to blink in discomfort.",
"EXT. NEIGHBORHOOD STREET - CONTINUOUS Slater stands above the boys. OFFICER SLATER How tall are you? EVAN Uh. I do n't know, five - foot - ten, eleven? OFFICER SLATER And you said those were `` Pumas?'' Seth nods. Officer Michaels and Fogell get out of the car. Seth and Evan see Fogell and stare in shock as he takes a drag of a cigarette and then flicks it aside. Michaels pulls Slater aside and mumbles into his ear. Fogell turns and sees Seth and Evan - he's completely dumbfounded! Evan starts to look really nervous, like he might literally explode. He starts to stand up. The cops are still talking when suddenly, Evan BOLTS! OFFICER MICHAELS Shit! The cops run after Evan! Seth and Fogell look at each other. Seth grabs the remaining detergent jug and runs off in the opposite direction of Evan! Fogell reaches into the cop car, grabs the bags of booze, and follows Seth. FOGELL Seth! Wait up! Officer Slater looks back to see Seth and Fogell running. OFFICER SLATER Shit! Shit! McLovin bailed! The cops run back into their car.",
"INT. COP CAR - CONTINUOUS They ca n't see out of the shattered windshield. OFFICER SLATER Fuck!",
"EXT. STREET WITH COP CAR - CONTINUOUS The cops get out of the car and run off after Seth and Fogell. As they run, we see the Homeless Guy slump out of the car, landing on his face with a muffled groan. He stands up, grabs the jug of detergent that was left on the ground, and runs off.",
"EXT. NEIGHBORHOOD STREET - CONTINUOUS Fogell and an exhausted Seth are running together. Seth grabs Fogell and takes him around a house and towards a backyard. A second later, the cops run by the house and continue up the block.",
"EXT. BACK YARD - MOMENTS LATER Seth and Fogell sprint across a big, dark backyard. Seth looks back to see if they are being followed. BOOM! He runs smack into a little red tent and trips onto it! KIDS inside the tent start screaming as flashlights turn on. KIDS -LRB- hysterical. -RRB- Help / It's a monster! / Daddy! Fogell helps Seth get up. They try to run, but Seth is caught on the tent! He drags it a couple feet as the kids start clawing to get out. KIDS -LRB- CONT'D. -RRB- AAAHHHHHH! The zipper opens and a KID hops out. The Kid looks at Seth. KID AHHH! NO! DADDY! FOGELL Holy shit! Little kids! A little GIRL runs out and books it into the house. From inside the tent, another kid starts kicking at Seth. SETH Ow! Seth manages to free himself from the tent and he and Fogell fall to the ground. The kids continue to scream. FATHER -LRB- O.S. -RRB- Get away from my children! The guys turn and see a crazed, slightly overweight FATHER in his underwear running at them with a baseball bat. Fogell and Seth scramble to their feet as the Dad takes a swing at them, narrowly missing them. FATHER -LRB- CONT'D. -RRB- You sick sons - of - bitches! Fogell throws his shoulder into the guy, knocking him down. Seth and Fogell run to the backyard gate and try to open it. They ca n't. FOGELL Help! Fogell starts banging as Seth looks back to see the Dad coming for them. Seth swings the detergent jug at the Father, knocking him on his ass. He quickly gets up and charges, enraged. FOGELL -LRB- CONT'D. -RRB- Aaaahhh! Fogell gets the door open and the two boys run into the alley. CUT TO:",
"EXT. ALLEY - CONTINUOUS They sprint down the alley. Seth coughs and wheezes, slowing down as he lugs the detergent. The Father enters the alley and sees the boys running. He throws his baseball bat. It sails through the air and nails Seth in the back! He falls. SETH ARGGG! He gets up and the keeps running.",
"EXT. STREET CORNER - CONTINUOUS Slater and Michaels, completely out of breath, desperately scan the area for the boys. OFFICER SLATER Stupid little bastards. OFFICER MICHAELS Maybe I should fire a shot? Scare ` em out?",
"EXT. INSIDE SOME BUSHES - CONTINUOUS Evan is nestled inside a large bush, frantically trying to reverse his clothes so as to disguise himself. He keeps looking out for the cops, when suddenly he hears a gunshot - BLAM! EVAN -LRB- to himself, mumbling. -RRB- Oh god. Oh god. Fuck. Fuck. As he fumbles to turn his jacket inside out and get it on, he sees Seth and Fogell running towards him. He pops out of the bush, scaring Fogell and Seth. FOGELL Ahh! SETH Jesus! EVAN -LRB- CONT'D. -RRB- Should I run!?! SETH Fucking run! They all run off down the street.",
"EXT MAIN STREET They turn a corner at the end of the block and continue running. They turn onto a main street and are exuberant at the sight of an oncoming bus. It stops at a nearby stop. They haul ass and make it on.",
"INT. BUS - CONTINUOUS Out of breath, the boys dig up change and put it in the toll box, then walk towards the back of the bus. HOMELESS GUY -LRB- O.S. -RRB- Hey! It's you! Fogell looks up and sees the Homeless Guy stumbling towards them, sucking back the bottom of the lost detergent bottle. The Homeless Guy sees they have bags full of booze. HOMELESS GUY -LRB- CONT'D. -RRB- You got booze in the bag? Can you gim me some? SETH No! Fuck off! You already drank our detergent beer! HOMELESS GUY That was beer?! -LRB- to Fogell. -RRB- Well, you little shit. ai n't got no cop people to help you keep your booze. gim me it. The Homeless Nutcase reaches for the booze. Seth steps in front of him. SETH Back off, or we'll kick the shit out of you! EVAN We ca n't do that. He's homeless. SETH So? Who cares? Just because he does n't have a home does n't mean he can be a lunatic! HOMELESS GUY Give me the booze! The guy shoves Seth aside and dives at Fogell. - Helen's bottle of Goldschlager gets knocked from the bag. It VERY SLOWLY falls towards the ground. - Seth reaches for it, but does n't quite grab it. - WE LOUDLY HEAR the bottle as it slams against the bus floor. but does n't break! It slowly rises back up into the air and begins sailing towards the front of the bus. - Evan LEAPS through the air, sailing towards the precious Goldschlager with his arms extended. EVAN -LRB- in slo - mo voice. -RRB- GOOOOOOOLDSCHLLLAAAAAAAGERRRRRRRRRR! - He is inches away from grabbing it, when it suddenly smashes into a pole, SHATTERING, sending little gold flakes everywhere. BACK TO NORMAL. The Homeless Guy sees the gold flakes. HOMELESS GUY Shit! Gold! He starts frantically picking up the flakes as Evan stares at the remains, shocked. Fogell walks over. FOGELL What the hell is going on? Where did you come from? BUS DRIVER -LRB- calling from front. -RRB- Get the fuck off the bus or I'm calling the cops! The boys look at each other terrified, and get off the bus.",
"EXT. BUS - CONTINUOUS Seth and Evan are looking at one another coldly as the bus pulls away. Fogell looks at some nearby street signs. FOGELL -LRB- ecstatic. -RRB- Holy shit! We're like three blocks away! Best luck ever!",
"EXT. STREET NEAR JULES' PARTY - A LITTLE LATER The are walking up the street as Evan puts his clothes back on right - side out.",
"EXT. JULES' PARTY - MOMENTS LATER The guys walk up the front steps of Jules' house. They stand in front of the door. FOGELL Fuck yeah, guys. We made it. Together and safe. EVAN I ca n't believe Helen's bottle broke. FOGELL I'm sure it'll be fine. SETH -LRB- sarcastic. -RRB- What's the difference? I thought you did n't need it anyways. I thought you were just going to tell her how you feel, you fucking pussy. EVAN Yeah? Well, good luck getting Jule's drunk enough to have sex with you. FOGELL What's wrong with you guys? SETH Shut up, Fogell. Never mind. Evan'll tell you next year. FOGELL -LRB- to Evan. -RRB- You told him? Evan stares Fogell down. SETH Told me what? FOGELL Well we have to tell him now. EVAN Fuck, Fogell! You're a god damn idiot. FOGELL Well, he knows something's up. SETH Just say it! EVAN Shit. -LRB- beat. -RRB- Seth, me and Fogell are rooming together next year. FOGELL I do n't even get what the big deal is, to be honest. EVAN I did n't tell you because - SETH Save that shit for later. We've got shit to do. Seth just goes into the house with the booze, leaving Fogell and Evan. FOGELL We never should have had to hide our arrangement.",
"INT. JULES' HOUSE - KITCHEN - CONTINUOUS The party is in full swing. There is loud music blaring and nearly a hundred people talking, dancing, and smoking. JULES Seth! Everyone, he's here! He's got it! Everyone turns around and sees the Seth holding all the liquor. RANDOM GUY He's got a shit load of booze! Everyone starts cheering! Seth sets it out on the kitchen table ; it is an impressive array of inebriates. SETH The bar is open! EVERYONE -LRB- ecstatically cheering. -RRB- Yeah Seth! / Clutch! / Nice! / I ca n't believe it! / Seth did that?! / Who the fuck is Seth? In the background, we see Evan and Fogell wander into the party as Jules approaches Seth. JULES This is awesome. Thank you so much. SETH Sorry it was late. JULES Yeah. To be honest, people were starting to get seriously pissed off. Listen, I've got to go tell everyone the drinks are here. Do n't go anywhere. Promise? SETH I'll be right here. Jules walks off.",
"INT. JULES' KITCHEN - MOMENTS LATER Tons of kids pour themselves drinks. Seth and about six other kids all have overflowing shots of Jaeger. SETH To Jules! Everyone drinks and recoils from the taste. A random guy refills everyone's shot glasses. RANDOM GUY -LRB- pointing to Seth. -RRB- Another one, but to you, man! Everyone, to this guy! Who the fuck are you, man? SETH -LRB- exuberant. -RRB- Seth! RANDOM GUY To Seth! EVERYONE To Seth! They all drink. SETH Hey! Let's do another one to me! Everyone laughs as Seth, very pleased with himself, starts refilling shot glasses.",
"EXT. JULES BACKPORCH - CONTINUOUS Evan walks out onto the back porch, looking for Helen. He sees Becca. EVAN Becca! Hey. BECCA Where have you been, you almost blew it. EVAN What? BECCA Helen. She's been waiting for you. She's right over there. She's been yammering about you all night. EVAN What? What did she say? Does she think I'm a good guy? What did she say? BECCA It was something like, `` I'll fully blow him tonight.'' EVAN What?!? Evan looks over and sees Helen standing on the balcony with a big group of people. He gets really nervous. EVAN -LRB- CONT'D. -RRB- Oh man. This is too much. Oh god. What do I do? I lost the Goldschlager I was supposed to bring her! BECCA Well, Jordana stole a bottle of tequila from her parents and her and Helen have been going at it. I think she'll be fine in that department. I'd just go over there and invite her upstairs, pronto. EVAN What? Oh man. -LRB- so nervous. -RRB- But. she's totally hammered. If I get with her, and I'm not drunk, is n't that, like, date rape? BECCA It's not date rape if you're drunk, too. EVAN I guess. Evan looks at Helen and takes a deep breath.",
"INT. JULES BATHROOM - MOMENTS LATER Evan enters the bathroom and slams the door shut, a bottle of Ouzo in one hand and a beer in the other. He looks at himself in the mirror, seeming as though he's on the verge of a full - on panic attack. EVAN -LRB- panting. -RRB- Calm down, Evan. She likes you. She wants to suck on your penis. That's a good thing. He opens the Ouzo and smells it, recoiling in disgust. EVAN -LRB- CONT'D. -RRB- Down the hatch. Evan takes a mighty swig, then gags and spits it out, spraying it everywhere.",
"INT. JULES' DEN/ DINING ROOM- CONTINUOUS Fogell sits bored in front of the TV, drinking a beer. He watches a bunch of girls flirt with some boys. Everyone is talking and laughing while he sits alone. He walks over to the doorway of a room filled with girls dancing. In the corner dancing is Nicola. He stares at her for a moment, then goes back and sits in front of the TV. He changes the channel and `` COPS'' comes on the screen. It shows two cops chasing a crack head, tackling him and knee dropping him. Fogell ponders as he watches `` COPS.'' He throws back the rest of his beer and marches into the room Nicola is dancing in. He walks up to Nicola, who is by far the best - looking girl in the room, and starts dancing with her. She looks a bit thrown at first, but after a few beats, she seems to like it. FOGELL They call you Nicola, right? NICOLA And they call you Fogell. FOGELL Some do. They continue dancing. I/E. JULE'S KITCHEN/BATHROOM - CONTINUOUS",
"INT. JULES KITCHEN - Seth taking shot after shot in the kitchen with everyone else, glancing over at Jules every now and then as she walks around the party, sending more people to drink with him.",
"INT. JULES BATHROOM - Evan in the bathroom, forcing himself to brutally suck back a disgusting amount of Ouzo. He sips from his beer, takes a deep breath, and then starts again.",
"INT. JULES HOUSE - Seth dances jokingly with a few people and tells the story of that evening, showing them the detergent jug full of beer and acting out the car hitting him.",
"INT. JULES BATHROOM - Evan, who has drank about half the bottle and is pretty drunk, stands up, arms reached out, and tries to walk in a straight line. He does it fairly well. Frustrated, he sits back down and takes another disgusting swig of Ouzo.",
"INT. JULES HOUSE - Jules throws Seth a smile when she sees him making everyone laugh as he re - fills their cups with very foamy, slightly blue - tinted beer from the detergent jug.",
"INT. JULES BATHROOM - Evan ca n't keep his balance as he tries to touch his nose while standing on one foot. He's drunk. He drinks from the tap thirstily, eats some toothpaste, fixes his collar and hair, and then gathers his courage, takes a deep breath, and steps out of the bathroom.",
"EXT. BACKYARD - CONTINUOUS Evan walks out on the balcony. He spots the circle of people Helen was standing in, only now Helen is laying on the ground, laughing hysterically. Everyone in the circle is looking at her and laughing as well. Evan is extremely nervous. Helen looks up and spots him. HELEN -LRB- laughing. -RRB- Evan! Hey! Come here! Evan takes a deep breath walks up to where she's laying. She extends her arms. HELEN -LRB- CONT'D. -RRB- Help me up! None of these people will help me up! Evan notices that she seems a little drunk. He helps her up and she collapses onto him, forcing him to hold her up. EVAN Hey, Helen. Sorry I was - Helen laughs hysterically as she latches onto Evan. He smells her breath. It reeks of alcohol. Evan's drunk, but Helen is completely fucking shit - faced! HELEN Evan! Oh my god! You are so fucking hilarious! -LRB- to the group. -RRB- Do you goes know how fucking hilarious Evan is? -LRB- to Evan. -RRB- Tell them how hilarious you are! The group looks over to Evan. EVAN Uh. well. uh. HELEN Listen to him! Helen starts laughing hysterically. HELEN -LRB- CONT'D. -RRB- See?! He is so cute! The group chuckles a little. Helen puts her arms around Evan. HELEN -LRB- CONT'D. -RRB- I've been waiting for you for, like, ever. What took you so long? Do you have my Goldschlager? EVAN Oh man, it's a crazy story - Helen picks up a bottle of tequila and shoves it into Evan's hand. HELEN Here! Do n't worry, we can drink this. EVAN I'm already pretty wasted. But. uh. here's to you. Evan takes a much - unwanted drink and gags. HELEN Light - weight! Everyone laughs. HELEN -LRB- CONT'D. -RRB- Hey. me and you should go upstairs now. I really want to. tell you something. EVAN -LRB- confused and drunk. -RRB- Uh. uh. uh. you could just tell me right here - HELEN -LRB- laughing. -RRB- No! Let's go upstairs, come on! Evan hears everyone giggle as Helen pulls him towards the house. Helen trips, just managing not to fall. HELEN -LRB- CONT'D. -RRB- Careful.",
"INT. JULES' DINING ROOM WITH DANCING PEOPLE - CONTINUOUS Nicola and Fogell are standing in the corner of the room. Nicola is looking at Fogell's ID. NICOLA McLovin! That's the funniest thing I've ever seen! FOGELL Yeah, I just thought it sounded old. They both laugh and their eyes meet.",
"INT. JULES KITCHEN - CONTINUOUS The party is in full swing and everyone is getting good and drunk. Jules walks up to Seth, who is clearly piss drunk. JULES Hey, I'm back. I had to thank the peeps for comin' out. SETH -LRB- really, really, drunk. -RRB- Jules! The hostess with the most - est! The woman of the hour! Seth takes a swig of a beer. SETH -LRB- CONT'D. -RRB- This party's blowin' my ass off! I want you to have a drink with me. Seth offers her a beer. JULES No, thanks. I'm good. But, seriously, thanks for getting all the drinks. It really made the night. SETH It's just how I roll, Jules. No problems, no problems. Jules laughs and Seth sees that his charm is working. SETH -LRB- CONT'D. -RRB- Uh. you know. I love talking, and conversing with you, you're so good at it, but I ca n't hear you. Could we just go on the. uh. balcony or something? Jules eyes Seth suspiciously. Seth just looks at her, smiling drunkenly. JULES Why not? I have n't conversed in ages. Let's do it. Jules walks out of the kitchen. He finishes off his beer and then, happy as shit, drunkenly dances out of the kitchen and after Jules.",
"INT. JULES' BEDROOM - CONTINUOUS Evan practically holds Helen up, almost dropping her several times, as they stumble into Jules' bedroom. Helen puts down the tequila and starts kissing Evan, but it's not nice kissing, it's sloppy porno kissing with way too much tongue. After a few moments Evan pulls away and looks at the remarkably drunk Helen. EVAN Are you okay? HELEN I so flirt with you in Math. EVAN Oh man. Helen. I want to tell you, I mean, I've wanted to tell you, for a long time - HELEN I know. I've wanted to get with you so hard. Helen kisses him. HELEN -LRB- CONT'D. -RRB- Like. so hard. Helen yanks him onto the bed and starts sloppily kissing him again. Evan does n't know what to do. She tries to take off Evan's shirt, but is way too inebriated to undo the buttons. Evan yanks it off. HELEN -LRB- CONT'D. -RRB- Good. Helen stands up and starts to waver back and forth. She looks like she's about to tip over, but she catches herself and sloppily tries to strike a sexy pose like a model. Evan watches in dread as she starts to strip, pulling her shirt over her head, completely failing to look sexual. As Evan watches the tragedy unfold, he grabs the bottle of tequila and takes a big swig. Helen sits on the floor and concentrates on untying her shoes. HELEN -LRB- CONT'D. -RRB- What the fuck. stupid shoe. Evan moves over to help her. He ca n't do it either. EVAN Shit. Can you, like, slip out? Helen tries to squeeze her feet out, but she ca n't. She grabs a pair of scissors off a desk. EVAN -LRB- CONT'D. -RRB- Whoa. Fuckin'. careful. She snips off the knot and slips her shoe off. HELEN You. take off your pants. -LRB- drunkenly waving the scissors. -RRB- Or I'll cut ` em off. Helen laughs as she staggers to her feet and start kissing Evan. He starts taking off his pants.",
"INT. JULES' STAIRCASE - MOMENTS LATER Nicola leads Fogell up the stairs. NICOLA I ca n't believe I'm about to get with `` Fogell''. FOGELL Why? NICOLA I do n't know. You're like, the most mysterious guy in the grade. Like, nobody knows anything about you. FOGELL Well, you're about to learn a few things.",
"EXT. JULES' FRONT PORCH - CONTINUOUS Jules and Seth step out onto the front porch. There is no one else out there. The moment the door closes behind them, Seth turns to Jules and puts his hands on her hips. He stares into her eyes and moves in for the kiss. Jules instantly pulls back. JULES Whoa! Whoa! Slow down. SETH What? What's wrong? JULES I'd. uh. prefer if we did this at some other time. SETH -LRB- confused. -RRB- But. there is no other time. School's up! This is the only time. what's wrong with now? JULES Well, you're drunk. Like, really, really drunk. SETH So? So are you. JULES I'm not drunk at all. I do n't even drink. Seth is absolutely shocked. It takes his remarkably drunk mind a moment to process this information. SETH You do n't drink? But. but, you told me to get the liquor! JULES Yeah, I'm. uh. throwin' a party, remember? SETH You do n't drink!?! JULES No. I do n't drink. SETH And you, do n't want to. uh, you know. JULES Uh, no. Not right now, thank you very much. Seth looks at Jules and realizes that he's screwed up. His eyes start to water. SETH Ahhh. man. fuck. Seth starts to cry. JULES Are you crying? SETH No! Yeah, so what if I am? I'm a fucking idiot and it was my last chance! So I should be crying. JULES Last chance to do what? SETH To make you my girlfriend for the summer, okay? There! You're, like, the coolest person that's ever talked to me, and I thought we'd both be drunk, but. JULES What would me be drunk have anything to do with it? SETH ` Cause you'd never get with me in your right mind! Look at me! -LRB- beat. -RRB- And now look at you! Suddenly, the front door opens, and a RANDOM GIRL walks out. RANDOM GIRL -LRB- yelling into the house. -RRB- Hey, Ricky! Was it a quarter, or an eighth you want? RICKY -LRB- O.S. -RRB- A fat eighth! The Random Girl notices Seth and Jules. RANDOM GIRL Whoa. Sorry. The girl hops down the stairs and walks off as Jules stares at the sobbing Seth.",
"INT. JULES' ROOM - CONTINUOUS Evan sitting on the bed in only his boxers, and Helen is just getting her pants off, leaving her only in her lingerie. Evan's eyes widen. She looks at Evan and rubs her breasts in a very un - sexy way. HELEN I wore this for you. Here we go. Helen crawls onto the bed, pushes Evan down, and starts seriously making out with him, drunker and sloppier than ever. HELEN -LRB- CONT'D. -RRB- Evan, I'm so wet. EVAN -LRB- still nervous. -RRB- You're so beautiful. Helen shoves her hand down Evan's boxers. Evan jolts, terrified! HELEN You've got such a smooth cock. EVAN Um. thank you. I've thought you were a really incredible person for a really long time. Evan looks really nervous as Helen's hand starts moving up and down. HELEN You've got to get hard for me. real hard. EVAN I'm. I'm. I'm about to. But first I just want to tell you exactly how I - HELEN I'm gon na suck your dick so good. Evan is taken aback. EVAN You do n't have to do that, you know, we can start this relationship on something more than just that. HELEN Yeah, Evan. I know. -LRB- in a sultry, whispery voice. -RRB- I need you to eat my hairy love crack. EVAN Jesus Christ. Evan sits up. HELEN What's wrong? Beat. EVAN You do n't want to do this. HELEN Yeah I do, I want to fuck you. EVAN Look, you know I really like you, Helen, but this is. it's just too intense. And I'm so drunk I do n't even know how to, like, process - HELEN You're just being a pussy. EVAN What? Did you just call me a. pussy? HELEN Yeah. a scared little pussy - PUKE! Evan watches in horror as Helen vomits all over Jules' bed. EVAN Oh god! Oh. HELEN I need Becca. Becca. EVAN I'll. uh. I'll go get her. Are you going to be okay? HELEN Oh God, oh God, oh. I'm puking. PUKE! Evan winces as she throws up again.",
"INT. JULES PARENTS'S BEDROOM - CONTINUOUS Fogell is laying on his back on the bed and Nicola is straddling him. They are kissing. Nicola sits up and takes Fogell's hand and starts sucking his fingers. FOGELL I've got a boner. NICOLA Good. Do you have a condom? He pulls a condom out. FOGELL And lube. He pulls out a little bottle of lube.",
"EXT. JULES' FRONT PORCH Seth and Jules are both seated on the stairs. Seth has his face in his hands. Jules is patting him on the back, but clearly feels awkward. JULES Seth, you. uh. Seth looks up at her, drunk as hell, his eyes half - open. JULES -LRB- CONT'D. -RRB- You did n't blow it, you're a - Seth blanks out and falls forward. BAM! He head - butts Jules in the face! JULES -LRB- CONT'D. -RRB- AAAHHH! Jules clutches her eye as Seth slumps onto the patio floor, unconscious. She gets up, yelling in pain, as Seth opens his eyes. JULES -LRB- CONT'D. -RRB- Seth! What the fuck! SETH help me. Jules storms into the house, leaving Seth lying on the front porch. He wiggles around a bit. SETH -LRB- CONT'D. -RRB- sorry. Seth passes out again. A few moments go by, when SUDDENLY a cop car pulls up in front of the house. Seth opens his eyes and sees the cops. SETH -LRB- CONT'D. -RRB- Oh no. Two cops get out and start harassing two kids smoking a joint on the front lawn. One of them turns on their flashlight and Seth sees - it's OFFICER SLATER and MICHAELS! SETH -LRB- CONT'D. -RRB- Evan.",
"INT. JULES' HOUSE - CONTINUOUS Evan, sitting on the couch next to Miroki -LRB- Evan's partner from cooking class -RRB-, drinking a bottle of tequila. He's absolutely smashed. EVAN Life's bullshit, huh, Miroki? Suddenly, Seth bursts into the room and grabs Evan's shirt. EVAN -LRB- CONT'D. -RRB- Fuckin' wax off, asshole! SETH No. I'm helping you, man! Just listen. Seth grabs Evan's wrists and tries to pull him to his feet. EVAN Fuck off, jerk! You're hurting my shoulders! Just then, Terry -LRB- the guy who spat on Seth in the beginning -RRB- walks by. TERRY Hey! Look, it's Christina and Britney. Have fun boning each other on grad night! Terry and his buddies laugh their asses off when, suddenly - KNOCK! KNOCK! KNOCK! The loud authoritative knocking echoes through the party and everyone looks to the door, knowing it can only mean one thing. Someone opens the door, revealing Officer Slater and Officer Michaels! They talk to whoever answered the door, oblivious of Evan and Seth. OFFICER SLATER We had a complaint about the noise. It looks like you're having a nice little party here. OFFICER MICHAELS A nice little underage drinking party. Evan points at the cops. EVAN Dude! Seth! It's the cops! The cops. SETH That's what I've been! Here. Seth pulls Evan up and the two drunkenly make their way out of the living room just as the cops step into it. OFFICER SLATER Okay, everyone out. Party's over. Get out of here. Michaels turns to Slater. OFFICER SLATER -LRB- CONT'D. -RRB- I'll go upstairs. I told you this would release some anger. OFFICER MICHAELS I'll tell you what would release some anger, if one of these little fuckers touched me and I got to club his face in.",
"EXT. JULES' BACKYARD - CONTINUOUS Seth and Evan run through the back yard. Seth stumbles and falls, but quickly gets up. With great difficulty, The boys drunkenly lift themselves up and over the fence.",
"INT. JULES PARENTS'S BEDROOM - CONTINUOUS Fogell is on top of Nicola in the missionary position. NICOLA Oh. uh. oh. FOGELL It's. it's in. -LRB- beat. -RRB- It's in. Fogell wears the greatest look of accomplishment one could possibly imagine. SUDDENLY, Officer Michaels bursts into the room and flicks on the lights. FOGELL -LRB- CONT'D. -RRB- What the hell? Nicola screams, grabs her clothes, and runs into the bathroom. OFFICER SLATER McLovin? What the fuck? FOGELL Officer Slater? OFFICER SLATER You ran away from us! -LRB- turns to the door. -RRB- Michaels! Get up here! FOGELL No! I hit my head when we crashed. I was all disoriented and I just wandered off, confused. Seriously! OFFICER MICHAELS Shut the fuck up! Wait a minute. How old was that girl? 16, 17? You sick bastard, that's statutory rape, McLovin. Officer Slater appears in the doorway. OFFICER SLATER McLovin! OFFICER MICHAELS He was violating a sixteen year - old girl! FOGELL What? No! No! Fogell covers himself with the blanket and starts to get up. FOGELL -LRB- CONT'D. -RRB- I did n't break the law! I'm not really even - OFFICER MICHAELS Sit your ass down and keep it down. OFFICER SLATER You're going to jail, fucko. Nicola, now dressed, emerges from the bathroom. She screams and runs out. They take Fogell's arms and handcuff him. OFFICER SLATER -LRB- CONT'D. -RRB- -LRB- to Fogell. -RRB- They do n't take kindly to your type in jail, McLovin.",
"EXT. ALLEY - CONTINUOUS Drunk, joyful, and out of breath, the boys stop running. EVAN Dude. You saved me! SETH I totally did! I wanted to! EVAN Wan na sleep at my house, man? You're my best friend! SETH Yeah! Sleepover! Fuckin. you got pizza bagels still? EVAN Yeah! Look what else I gots! Evan pulls a half bottle of tequila. SETH Nice! They start to drink it together.",
"EXT. JULES' FRONT YARD - CONTINUOUS All the kids from the party have congregated in the front yard. The cop car is parked right in front. We see the Officers dragging Fogell through the crowd of kids. TERRY -LRB- O.S. -RRB- Stupid pigs. SUDDENLY, a WAD OF SPIT hits Slater in the shoulder! He turns and sees Terry, the guy who spat on Seth. Slater walks over and bashes the kid in the face with his nightstick. The kid drops. OFFICER SLATER There you go. OFFICER MICHAELS That does feel better. They throw Fogell into the back of the cop car.",
"INT. COP CAR - CONTINUOUS The cops both get in and slam their doors. They just stare forward. FOGELL So. am I going to jail? The two cops burst out laughing hysterically. OFFICER SLATER -LRB- laughing his ass off. -RRB- Yeah! You're going to fuckin' Azkaban! FOGELL What? OFFICER MICHAELS You are the funniest fuckin' kid I have ever met! OFFICER SLATER We've been fuckin' with you! Jesus! I love this kid! FOGELL I do n't understand! OFFICER SLATER We know you're not twenty five! What are we, morons? My god! What are you? Sixteen? FOGELL Seventeen. OFFICER MICHAELS Seventeen! Ha! We had you going, McLovin!",
"EXT. BUS - SOON AFTER Seth and Evan sit at the back of the empty bus together. EVAN Is the bang bus anything like this? Seth cracks up laughing.",
"EXT. SHOPWELL'S - PARKING LOT - CONTINUOUS The cop car is spinning donuts in the middle of the empty lot. It stops. Fogell and Officer Michaels get out, both smiling. The driver side window rolls down, reveal Slater. OFFICER SLATER Alright, boys. What I'm about to show you is pretty much the greatest move in donut - spinning history. Behold : the reverse figure - eight. Slater drives to the other side of the lot. FOGELL So, like, what's your official position? OFFICER MICHAELS If you were in, you were in. You are no longer a virgin, end of story. Screw cumming. Suddenly, Slater guns it and speeds across the lot, slamming the breaks, spinning wildly in several erratic donuts backward donuts. Slater completely loses control of the car. He smashes through a bunch of shopping carts and slams into a light post, completely fucking up the cruiser. Slater tries to open his door, but it wo n't budge. He crawls out the missing windshield, slumping onto the ground. OFFICER SLATER Alright. I think that's all the fun we're gettin' out of this one.",
"EXT. CLIFFSIDE - LATER Slater hands Fogell his note pad. OFFICER SLATER and by signing this you are officially saying that as we stopped you from being mugged, a crack - head stole our cruiser and did God knows what with it. FOGELL Of course. That mugger had nothing but murder in his eyes. I owe you my life. Fogell signs the pad. OFFICER MICHAELS Can we do this already? The cops and Fogell push the cruiser towards a small, but steep, hill. They shove it over the edge and watch it roll. It gains speed and smashes into a tree, shattering the windows and crushing the front of the car. OFFICER MICHAELS -LRB- CONT'D. -RRB- Can we shoot at it? OFFICER SLATER I do n't know, can you? They whip out their guns. OFFICER SLATER -LRB- CONT'D. -RRB- I'm throwin' down the gauntlet. 50 bucks. Whoever hits the gas tank. OFFICER MICHAELS You are so fucking on. FOGELL Can I get a shot? Slater hands Fogell his gun. With a huge smile, Fogell raises the gun, aims it at the police cruiser, and BLASTS off round after round.",
"INT. EVAN'S BASEMENT - NIGHT Seth and Evan are lying in sleeping bags beside one another. The now empty bottle of Tequila lies between them. They are laughing very hard, still drunk off their asses. SETH I ca n't believe she said that shit. EVAN Oh my lord. You have no idea! They laugh harder. EVAN -LRB- CONT'D. -RRB- And then you saved me, man! I fucking love you! SETH I fucking love you, too, man! I'm not embarrassed, I just love you! EVAN Why do n't we say that more? It feels good! I love you more than my brother, man. Like, when you went away for Easter last year, I, like, missed you. You know? SETH I missed you, too. Come here, man. Seth grabs Evan and they hug. SETH -LRB- CONT'D. -RRB- We'll always be friends. ` Cause we love each other. They stop hugging and sit back down. They're laughter slows down and there is a moment of silence. SETH -LRB- CONT'D. -RRB- Like, three weeks ago I was in you room and, like, you were taking a dump and. I saw your residence placement thingy. I totally saw you're living with Fogell. So, like - EVAN I'm sorry, man. SETH Do n't be! Do n't be! I'm sorry. I was being a bitch. EVAN I need you to know that it's not like I even want to live with Fogell ; it's just that I'm really afraid of living with strangers. There is a moment of silence. SETH You know. I was pissed off I did n't get with Jules, but, like. we really got through a lot of our shit, you know? EVAN Yeah, me too. Like, yeah. at least we kind of came together, again. Beat. EVAN -LRB- CONT'D. -RRB- Good night, Seth. I love you. SETH Night, Evan. Love you, man.",
"INT. EVAN'S HOUSE - BASEMENT - THE NEXT MORNING Evan wakes up and looks over at Seth, who is also waking. They look at each other extremely awkwardly, almost as though they drunkenly had sex with each other last night. EVAN Oh. uh. hey. Morning. SETH Uh. morning. They stare at each other, uncomfortable. EVAN You sleep good? SETH Yeah. This is a really good pillow. EVAN Um. Seth looks at his watch. SETH Maybe I should get going. EVAN You do n't have to. I'm not, like, doing anything. Beat. SETH Oh. do you want to hang out? I was. gon na go to the mall, actually. EVAN Oh. Cool, well, can I come? I need a comforter. For college. SETH Yeah. That'd be nice. I'd really like that.",
"INT. DEPARTMENT STORE - NEXT DAY Evan is standing in the pants section of a department store. Seth walks out of the dressing room wearing jeans that are way too small. EVAN Do n't ask me. I do n't give a shit if your pants look good. SETH Well, I need someone's opinion. EVAN Fine. They're way too small. SETH Yeah, but when I was wearing your dad's pants last night I realized that if I buy pants that are too small it'll encourage me to lose weight. And in tight pants chicks'll kind of see my dick a little. EVAN Yeah, the male camel toe look is really big this year. Seth goes back into the dressing room and wriggles out of the pants. He walks out. SETH These pants suck. Let's the get the fuck out of here.",
"INT. DEPARTMENT STORE They walk through the department store, when suddenly, Evan sees Helen and Jules looking at comforters. ANGLE ON : Helen and Jules HELEN Again, I'm so sorry. I ca n't believe I actually did that. JULES I feel sorry that I'm making you buy me a new one. HELEN I have to. It's puke. ANGLE ON : Seth and Evan EVAN Holy shit! Helen looks like hell and Jules has a horrible black eye. SETH Is that them? They stare at the two girls from afar. EVAN Should we hide? Helen looks and notices them. She waves and points them out to Jules. Seth and Evan wave back. The girls get up and start to walk over. SETH -LRB- pretending to smile. -RRB- Fuck that, man. I ca n't talk to her, look what I did to her! EVAN -LRB- pretending to smile. -RRB- Helen called me a pussy to my face! What am I going to say to her? The girls walk up to them. HELEN Hi Evan, Seth. JULES Hey guys. EVAN Hi Helen, Hi Jules. SETH Jules. Helen. Hi. Everyone looks very embarrassed. SETH Oh my god. I'm so sorry, Jules. JULES It's okay. EVAN -LRB- to Helen. -RRB- How are you feeling? HELEN Not bad, but not great, how about you? SETH -LRB- to Jules. -RRB- That looks terrible. No! I mean, it does n't look terrible, it looks - JULES Do n't worry about it, Seth. It was an accident. EVAN -LRB- to Helen. -RRB- Did you have fun last night? JULES -LRB- to Seth. -RRB- Do you remember much? HELEN -LRB- to Evan. -RRB- I really do n't remember much. SETH -LRB- to Jules. -RRB- Not really. I remember looking up, and you screaming at me. That's about it. Jules laughs. HELEN -LRB- to Evan. -RRB- I did n't puke on you, did I? Evan laughs. EVAN No, I dodged it. Whizzed right by me. SETH -LRB- to Jules. -RRB- But seriously, I acted like a fuckin' idiot last night. I'm really sorry, you did n't deserve that. HELEN -LRB- to Evan. -RRB- Yeah, I. um. I'm sorry, about all that. Thanks for being such a gentleman. There is a moment of silence. SETH You look good with a black eye. They all chuckle a little. JULES Thanks, smart guy. That's why I'm here. I have to go to Macy's to get a shitload of cover - up for the grad photo. SETH -LRB- mortified. -RRB- Oh man. HELEN Yeah, and I'm going to Linen Brothers to buy Jules a new comforter. EVAN Oh! I have to get a comforter too, for college. JULES -LRB- flirtatiously, joking. -RRB- So, you gon na come with me to Macy's and buy me my cover - up, or what? SETH Yes! Definitely. I'd love to. I had such bad acne last year, I became an expert on the stuff. EVAN You could get your college pants there. SETH Yeah, but wait. you drove me here, Evan drove me here, how do we - JULES I've got my dad's car. I'll take you home, and Evan can give Helen a lift. HELEN That sounds good. EVAN Maybe we can go eat after? HELEN Sweet. Seth and Evan look at each other, odd smiles on both their faces. They did n't blow it. SETH So, uh, I'll call you later. EVAN Yeah man, have a good one. JULES Come on, Seth. Let's go. Jules pulls Seth away. Evan and Helen start walking in the opposite direction. As they walk away from one another, Seth and Evan look back and give each other a small and yet emotionally - charged wave. A SLOW, GUT WRENCHING SOUL SONG STARTS TO PLAY. They look as though they're never going to see each other again.",
"INT. MACY'S ESCALATOR As Jules and Seth walk into Macy's and Helen and Evan descend an escalator, the music swells to a mind - fuckingly awesome crescendo, and we humbly fade to black. THE END We flip through Seth's seemingly endless penis drawings from childhood. They are hilarious."
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] | Seth and Evan are two high school seniors who have been best friends since childhood. The two are about to go off to different colleges. After Seth is paired with Jules during home economics class, she invites him to a party at her house that night. Their friend Fogell reveals his plans to obtain a fake ID, so Seth promises to buy alcohol for Jules' party with money she gives him. Evan runs into his crush Becca and he offers to get her some vodka for the party. Despite Fogell's fake ID having only one name, "McLovin.", Fogell successfully buys the vodka, but is knocked out at the last second by a robber. When police officers Slater and Michaels arrive, Seth and Evan believe that Fogell is being arrested. In reality, the officers agree to give Fogell a ride to the party. Outside, Seth is hit by a car. In exchange for Seth and Evan not telling the police, the driver promises to take them to another party where they can get alcohol. Meanwhile, Slater and Michaels take Fogell on a ride-along and then bond with him. Despite being on duty, they start drinking, using their sirens improperly, and shoot their firearms at a stop sign. At the party, Seth fills detergent bottles from the basement with alcohol he finds in the fridge and dances with a drunk woman, who stains his leg with menstrual blood, while Evan is made to sing by some men high on cocaine. About to leave, Seth is confronted by the host for dancing with his fiancée. A brawl ensues. The fiancée calls the police, while Seth and Evan escape. Evan and Seth argue, and Seth is once again hit by a car - the police cruiser driven by Slater and Michaels. They plan to arrest Seth and Evan, but when Fogell comes out of the car, Evan makes a run for it, while Seth and Fogell escape with the alcohol. Eventually all three make their way to Jules' party. At the party, Seth's stories of the night make him popular. Becca wants to have sex with Evan, but he respects her too much to go through with it while she is drunk. Meanwhile, Fogell impresses Nicola and goes upstairs to have sex with her. Seth drunkenly attempts to kiss Jules, but she turns him down because she neither drinks nor wants Seth while he is drunk. Seth believes he has ruined any chance of a relationship with Jules, and passes out, accidentally headbutting her, leaving her with a black eye. Slater and Michaels bust the party. Seth wakes up and escapes, carrying an intoxicated Evan. Slater interrupts Fogell and Nicola, who runs off. Slater is angry at Fogell for ditching them, but Michaels points out they have just "cock-blocked" him, and they apologize, reconcile, and reveal they knew all along that Fogell was not 25. They played along, wanting to show cops can have fun. To make it up to him, they pretend to arrest Fogell to make him look "bad-ass". They resume their bonding, eventually destroying their car with a Molotov cocktail while Fogell shoots it with Slater's firearm. The next morning, Seth and Evan go to the mall and run into Jules and Becca, and the men pair off with the women. Seth takes Jules to buy concealer for her bruise, while Evan and Becca leave to buy a new comforter to replace the one that Becca ruined from being sick. | Superbad_(film) |
[
"EXT. SNOWSCAPE A BLINDING WHITE SCREEN, under which we hear an ominous low end Dolby THX Big Screen rumble. We're not in 19'' television land anymore, Toto. As the rumble builds, TWO BLACK FIGURES appear on what now has resolved into a distant horizon. From their movements we can shortly see that the figures are men. Moving along a windswept ice sheet in an otherwise featureless land. A LEGEND appears : NORTH TEXAS, 35,000 B.C. CLOSER ON THE TWO MEN Continuing toward us, we can now see that they are dressed in crude garments made of animal skins. If we squint we can see their hair is long, their jutting foreheads significant of primitive Homo Sapiens. They continue toward us, the wind beating against them, CAMERA IS CRANING DOWN to the snow that lies before them. To LARGE THREE - TOED TRACKS. FOLLOWING THE PRIMITIVES As they track the three - toed prints to a rocky crevice in the hard - pack ice. The prints stop here, and so do the men. Dropping down into the crevice in pursuit of their quarry.",
"INT. ICE CAVE Dark in here, except where the sunlight penetrates the thick, glassy ice walls. The silhouettes of the Primitives stark against the glistening cavern. The sound of flint being struck, then A TORCH CATCHES FIRE, illuminating their faces. And : A CREATURE Deeper in the cave. Fleeing the light and the men. We get only a brief glimpse of it in the torch light, seeing that it moves upright on two legs and has gray, dinosaur - like skin. And large black eyes. But it moves quickly enough away that any other identifying feature is lost in the deeper shadows. THE PRIMITIVES Removing crude weapons made of sharpened bone from under their thick fur garments, and scrabbling into the constricting cavern, giving chase. Following them as they moves with animal - like agility through the tightening space. Predatory hunters. Their torchlight catching : THE CREATURE As it disappears into a tight opening in a smaller crevice leading off the main one. The Primitives entering frame after a moment, only a few steps behind. The LEAD PRIMITIVE dropping to the cave floor, pulling himself into this same tight fissure in pursuit. Splitting off from his partner who exits frame still on the run.",
"INT. SMALLER ICE CAVE - HIGH ANGLE DOWN The fiery torch comes through first, held by the lead man. Throwing dancing shadows on the walls of what appears to be a box cavern. CLOSE ON LEAD PRIMITIVE Rising quickly to his feet. Not seeing what the torch illuminates just behind him : The face of a dead Primitive Man, his body frozen into the ice. He does finally notice this, turning to see it, when he's ATTACKED VICIOUSLY FROM BEHIND. The torch falls to the floor so that the fight is difficult to see, but it is loud and cruel. The creature squealing wildly as the grunts of the Primitive now turn to the sounds of painful struggle. Until : THE SECOND PRIMITIVE MAN Suddenly appears, driving his bone weapon into the body of the Creature. Again and again, until the Creature is driven away into the shadows. The Second Man grabs the torch now, not to see if his hunting mate has survived, but in pursuit of the Creature. In the light we see that he and his weapon are covered with spatters of OILY BLACK BLOOD. As is the First Primitive whose body lies heaving on the floor. The Second Primitive stepping over his hunting mate, stalking the Creature into the shadows, where it has collapsed. The torch finally landing, for the first time, on its face. When the torchlight hits its face, the Creature attacks. But the Primitive prevails. He drops his torch and dispatches the already wounded Creature with strong hard stabs of his weapon, one of which penetrates the Creature's eye. LOW ANGLE ON THE DEAD CREATURE The torch, which lies on the ground, illuminates the dead creature's face. Its wounds are flowing with the oily black blood, which, oddly now, BEGINS TO POOL. As if it has intelligence, sentience. Pooling and traveling into a fissure in the cave floor. And disappearing. ANGLE ON THE SECOND PRIMITIVE Watching this, unknowing. His chest heaving from the fight, as the spots of Oily Black Blood which have spattered onto him begin to crawl. Crawling toward his eyes and mouth. Causing him to let out grunts of fear. Which are the sounds we hear as the CAMERA SLOWLY CRANES UP past the struggling Primitive to the roof of the cave, where the dancing shadows of the torch FADE AWAY with the sounds of struggle. Moving into darkness and silence. But only for a moment. Until : SUNSHINE BREAKS THROUGH THE ROOF OF THE CAVE - PRESENT DAY Along with the spade of a shovel. And then - the earthen cave ceiling gives way and A BOY wearing Nikes and an old t - shirt falls through it. Falling PAST CAMERA. We hear a YELL, then a THUD, and a CLATTERING of the shovel that's fallen in with him. Then a pained GASPING. Then SEVERAL HEADS appear in the opening. These are BOYS of ten to eleven, staring down into the cave. Hot sunlight blazing in. We have traveled far, far forward in time. 2ND BOY Hey, Stevie. You okay?",
"INT. CAVE - PRESENT DAY THEIR POV OF STEVIE On the floor below covered with dirt, in his nose and mouth. Spitting out. -LRB- All these boys have Texas in their voices. -RRB- STEVIE I got. I got. I got. -LRB- straining. -RRB-. the wind knocked out of me. This draws no sympathy from above, only LAUGHTER. THE BOYS UP ABOVE Staring excitedly. 3RD BOY Looks like a cave or something. 2ND BOY What's down there, Stevie? Anything? OVER THE BOYS ABOVE Stevie has gotten up, moving out of the patch of sunlight. Disappearing from view for a moment. Then reappearing, still spitting out dirt. But holding : STEVIE Human skull. One side partially missing from the cranium. But it brings WHOOPS of delight from the boys above. 3RD BOY Toss it up here, dude. STEVIE No way, buttwipe. I found it. It's mine. ANGLE UP ON STEVIE The other boys looking down at him. Stevie looking at the skull. Strangely, the light shines through it. It is milky, opaque, as if it's bone that's turned somehow glassy in places. Then : STEVIE Anyways, there's bones all over the place down here. Stevie looks down at his feet. CAMERA FOLLOWING HIS LOOK DOWN to where there are indeed more human bones. And something else. He takes a couple of steps in place, standing in a familiar BLACK, OILY substance - which is climbing up his tennis shoe from the rock floor, over the edge of the shoe and down into the shoe itself. Then the SKULL drops in the frame, clattering on the hard floor of the cave. CAMERA SLOWLY RISING UP FROM STEVIE'S SHOES Following SUBCUTANEOUS WORMS which have begun locomoting aggressively up his legs. As his whole body is WRACKED by a shivering seizure of some kind. CAMERA RISES, following the path of the worms as they move up the legs of his shorts. Some appearing on his bare arms, but the great majority continuing up to Stevie's neck, toward his face. Stevie stands paralyzed. Letting out guttural sounds not dissimilar to when the wind was knocked out of him. 3RD BOY -LRB- O.S. -RRB- Hey, Stevie. But Stevie can not answer him. CAMERA CONTINUING UP to the boys above. Looking down at their friend. Their eyes go wide. 2ND BOY You okay? But what they see next answers that question for them. THEIR POV OF STEVIE His face suddenly alive with the subcutaneous worms. Moving toward his eyes which begin filling with BLACK OIL. Looking much now like ALIEN EYES. CLOSE ON THE BOYS ABOVE Freaked by what they see. And doing what any kid would do now. 3RD BOY Hey, man. Let's get outta here. And they do. Bolting from the hole in the top of the cave. CAMERA PUSHING UP THROUGH THIS HOLE to REVEAL we are :",
"EXT. SMALL DIRT FIELD - NORTHERN TEXAS - DAY In a dirt hole that was being dug by the three kids. RISING UP out of the hole to REVEAL the parched dirt patch where THREE KIDS are running away from us, as fast as their feet will take them. Toward A NEW HOUSING TRACT -LRB- five floorplans to choose from, including the model home. -RRB- Disappearing into the neighborhood. A LEGEND appears : NORTH TEXAS, 1998. CAMERA CONTINUES RISING ABOVE THE ROOFTOPS to see the surrounding expanse of empty Texas flatland. And in the distance, the DALLAS SKYLINE. As CAMERA SETTLES, there are a few moments of nothing but the sound of the wind gently whistling across the landscape. In which we bury a short TIME CUT.",
"EXT. NEIGHBORHOOD - NORTHERN TEXAS - DAY Then we HEAR it, before we see it : FIRE ENGINES pulling into the neighborhood, sirens WAILING. CAMERA DROPPING AGAIN as the lead engine pulls up. FIREMEN are hopping off, moving to the hole the boys dug. LOW ANGLE UP FROM BELOW GROUND LEVEL, IN THE DUGOUT HOLE TWO firemen carrying a ladder clamber down PAST CAMERA, THREE OTHERS appearing on their heels. The other two firemen clamber down, too. THE CAPTAIN at the edge of the hole watching them. Holding a radio. FIRE CAPTAIN This is Captain Miles Cooles. we've got a rescue situation in progress.",
"INT. CAVE - CONTINUOUS As the LEAD FIREMAN steps down the ladder into the cave. He scans the darkness, illuminated only by the shaft of light permitted by the hole above. As the 2ND FIREMAN drops down next to him. The both stand motionless now, as if sensing something. THEIR POV Stevie's feet are just visible on the floor of the cave, a short distance away. RESUME FIREMEN - LOW ANGLE They start cautiously toward Stevie. CAMERA FINDING their feet. Tracking through the same OILY, BLACK SUBSTANCE we saw bleeding from the creature thirty five thousand years ago. As they move into the shadows, we HOLD ON THE SUBSTANCE. and see it MOVE. It's alive.",
"EXT. DIRT FIELD - SHORT TIME LATER CAMERA RISES out of the dirt hole, finds A GROUP OF Concerned PARENTS, KIDS, including Stevie's friends. They're held at a distance by the remaining firemen. Everyone turning their concerned gazes skyward. Looking at : A MED - EVAC CHOPPER Coming off the sun - setting horizon. Moving toward us at high speed. The WHOP, WHOP of its blade soon shaking the neighborhood as it banks in and around and hovers just over the dirt field. Landing gently on the parched hard scrabble. The side door flies open and FIVE HAZ - MAT RESCUE PARAMEDICS jump out carrying a bubble litter. CAMERA PANS THEM to the dirt hole past THE FIRE CAPTAIN. The Haz - Mat Paramedics moving down into the hole. The Fire Captain watches this, then stares toward - DR. BEN BRONSCHWEIG -LRB- in shirtsleeves, tie -RRB-, exiting the chopper, following up the rear. The Captain meeting him in route. BRONSCHWEIG -LRB- over the chopper. -RRB- Keep those people back. Get them out of here. FIRE CAPTAIN -LRB- to his men. -RRB- Move them all back. -LRB- dogging Bronschweig. -RRB- I sent four men down after the boy. They're not responding. Dr. Bronschweig's focus is elsewhere, though. He's making a bee line to the earthen hole where young Stevie is being pulled out and lifted into an enclosed QUARANTINE BUBBLE LITTER by the rescue squad. Bronschweig watches with great concern. Getting a good look now at Stevie's paralyzed body as it passes him. ANGLE ON CHOPPER As Stevie's body is loaded aboard, the side door is slid shut. The engine throttles up and the chopper takes flight again, almost as quickly as it arrived. The prop wash blowing : DR. BRONSCHWEIG And the gathering crowd. Bronschweig watches the chopper bank away, then turns his look to : THE NEIGHBORHOOD Where A SERIES OF UNMARKED CARGO VANS, TRUCKS are rolling in. A fleet of vehicles, driven by what looks like MILITARY PERSONNEL. Most conspicuously TWO WHITE UNMARKED TANKER TRUCKS. -LRB- There are NO MARKINGS on these vehicles. -RRB- RESUME BRONSCHWEIG As the Fire Captain moves around to face him off. FIRE CAPTAIN What about my men? DR. BRONSCHWEIG -LRB- brusquely. -RRB- We're doing all we can. And he moves off toward the approaching trucks where the MILITARY PERSONNEL are pulling out tents, tent poles, scientific equipment. Leaving the Captain to wonder what the hell's going on. Watching the first of many REFRIGERATION UNITS being unloaded. The personnel carrying it paying him no mind as they blow past him. Moving RIGHT TO CAMERA and plunging us into BLACK. HOLD. Then OVER BLACK, a familiar sound again. The sound of a chopper auguring in. As we FADE UP, revealing we are :",
"EXT. TOP OF A SKYSCRAPER - DAY The chopper is banking over the side of the building, preparing to touch down on the rooftop where FIFTEEN FBI AGENTS in dark ID windbreakers are standing. A LEGEND appears : FEDERAL BUILDING, DALLAS, TEXAS. ONE WEEK LATER. The chopper touches down and, again, the side door is thrown open. But now only one man exits : SPECIAL AGENT IN CHARGE -LRB- S.A.C. -RRB- DARIUS MICHAUD. Michaud moves with the measured pace of authority, approaching the waiting FBI Agents. One of whom steps up. FBI AGENT We've evacuated the building and been through it bottom to top. No trace of an explosive device or anything resembling one. S.A.C. MICHAUD Have you taken the dogs through? FBI AGENT Yes, sir. S.A.C. MICHAUD Well, take them through again. This is given as a non - negotiable order, to the somewhat weary FBI man. Who turns back to his charges, Michaud does not register this attitude, though. Something else has caught his attention. Causing him to walk to the edge of the building. CAMERA FOLLOWING HIM, seeing what he sees now. On an adjacent skyscraper is what appears to be AN FBI AGENT in an ID windbreaker exiting onto the roof. CAMERA CONTINUING AROUND into A CLOSE UP PROFILE of S.A.C Michaud. Staring at this, his jaw set. He does n't like what he sees. And what he sees is :",
"EXT. ROOFTOP OPPOSING SKYSCRAPER - DAY - CONTINUOUS Special Agent Dana Scully is coming out the door leading onto the roof. The door slams shut behind her. She, too, is dressed in an FBI windbreaker. She's dialing her cell phone as she moves around the rooftop looking for something. Dialing the number of : SCULLY Mulder - it's me - MULDER -LRB- FILTER. -RRB- Where are you, Scully? SCULLY I'm on the roof. MULDER -LRB- FILTER. -RRB- Did you find something? SCULLY -LRB- impatiently. -RRB- No. I have n't. MULDER -LRB- FILTER. -RRB- What's wrong, Scully? SCULLY I've just climbed twelve floors. I'm hot and thirsty and I'm wondering, to be honest, what I'm doing here. MULDER -LRB- FILTER. -RRB- You're looking for a bomb. SCULLY I know that. But the threat was called in for the Federal Building across the street. MULDER -LRB- FILTER. -RRB- I think they have that covered. WE ARE TRACKING WITH SCULLY. SCULLY -LRB- impatience. -RRB- Mulder. when a terrorist bomb threat is called in, the logical purpose of providing this information is to allow us to find the bomb. The rational object of terrorism is to promote terror. If you'd study model behavioral pattern in virtually every case where a threat has turned up an explosive device. If we do n't act in accordance with that data - if you ignore it as we have done - the chances are great that if here actually is a bomb we might not find it. Lives could be lost - Scully, engrossed in her own argument, realizes she's been the only one speaking for the last short while. She stops walking. SCULLY Mulder? MULDER What happened to playing a hunch? Scully almost JUMPS out of her own skin. The voice has come not over the phone, but from two feet away where : ANGLE TO INCLUDE AGENT MULDER Standing in the shadow of a large air conditioning unit. Cracking a trademark sunflower seed between his teeth. Clicking his cell phone off. Moving out. SCULLY Jesus, Mulder. MULDER The element of surprise, Scully. Random acts of unpredictability. If we fail to anticipate the unforeseen or expect the unexpected in a universe of infinite possibilities, we find ourselves at the mercy of anyone or anything that can not be programmed, categorized or easily referenced. Mulder has moved to the edge of the building where he sails his sunflower seeds into the air. Dusting his hands off as if lost in a wistful through for just a moment. MULDER What are we doing up here? It's hotter than hell. And he's on the move. Scully moving to catch up. NEW ANGLE Mulder is moving toward the stairs, Scully catching him. Mulder allowing her to lead him up the steps. SCULLY I know you're bored in this assignment, but unconventional thinking is only going to get you into trouble now. MULDER How's that? SCULLY You've got to quit looking for what is n't there. They've closed the X - Files. There's procedure to be followed here. Protocol. MULDER What do you say we call in a bomb threat for Houston. I think it's free beer night at the Astrodome. Scully gives him a look. It's no use. She reaches the door first, grabs the knob but. it wo n't open. Turning to Mulder. SCULLY Now what? MULDER -LRB- suddenly nervous. -RRB- It's locked? She wiggles the knob again. SCULLY So much for anticipating the unforeseen. Scully squints into the sun, staring at Mulder. But he's quick on the draw, and realizes what she's up to. He grabs for the door and. it opens. Looking to Scully whose hard look of mock - scolding has become a smirking smile. SCULLY Had you. MULDER No you did n't. SCULLY Oh yeah. Had you big time. And that's how it continues as they re - enter the stairwell, the door slamming shut behind them.",
"INT. BUILDING LOBBY - DAY As an elevator DINGS and the doors open. Scully and Mulder exit into the lobby where people move in and out. Heads turn due to their FBI jackets. -LRB- Included atmosphere : a GROUP OF KIDS on a field trip, being led into an elevator by THEIR TEACHER. -RRB- SCULLY I saw your face, Mulder. There was a moment of panic. MULDER Panic? Have you ever seen me panic, Scully? SCULLY I just did. You're buying. Mulder fishes for change, but more out of sportsmanship. MULDER Alright. what'll it be : Coke, Pepsi? A saline IV? SCULLY Something sweet. Scully flashes a thin victory smile, as Mulder heads off.",
"INT. HALLWAY OUTSIDE VENDING MACHINE ROOM - CONTINUOUS Mulder moving to a door with a small shingle above it which says SNACKS/BEVERAGES. As he approaches, sorting through the change he's fished up, the door opens and A MAN IN A VENDOR'S UNIFORM appears. He makes casual and ever - so - brief eye contact with Mulder as he brushes past him. Mulder making no note of this as he moves to catch the door before it closes.",
"INT. SNACK AREA AND SODA VENDING MACHINE ROOM - DAY Mulder takes a few steps down into the windowless room. Moving past the snack machines to a LIGHTED soda machine. Finding the correct change and plunking it in. Hitting a button, but. nothing comes out. MULDER Oh, come on. He beats his fist a couple of times on the front of the machine. Nothing. He finds more change. Plunking it in. Hits the button. Nothing. He stares at the machine a minute, then BEATS IT HARD with his fist. Nothing. Moving around to the back of the machine, looking for : ANGLE ACROSS BACK OF MACHINE Mulder's face peering in on the slim space between the machine and the wall. Reaching down and lifting the PLUG on the end of the electrical cord. It is n't plugged in. Realizing now why the machine has n't spit out his sodas. RESUME FRONT ANGLE ON MACHINE As Mulder appears, stepping very lightly in front of the machine that he was just pounding away on. Looking at it, then moving quickly to the door he entered through. Grasping the knob, but finding it. LOCKED. He jiggles the knob, pulls on it. But there's no two ways about it, he's locked in.",
"INT. BUILDING LOBBY - DAY Scully stands looking at her watch. Wondering where Mulder is. When her CELL PHONE starts ringing. She answers it. SCULLY Scully. MULDER -LRB- FILTER. -RRB- Scully, I found the bomb. SCULLY -LRB- thinks he's joking. -RRB- Where are you, Mulder? MULDER -LRB- FILTER. -RRB- I'm in the vending room. Scully is on the move, but she does n't believe him for a second.",
"INT. HALLWAY OUTSIDE VENDING MACHINE ROOM - CONTINUOUS Scully appears, heard A POUNDING. Following this noise to the door Mulder is obviously on the other side of. Tries the door. SCULLY Is that you pounding?",
"INT. SNACK AND SODA VENDING MACHINE ROOM - DAY Mulder holds his phone to his ear, using his other hand to pound. MULDER Scully, get somebody to open this door. SCULLY -LRB- FILTER. -RRB- Nice try, Mulder. CAMERA FOLLOWING MULDER as he steps back, revealing now that he's gotten the hinged front of the coke machine open. But we ca n't yet see what's inside. MULDER Scully - listen to me. It's in the coke machine. You've got about fourteen minutes to get this building evacuated.",
"INT. HALLWAY OUTSIDE VENDING MACHINE ROOM - CONTINUOUS Scully is shaking her head. Tries the door again. SCULLY C'mon. Open the door. His response to this is MORE HARD POUNDING. SCULLY Mulder? Tell me this is a joke. MULDER -LRB- FILTER. -RRB- Thirteen fifty nine, thirteen fifty eight, thirteen fifty seven. As he is doing this, Scully is bending to see : THE KEYHOLE It's been freshly soldered over.",
"INT. SNACK AND SODA VENDING MACHINE ROOM - DAY Mulder stands pacing in front of : AN ELABORATELY ENGINEERED EXPLOSIVE DEVICE Wired with circuit boards, electric belts and generally looking like it would take an expert a good long time to figure out where to even start. A lot longer than the 13:58 that reads on the digital read - out. MULDER thirteen fifty six. SCULLY -LRB- FILTER. -RRB- Hang on. I'm gon na get you out of there. The line goes dead. And off Mulder's deepening anxiety, we :",
"INT. BUILDING LOBBY - DAY Scully enters like General Patton, taking charge. Barking at the security guards who sit behind their security console. SCULLY I need this building evacuated and cleared out in ten minutes! I need you to get on the phone and tell the fire department to block off the city center in one mile radius around the building - SECURITY GUARD In ten minutes?! SCULLY DO N'T THINK! JUST PICK UP THE PHONE AND MAKE IT HAPPEN! And she's moving, dialing her cell phone now. SCULLY -LRB- into phone. -RRB- This is Special Agent Dana Scully. I need to speak to S.A.C. Michaud. He's got the wrong building -",
"EXT. BUILDING - DAY UNMARKED FBI VANS, CARS are pulling up out front. Agents in windbreakers are exiting, moving at a run to the building. Among them S.A.C. Darius Michaud. Moving to : ANGLE ON SCULLY Exiting the building. Behind her, WORKERS are beginning to stream out of the building, as well as the young FIELD TRIPPERS. Michaud meeting up with Scully mid - plaza. As the windbreaker Agents move past them, entering the building. S.A.C. MICHAUD Where is it? MOVING WITH THEM now, back toward the building. As FIRE TRUCKS are pulling up out in the street out front. Suddenly this has the distinct feel of a situation veering out of control. SCULLY Mulder found it in a vending machine. He's locked in with it.",
"INT. SNACK AND VENDING MACHINE ROOM - DAY THE DIGITAL READ OUT hits 7:00. Pull back to REVEAL MULDER staring at it. If he was n't sweating enough on the roof, he's certainly sweating now. When his cell phone RINGS. Answering it. MULDER Scully? SCULLY -LRB- FILTER. -RRB- Mulder. Move away from the door. We're coming through it. No sooner is this said than the CAMERA WHIPS OFF MULDER to the door, where A GAS PLASMA TORCH FLAME is sizzling along the hinges.",
"INT. HALLWAY OUTSIDE VENDING MACHINE ROOM - CONTINUOUS Where Michaud himself, wearing a Kevlar vest now, is wielding the torch. Expertly cutting the metal while Scully and TWO AGENTS and TWO DALLAS BOMB SQUAD men look on. In the b.g. BUILDING EMPLOYEES are streaming out. Michaud finishes and shuts off the torch. Yelling : S.A.C. MICHAUD Go. The other Agents kick the metal door in sending it crashing to the floor. Mulder stands on the other side. Watching Michaud pick up a heft tool kit, stepping over the downed door. Scully right behind him. Along with the Agents, Bomb techs. ANGLE OVER MULDER AND THE SODA MACHINE/BOMB As Michaud steps in next to him, sizing up the time on the ticking digital readout : 4:07. And just exactly what kind of defusing work he's got cut out for him. MULDER Tell me this is just soda pop in those canisters. S.A.C. MICHAUD No. It's what it looks like. A big I.E.D. - ten gallons of astrolite. -LRB- studying the bomb. -RRB- Okay, get everybody out of here and clear the building. MULDER Somebody's got to stay with you - S.A.C. MICHAUD I gave you an order. Now get the hell out of here and evacuate the area. SCULLY Can you defuse it? Setting his tool kit down, opening it. As the other Agents heed his word, exiting the room. S.A.C. MICHAUD I think so. MULDER You've got about four minutes to find out if you're wrong. Michaud turns on him with unexpected intensity. S.A.C. MICHAUD Did you hear what I said? SCULLY Let's go, Mulder. Scully starts out. Mulder stares at Michaud for a moment, but Michaud's focus is on the bomb now. He wo n't meet Mulder's look. Finally Mulder moves off, following Scully. CAMERA HOLDS ON MICHAUD, just staring at the bomb. Just staring.",
"EXT. PLAZA OUTSIDE BOMB BUILDING - DAY - CONTINUOUS The last of the building occupants are being hauled off in CITY BUSES which have moved in curbside. As these buses pull away, so do the fire trucks that have positioned themselves out front. And the police squad cars. As Mulder and Scully exit the front door. Moving quickly, until Mulder hits mid - plaza and slows. Scully not realizing this for a few steps, then turning. SCULLY What are you doing? -LRB- off his non - response. -RRB- Mulder - One last windbreakered Agent is exiting. Moving past them to the last cop car other than the car waiting for Mulder and Scully. LAST AGENT OUT All clear. Mulder has stopped and is looking back to the building now as Scully hustles back the few steps separating them. MULDER Something's wrong. ANGLE OVER THEM TO THE WAITING CAR As the Last Agent Out's car zooms away. Leaving only their car and the man driving it : a WINDBREAKERED AGENT. WINDBREAKERED AGENT What's he doing? The plaza is desolate now, void of life. MULDER Something's not right. SCULLY - Mulder! Get in the car! Scully is pulling him now. Pulling him toward the car and the obviously impatient Windbreakered Agent. SCULLY There's no time!",
"INT. SNACK AND SODA VENDING MACHINE ROOM - DAY CLOSE ON BOMB. The seconds ticking off now, as it passes the :30 mark. CAMERA PULLING BACK, ADJUSTING to Michaud. His tool chest is closed up, and he is sitting on it improbably. Still staring at the bomb, then pulling his head down in what appears to be resignation. As the seconds tick away.",
"EXT. PLAZA OUTSIDE BOMB BUILDING - DAY - CONTINUOUS Mulder has relented now, against his better instincts. Moving with Scully to the car, faster as they go. The Windbreaker Agent standing in the open door of the driver's side. Getting in behind the wheel.",
"INT. VENDING MACHINE ROOM - CONTINUOUS S.A.C. MICHAUD Sitting motionless in front of the bomb as the seconds tick down. 8 - 7 - 6 - 5 - 4 - 3 - 2 - 1 - HARD CUT BACK",
"EXT. PLAZA OUTSIDE BOMB BUILDING - DAY - CONTINUOUS Mulder and Scully getting in the car. TRACKING BACKWARDS with them now as the Agent driving pulls away, getting only thirty, maybe forty yards when : the BOMB DETONATES and the building EXPLODES. And this is no fatwa symbolic little terror strike. This is Oklahoma City. Or do we say, Independence Day. REVERSE ANGLE ON CAR As all the windows blow out and the car is lifted up, slamming into the corner of a parked car. The air so quickly full of debris that it would seem the whole city has been destroyed. RESUME BUILDING As the debris starts to clear somewhat, much of it still floating to the ground, though. We see the fires raging on every floor. That most of the front of the building has been torn away and we can see right into many floors. RESUME ANGLE ON CAR Where it sits half cocked against a parked car. The air is full of debris, particulated matter. The rear door of the squad car opens now and Mulder gets out, covered with glass. Moving to the front passenger door, opening it for Scully. MULDER -LRB- with darkest irony. -RRB- Next time you're buying.",
"EXT. AERIAL SHOT OF WASHINGTON D.C. - DAY HIGH ABOVE the U.S. capital, the entire beltway. With a LEGEND, to establish. LOWER AND TIGHTER NOW On the J. Edgar Hoover Building, FBI Headquarters. Descending low on the three - sided monolith and its large interior courtyard. As another LEGEND appears, under : WOMAN'S VOICE -LRB- V.O. -RRB- In light of Waco, and Ruby Ridge.",
"INT. FBI OFFICE OF PROFESSIONAL REVIEW - DAY A formal hearing. Several ASSISTANT DIRECTORS sit at a head table, going over documents. NAME PLACECARDS in front of them. PANNING the group, the sound of papers shuffling, the occasional clearing of a throat creating a stale air of importance, under : WOMAN'S VOICE -LRB- V.O. -RRB- there is a heightened need at the Attorney General's office to place responsibility as early as possible. CAMERA LANDING ON ASSISTANT DIRECTOR JANA CASSIDY A no - nonsense 40 year - old lawyer cum FBI Agent. CASSIDY for the catastrophic destruction of public property and the loss of life due to terrorist activities. Next to Cassidy is Assistant Director WALTER SKINNER, Mulder and Scully's former superior on the X - Files. Looking ruefully at : AGENT SCULLY At a small table, the chair next to her conspicuously empty. CASSIDY Many details are still unclear ; some agents' reports have not been filed, or have come in sketchy, without a satisfactory accounting of the events that led to the destruction in Dallas. But we're under some pressure to give an accurate picture of what happened to the Attorney General, so she can issue a public statement. The door to the room opens behind Scully now, and Mulder enters, his manner that of a man who knows he's late to a function. RESUME A.D. CASSIDY She looks up at Mulder and Scully with a stern glare. CASSIDY We now know that five people died in the explosion. Special Agent in Charge Darius Michaud who was trying to defuse the bomb that had been hidden in a vending machine. Three firemen from Dallas, and a young boy. OVER MULDER AND SCULLY Mulder pulls out his chair to sit down, but remains standing. They trade a look. This is new news to them. MULDER Excuse me - the firemen and the boy - they were in the building? CASSIDY Agent Mulder, since you were n't able to be on time for this hearing, I'm going to ask you to step outside so that we can get Agent Scully's version of the facts. So that she wo n't have to be paid the same disrespect. MULDER We were told the building was clear. CASSIDY You'll get your turn, Agent Mulder. Please step out. Mulder trades looks with : A.D. SKINNER Who stares at him evenly, but not unsympathetically. He's been here with Mulder on many occasions. Seen Mulder run up against the Bureau and its stiff conventions. Always in the middle. MULDER It does say there in your paperwork that we were the ones who found the bomb. CASSIDY Thank you, Agent Mulder. We'll call you in shortly. RESUME MULDER, SCULLY As Mulder slides his chair in. Scully watching him exit.",
"INT. HALLWAY OUTSIDE OPR HEARING ROOM - DAY Mulder sits by himself in a chair, head down. When the door to the hearing room opens. Mulder rising as A.D. Skinner exits. SKINNER Sit down, they're still talking to Agent Scully. MULDER About what? SKINNER - They're asking her for a narrative. They want to know why she was in the wrong building. MULDER She was with me. Skinner studies Mulder, shaking his head. SKINNER You do n't see what's going on here, do you? -LRB- off Mulder's look. -RRB- There's four hundred million dollars in damage to the city of Dallas. Lives have been lost. No suspects have been named. So the story being shaped is this could have been prevented. That the FBI did n't do its job. MULDER And they want to blame us? SKINNER Agent Mulder - we both know that if you and Agent Scully had n't taken the initiative to search the adjacent building, you could have multiplied the fatalities by a hundred - MULDER -LRB- grasping the irony. -RRB- But it's not the lives we saved. It's the lives we did n't. SKINNER -LRB- reciting the dictum. -RRB- - if it looks bad, it's bad for the FBI - MULDER - if they want someone to blame, they can blame me. Agent Scully does n't deserve this. SKINNER She's in there right now saying the same thing about you. MULDER I breached protocol. I broke contact with the S.A.C. I ignored a primary tactical rule and left him alone with the device. SKINNER Agent Scully says it was she who ordered you out of the building. That you wanted to go back. Mulder does n't get to respond, because the door opens again and Agent Scully exits. She looks like she's been through it. SCULLY -LRB- to Skinner. -RRB- They're asking for you, Sir. Skinner gives one last look to Mulder, then re - enters. Leaving Mulder and Scully alone. Scully wearing a pained look. MULDER Whatever you told them in there, you do n't have to protect me. SCULLY All I told them was the truth. MULDER They're trying to divide us on this, Scully. We ca n't let them. SCULLY They have divided us, Mulder. They're splitting us up. MULDER -LRB- beat. -RRB- What? What are you talking about? SCULLY I meet with the OPR day after tomorrow for remediation and reassignment. MULDER Why? SCULLY I think you must have an idea. They cited a history of problems relating back to 1993. MULDER They were the ones that put us together. SCULLY Because they wanted me to invalidate your work, your investigations into the paranormal. But I think this goes deeper than that. MULDER This is n't about you, Scully. They're doing this to me. SCULLY They're not doing this, Mulder. -LRB- off his look. -RRB- I left behind a career in medicine because I thought I might make a difference at the FBI. When they recruited me they told me women made up nine percent of the bureau. I felt this was not an impediment, but an opportunity to distinguish myself. But it has n't turned out that way. And now, if I were to be transferred to Omaha, or Wichita or some field office where I'm sure I could rise, it just does n't hold the interest for me it once did. Not after what I've seen and done. MULDER You're. quitting? SCULLY There's really no reason left for me to stay anymore. -LRB- off his look. -RRB- Maybe you should ask yourself if your heart's still in it, too. The door opens to the hearing room again now. A.D. Skinner steps part way out, gesturing to him. SKINNER Agent Mulder. You're up. SCULLY -LRB- regretfully. -RRB- I'm sorry. Good luck. Mulder rises. Scully studying his poorly disguised hurt. Before he turns and goes into the room. Scully watching the door close behind him. Her feelings poorly disguised, too.",
"INT. DOWNSCALE D.C. BAR - NIGHT CLOSE ON A SHOOTER OF TEQUILA being poured. CAMERA ADJUSTING to reveal the ATTRACTIVE BARMAID tipping the bottle. Pushing it across the bar to where TWO EMPTY SHOOTERS sit, making the exchange. BARMAID I'd say this about exceeds your minimum daily requirement. The person she's talking to us : MULDER He sits by himself on a stool, staring down at the bar. Staring at the shooter which he spins with his fingers. BARMAID Got ta train for this kind of heavy lifting. Mulder tosses back the shooter anyway. She watches him as she retrieves the small shot glass, intrigued by his dark silence. BARMAID Poopy day? MULDER Yup. BARMAID A woman? -LRB- Mulder shakes his head no. -RRB- Work. Mulder nods, pointing to the tequila bottle again. The Barmaid agrees to pour another one, reluctantly. ANGLE OVER TO A MAN AT THE END OF THE BAR Staring at Mulder intently. He's older than Mulder, dressed in an old Brooke Brothers light summer suit. Mulder notices him, feels his gaze, but does n't give it thought. RESUME BARMAID, MULDER BARMAID What do you do? MULDER What do I do. -LRB- off her curious look. -RRB- I'm a key figure in an ongoing government charade. An annoyance to my superiors. A joke among my peers. `` Spooky,'' they call me. Spooky Mulder. Whose sister was abducted by aliens when he was a kid. Who now chases little green men with a badge and a gun, shouting to the heavens and anyone who'll listen that the fix is in. That our government's hip to the truth and a part of the conspiracy. That the sky is falling and when it hits it's gon na be the shitstorm of all time. She stares at him for a moment, startled by his drunken screed. She pulls back the shooter she's just poured Mulder. BARMAID I think that about does it, Spooky. MULDER Does what? BARMAID Why do n't you go home to the old lady - MULDER Sorry. Do n't have one. Mulder slides off his stool, noticing : MULDER'S POV The Watchful Man is gone. RESUME MULDER He feints toward the door, then reverses direction. Heads to the back of the place.",
"INT. REAR OF DOWNSCALE BAR - NIGHT - CONTINUOUS Mulder appears, moving to the bathroom door. Only to find an OUT OF ORDER sign on it. He moves to the woman's room, but it's locked. Gathering what's left of his wits, Mulder does what any red - blooded man would do in this situation. He goes to the back door of the bar and exits into the alley.",
"EXT. ALLEY BEHIND BAR - NIGHT Mulder has found a place against a wall, between two dumpsters. Jerking around in surprise at the sound of a VOICE. WATCHFUL MAN'S VOICE That official FBI business? MULDER -LRB- startled. -RRB- What? ANGLE TO INCLUDE THE MAN FROM THE BAR He's not far from Mulder. His name is KURTZWEIL. KURTZWEIL Bet the Bureau's accusing you of the same thing in Dallas. Mulder's weirded out as the stranger moves to him un - threateningly. MULDER How's that? KURTZWEIL Standing around holding your yank while bombs are exploding. Kurtzweil enjoys a little laugh over this. MULDER Do I know you? KURTZWEIL No. I've been watching your career for a good while. Back when you were just a promising young agent - before that. Mulder stares at this man as he finishes, zipping up. MULDER You follow me out here for a reason? KURTZWEIL Yeah, I did. Kurtzweil unzips his own pants now. There is a moment ; one of those awkward moments where Mulder's not sure what's about to happen. But Kurtzweil's just relieving himself, too. Shuffling up to the wall, Mulder takes this as an opportunity to head back toward the bar. But Kurtzweil hails him again. KURTZWEIL My name's Kurtzweil. Dr. Alvin Kurtzweil. MULDER I know the name. Why? KURTZWEIL Old friend of your father's. Kurtzweil continues peeing. Knows this got Mulder's attention. KURTZWEIL Back at the Department of State. We were what you might call fellow travelers, but his disenchantment outlasted mine. -LRB- beat. -RRB- I never believed in the Project. Mulder stares at Kurtzweil now. He's being toyed with. He turns, opens the door into the bar. As Kurtzweil gets a little louder. KURTZWEIL Oh, come on. Do n't pretend you do n't know about the Project. Your father died for it. Your sister was taken because of it. Kurtzweil finishes nature's call. Zips up. Heads after Mulder.",
"INT. DOWNSCALE D.C. BAR - NIGHT Mulder is coming from the back. Kurtzweil moving to catch up. And he does, at the coat stand. The place has pretty much cleared out, except for the Barmaid and some help. MULDER How'd you find me? KURTZWEIL Heard you come here now and again. Figured you'd be needing a little drinky tonight. MULDER You a reporter? KURTZWEIL I'm a doctor, but I think I mentioned that. OB - GYN. MULDER Who sent you? KURTZWEIL I came on my own. After reading about the bombing in Dallas. MULDER Well, if you've got something to tell me, you've got as long as it takes me to hail a cab. Mulder starts out the door, but Kurtzweil grabs his arm. KURTZWEIL They're going to pin Dallas on you, Agent Mulder. But there was nothing you could've done. Nothing anyone could've done to prevent that bomb from going off. Because the truth is something you'd never have guessed ; never have predicted. Mulder pulls away from Kurtzweil, but Kurtzweil dogs him to :",
"EXT. STREET OUTSIDE DOWNSCALE BAR - NIGHT The street is empty, the hour is late. Mulder moves to the curb. MULDER And what's that? KURTZWEIL S.A.C. Darius Michaud never tried or intended to defuse the bomb. MULDER -LRB- rhetorical disbelief. -RRB- He just let it explode. KURTZWEIL What's the question nobody's asking? Why that building? Why not the Federal Building? MULDER The Federal Building was too well guarded. KURTZWEIL No. They put the bomb in the building across the street because it DID have federal offices. The Federal Emergency Management Agency had a provisional medical quarantine office there. Which is where the bodies were found. But that's the thing. Mulder's got his hand up for a taxi coming. It's pulling over as Mulder steps from the curb, stepping away from Kurtzweil. KURTZWEIL the thing you did n't know. That you'd never think to check. Mulder's got the taxi door open, turning to Kurtzweil. KURTZWEIL Those people were already dead. MULDER Before the bomb went off? KURTZWEIL That's what I'm saying. Mulder stares at Kurtzweil for a moment. MULDER Michaud was a twenty - two year veteran of the bureau - KURTZWEIL Michaud was a patriot. The men he's loyal to know their way around Dallas. They blew that building to hide something. Maybe something even they could n't predict. MULDER You're saying they destroyed an entire building to hide the bodies of three firemen? KURTZWEIL And one little boy. Mulder gets in the cab, closes the door. Rolls down the window. MULDER I think you're full of shit. KURTZWEIL Do you? Kurtzweil raps the top of the roof and steps away from the car. As the taxi takes off. WE STAY WITH KURTZWEIL, watching Mulder's cab speed away. -LRB- NOTE : This should also be covered from inside the cab with Mulder, to play the scene out on him. -RRB-",
"INT. AGENT SCULLY'S BEDROOM - NIGHT Scully is in bed, lying awake. Staring at the ceiling. When she reacts to a POUNDING AT HER DOOR.",
"INT. SCULLY'S APARTMENT - NIGHT CLOSE ON THE FRONT DOOR. Scully peeks in the peephole. Then she removes the safety chain, opening the door. MULDER -LRB- strangely intense. -RRB- I wake you? SCULLY No. MULDER Why not? It's three AM. Scully gets a whiff of his breath. As he moves past her into the apartment. Radiating a kind of manic intensity. SCULLY Are you drunk, Mulder? MULDER I was until about an hour ago. SCULLY Is that before or after you got the idea to come here? Mulder looks at her curiously. MULDER What are you implying, Scully? SCULLY -LRB- frowning. -RRB- I thought you may have gotten drunk and decided to come here to talk me out of quitting. MULDER Is that what you'd like me to do? Scully hesitates. Long enough to indicate her own wavering heart. SCULLY Go home, Mulder. It's late. MULDER Get dressed, Scully. SCULLY Mulder - what are you doing? MULDER Just get dressed. I'll explain on the way.",
"EXT. TEXAS FLATLAND - NIGHT The moon is rising over the horizon, across the curvilinear distance of endless scrub and sagebrush. When FLYING OBJECTS cross between it and us, their forms unidentifiable in the rising heat waves off the earth. But they are moving towards us, SILHOUETTES in the background of the moon. They move silently, their size INCREASING as they move closer. And then we hear them, moments before they arrive at our position, UNMARKED HELICOPTERS just overhead. Hugging the ground as they blast across the dark Texas night.",
"INT. UNMARKED BLACK HELICOPTERS - NIGHT Flying at dangerously low altitude over the almost featureless night landscape. Heading for something that we see ahead in the distance. What looks like a LARGE GLOWING DOME surrounded by the lights of a residential area we've already seen, on the edge of suburban Dallas sprawl.",
"EXT. SMALL DIRT FIELD - CENTRAL TEXAS - NIGHT The field where the kids had been digging has been transformed into some kind of worksite. A LARGE WHITE DOMED TENT has been erected over almost the entire patch of ground, surrounded by the CARGO TRUCKS that we saw earlier, and more unmarked vans and trucks. There are men in black fatigues moving about, and scientists in haz - mat suits. As the UNMARKED BLACK HELICOPTERS bank overhead. Coming in for a landing in the glow cast from the tents. CAMERA MOVING TOWARD one of the helicopters as it lightly touches down and its black door swings open. A man stepping out, and as CAMERA PUSHES UP INTO HIS FACE we recognize him as The Cigarette Smoking Man. The figure that we've come to know as an assassin and a model of modern self - interest and amorality. One of the central protagonists in the conspiracy to keep the truth from the American people about the existence of extraterrestrial life. Something known only as : `` The Project.'' He walks out from under the whirring prop, just far enough to get a flame from his lighter, to get a cigarette lit. As we :",
"INT. LARGE WHITE TENT - NIGHT - CONTINUOUS A SCIENTIST in a haz - mat suit is moving through the maze of clear plastic tubing that divides work areas within the tent. Areas where scientists are working at tables doing what appears to be some kind of high - tech archeological work. It is a hive of activity within, as the Scientist leads us past the REFRIGERATION UNITS to the earthen hole where Dr. Bronschweig -LRB- we've met him earlier, coming out of a med - evac chopper that landed when the tent city was erected -RRB- appears out of the earthen hole, which is reason for all this excitement. Climbing out A CLEAR HATCH which has been fashioned to cover the hole. Seeing : THE CIGARETTE SMOKING MAN Now suited up himself. Bronschweig approaches him. CIGARETTE SMOKING MAN You've got something to show me. DR. BRONSCHWEIG -LRB- nervous excitement. -RRB- Yes.",
"INT. ICE CAVE - CONTINUOUS What we originally established as icy, and what later became the unfrozen Texas field where the boys discovered the human skull, has been turned to its previously icy state. Thanks to two large vents that Dr. Bronschweig is pointing at : DR. BRONSCHWEIG We brought the atmosphere back down to freezing in order to control the development, which is nothing like we've ever seen. CIGARETTE SMOKING MAN Brought on by what? DR. BRONSCHWEIG Heat, I think. The coincident invasion of a host, the fireman, and an environment that raised his basic body temperature above ninety eight point six. They step over to a section of the cave which has been draped with more plastic, the lights from inside this are giving off a cool blue light -LRB- passing by TWO PORTABLE DRILLING RIGS which have been erected, their pumps moving up and down like rocking horses. -RRB- Bronschweig pushes away the plastic, revealing A MAN lying on a gurney draped in plastic. he is hooked up to various and sundry machines which are monitoring his life signs. His skin has turned almost translucent, the veins and capillaries now clearly visible, as is his pulse. His heartbeat sending life - sustaining blood and energy through his body. CIGARETTE SMOKING MAN This man's still alive. DR. BRONSCHWEIG Technically and biologically, though he'll never recover. The CSM is shaking his head in nervous, uneasy wonder. CIGARETTE SMOKING MAN How can this be? DR. BRONSCHWEIG The developing organism is using his life energy, digesting bone and tissue. We've just slowed the process. Bronschweig redirects a light so that it shines hard into the man's face and ; then we see it. Movement. CLOSE ON MAN'S FACE Though the man's eyes still blink occasionally, we can actually see through his tissue and the bones in his skull to see something IS LIVING INSIDE HIM. ANGLE UP ON CSM AND BRONSCHWEIG The Cigarette Smoking Man's mind is working intently on all the possibilities, and consequences. DR. BRONSCHWEIG Do you want me to destroy this one, too? Before it gestates? CIGARETTE SMOKING MAN No. No. we need to try our vaccine on it. DR. BRONSCHWEIG And if it's unsuccessful? CIGARETTE SMOKING MAN Incinerate it. Like the others. DR. BRONSCHWEIG This man's family will want to see the body laid to rest. CIGARETTE SMOKING MAN Tell them he was trying to save the young boy's life, and that he died heroically like the other firemen. DR. BRONSCHWEIG Of what? CIGARETTE SMOKING MAN They seemed to buy our story about the Hanta virus. You'll make sure the families are taken care of financially, along with a sizeable donation to the community. -LRB- beat. -RRB- Maybe a small roadside memorial. He watches the CSM exit, then back to the prostrate fireman. CLOSE ON PROSTRATE FIREMAN There is more movement within his body. Within his chest and neck, as if the creature gestating inside is continuing to stretch and grow. So that now we can see one of its BLACK EYES staring from through the clear flesh of the fireman. An eye which BLINKS at us. As we :",
"INT. BETHESDA NAVAL HOSPITAL - NIGHT Mulder and Scully appear at the end of a long hall. Moving TOWARD CAMERA where a YOUNG NAVAL GUARD sits in f.g.. As a LEGEND appears, to establish. Mulder and Scully moving the long distance to the Guard's station. Where the Guard looks up at them with military scrutiny. YOUNG NAVAL GUARD ID and floor you're visiting. They both show their FBI IDs. MULDER We're going to the morgue. YOUNG NAVAL GUARD That area is currently off limits to anyone other than authorized medical personnel. MULDER On whose orders? YOUNG NAVAL GUARD General McAddie's. Mulder does n't miss a beat. MULDER General McAddie is who requested our coming here. We were awakened at three AM and told to get down here immediately. YOUNG NAVAL GUARD I do n't know anything about that. MULDER Well, call General McAddie. YOUNG NAVAL GUARD I do n't have his number. MULDER They can patch you in through the switchboard. The Guard is nervous about this, checking his watch. He picks up the phone, going through a large directory. MULDER Hey! We do n't have time to dick around here watching you demonstrate your ignorance in the chain of command. The order came direct from General McAddie. Call him. We'll conduct our business while you confirm authorization. Mulder is already directing Scully past the Naval Guard who tentatively picks up the phone again. YOUNG NAVAL GUARD -LRB- to their backs. -RRB- Why do n't you go on ahead head and I'll confirm authorization. MULDER Thank you. LEADING Mulder and Scully, moving they've pulled off a con. MULDER Why is a morgue suddenly off limits on orders of a general?",
"INT. BETHESDA NAVAL HOSPITAL - MORGUE FREEZER - NIGHT TRACKING TABLE HEIGHT across gurneys where white sheet - wrapped bodies lie. CAMERA LANDING ON Scully. Standing next to Mulder who is undoing the peculiar ropey stitching on the sheet used to secure the bodies. SCULLY This is one of the firemen who died in Dallas? MULDER According to this tag. SCULLY And you're looking for? SCULLY I can tell you that without even looking at him. -LRB- off Mulder's look. -RRB- Conclusive organ failure due to proximal exposure to source and flying debris. Scully pulls out an autopsy report that was laid on the gurney under the body of the sheet - wrapped corpse. SCULLY This body has already been autopsied, Mulder. You can tell from the way it's been wrapped and dressed. Undeterred, Mulder works to get the sheet off. The first thing we notice is that he's still in his fireman's uniform. His face looks familiar to us, not because we know him, but because of the translucency of skin we saw in the other fireman. -LRB- We will also notice he's missing an arm, a leg and large part of his torso. -RRB- MULDER Does this fit the description you just read me, Scully? Scully comes around, reacting to what she sees. SCULLY Oh my God. This man's tissue. Scully is quickly removing a pair of latex gloves, stretching them on to palpate the man's tissue. MULDER It's like jelly. SCULLY There's some kind of cellular breakdown. It's completely edematous. She palpates the spongy skin on the man's face, neck. Unbuttoning the uniform now, seeing : SCULLY And there's been no autopsy performed. There's no Y incision here ; no internal exam. MULDER You're telling me the cause of death on the report is false. That this man did n't die from an explosion, or from flying debris. SCULLY I do n't know what killed this man. I'm not sure if anybody else could claim to either. Off Mulder's reaction to this :",
"INT. MORGUE - PATHOLOGY LAB - NIGHT - MINUTES LATER The gurney with the fireman is pushed through a pair of swinging doors into the darkened lab. Scully flips the lights on, looking around at the giant facility. SCULLY -LRB- pushing him. -RRB- You knew this man did n't die at the bomb site before we got here. MULDER I'd been told as much. SCULLY You're saying the bombing was a cover - up. Of what? MULDER I do n't know. But I have a hunch what you're going to find here is n't anything that can be categorized or easily referenced. SCULLY Mulder, this is going to take some time, and somebody's going to figure out soon enough we're not even supposed to be here. -LRB- beat. -RRB- I'm in serious violation of medical ethics. MULDER We're being blamed for these deaths. Scully, I want to know what this man died of. Do n't you? Scully stares at Mulder, then back down at the body. How can she refuse, given the finality and the personal appeal of the request? After a moment's hesitation, she turns to the body, and to the tray table of tools nearby. Resigned, if not resolved.",
"EXT. WASHINGTON D.C. - NIGHT A LEGEND appears : WASHINGTON D.C., DUPONT CIRCLE. 4:00 AM. The street is fairly empty, save for a garbage truck picking up the stacks of green garbage bags laid out on the sidewalks. Then A TAXI turns off a main street, MOVING TOWARDS US.",
"INT. WASHINGTON D.C. STREET - TAXI - NIGHT OVER MULDER to the street : Where the taxi is moving forward toward a spot where two ARLINGTON PD cruisers are pulled up to the curb. Mulder checks the address he has written down. MULDER -LRB- to the Cabbie. -RRB- I think this is it up here.",
"EXT. SIDE STREET - NIGHT The taxi pulls over and Mulder exits, starting up the steps of a walk up where the door is open.",
"INT. KURTZWEIL'S APARTMENT - NIGHT There are UNIFORMED OFFICERS inside, and a DETECTIVE. Mulder steps into an office. FOUR PAIRS of eyes give him the once over. The Detective stepping over to him. MULDER Is this Dr. Kurtzweil's residence? DETECTIVE -LRB- suspiciously. -RRB- You got some kind of business with him? MULDER I'm looking for him. DETECTIVE Looking for him for what? Mulder pulls out his ID, flashes it at the Detective. DETECTIVE -LRB- to his partners. -RRB- Feds are looking for him, too. -LRB- turns to Mulder. -RRB- Real nice business he's got, huh? MULDER What's that? DETECTIVE Selling naked pictures of little kids over his computer. Mulder nods, though this is news to him. He steps in a little further, noticing a shelf lined with books. Their spines all have the author's name written large : DR. ALVIN KURTZWEIL. Mulder picks up one of these books, with the title : THE FOUR HORSEMEN OF THE GLOBAL DOMINATION CONSPIRACY. DETECTIVE You looking for him for some other reason? MULDER Yeah, I had an appointment for a pelvic examination. They stare at Mulder like he's a sicko. He smiles and they break into RAUCOUS LAUGHTER. DETECTIVE You want a call if we turn up Kurtzweil? MULDER No. Do n't bother. Mulder puts the book back among the others on the shelf. And exits. Onto : RESUME EXT.. KURTZWEIL'S APARTMENT - NIGHT Mulder starting up the street when he notices : MULDER'S POV Kurtzweil has stepped from between two apartments. He's staring at Mulder, nodding furtively to him. Then stepping back. RESUME MULDER Slows, then speeds up.",
"EXT. SPACE BETWEEN TWO APARTMENTS - NIGHT Mulder appears at the end of the narrow walkway, finding Kurtzweil tucked a few yards in. KURTZWEIL See this bullshit? Somebody knows I'm talking to you. MULDER Not according to the men in blue. KURTZWEIL What is it? Kiddie porn again? Sexual battery of a patient? I've had my license taken away in three states. MULDER They want to discredit you - for what? KURTZWEIL For what? Because I'm a dangerous man. Because I know too much about the truth. MULDER You mean that apocalyptic trash you write? I knew your name was familiar. I just did n't know why. KURTZWEIL You know my work? MULDER -LRB- pointedly. -RRB- Dr. Kurtzweil, I'm not interested in bigoted ideas about race or genocide. I do n't believe in the Elders of Zion, the Knights Templar, the Bilderburg Group or in a oneworld Jew run government - KURTZWEIL I do n't either, but it sure sells books. He says it with an ironic smile. Causing Mulder to turn and start off. But Kurtzweil hurries to grab him, to prevent this. KURTZWEIL I was right about Dallas. Was n't I, Agent Mulder? MULDER How? KURTZWEIL I picked up the historical document of the venality and hypocrisy of the American government. The daily newspaper. MULDER You said the firemen and the boy were found in the temporary offices of the Federal Emergency Management Agency. Why? KURTZWEIL According to the newspaper, FEMA had been called out to manage an outbreak of the Hanta virus. Are you familiar with the Hanta virus, Agent Mulder? MULDER It was a deadly virus spread by field mice in the Southwest U.S. several years ago. KURTZWEIL And are you familiar with FEMA? What the Federal Emergency Management Agency's real power is? FEMA allows the White House to suspend constitutional government upon declaration of a national emergency. To create a non - elected government. Think about that. -LRB- beat. -RRB- What is an agency with such broad sweeping power doing managing a small viral outbreak in suburban Texas? MULDER Are you saying it was n't such a small outbreak? Kurtzweil is getting intense now. KURTZWEIL I'm saying it was n't the Hanta virus. They are both given a start when a POLICE CRUISER rolls by on the street, giving a burp of its siren. It rolls past as the two men tuck in tighter. MULDER What was it? KURTZWEIL When we were young men in the military, your father and I were recruited for a project. They told us it was biological warfare. A virus. There were rumors about its origins. MULDER What killed those men? KURTZWEIL What killed them I wo n't even write about. I tell you, they'd do more than just harass me. They have the future to protect. MULDER I'll know soon enough. KURTZWEIL -LRB- worked up. -RRB- What killed those men ca n't be identified in simple medical terms. My god, we ca n't even wrap our minds around something as obvious as HIV. We have no context for what killed those men, or any appreciation of the scale in which it will be unleashed in the future. Of how it will be transmitted ; of the environmental factors involved. MULDER A plague? KURTZWEIL The plague to end all plagues, Agent Mulder. A silent weapon for a quiet war. The systematic release of an indiscriminate organism for which the men who will bring it on still have no cure. They've been working on this for fifty years. While the rest of the world was fighting gooks and commies these men have been secretly negotiating a planned Armageddon. MULDER Negotiating with whom? KURTZWEIL I think you know. The timetable has been set. It will happen on a holiday, when people are away from their homes. When our elected officials are at their resorts or out of the country. The President will declare a state of emergency, at which time all federal agencies, all government will come under the power of the Federal Emergency Management Agency. FEMA, Agent Mulder. The secret government. MULDER And they tell me I'm paranoid. KURTZWEIL Something's gone wrong - something unanticipated. Go back to Dallas and dig. Or you're only going to find out like the rest of the country, Agent Mulder. When it's too late. Kurtzweil turns, starts off. Mulder stares after him. Then : MULDER How can I reach you? KURTZWEIL You ca n't. Mulder moves to catch up to Kurtzweil, pulling out his cell phone. Kurtzweil stops, turns. Truly and intensely paranoid. Mulder makes him take the cell phone. MULDER No calling Hawaii. Mulder turns and moves back out onto the street.",
"INT. MORGUE - PATHOLOGY LAB - NIGHT Agent Scully wears a surgical mask, latex gloves. Working on the body of the fireman. when she reacts to a NOISE. Doors opening, closing somewhere o.s. CAMERA MEDIUM WHIPS to a door where she and Mulder entered the morgue. Where. the Young Naval Guard and TWO MPs push through and enter. They stand looking at : THEIR POV Where Scully stood moments ago, there is now just an unattended gurney. A sheet over the fireman's body. Scully is gone. RESUME YOUNG NAVAL GUARD, MPs Tense. Listening, watchful. Moving into the room.",
"INT. BETHESDA NAVAL HOSPITAL - MORGUE FREEZER - NIGHT Scully enters the space where she and Mulder found the fireman's body. Trying to quietly click the door shut. Standing now near the door, tense, listening. When the CHIRPING of her cell phone breaks the tense silence. She pats frantically at her coat, trying to get it answered before it rings again. Unsuccessfully. Finally getting a hold of it and hitting the send button. Scully sits breathing heavy, nervous breaths - waiting for the Young Naval Guard to come running in. MULDER'S VOICE -LRB- FILTER. -RRB- Scully? She puts the phone slowly up to her face. SCULLY -LRB- low whisper. -RRB- Yeah.",
"INT. PHONE BOOTH - WASHINGTON D.C. - MORNING Mulder's at the pay phone. MULDER Why are you whispering? SCULLY I ca n't really talk right now. MULDER What did you find? SCULLY Evidence of a massive infection. MULDER What kind of infection? SCULLY I do n't know. MULDER Scully - listen to me. I'm going home, then I'm booking a flight to Dallas. I'm getting you a ticket, too. SCULLY Mulder - MULDER I need you there with me. I need your expertise on this. The bomb we found was meant to destroy those bodies and whatever they were infected by. SCULLY I've got a hearing tomorrow - MULDER - I'll have you back for it, Scully. Maybe with evidence that could blow that meeting away. SCULLY Mulder - I ca n't - I'm already way past the point of common sense here - Scully hears VOICES in the hall outside the freezer. MULDER MULDER Scully? Hello? But the line OFF, goes dead. Mulder hangs up the phone, frustrated. Exits the booth in a hurry.",
"INT. BETHESDA NAVAL HOSPITAL - MORGUE FREEZER - NIGHT The door opens and the Young Naval Guard steps inside, followed by the MPs. Moving into the room. LOW ANGLE - TRACKING with the Naval Guard's feet as they pass by the rolling carts on which bodies are laid. TRACKING to find SCULLY, where she hides under one of the carts. Huddled and cold. The Guard's feet stop near here. He stands motionless for a moment, then moves off. HOLD her until the door slams shut.",
"INT. FBI OFFICE - DALLAS - MORNING - MULDER enters a forensics lab with a FIELD AGENT. A LEGEND reads : FBI FIELD OFFICE, DALLAS : 11:20 AM. FIELD AGENT You're looking for what amounts to a needle in a haystack. I'm afraid the explosion was so devastating there has n't been a whole lot we've been able to put together just yet. They are walking amid BOXES of evidence. STACKS of debris. There are FORENSIC TECHS sorting through this material. It looks like the most tedious and painstaking job in the world. MULDER I'm looking for anything out of the ordinary. Maybe something from the FEMA offices where the bodies were found. FIELD AGENT We were n't expecting to find those remains, of course. They went right off to Washington. MULDER Was there anything in those offices that did n't go to D.C? FIELD AGENT Some bone fragments came up in the sift this morning. We thought there'd been another fatality, but we found out FEMA had recovered them from an archeological site out of town. MULDER Have you examined them? FIELD AGENT No. Just fossils, far as I know. Mulder is nodding, when both men look off at something that's caught their attention o.s. MULDER I'd like this person to take a look, if you do n't mind. THEIR POV - AGENT SCULLY Standing in the doorway to the lab. She looks at Mulder as if she's come in spite of her misgivings. Moving toward them now. FIELD AGENT Let me just see if I can lay my hands on what you're looking for. The Field Agent nods to Scully as he passes, exiting deeper into the room. Leaving Mulder and Scully by themselves momentarily. MULDER You said you were n't coming? SCULLY I was n't planning on it. Particularly after spending a half hour in cold storage this morning. But I got a better look at the blood and tissue samples I took from the firemen. MULDER What did you find? SCULLY -LRB- voice lowering pointedly. -RRB- Something I could n't show to anyone else. Not without more information. And not without causing the kind of attention I'd just as soon avoid right now. -LRB- off Mulder's look. -RRB- The virus those men were infected with contains a protein coat I've never seen before. What it did to them it did extremely fast. And unlike the AIDS virus or any other aggressive strain, it survives very nicely outside the body. MULDER How was it contracted? SCULLY That I do n't know. But if it's through simple contact of blood to blood, and if it does n't respond to conventional treatments, it could be a serious health threat. Mulder's reaction is postponed, or at least subdued by the reappearance of the field agent. FIELD AGENT Like I said, these are fossils, and they were n't near the blast center, so they are n't going to tell you much. SCULLY May I? He offers Scully the small glass vials in which the bone fragments have been separated. She takes them, looking at them on her way over to the microscope. Tapping out a tiny fragment onto the viewing bed. She puts her eyes down to the stereoscope eyepieces, then almost immediately looks up at Mulder who translates this look almost instantly. MULDER You said you knew the location of the archeological site where these were found. FIELD AGENT Show you right on a map. Off Mulder and Scully's traded looks :",
"EXT. SMALL PUBLIC PARK - WEST TEXAS - DAY The domed white tent is still in place, the fleet of trucks and equipment surrounding it unmanned. Several large sound - dampened generators still hum away, but the work being done here would be a mystery to anyone who did n't have access to the tent.",
"INT. DOMED TENT - DAY An electric Bobcat - like bulldozer maneuvers a very high tech - looking CLEAR CONTAINER to the edge of the earthen hole. The container has monitors and gauges on it, oxygen tanks and what looks like a circulation refrigeration unit. A self - contained life support system. The inside of the container is covered with a thin layer of frost. When the small bulldozer gets the container over near the hole, several technicians lift it down off the shovel, hand carrying it toward the hole opening. As Dr. Bronschweig APPEARS, moving to a ladder that leads down into the hole. He's dressed in a haz - mat suit, with the hood off. DR. BRONSCHWEIG I need to have those settings checked and re - set. I need a steady minus two Celsius through the transfer of the body, after I administer the vaccine. The men nod to Bronschweig, begin checking the settings as Bronschweig puts his hood on, starts down into the hole, through the clear hatch.",
"INT. SMALLER ICE CAVE - DAY The refrigeration vents are still pumping in arctic air when Dr. Bronschweig appears descending a fixed ladder. It is dark in here, save for the ice blue glow of light coming from the plastic draped area where we saw the fireman acting as an incubator/host for some kind of organism growing inside him. Bronschweig steps over to this area, moves aside the plastic drapery to enter. ANGLE INSIDE, PLASTIC LINED AREA Where the body of the fireman is still inside the quarantine bubble litter in f.g. Bronschweig takes out of his pocket a SYRINGE and an AMPULE. Turning now to the body. Stepping to it. Moving a work light, as he had done for the Cigarette Smoking Man, so that it shines on the face of the fireman. But when he does this, Bronschweig nearly JUMPS, his breath stolen away. Reacting to : ANGLE ON FIREMAN'S BODY The chest and torso have imploded. It has been turned into a muddy mass of blood - stained jelly ; bone and tissue melted into an oozing mass which has sunken due to the fact that the creature which was inside is now gone. CAMERA WHIPS from Bronschweig to the wall. To the temperature gauge which reads about 6 degrees Celsius. WHIPPING BACK to Bronschweig who is now panicked.",
"INT. DOMED TENT - DAY ANGLE DOWN ON EARTHEN HOLE, where the Technicians Bronschweig was speaking to minutes ago react to Bronschweig's MUFFLED VOICE. He's down below them in the cave, looking up. Pulling his haz - mat hood off. Yelling up to them. DR. BRONSCHWEIG It's gone! TECHNICIAN It's what? OVER THE TECHNICIANS TO BRONSCHWEIG DOWN BELOW DR. BRONSCHWEIG It's left the body. I think it's gestated - Bronschweig is starting up the ladder when something stops him. RESUME INT. ICE CAVE CREATURE'S POV OF BRONSCHWEIG He stands frozen on the ladder, squinting into the darkness. DR. BRONSCHWEIG Wait - I see it - BRONSCHWEIG'S POV In the shadows there is movement, the creature edging into the light cast from the draped area. We see it is fully formed - a replica of the Creature we saw at the opening of our story. Though it does not make any kind of aggressive move. As if, newborn, it is tentative. RESUME BRONSCHWEIG - CREATURE'S POV He remains standing on a rung of the ladder for a moment, then takes a gentle step back down to the ground. DR. BRONSCHWEIG -LRB- nervous wonder. -RRB- Oh my god. Oh my god. TECHNICIAN You see it? DR. BRONSCHWEIG Yes. It's. amazing. You want to get down here -. -LRB- sotto to himself. -RRB- Jesus Lord. so much for little green men. Dr. Bronschweig moves shakily to put the syringe in the ampule again. when, suddenly, the Creature STRIKES. CAMERA RUSHING FORWARD TO BRONSCHWEIG. OVERHEAD ANGLE - OVER THE TECHNICIANS As the Creature slams into Bronschweig, knocking him out of the line of sight from the top of the earthen hole. There are SCREAMS OF PAIN from Bronschweig, then they abate. RESUME INT. ICE CAVE Bronschweig can be heard, but not clearly seen. He is in the shadows himself now. Trying to pick himself up, and when he manages to do this, teetering back into the light we see that he is bloodied. He is hurt, injured. Making his way back toward the patch of light that comes from the hole above. Hoping to see that help is on its way, while keeping a watchful, wary and worried eye on the shadows, for another attack by the Creature. DR. BRONSCHWEIG Hey - I need help. But the Technicians looking down on him offer him nothing of the sort. All they do is quickly close the clear hatch that seals Bronschweig inside the cave. DR. BRONSCHWEIG Hey! But he gets no answer, climbing the ladder shakily. A moment later the first Bobcat shovel - full of dirt falls onto the clear hatch and partially obscures the light. They are burying Bronschweig alive.",
"INT. DOMED TENT - DAY ANGLE DOWN ON BRONSCHWEIG through the glass hatch. His SCREAMS continue. ADJUSTING to the small bulldozer which is quickly hauling the mound of excavated earth into the hole from which it came. While, all around, there is a hive of activity. Men running everywhere. RESUME INT. ICE CAVE Bronschweig reacts in silent horror now, only to turn in further horror when he feels the impending attack of : THE CREATURE Right behind and just below him. Its grotesque features in momentary high resolution, BEFORE IT ATTACKS CAMERA. Over and over, savaging Bronschweig in a violent fury. Its hideous teeth tearing at his flesh - AT CAMERA - driving him off the ladder where the attack continues in momentary glimpses of teeth, of bloody flesh, and of OILY BLACK BLOOD being spattered about. At the height of the violence we hear Bronschweig SCREAM. Matching the wound of this, as we :",
"EXT. ESTATE SOMEWHERE OUTSIDE LONDON - EARLY EVENING A CHILD'S SCREAM OF JOY. ENGLISH CHILDREN are playing tag or some kind of children's game in the well - manicured garden of a man who the CAMERA FINDS IN F.G. - the man we have come to know as THE WELL - MANICURED MAN. He is also a member of the syndicate running `` The Project'', though his venality is cloaked in civility and statesmanship. Right now he's watching the children from the back steps of his mansion, charmed by their game. When he is called by someone o.s. VALET'S VOICE Sir - you have a call. The Well - Manicured Man turns to see : HIS VALET Holds the door. After a moment the W.M.M. enters past the Valet. As the screams of the children continue to rise and fall.",
"INT. SUBURBAN LONDON ESTATE - A BEAUTIFUL STUDY EVENING The Well - Manicured Man enters, picks up a blinking line. Through a window he can still see the children playing. WELL-MANICURED MAN Yes. CIGARETTE SMOKING MAN -LRB- FILTER. -RRB- We have a situation. The members are assembling. WELL-MANICURED MAN Is it an emergency? INTERCUT WITH TIGHT CSM AT INT. KENSINGTON BUILDING -LRB- NEXT LOC. -RRB- CIGARETTE SMOKING MAN Yes. A meeting is set. Tonight in London, to determine a course. WELL-MANICURED MAN Who called this meeting? CIGARETTE SMOKING MAN Strughold. He's just gotten on a plane in Tunis. This pronouncement has the power of ending any further questions. An immediate sense of gravity of the situation. The W.M.M. hangs up, moves to the window where he sees some of the HELP is running from the house. The children have all gathered around a BOY who seems to have hurt himself. He's lifted and being carried by the man who's called the W.M.M. into the house. Off the Well - Manicured Man's concern, we :",
"EXT. LONDON STREET - NIGHT A discreet Town Car pulls up out front an understated building in a better West End neighborhood. A driver exits coming around for the Well - Manicured Man who is already exiting, moving to the building. As a LEGEND appears : KENSINGTON, LONDON : 8:01 PM.",
"INT. KENSINGTON BUILDING - NIGHT The Well - Manicured Man is admitted by a Valet. The interior has the well - heeled look of money, or a finely appointed residence that no one lives in. The Valet takes the W.M.M.'s coat. WELL-MANICURED MAN Has Strughold arrived? VALET They're in the library. He leads the W.M.M. down a hall, to :",
"INT. LARGE STATELY LIBRARY - NIGHT A GROUP OF MEN are standing, looking at something on a TV monitor. A surveillance video. They turn when the W.M.M. enters. CAMERA FAVORING A SMALL LEAN MAN with close - cropped hair. He is at once elegant and imposing with eyes that hold you with laser - like acuity. He is CONRAD STRUGHOLD. The others are of various ethnicities, tailored and dignified. This might be a collection of U.N. delegates. Indeed some are. Their business here, however, does n't represent anyone's interests but their own. As tipped by the attendance of a GROUP ELDER from the U.S. who we've come to know. But, more importantly, by the Cigarette Smoking Man who holds the VCR remote. He pauses the picture. STRUGHOLD We began to worry. Some of us have traveled so far, and you are the last to arrive. WELL-MANICURED MAN I'm sorry. My grandson fell and broke his leg. The non - response to this has the same effect as a reprimand. But the W.M.M. will not apologize of kowtow. STRUGHOLD While we've been made to wait, we've watched surveillance tapes which have raised more concerns. The Well - Manicured Man glances to the TV, sees the frame paused. HIS POV OF TV MONITOR Where Mulder and Scully's faces are seen in a hallway that we recognize as the Bethesda Naval Hospital. RESUME WELL - MANICURED MAN WELL-MANICURED MAN More concerns than that? STRUGHOLD We've been forced to reassess our role in Colonization by new facts of biology which have presented themselves. GROUP ELDER -LRB- speaking up. -RRB- The virus has mutated. WELL-MANICURED MAN On its own? CIGARETTE SMOKING MAN Its effect on the host has changed. The virus no longer just invades the brain as a controlling organism. It's developed a way to modify the host body. WELL-MANICURED MAN Into what? STRUGHOLD A new extraterrestrial biological entity. It takes a moment to sink in. The weight of this fact. WELL-MANICURED MAN My god. STRUGHOLD The geometry of mass infection presents certain conceptual re - evaluations for us. About our place in their Colonization. WELL-MANICURED MAN This is n't Colonization, it's spontaneous repopulation. All our work. if it's true, then they've been using us all along. We've been laboring under a lie! 2ND ELDER It could be an isolated case. WELL-MANICURED MAN How can we know?! STRUGHOLD We're going to tell them what we've found. What we've learned. Turn over a body infected with the gestating organism. WELL-MANICURED MAN In hope of what? Learning that it's true?! That we are nothing more than digestives for the creation of a new race of alien lifeforms?! STRUGHOLD Let me remind you who is the new race. And who is the old. -LRB- beat. -RRB- What could be gained by withholding anything from them ; By pretending to ignorance? Our knowledge may forestall their plans to step up the timetable. To start Colonization early. WELL-MANICURED MAN And if it does n't? By cooperating now we're but beggars to our demise! Our ignorance was in cooperating with the Colonists at all. STRUGHOLD Cooperation is our only chance of saving ourselves. CIGARETTE SMOKING MAN They still need us to carry out their preparations. STRUGHOLD We'll continue to use them as they do us. If only to play for more time, to continue work on our vaccine. WELL-MANICURED MAN Our vaccine may have no effect! STRUGHOLD Well, without a cure for the virus, we're nothing more than digestives anyway. All eyes go to the Well - Manicured Man. He is respected, if not the odd man out in this room. But he is all restrained anger now. WELL-MANICURED MAN My lateness may have well been absence. A course has already been taken. CIGARETTE SMOKING MAN There are complications. He turns back to the TV monitor where Mulder and Scully remain frozen on the screen. WELL-MANICURED MAN Do they know? CIGARETTE SMOKING MAN Mulder was in Dallas when we were trying to dispose of evidence. He's gone back there again. Someone has tipped him. WELL-MANICURED MAN Who? CIGARETTE SMOKING MAN Kurtzweil, we think. STRUGHOLD We've allowed this man his freedom. His books have actually helped us to facilitate plausible denial. Has he outlived his usefulness to us? WELL-MANICURED MAN No one believes Kurtzweil or his books. He's a toiler. A crank. STRUGHOLD And Mulder? ELDER Our new situation makes us vulnerable. If he learns information as we do, he could jeopardize the Project's secrecy. 2ND ELDER Control of information means control of Mulder. CIGARETTE SMOKING MAN I can control Mulder. I've always controlled Mulder. STRUGHOLD This may take another approach. He says this, casting his look toward the Well - Manicured Man. A look of cold malevolence. The W.M.M.'s reaction is disdain. WELL-MANICURED MAN You ca n't kill Mulder. He's got too much light on him. STRUGHOLD You need not kill a man to destroy him. WELL-MANICURED MAN -LRB- personalizing the inference. -RRB- No, you need only take away what is most precious to him.",
"EXT. SMALL PUBLIC PARK - CENTRAL TEXAS - DAY AGENT SCULLY She stands against a backdrop of Texas flatland, squinting into the sun. Shaking her head. SCULLY I do n't know, Mulder. We are : WIDE ANGLE REVERSE, TO INCLUDE MULDER, standing in the middle of a park, replete with jungle gyms, playground equipment. All brand spanking new. They are standing right where there had once been a hard scrabble, parched and barren little field. Where the earthen hole had been dug by the young boys. And what had later been the site of so much activity by the group of scientists. But where there's now a park, thick green grass covering the parch of ground, including the spot where the hole had been. SCULLY He did n't mention a park. MULDER This is where he marked on the map, Scully. Where he says those fossils were unearthed. SCULLY I do n't see any evidence of an archeological or any other kind of digsite. Not even a sewer or a storm drain. Mulder scans the area, confounded. Shaking his head as they walk. MULDER You're sure the fossils you looked at showed the same signs of deterioration you saw in the fireman's body in the morgue? SCULLY -LRB- nodding. -RRB- The bone was porous, as if the virus of the causative microbe were digesting it. MULDER And you've never seen anything like that? SCULLY No. It did n't show up on any of the immunohistochemical tests - Mulder is listening to all this while looking down at his feet : MULDER This looks like new grass to you? SCULLY It looks pretty green for this climate. Mulder stops, kneels, touches the thick green carpet of turf. He digs around, lifting up a corner of a new square. MULDER Ground's dry about an inch down. Somebody just laid this down. Very recently, I'd say. SCULLY -LRB- looking off. -RRB- All the equipment is brand new. MULDER No irrigation system. Somebody's covering their tracks. They both turn, looking at something that's caught their attention on the street where their rental car is parked. Three kids, all of whom we recognize from earlier. Stevie's `` friends''. Tooling down the street on new BMX bikes. Reacting to Mulder's loud WHISTLE. This stops them, staring at Mulder blankly across the distance. MULDER Hey! They do n't answer. Just keep staring, squinting into the sun. Mulder and Scully start walking toward them. SCULLY Do you live around here? 2ND BOY Yeah. As the Agents approach. MULDER You see anybody digging here? The kids do n't answer quickly. 2ND BOY Not supposed to talk about it. SCULLY You're not supposed to talk about it? Who told you that? 3RD BOY Nobody. MULDER Nobody. Same nobody who put this park in? That new equipment. -LRB- off the boys guilty looks. -RRB- They buy you these bikes? The kids shift uncomfortably. SCULLY I think you better tell us. 2ND BOY We do n't even know you. SCULLY Well, we're FBI agents. 2ND BOY You're not FBI agents. MULDER How do you know? 2ND BOY Cause FBI agents wear like suits and goofy ties. And dresses like my mom wears to church. Like on that one show. Mulder and Scully pull their badges. The kids' mouths drop. MULDER Maybe you've been watching too much TV. 3RD BOY They all left twenty minutes ago. 4TH BOY Going that way. The kids all pointing in the same direction.",
"EXT. CENTRAL TEXAS HIGHWAY - LATE DAY As Mulder and Scully's rental car RACES by at high speed.",
"INT. MULDER AND SCULLY'S RENTAL CAR - DAY - CONTINUOUS Mulder at the wheel, foot to the floor. Scully's got a map out. The mood is urgent, tense. MULDER Unmarked tanker trucks. what are archaeologists hauling out in tanker trucks? SCULLY I do n't know, Mulder. MULDER And where are they going with it? SCULLY That's the first question to answer, if we're going to find them.",
"EXT. CENTRAL HIGHWAY - LATE DAY Mulder slows down to a stop. They've come to a three - way intersection in the middle of absolutely nowhere that offers them three choices. The car sits idling for several beats. RESUME INT. RENTAL CAR Mulder's got his hand on his face rubbing his eyes. MULDER What are my choices? SCULLY About a hundred miles of nothing in each direction. MULDER Where would they be going? SCULLY We've got two choices. One of them is wrong. They are both looking in different directions. The car idling. MULDER You think they went left? SCULLY I do n't know why I think they went right. A few moments of silence. Then Mulder steps on the gas and goes straight. Heading out onto the only unpaved road. Accelerating away. Scully looks at him, wondering. As they bump along at speed. Mulder wo n't look at her for a few moments. Then, turning to her : MULDER Five years together - how many times have I been wrong.",
"EXT. TEXAS HIGHWAY - NIGHT HEADLIGHTS appear in the distance on a long, dusty stretch of road. GROWING as they approach, then coming to a stop in a cloud of dust as they move into f.g. Where a LINE OF FENCEPOSTS, BARBWIRE blocks their path. As the car brakes, the passenger door opens and Scully exits. A hot Texas wind blows. A dog is BARKING somewhere. Scully walks into the headlight wash, looking at a sign on the fence. After a moment, the driver's door opens and Mulder exits. MULDER Hey, I was right about the bomb, was n't I? SCULLY This is great. This is fitting. REVERSE ON SCENE On the fence sign, painted in crude letters, are the words : SOME HAVE TRIED, SOME HAVE DIED. TURN BACK - NO TRESPASSING. MULDER What? SCULLY I've got to be in Washington D.C. in eleven hours for a hearing - the outcome of which might possibly affect one of the biggest decisions of my life. And here I am standing out in the middle of nowhere Texas, chasing phantom tanker trucks. MULDER We're not chasing trucks, we're chasing evidence - SCULLY - of what exactly?! MULDER That bomb in Dallas was allowed to go off, to hide something : bodies infected with a virus you detected yourself. SCULLY They haul gas in tanker trucks, they haul oil in tanker trucks - they do n't haul viruses in tanker trucks. MULDER Yeah, well they may this one. SCULLY What do you mean by haul? -LRB- off his reaction. -RRB- What are you not telling me here? MULDER This virus - it. -LRB- afraid to say. -RRB- SCULLY Mulder - MULDER It may be extraterrestrial. SCULLY I do n't believe this. I do n't fucking believe this. -LRB- reaching her limit of impatience. -RRB- Y' know, I've been here. I've been here one too many times with you, Mulder. MULDER Been where? SCULLY Pounding down some dirt road in the middle of the night. Chasing some elusive truth on a dim hope, only to find myself standing right where I am right now : at another dead end - As she says this A BELL starts to sound. A flashing light hits Mulder and Scully. They both turn to see : HIGH ANGLE OVER A RAILROAD CROSSING SIGN Sitting all by its lonely self. No swinging arms or gate. Just one little sign between Mulder and Scully and their car. CAMERA PANNING to the light of a locomotive speeding toward us. WIDE ANGLE OVER TRACKS TO MULDER AND SCULLY They move toward their car, but the train is coming fast. Mulder and Scully stop and wait, watching the train. As the engine breaks frame, eclipsing Mulder and Scully from view. And as it passes by we see TWO VERY FAMILIAR WHITE TANKERS loaded piggyback atop flat bed cars. The train, which is not much longer than this, passes. And Mulder and Scully make a mad dash for their car. The lights come on and Mulder swings the vehicle into a hard accelerating turn, taking the spoke of the intersection that parallels the tracks. As the car hauls ass after the train, we :",
"EXT. OPPOSITE END OF MOUNTAIN PASS - NIGHT The rails come up a grade where they appear out of a long bending turn. Exiting the mountain pass near the summit of the mountain. And now HEADLIGHTS appear, bouncing toward us. It's Mulder and Scully's rental chugging up the grade. And now pulling to a stop as it REACHES CAMERA. Then the car doors open and Mulder and Scully exit. Putting jackets against the cold desert night. Running over the gravel on the rail bed into sharp f.g. SCULLY What do you think it is? MULDER I have no idea. They start out toward it anyway, whatever it is. But the image that we see next might cause us to ask the same question. REVERSE ANGLE - MULDER AND SCULLY'S FORMER POV The Agents are moving off the tracks now, picking their way toward the horizon where, at the edge of the great plateau that lays out before them, there are TWO GIANT GLOWING WHITE DOMES. It is otherwise pitch dark out, almost giving the impression that the domes are floating. It would give the distinct impression of otherworldliness, if we had n't seen a similar, smaller glowing dome over the dirt field where the boys found the skull. And if we could not see the lights of the TRAIN rolling to a stop near the mysterious domes.",
"EXT. GREAT PLATEAU - NIGHT - HIGH WIDE ANGLE SLOWLY CRANING DOWN as Mulder and Scully move through the low scrub of the high desert. Moving towards us as CAMERA CONTINUES ITS SLOW CRANE DOWN, REVEALING in f.g. the tops of CORN STALKS -LRB- yes, corn stalks. -RRB- What is the perimeter edge of : REVERSE CRANE DOWN -LRB- TO MATCH -RRB- Acres and acres of corn fields, laying out before us in the dark night. Running all the way to the WHITE DOMED TENTS in the b.g. Mulder and Scully enter the perimeter edge, disappearing into :",
"EXT. ACRES OF CORN - NIGHT TRACKING WITH Mulder and Scully as they move through the field. SCULLY This is weird, Mulder. MULDER Very weird. SCULLY Any thoughts on why anybody'd be growing corn in the middle of the desert? MULDER Not unless those are giant Jiffy Pop containers out there. CONTINUE TRACKING as they move through the tall uniform rows. ANGLE BEHIND THE AGENTS Shooting down the long straight rows. CRANING UP to REVEAL DOMES once again. Like space ships that have landed. OPPOSITE PERIMETER OF THE FIELD OF CORN The Agents exit the edge of the crop field. They have come upon the glowing tents now. Tall and pillowy against the dark sky. There is no evidence of anyone about. No sound, no signs. Mulder and Scully stand at the edge of the field for a moment. Then move cautiously across an open area to one of the domes.",
"INT. WHITE DOME TENT - NIGHT Mulder pulls open the steel door leading in. It opens with a SUCKING SOUND which suggests the interior is pressurized. And as he and Scully step in - they both JUMP when LARGE FANS just overhead hit them both with hard blasts of air. Stepping quickly out of the downward blasting air, into the still silence of the space beyond. SCULLY Cool in here. Temperature's being regulated. MULDER For the purpose of what? HIGH OVERHEAD ANGLE Our view is down through the crosswires and cables that create the tension support. The effect is a combination of simplicity and perfect function. Stark and high tech. The flooring is gray and flat, featureless. But we do n't yet see from this angle exactly what the white domed tent houses. Though the air is still and there is no movement of any kind, there is a sound that permeates the interior. A STEADY HUM. Almost electrical hum, but different. Mulder and Scully move together toward the middle of the space. WIDE ON TENT - MULDER AND SCULLY'S POV Laid out in a grid, low to the ground, are what look like BOXES. Fixed in place like roof vents, except these are on the floor, no more than three feet tall, and about the same measure square. NEW ANGLE - TRACKING WITH MULDER AND SCULLY As they continue to move cautiously, walking out into the grid of box - shaped objects. Coming to the center of the capacious, arena - sized space. Standing over one of the mysterious boxes, which we now see have LOUVERED TOPS. The louvers, however, are shut so that whatever is inside the boxes can not be seen. SCULLY I think we're on top of something. I think these are some kind of venting. Mulder lays his head and ear to the top of the box. MULDER You hear that? SCULLY I hear the humming. Like electricity. High voltage maybe. MULDER Maybe. Maybe not. Scully looks skyward. SCULLY What do you think those are for? Mulder takes his ear off the box, looking up now, too. THEIR POV At the top of the dome are two LARGE corresponding LOUVER VENTS. RESUME MULDER AND SCULLY Looking up at these vents.",
"INT. WHITE DOME TENT - NIGHT HIGH WIDE ANGLE OVER MULDER AND SCULLY, staring up JUST PAST CAMERA at the louvered vents at top center of the tent. When A LOUD METALLIC NOISE makes them jump. AGENTS POV THE LOUVERED VENTS ABOVE THEM One of the vents is opening automatically, its large metal louvers straining from their flat closed position into an up - and - down open position. When this is complete, the SECOND LOUVER does the same. The straining sound of galvanized metal - on - metal. LOW ANGLE ON MULDER AND SCULLY As Mulder turns his look from the ceiling back down to the mysterious box they're standing next to. Something occurs to him. Something frightening. MULDER Scully? SCULLY Yeah? MULDER Run. Mulder grabs her hand, pulling her along. Though she does n't know why. Or what's about to happen. TRACKING FAST WITH THEM as Mulder leads her back toward the door they entered, which is a good hundred yards away. SCULLY -LRB- yelling, on the run. -RRB- What are you doing? MULDER -LRB- yelling back. -RRB- Come on! When the LOUVERED VENTS on all the low grid - arranged boxes OPEN IN DOMINO - LIKE SUCCESSION - out of them pouring THOUSANDS AND THOUSANDS OF BEES, rapidly filling the atmosphere of the domed space. As if the insects are being shot out of non - stop cannons. HIGH ANGLE THICK STREAMS of bees head RIGHT AT CAMERA, flying for the open louvers at the top of the dome. As Mulder and Scully run for it down below. TRACKING WITH MULDER AND SCULLY Scully's hand slipping from Mulder's as she pulls her jacket up over her head. Mulder doing the same now, ducking his head inside his own jacket. The Agents are slowed by the bees but still make their zigzag way toward the door - bees clinging to their clothes. But motion seems to be the key. As Mulder RUNS TOWARD CAMERA - where the downward blast of air knocks all the bees off him. In the b.g., we see that Scully has fallen behind. Still running, but losing her way in the process, losing her bearings as the thickening swarm of bees descends. CLOSE ON SCULLY When Mulder enters frame, jacket pulled over his head again. Taking Scully by the back of her coat and swinging her toward the direction of the door. Whipsnapping her the rest of the distance to the doorfans. Following right behind her as the fans BLASTING them and the Agents continue right out the doors. To :",
"EXT. WHITE DOMED TENT - NIGHT Scully and Mulder comes blasting out themselves now, but they have n't even had time to catch their breaths when they react to MOVEMENT. Something coming at them in the night. THEIR POV'S - STRAIGHT DOWN THE ROWS OF DOMED TENTS Where BRIGHT BEAMS BLAST ON, moving fast toward them. The RUSHING WHIR of the turbine engines of the unmarked choppers. The bright beams skimming across the ground toward Mulder and Scully, traveling right along the edges of ends of the white domed tents. Threatening to spot the Agents, unless they - RUN. And they do - bolting just as the beams and the helicopters blast over the spot they held just moments before. Running to :",
"EXT. ACRES OF CORN - NIGHT - MULDER AND SCULLY - VARIOUS HANDHELD Running flat out now, knocking away the stalks and leaves that block their way. Following and leading shots. POVs and Tracking shots. And chasing angles, as the Agents run through the only cover they've got. As : ANGLE JUST OVER THE TOP OF CROPS The unmarked helicopters swoop right overhead, their BRIGHT SPOTLIGHTS searching and cutting through the cornrows. As the Agents zig and zag just out of the discovering beams. As the choppers zoom right over their heads. REVERSE ON CHOPPERS Traversing the field, then doing sharp banking turns and swooping back over the field now in low drifting hovers. The wash from the blades knocking the corn stalks down so as to reveal anything hidden within. The bright spots making sure that nothing might escape detection. LOW ANGLE - CAMERA SEARCHING AND FINDING SCULLY as she runs up INTO FRAME. She's lost sight of : SCULLY Mulder?! ANGLE ELSEWHERE ON MULDER As he too runs to a stop. Hearing his name. MULDER Scully?! RESUME SCULLY Reacting to the sound of her name, but there's no time to find her bearings on Mulder. Not before she has to take flight again. As one of the choppers appears overhead, hovering into view. Knocking the corn down in a path moving straight toward her. CAMERA LEADING HER as she runs from the oncoming craft. PASSING CAMERA to the left, as the chopper passes CAMERA RIGHT. TRACKING FAST WITH MULDER Beating his way through the corn like Bomba through the jungle. Matching this action, as Mulder runs toward us. When one of the unmarked helicopters BREAKS INTO FRAME in an intersecting path, its BEAM passing right over Mulder and ILLUMINATING HIM. But while it does n't slow Mulder down, the helicopter maneuvers into a hard banking turn, sweeping over the far end of the corn field and heading RIGHT BACK AT MULDER - AT US. NEW LOW ANGLE ON EDGE OF CORN FIELD Where Mulder bursts out of the perimeter, turning on a quick dime and running an out pattern, just before the chopper BURSTS into frame overhead, its search beam narrowly missing Mulder. NEW ANGLE ON MULDER Running the corner of the field, looking frantically down each corn row until he comes to a stop. No sign of : MULDER Scully?! Mulder reacting to the sound of her response : SCULLY -LRB- distant o.s. -RRB- Mulder! NEW ANGLE ON SCULLY She's exiting the field behind him. Running toward him, and when she gets to him they both break into a run across the desert. CAMERA FOLLOWING THEM as they sprint away. FOLLOWING THEM until they both start to slow. Slowing to a stop in the darkness. Turning to see : THEIR POV The helicopters have disappeared. RESUME MULDER AND SCULLY Reacting to this. SCULLY Where'd they go? MULDER I do n't know. Then they both turn again and continue running. As fast as their feet will take them. Back towards the bluff where their car is parked.",
"EXT. BLUFF OVERLOOKING CORN FIELDS - NIGHT Where Mulder and Scully's car is parked. Stillness, until Mulder and Scully's heads appear as they climb up from the direction of the corn fields. They get in their car and start it quickly. Mulder turns the ignition, but the car does n't start immediately. He turns it over and over but it wo n't kick. As he does this, unbeknownst to the agents ONE OF THE BLACK HELICOPTERS rises up from below the bluff, appearing in their rear windshield. Hovering just behind the car like a giant bumblebee. Just as. Mulder gets the car started, throwing the transmission in gear and spinning the tires. As they head off back in the direction they came, without their lights on. As they do this, the black chopper continues to hover for a moment, then BANKS OFF AND AWAY. Into the night. Mulder and Scully speed off in the opposite direction. As we :",
"INT. FBI OFFICE OF PROFESSIONAL REVIEW - DAY CLOSE ON A FILE Being leafed through by a woman's hands. CAMERA TILTING UP to Special Agent Cassidy, the woman we met earlier running the OPR hearing. She takes a quick glance at her watch, looking up when : THE DOOR TO THE ROOM opens. A beat, then Skinner enters with a wearied look. SKINNER She's coming in. Skinner ducks his head back out to look at :",
"INT. HALLWAY OUTSIDE OPR HEARING ROOM - DAY Where Scully stands looking into the glass of a display case, trying to put her hair and clothes and person together. She's still in the same clothes we saw her in. Seeing Skinner now moving toward him. RESUME OPR HEARING ROOM Scully enters past Skinner. Though she has straightened them, and her hair, there is no mistaking that she's been to the dust bowl and back to get here. Her manner is chastened. Scully tries to keep her eyes on the table where she'll be sitting. Venturing only a brief, polite look to : ANGLE TO INCLUDE CASSIDY AND THE OTHER PANEL MEMBERS They reshuffle their papers, pulling up their chairs. Ready to get down to business now. CASSIDY Special Agent Scully - SCULLY I apologize for making you wait - I've brought some new evidence with me - CASSIDY Evidence of what? CLOSE PROFILE ON SCULLY Reaching into her satchel, pulling out an evidence bag. Whatever she's reaching for she's reluctant to present with confidence. SCULLY These are fossilized bone fragments I've been able to study, gathered from the bomb site in Dallas. As Scully speaks we see A BEE crawl out from under the collar of her suit jacket, crawling toward the back of her neck. Crawling slowly, as if stretching its legs from its long journey. CAMERA DOLLYING around Scully as the bee does, moving into an OVER to : CASSIDY You've been back to Dallas? SCULLY Yes. CASSIDY Are you going to let us in on what exactly you're trying to prove - SCULLY That the bombing in Dallas may have been to destroy the bodies of those firemen, so their deaths and the reason for them would n't have to be explained - CASSIDY -LRB- challenging. -RRB- - those are very serious allegations, Agent Scully - SCULLY Yes. I know. There is a hush of murmured responses to this, the panel members speaking to one another. Assistant Director Skinner shifts uneasily in his chair. He's been here before with Agents Mulder and Scully. He's sensing something outrageous. CASSIDY And you have conclusive evidence of this? Something to tie this claim of yours to the crime - SCULLY -LRB- grudgingly. -RRB- Nothing completely conclusive - We have returned to the OVER ANGLE on Scully, where we see the BEE just below her jacket collar on the back of her neck. It CRAWLS back under her collar, DISAPPEARING from sight. SCULLY I hope to. We're working to develop this evidence - CASSIDY Working with? SCULLY Agent Mulder. Off Cassidy's knowing nod, a general shifting in chairs, we :",
"INT. DOWNSCALE D.C. BAR - LATE DAY Mulder pushes through the front, scanning the room for : ANGLE ON KURTZWEIL Sitting at a booth at the dark rear of the establishment. Mulder enters frame, sitting down across from him. Kurtzweil is jumpy, but he sees from Mulder's expression that something's up. KURTZWEIL You found something? MULDER Yes. On the Texas border. Some kind of experiment. Something they excavated was brought there in tanker trucks. KURTZWEIL What? MULDER I'm not sure. A virus - KURTZWEIL - You saw this experiment? MULDER What did it look like? MULDER There were bees. And corn crops. Kurtzweil smiles at Mulder, laughs with nervous excitement. Mulder does n't quite realize it yet, but this is news to him. MULDER What are they? Kurtzweil slides from his seat, rising. KURTZWEIL What do you think? MULDER A transportation system. Transgenic crops. The pollen genetically altered to carry a virus. KURTZWEIL That would be my guess. MULDER Your guess? But Kurtzweil does n't respond to this. He's moving toward the back of the bar. Mulder slides out, pursuing him. ANGLE ON BARMAID The few PATRONS sitting at the bar, all turning in reaction to this sudden flurry of activity.",
"INT. REAR OF DOWNSCALE BAR - NIGHT - CONTINUOUS Near the bathrooms. Mulder catches up to Kurtzweil. MULDER What do you mean, your guess? Kurtzweil does n't stop. So Mulder must physically stop him. MULDER You told me you had answers. KURTZWEIL Yeah, well I do n't have them all. MULDER You've been using me - KURTZWEIL I've been using you?! MULDER You did n't know my father - KURTZWEIL I told you - he and I were old friends - MULDER You're a liar. You lied to me to gather information for you. For your goddamn books. Did n't you? Mulder is getting heated, rough with Kurtzweil. When, unexpectedly A MAN suddenly exits the bathroom. REACTING to this scene. Kurtzweil uses the moment to break from Mulder. Slipping out the back door. Mulder takes a beat, then goes after him. Pushing out the back door into the blinding brightness.",
"EXT. ALLEY BEHIND BAR - DAY Mulder busts out the back door, chasing Kurtzweil. MULDER Kurtzweil! Kurtzweil turns to him. With restrained ferocity. KURTZWEIL You'd be shit out of luck if not for me. You saw what you saw because I led you to it. I'm putting my ass on the line for you. MULDER Your ass? I just got chased across Texas by two black helicopters. KURTZWEIL And why do you think it is you're standing here talking to me? These people do n't make mistakes, Agent Mulder. And with that he turns now, striding off. Leaving Mulder to deal with the excellent logic of this. When suddenly Mulder reacts to A NOISE. Somewhere above him. MULDER'S POV Up on a fire escape, A MAN is moving. Mulder can only see his feet and legs from this angle, but it is clear he has been watching Mulder. Upon being spotted, the figure slides away and disappears. ANGLE FROM INSIDE FIRE ESCAPE BUILDING We get a glimpse of the man who was watching him. A face we recognize as that of the man who brushed past Mulder coming out of the vending room, not long before the building in Dallas blew. He is moving quickly now, disappearing into the shadows. CAMERA TILTING DOWN to find : MULDER. He stands staring up, but only for a moment until he turns and hurries off in the opposite direction Kurtzweil disappeared in.",
"INT. MULDER'S APARTMENT - MAGIC HOUR ANGLE OVER MULDER'S DESK at the far end of the living room. The sound of keys in the door, then Mulder enters his apartment in a hurry. Moving to the desk and going at this pace through the drawers. Looking for. A PICTURE ALBUM. Which he takes now, leafing through it. Flipping the pages, looking for : ANGLE OVER MULDER Finding old pictures of young Fox Mulder with his SISTER, Samantha. With his father and mother. The plastic - covered page is peeled back and one of these photos is removed. It is an old family snapshot. A picnic possibly. Mulder stares at the picture. INSERT PHOTO - In the b.g. of the picnic, his head turned to camera, is a young KURTZWEIL. Mulder studies the photo intensely, when there's a KNOCK at his door. Mulder turning to see : SCULLY In his haste, Mulder had neglected to lock his door. Scully is pushing it open. She's still in the same clothes. She looks beat. Her eyes meeting Mulder's. A gaze that says bad news. MULDER What? What's wrong? SCULLY Salt Lake City, Utah. Transfer effective immediately. Mulder is shaking his head. Not wanting to hear this. SCULLY I already gave Skinner my letter of resignation. MULDER You ca n't quit, Scully. SCULLY I can, Mulder. I debated whether or not to even tell you in person, because I knew - MULDER We're close to something here - we're on the verge - SCULLY You're on the verge, Mulder - please do n't do this to me - MULDER After what you saw last night - after all you've seen - you ca n't just walk away - SCULLY I have. I did. It's done. MULDER Just like that - SCULLY I'm contacting the state board Monday to file medical reinstatement papers - MULDER I need you on this, Scully - SCULLY You do n't Mulder - you've never needed me. I've only held you back. -LRB- beat. -RRB- I've got to go. And with that she exits his apartment, the argument too painful, and her ability to be persuaded too clear to herself.",
"INT. HALLWAY OUTSIDE MULDER'S APARTMENT - NIGHT WIDE ANGLE FROM END OF HALL where we see Scully, leaving Mulder's apartment. Moving at a hurried clip to the elevator - TOWARD CAMERA. As if anticipating her own impulse to turn around and go back. As she moves into f.g. Mulder exits his apt. door. MULDER You're wrong - He hurries to catch her. As she turns on him. SCULLY Why was I assigned to you? To debunk your work. To reign you in. To shut you down. MULDER You saved me, Scully. -LRB- off her look. -RRB- As different and frustrating as it's been sometimes, your goddamn strict rationalism and science have saved me a thousand times ; have kept me honest and made me whole. I owe you so much, Scully, and you owe me nothing. -LRB- beat. -RRB- I do n't want to do this without you. I do n't know if I can. If I quit now, they win. She is silent, moved. In spite of all her desire not to be. She moves to Mulder, holds him. They break slightly and she looks up at Mulder with deep respect, admiration and. kisses him on the forehead. When. suddenly a physical intimacy we've never seen. A heat and passion that ca n't be denied. The opportunity for the inevitable has presented itself. The moment of truth has arrived. Mulder is staring at Scully as she's looking back at him. His head moves slightly toward hers - as one of his hands moves up to her neck, drawing her to him. Where there is hesitation on her part, there is also desire. When : SCULLY OUCH! Scully pulls away from Mulder, RUBBING at her neck where his hand had been. MULDER What? What happened? SCULLY I think. something stung me. Scully's hand comes out with THE SQUIRMING BEE, which she holds in her hand while Mulder moves around her, checking her neck. MULDER It must. But he does n't finish his sentence before he has to catch Scully from falling. Her head bobs and she has to catch it. MULDER Scully. SCULLY Something's wrong. -LRB- fighting for clarity. -RRB- I'm having - lancinating pain - my chest. My. motor functions are being affected. I'm. Mulder lays her down on the floor during this. Scully continues to speak, though her eyes are not focusing. She is limp in Mulder's arms. SCULLY my pulse feels thready and I've got a funny taste in the back of my throat. MULDER I think you're in anaphylactic shock - SCULLY No - it's - Her voice is getting thin now, too. MULDER Scully - SCULLY I've got no allergy. Something. this. Mulder. I think. I think you should call an ambulance. And Mulder is on his feet in a flash, running for :",
"INT. MULDER'S APARTMENT - NIGHT - CONTINUOUS CLOSE OVER PHONE as Mulder races into the apartment, dashing TOWARD CAMERA, picking up the receiver, dialing. HOLDING ON THE PHONE during this action. TILTING UP for : MULDER This is Special Agent Fox Mulder. I have an emergency - I have an agent down -",
"INT. HALLWAY OUTSIDE MULDER'S APARTMENT - NIGHT SCULLY - HANDHELD Picked up and one - two - three loaded on a gurney by TWO PARAMEDICS. 1ST PARAMEDIC Can you hear me? Can you say your name? Scully is trying, but the words wo n't come out. 1ST PARAMEDIC She's got constriction in the throat and larynx - are you breathing okay? He lays his head down to her mouth. 1ST PARAMEDIC Passages are open. Let's get her in the van - NEIGHBORS are in the hall now, along with Mulder. Who is moving beside the Paramedics as they hustle the gurney down the hall. 1ST PARAMEDIC Coming through people - here we go. Coming through -",
"EXT. MULDER'S APARTMENT - NIGHT - CONTINUED HAND HELD The Paramedics bang out the front door, stutter - stepping the gurney down to the walk, to their EMT VAN which sits at the curb with the LIGHT BAR FLASHING. Mulder following close by. MULDER She said she had a taste in the back of her throat - there was no pre - existing allergy to bee - stings - the bee that stung her may have been carrying a virus - 2ND PARAMEDIC A virus? 1ST PARAMEDIC Get on the radio, tell them we have a cytogenic reaction, we need an advise and administer - They get her to the back of the vehicle, guiding the gurney in with experienced hands. Scully's eyes are on Mulder as she's slid into the brightly lit interior. The 1st Paramedic blocks Mulder somewhat as he steps toward the van, anticipating that he's going with them to the hospital. But the doors are closing on him before he gets an opportunity. FOLLOWING MULDER around to the driver's side of the van now, moving to the driver's window where THE DRIVER can be seen in the rear view mirror, his eyes watching Mulder. ON MULDER A moment of vague recognition - a catch in his step. RESUME As Mulder's momentum carries him to the driver's window where se see again the man from the vending room, who was also surveilling Mulder. And he has a HANDGUN pointed at Mulder, which he FIRES THROUGH THE WINDOW. The glass shattering. RESUME MULDER Throwing himself away backward, but the bullet catches him in the head. Blood and glass spraying onto the side of the van. He goes down to the ground - as the paramedic van accelerates fast away. LOW ANGLE REVERSE ON MULDER Lying in the street, his head bleeding profusely. While in the b.g., A SECOND AMBULANCE IS SPEEDING TO THE SCENE. As it skids to a stop and TWO NEW PARAMEDICS jump out, we :",
"EXT. WASHINGTON NATIONAL AIRPORT - NIGHT A MEDIUM SIZED PRIVATE JET is taxiing down an alley off the main runway where a 747 is speeding toward takeoff. The private jet turning TOWARD CAMERA and nosing into f.g. NEW ANGLE ON TARMAC Where MEN IN FAMILIAR BLACK FATIGUES are unloading something from an unmarked cube truck that is also familiar : the very high tech - looking CLEAR CONTAINER, with its monitors and gauges, its oxygen tanks and refrigeration unit. A self - contained life support system. The inside of the container is covered with a thin layer of frost, through which we can see AGENT SCULLY. She lies as if in a state of paralysis, but a blink of her eyes is enough to tell us that she is. alive. TRACKING WITH THE MEN moving the container. As they hustle it to the waiting jet. As The Cigarette Smoking Man is descending the steps of the plane onto the tarmac. Watching as the container is moved to the cargo hold and loaded inside. The hold is closed and the jet engines wind back up. As the Cigarette Smoking Man reboards the aircraft and it taxis away. FADE SLOWLY TO BLACK",
"INT. HOSPITAL - NIGHT Voices fade in slowly, inaudible at first. For regular viewers of the show, they will recognize the voices of the Lone Gunmen. Three nerdish paranoiacs who publish a magazine which charts and cataloged conspiracies past and present, among other government malfeasance. They are Langly, Byers and Frohike. BYERS I think he's coming out - LANGLY He's coming to. FROHIKE Hey, Mulder. FADE UP, as if our eyes are blinking open. We are in Mulder's POV, and the face right above us is Frohike's. FROHIKE Mulder? Behind Frohike, looking down at Mulder, are Byers and Langly. REVERSE ON MULDER Staring at the diminutive Frohike, the long - haired Langly and the courtly Byers with dawning recognition. MULDER Oh god. LANGLY What's wrong? MULDER -LRB- to Byers, then Langly. -RRB- Tin Man. Scarecrow. -LRB- to Frohike. -RRB- Toto. Mulder sits up now, rubbing his face, feeling the BANDAGE he's got on his head. MULDER What am I doing here? BYERS You were shot in the head. The bullet broke the flesh on your right brow and glanced off your temporal plate. MULDER -LRB- woozy. -RRB- Penetration but not perforation. LANGLY Three centimetres to the left and we'd be playing the harp. Mulder is still shaking out the cobwebs. BYERS They gave you a craniotomy to relieve the pressure from a subdural hematoma. But you've been unconscious since they brought you in. MULDER When was that? FROHIKE Two days ago. Your guy Skinner's been here with you around the clock. LANGLY We got the news and made a trip to your apartment. Found a bug in your phone line. FROHIKE And one in your hall. Byers holds up the first small device. Frohike holds up a vial containing A BEE. Mulder realizing : MULDER Scully had a violent reaction to a bee sting - BYERS You called 911. Except the call was intercepted. MULDER -LRB- sitting up. -RRB- They took her - Mulder pushes the covers off. Swinging his legs to the ground. As A.D. Skinner enters the room. Surprised to see Mulder up. SKINNER Agent Mulder - MULDER Where's Scully?! As he says this he loses his balance slightly, has to hold onto one of the Gunmen. Struggling with his faculties. SKINNER She's missing. We've been unable to locate her or the vehicle they took her in. MULDER Whoever they are - this goes right back to Dallas - it goes right back to the bombing - SKINNER I know. -LRB- off Mulder's reaction to this. -RRB- Agent Scully reported your suspicions to OPR. On the basis of her report, I sent techs over to S.A.C. Michaud's apartment. They picked up PSTN residues on his personal effects consistent with the construction of the vending machine device in Dallas. MULDER -LRB- reeling. -RRB- How deep does this go? SKINNER I do n't know. Mulder sees A MAN IN A SUIT passes by the small window in the door, casting a furtive glance in, then moving off. He turns his look back to Skinner. MULDER Are we being watched? SKINNER I'm not taking any chances. Mulder nods. Pulling now at the bandage on his head. Peeling it away and revealing the wound beneath. MULDER I need your clothes, Byers. BYERS Me? SKINNER What are you doing? MULDER I've got to find Scully. FROHIKE Do you know where she is? MULDER No. But I know someone who might have an answer. Who better. Mulder is undoing his hospital gown now, his white buns gracing the screen for the first time in history. As he ducks into the bathroom. As the men left standing in the room all look to Byers, reluctantly removing his duds. Off this :",
"INT. HOSPITAL HALLWAY - NIGHT ANGLE OVER MAN IN A SUIT standing with his back to Mulder's room, reading a section of a newspaper -LRB- the rest of the paper sitting on a chair, as if the man's possibly set up here. -RRB- As the door to Mulder's room opens in the b.g. and Frohike appears. Frohike keeps his eyes on the Man as Langly appears now, followed by. Byers? We ca n't see clearly as the other two block our POV and the third man out does n't show us his face. The threesome starts down the hall, their footsteps drawing the attention of the Man in a Suit. ANGLE OVER MULDER AND THE OTHER GUNMEN As they head TOWARD CAMERA. Walking at a pace. In the b.g. the Man in the Suit is drifting toward Mulder's hospital room. ANGLE ON MAN IN SUIT Suspicious. He moves to the door, looks in the little glass window. Seeing. Byers, the sheets pulled up to his nose to hide his beard and mustache. Skinner standing next to him, talking on the phone. The Man in the Suit looking down to the end of the hall again. RESUME ANGLE OVER MULDER AND THE GUNMEN As Mulder and his two flankers MOVE RIGHT TO CAMERA. Mulder is taking a cell phone being handed to him by Frohike. Dialing on the move.",
"EXT. ALLEY BEHIND DOWNSCALE D.C. BAR - NIGHT A FIGURE appears at the end of the alley, moving toward us. It could be Mulder from this distance, but as the figure comes closer we recognize him as Kurtzweil. Moving into the f.g., checking behind him, ahead of him. Jumpy. He takes a cautious beat, then moves to the door leading into the bar -LRB- established -RRB-, reaching for the knob. Opening it, finding the Well - Manicured Man standing there. WELL-MANICURED MAN Dr. Kurtzweil, is n't it? Dr. Alvin Kurtzweil? KURTZWEIL Jesus Christ. Kurtzweil is shaken by the sight of this man. Backpedaling a bit, looking around and behind him for an ambush. WELL-MANICURED MAN You're surprised. Certainly you've been expecting some response to your indiscretion. The W.M.M. steps out of the doorway, following Kurtzweil. WELL-MANICURED MAN I'm quite sure whatever you told Agent Mulder, you have your good reason. It's a weakness in men our age ; the urge to confess. -LRB- stopping his walk. -RRB- I forgive you that. Kurtzweil is thrown by the words, and the delivery. Stopping his backward progress. Studying this upright and civil man. KURTZWEIL What are you doing here? What do you want from me? WELL-MANICURED MAN You must try to understand, what I'm here to do is only to protect my children. You and I have but short lives left. I can only hope the same is n't true for them. On this note, Kurtzweil turns and hoofs it back in the direction from which he came. TRACKING BACK WITH HIM until HEADLIGHTS hit his face. REVERSE ANGLE A TOWN CAR has pulled into the alley behind him. Accelerating fast down the narrow corridor. Effectively trapping Kurtzweil in. As he squints into its headlights, then turns back with fear in his eyes to the W.M.M.",
"EXT. STREET OUTSIDE DOWNSCALE BAR - NIGHT Where a figure is coming down the street toward us. Running, it's Mulder, going balls out. Running to the entrance of the bar and yanking open the door.",
"INT. DOWNSCALE D.C. BAR - NIGHT Moderately crowded as Mulder enters, stopping to catch his breath. Moving to the back of the bar. Looking for : THE BOOTH WHERE HE MET KURTZWEIL EARLIER It's empty. RESUME MULDER Moving through the bar - real panic in his expression. He heads to the back.",
"INT. REAR OF DOWNSCALE BAR - NIGHT - CONTINUOUS Mulder passing the bathrooms, moving to the door where we saw the Well - Manicured Man standing just a short bit ago. But there is no one back here now. Mulder moves to the back door, the one leading to the alley, pushing it open and finding : The Well - Manicured Man stands with HIS DRIVER closing the trunk on the idling Town Car -LRB- which has been turned around. -RRB- The W.M.M. turns to see : WELL-MANICURED MAN Mr. Mulder. MULDER What happened to Kurtzweil? WELL-MANICURED MAN He's come and gone. The W.M.M. moves to Mulder, who does n't trust him for a second. Mulder is still breathing hard, sizing up this scene. MULDER Where's Scully? WELL-MANICURED MAN I have answers for you. MULDER Is she alive? WELL-MANICURED MAN Yes. Mulder stares at the W.M.M. - measuring him. WELL-MANICURED MAN I'm quite prepared to tell you everything, though there is n't much you have n't guessed. MULDER About the conspiracy? WELL-MANICURED MAN I think of it as an agreement. A word your father liked to use. MULDER I want to know where Scully is. The Well - Manicured Man suddenly reaches into his jacket pocket, without warning or explanation. Mulder tensing slightly. He removes a thin felt envelope. WELL-MANICURED MAN The location of Agent Scully. And the means to save her life. -LRB- off Mulder's look. -RRB- Please. He gestures toward the car where the Driver stands with the back door open. Mulder hesitates, then steps from the doorway. Moving past the W.M.M., sliding in. The W.M.M. gets in after him, closes the door. The car pulls away.",
"INT. LIMOUSINE - NIGHT - CONTINUOUS WE SEE MULDER in the back seat, reflected in the rear - view mirror. Where we also see the eyes of the DRIVER watching him. Mulder is handed the felt envelope by the W.M.M. MULDER What is it? WELL-MANICURED MAN A weak vaccine against the virus Agent Scully has been infected with. It must be administered with ninety six hours. MULDER -LRB- beat. -RRB- You're lying. WELL-MANICURED MAN No. Though I have no way to prove otherwise. The virus is extraterrestrial. We know very little about it, except that it is the original inhabitant of this planet. MULDER -LRB- dubious, to say the least. -RRB- A virus? WELL-MANICURED MAN A simple, unstoppable lifeform. What is a virus but a colonizing force that can not be defeated? Living in a cave, underground, until it mutates. And attacks. MULDER This is what you've been conspiring to conceal? A disease? WELL-MANICURED MAN No! For God sake you've got it all backwards. This outburst comes suddenly, unexpectedly. WELL-MANICURED MAN Aids, the ebola virus - on the evolutionary scale they are newborns. This virus walked the planet long before the dinosaurs. MULDER What do you mean, walked? WELL-MANICURED MAN Your aliens, Agent Mulder, your little green men, first landed here millions of years ago. Those that did n't leave have been laying dormant underground since the last Ice Age. In the form of an evolved pathogen. Waiting to be reconstituted when the alien race from which it came returns to colonize the planet. Using us as hosts. Against this we have no defense. Nothing but a weak vaccine. -LRB- beat. -RRB- Do you see why it was kept secret? Why even the best men - men like your father - could not let the truth be known? The force and conviction of his delivery leave Mulder shaken. WELL-MANICURED MAN Until Dallas, we believed the virus was simply a controlling organism. That mass infection would make us a slave race. MULDER That's why you bombed the building. The infected firemen, the boy - WELL-MANICURED MAN Imagine our surprise when they began to gestate. My group has been working cooperatively with the alien colonists, facilitating their programs. To give us access to the virus. In false hope we might be able to secretly find a cure. So that we might save ourselves, as the last of the species. -LRB- beat. -RRB- Your father wisely refused to believe this, choosing hope over selfishness. Hope is the only future he had : his children. -LRB- beat, then self - revealing. -RRB- The only future any of us have. This draws a look back in the mirror from the Driver. MULDER But. he sacrificed his own daughter. My sister, Samantha. WELL-MANICURED MAN The only true survivors of the viral holocaust will be those immune to it : those vaccinated against it and human/alien hybrids. Your father arranged for your sister's abduction. He allowed her to be taken to an alien hybrid program, so that she would survive. As a clone. -LRB- beat. -RRB- He had different hopes for you. That you would uncover the truth about the Project. That you would stop it. That you would fight the future. Mulder sits stunned by this. As if somehow his destiny has been validated, if not pre - ordained. Or maybe just justified. MULDER Why are you telling me this? WELL-MANICURED MAN I thought it only fair you should know, given how hard you've worked. MULDER What happened to Kurtzweil? WELL-MANICURED MAN As your father knew, things need to be sacrificed to the future. MULDER Where is he? WELL-MANICURED MAN Dr. Kurtzweil is in the trunk. Mulder stares at the W.M.M., at his cold - blooded expression. MULDER Let me out. Stop the car. WELL-MANICURED MAN -LRB- motioning. -RRB- Driver. Mulder reaching to this as the limo pulls to a stop. Trying the door, but the door is locked. When he turns back to the W.M.M. he has produced a handgun, which is now pointing at Mulder. Laid casually across a folded arm. Mulder reacts on seeing it. WELL-MANICURED MAN The men I work with will stop at nothing to clear the way for what they believe is their stake in the inevitable future. I was ordered to kill Kurtzweil. A necessary action to protect my grandchildren's lives. -LRB- beat. -RRB- I might just as easily kill you. Mulder is recoiling as he says this. Then, without hesitation in one quick move, he SHOOTS the Driver in the head. The blood spattering on the front windshield - and on Mulder who has barely had a chance to react. WELL-MANICURED MAN Trust no one, Mr. Mulder. Mulder looks at The Well - Manicured Man, expecting to be next. And for a moment, we do too. But the W.M.M. simply opens the door and steps out of the car. Holding the door open for Mulder who is still frozen by the actions that went just before.",
"EXT. DESOLATE D.C. STREET - NIGHT Mulder steps out of the car, holding the felt envelope. The Well - Manicured Man stands with a sober, intense look. WELL-MANICURED MAN -LRB- with quiet force. -RRB- You have precious little time. What I've given you the alien colonists have no idea exists. You hold in your hand the power to end the project. MULDER How? WELL-MANICURED MAN The vaccine you hold is the only defense against the virus. Its introduction into an alien environment may have the power to destroy the delicate plans we've so assiduously protected for the last fifty years. -LRB- beat. -RRB- Or it may not. MULDER What alien environment? WELL-MANICURED MAN Find Agent Scully. Save her. Only her science can save the future. MULDER What about you? WELL-MANICURED MAN My life is over. -LRB- beat. -RRB- Go. Mulder stands speechless for a moment. Until the W.M.M. points the weapon he's still holding at him. WELL-MANICURED MAN Go now! And Mulder does. Moving away from the car, looking back over his shoulder. As the Well - Manicured Man gets back into the limousine, closes the door. A moment later. THE CAR EXPLODES INTO FLAMES, knocking Mulder to the ground. ANGLE ON MULDER The felt envelope has been jarred from his grasp. Its contents loosed from inside : a piece of paper with COORDINATES on it and an AMPULE and SYRINGE. Mulder gets up, looks back. Then he picks up the envelope and its contents - and begins to run. Running as fast as he can go. Until, far down the block, he disappears. As the SCREEN DISSOLVES TO WHITENESS - under which we hear an ominous low end Dolby THX Big Screen rumble. The same sound that opened our story. Then there is movement, as the curvilinear line of a horizon becomes visible, bi - secting the screen between the white of the earth and the white of the sky. We are :",
"EXT. POLE OF INACCESSIBILITY - ANTARCTICA Across the expanse of whiteness, a DARK IMAGE appears on the long flat horizon. Moving toward us. As a LEGEND appears, to establish. CLOSER ON A SNOW TRACTOR Crawling across the harsh frozen land like a domed insect.",
"INT. SNOW TRACTOR Agent Mulder sits behind the controls of the enclosed cabin, several days growth on his face. Dressed in thick, bundled outerwear. He maneuvers the vehicle to a stop. Reaching for a handheld GPS monitor to check his position. Catching his breath for a moment - all movement is exertion in this climate. Mulder stares hard out the front window, the wipers beating time, but there is nothing out there but whiteness. He wipes the fog from a side window with his gloved hand, seeing nothing but more whiteness. Checking the GPS device again, then reaching for the door latch. RESUME WIDE EXTERIOR Agent Mulder exits the vehicle, hopping down onto the snowscape crust. Setting out on foot with the GPS device held before him. In this forbidding environment he might as well be taking a space walk - without the security of a lifeline. Which is the impression we get as his tiny figure trudges across the ice, increasing the distance between himself and the snow tractor. MOVING WITH MULDER Up a gentle grade, the snow tractor now behind him. Moving into tight f.g. where he stops, seeing something now which allows him to pocket the GPS device. Dropping instinctively to his knees, so as to avoid being seen by : MULDER'S POV In the distance is an ICE STATION. A row of interconnecting WHITE DOME TENTS, whose design is now familiar to us. There are what look like snow tractors and other snow vehicles parked alongside the structures. RESUME MULDER Pulling a compact pair of binoculars from one of his deep jacket pockets. Training them on : THE ICE STATION - BINO MATTE PANNING across the domes and vehicles, where there is no sign of personnel - until MULDER PANS off the building, finding in his field glasses AN APPROACHING SNOW TRACTOR. Moving across the landscape toward the ice station. When it pulls to a stop, A MAN exits out of one of the domes : THE CIGARETTE SMOKING MAN. Moving to the vehicle and getting in. The vehicle reverses now, transporting the CSM back away from the ice station. CLOSE ON MULDER Taking the field glasses away from his eyes. The excitement he feels expressed now in his breathing, which has become harder and shallower. Mulder rises, beginning to move the still great distance between himself and the ice station. WIDE ON SCREEN Mulder moving slowly across the white horizon toward the domed tents. LOW ANGLE ON MULDER'S FEET Moving cautiously, and with effort on the snowscape crust. CAMERA RISING up to Mulder's face, determined and watchful. FOLLOWING MULDER The ice station still several hundred yards in the distance, when MULDER SUDDENLY FALLS OUT OF FRAME, disappearing into a hole in the snowscape crust that just moments earlier had been stable footing.",
"INT. SNOW ICE BUBBLE - CONTINUOUS Where Mulder's body falls through a ceiling of snowscape crust, landing on his back with a THUD on a hard surface. It takes him a moment to catch his breath, somewhat reminiscent of Stevie at the beginning of the picture. Wincing through the pain. Until he turns over, regaining his wits, and his bearings. NEW ANGLE Mulder has fallen on a hard, narrow metallic structure. Its dull black color a stark contrast to the white ice it's encased in. The bubble has been created by air coming out of vents in the structure, carving out corresponding patterns in the ceiling ; softening the ice and snow above. CLOSER ON MULDER rising to his knees, the AIR from one of these vents blowing onto his face. Pulling off the hood of his jacket, looking deep into the vent which is open, ungrated. And big enough for a man to crawl into. Which, after considering the hole he's fallen through high above him, is really Mulder's only choice.",
"INT. RIBBED CORRIDOR DUCT - CONTINUOUS Mulder pulls himself forward through the ribbed corridor duct with his elbows, moving lizard - like into the constricted darkness.",
"INT. UPPER RIBBED CORRIDOR - CONTINUOUS Above a frozen ice lith, Mulder's head appears, squeezing his shoulders and body out of a venting. With effort, Mulder slides out of the small space, using some architecture above as a handhold. Pulling his legs free and dropping onto the floor. MULDER'S POV It is dark in here, the features of the corridor ill - defined. RESUME MULDER - WIDER Mulder pulls a flashlight from a pocket in his parka, snicks it on. Its beam reflecting off tall frozen liths of ice regularly spaced on both sides of the corridor. NEW ANGLE ON MULDER Training the light down the corridor, which curves away in both directions. Then pointing it at something right in front of his nose : something that gives him a start. Reaching up with his hand to brush away frost from the lith. Finding A MAN FROZEN IN ICE. Naked, his eyes staring into some long - forgotten distance. His hair is dark, his flat features familiar to us. He is the prehistoric hunter from the opening scenes of the movie. His flesh has the opaque, see - through quality that we've seen before. Inside of which, frozen along with the man, is an EMBRYONIC CREATURE. REVERSE ON MULDER Reacting to this sight, then moving off down the corridor, his pace quickened.",
"EXT. POLE OF INACCESSIBILITY - ANTARCTICA LOW ANGLE on the great white expanse. Across which a snow tractor is moving. PANNING with the vehicle to. Mulder's snow tractor, where the first tractor stops, its headlights trained on Mulder's ride. A beat, then the discovering machine moves out again, following the tracks that Mulder has left, which brings it STRAIGHT TOWARD CAMERA. As it passes us, we can see the DRIVER and the Cigarette Smoking Man sitting in the cabin. As we :",
"INT. UPPER RIBBED CORRIDOR - CONTINUOUS MULDER comes to the end of the dim ice corridor where soft light is penetrating through several low, arched openings. Mulder has to drop down to his knees to see into the openings. ANGLE FROM OPPOSITE SIDE OF THE BALCONY PASSAGEWAY Where Mulder is seen looking TOWARD CAMERA. The Balcony passageway is short. Mulder drops to his stomach again, pulling himself through, toward us. When he reaches the opposite end, Mulder pokes his head out, looking up in wonder at :",
"INT. CENTRAL THEATER - BALCONY - CONTINUOUS - WIDE ON A STADIUM-SIZED DOME -- (CGI SET EXTENSION) Imagine a domed sports arena - this is the scope and scale of the space that Mulder has penetrated. We see him as only a small speck on a balcony midway between floor and ceiling. Pulling himself out of the balcony passageway, which is like countless other passageways. Which are actually ventilation ports. ANGLE OVER MULDER Pulling himself to his feet. Beholding the space before him. Looking down to the center floor where a large central theater gives off a light different from elsewhere in the dome. An icy, bright glow. Leading down to the central theater far below are several LARGE TUBULAR SPOKES. -LRB- One of which leads up right next to Mulder's position. -RRB- ANGLE ON MULDER Reacting to this. Then something captures his attention. MULDER'S POV There on the floor, far down below, is THE BUBBLE LITTER Scully was transported in. -LRB- NOTE * Scully's clothes are still in the bubble litter. -RRB- Standing out as a rather human artifact against the otherwise dull gray bulwarks and architecture surrounding it.",
"INT. CENTRAL THEATER - BALCONY - CONTINUOUS - WIDE ON MULDER looks beside him where the joint that connects two sections of one of the long tube spokes is designed with an allowance - a separation that might allow a man to slip through the joint into the tube. Which is what Mulder does here.",
"INT. TUBULAR SPOKE - CONTINUOUS WIDE ANGLE FROM INSIDE TUBE TERMINUS Mulder squeezing through into the tube, looking down past what looks like a chair lift - like track, on which the chairs are actually empty cryopod mechanisms ; the same structures Mulder saw in the ribbed corridor in which bodies were encased in ice. Except these cryopods are empty. Mulder begins to creep down TOWARD CAMERA, picking his way around the empty cryopods. REVERSE ANGLE ON MULDER Creeping away from us. Heading toward :",
"INT. LOWER CRYOPOD CORRIDOR Where Mulder pops out at the lower tube terminus. Which leads into this bulwarked corridor at the base of the large stadium structure. Where : REVERSE ON THIS CORRIDOR Where Mulder is walking past frozen CRYOPODS hanging on a track. Each icy pod containing a HUMAN BODY frozen within. Partially visible behind clear blue ice. But these are modern men, and women. Their expressions a confused horror, as if they have been somehow frozen alive. They are slowly tracking. Walking along the slowly moving carousel of frozen humanity. Stopping, turning, almost as if having sensed : NEW ANGLE OVER OPPOSITE CRYOPOD PUSHING IN ON MULDER'S FACE. Recording the horror and fear he's experiencing, on seeing : CAMERA RISING UP A FROSTY WALL OF BLUE ICE Where a woman's body is encased, its naked features hidden behind the opacity of the newly frozen blue crust. But whose face is unmistakable as that of Agent Scully's. Frozen in a similar expression of far - away horror, her eyes cast slightly heavenward. MULDER hurries to get his jacket unzipped. Removing the FELT ENVELOPE, removing the syringe body, the needle and the AMPULE. Hastily putting the syringe together, getting the needle poked into the soft rubber cap of the ampule. Bleeding the syringe now, the substance inside squirting out of the end of the needle onto the floor of the ship. And the moment it does, the whole floor SIZZLES like water being dropped onto a hot skillet. Spreading out from Mulder in every direction. A VIOLENT CHEMICAL REACTION, as predicted by the man who gave him this substance. A moment later the entire structure Mulder is in SHUNTS. Shuddering violently and setting up a low - end RUMBLE. Causing Mulder to accidentally drop the syringe. LOW CLOSE ANGLE on the floor, where the syringe hits and bounces, but does not break or leak. Mulder scrambling into frame to re - collect it. Seeing the floor where the liquid from the syringe hit - where it has been ETCHED AWAY by the substance.",
"EXT. HULL OF SPACESHIP/ICY BUBBLE - CONTINUOUS Where Mulder crawled into the duct. Condensed air is streaming out of all the ducts now. The ice and snow above beginning to melt from the force and heat of the blasting all.",
"EXT. ICE STATION - CONTINUOUS We can hear low end rumble and vibration. TWO DOZEN MEN are streaming out of the dome tents. Moving to their carious snow tractors and starting the vehicles. A small exodus, the tractors pulling out of camp in a rush. Heading off in various directions. CAMERA FINDING THE CIGARETTE SMOKING MAN moving to his tractor, with THE MAN WHO SHOT MULDER. Taking the last drag of his cigarette before throwing it into the snow. He stares down at it a moment, as if caught in the grip of some emotion conflicting with duty. The Man who shot Mulder inside the tractor now, throwing open the door for the CSM. MAN WHO SHOT MULDER C'mon. It's all going to hell. He climbs up onto the vehicle, gets in and closes the door. And the vehicle pulls away as we :",
"INT. LOWER RIBBED CORRIDOR - CONTINUOUS - AGENT MULDER Back on his feet, SMASHING now at the crust of brittle blue - ice that encases Scully. BASHING, SMASHING and then finally breaking through the hard outer later, its inner slushy contents spilling out of the puncture that exposes Scully's face and shoulder. Watery aqua - tinted liquid drains from her mouth and nose. But Scully is not conscious, and there is no indication she is even alive, her face frozen in a blank, almost beatific expression. OVER MULDER TO SCULLY As he plunges the needle into Scully's arm at the front of her shoulder. To which there is an immediate reaction - as if given a shot of adrenalin. Her eyes blinking away the cold moisture. MULDER Scully - Scully's lips move goldfish - like as she tries to suck in air, an almost fearful expression overcoming her like a swimmer who's been held under too long. But no words are coming out yet. MULDER Breathe - can you breathe?! Scully is straining to do just that - when liquid suddenly SPEWS from Scully's mouth. And she begins to cough and gag - taking big gulps of air as her eyes focus on Mulder as if on a phantom, or a miracle. Finally faint words ushering forth, whispering breaths that Mulder can not discern. MULDER What? CLOSE ON MULDER AND SCULLY As he leans into her, putting his ear up to her mouth. As the softest sound comes out in Scully's frosty breath. SCULLY Cold. MULDER Hang on. I'm going to get you out of here. As she continues to suck air.",
"EXT. HULL OF SPACESHIP/ICE BUBBLE - CONTINUOUS The hot air blasting from the ducts is causing the ice pack above to melt and collapse.",
"EXT. ICE STATION - CONTINUOUS - WIDE As the ice tractors head away in all directions from the domed structures. A misty fog now emanating from the seams of the domes. Heat and condensation.",
"INT. UPPER RIBBED CORRIDORS - CONTINUOUS Filling with misty condensation, too. The small beams of light that lighted Mulder's way earlier are now small shafts piercing the gathering interior cloud. Illuminating : THE PREHISTORIC MAN Frozen in his icy pod, the hard semi - translucent surface of which is now etched with small streams of water running to the floor. Everything is melting and in motion. Including the CREATURE which is vaguely visible inside the frozen man. It TURNS slightly inside the body, like an animal in utero. Its eyes now looking at us, blinking. As it presses against its own fleshy container, the body of its human host.",
"INT. LOWER RIBBED CORRIDOR - CONTINUOUS It, too, is filling with misty condensation. VARIOUS SHOTS Of the ice encasing the human forms sweating and melting. CAMERA ADJUSTING UP TO REVEAL Mulder pulling Scully along in a fireman's carry. She is dressed now in Mulder's snow parka and the outer nylon pants he was wearing. Scully's legs are weak beneath her. Her body limp, but not lifeless. Mulder laboring to get her up the INTERIOR of the steep curving cylinder spoke, as the air fills with mist.",
"INT. LONG TUBE TERMINUS NEW ANGLE ON MULDER AND SCULLY - LOOKING DOWN THE TUBE Moving toward along the now - halted cryopod carrier hanging from the transport track. Mulder struggling against his own fading energy, pulling Scully up toward : ANGLE ON BALCONY/CATWALK Mulder pushing Scully up, though she seems to have at least some limited ability to do this on her own. The DEEP, LOW RUMBLE we heard in the open frames of the movie reaching full volume now. The whole environment vibrating as Mulder boosts Scully up on the catwalk. Climbing up over the prostrate body. Picking her up from the floor, pulling her back into the fireman's carry.",
"INT. LOWER RIBBED CORRIDOR - CONTINUOUS Where the bodies are all beginning to melt. VARIOUS SHOTS of rivulets of water forming on the icy liths that encase the bodies. The water from them seeping onto the circular central floor. The condensing mist thick and swirling. CLOSE ON PODS Where the body it houses seems to move. Though AS CAMERA PUSHES IN we see that it is the creature inside this body moving, as if the heat and the defrosting are bringing the embryos to life.",
"INT. UPPER RIBBED CORRIDOR - CONTINUOUS - ANGLE DOWN CORRIDOR Scully's head pokes through now, as she's pushed through the opening that Mulder used earlier to get into the vaulted arena. Pushed in fits and starts until she's all the way through. Mulder now straining and squeezing to do the same on his own. The corridor is filled with heavy condensed mist now as Mulder finally slips out of the low passageway, trying to get his bearing now as he huddles low over Scully. Turning his attention to her as she COUGHS HOARSELY - in some kind of acute spasm of pain - but alive. MULDER We've got to keep moving. SCULLY -LRB- weakly. -RRB- Where are we? MULDER You got me. But I think I know what they did with Jimmy Hoffa. Scully is struggling now as Mulder tries to pull her to her feet again. In real physical pain. SCULLY I ca n't. Scully ca n't finish speaking, her voice becoming a hoarse cough. SCULLY -LRB- barely a whisper. -RRB- I ca n't go any farther. MULDER Yes you can. You're going to make it, Scully. Mulder hauling Scully up off the floor AWAY FROM CAMERA now. NEW ANGLE ON RIBBED CORRIDOR CAMERA MOVING THROUGH SPACE in the empty corridor, moving at a speed equal to Mulder and Scully's as they round the semi - circular ribbed corridor to meet us. Coming out of the mist, Scully back in the fireman's carry. Approaching the place where Mulder slipped down into the corridor. Mulder stopping and seeing : THE BODY IN THE MELTING ICE LITH As it too moves, the embryonic creature inside it turning slightly, as if coming awake. REVERSE ON MULDER Reacting to this - and then to Scully who suddenly starts GASPING FOR BREATH. Falling now from Mulder's grasps as her legs buckle and she goes down. LOW ANGLE ON SCULLY Her face is going red, straining for air. Her eyes rolling, seeking relief. As Mulder drops down beside her. MULDER Shit - But she is unable to answer. Mulder hastening to unzip her/his jacket. To get to her neck and find a pulse. MULDER Scully - Mulder can not find a pulse. Scully straining harder now as Mulder reaches his fingers into her mouth, clearing her passageway. Moving on top of her now, and pumping forcefully on her chest - trying to get air into her. One - two - three. And putting his mouth down to hers -LRB- FINALLY! -RRB- , breathing his life into her. Pulling away from her to see that he is unsuccessful at this - that Scully is continuing to strain. Pumping her chest again - MULDER You're not dying on me now - godammit godammit godammit - As he pumps her chest. Placing his mouth over hers again and BREATH - BREATH - BREATH. Lifting his mouth from hers, feeling for a pulse again, putting his eat down to her mouth, praying he'll feel the breeze of a breath. Nothing. While : ANGLE OVER HIM TO THE CREATURE IN THE ICY POD As it moves again, MORE VIOLENTLY NOW. As the ice around it continues to melt and fissure. RESUME MULDER His hands going to a pocket on the inside of the jacket Scully is wearing - his jacket - finding again the syringe that he used on Scully. It is still partially full of vaccine. Mulder finding this, getting ready to use it when - - Scully's body suddenly comes back to life beneath him. Labored breaths which turn into a coughing spasm. Mulder breaths relievedly for a moment, watching Scully coughing, coming back to life. Her eyes trying to focus on him, finding him. Seeing his labored relief. The panic melting away. SCULLY -LRB- weakly, pained whisper. -RRB- Mulder. She wants to tell him something. He leans down next to her. SCULLY -LRB- continued weak. -RRB- Had you big time. Mulder has but a moment to savor this weary victory though when he REACTS to something, that causes him to WHIP HIS HEAD AROUND. MULDER'S POV DOWN RIBBED CORRIDOR Through the condensed mist he can see CREATURES BEGINNING TO HATCH, sprouting from the melted ice - encased bodies they have gestated in. Their THREE FINGERED HANDS beating at the soft ice. Their powerful feet kicking at it, too. RESUME MULDER Looking the other way down the corridor, seeing - MORE CREATURES The slushy material that makes up the inner core spilling out with them as the creatures KICK out of their tombs. RESUME MULDER Lifting Scully up with all his strength he has left in him. He's got to get her overhead now, back up the venting that he slipped down from. She is weak and of little help. Mulder gets her propped up on his strength so that he can use the power of his legs to boost her toward the opening. Which puts him face to face with THE EMBRYONIC CREATURE. Its eye looking directly at him, blinking, before it goes into another FITFUL SPASM inside its host body. ANGLE DOWN FROM VENT Where Scully is boosted up TOWARD CAMERA. Her hands reaching feebly for something to grab onto. Finding a handhold. MULDER Keep breathing, Scully. She utters something guttural, unintelligible as the next thrust up from Mulder gets her head and shoulders into the opening of the vent. RESUME MULDER Beneath her, pushing with all his might. His hands under her shoes now, forcing her up into the vent like a rolled carpet into the rafters. RESUME SCULLY Struggling with her arms and elbows, barely conscious, but somehow able to manage herself forward. RESUME MULDER Pushing Scully up the last little way. Then reaching up to find a handhold for himself. Grabbing hold and lifting himself as one of his feet kicks at the ice - where the creature he was just face to face with BURSTS from its icy pod. One hand, then the other shooting out of the ice where they have broken through the host. Ripping open the front of the body, including the man's face. Making a slimy, gaping tear in what was formerly flesh. Its hands grabbing at Mulder as he thrashes to free himself from it getting a grip. As Mulder struggles to pull himself up, fighting off the creature which he can not see beneath him. RESUME CREATURE As it emerges from the ice, still grasping and TEARING at Mulder's legs with its claws. But as it BURSTS COMPLETELY from its place, Mulder is able to pull himself up and into the vent in one athletic movement. ANGLE FROM INSIDE THE VENT - SCULLY lies motionless in the ducting, her body forced forward by Mulder's in this last surging move. TIGHT ANGLE ON MULDER Drawing his legs up quickly inside. Not wasting a moment shoving Scully's butt forward in front of him. MULDER Scully - you breathing? RESUME SCULLY Letting out another low, guttural sound - which STRAINS out of her with each push forward.",
"EXT. SNOW/ICE BUBBLE - CONTINUOUS Scully's head and arms push up through the vent where Mulder first entered. The ice and snow surrounding it, which had created the bubble structure, have melted and fallen. So that above Scully's larger hole has opened up to the surface. The air is full of condensation, swirling around them. ANGLE FROM ABOVE - THROUGH THE HOLE IN THE ICE Where, through the swirling steam we see Mulder push Scully clear of the vent. Climbing free himself now. When the surface they are upon SHUDDERS AND QUAKES. As if it has come unloosed, destabilized. And with this comes A MIGHTY FORCE OF STEAM from the vent Mulder and Scully just crawled from. Blasting up past them with terrible HISSING FORCE. Causing Mulder to throw Scully away from its superheated energy. Pulling her up the now climbable embankment created by the melting snow ; pulling her toward the surface of the ice sheet.",
"EXT. POLE OF INACCESSIBILITY - ANTARCTICA - WIDE Where a wide radius of steam rises from similar and regularly spaced holes in the ice sheet, defining a circular structure beneath. The White Domed Tents of the ice station are in the center of this, dwarfed by the enormity of the melting radius. RESUME MULDER AND SCULLY Mulder pulling her up the softened and collapsed snow. The hot steam blasting up with hideous force behind them. The sound DEAFENING. NEW ANGLE OVER MULDER AND SCULLY Pulling her to the surface of the ice sheet where behind them in the distance the ICE STATION can be seen through the atmosphere of condensed air. When suddenly the ice beneath it gives way and the ice station falls away, caving in to the center of the radius. Which is what begins to happen to the rest of the ice sheet that spreads out to where Mulder and Scully are standing. Causing Mulder to realize : MULDER -LRB- over the din. -RRB- We've got to run! She is weak, but is able to find her footing. Dragged behind Mulder as the ice behind them begins to break away, falling down into an ever - expanding center and sending up magnificent geysers of steam created by the superheated surface below. WIDE ON SCENE Mulder and Scully running AT CAMERA just ahead of the collapsing center. The mass of ice around them beginning to break up. Steam vents erupting instantaneously everywhere. HIGH ANGLE ON SCENE A black dome is becoming visible through the giant circle of steam, in the ever - widening center hole that Mulder and Scully are running from. Which is chasing them to the edge of the radius. ANGLE FOLLOWING MULDER AND SCULLY As Mulder struggles to pull Scully fast enough to outrace the icy debris that is tumbling away just behind them. Large chunks falling and bouncing off the superheated surface below, blown back up like water being dropped onto a hot skillet. EXTREMELY HIGH AND WIDE The Agents mere specks fleeing the circle of churning ice and steam. As it cascades away in three hundred and sixty degrees. From here the deafening sound if absorbed into the vastness, tricking us of the reality of the massive movement of frozen material down below. ANGLE LEADING MULDER AND SCULLY As Scully loses her footing, falling to the ground. Mulder dragging her back up to her feet, though, maintaining forward momentum. While behind them the thundering force of the superheated melting snow and ice is moving in on them. And then suddenly - MULDER AND SCULLY are gone! The radial edge of the falling snow continuing only a few feet beyond where they disappeared. The violent upheaval of snow abating but slightly. Beat, beat. THEN THE AGENTS APPEAR AGAIN. Thrust upward by a RISING BLACK PRECIPICE which catapults them off its leading edge. As they fall the distance to the sheet of ice below. LOW ANGLE ON ICE SHEET Where the Agents hit hard on the ice sheet. The rain of ice chunks pounding all around them. As the monolithic wall of the craft continues to rise. Mulder trying to get to Scully in this hail of debris which he shields his face from. WIDE ON LEADING EDGE Rising faster now out of the earth as it begins to increasingly shed and break free of the frozen weight it carried. Until the bottom of the edge of the wall appears, lifting clear of the ice sheet and the crater that held it. EXTREME HIGH WIDE ANGLE ON SPACE SHIP Where now we see the scope and shape of the ship, which is breathtaking. The domed center sloping off to a gentle gradient, which is the surface that Mulder and Scully were running on. The ship is now slowly rotating as it moves upward in a gently rising hover. Mulder and Scully are on the ice sheet below. RESUME MULDER AND SCULLY Scully face down on the ice. Mulder lifting his head when THE HEAVY SHADOW of the ship comes over them. Looking up from this position to see : THE SPACE SHIP Moving slowly, laterally just overhead. Thunderously rumbling. The dark detail of its underside visible in this angle. As it continues to rise, the shadow passing over Mulder and Scully. NEW ANGLE OVER MULDER AND SCULLY Scully is still face down on the ice, as Mulder watches the ship's shadow cast over Mulder's SnowCat which is still parked in the distance. Moving up and off. The ship continues up into the Antarctic sky where it rises toward the sky where it begins to get WHITEHOT. Transforming itself into pure energy. It is visible for several moments during transformation. Then it disappears completely. As it does the RUMBLE, which dopplers across the white, barren landscape. Then it is gone. MULDER Watches this then lays his head down on Scully's back. He is spent, at the brink of complete exhaustion. His whole body heaving. But now starting to shiver, and to lose consciousness. Scully's body is motionless beneath him, for a moment we might believe that this is the way it might end. Out here on the ice with Mulder and Scully freezing to death. A chill wind blows off the Antarctic plain, the same LOW RUMBLE, the only taint of silence in vastness of this literal end of the world. Then Scully coughs - the same hoarse cough. She's alive. Struggling to consciousness. Her head lifting slightly, TURNING TO CAMERA. Her eyes blink open and she coughs again. Feeling Mulder's weight on top of her, unaware of his condition or even where she is. SCULLY -LRB- weakly. -RRB- Mulder. There is no answer. Scully struggling to pull herself out from under the weight of his body. Rolling over so that her face is opposite Mulder's now. Seeing that he has lost consciousness. Finding the strength to roll him over, so that she can cradle him and warm him. HIGH WIDE ANGLE ON THIS SCENE With the Snowcat a short distance away, Mulder and Scully in each others arms. The way it should end. FADE TO BLACK Silence. Longer than we would like. Long enough to make us nervous, then certain, then angry. Then. we FADE UP a prelap of the sound of a CRACKLING FIRE.",
"EXT. ACRES OF CORN - MAGIC HOUR TRACKING LOW WITH MEN IN FATIGUES, moving along the perimeter of the corn field as they set fire to the corn stalks with small handheld butane burners. While other Men in Fatigues are moving between the rows dousing the furrows with accelerant.",
"INT. FBI FIELD OFFICE - DALLAS - NIGHT The large room filled with the evidence and debris from the bombing. It is dark. Until A FLASHLIGHT BEAM pricks the blackness, moving toward us into f.g. Carried by the man we now recognize as The Man Who Shot Mulder. He moves with directness, purpose. Finding what he's looking for amid the cataloged material, he finds on a work bench. Next to the microscope Scully had used. It is the BONE FRAGMENTS, held in an evidence container. He pockets them and exits as quiet and directly as he entered.",
"EXT. ACRES OF CORN - WIDE - CGI PLATE The sky aglow with orange flames as the crops burn to the ground. We hold on this shot, PRELAPPING the sound of : JANA CASSIDY'S VOICE in light of the report I've got before me ; in light of the narrative I'm now hearing.",
"INT. FBI OFFICE OF PROFESSIONAL REVIEW - DAY Jana Cassidy sits at the head of the desk, just as when we first met her. She is flanked by the other members of the review board, including A.D. Skinner who sits at the end of the table. Cassidy flips through a file she's referred to before she continues. Looking up with consternation as she resumes. CASSIDY my official report is incomplete pending these new facts I'm being asked to reconcile. Agent Scully. AGENT SCULLY Sitting where she last sat, at the small table. The seat next to her conspicuously empty. Her face bears the signs of slight frostbite, somewhat healed. Her expression is even, her attitude composed, but her eyes are filled of dark, restrained defiance. CASSIDY while there is direct evidence now that a federal agent may have been involved in the bombing. the other events you've laid down here seem too incredible on their own, and quite frankly implausible in their connection. PANNING THE OTHER BOARD MEMBERS - curious, bemused like Cassidy. Skinner shifts uncomfortably. SCULLY What is it you find incredible? CASSIDY Well. where would you like me to start? Antarctica is a long way from Dallas, Agent Scully. I ca n't very well submit a report to the Attorney General that alleges the links you've made here. Bees and corn crops do not quite fall under the rubric of domestic terrorism. SCULLY No, they do n't. CASSIDY Most of what I find in here is lacking a coherent picture of an organization with an attributable motive. I realize you're very lucky to be alive Agent Scully. The ordeal you've endured has clearly affected you - though the holes in your account leave this panel with little choice but to delete these references from our final report to the Justice Department. Until which time hard evidence becomes available that would give us cause to pursue such an investigation. Scully has her hand in her coat pocket now. Moving around the table and approaching Cassidy. Removing something which she puts on the desk in front of her. A small vial. SCULLY I do n't believe the FBI currently has an investigation unit qualified to pursue the evidence in hand. Cassidy picks up the vial, studying the contents of this vial : the dead bee that stung Scully. Studying it as Scully turns and moves to the door, without permission, no further adieu. ANGLE TO INCLUDE A.D. SKINNER Watching Scully exit. CASSIDY -LRB- O.S. -RRB- Mr. Skinner? CAMERA PIVOTING TO INCLUDE CASSIDY. Looking at him. CASSIDY Please ask Agent Scully to come back to this hearing. We're not quite finished. As Skinner rises, unsure of the intent behind this directive, we :",
"EXT. WASHINGTON D.C. - DAY We are JUST ABOVE THE TREETOPS. The Capitol Dome is in the far distance. CAMERA CRANING DOWN to find Mulder sitting by himself on a park bench. We are WIDE. There is no one else around. Until the Cigarette Smoking Man appears. Walking through the otherwise deserted park. Joining Mulder on the park bench. CLOSER ON MULDER, THE CIGARETTE SMOKING MAN They do not speak for several moments. A quite tension as the CSM lights up a trademark smoke. Inhaling, exhaling. Then : CIGARETTE SMOKING MAN Congratulations on your survival. Your life is worthless now, I hope you know that. MULDER And yours? CIGARETTE SMOKING MAN -LRB- derisive. -RRB- You think you've stopped it. What I've worked for fifty years to create. You have n't stopped it. You ca n't stop it. -LRB- takes a drag. -RRB- You're just one man. MULDER You're wrong. WIDE ANGLE Mulder rises from the bench heading TOWARD CAMERA. The CSM rising, watching him. As Mulder continues toward us. ADJUST TO REVEAL Agent Scully in the f.g. Mulder moving to her as the CSM watches from the distance. Their eyes meet, an unspoken restored bond exchanged in this moment. Before Mulder takes Scully by the arm, leads her off. Leaving the CSM standing alone in the distance. As we :",
"EXT. CORN FIELDS/WHITE DOMES - TUNISIA - DAY TRACKING LOW WITH A PAIR OF FEET The wearer of them sporting peasant sandals. We realize shortly that while the feet are moving across sandy ground, that the foliage in the near b.g. is corn. And that the person we are tracking with is passing row after row of stalks. CAMERA RISING AS IT TRACKS REVEALING A TUNISIAN MAN dressed in peasant clothes. He is carrying a piece of paper. Moving with hasty purpose. Stopping at the end of one of the long rows of corn where CONRAD STRUGHOLD is coming toward him. Making his way between rows of stalks. The Peasant waits patiently as Strughold approaches, handing him the piece of paper. Strughold reads it, his otherwise steely countenance reflecting a disturbance seen only in the slight narrowing of his eyes. He looks up at the Peasant and says something to him in Tunisian Arabic. Said as command, which causes the Peasant to nod dutifully and move off as he came. Strughold stands for a moment, then crumples the paper slightly and drops it. Moving off down the same corn row in which he approached. CAMERA DROPPING TO THE GROUND where we find the paper on which we see a flat section that is not so crumpled we can not read the words : X - FILES RE - OPENED. STOP. PLEASE ADVISE. STOP. CAMERA RISING NOW. Rising up past the stalks. Where we can still see Strughold walking. RISING UP AND UP to reveal ACRES AND ACRES OF CORN. Many times more than we had seen previously. Stretched out across the Tunisian Desert, ending only where THREE WHITE DOMES stand on the distant horizon. Off this image we FADE OUT. THE END"
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] | The film opens in 35,000 B.C., in what will become North Texas. Two cavemen hunters encounter a large extraterrestrial life form in a cave, which kills one and infects the other with a black oil-like substance. In 1998, in the same area, a boy falls into a hole and is also infected by a black substance which seeps from the ground. Firefighters who enter the hole to rescue him do not come out. A team of men wearing hazmat suits arrive and extract the bodies of the boy and the firefighters. Meanwhile, FBI Special Agents Fox Mulder and Dana Scully, while investigating a bomb threat against a federal building in Dallas, discover the bomb in a building across the street. As the building is evacuated, Special Agent in Charge Darius Michaud remains, ostensibly to disarm the bomb. However, he simply waits for the bomb to detonate. Mulder and Scully are later chastised because, in addition to Michaud, four other people were in the building during the bombing. That evening Mulder is accosted by a paranoid doctor, Alvin Kurtzweil, who explains that the "victims" were already dead, and that the bombing was staged to cover up how they died. At the hospital morgue, Scully is able to examine one of the victims, finding evidence of an alien virus. Meanwhile, the Cigarette Smoking Man goes to Texas, where Dr. Ben Bronschweig shows him one of the lost firefighters, who has an alien organism residing inside his body. He orders Bronschweig to administer a vaccine to it, but to burn the body if it fails. Later, the alien organism unexpectedly gestates and kills Bronschweig. Mulder and Scully travel to the crime scene in Texas, encountering the boys whose friend fell into the hole. Following their direction, they find the site has been hastily turned into a new playground. The pair follow some white gasoline tankers to a large cornfield surrounding two glowing domes. Inside the domes, grates in the floor open and swarms of bees fly out. The agents flee, chased by black helicopters, but manage to escape. After returning to Washington, D.C., Scully attends a performance hearing, after which she is transferred. Mulder is devastated to lose his partner. The two are about to share a kiss when Scully is stung by a bee which had lodged itself under her shirt collar, weakening fast she quickly falls unconsciousness. Mulder calls paramedics, but the driver of the ambulance shoots Mulder and whisks Scully away. Mulder, not severely injured, slips out of hospital with the help of The Lone Gunmen and FBI Assistant Director Walter Skinner. He then meets a former adversary, the Well-Manicured Man, who gives him Scully's location, along with a vaccine against the virus that has infected her. As Mulder leaves, the Well-Manicured Man kills himself in a car bomb, before his betrayal of The Syndicate is discovered. Mulder finds Scully underground in Antarctica, in a large facility containing many humans in ice-like enclosures. He breaks Scully's confinement and uses the vaccine to revive her, but this disrupts the facility and cocooned aliens begin trying to escape. Just after the agents escape to the surface, a huge alien vessel emerges from beneath the ice and travels into the sky. Mulder watches it disappear into the distance as Scully regains consciousness. Some time later, Scully attends a hearing, where her testimony is disregarded and the evidence covered up. She hands over the only remaining proof of their ordeal, the bee that stung her, noting that the FBI is not currently capable of investigating this evidence. Outside, Mulder reads an article that has covered up the domes and crop field in Texas; Scully informs Mulder that she is willing to continue working with him. At another crop outpost in Tunisia, the Cigarette Smoking Man warns Conrad Strughold that Mulder remains a threat, as he explains what Mulder has found out about the virus. He then hands him a telegram revealing that the X-files unit has been re-opened. | The_X-Files_(film) |
[
"LAW-ABIDING CITIZEN OPENING CREDIT SEQUENCE. Images and sounds are surreal, dreamlike, disturbing : A HAND is trying to dial three simple numbers. Trembling fingers miss, try again. we hear boop - boop - boop. 911 OPERATOR -LRB- filtered. -RRB- 911 operator, what is your emergency? The phone rises, gripped tightly. Knuckles white. We're TIGHT, it's dark, we see no face - just slack, trembling lips. Whoever it is, he ca n't talk. All we hear is breathing, all we sense is grief and panic and deep shock. OPERATOR -LRB- V.O. -RRB- -LRB- filtered. -RRB- Hello? Can you hear me? Can you speak? CLYDE eyes. OPERATOR -LRB- V.O. -RRB- What? Can you speak up? CLYDE her. eyes.",
"EXT. ROAD - NIGHT Lights appear like phantoms over blacktop, flashing. Police cars coming our way. OPERATOR -LRB- V.O. -RRB- Sir, what is the nature of your emergency? The man ca n't speak. OPERATOR -LRB- V.O. -RRB- Sir? Are you injured? Do you need medical attention? The cars blast by us.",
"INT. HOUSE - NIGHT CLYDE her eyes. she ca n't.",
"EXT. HOUSE - NIGHT POLICE VEHICLES converge in SLOW - MOTION, dreamlike. Doors fly open, COPS jump out, weapons drawn as WE MOVE with them to : Front door. RAMP TO NORMAL CAMERA SPEED as it opens, revealing : BENSON CLYDE, phone still gripped. He barely registers the weapons aimed at his face. CAMERA CLOSES IN ON HIM, as : CLYDE She ca n't. close her eyes. He's pulled from frame. CAMERA KEEPS MOVING, following COPS into the house. Dark as hell inside. And tense. Arms training weapons. Moving up a tight hallway, emerging into. THE LIVING ROOM. where the flashlight beams find blood - spatter patterns. Furniture shattered and overturned. A kid's sneaker. The flashlights play across TWO BODIES in the wreckage - a woman's pale hand, a child's motionless leg. CAMERA DRIFTS AROUND to the cops' faces, as : COP #1 -LRB- unsnaps shoulder radio. -RRB- Dispatch, we have multiple 10 - 55s,",
"EXT. HOUSE (SLO-MO) - NIGHT Chaotic now, vehicles and lights. The eye of the storm is Clyde on the lawn, hugging his knees, fetal with horror and grief. He's screaming at the sky, but no sound is coming out. EMS TECHS enter shot, steal the frame, race toward the door.",
"INT. HOUSE (SLO-MO) - NIGHT TRACKING SHOT at floor level, photos being taken. FLASHES bathe the foreground wreckage. FORENSIC TECHS step gingerly. Uniformed cops hang grimly back, hugging the walls. CAMERA BRINGS US TO CLOSEUP : A PROFILE IN DEEP SHADOW in the foreground, face tilted obliquely in the wreckage. A CAMERA FLASH reveals the face with shocking glare and the IMAGE FREEZES. A TEN YEAR - OLD GIRL, eyes open, staring at us. CLYDE -LRB- V.O. -RRB- -LRB- prelap. -RRB- Her eyes. That's how they were. Open like that. You see?",
"INT. CITY HALL - CONFERENCE ROOM - DAY Clyde is seated, speaking slowly and precisely. ANGLE WIDENS, revealing the room, light filtering through blinds, as : CLYDE When I found my wife and child dead, my little girl's eyes were open. -LRB- pause. -RRB- The last thing she saw of this earth were the faces of the men who took her life. Can you understand that? NICK -LRB- O.S. -RRB- Yes. Yes, I can. CLYDE Can you? Really? -LRB- looks to somebody else. -RRB- You? CANTRELL -LRB- O.S. -RRB- Mr. Clyde. I do n't see this helping. CLYDE No? You married? Children? ANGLE HAS NOW WIDENED/DRIFTED to include D.A. JONAS CANTRELL, Senior Attorney for the State. He wears thick glasses and is suffering the early stages of macular degeneration. CANTRELL Divorced. I have a son and daughter. Both in college. CLYDE My daughter was ten. I married late in life. Clyde spreads the crime scene photos further on the table. ANGLE COMES AROUND to reveal the third man in the room : NICK PRICE The D.A. under Cantrell - focused, exceptional at what he does, the man you'd want on your side. CLYDE You, Mr. Price? Married? Kids? Nick does n't answer, stays focused on the task : NICK I've seen the crime scene photos, Mr. Clyde. Many times. They're horrifying. But they do n't alter the facts of the case. CLYDE Facts? Those men are guilty. Both of them. You know they are. NICK This is n't about what we know. It's about what we can prove in court. CANTRELL Things have gone against us. Tainted crime scene, evidence thrown out. CLYDE Maybe you just have n't tried hard enough. NICK Look. We've had only one real break in this case. The fact that one asshole has decided to testify against the other asshole. CLYDE In return for immunity. So he gets away with it. CANTRELL The other man does n't. He'll go down for the crime. That has to count for something. CLYDE Yes. It counts for half. -LRB- pause, quietly. -RRB- Do n't reward one of the men who murdered my family. Please. NICK Mr. Clyde. I ca n't claim to know what it's like to be in your position. Losing your wife and child. But please try to grasp how limited our options are. This is how the justice system works. Clyde sits for a long moment, numb, absorbing this. CLYDE Ah. I see my mistake. I came for justice. Instead I got a system.",
"INT. CITY HALL - HALLWAY - DAY SARAH LOWELL, fresh out of law school, is waiting anxiously for the meeting to end, arms full of file folders. With her is BILL REYNOLDS, the defense attorney in this case, glancing impatiently at his watch. Clyde exits the room fast, not watching where he's going, accidentally plowing into Sarah as he passes. CLYDE Sorry. My fault. SARAH It's okay. On he goes. Nick and Cantrell exit the room. SARAH You're due upstairs in three minutes! You're gon na be late! NICK Thank you, voice of doom. They move toward the elevators with Reynolds. Sarah's at their heels, sensing the tension and keeping her mouth shut. NICK -LRB- to Cantrell. -RRB- We doing the right thing? REYNOLDS -LRB- jumps in. -RRB- You even doubt it? C'mon, you did n't just tumble off the fucking truck. Do the math. Cantrell has trouble seeing the elevator button, misses. Nick presses it for him. -LRB- This is thrown away without comment ; both men are used to Cantrell's bad eyes by now. -RRB- They elevator opens, they get on.",
"INT. ELEVATOR - DAY and ride up : NICK It's your office. CANTRELL It's your decision. Nick shoots him a withering look, glances back at Sarah. NICK What do you think? REYNOLDS What are you asking her for? She's just an intern. SARAH -LRB- deer in the headlights. -RRB- I am just an intern. NICK You were top of your class at Yale, do n't give me that shit. CANTRELL Young lady. Someday you might have our jobs. You know the issues of the case before the court. Speak. SARAH Okay. Um. You can take both men to trial, spend a year and millions of taxpayer dollars, and probably lose. Or you can cut a deal and at least put one of the men who did the crime on death row. It's a no - brainer. You make the deal. REYNOLDS -LRB- smug, to the men. -RRB- Duh. They trade a look. Cantrell glances to Sarah. CANTRELL When the day comes that you argue a real case in court, you might refrain from summing up with `` duh.'' SARAH I'll avoid that.",
"INT. JUDGE'S CHAMBERS - DAY JUDGE LAURA BURCH presides. Nick, Cantrell, Sarah are present. CLARENCE DARBY is the focus, Bill Reynolds at his side. JUDGE BURCH The agreement has been vetted by both sides? Satisfactory to all? REYNOLDS Yes, your Honor. Defense approves. CANTRELL State also approves, your Honor. Nick places a document before DARBY, along with a pen. NICK Clarence Darby. This document guarantees that you will provide testimony against Rupert Ames in the matter of which you were both accused. In return, you will be shielded from further prosecution for those capital crimes. But you will plead guilty to the lesser charge of breaking and entering. REYNOLDS You'll do a maximum of five years. With good behavior, you could be out in three. JUDGE BURCH That also depends on your testimony and the level of your cooperation. DARBY Your Honor need not worry on my account. I assure the court that I am aware of the opportunity I've been given. And I am deeply grateful to all concerned. Nick gives Cantrell a glance, both stoically enduring this proceeding. Darby pulls the document closer. DARBY If I may. It has come to my attention that Rupert Ames has been spreading lies about me to the tabloid press. About certain alleged activities of which I have no knowledge. Sexual and otherwise. Libel and slander. yes? NICK -LRB- dryly. -RRB- You can always sue him. DARBY Well, no matter. My tongue will wag in court, under oath. His tongue will wag in hell. He puts pen to paper, looks to Nick. DARBY He'll get the chair? NICK We do n't do chair. We do needle.",
"INT. CITY HALL - GRAND INTERIOR STAIRCASE - DAY Cathedral - like, pigeons fluttering. The door from the hallway opens and BETSY, a months - old GERMAN SHEPHERD PUPPY, bounds toward us on a leash pulling Cantrell toward the top of the vast marble staircase. Nick trails them, nervous as hell : NICK Whoa, Jonas, take my elbow. CANTRELL I'm not blind. Yet. I'll do it. NICK You're shitty on stairs. At least let me take the leash so the dog does n't pull you down. CANTRELL No. She needs to imprint on me. Not you, not somebody else. Cantrell starts down. Nick's at his side, hovering and ready to grab him, jumping at every little lurch Cantrell makes. CANTRELL That's the whole point of this phase. She needs to get the idea that she and I are partners. Then the real training can begin. Unless you wan na lead me around the rest of my life. NICK I'll pass.",
"EXT. COURTHOUSE STEPS - DAY Nick and Cantrell emerge into daylight and find Darby in the protective custody of a FEDERAL MARSHAL on the courthouse steps, surrounded by a crush of REPORTERS : DARBY it was a burglary gone wrong. We thought the house was empty. Rupert found the woman and child at home and went crazy. I was stoned and in fear of my own life, so I fled. They catch sight of Bill Reynolds, the defense attorney. CANTRELL Bill! You let all your clients give testimony on the courthouse steps? REYNOLDS Hellooo, kettle to pot. Since when do you shy away from publicity? NICK Since everything in this case has gone sideways so far. Tell your boy to save it for the courtroom. REYNOLDS He's your boy too now. You tell him. Reynolds proceeds down the steps. NICK Asshole. REYNOLDS Dickwad. CANTRELL Fuckface. and vanishes in the crowd. Nick glances sourly toward Darby. DARBY and may I say for the record how very sorry I am that I failed to prevent Rupert Ames from committing those terrible crimes. NICK You good here? CANTRELL Long as nobody bumps into me. CAMERA FOLLOWS Nick through the crowd toward Darby. DARBY been given a chance to put the drugs and foul living behind me. To atone for my past failings and weakness of character. It is a gift given me by God's grace. Darby sees Nick, grabs his hand, shaking it for the cameras. DARBY and the grace and wisdom of this court. I can not thank you enough, sir. I can not. A BARRAGE OF CAMERA FLASHES. Nick caught off guard before the press, Darby not letting go. Then Nick sees : NICK'S POV Clyde, a tiny defeated figure far below, waits at the bus stop. He's gazing up, seeing this photo op happen. NICK breaks the handshake with a flush of discomfort, signals the federal marshal : NICK Marshal, escort your man, please! -LRB- to the reporters. -RRB- Mr. Darby is done here! Darby is hustled down the steps. The reporters surge to Nick, surrounding him, shouting questions. Nick looks over their heads and glimpses Clyde getting on a bus. The door closes, the bus pulls away.",
"INT. NICK'S HOUSE - NIGHT Nick enters. Dark. He drops his briefcase by the door.",
"INT. BATHROOM - NIGHT REFLECTED IN THE MIRROR : KELL, Nick's wife, is just out of the bath, wearing a robe and toweling her hair. Nick enters behind her. She cranes back for a kiss, keeps toweling her hair in the mirror. He hugs her from behind, buries his face in her neck. Drained. KELL Shit day? NICK Shit day. Better now. -LRB- pause. -RRB- How's she doing? KELL Fine. She drove me a little crazy today. NICK She was busy? KELL In overdrive. Here. Feel. He reaches around, slowly unties her robe, pulls it open. revealing her pregnant belly. -LRB- Our angles have avoided this till now. -RRB- He places his hand, feeling for movement. KELL Of course she stops kicking the moment you get home.",
"INT. BEDROOM - NIGHT SLOW TRACKING SHOT finds them in bed, Nick with his head on Kell's chest. Pensive. NICK I had to say some things to a man today I did n't want to say. And I did something I did n't want to do. KELL You did n't lie to him. Or bullshit him. Or shine him on. NICK None of those things. KELL So you had your reasons. You did what you had to. It's not your fault the world sucks. Nick smiles, eases his face to her belly. NICK You in there. Listen up. Your mother just said the world sucks. You may wan na rethink this whole thing. My advice? If you're asking? Just stay in there. I promise you, nothing will ever make as much sense as it does right now. KELL What is wrong with you? NICK plus there's shit you do n't need to know about. Rap. Internet porn. Madonna's entire back catalog. KELL Did someone drop you on your head? Seriously. I have swollen ankles and all I do is pee. That baby's coming out. NICK -LRB- weighs that. -RRB- Okay. I'm sure you heard that. Then again there are the Beatles. 70's funk. Louie. Ella. Be a shame to miss those. -LRB- beat, getting serious. -RRB- All right, kid. Bring it on. But when you're old enough for the world to disappoint you, I hope you wo n't blame your old man for bringing you into this mess. Give me that at least. FADE TO BLACK",
"INT. BEDROOM - DAWN Nick and Kell asleep. She's no longer pregnant - it's now ten years later. A long beat of quiet. A small face peers in from the hallway. EMMA, their 10 year - old daughter. She darts in, puts her face to Nick's. EMMA -LRB- whispering. -RRB- Dad? NICK Huh? Wha -? EMMA You know what it is? NICK What? EMMA -LRB- hollering. -RRB- IT'S MY BIRTHDAAAAAY! She jumps up on the bed, bouncing up and down and dancing around, hollering at the top of her lungs : EMMA IT'S MY BIRTHDAY, IT'S MY BIRTHDAY, IT'S MY BIRTHDAY! Nick and Kell are too groggy to do anything but ride it out. Emma sails off the bed and vanishes out the door, hollering all the way up the hallway : EMMA I'M SO COOL IT'S MY BIRTHDAAAY! Nick and Kell are left groping with blankets, heart rates, and consciousness : KELL Glad it's once a year.",
"INT. KITCHEN/BREAKFAST AREA - MORNING Nick and Emma finishing breakfast, getting ready to leave, Kell packing Emma's lunch at the counter : EMMA Why ca n't you be here? NICK It's a work thing. Grownup stuff. You know that happens sometimes. EMMA But it's. -LRB- draws sneakily close. -RRB-. MY BIRTHDAAAAAY! He claps his hand over her mouth. NICK I believe we've established that. I let go, you'll stop reminding me? -LRB- she nods, he lets go. -RRB- We'll celebrate this weekend. Tonight is all about your friends. Knock yourselves out, do n't give mom any grief. I'll try to be home in time to tuck you in, okay? EMMA Okay. But what are you doing tonight that is more important than. She's doing that `` sneakily drawing close'' thing again. Nick holds up his finger, cautioning her to say it quietly. EMMA -LRB- leans in, whispers. -RRB-. my birthdaaaaay. KELL Something he'd get out of if he could. Here. Take lunch. Grab backpack. We go. Emma grabs her stuff, kisses dad, races from the room. Kell grabs her keys to follow, kisses Nick goodbye. NICK Nice evasion. Thanks.",
"EXT. RURAL ROAD - DUSK Cars are traveling an old service road.",
"INT. TOWN CAR - DUSK Nick's in back with Cantrell. The years have left Cantrell 90 % blind ; his glasses are beyond Coke bottle - thick. Between them sits Betsy the German shepherd, now ten years old, wearing a guide - dog harness. She looks miserable wearing a big cone - shaped POST - SURGERY COLLAR. NICK How long she have to wear this stupid thing? CANTRELL Till the stitches heal. Week or two. Nick dotes on the dog, they're old pals : NICK Poor honey. Sucks, does n't it? But you're very pretty. Yes, you are. Even with a radar dish on your head. SARAH There they are. Like clockwork. ANGLE SHIFTS TO Sarah - much more confident and power - suited than last time we saw her - riding up front with the driver.",
"EXT. AERIAL ESTABLISHING - GEORGE HILL PRISON - LATE DAY The car pulls up to the gate as CAMERA RISES to reveal the new facility positioned right next to the old one.",
"INT. EXECUTION CHAMBER - NIGHT The condemned, RUPERT AMES, is placed against the upright execution table and buckled in. The table is tilted back to vertical. All Rupert can do is lay there and watch, as : MEDICAL TECHS swab his arms with alcohol, prepare the needles, find his veins. The needles are inserted, taped off. The I.V. lines are attached. Very methodical. The techs leave the room. The curtain is drawn aside, revealing the big window that separates the chamber from :",
"INT. VIEWING ROOM - NIGHT Nick and his colleagues are among SEVERAL DOZEN WITNESSES seated in chairs. They watch as WARDEN IGER faces Rupert. WARDEN IGER Rupert Ames. Do you have anything to say? Rupert does n't have much of an IQ and he's scared shitless, but he does his best : RUPERT I'm here. Clarence Darby ai n't. And that ai n't right.'Cause that man is evil, ai n't no other way to say it. All them things he done, and him turn witness against me for it. He pauses, trying to untangle his thoughts. RUPERT I did wrong too. I guess I'll pay up. But it was always him sayin' jump and how high, and I just went along. Now he's killin' me and he got you people to do it. And that's a shame. A goddamn shame. And. -LRB- pause. -RRB-. and I guess that's all. Nick trades a look with Sarah. Cantrell is stoic. Warden Iger nods to TWO GUARDS manning the LETHAL INJECTION MACHINE, on which EIGHT OVERSIZED GLASS CYLINDERS in a vertical row are the main feature, filled with various clear liquids. There are two switches - one a dummy, the other live -LRB- no way to know which is which -RRB-. The guards power up the machine. Lights activate on the board. Each man grabs a switch, waits. Nick watches the wall clock. It hits 7 o'clock. The warden nods and the guards flick their switches, quickly leaving the room. The warden follows them out, closes the door. We hear the pumps quietly activate. Rupert is taking shallow breaths, terrified. then lays back to wait. PLUNGER ONE slowly descends, emptying its contents into the I.V. lines. Rupert sags as the fast - acting barbiturate spreads through his veins. his breathing slows. his head drops back. he loses consciousness. PLUNGER TWO depresses, sending the second vial of liquid into the I.V. lines with a quiet whir of pumps. PLUNGER THREE activates. then PLUNGER FOUR. the row of cylinders emptying in sequence. Rupert lies unconscious, just drifting away. He suddenly comes to. He draws in a long, shaky breath. It catches in his throat. His eyes go wide. His entire body starts to clench against some increasing pain. Nick is surprised, uncertain. Betsy starts GROWLING SOFTLY at Cantrell's side. Her head comes up, hackles rising. Nick glances to the dog. then to Iger, sees the stunned look on the warden's face. Something is definitely wrong. The pumps keep whirring, the plungers keep descending. Rupert he throws his head back, mouth wide. RUPERT Ah. ah. AH! The witnesses go tense, confused - what the hell? RUPERT Ah - ah - Jesus, do n't that HURT! Rupert looks down at his arms, his expression turning to sheer horror, because : The veins are turning angry red, then blackening, as the liquids course through them. RUPERT OH FUCK, OH FUCK, THAT HUUUURTS! Those are last coherent words he speaks. From then on, he's just shrieking and bouncing against his straps, because : His veins are starting to smoke. Noxious and foul. The flesh starts giving away, blood eating though skin like acid. Shock sweeps the onlookers : SARAH Oh, Jesus. CANTRELL What's going on? Nick? People are on their feet. Horror and incomprehension. CANTRELL Nick, goddamn it, what? NICK I do n't know! Rupert is fast becoming a horror : It's going down his arms and legs, up his neck, infusing his ears - a nauseating discoloration courses through his body, using his veins as a road map, going from red to yellow to black like bruises birthing spontaneously before our eyes. People in the room scream, turning away. Nick pushes his way to the viewing glass, shouting at the techs : NICK WHAT THE FUCK'S GOING ON? DO SOMETHING! The techs dash into the chamber - but are instantly gagging and choking on the toxic fumes billowing from Rupert. They retreat coughing, pulling the door shut again. Rupert's screams spew forth toxic fumes. breath blows smoke from his nostrils. eyes liquefy. he's arching against his restraints so hard that bones begin snapping, blood spewing and smoking through his skin. All Nick can do is stand at the glass in horror as whatever is happening runs its course and the victim collapses in a cloudy, toxic haze.",
"EXT. PRISON YARD - PARKING AREA - NIGHT Drained and waiting : Nick sitting against the town car. Cantrell across from him with Betsy at his side -LRB- the guide dog will always be at his side in this movie, specified or not -RRB-. EMERGENCY LIGHTS are swirling all around them. A PARADE OF PEOPLE descends : DETECTIVE DUNNIGAN, Sarah, Warden Iger, COPS, PRISON STAFF. Intense : IGER We're still trying to sort through this thing. CANTRELL Gentlemen, we face a terrible shitstorm of scrutiny in the days to come. We need answers. Start with what we know. IGER Lethal injection is a series of drugs given in a specific order. Somebody had to have replaced one or more of those ingredients with something else. -LRB- off their looks. -RRB- Industrial solvent? Acid? DUNNIGAN Let's not guess, let forensics do its job. CANTRELL How could the chemicals be switched? We're in a goddamn prison! NICK I'll ask because somebody has to. Is there any chance, no matter how remote, that this was an accident? A mix - up? Weird shit happens? A beat of awkward silence. The warden hesitating. SARAH Show them. The bad part.",
"INT. PHONE JUNCTION ROOM - NIGHT Dunnigan brings our group in. ELECTRICIANS huddle at an array of circuits and trunk lines. In the dancing flashlight beams : DUNNIGAN Some kind of bypass on the phone lines. Nick sees a CIRCUIT - BOARD spliced into the wiring. DUNNIGAN Twenty minutes before the execution, the prison stopped receiving incoming calls and emails. Cell service went dark too. Signal was probably jammed. SARAH The bad part. I was just on with the Governor's office. He commuted Rupert Ames' sentence. They were trying to call us to stop the execution. They could n't get through. Nick and Cantrell are stunned as this sinks in. DUNNIGAN The Governor's incoming number triggered this device and shut out any further calls. Cantrell removes his glasses, rubs his eyes. Softly : CANTRELL Oh, fuck me. Fuck me. DUNNIGAN One more thing. Dunnigan aims his maglight and swings the junction box cover all the way open. Scrawled on the inside of the door in red are the words : `` HIS TONGUE WILL WAG IN HELL.'' DUNNIGAN This mean anything to you? CAMERA PUSHES IN on Nick.",
"EXT. PRISON YARD - PARKING AREA - NIGHT Nick's LAPTOP sits on an unmarked car, streaming the D.A.'S DATABASE by wireless. Nick taps the keys, as : NICK Clarence Darby. That's what he said when he agreed to testify against the man we executed tonight. DUNNIGAN `` His tongue will wag in hell.'' Those very words? It was ten years ago. SARAH I remember it too. Some things stick in your head. NICK Check the court transcripts, they're public record. DARBY'S MUGSHOT -LRB- ten years ago -RRB- scans up, along with pertinent info of that time. GARZA, Dunnigan's partner, peers at it. GARZA I know this prick. I'm pretty sure he's one of our C.I.s. Surprised looks are traded. DUNNIGAN You think, or you know? GARZA That's not the name he uses now. But I'm pretty sure he's one of Bernstein's informants. DUNNIGAN Okay, raise Bernstein, I want everything he's got, including an address. We roll with tactical. NICK How about I ride - along? Give you a fast, accurate ID on this guy? CANTRELL Is that necessary? NICK You said yourself we should move fast. This thing'll be all over the morning news cycle. We'd all look a lot better if we have the right man in custody by then. Off Cantrell's look.",
"EXT. BRIDGE/CITYSCAPE - NIGHT AERIAL SHOT : ANGLING DOWN to find a CONVOY OF POLICE VEHICLES speeding across a bridge.",
"INT. UNMARKED CAR (MOVING) - NIGHT Garza driving. Dunnigan riding shotgun. Nick in back, putting on a tactical vest. A transmission comes over the car's dashboard computer : a MURKY NIGHTTIME SHOT OF A MAN in sunglasses and Hawaiian shirt. GARZA That's him. `` Wayne Dunlap.'' DUNNIGAN Is that Clarence Darby? NICK I think so. Hard to tell. Dunnigan scrolls the classified police data pertaining to the informant : dates, number of convictions attributed. DUNNIGAN Jesus, look at this. No wonder Bernstein loves him. GARZA We scored a lot of good intel off this fuckhead through the years. Almost a shame to bag the guy. A snort from Nick. The cops glance back. NICK A shame? GARZA He's helped us put a lot of bad people behind bars. Look. Arrests, convictions. NICK I can read a C.I. profile. What I see is an asshole dirty up to his ears in the drug trade. So you cops look the other way? He gets a free pass as long as he keeps feeding you convictions? DUNNIGAN Is n't that what you did ten years ago? Give this guy a free pass in return for a conviction? -LRB- off Nick's look. -RRB- Maybe we played this asshole to our advantage on the street, but you're the one who put him there. So, no offense, but you might wan na go fuck yourself a little. Nick stares at the man on the dashboard computer screen.",
"INT. CLARENCE DARBY'S HOUSE - NIGHT who is indeed Clarence Darby, naked and drenched with sweat, taking a hit off a crack pipe. A woman's HAND flails up into frame, trying to grab for it. DARBY Wait. wait. He sucks in a full breath, hands the pipe off to : LISA, the thin tattooed skank he's got bent over his bed and is fucking from behind. She flares the bowl with a lighter, barely registering any reaction as he keeps pumping her. DARBY Almost. Almost. LISA This shit makes you soft, baby. DARBY -LRB- thrusting, grimacing. -RRB- Thank you. for stating the obvious. you. bitch. He grits his teeth. Screams. Finishes. He sags, catching his breath, and glances at the PLASMA TV SCREEN, which has been playing silently. He grabs the remote, unmutes the set : NEWSCASTER -LRB- V.O. -RRB- rumors the execution did not go well due to technical flaws, but that has yet to be confirmed. DARBY `` Did not go well.'' Way to go, Rupert. You even fucked up dying. LISA You know that guy? DARBY Knew. Past tense. CELL PHONE RINGS, he answers. VOICE Wayne? DARBY Depends. Who's this? VOICE Somebody who does n't want to see you in jail. Look out your window. -LRB- Darby hesitates. -RRB- Argue later. Do it now. Darby goes to the window. Headlights in the distance. Lots of them. He grabs binoculars off the sill. BINOCULAR POV : VEHICLES All cop. Racing this way. No lights, no sirens. DARBY lowers the binoculars, stunned. VOICE There's a world of shit coming your way. I'd get out the back. Now. Click - line dead. Darby frozen for a moment, looking around at all the drugs and paraphernalia. He scrambles, tossing on his pants, grabbing his shirt. Lisa jumps off the bed - LISA What? She goes to the window, sees cars sweeping from the darkness. LISA Are those fucking cops? Darby lunges to a bookcase, grabs a REVOLVER from behind the books, sails out the bedroom door.",
"INT. DOWNSTAIRS - NIGHT and races down the steps with Lisa at his heels. LISA You ai n't leaving me here! She catches him halfway across the room, holding him back. He smashes the gun into her face repeatedly. DARBY OFF' A ME! and knocks her bleeding and crying to the floor. He sails on through the kitchen, leaving her there.",
"EXT. DARBY'S HOUSE - NIGHT and bursts through the screen door, fleeing barefoot across the back yard as VEHICLES AND COPS swarm the front of the house. A cruiser nails him with a spotlight : COP VOICE -LRB- over car speakers. -RRB- You! Freeze right there! Darby, never slowing, swings his arm around, FIRING his revolver blindly at all the lights.",
"EXT. FRONT YARD - NIGHT whoa, fuck, gunshots! Cops scramble and dive. Nick has just gotten out of Dunnigan's car - a cruiser's window takes a blind hit nearby, exploding glass. Nick ducks, total shock, out of his element. Drawing, Dunnigan throws him to the ground. DUNNIGAN STAY DOWN!",
"EXT. BAD NEIGHBORHOOD - NIGHT Darby runs like an amped - up rat in a maze, hearing cop cars in the night : Engines ROARING, tires SQUEALING. Suddenly, the SOUND OF A HELICOPTER above. Darby dashes for cover against a garage, lost in shadow. A massively bright searchlight sweeps from above, probing. Darby crouches, heart hammering, watching the searchlight scan over rooftops. His phone RINGS, he answers : VOICE Ditch the gun. Wipe the prints. DARBY Kiss my ass. VOICE I heard six shots. Revolver? Bring extra ammo? Darby glances at the gun, realizing. He bangs his head back against the garage wall in frustration - fuck! VOICE You shot at cops. That's attempted murder if they find the gun on you. You're in deep enough without that. Darby frantically wipes the gun with his shirttail, as : VOICE You'll need my help getting out. DARBY What'll it cost me? VOICE We'll discuss terms later. Go south, across 10th. Past the El tracks. Alley behind the clinic. DARBY What's there? VOICE A cop. Take his ride, he wo n't give you any trouble. DARBY How do you know? VOICE'Cause I tasered his ass. You gon na keep asking questions? Click - line dead. Darby breaks cover, heaves the gun into somebody's yard, keeps moving.",
"EXT. DARBY'S HOUSE - NIGHT Chaotic with cops and lights. Lisa is dragged out, shrieking and bleeding, her face a broken mess. ANGLE TO Nick watching it all unfold. He sees Dunnigan approach : DUNNIGAN No way he's getting out of this neighborhood.",
"EXT. ALLEY - NIGHT Darby finds a POLICE CRUISER parked in the moonlight, window down. Dark inside. A LOCAL COP is sprawled across the front seat. groaning, coming to. Darby jumps in, passenger side, wrestles the cop upright. He yanks the cop's service revolver, slapping him awake. DARBY Drive. Darby reaches over and keys the engine to life. DARBY Drive, fucker! I'll put your brains on the dash! COP -LRB- disoriented. -RRB- Do n't shoot! Do n't hurt me, okay? DARBY Depends on you. Go. The cop hits the gas. Tense moments go by as they accelerate up a dark road. Darby ducks as COP CARS stream past.",
"EXT. DARBY'S HOUSE - NIGHT Dunnigan and Nick tense, hearing a VOICE over the radio : COP VOICE -LRB- heavily filtered. -RRB-. air unit three. see no sign of suspect. think we lost him. DUNNIGAN -LRB- keys mic. -RRB- Keep sweeping the area, unit three. -LRB- to Tactical Commander. -RRB- Go house - to - house. Check everything. Garages, dumpsters, storm drains. BLUE - 9 - 19 - 08 25A. NICK You got ta be kidding me. Dunnigan - angry, at a loss - does n't reply. Cops are scrambling in all directions. Nick turns, steps TOWARD CAMERA INTO A TIGHT SHOT, gazing off into the darkness. Something very weird just happened here, but he has no idea what. Softly : NICK How could we lose him?",
"EXT. INDUSTRIAL ZONE - NIGHT Tracks and factories, remote and deserted. Far away, the POLICE COPTER is still buzzing, searching. The police cruiser appears, stops. Darby emerges with gun and flashlight leveled, motions for the cop to get out. The cop complies with hands raised, shaking. DARBY In the ditch. COP please. do n't kill me. DARBY Knees. Let's go. Darby shoves him stumbling into the ditch. The cop sinks to his knees and starts to weep. COP I'll never see my wife and little girl again. I'll never see them. DARBY It's fucked up. Darby steps closer, draws the hammer back, takes aim for a head shot. but his PHONE RINGS. He pulls it fast. DARBY This my guardian angel? -LRB- beat. -RRB- Hello? On his knees in the muck, the cop's quiet weeping becomes soft laughter. He brings up a cell phone, speaks into it : COP I see you got out okay. Darby draws back, confused, gun still aimed. The cop snaps his cell phone shut, rises to face him. COP You know why I'll never see my wife and daughter again? He takes his hat off, peels his moustache away. Darby pins him with the flashlight, finally and fully revealing : BENSON CLYDE You took them from me. Recognition floods Darby. He pulls the trigger, and : Nothing. Just a click, Darby freezing, a hiss of pain. Not comprehending. Clyde reaches for the gun, pries open Darby's fingers, pulls it from his grasp. revealing the TINY NEEDLES that sprang from the pistol's grip into Darby's palm. Darby stares at his perforated palm. His knees give out and Clyde catches him, eases him to the ground.",
"INT. FARM SHED - NIGHT ANGLE : A head encased in a hood. The hood is pulled off, revealing Darby - eyes wide, lying on a rough table. Benson Clyde leans over him, checks his pupils. CLYDE Ca n't speak? He displays the prop gun rigged with the needles. CLYDE Tetrototoxin. Fascinating stuff. It paralyzes you, but leaves all other neurological functions intact. He sets the gun down, starts rooting through some instruments that Darby ca n't see -LRB- though he's straining to -RRB-. CLYDE That means you ca n't move. Or talk. But you can see. Hear. Feel. -LRB- busying himself. -RRB- That last one's important. Feel. You can feel everything. -LRB- glances at bottled drugs. -RRB- Got some other items here. Drugs to revive you in case you pass out. Stuff like that. Darby almost manages to speak, thrashing weakly. Clyde leans over, checks his pupils again. CLYDE Wearing off a little. No worries. He tucks a padded block under Darby's head like a pillow, raising his head so he can see better. Clyde moves down the table, tightens straps holding Darby down. But the worst part : TOURNIQUETS are tied on Darby's arms and legs at various points. Darby sees them and starts hyperventilating. CLYDE Oh. These. Do n't want you bleeding out. This will take a while. Clyde puts on a thick coat, like a meat - packer's. He returns, sorting implements, Darby trying to see. Clyde obliges him, holding things up : CLYDE -LRB- pliers. -RRB- Teeth. -LRB- hacksaw. -RRB- Balls. -LRB- bolt cutter. -RRB- Fingers. Maybe toes. -LRB- scalpel. -RRB- Eyelids. In case you insist on shutting your eyes. Darby's screaming - but with the tetrototoxin in his system, all that's coming out is air, like a slow leak. Clyde picks up an object, unfolds it - a full - body plastic coat. He puts it on over his other coat, as : CLYDE Earlier on the phone? I said I'd get you out? You asked me what it would cost? Well. He finishes buttoning up, crosses back to the table, raises a new object into view : a CIRCULAR POWER SAW. CLYDE We'll start with an arm and a leg. Go from there. Pause. The reality of what he's about to do washing over him : CLYDE I've been waiting to say that line for years. But it was n't very funny, was it? No. Played much better in my head. Maybe it's my delivery. He puts a construction - site face protector atop his head, the kind with a full plastic face shield that can be flipped down. He turns and undoes the slipknot of a laundry cord stretching up to the ceiling. He feeds the cord and a full - length mirror tilts down horizontally above the table. Darby finds himself staring straight up into it - he'll see everything. ANGLE FROM BEHIND VIDEO CAMERA The CAMERA'S LCD SCREEN looms large in our shot. The LCD is dark, the camera inactive. It's mounted high on a tripod, aimed down at the table. Clyde approaches b.g., pauses. CLYDE Gosh. My heart's beating. You? He flips his visor down - dark, no face visible. He reaches up, turns the camera on. The LCD screen activates. ANGLE CLOSES IN until all we see is : THE LCD IMAGE. Grainy in low light. Clyde, now faceless behind the visor, crosses to the squirming figure on the table. We hear the CIRCULAR SAW BUILD TO A HIGH SHRIEK. FADE TO BLACK. and the SHRIEKING SAW FADES. HOLD IN BLACK. THE BLACKNESS OPENS UP - we're in a cop car's trunk looking up as the lid is opened. A FIGURE in a meat - packing coat looms over us, faceless and scary behind a dark face protector. ANGLE INTO TRUNK reveals OFFICER HILTS hand - cuffed and duct - taped. He's spent the night in here. He recoils, terrified and blinded by glare. BLUE - 9 - 19 - 08 29A. The figure opens a wicked - sharp butterfly knife, CLICK - CLACKS it open. He leans down, slits the tape binding Hilts' arms, drops the keys in the cop's hands.",
"EXT. COUNTRY DIRT ROAD - DAWN The police cruiser sits on a dirt road, a FEMALE DISPATCHER'S VOICE issuing softly and incessantly from the radio : FEMALE VOICE unit twenty one, come in. unit twenty one, please respond. report your location. The mysterious figure strides from the police cruiser to a MIDNIGHT BLUE 1965 LINCOLN CONTINENTAL in superb condition, shrugging off his thick coat. He gets in, hits the gas. Hilts struggles to uncuff himself in the cruiser's trunk, arms and legs cramping, as : The Lincoln becomes a CLOUD OF DUST receding in the distance.",
"INT. NICK'S KITCHEN - MORNING Cleaning up the aftermath of the party : Nick up on a step - stool taking down the birthday banner ; Kell in her robe feeding the dishwasher ; Emma zooming in and out shuttling paper plates and plastic cups into a big trash bag. EMMA and while we were singing karaoke, Ashley was all dancing around and jumping up and down and suddenly she gets this look on her face. KELL I saw it coming. EMMA and suddenly she just went barf. Total puke moment. And we were all like, ewwww gross! It was so funny. She's out of the kitchen to grab more stuff. Kell starts preparing a bowl of cereal for Emma. KELL Funny for her. I cleaned it up. NICK I had my `` ewwww gross'' moment last night too. KELL Hey. I had a house full of shrieking ten year - old girls. NICK Hey. I saw a guy's veins dissolve. KELL Honey. It's not a competition. -LRB- off his look. -RRB- Okay, you win. Emma re - enters, dumping more trash : EMMA so Tara says that's what you get for eating too much cake and that almost made Ashley puke again. The DOORBELL RINGS. Kell glances out the window. KELL Delivery. EMMA -LRB- grabs her cereal. -RRB- I'll get it! She runs out. Nick comes off the step - stool, gratefully accepts a cup of coffee from Kell. He suddenly freezes, notices : The kitchen TV is playing CNN : a top - of - the - hour story on the Rupert Ames execution and foul - up. NICK Oh, shit. We've gone national.",
"INT. LIVING ROOM - DAY At the front door, a MESSENGER hands Emma a GIFT BASKET trailing mylar balloons with `` Happy Birthday Emma'' on them. EMMA Thank you! She closes the door, turns toward us, finds a CARDBOARD ENVELOPE on the basket - a card? She opens it, finds : Not a card. An unlabeled DVD.",
"EXT. COUNTRY DIRT ROAD - DAY LOCAL SHERIFFS -LRB- not city cops -RRB- are spreading out across the fields, beating the grass, looking for clues. ANGLE TO Officer Hilts, blanket - draped and still rattled by his night - long ordeal, being interviewed by a SERGEANT : SERGEANT the suspect who tasered you last night. was it the same person who let you out of the trunk this morning? HILTS I never saw a face. either time. he wore a thing, a face shield. Suddenly, we hear a DISTANT VOICE shouting in panic : VOICE Sergeant! Sergeant! Everybody's gaze snaps up, tense. Across the fields, a YOUNG COP is stumbling away from a distant farm shed, pointing : YOUNG COP Come quick! You got ta see this!",
"INT. NICK'S KITCHEN - DAY Nick at the table with Kell, riveted to CNN : STATE OFFICIALS, including Iger, are being grilled in a media frenzy. Cantrell was right, it's a shitstorm of scrutiny.",
"INT. LIVING ROOM - DAY Emma, munching her bowl of breakfast cereal, slots the DVD in the player. She backs up, hits play with the remote. An IMAGE appears on screen, grainy. Emma looks perplexed. It's not a normal DVD - more like a bad home movie : A figure in a plastic coat and face shield turns from the camera to a table, where another man is strapped down. The first man raises a circular saw. The man on the table is thrashing weakly, trying to move. Emma still has no idea what she's looking at. Suddenly : The man with the saw makes a quick sweep across the table, across the other man's leg at the shin. The move was so fast and casual that it's taking a moment to sink in : Emma stands frozen, clutching her cereal bowl. EMMA Daddy? B.G., we see Nick lean back in his chair, reacting to her tone of voice. and by what sounds like a shrieking saw. On screen, the man with the saw picks up the severed limb and shows it to the victim. It's been lopped off below the knee. Emma drops her bowl - it shatters at her feet. Nick and Kell enter behind her, confused, not sure what they're seeing. On screen, the man with the saw lops off the victim's forearm. KELL Oh my God! Emma turns, throws herself into her parents' arms. They drop to their knees, shielding their sobbing daughter. PUSH IN ON them staring at the shrieking saw. KELL What the hell is this? Jesus Christ, Nick! Turn it off! Turn it off! -LRB- comforting Emma. -RRB- It's okay, baby, I'm here. Nick lunges to turn off the TV as : FROM THIS POINT ONWARD, WE PLAY THE SEQUENCE AS MONTAGE :",
"INT. FARM SHED - DAY The door is swung open in a blaze of sunlight. The local cops enter with pistols drawn and shotguns leveled. Faces go stark with horror as their eyes adjust. SERGEANT Oh my Lord.",
"INT. A RENOVATED FARMHOUSE SOMEWHERE - DAY A RECORD is pulled from a sleeve. An old - school vinyl LP.",
"INT. FARM SHED - DAY Cops easing in. ANGLE SWINGS QUEASILY AROUND as they enter, WIDENING to reveal a scene of nightmare intensity : Blood everywhere. Streaks. Spatters. And body parts. Strewn and discarded. Intestines nailed to the rafters overhead.",
"INT. FARMHOUSE - DAY A RECORD PLAYER NEEDLE DROPS, hits the groove with a HISS of vinyl. MUSIC STARTS TO PLAY LOUDLY, BOOMING through the space. FOCUS REMAINS WITH the spinning record. An OUT - OF - FOCUS FIGURE in a rolling chair pushes away from the record player and sails across the room toward a brightly - lit work table.",
"INT. FARM SHED - DAY (SONG CONTINUES) Cops are covering their mouths with handkerchiefs, gagging. The stench is incredible. Flies are buzzing and swarming. One cop turns away and doubles over, trying not to puke. The Sergeant moves cautiously forward, finds : A HEAD. On the wooden dissection table. Clarence Darby, not that you'd recognize him. His eyes are gone. His lips are missing. His teeth. well, most of them are scattered about.",
"INT. FARMHOUSE - DAY (SONG CONTINUES) A MINIATURE CIVIL WAR SOLDIER is held in extreme magnification before us under a tabletop magnifier, the tip of a paintbrush delicately evoking stunning detail.",
"INT. NICK'S HOUSE - DAY (SONG CONTINUES) Emma is still sobbing into her mother's arms as Nick takes the frame f.g., shouting into the phone : NICK My daughter is traumatized! She's only ten! It's a goddamn snuff film! In my home!",
"INT. DETECTIVE'S BULLPEN - DAY (SONG CONTINUES) GARZA -LRB- motioning O.S. -RRB- Price got a video of it happening delivered to his house. Dunnigan enters frame f.g., snatches up his extension. He listens for a few beats, trying to get a word in : DUNNIGAN Yeah, we know. Nick, we know. The body's been found. The pieces, anyway. Call just came in. -LRB- beat. -RRB- In some old shed on a farm outside the city. About a hundred and fifty acre piece of property.",
"INT. NICK'S HOUSE - DAY (SONG CONTINUES) NICK Belonging to who?",
"INT. FARMHOUSE - DAY (SONG CONTINUES) A GIANT EYEBALL stares at us, unnaturally magnified by a tabletop magnifier. The lens is swept aside, revealing : Benson Clyde. In addition to the tabletop magnifier, he's wearing MAGNIFYING LENSES on his head. He examines the figurine with his naked eye, then flips the glasses down to continue.",
"EXT. COUNTRY HIGHWAY - DAY (SONG CONTINUES) VEHICLES race along two - lane blacktop : CRUISERS, UNMARKED CARS, TACTICAL VANS. A POLICE HELICOPTER skims along just above them at scary - low altitude. The cars veer off pavement and up a dirt road, kicking up an awesome trail of dust as the copter sweeps wide, pacing.",
"INT. CARS - DAY (SONG CONTINUES) Tense faces : Dunnigan, Garza, Nick.",
"INT. FARMHOUSE - DAY (SONG CONTINUES) Clyde pauses, hearing a RUMBLE under the music. Glances up as the rumble passes overhead - a helicopter? He clicks on a tiny fan, holds the figurine under it, giving it a final dry.",
"EXT. FARMHOUSE - DAY (SONG CONTINUES) A shitstorm descends : vehicles swerving in, COPS jumping out, machine gun - toting SWAT TACTICAL TROOPS pouring from vans.",
"INT. FARMHOUSE - DAY (SONG CONTINUES) Clyde, still holding the figurine under the whirring fan, leans to one side in his chair, glancing out the window. He glimpses scurrying figures behind cars, cops darting and surrounding the house, motioning with hand signals. He holds up the figurine for a final look. Satisfied with it, he places it onto : A CHESSBOARD - the last piece. All the others are also hand - painted, gorgeous. Real craftsmanship here. He stands. Calmly moves to the middle of the room. Kicks off his shoes. Peels off his shirt and undershirt. Even takes off his pants. There will be no confusion about hidden weapons. He positions himself, very precise and purposeful. Lifts his hands high above his head. Presenting himself. Waiting. Then, bam : doors EXPLODE in and windows SHATTER as the SWAT tactical troops storm the room, bad - asses in black, machine guns aimed, encircling him, everybody shouting : SWAT TROOPS DO NOT MOVE - FREEZE MOTHERFUCKER - DO N'T EVEN TWITCH - WE WILL FIRE UPON YOU - LET'S SEE THOSE HANDS - Clyde is the calm eye of a pissed - off storm of highly professional cops with itchy trigger fingers. He remains serene, looking around at them, hands raised high. SWAT CAPTAIN ON THE FLOOR! FACE DOWN! DO IT NOW! He compliantly goes to his knees, then prone, offers his hands behind his back. They move in, cuff him, as troops spread throughout the house yelling `` Clear!''",
"EXT. FARMHOUSE - DAY Nick, wearing his kevlar, follows Dunnigan and Garza. Nick glances over and sees a perfect 1965 midnight - blue Lincoln Continental in the carport.",
"INT. FARMHOUSE - DAY Clyde is pulled to his feet just as Nick enters. UNIFORMS spread out, securing the house. Dunnigan faces Clyde. DUNNIGAN Benson Clyde. You have the right to remain silent. as the full Miranda is read, Nick and Clyde have their eyes locked throughout - this moment is all about them. DUNNIGAN understand your rights as I have explained them? CLYDE Yes. Clyde is hustled outside, leaving Nick with Dunnigan and Garza in the farmhouse - it's renovated, clean, very loft - like. Nick drifts to the table, sees the chess board, ca n't help admiring the pieces. Then his eyes go to a floor - to - ceiling bookcase. He's stunned to realize : they're all law books. GARZA -LRB- O.S. -RRB- Check this shit out. Nick turns, moves to Garza's side. Dunnigan joins them. All three staring at a wall. ANGLE SHIFTS around to reveal : The long - ago PHOTO -LRB- clipped from a newspaper -RRB- of Nick and Clarence Darby shaking hands on the courthouse steps. ANGLE WIDENS to reveal : Photo after photo. The crime scene photos. photos of Clyde and his family in happier times. photos clipped from magazines and newspapers about the murder and trial. all very neatly and precisely arrayed. The entire wall covered with them. THE MUSIC KEEPS BOOMING from the record player. Dunnigan turns TIGHT TO CAMERA and yells : DUNNIGAN CAN SOMEBODY TURN THAT FUCKING MUSIC OFF, PLEASE?",
"INT. POLICE INTERROGATION ROOM - DAY Clyde sits alone and isolated in a small room. WIDEN to reveal Sarah at the observation glass. She turns as Nick steps up. SARAH He says he'll only talk to you. Nick and Dunnigan prepare to go in. Dunnigan takes off his gun and holster, lays them on a table, as Garza activates the VIDEO. Cantrell finds a chair by feel, sits down, as : INNER ROOM Nick and Dunnigan enter. Dunnigan melts into a corner to observe as Nick sits across the table from Clyde. CLYDE Counselor. NICK Mr. Clyde. CLYDE Why so formal? We go way back. Call me Benson. Or Ben. Nick sits across the table from Clyde, settles in. NICK Well. I'm here. So? CLYDE So. Maybe you can explain what this is all about. Nick almost laughs - not what he expected to hear. NICK I think that's obvious. Clyde spreads his hands questioningly - not really. DUNNIGAN You murdered two people. Rupert Ames and Clarence Darby. CLYDE -LRB- shifts his gaze. -RRB- Detective? DUNNIGAN Dunnigan. CLYDE Dunnigan. I thought I'd made it clear I would only speak to the gentleman across the table from me. Dunnigan glowers at him, looks to Nick. NICK You murdered two people. Rupert Ames and Clarence Darby. CLYDE Darby? I knew about Ames, of course. I've been following the news about his horribly botched execution. But Darby too? Quite a coincidence. DUNNIGAN Cut the shit. We know you did it. Save everybody a lot of time and trouble and just confess. CLYDE Are you going to continue to insist on being part of this conversation? DUNNIGAN Yes. CLYDE -LRB- beat, gives in. -RRB- Fine. Far be it from me to be rude. NICK Clarence Darby was found on your property. Old abandoned shed? CLYDE I did n't know I had one. It's 150 acres, uncultivated. The other day I found a creek I never knew I had. Hunters trespass all the time. You going to try to pin the dead deer on me too? OBSERVATION AREA SARAH I do n't believe this guy. CANTRELL That man is frosty. INNER ROOM CLYDE It occurs to me that an even moderately clever person could try to frame me for the murder simply by killing him on my property. One of Darby's drug rivals? That's an unsavory world. -LRB- off Nick's stare. -RRB- A jury would have to weigh that possibility. What else you got? NICK -LRB- temper flaring. -RRB- How about video of you dismembering Darby while he was still alive? CLYDE That's odd. See, if I were to do such a thing, I'd probably wear something so I could n't be identified. Some kind of mask maybe. But you say it's actually me on the video? Did the camera capture my good side? Nick snaps, lunges across the table, grabs Clyde. NICK You sick fuck, you sent it to my house! My daughter saw that video! It fucking traumatized her! She could n't stop sobbing! Dunnigan moves in fast, trying to pull Nick off -LRB- but failing -RRB- : DUNNIGAN Whoa - whoa, Nick, ease off! CLYDE No trouble here, Detective, we're fine. Thank you, though. Dunnigan backs off. Clyde turns back to Nick, who's still got him in his grasp, their faces close. CLYDE Your daughter is, what, ten now? That's a wonderful age. My daughter was always so busy at that age, so interested, so into everything. Jumping around. I called her `` Bean,'' she jumped around so much. Nick is easing off by inches, subtly and ineffably weirded - out, unable to break Clyde's gaze. Softly : CLYDE I am sorry, Nick, that your daughter experienced that. You're right. That video should not have arrived that way. The person who sent it should have thought twice. Dunnigan moves in again, gently but firmly pulls Nick away. DUNNIGAN Okay, enough. CLYDE Unless there's hard evidence tying me to these crimes - forensic or otherwise - why am I here? Why are we having this conversation? NICK We know you did it. CLYDE It's not about what you know. It's about what you can prove in court. -LRB- off Nick's look. -RRB- Your words. Like when you called it a justice system. You know the thing about a system, Nick? Any system can be played. NICK You think you can play us? You gon na take me on? CLYDE Clarence Darby did. And I'm much smarter than he was. Or you. Nick advances, furious, held back by Dunnigan : NICK I'm gon na bury you, fucker! CLYDE -LRB- lunges to his feet. -RRB- That's it, that's what I want! That fire in the belly! That's what I wanted ten years ago! Do it, Nick! Bury me! DUNNIGAN -LRB- shouting at Clyde. -RRB- Sit down! Sit the fuck down! Clyde does, settles in, speaking calmly : CLYDE Or. Set me free. NICK What? CLYDE Did I stutter? Make your case. Or. Shake my hand on the courthouse steps and send me on my way. -LRB- off Nick's look. -RRB- I'll even make it easy on you. I will confess, how's that? NICK You're gon na confess. CLYDE Let's start tomorrow after a good night's sleep. We'll all be fresh and rested.",
"EXT. CITY HALL COURTYARD - DAY Nick paces agitated, with the group : SARAH Ten years he's been planning this? Patient people make me nervous. This? This freaks me out. DUNNIGAN Is he serious about confessing? What's his deal, is he crazy? NICK Confession or not, we're gon na nail him on two counts of first - degree. CANTRELL Agreed, but softly. Nothing hard - ass, no grand - standing. Kid gloves. NICK Kid gloves? He's a psycho with a power saw. CANTRELL Depending on who's writing the headline, he's a grieving husband and father who got revenge on the men who murdered his wife and child. -LRB- off Nick's look. -RRB- Public sympathy is to be respected and feared. This could blow up in our faces if we're not careful. We ca n't look like we're pissed off or have an ax to grind. -LRB- stops. -RRB- Are we pissed off? Do we have an ax to grind? NICK No. CANTRELL Then stop acting like it. Beat. Nick takes a deep breath. NICK Okay. He got under my skin a little. That's done.",
"EXT. CITY HALL - DAY STEADICAM TWO SILHOUETTES : We're following Nick and Sarah through one of the pedestrian tunnels to the street : NICK background check's got ta be thorough, I want to know everything there is to know about this son of a bitch. Get all the ADAs on it, tell'em I better not see them sitting around on their asses or texting their pals. SARAH How about outside help? That P.I. who helped us on the Jacovitz case? NICK Yeah, he was good. And Hanson's always reliable. But try to limit their hours, okay? We find a MERCEDES at the curb - Kell at the wheel, Emma in back. Nick gets in. Sarah leans down, happy to see them. Emma's face lights up - the little girl obviously adores her. KELL Well, hello there beauty! SARAH Hey Kell! Hey Emma, how's my dynamo? EMMA Hi, Sarah! KELL We have n't seen you in so long it's ridiculous. When are you gon na come by for a visit? SARAH Who needs a life, right? Talk to your husband, maybe he'll give us a day off one of these years. KELL Soon, huh? Seriously, we miss you. Sarah blows Emma a big extravagant kiss. Emma returns it, waves as they pull away. Nick and Kell glance back, happy to see their daughter acting a bit more like her old self.",
"INT. NICK'S HOUSE - NIGHT Late. Nick, in t - shirt and pajama bottoms, comes up a dark hallway with a file in his hand, rubbing his eyes. He comes to his daughter's bedroom door, quietly turns the knob. EMMA'S BEDROOM. and finds the bed empty. Sheets thrown back. Nick stands for a moment, every irrational fear he's ever had washing over him. CAMERA FOLLOWS HIM fast down the hallway. into the master bedroom, where he finds Emma sleeping with Kell. He stands for a moment, heart hammering. Softly : NICK Fuck. Kell stirs, sees him, puts a finger to her lips. In whispers : NICK I saw her bed empty. Scared the shit out of me. Do n't know why. KELL She had a bad dream. She wanted to sleep with us tonight. NICK -LRB- feels his heart race. -RRB- Jesus. EMMA -LRB- stirs. -RRB- Daddy? He climbs onto the bed, cuddles up, Emma between them. EMMA I had a nightmare. That man. NICK I know. Shhh. We're all good. You're safe. Nobody's gon na hurt you. KELL Especially not that man. Daddy's gon na put him in jail forever. That's what daddy does. He makes sure the bad people stay locked away. Nick lays there, listening.",
"INT. \"THE DOME\" - DAY A huge domed chamber. In the center of the floor stands a smaller free - standing domed cage, like a bizarre birdcage. Inside the birdcage : Nick and Garza wait. Garza mans a camera. Outside the birdcage : Observers. Some -LRB- Cantrell and Sarah -RRB- occupy floor - level, where the video monitors are. Others -LRB- Iger and Dunnigan -RRB- are on a catwalk above that encircles the room. A door opens and Clyde is brought into the birdcage. He gazes around, checking his surroundings. CLYDE I admit I expected something more modern. That jail downtown? NICK Filled to capacity. It has been for years. They had to re - open this for the overflow. Part of it anyway. GARZA Welcome to the county jail annex. All new inmates come here. It was in the papers. CLYDE Right. Prison crowding. It's a problem. He sits. Nick joins him, pulls out a legal pad. NICK For the record : You've waived legal counsel. You've offered to confess to the murders of Clarence Darby and Rupert Ames. Yes? CLYDE We'll get to that. First, what I'd really like to talk about is the cot in my cell. It's lumpy. -LRB- off Nick's stare. -RRB- Hardly any padding? Steel springs? Very uncomfortable? NICK I know what lumpy means. Sorry to hear it. But we're not here to talk about prison conditions, we're here to talk about things you've done. CLYDE Start with things I have n't done. Like get any sleep last night. -LRB- beat, leans forward. -RRB- I said let's begin today fresh and rested. You recall my words? NICK What do you want from me? CLYDE A bed in my cell. NICK A bed. In your cell. CLYDE Yes, please. One of those Sleep - Matic adjustables. Those are best. NICK You want the variable temperature control too? CLYDE That would be nice. Beat. Nick tosses his legal pad on the table, swivels around in his chair to the observers up on the catwalk, spreads his arms in a `` help me'' gesture. NICK Anybody? DUNNIGAN It's a steel cot! It's bolted to the wall! CLYDE I'm sure they have a wrench. IGER We also have rules prohibiting personal items such as beds. CLYDE -LRB- looks to Nick. -RRB- Let me get this straight. You're going to let a bed prevent this confession from taking place. NICK You looking to deal? All right, how's this? How about I do n't kick your fucking teeth down your throat? Clyde is mildly taken aback. The cops tense up. CANTRELL Nick. NICK Sorry, Jonas. Okay, kid gloves. -LRB- to Clyde. -RRB- My daughter slept in our bed last night. She has n't done that since she was six. You gave her nightmares. So excuse me if I do n't feel like cutting any little deals today. CLYDE My daughter ca n't have nightmares, because she died with Clarence Darby's breath in her face. You gave him a reduced sentence and his freedom. All I want is a good night's sleep.",
"EXT. PRISON COURTYARD - DAY Everybody's wound up, talking fast : NICK This is bullshit. He's jerking our chain big - time. CANTRELL I can justify the expense. IGER It's not just a bed. Every inmate here will be on the phone to their lawyer filing lawsuits for equal treatment. Can you justify that? SARAH -LRB- offering. -RRB- We give him a bed, he confesses, we take the bed away. At most it's one night. Cantrell weighs it, decides : CANTRELL We're talking a high - profile double homicide. Order the bed.",
"INT. CELLBLOCK - CLYDE'S CELL - DAY Clyde watches as MAINTENANCE MEN remove the unbolted cot from the cell and his Sleep - Matic is rolled in. CONVICTS watch, dumbfounded. Clyde's cellmate, a towering Aryan Brother named DWIGHT DIXON, stands quietly amazed. CLYDE -LRB- V.O. -RRB- -LRB- pre - lap. -RRB- Switching the drugs was easy.",
"INT. \"THE DOME\" - DAY Back in the birdcage : CLYDE I hacked the Fedex database, diverted the package to me, made the switch, sent the package on. It's automated tracking numbers moving millions of packages daily. Nobody's questioning who receives what, or why. NICK And the prison phones? CLYDE Get a phone company uniform, hack the prison database, schedule an official visit. They'll wave you through the gate, like they did me. It's simple if you know how things work. -LRB- off Nick's look. -RRB- It's a system. You learn how it works. You play it. Any system. NICK -LRB- beat. -RRB- I saw him die. That stuff burned his veins. He suffered terribly. CLYDE Score. Nick flips to a new page on his pad. NICK Let's move on to Clarence Darby. CLYDE -LRB- sits back. -RRB- Hey, you like music? NICK -LRB- hesitates. -RRB- Very much. Why? CLYDE I could tell. I love music. All of it. It's like air in my lungs. So the thing about Clarence Darby is, I want my record collection and player brought to me. The vinyl discs as well as CDs. Reactions all around the room. Iger leans forward : IGER Vinyl records and CDs can be broken into shards. They make excellent weapons. My answer to that one, Mr. Clyde, is not no, but hell no. Clyde absorbs that, looks to Nick, as : NICK It's a legitimate concern. CLYDE -LRB- beat, calls to Iger. -RRB- How about my ipod and speaker dock?",
"INT. CELLBLOCK - CLYDE'S CELL - DAY AN IPOD AND SPEAKER DOCK now occupy a small plywood shelf attached to the railing outside Clyde's cell. A GUARD plugs it in via a long orange extension cord. ANGLE WIDENS to Iger, who turns to the bars and hands a remote control through to Clyde. Dixon's watching balefully, as is every inmate on the cellblock. IGER The player stays out here. You hand the remote to the on - duty guard every night at lights out. Those terms are n't negotiable. CLYDE I appreciate your compromise. Iger draws close to the bars. Quietly : IGER You looking to get your ass kicked? -LRB- off Clyde's look. -RRB- By every inmate on this cellblock. You keep this up, they'll take it out on you. Harshly. Clyde glances back to Dwight. Dwight's watching, glowering, agreement in his silence. Clyde turns back to Iger. IGER Just trying to keep you alive in here. That's all. Iger walks away. Clyde aims the remote. MUSIC STARTS PLAYING. He leans his head on the bars, listening, blissed. Cons all over the cellblock are staring daggers at him. CLYDE -LRB- O.S. -RRB- -LRB- pre - lap. -RRB- I took his fingers with a bolt cutter. His toes with a pair of tin snips. His balls with a hacksaw.",
"INT. \"THE DOME\" - DAY CLYDE his penis with a box cutter. His skin with a filet knife. His teeth with pliers. His eyes. for those I used my fingers. -LRB- looks to Nick. -RRB- Check the video I made. All that will match up. I kept him alive for an hour, give or take. Time it. Nick trades looks with the others in the room - everybody have what they need? People nod. Nicks closes his pad. CLYDE What now? NICK My office types it up, you sign. Nick rises, putting things in his briefcase. People get ready to leave - but Clyde motions Garza to keep it rolling. CLYDE How about a signing bonus? The small concessions you've made so far have kept my cooperation flowing. why not give me a reward for signing? NICK You do n't want to sign, do n't sign. We've got you on videotape, we'll go to trial. In ten years, when your appeals are exhausted, I'll attend your execution. I'll make sure nobody tampers with the drugs. CLYDE Do n't be such a hard - ass, Nick. I do n't want much. Just a good meal. -LRB- directed at Iger. -RRB- The food here? Sucks. No offense. Dunnigan glances at Nick and stifles a smile, enjoying where this is going in spite of himself : DUNNIGAN What do you have in mind? CLYDE There's a place in town on Halston. La Traviata. Ever been? DUNNIGAN It's a little above my pay grade. CLYDE You know it, do n't you, Nick? NICK I've eaten there. So? CLYDE They cater. Tonight, at 7 p.m., I would like my meal delivered to my cell from La Traviata. With nice silverware, crisp linens. NICK Not gon na happen. CLYDE Why not? NICK Because I have no interest in making it happen. And you have nothing left to bargain with. CLYDE C'mon, Nick. We've just started bargaining. You have n't even heard what I'm offering yet. This makes people pause. Something in the tone of his voice. CLYDE Miss Lowell? Is your laptop still on? Would you please do a search? She flips the laptop opens, dread mounting even though she's not sure why, poises her fingers over the keys. CLYDE William. Baxter. Reynolds. Cantrell's quietly stunned as the name sinks in. Pin - drop silence now. Laptop keys CLACKING SOFTLY. People frozen. DUNNIGAN Who's William Reynolds? CANTRELL Clarence Darby's defense attorney. He brokered the testimony deal with us ten years ago. He's been missing now since. CLYDE March of' 06. Sarah spins the laptop - a photo of Reynolds, a story of his disappearance. CLYDE Detectives Dunnigan and Garza will like this offer, Nick. It'll clear one of their department's missing - persons files. And it'll solve them their third homicide this week. NICK Tell me. CLYDE How do you think I located Clarence Darby after he got out of jail and legally changed his name? Reynolds told me - though it took some convincing. PUSH IN ON Clyde in the frozen silence. CLYDE You want the location of the body? Tonight, 7 p.m., I get my meal delivered to my cell from La Traviata.",
"EXT. ROOFTOP HELIPAD - FEDERAL BUILDING - DAY A HELICOPTER THROTTLES UP, everything moving fast : an FBI FIELD TEAM, led by AGENT SAM DAVIES, emerges from a staircase door onto the roof, where they are met by Nick and Dunnigan. Davies dons his kevlar vest on the move toward the waiting copter, everybody SHOUTING over the rotors : DUNNIGAN SPECIAL AGENT SAM DAVIES, NICK PRICE WITH THE D.A.'S OFFICE! DAVIES NICK! TELL ME ABOUT THIS BODY! NICK SUSPECT SAYS NEW JERSEY! ACROSS THE STATE LINE! THAT MAKES IT FEDERAL, THAT MAKES IT YOU! DAVIES -LRB- to another FED. -RRB- GET THE CAMDEN OFFICE TO HAVE A GROUND TEAM MEET US! -LRB- to Dunnigan. -RRB- LOCATION? DUNNIGAN SUSPECT WILL GIVE US A GPS MARK! WE'LL ADVISE YOU IN THE AIR! They get to the helicopter, feds loading in as Nick pulls a business card, hands it to Davies. NICK I'LL BE IN MY OFFICE! PLEASE CALL ME! WE GOT A LOT OF PEOPLE HOLDING THEIR BREATH ON THIS! DAVIES WILL DO! Davies gets in, signals the PILOT. The copter takes to the air, buffeting Nick and Dunnigan.",
"INT. CLYDE'S CELL - DAY TIGHT ON CLYDE. He looks up, speaking slowly and clearly : CLYDE GPS position is as follows.",
"EXT. AERIAL SHOT - DAY FBI HELICOPTER THUNDERING over the city. VOICE ON RADIO delta niner foxtrot. GPS coordinates follow. The helicopter veers, banks into a steep turn.",
"INT. D.A.'S OFFICE - DAY Nick enters, moves through the bullpen. ADAs -LRB- assistant district attorneys -RRB- are working and grimly focused. Nick pokes his head into Sarah's office. She looks up. NICK What do we have so far?",
"EXT. PRISON - DAY A HIGH - END DELIVERY VAN bearing the logo of La Traviata is waved through the gate into the delivery entrance. SARAH -LRB- V.O. -RRB- He's got no next - of - kin. No family since his wife and daughter were killed.",
"EXT. AERIAL SHOT - DAY THE FBI HELICOPTER THUNDERS over beautiful green hills. SARAH -LRB- V.O. -RRB- He's a tinkerer. Little inventions and gizmos.",
"INT. NICK'S OFFICE - DAY Nick gazing out the window, Cantrell seated with his dog, Sarah reading the report thus far : SARAH he holds two dozen patents that have made him a lot of money the last ten years. He's invested a lot of it in real estate. Weird stuff. CANTRELL Weird how? SARAH Properties with no real value. Around airports, chemical plants. Stuff nobody wants.",
"INT. CELLBLOCK - DAY A CONVICT comes to his bars, peering out. CONVICT Motherfucker. because here comes the rolling La Traviata cart - gleaming domes keeping food warm, silver utensils, crisp linens, a ROSE in a bud vase. A red - jacketed LA TRAVIATA WAITER is pushing the cart, accompanied by GUARDS and Warden Iger. More cons appear at their bars, faces peering, an angry grumble growing in the cellblock as the cart goes by. The waiter's looking around, nervous. SARAH -LRB- V.O. -RRB- He votes. He gives money to charity, mostly victim's funds.",
"INT. OFFICE - DAY SARAH but he also gives a big chunk to macular research. CANTRELL -LRB- looks up. -RRB- He donates to eye research? SARAH RPI. That's the charity you work with, is n't it? CANTRELL Huh. Strange.",
"INT. CELL - DAY The waiter, hemmed by guards, nervously reads the order : WAITER consommé. sea bass. squab. New York strip, rare. a variety of pates. CLYDE Rack of lamb? WAITER oh, yes, rack of lamb.",
"EXT. NEW JERSEY HILLTOP - DAY THE HELICOPTER ROARS IN, lands. Davies and his men jump out. AN FBI GROUND TEAM is waiting for them. A CAMDEN FIELD AGENT runs up and points at the ground, shouting : FIELD AGENT WE THINK WE'VE GOT A CAIRN HERE! SOMEBODY LAID A BED OF STONES AND PLANTED SOD OVER IT! Davies signals his team. SHOVELS AND PICKS hit the ground.",
"INT. CELL - DAY while GORGEOUS FOOD hits paper plates. It's being slopped unceremoniously from the fine china by the guards. TILT UP to Iger overseeing this process, passing china and utensils to the waiter, who's flustered : WAITER You're bruising the crepes. GUARD Life's a bitch, then you die. IGER no plates, they break into nice jagged pieces. nothing sharp, nothing that can be made sharp. no forks, no knives, no spoons. lose that carafe. we will have no potential weapons of any kind this evening, thank you. you can eat with your fingers. CLYDE The guards will think me gauche. Clyde's got the rose, teasing his nose with it. All around the cellblock, inmates are shouting insults and threats.",
"INT. OFFICE - DAY Sarah is exiting, leaving Nick and Cantrell to stare at the phone and wait for it to ring. NICK -LRB- calls after her. -RRB- Thanks. Keep digging.",
"EXT. HILLTOP - DAY Digging. Sod coming off, being set aside on plastic. FLASH PHOTOS being taken. Stones being pried up.",
"INT. CELLBLOCK - DAY Waiter and guards exit with the cart. The entire cellblock is SHOUTING. Iger pauses, gives a final glance back. Softly : IGER Idiot. Then he too departs, as : CLYDE aims his remote. MUSIC for dining. Clyde glances back at Dwight, who's poised and tense. CLYDE I suppose if I do n't share, you'll beat the shit out of me. Make me squeal like a piggy. That sort of thing. DWIGHT Fuckin' A. Clyde motions `` join me, wo n't you?'' They each take a seat. Clyde passes Dwight a crisply - folded linen napkin. Dwight tucks it like a bib. Clyde lays his on his lap. A hurled object CLANGS off their bars. The cons are now throwing things, hollering to raise the dead. Clyde cranks the music a bit louder, motions for Dwight to dig in. Dwight goes for it, cramming food in his mouth and grabbing for more, fingers digging in.",
"EXT. HILLTOP - DUSK fingers digging in, pulling loose soil, prying stones. A layer of soil is brushed aside to reveal : A face. Embedded in the dirt. He's been there a long time. FLASH PHOTOS highlight desiccated lips and teeth.",
"INT. CELL - DUSK lips and teeth - Dwight chewing, laughing. Oddly enough, he and Clyde seem to have started enjoying each other's company. THE MUSIC PLAYS in bizarre counterpoint to : THE CACOPHONY of an angry cellblock - if the cons were n't in their cells, this would be a riot. All imaginable items are being hurled through bars : toilet paper rolls, books, shoes, clothes, all raining down, showering the cellblock floor. CLYDE I wonder what the little people are eating tonight? Dwight throws his head back and laughs.",
"INT. OFFICE - DUSK while, in deep silence, Nick unwraps a sorry - looking deli sandwich, swaps his pickles for Cantrell's potato salad -LRB- their long - standing ritual -RRB-. They both keep glancing at the phone.",
"INT. CELL - DUSK as Clyde and Dwight indulge their food orgy. Dialogue is not important, so we wo n't hear any - we'll let the MUSIC take over and carry - because it's all about tone : They're laughing and talking, winding each other up. And the more Clyde wisecracks, the more Dwight laughs. Clyde finishes gnawing a lamb rack and says something to Dwight about the ruckus. Dwight turns, glances out, as : Clyde casually, but with purpose, lowers the bone onto his lap - adding it to one already there. He picks up a fresh one, starts chewing the meat off.",
"EXT. HILLTOP - DUSK Dark enough now for flashlights. In the beams, we see the body mostly excavated. Forensic team members gather, in gloves and breather masks, getting ready to try lifting. FORENSIC TECH Okay, let's see if we can get him out in one piece. ANGLE FINDS Davies at the helicopter, activity around him, holding Nick's card and dialing a cell phone.",
"INT. CELL - DUSK Clyde laughing, chewing, gnawing that third bone. ANGLE CLOSES DOWN as he brings it to his lap. TIGHT REVEAL : His napkin wrapped tightly around his hand provides padding for his palm. The two earlier bones are already held between his fingers - he places the third, makes a fist - and the bones now protrude from his clenched knuckles like a trio of spikes. TILT UP to Clyde. he reaches across, turns a paper plate over to cover the crepes.",
"INT. OFFICE - DUSK The PHONE RINGS. Nick snatches it up. He listens, looks to Cantrell. nods. They found the body.",
"EXT. HILLTOP - DUSK Behind Davies, B.G., the body's being extracted from the hole : FORENSIC TECH gently on three. one. two. DAVIES -LRB- on cell. -RRB- - we'll have to wait for the autopsy results, but - WHAM - the GRAVE ERUPTS as HALF A DOZEN BURIED CLAYMORE MINES pop like firecrackers, knocking Davies forward.",
"INT. CELL - DUSK and Clyde lunges, face no longer laughing, the rolling cart slamming into the wall as the lamb bones protruding from his fist go slamming into Dwight's throat.",
"EXT. WIDE LANDSCAPE/HILLTOP - DUSK and the dust cloud cascades across the hillside.",
"INT. CELL - DUSK and Clyde has Dwight pinned on the floor against the bars, arm ramming like a piston, punching those bones into Dwight's throat again and again, blood everywhere.",
"INT. OFFICE - DUSK TIGHT ON NICK holding the phone. He knows something awful just happened on the other end : NICK Agent Davies?",
"EXT. HILLTOP - DUSK An open CELL PHONE lies on the grass. Feet stumble haltingly into the shot. TILT UP TO : Davies, dazed, staring offscreen in shock. Dust and smoke billowing. People running, shouting.",
"INT. CELL - DUSK Clyde rises into the shot, calm now, covered with blood. He unwraps the napkin from his hand, snaps it open, uses it to wipe the blood from his face. He takes his seat, positions the cart, uncovers the crepes and resumes eating. FADE TO BLACK",
"INT. PRISON COURTYARD - DAY A steel gate slides open, revealing Nick. Flanking him are Cantrell, Dunnigan, Davies -LRB- banged up and bandaged -RRB-, Iger, others. They move toward us with purpose, grim and resolute, Sarah bringing up the rear with a young ADA named ROYCE. NICK Why do you have him in the dome? IGER He killed his cellmate. We had to separate him out. CANTRELL What's wrong with solitary? IGER We do n't have the authority. Not without a court order. This place was re - opened under protest as it is. Some areas are off - limits to our use - tied up in a legal challenge by the ACLU as cruel and unusual. Especially solitary. -LRB- off Nick's look. -RRB- It was nicknamed the dungeon. NICK -LRB- to Sarah. -RRB- Get Judge Burch on the phone. Sarah speed - dials as a GUARD lets them in.",
"INT. \"THE DOME\" - DAY Clyde waits in the birdcage, shackled. The group spreads into the room, silence thick. Nobody will enter the birdcage this time. Clyde occupies it alone - owning it, in fact - as : IGER Nice trick with the rack of lamb. Did n't see that one coming. NICK Why'd you kill your cellmate? CLYDE I claim self - defense. NICK Here's what I think. You suckered us in. You ordered that meal for the purpose of killing him. CANTRELL Which makes it premeditated. Again. CLYDE And, again, you'll have to prove that in court. As I've said before. -LRB- to Nick. -RRB-. make your case. Or set me free. DAVIES -LRB- pissed, moving forward. -RRB- Your booby - trap killed two of mine and put four in the hospital. That brings the total of people you've killed to six - and be advised the Bureau does not suffer losing agents in the field. -LRB- turns. -RRB- We're done dancing. I have the right to claim jurisdiction here, do I not, Detective Dunnigan? DUNNIGAN That is correct, Agent Davies. DAVIES -LRB- again to Clyde. -RRB- So. I'm gon na rendition your ass. Rumor has it we have places that make Guantanamo look like Disneyland. Do n't bother packing, you're gon na disappear. CLYDE -LRB- beat, glances to Nick. -RRB- You see, Nick? That man is pissed! That's what I'm talking about! No deals, no compromise! You see? NICK I see you totally disconnected from reality, that's what I see! SARAH -LRB- handing off phone. -RRB- Judge Burch with an answer for you.",
"INT. JUDGE'S CHAMBERS - DAY JUDGE BURCH I'm the ACLU's biggest fundraiser in this state. You wan na put that piece of shit in solitary? Good. As far as I'm concerned, you can bury him in the bowels of hell.",
"INT. \"THE DOME\" - DAY NICK Thank you, Judge Burch. -LRB- hangs up, looks to Iger. -RRB- Consider your court order signed. -LRB- moves to Clyde. -RRB- Freedom? Not likely. In fact, you just bought a one room suite in the dungeon. Very exclusive. IGER You'll have it all to yourself - the first man down there in over twenty years. Quite an achievement. Clyde sinks with a sigh of resignation and defeat, rests his head wearily on the bars. Nick moves in, speaking quietly : NICK You're doing everything wrong. Making all the wrong moves. CLYDE It would seem that way. The wording catches Nick - but he dismisses it, turns : NICK Sam. I know you got hit hard. I know you're furious. But I'd like my shot at prosecuting this case. -LRB- off Davies' look. -RRB- This started with us. Let me finish it. Give me that chance. CLYDE I'm seeing fire in your belly, Nick. I like it. Keep going. This is our deal, after all. CANTRELL Let's not mistake this! This is not about the two of you! CLYDE -LRB- shouts. -RRB- Wake up, blind man! It's been exactly that since I watched him shake Clarence Darby's hand on the steps of the Hall of Justice ten years ago! The Hall of Justice! His voice echoes off. In the silence that follows : DAVIES You wan na take this fuck down? Be my guest. Whatever you need. CLYDE -LRB- bangs his bars. -RRB- That's the spirit, yes! -LRB- to Nick. -RRB- It's on you now, Nick. It's your game to lose. Just do n't screw up. You do, they'll scapegoat you. That's how the justice system works. -LRB- to Davies. -RRB- Good call, Sam. Making me disappear was a bad idea. You could n't have handled the blowback. NICK Blowback? CLYDE Cause and effect. Your actions provoke reactions. The choices you make come back to haunt you. -LRB- off their looks. -RRB- There are things I've set in motion. Dominoes that will fall. Did n't see the rack of lamb coming? Start a list. All I can do at this point. if I feel like it. is stop them from happening. Ready to talk deal? NICK You're insane. CLYDE See how insane you think this is. You're going to release me from this place with all charges dropped within twenty four hours. NICK Or what? CLYDE Or I start killing everybody.",
"INT. SOLITARY WING - DAY `` The Dungeon'' - a small underground block of FIVE CELLS dating back a century or more. A GUARD is spraying WD - 40 into the lock of a cell, trying to turn the key. It finally does, as : Clyde is brought in. GUARDS have him on poles connected to a leather collar around his neck, and they're none too gentle. Clyde tosses a final glance back at Nick and Iger. CLYDE Clock's running, Nick. and then he's gone, shoved inside.",
"EXT. PRISON COURTYARD - DAY Nick and the others exit the Dome, thoughts racing : CANTRELL What can he do? We've got him boxed in. He's isolated, for God's sake. NICK Let's keep him that way. Strict rules apply. Law says he gets one hour outside his cell a day, that's what he gets. Just one, under heavy guard. The other twenty - three hours, he's in that cell, he's a ghost, he does n't exist. No contact whatsoever. DUNNIGAN You think it was a bluff? NICK We underestimated him before. I'd like to know what this prick is capable of. -LRB- calls to Sarah. -RRB- Update on the background check? SARAH Properties, investments, a few small businesses he owns - a lot of it's hidden behind false names and shell companies, but we're still digging. NICK That's it? Nothing else unusual? ROYCE The last twenty years, he's been Joe Blow Citizen. But prior to that, we've hit a blank spot. He used to do consulting for the government, but we ca n't pin down what. They absorb this - especially Davies. All eyes go to him. NICK What kind of government work leaves a blank spot, Sam? DAVIES I'll make a few discreet calls. See what I can find out.",
"INT. RESTAURANT - NIGHT Expensive, upscale. We find Nick and Kell at a table. She's got her menu, but her attention's really on Nick. He's toying absently with his wine glass. KELL Where are you? NICK -LRB- catches himself. -RRB- Million miles away. Sorry. KELL Do n't be. This guy's really doing a number on your head, is n't he? NICK Yeah. I guess he is. -LRB- she expects more. -RRB- It's. killing his cellmate. I need that to make sense. KELL Why? Happens in prison all the time. NICK Yeah, I know, but. we're not talking some gang - banger. This man is precise. Does things for a reason. KELL He's psycho. You said so yourself. We saw it on that video. Psychos do n't need a reason, Nick. They're just psycho. -LRB- off his look. -RRB- Whatever. You'll figure it out. You always do. NICK -LRB- smiles. -RRB- Thanks. I'm a poor excuse, though. It's date night. You deserve better. -LRB- a glance around. -RRB- Just wish you'd picked another restaurant. KELL This is our place. You love it here. -LRB- as a waiter approaches. -RRB- You should have said something. She raises her menu - yes, we're in La Traviata. And the waiter is the same guy who brought Benson Clyde his meal : WAITER Have we decided? Nick's CELL PHONE RINGS. He pulls it, checks the number, gives them a look - sorry, got ta take this. NICK Sam? What is it? -LRB- beat. -RRB- Not far, maybe six blocks. I'm having dinner with my wife.",
"EXT. CITY HALL - NIGHT DAVIES Two words : doggy bag. Be in your office in ten minutes. -LRB- beat. -RRB- Nick, do n't ask questions. I was on the phone all day. Believe me when I say we've got one shot at this. He clicks off.",
"INT. NICK'S OFFICE - NIGHT and faces Nick and Cantrell in the dimly - lit office : NICK He's coming here? DAVIES So I'm told. It's called inter - agency cooperation, but do n't ask me what agency because I would n't know. This is n't even back - channels, this is Theseus in the fucking Labyrinth. -LRB- off their looks. -RRB- I just blew thirty years' worth of favors today calling in this one chit. I hope it's worth it. The desk phone RINGS. Nick answers, listens a beat : NICK Yes. Yes, we're all here. Downstairs? Okay. Understood. -LRB- hangs up. -RRB- He said not to take the elevator. Off their puzzled looks.",
"INT. CITY HALL - SPIRAL STAIRCASE - NIGHT Huge, descending seven floors, circles within circles dropping into darkness. Nick and Davies lead the way down. Cantrell brings up the rear with his dog and cane. SPOOK -LRB- O.S. -RRB- That's good there. They freeze. Nick and Davies peer down. They start to make out a FIGURE in the murky darkness one level below. SPOOK Which one of you is Davies? Davies takes a step forward. THE SPOOK eases partially into the light - flinty gaze, military - style haircut. SPOOK You must be well thought of, Agent Davies. I do n't do this. But I was asked nicely by the right people. They briefed me on your problems with Benson Clyde. NICK What are we dealing with? SPOOK Things I can neither confirm nor deny. Things of which, if I'm asked, I will disavow any knowledge. The guys trade a look. Cantrell ca n't help chuckling. CANTRELL -LRB- to Davies. -RRB- You got ta be kidding me with this guy. SPOOK He's not. Tell me you grasp the implication of what I've said, or we're done here. CANTRELL -LRB- smile fades. -RRB- Yeah. Okay. I get it. NICK What was Clyde? Some kind of spy? SPOOK Spooks like me are a dime a dozen. Clyde was a brain. He ran a think - tank, inventing things for use in the field. Ways to kill people. -LRB- off their looks. -RRB- You need to get rid of somebody. It's not a situation where you can get close. What do you do? NICK Ask Clyde? SPOOK That's right. Ask Clyde. And he'd figure something out. Gizmos, strategy. He was good at it. NICK How good? SPOOK -LRB- beat. -RRB- You play chess? NICK Yeah. Tournament level in college, matter of fact. SPOOK In my line, we use an aptitude profile based on chess. A tournament - level player like you can think five to eight steps ahead of an average player, did you know that? Me, I think about ten steps ahead, so I'd take you in a game. NICK What about Clyde? SPOOK Off the charts. If you're eight steps ahead, he's twenty. Or fifty. He's already got the game won on the first move, you do n't even know you're playing yet. -LRB- further into the light. -RRB- This cellmate he killed? You think that was random? Bullshit. That was a pawn taken off the board. If I were you, I'd be trying to figure out what the move was. NICK I have been. Any thoughts? SPOOK Top of my head? Was the cellmate ever connected with this case? Or with Clyde? Was anybody else in that facility? Guards? Cons? The janitor? Any connection at all, no matter how remote. Because if Clyde says he has things in play, he does. DAVIES Like what? He's locked up. What can he do? SPOOK -LRB- gives him a look. -RRB- You're an average chess player, are n't you? DAVIES Actually, I kind of suck. SPOOK I can tell. But I like your tie. DAVIES -LRB- perplexed. -RRB- Thank you. Father's Day. SPOOK There's this tie - we call it the Albert, after Albert DeSalvo. They tiptoe in one night, thread a piano wire with a ratchet gizmo into one of your ties. Sounds crazy, but trust me it works. You put your tie on and all day long it slowly tightens. You do n't even notice it's cutting off the blood - flow to your brain. Then you drop dead. Brain - dead or plain dead, does n't much matter at that point. -LRB- beat. -RRB- Clyde invented that. The Spook melts back into the shadows. The guys crane forward, trying to see. There's a brief spill of light below as a doorway opens and closes. he's gone. The three of them stand there absorbing everything they've heard. Nick sits on a step. Quiet looks are traded. and they all start taking off their ties.",
"INT. NICK'S HOUSE - NIGHT Nick enters tie - less, subdued, distracted. Kell and Emma are in the living room playing Scrabble. EMMA Daddy! Emma jumps up and runs over for a hug. EMMA Mom said I could stay up late. Wan na play Scrabble? NICK Let me talk to mom first. Emma returns to the couch. Kell comes to Nick, noticing his weird vibe : he's looking around at the room. NICK Sorry about date night. KELL It's fine. You learn anything? NICK Thing or two. He moves up the hallway - slowly, as if noticing the walls for the first time, the picture frames, the light fixtures. KELL -LRB- following him. -RRB- Nick? NICK Hey, I was thinking. Maybe you could pack an overnight bag for you and Emma in case you need to. you know. spend the night in a hotel. Or something. KELL Why would we wan na do that? NICK No reason. It's like a fire - drill thing. You know. In case.",
"INT. BEDROOM - NIGHT He comes in, opens the closet, reaches up for some overnight bags - but pauses, drawn to his tie - rack inside the door. He stares at the ties hanging in neat rows. starts touching them, running his hands up and down the fabric. Kell stands in the doorway watching. Wondering what the fuck is going on. And getting a little creeped out. KELL Honey? He freezes, feeling something in the seam of a tie. Runs his fingers up and down, thinking something's in there. Emma appears in the doorway too, at her mother's side. Both staring now. They watch as : Nick grabs a pair of scissors from Kell's sewing kit, carves the tie lengthwise, rips it open, feverish and faster, finds nothing inside but mangled fabric and thread and - stops. Looks back. Realizes they're staring at him. KELL What the hell are you doing? Nick pauses - what the hell is he doing? He starts to regain his sense, laughs at himself in amazement. EMMA Daddy? NICK It's okay, baby - I'm fine, I promise. Go back to your game. Dubious, Emma departs. As soon as she's out of earshot : KELL Seriously, Nick. What the fuck. NICK Nothing. I got paranoid for no reason, that's all. I'm fine now. I ca n't believe I let that son of a bitch Clyde get to me like that. KELL Are you in danger? Are we? The question hangs there - the real question. NICK I'm sure we're fine. He pulls his phone, speed - dials. NICK I'll make goddamn sure. -LRB- beat, into phone. -RRB- Sarah, roust the ADAs. Tell'em we're pulling an all - nighter.",
"EXT. PRISON COURTYARD - NIGHT ADAs are parking their cars along the wall, directed by a waving GUARD. ANGLE FINDS a lot of people : cop, prison, FBI. Sarah jumps out of her car and hurries over to Nick and the others with a flock of EIGHT ADAs at her heels. NICK Ready to turn this place upside down?",
"INT. PRISON ADMINISTRATION OFFICES - NIGHT we find the ADA team spread around the bullpen, aided by prison personnel and police advisors - everybody's on computers, or sorting heaps of paper files, etc.. NICK See if there's anybody locked up here - or working here - ex - cop, witness for the prosecution - anybody who might have had anything to do with the original Darby - Ames case, or has any previous history with Benson Clyde. Start with the cellmate. Flag anything, no matter how insignificant it seems. JAMESON glances up in dismay from his keyboard. JAMESON This could take days. Sarah, grabbing a stack from a filing cabinet and slamming the door shut with her hip, gives him a laser look : SARAH We boring you, Jameson? You got someplace to be? JAMESON No, Miss Lowell. SARAH -LRB- crossing the room. -RRB- Weekend plans? Cancel'em! I do n't wan na hear any shit about it! -LRB- on Jameson again. -RRB- Clack - clack, Jameson. Clack - clack. Jameson dives onto the keys, starts clack - clacking. Sarah gives Nick a nod - she's got this in hand. Nick exits.",
"EXT. PRISON GROUNDS - NIGHT and finds a FORENSIC TEAM disassembling Clyde's Sleep - Matic bed - nuts, bolts, struts, electronics. The mattress is being razored open, wadding pulled out and run under fluoroscopes. NICK Well? DUNNIGAN It used to be a Sleep - Matic adjustable bed. Now it's not. CAMERA FOLLOWS them to a table where an FBI TEAM is focusing all their skills and tech on Clyde's ipod and speaker dock. The TEAM LEADER places the buds in his ears, listening. NICK What do you have? TEAM LEADER Rocky Mountain Way. Joe Walsh. -LRB- off Nick's look. -RRB- What do you want from me, it's a fucking ipod. The other agents snicker, not hiding their amusement, but : NICK Tear it apart, make sure. Memory. Speakers. Wiring. Everything.",
"INT. CLYDE'S CELLBLOCK - NIGHT GUARDS, FEDS, BOMB - SNIFFING DOGS - they're cruising the cellblocks, flashlights swiveling, beams catching the faces of sleepy cons in their cells or at their bars. We find Nick and Iger at Clyde's now - empty cell. TWO FBI emerge, shake their heads. FBI FORENSIC Blood stain. Few fibers. That's it. CONVICT -LRB- sleepy, at his bars. -RRB- Warden, man, whassup? IGER Everybody back to sleep. NICK -LRB- looks to Iger. -RRB- I want to see him.",
"INT. SOLITARY WING - CLYDE'S CELL - NIGHT Two doors : solid steel outer door, inner barred door. The outer slides aside, reveals Nick outside the bars. Inside stands a shadow, waiting : Clyde. CLYDE You're up early. Trouble sleeping? NICK It was a good bluff. But you're done. Fucking with my head. Scaring my family half to death. Done. Clyde moves closer to the bars, into the light. CLYDE Amazing, is n't it? How primal that is. That pull? What a man is capable of when it comes to his family? NICK You strip away all the polite shit, that's what we're really about. CLYDE I hope you never face what it is to lose them, Nick. It's like dying yourself. There's nothing worse. That could play as a threat, of course - but it's not. It's genuine. And pained. And sincere. And Nick knows it. NICK Good night, Ben. CLYDE Good night, Nick. And then the moment's gone and the mocking Clyde returns : CLYDE Is it casual Friday? -LRB- off Nick's look. -RRB- I've never seen you not wear a tie. And that says volumes : Clyde's totally aware of what they've been up to and is tickled by it. The outer door GRINDS SHUT.",
"EXT. PRISON GROUNDS - DAWN Night has passed, day is coming. All the earlier energy has dissipated into anticlimax and weariness. People straggle across the yard in groups toward their vehicles. Nick, Dunnigan, Davies, Iger - all look whipped. Sarah approaches, briefcase in hand, files under her arm. SARAH We dug pretty deep for one night. Still got a ways to go, but on a first look? Nothing. Nada. Zip. IGER Well, that's good news. NICK So far. Now we double - down. Make absolutely certain. -LRB- nods after ADAs. -RRB- Let them all sleep a few hours, then bring'em back for round two. SARAH Due diligence. My middle name. She trudges toward her car, following the ADAs toward their vehicles. Nick trades relieved looks with the men - everybody coming down from a tense night. Davies shakes their hands : DAVIES Fellas. For once, glad not to be of assistance. DUNNIGAN Love it when they cry wolf. The men separate in different directions. Dunnigan catches a glimpse of Sarah almost at her car - she loses a page from under her arm, which flutters away on the breeze. DUNNIGAN -LRB- calls to her. -RRB- Miss Lowell! Lost something! She looks back, sees the page skittering slowly across the ground. Weary, she blows a strand of hair from her eyes, sets down her briefcase, walks back to get it. Dunnigan smiles, keeps walking. The other men too. Nick stands a moment, watching, then starts toward his car. The ADAs are getting to their cars, pulling key fobs, aiming them to unlock their cars. Sarah is getting to the page, leaning down. The ADAs are pressing the remotes, a CHORUS OF CHIRPS. And WHAM - the cars EXPLODE in a stunning SERIES OF DETONATIONS, killing the ADAs, throwing bodies through the air, kicking cars off the ground and flipping a few skyward. Nick is knocked flat by heat and shrapnel ripping the air. Sarah goes flying. An arcing car slams upside - down nearby on a rocket - booster of flame and shattering axle. And from this point on the visuals and sound are surreal : NICK pries himself off the ground, stunned, looking around, trying to figure out what the fuck just happened. He's disoriented, all sound muffled. Smoke drifting. Flames billowing. Dunnigan runs up to Nick, shouting something. We ca n't tell what, because Nick ca n't hear. Dunnigan sees Nick is alive, turns and keeps going, running to help the others. Nick looks over, sees bodies being pulled clear by responders, men running in, beating at flames. Nick, dazed, looks through the drifting smoke and sees Sarah trying to sit up. There's something wrong with her leg. Nick pulls himself to his knees, staggers to his feet as sound filters back in : screams, shouts, the roar of flames. He stumbles through the smoke to Sarah. She's on the ground in shock, sobbing and flailing, crying out. Nick sees the jagged piece of metal that slammed deep into her calf, nearly severing it. He drops to his knees, tries to calm her : NICK You're gon na be all right. He pulls the metal from her leg - mistake. Blood sprays. He clamps down hard with both hands, blood going everywhere. NICK MEDIC! I NEED A MEDIC! He keeps clamping down, Sarah screaming and sobbing, as we GO TO BLACK IN A SERIES OF FADE - TO - BLACKS, THE FOLLOWING IMAGES : FIREMEN spraying the flaming rubble of the cars. TANGLES OF WRECKAGE billowing smoke. A BODY BAG dragged across the ground, added to a ROW OF BODY BAGS awaiting transport. EMERGENCY VEHICLES parked haphazardly, lights spinning. COPS AND RESPONDERS dealing with the scene. SARAH being wheeled on a gurney to a PARAMEDIC VAN by an EMS TEAM, oxygen mask on her face, gravely injured but stabilized, everything swirling around her, Dunnigan clearing a path. NICK appears, takes her hand. She clasps it weakly. They load her on and the vehicle pulls out with siren and lights.",
"EXT. PRISON GROUNDS - DAY Back to `` real time'' - Cantrell is just getting out of his town car with his dog. WE FIND Nick on his cell : NICK -LRB- on cell. -RRB- Baby. Listen. Do n't be worried or scared. But I want you to pack those overnight bags. I do n't have time to explain now. Just do it, okay? I'll call you back as soon as I can - please, honey, I got ta go. He clicks off as ANGLE COMES AROUND, revealing Davies and his TEAMS coming his way : DAVIES Each car had an explosive charge on the gas tank. NICK He's got someone working with him. On the outside. He's got to. DAVIES Not necessarily. Everything looks pre - rigged. BOMB EXPERT We found a short - range transmitter beacon buried outside the prison wall. When your people showed up here and drove in through the gate, the signal armed the bombs. DUNNIGAN He could have planted those bombs a month ago. CANTRELL -LRB- grappling for sense. -RRB- No. no, we've got two dozen ADAs on payroll. Those eight were picked last night on the spur of the moment. How could he know which eight would show up? DAVIES He did n't. Our people just found bombs on every car in your ADA pool. All two dozen. We're disarming those now.",
"INT. \"THE DOME\" - DAY TIGHT ON CLYDE shoved into the birdcage. The neck - poles are disengaged. He moves forward, gazing through the bars. CLYDE I want a phone in my cell. If I'm conducting my own defense, it would be useful. Also in case you and I need to be in touch, Nick. NICK Fuck you. CLYDE -LRB- glances at clock. -RRB- Your twenty four hours are about up. In return for the phone, I'll extend you another twelve hours. NICK If not? CLYDE How many more people die while you stand around dithering? How many do you get killed before my point starts sinking in? Cantrell closes in, tracking Clyde by voice : CANTRELL Motherfucker! Whatever point you had was lost long ago! Eight kids dead in that yard, most of them just out of college! Eight! I have to talk to their families. I have to try to explain why their loved ones are dead. Clyde leans down, right in Cantrell's face, intense : CLYDE I've been waiting for my explanation for ten years. So far. -LRB- shouts. -RRB-. NOBODY'S FUCKING BOTHERED! Beat. Cantrell spits in his face, turns away trembling with rage. Clyde calmly wipes it off, rises to address them all : CLYDE If it has n't dawned on you, this is a war. As in any war, there will be collateral damage. The question, as always, is how much damage you're willing to take before you withdraw. DUNNIGAN Maybe I got a better idea. Maybe we end this war right now. -LRB- looks around. -RRB- Fourteen people dead! I have to say this out loud? -LRB- moving toward Clyde. -RRB- Prisoners die in custody all the time. Attacking a guard. Trying to escape. Shit like that. Clyde, eyes locked, pulls his shirt open - here's your target. Dunnigan, temper flaring, yanks his revolver and aims. DUNNIGAN Do n't tempt me. GARZA Jesus Christ, man, dial it back. CLYDE Do it. It would be decisive. Stupid, but decisive. -LRB- off Dunnigan's look. -RRB- Can you handle the blowback, Detective? The `` shit like that?'' Nick's stunned, seeing the whole situation spiraling out of control. He steps in, seizing the moment back : NICK Put the gun away! Are you crazy? DUNNIGAN -LRB- calmly reholsters. -RRB- It's an option. All I'm saying. Risk the blowback. Ride it out. NICK We're not risking anything. Or letting him tear us down. -LRB- to Clyde. -RRB- You're not getting us to throw out the rules, like you. No way. CLYDE I like rules. I've wanted you to follow them from the start. Like the one that says you prosecute a man who murders my family. -LRB- re - buttons. -RRB- So. Rules. A phone buys you another twelve hours. But if you have n't cut my deal and let me go by the deadline. NICK What? What then? CLYDE I'll kill someone in this room. That sucks the air out of the conversation - everybody stares as that sinks in. Glances are traded. NICK Who? He looks at the room full of people, scans their faces as if trying to pick. He points his finger, starts going from one end of the group to the other. CLYDE Eenie. meenie. miney. moe. from person to person, to the end, moving back again. CLYDE my mother. told me. to pick. a person. and that. person. is. He lands on Cantrell. Silence. Cantrell obviously ca n't see. CANTRELL Who's he pointing at?",
"EXT. PRISON COURTYARD - DAY Everybody on the move, emotions high : CANTRELL Fuck him. Let him try. NICK That's not helpful! We have fourteen dead! You could ask them what he's capable of, but they're in no position to answer. CANTRELL -LRB- beat, tight. -RRB- Point taken. DAVIES We'll give him his phone. We'll tap in and monitor every call. DUNNIGAN Buys us another twelve hours, we could use that right now. That puts the deadline at. -LRB- checks his watch. -RRB-. about 7:30 tonight. CANTRELL Shit. I'll be in front of a room full of lawyers. The A.B.A. dinner. I'm the keynote speaker. NICK No way. Find a replacement. DUNNIGAN Until his deadline passes, you're in protective custody. Not negotiable. Cantrell is n't happy about it - but nods. NICK And have them switch the location of that dinner. CANTRELL That's last minute. NICK Exactly. He could have gotten your schedule in advance - been planning to take you out at the dinner along with everybody else. That eenie - meenie act could have been horseshit. -LRB- off their looks. -RRB- We have to get a few moves ahead. Plan for every contingency. DUNNIGAN This way, Mr. Cantrell. Garza, you're with Mr. Price. They split up. Dunnigan leads Cantrell to an unmarked car while Nick and Garza head toward Nick's. Nick's phone RINGS. He checks the number, answers : NICK Hey baby - no, I'm fine. Really. Honey, calm down. He listens a beat, calls to the men getting in the other cars : NICK Our shit just hit the fan in a big way - we're all over the news. -LRB- on phone. -RRB- Yes, all eight died. Sarah's in surgery right now. -LRB- beat. -RRB-. they think so, but. -LRB- beat. -RRB-. okay, I'll meet you there. Love you. He hangs up, aims his key fob - and hesitates. He and Garza trade a look, thinking the same thought. ANGLE SHIFTS to : BOMB EXPERT You're good. Car's been swept. NICK Of course it has. Thanks. Nick, feeling foolish, presses the fob. Nothing but a tiny CHIRP. He and Garza get in.",
"INT. UNMARKED CAR (MOVING) - DAY Dunnigan drives. Cantrell and his dog ride in back. Both men tense and silent. TWO POLICE CRUISERS provide escort.",
"INT. NICK'S CAR (MOVING)/EXT. HOSPITAL - DAY Nick is pulling up toward the hospital, sees a TV NEWS VAN at the entrance, a MINICAM CREW arguing with hospital security. GARZA Go around. I'll get us in back. Nick hits the gas, drives past the news van.",
"INT. HOSPITAL - DAY and they come past the nurse's duty desk. UNIFORMS are stationed in the hallway. Garza pushes a path through : GARZA Keep the press off this floor, understand? Nick squeezes past. The floor is busy. He finds Kell in the waiting area. She looks up, spots him. Kell rises. She and Nick pull into a tight embrace. No words for a long moment. Kell's shaken, fighting tears. NICK Any word? KELL She's in surgery now. They're saying she'll be okay. NICK Thank God. That's good. KELL Good? You'll have to explain the good part, Nick. I'm missing it. This is crazy. What if something happened to you? What would I say to Emma? What would we do? NICK You did n't lose me. You wo n't. Does the school know we're pulling Emma out of class? KELL I called, yeah, but - I'd rather be here for Sarah when she wakes up. Nick - and for you. I want to do something. NICK You are. Getting our daughter out of harm's way. And yourself. -LRB- calls to Garza. -RRB- Detective. Will you escort my wife, please? -LRB- to Kell. -RRB- There's not much time. I'll be there to see you off. Okay? Please? Kell reluctantly walks away with Garza, while :",
"EXT. CITY HALL - DAY A media frenzy is brewing : TRUCKS pulling in, NEWS CREWS gathering. ANGLE TO A REPORTER on - camera : REPORTER reporting live from a tense scene at City Hall. we have confirmation of earlier reports that eight people with the district attorney's office were killed this morning in an explosion at the County Correctional Annex in George Hill.",
"INT. D.A.'S OFFICE - DAY Nick enters, finds the STAFF around the bullpen watching the same live report. Everybody's in shock, a few are crying. REPORTER details are sketchy at this point, and names are being withheld. People start noticing Nick. Royce comes up, looking dazed. NICK Sarah's fine. That's the good news. ROYCE Oh, God, that's a relief. -LRB- calls to the others. -RRB- Miss Lowell is okay. she's okay. Everybody reacts - they needed a shred of good news. ROYCE We've been getting calls from upstairs. The mayor's people. -LRB- off Nick's look. -RRB- Someone from our office has to make a statement to the press. With Mr. Cantrell absent, the mayor wants you to do it. NICK -LRB- pause, thinking. -RRB- Royce. how much petty cash do we have in the safe? ROYCE I do n't know. four thousand? NICK Give it to me. And your cell phone. I need to borrow it for a few days. ROYCE -LRB- beat, puzzled. -RRB- What do you want me to tell the mayor?",
"INT./EXT. CITY HALL - DAY A FIGURE enters shot, pushes a door open into glaring daylight. CAMERA FOLLOWS him outside to a podium set up before a swarming MOB OF PRESS shouting questions. ANGLE COMES AROUND to reveal : Royce, nervous, leaning to the microphones. ROYCE We in the D.A.'s office are still reeling from the events of this morning, as you can imagine. It's a tragic day for us. for our city.",
"EXT. TRAIN STATION PLATFORM - DAY Kell and Emma on the platform, Garza hovering nearby, CROWDS swarming around them as boarding calls come over the P.A. system. Kell is looking around, anxious. Nick appears on the platform, hurrying. They see him. Emma runs, throws herself into Nick's arms as he crouches. EMMA I wan na see Sarah. NICK Hey, hey. she's fine, do n't be scared. That's not allowed. And there's no reason for it. EMMA This sucks. NICK I know. EMMA Why do we have to go? NICK'Cause your mom wants to see a few Broadway shows. You gon na begrudge her that? EMMA You're kinda full of shit, Dad. Nick's taken aback - not sure whether to laugh. He trades a look with Kell, who's too tense with worry to care. NICK Okay, you're right. Maybe I am a little. But only a little. The part you can believe is that this is all going to be fine. Sarah, us. -LRB- directed at Kell. -RRB- I mean it. Okay? EMMA Okay. She detaches from her father. Nick rises to Kell, pulls an envelope, hands it to her. NICK No credit cards. Too easy to track. Meals, hotel, whatever - pay cash. then takes her cell, swaps it for Royce's. NICK I'll keep this. It can be traced. Use this one instead. Do n't answer unless you see it's me. P.A. VOICE FINAL BOARDING CALL FOR NEW YORK CITY DIRECT, FINAL CALL. KELL Anything else? NICK I love you. KELL Emma's right. This sucks. She embraces him, fears and emotions swirling. KELL Be goddamn careful. She breaks the embrace. Nick stands, watching them get on the train. The doors close. The train starts out. Nick turns. Garza's been watching - a look of sympathy for what Nick's going through.",
"INT. TRAIN - DAY Kell and Emma on the train, watching buildings slide by outside the window. Kell troubled, holding her daughter.",
"EXT. AERIAL SHOT OF TRAIN - DAY WE FOLLOW the train traveling a path through canyons of buildings, leaving the city. ANGLE SWAPS TRAIN FOR CAR as we drift over a bridge and find Nick's car racing across the span.",
"INT. CANTRELL'S HOUSE - DAY Nick and Garza enter. ANGLE COMES AROUND to reveal the house swarming with HIGH - TECH FBI FORENSIC TEAMS turning the house upside - down, tearing things apart, X - RAY SCANNING walls. Cantrell sits isolated, near tears of frustration, as the place is trashed around him. He glances up, hearing : NICK Jesus. CANTRELL Nick? These guys wo n't even let me pack a bag. Not even a toothbrush. Davies enters frame, accompanied by FORENSIC TECHS - not the guys from downtown, but people who work serious ops. DAVIES We have granules of an unidentified substance in the ice - maker. He holds up a drinking glass with a few ice cubes, runs a black - light wand behind it - dark granules become visible on each pass, embedded in the ice. DAVIES I'm betting something lethal. TECH #1 Like this salt. -LRB- pours a small amount. -RRB- Not sodium chloride. Potassium chloride. It's a neuro - blocker, stops the heart - they use it in lethal injections. You'd be dead before you got up from the table. Nick tosses the others a grim look. NICK I'm telling you, Clyde has someone working with him. Someone on the outside. CANTRELL Who? Who could he have? NICK Somebody from his past. Could be that spook we met on the stairs, for all we know - he'd know how to plant this shit. CANTRELL Him? No - why would Clyde let him come talk to us? NICK To fuck with our heads? To get us to bring in our ADAs so he could blow them up? DUNNIGAN It would be a Clyde move. But it's not proof. -LRB- to Cantrell. -RRB- Could he have planted this stuff in your house before he was arrested? CANTRELL I - I do n't know. NICK Jonas, think - last few days, have you used any ice? Any salt? CANTRELL -LRB- confused, grappling. -RRB- I do n't use salt - my cholesterol. Ice? Yeah - not long ago. NICK Before or after he was arrested? CANTRELL I do n't remember! You track your use of ice, Nick? You keep a daily log? TECH # 2 calls from the kitchen : TECH #2 Heads - up! Looks like polonium here. In his tea pot. Same way the Russians killed Litvenenko. Took him two weeks to die. -LRB- off their looks. -RRB- It's an exotic isotope. All you need is a trace amount. Rips through your organs and bone marrow. Nick's been listening, thunderstruck, paler by the moment. He looks to Cantrell sitting there, quiet and shaking. NICK I'll buy you a new toothbrush.",
"EXT. AERIAL ESTABLISHING OF HOTEL - DAY DRIFTING IN on a reflective glass skyscraper - spectacular.",
"INT. HOTEL ROOM - DAY The door opens, revealing Nick, Cantrell, et al.. They come into the room. actually, `` room'' undersells it. It's the most spectacular suite known to man - huge open floor plan, with a stunning view of all the downtown buildings surrounding us. NICK Holy shit. CANTRELL Nice? DAVIES I'm actually a little jealous Clyde did n't pick me. Cantrell laughs - and it lightens everybody's mood. Nick drifts to the windows, gazing out, as : DUNNIGAN It's the presidential suite. Last person who stayed here was actually a president. Of a country. Security here is amazing. NICK It's not bad, Jonas. I think you can muddle through. DAVIES You're muddling with him. I do n't want you back at your house until my people sweep it. You need pajamas, buy some in the shop downstairs. Nick nods, pulls Sarah's reports from his briefcase. NICK The background check my office was compiling - these properties we think Clyde owns? If he is working with somebody, they could be operating out of any of these. We should check them. DUNNIGAN I'll try to wrangle additional manpower. Big job. DAVIES -LRB- pages the report. -RRB- No shit. This is quite a list. Over forty locations? NICK It's not even complete. Sarah was in the middle of it - untangling property ownership from under assumed names, shell companies. She's the expert on all that. CANTRELL Fellas. I'm grateful for all your efforts. I just wanted to say it. NICK Save it for tonight. Hope you're in the mood for Chinese takeout. CANTRELL Where are you going? NICK That stuff in your house - it's all gone too far. I started this. I owe everybody at least one last try at defusing it.",
"EXT. COUNTY JAIL ANNEX - DAY A STEEL DOOR opens. Clyde steps out, shackled, blinking at daylight. He comes down a short flight of steps. CAMERA COMES AROUND to reveal his surroundings : not within prison walls, but rather behind the prison - a loading area we have n't seen, comprised of fences and razor wire. Nick walks in the rear gate, passed through by Warden Iger himself - this is clearly an off - the - books meeting. Nick and Clyde walk to each other, meet halfway. CLYDE Interesting location you've chosen. NICK I thought we'd have some privacy. CLYDE For what? A talk? Or. -LRB- gazes around. -RRB- Maybe you've decided to take Detective Dunnigan's advice. He's noticing GUARDS atop the prison wall and surrounding roofs - all with sniper rifles. NICK Be the perfect place for it. Outside the wall. Look like you were shot trying to escape. WIDE ANGLE FROM ABOVE Nick and Clyde below. A SCOPE suddenly rises into frame, turning our shot into a SNIPER SCOPE POV, jumping Clyde's face into magnification. He smiles in the crosshairs. RESUME NICK AND CLYDE CLYDE You have some kind of signal worked out? You scratch your nose and blam, I'm a goner? NICK Something like that. CLYDE Might solve all your problems. What's stopping you? Afraid of the blowback? NICK No. It's to prove a point. -LRB- off Clyde's look. -RRB- Just because I have the power, does n't mean I have to use it. CLYDE Ah. Nice. Good one. NICK One can show mercy. CLYDE Mercy. Right. NICK Yeah. So why do n't you? We see Clyde's brain bend a little - trying to wrap his head around it. It's almost painful for him. CLYDE I think we've come a little too far for that, have n't we, Nick? I mean, what do I say? Sorry, my bad? Which way to the execution chamber? NICK Do n't give me that. Death does n't scare you. CLYDE -LRB- smiles `` right''. -RRB- Yeah, but. we're in the flow of this now. You cry havoc, you let slip the dogs of war, you go with it. You do n't just stop because someone says hey wait. By then the dogs are dragging you. NICK Until one side admits defeat. What if I did that? What if I said. -LRB- beat. -RRB-. you were right. I was wrong. What if I say I should have prosecuted both men ten years ago? CLYDE I'd say you're making progress. You should have, you know. Prosecuted both. NICK I'd have lost. CLYDE With your head held high. And without any blame from me. Nick's CELL RINGS - he turns away, answers : NICK Yeah. -LRB- beat. -RRB- She is? Great news. I'll stop on my way back. And Royce? Put some get - well flowers in her room, they sell'em in the lobby. Thanks. -LRB- hangs up, baleful. -RRB- Six hours in surgery. CLYDE But she's okay - good. Miss Lowell is a fine young woman. -LRB- beat. -RRB- Oh, hey. your wife and little girl get out of town all right? NICK -LRB- beat, staring. -RRB- You asking that question makes me want to scratch my nose. Clyde glances around at the snipers with a laugh. CLYDE Just a guess. It's what I would do. Get'em out, make sure they're safe. -LRB- reproachful. -RRB- C'mon. Like I'd ever have hurt them anyway. NICK No? CLYDE There are limits. Even in war. I may be many things, Nick. But I'm not Clarence Darby. I'm not Rupert Ames. I'm not that kind of monster. NICK What kind are you? CLYDE Not the kind who'd hurt your wife and child. Christ, look at me. Mine were my salvation - then they were killed - and all I had left was this. Life without them in this fucking charnel - house world. Pause. Drawing close : CLYDE It hurt to lose them, did n't it? Your family. Even knowing they'd come back. NICK Yeah. CLYDE Imagine knowing they would n't. NICK I ca n't. I ca n't imagine that. CLYDE Good. I envy you. For me, knowing mine wo n't come back is the only thing that's crowded my thoughts for ten years. If I could take a rusty knife and cut out that part of my brain, I would. NICK I wo n't make any more deals with murderers. If hearing that makes a difference. if that was the point of all this. you've won. We see Clyde's brain hurting again - he's trying to believe that, would like to believe that. CLYDE Counselor. I have no doubt, as we stand here, that you really believe that. I wish I could. -LRB- pause. -RRB- Are we done? You gon na scratch your nose, or can I go? Silence now. Nothing left to say. They turn and walk in opposite directions.",
"INT. CLYDE'S SOLITARY CELL - DAY and Clyde is brought in, locked into gloom as the doors SLAM behind him. He stands, staring at the darkness.",
"EXT. CITYSCAPE - DUSK The sun is setting.",
"INT. NICK'S CAR (MOVING) - DUSK as Nick drives back into town, crossing one of the bridges.",
"INT. HOTEL BALLROOM - DUSK -LRB- Not Cantrell's hotel, but one close by. -RRB- A SIGN reads : `` A.B.A. Dinner.'' PEOPLE are entering, passing a GREETER. ANGLE FINDS Judge Burch arriving.",
"INT. JUDGE BURCH'S OFFICE - DUSK A SECRETARY answers the ringing phone : SECRETARY Judge's chambers. VOICE ON PHONE Laura? Laura, that you? SECRETARY I'm sorry, Judge Burch is gone for the evening. VOICE ON PHONE Dang it. Listen, honey, I flew in from Galveston for this A.B.A thing Laura invited me to - just got here and they said it was moved. You got a number, address, anything?",
"INT. HOSPITAL ROOM - DUSK Nick peers in. Sarah's in bed, leg braced, in traction. She's awake but groggy - which is n't stopping her from giving instructions to Royce, who's scribbling notes at her bedside : SARAH tell Hansen we need hard info on those addresses. do n't let the shell game on ownership title slow him down. at this point we'll take educated guesses. Sarah looks over, sees Nick step in, gives him a weak smile. NICK Hey. SARAH Hey. Nice flowers. Thanks. He comes to the bed, takes her hand, squeezes it. NICK How you doing? SARAH This place has great drugs. Damn. I should've totaled my leg long ago. But her emotions are in turmoil - she puts her hands over her face, holding back a sob. SARAH They're all dead? NICK I'm afraid so. Sarah lets herself cry. Nick waits, then : NICK You're alive. That counts for a lot. -LRB- beat. -RRB- I'm sorry I put you in harm's way. BLUE - 9 - 19 - 08 94A. She absorbs that, angrily wipes her eyes. SARAH It was n't you. It was that son of a bitch. I hear he's threatened Jonas? NICK We're all over it. Jonas is safe - out of reach.",
"INT. CANTRELL'S SUITE - NIGHT Cantrell on the upper level, wearing brand - new sweats, white cane tapping the unfamiliar place, Betsy at his side. He follows VOICES around the corner. Inside a room, Garza's playing poker with three other cops : LASZLO, FLEMING, and MITRIUS. CANTRELL Who's winning? FLEMING Laszlo, the cheatin' prick. LASZLO Yer mama. GARZA Wan na sit in? CANTRELL If I had my Braille set, I'd clean you out. Not much of a game if you have to tell me what my cards are. GARZA Right. sorry. The other guys toss Garza a look - what a moron. CANTRELL People forget. No worries. -LRB- turns away. -RRB- Enjoy your game, fellas. FLEMING Need help? Want one of us should walk you down? CANTRELL I'm good. Unfamiliar places take me a little longer. But I get there. GARZA -LRB- calls after him. -RRB- Holler if you need anything. -LRB- back to the game. -RRB- Okay, who's in, who's out.",
"INT. HOTEL BALLROOM - NIGHT WAITERS setting out salads, guests taking seats, as : M.C. Good evening. Sorry for any confusion our last - minute change of location might have caused.",
"INT. CANTRELL'S SUITE - NIGHT That incredible city view - skyscrapers all around, aglow with lights. Cantrell enters frame, drawn to the glass. A POLICE HELICOPTER IS ROARING slowly past out there, drifting among the buildings at our eye level. Cantrell raises his hand, places it on the glass, feeling the vibrations. The copter's searchlight sweeps the windows, highlighting him briefly with incredible light he ca n't see.",
"INT. OTHER HOTEL BALLROOM - NIGHT but we can see the copter going by from here, searchlight playing over Cantrell's building - which is plainly visible just across the way. ANGLE WIDENS to find Judge Burch at a table, as : M.C. please join me in a warm welcome for our keynote speaker this evening, Judge Laura Burch. She rises and heads for the podium amidst APPLAUSE.",
"EXT. CHINESE RESTAURANT - NIGHT Nick exits, arms loaded down with bags of takeout, talking on his cell phone as he heads for his car : NICK yes, you pain in the ass, of course I got your kung - pao. you think I'd forget. just do n't give Betsy any, I ca n't deal with dog farts all night.",
"INT. CANTRELL'S SUITE - NIGHT Cantrell's sitting in front of that incredible view with Betsy at his feet, on the phone : CANTRELL How long, man, I'm starving.",
"EXT. CHINESE RESTAURANT - NIGHT Nick gets to his car, checks his watch - and pauses. The time reads : `` 7:27.'' Nick is suddenly hit with a momentary sense of dread. He glances up the street. ANOTHER ANGLE reveals Nick in deep f.g. looking up the broad avenue - in the distance stands Cantrell's skyscraper. NICK I'm minutes away. Relax. Nick shakes off his misgivings, hangs up, gets in the car.",
"INT. CANTRELL'S SUITE - NIGHT Cantrell eases to the floor, sits with Betsy. He strokes her fur. She WHINES, uneasy. CANTRELL It's okay. It's gon na be okay.",
"INT. BALLROOM - NIGHT Judge Burch at the podium : JUDGE BURCH Jonas was upset not to be here with you tonight. a personal matter came up. but he wanted me to give you all his fondest regards.",
"EXT. A ROOFTOP - NIGHT ANGLE LOOKING UP at Cantrell's hotel - a FIGURE steps into our shot, his back to us. He pulls a cell phone from his pocket, flips it open, sees the time : `` 7:29.'' The thumb starts pressing numbers - boop. boop. boop.",
"INT. CANTRELL'S SUITE - NIGHT ANGLE DRIFTING ACROSS THE FLOOR - Cantrell and Betsy against the incredible city view. He finally gets fed up with that surgery collar she's worn the entire movie, reaches around, unsnaps the plastic. He puts the collar aside, gently ruffs her shaggy neck. CANTRELL There. That's better. He puts his arm around her, taking comfort in her presence. A quiet, pensive moment.",
"INT. NICK'S CAR (MOVING) - NIGHT Nick driving, a block from the hotel now.",
"EXT. ROOFTOP - NIGHT as the FIGURE finishes dialing. The thumb hovers a moment, then presses `` send.'' We hear the call RINGING through.",
"INT. CANTRELL'S SUITE - NIGHT and Cantrell hears a strange SOUND. almost like a phone ringing - sort of close but not - weirdly muffled. He looks around, trying to pinpoint it. His head finally swivels down to Betsy lying at his side. She's WHINING, getting a little freaked, licking her stitches. Cantrell's hand travels down her fur to her belly. fingertips tracing the stitching. and what he ca n't see is the strange glow building under her skin. But he can sense it. His eyes widen slightly. and WHAM! The room is swallowed in a DETONATION -",
"EXT. CANTRELL'S FLOOR - NIGHT - which BLOWS OUT THE ROOM IN A HUGE EXPLOSION, the rows of windows vanishing in a storm of flame and shattering glass.",
"INT. BALLROOM - NIGHT Judge Burch and the others gasp as the explosion lights up the night from the building across the way.",
"EXT. NICK'S CAR - NIGHT Nick slams on his brakes - he cranes forward, gazing up in horror as the explosion is reflected in his windshield.",
"EXT. ROOFTOP - NIGHT The blast kicks from the face of the building, fireball rising with eerie grace into the night sky, as : The FIGURE steps into frame, pockets the cell phone. CAMERA PIVOTS BEHIND him, losing Cantrell's building and bringing the other hotel into view - the one with the lawyers.",
"EXT. NICK'S CAR - NIGHT Nick jumps out, stunned. He runs up the street toward the hotel as glass and debris rains onto the sidewalk.",
"INT. BALLROOM - NIGHT People crowd to the glass, staring out at the skyscraper across the way - at the smoking ruin that was once a floor.",
"EXT. ROOFTOP - NIGHT and the FIGURE bends down, picks something up. He hefts it onto his shoulder : a LAWS ROCKET - LAUNCHER. He flips up the sight, takes aim at the other hotel, fires. WHOOOSH - the rocket streaks, leaving a contrail.",
"INT. BALLROOM - NIGHT FAST CUT : Judge Burch and those around her reacting as the glare of the rocket approaches in a heartbeat - WHAM! OUR SECOND EXPLOSION of the night takes out the ballroom, killing dozens, blowing flame and debris across the room.",
"EXT. STREET - NIGHT Nick sees it : the contrail, the second blast, all of it. It stops him dead in his tracks. Just overwhelmed.",
"INT. CANTRELL'S SUITE - NIGHT Garza and his guys come stumbling and bleeding from the room they were in. They get to the top of the stairs, find the front of the suite open to the windy sky outside. FLEMING -LRB- gasping on radio. -RRB-. we need help up here. GARZA Jesus Christ. What the fuck hit us?",
"EXT. STREET - NIGHT Nick stares up, wondering the same thing as we FADE TO BLACK",
"INT. CITY HALL - GRAND CONFERENCE ROOM - DAY A 30 - foot - high hand - painted domed ceiling above, an equally huge ROUND TABLE below - an imposing room that says power. Nick is ushered in. A DOZEN OR MORE PEOPLE are seated - top - echelon city brass - political, fire, police. Also present are Davies and Dunnigan. -LRB- Dunnigan is not seated - he's getting his ass reamed today. -RRB- The top dog : THE MAYOR. He's seething but not a screamer - a man who keeps it tightly reined : MAYOR We're worldwide news this morning. Almost twenty dead, among them some of this country's top attorneys. I had friends in that room. Hell, I almost attended myself. NICK The second explosion. I saw a rocket fired. -LRB- to Davies and Dunnigan. -RRB- Clyde does have somebody on the outside. MAYOR What you saw or think you saw is beside the point. What matters is that the FBI wanted to rendition this man out of my city. The reason he's still here causing havoc is you. You wanted to prosecute this case. Your ambition kept him here and provoked this tragedy. DUNNIGAN -LRB- mutters. -RRB-. not entirely fair. MAYOR Detective. Your job is hanging by a thread. I'd think a man of your experience would know when to keep his mouth shut and his ass covered. Dunnigan - formidable though he is - looks away, keeps his mouth shut. The Mayor approaches Nick, looks him in the eye. MAYOR When I go in front of the cameras today - unlike some people who seem unwilling to do so when asked - I'm going to make goddamn sure the media does n't hang this abject disaster around my neck. Why? Because I'm hanging it on yours. -LRB- beat. -RRB- You're done. Gone. Fired. Non - existent. Get the fuck out.",
"EXT. CITY HALL COURTYARD - DAY People going about their business. Nick exits, dazed, comes down the steps. He sits on a step, vacant - a man completely at a loss and out of options. His CELL RINGS. He rouses himself, flips it open. CLYDE -LRB- V.O. -RRB- Hey. Some legal team from the mayor showed up here this morning. I hear you're off the case. Told you they'd scapegoat you, did n't I? -LRB- beat. -RRB- Nick? You there? NICK How'd you kill Jonas? I know about the second explosion, I saw the contrail, so I know you got somebody working for you. But the first explosion - how? CLYDE Say you find a guy with a bad cocaine problem. Hungry ex - wives. Greedy mistress. Heavy gambling debts. a bizarre sound occurs on the line - an unidentifiable SHRIEKING SOUND that grows and rapidly dissipates. CLYDE Say that guy's a veterinarian. You hand him a million in cash, he'll do what you ask. Especially if he's looking to blow town for good. NICK -LRB- ca n't believe it. -RRB- It was. inside the dog? CLYDE You own the vet, you own the dog. Explosive was n't even that big. Stuff I use, it did n't have to be. -LRB- beat. -RRB- Hidden in plain sight. That's my specialty. Have n't you figured that out yet? Nick sighs, rubs his eyes, can barely even speak. CLYDE What's next for you? Mulling career options? I suppose law is out. NICK I'm trying to get over my friend being dead. Aside from that, fuck you. CLYDE Fair enough. -LRB- beat. -RRB- I'll miss you Nick. It was a good dance. NICK Did n't bring your family back, though, did it? -LRB- off Clyde's silence. -RRB- Has it made you feel better? All this? You done making your point? CLYDE Just warming up. This is Clausewitz shit, my friend. Total war. CAMERA PUSHING IN on Nick, listening, as : CLYDE I'm gon na pull the whole thing down. I will topple the gleaming pillars and drag the whole fucking diseased, corrupt temple down on my head. -LRB- beat. -RRB- Stay tuned. It'll be Biblical. Click - line goes dead. Nick sits staring at the phone. BLUE - 9 - 19 - 08 102A.",
"INT. HOSPITAL ROOM - DAY Nick enters, finds Sarah crying. A WALL - MOUNTED TV IS PLAYING A NEWS REPORT of the explosions - file footage of Jonas Cantrell pops up. Nick drifts over, sits at her bedside, as : REPORTER going live now to City Hall where Mayor Tilden is about to make a statement. announcing, we're told, among other things, the dismissal of District Attorney Nick Price. The IMAGE cuts to the Mayor stepping to the mic. MAYOR Thank you all for gathering on this solemn and anxious occasion. Nick MUTES it. He and Sarah do n't speak for long moments - he's waiting for her to pull herself together. She finally does, going into professional mode, pulling her laptop and files and reports around her. SARAH We got the latest batch of background in. Hansen and the other guy did some good work here - NICK Sarah. Give it a rest. It's over. We're done. -LRB- off her look. -RRB- I'm done. The mayor is nailing my coffin shut. The best thing you can do right now is distance yourself from me as much as you can - see what you can salvage of your career. Sarah is staring at him with `` fuck you'' in her eyes. She picks up a multi - page list of addresses, hands it to him. SARAH This lists over fifty shit - value properties in industrial zones that nobody in their right mind would want to own - stuff around chemical plants, factories. All are owned by Benson Clyde. Look at twenty - two. Nick, not caring, scans down to : NICK `` Joe's Lube - and - Drive Garage.'' Went out of business in'94. -LRB- looks up, irritated. -RRB- Now why would Joe's extinct Lube - and - Shit Garage be of the slightest possible fucking interest to you, me, or anyone? SARAH -LRB- tight, pissed. -RRB- The garage, not so much. But the address. Look at the location. Nick looks down at the list again. staring.",
"EXT. JOE'S LUBE-AND-DRIVE GARAGE - DAY A shitty garage in a shitty industrial park. Bordering it, on the other side of some fencing, are municipal train tracks. Nick's car pulls up. He gets out. It's a ghost town here. He goes to the garage window - glass thick with dirt. He wipes with his sleeve, but it does n't help him see in.",
"INT. GARAGE - DAY TIGHT ON ROLL - UP DOOR - a CAR JACK jams in under the lip. We hear CRANKING and the door rises. Nick drops down, peering in. He squeezes under the door, stands up. Gloomy in here. He hits the door switch - it RATTLES up on its tracks, flooding the place with light. He looks around. Cobwebs. Dust. A CAR under a tarp on the hydraulic floor - lift. Old shelves and pallets of tools. Rust. Grime. The crap of ages. He sighs, turns and walks out.",
"EXT./INT. GARAGE - DAY and pauses. Something tickling his brain. Suddenly, a SHRIEKING COMMUTER TRAIN blasts by - gone, dwindling. It was a bizarre, distinctive sound. like the one Nick heard during his last phone call with Clyde. Nick stands frozen, pieces in his head tumbling and threatening to fall into place. Something about the shape of that car under that tarp. He turns, staring at it. Goes back in, drawn to it - it's long, distinctly old - school, with sharp boxy corners. He draws the tarp off - finds a 1965 Lincoln Continental, midnight - blue, in excellent condition. The last time he saw it, it was parked in a carport at Benson Clyde's farmhouse. What's it doing here? More pieces falling into place. Nick leaves the garage again, walking out. CAMERA TRACKS HIM across the tarmac, and as we come around the corner of the building, we reveal : The County Correctional Annex is right there, a backwater corner of the prison not sixty feet away. Nick stares up at it - a very curious location indeed.",
"INT. GARAGE - DAY FAST CUTS : Nick searching. behind shelves. the toilet. in closets. the grimy little office. He stops. Looks at the car. There's a mechanic's pit below that hydraulic lift. He goes to the control, hits `` up''. ANGLE FROM MECHANIC'S PIT Nick's face comes slowly into view as the hoist rises. FADE TO BLACK IN BLACKNESS, WE HEAR : Boop - boop - boop. a cell being dialed. The line RINGING. A voice answering :",
"INT. POLICE STATION - BULLPEN - NIGHT DUNNIGAN -LRB- weary. -RRB- Dunnigan. INTERCUT WITH STREET -LRB- INDUSTRIAL AREA -RRB- : NICK -LRB- on cell. -RRB- Do we finish this tonight? DUNNIGAN Nick? Jesus. -LRB- nervous glance around. -RRB- Look. No hard feelings, but there is no `` we.'' You're radioactive. I ca n't even be seen talking to you. NICK I know who he's got on the outside. -LRB- that stops Dunnigan. -RRB- I'll ask again. Do we finish this tonight? Poor Dunnigan looks tortured. He catches Garza's eye.",
"EXT. JOE'S LUBE-AND-DRIVE GARAGE - NIGHT A TRAIN SHRIEKS through shot, revealing : The garage quiet in moonlight. The area deserted. Beat. The garage door rolls up on its tracks. Darkness within. A PAIR OF HEADLIGHTS kick on, blinding us. The Lincoln emerges, moves off into the night as the door rolls down again. We hear SOFT STATIC from a police radio, and a voice : DUNNIGAN -LRB- O.S. -RRB- All units. Subject vehicle is on the move. ANGLE WIDENS to reveal we're in an UNMARKED CAR - Dunnigan at the wheel, Nick beside him. Dunnigan's on the radio : DUNNIGAN Everybody maintain distance. Dunnigan puts the car in gear, pulls out. FROM THIS POINT ON, WE'RE VERY MUCH IN MONTAGE STYLE -LRB- IT GOES WITHOUT SAYING THIS NEEDS THE RIGHT PIECE OF MUSIC -RRB- :",
"EXT. AERIAL SHOT - NIGHT DRIFTING MAGICALLY THROUGH the downtown skyscrapers. neon - lit rooftops. city lights reflecting off glass buildings. AN FBI HELICOPTER drops into shot. CAMERA COMES AROUND, pacing, the copter's reflection in the buildings we're passing.",
"EXT. AERIAL SHOT LOOKING STRAIGHT DOWN - NIGHT SKYSCRAPERS pass the lens below us. There's a midnight - blue Lincoln traveling the streets far below. It turns a corner, moving up a long boulevard. CAMERA PIVOTS around a skyscraper, following.",
"EXT. STREETS - VARIOUS ANGLES - NIGHT The Lincoln cruising, cold reflections of street lamps kicking off sheet metal, flowing along its body and windshield. WE START ZOOMING AND RACKING FOCUS to the unmarked cars tailing it in traffic. visually, it becomes a surreal dance of headlights and traffic signals.",
"EXT. AERIAL SHOTS - VARIOUS ANGLES - NIGHT A POLICE COPTER joins the FBI copter in the air. both cruising eerily against a kaleidoscopic wash of city lights. VOICE #1 -LRB- V.O. -RRB- Maintain two thousand foot ceiling.",
"INT. DUNNIGAN'S CAR (MOVING) - NIGHT VOICE #1 -LRB- V.O. -RRB- Subject vehicle turning south off of Hudson. into an alley. DUNNIGAN -LRB- clicks hand - mic. -RRB- Hang back. hang back.",
"EXT. ALLEY - NIGHT The Lincoln pulls to a loading door. The door rises.",
"INT. BUILDING - NIGHT and the Lincoln enters. It stops next to a LARGE CUBE VAN with the logo : `` Nomos Custodial Services.'' CAMERA PUSHES IN as the car door opens, feet step out. TILT UP to Clyde dressed in a custodial services uniform. He slams the car door, gets in the van, fires up the engine.",
"EXT. AERIAL VIEW OF ALLEY - NIGHT Far below us, the van emerges from the same door, comes out of the alley and back onto the street. VOICE #2 -LRB- V.O. -RRB- I got a white van. large cube type. think he switched vehicles. moving north again on Hudson.",
"INT. DUNNIGAN'S CAR - NIGHT DUNNIGAN Five and six, stick with that building in case he's trying to cowboy us. All other units, stay with the van. Dunnigan pulls out into traffic, resuming the tail. VOICE #3 -LRB- V.O. -RRB- I have visual on van. Logo on side reads `` Nomos Custodial Services.'' NICK Where the hell is he going?",
"EXT. CITY HALL - ESTABLISHING - NIGHT The glorious old building looms above us. TILT DOWN to reveal a red carpet event brewing - LIMOS AND LUXURY CARS pulling up, GUESTS in expensive attire getting out. The NOMOS VAN STEALS THE FRAME as it drives past and turns to go around the back of the building. A LIMO STEALS THE FRAME BACK as it pulls to the curb. The Mayor steps out, waving and smiling for FLASHING CAMERAS.",
"INT. DUNNIGAN'S CAR (MOVING) - NIGHT Nick and Dunnigan drive past all the hoopla. NICK You do n't suppose Nomos Custodial has a service contract with City Hall, do you? Off Dunnigan's look of `` oh shit''.",
"EXT. CITY HALL SERVICE ENTRANCE - NIGHT TIGHT ON A CARD SCANNER as a card is swiped. THUNK - the lock disengages. TILT UP to Clyde as he rolls a loaded custodial cart -LRB- with mops and trash barrel -RRB- inside.",
"INT. CITY HALL SERVICE AREA - NIGHT A GUARD mans the security desk - he glances up from a BANK OF LIVE - FEED VIDEO MONITORS as Clyde rolls his cart in. SECURITY GUARD Mr. Nomos! Ai n't seen you around. CLYDE Ted. had to get that vacation in. Visited my sister in the Keys. SECURITY GUARD Nice. Good for you. CLYDE Hey, what's all that hoopla at the main entrance? SECURITY GUARD Mayor's got a big fuckin' thing. Thousand dollar a plate whatever. They say the Governor might come. CLYDE -LRB- moving on. -RRB- I'll stay out of their way. SECURITY GUARD -LRB- calls after him. -RRB- They're up on six, avoid that floor. They got more security than God.",
"EXT. AERIAL SHOT LOOKING STRAIGHT DOWN - NIGHT Far below : The entrance lit up with arriving cars and guests, CAMERAS FLASHING. A HELICOPTER DRIFTS through the shot just below us in SLOW - MOTION, rotors thrumming eerily.",
"INT. SERVICE ELEVATOR - NIGHT while Clyde rides up. He stops at five, gets out.",
"INT. HALLWAY - NIGHT and rolls his cart up the hallway. MUFFLED MUSIC from the floor above. He comes to a door, sorts his keys.",
"INT. EMPTY COURTROOM - NIGHT and enters in darkness. Moving swiftly, he reaches into his trash barrel, pulls a gleaming STEEL BRIEFCASE from under the shredded papers - he strides to the judge's dais, lays the case atop it, turns and heads back to his cart.",
"INT. SERVICE AREA SECURITY DESK - NIGHT as a STREAM OF TACTICAL COPS stampede into the building and up the stairs. ANGLE FINDS Nick, Dunnigan, and Davies looming over the nervous security guard : DUNNIGAN What floor? SECURITY GUARD I told him to avoid six. -LRB- checking monitors. -RRB- There. On a monitor : Clyde rolls his cart from the courtroom. SECURITY GUARD That's the main courtroom on five. NICK That's right below the ballroom. The Mayor's event.",
"INT. 6TH FLOOR HALLWAY AND BALLROOM - NIGHT Early arrivals are coming up, entering the ballroom. The place is crawling with SECRET - SERVICE TYPES in suits.",
"INT. 5TH FLOOR HALLWAY - NIGHT Clyde comes down the hallway B.G., rolling his cart. F.G., ANGLE FINDS tactical cops with machine guns pouring quietly up the stairs, taking up positions just around the corners, poised and tense. TIGHTEN IN as the TAC LEADER uses a small mirror to peek around the corner and spot Clyde : TAC LEADER -LRB- whispering on headset. -RRB- Subject in sight. Do we take him?",
"INT. ANOTHER STAIRCASE - NIGHT Nick, Dunnigan and others are racing up the steps. Dunnigan raises his radio to say yes, but : NICK No. Let him go. -LRB- off Dunnigan's look. -RRB- We know where to find him. Let's get to that courtroom. Dunnigan hesitates - against every instinct in his body. DUNNIGAN I hope you know what the fuck you're doing. -LRB- clicks mic. -RRB- Negative. We're letting him go. All units hang back. Repeat. We are letting the subject go.",
"INT. 5TH FLOOR HALLWAY - NIGHT The cops trade surprised glances. The elevator DINGS. Clyde gets on, the doors close. The cops swarm up the hallway.",
"INT. COURTROOM - NIGHT This all happens fast : Bang - the doors slam open. Nick leads a huge phalanx of cops and FBI in, weapons and flashlight beams stabbing in all directions. NICK There. They race to the judge's dais - the steel case. DAVIES Do n't touch it! Could be motion sensitive! Davies shoves his way to the front, grabs a small hand - held drill from one of his guys' tactical vests : DAVIES I need light! Dozens of beams converge. Davies places the drill, goes to work on the case. grind, grind. VOICE #4 -LRB- V.O. -RRB- I have visual. suspect leaving the building. different service exit.",
"EXT. CITY HALL - NIGHT Clyde exits a loading dock, gets in his van.",
"INT. COURTROOM - NIGHT grind, grind. the drill taps through. Davies yanks it, feeds a fiber - optic tube into the hole, puts his eye to the eyepiece. He swivels the tube carefully, peering inside. DAVIES Crap. -LRB- glances up. -RRB- Explosives. Nasty ones. DUNNIGAN What? C - 4? Davies takes his eye from the eyepiece, looks at them. DAVIES C - 4 is for girl scouts. This is malglinite. Take out the whole floor above us. maybe this entire corner of the building. NICK Can you open it? Disarm it? DAVIES -LRB- back to eyepiece. -RRB- No, we got tripwires. We open this lid, instant karma's gon na get us. -LRB- keeps scanning. -RRB- Do n't see a motion sensor. Trigger looks simple. dial a cell phone, incoming call arms the trigger - trigger's set to count down from forty seconds, then boom. -LRB- off their looks. -RRB- That call comes in, we have forty seconds to get as far away from this thing as possible. DUNNIGAN -LRB- to his men. -RRB- Alert the mayor's security team. Evacuate those people upstairs - clear that ballroom, go! NICK No! Dunnigan turns on him, instant shouting match : DUNNIGAN No? What the fuck are you talking about, this could go off any second! NICK He wo n't set it off until that room is full! People are still arriving, red carpet shit, that's at least another half hour! DUNNIGAN I will not take that risk! NICK You have to! Beat. Nick, no longer shouting, but intense and fast : NICK If I'm him, I've rigged cameras in that ballroom - live video feed - first sign of an evacuation, I trigger the bomb. -LRB- off their looks. -RRB- We have to think ahead of this fuck! Pause. Looks traded. DAVIES I'm open. DUNNIGAN Okay, Nick. What's the move?",
"INT. LINCOLN/NOMOS CUSTODIAL - NIGHT Clyde slams the van door, gets in the Lincoln. He pulls a handheld CLAMSHELL VIDEO MONITOR - it shows a LIVE FEED of people entering the ballroom, mingling as they arrive. Clyde smiles, starts the engine.",
"INT. CITY HALL BALLROOM - NIGHT The Mayor enters, waving to everybody, shaking hands.",
"INT. JOE'S LUBE-AND-DRIVE GARAGE - NIGHT The garage door rises. The Lincoln backs in, stops on the hydraulic lift. Clyde gets out, throws the tarp over it. Briefly checks his clamshell. Still plenty of time. He raises the lift a few feet, drops down and crawls under the car into : THE MECHANIC'S PIT Duplicate controls. He hits the button and the car sinks down atop us, settling to the floor, sealing us into darkness. Beat. A BRIGHT LIGHT turns on - one of those gazillion candlepower flashlights. Clyde aims it and we see : A TUNNEL hewn into the wall of the mechanic's pit. Just large enough for Clyde to crawl into. He does.",
"INT. TUNNEL - NIGHT Hand - dug, rough dirt held up by two - by - four bracing. A wheeled platform is the transport - Clyde's on his back, pulling himself along by an overhead rope, hand over hand.",
"INT. UNDER THE PRISON - NIGHT Clyde emerges in the suffocating darkness of a sub - basement laid into a foundation that dates back to the Civil War. He crawls free, shining his light as rats scurry in shadows. He's on his hands and knees at first because the ceiling's so low. He's finally able to rise, moving along at a crouch. and emerging into a proper sub - tunnel. Now able to walk normally, he navigates the tunnels and comes to :",
"INT. CLYDE'S STAGING AREA - NIGHT We're just below the solitary wing. Clyde has it rigged with all his needs : computer, spare cell phones, various kinds of clothing, even a shelf lined with snacks. He quickly shrugs off his custodian's outfit, revealing his prison jumpsuit beneath. He gazes up a welded steel ladder -LRB- identical to four others in a row - one for each cell -RRB-. He checks his clamshell one last time, tweaking the bad reception with a relay - ballroom looks full. He clicks off his lamp and clamshell, sets them on a shelf. He goes up the ladder to a hatch in the ceiling.",
"INT. CLYDE'S CELL - NIGHT and enters through a swiveling portal concealed behind the toilet. In deep darkness now, he pulls his cell phone, starts inputting a number - boop. boop. boop. And he freezes. Realizing. There's somebody in there with him. a silhouette sitting on the floor by the door. The figure reaches out, pushes open the outer door a bit. Faint light spills in, revealing : NICK I came to talk. Guess who was n't in his cell? Imagine my surprise. CLYDE Imagine mine. NICK Beautiful how you played us. Getting yourself tossed into solitary - pre - rigged with exits from all five cells. Whichever one we put you in, you had your bases covered. -LRB- faint smile. -RRB- I thought I was such a bad - ass putting you down here. Turns out I was doing what you wanted. CLYDE That's how you play. Make the other guy think it's his idea. -LRB- beat. -RRB- You came to talk, so talk. NICK Been thinking. If I'd done things differently - made different decisions from the start - we would n't have gotten to this point. CLYDE But it happened. And here we are. NICK Here we are. -LRB- beat. -RRB- Your decisions put us here too. This mess is on both of us. CLYDE You want to hold hands? What's your point? NICK We ca n't change decisions we've made. We can only account for decisions we make from here. I know what mine will be. -LRB- beat. -RRB- What about you? You gon na finish dialing that number, or what? Clyde hesitating, thumb hovering over the number pad. CLYDE If I do n't? What are you offering? NICK You looking to deal? CLYDE I'm willing to listen. NICK Okay, here's the deal. The deal is. there is no deal. -LRB- off Clyde's look. -RRB- I told you. No more deals with murderers. I'm sticking to that. That's my decision. It's what you taught me. Strange as it sounds, I'm grateful for the lesson. Nick rises, steps out - pauses, turns back. NICK Your turn. You make the right decision, I'll see what I can do for you. But the wrong decision is one you'll have to live with the rest of your life. The moment stretches. Clyde poised - all down to this. In the end, he ca n't help himself : Boop - boop - boop - hits send. CLYDE I'm sorry. NICK Me too. Nick pushes the barred door shut. NICK because like I said, it's a decision you'll have to live with the rest of your life. Which at this point I figure is. -LRB- glances at watch. -RRB-. another 35 seconds. and turns the key in the lock - klatch. NICK Check mate. Clyde hears a SOUND. like a phone ringing - sort of close but not - muffled - like the sound Cantrell heard. Clyde, realization dawning, thrusts his hand out and jerks the cot blanket up, revealing : The steel briefcase under his cot. He glances up to see : Nick gone. Clyde scrambles to his portal, yanks on the handle. CLYDE'S STAGING AREA -LRB- UNDER THE CELLS -RRB- ANGLE ON : The hatch handle rattles - now padlocked shut.",
"INT. JOE'S GARAGE/MECHANIC'S PIT - NIGHT FAST CUT : Dunnigan thrusts himself out of the tunnel, cops grabbing his arms, pulling him free.",
"INT. SOLITARY WING - NIGHT Nick comes through the sally - port at a fast stride, through another door, goes up the steps.",
"INT. CLYDE'S CELL - NIGHT Clyde wheels around, frantic as a caged tiger - he lunges to the door, rattling the bars. QUICK ANGLES. while Nick pounds faster and faster up staircase after staircase.",
"INT. CLYDE'S CELL - NIGHT Clyde - enraged, bellowing - picking up the steel briefcase, swinging it hard against the bars, trying to batter through. And then stopping. A self - awareness returning. Perhaps it's the Clyde that's been missing for years - the sane one. Pause. He sets the briefcase down. Stands a moment. He sits down on the briefcase. Calm now. Pulls a SMALL PHOTO from his breast pocket. Gazes at it. It's his wife and daughter. He stares at them a while. Tucks the photo back in his pocket. Nods. CLYDE Well played. BOOOOM! The DETONATION is staggering, instantly vaporizing Clyde and the cell he's in. SOLITARY WING. BLOWING the bars right out of the stone on a WALL OF FLAME that overwhelms the lens. FAST CUTS : CORRIDORS AND STAIRCASES. FLAME HURTLING with express - train force.",
"EXT. PRISON COURTYARD - NIGHT and BLASTING TONS OF BRICK AND MORTAR skyward. Nick enters the shot as WE DOLLY BACK WITH HIM, walking away from the building going to dust and rubble B.G. CAMERA PANS HIM AROUND, now following him, as he approaches Davies standing with Iger. Iger is staring, agog : IGER Jesus. -LRB- beat. -RRB- Thank God that wing was empty. A car arriving behind them : Dunnigan getting out, approaching. IGER How do I explain this to the city? DUNNIGAN I think the Mayor will have your back. Nick approaches, comes abreast of them. Looks are traded with Dunnigan and Davies. Relief. Fellowship. A touch of sadness. Words are n't needed here. Nick keeps walking, pulls his cell phone, starts dialing. Dunnigan smiles. He knows exactly where Nick's going.",
"INT. TRAIN STATION PLATFORM - DAY LONG LENS : Nick sitting. waiting. An ARRIVING TRAIN moves massively into the shot, pulling into the station. Nick rises. A SQUEAL OF BRAKES, steel on steel. Nick engulfed in a crowd of arriving passengers, people getting off, swirling and jostling all around him, wiping frame. only two faces he wants to see. and there they are. He sweeps his family into his arms. The final moments of this movie are all about faces and joy. and CREDITS BEGIN as we FADE OUT"
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] | In a Philadelphia home invasion, Clarence Darby (Stolte) rapes and kills the wife and daughter of Clyde Shelton (Butler), who is forced to watch. Prosecuting Attorney Nick Rice (Foxx) is unable to securely convict Darby. Unwilling to take a chance on lowering his high conviction rate, he makes a deal with Darby, who pleads guilty to a lesser charge and receives a reduced sentence in exchange for testifying against his accomplice, Rupert Ames (Stewart); Ames only intended to steal goods from Shelton and flee, and was unaware of Darby's plan to rape and kill Shelton's wife and daughter. Ames is convicted and sentenced to death, while Darby is released after a few years. Clyde feels betrayed by Rice's actions and the justice system. Ten years later, Ames is executed. Unknown to the prosecutors and witnesses, the drug usually used has been replaced with an anticonvulsant, causing Ames to die painfully. Evidence implicates Darby. An anonymous caller alerts Darby as the police draw near and directs him to a remote location. Clyde, disguised as a police officer, reveals himself as the caller and paralyzes Darby with tetrodotoxin. He straps Darby to a table and video records himself dismembering Darby. When Darby's remains are found, evidence ties his death to Clyde. Clyde willingly surrenders and goes to prison. Rice learns his wife and daughter have been sent the dismemberment video and are traumatized by it. He initially refuses a plea bargain with Clyde, but District Attorney Jonas Cantrell orders Rice to make a deal. Clyde demands a new bed in his cell in exchange for a "confession." In court, Clyde represents himself and successfully argues he should be granted bail, then berates the judge for accepting the legal precedent he cited, believing her too easily convinced, and too eager to let madmen and murderers back on the street. The judge denies bail to Clyde, and cites him for contempt of court. Clyde demands an elaborate steak lunch and a music player be delivered to his cell by a specific time, in return for telling where to find Darby's lawyer, who was reported missing. Rice agrees, though the lunch is delayed by a few minutes by the warden's security measures. Once he has his meal, which he shares with a cellmate, Clyde provides a set of coordinates where Rice and the others find Darby's lawyer, buried alive but suffocated by time-mechanized materials while Clyde's lunch was delayed. As loud music plays in Clyde's cell, he proceeds to kill his cellmate with the bone of his steak, forcing the warden to secure him in solitary confinement. Cantrell arranges a meeting with a CIA contact and brings Rice. They learn Clyde previously worked with the agency, creating imaginative assassination devices and orchestrated intricate lethal tactics against nearly impossible targets. They are warned Clyde can kill anyone anytime he wishes. During a meeting with Rice and Cantrell, the judge dies from an explosive device hidden in her cell phone. Clyde demands all charges against him be dropped or he will "kill everyone". Rice takes precautionary measures instead. After Clyde's deadline passes, a number of Rice's assistants die from car bombs. Rice meets with Clyde in private and beats him. Clyde defiantly tells Rice that he is just beginning to destroy the system and all who believe in it. Leaving the funeral of a colleague, Cantrell is killed by a weaponized bomb disposal robot. The mayor puts the city on lockdown and promotes Rice to acting District Attorney. Rice learns that Clyde owns an auto garage near the prison. A tunnel leads to a cache of guns, disguises, and other equipment below the solitary confinement cells, with secret entrances to each cell. He and Police Detective Dunnigan realize that Clyde wanted to be in solitary confinement all along; this allows him to easily leave the prison without detection, carry out his pre-meditated murders while misleading the police, who have assumed his murders to have been the work of accomplices. Evidence points to Clyde's next target, City Hall, where the mayor is holding an emergency meeting. Rice and his men cannot find Clyde but discover evidence pointing to a cell-phone-activated suitcase bomb in the room directly below the meeting. Clyde returns to his cell. He is surprised to find Rice waiting for him. Clyde suggests another deal, but Rice says he no longer makes deals with murderers, thanking Clyde for teaching him that. Rice warns him to not do anything he will regret, but Clyde's cell phone is ready to be dialed to activate the City Hall bomb. When Clyde dials the phone, Rice leaves immediately. Clyde realizes too late that Rice has moved the bomb to his cell, which is now sealed. Clyde holds his daughter's bracelet, accepting his fate as the bomb explodes, killing him. The epilogue shows Rice watching his daughter in a musical stage performance, an activity for which he previously had difficulty finding time. | Law_Abiding_Citizen |
[
"",
"",
"",
"SKIPPER -LRB- in Japanese. -RRB- Captain. This is the bridge. We have an emergency.",
"",
"COOK -LRB- in Japanese. -RRB- What's going on? What's happening? Before anyone can answer, the ship is ROCKED by an enormous THUD as something hits the side of the immense ship. The crew TUMBLES as the ship SWAYS VIOLENTLY. The old Cook is thrown to the floor. He looks up nervously.",
"CAPTAIN -LRB- in Japanese. -RRB- What was that!? SKIPPER -LRB- in Japanese. -RRB- I ca n't tell. Again, the ship is HIT. An enormous CRASHING SOUND is HEARD as the ship ROCKS to one side, tossing the Captain and Skipper to the floor. Suddenly we HEAR the tell - tale, famous SCREAMING WAIL of our creature from somewhere outside. Terror shines in the Captain's eyes at the sound.",
"",
"CAPTAIN -LRB- in Japanese. -RRB- Abandon ship! Abandon ship! Man the lifeboats. But before he can say anything more, something WHIPS across the bridge's enormous windshield, SHATTERING THE GLASS. Was it a tail? No way, far too big.",
"NICK -LRB- singing. -RRB-. I'm singing in the rain, just singing in the rain. CUT TO :",
"NICK `` What a glorious feeling. I'm happy again.'' As the van disappears down the road, we CRANE UP revealing a city sign reading : CHERNOBYL, RUSSIA.",
"NICK `` I'm laughing at clouds, so dark up above.'' Nick rushes over to a small patch of land and begins to SHOVE the spikes into the muddy earth. NICK `` The sun's in my heart and I'm ready for love.'' Once firmly in the ground, he rushes back over to the van and pops the hood. CLOSE - VAN'S ENGINE We SEE the steaming engine and a large electric car BATTERY. NICK `` Let the cloudy skies chase.'' He attaches the cables to the battery and they SPARK! Nick YELPS and jumps back. Shaking off the shock, he rushes back over to the mud pit, dropping down to his knees. Suddenly, raising from the mud we see DOZENS OF EARTHWORMS. Excitedly Tatopoulos grabs a big empty glass jar and begins filling the jar with worms, happily in his element. NICK `` I'm singin' in the mud, just scooping up my worms.'' Unable to hear over his Walkman, he is oblivious as an enormous RUSSIAN MILITARY HELICOPTER lands right behind him. From the intense wind kicked up by the helicopter, Tatopoulos finally turns in time to see several RUSSIAN OFFICERS coming toward him. Nick scrambles to his feet. NICK -LRB- broken Russian. -RRB- Good day. I am here with permission. I have a, a. -LRB- in English. -RRB- Permit. How do you say permit? He goes through his pockets looking for his permits. MALE VOICE -LRB- O.S. -RRB- Dr. Nick Topopolosis? Tatopoulos looks up as the Russian soldiers move past him and over towards his cases of equipment. A man in a long raincoat comes forward. NICK It's Tatopoulos. TERRINGTON The worm guy, right? -LRB- extending his hand as he approaches. -RRB- Kyle Terrington, U.S. State Department. The Russian soldiers close up his equipment and take it off to the Helicopter. NICK What are they doing? TERRINGTON You've been reassigned. NICK You ca n't shut me down now! My research here's not finished! TERRINGTON It is now. CUT TO :",
"",
"",
"BRIEFING OFFICER The Japanese consulate has been calling and we've been getting pressure from the Americans. RAYMOND What did you tell them? BRIEFING OFFICER Nothing yet. RAYMOND Are there any other survivors? BRIEFING OFFICER Only one, Sir. He was very lucky. The group arrives at a door at the end of the hall. The Briefing Officer opens the door. RAYMOND'S P.O.V. - THROUGH OPEN DOOR In the corner of the large room we see the old Cook from the tanker curled up in the fetal position. The doctors and a few nurses are attending to him. RAYMOND Get them out of there. Two of the Officials move in and escort the Doctors and Nurses out of the room. Raymond nods to two other Officials who begin to unpack some recording equipment, including a video camera.",
"RAYMOND -LRB- in French. -RRB- Ask him what happened. The Second Official ask him in Japanese, but the old Cook does not respond. He asks again but the old Cook seems to be in a world of his own. BRIEFING OFFICER -LRB- in English. -RRB- It's no use. He's been like this since we fished him out of the ocean. Whatever happened to that tanker put him in a complete state of shock. Raymond takes out his lighter and ignites it on high. The old Cook's eyes slowly come back to life, transfixed by the fire. Slowly he brings the flame close to the old Cook's face. RAYMOND -LRB- in English. -RRB- What did you see, old man? Drawn out of himself by the flame. OLD COOK -LRB- weakly. -RRB- Gojira. Gojira. Raymond shoots a look at the Second Official for an explanation. SECOND OFFICIAL -LRB- in English. -RRB- I have no idea what he is saying. OLD COOK -LRB- stronger. -RRB-. Gojira! Gojira! GOJIRA! CUT TO :",
"",
"MAJOR HICKS Dr. Niko Topopolosis? NICK -LRB- correcting. -RRB- It's Tatopoulos. MAJOR HICKS Right. The worm guy. -LRB- to guards at blockade. -RRB- Can someone get those people off the beach? NICK Excuse me, would you mind telling me what the hell I'm doing here? MAJOR HICKS Follow me. The Major leads Nick up the beach away from the crowds. NICK You did n't answer my question. In fact, for the last 18 hours no one has answered any of my questions. MAJOR HICKS We have a situation on our hands that requires your particular expertise. ANGLE - DESTROYED VILLAGE HUT Several soldiers and researchers are investigating the site when Nick and the Major walk past. NICK Look, I may work for the Nuclear Regulatory Commission but accidents and spills are not my field. MAJOR HICKS We know. Major Hicks motions to some guards who clear a blockade away from a jungle pathway. Major Hicks takes the pathway. NICK Do you know that you just interrupted a three year study of the Chernobyl earthworm? MAJOR HICKS Yeah, you're the worm guy. NICK The radioactive contamination in that area altered the earthworm's DNA! You have any idea what that means? MAJOR HICKS No, but I have the feeling I'm about to find out. NICK It means that due to a man made accident the Chernobyl earthworms are now over seventeen percent larger than they were before. Mutated by seventeen percent? Major Hicks stops, turns to Nick. MAJOR HICKS -LRB- bemused. -RRB- Seventeen percent, huh? Sounds big. NICK They're enormous! A new species created by man's recklessness. That's what I've been trying to tell you, I'm only a biologist. I take radioactive samples and study them. MAJOR HICKS Then you're perfect. -LRB- pointing to the ground. -RRB- Here's your radioactive sample. Study it. With that Major Hicks walks away. NICK What sample? MAJOR HICKS You're standing on it. Nick looks down, sees nothing. NICK I do n't see it. -LRB- no response. -RRB- Where is it? We CRANE UP above him, pulling back farther and farther, until we SEE he's standing inside of a 15 YARD LONG GIGANTIC FOOTPRINT in the sand. NICK -LRB- CONT'D. -RRB- I do n't see it! Two scientists have spread out a tape measure to document its length as two others inspect it with Geiger counters. Nick sees them and realizes he's standing in a remarkable discovery. He looks up ahead and SEES. OVERHEAD TITLT SHOT - Foot steps. - Five gigantic footsteps in front of him. Other researchers examining the prints with all kinds of equipment. Geiger counters, CLICK, CLICKING away. Nick is stunned.",
"NICK -LRB- flabbergasted. -RRB- That was a footprint. I was standing inside a footprint. MAJOR HICKS That's right. NICK But there's no animal in the world that can make prints like that? Is there? MAJOR HICKS We're hoping you're going to help us figure that out. The Major gestures to the many villagers who are being attended to. Some are injured, others are being examined for radiation. The village has been decimated. NICK Somebody must have seen it. MAJOR HICKS It happened so fast no one knew what hit them'til is was over. A jeep pulls up and PETERS, a young researcher, comes rushing over with a video tape in his hands. As he passes Major Hicks. PETERS -LRB- on the run. -RRB- Tape's in. The French finally released it. Peters takes off for the command' tent. Nick and the Major follow. COMMAND TENT - CONTINUOUS - DAY Part military, part scientific command post. Lots of activity. Peters waves the tape as he rushes over to a television. Major Hicks and Nick follow. MAJOR HICKS A tanker was attacked and sunk yesterday near the French Polynesians. We think there's a connection. WOMAN SCIENTIST -LRB- ELSIE. -RRB- Is that the tape of the witness? Excitedly, ELSIE CHAPMAN, heavy set, early 30's, paleontologist and head of the research team, leads several of her colleagues over to the t.v. NICK Hi. Nick Tatopoulos. ELSIE Ah, Elsie Chapman, paleontologist. She's clearly attracted to him. This does n't escape Nick, who's not too comfortable with her flirtatious glare. She turns to a scientist standing next to her, DR. CLIVE CRAVEN. ELSIE -LRB- CONT'D. -RRB- Dr. Craven, have you met the worm guy? DR. CRAVEN Nice to meet you. The t.v. turns on and we SEE the old Cook, rocking on his bed, repeating over and over the same word. OLD COOK -LRB- filtered through t.v. -RRB-. Gojira. Gojira. Gojira. This is all too overwhelming for him. He turns from the t.v. and looks out into the jungle. Slowly he walks away, staring at something in the distance with total awe. Elsie walks up next to him. ELSIE What could have possibly done all that? We REVERSE ANGLE and SEE what they are staring at. A gigantic path cut through the jungle. Something of immense size has trampled and cut a deep and wide path right through the jungle forest that goes on for miles on end. Over the stunned face of Nick we HEAR. OLD COOK -LRB- O.S. -RRB- -LRB- filtered. -RRB-. Gojira. Gojira. Gojira. CUT TO : T.V. MONITOR - JUNGLE FOOTAGE The same beach scene we saw when Nick arrived. Over it. REPORTER -LRB- filtered. -RRB-. American and Panamanian troops quarantined off a section of the Panamanian jungle today amid unconfirmed reports of a crashed Air Force jet. WIDEN TO REVEAL :",
"AUDREY -LRB- O.S. -RRB- Murray wants these copied to each field producer. ANGLE - SECRETARY DESK Standing in front of the desk is AUDREY TIMMONDS, early thirties, attractive, small town girl who still has n't toughened in the big city and talking with her co - worker, LUCY, sitting. AUDREY And I'm supposed to remind you to call him on all of Caiman's expense p.o.'s. LUCY Speak of the devil. Just then Caiman passes behind them. AUDREY -LRB- nervous. -RRB- Think I should ask him? I'm going to ask him. You think I should? I will. Audrey makes the decision and bolts after Caiman. Lucy rolls her eyes. LUCY Oh girl. ANGLE - CAIMAN As he walks towards his office Audrey races up to him. Seeing her, he walks faster hoping to avoid her. He ca n't. AUDREY Did you talk with Humphries? CAIMAN This is not the place. AUDREY Just tell me, did you talk with him? CAIMAN He said he'd consider it. It's between you and Rodriguez. AUDREY Are you serious? He's going to consider me for he job? What else did he say? They arrive at his office. An enormous standee of himself with the ACTION NEWS CREW is there. CAIMAN Why do n't I tell you over dinner tonight? Your place. He stops at his door. Audrey is startled. AUDREY Mr. Caiman, you're married. CAIMAN And you're beautiful. AUDREY Mr. Caiman. CAIMAN Call me Charlie. AUDREY -LRB- stubbornly. -RRB- Mr. Caiman, I've been doing extra research for you after hours and weekends for nearly a year. And I've never asked for anything but this job is really important to me. I'm too old to be an assistant anymore. I need to know this job is going someplace. CAIMAN So have dinner with me tonight. AUDREY I ca n't. CAIMAN It's your choice. Caiman shuts the door on her. She turns and is face to face with the standee of Caiman. She takes out her chewing gum and plasters it on his nose. CUT TO :",
"",
"ELSIE Three years digging up worms in Chernobyl? How did Mrs. Tatopoulos handle it? NICK Oh, I'm not married. ELSIE Really? A girlfriend then? NICK No. Perhaps I work too much. ELSIE -LRB- filtered. -RRB- You mean to tell me that there is no one who holds a special place in your heart? Nick seems to get lost in thought. NICK Not for a long time, now. ELSIE Well, I think you're cute. NICK -LRB- awkward. -RRB- Oh, thank you. -LRB- whispered to Clive. -RRB- Is she always like this? CLIVE -LRB- conspiratorially. -RRB- I had to beat her off with a stick. The sound of a HELICOPTER ZOOMS overhead. AERIAL SHOT - HELICOPTER - SAME - DAY A helicopter ZOOMS past our convoy. As we FOLLOW the helicopter we REVEAL. JAMAICAN BEACH WITH A BEACHED CARGO SHIP - DAY Taking up nearly the entire beach, an enormous cargo ship lays on its side in the sand. Two gigantic holes, ripped into its hull. MILITARY JEEPS Nick hops out and joins Major Hicks et al as they push past the gathered crowd of onlookers. The group gives a collective gasp as they see the ship for the first time. Three men. -LRB- who we'll recognize from the Tahiti hospital. -RRB- take measurements of the holes in the ship. MAJOR HICKS Who are they? Lieutenant, get those people away from there. RAYMOND -LRB- French accent. -RRB- They are with me! Everyone in the group turns to find Mr. Phillip Raymond. MAJOR HICKS And who are you? Raymond hands him, as well as anyone who wants one, his business card. RAYMOND CHARGEURES, property and casualty insurance. We are preparing a report. MAJOR HICKS You're fast. RAYMOND That is our job. MAJOR HICKS Well your people are getting in the way of my job. RAYMOND Major, what do you think could have done this? MAJOR HICKS Get your people out of there or I will. The Major walks away. Raymond studies him as he does. ANGLE - SHIP Nick ca n't take his eyes off the enormous holes in the hull. He steps closer and turns to Peters, who's taking radiation counts of the ship. NICK Mind if I borrow this? Peter hands him his Geiger counter and walks into the cracked hull of the ship.",
"PETERS You okay, Nick? NICK Yeah, I'm. wait. I lost. Nick looks around frantically when the glass sample jar is suddenly handed to him. RAYMOND Are you looking for this? NICK Thanks. Raymond studies Nick as he joins the rest outside. DISSOLVE TO : UNDERWATER - NETS - MOVING P.O.V.. We are moving very quickly underwater. Ahead of us are some large FISHING NETS with a catch of fish carried in the bunt. Quickly we are heading for a collision.",
"",
"",
"LEONARD Jerry, why are we slowing down? JERRY -LRB- O.S. -RRB- She's heavy in the bunt. LEONARD That was fast.",
"DECK HAND The nets are full! JULES Then bring'em in! DECK HAND We ca n't. She wo n't budge! Jules gets up to move aft when THUD, again the ship ROCKS. ALL THREE BOATS SLOW TO A CRAWL Arthur tries to GUN his engine but it only WHINES. Soon all three boats STOP DEAD. Nothing but quiet for a long beat. ARTHUR What is going on? Then with another JOLT all three boats begin to move BACKWARDS, DRAGGED BY THEIR OWN NETS! LEONARD She's going sternway! FIRST MATE What the hell did we catch? The three boats begin to PICK UP SPEED, moving BACKWARDS in the water. Water SPLASHES up into the boats, winches begin to CRACK under the building pressure. The boats begin to move incredibly FAST backwards. Things on the boat begin to BREAK and CRASH DOWN onto the decks of the ships. JULES Cut us free! Cut the nets! The same cry is heard on all three boats. Leonard grabs an AXE and starts HACKING AWAY at the tow lines. Jules and his deck hands do the same. WIRE SHEERS are brought out for the larger CABLES connected to the nets. Desperately they try and free themselves as their boats are dragged helplessly backwards. ARTHUR -LRB- screaming at his men. -RRB- Cut the damned cables! A CABLE SNAPS! Jules falls backward as the cables and ropes are either cut or snapped from the pressure. Their boat stops. ANOTHER CABLE SNAPS! Leonard and his crew TUMBLE to the deck as their boat is freed. THE HARPO Is not so fortunate. The lone boat dragged backwards, faster now without the weight of the other boats. Then suddenly the aft of the boat begins to get PULLED DOWN, dipping into the water. With an unstoppable force the Harpo gets PULLED UNDER WATER. Deck hands LEAP off the boat as the top cabin is CRUSHED as the entire ship slowly DISAPPEARS BENEATH THE SEA. For a moment all is quiet. No one can believe what just happened. Hearts pounding, catching their breath. Then with a WHOOSH of air pressure, the Harpo BURSTS out of the water. With a gigantic SPLASH, the boat FLOPS on its side and capsizes. The waters calm, but the nerves of Jules and Leonard do n't. DISSOLVE TO :",
"",
"SOLDIER Major, we just got a report of a fishing trawler going down. Exact position, forty seven degrees latitude, 67 longitude. MAJOR HICKS What makes you think it's related? SOLDIER The trawler was pulled under. The team exchanges worried glances. Hicks moves over to a map where the other incidents have been marked. He traces his finger up the 67th longitude until he hits the 47th parallel. Just off the East Coast. MAJOR HICKS Jesus Christ! It's only two hundred miles off the American Eastern seaboard and we do n't even know what it is. ELSIE Theropoda Allosaurus. Some type of enormous reptile the likes of which we have n't seen since the age of prehistoric dinosaurs. CLIVE -LRB- sarcastic. -RRB- So where's been hiding the last sixty million years? ELSIE The depth and breath of the ocean floor has barely been explored. His kind could have survived there completely undetected. NICK -LRB- O.S. -RRB- What about the traces of radiation? Everyone turns to discover Nick has walked over holding his loosely scribbled notes in his hand. NICK The radiation is not an anomaly, it's the clue. This creature is far too unique on every level to be some lost dinosaur. MAJOR HICKS Do n't tell me why it's not, tell me what the hell it is. NICK What do we know? It was first sighted off the French Polynesian Pacific. An area that has been exposed to dozens of nuclear tests over the last thirty years. ELSIE Hence the radiation. NICK More than that. I believe this is a mutated aberration, a hybrid from the fall out in that region. CLIVE -LRB- sarcastic. -RRB- Like your earthworms? NICK Yes! We're looking at a completely incipient creature. The dawn of a new species. The first of its kind. CUT TO : OCEAN WATER Racing close to the ocean waters below, something DARK and ENORMOUS moves swiftly below the surface. We TILT UP from the raging tides up to REVEAL.",
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"AUDREY -LRB- sitting. -RRB- My life sucks. LUCY Oh, please, your life does n't suck. His life sucks. ANIMAL -LRB- between chews. -RRB- That's cuz I'm married to you. LUCY Shut up. How can you eat like that? ANIMAL Big bites. AUDREY I ca n't believe he put the moves on me. After everything I've done for him. LUCY He's scum! As far as he's concerned you're just a pair of breasts that talk. ANIMAL I like that image. AUDREY You know how I spent last weekend? Walking his damned dog. LUCY I'm telling you he's dirt. He's a douche bag, gutter slime, dog crap, puke chunks. ANIMAL Hey, hey! I'm eating here! LUCY Audrey, you're too damned nice, that's your problem. Nice gets you nothin' in this town. You got ta be a killer to get ahead, you know what I'm sayin'? I'm sorry, baby, but you just do n't got what it takes. AUDREY Animal, you do n't think that's true, do you? ANIMAL Nice guys finish last. First rule of the jungle. AUDREY Well, I can be tough if I want. ANIMAL & LUCY Yeah, sure. AUDREY -LRB- seeing something. -RRB- Oh my God! Everything turns to see what Audrey is looking at. Audrey gets up and rushes over to a television above the counter. AUDREY -LRB- excitedly. -RRB- Turn that up, turn it up. The waitress does. On the t.v. plays the same news story we saw from before from Panama. This time we SEE Nick and Major Hicks walking on the beach. AUDREY It's Nick! I know that guy. I know him! LUCY -LRB- unimpressed. -RRB- Who is he? AUDREY He was my college sweetie! Look at him. He looks so handsome on t.v.. What the hell is he doing in Panama.",
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"MAYOR I'd like to thank you all for coming out on this beautiful New York City day. Some in the crowd laugh as others applaud. Lost in the sounds of the crowd we HEAR a soft THUMPING in the distance. MAYOR When I came into office four years ago, people did n't think we could reduce crime and I did. ANGLE - COP IN BACK OF CROWD leaning to the cop next to him. COP -LRB- sarcastic. -RRB- Yeah, he did. MAYOR People did n't think I could restore order. This time the THUMPING is HEARD, growing much louder. MAYOR and I did. The city is a safer place today. Before he can continue the crowd begins to murmur with fear as the THUMPING grows LOUDER and CLOSER. Suddenly with a large CRASHING SOUND a building nearby begins to CRUMBLE. MAYOR -LRB- to his aides. -RRB- What the hell. People SCRAMBLE to get out of the way as DEBRIS from the falling BUILDING litters the area. The Mayor is pulled inside by his security men. Bursting out of the crumbling corner of the building we SEE the enormous LEG of the reptile as it KICKS debris out of its way. SIDE ANGLE - WALL STREET - FAST TRAVELING SHOT Several cars are SQUASHED quickly as the enormous FEET of the beast STOMPS through the street. Cars FLATTEN and SCATTER, flipping toward us, from the weight of the beast. We try to keep up with it, but it's too fast. After it passes, the Mayor sticks his head out of the doorway to see the demolished street scene. MAYOR What was that?",
"CAIMAN -LRB- into phone. -RRB- I do n't give a crap about some war in a country I ca n't pronounce. That's not a lead story. Find me a damned story, will ya! Just then his Secretary notices a desk lamp, the shade SHAKING and the light FLICKERING. She hears the THUMPING approaching. She turns and SEES. GIGANTIC TEETH The enormous head of GODZILLA growls as it passes by Caiman's office window. SECRETARY Mr. Caiman. I think your story just walked by the window. Caiman turns but there's nothing there. He's confused, she's dazed. CAIMAN What? Just then the TAIL WHIRLS past with a THUNDERS whip.",
"LUCY Did Romeo have a name? AUDREY Nick Tatopoulos. ANIMAL That why you dumped him? AUDREY No! I just could n't see myself with some boring egg head who spends his summer picking apart cockroaches. I wanted to have some adventure, some fun. LUCY And now you live the glamorous life of Caiman's assistant. Life's a bitch, ai n't it? In the distance we can HEAR the THUMPING approaching. ANIMAL How long where you and dis guy goin' steady? AUDREY Nearly four years. LUCY Four years. Girl, I'm surprised he did n't ask you to marry him. AUDREY That's the problem. He did. Suddenly the THUMPING gets LOUDER very quickly. Everyone in the diner reacts. LUCY Tell me that's not another goddamned parade. The next THUMP RATTLES the entire diner. Things begin to fall. Through the window we see people RUNNING in PANIC. ANIMAL That's ai n't no parade. Before anyone can speak the entire building is SHAKING. Through the front window we SEE. GODZILLA'S FOOT Smashing down directly outside the window. Cars are SMASHED. One car SAILS directly INTO THE WINDOW, shattering it. Animal uses his size to COVER the girls from the falling debris. As the danger passes, Animal charges for the door. LUCY Victor, wait!",
"LUCY Victor, do n't! ANIMAL RUNNING Turning the corner Animal runs full speed through the debris, trying to jam a video cassette into his camera. It wo n't fit. He SEES up ahead. P.O.V.. THE TAIL Just as it disappears around the corner a few blocks ahead. Thinking quickly, Animal bolts down a small alleyway.",
"ANIMAL Oh shit! Before he can do anything about it. GODZILLA'S FOOT Towering above him. He has no time to flinch as the gargantuan foot SMASHES DOWN. In terrifying amazement, Animal remains standing IN BETWEEN THE BEAST'S TOES. Abruptly the foot LIFTS again. Animal is unscathed and frozen with fear. ANGLE - ANIMAL Close on Animal as the endless TAIL of the creature DRAGS just past him. It seems to go on forever. Finally it disappears. WIDE ANGLE - TABLEAU OF A DEMOLISHED STREET Deserted and demolished. Cars burn, debris falls. Animal, the lone figure, just stands there, his chest heaving, hyper ventilating. CUT TO :",
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"",
"SERGEANT -LRB- quick salute. -RRB- Sergeant O'Neal, Sir. MAJOR HICKS Any word from the Mayor's office? Just then dozens of NEWS VANS pull up. Reporters and camera crews come rushing toward them. The guards rush to intercept. Stepping out of the next car in the convoy, Nick and Elise join Major Hicks. SERGEANT They've agreed to evacuate the city. They've called out the National Guard and riot police are on alert. As they walk towards the tents the crowd crushes close. Nick and Elsie are overwhelmed. ELSIE -LRB- aside to Nick. -RRB- Evacuate Manhattan? That's over three million people. Has that ever been done before? NICK I do n't think so. Several military guards have to clear a path for them as they enter the tents.",
"MAJOR HICKS Status report? SERGEANT We've lost sight of it, Sir. MAJOR HICKS You want to run that by me again? SERGEANT -LRB- nervous. -RRB- After the initial attack he just. disappeared. OFFICER -LRB- interrupting. -RRB- Major, Secretary of Defense Burk on the line. This takes Major Hicks off guard. The last person he wants to talk to. Nick walks over to the Sergeant. NICK I do n't understand. How can something that large just disappear? SERGEANT We're not sure. We're scanning the area now. ELSIE He probably returned to the river. Just like everywhere else we've been, we're always one step behind. Nick turns and notices the back of the tent is open revealing a beautiful view of the Manhattan skyline. Several soldiers enter, setting up telescopes. NICK I do n't think so. Over Manhattan we see several dark plumes of smoke from the destruction. Military helicopters scan the city. Staring out at the skyline, Nick is mesmerized. NICK I mean, look at it. It's perfect. An island, water on all sides. But like no other island in the world, this is a place where he can easily hide. -LRB- beat. -RRB- He's in there someplace. A SOLDIER comes rushing in. SOLDIER Channel eight caught it on film! He rushes over to a bank of monitors, turns one on. On the screen we SEE the shaky video Animal took of the creature just as it was about to step on him. CAIMAN -LRB- filtered. -RRB-. WNEW's exclusive images of the creature were taken less than a half hour ago. Nick and Elsie's jaws nearly hit the floor at the sight of the immense creature. CAIMAN Cameraman Victor `` Animal'' Palotti barely survived this vicious attack to provide us with this footage. The sounds of applause lead us to.",
"CO-WORKERS Way to go Animal! That's my man! Animal passes Audrey and Lucy who are packing up some files. AUDREY Great stuff, Animal. Were n't you scared? ANIMAL Sure I was. I thought Lucy was gon na kill me. LUCY Damned right, you crazy Wop! We SEE the room is in disarray from packing up cartons of boxes and equipment. The workers have taken a break from the packing as they watch the t.v. broadcast. The station manager, MURRAY enters anxiously. MURRAY People! We have to be completely relocated to the New Jersey station before our 5:30 broadcast. -LRB- reading from list. -RRB- Okay, Caiman, Devoe and Animal, you're on the helicopter. Everyone else we'll see you in Jersey. ANIMAL Got ta go, honey. You guys gon na be all right? LUCY Audrey's going to stay with us tonight. ANIMAL Great. See ya then. Animal hurries out after him. Audrey and Lucy go back to packing. Audrey looks up at the t.v. just as they replay the footage of Nick and Elsie being led into the command tent. FIELD REPORTER -LRB- filtered. -RRB-. military and government health officials set up a command post on the New Jersey coast this afternoon. Surprised at first, Audrey suddenly becomes very excited. She SEES Caiman exiting the studio at the end of the hall. She rushes over to him. AUDREY Caiman, wait. Take me with you. CAIMAN What? AUDREY I've got something on this. I know a guy on the inside with the military. CAIMAN Not now. You got my bag? Audrey holds up his bag as they walk towards the elevator. AUDREY You do n't understand, I can get us information. CAIMAN Listen, this is the time when the big boys have to go to work, okay Honey? With that, Caiman walks into the elevator. Pissed, Audrey just stares at him. CAIMAN The bag? Audrey THROWS the bag at him, knocking him backwards as the elevator doors close. Lucy walks over. LUCY Come on, Girl, we've got ta go!",
"",
"CAIMAN -LRB- O.S. -RRB- in what city officials are calling the worst act of destruction since the World Trade Tower bombing.",
"CAIMAN Police and the National Guard have quarantined off over twenty square city blocks.",
"CAIMAN hundreds of thousands have jammed the streets in the largest evacuation in the history of the city. And many people are not happy about it.",
"WOMAN I do n't understand why we have to leave our homes. It's over already, is n't it? MAN What are we running from? A big lizard? I've got cockroaches in my building that could kick the crap out of it.",
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"",
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"P.A. Please do n't push. People are getting shoved down onto the tracks and the trains ca n't leave. The last to fit inside, Lucy and Audrey cram in just as the doors shut behind them. People left behind BANG on the closed doors as the subway pulls out.",
"MAYOR -LRB- O.S. -RRB- Well this is great!",
"MAYOR If we're wrong on this evacuation they'll string me up from the Liberty torch.",
"",
"MAYOR Who the hell are they? AIDE It's a contingent of building owners and community business representatives. MAYOR I do n't have time for this nonsense. AIDE Most of them are campaign contributors. Well that's a different story.",
"MAYOR I share your concerns. I want to get the city back in business as soon as possible. As he pushes through the dense crowd he runs directly into. RAYMOND Who waits for the Mayor. The Mayor is momentarily stopped. RAYMOND -LRB- handing his card. -RRB- CHARGURES Insurance. We represent nearly thirteen percent of the buildings in your city. MAYOR If you'll excuse me. RAYMOND We are very happy that you are in control of this situation. With that he gently pats the Mayor on the back, leaving a small, nearly undetectable DEVICE on the Mayor's collar. RAYMOND You can count on our emotional and financial support. MAYOR Oh, well, thank you very much. Briskly he shakes his hand as he pushes his way through the crowd. Raymond watches him pass, seeing the device stuck to the Mayor's collar. ANGLE - WNEW NEWS CHOPPER Rushing over from the parked news chopper, Animal and Caiman race for the Mayor who walks through a mob of reporters. CAIMAN Hurry, we're going to miss the Mayor. But before he can get close, two POLICE OFFICERS stop them. POLICE OFFICER Sorry, you got ta have a press ID past this point. CAIMAN Do n't you watch t.v? POLICE OFFICER Can we see your press pass, sir? Flustered, Caiman searches his pockets for his press pass. CAIMAN I had one here on my bag. Where the hell did I put it? CAIMAN'S PRESS PASS - ECU We SEE Caiman's plastic smile on his press ID. Suddenly AUDREY'S picture is placed on top of Caiman's. WIDEN TO REVEAL :",
"LUCY What the hell are you doing? AUDREY Remember my friend we saw on t.v? LUCY Your old sweetheart? AUDREY Yeah, well he just turned up in New Jersey at the military command post. Somehow all this is related to what happened down in Panama. There's a story here. I know it. You got any tape or glue? LUCY I left my forgery kit back at the office. Audrey looks over at a young ten year old boy holding his backpack, a RULER sticking out of the back. AUDREY Hey, do you have any glue in your bag? KID What's it to you? AUDREY Can I use some? KID What do I get? AUDREY The warm feeling of helping your fellow man. KID Five bucks. AUDREY You're kidding, right? The Kid simply puts his hand out.",
"P.A. ANNOUNCER Please exit the station. For those of you without accommodations, the city has opened up shelters on Monroe and 60th and at Bergenline and 72nd. Please exit the. Audrey and Lucy walk through the crowd. Audrey turns and gives Lucy a kiss. AUDREY Wish me luck! LUCY Audrey, I do n't think this is a very good idea. Caiman finds out and he'll have your job. AUDREY I'm tired of waiting for someone else to give me an opportunity, Luce. If there's a story here I'm going to find it. Lucy nods in acceptance as Audrey disappears into the dense crowd. Lucy worries for her friend. CUT TO : `` YUM YUM DOUGHNUTS'' BAG - PRE - SUNSET Carried along with a Styrofoam cup of coffee. We WIDEN TO REVEAL a MAN carrying the junk food to a GREY VAN parked not too far from the Command Center Tent across the way. The man knocks on the back of the van. The van opens to reveal.",
"RAYMOND Merci. He opens the bag and takes out a croissant. He bites into it and grimaces. To wash away the taste, he drinks from the coffee. It's worse than the croissant. RAYMOND You call this coffee? MAN -LRB- French accent. -RRB- I call this America. The man takes a seat near Raymond as Raymond turns up the volume on his headset. MAYOR -LRB- O.S. -RRB- -LRB- mid argument. -RRB- You're telling me that in an election month I've evacuated the entire city for nothing?",
"MAYOR Do you realize what this evacuation will cost the people of this city!? Representatives of all branches of the military, National Guard and the Mayor's office are here. The room overflows with people. Nick, Elsie and the scientist stand near the back of the tent. ADMIRAL PHELPS We're been monitoring the waters around the island. As far as we can tell it has n't left the area. MAYOR But you do n't know for sure. MAJOR HICKS We think there's a strong reason to believe it may be hiding inside one of the buildings within the sequestered area. MAYOR But you do n't know for sure! Just then Sergeant O'Neal enters hurriedly. He wants to speak but waits for the opportunity. MAJOR -LRB- controlling his temper. -RRB- Mr. Mayor, if he's not in one of those buildings then we give the all clear. But not until we've checked each building! SERGEANT O'NEAL Sir, that may be more difficult than we originally projected. MAJOR More good news?! SERGEANT O'NEAL We've run into a problem. CUT TO : A SIGN READING : SUBWAY STATION : 23RD STREET - SUNSET We CRANE DOWN to reveal several military sedans pulling up into FLAT IRON SQUARE. -LRB- where Broadway meets 5th. -RRB-. Sergeant O'Neal leads the team out of the cars and down a subway entrance.",
"SERGEANT O'NEAL Lt. Anderson and his men found this late this afternoon. The camera makes a hundred and eighty degree turn as we suddenly SEE what the team is staring at. AN ENORMOUS HOLE The four normal subway tunnels have been CARVED OUT making one GIGANTIC TUNNEL. Debris and crumbled brick are everywhere. Several SOLDIERS with flashlights approach the hole. Lt. Anderson moves over to the astonished group. Some of the scientists fan out, examining the area. LT. ANDERSON We were checking the office building above when we discovered the floor was gone. LOW ANGLE - REVEALING THE HOLE IN THE CEILING We SEE that not only is the ceiling gone but the building above is hollowed and torn to shreds. Another hole in the building leads to the street. LT. ANDERSON When we learned he could burrow his way through the tunnels we realized he could be out of the quarantined zone. MAJOR HICKS Christ. How many tunnels lead off the island? LT. ANDERSON Only five, Sir. We've checked them all. He has n't used any of them. MAJOR HICKS Have them sealed off. LT. ANDERSON And how should we do that, Sir? MAJOR HICKS Fill them with cement, brick them up, put land mines in them, bombs, I do n't know, just make sure that goddamned thing does n't leave the island! ANGLE - INSIDE DARKENED TUNNEL As the SOLDIERS slowly move down deeper into the tunnels, their flashlight beams scan the area. Could they stumble onto something dangerous? ANGLE - NICK as he approaches Major Hicks and Sergeant O'Neal. NICK You know, he's not an enemy trying to evade you. He's just an animal. MAJOR HICKS What are you suggesting? NICK When I needed to catch earthworms, I knew the best way to catch them was not to chase them. I had to draw them out. ANGLE - SOLDIERS - DARKNESS Still moving deeper into the tunnel we get the feeling these soldiers may just waken a sleeping giant. BACK TO TEAM Nick moves to the edge of the platform, looking off into the dark tunnel. NICK All we need to do is find out what it wants, what it needs, and he'll come to us. ANGLE - SOLDIERS - DARKNESS The lead Soldier SEES something. Cautiously he moves forward thinking he's onto something. We HEAR something MOVING in the darkness. We FOLLOW his beam as the noise grows clearer. The beam falls onto something on the floor. A FISH Flopping on the ground is a large FISH. As the beam moves farther along we see two, no, three fish ahead. CUT TO :",
"",
"",
"MAJOR HICKS Where are they now? RADIO TECHNICIAN Delta niner, what is convoy position?",
"DRIVER -LRB- O.S. -RRB- Command, we're just entering the city.",
"RADIO TECHNICIAN Convoy ETA, five minutes. The Sergeant signals several military technicians, who are mounting several video cameras to hurry.",
"MAYOR -LRB- whispering to Aide. -RRB- They find anything yet? The Aide shakes his head. Monitors come to life with a live video feed - from several cameras we saw mounted. A CABLE REPAIRMAN - MAGIC HOUR In blue overalls, the REPAIRMAN walks up to a large satellite dish. We WIDEN to REVEAL the dish is parked next to the Command Tent. He kneels down next to some cables leading away from the dish toward the Command Tent.",
"",
"REPAIRMAN -LRB- French accent. -RRB- It is good.",
"RAYMOND You said this was French Roast! His aid turns, holding a package labeled FRENCH ROAST. RAYMOND -LRB- defeated. -RRB- More cream. His associate hands him some milk. He adds it to the coffee. No use, it still sucks. On the monitors we SEE the DUMP TRUCKS entering Flat Iron Square.",
"SERGEANT O'NEAL I sure hope your plan works. NICK I'm kind of hoping the same thing. The twenty of them, in concert, begin to dump their cargo. LOW ANGLE - CENTER OF THE DUMP TRUCK CIRCLE Tons and tons of FISH are DUMPED directly on top of us.",
"AIDE Tres bizarre. RAYMOND No. -LRB- leaning forward. -RRB- Very clever.",
"NICK That's a lot of fish. A master of the obvious. Sergeant O'Neal shoots him a glare and moves over to the men. Together they march into a building at the edge of the square. SOLDIERS Loading up rifles, taking positions. GAS MASKS being handed out down a long line for all the soldiers. The TANKS move into their final positions. The National Guardsmen and Soldiers supporting the Tanks take positions.",
"NICK I need your radio. The Young Officer leads Nick over to his jeep. Nick grabs the receiver. NICK Sergeant O'Neal, the subway vents. We have to shut them down.",
"NICK -LRB- O.S. -RRB- -LRB- filtered. -RRB-. With the air pressure pushing up, he'll never smell the bait! SERGEANT O'NEAL -LRB- turning to soldier. -RRB- Get some men down into those air vents. Shut'em down!",
"",
"NICK We need to open all the manhole covers in the area. Let the scent waft down. The Young Officer signals other soldiers. Nick steps back and lets the soldiers go to work. As he walks back, he spots another manhole cover at the next intersection down a side street. He runs over to it. ANGLE - SIDE STREET - MANHOLE COVER A particularly heavy one in the center of this intersection. -LRB- a block away from Flat Iron Square. -RRB-, Nick, alone, wrestles to remove it. With all his might, he drags it clear. Suddenly, through the hole he HEARS some STRANGE NOISES from below. Rattled, he slowly backs away from the hole. The NOISES grow increasingly louder. Then with a DEAFENING ROAR, the ground behind Nick ERUPTS and GODZILLA RISES, ripping up the boulevard as he does. Nick SPINS only to find himself face to face with the gigantic creature. Godzilla's head slopes down, apparently looking Nick in the eye. All around foot soldiers appear, guns trained, shoulder hoisted rocket launchers prepared. Out of the corner of his eye, Nick sees all this. He gently signals with his hands that they should NOT fire. Sensing no danger from Nick, Godzilla simply STEPS OVER Nick. NICK'S POV - UNDER GODZILLA As the gargantuan creature walks over us, making a beeline for the fish. Nick turns and RUNS, following him.",
"",
"MAJOR HICKS Commence phase one. Let's gas it!",
"SERGEANT O'NEAL Let'em fly! ANGLE - STREET LEVEL - SAME All the soldiers PUT ON their GAS MASKS. A team of EIGHT, pull out a GAS CANISTERS and yank the releases. They DROP them down the long barrels of air cannons, preparing to fire. SAND BAG FORTIFICATION - SAME Nick runs past the fortification, trying to get a closer look. The Young Officer yells after him. YOUNG OFFICER Where're you going? Nick! Nick stops briefly as the Young Officer TOSSES a gas mask to Nick who quickly puts it on and dashes for a closer spot. Suddenly SAILING OVER HIS HEAD we SEE. GAS CANISTERS Firing from the air cannons, the GAS CANISTERS streak across the sky landing behind Godzilla. The Yellow gas forms a wall of smoke that drifts upwards. ANOTHER ANGLE - OPPOSITE CORNER Across the way eight MORE CANISTERS are FIRED at the beast. Quickly Godzilla is surrounded by the gas fumes. ANGLE - NICK Frustrated at his inability to see through the smoke, he DASHES forward over to a large BRONZE STATUE. GODZILLA The smoke annoying and distracting him, Godzilla spins, his tail waving the smoke away. But the smoke returns. Godzilla YELLS OUT. Frustrated he rears back and BLASTS! For the first time we SEE the infamous POWER BREATH of Godzilla. With amazing FORCE the smoke, canisters, cars and anything that is n't nailed down SAILS BACKWARDS from the intense pressure. Nick is HIT by the WAVE of air pressure and is sent FLYING BACKWARDS, impossibly high in the air. An enormous fabric BANNER advertising this season at the MET, catches Nick who SLIDES down the banner, hitting the ground, HARD. Just as he looks up he SEES. A LARGE TRUCK Tumbling toward him from the power breath. Nick SCRAMBLES to his feet just in time as the rolling Truck SMASHES into the building behind where he just sat. ANGLE - TROOPS - FORTIFICATION The troops have to SCATTER as the tumbling trucks and cars are FLUNG AT THEM, disabling their attack forces. Trucks and rocket launches are CRUSHED by the tumbling debris. Godzilla CONTINUES to BLOW at everything around him. Cars and trucks ROLLING. Soldiers DIVING for cover. It's chaos. The glass in all the surrounding buildings SHATTER, shards of glass raining down. Windows, street lamps, all blown out by the tremendous gale force winds.",
"MAJOR HICKS Fire at will!",
"EXT. ROOFTOP - SERGEANT O'NEAL - SAME - NIGHT SERGEANT O'NEAL Fire at will. Fire at will.",
"",
"",
"",
"",
"MAJOR HICKS -LRB- into radio. -RRB- O'Neal, what the hell is going on there!?",
"SERGEANT O'NEAL -LRB- into radio. -RRB- He's gone, Sir. Echo division's in pursuit.",
"",
"LOOTER #1 Jimmy, let's go. LOOTER #2 Wait. I want this. Help me! The group rejoins Jimmy as they try to pull an enormous Pin Ball machine from the window. As they carry the machine back towards the mini - van. SQUASH! - GIGANTIC FOOT Godzilla's enormous foot flattens the mini - van like a pancake. The Looters go pale. As the Military Armored Vehicles RACE by in hot pursuit.",
"",
"HELICOPTER PILOT -LRB- O.S. -RRB- -LRB- filtered. -RRB- We have him, locked on. MAJOR HICKS Then FIRE damn it!",
"",
"",
"HELICOPTER PILOT -LRB- filtered. -RRB- That is a negative impact. The Mayor, in the back of the room stands, furious. MAYOR Negative impact!?! It's the goddamned Chrysler building, that's what it is! His aides try to calm him. MAJOR HICKS -LRB- into radio. -RRB- You said he was locked on!",
"HELICOPTER PILOT -LRB- O.S. -RRB- The heat seekers ca n't lock. He's colder than the buildings around him.",
"PILOT I think we got him. Just then ERUPTING out of a building behind them. GODZILLA POUNCES OUT of the building, snapping up two of the helicopters in one bite! He WHIRLS around and SWIPES another out of the air with his ENORMOUS CLAW. The CLAWED helicopter SLAMS into the ground just as. ARMORED VEHICLES come sliding around the corner, directly into the CRASHING HELICOPTER which explodes on impact. The entire team is taken out with the concussion.",
"MAJOR HICKS -LRB- into radio. -RRB- Echo four, where is he!?",
"HELICOPTER PILOT #4 I do n't know sir. He just vanished. As the helicopter PASSES a dark building we SEE a SHAPE MOVE! We realize that like a chameleon, Godzilla had TAKEN THE COLOR of the building and hid. With the helicopter past him, he CHASES FROM THE REAR. HELICOPTER PILOT #4 -LRB- realizing. -RRB- Oh Jesus! The chopper GUNS IT, full throttle. Godzilla GIVES CHASE. Even at its top speed it ca n't out run the big creature. The chopper tries to LIFT AWAY but before he can get the height, Godzilla SNAPS his gigantic jaws and SWALLOWS THE HELICOPTER WHOLE. STREET - WIDE ANGLE The fires burn and the rubble crumbles. Godzilla gives one final SCREAM and DIVES into a building, disappearing.",
"MAYOR What the hell is the matter with you people?! You caused more damage than that thing did!",
"",
"SERGEANT O'NEAL I ca n't believe it. He did all this and we did nothing to him. Nick walks over to him, consoling. NICK That's not true. We fed him. REVERSE ANGLE Only a few scattered fish remain where the mountain of fish once was. Our team stands there amidst the rubble. FADE OUT : FADE IN :",
"ANCHOR While it may have looked like Beirut, it was in fact, Manhattan where man and nature have collided with brute force. The video switches to the White House where we SEE the President signing a bill. ANCHOR The President today declared a state of emergency and has issued disaster relief funds to New York City. WIDEN TO REVEAL :",
"",
"REPORTER #1 rumors continue to mount as to the origin of this, perhaps, lost dinosaur. REPORTER #2 having shut down the United Nations in the evacuation, foreign diplomats are demanding an international coalition be assembled to track the creature. The assistant finally arrives at Caiman who is doing a live remote. Animal works the camera. CAIMAN Maintaining a total media blackout, officials remain silent this evening as to their progress in containing this creature. Behind him, in the crowd we SEE Audrey pushing her way through the reporters, her fake ID pinned on her shirt. She turns and sees Caiman. Quickly she ducks down and moves deeper into the crowds. Suddenly there is movement as the crowd turns their collective attention over to a group of cars pulling up nearby. Audrey pushes her way to see what's happening. The cars are BLOCKED from returning to the command tents as the reporters MOB the first car in line.",
"NICK -LRB- to the driver. -RRB- It's okay, I'll get out here. He opens the car door and pushes his way through the crowds who are less interested in him as they are the military officials. NICK'S P.O.V. - MEDIA CIRCUS - CROWDS - NIGHT Pushing his way through, Nick SEES what a circus this has become ; t.v. news camera crews, journalists, concerned citizens, worried mothers, and of course, merchandising. STREET STANDS Nick passes several vendors selling dinosaur toys, copies of Animal's now famous news video clip and, of course, tee shirts with still images from that same clip. ANGLE - AUDREY Through the dense crowd, Audrey SEES Nick in the distance. Excited she starts to push her way through.",
"PHARMACIST Can I help you, young man? NICK Do you have any home pregnancy tests? Especially ones that test for catastrophic hormones or clomiphene citrate. PHARMACIST This is all we've got. The Pharmacist puts onto the counter six different off the shelf home pregnancy tests. NICK I'll take them all. AUDREY -LRB- O.S. -RRB- You must have quite some harem. Nick spins to find Audrey standing right behind him. Embarrassed, Nick awkwardly pays for the tests. NICK Audrey?! Is that you? Hi, hello. You look, wow, uh, how've you been? AUDREY It's good to see you, Nick. The Pharmacist puts out Nick's change. He scoops it out and we FOLLOW them as they exit together. NICK So you made it. AUDREY What? He points to her fake press ID she's still wearing. NICK You're a reporter. That's what you always wanted to be, right? I'm happy for you. Really, I am. AUDREY Yeah, well.",
"AUDREY So, you still picking apart cockroaches? NICK No, I'm into earthworms now. You would n't be interested. They're real `` boring'' creatures. Very reliable, dependable, no surprises. AUDREY You're still mad at me, are n't you? NICK You just left me without a phone call, a letter, nothing. All this time. Yeah, I guess I'm still a little mad. AUDREY That was eight years ago. Some people change, you know. NICK Most people do n't. AUDREY I'm sorry you feel that way. Audrey turns and walks away. Nick regrets his behavior and calls after her. NICK Wait. I'm sorry. You're right. Eight years is a long time. Can I offer you a cup of tea? AUDREY Sure. I'd like that. There's an awkward moment as neither knows what to say. AUDREY One, thing, though. Who'd you get pregnant? Off Nick's awkward reaction. CUT TO :",
"AUDREY I still ca n't believe it. How does a guy go from an anti - nuke activists to working for the Nuclear Regulatory Commission? NICK When you and I use to attend rallies in college, we helped to create awareness. But from the inside now I can actually effect change. -LRB- pointedly. -RRB- I never lost my idealism. AUDREY And exactly what changes are you trying to effect? NICK I have this theory that we're inadvertently creating new species as a direct result of what we've done to nature. AUDREY And you think this creature is one of them? NICK Yes. The first of its kind. I found this blood sample earlier this evening. AUDREY Blood sample? How close did you get to that thing? NICK I got pretty close. AUDREY What else do you know about it? Nick finishes his concoction, adding the blood sample into it He takes the piece of litmus paper from one of the home test boxes and dips it in. NICK Well, we know he eats fish, he's of reptile genus, he's a burrower, he's amphibious and. Nick points out the litmus paper. It turns RED. NICK he's pregnant. AUDREY Are you sure? Nick gets up and starts to gather his materials. NICK -LRB- thrilled. -RRB- Well, obviously these tests were n't designed for this but fundamentally they're looking for the same hormonal patterns that would indicate pregnancy. AUDREY I do n't get it. If it's the first of its kind, how can it be pregnant? Excitedly Nick begins to pace. NICK The ultimate expression of evolution, it reproduces asexually. Think about it, all kinds of creatures have been known to travel great distances for reproduction. That's why he came to New York. Like every species of insufficient progenitors, he's nesting! AUDREY Nesting? NICK Yes. Do you realize that a creature like this could lay as many as a dozen eggs at a time! Nick moves to the front exit of the tent. NICK Forgive me but I've got to get this into the lab, to confirm all this. I'll be right back. Nick rushes from the tent. Alone, Audrey ca n't help but poke around a bit. She opens one of his CASES. Taped to the roof of the case she SEES. INSERT PHOTOS - NICK AND AUDREY Happy times long ago. They're both young and in love. Audrey is surprised Nick still keeps them. She's touched. Feeling guilty she quickly closes the case and sits back down. As she does she notices a video tape labeled FIRST SIGHTING. Unable to resist, she puts it in and turns on the t.v.. The shot of the Japanese Cook appears. COOK -LRB- filtered through t.v. -RRB-. Gojira. Gojira. She hits the fast forward tape and SEES, the enormous footprints in Panama. She fast forwards again and sees the beached cargo ship in Jamaica. Audrey is torn. She makes a decision, pops the tape back out, puts in her purse and takes off out the back of the tent. Moments later, Nick returns from the front. NICK Audrey? Audrey? A flash of lighting and thunder accents Nick's confusion. CUT TO :",
"AUDREY -LRB- filtered. -RRB-. which is why in this case `` all the kings horses and all the kings men'' may not be able to put the big apple together again. Audrey Timmons, WNEW. We pull back to reveal Audrey, Animal and an editor, ED, watching the piece. ED That's it. You owe me a breakfast. AUDREY -LRB- turning to Animal. -RRB- So, what do you think? ANIMAL It's good. It's a real good piece. But how'd you get a hold of this material? Audrey covers her own mixed emotions. AUDREY Like you said, `` Good guys finish last.'' She snatches the tape and she takes off running. Concerned and worried, Animal watches her leave. CUT TO :",
"AUDREY Murray, I need you to look at this tape. MURRAY Not now, Audrey, we've about to go live with the morning report. AUDREY You're going to want to include this. I've got exclusive footage of other places this thing has attacked. MURRAY -LRB- suddenly interested. -RRB- You do? Who's story is this? AUDREY Mine! ANGLE - CAIMAN About to go on, Caiman waves off his make up artist as he watches Audrey hand Murray the tape. His field producer counts down to going live. P.O.V. THROUGH BINOCULARS - NICK - RAIN - MORNING Through the lenses we SEE exiting his tent and moving on towards the large center command tent. We REVERSE to reveal.",
"JEAN-CLAUDE Taisez - Vous. He turns on the room speaker. MALE VOICE -LRB- filtered. -RRB-. Major Hicks, what makes you believe another attempt to gun that creature down will work?",
"MAJOR HICKS General Anderson, the problem was the terrain. If we lure him out into a more open area such as this portion of Central Park. -LRB- points to the map. -RRB- We should be able to take him down. MAYOR Last time you did n't even scratch it! MAJOR HICKS That's not true. Our worm guy, er, I mean, Dr. Tatopoulos found blood. All eyes turn towards Nick who's still arranging his papers. Nervously Nick addresses the crowd. NICK Well, yes. I did. Clearly he was injured and bled. MAJOR HICKS You see, all we need to do is get a better shot at it with weapons that do n't rely on heat seeking. NICK Um, excuse me, sir, but the situation's more complicated than that. The blood I recovered revealed that the creature is either about to lay eggs or already has. GOVERNOR Are you trying to tell us there's another one of those things out there? NICK I do n't believe so. MAYOR Then how can it be pregnant? What is this, the `` virgin lizard?'' There's a smattering of laughter in the room. NICK No, it reproduces asexually. That's why we must find the nest. If we do n't, dozens will be born, each one capable of laying eggs of its own. Very quickly we could be looking at an enormous population. MAJOR HICKS So after we kill the creature we'll begin a search for the nest. NICK It may be too late by then. These eggs will hatch very quickly. CLIVE How could you possible know that? NICK The fish. The fish we found down in the subway. He's not gathering all that food for himself. He's preparing to feed his young.",
"",
"ANIMAL They just promo - ed your spot. It's coming on right after this.",
"MAJOR HICKS If Dr. Tatopoulos is right, we must act quickly before this problem escalates. GENERAL ANDERSON You want to divide our efforts based solely on a wild theory? MAJOR HICKS He's come through for us before and if he feels strongly. GENERAL ANDERSON Come through for you!? Major, your campaign's a disaster. You were n't even able to to prevent this thing from coming to Manhattan. GOVERNOR Excuse me Gentlemen, but I think we should see this. The Aide moves over to a television and turns it on. Just as the t.v. comes to life we SEE the old Japanese Cook. GENERAL ANDERSON How the hell did this get out? The image of the Cook saying, `` Gojira'' FREEZES and cuts back to reveal Caiman doing his `` stand - up.'' CAIMAN -LRB- filtered. -RRB- From an old Japanese sailor's song called GODZILLA, a mythological sea dragon who attacked sailors, to our own modern day terror. Today in my special report, who is this Godzilla, where did he come from and why is he here?",
"AUDREY You're special report! I'm the one that found that stupid song! That's my special report, you bastard! Animal tries to calm her down as the story continues. AUDREY And it's `` Gojira'' not Godzilla you moron!",
"JEAN-CLAUDE Merde! RAYMOND Allez, allez! Finally the picture clears. CAIMAN -LRB- filtered. -RRB-. a path can be traced back from Manhattan, to Jamaica, back to Panama and all the way back to the French Polynesians where nuclear testing has been going on for over twenty years.",
"CAIMAN -LRB- filtered. -RRB-. But why? Research team member Dr. Niko Padopolus believes the creature is nesting, using Manhattan as ground zero to cultivate his species. GENERAL ANDERSON You went to the press with this? NICK No, I did n't. I did n't talk with anyone. The military men are furious at the breach of security. All eyes turn toward Nick. GENERAL ANDERSON They mentioned you by name! NICK Yes. but I. MAJOR HICKS You gave them the tape? NICK No, it's still in my tent. It's. oh my God, she took it. Pissed, GENERAL ANDERSON walks up to Nick. GENERAL ANDERSON Pack your stuff. You're officially off this project as of now.",
"AUDREY He stole my report! That's my report! ANIMAL We know, Audrey. CAIMAN -LRB- filtered. -RRB-. and in this reporter's opinion, `` all the kings horses and all the kings men''. Audrey wads up her napkin and heaves it at the t.v. AUDREY Caiman you suck!",
"RAYMOND We're leaving. CUT TO : A LARGE TRUNK Slams shut. More suitcases and trunks. Widen to reveal.",
"ELSIE I'm sorry about all this. NICK Me too. Nick hoists his bag and moves to leave. NICK Make sure they find that nest before it's too late. ELSIE I'll try. Reluctantly Nick nods acceptance and exits out into the rain. We SEE the torn photographs of Nick and Audrey laying on the floor. ELSIE Bye worm guy. CUT TO :",
"AUDREY What do you mean Murray's not there? A second ago you told me he was on the other line. Something catches Audrey's eye. AUDREY'S P.O.V. - THROUGH GLASS - NICK Lugging his bags out into the rain, Nick moves over to a waiting cab.",
"CABBY Where to? NICK Newark airport. Audrey moves up behind Nick. AUDREY You're leaving? Why? Nick ignores her and continues to load the cab. AUDREY Is this cause of me? Because of the story? NICK Well what the hell did you think was going to happen? AUDREY You never said it was off the record. NICK I should n't have to, Audrey. You're supposed to be my friend. I trusted you. AUDREY I did n't mean for it to turn out like this. -LRB- confessing. -RRB- Look, I lied to you. I'm not a reporter. When we broke up and I came out to New York I was so sure I'd make it. But I have n't. That's why I needed this story so bad. I just could n't tell you I'm a failure. NICK So you thought that made it okay to steal my tapes? The last bag stowed, Nick moves to get into the cab. He stops and turns back to her. NICK Good luck in your new career. I think you really have what it takes. He gets in and slams the door. The cab takes off leaving a very alone Audrey standing in the rain. AUDREY -LRB- sad ; to herself. -RRB- I'm sorry. CUT TO :",
"REPORTER -LRB- filtered. -RRB-. every shelter in the tri - state area has been overflowing with displaced people. Tent cities have begun to spring up all over the county. As we TRACK away from the t.v. we FIND Nick taking a seat at a small bar next to the gate. A WAITER comes over. WAITER Can I get you something? Before Nick can answer. RAYMOND Pernot, no ice. Taking a seat directly across from Nick, Raymond sits down, sizing him up. Nick is confused. NICK Do I know you? RAYMOND We've met before. NICK -LRB- remembering. -RRB- Oh yeah, the insurance guy. Raymond pulls out his badge and lays it on the table in front of Nick. RAYMOND SDECE, Service de Documentation Exterieure et de Contre - Espionnage. Agent Phillip Raymond. NICK Sounds like a big company. RAYMOND It's the French Secret Service. NICK Oh. RAYMOND We have learned that your American friends have decided not to look for the creature's nest. NICK -LRB- alarmed. -RRB- Are you sure? How do you know? RAYMOND We know. NICK Why are you telling this to me? RAYMOND I need you to trust me. NICK Why do you need that? RAYMOND I need your trust if you're to help me find the nest. NICK Oh, my bags. I've checked them in. RAYMOND We, have already taken care of them. Nick realizes Raymond is serious. The waiter hands Raymond his drink. Raymond toasts Nick. RAYMOND Bon Chance! CUT TO :",
"DISPLACED PERSON No one tells us a Goddamned thing. My family is getting soaked out here. We have no place else to go. We just want to go back to our home. Animal begins to PAN his camera around the tent city when he SEES a SEDAN in the distance. He focus in on it and SEES. ANIMAL'S P.O.V. - SEDAN - NICK AND RAYMOND Coming to stop at a light. Animal quickly lowers his camera and hands it off to the Reporter he's working with. ANIMAL I'll be right back. Animal rushes over to the news van and takes off after them, following.",
"",
"NICK How did you get all of this stuff into the country? RAYMOND This is America. There is nothing you can not buy. Raymond gives Nick a tour. NICK So why all the secrecy? Why are n't you guys working with the US military? RAYMOND I am not permitted to speak of such things. Nick stops and confronts Raymond. NICK You said you wanted my trust, then I need yours. Raymond considers this. Finally. RAYMOND I am a patriot. I love my country. Can you understand that? NICK Sure. RAYMOND It is my job to protect my country. Sometimes I must even protect it from itself. From mistakes we have made. Mistakes that we do not want the world to know about. NICK Your talking about the nuclear testing in the Pacific. RAYMOND Yes. This testing done by my country left a terrible mess. We are here to clean it up.",
"",
"JEAN-CLAUDE They will set the trap at thirty minutes to ten. RAYMOND That is when we will go in. Raymond leads Nick over to a large map. RAYMOND We know how to get into the city. We just do not know where to start looking. Nick moves closer to the map, putting his finger on the Flat Iron square subway station. NICK Here. 23rd street subway station. Where we first found the fish. With a little luck, this will lead us right to it. RAYMOND So you're in? NICK Are you kidding? I always wanted to join the French Foreign Legion. CUT TO :",
"",
"ANIMAL Who the hell are all these people? LUCY What? I just could n't just let them sleep in the street. ANIMAL Where's Audrey? LUCY In the bedroom. Crying her eyes out because of you. ANIMAL What? LUCY All that `` you got ta be vicious'' stuff you filled her head with. ANIMAL Me!? You where the one. LUCY Go in there. Talk to her. Lucy pushes Animal towards the back bedroom.",
"REPORTERS -LRB- simultaneously. -RRB- Can you comment on the nest? How many more of these things will there be? GENERAL ANDERSON -LRB- filtered. -RRB- That's why I'm holding this conference. To try and avoid a needless panic. Animal enters and watches from the back of the room. GENERAL ANDERSON Contrary to some frivolous reports, we have no information to lead us to believe that there are any eggs of the creature in the city. AUDREY Stupid idiots! ANIMAL You okay? AUDREY It's all my fault. What have I done, Animal? What have I become? Look at me. This is n't me. I do n't do things like this. ANIMAL You made a mistake. Suddenly someone exits the bathroom and crosses out of the room. Animal looks at the stranger as he leaves. AUDREY Yeah, I just screwed up with the only man who ever really cared about me. ANIMAL Did n't you tell me he left for the airport? AUDREY Yeah. Why are you asking? ANIMAL I just saw him. He's with a bunch of guys who want to sneak into the city tonight. Audrey tries to make sense of this. Suddenly she realizes. AUDREY My God. He's going after the nest. ANIMAL Perfect! You wanted a story, well, baby, you got one. Excitedly Animal goes to the closet and retrieves a big overcoat. AUDREY Animal, I ca n't. ANIMAL Look, you want to make it up to your friend? Well if he's right, this is your chance. He starts going through his drawers, taking out battery packs, tapes, etc, and putting it in his pockets. AUDREY -LRB- misgivings. -RRB- I do n't know. I've already made such a mess of things. Animal walks up to the door, ready to exit. ANIMAL -LRB- smiling. -RRB- Audrey, I'm going after them. You can come with me or not. Conflicted, Audrey is not sure what to do. Animal opens the bedroom window and begins to climb out. AUDREY What are you doing? ANIMAL Lucy'd kill me if she knew. CUT TO :",
"NICK What's with the chewing gum? RAYMOND Makes us look more American. Nick looks over at the faux Americans. It's a tough sell, gum or not. NICK Just let me do all the talking. With that the vehicles pull out of the warehouse and out into the rainy night.",
"AUDREY What are you doing? ANIMAL It's the maintenance entrance. Runs along the side of the tunnel. When they repaired it last year I worked on a piece about it. Just then the lock TURNS and the door opens. They enter.",
"GUARD -LRB- checking clipboard. -RRB- Who you boys with? NICK Oh, we're with the three two. GUARD I did n't ask you, soldier. NICK Sergeant O'Neal just called down for us to join in. Now he's suspicious. The guard approaches Raymond, checks him out. GUARD You got a problem talkin'? RAYMOND -LRB- perfect southern accent. -RRB- Why no sir, I'm fine. The Guard is suspicious but on a tight schedule. Finally he waves him through. GUARD All right, keep it moving. RAYMOND -LRB- ala Presley. -RRB- Thank you very much. They drive off. Nick is stunned by the act. RAYMOND Elvis Presley movies. -LRB- by way of explanation. -RRB- He was the King!",
"",
"",
"RAYMOND Be careful with that. Nick looks into the bag and sees a bag marked EXPLOSIVES. Shocked he looks back at Raymond, but he's gone. Nick regains his breath and follows. THE FISH Older and nastier, but the same fish we saw in the tunnel before. We FOLLOW the beam to its owner and find Nick. We WIDEN to reveal that we're.",
"NICK They've turned off the ventilation system. They're calling him to dinner. RAYMOND Let's hope we are not the hors d'oeuvres. Nervously they continue onward.",
"",
"ANIMAL -LRB- whispering. -RRB- They're down there. Let's go. Animal jumps off the platform, down onto what's left of the tracks. Audrey squeamishly follows.",
"",
"AUDREY Animal, let's get out of here. But Animal hoists his camera and starts filming as SOMETHING is moving TOWARDS them. Audrey is tugging at him as the shaking gets more violent. With all her strength, she finally gets Animal to start moving backwards. Just as they're out of the tunnel, the CREATURE BLASTS outward. Audrey and Animal DIVE into the maintenance ducks along side the tracks to avoid collision. ANGLE - AUDREY AND ANIMAL Animal is shielding Audrey with his body. She looks up just in time to SEE Godzilla CRAWLING UP and out through the ceiling. An amazing site. AUDREY Shoot! Shoot it! Animal grabs his camera and gets the last moment of it disappearing from view. Once gone, they both break into enormous sighs of relief and nervous laughter.",
"NICK I guess we go this way. Raymond and his men follow.",
"MAJOR HICKS -LRB- into radio. -RRB- Sergeant, status?",
"SERGEANT O'NEAL -LRB- into radio. -RRB- Any sign of it?",
"SPOTTER Got him. Section 5, heading north to target.",
"",
"",
"SERGEANT O'NEAL -LRB- into radio. -RRB- Do n't fire until he's cleared the buildings and has moved into the park. ANGLE - GODZILLA Still unsure, he ROARS out, frustrated with his own indecision. SERGEANT O'NEAL Come on, come on!",
"",
"RAYMOND What is up there?",
"",
"SERGEANT O'NEAL -LRB- into radio. -RRB- Prepare to fire! Guns are cocked, locked on and hoisted. Suddenly Godzilla gets cold feet and starts to turn around.",
"MAJOR HICKS -LRB- into radio. -RRB- Damn it! Fire! Shoot it before it gets away!",
"EXT. CENTRAL PARK - SAME - NIGHT SERGEANT O'NEAL Fire at will! Fire at will! All the weapons surround the area FIRE AT ONCE. Several more Cobra Helicopters ZOOM DOWN out of nowhere. Plunging downward, they FIRE at Godzilla. The firepower ripping up everything around him, Godzilla ROARS and deftly DIVES out of the park and back between the buildings. But as he bounds over to 57th street, there is a contingency of MOBILE ROCKET LAUNCHERS waiting. They FIRE. Godzilla DODGES and the rockets DESTROY PLANET HOLLYWOOD as Godzilla races by. With the helicopters right on his tail, Godzilla makes a westward run across 57th street. Smashing parked vehicles and his tail SWIPING buildings as it DASHES. WEST SIDE HIGHWAY Godzilla is heading straight for it, the helicopters SHOOTING from the air. Suddenly Godzilla LEAPS higher than we've seen before. He hurls himself OVER the West Side Highway and SPLASHES DOWN into the Hudson River, vanishing beneath the water's surface.",
"ADMIRAL JOHNSTON Do n't worry. The Navy has a little something there waiting for him. THREE NUCLEAR SUBMARINES In the murky waters of the Hudson river.",
"CAPTAIN -LRB- into radio. -RRB- We've got him on sonar. Arizona closing in.",
"RADIO VOICES -LRB- filtered. -RRB-. Indiana, closing in. Calvin Coolidge, closing in.",
"RAYMOND Jean - Claude. On command, Jean - Claude snaps together his automatic rifle as Raymond pulls out his semi - automatic pistol. He nods `` okay'' to Nick who slowly opens the door. As the door opens a small pile of FISH tumbles down over their feet. They step over the fish and enter.",
"NICK Three eggs. I thought there would be more. RAYMOND You were right. Slowly Nick turns and SEES what Jean - Claude is staring at open jawed. DOZENS OF EGGS Together their beams of light scan across the main auditorium floor surrounding the gaping hole to discover DOZENS OF EGGS piled in clumps everywhere. NICK That ca n't be. That's got to be over twenty eggs.",
"",
"AUDREY Okay, where'd they go from here?",
"",
"RAYMOND Start counting.",
"ANIMAL They must have climbed all the way up into there. Together they notice some large metal piping that has fallen from the auditorium. They move over to it and begin to climb.",
"",
"ADMIRAL JOHNSTON They've surrounded the target just at the mouth of the Hudson river.",
"",
"CAPTAIN Are we locked on? ENSIGN Locked on, Captain. CAPTAIN Fire.",
"",
"ENSIGN #2 He's shifted course. He's heading right at us! CALVIN'S CAPTAIN Full stern!",
"",
"",
"RADIO OPERATOR We've lost the Coolidge, Sir. The Admiral burns.",
"ENSIGN He's shifted course, Sir. He's heading back towards Manhattan. CAPTAIN Full ahead. Close in and lock on.",
"",
"INT. ARIZONA - SAME ENSIGN Locked on, Sir. CAPTAIN Fire!",
"",
"ENSIGN Impact in eight seconds, seven, six.",
"ENSIGN -LRB- O.S. -RRB- -LRB- filtered. -RRB-. five, four, three.",
"",
"",
"ENSIGN Direct hit! The crew erupts in cheers.",
"SOLDIER They got'em! The Generals congratulate each other and Major Hicks.",
"",
"JEAN-CLAUDE We do not have enough explosives. Raymond turns and sees Nick, across the room studying a group of eggs. Raymond goes towards him. ANGLE - AUDITORIUM FLOOR - HOLE - SAME Crawling out from the hole in the center of the floor, Animal and Audrey appear. They're stunned at what they see. Quickly Animal hoists his camera and begins to film as an amazed Audrey walks through. ANGLE - NICK AND EGGS - MID - LEVEL DECK Kneeling down along side the eggs, Nick examines them. Raymond approaches. RAYMOND Nick, we have a problem. Nick silences him with a gesture as he moves in to listen to the egg. He leans his ear against the shell. Suddenly we HEAR a loud CRACK. Nick jumps backwards. The shell RUPTURES and an large FISSURE opens up across the egg. As we hear other CRACKS O.S., Nick turns and SEES more eggs beginning to open all around them. ANGLE - AUDREY AND ANIMAL - FLOOR LEVEL Hidden in this forest of tall eggs, Animal leans in close to one getting video footage of it cracking. Audrey nervously watches. What she does n't see, however, is a BABYZILLA, fish hanging from its jaw, as it approaches from behind. ANGLE - NICK AND RAYMOND Stunned, they can only stare as the BABYZILLA BREAKS FREE of his shell and gives a mini version of the famous WAIL. RAYMOND I think we should leave now. NICK Good idea. The BABYZILLA kneels down and immediately starts GOBBLING UP the dead fish laying nearby. Cautiously Nick and Raymond slowly back away until they are a far enough distance, they they break into a run and head for the exit. ANGLE - AUDREY AND ANIMAL - FLOOR LEVEL The Babyzilla continues to chomp on its fish as it nears Audrey. Animal continues to shoot the cracking egg. ANIMAL -LRB- whispered. -RRB- One more second. This is fantastic. Just then Animal turns to SEE the Babyzilla right behind Audrey. AUDREY Do n't you think we have enough? ANIMAL Yes. Definitely. Definitely enough. Audrey turns to see what Animal is staring at. Her eyes go WIDE as she backs up into Animal. Another BABYZILLA appear on the other side of them. ANIMAL Just be calm. Do n't startle them. Animal leads Audrey backwards as they make their way towards the large `` team'' entrance at the end of the floor. The two Babyzillas swallow their fish and begin to SNIFF the air. Audrey moves up the isle. An egg CRACKS and an ARM breaks out through a shell, GRABBING HER LEG. Audrey FREAKS and frantically she KICKS herself free. They both suddenly take off running.",
"RAYMOND -LRB- into radio. -RRB- Everyone, outside! Now! ANGLE - JEAN - CLAUDE - MID - LEVEL DECKS - ACROSS THE ROOM Laying down the plastic explosives. Hearing the radio, he drops what they're doing just as several eggs near them begin to CRACK. Quickly he and his partner take off running.",
"R-MAN #2 Come on, let's go. R-MAN #3 One moment. I've almost got this. Just then a BABYZILLA pops up behind the eggs, a fish in his mouth. He SWALLOWS the fish and begins SNIFFING THE AIR. He turns and stares directly at the slowly retreating R - MAN # 3. He smells his own hands and realizes he smells like fish, quickly he turns and RUNS. But Babyzilla is faster. He runs up from behind and LEAPS onto R - MAN # 3's back. R - MAN # 2 begins to FIRE at Babyzilla just as another one TACKLES HIM from the side. In moments, they are both devoured.",
"",
"AUDREY Great. Now what do we do?",
"RAYMOND We've got to lock them inside while we can. Raymond tosses his cellular phone to Nick. RAYMOND Contact the military and get them to send a bomber to blow up this building before these things escape. NICK How do I do that? RAYMOND 555 - 7600. Tell them it's a code dragonfly. They should get you through. Amazed by Raymond, Nick just stares at him. RAYMOND What are you waiting for? Nick snaps out of it and dials. OPERATOR -LRB- filtered. -RRB-. all circuits are busy right now. Please hang up and try again.",
"",
"MAYOR Do you have any idea what's going on out there? The phones are ringing off the hook with people screaming to be let back into the city. MAJOR HICKS We're sending divers into the river now to retrieve the body. MAYOR That thing's dead. What the hell are we waiting for? Just then Elise rushes over to the Major. ELSIE Major, if Nick is right, this could be our last chance to do something about it. We have to search for the nest, now. Major Hicks is torn. Finally he nods in agreement, turning to another officer. MAJOR HICKS Organize a search party. I want a complete sweep of the entire city and subway system. MAYOR You do n't have the authority to do that. The Major turns and cooly approaches the Mayor. MAJOR HICKS Try and stop me. Major Hicks smiles at the Mayor who exits, petulantly.",
"",
"RAYMOND What'd they say? NICK I ca n't get through. I do n't know what's wrong. OPERATOR -LRB- filtered. -RRB-. all circuits are busy right now. Jean - Clude and his partner arrive. JEAN-CLAUDE We've secured the doors on both levels. RAYMOND Where's Luc and Pierre? JEAN-CLAUDE They did n't make it. RAYMOND -LRB- quickly recovering. -RRB- Nick, my men and I will hold them here. You will have to go and get help! Nick nods in agreement and takes off down stairs. The rest of the team SNAP TOGETHER their automatic rifles and prepare for a fight.",
"ANIMAL There's got to be another way out of here. Audrey climbs up onto a table and yanks out a grate covering the air vent. AUDREY Think we can fit up in there? ANIMAL Only one way to find out. He rushes over to her and helps her climb up inside.",
"",
"NICK Come on, come on. The Babyzillas by the front door spot Nick. A couple of them start to SNIFF THE AIR and start to move towards him. Behind, the Babyzilla also catch the scent and turn. NICK This is not good. Just then the elevator doors open, Nick LEAPS inside.",
"NICK I hate these things! Just then the Babyzillas appear. They're just about to move in when the doors finally CLOSE. Nick breaths a sigh of relief just as a loud THUD is heard as one of them SLAMS against the door. It's too late, the elevator begins to rise.",
"ANIMAL You okay? Out of breath, she nods. Animal takes the lead again, pushing his camera in front of him. He reaches another vent that looks down. He's about to pull it free when something catches his eye. ANIMAL'S P.O.V. - THROUGH VENT - RAYMOND Standing guard, automatic rife in hand, Raymond appears with his back toward us. Animal lifts his camera to shoot. AUDREY -LRB- whispered. -RRB- What? What is it? Animal does n't answer, he just shoots.",
"NICK Hey, it's me!",
"RAYMOND What happened?",
"NICK They're loose. They're allover the main lobby. I could n't get out. Just then the vents above COLLAPSES and Animal and Audrey come tumbling down. In a flash, Raymond has his weapon trained on their heads. RAYMOND Who the hell are you? NICK It's okay. I know her. Raymond turns his gun towards the fallen video camera and FIRES, ripping the camera apart. ANIMAL Hey! What gives? RAYMOND No cameras. Nick moves to Audrey's side, helping her up. NICK What are you doing here? AUDREY I thought you said there'd only be a dozen eggs. NICK I was wrong. Just then a LOUD THUMP is heard against the near locked door. The THUMPING gets louder and heavier. RAYMOND Do you have a radio, a walkie - talkie? Anything we can use to contact the outside. AUDREY What about the phones? NICK Circuits are overloaded. AUDREY -LRB- gets an idea. -RRB- I know a way. I know how you can get a message out of here. The door BURSTS OPEN and TWENTY BABYZILLAS stampede into the hallway. Audrey is fast on her feet. AUDREY This way. She takes off running and they follow. The Babyzillas give chase. Animal, hangs back and runs over to the destroyed video camera and PULLS OUT THE TAPE. Just as he does, the Babyzillas are nearly on top of him. He dashes off. ANGLE - END OF HALL - BACK DOOR Audrey gets there first and opens the small doorway that leads to a back stairwell, she ushers the rest inside. She slams the door behind her as the Babyzillas appear and begin to SNIFF the doorway.",
"AUDREY Come on, the broadcast booth is right over here. NICK How do you know? AUDREY Our network covers the Ranger games.",
"",
"",
"AUDREY The network is on an intranet. It's a direct feed into our computer system. NICK Your station wo n't have any easier time contacting the military than I did. That stumps her. Animal gets an idea. ANIMAL When you worked with them, did they monitor the news broadcasts? NICK -LRB- getting the idea. -RRB- Yes, they did. ANIMAL We'll go live! We'll broadcast from here. Hopefully they'll see it.",
"",
"CAIMAN -LRB- filtered. -RRB-. Yes, the threat is over but the pain continues. Suddenly Ed's computer begins to BEEP. Ed slides his chair over and looks at his monitor. It reads NEW MAIL : URGENT! He double clicks it and a letter pops up that reads. Ed pick up transponder CFX 1 and watch the feed. ED -LRB- to himself. -RRB- There's no Ranger game on tonight. Ed makes a couple of adjustments on his controls and turns on a blank monitor. He SEES. C.U. MONITOR - AUDREY Racing in front of the camera we SEE Audrey in the control booth. AUDREY If you're seeing this, Ed, please put us on Live! This is urgent! I know this sounds crazy Ed but you have to do it. Please, trust me. ED -LRB- incredulous. -RRB- I'm not putting you on live!",
"AUDREY He's not going to do it. ANIMAL Oh yes he will. Animal turns the camera and points out the window at the BABYZILLA'S below.",
"AUDREY -LRB- filtered. -RRB- Ed, you see that? They'll be all over the city if we do n't stop them! Ed rushes over to the console and goes to work.",
"CAIMAN -LRB- filtered. -RRB-. as our fears have been allayed thanks to the dedicated work of our boys in uniform. Everyone in the room begins to cheer. Suddenly Caiman's image goes fuzzy. In a moment it's replaced by Audrey. AUDREY -LRB- filtered. -RRB- Are we on? Are we live?",
"AUDREY We're live from inside Madison Square Garden where Dr. Niko Tatopoulos has discovered the beasts lair. Doctor, tell us what is happening here. Animal swerves the camera over to Nick. Raymond stays back behind the camera, watching. NICK We've discovered over two hundred eggs which began hatching only moments ago.",
"",
"MAJOR HICKS What is it? SOLDIER You better see this. The Major turns around just in time to SEE Nick on the t.v. NICK If the military are listening, they must immediately destroy this building before they can escape. AUDREY -LRB- O.S. -RRB- Oh my God! They're coming! The camera SWERVES to SEE through the luxury booths across from them, the dozens of Babyzillas approaching.",
"LUCY Oh my God! On the screen the image turns to Nick. NICK -LRB- filtered. -RRB- If those creatures escape and multiply, in a very short time a new species will emerge. One that could replace us as the dominant species of this planet.",
"MAJOR HICKS -LRB- into phone. -RRB- That's correct, I want you to blow up Madison Square Garden. No I'm not drunk. -LRB- to O'Neal. -RRB- Contact the news station. Tell them we're on the way.",
"AUDREY Reporting live from Madison Square Garden, this is Audrey Timmonds, WNEW.",
"LUCY That's my girl.",
"NICK Thanks, Audrey. The computer beeps, Animal reads the message. ANIMAL The good news is they got the message. The bad news is we've got five and a half minutes to get out of the building. Suddenly the room ROCKS as the Babyzillas begin crashing against the blocked door. Raymond jumps to his feet. RAYMOND Okay, party's over. Time to leave. With that he SPRAYS bullets into the front glass window SHATTERING IT. Glass rains down below. Raymond tosses the spool of cable out the broken window. RAYMOND Anyone care to join me? Animal dislodges one of the video cameras, hoists it on his shoulder and moves over to join Raymond.",
"",
"",
"AUDREY In case I ca n't later. With that she JUMPS out, repelling downward. Nick is stunned by the unexpected kiss. Suddenly the door GIVES and the Babyzilla FLOOD into the room. Nick jumps.",
"",
"",
"RAYMOND The escalators, hurry!",
"",
"",
"",
"",
"PILOT I'm locking on now.",
"RAYMOND Go! Now! Raymond PUSHES the team forward as he takes the rear through the pathway which begins to close up as they pass through. The Babyzillas recover and begin to charge. As Raymond passes some CANDY MACHINES, he grabs one and SMASHES IT to the ground. THOUSANDS OF GUM BALLS Scatter all over the floor. As the Babyzillas run, they begin to stumble allover each other, tripping on the gum balls. Animal is the first to reach the main door, he opens it and Audrey and Nick are the first to exit. Raymond, FIRING MADLY behind as he rushes for the door.",
"PILOT Stallion 15, Fox 6.",
"",
"NICK Are you okay? AUDREY Somehow I never thought your life was this exciting. NICK You'd be surprised. AUDREY Really? I'd like to find out. She hugs him tightly. Nick smiles. Animal turns to Raymond who has cut above his eye. ANIMAL Hey Man, you all right? RAYMOND I could use a coffee. We begins to pull away from this tableau, slowly lifting upwards when suddenly. THAT FAMOUS WAIL Is heard! Then, violently BURSTING up through the ashes, a very angry GODZILLA emerges! Bleeding from his injuries, Godzilla leans down and nuzzles the burned out remains of his young. For the first time in the film we can SEE a partial expression of Godzilla's face ; pain. But quickly that pain turns to burning anger as he focuses his hatred downwards, staring directly, and accusingly, at our heroes. NICK Ohhhhhhhh. shit. ANIMAL What do we do? RAYMOND Running would be a good idea. And they do just as Godzilla POUNCES. Fortunately our team DARTS around a corner just in time.",
"",
"",
"",
"",
"",
"",
"",
"",
"AUDREY Cut uptown, take 8th to 57th then cut up Broadway. ANIMAL You're crazy, go to the east side and take the park avenue to the JFK. AUDREY The JFK? In the rain!?",
"",
"INT. CAB - SAME - NIGHT ANIMAL What are you talking about? The east side is always faster. AUDREY But we can get to the west side faster. Through the rear window we SEE Godzilla SNAPPING down trying to take a bite. The cab, again, SWERVES wildly, darting down a side street. RAYMOND Somebody make up your mind! AUDREY & ANIMAL Take central park!",
"",
"",
"ANIMAL Better step on it Frenchie!",
"SERGEANT O'NEAL What the hell? The cab POWER SLIDES right past and out of the Meadow again just as GODZILLA STOMPS directly into the clean up crew. Soldiers DIVE for cover as others scramble out of the way. Godzilla MARCHES after the cab, his tail SWIPING several vehicles which tumble, crashing into the troops. In a flash, Godzilla disappears back into the forest on the other side. O'Neal grabs his radio. SERGEANT O'NEAL Command, Command, this Sergeant O'Neal. He's back!",
"MAJOR HICKS Captain Rogers, do we still have those F - 18's in the air? RODGERS They're heading back to base now, sir. MAJOR HICKS Turn'em around.",
"",
"ANIMAL I think we lost him.",
"",
"",
"",
"RAYMOND Anyone see him. Suddenly from behind, Animal spots the creature several blocks behind. Again, he lifts the camera. ANIMAL'S P.O.V. - GODZILLA Running full boar directly at them.",
"",
"",
"",
"",
"",
"",
"AUDREY Gun it! Gun it! RAYMOND I'm trying! C.U. CAB'S WHEELS Spinning in vain against the gigantic tongue that pushes against it, LIFTING the REAR of the vehicle.",
"",
"269 EXT.. HIGHWAY - GODZILLA 265 He temporarily opens his mouth wider with a scream just before he is about to SLAM his jaws shut again. C.U. TIRES - SUDDENLY CATCHING As the tongue momentarily retreats from the SHOCK, the wheels CATCH and the CAB LURCHES FORWARD.",
"",
"",
"",
"PILOT #2 We are red and free. Stallion 10, Fox 2.",
"",
"INT. OTHER COCKPIT - SAME PILOT #3 Stallion 12, Fox 2. ANGLE - F - 18 SQUADRON All at once they FIRE. Missiles heading right at camera. GODZILLA opens his mighty jaw about to CLAMP DOWN on them. The missiles CONNECT, SLAMMING INTO HIS CHEST, EXPLODING. His torso, rips apart. He SCREAMS OUT. His WAIL a painful death cry. His foot STOMPS DOWN as he tries to retain balance. The impact of the stomp acts like a shockwave that KNOCKS the Cab into a SPIN. SLAMMING into the guard rail, the cab bounces back into the road and keeps going. The injured Godzilla bites the bullet and continues pursuing, his gait slowing. The cab is able to make some distance. ANGLE - F - 18 SQUADRON Again they FIRE. A group of missiles darting out. GODZILLA The missiles HIT, ripping into him. Again GODZILLA SCREAMS out, his forward motion stopped.",
"",
"",
"",
"REPORTERS -LRB- overlapping. -RRB- How did you discover the nest? Dr. Tatopoulis, can you tell us what happened back there? NICK Sorry, guys, I've promised my story as an exclusive to another reporter. Nick winks at Audrey. Caiman pushes his way through the crowd of reporters over to her. CAIMAN We did it! We've got the exclusive! Way to go, Audrey! AUDREY We? I do n't think so. CAIMAN I want that story, Audrey. Remember you work for me. AUDREY Not anymore. Mr. Caiman, I quit. Audrey waves goodbye as Animal walks over, checking his camera and his coat pocket. ANIMAL Audrey, did you take the tape out of the camera? AUDREY No. NICK Where's Raymond? They look around, but he's gone. Nowhere to be seen. ANIMAL I could n't have just lost it? A phone begins to RING. Nick checks his pockets and finds Raymond's cellular phone. Nick answers. NICK Hello? RAYMOND -LRB- O.S. -RRB- It's Raymond. NICK Where are you?",
"RAYMOND Tell your friends I will send the tape after I remove a few items from it. NICK AND AUDREY Nick nods to Audrey that it's Raymond. NICK I understand. RAYMOND I just wanted to say, au revoir and thank you for your help, my friend. NICK Wait. -LRB- line goes dead ; to himself. -RRB- Au revoir. AUDREY Who was that French guy, anyway. NICK Oh, just some insurance guy. Off Audrey's confused expressions we PULL BACK, farther and farther. We see the mob, the military, the command tents and finally we pull back far enough to reveal Godzilla's mighty head laying on the end of the bridge. CUT TO :",
""
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] | An iguana nest is exposed to the fallout of a military nuclear test in French Polynesia. In the South Pacific Ocean, a Japanese fishing vessel is suddenly attacked by an enormous creature, with only one seaman surviving. Traumatized, he is questioned by a mysterious Frenchman in a hospital regarding what he saw, to which he only replies "Gojira." Dr. Niko "Nick" Tatopoulos, an NRC scientist, is in the Chernobyl exclusion zone in Ukraine (site of the 1986 Chernobyl nuclear disaster) researching the effects of radiation on wildlife, but is interrupted by the arrival of an official from the U.S. State Department. He is sent to Panama and Jamaica to study a trail of wreckage across land leading to the recovered Japanese fishing ship with massive claw marks on it. Nick identifies skin samples he discovered in the shipwreck as belonging to an unknown species. He dismisses the military's theory that the creature is a living dinosaur, instead deducing it is a mutant created by nuclear testing. The creature travels to New York City, leaving a path of destruction in its wake. The city is evacuated before the U.S. military, on Nick's advice, lure the creature into revealing itself with a large pile of fish. They fail to kill it, however, and their fight with it causes further damage before it escapes. Nick collects a blood sample, and by performing a pregnancy test, discovers the creature reproduces asexually and is collecting food for its offspring. Eventually, Nick meets up with his ex-girlfriend, Audrey Timmonds, a young aspiring news reporter. While she visits him, she uncovers a classified tape in his provisional military tent concerning the monster's origins and turns it over to the media. She hopes to have her report put on TV as to launch her career, but her boss, Charles Caiman, uses the tape in his broadcast, declaring it his own discovery, and dubs the creature "Godzilla." With the classified information released mainly because of his inadvertent actions, Nick is removed from the operation and disowns Audrey, before being kidnapped by Philippe Roaché, an insurance agent he met in Jamaica. Revealing himself as an agent of the French secret service, Philippe explains he and his colleagues have been closely watching the events to cover up their country's role in the nuclear testing that created Godzilla. Suspecting a nest somewhere in the city, they cooperate with Nick to trace and destroy it. Meanwhile, Godzilla dives into the Hudson River to evade a second attempt by the military to kill it, where it becomes attacked by Navy submarines. After colliding with torpedoes, Godzilla sinks, believed to be dead by the authorities. Nick and Philippe's strike team, followed by Audrey and her cameraman Victor "Animal" Palotti, find the nest inside Madison Square Garden, with over 200 eggs. Before the French can succeed in destroying them, the eggs hatch, and thinking the humans to be food, the offspring attack. Nick, Animal, Audrey and Philippe take refuge in the Garden's broadcast booth and successfully send out a live news-report to alert the military. A prompt response involving an airstrike is initiated as the four escape moments before Air Force jets bomb the arena. Audrey and Nick reconcile, before the adult Godzilla, having survived, emerges from the Garden's ruins. Enraged by the deaths of its young, it takes its full rage out on the four, chasing them across Manhattan. After a taxi chase, they manage to trap Godzilla within the cables of the Brooklyn Bridge, allowing the returning Air Force jets to shoot it. Godzilla dies from its wounds, and the remaining citizens celebrate. Audrey tells Caiman that she quits working for him after what he did, before leaving with Nick. Philippe, taking a tape Animal was recording and promising to return it after removing certain contents, thanks Nick for his help and parts ways. In the ruins of Madison Square Garden, a single surviving egg hatches and the emerging hatchling roars. | Godzilla_(1998_film) |
[
"INT. AIRPLANE - DAY On a chartered plane flying from Miami to Newark Airport. JACK is the captain. His copilot PAUL is seated beside him. In the passenger cabin, a female gymnastics team is celebrating a hard - won, glorious victory over the Miami team. They are singing, dancing in the aisles and drinking champagne. In the rear of the cabin, there are three regular pass - engers : a teenager, his mother, and a man who appears to be a BUSINESSMAN. The plane is flying over the coastline. The partition between the cockpit and the passenger cabin is open. Jack is very excited. He ca n't stop turning around to look at the passengers. JACK -LRB- to Paul. -RRB- Oh my God! I ca n't believe my eyes! Look at these women! Will you look at the gorgeous calves on them?! I'm telling you, give me an athlete any day. Oh God! Look at that redhead over there, and look at that one! Christ, I had n't noticed her. -LRB- miming a heart attack. -RRB- Paul, I've just fallen madly in love with the most beautiful woman in the world. PAUL -LRB- totally uninterested. -RRB- Oh yeah? Which one? JACK -LRB- as though about to keel over. -RRB- The blonde over there, she's too gorgeous for words. Just look at those eyes, look at those shoulders and the way she moves. I'm in love. Here, take over, I'll be right back. Jack gets up and Paul takes his place at the controls. Jack makes his way up the aisle, through the girls who are blocking the way, to the object of his affections. She is sitting in one of the aisle seats and singing her head off. Jack leans over and whispers, quickly and intensely, to her. JACK Hello. I'm the captain of this plane. May I ask your name? GIRL Sure, my name is Jane. Why? JACK Listen, Jane, I've seen many beautiful women in my life but I swear to you, I've never, ever met a woman as exquisite as you are. Jack kneels down before her, and the Girl looks at him, amused. He takes her hand and places it over his heart. JACK Jane, can you feel my heart? It's pounding. This is horrible, I think I'm gon na faint. Listen : I'm madly in love with you, I'm single and here's my phone number. He hands her his business card. JACK I'm putting my fate in your hands. If you do n't call me, you'll make me the most miserable man on earth. This is no line and I'm not trying to get you into bed. This is something completely different. I love you Jane and if you call me I'll be the happiest man in the entire universe - this is ` love at first sight.' Out of all these beautiful women I noticed only you, and. The Girl laughs as Jack goes on. Meanwhile, the Busi - nessman who was seated in the rear of the plane has gotten up and walked over to Jack. BUSINESSMAN Are you Paul? JACK No, I'm not. -LRB- to Jane. -RRB- My name's Jack and I live in a fabulous apartment in Manhattan overlooking the park and. BUSINESSMAN But you're the pilot, are n't you? JACK Yes, I'm the pilot. -LRB- to Jane. -RRB-. I'm not even asking for your phone number. BUSINESSMAN Is n't there a pilot whose name is Paul? JACK -LRB- annoyed. -RRB- Yeah, the copilot - he's up front. The Businessman disappears in the direction of the cockpit. JACK -LRB- back to Jane. -RRB- I'm leaving it all up to you, Jane, but if you do give me your phone number, then Jane, then. The Businessman has reached the cockpit. BUSINESSMAN -LRB- in a low tone. -RRB- Are you Paul? PAUL -LRB- turning around nervously. -RRB- Yeah. Are you Jim? BUSINESSMAN Yeah. He hands Paul a man's purse. BUSINESSMAN Here's your cash. PAUL What about the stuff? BUSINESSMAN I do n't have it. We've got problems. Too much heat. Too risky. We think the cops are on to us. PAUL Whadda ya mean us? You mean me? BUSINESSMAN I mean shut up and listen. Two guys will be waiting for you in a black T - Bird, expecting the dope. Just ignore them. It'll be delivered to you on Sunday and picked up the following Thursday, okay? PAUL But I wo n't be home, I'll be in the air for two weeks. BUSINESSMAN That's your problem. Make arrangements, a deal's a deal. Got it!? PAUL Got it. Jack returns. JACK -LRB- bursting with excitement. -RRB- I got her phone number! She gave me her phone number! BUSINESSMAN That's some magnificent view, is n't it? JACK It's wonderful - Life is wonderful! The Businessman goes back to his seat and Jack grabs hold of the microphone. JACK This is your captain speaking. In honor of your victory, in honor of your beauty, and in honor of Jane, the most beautiful gymnast I have ever met. I'm going to give you a little demonstration of aviation gymnastics - reserved only for the most important guest, hip, hip. Everyone shouts `` HOORAY!'' except for Paul and the Businessman, who remain grim. Jack dips the plane very low over the water and skims the cliffs along the coast. It is a beautiful, impressive stunt. There are gleeful shouts in the cabin among the passengers.",
"INT. NEWARK AIRPORT - PASSENGER TERMINAL - DAY Jack is saying an emotional goodbye to Jane as she leaves with her teammates. Jane finds it all very funny, but Jack looks totally wretched seeing her go. Jack and Paul walk toward the exit. JACK God, what a woman! Paul is nervous, glancing uneasily from car to car. JACK Wan na share a cab? PAUL Yeah, sure! A black Ford pulls up in front of them and its driver looks at Paul who immediately turns his back on him. JACK She's so beautiful! I've never been so in love before. Can you believe she gave me her phone number. Oh, Christ - where is it? Oh, no, do n't tell me I lost it. It's a matter of life and death. Oh here it is - thank God! All the while Jack has been rambling on, a beige car on the other side of the street has slowed down. Paul notices it. In the beige car, a narcotics agent, GRATON, is behind the wheel with one of his colleagues sitting beside him. GRATON They're slowing down. Take a picture. The colleague snaps a picture of everyone who happens to be standing near the black Ford, including Jack and Paul. The black Ford pulls out. The beige car follows it. Paul observes all this out of the corner of his eye. PAUL Listen, I need a favor, I got a little problem. JACK Yeah, sure. Hey, look, will you - look at that sparkling beauty. A very beautiful woman is coming down the walkway with cart overflowing with luggage. One of them falls off. PAUL Yeah. I mean, it's like. There's this little package. JACK She'll never make it with all that luggage she's got. I got ta give her a hand. Look at the colors in her hair! Christ, I've never seen a woman like her before. He's about to walk off when Paul grabs him by the arm. PAUL Jack, listen, can I. JACK Sure you can, no problem. Listen, I got ta go now, I'm gon na see if she'll share a cab with me. You take the shuttle, okay? PAUL But I got ta explain to you about. JACK Come over to my place tonight. We're having a huge party. Come around 9, okay? See ya later. Jack races toward the woman and begins to help her with the fallen luggage. We see him talking to her and we can hear a little of what he's saying. JACK As exquisite as you are. I think I'm gon na faint. He kneels, takes her hand and puts it over his heart. The young woman is flabbergasted. A lonely - looking Paul hails the shuttle bus.",
"INT. APARTMENT - NIGHT A large, stylishly decorated apartment in Manhattan. A tremendous living room. A party's going on. Very LOUD JAZZ is PLAYING. The lights are dim. There are about 30 guests. Lots of young pretty women. Gourmet buffet. People are sitting on couches talking, others are eating, drinking or dancing. In a dimly - lit corner, Jack is kneeling before a girl sitting in an armchair. She is laughing as she listens to him. JACK -LRB- whispering passionately. -RRB- This is no line and I'm not trying to get you into bed. This is something completely different. This is ` love at first sight.' Oh, I'm so happy. Let me go get you a glass of champagne. I'll be right back. Jack gets up and goes over to the buffet. As soon as he's out of the girl's line of sight, he starts running toward the other end of the apartment. On the way he passes MICHAEL, who's deeply engrossed in a vehement conversation about modern art with a girl called SOPHIA. They're fighting like cats and dogs but seem to be enjoy - ing it. SOPHIA Are you saying that's art, are you really saying that's art? Well then you explain why. MICHAEL It goes back to prehistoric man. They had comic strips on their walls, for God's sake. JACK -LRB- whispering in Michael's ear. -RRB- I'm having a hard time. I'm working on two at once. MICHAEL -LRB- very interested. -RRB- Oh yeah, who? JACK The brunette in the armchair in the living room - her name's Rosalie. MICHAEL And the other one? JACK Clementine - she's waiting for me in the den. He moves away towards the den. MICHAEL -LRB- to Sophia. -RRB- Wait one second for me, I'll be right back. Michael walks off in the direction of Rosalie. Paul is wandering among the guests, trying to find Jack, he sees PETER who is talking with another young woman, NICOLE. Peter is nodding, idly looking around, com - pletely uninterested in the conversation. NICOLE You guys have a beautiful place here. But the rent must be a killer. Peter is n't paying attention. NICOLE Is n't it a killer? PETER What? PETER -LRB- CONT'D. -RRB- Oh, the rent. yeah, it's high but split between the three of us it is n't that bad, as long as we do n't eat. Nicole laughs. PAUL Hi Peter, I'm looking for Jack, have you seen him? PETER Oh hi, Paul, how are you doing? Yeah, sure, I'll take you to Jack. -LRB- to Nicole. -RRB- Excuse me for a minute. They move away. PETER You're a lifesaver, I've been trying to get away from that woman for 20 minutes. That sonofabitch Carl is moving in on my Natalie. Got ta go. bye. PAUL Wait - What about Jack? PETER -LRB- in a hurry. -RRB- He's around somewhere. Check under all the couches. Paul walks off in Jack's direction. We STAY WITH Peter, who reaches Natalie. She is talking with a very styl - ishly - dressed, tall, young man, CARL. PETER Oh Natalie, I've been looking for you all night. CARL All night? I just saw you deep in conversation with Nicole! PETER Deep? Hell no, we were just talking shop. NATALIE Oh come on Peter, we all know what a ladies' man you are. PETER Who, me? Jack's the ladies' man, not me. You're the only lady I'm after. CARL -LRB- interrupting. -RRB- So tell me, how's your project coming along? I heard you're not ready yet. PETER We've still got two weeks left before the semi - finals. We'll be ready. CARL We've been ready for three days now. We're gon na kick your ass. NATALIE Their project is really incredible. PETER Oh really? You've seen it? NATALIE -LRB- smiling broadly at Carl. -RRB- No, it's top secret but he's been telling me about it. PETER -LRB- in a bad mood. -RRB- Ours is incredible too. CARL If you ever get it finished. Paul comes up to Jack, who is kneeling before Clementine, whispering passionate sweet nothings in her ear. It appears he's gotten beyond the `` This is love at first sight'' stage. He's getting down to the nitty - gritty now. Clementine is thrilled. Paul taps Jack on the shoulder. PAUL Jack, can I talk to you for a second? JACK Oh, hi, Paul, yeah sure. JACK -LRB- CONT'D. -RRB- -LRB- to Clementine. -RRB-. Please darling, do n't move. I'll be right back, okay? I'll bring us back some champagne. He disappears with Paul. JACK You're a lifesaver, Paul. I thought I'd never get away. Rosalie's waiting for me in the living room. Is n't she terrific? PAUL Who? Rosalie? JACK Clementine. PAUL Oh yeah, for sure, I dunno. Listen, can you do me a favor? With some difficulty, Paul follows Jack as he picks his way through the people dancing, heading in Rosalie's direction. JACK Yeah. What kind of favor? Damn, I've got to get her a glass of champagne. PAUL Listen, I've got a little problem. I'm having a valuable package delivered to me on Sunday, but I'm not going to be home. I've got to do the Hawaii - Tahiti - Australia route, so can I have the package delivered here instead? JACK -LRB- filling a glass with champagne. -RRB- Yeah, sure, of course. -LRB- he stops, thinking. -RRB- No, wait, I'm leaving for South America tomorrow. I'll be gone for three weeks. JACK -LRB- CONT'D. -RRB- But it's okay. Peter and Michael will be here. They'll take care of it. PAUL Will you be sure to tell them about it? JACK Absolutely. Do n't worry about a thing. PAUL It'll be delivered Sunday and picked up next Thursday, okay? JACK Delivered Sunday picked up Thursday. Got it. No problem. PAUL This is a very delicate matter, Jack. It's very important they do n't tell anybody about this package. It could be very. uh, embarrassing for me, you know what I'm saying? JACK Sure. You got it. I'll see you later. Jack is about to rejoin Rosalie. Paul grabs his arm. PAUL Not to anyone at all. Tell them that, okay? JACK Okay, sure, not to anyone at all. Look, I'm sorry Paul, but I got ta get back to Rosalie. Now go have a good time. I'll take care of everything. PAUL Bye and thanks a lot. JACK Do n't mention it. Paul leaves. Jack finally reaches the armchair where Rosalie is sitting. He stops short, obviously disappointed. JACK Uh - oh. Too late. Michael is sitting next to Rosalie, right next to her. They get up to dance. As he passes Jack, Michael smiles broadly. MICHAEL All's fair, old buddy. Jack watches a moment, then breaks into a wide smile. JACK -LRB- singing. -RRB- Oh my darling, oh my darling, oh my darling Clementine. Jack whirls around and heads back towards Clementine.",
"INT. APARTMENT - FEW HOURS LATER - NIGHT The guests are leaving. Commotion in the hall, people are saying goodbye to Peter and Michael. Natalie is about to walk out. PETER Natalie, why do n't you stay for a nightcap? NATALIE No, I've got ta get up early. CARL -LRB- to Natalie. -RRB- Do you care to share a cab? NATALIE Oh yes, thanks - that's really nice of you. CARL -LRB- smiling triumphantly ; to Peter. -RRB- Good night, Peter. PETER -LRB- with a forced smile. -RRB- Good night, Carl. I'll call you Sunday, Natalie. She has already left. The door closes on the last of the departing guests. MICHAEL So you struck out again with Natalie, huh? That Carl is a real smooth operator. PETER He's an asshole! -LRB- mimicking Carl. -RRB-' I heard you're not ready yet.' ` We're gon na kick your ass.' Well, we may be behind schedule, but we're still going to beat that sonofabitch and maybe I have n't scored with Natalie yet, but neither has he. She's not an easy lay, that's what I like about her. You know what they say : it ai n't over till it's over. Peter and Michael go into the living room. Peter is picking up glasses. Michael is emptying ashtrays into the wastebasket. MICHAEL Well, I did n't do so well either - I blew it with Rosalie. I do n't even know how. PETER Who's Rosalie? MICHAEL That beauty I managed to swipe from Jack. I was about to ask her to stay the night when. PETER Your old friend Sophia appeared and got you involved in a thrilling conversation about modern art, and meanwhile Rosalie. MICHAEL How could you know that? PETER Michael, all you want to do is steal Jack's girl friends. You do n't give a shit about the women themselves. MICHAEL That's not true. It's just that Sophia drives me crazy. She knows all the right buttons to push to make me mad. PETER -LRB- going into the kitchen. -RRB- Anyway, it was a great party, everyone had a good time. MICHAEL -LRB- still in the living room, shouting to Peter. -RRB- Terrific. time. He, too, leaves the living room and runs into Jack, who has his arm around Clementine's waist as he heads toward his bedroom with her.",
"INT. APARTMENT - NIGHT In the kitchen Peter is straightening up. Michael joins him, dumping the ashes. Peter begins washing the glasses. PETER Where's Jack? Did he leave? MICHAEL No, he's cuddling up with a blonde named Clementine. PETER That's not Clementine. I saw him doing his famous routine with Christie. MICHAEL No, it is Clementine, the one with the tits this big. PETER Christie's got tits that big, too. MICHAEL Yeah, but he was with Christie at the beginning of the evening - after that he was with Rosalie and then with Clementine. And since I stole Rosalie away from him. Are you following this? PETER I'm not. Jack enters the kitchen in very high spirits, singing. JACK Nice work if you can get it, and you can get it if you try. Any scotch left? PETER Yeah, here, I just put it away. JACK Sorry I ca n't give you guys a hand, but I've got something cooking. PETER I thought you were leaving at dawn for South America? JACK I am, the night's still young! It's gon na be a lively one. I'm gon na make us a little snack. He makes up a tray with sandwiches. MICHAEL So, who is it anyway - Christie or Clementine? JACK Maxine. Beautiful, enchanting Maxine. Peter and Michael look at one another surprised, mouthing silently, `` Maxine?'' JACK Hey, Michael - how'd it go with Rosalie? MICHAEL Well, things were going great until. JACK Your old friend Sophia appeared and dragged you into a thrilling conversation about modern art and in the meantime Rosalie took off with someone else. MICHAEL How did you know? JACK I dunno - lucky guess. MICHAEL Well, I do n't give a damn anyway, I have 24 drawings to hand in to my editor three days from now and I got ta work all night anyway. So it was all for the best. But you better not leave that Maxine's phone number lying around because when I'm done. JACK Do n't worry, I'll leave you her phone number on the hall table. If she's really terrific I'll put a big ` X' next to it. ` Bye, guys - love ya. I wo n't wake you tomorrow morning. See you in three weeks.",
"INT. APARTMENT - DAWN Jack and Maxine noiselessly exit the apartment. Jack is wearing his pilot's uniform. Maxine pushes the button for the elevator. Jack sneaks back into the apartment and leaves a note on the hall table that says : `` Maxine 227 - 2013.'' Next to the number Jack has put a big `` X.''",
"EXT. STREET IN FRONT OF APARTMENT - DAWN Jack and Maxine exchange a brief kiss and go their separate ways.",
"EXT./INT. NEWARK AIRPORT - PLANE Jack is in the cockpit with his copilot, RON. The ENGINES are REVVING. Jack is checking gauges. He looks out the window idly and sees : The crew of another plane walking across the tarmac. Paul is one of the crew. Paul sees Jack and begins to gesture wildly, but his voice is drowned out by the noise of the ENGINES. Just seeing Paul is enough to remind Jack about his package. JACK Damn! I forgot to tell them about the package! -LRB- to Ron. -RRB- I got ta make a quick phone call. I'll be right back. RON -LRB- knowingly. -RRB- Jack, there'll be plenty of girls where we're going. JACK Oh, c'mon, I've really got to make a phone call! What do you think I'm going to do, pick up one of the New Jersey delegates to the I.B.M. convention? Jack walks back towards the phone. As he walks we see that the plane is filled with ugly, boring businessmen.",
"INT. ARCHITECTURE OFFICE - DAY In the architecture firm of which Peter is one of three partners. The whole staff, about 15 people in all, is gathered around a large model, the project for a big amusement park. They all seem worried about something. JERRY, one of Peter's partners, seems particularly angry. JERRY The model's not finished, the blueprints are a mess and you may as well forget the specs, they're a disaster! I know we're talented. I know we're good. Then why is it we can never get organized? Why is it we're always behind schedule? JAY Look, Jerry, architects since Leonardo have always been behind schedule. It's a tradition, for God's sake. Why break with tradition? JERRY Because this is the chance of a lifetime for our company, and there happens to be a deadline. There are millions of dollars at stake here. And our main competition had their project in three days ago! PETER Yeah, but word around town is their project's a piece of shit! JERRY Of course, it's a piece of shit, but it's a ready piece of shit. JAY We're just going to have to buckle down, that's all. JERRY You're damn right we are. Starting now, everybody works around the clock! Everybody! We have two weeks to be ready for the semi - final selection. And we will be ready. And we will win. You want to know why we'll win? JAY Because we're gon na cheat. PETER I'll go bribe the judges! JERRY I do n't think this is a joking matter, gentlemen. PETER Come on, Jerry. A SECRETARY enters. SECRETARY There's an urgent call for you, Peter. PETER I'm not in. SECRETARY It's Jack - he says it's ` super important.' Peter picks up the phone. PETER Hi. yeah. listen, make it quick, I'm in a meeting here. yeah, a package. okay. someone'll drop it off Sunday and pick it up Thursday. No problem. yeah. we'll put it aside, okay. no, no, we wo n't tell anybody about it. Is that it? Right, we wo n't tell anyone. Hey - love'n' kisses to the Brazilian girls, vaya con dios, old buddy. Peter hangs up, laughing. Jerry gives him a dirty look. PETER What?",
"INT. APARTMENT - DAY Peter, dressed in casual clothes, knocks on the door of Michael's room, and peeks in. Michael is asleep fully clothed on his bed. His drawing table is strewn with papers, overflowing ashtrays and empty coffee cups. The lamp is still on. PETER I'm going out for bagels - how many you want, three or four? MICHAEL -LRB- opening one eye. -RRB- What time is it? PETER Eleven - thirty. MICHAEL A.M. or P.M? PETER A.M. C'mon, up'n' at'em. MICHAEL Up'n' at'em yourself, asshole - I just went to bed. PETER Did you finish? MICHAEL Nah, I did n't get anywhere. PETER Well then. nap time's over. Back to work. So how many bagels, three or four? MICHAEL Six, six! He buries his head under the pillow.",
"INT. APARTMENT HALLWAY - DAY Peter opens the front door, he stumbles over an object, looks down ; at his feet he sees a wicker basket lined with pretty pink - and - white checked gingham. In the basket a tiny baby lies fast asleep, her head gently resting on a lace pillow. Peter looks at this object in amazement. There is an envelope pinned to the basket with the words, `` FOR JACK'' written on it. Peter picks up the letter - he opens it and reads. PETER -LRB- to himself. -RRB- You got ta be kidding! Abruptly he turns and races back to Michael's room. PETER Michael! Michael! MICHAEL -LRB- still groggy. -RRB- What? PETER Get your ass out here and see what's on the doorstep. -LRB- mutters. -RRB- This has got ta be somebody's idea of a joke! They run to the front door. MICHAEL What is it? PETER Look for yourself. MICHAEL It's a basket with a baby in it. PETER No shit. -LRB- reads Michael the letter. -RRB- ` Dearest Jack, here is the fruit of our love. Take good care of her. I have to go to Europe and Japan for six months, her name is Mary. Good luck, Love, Sylvia.' MICHAEL What are we going to do with it? PETER Give it back to her mother, that's what. MICHAEL But it says she went to Europe. PETER Well, we'll see about that, d'you have her phone number? MICHAEL Whose phone number? SYLVIA The girl's. Sylvia's. MICHAEL Why the hell would I have her number? I've never even heard of this chick! PETER You mean you do n't know who she is? MICHAEL No way. If I had to keep track of all Jack's girlfriends, I'd have to be a full - time secretary. PETER Well, what are we gon na do? MICHAEL Hey, look, she's waking up. Hey, look, she's crying. PETER Oh no, this ca n't be happening! She's not gon na start to cry now?! MICHAEL Uh - oh, now she's really crying! PETER What's her problem? MICHAEL Maybe she's hungry? PETER Well, what are we s ` posed to do? MICHAEL Feed her, I guess. PETER Yeah, but what? MICHAEL Soft stuff. I guess. PETER -LRB- exploding. -RRB- Oh no, I swear to God this is unreal! Can you believe that bastard Jack?!' A little package,' he tells me on the phone, ` just put it aside till Thursday.' Put it aside - can you believe him!? MICHAEL Really? Jack said that? PETER Yeah and he also said ` do n't tell anyone about it - anyone at all.' MICHAEL Oh, so he told you about this? PETER Yeah, he told me a package would be coming today, but he did n't say it'd be this! MICHAEL -LRB- very angrily. -RRB- Boy, he's got a helluva nerve! PETER Just listen to the racket she's making! What are we s ` posed to do? MICHAEL -LRB- brilliant idea. -RRB- Let's call Jack's mother! PETER She lives in Miami for Christsake. She ca n't stop the baby crying from Miami. MICHAEL Well, just to ask her advice. PETER No, he said not to tell anyone. MICHAEL But this is an emergency! PETER No! No way! You know what a pain that woman is - she'll be on the next plane here to move in with us. MICHAEL Maybe I should call my mother. PETER No, please - leave the mothers out of this, okay?! It's only four days. We should be able to handle that, besides you know the rule around here : it's fine to have a woman over once in a while, but. Michael finishes the sentence in unison with him. PETER AND MICHAEL never for more than one night at a time! PETER And that includes mothers! Peter steps over the basket and heads towards the elevator. MICHAEL Where are you going?! PETER I'm going to the store to buy some baby food. MICHAEL What am I supposed to do while you're gone? PETER Pick her up and hold her. MICHAEL -LRB- panic - stricken. -RRB- Whaddya mean, pick her up? I've never held a baby - I'll drop her! Peter is already gone.",
"INT. SAFEWAY - DAY Peter enters the store and rushes right over to a store CLERK. PETER What aisle's baby food on? CLERK Down there by the meat section. Peter heads for it purposefully. When he gets to the right aisle, he stops short, taken aback : a vast range of products extends before him. He starts examining the baby food jars and cans of formulas, going from one to the next, not knowing where to begin.",
"INT. APARTMENT - DAY Michael is still in the hall holding Mary very clumsily in his arms. He is anxious. He realizes she's soaked. This disgusts him. He holds her at arm's length ; she squirms. He goes and gets a towel from the bathroom, spreads it out on the living room couch and lays the baby down on it. MARY SCREAMS - she much prefers Michael's arms to the couch. A panicky Michael picks her up again, grumbling. MICHAEL Okay, okay, do n't cry like that. I'll hold you, I'll hold you. He tries rather unsuccessfully to wrap the towel around the child. Obviously Michael is very put off by the smell coming from Mary.",
"INT. SAFEWAY - DAY Peter is talking with a Safeway CLERK, a woman in her 50's, who is tall and heavy, somewhat gruff and masculine in appearance, and wearing slacks and a smock. PETER So what's the best brand? STORE CLERK Depends on what your pediatrician recommends. PETER Oh right, the pediatrician. But which one sells the most? STORE CLERK -LRB- pointing to a can. -RRB- This kind. PETER Oh, so this is the best kind? STORE CLERK It's the cheapest. PETER Then it's the worst kind? STORE CLERK They're all good, sir. PETER -LRB- pointing to another can. -RRB- Oh, okay, then I can take this kind. STORE CLERK It's got iron in it. PETER Oh. Is that good or bad? STORE CLERK It's very good. PETER Well, why do n't they all have iron in them? STORE CLERK Some babies are allergic to iron. PETER -LRB- pointing to yet another can. -RRB- Oh, okay, well I'll take this kind then. STORE CLERK That kind does n't have any milk in it. PETER Oh, I see, there's milk with no milk in it? STORE CLERK Some babies are allergic to milk. PETER So what's the stuff that no babies are allergic to? STORE CLERK Soy formula. PETER Oh, okay, I'll take the soy formula. He takes a can. STORE CLERK That one's Advance. PETER Oh really? What's Advance? STORE CLERK How old's your baby? PETER -LRB- Peter tries to estimate Mary's size. -RRB- Uh. about this old.",
"INT. APARTMENT - DAY MARY is SCREAMING in Michael's arms as he walks her up and down the whole apartment. Now there are three towels wrapped around her. Michael is exasperated. He angrily sings her a lullaby. MICHAEL Rock - a - bye baby on the tree top. MICHAEL -LRB- CONT'D. -RRB- Stop crying now ; c'mon, stop. quit it, will you? When the wind blows, the cradle will rock. What is that jerk doing? Milking the cows or something? When the bough breaks the cradle will fall. MARY only SCREAMS LOUDER.",
"INT. SAFEWAY - DAY Now Peter is surrounded by three women arguing : The Store Clerk standing with her arms crossed and haughtily looking down on everyone ; an efficient, practical sort of young woman -LRB- WOMAN # 1 -RRB- ; and another thin, pale woman whose baby is lying in a baby carrier in her shopping cart and who seems very nervous -LRB- WOMAN # 2 -RRB-. WOMAN #1 Does she have any teeth yet or not? That would give us a clue as to how old she is. PETER I have n't looked. STORE CLERK -LRB- coolly disagree - ing ; to Woman # 1. -RRB- My grandson's only five months old and he already has two teeth. But my daughter did n't have a single one at seven months - so, y' know, how many teeth they have. does n't mean a thing. WOMAN #2 But did n't those friends of yours tell you what formula they usually give the baby? PETER -LRB- embarrassed. -RRB- No, actually they had to leave unexpectedly. They had to catch a plane. WOMAN #1 -LRB- to Peter. -RRB- Is she teething? PETER Teething? WOMAN #1 Does she drool? Does she cry all night long? Does she chew on her fists? Does she put everything into her mouth? She acts out her words. PETER I know she ca n't talk. WOMAN #2 But did n't those friends of yours tell you how old she was? PETER -LRB- as Woman # 2 is starting to get on his nerves. -RRB- I told you they had to leave unexpectedly. WOMAN #1 Or else you could weigh her ; that would tell you how old she is. STORE CLERK See, my five - month - old grandson weighs more than my neighbor's grandson and he's nine months old. So, y' know, how much they weigh. does n't mean a thing. PETER So what about me? What should I buy? WOMAN #2 Did n't they even tell you the pediatrician's name? PETER -LRB- still calm. -RRB- No. They did n't. WOMAN #2 You sure have weird friends. PETER You have no idea how weird. WOMAN #1 Or else her hair. Does she have lots of hair? STORE CLERK My grandson, y' know, he has so much hair you can make a ponytail with it! And I know some kids who are totally bald at a year - and - a - half. So, y' know, how much hair they have. does n't mean a thing. WOMAN #1 -LRB- sarcastic. -RRB- Gee, he's really something, your grandson - is he good at math too? Peter starts to pick cans off the shelf. PETER Look, ladies, thanks for all the advice. But I think I'll just take one of each. To be on the safe side. STOCK CLERK -LRB- to Peter. -RRB- Do n't forget - if the baby's less than three months old, you have to be sure to sterilize the bottles. Peter stops and turns back. PETER What bottles? WOMAN #2 You know what? This must be a kidnapping.",
"INT. APARTMENT - DAY Michael is rapidly pacing up and down the apartment, vigorously rocking Mary. As soon as he sits down anywhere to rest, MARY SCREAMS, so Michael pops back up and begins the marathon all over again. MICHAEL Mary had a little lamb, little lamb, little lamb, if that jerk is n't back in three seconds I swear I'll throw her down the garbage chute. Mary had a little lamb, little lamb. The DOORBELL RINGS. MICHAEL Well, it's about goddamn time! He hurries towards the door, grabs the knob and throws it open. MICHAEL Where the hell have you been? He stops. Before him stands the apartment MANAGER, Mrs. Razzolini, a squat little woman with a moustache. MICHAEL Oh - Hi, Mrs. Razzolini! MANAGER This package came for you. Oh! What a cute little baby! Is it yours? MICHAEL No, it's not me, I mean she's not mine. MANAGER Oh, so it's Peter's? MICHAEL No, no, it's Jack's, I mean it's not Jack's, it's. someone loaned it to us, I mean someone. MANAGER And what's the little girl's name? MICHAEL Mary. MANAGER Ooh, what a pwetty wittle name, Mary! I did n't know you had a baby. MICHAEL Yeah, well, I have to put her to bed now. MANAGER You have to put her to bed? Where's Mary's mommy? MICHAEL She's. she's not here. She'll be back soon. Michael starts to close the door. She pushes it back open and holds out the package. MANAGER Oh here, this just came for you. They just dropped it off. Can I hold her for a second? MICHAEL Well, like, y ` see. she does n't like to be held by strangers. The apartment Manager has already given Michael the package and grabbed Mary. She covers her with kisses. Mary smiles. Michael absent - mindedly looks at the package. MANAGER She loves to be held by strangers! Hey, she's soaking wet hmm, no I think it's number 2. Want me to give you a hand changing her? MICHAEL Oh no, do n't worry, I'm used to it. -LRB- faking a smile. -RRB- Well, so long, Mrs. Razzolini. MANAGER ` Bye, Mary, I'll come back to visit. Mrs. Razzolini regretfully hands the baby back. No sooner is MARY back in Michael's arms than she SCREAMS her head off. He closes the door ; his smile instantly fades. MICHAEL What a leech! And that other idiot is n't back yet! He throws the package onto an armchair in the hall. MICHAEL So you love to be held by strangers, do you?",
"INT. SAFEWAY - DAY In the baby food aisle there are now five women arguing. Peter, his arms still laden with cans, looks uncomfort - able. WOMAN #2 This guy does n't even know how old his baby is and you do n't find that strange? WOMAN #1 This guy asked for advice, I'm giving him advice, Okay? If you're so paranoid, why do n't you run home and chain your kid to his crib? WOMAN #2 Anyway, I think someone should call the cops. WOMAN #1 The cops, the cops - I bet you call the cops every time your cat pisses on the carpet. Peter slips away.",
"INT. APARTMENT - DAY Peter comes in with bags in his arms. Michael, holding the baby, dashes toward him, extremely pissed off. MICHAEL What the hell were you doing? You've been gone for hours! This damn kid's been crying the whole time. I've got a lot better things to do with my time! You're a real pain in the ass! PETER -LRB- flabbergasted. -RRB- Hey, how dare you speak to me like that! You've never spoken to me like that before. MICHAEL Well, what the hell took you so long? What'd you do, go out for breakfast or something? I did n't even have time for a cup of coffee, for chrissakes. PETER Will you please cut it out for a second, huh? I did n't have any coffee either, it took me forever at the goddamn Safeway. MICHAEL Okay, well, here - take the kid, I've got work to do. PETER Whaddaya mean, take the kid? I ca n't hold her and make her bottle at the same time. And why should I be the one to hold her? MICHAEL'Cause, it's your problem. You found this kid. PETER Hey, asshole, I'm the one who found her because I'm the one who was gon na get you some bagels for your breakfast, and. MICHAEL Jesus, there she goes again! We got ta feed her something. PETER Yeah, well you just do n't feed a baby. First you got ta look and see if she has any teeth or not. MICHAEL Why? PETER To figure out how old she is so we know what to feed her, that's why. Peter attempts to look into Mary's mouth but she squirms. MICHAEL Do you look on top or bottom? PETER How do I know? MICHAEL Try feeling with your finger. Peter slides his finger over Mary's gums. PETER I ca n't feel anything - I'll give her the stuff for newborns and hope she's not allergic to it. Peter starts off toward the kitchen, Michael follows. PETER And then we'll have to see if she's allergic to iron, to soy or to milk - you ca n't imagine how much stuff they can be allergic to! MICHAEL She's soaking wet - did you buy any diapers? PETER Diapers? MICHAEL -LRB- furious. -RRB- Figures. I'll take care of this, it'll save time. He sticks Mary in Peter's arms, right on top of the bags, and storms out.",
"INT. SAFEWAY - DAY Michael rushes in and stops short in front of the moun - tains of diaper boxes that he starts examining in bewil - derment. Finally, he approaches the Store Clerk. MICHAEL Excuse me, miss, could you tell me which diapers are the most absorbent? STORE CLERK I would suggest the ones that say ` ultra - absorbent.' MICHAEL Yeah, but which are better : 20 - 35 pounds or 12 - 24 pounds? STORE CLERK -LRB- suspiciously. -RRB- Depends how much your baby weighs. MICHAEL Oh right, how much she weighs. STORE CLERK -LRB- threateningly. -RRB- You would n't happen to have a friend who came in here a little while ago, would you? Michael grabs just any box of diapers. MICHAEL I have no idea what you're talking about! He's no friend of mine. Michael takes off very, very quickly.",
"INT. KITCHEN - DAY Mary, in Peter's arms, is devouring her bottle. PETER Oh shit, my slacks! Goddamn her, she took a crap!",
"INT. APARTMENT LIVING ROOM - DAY Peter and Michael have laid Mary down on the couch, taking care to place several towels between her bottom and the immaculate velvet. Mary is squirming, laughing, feeling great. They have already gone through half a box of cotton in their attempts to clean up the crap. But it's still all over, on their hands, on the baby's feet and legs, on the towels, etc.. PETER Hold her. Hold her, goddamn it! MICHAEL I ca n't hold her. This kid's out of control here! PETER Just gim me the cotton. Michael lets go of Mary's feet and she sticks them back in the crap. PETER Oh for chrissake, do n't just let go of her! MICHAEL Then get the cotton yourself if you do n't want me to let go of her! Peter grabs a huge wad of cotton. PETER Take the towels off - They're full of shit. MICHAEL But the couch'll get dirty! PETER Yeah, but she keeps getting it all over herself. Man, this shit is sticky! We need cleaning fluid or something to get it off. MICHAEL How ` bout after - shave? PETER Are you kidding?! Waste our Saint Laurent on babyshit? MICHAEL Okay, let's just put the diaper on and the hell with it. PETER Right. Michael hands him a diaper. Peter tries to figure out how it goes on. PETER These tape things - do they go on the front or the back? MICHAEL How am I supposed to know? Peter tries to slide the diaper under Mary's backside but she squirms and kicks it off with her feet. PETER Hold her under her arms - I'm gon na try it this way. Michael holds Mary under her armpits. Peter tries to put the diaper on her. It's hard. What's more, it would seem that Michael did n't buy the right size - The diaper comes all the way up to Mary's chin. PETER What the hell kind of lousy stinking diapers did you get? They're way too big! MICHAEL I do n't think they're too big - They're ultra - absorbent. That's all. The more absorbent the better. Peter has more or less managed to adjust the diaper. PETER How the hell do these tape things work? Hold her for chrissakes! MICHAEL My arms are getting tired. PETER There. I got it. He tapes the diaper closed. PETER Damn it. I did n't make it tight enough. He tapes the other side : the diaper gapes and sags. MICHAEL It's not working. What about laying her down? PETER Go ahead. No, not on the towels, they're all covered with crap. Michael lays Mary down right on the couch. Peter vigor - ously undoes the tape, and the whole PLASTIC lining RIPS apart. PETER What the hell is this friggin' mess? Oh, man, this is unbelievable! To think, they bombard us day and night with their goddamn TV commercials! And will you look at this junk? This stuff is pure shit - You tape it closed, it sags, you undo the tape : bingo - the whole goddamn thing falls apart! MICHAEL -LRB- taking another diaper. -RRB- Well, whaddya expect, if you pull on it like an ape, it's gon na rip! PETER Michael, will you give me a break, will you please? Peter takes the torn diaper off. MARY utters a TINY CRY and pees copiously all over the velvet couch. PETER -LRB- exploding. -RRB- Oh shit! Now she's pissing. Look at the couch. The sneaky little bitch was just waiting for me to get the diaper off, then whammo. Mary gives them a big smile. PETER I happen to like my furniture. I'm going out to get some real diapers. You can clean the couch up in the meantime. He exits, slamming the door.",
"INT. LIVING ROOM - DAY Michael is cleaning the couch with Mary in his arms.",
"INT. PETER'S ROOM - DAY Mary is wearing only a diaper. Peter wraps her in one of his sweaters.",
"INT. KITCHEN - DAY Michael is throwing a heap of used cotton and dirty diapers into the garbage can. He's rather disgusted by them.",
"INT. LVING ROOM - DAY Peter is cutting apart a plastic bag and lining the bottom of the basket with it as a protective sheet.",
"INT. KITCHEN - DAY Michael is washing out a bottle.",
"INT. LIVING ROOM - DAY Peter is rocking the basket by its handles to put Mary to sleep.",
"INT. BATHROOM - DAY Michael is washing Mary's clothes.",
"INT. PETER'S ROOM - DAY PETER -LRB- on the phone. -RRB- I need to reach Jack Collins, he's one of your pilots. No, I do n't know exactly where he is, but he was supposed to be flying the Miami - Caracas - Rio route. The guy who proposed to you? Oh, did he? Well, congratulations. Please. listen to me. you must contact him and tell him he's got to call home immediately. Okay? It's an emergency, a family problem. No, do n't worry, he's not married to someone else. It's another kind of family problem. Of course he still loves you. But he's been really busy lately. So anyway, please try to get in touch with him, it's real important. I can count on you then? Good. Thanks. Goodbye! Right, see you at the wedding. Peter hangs up.",
"INT. KITCHEN - DAY Michael and Peter are finally drinking a cup of coffee at the kitchen table. In silence.",
"INT. LIVING ROOM - DAY Peter and Michael are standing beside the basket. MARY is SCREAMING ; they are bewildered. PETER Maybe she's allergic to something? MICHAEL Or maybe she's hungry again. PETER Already?",
"INT. KITCHEN - DAY Peter is making the bottle, Michael is holding MARY, who is CRYING. MICHAEL Make it snappy, will ya, she's famished.",
"INT. KITCHEN - DAY Mary is in Peter's arms voraciously sucking her bottle. He watches her.",
"INT. KITCHEN - DAY Michael is washing out the bottle.",
"INT. LIVING ROOM - DAY Peter is about to lay Mary down in her bed. He puts his hand on her backside, then picks her up again. PETER Oh shit, she's soaking wet again.",
"INT. BATHROOM - DAY Michael is rinsing out Peter's sweater.",
"INT. LIVING ROOM - DAY On the couch, Peter is struggling with the diapers.",
"INT. LIVING ROOM - DAY Michael has set the basket on a serving cart. He pushes it back and forth until MARY STOPS CRYING.",
"INT. LIVING ROOM - DAY Mary is sleeping like an angel.",
"INT. MICHAEL'S ROOM - DUSK Michael and Peter are in the doorway. A stormy argument is going on. MICHAEL Oh no you're not, you're not gon na leave me alone with her. PETER I told you - I have a date. MICHAEL You rotten bastard - do you see me going out on any dates? PETER Look, it's with Natalie - I've been after her for months already. MICHAEL So what! If you leave me alone with this kid, I swear I'll pack up and be outta here by morning. PETER You're a real drag, y' know? Tonight was gon na be my big night! Now I bet it's gon na be Carl's big night. He exits, violently slamming the door behind him. Michael sits back down, grumbling.",
"INT. PETER'S ROOM - DUSK Peter is making a phone call. He has Mary in his arms. He's in a foul mood. PETER Hello, Natalie? It's Peter. Listen, I'm really screwed. Jerry just called and we've run into a snag with the blueprints for the competition, it's an emergency. I've got ta go over to the office right away, I think it's gon na be an all - nighter. Of course I did n't know about this yesterday - he just called me. Mary reaches out and begins to jab the buttons on the phone. Peter pulls her back. PETER Hello? Hello? No, I'm not trying to hang up on you. We're having some problems with the phone, that's all. No, Natalie, there's no one else here! You're the only woman I. I swear I'm not lying to you. What? You're going to call Carl? -LRB- furious. -RRB- Okay, go ahead, call him if you want. I do n't give a shit. Of course I'm not jealous. What makes you think I'm jealous?",
"INT. KITCHEN - EVENING Peter and Michael are silently eating sandwiches at a corner of the kitchen table. Peter is fuming. Michael glances at him out of the corner of his eye.",
"INT. LIVING ROOM - NIGHT Michael, completely zonked, is changing Mary as best he can. Peter sits, waiting, on the couch.",
"INT. LIVING ROOM - NIGHT Peter is rocking the basket, as if in a trance. Michael goes back to sleep on the couch.",
"INT. PETER'S ROOM - DAY Peter is talking on the phone. He has Mary in his arms. PETER -LRB- on the phone. -RRB- Jerry, hi, it's Peter. Listen, I've run into some problems, I ca n't make it today. -LRB- holding the receiver at arm's length from his ear. -RRB-. Hey, take it easy, will you. I'm sick. Seriously ill. I'm burning up. The doctor had to come, I've got ta stay in bed till Friday. -LRB- shouting to drown out Jerry shouting. -RRB- Hey, hey, hey, I'll work round the clock all weekend long. I swear, Jerry, I am not lying to you.",
"INT. APARTMENT - DAY Peter, wearing a coat, enters carrying packages that he puts down in the living room, now transformed into a nursery. A makeshift changing table, rubber wash basin, baby clothes, baby lotion, talcum powder, soap and baby shampoo, etc. are all over the place. He drops all his purchases on the floor, sits down on the couch and picks up a book, in which he's instantly absorbed : we see from the cover that it's a book on children.",
"INT. PETER'S ROOM - DAY Peter is lying on his bed now surrounded by dozens of baby - care books. Many of which are open. He's reading them with great passion, and making notes.",
"INT. MICHAEL'S ROOM - DAY Michael is sitting on the floor surrounded by his drawings. Mary is lying next to him. MICHAEL -LRB- on the phone. -RRB- I'm terribly sorry, Mr. Oxman, but I've run into a few problems, I wo n't be able to bring you the drawings tomorrow morning as I promised. In fact, it wo n't be until the day after tomorrow at the soonest. Michael sees Mary kick over a bottle of india ink over his drawings. He winces. MICHAEL -LRB- into phone. -RRB- On second thought, Mr. Oxman. uh, better make that the end of next week. -LRB- shouting on the other end. -RRB- Please do n't get upset, Mr. Oxman. I'll do everything possible to get them to you sooner. You have my word. I apologize again, Mr. Oxman. Thank you again, Mr. Oxman. Goodb. -LRB- an audible click. -RRB-. Mr. Oxman? Hello, Mr. Oxman?",
"INT. LIVING ROOM - DUSK The living room is a total mess. A harrassed Peter, lying on the floor, dreamily watches Mary who is lying on her tummy in a sheet, playing with a SQUEAKY RUBBER GIRAFFE. They look at each other, as sober as judges.",
"INT. LIVING ROOM - NIGHT Peter and Michael are asleep in their bathrobes on the living room couches. Peter has a child care book over his face. MARY, in her basket, wakes up and utters a FEW LITTLE NOISES. The two men jump up and go over to her basket like robots. Mary looks at them and smiles.",
"INT. KITCHEN - NIGHT Michael is giving her night feeding. Mary is falling asleep in his arms ; the nipple falls out of her mouth, which goes on sucking anyway. Michael is falling asleep, too, his head lolling over to one side.",
"INT. LIVING ROOM - DAY The living room is back to normal, spic'n' span. They've gotten rid of all the baby paraphernalia. The basket is on one of the couches. Mary is asleep. On the basket are warm clothes for outdoors, a bonnet and a coat, a full bottle, cans of formula, toilet articles, and a pile of diapers. Seated on the couches facing each other, Peter and Michael are waiting for something. MICHAEL He did n't say what time? PETER All he said was Thursday. MICHAEL Terrific! - We could rot here till eight o'clock tonight. PETER Well, I'm prepared to rot here till midnight if I have to, as long as we get rid of her. MICHAEL Jack really could have called. He has to have gotten our message by now. PETER Well, when he does call, I'm gon na let him have it! That sonofabitch is on the beaches of Brazil proposing to the whole goddamn world. And we're here living in hell! He's gon na get his ass on the next plane back here. Vacation's over, Jack - baby, you better believe it. MICHAEL -LRB- angrily. -RRB- Damn right! -LRB- beat softer. -RRB- It's almost time for her bottle, you know. PETER Oh hell!",
"EXT. STREET - DAY On the street two men drive by on a motorcycle looking at the numbers on the apartment buildings. They stop a few yards from the entrance to Peter, Michael and Jack's building. They are being followed by the beige Chevy that pulls ahead of them and parks just beyond them. In this car we recognize Graton sitting with a partner. The two men, who look like young tough guys -LRB- punks -RRB-, get off their motorcycle and disappear into the lobby of the building. Graton gets out of his car and heads for the building. He glances into the lobby, then goes in. He watches the elevator floor indicator, notes the floor it stops on, then calmly returns to his car.",
"INT. LIVING ROOM - DAY Peter and Michael are still sitting on the living room couches. The DOORBELL RINGS. Michael springs up and runs to open the door. Peter follows him. On the doorstep stand the TWO PUNKS. One of them is short and speaks with a heavy Brooklyn accent. The other, tall, thin and creepy - looking, stands behind his buddy and does n't speak. PUNK #1 Jack Collins live here? MICHAEL Yes, he does. PUNK #1 We came for the package. PETER Package? Oh that's cute, referring to her as a package! Anyway, you can tell Sylvia she's a lousy stinking bitch. PUNK #1 Sylvia? PETER Yeah, Sylvia! You can tell her she's got a hell of a nerve dumping her problems into our laps! PUNK #1 -LRB- nervously. -RRB- Problems? Did you guys have trouble? MICHAEL -LRB- sarcastically. -RRB- He wants to know if we had trouble! PETER Do you have any idea what it's been like around here for the past four days? MICHAEL She could have at least given us a phone number or the name of someone to contact. PUNK #1 -LRB- surprised. -RRB- I do n't get it. Did n't they tell you we were gon na be here today? MICHAEL Sure they told us! So what? That does n't make the last four days any less hellish than they were! PETER Well, anyway, they're here now, that's all that matters! Peter turns and walks toward the basket. PETER The next bottle's in 45 minutes. I made it already. It's in the basket. PUNK #1 Bottle? Whadda ya mean, bottle? MICHAEL About an hour after her bottle, she starts yawning. Put her to bed right away or it's pure hell for the next three hours, at least that's what we've noticed. Peter has returned with the basket. The Punks look at the baby, their eyes wide with disbelief. PUNK #1 What the hell is that? A baby? PETER -LRB- sarcastic. -RRB- No, it's a very short teenager. Of course it's a baby! Now listen carefully : I'm giving you a can of the milk she's been getting. She loves it, and more importantly, she's not allergic to it. I even put a can of the same brand in here for you, but in powdered form, understand? Punk # 1 hears `` powder'' and catches on. PUNK #1 Oh! I get it! Powdered milk! Very clever! PETER Yeah, right. real clever. Okay, here. She's all yours. Good luck. He hands them the basket. Punk # 1 grabs the handles. PUNK #1 Okay, I got it. You can take her out now. PETER Take what out? I'm not taking anything out. PUNK #1 Wait a minute, I do n't get it! We take the basket and the milk, that's all. We ai n't gon na take the. what's inside. PETER Whadda ya mean, what's inside? MICHAEL You take it all, man! It's a package deal! PUNK #1 But what are we s ` posed to do with it? MICHAEL How do I know? You take it where they told you to take it. PUNK #1 Y ` mean, I take it to the connection? MICHAEL Yeah, whatever you want to call it. PUNK #1 Are you sure that's the plan? MICHAEL You bet that's the plan! We're not keeping her one more second. PUNK #1 Okay, if that's the plan. He passes the basket to Punk # 2 PUNK #1 Here, hold this. Okay, so long! They start to leave, pressing the elevator button. PETER -LRB- suddenly a little worried. -RRB- Uh. listen. maybe you could leave us the address or the phone number just in case. So we can find out how she's doing? The Punks exchange a puzzled glance. PUNK #1 Oh, yeah, sure, the address. -LRB- feebly searching his pockets. -RRB- Oh shit, I do n't have it on me. But I'll call you. Okay, so long! PETER & MICHAEL So long! The elevator has arrived. The Punks quickly slip inside it with the basket. Michael closes the door. Peter plops down in the armchair by the front door. PETER Aah, relief at last! Good riddance! MICHAEL You said it! Now maybe I can get some work done. He disappears in the direction of his room. Peter is sitting on something hard. He pulls it out from under him, it's a package. He looks at it, casually reading : `` Care of Jack Collins.'' He tosses it to the side. Suddenly, it dawns on him. He leaps up, grabs the package and runs into Michael's room.",
"INT. MICHAEL'S ROOM - DAY PETER -LRB- holding the package. -RRB- What the hell is this? MICHAEL Well, a package, I guess. PETER Was this package delivered to you? MICHAEL Yeah, why? Peter raises his voice, exasperated by Michael's calm attitude. PETER When the hell did this package arrive? MICHAEL Will you quit shouting! PETER -LRB- screaming even louder. -RRB- When did this fucking package fucking arrive, Michael? MICHAEL I do n't know. Oh yeah, Sunday - Mrs. Razzolini brought it up. PETER Holy shit! MICHAEL What's the matter? PETER This is the package those guys came for, not the baby, you asshole. MICHAEL Hey, asshole yourself! Oh shit! Peter nods and begins to bark orders. PETER Look out the window and see if you see them, I'm gon na try to catch up with them. Michael runs to the window. Peter runs like a madman through the apartment out the front door. He presses the button for the elevator. It's in use. PETER Goddamit! He opens the door leading to the stairs and races down them, holding on to the bannister. He flies, overwhelmed by anxiety. Suddenly he trips, loses his balance and makes a spectacular crash landing. The package gets a bit crushed, and little individual packets of white powder spill out of it. Peter stares at them in horror. PETER What the hell is this? He picks up a few packets and examines them. PETER Oh, God, no. dope! That's all we need! He starts to tremble with fear. He picks the packets up as fast as he can and hastily puts them back into what's left of the package ; then shoves it all into his pocket and continues racing down the stairs.",
"EXT. STREET - DAY Punk # 1 is attempting to strap the basket onto the motorcycle with a bungie cord. Punk # 2 watches him coolly. PUNK #2 We'd be better off taking the subway. PUNK #1 You want to ride the subway with a hundred grand in uncut dope, go ahead. PUNK #2 Well we ca n't ride around carrying this baby basket. We'll get stopped by the cops. PUNK #1 So go ahead, take the subway and stop bothering me. I'm going to hook this onto the back seat. PUNK #2 It'll never hold, man. PUNK #1 -LRB- desperately going at the hook and the basket. -RRB- Goddamn hook! Christ, what a stupid idea hiding the shit with this kid. It's ridiculous! Peter comes rushing out of the building. PETER -LRB- huffing and puffing. -RRB- Oh, thank God, you're still here! There's been a terrible mistake. That was n't the package you were s ` posed to take. It was another one. I have it right here. PUNK #1 What do you mean? What other package? PETER I'll take the basket back and give you the other package, here. No mistake. Peter takes the package from his pocket and is about to grab the basket. Punk # 1 pushes him back violently. PUNK #1 You ai n't takin' nothin' back, man. PETER But I'm tellin you it was a mistake. PUNK #1 -LRB- in a low but very aggressive tone. -RRB- You tryin' to double - cross us or something? Beat it before I get pissed, man. PETER -LRB- panic - stricken, in an equally low tone. -RRB- But I'm telling you, I've got your package right here. There's been a mistake. PUNK #1 A mistake my ass! Now get outa here, man, or I'm gon na stick this right in your gut. He discreetly reveals a switchblade knife he's carrying. PUNK #1 -LRB- to Punk # 2. -RRB- Start the bike. Punk # 2 is about to get on the motorcycle. Peter stops him. PETER But I'm telling you, I've got the real package in my pocket. PUNK #2 -LRB- to Punk # 1. -RRB- Watch it, the cops! Peter quickly puts back the package in his pocket. A patrol car comes up next to them, right beside the car in which Graton is sitting, taking in every bit of the action. GRATON -LRB- to his partner. -RRB- Terrific! I bet these morons screw up everything. One of the COPS gets out of his car and comes over to the Punks and Peter. Peter is scared stiff. PUNK #1 -LRB- whispering. -RRB- If you called the cops on us, pal, you're a dead man. COP #1 All right, what's that doing on the back of the bike? No one answers. COP #1 You would n't by any chance be intending to drive with a baby basket on your motorcycle, would you? PUNK #1 Of course not, Officer. We'd never do something like that. COP #1 So why did you strap it on in the first place if you had no intention of driving with it? PUNK #2 So it would n't fall off. COP #1 Very funny. As he speaks, Peter undoes the bungie cord from around the basket and takes it off the motorcycle. PETER No, really, Officer, they were n't gon na drive off with it - They were just watching it for me while I was doing a quick errand. -LRB- to the Punks. -RRB- Thanks, guys. Punk # 1 gives him a dirty look. COP #1 All right, let's see some identification, everybody. The punks exchange a glance. Suddenly Punk # 1 shouts : PUNK #1 Go! They take off running in different directions. Cop # 1 charges after Punk # 1 and yells to his partner who's still in the car : COP #1 Watch the guy with the basket! Cop # 2 leaps out of the car, gun in hand. Peter stiffens with fear. COP #2 Freeze! All right, asshole, let's see some I.D. PETER -LRB- urbanely. -RRB- Listen, Officer, let's stay calm now. I have n't the slightest intention of running. I am not a criminal. I'm an architect. COP #2 -LRB- calming down a little. -RRB- Your I.D., let's see it. PETER I'm terribly sorry, Officer, but I do n't have any identification on me. I just came down with my baby to run a quick errand. I have n't committed any crime. COP #2 All right, let's go, in the car. I'm taking you down to the station. PETER Oh, c'mon, that's impossible - you see I have a baby. I have to give her a bottle in fifteen minutes, I ca n't go anywhere. I live right in this building - let me go up to my apartment and I'll get you my license immediately. You can even come with me if you like. COP #2 All right, lead the way. They disappear inside the building. Peter is carrying the basket in his left hand ; his right hand is clenched on the horrible package hidden in his pocket. Just then Cop # 1 comes running back, empty - handed. Graton gets out of his car and comes up to Cop # 1, show - ing him his badge. GRATON -LRB- angry. -RRB- Inspector Graton, Narcotics. It just so happens I was tailing those two guys and now because of you clowns I lost them, probably forever. Thanks a lot! COP #1 How could we know? GRATON Forget it. Listen, your partner went in here with the guy and the baby. He lives up on the tenth floor. I ca n't go in because if he sees me, my cover is blown. So could you please try not to lose this one, okay? He's someone who's got ta be watched very closely. I've called for backup and it's on its way.",
"INT. APARTMENT - DAY The elevator doors open, Peter and Cop # 2 exit. PETER -LRB- key in hand. -RRB- This is it. Please come in. can I get you a cup of coffee or something? COP #2 No thanks. I'll just wait out here. Peter enters the apartment and calmly crosses through the house, carrying the basket. As soon as he's out of the cop's sight, he starts running like a madman down the corridor. He runs into Michael who was just coming to meet him. MICHAEL Hey, what's happening? What were those cops doing. Peter shuts him up, grabs him roughly under the arm and leads him into his room, closing the door behind them. Peter speaks softly but he's totally freaking out, he can hardly breathe. PETER Michael. Michael. we're in deep trouble. The package. The package. MICHAEL Yeah? What? PETER There's a cop on the doorstep. He did n't see you. He must n't see you. We're in deep trouble, Michael. MICHAEL Tell me what. PETER The package they came for was n't the baby, it was dope, drugs, a shitload of dope! We were stopped by some cops down on the street. MICHAEL But did the cops see the dope? PETER No, it's right here. He takes out the package. MICHAEL Shit! PETER We'll get twenty years if the cops find this on us! Climb down the fire escape and hide it. anywhere! Michael takes the package, opens the window and starts to climb out it when Peter stops him. PETER Hey, whatever you do, do n't lose the goddamn dope, we got ta be able to return it to those dealers or we're dead. Those guys are serious. MICHAEL Do n't worry. He starts down the fire escape, then stops and turns back. MICHAEL Oh, by the way, I put some water up to boil for her bottle. Michael disappears. Peter picks up Mary, grabs his wal - let and leaves the room. When he gets to the hall, he discovers that Cop # 1 has joined Cop # 2, to whom he is whispering something. Peter holds his license out for them to see. PETER Here's my license. COP #1 I'm afraid I'm going to have to ask you to remain in the apartment. The narcotics squad will be arriving any moment now. They want to ask you a few questions. PETER Narcotics squad? What do they want with me? I do n't even use aspirin!",
"INT. SUPERMARKET - DAY Michael is buying a pair of scissors, glue and a roll of Scotch tape. Then he buys a box of large diapers - he chooses the ones that come in a box. Michael leaves the supermarket, whistling.",
"EXT. PARK - DAY Michael is sitting on a bench facing the grass, with his back to us, he seems quite busy. As we CLOSE IN, we discover that he has opened the box of diapers and that he's holding one of them ; its plastic has been carefully cut out with scissors. Casually, glancing right and left, he takes the individ - ual packets of white powder out of his pocket and shoves them into a little plastic bag from the supermarket. Then he carefully tapes the bag so it's well - sealed and flattened out, and he inserts it into the diaper, be - tween the plastic and the absorbent fabric. Next, the diaper is taped up, folded back up and put back in the box, neatly packed between the other ones. Michael closes the box again and glues it together so it looks as if it's never been opened. He throws all the other stuff away in a trash can and grabs hold of his brand - new box of diapers. He walks away.",
"INT. APARTMENT - DAY Michael comes into the living room with his box of diapers and a bag of groceries. In addition to the two cops there are now THREE NARCOTIC AGENTS who are interrogating Peter. He is holding Mary. The basket is on an armchair. MICHAEL Hello, Officers. What's going on? PETER Do n't worry, Michael, it's nothing serious, just a little misunderstanding. MICHAEL Did you give her the 5:30 bottle? PETER Yeah, I just gave it to her. MICHAEL Did you change her? PETER No, she's soaking wet. MICHAEL Okay, I'll do it. Michael puts down his bag of groceries, takes Mary from Peter and disappears with the box of diapers. In his room, he lays Mary down on his bed and starts undressing her.",
"INT. LIVING ROOM - DAY AGENT #1 And who's he? PETER He's my roommate. AGENT #1 -LRB- raising an eyebrow. -RRB- Oh, I see, I see. PETER No, you do n't see. There are three of us sharing this place. AGENT #1 Oh, three, huh? A regular ` mirage a trois'! PETER It's ` menage'. and it's not. We all have lots of girlfriends, thank you. AGENT #1 Uh - huh, so what's your friend do? PETER He's a cartoonist. AGENT #1 What about the other guy? PETER He's a pilot. AGENT #1 Ah - hah. Now that's interesting. -LRB- to his colleague. -RRB-. Get me those photographs, the ones taken at Newark Airport. Agent # 1 looks in his attache case. AGENT #1 So does this friend of yours ever fly to South America? PETER No. Never. Only North America. The PHONE RINGS. AGENT #1 Would you object if I answered it for you? PETER Not at all, go right ahead. I've got nothing to hide. Agent # 1 picks up the phone and listens. AGENT #1 It's a collect call from a Jack Collins in La Paz, Bolivia. That would n't happen to be your pilot friend, would it? The one who never goes to South America? PETER Yes, it is him. Agent # 1 hands him the phone. PETER Hello, yes, operator, I accept the charges. Agent # 1 gestures to Agent # 3 to take a look around the apartment. Agent # 3 slips away. AGENT #1 Would you mind very much if I listened? PETER Please, go right ahead. Agent # 1 picks up the other telephone. PETER Hello, Jack? Fine, yeah. How're you? Yeah, he's fine, too. Yeah, we left a message for you, right. No, it was nothing special, it was just, I mean. to see how you were doing and all. No, no emergency. Everything's fine. PETER -LRB- CONT'D. -RRB- -LRB- loud. -RRB- I said everything's fine! The what? I do n't know what you're talking about. Oh yeah, the package! Yeah, yeah, it got here. and was picked up, uh - huh. Hey! Why did n't you call sooner? Huh?'Cause what? Oh, you're onto something hot - well, are n't you the lucky one! So when are you getting married? Forget it, I was just kidding. Well, everything's fine up here. So have a good time. See you in a couple of weeks. ` Bye. Peter hangs up. So does Agent # 1. AGENT #1 Now that's interesting. So you wan na tell me about this package and the hot something - or - other your friend lucked onto. in La Paz. Bolivia. South America? Peter sits down, stunned.",
"INT. MICHAEL'S ROOM - DAY Mary is lying on Michael's bed. He has just finished putting a regular diaper on her. Then Michael looks for the tampered - with diaper in the box. He finds it, checks that it is well - sealed, and places it under Mary's bottom. Just then Agent # 3 appears in the doorway. Michael calmly finishes putting the dope - filled diaper on the baby on top of the other one. MARY is COOING. Every - thing appears normal. However, a trained eye might be very surprised by the enormous thickness of the diaper covering the young lady's backside. But a narcotics agent is not necessarily the most qualified person to notice something odd like this. Agent # 3 silently observes Michael, who gives him a big smile as he slips on Mary's pajama bottoms. Michael picks Mary up and for the first time talks to her in the kind of silly babytalk used by adoring parents. MICHAEL Okey - dokey, honeybunch, it's time to go beddy - bye now. We're gon na take a nice long nappy - wappy. He goes back to the living room, followed by Agent # 3. Agent # 1 is in the process of showing Peter a photograph. AGENT #1 Do you recognize anyone in this picture? Peter looks : it's the photo of Jack and Paul that was taken at the beginning of the movie. PETER -LRB- pointing. -RRB- Sure. This is Jack Collins. AGENT #1 Oh yeah? Now that's interesting. Michael has laid Mary down for a nap in her basket, observed by the five cops. He now sits down, cheerful and bubbling over with enthusiasm. MICHAEL So! Can I get you something to drink? Agent # 1 totally ignores him. AGENT #1 So, who's the baby belong to? PETER It's Jack's daughter. AGENT #1 And why are you two taking care of her? PETER Because her mother's in Europe for six months, and since Jack had to be away for two weeks, I took my vacation to take care of her, I love kids. MICHAEL Yeah, Peter and I just love kids! AGENT #1 Now that's interesting. Well, we'll be seeing each other again soon, in fact very soon. In the meantime, I'd appreciate it if you did n't leave New York in the next few days. All the cops head for the door. Michael accompanies them, putting on a very urbane act. MICHAEL Come back anytime, gentlemen. You're always welcome here. We have no particular plans to leave New York in the near future, so do n't worry about us now. ` Bye now. Once the cops are gone, Michael races back to the living room. Peter has collapsed into his armchair. PETER -LRB- in a low tone. -RRB- Christ, what a mess! They'll be on our tails around the clock! How the hell are we gon na get rid of the goddamn dope?! By the way, where is it? MICHAEL -LRB- also speaking in a low tone. -RRB- It's cool, do n't worry, I got it stashed. PETER Where? Michael points to Mary's bottom. PETER Huh? MICHAEL This way it's close at hand! PETER Are you out of your mind? MICHAEL Relax, will you. MICHAEL -LRB- CONT'D. -RRB- I diapered the dope on her right in front of the cop and he never noticed a thing! PETER I told the cops we were taking care of her. You realize we're now stuck with the kid till Jack comes back. There ai n't nobody coming to pick her up, and I have to go back to the office today! MICHAEL Wait a minute. You're not gon na stick me with this kid! Tell them you need a maternity leave, tell them anything, but we've got to go 50 - 50 on this! PETER And that's not all - we have n't heard from the punks yet either!",
"EXT. STREET - DAY Hidden within a parked car, three men are keeping a close watch on the entrance to Peter, Michael and Jack's build - ing. The two uniformed cops emerge, get in their car, and pull away.",
"INT. APARTMENT - DAY PETER -LRB- on the phone ; things are heating up. -RRB- That's right, you heard right : I'm not coming in to work for two weeks. No, I ca n't explain why. -LRB- in a louder tone. -RRB-. Because I ca n't, that's all! NO, this has nothing to do with chasing ass! Jerry. Jerry! Will you stop screaming for a minute and listen? I'm in trouble, you understand? Deep trouble. I know. I know. PETER -LRB- CONT'D. -RRB- -LRB- yells. -RRB-. Goddammit, Jerry, of course winning the competition is important to me! The firm's my whole life if you must know. No, no, please - do n't send anyone over here. Do n't you come either. No, Jerry. Okay, listen, I'll be there in a half - hour, but I ca n't stay long. No! Do n't come here! I'll be right over. He hangs up. Michael enters the room, with his coat on. MICHAEL I got ta go over to Mr. Oxman's - he just called and he's freaking out. He says if I do n't bring some cartoons over now, the deal's off. PETER You're going now? MICHAEL Yeah, but do n't worry about it, I'll be back before it's time for her next bottle. She's asleep now. PETER Terrific, just terrific! Jerry just called : I have to go to the office right now. MICHAEL Well, call him back. Tell him you'll come later. PETER There's no way. I ca n't, he's suicidal. Why do n't you call Oxman and tell him you'll be there in a few hours. MICHAEL You're crazy. Oxman is leaving in an hour. If I do n't meet him before then, I blow my 15,000 dollar contract. PETER Oh shit, I ca n't take this anymore! MICHAEL Look, maybe we could pawn her off on Mrs. Razzolini, just for a couple of hours - she's crazy about her! PETER Good idea! Let's go.",
"INT. BUILDING - DUSK Peter and Michael get out of the elevator on Mrs. Razzolini's floor. They each are holding one of the handles on the basket. They are walking quickly. Suddenly Michael stops Peter. MICHAEL Wait - I hear someone. I'll go see. Peter waits with the basket. Michael tiptoes to the corner of the corridor. At the very end of the corridor, on Mrs. Razzolini's doorstep, he sees the three narcotics Agents talking with Mrs. Razzolini. We can hear snippets of their conversation. RAZZOLINI Yes, I brought a package up to them. I think it was last Sunday. AGENT #1 What are these people like? What kind of lifestyle do they have? Michael hastily returns to Peter, still on tiptoes. He leads him back to the elevator and pushes the elevator button. MICHAEL -LRB- whispering. -RRB- Just as I thought - the goddamn cops are grilling Mrs. Razzolini. PETER Oh shit! We sure as hell ca n't hand her the baby with an ass full of dope. right in front of the narcs! The elevator has arrived meanwhile. PETER -LRB- breaking down. -RRB- What should we do? I really got ta go. MICHAEL Listen, she's just had her bottle. She's sleeping like a log. Let's just leave her in the apartment. What can possibly happen to her? She's as regular as clockwork. She wo n't wake up till 8:30 and we'll easily be back by then. PETER Yeah, you're right, we wo n't be long. They rush into the elevator.",
"EXT. STREET - DUSK The three men, slumped in their car, are watching the door of the apartment building. The three narcotics Agents emerge from the building and walk away. A short time goes by. Peter and Michael emerge from the building and quickly walk away. The three men get out of their car, cross the street and enter the building.",
"INT. APARTMENT - NIGHT Peter comes out of the elevator, key in hand. He's about to put it in the lock on the door, but stops short - the door is already open. PETER Michael? Michael, are you here? No answer. Peter pushes the door open. The sight that greets his eyes is very dismaying. It looks like a tornado has hit the house. Everything's on the floor, it's all been smashed, it's all been ripped apart. Gone is the beauti - ful apartment that had been so lovingly decorated. In its place, utter devastation and shambles. Peter stands there speechless for a moment, then an awful thought crosses his mind. He runs like crazy into his room - the basket's not there. Stepping over the debris and all the things strewn over the floor, he rushes into the living room, then into Michael's room. The basket's nowhere to be seen. Peter falls apart ; without even realizing it, he's moan - ing and muttering distractedly. He runs into Jack's room, into the kitchen, into the bathroom. The basket is nowhere to be seen. Peter runs all over, back and forth ten times in all the rooms. Tears are flowing from his eyes. Suddenly, he hears FAINT CRIES. They're coming from the back bathroom. Peter rushes to it, practically ripping the door from its hinges. There on the toilet is the basket, and on it there's a note written in big messy printing which says : `` NEXT TIME WE TAKE HER.'' Mary looks at Peter and smiles ; she seems in great shape. A distraught Peter picks her up, hugs her tightly and kisses her all over as he takes her into his room. Just then, Michael appears in the corridor, silent and overwhelmed. He comes to the door to Peter's room and looks at him. Peter, mortified to have been caught kissing Mary, hastily distances himself from her, hold - ing her at arm's length. He puts her down on his bed and exits the room.",
"INT. KITCHEN - NIGHT The debris has been shoved up against the walls. Peter and Michael, in their pajamas and dead tired, are slumped over the table. Peter is giving Mary her bottle. Michael is looking at Mary as though he were seeing her for the first time.",
"INT. PETER'S ROOM - NIGHT Peter is in bed, completely out of it. Michael is changing Mary very carefully. He puts one diaper on her, then the second one, full of dope. He lays Mary down in her basket, then places the basket on the bed, nestled between the wall and Peter's body. Michael, holding the soiled diaper, silently goes out. Once he's alone, Peter leans over the basket. Mary and he stare at each other intently and seriously. Peter switches off the light.",
"INT. APARTMENT - DAWN The DOORBELL RINGS. Michael, asleep on his mattress on the floor in the middle of his wrecked bedroom, emerges from sleep and glances at his clock : it's 6:10 AM. He staggers to the front door and opens it. The door is being held together with a string. Agents # 1, # 2, and # 3 are at the door, with four other cops backing them up. Mrs. Razzolini is standing behind them and staring, wide - eyed, a look of horror on her face. MICHAEL Morning, officers. Can I help you? AGENT #1 -LRB- holding out a piece of paper to him. -RRB- Search warrant. MICHAEL -LRB- playing the gentleman, waving away the paper. -RRB- I believe you, officer. Go ahead, we have nothing to hide. Hello, Mrs. Razzolini! Mrs. Razzolini turns her back on him and hurries away. The cops enter the apartment. MICHAEL You'll have to excuse the mess. We had a few friends over last night. AGENT #1 -LRB- looking at the devastation. -RRB- Oh, really? Well, if I were you I'd get myself some new friends! Peter comes in, in his bathrobe, furious. PETER What the hell are you guys looking for, anyway? AGENT #1 Probably the same things your friends were looking for last night! Did n't Mrs. Razzolini bring you a package last Sunday? PETER You mean the chocolate Easter bunnies? We ate them already. He starts to walk away. PETER Anyway, you have no idea how many packages we've been getting lately. It's hard to keep track of them. AGENT #1 Maybe we can help. -LRB- to his colleagues. -RRB- Let's get to work! All the cops enter the apartment.",
"INT. PETER'S ROOM - DAY Peter is in bed, with the basket beside him. A narcotics AGENT is rummaging through his scattered belongings. AGENT Would you mind if I look in your bed? PETER -LRB- big smile. -RRB- My pleasure. Try not to make a mess. Peter gets up, takes the basket off the bed and keeps it in his hands. The Agent searches the bed. AGENT I'll look in the basket, if you do n't mind. PETER Be my guest. He picks up Mary with her huge diaper. The Agent searches the whole basket. AGENT Thank you very much, sorry about this. He goes out. Peter, undaunted, pats Mary's big behind.",
"INT. APARTMENT - DAY The cops are leaving. AGENT #1 Well, there's obviously been a mistake. As far as you're concerned this investigation is closed. We apologize again. MICHAEL -LRB- big smile. -RRB- Oh, do n't mention it! It was a pleasure having you here! I hope you'll find what you're looking for very soon! AGENT #1 -LRB- looking straight at him. -RRB- So do we. Michael closes the door and races into the living room where he discovers Peter putting on his jacket. MICHAEL -LRB- softly. -RRB- Did you hear that? He said there'd been a mistake and they were n't going to bother us anymore. PETER Bullshit, it's a trick. MICHAEL You think so? Really? PETER They just said that to put us off guard. They saw the condition this apartment's in. PETER -LRB- CONT'D. -RRB- They know the punks were here looking for the dope and that they probably did n't find it. So that means we've still got it. MICHAEL But he said the investigation was closed. PETER Okay, let's just see how closed it is. I'll go downstairs. You watch out the window and see if I'm being tailed.",
"EXT. STREET - DAY Michael is peeking out at the street from the window above. Peter comes out of the building and turns left, walking very quickly. Suddenly, Peter stops, turns around and retraces his steps. We can clearly see a man, who was walking about six yards behind Peter on the opposite side of the street, also turn around and retrace his steps. It is Graton.",
"INT. APARTMENT - DAY PETER -LRB- entering. -RRB- So? Was I right? MICHAEL There's one guy for sure! A redhead, kind of young, disguised sort of like a college student. PETER I knew it. They're going to be watching us around the clock. How are we going to get the dope back to the punks? MICHAEL I have the feeling they'll come to us. PETER We'll have to be very careful.",
"EXT. STREET - NIGHTFALL Michael is walking on the street carrying two bags of groceries. Suddenly, a guy walks up to him and elbows him sharply. PUNK Hi! Doin' a little shopping, huh? How's your place - not too much damage, I hope. MICHAEL What do you guys want? PUNK We want the dope. Tomorrow. MICHAEL And we want to give it to you. But the cops are tailing us nonstop. Matter of fact, there's one right behind us now. PUNK That's your problem, man. Figure out a way to shake'em. Either we safely get the dope tomorrow, or you, your friend and the kid'll get this. -LRB- he quickly stabs the grocery bags three times. -RRB- We'll call you tonight. He runs off, disappearing into the darkness. From the slit - open grocery bag milk flows out onto the sidewalk. Michael is shaking all over. Standing about twenty yards away, Graton has n't missed a thing.",
"INT. COP CAR - NIGHT Not far from Peter, Michael and Jack's building, Graton, in his car, is talking into the microphone of his police radio. GRATON My snitch told me the gang has n't gotten the dope back yet, but they will soon. They made contact with the two guys tonight. No, no, they do n't know I'm tailing them. These jerks are going to fall right into my hands.",
"INT. APARTMENT - NIGHT Peter and Michael are seated in the living room, which is still an utter wreck. They ca n't take their eyes off the phone that's between the two of them. They are sitting silently, not moving. Mary is playing in her basket. The PHONE RINGS. Peter and Michael both jump three feet in the air. Michael picks up the phone. MICHAEL Hello? Who? Goddamn it, where are you? -LRB- to Peter. -RRB-. It's Jack. He just landed in Newark. He came back early. PETER Gim me that. -LRB- he grabs the receiver out of Michael's hand. -RRB- Jack? What the hell are you doing? -LRB- listens to a long explanation. -RRB- Yeah. yeah. oh yeah? Well, listen very carefully, Jack. That wonderful, fantastic babe you brought back from Bolivia? The one you're gon na marry tomorrow? Well, you're not going to bring her here! You are going to say ` goodbye' to her very nicely and put her in a cab back to Bolivia. Why? Because there's another wonderful, fantastic babe waiting for you right here at home. Who is she? Oh, that's a surprise! You'll see when you get here. But believe me, she's out of this world. You're going to be up all night with this babe. She's crazy about you. MICHAEL -LRB- in a low tone. -RRB- Make it quick, the punks may be trying to call. PETER So hurry home, Jack, this little doll ca n't wait to see you. ` Bye. He hangs up. PETER -LRB- in a furious temper. -RRB- That goddamn mother fuckin' jerk of an asshole! I swear when he comes through the door I'll kill him! I'll. The PHONE interrupts. Michael leaps up and answers it. MICHAEL Hello? Listen, tomorrow, Central Park at the fountain near the merry - go - round, five o'clock. Be there, but. They've hung up on the other end. Michael hangs up and sits down, drained. MICHAEL That was it. PETER -LRB- equally drained. -RRB- All we can do now is hope our plan works. MICHAEL You think the cops have our phone bugged? PETER I do n't think that's legal, is it?",
"EXT. STREET - NIGHT Graton is speaking into the microphone of his radio. Next to him sits a cop with phone - tapping equipment. GRATON -LRB- very excited. -RRB- We got'em, Chief. Five o'clock tomorrow at the fountain near the merry - go - round! I'll arrange for back - up. Hold it, someone's going into their building. We see Jack getting out of a taxi with his luggage and going into the building.",
"INT. APARTMENT - NIGHT Jack emerges from the elevator happy as a lark and feeling frisky. JACK -LRB- opening the door. -RRB- Yoo - hoo, guys! I'm home! I've got presents for you. so where's that wonderful fantastic babe. He enters and sees the state the apartment is in. JACK What the hell happened here? He walks into the apartment, shocked and overwhelmed. JACK Peter! Michael! Are you here? He goes into the living room - No one ` sthere. Into Michael's room. No one's there. He goes into his own room, where the destruction is even moreshocking than elsewhere since nothing has been touchedin there. JACK Oh, my God! My beautiful room! My beautiful, beautiful room! -LRB- very angry. -RRB- Michael! Peter - where the hell are you, for Chrissakes? He runs like a madman into Peter's room and stops short on the threshold. Michael and Peter are each holding a handle of the basket as they rock it gently. JACK -LRB- furious. -RRB- What the hell is going on around here? What happened to this place? What happened to my room? Peter and Michael look him right in the eye, still rocking the basket. JACK And anyway, what the hell are you swinging that thing for? -LRB- silence. -RRB- Answer me for God's sake! -LRB- looking in. -RRB- Oh my God, there's a kid in there! Have you've gone bananas!? There's a Goddamn kid in there! -LRB- silence. -RRB- JACK Oh, I get it. The ` silent' treatment! Okay, if you wo n't talk to me, you can talk to my lawyer! This is grounds for divorce! You're in big trouble, the both of you. He leaves. A second later, he comes back. JACK I paid to have this place decorated, too, you know. I'm not going to let you get away with this. He leaves ; a second later, he comes back. JACK It's too late to try and talk me out of it. I'm history. I'm gone. I'm outa here. He leaves. A second later, he comes back. JACK I'm giving you one more chance to. PETER -LRB- very calmly. -RRB- Would it be asking too much of you to shut your big mouth for a few seconds? There is a child here who's trying to sleep. JACK And that's another thing! I will not have a baby in this house! Babies are not part of our agreement! PETER -LRB- softly. -RRB- Michael, please hold me back. or I'll kill him. Michael takes the basket handle from Peter's hand, places the basket carefully on the bed, and walks without a word towards Jack, who he takes by the arm and steers into the living room. Peter softly shuts the door behind them and follows.",
"INT. LIVING ROOM - NIGHT Michael sits Jack down in an armchair. He speaks with forced calm. MICHAEL All right, Jack. Why do n't we start at the very beginning. The very day you left for your vacation. JACK Hey, will you please stop talking like Mr. Rogers? It's getting on my nerves. PETER -LRB- his fuse has blown, laughing hysterically. -RRB- His nerves! Ha. Ha. Ha. His nerves! Michael, his nerves! You wan na talk about nerves! Then just shut up and listen. It so happens we do n't want a kid here either, but when someone dumps one on us, we take goddamn care of it. MICHAEL Yeah, we take goddam care of it. PETER We have n't had a decent night's sleep in two weeks. Michael's probably going to lose a $ 15,000 contract. MICHAEL Peter could n't leave. Jerry almost jumped out the window. It's lucky they even made it to the finals! JACK What? PETER First, we've got the narcs on our ass, then there's the drug gang threatening to carve us up. Then bottles. bottles. every three hours, bottles. MICHAEL And diapers. Have you ever tried to do diapers? PETER ` La Paz, Bolivia.' He calls from. ` I'm onto something hot.' He says. ` Did the package get there?' He says. You asshole! MICHAEL And the day they wrecked the apartment, Peter came home and could n't find Mary. I've never seen him in tears like that bef. PETER -LRB- cutting him off ; embarrassed. -RRB- Never mind about that. Look, Jack, you got us into this mess, and you're going to help us get out of it. JACK What are you guys talking about? What narcs? What gang? And who's that fucking baby? PETER For your information, the ` fucking' baby's name is Mary. And if I were you, I'd watch what I said about her. because she just so happens to be your daughter! JACK What? MICHAEL And it just so happens, we've got a lot better things to do with our lives than wipe a baby's ass, even if she's yours! Peter and Michael exit, slamming the door.",
"INT. BATHROOM - DAY Peter is slicking his hair back with Brylcream. Jack is sitting on the edge of the bathtub, with his arms crossed. He observes Peter silently.",
"INT. APARTMENT - MICHAEL'S ROOM - DAY Mary is lying on the bed and Michael is putting the dope - filled diaper on her.",
"INT. BATHROOM - DAY Peter is giving a tousled - looking punk hairstyle to Jack, who is looking at himself in the mirror. JACK It's ridiculous. I look ridiculous. PETER You look completely ridiculous - so what?",
"INT. LIVING ROOM - DAY MARY, wearing a bonnet and coat, is lying on one of the couches, CHIRPING merrily. Next to her, also in his coat, Michael is just finishing wrapping a brown package which he puts in a plastic bag, along with a book, a baby rattle, and a clean diaper. Peter and Jack, disguised as punks, each with punk hairstyles and wearing black sunglasses, are climbing out the window leading to the fire escape.",
"EXT. STREET - DAY Michael exits the building. Mary, wrapped in a little woolen blanket, is in his arms. Michael is also carry - ing his plastic bag. Graton, in his car, is speaking into the radio mike. GRATON Okay, he's coming out alone. I'll follow him. Someone else stay here to keep an eye on the other guys.",
"EXT. CENTRAL PARK - DAY Michael is lying on the grass near the fountain with Mary on her blanket near him. Graton is nearby, also lying casually on the grass, watching them out of the corner of his eye. Michael glances at his watch, then at the passersby. The punk from the day before walks by with his arm around a girl. He strolls by casually. He spots Michael and their eyes meet. The couple sit down on a bench a few yards away and they begin `` making out.'' Michael leans over Mary, coochie - coos her and surrepti - tiously takes off her diaper, which he puts down beside him. He puts the clean diaper on her. Graton, nervous and wary, watches Michael and the passersby. Just then, two punks -LRB- Peter and Jack -RRB- come running up to Michael. He ostensibly takes the brown package out of his plastic bag and gives it to them. The two punks immediately take off with the package. Graton leaps up, shouts `` let's get'em'' and takes off after the punks, followed by about 10 other plainclothes detectives, who'd been hiding all around. Michael quickly gets up, picks Mary up and discreetly deposits the dope - filled diaper in a trash can, giving the punk on the bench an intent look. Then he goes off in the direction of the cops. The punk calmly goes over to the trash can, takes out the diaper, which he stuffs into his girl friend's purse, and goes off in the opposite direction. The cops have meanwhile arrested Peter and Jack, who put up no resistance whatsoever. Michael now joins them. MICHAEL What's going on? GRATON Inspector Graton, Narcotics. Do you admit you gave these men this package? MICHAEL Sure. I gave it to them, just a moment ago. GRATON -LRB- to one of the cops. -RRB- Officer, will you please open this package in front of these witnesses? The cop opens the package : it's a box of chocolate Easter bunnies. Graton is mortified. He crushes all the bunnies - there's absolutely nothing but chocolate inside them. MICHAEL Is it against the law to give a box of candy to my friends? Peter and Jack take off their glasses. GRATON Oh, it's you guys! PETER What's the problem? GRATON You guys must think you're pretty smart, do n't ya? -LRB- suddenly freezes. -RRB- Holy shit! The diaper! Graton starts running like crazy back to the fountain. He rummages like a sick dog all around the spot where Michael had been lying. Suddenly he dashes toward the trash can and dumps out its contents, throwing the garbage around like a lunatic. GRATON The goddam diaper! What a jerk, what a goddam schmuck I am! Peter, Michael, Jack and the 10 plainclothes detectives watch Graton going bananas. MICHAEL -LRB- to the cops. -RRB- I think that guy needs a vacation. JACK He should try South America. PETER Yeah, I hear it's nice there this time of year.",
"INT. GRATON'S BOSS'S OFFICE - DAY The Chief is standing behind his desk, red - faced with anger, and Graton sheepishly faces him. CHIEF Let's face it. Graton. You've got shit for brains. GRATON I'm sure the dope was in the diaper. Can I go on tailing them? CHIEF Forget it. I have solid information your three suspects never had anything to do with the dealers or the dope. GRATON I'm sure the dope was in the diaper. CHIEF Case closed. GRATON I'm sure the dope was in the diaper. CHIEF -LRB- screaming. -RRB- Did you hear me, Graton? Case closed. GRATON I'm sure the d. CUT TO:",
"INT. APARTMENT LIVING ROOM - EVENING In the devastated living room Peter, still disguised as a punk, and Michael, both very high, are dancing around in circles with each other and laughing. They are singing a lullaby at the top of their lungs, and har - monizing. Peter is holding Mary close, and Michael, holding a near - empty bottle of liquor, staggers over to him and starts turning around in circles with him. MARY, snuggled up warmly between Peter and Michael, is LAUGHING her head off. In the b.g., in the hall, Jack, also still in his punk getup, is on the phone. He's got a glass in his hand and is a little smashed. JACK Paul, hi, it's Jack! Hey, listen, I brought you back a little present from South America. Can I see you right away so I can give it to you? Yeah, the sooner the better! I ca n't wait to let you have it. How about 67th and East River?",
"EXT. EAST RIVER - EVENING A broadly smiling Jack arrives at the riverside. Paul is sitting on a bench. When he sees Jack, he gets up and comes to greet him, smiling and extending his hand. Without warning, Jack suddenly jumps him and sends him with a forceful shove flying into the water. Paul lands on his back with a big splash, and comes back up to the surface totally dumbfounded. Jack leans over the water and yells at him, like a madman, still a bit drunk. JACK That was for your ` little' package, and consider yourself lucky I did n't turn you in to the cops! And get one thing into your thick skull : I have never touched dope, and I never will. You and your shit - dealing, you can go straight to hell, and you can take the money you make from it and stick it up your ass! So long. Jack turns his back on Paul and staggers off. PAUL Hey, come back! - how'm I gon na get out of here? JACK Crawl.",
"INT. APARTMENT - DAY In the living room, Michael is sitting in front of the TV. He's not really watching - he's eavesdropping on Jack's phone conversation. JACK -LRB- very aggravated. -RRB- Listen, Sylvia, you've got to come back. I travel, I ca n't take care of her. Yeah, but you're her mother. I'm her father - what makes you so sure I'm the father!? The dates coincide! Big deal! That does n't prove a thing. But she's still your kid, so do me a favor, get your ass back here immediately and take her off our hands.'Cause we've got a lot better things to do with our lives than wipe a baby's ass, okay? Sylvia? Hello! Hello! Sylvia, goddam it! JACK -LRB- CONT'D. -RRB- -LRB- he slams the receiver down like he was hammering a nail. -RRB- Shit! That bitch hung up on me! Women! I could kill them! MICHAEL Why do n't you call her back? JACK I do n't have the number. I got a message to her through her agency, they wo n't tell me where she is. I do n't even know where she was calling from. And you better believe she's not going to call back! The PHONE RINGS. Michael answers it. MICHAEL Hello? No, it's Michael. How are you? Oh, she's doing just fine, she's in great shape. We're taking very good care of her, you have nothing to worry about. ` Bye. He hangs up. JACK Who was that? MICHAEL Sylvia - She wanted to know how Mary was doing. JACK What? Jesus Christ, Michael, why did n't you let me talk to her!? MICHAEL She would have just hung up on you again. The important thing is she knows Mary's fine. JACK You jerk! You should've said she was terrible, sick as hell! Practically on death's door! -LRB- exits, furious. -RRB- What a jerk, what a pain in the ass you can be sometimes. MICHAEL -LRB- to himself. -RRB- What's with him? The kid's doing really great!",
"INT. APARTMENT - MORNING Jack is on the phone in his room, which is looking a little more normal again. JACK Mom? Hi, how are you? Yes, I'm fine. Yes, I'm eating well. Mom, how would you feel if I told you you were a grandma? SCREAMING coming over the phone. JACK Yeah. A little girl, Mary. SCREAMING coming over the phone. JACK I'd love you to see her. In fact, I was gon na bring her down tomorrow. today? Great, I think there's a flight in three hours. I'll be at your place by two. See you real soon! He hangs up gleefully, rubbing his hands together.",
"INT. KITCHEN - DAY Michael and Jack are in the kitchen. Michael is making some bottles. Jack is watching him do it. MICHAEL You'll have four already made, this'll hold till Miami. JACK Okay. MICHAEL Tell her to make sure Mary gets plenty of sleep. JACK I'll tell her. MICHAEL If her ass gets red, tell her not to listen to any pediatricians - they're full of shit. JACK Right. Full of shit. MICHAEL Then she should give her a bottle of water instead of the regular bottle. Works like a charm : Her ass will be white as snow in three hours. JACK -LRB- nodding. -RRB- Bottle of water, white as snow. MICHAEL Peter says her clothes should be washed by hand. JACK Really, by hand? MICHAEL -LRB- nodding. -RRB- And only in soap flakes without any artificial color or scent. And then rinsed three times in very hot water. JACK -LRB- docile. -RRB- Rinse three times. MICHAEL To put her to sleep we sing in harmony - it always works. JACK My mother lives alone. MICHAEL Solo works just as well. JACK Okay. MICHAEL Now, as for the nipples, you've got to be very, very, very careful. MICHAEL -LRB- CONT'D. -RRB- As soon as the hole gets too big she's got ta throw them out - This is extra, extra, extra - specially important -'cause if the hole's too big, the milk comes out too fast and it's bad for her digest. JACK -LRB- politely, but a little in a hurry. -RRB- I got ta get going, I'll miss my plane.",
"INT. APARTMENT - DAY Peter is returning from work. PETER Anyone home? Michael is in the living room, eating a sandwich, while looking through a magazine. MICHAEL I am! PETER How ` bout Jack? MICHAEL On his way to Miami. PETER Oh, yeah. He's got a lot of nerve! Leaving us with the kid again. MICHAEL No, he took Mary to his mother's, she could n't wait to see her. He's gon na try to unload her on her till Sylvia gets back. I made her four bott. PETER -LRB- furious. -RRB- You're kidding! That son - of - a - bitch! MICHAEL Do n't worry, I told him everything he had to know, and I made her four bott. PETER Oh, I'm telling you, that guy is really starting to get on my nerves! MICHAEL Why? PETER Goddamn him! He really could have called me! MICHAEL Are you pissed off'cause she's gone? PETER -LRB- exasperated. -RRB- Of course not! What, are you crazy? I'm relieved! Thank God she's out of here! MICHAEL I made her four bott. PETER That idiot! He could at least have told me. -LRB- exits, cursing. -RRB- I ca n't believe this. That jackass. That jerk. There are such things as phones! MICHAEL -LRB- to himself. -RRB- Four bottles for the goddam trip. There, I finally got it out.",
"EXT. HOUSE (MIAMI) - DAY A cab slowly pulls up in front of Jack's mother's house. There is a big red convertible filled with four jovial senior citizens. Jack comes out of the cab with the basket and stares at his mother, MARGIE, who's just locking her door. Next to her, holding her luggage is Steve -LRB- a man in his sixties -RRB-. They head toward the trunk of the car. JACK Hey, Mom! MARGIE -LRB- hits Steve. -RRB- Hey, he finally made it! MARGIE -LRB- CONT'D. -RRB- -LRB- to Jack. -RRB- Do you have any idea what time it is? It's four. You said two. JACK But, Mom, I missed the plane. MARGIE Yeah, but now I have to go. JACK Where are you going? MARGIE On a cruise around the world. JACK But why did n't you say so on the phone? MARGIE Because you never would've come. Now let me see her. -LRB- she grabs Mary and covers her with kisses. -RRB- Oh, my little strudle! STEVE Hey, Margie. We're a little late. MARGIE Bye - bye, sweetie love. I'll bring you back presents from all over the world. -LRB- to Jack, giving back Mary. -RRB- Four o'clock. She runs into the car and they pull away. Everyone waving goodbye. JACK -LRB- holding Mary. -RRB- ` Bye!",
"INT. APARTMENT - NIGHT Jack comes in with the basket ; he's in a vile mood. He's got a bottle ready in his hand. Peter, who had been working in his room, rushes to the hall. PETER You're bringing her back? JACK Yeah. she's starving. I got ta heat this bottle up right away. They go into the kitchen together. Peter immediately gets busy ; he heats the bottle up quickly while Jack soothes the hungry Mary by carrying her in his arms. PETER So what happened? Did you two have a fight? JACK -LRB- grim. -RRB- Goddamn cruises. PETER Did n't she want to take her? JACK Sure she did, but she was just leaving for some stupid cruise around the world. The entire fucking world! With some bimbo boyfriend of her's. and a bunch of retired bozos. PETER The apple does n't fall far from the tree. JACK What?",
"INT. APARTMENT - LATE AFTERNOON The DOORBELL RINGS. Jack goes to the door. At the door stands a rather distinguished - looking woman, with her hair tied back very properly, a suitcase in her hand. It is MRS. BRETSAWS, who speaks with a British accent. MRS. BRETSAWS Good afternoon. I'm Mathilda Bretsaws, from The Second Mommy agency. JACK -LRB- very eager, very gracious. -RRB- Oh, yes, I was expecting you. Wo n't you come in. They disappear into the living room. Jack shuts the door behind him. Michael peeks into the hall, then goes and looks into the living room through the crack in the door. Peter, too, peeks in. PETER Who is it? MICHAEL Must be some nanny he found through an agency. Peter shrugs and walks away. Jack comes out of the living room. JACK -LRB- softly, to Michael. -RRB- She wants to see Mary. MICHAEL She's asleep. JACK Well, she wants to see her anyway! He heads toward Peter's room. PETER -LRB- returning from the kitchen. -RRB- What do you want? JACK Nothing, nothing. PETER Do n't go into my room, she's asleep. JACK Yeah, but the nanny, Mrs. Bretsaws, she wants to see her. PETER No, damn it, no! You're gon na wake her up! It already took me an hour to sing her to sleep. JACK Yeah, but she wants to see her. PETER All right, I'll go explain the situation. JACK -LRB- holding him back with both hands. -RRB- No, no, Peter, please, really, do n't go, do n't bother, I'll go explain it to her myself. PETER It's no bother, Jack. I'll be glad to do it. He rushes toward the living room. JACK -LRB- sighing, to Michael. -RRB- Wan na bet she's out of here in ten minutes slamming the door behind her? They tiptoe over to the living room door and eavesdrop.",
"INT. LIVING ROOM - LATE AFTERNOON PETER A sleeping child should not be awakened. If you do n't know that, then you're not fit to be a nanny. MRS. BRETSAWS -LRB- tense, but still calm. -RRB- I never said that I wanted the child to be awakened, sir. I only asked to see her. If I'm going to be taking care of the child on a round - the - clock basis, then. PETER ` Round - the - clock'? Whaddya mean ` round the clock'? Are you intending to sleep here? MRS. BRETSAWS Absolutely, sir. A second mommy is a second mommy. PETER And where are you going to sleep? MRS. BRETSAWS Well, I expect you to show me to my quarters. PETER Well, I do n't know where Jack intends to stick you. That's his problem. Maybe in his room. But I'm warning you, Mrs. Brestshow. MRS. BRETSAWS Bretsaws. PETER There are three of us sharing this place and we're all real studs.",
"INT. HALLWAY - LATE AFTERNOON Behind the door, Jack rolls his eyes, Michael empathizes with him. They head back to the kitchen.",
"INT. LIVING ROOM - LATE AFTERNOON MRS. BRETSAWS And as for screwing, I have all I need at home, thank you very much. With a few days off every month, I'm sure I'll be fine. The only thing I'm interested in is the care of the child and I can tell she needs some. PETER Oh, yeah? How do you figure that? MRS. BRETSAWS Should n't I be discussing all this with the father? PETER Well, listen, Mrs. Fretsaw, umm. Brainsore. MRS. BRETSAWS Bretsaws, Mrs. Bretsaws. PETER Right. Bratsnot, lem me tell you something. With a child you always know who the mother is, but the father - that's another kettle of fish. So do n't give me that bullshit, okay? MRS. BRETSAWS Very well. I wo n't discuss it any further with you. Will you please show me where the kitchen and the bathroom are? PETER What for? MRS. BRETSAWS So I can make you a list of the things we need. PETER What do you mean, make you a list? - Do n't you do the shopping yourself? MRS. BRETSAWS No shopping or laundry or housekeeping. I am a professional nanny. PETER We have plenty of everything. MRS. BRETSAWS Do you have a sufficient amount of fruit and vegetables for the child? PETER She only eats milk and cereal. MRS. BRETSAWS That's not enough, sir. From the age of three months children should be started on a normal, varied diet. PETER Oh that's bullshit. You do n't feed a baby like an adult. MRS. BRETSAWS -LRB- mockingly. -RRB- Oh, really? And how would you know? PETER I've read plenty of books. The diet recommended by those quack pediatricians today is way too rich. I'm in favor of natural methods, Mrs. Breathmint. MRS. BRETSAWS Bretsaws, Mrs. Bretsaws. PETER For instance, if a child is having trouble getting to sleep, what would you do? MRS. BRETSAWS Depends, if it was a continuing problem, I might recommend a mild sedative. PETER -LRB- exploding, triumphantly. -RRB- I knew you'd say something like that, you jerk! MRS. BRETSAWS Fine. Anything you say, sir. Let me just remind you that I have my diploma and that medicine is a serious matter. PETER Do you know the song that goes ` Medicine's a whore and the pharmacist is her pimp'? MRS. BRETSAWS No, I do n't. We must listen to different music. Personally I'm very fond of opera. PETER Mrs. Breakballs, if you do n't get out of here right this minute I'm gon na punch you in the nose! This is my home, now get out! MRS. BRETSAWS The name's Bretsaws. I am blessed with infinite patience when it comes to children, sir, but I'm not qualified to deal with lunatics. Goodbye and good luck! Mrs. Bretsaws grabs her suitcase and exits, dignified and stiff as a broom, slamming the door behind her.",
"INT. KITCHEN - LATE AFTERNOON Michael and Jack are sitting at the table. JACK -LRB- looking at his watch. -RRB- What did I tell you? Ten minutes to the second!",
"INT. APARTMENT - EVENING JACK Okay, listen, you guys. I've tried everything and nothing's working : my mother's off on a cruise ; Mrs. Razzolini wo n't speak to us ever since the whole business with the cops - we do n't want to involve any of our girlfriends ; Sylvia's taking it easy in Europe and there's no way she's gon na come back now that Michael went and told her everything's just fine and dandy. Peter did a terrific job getting rid of Mrs. Bretsaws, and all that's left are the daycare centers, but Peter's positive they're a breeding pit for A.I.D.S.. So you tell me : What are we suppose to do? You want me to split with the kid? Or dump her in an orphanage? PETER -LRB- pretending to play the violin. -RRB- Here we go. MICHAEL Look, her mother'll be back in less than five months. Let's not waste a shitload of time looking for a solution for such a short time. Let's get organized. JACK What do you mean, organized? PETER Well, you'll have to ask to fly the New York - Washington shuttle for five months, on account of serious personal problems. JACK What? Never! I'd rather be a subway conductor. PETER -LRB- barking. -RRB- Then dump her in an orphanage,'cause there's no way we're gon na take care of her all by ourselves anymore! MICHAEL Come on, stop arguing, you two! Jack, you're going to have to ask to do the New York - Washington shu. JACK -LRB- stubborn, yelling. -RRB- No! Never. MICHAEL -LRB- unruffled. -RRB- That way, you can do the 6 - 10 A.M. shift. That amounts to two bottles and two diaper changes. You do the shopping when you get home in the evening and that's all. Peter, you'll take the 6 - 10 P.M. shift. That's two bottles and two diaper changes, her bath and her laundry. Since I work at home I'll take the longest shift from 10 A.M. to 6 P.M. I'll take her to the park for an hour, but that's it. No shopping, no cooking, no cleaning. PETER What if she gets up at night? Whose shift is that? MICHAEL Well. I thought you might do it. PETER Not a chance! I'm not doing the night shift. I absolutely refuse. I have too much work to catch up on for the competition. JACK Well, needless to say I refuse, too! MICHAEL Listen to me, you selfish bastards! My shift is eight hours in a row. No way I'm gon na do nights too. After 6 P.M. she can scream all she wants, I do n't give a shit. PETER You know, Jack, you're a real slime ball! We give you the easiest shift : the morning. She's always in great shape in the morning, is n't she? We've got to work like crazy to save our jobs and you have the nerve to refuse nights. Goddamit, she's your daughter. Are you that horny? JACK -LRB- extremely pissed off. -RRB- Hey, horny yourself! I do n't give a shit. I do n't need you guys. I'll find some other way to do it. And I wo n't take the New York - Washington shuttle! He exits, furious.",
"INT. CHARTER COMPANY - DAY Jack is coming out of an office that says `` EXECUTIVE OFFICES.'' He is grim and sullen - looking. He runs into his friend Paul, who jumps three feet away to avoid a potential mishap with Jack. PAUL -LRB- shyly. -RRB- Hi, Jack, something wrong? JACK -LRB- who had n't noticed him. -RRB- Oh, hi. Nah, nothing's wrong. PAUL What were you doing in the boss's office? JACK I was asking to do the New York - Washington shuttle for a few months. PAUL Oh, and he said ` no,' huh? JACK -LRB- barking. -RRB- As a matter of fact, he said ` yes.' Paul backs up against the wall, protecting his face with his arms. Jack leaves, disgusted. Paul watches him go, totally confused.",
"INT. JACK'S ROOM - NIGHT Jack is sitting on his bed, wearing a dressing gown. He's got a sleeping Mary in his arms. The basket is on the floor beside the bed. Jack attempts to put Mary back in her basket but she shudders and he immediately sits back down again and does n't move. Mary falls back asleep. Jack looks at her skin, her hands. Very gently, he kisses her forehead. Mary smiles in her sleep.",
"INT. MICHAEL'S ROOM - MORNING Michael is working at his drafting table. Jack rushes in, wearing his uniform, ready to go out. JACK Okay, I'm off. She's well fed and she's sleeping now. We hear MARY CRYING. JACK Shit, she's crying. I'll go pick her up. Peter passes him in the corridor. He, too, is ready to go out to his office. PETER Let her cry, she's just trying to get to sleep, she'll stop in a couple of minutes. JACK No, she needs to burp - I've got ta rock her for a little. PETER I'm telling you, the more you pick her up, the longer it'll take her to get to sleep. JACK Thanks for the advice - now why do n't you just shove it? I know you let her scream for hours but I ca n't. PETER -LRB- in a state of shock. -RRB- I never let her scream for hours! JACK You'd resort to any theory to not take care of her. Just because you've read some books. PETER Can you believe what he just said to me. I read those books bec. JACK It's not your shift, anyway. Piss off, will ya? MICHAEL Come on, guys, cool it! It's my shift now. -LRB- to Jack. -RRB- I'll rock her for a few minutes. -LRB- to Peter. -RRB-. and then I'll put her right to bed. So off to work, both of you. He pushes them both out.",
"INT. APARTMENT - DAY It's noon, the sun is shining brightly. Michael is diapering Mary on her changing table. She's naked. He tickles her, bites her toes, neck and ears ; she bursts out laughing. Michael is totally gaga over her. MICHAEL Coochie, coochie, coo. woo, woo, woo. bippity, boppity boo. Peter comes rushing into the apartment and runs toward his room. He stops short in the corridor - he hears Mary's laughter and Michael's coochie - coo's. Noiselessly he tiptoes over to the living room door and listens, troubled. Then he walks away and shouts, as though he were just coming out of his room. PETER Hi, Michael, I just came back to get a file I forgot. Michael stops his baby - talk immediately, as though sud - denly paralyzed, embarrassed, guilty. Peter enters the room. PETER Everything okay? MICHAEL -LRB- without looking at him. -RRB- Yeah, okay. Silence. PETER -LRB- not moving. -RRB- Well, I guess I'll be going now. MICHAEL -LRB- not moving either. -RRB- Yeah. They're both uneasy. PETER The baby okay? MICHAEL -LRB- not budging an inch. -RRB- Yeah, okay. Peter exits.",
"INT. BATHROOM - EVENING Peter enters the bathroom. He's carrying Mary, who's naked and wrapped in a towel. Peter carefully locks the door behind him. He removes Mary's towel and sits her in her little tub, filled with warm water. Mary quivers as she comes in contact with the water. Peter kneels down and very gently pours glasses of water on her shoulders and head. The water streams down her face. She blinks and laughs. Peter whispers lovingly to her in a barely audible, very low voice. Mary stares at him. FADE OUT. says. SAME SCENE - MONTHS LATER Peter is wearing a different suit and Mary is almost one - year - old, with a lot more hair on her head, and able to sit up a lot better.",
"INT. JACK'S ROOM - NIGHT Although it is dark, we can distinguish in Jack's bed a rather bulky shape, which is moving around under the comforter and does n't exactly seem to be sleeping. Suddenly, from the direction of the living room, we can hear MARY CRYING. Jack emerges from under the comforter and switches on the light : he has a female guest in his bed, a pretty BRUNETTE this time. JACK -LRB- to himself. -RRB- Shit, she's crying. BRUNETTE What? JACK Nothing, nothing. I'll be right back. He gets up, slips on a bathrobe and goes out of the bedroom, carefully closing the door behind him. He goes into the living room, picks Mary up, and showers her with kisses. Mary stops crying immediately and lays her head on Jack's shoulder, sucking her thumb. Jack rocks her for a moment then puts her back to bed. Mary instantly starts crying again. Jack very quickly picks her up again and kisses her. Mary is delighted by his tenderness. Jack puts her back to bed again. Mary cries again. JACK It' beddy - bye time now, honey, beddy - bye, do n't cry, sweetheart. Mary keeps crying, Jack picks her up again. Peter and Michael in their pajamas, their faces swollen with sleep, enter the living room. PETER -LRB- in a soft voice. -RRB- She's crying. JACK -LRB- hushed voice. -RRB- Yeah, every time I try to put her back to bed. MICHAEL -LRB- hushed voice. -RRB- Maybe she's thirsty? PETER No, her back teeth must be starting to bother her. JACK What should I do? MICHAEL I've bought some stuff for her gums. He rubs some of the medication on Mary's gums. PETER Try and put her back to bed ; we'll sing. Jack puts Mary back to bed. Michael, as a routine, sings a major chord, giving each of them their notes. They start singing a lullabye in three - part harmony, as they lean over the crib. Mary is in seventh heaven. She looks up at them, she stops crying, she sucks her thumb.",
"INT. JACK'S ROOM - NIGHT The Brunette is listening to the male chorus, totally amazed. BRUNETTE This guy's totally whacko. She gets up, slips on a T - shirt, and exits the bedroom. She stops at the door to the living room and contemplates the three men who are singing earnestly around the crib. BRUNETTE -LRB- in a loud voice. -RRB- Hey, choir boys, you gon na keep it up all night? Peter and Michael stare at her, scandalized. Jack gestures wildly to her to shut up and go away. BRUNETTE Oh my God! There's a baby in there! I'm sorry. She goes back to Jack's room. PETER -LRB- hissing. -RRB- Who the hell's that broad? JACK Watch your mouth, will you? I'm in love with that young lady. PETER Ca n't she speak softly like everyone else? JACK -LRB- getting angry. -RRB- Listen, at night I'm in charge. So get off my back, will you? MICHAEL -LRB- exasperated. -RRB- Will you quit fighting all the time? She just fell asleep, for Chrissake. JACK Oh, Michael, go to hell! I'm sick and tired of your little ` Father Knows Best' number! PETER Yeah, you're right, I'm fed up with it, too! MICHAEL -LRB- terribly upset. -RRB- Okay, that's it. Into the kitchen. He exits, furious. Peter and Jack follow after him. Fuming, they file one after the other down the corridor past the stunned Brunette in her T - shirt who was waiting for Jack by the door to his room. The three guys close the kitchen door and start yelling at each other. They all talk at once. MICHAEL I've had it with you assholes! I wo n't be the buffer between you two anymore. JACK I did n't ask you to get up, I know what I have to do. PETER I do n't mind getting up, that's not the point. MICHAEL I'm not a punching bag! You assholes! JACK If I ca n't bring a girl back here anymore, just say so. And I'm gone. I'm outta here. With Mary. PETER You can bring whoever you want as long as they speak softly like everyone else! MICHAEL One thing I know : I ca n't goddamn wait till Sylvia gets back! PETER Yeah, you can say that again! JACK And again, and again, and again. Meanwhile, the Brunette has put her clothes back on and gathered up her belongings. Now she enters the kitchen. BRUNETTE Sorry to disturb you guys, but I'm splitting. I did n't come here to be a bedwarmer. ` Bye. JACK -LRB- running after her. -RRB- No! Wait, please do n't go. it's all over now, I'm coming back to bed. BRUNETTE -LRB- at the front door. -RRB- You're very nice, but I do n't feel like it anymore now. Some other time, okay? ` Bye. She kisses him goodbye and leaves. Jack is very depressed.",
"INT. APARTMENT - NIGHT Peter, Michael and Jack have guests over for dinner. CLASSICAL MUSIC, a very fancy table, candles : they're at the tail - end of the dinner, before dessert. Everyone is very fashionably dressed. Natalie is sitting between Peter and Carl. Jay and Jerry, Peter's partners, are also there with their wives. Michael and Sophia are having a vehement discussion as usual, Jack is between two gorgeous models : CHRISTIE and CAROLINE. CARL Have you seen the latest bi - annual at the Whitney? Incredible! Have you seen it, Peter? PETER No, I have n't had the time lately. CARL Ah. working hard on the competition, are you? You may as well throw in the T - square, old friend, you have n't got a chance. JERRY -LRB- somewhat harshly. -RRB- I only wish he was working hard on the competition, but unfortunately, that's not the case. NATALIE Really? What's he doing then? He's always so busy. CARL Maybe he's working hard on women! Some people have to work really hard to get anything! Natalie bursts out laughing. Peter's about to respond, but stops himself suddenly. In the b.g., a BABY can be heard CRYING. Peter, Jack, and Michael exchange glances. Jack rushes out. The guests have n't heard anything. PETER -LRB- whispering to Natalie. -RRB- Why do you always have to bring Carl along with you? NATALIE Do n't you like him? PETER Oh, c'mon - I love him! Only, I'd like to see you alone for once, that's all. NATALIE He's extremely talented - in fact, I hate to tell you this, but I think he and his group are gon na win the competition. PETER Well, we'll see about that. Jack returns to the table. Peter's eyes follow him nervously. MICHAEL -LRB- in a low tone, to Jack. -RRB- Did you give her something to drink? CHRISTIE -LRB- drunkenly. -RRB- Oh, cut it out! No more for me! I've had eight glasses! JACK -LRB- in a low tone, to Michael. -RRB- I tried, but she does n't want anything - CHRISTIE I do so want some, but if I have anymore I'll pass out! PETER Save room for dessert - it's a three - tiered cake from Balducci's! EVERYONE Oh! Wow! CHRISTIE -LRB- greedily. -RRB- I love three - tiered cakes! JAY'S WIFE So what's it made of? In the b.g., the BABY starts CRYING again. PETER Umm, it's made with whipped cream and loads of nipples on top - I mean, loads of. raspberries. I'll be right back. Peter rushes out of the room. Michael and Jack exchange glances. The CRYING CONTINUES. SOPHIA Are you saying that's not art? Are you really saying that's not art? Well, then, you explain what it is. MICHAEL Well, it's. art. I'll be right back. He gets up and goes out. Jack watches him. CAROLINE Jack, tell me about those exotic places, what is Caracas like? JACK -LRB- his mind elsewhere. -RRB- Well, actually. uh, lately I've been to Washington a lot. and uh. I'll be right back. He gets up and goes out.",
"INT. PETER'S ROOM - NIGHT The three men are talking. Jack is holding Mary, whose eyes are swollen with tears. PETER Try and put her back to bed. JACK I'm warning you, she'll scream. PETER I'm sure she's cutting a tooth. From the living room, Christie's voice can be heard. CHRISTIE -LRB- O.S. -RRB- Yoo - hoo! What are you guys doing in there? It's fucking boring without you. MICHAEL Oh shit - the guests. PETER You two go. I'm staying with her. It ca n't be worse than listening to Carl. JACK That's not fair - let's take Mary out there. MICHAEL And the hell with it.",
"INT. APARTMENT - NIGHT The three men enter the living room ; Jack is carrying Mary. GUESTS Oh, it's a baby! GUESTS -LRB- CONT'D. -RRB- Where the hell did that come from? Wow! Is it a boy or a girl? Who does it belong to? So you've got a kid now? Incredible! Does that come from Balducci's? No kidding, whose baby is that? JACK Ladies and gentlemen, I would like you to meet my daughter, Mary. PETER -LRB- muttering. -RRB- Your daughter. your daughter. GUESTS You're kidding! Congratulations! She's adorable! She looks just like you. Oh, what a cute little girl! Overwhelmed by all the people, MARY bursts out CRYING. JACK -LRB- walking her back and forth. -RRB- Do n't cry, Mary, do n't cry. PETER There's too much noise. He shuts the MUSIC OFF. MARY keeps on SCREAMING. PETER -LRB- to everyone. -RRB- She's teething, that's why she's cranky. -LRB- to Jack. -RRB- Give her to me, I'll try and calm her down. Peter takes MARY on his lap. The SCREAMING CONTINUES. MICHAEL -LRB- very tense. -RRB- Do n't sit down - it'll get worse. You have to walk around. Peter gets up and walks around. Jack and Michael, standing, watch him walk. MARY SCREAMS even LOUDER as Peter walks back and forth in the room with her. The guests watch in uncomfortable silence. NATALIE How long have you had this kid? JACK A few months. NATALIE -LRB- somewhat sharply. -RRB- Who's her mother, anyway? PETER She's in Europe, she'll be back in a few days. CARL Does she always cry like that? MICHAEL No, it's only because she's teething, she's usually very sweet. The guests remain silent. CAROLINE -LRB- to break the silence. -RRB- You'd never think something so small could make a noise so big. MARY'S CRYING fills the room. JERRY What if you just put her back to bed? NATALIE Right - she's just throwing a temper tantrum, put her to bed. PETER We already tried. JACK It's her teeth. NATALIE -LRB- to Jerry. -RRB- Do you have any kids? JERRY'S WIFE Yeah, but they're grown up now, thank God! CHRISTIE -LRB- to Jay. -RRB- And do you have kids, too? JAY What? CHRISTIE I said. and do you have kids, too? JAY No, we both have careers. The guests remain silent, MARY CONTINUES to CRY. CARL So, do you think we'll get to taste that three - tiered cake tonight? PETER What? CARL -LRB- to Natalie, sarcastically. -RRB- Oh, nothing, nothing - I was just trying to liven up the conversation. PETER What? CHRISTIE Gosh, my ears are ringing, I ca n't hear anybody. CAROLINE I must say, a crying kid is kind of hard to take. PETER What? CARL -LRB- loudly. -RRB- We were just saying that this baby's conversation is actually rather limited. and a touch annoying. Do n't you think? PETER Well, she's not the only one with a limited conversation. At least she has an excuse, she's a baby! What's yours? CARL I frankly do n't know what you mean. PETER I mean, I've been listening to your pompous drivel about the latest trends for the last two hours, and frankly, it's a crock of horseshit. JERRY Come on, Peter, be nice. JAY Listen, go put the baby to bed and you guys cool it, will you? CARL It's okay. I'm used to it. Peter's always been a sore loser. PETER -LRB- totally out of control. -RRB- You motherfucker, get out of here! Get out of my house right now or I'll kick the shit out of you! You snobbish scum - sucking snake! JERRY Peter, cut it out! JACK Stop it, Peter. Give her to me, I'll put her to bed. PETER -LRB- beside himself. -RRB- No, I'll go. -LRB- to all the guests. -RRB- And you can all go fuck yourselves! Go back to your asinine conversations! He exits with Mary. Jack, embarrassed, follows him. MICHAEL -LRB- trying to recover. -RRB- Well. umm. How ` bout if I get the cake now, okay? He exits. CARL Well. It seems our beloved hosts are going to be busy playing mother for a while, so if you'll excuse me, I'll just slip away. -LRB- to Natalie. -RRB-. Natalie, may I invite you to spend the rest of the evening in a more hospitable place? NATALIE Gladly. -LRB- to the guests. -RRB- Goodbye. They exit. JAY -LRB- to Jerry and his wife. -RRB- Is he out of his mind or what? JERRY He was absolutely obnoxious. CHRISTIE -LRB- drunk, getting up and tottering. -RRB- Hey, Caroline, I think we should go, too. I do n't feel so good. I think I'm gon na barf. CAROLINE -LRB- running to help her. -RRB- Oh, God, no! Hold it back! CHRISTIE -LRB- starting to cry. -RRB- I wan na go home. CAROLINE Okay, we're going. -LRB- to the others. -RRB- Sorry. say goodbye to Jack for us. They exit. Christie is hanging on to Caroline. JAY -LRB- to Jerry. -RRB- Look, there's no point in our staying any longer. I think it's best we leave. JAY'S WIFE -LRB- to Jerry. -RRB- Tell Peter if was a wonderful party. JERRY -LRB- sad. -RRB- Okay. ` Bye. SOPHIA Can you drop me off near Soho by any chance? JAY Sure. SOPHIA Thanks! -LRB- to Jerry and his Wife. -RRB- ` Bye. Say goodbye to them for me. Sophia, Jay and his Wife exit. JERRY'S WIFE Well, we might as well go, too. I think the evening's over. She gets up, so does Jerry. Michael, very playful, comes back in carrying an enormous three - tiered cake. MICHAEL Ta - da! Will you look at this? Is this a cake or what? Can someone make a little room on the table so I can. Are you guys leaving? JERRY Yeah, we're beat. MICHAEL Hey, where is everybody? JERRY'S WIFE Well, the atmosphere was n't exactly festive. JERRY Sorry about the cake, Mike. It looks great! MICHAEL Oh, never mind, do n't worry. Good night. Jerry and his Wife exit. Michael is left standing there with his cake. Jack comes in, full of beans. JACK Well, she's asleep at last! We sang in har. Hey, where is everybody? MICHAEL Gone. Can you make a little room for me on the table to put the. JACK You mean they're all gone? MICHAEL Yeah, all of'em, hey, can you make a little room for me to. JACK -LRB- going back out, furious. -RRB- Peter! Peter, goddamit, get out here! Peter comes back in with Jack. JACK They're all gone! PETER Who gives a shit, they're all jerks anyway. MICHAEL Hey, could you make a little room for me on the table so I can. JACK It's because of the kid. They ca n't stand kids. PETER I ca n't stand kids either but that's not a reason to leave! Dipshits, they're all a bunch of dipshits, every one of'em. MICHAEL Oh, fuck it - I'm sitting down. He sits down on a chair with the cake on his lap. JACK And did you hear Natalie : ` She's throwing a temper tantrum, just put her to bed.' What a pain - in - the - ass that broad is! PETER -LRB- pissed off. -RRB- Hey, you're the pain - in - the - ass! First you dump a baby on us, then you scare everyone away from the party, then. JACK I scared everyone aw. Just cut the crap, will you? My whole life is diapers, shuttles and bottles. I do the graveyard shift, I'm the one who never gets any sleep. I. PETER Listen, we all have two full - time jobs! That's for sure! MICHAEL And what about me? I'm a prisoner in this house all day long, forget about chasing ass, I have n't gotten laid in six months. When the hell is your friggin' Sylvia gon na come back? JACK She's been gone for six months and four days. PETER If she's not back by the end of next week, I'm kicking her kid out! MICHAEL You better give your goddam Sylvia hell for this! JACK Do n't worry, she's gon na get it but good! PETER And you can tell her we have a lot better things to do with our lives than wipe a baby's ass, goddamn it! He exits. So does Jack. Michael is buried under the three - tiered cake, unable to see around it. MICHAEL Do you guys want some cake? -LRB- beat. -RRB- Guys?",
"INT. APARTMENT - NIGHT In her crib Mary is sleeping. She's beautiful, she looks happy.",
"INT. LIVING ROOM - DAY Mary is in her playpen, playing with a SQUEAKY rubber giraffe. The DOORBELL RINGS. Peter opens it : standing there before him is a very, very, young, gorgeous girl. SYLVIA -LRB- bursting with joy. -RRB- Hello. I'm Sylvia, Mary's mother. I've come to get her. PETER -LRB- completely dazed. -RRB- Oh, it's you. Wait, I'll go get Jack. He stands there, frozen. SYLVIA How's Mary doing? PETER -LRB- as if he were dreaming. -RRB- Fine, fine, she's doing great. She's getting her back teeth in lately, it's been a bit rough. SYLVIA Can I see her? PETER Oh, yeah, sure, she's in there. They both enter the living room. Mary stares at Sylvia. When she spots Mary, Sylvia suddenly breaks down in tears. Peter is dumbfounded. SYLVIA I do n't believe how much she's grown! Recovering, wiping away her tears, she walks over to the playpen. SYLVIA Hello, Mary, hello my darling. She picks her up, hugs her tightly, showers kisses on her. MARY LAUGHS. Sylvia starts crying again. SYLVIA How beautiful she is. Her hair has grown. Look how much she changed, I missed it all. I missed her so much! Peter, in a kind of daze, stares at Sylvia. Without looking at Peter, she dries her eyes and tries to stop crying. SYLVIA I wanted to make life difficult for Jack but I never thought I'd miss her so much. PETER -LRB- still in a fog. -RRB- Oh, yeah. make life difficult for Jack. SYLVIA Is he here? PETER What? SYLVIA Is Jack here? PETER -LRB- snapping out of it. -RRB- Oh, yeah, yeah, I'll go get him. He exits like a sleepwalker and goes straight into Michael's room. The latter is asleep. Peter sits down on the edge of Michael's bed and gently shakes him. PETER Michael, Michael. Sylvia's here. Michael wakes up and looks at Peter. PETER Mary's leaving.",
"INT. KITCHEN - DAY Peter's giving Mary her bottle, Jack is carefully putting all her stuff into a bag - bottles, nipples, cereals, etc.. In the doorway Sylvia, with reddened eyes, silently watches them. JACK -LRB- to himself. -RRB- Let's see, the five bottles, the little bottles for water, the strainer for her cereal. -LRB- to Sylvia. -RRB-. Do you have a blender? SYLVIA A blender? JACK For bananas and carrots and stuff. It's time for her to start eating them. SYLVIA No, I do n't have a blender. JACK Okay, you can have ours. He stuffs the blender into the bag. Mary has now finished her bottle. SYLVIA -LRB- to Peter. -RRB- Do you want me to take her? PETER No, I have to burp her first. With dexterity, he places Mary face down on his shoulder and walks around in the kitchen, patting her on the back. JACK -LRB- to Sylvia. -RRB- Here, could you give these to Michael so he can pack them with the clothes? He hands two bibs to Sylvia. Sylvia walks through the apartment, and stops in front of Michael's room, where she looks strangely at the changing table with its mattress, its pretty sheet, and the baby's toilet articles. Sylvia enters the living room. Michael has spread all of Mary's clothes, neatly folded and ironed on the couch. He is packing them in a big bag. SYLVIA Here are the bibs. Jack told me to give them. MICHAEL -LRB- taking the bibs. -RRB- Thanks. I put the woolen things on the bottom and the diapers and lighter things on top, because you'll need those first. SYLVIA -LRB- her mind is elsewhere. -RRB- Yeah, sure. Michael bustles about. Sylvia's gaze comes to rest on the crib which stands imposingly in the middle of the living room. Music boxes, little booties and stuffed animals are hanging from the bars, and a pretty white tulle frames the crib. MICHAEL You'll have to come back and get the crib later. SYLVIA Yeah.",
"EXT. STREET - DAY A taxi is there. Behind the wheel the driver sits waiting. Sylvia is sitting in the back, on the side nearest the sidewalk, and on her lap is Mary, whom she's gently fondling. On the sidewalk, beside the open trunk of the cab, are all Mary's belongings : some bags, the playpen, a stroller, the baby bathtub, the changing table, etc.. Peter is attempting to pack it all in the trunk. Michael is handing the things to him. PETER -LRB- tense. -RRB- Give me the playpen first. MICHAEL -LRB- equally tense. -RRB- Then where are you gon na put the tub? PETER -LRB- annoyed. -RRB- Just give me the playpen. CAB DRIVER Need some help? PETER No, no thanks. I'd rather do it myself. Jack is standing beside the back door of the cab, leaning over toward Sylvia, who is holding Mary. He is trying unsuccessfully to sound angry. JACK You really screwed us over but good - you know that. SYLVIA I know, I'm sorry. JACK Really. Our lives have been out of control for the past six months. SYLVIA Yeah, I bet. Actually, that was kind of the point. But I'm the one who really got screwed. She starts to cry again. JACK Do n't cry, c'mon. you're taking her back now, it's great. SYLVIA -LRB- wiping her eyes. -RRB- Yeah, it's great. JACK D'you have enough money? Can you manage all right? SYLVIA Yeah, sure. I'm not loaded, but it's okay - I'm working, I've got modeling jobs lined up. JACK Do you have a boyfriend? SYLVIA No. That's the last thing I need. I've got my work. And now I've got her. She rubs noses with Mary. Peter and Michael approach. PETER That's it, we fit it all in. JACK Okay, then. well, ` bye. The three men are lined up on the sidewalk. Mary stares at them, looking a little lost. They wave their hands and : PETER, MICHAEL AND JACK ` Bye, Mary! MARY LAUGHS and waves. SYLVIA -LRB- with a big, sad smile. -RRB- Okay, well, thanks again - ` Bye! PETER, MICHAEL AND JACK ` Bye! The CAR STARTS up, pulls away, and disappears FROM VIEW. JACK -LRB- playfully. -RRB- Well, that's that! MICHAEL Yeah. PETER Right. That's that. They head back to their apartment building. PETER Oh shit - I forgot to explain about the cereal! JACK She'll figure it out by herself. MICHAEL Yeah, she'll manage. JACK Now it's back to the good life for us! MICHAEL Sleeping late! Different women every night! I ca n't wait! JACK Forget about the New York - Washington shuttle! I'm off to Caracas! PETER And I'm gon na be able to get back to work, so Carl better watch it - I'm gon na slaughter that son - of - a - bitch! First with this goddam competition. and then with Natalie. MICHAEL And I've got six months' worth of sex to catch up on with Cathy, Nora, Frances, Susan, Barbra. They have entered the elevator. The doors close. They come out of the elevator, in front of their apartment. MICHAEL Christie, Paula, Sheila, Lisa, Kimberly, Rhonda, Rebecca, Louisa. But not necessarily in that order! They enter the apartment and Peter walks on something that lets out a TERRIBLE SQUEAK. PETER Oh, she forgot her squeaky giraffe. He picks it up and throws it onto an armchair.",
"EXT. LUXURY HOTEL - DAY Jack takes a running jump and does a cannonball into the pool of a luxury hotel somewhere in the world. He splashes two girls who find it very funny.",
"EXT. STREET - DAY Peter, with a bouquet of flowers, runs like mad down a street.",
"INT. ART GALLERY - DAY Michael and Sophia are having a big discussion about contemporary art in the midst of a sophisticated crowd at an opening. Michael is vehement, gesturing wildly, and so is Sophia. They're both talking at once, not listening to each other, and enjoying it immensely.",
"INT. OFFICE - DAY Peter, all out of breath, comes rushing into the office where Natalie works. She is very surprised. He puts the flowers down on her desk. PETER These are for you. I'm not supposed to leave the office. PETER -LRB- CONT'D. -RRB- They think I'm in the bathroom. So I ca n't stay. ` Bye. He dashes back out. Natalie cracks up, laughing.",
"EXT. AIRPORT - DAY Jack is running on the tarmac ; he quickly mounts the stairs to his plane as he waves a heartrending goodbye to a young woman he's left behind in the airport. At the top step, he bumps into another young woman : it's love at first sight.",
"INT. APARTMENT - DAY Michael is in bed. It's noon, the sun's shining brightly, and a BLONDE is asleep beside him. Michael is on the phone. MICHAEL Peter? Yeah? What? Yow - ee! Hooray! Terrific! That's fantastic! I'll call Jack - We're gon na celebrate tonight! He hangs up. The Blonde is now awake. MICHAEL They won! They won! BLONDE Who won? MICHAEL Peter. He won the competition! BLONDE Great! Who's Peter?",
"INT. APARTMENT - EVENING Peter enters the apartment with Natalie. A bunch of crepe paper streamers are hanging in the hall, as well as posters with various things written on them : PETER'S # 1! CONGRATULATIONS, PETER! HURRAY, HURRAY, HURRAY! Jack comes running in with a bottle of champagne, he POPS the CORK. Jack hugs Peter tightly as Michael comes in with glasses and tries to catch the champagne that's flowing all over. They all shout and go bananas celebrating.",
"INT. APARTMENT - NIGHT Peter has his arm around Natalie's waist. She's a little drunk. He kisses her and leads her into his room, clos - ing the door behind him. Michael and Jack, who were spying on them, tiptoe over to the door. They are silently exulting over Peter's second victory.",
"INT. LOBBY OF OFFICE BUILDING - DAY Michael enters a fancy building on 5th Avenue. He's carrying a big portfolio and is full of beans. In the lobby, he pushes the button for the elevator and looks around absentmindedly. His gaze suddenly freezes on something. By the guard's desk he notices a stroller. Inside, look - ing pretty bored, is MARY. Michael is overwhelmed. He walks toward Mary and through the sea of people - they exchange an intense look. He looks around and suddenly sees Sylvia and two men deep in discussion coming out of an elevator. Michael, startled, runs and hides behind one of the elevators, staring out wide - eyed. Sylvia is dressed in a very chic, tight black suit, with a veiled little black hat and spiked heels. One of the men is carrying a bunch of cameras. They walk out toward the front door, and Sylvia suddenly stops. She seems to have forgotten something. She kisses them goodbye and heads toward the elevator. Once she's out of their sight, she turns and waits for them to leave. When they're gone for sure, she rushes toward Mary and showers her with kisses. SYLVIA Here you are, my angel. Are you okay, honey? Mommy's finished now, you've been a very, very good girl. -LRB- to Guard. -RRB- Thanks a lot for looking after her. GUARD Oh, she's been great! She wheels the stroller over to the door and quickly takes off her high heels, and her hat, and stuffs them into a big bag. She takes out a pair of old shoes and a comfortable jacket, and slips them on. She removes the pins from her hair - she looks like her normal self again. She leaves, pushing the stroller out the door. Michael stands frozen.",
"INT. HOTEL - NIGHT Jack, in the corridor of a large modern hotel somewhere in the world. He is full of energy and playful excite - ment. He's with a few of his colleagues, both men and women. They say good night to each other. Everyone goes into his or her own room. Jack's the last one, he goes into his room alone. His smile drops. For a moment he stands there just looking. He sits down on the bed : on the pillow is a little chocolate Santa Claus with a card that reads `` Merry Christmas. The Marriott Hotels.'' Jack contemplates it forlornly.",
"INT. MICHAEL'S ROOM - NIGHT Michael and Sophia, both in kimonos, are sitting in front of the last bits of an elegant midnight supper, in Michael's room. The bed in unmade. Sophia, a glass of champagne in her hand, is yakking away nonstop, like a real motor - mouth. Michael, silent, is doodling on a paper napkin. His pen is making little squares and circles ; the circles come together and start looking like a baby lying in a crib. Sophia is absorbed in her monologue. Suddenly Michael realizes what he has drawn. He crumples the napkin and throws it in the wastebasket. Sophia has n't noticed anything. Michael is bored stiff.",
"INT. APARTMENT - NIGHT Peter comes home with Natalie. They take off their coats. They look tired. NATALIE -LRB- in a bad mood. -RRB- Oh, my feet are killing me! She takes off her shoes and collapses in the armchair in the hall. There is a LOUD SQUEAKING noise. She reaches underneath her and brings out a rubber giraffe. NATALIE What the hell is this? Oh, it's a giraffe. -LRB- tosses it away and walks off. -RRB-. Oh, by the way, have you heard anything about that kid, you know, the one you had here for a while? Peter stares at the giraffe, horrified. He feels the tears coming to his eyes. Grabbing the giraffe, he hurls it with all his might against the wall.",
"INT. PLANE - DAY Jack's in his plane, at the controls, waiting for takeoff. He's daydreaming. His CO - PILOT comes in and joins him. CO-PILOT Hey, what's the matter with you? JACK Whadda you mean, what's the matter with me? CO-PILOT Are you sick? JACK Me? No. I'm fine. CO-PILOT C'mon, Jack! Did n't you see who we've got on board today? JACK Sure I did, why? CO-PILOT Well. look. JACK -LRB- turning around to look. -RRB- So it's the Rockettes, so what? CO-PILOT And you're just sitting there like that? JACK Whaddaya mean, sitting there? I happen to be getting ready to fly this airplane. CO-PILOT Okay, forget it.",
"INT. APARTMENT - DAY Jack, alone in his room, with his back to us, is facing his full - length mirror. He's looking at himself, with one fist on his hip and the other hand clutching a half - empty bottle of scotch. He observes himself and slowly turns around - we can now see him in profile. His hair is disheveled, he's unshaven, and he's put a pillow underneath his sweater. He's pregnant. He takes a big swig of scotch. The DOORBELL RINGS. Jack walks away from the mirror. He staggers dead drunk. But dignified, pregnant. Jack opens the door. Standing there is Graton holding a stuffed animal, a rabbit. GRATON Hi. JACK -LRB- out of it. -RRB- Hi? GRATON Do n't you recognize me? JACK -LRB- in a total fog. -RRB- Wait. uh, no. GRATON I'm the one who was tailing you. Remember, in the park. JACK Oh, yeah, the park. the diaper and all. GRATON That's it, the diaper. But do n't worry. This is n't an investigation, I left the force four months ago, and anyway, they've arrested the whole gang since then. I just wanted to ask you something. JACK Have you noticed? I'm pregnant. GRATON -LRB- neutrally. -RRB- Oh yeah, I see. JACK So, shall we go for a walk?",
"EXT. RIVERSIDE - DAY Graton and Jack are sitting on a bench beside the East River. Jack, still pregnant, has brought along his bottle of scotch, and he takes a swig from it occasion - ally. Graton has brought along his rabbit. GRATON There's something I have to know. JACK Would n't you like to be pregnant? GRATON What? Oh sure. maybe. no. I dunno. Look, there's been something bothering me for a long time. JACK You see, if I was God, and I could create the world all over again, here's what I would do : I would create Adam from Eve's rib, not the other way around. GRATON -LRB- having trouble following. -RRB- Really? GRATON -LRB- CONT'D. -RRB- That's an interesting idea. Actually, I just wanted to ask you. JACK At least that way things would have been clearer to begin with, y ` see. They would n't have made us believe that somebody could come out of our rib, y' know?'Cause nothing ever comes out of our rib, y' know? Ever. Only out of our prick, and even then. Everything still has to be done after that. GRATON -LRB- very unsure. -RRB- That's for sure. JACK What we men know how to make is planes, buildings, cars, and all that stuff. It's useful, mind you. GRATON It's driving me crazy! This thing keeps going around and around in my head. JACK And you know what, it's not even like they wanted us to believe it - it might have been us who wanted to believe it. But let's face it, nobody comes out of our rib. GRATON -LRB- dives right in. -RRB- Was the dope in the diaper, yes or no? JACK Still, that's hard to take, goddam it! GRATON Was it in the diaper, or not? JACK The dope? It was in the diaper, why? GRATON -LRB- getting up. -RRB- Oh, thanks a lot. I feel so much better now. Here, this is a rabbit for your baby. -LRB- shakes both Jack's hands. -RRB- Thanks again, ` bye, I'm so happy. Graton goes off, floating on cloud nine. JACK -LRB- reaching out toward him with the rabbit. -RRB- But wait - the baby's gone.",
"INT. KITCHEN - MORNING Jack and Michael, slumped in their chairs, are having breakfast. It's a gray day. It's POURING out. Peter, bending over a bowl of steaming water, with a towel over his head, is inhaling the steam. When he looks up to speak, we see his swollen tear - streaked face. JACK -LRB- extremely, in fact, too playful. -RRB- Tomorrow, San Francisco! MICHAEL -LRB- grim. -RRB- Say hello to the Pacific for me. JACK -LRB- even more playful. -RRB- I'll be back the day after tomorrow. PETER -LRB- emerging from the bowl, congested. -RRB- You'll be id a foul bood - jet lag really wipes out you dow. JACK -LRB- annoyed. -RRB- Whaddya mean, now? PETER Yeah : you didd' t used to give a shit before, but dow it docks you out. JACK -LRB- very hostile. -RRB- Before what? PETER -LRB- putting his head back over the bowl. -RRB- How would I dow? ` Before,' that's all. JACK -LRB- on edge. -RRB- It does n't knock me out at all. MICHAEL Is there any jam left? PETER Do. Silence. PETER You eatig here todight? JACK -LRB- playful again. -RRB- No, I'm going to the movies tonight with, uh. damn, I ca n't remember her name. MICHAEL Y ` mean the Japanese one? JACK -LRB- suddenly very weary. -RRB- No, she's from Finland. Oh damn it. What the hell's her name? They've got such weird names. Magdalena. no, Marianna. no. oh, I ca n't remember - anyway it's Ma - something or other. MICHAEL Mary? A sudden, weighty silence ensues. PETER This fuckig cold! I look like I' b cryig all the tibe but I' b dot - it's just this dab cold. He gets up and goes out.",
"INT. SYLVIA'S STUDIO APARTMENT - NIGHT Jack, holding a bouquet of flowers and Graton's rabbit, rings the doorbell of an apartment. On the door a card reads `` SYLVIA AND MARY.'' A chubby YOUNG MAN with thick glasses opens the door. JACK Hi. Is Sylvia in? YOUNG MAN No, she'll be back in a couple of hours - around midnight, she said. JACK -LRB- disappointed. -RRB- Oh. YOUNG MAN Wan na come in and wait for her? JACK Sure. Why not? He follows the Young Man in Sylvia's studio. It's very messy. On the table there's a big heap of books and papers. Mary, sitting on the floor, is wearing a diaper and a sweater, but her legs are bare. She's playing with an empty pack of cigarettes. She looks at Jack with a serious, unruffled expression. JACK Sylvia doing okay? YOUNG MAN I do n't know - I'm a med student. I'm just babysitting. I only met her a couple hours ago. JACK Oh, I see. Silence. The Young Man sits down at the table and immerses himself in his books. Mary does n't look up from her pack of cigarettes anymore. JACK Listen, on second thought, I do n't think I'll wait for her. Just give her this when she gets back, okay? And this is for the baby. Jack hands the bouquet and the rabbit to the Young Man, who plops them down on a chair. YOUNG MAN Sure, no problem. He immerses himself again in his books. Jack heads toward the door, then turns around. JACK Should n't the baby be in bed by now? YOUNG MAN Yeah. I do n't know. When I put her to bed she cries so I just let her stay up. JACK Do n't you have any tights to put on her legs? YOUNG MAN Tights? Well, it's pretty hot in here anyway. Jack gets out of there in a hurry.",
"INT. LIVING ROOM - DAY Jack, in his pilot's uniform, is sitting on the living room couch. Michael is standing before him. MICHAEL You want me to call them? JACK No. MICHAEL But you've got to let them know! JACK No, I'm not going anywhere anymore, I've had it with traveling. I quit. MICHAEL C'mon, I'll call you a cab, you've still got time. JACK Do n't you call anybody. MICHAEL But the plane's s ` posed to take off in half an hour - They wo n't have time to replace you. This is serious - you'll lose your job and you wo n't be able to pay your share of the apartment anymore. you. Jack takes off his pilot's jacket and throws it aside. JACK I'll be a dishwasher, I'll live in a flophouse. MICHAEL What the hell happened? JACK I'm not going, I told you ; I'm not going ever again. I'm sick and tired of traveling, sick and tired of broads. They all have the same asses and I ca n't seem to love them anyway. I ca n't take another hotel room, and swimming pools and trendy restaurants! I want to know what my life's all about. Do you know what your life's about, Michael? Michael has no answer to these questions. He leaves.",
"INT. APARTMENT - EVENING Michael, wearing an apron and holding a wooden spoon, goes into Jack's room. The latter, lying on his bed, is smoking and staring at the ceiling. MICHAEL Come on, I made us a good dinner. I bought some filet mignon and Haagen - Dazs butter pecan. When Peter comes back he'll cheer you up. JACK He's been here all day. MICHAEL He has? I did n't hear him. JACK He's in his room. MICHAEL What? Michael heads towards Peter's room. Jack feebly gets up and follows him. Michael knocks on the door. No answer. MICHAEL Peter! Dinner's ready! Still no answer. Michael opens the door : Peter's lying face - down on his bed. He's holding the rubber giraffe and sobbing. Michael and Jack, dismayed, stare at him. Peter hides his face in his arm. Jack and Michael go to the kitchen and sit down to their steaks, totally depressed.",
"INT. APARTMENT - MORNING The DOORBELL RINGS. A bare - chested Michael, in jeans, drags himself over to the front door and opens it. There stands Sylvia with Mary in her stroller. Sylvia is a disheveled mess. SYLVIA Is Jack here?'Cause I'm a mess. I ca n't handle it, I'm all alone. MICHAEL -LRB- shouting towards Jack's room. -RRB- Jack! Jack, c ` mere for Chrissake! SYLVIA'Cause my place is tiny, y' know, and my schedule's insane - and I just finished four days of posing and we ended up every day at. Jack, bare - chested, comes in pulling on his jeans. He stops short at the front door. Sylvia is about to cry. SYLVIA -LRB- to Jack. -RRB- Yeah, y ` see, Jack, I just did four days of posing. JACK Yeah. SYLVIA And every day we finished at three in the morning and since Mary always gets up around 5:30. JACK Yeah. SYLVIA Well, you can imagine how much sleep I've gotten. JACK Yeah, of course,'cause after the 5:30 bottle it starts all over again around nine. SYLVIA And by the time I change her and play with her a little, it's already eight o'clock. JACK And then that's it - you get only an hour of sleep. SYLVIA And the babysitters till three A.M. - all my money is sucked down the tubes! JACK Plus they do n't put the kids to bed, they let them lie around half - naked. SYLVIA Oh, so the flowers and the rabbit were from you. JACK I could have strangled that guy. SYLVIA I mean it, I ca n't cope anymore. My parents and I do n't talk to each other and anyway they live in Texas, and the baby needs to get out to the park. MICHAEL Yeah, tell me about it! Finding time to take her to the park every day is a real bitch! SYLVIA And I have to work, I need the money to survive and anyway I love my job. A distraught Peter, bare - chested and in jeans, comes running in from his room. SYLVIA But to work I've got ta have a babysitter, and to have a babysitter I need to work, so I run around all day. -LRB- she sobs. -RRB-. and I'm not sure I'm taking good care of her. PETER Of course you're taking good care of her - we know what it's like, do n't cry, she looks great. SYLVIA -LRB- sobbing. -RRB- It's just'cause I have n't slept in four nights - she must be teething or something, I do n't know but I ca n't manage. PETER Do n't worry, it's nothing, she's cutting a tooth - you just have to put some stuff on her gums. MICHAEL She pulled the same thing on us. We lost all our friends in one night - on account of one tooth! SYLVIA And just look at my face! Nobody's going to want me to model for them with the way my face looks. And what'll happen to me if they do n't want me anymore? MICHAEL But you're beautiful - At your age all you need is a good night's sleep and you'll look like new. SYLVIA Right, a good night's sleep - but when? PETER Well, why do n't you leave the baby with us for a few days, till you recuperate. I mean, if you want. MICHAEL We're old pros - it's not a big deal for us. SYLVIA -LRB- blowing her nose, wiping her eyes. -RRB- Really? I can leave her with you for a little while? JACK Of course. Leave her with us. Come back whenever you want. Get some rest. Sylvia, between two sobs, picks up a big bag beside her on the doorstep. SYLVIA I brought a couple of things for her, just for a few days. Michael eagerly takes the bag from her. It's followed by a second, and then a third. PETER -LRB- taking Mary in his arms. -RRB- Is she hungry? SYLVIA Yeah, it's time for her bottle - it's all ready in the bag. JACK I'll go heat up some water right away. Would you like a cup of coffee? SYLVIA Oh, okay, thanks. Peter, carrying Mary towards the kitchen, is followed by Jack and Michael with the bags. Sylvia blows her nose and walks around aimlessly in the hall. In the kitchen the three men bustle about with the bags, the bottle, the saucepan. They've swallowed all their pride and are kissing Mary all over, on her neck, her hands, her tummy. They're deliriously happy. Michael takes some sheets out of the bag. MICHAEL I'll go make up her bed! He exits, and, once in the corridor, prances around, leaping and dancing. He gets to the living room and goes over to the crib : suddenly, he recoils and freezes, a fearful expression on his face. Then he turns and races back to the kitchen. MICHAEL -LRB- floored. -RRB- Hey, you guys - come and see, come and see! PETER What? MICHAEL Come see, I said. Jack and Peter nervously follow Michael into the living room. They stop short in front of the crib : There is Sylvia, curled up in a fetal position, sucking her thumb and sleeping like an angel. MICHAEL The poor thing, she's really wiped out. JACK She'll need two or three months to recover, at least. Maybe more! PETER We could set up a room for her here. MICHAEL A room for her and a room for Mary. JACK Then we could have four shifts instead of three! PETER Yeah, but I do n't think she'll agree. She's got her own life to live. MICHAEL Yeah, she probably would n't want to move here. She'd think we'd jump on her any chance we could. JACK But we'd make a rule, she'd just be ` one of the guys!' MICHAEL She'll never want to. SYLVIA -LRB- very awake. -RRB- So, I'll take the ten A.M. to three P.M. shift. And I'll take every other night. plus the walk in the park in the afternoon before I go to work. and we split the rent equally. and I'll just be ` one of the guys'. deal? PETER, MICHAEL, AND JACK -LRB- smiling broadly. -RRB- Deal. Mary suddenly comes in from the kitchen, walking unstead - ily but determinedly. She's dragging Graton's rabbit by its ear. She looks at the four of them and laughs her head off. FREEZE FRAME. END!"
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] | Architect Peter Mitchell (Tom Selleck), cartoonist Michael Kellam (Steve Guttenberg) and actor Jack Holden (Ted Danson) are happy living their lives as bachelors in their lofty New York City apartment. Their lives are disrupted when a baby named Mary arrives on their doorstep one day. A note with the child, Mary, indicates that it is Jack's, the result of an affair with a recent co-star. The baby arrives in Jack's absence – he is in Turkey shooting a B movie, leaving Peter and Michael to fend for themselves in taking care of the child. Prior to leaving, Jack had made arrangements with a director friend to have a "package" delivered to the apartment as a favor. Before Mary's arrival, Jack calls and leaves a message with Peter and Michael informing them of the "package" and to keep it a secret per the director friend's wishes. When Mary arrives, Peter and Michael mistakenly believe she is the "package", even though there is a note from her mother. Peter and Michael are totally befuddled on how to care for Mary, and Peter leaves to go buy whatever supplies are needed. While Peter is gone, Mrs. Hathaway (Cynthia Harris), the landlady, delivers a small box (which is the actual "package" containing heroin) to the apartment and Michael tosses it aside while trying to keep Mary under control. After Peter returns, the two eventually figure out Mary's proper care, right down to diaper changes, bathings, and feedings. The next day, two men (who are drug dealers) arrive at the apartment to collect the heroin. Peter and Michael mistakenly give Mary to the men instead, and shortly after they leave, Peter discovers the actual package. He runs downstairs to intercept the dealers, but trips and stumbles, and the box's contents spill. Peter gathers the heroin and retrieves Mary from the drug dealers, but retains the heroin while allowing the dealers to take a can of powdered milk. After the exchange, a police officer attempts to ticket the drug dealers for illegal parking, but they escape. The officer accosts Peter and detains him in the apartment until Sgt. Melkowitz (Philip Bosco), a narcotics officer, arrives to question Peter and Michael about the drugs. They successfully hide the drugs from Melkowitz during the interrogation, in which they learn that Jack's friend is a drug dealer as well. Melkowitz leaves with suspicions and puts the men and the apartment under surveillance. Peter and Michael are able to persuade Mrs. Hathaway to sit with Mary while they tend to work. Once they arrive home, however, they find the Mrs. Hathaway tied up and gagged and the apartment ransacked, apparently by the dealers demanding the heroin. Mary is safe, however. The men continue with their care of Mary, adjusting to surrogate fatherhood and growing attached to her, until Jack returns. Once Jack returns, Peter and Michael question him about the entire drug deal and Mary. Jack replies that he knew nothing about the drugs and initially denies everything about Mary until he reads the note from the mother, named Sylvia. He then recalls the affair that eventually led to Mary being born. Peter and Michael do not hesitate in taking their revenge and passing all responsibility of looking after Mary to Jack, but Jack quickly grows to love his daughter. Later, Peter discovers in the mail a news clipping of Jack's director friend being hospitalized after a mugging (presumably by the drug dealers), with a handwritten note, 'don't let this happen to you'. They formulate a plan to meet and trap the dealers when they negotiate a deal to deliver the illicit goods. With a recording of the conversation, the men prove their innocence to Melkowitz and the dealers are arrested. By now, the three men have fully embraced their role as Mary's guardians. However, one morning, Sylvia (Nancy Travis) arrives, asking for Mary back intending to take her to England to live with her family. Handing her over, the three quickly find themselves miserable and desperately missing Mary. Deciding to stop Sylvia and Mary from leaving, they rush to the airport to try and persuade Sylvia to stay, but they arrive just as her plane leaves. Defeated, the men return to their apartment, where they find both Sylvia and Mary. Sylvia explains she doesn't want to give up her career but can't do this if she has to raise Mary alone, so Peter quickly invites her and Mary to move into their apartment with them with Jack and Michael's agreement, and she agrees. | Three_Men_and_a_Baby |
[
"INT. HOUSE -- LIVING ROOM -- NIGHT A party is winding down. Only a FEW GUESTS remain. They all are gathered around the piano. A YOUNG PRIEST, FATHER HARRIS, plays an old standard. Everyone sings along. A WOMAN in the group, mid - 40's, conservative, really getting into the song, starts giving a soulful rendition, dropping to her knees ala James Brown. The song ends. Everyone cheers. Father Harris starts another. HARRIS Who knows this one? -LRB- singing. -RRB- `` WHO LET THE DOGS OUT?!'' They all join in. A YOUNG GIRL, MEGAN, enters the room. She watches the group. The group notices Megan and slowly stops singing. Megan. Her eyes seem vacant, almost like she is sleep walking. She mutters something. MEGAN You're going to die. The group looks confused. The young girl pees on the floor. A WOMAN in the group, mid - 40's. She is the girl's MOTHER. The mother apologizes to her guests. MOTHER I'm sorry. She's been really sick. Megan. THWACK! She is smacked on the head by a rolled newspaper. Mom holding the newspaper. She shoves Megan's head into the pee and rubs her nose in it as she continues to whack her with the newspaper. MOTHER -LRB- CONT'D. -RRB- No! Bad girl! Bad girl!",
"EXT. HELL HOUSE -- NIGHT The street is covered in thick fog. The only light is by a street lamp. A taxi pulls into the frame. It reads `` YELLOW CAB.'' A TALL, DARK FIGURE gets out of the taxi. CAB DRIVER -LRB- V.O. ; V.O. -RRB- Hey you, pay your fare. The figure takes off, running into the fog. CAB DRIVER -LRB- CONT'D. -RRB- God damn priests always pull this shit. Cab drives off.",
"INT. FOYER -- CONTINUOUS A doorbell RINGS. It plays the THEME to `` THE EXORCIST.'' The mother answers the door. The dark figure lifts his head up, revealing that it's Father McFeely. FATHER MCFEELY Uh. I'm Father McFeely MOTHER Father, come in, please. Father McFeely enters. The mother closes the door behind him. MOTHER -LRB- CONT'D. -RRB- I'm so glad you're here. FATHER MCFEELY I came as fast as I could, but at my age the little soldier needs a lot more thumpin before it starts pumpin. If I tickle my ass before. MOTHER It's okay. I understand. FATHER MCFEELY How is she? MOTHER -LRB- sadly. -RRB- She's gotten worse, Father. She wo n't eat, she wo n't talk. The child wo n't even let me touch her. FATHER MCFEELY -LRB- reflecting. -RRB- Yes. Sometimes you have to give them candy. The mother gives Father McFeely an odd look. They are interrupted by Father Harris. He extends his hand to McFeely. HARRIS Father. FATHER MCFEELY Not unless you have a paternity test to prove it. Harris looks confused. HARRIS No, I was sent by the church to assist you. My name is Father Harris. They shake hands. HARRIS -LRB- CONT'D. -RRB- Would you like to see the girl? FATHER MCFEELY Soon. First, I must bless this house. McFeely walks to a room and opens the door.",
"INT. ROOM -- CONTINUOUS Small bare walls. A window in the center wall. McFeely closes the door. He sits and opens a bible and begins to read. The window. Flies begin to appear. McFeely. He wipes sweat from his brow. More flies. Their BUZZING is loud. McFeely, now sweating, profusely. He begins to cough. The window is now covered with flies. The BUZZING is deafening. McFeely, coughing and gagging. FATHER MCFEELY Lord, please help me to release this demon. He's on the toilet. He lets out a loud fart followed by plopping noises. FATHER MCFEELY -LRB- CONT'D. -RRB- Thank you, Father. A DEMONIC VOICE is heard. DEMONIC VOICE -LRB- O.S. ;O. S. -RRB- Get out! You fuckin' pig! The room door swings open. McFeely tries to flush the toilet. It bubbles over with black goo ala `` THE AMITYVILLE HORROR.'' He hustles out of the bathroom.",
"INT. HALLWAY OUTSIDE BATHROOM -- CONTINUOUS McFeely staggers out. Father Harris rushes over. HARRIS Father, are you okay? FATHER MCFEELY Yeah, but you might wan na light a match before you go in there. -LRB- then. -RRB- Did you bring my bag? HARRIS Yes. FATHER MCFEELY Then let us prepare. Both priests walk up the stairs.",
"INT. MEGAN'S BEDROOM -- NIGHT McFeely and Harris enter. FATHER MCFEELY Remember, do n't ask her too many questions. HARRIS Because she will lie? FATHER MCFEELY No, because her breath smells like a horse's ass. Megan lays tied to the bed post of her bed. Her face is cut up and twisted, eyes an eerie red. She's hooked up to an I.V. with a small tube running out of her nose. It's shaped like a CRAZY STRAW with red fluid going through it. The straw leads to a cup. `` SLURPIE!'' Megan is wheezing, heavily. She wears a tee - shirt that reads, `` I went to Hell and all I got was this stupid t - shirt.'' They go to opposite sides of the room. Megan stares straight ahead. Father McFeely sees that next to Megan's bed are some get - well cards, flowers, balloons, and a teddy bear. He picks up one get - well card : It features a cheesy, happy cartoon dog saying : `` Heard You Were Possessed By The Devil''. He flips the card open and reads the punch line : `` He Picked One Hell Of A Nice Girl!'' McFeely, shivering, his breath visible, takes the metal cross from his pocket and kisses it. But it's so cold in the room that his lips instantly stick to the metal. He struggles to pull his lips off the cross and finally manages to painfully tear it off his face. McFeely makes the sign of the cross to Megan. MEGAN Shove it up your ass. You worthless piece of shit! FATHER MCFEELY Silence! FATHER MCFEELY TOSSES A MINT IN HER MOUTH. FATHER MCFEELY -LRB- CONT'D. -RRB- Look, my child. We've come to help you. Harris looks at Megan. He sits down on a chair besides the window. MEGAN/DEMON Your mother's in here with us, Harris. Would you like to leave a message? I'll see that she gets it. HARRIS If that's true, then you must know my mother's name. What is it? Megan keeps a sharp stare on Harris. Harris' smile turns to an angry stare. He rises and moves to her bedside. HARRIS -LRB- CONT'D. -RRB- What is it? Megan leans forward. BLANCHHHH! She vomits a disgusting green bile in Harris' face. Harris wipes it off, coughing. HARRIS -LRB- CONT'D. -RRB- That's right. Blanche was my mother's name. You are the devil. Harris tosses holy water on Megan. She falls back, writhing. FATHER MCFEELY It burns! It burns! McFeely, holding his crotch. FATHER MCFEELY -LRB- CONT'D. -RRB- Damn Tijuana hooker. Harris and McFeely begin to pray. MCFEELY/HARRIS Our Father who art in Heaven. MEGAN Your mother sucks cock in Hell, Harris. Harris tries to ignore her. FATHER MCFEELY Oh shit, you gon na take that? HARRIS What? FATHER MCFEELY What she said about your mother? Harris fires back at Megan. HARRIS Oh, yeah, well your mama got one leg and does jumping jacks like this. He puts his feet together and jumps them from side to side as he claps his hands over his head. MEGAN So, your mama's so fat when she walks by my bed, it does this. Her bed bounces and bucks off the floor. HARRIS What about your mama? Her butt is so big, she wipes her ass like this. He makes an exaggerated movement of putting his hand behind his head then brings it up high and back down over his face. The exchange continues with the possessed girl getting the best of Harris. HARRIS -LRB- CONT'D. -RRB- Enough! Begone from this child of God. I command you by the power of the living and the dead. Megan groaning, flicking her tongue wildly at McFeely. HARRIS -LRB- CONT'D. -RRB- to leave the young servant so that she may return to her. McFeely responds back with the same gesture, then simulates her giving head, then starts wildly thrusting his pelvis, simulating sex. Megan falls back on her pillow and moans. Harris shoots McFeely a hard look. McFeely stops. Harris continues. HARRIS -LRB- CONT'D. -RRB- In the name of the Father, the Son, and the Holy Spirit, I cast you out. McFeely, coughing, hardly able to catch his breath. Megan on the bed, laughing. Smoke billowing out of her mouth. Harris rushes to McFeely. HARRIS -LRB- CONT'D. -RRB- Father, are you alright? McFeely nods yes, revealing he's smoking a joint. FATHER MCFEELY This is some good shit. He offers a hit to Harris. HARRIS No thanks. FATHER MCFEELY My holy water. Harris gives him the bottle. McFeely takes a swig. FATHER MCFEELY -LRB- CONT'D. -RRB- Ahhh, that's better. McFeely splashes some on Harris, playfully. He clears his throat and starts again, taking turns splashing the booze on her and taking sips from it. FATHER MCFEELY -LRB- CONT'D. -RRB- The power of Christ compels you! He splashes her again, then takes a sip. She roars. Lights flicker. The scary, pale `` DEATH HEAD'' flashes over her again. But this time, it's picking its nose. The `` DEATH HEAD'' realizes it's seen and quickly pulls its finger from its nose, trying to look all scary again. FATHER MCFEELY -LRB- CONT'D. -RRB- The power of Christ compels you! He splashes more booze on her and takes a sip. By this time, Father McFeely is getting drunk. FATHER MCFEELY -LRB- CONT'D. -RRB- -LRB- slurring. -RRB- The power of Chrishht compelshh yooo. He's stumbling around, splashing the walls. FATHER MCFEELY -LRB- CONT'D. -RRB- -LRB- slurring. -RRB- Power of compelshh Chrishhts you, or something. Suddenly, the girl's straps break and she starts floating up. Harris watches in awe. A MAGICIAN'S ASSISTANT passes a hoop over her. FATHER MCFEELY -LRB- CONT'D. -RRB- David Blaine, kiss my ass. The girl continues to float up into spinning blades out of the ceiling fan. WHACK! The blades slam into her head, sending her flying back down on to the bed. HARRIS Father, I think you should rest. FATHER MCFEELY No, I'm fine. He staggers over to the bed, kneels and starts to pray. Harris exits the room to retrieve his medical bag. He returns to find McFeely lying unconscious on the bed. Megan, sitting, quiet looks at McFeely. Harris rushes over to McFeely. HARRIS Father! Harris grabs McFeely and throws him down to the ground. McFeely's eyes open. FATHER MCFEELY I must have dozed off. Harris, caught up in the moment, is oblivious that McFeely is okay. He starts pounding violently on his chest. HARRIS No! Harris knee - drops McFeely. His efforts to revive McFeely resemble a WWF grudge match. Harris diving off of furniture, slamming down on McFeely. Finally, he checks his pulse. He thinks McFeely is dead. Harris shouts out at Megan. HARRIS -LRB- CONT'D. -RRB- Look what you've done! Megan sits, quietly. Harris dives on top of Megan and starts choking her. HARRIS -LRB- CONT'D. -RRB- Take me! Take me! McFeely sits up, still drunk and disoriented. He notices Harris on the bed. MCFEELY'S POV : He sees Father Harris on his hands and knees. His robe is hiked above his waist exposing his naked ass. HARRIS -LRB- CONT'D. -RRB- Take me! God damn you, take me! McFeely, now on his feet, smiles as he moves toward Harris. Harris' face. It turns to shock and horror. He looks possessed as we hear the sound of penetration. HARRIS -LRB- CONT'D. -RRB- Nooooo! Harris dives out the window. McFeely watches as Harris tumbles down the long staircase. Megan begins to giggle. MEGAN You failed, McFeely. Your weapons are useless against me. FATHER MCFEELY You're mistaken my child. The Lord has greater weapons than me. McFeely picks up his bible. FATHER MCFEELY -LRB- CONT'D. -RRB- Hear the word of the Lord and be humbled! McFeely lifts up a crucifix. FATHER MCFEELY -LRB- CONT'D. -RRB- See the cross of the Lord and tremble! If ye still not have faith, then. McFeely reaches into his jacket and pulls out a.44 magnum. FATHER MCFEELY -LRB- CONT'D. -RRB- suck on this! Megan's eyes widen. BLAM! THE SCREEN GOES BLACK. TITLE CARD `` SCARY MOVIE II''",
"EXT. COLLEGE CAMPUS -- DAY -- ESTABLISHING SHOT The campus is alive as STUDENTS make their way to class. A souped - up muscle car driving through the parking lot.",
"INT. CAR -- CONTINUOUS The driver, DWIGHT, a nerdy man between 25 - 30, glasses, thinning hair line. He drives recklessly, shouting at the people in his path as he honks his horn. DWIGHT Come on. Move it. A GUY ON CRUTCHES walks in front of the car. DWIGHT -LRB- CONT'D. -RRB- Come on, peg legs. I aint got all day. Dwight whizzes past, causing the man to fall. Dwight notices a girl in a short skirt. DWIGHT -LRB- CONT'D. -RRB- Hey, sweetie, ever heard of a gym? I've seen pool sticks bigger than those thighs. Dwight continues. He finds a parking space, whizzing before another car that has been waiting to take the space. Dwight yells at the irate motorist. DWIGHT -LRB- CONT'D. -RRB- Sorry, but the fastest feet win. Dwight shuts off the engine, and opens the door before he exits. We see a wheelchair unfold. Dwight hops in. He is paralyzed from the waist down. His legs dangle, lifeless. On his feet, a new pair of Air Jordan sneakers. Dwight wheels around to his trunk. He pops it open and removes his briefcase and a Razor scooter. He places his feet on the scooter and rolls the wheelchair with his hands. Off he goes.",
"EXT. CAMPUS -- LATER In the middle of the campus quad, there is a distinguished statue of Thomas Jefferson. A black woman slave and a bunch of nappy - headed black kids. A plaque reads : `` Once you go black, you never go back''. Sitting on the base of the statue are CINDY and SHORTY. CINDY So, do you think you made it into the class? SHORTY I do n't know, but I sure hope so. CINDY You could use the grade, huh? SHORTY Nah, I need a place to stay. So how do you like being in college? CINDY Okay, I guess. It's so intimidating. You know being away from home, not knowing anyone. I feel like such a geek sometimes. Everyone's so cool and I'm so not. SHORTY Aww, you aint that bad. You just need a little flava. First thing we got ta do is get you some new gear. CINDY Huh? SHORTY Gear. You know, clothing. CINDY Oh. SHORTY Let's start with some rhythm. Sway back and forth like this. Shorty demonstrates. Cindy begins to mimic, clumsily. SHORTY -LRB- CONT'D. -RRB- Yeah, something like that. -LRB- then. -RRB- Now, go left, right, left, right, crossover kick. Shorty demonstrates. Cindy follows. CINDY Left, right, left, right, crossover kick. SHORTY Now you got ta learn the correct slang. Shorty begins to demonstrate. CINDY Yo! That jacket is tight. SHORTY Yeah, now go uhn, uhn, uhn! CINDY Uhn! Uhn! Uhn! SHORTY Yeah, you feel that? Now put it all together. Cindy now completely rhythmic and soulful, executes the combination, just as a nicely dressed YOUNG FEMALE STUDENT passes by. CINDY Left. POW! Cindy connects with the student's jaw. CINDY POW! Another crunching blow. CINDY -LRB- CONT'D. -RRB- Crossover kick. Cindy smashes her foot to the face of the student. The student falls to the ground. CINDY -LRB- CONT'D. -RRB- Uhn! That jacket is tight. Now run that shit, bitch. The student nervously gives Cindy her nice leather jacket. Cindy slaps Shorty high - five. The student takes off running. Cindy puts on the jacket and poses in a gangster lean. CINDY -LRB- CONT'D. -RRB- Am I cool now? SHORTY Almost. Look, I got ta bounce. I'll holla at you later. Cindy gives Shorty a hug. They go their separate ways.",
"INT. MEN'S DORM -- RAY'S ROOM -- LATER RAY, and his roommate, TOMMY, are getting dressed. Their friend, BUDDY, waits impatiently. BUDDY Hey, man, you two boners are n't ready yet? We're gon na miss the bus, Ray. Coach says if our GPA drops below 2 we're off the squad. RAY Do n't worry, we'll make it. Say, what do you guys think, tucked in or out? Ray, naked with his dick tucked between his legs, making it look like he has a vagina. BUDDY/TOMMY Out! RAY No doubt. That's what I thought. Ray and Tommy continue to get dresses. Buddy waits. BUDDY If you two had n't been out partying last night, you'd be ready by now. TOMMY It was awesome, dudes. We got fucking wasted. I had like a whole keg. Dude, I was so shitfaced. I woke up naked in a tub of ice. RAY -LRB- laughing. -RRB- I woke up naked, too. TOMMY Hey, dude, you got a tattoo. RAY What does it say? TOMMY It says, `` Ray.'' RAY -LRB- checks Tommy's back. -RRB- Sweet. Hey, you got a tattoo, too. TOMMY Get out?! What does it say? RAY `` Fucked me.'' TOMMY Aww. Cool. Dude. They read each other's tattoos ala `` Dude, Where's My Car?'' TOMMY -LRB- CONT'D. -RRB- `` Ray!'' RAY `` Fucked me.'' TOMMY `` Ray!'' RAY `` Fucked me.'' TOMMY/RAY `` Ray fucked me.'' TOMMY Hey! RAY What? Buddy gives Tommy a wedgy. BUDDY Wedgy moment. TOMMY Totally got me, fuck. He tries to fix his underwear. BUDDY Come on, dude. We're gon na be late. Ray grabs his stuff. He and Buddy exit. RAY See you later, man.",
"EXT. CAMPUS -- DAY Cindy passes several activity booths. She notices a YOUNG PRETTY GIRL on the phone, obviously upset. Her name is ALEX. ALEX -LRB- into phone. -RRB- That's it! I do n't want to be treated like this anymore. It's over. Goodbye. Have a nice life. She hangs up the phone. Cindy approached. CINDY Are you okay? ALEX Yeah, I'm fine. I just broke up with my boyfriend, that's all. CINDY That's always tough. How long were you together? ALEX Well, we never made it official, so I guess we were technically never really boyfriend and girlfriend, but I was seeing him in school. I saw him at the mall about six months ago and I was too nervous to introduce myself so I followed him to his car, and jotted down the license plate number. It was registered to his mother, so I went to her house. She was so nice. I mean, she seemed like she would be nice ` cuz I never really spoke to her. I just waited til she went to work then I climbed in through her window and borrowed her phone book. I say borrowed because I'm going to give it back one day. But anyway, I called everyone in it til I found her son. He was n't home when I called so I left this message how much in love I was with him. I was, and how I wanted to have his children. Just really opening up, and he never called back. I'd call and call, and anyway, six months and two restraining orders later I just decided I deserved better. What about you? Do you have a boyfriend? CINDY No, I have n't dated in a while. My last boyfriend's. Alex interrupts, totally uninterested in Cindy's story. ALEX Hey, look there. My friend Brenda. BRENDA is on the financial aid line, standing before the CASHIER. CASHIER Okay, here's your loan check. Your grant check. Your disability check. And oh, a block of government cheese. BRENDA Thanks. She steps out of line. We see behind her a HOMELESS MAN, a WELFARE MOTHER with KIDS, a CRACK ADDICT, etc.. Cindy and Alex approach. ALEX Hey, Brenda. BRENDA Do I know you? ALEX Well, actually, we've never met officially, but I bumped into you at the cafeteria and you were so sweet. I said, `` I'm sorry,'' and you said, `` Watch it, white bitch, or I'll put my size eight in your ass.'' I thought how cool. I wear a size eight, too. Anyway, this is my best friend, Cindy. CINDY We already know each other. Hey, Brenda. BRENDA Hey, Cindy. Your friend needs help. CINDY Actually, I just met her. This is Alex. BRENDA Oh my god. Madam Elsa, my psychic, told me I would meet somebody whose name starts with a letter of the alphabet today. CINDY Really? That's amazing. BRENDA Hey girl, that jacket is slamming. CINDY Thanks. BRENDA You better be careful. I heard some girl got her ass whooped and jacket stolen earlier today. -LRB- off Cindy's look. -RRB- Hey, what class do we have next? CINDY Psychology. ALEX Me, too. 101? BRENDA In room `` 302'' at ten o'clock? ALEX That's it. BRENDA Oh, this is too much. I'm gon na have to play these numbers. Remind me to pick up a Lotto ticket. The girls take a few steps before Brenda grabs Cindy by the arm just as they're about to pass an iron post between them. BRENDA -LRB- CONT'D. -RRB- Wait, do n't split the pole. It's bad luck. Brenda walks around Cindy's side and they go on to class. ALEX You do n't really believe that stuff. Just then, TWO OTHER STUDENTS split the pole on either side and are mowed down by a car. BRENDA Oh yes, girl. After my near - death experience, I've become very spiritual. I can feel my angels all around me, Oh, look a penny. Brenda picks up the penny. They walk past a fountain. BRENDA -LRB- CONT'D. -RRB- That's good luck. Wait, let me make a wish and throw it in the fountain. -LRB- closing her eyes. -RRB- I wish for a lot of money. She tosses the penny into the fountain. BRENDA -LRB- CONT'D. -RRB- -LRB- opening her eyes. -RRB- Oh, look, it worked. She reaches down in the fountain and grabs both hands full of coins. BRENDA -LRB- CONT'D. -RRB- God is good, y' all",
"EXT. COLLEGE CAMPUS -- ESTABLISHING SHOT -- A SHORT TIME LATER",
"INT. SCIENCE BUILDING -- CONTINUOUS A STUDENT walks up a flight of steps through a set of swinging doors. He sees Dwight coming towards the doors in his wheelchair. STUDENT There you go my man. DWIGHT Hey, pal, I can handle a door by myself. STUDENT Fine. The student let the doors go. They swing, smashing into Dwight, sending him flying. ANOTHER YOUNG STUDENT rushes to help. STUDENT #2 Are you okay? Let me help you to the handicapped ramp. DWIGHT I am not handicapped! I can use the steps like anyone else. Dwight wheels himself over to the stairs. He successfully navigates one step then goes tumbling violently down the rest. DWIGHT -LRB- CONT'D. -RRB- That's one more than last week!",
"INT. SCIENCE BUILDING - PROFESSOR OLDMAN'S OFFICE - A SHORT TIME LATER Dwight and PROFESSOR OLDMAN, 50's, distinguished, are present. DWIGHT I finished all the interviews. PROFESSOR Let me see the files. DWIGHT They're on top of the bookshelf. I'll get them. Dwight wheels himself over to a bookshelf. As he attempts to retrieve the folder, the professor moves to assist him. PROFESSOR Let me help you. DWIGHT I do n't need your help. I'm perfectly capable. Dwight climbs the bookshelf, reaches the top, and lifts up the folder. Just then, the bookshelf topples over on top of Dwight. His hand extends from the mess, holding the folder. DWIGHT -LRB- CONT'D. -RRB- Here you go, Professor. PROFESSOR Are these all the subjects? Dwight, disheveled, glasses bent, gets back in his wheelchair and makes his way over to the Professor. DWIGHT Yes. The scored all over the Kiersey Temperment Sorter just like you asked for. PROFESSOR Any of them hot? Dwight rolls his eyes. DWIGHT I also took the liberty of putting those with near - death experiences on top. PROFESSOR Good thinking, Dwight. Traumatized co - eds are a sure thing. DWIGHT -LRB- dripping with contempt. -RRB- As I am sure you are aware, Professor, subjects who are close to death are statistically more likely to have the suggestibility required for paranormal investigation, which is, of course, why I've given them special consideration. PROFESSOR Look, whatever you say, kid, but the more they're hurtin', the more they need a squirtin', if you know what I mean. -LRB- then, off Cindy's picture. -RRB- Ooh, I like her. DWIGHT Cindy Campbell. Classic abandoned personality disorder. She seems guarded, but willing to do this. PROFESSOR Willing? I like that. -LRB- then, off Ray's picture. -RRB- And, this one? DWIGHT That's Ray Williams. I could n't quite figure him out, but he seemed very eager and excited when we met. PROFESSOR What's this? Professor holds up another photo of Ray. In this one, he's got his shirt off and his thumbs hooked in his jeans' pockets. DWIGHT Oh, that's the picture he sent me after our interview. The Professor continues looking at the pictures and files of Shorty, Ray, Brenda, and Cindy. PROFESSOR Car accident, gun shot, multiple stabbings, a hook through the back. Where did you find these kids? DWIGHT They are the survivors of the Steveston County massacre. PROFESSOR Fantastic. These kids are exactly the kind of catalyst needed to awaken Hell House. DWIGHT How are we going to get them all up there? PROFESSOR I'll make it part of the class. We'll tell them they're participating in a study on sleep disorders. DWIGHT And what happens when all hell breaks loose? PROFESSOR We record and document it. We're gon na make history, Dwight. The first documented, unrefuted evidence of life after death. The book sales alone will be worth millions. I'll be rich, and you my friend, will have one hell of a thesis paper. Now, what time is orientation? DWIGHT In about fifteen minutes. PROFESSOR Remember, Dwight, not a word to anyone.",
"INT. SCIENCE BUILDING -- HALLWAY -- MOMENTS LATER Buddy, Ray and a couple of other guys are horsing around. Smiling, Buddy, flicks a guy's ear. Slaps ANOTHER'S hat. They all take it good and naturally return the friendly abuse. BUDDY Whoa! Who laid one? RAY Whoever smelt it, dealt it. Buddy hits Ray in the chest. BUDDY Open chest. Ray returns. RAY Loose nuts. You better hide them. Ray stands grabbing the guy's crotch. Everyone stops laughing. RAY -LRB- CONT'D. -RRB- What? You guys do n't know this game? The girls walk past, interrupting the moment. BUDDY Dude, look out. Ray turns. He and Cindy collide. Her books fall to the ground. Ray, not recognizing her, bends down to help her with her things. Their eyes meet. They are both shocked to see each other. CINDY I'm sorry, I should have been watching where I. RAY It's okay. CINDY Oh, my God, Ray! What are you doing here? RAY It's the sequel. CINDY Oh, right. RAY Listen, no need for you to worry. All that stuff that happened before is behind us. Let's just try to move on. CINDY I am. So just do me a favor and stay away from me. Cindy storms into class. Brenda pushes through the guys. She sees Ray. Their eyes lock. RAY Hello Brenda. BRENDA Hello Ray. Though guarded, we can see they still have feelings for one another. Brenda hurries into the classroom.",
"INT. PROFESSOR OLDMAN'S CLASSROOM -- CONTINUOUS The Professor addresses the class : Cindy, Alex, Brenda, Shorty, Dwight, Ray, Buddy, and THEO. PROFESSOR Welcome everyone. I'm Professor Oldman. All of you have been carefully selected to be in this class. This course is very unique in that each semester my students take part in a bona fide study for which they receive an automatic grade of `` A'' upon completion. This semester's study is insomnia. All of you have some kind of sleep disorder that we will attempt to resolve or at least find the origin to. THEO, a striking looking woman who is drop - dead gorgeous, with a body to match, raises her hand. THEO -LRB- standing. -RRB- Excuse me, but I do n't have a sleep disorder. PROFESSOR It's okay. You have a `` D - cup.'' You're in the right place. Theo sits. PROFESSOR -LRB- CONT'D. -RRB- My assistant, Dwight, will be passing out directions to everyone. Dwight rolls over to the desk, picks up some papers, then rolls over to a few steps. CINDY Would you like me to help you pass them back? DWIGHT I do n't need your help. Dwight tips over in the wheelchair and falls hard against the floor. Everyone is taken aback. Crawling, Dwight passes out the papers. Everyone reaches down to collect one from him. PROFESSOR You should arrive no later than 6PM tonight, and plan to be there until Monday. That's it for now. I'll see you all this evening. Class ends. Everyone exits. Buddy notices Cindy has left her book. He grabs it and goes after her.",
"INT. SCIENCE BUILDING -- HALL -- CONTINUOUS Buddy catches up to Cindy. BUDDY Hey, you left your book back there. CINDY Thanks. I'm Cindy. Buddy hands her the book. The cover reads `` Dummies Guide to the Paranormal.'' BUDDY So, I see you're really into spooks. CINDY No. I never date outside my race. BUDDY I meant you're into ghosts. CINDY Oh, yeah. I'm just curious about that kind of stuff. BUDDY So it looks like we're going to be spending the weekend together. CINDY Yeah. BUDDY Maybe we can study together or something. CINDY I'm sorry, Buddy. You seem really nice, but I'm just getting over a really bad relationship, and I'm not ready to start dating yet. Buddy looks disappointed. CINDY -LRB- CONT'D. -RRB- But, hey, maybe we can be friends. BUDDY -LRB- excited. -RRB- Sure, that would be cool. Friends. CINDY -LRB- playfully. -RRB- Okay. See you later, friend. She turns to walk away. Buddy notices the top of her panties, grabs and yanks them up. BUDDY Wedgy! Cindy hears the ripping sounds and feels the burn. She turns to see Buddy running away. BUDDY -LRB- CONT'D. -RRB- Smell you later! Ha! Ha! Cindy smiles.",
"EXT. COUNTRY ROAD -- DAY A small car drives by.",
"INT. CAR -- CONTINUOUS Cindy, singing along with the radio. She sounds terrible. The song stops. V.O. RADIO Hey, will you shut the fuck up and let me sing?! Cindy, embarrassed, stops singing. The song starts up again. Cindy checks the address as she drives up.",
"EXT. COUNTRY ROAD -- CONTINUOUS Cindy's car makes it's way up a long driveway.",
"EXT. HELL HOUSE -- MOMENTS LATER Cindy walks up carrying luggage. Door. Cindy grabs the knocker. The knocker is a set of balls hanging from a bronzed male figure on the door. She slams them hard against the door. No answer. She bangs the knocker again. Still no answer. She pushed against the door. It opens, slowly.",
"INT. FOYER -- CONTINUOUS Cindy enters, walking through the house. She makes herself at home, nosing into things she should n't and speaking in general to no one. CINDY Hello? She walks over to an answering machine and hits `` play.'' ANSWERING MACHINE No new messages. CINDY Anybody home? She puts that down and moves a couple of pieces on a chess board. CINDY -LRB- CONT'D. -RRB- Checkmate. Hello? She takes a bite off a half eaten sandwich and drinks the last of a glass of milk. CINDY -LRB- CONT'D. -RRB- Hello? She deliberately knocks over a domino and sets off an elaborate carefully planned layout. CINDY -LRB- CONT'D. -RRB- Is anybody here? She digs through the cushions of a chair and pockets some change. CINDY -LRB- CONT'D. -RRB- I was told there'd be somebody here. She opens a couple of pieces of mail and reads it, then. CINDY -LRB- CONT'D. -RRB- Hello? Your test results are in. Cindy continues walking through a swinging door and finds HANSON, a well - dressed man, middle - aged, with a short arm and a little hand. He's in the middle of preparing food. He holds a meat cleaver in his hand as he turns toward her. Cindy is startled. CINDY -LRB- CONT'D. -RRB- Oh my God! I'm here with the. HANSON Yes, Professor Oldman's group. Forgive me. I did n't mean to frighten you. He puts down the cleaver, and moves his hand towards Cindy's face. HANSON -LRB- CONT'D. -RRB- My are n't you a lovely child. Hanson strokes her face. Cindy fakes a strained smile. HANSON -LRB- CONT'D. -RRB- -LRB- tapping her nose. -RRB- And what is your name? Cindy, almost cross - eyed, watching his finger. CINDY I'm Cindy. HANSON -LRB- extending his hand. -RRB- I'm Hanson the caretaker. Cindy reluctantly shakes his hand. HANSON -LRB- CONT'D. -RRB- I'll show you to your room. Let me help you with that. He grabs the luggage. HANSON -LRB- CONT'D. -RRB- Whoa, that's heavy. I better use my strong hand. He grabs the luggage with his little hand. The bag opens, spilling all of Cindy's items over the floor. HANSON. says. I'm so sorry. I'll get them. As Hanson retrieves the items with his little hand ; a toothbrush, underwear, and other personal effects, Cindy looks on in horror.",
"INT. BASEMENT -- LATER A makeshift lab as been set - up with monitors and other high tech equipment. Dwight and the Professor discuss the project. Dwight is wearing a brand new pair of roller blades. DWIGHT I have taken care of everything, including medical supplies and blood storage. We want to be safe. PROFESSOR Right. What about condoms? DWIGHT Professor! PROFESSOR Hey, you're the one who brought up safety. I'm perfectly willing to go in raw. DWIGHT Would you please focus? PROFESSOR Fine. -LRB- then. -RRB- What's all this stuff? DWIGHT Well, this measures the amount of thermal imbalance within a room down to the tiniest molecular disturbances. The Professor is distracted by a bank of monitors. PROFESSOR Are those cameras all throughout the house? DWIGHT Yes, I thought that it would be best. PROFESSOR Even in the bathroom? DWIGHT GESTURES TO A MONITOR PROFESSOR -LRB- CONT'D. -RRB- So, if one of our little chickadees is taking a shower which one of these buttons do I press to get a close - up? DWIGHT -LRB- annoyed. -RRB- That one. PROFESSOR After dinner, you and I will take shifts throughout the night. I do n't want to chance miss anything. HANSON Excuse me, sir, but the students have started to arrive. Dinner will be ready shortly. DWIGHT Thanks, handyman. HANSON I'm the caretaker, not the handyman. -LRB- off Dwight's footwear. -RRB- Nice skates. Be careful. You do n't want to fall and break something. Hanson exits before Dwight can respond. PROFESSOR I'm going to change for dinner. I'll see you shortly. DWIGHT Sounds good. I'm just going to run up to my room. Hop in the shower. Jump into my jogging suit, and I'll be right there. The Professor exits.",
"INT. DINING ROOM -- NIGHT Cindy enters. Ray, Shorty, Professor, Dwight, Alex, Brenda and Buddy are all already gathered. CINDY -LRB- excitedly. -RRB- Hi guys. GROUP -LRB- barely noticing Cindy. -RRB- Hey. What's Up? Un huh. Theo enters the room. Everyone stares. THEO Hey guys! GROUP -LRB- excited. -RRB- Hi Theo! BUDDY APPROACHES CINDY CINDY -LRB- smiling. -RRB- Hi Buddy. BUDDY Open chest! Buddy punches her in the chest. Cindy goes flying. BUDDY -LRB- CONT'D. -RRB- Got ta be quicker than that, `` A - cup!'' Cindy staggers to her feet. THEO Well, are you boys just gon na stand there with your mouths open, or is somebody gon na offer me a seat? Cindy sits just as Buddy unknowingly grabs the chair from under her to give to Theo. Cindy crashes to the floor. THEO Many chairs are pushed in front of her including Dwight's wheelchair. Dwight sitting on Ray's lap. DWIGHT -LRB- referring to his wheelchair. -RRB- It's the best seat in the house. I warmed it up for you. RAY Second best. Theo sits next to the Professor. Cindy and Dwight reseat themselves. CINDY Professor, is this the same house that a young girl was possessed by a demon or something? PROFESSOR Yes, it was reported, but never substantiated. SHORTY Yeah, just like that charges regarding me and that blind Haitian girl. BRENDA Pass me the salt. Brenda tosses a handful of salt over her shoulder. It goes into Dwight's face. DWIGHT Hey, what are you doing? BRENDA Keepin' evil spirits away. And if that do n't work I always got this. Brenda pulls out a gun and cocks it. PROFESSOR Not to worry. There's been no reported activity in the house for over twenty years. DWIGHT Let's not forget, folks, this is a study on sleep disorders. PROFESSOR Ah, yes, which reminds me, who here thinks they'd wake up if somebody snuck into their room and started sniffing between their legs? Hanson rolls in a cart filled with a variety of food, including a huge turkey. BUDDY Enough spooky stuff. Let's eat. BRENDA Well ai n't we gon na bless this food first? ALEX Allow me. God is good, God is great, but not all the time. Sometimes he could be a real asshole, because it seems as though every time I try to establish a relationship with him, he never returns my calls. I've been praying for twenty - four years and I have n't heard his voice yet. Not one message on my answering machine. Your miracles do n't impress me. It's your quality time I want. So, if you hear me, and I know you're up there, thanks for the food. It's the least you can do. In Jesus' name, do n't let me get started on him, Amen. Alex looks up to see everyone staring in awe. HANSON Anyone care for appetizers? Everyone chimes in their request. Hanson removes the long napkin draped over his arm, revealing his short arm and little hand with its stubby fingers. He uses this hand to hold the tray of appetizers. He offers some to the Professor. HANSON -LRB- CONT'D. -RRB- Finger food? Hanson walks around the table with the tray, offering. Everybody reaches to take one. They realize that the appetizers look creepily like Hanson's fingers. Cindy breaks the tension and reaches for a roll. CINDY How about these buns? RAY Yeah, they're so warm and soft. BUDDY Ray! Ray pulls his finger from Buddy's ass. POP! RAY Oh, my bad. HANSON Sure, I'll just set them down and you can help yourself. Everyone grabs a roll. Cindy takes a big bite. CINDY Ummm! They smell delicious. HANSON Thanks. I made them by hand. Everyone drops their rolls. Cindy spits a mouthful into her napkin. HANSON -LRB- CONT'D. -RRB- The potatoes are just about ready. Let me just go whip them up real good. He whips the potatoes. His knuckles dip into the bowl, covering them with potatoes. Hanson licks his knuckles. HANSON -LRB- CONT'D. -RRB- Ah, that's good. Dig in. Hanson places the bowl on the table. HANSON -LRB- CONT'D. -RRB- And now for the turkey. RAY Say, what do you say you let me do that? You just relax. You've done enough. HANSON Oh, nonsense. It's my pleasure. Hanson raises a large knife, then rests his little hand on the turkey to hold it steady. HANSON -LRB- CONT'D. -RRB- You know, making a turkey is a real art. The trick is in the stuffing. A lot of people are afraid to get their hands dirty. Not me. When I stuff it, I like to get the whole hand up in there. And you know I use a secret ingredient in the stuffing. Hanson pulls out a box of `` HAMBURGER HELPLESS'' with a crippled white glove on the box. Everyone moans. Their appetites, ruined as Hanson continues to tear up the turkey. HANSON -LRB- CONT'D. -RRB- Who's first? Anyone like a wing? DWIGHT Yours, or the turkeys? HANSON I supposed you'd like a leg. How about two? DWIGHT That's it. I'm gon na put my food in your ass. I should warn you, I'm a black belt in karate. Dwight pulls out a picture of himself in karate outfit lying on the floor with one leg up in a pose. HANSON You do n't scare me. I was a Golden Gloves champion. Hanson pulls out his own picture of himself, shirtless in a boxing pose with a regular glove and a miniature glove on his little hand. PROFESSOR Relax, Dwight. -LRB- then. -RRB- I got an idea. -LRB- to Hanson. -RRB- Is there anything you did n't make? HANSON Well, the dessert. I ordered out. PROFESSOR Great. What do you say we just skip the heavy stuff and go straight to the dessert? HANSON Well, I guess if that's what you all wish. Hanson goes to retrieve the dessert. He returns with a large cream pie. Everyone smiles. Hanson cuts a piece, slowly. Everyone watches to see if he'll put his hands in it. He does n't. Hanson places the pie on Cindy's plate. Cindy smiles. She's about to take a bite when Buddy sticks his finger in the pie. BUDDY My germs! He takes the pie from Cindy, but before he can take a bite Dwight sticks his finger in the pie. DWIGHT My germs! Ha, ha! Everyone laughs. The professor reaches to cut himself a piece of pie when. Hanson shoves his finger in the pie. HANSON My germs! Ha, ha! Everyone tosses down their napkins and gets up from the table. HANSON -LRB- CONT'D. -RRB- -LRB- licking his fingers. -RRB- Funny, I always win that game.",
"INT. LIVING ROOM -- NIGHT Everyone gathers around the fireplace, enjoying after dinner beverages. THEO She stands behind the bar, mixing drinks for the guys. THEO What can I get for you, boys? SHORTY Yo, I'll take a `` Sex on the Beach.'' THEO Professor? PROFESSOR Make mine a `` Screaming Orgasm.'' THEO Ray, what do you want? RAY Balls on My Chin. -LRB- off their reactions. -RRB- What, you out of `` Bacardi?'' Fine, give me a `` Mud Slide.'' Theo gets behind the bar and begins to entertain everyone with a nice display of bottle tossing. She is flipping bottles of alcohol behind her back, under her arms, between her legs. She then jumps on top of the bar and lays on her back and starts spinning the bottles on her big tits! CINDY Professor, what's the history of this house? PROFESSOR I'm glad you asked. It actually makes for a pretty good bedtime story. The Professor picks up a children's book. `` This Old Haunted House.'' He sits in front of the fireplace. PROFESSOR -LRB- CONT'D. -RRB- Gather around. Everyone gathers around the fireplace. PROFESSOR -LRB- CONT'D. -RRB- This house was built in 1898 by a man named Archibald Keaton as a gift to his wife, Cora. BRENDA Yes, I feel their spirits. Cora. Keaton. I am here to communicate. PROFESSOR No, they sold the house in 1920 to a millionaire, Uriah Bloodworth. BRENDA Yes, of course, Uriah. I feel his evil presence. PROFESSOR No, he lost the house after the stock market crash. BRENDA But he could still be haunting the house. He's angry that he had to leave. PROFESSOR He's not dead, you idiot. He lives in Florida. Now, shut up and let me finish. Brenda, sheepishly, sits down. NEW ANGLE : GHOST'S POV of the group. It moves slowly towards them. PROFESSOR -LRB- CONT'D. -RRB- Anyway, the last owner was a very rich man who built his empire off the blood and sweat of the people in this town. He lived like a king until one day the servants of the house killed him. A log in the fireplace snaps, startling everyone. BRENDA I think there's more to the story. I can feel something evil in the house. It's all around. In the wall, the floor, this piano. She strums the wire keys. One snaps and smacks her in the head. BRENDA -LRB- CONT'D. -RRB- Ouch! CINDY Brenda, are you okay? Come sit. BRENDA No, you do n't understand. It's here in these statues. She touches two statues, holding lights. They smash her in the head. She staggers over to a Cuckoo clock. BRENDA -LRB- CONT'D. -RRB- This clock. The clock strikes twelve. The bird shoots out and pecks her in the face. She falls into a mirror. BRENDA -LRB- CONT'D. -RRB- This mirror. Her own reflection punches her in the face. Brenda sails against the wall. She sees a collection of swords and knives displayed on the wall. BRENDA -LRB- CONT'D. -RRB- These. The knives start to rumble. GROUP NO! BRENDA You're right. Not in the knives. She turns to see on the adjacent wall, antique guns. BRENDA -LRB- CONT'D. -RRB- It's in the guns. BLAM! The gun fires. Brenda goes down. DWIGHT My God! Is she dead? PROFESSOR No, they're just powder burns, thank God. They were empty. Get her upstairs. ALEX Maybe this house is possessed. PROFESSOR No such thing. What you all witnessed was psychosomatic, purely self - induced reactions brought on by hysteria. Now I want everyone to get some rest. We will start our testing in the morning.",
"EXT. HELL HOUSE -- NIGHT The wind howls. Doors and windows rattle. A full moon shines overhead.",
"INT. LAB -- NIGHT The Professor speaks into a tape recorder. PROFESSOR The group responded beyond expectation. Cindy and Brenda seemed most susceptible to the suggestion of horror. Brenda exhibiting both delusion and hysteria. Group fear should manifest itself and intensify as the night progresses. Dwight is reviewing the video tapes from earlier. He notices an image on the tape. DWIGHT Professor, I think you should see this. PROFESSOR What is it? Some tits? A beaver shot? What? DWIGHT No, these are the tapes from the living room. Check this out. Dwight rewinds the tape. We see Brenda being attacked. DWIGHT -LRB- CONT'D. -RRB- The image there. PROFESSOR Are you sure it's not the tape? DWIGHT I do n't think so. It's on all the cameras, and check this out. The thermal readings inside the house dropped ten degrees when the image was recorded. PROFESSOR Congratulations, Dwight, it's begun.",
"INT. LIVING ROOM -- LATER Cindy walks past a bird cage. She notices the little bird is dead. CINDY Oh no, little bird. Cindy gently removes the bird from his cage.",
"INT. BATHROOM -- CONTINUOUS Cindy enters, lifts up the toilet seat, and is about to flush the little bird when Shorty walks in holding a cigar box. SHORTY Oh, my bad. He notices the bird. SHORTY -LRB- CONT'D. -RRB- Aww, the little bird died. CINDY Yeah, I did n't know what else to do. SHORTY -LRB- looking at the cigar box. -RRB- Hey, I got an idea.",
"INT. KITCHEN -- MOMENTS LATER Open cigar box. We see little bones being tossed into the box. Cindy and Shorty eating the fried bird. CINDY That was a great idea, Shorty. SHORTY I told you it would taste just like chicken. Cindy and Shorty finish eating, and toss the final bones in the box. Cindy closes the box, She notices something strange in the kitchen. All the cabinet doors are open and the chairs are stacked on the table. CINDY: -LRB- to Shorty. -RRB- Did you do that? SHORTY Uh, uh. CINDY You better go get Dwight and the Professor. Shorty exits.",
"INT. KITCHEN -- MOMENTS LATER Shorty returns with the Professor and Dwight. Cindy finishes drawing something on the floor. PROFESSOR Alright, Cindy, what's so important? CINDY Professor, you guys got ta see this. Dwight, come here. Cindy grabs Dwight's chair, places him in a circle on the floor. In front of the circle are arrows pointing to the wall. DWIGHT What the hell are you doing? CINDY Just wait, you'll see. A BEAT Dwight's chair moves by itself, slamming Dwight head first into the wall. CINDY -LRB- CONT'D. -RRB- -LRB- excited. -RRB- Yippie! Was n't that amazing? PROFESSOR It's some kind of energy field. We better record this. CINDY Got my camera right here. Professor grabs Dwight's chair. Dwight is still dazed as he is placed back in the circle. Again, his chair flies forward, slamming him into the wall. CINDY -LRB- CONT'D. -RRB- I got it! PROFESSOR That's fantastic. Our first phenomenon. This is going to be a great weekend. You guys better get some sleep. Dwight and I will take over from here.",
"INT. DARK HALLWAY -- LATER It moves through the hallway to Theo's room.",
"INT. THEO'S BEDROOM -- CONTINUOUS Ghost CAM finds Theo sitting at the vanity table removing her makeup. Theo senses something. She looks around. THEO Hello, hello? She shrugs and continues to remove her make - up. Theo notices a pimple. THEO -LRB- CONT'D. -RRB- Damn. SPLAT! Goo hits the mirror as she pops the pimple. GHOST'S REACTION. Theo reaches for a brush. As she looks down the mirror is tipped - up by the ghost. She does n't notice. Theo looks up and notices something else. There's a booger in her nose. THEO -LRB- CONT'D. -RRB- Oh, my. How long has that been there? She picks her nose and flicks the booger. The booger lands on the ghost. We see it shaking wildly as the ghost tries to get it off. Theo lifts her foot up and cracks her toes. She examines her feet. THEO -LRB- CONT'D. -RRB- Oh, I need a pedicure. She looks on the table for something. THEO -LRB- CONT'D. -RRB- Shit, forgot my clippers. Aw, fuck it. She raises her foot to her mouth and bites her toenail. GHOST -LRB- V.O. ; V.O. -RRB- Ugh. THEO Huh? Who said that? Theo gets up and locks her door. Not knowing the ghost is behind her, she turns and faces him. Theo unhooks her bra. The bra. As it hits the floor we see two false breasts fall out. Theo's real breasts are saggy. Theo scratches her breasts under, on top, and around the nipples until she's satisfied. THEO -LRB- CONT'D. -RRB- Ahhh, that's better. She walks past the ghost still scratching, this time under her arm. THEO -LRB- CONT'D. -RRB- Whew, not fresh are we? By now, the ghost is ready to give up. From his POV we see he does n't follow Theo. Theo bends over to get something out of her bag. Theo's perfect ass. He makes his move. The Ghost CAMERA moves in on Theo's ass. Just as he's about to attack, Theo farts, loudly, releasing a translucent green gas that makes the ghost sickened face visible for an instant. The Ghost, waving in front of his nose. THEO -LRB- CONT'D. -RRB- Whew. I was holding that one in all day. She stands and turns. We see she's holding a box of tampons. That's it. The ghost takes off running, slamming the door behind him.",
"INT. HALLWAY -- NIGHT Cindy is walking to her bedroom. Suddenly, she hears someone whispering her name. VOICE Cindy. Cindy Cindy. She stops and listens. VOICE -LRB- CONT'D. -RRB- Cindy. Cindy. CINDY Who is it? Who are you? VOICE Help us Cindy. Help us. CINDY Help you how? VOICE Check the music room. The voice disappears. CINDY Where are you? Buddy, walking down the hallway, tossing a football in the air, sees Cindy. BUDDY Hey Cindy. She turns. BUDDY -LRB- CONT'D. -RRB- Think fast. Buddy fires the football. BONK! The ball beans Cindy right in the head. She goes down. Buddy approaches. BUDDY -LRB- CONT'D. -RRB- Dude, you suck. Cindy staggers to her feet. CINDY You know, Buddy, about this friendship thing. BUDDY Yeah, it's great, is n't it. I think it's so cool. have a girl as a friend. CINDY That's just it, Buddy. I'm a girl. You ca n't be so rough with me. BUDDY Then what kinda stuff can we do? CINDY Gentle stuff like talking, sharing thoughts and ideas, secrets and past experiences. Stuff like that, you know. BUDDY It sounds gay, but guess since you're a girl it's okay, huh? CINDY Yeah, it will be fine. I wan na check something out. CINDY -LRB- CONT'D. -RRB- Will you come with me? BUDDY -LRB- sweetly. -RRB- Sure. We can practice talking. CINDY -LRB- smiling. -RRB- Okay.",
"INT. MUSIC ROOM -- SHORT TIME LATER Cindy and Buddy enter. Buddy's in the middle of a story. BUDDY So, this hot Spanish chick is licking my balls and I'm fingerbanging her, right, just then. CINDY, ANNOYED CINDY Buddy. BUDDY Wait, I'm just about to tell you the best part. Cindy notices something on the floor. CINDY Oh my God. Look. Bloodied footprints. BUDDY Dude, somebody's on the rag. CINDY Shhh! Buddy and Cindy follow the footsteps. They lead to a secret passage. Cindy opens it to REVEAL a secret room.",
"INT. SECRET STUDY -- CONTINUOUS It's an old, dark creepy study. Shelves of dust covered with books, several paintings on the wall, an old wooden desk. CINDY It must be a private study, or something. Cindy finds an old newspaper. Headline : `` Servants Kill Hugh Kane.'' There's a picture of HUGH KANE and an article on the killing. CINDY -LRB- CONT'D. -RRB- There's more to the story of this house than the Professor told us. It says here that Hugh Kane had a wife who died mysteriously a week before the servants killed him. Buddy looks at the painting on the wall. He wipes away the dust exposing the face. The painting is of a woman. It looks like Cindy. She's wearing a pendant around her neck. BUDDY Whoa, check this out. She looks like you. CINDY Wow, she's beautiful. You really think she looks like me? BUDDY Her hair does n't have as many split ends at yours. Her skin is n't as oily as yours, either. Also, sometimes your eyes get kinda squinty and they look like you might have Down's Syndrome or something. Otherwise the resemblance is uncanny. Cindy is feeling terrible about herself now. For a moment we think the criticism is done. BUDDY -LRB- CONT'D. -RRB- Oh yeah. another difference is she looks more sophisticated and classy. More feminine. And her tits are perfect. Not pointy and funny looking, or spaced too far apart. CINDY -LRB- annoyed. -RRB- Alright! Cindy finds a small chest, ornately decorated. The name `` Carolyn'' inscribed on it. CINDY -LRB- CONT'D. -RRB- Buddy, look at this. I think it belonged to her. Suddenly, a loud noise. Cindy and Buddy nearly jump out of their skin. A BLACK CAT. BUDDY Come on, let's get out of here. This place is giving me the creeps. Cindy grabs the chest and they exit.",
"INT. BRENDA'S BEDROOM -- NIGHT The room is dark. The only light is the moonlight. Brenda stirs in bed. Ray is next to her. RAY Shhh. It's okay. BRENDA Ray, have you been here all this time? RAY I just wanted to make sure you were okay. BRENDA I'm fine. Just a few bruises. RAY So, I guess I can go now. BRENDA No, stay. RAY You sure? BRENDA Yeah, I think I'll feel better sleeping in the arms of a strong man. RAY Yeah, me too. Brenda gives a confused look. BRENDA I'm gon na take a shower. I'll be right back. Brenda exits. Ray sits on the bed for a moment. He notices a clown doll sitting in a rocking chair across the room. The moonlight gives the clown face an eerie glow. Ray takes off his shirt and tosses it at the clown, covering its face an causing the chair to rock. Ray gets down and does a few push - ups. The door. A fog - like mist comes into the room. Ray feels a chill and checks the thermostat. RAY Damn, it's cold. Ray goes to retrieve his shirt. He notices the clown is gone. Ray looks around and does n't see the clown doll anywhere. Suddenly, a rustling noise comes from under the bed. Ray's breathing, quickens. He knows where he must now look. Ray slowly lowers himself head first to the floor of the bed, in preparation to look under it. He very, very carefully lifts the dust ruffle and lets the top of his head touch the rug. Ray is upside - down as he looks into the darkness under his bed. Under the bed. The clown is there, face to face with him, smiling sardonically. In the split - second it takes for a child to draw a breath and let it out through the vocal chords, the clown wraps its five foot extension arms around Ray's neck, cutting off half his air. WIDE ANGLE HIGH. Struggling now for his life, Ray is dragged helplessly under the bed and out of sight. Under the bed we hear a struggle, followed by the evil laugh of the clown. CLOWN DOLL -LRB- V.O. ; V.O. -RRB- Hee! Hee! Hee! Hee! RAY -LRB- V.O. ; V.O. -RRB- Oh, you want to play! We hear more struggling. CLOWN DOLL -LRB- V.O. ; V.O. -RRB- Hey, stop that? Homey do n't play that. The clown attempts to climb from under the bed, only to be dragged back under by Ray. Now we hear Ray laughing, maniacally. RAY -LRB- V.O. ; V.O. -RRB- Hee! Hee! Hee! Hee! CLOWN DOLL -LRB- V.O. ; V.O. -RRB- No! No! Noooooo!",
"INT. BRENDA'S BEDROOM -- MOMENTS LATER Brenda enters to find Ray out of breath, and buckling his pants. BRENDA Are you okay? I thought I heard screaming. RAY Oh, I'm fine. just clowning around. The clown doll. His pants are down by his ankles. His head turns to the camera. His smile is gone, replaced by a frown. A single tear is running down his face.",
"INT. ALEX'S BEDROOM -- NIGHT The window blows open. Curtains flutter in the wind. Alex sleeping. Her head back, her mouth open. She snores, lightly, unaware of the presence in the room. A breeze brushes past her causing her hair to move. Alex remains asleep. ALEX The ghost pulls up her t - shirt to reveal a pair of perfect breasts. Her breasts get squeezed at the base, and bulge out like water balloons, but she still does n't wake up. The GHOST continues kissing her neck. Alex moans, still sleeping. ALEX'S FACE : Her mouth opens wider. We see a growing indentation in her cheek as if something is going in and out of her mouth. Suddenly, Alex's eyes open. She sits up and tries to speak. ALEX Mmph! Mmph! The back of her head stretches to the shape of a penis. Alex struggles with the force, finally breaking free. ALEX -LRB- CONT'D. -RRB- Somebody help! Help! The ghost pins her to the bed and attacks her. Throwing her arms over her head, Alex screams. ALEX -LRB- CONT'D. -RRB- -LRB- startled. -RRB- Ah! Then throwing her legs behind her head, she screams again. ALEX -LRB- CONT'D. -RRB- Oh! Okay. The ghost starts fucking Alex. He's very rough and dominate. ALEX -LRB- CONT'D. -RRB- -LRB- intrigued. -RRB- Oh, my God. Yes! Yes! The ghost drags her up the wall and over a portrait of a solemn looking man. Then Alex's butt slides over his face and the man is now smiling. The ghost drags her across the ceiling and crashes her head into the light fixture. The sexual Olympics continue as she spider - walks down the wall and is dragged across the floor, smoke comes up from beneath her. ALEX -LRB- CONT'D. -RRB- Oooh. Oooh. Rug burn. Rug burn. The ghost gets Alex back to the bed and flips her over to reveal tire skid marks down her back. Still the sexcapades continue.",
"EXT. HOUSE -- CONTINUOUS The bedroom window is totally fogged over when Alex's hand hits it and slides down the glass ala TITANIC.",
"INT. ALEX'S BEDROOM -- CONTINUOUS Suddenly, it stops as quickly as it begun. Alex lays disheveled on the bed. ALEX -LRB- desperate. -RRB- Call me. The door slams. Alex lights a cigarette.",
"INT. CINDY'S BEDROOM -- NIGHT Cindy, sitting in bed, trying to open the chest. She is startled by the sound of the door creaking open. CINDY -LRB- nervous. -RRB- Who's there? The black cat enters. Cindy gives a sigh of relief. CINDY -LRB- CONT'D. -RRB- Hey, kitty, kitty. How you doin' girl? The cat pauses and gives her the finger by flicking his claw out with the gesture. CINDY -LRB- CONT'D. -RRB- Huh? Suddenly, the cat attacks grabbing and scratching her throat. Cindy tosses the cat off and jumps to her feet. The cat lands and pounces right back. Cindy catches it and throws it down harder, sending it crashing into a table which smashes into pieces. Cindy and the cat circle each other. The cat grabs a bottle from the table, breaks it, holding the jagged side out towards Cindy. The cat jumps on Cindy, knocks her to the floor, pinning her down. The cat tries to shove the broken bottle into Cindy's face. Cindy, desperately, holds back the cat's paw. Her teeth gritting with effort. Cindy slowly turns the bottle towards the cat, who now looks worried. Cindy makes her move, flipping the cat over. Now, she's on top pushing the bottle close to the cat's throat. The cat gives a huge effort and shoves Cindy off of itself. Fighting dirty, the cat reaches into its litter box and throws some of the sand in Cindy's eyes. The cat then picks up a chair and breaks it over Cindy's head, then jumps on her back and tries to strangle her with piano wire. But Cindy manages to flip the cat forward over her shoulder. Cindy runs into the bathroom and locks herself inside.",
"INT. CINDY'S BATHROOM -- CONTINUOUS Kitty's paws reach for her from beneath the door. His eye peeking through the keyhole. Suddenly, an ax chops through the door making a big enough hole for the kitty to reach in and turn the knob. CINDY -LRB- screaming. -RRB- Somebody help me! Cindy is desperate. She looks for anything that might save her. Cindy grabs a ball of yarn. CINDY -LRB- CONT'D. -RRB- Here, kitty, kitty. Look. Cindy plays with the yarn. The cat ca n't resist. He wants the yarn. CINDY -LRB- CONT'D. -RRB- Go get it. Cindy tosses the ball of yarn, it flies out the window. The cat leaps after it, falling to its death.",
"INT. CINDY'S BEDROOM -- CONTINUOUS Cindy staggers out of the bathroom, bloodied clothes torn. Theo rushes to her. THEO Are you okay? CINDY I think so. THEO Come on. We better get you cleaned up.",
"INT. KITCHEN -- NIGHT -- SHORT TIME LATER Theo tends to Cindy's wounds. The professor pours a cup of tea. CINDY I'm telling you, it was possessed. PROFESSOR Theo, did you see the animal? THEO No, I just heard the commotion, and when I got there I guess it was gone. CINDY What, you think I did this to myself? PROFESSOR No, I'm just saying cats are known to be very territorial animals, and it is likely it did attack, but it does n't mean it was possessed. Maybe the two of you should sleep together. CINDY What are you getting at, Professor? PROFESSOR Only that if this cat did attack, he's less likely to come back if the two of you were, let's say, together. Come on, it's college. Time for you two to experiment. THEO Cindy, I do n't think we're going to get any help here. PROFESSOR Actually, I'd be more than willing to walk you through it. THEO Come, Cin, I'll make sure you're tucked in. Theo and Cindy rise to exit. PROFESSOR Good idea, and do n't forget to give her a good - night kiss. CINDY There's something going on in this house. I'm not crazy.",
"INT. CINDY'S BEDROOM -- MOMENTS LATER Cindy enters and says good - night to Theo. THEO Good - night, Cin. I'll be next door if you need me. CINDY Thanks, I'll be fine. Cindy closes the door and walks to her bed. She notices a picture has fallen off the night stand. Cindy places it back on the nightstand. Cindy turns to climb into bed when she hears the picture fall again. This time the frame breaks, revealing a key hidden in the frame. Cindy examines the key. She gets an idea. Cindy retrieves the chest she found in the secret study form beneath her bed. She places the key in the hole and turns it. The chest opens. Cindy finds several items. Pictures of Carolyn. A diary. An old fashioned dildo. The pendant worn by Carolyn in the photos. Cindy walks to the mirror, slowly placing the pendant around her neck. She looks up into the mirror. Her eyes have a strange look. She slowly turns and looks at the bedroom door.",
"INT. KITCHEN -- LATER THAT NIGHT The refrigerator door opens. We see the Professor looking for a snack. He grabs an apple. Cindy wearing a sexy red dress ala `` Michelle Pfeiffer.'' CINDY Hello, Professor. HE SMILES PROFESSOR Hello, Cindy She shakes her head. CINDY Forbidden fruit. She takes the apple. CINDY -LRB- CONT'D. -RRB- Got a problem with that? PROFESSOR Yeah, bitch, give me my apple. What's gotten into you? He snatches the apple back. Cindy walks over to a basket of fruit on the counter and picks up a banana. Provocatively, she peels it and, looking deep in his eyes, she slips the banana into her mouth, sliding it in and out simulating a blow job. Suddenly, the banana breaks off in her throat and she starts to choke on it. She turns red, gagging and coughing. CINDY Gock - gock - gock. Finally, realizing that something is wrong, the Professor runs over to her and does the Heimlich on her. She finally spits up a big chunk of banana and it plops on the floor. Recovering, she sits back down on the stairs, continuing her seduction. She picks up a whole pineapple and starts licking it sexually and finally shoves the whole thing in her mouth, again simulating a blow job. THE PROFESSOR He's getting back in the mood, getting turned on again. PROFESSOR Ooo, yes. CINDY She drops the pineapple and picks up a watermelon, shoving that in her mouth - stretching out her mouth and face, insanely. She slides it in and out of her mouth. THE PROFESSOR PROFESSOR -LRB- CONT'D. -RRB- Ohh. mmm. Satisfied that the Professor is well turned on, Cindy drops the watermelon. She then grabs a lit candle and struts to the kitchen steps where she sits and places the candle between her legs. The Professor watches, seductively. Cindy spreads her legs, lifts the front of her dress. A strong gust of air comes from between her legs, blowing out the candle. The wind is so strong, it begins to blow papers and the Professor back. CINDY There. That's better. Cindy gets up and walks over to the Professor. Only the desk stands between them. Cindy grabs him by his tie, choking him as she pulls him up onto the table. PROFESSOR I take it you're not mad at me. CINDY I would n't go that far. She grabs his belt and pulls him into her, then holds the apple to his mouth. He takes a bite and she mashes it hard into his mouth, then pulls it out along with his dentures. He quickly pops them back into his mouth. Cindy rips open his shirt to reveal unusually large nipples for a man. Then unbuckling his belt and pants to reveal an adult diaper underneath. She pushes him back onto the desk and straddles him. PROFESSOR I do n't like this, this. CINDY -LRB- pinning him down. -RRB- Why do n't you shut up, Professor? Just relax. Cindy reaches her hand down the Professor's pants. She feels something then stops and stares deeply into the Professor's eyes. CINDY -LRB- CONT'D. -RRB- I think she's starting to suspect something? PROFESSOR -LRB- Confused. -RRB- Who? Suddenly, Cindy's face turns into RAY'S FACE. RAY Your wife! The Professor screams, then pushed RAY off him. He gets up from the desk and starts fixing his pants and runs out of the room. Cindy's face as it morphs back. CINDY Oh, my God. It happened right here. She came home. She saw them. PROFESSOR Saw who?! CINDY Do n't touch me! Cindy passes out. Dwight rushes in, sees the Professor, his pants by his ankles, and Cindy unconscious on the floor. DWIGHT What the hell?! PROFESSOR It's not what is looks like. She's having a breakdown. Help me get her to her room.",
"EXT. HELL HOUSE -- THE NEXT DAY Clouds and an overcast sky set a dark mood over Hell House. The grey skies tell us a storm is brewing.",
"INT. FOYER -- CONTINUOUS Buddy, coming down the main stairs notices the Professor duck behind a door. Buddy investigates, following the Professor.",
"INT. BASEMENT -- CONTINUOUS Buddy slowly creeps down the steps. He peeks around the corner, keeping the Professor in sight. Buddy sees the Professor enter the lab.",
"INT. LAB -- CONTINUOUS DWIGHT Professor, we need to talk. PROFESSOR What is it, Dwight? DWIGHT I think we should consider cutting the experiment short. PROFESSOR What? DWIGHT The force in this house is far greater than I anticipated. In one night I recorded cold spots, shifting magnetic fields, the E.U.P. is picking up white sounds everywhere. PROFESSOR That's why we came here, remember? DWIGHT Yes, but I've seen the tapes. This poltergeist is becoming increasingly more violent. We all could be in danger. I say we pull the plug. PROFESSOR Whoa, Dwight, I say when we pull the plug. Get a hold of yourself. Dwight, we're on the verge of greatness and I'm about this close to getting laid. Now, the bus will be here on Monday. Until then no one leaves. BUDDY He's been listening to everything. PROFESSOR -LRB- CONT'D. -RRB- Now, here are the keys to the gate and the cell phone. No one gets access to either, understand? Dwight nods yes.",
"INT. SHORTY'S BEDROOM -- MOMENTS LATER Shorty is watering the seed plant. It is a tremendous size. It's as tall as a tree. Shorty closes a window, and climbs into bed. He reached over and sets his digital alarm clock to wake him at `` C.P. Time.'' Next, he pulls back the covers on his bed and pops a gold tooth out of his mouth. He then places it in a little drawstring bag marked `` Tooth Fairy'' and puts it under his pillow. Finally, he closes his eyes. Suddenly, he's awakened by the sound of rattling chains and creaking floors. SHORTY I ca n't sleep like this. He pops a tape marked `` Ghetto Lullabies'' into his radio and pushes the play button. The sounds of gun fire, police sirens, and a WOMAN screaming are heard. WOMAN -LRB- V.O. ; V.O. -RRB- They done killed my baby! Why Lord?! Why? SHORTY Ah, that's better. Shorty tries to sleep, but just tosses and turns. SHORTY -LRB- CONT'D. -RRB- I know what I need. Shorty finds a joint and lights up.",
"INT. ALEX'S BEDROOM -- CONTINUOUS Alex is now pacing the floor, smoking a cigarette, pissed off. She goes over to her `` Ouija Board'' and begins to try summoning the ghost. ALEX -LRB- moving the arrow along the board. -RRB- Hello? Ghost? Baby, are you there? I've been waiting on you for almost ten minutes now! Where are you?",
"INT. SHORTY'S BEDROOM -- MOMENTS LATER Shorty, sitting up, totally stoned, talking to a `` Wilson'' volleyball. The rest of this scene to come.",
"INT. ALEX'S BEDROOM -- MOMENTS LATER Alex is now sitting on her knees in the middle of a circle of candles. She's chanting as she rocks back and forth. ALEX Oh, ghost of the night, I beseech thee. Oh fickle fleeting ghost of the night, I beseech thee. Still no response. ALEX -LRB- CONT'D. -RRB- -LRB- pissed. -RRB- Fuck you! Fuck you! Fuck you! She begins to tear up the room. Smashing lamps and vases against the wall. Ripping his portrait down and kicking it with her foot. Tearing the feathers out of her pillows with her bare hands.",
"INT. SHORTY'S BEDROOM -- MOMENTS LATER Shorty lies in his bed, totally paranoid. His eyes wide with fear. Every sound makes him jump. Suddenly, there's a bolt of lightning, and it begins to rain. SHORTY Ahhh! Shorty jumps out of bed and runs around the room looking for the volleyball. SHORTY -LRB- CONT'D. -RRB- Wilson! Wilson! Wilson!",
"INT. ALEX'S BEDROOM -- MOMENTS LATER Alex is sitting in a corner, her hair a mess, her make - up running. An empty wine bottle and glass, along with an ashtray filled with half - smoked cigarettes are at her feet. THE SOUNDTRACK FROM `` MADAME BUTTERFLY'' PLAYS. Alex, staring straight ahead, flicking the light on and off. She is Glenn Close in `` Fatal Attraction.''",
"INT. SHORTY'S BEDROOM -- MOMENTS LATER Shorty, still counting, is interrupted by another flash of lightning, and rumbling of thunder. The lightning illuminates the weed plant, giving it an ominous shape. Shorty, terrified, clutches the volleyball. SHORTY One one thousand. Two one thousand. Three one thousand. Suddenly, the weed plant comes to life. Its limbs smash the window as it reaches in and grabs Shorty. Shorty screams. Ray, Buddy, and Brenda enter. They see the plant using the sheet like rolling papers rolling Shorty into a human joint. They all rush to help him.",
"INT. CINDY'S BEDROOM -- MOMENTS LATER Cindy is reading Carolyn's journal. CAROLYN -LRB- V.O. ; V.O. -RRB- Tonight, Hugh and I made love for the first time. Ha, ha, ha, talk about little. I ca n't take living with him any longer. He's becoming a monster. Darkness is all around us. Poor Hanson died today ; burned alive in the furnace. They say it was an accident, but. Cindy closes the journal. CINDY Oh, my God! Suddenly, her door slams. Cindy's closet. A bright light begins to glow inside. Cindy sees the light. She sits up. Suddenly, her bedroom door slams shut. A huge wind starts to suck the items in the room into the closet. Cindy grabs the headboard at the bed and starts to yell for help. CINDY -LRB- CONT'D. -RRB- Help! somebody help!",
"INT. SHORTY'S BEDROOM -- MOMENTS LATER A bolt of lightning strikes the tip of the human joint, lightning the tip on fire. SHORTY Help! Help! He's trying to smoke me, son! Ray and Buddy grab Shorty and pull him to safety, just as the plant is sucked out of the window, into the night. Just when they think it's over, they hear the sound of Cindy screaming. BRENDA Oh my God, Cindy!",
"INT. CINDY'S BEDROOM -- CONTINUOUS Cindy clings for deal life to the bed as BAM! Alex kicks in the door just as Cindy's panties slide down to her ankles. ALEX You cheating son of a bitch! Touch her and I'll make sure that's the last piece of possession you have. -LRB- ALTERNATE. -RRB- You son of a bitch! Oh, what you gon na play like this? I know you did n't do that! The wind stops, dropping an unconscious Cindy to the bed. ALEX -LRB- CONT'D. -RRB- What, one woman is n't enough for you? Must you channel every girl in this house? How would you like it if I fucked another ghost, huh? Heavy invisible footsteps make their way to the door. ALEX -LRB- CONT'D. -RRB- Where do you think you're going? This is n't finished. That's just like you, every time things get serious you disappear. The door opens and slams shut as Alex continues to scream after him. ALEX -LRB- CONT'D. -RRB- Do n't forget! I know where you rot! -LRB- then to herself. -RRB- Selfish bastard. All you entities are the same. ENTER BUDDY AND DWIGHT BUDDY What happened here? ALEX Ask your poltergeist stealing whore! Alex storms out. DWIGHT She's in shock. We have to get her in a tub of water.",
"INT. BATHROOM -- CONTINUOUS Buddy places Cindy in the tub, turns on the water, and splashes some in her face. Dwight checks her pulse. DWIGHT She's okay. She wo n't be able to move for awhile. Her body has to recover from the trauma. Just leave her here. Buddy and Dwight exit. The tub faucet still running. The drain plug. It closes shut. The tub starts to fill with water.",
"INT. BATHROOM -- CONTINUOUS Cindy is still in the tub. As her eyes open. Terror crosses her face. The bath water is rising above her chest. CLOSE ON: Cindy's hand. She can barely move a finger. CLOSE ON: -LRB- CONT'D. -RRB- Cindy's foot. she wiggles it over to the chain holding the plug. The bath water is now at Cindy's mouth. Cindy lifts the chain with her foot, then slams down her heel up - ending the drain plug. Relief. until she realizes the water is still rising. Her foot digs down the drain and pulls out a clump of hair. Water at her eyes and still rising. Her foot hops out of the tub and grabs a plunger. The foot plunges the drain. Still nothing. Water rising. Cindy, head tipped back. All we see is nostrils. Water spills out of the tub and onto the floor. Cindy's foot grabs a pen and paper, writes a note, stuff it in a bottle, and then tosses the bottle into the spilled water. The bottle floats away.",
"INT. FOYER - (OR WHATEVER ROOM EASIEST TO DO THIS GAG) - Water pours in the room around the group's feet. RAY I say we leave now. Everyone agrees. BRENDA Wait. I'm sensing someone else in danger. CRASH! A bottle smashes across Brenda's head. SHORTY -LRB- holding a broken bottle. -RRB- Do n't start that shit again! The note falls out of the bottle. ALEX Look, a note. BUDDY -LRB- reading note. -RRB- `` Help, I'm drowning - Cindy.'' GROUP Cindy! They all rush to the bathroom.",
"INT. BATHROOM -- CONTINUOUS Cindy, totally submerged, staring fare to face with a whale. Suddenly, she is lifted out of the tub. BUDDY You okay? Cindy nods `` yes.'' BUDDY -LRB- CONT'D. -RRB- Now we got everybody. Let's get out of here.",
"INT. KITCHEN -- A SHORT TIME LATER ALEX She sings a happy tune as she cooks breakfast. Cindy, Ray, Theo, and Brenda gather around the island. Shorty enters. SHORTY Damn, it smells good. He reaches for a piece of bacon. Alex slaps his hand. ALEX That's for someone special. SHORTY I'm glad somebody got laid. Alex smiles. ALEX I never kiss and tell. THE ISLAND Shorty joins the group. -LRB- Note : During this scene, no one is paying attention to Alex -RRB- SHORTY Yo, there's some freaky shit in this house. Y' all hear that loud banging and screaming? ALEX -LRB- giggles. -RRB- Sorry about that. CINDY Brenda was right. There's more to the story than the Professor told us. I found a secret room. It had all these news clippings about Hugh Kane. He was a very evil man. ALEX -LRB- talking to the sky. -RRB- Ah, they just do n't know you the way I do. CINDY I found a picture of his wife. ALEX Wife?! Alex grabs the plates of food and throws them in the trash. ALEX -LRB- CONT'D. -RRB- Let that bitch make you breakfast. Cindy passes the picture to Theo. THEO Wow! She looks just like you. except she does n't have as many split ends as you and her skin is n't as oily. Theo passes the picture to Ray. RAY Yeah, and sometimes your eyes get all squinty and it looks like you got Down's Syndrome. Brenda takes the picture from Ray. BRENDA Yeah, girl, damn near twins. except she's more sophisticated and classy. You got that cute, trailer park look. Brenda shows the picture to Shorty. SHORTY No doubt. and her tits are perfect, not at all pointy or funny looking. You got them National Geographic orangutan titties. Cindy snatches the picture back. CINDY Okay, I get the point. THEO So, whatever happened to her? CINDY She killed herself a week before he died. ALEX Oh, he was a widower. Why did n't you say that? -LRB- addressing the sky. -RRB- Do n't worry, sweetie, I can whip up a new batch in a flash. CINDY I think he wants me. ALEX Ha! Right bitch! Everyone looks at Alex. THEO Cindy, that does sound a little crazy. Buddy enters. BUDDY She's not crazy. I saw the picture, and I'll tell you guys something else, the Professor is up to something. Him and Dwight got a whole lab set up in the basement. We're here for an experiment, alright, but it ai n't insomnia. I heard Dwight tell the Professor there's a poltergeist in this house and we could be in danger. THEO What? I'm getting outta here. BUDDY We ca n't leave. The gates are locked and Dwight is the only one with the keys. THEO Do n't worry. Give me five minutes alone with Dwight. I'll get the keys.",
"INT. BASEMENT -- LATER Dwight, working on equipment, is distracted. Theo, standing in the doorway, dressed very sexy. THEO Hello Dwight. DWIGHT Hi. Theo swaggers over to Dwight. THEO What are you working on? DWIGHT Just a little experiment. Theo rubs his shoulders. THEO Work, work, work. Is that all that you do? DWIGHT Well, there's a lot riding on this project. Theo straddles Dwight. THEO The Professor might have everyone else fooled, but I know who the real brains of the operation is. DWIGHT You do. THEO That's what turns me on about you, Dwight. You're so smart. DWIGHT And sexy. THEO Of course. So sexy. She runs her fingers through his hair. THEO -LRB- CONT'D. -RRB- Ooh, you hair is so soft and silky. What do you use on it? DWIGHT Just a little Rogaine. Theo notices clumps of Dwight's hair has fallen out into her hands. She wipes it on his shirt. THEO And those sexy eyes. She removes Dwight's glasses. CLOSE ON: Dwight's eyes, both looking in different directions. He has no muscle control. Theo quickly puts on his glasses. THEO What do you say we put on some music? Theo turns on the radio. She turns to a station. SONG ONE `` WALK ON BY.'' She quickly changes the station. SONG TWO `` WALK THIS WAAAY!'' Again, she changes the station. SONG THREE `` THESE BOOTS WERE MADE FOR WALKING.'' Theo turns off the radio. THEO -LRB- CONT'D. -RRB- What do you say we make our own music? She kneels in front of Dwight stroking his thighs. THEO -LRB- CONT'D. -RRB- You know, Dwight, I hear you're the only one who has the key to the gate. DWIGHT That's right. THEO What if I wanted to borrow those keys? DWIGHT Oh, I could n't do that. Theo unbuttons Dwight's pants. THEO Sure you can, baby. Look, you help by giving me the keys, and I'll help by giving you. She pulls his dick out and is about to give him a blow job. DWIGHT I do n't need your help. I can do it myself. Dwight starts sucking his own dick. Theo looks on in shock. Dwight is going to town on himself. Theo grabs an object and smashes Dwight in the head, knocking him out cold. She rifles through his pockets and takes the keys. She exits.",
"INT. LIVING ROOM -- MOMENTS LATER The group is gathered in the living room. Shorty watches TV. Theo rushes back to the group. THEO -LRB- dangling keys. -RRB- I got'em. BUDDY Great! We should leave before it starts to rain. Suddenly, lightning and thunder. Rain pours against the window. THEO I say we wait till the rain lets up, then we make a break for it. NEWSCASTER on TV. NEWSCASTER This just in. Heavy rains will continue to plaque the region for the next two days. BRENDA We'll just call a taxi. NEWSCASTER Now, an update on the recent taxi strike. No progress in sight. CINDY Hey, we can take my car. NEWSCASTER There's been a major recall on all Japanese made cars. Auto makers warn when exposed to rain the cars explode. LOUD BOOM and FIREBALL out window. RAY Fuck it. We'll hike if we have to. NEWSCASTER The bodies of six hikers were found today torn to shreds by wild animals. SHORTY I know, we can build a plane and fly outta here. NEWSCASTER Now, that's just fucking stupid. BUDDY SHUTS OFF THE TV BUDDY Alright then, we'll just hunker down for tonight. Maybe we'll get a break by morning.",
"INT. LAB -- CONTINUOUS The Professor enters and finds Dwight with his head in his lap. PROFESSOR Dwight, what the hell are you doing? Dwight? No answer. The professor lifts Dwight's head and sees what he was doing. PROFESSOR -LRB- CONT'D. -RRB- Now that's a talent. Dwight, wake up. Dwight slowly comes to. DWIGHT -LRB- groggy. -RRB- I can do it myself. PROFESSOR Yeah, I can see that. Later I want you to teach me that trick, but right now we have a job to do. DWIGHT The keys. She took the keys. The Professor notices Buddy on the monitor, unplugging the cameras. PROFESSOR Shit. They're onto us. Keep an eye on them. I'll take care of this little shit. The Professor exits.",
"INT. DINING ROOM -- MOMENTS LATER Buddy climbs down off a chair and joins Ray. BUDDY I think we got the one's up here. RAY I think it's time we had a little talk with the Professor.",
"INT. BASEMENT -- MOMENTS LATER The Professor exits the lab and heads for the stairs. Out of the corner of his eye, he catches sight of a beautiful female ghost in flowing white robes. She illuminates a brilliant white light. PROFESSOR Hello? Have we met? Hi. The ghost lures the Professor down the corridor. We are in a different section of the hallway. The Professor continues to follow the ghost. He has a bit of trouble keeping up. PROFESSOR -LRB- CONT'D. -RRB- -LRB- calling after. -RRB- Ummmm. Hello? Umm. The Professor follows into yet another area of hallway. The ghost temps the Professor into a pitch black corridor. PROFESSOR -LRB- CONT'D. -RRB- Ummm. Are you Mrs. Hanson? -LRB- ALTERNATE. -RRB- Ummm. Who are you, you gorgeous creature? The Professor disappears into the darkness. He takes out a lighter to illuminate his way. PROFESSOR -LRB- CONT'D. -RRB- Hello? Hello? Are you hiding? -LRB- ALTERNATE. -RRB- Where are you, sexy pants? A horrific look crosses the Professor's face. The beautiful spirit morphs into Hugh Kane's Ghost. The Professor takes a beat. PROFESSOR -LRB- CONT'D. -RRB- -LRB- resigned. -RRB- What the hell? I've done worse. The Professor walks into the darkness. -LRB- REST OF SCENE TO COME -RRB-",
"INT. ALEX'S BEDROOM -- NIGHT Alex sits in front of her vanity mirror, wearing a sexy robe and nightgown. She brushes her hair, humming to herself happily, full of anticipation. She takes her perfume - `` Obsession'' - and dabs some on her neck, behind her ears, inside her thighs. Then she puts the bottle to her mouth and - glug, glug, glug - drinks the whole thing down like Gatorade. Alex applies hot wax to a waxing strip then to her legs, tearing it off. Satisfied her legs are smooth, she does her underarm. She then applies a wax - soaked strip between her legs then tears it off. ALEX Ouch! She checks the strip to reveal her pussy lips stuck to the strip. ALEX -LRB- CONT'D. -RRB- Oops. She puts them back between her legs. She rises and walks over to the old 19th century - style portrait of the supposed ghost, which once hung prominently downstairs. It now sits propped up in a corner of her room with a shrine set up all around it consisting of candles, little `` I love you'' hearts, and her vibrator. Alex walks over to the portrait, regards it lovingly for a moment, and then kisses the figure sweetly on the lips. Then she works her way down the portrait - hungrily kissing, nibbling, and licking. When she pulls back, seductively, the cobwebs, dust and spiders that were clinging to the portrait are now all over her face. She does n't care, she simply brushes them aside - she's in love. RADIO D.J. -LRB- O.S. ;O. S. -RRB- This one goes out to that someone special from Alex over at the Hell House. She says that even though you two have only known each other for a short time now, she feels a certain connection to you that she's never felt with any man alive. And even if it does n't work out between you two, she wants you to know that there will always be a special place for you in the heart. So, Poltergeist, this one's for you. Alex climbs into bed and spreads rose petals all around. Everything's ready. She sits back and waits. While she waits, she puts the time to good use by doing some sexual calisthenics. She lies flat on her back, sticks her legs in the air, and stretches them wide apart a few times. One - two - three -, one - two - three. Then she gets on all fours and does a few stick - your - ass - high - in - the - air stretches. One - two - three. Then she does the simulated oral sex gesture, first with the right hand, then with the left, making sure her forearms are nice and loose. One - two - three, one - two - three. A few facial and mouth exercises and she's done. ALEX Well, I'm going to sleep now. So, if there's some ghostly man out there who wants to take advantage of me, there's probably nothing that I will be able to do about it because I'm really a heavy sleeper! Okay, here I go. Alex gets under the covers and pretends to fall asleep. A beat and Alex opens her eyes and looks around. ALEX -LRB- CONT'D. -RRB- I'm asleep now. I really am. She closes her eyes. A count of ten and she sits up.",
"INT. DOWNSTAIRS FOYER -- MOMENTS LATER Just as the GANG is about to leave the house, a LOUD RUMBLE, along with a violent wind, all the doors and windows lock. Everyone desperately tries to open a door or break a window. CINDY He wo n't let us go. He's going to kill us. DWIGHT Quick, everyone to the lab.",
"INT. BASEMENT STAIRS -- MOMENTS LATER Dwight leads everyone to the basement door. He opens it. A long flight of concrete steps. DWIGHT Those steps look kind of hard. I'm gon na need some help. By now, the group is so used to Dwight going down steps, they simply give him a push. Dwight goes tumbling down the hard steps. The gang running behind him. Dwight lands hard at the bottom of the steps. The group tramples him as they rush by. DWIGHT -LRB- CONT'D. -RRB- -LRB- heroic. -RRB- Do n't mind me. Save yourselves.",
"INT. LAB -- CONTINUOUS Everyone assembled inside. Dwight finally catching up, his wheels slightly bent and his glasses, a mangled mess. DWIGHT Quick. Lock the door. BUDDY and SHORTY lock the door. CINDY What are we gon na do? DWIGHT We have to destroy him. RAY How we gon na destroy what we ca n't see? SHORTY I got it! We shave off our pubic hairs and use the shampoo for ten days. What? Ya'll never had crabs? Dwight rolls over to a complex machine with a circle marked on the floor in front of it. DWIGHT Ghosts are just energy fields. We can capture that energy. We can dissipate it! But in order to do that, we've got to get him in here. On that spot. BUDDY That's great Einstein. How are we gon na do that? There's a powerful force out there ready to render us helpless, tear on our flesh, and penetrate our bodies. RAY He's right. I should go first. BRENDA He's so brave. Dwight rolls over to a supply cabinet, opens it and starts to hand out equipment. Dwight is arming the teenagers, giving them each a strange looking gun. DWIGHT These are highly experimental guns that emit a bolt of concentrated energy able to damage ectoplasmic cells, giving it the ability to injure or even destroy a ghost. There is no ammunition. You only get three shots a piece, so use it very wisely. Goofing with his gun, shorty fires it at Brenda's butt, burning it. BRENDA Hey! Shorty laughs. DWIGHT Conserve your ammunition! SHORTY Sorry. right, right. Shorty is startled by a cockroach and shoots it. DWIGHT The only way we're going to track down these ghosts is if we're all wearing one of these. Dwight pulls out a DICK PUMP! They all look at him crossed. Dwight realizes what he's holding in his hand. BUDDY A dick pump? DWIGHT I mean these! Dwight holds up a pair of goggles. DWIGHT -LRB- CONT'D. -RRB- These are thermo - goggles. The kids are putting on their goggles, trying them out. DWIGHT -LRB- CONT'D. -RRB- These can be used to track the ghosts. These goggles work on the principle of body heat. They're so powerful, they'll even show where body fluids of any kind have been recently, even if it been wiped clean. The kids look at each other and notice Dwight has goo in his face. DWIGHT -LRB- CONT'D. -RRB- He may be invisible, but we have the advantage of being armed with the most innovative and complex high - tech equipment known to man. BRENDA How are we gon na stay in touch with one another? Do we have walkie - talkies or something? DWIGHT No, we have these. Dwight brings out several sets of two paper - cups with a string attaching the two. The string is only about 10 - 15 feet long. DWIGHT -LRB- CONT'D. -RRB- All the money was spent on the guns and the goggles. He hands them out. DWIGHT -LRB- CONT'D. -RRB- Let's get that bastard! Alex points her gun at the group. ALEX No, I wo n't let you do it. CINDY Alex, what are you doing? ALEX Shut up, you slut. You think you can take him from me? Well, over my dead body. Alex runs out of the lab. Cindy tries to stop her. Theo steps in the way. THEO Let her go, Cin. CINDY But he'll kill her! THEO That means more screen time for us. DWIGHT Alright, let's split up. BRENDA Every time some scary shit goes down and we need to stick together, you white folks always say `` Let's split up.'' THEO She's right. We should stick together. DWIGHT Alright. Come on, you guys. All four of the white people take off, leaving Ray, Shorty and Brenda behind. SHORTY Ai n't that some shit? Ray, Shorty, and Brenda head off in the other direction.",
"INT. SECRET STUDY/FOYER/LIVING ROOM/DINING ROOM - CONTINUOUS Alex exits the basement, frantically searching for the ghost. She runs into the secret study. ALEX Huey, where are you? The ghost, in the foyer, catches sight of Alex and tries to hide. Alex sees him and starts for the foyer. ALEX -LRB- CONT'D. -RRB- Huey, Huey, baby, we have to talk! To protect himself and do harm to her, the ghost hurls a chair at Alex in the foyer. ALEX -LRB- CONT'D. -RRB- Baby? He hurls a statue at her. Massive boulders come tumbling down the steps in hope of crushing her. Alex runs into the music room, smashing through a television. ALEX -LRB- CONT'D. -RRB- Come on, baby, we can work this out. She takes a few steps and trips over the carpet. ALEX -LRB- CONT'D. -RRB- If we just stick together no one can hurt us, love! The piano flies up, landing on Alex. ALEX -LRB- CONT'D. -RRB- -LRB- in pain. -RRB- I think we have to get a little therapy, Hun. She crawls from under the piano. As Alex heads for the dining room, the door slam shut. Immediately, several knives come flying at her. The knives form Alex's outline in the door. Alex swings the doors open and enters the dining room. Almost immediately, she's pulled -LRB- by the ghost -RRB- across the dining room table, eventually landing full force to the floor. As she lies there, the chandelier drops from the ceiling, pinning her down. Alex is dying. Theo enters. THEO Oh my god! Alex! Theo cradles Alex's head. ALEX I think I'm dying, Theo. I just want you to know, you're the best friend I've ever had. -LRB- she coughs, pained. -RRB- Do you remember that time we met? Theo nods, sadly. ALEX -LRB- CONT'D. -RRB- And remember the time in the sixth grade, at the dance? We wore the same dresses, but that did n't stop us from having the best time ever. Theo looks confused. THEO Um. we - Alex coughs some more. ALEX And remember that trip we took to Africa? That safari was so wonderful. Me, you. best of friends. forever. THEO Uh, Alex, we've only know each other one day. ALEX Oh. I guess I'll die now. THEO Okay. maybe that would be best. Alex closes her eyes, seemingly dying. Theo starts to get up. Suddenly, Alex opens her eyes. ALEX Oh, remember that time I got my training bra and you - THEO Never happened! Theo looks at her watch, impatiently. ALEX Right. well, bye. Alex lays her head down and seemingly dies again. Theo starts to leave. Alex sits up again. ALEX -LRB- CONT'D. -RRB- My favorite memory was when we - THEO Would you die already?! Theo looks around and grabs a pillow, finally smothering Alex to death. Theo slowly gets up, surveying the scene. AS SHE EXITS, WE CUT TO :",
"INT. DOWNSTAIRS FOYER -- LATER THEO AND DWIGHT DWIGHT You check down here, I'll check upstairs. Theo looks confused as Dwight crawls upstairs, dragging his wheelchair.",
"INT. BASEMENT AREA -- MOMENTS LATER Shorty, astray from the rest of the group, tries to find Ray and Brenda. SHORTY -LRB- loud whisper. -RRB- Ray! Brenda! Shorty takes a breather. He takes a seat and enjoys a blunt. SHORTY -LRB- CONT'D. -RRB- Ah! That's what I'm talkin' about. Fuck this ghost hunting shit. I do n't know where to look for no ghost. Shorty exhales the smoke, REVEALS the ghost sitting next to him. GHOST -LRB- menacing. -RRB- Boo! Shorty screams and jumps to his feet. SHORTY Yo, son, why me? What you want with me? Shorty blows out more smoke in an effort to reveal the ghost as he bucks away. It works. Another puff and the ghost's face appears again. GHOST Boo! SHORTY Leave me alone. Stay away from me. Shorty continues the process of toking the blunt and blowing the smoke. Finally, Shorty takes a huge pull, blows the smoke out, and the menacing Ghost face appears. Shorty curls in fear. The ghost approaches Shorty. It's apparent that Shorty is a dead man. The ghost brings his face very close to Shorty's. GHOST -LRB- playfully. -RRB- Boo. The ghost laughs, hysterically, obviously high.",
"INT. BASEMENT AREA -- CONTINUOUS Ray and Brenda. BRENDA You hear that? She notices Shorty is gone. BRENDA -LRB- CONT'D. -RRB- Where's Shorty? RAY I do n't know. He was right behind us. Wait here. I'll be right back.",
"INT. BASEMENT AREA -- CONTINUOUS Shorty and the ghost are joking it up. SHORTY -LRB- singing. -RRB- THERE'S SOMETHING STRANGE IN YOUR HOOD. GHOST WHO YOU GON NA CALL? SHORTY/GHOST GHOSTBUSTERS! SHORTY Hey, shotgun. Shorty blows smoke in the ghost's face. They inhale. It appears that Shorty has inhaled the ghost. A count of two. Shorty exhales, blowing the ghost out. GHOST That was awesome. The ghost runs straight at the wall, and goes through it. He peeks his head through. GHOST -LRB- CONT'D. -RRB- You try. Shorty takes a hit off the blunt then charges at the wall. SLAM! Shorty knocks himself unconscious.",
"INT. BASEMENT FURNACE ROOM -- MOMENTS LATER Cindy and Buddy enter the furnace room. BUDDY Where the hell are we? CINDY It looks like the furnace. BUDDY Let's get outta here. CINDY Wait, I want to check something. Give me a hand. Buddy helps Cindy open the large furnace door. The inside of the furnace. Black ashes is all that can be seen. Cindy picks up an iron poker and pokes around the ash. BUDDY What are you doing? Cindy sees something. She stops. CINDY I found Hugh Kane's wife's diary. It said Hanson the caretaker died in the furnace. Cindy clears away the ashes to REVEAL a human skeleton. BUDDY Well, if that's Hanson, then who's the guy with the hand? CINDY Hugh Kane. Suddenly, the skeleton comes to life. It rises from the ashes. Buddy and Cindy run. The skeleton follows. CINDY -LRB- CONT'D. -RRB- Let's split up and meet at the other end.",
"INT. BASEMENT AREA -- CONTINUOUS Brenda. She hears someone yelling. Brenda peeks around the corner. She sees Cindy running towards her. Cindy is screaming for help. Brenda ducks behind the wall. CINDY Help! BRENDA Now, why that bitch got ta bring that shit this way? I hope she did n't see me. Brenda peeks around the corner. Cindy trips and falls. The skeleton gets closer. BRENDA -LRB- CONT'D. -RRB- Good! I hope that shit kills her and just leaves. God is looking out for me. Cindy is back to her feet and hauling ass. Brenda ducks back behind the wall. She is now nervous and shaking. The screams get closer. Brenda begins to pray. BRENDA -LRB- CONT'D. -RRB- Lord, if I die, I'm going to fuck this bitch up for getting me involved. Cindy rounds the corner to discover the dead end. CINDY Oh my God! We're dead! BRENDA It would've just been you, if you would've kept your mouth shut. They hear the footsteps getting close. CINDY It's coming! BRENDA What?! What is it, a monster?! The skeleton turns the corner. Cindy sees him first. CINDY Aahhh! There it is! Brenda turns and sees the skeleton. Her fear subsides. BRENDA Aw, shit girl. This what you're running from? He ai n't nothing but a skeleton. His skinny little ass ca n't hurt anybody. Brenda just stands her ground. This skeleton runs up and grabs Brenda by the arm. Brenda makes a face as if she's not very impressed. BRENDA -LRB- CONT'D. -RRB- What? this ai n't shit. With the skeleton still gripping her arm, Brenda raises her arm, effortlessly lifting the skeleton off the ground. It hangs there, looking worried and looking down at it's feet dangling. BRENDA -LRB- CONT'D. -RRB- -LRB- to Cindy. -RRB- It's just a bunch of old bones. No muscle, no strength. He hardly even weighs anything. She flicks the skeleton off her arm. It hits the ground. Dazed, it gets back on it's feet. Brenda stomps her feet and moves like she's going to jump at it. The skeleton cowers, throwing up its arms and looking scared. BRENDA -LRB- CONT'D. -RRB- What you gon na do? As the skeleton tries to run, Brenda plucks off its head. Cindy smiles, realizing the skeleton poses no threat. Skeleton Head Hey, give it back. Brenda and Cindy play Keep - Away with the skull. The skeleton's headless body running back and forth between them, arms flailing, trying desperately to get its head back. Finally, Cindy catches the skull, moves aside and sticks her leg out, tripping the body. It tumbles to the wall and lies there. Brenda reaches down and grabs the bottom section of the skeleton's spine, destabilizing the body. Like a house of cards, all of the bones crash down into a heap. Brenda holds a bone to her head. BRENDA Hey, look, I'm Wilma Flintstone. CINDY Hey, I have an idea.",
"INT. BASEMENT AREA -- FEW MOMENTS LATER The skeleton is put back together, but completely messed up. It's hopping on one hand, it's head stuck on its tail bone, one leg sticking balanced on top of the rib cage, etc.. BRENDA Go on, get out of here. The skeleton goes hopping along the hallway, humiliated.",
"INT. BASEMENT HALLWAY -- LATER Buddy joins Cindy and Brenda. BUDDY You guys okay? BRENDA Yeah, it takes more than a bag of bones to scare me. Suddenly, Buddy is lifted off his feet, his arms and legs swinging wildly. CINDY Oh my God, the ghost has Buddy! Brenda do something! BRENDA Okay. Brenda takes off running. Cindy watches, confused. BUDDY Help! Cindy fires at the pipes, one burst. The steam REVEALS the ghost. Cindy has a clean shot. She takes it. The ghost is hit. He drops Buddy and flees. Buddy falls, bangs his head. CINDY -LRB- rushing to Buddy. -RRB- Are you okay? Buddy checks his head. BUDDY Yeah, I think I'm bleeding. CINDY Come on. There's a first aid kit in the lab. Cindy helps Buddy to his feet. They head to the lab.",
"INT. SECRET STUDY -- LATER THE FOLLOWING SCENE IS SHOT ENTIRELY FROM THE GHOST'S POV : The Ghost enters to see that the room is no longer a mess, but has been cleaned with a woman's touch. First, he spots a teddy bear sitting in his chair. He sees flowers placed around his portrait. A vase of roses on his desk. There are a pair of woman's panties on the desk lamp. He picks them up to inspect them. Disgusted, he throws the panties on the floor. The ghost then catches sight of a three - layered wedding cake set on a table. Finally, he sees that Alex has pasted a photo of her face, over the face of his beloved Carolyn in her portrait. This sends him into a tirade. He smashes the vase of flowers to the floor, before doing the same to the wedding cake. The ghost smashes the mirror. Finally, he tears Alex's photo from the painting. AS HE BACKS AWAY, WE :",
"INT. LAB -- A FEW MOMENTS LATER Cindy is tending to Buddy. BUDDY Cindy, I've been thinking about this whole friend thing. I never had a friend that cares for me the way you do. I mean, there's Ray, but he cares for me in a different way. You know, bringing me flowers. Running my bath water. And then there's nights I wake up screaming and I look over and Ray's in my bed. Holding me. And seeing that tonight might be our last night together, I was thinking. CINDY That we should take our friendship a little further? BUDDY Yes. CINDY Oh, Buddy, I was thinking the same thing. It might be our last night in this house. And I think we should take full advantage of it. BUDDY -LRB- excited. -RRB- I was thinking the same thing. He pops a mint in his mouth and unbuckles his pants. CINDY -LRB- lost in thought. -RRB- We should act out our inner most fantasies. BUDDY Great! CINDY Like, I've always wanted to walk on the moon. BUDDY Huh? Cindy turns around and does a slow motion imitation of an astronaut. CINDY What about you, Buddy? BUDDY Well, I was hoping to get my balls licked. They hear a noise. CINDY He's here. BUDDY Shit! Cindy gets an idea. She runs in the freezer, and grabs several bags of blood. Suddenly, she hears a noise. Cindy stops and looks around. She sees nothing. Cindy begins to open bags of blood and pours them on the floor. She empties out all of the blood. Suddenly the phone rings. She answers. CINDY Hello?",
"INT. HOSPITAL ROOM -- SAME TIME. A DOCTOR is on the phone talking with Cindy. A DYING LITTLE BOY lays in the hospital bed with his PARENTS standing over him, crying. DOCTOR Yes, this is Doctor Peterson. I'm calling for Dwight Hartman. He was storing some blood over there for me. It's for a little boy who's in desperate need of a blood transfusion.",
"INT. LAB -- CONTINUOUS Cindy, on phone looks down at all the blood spilled out on the floor, shocked. CINDY -LRB- Mexican accent. -RRB- Dwight Hartman, no live here. Cindy slams down the phone. She watches the blood carefully, looking for footprints. She sees nothing. Behind her, she hears a noise. She turns and is slapped hard in the face by the ghost. She raises her gun, but the ghost is too quick. He smacks it from her hand. The ghost smacks Cindy, sending her flying into the freezer. Cindy falls hard, hitting her head, and dazing her for a brief moment. Buddy attacks the ghost. The ghost is strong and easily punches Buddy around. Buddy is thrown into the freezer. He's hurt. Cindy gets up and rushes to help Buddy.",
"INT. FREEZER -- CONTINUOUS Suddenly, the door locks and is bolted shut. The temperature gauge is broken. The temperature begins to drop. Cindy rushes to the door. Through the window, she sees the ghost leave. BUDDY We got ta call for help. Cindy holds up her cup and talks into it. CINDY Hello? Do you read me? Come in. It's useless. They do n't work in here. must be the walls or something.",
"INT. UPSTAIRS HALLWAY -- NIGHT Dwight is looking for the ghost. Dwight sees the ghost through his goggles. The ghost is playing hide - and - seek with Dwight. DWIGHT -LRB- angry. -RRB- Come on you coward! Show yourself! Fight me like a man. Suddenly, Dwight's wheelchair is rammed by another wheelchair driven by the ghost. Dwight takes off. The ghost follows. Dwight and the ghost zigzag down the hallway bumping and cutting each other off. The wheels of the two chairs lock together sending them into a 360 degree spin. Dwight, his hair is flowing. Matching shot of the ghost. The chair crashes into the banister. It breaks the back of Dwight's charm which dangerously hangs over the edge. Dwight gains control. As the ghost chair approaches, Dwight speeds towards the ghost. Just before the chairs pass each other, Dwight leaps out and hangs on the side, firing his gun at the ghost. The ghost ducks and the shot misses him. Dwight is dragged painfully through the hallway smashing into open doors, statues, cupboards. Finally, Dwight leaps back into the chair. Not a moment to soon. The ghost chair whips in front of Dwight. Dwight thinks fast. He uses a broken table as a ramp. He catches some good air. Dwight lands, slams on the brakes, sending his chair tipping forward. Dwight shows his skills by spinning his chair as it balances on the front wheels. Dwight and the ghost chair now are at opposite ends of the hall. The scene plays very dramatic and in SLOW - MOTION. Dwight in his wheelchair at one end of the hall and the ghost in his wheelchair at the other end. WHITE DOVES begin to flutter through the hallway ala a `` JOHN WOO'' movie. One of the doves flies by in slow motion. It plops right on his face. The tires of Dwight's wheelchair begin spinning and squealing, burning rubber and causing smoke to come from the tire. The ghost's wheelchair tires burn rubber and starts barreling toward Dwight at full -LRB- wheelchair -RRB- speed. Dwight starts rolling with all his might toward the ghost in his wheelchair. Coming towards each other like the motorcycle scene in `` MI :2''. THE GHOST'S WHEELCHAIR It speeds towards Dwight. DWIGHT IN HIS WHEELCHAIR He speeds toward the ghost in his chair. Dwight is going so fast that his hair is blowing back and bugs start splattering up against his face and sunglasses. Like two speeding trains, Dwight and the ghost are headed right towards one another. DWIGHT'S WHEELCHAIR One of his tires blows out. We see that it reads `` FIRESTONE.'' Dwight still races towards the ghost. Right when they are about to collide head on, Dwight leaps up out of his wheelchair and the ghost leaps out of his wheelchair. The two wheelchairs impact and EXPLODE! Dwight goes to grab the ghost, but he goes right through it and goes crashing out of the window at the end of the hallway. DWIGHT -LRB- CONT'D. -RRB- Noooo!",
"EXT. HELL HOUSE -- NIGHT Dwight, dangling from a statue on the house exterior. He's slipping, losing his grip. Suddenly, in the window above, appears Hanson. He extends his little arm out to Dwight. HANSON Here. Take my hand. Hanson's nubby little hand. HANSON -LRB- CONT'D. -RRB- Come on. Take it. Dwight ca n't bring himself to touch the little hand. He looks at the ground below. It's sure death if he falls. Hanson reaches further. We see his fingers as they touch Dwight's hand. DWIGHT Ahhhh! Dwight lets go and falls to his death.",
"INT. FREEZER -- MOMENTS LATER Frost has built up on the window. Icicles hang off of our hero's. BUDDY -LRB- practically frozen stiff. -RRB- What are we gon na do? I'm cold. I ca n't move, I'm so cold. CINDY -LRB- rubbing his legs. -RRB- Can you feel that? BUDDY No. Try a little higher. Cindy starts rubbing his thighs. CINDY Feel that? BUDDY -LRB- enjoying it. -RRB- No. Keep rubbing. Cindy starts rubbing harder. BUDDY -LRB- CONT'D. -RRB- Better try a little higher. CINDY -LRB- catching on. -RRB- Now, come on - you know I'm not ready for that kind of - BUDDY Cindy, please! It's a matter of life and death. I'm asking you a friend. CINDY Well. okay. but only as a friend. Cindy makes ready to start rubbing Buddy's dick. Buddy leans back, getting ready to enjoy it. He puts his arms around his head, but then realizes that this whole thing depends on Cindy believing that he ca n't move his arms, so he quickly puts them back where they were before Cindy realizes what he's done. Cindy is still rubbing Buddy's crotch. BUDDY I'm coming! BUDDY EXPLODES Cindy, eyes wide as she looks down. She jumps back just as the goo flies towards her. The goo. It freezes in mid - air. Cindy knows there's no more time to waste. She desperately scrambles for a way out. She tries the door, but it's bolted shut. She looks over to see some loose nuts and bolts, a wire and a defibrillator. She goes to work piecing something together, MacGyver - style. Quick cuts of her snapping a wire loose. She magnetizes the nuts and bolts. She turns on the defibrillator. We pull back to reveal Cindy has built with the loose scraps a CAT BULLDOZER. Cindy helps Buddy out of the freezer. CINDY You stay here. I've got to warn the others. Cindy exits.",
"INT. BASEMENT HALLWAY -- MOMENTS LATER CINDY -LRB- into her cup. -RRB- Come in somebody. Can you hear me? RAY -LRB- V.O. ; V.O. -RRB- This is Ray. What's up? Where are you? CINDY The ghost is close. He almost got us. Buddy is hurt. RAY -LRB- V.O. ; V.O. -RRB- What's your location? I repeat, what's your location? CINDY Right behind you. REVEAL: Cindy standing behind Ray. RAY Roger that we're on our way over. Ray turns to Cindy. CINDY Where's Shorty? RAY I do n't know. He was right behind me a minute ago.",
"INT. KITCHEN -- LATER MUSIC : The same gentle piano music as in `` Hannibal.'' Cindy walks into the kitchen and sees Shorty seated at he table, strapped to a chair. Hanson is nearby, grilling something on a portable grill and conversing amiably with Shorty. Alarmed, Cindy grabs a snow globe. Cindy hides the snow globe behind her back. HANSON Ah, Cindy. Sit down, dear. Dinner's almost ready. Cindy manages a smile and nears the table. HANSON -LRB- CONT'D. -RRB- Oh, and the little weapon you're hiding? Put it on the table. Caught, Cindy sheepishly places the snow globe on the table and moves to sit. HANSON -LRB- CONT'D. -RRB- Come now, give it up. Cindy pulls a heavy little statuette from under her shirt and clunks it down next to the snow globe. Hanson shakes his head no and gestures for her to come clean with what else she has. Cindy keeps pulling out more weaponry, tossing it on the table. a bear - trap, a crowbar, a medieval battle axe, a crossbow, case of dynamite, and a Star Wars lightsaber, which she turns on and tosses onto the pile. Cindy sits. Hanson goes back to his cooking. CINDY -LRB- whispering. -RRB- Shorty, are you alright? Speak to me! Shorty is slumped and dazed, drooling on himself. Cindy notices some hypodermic needles, chloroform and a rag. CINDY -LRB- CONT'D. -RRB- -LRB- to Hanson. -RRB- Morphine? chloroform? Horse tranquilizers? You've drugged him! HANSON No, actually, I found him like this. That's his stuff. With growing alarm, Cindy notices a cookbook on the table : `` Martha Stewart's Easy Brain Recipes'', featuring a picture of a pleasantly smiling Martha Stewart on the cover, her mouth and chin soaked in blood and gore, clutching a chewed brain in her hand. HANSON -LRB- CONT'D. -RRB- Sit down and join us, Cindy. SHORTY -LRB- to Cindy. -RRB- Yeah, I always wanted to watch you eat. CINDY She'd have to be really pretty and I'd have to be very drunk. SHORTY -LRB- delirious. -RRB- I'm going to work in Washington, Cindy. CINDY Are you? SHORTY That's where my best customers are. Marion Berry, George Bush, the Redskins. I'd like to offer you a job, Cindy. Can you type? Take dictation? Swallow balloons filled with cocaine? HANSON Now you're being rude, Shorty. SHORTY Washington is full of cornpone country pussy - just ask Jesse Jackson. Hanson puts down his spatula and steps to Shorty. HANSON Alright! Everyone ready for the main course? Hanson pulls off Shorty's sweatband and take a can opener to Shorty's head, running it all the way around the crown as Cindy looks on in horror. Cindy gasps as Hanson lifts off the top of Shorty's head, revealing his brain. It's a sad sight. Small and underdeveloped, it's surrounded by smoke. Corroded and half smoked away. There's a small band - aid on it. Hanson puts the top of Shorty's skull on his own head, hair and all. HANSON -LRB- CONT'D. -RRB- -LRB- a la Shorty, gesturing with a little hand. -RRB- Yo son, check this out. SHORTY Dog, you look hot. Hanson grabs a knife and goes to carve the brain. CINDY Hanson, please. HANSON Do n't worry Cindy, the brain itself feels no pain. Hanson cuts into it. The brain screams in fright and shrinks away from the knife, compressing itself into a corner of Shorty's skull. Hanson stabs over and over, the brain gracefully avoiding being cut, moving from corner to corner of the skull. It trembles. Hanson watches and aims carefully, finally sticking the knife into the brain. HANSON -LRB- CONT'D. -RRB- It's such a fascinating organ. Hanson points out a section. HANSON -LRB- CONT'D. -RRB- This part here controls intelligence. Watch what happens when I touch it. Hanson touches it. SHORTY -LRB- suddenly smart, with a British accent. -RRB- Salutations, offspring. The fecal matter is infirm. By the by, I do not wish to monopolize the conversation, but I believe I've just figured out the cure for cancer. It's really quite simple - Hanson takes his finger off the brain and points out another section : HANSON And this part controls a person's manners. Shorty starts to belch and fart uncontrollably, wetting his pants. CINDY Stop touching his brain! HANSON Um, I'm not touching anything. SHORTY Sorry, y' all. My bad. HANSON Shorty, why do n't you say grace? SHORTY Me? Grace? Okay - Dear God - Just as Shorty bows his head, the little brain plops out onto the table. Hanson picks it up and puts it back in. SHORTY -LRB- CONT'D. -RRB- Amen. Hanson now carves a little section of the brain. HANSON This part removes the sense of humor. SHORTY I am Tom Green, I am Tom Green. Daddy want some sausage, sausage. Daddy want some sausage. Hanson drops the piece of brain on the frying pan. Cindy looks over and looks at the grill Hanson is using. A logo in the side reads : `` the George Foreman Brain Grill'', with a picture of George Foreman's smiling head next to the words. The top of George Foreman's head is missing, revealing his brain. Hanson takes the brain tidbit off the pan - it has grill marks now, and serves it to Shorty. Shorty starts hooking up the piece of brain with the hot sauce, pepper, salt, `` A - 1'' steak sauce, melted velveta cheese, etc. Hanson starts scraping the leftovers off the dishes into Shorty's head. Cindy grabs the snowglobe and goes after Hanson, but Hanson grabs her just as it's about to strike and slams her back against the refrigerator, getting in her face, locking her hair in the door and breaking off the handle. HANSON Tell me, Cindy. Would you ever tell me `` Stop. If you loved me you'd stop.'' CINDY Not in a thousand years. Hanson leans in and presses a kiss against Cindy's lips. CINDY -LRB- CONT'D. -RRB- -LRB- muffled. -RRB- Stop! - HANSON -LRB- pulling away. -RRB- Made you say it! Suddenly OFF SCREEN we hear handcuffs clicking closed. Pull back and reveal that she's handcuffed his small hand to her. The handcuff is extremely loose on his hand. OFF SCREEN Hanson hears Brenda and Theo approaching. Looking around, he grabs a cleaver. Then he slams his and Cindy's cuffed hands on the kitchen counter. HANSON -LRB- CONT'D. -RRB- It looks like I'll have to give you something to remember me by. This is really going to hurt. Cleaver come down hard. CU of Cindy screaming in SLO - MO.. REVEAL Hanson's crooked penis on the counter, the foreskin cut - off. HANSON -LRB- CONT'D. -RRB- I've been meaning to do this since my Bar Mitzvah. Here. Hanson hands her the piece of foreskin. As she stares at in horrified shock, Hanson slips his baby hand out of the cuffs, no problem, and runs off. Cindy runs after him, hair still caught, dragging the refrigerator after her. Theo and Brenda arrive. BRENDA Cindy, what's going on? CINDY It's Hanson, he's evil. Let's get him! The girls free Cindy and they run off. Cindy's hair is frozen stiff in the air with a pork chop stuck to it. They leave Shorty behind, passed out at the table.",
"INT. LAB -- LATER Ray and Buddy are scoping out the area. Suddenly, there's a knock at the door. As the knob begins to turn, Buddy and Ray take aim. The door opens. A very disheveled Dwight, on his hands and knees, appears. DWIGHT Ouch. -LRB- ALTERNATE. -RRB- Mommy. Buddy and Ray help Dwight into a chair. BUDDY Dwight, are you okay? DWIGHT I ca n't feel my legs. RAY You never could feel your legs. DWIGHT What do you know about it?! Listen, the ghost is too powerful. The only chance we have is to use this machine. -LRB- to Buddy. -RRB- I need you to go get the others and meet us upstairs. BUDDY Okay. Buddy runs out. DWIGHT -LRB- hesitantly. -RRB- Alright. I might need your help. RAY My help? DWIGHT A little bit. Give me your belt. RAY I'm not even wearing any drawers. Forget about a belt. DWIGHT Okay, give me my belt. Ray checks Dwight's pants. RAY You're not wearing a belt. DWIGHT Alright, go to the belt store. AS THEY CONTINUE, WE :",
"INT. BASEMENT HALLWAY --NIGHT Cindy, Brenda, and Theo start to lose articles of clothing. Cindy removes a pin and lets down her hair. MUSIC CUE : INDEPENDENT WOMAN Our girls now resemble `` Charlie's Angels.'' Hanson comes upon a locked gate and cartwheels between it. Brenda and Theo brace their hand and help Cindy over the gate. Cindy leaps over the fence and grabs a chain hanging from the ceiling and swings toward the Hanson. She kicks him in the chest. He falls to the floor. Cindy drops from the chain as Brenda and Brenda climb the gate in cat - like fashion. Hanson rises to his feet and strikes a defensive pose. It's Cindy and Hanson. She takes a running leap and kick at Hanson ala Cameron Diaz in `` Charlie's Angels.'' She slowly moves through the air at him until Hanson picks up a bat. Cindy sees this and begins to back peddle, but it's too late. Hanson swings and connects. SWACK! He beans her in the head and she goes flying. The girls gather again on the other side in front if a fountain and assume the famous `` Charlie's's Angels'' pose with Theo and Brenda holding one leg up as Cindy squats in the middle. Now with the fountain behind them, it appears all girls are taking a piss. The girls are closing in. Hanson knows it. THEO Brenda! Hanson snatches one of Brenda's braids and runs it under his nose smelling it like the villain in `` Charlie's Angels.'' Brenda, angry, assumes a fierce, expert looking Kung Fu pose - but then breaks into a girlish schoolyard fighting technique, arms pin - wheeling, etc.. Hanson then takes on Theo. She runs to back wall, flips and roundhouse kicks him. Hanson throws Theo into a wall. Her boobs expand and break her fall. It's now just Cindy and Hanson. Cindy begins to display different Kung Fu fight techniques. CINDY The Crane style! She does CRANE - like fighting moves - CINDY -LRB- CONT'D. -RRB- The Crouching Tiger style! She does TIGER - like fighting moves - CINDY -LRB- CONT'D. -RRB- The Drunk Monkey! Cindy starts stumbling around the room, acting drunk and making monkey noises. CINDY -LRB- CONT'D. -RRB- The Mad Cow! Cindy frowns, making a mad face and starts `` mooing'' like a cow! CINDY -LRB- CONT'D. -RRB- The Horny dog! Cindy begins humping Hanson's leg wildly. Then she gets carried away with her impressions of different animals, a deer, a bear, etc.. Hanson watches her totally entertained. CINDY -LRB- CONT'D. -RRB- The Camel Toe! This move disgusts Hanson. Cindy does the `` Crouching Tiger'' tornado - spin upwards and land on a higher level,,,, -LRB- JOKE TO COME -RRB-. Cindy finishes her moves and backs - up as Hanson starts to short circuit. The girls run in and they all watch the ghost starting to combust. Buddy runs up from the hall to the fence. BUDDY You got ta get out of there! He holds open the gate as the girls run down the hall. They give one last look back as Hanson explodes. Buddy, Brenda, Cindy and Theo run to the lab.",
"INT. LAB -- MOMENTS LATER Buddy, Brenda, Cindy and Theo enter to find Ray and Dwight there. DWIGHT There's only one thing left to do. You guys, go upstairs and get the machine ready!",
"INT. MUSIC ROOM/FOYER -- MOMENTS LATER The group is gathered. Dwight is strapped to Ray's back. DWIGHT Someone is going to have to lure him onto the platform. CINDY I'll go. BUDDY Cindy, Let me. CINDY No, Buddy, I'm the one he wants. BUDDY Actually, I was going to say let me have your computer if you die. Cindy moves to the foyer. DWIGHT Cool, but remember, as soon as he gets on the platform you got ta get out of there. -LRB- ALTERNATE :. -RRB- Nobody wants to go. CINDY Alright, let's take a vote. Rest to come. Cindy crosses into the foyer. Buddy, Ray, Dwight, and Theo stand in the doorway. The machine is gathered at the bottom of the steps. Cindy moves about, yelling to the ghost. CINDY -LRB- CONT'D. -RRB- Hugh Kane, it's me you want, come get me! I'm not afraid anymore! Show yourself! Suddenly, the foyer windows explode. The ghost breaks through the window. Coming down the steps, he trips and falls. The ghost rises into frame, stepping on the machine. GHOST Prepare to die! -LRB- ALTERNATE LINE :. -RRB- Now you will be mine forever! Cindy stands in the circle. Buddy throws the switch. A digital read - out. 10. 9. 8. 7. BUDDY Cindy, get outta there. You'll be killed. -LRB- ALTERNATE :. -RRB- Do something, Dwight! DWIGHT I ca n't, she's still on the platform. If I throw the switch she'll die. Ahh! No! RAY I'll get her. With no concern for his safety, Ray, still with Dwight strapped to his back, bolts towards Cindy. Ray. He's running in dramatic slo - mo.. THEO Why is he running so slow? Brenda shrugs. BRENDA Ray, run faster. RAY Okay. Ray looks back and nods. He breaks outta slo - mo and speeds towards Cindy. Digital read - out. 3. 2. 1. Ray tackles Cindy, hurling her out of the way just as the machine's energy field zaps the ghost. Cindy, Ray and Dwight hit the ground with a bone - jarring impact. CINDY Ray, you saved my life. Are you okay? RAY Yeah, I broke my fall. Dwight, all wuzzy, complains. The force - field turns on and the ghost is instantly in agony. He screams. Cindy manages to drag herself to the ghost. CINDY Do n't fight it. Let it go. It's time for you. Rest time. Peace. Carolyn is waiting for you on the other side. These words make the ghost relax. His evil expression changes. CINDY -LRB- CONT'D. -RRB- Yes, go to her. You will be together with her for eternity. A brilliant, heavenly light ala the final scene in `` GHOST.'' Syrupy music begins to play. The ghost smiles. He places his hand against Cindy's as a kind of gesture of good - bye. Music swells. Ghost rises towards the light. CINDY -LRB- CONT'D. -RRB- Goodbye, Hugh Kane. GHOST Take care of yourself, Cindy. Suddenly, another ghost appears. It's Alex. Ray, Dwight and Cindy turn their heads from the bright light. ALEX There you are, my love. I've been looking for you. Now we can be together forever. The ghost's expression changes to fear. He begins to leave. ALEX -LRB- CONT'D. -RRB- Do n't you float away from me. GHOST No! No! ALEX Do n't you run from me! I'm coming my love! In a flash, both Alex and the Ghost are sucked into the light and disappear.",
"INT. FOYER -- MOMENTS LATER As the Ghost goes off to his wretched eternal fate with Alex in the afterlife, the kids look around at each other. Outside the window, dawn is beginning to break. Birds are chirping. RAY We did it, you guys! We made it! The gang - Cindy, Brenda, Ray, Buddy, Theo and Dwight - hug. Shorty wanders into the room. SHORTY Hey, y' all! What's going on? CINDY Shorty! You're alive! But. what about your head? SHORTY That turned out to be a good thing! It's gon na make smuggling a whole lot easier. Remember that weed? I'm about to get paid. Cindy and Shorty hug. CINDY -LRB- triumphant. -RRB- Come on, guys Let's get out of here. Suddenly, the door opens. A ray of blinding sunlight floods the room. Father McFeely enters with some COPS and EMTS. FATHER MCFEELY I'm afraid we're too late. The kids watch, confused, as the priest and the officers rush past without acknowledging they're even there. The kids look bewildered. COP # 1 WALKS UP TO COP # 2 COP #2 I found one in the kitchen. COP # 3 runs up to Cop # 1 and Cop # 2, very excited. COP #3 There's ass, blood and guts everywhere! Cop # 1 gives them the `` thumbs up'' and walks away without saying a word. Cop # 3 and Cop # 3 walk away. On the back of each of their jackets reads `` DIRECTOR'S RELATIVE.'' Then Cop # 1 walks away revealing the back of his jacket, `` JUST AN EXTRA.'' Cindy runs up to Father McFeely. CINDY Father! MCFEELY My child, you're alive! CINDY Yes, we made it! MCFEELY We? What do you mean. we? CINDY Me and my friends. You see there was this ghost. He came out of nowhere and. MCFEELY My child you are the only survivor. CINDY No, my friends are right here! The kids stand in a group behind Cindy, but McFeely looks right through them. MCFEELY I'm sorry. CINDY Father, I do n't understand. Tell me what happened? MCFEELY Soon, but first I must bless this house. McFeely walks off. Ray and Dwight, still strapped to each other, watch the entire scenario. They look at the others. RAY You mean to tell me we're dead! DWIGHT I guess so. Ray undoes his belt and Dwight falls of his back. Dwight tries to stand up, but even though he's dead, his legs do n't work. CINDY Noooooooo! Suddenly, a bus -LRB- or car -RRB- drives through, smashing Cindy. THE END POSTSCRIPT Version # 5",
"INT. DORMROOM -- DAY Cindy sits at her desk talking to someone off screen. CINDY Now that we're out of the house and back at school, I know that everything's going to be okay. I'm doubly lucky that I made it out of the house with you. Reveal Cindy is talking to the bird. BIRD Will you just shut up? Shut the fuck up! The PHONE RINGS. CINDY Hello? Oh hi Dad. Yeah, I'm so happy to be back in college. I love my new roommate, but I have to say I was a little nervous at first because she's so religious. Show Megan fucking herself with a crucifix. MEGAN Let Jesus fuck me! Megan's head spins around, then she spews green vomit and piss everywhere. CINDY And I got the cutest little parrot. Birds are such clean animals, he's no trouble at all! BIRD Uh, what do they put in this birdseed? The bird sprays shit out his ass all over her wall. CINDY Sorry to bother you about this, Dad but I need you to send me some more money. CINDY -LRB- CONT'D. -RRB- For some reason, the college would n't accept the cash you sent for my tuition. She looks at a stack of 100's that are obviously counterfeit smeared ink, `` One Hundred Dollars'' spelled wrong, Ben Franklin in dreadlocks. Cindy loads some items into a care package ; a copy of `` The Hurricane,'' a shank, a zip gun, a file, a carton of cigarettes. CINDY -LRB- CONT'D. -RRB- Keep checking your mailbox, I'm sending you a care package. Oh, and I'm putting in a little something for your bitch Dwayne. She puts an industrial - size bottle of `` Ass - troglide'' into the box. There's a knock at the door. CINDY -LRB- CONT'D. -RRB- There's Buddy! Got ta go! Bye Dad! Cindy opens the door, and Buddy is waiting there with a bunch of flowers. Cindy smiles, then punches him through the flowers, in the chest. CINDY -LRB- CONT'D. -RRB- Open chest! Buddy is sprawled on the floor with the wind knocked out of him, flowers everywhere. CINDY -LRB- CONT'D. -RRB- Got ta be faster than that, thimble dick! CINDY AND BUDDY EXIT. Megan keeps spewing and swearing. REGAN Fuck me! Fuck me! BIRD Girl, I would n't fuck you if I was lying in the desert dying of thirst, with buzzards all around, and your ass was a water fountain.",
"INT. DORM HALLWAY -- DAY Tommy is pacing up and down the hall, shaking uncontrollably. Ray walks up. RAY Yo' Tommy, what up, man? TOMMY I'm totally freakin' dude. I keep having these nightmares, then I wake up screaming with these awful back spasms. I ca n't take it anymore, man. RAY Aww, man. You just need to chill out. Come on, there's this party tonight it's gon na be fun. Lot's of alcohol and honeys. TOMMY Alright, but I ai n't drinking. and you're gon na have to look after me. RAY Do n't worry, I got your back. Ray puts his arm around Tommy and they walk off down the hall. We see a TATTOO `` RAY FUCKED ME.'' on his back. Ray moves his hand and we see another tattoo that says. `` AGAIN!''",
"EXT. DORM BUILDING ENTRANCE - A LITTLE LATER Buddy and Cindy exit the dorm. Buddy stops Cindy on the steps. BUDDY There's something I really want to share with you. CINDY There's something I want to share with you too. Here, smell this. Cindy swipes her finger under Buddy's nose. Buddy reacts, and Cindy runs off.",
"EXT. PARK - A LITTLE LATER Cindy and Buddy are sitting under a tree together. BUDDY Cindy, about this whole friendship thing. CINDY Yeah, I know, I just love having a guy for a friend. BUDDY I know, but I've been thinking - CINDY -LRB- interrupting. -RRB- I know, but I've been thinking - BUDDY Listen to me I - CINDY -LRB- interrupting. -RRB- Listen to me I - BUDDY Look, what I'm trying to say - CINDY -LRB- smiling, fucking with him. -RRB- Look, what I'm trying to say - Buddy slaps Cindy in the back of the head. BUDDY Stop it! I'm just trying to say I think we should take our friendship to the next level. CINDY Oh. BUDDY I do n't want to be your friend like this anymore. CINDY Then what are we going to do? BUDDY You know, walking on the beach, holding hands, kissing, making love. CINDY That sounds kinda gay, but since you're a guy, I guess it's okay. BUDDY Let's get a hot dog. They get up and start walking. Buddy sees a bee and protects her from it. BUDDY -LRB- CONT'D. -RRB- Hey, look out, a bee! CINDY -LRB- charmed. -RRB- Oh, Buddy, I've never had someone be so protective of me! BUDDY That's what your man is supposed to do.",
"EXT. CAMPUS -- CONTINOUS Cindy and Buddy come upon an ICE CREAM VENDOR busy working on his cart. BUDDY Hey, wan na' share a soda? CINDY Oh, Buddy, that's so romantic. BUDDY Yeah. -LRB- then. -RRB- Can I borrow five bucks? Cindy pulls the cash out of her pocket. CINDY What should we get? BUDDY I do n't care. You pick. CINDY Hot dogs. The vendor turns to reveal it's Hanson. CINDY -LRB- CONT'D. -RRB- Oh my God! Buddy, what are we going to do? No response. Cindy turns to see Buddy sprinting across the campus. CINDY -LRB- CONT'D. -RRB- It was you. HANSON Yes, it was me all along. I killed Hugh Kane and his mistress. CINDY Both of them? HANSON Did n't I just say that? Fucking listen. Anyway, I did it all for Carolyn. He never appreciated her, but I worshipped that woman and still she rejected me. So, I came back for you. Just like I did for Carolyn. CINDY This ca n't be happening? HANSON Now you'll be mine, Cindy. Hanson moves toward Cindy. CINDY Noooo! HANSON Yes! BLAM! Hanson is blindsided by a car which misses Cindy by mere inches, but kills him dead.",
"INT. CAR -- CONTINUOUS SHORTY is driving the car, surprised by the thud. SHORTY What? A girl with a BAG over her head -LRB- the ghoul -RRB-, lifts her head up off his lap, revealing a hole in the bag through which she was blowing him, as we. FADE OUT."
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] | A teenage girl named Megan Voorhees (Natasha Lyonne) becomes possessed by the spirit of Hugh Kane (Richard Moll), the house's previous owner. During a formal dinner party she emerges in her nightdress, insults her mother and the guests, then proceeds to urinate profusely on the floor. In response, Megan's mother (Veronica Cartwright) seeks help from two priests, Father McFeely (James Woods) and Father Harris (Andy Richter). After paying a trip to the bathroom, the men attempt to drive Hugh's ghost out, but the exorcism does not go as planned. After a chain of projectile vomits and various instances of pedophilia, Megan insults Father McFeely's mother. He responds by pulling out a gun and shooting Megan. Meanwhile, Cindy Campbell (Anna Faris), Brenda Meeks (Regina Hall), Ray Wilkins (Shawn Wayans), and Shorty Meeks (Marlon Wayans) are at college, trying to live new lives since having survived the events of the first film. Cindy and Brenda get tagged by a socially maladjusted girl, Alex (Tori Spelling). Shorty is still the same stoner he was before. Ray, still confused about his sexuality, has two new male friends, Tommy (James DeBello) and Buddy (Christopher Masterson). Buddy becomes romantically interested in Cindy, but she rebuffs him. Agreeing to become friends nonetheless, Buddy gives Cindy a not so friendly wedgie. Professor Oldman (Tim Curry) and his charming paraplegic assistant, Dwight Hartman (David Cross), plan to study the paranormal activity at a local haunted mansion called Hell House. They use Cindy and her friends as test subjects. At the mansion, Cindy encounters a foul-mouthed parrot and Hanson (Chris Elliott), the caretaker with a badly malformed hand. Later, the group is joined by newcomer Theo (Kathleen Robertson). They sit down for dinner, but soon lose their appetite due to Hanson's repulsive antics. Later that night, Cindy hears voices directing her to a secret room, where she and Buddy discover the diary of Hugh Kane's wife. Seeing her portrait, they note Cindy's resemblance to her. Meanwhile, other teens also experience bizarre encounters. Hugh Kane's ghost has sex with Alex in her bedroom, but retreats when Alex expresses her interest in becoming the new Mrs. Kane. Cindy gets involved in a fistfight with the house cat, Mr. Kittles. A toy clown (Suli McCullough) attempts to kill Ray, but in a strange turn of events, the clown doll gets raped by Ray instead. A weed-monster rolls Shorty into a joint. It tries to smoke him (and succeeds, much to Shorty's enjoyment as he states: 'I'm getting as high as a motherf**ker!'), but gets distracted by munchies and lets him escape. Professor Oldman is seduced and killed by the ghost of Hugh's mistress. Shorty later encounters the same ghost, but seduces and has sex with her. After Dwight equips the teens with weapons that can injure their spectral enemy, they are pursued throughout the mansion with Alex getting killed by Crane’s ghost. Buddy and Cindy get locked in the walk-in freezer. Cindy gives Buddy a handjob and "revives" him, resulting in him releasing semen blasting Cindy to the door. Cindy then uses a collection of random objects in the room to produce a Caterpillar tractor and escapes the freezer. Hanson gets possessed by Kane and kidnaps Shorty, who is high on drugs. In the dining room, Hanson sets up a cooker and cuts off the top of Shorty's head. Instead of a brain, there is a small man rapping (Beetlejuice) inside. Cindy, Brenda, and Theo team up to fight the Kane-possessed Hanson using moves taken from Charlie's Angels, but ultimate wind up defeated. Dwight regroups with the teens. Cindy acts as bait to lure Kane into a device that will destroy him. The plan succeeds, freeing the group from the house's curse. Two months later, Cindy and Buddy are in a relationship. They are out on a walk when Hanson shows up, closing in menacingly. Buddy disappears as Hanson gets hit by a car, driven by Shorty, who is receiving a blowjob from the ghost that he seduced earlier (much like the opening and closing scenes of the previous movie). | Scary_Movie_2 |
[
"INT. ROOM - DAY (EFX) GIDEON, a strongly built elderly black man, is sitting at a table. On the table is a large bowl of fruit. A crocheted tablecloth hangs over the side of the table. Gideon is dressed in a white suit and wearing a pair of well - polished wing - tip shoes. His hat almost covers his eyes, which are two points of greenish coals. The fruit in the bowl is engulfed in flames. The flames look as if they are DRIPPING from the tablecloth to the floor. Gideon's shoes start to SMOULDER. His shoes BURST INTO FLAMES which spread up his pants leg. His head falls forward as if he had suddenly fallen to sleep. He twiddles his thumbs very slowly in a circle. He crosses his legs as if to get comfortable. The camera moves to a CLOSE UP of his burning shoes. The image of his feet begins to appear through his shoes ; the flames fade ; the background changes as we",
"EXT. GIDEON'S BACKYARD - DAY Gideon's bare feet are resting on reddish dry earth. Gideon is sitting in his backyard under a fruit tree with a Bible resting in his hands. His house is a small, neatly painted bungalow in South Central Los Angeles. Corn, tomatoes, other vegetables grow in the yard. Chickens scratch around. He slowly awakens ; his hands are trembling. He looks around and sees the chickens. He looks up at the sky and sighs, with some relief. SUNNY, Gideon's grandson, five years old, has been watching him from the back window of the house. He leaves the window.",
"INT. HALLWAY - DAY DOLLY SHOT OF SUNNY Sunny peeps in the workroom. Through the crack in the door, a Woman waves to Sunny.",
"INT. WORKROOM - DAY The room is nearly filled with pregnant women and their husbands. SUZIE, Gideon's wife, late 60's or early 70's, a picture of health, is giving a last bit of instruction before the class ends. Some of the people are already preparing to leave. SUZIE Remember, especially you men, that working together now will already have formed a bond before the child arrives. The woman is very sensitive. Somewhere in the room a Male Voice booms out. VOICE -LRB- O.S. -RRB- Tell me about it. There is a bit of LAUGHTER as all start putting away their things.",
"EXT. BACKYARD - DAY Gideon looks over at the chickens, scratching around in the garden. He calls to them, but they do n't respond. He puts his shoes on and walks towards the back door of the house. Entering the house, he stops and waits inside the door peeping out. In a sort of devilish manner he talks to himself. GIDEON Spoiling the little foxes that spoil my vines.",
"EXT. BACKYARD - DAY Shot of the backyard. Nothing. Suddenly, with the grace and suspicion of alley cats, kids jump over Gideon's back fence, look around timidly, and start climbing up his fruit tree. Gideon walks down the steps slowly while humming in a deep voice. He turns the water on and walks over to the tree, trapping the kids. Dangling legs, hanging from the tree, try to scurry up the tree to safety. Gideon sprays the tree with water. Wet kids fall out of the tree and in one motion leap the fence. Gideon cuts the water off and slaps the dirt off his hands. He is quite pleased with himself.",
"EXT. ALLEYWAY - DAY One of the wet kids is watching Gideon as he goes back inside the house. The boy signals the others who slowly follow in single file. They jump the fence and climb back up the tree. They let their half - eaten fruit fall to the ground.",
"INT. BEDROOM - DAY Suzie opens a letter and a picture of a baby falls out. Suzie looks at the picture before reading the letter. She tries to find a place for it among the other baby pictures that cover the entire mirror on the dresser. Gideon comes in and starts to undress. GIDEON My mind plays tricks on me. Is it okay if I take a bath now? SUZIE Everyone is gone. Rhonda is in the bathroom. RHONDA, Gideon's granddaughter, 13 years old, comes out of the bathroom. GIDEON I was looking through my trunk and I ca n't find my toby. RHONDA What's that? GIDEON It is a charm that my great grandmother made me. Everyone notices the worried look on Gideon's face. SUZIE It will show up. RHONDA If my daddy calls, tell him I walked home. SUZIE You be careful and thank you for looking after Sunny. Sunny is asleep on the sofa with a half - eaten apple ready to fall out of his hand. GIDEON Babe Brother and his wife are taking advantage of a situation. I hate to be mean to people but picking Sunny up when they feel like it has to come to an end. Now I'm going to ask him how come he could n't be at your birthday. SUZIE Do n't bother the poor boy. It just takes some people a little longer to figure out who they are. GIDEON I do n't know how two brothers can be so different.",
"EXT. MRS. BAKER'S BACKYARD - DAY SKIP BAKER, who is thirteen, crawls out of his pigeon cage, holding two birds that he throws up in the air. He climbs upon the garage roof and throws rocks at the birds to keep them flying. He WHISTLES and YELLS at them. CLOSE UP OF BIRDS FLYING As the birds circle Skip's house, they do backward rolls and death grips. Skip throws more rocks to keep them flying. The rocks land on Gideon's roof. The SOUND of a person trying to learn how to play a TRUMPET breaks the pleasant SOUNDS of the pigeons popping their wings and flying in circles over the house.",
"INT. MRS. BAKER'S HOUSE, RODNEY'S BEDROOM - DAY RODNEY BAKER is about nine. He stands next to a shaded window, trying to finger the right valves on his trumpet. He tries to hit a high note, but only succeeds in making an awful screeching sound.",
"EXT. MRS. BAKER'S HOUSE - DAY A group of kids walking by Rodney's window shout insulting things about his horn playing. KIDS Shut up! Go help your mama wash dishes!",
"INT. GIDEON'S KITCHEN - DAY Suzie is standing over an egg that just fell on the floor. The SCREECHING SOUND of the trumpet from next door is interrupted by the doorbell. Suzie can not decide on what to do, to clean the egg up or answer the door. The doorbell keeps RINGING.",
"EXT. FRONT PORCH - DAY Two uniformed Police Officers stand impatiently at the door.",
"INT. FRONT ROOM - DAY Suzie invites OFFICER SCOTT and OFFICER DAVIS in. Both men are white and are in their mid - twenties. Officer Davis does most of the questioning. DAVIS We have a complaint from one of your neighbors about a rooster crowing in the mornings.",
"INT. BATHROOM - DAY Gideon is shaving with a straight razor and humming to himself, obviously in a good mood. Suzie sticks her head in. SUZIE The police are here to talk to you about the chickens. The good mood that Gideon was in dissolves quickly. Gideon wipes the soap off his face and throws the towel down. Suzie leaves. Gideon brushes his hair and adjusts his bathrobe.",
"INT. FRONT ROOM - DAY Gideon comes in, still adjusting his bathrobe. GIDEON What can I do for you, Officer? Suzie returns to the kitchen to clean the egg on the floor. Officer Scott keeps her in view. DAVIS You know it is against the city ordinance to keep chickens or live stock. GIDEON I always had chickens, ducks and whatnots. DAVIS Not anymore, not in the city. GIDEON We grow most of our own food. The money I get from social security, my pension and my wife's work, keeps us living on the edge. What choice do people like us have. DAVIS Well, you just have to move further out. GIDEON Now how far would further out be? DAVIS I'm not here to argue, sir. SCOTT You guys do n't make anything illegal, do you? GIDEON Like what may I ask? SCOTT You might have a distillery pumping out barrels of moonshine. Suzie looks at Scott for a moment and goes into the kitchen. Gideon is about to lose control. Davis heads off the confrontation. DAVIS Look, just get rid of the chickens and you all have a nice day. Gideon stands in the doorway watching the Police go down the steps. GIDEON I'll be damned if I get rid of my chickens. I ought to get some hogs and put them out there.",
"INT. FRONT ROOM - NIGHT There is soft knocking on the door. Suzie enter frame wearing a robe. SUZIE Who is it? BABE BROTHER -LRB- V.O. -RRB- Babe Brother. Suzie opens the door. BABE BROTHER, Gideon's youngest son, about 31, handsome, wearing an expensive suit, comes in, beating the cold off of him and blowing in his hands. BABE BROTHER I was hoping you came to the door instead of him. It gets cold at night. SUZIE This does n't make any sense ; you are going to drag that poor boy out in the cold air. BABE BROTHER He will be alright. The camera follows Babe Brother. He passes Gideon's room where Gideon is asleep, snoring loudly.",
"INT. GIDEON'S BEDROOM - NIGHT Suzie and Babe Brother enter the bedroom where Sunny is sleeping. Suzie gives Babe Brother a blanket to wrap Sunny up in. BABE BROTHER Thanks for taking care of him. I will try not to be so long next time. Babe Brother gives his mother a good - night kiss. Gideon comes to the door. GIDEON What time is it? Do you think you can just treat us like your slave? It's after one. BABE BROTHER I tried to call to let you know I was going to be late. GIDEON That's a lie. SUZIE Let us settle this tomorrow. GIDEON Look! Do n't try to get ahead by riding our backs. BABE BROTHER -LRB- shouts. -RRB- I pay my own way. GIDEON Since when? He reaches for Babe Brother but Suzie comes between them. SUZIE Take Sunny home, please. She pushes Babe Brother away. Babe Brother walks away, staring back at his father.",
"INT. GIDEON'S BEDROOM - SAME NIGHT Gideon is lying in bed. Suzie gets in beside him. GIDEON Your feet are cold. SUZIE Go back to sleep. GIDEON I asked you to wake me when Babe Brother comes. SUZIE You all act like two roosters. GIDEON I'm not going to let him get away with murder. SUZIE You and Babe Brother are so much alike. GIDEON He ai n't nothing like me. How come a man has to have sons that are day and night apart? You ought to stop protecting him. SUZIE Hush. GIDEON You're always taking his side. SUZIE Hush. GIDEON I'm trying to make him a man but you keep babying him. SUZIE You're going to find yourself on the floor.",
"INT. BABE BROTHER'S BEDROOM - MORNING The bedroom is tastefully furnished with modern art and paintings by Barns. Babe Brother wakes up with Sunny standing in the doorway looking at him. It takes Babe Brother some time to fully wake up. Finally he sits reluctantly on the side of the bed and Sunny comes over and sits next to him, trying to get his weary father interested in his remote - control racing car. BABE BROTHER I want you to be the richest man in the world so I can be the richest father in the world. SUNNY I do n't want to be rich. I want to work on the railroad like grandfather. BABE BROTHER Son, if you are going to have a family, you ca n't always choose a job just because you like it. -LRB- beat. -RRB- I do n't want you to shine anybody's shoes or be a porter. You let somebody else carry your bags. Sunny quietly gets up and follows his car out of the room.",
"INT. BABE BROTHER'S HOUSE - DAY Babe Brother, having showered but still wearing his pajamas, drags himself to the kitchen table where his wife LINDA has a huge coffee mug with the inscription, `` I'm the boss'', waiting for him. Linda is about thirty years old and materially oriented like her husband. She is wearing a conservatively cut business dress. Sunny stops playing with his car and gets himself an empty cup. Babe Brother is about to pour him some of his coffee when Linda objects. LINDA NO. Sunny pleads with her in silence but Linda refuses to yield. BABE BROTHER He would n't want any if you did n't try to keep it away from him. Linda leaves the table but stops for a moment and looks down at her husband. LINDA Because you were spoiled, do n't try to spoil Sunny. BABE BROTHER My daddy never gave me anything without my having to sweat for it. Every summer, the way they kept me and Junior out of trouble was to send us to Big Daddy's farm. We would get up with the chickens. Every summer the fence had to be repaired. The barn needed a coat of paint. We had to pip all of Big Mama's hundred laying hens and go to church all day on Sunday. For Big Daddy, calluses and sweat were the mark of a man. Sunny will never have to bust his knuckles like we did. LINDA I want Sunny to have an advantage that you and I never had, but he needs discipline, and you are not helping when I tell him to do something and you allow him to get out of it. BABE BROTHER What is a sip of coffee going to do? LINDA Coffee is bad for anybody, especially for a child. BABE BROTHER I do n't see you crying about my drinking it. LINDA How old are you?",
"EXT. BACKYARD - DAY A SLOW CLOSE UP DOLLY SHOT OF SUZIE'S HANDS DROPPING SEEDS IN THE GROUND. Gideon is raking out the chicken coop. He puts the rake down and walks over to the garden and watches Suzie plant seeds for a while. GIDEON Instead of standing here doing nothing, I better give those chickens some scratch before they start cackling.",
"EXT. ALLEYWAY - DAY OLD JOHN is pushing his cart up the alley. Old John's face is washed so clean that it shines. His pants are dirty and his cart is full of odds and ends of no value. He looks to be about seventy and fit. Old John throws a sack on Gideon's fence.",
"EXT. BACKYARD - DAY Suzie, is bent over a plant that she is tying to a stick. She looks up and sees the sack on the fence. A smile appears on her face. She goes over to the fence.",
"EXT. ALLEYWAY - DAY Old John is about to take up his journey when Suzie sticks her head over the fence. SUZIE How are you? OLD JOHN Tolerably well. I brought you some more rabbit manure for your roses. SUZIE It is so considerate of you. Gideon sticks his head over the fence. GIDEON Well, well, look who is taking up all the sunshine. Brother John, how are you doing? OLD JOHN I'm still here. Suzie leaves the two men talking. GIDEON Tell me something. How do you get energy to stay on the move all day? OLD JOHN You could n't sit on your rump under my daddy's roof. No sir. If you could n't outwork his mule, you was n't worth the salt you put in greens. You had to wake up looking for something to do. I was raised as a mule and now I'm a rolling stone. Suzie sticks her head over the fence and hands a bag of red tomatoes to Old John. OLD JOHN -LRB- CONT'D. -RRB- I did n't mean for you to pay me for that. SUZIE I know you did n't but you have been so thoughtful. OLD JOHN But when your sunflowers come up, I'll pay you for them. SUZIE I planted a row just for you and you do n't owe me anything.",
"EXT. NEIGHBORHOOD - DAY HIGH ANGLE SHOTS off in the distance, a man is cutting his lawn. Gideon and Suzie are working in their garden. Other couples working their gardens. Two young men are working on their car, which is creating a lot of smoke. A group of girls are sitting on a porch trying to sing while one of the smaller ones is trying to learn a step. Skip is on the roof with his radio listening to rap music while his birds circle over head. From time to time he throws a rock at them.",
"INT. DELIVERY ROOM - DAY THE CAMERA IS OUTSIDE OF THE ROOM. THE SCENE IS SHOT THROUGH THE PARTLY OPEN DOOR. It is hard to see the woman giving birth. There are people blocking the view of the camera. Suzie is facing the camera and the woman has her back to the camera. MOTHER It hurts. SUZIE Do n't push too fast! Breathe! The hard part is over. You can see the top of the head. MOTHER It hurts. The pain. -LRB- scream. -RRB- It's tearing me. SUZIE Father, give her a hand. FATHER Hey, this is too much. SUZIE You do your part. MOTHER Can you tell what it is? SUZIE Almost there. FATHER It's a junior. MOTHER Ah, I wanted a girl. Suddenly the baby begins to SCREAM.",
"EXT. BACKYARD - DAY A sack appears on Gideon's fence. The sound of Old John's cart is heard rattling off.",
"INT. CHURCH - DAY Suzie, Gideon, JUNIOR -LRB- Gideon's elder son, 35 years old and dark skinned -RRB-, PAT -LRB- Junior's wife, who is expecting, about 32 -RRB- and Rhonda are all seated next to one another in the same row. The PREACHER is knee - deep in water. He is baptizing a group of young people. The members of the church are singing `` Take Me To The Water''. An Elderly Man who can hardly walk without help is being led down to the pool.",
"INT. KITCHEN - DAY Suzie, Gideon, Junior, Pat and Rhonda are all seated at the table eating. Babe Brother is standing up. He looks in the pot but does n't find it to his liking. Junior is irritated at his brother. JUNIOR When are you going to find time to help me fix the roof? BABE BROTHER You all do n't believe me when I tell you I'm afraid of heights. JUNIOR You used that excuse to get out of the army. BABE BROTHER You always got something to say. GIDEON Your mother asked me not to mention it but your mother's birthday was last week. BABE BROTHER I had n't forgotten. I ordered some cloth but it did n't come in and I felt so bad if I would have come to her birthday without that, I just stayed at home. GIDEON What did your wife get her? BABE BROTHER We got the same thing. Junior laughs at Babe Brother's story. GIDEON Boy, go tell your wife to come in.",
"EXT. STREET - DAY Babe Brother's car, a new Audi, is parked out front. Linda is in the front seat reading a magazine while Sunny is asleep in the back seat. Babe Brother sticks his head in the window. BABE BROTHER Why do n't you come in for a while? LINDA I would like to finish reading this. What would I talk about? I have n't read this month's almanac. I do n't care to hear about how the corn was this fall or how to get rid of gophers by putting garlic in their holes. They pride themselves in making life hard and that's not my cup of tea.",
"INT. KITCHEN - DAY Suzie, Gideon, Junior, Pat and Rhonda are still at the table eating. SUZIE You know, Babe Brother's wife just dumps greens in the pot without washing them. GIDEON Babe Brother is a poor boy. JUNIOR You all should have been hard on him like you were me and he would n't be the way he is. SUZIE Everybody got the same. I breast fed him like I breast fed you. PAT Junior, you are wrong.",
"INT. CAR - DAY BABE BROTHER Just for a minute. A dirt rock HITS the front windshield. Linda lets out a little scream. Babe Brother looks around. Skip is on top of the roof next door. SKIP I did n't mean to hit your car. I was throwing at my birds.",
"INT. FEED STORE - DAY Gideon is looking at the price of laying mash. He digs his hand into a barrel of scratch. Sunny also digs his hand in the barrel. Suzie is looking at new young plants. She gives the vegetables a thorough going - over. Gideon is standing in line waiting to place his order. GIDEON I need about five pounds of laying mash and you better give me about the same of scratch. While at the counter, Gideon turns and looks around at the prices of different items. Suzie brings her plants and puts them on the counter. GIDEON -LRB- CONT'D. -RRB- When are you going to have a sale on weed killer? CASHIER You missed it. We had a two - day sale last week. GIDEON What kind of a sale is a two - day sale? I thought sales last a week or two. CASHIER Every day we have something different. Today's sale is hay. 25 % off. If you have a horse or cow, you're in business.",
"INT. CAR - DAY Sunny looks at the Little Girl in the next car ; she has her mouth pressed against the window. She is missing a tooth. Gideon is behind the wheel while Suzie holds her new plants up to the sun, carefully looking at them. Sunny, seated in the back, pokes a hole in the sack of feed. The mash trickles to the floor as if from an hour glass.",
"INT. KITCHEN - DAY Suzie is sitting in front of a table full of jars. Each jar has a shoot and is half - filled with water. Gideon is on his knees trying to fix the hinge to a cabinet. Sunny is sitting almost under him listening to him tell stories. Sunny has a coffee can full of marbles. GIDEON All of the preachers were down in the basement of the church confessing their sins to one another. They were way down in the basement'cause they figured no one would hear them. One of the preachers said, it makes me feel too shame to tell how bad I have been. You know them young gals that sit up in the first row. I can look at them and forget my text. I'm just lost when it comes to women, even them middle age sisters. Then another preacher said, I do n't think I can tell you what my sin is'cause it's bad. Another preacher said, Brother, we all amongst friends. Tell us what's troubling your soul. Clear your conscience. Gideon takes a sip of water. GIDEON -LRB- CONT'D. -RRB- So the preacher said, we all got a bond'cause we confessed to one another. So let me tell you, my sin is corn liquor. I just acts a fool behind that spirit water. I loves it more than preaching. Now ai n't that a sin, lord. So all the preachers went on confessing, each one worst than the last. Finally they came to the last preacher who had been very quiet and listening to every word that fell. One of the preachers said to him, it's your turn. Confessing will lift you burden, Brother. Bare us your soul. We did. The last preacher said, no, my sin is the worst among all of you. One of the preachers said, ah go on man and stop all this suspense. So the last preacher said, like I told you my sin is the lowest. -LRB- beat. -RRB- My sin is gossiping and I ca n't wait to get out and tell what I heard. Sunny does not get the humor of the story. He is more interested in picking up his marbles that Gideon's foot kicked over. SUZIE You ought n't tell him stories like that. SUNNY Tell me another story. GIDEON I'll you a story about the terrapin and the rabbit. No, you tell me a story. Come on. SUNNY Once upon a time, my mommy and daddy lived in this big house that I bought for them. I got them this big car. A strong wind causes the broom handle to knock against the china teapot, KNOCKING IT TO THE FLOOR. Suzie stops Sunny from trying to help pick up the pieces. SUZIE You stay back. You might cut your fingers. Suzie looks down sadly at her broken tea pot. GIDEON I looked everywhere for my toby.",
"EXT. APPLE ORCHARD - DAY The trees are barren, which gives them an unfriendly look. As we LOOK at the ground, a man's distorted shadow stops in the frame.",
"EXT. FRONT PORCH - DAY A shadow of a man appears on Gideon's porch. The camera tilts up to HARRY MENTION, a very dark - looking, ageless old man carrying several boxes held together by a cord. He looks exhausted from his journey. He looks in his address book and, satisfied that he reached the right house, he rings the doorbell.",
"INT. FRONT ROOM - DAY Suzie comes to the front door ; she recognizes Harry right away. She invites him in. Harry stumps his feet on the porch several times and then enters. SUZIE Harry, I ca n't believe it is you. Gideon, look who is here. Gideon comes in, wiping his hands. Sunny, carrying the broom, follows behind. GIDEON Harry, good God Almighty, man! It's been, what, thirty years or more. Suzie, we have n't seen Harry since we left home. Harry is more interested in the boy, but Sunny does n't want to come near Harry. It is Gideon's arm that is keeping him within close range of Harry. GIDEON -LRB- CONT'D. -RRB- This is my grandson, Sunny. He is my youngest son's child. HARRY He kind of favors one of my boys when he was about his age. Sunny, playing with the broom, accidentally touches Harry's shoe with it. Harry hides his anger about being touched with the broom. Harry takes the broom from Sunny and spits on the bottom of it. HARRY -LRB- CONT'D. -RRB- Boy, that is bad luck to touch a fellow with a broom. GIDEON He knows better. Sunny, apologize to Harry. SUNNY I'm sorry. GIDEON What are you doing in these parts? HARRY I came all the way from Detroit by bus going to Oakland. The bus stopped in Los Angeles. I had to get off and take a rest. I'll catch the last bus leaving at midnight. I'm just too tired to go on. GIDEON Why did n't you catch a plane? HARRY My feet have never been on anything that was n't directly attached to the ground. GIDEON Stay until you feel better? I would like to hear all the news. HARRY I'm worn out but wo n't you feel like you are taking in a stranger? SUZIE Stranger my foot, it was my grandmother who helped you into this world. HARRY Well, I do n't want to put you out. GIDEON Man, put your boxes down and stay as long as you like. We have empty rooms since the boys got their own families and moved out. HARRY Well if you're sure, I wo n't be a bother. Oh, I do n't sleep on no spring mattress. I always make myself a pallet on the floor.",
"INT. BEDROOM - DAY The bedroom door to Harry's room is cracked open. Peering through the cracked door, we SEE Harry asleep on his pallet. His back is turned to the camera. It is dead silent. There does not seem to be any sign of life. On the floor is a plate that has water in it. It looks like it is for a dog.",
"INT. KITCHEN - DAY Suzie is peeling potatoes and Gideon is ironing. SUZIE Poor old Harry, he really must have been worn out. He has been asleep all day. Without anyone being aware, Harry has been standing in the doorway for some time. HARRY Good evening. It must be all the different time zones I crossed that makes me feel this weary. SUZIE You should go back and rest. HARRY No, if I rest any longer, I wo n't sleep tonight. May I use your bathroom to wash up a bit? GIDEON Man, act like this is your home. HARRY That's awful generous of you. I always ask to keep from wearing out welcome. SUZIE One can tell you are from back home. These people nowadays do n't know what manners are. HARRY Where we come from, you had to know how to act right. You had to know how to say yes sir and no sir. You had to know your place. GIDEON You had to tread softly. The doorbell rings and Gideon goes to answer it. SUZIE Those days you could always find something redeeming about even the worst person. HARRY You remember that boy who lost his mind, Joe? You could hear him pitching horseshoes at night in the dark. He would n't miss a one. Make him mad and call yourself running in the house to be safe. He would pick up a brick and say `` go on in there brick and hit somebody'' and it would find its mark. SUZIE I was afraid to go to Marcus Bottom because of him. HARRY All those places that us coloreds lived, that we used to call Bottoms, have all been changed to Drives and Heights. Everything is in what you call it, not in what it is. Gideon comes back with Junior, Pal and Rhonda. GIDEON Harry, I would like for you to meet my oldest son, his wife and daughter. JUNIOR Pleased to meet you. So you're from back home, too. Harry and Junior shake hands, but Rhonda gives Harry only a nod of her head and a smile. Pat, who is pregnant, attempts to shake hands with Harry, but is forced to withdraw her hand because of a sudden pain in her stomach. PAT This boy must be turning over. Oh, he just kicked me again. Junior feels her stomach. Pat again tries to shake Harry's hand and again gets a jolt from her stomach. She finds a chair to sit down in. The SOUND of rocks hitting the roof causes everyone to look up. GIDEON It's the boy next door throwing at his birds. I'm just waiting on him to hit a pane in the window HARRY I'm going to wash up now. You all please excuse me.",
"INT. GIDEON'S HOUSE - BATHROOM - DAY Harry is wiping off his face with a washcloth. He stares at himself in the mirror for a long time. The sudden sound of the boy next door starting to play his trumpet startles him. He smiles at the trumpeter's efforts. He wrings the wash cloth out. A reddish oil - like liquid DRIPS into the face bowl.",
"EXT. GIDEON'S HOUSE - EARLY MORNING A few of the houses have lights on. Suddenly, Gideon's rooster starts to CROW. A dog starts to bark and a garbage can is knocked over. Bedroom lights in almost all the houses in the neighborhood pop on. The voices of neighbors complaining are heard.",
"INT. BEDROOM - EARLY MORNING Harry is just waking up. He listens to the voices of Suzie and Gideon as they get ready for church.",
"INT. FRONT ROOM - MORNING Gideon is paging through the Bible as he stands by the door, waiting for Suzie who is watering her plants. Harry comes in. HARRY Good morning. GIDEON You ought to come hear our preacher. Remember old Cat Iron? Well, our preacher is just as strong. HARRY Next time when I feel a little better perhaps. GIDEON I was going to get up and get a hen out there for dinner, but time got away. HARRY Oh, I would feel much at home if you let me get one for you. I have n't wrung a chicken's neck in a month of Sundays. You know, folks would call my daddy to kill their hogs. That used to be my trade from time to time. GIDEON Well, I would appreciate that.",
"EXT. HOUSE - DAY Gideon and Suzie are stepping off the porch. Harry is standing behind the screen door. Gideon and Suzie get in Junior's car. Junior, Pat and Rhonda wave to Harry as the car pulls away.",
"INT. LIVING HOUSE - DAY IT IS A TRACKING SHOT, FOLLOWING HARRY THROUGH THE HOUSE. Harry looks through Gideon's and Suzie's private things. He looks at the baby pictures that fill the mirror. He reads Suzie's letters that are dated years ago. In one of the letters, he finds a picture of a man standing behind a plough. `` Uncle Joe after Ella's death'' is written on the back. A picture of a mule holds his interest. He looks at it for a long time and carries it with him as he continues his search.",
"EXT. BACKYARD - DAY Harry slowly walks along the rows in Suzie's garden. He stands by the chicken cage. Suddenly, the chickens start to run about and CACKLE as if a dog had gotten in. Harry turns from the chicken coop. He stands still. Sunny is hiding behind a bush. Sunny steps around the bush. Harry looks at Sunny with such concentration that Sunny takes a step backward as if getting ready to defend himself. MRS. BAKER, a black woman in her early thirties, comes out on the back porch. She shakes out a rug. She stops shaking the rug and stares at Harry. Harry becomes aware of Mrs. Baker's stare. He comes to himself and smiles at her.",
"INT. GIDEON'S KITCHEN - DAY Harry and Babe Brother are playing cards while Linda watches and Sunny plays by himself on the floor. In the sink is a newspaper full of bloody feathers. A small flame is under a pot on the stove. Harry looks at the chicken in the pot and sits back down. LINDA You do n't act like the rest of Gideon's friends. They believe if you are not hard at work, you are hard at sin. HARRY Oh, I'm more modern in my ways. I do n't believe in sin, though there is good and evil. -LRB- beat. -RRB- And evil is a thing you work at. Harry takes his knife, a crab apple switch, out. It has a rabbit foot attached to it. Harry cleans his fingernail with the knife. Sunny is interested in the rabbit foot. He reaches for the knife. HARRY -LRB- CONT'D. -RRB- Not you must n't touch. Your mama might not like you handling knives. LINDA I think he wants to see your rabbit foot. HARRY I let this rabbit foot do in place of my toby that I lost years ago. LINDA What's a toby? HARRY You do n't want to be at crossroads without one. It's a charm that old people teach you how to make. I had one for a long time that belonged to my grandmother who had it ever since she was a child. -LRB- beat. -RRB- In my travels I misplaced it. I have been looking over my shoulder ever since. LINDA I thought you were n't old fashioned. HARRY In some things. When we were children, there used to be an old man that came around and would snatch your soul if you did n't have something on you that did n't make a X. Harry is aware that Babe Brother is interested in the knife. After cleaning his last fingernail, he hands the knife to Babe Brother. Harry looks at the cards in his hand. He smiles to himself. HARRY Did you have your child at home? LINDA No. No. No. No. I had my Child at Cedars and Sinai. And that ai n't no county hospital. You have to have cash or check before you come in the door. HARRY Some folks take that natural stuff too far. LINDA Junior's wife kept her afterbirth' in the refrigerator. That's why I do not eat over there now. HARRY Country people got so many strange ways, Harry looks again at the chicken that he is boiling. BABE BROTHER Did you ever have to use this thing? HARRY That is called a crab apple switch. It's for those bad acting monkeys and just the thing for a mean dog. Now I do n't know if I actually did what I did or got my life and story mixed in with other folk's stories but I seem to recall that I had to use my crab apple on a boy from back home. I was up in Memphis working on the railroad, like your daddy who had an easy job. He would sing a song that had a cadence and we would lay track. Anyway I was coming down Beale Street and I heard this music coming from a saloon. Sure enough it was Emory. My daddy taught both of us to play but Emory was natural at it. Got in a blues band and what not. He and another boy had killed a boy named Hocker sometime back and they balled the Jack leaving town. Emory had lost one eye and had a scar running down his face. Bad luck I would say. He got to drinking that corn liquor. We went to his girl's room and he would n't stop drinking. He started talking about the old days and he went mad. He pulled his knife and I got to mine first. The lights went out. Linda picks up a card and looks at it. There is a naked woman on the back. BABE BROTHER Do n't pick up the cards if you are not in the game. Did he die? HARRY I do n't know what happened to him. He just ran out into the streets. -LRB- beat. -RRB- I got some old records I want you to hear. I like the blues sung simply, man and a guitar. Or sung by a woman who had bad luck all her life. Do n't ever let anyone tell you his life's story if it is of a weary life full of sadness. When I was a boy, a man told me a story of how he lost all of his sons and I'll be damned if the same thing did n't happen to me. Sunny is busy playing in the curtains. The SOUND of Gideon and Suzie arriving makes them scurry to get the cards put away. Harry puts his knife away just as Suzie and Gideon enter. Linda feels a little embarrassed. LINDA How was church? Gideon and Suzie are surprised to see Linda. They do n't know what to say.",
"EXT. MRS. BAKER'S BACKYARD - DAY Rodney walks around in the yard BLOWING his trumpet as loud as he can. The SOUND of the trumpet frightens Skip's birds.",
"INT. BATHROOM - DAY Gideon is repairing the pipes under the face bowl. Harry is leaning against the door. HARRY How often is your wife called to help delivery? GIDEON It was slow. Now it seems like everyone is having births at home. Gideon takes the pipe off. It has rotted. Gideon can not believe it. GIDEON -LRB- CONT'D. -RRB- What could have caused this? I just changed this damn thing. HARRY Everything these days is made overseas. GIDEON You and Babe Brother hit it off so well. HARRY Course, it is your business, but I feel obliged to tell you that maybe you have not been fair with the boy. GIDEON I tried to teach him right from wrong just like I did his Junior. HARRY Everyone has to follow his own plough. A man does n't have to know how to cut a wick and clean a chimney nowadays. City people do n't give a hoot and a holler about the shape of the moon nowadays. You do n't plant old ways. -LRB- beat. -RRB-. but, at the end, you find yourself doing what your father did but you have to have the land in you. -LRB- beat. -RRB- It's when you want to give the house or farm to the kids and they do n't want it. You sell it to a stranger. You worked your whole life, for what? -LRB- beat. -RRB- I doubt if people nowadays have knowledge of a victory garden or seen an inch worm. All what we've experienced has no meaning. GIDEON You're suppose to teach your children what you know. Junior, I do n't have to worry about. Babe Brother is a different story. HARRY You still call him boy. You call Babe Brother boy in front of his wife and son. GIDEON My daddy called me boy up to the time he died. I was always boy to him. HARRY ` Course, you could be right. Your sons are alive. All my sons are dead. Off - screen, Rodney starts to practice on his HORN.",
"INT. BABE BROTHER'S LIVING ROOM - EVENING Babe Brother is sitting with Sunny by the screen door blowing giant bubbles. The bubbles drift past Linda, who is sitting at the table with real estate papers all over the table. She is talking on the phone with a client and signals them to stop disturbing her. Babe Brother sends more bubbles floating by, causing her to shake the water off her papers while she talks to a first time buyer. LINDA It has three bedrooms, one and a half baths. Well, yes, that means two toilets and one bath. Well. Yes, by appointment. Call me back if you decide. She hangs up the phone. LINDA You would think people never lived in a house if they have to ask what does 1 1/2 baths mean. BABE BROTHER Will you still get the money from your father? LINDA I told him we might not need it, if you can talk your parents into giving you your share of the property. BABE BROTHER Pops put Big Daddy's farm in Rhonda's and Sunny's name and fixed it so no one can borrow on it. LINDA We could borrow on that land and put the money to work. BABE BROTHER I preached to Mom and Dad about it but they are stuck in their ways, it's like talking to a brick. But if there is a way. Babe Brother is lost in his thoughts. He stares down at his hands resting on his knees. He picks up the telephone.",
"INT. JUNIOR'S HOUSE - DAY Junior is on the phone with Babe Brother. Pat crosses in front of the camera shaking her head in a negative manner. Babe Brother's voice is just audible. JUNIOR You want me to mortgage my house to invest in a scheme of yours? You know the last time we went into something together Daddy had to go in his savings to keep us from ending on the street. BABE BROTHER -LRB- O.S. -RRB- Why are you always afraid to get somewhere? JUNIOR This is not a good time to take chances. Your best friend, Robert, an accountant, lost his home and is out on the street. We see him from time to time. He comes down to church for a free meal. BABE BROTHER -LRB- O.S. -RRB- This is what it is all about, trying to keep from being out on the street. JUNIOR Robert asks about you. When are you going to do something to help him? BABE BROTHER -LRB- O.S. -RRB- Maybe I can get down there next week. Junior turns to his wife, who is off - camera. JUNIOR Babe Brother always acts like a gambler who is in the biggest game of his life and do n't know about playing cards.",
"EXT. RAILROAD TRACKS - HOT AFTERNOON Harry and Gideon are walking along a railroad track. The sun is blinding. The heat makes the asphalt Appear to turn into a lake off in the distance. Gideon appears exhausted ; beads of sweat continually form on his forehead. He fans himself with his hat. Harry is unaffected by the hot temperature. HARRY I can sit here and look at train tracks all day. We laid enough of them, did n't we? So many memories are stretched along tracks like these. Gideon looks down the tracks. A bowl of dust stirs off in the distance. The hot temperature makes the tracks appear liquid.",
"EXT. RAILROAD TRACKS - HOT AFTERNOON (EFFECT) The tracks begin to twist and bend. Off in the distance, faint images of men laying track to a song.",
"EXT. RAILROAD TRACKS - HOT AFTERNOON Gideon is standing with his hat in his hand. His posture is that of an extremely old man. GIDEON In weather like this, you can not walk around bare - headed. He wipes the sweat from his hat band. HARRY We'll go a little farther. The walk will do us some good.",
"INT. KITCHEN - DAY Suzie is peeling apples while Sunny, standing next to her, catches peelings in his mouth. Pat is sitting next to the window. She is uncomfortable. She loosens her pants, giving her stomach more room. Rhonda is leaning over the back of the chair with her arms around Pat's neck. They are in silhouette. PAT Did you do your homework? RHONDA Yes. -LRB- beat. -RRB- Mama? PAT What? RHONDA Can I name the baby?",
"INT. HARRY'S BEDROOM - DAY Suzie knocks on the door. Harry comes to the door still buttoning his shirt. SUZIE I have someone I want you to meet. HARRY I'll be right there.",
"INT. FRONT ROOM - DAY Gideon in the background in the kitchen washing off the vegetables. Suzie and HATTIE are sitting at the table. Harry comes in and is surprised to see Hat tie. Hattie is in her late sixties but looks well. She makes a conscious effort to dress plainly. HATTIE I could n't believe it when Suzie called and said you were staying here. How have you been? HARRY Girl, do you still sing and dance? HATTIE No, I'm a different person now, Harry. Hattie has a nervous condition that causes her to squint from time to time. Gideon comes in from the kitchen. GIDEON Have n't the years been good to Hattie? HARRY It has n't been the years ; it's been the men in her life. HATTIE Harry, that's not nice. I'm in church now. HARRY Why run out and close the barn door when the horse is gone? I remember when you were n't saved. That was way back yonder when the Natchez Trace was just a dirt road. HATTIE Some people grow up and change their ways. HARRY I know your mother ai n't still operating that house of hers. HATTIE My mother passed on years ago.",
"EXT. STREET IN FRONT OF HOUSE - DAY M.C. slams the door to his car and hurries up the steps, leaving HERMAN, in spite of his bad condition, to get out of the car the best he can. The car door almost knocks poor Herman over. M.C. seems rather youthful because of his energy and awkwardness. He is a large muscular man. Herman is a dried - up man with nothing, not even a shadow. He has a racking COUGH.",
"INT. FRONT ROOM - DAY M.C. gives Gideon a bear hug, lifting him off his feet. On seeing Suzie, he drops Gideon and rushes over to lift her up off her feet.",
"EXT. STREET - DAY Herman is still trying to get out of the car.",
"INT. FRONT ROOM - DAY M.C. lifts Suzie off the ground twice. He runs over to Hattie who does not want to be handled, tries to withdraw but M.C. forces her to her feet and gives a big bear hug. Hattie has a series of squinting attacks. M.C. squints in return. HATTIE M.C., you still ai n't house broken. GIDEON Good God Almighty, if it ai n't like a parade of people from out of the past. M.C., where did you come from? M.C. I live here. There is a TAPPING on the door. M.C. -LRB- CONT'D. -RRB- That's old Herman. HATTIE Harry, what did you do, rob the graveyard? Herman hobbles in and, after a minute of COUGHING, a smile forms on his face.",
"INT. LIVING ROOM - NIGHT Suzie, Gideon and Hattie are seated at the table while M.C. bounces from one end of the table to the other. One moment he is on his knees and next moment he is leaning over someone to flick his ashes in the ashtray on the table. Hattie hates it when he comes near her. Harry and Herman sit together in the corner chewing on starch. M.C. Hattie, do you still dance? HATTIE I'm in church. M.C. What does that got to do with it? HATTIE Suzie, you still have Joe's number? SUZIE I will have to look for it. M.C. Who's Joe? HATTIE None of your business. HARRY That is a boy from home, Lulla's brother. Suzie is surprised. SUZIE Harry, you know everything. HARRY You got to know everything, do everything, and be everything. Gideon brings a fresh pot of coffee. Gideon tries to signal M.C. to stop harassing Hattie. M.C. leans over Hattie again to use the ashtray. Harry is helping Herman to his feet. Herman starts to cough. They come over and join the rest of the crowd at the table. Harry seats Herman next to Gideon and pours Herman a cup of coffee. He puts the sugar and cream in the coffee for Herman. Suzie comes back with Joe's number and hands it to Hattie. HERMAN M.C., I'm worn out. You ready to go? M.C. If you are tired, go sit in the car. HERMAN Suzie, do you have any Swamp Root? SUZIE No, but I might have some Indian Chief Tonic. HATTIE I have n't heard anyone mention Swamp Root since button - up shoes went out. HARRY You can certainly tell how old you are, my dear. Hattie is angered. HATTIE You know the saying, `` your heart is in your left hand.'' HARRY Now I was trying to be nice, to make conversation, since we go back some. HATTIE I was quoting from the Bible. If the shoe fits, wear it. HARRY `` Out of weariness, I spoke to my own heart ; to leave it all and to die. And I gave my heart to know madness and folly.'' M.C. You ai n't going to win playing the dozens with Harry. HERMAN You all ought to get along. HATTIE Harry, you know you remind me of so much that went wrong in my life. When I heard you were here, I made a special effort to come and see you. I see you are still a pile of wet chicken feathers. HERMAN Oh Lord. HARRY My sister, women can get away with so much. I do n't have any enemies'cause I do n't live in the past. As Pushkin, you do n't know him, said, `` In the hope of glory and good, I look without fear ahead.'' M.C. Harry has got your number. HATTIE An empty wagon makes a lot of noise and you, tappy head, you ai n't worth the salt you put in greens. HARRY Speaking of tappy heads, we ought to have an old fashion fish fry. HERMAN I do n't have too many fish fries left. HARRY We can have it here next week. HATTIE Is this your house? HARRY Oh. I'm sorry. Gideon, what do you say? GIDEON Well, it's up to Suzie. SUZIE It would be nice. HATTIE In the meantime Harry can slaughter us a hog. HARRY I already have, my dear. HERMAN Please, M.C., take me home.",
"INT. LIVING ROOM - DAY The children of the women in Suzie's natural birth group are huddled together SINGING `` Ashiine Ca Chew''. The voices of the women in the next room are audible. The kids go outside to sit on the porch.",
"INT. HOUSE, WORK ROOM - DAY Most of the women have their newborns with them and are engaging in talk about how their other children had to adjust and etc.. A young white mother, REBECCA WILSON, with both her children, a four year old and one just a few months old, talks with a deep southern accent. WILSON No one in my family ever been to a hospital to give birth. My sister has four children and all were born at home. My mother and her mother, it just goes on and on.",
"EXT. FRONT YARD - DAY A mother leaves with her baby wrapped in a blanket. The kids surround her, wanting to see the baby.",
"INT. GIDEON'S BEDROOM - DAY Pat is looking at a book of baby names. Harry passes the door and stops. HARRY A woman in family way just reminds of spring and my younger days. PAT That's nice. HARRY Well, you and your husband are special. Ya, Gideon tells me you do volunteer work to help feed the poor. Pat beams with joy because Harry recognizes the important work she is doing. HARRY How many people do you all feed? PAT Last Saturday we handed out over two hundred meals. HARRY Good God Almighty, bless your bones. -LRB- pause. -RRB- But the problem grows. PAT Week by week the crowds at the door keeps getting larger. We ca n't feed all the hungry. HARRY Of course not. Have you ever heard of a man jumping in the river to save five hundred drowning people? No you ai n't. -LRB- pause. -RRB- You have to take just one and fatten him up. When you spread help too thin, you, you just nickel and dime the situation. If you try to save all, all die but if you save one life, life goes on. You just have to remember, medicine that works leaves a bitter taste. Harry looks at the baby picture pasted over the mirror. He takes the picture of his children from his old black dusty wallet and compares the faces of his kids with those on the mirror. He talks to himself more than to Pat. HARRY -LRB- CONT'D. -RRB- You just take one ; you thaw out the cold and hunger in his bones from sleeping on the bare ground. Pat watches him and loses herself in what he is doing. She responds automatically PAT I do n't know if we could take one in with Rhonda and me at home alone at times. HARRY Oh, I was n't pointing my finger at you. Hey, you have to think of yourself. A lot of them have all kinds of diseases and will cut your throat while you sleep. There are too many bad people out there.",
"EXT. GIDEON'S BACK PORCH - DAY Junior is taking the back door off to paint. Harry helps him carry the door and lay it on a saw horse. JUNIOR I appreciate you lending me a hand. That lazy ass brother of mine was suppose to help me. HARRY Well some folks are still waiting for their comeuppance. Do n't take me wrong but you ca n't judge people by how you act. You're a caring person. JUNIOR He should be caring. That is not too much to ask. HARRY Ya, but you ca n't do the shuffle with one leg. You and your wife, in your spare time, work with the less fortunate. Now I'm not talking about you and what you do but some folks that always run to help the victim, deep down are attracted to pain and suffering and love to be near the dying. JUNIOR All the people working with us are really doing it'cause they hate to see suffering. HARRY You never know what's in the heart and just because you can cry does n't make you human.",
"INT. JUNIOR'S HOUSE - NIGHT Rhonda is in the background washing dishes. Pat and Junior are sitting at the dining room table, arguing. JUNIOR We ca n't really bring another family in here with us. PAT Why not? Harry says that's the only way to do good. JUNIOR When did you talk to Harry? PAT Do n't shout!",
"EXT. BACKYARD - DAY Gideon and Sunny are in the garden digging for worms. The chickens GIDEON I think we have enough. So now tell me a story.",
"EXT. BALDWIN HILLS LAKE - LATE AFTERNOON Gideon is sitting on a rock by the lake. His image is reflected in the lake. He is asleep. Sunny is putting new bait on one of the reels and with a whip of the pole, he casts to the center of the lake. He leans against a tree. Sunny looks at his sleeping grandfather. Gideon has his pant legs rolled up. His socks have lost their elastic. His head is resting on his chest. Sunny goes near the water. GIDEON Be careful of the water. Sunny looks back at his grandfather, who appears to be asleep. There is one fish in the bucket.",
"EXT. LAKE - SUNSET WIDE ANGLE SHOT FROM HIGH ANGLE Gideon and Sunny are sitting next to each other. The lake reflects the sky : a deep red. The eerie sound of a long train whistle breaks the silence.",
"INT. LIVING ROOM - MORNING Harry, Babe Brother and Linda come in after staying out all night. Linda looks as though she is about to fall asleep standing up. She awakes and looks at Harry. There is dislike in her stare. Suzie and Gideon notice Linda fading away. SUZIE Are you feeling well? LINDA I've never been so tired in my life. Where is Sunny? SUZIE He is getting his things together. Babe Brother, you ought to take your wife home so she can get some rest. BABE BROTHER In a minute. Sunny comes in carrying his night - clothes folded neatly. He stands next to Linda. Harry, in a mild but demanding way, ushers Babe Brother out of the door. HARRY Take your wife and child home, boy. Babe Brother seems all too happy to obey Harry. After Harry closes the door behind Babe Brother, he turns with a wide smile. HARRY -LRB- CONT'D. -RRB- I got a surprise for you tonight. Harry flops down on the couch and kicks his shoes off. HARRY -LRB- CONT'D. -RRB- This old buffalo has been in the sun too long.",
"INT. LIVING ROOM - NIGHT Suzie and Gideon are getting the food ready while Harry, wearing a shirt that looks like it is made of shiny snakeskin, sits in a darkened corner of the room, cutting his fingernails with his knife. The door bell rings and Harry slowly walks over to answer the door. Suzie puts the punch bowl down and hurries over to meet the first guests, FRED JENKINS, an elderly black man whom she has n't seen in years, and Esme Jenkins, his wife. SUZIE Fred Jenkins. JENKINS Suzie, you have n't changed and you, Gideon, if you do n't look like John Henry. Oh, this is my wife, Esme. My first wife Lulie died. More people arrive, bottle - necking the doorway. Gideon helps the Jenkinses to a chair. Hattie comes with her brother MARSH, who is not too pleased to see Harry. OKRA TATE, an elderly black man with dark circles under his eyes, comes in limping badly with an old Polaroid camera hanging from his neck. Babe Brother, Linda, Junior, Pat and Rhonda, who is holding Sunny's hand, all come in together. M.C. drags Herman through the door coughing. FLIM ANDERSON and his son DOUG are followed by the twins, WILLIAM and LOVIRAY NORWOOD, who are in their late 70's. Babe Brother leaves Linda standing by herself to be next to Harry. Zenia Dent, an elderly white woman with a strong Southern accent, arrives with her husband, Howard Dent, a black man, who is in a wheelchair. The Twins and Howard are the center of attention. Okra comes over and whispers into Harry's ear. Okra leaves through the front door. Okra comes back in with a bag. Harry, Babe Brother, M.C. and Herman follow Okra to the kitchen.",
"INT. KITCHEN - NIGHT Okra sets the bag on the table and steps back to allow Harry to unveil the bottle of corn liquor. BABE BROTHER What is that? HARRY Boy, that is the real South. That is real corn liquor. A crowd starts to gather around. FLIM What is in the bottle? M.C. It ai n't Geritol. M.C. starts to hand out tea cups while Harry pours everyone a drink. HERMAN There is a fight in every bottle. GIDEON You tappy heads better not tear down my house.",
"INT. LIVING ROOM - NIGHT An attractive Woman, in her younger days a knockout, puts on a record and starts to pop her fingers to the music as she moves towards the center of the floor dancing by herself, inviting anyone bold enough to join her. A group of Men who have n't seen each other in years are asking questions about news of old friends. Okra is trying to get his camera working. Herman is following M.C. through the crowd with his hand resting on M.C.'s shoulder as if he were a blind person. His racking COUGH is frightening. An older couple dancing attract the attention of the crowd. The man is wearing Stacy Adams shoes polished to see one's face in them. He gives expression to his moves as if he and the woman are talking with their bodies. Junior and Pat try to bring in something more modern to outdo the older couple. Herman corners Hattie, trying to get her to sing. HATTIE Look, you better get out of my face before I slap the living daylights out of you. Harry stops the music. HARRY You folks excuse me but you know we have a celebrity from out of the past, our own nightingale. If you had any good times in your life, you remember Hattie. She use to keep those juke joints steaming. If Ma Rainey and Bessie Smith were the stars, she was the sun. Let's get Hattie to sing something from the old days. Hattie has started her nervous twitch again. She is so mad that she bites her lip to keep from exploding. HATTIE Harry always tries to be the king fish. I told him I'm a new person. I'm saved. Harry signals an old man, PERCY, to start playing his guitar. Percy starts to play but Hattie does n't join him. He looks to Harry for a sign of what to do. Hattie walks away. Percy starts to SING by himself but someone puts a record on, interrupting his singing. People are back to dancing. A YOUNGER WOMAN is dancing with an OLDER MAN with such vigor, forcing the old man to try to keep up, that people grow concerned. People near him try to make him slow down but his pride forces him to be ridiculous.",
"INT. BEDROOM - NIGHT Linda sits with Sunny and Rhonda watching TV.",
"INT. FRONT ROOM - NIGHT The noise has gotten louder, everyone talking at the top of his voice. Gideon is busy going around to everyone seeing if everything is okay. Gideon and Suzie have worked up a sweat trying to attend to everyone's needs. Linda rejoins the party. She moves through the crowd and sees Babe Brother standing next to Harry. She is disappointed and stays at a distance. Harry is with a group of people. Marsh tries to get Harry's attention. MARSH Harry, you will not remember me but we go back quite a ways. I'm glad Hattie told me that you will be here'cause there is a matter that has been troubling me all these years that maybe you can help me clear it up. Harry stares into Marsh's eyes, then looks him over from head to toe. HARRY Man, I ca n't talk to you now. I'm filling in the gaps with these folks. Harry turns his back on Marsh. Marsh stands there looking at Harry's profile. He turns and walks away. The record ends. The Younger Woman and the Older Man wait for the next record. YOUNGER WOMAN How do you manage to keep in step and move around so like one of them young boys? OLDER MAN Get yourself a pace - maker like me. Linda is standing by herself. She watches Babe Brother and Harry walk towards the kitchen. Pat comes to talk to her. PAT These old folks can dance better than I can. Get rid of that long face. Get one of these old farts to show you how to do the Black Bottom. Okra, holding his camera, all of the attachments in one hand and a glass in his other hand, tries to offer Hattie a drink. OKRA Do n't be so stand - offish. Hattie pushes him away. The drink spills on him. She turns and walks away. He follows her.",
"INT. KITCHEN - NIGHT Marsh sits in a chair opposite Harry. Babe Brother stands behind Harry. Harry, knowing that Marsh is going to bring up unpleasant things of the past, feels the need to get rid of Babe Brother. HARRY Son, you have n't danced with your wife all night. Babe Brother is reluctant to leave, but Harry gives him a nudge. He goes looking for Linda. MARSH There is something that I always wanted to know. Tell me, how did those boys die? HARRY Now who are we talking about? MARSH Miss Clara's boy, Emory, to start with. The Johnson's Hocker was another one. HARRY Was n't Hocker lynched? MARSH You know as well as I do that it was made to look like he was lynched. Now who would hang someone from a persimmon tree? HARRY What difference does it make if it's persimmon, oak tree or huckleberry bush?",
"INT. FRONT ROOM - NIGHT Gideon, Babe Brother, and Linda go outside.",
"EXT. FRONT YARD - NIGHT The sounds of the party drift out from the house as Gideon, Linda and Babe Brother talk. GIDEON Tell me, how come me and Suzie have to be mother and father to your child? You never take the boy to the park, circus or anything. If we did not take him to church, he would n't have any sense of religion. LINDA I think forcing him to go to church when he really does n't understand is not saving his soul. When he gets old enough to make up his own mind about religion, that will be better. It will be his intellectual decision. GIDEON Is that the way your parents raised you? BABE BROTHER Why, you do n't want us to bring him over? GIDEON No, it's that when do you have time to be parents to him? You guys do n't pick him up until nine, ten at night. You are into yourselves, as the saying goes. Spend some time trying to be parents. Take him to the mountains, fishing. You ought to let him get to know nature. BABE BROTHER Well, you are his grandfather. He is supposed to spend some time with you. You're supposed to show him those woodsy things and this and that. GIDEON Junior spends time with his child. BABE BROTHER Oh here we go with that.",
"INT. FRONT ROOM - NIGHT Okra is trying to get enough light for his old Polaroid camera. M.C. takes a shade off a lamp and holds it next to the Twins, nearly blinding them. WILLIAM Hurry up and take this picture. FRED If it was n't for the NRA, colored people would have been the lost tribe. FLIM Remember what they use to call the NRA? Negro Raggedy - ass Army. M.C. is still holding the naked lamp while Okra tries to take pictures.",
"INT KITCHEN - NIGHT MARSH Hocker's death almost caused a race riot. A lot of innocent people could have been hurt behind that. HARRY Strange as it may seem, it might have cleared the waters. Sometimes the right action comes from the wrong reason.",
"EXT. FRONT YARD - NIGHT Gideon, Babe Brother and Linda are just standing, facing one another. Suzie comes out on the porch. SUZIE Do you want your coat? It's cold out here. GIDEON No, I'm too hot now. SUZIE You better be careful. You'll get a stroke arguing. GIDEON I would n't care if I drop dead if he learn something from it. -LRB- beat. -RRB- Son, you make me wish I was dead. SUZIE Gideon, do n't say things like that. BABE BROTHER Why does he always pick on me? LINDA He is just being like all parents, concerned about the ones they love. BABE BROTHER I do n't need that kind of love. And I do n't want to be reminded all the time that Big Mama's grandmother was born in slavery. If you really care about me, just tell me how I can make money. SUZIE Babe Brother, I'm going to take my hand and hit you across your mouth. LINDA He does n't mean what he says. GIDEON Let us go back in before the night of celebration becomes a night of me killing my son. SUZIE No. Before anyone moves, you two shake hands and do n't carry it any further. Linda gives Babe Brother a jab with her elbow. His hand reaches out to Gideon.",
"INT. FRONT ROOM - NIGHT M.C. and Herman put the unshaded lamps next to Hattie so okra can get a better picture. Percy starts to play his guitar. Herman stands behind Percy. HATTIE Do n't make me say something nasty now. Percy starts to play an old religious number and Hattie STARTS TO SING. Everything stops for a moment as her VOICE fills the room. Then most of the guests pick up and join in. M.C. moves the lamp next to Percy so Okra can take his picture.",
"INT. KITCHEN - NIGHT Marsh and Harry are getting quite loud in their argument. It has become a kind of controlled anger. HARRY I think if anybody had a hand in killing Hocker, you ought to ask or you should have asked Emory and Chick. MARSH Chick was outright killed by a mob. He killed a white man that owed him some money and when they caught up with him, they tied him behind a car and dragged him from out of the hills back to town. HARRY Those boys never did have good luck. MARSH You damn right they did n't, especially Emory, my cousin. HARRY Emory had made a lot of enemies. He had a big mouth. M.C. and Okra come in wanting to take pictures. Marsh is pretty mad about them intruding. M.C. sets the naked lamp in front of Marsh, on the floor, almost between his legs. Before Okra can get his camera set to shoot, Marsh leaves. Harry smiles as if he had won a major victory. Herman flops down in the empty chair and starts to COUGH. Suddenly Suzie and Gideon burst into the kitchen holding up one of the twins, Loviray. They carry the twin towards Herman's seat. Herman is slow to react. Herman gets up very slow. Finally, they are able to seat the twin. HARRY -LRB- CONT'D. -RRB- What's the problem here? SUZIE She has a fish bone caught in her throat. Could all of you go in the other room? Gideon, get some bread and toast it quickly and find me the cod liver oil. The twin is holding her throat and PANTING like a fish out of water. She is in a lot of pain. William, the twin brother, is standing at the door with a tragic face.",
"INT. GIDEON'S BEDROOM - MORNING Gideon is trying to get out of bed. He sits on the side of the bed and starts to COUGH.",
"INT. HARRY'S BEDROOM - MORNING Harry has his back to the camera, sitting in a chair facing a wall. He is naked from the waist up. An empty plate is placed not too far from where he is sitting. He is cutting an apple. He licks the blade of his knife.",
"INT. BABE BROTHER'S BEDROOM - MORNING Babe Brother is asleep. Linda is dressed to go to work. She throws his suit on the foot of the bed. LINDA Are you going to work or sleep all day? He snores louder. She opens the window and pulls back the cover. The cold air makes him draw up. On walking out, Linda says in a rather hurt voice : LINDA Remember, you promised to take Sunny to Magic Mountain today. Babe Brother slowly gets up holding his chest as if his heart is bothering him.",
"INT. GIDEON'S BEDROOM - MORNING Gideon tries to put his pants on. He is too weak and sits back on the bed with his pants only up as far as his knees.",
"INT. KITCHEN - MORNING Suzie gets up to turn off the coffee kettle. When the kettle WHISTLE dies away, the sound of Gideon's VOICE is heard calling Suzie for help. The sound of his voice frightens her.",
"INT. BEDROOM - DAY Suzie bursts into the room and then moves very slowly to Gideon, who is sitting on the bed out of breath. GIDEON I'm worn out. SUZIE Just stay in bed and rest. GIDEON I have to feed the chickens before they wake everybody up. SUZIE You stay inside. I will see to them. GIDEON I will appreciate that.",
"INT. DINING ROOM - EVENING Suzie and Junior are sitting at the dining room table. Harry, looking like he has just gotten out of bed, drags himself in. HARRY How is everybody? SUZIE Tolerable well. JUNIOR How did you sleep last night? There is obvious hostility in Junior's tone. Harry senses Junior's hostility and chooses to ignore it. HARRY Ah, you young folks do n't know how it is. How is Gideon today? SUZIE He was n't able to get out of bed today. HARRY I hope that it's nothing serious. SUZIE He has never gotten rid of the malaria. He is usually up and at it the next day. I'm going to make him fresh chicken broth. HARRY Let me earn my keep. I'll go out and get a hen and have it picked and ready for the pot. Try to make him some cow tea next time. Junior stares at Harry. Harry returns Junior's stare and Junior finds himself embarrassed. Junior looks down at his pants leg and attempts to fix the crease in his pants by making a wedge with his fingers and running his fingers along the old crease. As Harry walks towards the back door, he looks back at Junior.",
"EXT. BACKYARD - EVENING The pigeons take to the air like an explosion. The chickens start to CACKLE and run about as Harry reaches for one with his cane. The SOUND of the boy next door practicing with his trumpet adds to the bedlam. Suzie is standing on the steps, shouting to Harry. The noise of the panicked chickens and the boy playing the trumpet next door drown out Suzie's voice. Not getting Harry's attention, she hurries down the steps. Harry has caught a hen that is SCREAMING her head off. He looks around and finds Suzie hurrying towards him. SUZIE Can you watch Gideon for a while? One of the girls is going into labor. Junior is going to drive me over. HARRY You just run along. I'll fix him his soup. He will be all right.",
"INT. ROOM - NIGHT Suzie and another woman who will be helping her are asleep. Suzie is in the chair and the woman is asleep on the floor. The woman who is in labor is reading a magazine and seems somewhat bored.",
"INT. GIDEON'S BEDROOM - NIGHT Harry opens the door and slowly walks in. Gideon is asleep. Harry picks up Gideon's pants from the back of the chair. Gideon's false teeth fall to the floor.",
"INT. ROOM - NIGHT There is a flurry of activity ; the woman is contracting.",
"INT. BEDROOM - MORNING The untouched chicken broth sits on the night stand. Gideon is TALKING in his sleep. Morning light filters through the window shade. The room takes on a brownish tint. Gideon has dark rings under his eyes and looks like he has aged considerably.",
"INT. HARRY'S BEDROOM - MORNING Harry is reading the Bible. He runs his finger over the print of the Bible. After reading the passage, he stares at the empty plate on the floor for what seems like a long time. He claps the Bible shut, causing a loud NOISE to ECHO through the house.",
"EXT. FRONT OF HOUSE - MORNING Suzie is walking slowly up the steps.",
"INT. BEDROOM - MORNING Suzie raises the window shade and is shocked to see the state that Gideon is in. SUZIE Oh my Lord!",
"INT. BEDROOM - DAY The room is crowded with people. Suzie is putting Gideon's shirt on. Harry is leaning against the door. After having put his shirt on, Suzie puts his house shoes on and directs Babe Brother and Junior to hold him up while she tucks his shirt in and puts on his suspenders. It takes almost everyone to hoist Gideon. Linda and Pat push the bed and night - stand out of the way as Babe Brother and Junior struggle to lift Gideon. They almost stumble at the door. Harry is left standing in the room alone.",
"EXT. BACKYARD - DAY Harry, Okra and Herman are trying to catch another chicken. Herman is COUGHING badly and Okra is out of breath. OKRA You think old Gideon is going to live to see this month out? HARRY When I came upon the valley of bones, the serpent said, `` Make this your home. Dry as my soul be, heaven is lost to thee.'' We all got to make way. Harry puts the rooster face to the ground and draws a straight line. Harry lets the rooster go, but the rooster stays motionless, unable to move. HARRY -LRB- CONT'D. -RRB- A chicken hates to see the preacher coming to dinner. Herman hands Harry the ax. Harry is poised over the chicken with the ax, appreciating the moment. Harry raises the ax. The SOUND of Rodney starting to practice his trumpet brings the rooster out of the trance. Before Harry can react, the rooster jumps away. OKRA Herman, you will have to catch the next one'cause I'm out of breath. HERMAN If I have to chase after one, we wo n't eat. A sack drops over the fence. Okra limps over to see what is in the bag. He uses a stick to open the bag. He does n't like what he sees and throws the bag back over the fence.",
"INT. VETERAN'S HOSPITAL, WARD - DAY Suzie, Junior and Pat are standing around Gideon's bed. He is in a room full of old veterans who are apparently nearing the end. Two old veterans, one white and the other black, sitting opposite each other wearing medals, sit in silence staring into each other's eyes. A nurse empties an old man's urine bag. The old man does n't show any embarrassment about his predicament. Gideon looks at how the patients are treated. GIDEON I do n't want to stay here. -LRB- beat. -RRB- Where is Babe Brother?",
"INT. HERMAN'S ONE ROOM HOUSE - DAY M.C. is sitting on the bed, reading the job section of the paper. Herman is putting Vicks Vapo - Rub in a bowl of boiling water. He covers his head over the bowl with a towel. Okra is sitting at the table examining his gun. He points it at the floor, seeing if the sight is straight. Harry is sitting at the table with Babe Brother. Harry is showing him how to cheat at cards. HARRY Never play with someone's else's cards. You always get a new deck. Look at this card. See anything? BABE BROTHER It is just a regular card. HARRY Son, I can take everything you got with that deck. It is marked. Now I'm going to show you how to make some money in case you get stuck somewhere.",
"INT. FRONT ROOM - NIGHT A moth flies around the light casting a shadow that floats over everything. Suzie turns out the kitchen light and then turns out the dining - room light. She goes to her room and closes the door, leaving the room dark. A car headlight passing outside casts a moving pattern that moves along the wall. The light reveals Harry's presence standing in the hall doorway.",
"EXT. HOUSE - DAY Gideon is being helped up the steps by his sons.",
"INT. FRONT ROOM - DAY Suzie is holding the door open while Gideon is carried in by Junior and Babe Brother. Gideon is led to a chair. He still looks awful. BABE BROTHER Does n't he look a whole of lot better? SUZIE Well, you look better than you did yesterday. GIDEON Next time, I do n't care how sick I'll be, do n't take me back to the Veteran's Hospital. Harry comes out of the bathroom, having just taken a bath. Harry seems delighted to see Gideon again. HARRY Boy, I thought you were about to cross the river. GIDEON I tell you, I feel like a ghost. Harry signals Babe Brother to come over to him. HARRY Son, would you do me a favor and see if you could turn off that tap in the bathroom. My hand is too weak. And would you do me another favor? I do n't like asking this but would you clean the tub for me? I have trouble bending over. BABE BROTHER Anytime you need someone to do something for you, just let me know. Harry flops down on the couch. Suzie sets a cup of coffee on the table for Gideon. Harry looks up from sharpening his knife on a hand sharpening stone. He spits on it. HARRY That smells like fresh coffee. SUZIE Let me get you a cup? HARRY Only if you can spare it. Junior stands over Harry's shoulder looking at him sharpening his knife. Harry feels uncomfortable with Junior standing behind him. Harry looks up at him. HARRY -LRB- CONT'D. -RRB- Son, would you get me an old piece of newspaper? Suzie sets a cup of coffee in front of Harry. HARRY -LRB- CONT'D. -RRB- Lord if you ai n't an angel. Junior hands Harry the newspaper. Harry puts the paper under his foot and trims his toenails with it. Harry is aware of Junior standing over him. HARRY -LRB- CONT'D. -RRB- I will leave you something in my will.",
"INT. BATHROOM - DAY Junior looks in but Babe Brother is too busy trying to clean the bathtub to notice anyone. Babe Brother complains to himself. BABE BROTHER What in the hell.",
"INT. FRONT ROOM - DAY Gideon and Suzie are in silhouette against the window. The SOUND of the boy trying to play his horn next door startles Gideon. Gideon turns to look out of the window towards Mrs. Baker's house. GIDEON It's good to be able to hear that. SUZIE You must have been really sick. GIDEON How is the garden doing? SUZIE I need to get out there and get those weeds out. GIDEON How is that hen doing? I was meaning to pip her before I fell sick. He takes a deep breath and blows it out. GIDEON -LRB- CONT'D. -RRB- I'm going to lie down. Take my, hand and help me up, lest I fall.",
"INT. BEDROOM - DAY Suzie helps Gideon to undress. Gideon loses hit balance but catches himself on the side of the bed. GIDEON Oh, I could n't have last another day in that hospital. You get weary being in the old soldiers home, old soldiers and war stories. They wait to tell you their last story ; the next morning the nurse pulls a sheet over their face.",
"INT. DINING ROOM, JUNIOR'S HOUSE - NIGHT Junior is putting up a new light fixture. Pat hands him a tool. Rhonda is washing dishes in the kitchen. PAT He just leeches off your parents. He is a master at wearing out welcome. JUNIOR Harry is the kind of guy you would love to take out in the woods and leave under a rock. PAT Where does her get the power to summon all his old raffish friends? They all smell of moth balls. Junior slips on the ladder and the wires touch. There is a big spark. All the lights in the house go out.",
"INT. BABE BROTHER'S KITCHEN - NIGHT Linda is standing over the stove, sweating as she stirs a hot pot of boiling soup. Babe Brother and Harry are seated at the table playing cards. Sunny is on the floor near his mother. Every time she move, he follows her. Harry notices Sunny has his shoes on the wrong foot and adds in a sarcastic way : HARRY How old is that boy? Babe Brother looks at Sunny's shoe. BABE BROTHER Linda, how come you do n't see that Sunny puts his shoes on right? LINDA Why in the h. Close to tears, she turns and with exaggerated care, puts the spoon down and gently puts Sunny in a chair. She starts to untie his shoes. Sunny stares at her while she keeps wiping her eyes. HARRY Let's give Dry Bones a call to see if he is coming or not. Okra likes to exaggerate, keep you waiting all night. Harry slowly gets to his feet and goes in the other room to use the phone. Linda watches him go. She is deep in thought. Babe Brother, attempting to cut the roast before it is ready, is pushed aside by Linda, who is almost out of control with rage. LINDA Why do n't you wait? Babe Brother, attempting to forcibly cut a piece of roast, slings Linda's arm away. His hand accidentally hits her in the eye. Linda grabs the fork, poised to strike, but gains control of herself She looks like a person who is on the verge of having a breakdown. She goes back to putting the shoes on Sunny. Babe Brother, feeling sorry, does n't know what to do. He automatically picks up the fork and washes it off. Linda picks up Sunny.",
"INT. DINING ROOM - BABE BROTHER'S HOUSE - NIGHT Linda is standing at the door, with a red eye, welcoming Harry's friends, which seem to be a long line of sickly people.",
"INT. DINING ROOM - NIGHT Linda is busy serving everyone, running in and out of the kitchen bringing more things, and removing used plates, etc.. Linda's eye is swollen and discolored. The guests look at Linda's eye and then cast a naughty - boy glance at Babe Brother. Linda stops serving to pay attention to an elderly man, who deliberately bends one of her spoons. She catches another man putting a fork in his pocket and an elderly lady putting a cigarette out in one of her plates. As she is about to confront the man about pocketing her spoon, a peal of LAUGHTER forces her to turn around only to witness a lady knocking over a glass filled with a green drink with her elbow. The stain spreads across the table cloth in an even manner like a single wave. She watches it move from one end of the table to the other. Harry is seated in the middle. The composition hints at The Last Supper.",
"INT. BEDROOM - NIGHT Linda is reading a book to Sunny, who has his coffee can of marbles emptied on the bed. The NOISE from the party in the next room is clearly heard. Every time she hears something CRASHING to the floor, she wrenches. Babe Brother comes in and stands in the doorway. Linda's eye is still swollen. BABE BROTHER You okay? LINDA I'm okay. Go back to your friends. Babe Brother closes the door and leaves Linda reading stories of Brer Rabbit to Sunny. She stops reading to look at him playing marbles on the bed. She smiles.",
"EXT. GIDEON'S HOUSE - DAY Five weighty Women, dressed in church robes, and the Preacher walk up Gideon's steps. Suzie invites the church members in. PREACHER Sister, we've come to see how you were doing. We came to ask if we could pray over Gideon.",
"INT. GIDEON'S BEDROOM - DAY Gideon is asleep. The church members gather around his bed. The Preacher puts his hand on the foot of the bed and discovers that there is something strange under the covers. Suzie looks at him and lifts the covers at the foot of the bed. Gideon's feet are resting on dead leaves. SUZIE I put some Plummer Christian Leaves under his feet to draw the fever out. PREACHER What else have you been giving him? SUZIE I crossed his stomach with cold oil and gave him some cow tea. PREACHER Suzie, I would think you would depend on prayer rather than these old fashion remedies. Let us read from the Bible. The Preacher opens his Bible and reads silently. The choir HUMS and begin to sway. Gideon's SNORING is very competitive. The choir becomes louder. Gideon starts to TALK in his sleep. Suzie is alarmed. CLOSE UP GIDEON'S EAR. THE SOUND OF A TRAIN WHISTLE IS HEARD.",
"INT. PHOTO STUDIO, 1930 - DAY (DREAM EFX) A lady steps upon the stage which has different backdrops. She is the same lady in a photo that Gideon has hanging in one of the kid's rooms. The photographer, who is off - screen, asks about the background. PHOTOGRAPHER -LRB- O.S. -RRB- What scene would you like in the background? LADY Something pleasant. PHOTOGRAPHER -LRB- O.S. -RRB- We have plantations. The woman shakes her head. PHOTOGRAPHER -LRB- O.S. ; CONT'D. -RRB- Natchez, cotton fields, Harlem, sunflowers, the Mississippi River. LADY Put the river behind me. A large picture of the Mississippi appears behind the lady. It changes from a painted backdrop to a moving picture. There is a storm developing off in the distance. The SOUND of thunder is heard. The picture in the background then changes to a boy on a mule.",
"EXT. WET DIRT ROAD - DAY (RAINING) (DREAM EFX) The boy on the gray mule does n't have a shirt on. A light mist like rain covers him. Gideon walks along the picket fence towards the boy on the mule. Ahead of Gideon seems to be a puddle but as he approaches, he discovers that it is an abyss. The boy and the mule on the other side fade away. Everything FADES TO BLACK.",
"INT. GIDEON'S BEDROOM - DAY The Preacher turns a page in the Bible. Gideon has his mouth open like a fish trying to get air. The Choir continues to SING. The Preacher gets down on his knees and holds Gideon's hand ; he bows his head. The Choir stops singing. The Bessie Smith recording of `` Muddy Water'' is coming from somewhere in the house. The Preacher looks around. Suzie is more puzzled. She goes to find where the music is coming from.",
"INT. HARRY'S BEDROOM - DAY Suzie knocks on the door. No one answers. She peeps in. No one is in the room.",
"INT. GIDEON'S BEDROOM The Preacher and the choir all have their hands on Gideon. Suzie enters the room. SUZIE I do n't know where that music is coming from.",
"INT. JUNIOR'S HOUSE - DAY Junior and Pat are helping Linda carry her baggage inside as Sunny reluctantly follows. It is obvious that Linda has left Babe Brother. SUNNY I want my daddy. JUNIOR Boy, hush that noise and get in this house. Make haste. SUNNY I want my daddy ; I told you. JUNIOR Rhonda, drag him in here. If you be nice, I will take you to Disneyland. Pat, Linda and Junior put the suitcases down. PAT Now you do n't have to say anything if you do n't want to. JUNIOR I want to hear what happened. My brother is a jackass and a damn fool. The both of you have been as scarce as hen's teeth. Linda looks down, embarrassed. PAT Rhonda, take Sunny in the backyard. Take a bowl so you can pick some strawberries. Sunny will enjoy it. Rhonda and Sunny leave. Pat turns on Junior about talking bad about Babe Brother and Linda in front of Sunny. PAT You should n't talk about the boy's father in front of him. This is family business and we have to pull together. JUNIOR Whether the boy hears it or not, the man is still a jackass. Everyone should have some mother wit. LINDA Something just took control of him. He stays out all night and comes home with a pocket full of money. PAT It's probably Harry, but I hate to mention his name, because every time we say something about him something bad happens.",
"EXT. BACKYARD - DAY Rhonda and Sunny are looking under a strawberry plant. Sunny has strawberry stains around his mouth and on his shirt. Rhonda is putting her strawberries in the bowl. After getting a bowl full, they lay on the grass, eating strawberries while looking up at the clouds slowly drifting by.",
"EXT. COUNTRY ROAD - DAY Babe Brother is driving along a country road while Harry, sitting in the front seat next to him, yawns. Harry is tired. HARRY Let us walk awhile. I grow weary when I sit still too long. Babe Brother's car stops in an orchard - like area.",
"EXT. ORCHARD - DAY Babe Brother and Harry get out of the car. They walk on a path that takes them under low hanging tree limbs. It gets darker as they go deeper into the orchard. Babe Brother finds the going rough and loses his footing. HARRY Give me your arm lest you fall. Harry has to help him stay on his feet. Babe Brother finds it necessary to take Harry's arm. Babe Brother stops and Harry walks a few more steps ahead and waits for Babe Brother. Just ahead sitting on a branch is a huge white owl camouflaged by tree branches. BABE BROTHER I could swear I heard my son call me. HARRY You probably heard the wind stirring up those dead leaves over there. BABE BROTHER I heard his voice as clear as day. I better get back. Maybe something is wrong. Babe Brother turns and starts hurrying back before Harry can object. He walks slowly after Babe Brother who is doubling the distance between himself and Harry as he runs through the orchard to his car. Harry stops and looks around.",
"INT. FRONT ROOM - DAY Pat, Linda and Junior are seated at the table. The suitcases are in the middle of the floor. LINDA I told Babe Brother that if Harry sets foot in our house again, I'm taking Sunny and leaving. Just as I said that, here come Harry and his old resurrected friends, hobbling up the steps. JUNIOR Is that how you got that black eye? PAT Do n't ask that. LINDA No, this was an accident. JUNIOR Sure. LINDA It was unintentional. JUNIOR Babe Brother reminds me of the story of the man who wanted to be sizable. He wanted to be tall but what he was really short on was brains. There was a time when people had moon fever were treated with leeches. The phone rings and Junior goes to pick it up. Linda's and Pat's attention is focused on the phone. Junior hands the phone to Linda. JUNIOR -LRB- CONT'D. -RRB- It's that nut of yours. Linda hesitates but Pat takes the phone from Junior and puts it in her hand. LINDA What do you want? -LRB- beat. -RRB- No. Nothing happened to him. Sunny and Rhonda enter. Linda turns to look. Sunny's hands and face look bloody from eating strawberries. She puts the phone down and examines his dirty face. Pat brings Linda a wet towel.",
"INT. THE BAKERS' GARAGE - NIGHT MR. BAKER, a well built black man in his late 40's, is making a new fishing pole. He is very involved. Mrs. Baker is standing beside him with her arms folded. She stares at him. Mr. Baker glances at her. MR. BAKER What are you doing? MRS. BAKER Counting the gray hairs in your head. MR. BAKER Counting the what? What does that have to do with the price of butter? MRS. BAKER I was just trying to make conversation. MR. BAKER Where is Skip? MRS. BAKER He is in his pigeon cage. MR. BAKER I'm sorry he got those birds. MRS. BAKER You know the man next door is near death. Mr. Baker does n't answer. He pauses for a moment of thought. Mrs. Baker sees that she is not going to get a response from her husband. She picks up an eyelet and Mr. Baker looks at her as if to say, keep your hands off. She gets the message and lays the eyelet back on the work bench. MRS. BAKER -LRB- CONT'D. -RRB- He must have gotten rid of those chickens. You do n't hear them crowing anymore. I kind of miss it now. Mr. Baker admires his pole. He looks very closely at the details of his work. Rodney comes in, polishing his horn. Mr. Baker's expression changes as he watches Rodney out of the corner of his eye. Mrs. Baker gives Rodney a motherly pat on the head. Rodney puts the trumpet to his mouth. MR. BAKER Do n't blow that thing in here. You blow that thing when I'm at work.",
"EXT. STREET - DAY There is a man lying on a bus bench with his belongings. A spotted dog is standing guard next to the bench. The dog's reflection is caught in a puddle of water. The dog has circles and sixes painted over his body. Old John taps on the bench with his pipe. The man lying on the bench stirs and gives Old John a wave to indicate that he is alright. Old John slowly gets his cart moving again.",
"EXT. JUNIOR'S HOUSE - DAY Babe Brother drives around the block past Junior's house.",
"INT. JUNIOR'S HOUSE - DAY Junior is at the window, looking out. JUNIOR Why does n't he just park his car and come in and apologize?",
"EXT. JUNIOR'S HOUSE - DAY Babe Brother sits in his car with the windows up. Junior tries to talk to him but Babe Brother will not roll down the windows. He just stares at Junior, who is getting angry. JUNIOR Roll down the window and let me talk to you. Babe Brother only stares at him. Junior gets more violent and starts to shake the car. Pat calls from the doorway. PAT Stop it Junior!",
"INT. PREGNANT WOMAN'S ROOM - DAY A woman is in a squatting position. Suzie and her aide are holding the woman by the arms.",
"EXT. JUNIOR'S HOUSE - DAY Rhonda is painting her fingernails. Sunny watches her. She looks around to see if any adult is watching. She tries to talk Sunny into letting her paint his nails. He refuses but she tries to pull his hand towards her. He fights his way free and stands up and kicks the bottle of nail polish over. RHONDA Mama, come see what Sunny did.",
"INT. GIDEON'S BEDROOM - NIGHT Suzie is sitting in a chair ; her head is bent forward. Gideon is TALKING in his sleep. She awakes and nods off again. Harry sticks his head in. HARRY How is he doing? SUZIE As long as he keeps his throat clear, he is able to get some rest. HARRY I made a fresh pot of coffee. Okra and I thought you need a rest. I'll stand guard. Okra wants to talk to you anyway. Harry helps Suzie to her feet.",
"INT. KITCHEN - NIGHT Okra is painfully standing on his bad feet. He is in his security - guard uniform, holding a bouquet of greens. As Suzie comes in, Okra tries to stand upright at attention. OKRA I brought you these greens and some salt meat. SUZIE That is very thoughtful of you. I have n't had time to tend to my garden like I should. Suzie takes the greens and puts them on the counter. She squeezes Okra's hand as a thank you. She pours him a cup of coffee. Okra eases down into the chair. He crosses his legs and starts massaging his feet. Suzie get herself a cup of coffee and sits opposite him. She stretches and tries to hold back a yawn. Okra looks at her in a slightly desirous way. OKRA You know Gideon and I are lodge brothers and it has always been a policy to take care of the wives if something happens to our brother. SUZIE You are very sweet, but Gideon has already taken care of everything in case something happens to him. He has a policy. OKRA If you become a widow, you will need someone around to fix the whatnots. We like for the widow to marry someone in the lodge. I know Gideon ai n't gone yet, but there will be a lot of his old friends coming around to get in line. I just want you to consider this as a kind of a conditional proposal, to be first in line so to speak. Suzie keeps herself under control ; she tries to find words to say. She stands up. SUZIE Excuse me. I have to go feed my dog. She turns the fire out from under the coffee pot and exits the back door. Okra unties his shoes and begins to massage his feet.",
"INT. BEDROOM / EXT. YARD - NIGHT Harry is sitting by the bed, just visible through the window. He seems restless.",
"EXT. GIDEON'S BACKYARD - DAY There is only one hen left in the coop. The garden is full of weeds. The sunflowers are bent by the force of the wind. A bag is thrown over the fence. The shadows of pigeons flying overhead race along the ground.",
"INT. KITCHEN - DAY Two shadows on the wall are facing each other. The shadows are the heads of two women, Suzie and Hattie. HATTIE You know Harry lied about how that boy Hocker got kilt. And it was Harry who saw Emory last before they found him hanging over a levee like someone would hang a hog. SUZIE I remember Harry always trying to help someone. He got Lulla's daughter out of trouble. He was always running to the store for someone who could n't leave the house. HATTIE Harry always shows his good side and, like the moon, the other side is black. Back home he always did try to act like the colored gentleman. I'm telling you Harry is nothing but evil. I'm warning you - you ca n't keep a wild animal as a pet around children.",
"INT. HARRY'S ROOM - DAY Harry has a plate of food in his hand. He stands facing himself in the mirror, staring at himself while he eats. He opens the door to leave but Sunny is in the hallway with his back turned sweeping. Harry stares at him and decides to go back in his room.",
"INT. KITCHEN - DAY SUZIE You know Okra asked me to marry him the other evening. HATTIE Rush your mouth, girl. No, he did n't. He can not be that big of a damn fool. SUZIE I asked Harry about it. He did n't own up to it. He said he did n't know what got into Okra. HATTIE He's just raffish. Harry put him up to it. Before evening sun sets, I would have his belongings back on Route 55, that old fox. SUZIE I ca n't accuse him just dry long 80. HATTIE Everybody who have been associated with Harry end up with pennies over their eyes. SUZIE What must I do? HATTIE If it was left up to me, I would poison him.",
"INT. HALLWAY - DAY Harry sees that it is safe to leave. He sees Sunny sweeping in Gideon's room. Gideon is sound asleep. Sunny is sweeping around the bed.",
"INT. KITCHEN - DAY Harry comes in and Hattie and Suzie stop talking. Harry is aware that he was the subject. The SOUND of the boy next door playing his horn is heard. HARRY Good afternoon, ladies. SUZIE Good afternoon to you. Harry waits for Hattie to respond but it is obvious that Hattie is n't about to speak to him. HATTIE I'm going to check on Gideon. Harry moves out of her way to let her go by. Hattie does n't even give him a glance. Harry continues to look at her as she disappears into Gideon's room. HARRY As God is my witness, I have never done anything to that woman. SUZIE You must have done something to her. HARRY Since she has repented, all she does is throw stones. SUZIE Hattie is a different person now. HARRY I do n't make no bones about where I'm going to spend eternity. I have always been wild and you know that. If you are made to feel half a man, what do you think the other half is? SUZIE I'm glad you brought that up as to who you are. I have to know who is in my house. HARRY You invited me. SUZIE Only if you are a good man, a friend. Are you a friend? Harry takes his time in looking for an answer. HARRY Like that boy next door playing that his horn. If he was a friend, he would stop irritating people, but if he stops practicing, he would n't be perfect in what he does someday.",
"INT. HARRY'S BEDROOM - DAY Hattie enters Harry's room. She goes through his things. She reads one of his letters. As she walks over to the window reading his letter, she steps on the plate, cracking it.",
"INT. KITCHEN - DAY SUZIE I want you to leave. Harry looks sad and suddenly a lot older as if what she said has taken away some of his life. HARRY Okra, M.C. and Herman want to go back home with me. -LRB- beat. -RRB- Suzie, I'm not a bad fellow ; I just like to have a good time. -LRB- beat. -RRB- M.C. is coming by to pick me up tonight. I'll come back to get my things. Well, I hope Gideon recovers. You know I have an extra picture of one of my sons that I would like for you to put with those baby pictures over your dresser. It's better than being in my dusty wallet with addresses and names of people who are no longer on this earth. Suzie takes the picture. She seems as if she has doubts about having asked Harry to leave. HARRY -LRB- CONT'D. -RRB- I'll say my so - longs to Gideon before I leave and I truly wish that he will get well. Suzie continues to look at the picture.",
"INT. HARRY'S BEDROOM - DAY Hattie is reading Harry's letters when he appears behind her. Hattie turns but is not surprised or concerned about Harry. She hands him back his letters, looks at him for a moment and goes. Harry looks down at the cracked dish.",
"INT. HERMAN'S HOUSE - EVENING (RAIN) M.C. and Herman are packing. Okra is all dressed up with a pair of Stacy Adams shoes that make his feet look exaggeratedly long. Babe Brother and Harry are sitting at a table playing blackjack. Okra picks up one thing at a time, making the packing much harder. There is a stack of old dusty 78 record ; Okra, trying to step over the records, kicks over a box of mothballs that roll across the floor. Okra has to step over boxes of toilet paper. OKRA Why did you buy so much toilet paper? M.C. I got that on the job when I was a janitor. They did n't pay me. Harry picks up an old cigar box that falls opens. Dice, shotgun shells, some spent.38 slugs and an old rusty knife, a crab apple switch, land on the floor. Harry picks up the knife. HARRY Whose old piece of knife is this? HERMAN That was my brother's knife. Harry gives the knife to Babe Brother and signals him to put it in his pocket. The SOUND of the thunder has an unreal violence to it. HARRY I do n't want to wear out welcome, but you can stay in someone's heart longer than you can stay in their house. Come with us, boy. We are going to have a good time. BABE BROTHER This would be a bad time for me to leave. HARRY We are going where the action is. Ai n't that right, Okra? -LRB- then back to Babe Brother. -RRB- Let's play for a couple of bucks unless you want to start off with two bits and work our way up. -LRB- beat. -RRB- What would you give to be rich? Babe Brother humps his shoulder. Babe Brother looks at his hand. BABE BROTHER Had Moms and Pops given me my share of what was mine, I could have been rich by now. Linda and I had it all worked out. Harry wins the first hand. HARRY I know your mind is on your wife but you should never treat a woman as an equal. You want to get your wife back, get another woman, one of those big hip women that will ride you till you sweat. Harry wins another hand. M.C. and Okra are still packing while Herman is eating Argo Starch. HARRY -LRB- CONT'D. -RRB- Double the stakes? Babe Brother agrees but his thoughts are obviously somewhere else. Harry studies his hand and looks at Babe Brother ; he puts down his hand. Babe Brother wins and is quite pleased. The next series of hands are won by Babe Brother. HARRY -LRB- CONT'D. -RRB- M.C., you ever heard of a real man having one woman? M.C. No, lord! HARRY When one woman puts you out, you have another to take you in. You do n't drive around without a spare tire, do you? The more mules you have hitched, the easier it is to plough. Harry loses another hand and Babe Brother suddenly has a pile of money. HARRY Herman, let me borrow a few bucks. Herman stand over him with a roll of bills and peels off several. HARRY -LRB- CONT'D. -RRB- Bless you. Bless you. Herman is standing behind Babe Brother, SINGING to himself. HERMAN In the ground there is a hole and green grass growing around the hole. Now in the hole there is tree and green grass growing all around the tree. Now there is a hole in the ground, a tree in the hole and green grass growing around the hole. HARRY Let me share something with you. Harry stops and thinks for a while. HARRY -LRB- CONT'D. -RRB- Hattie is a snake. That woman broke up so many homes and caused a lot of misery and because she calls herself getting religion everything is put right. Okra is taking several shotguns out of the closet. OKRA These damn things are unloaded, ai n't they? HARRY It's important to know the difference between the incoming fire and the outgoing fire. As Amos and Andy might say, `` We is the outgoing fire.'' Come with us, son. We'll show you some steaming hot juke joints, steaming hot women. M.C. A pot full of chitlins and a good time. BABE BROTHER Let me go by the house first. HARRY We will wait for you as long as we can. I got to get my things from your mother's house. Babe Brother hurries out. M.C., Herman and Okra flop down in chairs and on the bed and look at their watches. Harry sits at the table tapping out a rhythm on the table and WHISTLING very softly to himself. Suddenly Harry sees that Babe Brother left the pile of money on the table. A look of concern comes over his face.",
"EXT. GIDEON'S HOUSE - NIGHT (RAIN) It is raining hard. Babe Brother gets out of the car. Running to get out of the rain, he slips and falls ; he tries to get up but slips and falls again. He gets up and walks slowly up the steps as if he does n't care whether he gets wet or not.",
"INT. FRONT ROOM - NIGHT (RAIN) Suzie helps him to take his wet coat off. She goes into the kitchen, puts his coat in front of the stove. The knife falls out. She picks it up and looks at it like she would throw it away but Babe Brother takes it. BABE BROTHER I need to get my suitcase out of the garage. SUZIE What for? BABE BROTHER I'm going back home with Harry. SUZIE I've heard some foolish things in my life. BABE BROTHER Harry is coming to pick me up. SUZIE Have you lost your mind? Have you thought about your wife and child, not to mention your sick father? And I need your help to move his bed from under the leak in the ceiling. BABE BROTHER I'm busy. SUZIE Do n't make me raise my hand to you. You have to see for yourself that you are going in the wrong direction. BABE BROTHER Ca n't I be myself without you jumping in with your right and wrong? The world is not black and white. Show me one perfect person. If you ca n't, do n't ask me to be. SUZIE I do have a right to ask you to be a little bit better than me and your father because we gave you a better head start. You have no right to complain to us about your not having enough. -LRB- forcefully. -RRB- You sit right there with your no manners self.",
"EXT. HOUSE - NIGHT (RAIN) Junior is carrying a roll of roofing paper. Pat, Rhonda, Linda and Sunny run to the porch to get out of the rain. Junior stacks the roofing paper in the corner of the porch and stamps the mud off his shoes.",
"INT. BEDROOM - NIGHT (RAIN) Junior, Pat, Linda and Rhonda come in to help Suzie move the bed from under the rain dripping through the hole in the ceiling.",
"INT. KITCHEN - NIGHT (RAIN) Sunny stands in the doorway watching his father sharpen his knife that he got from Harry. Babe Brother is unaware that his son is watching him.",
"INT. BEDROOM - NIGHT (RAIN) JUNIOR Where is Babe Brother? SUZIE Brother is in the kitchen. JUNIOR How come you did n't ask Babe Brother to help you? SUZIE He said he was busy. He is mad'cause he wanted to get in the garage to get his things so he could go with Harry. Linda has a surprised look on her face. JUNIOR So he is busy?",
"INT. KITCHEN - NIGHT (RAIN) Babe Brother is preoccupied sharpening his knife with a sharpening stone. He is almost in a trance. Junior comes in rather angrily. Sunny goes and sits in the shadows in the dining room. JUNIOR Why in the hell did n't you help mama? BABE BROTHER I told her I would if she would give me time. JUNIOR I bet you if your master would have told you to fix the hole in the roof, you would have rebuilt the whole damn house. BABE BROTHER You always got the best of it around here and when Dad always talks about my son, it is always you, so you fix the roof. JUNIOR That is a damn lie and you know it. Every time father asks you to do something, you either half - ass do it or run off and hide. Mama asked you to turn the dirt in her garden and you told her, with your smart ass self, that you were n't a farmer ; get Junior to do it. Every time someone asks you to do something, you always say, tell Junior to do it. Boy, you ought to grow up. BABE BROTHER I told you about calling me boy. I ai n't no boy. See, you and Dad got a bad habit of calling me boy. You call me boy in front of my wife. You think I'm going to fix the roof? I hope the wind blows the whole damn thing off and it pours down rain. JUNIOR I ought to break your damn neck.",
"INT. DINING ROOM - NIGHT (RAIN) Sunny is sitting in a chair listening to his father and uncle argue in the kitchen. A car outside passes and the lights from the car form a crochet - like moving pattern on the wall behind him. Sunny is only lit for a moment.",
"INT. KITCHEN - NIGHT (RAIN) Babe Brother starts gathering up his things to leave. BABE BROTHER I'm leaving and do n't even call me when the shoe falls'cause all he did for me was to try and run my life. I'm tired of people saying Babe Brother this, Babe Brother that. What's my name? JUNIOR You dumb ass, it's Babe Brother. BABE BROTHER My name is Sam. Samuel. Babe Brother attempts to get up but Junior pushes him down. JUNIOR Sit down! Babe Brother hits Junior on the jaw, driving him backwards, causing the overhead lamp to sway violently.",
"INT. BEDROOM - NIGHT (RAIN) Suzie, Pat and Linda hear the noise coming from the kitchen and rush to see what is going on.",
"INT. KITCHEN - RAINY NIGHT Babe Brother and Junior are both reaching for the knife. Junior is on top of Babe Brother, who is stretched out on the table trying to reach the knife. Junior grabs the knife first and Babe Brother flips over to defend himself. Babe Brother grabs Junior's wrist as Junior tries to push the knife against his throat. Suzie comes in and grabs part of the knife with her hand and Junior's wrist with her other hand. Pat and Linda try to pull the two men apart while pleading with Junior. Blood drips from Suzie's hand to the table, forming a pool under Babe Brother's head. PAT Stop it! Stop it! Look what you are doing! Babe Brother's eyes are rolled to the back. Junior's eyes are huge ; he has an animal look on his face. The SOUND of struggling people breathing heavily is amplified. The pool of blood on the table grows larger. Junior slowly becomes aware of the blood and his body relaxes. He calmly releases the knife. Junior takes his mother's hand. JUNIOR Someone get some lard out of the ice box. Pat attempts to get the lard but pain in her stomach forces her to sit down. Linda gets the lard out and hands it to Junior. Babe Brother raises himself. The blood from Suzie's dripping from his head. Rhonda is trying to hold Sunny back. Junior holds his mother's hand under the faucet. It is a deep cut. The bleeding wo n't stop. Pat is sitting at the blood - stained table unable to move. She is PANTING, sweating, and holding her stomach. Linda is caught between trying to help Suzie and attending to Pat. Babe Brother helps to make a wad of cloth to press in her hand to Stop the bleeding. LINDA You are going to need some stitches. We better take her to the emergency hospital. Babe Brother is shamefully calm now and very humble. BABE BROTHER I'll drive her to the hospital. JUNIOR We will take her. You all stay here and watch Dad. LINDA What about Pat? PAT I'm okay now. Suzie attempts to go see Gideon but Babe Brother and Junior turn her to the door. Going through the kitchen door, Junior intentionally turns his back to Babe Brother. Babe Brother stares at Junior's back as he walks ahead.",
"INT. HOSPITAL, EMERGENCY RECEPTION ROOM - NIGHT (RAIN) The automatic doors open and Junior, Babe Brother and Suzie enter. There is a long line of people waiting at the registration window as well as groups of people filling out forms. Other patients are seated and waiting patiently to see the doctor. Suzie finally gets to the registration window. A NURSE, white, 25, with extremely long fingernails that curve back around, is surprisingly sympathetic. NURSE What sort of emergency are you here for? SUZIE I cut my hand. NURSE Let me take a look at it. Suzie puts her hand through the window. The Nurse stands up to get a better look. The Nurse takes the wad out of her hand. The bleeding has stopped. The Nurse takes a deep breath. The Nurse glances up to notice the blood stains on the back of Babe Brother head. NURSE -LRB- CONT'D. -RRB- Are you all together? JUNIOR Yes. NURSE The bleeding has stopped but it will need stitches. You will have to fill out this form. How will this be covered, insurance, cash or check? JUNIOR Do n't worry about it. It will be paid. Just let her see a doctor. SUZIE I have Medicare. The Nurse hands Suzie a form, but Babe Brother takes the form. The Nurse looks again at Babe Brother's head. NURSE Do you need to see the doctor too? BABE BROTHER No, just my mother. Babe Brother fills out the form with Suzie's help and hands the form back to the Nurse. They find a seat all together.",
"INT. HOSPITAL, EMERGENCY RECEPTION ROOM - NIGHT (RAIN) The room slowly fills with people and Babe Brother and Junior offer their seats to those there for medical care.",
"INT. HOSPITAL, EMERGENCY RECEPTION ROOM - NIGHT (RAIN) Two Police Officers bring in a man handcuffed to a bed. The woman officer carries a shotgun. The male police officer carries a clip board. The Prisoner is obviously in no condition to escape or cause trouble. They are allowed to go directly to the emergency room without waiting.",
"INT. HOSPITAL, EMERGENCY RECEPTION ROOM - NIGHT (RAIN) More injured people come but in spite of their condition they are told that they have to wait. There is only standing room. Junior and Babe Brother are standing next to the wall. On the other side of the room, Suzie is looking quietly at them as if she is in deep thought. Junior walks over to the reception desk. JUNIOR Why is it so crowded? NURSE Well, it is Friday night and a full moon. Junior whispers to Babe Brother. They both start to laugh. Suzie looks up and finds them in a fit of laughter. A faint smile appears on her face.",
"INT. GIDEON'S BEDROOM - NIGHT (RAIN) Gideon is slowly getting up. He looks around. He calls for Suzie. He slowly gets to his feet. GIDEON Suzie, I'm hungry.",
"INT. FRONT ROOM - NIGHT (RAIN) He walks by Linda, Pat, Rhonda, and Sunny, who are sleeping in chairs, on the floor and on the sofa. GIDEON Suzie.",
"INT. KITCHEN - NIGHT (RAIN) Gideon opens the refrigerator and starts taking out bowls of food and placing them on the table. He puts on a pot of coffee. GIDEON Suzie.",
"INT. KITCHEN - NIGHT (RAIN) (LATER) Gideon is busy eating almost everything in sight. A group of mystified and sleepy faces appear at the door. Pat, Linda, Rhonda and Sunny are all looking rather dumbfounded.",
"EXT. BACKYARD - MORNING Everything is wet from the night's rain. The garden looks more like a graveyard. Moisture drips from the sunflowers. Gideon's nervous looking rooster jumps the fence and starts to CROW. Skip is out early throwing rocks at his birds. The rocks land on Gideon's roof.",
"EXT. HOUSE - MORNING Babe Brother and Junior help Suzie out of the car. She has her left hand bandaged. They are extremely exhausted. They walk up the porch to find Harry holding the door open. HARRY I ca n't believe what I heard took place.",
"INT. FRONT ROOM - DAY On seeing Suzie, Sunny jumps up, knocking the can of marbles over the kitchen floor. He runs to give Suzie a hug. Sunny wants to touch her bandaged hand, but Linda stops him. SUZIE How is Gideon doing? RHONDA He is asleep now, but he was up all night eating. As Suzie goes to Gideon's room, she comes face to face with Harry. She does n't say anything. HARRY I came to pick up my things.",
"INT. GIDEON'S BEDROOM - DAY Gideon is SNORING loudly. On the night - stand is a plate with food left on it. Suzie feels his forehead.",
"INT. FRONT ROOM - DAY Harry sadly gets up. He looks at Babe Brother. Linda steps in front of Babe Brother. LINDA You ought to go see how your father is doing and then wash that blood off you and change shirts. Babe Brother is surrounded by Linda and Sunny who has his eyes fixed on Harry. They move as one heading for the bedroom. Harry seems a lot older. He sadly walks towards the kitchen with his coffee cup. LOW ANGLE SHOT : Harry is slowly walking towards the MARBLES that are scattered over the kitchen floor.",
"INT. BEDROOM - DAY Pat, Linda, Junior, Rhonda, Babe Brother, Sunny and Suzie are all standing around waiting for Gideon to wake up. SUZIE Gideon. Gideon's only response is to SNORE louder. PAT How long is Harry going to hang around? Babe Brother is in a corner all by himself. He looks down when Pat asks the question about Harry. A loud CRASHING SOUND comes from the kitchen.",
"INT. KITCHEN - DAY Harry is trying to raise himself from the floor. He pauses for a moment and then collapses. Harry is in a lot of pain. Harry's body contorts and then remains still. Babe Brother, Junior, Pat, and Linda, Suzie run in. Suzie tries to see if he is alive. Babe Brother tries to give him mouth to mouth resuscitation but Linda pulls him away. Junior tries to push down on Harry's chest. Babe Brother stares down at Harry and then goes slowly back into the living room. Pat is on the phone dialing the paramedics. Everyone stands around Harry.",
"INT. KITCHEN - DAY Two PARAMEDICS work on Harry. One of the paramedics is a young Asian. The other is white with red hair. They listen for a heart beat and shake their heads in a negative manner. They pack up their medical case. The Asian's accent is very difficult to understand. WHITE PARAMEDIC There is nothing we can do for him. The Paramedics start to leave without the body. JUNIOR Well, are n't you going to take him with you? ASIAN PARAMEDIC If he had died in our care, we would be required to take him. Since we found him dead, you will have to wait for the county to pick him up. JUNIOR How long will that take? WHITE PARAMEDIC That would depend on how busy it is. I'm sorry.",
"INT. KITCHEN - DAY Harry is stretched out on the floor. A blanket covers everything except his shoes.",
"INT. FRONT ROOM - DAY Hattie, Marsh, Okra, Herman, and M.C. all come in. Marsh looks cheerful. MARSH What happened? JUNIOR He slipped on some marbles that were on the floor. Then his heart gave out. LINDA -LRB- to Sunny. -RRB- I told you to always put those marbles up and not to leave them just anywhere. PAT The poor thing is not to blame. Rhonda, take Sunny for a walk. Marsh hands Rhonda several dollars. MARSH Here, go around to the store and buy what you want. HATTIE Would anybody object if I take a look at him? HERMAN I do n't think Harry would like it. Hattie goes over and pulls the blanket back. Okra, M.C. and Herman hurry over to take a quick glance. They huddle behind Hattie, peeping over her shoulder. HATTIE I never noticed how big his eyes were.",
"INT. BATHROOM - EVENING Linda is helping Babe Brother wash Suzie's blood out of his hair. She dries his hair with a towel. Sonny hands Babe Brother a clean shirt, Gideon's shirt. He puts it on.",
"INT. BEDROOM - NIGHT Gideon is sitting on the edge of his bed looking through the scraps of leftovers on his plate. He puts his pants on. As he moves about, his joints SNAP and POP. He picks up the empty plate.",
"INT. FRONT ROOM - NIGHT Babe Brother is on the phone with the county morgue. He gets into an argument with the people on the other end of the phone. BABE BROTHER Mister. Mister. Excuse me for cutting you off but we pay taxes too. We should not have to pay you to take a 24 - hour lunch break. Babe Brother hands the phone to Linda. BABE BROTHER -LRB- CONT'D. -RRB- The coroner said that he was out here, and knocked on the door and no one was here. Junior steps over the body, holding a pot of coffee in his hand. The Preacher is sitting with Suzie talking in a low voice. Pat, Rhonda and Sunny come in with boxes of chicken snack. Linda hangs up the phone. LINDA He does n't know when he will be out this way again. Somebody downtown is going to hear about this. M.C. They just do that in the colored neighborhood. If he had been white, they would had him on his feet and out of here. PAT I got white meat and I got dark meat. I know it sounds cruel but we have to eat. Gideon comes in walking very slowly, holding his plate out. Everyone is shocked. Gideon is completely unaware of the period that he has been sick. GIDEON What, are you having another party? SUZIE You better come sit down. You are still sick. GIDEON Gal, you're talking to John Henry. When was I sick? JUNIOR You have been out for almost three weeks. The Preacher gives him a pat on the back and shakes Gideon's hand. PREACHER We had long conversations with the Lord about you. Did n't we, Sister Suzie? I said we need him down here, Lord. Gideon smiles in appreciation. He pushes his plate out to Pat, indicating that he wants it filled with chicken. Gideon is about to bite into the chicken when he notices Harry's feet sticking out. He points with the chicken in his hand. He has a mystified look on his face. OKRA That's our friend Harry. GIDEON Not our Harry? OKRA I wish it was n't. Gideon seems to weaken for a moment. GIDEON What happened to him? HATTIE He dropped dead. HERMAN Hattie, you can be so mean. GIDEON How long has he been dead? SUZIE Since this morning. GIDEON What happened to your hand? SUZIE I cut it on an old rusty knife. Gideon is deeply concerned. GIDEON What did you put on it? SUZIE It's healing now. Gideon looks over at his two sons as if to ask them about it. GIDEON I hope you will take care of your mother better than that when I'm gone. Junior and Babe Brother both have their heads down. Linda and Sunny move closer to Babe Brother. GIDEON -LRB- CONT'D. -RRB- Babe Brother, is that my shirt that you're wearing? BABE BROTHER Yes. GIDEON How come you're not wearing my shoes? BABE BROTHER They're too big. Gideon stares at Babe Brother and then looks around towards Harry. GIDEON When is the undertaker coming? LINDA They ca n't say. I'll try calling them again. Hattie moves closer to Herman and speaks so only he can hear. HATTIE Why do n't M.C. and you drag him to your house? Herman moves away with a look of disdain. MARSH Harry did n't have any relatives living, did he? M.C. Harry was in the world by himself. MARSH Somebody has to take responsibility for him. PAT Why do n't you look through his things to see if you can find a number? Okra, Marsh, Hattie, Herman, and M.C. go to Harry's room, leaving Suzie and Gideon sitting opposite each other with the door to the kitchen separating them. Junior, the Preacher and Pat are eating chicken. Linda is on the phone trying to get through to the morgue. LINDA How do you like that? They hung up in my face. I'll fix them. I'll show them just how mean I can get. She rapidly dials the number. There is a BUSY SIGNAL. LINDA -LRB- CONT'D. -RRB- This has been a nightmare.",
"INT. BEDROOM - RIGHT M.C. and Marsh are going through Harry's boxes. They take out old blues records, books, a big Bible, and books on Dunbar. MARSH These are letters to his son. Hattie reads the letters in a corner by herself. She stops reading for a moment. HATTIE I still do n't know if I was right about Harry. She seems frustrated with herself not being able to come to terms about who was Harry.",
"EXT. FRONT YARD - NIGHT A crowd of people are standing around looking at Gideon's house.",
"INT. FRONT ROOM - NIGHT The Preacher is sleep in his chair, SNORING loudly. Babe Brother and Linda are sitting together, talking in almost a whisper. Sunny is asleep in his lap. Babe Brother is finding it difficult to apologize for his recent behavior. BABE BROTHER I have more sense than to give up everything, my family, you and Sunny. It was n't me, I mean the real me inside my body. I'm glad it's over. It's like a veil has been lifted. LINDA Like a veil has been lifted? BABE BROTHER It's like I've been swimming in muddy waters. LINDA Like muddy waters? BABE BROTHER It was like all those things old country people try to tell you what hell is like. LINDA You were in hell? BABE BROTHER I could n't believe the things I was doing. It was like an internal struggle going on inside my body. LINDA Do you think you won? BABE BROTHER It was nip and tuck. LINDA And what lesson have we learned from all of this, Babe Br. Sam. I mean Samuel? BABE BROTHER I guess it proves you really care about me. You hung in there. Linda looks at Babe Brother for a length of time. GIDEON When are you boys going to fix that roof? BABE BROTHER Soon as I rest a bit. -LRB- beat. -RRB- I meant as soon as we are back to normal again, anytime. GIDEON Here I am thinking about myself when poor Harry is resting on the floor of the kitchen.",
"INT. KITCHEN - NIGHT Harry's body lies there motionless.",
"INT. FRONT ROOM - DAY The Preacher is SNORING violently. Babe Brother is asleep on the floor. Sunny is asleep sitting on Linda's lap. Linda's feet rest on Babe Brother's chest. Junior and Pat are looking at the baby pictures. Pat is holding her hand across her stomach feeling the baby kick. Rhonda is asleep in a chair. Suzie and Gideon are sitting at the dining room table. Suzie is cutting the dead leaves off of a small potted plant. SUZIE It feels like a storm has passed. Hattie read some of Harry's letters to a woman he had a child by. The child had died and he was writing to give her some comfort. Hattie did n't know that deep down at the bottom of Harry's hate, there was some love. The SOUND of Rodney's trumpet is heard but is no longer irritating. GIDEON Did I ever tell you the story about the man who wanted to make his own mind up about heaven and hell? He did n't want nobody's opinion but his own. Suzie does n't pay any attention ; she is involved with her potted plant. Gideon looks over at the Preacher, who is still asleep. GIDEON -LRB- CONT'D. -RRB- He's going to check out heaven first. He gets a round trip ticket to heaven. He gets in heaven and finds it just like back home. People dripping with sweat, working in the fields, hardly surviving. He asked a man who was getting a drink of water, `` I thought the streets were paved with gold.'' `` They are but you wo n't see them,'' he said. `` Boy, you got to work day and night cause idleness is sinfulness.'' So he takes the other half of his ticket and takes the express to hell. He sees people stretched out on their backs kicking back, picking their teeth. `` Man, this is a dream.'' He asked, `` What's you'll doing?'' They all hollered back, `` Sinning.'' The devil was shaking hands with everyone and came up to him and said, `` Please to meet you.'' He asked, `` I thought you'll was supposed to be burning in fire.'' Someone said, `` Man, ai n't no fire down here except under that pot of chitlins.'' The man was going go ask the preacher back on earth. SUZIE I do n't want to hear any joke about colored people being in hell. You're being irreverent. GIDEON I'm almost finished. I'm about to come to the punch line. SUZIE I do n't want to hear any tales about colored people. GIDEON But these are white people, anybody. The punch. SUZIE I do n't care to hear any jokes about people being in hell. This cut on my hand reminds me that it is nothing to laugh at. GIDEON It's only a tale. The RATTLING of pots and dishes starts suddenly. Harry's body starts to sway gently as if he were about to get up. Everyone is frozen. Babe Brother and Linda remain asleep. The rocking caused by the earthquake does n't wake them. M.C., Herman, Okra and Hattie and Marsh enters the dining room. Harry's feet are seen in the kitchen still swaying. M.C Is that an earthquake? HERMAN It's something. Babe Brother wakes in a sweat and sits next to Linda like a child needing protection. BABE BROTHER I'm cold. I need to get out into the sunlight. JUNIOR What is it, noontime? PREACHER I wonder how they going to bury this man. HATTIE Plant him in Potter's Field. He does n't need a marked grave. HERMAN Hattie, your true colors are unbearable. You got some mean ways. Do n't worry about the boy getting a burial. He still has some friends left on this earth. HATTIE His winter has come and gone and I know right now he is answering for a lot of things. M.C., Okra and Herman move away from Hattie. PREACHER It is my job to pray for his soul and I would like to do that.",
"EXT. GIDEON'S HOUSE - DAY Rhonda is sitting next to Sunny on the front porch. She has an angry expression. Sunny is trying to please her by offering her his airplane. He pushes the airplane near her and she pushes it back with a violent shove. He persists in offering her his airplane. A crowd of people is still standing around in front of Gideon's house. MAN Hey boy, you still got that dead man in your house. Sunny and Rhonda do n't respond. A middle - aged woman, VIRGINIA, one of Gideon's neighbors, passes Sunny and Rhonda, knocks on the screen door and goes in.",
"INT. FRONT ROOM - DAY VIRGINIA I know you all have n't had a chance to cook or do anything with that dead man in your kitchen. You must be starved to death. Some of your neighbors have got together and we set up a picnic table in my backyard with food and everything to feed all you all. SUZIE Virginia, that is so wonderful of you all! MARSH If the dead wagon comes, we ought to leave a note telling them we'll be down the street at a picnic. Gideon comes back in with Suzie, who is helping tie his tie. They all line up and file out the front door with Suzie and Gideon leading the way. Pat is holding her stomach with a thoughtful look on her face. PAT I think we better be ready. Junior looks concerned as he follows Pat out the door. Sunny follows Rhonda, who is still mad at him. Babe Brother and Linda are the last ones out. Babe Brother takes a long look in the direction of Harry as Linda pulls him out. She slams the door.",
"INT. KITCHEN - DAY Harry's body lies on the floor. On the kitchen sink are Suzie's jars of cuttings, which have developed a maze of roots. THE END"
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] | Harry (Danny Glover), an enigmatic old friend from the South, comes to visit Gideon (Paul Butler) and his wife Suzie (Mary Alice), who haven't seen him for many years, who are delighted to see him again, and who insist that he stay with them for as long as he would like. Gideon and Suzie live in South Central Los Angeles, though they retain some of their rural southern ways, including raising chickens in the backyard. Harry has a charming, down-home manner, but his presence brings to a crisis the simmering trouble that is already in the family—especially as regards the younger son, Samuel or "Babe Brother" (Richard Brooks), and his relation to his parents, wife, and older brother, Junior (Carl Lumbly). His disruptive presence is dangerous (his influence threatens to break up Samuel's marriage and seems to be related to the illness that puts Gideon in bed in serious condition for a couple weeks), but ultimately purgative: Gideon's extended family is much more cohesive as a result of Harry's visit. Samuel and Junior struggle over a knife in a climactic fight during a storm, which ends in Suzie sustaining a knife wound. During a long wait in the emergency room, the storm clears, and, similarly, the simmering anger that Harry seemed to bring to a boil is also dissipated. Harry's death just before the end of the film suggests, ambiguously, that he has been to a degree a self-sacrificing savior of the family. | To_Sleep_with_Anger |
[
"INT. LAUNDROMAT, MOCKINGBURG, NEW YORK - NIGHT Glaring fluorescence, trash overflowing with cheap detergent boxes, empty Coke machine flashing all lights orange. Only two dryers are humming. It's very late. Keep PANNING to. a wiry, gimlet - eyed WOMAN, furtively removing crumpled newspapers from a dryer. She flattens and folds them meticulously, her glance darting angrily everywhere. Top secret mission. a natty little black man. PARTRIDGE has spread a late supper on a neat cloth atop a dryer. Small cold fowl. Brie, baguette, olives. Bottle of red. An air of competence, of indomitable upbeatness. He ignores the spy - dressed - as - bag - lady as if she were normal. More curious about. a hulking, rumpled figure scrutinizing Help Wanted ads as if cramming for life's midterm exam. Thoughtful. Circles one, slowly. Set out on QUOYLE's dryer are one Snickers bar and four empty snickers wrappers. His version of cold supper. He reaches for the candy, but seeing it's the last one, he. rises. Goes to the candy machine. Drops in his 65 cents, hits the button. The Snickers starts to fall, but gets caught in the mechanism at the last moment. Quoyle blinks dully. One more retelling of the story of his life. He BANGS the machine half - heartedly. Nope. Shakes it with his shambling strength. Nada. POUNDS the coin return button. Hat trick. He empties his pocket. Studies the results. Not enough. And without so much as a sigh. he ambles back to his dryer. Starts to unwrap the last Snickers. Partridge taking this all in. But Mata Hari of the Neat Newspapers goes to the candy machine, KICKS it violently. Out fall the Snickers and the 65 cents. She scoops up both, turns in a single motion to. GLARE death at the enemy. Quoyle opens his mouth to comment. But. Does n't. Resumes unwrapping his supper, as. his dryer STOPS. He pops it open. Stares in. Blinks. Suddenly YANKS a tangle of graying shirts out onto the grimy floor to reveal they have been. STAINED streaky BLUE by a cheap pen, quietly melting amid the pile. This slips beneath even Quoyle's expectation level. The big, soft face is pitifully, yes, even adorably, devastated. QUOYLE -LRB- a murmur. -RRB- Ruined. And to the bystander. This seems a comment on more than shirts. PARTRIDGE -LRB- softly. -RRB- Nah. Rub the ink with hot salt and talcum powder. Quoyle's head WHIPS around. As if he thought he was alone. QUOYLE -LRB- V.O. -RRB- If you're shocked when someone aims kindness your way. That oughta tell you somethin' about yourself. Watches the little guy's undemanding smile. QUOYLE -LRB- V.O., just staring. -RRB- Then again. If you're that kinda guy. It do n't. PARTRIDGE And put a cuppa bleach in, next time through. As Quoyle gazes at his benefactor, the woman sneaks up, SNATCHES his Help Wanted ads. Races them over to her dryer. As the boys watch, she shoves them in, starts the machine with Quoyle's coins, and glares fiercely back at us. A mother bear protecting her cubs. Partridge chuckles. Holds out his hand. PARTRIDGE Partridge. Quoyle glances at the little man's cold fowl supper. QUOYLE Uh. No thanks. PARTRIDGE It's my name. Oh.",
"INT. MOCKINGBURG RECORD CITY ROOM - DAY Shabby one - floor newspaper. Old equipment, listless personnel, stale you can smell from here. Only guy working is Partridge, who is laying out the front page, and glances up to see across the floor. Quoyle enter in his best suit. It is also his worst suit. Partridge points to the only enclosed office, and gives his buddy a hearty thumbs - up. Quoyle nods, his smile a rictus, his eyes a glaze of panic. We see now that he is chewing, somehow. On the way into the office, he snags a doughnut from a paper plate by the coffee. Enters.",
"INT. ED PUNCH'S OFFICE - DAY ED PUNCH, managing editor, looks up from a reverie with a startled expression. He wears really thick glasses which MAGNIFY his eyes, giving him a frightening aspect. PUNCH Quoyle? You're early. From the rear, we see Quoyle can barely squeeze himself into the chair. PUNCH I do n't like that. All the change SPILLS out of Quoyle's pockets, and CLATTERS onto the wood floor, ROLLING interminably, as Quoyle fidgets. PUNCH Partridge says you're not as dumb as you look. REVERSE ANGLE now to see Quoyle's face. The neat moustache of powdered sugar. QUOYLE -LRB- V.O. -RRB- How could I be? And takes a healthy bite from what's left of the doughnut. PUNCH Anyway, that's why I'm takin' a chance on you. Partridge said he'd re - write whatever of your stuff. Stay late. Quoyle nods, dumbly. Knows this. PUNCH We're a family paper. Upbeat stories with a community slant. Self - help stuff : Are You a Break - fast Alcoholic? Guide to Getting Dumped. like that. Quoyle nods bigger. Like he gets it. Punch shoves an antique tape recorder across the table. PUNCH City Planning Board meeting at two - thirty. Three hunnerd words max. Sink or swim. HOLD on Quoyle's eyes. Recalling. FLASHBACK : EXT.. PUBLIC POOL - DAY. Quoyle as a fat kid in a baggy bathing suit, being savagely pummeled by his vicious OLDER BROTHER. QUOYLE -LRB- V.O. -RRB- I think my brother said that once. BROTHER LARDASS! SNOTFACE! FARTBAG! Being pulled off the sniveling Quoyle by a rough hairy man with dead eyes. QUOYLE -LRB- V.O. -RRB- Maybe it was my father. Quoyle's FATHER hauls him off the deck, and in a single motion, FLINGS him INTO the pool! FATHER Sink or swim, pig - butt. Watches the THRASHING with mild contempt. Turns away before Quoyle simply SINKS beneath the surface. QUOYLE -LRB- V.O. -RRB- I'm not a water person.",
"INT. CITY ROOM - LATE NIGHT The empty room a haven of dust motes floating in sickly fluor - escence. Quoyle sits across the desk, gazing with endearing fearfulness as Partridge turns page after page. PARTRIDGE See, three hunnerd words would be, like, one page. This is. oh, fifteen, sixteen. QUOYLE So we should cut it. Partridge does glance up on that. PARTRIDGE Gon na have to. QUOYLE Or you could tie me in a sack, throw me in the river. Tell the police you thought it was oddly - wrapped lard. PARTRIDGE Might be quicker. Nobody smiles. Nobody has to. Quoyle pulls a big glass jar from a paper sack. Sets it on the desk. QUOYLE Does your wife like special pickles? They're fine with cold cuts. Partridge looks at the cornichons. They look expensive. PARTRIDGE Come by for supper, tomorrow. We'll find out. DISSOLVE to.",
"EXT. PARTRIDGE'S BACK YARD - DAY Sausages on the BBQ, interesting colors and sizes. A huge hand delicately places cut - up pieces of quail on the grill. It is Quoyle, trusted, paying attention. MERCALIA, a slim black woman with fiery eyes and an enticing smile, hands him a glass of white wine, and. goes to slip her arm around Partridge. He watches Quoyle's concentration approvingly. Shares a smile with his sexy wife. And raps a knife on his glass. Announcement. Quoyle looks up with innocent eyes. Which makes Partridge hesitate. PARTRIDGE We. Got you this. Mercalia takes out the package. Wrapped in tissue, a neat ribbon. She hands it to Quoyle, and leans up to kiss his cheek. Quoyle looks down at it, dumbfounded. A silence. MERCALIA It's. an anniversary present. Anniversary of our friendship. Quoyle smiles. Sweet and slightly confused. QUOYLE Seven and a half month anniversary? He starts to unwrap. PARTRIDGE Well. Why wait? a wristwatch. A nice one. He is overwhelmed, but still uncomprehending. MERCALIA It's because we're happy. About something. And steals a glance at her husband. QUOYLE -LRB- BIG grin. -RRB- You're havin' a baby! That stops Partridge's face. No more stalling. PARTRIDGE Mercalia and me are movin'. To California. Friday night. Quoyle so pole - axed he ca n't even lose the smile. It just turns stupid and transparent. His friend swallows. PARTRIDGE You know she's been learnin' to drive a rig. She got the Oakland to New Orleans run. I'm gon na make her smoked duck sandwiches for the road. I can edit copy anywhere. Quoyle nodding slowly, smile still there. Yep. I guess y' can. Partridge sees that it's a death blow. Mercalia looks at her feet. PARTRIDGE Love's all that counts. It's the engine of life. As if parting advice. As if Quoyle should file that away. So Quoyle nods some more. As if he will. PARTRIDGE We'll just. Stay in touch. On this, Quoyle's smile deserts him. So Partridge reaches out his hand. Quoyle paralyzed, then takes it. CLOSE ON their handclasp, and DISSOLVE to.",
"INT. DOUBLETREE MEETING ROOM - EVENING a slender feminine hand. Buried in Quoyle's. PETAL -LRB- O.S. -RRB- Petal Bear, Mr. Quoyle. PAN up to see her. Tiny, twitchy, moist ringlets. A gray - eyed predator. She looks around at the milling suits and their name tags. As if they were alternatives. PETAL Do you hate this shit, or what? Quoyle transfixed by her slight form in its loose but clingy wrapping. The smile that sees him again and flickers. PETAL What do you think? You want to marry me, do n't you? Do n't you? No answer. She laughs, as if at some off - color response. Runs hot fingers up his arm, leaning to his face. PETAL Buy me a drink somewhere, it's seven - thirty. I think I'm going to fuck you by ten. What do you think of that? Quoyle. Blinks. She laughs again. Bright, like whiskey music. PETAL You are quite. The raconteur.",
"INT. QUOYLE'S TRAILER - LATE NIGHT Petal naked in near - darkness, moves with authority toward the massive lumpy creature nearly overflowing his bed. Draws the covers back. Stares. PETAL Christ. I won the lottery. Climbs on, the lithe move of a leopardess. Feeding time. QUOYLE -LRB- V.O. -RRB- It was pretty much like that for a month. Petal RIDING in silhouette, with great, violent swoops. CLOSE on his face, his eyes. Lovelight. QUOYLE -LRB- V.O. -RRB- Somewhere in there. We got married.",
"INT. BAR - NIGHT Horrible place. Smoke and bodies. Quoyle alone, carrying his sloshing beer, apologies unheard, toward. QUOYLE -LRB- V.O. -RRB- After that, I had to follow her to see her. the back of Petal, talking to a big guy in a shiny suit. QUOYLE -LRB- V.O. -RRB- Which I know was wrong of me. Closer. Close enough to hear. PETAL What do you think? You want to marry me, do n't you? HOLD on Quoyle's face. The lovelight has never left. It shines through the shock. As if in apology. QUOYLE -LRB- V.O. -RRB- She did n't know she was pregnant. DISSOLVE to.",
"INT. PARLOR - DAY One - year - old BUNNY is SCREAMING in a rickety crib festooned with mobiles and bright toys. HEAR Quoyle POUNDING in. He reaches to lift her. WAY UP, starts running around the faded little parlor making cheerful airplane noises, as he DIVES and SWOOPS the shrieking kid, until he. stops. Sniffs. Oh. Gives her a kiss, which does n't put a dent in the screaming, and flops her down on the diaper table. She is screaming LOUDER. He is fumbling with the diaper, the Baby Wipes, getting a wad of ten or so at once. When. the phone rings. He runs off. Runs back, lifts Bunny, diaper dangling from the tape stuck to her skin, and SNATCHES up the phone, hoping with everything in him that it's. PETAL -LRB- O.S. -RRB- Hey. How do you make an Alabama Slammer? He takes a breath. Can hear the noise of a rowdy spot. Country juke box. QUOYLE Uh. Where are y. PETAL -LRB- O.S. -RRB- Alabama. Hence, the question. Bunny. Has stopped screaming. QUOYLE Come home. I'll make you one. PETAL -LRB- O.S. -RRB- That's a swell idea. Now go look on top of the fridge, where I keep the Mr. Boston. I'll wait. What should he do? He sets Bunny carefully on the floor. She starts screaming again, and he LIFTS her quick, cuddles her. LOPES off, leaving the phone on the floor. RACES back in with the Mr. Boston, a bag of pork rinds, and a pacifier. Something for everyone. As he flips the pages, he murmurs into the phone. QUOYLE You okay? Except for being thirsty? She laughs, almost friendly. He smiles. Ever hopeful. PETAL -LRB- O.S. -RRB- I'm busy, I'll see y. QUOYLE -LRB- reads. -RRB- Ounce Southern Comfort, ounce Sloe Gin. Ounce Triple Sec. Three ounces o.j. PETAL -LRB- O.S. -RRB- Got it. CLICK. The BUZZ of her disconnect. He glances down at Bunny, working the pacifier. Murmurs to the receiver. QUOYLE Me too. I'll tell Bunny you miss her. Hang up the phone. Kiss a baby. Eat a pork rind. Slow. As he gazes down on Bunny, we PUSH INTO her face, and MATCH DISSOLVE to.",
"INT. BUNNY'S ROOM - NIGHT, FIVE YEARS LATER an ECU of Bunny, now six years old, asleep in the flickering blue light of a nearly - mute TV. Apparently she was watching Sportscenter. PAN the darkened shoebox room. Toys everywhere, in a clutter. A pile of used Barbies, limbs jutting in all directions, waiting for a mass grave. BACK to Bunny, to see. she sleeps in her father's lap. His chin resting on her head, an industrial - size bag of cookies handy. Somewhere, a door OPENS. SLAMS HARD. Quoyle gently lays Bunny on her bed, and lurches INTO the hall, to see Petal disappearing into her bedroom, and he hurries to stop the door before it slams in his face. When she turns, she is wasted, feral, and somehow as sexy as ever. Her laser glare. What the fuck do you want? QUOYLE There's. Cold chicken. Really? She tears off her jacket, revealing that she has left her shirt somewhere and is down to her bra. She stalks toward him. Straight to the doorway. He flinches. PETAL Find yourself. A girlfriend. With what you got down there, you'll do fine. Quoyle swallows. Shakes his head. PETAL Only thing can work, here. Is divorce. No. No. Tears of shock pool in his eyes. QUOYLE -LRB- V.O. -RRB- I knew we had our problems. But I never thought I'd hear that word. She shivers with disgust. Walks around in a frustrated circle. Back to his face. Are you sure? What does a girl have to do? And now. the tears are on his face. She flashes her hardest look. And yet. her slender fingers reach out. Wipe his face, not as roughly as she might have intended. PETAL Your funeral, pussy. And CLOSES the door, quietly, but firmly. In his face. He stares at it. His lips part. But no sound comes. Instead, he walks the few steps to Bunny's room, to find her. wide awake. Sitting on the edge of her bed. No question, she heard it all. So Quoyle smiles. He reaches to the top of her battered armoire. His eyes damp but dancing for his daughter. Pulls down. a box of chocolates. Their stash. He sits on the floor. Opens the lid, like buried treasure. She comes to cuddle in his lap. He feeds her one. She feeds him one. They've done this before. As they chew. QUOYLE -LRB- V.O. -RRB- I knew if I could take it. In the end. It would all work out.",
"INT. CITY ROOM - MIDDAY Everyone trooping back from lunch, twos and threes. Quoyle last, alone, still stuffing down a snack cake as he heads for the coffee pot. There's one answering machine for everybody here, glowing a red number 2. Someone hits it, and everybody shuts up a beat, to see if they got lucky. MALE VOICE -LRB- O.S. -RRB- Lila, it's Daniel. Ten - thirty. Bring the. You know. LILA does n't even bother to blush. A shrug is plenty. FATHER -LRB- O.S. -RRB- Quoyle, this is your father. Calling you. Dicky's machine is full. Your home one's broke. Well. It's time for your mother and I to go. Quoyle listening. Go? FATHER -LRB- O.S. -RRB- Instructions about the undertaker. The cremation. On the dining room table. Oh. Go. Eyes are sneaking over now. Lots of them. FATHER -LRB- O.S. -RRB- You'll have to make your own way. I did. Nobody gave me nuthin'. Other men woulda give up, turned to bums. I sweated, wheeled barrows of sand, went without so you and yer brother could have advantages. Not that you did much with your chances. Everybody just openly staring now. Quoyle's snack cake and coffee frozen in mid - air. FATHER -LRB- O.S. -RRB- Has n't been much of a life. Tell Dicky and my sister Agnis Hamm. Her number's on the dining room ta. BEEP! MACHINE -LRB- O.S. -RRB- That was your final message. Quoyle nods. Sounded that way. Despite the hateful coarseness of this message, Quoyle is deeply moved. Lips pursed inward to stem tears. In the silence. FAT GUY -LRB- trying. -RRB- Were they sick, or something? Quoyle stares into distance. Somewhere, feet shuffle. QUOYLE Brain tumor and liver cancer. -LRB- afterthought. -RRB- One apiece. FAT GAL -LRB- sad for him. -RRB- That's rough. He nods, it is that. Wanders on over to his desk. They're still watching, but he does n't seem to notice. Turns his ratty Rolodex with solemn slowness. Not to dishonor the moment. Finds the number, dials. Winces at the harshness of the voice he hears. Then. QUOYLE Dicky. It's Mom and Poppa. They. He ca n't say any more. Turns out, he does n't need to. BROTHER -LRB- O.S., snorts. -RRB- Jeez, they did it? I never thought he'd find the fucking guts. Quoyle licks his lips. His eyes puddling now. QUOYLE So. For the funeral, I thou. BROTHER -LRB- O.S. -RRB- You think I'd go pay that prick respects? You got me confused with you! Quoyle shakes his head once. That confused he is n't. QUOYLE -LRB- quietly. -RRB- Well. Mom'll be there, too. Silence. BROTHER -LRB- O.S. -RRB- Hey, Barfbag. They leave us anything, y' think? QUOYLE Do n't see how. Big mortgage. Spent their savings on the doctors. I hadda send some grocery mon. BROTHER -LRB- O.S. -RRB- Well, see, that's why he did it. I mean, think how it felt. Taking from you. LONG ANGLE. they are watching him replace the receiver in its cradle. Think. Stumble slightly, as he makes his way toward.",
"INT. PUNCH'S OFFICE - DAY Punch looks up, startled at Quoyle's entrance. His oversized glasses seem to magnify his eyes more than ever. QUOYLE Sorry, Ed. I got ta drive down to my parents' place. I'll be back, Friday. A full beat. PUNCH Take yer time. I got ta let you go. Quoyle's eyes sharpen. QUOYLE In what sense do you m. PUNCH As in canned. Oh. Once again, life slips beneath even Quoyle's expectations. QUOYLE -LRB- a little dazed. -RRB- Uh. Would next week be better? PUNCH -LRB- sighs. -RRB- I got the summer interns comin' next week. They're free and they're smart. Got ta do somethin' to fight this slump. But do n't worry. Do n't? PUNCH Yer not the only one. -LRB- beat. -RRB- Eventually. A beat. QUOYLE Should I finish the sawmill piece?",
"INT. QUOYLE'S HOUSE - DAY Quoyle enters carrying a spray of violets. HEAR Springer turned up loud. He goes to the parlor to find. MRS. MOOSUP, the babysitter, smoking and swigging a Pepsi. She is mean - ugly with flesh hanging beneath her arms. She stares at him, the flowers. MRS. MOOSUP -LRB- dry. -RRB- Mr. Quoyle. You should n't have. QUOYLE -LRB- taking her literally. -RRB- They're for Petal, Mrs. Moosup. I got something to tell her. MRS. MOOSUP Well, that may take awhile. Uh - oh. MRS. MOOSUP She came in at one, packed like crazy. Said she was movin' to Florida with the guy in the red Geo. You know the one. He knows the one. MRS. MOOSUP She says you got ta pay my wages for the sittin'. Seven weeks, comes to $ 3080. ` Preciate a check right n. He is heading toward the hall. MRS. MOOSUP Do n't bother. She took Bunny with her. That stops him. Cold. He turns. QUOYLE That's the last thing she'd ev. MRS. MOOSUP She was real clear about my check. It's no fun workin' if you do n't get paid. He TEARS out, DOWN the hall, INTO Bunny's room. closet open. Empty. No more tangled pile of Barbies. He surveys the wreckage of his life. QUOYLE -LRB- V.O. -RRB- At least she took her toys. Wanted her to be happy. He staggers out of the room, down the hall. MRS. MOOSUP -LRB- O.S. -RRB- Mr. Quoyle? I ai n't got all day, here! into the kitchen. Lifts the receiver. Thinks. Dials. QUOYLE -LRB- quietly. -RRB- Yes. I need to report a kidnapping. And straightens his spine. Just a little. QUOYLE Quoyle. Q - U - O - Y - L -. no, Y, then L - E. Yeh, it's my kid. He's still holding the violets. He notices this. Sets them down, almost tenderly, in the sink.",
"INT. QUOYLE'S HOUSE - LATE NIGHT Quoyle alone in absolute darkness. Bumping around the house. There's a large bag of something in one hand, maybe M & Ms. But he's not eating. Just murmuring to himself. QUOYLE Who knows? Who knows?",
"INT. QUOYLE'S PARENTS' HOME, BROOKLYN - DAY Quoyle moving in his parents' cluttered parlor like a man underwater. A room as drab, as neglected, as Brooklyn through the window. He stands at a shelf now, staring at a row of framed photos. Lifts one. a BOY of 15, bundled for winter, stands by a frozen pond. Stocky, sullen, something unpleasant in the narrow eyes. Next to him, not touching, a GIRL, big for 12. Rawboned, husky. Flat gaze, like something's dead or hidden. Quoyle walks to the table. A cardboard box has been filled with mementos. A slip of paper : AGNIS HAMM, a telephone number. The phone is RINGING now. Quoyle staring at the paper. Finally, lifts the phone, breathes an absent greeting, and. MALE VOICE -LRB- O.S. -RRB- Is this Mr. Guy Quoyle? QUOYLE -LRB- weary. -RRB- He's not here. MALE VOICE -LRB- O.S. -RRB- This is Lt. Amos Figg of the Mockingburg, New York Police. Could you have him call me when he ret. QUOYLE He's passed on. He's dead. -LRB- beat. -RRB- You said Mockingb. FIGG -LRB- O.S. -RRB- We're a small town upstate. I'm actually trying to reach his son. He allegedly went down to his parents' place two days ago. Quoyle blinks. Not in the mood. QUOYLE Are you a detective, Lieutenant? FIGG -LRB- O.S. -RRB- Yes sir. QUOYLE Well, as you've probably deduced, I am his son. Cause I'm at his place. As alleged. Silence. FIGG -LRB- O.S. -RRB- There's no need for that tone, sir. I'm calling with urgent news. And says no more. We can feel Quoyle's heart beating from here. QUOYLE Which is? FIGG -LRB- O.S., hesitant. -RRB- You want the good news? Or the bad news. Ominous. Would be an understatement. QUOYLE The good. Please. FIGG -LRB- O.S. -RRB- Your daughter Bunny was sold by your wife to a child pornographer. For $ 9000. Quoyle's heart. Has stopped. FIGG -LRB- O.S. -RRB- But she's fine. We got her. And the doc says she was n't touched. Yet. If you catch my drift. INTERCUT. a dingy kitchen, scuzzier than we could even have guessed. Bunny in her underpants sliding merrily on a floor made slippery with dish detergent. PAN past the video camera on its tripod to the PORNOGRAPHER at the window, also in his underpants, screaming into a cordless phone. And. BACK to Quoyle. His heart must have started again, because he is able to say. QUOYLE That's. The good n. FIGG -LRB- O.S. -RRB- Well. Compared. INTERCUT. a riverbank somewhere high above swiftly - flowing water. Police and bystanders gathered. A winch reaching its chain into the depths. FIGG -LRB- O.S. -RRB- Your wife was in a red Geo which went through a guardrail over the Chesapeake Bay Bridge. Here comes part of the Geo. Streaming water and mud. FIGG -LRB- O.S. -RRB- They were doin' 97 in a fog. The car was cut in half by the impact with the rail. Her male companion's body floated up downstream. BACK to the horrified husband. Waiting in silence. QUOYLE And Petal? FIGG -LRB- O.S. -RRB- May never find the body. But she was mercifully killed on impact, without a doubt. They found her shoes under the dash and her. trousers for some reas. QUOYLE That do n't mean for sure she w. FIGG -LRB- O.S. -RRB- and her purse. With the nine large. Oh. Tears finally force their way through the shock. As he realizes. QUOYLE -LRB- a murmur. -RRB- Yeh. If she was alive. Do n't guess she'd a left that.",
"INT. COUNTY SOCIAL SERVICES - DAY Quoyle moving his bulk FAST down a corridor, a uniformed COP almost skipping alongside to keep up, watching Quoyle like a hawk all the way to. the threadbare common room. Kids playing, arguing, sleeping, staring at an antique TV. Quoyle goes THROUGH them all, cop doggedly in his wake, and sinks to his knees beside. BUNNY I ca n't do this. Bunny on the ratty sofa, legs dangling, holding out a vintage Gameboy. She wears clean clothes, freshly - washed hair, and a comfortable smile. QUOYLE -LRB- very soft. -RRB- Me neither. And kisses her, lightly, on the lips. QUOYLE -LRB- softer still. -RRB- Hi. She kisses him back, much harder, on the mouth. The lopsided grin of a practicing imp. BUNNY Hi, too. That for me? We had n't seen them, hidden beside his leg. A bunch of DAISIES. He gives them to her. Like her best beau. BUNNY Where's our candy? QUOYLE In the store. That way, you've got the whole selection. And then. QUOYLE Give us a minute. Bunny does n't understand. QUOYLE I mean him. PULL BACK to the cop, staring down on them from point - blank range. He does n't move. Quoyle looks up, with an easy smile that says he'd just as soon tear all the arms and legs off, and sweat the consequences later. The cop backs well off. He can take a hint. BUNNY Petal went to Florida. She'll be back soon. He looks in her eyes. Shakes his head. No. QUOYLE She had an accident. BUNNY So do you. He nods, I do. Tenderly pulls a strand of her hair aside. QUOYLE There was a car crash, sweetie. And they found. you know, the body. Of her friend. BUNNY Nestor. That's right. His big hand has wrapped around one of hers. She does n't seem to mind. Their faces so close. QUOYLE Petal ca n't come back, she's dead. You know dead. Like the turtle. She drills his eyes. Calm as a moose. BUNNY We found the turtle. And they found Nestor. Did you find Petal? He shakes his head. BUNNY You never do. But she always comes back. And leans her forehead. To rest against his. BUNNY Do n't worry.",
"INT. QUOYLE'S HOUSE - NIGHT Quoyle stumbling toward the front door, drawing his robe around him. Squinting through the peephole. OPENING the door, to reveal. AGNIS Nephew, I'm your Aunt. Agnis Hamm. Tall and rawboned and 60. A rugged, maybe even handsome face, set with ice - blue eyes. Calm, slightly scary eyes, that drift to his robe. AGNIS You sick? It's nine o'clock. He is completely off - balance here. QUOYLE Uh. No, Bunny and I like to. uh, early to bed, earl. AGNIS Losin' your wife, your folks, and your job'd depress anybody. It's a wonder you do n't sleep all day. Not that she seems to approve. Not at all. His eyes now drift to the large, well - used SUITCASES dangling from her powerful hands. AGNIS Thought I'd stay a day or two. Give you some relief with th. And stops. The mouth does n't smile. But the eyes crinkle slightly toward. Bunny. Who has crept out in her jammies. Hugging a sack of Pepperidge Farm cookies like it was a teddy. AGNIS -LRB- to Bunny. -RRB- You like blue dogs named Warren? The little girl nods. As if she certainly does. AGNIS I got one in the car.",
"INT. PARLOR - LATER In the far corner of the room, Bunny plays with WARREN, a sweet, ugly dog. Toothless and, undeniably, blue. QUOYLE -LRB- O.S. -RRB- I never knew her, really. See him now, sipping his tea. Wallowing in the detritus of his emotions. QUOYLE But she was driven by terrible forces, no one could understand. She was a locked door. Even to me. Agnis in the good chair. Teacup on her ample lap. Assessing a photo on the end table, Petal's arctic eyes, rigidly seductive pose. The snapshot enshrined by a neighboring votive rose in its jelly jar glass. AGNIS So she was n't just a bitch in high heels? Quoyle's eyes cut instinctively toward his daughter, her innocence protected by distance and absorption with Warren's passivity. AGNIS Do n't stress. She mighta heard worse from her momma. I'm only guessin'. QUOYLE Some people probably thought Petal was bad clear through. AGNIS People. Are a cynical lot. QUOYLE I think she just could n't get enough love. Agnis' unblinking eyes. AGNIS I think the evidence. Is on your side. The eyes study him. Dissect him, even. AGNIS I'm headed north, Nephew, to where our family comes from, in Newfoundland. Thought I'd never go back. But the older y' get. Clucks her tongue. AGNIS There's a pull. Becomes an ache. As if where your people started held a purpose for you. Like you're a piece in a puzzle. Not a smile. But something. A softening of timbre, a flicker behind the eye. AGNIS lookin' for where y' fit. Lifts her cup. AGNIS You, too. Takes a sip. His eyes have narrowed in a burlesque of suspicion. QUOYLE In what sense do you m. AGNIS You need to come, Nephew. Just like that. AGNIS Nothin' here but hurt. You got to start fresh, everythin's gone! Hmmn? AGNIS The trip'll clear your head. Be educational for the squirt. Teach ya the world's still spinnin' outside this toxic slice o'Hades. And who knows? Tilts her head. Who knows. AGNIS They must have a newspaper up there. Somebody's got ta write it. He just stares. The blankest of the blank. AGNIS Tell the truth, I'd appreciate the company. You two are pretty much my family. His face softens. Had n't thought of it that way. And seeing this. AGNIS A pot o'coffee would hit the spot. Drop o'whiskey would fit nice in it. She waits. He rises. And when he does. AGNIS Which one's my brother? He blinks. She looks at two URNS on the mantle. QUOYLE Uh. There's Mom. And that's Poppa. The name of the funeral home tastefully stenciled. He clears his throat. QUOYLE Those are temporary. AGNIS Coffee. And maybe a sweet. Quoyle nods, glad to serve. Heads off to the kitchen. Agnis looks at Bunny and Warren. AGNIS She needs to go outside. BUNNY I know why. She runs out, the dog trotting after. Alone now. Agnis pulls something from her large carpetbag purse. It is an oversized ZIPLOC BAG. She stands. Crosses to. her brother's urn. She removes the lid. Turns the huge Ziploc upside down to COVER the urn. Then, in one deft movement. UPENDS the urn, a cascade of ash tumbling into the Ziploc. Seals it. Sets it to one side. Then, from her purse. another ziploc already filled with replacement ashes. She pours just enough into the urn. That should do it. Stashes the rest back in her purse. Turns now to lift. the Ziploc with her brother's remains. Stares at it. Think Hamlet with Yorrick's skull. AGNIS What say, Guy? The dumpster? A beat. Eyes flat and neutral. AGNIS Just a thought.",
"EXT. PHANTOM HIGHWAY - MISTY NIGHT A world of fog and reflected high beams. Big rig pulls over, and Petal climbs up and in, her short red dress fluttering about her thighs. The truck is roaring heedlessly through dense cloud. The DRIVER is gross and bald, snot suspended from his nostrils. He lets go of the wheel to run his hairy hands UNDER Petal's dress, while through the shotgun window, we see. Quoyle FLYING along outside, like a superhero. Except he is shocked bug - eyed by the tableau. The disgusting driver buries his face in Petal's hair, she throws her head back laughing, and the driver becomes Quoyle's FATHER, Quoyle silently SHRIEKING outside the window, and SMASH cut to.",
"EXT. DECK, PORT-AUX-BASQUES FERRY - DAY Quoyle blinking awake on the deck of a pitching ferry. Fog and cliff and the raw Atlantic. And SOARING alongside, an amazing number of MARITIME BIRDS. the gulls and terns seeming to stare Quoyle in the eye as they glide past. Maybe they prompted his dream. AGNIS -LRB- O.S. -RRB- They draft off our air currents, it's quite premeditated. She stands at the rail. Smoking, despite the wind. AGNIS They actually know the ferry schedule. Show up on time better'n the Newfies. He smiles a seasick smile. Lurches from his bolted - down chair to join her. She nods back toward. Bunny through the glass window, snuggled with Warren, feeding the dog french fries. AGNIS image of m ` sister, Feeny. She's married to a falconer in Arabia, now. Has to wear a black thing over her face. QUOYLE Like the falcon. She stares in his eyes. Yes, like the falcon. They are growing on each other in a companionable way. AGNIS Nice. To be with family. He smiles. It is nice. AGNIS ` Specially big shots. Who can land a job with one phone call. His smile changes color. A quiet pride in the modest. QUOYLE Well, that was my friend Partridge. Made the call. And it's just an interview. When Quoyle looks back in at Bunny, he sees she is staring off at something with full attention. He follows her gaze to. a honey - haired MOTHER with her small BOY snuggled in her lap. She is feeding him an ice cream bar with evident tenderness. And though the child's face is blissfully vacant, she murmurs to him with serious intent.",
"INT. CAR, GREAT NORTHERN PENINSULA - DAY Quoyle driving a winding, rutted road, high above the coastline. Cracked cliffs in volcanic glazes. Long - abandoned settlements jutting from raw granite. Icebergs on the horizon above the rumpled, creased fabric of a brilliant blue sea. Beside him. AGNIS On the map, here. Quoyle Point. Named after us. You. It all seems at once awe - inspiring, frighteningly lonely. And hostile as hell.",
"EXT. QUOYLE'S POINT - SUNSET The car pulls up in a shroud of mist. Our family climbs out, stares into what seems the center of a dense cloud, until. the fog LIFTS. And like a ghost, a GREEN HOUSE appears. Then, disappears. Then, APPEARS again. This time, to stay. AGNIS -LRB- bottomless pride. -RRB- I was born here. BUNNY The green makes me hurl. -LRB- Warren whimpers. -RRB- Her, too. The cloud lifts further, and we see the house stands alone on a rocky point. The bay roils far below. Half the window panes are gone. Holes in the roof, paint flaking everywhere. Lonely and scary as any haunted house. AGNIS Empty 44 years. And look at that roofline, straight as a ruler. Quoyle looks at her. Looks at the house. Looks at her. QUOYLE Take it easy. Floor mighta fallen into the cellar. AGNIS -LRB- laughs. -RRB- Not likely. There is no cellar. No foundation, neither. She takes Bunny's squirming hand and starts toward the house, as if crossing Jordan. AGNIS -LRB- calling back. -RRB- The whole thing's lashed with cable, to iron rings set in the rock! He just stands there. Sees the cables now, the rings. QUOYLE -LRB- calling out. -RRB- Uh. Why would they do th. AGNIS -LRB- calling back. -RRB- Long story! Apparently a private one, too. Keeps walking.",
"INT. GREEN HOUSE - TWILIGHT Inside the dank, corroding place. We can feel all 44 years of abandonment. CRASH! The door FLIES open. Quoyle with his tire iron steps aside, and. Agnis drags Bunny inside. The wind shrieking low through openings like proper spirits. Even this bold child is frightened. So Agnis leans to murmur. AGNIS Up those stairs, Aunt Pinkie slept. So fat she could n't get down to her chamber pot. Wan na see if she's still there? Asked as a serious question. Bunny nods. Let's. ANGLE. upstairs now. Agnis marching through like MacArthur reclaiming the Philippines. Room after rough - hewn spacious room, light spiking through a thousand roof holes in assorted shapes. AGNIS Well. Too late to drive that road back ` round the bay. We'll camp in here tonight. Be right as rain. Quoyle looks down to his daughter. Who nods, as if that were a perfectly natural suggestion. BUNNY Which one's Petal's room? I'll sleep there.",
"INT. GREEN HOUSE - LATE NIGHT CLOSE on Bunny's sleeping face. PUSH INTO her closed eyes, and FADE to. a WINDOW, unearthly tendrils of FOG drifting past in moonglow wisps. Suddenly, a FACE appears, an animal. White. Wolf, or more likely, dog. It stares in at us, is fleetingly joined by a grizzled HUMAN ghost, eyes FLASHING crazy, and. gone in mist. CUT to. REAR ANGLE of Quoyle and Bunny, each rolled over onto one side, asleep in their sleeping bags. His arm across her protectively. Hers across Warren, who sleeps curled to her chest. PAN up to. the window. Only the shimmer of cloud - like mist. SNAP to. REVERSE ANGLE. Bunny's eyes. wide open.",
"INT. ROOM - DAWN CLOSE on Quoyle, stirring at the end of sleep. His eyes flutter open. A beat. He is alone. sits. BOLT UPRIGHT. ANGLE. front hallway, Quoyle's bulk POUNDING toward us, boots in his hand. The front door ajar. And at the threshold, in a decorous semi - circle, six naked Barbies. Legs spread wide for balance. Each staring out the doorway, to where. Bunny sits on the cold ground. Making some craft project with great care. Quoyle can breathe again, she's safe. Ambles out, crouches beside her. Close. She keeps working. Almost eerie concentration. He sees now that she is weaving a loop of dandelion stems, connected by aluminum pop tops. He leans down. Kisses her head. QUOYLE Is that a belt or a crown? No answer. That concerns him. The intensity of her focus. He notices now, the soda and beer cans with their tops popped. Lined up in a row. He lifts one, liquid sloshes out. They're full. QUOYLE Sodas get flat withou. BUNNY This is important. She wo n't look up. He glances back to the doorway. QUOYLE That why the Barbies are watching? BUNNY They're being nice and patient. QUOYLE They must be chilly, tho. Should I get their clo. BUNNY They look better this way. They have great bodies. He looks back. Well. Maybe so. Holds up one of the heavy boots he's carrying. It has a thick blue shoelace. The other. Has none. Sticks that one in front of her face. She looks up to him. Tugs on the shoelace, which she now wears as a necklace. BUNNY I need it. I look good in blue. QUOYLE -LRB- smiles. -RRB- Well. I look good in shoes. sees now what she has tugged from inside her shirt. The shoelace necklace holds a dull metal KEY as a pendant. He blinks. QUOYLE I was lookin' for that all over our old place. The landlady s. BUNNY I need it. He takes that in. The urgency of it. She is staring in his eyes. So he grins. QUOYLE You had quite the heavy morning. Take the rest of the day off. She does n't smile back. Returns to her work. He looks out by the cliff, to see Agnis staring across the bay, Warren sitting at her side. He pulls on his boots. Gets to his feet. QUOYLE Be right back, and we'll start talking breakf. BUNNY -LRB- not looking up. -RRB- Watch out for the dog. He looks across the ground toward old Warren. QUOYLE Yeh, her farts are pretty scary. BUNNY I mean. The white one! Now their eyes meet. Matter - of - fact. BUNNY The White Dog with the big teeth and the red eyes. The Skinny Ghost owns him. They came last night. He draws a breath. BUNNY I did n't dream'em, do n't say I did. He thinks this over. QUOYLE I was gon na say. I'll keep my eyes peeled. And makes a funny gesture, like peeling his eyeballs. She goes back to work. His eyes linger. Then, he heads off toward the cliff. When he gets there. AGNIS -LRB- staring across the bay. -RRB- I'll get us a carpenter. Fix the place up in no time. We'll find a rooming house til th. QUOYLE Be cheaper to build a new one. On the Riviera, even. Now she looks at him. Her flat, bottomless eyes. AGNIS Only I were n't born. On the Riviera. O - kay. That's settled. He nods, humbly, dumbly. She points off across the water. An actual TOWN. AGNIS Flour Sack Cove. What time's your interview at that paper? Ten o'clock? Ten o'clock. AGNIS The drive's a bitch. We'll buy us a boat. He tries a smile. Unavoidably lame. QUOYLE I'm not. A water person. AGNIS -LRB- dead straight. -RRB- A boat. That's the ticket. His grin hardens. Just enough to say that on this issue, maybe even she ca n't push him. He turns around. Starts back toward his daughter. QUOYLE not a water person.",
"INT. CAR - MORNING Quoyle driving alone in his best suit. Which is also his worst suit. Which is also the suit he wore to interview Ed Punch, years ago. Hard rain. Potholes. Around a curve, to see ahead. REAR ANGLE of a tall WOMAN, holding the hand of a CHILD as they walk in their slickers through the downpour. As he passes them, they TURN and. the woman is Petal. The child is Bunny. They both stick their tongues out at him. Past now. Looking in the rear - view. The woman is lovely and no longer Petal. The child is a BOY, with a slack face and warm smile. Surprisingly, the same mother and son that Bunny watched on the ferry. QUOYLE -LRB- V.O. -RRB- Someone found a pretty wife. Still staring in the mirror. The receding figures small against the rain. QUOYLE -LRB- V.O. -RRB- Someone always does.",
"EXT. THE GAMMY BIRD - DAY Quoyle pulls up to a ramshackle place, its sign : THE GAMMY BIRD over a painted quacking duck. As he climbs out, he hears SHOUTING from inside. A door opens, and. a crab - Iike figure scuttles out, jumps in a Toyota truck, turns the key. Kills the engine. He looks out at Quoyle standing in what's left of the rain. Climbs back out. Rasps. CARD As you can see, sometimes y' ca n't get away. I'm Tert X. Card, the bloody so - called managing editor, copyeditor, rewrite man, mechanicals, ad makeup department, mail and distribution chief, and snow shoveler. More of a leering rictus than an actual smile. TERT CARD is aging, balding, potbellied over a once - rawboned frame. His face looks like cottage cheese clawed with a fork. He scratches his balls with a rough - hewn hand. He is never happy. CARD And you are either a big advertiser come to buy a four - page spread to push your warehouse of left - footed Japanese boots. Or. You. Are the breathlessly - awaited Quoyle. QUOYLE That'd be me. The second one. Card rakes his privates once more, and offers the same hand in dubious greeting. Quoyle takes it. CARD Have to do without the Ultimate Cheese, y' will. Himself, Mr. Jack Buggit, is up at the house having charms said over his scrawny chest to clear out that impressive accumulation of phlegm he's been hawking all week. Claps a mirthless hand on Quoyle's back, leading him into.",
"INT. GAMMY BIRD NEWSROOM - DAY A newsroom. Makes the Mockingburg Record look like the Washington Post. Only two employees at their vintage desks. Card points as he bellows. CARD Now, there's Billy Pretty. He's something of a landmark and an old fish dog. BILLY PRETTY is wizened and wiry, pushing 70. A tiny, energetic creature with well - weathered hide, watering crystal - blue eyes, and a slanted smile. He waves a bony hand. CARD Billy does the Home News page. Poems, baby photos, household tips, and a gossip column, under the byline of Junior Sugg, that is pretty much straight libel. Billy nods. That pretty much covers it. CARD In short. He writes the only stuff anybody actually reads. Little salute from the Managing Editor. If Card likes anybody, he likes Billy. And he does n't. CARD Now this miserable ugly Brit, is B. Beaufield Nutbeem. Imagines he's the foreign news chief. Steals every story off that foul shortwave radio and rewrites it in Limey prose. NUTBEEM -LRB- smiling. -RRB- Which bloody Card rewrites in a mystical tongue most charitably referenced as an unacquireable taste. NUTBEEM is 50 and gangly. Buttery hair swept behind ample ears. A thin moustache, a bounteous bowtie, a ratty pullover. He opens a file folder. Gives Quoyle a piercing, meaningful glance. NUTBEEM Mine : ` Burmese sawmill owners and the Rangoon Development Corporation met in Tokyo Tuesday to consider a joint approach to marketing tropical hardwoods.' Got it? Turns the page. NUTBEEM Card's rewrite : ` Burnoosed sawbill awnings and the Ranger Devotional Competition met Wednesday near Tokyo to mark up local hairwood.' A stunned. Silence. CARD It's shorter, and I got Tokyo right. NUTBEEM If misspelled. CARD Now what's funnier, Quoyle? My writing style, or the fantasy that any Newfie would read that moosepuckey in the first pIa. QUOYLE -LRB- to Nutbeem. -RRB- How'd the meeting go? Did they agree on a joint marketing approach? The beginning. Of a beautiful friendship. NUTBEEM -LRB- gentle smile. -RRB- Still in progress, old bean. One can only hope. Card, who likes no one. Does n't like Quoyle, too. CARD There's your miserable desk, Quoyle. We've got no idea what yer s ` posed to do. But Mr. Jack Buggit will drop by someday and enlighten us all. Til then. And he turns away. Through the swinging door. SLAM. Quiet. Except for Nutbeem's chuckle.",
"EXT. GREEN HOUSE - DAY Quoyle pulls up beside the ancestral home. Agnis stands at the back of a rented truck, sorting through materials in the payload. Across a stretch of ground, Bunny is earnestly pretend - reading a book to Warren, who lies listlessly before her. Quoyle comes up behind Agnis. He carries a newspaper and an excited air. QUOYLE Listen to this. ` Well, we see the postman has landed in jail for 45 days for throwing the mail in Killick - Claw Harbor. He said he had too much to deliver, and folks could just take a dip and help themselves.' He looks up, eager for her reaction. She is still sorting through bolts of thick cloth, spools of heavy thread, odd mechanical devices. QUOYLE This is great stuff.' A snowmobile mishap has taken the life of 78 - year - old Rick Puff, who was on his way home from what the Widow Puff calls a ` screech - in and a carouse,' when his machine fell through the ice. A well - known accordion player, Mr. Puff had served four years in the 1970s for sexual assault on his daughters. Bet they are n't crying, either.' This Billy Pretty can really write! AGNIS -LRB- absently. -RRB- passes as colorful. He looks into the truck. Sees all the stuff. She surveys his puzzlement. AGNIS Nephew, we ca n't fix up the house proper on a journalist's wages. So I have un - retired. Oh. Absorbs that. QUOYLE From what? AGNIS Upholstery. Been sought after for 33 years, wherever I've lived. This should be the real test, huh? Quoyle nods. Could be that. The sudden sound of footsteps above them, makes him look up sharply, to see. a fit young MAN in a toolbelt climbing down a ladder from the roof. The muscles of a stud, the shy smile of a boy, he waves a greeting and HOPS down the last six feet to the ground. AGNIS This is Dennis Buggit, master carpenter. DENNIS offers a hand, and a smile that says he's expecting to like you. Makes the sentiment contagious. DENNIS Only til I get my lobster license. I'm a fisherman in my soul. A strong handshake. On both sides. DENNIS It's a Newfie thing, the compulsion to fish. Y' hear yesterday's tragedy ` bout the Newfie who went ice fishin'? Quoyle has n't. DENNIS Brought home 200 pounds of ice. His wife fried it. They both drowned. Quoyle laughs good and honest. Dennis likes that. AGNIS With me workin', we'll need day care for Bunny after school. Turns out Dennis and his wife send their little girl to this wonderful saintly woman. How's that for us livin' a charmed life? Quoyle nods, if a bit cautious. Dennis squints out across the bay. DENNIS Agnis says yer buyin' a boat. Sooner's prob ` ly better'n lat. QUOYLE -LRB- quiet smile. -RRB- I'm not buyin'. No boat. Sounds pretty sure of that. Punctures the amiable ambiance with a shard of silence. AGNIS Well, course we're buy. QUOYLE -LRB- to Dennis. -RRB- Buggit, huh? Any kin to my boss on the Gammy Bird? The silence. Just got thunderous. A full beat. DENNIS -LRB- low. -RRB- Oh, yeh. He's m ` dad. Even the eyes glance down. What is that? In the wake of it. AGNIS -LRB- cheerful. -RRB- Gon na chat up yer daughter, or just ignore her as usual? Quoyle nods. Better do that. Dennis sends a shy smile, as if apologizing for the awkwardness. Quoyle holds up a finger, be right back, and. heads on over to where Bunny is reading to Warren. BUNNY Warren threw up in your sleeping bag. She's got a stomach problem. Quoyle takes a breath to answer, but stops. He's caught a whiff. QUOYLE -LRB- V.O. -RRB- Headline. Dog Fart Fells Freelance Reporter. Promising Career Nipped in Bud. BUNNY It's called cancer. Oh. Quoyle holds his face together, as Bunny strokes the limp Warren. Then, he crouches down. strokes Warren, too. Good dog.",
"INT. GAMMY BIRD - MORNING Quoyle enters. Billy Pretty's on the phone, hand cupped over the receiver, like it's top secret. Nutbeem's tuning his ancient shortwave with a butter knife through the hole where a knob ought to be. And as Quoyle sets down his sack lunch and thermos, as he peels off his parka, he's staring straight into the eyes of. Tert Card across the way. Wearing a wicked and mysterious smile. As Quoyle's butt lowers toward his chair. BOOMING VOICE -LRB- O.S. -RRB- ATTENTION QUOYLE! Ouoyle JUMPS a foot. Looks from Card to Billy to Nutbeem. What's going on? BOOMING VOICE -LRB- O.S. -RRB- IT'S AN I.Q. TEST, ME OLD SON, AND YOU AI N'T EXCELLING! WHIPS around. Through the glass of the only private office, sits a rumpled codger with a bullhorn. JACK BUGGIT, has his rubber boots up on the desk, scale - spattered overalls over his compact, sinewy body. His hair is wisps and shocks, and his face is strewn with stubble split by a leprechaun's grin around a stained hand - rolled ciggie. JACK -LRB- into bullhorn. -RRB- DOES PAYIN' YER SHAMEFUL WAGE ENTITLE ME TO A PERSONAL AUDIENCE? OR WOULDJA RATHER JUST STAND THERE AN' DROOL? NUTBEEM Tell the truth. Jack WAVING him in, with great energetic loops. The grin more rowdy than his boy's. But the charm is there and more so. Quoyle goes. CARD -LRB- O.S. -RRB- Hold onto yer danglies, little sister. closes the door behind him. Jack's eyes are crinkly blue. They study Quoyle good. And right in his face. JACK -LRB- into bullhorn. -RRB- I PREDICT! A COCKADOODLE - BRIGHT FUTURE IN JOURNALISM! QUOYLE Based on my I.Q. test, huh. Where'd I rate? JACK -LRB- sets the bullhorn down. -RRB- Advanced squirrel. This ties you with me, an' I own the place. Holds out a brown fisherman's hand. Quoyle takes it. JACK Pleased t ` meetcha, Billy says yer workin' out. A wink. JACK Tert Card says he's keepin' an eye on ya. Since he's a self - servin' liar, helluva ad salesman tho, it means he's jealous. And Nutbeem. Lifts the bullhorn. JACK -LRB- into bullhorn. -RRB- NUTBEEM'S TEMPORARY ANYWAY! YOU HEAR THAT NUTBEEM! NUTBEEM -LRB- O.S., through glass. -RRB- WITH PROFOUND RELIEF! Jack's grin grows a twinkle. Soft spot for the Brit. JACK Nutbeem's obsessed with actual news. Makes up for it by manning the sexual abuse desk. Ca n't keep up with the volume there, we're runnin' three, four a week. Leans forward. Like he's dishing the lowdown. JACK Card's in charge. Ya hear this and that ` bout his typos, but typos is part of Gammy Bird. Everyone gets a laugh, and gets to figger'em out. Better'n a crossword. Stabs out his cigarette. Pulls a new one from a damp little box. JACK An' Billy. Well, Billy's a writer and a fisherman. Me, I'm just a fisherman. Offers the box. Quoyle shakes him off. JACK Fishin' and the sea is all I am. My pap the same. My boy. QUOYLE So he said. Waitin' for his license. Ah. Jack's smile does n't actually fade. But the eyes flicker, and Quoyle is sorry he opened his yap. JACK Naw, my boy's passed. Went to sea and there he rests. Bless his bones. His glance goes to a photo. Jack and a strapping blond son. Not Dennis, that's for sure. Somehow, we are suddenly down to business. JACK Want two things from ya, Quoyle. First. You cover every local car wreck, take pictures. Front - page photo every week, whether we have a wreck or not, an' we always do. When we do n't, we dip into Card's file, he's got some beauties. INTERCUT. half a red Geo being fished out of the water. Petal's lifeless torso hanging backwards out the door, arms gracefully extended like a ballerina or Olympic diver. Over this. JACK -LRB- O.S. -RRB- Knack to this. If there's a dark patch on the ground, it reads blood, whether it's motor oil or Diet Coke. Gloves, hat, lyin' in the road. BACK to Jack. Canny and keen. He knows this stuff. JACK somethin' that humanizes, makes ya feel. That's what a wreck is. It's always saying, ` There but for the grace of God.' Do ya follow? Quoyle follows. JACK Plus. We're starting a feature on the shipping news. What ships come in, what goes out. Whatever's of interest. Throwin' it to you, son. Chance to shine. A beat. QUOYLE Mr. Buggit. I'm not. Well, a water person. Ah. Jack takes this in. The smile returns. JACK Chance. To shine. If you catch my drift. Quoyle shuts up. JACK One peculiarity. I'm no joke, son, and I do n't tolerate jokes about Newfies. Or them that does. SMASH CUT to.",
"INT. SKIPPER WILL'S DINER - NIGHT CLOSE on Dennis, holding a half - eaten squidburger in two hands. Oblivious to sawdust, smoke and stench, he is charmingly, engagingly, smashed. DENNIS So this Newfie comes to Toronto. Cabbie says, take ya to meet girls for a good time. Boy says, okay, but I only want a Newfie girl. His audience is Quoyle and Nutbeem. Each holds a squidburger of his own, tentacles dangling. Quoyle has his next one handy by his beer. DENNIS Right section of the party district, he finds a girl, they have sex, she says that's a hunnerd dollars. He says fine, tips her another hunnerd! She says, wow, can y' come back t ` morrow? Quoyle takes a humongus BITE. Tentacles now dripping from his jaws. Rapt. Hypnotized. DENNIS Next two nights, same thing! Finally she says, I never met so sweet a guy, where ya from? He says, Misky Bay, Newfoundland. She says, really? Me, too! Quoyle hanging on the punch. DENNIS He says, I know. Yer ma asked me t ` give ya six hunnerd dollars! Quoyle SNORTS his laughter, dislodging a tentacled morsel or two. Nutbeem has to look away, as Quoyle retrieves the chunks, stuffs'em back in his mouth. DENNIS Yer the model Newfie, Q, but fer th ` boat. Why doncha buy Nutbeem's? Drunken, devilish smile. Quoyle turns, innocent questioning eyes. You got a boat? NUTBEEM I built a Chinese junk. Sailed it up from Brazil. Missed Manhattan by a mile or so, got stranded here when I shipwrecked by Gaze Island. So casual and falsely modest, Quoyle's eyes are big. NUTBEEM Almost finished my repairs. Be leaving soon. As paleontologists define the term. Studies Quoyle's amazement. Confides. NUTBEEM She's ugly. And the only thing I've ever loved. Dennis rises. Belches. DENNIS Yer story tugs at me bladder. And off he lurches to correct the situation. Once he's gone. QUOYLE Him and Jack. Tell it. Their eyes meet. The Brit sighs. NUTBEEM Jack Buggit's psychic, start with that. He's got the gift. Specially about the sea. Thinking. Should he tell it? Quoyle makes a rolling hand motion, hurry it up. NUTBEEM Older brother Jesson, everyone's favorite, even Dennis'. Goes to sea like his dad. One day, rest of the family's sitting by the radio, and Jack goes white. That's right. NUTBEEM Stands up. Says, Jesson's gone. Walks out of the house. Grief too big for walls to hold it. Sets down the burger. Runs a finger down the frost on his beer mug. NUTBEEM So Dennis is forbidden the sea. But being free, Newfie, and 21, he goes anyway. QUOYLE And that's enough t? NUTBEEM Death storm. Monster wave cracks her steel hull amidships, one inch crack from starboard to port. Men go in the water. Dennis lost. After a week. A week. NUTBEEM They come to Jack, call off the search. He stands like a stone. Then turns, sharp, the way he does. Says only, ` He's alive. And I know where.' QUOYLE Man's a witch. NUTBEEM Went to sea, alone, in just a skiff. Finds him. Can you guess the odds? Finds him. Finds him. Both arms broke, 99 % dead. Leans. Close. NUTBEEM Boy comes to. Jack says if you ever step in a boat again, I'll drown ya m ` self. And you know what the kid said? Quoyle glances over. Dennis wobbling his way back through the tables. QUOYLE Say it fast. NUTBEEM Says fishin' licenses are all spoken for, I'd appreciate you givin' me yours. Jack looked in his eyes. They never spoke ag. DENNIS What's bein' blabbed here? NUTBEEM -LRB- not missing a beat. -RRB- Quoyle says you got a nice ass. DENNIS Quoyle's right. He raises his beer. DENNIS To my ass. QUOYLE I'll drink to that. And, by God. They do.",
"EXT. WAVEY'S YARD - AFTERNOON Quoyle and Bunny climb out of the wagon. A small house, its grassy yard strewn with a phantasmagoria of painted wood figures, galloping horses, dogs balanced on wheels, a row of chrome hubcaps on sticks. A zoo of the mind. To one side, a table piled with crafts, ignored by. fifteen LITTLE KIDS running in all directions, like bundled, unbridled banshees. Looks like fun. Two harried MOTHERS are trying to cope with the chaos. And there, under a tree. the honey - haired WOMAN Quoyle had seen on the ferry. And in the rain. She is on her knees, tying the shoes of her vacant - faced SON. He trips and sprawls, but he is laughing. The woman smiles tenderly and tousles his brown - straw hair. Quoyle gets up his courage. Walks Bunny over to them. As we arrive, the woman looks up. QUOYLE -LRB- really nervous. -RRB- Hullo. It's our first day, and I was wond. BUNNY What's wrong with him? Quoyle freezes. She means, of course, the blankly - staring boy. QUOYLE Hey, how ` bout we ask what's wrong with you? There's nothing wr. WOMAN -LRB- to Bunny, softly. -RRB- Sure, there is. This is Herry, and he has Down's Syndrome. It means he learns things very slowly. Oh. HERRY smiles at Bunny. Suddenly, wonderfully. BUNNY -LRB- to Herry. -RRB- Know how to be a dog? She DROPS to all fours and starts YAPPING like a terrier. Herry LAUGHS with delight. Tumbles down to the grass and does his impression of a Chihuahua on speed. BUNNY -LRB- to the woman. -RRB- He looks fast to me. Maybe he's cured. WOMAN Maybe. The kids waddle off in their canine personas. Alone with the woman now, Quoyle is near - catatonic. Come on, brain! QUOYLE Which one of those women is in charge here? The woman looks at him. Clear cornflower eyes. As comfortable in silence as he is agonized. Then, she squints out at the other women, desperately running ragged after the kids. WOMAN Neither of'em. They're just moms. Oh. QUOYLE Well, my lord, whoever runs the place should be giving this a little more attention. She looks back at him, blankly. WOMAN You think. QUOYLE I mean, children need structure. No one's even guarding that craft table, they could be running around with scissors and get hurt. The woman's eyes bottomless, unreadable. The silence excruciating for poor Quoyle. He clears his throat. QUOYLE Um. I write for the newspa. But she stands. The grace and quickness of a jungle cat. WOMAN Well. I'd better get to work, I see. Providing structure and all. Brushes off her skirt. He is in the dawning panic of beginning to realize. WAVEY I'm Wavey Prowse, and this is my place. Pardon our antiquated emphasis on individuality and the freedom to have fun. Heads off with a loose - limbed stride. Spins back around. WAVEY Oh, yeh. Running with sharp objects? We save for Tuesdays. Got it? He gawks like a stupid animal. Nods, got it. She's already gone.",
"EXT. BARGE DECK - DAY Quoyle and Billy Pretty stroll the teak deck of a massive, elegantly - outfitted BARGE. The wiry little fellow keeps his smile to his eyes. BILLY Well, she do n't wear a ring, cause she lost her husband at sea. Just after the boy was born. Oh. Quoyle nods, blandly. As if it is a matter of no real concern QUOYLE Well, I was just. BILLY sharpenin' those observation skills. First tool of a quality reporter. Keep walking. QUOYLE She has wonderful. Posture. BILLY -LRB- has to smile. -RRB- Yer know, I never notic. MELVILLE -LRB- O.S. -RRB- JESUS F. CHRIST! YOU BOYS WANT THIS STORY OR NOT? Look up ahead to the bow, where a rolling bar has been set up. BAYONET MELVILLE is mixing drinks. He has a florid face and striking white hair. Dapper, arrogant, a guy with more money than he's worked for. As we approach. MELVILLE Ever seen anything like her? Quoyle looks to the sour - faced middle - aged lady, who glances disdainfully at us above her gimlet. SILVER MELVILLE used to be pretty and rich. She's still rich. QUOYLE -LRB- politely. -RRB- No sir, your wife is very lovl. MELVILLE I mean. The ship. Oh. Billy keeps a straight face. Silver ROLLS her eyes. MELVILLE It was built for Hitler. You've heard of Hitler? Up here in Canada? QUOYLE Oh, yessir. He was in all the papers. Way back. Silver snorts a laugh. Melville wonders if that was irony. Looking at Quoyle, he doubts that's possible. MELVILLE Finest botterjacht ever built in Holland. Flat - bottomed, she can go right up on shore in a storm. Incredibly heavy, forty tons of oak. Not unlike the barges of Henry VIII and Elizabeth I. BILLY -LRB- helpful. -RRB- We heard a them, too. SILVER Tell them what happened. In Hurricane Bob. He looks at his wife. Clear in a glance they hate each other's guts. Go on, she nods. Tell it. MELVILLE Pounded twelve beach houses. Expensive ones. To rubble. SILVER WHAMM! Drunk and mean. And smarter than he is. SILVER Now tell them. Who let our insurance lapse. Silence. SILVER Took six very expensive lawyers to weasel us out of it. An inch from bankruptcy. She winks. SILVER Moral of the story? When you marry a tour guide. Confine his authority to mixing the drinks. Same again, dear? And holds out her glass. Billy looks out to sea. Like he has n't heard this. QUOYLE -LRB- cheerful. -RRB- So. What brings you folks up from Long Island? A beat. While husband and wife glare at each other. SILVER My dining salon needs refitting. And the best custom yacht upholsterer in the Northern Hemisphere just moved here. I was forced. To follow. She turns to Quoyle. Who just gapes at her. Open - mouthed. QUOYLE -LRB- softly. -RRB- Oh. My. God.",
"INT. GREEN HOUSE - DAY Quoyle enters, impressed by the progress of the renovation. Windows are in, walls patched, floor sanded, lights are working. Through the place into. the kitchen, which is in surprisingly usable shape. Agnis sits alone at a butcher block table with a set of ledgers spread before her. A large mug of tea. A bottle of Bushmill's Irish. QUOYLE You are a woman of mystery, Aunt. Mystery and surprise. AGNIS -LRB- still working. -RRB- Silver Melville says you was out there. Be nice in yer story, she's payin' for a piece of this house. Silence. QUOYLE You said upholstery. Never said yacht uphol. AGNIS never said not. Ask better questions, you got a chance fer better answers. Got my shop set up in Killick - Claw, now. Looks up. Sees he's dazzled by how she moves right along. AGNIS Two good workers. Mrs. Mavis Bangs is an old plow horse like m ` self. But Dawn. She winks. AGNIS Dawn's young and on the sexy side. You oughta drop by and say hullo. He absorbs that. How fast can he change the subject? QUOYLE Where's Bunny? Agnis looks at him. Reaches for the Bushmill's. AGNIS Upstairs, in what will soon become her room. She'll be all right. QUOYLE What does that mean? She pours some whiskey into her tea cup. QUOYLE Little early in the day f. AGNIS Warren died today. That's what that means. Drinks the whiskey. Stares straight in his eyes. Sees his sorrow. The honesty in. QUOYLE Poor old girl. Agnis deciding. Whether to tell him. AGNIS I used to live with someone named Warren. Died of cancer, after nine years together. Dearest soul on this earth. Quoyle shocked. What can he say? His empathy so naked, so real, even Agnis has to soften her voice. AGNIS Went from the funeral, and bought that dog. Named her Warren. Just so I could say the name a hunnerd times a day. Women are foolish, huh? QUOYLE I never thought so. A good moment for them. It holds a beat. AGNIS Bunny wants to bury the dog with me. But I told her I'd rather do it alone. Quoyle nods. Rises slowly. He'd better go to her. AGNIS Some advice about the child? Another sip. AGNIS Do n't get down on her level, the way you do. She'll never respect you.",
"INT. BUNNY'S ROOM - DAY Bunny sits on the floor in dim light, wearing an enormous blue sweatshirt. Obviously dad's. Her naked Barbies sit in a semi - circle watching her braid a meticulous loop out of the paper and foil from chewing gum wrappers. Quoyle enters, and sits close beside her. Watches in silence, as she works. BUNNY -LRB- not looking up. -RRB- Warren died today. She's not coming back. No tears. Just a hollow sound in her voice. BUNNY That's the difference. He knows what she means. Strokes her hair. QUOYLE Another necklace, huh? Can I help? BUNNY You can watch. Okay. He looks at the Barbies. QUOYLE Do I have to take my clothes off? She looks up at him. Straight to his eyes. BUNNY You look better with'em on. Goes back to work. He watches her. QUOYLE You know. You do look good in blue.",
"EXT. ROAD - DAY Quoyle driving the wagon, Dennis at his side. Up ahead on the road, two figures. Herry holds tight to his mom's hand. Quoyle pulls over, and they stop. Wavey squints at him, against the sun. QUOYLE Give you folks a lift? That extra beat before she says. WAVEY We're enjoyin' the walk, thank you. Does n't smile. Does n't look angry either. Just comfortable. QUOYLE Well. My aunt ca n't bring Bunny to the daycare, she's got her shop now. But I worked it out with my boss. So I'll be bringin' her come next week. No reaction. QUOYLE If that's all right. WAVEY Love to have her. I'm sorry, Mr. Quoyle, about the other time. Women can be moody, you know. And temperamental. Now she smiles. One - tenth power. Still a dazzler. QUOYLE Only the best ones. Did she like that? Hard to tell. She looks around him. WAVEY Good afternoon, Dennis. Give our respects to Beety and Marty. He waves, will do. She takes Herry's hand, starts off down the road. Quoyle sits and watches. DENNIS Excellent posture. Quoyle looks over. His pal shrugs. DENNIS People talk.",
"EXT. SHORELINE - SUNSET Rear ANGLE of Agnis, walking over stones to the edge of the sea, carrying something in her arms. Walking to meet the sun, as it gives its last to the shimmering water. REVERSE ANGLE to see. she carries her old dog. On a clean sheet. Rests the burden gently down. The incoming tide laps over. The sheet billows in it. She takes a step back. AGNIS You were a good girl, Warren, no trouble a ` tall. Surf rolls out. Swims back in. Flows around her friend.",
"EXT. GREEN HOUSE - DAY An outhouse stands unobtrusively near the edge of the cliff. See Agnis alone, approaching. Something in her hand. As she reaches the outhouse, we see it is. the ziploc bag. With her brother's ashes. She gazes back at the house now. Then, at the bag. AGNIS -LRB- cold, low. -RRB- Hope ya like. What we done with the place. She opens the door, enters. Stares down into the deep hole. Unzips the bag, and. TIPS the ashes DOWN INTO the hole. Watch them in SLO - MO, falling free. Hear the rustle of Agnis lifting her skirts, and. CLOSE ANGLE on Agnis' face. Staring out at the sea through a small crack in the outhouse wall. HEAR the splatter as she voids herself. AGNIS -LRB- a murmur. -RRB- Welcome home.",
"INT. WAVEY'S PARLOR - DAY Daycare in progress. The comfy parlor has been given over to the kids. A wall of Polaroids of each child faces a map of Newfoundland with drawings of moose, caribou, and lobster. Little Herry sits alone in a doorway, watching with big eyes as. Quoyle, Bunny astride his back, RAMPAGES around the parlor on all fours, SNORTING like a crazed boar. The kids are squealing, delighted, making excited little runs at him, swatting him with throw pillows and rolled - up sweaters. Thrill of the hunt. Wavey comes through the doorway, drying her hands, just behind where her boy sits. Quoyle does n't see her, he's thrashing and bellowing, lost in the game. She watches, for a long beat. Then leans down to Herry. WAVEY -LRB- a whisper. -RRB- Go on. Get the pig. Herry grins like the devil. Dashes off to PLOW INTO the prey, knocking them sprawling. Kids PILING on. Wavey's unseen smile. The start of something?",
"INT. WAVEY'S KITCHEN - LATER CLOSE on Quoyle. He is happily washing a mountain of dishes and cups. QUOYLE So the Newfie drills another hole in the ice, aways off from the first one. Once again, the voice booms, NO FISH DOWN HERE! PULL BACK to see Wavey beside him. She's drying what he washes. QUOYLE So he moves way down the ice. Drills another hole. Voice comes again, I SAID, NO FISH DOWN HERE! They do n't look at each other. Poker - faced, just alike, working side by side. QUOYLE The Newfie looks around. Still nobody. Hollers, WHO ARE YA? THE VOICE O' GOD? Voice comes back, NO! THE ARENA MANAGER! He ca n't help but snort out a chuckle of his own. Sneaks a look over at her, and she. laughs out loud. Healthy. Sexy, even. But from the delay, he guesses. QUOYLE Heard it before, huh? She looks over at him. Her eyes dance a little. WAVEY Sometimes, passion in performance. Beats the element of surprise. And he is lost in those eyes. Knows it's showing. Glances away to where. Bunny sits in a corner. Reading to a rapt Herry. QUOYLE You guys hungry? BUNNY Shhh. I'm teaching Herry to read. Just like I did Warren. QUOYLE Is he learnin'? Bunny looks over at him. He is so dumb. BUNNY First is the teaching part. The learning comes later. Herry nods. Later. And out of the blue. BUNNY Wavey? Now are the berries ready to pick? Quoyle looks over to the woman. But instead of Wavey, he sees PETAL, staring at him with slow predatory heat. PETAL Want to pick my berries, do you. Should I climb right up on this sink? And then, once more she is. WAVEY Almost. Almost ready. You know, it's all about timing. Quoyle. Takes note.",
"INT. GAMMY BIRD - DAY Quoyle alone in the office, pretending to peck away at a story. Actually, he's looking. through the window. Where Jack Buggit, Tert Card, Billy Pretty and Nutbeem are all circling around a small, roughly - made boat, attached to its rented trailer. They are talking to each other in learned tones. A Talmudic chat. And. in they come. First through the door. CARD That's yer boat. QUOYLE Said it was. CARD One question remains. Why. Is that. Yer boat? Uh - oh. He looks from one face to another. Even Billy is irritated. Nutbeem gazes down, embarrassed for him. QUOYLE Well. A boat's a boa. CARD It's a shit boat. Best thing, get rid of it some dark night. Quoyle ca n't believe this. Hot shame burns. BILLY Go hire Alvin Yark to build ya a sweet little rodney. This thing's a wallowing cockeyed bastard that'll sink in a bathtub. And standing in the doorway, the scariest sight of all. The boss. Just shaking his head. JACK -LRB- sadly. -RRB- You do n't have the sense God gave a doughnut, do ya? The word from Sinai on Quoyle's worth. A pity. JACK I'm goin' fishin'. Out the door with a SLAMM! Quoyle stares hopelessly after him. NUTBEEM Do n't jump off a bridge over it. Anyone can make a brainless, asinine, devastatingly revealing blunder. QUOYLE -LRB- actually means this. -RRB- Thanks. CARD What in th' furry pit of Newfie hell. Is this!? Holds up some sheets of paper. Photos of the Melvilles' botterjacht. Reads. CARD Hitler's Barge? QUOYLE That goes with the shipping news. Profile of a vessel in port. CARD What about the car accident? QUOYLE That's the one I did n't do. Mrs. Diddolate sprained her wrist. Period. Card still reading. CARD So you did n't do the one Jack told yer to do, and you did one he do n't know yer did! Silence. QUOYLE Pretty mu. CARD This copy. Is worse. Than yer boat. He looks up. Equal parts disgust and delight. CARD Jack even sniffs this, he cuts you up fer lobster bait. I've half a mind to run it. Quoyle straightens his spine. QUOYLE Run it. Strides off for the door. Turns back. QUOYLE As for the part about you havin' half a mind? No comment. Out the door. SLAMM harder than Jack's.",
"EXT. GAMMY BIRD - DAY Quoyle stumbling toward his wagon with vacant eyes. QUOYLE -LRB- V.O. -RRB- Headline. Reporter Disembowels Self With Rusty Joke.",
"EXT. GREEN HOUSE ROOF - DAY Quoyle in a carpenter's belt, climbing very carefully from a ladder onto the roof. His vertigo apparent as he keeps to his hands and knees, trying to fight the compulsion to look down. Gives in to it, peering from the corner of his eye down the cliff, the rocks, the sea so far below. Not a good 1dea. Comes to the shingles. Eases his way into a fearful crouch. Okay. Starts hammering. And rehearsing. QUOYLE Jack, I completely understand, I would fire me, too. Nodding, in time to the hammer strokes. QUOYLE In a heartbeat. Hammers LOUDER, speaking in rhythm. QUOYLE You give me a chance, and what happens? I buy the wrong boat, I write the wrong story, I am the lowest form of alleged life. In fact, your comment. Stops. QUOYLE was an insult to the doughnut. Hear now what the hammering had masked. Someone is reaching the top of the ladder, climbing onto the roof. Bunny. Somehow she has managed to climb while carrying a sandwich on a plate. And an open bottle of soda. He stares at her, uncomprehending. BUNNY Egg salad and Nehi grape. She sets them down. Stands UP on the steep pitch. QUOYLE -LRB- shocked stupid. -RRB- Baby. BUNNY They're mine but I'll share. As the plate and bottle slip neatly OFF the roof and, after a noticeable beat, shatter softly far below. Bunny's turn to be shocked. She's contemplating going after them. QUOYLE DO N'T MOVE! Okay, that was a little loud. It has also scared the kid out of her wits. Quoyle regrets this. Starts scooching awkwardly down the slope, inches at a time. QUOYLE -LRB- too casual. -RRB- We're gon na play Wait For Daddy. Can you play that? She's just staring over the side. Hypnotized by the sight. He's slipping toward her. Toward the edge. QUOYLE And if you do n't move. Until I get there. Then. Closer, reaching toward her back. QUOYLE then you win! GRABS her arm, she STARTLES, violently LURCHING, but he YANKS her to him. Holds her to his heart. Holds her. He is breathing like a freight train. QUOYLE That. Was so easy.",
"INT. GAMMY BIRD - MORNING Jack Buggit enters with energy. Looks around. Billy's typing, Nutbeem's reading. Quoyle is cleaning out his desk, pulling things off his little shelf to pack away. Goofy photo of Bunny. Ceramic child - made three - legged turtle. Tiny padded box with what looks to be carefully - preserved empty eggshells. Jack heads toward him. CARD Did ya see the Hitler's barge piece, Jocko? JACK I saw it. And heard from some who'd done the same. -LRB- to Quoyle. -RRB- Good. Neatness. Quoyle turns. Pretty much all his possessions are in a big cardboard box. Jack peers into it. JACK Reorganize. Start over. Good thinking. But he's smiling. Like he's got the point. QUOYLE Thing about the barge piece? I just thought it'd perk up th. JACK Got six phone calls ` bout that piece. Six. That'd be like half a million calls in Toronto. Grasps Quoyle around the back of the neck. JACK People liked it, old son. Crowd went down to the dock t ` see the thing, but it'd already pulled out. Quoyle stares, slack - faced into the elfin eyes. JACK Course you do n't know anything about boats, but that's entertaining, too. So go ahead with it. That's the kinda stuff I want, see? Just now, Card's jaw is scraping his boot tops. JACK From now on, you write a column every week. The Shipping News. Gon na order you a computer and everything. And y' know the beauty part? Quoyle does n't. JACK I do n't have to tell Card all over again, cause he's already eavesdroppin'. So I'm free to take m ` leave. QUOYLE Goin' fishin'? JACK Ah. You've an instinct for character and idiosyncrasy, old son. A wink. He heads toward the door. And never looking at him. JACK Zip yer fly, Card. Card looks down. He zips up, as the door slams. Billy Pretty sends Quoyle a thumbs - up, without turning. Nutbeem clasps his hands above his head, like a winning prizefighter. Quoyle slides a sheet of paper into his typewriter. Stares at it. QUOYLE -LRB- V.O. -RRB- Thirty - eight years. First time anybody said you done it right.",
"INT. AGNIS' SHOP - DAY A woman looks up from her stitching. She is solidly built, pushing 60, Emily Dickinson hair. A cheerful, calmly butch way about her. Trustworthy eyes. AGNIS Nephew, this is Mavis Bangs. A real professional. Mavis holds out a hearty hand. Agnis is showing him the shop. A cutting table, two sewing stations. Billowing sailcloth hung over the windows. Racks of leathers and fabrics. AGNIS And this is Dawn Budgel. She's a vegetarian. Dawn, once described by Agnis as young and on the sexy side, is that. Red lipstick and nails. Her eyes float up in a way that suggests reflexive sensuality. Agnis nods to her, and the girl reaches a slender pale hand. DAWN Agnis is always saying such. things about you. It's nice to fit a man. With the name. And as she releases his hand, her eyes flick to Agnis. Some conspiracy there. Quoyle follows his aunt back to the big cutting table. QUOYLE I just, uh, came to see if you'd heard abou. AGNIS Silver Melville? Snuck off in the night, they did. Not a penny paid for all we done. Shows him sheets of baby blue leather. AGNIS We'd installed the banquettes in her salon. Three of the chairs done and delivered, three to go. Points to them. A neat row by the makeshift kitchenette. QUOYLE That's. That's just terrible. But Agnis is thinking. AGNIS Strange. Leavin' the chairs. And as he glances off, he sees Dawn across the way. Her skirt hiked up, as if she were adjusting a stocking. She is n't wearing any.",
"EXT. HILLSIDE - DAY Billowy clouds frame a languid KITE, silver and sleek, darting this way and that. Graceful, in command of the currents. WAVEY -LRB- O.S. -RRB- HERRY PROWSE! LOOK HOW WELL YOUR KITE IS DOING! See her now, seated atop a grassy slope. It is she who holds the string, and her boy is way down at the bottom of the hill with Bunny. Blue jumper billowing, the girl is teaching him how to make necklaces from wildflowers and garbage bag twisty - ties. Herry and the naked Barbies watch with great attention. The learning will come later. WAVEY ARE YOU MAKING IT DANCE WITH YOUR THOUGHTS? On this he looks up. Serious. WAVEY KEEP THINKING YOUR THOUGHTS! YOUR KITE IS DOING SO MUCH BETTER THAN MR. QUOYLE'S! PULL BACK slightly to reveal that Quoyle has been sitting right beside her all along. He holds the string of a big, glum kite that hangs motionless in space with barely a flutter. As she watches the kids, he stares at her, fixedly deciding whether to ask. QUOYLE -LRB- barely audible. -RRB- Do you think Bunny's. Strange? Wavey looks over. Sees that he's worried half to death. QUOYLE In New York. They said she had a. personality disorder. WAVEY -LRB- softly. -RRB- And it was named Petal. Do you understand that? QUOYLE All these hallucin. WAVEY The White Dog. Sometimes with the Skinny Ghost. Kids do things like that, it's called imagination. Like the necklaces. The necklaces, yeh. A thought that frightens him. QUOYLE You know how many she makes? She does. WAVEY It's a skill, she's proud of it. And she brings her dolls along. And she looks good in blue. And she wears a key for a good luck charm. Her kind smile. No big deal. QUOYLE And she's saving her mother a room. Did she tell you that? Wavey's slow nod. QUOYLE She talks to her at night. I can hear through the door. Very quiet now. The wind. The kites. QUOYLE You know how kids think. You have all those books. WAVEY The ones I read to teach Herry. They do n't make me an exp. QUOYLE -LRB- blurting. -RRB- Just. Is she okay? That was naked. He swallows. QUOYLE I mean. If you had to guess. Too serious a subject. Too good a woman. For an easy lie. WAVEY That child is the only friend my son ever had. So she's strange, you bet. She swallows, too. Her eyes are damp. WAVEY I love that little girl. And I will see to it. That she's all right. Hold the look. WAVEY And I do n't have to guess about it.",
"EXT. WOODS - LATER Quoyle RUNNING, huffing, through a bog with every color of berries imaginable. Around another bend in the path. Stops. Hands on his knees. Listens. Nothing. Shit. QUOYLE IF YOU GUYS ARE N'T CHASING ME, I'M GON NA BE COMPLETELY CHEESED OFF! More nothing. He trudges back the way he came. Peeks around a bend to see. Bunny is teaching Berry to pick gooseberries. This time, the learning has started. They are being very careful. QUOYLE If you pick enough, we can sell'em for a thousand dollars. And give it to Aunt Agnis to make up for those Staties who did n't pay h. BUNNY -LRB- means business. -RRB- Then do n't. Slow us. Down. Quoyle SLAPS his hands across his mouth. Sorry! He tiptoes off. Rounds a bend. Walking faster now. Around another bend. And stops. Hold on his face. REVERSE ANGLE to take his view of. Petal, kneeling in a flimsy sundress, picking berries. Barefoot, her skirt hiked up, stained with berry juice. And when she turns to him. she is still Petal. Her face is beautiful, and filled with tender desire. She looks at him the way he has always dreamed she would. He goes to. kneel beside her. Touch her waist. And now she is. another woman. His hand is on Wavey's waist, and it comes slowly away. But her eyes are locked to his. Making her choice. WAVEY -LRB- very soft. -RRB- Look. I like you. Even in kindness, he can smell rejection. He starts to back away, but she takes his hand. Holds it. WAVEY I want us. To be friends, okay? He nods, dumbly. Of course. Okay. WAVEY And friends. Need. To understand each other. QUOYLE -LRB- so sorry. -RRB- I understand. Believe m. WAVEY My husband drowned. Herry was. Hard for her. He quiets. WAVEY He was two months old. And Herold took the boat out. Overnight. To fish for haddock. Do you understand? WAVEY Because I liked. Haddock. Silence. WAVEY It's four years. She stares in his eyes. WAVEY And it's yesterday. No smile. WAVEY Now, did I blow it. Or can you still be my friend? A beat. Quoyle nods, sure. I'll be your friend. But what she sees is a lifetime of being Quoyle washing past his eyes. It makes her murmur. WAVEY What? What are you thinking? And from his heart. QUOYLE I'm thinking I'm sorry. For everything. He stands up. HEAR him stumble off. HOLD on her.",
"EXT. GREEN HILLSIDE - DAY A grassy place above an empty sea. The rest of the world far away. Two figures climb the gentle hill. BILLY How're you doin' with the Tall and Quiet Woman? QUOYLE Cindy Crawford and me is doin' fine. BILLY I meant Wavey Prowse. Oh. BILLY My dad used to say there's four women in every man's life. The Stouthearted Woman. QUOYLE Oh, that'd be Agnis. BILLY the Maid in the Meadow. QUOYLE -LRB- has to think. -RRB- Bunny I guess. Weavin' a daisy - chain necklace. BILLY the Tall and Quiet Woman. QUOYLE Well. She does have that posture goin'. BILLY and the Demon Lover. On this. Quoyle's smile fades. He looks away. They've reached a fence where blunt pickets enclose crosses and wooden markers, many fallen on the ground. BILLY -LRB- wistful. -RRB- Me dad said that. Billy finds the right marker. Sets his satchel onto the grass. Kneels. His old fingers clear debris from painted words : W. PRETTY. 1897 - 1944. THROUGH THE GREAT STORMS OF LIFE, HE DID HIS BEST. GOD GRANT HIM ETERNAL REST. BILLY That's me poor father. Thirteen I was when he died. He hears the thread of feeling in his simple words. And says no more. Withdraws two cans of paint from his bag. One white, one black. Two brushes. Lays them out carefully, for this task is sacred. BILLY Every time I wonder. Is this the last coat? Pries the lid off the tin of black. And when he sees Quoyle's eyes. BILLY Well, there's no one else to do it, y ` see. QUOYLE -LRB- straight back. -RRB- There is now. An easy smile. Stating the obvious. QUOYLE There's me. The old man's face just stops. The eyes sharpen. Into a question. QUOYLE Well, you said. There's no one else. As if that were enough. QUOYLE Hey. If you wan na rest next to him. I'll paint yours at the same time. No extra trouble. Billy stares at him. Stares at him. Clears his throat, gruffly. BILLY Then better get Alvin Yark. T'build yer a real boat. So yer'll be around.",
"EXT. GREEN HOUSE - DAY Quoyle exits the house, pulling on his jacket, and. stops. Something laid across his threshold. A long piece of TWINE has been placed there. KNOTS tied evenly along its length. He glances back up to the second floor, thinking Bunny. Looks at the thing again. Neat work. Odd. Slips it in his pocket.",
"EXT. CLIFFSIDE - DAY Quoyle now making his way down a steep primitive trail through lush vegetation. The green house is far above him. The shimmering bay now just below. This way down as treacherous as it is wondrous, and Quoyle SLIPS in the tangle and wet, half - slides through wild angelica stalks and patches of dogberry, suddenly. LOSING his balance, TUMBLING roughly down a stretch, rolling, grasping a spruce trunk. Pulling himself to his feet, he hears. RUSTLING. Looks up, just as. a WHITE DOG appears through the bushes. Red eyes. Lips curled back. A frozen second of mutual indecision, and Quoyle. SCREAMS and falls on his butt. The dog. TAKES OFF, bounding down a path we had n't noticed. Toward an upright SILHOUETTE. Who steps into sun just long enough to become. a MAN, grizzled and scrawny and quick. Gone in a flash. Like a skinny ghost. And there, on his butt. Quoyle laughs softly. How ` bout that? Murmurs. QUOYLE Attaway, girl. You're smarter'n all of us. As he climbs to his feet, he sees the rocky beach just below. Squints, as if at something that does n't belong. We see it now. a SUITCASE, washed up onto a tangle of rocks, just offshore. ANGLE. Quoyle wading into the water. Up to his knees, slips, sinks to his waist. Stays upright. Snatches the suitcase from its perch. Brings it back to shore, holding it high. Already, he is making the face of someone smelling something he'd rather not. He sets it down. The face is worse. His curiosity running the show, he unhooks the latch. and stops. Because he's staring inside. Suddenly, he SCREAMS and FLAILS back, his leg STRIKING the case, and out tumbles onto the wet ground. the head. Of Bayonet Melville.",
"INT. SKIPPER WILL'S DINER - NIGHT Three guys. Three beers. Five squidburgers -LRB- Quoyle likes his backups ready and waiting -RRB-. CARD Y' know none a that impresses Jack Buggit. He's not one fer blatant ambition. Quoyle thinks better of his answer. Chomps a bite instead. NUTBEEM Even if you do n't recognize ` Human Head Packed in Satchel' as the most compelling piece ever to appear in. CARD -LRB- snorts. -RRB- Even if. takes his hand from his greasy burger. Scratches his crotch below the table. NUTBEEM A triple increase in ad revenue. Does get. The man's attention. And winks at the silent hero. CARD Were n't even double if yer figger it right. -LRB- to Quoyle. -RRB- Point is. A real reporter woulda named the obvious suspect. QUOYLE More obvious. Than the wife? CARD Yer aunt, ya thick Statie lardface dumbass! Quoyle. And Nutbeem. Just look at each other. CARD She gets stiffed by the guy, after basin' her new shop on that revenue. And she ai n't one ta fool with. Capable a anything, that woman! QUOYLE -LRB- angry now. -RRB- Okay, where's the wife? Agnis kill her too? CARD Okay, where's this week's shipping news? Or you gon na rest on yer Crisco - coated laurels. Quoyle viciously BITES into his squidburger. CARD Uh - oh. The way he's chewin', he ai n't a fat boy t ` be trifled with! NUTBEEM -LRB- quietly. -RRB- His piece. Is about oil tankers. Card blinks. Looks at Quoyle with, dare we say, new respect. CARD Hope fer ya yet. Now that's news, the McGonigle oil field. Petrodollars, a golden flood a jobs. That's th ` future a this god - forsaken ice rock. Civilization! Scratches his crotch savagely. To honor civilization. CARD That's why those with half a brain already put our money where our mouths is! Puts his squidburger. Where his mouth is. Nutbeem clarifies for Quoyle. NUTBEEM Two shares. Of Mobil.",
"INT. WAVEY'S HOUSE - NIGHT ANGLE. brightly lit kitchen. Bunny sits at the little table, a large mixing bowl filled with popcorn before her, little Herry at her side. They are watching Freakazoid on a tiny TV. Bunny shovels in a mouthful of popcorn. Then makes a sage, if unintelligible, comment about the show to Herry. Still chewing, she takes another huge handful of popcorn. Herry opens his mouth like a baby bird. Bunny stuffs the snack in. It's a stare - and - chew, side by side. Just alike. ANGLE. cozy parlor. Quoyle sits in a Barca - lounger with a huge bowl of chips in his lap. He is watching hockey on a modest TV, the action is fierce. Stuffs his mouth full of chips, yet somehow manages to say. QUOYLE so there they were, this goofy old codger and his dog, big as life. PULL BACK to see Wavey now. Curled on the sofa, under a lap robe. She is knitting something in a heavy oxblood - colored wool. He watches her work. WAVEY -LRB- softly. -RRB- That'd be old Nolan. He's actually your uncle, last of the crazy Quoyles. I should have realized. Keeps her eyes on her work. WAVEY Sad, really. Lives like a hermit in a run - down shack. No one to look after h. QUOYLE Here I was worried about Bunny night and day, and there's absolutely nothing wrong with her. A silence. Which makes him uneasy. QUOYLE Her only problem is her dad worries too mu. WAVEY -LRB- not looking up. -RRB- You are a loving and wonderful father. You're not the problem. She meant to reassure him. Instead. QUOYLE So what is th. WAVEY Nice to see you. Looks up with smoky eyes. WAVEY after all this time. Oh. QUOYLE Well. I've been workin' longer hours. So Dennis and Beety were kind enough to bring Bunny to the daycare. Fed her a lotta meals, too. They're real friends. Quoyle's smile tries to sell the innocence of his absence. WAVEY -LRB- very quiet. -RRB- I thought you forgot. That I'm your friend, too. No smile from her. She wants him to know she was hurt. He shakes his head, serious now. No, I did n't forget. WAVEY You want another sandwich? There's roast pork. He holds up what's left of his four - decker. This is plenty. Takes a huge bite to show how much he likes it. WAVEY You said. You'd read me your article. He did, he nods. But just now he's scared to. And so she smiles. Which traps him. He pulls out a single sheet of paper. Clears his throat. QUOYLE Nobody Hangs a Picture of an Oil Tanker. That's the header. She nods. Likes that. He gestures, go back to your knitting. So she smiles, slyly. And commences to knit. QUOYLE -LRB- reads. -RRB- There's a 1904 photo hung in the library. Eight schooners heading out to fishing grounds, sails spread it like white wings. Beautiful. Beyond compare. This means something to him. Hear it in his voice. QUOYLE -LRB- reads. -RRB- More common today is the low black profile of oil tankers. Like the ruptured Golden Goose, which last week bled 14,000 tons of crude onto seabirds, fish and boats at Cape Despond. He stops. As if revisiting that little thought in his mind. QUOYLE -LRB- reads. -RRB- There will be more and more tankers. They will grow old and corroded, and their tanks will split. They have already done to fishing. What their spill has done to fish. He sneaks a glance. She has never looked up. QUOYLE -LRB- reads. -RRB- Nobody hangs a picture of an oil tanker. On their wall. Silence. A full one. QUOYLE Well. Whatcha think? She reflects. WAVEY I think when Card sees it, he'll split a gut. I think he'll sit up nights thinking of cheap shots to pay you back. I think he'll never stop until you're fired. Quoyle keeps nodding at each point. Yep. Yep. WAVEY I think I have n't been so proud. Of a friend. Since I do n't know when. Quoyle's heart explodes in his chest. And shines in his eyes. There is a long silence. WAVEY -LRB- softly. -RRB- Maybe another sandwich. There's roast pork. He swallows. He just does n't want to cry from happiness. QUOYLE Well, sure.",
"INT. GAMMY BIRD - DAY CLOSE on Card. Who is RIPPING the single page in half. Then again. And again. And again. See Quoyle now, standing at the desk like a statue. Billy and Nutbeem at their stations, watching as Card. flutters the pieces down onto his desk. Like falling snow. CARD Oh, I'll run it. Just easier t ` copy edit. When yer can move th ` pieces around. A hush. A frozen tableau in this room. QUOYLE Run it. Like I wrote it. CARD How does this suit yer, Quoyle? I'll do my job. You do yers, which means a four - vehicle pile - up south a Killick - Claw. And do n't ferget the camera. He slides the battered camera across the desk. They glare at each other a full beat. Card belches, softly. Quoyle takes the camera, heads for the door. CARD I fergot somethin'. Quoyle turns. Card does n't. CARD You pinko Greepeace sack a quivering pigfat. Thinks. CARD Did I leave out moosebutt - ugly? -LRB- nods to himself. -RRB- You may go. HOLD on him. Making a neat little pile of the torn pieces. QUOYLE -LRB- O.S. -RRB- Like I wrote it. SLAMM! Across the room, Nutbeem stands. Takes his cigarettes. Passing Card's desk, on the way out. NUTBEEM Tough love. Impressive. SLAMM! Card shoots Billy a challenging look. You got something to say? BILLY I hope you get him fired. Do you. BILLY So I can watch him beat yer to jelly. Just turns around. Flicks ON his computer. Back to work.",
"EXT. GREEN HOUSE - TWILIGHT Bunny jumping out of the wagon, running to the house. As Quoyle locks his car. BUNNY -LRB- O.S. -RRB- Why'd you leave the house open? He looks up. She is pushing the front door with one finger. It swings OPEN. BUNNY Can I keep the necklace? and lifts a long piece of TWINE. There are KNOTS neatly tied along its length. Quoyle stares. Stares. QUOYLE -LRB- calm. -RRB- Sweetie. Come sit in the car.",
"INT. FRONT HALLWAY - TWILIGHT Quoyle climbing the stairs in fading light. He carries a tire iron. Stops midway. Listens to the silence. QUOYLE IF ANYBODY'S THERE, YOU BETTER COME OUT NOW! Up, up, to the top. Looking down the empty hall to see. knotted twine. At every door.",
"INT. GAMMY BIRD - EARLY MORNING Quoyle enters, haggard and distracted. The place is lit, but empty. A toilet FLUSHES. From the loo, appears. CARD S'tell me. Yer fancy it? Nodding toward something behind Quoyle. Turning, we see that hanging over Card's desk is an oversized framed photo of : QUIET EYE - WORLD'S LARGEST OIL TANKER. Quoyle stares blankly. QUOYLE Like I said. Nobody hangs those. Card just goes to the fresh stack of newspapers on his desk. Hands one toward Quoyle. CARD Yer column's front page stuff. Only now, it's more like a caption, is all. A photo of the same tanker. That hangs on Card's wall. QUOYLE -LRB- reads. -RRB- More than 3000 tankers proudly ride the world's seas. Even the biggest take advantage of Newfoundland's deep - water ports and refineries. CARD Spelled everthin' perfect. So as not t'em barrass yer. QUOYLE -LRB- reading. -RRB- Oil and Newfoundland go together like ham and eggs, and like ham and eggs they'll nourish us in the coming years. CARD Even put yer name on it. QUOYLE -LRB- finishes reading. -RRB- Let's all hang a picture of an oil tanker. On our wall. Stares at the paper. In his hand. CARD Man a yer principles. I unnerstan' resignation is th ` only honorable course. Quoyle looks up. Card flinches back. But all that comes is. QUOYLE How can a man resign. To nobody? Drops the paper on the floor. Steps on it, on his way toward the door. CARD If yer off to see Jack Buggit, yer'll hafta swim some. Quoyle turns back. CARD Yer can whine an' beg t ` him. But I runs his paper, every inch of it, every dirty time - eatin' job which he would have t ` do without me. A wink. CARD An' if yer think he's gon na choose you over fishin'. yer not as smart as even you look! The cackle of the guy holding the straight flush. CARD Me an' Jack. Has a sym - bi - otic relationship. Yer can look that up. Quoyle puts his hand on the door. QUOYLE I know the word, Card. It means you two deserve each other. Out the door. It closes behind him. Card alone, crosses his arms in glee. CARD I'LL TELL JACK YER SAID SO! HOLD on Card. DISSOLVE TO.",
"INT. GAMMY BIRD - DAY CLOSE on a box of assorted doughnuts. Two dozen. A hand reaches down toward a raspberry swirl, thinks better of it, moves thoughtfully along the selection to pluck a maple glaze, and bring it to. Quoyle's mouth. The box rests beside the cardboard carton into which Quoyle is packing his things. Nutbeem sits on the edge of the desk, nibbling a cruller. Billy is bringing three mugs of coffee. Looks like a going - away party. Through the glass of the only private office. Jack Buggit is talking. Card is not. Card stands now, strides to the door, flings it OPEN. Nutbeem taps Quoyle's shoulder with his pastry. They look to. CARD So. This is what Jack and I think. He's looking straight in Quoyle's eyes. Defiant as ever. CARD We wan na run Quoyle's oil spill piece b'cause controversy sells papers and papers sells ads. NUTBEEM Sounds reasonable to me. Lives to needle this guy. Card keeps his laser gaze on Quoyle. CARD And we're gon na let Quoyle have his head on these columns, up to 500 words. So he'll get his confidence up. NUTBEEM Well, let's not go overboard. He's rather green doncha thi. CARD But we wan na expand his responsi - bilities to boat crashes. There's maybe four a week. NUTBEEM He'll need a raise. And need to be represented in the negotia. CARD And. The oil tanker picture. Stays! Nutbeem's eyes WIDEN. He mimes catching an arrow shot through his chest. Falls OFF the desk. CARD -LRB- to Quoyle. -RRB- All that clear? Quoyle looks him in the eyes. Starts putting his things back in his desk. CARD One more thing. Hear the SLAMM! QUOYLE -LRB- never looks up. -RRB- Jack's gone fishing?",
"EXT. OMALOOR BAY - DAY The sky threatens black. Quoyle picks his way across the rocks to his ungainly, much - maligned boat, as it bobs against the weathered dock. He crouches, and as he begins to untie it, his gaze drifts out toward the nearby point, and. something catches his eye. A boulder in the shape of a great dog. And as he stares, there is something below it. Something in a cove protected from intrusion by a jagged ring of menacing rocks. it is a MAN in a yellow suit. His head under the surface as if looking for fish. Arms and legs spread out like a starfish, the body slides in and out of a small cave. Tugged by the sea like a top on a string. Quoyle stares in frozen shock. QUOYLE -LRB- V.O. -RRB- Headline. Reporter Becomes Magnet For Dead Men. No way in past the pounding surf, the savage rocks. So Quoyle turns sharply. Squints across the bay. QUOYLE -LRB- V.O. -RRB- What was my panic? He was already dead. Maybe I thought, in some dim way. CLIMBS into his boat, TURNS the engine over. KICKS it in overdrive toward the town across the bay. QUOYLE -LRB- V.O. -RRB- if it was n't too late for him. It would n't be for Petal. STREAKING out, toward the black sky. Racing to open sea where the chop INCREASES drastically. Closer. Closer. QUOYLE -LRB- V.O. -RRB- Once I was past the shelter of the lee shore, and into the real wind. I realized my mistake. clear of the point's protection, the wind ROCKS the tiny craft, swells coming BROADSIDE. The boat RISES, then DROPS with cruel speed. Quoyle tries to swing the boat around, the propeller RACES, the bow PITCHES violently, SLAMMING down, the stern SWAMPED, the hull filling, swerving broadside just as the oncoming sea HITS with all its force, and the little boat. rolls OVER, Quoyle suddenly FLYING under water, limbs flailing in all directions. QUOYLE -LRB- V.O. -RRB- Headline. Reporter Becomes Anchor Man. INTERCUT. Quoyle's dad FLINGING him into the public pool, the youngster SINKING like an anvil in a profusion of bubbles, and CUT. BACK to Quoyle, struggling madly somehow to the surface, THRASHING toward the overturned boat, GRASPING the stilled propeller shaft, which causes the bow to lift, the next wave turning the boat upright, FILLING it with water, and it SINKS forever, as Quoyle. TUMBLES once more beneath the surface, watching the boat DISAPPEAR into darkness below him. QUOYLE -LRB- V.O. -RRB- Stupid. Stupid to drown with Bunny so young. No life jacket, no floating oar. No sense. Back to the surface, GASPING for air. And then, daintily rowing a small boat, unaffected by the waves, her filmy dress rippling in light breeze. PETAL Look, it floats. Just like you. Is the lilting smile cruel? Or only the irony that conveys intimacy, even affection. PETAL Maybe it's filled with fat. And VANISHES. In her place, bobs a red BOX. A plastic beer cooler. He LUNGES for it, GRIPPING the handles, resting his chest on its top. The waves RISE, mountainous now, and he rises and falls with them. He has been swept a mile from the nearest shore. INTERCUT. a winch pulling part of the Geo, streaming mud, from swiftly flowing water. Police and bystanders gathered. QUOYLE -LRB- V.O. -RRB- And I wondered. Am I going where she's gone? BACK to the bay. A barely - conscious Quoyle still clings somehow to the plastic cooler. But hours have passed. Light is fading. QUOYLE -LRB- V.O. -RRB- and will I see her? He turns. And there she is. Beaming at him from the bow of her little rowboat, a smile ambiguous in the growing dusk. It could be love. From behind her a light GLOWS, giving Petal the aspect of an angel. She drops a wink. FADES away. And the light becomes. the BEAM from a fishing boat. Quoyle squints his swollen eyes, as strong hands WRENCH him from his box. From the sea. A voice warbles, distorted by wind and Quoyle's diminished consciousness. JACK Jesus Cockadoodle Christ! I knowed somebody was out here. Quoyle's teeth are chattering so hard, his body shivering so painfully, Buggit hauls him over the rail and lays him down on a wriggling mound of fish. JACK Thank god fer yer figure, me old son. A thin man woulda froze. Quoyle burrows into the fish, like nestling in a down comforter. Jack covers him with a heavy tarp. Crouches down close. JACK Good. Yer lost th ` boat.",
"INT. BEDROOM - LATE NIGHT Dim light. Quoyle stirs beneath the billowing down coverlet. His eyes flutter. Open. Where? VOICE -LRB- O.S., very soft. -RRB- It's all right. You're in heaven. His head SNAPS around. She's sitting just beside the bed in half - shadow. Her oxblood knitting across her lap. WAVEY Actually. It's just my bed. Now he sees the cigarette. WAVEY Actually, it's not. I just wanted to see your eyes bug out like that. Now he sees the smile. QUOYLE You do n't smoke. His voice was a croak. So he CLEARS his throat with a massive and disgusting effort. It is gross and funny, and she smiles again. WAVEY Only when I'm worried. I do n't worry much. He rolls over, to see her better. They are very close. QUOYLE You do n't have to, I'm all right. I'm in heaven. WAVEY I'm not worried. About you. Oh. As he draws a breath to ask. WAVEY You're in the boys' room at Jack's house. Wonder how long since Dennis slept here. She glances to the nightstand. Beneath the dim lamp. A picture of Jack and blond son Jesson. Guess what they're doing. WAVEY Mrs. Buggit called, knew Bunny was still with me. The kids are camped out in the parlor. A beat. QUOYLE Nice. You sittin' up with me. A longer one. WAVEY S'okay. Someday you'll do somethin' nice for me. He nods. He will. QUOYLE Who you worried ab. WAVEY You did n't find a second dead man. Just the rest of the first one. Ah. He nods. Well, that figures. QUOYLE I asked. Who you worried about? On this, she stubs out her cigarette. Takes another from the pack. WAVEY You said Bunny talks to Petal at night. You ever listen? He shakes his head. QUOYLE Not really. Would n't be right. WAVEY Well, I'm not that nice a person. STRIKES a match. WAVEY She plays Petal. Talks to the Barbies, like Petal talking to her. Brings her cigarette. To the flame. WAVEY She says she's sorry she left them. It was just to see if they could be good girls. And they were. And. WAVEY and she loves them. His eyes at once rapt and suffering. She watches that. WAVEY The Barbies look better naked, Bunny looks good in blue, guess who said that? Draws on her smoke. WAVEY So we talked. Just before Petal left her with that. stranger? Bunny had snapped her mom's bead necklace. That's why she's making more. Do you understand? WAVEY When she's made enough. She'll be forgiven. Tears are pooling in his eyes. Hers, too. She keeps going. WAVEY She saves Petal a room at the house, but she's also got the key to the old place. In case her mom would rather go there. A thin stream of air escapes from his lips. QUOYLE And she talked about it. Just like that. WAVEY Sure, I lied. I said nice things about her mother. Bitter smile. WAVEY See, there's only one problem. Petal is n't gone. Quoyle thinking. Madly. What can he do? QUOYLE So we're patient. And we wait, and we're good to her. -LRB- beat. -RRB- And. Maybe. Time. She stares back. Unease to match his own. Maybe time.",
"INT. ALVIN YARK'S BOAT HOUSE - DAY A wiry wisp of an aged elf, ALVIN YARK is shaping the center beam of what will become a tidy boat. Its wooden skeleton across two sawhorses in his spacious workshop. ALVIN -LRB- sings softly to himself. -RRB- Oh, the Gandy Goose, it ai n't no use. It ai n't no use, the Gandy Goose. Quoyle, Wavey and Dennis stand in a row. Watching the little artisan shave wood as if his tools were his hands. ALVIN -LRB- keeps singing, as if alone. -RRB- The Gandy Goose, she ai n't no uuuuse. Cause all her nuts'n bolts is loose. Wavey ca n't help but smile. She really likes the old duck. ALVIN -LRB- never turning. -RRB- See, I'm already buildin' yers in me mind. The singin' helps that. But. Got ta take a walk in the woods, find a spruce with jest th' right curve fer yer stem. And says no more. Keeps working. They are like acolytes at the feet of a guru who never bothers even to glance their way. QUOYLE Well, hurry up. Thirty, forty years I'll be rarin' to get back out on the water. Everyone smiles. Except the guru. ALVIN Got ta build her solid. Who knows, mebbe Jack Buggit'll give his fishin' license to his boy. So next time, wo n't be nobody to pull yer out. DENNIS -LRB- real quiet. -RRB- Jack Buggit's boy is drowned. Everyone looks. Except the guru. ALVIN -LRB- cheery. -RRB- Dennis. Y' hear the one about the Newfie who lived ferever? A beat. DENNIS No sir. ALVIN His kid never got a fishin' license. Now he turns. A maritime Yoda, squinting to discern if his message is received. ALVIN What we wait fer? She's like the main stem. Gives us our shape, doncha see. He runs his hand along the backbone of the boat he's building. ALVIN Death's one shape. Fergiveness is another. Crinkly old eyes, laser bright. Dennis is n't angry. Just resolved. DENNIS Thing ` bout waitin' on fergiveness? Mixes up who's waitin' on who. No smile, no spin. Just the truth. DENNIS Death is simpler. An' a lot shorter wait. In the silence. A door opens. MRS. YARK -LRB- O.S. -RRB- Mr. Quoyle? A sprightly bird - like woman. Wears apology and concern. MRS. YARK The school is callin'? It's about yer daughter?",
"INT. PRINCIPAL'S OFFICE The PRINCIPAL is spare, dressed for England, her voice authoritarian by its pace, exaggerated diction, and lack of volume. PRINCIPAL not only pushed Mrs. Lumball. Not only pushed her very hard. Seated in a semi - circle around the desk of power. Quoyle, stricken, respectful. Wavey, already pissed off at the principal. And Bunny, her hat and coat on, arms folded, face crimson and set. PRINCIPAL She knocked. Her down. Do you understand the severity of this, Mr. Quoyle? PRINCIPAL And. Refuses to explain her act. Or. Apologize. Is that right, young lady? PRINCIPAL Under the circumstances. We have no choice but to suspend. Bunny looks down. Glaring an evil spell of death at her own kneecaps. WAVEY -LRB- quietly. -RRB- I think Bunny and I. Should take a walk. And stands. QUOYLE Uh. Wavey? If it's all the same to you.",
"EXT. PATH - DAY Quoyle and Bunny alone, hand - in - hand, walking slow where they once picked berries. Nobody's talking. BUNNY When you gon na ask? QUOYLE -LRB- calm. -RRB- When you're in the mood. Apparently, that has n't happened yet. More walking. QUOYLE She musta done something. Really bad. Said like he means it. Which he does. And Bunny, squinting up, sees that. INTERCUT. the crime. Playground filled with kids. Bunny and girlfriends on the jungle gym. Bunny the best, a natural jock. MRS. LUMBULL large, sour, doughy, and betrayed by life, stands with her silver whistle in the midst of chaos. Her thoughts on a higher plane. BUNNY -LRB- O.S. -RRB- She's the worst one of all! Little Herry Prowse comes to tug at the teacher's wool coat. He is holding his crotch and jumping up and down. This does not require an advanced credential to interpret. BUNNY -LRB- O.S. -RRB- Herry told her he had to pee. But the way he talks. He could just say ` eeee,' like that. Mrs. Lumbull looks down. From her face as she responds, she has already devoted, over time, more professional attention to this troublemaker than should be asked of any dedicated educator. BUNNY -LRB- O.S. -RRB- She told him that recess was almost over, an' she was n't gon na make a trip special, an' he could hold it. Herry, seemingly, disagrees. Still holding his crotch, he jumps up and down with greater agitation. She grabs him, rather roughly, by the arm. Marches him over to. BUNNY -LRB- O.S. -RRB- She made him stand against the wall. and walks off, pointedly ignoring him from ten feet away. He screams, pumping his fists in frustration. Grabs himself, suddenly. Whether or not we can see the dampness spread, we can see his humiliation all too clearly. As his tears come. a figure BOLTS into frame from behind Mrs. Lumbull. Hunched over like a linebacker, full speed ahead, LAUNCHING herself into the back of the large woman's knees. Her feet go UP, and the rest of her goes. DOWN like the proverbial amount of bricks. Herry's tears stop fast. Watching the woman shriek, and keep shrieking. Makes him laugh. CUT. BACK TO. the berry path. They are sitting on a fallen log. QUOYLE See, a good dad would say hitting is always wrong. You coulda hurt her bad. I guess you know that. BUNNY She was n't hurt for real. Just screamed like a baby. Quoyle pulls out a single Snickers bar. QUOYLE Wish I'd seen it. It really sounds funny. BUNNY Petal'll think so, too. He looks at her. Nods, probably will. Peels the candy bar free of its wrapper. QUOYLE Well, there wo n't be any trouble at school. I ` II take care of that. BUNNY How? He breaks the candy bar in half. Tho not quite equally. QUOYLE Because the best thing about people. Is they can forgive each other. I heard that this morning. BUNNY That teacher. Is gon na forgive me? He nods. Oh, yeh. QUOYLE That. And she wo n't want the story printed in the paper. Oh. BUNNY Well. I do n't wan na forgive her. QUOYLE Me neither. He holds out the two pieces of candy. She takes them both. the bigger one in his mouth. As he chews. BUNNY I had to do it. ` Cept for Wavey, I'm the only family Herry's got. She nibbles at her own piece. BUNNY Like the ghost. Who's not a ghost. Hmmn? BUNNY The one who ties the knots? You're the only family he's got. Right? Her father does n't react. He's even stopped chewing. BUNNY You said. And slowly. Quoyle nods. I said.",
"EXT. NOLAN'S SHED - DAY Quoyle picks his way down to the battered boat shed, hidden at the foot of his cliff. He carries a big carton, which we see has made the journey slow and awkward. Across the gravel now, to. the door. HEAR the fire crackling, see the smoke curling. Takes a breath. Knocks softly. Then LOUDER. QUOYLE UNCLE NOLAN? CAN I COME IN? No answer. Juggle the box, lift the latch. Enter.",
"INT. NOLAN'S SHED - NIGHT The old man and the dog huddled together at the fire. They look over with red eyes. Just alike. Only one growls. Quoyle finds a smile, a soft voice. QUOYLE Uncle. My daughter Bunny and I. We got you some hot bread. And some meat. Some dried fish. Some squash and vegetables. a cake. some warm clothes. Nolan is listening. Sharp - eared, sharp - eyed. What trick is this? So Quoyle sets the carton down in the squalor. Takes out a loaf of fresh bread. One step forward. Lay it down. Good faith offering. And. Nolan scuttles to it. Like a wary crab. He tears off a chunk of bread. Nibbles. He likes it. And as he eats. QUOYLE -LRB- softly. -RRB- You tied those knots, huh? At my house? crouches down to the old man's size. Almost close enough to touch. NOLAN Ai n't yer house, it's th' Ouoyle house! He's found the meat. Ripped off a chunk. QUOYLE See, I am Qu. NOLAN Old ones. Got run outta Omaloor Bay a hunnerd years ago. Dragged that house across th' ice. On spruce runners. Stuffs some into his face. Like this, even better. NOLAN Hadda lash it to th' rock. She'll tell yer. She. NOLAN Course she never come t ` see me. That's obvious why. And as Quoyle draws a breath to ask. NOLAN Your Aunt Agnis Hamm, me son. That's cause she ca n't face me. I knows she killed ` im. A moment. Of stone silence. QUOYLE Him. NOLAN That baby she was carryin'. What was she t ` do? She wuz only 12. An' it was her own brother what done ` er. Quoyle's wide - eyed shock. QUOYLE -LRB- numb. -RRB- Her own. INTERCUT. a tiny frozen pond. Long ago. A girl of 12, rawboned, husky, skating alone. We've seen her, in the photo at Quoyle's dad's house. And as she skates, she looks up to see. a boy of 15, stocky, sullen. He was in the same photo. Only now, he steps onto the ice. Unbuttons his pants. Begins to slide toward her on the soles of his fishing boots. She looks around. Snow banked on all sides of the pond. Nowhere to run on her skates. NOLAN -LRB- O.S. -RRB- Her brother, me son. She only had th' one. The girl, breathless, skating this way and that. The boy closing in, cutting off her angle. A deadly endgame. There are no words. And. he is ON her. Pulling her TUMBLING to the ice in SLO - MO.. No sound but their hot breath, the grunt of the struggle, and CUT BACK to. NOLAN Course no one alive knows no more. So her an' me. -LRB- winks. -RRB- Our. Little. Secret.",
"INT. AGNIS' NEW SHOP, KILLICK-CLAW - DAY Agnis and Mavis are showing Wavey their new shop. It is big and bright with more elaborate fittings, the amount of work piled up carries the scent of success. Quoyle trails behind, as Agnis dotes on Wavey like a prize new daughter - in - law. When she turns, she sees her nephew staring. AGNIS What? My hem crooked? As if I was wearin' a hem. He was staring pretty intently. Realizes that. QUOYLE Naw, I just come from seein' your cousin Nolan. Guess I was thinkin' about him. She holds his gaze with her own. Is she wondering? DAWN Mr. Quoyle? What do you think of my dress? Everybody turns on that one. Mavis cuts her alter ego Agnis a look. Can you believe this slut? DAWN I wore it just for you. She actually looks pretty good in it. Wavey noticing that. Watching Quoyle say. QUOYLE That was more consideration. Than I deserve. Polite banter? Or outright flirting? Hard to tell if it's Wavey or Agnis who disapproves more. Dawn ignores them. DAWN Did your aunt tell you about all the money? Agnis just blinks. Can scarcely believe she heard that. DAWN Agnis told us it came from Macau. AGNIS -LRB- quietly. -RRB- Hush yoursel. DAWN from Silver Melville. And it was more than she expected. And we shipped the chairs off to her. Y' know, the three remaining? A really frozen beat. QUOYLE -LRB- casual, to Agnis. -RRB- Uh. Why would she send you more tha. AGNIS -LRB- to Dawn. -RRB- Do you have enough attention now, young lady? DAWN Yes, Ma'am, I think so. Mavis echoes Agnis' glare. QUOYLE -LRB- really casual. -RRB- Macau, huh? So. That where y ` sent th' chairs? Agnis turns. Sizes him up. AGNIS It's flatterin' you showin' me how you've turned into such a competent reporter and all. But even if I remembered where I sent'em. I could n't tell ya. Puts her fingers to her lips. Leans closer, to confide something he is obviously unaware of. AGNIS Professional ethics.",
"INT. WAVEY'S KITCHEN - LATE NIGHT CLOSE on Wavey, cooking flapjacks. Talking to them. WAVEY Only you. Could do this. And she's not pleased. WAVEY You fed him. You gave him clothes. You're the first human ever was kind to him. She scoops them expertly into a stack. WAVEY Accordingly. You're sick with guilt. Serves them to. WAVEY You sure you're not a complex guy? Quoyle, who nods absently. About the one thing he is sure of. Just now, he's examining the prodigious status of her oxblood knitting. Still attached to the needles, it looks too broad for a muffler. QUOYLE -LRB- decides. -RRB- Horse blanket. WAVEY -LRB- ah! -RRB- That's what that is! A beat. Another. QUOYLE So if y' called around. Musta found somepla. WAVEY -LRB- quietly. -RRB- One decent golden age home. It's in St. John's. You can maybe afford it, tho God knows why you should. She pushes the flapjacks closer to him, CLANKS down the fork, eat! She's exasperated. Thinks he's wasting his money. QUOYLE I ca n't put him there, til I go down to St. John's. See it's all right. WAVEY Great! Let's not be rash! QUOYLE Come with me. And everything. Sorta. Stops. QUOYLE I mean, the kids could stay with Dennis and Beety. Or Agnis, or. A meaningful beat. WAVEY Why. Would I. Do that? She looks deep in his eyes. Hard to guess the answer she wants to hear. He clears his throat. Looks down. QUOYLE Well. Remember when you said. Someday, I'd do something nice for you? And when he looks to her, she is. PETAL -LRB- Wavey's voice. -RRB- And this is it. A witheringly sexy smile. QUOYLE Hey. Overnight trip to St. John's. All expenses paid. Petal arches a delicate brow. PETAL -LRB- Wavey's voice. -RRB- Overnight? He blinks. And sees. WAVEY What's wrong with a weekend? With a playful smile. Of her own.",
"EXT. DOUBLE-DECKER BUS, ST. JOHN'S - DAY Not London, but it might as well be. Wavey and Quoyle atop a red double - decker bus, wind whipping their hair. She is watching the big city flow past, drinking every inch of it. He's watching her.",
"INT. DEPARTMENT STORE - DAY Wavey carries an armload of little girl's tights and corduroy pants, picking through a bin of barrettes. Quoyle appears with a fistful of neckties. Holds them up hopefully to his chest one at a time, each more breathtakingly godawful than the last. Well? She SHIVERS with disgust. Lifts from her shopping bag a nice conser - vative one she's already picked for him. He SHIVERS, just as she did. They share the trace of a grin, just alike. He walks off. Wavey trying on furry hats in a full - length mirror, as Quoyle keeps feeding her an endless supply from a double armful. She pouts and poses like a runway model, basically frowning that the hats are n't working. He's staring at her as if nothing else exists in the universe. She knows it. Wavey alone at a cash register. The checker is ringing up a selection of lacy bras and panties. Suddenly, Wavey looks up to see Quoyle at the register one aisle over, staring fixedly at her purchases. Seeing she's noticed him, he holds up a huge pair of loud boxer shorts he's buying, and WAVES them at her. She laughs and waves her bras right back. Civilians watching think they're in love.",
"EXT./INT. ST. JOHN'S - DAY/NIGHT Quoyle and Wavey stroll the grounds of Nolan's future retirement home. It is twilight, and the modest place looks pleasant and welcoming. Quoyle listens earnestly, as the director points things out. Wavey watching Quoyle, her gaze not so disapproving after all. CLOSE on Quoyle with a bowling ball, poised, glaring our way. Here he comes. Stumbles. Lets go. REVERSE ANGLE to see the ball rolling, rolling real slow. Quoyle turns his back, strides away with confidence like he does n't even have to watch, this is too easy. Wavey points, look. He turns in time to see two pins fall. Pumps his fist. YESSSS!",
"INT. BAR - NIGHT It's late. It's dim. It's as romantic as urban Newfoundland will ever get. Our couple nursing beers at the corner table of a passably stylish bar. Piano playing show tunes, but soft. He pulls from his pocket. a travel brochure. Slightly drunk, completely merry, almost wicked smile. QUOYLE Now, listen to this for t ` morrow. After I sign the papers at the home. She's already grinning. Feels so comfortable. QUOYLE -LRB- reads. -RRB- The answer to your annual outing! Rainbow trout fishing in four ponds. You pay for what you catch. Prizes in the ponds. If it drizzles or gets chilly, heated and lighted building available, right next to the ponds, with soft drinks, candy bars, ice cream and chips! His subtle smile. A guy could get used to this irony stuff. WAVEY Or we could sleep in. innocent, natural. At some primal level, his panic begins. WAVEY I just feel so guilty about all your expenses. Two separate rooms. Both so big. QUOYLE Hey, it's my treat. You agreed. She nods. She did. WAVEY Still. Seems like we could figure out. Something. Even Quoyle. Has the message. He looks down at his beer, as he thinks about what he should say. Turns the glass in his fingers. QUOYLE A friend told me once. Love is the only thing that counts. He nods. Almost to himself. QUOYLE -LRB- a murmur. -RRB- It's the engine of life. He looks up. Her eyes are waiting. QUOYLE So when you told me how you think about your husband. I really understood, becau. WAVEY That's what I wanted us to talk abou. QUOYLE because real love. Just comes once. And everything. Stops. QUOYLE See, you know some of the stories about Petal. Some of the bad things. What you do n't know. But she's looking in his eyes. And so, she does. WAVEY -LRB- just above a whisper. -RRB- is how much you love her. That's what it is. WAVEY Even tho. She never loved you. A beat. QUOYLE Sorta. Because of it. He sighs. The most miserable and the most honest he has ever been. All at once. QUOYLE See, love. Is n't about what's good for you. Is n't about what you wish it was. Is n't about what. would make you happy. His eyes are swimming. Can she possibly hear this? QUOYLE Love. Is about want. What you really want. And you ca n't change that. Even if it's poison. Silence. The piano plays something gay and stupid. QUOYLE So that's why it's great. To have a real friend. When you're. Lonely. The last word was a tough one. It makes her nod. She stares in his eyes for the longest time. And when she speaks, he can scarely hear her voice. WAVEY I know you have to stay tomorrow. To sign the papers. But. But. One word. And even a stupid guy. Gets it all. WAVEY I should be heading back. Before Herry. Misses me. Too much. Wow. He nods, dumbly. Watching his worst nightmare unfold before his eyes. WAVEY And I'm not feeling so well. What I get for mixing vodka and beer, huh. She gets to her feet. She does seem a little unsteady. WAVEY So I'll grab a taxi. You stay and finish. Listen to the music. Is that all right? QUOYLE I cou. But he stops. Because she's shaken her head once. Do n't. WAVEY And do n't worry. I'm still your friend. Her voice chokes a little on that. She shakes her head, half - grinning at how foolish she feels. She smiles at him now. Like she means it. And leaves. Without another word. QUOYLE -LRB- V.O. -RRB- She did stay my friend. In her way. Even tho, for awhile, we did n't see each other a lot. He wants to cry. He wants to be sick. He does n't know what he wants. Fumbles in his pocket for some wadded - up bills. QUOYLE -LRB- V.O. -RRB- Funny. How one little talk. Can change everything. DISSOLVE SLOWLY TO.",
"INT. SKIPPER WILL'S DINER - NIGHT The boys, the beers, the squidburgers. The usual. QUOYLE Tell me about it. Just get the aunt's house fixed perfect, and I got ta move. Move? QUOYLE Three hours to drive from the Point, with all the ice. Alvin wo n't have my boat ready til New Years. Agnis can stay over her shop. Bunny and I have to find a room in town. DENNIS Stay with us. My kid follows yours around, they'll bunk t ` gether. And we got ta fluffy couch that's more'n you deserve. A good friend. Quoyle is touched. QUOYLE Hopin' you'd offer, almost worth it just t ` inconvenience ya. Unfortunately, I'm too fond a yer wife. NUTBEEM -LRB- casual. -RRB- Take my trailer. Timing's perfect. The way he said that. They both turn. A shrug. NUTBEEM It's two years. My boat's ready. If I stay any longer, I'll begin to like it here. Would n't want that. Very silent at this table. Against the din of the place. Is he serious? NUTBEEM -LRB- softly. -RRB- I'm throwing myself a farewell party on Saturday. Departure to follow Sunday. Regrets, soon after, no doubt. And smiles. Serious as a heart attack. A long beat. QUOYLE -LRB- a murmur. -RRB- Be careful. Careful? QUOYLE Last friend left me. Turned into a truck driver. So much feeling behind his eyes. Nutbeem can only say. NUTBEEM Well. With that warning. And return the feeling. With his own.",
"EXT./INT. NUTBEEM'S TRAILER - TWILIGHT Quoyle GROANING under the weight of cases of beer and cheap rum pulled from the back of his wagon. Plenty more to go. Staggers into. Nutbeem's tiny, threadbare trailer. Every conceivable surface under stacks of plastic - wrapped party platters of cold cuts, cheese and red - eyed olives. Nutbeem is jamming beers into tubs of ice. Quoyle peers into the teensy closet that is the only bathroom. QUOYLE What's the barrel for? SEE it now. Half a sawed - off empty BARREL, with MOLASSES stenciled in orange, fills the shower stall. NUTBEEM I'm British. I bathe. Quoyle sends him a blank look. QUOYLE Perfect for th' chips. He gestures to thirty bags of potato chips, filling the kitchenette. NUTBEEM It's coated with two kinds of scum. Soap. And mine. QUOYLE Works. We forgot to buy dip.",
"INT. TRAILER - NIGHT VIEW out a window at the line of HEADLIGHTS still arriving. We are immersed in the ungodly WHITE NOISE of an all - gentleman's Newfie soiree, music pushed beyond the level of distortion, assorted grunts, squeals, unintelligible words, things breaking. As we struggle to look around. every square inch is crammed tight with semi - conscious drunks. Tert Card and some boys circle the potato chip barrel, which has become a handy urinal. Near the door, Dennis holding forth, arm tight around Quoyle who listens, listens, chuckles. Then Quoyle fights his way. OUT of the trailer, to cold night air where the party is MUCH wilder, given the elbow room. Quoyle steps OVER the supine form o Billy Pretty, who is singing to himself. Finds Jack Buggit with a beer in one hand a rum in the other. Wraps a drunken arm around Jack's neck. Starts to talk in his ear. Jack looks suspicious. A FIGHT breaks out a few feet away. They do n't notice. Closing in, to hear. QUOYLE -LRB- shouting against the din. -RRB- SO THE NEXT DAY, THEY ALL SIT DOWN ON THE GIRDER. THE BRIT OPENS HIS LUNCH BOX. ` OH, NO! SCOTCH SALMON AGAIN! FAREWELL, BOYS!' AND HE JUMPS OFF THE GIRDER TO HIS DEATH. Jack nods. Grins. That's pretty funny. QUOYLE THE QUEBEC GUY OPENS HIS LUNCH BOX. ` MON DIEU! MEAT PIE AGAIN! AU REVOIR CRUEL WORLD!' AND HE JUMPS. This. Is even funnier. QUOYLE NOW THE STATIE IS ALL ALONE ON THE GIRDER. HE OPENS HIS BOX. ` HOLY MOLEY! BOLOGNA SANDWICH AGAIN! I DO N'T HAVE TO TAKE THIS!' AND LEAPS OFF. Funniest yet. Jack is chuckling already. QUOYLE AT THE FUNERAL. THE BRIT' S WIFE SAYS, ` WHY DID N'T HE TELL ME HE HATED SALMON?' FRENCHY'S WIFE SAYS, ` WHY DID N'T HE COMPLAIN ABOUT THE MEAT PIE?' STATIE'S WIFE SAYS,' I DO N'T GET IT. HE ALWAYS MADE HIS OWN LUNCH!' Quoyle is chortling. But Jack stares him dead in the eyes. JACK YOU'RE SURE. THE FELLER WAS A STATIE. QUOYLE OH, YAR. FROM NEW HAMPSHIRE. At which point Jack BUSTS OUT laughing fit to wet his pants. JACK MADE HIS OWN LUNCH! POUNDING on poor Quoyle, who is also dissolved in hysterics. Nearby, the biggest and ugliest GUY at the party -LRB- no small distinction -RRB- leaps onto a tree stump brandishing an AXE. Even in this crowd, it commands a certain degree of attention. BIG UGLY GUY NOW WE ALL LOVES OLD FOOKIN' NUTBEEM, YAR? Cries of YAR! fill the woods. Nutbeem himself is HOISTED on shoulders, whooping and sloshing his grog. BIG UGLY GUY SO LESS KEEP ` IM ` ERE BYES! AXE ` IS FOOKIN' BOAT! GOT YER CHAIN SAW, NEDDIE? An idea that wins IMMEDIATE MASS APPROVAL. Soused Nutbeem's eyes open bug - wide, as he is borne in a tidal wave of mayhem toward the docks. Whatever he is shrieking may well prove ineffective. And rather suddenly. Quoyle is left alone. Among the conscious, that is.",
"INT. WAVEY'S HOUSE - NIGHT Knitted wool, the color of oxblood, lies across a timeworn leather ottoman. In front of it, little Herry dances a shuffle - foot jig of his own design. The music seeps from a venerable accordian, played earnestly by his serious mom, nodding and tapping her foot to the time of his steps. There is a feeling of empowerment and release in Herry. His grin splits his round face. His eyes say that his heart is dancing. PULL SLOWLY BACK. through the window, past the porch, across the front yard. To a figure. By the fence. He stands motionless. Except his foot is tapping, very slightly, to the time of the music. We ca n't tell how much Quoyle sees. But his eyes say that his heart is drowning.",
"EXT. NUTBEEM'S TRAILER - MORNING As Quoyle shuffles up, we see Nutbeem's trailer has been turned completely OVER onto its side. Walls are crushed and splintered. It's a train wreck. Sitting on the cinder blocks that once supported it, Nutbeem, and Dennis swig beers. NUTBEEM -LRB- cheery. -RRB- You're looking dishy, Q. QUOYLE Feeling that and more. What's the situation? Nutbeem hands him a beer. NUTBEEM One. You're moving in with Dennis, no matter how fond you are of his wife. Quoyle looks sadly at the trailer. Realizing it was his place that got trashed. NUTBEEM -LRB- laughs. -RRB- And the boat! Omigod! BILLY I'm some disgusted. With the human race. NUTBEEM I ` da never made it, anyway. Storms would have blown me to bits. You boys saved my life. Yes, you did. The boys look at each other. Humiliated by his generosity. NUTBEEM I've gathered my savings, and am flying to Brazil. Where water is swimming pool green. And I grill yellowtail steaks with lime and garlic, watercress and Tobasco. Touch of curry. What? Quoyle is looking at him somewhat strangely. QUOYLE -LRB- light. -RRB- I collect friends who cook. Just ca n't keep'em. Maybe too light not to be obvious. Billy looks from Quoyle to the trailer. And back. BILLY It's too bad. Which seems to cover everything.",
"EXT. JACK BUGGIT'S SKIFF - DAY Quoyle alone with Jack in open water. Pulling on a slicker, gloves, picking up a knife. Jack is pronging cod onto the deck. JACK Hands might as well be movin' while we chat. Always hated th' sight a grown men around a table workin' nuthin' but their jaws. And so, together, they begin to clean a small mountain of cod. QUOYLE Editorial meetin', y ` say. ` Bout what? JACK Well, Tert Card's gone, fer one thing. Does n't look up. JACK Yar, I know, he never said g ` bye. Well, do n't get all weepy - eyed about it, old son. Try t ` be a man. Quoyle will. JACK They called him from St. John's, he tells me. Wants him to help put out th' newsletter fer them oil rig suppliers. Yup. Believe it. JACK He was sassy an' he was smug. Oh, there's a waitin' list, he assures me. They only skims th' cream. QUOYLE Well, do n't get all weepy - eyed abou. JACK Truth t ` tell. I was a wee help. B'hind the scenes, doncha know. Keeps working. JACK -LRB- quietly. -RRB- Sometimes. Enough is enough. No arguments arise. QUOYLE Well, Billy'll do a helluva job. JACK -LRB- nods. -RRB- right where he is. Too old a fish t ` swim faster'n be wants. Got ta find someone a little dumber t ` take on a shit job like this! Uh - oh. You do n't mean. JACK Spot I'm in, Christmas and all. Might have to offer th ` mess. To you. Quoyle swallows. Arguably the proudest moment of his life. QUOYLE Course. I'd need a raise. Jack looks at him for the first time. A real twinkle behind. JACK Y' know. Yer do have the sense God gave a doughnut. QUOYLE -LRB- genuinely touched. -RRB- I ` II try to live up to that. Said with such sincerity, Jack can only nod. Good. JACK Any other outrageous demands? Seein' as yer got me over a barrel. Here's your one chance. And before he can stop his mouth. QUOYLE Well, your son. The mirth dies in his host's eyes. Like a 60 - watt bulb in a brownout. Quoyle swallows the rest. JACK You were sayin'? Quoyle sucks it up. QUOYLE His whole life would be changed. If he could come upon. A fishing license. Jack's eyes. Flat and cold as the cod he's gutting. JACK Well, there's only one a those issued per family. So how exactly would he do that? This is not. Going well. A dangerous silence. JACK Even doughnuts, y' know. Can push their luck.",
"INT. WAVEY'S PARLOR - DUSK The day care contingent more organized today. Sort of. Bunny leading a spirited round of red - light/green - light, as. Quoyle enters with a big cardboard box full of presents. As he shrugs off his coat, he looks at the Christmas tree, its winking lights. The decorations that seem to be everywhere, many handmade by these children. He watches Bunny call out ` Red Light!' , only to have Herry ignore it and tackle her anyway. Mixed emotions, to be sure. A feeling of family he can at least visit, yet will never be his own. The sad edge catches up with him, so he strolls on into. the kitchen. Wavey baking, what else. She smiles to see him. A friend's smile. WAVEY -LRB- Southern belle. -RRB- Why, Mistuh Quoyle. You should n't have! He smiles back. Takes her in for a telling beat, before. QUOYLE Uh. I did n't. Most of these are for Herry. Even better. QUOYLE There's two. Are yours. They are on top. Personally wrapped in his slightly bulging, fine - motor - control - challenged, personal style. Be sets them on the counter. QUOYLE You prob ` ly want to wait for Christmas. Meaning, please do n't. So she wipes her hands on her apron. Lets him see her eyes dance just a flicker. WAVEY Oh, I'm much too excited. Delicately unwraps the first. Lifts out a PORCELAIN TEAPOT, finely painted with an assortment of BERRIES. She holds it in her hands, at once admiring and wistful. Wondering if there's a message about their moment together while berry - picking. QUOYLE It's from a museum catalogue. But it's not real. It's a copy. WAVEY -LRB- still gazing at it. -RRB- It is my favorite teapot. A simple pronouncement. She opens the second, flat and narrow. It is a TURQUOISE BRACELET. Actually, kind of stunning. She blinks, taken back by the beauty and perhaps the expense. QUOYLE It's nice for your eyes. I thought. She does n't sayanything. Lets it dangle from her fingers, catch the light. QUOYLE It's for everyday. You do n't have to save it for special. She looks to him. Her eyes are shining maybe more than she wants. Her voice perhaps softer than she even intends. WAVEY Oh, I'll save this, all right. Covers. With only a slightly more than friendly smile. WAVEY And I'll think of you. When I put lot on. He can only nod. He'd like that. She holds up one finger, wait a second. And hurries off. So he waits. Looking at her kitchen. Feeling his feelings. She is back, with two boxes. Sets them down. Nods, go ahead. one is heavy and square. He opens it to find a LEATHER - BOUND CASE. He looks at her, smiles in his childlike way. Opens the case, which reveals. two leather - bound VOLUMES. One a dictionary. The other a thesaurus. He is obviously moved. QUOYLE -LRB- a murmur. -RRB- You must have me mistaken. For a writer. And when he looks up. WAVEY I do n't make mistakes. About that kind of thing. He stares at her long enough to make her nod toward the other package. Big and flat, but not heavy at all. He lifts the lid, and pulls out. a huge comfy SWEATER. In oxblood wool. He is completely stunned to realize. WAVEY -LRB- so pleased. -RRB- Well, you ca n't be surprised. You've seen me knitting it for months. QUOYLE It was so big, I thought it was a tea cozy for your car. But if it's for me, it has to be bigger, huh? Put it on, put it on! So he slips it over his head. Big enough and then some. This worries her. She plucks at it. WAVEY Well. You'll grow into it. QUOYLE You kiddin'? After the holidays, we'll have to stretch it. He's just beaming. Hugs himself to show how warm it is. The silence is companionable. Then. QUOYLE Not used to a woman. Giving me presents. She raises a brow. Can scarcely believe that. QUOYLE One Christmas with Petal, I gave her eleven things. And I wrapped them. And watched her open them up. She holds her friendly smile. But her eyes have changed. Slightly. QUOYLE She did n't have anything for me. Like every year. But this one time, she said, ` Wait a minute.' Wait a minute. QUOYLE She ran to the kitchen. I heard the fridge open. She came back. With her hands hidden behind her. Then, she held out. Even his voice. Betrays the longing. QUOYLE Two brown eggs. She gave them to me from her own hands. They were cold. He smiles, self - conscious. QUOYLE Must sound really stupid. But they meant a lot to me. Silence. A soft. WAVEY Well. It's the thought that counts. He nods. He's glad she understands. QUOYLE I broke'em, careful. Made her an omelette with'em. And I saved the shells. In a little box. She ca n't help but show her surprise at that. QUOYLE Oh, yeh. They're on a shelf behind my desk. At the paper. He looks worried now. Should n't have brought this up. And seeing this. WAVEY I know how it is. To hold onto something good. In the middle of all the bad. He nods. But feels truly awkward now. So. QUOYLE Well. I got ta collect Bunny. Beety's gon na have supper waiting. Right. She nods. She understands this, too. WAVEY Thank you. Thank you, very much. Takes her teapot and her bracelet. Holds them. A gentle barrier. Her hands now too full for a hug. QUOYLE Well. Merry Christmas! With a wonderful smile. WAVEY Merry Christmas. With one of her own.",
"INT. SCHOOL AUDITORIUM - NIGHT Quoyle enters a packed auditorium, festooned for Christ's birthday with every trimming imaginable. Rough fishermen in black jackets they wear once a year, women in finery, schoolkids at their well - scrubbed best, antsy with anticipation. The BUZZ is audible, palpable. No Broadway opening could hope for this level of eagerness. As Quoyle comes down the aisle, we see faces we know. Boys from Nutbeem's party. Billy Pretty with Jack and Mrs. Buggit. Alvin Yark and his bird - like wife. The old - timer who sold Quoyle his boat. Mavis Bangs with an empty seat next to her, must be saved for Agnis. All the kids from daycare. Still, Quoyle searching for the face he does n't find. And finally. to the third row, where Dennis and Beety have saved him a seat. Beety gives him a peck on the cheek, and he smiles, settling in, nervous as hell, just as. the school principal, still dressed for England, walks to the mike at center stage. Holds up her hands like the disciplinarian she prides herself on being, and they quiet pretty fast. PRINCIPAL Your friends and neighbors, and most of all, your children. Have worked hard to bring you the best pageant ever. THUNDEROUS applause, whistling, stamping. She is frustrated for a moment. Then, waves cheerily against the din, shouting. PRINCIPAL LET THE FESTIVITIES BEGIN! And RUNS off - stage, as we DISSOLVE THROUGH a SERIES OF ANGLES. the Big Ugly Guy who led the raid on poor Nutbeem's boat stands in a threadworn suit bulging with his bulk, singing DANNY BOY in the sweetest tenor one could dream of. PAN an audience, rapt, motionless. Pavarotti never had more respect. Bunny and Marty walk timidly to the front of the stage. Marty dressed in Christmas reds and greens. Bunny all in blue, which does look good on her. Kids CALL OUT their names. The place falls quiet. And the girls begin to sing a plaintive West African HYMN in small brave voices that sometimes harmonize. It is unexpected and breathtakingly courageous. Two dads in the third row have tears flooding their eyes. DENNIS -LRB- gruff whisper. -RRB- Not bad, my kid, eh? QUOYLE -LRB- gruffer whisper. -RRB- I'll say. She's as good as mine. Agnis Hamm walks out alone onto the stage, wearing a brown jersey, tweed skirt, yellow stockings and red slippers. She has an odd look on her face, all serious and curious. The laughter and calls die away to silence. Suddenly, one of her feet SCRATCHES at the stage, her arms become WINGS, and with a CROONING and CACKLING she metamorphoses into a PEEVISH HEN protecting an egg. The house comes DOWN with laughter and UNISON applause. Quoyle glances back at Mavis Bangs who puts her fingers between her teeth and WHISTLES in pure delight. Wavey Prowse walks onto the rear of the stage, in a long black smock, carrying her accordion. She turns to the wings, nods, and out comes little Herry clacking across the stage in tap shoes. A beat of silence. Mom calls out : ONE, TWO, THREE, rolls into a savage hornpipe and Herry commences the JIG Quoyle once glimpsed through a window. Three hundred HEELS coming STOMPING down in perfect rhythm and lift Herry into a joyous bouncing, rattling performance that builds in intensity until the finish. He runs to the edge of the stage, bows DEEP from the waist, stands beaming in their applause. Then RACES offstage, his mom following with dignity, and we go with her into the wings. Once there, Wavey slips OUT of the smock, revealing to the dimness of the wings, that she is wearing dancer's tights over drop - dead legs. A close - fitting tunic covered with sequins and glass bugles, crystal diamonds, and dozens more glittering baubles that send a shimmer of prisms with her every breath. Herry hands her a top hat, a cane, and. she STALKS back onto the stage, her lithe body strutting and glinting. A hush of stupefaction falls, only to be washed away by SHOUTS and WHISTLES, the kind of which have not been heard since Gypsy Rose Lee startled her first roomful of rubes. In the bedlam. she TWIRLS the top hat on one finger, FLIPS it up in a double somersault, catching it square on her head. She leans on her cane And when at last they quiet. WAVEY We all know Billy Pretty's ways. Never save fifty cents, if you can save a dollar. She winks. They laugh. Billy laughing loudest. WAVEY Well, last Feb ` ry, Billy wants t ` get his grandfather clock repaired. Calls old Leander Mesher. Local call. No charge. Twirls the cane recklessly. In the third row, a goggle - eyed Quoyle could n't blink if he tried. WAVEY Well, says Leander, the big cost is pickup and delivery. Got t ` charge fifty dollars, each way. Two strong boys. Gasoline. Air in the tires! That's right. WAVEY There's no cost for air in yer tires!, says Bill. Get wi' th ` times, he's told. Tis called inflation! WAGGLES her eyebrows, Groucho - style. They are busting their guts laughing. Connoisseurs of wit. WAVEY Billy lives at the top of the hill, Leander at the bot tom, doncha know. So Billy gets a rope, HOISTS the grandfather UP on his back. And muttering the words fifty bucks. She puts her toe out, SLIPS wildly, windmilling her arms, pantomiming as she bends double under the phantom clock. WAVEY Mite slick. Four feet thick a ice. Tears are streaming from a hundred eyes and more. WAVEY Meanwhile, at the bottom, Auntie Fizzard, 91 years young, sets out in her non - slip galoshes and her cane with the rubber tip. Did n't yer, dearie? Bows to the old gal in the front row, who is scarlet - faced in hysterics, as all around her applaud. Wavey becomes her, inching along, casting fierce glances right and left to warn the world. WAVEY Meanwhile, at the top. She is Billy once more, beneath his burden, her long legs stutter - stepping to one side, then the other, slipping, skidding, the howling all around her threatening to shatter walls, and. WAVEY OVER he goes, clock - side down, and PICKIN' UP SPEED! Miming the wild ride as they ROAR. WAVEY eight blocks, NINE, missing everything like a miracle, zeroing in on. She becomes Auntie Fizzard once more, shuffling, looking left, right, and suddenly up WILD - EYED! WAVEY CLIPS ` er inta the snow bank! Nods sadly. Leaning on her cane. When at last they quiet. WAVEY Just two galoshes stickin' outta the snow. She digs ` er way out. Brushes herself off. Looks at him sprawled like a turtle on his back, tied to his massive burden. She says. She says. WAVEY YOU THERE! BILLY PRETTY! Levels a dead - eyed killer gaze. WAVEY WHY CA N'T YOU WEAR A WRISTWATCH LIKE EVER ` BODY ELSE? The place comes DOWN like a house of cards. Bedlam surrounds Quoyle who sits still as a stone. Too dazzled to breathe.",
"EXT. ROADSIDE DINER - EARLY MORNING. Lonely stretch of wooded road, middle of nowhere. Light snow just starting to fall. A truck pulls up beneath a tree. Out climbs. Wavey. Looking grim, walking slow. Crosses the road to a weathered diner. The woman who only smokes when she's worried, pulls out a pack of Camels. Looks through the diner's frosted window. a lone customer sits nursing his coffee. He is 40, lean, very attractive. Dark hard eyes, set into worries of their own. Wavey lights up. Watches in silence until. the man looks up. Their eyes meet through the glass. Hold. And on his faint smile. She turns her back. Starts up the road. ANGLE. he is walking beside her now. Snow drifting lazy, her smoke curling up. He watches her anger, how cold and quiet and closed. Smiles at her profile. HEROLD I shoulda come last night. Seen the show. She ca n't even believe he said that. Never looking at him. WAVEY Woulda been a thrill for the Christians among' em. They think you're dead. Keep walking. His smile is gentle. HEROLD Well, then we got good news for th. WAVEY So does your son. A beat. HEROLD Even better news for him. WAVEY -LRB- low. -RRB- You think so. Breaking the words off. He's watching her profile. HEROLD -LRB- very soft. -RRB- I ca n't undo the hurt I've done. Unless you let me. Gauging the feeling behind the bitterness. HEROLD There's a million reasons to send me away. Good ones. And only two reasons not to. Is she even listening? He lets the silence hang. HEROLD I love you. And you love me. She stops walking. Flips her cigarette off into the snow. Turns now. Looks into his face. And sighs.",
"EXT. SHORELINE - DAY Rear ANGLE of Agnis, crouching in the lightly falling snow. At the edge of the sea. The spot where she once sent her dog to rest. HEAR footfalls crunching slowly across the rocks. A bulky figure comes into frame. Crouches down beside her. Close. She stares at the gray horizon. QUOYLE -LRB- softly. -RRB- Mavis Bangs. Told me where you'd be. No answer. But she hears him all right. QUOYLE We get so little mention in the wires. Thought you'd like to see. He hands the folded print - out to her. QUOYLE Head in the suitcase. The mystery's solved. She looks briefly at his eyes. Takes it. Starts to read. QUOYLE Silver Melville was captured in Moored with a cruise steward. The boy was twenty, a looker, wearing Armani clothes. Driving a nice Lexus. Agnis keeps reading. QUOYLE Says she did it all for love. She nods at that. Folds the paper neatly, as if conveying respect. Hands it back. AGNIS She'd call me, time to time. Husband was a pig. More women should do what she done. Her situation. He looks in her eyes. And decides to say. QUOYLE Some women. Shoulda done it to their brother. The look holds. She sees the compassion in his eyes. Knows he's so on her side. She clears her throat. AGNIS -LRB- softly. -RRB- Cousin Nolan. Hafta pay him a visit. They share a look. He glances at the sea. Beautiful spot. QUOYLE Mavis said you buried Warren here. Called it an anniversary. She stares deep and unblinking into his eyes. She will tell him. AGNIS Of a loss. But not the dog. A held moment. AGNIS What makes us do that, nephew? Give ourselves away to someone. So we ca n't eat or think or breathe without'em? QUOYLE -LRB- just above a whisper. -RRB- I do n't know. We just do. Silence. And. AGNIS Wonderful, ai n't it? And now she smiles. Something we have rarely seen. AGNIS Irene Warren died. The mornin' after a Christmas. We get one true love in life, nephew. She was mine. He's not surprised. And that, in turn, does not really surprise her. AGNIS Do n't mean we ca n't give love again. And get some back. QUOYLE For some, it does. AGNIS -LRB- straight back. -RRB- Not for me. Strong with that. Sure. AGNIS And if that ruffles some small town feathers. His smile in return. Very real. QUOYLE Y' know what the feathers around here need th' most? A good ruffling, I say. He sounds pretty sure himself. Their look ho1ds. QUOYLE Y' know what I need th' most? She does n't. QUOYLE A really big breakfast! She nods, one last time. Sounds like a plan.",
"INT. GAMMY BIRD - LATE NIGHT Quoyle alone with his cut - and - paste, making up the front page layout. Moonlight on fallen snow through the window. Late enough, quiet enough, to hear. the vehicle drive up, the engine turn off. The footfalls to the door, which swings open. The last person he'd expect to see. Especially with a bottle. Of Cuervo Gold. They stare at each other. Only he smiles. QUOYLE Hey. Congratulations. She shoots him a quizzical look. We see the edge right off, even if he does n't. QUOYLE Last night. On the stage? You were. Shakes his head with innocent admiration. She puts the bottle on his desk. WAVEY It was easy. I just kept thinkin'. How would Petal do it? He hears it now, right enough. The anger, the Cuervo. She stalks on over to the coffee counter, only a bit wobbly. Plucks up two styrofoam cups. WAVEY We're friends, right? Friends drink together. Back to his desk. Shrugs her coat off onto the floor. Pullover and jeans, she looks terrific. Hikes her butt up onto the edge of his desk. WAVEY I asked a quest. QUOYLE -LRB- quiet. -RRB- I'll drink with you. If you're not done yet. Her soft throaty laugh. He has n't seen her this way. Ca n't decide if it's more scary or exciting. WAVEY Not drunk enough yet to talk about Petal. Which we always seem to do. Opens the bottle. About four fingers are gone. WAVEY Let's talk about me. Which we do n't. Pours herself another two. Thinks before she says. WAVEY Growin' up, all I wanted from this place was out. Imagine. Give up all this. Pours two fingers for him. Stretches her body to slide the cup across the desk. The Cuervo sloshes. WAVEY I ran off to Toronto, went to school. Wanted to be a social worker. For kids. She's looking at her cup now. Not at him. WAVEY Came back one summer. Fell for Herold Prowse. That. Was that. Takes a swallow. Closes her eyes. WAVEY Did you know I was a liar? Opens her eyes. Straight into his. Did you? WAVEY Herold liked other women. But you know how that is. Sure you do. WAVEY -LRB- whispers. -RRB- He did n't die. Not that he did n't deserve to. Quoyle blinks. A perfect stunned ox gape. WAVEY See, I'm a good liar. Drains her cup. WAVEY He ran off to Seattle with some bitch. When his damaged son was two months old. And nobody knew. An ice - cold wink. WAVEY Like I said. It's four years ago. And it's yesterday. Pours herself another. Savors the memory. WAVEY So I took his boat out. I sunk it. And told my little story. Grieving widow. Shrugs a drunken, careless shrug. WAVEY I was leaving, of course. Why humiliate myself on the wayout? Yes? WAVEY -LRB- softer. -RRB- But a funny thing happened. On my way out. Her eyes are deeper now. And for a beat, the anger slips away. WAVEY All these funny, odd little folks? They put their hearts around me. So I would n't be alone. Having lost the man I loved. Silence. A real one. WAVEY And since I knew, to my shame, that is exactly what I had lost. I let go of the will to leave. I did. I did. WAVEY Decided to let my child grow up. Around folks better than his mom. Stares in his eyes. WAVEY You're quite the talker. QUOYLE -LRB- quiet. -RRB- I take pride in that. So she smiles. But the bitterness is there in it. WAVEY Well, this morning. The man I loved. Came back. And the world. Ceases to spin. One man's world, at least. She watches that. Assesses it. WAVEY Told me he knew. I loved him still. Sips at her second drink. Slides the rest of it down. WAVEY Okay. Now I'm drunk enough. To talk about Petal. Her eyes ask. Are you? WAVEY You're thinking we're kindred souls, you and me. In love with our nightmares. Shakes her head. Uh - uh. WAVEY You do n't love your Petal. You hate. Her cheating. Guts. Means those words as an opening blow. Jacks or better. Here comes the hole card. WAVEY You have to think it's love. Because if it's not, you're dead inside. So you keep that flame a flickering. Cos it's all you'll ever have. Pure contempt. And honesty. WAVEY You see. You're a good liar, too. Lifts the cap. Screws it back on the bottle. WAVEY Where's the damn eggshells? That's all I came to see. And from his prison of shock and shame. He points to a shelf. She is OFF his desk, like a panther. SNATCHES the tiny padded box with its treasure. RAISES it high to smash it, and. stops. To see the panic. In his eyes. It brings tears. Pooling in hers. And she sets the treasure down, with the tenderness that decency requires. WAVEY Can you guess how I know about Petal? He can not. WAVEY Because you and I. Are kindred souls. After all. And that. Is what she came to say. WAVEY So I told my husband. To fuck himself. And the ego he rode in on. She crosses the floor. Scoops up her coat. Walks, just a little wobbly, to the door. Sighs. WAVEY Thanks for the mirror. Nods. Means that. WAVEY If I do n't see you. Happy New Year. And leaves. The door closes quietly. Quoyle looks from it. To the eggshells. And back.",
"INT. DENNIS' HOUSE - LATER ANGLE. Dennis and his wife BEETY bundled together asleep, as a ferocious storm HOWLS around the house. ANGLE. Quoyle awake on the sofa in Dennis' parlor. Clutching his blankets around him. Eyes jumping with every SHRIEK of the marauding wind. Mind racing with thoughts of Wavey. And eggshells. ANGLE. Bunny asleep with Dennis' daughter MARTY. The room seems to vibrate under the violence of the weather's assault. CLOSE on Bunny now, and. her eyes OPEN. A strange intent in them. A knowledge. She slips from Marty's bed in her thin blue nightdress. Through the house in the dark, as the wind SCREAMS its warning. Into the par - lor where her father sleeps, as the wind suddenly INVADES, and. SUCKS her straight UP the chimney and out INTO the heart of the storm. SAILING like a loosened kite out across the black water. Out and out, as gray light rises, to. Quoyle Point, where she is blown FLAT against a granite boulder just in front of the Green House, which SHIVERS and pleads against the wind, its steel cables STRAINING, and suddenly from within the house, lights come ON. the WHITE DOG is in a window. No longer snarling and menacing, but whining pitifully, begging to be saved. And on the second floor. PETAL alone, wild - eyed with terror. She is dressed all in blue, and her daisy - chain necklace flies about her throat as she POUNDS against the glass, her eyes staring directly AT her daughter, who can only scream soundlessly against the gale as the house. begins to come LOOSE, the first cable SNAPPING and WHIPPING about with the fierce destructiveness of unleashed power, then the NEXT, and ANOTHER, and with Petal still visible, HOWLING in horror, windows BURSTING everywhere else like flash bulbs, the house. slides FREE, along the rocks, toward the cliff, Bunny screeching as it goes OVER the edge, TUMBLES down toward the sea, and Bunny. sits BOLT UPRIGHT in bed, a single GASP as her dad is THERE, holding her tight. She is soaked with sweat. But her eyes are not wild. They are filled with the knowing. BUNNY -LRB- a whisper. -RRB- Daddy. The Green House is gone. He smooths her hair. The wind bellows in rage. Little Marty somehow sleeps on, undisturbed, beside her. BUNNY -LRB- a whisper. -RRB- I did n't dream it. Do n't say I did.",
"EXT. QUOYLE POINT - DAY They climb from the station wagon into cold, clear sunlight. Stare in wonder at the naked rock. The snapped, spent, cables. Only shards of wood and glass leaving a hapless trail toward the cliff. Bunny RUNS toward the debris, and through it. To a tangle of bushes near the cliff. He walks to a broken cable. Crouches. His eyes running over the space. Where his ancestor's home once stood. And then. He turns. QUOYLE -LRB- calls out. -RRB- What you got there? We see now. Bunny has unearthed a huge wooden crate from its hiding place. Too engrossed in counting its contents to respond. As he comes over. BUNNY -LRB- not looking up. -RRB- Petal's things. She is counting her treasure trove of NECKLACES. More than any sound mind could imagine. Yet, in their infinite variety, somehow wonderful. A testimonial to the power of love. BUNNY I think they're all here. She looks up. Sees him staring so fixedly at them. BUNNY -LRB- alerted. -RRB- What's wrong? QUOYLE They're beautiful. I never saw'em. All together. Oh. The kid does n't smile. She decides whether to ask him. BUNNY Will she be proud to wear'em? He looks in her eyes. His heart breaks behind his smile. QUOYLE Well. Any woman would.",
"EXT. JACK BUGGIT'S SKIFF - MORNING Steel gray morning. The sea is more than a little rough, as Jack lays out his lobster traps. Two other boats, not too close by, appear and disappear in mist. He is checking the lines, knotting hefty weights onto the traps to take them down. JACK -LRB- sings to himself. -RRB- Oh, th' Gandy Goose she ai n't no uuuuse Cos all her nuts'n bolts is. Stops. Halfway to lowering the next trap over the side. JACK -LRB- mutters. -RRB- Sweet Jesus. I'm turnin' inta Alvin Cockadoodle Yark! As it nears the water line, Jack's cat SKIPPER TOM suddenly LEAPS down ONTO the trap. Jack blinks. JACK What is this? Suicide attempt? Tries to let go of the trap and grab the cat in one motion, but the cat JUMPS BACK to the boat, Jack STUMBLING out of his way, STEPS in the coiled line which WHIRRS as the trap goes. DOWN, the line STRANGLING Jack's leg and WHIPPING him flailing OVER the side in one startling heartbeat. Almost comic to watch. But then. It is very quiet. Air bubbles appear at the surface. In a few seconds. The water is unbroken. The boat bobs silently in the swells.",
"INT. ALVIN YARK'S BOAT HOUSE - DAY Quoyle and Alvin inspect Quoyle's newly - finished boat. It is a beauty, to be sure, and the old builder watches Quoyle lovingly running his hand across the smooth gunnel. Alvin does n't smile. That's not his style. ALVIN Got ta paint the name. What'll it be? ` The Tall And Quiet Woman'? Quoyle glances over. The old boy's eyes are dancing. QUOYLE You knew Billy's dad? ALVIN Ever ` body knows ever ` body. But Billy's pap did n't invent the Four Women in a Man's Life. Quoyle nods. Guess not. ALVIN Well. Which one is Bunny, I wonder? The Maid in the Meadow, mebbe. But Yoda is just staring at him. And quietly. ALVIN Doncha know? They're all the same woman. That's the point. His pupil blinks. Like a crystal bullet of clarity his brain. ALVIN The Maid in the Meadow, that's her innocence and play. The Stouthearted Woman, is when you need to lean on her. For some reason he could never name. Tears are pooling in eyes. ALVIN The Tall and Quiet Woman? That's the silent partner who always walks ` longside, so's yer never alone. Quoyle is nodding, now. It all seems so right. ALVIN And the Demon Lover. That's just the frostin' on th' cake. A soft knocking at the door. ALVIN When y' find the woman who's all four? That's when y' got yer one true love. The bird - like woman enters. The old man nods toward her. ALVIN like m ` Gertie. But she is n't alone. A man enters behind her. It is Dennis Buggit. And there are tears on his face. He brings a dreadful silence with him, because the face is an open grave. DENNIS My dad went over the side this mornin'. Tangled in th' sling - stone line. A sob escapes from this strong man's throat. He ignores it. No one knows what to say. DENNIS If you could write a memorial t' him. Fer t ` morrow's Gammy Bird? I'd be real grateful.",
"EXT. JACK BUGGIT'S HOUSE - NIGHT The road is jammed with parked cars and trucks and vans and wagons Folks still streaming toward the brightly - lit house. Ever ` body knows ever ` body.",
"INT. JACK'S HOUSE - NIGHT Every room is filled with folks who wear their best. There is eating and chatter and even some pockets of laughter, as we move through the crowd. As if some have taken hold of a wake's well - meaning purpose. Others stand dazed, still wearing their pain and confusion. There are children here, some hold a parent's hand, some giggle with each other. Snapshot of a community. Struggling to cope. Quoyle and Bunny enter, holding hands, looking around. As they cross the room. two figures step into their path. Two women holding hands, their bodies close together. Their feeling for each other open for all to see. One is Agnis. And the other. Is n't Mavis Bangs. DAWN Happy New Year, Mr. Quoyle. I'm sorry I missed you at the pageant. Slightly startled, Quoyle ca n't help but smile, despite the solemn occasion. At the proud look on his aunt's face. DAWN I was in the wings, a course. Was n't our girl somethin'? Our girl, a course, is Agnis. Who nearly blushes at the compliment. DAWN I say, y' have t ` love a woman. Who's in touch with her inner chicken. Well, who could argue with that. Dawn leans up, kisses Quoyle on the cheek. And with surprising softness. AGNIS Nephew. You okay? BUNNY He's okay. He's not sleeping in the box. Her great aunt looks at this child. Bends to plant an unexpected kiss on the top of Bunny's head. The kid squirms, tugs her dad firmly off, as he sends a parting wave. Into the parlor now. Quieter here, as the new arrivals thread past Jack Buggit in his open coffin, resting on black - draped sawhorses. Dennis and his mom stand by Jack, a hand and a word for each. And moving into the line. QUOYLE Remember what I told you. His words a murmur. Hers are bolder. BUNNY If he's not sleeping. Why do they call it a awake? He thinks. As if it is a worthwhile question. QUOYLE We're the ones have to be awake. To how much we love him. Nods to himself. Yes. QUOYLE And how we should be good to each other. While we have the chance. He looks down. They are almost there. QUOYLE You think? She is thinking. Keeping the thoughts to herself. At the coffin now, he lifts her up to see. Jack lies motionless, a wax figure of himself. Serene behind violet eyelids. BUNNY He looks like he's sleeping. Dennis looks over. His stolid, grim face releases a smile for his friend. QUOYLE That's cos he's peaceful. No worries, anymore. No troubles. He sets her down. Clasps Mrs. Buggit's hand. And from his pocket. QUOYLE I found this in Jack's drawer at the paper. I do n't know if it's somethin' special. An enameled wreath with the initial R, backed by a long, sharp pin She tears up again, just to see it. MRS. BUGGIT Oh, it's his lodge pin. We were lookin' all over. She smiles bravely as she takes it. Leans up to kiss his cheek. MRS. BUGGIT -LRB- a whisper. -RRB- Dennis showed me what y' wrote fer th' paper. Did Jack proud. So they look at each other. Dennis clears his throat, looks away. And then, Quoyle is leading Bunny off. QUOYLE You hungry? There's sandwi. BUNNY Petal's peaceful, too. Just a statement of fact. To no one in particular. Dad squeezes her hand. Manages. QUOYLE You bet. You can count on tha. But she lets go. Scampers to a corner of the room. To Herry Prowse. And his mom. So Quoyle starts toward her, his heart in his throat. And when Wavey looks up. She is glad to see him. As he reaches her. She holds up her wrist. Dangling from it, her turquoise bracelet She wore her best for Jack. Quoyle stands very close. One last thing from his pocket. QUOYLE New Year's present. A small box. Wrapped as careful as he could. She looks to his eyes, really? QUOYLE Oh, yeh. It's a Quoyle tradition. Well, in that case. She takes it into her slender fingers. Undoes the ribbon, the paper. Lifts the lid to see, resting in tissue. eggshells. Crushed almost to powder. Her heart comes straight to her eyes, even before the whispered. QUOYLE Thanks. For the mirror. And across the room, Mrs. Buggit leans with trembling hands to fix the Lodge pin to Jack's lapel. Shaking as she is, the hand lurches, the big pin goes PLUNGING, and. a rattling COUGH. Rolls across this room. The world falls silent. Jack's wife grabs her son's arm, and their eyes bug out, staring into the box. DENNIS DAD'S COME BACK! And LUNGES to help hs gurgling father free his shoulders from the coffin's wedge. A sudden ROAR, there are SCREAMS, there is even LAUGHTER and WHISTLING, complete chaos. And in the bedlam, a tug on Quoyle's coat. BUNNY See. He woke up.",
"EXT. OMALOOR BAY - DAY Sunlit day of crystal perfection. The majesty of ice and towering rock and shimmering water. A scale so majestic, any cynic would be hard put to deny God's hand. And gliding into FRAME. a tiny skiff. On its maiden run. We CLOSE to see. painted on its side. THE FOUR WOMEN. One woman is rowing just now, doing all the work. Her son sleeps in the bow. And in the middle of the little boat. father and daughter. Are unpacking the picnic lunch. There is a lot of food. This could take awhile. BUNNY That's a funny thing to say. For the first thing he said. QUOYLE What? ` I'm keepin' m ` damn lobster license'? Yeh. That. QUOYLE Maybe he just said it. To make your Uncle Dennis laugh so hard. You think? She keeps unpacking. Her face quiet and serious. Her thoughts her own. QUOYLE -LRB- very softly. -RRB- It's not fair, is it. That Jack woke up. And Petal did n't. And since he's said her thought aloud. She tells him. BUNNY Well. The world's not fair. You said. She's not looking up. But he knows she's listening. QUOYLE That's something the world is always teaching us. And sometimes, the learning comes later. That gets through. Both adults can see it. QUOYLE -LRB- a murmur. -RRB- You taught me that. Eyes resolutely down, she nods. Remembers. QUOYLE You know. What we wait for? It's like the main stem of this boat. It gives us our shape. Her brow furrows. Does n't understand that. QUOYLE See, I know why you saved a place for Petal. All this time. On this. She looks up. Her dad is smiling from his eyes. QUOYLE Cos I'm the daddy. And you learn how to do. By watching me. And. QUOYLE You just watched. Better than I knew. Still holding Bunny's eyes. He beckons to the woman rowing. C'mere, a second. So Wavey sets down her oars. Slides over. And Quoyle whispers to his daughter. QUOYLE Watch this. He leans his face. To Wavey's mouth. A kiss so tender, even a child ca n't turn away. The moment lingers. And when it ends. WAVEY I'm thanking your daddy. For all my presents. BUNNY There was only two. Wavey looks at this girl. WAVEY More than two. Everything I need. Except. Except. She gathers all the courage it takes to say. WAVEY Except a necklace. And waits. We can feel her heart pounding in her throat. Bunny stares back with eyes no one could read. And then. BUNNY I got a box of'em. You could pick one. A hush over this bay. A woman stunned and grateful. BUNNY Then you'd have everything you need. Well, that seems true. So, the woman nods. Her eyes flutter down. In the silence, she unwraps a sandwich. WAVEY -LRB- a murmur. -RRB- You want the cheese? BUNNY No. Okay, then. She hands that one to Quoyle. And as she and Bunny look for another, we PULL. UP and AWAY, an AERIAL ANGLE swirling above the shimmering bay. The boat so far below us. The people tiny specks. They could be anyone. Anyone at all. FADE TO BLACK. ROLL END CREDITS."
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] | When Quoyle was a young boy, his father, Guy, tossed him into a lake, expecting him to swim naturally. Images of flailing in water and nearly drowning often resurfaces in Quoyle's memory when he is under stress. Quoyle, now an ink setter at a small newspaper in Poughkeepsie, New York, lives a lonely life. He becomes infatuated with and marries a vivacious local woman named Petal. Petal is an unfaithful wife and a negligent mother to their six-year-old daughter, Bunny. Petal runs off with a lover, taking Bunny with her. Soon after, Petal and her boyfriend are killed in a car accident. The police return Bunny to Quoyle, informing him that Petal sold her to a black market adoption operation for $6,000. Shortly before those events, Quoyle's elderly parents committed suicide together. Quoyle's aunt, Agnis Hamm, arrives to pay her respects to her late brother, though her real motive is to steal Guy's ashes (which she later dumps down an outhouse hole and urinates on). Agnis is moving to the ancestral family home in Newfoundland, which has been abandoned for 44 years. Agnis agrees to stay a few more days to help Quoyle through his recent turmoil, then persuades him to move to Newfoundland with her. While struggling to build a new life, restore the derelict house, and care for Bunny, Quoyle meets Wavey Prowse, a widow whose young son, Harry, has a learning disability. Wavey and Quoyle gradually develop a deepening relationship. Wavey eventually admits she pretends to be widowed, ashamed that her philandering husband left when she was pregnant. Quoyle learns about his unsavory family history. The ancient Quoyles were pirates that ran ships aground and savagely pillaged them. When those Quoyles were driven out, they moved their house over a frozen lake to its present location, now known as Quoyle's Point. Quoyle's cousin Nolan, an old hermit, reveals that young Agnis was raped and impregnated by her teen-aged brother (Quoyle's father), resulting in an abortion. Quoyle applies for an ink setter job at the Gammy Bird. Owner and publisher, Jack Buggit, instead hires him as a reporter covering auto wrecks and the town's shipping news. With no journalism experience, Quoyle struggles to produce decent articles, incurring managing editor Tert Card's constant scorn. Reporter Billy Pretty tutors and encourages Quoyle. When Quoyle's article about a millionaire's vintage yacht docked in town is popular with readers, Jack assigns him a weekly column profiling an interesting boat in port. Meanwhile, Agnis resumes her former occupation as a boat upholsterer to help support the family. She later confides to Quoyle that the woman she loved died six years earlier from leukemia. Rather than running his newspaper full time, Jack Buggit commercially fishes to prevent his adult son, Dennis, who nearly died at sea, from obtaining his own commercial license, which are limited. Jack drowns while securing his boat in an oncoming storm. During the funeral wake at the Buggit house, shock and chaos erupts when Jack miraculously revives from a coma-like state caused by hypothermia. Jack gives Dennis his fishing license, believing the generational curse of Buggits dying at sea has been broken. After Jack's revival, Bunny is upset and angry at Quoyle, believing Petal could also have been "awakened", but she finally accepts her mother's death. Agnis, Quoyle, and Bunny have been living in town during the winter months while their house is renovated. On the night of the big storm, Bunny awoke and could "see" the house at Quoyle's point being blown away. When the family drives to their property, they discover the house is gone, symbolically freeing them from the dark Quoyle legacy. | The_Shipping_News_(film) |
[
"EXT. FIREHOUSE - DAY Ann is walking down the street. The firedog runs out of the firehouse, she gives the dog a biscuit, and pats him on the head. The fireman is out front with a cup of coffee. Ann hands him a poster.",
"EXT. STATE AND MAIN - INTERSECTION - DAY Morris and Spud, two codgers, are about to cross the street when they hear a beeping and stop. As they cross, we see the tail end of a van, and the group nods in that direction. MORRIS You hear that? SPUD Yes, I hear it. MORRIS Drive a man to drink. Took me near half an - hour, get across the street yesterday. SPUD I saw Budgie Gagnon, leaning on the bank of the building. Said, `` What are you doin'?'' He said, `` I'm waitin' for the ` leven o'clock crossing.'' As Morris and Spud speak a car is coming down the street, and bounces in the pothole. MORRIS Y' wan na fix something, you should fix the pothole. Yessir, they should be trussed up, thrown off some high building. DOUG MACKENZIE, a young Republican type, walks up to join them. DOUG Who's that? MORRIS Whoever spent ten, f ` teen thousand dollars, a new traffic light, you could grow old, paint your house before it lets you cross the street, and then, not fix the pothole. SPUD What was wrong with the old traffic light?",
"INT. COFFEE CORNER - DAY They enter the Coffee Corner. Carla is serving the folk, and Jack the owner is behind the counter. DOUG I'm glad you asked. I'll tell you what was wrong with it. And what was wrong with it was it was behind the times. Now : You want to bring business into this town? You have to plan for a Waterford that Does Not Exist. Not at the moment, no. ANN Morning, darling. DOUG Morning. CARLA Hi, Annie. Ann hands Carla a poster. ANN Morning, Carla. Doug and the two codgers move to a table by the window where Carla, the nubile waitress, brings them coffee. Ann talks to a woman at the counter. MORRIS the damn thing. SPUD No, I'm serious, election's coming up, a lot of people are pretty upset. DOUG They are, yes. I'm sure they are. WOMAN AT COUNTER Annie, I'm going to be a lil' late for the rehearsal, tonight. ANN S'Okay, Maude. You know your lines? DOUG I'm sure that people are upset. MAUDE I know'em, I do n't know what order they come in. ANN We'll work it out. JACK What're they talking about? ANN Traffic light. JACK Waal, no, th ` traffic light's Doug's thing. That's his thing, fine. DOUG Thank you, Jack, and. JACK But we got to talk about the pothole. DOUG Jack. JACK A public office is a public trust. This is why this is America. Question is : who owns the street. Outside the front booth, on the street, the airport van cruises by.",
"EXT. STATE AND MAIN - DAY As they walk out we hear a high pitched beeping sound at the traffic light. We see DOC WILSON crossing the street, holding his doctor's bag. An ELDERLY MAN approaches Doc at the crossing. As Walt and Bill walk, the airport van follows them. TOWNSMAN Doc, those pills, y' gave me for my back? I'm not sure that they work. DOC WILSON Well, I'm not sure either, but y ` do n't hear me complain. come by th ` office, end of th ` afternoon. TOWNSMAN Thanks, Doc. BILL This is your movie, this is small town America. WALT Town in New Hampshire was small town America, too. Forty thousand dollars a day, to shoot on the street. And then they kicked us out. They stop in front of a rack of fifty `` factory seconds.'' Black and red hunting jackets, in front of the sporting goods store. The sign reads `` FACTORY SECONDS, FIVE DOLLARS.'' BILL A jacket for five dollars. I can buy this town for fifty bucks. WALT You told me that about the last town. BILL Yeah, but they never made a movie here. WALT I'm bleeding, Bill, I'm bleeding. BILL why am I here? WALT What, what, what, what do they got that can pass for the Old Mill? Bill shows Walt a brochure from Waterford, which shows a picture of the Old Mill. Walt reads. WALT -LRB- CONT'D. -RRB- `` The Waterford Mill, built in 1825, and long a tourist attraction.'' Wake up Uberto",
"INT. THE AIRPORT VAN - CONTINUOUS UBERTO is asleep. Bill wakes him up. UBERTO Where are we? WALT Givvem a cigarette. Uberto comes out of the car and squints around. UBERTO they ship our Old Mill from New Hampshire? BILL They're holding our Old Mill for ransom. UBERTO We build it? BILL We do n't have to build it. He shows Uberto the brochure. UBERTO We build the fire hut? Walt shows Uberto the Firehouse. Uberto looks through the viewfinder. UBERTO -LRB- CONT'D. -RRB- We have to lose the window. WALT we ca n't lose the wind. UBERTO -LRB- pulling out storyboards. -RRB- Then I ca n't do this shot. you wants me to push in - I ca n't push in through the window. we go back to New Hampshire? BILL NO, we ca n't ever go back to New Hampshire. A pick - up truck with two calves in it stops, the driver seen from the back is a farmer smoking a pipe. WALT NO, we're gon na stay here. This is what my people died for. The right to make a movie in this town.",
"INT. TAVERN INN LOBBY - DAY A desk clerk, SCOTT, looks up. Behind the desk a display of several souvenir plates, `` Souvenir of Waterford, VT'', with a picture of the Old Mill on them. Walt picks one up and hands it to Bill. SCOTT May I help you? WALT -LRB- followed Bill. -RRB- I want to talk to the manager. Walt talks into his cell phone as he talks to Scott. SCOTT Would you like a room? BILL Na, we wan na rent the whole hotel. WALT -LRB- into phone. -RRB- Hello, Tracy, we got ta new town. We're. where are we? BEAT. Bill looks around, sees a sign on a desk. Consults his tourist folder. As they talk they walk into deserted ballroom and play shuffleboard and archery. BILL -LRB- carrying Waterford plate. -RRB- Waterford, Vermont. WALT you got to get me that street for nothing. BILL I will. WALT -LRB- into phone. -RRB- Waterford, Vermont. Where is it? That's where it is. Walt carries the shuffleboard stick over his shoulder.",
"INT. WALT'S OFFICE - NIGHT Walt is talking on a cellphone. A male P.A. is bringing in bags of equipment. Bill is still sitting perched on a desk, typing into his computer. Uberto is sitting on a couch, smoking. We see the shuffleboard stick on the desk, and the Old Mill plate on the wall. WALT -LRB- to phone. -RRB- Because, because. we do n't have to build an Old Mill. They have an Old Mill. Yeah. It's on a stream - that's where you put a mill. BILL they run on water. WALT -LRB- to phone. -RRB- Now : I'm looking at the. He gestures for Bill who hands him the storyboards. WALT -LRB- CONT'D. -RRB- I've got scene twelve. -LRB- to Carla. -RRB- Should n't you be in school? CARLA It's night. WALT -LRB- to phone as he shows the Old Mill storyboards to camera. -RRB- Scene twelve. arrival at the mill. ANGLE Scott enters. SCOTT Mr. Price, Mr. Price? -LRB- he hands Walt flowers. -RRB- BILL What? They go back to the flowers. Walt takes the card, reads. WALT `` Bring it in on time and there's more where these came from. Marty. P.S. I want to talk to you about a product tie in.'' SCOTT I'll put the, in your r. WALT Somebody make a note. I want Li., for the broad. what does she like? Lilacs. Okay. A truck of lilacs when the broad comes. And get something for Bab Barrenger, get him, what does he like? SCOTT Bob Barrenger. Bob. Bob Barrenger's in this movie? WALT That's cor. SCOTT -LRB- awed. -RRB- He's staying here? Bob Barrenger is staying he? WALT Put something in his room. What does he like? BILL 14 - year old girls. WALT Well, get him something else and let's get out of here in one piece. Get him a half of a 28 - year old girl.",
"INT. PROD. OFFICE - WAITING ROOM - DAY INSERT FRONT PAGE `` Burlington Banner''. Picture of movie star Bob Barrenger, and Banner headline : `` Waterford chosen as sight of new Bob Barrenger film. A story of small town life based on.'' Carla knocks on the door to the back room, voices from inside. Outside, on two chairs, the MAYOR, GEORGE BAILEY, a man in his fifties, and JOE WHITE, the writer, dressed in an army field jacket and jeans, waiting to be admitted. Joe is reading an old `` Welcome to Waterford'' tourist folder. The door to the room opens, and Joe stands, looks inside, squints. Takes off his reading glasses and puts on another pair. JOE -LRB- to the open door. -RRB- I, I'm sor. -LRB- as the door closes, to a passing aide. -RRB-. I lost my typewriter. Carla brushes past them. CARLA Hi, Mr. Bailey. MAYOR Carla, would you tell them that I'm. WALT -LRB- from inside. -RRB- What? What is it? Carla enters the back room. As she does so, she passes the First A.D., who is on the phone. FIRST A.D. Could I speak to my wife, please? CAMERA takes us with Carla into the back room. Past the A.D. SECRETARY -LRB- to A.D. -RRB- You've got a call.",
"INT. PROD. OFFICE - WALT'S OFFICE - DAY Inside the room, production boards being carried in, blackboards, schedules taped to the wall, sketches of Main Street, a large `` days till shoot. 4'' sign. The Old Mill plate is on the desk. The PRODUCTION DESIGNER is bent over a worktable, he holds a compass and refers to blueprints and a scale model of the Firehouse and the Old Mill, which are on the table. Walt is holding glossy photographs, and leafs through them as the Production Designer talks. They leaf through storyboards. We see that Walt is leafing through glossy photos of horses. Walt has shuffleboard stick over his shoulder. ANGLE ON Storyboards of firehouse scene. BILL And Uberto tells me he ca n't take this shot, unless they let him take out the firehouse window. COSTUME DESIGNER Walt, I've got to talk to you about the nude scene. Carla enters. WALT Are n't you ever in school? CARLA There's other things to be learned. WALT Izzat so? CARLA The Mayor's outside. WALT What's his name? CARLA Mr. Bailey. Walt goes to the door, opens it and looks around.",
"EXT. WALT'S OFFICE - DAY Joe reading the Burlington Banner. He stands up. WALT Mr. Bailey. Mr. Bailey? Walt and Mr. Bailey enter Walt's office. JOE -LRB- to passing secretary. -RRB- I lost my typewriter? A.D. -LRB- passing. -RRB- Yes, could I please speak to my wife? ANGLE Interior Walt's office. WALT I have to tell you, I can not express to you how happy. MAYOR And we're glad to have you here. WALT My golly, you know? All my life I grew up in the city, but every summer. would you like a cigar? MAYOR -LRB- of cigars. -RRB- Are n't these illegal? WALT Why would they be illegal? BILL there's a trade embargo against Cuba. Pause. MAYOR Well, you know, Walt, I just wanted to say that anything I could do. WALT That's very kind of. as a matter - of fact, one, I hate to bother you with. MAYOR not at all. WALT we need the shooting permit for Main Street. MAYOR Whatever you need. The City Council, of course, has to pass on your. WALT the city council. MAYOR On your `` permit,'' but that is less than a formality. WALT it is? MAYOR I am the City Council. We meet Friday, and I. WALT George, that is so kind of you. MAYOR And, my wife wanted to, wanted me to ask you, we'd like to welcome you, we'd, she'd like to have you to dinner at our home. -LRB- beat. -RRB- I do n't mean to be. He hands an invitation to Walt. WALT Are you kidding me? We would be delighted. Phone rings. Walt motions to an aide, who writes in green on a production board. `` Tuesday 12th, dinner, Mayor.'' MAYOR Well, I wo n't take more of your time. BILL Walt, it's Marty on the Coast. MAYOR We'll see you Tuesday, then. Walt starts for the phone. WALT It's one of the great, great pleasures meeting you. Mayor leaves the office. BILL It's Marty on the Coast. WALT On the coast? Of course he's on the coast, where's he gon na be, the Hague? Walt goes to the phone. WALT -LRB- CONT'D. -RRB- -LRB- into phone. -RRB- What? Marty?! Hi. We're. -LRB- pause. -RRB- The new town is cheaper than the other town. We're going to save a for. because. because we do n't have to rebuild the Old Mill, they've got an Old Mill. they've got a firehouse. they. A production assistant comes in, installing a piece of equipment. She brushes past the drywipe board, where we see she wipes out `` Dinner with the Mayor.'' WALT -LRB- CONT'D. -RRB- Baby, baby, I want to save the money just as much as you do. no, no it's not coming out of my pocket. It's going into my pock. my. my and your pock. yeah? Okay. A product placement - tell me ab. he's going through a tunnel. -LRB- to Production Assistant. -RRB- Whoa, whoa, whoa, you wiped out the board. DINNER WITH THE MAYOR, TUESDAY NIGHT, write it in red. That's all we need, to miss Dinner with. First A.D. sticks his head into the room. FIRST A.D. We ca n't shoot in the Old Mill. WALT -LRB- to phone. -RRB- Wait a sec, Marty. Call us back. Two minutes. He hangs up. Pause. FIRST A.D. We ca n't shoot in the Old Mill. WALT I just saw the Mayor, he said anything we want. FIRST A.D. It burnt down. BILL When did it burn down? First A.D. takes out a book, `` The History of Waterford'' and reads. FIRST A.D. Nineteen - sixty. `` Part of a spate of suspicious fires, the Old Mill, the.'' He hands Polaroids of the burnt Old Mill around. All look at them. ANGLE IN Debris by some water. WALT You told me they had on Old Mill here. FIRST A.D. `` Suspicions of arson, these fires, believed set by a disturbed teenager were, in fact, the inspiration for the formation of.'' He puts the Polaroids down by the model of the Old Mill. BEAT Joe White, the WRITER, enters. BILL But, does it have to be an Old Mill? JOE Hi. WALT Does it have to be an Old Mill? Where have you been? JOE I was in New Hampshire. I was at the Old Location. WALT We ca n't shoot the Old Mill. JOE -LRB- laughs. -RRB- You know, they told me there were gon na be some jokes. Kid the New Guy. BILL The Mill burnt down. He shows the Polaroids - they show the debris, and Bill standing by them. BILL -LRB- CONT'D. -RRB- Wonderful scr. JOE -LRB- pause. -RRB- Ca n't. ca n't you build the Old Mill? WALT We're out of money. JOE You built an Old Mill in New Hampshire. BI They're holding it for ransom. JOE Uh - why did we have to leave New Hampshire? PAUSE The phone rings. WALT Halo? Marty? -LRB- to Joe. -RRB- What would they have used instead of an old mill? We need it tonight. -LRB- to phone. -RRB- Marty? Yeah you were saying? JOE I ca n't write it. PAUSE JOE -LRB- CONT'D. -RRB- I lost my typewriter. WALT Grace : get Mr. White a typewriter. JOE I can only write on a manual. WALT I know the feeling. JOE Well, you know, you know, that's a lie, I, I. WALT Grace. JOE That's a real fault, I. WALT Grace. Get Mr. White a manual typewriter. -LRB- to Joe. -RRB- It's not a lie, it's a gift for fiction. And somebody find me my lucky pillow. He nods at Joe, who leaves the office. Hold on Walt as he looks at horse pictures. WALT -LRB- CONT'D. -RRB- How big is this horse? BILL -LRB- looking at the resume. -RRB- Fifteen hands. WALT What is that in fingers? Just kidding, get me this horse. BILL This horse is booked. WALT Tell the guy, get me the horse, I'll give him an associate producer credit. ANGLE ON Joe, outside Walt's door, looking at his script and shaking his head. ANGLE HIS POV INSERT THE SCRIPT We see for the first time that the name of the script is `` The Old Mill,'' by Joseph Turner White. We hear raucous laughter from Walt, et al, in the B.G.",
"INT. TAVERN INN LOBBY - DAY Joe passes the First A.D. on the telephone, sees Bill. The P.A.'s are humping mounds of luggage. FIRST A.D. Well, no, the labor with a first child can sometimes be prolonged, as much as. BILL -LRB- to P.A. -RRB- Find Walt's lucky pillow. JOE What's an associate producer credit? BILL It's what you give to your secretary instead of a raise. Scott in an argument with an electrician. ELECTRICIAN put a VHS and an air - conditioner and a refrigerator in that room, she's going to blow. A delivery man appears with an invoice and a crate. Scott checks the invoice against a list. SCOTT This is n't Evian Water. DELIVERY MAN It's water. SCOTT I ca n't sign for it, I'm. ELECTRICIAN she's going to blow. SCOTT Well, you re - wire. ELECTRICIAN I rewire it, I'm going to have to tear out half the, look, what do they need with fifty - four telephone lines? SCOTT Freddy, Freddy, I work for these people, you. it is to be done, you see that it's done. The GIRL P.A. arrives with a huge bouquet. GIRL P.A. I found lilacs! SCOTT Wonderful, that's. Joe the writer enters, goes up to the desk. JOE Did they find. The Scott's eyes turn toward the door. Everyone's eyes turn towards the door. JOE -LRB- CONT'D. -RRB- -LRB- as he writes in his notebook. -RRB- Did they find my typewriter. ANGLE POV Bob Barrenger, the star, screamingly fit, leather jacket, jeans, carrying a gym bag. He smiles, goes up to the desk. As he goes up to the desk, teenagers, who have been waiting in the lobby, crowd to him. SCOTT I told you! All of you get back! Get back! This man is a guest here! The teenagers retreat. BOB Hello, I'm. SCOTT Oh, sir, I know who you are. BOB Bob Barrenger, I'm with the mo. SCOTT Sir, sir, we're so, we're. -LRB- he hits the bell. -RRB- Front! Front! We are so, I've seen, I know everybody says this, but I've seen every every one of your. -LRB- to Electrician. -RRB- Freddy, take Mr. ELECTRICIAN I'm working. SCOTT Your room is 414 through seventeen. I'm Scott Larkin. Anything you need, this is my private. -LRB- hands him a card. -RRB- BOB Glad to meet you, Scottie. I'm just here to do a job, just like the rest of these. First A.D. walks through the lobby. FIRST A.D. -LRB- to Joe. -RRB- Have you got the new pages on the Old Mill? Hey, Bob. BOB Hey, Tommy. Heard your wife's having a baby. FIRST A.D. That's right. BOB You know who the father is? FIRST A.D. They think it's your first wife. BOB That could be. An old man, the BELLHOP, is sitting by the front door, eating his lunch out of an old galvanized tin lunch bucket. He puts it down, and gets up and takes the bags. The lobby is filled with gawkers CHUCKIE, a young boy holding a bat and ball, comes over with an autograph pad. FIRST A.D. -LRB- to Scott. -RRB- I'm going to give you a list of Mr. Barrenger's dietary requirements. CHUCKIE Mr. Barrenger, I. SCOTT Not today, not today, Chuckie. Mr. Barrenger has just. Barrenger brushes him aside. BOB -LRB- to Chuckie. -RRB- How do you spell that, son? With an I.E? Chuck? What're your hobbies? CHUCKIE Baseball. BOB Baseball! That's the national sport. Gim me that! He takes Chuckie's ball and autographs it : `` CHUCKIE! From your pal, Bob Barrenger.'' BOB -LRB- CONT'D. -RRB- Chuckie. CAMERA PANS off Bob as he talks to Chuckie, and onto Joe, who is wandering around the lobby. The First A.D. comes up to Joe. FIRST A.D. How you doin' with the Old Mill pages? JOE I need my typewriter. Did they find my?",
"INT. COFFEE CORNER - DAY ANGLE INS. PAN OFF `` Trials of the Heart'' theatrical poster. Two old codgers, Morris and Spud, and Jack sitting in the same window booth chatting. Phone rings. Carla answers it. CARLA Coffee Corner. JACK Fellow gets a calf, it's forty below, calf gets out, he hears that animal, he's going to, get up, pull on his jeans. The Mayor is taking a pack of Camels from Carla's father. ANGLE ON Carla, at the counter, reading `` The Old Mill'' surreptitiously. MORRIS He's going to get that calf. SPUD Mmm. CARLA -LRB- into phone. -RRB- Thank you. -LRB- hangs up, to her father who is behind the grill. -RRB- Vanilla Frappe. Two tuna B.L.T.'s. JACK What's a Tuna B.L.T? CARLA Oh, Dad, did n't you read in People Magazine. ANN Well, I for one, am glad of a little diversion and I'm glad they're here. DOUG What I am saying, is, we have to Look Out For Our Own. Now : they want to close down Main Street. JACK Y' wan na talk about Main Street, why n't cha fix the pothole? ANN Doug, it's, what did you? Three days, three, four days. We'll have a record of our wonderful life. DOUG Annie : you stick to the Amateur Theatricals. This is n't quite the same thing, you see? This is Big Business, in which, our Life. -LRB- to Mayor. -RRB- s ` no less a commodity than. than our. ANN Water or mineral deposits. DOUG Waal, that's what I'm saying. JACK Communist Country, he hears that Calf it's two a.m., four feet of snow, what does he say? `` That's the State's Calf out there.'' He rolls over. `` Wake me at Ten.'' Carla, who has been waiting for the order to be prepared, takes it from her father, starts out the door. CARLA I think that they're nice. ANN I'm sure they are. JACK That's the difference, Communism and you know. SPUD Communism's over. JACK That's what they said about Warner Brothers, 1985, but if you look at their price - per - share. CARLA Dad, I've got to go to Terry's house to study tonight. JACK I want you home by Nine. DOUG I want to tell you something, Ann : you stay soft all your life, people despise you ; it awakens Avarice in them, they take advantage of you, and that's Human Nature. She gets up. She starts to exit the Coffee Corner. Jack picks up a copy of ` People' magazine. INSERT An article of Bob Barrenger. Carla has gone over it with a highlighter. The article is called `` Bob Barrenger's Little Problem.'' ANGLE Interior Coffee Corner. DOUG -LRB- CONT'D. -RRB- We on for tomorrow night? ANN After Drama Group. DOUG Drama Group? and Thursdays. But after Play Practice, I'm yours. DOUG Go you Huskies. He starts to exit and turns back. DOUG -LRB- CONT'D. -RRB- And I might have something important to tell you. ANN What is it, a surprise? DOUG That's right. They exit. MORRIS She coulda done better than him. SPUD It takes all kinds. MORRIS Zat what it takes? I always wondered what it took. We hear the TRAFFIC LIGHT beeping from the street.",
"EXT. BOOKSHOP - DAY Joe, pacing in front of the window. Theatrical sign in the window. Sign in the window : `` Out! Will return at.'' Ann comes up to the door. Starts opening it with a key. JOE I, excuse me, the sign says you'll be back at two. It's quarter to three. She looks up at the sign, changes the hand to read a quarter to three. She opens the door. Goes inside. He follows. Camera follows.",
"INT. BOOKSTORE - DAY Old Bookstore and stationary store. Several old typewriters for sale. JOE -LRB- off the sign. -RRB- You're doing a play. ANN Local Drama Group. -LRB- she answers the phone. -RRB- Northern Books. No, it has n't come in yet. As soon as it does. Yup, you too, Marge. She hangs up. JOE small town. I suppose. You have to make your own fun. ANN Everybody makes their own fun. -LRB- she answers another phone call. -RRB- F'you do n't make it yourself, it ai n't fun, it's entertainment. She picks up half - knitted sweater off computer. ANN -LRB- CONT'D. -RRB- -LRB- to phone while knitting. -RRB- Northern Books. -LRB- to Joe. -RRB- What can I do for you? JOE I need a. ANN We got'em. -LRB- to phone. -RRB- North. No, Henry James was the novelist, Frank James was the criminal. -LRB- to Joe, of the typewriter. -RRB- Yep, you came to the right place. -LRB- to the phone. -RRB- Jessie James was the Brother. Of the novelist. That's right. That's alright, Susie. See you tomorrow, Susie. He has picked up a typewriter, old, manual. JOE I want to rent this one. ANN Why do n't you buy it, only forty bucks. JOE I have one, but they lost it. ANN Who? JOE The people in New Hampshire. ANN -LRB- shrugs. -RRB- That's why they have state borders. why n't you get a replacement? JOE Well, it had sentimental value. ANN You buy the typewriter, I'll get it all spruced up, good as new. Better than new. It has some history. JOE Other one has history, too. I wrote my play on it. ANN You wrote a play on it? What play is that? JOE You have n't heard of it. ANN What's it called? JOE `` Anguish.'' Little kids enter to get candy. As Joe speaks, he takes off his regular glasses and puts on his reading glasses and inserts a piece of paper into the typewriter and types, `` Everyone makes their own fun - if you do n't make it yourself, it's not fun, it's entertainment.'' ANN `` Anguish'' by Joseph Turner White? He looks up. ANN -LRB- CONT'D. -RRB- You're Joseph Turner White? He switches glasses to look at her. A very OLD WOMAN comes in, goes back to the coffee machine. MAUDE Afternoon, Ann. Ann takes down a book from a shelf. ANN Maude, this man wrote this play! MAUDE That a fact. Now, is it a good play? ANN Yes, Maude, it is. It is a very good play. MAUDE Well, then, what's he doing here? ANN What're you doing here? JOE Writing the movie. MAUDE You're writing a movie. JOE Yes. MAUDE What's it about? JOE It's about the quest for purity.",
"INT. WALT'S ROOM - DAY Walt, Bob Barrenger and the SCRIPT SUPERVISOR are savaging the script. BOB because he would n't say that : Look :. -LRB- flips through the script, reads. -RRB- `` Sister, I've just come from a fire. There's some things I want to think out.'' now, come one, come on. `` Leave me alone.'' a gesture? Alright? Walt opens a case and extracts his lucky pillow which is embroidered `` Shoot first. Ask questions afterward.'' WALT What else? BOB Page. three. Now : `` It's a nice evening.'' -LRB- beat. -RRB- I'm not gon na say that. `` It's a nice.'' Knock on the door. WALT Come in. Joe enters. WALT -LRB- CONT'D. -RRB- Hey, Joe. Good. You know B. JOE I grew up on your mov. BOB Do you mind if we do n't go through the usual bullshit about how I loved it? Knock on the door. Carla enters with another brown bag. BOB -LRB- CONT'D. -RRB- I mean, okay, fine, but it's a motion Picture. WALT Thanks, honey, but next time, bring two, save yourself a trip. BOB The people came to see a motion Picture. -LRB- to Carla, who starts to leave. -RRB- Hold on. WALT He's saying, what are you saying, Bobby? BOB Tell it with. WALT Tell it with pictures. BOB Tell it with pictures. What I'm saying. WALT We've got four days to. As Bob talks, he exchanges glances with Carla. BOB You look at : girl comes in the room, an apron, a brown bag, what is she? She's a? WALT She's a. BOB She's a waitress. WALT What. BOB What I. WALT Hold on. What Bob is saying, you do n't need. BOB You do n't need, `` Hi, I've just come from the restaurant.'' WALT -LRB- to Carla. -RRB- You can go. BOB Alright : Let's. -LRB- he takes out a list, Carla exits. -RRB- Page five, the fucking horse dies. -LRB- of Carla. -RRB- You know, she could be in the movie, she could, she's got a good face, she could be the Doctor's. uh, why does it have to be his, uh, wife? It could be his. WALT Bob, Bob, stick to the business, will you? BOB No, you're absolutely. WALT And you go start with that stuff in this town. BOB Everybody needs a hobby. Okay, look Page. Knock at door. CLAIRE WELLESLEY enters, the FEMALE STAR. Very sexual. Very serious. Around thirty. She looks in. WALT -LRB- rising. -RRB- Claire, when did you. CLAIRE I just. WALT Claire, Bob Bar. BOB I saw Desert Sun, I wan na tell you. CLAIRE No, I was, I was, I was just learning on, it's a. BOB How'd you like working with Richard Hill? CLAIRE I loved it, he. BOB Is n't he. CLAIRE It's. WALT We're just talking about the. CLAIRE Do n't let me dis. I'll just. WALT No, no. please. BOB I'm looking at Page Five : `` It's.'' JOE `` It's a nice evening.'' WALT This is Joe White. CLAIRE How can I thank you? How can I repay you for this part? It's a. what a, thank you for this part. The first scene at the Old Mill. Pause. WALT Joe's been having some thoughts about the Old Mill Scene, Claire. PAUSE CLAIRE What, what's there to think about? -LRB- pause. -RRB- The scene's perfect. I, I get to say. WALT Yes, but, Joe, Joe's been, well, he's just been having a few, uh, `` thoughts,'' about. CLAIRE How many times in your life do you get a speech like that? WALT Yeah. CLAIRE This scene is why I'm doing the movie. `` Look at the mill, Frank - look at the way it goes around. half of the time the darned wheel's under water, but.'' WALT Yes, yes, but. CLAIRE. but still it rises up. It rises up, Frank, high as it can go.'' WALT Yeah. Joe? Would you, uh, tell Claire the, uh, the `` thoughts'' you've been. PAUSE",
"EXT. STATE AND MAIN - DAY ANGLE ON Anne, who is putting up posters of the play. She sighs and walks forward, into Joe, who is waiting at the traffic light, his bag on the ground beside him. ANN -LRB- of typewriter. -RRB- All ready to go? He nods. Looks down at her posterior. JOE So young, so unlined, so full of promise. -LRB- pause. -RRB- So innocent. ANN I beg your pardon? He extracts the book of his she had in her back pocket. He looks at his photo on the back cover. They start to cross the street. JOE I quit. ANN You quit. JOE I quit the movie. ANN Why did you quit? JOE Actually, I'm not sure if I quit. I think that I got fired. I'm such a liar. I never could tell the truth. ANN Do n't be so hard on yourself. JOE I just got kicked off my first movie. ANN Well. Everybody has reversals. If you were never down how would you know when you were up? JOE That's good. That's really good. You have a gift for words. ANN It's in your play. She holds up `` Anguish.'' JOE You like my play. ANN Yes. JOE Why? ANN It's about life. JOE Could you tell me when's the next train? ANN N'about ten minutes. What was your movie about? They stop by the park bench. ANN -LRB- CONT'D. -RRB- -LRB- off his pause. -RRB- No, of course, you do n't want to talk about it. JOE -LRB- hands her the script. -RRB- It's about a man who gets a second chance. The cop, CAL, passes. CAL Evening, Annie. ANN Evening, Cal. -LRB- to Joe. -RRB- Would you tell me about it? JOE I. ANN No, of course, you want to get out of town. JOE It's. He starts to walk, she puts the typewriter down on the ground. Joe hesitates. He puts the script under the typewriter. He shakes his hand. ANN It's okay. They walk on.",
"EXT. SPORTING GOODS STORE - DAY The OWNER is closing up. OWNER Evening, Annie. See you at rehearsal. ANN You know your line? OWNER `` Rise, one need not bend the knee before the throne of justice.'' ANN Go you Huskies. He walks away. JOE -LRB- of the clothing on the rack. -RRB- They leave it out all night? He tries on a jacket. One sleeve is one foot shorter than the other. ANN Not worth stealing. Only thing in town worth something. Stained glass window. She gestures at the Firehouse. JOE Ever wonder why the dalmation's the symbol of the firehouse? ANN First organized fire department was on the border of Dalmatia and Sardinia in the year 642. JOE But why the dalmation? ANN It was either that, or a sardine. He nods, a BEAT. He looks down at the jacket with one sleeve too short. ANN -LRB- CONT'D. -RRB- You get what you pay for. JOE That's true. You grow up here? ANN Central High,'n' matinees, the Bijou Theatre. They walk past the firehouse. She gives the dog biscuit to the firedog who runs out of the firehouse to her. JOE Nice town. BEAT. He gets a bit choked up. ANN You want to talk about it? Joe shakes his head. They walk off.",
"EXT. RAILROAD CROSSING - DAY JOE that. that he prayed for a second chance. But. do you see? ANN Yes. JOE That, he says, there are no second chances. that he's been presented what he prayed for. and : he's ruined it. ANN Yes. JOE But, but but but. ANN No, no, I see. JOE That : in an act of. ANN Yes. JOE Of mercy. off. ANN I understand. JOE that. he sees that. ANN As the Old Mill goes around. JOE Of course, of course that's what I'm saying. As the Old Mill goes around, he sees. ANN Of course. JOE that it has been vouchsafed to him. ANN That's that's that's that's beautiful. JOE And you're the only one who'll ever hear that speech. Just you. BEAT. They stop and look at each other. BEAT. A railroad crossing bar comes down behind them, as we hear the DINGING and realize we are at a railroad crossing. ANN Well. It was a pleasure meeting you. JOE And likewise. ANN Goodbye. JOE Goodbye. PAUSE. We see the train pass in the b.g.. We hear the train whistling. It's way off. ANN -LRB- pause. -RRB- Next train in ` nt for two hours. They walk on away from the station. In the b.g. we see the stationmaster. He and Ann wave. They walk past the shingle for Doc Wilson. ANN -LRB- CONT'D. -RRB- So that the Old Mill, the Old Mill represents. the wheel of fate is that too. JOE No, no. Of course, that's exactly what it represents. ANN That whole. They walk on together and find themselves on a residential street.",
"EXT. ANN'S HOUSE - DUSK They are walking. They stop in front of an old picket fence with a porch swing. JOE The, the, the, the sanctity of everyday things. ANN Everyday things. yes. JOE For example, he's just come back from a fire and he. um. -LRB- he shakes his head. -RRB- That's a fine house. You look at that, and you know, there's nice people that live there. ANN I live there. JOE Really. With the porch swing and everything. ANN Surest thing you know. PAUSE JOE I do n't mean to impose, but. do you think we might. ANN That's what the swing is there fore. They walk onto the porch and sit on the swing. JOE -LRB- to himself. -RRB-. that's what the swing is there fore. that its purpose, is n't it. ANN I always thought so. They swing back and forth. The swing creaks. JOE such a pleasant sound. ANN Mmm. JOE Cause, cause, it's. it's the simple things that. ANN Yes. JOE that. Doug walks up. DOUG Waal, there you are, and Have I Got Some News for you. ANN Doug, this is Joe White, and this is, this, this is my fiance, Doug Mac. JOE Sa pleasure. DOUG Guess who is THIS CLOSE to a nomination to State Senate. which is this close to one stop from Congress! ANN who? JOE Well, I guess I'll. get down to the station. It was lovely meeting. ANN Mister White is. Doug, as he takes Ann toward the door. DOUG Nice meeting you. they were, let me tell you, they were a bit coy at first, I told them : Look : the people are tired, they're going to vote their pocketbook, yes, but. Joe walks off and exchanges glances with Ann, who lingers behind. She pushes the porch swing and exits. As it swings, Joe watches.",
"INT. TRAIN STATION - NIGHT Joe enters with his bag. He stands looking at the long poster reading : `` Waterford, Home of the Huskies - Division Champions - 1971, 1972, 1974, 1975, 1976.'' BEAT. Joe is looking at the banner when the old stationmaster enters. JOE What happened in 1973? BEAT. The stationmaster looks around, and leans in to Joe, confidentially. The DOOR opens. It is Walt. The stationmaster retreats. Walt comes forward. WALT Do n't run off. Do n't run off, we need you. You know why? You're why we're here. Your script is why we're here. -LRB- of bag. -RRB- Gim me that. Big deal. We fight a little bit? You show me a family that does n't. But we got something special. What is it? We're here to make a movie. Ca n't use the Old Mill. Well, that happens. What you got to do, you find the essence - what was it, that brought us here. It was n't a building, Joe, it was an idea. It was an essence - what is the essence of your story? Joe? PAUSE JOE It's about a man who gets a second chance. WALT Then, you write that. And then this is our second chance. That's why we're here. PAUSE JOE I want to make a good film. WALT I know you do. JOE And maybe it will be a better movie without the old mill, I. WALT Hey, it's with the G - ds. We do n't have the money, we have to write it out. The best or not. -LRB- shrugs. -RRB- And that's a lesson. You get your typewriter yet? JOE Um, no. Walt picks up a cell phone, dials. Lights of train go by outside. Stationmaster enters and calls the train. WALT -LRB- into phone. -RRB- Grace, get on the other phone. Call that girl : well, call her, and have whatsername send up some nosh. what do you like to drink? JOE I do n't drink. WALT Did my matzohs come? Get some for everybody. -LRB- into phone. -RRB- Thank you. -LRB- hangs up. -RRB- Lem me tell you about my first movie.",
"EXT. BOOKSTORE - DAY The production assistant is stapling a casting notice for `` The Old Mill'' half over the notice of the amateur theatricals poster. Doug shows up, looks in the window. Looks at poster, takes it down, looks around. ANGLE ON The park bench. Ann, her feet up on the old typewriter, is sitting, reading the script. Doug comes up. DOUG What, what what are you doing here? ANN Yes, that's right. DOUG Look at this. Do you know what they're offering? Look at this. They treat us like we're their backyard. Do you know what they're offering for three days to close down Main Street? ANN What are they offering? DOUG Ten thousand dollars. ANN That's so beautiful. DOUG I beg your pardon? Ann gestures at the script. ANN `` The mill grinds the grain, but the grain is not destroyed. Although it is altered.'' DOUG Sure, but. ten thousand dollars. Do you know what they. this movie is budgeted at fifty million dol. they're coming up here, offer us a meal.",
"INT. MAYOR'S HOME - DAY The Mayor's Wife comes into the room. Her hands are full of lists, giving instructions to a handyman. SHERRY -LRB- MAYOR'S WIFE. -RRB- The chairs go, the Lazyboy goes. MAYOR not the Lazyboy. Cal, the policeman, enters, carrying an old spinning wheel. CAL Hi, Sherry. SHERRY put it in the living room. And we have thirteen at the table. MAYOR we do n't have thirteen at table. SHERRY Bob Barrenger, Claire Wellesley, the director. MAYOR Waal, then, invite someone else, then. SHERRY I do n't want to invite someone else because this is the most exclusive. MAYOR Waal, then, you know, you do whatever would make you happy. Sher. This is your party, and whatever. Doug enters. Cal exits carrying a pinball machine. CAL Hi Doug. DOUG Cal. I want a city council meeting. MAYOR little woman has gone crazy about our dinner party. City Council? What's the trouble? DOUG Main Street. MAYOR -LRB- sighs. -RRB- Doug, the traffic light. DOUG Fuck the traffic light. I'm talking about three percent of the adjusted gross of a Major Motion Picture.",
"EXT. PARK - DAY Joe walks up. Ann is standing there. JOE Hi. ANN -LRB- simultaneously. -RRB- What are you doing? -LRB- pause. -RRB- I love your script. JOE -LRB- simultaneously. -RRB- They decided, I decided to, to. you love what? ANN You're still here. JOE I. I decided to give it another ch. ANN I love your script. PAUSE JOE What? POSTMAN -LRB- as he delivers mail to Ann. -RRB- Mornin', Annie. ANN See you at rehearsal tonight? POSTMAN `` In the name of justice, sir, I bid you pause ; for she is our Queen.'' Postman exits. JOE In fact, in fact, in fact, I'm not sure if I'm giving them a second chance, or they're giving it to me. That's the truth. The truth's best, do n't you think? ANN You'd know better'n me. JOE How can you say that? ANN It's in your script. it's about getting a second chance. Innit? `` You can go back.'' JOE I can? ANN You bet your life. -LRB- refers to script. -RRB- `` The mill wheel goes around. some times it's even under water - then it rises up, as high as it can go.'' JOE But how do I. how do I do a film called `` The Old Mill'' when I do n't have an old mill? ANN Well, first, you got to change the title.",
"INT. PROD. OFFICE - DAY Sign reads THREE DAYS till shoot. Walt is on the phone. Covers the phone. Crossed sticks on the wall, Walt plays with a shuffleboard discus. Girl P.A. brings cup of coffee to Walt. Her T - shirt reads : `` DOES IT HAVE TO BE AN OLD MILL?'' WALT -LRB- to A.D. -RRB- No, he does n't want to work out with Waterford Huskies. Because he's Bob Barrenger. Call up his girl in Aspen, have'em ship his weight. Yeah, well, fine, he's not gon na do the Pond scene unless he can work out. Call up his girl in Aspen, and have her ship the weights out. Walt hangs up the phone. Secretary enters with folders that she hands to Walt. WALT -LRB- CONT'D. -RRB- Who designed these costumes? Who designed these costumes? It looks like Edith Head puked and that puke designed these costumes. Get Madge. SECRETARY -LRB- to A.D. -RRB- Your wife is on the phone. WALT I have no wife. A P.A. comes in with a big bakery box. They open it to show it is a huge loaf of bread, and on it is written, in bread, `` Waterford Welcomes The Old Mill.'' WALT -LRB- CONT'D. -RRB- -LRB- calling out. -RRB- We need a new name for the movie. Where's the writer? UBERTO -LRB- entering with storyboards. -RRB- Wally, I got to takes out the window from the dog. I ca n't shoot through. CAMERA MOVES on past the production board, where we see `` Dinner With Mayor'' in red. And the costume designer comes up. COSTUME DESIGNER Claire's got a problem. UBERTO Wally, if I hafes a moment of your time, look at these storyboards. THIS SHOOT, I ca n't shoot this shot, you want. WALT Why? UBERTO Because they gots a window with a dogs in it. You want me to `` push in.'' Or can I lose the shot. WALT No you ca n't lose the shot. The meaning of the film is in that shot. UBERTO But, Wally, the window of the firehut. WALT I do n't care. Fix it. He goes into comfab with the costume designer. WALT -LRB- CONT'D. -RRB- -LRB- of sketches. -RRB- You show Claire these sketches? COSTUME DESIGNER Yes. WALT Did she throw up? COSTUME DESIGNER That is n't very nice. WALT Oh, really, then why do n't you sue me in the World Court. Did she like the costumes? COSTUME DESIGNER I ca n't tell. WALT Why not? COSTUME DESIGNER She wo n't stop crying. WALT -LRB- to an A.D. -RRB- Find out when Marty Rossen's arriving, get him a bunch of Lilacs to send to the broad. FIRST A.D. Towns out of Lilacs. WALT You go in her room, take the Lilacs from the water, dry them. Go buy some cellophane, wrap'em up, and get a card from Marty. -LRB- to costume designer. -RRB- What's her problem? COSTUME DESIGNER She does n't want to bare her breasts. WALT She does n't want to bare her breasts. what, in the `` nude scene?'' What are we paying her three mil for? COSTUME DESIGNER She's got `` religion.'' WALT Her religion bars her from fulfilling her contr. CAMERA FOLLOWS Walt to the sound of crying. We HEAR CRYING from the next room. Walt opens the door quietly. WALT -LRB- CONT'D. -RRB- Claire? Claire? -LRB- to Uberto. -RRB- Just figure out how to take the shot. Claire. Claire? It's Wally. -LRB- pause. -RRB- May I come in? BEAT. He motions his entourage to stand back.",
"INT. PROD. OFFICE - WASH ROOM - CONTINUOUS He enters the room. CAMERA FOLLOWS. WALT -LRB- softly. -RRB- What is it, Pal? PAUSE. Claire MUMBLES. WALT -LRB- CONT'D. -RRB- What? CLAIRE I ca n't do it, Walt. WALT You ca n't do what? CLAIRE It is n't right. I ca n't. I. I know I si. I, they, I do n't know if they told me it was in the con. WALT Forget the contract. Claire. What is it? CLAIRE I do n't want to take my shirt off in that con. what are these things that they're asking of me? Wha. wha. wha. I try to be good. The only thing I care about is. WALT I know that. CLAIRE Is. is the MOVIE! As they talk, the A.D.'s come in and hand him sheets to approve. WALT I know that, Claire. I, we all know. CLAIRE Everybody, they, they, they treat me like a. WALT no, they do n't. CLAIRE they treat me like a child. I, I. to bare my body. WALT Now, look. Claire : Listen to me. -LRB- he takes her hand in his. -RRB- I want to tell you a story. The door to her room opens. A P.A. brings in a bunch of Lilacs, hands them to Walt. WALT -LRB- CONT'D. -RRB- Fuck flowers, we are n't talking about flowers, we're talking about a human being. CLAIRE I. I. WALT Who are these from? PROD. ASST. ASST. says. Marty. WALT Well that's very thoughtful of him. Elanora Duse. CLAIRE I ca n't do it, Wally. WALT Listen to me. Elanora Duse was playing Hamlet in London in 1905, and Royalty could not get a ticket. She said, `` I'm not doing the seven shows a week I signed for.'' She said, `` I can not bare my soul seven times a week. I am an artist. I'll do four shows a week.'' -LRB- pause. -RRB- The greatest actress of her time. You know what her Producer said? CLAIRE -LRB- pause ; softly. -RRB- What? WALT Nothing. He held her and he wept. Because he. CLAIRE I. WALT Because he understood. That was her life's blood on the stage. Claire nods, breaks into sobs. WALT -LRB- CONT'D. -RRB- I know. I know. CLAIRE -LRB- pause. -RRB-. and, and, and did she? And she did the seven shows? WALT No, she did n't Claire. But I think you should do the scene. Secretary comes in with memos and Walt deals with them while comforting Claire. BEAT. She sobs. She shakes her head. She brings herself under control. CLAIRE Wally. WALT I know, I know. He puts his arm around her, starts walking toward the door. WALT -LRB- CONT'D. -RRB- I know, it's the hardest thing in the world. And it seems everybody wants. CLAIRE Yes. WALT wants a piece. CLAIRE Yes. WALT And you know what? CLAIRE We, we have to give it. WALT -LRB- nods. -RRB-. and my heart goes out to you, because I know.",
"INT. PROD. OFFICE - BACK ROOM - DAY He opens the door. We HEAR the First A.D. and the Costume Designer chatting outside the door as they walk out. WALT That, that's your life's blood on the st. FIRST A.D. I do n't know what she's bitching about, she's flashed her tits in the last five movies, she'd bare her breasts to do voice over. CAMERA FOLLOWS the two out. A tableau of the four of them. The First A.D. drinking coffee, sees he has been overheard. BEAT Claire starts soundlessly heaving, sobbing. She goes `` Oh!'' as if she has just been hit in the stomach, falls back into the room, closes the door. Sobbing sounds emanate. FIRST A.D. -LRB- CONT'D. -RRB- I. WALT Get Mitch Cohn on the phone in New York, tell him she's breaking her contract and we're very up. FIRST A.D. I. WALT We're very upset with her. Get someone to double for her, her tits, the tits scene. Call L.A. I want to see some pictures of the women's tits. Of their tits. FIRST A.D. I'm very sorry I. WALT You're very sorry, you passive aggressive, son - of - a - bitch! Can we replace him? BILL We start shooting in three days. COSTUME DESIGNER You want to see the fireman's costumes? Cause I found this Moleskin for the collar, it's not black, but it looks black. it's not brown, but. SECRETARY Marty Rossen's touched down.",
"EXT. PARK BENCH - DAY Ann and Joe sit on a bench. He is looking at her as she finishes the script. Tears in her eyes. She closes the cover. JOE -LRB- beat. -RRB- What I need to say. ANN Yes. JOE About conflict. ANN That's why you did n't want to take the Mill out. you've. JOE the, the, the symbol of the fire. ANN The Firehouse. JOE I. ANN But but but but but it's better without. JOE How? ANN Wait wait wait wait wait he get's a second chance, do you see? And you get a second chance! JOE No, I do n't. ANN -LRB- as she holds the script. -RRB- He does n't go back to the mill, he gets a second chance to go back to the firehouse. Joe takes off one pair of glasses and changes them for another. ANN -LRB- CONT'D. -RRB- You do n't need the Mill. This is what. -LRB- she gestures at the script. -RRB- you see : this is what you are. This is what the script is saying. -LRB- a person walks by. -RRB- Hi, Emma, see you tonight? Emma waves and nods. ANN -LRB- CONT'D. -RRB- This is, look :. -LRB- to Emma. -RRB- Go you Huskies. -LRB- to Joe. -RRB-. what I see you saying, is : you have the two elements, Fire and Water. The Firehouse, and the Old Mill. do you know, you could. JOE What are you doing tonight? ANN Me? JOE Yes. Joe and Ann walk down the street. As they do so they are passed by the airport van. ANN Tonight, tonight, I. I have play practice. JOE oh. oh. Well. That's very important.",
"EXT. HOTEL STEPS - DAY Walt and the A.D. come down the steps to meet the arriving airport van. It stops. MARTY ROSSEN gets out. Walt hands his bags to a P.A. WALT Marteleh, vos macht a yid? He hands Marty the breadloaf. Marty takes a bite. MARTY You cool the broad out? WALT I left that for you. MARTY That's thoughtful. -LRB- of the bread. -RRB- Ziz good, you try this? As they speak, a P.A. is unloading Marty's high - end luggage from the van. WALT Oh yeah, I'm really gon na eat carbohydrates. MARTY -LRB- of the town. -RRB- What'd you do, build this? WALT How was your flight? MARTY We're flying over pigs, we're flying over sheep. WALT Did you bring Bob's weights MARTY They're coming Fed Ex. WALT -LRB- of the bags. -RRB- What's in all the bags? MARTY My undies, cause, you ca n't get this picture off on time I'm gon na wet myself. WALT I'm gon na bring it off. MARTY 55 days and I take home the camera. I got an idea for a product placement. They start up the stairs when Doc Wilson walks by. Girl on a scooter scooting the other way, her arm in a cast. Marty and Walt turn back to watch on the steps, under the awning. Carla walks through carrying food bags. DOC WILSON Hiya Sally. GIRL ON A SCOOTER Hiya Doc. DOC WILSON How's the arm? GIRL ON A SCOOTER Still itchin'. DOC WILSON Good! A sign it's getting well. MARTY -LRB- of scene. -RRB- Stop. WALT That's what I said. MARTY How are you getting on with these fine people? WALT Like dykes and dogs.",
"INT. BOB'S ROOM - DAY Bob is doing Tai Chi. Knock on the door. He goes to open it. Carla is bringing him his dinner. BOB Yeah. Come in. She comes in. BOB -LRB- CONT'D. -RRB- I'm just. She puts his dinner down on the coffee table. He takes out money from his pants to pay her. CARLA The prices are going up. BOB But, that's the way of the world, huh? Everybody's got ta eat. Way of the world. He sits before his dinner, hands her some money. Remembers himself. BOB -LRB- CONT'D. -RRB- Well, I'm pretty impolite. Would you like some? CARLA I do n't eat vegetables. BOB Well, I can offer you something to drink? CARLA Sure, what have you got? BOB What do you drink? CARLA Bourbon and milk. BOB How old are you? Carla WHISPERS her age to him. He makes her a drink out of his fridge, hands it to her. BOB -LRB- CONT'D. -RRB- Then I hope you would n't tell anyone I gave you this. CARLA I would n't tell anyone anything that happened between me and somebody who was my friend. PAUSE BOB Nice town that you've got here. CARLA You want to see it better, we could go out on the roof. BOB would n't that be dangerous? CARLA not if you've got something to hold on to.",
"EXT. MAIN STREET - DUSK Joe is walking down the street. A script in his hand, scribbling. Uberto walks next to him. UBERTO Because if you can not tells me what is it, how I, how does I take a pictures of it? Wally wants me, push in through the weendow. Joe, as he is scribbling in the script. JOE Yeah, no, can I. if you'd excuse me, I've just got to. He walks away and the CAMERA takes him into a backyard, by a bunch of clotheslines. His glasses fall apart as he changes them. He looks up as the wind blows the sheet. He sees Ann, sitting on the backstairs of what, as we draw closer, we see is the playhouse. In back of her we see the `` Trials of the Heart'' flats, seen from the back. ANGLE JOE'S POV ANN Hello. JOE I thought you had Play Practice. ANN Do n't look good for `` Trial of the Heart.'' JOE Well, then, it do n't look good for the Huskies. ANN That's for sure. They walk down the street. As they walk down the street, the dog comes over and Annie throws him his bone over her shoulder. JOE What happened? ANN Cast stood me up. JOE Uh huh. ANN They're all preparing for the auditions - your movie. He gets an idea, and trades glasses, one pair for the other. He kneels. ANN -LRB- CONT'D. -RRB- `` Rise, one need not bend the knee before the throne of justice.'' JOE What? ANN What are you doing down there? JOE My glasses fell apart. I lost the. ANN lost the screw. JOE You got a paperclip? A little kid is walking by, carrying a fishing rod. LITTLE KID Evening, Annie. ANN Evenin', sweetheart. LITTLE KID Go you Huskies. ANN You said it. JOE You like kids? ANN Never saw the point of'em. JOE Me, too. You have a paperclip? ANN Paperclip? JOE Fix my glasses. ANN Better idea. She ducks under the sheet hanging by the door, she and Joe come upon the fishergirl, who is standing by the bank about to make a cast. We see Annie take some leader from the little girl and burn one end to make a hinge. JOE Gon na be good as new. ANN Better'n new, cause it's got a story. Want to do the other part? Joe takes the hinge, and a match and tries to fix the hinge, and burns his finger. JOE Ow. He grabs for the nearest object. PAUSE. ANN What? Joe shows her. ANN -LRB- CONT'D. -RRB- Y' know what you got there? You got a fishhook in your finger.",
"EXT. BOOKSTORE - DUSK Doug standing, holding a bunch of flowers. The A.D. walks by. Looks in the window. FIRST A.D. I'm looking for the writer. DOUG What the hell are you so down about? FIRST A.D. -LRB- pause. -RRB- My wife's going to have a baby. DOUG How about that. FIRST A.D. Mmmm. -LRB- pause. -RRB- You have children? DOUG No. -LRB- pause. -RRB- No, but we're planning to. FIRST A.D. -LRB- pause. -RRB- Could you tell me where a fellow goes to get a drink in this town? DOUG Yes.",
"INT. WALT'S HOTEL ROOM - NIGHT Marty and Walt et al studying various documents. Claire sitting there. MARTY I want to tell you something, Wally, he's a pussycat. My thing is to see everybody does what they said they would and I have to do that. Now : what is this you want Eight hundred Thousand Dollars to do what you're being paid to, you already signed you'd do? -LRB- pause. -RRB- What is that? CLAIRE I think I should talk to my agent, Marty, you and I should, we should really not discuss. MARTY Who is her agent? BILL Mitch Cohn. CLAIRE He's. MARTY Get him on the phone. CLAIRE He's on the Island, he'll be back on. MARTY Get him on the. Claire starts back to her room. MARTY -LRB- CONT'D. -RRB- I want you to hear this. CLAIRE I really think that business. matters should be discussed between you t. MARTY Well, I'm going to discuss'em between you, babe, cause it's your idea, and you think you're going to sign to do a, then hold us up in the wilds sweetheart, you are in error. Bill hands him the phone. BILL He's on the ph. MARTY -LRB- takes phone. -RRB- Mitch, th ` Marty Rossen, I'm here in. BILL Wat. MARTY I'm somewhere in the, I'm on location eh : This. well I'm going to solve it here, or this Bimbo you sent me's going to be doing a fuckin' donkey act in Akron, I'm talking about Restraint of Trade, Breach of. IT'S VERY SIMPLE! Joe enters. His finger BANDAGED. JOE -LRB- tentatively. -RRB- Hi! MARTY Her tits! Her tits! How, that she signed IN HER CONTRACT, we hired her'cause of ten years at the Actors Studio? The way she played Medea? Her last two pictures laid there on the screen like my first wife. CLAIRE -LRB- starts to cry. -RRB- You have no right to. MARTY Cool it babe, you started this. JOE What's the. WALT Where have you been? MARTY -LRB- on phone. -RRB- You tell me : you tell me now, I've got to shoot on Wednesday and I will not pay your Blood Money and P.S., pal, I put the word out on the street and Betty Boop can look for work in squigglevision. Claire starts to get up. MARTY -LRB- CONT'D. -RRB- Siddown! JOE I really do n't think you should be talking this way to a lady. MARTY would you excuse me, please. CLAIRE You ca n't treat me like this. I'm not a child! JOE She's absolutely r. CLAIRE I'm not a child. I have feelings. Do n't you. do n't, do n't. do n't. Claire exits, crying. MARTY -LRB- his suitcase next to him - into phone. -RRB- Well, you call him, and call me back, but this is it, pal. You fuck with me, and I'm going to tear out your heart and piss on your lungs through the hole in your chest. And the best to Marion. -LRB- beat ; hangs up ; to Joe. -RRB- Where have you been? JOE I. MARTY He says they're looking for you all day, you're on salary, he needs pages, what are you, you been ` haying?' Now : WALT Marty. MARTY Later for that, Walt, let's get this : we need the `` pages'' for the new `` Old Mill''. alright? We need a new title, we need a. BILL Rewrites that Bob Barrenger requested. the `` dead horse scene,'' the. MARTY Whatever it is. Go do it. How you doing on the permit? WALT It's just a formality. MARTY That's why I want it. -LRB- to Joe. -RRB- Type it up and get it back to me in. JOE I ca n't. WALT Why? MARTY You ca n't write it? JOE I can write it. I ca n't type it. WALT Why? JOE I hurt my fingers. WALT Get a typist. Get ` im a typist. Get outta here. Joe exits. They turn to survey the board. MARTY Eight - hundred grand to show her tits. WALT Pay her. MARTY I do n't got the money. WALT Find the money. MARTY I got a company. give us a million dollars, put their product in the film. WALT -LRB- looking at a paper Marty hands him. -RRB- No no no no no no no no find me the money.",
"INT. JOE'S ROOM - NIGHT Joe takes out paper, looks around. Sighs. Picks up phone, calls back. JOE -LRB- into phone. -RRB- This is Joe White. in six ten, they're sending up a typist? He takes out a sheet of foolscap and a pencil. Starts to write. A knock at the door. JOE -LRB- CONT'D. -RRB- -LRB- into phone. -RRB- Okay, I thank you. It's here. He hangs up the phone, goes to the door, opens it. It is Claire. CLAIRE You said, `` You ca n't talk that way to a lady.'' You stood up for me. -LRB- beat. -RRB- What do you have to drink? She looks around, sees a gift basket containing a bottle of Stolichnaya and a box of matzoh, wrapped with a `` Welcome Back'' ribbon. CLAIRE -LRB- CONT'D. -RRB- Matzoh! Are you Jewish? JOE I, actually, yes. CLAIRE I love Jewish men. JOE Why? CLAIRE You know. where's your bathroom? She goes into the bathroom. JOE You liked the script, huh?",
"EXT. MAIN STREET - NIGHT Ann Black sitting on the park bench, holding the lure. DOUG -LRB- still carrying bouquet of flowers. -RRB- Where have you been? He gives her the bouquet. ANN Hi! DOUG We had a date. ANN We did? DOUG Where have you been? ANN I've been thinking. DOUG Where have you been, we had a date for three. where have you been? ANN I have to tell you something. DOUG Well, I know, because they told me you were with that writer from the, you see, this is what I mean, the whole town has been warped by the, by the, by the presence of the movie company, they holler, and we jump, you have a date, they call, you're doing business nine o'clock at night. It is n't. ANN I was n't doing business. DOUG Oh. What were you doing, then, that's so important that you should n't call your fian. ANN It's all over between us, Doug, I'm sorry, but that's the truth. I've found someone else, and, it's very serious and it's the end. I'm sorry. -LRB- pause. -RRB- It is n't you, j. DOUG Wai. It's so serious you could n't call to tell me you'd be. what? What did you say? ANN It's all over between us. -LRB- pause. -RRB- I've found someone else. DOUG -LRB- pause. -RRB- Let me review here : You're. what are you. you've. it's all over between us? ANN I'm sorry. DOUG Who is this person that you've found? ANN -LRB- pause. -RRB- He works on the movie. DOUG No. Do n't tell me that. ANN I'm sorry. DOUG Why, you whore! Doug starts to cry. First A.D. shows up. FIRST A.D. Can you type? ANN Never admit you can type. FIRST A.D. If you can type, they need you over at the hotel.",
"INT. JOE'S ROOM - NIGHT Joe is standing by the side of the bed, holding Claire's clothes, trying to induce her to put them on. She is sitting on the side of the bed, naked. JOE Look. CLAIRE I feel so close to you. JOE Look, look, I like you very much. CLAIRE I like you, too. JOE But not that way. CLAIRE But we. JOE Look, look there's someone else. Sound of a KNOCK at the door. JOE -LRB- CONT'D. -RRB- Great. Who is it? ANN -LRB- O.S. -RRB- `` Room Service!'' JOE -LRB- to Claire. -RRB- Would you go in. He gestures to the bathroom, he hands her her clothes. JOE -LRB- CONT'D. -RRB- Would you put on your cl. -LRB- to door. -RRB- Just leave it outside ANN You have to sign for it.",
"INT. HALL - NIGHT Ann hurriedly arranging the flowers in the `` platen'' of the typewriter. From inside the room we hear Joe's voice : `` Alright, one moment!'' He opens the door. ANN I'm gon na be your typist for this evening. JOE Oh, G - d. ANN And here's some hydrogen peroxide. JOE I do n't drink. ANN It's for your finger. JOE One moment. He closes the door.",
"INT. JOE'S ROOM - CONTINUOUS Claire is still sitting on the bed, has a lit cigarette. Poured herself a drink. Joe goes over to her, thrusts her clothes on the floor. JOE You have to hide. CLAIRE Who is that? JOE That's my. CLAIRE Oh. JOE Will you help me out? CLAIRE I. Joe hustles back to the door. Opens the door. Ann is still standing there with the typewriter. JOE Hi. ANN You going to ask me in? Joe looks back over his shoulder. ANN -LRB- CONT'D. -RRB- Thought you might like this. She hands him a bouquet. JOE -LRB- takes flowers. -RRB- Thank you. ANN Read the card. JOE -LRB- reading card. -RRB- `` To the love of my life, Love, Doug.'' ANN The other side. JOE Oh. He turns the card over. ANN Do n't you think you should put them in water. JOE Why? ANN because if you do n't, they die. She goes into the bathroom, fills up the vase. Comes out. ANN -LRB- CONT'D. -RRB- Should n't we start? PAUSE JOE Start? This is n't a good time. ANN Oh. That's alright. Then I'll come back at a better time. What would be a better time. JOE Later on. ANN Then I'll come back, then. JOE You, um, you, um, you going out with your fiance? ANN No, I just broke up with him. I'll see you tomorrow. She starts to exit.",
"INT. TAVERN INN HALLWAY - NIGHT Ann digs in pocket, takes out the lure we previously saw in Joe's finger. She re - enters the room. ANN It occurred to me, you'd wan na have this : sort of a memento of our. ANGLE ON ROOM Claire is standing there, basically naked. PAUSE. CLAIRE Hi. I hope I'm not disturbing. JOE She came in here, wait, she. I was giving her a massage. wait. wait! She came in here. she. -LRB- to Claire. -RRB-. with respect. she took off her clothes, and she got in bed, I told her I could not - we do n't know each other, you see. CLAIRE We had a script conference. JOE I told her thank you very much, but it was inconvenient because, uh, because. ANN You can do it. JOE Because I'd met someone else. ANN -LRB- very simply. -RRB- Oh, okay. JOE You believe that? ANN I do if you do. PAUSE JOE But it's absurd. ANN So is our electoral process. But we still vote. JOE Do you truly believe the electoral process is absurd? ANN I used to go out with a politician. JOE You used to go out with him, you broke up with him? ANN Sure did. JOE Why? ANN Time for a change. Keep your margins straight. JOE Yes. ANN Go you Huskies!",
"INT. HALL - NIGHT Ann puts down the typewriter and types into it, `` The truth may not always set you free, but it is always the truth - Joseph Turner White, ` Anguish.''' She affixes the lure to it and leaves them on the typewriter. She starts down the hall, humming. Behind her we see the door to Bob Barrenger's room open. Bob comes out, looks down the hall. The coast is clear. Carla comes out. They kiss chastely, say goodnight. She starts down the hall, humming.",
"EXT. MAYOR'S PORCH - DAY The postman walk sup. We see two workmen putting up a sign over the door' 1835.' One has a copy of `` The Hollywood Reporter'' in his back pocket. MAYOR And do n't you worry about that permit. MARTY Why, that's right fine. POSTMAN Mornin' George. MAYOR Hey, Chunky. -LRB- to Marty. -RRB- Well, we're glad to have you here. My wife, Sherry, SHER, YOUR BROTHER'S HERE. -LRB- to Marty. -RRB- We're having a party, matofact, Tuesday night, for Walt and Bob Barrenger. MARTY Mmm. MAYOR Havin''em over, home - cooked meal, if you'd. MAYOR -LRB- CONT'D. -RRB- Well, I'd be awfully. A paint truck pulls up outside the Mayor's house. Painters come out. Sherry comes outside the house. SHERRY Where the hell have you been? It's. MAYOR Sherry, this. POSTMAN -LRB- come back out of house with cup of coffee. -RRB- Mornin' Sherry. SHERRY It's a quarter after nine, I've been on the phone to. PAINTER Morning, Mrs. Baily, Mista Bailey. He and his assistant go into the house with wallpaper. SHERRY I've got two days to get this house. MAYOR Dear, this is Mr. Rossen, he is the producer. SHERRY I am so glad to meet you. We are so glad to have you here, and welcome you to our. I, you know, they had c. I'm, yearly I redecorate our, to restore it to the, 1835. MARTY What is that? SHERRY The house, the 1835. The original kitchen, of course, burned in 1960, as part of a spate of fires. MARTY It's lovely. SHERRY A spate of suspicious fires which were in fact the inspiration for the formation of the Waterford Huskies. MARTY My oh my. SHERRY I'm. Tuesday evening we're having an informal dinner, I did n't know you'd be ` on set,' but if you'd like to join your. Doug comes up the walk, a bit rabid. DOUG I have to talk to you. MAYOR Doug, this is Mr. SHERRY Oh, how thoughtless of me. Would you like a cup of tea. Sherry disappears into the house. MAYOR he's the producer of the movie. DOUG -LRB- to Marty. -RRB- I want you to hear this, pal. -LRB- consults notebook. -RRB- Forget the overages, forget Ten Thousand Dollars, for three days to two weeks. You know what it would cost for them to build this set? -LRB- pause. -RRB- Two Million Dollars! Now : MAYOR Doug. DOUG Now : The Waterford Merchant's Association, of who I am Council. In the B.G. we see Sherry and the painter. SHERRY Do n't tell me you're out of Wallpaper. PAINTER I told you, we could have it by Wednesday. SHERRY Wednesday, do n't tell me Wednesday, the biggest grossing box office star in the world is coming for dinner Tuesday. PAINTER Waal, if you ordered something common. SHERRY Something common? I'm going to give you something common. I'm going to give you an injunction, is what I. Mister Mayor. DOUG Huh. Well, the Waterford Merchant's Association demands, through me as their council, five percent of the profits of the movie, as figured by and. -LRB- checks his notebook. -RRB- geared to the most favorable definition of profits of either A. -RRB- the Producer. From INSIDE THE HOUSE, we hear the Mayor's wife screaming. Mayor runs inside, Doug and Marty follow. DOUG -LRB- CONT'D. -RRB- Why, you little sheeny.",
"INT. COFFEE CORNER - DAY Geezers are at the front table in the window. Carla's father, JACK, behind the counter trying to assemble an espresso machine, reading from the instructions. MORRIS `` Assembly of Death'' did 95 million dollars the first weekend. SPUD Yeaup, but those grosses are inflated. MORRIS You think so? SPUD Waal, what was the per - screen average? Joe enters and exchanges greetings with the locals. He changes his glasses and takes out a notebook. He is shaking his head as he does so. JOE Cuppa coffee, and a. JACK With you inna moment. I'm a little short - handed. MORRIS Where's Carla? Ann enters. SPUD Hiya, Annie. A crowd has gathered around the table as he tells the story. MORRIS Annie, sorry I ai n't been to a meetin' of the Drama Club. Ann shows a sniped `` canceled'' poster of her play. MORRIS -LRB- CONT'D. -RRB- Oh, good. He resumes talking to his companion. ANN Good morning to you. whatsa matter? JOE I ca n't get it to come out right. ANN What's the scene. JOE It used to be the Old Mill. ANN What've you got? JOE They meet on Main Street. Her horse has just died. He's coming from the fire. He shuffles through his pages, he goes in his pocket for a note, he brings out the old lure. He smiles at her, she smiles back. JACK -LRB- O.S. -RRB- Annie, you want something to eat? ANN What's the scene about? JOE It's good to see you, too. JACK Annie? ANN What about. what about. it's so presumptuous of me, to be, to be telling you how to wr. JOE Please. ANN How about, he sees her on the street, he wipes the soot from his eyes. He goes up to her. `` What happened to the horse?'' She looks at him. She takes his hand. She takes Joe's hand, and he winces. JOE Ah, ah, ah. ANN I hurt you? MORRIS What happened to his finger? ANN It was burnt. MORRIS Mmm. ANN And then it was really hurt. JOE Ah, ah, ah. That's what she says, that's what she says. He says, `` Sister, I've come from a fire.'' But she, but she, she says it was not the fire which hurt you. it. MORRIS how was it hurt? ANN he stuck a fishhook in it. -LRB- Morris nods. -RRB- JOE She realizes - it was not the fire which hurt him. that the true hurt was her. Was her. ANN yes. JOE her unbridled sexuality. That he. ANN yes. JOE Has been wounded by her heat. by her infidelities. JACK Anybody here seen Carla? JOE Because, because, because if it's about purity, it's. it's. and then, then, you do n't need the nude scene. ANN Because it's about purity. JOE That's. that's exactly what it's about. Take. ANN That's right. JOE take any two people. JACK anybody seen my daughter? JOE take you and me. He runs out.",
"INT. WALT'S OFFICE - DAY Uberto looking at storyboards and spinning the discuss and shaking his head. Walt on the phone. First A.D. shows up. WALT -LRB- on phone. -RRB-. the finest people you could ever hope to work with. -LRB- to First A.D. -RRB- You have the new Old Mill pages? FIRST A.D. I ca n't find the writer. WALT -LRB- on phone. -RRB-. totally false. totally false. He is the, I would say the most responsible human being I have ever. FIRST A.D. I have to talk to you. My wife. WALT Not now. FIRST A.D. My wife is going to have a baby, and. WALT Oh, that's great. Let's bring more people into this overcrowded world. Girl P.A. walks through the b.g. in `` Does it have to be an Old Mill?'' T - shirt. WALT -LRB- CONT'D. -RRB- Take it off. Take that stupid fucking shirt off right now. -LRB- into phone. -RRB- Well, if I had to say one thing, I would say it's purity. Claire shows up, dressed in traveling clothes, her luggage behind her, followed by production assistant. WALT -LRB- CONT'D. -RRB- -LRB- to P.A. -RRB- Not now, I'm talking to the press. Claire! CLAIRE What? I have a five - o'clock plane to catch. WALT I, uh. -LRB- into phone. -RRB- I've always thought so. -LRB- beat. -RRB- Well, you just get an idea, and try to find the best way to express it in pictorial form. -LRB- to Claire. -RRB- I've written a letter to the studio and to SAG protesting. -LRB- opens door. -RRB- Bill : get a copy of that letter! -LRB- closes door. -RRB- I just wanted to tell you that I am past chagrined, I'm mortified at the way you were spoken to. CLAIRE I. WALT An artist of your caliber. CLAIRE I'm only trying to. WALT I know what you are, I am so sorry that you. when I read that script I said there's only one person to play that part. CLAIRE The minute I read that script I said. WALT I know. CLAIRE she works with animals, she. WALT yes. CLAIRE she has a home. WALT I know, I'm so. because I said : yes, a woman who. the. the community respects her. -LRB- beat. -RRB- Please do n't go. -LRB- pause. -RRB- Please do n't go. What can I do but beseech you? Trauma, toil. when are we free of them? -LRB- pause. -RRB- When? CLAIRE He treated me as if I were a child. WALT Claire :. -LRB- pause. -RRB- As an interpretive artist to a creative artist :. -LRB- pause. -RRB- Stay with me. -LRB- pause. -RRB- I need you. -LRB- pause. -RRB- We start to shoot tomorrow and then it belongs to us. Stay. -LRB- pause. -RRB- Stay. Tonight. when. -LRB- gestures outside. -RRB- When they've gone. Let's talk. Let's really talk. We could, we'll have dinner, we'll. a bottle of some bad red wine, we'll get spaghetti, and we'll. CLAIRE I'm sorry, Walt - it's gone beyond that. Claire exits. WALT -LRB- into phone. -RRB- Well, I've enjoyed it, too. Any. any. any time. -LRB- hangs up the phone. -RRB- What does the woman want from life? MARTY She wants eight - hundred thousand dollars to show her tits. WALT Pay her off. MARTY We do n't have the money. WALT Find it. MARTY If you do the product placement. WALT It's a computer company. IT'S A COMPUTER COMPANY - BAZOOMER - COM?! MARTY `` Bazoomer dot com.'' WALT I ca n't put a computer in a movie shot in 1895. you wan na tell me how I'm gon na do that? MARTY Actually, the art department had some ideas on. WALT NO NO NO NO NO, PAY HER OFF. DID YOU HEAR ME?! MARTY -LRB- picks up the phone and dials. -RRB- Gim me Howie Gold. Howie? Thizz. I neee. I NEED EIGHT - HUNDRED GRAND. I. I do n't care where it comes from. -LRB- to Walt. -RRB- It comes out of our end. -LRB- Walt gestures do it. -RRB- I. I need. JUST GET ME THE MONEY. I JUST GET ME THE GODDAMN MONEY. Look : Joe barges in. JOE She does n't show her tits! She does n't show her tits. The breasts symbolize motherhood, the audience. MARTY The breasts symbolize motherhood.",
"INT. WALT'S OFFICE - DAY Joe holding forth to Bill, Walt and Marty. Joe consults his notes, changes his glasses, reads on : JOE The movie's about purity. So we do n't show her breasts. We show them to him. She keeps her back to the camera. WALT she keeps her back to the camera? BILL It'll hurt the box - office. JOE They know what her tits look like. WALT Know? They could draw them from memory. You're fantastic. What a find you are. Get outta here. We need the Dead Horse scene. JOE I'm gon na nail it. WALT I know you are. Go you Huskies. Joe exits. We see the notation, `` Dinner at the Mayor's House.'' We see Marty walk up to a P.A. in the next room. The P.A. hands Marty a slip of paper. Walt goes to them. MARTY We got the permit. WALT Is that one hell of a kid? MARTY He just saved us eight - hundred thousand bucks. WALT He's got a gift for fiction. MARTY We got to do something nice for him. He takes out his cardcase. MARTY -LRB- CONT'D. -RRB- Gim me a pencil. Get him a bottle of. get him some maple syrup. Stick this card on it, and put it in his room. PROD. ASST. ASST. says. Maple syrup. Marty writes on the card. MARTY Yeah. ANGLE ON CARD It reads : `` Your gift for fiction everything sweet.'' ANGLE ON WALT As he walks back into the other room, holding the permit. MARTY -LRB- CONT'D. -RRB- -LRB- in b.g. as he takes back the card. -RRB- Hold on, I wan na add to that. We see him take the card, write `` Over'' on it and draw an arrow.",
"EXT. MAIN STREET - NIGHT Joe, happy as a clam, sauntering down the street. Smoking a huge cigar. He passes two old codgers, Morris and Spud. SPUD You see where Tom Miller's playin' the Old Farmer? MORRIS He's been playin' Old Farmer nigh on sixty years. SPUD I read for that part. Did pretty good, too. MORRIS Bet you did. SPUD But I could n't r ` member all the words. Ast them would they gim me a second chance. MORRIS Ai n't no second chances in life. SPUD Zat true? MORRIS Only second chance we git, z ` ta make the same mistake twice. ANGLE ON Joe, as he nods to himself, takes out a pad, starts to jot a note, fumbles with his glasses. Joe saunters on, writing, we hear the beeping from the traffic light. Joe hears a screeching of tires. He looks up, a film station wagon comes barreling around the corner, hits the pothole, goes out of control, careens, turns over, knocks down the control box of the traffic light. Joe holds a beat, runs over to the car, to driver's side. Battered driver, bleeding, upside down. Joe drags him from the car. It is Bob Barrenger. BOB Get the. JOE Are you al? Barrenger points to the other side. Joe looks. ANGLE POV Carla is the passenger, she is dazed but unhurt. ANGLE ON The car. BOB We got ta get her out of here. Carla has extracted herself from the wreck, stands, woozily, on the sidewalk. BOB -LRB- CONT'D. -RRB- -LRB- to Carla. -RRB- Are you alright? CARLA -LRB- nodding. -RRB- I. BOB You got to get out of here. BEAT. She nods, understanding. A light comes on in the apartment over the store. She looks up, starts away down the street. BEAT. Bob rocks back and forth. BOB -LRB- CONT'D. -RRB- Oh G - d, oh G - d, oh G - d. do you have a cig.",
"INT. BOB'S HOTEL ROOM - NIGHT Bob is being bandaged by Doc Wilson. Marty on the phone. Walt, the First A.D., and Joe also in the room. MARTY He's fine. it's a. DOC WILSON You're going to be fine. I'll stop by tomorrow. WALT -LRB- to Doc. -RRB- Thank you. Doc exits. DOC WILSON Yessir. MARTY -LRB- into phone. -RRB- He's. you wan na talk to? Bob goes over to the phone, his head bandaged. Walt, smoking, stands by the window. BOB -LRB- into phone. -RRB- Hello, Jerry. I'm fine. I'll be ready Wednes. I'm here to make a movie, Bob. Now do n't you worry your, hey, Pal, when have I ever let you down bef. Okay, Babe, you, too. He hangs up. WALT Are you okay? BOB Well, yeah, I'm fine, I reached over to, the girl had to be home, I do n't know, it's a schoolnight, something. WALT Bobby. BOB Everybody needs a hob. FIRST A.D. Walt, I wonder if I could take a minute of your time. I need a day off. There is an abrupt knocking at the door. WALT Who is it? CAL Thiz the police. Is Mr. Barrenger in there? The boys in the room go into a whisper conference. MARTY Okay, look, you, what is she, 19, twenty. oh Christ. BOB Uh, look. MARTY Look : okay. Okay. Look : look you're driving, countryside, so on, you picked her up, she was hitch. WALT No, hey, hey. al, she hid in the back of the car! Happens all the. The knock is repeated. CAL -LRB- outside the door. -RRB- Is Mr. Barrenger there? MARTY No, wait a, wait a, wait a. we ca n't put her in the car, she gets it in her head to sue, or rape, or some goddamn, she was n't in. WALT She was n't in. you were al. MARTY There's no witnesses. WALT No, just the. there's no witnesses, right? BOB No, I just. just Joe, just Joe. WALT Joe, the writer? BOB Just him and me. Knocking was repeated. MARTY Then she was n't in the car. Say it. BOB She was n't in the. MARTY Nobody knows it but us. Alright? It says here. -LRB- to group. -RRB- Are we together on this? -LRB- beat, each nods. -RRB- Because it's sink or swim here, pals. They murmur their assent. Knocking is repeated. Walt goes to the door. MARTY -LRB- CONT'D. -RRB- -LRB- to First A.D. and Joe. -RRB- You guys had better leave us a. CAL Mr. Barrenger. Marty ushers Joe and the First A.D. out the room. MARTY Yes? The cop comes in the room. CAL I'm very sorry to. MARTY Well. What seems to be the? CAL I have to ask you these. um. You have a valid drivers' license? MARTY Of course he. CAL Could I see it, please? Bob gestures to his wallet which is on the desk. CAL -LRB- CONT'D. -RRB- Were you under the inf. BOB No. CAL And who was driving the. BOB I was alone in the car. I was driving. The cop is writing down these statements. CAL Well, now, Mr. Barrenger, I'm very sorry, in fact, I'm as sorry as I could be, but. MARTY I'm an attorney, if there's anything you have to say to. CAL I have to give you this ticket for damage to city property. I'm really sorry, Sir, it's a formality, I hope you'll excuse. MARTY -LRB- beat. -RRB- You have to what? Cal reaches in back of him, on his belt, and takes out not the cuffs, but the summons book, he starts to write a summons. CAL It's a formality. Any case of damage to city prop. you hit the control box of the new stop light, and. -LRB- apologetically he hands the ticket to Bob. -RRB- They'll, uh, these things happen, I hope you're alright, and that you're feeling. MARTY Well, officer, do n't worry ab. CAL If there's anything I. Marty walks him out into the hall. Photographers and onlookers in the hall. Phone rings. Walt answers it. WALT -LRB- into phone. -RRB- Yeah. Hello, Mr. Mayor. Walt Price! No, no, sir, he's fine. Well, he's right here! Would you like to? -LRB- covering phone. -RRB- You are not to see that girl again. do you. Door to hall opens. Claire comes in. CLAIRE Hello. WALT -LRB- into phone. -RRB-. he's right here, Mr. Mayor. CLAIRE -LRB- to Bob. -RRB- Bob, are you alright?",
"EXT. FIRESTATION TO PRINTSHOP - NIGHT The firetruck is being backed into the firestation. Outside a couple of passerbys are running in the rain, putting their collars up. We see Joe is in the firestation writing in his book. As the firetruck backs up we see the firedog bark, and Joe looks up. ANGLE JOE'S POV Ann is walking past the firestation. Joe comes out to look at her. JOE Hi. ANN Hi. JOE Where you going? ANN Going home. They start to walk down the street in the rain. JOE Going home, yeah. I told them what you said. ANN -LRB- over a clap of thunder. -RRB- What? JOE I told them what you said about the script. They take refuge under the awning of the printshop. ANN I did n't say anything special, I was just talking out loud. JOE how else can you talk? ANN No, that's true. JOE No. You, I told them, you ca n't betray with the picture what you're saying with the words. And, I do n't know, the movies, I do n't know. They should be socially uplifting, why does she have to show her br. what is this? They look in the window of the old printshop, the awning under which they have sheltered. ANN Yessuh. Joseph Knights printshop. Vacant for thirty years. JOE Is it. ANN Yep, n'it's for sale. -LRB- pause. -RRB- One of the few things money can buy. Joe looks in the window of the printshop. JOE I told them what you said about the script. They take refuge under the awning of the printshop. ANN Would you like to see it? I've got the key back at my store. JOE I'd love to. ANGLE ON Ann, runs out into the rain, Joe runs along side her. In the b.g., we see the fireman closing the doors of the firehouse, and the firedog being restrained, on a leash, by him and shut up inside the firehouse.",
"EXT. BOOKSHOP - NIGHT ANN How's your star? JOE Gosh, you look nice. ANN what? There's a huge flash of lightning and a clap of thunder and the lights on the street flicker, and come back on. BEAT. ANGLE ON Bookshop. JOE What would you do with it, the printshop. ANN Start back up the Waterford Sentinel. Town newspaper. Show you the plans. She goes into the washroom area, and comes out with two towels. She throws one to Joe, and begins toweling her hair with the other. She hands him some plans, which show photos of the old printshop, and copies of the Old Waterford Sentinel, circa 1900. JOE Yes, it's a lovely idea. She emerges from the back room. She has stripped off her wet jacket and shirt, and put on a light stockboy's jacket. ANN Print it right here. There's another clap of thunder, and all the lights go out. PAUSE. ANN -LRB- CONT'D. -RRB- Oh, my. -LRB- pause. -RRB- Life in the country. One second. Ann takes a small match from the drawer, and lights a small kerosene barn lantern. ANN -LRB- CONT'D. -RRB- Well. There you go. She sits down on the couch, and spreads the plan on a small table. ANN -LRB- CONT'D. -RRB- Press still works. JOE It does? ANN Did as of last week. She shows him the poster for `` Trials of the Heart.'' ANN -LRB- CONT'D. -RRB- Best way I know to get ink on your hands. JOE You'd do the newspaper right here. ANN That's something a man could do? JOE You know what else a man can do? ANN What? He moves closer to her. He is about to kiss her when the firedog appears on the couch between them. ANN -LRB- CONT'D. -RRB- One moment. She goes in the pocket of her jacket. The dog follows her. She can not find a dog biscuit. BEAT Joe pats the dog on the head. Leads him to the front door, puts him out. The door blows in the rain. JOE Pelting down out there. ANN People might be better off. They thought about it, spent the evening back in the. She comes close to him. The dog reappears between them. Joe looks around, and goes back to a window, and shuts the window. Ann crosses to her desk. Takes out a box of dog biscuits. The box is empty. The two of them lead the dog out, and pet it on the head. They turn back and the door is slammed.",
"EXT. BOOKSHOP - NIGHT BEAT They start back to find the door locked. ANN Left the keys inside, in my jacket. Joe nods. JOE Well.'S ` pose I should be getting home. look. They turn and Cal, the policeman, is standing next to them. In raingear. ANN Cal. CAL Annie, got an umbrella? ANN Nope. CAL I'll walk you home, you can have my coat. He starts taking off his slicker. ANN Then you'll be wet. CAL I'm goin' off - shift. Come on. I'll walk you home. He covers her with his slicker, and they walk away. WE SEE in the b.g. Uberto and his helper at the firehouse. Uberto swings a shuffleboard disk, and the dalmation window shatters and falls in the street. Some falls on his head.",
"INT. COFFEE CORNER - DAY Doug talking to Postman. DOUG Ten dollars apiece for outdated textbooks you or I could buy retail for a dollar ninety - five. Carla is serving breakfast, her wrist in a cast and a small bandage on her forehead. DOC WILSON Mornin', Carla. how's the itching? CARLA Okay, Doc. DOUG Bear with me, now - because what're we getting for our money? See the cat and dog? See what I'm saying? Nice to take this opportunity to mount an investigation of. She assembles a tray, starts out the door as Maude comes in. MAUDE Morning, Carla, what happened to you? DOC WILSON She went to fetch a pail of water. Carla goes out the door. DOUG -LRB- to merchant. -RRB- You see what I'm saying, take this opportunity to mount an investigation of the price of school textbooks. Bear with me now : both the cost, and the content of. look here. He produces some first grade spelling text. DOUG -LRB- CONT'D. -RRB- because what're we getting for our money? `` See the nice dog. See the nice cat?'' They move out of earshot. Ann goes into the Real Estate Office NEXT DOOR to the Coffee Corner. Pausing long enough to look in the window at the placard advertising the Old Printshop. ANGLE INSIDE POV The placard `` Old Printshop. 78 thousand dollars'' `` Under Agreement.''",
"INT. WALT'S ROOM - DAY Walt, Marty, Bob, Claire, Joe, coffee urns. They work on the script. WALT So you see what I'm saying. the movie is about purity. BOB I've always seen that. WALT We do n't show her breasts, we just show your reaction. CLAIRE I'm so comfortable with that, Walt, I ca n't tell you. WALT Well, Joe said it, and he's right. Knock at the door. Marty goes to the door. ANGLE Carla outside the door, talking to Marty. Marty takes tray. Carla has bandage on her head and a small cast on her wrist. CARLA And I have Mr. Barrenger's Tuna B. MARTY -LRB- hands her a bill. -RRB- Thank you. CARLA I, well, you know, I tried to take him, in his room. MARTY I think he's moved. CARLA I, uh. -LRB- pause. -RRB- Um. ANGLE Inside the room. Marty closing her out. Bob and Claire talking. BOB That makes a lot of sense, Claire, that makes a lot of. list. listen, cause the audience is n't coming to see your breasts. They are coming to see you act. What are you doin' this evening? CLAIRE I'm having dinner with W. WALT We're going to discuss the scr. you wan na come along? BOB You mind? CLAIRE No, are you kidding me, Bob, not at all. WALT Marty. MARTY Yeah? WALT Would you, tell the guy, get the A.D., someone, somewhere where we can get away, something, I want, you know, last day before the shooting, get away, forget it, have some local food. -LRB- to Joe. -RRB- You want. JOE I've got a date. WALT He's got a date. He's got a date, is this guy fantastic? Already he learned how to write a movie, and he found a girl to get his toes curled, what a guy, what a. what a literary find! First A.D. walks in, talking on a cellphone. FIRST A.D. -LRB- on phone ; sotto. -RRB- I'm trying, honey. I'm. look, is your Ma, when is your mom coming? Oh. -LRB- pause. -RRB- What did the midwife? WALT Did you, where are we going tonight? FIRST A.D. I? WALT Some, you were, you were going to make a reservation for us? Where's my schedule? Where are we booked tonight? FIRST A.D. My wife's having a baby. WALT You what? Is that on the call sheet, is that on the callsheet, or is that personal business? Ah, Christ. Marty. are we paying you? FIRST A.D. I.",
"INT. BAR - MORNING The bartender is looking down studying a vast book `` State Statutes of Vermont''. Doug is drinking. DOUG She did n't even finish knitting me the sweater. First A.D. walks in. Doc Wilson walks in. BARTENDER Mornin', Doc. DOC WILSON You doin' here, Doug? Thought you started out the day with that pernicious caffeine. DOUG Kiss my ass. DOC WILSON Well. BARTENDER He had a hard day. Ann's deserted him for some guy on the movie. DOC WILSON Well, they do n't always leave with the ones they came in with. BARTENDER Big day last night. DOC WILSON Hope to tell you. Did n't I pick the fragments of glass out of Bob Barrenger's actual head myself. ANGLE IN THE B.G.. We see Carla entering with bags of food and checks for bar patrons. BARTENDER Mornin', Carla. CARLA Mornin', Uncle Ron. DOC WILSON Cluster of events. Do n't see something, ten years, allasudden, three times inna night. BARTENDER That's what they call an events cluster. Some guy orders a Manhattan, fifteen, twenty years, allasudden, three times inna night. DOUG Who got their heads cut? BARTENDER some fella. Orders a Manhattan. DOC WILSON What? DOUG Who got their heads cut? DOC WILSON Uh, Bob Barrenger, fella, Cameraman. DOUG You said three. DOC WILSON Did I? I think you're mistaken. ANGLE ON Doug, looking over at Carla, with a small cast on her wrist and her head beneath a babushka, in the lobby. Doug looks up.",
"INT. CORRIDOR TAVERN MOTEL - DAY Carla, being led by the hand, by Doug. Following them, her Father Jack and Cal the trooper. CARLA I was n't in the car. DOUG We're going to s. JACK Doug, she says that she was n't in the c. They stop at a room, knock on the door. A PAUNCHY SALESMAN opens the door. SALESMAN Yeah? DOUG -LRB- beat. -RRB- I've got the wrong room. The Procession reverses, starts down the hall, runs into Marty coming out of his room. DOUG -LRB- CONT'D. -RRB- -LRB- to Cal. -RRB- Arrest him. MARTY What is the? DOUG Arrest him. CAL For what? DOUG -LRB- beat. -RRB- Conspiracy in Statutory Rape. MARTY Conspiracy in Statutory Rape? Okay. Of whom? DOUG This young woman. CARLA Nobody touched me, I was at home. MARTY -LRB- to Carla. -RRB- Who is it raped you? CARLA Nobody. MARTY Well, what's the beef? DOUG She was in the car with Bob Barrenger last night. And she was injured coming home from a love tryst, so. MARTY You were in the car with Bob? CARLA No. MARTY Then what is the? He steps back into a linen closet, takes Doug with him by the lapels.",
"INT. LINEN CLOSET - HOTEL HALLWAY - DAY MARTY Now what is this, you sonofabitch! Because if you have n't heard about the laws of Malicious Prosecution, you're about to. DO N'T FLINCH WHILE I'M TALKING TO YOU, YOU TWO BIT SPEEDTRAP FRAUD : There's an old saying, two scariest things in the world, a black man with a knife and a Jew with a lawyer. Now, I am a lawyer, and I am the Jew, and you continue ONE MOMENT with this slanderous shit here in this public place, I'm going to have your ass over my mantleplace. THE KID WAS NOT IN THE CAR, SHE SAYS THAT SHE WAS N'T IN THE CAR, NO ONE SAYS SHE WAS N'T IN THE CAR, NO ONE SAYS THAT SHE WAS IN THE CAR, YOU HAVE NO CORPUS AND YOU HAVE NO CASE, AND YOU KNOW IT. SO I'M NOT PAYING PATSY WITH YOU HERE, YOU MOTHERFUCKER. Look in my eyes : I made eleven million bucks last year and I do n't like being trifled with. Now I think that the better part of valor, though we've got your back up here. the better part of valor is to step away. Or, before G - d, I will see you disbarred. -LRB- beat. -RRB- Now, what do you think? -LRB- beat. -RRB- We all have a movie to make. Now, can we stay together here? -LRB- pause. -RRB- What do you say? Have a cigar. He puts a cigar into Doug's pocket.",
"INT. HALL - CONTINUOUS The two come out of the linen closet, Marty with his arm around Doug. MARTY It's a mistake. It's all over. -LRB- to Carla. -RRB- I'm sorry that we've inconvenienced you. CARLA I was n't in the car. MARTY We know that you were n't. They walk down the hall. Before them, Claire, half - clothed, backing out of a motel room. CLAIRE because you treat me like a child. you treat me like a child. that's why I ca n't come. The procession has reached the open door. They look to see whom it is Claire is addressing. Carla looks in the door. ANGLE CARLA'S POV Bob Barrenger, clutching a towel to his naked self, smoking a cigarette. ANGLE The group in the hall. Carla points into the open door. CARLA He took advantage of me.",
"INT. PROD. OFFICE - DUSK Cal, Bob Barrenger, Walt, Doug, Carla and Jack. MARTY upset and impressionable. -LRB- to the A.D. -RRB- Get me the Mayor. BOB -LRB- to Carla. -RRB-. I was just talking to that girl in the other room. MARTY overcome by the events around her, the presence of a high - powered. BOB -LRB- to Carla. -RRB- I never touched her. My mother's gr. MARTY And a fantasy object. DOUG -LRB- to Cal. -RRB- Tell him to get dressed. CAL Uh, sir. The First A.D. enters with lawbooks, marked as to page. MARTY -LRB- takes lawbooks. -RRB- Wally? WALT Look, Carla, this is a hard time for you. Many young people go to Hollywood. I did. and we all dream of it, and here, here Hollywood has come to you. CAL Mr. Barrenger, I'm very sorry, but. WALT Here this dream world has come to you. Now, you obviously have an active, a vivid imagination. CARLA Her. BOB I swear that that woman in my room. WALT Be quiet, Bob. A fertile mind. Now we can use that kind of people in our work. Yes, we can. Now, and this is what occurs to me. There's a part in the film. is n't that right, Marty? Marty is perusing the lawbooks. MARTY Mmm. WALT That we could use you in and I think that's quite a fine trade - off all around and an ill wind that blows somebody good. MARTY -LRB- of the book. -RRB- Here it is : Statutory r. blah, blah, blah, blah. `` statutory''. `` unsupported testimony by the.''. -LRB- he shows the book to Doug. -RRB- Hold on, Bobby. -LRB- to Doug. -RRB- You've got nothing and you know it. By G - d, you know it. Harassment. You need a. even if this was true, you need a witness. You need someone puts her in the car. And you've got nothing. Now we all have. yes, give her that part in the film. -LRB- to Carla. -RRB- Yes, we'd love to have you. Now : we all have more important things to do, is n't that right? Marty starts ushering everyone out of the room. MARTY -LRB- CONT'D. -RRB- Is n't that right? I'm sorry that you all went to this. JACK I knew she was n't in the car. MARTY This has been just an unfortunate. He ushers them out, the phone is ringing. Walt picks it up. WALT -LRB- into phone. -RRB- Yes? Hello, Mr. Mayor. Nothing, just an, an unfortunate. -LRB- he covers the phone. -RRB- It's the Mayor, he's saying. MARTY Is he cool or angry?",
"INT. MAYOR'S HOUSE - CONTINUOUS Mayor on the phone. Sherry in the b.g. MAYOR Well, these things happen. Purpose of my call, my wife wanted to know what brand of cigarettes Mr. Barrenger smokes, so she could lay some out tonight. we got the list of his dietary requirements.",
"INT. PROD. OFFICE - CONTINUOUS WALT -LRB- hangs up phone. -RRB- So we just got lucky. BILL Marty, it's Howie Gold on the coast. He needs your confirmation on a request for money? MARTY And I need a drink. Marty exits. WALT -LRB- to Bob. -RRB- If your memory was as long as your dick, you'd be in good shape. How long since you almost went to jail for this shit? BOB How could she turn on me like that? I thought she liked me. WALT Can we try to keep our pants buttoned and get out of this town in one piece? BOB I'm ready! WALT Stay ready. Stay by yourself in your room. BOB What'll I do for fun? MARTY Why n't you learn your lines? BOB I know my lines. WALT You do? BOB I just do n't know what order they come in. Walt walks away from Bob, shaking his head. ANGLE ON Walt, as he walks down the stairs. WALT I tell you what, let's ditch these cockamamie locals. I need to get outta here. Go to some roadhouse tonight, just us. Claire, Bob, siddown, have a bottle of wine. Tell me where we're going, and let's go. They walk by the bullpen, wherein we see P.A.s refilling Evian bottles from a ratty old watering can. P.A.s take us, with their Evian bottles, into Walt's office, where we see the `` Dinner with the Mayor'' sign.",
"INT. MAYOR'S HOME - NIGHT Twelve overdressed people, including the Postman, the Gunstore Owner, etc. sitting, still around the Mayor's laden dining table. BEAT. Sherry looks over her shoulder. ANGLE ON Next room, the Mayor on the phone. Hushed. MAYOR Well, you must, where did they. where. I. PAUSE Very angry, he HANGS UP and looks out the window. ANGLE POV The Mayor lets the shade drop, walks back to the table. Silence.",
"INT. BAR - NIGHT Doug, in his cups, at the end of the bar with the First A.D. DOUG Hey, you've got ta eat a peck of dirt. FIRST A.D. My wife just went into labor. The bartender studies his state statutes book. BARTENDER'S POV Inside the book, the storyboards show the movie's heroes copulating. DOUG Half a buck I'd close it down. It's per. you know. it's perfidy, you got your Barrenger, molesting little girls. FIRST A.D. He should be put in jail. DOUG Half a buck I'd put him in jail. FIRST A.D. You should. DOUG I had a witness, I would. FIRST A.D. A witness to what? DOUG You know, the rape, to. even to the accident. FIRST A.D. You mean with White? DOUG What? FIRST A.D. You mean you need a witness in addition to White? DOUG Who's White? FIRST A.D. The writer. DOUG -LRB- beat. -RRB- He saw the accident? FIRST A.D. Sure. DOUG He saw the girl in the car. FIRST A.D. You bet he did.",
"INT. MAYOR'S HOME - NIGHT The Mayor and his wife alone at the table. The maid emptying trays of food, untouched, into a galvanized steel garbage pail placed in the middle of the room. One of the guests leaving, putting on her coat. Dips back into the dining room to try to pick up a tray of pate. SHERRY Do n't you touch that. I want them gone. MAYOR I signed the permit. I do n't know how I can. SHERRY I want them thrown in jail. MAYOR Sherry, Sherry. She empties it into the trash. BEAT. The guest, chagrined, leaves. The Mayor, sitting and drinking booze out of a large glass. The phone RINGS. BEAT. He goes to answer it. MAYOR -LRB- CONT'D. -RRB- -LRB- into phone. -RRB- What? -LRB- he jiggles the receiver. -RRB- Get me the State Police.",
"EXT. PRINT SHOP - DAY A sign in the window, `` Sold'' is stamped over and reads `` Under Agreement.'' Early summer morning. Joe, holding a cup of coffee, looking at the print shop. Ann walks up. JOE Good morning. ANN Sleep well? JOE Yeah, you? ANN Oh yeah. JOE We could live up here, live up in the country. ANN Now you're talking. JOE And we could get up every morning. ANN well, we do that anyway. JOE And come to the printshop. You know why? JOE -LRB- CONT'D. -RRB- To print the newspaper. And I'd come to write. To write. To write. Right here in the office. ANN Not without a rolltop desk. JOE Well, I could get a rolltop desk. ANN Happen to know where there's one for sale. JOE Well ai n't you amazing. They walk on, onto the scene of various filmfolk setting up.",
"EXT. STATE AND MAIN - INTERSECTION - CONTINUOUS ANN Lookit that, up already. JOE That's why we filmfolk get along so well with you farmers. Both up with the chickens. They push through the mass. The street is closed off by Police Cars. They come upon a TV REPORTER doing a standup in front of the firehouse where we see, in front, both the old firetruck and state trooper cars. TV REPORTER Where Movie Star Bob Barrenger, fresh from his troubles with the law last year. ANGLE ON Ann and Joe, as they look on. ANGLE ON A state trooper and Doug, as they walk through the crowd. Marty walks up to the TV REPORTER. TV REPORTER -LRB- CONT'D. -RRB- is once again in hot water. Involved in a car crash last night with a young, a very young woman, Mr. Barrenger is being arrested today for. MARTY You better make sure you got your facts straight, pal, cause, you step off the line and I'm going to sue you personally for. The trooper, Doug, and Bob Barrenger walk up to Marty. TROOPER We're looking for a Joseph Turner White. MARTY Oh, good, yes. Good morning. Where are you taking Mr. Barrenger? TROOPER We are looking for a Mr. Joseph Turner White? MARTY What are you doing with Mr. Barrenger? DOUG He's under arrest. Doug hands the arrest warrant to Marty. MARTY Oh, good. I'm his lawyer. and you must be Perry Mason. Guess what, you're about one - half step from a world of hurt. how diverting. the Mayor's gon na have your ass. Can I watch? CAMERA takes the group, the trooper, Doug, Bob, in handcuffs, Marty talking with them, through the crowd, on the back of which we see Ann and Joe. DOUG Well, you guess what. The Mayor sent me. I have your Mr. Barrenger with a history of. MARTY a history of nothing, he was acquitted. DOUG Moral turp. you're on my home court, friend. I have the Mayor and the town behind me, and forget making your movie : I may own the studio when I get through with you : I got a civil suit, I got rape, I got collusion. MARTY You've got nothing, you do n't have a witness. DOUG And I've got a witness! Your Mr. White saw the crime. MARTY He told you that!? DOUG He did n't have to tell. MARTY I want to talk to him. Would you ex. DOUG Oh, you're his attorney, too? MARTY Later for you, pal. DOUG Okay. He motions the cop to take out Barrenger. Marty sees Joe in the back. MARTY Bobby, do n't say anything. BOB Nothing happened. DOUG We'll see about that at the inquest. ANGLE ON Marty, as he leads Joe down into an alleyway, and into a backyard, hung with washing on the lines. MARTY Yeah, hi, pal. I need to talk to you.",
"INT. BOOKSHOP - DAY Ann, Joe and Marty. Cal has followed them into the bookstore. He speaks privately with Ann and exits. ANN What is it all about? JOE I saw. MARTY How do they know that, you told them? JOE No. MARTY What did you say to them? JOE I did n't say anything to them. MARTY How do you know you saw it? JOE I do n't know. MARTY Well, then, you did n't see it, right? JOE I do n't. MARTY You did n't see it. JOE I? I saw it. I was there. MARTY You were there. At. at 10:35? Joe takes the arrest warrant. Looks at it. Changes his glasses. JOE -LRB- as he reads. -RRB- I was walking down the street. I remember, I was writing a. MARTY What glasses were you wearing? -LRB- pause. -RRB- Were you wearing your reading glasses? JOE I. MARTY You told me you were writing. Do n't you wear your reading glasses to write? Marty's cellphone rings and he answers it. After a pause, he hangs up. MARTY -LRB- CONT'D. -RRB- I've got to go to the jail. He exits, leaving Walt alone with Ann and Joe. ANGLE ON Ann. She sees something down the other street. We see Cal, the policeman, enter and start toward Joe. We see Ann restrain him, and speak to him in the b.g. for several moments. He shakes his head, and she reasons with him, and there is a pause and he looks at Joe, and exits. BEAT ANN he's going to give you a couple of minutes. PAUSE Joe walks Ann off to the closed back door of `` The Waterford Players.'' JOE What am I gon na do? ANN You got to tell'em that you saw the accident. Do n't you? JOE I ca n't do that. -LRB- pause. -RRB- If I tell them, they'll, if I tell them, they'll try Bob for rape, they'll. it'll ruin his career. ANN But that's what happened. JOE But it'll stop the movie. ANN Maybe they'll be other movies. JOE They'll. they'll blackball me. ANN Carla was in the car, right? JOE I. I think that's right. ANN you think that's right. PAUSE JOE What'm I gon na do? Ann picks up a copy of the old Waterford Sentinel, which was left on the coffee table. Ann hands the paper to Joe. ANGLE ON Joe, holding the paper. ANGLE INS. The masthead reads, `` Waterford Sentinel, All the News of the Mountains, ` You Shall Not Bear False Witness.''' ANGLE ON Ann, who has also picked up the `` For Sale'' sign, showing the printshop. She stands looking at Joe. BEAT. Cal enters. They look towards him. CAL Lotta hubbub on the street. I'm taking you the back way.",
"EXT. BACKYARD OF THE BOOKSHOP - DAY Cal walks with Joe, still holding the newspaper. As they round a housecorner, Walt appears and walks with Joe. WALT -LRB- checks watch. -RRB- Let's speak English. You've got to help the side. JOE You want me to lie. WALT To the contrary. I want you to tell the truth. -LRB- pause. -RRB- The truth is, you ca n't tell me, to a certainty, that you saw the thing. You do n't remember, a gun to your head, which glasses you have on. And you have a fertile imagination. Imagination wants to fill in the blanks. Now. IF you are n't sure, then they have nothing. Bob walks free. As he should. -LRB- pause. -RRB- Joe : was n't long ago they buried actors at the crossroads with a stake through their heart, you know? The people who are talking to you about the way we live though we may praise them, we fear them. And they fear us. Because we tell the truth. About our lives. Now, this is a damn roost, and everyone knows it ; the guy is looking for a case, he wants to make a name for himself. If we let him do that, if we let him do that, then we're being false to our community. to our community, you understand? To our world. Cause you are a part of that world, now. You have to take off the steel Rolex and put on the Gold Rolex. -LRB- pause. -RRB- And be part of your world. I got a five picture deal with the studio. And you stick with me. You write one, two more, you stick with me, and you'll direct the third one. You are a part of this world. You have to do the right thing : we're out in the Provinces, the Sheriff, literally is at our door. You have to stand with the troops, Joe. That's the bottom line. You have to. if you had the leisure to think it through, you'd see it for yourself. The girl was n't in the car. Cal takes Joe to a side door of the courthouse.",
"INT. SMALL COURTROOM - DAY Joe coming in through the side entrance of the courtroom. Various law books and dusty forms on the shelves. Cal leads him into the courtroom, empty, save for the court reporter, Maude and the BAILIFF. Cal motions Joe forward. CAL Joseph Turner White. BAILIFF Hear ye, hear ye. Sixth District Court. And for the county of Kadona, State of Vermont, the honorable James Addison Flynn presiding. All those having business before this court, draw forward and you will be heard. Judge enters. BAILIFF -LRB- CONT'D. -RRB- All rise. JUDGE Please. Mr. White? This is a simple matter of. Scott hands him a sheet of paper. JUDGE -LRB- CONT'D. -RRB- Uh huh, all we need's a simple fact or to. you're going to give your recollection of the accident last evening, at the corner, State and Main. Would you please swear him in. BAILIFF Do you swear to tell the truth.",
"EXT. MAIN STREET - DAY A crowd, moving along, with the TV Reporter. TV REPORTER -LRB- talking into camera. -RRB-. the arraignment, as we said of Bob Barrenger, The Bob Barrenger, star of `` The Old Mill,'' about to begin shooting here, in picaresque and sleepy. -LRB- sound of shouting, and reporter looks around. -RRB- we should say, formerly sleepy. Yes, yes, it's. yes, it's Claire Wellesley, and we're going to try to get a look at. The crowd moves away, revealing Ann, standing in front of the realtors, looking at a card in her hand. She looks up to see Joe coming toward her. ANGLE ON Extreme close up, she smiles. ANGLE ON Extreme close up, Joe. He looks toward Ann, sheepishly. ANGLE BACK ON Ann, as she looks down at the card in her hands. ANGLE INSERT It is the real estate placard for the printshop, marked `` under agreement.'' ANGLE ON Ann, as she rips it up.",
"INT. LOBBY OF THE HOTEL - DAY Joe, coming in, a hangdog look on his face. P.A. -LRB- to Joe. -RRB- They need those rewrites on the `` Old Mill'' scene. Joe nods. Continues through the lobby. ANGLE ON Various reporters, Scott being interviewed. SCOTT about his personal life, though I can tell you a few things about. Joe walks past. JOE Would you please hold all calls to my room? SCOTT Though I can tell you a few things about his dietary requirements. The old bellhop is packing up his lunchbox and changing into his streetclothes.",
"INT. JOE'S ROOM - DAY Joe enters and takes out his pad and pencil. He sits on the bed. On the pillow, he sees and picks up a black and red hunting jacket, onto which the one foot short sleeve has been knitted in baby blue. There is a card in the picket that reads `` Better than new - it's got a story!'' He puts it down. He picks up his notebook, in which he has written : `` The Purpose of the Second Chance is to allow you to make the same mistake twice.'' He stops by the mirror on the chiffonier into which he puts the lure, which still has the attached card reading `` The truth may not always set you free, but it's always the truth - Joseph Turner White.'' Joe goes to the bed. On the bed is a small package tied with ribbon. Joe opens it. ANGLE INS. It is a small thing of maple syrup. Attached to it is a card reading : `` It is your invention which makes everything sweet.'' He takes off his jacket, and picks up his notebook. Out of his jacket pocket falls the old copy of the Waterford Sentinel. He picks it up. ANGLE JOE'S POV The masthead : Waterford Sentinel `` The Voice of the Mountains, You Shall Not Bear False Witness.'' He puts the newspaper down. Picks up the maple sugar card again, and looks at it. He sees an arrow and turns it over ANGLE INS. The back of the card reads : `` How about an Associate Producer credit?'' He takes the paper, balls it up and throws them into the trash. He picks up the fishing lure which is resting on the typewriter. Puts it into his pocket, thinks again, throws it in the trash. Shakes his head, and picks up his suitcase and starts packing.",
"EXT. ANN'S STREET - DAY On Doc Wilson, as he walks down the street. A little kid, on a scooter is going in the other direction. KID ON SCOOTER Mornin', Doc. DOC WILSON Mornin', Billy, where ya goin' in such a hurry? KID ON SCOOTER Down the corner, see the ruckus. DOC WILSON Watch the curbs, now. ANGLE ON Joe, as he stands across from Ann's house, looking at it. He holds his suitcase. DOC WILSON -LRB- CONT'D. -RRB- -LRB- of his suitcase. -RRB- Where you off to? JOE I, uh. I'm leaving. DOC WILSON Why? JOE I perjured myself. -LRB- pause. -RRB- I told a lie, and I ruined my life. That's what I did. -LRB- shrugs. -RRB- I do n't suppose you could help me with that, could you? Turn back the clock, or something? Give me back my, give me back my purity, I do n't suppose you could just wave your magic wand and do that, could you? But what is truth? Eh? Ai n't that the thing? What is true? DOC WILSON It's the truth that you should never trust anybody, wears a bowtie. Cravat's s ` posed to point down to accentuate the genitals, why'd you wan na trust somebody, s ` tie points out to accentuate his ears? Joe turns to see Doc swigging from his flask. In the b.g., we see the bellhop walking. BEAT JOE Are n't you supposed to set an example for people? DOC WILSON Nope. I'm just supposed to hold people's hands while they die. What'd you say your problem was? JOE I just swore my life away, back in that. DOC WILSON -LRB- as he sees an older woman off on a porch to the side. -RRB- Mornin', Chessy, how's the back? Doc walks off to his office.",
"EXT. RAILROAD STATION - DAY JOE I ruined my life. Is n't that funny, that you can actually do it in one moment just like they say. I ruined my life back in that courthouse. Bellhop, who has walked up beside him. BELLHOP What courthouse? JOE Courthouse back in town. BELLHOP Town ai n't got no courthouse. JOE What? BELLHOP Ai n't got no courthouse. Courthouse burnt down, 1960. The train is arriving. The stationmaster puts out the steps to help the people down. JOE Well, where do they hold court? BELLHOP Hold court, they have to, science lab, the high school. An ELDERLY LOOKING JUDGE FELLOW descends from the train, followed by the CADDY with his golf bag. STATION MASTER Mornin', judge, what brings you here? JUDGE I'm s ` posed to hear some deposition, some fool saw the accident last night. JOE the courthouse burnt down? STATION MASTER Yep. Courthouse burnt down, 1960. Part of a spate of fires, Old Mill, Courthouse. S'posed to've been set by some deranged teenager. Joe looks around. ANGLE JOE'S POV The old bellhop walking down the tracks. ANGLE ON Joe, as he turns back into town. ANGLE CLOSE UP On the Station Master. STATION MASTER -LRB- CONT'D. -RRB- Yep, never did discover who set'em. He smiles, and lights his cigar.",
"EXT. COURT HOUSE BUILDING - DAY We see the crowd has moved down the street and the `` Courthouse'' building is empty.",
"INT. COURT HOUSE BUILDING - DAY Joe enters, and the camera takes him into the deserted building, through the courtroom and, in back, he sees Ann standing alone. He walks back to her, through the doors which appear to be the Judge's chambers. ANGLE REVERSED We show that the walls of the Courtroom are the set, and we are back in the `` Trials of the Heart'' set. Ann is sitting there. Reading her play by Joe White. He looks at her for an explanation. Maude, the court reporter woman, is sitting in the b.g. Ann is knitting in pink wool. ANN I thought you needed to get it out of your system. Ann moves to embrace Joe. They hear screaming. They turn.",
"EXT. MAIN STREET - DAY ANGLE THEIR POV At the end of the alleyway, in Main Street. We see Sherry, the Mayor's wife, leading a crowd. SHERRY a blight, a blight and an obscenity. that's good English, is n't it? How's that for entertainment? ANGLE At the mouth of the alleyway, on Main Street. We see : ANGLE INS. The baseball on which is written `` To Chucky from your best friend, Bob Barrenger.'' ANGLE XCU The distorted face of Chucky, heaving the baseball. ANGLE ON Bob Barrenger being led through the crowd, a baseball hitting him in the back of the head, as troopers hustle him toward the courthouse. In the b.g., Ann and Joe emerging in the alleyway. ANGLE ON Ann and Joe, who starts to cross the street. We see the airport van. ANN What are you going to do? JOE I'm going to tell the truth. They start to cross the street. In the b.g., a little man with a bag -LRB- HOWIE -RRB- gets out of the airport van. Joe and Ann walk toward the crowd at the mouth end of the high school.",
"INT. HIGH SCHOOL CORRIDOR - DAY A crowd of people, TV technicians, and a view of Doug on a TV monitor. DOUG and to exterminate this vermin, yes, I use that term, who have abused, who have desecrated, yes, the license granted to them by a gracious nation. ANGLE ON Marty and Walt, standing near the monitor, looking on. Shaking their heads. ANGLE ON The monitor. Doug, seen through the monitor. DOUG -LRB- CONT'D. -RRB- who spew filth and degradation. -LRB- begins to wipe his head. -RRB- As he does so, a makeup person comes in and sponges him. DOUG -LRB- CONT'D. -RRB- thank you. TV REPORTER you want to clean up? ANGLE ON Doug, seen `` live'' in the next room, starting to wipe his brow. DOUG Yes, thank you. ANGLE ON Marty and Walt watching Doug, as he walks down the hall. TECHNICIAN Five minutes, and we're going live to the network. DOUG -LRB- to himself. -RRB-. foreign, and un - American perversions of the Democratic process. By those we have entrusted with our dreams. ANGLE ON Marty and Walt, looking on. WALT Do something. MARTY You tell me what to do, I'll do it. They look on to the preparations for the TV. WALT and I was just paying off my house in Malibu. Ann and Joe push through the crowd. WALT -LRB- CONT'D. -RRB- Thank G - d, it's up to you, Pal. Sup to you. JOE I'm out. WALT I do n't getcha. JOE The girl was in the car. WALT I treated you like a son or nephew. JOE It's no you, it's. WALT No, what is it? JOE I have to tell the truth. WALT that's just so narrow. JOE The girl was in the car. WALT Then you're finished in show business. JOE So be it. WALT And my company sues your ass for sixty million dollars. JOE For what cause? WALT I do n't need a cause, just a lawyer. HOWIE GOLD shows up holding his bag. HOWIE I'm a lawyer. MARTY Howie. HOWIE Yeah? MARTY What are you doing here? HOWIE What am I doing here is I just flew seven hours cause you asked me here. WALT What for? HOWIE -LRB- presenting the bag. -RRB- For this. I hope you need it, cause it's coming outta your budget. ANGLE INS. : The Bag, as Marty opens it - it's full of MONEY.",
"INT. LAVATORY HIGH SCHOOL - DAY Doug is mopping his face up. He looks up. Marty is standing there. MARTY Hi. DOUG I'd prefer it if you did n't speak to me. MARTY I. DOUG you know, there's nothing you could say, that could possibly make a difference, so, why do n't you just save your breath. Marty puts the case up on the washstand. DOUG -LRB- CONT'D. -RRB- What's in the case? MARTY Eight - hundred thousand dollars in cash. PAUSE DOUG And what was it you wanted to say? MARTY Gut Yuntif.",
"INT. HIGH SCHOOL CORRIDOR - DAY Ann and Joe passing through. They stop and Joe comes up to a State Trooper. As we press forward the Mob begins to reverse direction and passes back towards Joe. Leaving the Hall empty, save for the Judge who comes out, putting his robs into his golf bag. JOE -LRB- to Judge. -RRB- I've come to give myself up. JUDGE Well give yourself up to someone else. I'm gon na get in some golf. Hiya, Annie. Give yourself up to her. And we see Joe has moved up to the TV monitor, where we see Doug, in the Science Lab, talking to the press, and holding his money bag in his arms. DOUG I have learned a lesson. And the lesson is this. that everybody needs a second chance. You, me, and these fine, film people here. You know, they have a high profile, but that does n't mean they are n't deserving of our trust, and of our respect. You know, I think there is a lesson here, and the lesson is this : it is a lesson of Tolerance. and, as we look at this industry, at this clean, American industry, and as I begin my campaign for congress. DISSOLVE",
"EXT. MAIN STREET - DAY Walt on the scene, talking with the cinematographer, and the Camera Operator, preparing the first shot. The First A.D. instructing the extras. FIRST A.D. Okay. Are we getting set up here. are we getting set up. People? Can we settle. can we settle now?",
"EXT. MAIN STREET - CONTINUOUS ANGLE ON Ann. As she, holding the placard starts to cross the street. An old farmer smoking a pipe, driving a pick up is stopped by a P.A. talking on a walkie. We see that it is the `` Judge'' who listened to Walt's testimony. Ann waves to him, and proceeds to the Old Firehouse, where they are about to make a movie. FIRST A.D. Okay, this is picture. Ann stops at the back of the crowd of onlookers. She waves to someone. ANGLE ANN'S POV It is Joe, sitting near the director, who waves back. ANGLE ON Ann, who is next to Cal, the policeman, now in leather jacket and leaning on his Harley motorcycle. FIRST A.D. -LRB- CONT'D. -RRB- Quiet, please. ANGLE ON The slate, which reads `` The Fires Of Home.''",
"EXT. MAIN STREET - FIRESTATION - CONTINUOUS Where they are filming the characters in turn of the century garb. Bob Barrenger, dressed as a fireman, is polishing the old fire engine. The actor playing Doc Morton walks past. DOC MORTON Mornin', Harry. Heard you had a little fire last night. FIREMAN Waal, you did n't have nothin' to do, Doc, would n't life be dull? Two nuns walk by. BOB Mornin', sister. CLAIRE -LRB- in nun garb. -RRB- We missed you in Church today, Frank. BOB Sister, I've just come from a fire. ANGLE ON Joe, sitting near the camera, looking through the script. Reading along, mouthing the words. He wears the plaid jacket, one sleeve is pink, knitted. ANGLE ON The on - lookers. Ann, Cal, next to her, lounging on his motorcycle. Grace and Maude, Spud and Morris, the Postman, the fake Judge, who is also the man smoking the pipe in the first sequence and is smoking a pipe now, Scott from the hotel, etc.. ANGLE ON Crew, and the film within the film. We see the lively stable across the way. On its side are painted various ads. Among them, one which says : `` Stefan P. Bazoomercom'' and Marty is standing next to it. Looking on at the scene being filmed. An A.D. brings him a cup of coffee. The A.D. is passing out pink bubblegum cigars, the bands of which read `` It's a Girl!'' ANGLE ON Film within the film, the group at the camera watching, transfixed. SISTER to come by next Sunday, and we'll give you a second chance. BOB Only second chance I know, chance t ` make the same mistake twice. SISTER Well, time will tell. She walks past the `` Bazoomer.com'' ad. FIRST A.D. -LRB- holding cellphone to his ear. -RRB- That's a cut! ANGLE ON Ann and Cal, as they talk, the firedog comes over and Ann gives him a biscuit. In the b.g., we see the man with the pipe get into his pickup and drive off. The Postman goes off continuing his rounds. ANGLE ON Ann and Cal as they talk. Next to them Morris and Spud congratulate each other. Next to them, we see the fake judge and the bailiff. CAL Mom's expecting you for dinner tonight. ANN I'll be there. CAL You bringing your new friend? ANN Sure plan to CAL -LRB- pause. -RRB- He have any special delivery requirements? ANN He'll eat potroast and like it. CAL Go you Huskies? ANN You bet your life. ANGLE ON Joe, as he looks over at Ann and smiles. ANGLE ON Ann, giving him a `` thumbs up'' sign as the Firedog comes and sits next to her. In the b.g., we see the pickup hit the pothole and bounce. FADE TO BLACK. THE END."
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] | Havoc is wrought on the inhabitants of a small New England town by a troubled film production. After the leading man's penchant for underage girls gets them banished from their New Hampshire location, the crew relocates to the small town of Waterford, Vermont, to finish shooting The Old Mill. As its title suggests, the film depends on the presence of a genuine mill, something the town is reported to possess. Unfortunately, with only days before principal photography begins, it becomes apparent that the mill in fact burned down decades ago. Unfazed, the film's director, Walt Price (William H. Macy), places his faith in the ability of first-time screenwriter Joseph Turner White (Philip Seymour Hoffman) to alter the script. What he doesn't count on is White's apparently bottomless reserve of angst-fueled writer's block. A local bookseller, Annie Black (Rebecca Pidgeon), tries to provide White with inspiration. The film's leading lady (Sarah Jessica Parker) refuses to do her contracted nude scene unless she's paid an additional $800,000, while the foreign cinematographer offends the locals by messing with a historic firehouse. Meanwhile, the leading man, Bob Barrenger (Alec Baldwin), dallies with Carla (Julia Stiles), a crafty local teen. Everything comes to a head after Barrenger and Carla are injured in a car accident, which leads White (the only witness) to another emotional quandary and into the arms of Annie. Meanwhile, a powerful movie producer (David Paymer) comes to town to help Price with the ensuing mess. | State_and_Main |
[
"LIFE AS A HOUSE A clock alarm SOUNDS over TITLES on BLACK. We HEAR someone clearing congested lungs, coughing up phlegm ; a slight crash STOPS both the cough and the alarm.",
"EXT. GEORGE'S BEACH SHACK - MORNING The cottage is a tiny, peeling paint rat - trap set dead center on a small ocean front cul - de - sac, surrounded by four massive post - modern mansions.",
"INT. GEORGE'S BEACH SHACK BEDROOM - MORNING GEORGE NELSON, 42, squints and shivers as the spotty morning light and ocean breeze enter through an open window. Bold waves crash against the cliffs outside the room. A five - foot wide stack of hand hewed beams are piled pyramid style, making movement in the room next to impossible. George stands shirtless in underwear and coughs again. He steps over a pile of tools and stands at the window, facing the sea. A happy sounding tune by Guster, `` WHAT YOU WISH FOR,'' begins with the lyrics : ` Woke up today, to everything gray and all that I saw just keeps going on and on.'",
"EXT. WEBBER'S HOUSE - MORNING The post - modern house is three - levels of concrete and glass.",
"INT. SAM WEBBER'S BEDROOM - MORNING SAM is sixteen with spiky black hair, a nose ring, two earrings and painted black nails. The song continues with :'. sweep all the pieces under the bed, close all the curtains and cover my head.' Sam looks wasted as he climbs out of bed and rummages through his dresser, retrieving an empty bottle of prescription drugs ; he tosses the bottle. He walks to a desk where a half - built model of a house sits unfinished and squeezes glue into a plastic bag and sniffs it. Sam enters the closet and digs into a pile of dirty clothes, pulling out the tie to a robe ; he knots it around the closet pole and then twists it once to form a noose. He slips his neck through the noose and lowers his body ; though we do n't see exactly what he's doing below his neck, it's evident through his jerking arm that he's masturbating.",
"EXT. BECK'S OCEAN FRONT MANSION - MORNING COLLEEN BECK, George's next - door neighbor, is a well maintained blonde in her late thirties. She walks out of the angular concrete mansion, grabs the paper and walks back in.",
"INT. BECK'S KITCHEN - MORNING This is a minimalist kitchen, with pored concrete walls and stainless steel cabinets. Colleen drops the paper on the table and walks to the sink to wash her hands. The SONG CONTINUES :'. If this serenade is not what you want, it's just how it is.' Colleen appears distracted for a moment. She walks outside onto the terrace with wet hands, then bolts back in, breezing through the kitchen with purpose.",
"INT. ALYSSA BECK'S BATHROOM - MORNING ALYSSA is sixteen and perfect with strawberry blonde hair and white teeth ; her head is partially out the bathroom window. Colleen bursts in, eases Alyssa aside and with effort, sticks her head out of the same high open window. COLLEEN This is ridiculous! We must not see exactly what they see, but out the window and almost beyond view, a stream of urine arks out from George Nelson's beach house bedroom, into the pacific ocean some twenty - feet below. The piss stops. Colleen bangs her head trying to get it back inside the house.",
"INT. WEBBER'S UPSTAIRS HALLWAY - MORNING ROBIN WEBBER is George's ex - wife, still beautiful at forty. She herds two boys, RYAN -LRB- 8 -RRB- and ADAM -LRB- 7 -RRB-, down the hall. ROBIN Run downstairs and give your dad a hug. RYAN Why? ROBIN He'll be gone for his birthday. ADAM Can we have a party for him while he's gone? Robin stops and KNOCKS on a bedroom door. ROBIN I hope you're showered and ready for school! A loud CRASH stops Ryan and Adam at the top of the stairs.",
"INT. SAM'S ROOM - MORNING Robin rushes in and glances around the room for her son. ROBIN Sam?!",
"INT. SAM'S WEBBER'S CLOSET - MORNING The closet pole and a long line of clothes have been felled by Sam's dangerous whack - off technique ; he's on the floor with the robe tie still around his neck and a pile of shirts sprawled over him. The song continues :'. come out come out, wherever you are, would you do it all over right from the start, and what you wish for wo n't come true, you are n't surprised to love, are you?' Robin stops at the door, trying to figure out why her son is sitting in a pile of his own clothes. Ryan and Adam join her, looking equally perplexed.",
"EXT. GEORGE NELSON'S CUL-DE-SAC - MORNING George's dog, GUSTER, is doing his business on the lawn of a modern day robber baron, DAVID DOKOS, who exits his house with a briefcase. He hops into his Mercedes and proceeds to chase Guster straight across his well - manicured grass. Guster easily escapes death and runs off. George walks out of his shack as David hops the curb, flips him off and drives away. George waves goodbye. GEORGE Stick it up your ass! Have a nice day. -LRB- glancing around. -RRB- Guster! Guster runs to his side as Colleen rushes out of her house. COLLEEN This has got to stop! GEORGE He escaped. He's going back in. COLLEEN Does it give you some sort of perverse pleasure to expose your. penis in plain view of my sixteen year - old daughter? GEORGE There are no windows facing my. exposure. COLLEEN George, this is the third time. GEORGE The plumber's due out on Friday. COLLEEN You'll have to explain that to the police. GEORGE You were the only neighbor I could tolerate. COLLEEN I did warn you. GEORGE My life is a warning. I just ca n't figure out for what. Colleen shies away from George's stare ; he finally turns and walks toward the house but stops short as he turns back. GEORGE -LRB- CONT'D. -RRB- Colleen, how hard was it for you to get your head outside that window far enough to see my dick? This stops Colleen for a moment ; it was difficult. George walks back to the cottage and locks Guster in before stepping into an old Ford truck and driving off. Colleen watches him drive off, then turns to her house and stares.",
"INT. WEBBER'S DINING ROOM - MORNING PETER WEBBER, Robin's husband, is a distinguished, intimidating man with silver hair and an expensive suit. LOIS, the maid, serves French toast to Ryan and Adam as Robin sips tea. ADAM Sam broke his closet. Peter glances at Robin, who shrugs. ROBIN I do n't have a clue anymore. I wish you'd talk to him. He needs a man. PETER His father is a man. ROBIN A man he respects. Sam walks into the room from the hall, outfitted in all black with kick ass boots. SAM Thanks for talking about me behind my back. useful in court. PETER Are you wearing eye shadow? Adam, Ryan and Robin check out the eye shadow. SAM No. PETER Take it off. Sam flutters his eyelids in defiance of his stepfather. PETER -LRB- CONT'D. -RRB- Do it now! SAM If I walk out the door, who's gon na be here tonight for the follow through? Peter hesitates for just a second. SAM -LRB- CONT'D. -RRB- Have a nice flight. Sam's out the door with his eye shadow intact. RYAN Queer. ROBIN What did you say? RYAN Dad said it first. Robin focuses on Peter, who simply shrugs. Adam stands up, walks over to his father and gives him a hug. ADAM I get chocolate cake for your birthday. PETER Are your hands clean? Adam is quick to back away from his father and lick the fingers of one hand.",
"INT. COMMUTER TRAIN - MORNING George is resting his head against the glass window as he stares out at the blighted landscape leading to downtown Los Angeles. A sudden pang tightens his face ; he presses his hand against his stomach and closes his eyes.",
"EXT. LAGUNA BEACH HIGH SCHOOL - MORNING Sam is alone at the back of the parking lot, sitting on the hood of an old Saab, smoking as two boys, JOSH and MAREK, both seventeen, park a Porsche and pull Alyssa Beck -LRB- George's peeping neighbor -RRB- and another girl out of the backseat. MAREK Dude, nice look. Sam simply nods as Marek and the other girl laugh at his all black garb, earrings and eye shadow. ALYSSA I saw your dad this morning. Sam drops his cigarette and stomps it out as he stands ; his face lightens as Alyssa waves before walking away. JOSH Been thinking? SAM No. MAREK Forget him! JOSH Two hours a week for three - hundred cash. The whole summer. Do the math. -LRB- as a dig. -RRB- They consider that a hatchback or a station wagon? Oh, that is n't yours anyway, is it? Josh raises his eyebrows and smiles before walking away. Sam faces the Saab and kicks the bumper as hard as he can. Suddenly, a boy -LRB- COREY -RRB- bolts up from the back seat. COREY I was in total REM, man!",
"INT. DOWNTOWN LOS ANGELES HIGHRISE - LATE MORNING The architectural firm of Benson and Feinsilber occupies the entire fortieth floor ; George Nelson is their sole model maker. Rather than offices, most of the space is open, segmented only by portable low walls. Along the outer walls, below the long line of windows, is a shelf filled with amazingly intricate models. George is alone in a cubicle of his own, cutting polystyrene with a hot wire. STEVEN GARDNER rounds a corner with a velocity that makes George flinch. STEVEN Done. close to done? GEORGE I'm doing the grass. STEVEN Fuck the grass. Who said grass? Steven exits as quickly as he entered, but as soon as George goes back to work, Steven pops his head back in. STEVEN -LRB- CONT'D. -RRB- Burke bided out the Berlin Plaza. Did he tell you? GEORGE I was going to start Monday. STEVEN He likes the look of the computer models, anyway. You take too long. -LRB- beat. -RRB- After you mow the grass, would you mind bringing the house to my office? I have a presentation to make. George simply stares as Steven nods and leaves.",
"EXT. HIGH SCHOOL CAFETERIA ATRIUM - LUNCHTIME Sam is by himself, his eyes closed, listening to music through headphones as Alyssa stops to stare ; she visually scans him head to foot, appearing slightly perplexed as a friend passes. FRIEND I would n't make a habit of it. ALYSSA Okay. The friend walks on ; after a beat, Alyssa does too.",
"EXT. TOP OF THE WORLD PARK - EVENING In the distance, the sun colors the sky a blinding orange as it sets. A Range Rover with blackened windows is parked behind a Porsche. ` TINTED WINDOWS,' an up - tempo tune with a hand clapping by the Pansy Division, begins :' A bed would be a treat/But all we've got is this backseat/Tinted windows are a beautiful thing.' Through the front windshield, we can see Marek sitting in the passenger's seat with his eyes closed. ANOTHER VIEW Josh, Marek's friend, is sitting on a bench in the park behind the cars.' A dark secluded spot/In a deserted parking lot/Tinted windows are a wonderful thing.' Suddenly, the passenger door on the Rover opens and Marek climbs out, brushing his hair with his hands before casually checking his zipper. He closes the door and the car speeds away. Josh walks to Marek and wordlessly they climb into the Porsche and drive off.",
"EXT. GEORGE NELSON'S BEACH SHACK - DAY George is shirtless in his front yard, hand hewing a twenty foot beam. One strong, long pull and a thin shaving flutters to the ground ; Guster nabs it and starts to chew. GEORGE You'll crap real logs if you keep eating wood. Guster appears unconcerned as he awaits a new shaving. ALYSSA -LRB- O.S. -RRB- Hi, Mr. Nelson. George glances up, wipes the sweat from his forehead as Alyssa walks toward him in white shorts and a tee shirt. ALYSSA -LRB- CONT'D. -RRB- Sorry I got you into trouble. GEORGE I'll survive. George goes back to works and Guster taste tests shavings as Alyssa searches for something else to say. ALYSSA Does Sam have any friends? George stops and looks up ; he has no idea how to answer. GEORGE He must. ALYSSA He seems lonely. GEORGE Are you his friend? ALYSSA No. GEORGE Why? ALYSSA Marilyn Manson. and I guess he's into guys. I hate nose rings. And the blue eye shadow thing really is n't working. George is totally confused, unsure most of the answer, but before he can question her, a police car pulls to a stop ; OFFICER KURT WALKER steps out. KURT Thought I'd run over the list. Officer Walker removes a pad from his pocket and flips through to find his place. ALYSSA This is such a street of whiners. KURT From Tuesday to yesterday, not including Monday or today. Okay. Mrs. Dokos is repeatedly running over her lawn. The Corliss' have attributed the increase in rat population in their environs to the state of your. structure. ALYSSA IPO's caused the rat population on this street. Officer Walker focuses on Alyssa. KURT And of course the Beck's, with the. ALYSSA It could have been a squirt gun. KURT -LRB- to George. -RRB- You've been good this week. GEORGE You forgot David Dokos and Tom and Barbara. Kurt stuffs his pad back into his pocket. KURT Mr. Dokos calls animal control for Guster and I was out here on the other. -LRB- pointing to the plane. -RRB- Do you mind? George hands him the plane and Kurt begins to work the wood. ALYSSA Are you guys' friends? KURT We've known each other since grade school. ALYSSA I mean, but did you both go camping on weekends? Listen to music? Masturbate together? Talk on the phone? George does n't answer and Kurt keeps working. KURT Hunted rabbit in the hills. Alyssa stares at George, disappointed. GEORGE I aimed high. KURT We just were n't very much alike, I guess. I do n't know. -LRB- casually ; to George. -RRB- I liked your dad more than I liked you. ALYSSA I would n't want you as a friend. KURT George just never really. aimed that high. Even with not hitting a rabbit. I knew you were doing that, by the way. That's why I stopped doing it with you. You were no fun. It was always like you were frightened. Quiet and boring. Kurt is beginning to perspire as he shaves food off the beam for Guster. ALYSSA Funny how he's the architect and you're just a loud mouth cop. KURT He builds models for architects. His dad, on the other hand, was the real deal. Designed and built the coolest houses I've ever seen. GEORGE Was bankrupt and dead before I was twenty. KURT Left you this place. GEORGE It was in my name so he would n't lose it. He stole it from everyone that deserved it by putting me on title. KURT Do you know what I'd give to have this! Forget how I got it! I ca n't afford dirt in this town. I live in Riverside, Goddammitt And you get to piss in the ocean. Kurt stops working and steps back. KURT -LRB- CONT'D. -RRB- Your kid was down around Diver's Cover again, smoking pot. I did n't write him up. told him I would n't tell you. GEORGE Thanks for telling me. KURT At least your father tried, George. Kurt walks to his car and drives off. There's a moment of awkwardness with Alyssa. George walks into his house leaving Alyssa with Guster.",
"INT. WEBBER'S KITCHEN - AFTERNOON Robin is sitting at the kitchen counter, cutting carrots ; through the French doors, she's able to watch Ryan and Adam, along with a few friends, play in the pool. GEORGE -LRB- O.S. -RRB- I could be anyone. Robin jerks with fright as half the carrots roll to the floor. ROBIN Then why do you stay you? George picks up the carrots and washes them in the sink. GEORGE You should lock your doors. ROBIN Ring the bell before you try the door. George bites into a carrot as Robin starts chopping again. ROBIN -LRB- CONT'D. -RRB- Did Sam call to tell you he would n't be over this weekend? GEORGE You let him pierce his nose? Robin snatches the carrot from George's hand and chops it up. ROBIN Lock the door behind you. GEORGE Where is he? ROBIN Where he always is. George takes Robin's hand and removes the knife. GEORGE Not that I do n't trust you. As George lets go, Robin holds on ; he appears surprised by her grip of his wrist. Robin's eyes well with tears. GEORGE -LRB- CONT'D. -RRB- I should have knocked. George is clearly not comfortable with his ex - wife's hold of him, with her tears. ROBIN What kind of a mother ca n't stand her son? George jerks his arm away from her grip. GEORGE I do n't know.",
"INT. WEBBER'S UPSTAIRS HALL - AFTERNOON George is tense and he walks to Sam's door and KNOCKS. GEORGE Why are n't you coming in for the weekend? -LRB- beat. -RRB- Sam?! Nothing. George tries the door - it's locked. Frustrated, he walks back down the hall and down the stairs.",
"INT. WEBBER'S KITCHEN - AFTERNOON Outside, the boys are engaged in a raucous version of Marco Polo. Robin is at the sink ; she holds her hair back with one hand and splashes water on her face with the other. George walks by outside, carrying a ladder.",
"EXT. WEBBER'S BACKYARD - AFTERNOON Ryan is the first to notice George. ADAM Marco! RYAN What are you doing? ADAM I'm not cheating! I'm not looking! Robin wipes her face with a hand towel as she rushes out. ROBIN What are you doing? GEORGE He does n't answer. The boys have stopped playing ; Adam opens his eyes. ROBIN He never answers. GEORGE Why does he have a lock on his door? ROBIN Because he put the lock on! Do you think I told him he could have a nose ring?! Why do you ask me everything you should ask him!? I do n't know anything, anymore! The boys line up against the edge of the pool and watch George extend the ladder against the house and climb. ROBIN -LRB- CONT'D. -RRB- You climb up there and tell him what he can and ca n't do. Take him for the summer, okay? Whip him into shape. Cut his hair. Make him smile. Let him hate you for a while! -LRB- sadly. -RRB- You're too late for heroics, George. George lops a leg over the railing and steps onto the bedroom balcony. He peers into the room through the sliding glass door and tries to open it -LRB- locked -RRB- before removing the screen to the small open window beside it. He climbs in.",
"INT. SAM'S ROOM - AFTERNOON Sam is asleep on his bed in his underwear, wearing headphones. On the floor is an aerosol can of whipping cream. George picks up the can and tosses it in the trash. He focuses back on his son with his nose ring, earrings, blue eyeshadow and thin, pale white body. Sam is soundly asleep. George gently removes the headphones from his son's head ; drum heavy music surges from the small, padded speakers. GEORGE You need every brain cell you've got. A KNOCK on the door stirs Sam more than his father's voice. SAM -LRB- half - asleep. -RRB- Leave me alone! Sam's eyes are still closed as he shifts onto his side. George opens the door ; Robin is weak and weepy. ROBIN I do n't know what to do, anymore. Take him. You take him. -LRB- hostile. -RRB- You're such a good father. George walks out of the room, around Robin and down the stairs without a word. Sam stirs at the sound and sits up to confront his mother. SAM What are you doing in my room? ROBIN I did n't go in your room. SAM I locked the door! Get out! I locked the door! Get out!",
"EXT. WEBBER'S UPSTAIRS HALLWAY - AFTERNOON Robin grabs the door and closes it quickly, but does n't move. SAM -LRB- O.S. -RRB- Stupid bitch! Liar! I locked the door! I do n't sneak around your room! Liar!",
"INT. SAM'S ROOM - AFTERNOON Sam rushes over to the window and stares down at the screen and ladder. Ryan, Adam and their friends are still in the pool, holding onto the coping, staring up at Sam. Sam slams the window shut and searches for the can of whipping cream. He gets down on his knees to search under the bed. Standing and making one more pass of the room, he notices the can in the trash. He instantly focuses all his rage at the closed door. SAM This is my room! You have no right in here! This is mine!",
"INT. WEBBER'S UPSTAIRS HALLWAY - AFTERNOON Robin is sitting on the floor at the top of the stairs, staring blankly down at the foyer of this modernist mansion. SAM -LRB- O.S. -RRB- Why ca n't you all just die and leave me alone!",
"EXT. DOWNTOWN LOS ANGELES - MORNING The traffic is thick and loud and the sky is a blanket of brown as George makes his way down a sidewalk mixed with professionals and panhandlers. Suddenly sick, George rushes to the side of a building and vomits.",
"INT. BENSON, KIDDLER, FEINSILBER AND ASSOICATES - MORNING George wipes a clump of wet paper towel against the vomit stain on his cuff as he walks through the pockets of cubicles to a large enclosed office. A SECRETARY smiles as she stands up from her desk and opens the door. SECRETARY Good morning. GEORGE Is there a. He holds out the wad of wet paper towels, but before he can say trashcan, BRYAN BURKE stands up from behind his desk. BRYAN George, have a seat! I've got juice.",
"INT. BRYAN BURKE'S OFFICE - MORNING George steps in and the secretary closes the door to the office. Bryan approaches with his arm outstretched, but George can only raise the paper towels. GEORGE A bird caught me. Bryan grabs a trashcan and holds it up ; George tosses the ball into the trash and sits down. BRYAN Orange juice. croissant? Bryan motions with his hand as he sits. GEORGE I'm good, thanks. BRYAN What are you on? GEORGE Pardon me? BRYAN how much weight have you lost? GEORGE Oh. nothing. Thirty pounds. I just have n't been very hungry. BRYAN How's your wife? GEORGE When we divorce a decade ago, she was very, very angry. -LRB- beat. -RRB- Now she's just hostile. Bryan nods and laughs as he takes a chunk of croissant and chews as he talks. BRYAN Right. she married. what was he? GEORGE He buys and sells the world. BRYAN Peter Webber! Right. Quite the spotlight on that guy. GEORGE I did tell you, did n't I? That I'd be ready to start the Berlin model today? BRYAN Well, that's sort of. you're sure you're not hungry? Bryan is anxious as he holds up the rest of the croissant. George shakes his head `` no''. Bryan tosses his croissant into the trash can and leans forward. BRYAN -LRB- CONT'D. -RRB- This is n't me. -LRB- beat. -RRB- We can show clients endless options, change anything in a matter of hours on the computer. But you wo n't change. GEORGE Typing and clicking myself to renderings is n't why I started building models. BRYAN All of us are typing and clicking, George. Whether we want to, or not. GEORGE I'm not. BRYAN Which is why we bid out a quarter of our projects. It does n't make a lot of sense anymore to want what we do n't have and do n't want what we do. George glances around the office, angered by the thought he's being fired. GEORGE I've been here twenty years. BRYAN Maybe that's too long. GEORGE -LRB- hopeful. -RRB- Maybe? BRYAN That's too long. George nods as he stares at Bryan. BRYAN -LRB- CONT'D. -RRB- Listen, they decided on a week a year severance, but I got them to twenty - six. That's six months salary, George. Medical and everything for six months. You can learn all you need to on the computer long before that. Maybe find a job closer to home. Bryan is rattled by George's blank stare. He takes his glass of orange juice and sits back in his chair, taking a sip, all the while keeping an eye on George. GEORGE My wife left me because I was n't. very emotional. I kept trying to explain that my father sucked all the emotion from me. Drunks do that, sometimes. Make their kids afraid. Make them unwilling to express themselves. Bryan knows he's supposed to say something, he just ca n't seem to figure out what. BRYAN Oh. GEORGE How old are you? BRYAN Forty. GEORGE We were probably in school together. You went to Berkley? Bryan lights up at the sound of his Alma matter. BRYAN Class of eighty - six! I did n't know you were there. GEORGE I was a sophomore when I got the call my parents were dead. This is not the direction Bryan had hoped the conversation was headed. GEORGE -LRB- CONT'D. -RRB- My dad had a blood alcohol level of.18. A little high. Drove right into oncoming traffic. Killed my mother with him. A lady in another car. Hurt her daughter. A five - year old girl. I think about her still. Bryan wants this to end. He leans forward with a whisper. BRYAN Listen. maybe I can get you a year. GEORGE I hate this job. BRYAN What are you talking about? You love your job. GEORGE From the day I started. to today. Ca n't stand it. Bryan is perplexed as George stands. BRYAN Then it sounds like I'm doing you a favor. GEORGE It may sound that way, but I react out of fear. My life has nothing to do with what I like or do n't like. You have n't been listening, have you? BRYAN I did n't know there would be a quiz, George. GEORGE For everything. BRYAN Well, I feel better about this now. GEORGE Good. I was hoping for that. Relieved and not understanding anything about irony, Bryan stands and extends his hand. George shakes Bryan's hand without malice. GEORGE -LRB- CONT'D. -RRB- I've got one favor to ask. BRYAN What can I do for you, George? GEORGE I built my first model here when I was twenty. There are hundreds of them on shelves around the office. Twenty years of my life. I was wondering if I might be able to pick a few to keep, to take home? Only the ones that really mean something to me. Bryan recoils slightly from the request. BRYAN Oh, well. those are. I mean, we do n't get to keep our work. I could maybe ask them if you could choose one. But, you know, frankly George, you were the best. Computer models ca n't begin to match the beauty you gave yours. They're a part of this firm. They inspire me. I go out there and sometimes just stare at something I've designed. It amazes me. I would miss that too much. -LRB- beat. -RRB- Look, I may be going out on a limb, but you go out there and look them over, every single one of them and pick the one you like the best and take it with you. Just run it by me first, just in case, you know. but I'm sure it'll be okay. GEORGE Thank you. BRYAN Well, it's the least I can do. GEORGE Yes, it is. George nods and leaves. Bryan looks lost and guilty again.",
"INT. BENSON, KIDDLER, FEINSILBER AND ASSOICATES - MORNING George walks around the maze of cubicles back to his own. He finds an empty box and starts to pack. Against a wall, a large rack is filled with spools of architectural plans. George pulls one of the plans down, rolls it out and detaches the wooden spool. Without warning and with a fury hard to fathom, he proceeds to bat and smash a shelf of beautifully rendered models. Heads pop up in other cubicles as George walks out of his own and armed with a frightening rage, methodically attacks model after model resting on shelves just below massive plate glass windows that frame downtown Los Angeles. Steven Gardner, who asked for his model without grass, rushes to within feet of George as he witness his creation deconstruct into shards of cardboard and plastic. STEVEN Mother of God! Not my house! George stops for a second to focus on Steven, but Steven is smart enough to run. George continues on with the business of disassembling his work. VOICE Oh, please, please, no! The plea is instantly followed by a pathetic low whine. George works up a sweat as he whacks model after model ; portions of plastic walls or window splatter the office as though bombed in war. Bryan Burke's secretary inches as close as she dares. SECRETARY Uh. Mr. Burke would like a word with you, George. George lowers his stick as he faces her. GEORGE Oh. okay. SECRETARY In his office. When you're able. GEORGE Thank you. With that, George finishes what he began only minutes prior : the complete and utter destruction of every model displayed on every shelf in the office, save one. Workers huddle together, collectively moaning and moving en mass from the mayhem. George picks up the sole surviving model in his arms and cradles it carefully as he walks into Bryan Burke's office.",
"INT. BRYAN BURKE'S OFFICE - MORNING Bryan cowers behind his desk as George enters with his model in one hand and the long wooden stick in the other. GEORGE I'll take this one, if that's okay? It takes Bryan a few aborted attempts to answer before he simply nods. GEORGE -LRB- CONT'D. -RRB- Thank you for going out on a limb and allowing me one. Bryan nods again, then quivers as George steps forward, leans the stick against the desk and extends his hand. GEORGE -LRB- CONT'D. -RRB- You're a great architect and a miserable human being. Bryan winces as he extends his hand. They shake hands and George grabs hold of the stick again. BRYAN Thank you. George walks around the desk and bashes in a model hidden on the floor, one that Bryan had obviously wanted to save. BRYAN -LRB- CONT'D. -RRB- Oh, fuck! George drops the wooden spool and walks out of the office as Bryan garners the courage to stand. BRYAN -LRB- CONT'D. -RRB- You're not even an architect and you're a miserable human being. George turns around only long enough to answer. GEORGE You're right. You win. George closes the door behind him. Bryan stares down at the remains of the model ; he gets down on his knees and carefully gathers up the pieces.",
"EXT. DOWNTOWN LOS ANGELES - MORNING George is sweating as he walks with his box of personal items under one arm and the model under the other. Dizzy, he stops for a moment and tires to orient himself, glancing one way, then the other before staggering back and pressing himself against the building for support. Sweat beads and drops from his nose and chin as the song, ` ACROSS THE UNIVERSE' begins by The Beatles. George sets the box down but clings tightly to the model as he closes his eyes. ` Pools of sorrow, waves of joy are drifting through my open mind, possessing them, caressing me.' George drops face first to the cement, crushing the model beneath him. MONTAGE AS THE SONG CONTINUES George is probed and poked by doctor after doctor. An ultrasound test followed by a CT scan, followed by a MRI results in more tests. A flexible tube is slid down George's throat as dye is shot into his body. ` Sounds of laughter, shades of life are ringing through my open view, inciting them, inviting me.' A long blunt needle is shoved into George's side for a biopsy of his pancreas. X - rays are lit and highlighted as doctors ponder the specks, the disease. Finally, George is opened up ; nearly bloodless slice through skin, muscle and fat reveals death. ` Limitless undying love, which shines around me like a million suns, which calls me on and on across the universe.' George is wheeled down a long hall to the critical care unit. ` Nothing's going to change my world, nothing's gon na change my world.'",
"INT. HOSPITAL ROOM - EVENING George tries to sit up, but falls back as he closes his eyes, opens his eyes, closes his eyes. FEMALE VOICE -LRB- O.S. -RRB- That took care of the pain? George opens his eyes again as an attractive NURSE enters with a tray of food. GEORGE I could kiss you. The nurse smiles as she lifts the cover off the dinner. GEORGE -LRB- CONT'D. -RRB- No food. I'm painless. She raises George's bed. GEORGE -LRB- CONT'D. -RRB- What would you do if you had three or four months to live? The nurse glances over at the other patient in the room, who's sleeping, before answering in a soft voice. NURSE I'd eat a lot of red meat. GEORGE Good for you. The nurse smiles as she sits down beside the bed. She fills a spoon with corn and aims it for George's mouth ; he accepts the good will, chews and swallows. NURSE What would you do? GEORGE I'd build a house. George takes another spoonful of food. NURSE What kind of house? GEORGE You know what mortise and tenon is? The nurse shakes her head `` no''. GEORGE -LRB- CONT'D. -RRB- I've got every part of it ready. It's like a jig saw puzzle. all in pieces now, just waiting to make sense. I've been through design and review. the planning commission, city council. She feeds George another small spoonful of food. NURSE No one's really said four months is all you have, have they? GEORGE Stage four pancreatic cancer. They have n't even pretended to offer treatment. You tell me, when would you start eating red meat? NURSE Can you build a house in four months? GEORGE I can die trying. The nurse rests her hand for a moment on George's cheek. NURSE Good for you. GEORGE I have n't been touched in years. Suddenly alarmed by her emotion, the nurse removes her hand and stands back away from George. NURSE I'm sorry, I do n't know what that was. GEORGE A handshake, or you know, someone pats you on your back through clothes. Doctors, people who have to touch you. But not by people who want to. NURSE No. A friend. your mother? Everybody gets touched by someone they love. GEORGE Is n't that weird? I mean, I dated a little bit after my divorce, for four or five years. Six years. I know when my son was younger. maybe when he was ten or eleven even, he'd run up and wrap his arms around me. George suddenly stops to catch his emotion. The nurse checks the door before walking back to George ; she brushes back his hair with both hands, then fingers the curves of his ears, finally resting her thumbs on his lips. NURSE Oh God, I'm married. Feeling guilty, she flees the room, waking the other PATIENT. PATIENT I'm hungry. GEORGE I'm touched.",
"EXT. SAN JUAN CAPISTRANO TRAIN STATION - AFTERNOON George is resting, eyes closed, sitting on a bench with his box and the remnants of the model beside him. A black Range Rover pulls to a stop with a HONK. George stands to gather his things as Robin steps out of the car, yelling. ROBIN I called everyone, everywhere! You just vanished! You could be dead! GEORGE Thanks for waking me up. Picking me up. You're loud today. ROBIN You're inconsiderate and absolutely devoid of emotion! GEORGE You're the most beautiful woman I have ever known in my life. Robin is stumped for a second, confused by the words. ROBIN What? GEORGE I'm not talking just physically. Even your anger is perfect. Robin climbs back in the car and slams her door shut.",
"INT. ROBIN'S RANGE ROVER - AFTERNOON George sets his box in back and climbs into the front seat as Robin takes off. He closes his door as she runs a stoplight. GEORGE I did n't think you'd know I went missing. ROBIN You did n't think someone from your office would call and tell me you wrecked the entire building and threatened people with a baseball bat?! GEORGE A blueprint spool. ROBIN Where have you been for a week?! GEORGE Four days. I left to think. ROBIN What did you do with your dog? GEORGE Kurt's been feeding him. ROBIN But you ca n't call me while you think? GEORGE I was n't thinking. Look, I'm sorry I did n't think to call you while I thought. I think. George raises his eyebrows, wanting just the slightest give from Robin. She glances at him, but wo n't yield. GEORGE -LRB- CONT'D. -RRB- I need to talk to you. ROBIN Why would they tow your truck? GEORGE I was parked in day parking. ROBIN Why call me? GEORGE I'm going to tear down the shack and build my house. ROBIN You've been saying that for twenty years. While we were dating, you said it. GEORGE There's nothing anymore to stop me. ROBIN Money? GEORGE Severance pay. And I'm going to cash in my life insurance policy. ROBIN How many years did I live with your beams and boards? First in the garage, then in the living room. We're going to do it, Robin. Next year. Next year. Salvaged floorboards from a house in Pasadena. Doors from a church in New Hampshire. GEORGE I love those doors. ROBIN Where will you live? GEORGE The garage. ROBIN Look, I was n't serious about you taking Sam, so you do n't have to get into any actual construction to get out of it. GEORGE When's school over? ROBIN Friday. God, I hate the thought of him home all day. GEORGE I'll be by Saturday to pick him up. ROBIN He does n't want to spend the weekends with you anymore. GEORGE Not for the weekend. For the summer. Robin scoffs. ROBIN You and Sam are going to live in a garage without plumbing for the summer? GEORGE The garage is plumbed. I'll put in a toilet. We'll survive. ROBIN Thank you for at least sounding sincere. GEORGE Sounding? I need help. He's cheap labor. ROBIN One of you would end up dead. GEORGE At least we'll have a house to show for it. ROBIN Forget it, really. I'll survive. GEORGE I want him with me. ROBIN No, you do n't. Trust me. George rests a hand on the back of her neck. GEORGE I want Sam for the summer. Robin furrows her brow for a moment and glances at George. It takes a while for her to answer. ROBIN Okay. George rests his hand on Robin's cheek for a moment, as the nurse had done with him. Robin turns her head and bites his finger. GEORGE Hey, hey! ROBIN I'm married. George nods as he mock nurses his finger.",
"INT. HIGH SCHOOL HALL - AFTERNOON Sam is walking with Corey, who's wiry and wan with a red nose. COREY The whole summer, man. Party in Tahoe. SAM I do n't know. COREY It'll just be my brother the dweeb on weekends. All we got ta do is sand and paint the cabin, dude. -LRB- boasting. -RRB- My dad's gon na let me use the boat and my charm is gon na let me use my rod. Income village is the place to hook up with hump. SAM I'll ask. COREY Hey, it beats letting town folk go down on you for the summer. Sam stops which stops Corey. Sam glances around to make sure no one's listening. SAM I never said anything. I have n't done anything. COREY I know what the deal is. Josh is a pimp. I'm not stupid. SAM You do n't know what the deal is. There is no fucking deal. Sam walks away pissed that Corey knows what the deal is.",
"EXT. GEORGE'S SHACK - MORNING George is shirtless, the stitches still fresh on his side ; he carries/drags his mattress into the garage. Alyssa walks from her house to the garage and peeks in.",
"INT. GEORGE'S GARAGE - MORNING George is making his bed, which is not easy because Guster is curled up on it. The one car garage is not dry - walled and the cement floor is clean but stained. ALYSSA Hi, Mr. Nelson. George steps away from the bed, slightly rattled by Alyssa. GEORGE Alyssa. ALYSSA Why have you put a toilet and a bed in your garage? GEORGE I'm living here while I build another house. ALYSSA Is that legal? Alyssa sits down on the bed beside Guster and starts to bounce up and down. George takes another step back. GEORGE Do n't you have school? ALYSSA Nope. Alyssa lies down on the bed, lifting the sheet to her nose. ALYSSA -LRB- CONT'D. -RRB- Are these clean? George is alarmed. Guster licks Alyssa's ear. GEORGE What's today? ALYSSA Monday. George bangs his head with his hand and starts to search the room. GEORGE My keys. ALYSSA What's that? Alyssa reaches out and slides a finger down his scar. GEORGE Nothing. I cut myself. George pats down his pockets. GEORGE -LRB- CONT'D. -RRB- I had them in my pocket. ALYSSA I'm not shaving my legs or pits this summer, I've decided. George opens the drawers of a small desk and a chest, not paying attention to Alyssa as she raises her leg and runs her hands down the stubby skin. ALYSSA -LRB- CONT'D. -RRB- Paula Cole is n't a vertical kisser. George dabs his keys from the floor beside the chest. GEORGE Make the bed for me, would you? I got ta run. George turns around to Alyssa's leg up and a great view of her underwear. COLLEEN -LRB- O.S. -RRB- What are you, forty? George whirls around to face Colleen as Alyssa lowers her leg. GEORGE I forgot where I put my keys. COLLEEN And you thought they might be under her dress? ALYSSA I was just showing him my hair. Alyssa miffed as she stands. ALYSSA -LRB- CONT'D. -RRB- I think you need to rethink what you think of me. Alyssa walks around her mother and out of the garage. Colleen stares at George. GEORGE Her leg hair. Colleen turns and walks out.",
"INT. GEORGE'S TRUCK - LATE MORNING George drives the four miles North to Robin's house listening to Paula Cole. He turns into Emerald Bay, a guard - gated community and a Guard waves him in.",
"EXT. WEBBER'S HOME - LATE MORNING George rushes from his car and tries the front door, but it's locked. He rings the bell and LOIS, the maid, answers. LOIS Mrs. Webber is in the backyard. GEORGE And Sam? LOIS In his room, packing. GEORGE Oh. Good.",
"INT. SAM'S ROOM - LATE MORNING Sam has a CD by MARYLIN MANSON on loud as he packs a suitcase on his bed. The KNOCK on the door is barely heard. ANOTHER KNOCK draws his disapproval. GEORGE -LRB- O.S. -RRB- Sam! Sam's face turns sour as he yanks the door open. GEORGE -LRB- CONT'D. -RRB- Ready? Sam shrugs and returns to finish his packing. GEORGE -LRB- CONT'D. -RRB- I think you'll have fun this summer. It's nearly impossible to hear George over the music. GEORGE -LRB- CONT'D. -RRB- Do n't forget your headphones. The music is quickly driving George crazy. GEORGE -LRB- CONT'D. -RRB- Would you mind turning it down? This does n't register with Sam. GEORGE -LRB- CONT'D. -RRB- It wo n't all be work, you know? George is once again, seemingly unheard. He walks to within inches of Sam and grabs his head and yells into Sam's ear. GEORGE -LRB- CONT'D. -RRB- It wo n't be all work, you know! Sam pulls away from the touch and turns the music off. SAM I heard you already! George walks to the sliding glass door and stares down at the boys and Robin in the pool. GEORGE Your mom and the boys can drop by anytime. SAM To check up on me? GEORGE I'll be around to check up on you. SAM Why would you be there? GEORGE Because I live there. SAM You live in Cory's parents' cabin?",
"EXT. WEBBER'S BACKYARD - LATE MORNING Ryan and Adam are on their backs on rafts as Robin swims laps between them. Suddenly, like a UFO crashing to Earth, Sam's suitcase spirals downward straight into the pool, barely missing both Adam and Ryan. SAM No fucking way! The boys are knocked off their rafts as Robin takes off her goggles and focuses on Sam up on his balcony. SAM -LRB- CONT'D. -RRB- You liar! You stupid liar! I hate you! George bursts out of the kitchen, onto the patio. GEORGE Did you tell him he's spending the summer with me? SAM -LRB- O.S. -RRB- No I'm not! Sam storms off the balcony, back into his room. ROBIN What was I supposed to do? When you did n't show up Saturday, I tried to call. Your phone is n't working. GEORGE I do n't have a phone. ROBIN I drove over and you were gone. GEORGE I ca n't leave the house? ROBIN Last time you were gone for a week! GEORGE Did you tell him he was spending the summer with me? ROBIN No. I was going to let you do that. GEORGE He's not spending the summer in Tahoe. Sam walks out of the kitchen to confront his father. SAM Who are you, anyway? I do n't even know you. GEORGE You'll know me by the time we're through. SAM I'm not going! GEORGE I'll get your bag. George walks to the edge of the pool and scoops up the suitcase, holding it out as it drains. SAM Mom, tell him I'm not going. You already promised me! GEORGE You have everything? Robin is in an uncomfortable position as she glances at Sam before focusing on George. ROBIN I did say he could go. GEORGE Let's go. SAM I'm not going! GEORGE You do n't have a choice. SAM Mom. please. Sam's eyes well with tears as his voice cracks. Robin is ready to concede. ROBIN George - GEORGE -LRB- adamant. -RRB- He's not spending the entire summer with another kid in Tahoe. If he leaves, I will follow him up there and I will drag him home by his nose ring. He can hate me. You can hate me. He can try to kill me while I sleep. You can call the police. You can call your husband or your attorney, but Sam is spending the summer with me. He's my son. He's sixteen. That's it. Sam is crying now - snot's running down his nose. Robin is shocked by George's forcefulness. ADAM Can we hate you? GEORGE You can do anything you want. George walks to Sam and touches his arm. GEORGE -LRB- CONT'D. -RRB- Go get in the truck, Sam. Sam jerks away from his dad as dramatically as he can manage. SAM Go fuck yourself! George drops the suitcase and grabs Sam by the arms. As much as Sam tries to resist, he's clearly no match for his father. GEORGE Your nose ring comes out of your nose. If you've got them in your nipples, they come out, too. And there's no make - up at my house. No glue sniffing. Huffing. No pills, no grass. SAM If you hit me, I'll call the police. GEORGE You've worn out your welcome at this house, Sam. I wo n't ever hit you. -LRB- beat. -RRB- This may well be the worst three months of your life, but you've earned it. So, pick up your suitcase and go get in the truck. Now. SAM I'll hate you forever. GEORGE You ca n't even begins to know how much I hate my father. -LRB- upbeat. -RRB- Think of it as a family tradition. Sam glares at his mother before grabbing his soggy suitcase and stomping out of the backyard. Robin is stunned silent by George's decisiveness.",
"INT. GEORGE'S TRUCK - LATE MORNING Sam is pressed against the passenger side door. George walks from the backyard and opens the truck door to climb in but is stopped by Sam's suitcase. He lifts it out and sets it in the bed, then slides into the cab, sitting on the soaked seat. George rises up and turns to Sam, who is sullen and silent.",
"EXT. GEORGE'S SHACK - AFTERNOON Sam is shirtless on his back on the roof of the shack, sunning himself as George struggles to extricate a sofa from a doorjamb. Guster is asleep on the grass, under a tree. GEORGE Sam? I'm. for like three minutes? After another bout of trying, George drops the sofa and steps back to glance up at Sam. GEORGE -LRB- CONT'D. -RRB- That's okay. If I break my back, daddy's gon na buy you a naval ring. No reaction from Sam. GEORGE -LRB- CONT'D. -RRB- And if that naval ring do n't fit, daddy's gon na rub you down with the sun screen. Sam glances down at his father, puzzled by the verse. GEORGE -LRB- O.S. ; CONT'D. -RRB- I want you wearing sun block. And I want you down here to help me. Now. Sam dismisses his father without a word - he simply adjusts his face back to the sun. George walks away. A sudden spray of water drenches Sam, forcing him to his feet in a cold panic. George stops the hose water pelting. GEORGE -LRB- CONT'D. -RRB- It works on Guster. MOMENTS LATER George is still struggling with the sofa stuck in the door. Frustrated, he steps away from the sofa. GEORGE -LRB- CONT'D. -RRB- You're in there not helping at all, are n't you?",
"INT. BEACH SHACK ENTRY - CONTINUOUS Sam is leaning against a wall with his arms folded across his chest. GEORGE -LRB- O.S. -RRB- You know what else helped Guster? Neutering. The slightest alarm crosses Sam's face.",
"INT. GEORGE'S GARAGE - EVENING George is shirtless in shorts, boiling pasta on a portable stove as he heats a sauce in the microwave. A dresser topped with plyboard serves as a countertop ; other than a sink being across the garage near the toilet, this is a fairly well equipped makeshift kitchen. GEORGE Do you want garlic bread?! George waits a bit to make sure no response is no response. Then stuffs a hunk of garlic bread into the toaster oven.",
"EXT. GEORGE'S GARAGE - EVENING Sam is sitting on the edge of a cliff that drops twenty feet to the ocean ; Guster is whining for attention behind Sam. SAM Well, get over here, then, stupid. Guster inches forward on his belly, which makes Sam smile. SAM -LRB- CONT'D. -RRB- Are you afraid of heights, Guster? Sam drops to his belly and stretches out to pet Guster. SAM -LRB- CONT'D. -RRB- The fall probably would n't kill me, anyway. Guster inches closer and licks Sam's face. George walks out with a tray filled with spaghetti, garlic bread and a Coke. GEORGE Thinking of jumping? George sets the tray on the ground beside Sam. SAM Pushing. George walks to the edge of the cliff. GEORGE Only jump after you hear the wave crash against the rock. The water will take you out. Let it. Swim a little North and you'll see the sand. Sam sits up and faces his father with a trace of alarm. GEORGE -LRB- CONT'D. -RRB- First time I did it, younger than you, I thought I'd break my neck and just sort of float to Catalina. -LRB- beat. -RRB- You do n't always get what you wish for, Sam. George suddenly leaps forward and disappears into the sea as a wave crashes against the rocks below. SAM Oh, shit! Sam scurries to his feet and scans the ocean for his father ; the only thing visible is darkness. SAM -LRB- CONT'D. -RRB- Hello? Guster is lapping up the dinner, bread and all as Sam calls out again. In a bit of a panic, Sam runs from the cliff.",
"EXT. PACIFIC COAST HIGHWAY - EVENING The traffic is heavy as Sam runs against it. Without a sidewalk and with parked cars blocking a reasonable path, this is a dangerous trek North.",
"EXT. ALISO CREEK BEACH - EVENING Sam runs to the edge of the water and anxiously waits for his father to emerge from the sea. A jogger startles Sam - he steps into a wave that soaks his shoes. George floats on a wave into view and stands in waist high water, only to be knocked way back down. He rises and falls and rises before making his way to the sand and Sam. SAM Are you totally insane?! GEORGE I almost saw Catalina. George coughs and drops onto the sand exhausted. Sam storms off, angry that he cared enough to get angry.",
"EXT. GEORGE'S SHACK - EVENING Sam is winded as he walks off the street to the middle of the yard. He glances around for Guster. SAM Guster! Guster bounces out of the garage with spaghetti sauce covering his muzzle. SAM -LRB- CONT'D. -RRB- You're so busted, dude. Sam sits down on the grass and plays with Guster, who yaps with joy as he breaks away and closes the distance with the abandon of a puppy. SAM -LRB- CONT'D. -RRB- Where's my dinner, huh? Sam manages to pin Guster on his back. He looms over the dog as he kisses him on the nose. SAM -LRB- CONT'D. -RRB- I'm hungry! Where's my dinner? Who ate my dinner? Huh? Who's in trouble now? ALYSSA -LRB- O.S. -RRB- Hi. Sam rolls over Guster and stands, nearly stumbling in the process - way uncool. SAM Hey. ALYSSA What are you doing here? Guster bumps against Alyssa for her attention ; she kneels down to pet him. SAM They're trying to make me spend the summer here. I'm leaving in the morning. ALYSSA Where to? SAM I'm supposed to be in Tahoe. ALYSSA Your dad's really gon na build his house? SAM I do n't know. ALYSSA Well, if you do n't go, I guess I'll see you. Alyssa stands. Sam is clearly shy around her. ALYSSA -LRB- CONT'D. -RRB- You should stay. SAM I do n't know. ALYSSA Where's your dad? SAM He jumped into the ocean. ALYSSA Tell him I said `` hi''. Alyssa pets Guster again before walking away. Sam is smitten.",
"INT. GEORGE'S GARAGE - NIGHT Sam's curled up in a tattered lazy - boy near the toilet, watching television as George sits on the bed, brushing his teeth. Suddenly, Sam turns to face his dad. SAM I'm not taking a dump with you in here. George nods as he continues brushing. SAM -LRB- CONT'D. -RRB- My brothers say it's the worst smell they've ever smelled. George nods again, which appears only to irritate Sam. SAM -LRB- CONT'D. -RRB- I think you have to have a door between where you cook and where you crap. Like even in the bush, tribal people and like that have a place for both. It's like a law. George walks around Sam to the sink and spits, rinses and wipes his mouth with a towel. He faces Sam. GEORGE Which side of the bed do you want? Sam's jaw drops as he glances at the double - bed. GEORGE -LRB- CONT'D. -RRB- Just kidding. The sofa's a pullout. George smiles and pats Sam on the shoulder before walking to the sofa and pulling it out to make a bed. SAM Probably in the bible. GEORGE Goodnight. George drops his pants and climbs into bed. He pulls the sheet up and fluffs the pillow before resting his head. SAM I have to take a dump. George twists around in bed to face Sam. After a beat, he tosses the sheet back, climbs out of bed, pulls back on his pants, slips on his shoes and walks out of the garage.",
"EXT. GEORGE'S SHACK - MORNING George is up on the roof, hacking through the shingles and beams with a chain saw. A huge dumpster set on the lawn receives only about half the throws George makes. Sam is near the ocean in a chaise lounge, listening to music through his portable CD player. GEORGE Have you got sunscreen on? There's no chance he's been heard. TOM and BARBARA, two older neighbors of George's nearing home from a walk, stop on the driveway - both look pleased. BARBARA It's about time this shack is torn down. Barbara appears surprised as George turns to face them - she obviously did n't realize he was the one up on the roof doing the demolition. TOM Oh, hello George. GEORGE Guess how many low - income apartments the city approved for this lot? Tom and Barbara react by trying not to react. GEORGE -LRB- CONT'D. -RRB- Come on. ballpark figure. Tom and Barbara step back and walk away. George heads to the ladder and climbs down. ANOTHER VIEW Sam is grooving to the music with his eyes closed as George's hand, filled with a gob of sunscreen, plops onto Sam's stomach. Sam bolts up from the chaise lounge in a rage. SAM What are you doing?! GEORGE I warned you yesterday. SAM Do n't touch me! You ca n't touch me! ALYSSA -LRB- O.S. -RRB- Hey, you stayed. Alyssa walks across her lawn to the feuding family. George holds out the bottle of sun lotion to Alyssa. GEORGE Rub him down, please. George walks back to the ladder and up onto the roof as Alyssa and Sam stare at one another. SAM He's a freak. ALYSSA You look better without make - up. SAM I ca n't even take a shower here. ALYSSA Come over to my house whenever you want. I'll tell my mom. SAM I might not stay, anyway. ALYSSA I'll get your back. SAM No. That's okay. Sam reaches out for the lotion, but Alyssa hides the bottle. ALYSSA Have you ever had anyone but your mom or dad put it on for you? Sam thinks about it for a second before shaking his head no. ALYSSA -LRB- CONT'D. -RRB- It's weird how different it is. Lay down. George is back with the chain saw, hacking away at the roof. Sam is hesitant as he lies down on his stomach. Alyssa kneels and squeezes lotion on his back. She works it in, starting at his neck, working her way down to his pants. She squirts Sam's arm and as she rubs close to his pit, he squirms. ALYSSA -LRB- CONT'D. -RRB- Do you remember me from when you lived here? SAM Yeah. ALYSSA Your dad dated my mom after her divorce. SAM Really? ALYSSA I wanted him to marry her. SAM Why? ALYSSA Turn over. Alyssa grabs under his armpits and tickles him. Sam yelps and rises onto his elbows as Josh roars by the shack in his Porsche. ALYSSA -LRB- CONT'D. -RRB- Josh and I are going to South Coast. Wan na ride? Maybe see a movie? SAM No thanks. Sam is disappointed as Alyssa stands to leave. ALYSSA Do n't forget your front. Alyssa walks to the shack and waves goodbye to George. George waves her off. Sam curls onto his side as he watches Alyssa run across the lawn to Josh. GEORGE She's pretty. for a girl. Sam appears irritated as he stands and walks into the garage.",
"INT. GEORGE'S GARAGE - MORNING Sam glances out the window to check on his father, then quickly rummages through every drawer and cabinet looking for what he finds : a prescription bottle. It's Vicodin. He checks on his dad through the window again, then opens the bottle and takes out five pills. He fills a glass with water and swallows two, saving three for later. He sets the bottle back where he found it before he drops on the bed with a grin.",
"EXT. GEORGE'S GARAGE - AFTERNOON Guster is in a full out run for a rubber ball. Sam is shirted, sitting at the patio table. With the ball gladly returned, Sam tosses it again. George walks out juggling two plates of sandwiches and two Cokes and sits down. GEORGE Do you ever get like the slightest inkling that you might want to help me instead of doing absolutely nothing? SAM No. GEORGE Get the inkling, Sam. I'm getting tired of your attitude. Sam picks up the sandwich, examines it and sets it back down on the plate. SAM I hate turkey. GEORGE No you do n't. George takes a bite of his sandwich before responding. GEORGE -LRB- CONT'D. -RRB- I want you to take out your nose ring and leave it out. SAM Why? GEORGE It bugs me. SAM You snore at night. That bugs me. Can I take you out? GEORGE Your brothers are right. It was the most god - awful smell I've ever had my nose around. George tightens his face and waves his hand in front of his nose. Sam stares at his father. A black Range Rover pulls to a stop and Robin steps out with a pizza box in her hands. ROBIN Thought you guys might be hungry. As Robin walks up the drive, Sam picks up the turkey sandwich and starts eating. George glances at Sam as Robin sets the box on the table and sits down. GEORGE We're fine. Turkey sandwiches. ROBIN Well, for later then. Robin focuses on the nearly roofless shack. Guster walks to the table and sits down by Robin, ready to beg. ROBIN -LRB- CONT'D. -RRB- It makes me sad. GEORGE What? ROBIN I used to live here. GEORGE But you hated four out of the five you did. ROBIN I was here six years. And I only hated two. GEORGE Which? ROBIN The first and the last. George sets his sandwich down. GEORGE I do n't even like turkey sandwiches. What kind of pizza? ROBIN Sam's favorite. George opens the box and pulls out a slice. Sam appears disinterested as George starts in on the slice of pizza. ROBIN -LRB- CONT'D. -RRB- -LRB- to Sam. -RRB- Sure you do n't want any? Sam shrugs off his mother, looking away. Robin nods and grabs a piece for herself. ROBIN -LRB- CONT'D. -RRB- You're too thin, George. From what you used to be, anyway. George responds with a pleasant face ; he's not going to explain his weight loss right now. GEORGE Why the first and the last? Robin sets her slice of pizza down as she studies George. ROBIN The first because I was n't sure you really loved me. the last because I was n't sure I really loved you. George nods. Though it may appear that Sam is n't interested in the conversation, his ears are perked. GEORGE I was up on the roof this morning, tearing it down and it struck me as strong as anything ever has. That I'm happy today. ROBIN What have you been before today? GEORGE It was just that, maybe the way the sun struck the ocean, the sound of the waves. It was simple, whatever it was. Then I started thinking about the last time I felt this good. -LRB- beat. -RRB- It's been a long time. ROBIN Do you remember? GEORGE The only time I can think of for sure, I was holding onto Sam in the ocean, saving him from the waves. George turns to Sam, who's caught staring at his father. GEORGE -LRB- CONT'D. -RRB- You head was pressed against my chest. I could feel your heart racing. And I remember I kissed your hair. ROBIN We have it on video! Was that when? My parents were down for his sixth birthday! I remember that. Robin inexplicably starts to cry. She instantly tries to take it back, pressing her hand to her mouth, wiping her eyes, but whatever emotion has her, has her good. Both George and Sam are confused and concerned. SAM I have to go. She stands and backs away from the table. GEORGE What is it? ROBIN I'm fine. Nothing. -LRB- beat. -RRB- I'll drop by your lunch tomorrow. Robin wipes her eyes again as she climbs into her car and drives off. Sam and George face one another. GEORGE I do n't know. SAM I'm gon na take a walk. I need some money. GEORGE You'll have money when you work. SAM You're so predictable. Sam sets his sandwich down and grabs a slice of pizza as he stands. He walks for a few feet, stops and turns around. SAM -LRB- CONT'D. -RRB- You have n't been happy in ten years? He does n't wait for an answer ; as he walks away, Guster follows. George takes Robin's slice of pizza and drops it on the cement ; that's all it takes to turn Guster around.",
"INT. ROBIN'S KITCHEN - EVENING Robin is sitting alone at the table, doing nothing. The TV is on loud in another room. Adam walks into the room in his pajamas. He sits down across from his mother at the table. Robin smiles at him. He smiles back as he scoots his chair closer to the table and extends his arms straight out across the top. Robin extends her arms and they lock hands near the middle. Without a word, they hold hands. Adam lets go and climbs on top of the table, scoots across it with a kiss for his mother before he's gone, sliding off the table on his rear and running back to the TV.",
"EXT. GEORGE'S GARAGE - EVENING George is on the patio, bending a thin piece of copper tubing. Sam storms out of the garage, fuming. SAM No one would blame me if I left! GEORGE I'd blame you. I want you here. SAM I'm not doing it! GEORGE It'll be fine. SAM Why do n't you just beg some money off my dad and move into something decent with a real kitchen and a real bathroom? GEORGE I'd rather sell my nuts to a castrati. Sam screws his face down - huh? GEORGE -LRB- CONT'D. -RRB- I do n't beg. SAM And I do n't take a shower in the middle of the yard. GEORGE I can promise you complete privacy. SAM You ca n't promise me anything! You do n't have anything to promise! You live in a garage! You do n't have cable! You're not hooked up to the internet because you do n't even own a computer! You do n't have a job! George finishes bending the copper into a circle. He stands and holds the copper circle out for proof of privacy. GEORGE This will save you from prying eyes. Sam dismisses his father with a shake of his head. He heads back into the garage.",
"INT. GEORGE'S GARAGE - EVENING Sam quickly heads to where George's prescription bottle was hidden under a pile of underwear. He steals two more pills and swallows them before grabbing a towel and walking out.",
"EXT. GEORGE'S GARAGE - EVENING SAM If you had a stupid phone or I could use your truck, mom would give me some money. GEORGE You'll have money when you work for it. Sam stomps down the driveway and across the grass to Alyssa's house. George walks around to the back of his garage with the rounded copper tubing.",
"EXT. ALYSSA'S HOUSE - EVENING Sam is standing on the porch with his towel and clean clothes. Colleen answers the door. SAM Is Alyssa home? COLLEEN She's out with a friend. SAM Oh. do you know when she'll be home? COLLEEN She did n't really say. SAM Oh. okay. Sam nods and steps back as he prepares to leave. COLLEEN Sam? SAM Uh huh. COLLEEN I did n't recognize you! SAM I'm sorry. COLLEEN Alyssa said you do n't even have plumbing over there. SAM Not a shower. Colleen takes Sam by the arm and nudges him into the house.",
"INT. ALYSSA'S ROOM - EVENING Sam is slowly making his way around the room, taking note of everything : some dried flowers ; a yearbook ; a cabinet full of CD's ; dirty clothes stuffed in a hamper. He walks into the bathroom before walking back out and making one more round.",
"INT. ROBIN'S FAMILY ROOM - EVENING Robin is sitting between her sons on the sofa, watching a movie. Peter enters the room, carrying his jacket. PETER The goddamn traffic. Were we going out to dinner? Robin focuses on her husband, but the boys are riveted to the television. ROBIN We've eaten. PETER Is Lois still here? I'm starved. ROBIN I'll make you something. Robin stands as Adam and Ryan try to hold her down. PETER Did someone call to tell you I'd be late? Robin walks into the kitchen without responding.",
"INT. ALYSSA'S BATHROOM - EVENING Sam's in the shower, obscured by the sandblasted glass. JOSH -LRB- O.S. -RRB- Bro, I need you tonight. Sam bumps an elbow against the glass as he opens the shower door enough to look out. Josh is sitting up on the marble countertop. SAM I locked the door. Josh holds up a tiny screwdriver. JOSH It'll take you like twenty, thirty minutes. SAM Does Alyssa know? JOSH Nothing. SAM You got any weed? JOSH You got the money? Sam waits a beat before closing the shower door. JOSH -LRB- CONT'D. -RRB- Alyssa sent me up to see if you wanted to hang around and watch a movie with her and her mom.",
"EXT. GEORGE'S GARAGE - EVENING The round copper tube is braced and nailed to the side of the garage ; on it hangs a shower curtain. George is making noises inside the curtain as he showers. GEORGE Ah! Oh. KURT -LRB- O.S. -RRB- I know there's an explanation. George pulls back the shower curtains just enough to see Kurt standing by in his police uniform. GEORGE No hot water. George is shivering as he closes the curtain back up. KURT Mr. Dokos called to complain that you and a boy are squatting illegally in the garage of your house. GEORGE Check the permits. It was built as a guesthouse. It's a legally rentable unit grandfathered when South Laguna was incorporated. Without warning, the copper tubing holding the hanging curtain falls to the ground. George turns the water off and grabs a towel. Unfortunately, his ass is not what the towel covers. KURT Now that should be illegal.",
"INT. ALYSSA'S FAMILY ROOM - EVENING Alyssa and Colleen are curled up on the sofa as Josh and Sam stick their heads in to say goodbye. SAM Thanks for the shower. COLLEEN I want you both to stay. ALYSSA And candy too. Alyssa holds up a huge bowl of popcorn and the DVD case. JOSH I'm gon na give him a ride in my car. ALYSSA I'll see you tomorrow. COLLEEN Come over anytime you need to, Sam. SAM Thanks, I'd like that. Thank you. The only thing keeping Sam from staying is Josh, who jerks him out by the shirt.",
"INT. GEORGE'S GARAGE - EVENING With Kurt in the only chair, George hands him a cup of coffee and sits down on the pullout sofa, which is pulled out. KURT I'm surprised he has n't left. GEORGE I have n't forced him to work. I only wet him down once. Why would he leave? Sam rushes in and grabs a sweater before starting out. SAM I'm leaving. GEORGE Hey. hey! Sam stops at the door and waits impatiently. GEORGE -LRB- CONT'D. -RRB- Where are you going? SAM I do n't know. GEORGE When are you going to be back? SAM I do n't know. GEORGE Well, until you know, you ca n't go. SAM Oh, okay. Sam is gone in a flash. Kurt studies George for a second. GEORGE I'm not very good at it. Parenting. Kurt nods ; agreed, he's not.",
"INT. ROBIN'S KITCHEN - EVENING Robin arranges an attractive plate of food, which she sticks in the microwave. Peter walks in wearing different clothes but the same personality. PETER I hope your ex - husband is equipped for the havoc of Sam, because it seems absolutely blissful here tonight. He sits down at the table, opening up a newspaper as Robin stares at him. ROBIN Do you think it's odd your kids do n't hug you? PETER Should I? ROBIN It would worry me. Peter glances up from the paper, focusing on Robin. PETER If I let everything that should worry me, worry me, I'd be dead from worry. ROBIN What would you be if you asked Adam and Ryan to run in now and hug you? PETER I'd be you. The answer bothers Robin enough that Peter ca n't concentrate back on the paper. PETER -LRB- CONT'D. -RRB- I'll do it if that's what you want. Robin walks out of the kitchen. Peter folds the paper and shoves it across the granite counter.",
"INT. JOSH'S PORSCHE - NIGHT Sam and Josh are parked on a street that overlooks the Valley East of Laguna Beach. They share a joint as Josh explains the specifics of the job. JOSH You do n't have to do a thing. Just get in and get out. As quick as you can. Close your eyes and think of whatever. Sam hands the joint to Josh. SAM What's your deal with Alyssa? JOSH Do n't even. I'm there. SAM I was n't sure. JOSH She would n't even fucking go out with until she was sixteen. I mean, that's not even a rule, just her own thing. She like figures things out on her own and then that's it. A black Mercedes Benz pulls to a stop a ways down the street. Josh hands Sam a cell phone. JOSH -LRB- CONT'D. -RRB- If this rings, run. Sam is scared and it shows. JOSH -LRB- CONT'D. -RRB- He already knows everything about what he ca n't do. You can tell him not to even look at you, if you want. SAM I'm thinking it's too weird now. Josh pulls a baggie of grass and holds it out for Sam, who takes it and stuffs it in his pants pocket. JOSH It beats working. Josh hands Sam the joint. JOSH -LRB- CONT'D. -RRB- Inhale and get out. Sam is quick to inhale, but slow to get out. Josh takes the joint and Sam steps out. He walks slowly to the Mercedes, opens the door and climbs in. Josh turns the CD on to Guster's `` ALL THE WAY UP TO HEAVEN.'' Sam closes the door to the Mercedes. ` He said to only look up, he said to never look down, down is where we came from.' It's an odd song sung in a happy tempo ; a whistling refrain overtakes the lyrics as Josh inhales. ` He said to hope for the best and take a load off my chest. Soon, I could be happy, and go all the way up to heaven and go all the way back home.' With the music loud, Josh misses the police car as it stops behind him without the lights. Too late for a getaway, he fumbles for his cell phone and tosses the joint out the open window. The OFFICER approaches the Porsche with his hand on his gun. OFFICER What did you toss into the brush? Josh furtively presses send on his cell phone as he faces the officer with a guilty face. JOSH Nothing. ` He said I might need his help, no one gets high on themselves. I just seem so lonely ; he's just trying to be nice and spread around his advice. I could be happy.' OFFICER Turn off the music! As the music stops, the door to the Mercedes opens and Sam hops out with his pants around his ankles. The officer notices and walks towards the Mercedes. The parking lights flash red as the car starts and flees the scene. Sam yanks up his pants and leaps down the hillside, falling and rolling in the brush as the officer yells for him to stop. Josh starts his car, but the officer dissuades him from leaving by removing his gun. Josh turns off the engine. JOSH Oh, it's working now. OFFICER What did you toss into the brush? Before Josh can feign innocence again, the brush starts to smolder. Busted.",
"EXT. HILLSIDE - NIGHT Sam is spotted with weeds and dirt as he continues his way down the steep hillside holding up his pants. After he's sure he's safe, he sits down and rests his head in his hands. He starts to shake, frightened by his actions. He drops onto his back, buttons and zips his pants as he starts to cry. Slowly, he stops crying, but keeps staring up at the sky, which is loaded with stars and a full moon. Mesmerized by the brilliant night, Sam ca n't stop staring.",
"EXT. GEORGE'S SHACK - MORNING George is removing the last of the windows, carefully prying it out of the casement as Robin pulls up in her Range Rover. She steps out dressed in Levi's, boots and a t - shirt, carrying a large bag. ROBIN Lunch. She smiles and walks toward George, dropping the food sack on the patio table. GEORGE It's not breakfast yet. ROBIN I dreamed about your house last night. GEORGE Finished or unfinished? ROBIN It was perfect, George. Amazing. It was so real. GEORGE Did n't you once dream you could lick people well, though? ROBIN That was n't a dream. That was Sam. GEORGE Oh. with his ear infection! ROBIN My tongue around the edge of his ear is what cured him. George is n't quite sure how to take her comment. Finally, he points to the Garage. GEORGE Go in there and lick his attitude. ROBIN The antibiotics were n't working. -LRB- beat. -RRB- It's what I believe, George. George stares at Robin for a second before he nods. GEORGE You were wrong about the first year, you know? It takes Robin a second to understand he's saying he loved her when they married. ROBIN I've been wrong a lot in my life. GEORGE Hindsight. It's like foresight without a future. Robin almost smiles ; George confessing love ten years dead. ROBIN I have three hours before I pick up Adam and Ryan. -LRB- beat. -RRB- Where will I be most useful? Robin glances around, assessing the best use of her time. GEORGE With your hands or your tongue? ROBIN You're not well. Robin picks up a pile of splintered board and tosses them in the garbage bin. George nods. he's not. LATER Robin and George carry a twelve - foot beam from inside the shack and set it down on cinder blocks. Both look exhausted as they head back in for another beam. Sam saunters out of the garage in shorts, sits down on the patio chair and opens the sack his mother had packed for lunch. He pulls out a peanut butter and jelly sandwich and starts eating as George and Robin emerge from the shack with another beam. GEORGE Good morning. Robin and George set the beam down and turn to Sam as they both wipe sweat off their faces. Sam chews his sandwich, ignoring them both. ROBIN I'm late. Robin walks close to Sam, trying to capture his attention. ROBIN -LRB- CONT'D. -RRB- Ryan has a game later. He asked if you'd come and watch. Sam glances up at his mother, just long enough to let her know he hates her, then drops the sandwich and walks back into the garage. A city inspector's car pulls to a stop on the street and BOB LARSON steps out with a clipboard. Robin passes him as she walks back to her Range Rover. BOB Mr. Stevens? GEORGE I've been dreading you. Bob and George shake hands as Robin drives off. BOB Bob Larson. Do you happen to have an unenclosed toilet in close proximity to a kitchen? GEORGE A violation? BOB Oh, yes. GEORGE And if I enclosed it? BOB An exhaust system or a window is code. GEORGE A sink? BOB Allowed outside the enclosed area. Sam walks out of the garage in long pants and a shirt. SAM Where is it? GEORGE A friend of yours is here. SAM Did you got through my pants? GEORGE I might have a solution. George grabs his chain saw and walks to the garage with Sam and Bob in tow. SAM Where'd you put it?!",
"INT. GARAGE - AFTERNOON George walks to an armoire and empties it. He grabs a hammer and bangs, pries and pulls the back off, then dumps the cabinet onto the floor. SAM I know you took it. I want it now! George yanks the chain saw to a roar and fashions an oval cut a few feet deep on the cabinet base. He kills the saw, lifts the armoire and scoots it in front of the toilet. GEORGE Doors. Bob grimaces as George opens the armoire, revealing the toilet inside. BOB I hate to ask about a window. GEORGE -LRB- to Sam. -RRB- I flushed it down the toilet. SAM No! Oh my God! George jerk starts the chain saw again and fashions a small opening above the toilet, ripping through the studs, wire mesh, tar paper and stucco - fine dust invades the space like a storm. Bob coughs as he writes in his book. George kills the chain saw and sets it down as he surveys his work. SAM -LRB- CONT'D. -RRB- If I had a gun, I'd kill you. Bob seems fairly anxious to conclude his business. BOB I assume you'll fill the. uh, window, with glass? GEORGE If that's what it takes. SAM What's in my pants is none of your fucking business! BOB -LRB- a little rattled. -RRB- I would say you're in compliance. GEORGE I hope that makes the pain in the ass that called you happy. George is staring at Sam. Bob backs out of the garage. BOB You and me both. With Bob gone, George walks to Sam and gets in his face. GEORGE Everything about you is my business. What you smoke, what you swallow, what you sniff, it's all my business. Sam slams his fists against his own chest, maddened. SAM I've been using since I was twelve! You're all so unbelievably stupid. You did n't give a shit about anything I did until now! GEORGE I'll apologize for everything but today. Today I give a shit. SAM You're too fucking late. GEORGE The gloves on the table are for you. SAM You ca n't make me do a thing. GEORGE Sit down for a second. SAM No. George gently guides Sam back onto the bed. Sam hops up mad. SAM -LRB- CONT'D. -RRB- I'll call the cops if you touch me again! George sets Sam back onto the bed, not so gently this time. Sam is less eager to hop up in defiance. SAM -LRB- CONT'D. -RRB- Oh, so you're in the big shit now! Child abuse. People go to prison for what you just did to me. GEORGE My dad used to play a game. I never really understood what it was until after he was gone. Sam appears immensely disinterested. SAM I was holding for someone. That was n't even mine. GEORGE The game was to make me smaller than he was. No matter what. He could be almost invisible as a human being, but I had to be smaller. So if I got good grades, I was a pussy for not playing football. If I cut my hair for him, it was n't short enough. If I shaved it, I looked like a psycho. I never won the game. Not once. And if he could n't make me smaller with words. Tears well in George's eyes. Sam is caught up enough in what his father has to say that he has to feign his lack of interest. SAM I'll have to pay him back. GEORGE I wo n't ever hit you. -LRB- beat. -RRB- I do n't want you smaller. I want you to be happy. You're not. Not here with me. Not home with your mother. Not up in Tahoe. Not alone. Not anywhere. -LRB- beat. -RRB- You're what I was most of my life, Sam. I see it in your eyes. In your sleep. In your answer to everything. You're barely alive. SAM I'm not even listening. GEORGE You know that great thing, though? Is that change can be so constant you do n't even feel the difference until there is one. It can be so slow that you do n't even notice that your life is better or worse, until it is. -LRB- beat. -RRB- Or it can just blow you away. Make you something different in an instant. It happened to me. George walks to the garage door as he wipes his eyes. He stops and turns back around to face Sam. GEORGE -LRB- CONT'D. -RRB- Build this house with me. George walks out leaving Sam on the bed to think.",
"EXT. GEORGE'S BEACH SHACK - AFTERNOON George gathers a pile of splintered boards and tosses them into the dumpster. He works while Guster sleeps. LATER The sun is fierce, low on the horizon with a heat that distorts the distance. George is sweating and shirtless as Sam walks out of the garage with the gloves on and stands staring at his father. After a beat, George notices him. SAM I have to pay back what you flushed down the toilet. -LRB- beat. -RRB- I want ten dollars an hour. then I'm done. George nods. He points out the roofless shell of a shack. GEORGE It all has to come down before we can start again. -LRB- beat. -RRB- Knock it down. George picks up a sledghammer and hands it to Sam. Sam hoists the hefty hammer and with some true effort, slams it on a sideboard. He slams again and again as George picks up a slightly smaller sledgehammer. GEORGE -LRB- CONT'D. -RRB- I hated this house from the second my father cheated everyone and put it in my name. George takes a good hard whack at the wall, knocking a huge hunk of it down. Sam stops to watch. GEORGE -LRB- CONT'D. -RRB- Twenty years of hating what you live in. what you are. This is the end of it, Sam. I'm gon na build something of me here that I can be proud to give to you. SAM Do n't. I do n't want it. George YELLS as he lands the hammer into the wall again. Sam is alarmed by his father's blatant rage. GEORGE Do whatever you want with it. I do n't care. All I want from you is for you to remember we built this house together. SAM We have n't build shit. You're just tearing down your father. GEORGE Try it. It feels good. George strikes another blow to the house joined with a MAD WAIL. Sam starts low, a whisper of a scream, but quickly builds, soon rivaling George in volume as he pounds away. This soul letting, cleansing ritual is both impelling and frightening to watch. Tom and Barbara, Colleen and her maid step out of their houses, drawn and perplexed by the guttural noise.",
"INT. RYAN AND ADAM'S ROOM - MORNING Both boys are asleep as Robin enters and wakes them with the drop - and - bounce - back - to - your - feet - from - the - mattress method. ROBIN It's morning, sleepyheads! They both wake with a groan. Robin leaps onto Adam and tickles him to life.",
"INT. ROBIN'S KITCHEN - MORNING Robin is quickly finishing a breakfast of oatmeal and fresh fruit with Adam and Ryan, who are still dressed in pajamas. RYAN Why do we have to get up and eat with you this early? ROBIN I just thought it would be nice. ADAM Are you going to see Sam again? ROBIN I thought I might stop by. RYAN All day again? ROBIN Not all day. I'll be home after lunch. Robin stands and dumps her dishes in the sink. ROBIN -LRB- CONT'D. -RRB- You can go back to bed. or Lois might let you go swimming. ADAM I wan na be with you today. ROBIN Oh, honey. There's not much to do there. I mean, it's all work. ADAM We can work. Robin focuses on her sons, both of whom seem willing to work. ROBIN Ryan, would you rather swim or work? RYAN Can we really help build a house? Peter walks in, surprised by everyone being up. PETER Why is everyone up so early?",
"EXT. GEORGE'S SHACK - MORNING George is knocking away the forms used to pour the foundation. Sam walks out of the garage with a towel ; he shields his eyes from the morning sun as he watches his father work. Without make - up or a nose ring and with the black dye gone from his hair and the polish from his nails, Sam is a handsome kid. George looks happy, laying bare the foundation that will hold his home. Sam walks to Alyssa's house, unseen by his father.",
"INT. ALYSSA'S ENTRY - MORNING Colleen is walking with Sam toward the stairs. COLLEEN If she's not up, you can use my shower. SAM Thank you. COLLEEN You're here early today. SAM We're getting out of the ground today. Sam looks fairly excited as he rushes up the stairs.",
"INT. ALYSSA'S HALLWAY - MORNING Sam stops at the door and KNOCKS. ALYSSA -LRB- O.S. -RRB- Huh? SAM I can use your mom's. ALYSSA -LRB- O.S. -RRB- I'm okay.",
"INT. ALYSSA'S ROOM - MORNING Alyssa is curled up in bed, cuddling a stuffed bear as Sam walks in and closes the bedroom door behind him. ALYSSA Were you with Josh when the cops arrested him? Alyssa sits up in bed, holding the sheet to her chest. SAM -LRB- nervously. -RRB- Not really. No. Kinda. He got busted? ALYSSA His parents took his car. They're making him ride a bicycle the rest of the summer. Sam ca n't help but like that. SAM Really? ALYSSA He asked me to tell you that you owe him a hundred dollars. SAM He can peddle over anytime he wants to for it. Sam breaks into a full - on smile. ALYSSA This is serious! I do n't have my license. He was my ride. SAM I'm sorry. I'm just here to shower. Sam walks into the bathroom ; before he closes the door, he faces Alyssa with another smile - she tosses her bear at him.",
"EXT. GEORGE'S SHACK - MORNING George is prying off the last of the boards when he's hit with a pain that takes him to his knees. He drops the crowbar and sits down in the dirt as Guster walks over to comfort him. George takes deep breaths and closes his eyes as he tries to gain control over the pain.",
"INT. ALYSSA'S BATHROOM - MORNING The doorknob jiggles, jiggles and turns ; Alyssa opens the door and walks in dressed in a t - shirt and panties. Once again Sam jumps and jams his elbow to the frosted glass as he partially opens the shower door. SAM Is this like a past time with people? Go away! Alyssa sets a tiny screwdriver on the vanity. ALYSSA I've seen lots of people. It's not a big thing for me. SAM Hand me a towel. I'm getting out. ALYSSA I'm coming in. SAM I do n't want you to! ALYSSA We're not gon na do anything. SAM Why are you so stupid? ALYSSA Why are you so uptight? SAM I do n't even. what do you mean? I do n't even know what that means. ALYSSA It means I'm gon na shampoo my hair and stay out of your way. SAM Hand me a towel. Hand me a towel. Sam is anxious. Alyssa takes off her t - shirt and pulls down her panties before grabbing a towel ; she hands it to Sam as she forces her way into the shower. Barely visible through the frosted glass, Alyssa wets her hair as Sam stares in her direction. The towel drops to the tiled floor.",
"INT. GEORGE'S GARAGE - MORNING George is curled up in bed, the prescription bottle and a glass resting on a table. He's holding onto his side, still in some pain. A HONK gets Guster BARKING outside.",
"EXT. GEORGE'S GARAGE - MORNING Ryan and Adam run to Guster with glee as Robin steps out of the Range Rover with a large covered basket and a boom box. She sets the basket and radio on the patio table and searches for George, ending up at the entrance to the garage.",
"INT. GEORGE'S GARAGE - MORNING George has hidden the prescription bottle and is sitting on the bed as Robin walks in. ROBIN I thought you'd be up with the sun. GEORGE My stupid back. Robin sits down on the bed next to George, concerned. ROBIN Do you need anything? I'll go to the pharmacy. I have some Demerol at home. GEORGE No, I'm. thanks. I took something. Robin runs her hand down George's spine. ROBIN Where's Sam? GEORGE He wo n't use my shower. I do n't get it. Outside, Adam and Ryan are each calling Guster. GEORGE -LRB- CONT'D. -RRB- You brought your kids? ROBIN I kind of said that maybe they could do something. Help. I'm sorry. They really wanted to come. I really wanted to come and they wanted to be with me. I do n't think they'll be too much trouble. GEORGE I'll find something that wo n't kill them. ROBIN Or wound. Let them keep their eyes and fingers. GEORGE You're a good mother. Robin smiles. With some effort, George stands. ROBIN Do you need help? GEORGE I think so. Robin stands and wraps her arm around his waist and he drapes his arms over her shoulder as they walk out of the garage. ROBIN I woke up this morning at three and could n't fall back asleep. Everyday I think I see more of Sam than I've seen in years. ADAM -LRB- O.S. -RRB- Sam!",
"EXT. GEORGE'S GARAGE - MORNING Adam runs with abandon to Sam and Alyssa as Robin helps George to a patio chair. SAM Hey. Adam runs into Sam with a hug, then steps back. SAM -LRB- CONT'D. -RRB- What's that for? ADAM Mom said I should. SAM Oh. ADAM I would have anyway. Sam appears awkward as he rests his hand for a second on Adam's shoulder. ADAM -LRB- CONT'D. -RRB- Who are you? ALYSSA Who are you? ADAM I'm his brother. ALYSSA I'm his friend. Adam views her suspiciously as they walk across Alyssa's grass to the patio. ADAM Mom says we can build a house. ALYSSA Hi, Mr. Nelson. GEORGE Hi, Alyssa. SAM Hi, Mom. ROBIN Good morning. It's clear that Robin is falling in love with her son again. ALYSSA Hello. Alyssa extends her hand to Robin and they shake. ROBIN You're so nice to let Sam use your shower. ALYSSA He's got a standing invitation. Sam instantly flushes red. SAM Hey, Ryan. Sam walks to Ryan, who's been standing back from the group. RYAN Hey. Sam drapes his arm over Ryan's shoulder and together they walk to the foundation. SAM So, you wan na build a house? RYAN If we do, will it stay up? MONTAGE A BLINK 182 SONG BLASTS from the boom box on the patio table. Ryan and Adam slather paint remover on five old painted doors. They work with gloves and brushes and appear meticulous in their application. Alyssa and Sam nail and bolt the corner posts to the rim joist as Robin and George work on the stick framed door deck. While George is moving a little slower than usual, it appears that the pain is nearly gone. As the song ends, Robin rushes toward the radio. ROBIN I brought a few of my own. RYAN Someone stop her! Robin runs to her car and retrieves a few CD's. She slips the CD in and we HEAR John Hiat's `` DISTANCE.'' It's a slow, soft song that brings a smile to George's face. GEORGE It's been a while. ROBIN This was my very first slow dance. ADAM Did you know him before you knew Dad? ROBIN Since seventh grade. GEORGE Tell him how you made me fall in love with you. ROBIN I smiled at him. GEORGE Watch out for the smile, boys. Robin's body moves slightly to the music as she smiles. George grins. The boys are n't sure what to make of the advice. ` You are the beautiful love -LRB- my lover -RRB-, I am the distant shore -LRB- so far away -RRB-. There is so much to uncover -LRB- love's hiding -RRB-. What is this distance for? What is it for? ROBIN Who's up for a dance? Robin glances around for any takers, finally focusing on George. ADAM -LRB- O.S. -RRB- Just do n't hug me too tight. Adam walks to his mother and they hold hands as they dance. Sam sits down to watch. George wears a smile that wipes the last of the pain from his face. ADAM -LRB- CONT'D. -RRB- That's all you get. I'm busy today. Adam backs away and grabs his paintbrush. Robin stops dancing as she focuses on George. ROBIN Let's see if you've gotten any better. GEORGE Oh, I'm worse. Much, much worse. Robin waits to see how worse. George finally walks to her and takes her in his arms. He must have been better than this. The waltz smooths out as they dance closer, holding tighter. `` We fill the air with silent stares. But still, no one there, we are strangers.'' Alyssa decides it's time to go. ALYSSA I'll see you tomorrow. Sam watches Alyssa walk away, but he's quickly drawn back to his mother and father dancing. Ryan appears anxious, unsure of the music and George. RYAN When did you fall in love with my dad? The dance stops. George lets go of Robin as she focuses on Ryan. ROBIN When I found out I was pregnant with you.",
"INT. GEORGE'S GARAGE - NIGHT Sam is on the pull out bed, listening to music through head phones. We HEAR a flush, the armoire doors open and George walks out of the cabinet, washes his hands, turns off the light and drops into bed. A nightlight stuck in a socket above the bed casts a dull blue light over the room. Sam takes the headphones off. After a long silence : SAM I took some of your Vicodin. GEORGE I know. -LRB- beat. -RRB- Why? SAM I like how it feels not to feel. George turns onto his side to face his son. GEORGE I know the feeling. SAM How do you become something you're not? GEORGE What would you like to be? SAM What I'm not. GEORGE What are you now? SAM Nothing. GEORGE That's not true. SAM See, that's the thing. I am what I say I am. GEORGE I know parts of who you are. SAM What do you know about me? George drops back onto his back. He takes his time to answer. GEORGE When you started first grade and your mom went to work, it was so she could save for an apartment. But then she met Peter and skipped the idea of renting. SAM He's got nothing to do with me. GEORGE I could n't imagine how I could compete with him for any part of you. So, I did n't. He wanted you to have his last name. I let him even take that. SAM He was a prick when I was six, and he's a prick today. George turns onto his side to face Sam again. GEORGE I wish you had told me then. SAM I'm telling you now. GEORGE I gave up on you. SAM I'd be in Tahoe having fun if you had given up. GEORGE What would you be doing now? SAM Getting high, I guess. GEORGE If I asked you to stop, would you? SAM I have n't used anything for two days. I'm trying. GEORGE I'm proud of you, Sam. SAM Do n't be. And hide whatever that new drug is you have. I like it. Sam turns away from his father and puts his headphones on. The music bleeds through the headphones in a muffled rumble. GEORGE I put a gun to my father's head once. George's voice is soft - there's no chance Sam can hear. GEORGE -LRB- CONT'D. -RRB- Have you ever thought like that? I've been thinking. watching you work. How much do you hate me? -LRB- beat. -RRB- He was passed out. Just screaming at my mother before. About nothing. Under - cooked meat. I went back to my room. put the barrel close to his ear and chickened out again. Not my dad. Hid in my room. Not even me. -LRB- beat. -RRB- Of course it was a BB gun. But it still would have hurt like hell. Sam notices his father's mouth moving and takes off the headphones. SAM Are you talking? GEORGE I was just thinking about my mom. She would n't leave him. I remember one time she made us dinner wearing sunglasses. I mean it was dark outside and in. But we never talked about it. SAM Sun glasses? GEORGE To hide a black eye. SAM Why would n't she leave? GEORGE I think she was terrified of living with him. but maybe even more terrified of life without him. SAM I would have killed him. GEORGE Everything would have been better if you had. You'd have liked your grandmother. And there'd be a girl out there that'd have her mother. I remember reading about her in the paper. They could n't find her father and her mother was dead. I still feel guilty about that. SAM Do you ever wish you had done it? George thinks about that for a second. GEORGE I loved him too much. SAM After everything he did to you and your mom? GEORGE After everything. SAM That's so weird. Sam slips his headphones back on. George nods. it is.",
"EXT. DAVID DOKOS' HOUSE - MORNING Guster is squatting on the lush lawn of the mansion taking a dump. David bursts out from his house, rushes to his black Mercedes and tries once again to run over Guster. No such luck. Guster moves on to another lawn as Mr. Dokos drops over the curb and drives off down the street.",
"EXT. GEORGE'S BEACH SHACK - AFTERNOON In the late June afternoon, with a clotted cloud sky, Robin, Adam, Ryan, Sam, Alyssa and George work at building a house. Adam and Ryan are staining the interior doors they stripped days earlier. George and Sam carry large wood beam to the foundation and slip it into the pocket mortise of the laminated beam that spans from pier post to pier post. Robin grabs a drill and screws the cast - in tie down to the wood beam. Alyssa is sawing a rafter in half as her mother walks across the grass with a huge basket of food. COLLEEN Is anyone hungry? LATER With MUSIC playing in the background, everyone is packed around the patio table eating pasta and drinking lemonade. ADAM I like the color I'm making the doors. GEORGE The absolute best color I've ever seen in my life. Adam lights up, pleased to be praised. RYAN How many bedrooms will your house have? GEORGE Three. ADAM Will Sam live with you or us? GEORGE With you. It's a quick response that draws Robin's attention. Sam lightly bops Adam on the head. SAM So put your plans of my room in the trash. ADAM I do n't think Dad wants you home. ROBIN Adam, that's not true! RYAN Yes, it is. ROBIN Would you stop being ridiculous? Your father wants Sam home as much as I do. Sam starts laughing. George smiles. Sam ca n't stop laughing. ROBIN -LRB- CONT'D. -RRB- It was n't meant to be. Sam and George stand at exactly the same time and walk back to the house. Without a word, they work together as they continue to frame the house. Suddenly George turns back to the pack of people at the table and loudly proclaims : GEORGE I love you! That's it. He goes back to work as Sam glances at him, amused. Adam and Ryan are surprised and it shows on their faces. Robin smiles.",
"INT. ROBIN'S BEDROOM - NIGHT Robin's in bed reading as Peter emerges from the bathroom in pajama bottoms. PETER You know what I've decided? Robin glances up from her book to Peter's hairy chest. ROBIN To shave your chest? PETER We should take a vacation. Peter grabs his pajama top and slips it on as he climbs into bed. Robin sets her book down. ROBIN The biggest waste of time since television. PETER Do you remember anything I've said that was n't negative? Robin takes long enough to think that Peter forges on. PETER -LRB- CONT'D. -RRB- Just the two of us. It takes Robin a few seconds to answer. ROBIN I'd love to drive through New England in the Fall. PETER Sooner than the Fall. He closes in on her, kisses her cheek. ROBIN After the kids are back in school. PETER Lois will stay with them. Or we can pawn them off on your parents. Out of reasonable excuses, Robin opts for the truth. ROBIN I'm helping George build his house. PETER What? ROBIN I've been helping for the last few days. Weeks. Sam's working. I told you Sam was working. I mean, he really is. PETER Good. That was the plan. We could n't stand him and George needed help. As true as it is, this still irritates Robin. ROBIN I ca n't go right now. PETER You ca n't go because of Sam? ROBIN We have n't been away together for three years. What difference does a few months make? PETER You ca n't go with me because of Sam? ROBIN Sam is working at something for the first time in his life. Once in a while he even talks to me. I want to be around for that. PETER So am I, Robin. I'm working at something, too. I'm even talking. Do you want to be around for it? Peter is intense, close up, not giving her breathing room. ROBIN I do n't know. Robin whispers her answer. Peter pulls away and settles down on his back. Robin does n't move for the longest time. Finally, she eases onto her back and turns out the light. PETER I was talking about our marriage. ROBIN I know. Silence finishes the conversation.",
"EXT. GEORGE'S HOUSE - MORNING With an extended plate and overhung rafters, the frame takes its form ; rooms are roughed in ; windows are framed ; two gable dormers distinguish the common - rafter roof in the front and a frame for a balcony juts out over the ocean in back. Robin and Adam are locking in and hoisting the sheets of plywood on a pulley system up to Ryan and George, who are stripped down to shorts - George is thinner than ever.",
"INT. ALYSSA'S BATHROOM - MORNING Sam is showering as Alyssa walks in from the bedroom and joins him ; no protest is voiced this time around.",
"INT. SHOWER - CONTINUOUS Alyssa smiles at Sam as she grabs a wash cloth and slathers it with liquid soap. SAM What's the point of this? ALYSSA Does everything have to have a point? SAM It's freakish. I do n't get it. I'm not really supposed to touch you, but I can look. Alyssa faces Sam as she washes her body with the cloth. ALYSSA Are you sure you're totally into guys? SAM What are you talking about? ALYSSA Josh said. SAM I'm not gay. Sam glances down at himself ; Alyssa looks too. SAM -LRB- CONT'D. -RRB- I mean, hello! They both look up. ALYSSA I was wondering. SAM You're driving me crazy! Do you know what it's like trying to jack - off in an armoire? ALYSSA Not really. SAM You're off, you know? You're way, way off. ALYSSA I thought I was helping you. SAM It would help me if I could kiss you. ALYSSA No, I do n't. NO. I thought we were just friends. SAM What you think, you know, does n't have much to do with reality. I mean, I hope I'm not the first to say that about you. ALYSSA Okay, but then we'll just be friends. Okay? SAM Okay. I guess. Sam stands still, unsure of his next move. ALYSSA Have you ever even kissed a girl? Sam appears shocked she would even ask ; he has n't, but she's not supposed to know that. Alyssa makes the move, closes the distance and kisses him. Apart, it appears to be something they enjoyed. Sam wraps his arms around her, presses himself against her and kisses her again. After a few seconds of making out, Sam jerks once, then again as he backs away. Alyssa grimaces as she glances down. ALYSSA -LRB- CONT'D. -RRB- Oh, yuck! Alyssa steps into a corner of the shower as Sam turns around and rests his forehead on the tile. ALYSSA -LRB- CONT'D. -RRB- You're scrubbing the shower down.",
"EXT. GEORGE'S BEACH SHACK - AFTERNOON George and Sam are on ladders, reinforcing a window opening on the second floor with a 2x4 spline. Ryan and Adam are flat on their backs on the grass with Guster between them, dog - tired. Robin is at the grill with hamburgers as Alyssa prepares the table for dinner. ALYSSA You must have a really great husband. Robin glances up at Alyssa. ROBIN Why is that? ALYSSA Just, I mean, well, you're here every single day. ROBIN He's at work while I'm here. ALYSSA I guess I'd just be jealous if I were him. ROBIN Well, he does n't need to worry. ALYSSA If my kids and my wife were always at an ex - husband's house, I'd worry. ROBIN He's not the type to worry. Robin is slightly pissed at Alyssa grilling her ; she flips the hamburgers and calls out : ROBIN -LRB- CONT'D. -RRB- Let's eat!",
"INT. WEBBER'S LIVING ROOM - AFTERNOON Music is playing softly in the background. Peter is sitting alone in a chair with a drink in hand. After a bit, Lois walks in holding a can of Pledge and a rag. LOIS I'd be glad to fix you something. PETER No, I'm fine. Lois nods and walks away. For all the presence of the room, Peter looks small and frayed in it - lost in his own house.",
"EXT. GEORGE'S BEACH SHACK - AFTERNOON Lunch is over. Adam is wrestling with Guster on the lawn. Robin is taking money from her purse as George hands Sam the keys to his truck. ROBIN Nothing R, okay? RYAN Enough for drinks, popcorn and candy! ADAM And video games after! ROBIN Home after. -LRB- to Sam. -RRB- Will you come in and say `` hi''? Sam shrugs, takes the money and keys as Ryan and Adam rush close to him. ADAM Do we have to take her? The three boys turn to watch as Alyssa, now dressed in a dress, walks across the lawn to join them. SAM Definitely. It's literally frightening how beautiful Alyssa can look ; with her tan and white dress, Sam shutters.",
"EXT. PACIFIC COAST HIGHWAY - LATE AFTERNOON Josh is peddling down the highway on his bike, sweating in the full afternoon sun.",
"EXT. GEORGE'S HOUSE - LATE AFTERNOON George is hewing a beam as Robin watches from a chair. ROBIN I should go. George stops and wipes the sweat from his forehead. GEORGE Maybe you should n't come everyday. ROBIN No. Why? I like to be with Sam. GEORGE It's just that there's less that Adam and Ryan can do anymore. -LRB- beat. -RRB- I'd hate to have them bored. Robin stands and walks to George. ROBIN I know they're not much help, but they love coming here, George. GEORGE How much time do they get to spend with their dad? ROBIN What is it with this? They would n't spend less time with Peter if they lived here! He has no time! Robin walks away, then back - she's frustrated. ROBIN -LRB- CONT'D. -RRB- Do you know Alyssa thinks something is up with us? She's giving me crap about being away from Peter and now you're trying to do the same thing! What no one seems to realize is that Peter is n't there! He's not there! And when he is, he is n't! -LRB- beat. -RRB- So, if you do n't want me here, or you do n't want my kids here, just tell me, George. I'll stop coming. But it wo n't be because of Peter. It'll be because you asked me to stop. Say what you need to say, because I'm not leaving until I hear it. GEORGE I'd rather you not be here. In the distance, on the street, Josh peddles past on his bike. ROBIN I thought we were helping. GEORGE I can hire workers to help me. Robin nods, gathers her things, walks to her car, climbs in and drives off.",
"EXT. COLLEEN'S HOUSE - LATE AFTERNOON Colleen is standing in the entry, talking to Josh. COLLEEN You can come in and wait if you'd like. JOSH What friends did she go with?",
"EXT. GEORGE'S HOUSE - LATE AFTERNOON Robin pulls right back to where she was parked and parks again. She steps out of the car talking. ROBIN Nothing is going on with us, is it? GEORGE Going on? ROBIN When I picked you up from the train station. what you said. GEORGE What did I say? ROBIN That thing about I was the most, you know, beautiful person you had ever known. What was that? GEORGE That was the truth. ROBIN You've never said that before. GEORGE I'll say a lot of things I've never said before. It's habit. ROBIN It sounded like a pick - up line. GEORGE I ca n't pick you up. Robin sits down, weighted by the reason. ROBIN I'm married. GEORGE You bit my finger. ROBIN If I were n't married? George wants to answer quickly, dismiss the impossible and move on, but emotion catches him off - guard. He forces a smile. GEORGE Let's not do this, okay? ROBIN I need to know. GEORGE You need to know what? Do I still love you? Robin is surprised by the question. She nods her head. GEORGE -LRB- CONT'D. -RRB- Absolutely. There's not a doubt in my mind that through all my anger. my ego, I was faithful in my love for you. From seventh grade on. Robin raises her eyebrows - what a revelation. GEORGE -LRB- CONT'D. -RRB- That I made you doubt it, that I withheld it. that's the greatest mistake of a life full of mistakes. -LRB- beat. -RRB- But the truth does n't set us free, Robin. I can say it as many times as you can stand to hear it. And all that does, the only thing, is remind us that love is n't enough. Not even close. Tears well in Robin's eyes as she stands. ROBIN I should go. George nods - she should. Robin walks to her car, opens the door ; she faces George before climbing in. George walks into the garage.",
"INT. GEORGE'S GARAGE - LATE AFTERNOON George rummages through his sock drawer. Pulls out a folded sock and opens it - the prescription bottle drops to the floor. He fills a glass and swallows three pills.",
"INT. ROBIN'S ENTRY - LATE AFTERNOON Robin opens the door and heads straight for the kitchen. PETER -LRB- O.S. -RRB- All I am is what I have. Robin jumps and searches for the voice. Peter's sitting alone in the living room. PETER -LRB- CONT'D. -RRB- That sounds pathetic, does n't it? ROBIN What are you doing home? PETER I always felt I could never marry you without first showing you what a fabulous life you cloud live despite me. Robin takes a few steps into the room. ROBIN You never really trusted me. PETER You live a fabulous life, Robin. ROBIN Despite you. PETER I never asked for more. ROBIN That's the problem. PETER Please do n't leave me. Peter stands and walks to her. Robin does n't respond. PETER -LRB- CONT'D. -RRB- Where are the kids? ROBIN Sam took them to a movie. PETER I'll be in the bedroom. Peter takes her hand and kisses her cheek before walking down the hall. Robin stands still, trying to assess the exchange.",
"INT. BEDROOM - EVENING In a bedroom we do n't quite recognize, two people are in the throes of making love under a silk white sheet. WOMAN -LRB- O.S. -RRB- Oh God! It's hard to tell whose voice that is - Robin's?",
"INT. GEORGE'S GARAGE - EVENING George is in bed, awakened by a KNOCK. GEORGE I fell asleep! Alyssa walks in, closing the door behind her. ALYSSA Sam's dropping Adam and Ryan off. George is slightly out of it with oral morphine ; he tires to sit up, but settles for propping up his head. GEORGE Can you keep Sam straight? ALYSSA He's not gay. I found out purely by accident, believe me. GEORGE I mean drugs. -LRB- catching up. -RRB- I thought you said he was? ALYSSA He would n't use around me. I do n't like any of it. GEORGE You're a good girl. ALYSSA I need to ask you something, Mr. Nelson. Alyssa walks over and lies on the bed beside George. GEORGE You have to ask like that? ALYSSA I want you to try something with me, okay? GEORGE I've taken a lot of morphine. Oral morphine. for my back. Can I wait till I can say no and sound convincing? Alyssa leans forward and kisses him ; it's a real kiss that lasts a lot longer than it should. And when it's over : ALYSSA Did you feel anything? GEORGE Maybe your tongue. I do n't know, my mouth is numb. Why did you do that? They both stare up at the ceiling. ALYSSA When you dated my mom, I saw you kiss her once. You looked like such a good kisser.",
"INT. BEDROOM - EVENING It's the couple making love again ; this time we're close enough to make out Colleen's face underneath Josh, who is working with speed, if not exact precision. ALYSSA -LRB- V.O. -RRB- My mother would die. GEORGE -LRB- V.O. -RRB- Let's shut up and not kill her. COLLEEN Oh my God!",
"INT. ROBIN'S BEDROOM - EVENING Peter has changed and is on the bed ; his head propped up by pillows ; he stairs blankly at the door.",
"INT. ROBIN'S LIVING ROOM - EVENING Robin is sitting alone in the living room, in the same spot Peter had been sitting earlier.",
"INT. GEORGE'S GARAGE - EVENING Alyssa and George are still beside each other in bed. ALYSSA It's not what I was expecting. GEORGE What did you think it would be? ALYSSA I do n't know. -LRB- realizing. -RRB- More like when I kissed Sam. Alyssa sits up in bed. ALYSSA -LRB- CONT'D. -RRB- More like that. She stands and grabs his big toe. ALYSSA -LRB- CONT'D. -RRB- Thanks for your time. Alyssa waves goodbye and leaves. George is confused by it all.",
"INT. COLLEEN'S BEDROOM - EVENING Josh looks as though he's been struck by a hammer as he lay on his back with his mouth slack. Under the sheet, low down, Colleen is swallowing her pride and showing off her technique. A sudden blaring noise, AN ALARM, pierces Josh's throaty groan. Colleen jumps off the bed, the sheet still haunting her head. COLLEEN Oh my God! Get dressed! Get dressed!",
"INT. COLLEEN'S KITCHEN - EVENING Alyssa closes the French door she entered through and rushes to the alarm panel as the siren blares.",
"INT. COLLEEN'S BEDROOM - EVENING Colleen and Josh are frantically pulling on clothes as the noise throws them off balance.",
"INT. COLLEEN'S KITCHEN - EVENING With the ALARM OFF, Alyssa walks to the entry. ALYSSA Mom!?",
"INT. COLLEEN'S BEDROOM - EVENING Josh has pulled on his underwear backwards ; only speed counts.",
"INT. COLLEEN'S ENTRY - EVENING Alyssa glances around before heading up the stairs. ALYSSA Hello?",
"INT. COLLEEN'S BEDROOM - EVENING Without a knock, Alyssa opens the door. The room is empty, but the bed is messed. ALYSSA Mom? COLLEEN -LRB- O.S. -RRB- Here, honey! Alyssa walks to the master bath, following the voice.",
"INT. COLLEEN'S BATHROOM - EVENING Colleen is standing above Josh, who is bent over on his knees, with a plunger in the bath. ALYSSA I completely forgot. I'm so sorry, Josh. -LRB- beat. -RRB- What are you doing? Josh's face is flushed red and beaded with sweat. COLLEEN I put him to work. ALYSSA What's wrong? It takes a second for Colleen to realize that Alyssa is talking about the plumbing. COLLEEN I could n't get it to go down. ALYSSA And why was the alarm on? COLLEEN Oh. I set it to see if it would work. ALYSSA You'd better call and cancel. COLLEEN Oh God, we do n't want the police! Colleen is anxious as she rushes out. Josh stands and wipes the sweat from his forehead. ALYSSA What's going on? Josh fumbles and fidgets, finally finding a way out. JOSH What's the deal with you and Sam?",
"INT. ROBIN'S KITCHEN - EVENING Robin is fixing dinner as we hear the front door open. Adam is talking as he rushes into the kitchen. ADAM I got to play one video game for three hours straight! Ryan enters right behind him. RYAN Would n't you move to another one if the one you were playing made you look stupid? Robin checks the entry to the kitchen - no Sam. ADAM That's how you get things right is to always try and never give up. Huh, Mom? ROBIN I guess it depends on what you give up on. Robin's face lights up as Sam walks into the kitchen. SAM There were no PG's. So I just gave them money to play games. ROBIN Can you stay for dinner? SAM Depends on what I'd give up on. Robin opens the oven and shows Sam a platter of lasagna. SAM -LRB- CONT'D. -RRB- It looks like a trap. Robin turns to Adam, excited at having Sam stay for dinner. ROBIN Go tell your father we're eating. RYAN Dad's home, already? ROBIN In the bedroom. Adam takes off in a run as Sam walks to the sink and washes his hands before grabbing a stack of plates for dinner. He arranges the five on the table and then heads back for utensils as Adam runs back in. ADAM He's not there. ROBIN He's here. Check the bathroom. ADAM I checked everywhere. He's not there.",
"INT. GEORGE'S GARAGE - MORNING Guster's at the door, whining. George and Sam are asleep.",
"INT. COLLEEN'S KITCHEN - MORNING Colleen is sitting alone at the kitchen table, drinking coffee as Alyssa walks in. ALYSSA What are you doing up so early? COLLEEN I could n't sleep last night. ALYSSA I'm supposed to be mad at you, but I'm not. Colleen is trembling as Alyssa pours herself a big bowl of Lucky Charms. COLLEEN Why? What do you mean? ALYSSA Uh. using Josh like that. Alyssa eats her cereal as Colleen bursts into a confession. COLLEEN I will never forgive myself. Never, Alyssa. I know I took advantage. It's inexcusable. Oh, God. I should have my head examined. Alyssa looks confused as she swallows her Lucky Charms. ALYSSA He said you asked him to tighten your toilet seat, too. That's so uncool. Colleen quickly nods. COLLEEN I wo n't do it again. I swear. Alyssa keeps an eye on her mother as she continues on with her cereal.",
"EXT. DOKOS HOUSE - MORNING Guster is taking a dump on the immaculate lawn. David Dokos rushes from the house dressed in a suit and picks up the shit with a gloved hand and heaves it at Guster as the dog trots back to safety. Tom and Barbara, the old early walkers of the street, stop and watch as David picks up more crap and tosses it onto George's driveway. He notices Tom and Barbara. DAVID Mind your own fucking business! Tom and Barbara stay silent as David Dokos walks back into his house and slams the front door shut.",
"EXT. PACIFIC COAST HIGHWAY - LATE MORNING Josh is in eleventh gear on his ten speed peddling like a demon for the Beck's house.",
"EXT. GEORGE'S HOUSE - LATE MORNING Robin pulls to a stop and Ryan and Adam run from the Range Rover to Sam and Alyssa, who are helping an ELECTRICIAN -LRB- DALE -RRB- install the outside boxes and sockets. ADAM Dad's disappeared! RYAN He was there and then he was n't! Sam faces his mother as she walks toward the house. SAM He has n't called? ADAM Who are you? Robin shakes her head `` no'' to Sam. Dale turns to face Adam. DALE I'm the electrician. ADAM I'm the builder! Sam turns back to finish what he was working on as Alyssa grabs Adam with a hug.",
"INT. GEORGE'S GARAGE - MORNING George is swallowing two pills as Robin knocks on the half open door, opening it all the way in the process. ROBIN Is your back still killing you? GEORGE I did n't think you'd come today. ROBIN I kept thinking about it, what you said. I hope you were trying to keep me away fro the sake of me. GEORGE No. Mostly me. ROBIN Peter left me yesterday. GEORGE Left you? ROBIN No goodbye. No fuck you. No ` Are you in love with George?' GEORGE What did he say? ROBIN ` I'll be in the bedroom.' Robin walks to George and holds on to his shirt. ROBIN -LRB- CONT'D. -RRB- I could n't walk in there. -LRB- beat. -RRB- So he left. She rests the side of her head against his chest. He kisses her hair. Outside, a hammer beats a reminder that they're not alone. The ocean drowns the sound long enough for Robin to kiss George's chin ; and in that instant, the instant where everything but the touch washes away, George kisses Robin with such punch that it knocks them onto the bed. They continue to forget everything as they roll with the punch. SAM -LRB- O.S. -RRB- Dad, Dale needs to know. Sam stops at the jamb of the open door as his mother and father scramble to their feet from the bed. GEORGE I had a kink in my. As George falters, Robin feels compelled to complete the lie. ROBIN Back. Neck. Back. GEORGE What? SAM The door was open. ROBIN -LRB- a quick confession. -RRB- I do n't know what I'm doing. SAM I would n't let Adam or Ryan see you doing it. GEORGE It wo n't happen again. George and Robin are flustered, embarrassed by being caught, something Sam clearly relishes. SAM Dale wants to know if we should run an outside outlet for Christmas lights with a switch inside? GEORGE Absolutely. -LRB- beat. -RRB- Have him put it on a separate line. At Christmas, we'll pact it so full of lights, we'll make God wear sunglasses. Sam laughs, grabs the door and closes it on his parents. Robin slumps, truly embarrassed. ROBIN I could die. GEORGE So could I. George touches Robin's chin, draws her head up. He stares at her, afraid to say what he needs to say. ROBIN Are you going to kiss me? GEORGE It's not my back that's killing me. Robin furrows her brow, not understanding. George surrounds her head with his hands and kisses her forehead.",
"EXT. GEORGE'S HOUSE - MORNING Adam and Ryan are helping Dale run the electrical lines ; Alyssa and Sam drill screws into the second story floorboards. MUSIC is playing loud on the radio. ANOTHER VIEW Josh stops peddling quite a distance from George's house and gets off to search for Alyssa. Only seeing Adam, Ryan and Dale, Josh pulls out his cell and dials.",
"INT. COLLEEN'S BEDROOM - MORNING Frustrated and anxious, Colleen slips off the dress she's wearing and tries another one as the phone RINGS.",
"EXT. GEORGE'S STREET - MORNING Josh is standing behind a tree, talking on his cell phone as he stares at George's house. JOSH I do n't see her. -LRB- beat. -RRB- Please just open the door when I knock. He slips the phone back in his pocket, hops back on the bike and makes a beeline toward Colleen's house. ALYSSA -LRB- O.S. -RRB- Josh? Busted, Josh has no choice but to join Alyssa. JOSH I was hoping. you could. you know. Go for a ride? Alyssa and Sam are leaning out the framed second story window. SAM On the handlebars or your shoulders? ALYSSA Are you afraid of heights? Sam walks away from the window and goes back to work. JOSH Not really. ALYSSA Can you help us out? JOSH My parents cut my allowance off. Without a car, I'm totally screwed. ALYSSA George is paying Sam ten dollars an hour. Sam sticks his head back out the window. SAM Hey, I can get you three hundred cash for two hours. ALYSSA What? Josh is fuming as he stares at Sam. SAM It's just a joke. A stupid joke. JOSH I could use the money. Sam turns away from Josh. George walks out the garage as he wipes his eyes. ALYSSA Hey, George! I recruited some help for the roof! George walks to Josh and extends his hand. GEORGE George Nelson. JOSH Josh. Adam races to George with a hug - something unexpected. Adam rushes back to work as George breaks into a smile. Alyssa rushes down the stairs and straight into George's arms. ALYSSA Me too! George is still smiling as he tucks a strand of Alyssa's hair behind her ear. Ryan sort of saunters over to George with his hands sunk deep in his pockets. Without asking, George wraps his arms around Ryan with a hug. Afterward : RYAN I just wanted to know where Mom was? GEORGE Oh. Sorry. RYAN It's okay. GEORGE She needs to be alone, I think. RYAN Because Dad left? GEORGE She's a little sad, is all. RYAN I do n't even care if he ever comes back. Ryan walks back to Adam, who's been standing still, listening. GEORGE Josh, you look like you could use a hug. JOSH No. I'm okay. I'm okay. George is too quick with his hug. Josh is stiff as a board. Sam looks pissed as he walks away from the second story window and resumes screwing the floorboards. George sets his eyes on Dale as he opens his arms wide. DALE Do n't even think about it. George walks toward Dale with his arms still extended. GEORGE Well, they got me started. DALE I swear to God, I'll use these wires and shock you so bad your tongue will turn black. Adam and Ryan are excited as George closes the distance. Finally, Dale drops the harmless wire and takes off in a run.",
"INT. COLLEEN'S KITCHEN - LATE MORNING Colleen is pacing the kitchen in a silky dress we have n't seen before. Finally, she grabs the phone.",
"EXT. GEORGE'S HOUSE - LATE MORNING George is propped up on the chaise lounge next to the patio table where everyone has dropped their crap. Sam and Josh are sheeting the roof with tarpaper. Robin is still in the garage. One of two cell phones on the table begins to RING. DALE Would you get it for me? Dale is in the middle of wiring a box. JOSH -LRB- O.S. -RRB- Just let mine ring! GEORGE I guess. I do n't know. George picks up the offender, unsure whose phone it is. GEORGE -LRB- CONT'D. -RRB- -LRB- into phone. -RRB- Hello?",
"INT. COLLEEN'S KITCHEN - CONTINUOUS COLLEEN -LRB- into phone. -RRB- Where are you? You're driving me crazy, waiting like this. I want you in me now!",
"EXT. GEORGE'S HOUSE - CONTINUOUS George nearly drops the phone ; he sits up straight. GEORGE -LRB- into phone. -RRB- Colleen?!",
"INT. COLLEEN'S KITCHEN - CONTINUOUS Colleen sits down, panicked. COLLEEN -LRB- into phone. -RRB- I. I. I. George?!",
"EXT. GEORGE'S HOUSE - CONTINUOUS George holds the phone out and examines it for a second. JOSH -LRB- O.S. -RRB- Is it mine?! GEORGE God, I hope not. DALE -LRB- O.S. -RRB- That's not mine. JOSH -LRB- O.S. -RRB- Oh, shit! Josh trips, slips and slides off the roof to the ground below as Alyssa lets out a loud SCREAM.",
"INT. COLLEEN'S KITCHEN - LATE MORNING Colleen tosses the receiver as though it were a ball on fire.",
"EXT. GEORGE'S HOUSE - MINUTES LATER Everyone, including Robin, is circled around Josh, who is sprawled on the ground. JOSH I'm okay. I'm fine. Maybe I'll go home. ADAM Is that bone sticking out? ROBIN Do n't move! GEORGE I'm an idiot to have you up there. JOSH No. It's my fault. An ambulance is HEARD approaching. Colleen runs from her house - she's now dressed more appropriately in Levi's and a blouse. COLLEEN I heard a scream! JOSH If I could just stand up. ALYSSA Josh fell. Colleen stops a few feet short and covers her mouth with a trembling hand. GEORGE I think he might have broken a leg. The ambulance silences the siren as it turns onto the cul - de sac and stops in front of George's house.",
"EXT. GEORGE'S HOUSE - EARLY AFTERNOON Robin, George and Sam are sitting at the patio table as Ryan and Adam play catch with Guster. GEORGE Two ribs, a finger, a leg, a bruised kidney and a mild concussion are n't bad considering he landed on brick. Neither Robin nor Sam attempts a response. Finally : ROBIN I better get the kids home. GEORGE Not a perfect day. Robin stands. George stands because Robin's standing. Without warning, Robin begins to cry again. Ryan and Adam stop playing ball. Sam studies her before finally lowering his eyes. With her kids looking on, George stands still, hesitant to comfort her. There's a moment where all that there is, where the only thing seen or heard is Robin's pain. After an awkward amount of time, she wipes her eyes, wipes her nose, crosses around the table to Sam and kisses the top of his head, then his cheek. Without a word, she walks to her car and climbs in ; Ryan and Adam quickly join her in the car.",
"INT. GEORGE'S GARAGE - NIGHT George is brushing his teeth, dribbling and foaming over the only sink in the garage. Sam is propped up in bed with Guster, dressed on top of the sheets, fingering through a stack of CD's. He glances over at his father twice before speaking. SAM You look like shit, lately. George spits and rinses, facing Sam as he wipes his mouth. GEORGE You look better than ever. SAM I do n't think Mom cares that much that my. that Peter left. GEORGE She seemed upset. SAM What's wrong with your back? Sam tries to look slightly less interested than he is by continuing to flip through the CD's. George sits down. SAM -LRB- CONT'D. -RRB- I mean, do you need to have surgery on it or what? Because those pills you're taking are for a lot of pain. And you're going through them quick. GEORGE Are you taking them still? SAM No, but I count them. In a sock is n't new, you know? This is not easy for George ; he fumbles a bit before answering. GEORGE I'm having a problem with cancer. Sam stops flipping though the CD's. SAM I do n't know what that means. What kind of problem? GEORGE The kind where there is n't really an answer. SAM I still do n't know what that means. GEORGE I wanted you here so we could have a few months together. Maybe everything happens for a reason. Something bad to force something good. Sam looks somewhat panicked. SAM What? Are you dying? This is not easy for George ; he fumbles a bit before answering. GEORGE I'm having a problem with cancer. Sam stops flipping through the CD's. SAM I do n't know what that means. What kind of problem? GEORGE The kind where there is n't really an answer. SAM I still do n't know what that means. GEORGE I wanted you here so we could have a few months together. Maybe everything happens for a reason. Something bad to force something good. Sam looks somewhat panicked. SAM What? Are you dying? George nods his head. SAM -LRB- CONT'D. -RRB- And you told Mom today? GEORGE Yes. Sam whacks the CD's off his stomach ; they scatter across the floor. Guster scoots off the bed in a panic. SAM Fuck you! You knew you were dying from the start! Sam bounds out of bed in a rage. GEORGE We're all dying from the start. -LRB- beat. -RRB- I just got picked for Advanced Placement. SAM You lied to me! GEORGE I would have lied to me if I thought I'd believe it. SAM This was all for your sake, was n't it? Having me here? Trying to get me to like you. GEORGE I never tried to get you to like me. -LRB- beat. -RRB- I tried to get you to love me. SAM Well, congratulations! You fucking pulled it off! Sam storms out of the garage.",
"INT. COLLEEN'S ENTRY - NIGHT Colleen pulls a robe around her nightgown as the doorbell RINGS again and again. She flips on a light and opens the door. Sam backs away from the door as he talks. SAM Is Alyssa here? COLLEEN It's midnight. What's the matter, Sam? SAM Nothing. My dad's dying. I really need to talk to Alyssa. ALYSSA -LRB- O.S. -RRB- Sam? Alyssa is leaning over the upstairs railing. Sam walks up the stairs as Colleen closes the door.",
"EXT. BEACH - EARLY MORNING Sea lions romp on a rock offshore as gulls circle above. The sun sheets the morning on the water that's blinding.",
"INT. ALYSSA'S ROOM - EARLY MORNING Alyssa is under the covers holding onto Sam, who is still dressed. Both are asleep.",
"INT. GEORGE'S GARAGE - EARLY MORNING George is in bed in pain. A prescription bottle is open beside him and pills are scattered on the sheet. A KNOCK on the door forces George to gather the pills and hide the bottle. GEORGE It's open. Kurt the cop opens the door dressed in civilian clothes. KURT It's my day off. I thought I'd help with the plumbing. GEORGE I need you to do me a favor. KURT -LRB- concerned. -RRB- God, you look like crap, George. GEORGE I want you to find someone for me.",
"EXT. COLLEEN'S HOUSE - EARLY MORNING Colleen walks out her front door straight to her neighbor's house. After a bit of RINGING and a bit of waiting, Tom -LRB- of the walking Tom and Barbara -RRB- answers the door in a bathrobe. COLLEEN Does your son still own a company that builds houses?",
"EXT. GEORGE'S HOUSE - LATE MORNING Dale is wiring with Adam and Ryan helping. Kurt, Robin and Colleen are setting up and sealing the plastic plumbing pipes. Two new men -LRB- GREG and MIGUEL -RRB- are on the roof, finishing up where Josh fell down. MUSIC is playing on the radio. George is asleep on the chaise lounge. Alyssa walks across the grass and stops to stare at George. Tears well in her eyes. Alyssa continues on to the house and walks up the stairs. COLLEEN He's been asleep for hours. ROBIN Is Sam okay? ALYSSA He wo n't leave my room. ROBIN Will he talk to me? ALYSSA No. Robin accepts the answer. Slowly, they all return to work. MONTAGE The day is productive as we see the black drainpipes and the copper water runs coming together like a maze. The roof is shingled and the wiring is nearly complete. Whether awake or asleep, George spends the day in the chaise lounge.",
"EXT. GEORGE'S HOUSE - LATER A city inspector's truck pulls to a stop and Bob Larsen steps out with a clipboard and a concerned look on his face. George is dozing on drugs. BOB You're not a plumber, Kurt. Kurt finishes hooking in a plugged tee at a turn and stands. KURT I worked every summer with my dad. Check out what I've done. BOB It's not whether it's good or bad. You know that. It's whether your licensed. Frustrated, Kurt glances around at all his good work before answering. KURT Are you still renting that illegal non conforming studio under your house for a thousand a month? Bob opens his clipboard and checks a number of items off. BOB Okay. Looks good to me. KURT Oh, that's embarrassing. That was too easy. At least look around. I really did do it right. BOB That is n't why I'm here, anyway. George wakes up and quickly hones in on Bob. GEORGE I've been dreading you. Bob walks toward George as he talks. BOB Mr. Stevens. One of your neighbors is adamant your home has exceeded its approved height. He's filed to have construction stopped immediately. GEORGE It's thirty feet. BOB Well, if it is, we have a problem. George stands, he appears slightly shaky. GEORGE I have the permit. BOB After your last extension request and with Design Review and the Board of Adjustment and the appeals to the city council, was there an amended permit? GEORGE To the patio and one north - facing window. -LRB- suddenly realizing. -RRB- And six inches to the height. George sits back down. Everyone emerges from the house to join George and Bob. GEORGE -LRB- CONT'D. -RRB- David Dokos? Bob nods. KURT Why do you let your dog crap on his lawn, day after day? GEORGE I do n't let him. He just loves to. COLLEEN He'll make you tear the entire roof off rather than give you any satisfaction. BOB I'm afraid you wo n't be able to continue until this is settled. You can always go back and file an appeal. GEORGE That would take weeks. BOB Months. ROBIN Just so you know, we'll be here working tomorrow and every day after until this house is finished. BOB He'll call us again and then he'll call the police. He has an attorney on retainer. ROBIN Just so you know. Robin turns and walks back into the house. Colleen, Alyssa, Adam and Ryan soon follow. BOB If he hears a hammer, he'll have you arrested. Robin picks up the hammer and pounds a nail into a piece of wallboard. Dale, Miguel, Greg and Kurt walk back to the house and go back to work. Bob glances at George who shrugs.",
"INT. COLLEEN'S FAMILY ROOM - NIGHT Colleen is watching the news as Alyssa walks in to say goodnight. ALYSSA I'm going to bed. COLLEEN Has he eaten anything at all? Alyssa shakes her head `` no'' as Colleen flips on the TV. COLLEEN -LRB- CONT'D. -RRB- I'd be more comfortable if he slept in the guestroom. ALYSSA I'd be more comfortable if you had n't slept with Josh. And George would be more comfortable if he were n't dying. Colleen is embarrassed Alyssa knows the truth. ALYSSA -LRB- CONT'D. -RRB- Comfort does n't mean that much when just getting through the night is the goal, Mom. Alyssa walks out. Colleen curls up and hides clutching pillows on the couch.",
"INT. GEORGE'S GARAGE - NIGHT George is shaking and sweating as he tries to crawl off the bed to his sock drawer. Guster wakes up and hops off Sam's bed to lick George on the face. GEORGE Please. I ca n't. George is in real pain as he drops to the floor on his back. He winces and cries out as he pushes himself forward with his legs toward the dresser. George suddenly stops pushing ; his legs slump flat on the concrete floor. His eyes flutter shut as Guster continues to lick his face.",
"INT. ALYSSA'S BATHROOM - MORNING Alyssa is dressed, combing through wet hair when the sound of construction distracts her. She opens her window and sticks her head out. Suddenly excited, she pulls her head back in.",
"INT. ALYSSA'S BEDROOM - MORNING Sam is in bed as Alyssa speeds out of the bathroom. ALYSSA There are like twenty people working on your dad's house! Alyssa bolts for the door, but stops short as she faces Sam. ALYSSA -LRB- CONT'D. -RRB- If it were my father, I'd wan na spend every second with him I had left. Sam does n't face her, does n't even attempt to look up. SAM You hate your father. ALYSSA If he tricked me into loving him, is what I meant. SAM You'd hate him for the trick. ALYSSA Not if what he left me was real. Alyssa leaves, closing the door behind her. Sam stays put.",
"EXT. GEORGE'S HOUSE - MORNING Colleen is talking to Tom and Barbara as they stand to the side of the house where a throng of men assemble the house. TOM He pulled this crew off a tract in Newport. They're the best. Robin pulls to a stop on the street and Adam and Ryan run out to gawk at all the workers. ROBIN What's going on? COLLEEN I hired some help. ROBIN Why? ALYSSA -LRB- O.S. -RRB- Mom?! Colleen glances back as Alyssa runs to join the group. COLLEEN Atonement. ALYSSA Who are all these people? ROBIN Where's George? COLLEEN I think he's still sleeping. ANOTHER VIEW Robin walks to the garage door and KNOCKS. Guster barks. Robin KNOCKS again before opening the door.",
"INT. GEORGE'S GARAGE - MORNING Guster is beside George on the floor. Robin rushes in and kneels down. ROBIN George!? She presses her hand against George's cheek. ROBIN -LRB- CONT'D. -RRB- Wake up. You're still warm. George's eyes flutter open. Robin leans down and kisses him on the cheek. George focuses on Robin ; he tries to speak, stops, and tries again. Finally, in a weak voice, we hear : GEORGE Stop licking me.",
"INT. COLLEEN'S ENTRY - MORNING Alyssa bursts into the house and rushes up the stairs.",
"INT. ALYSSA'S ROOM - MORNING Sam is sitting on the edge of the bed as Alyssa enters. ALYSSA Your dad's going to the hospital! Sam does n't respond. ALYSSA -LRB- CONT'D. -RRB- Come on! Alyssa holds out her hand as we HEAR the ambulance approach. SAM I do n't wan na go. ALYSSA He asked where you were! He wants you with him. SAM I do n't wan na go. Sam is nearly pleading, frightened to move. Alyssa walks out. The siren stops. The front door closes. Sam sits still.",
"EXT. GEORGE'S HOUSE - AFTERNOON The house is coming together incredibly fast with all the workers. Tom and Barbara are supervising the crew. David Dokos whips around the corner in his black Mercedes and parks in his driveway, rushing over as he yells. DAVID Nothing is built until the Board of Adjustment hears the appeal! David is searching for George, finally settling for Tom. DAVID -LRB- CONT'D. -RRB- Where is he? TOM I should have reported you for tossing that piece of dog doo. Tom's face is flushed ; Barbara calms him by grabbing his arm. BARBARA Tom, let's not overreact now. David Dokos stomps his feet and thrusts his fist into the air, as a child might if he were overreacting. DAVID I want this fucking piece of shit construction stopped now and I want that goddamn roof ripped off and lowered and I do n't care if I have to spend a shit load of money to get it done! I will do it! Tom and Barbara simply stare at him in disbelief. David walks back to his house. Tom turns to his wife. TOM I want this house finished before he can stop it. Tom rolls up his sleeves and walks toward the house to help.",
"INT. COLLEEN'S ENTRY - EVENING Colleen and Alyssa walk into the house listless - both look tired and sad.",
"INT. ALYSSA'S BEDROOM - EVENING Alyssa enters the room, walks into the bathroom. Sam is gone. ALYSSA Sam?",
"INT. ROBIN'S FAMILY ROOM - EVENING Adam and Ryan are sitting next to each other on the floor subdued, tossing a ball to Guster. The kitchen door opens and Peter walks into the family room. Adam is the first to notice but the last to react. Ryan stands as Guster barks. RYAN Guster, be quiet. Peter has a growth of beard and is dressed in Levi's and a knit shirt - he does n't look like himself. PETER Hey. RYAN Hey. PETER You got a dog? RYAN It's not ours. It's George's. Peter nods. PETER I've missed you guys. RYAN Why? Ryan is tough - not giving an inch. Peter stares at his sons, ashamed that the question could be asked. Adam stands and walks to this father, takes his hand. RYAN -LRB- CONT'D. -RRB- I'll tell Mom you're here.",
"INT. HOSPITAL ROOM - EVENING George is asleep, looking dead with tubes in his arms. We HEAR a bit of the song by Warren Zevon, `` MY SHIT'S FUCKED UP.'' ` Well, I went to the doctor/I said ` I'm feeling kind of rough' / He said, ` I'll break it to you, son, your shit's fucked up.'",
"EXT. GEORGE'S HOUSE - EVENING Sam is alone on the roof in the fading light, stringing party lights over the shingles and under the eves.",
"INT. ROBIN'S FAMILY ROOM - EVENING Robin could n't look worse as she walks down the hall to the family room with Ryan. Peter is standing alone. Ryan joins Adam on the floor with Guster. Robin stops and stands ten feet from Peter. PETER I thought maybe. I know it's late. but if you're hungry.",
"EXT. GEORGE'S HOUSE - EVENING The sun has set as Sam stands at the edge of the cliff trying to garner the courage to jump. After the sound of a wave crashing against the cliff, Sam closes his eyes and leaps off the edge of the earth.",
"INT. ALYSSA'S ROOM - EVENING Alyssa is sitting on the edge of her bed as Colleen stops beside the open door. COLLEEN Are you doing okay? Alyssa shakes her head `` no''. Colleen walks into the room and sits down beside her daughter. Alyssa rests her head on her mother's shoulder.",
"INT. RESTAURANT - EVENING Robin, Peter, Ryan and Adam are in the middle of dinner as Adam excitedly tries to explain all that he and his brother have accomplished. ADAM And we got to take all the old paint off all the doors and then George taught us how to stain everything and he even let me choose the color I liked best! And he said he loved me! RYAN We did a lot of the wiring too. ADAM With Dale. Oh, and I got to drill a hole into a board to put the wire through! PETER I've never heard you so excited about anything. ADAM Maybe you can come help us too?! PETER I'd like that. Peter glances at Robin.",
"INT. HOSPITAL CORRIDOR - NIGHT Sam is still wet as he walks down the hall. We HEAR more of the Warren Zevon song.' I had a dream/Ah, shucks, oh, well/Now it's all fucked up/It's shot to hell.'",
"INT. GEORGE'S HOSPITAL ROOM - NIGHT Sam enters the room as a NURSE scurries to catch up. NUR I'm afraid no one's allowed in here now. SAM He's my dad. Sam is staring at George, who is either asleep or unconscious. The nurse finally relents and walks out. Sam sits in a chair beside the bed and begins to cry. Slowly, George's arm slides out beyond the railing of the bed, his hand open. Sam does his best to stop crying. SAM -LRB- CONT'D. -RRB- I brought you something. Sam pulls out a pair of sunglasses from his shirt pocket. George shakes death and drugs away as he manages to open his eyes. GEORGE -LRB- weakly. -RRB- I do n't wan na go, Sam. SAM Here. Sam gently slides the sunglasses over his father's eyes ; he rushes to the window and pulls the curtains back. SAM -LRB- CONT'D. -RRB- Can you see? Sam walks back to the bed and pulls it toward the window, stretching the cords and tubes to their limit. He grabs the remote and raises George's head. Off in the distance, against the backdrop of an endless black ocean, George's house is seemingly on fire with lights. Pain ca n't stop a smile. SAM -LRB- CONT'D. -RRB- It's almost done. George takes hold of Sam's hand with his own. They continue to stare at the lit house holding hands.",
"INT. ROBIN'S ENTRY - NIGHT The door opens and Robin, Adam, Ryan and Peter are greeted by Guster, who bounces around like a wired rabbit. ROBIN Go brush your teeth and get right into bed. It's late. Adam runs to Robin for a kiss, then grabs Peter with a hug. ADAM Goodnight. PETER Goodnight. Adam runs up the stairs, Guster right on his heels. Ryan is staring at his father. RYAN Do you know anything about building a house? PETER No. RYAN I guess I could teach you some things. PETER Okay. Robin sneaks a quick kiss on Ryan's cheek as he heads for the stairs. After he's gone, Robin turns back to Peter. ROBIN I hardly recognize you with a beard. PETER That was my plan. to be hardly recognizable to you as me. ROBIN I feel in love with George again. Peter nods, something he already knows. PETER I'll see you tomorrow. Robin nods. There's a moment where it's clear that Peter does n't want to leave and Robin does n't want him to leave, but after the moment passes, Peter walks out and Robin sits down at the base of the stairs.",
"INT. ALYSSA'S BEDROOM - NIGHT Colleen and Alyssa are asleep together on the bed.",
"EXT. GEORGE'S HOUSE - EARLY MORNING Sam is up on a ladder, pounding copper nails into cedar shingles that face the house. Alyssa runs across the grass. ALYSSA Where are you?! SAM Floating to Catalina. ALYSSA What? Sam steps off the ladder. Alyssa wraps her arms around him. Sam removes sleepy bugs from Alyssa's eyes before he kisses her. A police car stops in front of the house and Kurt steps out. Alyssa and Sam turn to face him. KURT He said he heard hammering. SAM Who? Before Kurt can answer, David Dokos storms out of his house and trudges toward them talking. DAVID My attorney is driving down from Newport Beach. If I hear one more nail being hammered, I swear to God before this is all over I'll end up owing this house! As Sam is staring at David Dokos, a hint of recognition crosses his face. KURT Mr. Dokos says that your father missed his height envelope by six inches. ALYSSA He wants the entire roof taken off and lowered. SAM Wait a minute. A wave of fear rushes through David Dokos that's instantly visible. SAM -LRB- CONT'D. -RRB- Do you drive a black Mercedes? DAVID No. Sam figures out why we knows David Dokos - from the aborted blowjob in the black Mercedes. DAVID -LRB- CONT'D. -RRB- I'm going back to my house to wait for my lawyer. David starts to leave, but Sam stops him with : SAM Are you sure we need lawyers? David's face is sheet white as he forces himself back around. SAM -LRB- CONT'D. -RRB- Because all we're really talking about is six inches, right? DAVID Are you threatening me? KURT What are you talking about? SAM I'm sixteen years old. I'm underage. How could I possibly threaten you? David Dokos stares at Sam for a long time before glancing at Kurt and his police uniform for just a second. SAM -LRB- CONT'D. -RRB- Would you like to help us finish the house, Mr. Dokos? DAVID Yes, I would. KURT What the fuck? SAM Everything happens for a reason. That's what my dad said. KURT Then you tell me, what just happened? SAM The payoff. Sam walks back to the ladder and hammer, leaving Kurt and Alyssa confounded. David takes a step back. DAVID I'll just. change clothes. Sam pounds in another shingle as David walks quickly back to his house.",
"INT. GEORGE'S HOSPITAL ROOM - MORNING George is unconscious as Robin enters and sits down beside him with a video camera. ROBIN I found the last time you were happy. Robin adjusts the viewfinder and presses play on the camera. George does n't wake up. On the tiny screen, we see a younger George in the ocean, his arms wrapped around six - year old Sam ; he shields Sam from the waves and kisses his son's hair. Robin rests the camera on the bed as the video continues to play. She takes hold of George's hand and begins to weep as she presses her head on his chest. An envelope with Robin and Sam's name on it rests on the nightstand beside the bed.",
"INT. GEORGE'S HOUSE - MORNING Twenty men along with Tom and Barbara, Alyssa and Colleen, Sam and David Dokos are painting ; installing windows, floors or cabinets as the house begins to take its final shape.",
"EXT. GEORGE'S HOUSE - MORNING Peter stops and steps out of his car as Adam and Ryan race for the house. ADAM It's almost done! Sam walks out the front door. SAM Do you guys feel like painting? ADAM What color? SAM Red. ADAM I love red! That's my favorite color! Adam and Ryan walk into the house as Sam focuses on Peter, who keeps his distance. PETER You do n't look like you. SAM Either do you. Peter glances down at his work clothes. PETER I thought I might be able to help, but it looks like you have all you can handle. SAM Do you like red? Peter nods, hesitates for a moment before walking up the driveway to Sam.",
"INT. GEORGE'S HOSPITAL ROOM - AFTERNOON George's bed is empty, stripped of everything. Robin is still sitting in a chair beside the bed, a letter resting on her lap. A NURSE stops at the door. NURSE Are you sure we ca n't call anyone? Robin shakes her head `` no''. The nurse moves on.",
"EXT. GEORGE'S HOUSE - LATE AFTERNOON From the outside, the house is finished : windows in, doors on, roof shingled. The sun drops behind the house, causing a halo of bright light to envelop it.",
"INT. GEORGE'S HOUSE - LATE AFTERNOON Most of the workers have gone home, because most of the work is done. All the floor are hand - scrapped cherry ; huge beams and wood planks lend a strength to the ceiling. The kitchen cabinets are in ; the bathrooms are complete. Sam, Ryan, Alyssa, Adam and Peter are the only ones left. Outside, we hear a car pull to a stop. ADAM Mom! Adam and Ryan run down the stairs. Peter stops cleaning a brush and walks to the window as Sam stands still.",
"EXT. GEORGE'S HOUSE - LATE AFTERNOON Adam runs to Robin and meets her mid - yard with a hug. ADAM When does George get to come see his house? ROBIN It's so beautiful. Adam and Robin are staring at the house. Ryan can see the strain on his mother's face. RYAN Is George okay? All Robin can do is shake her head `` no''.",
"INT. GEORGE'S HOUSE - LATE AFTERNOON Sam backs away from the window. Peter turns to face him. Standing straight as he can, being as brave as he can, tears well in Sam's eyes as he softly shakes. Peter walks to Sam and wraps his arms around him. GEORGE -LRB- V.O. -RRB- I always thought of myself as a house. I was always what I lived in. It did n't need to be big. It did n't even need to be beautiful. I just needed to be mine. I became what I was meant to be. I built myself a life. I built myself a house. Sam clings to Peter, completely lost in sorrow.",
"EXT. GEORGE'S HOUSE - LATE AFTERNOON Adam and Ryan have their arms wrapped around their mother as we pull back and watch the sun set the sky off in dazzling hues of orange and red.",
"INT. RANGE ROVER - ONE WEEK LATER Robin is driving with Sam beside her in a low - middle income neighborhood in Santa Ana. Sam is holding the letter. ROBIN You're sure about this? SAM Yeah. ROBIN You could keep it and rent it out? SAM This is what he wants. ROBIN I read the letter. You read the will. He wants you to keep it. To live in it some day. SAM Then maybe this is n't what he wants, but this what he was hoping for. -LRB- beat. -RRB- Maybe it's what I want. It's clear to see that Robin's proud of Sam's decision. She checks an address on a piece of paper and pulls to a stop. Sam steps out of the car, holding the letter.",
"EXT. SANTA ANA APARTMENT BUILDING - MORNING Sam is shaking slightly as he walks up the cracked concrete walk to the door. He RINGS the bell. GEORGE -LRB- V.O. -RRB- Twenty - one years ago, my father crossed a double - line. He changed my life and the life of a little girl forever with that mistake. I just ca n't stop thinking about her. A WOMAN in her mid - twenties opens the door in her wheelchair. WOMAN Hello. Sam is very nervous as he reaches in his pocket and pulls out a set of keys. SAM My father built you a house. The woman is confused as Sam holds out the keys.",
"EXT. GEORGE'S HOUSE - MORNING The house is majestic in its setting among the trees and grass, on the jagged just of rock that accepts the constant crash of ocean against it with a solid permanence. This is where, if you were a house, you would want to be built. THE END."
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] | George Monroe, an architectural model fabricator, is fired when he refuses to use computer technology. At his boss' refusal to let George keep a few models, he destroys all but one of the models with a spindle from an architectural drawing. As he exits the building with the remaining model, he collapses and is rushed to the hospital, where it is revealed he has advanced stage cancer and any treatment would be futile. George decides to demolish the home left to him by his father and replace it with a house in keeping with the neighborhood. He enlists his son, Sam, who is alienated from his stepfather Peter and his mother Robin. Sam must spend the summer with George, who has not revealed his terminal condition, and help him with the house, but Sam makes it a point not to help him. When George refuses to give Sam money unless he works for it, Sam toys with becoming a prostitute, but is nearly caught and flees from his first encounter. This leads him to steal George's Vicodin. George slowly reconnects with Sam. Robin decides to assist as well, and she finds herself rediscovering George. Also joining in the construction are Alyssa, Sam's classmate who lives next door with her mother Colleen; local policeman Kurt Walker, George's childhood friend; Sam's young half-brothers Adam and Ryan; various neighbors; and eventually Peter, even after separating from Robin when she tells him that her feelings for George have re-awakened. George tells Robin of his disease, sending her into shock. George tells Sam, who is betrayed and accuses George of being selfish and takes refuge at Alyssa's house. George collapses and is found by Robin the following morning. Complications arise when neighbor David Dokos tries to halt construction because the building's height exceeds the allowable limit by six inches. His plans to halt the project are stopped by Sam, who recognizes him from his prostitution attempt and blackmails him. Sam puts Christmas lights all over the unfinished house and shows George the gleaming house from his hospital window. The next morning, Sam returns to finish the house and Robin sits beside George until his death. Robin goes to the house and tells Sam about his father's death. Sam inherits the house he finished building. Sam gives the property to a woman who has been living in a trailer park. As a girl, she was injured in a car crash caused by his grandfather. | Life_as_a_House |
[
"BLACKNESS A sound is building. Like a living wind. A thousand screams in agony. From the blackness, gusts of smoke pull together quickly, forming the Main Title against black : `` EVIL DEAD'' Then beneath it, the Roman Numeral `` II.'' A SLOW ZOOM brings it toward us. And as the screams reach their sharp crescendo the title zooms through us. ANGLE - STOP MOTION ANIMATION Whisping smoke against a black background. EERIE MUSIC. In the distance, through the smoke, a small object. It fans toward us quickly, filling the frame. It is an ancient skin covered volume, with the outline of a human face on it's cover. This is the Book of the Dead. NARRATOR Legend has it, that it was written by the dark ones : NECRONOMICON EX MORTES ; Roughly translated. The Book of the Dead. The face on the cover of the book pulls away from its skin binding and leans toward the camera. EYES on the book blink open and peer at us. It's mouth opens and emits a hideous scream. The CAMERA races into the blackness of the screaming mouth. PLATE FOR PREVIOUS SCENE - SMOKE A SPINNING VORTEX - -LRB- 3 PAINTINGS ON AN ANIMATION STAND -RRB- - 12 SEC. PLATE Spiraling downward. NARRATOR To trace the origin of the Book, we must go back. back. to a day when spirits ruled the earth. Wispy shapes of animated ghosts move through this vortex, coming toward the CAMERA with WAILING and MOANING and then are gone. NARRATOR When the seas ran red with blood. PLATE FOR PREVIOUS SCENE - ROD PUPPET GHOSTS STOCK FOOTAGE - -LRB- OPTICALLY COLOR SEPARATED -RRB- A raging ocean of blood. Great waves rise and swell as if before a storm. NARRATOR -LRB- V.O. -RRB- It was this blood that was used to ink the book. AN OPEN COPY OF THE BOOK OF THE DEAD - ANIMATION STAND - BLUE SCREEN IN BG Through animation, the blank pages of the Book are scripted in a strange hieroglyphic by an invisible hand. Faster and faster the pages turn on the Book as the blood red ink is scrawled across them. The pages flip furiously until the Book snaps shut, reveal ing its gruesome face on the cover. The book flaps violently away from camera. NARRATOR -LRB- V.O. -RRB- The Book of the Dead was last seen in 1300 A.D. STOCK FOOTAGE - THE RIFT",
"EXT. KANDAR CASTLE - DUSK - 4 WARRIORS - 4 HORSES CAMERA panning down to reveal a magnificent newly built castle of stone. Bright banners fly from its turrets. An ox grazes nearby. 4 Warriors on horseback in the BG. NARRATOR -LRB- V.O. -RRB- It was then that the dark spirits again rose up to battle the living. The ground in front of the castle begins to split apart. A red glow and smoke pour from the growing crevice. Something evil is being unleashed. A strong wind kicks up blowing sand in a furious rage.",
"EXT. KANDAR CASTLE - DUSK TRACKING SHOT - ASH Through the blowing silt, a lone figure appears. An image of power and light. His clothing is ragged, and he holds what appears to be a jagged toothed longsword. Two massive columns of stone stand on either side. CAMERA slowly moves closer, but his face is still hidden by the darkness and blowing sands. NARRATOR -LRB- V.O. -RRB- It is said that a hero came from the sky. A man who defeated this evi and buried the Book in the Castle of Kandar. And there it lay for 700 years.",
"EXT. CASTLE OF KAN DAR - DAY - RUINS As the raging dust storm clears to reveal the same castle which we saw earlier, but now, in a ruined state. It has aged 700 years. The ox is gone. Now only its petrified skeletal remains stand in a weathered heap. NARRATOR -LRB- V.O. -RRB- Waiting. A four wheel drive vehicle roars PAST THE CAMERA and toward the castle.",
"INT. CASTLE OF KAN DAR - DAY - (STUDIO) TRACKING SHOT The CAMERA slowly tracks in toward the Book of the Dead as it sits in the darkness of the stone tomb. Next to it rests the KANDARIAN DAGGER, an ancient knife, its handle fashioned from the skull of a weasel. They rest upon a small pedestal covered with cobwebs. Prominently displayed on the stone wall, a bas relief of the `` Hero from the Sky'' holding his unusual jagged edged weapon. NARRATOR -LRB- V.O. -RRB- And then. The grinding of rock scraping against rock is heard, and a large stone is swung open on a secret hinge in the wall behind the book. Wind sweeps in through the tomb, along with the blinding light from outside. A sharply silhouetted figure steps in the newly created doorway. The figure lights a torch that he holds, illuminating his face. This is PROFESSOR RAYMOND KNOWBY. An intelligent, grey bearded man in his late fifties. He lowers the cloth around his face that had been protecting him from the sand. He stares at the Book, awestruck. Behind him, two other figures appear in the entrance of the tomb. The first is a large school - marmish woman, the wife of Raymond Knowby, HENRIETTA. She moves to Raymond's side and takes his hand. Immediately behind her is their daughter, ANNIE KNOWBY ; twenty - four years old, strong stance and beautiful. Behind her a handsome looking man, ED GETLY, enters the tomb. He moves to Annie's side. They exchange excited glances. The CAMERA PANS down to the Book.",
"INT. STUDIO - BLACK MED. SHOT - FOG Billowing past the camera in front of a black drape.",
"EXT. CABIN - NIGHT LONG SHOT An old log cabin, built in the valley of a dark forest. A great wind billows fog about the place. NARRATOR -LRB- V.O. -RRB- Professor Raymond Knowby and his wife, HENRIETTA, brought the book to a small cabin where they could study it undisturbed.",
"INT. CABIN MAIN ROOM - NIGHT Professor Raymond Knowby sits at a writing desk and transcribes passages from the Book of the Dead. A small framed photograph of his daughter Annie sits upon the table. Behind him, HENRIETTA sits knitting in a rocking chair. CLOSE SHOT - RAYMOND He speaks the phonetic pronunciation of completed sentences into the microphone of a tape recorder. RAYMOND Kanda. Es - trata. Ta - toon. Hazan sobar. Ear - Grets, Gat,. Nos - feratos. Amantos. Kanda! The sound of RAYMOND reciting the passages is faded down AS THE CAMERA SLOWLY TRACKS away from RAYMOND and over to HENRIETTA as she rocks back into the darkness and forward into the light. As she rocks forward into the light, she comes into FULL CLOSEUP revealing that her eyes have changed to a milky white. She continues to knit.",
"INT. STUDIO - BLACK MED. SHOT - FOG Blowing past the camera in front of black drape.",
"INT. CABIN CELLAR - NIGHT (STUDIO) A dank fruit cellar with shelves of half - rotten preserves. Raymond has his back to the stone wall. He is dictating into the tape recorder, sweating and distraught. RAYMOND It has only been a few hours since I've translated and spoke aloud the first of the demon resurrection passages from the Book of the Dead. The sound of heavy footsteps. Dust drifts down INTO FRAME. Raymond looks up to the ceiling of the cellar. It is also the floor to the main room of the cabin. He watches in horror as Henrietta's silhouette paces the floor above him. And then, the footsteps halt. RAYMOND And now, I fear that my wife has become host to a Kandarian demon. May God forgive me for what I have unleashed onto this earth. REVERSE ACTION The milky eyed possessed figure of HENRIETTA jolts quickly into the frame, and shrieks in the voice of a demon! Raymond Knowby screams. He drops the microphone. CLOSE SHOT - TAPE RECORDER As the microphone falls atop it. High pitched feed - back screams from the speaker. CLOSE SHOT - RAYMOND Screaming in terror. CLOSER - RAYMOND His fearful eyes fill the screen as the scream continues. EXTREME C.U. RAYMOND'S EYE Darting about wildly and the scream continues.",
"INT. DARK TUNNEL - DAY ROUNDY - ROUNDY - CAMERA MOUNTED ATOP VAN CAMERA MOVING swiftly down a dark tunnel. A light at the end growing closer. The SOUND of AIR RUSHING BY. The Delta 88 Oldsmobile comes ROARING out of the tunnel with a BLAST of AIR, and the sound of loud rock and roll music. NARRATOR -LRB- V.O. -RRB- It was one week later that a group of college students came to the cabin.",
"EXT. CABIN - NIGHT - TRACKING SHOT The Delta 88 Oldsmobile parked out front. Fog roars past the place. We faintly hear waltz music from within. The silhouette of a woman sweeps by the rear bedroom window.",
"INT. CABIN - REAR BEDROOM - NIGHT ASH AND LINDA LINDA, an attractive college student, is waltzing in the semi darkness of the bedroom. She wears a `` Michigan State University'' sweatshirt. She hums melodically to the music as she moves. Around her neck is draped a delicate silver necklace. MEDIUM SHOT - ASH AND LINDA A handsome young man, ASH, is playing the waltz music on an old wooden piano. Linda dances behind him. Ash is not a very good pianist, and can only plunk out the melody with two fingers. LINDA Ash, what's that you're playing? ASH Our song. Ash begins to play faster. MEDIUM SHOT - ASH AND LINDA As she picks up the tempo, spinning and laughing, until finally Ash moves to her, halting her in mid spin. CLOSE SHOT - LINDA Out of breath, hair tousled across her eyes, she stares deeply into Ash's eyes. Her lips, parted, in a sensual manner. CLOSE SHOT - ASH He returns her stare, lost in her beauty. He pulls her close. LINDA Ow! SHE PULLS AWAY SUDDENLY And looks down to the tiny silver necklace that she wears about her neck. CLOSE SHOT - NECKLACE In its center is a magnifying glass. MEDIUM SHOT - LINDA AND ASH - TULIP CRANE She looks from the necklace to Ash. LINDA I really love it. I'll never take it off. They kiss and now begin to dance together, to the haunting waltz melody that sweeps up upon the soundtrack. NARRATOR -LRB- V.O. -RRB- It was in the cabin's cellar that they found the Professor's tape recorder, and the Book of the Dead.",
"INT. CABIN MAIN ROOM - NIGHT CAMERA tracks in toward the trap door. It opens by itself as we move down the steps into the blackness.",
"INT. CABIN CELLAR - NIGHT The CAMERA pans down from the blackness to Ash who finds a shotgun, Raymond Knowby's tape recorder, tapes, the Kandarian dagger and. CLOSE SHOT. the shattered photograph of Annie Knowby and the Book of the Dead.",
"INT. CABIN MAIN ROOM The group of students sit about the fire as they listen to the tape recorder. Coming from the speaker is the voice of Raymond Knowby reciting the demon resurrection passage. PROFESSOR KNOWBY -LRB- on tape. -RRB- Kan Da, Es - trata ta - toon hazan sobar. Ear - Grets, Gat. MEDIUM SHOT Linda takes Ash's hand. She's frightened. Ash smiles to comfort her. She nervously fingers the silver locket she wears about her neck. CLOSE SHOT - TAPE RECORDER PROFESSOR KNOWBY -LRB- on tape. -RRB-. Nos - Feratos. Amantos. Kanda!",
"EXT. CABIN - NIGHT The cabin is in the distance. In the foreground the earth begins to swell, then rips apart as a red glow emanates from beneath. Something evil is being unleashed. NARRATOR -LRB- V.O. -RRB- One by one, they fell to the possession of the dark spirits.",
"EXT. HILLSIDE - GRAVEYARD - NIGHT CLOSE SHOT - LINDA Her eyes pop open. They are bone white. She has fallen to the possession.",
"EXT. HILLSIDE - GRAVEYARD - NIGHT ASH AND LINDA Possessed Linda is coming after Ash. Ash back peddles, stumbles and falls. ANGLE - ASH ON GROUND As the Shadow of approaching Linda envelops Ash, he picks up a shovel from the ground. LINDA LEAPS OVER THE CAMERA, TOWARD HIM. LINDA DUMMY Ash swings the shovel, slicing off Linda's head. LINDA'S DUMMY HEAD - ON WIRE ANGLE Linda's head rolls down the hillside and disappears into the darkness.",
"EXT. HILLSIDE GRAVEYARD - NIGHT ASH AND LINDA Ash buries Linda's headless body. He jams a crude wooden burial cross into the earth of the grave. A bolt of lightning strikes. HILLSIDE - GRAVEYARD/CABIN - NIGHT - LONG SHOT - ASH As he runs from the grave site and toward the cabin.",
"INT. CABIN - MAIN ROOM - NIGHT - CLOSE SHOT - ASH NARRATOR -LRB- V.O. -RRB- One man, Ash, destroyed the Book. Ash enters the cabin. He sees The Book of the Dead and tosses it onto the flames. CLOSE SHOT - MELTDOWN - MAIN ROOM -LRB- STUDIO -RRB- STOP MOTION ANIMATION A possessed demon begins to wither and melt. Flesh shrinks away from its skull and dissolves to nothing. NARRATOR -LRB- V.O. -RRB- But the evil that had been resurrected from it, lives on. CLOSE SHOT - BOOK IN FIREPLACE STOP MOTION ANIMATION The Book of the Dead is burned to cinders. The face upon the Book screams as it burns.",
"INT. CABIN MAIN ROOM - NIGHT - HIGH SHOT Ash picks himself up from the floor.",
"INT. CABIN MAIN ROOM Ash stands and clutches the necklace of Linda, in sorrow for his loss of her.",
"EXT. CABIN - DAWN - LONG SHOT Ash staggers from the cabin. FADE OUT.",
"EXT. CABIN - DAWN - RECREATION OF THE FINAL SHOT OF EVIL DEAD I We are racing forward. We have taken the POV of an EVIL ENTITY as it glides with dark purpose through a section of woods. It approaches the rear door of the cabin. The door is torn violently open. The next door falls away from us. We approach the front door. SLAM! It jigsaws in two and we are again outside, now in front of the cabin. Ash is seen in the distance. He is staggering away, his back to us as we race at him. He turns suddenly towards CAMERA and screams.",
"EXT. WOODS - DAWN INTERVOLOMETER STOP MOTION/CRANE - SAM - O - CAM The final shot of Evil Dead I has a new ending ; an extension. Ash is caught by an invisible grip. `` G'' force is distorting Ash's face as he is rocketed backwards. He is swept hand over foot through the air. He reaches the edge of the woods and begins tearing through the branches and smaller trees, clearing a path with his body. He finally slams into a large ungiving tree trunk and he is knocked unconscious. WIDE SHOT - LOOKING UPWARD - ASH - DUMMY - DAWN As he falls from the tree branch and plummets towards the earth. ASH'S POV - -LRB- CRANING DOWNWARD -RRB- - UNDERCRANKED - DAWN A puddle of mud below, which rushes up upon us quickly. MED. SHOT - MUD PUDDLE - ASH As his head splashes down into the muddy water. CLOSE SHOT - ASH - DAWN He lifts his face from the mud, and turns toward us. His eyes have gone white. His skin is now a pale color, his lips, jet black. He is Possessed. A bright edge of morning sunlight moves across his face. He turns his beastly face skyward.",
"EXT. RIDGE - DAY (STUDIO) - MATTE PAINTING LONG SHOT - THE SUN -LRB- Miniature -RRB- Rising over a mountain ridge. Sunlight streaming through a gaping hole in the parting clouds, in bright shafts. It pours through the trees. MED. SHOT - THE SUN - MATTE PAINTING - MINIATURE Closer on the sun as it looms larger and brighter. CLOSE SHOT - THE SUN - MATTE PAINTING - MINIATURE The frame is filled with the rising sun.",
"EXT. WOODS - DAWN - CLOSE SHOT - ASH - MUD PUDDLE The bright edge of morning sunlight spreading across his face, he lets loose a demonic death shriek.",
"EXT. WOODS - DAY - (STUDIO) EXTREME CLOSE SHOT - ASH'S FACE -LRB- STUDIO -RRB- DUMMY HEAD - LIQUID EYE CHAMBER - MINIATURE The white in Ash's eyes swirls about, and his pupils change back to their original brown color.",
"EXT. WOODS - DAWN Ash, no longer possessed, collapses into the mud puddle, unconscious.",
"EXT. WOODS - DAY - REVERSE ACTION - FOG - 3 ANGLES Streams of morning sunlight pierce the darkness of the woods. We hear the shriek of demons. The sound of SIZZLING. A great wind blows back fog into the darker sections of the woods. The scene grows brighter and the peaceful sounds of morning are faded up.",
"EXT. WOODS - DAY WIDE SHOT - ASH As he lies unconscious. Time passes. CLOSE SHOT - ASH - CRANE - UNDERCRANKED His eyes open. They stare blankly up at the sky. Then fear registers and we CRANE BACK QUICKLY, revealing a vast area of empty woods around Ash. MEDIUM SHOT - ASH He sits up slowly into frame, looking fearfully about. ASH'S POV Panning the battered cabin and sections of the woods. All is peaceful. The sound of birds tweeting. CLOSE SHOT - ASH ASH -LRB- V.O. -RRB- It's gone. He looks up to the sky.",
"EXT. RIDGE - DAY - (STUDIO) - MATTE PAINTING LONG SHOT - THE SUN - LATE AFTERNOON Just above the horizon. ASH Sun's driven it away. for now. Got ta get the hell out of here. before night falls. CLOSE SHOT - ASH As he nods to himself, then suddenly glances up beyond the CAMERA.",
"EXT. CABIN - DAY - MITCHELL CAMERA ASH'S POV - THE CABIN A perfectly normal log cabin with one exception ; superimposed over the front of the place is. PLATE FOR PREVIOUS SCENE - -LRB- BLACK STUDIO -RRB- MITCHELL CAMERA A hideous human skull with living eyeballs that stare out at us with evil malice. The eyes stare out from the two dark windows. The dark nose area is the open doorway, and the rotted teeth of the skull are the whitewashed stones placed at the foot of the cabin. Then it fades, leaving only the cabin.",
"EXT. WOODS - DAY - WIND FAN CLOSE SHOT - ASH - MUD PUDDLE He shudders uncontrollably as he picks himself up from the mud. Ash MOVES INTO A CLOSE UP. His eyes shift back and forth like a trapped animal as he looks about for a means of escape. He spots something.",
"EXT. CABIN - DAY - ASH'S POV THE DELTA 88 OLDSMOBILE Parked in front of the cabin.",
"EXT. WOODS - DAY CLOSE SHOT - ASH He shifts his glance from the car to the road.",
"EXT. ROAD - DRIVEWAY TO CABIN - DAY A narrow dirt road cutting through the woods. Then, the Delta 88 roars down it, and past the CAMERA. It kicks up dust and gravel.",
"INT. DELTA 88 - DAY -LRB- CAR MOUNT -RRB- Ash is driving. He wipes the mud and blood from his face with a rag. As he pulls the rag away, his face forms a sudden look of horror as he sees :",
"EXT. BRIDGE - DAY (STUDIO MINIATURE W/BACKDROP) CAR'S POV - TRACKING SHOT - STOP MOTION ANIMATION A GIANT STEEL HAND LOOMS towards us. It is the twisted remains of the steel and wood bridge that crossed a great mountain chasm. A LOUD SCREECH of brakes is heard on the soundtrack on this cut.",
"EXT. BRIDGE SIDE I - DAY MEDIUM SHOT - DELTA 88 - PARTIAL BRIDGE SET As it pulls to a halt. Ash steps quietly from the car. He looks at the bridge.",
"EXT. BRIDGE - DAY (STUDIO MINIATURE W/BACKDROP) ASH'S POV - BRIDGE A sign hangs from the twisted girders. It reads : `` DANGEROUS BRIDGE - 2 TON WEIGHT LIMIT - CROSS AT OWN RISK.'' Beyond this we see the twisted remnants of the former bridge and the rock cliffs far away on the other side.",
"EXT. BRIDGE SIDE I - DAY - MITCHELL CAMERA FROM RAVINE, LOOKING UPWARD AT ASH AND DELTA -LRB- 5 FRAMINGS -RRB- Ash gapes at the uncrossable chasm. TWO CLIFF EDGES - -LRB- STUDIO -RRB- - MINIATURE",
"EXT. BRIDGE - DAY CLOSE SHOT - ASH He is stunned at the sight. His only escape, gone. He looks from the bridge to the West. PLATE FOR FOLLOWING SCENE ASH'S POV - LONG SHOT - MOUNTAIN RIDGE - INTERVOLOMETER The sun is now resting on the horizon. Lower than it was before. It is BLOOD RED, and sets in the course of seven seconds.",
"INT. STUDIO (BLUE SCREEN) MEDIUM SHOT - ASH - PULLING BACK To reveal Ash as he looks from the sunset, to the ruined bridge, to the road behind him. He moves in halting steps, not knowing which way to turn. Ash opens his mouth, draws in his breath, and just as he begins to scream, we CUT TO :",
"EXT. BRIDGE - TWILIGHT - POV OF EVIL FORCE 3 CAMERAS - BREAKAWAY TREES As it rises up from what appears to be the mountain chasm and reveals the opposite side of the twisted girders which form the `` Giant Hand.'' It spots Ash immediately beyond. It moves swiftly towaad him. Ash looks up, sensing the evil and darts into the Delta 88. The FORCE moves through the twisted girders, pushing them away violently and races towaad the car. The Delta starts up and peels off. The Evil Force just misses it. The car does n't have the room to complete the one hundred and eighty degree turn necessary to head back down the road the way it originally came, and is forced into a line of break - away trees which explode into sawdust as the front of the Delta 88 rips through them. The car swerves onto the road, headed back toward the cabin.",
"INT. DELTA 88 - NIGHT CLOSE SHOT - ASH - CAR MOUNT As the broken bits of tree slam against his windshield. CLOSE SHOT - CAR RADIO/TAPE DECK As the channel switches suddenly to the hard rock song `` Journey to the Center of Your Mind'' which blares within the car throughout the chase to follow.",
"EXT. BRIDGE - NIGHT POV - EVIL FORCE - UNDERCRANKED As it gives chase to the Delta. TRACKING SHOT - DELTA - DRAGWAY - UNDERCRANKED - ATV Alongside the car as it barrels along the wooded road.",
"EXT. DRAGWAY - NIGHT TRACKING SHOT - DELTA - UNDERCRANKED - ATV As he drives this wild course. POV - EVIL FORCE - UNDERCRANKED As it begins to gain on the speeding automobile.",
"INT. DELTA 88 - NIGHT - UNDERCRANKED OVER ASH'S SHOULDER Looking through the windshield, as branches beat and smash themselves against the windshield, obscuring our vision of the `` Road'' ahead. Our view suddenly clears, revealing a large tree that looms directly ahead. CLOSE SHOT - ASH Swerving the wheel.",
"EXT. CABIN - NIGHT ANGLE - DELTA - UNDERCRANKED It swerves and slams into a rotted tree, stopping it dead.",
"INT. DELTA 88 - NIGHT CLOSE SHOT - ASH - UNDERCRANKED As he is rocketed forward from his seat.",
"EXT. CABIN - NIGHT ANGLE - FRONT OF DELTA - DUMMY OF ASH As Ash comes ripping through the windshield and past the CAMERA. ASH'S POV As he approaches the ground with a great velocity. MEDIUM SHOT - ASH As he slams into the earth with a rain of glass. He moans and gets to his feet.",
"EXT. WOODS/CABIN - NIGHT POV - EVIL FORCE - BREAKAWAY TREES As it sweeps down out of the woods, pushing over trees, and approaches the Delta. Steam pours from the hood of the car.",
"EXT. CABIN - NIGHT CLOSE SHOT - ASH As he runs. His face is cut and bleeding. ANGLE - OVER ASH'S SHOULDER As he runs toward the cabin. -LRB- Actually he is running in place in the rear of a camera car that is slowly backing away from the cabin. -RRB- The more he runs, the farther away from the cabin he gets. POV - EVIL FORCE IMO CAMERA MOUNTED ON LONG POLE AND TRUCK - 3 DELTAS `` RAM - O - CAM'' It approaches the rear of the Delta, rips through the back window, moves through the car's interior, music still blasting, and bursts out the remains of the front windshield. We move through the steam of the radiator and approach Ash as he runs for the cabin. CLOSE SHOT - ASH As he runs toward the cabin not making much progress as though caught running in a nightmare. He shakes his head `` No.'' CLOSE SHOT - ASH'S FEET AS THEY RUN ANGLE - OVER ASH'S SHOULDER Now closer to the cabin. -LRB- Again, Ash is running in place in the camera car as it slowly backs away from the cabin. -RRB- POV - EVIL FORCE Now quickly gaining its lost ground. Just a few feet behind Ash.",
"EXT. CABIN - LOCATION SIDE SHOT - ASH As he runs up the porch steps to the cabin.",
"EXT./INT. CABIN - LOCATION POV - EVIL FORCE We race into the cabin, splintering the hall door which Ash had swung shut. Ash retreats into the rear hallway, and swings the hallway door shut. We race right up to the door and it shatters into many pieces as we glide forward.",
"INT. CABIN - STUDIO - \"MAZE SHOT\" - FORCE POV Camera moves through the main room and up to the Hallway door. It shatters in front of us. We close in on Ash as he races down the hallway. We lose him as he swings into the back bedroom of the cabin and slams the door behind him. We rip through this door and enter the rear bedroom, only to see Ash scrambling for the door to the middle bedroom, which we approach and he swings shut in our face. We rip through to reveal Ash scurrying into the Hallway. We follow him through the bathroom, the maze, and back out into the Hallway. We round the corner after him and see that Ash has led us into the main room, but there is not a trace of him. We look about for him, but he is gone. The hallway is bare except for a few dry leaves.",
"INT./EXT. CABIN - LOCATION - POV EVIL FORCE The force begins to pull back with an ever - increasing speed, out the front door of the cabin, and deep into the blackness of the woods.",
"INT. CABIN MAIN ROOM - NIGHT A static shot of the fireplace. All is quiet. Smoke from the near dead fire wafts up the chimney. We hold on this for a moment. ANGLE - MIDDLE BEDROOM CLOSET - NIGHT A static shot of a closet with it's door half open. The door begins to swing slightly open, revealing a rack of clothes inside. We hold on this for a moment. ANGLE - CABIN MAIN ROOM - NIGHT - TRACKING SHOT A writing desk with some papers atop it. They begin to tremble and finally blow away from the light breeze that sweeps through the cabin. The CAMERA PANS down from this desk to reveal a trap door in the floor of the main room. The trap door to the cellar. It is raised up on its hinge an inch or so and in that slight space between the trap door and the floor we see Ash's eyes, looking cautiously about. He breathes a sigh of relief.",
"EXT. WOODS - NIGHT The cabin in the distance. Fog rolls past.",
"EXT. AIRSTRIP - NIGHT - LONGSHOT - ED Ed Getly stands in the FG and watches as an older style twin engine cargo plane flies over the camera and lands. AIRSTRIP - NIGHT - TRACKING SHOT - PASSENGERS The airplane rolls to a halt. A man wearing a jumpsuit ties the airplane off and blocks the wheels while a redcap opens the hatch and helps out Annie Knowby. She carries a glass case in her hand as she moves toward us. Behind her five other passengers emerge from the Plane. Ed approaches Annie. ED Annie! ANNIE -LRB- smiling at sight of him. -RRB- Hi. They embrace and kiss. ED How'd everything go on the expedition? ANNIE Terrific. I found the additional pages from the Book of the Dead. ED So you said in the telegram. What condition are they in? She holds out the glass case for Ed to look at. CLOSE SHOT - GLASS CASE Inside are 12 pages from the Book of the Dead. AIRSTRIP - NIGHT TRACKING SHOT - ED AND ANNIE - THEY CONTINUE WALKING ED Have n't aged a day in three thousand years. ANNIE Maybe longer. ED When do we begin the translations? ANNIE Tonight. Is everything all set with my father? ED Should be, but I have n't spoken to him in a week, what with no phone in that cabin. Take us about an hour to get there. They arrive at the parking lot. Two new, sharp looking cheverolets and Ed's old style cheverolet. ED We'll take my car. Ed opens the car trunk. Behind him a redcap pulls up a large steamer trunk on a hand dolly. Ed and the redcap hoist the steamer up into the car's trunk. ED Annie, you hinted in your telegram that your father was on to something with the first part of his translations. What's the big mystery? What has he found in The Book of the Dead? ANNIE Maybe nothing. But just possibly. the doorway to another world? Annie slams the car trunk.",
"EXT. WOODS/CABIN - W/ ASH - NIGHT CHEVROLET CAR TRUNK CAMERA has taken the POV of the evil force as it glides eerily through the woods, around trees and over rotted stumps. It moves over a rise revealing a clear view of the boarded cabin in the distance. It approaches. It moves to the window, and peering through the cracks in the boards we see Ash asleep in the rocking chair.",
"INT. CABIN MAIN ROOM - NIGHT Camera begins on hammer, nails, and planking which lay upon the cabin floor. Camera pans to window # 1. It is boarded up tight. Camera pans to door. It is repaired. Camera pans to Ash who sleeps in the rocking chair in front of another boarded window. Ash awakens suddenly, sensing something, the shotgun clutched in his lap. He lifts his head and turns to a whispering musical sound. Harp like music. It is coming from the back bedroom of the cabin. MAIN ROOM/MIDDLE ROOM/REAR BEDROOM MEDIUM SHOT - ASH As he stands and moves cautiously towards the rear bedroom. ASH'S POV - MIDDLE ROOM AND REAR BEDROOM As he approaches the rear bedroom, the music grows louder. As he enters the room he halts his gaze on the old wooden piano.",
"INT. CABIN/REAR BEDROOM - NIGHT MEDIUM SHOT - ASH As he moves to the piano. The sound is coming from within. Suddenly, the piano begins to play by itself ; Ash draws back from it. It plays a waltz. Now the piano music mixing with the harp - like strings. The radiator next to the piano begins to release bursts of musical steam, adding a wind section to this strange orchestra. CLOSE SHOT - ASH As he listens to this haunting version of a waltz melody. He recognizes the music. It is the same music that Ash had played earlier, when Linda was dancing. CLOSE SHOT - PIANO AND RADIATOR As steam spouts from the radiator pipes. As the piano keys depress and release themselves. The melody grows louder. CLOSE SHOT - ASH As he lowers his head. His horror gives way to sadness. From his pocket he removes Linda's delicate silver locket that dangles from the end of a chain. In the locket's center is a magnifying glass. He stares mournfully into the glass. BANG! He looks up sharply toward the main room.",
"INT. CABIN MAIN ROOM - NIGHT ASH'S POV - SHUTTERS As they rip open, splintering Ash's reinforcements. Wind sweeps in through the place as the curtains flutter wildly. Through the window is a sweeping fog.",
"INT. CABIN MIDDLE ROOM - NIGHT Ash runs through this room and into the main room. He moves to the window and looks out. Wind blowing on his face from outside.",
"EXT. HILLSIDE GRAVEYARD - NIGHT ASH'S POV - THE GRAVEYARD A stark wooden cross marks Linda's lonely grave.",
"EXT. HILLSIDE GRAVEYARD - NIGHT LONG SHOT - CABIN IN DISTANCE - STOP MOTION ANIMATION The tiny figure of Ash can be seen looking off toward this hill. In the foreground is a crude burial cross and a mound of earth. The earth begins to crack and splinter. The wooden cross caves in and is swallowed as the headless corpse of Linda pulls itself to its feet. The HAUNTING WALTZ MELODY sweeps through the night air. PLATE FOR PREVIOUS SCENE - EXT.. CABIN - NIGHT ASH IN WINDOW - MITCHELL CAMERA",
"INT. CABIN MAIN ROOM - NIGHT CLOSE SHOT - THROUGH THE WINDOW - ASH His eyes, illuminated by a shaft of light, widen in amazement and horror as.",
"EXT. HILLSIDE GRAVEYARD - NIGHT (STUDIO) -LRB- MINIATURE/STOP MOTION/REAR SCREEN -RRB- - 3 ANGLES The WALTZ MELODY fills the sound track, and the rotting corpse that was Linda begins to dance, bending and swaying as she sweeps gracefully through the evening fog. A waltz of the dead. The style of dance begins to change. It becomes more primitive. The music changes to a more primal beat. The dance becomes sexually oriented. Erotic, with sharp pelvic thrusts and gyrating hip motions. 3 PLATES FOR PREVIOUS SCENE - MITCHELL CAMERA",
"EXT. HILLSIDE GRAVEYARD - NIGHT - FOG/WIND FAN",
"INT. CABIN MAIN ROOM - NIGHT CLOSE SHOT - THRU THE WINDOW - ASH Lost in the horrific beauty, he turns his head to a rumbling sound.",
"EXT. HILLSIDE GRAVEYARD - NIGHT - (REVERSE ACTION) ASH'S POV Linda's DECAPITATED HEAD rolls across the ground and up the hillside graveyard.",
"EXT. HILLSIDE GRAVEYARD - NIGHT (STUDIO) -LRB- MINIATURE/STOP MOTION/REAR SCREEN -RRB- LINDA'S HEAD 3 ANGLES As it leaps through the air and gracefully situates itself atop Linda's neck, she begins to spin, yet her head remains in place, never taking her eyes from Ash. With a sensual twirl and leap, she disappears into the evening mists. 3 PLATES FOR PRECEDING SCENE - MITCHELL CAMERA",
"EXT. HILLSIDE GRAVEYARD - NIGHT - FOG W/WIND",
"INT. CABIN MAIN ROOM - NIGHT CLOSE SHOT - THRU WINDOW - ASH His eyes dart about, trying to catch another glimpse of Linda through the fog.",
"EXT. CABIN MAIN ROOM - NIGHT ASH'S POV - THRU WINDOW Linda swings sharply into frame, completing the spin of her dance immediately in front of Ash as the music abruptly halts. LINDA DANCE WITH ME! Linda extends her dead arms towards Ash.",
"INT. CABIN MAIN ROOM - NIGHT - CLOSE SHOT - ASH He screams as.",
"EXT. HILLSIDE - GRAVEYARD - NIGHT CLOSE SHOT - LINDA'S CORPSE -LRB- OVERCRANKED -RRB- Linda's head rolls off of her neck and tumbles through space.",
"INT. BLACK STUDIO - NIGHT LINDA'S HEAD - ON WIRE As it tumbles through a void of blackness, falling.",
"INT. CABIN MAIN ROOM - NIGHT CLOSE SHOT - ASH As he screams himself awake. CAMERA PULLS BACK to reveal him sitting in the rocking chair. Ash halts his scream, getting control of himself. He looks to the window that had blown open. ASH'S POV - THE BOARDED WINDOW Still boarded as though it had never been opened. CLOSE SHOT - ASH Reassuring himself. ASH That's all. Just a crummy dr - Linda's decapitated head falls into frame and lands in Ash's hands. CLOSE SHOT - LINDA'S HEAD It opens its eyes and looks to Ash. LINDA'S HEAD Hello lover, I came from the other side of your dream to dance with you. CLOSER SHOT - LINDA'S HEAD -LRB- BACKWARD MOTION -RRB- A four foot long blackened tongue emerges from her mouth like a lashing serpent. MEDIUM SHOT - ASH - -LRB- BACKWARD MOTION -RRB- The tongue enters Ash's frame and forces itself into Ash's mouth. Screaming as he clutches at the head of his former love. The tongue instantly retracts inside her head. CLOSE SHOT - LINDA'S HEAD As it bites deeply into Ash's right hand, drawing blood. MED SHOT - ASH AND LINDA'S DUMMV HEAD Ash stands and rushes across the room screaming, as he tries to rid himself of the head.",
"EXT. CABIN - NIGHT - ASH AND DUMMY HEAD - LONG SHOT As Ash staggers painfully around the side of the cabin and towards the work shed ; Linda's head still clamped to his hand.",
"INT. WORK SHED - NIGHT - LINDA DUMMY HEAD - ASH The door to the place is kicked open, revealing Ash and Linda's head on the end of his hand. It is a room full of sawdust, chains and power tools. Old bones hang from the walls. MEDIUM SHOT - INT. WORK SHED - ASH As he places Linda's head within the vice and tightens it around her, then withdraws his hand. LINDA'S HEAD Even now we have your darling Linda's soul! She suffers in torment! CLOSE SHOT - ASH'S HAND As it rips away an old tarp revealing the chalk outline of where a chainsaw once was. CLOSE SHOT - ASH - HEADLESS LINDA BODY Confused. Wondering what has happened to the chainsaw. Behind him, the door to the shed bursts open and in comes the flailing, headless, body of Linda, charging at Ash with the chainsaw buzzing high above her head. Ash is screaming. MEDIUM SHOT Ash grabs a large crowbar and swings it toward the approaching blade. CLOSE SHOT The crowbar hits the bottom of the blade with a shower of sparks, sending the buzzing saw flipping backward. MEDIUM SHOT - HEADLESS LINDA DUMMY - 3 ANGLES The blade of the chainsaw swings upward and arcs back into headless Linda, imbedding itself in her neck. She goes nuts as the chainsaw bites its way into her chest cavity. She spins wildly about the room knocking into shelves as she tries to pull the blade free. She slams against the wall of the shed, and slumps to the floor, the chainsaw still buzzing. MEDIUM SHOT - ASH As he is splattered with black bile. He reaches down. MEDIUM SHOT - HEADLESS LINDA As Ash dislodges the spinning chainsaw from her. MEDIUM SHOT - ASH As he swings the chainsaw around and poises it above Linda's head. WIDE SHOT - ASH AND LINDA'S HEAD IN VICE From the chainsaw, fumes of blue amoke. Ash turns to the head and falters. CLOSE SHOT - LINDA'S HEAD IN VICE She is no longer possessed. She looks as she did earlier in the film. A vision of beAuty. She is again Linda, the woman Ash loved. Tears roll down from her eyes. LINDA Please Ash, help me. I love you, please do n't hurt me. CLOSE SHOT - ASH Trying to fight his feelings, he knows what he must do. He pumps the throttle on the saw. CLOSE SHOT - LINDA Pleading with him. LINDA You promised me we'd always be together. You swore to me! CLOSE SHOT - ASH Agonized. ASH NO! CLOSE SHOT - LINDA'S HEAD Once again fully possessed, and speaking in the voice of the demon. Her eyes again white, her flesh, rotten. LINDA'S HEAD YES! YOU LIED TO HER! YOU LIED TO LINDA! YOUR LOVE WAS A LIE! AND NOW SHE BURNS IN HELL! EXTREME CLOSE SHOT - LINDA'S DUMMY HEAD She opens her mouth and emits a jet stream of bile. CLOSE SHOT - ASH As he's drenched in the face. Linda begins to laugh at him in a wild, high pitched squeal. He gains control of himself and steadies the saw. ASH Eat chainsaw. He brings down the spinning blade. And moves past the CAMERA and towards the head. We are left looking at the wall of the work shed upon which we see the stark shadow of the ghastly deed. We hear the sound of spinning steel meeting bone and the screams of a demon. CLOSE SHOT - LIGHT BULB As it is splattered with blood. MEDIUM SHOT - ASH Ash stumbles back into frame and falls against the wall, now lit in crimson. He looks at the off screen carnage in terror. He begins to shake as though in shock. He trembles as he looks down at his hands ; they are covered in Linda's blood. He wipes his hands on his pants and shirt, trying to rid himself of it, but only succeeds in painting himself with the stuff. Ash screams a wild scream of fear and despair. It echoes off into the night.",
"EXT. WORK SHED - NIGHT Ash in a confused state as he staggers from the work shed and towards the cabin. Again clutching the chainsaw.",
"INT. CABIN REAR DOORWAY - NIGHT Ash enters through the doorway. He pushes the door shut behind him and halts. We hear a creaking sound. It is coming from the main room of the cabin. He moves in the direction of the sound. ASH'S POV - REAR HALLWAY - NIGHT TRACKING SLOWLY FORWARD Curtains flutter on the partially boarded windows of the hall. Ash moves slowly past them and towards the main room ahead. The gentle creaking sound grows louder. Ash tosses down the saw and picks up the gun.",
"INT. CABIN MAIN ROOM - NIGHT Ash enters from the hallway and turns his head to the sound. MAIN ROOM - NIGHT - ASH'S POV - THE ROCKING CHAIR It rocks back and forth with a definitive motion, halting for a moment at it's pints furthest forward and backward, as if some invisible thing was sitting there and rocking. CLOSE SHOT - ASH He slowly approaches the chair, scared shitless. MEDIUM SHOT - FROM BEHIND THE ROCKING CHAIR The chair rocks in and out of frame in the foreground as Ash takes halting steps towards it. Ash gathers his courage and reaches out his hand to halt the rocking motion. Slowly his hand approaches the chair. Just as his hand goes to touch it, the chair abruptly halts, on its own accord. MEDIUM SHOT - ASH In a confused state as he backs away from the chair and into the wall. He turns and comes face to face with himself in a hanging framed mirror. He clutches at his face, trying to reassure himself of his sanity. ASH I'm fine. I'm fine.",
"INT. CABIN MAIN ROOM/MIRROR ROOM - NIGHT MEDIUM SHOT - OVER ASH'S SHOULDER - ASH AND REFLECTION Ash's reflection becomes an independent entity. It reaches out of the mirror and grabs ahold of Ash by his throat. The reflection looks like a Mr. Hyde version of Ash. Sweating and nasty looking. SIDE SHOT - SPLIT SCREEN - ASH AND REFLECTION MITCHELL CAMERA -LRB- ASH AS MR. HYDE -RRB- The reflection pulls Ash close and speaks to him in an intimate whisper. REFLECTION I do n't think we're `` fine''. We're losing it. starting to slip. We just cut up our girlfriend with a chainsaw. Does that sound fine? The reflection tightens its hold on Ash's throat and begins to strangle him. PLATE FOR PREVIOUS SCENE",
"INT. CABIN MAIN ROOM - NIGHT ASH - MITCHELL CAMERA CLOSE SHOT - ASH - DOLLY Two hands in the bottom of frame, throttling him. CAMERA races back to reveal Ash's own hands on his throat. There is no sign of Ash's evil reflection. Ash has been strangling himself. He realizes this the same moment we do. He quickly pulls his hands away, looks at them incredulously, then to the mirror. OVER ASH'S SHOULDER - INTO MIRROR His reflection is as it should be. CLOSE SHOT - ASH He looks back down to his hands.",
"INT. CABIN MAIN ROOM - NIGHT (STUDIO) CLOSE SHOT - ASH'S RIGHT HAND - DUMMY HAND INTERVOLOMETER The bite marks that Linda's teeth have left in the hand stand out sharply. The wound suddenly blackens and spiderwebs it's infection across the entire surface of the hand.",
"INT. CABIN MAIN ROOM - NIGHT CLOSE SHOT - ASH - HAND IN FOREBROUND - MAKE UP BLADDER EFX The hand quivers and shakes, now out of Ash's control. The hand has taken a whitish cast. It's veins throb and pulsate. It is possessed by the evil force. The hand's fingernails grow inches. The wound oozes black fluid. Ash is repulsed. CLOSE SHOT - ASH Ash's demon hand makes a lunge at his face which is countered by his good hand. MEDIUM SHOT - ASH He slams the hand to the cabin floor. He screams to the air : ASH You bastards. Give me back my hand.",
"EXT. CABIN - NIGHT Wind and fog swirl about the place. Ash's ECHOING SCREAM is heard above the HOWLING GALE. ASH -LRB- 0. S. -RRB- Give me back my hand!",
"INT. CABIN MAIN ROOM/KITCHEN - NIGHT Ash rushes into the kitchen and places his hand in the sink. He turns on the faucet.",
"INT. CABIN KITCHEN - NIGHT Cool water runs over Ash's burned hand. Ash rests his head on the kitchen counter and mumbles reassurances to himself. ASH Ca n't. ca n't be happening. CLOSE SHOT - THE HAND As the water pours over it. It grabs a plate sitting in the dishwater and reaches up silently out of the sink. MEDIUM SHOT The plate is shattered over Ash's head. The hand grabs Ash's hair and mercilessly slams his head down upon the kitchen counter again and again. Ash punches himself in the face and is sent reeling backwards. He smashes into a cupboard where dishes and plates fall upon him. CLOSE SHOT The hand picks up plates and begins breaking them over Ash's head. Then a bottle. MEDIUM SHOT Ash is knocked unconscious. The hand continues breaking objects over his head. Ash lies unmoving, but still alive. CLOSE SHOT The hand stops as though it senses something. The CAMERA PANS to a large meat cleaver which lies upon the wooden floor. MEDIUM SHOT The hand as it independently crawls towards the meat cleaver. The hand is stopped when it runs out of arm, now anchored by Ash's unconscious body. CLOSE - SHOT - HAND It digs its nails deep into the floorboards and begins to pull. MEDIUM SHOT - ASH. as he is pulled along the kitchen floor. CLOSE SHOT - HAND - GELETIN HAND As it pulls Ash's unconscious body along after it. The hand clutches the meat cleaver when a large knife comes slicing through the demon hand, pinning it to the floorboards. CAMERA pulls over to reveal a revived Ash. ASH Who's laughing now? ANGLE - ASH - COMEDY KNIFE RIG He reaches over with his good hand and pulls a fire engine red chainsaw down from the shelf. He holds the body of the machine between his legs and, with his good hand, pulls the starter cord. The CHAINSAW ROARS to life. The CAMERA TRACKS IN to Ash's sweating face. ASH Who's laughing now!? He lowers the spinning blade of the chainsaw down out of frame and toward the evil hand. Blood flies up into frame.",
"EXT. CABIN - NIGHT LONG SHOT We hear the BUZZING of the CHAINSAW as it slices through bone and then falls silent.",
"EXT. BRIDGE - NIGHT (SIDE II) CRANE The CAMERA cranes down as Annie's car approaches from the distance. It pulls to a halt. Ed and Annie step from the car. ANNIE'S POV A red tow truck with its orange lights flashing is parked there. Painted on it's side is `` Jake's Gas N' Go.'' Jake, a toothless, backwoods, greasemonkey is setting up flares and wooden roadblocks. Annie and Ed approach. ANNIE Excuse me. This the road to the Knowby's cabin? JAKE Thas' right. But you ai n't goin' there. ANNIE And why not? CLOSE SHOT - JAKE As he reaches in his truck to pull on the headlights. CLOSE SHOT - TRUCK HEADLIGHTS As they snap on. MEDIUM SHOT - JAKE, ANNIE, AND ED All stand in the bright glare of the lights as the fog swirls about them. Annie and Ed gape in frightened wonder at what they see.",
"EXT. BRIDGE - NIGHT - (SIDE II) - (STUDIO MINIATURE) THEIR POV - TABLE TOP MODEL GIRDERS The piercing beams of light illuminate twisted remnants of the destroyed bridge that leads to the cabin. A road sign, similar to the one on the other side of the bridge reads : `` Dangerous Bridge - Two Ton Weight Limit''.",
"EXT. BRIDGE - NIGHT - (SIDE II) CLOSE SHOT - ED AND ANNIE Frightened as they view the wreckage. ANNIE What happened? JAKE Lady, I ai n't never seen nothin' like it. ED Terrific. Now what? ANNIE There must be another way in. Another road or something. JAKE, BOBBY JOE, ANNIE AND ED - TWO CAMERAS BOBBY JOE Sure ai n't no, road. CAMERA pans over to reveal a brassy southern spitfire of a woman, Bobby Joe. BOBBY JOE Hell you wan na go there for, anyway? Bobby Joe takes a pinch of chewing tobacco and stuffs it into her mouth. She does n't like Annie and her fancy clothes. She stares at Annie like a cat. MEDIUM SHOT - ANNIE AND ED Annie steps forward. She eyes Bobby Joe. ANNIE None of your business. CLOSE SHOT - JAKE He feigns surprise and pleasantness. JAKE Hey! I just remembered. Yeah, that's right. There is a trail. You could follow Bobby Joe and me. ED That sounds all right. JAKE But, it'll cost ya. ANNIE How much? JAKE Forty Fi. ANGLE Jake looks up suddenly at Bobby Joe who gives a sharp shake of her head. JAKE Hundred bucks. CLOSE SHOT - ANNIE ANNIE Tell you what. You take my bags you got a deal. CLOSE SHOT - JAKE He glances through the window of Annie's car. JAKE'S POV The tiny case containing the missing pages of the Book of the Dead, and a small handbag. CLOSE SHOT - JAKE Looking back to Annie, a big smile on his near toothless face. JAKE Sure!",
"EXT. WOODS - NIGHT A hiking trail winds through the woods. Bobby Joe leads the way with flashlight in hand. She pockets some bills. She is followed by Annie and Ed who carry the glass case containing the missing pages and the handbag. A grunting and sweating Jake brings up the rear, the large steamer trunk on his back. He is cursing under his breath. JAKE Jesus H. Christ! I thought she was talkin' ` bout them two goddamn little pieces!",
"EXT. CABIN - NIGHT The wind rushes fog about the place with a fury. A large moon hangs in the night sky.",
"INT. CABIN MAIN ROOM - NIGHT CLOSE SHOT - EVIL HAND No longer attached to Ash's arm, it still writhes about beneath Ash's foot which pins it to the floor. MEDIUM SHOT - ASH - HAND'S POV - EYEMO W / MOUNT As he grabs the steel wastebasket, dumps out the trash lowers it quickly over the CAMERA, trapping the hand within. MEDIUM SHOT - ASH With a note of finality, Ash slams down a pile of books atop the overturned wastecan, to anchor it. The top book's title reads `` Farewell to Arms''. FIREPLACE Ash raises a red hot fireplace shovel that had been resting upon the coals. He grits his teeth. ANGLE Just out of frame, Ash thrusts the glowing shovel against the stump to cauterize the wound. Red steam hisses up into frame as Ash screams. MEDIUM SHOT - ASH He tosses aside the shovel and douses his smoldering stump into a vase of fresh flowers. CLOSE SHOT - ASH Unspooling a roll of duct tape. MEDIUM SHOT - ASH He tapes the tablecloth into a makeshift bandage about his wrist. Behind him, the wastebasket silently slides across the floor. MEDIUM SHOT - ASH `` CLANG''! He turns to see. CLOSE SHOT - THE WASTEBASKET Upon its side. The Evil Hand is gone. CLOSE SHOT - ASH He turns to a `` pitter patter'' sound. CLOSE SHOT - HAND It scampers across the floorboards headed for a hole in the wall.",
"INT. CABIN MAIN ROOM - NIGHT (STUDIO) MEDIUM SHOT - ANIMATED HAND -LRB- 4 SEC. -RRB- Same action as above but covered now through animation.",
"INT. CABIN MAIN ROOM - NIGHT HAND - POV Low angle tracking shot approaching the hole in the wall. CLOSE SHOT - ASH AND HAND - SQUIB TRACKING WITH HAND, ASH IN BG He raises the shotgun and FIRES. BLAM! The floor next to the hand explodes. CLOSE SHOT - HOLE IN THE WALL - SQUIB - EFX. HAND The hand leaps into the hole as a section of wall next to it EXPLODES. Blam! CLOSE SHOT - ASH Ash quickly reloads both chambers of the gun. He tracks the SOUND of the PITTER PATTER as the hand scampers through the sapace behind the wall like a rat. ASH'S POV - WALL - SQUIB The blasted hole at the bottom of the wall. The hand appears, still unhurt, waving and taunting at Ash. CLOSE SHOT - ANIMATED HAND - -LRB- 7 SEC. -RRB- As it taunts ASH it inadvertently sidesteps into a rusting mousetrap. SNAP! It springs shut upon the hand. It screams furiously and shakes violently in an effort to get free the from trap. CLOSE SHOT - ASH Throws back his head in a gruff bark of laughter. ASH Ha! CLOSE SHOT - ANIMATED HAND - -LRB- 7 SEC. -RRB- The hand throws the trap from itself and raises its middle finger to ASH, flipping him the bird. CLOSE SHOT - ASH'S HAND He raises the gun, revealing his face as the CAMERA PANS UP with his movement. ASH'S POV - OVER THE GUN BARREL Pointed directly at the hand. But the hand dodges away from the hole, disappearing again behind the wall. The gun continues to track the evil hand's progress through its pitter patter sound. CLOSE SHOT - ASH'S EAR The pitter patter ebbs and then peaks in volume. ASH'S POV - OVER THE GUN BARREL - SQUIB Both triggers are squeezed. BLAM! BLAM! A 2nd and 3rd hole are blown in the wall. All is silent. INSERT ASH'S FINGER PULLS THE FIRST, THEN SECOND TRIGGER INSERT FLAME BELCHES FROM THE GUN TWICE CLOSE SHOT - ASH As he lowers the smoking gun. Wondering if he has hit the hand or not. CLOSE SHOT - HOLE IN WALL - 5 CAMERAS All is silent for a moment, and then a slight trickle of blood comes dripping from the hole and down the side of the wall. CLOSE SHOT - ASH For the first time feeling victorious. As Ash continues to stare at the hole, his expression changes to one of perplexity. CLOSE SHOT - HOLE IN WALL - 5 CAMERAS The trickle of blood has increased to a steady flow, then, even this volume of blood multiplies. It is forced out of the wall with a greater and greater pressure until blood pours from the wall like a fire hose. CLOSE SHOT - ASH Horrified, he spins his glance to the sound of more gushing liquid. He is hit in the face with a geyser of deep red blood. CLOSE SHOT - 2ND AND 3RD HOLES IN WALL - 5 CAMERAS The 2nd and 3rd holes in wall also begin to spew blood in a geyser. The CAMERA PANS over to the 4th of the holes. This, too, is an eruption of blood. The blood changes in color to a black fluid, then yellow, then turquoise. CLOSE SHOT - ASH - 5 CAMERAS Screaming as he looks down at his wrist. CAMERA PANS DOWN to it. The severed wrist begins dribbling blood. Then in a burst, it too, erupts in a hellish fire hose. It spouts blood under such great pressure that ASH is driven against the walls of the cabin because of it. MED. SHOT - ASH - 5 CAMERAS We follow him as he slams from one wall into another. CLOSE SHOT - ASH - 5 CAMERAS In the midst of his scream, drowning in the blood, it all suddenly stops. The cabin is again deadly quiet. ASH, soaked in blood and shivering, waits. For what, he's not sure. MEDIUM SHOT - ASH As he slowly backs away from the walls and sits upon the three legged chair. It shatters beneath him, dumping him on his butt. CREAK! ASH turns sharply to the low sound. ASH'S POV - CLOSE SHOT The mounted moose head upon the wall. It is in a different position. It turns sharply towards ASH and emits a hideous cackle. CLOSE SHOT - ASH He pulls back in fear, then turns to the sound of more laughter. ASH'S POV - CLOSE SHOT The desk lamp on its steel swivel rises and falls in synchronization with its wheezing laughter. Ah ha ha ha ha. Ahhhh ha ha ha ha! CLOSE SHOT - ASH Terrified, he turns to more laughter. ASH'S POV - CLOSE SHOT A line of 12 old books upon the shelf flap open and closed violently as they emit a chorus of sharp laughs. Ash turns. CLOSE SHOT Other books upon the floor laugh. MEDIUM SHOT - OVER ASH'S SHOULDER He turns sharply toward us and breaks into an uproariously frightening bout of laughter. WIDE SHOT - ASH The wooden door behind Ash comes to life. It stretches out as though it were elastic with each of its own low and terrible laughs. WIDE SHOT - MAIN ROOM - TRACKING SHOT RIGGING FOR TRAP DOOR, CABINETS, CLOCK Ash and everything in it are having the time of their lives. Ash leads the bunch laughing harder and harder. MEDIUM SHOT - HAND HELD - FRONT DOOR AND ASH KNOCK! KNOCK! KNOCK! The room's laughter suddenly stops. Ash instantly terrified, grabs up the shotgun and fires into the door. Blam! Blam! PAN to the front door. Two holes are blown into the door. We hear a short shrill scream and then all is quiet. MEDIUM SHOT - ASH Ash opens the front door. It slowly swings inward with a creak revealing the empty night. MEDIUM SHOT - ASH AND JAKE Ash approaches the front porch as Jake enters sharply into his frame. Jake tackles Ash. MEDIUM SHOT - SHOTGUN As it slides across the floor. MED. SHOT - ASH, JAKE AND ED Ed enters and holds Ash down as Jake slugs him twice. Ash's fist comes up into frame catching Jake on the jaw. Jake pulls back his fist and rockets a piledriver blow to Ash's face, knocking him senseless. C.U. ASH C.U. JAKE MEDIUM SHOT - FRONT DOORWAY - THE GROUP Annie and Bobby Joe enter. Annie is taking off Bobby Joe's coat. Bobby Joe is wounded from the shotgun blast. She holds her shoulder where the shell has grazed her. JAKE You gon na be alright, honey? BOBBY JOE I do n't know. JAKE You just sit still fer a minute. MEDIUM SHOT - JAKE, ED, ANNIE, AND BOBBY JOE As Jake gives Ash a swift kick in the ribs. Ash moans. Jake turns to Ed, who is badly shaken. JAKE You know this son of a bitch? ED No. We thought her - Annie steps forward. ANNIE Oh my God. Where are my parents? Annie sets down the glass case containing the pages of the Book of the Dead. CLOSE SHOT - ANNIE As she looks down to the floor. ANNIE'S POV - THE CHAINSAW As it lies in a pool of blood. CLOSE SHOT - ANNIE Annie runs to Ash's semi - conscious body, grabs his shirt and violently shakes him. ANNIE What the hell did you do to them? Ed pulls Annie off of Ash. She drops Ash's moaning head to the floor and backs away from him, sobbing. MEDIUM SHOT - JAKE Nursing his sore knuckles, he points with his elbow to the trap door that leads to the cellar. JAKE We'll throw him in there. MEDIUM SHOT - JAKE AND ASH Jake picks up Ash's body and drags him quickly to the trap door. Half conscious, Ash feebly struggles with Jake. JAKE Crazy buck's gone blood simple. ASH'S POV - HAND HELD As he approaches the trap door almost upside down. Ed pries it open. CLOSE SHOT - ASH - HAND HELD In a dazed state as he is carried to the trap door. ASH Wait. I made. a mistake. JAKE Damn right, you flat mouthed son of a bitch. MEDIUM SHOT - ASH AND JAKE Jake kicks Ash down into the open trap door.",
"INT. CABIN CELLAR - NIGHT ASH DUMMY Looking up at the open trap door as Ash's body falls through frame.",
"INT. CABIN CELLAR - NIGHT CLOSE SHOT - CELLAR STEP - ASH'S HEAD As it slams into the wooden step. His feet tumble over him as he begins to fall down the staircase. LONG SHOT - ASH - STUNT As he tumbles head over heels down the wooden steps. ASH'S POV Racing down the steps. MEDIUM SHOT - ASH As he slams to the dirt floor of the cellar. Hard. He moans.",
"INT. CABIN MAIN ROOM - NIGHT LOOKING UP TO THEM FROM CELLAR Jake, Ed and Bobby Joe. BOBBY JOE I hope you rot down there!",
"INT. CABIN CELLAR - NIGHT MEDIUM SHOT Ash begins to realize where he is. Growing terror on his battered face. ASH N. No.",
"INT. CABIN CELLAR - NIGHT ANGLE LOOKING UP Jake swings the trap door shut with a clanging of chains.",
"INT. CABIN CELLAR - NIGHT (STUDIO) MEDIUM SHOT - ASH The shaft of light from above disappears and he is encased in the darkness of the cellar. From above he hears the threading of chains through eyeloops.",
"INT. CABIN MAIN ROOM - NIGHT MED. SHOT - JAKE, ANNIE, BOBBY JOE, ED Jake has just laid Bobby Joe down upon the couch. He dresses her wound with a towel. Annie tosses down her coat on the chair at the writing desk. MEDIUM SHOT - ANNIE She spots the tape recorder and Kandarian Dagger. She moves to them. ANNIE These are my father's things. She turns on the tape recorder. High pitched feedback and the professor's screams come from the speaker. PROFESSOR KNOWBY -LRB- Voice on Tape. -RRB- Last night Henrietta tried to kill me. ANNIE SHHH! Listen! My father's voice. PROFESSOR KNOWBY -LRB- Voice on tape. -RRB- I know now, that my wife has become host to a kandarian demon. MED. SHOT - JAKE, BOBBY JOE AND ED As they turn their heads to the sound of : CLOSE SHOT - TAPE RECORDER - TRACKING Still playing, the tapes wind as we hear the wowing and fluttering voice of Raymond Knowby. PROFESSOR KNOWBY -LRB- Voice on tape. -RRB- I can not bring myself to dismember my wife, yet I know that I must, to halt the evil that lives within her. CLOSE SHOT - ANNIE - TRACKING IN Horrified. ANNIE No.",
"INT. CABIN CELLAR - NIGHT (STUDIO) MED. SHOT - ASH - TRACKING AROUND HIM As he lays in the center of the cellar's earth floor. He strains his ears to listen to the tape playing in the room above. PROFESSOR KNOWBY -LRB- Voice on tape. -RRB- It is October 1, 4:33 p.m. Henrietta is dead. I could not bring myself to dismember her corpse. But I buried her. CLOSE SHOT - ASH TRACKING CLOSER As he listens intently to the tape playing in the room above.",
"INT. CABIN MAIN ROOM - NIGHT TRACKING SHOT - TAPE RECORDER CAMERA SLOWLY MOVING IN on the winding tape. PROFESSOR KNOWBY -LRB- Voice on tape. -RRB- I. buried her. in the cellar.",
"INT. CABIN CELLAR - NIGHT - (STUDIO) CLOSE SHOT - ASH - TRACKING CLOSER Growing horror on his face as he realizes where he is. PROFESSOR KNOWBY -LRB- Voice on tape. -RRB- God help me, I buried her in the earthen floor of the fruit cellar!",
"INT. CABIN CELLAR - NIGHT (STUDIO) ASH'S POV - CLOSE SHOT - -LRB- STOP MOTION ANIMATION -RRB- Ash's legs in the foreground. Suddenly from the earthen floor of the fruit cellar a half - rotten human head juts up! Just the eyes are above the surface of the dirt. They dart about wildly and halt upon Ash. Worms crawl from the rotted forehead.",
"INT. CABIN CELLAR - NIGHT (STUDIO) CLOSE SHOT - ASH He screams. MED. SHOT - OVER ASH'S SHOULDER - MOCK UP OF CELLAR SET Henrietta's arm rips through the earth and grabs Ash's leg as he tries to back away. The corpse that was Henrietta pulls itself from the grave and emits a wail. She turns her twisted body to face Ash. Moths fly about her in a flurry. HENRIETTA Someone's in my fruit cellar! Someone with a fresh soul!",
"INT. CABIN MAIN ROOM - NIGHT MED SHOT. - THE GROUP All eyes on the trap door. ED Somebody's down there with him. ANNIE No. Ca n't be.",
"INT. CABIN CELLAR - NIGHT (STUDIO) MED. SHOT - ASH He runs up the steps to the trap door and begins pounding furiously upon it. CLOSE SHOT - ASH ASH Let me out! Let me out! MED. SHOT - -LRB- REVERSE ACTION -RRB- - WIND FAN Henrietta lets out a terrible laugh and approaches the wooden staircase.",
"INT. CABIN MAIN ROOM - NIGHT MED. SHOT - THE GROUP All eyes are on the banging trap door. ASH'S wild screams are coming from beneath. They look at one another, not sure of what to do. Jake holds the ring of keys. ANNIE Let him out. JAKE It's a trick. I know it. ANNIE LET HIM OUT!",
"INT. CABIN CELLAR - NIGHT (STUDIO) WIDE SHOT - ASH At the top of the steps, pounding on the trap door, screaming to be let out. HENRIETTA ENTERS the FRAME at the bottom of the steps. A flutter of moths about her. WIDE SHOT - -LRB- REVERSE ACTION -RRB- Henrietta begins to climb the steps. Two at a time. HENRIETTA Come to me. Come to sweet Henrietta.",
"INT. CABIN MAIN ROOM - NIGHT MED. SHOT - JAKE As he tries one key after another. CLOSE SHOT - KEYS As they are forced into the lock.",
"INT. CABIN CELLAR - NIGHT CLOSE SHOT - ASH Sweating at the top of the steps, watching as Henrietta approaches. ASH No. CLOSE SHOT - HENRIETTA Extending her rotted and worm infested arm toward him. HENRIETTA Yesssssss. You and I. We shall spend eternity together. CLOSE SHOT - ASH Marie's shadow envelops him. He is petrified. HENRIETTA But first I'll swallow your soul!",
"INT. CABIN CELLAR - NIGHT (STUDIO) CLOSE SHOT - HENRIETTA - -LRB- STOP MOTION ANIMATION/REAR SCREEN -RRB- With a sharp recoil, then spring, Henrietta makes a lunge at Ash. Her face contorting, her teeth lengthening, her mouth opening impossibly wide as though she were going to swallow his head, and all as she lunges forward. She changes to `` Pee Wee'' head.",
"INT. CABIN CELLAR - NIGHT - 35MM KODAKCHROME SLIDE Plate for previous scene.",
"INT. CABIN CELLAR - NIGHT (STUDIO) CLOSE SHOT - ASH He screams as a set of bloody hands grab his face. But they are not Henrietta's. He is pulled upward to the main room of the cabin.",
"INT. CABIN MAIN ROOM - NIGHT CLOSE SHOT It is Jake who pulls Ash to safety. WIDE SHOT - MAIN ROOM Jake finishes pulling Ash up from the trapdoor and onto the floor of the main room. The horrible face of Pee - Wee head Henrietta pops from the cellar! CLOSE SHOT - ANNIE AND ED SCREAMING at the sight of the beast. ANNIE For God's sake! That's my mother! CLOSE SHOT - JAKE One of Henrietta's rotted hands reach up from the cellar grabbing Jake. CLOSE SHOT - ED As he moves to help Jake, Henrietta swats at his jaw, knocking him backward into a picture frame. He shatters it with his head and slumps to the floor. MED. SHOT - ASH As he moves toward the trapdoor. CLOSE SHOT - -LRB- STYROFOAM TRAPDOOR -RRB- Ash's foot kicks the trapdoor shut and crushes Henrietta's Pee - wee head between the door and the floorboards. MED. SHOT - DUMMY OF HENRIETTA - PEE WEE HEAD Ash leaps down upon the trapdoor, slamming it to pin Pee - Wee head sideways. The pressure sends her left eyeball popping from her head, like a cork from a champagne bottle. CLOSE SHOT - EYEBALL FLYBALL Henrietta's eyeball and trailing optic nerve - mounted on glass - panning with the eyeball as it sails through space. CLOSE SHOT - BOBBY JOE -LRB- REVERSE ACTION -RRB- As the eyeball is shot into her screaming mouth. She begins to gag on it. WIDE SHOT Jake kicks Marie's Pee - Wee head in the face, sending her back down into the cellar. The trap door shuts. Ash leaps atop it. The sound of Henrietta falling down the cellar steps is heard along with the beast's wild ravings. Ash quickly threads the chains through the eyeloops. CLOSE SHOT - ASH He snaps the lock shut. Ash is shaking. Jake slowly moves down into his frame. He is completely terrified. CLOSE SHOT - TAPE RECORDER IN F.G. ASH, JAKE, ANNIE AND BOBBY IN B.G.. The tape recorder continues to play. RAYMOND KNOWBY -LRB- V.O. -RRB- -LRB- Voice on tape. -RRB- I fear that whatever I have resurrected from this book, is sure to come calling for me.",
"EXT. WOODS/CABIN - NIGHT -LRB- SHAKI - CAM -RRB- The CAMERA takes the POV of the Evil Force as it glides through the woods. Over a stump, around the Oak trees, through a patch of fog, as the cabin comes into view. MED. SHOT - ANNIE, ASH, JAKE, BOBBY JOE AND ED Ash turns to the group, Annie is placing her wet bandana atop Ed's forehead. ASH There's something out there. That. witch in the cellar is only part of it. It lives out in those woods. In the Dark. Something that's come back from the dead. CLOSE SHOT - BOBBY JOE Interrupting Ash. BOBBY JOE Jake, let's beat it the hell out o'here, right now. I got ta get out! JAKE Now Bobby, you ai n't in no condition. ASH Nobody goes out that door. Not till daylight. THE GROUP They freeze in their tracks as they hear a gentle voice which sings a melancholy tune. Annie turns her head to the sound and the CAMERA PANS TO reveal HENRIETTA whose head juts in the space between the floorboards and the trap door. She is no longer possessed. She looks as she did earlier in the film. She is singing a gentle song to Annie. CLOSE SHOT - HENRIETTA HENRIETTA Remember that song Annie? I used to sing it to you when you were a baby. CLOSE SHOT - ANNIE Uncertain of what to do, but wanting to believe. HENRIETTA Let me out, dear. It's so cold and dark in here. ANNIE Mother? HENRIETTA Unlock these chains. Quickly. MEDIUM SHOT - ASH AND ANNIE Annie starts to follow the instructions, but Ash halts her gently. He shakes his head. Annie snaps out of it. She shakes her head and looks to the cellar. ANNIE No. No. I do n't know what you are but you're not my mother. Annie begins to cry. CLOSE SHOT - TRAP DOOR Henrietta is crying also. VOICE OF HENRIETTA How can you say that to me Annie? ANNIE No! VOICE OF HENRIETTA You were born September 2nd, 1962. I remember it well because it was snowing. So strange that it would be snowing in September. CAMERA TRACKING IN ON ANNIE Confused and tearful, she screams to the others in the room. ANNIE That thing in the cellar is not my mother! Ed stands sharply into her frame. His eyes bone white, his skin, the pale color of the dead. His mouth has grown over large. His lips are black. He is possessed. He shrieks. Annie screams and jumps back out of frame. MED. SHOT - ED POSSESSED RIGGING - REVERSE ACTION He flies up into the air and writhes about as if he were a human marionette. He lets out a demonic moan and then begins to laugh. MED. SHOT - BOBBY JOE AND JAKE As they clutch in fear at one another. MED. SHOT - ANNIE AND ASH As they look on in horror. Ash steps in front of Annie as she gapes at this monstrosity that was Ed. CLOSE SHOT - ED POSSESSED RIGGING As he floats about the room. His laughter suddenly stops and a second demonic voice comes from his body. It is female, and wailing in lament. CLOSE SHOT - ASH Watching in horror. MED. SHOT - POSSESSED ED RIGGING - UP AND DOWN The body of Ed turns sharply toward the group, not really seeing. ED -LRB- In the voice of POSSESSED # 1. -RRB- We are the things that were. -LRB- In the voice of POSSESSED # 2. -RRB- And shall be again! HA HA HA HA HA! -LRB- In the voice of POSSESSED # 1. -RRB- Spirits of the book. -LRB- In the voice of POSSESSED # 2. -RRB- We want what is yours! LIFE! As he floats about, his head dips and swoons. ED -LRB- In the voice of POSSESSED # 1. -RRB- Dead by dawn! -LRB- In the voice of POSSESSED # 2. -RRB- Dead by dawn! CLOSE SHOT - HENRIETTA POSSESSED Sticking her gnarled head from the cellar. HENRIETTA Dead by dawn! Dead by dawn! WIDE SHOT - JAKE AND BOBBY JOE IN FOREGROUND RIGGING - DOLLY CART Ed floating, turns his head sharply to Bobby Joe. The Possessed body of Ed rushes through the air towards her. He opens his mouth wide open. ED'S POV As he quickly rushes upon a screaming Bobby Joe. CLOSE SHOT - ED AND BOBBY JOE He bites into Bobby Joe's head. With a single motion he rips out the bulk of the hair from her head with a terrible RIIIIIIIIP SOUND. MEDIUM SHOT - ED DUMMY Stands up into frame with a clump of Bobby Joe's hair in his mouth and swallows it. WIDE SHOT - GROUP Bobby Joe collapses to the ground. MED. SHOT - HENRIETTA POSSESSED As she calls from the cellar. HENRIETTA Free me! Unlock these chains! MED. SHOT - POSSESSED ED He turns to the trap door and moves toward it. MED. SHOT - ASH AND ANNIE Both horrified. Ash retreats. Annie is shocked as she watches Ash back into the middle bedroom and disappear. CLOSE SHOT - ANNIE ANNIE Where are you going?! HELP US! You filthy COWARD! ANGLE FROM TRAP DOOR - POSSESSED ED AND JAKE Possessed Ed moves toward the trap door. Jake comes up quickly behind Ed to grab his shoulder. JAKE'S POV - DUMMY OF POSSESSED ED As Jake's hand reaches for the shoulder of possessed Ed. The head of possessed Ed spins around on its neck so that it faces Jake. CLOSE SHOT - POSSESSED ED ED -LRB- In the voice of a woman. -RRB- We see you! CLOSE SHOT - JAKE Screaming as Ed's hand enters frame, and snags Jake's face. He tosses Jake upward. CLOSE SHOT - ED POSSESSED As he tosses Jake upward. HIGH - WIDE SHOT - POSSESSED ED AND JAKE STUNTMAN REVERSE ACTION - UNDERCRANKED Jake flies upward towards the ceiling of the cabin.",
"INT. CABIN CEILING - NIGHT (CEILING SET PIECE) MED. SHOT A prop light bulb `` Shining'' in its fixture. Jake's head comes flying up into frame, shattering it, and slamming into the wood ceiling and then falling back down again.",
"INT. CABIN MAIN ROOM - NIGHT MED. SHOT - POSSESSED ED AND JAKE STUNT MAN As Jake slams back down to the floor of the cabin. MED. SHOT - ASH As he reappears in the doorway of the room. Now he clutches an axe in his single hand. MED. SHOT - POSSESSED ED As he grabs the chains that secure the trap door ready to rip them loose. He turns his head to see : OVER POSSESSED ED'S SHOULDER Ash approaches with the axe. MED. SHOT - ASH AND ANNIE AND OFF SCREEN DUMMY OF ED Ash exits the frame and we are left with Annie and the stark shadow of possessed Ed which is cast upon the wall behind her. We watch as the shadow of Ash with the axe, slices through the top portion of possessed Ed's head. Annie screams as she is splattered with green bile. CLOSE SHOT - POSSESSED ED DUMMY Missing Ed's right hand portion of his head. His brain, shriveled like the inside of a pumpkin. POSSESSED ED'S POV - ASH - EYEMO CAMERA AND MOUNT Ash stands before us, his axe dripping green bile. Ed's arms flail wildly on either side of the camera, groping at the air. He slowly falls over and slams to the floor. MED. SHOT - POSSESSED ED -LRB- FRAMED WITH AND W/O HEAD -RRB- Ed's body falls to the floor. It lays quiet for a moment and then begins to writhe and scream in its demonic death throes. Finally, he is silent. MED. SHOT - ASH AND ANNIE - POSSESSED ED DUMMY Ash turns to her. ASH Start up that saw and hand it here! We're gon na cut him up. Annie looks to the chainsaw and then to the unmoving body of Ed. She is repulsed at the thought. ANNIE No. ASH START IT UP! ANNIE NO! Possessed Ed stands up quickly into frame! The evil force having re - animated his lifeless body. CLOSE SHOT ASH - OVER POSSESSED ED'S SHOULDER FLYING PLATFORM As a hand grabs Ash's throat. Possessed Ed exits frame, revealing it to be Ash's evil hand on his own throat. It lifts him into the air. CLOSE SHOT - ASH'S FEET As they are lifted off the floor. CLOSE SHOT ASH He pries the evil hand from his throat and falls. ASH/EVIL HAND As he slams to the floor the evil hand scurries away in the B.G. MED. SHOT - POSSESSED ED DUMMY AND ANNIE Annie is screaming in horror. Possessed Ed backhands her across the face. MED. SHOT - WRITING DESK Annie slams into a desk shattering it to splinters of wood. She falls to the floor. MED. SHOT - ASH As he grabs the axe. MED. SHOT - POSSESSED ED - DUMMY As he stands sharply into frame. His mouth wide open and screaming. MED. SHOT - ASH AND POSSESSED ED Terrified, as he moves toward possessed Ed with the axe. MED. SHOT - ASH AND POSSESSED ED DUMMY RUBBER AXE Ash brings the axe down upon Ed's shoulder, knocking him to the floor. ASH swings the axe again and again. Different colors of bile and blood fly up into frame as Ash chops. CLOSE SHOT - ANNIE Screaming at the sight. CLOSE SHOT - ASH His axe blade rises and falls as black demon blood flies up into frame. CLOSE SHOT - LOW ANGLE - FLOOR LEVEL ASH AND ED DUMMY PARTS Ed's missing portion of his head sits upon the floor. His eye in extreme C.U. in the foreground. It looks wildly about into the CAMERA. In the background, we watch Ash bring down the axe until all is silent. WIDE SHOT Jake slowly stands into the empty frame. He is in shock from what he has just seen. Annie slowly rises into frame - shaking her head in a silent `` No.'' Ash slowly rises into frame, terrified. They are looking down at the out - of - frame remains of possessed Ed.",
"EXT. CABIN - NIGHT - MITCHELL The moon has grown larger. Fog billows past the cabin.",
"EXT. NIGHT - THE FULL MOON MAIN ROOM NIGHT - ASH, JAKE, BOBBY JOE AND ANNIE Jake sprays a can of air freshener about the room. He holds his nose. Ash tosses a bloodied sheet, containing the remains of possessed Ed to the floor. It lands with a sickening thud. Wiping his face with a rag, Ash moves off in disgust. We hold on the bundled sheet as the trap door next to it silently opens. Henrietta's rotted hand emerges, unnoticed by the others in the room. BOBBY JOE Jake, I ca n't take no more of this. Henrietta's rotted hand pulls the bundle of body parts silently down into the cellar and quietly closes the trap. MEDIUM SHOT JAKE AND BOBBY JOE Jake moves to the window and looks out. JAKE That's funny. BOBBY JOE What? JAKE That trail we came in here on. well, it just ai n't there no more. Like the woods jus' swallowed it. The room goes quiet. The sound of the wind outside the cabin has died. Jake and Bobby Joe cock their heads to this new silence. CLOSE SHOT - ANNIE AND ASH She looks about the room, getting scared. ANNIE It's so quiet. Ash stands slowly into frame. He knows that it ca n't be good. WIDE SHOT - THE GROUP As they raise their heads to a distant pounding sound. It grows louder. BOOM - BOOM! BOOM - BOOM! JAKE What the hell is it? ASH Maybe something. Something trying to force its way into our world. BOOM! BOOM! BANG! BAM! EYEMO CAMERA/MITCHELL CAMERA - GROUP The cabin WALL. Bang! THE FRONT DOOR - GROUP - EYEMO/MITCHELL THE BOARDED WINDOW - GROUP - EYEMO/MITCHELL BANG! THE CEILING BEAMS - GROUP - EYEMO/MITCHELL BAM! A SECTION OF WALL - GROUP - EYEMO/MITCHELL A SECTION OF THE TONGUE AND GROOVE FLOOR EYEMO - MITCHELL - GROUP BAM! ASH - C.U. JAKE - C.U. ANNIE - C.U. BOBBY JOE - C.U. MEDIUM SHOT - JAKE AND BOBBY JOE Bobby Joe runs to Jake's arms. He clutches her tightly. MEDIUM SHOT - ANNIE AND ASH Annie runs to Ash. He holds her. The pounding sounds halt. Again they are left in silence. Annie awkwardly disengages herself from Ash. They hear a sound coming from the middle bedroom. BOBBY JOE It's in there. MEDIUM SHOT - DOOR TO MIDDLE BEDROOM It is opened a crack. MEDIUM SHOT - THE GROUP ASH We'll all go in together. JAKE Hell no, you're the curious one. MEDIUM SHOT - ASH AND ANNIE He moves toward the door. ANNIE I'll go with you. Ash nods to Annie in a show of thanks. He grabs the axe, and pushes open the door to the middle bedroom. Annie follows with the flickering oil lantern.",
"INT. MIDDLE BEDROOM - NIGHT The door to the main room creaks open. Ash and Annie cautiously enter. They look about the place. ASH'S POV - MIDDLE BEDROOM - NIGHT As the CAMERA PANS the shadowed corners of the room. MEDIUM SHOT - ASH AND ANNIE An eerie whistling wind is heard. It has an other worldly sound, very far off. MEDIUM SHOT - DOORWAY TO MIDDLE BEDROOM Bobby Joe and Jake enter the room, drawn by the sound. CLOSE SHOT - BOBBY JOE She looks about, frightened. MEDIUM SHOT - JAKE AND BOBBY JOE Jake takes Bobby Joe's hand. Bobby Joe smiles, frightened. MEDIUM SHOT - ASH Waiting. MEDIUM SHOT - PANNING THE DARK ROOM As the eerie whistling sound grows louder. It is followed by the angry sound of something moving violently about the room. A shattering of glass. MEDIUM SHOT - THE GROUP WOOOOOSH! The group is hit with a tremendous blast of air. They shiver from the cold. MEDIUM SHOT - ASH The wind in the room suddenly stops. He blows out his breath and watches it vaporize. The screaming face of Raymond Knowby emerges from the wall. A life like spirit made of swirling smoke and mist. RAYMOND Annie. PLATE FOR PREVIOUS SCENE BLACK STUDIO - RAYMOND CLOSE SHOT - ASH AND ANNIE They turn to the ghost in fear. MEDIUM SHOT - JAKE AND BOBBY JOE Awestruck. Bobby Joe crosses herself. JAKE Holy Mother O'Mercy. MEDIUM SHOT - THE GHOST OF RAYMOND RAYMOND There is a dark spirit here that wants to destroy you. Your salvation lies in the pages from the Book of the Dead. The ghost of Raymond points to Annie's glass case. CAMERA PANS to it. Inside are the pages from the Book. PLATE FOR PREVIOUS SCENE BLACK STUDIO - RAYMOND CLOSE SHOT - ANNIE Listening. ANGLE - THE GROUP AND THE GHOST OF RAYMOND RAYMOND Recite the passages. Dispel the evil. Save my soul. And your own lives. The ghost of Raymond screams and is gone. PLATE FOR PREVIOUS SCENE BLACK STUDIO - RAYMOND MEDIUM SHOT - THE GROUP Whoosh! Again they are hit with a blast of air. MEDIUM SHOT - JAKE AND BOBBY JOE BOBBY JOE Jake, you squeezing my hand too tight. JAKE I ai n't got your hand, baby. BOBBY JOE Then who? Bobby Joe raises her hand into frame, to reveal Ash's Evil Hand clutched in hers. Bobby Joe goes nuts, screaming and flailing about trying to throw the hand from her. She slams into the lantern, knocking it out. We lose them in the darkness. JAKE'S VOICE Somebody get the light! The sound of chairs being pushed over. The sound of a door opening and closing. CLOSE SHOT - ASH As he lights the lantern illuminating the room. CAMERA PANS over to reveal only Jake and Annie. CLOSE SHOT - JAKE Looking about. JAKE Hey. Bobby Joe's gone!",
"EXT. CABIN - NIGHT Screaming, Bobby Joe makes a mad dash away from the cabin. It diminishes in size behind her, she has had enough of it.",
"EXT. WOODS - NIGHT - DRAGWAY MEDIUM SHOT - BOBBY JOE - TRACKING As she races through the woods. CLOSER - JONES' CREEK She runs deep into the woods, still looking behind her as she slams into a twisted oak tree that stops her flat. An angry face appears on the surface of the tree. Its gnarled bark folds open to reveal very human like oversized eyes. A large fold in its bark opens to form a gaping mouth dripping tree sap saliva. TREE FACE BAHHHH! CLOSE SHOT - TREE FACE CLOSE SHOT - BOBBY JOE - -LRB- REVERSE ACTION -RRB- JONES' CREEK Screaming as she backs away from this living tree as a flurry of snake like vines pick themselves up off of the ground and come to life about her. CLOSE SHOT - BOBBY JOE'S LEGS - -LRB- REVERSE ACTION -RRB- JONES' CREEK Two living vines wind their way toward her legs and coil around her ankles tightly. CLOSE SHOT - BOBBY JOE - JONES' CREEK - 4 RIPS She lets out a short shrill scream, as her shirt is torn away from her. MED. SHOT - -LRB- REVERSE ACTION -RRB- JONES' CREEK Living vines wind around Bobby Joe's torso and breasts in a furious wrapping motion. CLOSE SHOT - -LRB- REVERSE ACTION -RRB- JONES' CREEK A living vine wraps around her throat. CLOSE SHOT - -LRB- REVERSE ACTION -RRB- JONES' CREEK Tiny vines wrap around Bobby Joe's hand and fingers.",
"EXT. JONES CREEK - NIGHT SHOTS OF VINES COMING TOWARDS CAMERA MED. SHOT - RIGGING - STUNT UNDERCRANKED - JONES' CREEK Bobby Joe, wrapped in vines, is reeled backwards and ripped through a wall of branches. MED. SHOT - PANNING - RIGGING EFFECT - STUNT UNDERCRANKED - JONES' CREEK At a great speed, Bobby Joe is pulled away from the cabin and towards the forest by the vines. BOBBY JOE'S POV - OVER HER LEGS - RIGGING EFFECT STUNT - UNDERCRANKED - REVERSE ACTION - DRAGWAY As the vines rocket her on a speeding FAST MOTION joyride along the forest floor. CLOSE SHOT - BOBBY JOE'S FACE RIGGING EFX - DRAGWAY As she drags along the forest flctor, the smaller vines force their way into Bobby Joe's nose and mouth and then under the first layer of her facial skin. TRACKING SHOT - DRAGWAY - DUMMY AND STUNT She is pulled along the ground and down into a foxhole -LRB- dummy -RRB-. Camera continues tracking along her original trajectory until we come to the second foxhole where she emerges, now covered in mud, and screaming. ANGLE - DUMMY - JONES' CREEK Bobby Joe rips through spikes extending from a log and is dragged through two mud puddles. The vines wisk her away.",
"EXT. SWAMP - NIGHT PANNING SHOT - RIGGING EFFECT - STUNT She hits a swamp with a giant splash, but even this does not stop her. LONG SHOT - SWAMP ROOSTERTAIL WATER SPRAY EFX - STUNT She glides across the surface of the swamp with a great roostertail spray of water, as if she were on water skis. ANGLE - RIGGING EFX - STUNT - SWAMP She hits the other side of the swamp and is rocketed out of the water and across the forest floor.",
"EXT. WOODS - NIGHT - JONES' CREEK - DUMMY STATIC CAMERA - RIGGING EFFECT - STUNT - UNDERCRANKED Bobby Joe comes roaring towards us, screaming. She rips past. STATIC CAMERA - RIGGING EFFECT - STUNT UNDERCRANKED - JONES' CREEK From BEHIND CAMERA Bobby Joe appears and goes racing into the distance. BOBBY JOE'S POV - OVER HER LEGS - DRAGWAY RIGGING EFFECT - UNDERCRANKED - STUNT Darting in and around trees, a major stump is coming right for her. Bobby Joe's legs spread wide. The tree stump races closer. Bobby Joe SCREAMS. her last. TREE STUMP'S POV - BOBBY JOE APPROACHES UNDERCRANKED BOBBY JOE'S LEGS - STUMP - DRAGWAY STOP MOTION - REVERSE ACTION Girl meets stump.",
"EXT. WOODS - NIGHT - OVERCRANKED LOW SHOT - LOOKING UPWARD PAST THE STUMP - BLOOD GEYSER EFX We hear the RIP! And watch as a geyser of blood floods up into the night sky.",
"INT. CABIN - MAIN ROOM - NIGHT - OVERCRANKED CLOSE SHOT - GLASS CASE CONTAINING PAGES FROM BOOK OF THE DEAD It falls away from the CAMERA and shatters on the table beneath us. MEDIUM SHOT - ASH AND ANNIE As their hands scramble at removing the pages from the bits of broken glass. MED. SHOT - JAKE IN FG - ASH AND ANNIE IN BG Jake is looking out the boarded window of the cabin, searching for some sign of Bobby Joe.",
"EXT. WOODS - NIGHT JAKE'S POV - THE DARK WOODS - WINDOW FRAME All is silent as fog rushes in and around the woods. JAKE Where the hell is she?",
"INT. CABIN MAIN ROOM - NIGHT MED. SHOT - JAKE AND ASH AND ANNIE Jake turns to Ash. JAKE We got ta go out there and find her! ASH If she went out in those woods, she's not coming back. Jake turns back to the window. Ash turns to Annie. He glances down at the pages that Annie is looking over. ASH'S POV - CLOSE SHOT - PAGES AND ANNIE One of the pages is a clear pictorial of Ash as the `` Hero from the Sky.'' ASH AND ANNIE Ash shudders. ANNIE What is it? ASH Felt like someone just walked over my grave. It's that picture. Annie looks to it. CLOSE SHOT - PAGE OF THE BOOK OF THE DEAD CONTAINING ASH'S `` HERO FROM THE SKY'' ILLUSTRATION. ANNIE AND ASH ANNIE In 1300 AD. This was the `` Hero from the Sky,'' who was prophesized to destroy this Evil. ASH He did n't do a very good job. What about the passages? CLOSE SHOT - ANNIE As she quickly gives the pages a cursory glance. ANNIE Here it is. Two passages. For the first time, she smiles at Ash. ANNIE We've got it! CLOSE SHOT - ASH Finally seeing his salvation, his face shows hope. MEDIUM SHOT - ASH AND ANNIE Annie reads through the pages. ANNIE Recitation of the first passage will make this `` Dark Spirit'' manifest itself in the flesh. ASH Why the hell would we want to do that? Annie thumbs through one or two of the other pages. ANNIE Recitation of the second passage creates a kind of rift in time and space, and the physical manifestation of this spirit can be forced back through this rift. to an earlier time and place. At least that's the best translation I can. CLICKITY CLICK MEDIUM SHOT - ASH AND ANNIE Annie and Ash look up to the source of the sound. MEDIUM SHOT - JAKE He has just snapped a shell into the firing chamber of the shotgun. He points it at Ash and Annie. JAKE I'm runnin' the show now. MEDIUM SHOT - ASH AND ANNIE Standing together, confused. CLOSE SHOT - JAKE JAKE We're goin' outside into those woods to look for Bobby Joe, an' once we find her, we're gettin' the hell outta here. ASH If you want to look for her, go ahead. JAKE You two comin' with me. I ai n't goin' out there alone. ASH NO, YOU IDIOT. You'll kill us all. She's dead by now. With these pages we can. Jake grabs the pages from Annie's hand. JAKE Those pages do n't mean shit. Jake kicks the pages down into the cellar. Ash and Annie look on in horror. JAKE ` Sides. Now you ai n't got no, choice. Jake pushes at Ash with the barrel of the shotgun. JAKE Now move! Ash hesitates. JAKE Move you son of a bitch!",
"EXT. WOODS/CABIN - NIGHT Ash, Annie and Jake exit the cabin.",
"EXT. FRONT PORCH OF CABIN - NIGHT TRACKING BACKWARD Ash, Annie and Jake walk towards the woods. In the FG is Ash. He looks off past the CAMERA in fear. ASH'S POV - WOODS - NIGHT ROD PUPPETS - STUDIO As he approaches a line of trees whose branches bend and sway with a threatening motion.",
"EXT. CABIN - NIGHT - TRACKING BACKWARD ASH, JAKE, AND ANNIE ASH No trail. Which way do you intend to go? CLOSE SHOT - JAKE Looking confused and frightened. He calls out desperately. JAKE Bobby Joe!",
"EXT. WOODS NIGHT - POV EVIL FORCE As it glides through the woods. We hear a muted shout from Jake. JAKE -LRB- O.S. -RRB- Bobby Joe, where are you girl? And the POV of the force suddenly swings about to reveal Jake, Ash, and Annie not to far away.",
"EXT. CABIN - NIGHT - TRACKING SHOT - ASH As he moves deeper into the woods.",
"EXT. CABIN - NIGHT - TRACKING SHOT - ANNIE As she searches the woods with her eyes in fear.",
"EXT. CABIN - NIGHT - TRACKING SHOT - JAKE As scared as the rest of them, but driven to find Bobby Joe. POV EVIL FORCE - EXT.. CABIN - NIGHT As it approaches the group.",
"EXT. CABIN - NIGHT - FOAM SHOTGUN STOCK JAKE, ASH, AND ANNIE JAKE Bobby Joe! Bobby Joe! Ash approaches Jake. ASH You'll get us all killed. JAKE Shaddup! Jake slams Ash across the face with the stock of the shotgun. Ash plummets to the ground. Annie screams! She goes after Jake. Jake slugs her and she falls to the ground.",
"EXT. CABIN - NIGHT - JAKE, ASH, AND ANNIE POV - EVIL FORCE It draws closer.",
"EXT. CABIN - NIGHT - JAKE - CLOSE SHOT Raging to the night! JAKE Bobby Joe!",
"EXT. CABIN - NIGHT POV of Evil Force racing up to the group.",
"EXT. CABIN - NIGHT - CLOSE SHOT - JAKE Jake halts his screaming. He listens in the silence as possessed Ash juts up into the frame! His eyes are bone white, his flesh, the pale color of the dead. His lips, black. He bellows to the night!",
"EXT. CABIN - NIGHT CLOSE SHOT - ANNIE She screams and stumbles backwards, towards the cabin.",
"EXT. CABIN - NIGHT - CRANE MEDIUM SHOT - POSSESSED ASH - JAKE DUMMY - FLYING RIG Possessed Ash lifts Jake up above his head and throws him into a large tree. It explodes in a blast of sawdust as the dummy slams into it.",
"INT. CABIN MAIN ROOM - NIGHT MEDIUM SHOT Annie dashes inside and turns to look out the open doorway.",
"EXT. CABIN - ANNIE'S POV - THRU THE OPEN DOORWAY All is quiet outside, no sign of Possessed Ash or Jake, and then Possessed Ash is there, emerging from the darkness suddenly. He raises his finger and points to Annie. He speaks in the low garbled voice of a demon : POSSESSED ASH JOIN US!",
"INT. CABIN - MED. SHOT - ANNIE She rushes to the door, hoping to get there before Possessed Ash. MED. SHOT - ANNIE AND POSSESSED ASH She slams the front door shut just in time. MED. SHOT - ANNIE - WRITING DESK She picks up the Kandarian Dagger. CREAK - SNAP! A sound coming from somewhere in the rear of the cabin. She turns toward the door to the hallway. ANNIE'S POV - THE DOOR TO THE HALLWAY It is closed. MED. SHOT - ANNIE She moves to investigate the sound. As she approaches the rear door to the hall and slowly opens it. ANNIE'S POV As the door to the hallway is pulled open, revealing. only the empty hallway.",
"INT. CABIN HALLWAY - NIGHT ANNIE She breathes a sigh of relief. ANNIE'S POV As she moves down the hall. It is dark. Curtains flutter on the boarded windows. CLOSE SHOT - ANNIE As she moves towards the rear of the cabin.",
"INT. HALLWAY/EXT. CABIN - LOCATION - ANNIE'S POV THE WINDOW AND WOODS BEYOND We approach the window and look out into the night. Fog billows through the trees, and in the distance the monster that is Ash emerges. He heads toward the cabin and disappears in a bank of fog.",
"INT. HALLWAY (STUDIO) Annie is frightened. She spins her head to a sound. ANNIE'S POV - THE REAR DOOR OF THE CABIN Creak! The doorknob is turning. Something is trying to get in. ANNIE - MED. SHOT She forces her back to the wall. She tenses with the dagger, ready to slay whatever should enter. CLOSE SHOT - ANNIE She waits. CLOSE SHOT - THE KANDARIAN DAGGER Gripped tightly in Annie's sweating hands. CLOSE SHOT - DOORKNOB Rattling violently now. And suddenly it opens. CLOSE SHOT - ANNIE'S HANDS As they swing the dagger. CLOSE SHOT As the dagger imbeds in the intruder's chest. CAMERA PANS UP quickly to reveal a gasping Jake. MEDIUM SHOT - JAKE AND ANNIE Jake falls to the ground, half in and out of the doorway. He is still alive. CLOSE SHOT - ANNIE As she backs away in horror, clutching at her head. ANNIE No! She backs to a partially boarded window. MEDIUM SHOT - ANNIE Possessed Ash juts up into frame in the window behind her. Annie screams and runs toward the open back door. Possessed Ash spots the open door through the window and begins to move around the side of the house. MED. SHOT - ANNIE As she goes to slam the door. MED. SHOT - JAKE As he lies moaning in the doorway, the door slams upon him. MED. SHOT - ANNIE As she reaches down and pulls Jake's body out of the way.",
"EXT. CABIN/REAR - NIGHT POSSESSED ASH As he moves around the side of the cabin, tearing apart a trellis that stands in his path, and three hanging flowerpots as he approaches the open door.",
"INT. CABIN BACK HALLWAY - NIGHT MED. SHOT - ANNIE Again she tries to slam the door. MED. SHOT - JAKE'S DUMMY ANKLE Which lies in the door's path, preventing it from closing.",
"EXT. CABIN/REAR - NIGHT OVER POSSESSED ASH'S SHOULDER As he approaches the back door. He grabs the screen door and tears it loose with a single motion.",
"INT. CABIN REAR HALLWAY - NIGHT ANNIE As she pulls Jake's ankle from the door and slams it. All is again silent.",
"INT. CABIN - REAR HALLWAY - NIGHT - ANNIE AND JAKE Annie kneels down next to a moaning Jake, driving the dagger in a little deeper by accident. He cries out in pain. JAKE Get the axe. Kill it. Kill it. Jake moans and dies. CLOSE SHOT - ANNIE As she turns her head to the sound of breaking glass. TRACKING SHOT - ANNIE - REAR HALLWAY - NIGHT As she cautiously approaches the main room. ANNIE'S POV - REAR HALLWAY/MAIN ROOM - NIGHT As she moves towards the main room. MAIN ROOM - NIGHT - ANNIE Annie enters the room. She shudders from the cold. CAMERA PANS with her glance to broken glass upon the floor, and over to reveal the bashed out window and the curtains fluttering in the wind. MEDIUM SHOT - ANNIE Petrified. Looking about. Knowing that the monster Ash may be lurking close. WIDE SHOT - ANNIE As she moves about the main room, picking up the axe. With her back toward us she does n't notice Ash's hand appear suddenly in the foreground atop the writing desk. She turns suddenly towards camera. OVER ANNIE'S SHOULDER Ash's evil hand sits upon the table. It scampers off. Annie turns and comes face to face with Possessed Ash! He bellows at her and grabs her as she shrieks bloody murder!",
"INT. CABIN MAIN ROOM - NIGHT WIDE SHOT - POSSESSED ASH AND ANNIE - DUMMY He picks her up and swings her across the room, into the wall. She slumps to the floor unconscious. MED. SHOT - POSSESSED ASH As he lumbers toward her. ASH'S POV - STAR FILTER - MIRROR NECKLACE As he moves closer to her unmoving body. A glitter of light on the floor, next to her, catches his eye. CLOSE SHOT - POSSESSED ASH For the first time, calm, as he looks intently down at the floor. He kneels closer. ASH'S POV - -LRB- STAR FILTER -RRB- The NECKLACE of Linda. CLOSE SHOT - POSSESSED ASH The sight of the necklace strikes the human cord within him. He is confused, his evil self, battling for control of his spirit and body. He reaches to pick it up. CLOSE SHOT - ASH'S HAND As he slowly picks up the delicate silver necklace. He raises it to his face ; LINDA -LRB- V.O. -RRB- I'll never take it off. And then it hits him. The emotion of love lost. It floods the monster that is ASH. He clutches the necklace tightly to his bestial chest. And as the Love/waltz theme sweeps up in volume on the sound track, the monster begins to cry. WIDE SHOT - POSSESSED ASH AND ANNIE - TULIP CRANE Ash raises his head and lets out a low, lamenting, and pitiful wail. A man trapped in the shell of a beast, crying for the one he has lost. MEDIUM CLOSE SHOT - POSSESSED ASH - 50 % POSSESSED As he raises his head. Tears stream down from his eyes, washing away the caked on blood. CLOSE SHOT - POSSESSED ASH -LRB- REVERSE ACTION -RRB- BLADDER EFX - 50 - 20 % POSSESSED His face begins to change. His skin loses its white pallor. His blackened, infected cuts disappear. The swollen and cracked surface of his face begins to heal.",
"INT. CABIN MAIN ROOM - NIGHT (STUDIO) - MINIATURE EXTREME CLOSE SHOT - POSSESSED ASH - DUMMY HEAD W/FLUID EYE CHAMBER Ash's eyes change from white to brown.",
"INT. CABIN MAIN ROOM - NIGHT As the last tears roll down Ash's face, he is once again human. Ash looks up suddenly with a start. MEDIUM SHOT - ASH - WOODEN AXE HEAD EXPLODING FLOOR As he rolls out of the way a moment before the head of the axe buries itself in the wooden floor. Splinters fly. MEDIUM SHOT - ASH - WOODEN AXE HEAD EXPLODING WALL EFX Rolls to his feet and stands. He ducks as Annie enters frame, charging him with axe, screaming. ASH No. WAIT! Annie swings the axe and again Ash ducks. The head of the axe slams into the plastered wall smashing right through. CLOSER - ASH AND ANNIE Ash grabs her tightly with his remaining hand. ASH Listen to me! I'm all right now. That thing is gone. Ash pushes her away. Annie falls to the floor. She stands. CLOSE SHOT - ASH - WOODEN AXE HEAD EXPLODING WALL EFX Catching his wind for a moment. Then rolls to the side as the axe again comes at him! SLAM! The head of the axe slices into the wall only a few inches from his head. MED. SHOT - ASH AND ANNIE As he grabs Annie by the face and forces her backwards. ASH GOD DAMN IT! I said I was all right! Annie is nearly choking. ANNIE Okay. Ash releases her gently. She again looks to Ash, cautiously. ANNIE Are you sure? ASH You'll be the first to know. I'm fine. CLOSE SHOT - ANNIE AND ASH ANNIE Yeah, but for how long? If we're going to beat this thing, we need those pages. CLOSE SHOT - ASH As he turns to the trap door. ASH Then let's head down into that cellar. CLOSE SHOT - TRAP DOOR It lies silently against the floor. A rasping breath can be heard from below. CLOSE SHOT - ASH He turns from the trap door to Annie. ASH. And carve ourselves a witch.",
"EXT. WORKSHED - NIGHT Ash's hand flips open the latch on the shed door.",
"INT. WORKSHED - NIGHT The door is kicked open, revealing the silhouette of Ash and Annie as they stand in the doorway. WORKSHED SHELF Rats scurry for safety as the shaft of light from the door hits them. HANGING BULB ASH'S hand pulls on the cord, turning on the light. WORKSHED TABLE Ash's arm sweeping the chains and pieces of wood onto the floor. THE HOSE CLAMP Is tossed down upon the workshed table. A SECOND HOSECLAMP Is tossed down next to the first. ANNIE'S HANDS Hold down a clamp as ASH'S hand, creates screw sized holes in it with a battery powered drill. ANNIE'S HANDS Attach the hoseclamps to a piece of red steel. ANNIE'S HANDS Attach the red piece of steel to ASH'S stump, via the clamps. ANNIE'S HANDS Attach a `` V'' type hook Around Ash's neck, just above his bicep. ASH'S HAND Slams down the chainsaw upon the table. It is missing its side panel. ASH'S arm enters frame and we see that it is this missing side panel that has been clamped to his stump. CLOSER SHOT The panel slides into the side of the chainsaw with a sharp `` CLICK''. ASH As he bends the chainsaw to his chest. CLOSE SHOT The `` T'' shaped end of the starter cord falls neatly into the `` V'' shaped hook that is strapped around Ash's neck. CLOSE SHOT - ASH He looks up to Annie, the moment of truth. CLOSE SHOT - ANNIE Hair tousled over her sweating face, returns his glance, expectant. WIDE SHOT Ash extends his chainsaw arm, pulling on the starter cord. The CHAINSAW ROARS to life. With his free arm Ash raises the shotgun. He lowers the blade of the chainsaw down upon the barrel. Sparks fly as the saw cuts through it. The long barrel falls to the floor. Ash is left with a sawed off shotgun in one hand and a chainsaw strapped to his other arm. With a fancy style western flip to the gun Ash saddles the shotgun in a makeshift holster, strapped to his back. The CAMERA SLOWLY TRACKS into Ash's face. ASH Groovy. - OMIT",
"EXT. CABIN/WORKSHED - NIGHT - INKY PUPPET In the distance, the tiny figures of Ash and Annie as they move from the workshed to the cabin. In the foreground is a large oak tree. A gnarled human - like face can be made out on the surface of the tree. It is lit from beneath and slolwly brought up on a dimmer. A horrible twisted tree face. It suddenly opens its mouth and breathes in a gust of air with a terrible wheezing sound, as though in great pain at being brought to life. It turns sharply towards the cabin. CLOSE SHOT - DINKY PUPPET Second tree face, brought up on a dimmer, opens its mouth and loudly draws in air, also in agony. CLOSE SHOT - MOE PUPPET A third tree's twisted face, two human eyes opened wide on its surface. It breathes, then barks a guttural sound. MED. SHOT - -LRB- STUDIO MINIATURE -RRB- In the foreground is the base of a large oak tree. The cabin in the distance. A rumbling is heard. Then suddenly the tree pulls one of its massive roots from the earth. The tree sets its root down a few feet closer to the cabin.",
"EXT. WOODS - NIGHT (STUDIO MINIATURE) WIDE SHOT - TREE PUPPETS An entire line of trees. All pull their roots free from the soil and take an awkward and lumbering step towards the cabin.",
"INT. MAIN ROOM - NIGHT CLOSE SHOT - THE BLADE OF THE CHAINSAW Begins cutting through the wood of the trap door. MED. SHOT - ANNIE Tensing with her axe, ready for the beast to spring. CLOSE SHOT - CHAINSAW BLADE As it completes the second cut in the wood of the trap door. MEDIUM SHOT - ASH As he finishes the slicing job and kicks open the trap door. LOW ANGLE - ANNIE AND ASH - FROM CELLAR LOOKING UP The broken bits of the trap door fall past the camera, as they cautiously peer down into the cellar.",
"INT. CABIN CELLAR - NIGHT (STUDIO) ANNIE'S POV Looking down into the cellar. No sign of Henrietta. The bottom of the steps disappear into blackness. ASH Those pages are down there somewhere.",
"INT. CABIN MAIN ROOM - NIGHT MED. SHOT - ASH He kicks aside the broken trapdoor and slowly descends into the darkness.",
"INT. CABIN CELLAR - NIGHT MED. SHOT Ash arrives at the bottom of the steps. He looks about the dark corners of the cellar trying to find some sign of Henrietta or the pages. ASH'S POV Panning the cobwebs and dark stone walls of the cellar. Half hidden in the shadows we see two of the missing pages. CLOSE SHOT - ASH As he moves through the cellar and grabs the pages. He spots another page somewhat deeper into the cellar. ASH'S POV A fourth and fifth page lay upon the earthen floor, at the base of the cellar's rear door. ASH - CLOSE SHOT Ash moves to pages and gathers them. Annie's voice calls down. ANNIE -LRB- O.S. -RRB- Did you find her? CLOSE SHOT - ASH ASH She's playing hard to get. He pumps the throttle on the buzzing saw. ASH rid of. Behind Ash, unseen by him, a shadow darts by. CLOSE SHOT - ASH He hears a sound. ASH'S POV - It is coming from the door to the cellar's rear room. ANGLE - ASH He reaches for the door and opens it. Revealing darkness beyond. Ash enters. Again he hears the slight sound, a gentle ticking.",
"INT. CELLAR - REAR ROOM - NIGHT - ASH'S POV The ticking sound is coming from behind a hanging drape. MEDIUM SHOT - ASH He approaches the drape, reaches out his hand and pulls it back sharply. Revealing an old water heater, ticking and steaming. MEDIUM SHOT - ASH He breathes a sigh of relief as the half eaten skeleton torso of Ed falls atop him! Ash screams and steps suddenly away. ASH'S POV Ed's skeletal carcass falls to the earthen floor still wrapped in the bloody sheet. CLOSE SHOT - ASH Looking on in horror. ASH -LRB- In a whisper. -RRB- She got hungry. Ash turns from the skeleton and quickly gathers up the remaining pages from the Book of the Dead. Getting scared now, he backs into the cellar's front room.",
"INT. CELLAR - NIGHT - CLOSE SHOT - ASH As he moves towards the steps. He tosses up the bundle of pages. MEDIUM SHOT - ANNIE Peering down into the cellar, she grabs the pages. MEDIUM SHOT - ANNIE - MAIN ROOM She rushes over to the writing desk and begins translating.",
"INT. CELLAR - CLOSE SHOT - ASH Getting scared now, decides to exit the cellar. He climbs the steps. CLOSE SHOT - ASH'S FEET As they climb. From behind the wooden steps, the horrible head of Henrietta appears. Her two rotting hands grab at Ash's ankles. CLOSE SHOT - ASH He looks down with a scream. CLOSE SHOT - HENRIETTA/ASH'S DUMMY FEET HENRIETTA Come to me. Come to sweet Henrietta! Her face pulls back behind the cellar steps. Her hands pull ASH's feet in after her. MEDIUM SHOT - ASH - CAMERA RIG As Ash falls, he slams his jaw down upon the bottom step. CLOSE SHOT - CHAINSAW ARM As the spinning blade jams into the step, stalling the engine. LONG SHOT - ASH DUMMY - AND HENRIETTA'S HANDS -LRB- UNDERCRANKED -RRB- In an instant, his entire body is pulled beneath the steps.",
"INT. CABIN - MAIN ROOM - NIGHT MEDIUM SHOT - ANNIE As she sits at the writing desk, reciting the first of the passages. ANNIE Nos - feratos - allo - memnon - kanda! She puts aside the pages and glances up suddenly at the faint sounds of the struggle from the cellar.",
"INT. CABIN CELLAR - NIGHT LONG SHOT - ASH - CELLAR STEPS -LRB- UNDERCRANKED -RRB- Ash's badly mauled body rips through the staircase with a great force. MEDIUM SHOT - ASH As he slams into the earth floor of the cellar. He moans, and looks towards the steps. ASH'S POV - THE WOODEN STAIRCASE -LRB- REVERSE ACTION -RRB- As a cackling Henrietta appears where the bottom section of staircase used to stand.",
"INT. CABIN MAIN ROOM - NIGHT MED. SHOT - ANNIE As she races from the writing desk to look down into the cellar. OVER ANNIE'S SHOULDER - UNDERCRANKED As she kneels down at the trapdoor, about to call down to Ash when the witchlike figure of Henrietta floats quickly up into the main room from the cellar. A flurry of moths about her. HENRIETTA Free! Free at last! WIDE SHOT - ANNIE As Annie attempts to move from the trap door. Henrietta is clutching at Annie's hair and laughing with a demonic malice, as she spins about the room in mid air. CLOSE SHOT - TRAP DOOR - ANNIE'S FEET Ash's bloodied arm slings itself over the edge of the trapdoor. He pulls himself up into the main room. MED. SHOT - OVER ASH'S SHOULDER - HENRIETTA AND ANNIE Henrietta turns sharply to Ash with a growl. MED. SHOT - ASH He stands and jerks out his chainsaw arm sharply. The cord is pulled and the engine roars to life! MED. SHOT - HENRIETTA As she leaps through the air toward Ash. HENRIETTA'S POV - RACING AT HIM - MEDIUM SHOT - ASH Ash swings his buzzing chainsaw. CLOSE SHOT - HENRIETTA'S GNARLED HAND As it grabs the body of the chainsaw, halting it in mid swing. MEDIUM SHOT - ASH AND HENRIETTA As she keeps the buzzing chainsaw at bay with one hand, while her other grabs at Ash's throat, strangling him. CLOSE SHOT - ASH As he is slammed through the window. ASH AND HENRIETTA Ash kicks her in the stomach. Henrietta is furious. CLOSE SHOT - POSSESSED HENRIETTA - MITCHELL CAMERA STOP MOTION ANIMATION/REAR SCREEN She grits her teeth, concentrates, and her neck begins to grow. She begins to change to Pee Wee Head. PLATE FOR PREVIOUS SCENE - MITCHELL CAMERA",
"INT. CABIN MAIN ROOM - NIGHT CAMERA PANS UP on `` B'' wall. MEDIUM SHOT - HENRIETTA - MITCHELL CAMERA STOP MOTION ANIMATION/REAR SCREEN As the pee wee Head transformation continues, Henrietta's neck grows, like a jack in the box. It extends a solid five feet upward, so that her head is now looking down upon Ash baring its teeth. PLATE FOR PREVIOUS SCENE - ASH - MITCHELL CAMERA",
"INT. CABIN - MAIN ROOM - NIGHT CLOSE SHOT - ASH - TULIP CRANE CAMERA CRANING UP ON HIM Ash gapes in fear at this monstrosity that looms above him.",
"INT. CABIN - MAIN ROOM - NIGHT POSSESSED HENRIETTA PUPPET - MEDIUM SHOT Her neck undulating like a snake, she bites and snaps. HENRIETTA I'll swallow your soul, swallow your soul! ASH - CLOSE SHOT He reacts. WORKING DUMMY HENRIETTA HEAD ON `` FLYING HEAD RIG'' AND ASH Henrietta swoops at Ash as he keeps her at bay with the buzzing chainsaw.",
"INT. CABIN MAIN ROOM - NIGHT - (STUDIO) STOP MOTION - REAR SCREEN - LOOKING UPWARD AT HENRIETTA'S HEAD She opens her mouth impossibly wide, exposing those nasty rows of jagged shark like teeth. She dive bombs him.",
"INT. CABIN - MAIN ROOM - NIGHT - BART-O-FLEX Plate for previous scene. MEDIUM SHOT - HENRIETTA'S HEAD AND ASH As her head springs down into frame and halts suddenly inches from his face. In the silence we hear the reason : Annie's voice singing the same melody that her mother had sung to her earlier from the cellar. For a moment Henrietta's face loses its evil malice. She is confused at this sound. Henrietta halts. She spins her head toward Annie. CLOSE SHOT - ANNIE As she finishes the melancholy song. MEDIUM SHOT - HENRIETTA MAGIC BLADE AND GUIDE TRACK RIG Still confused, suddenly she shrieks and the chainsaw comes buzzing through her from behind. The spinning blade juts out from Henrietta's midsection. MEDIUM SHOT - ASH AND HENRIETTA BODY PARTS ON WIRES Body parts -LRB- 2 arms -RRB- fly past the camera on wire. Ash slices and dices. Henrietta screeches like a wild banshee. CLOSE SHOT - HENRIETTA'S HEAD AND ANNIE IN B.G.. As Pee Wee Head spins toward Ash, furious. HENRIETTA Swallow your soul! MEDIUM SHOT - ASH Swings his chainsaw arm in a sharp arc. ANGLE - HENRIETTA Henrietta's head is sliced from her neck with a chainsaw. Steam pours from her neck. CLOSE SHOT - HENRIETTA'S HEAD - OVERCRANKED As it flies up into frame, sliced from its neck. ASH As he completes the arc of the chainsaw. CLOSE SHOT - DUMMY HENRIETTA PEE WEE HEAD W / SMALL SECTION OF NECK As it hits the floor. MEDIUM SHOT - HENRIETTA'S BODY It's neck spouts steam, wagging about like a snake. Behind her Annie watches as the body topples to the floor. CLOSE SHOT - ASH He looks down. CLOSE SHOT - HENRIETTA'S HEAD SCREAMING AT HIM : HENRIETTA'S HEAD Swallow your soul! Swallow your soul! Ash's foot steps down upon her head, pinning it to the floor. Her neck still writhing. CLOSE SHOT - ASH He unsaddles his sawed off shotgun from the holster on his back. He points the barrel at her head point blank. ASH Swallow this. He pulls the trigger. BLAM! Flame barks from the gun. 3 CAMERAS - CLOSE SHOT HENRIETTA AND GUN BARREL -LRB- OVERCRANKED -RRB- GELATIN HEAD - SQUIB Her head explodes into a million pieces. MEDIUM SHOT - ANNIE AND ASH Annie is crying. Ash holsters the gun. ASH May she rest in pieces. MEDIUM SHOT - ASH AND ANNIE As they look at each other for a quiet moment of relief. Ash shuts off the chainsaw. Annie moves slowly to Ash's arms. He holds her. CLOSER - ASH AND ANNIE - MAIN ROOM - KITCHEN IN B.G.. They pull apart and look into each others eyes. Annie holds the pages. Maybe they can get away after all. A LOUD BOOMING echoes throughout the cabin! As though the outside walls of the place were being bombarded by cannon balls. The kitchen wall behind them buckles. 3 CAMERAS - MEDIUM SHOT - ASH AND `` D WALL'' SQUIB ON MIRROR As the B - board of the wall behind Ash falls away revealing battered logs. The mirror shatters. 3 CAMERAS - MEDIUM SHOT - ANNIE AND `` A'' WALL The wall cracks beneath the terrific force of whatever is outside hammering upon it. BOOM! BOOM! BOOM! 3 CAMERAS - MEDIUM SHOT - ASH AND ANNIE - THE SOFA `` B'' WALL CAMERA TRACKS in on them as they look about in fear. Dust is falling about them. The cabin walls are starting to break apart. There is a tremendous `` Voyage to the Bottom of the Sea'' type jolt to the cabin. Ash and Annie stagger for footing. MEDIUM SHOT - ASH - BOARDED WINDOW Ash grabs ahold of the window frame to brace himself. CLOSE SHOT - VINES - INT. MAIN ROOM - NIGHT REVERSE ACTION - VINES Vines wrap about the planks which cover the window. MEDIUM SHOT - ASH - BOARDED WINDOW Behind him, the planks in the window are ripped away by finger - like vines. A terrifying tree face on the surface of a giant oak is revealed, as it peeks in through the window at them. CLOSE SHOT - ANNIE She screams. She turns toward `` D Wall'' at a loud wrenching sound. MEDIUM SHOT - `` D'' WALL WINDOW As vines reach in the cabin, tearing away the planks revealing an even more horrible tree face.",
"EXT. CABIN - NIGHT (STUDIO MINIATURE) TREE PUPPET A tree beats its branches furiously upon the EXT. wall of the cabin. It rips apart the cabin's stone chimney. ANGLE - -LRB- STUDIO MINIATURE -RRB- TREE PUPPET A second gnarled tree slams its trunk against the rear door of the cabin. LONG SHOT - -LRB- STUDIO MINIATURE -RRB- TREE PUPPET The entire cabin is surrounded by a group of lumbering oaks. All working to get in at Ash and Annie.",
"INT. CABIN MAIN ROOM - NIGHT CLOSE SHOT - ANNIE Annie runs to the writing desk. She flips through the missing pages from the Book of the Dead. Dust from the ceiling drifts down. ANNIE -LRB- shouting above the noise. -RRB- No! I only completed the first of the passages. And that was to make the evil a thing of the flesh!",
"EXT. WOODS/CABIN - NIGHT (STUDIO MINIATURE) POV EVIL FORCE As it roars out of the woods, and towards the distant cabin faster than we've ever seen it.",
"INT. CABIN MAIN ROOM - NIGHT MEDIUM SHOT - ASH As he runs over to Annie. ASH You did n't finish it?! ANNIE There's still the second passage. The one to open the rift and send the evil back. ASH Start reciting it. Now!",
"EXT. CABIN - NIGHT - (STUDIO MINIATURE) POV EVIL FORCE As it rockets towards the cabin doing 80 mph.",
"INT. CABIN MAIN ROOM - NIGHT CLOSE SHOT - ANNIE Shouting to be heard as she continues reading from the passage : ANNIE Tar - tra Kanda - Estra! Hudsucker Proxy - Kanda!",
"EXT. CABIN - WOODS - NIGHT The forest at night. Bubbling smoke appears, then flame. Through the smoke, the beginnings of a winding spiral of a cloudlike material. PLATE FOR PREVIOUS SCENE SMOKE AND FLAME - MINIATURE -LRB- STUDIO -RRB- PLATE FOR PREVIOUS SCENE The rift.",
"INT. CABIN MAIN ROOM - NIGHT MEDIUM SHOT - ANNIE ANNIE Aton - Neran - Ofas!",
"EXT. WOODS - NIGHT (STUDIO MINIATURE) POV EVIL FORCE As it races right up to the front door of the cabin.",
"INT. CABIN MAIN ROOM - NIGHT MED. SHOT - ANNIE - WIND FAN Reading from the passage. Behind her, the front door rips open and in comes a giant rotten apple head of the evil entity made flesh. A SHRIEKING, BULBOUS BEHEMOTH!",
"INT. CABIN MAIN ROOM - NIGHT - (STUDIO) STOP MOTION ANIMATION CLOSE SHOT - ASH - WIND FAN Ash as he witnesses the most horrible sights a man can behold. Ash's black hair streaks white before our eyes. Behind him, two flowers in their pots wither and die in seconds. ASH Finish it!",
"INT. CABIN - MAIN ROOM - NIGHT Plate for previous scene, with dying flowers.",
"INT. CABIN MAIN ROOM - NIGHT CLOSE SHOT - ANNIE - WIND FAN ANNIE Kanda! Samonda Roba Areda Gyes Indy En - zeen, Nos - Feratos - CLOSE SHOT Annie as she gasps. MED. SHOT - ANIMATED HAND - -LRB- 3 SEC. -RRB- Annie as she falls to the floor, dead. Jutting from her back is the Kandarian dagger and hanging onto the end of the dagger is Ash's demon hand. MEDIUM SHOT - ASH AND WINDOW ON `` B'' WALL ASH No! CRASH! Behind Ash a living tree branch rips through the cabin window! MED. SHOT - ASH - WIND FAN - WRAPPING EFX BRANCH Ash turns suddenly to get away. Too late. The living branch wraps about ASH'S waist and lifts him, screaming, OUT OF FRAME. MED. SHOT - ASH IN GRIP OF TREE BRANCH - WIND FAN Ash is being lifted toward the gaping mouth of rotten apple head. Ash is frantically jerking out his arm in an attempt to start the chainsaw strapped to his wrist. PUTT, PUTT, PUTT. It wo n't start. As the face of rotten apple head looms close, it opens its terrible mouth, ready to consume him. CLOSE SHOT - ASH IN GRIP OF GIANT TREE BRANCH From inside the creature's mouth looking out. Ash is screaming as he is brought towards its gnashing teeth. PUTT, PUTT, PUTT. His chainsaw still wo n't start. CLOSE SHOT - ANNIE Half dead as she crawls to the pages on the floor and gasps out the final sentences. ANNIE Nos - feratos - Amen - non. Ak - adeem! Razin - Arozonia!",
"EXT. CABIN - NIGHT WIDE SHOT - REVERSE ACTION The rift grows more powerful. PLATE FOR PREVIOUS SCENE The rift.",
"INT. CABIN - MAIN ROOM - CLOSE SHOT - ASH Sweating and terrified. He draws closer. ASH'S POV The CAMERA tracks in toward the mouth of rotten apple head. It's massive jaw jutts from the head, biting and snapping. Sap - like saliva drips from the orifice. Ash's feet kick at the mouth of rotten apple head, trying to keep it away. Its jaws snap at his shoes. C.U. - ASH'S FEET - PUSHING AT THE GUMS OF RAH'S MOUTH. SNAP! The massive teeth snap together biting Ash's foot in half. C.U. ASH He screams, then looks down to his foot. C.U. ASH'S FOOT - -LRB- OVERLARGE SHOE -RRB- Missing the leather toe section, he reveals that he still has his toes intact. CLOSE SHOT - ASH As he sharply jerks his arm outward! The CHAINSAW ROARS to life! He raises it high above his head and plunges it forward. WIDE SHOT - ASH AND ROTTEN APPLE HEAD Ash thrusts the spinning chainsaw blade into the single eye of the beast.",
"INT. CABIN MAIN ROOM - NIGHT (STUDIO) CLOSE SHOT - CHAINSAW As it punctures the giant eyeball and then pulls free. Green sauce spouts from the creature's wound.",
"INT. CABIN MAIN ROOM - NIGHT CLOSE SHOT - ASH As he is doused in the green bile. SPLAT! CLOSE SHOT - ROTTEN APPLE HEAD Eyeless, it screams in anger. CLOSE SHOT - ANNIE With her last gasp. ANNIE Kanda!",
"EXT. CABIN - NIGHT (STUDIO MINIATURE) WIDE SHOT - -LRB- REVERSE ACTION -RRB- As the rift pulls in fog and trees that surround the house. PLATE FOR PREVIOUS SCENE SMOKE AND FLAME - MINIATURE -LRB- STUDIO -RRB- PLATE FOR PREVIOUS SCENE The Rift.",
"INT. CABIN MAIN ROOM - NIGHT WIDE SHOT As rotten apple head is sucked out the doorway of the cabin. The door slams shut behind it. Its scream echoes off into the distance.",
"INT. CABIN MAIN ROOM - NIGHT MED. SHOT - ASH Slices through the bracch. MEDIUM SHOT - ASH Ash and cut branch fall to the floor. MED. SHOT The cabin becomes much more quiet. The sounds of the trees are gone. Ash looks to Annie. She is dead. Ash moves to her, strokes her hair and begins to cry. ASH You did it. By God you did it. He lowers his head and begins to heave in sharp convulsive breaths of despair.",
"INT. STUDIO - (BLUE SCREEN) MEDIUM SHOT - ASH - WIND FAN Behind Ash the front door RIPS open with a TREMENDOUS BLAST. The door is sucked down into the rift. All of the objects in the room are sucked through the open doorway and down into the rift, including the pages of the Book of the Dead. PLATE FOR PREVIOUS SCENE - THE RIFT SECOND PLATE FOR PREVIOUS SCENE",
"INT. CABIN MAIN ROOM - (STUDIO MINIATURE)",
"EXT. PLATE/WOODS",
"INT. CABIN MAIN ROOM - NIGHT WIND FAN Ash grabs ahold of the kitchen window ledge so as not to be swept outside by the force of the vacuum of the rift. Objects and papers fly past him. CLOSE SHOT - ASH'S HAND Upon the kitchen window ledge. The ledge tears free. CLOSE SHOT - ASH As he screams, flying backward, towards the open door.",
"INT. CABIN MAIN ROOM - NIGHT (STUDIO/PARTIAL SET/ BLUE SCREEN -RRB- MEDIUM SHOT - WIND FAN - SAM - O - CAM The open doorway to the cabin. Ash flies towards it and is snagged from going through by the section of ledge that he holds. PLATE FOR PREVIOUS SCENE - THE RIFT",
"EXT. WOODS - PLATE FOR PREVIOUS SCENE",
"EXT. CABIN FRONT PORCH - NIGHT (STUDIO) MEDIUM SHOT - ASH - WIRE RIGGING FOR FLYING His body is horizontal, his feet dangling in air, in the direction of the rift. CLOSER - Ash as he hangs on for dear life. Objects continue to fly past on wires. ASH For God's sake, how do you stop it?",
"INT. CABIN MAIN ROOM - NIGHT (STUDIO) BLUE SCREEN CLOSE SHOT - FLYING RIG The nails in the section of ledge that Ash holds TEAR loose and the ledge SNAPS in two. He spins wildly away from us and towards the rift. PLATE FOR PREVIOUS SCENE - THE RIFT",
"EXT. WOODS - PLATE",
"EXT. WOODS - NIGHT (STUNT) WIRE RIGGING Ash is rocketed through the air, spinning somersaults.",
"INT. STUDIO - (BLUE SCREEN) ASH ON FLYING RIG Ash is sucked down into the swirling rift. Like a particle that is swallowed by a deep funnel of draining water. The rift closed behind him. PLATE FOR PREVIOUS SCENE - THE RIFT",
"EXT. WOODS - NIGHT Plate for previous scene.",
"INT. STUDIO - (BLUE SCREEN) ASH ON FLYING RIG We are now within the vortex. A swirling mass of colors and clouds. And nightmarish sound effects. Objects come AT US from the distance and roar past, an uprooted tree, the grandfather clock with its hands winding backwards at an incredible rate, Ash spinning AT US, hand over foot, screaming. The chainsaw still mounted to his wrist. PLATE FOR PREVIOUS SCENE - THE VORTEX",
"INT. STUDIO - (STOP MOTION/BLUE SCREEN) ASH The vortex is distorting Ash's features as he is rocketed back through the dark void of time. PLATE FOR PREVIOUS SCENE -LRB- STOCK FOOTAGE -RRB- A wild and rapid pictorial collage of human history winding back from the present through the centuries lasting seven seconds.",
"INT. STUDIO - (BLUE SCREEN) WIDE SHOT A hole opens in the air with a sharp CRACKLING SOUND. Ash is spat from this hole and falls downward through frame. PLATE FOR PREVIOUS SCENE - MITCHELL CAMERA",
"EXT. SKY - DAY PLATE FOR PREVIOUS SCENE - MINIATURE SMOKE AND FLAME",
"EXT. CASTLE OF KAN DAR - DAY MED. SHOT - GROUND - ASH - CAR CRANE - DELTA SHELLS Plunged to the dust. Debris from the demolished cabin rains down around him ; his shotgun, the 1973 Delta 88 Oldsmobile and the old grandfather clock. ASH'S POV. - THE RIFT IN THE SKY - MITCHELL As it seals shut, leaving only the blue sky and the sound of tweeting birds. Ash's view of the serene sky changes abruptly as five steel helmets jut into his line of sight. Five armor - clad medieval WARRIORS stand directly over him. PLATE FOR PREVIOUS SCENE - THE RIFT PLATE FOR PREVIOUS SCENE - MINIATURE SMOKE AND FLAME CLOSE SHOT - ASH AND WARRIORS As he looks to the warriors above him. The first warrior raises a bloodstained longsword and poises it above Ash's head. WARRIOR #1 Slay the beast! WARRIOR #2 ` Tis a deadite! All raise their swords ready for the kill. MED. SHOT - THE WARRIORS Halt as they hear a piercing, high - pitched SCREECH. They turn their heads skyward. CLOSE SHOT - ASH Follows the Warriors' gaze.",
"EXT. CASTLE OF KAN DAR - DAY -LRB- STOP MOTION/REAR SCREEN -RRB- MED. SHOT A `` WINGED DEADITE,'' a female harpy like creature with the tail of a sea horse and man - sized bat wings, enabling it to fly. The screaming beast swoops down towards the warriors and horses. High above, the distant shapes of other Winged Deadites circle. PLATE FOR PREVIOUS SCENE - EXT.. CASTLE OF KAN DAR WARRIORS AND HORSES FOR SWOOP SHOT",
"EXT. CASTLE OF KAN DAR - DAY -LRB- STOP MOTION ANIMATION/REAR SCREEN -RRB- CLOSE SHOT - WINGED DEADITE She lets out a screaming banshee laugh, while swooping down. PLATE FOR PREVIOUS SCENE",
"EXT. KANDAR CASTLE - DAY WINGED DEADITE'S POV -LRB- UNDERCRANKED -RRB- - CRANE - WIND FAN As we swoop down toward the warriors and Ash.",
"EXT. CASTLE OF KAN DAR - DAY MED. SHOT - ASH AND WARRIORS As he springs to his feet. With a lightning thrust he reaches behind him. CLOSE SHOT - ASH'S HAND As he grabs at the gun from its holster. He swings it around front and pulls the trigger. CLOSE SHOT - GUN BARREL - UNDERCRANKED It discharges flame. CLOSE SHOT - DUMMY HEAD OF DEADITE BLOOD SQUIB OVERCRANKED - STOP MOTION ANIMATION/REAR SCREEN It explodes. PLATE FOR PREVIOUS SCENE - MITCHELL",
"EXT. KANDAR SKY",
"EXT. CASTLE OF KAN DAR - DAY -LRB- MINIATURE/STOP MOTION/REAR SCREEN -RRB- WIDE SHOT - WINGED DEADITE The beast continues to flap its wings and fly about a moment before falling to a heap in the dust. PLATE FOR PREVIOUS SCENE - EXT.. CASTLE OF KAN DAR WARRIORS",
"EXT. CASTLE OF KAN DAR CLOSE SHOT - WARRIOR # 1 As he looks to Ash. MED. SHOT - WARRIORS They follow his gaze. The CAMERA PANS TO Ash. He stands alone on a small pile of rubble clutching his smoldering shotgun. He looks about dazedly. He tries to get his bearings. WIDE SHOT - WARRIORS They falter. Unsure of how to react to this strange man, who a moment before was pronounced a Deadite. From the crowd, the Warrior # 1 calls out : WARRIOR #1 Hail he, who has come from the sky, to deliver us from the terrors of the deadites! WARRIOR #4 Hail! WARRIOR #5 Hail! The cry is taken up by all. A line of medieval warriors bow. Then twenty. Then fifty. All remove their helmets and kneel silently in the dust. Somewhere in the distance a DRUM SOUNDS. Ash stands frozen. Terrified, unsure of where or when he is. Knowing only for the present, he is alive. As the wind kicks up blowing dust, Ash strikes a familiar pose. It is the same image of the `` Hero from the Sky'' that we saw earlier in the film. The strange `` jagged edged longsword'' is Ash's chainsaw. The CAMERA PULLS BACK from him as a great medieval castle rears up INTO FRAME. It is seen to be the castle of Kandar. The same castle we saw in the beginning of the film. Now, however, the castle is not a ruin, but brand new. As the CAMERA continues to pull back from Ash, the title `` EVIL DEAD'' appears on the screen acompanied by the distant ROAR of some dying animal : The SCREEN cuts to BLACK WITH A THUNDEROUS BOOM. THE END"
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] | The movie opens with a brief (and altered/reimagined/truncated) recap of the first movie. Ash Williams and his girlfriend, Linda, take a romantic vacation to a seemingly abandoned cabin in the woods. While in the cabin, Ash plays a tape of archaeologist Raymond Knowby, the cabin's previous inhabitant, reciting passages from the Book of the Dead, Necronomicon Ex-Mortis, which he has discovered during an archaeological dig. The recorded incantation unleashes an evil force (also known as the Kandarian Demon) that kills and later possesses Linda, turning her into a "deadite". Ash is then forced to decapitate his girlfriend with a shovel and bury her near the cabin. At dawn, the evil force throws Ash through the woods. Ash briefly becomes possessed by the demon, but when day breaks the force is gone, and Ash returns to normal. Ash attempts to flee the area, but finds that the bridge leading to the cabin has been destroyed. The spirit chases Ash back to the cabin where Linda's revived head attacks him, biting his hand. Ash brings Linda's severed head to the shed, where her headless body attacks him with a chainsaw. Ash gains the upper hand and slashes the relentless deadite Linda to death, killing her a second and final time. Then Ash's possessed right hand tries to kill him, and Ash is forced to sever his hand with his chainsaw. Ash then attempts to shoot the severed hand hiding in the wall of the cabin. The hand mocks him and ultimately gets away. Meanwhile, Knowby's daughter, Annie, and her research partner, Ed Getley, return from the dig with the missing pages of the Necronomicon in tow, only to find the destroyed bridge. They enlist the help of locals Jake and Bobby Joe to guide them along an alternate trail to the cabin. The four of them find an embattled Ash, who is, seemingly, slowly being driven insane by the demon, such as hallucinating that the room comes to life with objects in the room laughing hysterically at him. The four new arrivals meet Ash at the cabin and listen to a recording of Knowby detailing how his wife Henrietta was possessed by the Kandarian Demon, forcing him to kill her. They find Mrs. Knowby, now a deadite, in the cabin's root cellar, and it attacks and possesses Ed; Ash dismembers him with an axe. Bobby Joe tries to escape but is attacked by the demon trees and dragged to her death. Annie translates two of the pages before Jake turns on them and throws the pages into the cellar, holding them at gunpoint to force them to go look for Bobby Joe. Ash is possessed once again and turns on his remaining companions, incapacitating Jake. Annie retreats to the cabin and accidentally stabs Jake (mistaking him for the possessed Ash) and drags him to the cellar door, where he is killed by Henrietta in a gory bloodbath. Deadite Ash tries to kill Annie, but returns to his normal self when he sees his girlfriend Linda's necklace. With Annie's help, Ash modifies the chainsaw and attaches it to his stump, where his right hand had been. Ash eventually finds the missing pages of the Necronomicon and kills Henrietta, who has turned into a long-necked monster. After Ash kills Henrietta, the woods begin to unleash destruction on the house. Annie reveals that she has only read the first half of the incantation. The spirit of the woods attacks the house as Annie starts to read the second half. As she reads it, she is interrupted as she turns around, revealing that Ash's possessed hand has stabbed her in the back with the Kandarian dagger. She falls to the floor as Ash is attacked by the spirit of the woods. When all hope is lost, Annie completes the incantation before succumbing to her wound. The incantation opens up a whirling temporal vortex/portal which not only draws in the demon, but nearby trees, Ash's Oldsmobile Delta 88, and Ash himself. Annie dies just as she finishes the incantation. Ash and his Oldsmobile land in the year 1300 AD. He is then confronted by a group of knights who initially mistake him for a deadite, but they are quickly distracted when a real one shows up. Ash blasts the harpy-like deadite with his shotgun and is hailed as a hero who has come to save the realm, at which point he breaks down and screams in anguish. | Evil_Dead_II |
[
"FADE IN: EXTREMELY TIGHT ON ELECTRONIC GUTS of a video camera. The screwdriver blade of a Swiss Army knife ENTERS FRAME, methodically tightening a row of screws. PULL BACK to reveal :",
"EXT. BOMBARDED NEIGHBORHOOD (WAR-TORN COUNTRY) - DAY On the backslope of a mound of rubble, a three - man TV crew -LRB- field producer, reporter, and cameraman, all wearing flak jackets -RRB- waits while the cameraman, JEFFREY TAYLOR, works to repair his malfunctioning minicam. Throughout this sequence, ROD, the reporter, types on a laptop computer, oblivious to what is happening around him. HOWARD, the field producer, lies on his stomach, peering cautiously over the crest of the rubble through binoculars. Beyond him we see an empty street. It is lined with buildings blasted by shells : a sawtooth wall in the f.g., a ruined high - rise at the end of the street, billboards in an unrecognizable foreign language. HOWARD How about it, Jeff? Jeff finishes his repair job, snaps the minicam closed. JEFF Done. Jeff slips the knife back in his pocket, scrambles over the loose bricks and stones to a position next to Howard.",
"EXT. SAWTOOTH WALL - DAY A frightened woman lurks nervously in the shelter of the wall. She is young, in her early twenties, with shining dark hair down to her shoulders. She's carrying an armload of books.",
"EXT. MOUND OF RUBBLE - DAY Jeff focuses the minicam. MINICAM POV FRAMED in the viewfinder we see the frightened woman. HOWARD -LRB- O.S. -RRB- Nice legs. Jeff ignores Howard, PANS the minicam DOWN the street. In the viewfinder we see the flash of sun on metal.",
"EXT. RUINED HIGH-RISE - DAY A row of blasted windows. In one of the windows, a sniper crouches. Sunlight glitters on his rifle barrel.",
"EXT. MOUND OF RUBBLE JEFF -LRB- matter - of - fact. -RRB- Sniper. HOWARD Where? JEFF High - rise. Top floor. Window in the middle. HOWARD -LRB- looking through his binoculars. -RRB- Stay on him. Stay on him. Now go back to the woman. Now! Jeff swings the minicam and -",
"EXT. SAWTOOTH WALL - MINICAM POV - the image blurs, then holds steady on the frightened woman. Nervously, she peeks around the corner. HOWARD -LRB- O.S. -RRB- Back to the sniper.",
"EXT. MOUND OF RUBBLE HOWARD Stay tight on the sniper. Jesus - look at him! He's about fourteen! Do n't lose this! Jeff kneels on the ridge, minicam on his shoulder.",
"EXT. RUINED HIGH-RISE - POV THROUGH VIEWFINDER Jeff's minicam ZOOMS IN ON the sniper. The sniper sees the woman peeking and gets his rifle in firing position. JEFF He sees her.",
"EXT. MOUND OF RUBBLE HOWARD Stay on her. If she runs, widen and try to get her and sniper in the same frame. Jeff turns his head away from the camera and stares at Howard. JEFF I said he sees her. HOWARD I heard you. Stay on her. Jeff looks to Rod for support but he's busy typing, oblivious. Jeff hesitates, then lifts the minicam to his eye again.",
"EXT. RUINED HIGH-RISE The sniper, taking aim.",
"EXT. SAWTOOTH WALL The frightened woman decides to make a dash for it. She takes off her high - heeled shoes, inhales deeply, gathering herself to run.",
"EXT. MOUND OF RUBBLE Jeff watches through his viewfinder : JEFF -LRB- under his breath. -RRB- No. no.",
"EXT. STREET The frightened woman bolts, sprinting barefoot across the cobblestones, skirt lifted, slender legs flashing.",
"EXT. MOUND OF RUBBLE Jeff jumps to his feet, waves the minicam, shouting : JEFF Sniper! Sniper! Sni - STREET The woman looks up in Jeff's direction, confused, breaking stride - We hear a burst of automatic gunfire - RUINED HIGH - RISE In the window, the winking muzzle - flash of the sniper's AK - 47. STREET The woman's body jolts from the impact of the bullets. The books go flying from her hand. She spins to the pavement, her hair billowing. JEFF just stands there, a shattered expression. The camera hangs at his side. He stares at the dead woman as a pool of dark blood expands around her body.",
"EXT. LOGAN INTERNATIONAL AIRPORT (BOSTON) - RUNWAY NIGHT A 747 touches down on the tarmac.",
"EXT. INTERNATIONAL TERMINAL - NIGHT A late - model Jeep Cherokee is parked at the arrival curb. AMY TAYLOR, Jeff's wife, peers out from behind the wheel, scanning the crowd. HER POV Jeff, carrying a single bag slung over his shoulder, emerges from the terminal. BACK TO SCENE Amy gets out of the car, grinning. Jeff sees her and hurries over. He drops his bag and they fall into each other's arms, kissing hungrily. These are two people passionately in love with each other. AMY God, I missed you. JEFF Me too. AMY Let's get out of here. Where's your equipment? Do n't tell me you checked it? JEFF -LRB- holds up his bag. -RRB- This is it. AMY No camera? Jeff shakes his head no. AMY No nothing? Again Jeff shakes his head. Amy arches an eyebrow. AMY Ah ha.",
"INT. JEFF AND AMY'S APARTMENT - NIGHT A modest apartment in the Back Bay neighborhood. Not much furniture, but lots of books and CD's. On the walls, blow - ups of arty photographs - Amy in modeling poses, plus many black - and - white scenery stills. Jeff's bag is unopened on the floor. We see two nearly full wine glasses on a table. The CAMERA TRACKS DOWN a hallway TO the open bedroom door.",
"INT. BEDROOM - NIGHT More framed photographs. Amy lies in bed, curled up against a pillow. The sheets are tangled in post - coital disarray, the only sign of disorder in this neatly arranged room. CLOSER Amy stirs, reaching her hand out toward the other side of the bed, which is empty. She opens her eyes, surprised to find herself alone. AMY Jeff? No reply. Something catches her attention from across the room. She rises, pulls a loose robe around herself and pads over to a closed door. She knocks softly. AMY Can I come in? JEFF -LRB- O.S. -RRB- Sure.",
"INT. DARKROOM - NIGHT A walk - in closet has been converted into a small photographic darkroom. Moist 8 X 10 prints hang from a clothesline, bathed in a warm red glow. The images are moody black and white landscapes. Jeff stands over the developer, timing a print. Amy enters through a thick black curtain behind him. He does n't look up. AMY Could n't sleep? Jeff shakes his head. Amy looks over his shoulder at a landscape photograph in the developing tray. AMY I remember when you took that. We had fun on that trip, did n't we? Jeff nods. Amy looks at him. After a beat : AMY You want to talk about it? JEFF There's nothing to talk about. AMY C'mon, Jeff. JEFF I told you. I quit. Walked out. end of story. AMY That's it? Jeff nods. AMY Whatever happened back there was n't your responsibility. You ca n't keep beating yourself up over it. He says nothing. AMY What do you think? You could have stopped that girl from getting killed? JEFF You do n't understand. He stops, lifts his eyes. JEFF It was different this time. He breaks off and pushes through the curtain. She watches him go.",
"INT. LIVING ROOM - KITCHEN AREA - NIGHT Jeff pours himself a glass of milk. Amy enters, stands on the other side of the counter. Jeff does n't meet her eyes. After a beat : JEFF I talked to Reynolds. -LRB- a beat. -RRB- He thinks I could still get the job at the San Diego station. AMY Oh, Jeff, you did n't. JEFF Think of it. Low pressure, a steady paycheck. So I shoot city council meetings - how bad could it be? She looks at him, concerned. AMY Is that what you really want - or are you just running away? JEFF Who's running? It's good money, full benefits. I'm tired of freelance. We could finally put some money in the bank. AMY You know I'll never stand in your way. But you've worked so hard. Are you sure you want to throw it away? JEFF Throw what away? Do n't you get it? I do n't do anything. I sit, I watch, I film - I let it happen. AMY You're supposed to let it happen. It's your job. JEFF No, Amy. It's my excuse. She looks at him, not understanding. He hesitates. JEFF That girl. it's like I was paralyzed. I wanted to do something, but I did n't. I just stood there and watched her get killed. He looks at her, emotional. JEFF Please, babe, I need this. Say yes and we'll take as long as you want - drive cross - country and make a vacation out of it. What do you say? Amy looks at him, considering. We hear a faint RUSH OF WIND. Then it gets LOUDER. LOUDER. and -",
"EXT. CREDIT MONTAGE - VARIOUS LOCATIONS - LOW ANGLE DAY AND NIGHT The metallic grill of the Cherokee explodes INTO FRAME as the car whooshes over us, hurtling down the Massachusetts Turnpike. In a SERIES OF SHOTS, with CREDITS OVER, we see landmarks form the cross - country trip : a Pennsylvania Dutch farmhouse, a smoke - spewing factory in Ohio, the Mississippi River, Kansas wheat fields, Loveland Pass and the Continental Divide.",
"EXT. OPEN DESERT - DAY The middle of nowhere. Sand, weeds and sagebrush. A two - lane highway stretches to the horizon like a ribbon of asphalt. The Cherokee cruises along the road. Its Massachusetts plates seem out of place in this stark landscape. There are no other vehicles. MOVING CLOSER, we see that Jeff is driving. Amy is sound asleep in the reclined passenger seat. In back, luggage, moving boxes, camera cases.",
"INT. JEEP CHEROKEE - DAY The AIR CONDITIONING WHISPERS. On the console are two empty Styrofoam McDonald's coffee cups and a state - of - the - art Nikon Camera. Jeff stretches in the driver's seat. He forces his eyes open, fighting sleep. He reaches for the coffee cup. it's empty. He glances into the back of the Jeep. There is a thermos of coffee on the back seat. Keeping one hand on the wheel, he reaches for the thermos and fumbles it to the floor. He strains to reach it. He does n't notice.",
"EXT. HIGHWAY - 200 YARDS AHEAD A slow - moving Dodge Ram pickup truck is approaching the highway along a small road that cuts across the desert floor. The pickup, equipped with oversized tires, roll bar, and a CB whip antenna, bounces over the uneven terrain and turns onto the highway, stopping just before entering Jeff's lane.",
"INT. CHEROKEE - DAY Jeff glances up just in time to see the Ram lurch into the road in front of him. Jeff drops the thermos and spins the wheel! Amy's eyes fly open -",
"EXT. HIGHWAY - DAY The Cherokee goes into a wild looping skid. The Ram jerks to a halt as the Cherokee whips past, averting a collision by inches.",
"INT. CHEROKEE - DAY Jeff expels a breath. Amy turns to see the pickup stopped in the road. She looks at him, concerned. AMY Jesus, Jeff. JEFF Sorry. I took my eyes off the road. AMY -LRB- seeing thermos on floor. -RRB- Maybe it's time we took a break, you know? Jeff nods, looks in the rearview mirror. HIS POV - PICKUP halted in the middle of the road. Inside, dimly - visible through tinted windows, are two figures in cowboy hats. The driver leans out the window and gives Jeff the finger. BACK TO JEFF angry at himself. He looks over at Amy. JEFF I'll pull over next chance we get. -LRB- a beat. -RRB- Sorry. He glances in the rearview again, still a bit shaken.",
"EXT. GAS STATION - DAY A small desert gas station/mini - mart just off the highway. A sign over the building : `` Last Gas For 30 Miles.'' The Cherokee is parked at the pumps, hood raised. Jeff comes out of the mini - mart, carrying a plastic quart of oil. He unscrews the cap and starts to fill the crankcase, careful not to spill on the new engine. In the b.g., Amy is visible inside the store, browsing a magazine rack.",
"INT. CONVENIENCE MART - SAME TIME Amy thumbs through a cheap tourist guide, The Desert Southwest. A TRUCK DRIVER stands nearby, perusing the magazines. He glances in Amy's direction, notices what she's reading. TRUCKER On vacation? Amy looks up at him. He's 50ish, plain - looking, friendly, wearing a `` U.S.A.'' logo baseball cap. AMY Sort of. We're moving, actually. TRUCKER Whereabouts? Amy hesitates. She's not used to talking with strangers, but the guy seems harmless enough. AMY California. We thought we'd take the scenic route. TRUCKER Huh. In that case, you oughta try the Pass Road, ` bout thirty miles west. Real pretty, makes a loop through the hills, then hooks back up with the highway. Amy smiles politely, moves toward the cash register. AMY Thanks. I'll mention it to my husband. The Trucker tips his cap. TRUCKER Okay, then. Good luck. Enjoy the rest of your trip.",
"EXT. GAS STATION - DAY As Jeff continues pouring the oil, he does n't notice the mud - streaked Dodge Ram pickup pulling up to the pumps behind him. The driver, EARL, climbs out. The other man remains in the cab with the smoked windows rolled up. Earl is a beefy man about Jeff's age. He wears a sweat - stained Western hat, cowboy boots and a T - shirt with the sleeves cut out to display his tattooed biceps. He saunters over to the Cherokee, stands there a beat, looking over Jeff's shoulder. Jeff senses something behind him, turns. His eyes widen as he sees Earl, recognizes the pickup as the one he nearly hit a few minutes before. Earl stares at him, unsmiling. EARL -LRB- flatly. -RRB- Nice car. Jeff is in an awkward position. He's got a half - full upside - down bottle of oil in his hands. If he lifts it now, he'll spill on the engine. He turns his gaze back to the engine, decides to keep pouring. JEFF Thanks. Earl steps around to the open passenger window, peers in. Jeff watches him, wary. EARL Air, C.D., leather - I guess you sprung for the whole nine yards. JEFF I guess. EARL Then again, out here, what you really need's a C.B. radio. JEFF Is that right? The oil bottle empties out. Relieved, Jeff pulls it away and screws back on the crankcase cap. He shuts the hood with a thunk and moves around to the side of the car to remove the gas nozzle from the tank. Earl blocks his path. EARL ` Course, if you use a C.B., you got ta have a handle. Jeff says nothing. This is not a friendly conversation. EARL How about Shit - for - Brains? -LRB- beat. -RRB- You damn near killed us back there, boy. JEFF Look, I'm sorry, I did n't see you. You pulled out in front of me. EARL The hell I did. I saw what happened. Looking past Earl, Jeff sees Amy come out of the mini - mart with a bag of groceries. He speaks carefully, anxious to avoid a confrontation. JEFF How about if we just forget it, okay? I'm sorry it happened. I do n't want any trouble. EARL -LRB- snorting. -RRB- Yeah. I bet you do n't. Earl glares at Jeff before turning away. He passes Amy, gives her a broad smile. EARL Howdy, ma'am. Caught this fellow tryin' to steal your Cherokee. Amy takes in the situation. She nods politely. Earl continues into the mini - mart. She approaches Jeff, puzzled. AMY What was that about? JEFF Nothing. Guy in the truck. Thinks I tried to hit him. Jeff glances apprehensively at the man in the pickup, who has not moved during the scene. He looks back at the mini - mart. JEFF C'mon, let's go. AMY You want me to drive? JEFF Later. Just get in. AMY Is something wrong? JEFF No, let's just go. Jeff climbs in behind the wheel. Amy glances at him and gets in the car. Jeff keys the IGNITION and pulls away.",
"INT. CHEROKEE - DRIVING - DAY As Jeff steers back onto the highway, he glances in the rear - view mirror, sees - MIRROR POV Earl coming out of the mini - mart, staring after the disappearing Jeep. Jeff shifts in his seat, relieved to be getting away from there. Amy watches the speedometer as it climbs to 75, then 80, then 85. AMY This is n't the Grand Prix, you know. Jeff releases his foot from the accelerator. The needle sinks back down to 65. She gives him a long contemplative look. AMY What's bothering you? JEFF I told you. Nothing. -LRB- pause. -RRB- The guy was an asshole. Keeping an eye on the rear - view mirror, Jeff nods toward the grocery bag, trying to change the subject. JEFF What'd you get? Amy pulls out an assortment of candy bars and junk food. AMY Junk food fiesta. Sno Balls, Yoo Hoo, Moon pies. can you believe they still make this stuff? JEFF You kidding. It's probably gourmet cuisine around here.",
"EXT. DESERT HIGHWAY - AERIAL - DAY Far below us, the Cherokee traces the empty highway. There are no buildings, no houses, no other vehicles.",
"INT. CHEROKEE - DRIVING - FEW MINUTES LATER Jeff drives in silence. Amy stares out the window, bored. Looking for a distraction, she picks up a cellophane package of doughnuts and peruses the label. AMY -LRB- trying to brighten the mood. -RRB- This is crazy. Look at this. Says if you win this mail - in contest, you can choose either ninety thousand dollars or ninety thousand doughnuts. She gives him a playful glance. AMY What would you do with ninety thousand doughnuts? Jeff shrugs, disinterested. JEFF I dunno. Sell'em for thirty cents each and pay off this car. AMY Very funny. -LRB- beat. -RRB- Alright, what about ninety thousand dollars? What would you do with that? Jeff stares out the window. He's not into this. JEFF I do n't know. Look, Amy, I'm not - Suddenly his eyes drop to the console between them - JEFF Sonofabitch! My camera! He stole my camera! AMY -LRB- startled. -RRB- Who? JEFF The redneck at the gas station! He lifted it right under my nose! My brand new Nikon. -LRB- pounds wheel in frustration. -RRB- Goddammit. AMY Should we go back? JEFF What's the use. He's probably halfway to Bumblefuck now, the bastard. AMY Look, maybe if we call the cops - Jeff is about to reply when suddenly the car bucks. JEFF What the hell? The car gives another jolt. AMY What'd you do? JEFF Nothing. I - A warning light flashes on the instrument panel. The brakes and steering lose power. The engine quits cold. JEFF Hang on - I ca n't steer! The CAR bucks and SCREECHES. After a few HICCUPS, it jerks to a halt, just beyond a crest in the road. For a moment, they sit there dazed, staring ahead at the empty road. Then Amy notices an object on the floor - the Nikon. She picks it up. AMY -LRB- deadpan. -RRB- Found your camera. He rolls his eyes. He yanks the hood release and gets out.",
"EXT. HIGHWAY - DAY Steam pours from under the hood of the Cherokee. Amy gets out and looks around at the scorched wasteland. Jeff goes to the front of the car, gropes under the hood for the release latch. He yanks his hand away, burned by the hot metal. JEFF Ow! AMY Are you okay? JEFF I'm fine. Amy moves to Jeff to examine the burn. She reaches out. JEFF -LRB- annoyed. -RRB- I said I'm fine, okay? Jeff lifts the hood, examines the engine. He tugs on a cable, checks the battery connection and radiator. He goes to the passenger's side and takes a hand - held cellular phone from the glove box. He dials zero and hits `` send.'' The PHONE BEEPS. AMY Out of range? Jeff grunts, tosses the phone on the seat. It bounces and lands on the floor. Amy watches as he returns to the engine and begins unscrewing the radiator cap. AMY What's going on, Jeff? JEFF What's it look like? I'm trying to fix the car. AMY Not the car. JEFF What? AMY What's going on with you? Jeff busies himself with the engine, not answering. AMY It's been a month since you got back. You ca n't keep shutting me out like this. Jeff says nothing. AMY Jeff, I'm talking to you. JEFF -LRB- flaring. -RRB- Look, I really do n't want to go into this right now. I'm changing jobs, our finances are fucked, and we're stuck in the middle of nowhere. So could we maybe just fix the - He stops in mid - sentence. There is a RUMBLE in the distance. They look down the road. JEFF Christ, not these guys. JEFF'S POV - DODGE RAM PICKUP approaching fast on the road. As it streaks past, Earl yells and launches a beer bottle from the window. The BOTTLE SHATTERS on the asphalt. BACK TO JEFF watching the Ram speed away. JEFF Asshole. AMY -LRB- looking down the road. -RRB- Jeff - A quarter - mile away, the pickup is slowing. It pulls a U - turn and stops, facing the Cherokee. It just sits there, ENGINE IDLING. JEFF What the hell? AMY What's he doing? JEFF I do n't know. Jeff watches the pickup, frowning. Then, from the opposite direction, they hear a LOW RUMBLE. They turn and stare at - MASSIVE TRACTOR - TRAILER coming over a crest in the road. It's a huge eighteen - wheeler. A white 1988 Peterbilt. It grinds into low gear and slows, BRAKES CREAKING. The TRUCK comes to a halt with a HISS of compressed air. DOWN HIGHWAY the PICKUP STARTS UP again. It pulls another U - turn and drives away, melting into the desert. AMY breathes a sigh of relief. The driver dismounts from the cab, leaving the ENGINE IDLING. We recognize him as the Trucker in the mini - mart. He removes his cap, revealing a shock of prematurely white hair. He is well - shaven, his clothes immaculate. His name is Red. RED -LRB- TRUCKER. -RRB- You folks all right? JEFF Yeah. Our car broke down. RED -LRB- chuckling. -RRB- I figured that much. You want a hand pushing it off the road? JEFF Thanks, I'd appreciate it. Amy, you want to steer? Amy gets behind the wheel and puts the shift in neutral. Jeff and Red push the car to the shoulder. As they push, Jeff glances at the CB antenna on Red's cab. JEFF Think you could radio a tow truck for us? RED I sure would if I could, mister, but my C.B. blew a fuse this morning. I'm waiting till I hit the truck stop on I - 40 to get it fixed. JEFF How far is that? RED About 60 miles. JEFF -LRB- disappointed. -RRB- Oh. Red walks around to the front of the car and peers down at the exposed engine. RED I'd offer to take a look, but it's hard to say with these new engines. Used to be, you could give'em a kick and a holler and they'd start right up. Now it's all computers and chips. JEFF It's a new car. RED That could be the problem. You been running it pretty fast? Amy gives Jeff a reprimanding look. It's subtle, but Red notices. RED Tell you what. If you want a ride, there's a little diner up the road. Belle's. They got a pay phone. You could call a tow truck from there. Jeff considers this, glances back to where the Dodge Ram was last seen. JEFF Nice of you to offer. But we've got a lot of stuff in the car. I think we're better off waiting for a cop to come along. Amy rolls her eyes. Red sees the look, trying not to smile. He glances up at a small plane flying overhead. RED -LRB- casually. -RRB- Suit yourself. Not many cops on this road, that's why the truckers use it. Maybe you'll get lucky. -LRB- tipping his cap. -RRB- Good luck. He turns and heads back toward his truck. Amy looks at Jeff. She waits till the trucker is out of earshot. AMY Are you nuts? JEFF We do n't know this guy. AMY He's offering to help. It could be hours before anyone else comes along. It's 100 degrees. You really want to be stuck out here? JEFF Amy, I've got my equipment in the car. All our stuff. What if those guys come back and we're not here? -LRB- turns away, quietly to himself. -RRB- Jesus. do n't be stupid. Amy hears this. She's had enough. Flares. AMY Stupid is sitting out here waiting for a cop when we already have a ride. In the b.g., the TRUCK is THROTTLING UP. Then, mad and careless : AMY Stupid was letting you talk me into leaving Boston. She turns away. The truck starts to pull out. She bites her lip, thinking, then steps into the road and flags the truck down. Red brakes. AMY Excuse me? Do you think you could drop me at that diner? RED -LRB- surprised. -RRB- Sure thing. How about you, mister? I could take you both just as easy. AMY That's okay. My husband wants to stay with the car. I'll just get my purse. She goes to the passenger side of the Jeep for her purse. Jeff follows, lowering his voice. JEFF What do you think you're doing? AMY I'm going to the diner. I'm going to call a tow truck. Then I'm going to order an iced tea and wait. Good - bye, Jeff. JEFF -LRB- firm. -RRB- You're not riding with that guy. End of story. AMY You wanted to be alone. Well. you're alone. Why do n't you take the time to get your head together? She walks to the truck. Jeff stands there. She climbs into the cab. Red moves some papers out of the way. RED Watch your step, ma'am. She pulls the door shut. The TRUCK THROTTLES UP and pulls away. Jeff watches the truck dwindle in the distance, flashers blinking. After a beat, the flashers cease.",
"EXT. ROADSIDE - TWENTY MINUTES LATER Beneath a blazing sun, Jeff paces restlessly in front of the Cherokee, checking his watch, wiping beads of sweat from his face. He looks down the highway. Nothing in sight. Extremely bored, he wanders over to the raised hood and studies the engine again. After a few moments, something catches his eye. Curious, he kneels down and peers under the chassis. He frowns. JEFF'S POV - LOOSE WIRE dangling under the engine. BACK TO JEFF JEFF Oh for Christ's sake. He pulls his Swiss Army knife from his pocket and slides under the car. Working with the screwdriver blade of the knife, he reconnects the plug to its socket. In the process, his hands and shirt become stained with grease. Jeff slides out from under the car, brushes himself off and gets behind the wheel. He tosses the Swiss Army knife on the center console and keys the ignition. The ENGINE ROARS to life.",
"EXT. DESERT ROAD - MINUTES LATER The Cherokee speeds down the empty highway.",
"INT. CHEROKEE - SAME TIME Jeff drives, a determined expression.",
"EXT. DESERT HIGHWAY - DAY The Jeep blows past.",
"EXT. BELLE'S DINER - DAY A weather - beaten structure with a gravel parking lot. A peeling sign on the roof : `` Belle's : Beer & Food.'' There is a phone booth outside. The Cherokee pulls in and parks. Jeff CHIRPS the ALARM, heads for the entrance.",
"INT. BELLE'S - DAY Dark and dingy. Formica tables, a bar. Chunky customers in K - Mart clothes sit at the bar, nursing beers and watching a football game on a big MUTED TV. Jeff enters and all conversation stops. The other patrons turn and stare. After a moment, they return to their beers. Jeff glances around. No sign of Amy. No sign of Red. A bored - looking BARTENDER stands behind the counter, preparing a sandwich. Behind him, a blackboard menu. Jeff approaches. JEFF Excuse me. The Bartender looks up, a cutting knife in his hand. JEFF I was supposed to meet my wife here. The Bartender shrugs, gives him a look : Yeah, so? JEFF Dark hair, slender, about five - five. Wearing a pale blue Benetton shirt. BARTENDER A pale blue what? JEFF Benetton shirt. The Bartender plops the sandwich on a plate, tears off an order slip. BARTENDER Hank! Your order's ready. -LRB- to Jeff. -RRB- I been busy. They come and go. JEFF It would've been within the last half hour. She might've been with a trucker? BARTENDER A trucker. JEFF Guy with a baseball cap. Driving an eighteen wheeler. The Bartender thinks a moment, shakes his head. BARTENDER Do n't ring a bell. JEFF You sure? The Bartender leans over the counter, calls out : BARTENDER Hey! Man here's looking for his wife, dark hair, button - on shirt, travelin' with a guy in a baseball cap. Anybody see'em? Jeff looks up and down the counter. Blank faces, a few disinterested shrugs, a few headshakes no. A disheveled female barfly, FLO, grins up at him. FLO Looks like she got away from ya, cowboy. A few of the regulars chuckle at this. Jeff ignores them, turns back to the Bartender. JEFF Could she have left a message with another one of your employees? BARTENDER Do n't see how. I'm the only one who works here. Jeff scratches his head. This does n't make any sense. JEFF I do n't understand. Is there another Belle's Diner? BARTENDER -LRB- chuckles. -RRB- No siree. Definitely not. Jeff clenches his jaw, takes another look around. An elderly couple sit at a rear table, watching him. They whisper to each other. JEFF -LRB- under his breath. -RRB- Shit. He turns and goes outside.",
"EXT. BELLE'S - DAY Jeff squints in the bright sunlight. Maybe he got this place confused with a different diner. He peers up at the sign. It says `` Belle's,'' all right. He walks to the phone booth, looks inside. The phone book is missing. He picks up the receiver, listens for the dial tone. Phone works okay. He hangs up. He stands there for a moment, scanning the horizon in all directions. There is nothing else out here, nowhere else she could have gone. Jeff marches back into the diner.",
"INT. DINER - DAY Jeff goes to the Bartender. JEFF Excuse me, how far is the next town? BARTENDER About twenty miles. JEFF Look, if my wife comes in - her name is Amy - tell her I was here. Tell her to stay put till I get back, not to move. Would you do that, please? BARTENDER -LRB- shrugs, bored. -RRB- Okay. Jeff regards the Bartender skeptically. He takes one last look around, then heads out.",
"EXT. BELLE'S - DAY Jeff marches briskly to his car and opens the door, forgetting to deactivate the alarm. The SIREN WAILS. Jeff fumbles for the remote and shuts if OFF. HIGH ANGLE - MOMENTS LATER The Cherokee pulls out of the parking lot, kicking up gravel.",
"INT. CHEROKEE - DAY The stereo is off, the windows rolled up. Jeff drives, his jaw set tightly. The speedometer reads 88 mph.",
"EXT. DESERT HIGHWAY - MINUTES LATER The Cherokee crests a rise.",
"INT. CHEROKEE - DAY and then across the desert plain, traveling on another road, he sees it. PETERBILT The 18 - wheeler that picked up Amy. Cruising leisurely. Jeff presses the accelerator.",
"EXT. FORK IN ROAD - DAY The Cherokee turns sharply onto the other road.",
"EXT. DESERT HIGHWAY - AERIAL VIEW - DAY The Cherokee speeds down the road, gaining on the Peterbilt. It comes up behind.",
"INT. CHEROKEE - DAY Jeff HONKS his HORN, flashes his lights. JEFF C'mon, you fat - ass. Pull over. Either the driver does n't notice, or he's ignoring Jeff, but the truck does not slow down. Jeff shifts into the oncoming lane and pulls alongside the cab. He HONKS again and waves, gesturing for the truck to pull over. But the Peterbilt maintains its speed. Jeff cranes his neck to get a glimpse of the driver. POV SHOT It's Red, alright. But he's wearing a different cap. FROM this ANGLE, we ca n't see into the passenger side of the cab. Red peers down at Jeff, puzzled. Jeff shouts at him, waves : JEFF Pull over! Pull over! Red suddenly notices something ahead in the road, BLARES his HORN. Jeff looks up, sees - An RV camper approaching in the oncoming lane! HIGHWAY Jeff swerves onto the far shoulder as the RV whooshes past in the opposite direction, HORN BLARING. CHEROKEE Jeff is rattled, catching his breath. He swings back onto the road. HIGHWAY Jeff slips in ahead of the Peterbilt, then starts weaving and braking, forcing the truck to slow. Both vehicles pull to the side of the road and stop. Jeff leaps out of the Cherokee and runs over as Red climbs down from the empty cab. -LRB- NOTE : Throughout this scene, various cars and trucks pass in either direction. -RRB- RED Jesus, pal, what the hell you doing? JEFF I was signaling you to stop. Did n't you see me? RED No. Jeff reacts. How thick can this guy be? JEFF Where's my wife? RED Huh? JEFF My wife. Where is she? Red gives him a puzzled look. RED How should I know where your wife is? JEFF I checked at the diner. No one saw her there. RED Mister, I do n't know what you're talking about. Jeff stares - is this guy nuts? JEFF You gave her a ride. You were supposed to drop her at Belle's diner. Red searches his memory, trying to be as helpful as possible. He shakes his head. RED Nope. Sorry. JEFF How can you not remember? It was just half an hour ago, for chrissakes! Red gives him a peculiar look. RED Mister, I never seen you before in my life. Suddenly, there is a loud SQUAWK from inside the cab - the CB RADIO. CB VOICE -LRB- V.O. -RRB- -LRB- filtered. -RRB- Breaker, breaker - Iron Man, you copy? JEFF -LRB- reacts. -RRB- Your radio works -. -LRB- locks eyes with Red. -RRB- What the hell are you doing -? Jeff freaks out, circling the truck, calling loudly : JEFF Amy? Amy?! You in there? Red shrinks back, unnerved. RED Look, mister, I do n't know what you want, but - JEFF I want my fucking wife, is what I want! What have you done to her?! Red's eyes dart to something in the distance. Jeff catches this, turns. SHERIFF'S PATROL CAR Cruising toward them. Jeff runs into the middle of the road and waves frantically. The patrol car switches on its flash bar and speeds up, pulling to a stop behind the Peterbilt. SHERIFF BOYD, 50ish, climbs out, sizing up the situation. Jeff runs over. JEFF Officer, I need your help! SHERIFF BOYD What's your problem? JEFF I do n't know, this guy has my wife! SHERIFF BOYD Calm down, sir. Tell me what's going on. Jeff catches his breath. JEFF I do n't know what the hell's going on. Last time I saw her she was with this guy in his truck. Now he's saying he's never seen her! RED Officer, he's crazy - I do n't know what he's talking about. JEFF Do n't lie, you son of a bitch! The Sheriff unsnaps the safety strap on his holster. just a precaution. SHERIFF BOYD All right - everybody just calm down. -LRB- to Jeff. -RRB- Sir, you want to tell me what happened? JEFF Our car broke down. This guy stopped to help us, said he'd drive my wife to a pay phone. But she never showed up. SHERIFF BOYD -LRB- turning to Red. -RRB- Sir? RED I do n't know, officer. I'm driving along, suddenly this fella runs me off the road and starts hollering about his wife. I swear, I never seen the guy before. SHERIFF BOYD And you did n't give his wife a ride? RED No, sir. JEFF He's lying! The Sheriff takes a long look at both of them, unsure what to think. He turns back to Red. SHERIFF BOYD Sir, all right with you if I search your truck? RED Hell yes, officer. Go right ahead. Name's Red, by the way. Red Barr. -LRB- pulls out his wallet. -RRB- My permits are all current. You can check'em out. SHERIFF BOYD That wo n't be necessary yet. Just stand back behind the line. Both of you. As Red closes his wallet, several credit cards fall to the ground. He bends to scoop them up. Jeff eyes this suspiciously. The Sheriff climbs up into the truck.",
"INT. PETERBILT CAB - DAY The Sheriff pokes his head inside, looks around. Pretty much what you'd expect in a long - haul big rig : a CB radio, a plastic Jesus, a map of the U.S. taped to the ceiling with hundreds of magic marker X's showing where the truck has been. The Sheriff looks into the sleeping area behind. A blanket is folded over a foam mattress. A stained pillow rests on top.",
"EXT. PETERBILT - DAY Jeff and Red keep a careful eye on each other as the Sheriff climbs down from the cab, wiping his hands. SHERIFF BOYD -LRB- to both of them. -RRB- All right, let's see your license and registration. Jeff and Red fish into their wallets and hand over I.D.'s. The Sheriff examines them, comparing faces to pictures and writing down names. SHERIFF BOYD What are you hauling today, Mr. Barr? RED Nothing, empty load. I'm heading to Fresno for a pick up - ball bearings or something. SHERIFF BOYD -LRB- eyeing him. -RRB- Long way to go empty. RED Tell me about it. Too much competition nowadays. One horse guys like me got ta drive halfway ` cross the country just to get a payin' job. JEFF -LRB- to Sheriff, impatient. -RRB- Are we gon na keep looking or what? The Sheriff hands back the I.D.'s. SHERIFF BOYD Yes, we are. -LRB- to Red. -RRB- Sir, I'm gon na have to see everything. RED No problem. I understand.",
"EXT. REAR OF PETERBILT - DAY Jeff and the Sheriff observe as Red unlatches two heavy padlocks. Grunting, he raises the slatted METAL DOOR. It retracts along the ceiling with a noisy RATTLE. INSIDE The cavernous interior is mostly empty, except for a few randomly strewn cardboard boxes, too small to contain a person. SHERIFF BOYD -LRB- re : boxes. -RRB- Those yours? RED Yeah. Personal stuff. Clothes and whatnot. You want to take a look? The Sheriff considers it, shakes his head. SHERIFF BOYD No. I think we're pretty much done here. You're free to go. JEFF -LRB- reacts. -RRB- Whoa, whoa - wait a sec. That's it? You're not going to question him anymore? SHERIFF BOYD Sir, I searched the truck. There's no evidence of suspicious activity, no sign of struggle. Red has been looking on. He chimes in, trying to be helpful : RED Look, I do n't mean to butt in, but maybe you got my truck confused with someone else's. JEFF -LRB- lunges. -RRB- Go to hell, you sonofabitch - The Sheriff grabs Jeff, holds him back. SHERIFF BOYD Hey! Hey! You want to get arrested? Now the man has a point. This is a plain - looking, John Doe truck. Maybe you did get them mixed up. Jeff stares at the Sheriff a beat, then bolts suddenly for the front of the truck. He yanks open the door and leaps up into the cab. SHERIFF BOYD Hey! The Sheriff jogs after him. Red walks to the cab, unconcerned.",
"INT. PETERBILT CAB - DAY Jeff searches the cab for signs of Amy. He tosses aside a jacket, rifles papers on the floor. There is nothing.",
"EXT. CAB - DAY Sheriff Boyd looks up sternly as Jeff continues searching the cab. Red watches calmly. SHERIFF BOYD Mr. Taylor, either you come down from there or I'm going to have to arrest you. Jeff gives up reluctantly. He looks lame and desperate and he knows it. He steps down from the cab, gritting his teeth. JEFF It was him. It was this truck. SHERIFF BOYD Uh - huh, I can see that. Did you get a license plate? Jeff stares at him, knows where this is going. JEFF No. SHERIFF BOYD What about the information on the door panel. You recall any of that? JEFF I was n't paying attention. The Sheriff studies him a beat, nods. SHERIFF BOYD Mr. Taylor, did you by any chance have a beef with your wife today? JEFF What does that have to do with anything? SHERIFF BOYD Well, for starters, maybe she left you. JEFF I do n't believe this. SHERIFF BOYD I've seen it a hundred times. Lovers, married couples, gay guys. You put two people in a car long enough, they'll go at it. Hell, I've even seen men dump their women on the side of the road, and vice versa. Jeff stares at the cop. Emphatic : JEFF My wife did not leave me. RED -LRB- cuts in. -RRB- Officer, I'm sorry, I'd like to stay and help, but I really got to make it to Fresno. SHERIFF BOYD I understand. Go ahead, sir. I appreciate your cooperation. JEFF This is insane. You're just going to let him go? SHERIFF BOYD I've got his information. If we need to find him later, we'll know where to look. RED Much obliged. -LRB- to Jeff. -RRB- Good luck findin' your wife, mister. No hard feelings. Red climbs into the cab. Jeff watches helplessly, resigned to the fact there's nothing more he can do. The Sheriff goes to the cruiser and speaks on the radio. As the truck drives off, Jeff goes over to the cruiser. SHERIFF BOYD Sir, I believe you that your wife is missing. Maybe you got confused about what truck she got into, maybe you had a fight - you do n't have to tell me. The point is I'm trying to help. He hands Jeff a card with an address printed on it. SHERIFF BOYD The town of Brackett's 31 miles that way. My deputy's name is Len Carver. He's a good man. He'll help you fill out the necessary forms if you want to report your wife missing. Jeff clenches his jaw as the words sink in. The Sheriff softens, his tone sympathetic. SHERIFF BOYD If you want my opinion, your wife is probably around here. Lost or plenty pissed off and giving you a scare. Either way, she'll turn up. As Jeff stares at the Sheriff, the police RADIO SQUAWKS. DISPATCHER -LRB- V.O. -RRB- -LRB- filtered. -RRB- Sheriff, this is dispatch. Mrs. Gilbert's locked out of her trailer again. Can you respond? SHERIFF BOYD -LRB- into mike. -RRB- 10 - 4, dispatch. Tell her I'm on my way. He racks the mike. JEFF I want your name and badge number. The Sheriff looks up at Jeff, sighs. SHERIFF BOYD Sheriff Arthur Boyd. 226 - 93. This really is n't necessary - JEFF Do n't tell me what's necessary, goddamnit. I'm noting the exact time of this conversation. 10:52 A.M. SHERIFF BOYD -LRB- exhaling. -RRB- Suit yourself, Mr. Taylor. The Sheriff shifts into gear and drives away. Jeff is left standing on the side of the road, desert in all directions.",
"INT. POLICE STATION - DAY A wall is covered with missing persons' notices. Photographs of men, women and children stare back at us. Names and dates are printed across the bottom of the notices. PULL BACK to reveal Jeff staring at the gallery of faces. It's a creepy feeling. Several yards away, DEPUTY LEN CARVER, a young puffy - faced lawman, sits at a desk filling out a form. Jeff looks shaken. DEPUTY CARVER Is this a recent picture? Jeff glances over. Deputy Carver is holding up a wallet - sized photograph of Amy. JEFF Two months old. DEPUTY CARVER She still wear her hair like that? JEFF Yes. The Deputy resumes filling out the form. He clicks his tongue sympathetically. DEPUTY CARVER We'll certainly do our best, Mr. Taylor. There's over a hundred thousand people go missing in this country every year. Runaways, deadbeat dads, dropouts, folks hiding from the I.R.S. - all vanishing without a trace. Jeff stares at the faces. DEPUTY CARVER Now I'm not saying she's one of them. I sure hope not. But unless there's a ransom demand or evidence of forced abduction, believe me, the F.B.I. wo n't even look at your case till it's been 24 hours. Deputy Carver finishes the paperwork and staples the photograph to the form. He looks up at Jeff. DEPUTY CARVER Nevertheless, we'll sure keep our eyes peeled. How's that sound? Jeff clenches his jaw.",
"EXT. ROOF OF BELLE'S DINER - DAY From this high vantage point, we see Jeff's car approaching.",
"EXT. PARKING LOT - DAY The Cherokee pulls up to the side of the building. Jeff gets out and walks inside.",
"INT. BELLE'S DINER - DAY Jeff enters, looks around. It's the same scene as before : same Bartender, a slightly different cast of characters. No sign of Amy. Jeff advances to the Bartender, who stands at a sink rinsing beer mugs. JEFF Did she come in? BARTENDER -LRB- looks up, uninterested. -RRB- Did n't see her. JEFF You did n't see her, or she did n't come in? BARTENDER Buddy, I told you the last time. I'm busy. Maybe she came in, maybe she did n't. All I know is, I did n't see her. Jeff looks around, not particularly trusting the Bartender's skills of observation. He grinds his jaw. The other customers at the bar have been watching all this. One of them, an older grizzled BARFLY, looks up at Jeff. BARFLY -LRB- confidentially. -RRB- None of my business, mister. But if I was you I'd take a look in the ladies room. The Barfly gives Jeff a wink and turns back to his beer. Snickers from some of his bar mates, who avert their eyes when Jeff glances at them. Jeff knows this is almost certainly a put - on, but he ca n't take a chance. While the Barflies watch, poker - faced, Jeff walks to the door of the ladies room, hesitates, then knocks. His knock is answered by a wordless sound, HALF - GROAN, HALF - GASP. JEFF Amy? Silence. Jeff tries the door. It's locked. He rattles it. Another GROAN. Jeff puts his shoulder against the door, heaves inward. The door swings open, revealing - INSIDE BATHROOM Flo, bent over the toilet, vomiting. She whirls around, a strand of spittle dangling from her lip. FLO Hey - what the hell you doing?! Jeff backs away, yanks the door shut. The barflies chuckle among themselves. Jeff strides angrily for the exit. He stops at the door, takes one last look around. No one seems to be paying him much attention. He turns to leave. but something stops him. He ca n't put his finger on it. There's something wrong here. He stares at the other customers. Why do they avoid eye contact? Are they hiding something? He scrutinizes more closely. There is the gruff trucker, sitting at a nearby table shoveling food in his mouth. He's been averting his gaze ever since Jeff walked in. And then there's the traveling salesman. Overweight, sweaty. Popping vitamins along with his coffee. Or what about the shirtless biker, reading a comic book at the bar? Probably an ex - con. While Jeff is running these suspicions through his mind, a trucker approaches the counter to place an order. The Bartender jots it down on a pad, then tears off the carbon slip. He places one copy above the grill and another in a pile by the cash register. Jeff stares, an idea forming. He approaches the bar. JEFF I want to see your order slips. BARTENDER What? JEFF You write down the names. I want to see them. BARTENDER What are you, nuts? I do n't have to show you jack shit. Jeff leans in his face. JEFF If my wife came in here, then her name's in that pile. The Bartender stiffens, stares him straight in the eye : BARTENDER You calling me a liar? A tense beat. Possessed by a sudden impulse, Jeff makes a grab for the receipts. Before he can reach them, the Bartender's hand clamps onto his. BARTENDER Mister, I've had just about enough of you. JEFF Let me see the fucking slips. In one swift motion, Jeff overpowers the man and extracts the receipts. He starts going through them, fast, looking at names. TULLY, MARK, FLO, ANDY and. Jeff raises his eyes to face the unpleasant end of a Smith & Wesson revolver. BARTENDER Now, mister, you're going to have to leave. Jeff takes a step back. Everyone in the diner is staring. He stumbles backwards, heads for the exit.",
"EXT. BELLE'S DINER - DAY Jeff exits, breathing hard, and runs to the phone booth. PHONE BOOTH is occupied by a YOUNG MAN with an awkward oversized frame, ill - fitting clothes. Jeff raps on the glass anxiously. JEFF Please, I need the phone - I have to call the police! The Man looks up, dull and glassy - eyed. His sluggish demeanor suggests mental retardation. He hangs up and slowly opens the door. SLUGGISH MAN -LRB- drawls. -RRB- My name's Billy. You the feller lookin' for his wife? JEFF How'd you know? Did you see her? The Sluggish Man hesitates. There's something holding him back. Jeff senses this. JEFF Please, if you know something, anything, tell me. BILLY -LRB- SLUGGISH MAN. -RRB- -LRB- a beat. -RRB- I seen her. maybe. JEFF What? When? Billy is about to answer. In b.g., the Bartender sticks his head out of the diner. Billy backs away, spooked. BILLY Oh man. Never shoulda opened my damn mouth. Now I'm gon na git it. Billy breaks into a loping run through the parking lot. Jeff hurries after him and catches up, cornering Billy between two cars, trying to calm him. JEFF No one's going to hurt you, Billy. Just tell me what you saw. Billy glances around nervously, swallowing. BILLY She came in on a truck. A big white one. JEFF Yes. BILLY Then she. she got in another truck. JEFF Another truck? With who? BILLY Dunno. Some men. Bad men. They say I'm a dummy, but I ai n't. I see things. Jeff reels, struggles to stay focused. JEFF Do you know where they went? BILLY Uh - huh. Route seven. Up by the river. JEFF Where by the river? BILLY Dunno. They do n't tell me that kind of stuff. JEFF Who does n't? The bartender? The men in the truck? Billy's expression darkens. He starts backing away. BILLY I ai n't talking to you no more. JEFF Billy, I need you to come to the police. If you tell them what you saw, they'll be able to help me. Billy laughs. BILLY Man, you're the dummy. Jeff looks at him, confused. BILLY Do n't you git it? The police is the ones in on it! Billy turns and runs back into the diner. ON Jeff's sickened reaction, we -",
"INT. CHEROKEE - DAY Jeff drives flat - out, his face grim. The speedometer reads 100 mph. Keeping his eye on the road, he thumbs through the pages of a pocket address book. He picks up the handheld cellular phone and dials. JEFF C'mon. work, goddammit. The `` NO SERVICE'' INDICATOR BEEPS. JEFF Fuck.",
"EXT. CROSSROADS - DAY The highway intersects Route 7. The Cherokee slows just enough to take the corner without tipping over. It flies past a sign : `` Route 7 - North.''",
"EXT. ROUTE 7 - DAY The road ascends into the rocky hills above the desert plain. The route is narrow and windy, forcing Jeff to reduce his speed.",
"INT. CHEROKEE - DAY Jeff drives, desperately searching for any sign of a truck. There are no other vehicles on the road. He keeps pressing the `` REDIAL'' button. The `` NO SERVICE'' INDICATOR BEEPS over and over.",
"EXT. MOUNTAINS - DAY The road curves through a tunnel, then climbs higher, past sharp cliffs and drop - offs. Jeff follows the signs for `` Route 7.''",
"INT. CHEROKEE - DAY Something catches Jeff's eye on the cell phone. For the first time, the `` SERVICE'' indicator blinks green. Jeff immediately grabs the phone again and presses `` REDIAL.'' There is a burst of STATIC, then we hear a SCRATCHY RINGING. The call is going through. JEFF -LRB- thank God. -RRB- Yes. He waits for an answer. JEFF Hello, Steve? It's Jeff Taylor. Listen, I - do n't put me on hold! I need a favor. I've got ta talk to that friend of yours at the F.B.I. No, it's about Amy, she's missing - There is a burst of STATIC. The reception is very poor. JEFF I said Amy's been - More STATIC. JEFF Fuck! Jeff holds the phone tight to his ear. JEFF Yes, I'm still here. No - do n't call back - Steve?! Steve?! The SIGNAL CUTS OFF. Jeff slams the phone against the dash, furious. JEFF Goddammit! He punches redial, gets the `` NO SERVICE'' BEEPING, then glances up, sees a - CHAINLINK FENCE covered with high - visibility markers stretched across the road. The sign : `` ROAD CLOSED.'' BACK TO JEFF He mashes the brakes. The CHEROKEE SKIDS to a halt just short of the fence. Jeff stares at it. JEFF Shit! He grinds his teeth. Beyond the padlocked gate, the highway continues as an unpaved dirt road. He deliberates, then throws the Cherokee in reverse and does a three - point turn so he's facing back in the opposite direction. He looks up, sees - DODGE RAM PICKUP TRUCK has been hiding in the bushes off the road. It lurches forward and stops in the middle of the road, blocking Jeff's escape. Jeff's eyes widen in fear as he recognizes the vehicle and its driver : Earl. Earl gets out of the cab with a hunting rifle. He raises it to his shoulder. EARL -LRB- calling out. -RRB- Out of the car! Put your hands where I can see'em! JEFF swears, panicking. EARL I said get out, dammit! Now! Jeff stares into the rifle, deliberating. His hand moves to the gearshift. He jerks it into reverse and floors the gas! CHEROKEE peels out in reverse, snaking wildly side to side, aiming for the chainlink fence. It BURSTS the FENCE! Poles and chain mesh go flying! JEFF cranks the wheel and brakes hard. The rear end of the Cherokee swings wide to the edge of the road. He throws the shift into drive and punches the throttle. EARL jumps in the Ram and takes off in pursuit. JEFF GUNS the ENGINE. The Cherokee bounces wildly on the rutted, storm - damaged road. He yanks the four - wheel - drive lever. DIRT ROAD The huge pickup streaks after the Cherokee, its 7.5 - LITER V10 ROARING, oversized tires devouring the terrain. JEFF GUNS the ENGINE on the washboard road surface, the vibration nearly shaking the suspension apart while - RAM keeps pace in the dust from its wake. Inside the cab, Earl can be seen speaking on a CB transmitter. JEFF throws the Cherokee into a sharp turn in the road. As the car rounds the bend, he looks up, reacting, as - IDLED BULLDOZER blocks the road at a construction site. More unattended earthmoving equipment fills the road beyond. JEFF brakes wildly. To his right, a cliff goes straight up ; on the left, a guardrail protects a steep ravine. He cuts the wheel left, CRASHES through the GUARDRAIL and plunges into the ravine! CHEROKEE bounces wildly as it hurtles down the slope, CRASHING through sagebrush and manzanita. JEFF clings to the wheel, tossed about violently, as suitcases and packing boxes go everywhere. The Cherokee hits a bump on the steep slope and CRASHES through the upper branches of a willow grove. As the leaves part, we see. a river. CHEROKEE lands on the passenger side with a SPLASH and comes to rest half - submerged in the RUSHING WATER. EARL jerks the Ram to a halt, leaps out and runs to the edge of the road to look down on the Cherokee in the river. EARL Sonofabitch. He grabs the rifle and begins making his way down the slope. INSIDE CHEROKEE The world is sideways. Water rushes into the car. Jeff is strapped into the driver's seat by the seatbelt. The AIRBAG DEFLATES with a HISS. Jeff grimaces in pain. He looks around, blinking. The river is flowing right through the Cherokee! Luggage, styrofoam hamburger clamshells and empty Coke cans bob on the surface of the water. Jeff fumbles with the seatbelt release. The belt comes free and he drops suddenly into the water on the passenger side. He gets to his feet, reaches overhead to unlatch the driver's side door and pushes it open. He hoists himself through the door. RIVERBANK Earl sees Jeff emerging from the half - submerged Cherokee, levels the RIFLE and FIRES! JEFF ducks back inside the Cherokee, freaking. The passenger side is on the river - bottom and if he tries to get out through the driver's side, he's a sitting duck! Jeff swears and looks around, seeing a metal camera case underwater in the back seat. He grabs the case and swings it at the windshield. The first three blows bounce off harmlessly. Then the WINDSHIELD SHATTERS with a CRASH! He takes a deep breath, submerges and swims underwater through the broken windshield. ON BANK Earl stiffens as he sees movement in the water. Several items of debris from the car are floating on the current. EARL Fuck! He begins moving downstream along the bank, eyeing the river. UNDERWATER Jeff breaststrokes for all he's worth. Sand swirls in the swift current. He pushes away from a boulder in his path. He swims until his lungs are bursting, then surfaces for air. ON BANK Earl sees Jeff break the surface. He aims the RIFLE and FIRES! A BULLET SMACKS the WATER near Jeff's head. Then Jeff is under again. EARL Goddammit. UNDERWATER Jeff struggles to stay in control. The current is turning swifter. His shoulder glances painfully off a boulder. ON BANK Earl works his way through the brush at the river's edge. His foot lands between two rocks. He pulls it out, swearing. BEHIND ROCK Jeff surfaces and gulps in air, staying out of sight of Earl on the bank. Then he is down again. ON BANK Earl works his way along the shore. Up ahead, the river runs over rapids before passing around a bend. Earl hears an ENGINE and turns. A huge moving van has arrived on the dirt road overlooking the ravine. He shouts to the DRIVER, pointing downriver. EARL He's getting away! The Driver shouts something inaudible. Earl runs along the bank, ducking under low - hanging branches. IN RAPIDS Jeff is carried over the rocks by the fast - moving current. He slams into a boulder, letting out a cry and swallowing a mouthful of water. A downed tree hangs over the river. Jeff grabs desperately and takes hold of a branch. He's got it! Hanging on to the branch, he notices a familiar object floating past in the water : the `` 90,000 Donuts'' pack. Jeff tries to haul himself from the river. The BRANCH bends under his weight. Then it comes free with a CRACK! Jeff is carried downstream on the rushing water. ON BANK Earl works his way along the shore. The unseen Driver of the van shouts to him from upriver. DRIVER OF VAN -LRB- O.S. -RRB- Where is he? EARL He's in the water! I just saw him! BELOW RAPIDS The river has turned slow again. Jeff fights to his feet in the shallows and staggers to the bank. He drops to his knees, retching. Clutching his ribs, he raises his head and looks upriver. For the moment, there is no sign of Earl. But he could appear anytime. Jeff gets to his feet, wincing. He looks up at the rocky canyon wall bordering the river. It's steep but scalable. He begins climbing.",
"EXT. ROCK OUTCROPPING - MINUTES LATER Jeff has climbed to higher ground. He lies flat on his belly and peers THROUGH a gap in the rocks at the river valley below. JEFF'S POV - RIVER The men have given up their pursuit. The moving van, a jumbo three - axle GMC, has turned around and backed up to the edge of the ravine. A stocky man, AL -LRB- whom we recognize as Earl's passenger at the minimart -RRB-, operates a gas - powered winch in the cargo door of the van. A cable runs from the winch down to the Cherokee in the river. Standing knee - deep in the current, Earl signals to Al while the winch slowly tugs the Cherokee onto its wheels, then backwards out of the river. BACK TO JEFF watching in amazement. He can hear only snatches of their conversation. AL ca n't believe you let him get away. EARL You try chasing. through this shit. AL Fuck. this is what happens when you get one without the other. Jeff ca n't believe it. The Cherokee is being pulled backwards up the slope toward the road. He belly - crawls back from the outcropping, gets to his feet and climbs higher.",
"EXT. ANOTHER PART OF CLIFF - LATER Jeff has moved to higher ground. He crouches behind a stand of manzanita and looks down at the activity below. JEFF'S POV - ROAD The Cherokee is now back on the road. Operating the winch with precision efficiency, Earl and Al drag the Cherokee up a ramp into the rear of the moving van. Once the vehicle is aboard, they stow the ramp and close the van doors. BACK TO JEFF watching in amazement, straining to hear what Earl and Al are saying. Behind Jeff, a PEBBLE SKITTERS on the rock. He turns, reacts. It's Billy - the halfwit from the diner! Wielding a shotgun like a club, he swings the butt at Jeff's skull! Jeff drops to the ground, unconscious. CUT TO BLACK.",
"INT. CAR TRUNK - DAY There is a CREAK as the TRUNK opens. Jeff lies inside, dazed and disoriented, blinking into the sun. His eyes wo n't focus. Earl and Billy stand over the trunk in silhouette. He can hear their voices : EARL He coming around? BILLY Should be. I clocked him pretty good. A gun barrel jabs Jeff in the ribs. BILLY Rise and shine, dad. Jeff blinks. A face slowly comes INTO FOCUS. Is it really Billy? The halfwit from the diner? Only he is n't a halfwit anymore. BILLY C'mon, shake a leg. Jeff looks at Billy. Nothing makes sense anymore. But one thing is clear : Billy's mental retardation was all an act. JEFF -LRB- weak. -RRB- Where is she? BILLY Give us some answers and you might find out. According to her, you've got a pretty good pile of ready cash sitting in the bank. Is that true? JEFF There's some. yeah. BILLY Uh - huh. well, ` some' does n't cut it. Your wife gave us a dollar figure. I want the same exact from you. JEFF -LRB- coming around ; stalling. -RRB- I do n't - there's different accounts. the balance fluctuates. BILLY Fluctuates, my ass. If a hotshot like you ai n't tracking his bottom line, it'd be the first time in history. -LRB- turning. -RRB- What do you think, Earl? EARL We been fucked with, is what I think. Little slut lied to us. Put'em on the spot, they'll say anything to stay alive. Billy nods, disappointed. BILLY Yeah, I suppose. Too bad. -LRB- peers down at Jeff. -RRB- Guess you're not the donut magnate after all. -LRB- to Earl. -RRB- Waste of time. Plug him. Earl raises a pistol. Jeff's eyes flash. JEFF -LRB- blurting out. -RRB- Ninety thousand. Earl stops, glances at Billy. They both eye Jeff carefully. BILLY Say again. JEFF -LRB- emphatic. -RRB- Ninety thousand dollars. A faint smile plays on Billy's lips. He slams the trunk.",
"INT. CAR TRUNK - DAY It's nearly pitch black. A beam of sunlight shines through a rusted hole. It illuminates Jeff's eyes. The car shifts into gear and sets off across the desert. Jeff grunts as the car bounces on the uneven terrain. He braces against the confines of the trunk. The ENGINE NOISE is deafening. The car hits a depression and jounces wildly. Jeff is thrown about violently.",
"EXT. MESA OVERLOOK - DAY There is a CREAK and the TRUNK opens. Jeff squints into the sun. Earl and Billy stand over the trunk. EARL Get out. Do n't try anything stupid. Jeff gets out, grimacing. His clothes are stained with grease and tire grime. He sets his feet unsteadily on the ground, looks around. We see that he has been confined in the trunk of a Pontiac Firebird. The Firebird and Dodge Ram are parked on a bluff. Red stands on the highest point, peering through binoculars at the desert below. He glances at Jeff. RED You're a tough man to get a hold of, Jeffrey. Jeff stares, a mix of emotions - anger, fear, confusion. JEFF -LRB- barely able to control himself. -RRB- What do you want? RED It's not me we're talking about. Question is what you want. Jeff looks at him with loathing. RED See, I've got something you might want to buy. Ca n't show you the merchandise right now, but I can describe it for you. About five - five, hundred and fifteen pounds. I'd say three, maybe four of that is tits. Black curly hair upstairs and down. Interested? Jeff's anger bubbles over. JEFF You sonofabitch - He advances toward Red. Billy and Earl grab him from behind and tackle him to the ground. Billy drives a fist into his kidney. Jeff gasps in pain. Red nods impassively. RED Bring him up here. Earl and Billy hoist Jeff to his feet and propel him up the mound closer to Red. From here, Jeff can see a small desert town spread out below, as well as the highway leading through it. Red gestures. RED Welcome to Brackett, Jeff. If ever there was a two - bit shithole in the middle of nowhere, this is it. One gas station, a half - dozen stores and a V.F.W. hall. -LRB- pointing. -RRB- See that building? Jeff follows his gaze. RED That's the bank. Brackett Commerce Bank. You with me? Jeff nods tightly. RED Then here's the drill. You're gon na walk in there and tell the manager you want an express wire in the amount of $ 90,000 from your account in Boston. Got your wallet? Jeff nods. RED You ask for the money in cash. Small bills. Today's payday at the copper mine, so do n't take any horsecock about how they have n't got it. If the manager gives you a hard time, that's your problem. It's your wife who's counting on you. JEFF How do I know she's still alive? Billy slugs him in the gut again. Jeff doubles over. BILLY Shut up. RED She's tucked away someplace safe. You get her back as soon as we get the money. Simple as that. Jeff compresses his lips. RED Now a smart guy like you, you're already thinking about calling the cops, right? Jeff says nothing. Red raises a hand - held CB to his mouth. He keys the transmitter. RED -LRB- into mike. -RRB- Iron Man to Blacktop, let's open the gate. AL -LRB- V.O. -RRB- -LRB- filtered. -RRB- Copy that, Iron Man. Red turns back to Jeff. RED Like I said, Jeff, if you want to call the cops, there's nothing I can do. Hell, with the fire you've got in your eyes right now, I figure you're fixing on calling the F.B.I., C.I.A. - even the 82nd Airborne. Jeff stares back. RED Problem is, you can see this town for miles around. So ask yourself : How's the law gon na get here? They gon na fly in? Drive in? Either way, we'll see'em. So let me be very clear : if we see one unmarked car, one plane, one human being who even smells like a cop - this deal is dead. He tosses Jeff the binoculars. RED Now take a look at the building with the flagpole. Jeff hesitates, then raises the binoculars. THROUGH BINOCULARS The IMAGE SHIFTS, then STEADIES and FOCUSES ON a small building with a police cruiser out front and a barely legible sign : `` BRACKETT SHERIFF.'' It's the police station where Jeff filed the missing persons' form earlier. RED -LRB- O.S. -RRB- There's exactly two cops in this town. One of them's inside pulling ass duty ; the other's on patrol in the foothills. Now a minute ago one of my men called in a non - injury accident on the I - 40 connector. Deputy Carver comes out of the building gulping down a sandwich. He gets in the cruiser and pulls away, lights flashing. RED -LRB- O.S. -RRB- It'll take that good ol' boy 20 minutes to get to the connector, another 10 to see there's no accident, and another 20 or so to tool his way back. 50 minutes all in. The cruiser pulls away down the highway. JEFF lowers the binoculars and looks at Red. RED That's your deadline. If for any reason one of those cops pulls into town before I'm looking at a bag of money, your wife is dead, you're shit out of luck and we're gone for good. He smiles at Jeff. RED See, that's why there's no risk to us in this thing. You do the legwork. We sit back, we watch, we listen to our scanners, we monitor you every step of the way. If at any moment we do n't like something, we split. Period. -LRB- beat. -RRB- Helluva lot safer than sticking up 7 - 11s, would n't you say? They lock eyes. Red tosses Jeff a Windbreaker. RED Put this on. You ca n't go into the bank like that. Jeff puts on the jacket. It covers his filthy shirt. Red checks his watch. RED How about it, Jeff? Time to get the show on the road? ON Jeff's expression.",
"EXT. BOTTOM OF MESA - DAY Jeff stumbles and nearly falls as he descends the loose rock at the foot of the mesa. He looks up at the ridge, but Red and his crew have pulled back out of view. Jeff starts across an open field toward the town, first jogging, then running.",
"EXT. STREET - DAY Jeff hurries toward the bank. He looks back at the mesa again. The gang has disappeared. Up ahead, a mud - streaked pickup cruises the main street. Jeff eyes it warily. Is it one of theirs? The truck pulls around a corner.",
"INT. BANK - DAY Jeff pushes through the main doors. It's a typical small town operation. A guard stands near the entrance. Several customers wait in line for the woman teller. Jeff looks at the slow - moving line and swears softly. He does n't have time to wait. He glances around, sees an older man sitting at a desk in the rear of the bank, the nameplate on the desk identifying him as Roger Calhoun. Jeff approaches. JEFF I need to see the manager. I need a wire transfer from my bank in Boston. CALHOUN looks up from his paperwork, hesitates at Jeff's appearance. CALHOUN Yes. sir. I'm the manager. Would you like to have a seat? Jeff remains standing. He eyes the other customers nervously. CALHOUN Sir? JEFF -LRB- turning ; preoccupied. -RRB- What? CALHOUN I said you can have a seat if you want. JEFF Right. He takes a seat across the desk from the manager, reaches into his wallet and brings out several forms of identification. JEFF Here's my driver's license, credit card if you need it, my account number in Boston. How long is this going to take? Calhoun looks at him curiously. CALHOUN Are you all right? JEFF -LRB- quickly. -RRB- Yes, I'm fine. Look, that account only has $ 5,000 in it. How much can you advance me on my credit card? CALHOUN Excuse me? JEFF -LRB- impatient. -RRB- My credit card. I've got a $ 6,000 limit. Can you advance me the whole $ 6,000? Calhoun looks mystified. CALHOUN No, I ca n't. For non - customers the limit is $ 500 a day. Sir, are you sure you're all right? JEFF Yes, I'm fine. Just. transfer the money, okay? Calhoun raises an eyebrow and begins filling out the transfer form. Jeff eyes him, decides he has to risk it. He leans toward the desk. JEFF Look, I'm going to tell you something. Whatever happens, just keep filling out that form, okay? CALHOUN -LRB- looking up ; baffled. -RRB- Sir? JEFF There are people watching - COWBOY -LRB- O.S. -RRB- Excuse me, you the manager? Jeff turns. A GUY wearing cowboy boots and a feed cap stands behind him. CALHOUN Yes, I am. COWBOY Lady over there said to see you about a car loan. CALHOUN -LRB- indicating waiting area. -RRB- Certainly, sir. Would you like to have a seat? The guy takes a seat ten feet away. Jeff looks at him, paranoid. Their eyes meet. Jeff looks away quickly. CALHOUN -LRB- turning back to Jeff. -RRB- You were saying, Mr. Taylor? JEFF Just. transfer the money.",
"INT. BANK REST ROOM - DAY Jeff enters and locks the door. He startles at his reflection in the mirror. He is sunburned, dirty, lacerated. He opens a cabinet and rifles through the supplies, looking for anything that could be used as a weapon. He tosses aside detergents and air fresheners. He picks up the toilet plunger, pulls the wooden rod from the rubber base. He swings it into his palm a few times, testing it as a club. It's too bulky. He wo n't be able to conceal it. He checks his watch. Time is running out. He takes one last look around the bathroom, then exits.",
"INT. BANK - DAY Jeff comes out of the rest room. The manager is behind the teller's counter. The cowboy is gone. In his place sits a middle - aged blue collar worker. He looks at Jeff. Jeff takes a seat, glances at Calhoun's empty desk. There is a letter opener on the desk, several paper bands for wrapping currency. Positioning his body so no one can see, Jeff takes the letter opener and slips it into his sleeve. He scoops up a handful of currency wrappers. Jeff goes to the teller's window, scribbles something on the back of a deposit slip and hands it to the teller. JEFF Would you tell the manager I want the money in these denominations? The teller looks at him oddly.",
"EXT. STREET - DAY Jeff comes out of the bank with a manila envelope, glancing up and down the street. There's no sign of the men. He squints toward the mesa. No sign of them there either. He stands there. What's he supposed to do now? He checks his watch, growing anxious. Finally he is about to jog back in the direction he came, when. a PHONE RINGS. Jeff turns. There's a pay PHONE down the street. It RINGS again. He approaches quickly, lifts the receiver. JEFF I'm here. RED -LRB- V.O. -RRB- -LRB- filtered. -RRB- No shit. I can SEE that. How much you got? Jeff looks up and down the street, trying to figure out where they're watching from. He looks toward the bank, glimpses the manager peering through the window. JEFF The whole thing. Ninety thousand. RED -LRB- V.O. -RRB- -LRB- filtered. -RRB- Good. Turn left and start walking toward the main road. Get in the first car that stops. JEFF When do I see my wife? RED -LRB- V.O. -RRB- -LRB- filtered. -RRB- When I say so. Now walk. The LINE CLICKS. Jeff hangs up and starts walking.",
"INT. BANK - DAY Calhoun speaks on the phone. CALHOUN Marie, this is Roger Calhoun down at the bank. Is the Sheriff there? -LRB- a beat. -RRB- Well, maybe it's nothing, but you might tell him we just had a fellow in here acting kind of strange.",
"EXT. HIGHWAY - OUTSKIRTS OF TOWN - DAY Jeff walks along the road, carrying the envelope. Various cars pass in either direction, but none slow down. Jeff stiffens as an 18 - wheeler approaches. But the TRUCK THUNDERS past, blowing a cloud of dust and sand in his face. Jeff continues walking, anxiously checking over his shoulder every few moments. His eyes narrow. The Dodge Ram pickup is cruising toward him. It slows, then brakes to a halt. The passenger door opens. Earl sits behind the wheel, aiming an automatic pistol. EARL Toss the envelope on the seat. Jeff stands firm. JEFF No. First you tell me where she is. EARL Wrong, asshole. First you give me the money, then you find out. Unless you want me to shoot you dead right here on the highway. Jeff looks around, wonders if Earl would risk shooting him in view of passing traffic. Jeff hesitates, then tosses the envelope on the seat. Earl opens it, reaches in and pulls out several packets of currency. They are wrapped with paper bands and appear to be stacks of fifties and hundreds. He replaces them and gestures at Jeff with the gun. EARL Now lift your shirt and jacket and turn around. Jeff complies. Earl sees that he is n't carrying a gun. He beckons Jeff toward the truck with the automatic. EARL Turn around, hands behind your back, and step toward the truck. Jeff takes two backwards steps toward the passenger side door. Earl grabs his arms, yanks roughly and wraps them with several layers of duct tape. EARL Now get up in the truck, knees on the floor. Do it now! Jeff struggles into an awkward kneeling position on the floor, facing the rear of the pickup, his belly pressed against the seat. Earl reaches over and pulls the door shut. He throws the truck in gear and starts driving. Jeff grimaces, looking up at him. JEFF I gave you the money. Now let her go. EARL ` Let her go.' Do I look like I have her? JEFF What the hell - Earl backhands Jeff against the passenger door. There is a RINGING sound and Earl pulls a CELL PHONE from his pocket. He presses a button and raises it to his face. EARL -LRB- on phone. -RRB- It's done. I'm heading in. -LRB- a beat ; listening. -RRB- Gotcha. He ends the call and tosses the cell phone on the dash. EARL You got ta be the dumbest motherfuck yet. You think we picked you out of the blue? New car, Massachusetts plates - probably be days before anyone misses you. Hell, you shoulda got the bumper sticker that goes with it : ` Rich Assholes Looking for Trouble!' He tucks the pistol in his belt. Jeff looks at him, seething. Jeff tries to squirm free. Earl sees it and belts him across the temple. Jeff slams into the passenger door, wincing. EARL I'd have loved to see the look on your face when that car seized up. -LRB- mimicking panicked driver. -RRB- Help, help, I ai n't got no power! Earl laughs. Jeff has come to rest with his back against the door. By contorting his arms, he is able to draw the letter opener from his pocket. He manipulates the letter opener into position and begins cutting the duct tape that binds his wrists. Steering with one hand, Earl reaches into the envelope, pulls out a packet of bills and waves it in Jeff's face. Jeff saws faster at the duct tape. EARL You know what I'm gon na do first with your money, boy? Well, do you? Jeff glares at him. EARL -LRB- fluttering bills under his nose. -RRB- I'll give you a hint. Only one thing smells better than money. You wanta guess what? Earl laughs obscenely. He riffles the bills under his nose again, then stops abruptly, frowning. He looks down at the bills. EARL What the hell? Earl stares at the bills. Jeff works feverishly behind his back. Earl pulls out another packet, then another, examining the bills. EARL These are. it's nothing but singles. -LRB- erupting. -RRB- You lyin' sonofabitch! There is a RIPPING SOUND. Jeff wrests his hands free and lunges across the cab. He plants the letter opener in Earl's shoulder! EARL Aaagghh!",
"EXT. MOUNTAIN ROAD - DAY The pickup veers across the center line on the narrow mountain road. It swerves back, over - correcting wildly, and drifts for the opposite shoulder.",
"INT. PICKUP - DAY Jeff seizes the pistol from Earl's waistband. Earl flails and knocks the pistol from his grasp. The pistol flies onto the floor. Earl uncorks a vicious backhand. Jeff's head snaps sideways. He grabs Earl by the arm and twists sharply. Earl howls!",
"EXT. MOUNTAIN ROAD - DAY The pickup careens back and forth across the treacherous roadway.",
"INT. PICKUP - DAY Jeff gropes on the floor. His hand closes around the pistol and he swings it at Earl - crack! Earl's nose erupts! Jeff reaches across and jams his foot on the brake.",
"EXT. MOUNTAIN ROAD - DAY The PICKUP SCREECHES and comes to a halt straddling the road.",
"INT. PICKUP - DAY Jeff swings the pistol into Earl's face - crack! Earl tries to fend off the blows. Jeff creams him again - crack!",
"INT. TOW TRUCK - DAY A TOW TRUCK DRIVER traveling in the opposite direction pulls to a stop. He gawks at the two men struggling in the pickup.",
"INT. PICKUP - DAY Jeff aims the pistol at point blank range. Earl is a bloody wreck. His head lolls groggily. JEFF Where is she, goddammit? What'd you do with her? Earl sneers. Jeff is about to slug him again when he notices the two truck parked across the road, the driver staring out. Jeff swears and wrestles Earl into the passenger seat. He seizes the roll of duct tape and binds Earl's wrists, then passes the tape under his legs so Earl is effectively hog - tied. He then slams Earl back in the seat, circles his neck twice with tape and wraps the free end around the base of the passenger side headrest. Earl begins to gasp for air. The Tow Truck Driver gets out and approaches. TOW TRUCK DRIVER Hey! You there! Jeff gets behind the wheel and throws the pickup into gear.",
"EXT. MOUNTAIN ROAD - DAY The Two Truck Driver leaps out of the way as the pickup surges forward, tires smoking. He stares open - mouthed after the departing vehicle.",
"INT. PICKUP - DAY Jeff drives, one hand on the wheel, the other brandishing the pistol at Earl. JEFF Where is she?! EARL -LRB- barely able to breathe. -RRB- Fuck you! Jeff swings the pistol. There is a crack of exploding teeth! Earl's mouth erupts with frothy blood! JEFF You like that? How about this? Jeff hits the brakes. Earl is thrown forward, letting out a strangled cry as the duct tape chokes off his windpipe. JEFF Four wheel anti - lock brakes, you sonofabitch! You want to try'em again? He hits the brakes again, harder. Earl's tongue protrudes from his lips, choking. His face is red. JEFF How about an emergency stop? You want to try that, Earl? Where is she? EARL I do n't know! JEFF Fuck you, you do n't! He slams the brakes again. Earl's eyes bulge sickeningly. He is being choked to death. EARL Stop! JEFF Is that what you want? You really want me to stop?'Cause I bet this baby stops on a dime!",
"INT. POLICE CRUISER - DAY Traveling in the opposite direction, Sheriff Boyd is returning toward town. As he rounds a bend in the road, he sees -",
"EXT. MOUNTAIN ROAD - DAY The Ram driving erratically and weaving back and forth across the road.",
"INT. POLICE CRUISER - DAY The sheriff reacts. SHERIFF BOYD What the hell?",
"EXT. HIGHWAY - DAY As the Ram passes, Sheriff Boyd throws the cruiser into a SCREECHING 180 - degree turn. He flicks on the SIREN and takes off in pursuit.",
"INT. DODGE RAM - DAY Jeff glances in the rearview mirror. The cruiser is on their tail, SIREN WAILING, lights flashing. He swears and pumps the brakes in a series of rapid bursts. JEFF End of the line, Earl! How about it? You gon na tell me? EARL She's with Billy. JEFF Yeah? Where's that? EARL I do n't know! Driving around! Jeff hits the brakes again.",
"INT. CRUISER - DAY Sheriff Boyd jerks the wheel to avoid a collision with the pickup as it slows and accelerates in rapid spurts. SHERIFF BOYD -LRB- on radio. -RRB- Repeat, I am in pursuit of a Dodge Ram pickup. Request back - up, repeat, request back - up!",
"EXT. HIGHWAY - DAY The cruiser pulls up alongside the pickup.",
"INT. CRUISER - DAY Boyd reacts in amazement to what he sees - SHERIFF BOYD Jesus Christ -. -LRB- on radio. -RRB- Dispatch! Suspect identified as one Jeffrey Taylor, repeat, Jeffrey Taylor! Boyd taps his brakes, falling back behind the pickup.",
"INT. PICKUP - DAY Jeff is wild - eyed. JEFF Where were you taking the money? EARL -LRB- losing it. -RRB- To the truck stop. JEFF Where? EARL Main highway. Texaco. Jeff has the information he needs. He slams on the brakes!",
"INT. CRUISER - DAY Sheriff Boyd swerves to avoid a crash as the RAM SCREECHES to a halt in front of him!",
"EXT. HIGHWAY - DAY The cruiser skids to a stop. Jeff leaps from the pickup with the pistol in his hand. He rushes toward the cruiser. Sheriff Boyd hops out, levels his service revolver. JEFF I know where she is! My wife! SHERIFF BOYD -LRB- ignoring him. -RRB- Drop the gun! Jeff pitches the gun away and it skitters down an embankment. He raises his hands. JEFF You do n't understand! She's been kidnapped! SHERIFF BOYD I understand plenty. Now get down on the ground or I'll shoot! He means it.",
"INT. PICKUP - DAY Earl struggles for breath. The duct tape is still tight around his neck. He strains against the tape binding his limbs. He glances in the side view mirror to see the Sheriff ordering Jeff down on the ground. By wriggling and contorting his wrists, Earl is able to tear one hand free. Then he pulls away the rest of the duct tape from his knees. The tape is still wrapped tightly around his neck, pinning him to the backrest. Earl claws at the tape, but it wo n't come free. Finally, with both hands, he reaches behind his head and yanks the read rest from the seat. He reaches into his boot for something.",
"EXT. HIGHWAY - DAY Jeff is spread - eagled on the ground. Sheriff Boyd calls out to Earl in the cab. He keeps his gun leveled. SHERIFF BOYD You there - in the pickup! You all right? Can you get out? EARL Yeah! Just do n't shoot me, officer! He's crazy, I tell you! SHERIFF BOYD Well, get out dammit! JEFF Officer, please. You got ta listen to me - SHERIFF BOYD -LRB- glances down at Jeff. -RRB- Shut up. -LRB- to Earl. -RRB- C'mon out, sir. It's safe - Earl sets one foot on the road. The headrest dangles against his back, still taped to his neck. Suddenly Earl whirls, holding a.22 snub - nose REVOLVER and FIRES! The sheriff stumbles away, blood spurting from his shoulder, the gun flying from his hand. Jeff looks up in horror as the sheriff falls. Earl comes around the pickup after Jeff, raising the gun to fire. Jeff scrambles to his feet and dives down the embankment. Earl runs to the edge of the embankment. Down below, Jeff is reaching for the automatic pistol the sheriff ordered him to drop. He finds it. too late. Earl is aiming at point - blank range from the top of the embankment. He is already squeezing the trigger when. BLAM! Earl's chest erupts outward as a bullet passes through his body from behind! Earl staggers and flops down the embankment. He comes to rest near Jeff, blood gurgling from a massive chest wound. Jeff climbs the embankment. The sheriff is lying on the road, critically injured, gun lying nearby and still smoking from the shot that killed Earl. The sheriff is struggling to speak into a remote transmitter strapped to his uniform. SHERIFF BOYD -LRB- weak. -RRB- Shots fired. Officer down. Suspect. DISPATCHER -LRB- V.O. -RRB- Help is on the way, Sheriff. Just hang on. I have units and an ambulance en route. Jeff bends over the Sheriff and examines his wound with a grimace. He is verging on unconsciousness. Jeff deliberates, torn. There is nothing he can do here. Making up his mind, Jeff runs to the pickup. The hand - held cellular phone has spilled into the road. He scoops it up, jumps behind the wheel and LAYS RUBBER.",
"EXT. BLUFF - DAY Jeff stands on a ridge overlooking a Texaco truck stop. Behind him, the Dodge Ram pickup lies hidden in a growth of scrub oak and tumbleweeds. Jeff looks overwhelmed by what he sees spread out below. JEFF'S POV - TEXACO TRUCK STOP It's a giant truck stop. There are hundreds of big rigs parked in rows like silvery sardines. A sign towers over the main building : `` DIESEL $.99 GAL.'' BACK TO JEFF He looks shaken. How will he ever find Red here? It seems impossible. He descends the bluff to the truck stop.",
"EXT. TRUCK STOP - DAY Jeff skids on his heels down the loose hillside and reaches the edge of the parking lot. There are trucks everywhere. Diesel MOTORS RUMBLE. Exhaust fills the air. He reaches the end of a row of big rigs, starts searching the grounds for the markings of Red's 18 - wheeler. It's nowhere in sight. A high - pitched FEMININE SQUEAL from an adjacent truck's sleeping compartment startles Jeff. TRUCKER -LRB- O.S. -RRB- -LRB- muffled. -RRB- C'mon, baby, give it up! The woman GIGGLES, O.S. Jeff ignores it, scanning the truck stop. He stiffens. A police car is arriving at the truck stop. Staying out of sight, Jeff passes quickly to the rear of a tractor trailer.",
"EXT. TRUCK WASH - DAY Jeff peers out from behind a parked mini - van as trucks emerge wet and dripping from an immense truck wash. Across the way, trucks are filling up on diesel at the gas islands. Jeff's eyes narrow. Is that Red's Peterbilt among them? He quickens his pace, then falls back, slumping. The rig's black driver is getting in the cab. Jeff glances to the side, frowns. An older vacationing couple is eyeing Jeff warily. Jeff looks down, cops to it instantly. His clothes are ripped, caked with blood. He ducks between two parked cars, using a side - view mirror as he hastily wipes blood off his face. He checks to be sure no one is watching. Something catches his eye.",
"EXT. BLUFF - JEFF'S POV A highway patrol car with flashing lights is parked near the place where Jeff ditched the pickup. Beside it, a state trooper surveys the truck stop with binoculars.",
"EXT. TRUCK WASH - DAY Jeff's jaw tightens. He glances toward the road, sees two more highway patrol cars cruising the perimeter of the truck stop. Swearing, Jeff turns on his heels and walks away in the opposite direction, shielding his face.",
"EXT. TRUCK STOP PARKING LOT - DAY Jeff emerges from between two vehicles, glancing over his shoulder nervously. He keeps his head down, moving fast. He scans the truck stop in all directions. The patrol car is still parked on the ridge, the patrolman peering through binoculars. Jeff quickens his pace alongside the truck stop building, passing a row of pay phones. He looks up, stops dead. Red is talking on a pay phone six feet away. Jeff stares. Red is facing away, unaware of his presence. Jeff darts into an adjacent pay phone. He shields his face with the receiver and listens. RED -LRB- on phone. -RRB- I do n't know, dammit, he was supposed to be here a half hour ago. There's reports on the police band about a cop down and this place is crawling with uniforms. Red waits, listens. RED Look, I'm getting out of here. Stay off the airwaves. Bring the girl and meet me at the barn. You got that? He hangs up. Jeff presses the phone against his face and turns away. When he looks up, Red is walking toward his Peterbilt truck, parked in a row of big rigs. Jeff starts to follow, then freezes. Several cops are fanning out on foot, questioning everyone they encounter. Jeff sees Red getting into his truck. The ENGINE KICKS OVER. The BRAKES HISS and the truck begins pulling out. Jeff whips around. The older vacationing couple are talking to a cop fifty yards away. The husband points toward the pay phones. Jeff makes a sudden decision, doubles back behind a rolling farm truck. COP thanks the couple, calls out something to his fellow officers. JEFF runs alongside the farm truck, using it as a shield. He overtakes the truck, cuts across its path. The farmer BLARES his HORN. Jeff glances left. Red's tractor trailer is traveling across the crowded parking area, slowly gaining speed. Jeff sprints in front of a moving car. The driver jerks to a halt and HONKS, catching the attention of a nearby cop. Jeff quickly turns away, avoiding being seen. Red's 18 - wheeler turns toward the access road. Jeff looks around, panicked. More cops are spreading out on foot. They'll notice him any second. Jeff crouches low and scurries underneath a slow - moving postal truck. The truck speeds up, nearly crushing him under the rear wheel assembly. Jeff rolls out of the path of the giant wheels, gets to his feet on the other side and finds himself. in the path of another huge truck! A cop is standing only 20 feet away! Jeff goes underneath another trailer, crawling between the moving wheels. He springs to his feet. Red's Peterbilt is pulling away! Jeff runs for all he's worth. His arms and legs pump furiously. He runs abreast of the truck. and seizes the spare tire mount!",
"EXT. INTERSTATE - UNDER TRUCK - DAY Jeff hangs on for dear life. His legs drag over the asphalt. He lets out a cry of pain. The truck is joining the highway, accelerating. Grimacing, Jeff swings his legs over the universal joint as the roadway races past below. The huge TIRES are a HOWLING blur. Suddenly his grip falters on the grease. His back scrapes the rushing asphalt. Jeff gasps, makes a grab and holds firm. As he hangs on, a station wagon overtakes the Peterbilt in the passing lane. A three - year - old boy sits in the rear compartment, staring out at Jeff, a puzzled expression on his face. Jeff stares back. It's an odd moment between the two. The station wagon continues forward and EXITS FRAME.",
"EXT. INTERSTATE - DAY The PETERBILT THUNDERS over a patch of highway that is being graded for paving.",
"EXT. UNDER TRUCK - DAY The tires kick up a hail storm of loose gravel and dirt, pelting Jeff all over his body. He realizes he ca n't stay where he is. Grunting with effort, he works his way hand over hand along the underside rigging toward the cab. He seizes the trailer hitch and hoists himself up.",
"EXT. BETWEEN CAB AND TRAILER - DAY Standing on the coupler, Jeff clutches his ribs and catches his breath. He's in pain. The road whips by below his feet. The truck hits an uneven stretch of road and bounces violently. Jeff grabs the coiled brake line for support. The truck is doing 70 mph, exhaust racketing. Jeff pulls the cell phone from his pocket and dials 911. He holds it tightly to his ear, shouting above the wind. JEFF -LRB- on phone. -RRB- Hello? Can you hear me? This is Jeff Taylor. I need to talk to the deputy. He strains to hear the reply. JEFF The name is Jeffrey Taylor. I just witnessed your sheriff being shot. Now put someone on, goddammit! He waits.",
"INT. TRUCK CAB - DAY Red glances in the side mirror at the road behind him as he drives, unaware of Jeff's presence.",
"EXT. TRUCK COUPLER - DAY Jeff clutches the cell phone to his ear, waiting. He reacts suddenly as the call is put through. JEFF Hello?",
"INT. POLICE STATION - DAY Deputy Carver speaks on a phone extension while the DISPATCHER sits nearby. DEPUTY CARVER It's no good. He's not talking. You better mobilize your boys. The troopers stare back. They look like they have a score to settle.",
"EXT. RED'S PETERBILT - DAY The truck streaks along the interstate. Sitting on the coupler, Jeff is a picture of despair.",
"EXT. RED'S PETERBILT - DUSK Hours later. The truck races toward the bloated lowering sun, with no sign of slowing down. Jeff lies curled under the windfoil on the roof of the cab. He hugs himself, shivering in the cold draft.",
"EXT. RED'S PETERBILT - NIGHT The TRACTOR TRAILER RUMBLES in low gear along a sparsely populated two - lane road. A neighborhood DOG YAPS.",
"EXT. ROOF OF TRUCK CAB - NIGHT From his hiding place under the windfoil, Jeff peers out into the darkness, unable to figure out where he is. He catches his balance as the truck turns a corner and slows, driving past a tract of undeveloped land, before turning into the driveway of a.",
"EXT. RESIDENTIAL LOT - NIGHT and braking to a halt under the broad overhanging eave of an old dilapidated barn. Behind the two - story farm house, a rusted Volkswagen bus and satellite dish hunker in the weeds. A newer car, a 1981 Cadillac Deville, is parked to the side. Red kills the engine and climbs out of the cab. As he walks toward the house, a screen DOOR SLAPS. DEKE, 9, squirts across the lawn in his pajamas. DEKE Daddy, you're home! Red scoops him up. RED Hey, Deke, you miss me? ARLEEN, 35, comes out of the house in a bathrobe. ARLEEN Deke, get back to bed! I said now! -LRB- to Red. -RRB- Warren? I thought you were coming back next week. She comes out into the yard.",
"EXT. TRUCK CAB - NIGHT Jeff flattens against the sleeper. He can see Red greeting his wife, their words carrying faintly across the lawn. Jeff is baffled by this domestic scene.",
"EXT. YARD - NIGHT Arleen reacts with disappointment to something Red's told her. ARLEEN but it's four in the morning. Why ca n't Al and Billy come some other time? RED -LRB- reasoning. -RRB- I told you, we've got some stuff to take care of. Wo n't be more than a couple of hours - I promise. Red turns to his son, extends a key. RED Say, Deke, how ` bout opening up the barn for your daddy? Deke takes the key and sprints for the barn while Red returns to the cab, passing within several feet of Jeff's hiding place. He reaches into the cab, brings out a duffel bag and unzips it. Jeff keeps his breathing shallow, squeezes against the windfoil. RED Deke, c'mon over here, I got something for you. Deke runs up, breathless. Red holds two hands behind his back. Red and Deke are just six feet from Jeff. RED Guess which hand. DEKE -LRB- pointing to right hand. -RRB- This one. Red opens his right hand. Empty. RED Nope. Try again. DEKE -LRB- pointing to left. -RRB- This hand. Red opens his left. Empty. RED Nope. DEKE -LRB- he's been tricked. -RRB- Dad. RED -LRB- laughing. -RRB- Okay, okay, I'll give it to you. He opens his hand, revealing Jeff's Swiss Army knife. DEKE Cool! Deke takes the knife and runs off. Red goes to the rear of the trailer, unlocks it and raises the slatted door. He hops up inside. His FOOTSTEPS ECHO in the metal trailer. We hear him SHIFTING BOXES.",
"EXT. BARN - NIGHT Jeff seizes his chance. He crawls out from under the windfoil and hoists himself onto the overhanging eave. The STRUCTURE CREAKS under his weight. INSIDE TRAILER Red sticks his head out of the trailer, puzzled. RED Deke? Deke, you back there?",
"EXT. ROOF OF BARN - NIGHT Jeff crouches in the shadows. He can see Red poking his head out from the trailer, peering up at the roof. INSIDE TRAILER Red shrugs, lets it go. He resumes unloading boxes, tosses down a full set of Louis Vuitton luggage. He lugs the items into the barn.",
"EXT. ROOF OF BARN - NIGHT Jeff goes to a second - story window. A board has been nailed over the window. He pulls it away, steps into.",
"INT. BARN HAYLOFT - NIGHT and looks around, amazed. Everywhere around him there are stolen goods. Matching luggage sets. a rack of women's coats. a table piled with cameras. a crate filled with car phones. A stack of windshields. two sets of golf clubs. three child safety seats. a ten - speed bicycle. Several dozen `` COMMERCIAL VEHICLE'' license plates are scattered about - Arkansas, Oregon, Texas, Iowa, South Dakota. As Jeff stares, reeling, there is a RUMBLE outside.",
"EXT. BARN - NIGHT Red looks up from toting a box of car stereos and snarled wiring as the moving van and Pontiac Firebird arrive at the barn. He beckons for the vehicles to pull forward into.",
"INT. BARN - NIGHT Al dismounts from the moving truck. Billy climbs out of the Firebird. They are travel - sore, stretching. Red shuts the door behind them. AL Man, if I never see another couple from Massachusetts it'll be too soon. RED Tell me about it. You get any word on Earl? BILLY -LRB- shakes head. -RRB- There's reports of an accident up Five Mile, but that's about it. Red grunts, unlatches the door to the moving van, lowers a ramp. The three men begin unloading boxes.",
"INT. BARN HAYLOFT - NIGHT Jeff lies on his belly peering through a knothole. JEFF'S POV THROUGH KNOTHOLE The men unload Jeff and Amy's belongings - luggage, photography equipment, miscellaneous items. Inside the moving van, the battered Jeep Cherokee is visible, partially covered with a tarp. BILLY I told you we shoulda gotten rid of'em like that couple up in Utah. Nice and clean. RED So it got a little fucked up - so what? We stay out of the area for a while, things will cool off. There is a HAMMERING noise, O.S. Red looks over, irritated. RED Dammit, Al, what the hell you doing? Al sits at a workbench hammering precious stones out of Amy's jewelry. He looks over at Red. AL Figured I'd get started on the jewelry. RED Fuck that, you can work on it later. Help us with the girl.",
"INT. BARN HAYLOFT - NIGHT Jeff breathes in sharply, presses his eye against the knothole.",
"INT. BARN GROUND FLOOR - NIGHT Red unlatches a hidden compartment under the chassis of the moving truck. He and Billy slide out a long metal box, similar to a drawer in a morgue. They lift the metal lid, revealing - CANVAS SACK The sack is stained and ripped. Red pokes at it. The sack does n't move. Red shrugs. RED Must've died from the exhaust.",
"INT. BARN HAYLOFT KNOTHOLE - NIGHT Jeff stares, paralyzed, his universe exploded. Moisture forms in his eyes.",
"INT. BARN GROUND FLOOR - NIGHT Billy and Al reach into the compartment, start to lift out the sack. RED I'll get some plastic. We'll bury her before it gets light out. Suddenly the sack drives its legs into Al's belly. AL -LRB- startled. -RRB- Aagh! Al falls backward, drops the sack on the floor. It tears open revealing Amy - gagged with duct tape, her wrists and ankles taped. She squirms and kicks wildly, her screams muffled.",
"INT. BARN HAYLOFT KNOTHOLE - NIGHT We see Jeff's eye in the knothole. It's all we need to see to gauge the effect on him of seeing Amy alive.",
"INT. BARN GROUND FLOOR - NIGHT Al gets to his feet, furious. AL Goddamn. Scared me half to death. BILLY -LRB- chuckles. -RRB- Gotcha good, huh, Al? Oughta be more careful next time. AL Shut up. -LRB- glaring at Amy. -RRB- Lem me do her, Red. I'll cut her head off right now. ARLEEN -LRB- O.S. -RRB- -LRB- muffled. -RRB- Warren? You in there? Red reacts. RED Shit, it's my wife. Help me get her in the freezer. -LRB- calling out. -RRB- Just a second, Arleen. Red walks to a corner, moves aside a section of false flooring. He pulls up a hidden trap door, revealing a root cellar. AMY squirms on the hay - strewn floor. Her clothes are ripped, face bruised. She looks up, reacting : Jeff's eye is visible in the knothole. Their gaze meets. and holds. RED returns and takes Amy by the legs. Al and Billy lift her by the arms. As they carry her to the root cellar, Red peers into her terrified face. RED Do n't worry, honey. It's not as bad as it sounds. It'll take you about 10 minutes to suck the air out. Probably wo n't even feel it. Amy reacts, writhing even more violently, but she's no match for the three men. BARN HAYLOFT Jeff watches helplessly as. BARN GROUND FLOOR The men disappear with Amy into the cellar. We hear a METALLIC THUD, then a few moments later, the men reappear without her. Red closes the trap door, secures it with a heavy padlock, then slides the panel of false flooring over it. RED C'mon, let's go. They turn, walk toward the door. Red opens it. Arleen is standing there. Al and Billy greet her politely : AL BILLY Howdy, Arleen. Hey, Missus C. ARLEEN Well finally. Are you coming to breakfast? I've been calling you. RED Sure thing, honey. The barn goes dark as the men leave. The barn door rolls shut. A LOCK CLICKS.",
"INT. BARN HAYLOFT - NIGHT Jeff quickly climbs down a ladder in the pitch darkness. He crosses the room, bumping into a workbench. He swears, makes his way toward the.",
"INT. REAR OF BARN - NIGHT Jeff drops to his hands and knees, feeling for the padlocked trap door. He finds it, speaks in an urgent whisper. JEFF Amy? Amy, can you hear me? No reply. Jeff cups his hands, presses his mouth to the floor. JEFF -LRB- louder. -RRB- Amy? Still no reply. Jeff swears, glances around the dark room. There is a tool bench across the room. JEFF Hang on, baby. They're in the house ; I ca n't use the lights. I'm gon na get you out. He goes to the tool bench, fumbling in the darkness. He knocks over a cardboard box - a pile of car keys spill across the table. His hands run over an assortment of tools. He locates a hammer, takes it. Returning to the trap door, Jeff inserts the claw in the padlock and tries to pry it open. The lock wo n't give. He strains, using all his strength. Suddenly the handle snaps! Jeff flies backwards. JEFF Fuck! He gets up, goes to the tool bench. His hands feel over and reject an assortment of small tools. He finds a crowbar, returns to the trap door and inserts it into the shackle, twisting with all his might. After several failed attempts, he swears. JEFF It's not working. If I make any more noise, they'll hear. Jeff mulls his options. He sets his jaw, exhales. JEFF I'm going to get you out of there, Amy. He swallows, emotional, clearly torn. JEFF I love you. -LRB- under his breath. -RRB- Please, God, let her still be alive.",
"INT. BARN - MOVING VAN CAB - NIGHT Jeff opens the door. A weak dome light flickers on. He climbs up into the cab and tries turning on the CB radio, but no luck - the keys are gone. He opens the glove compartment. There are maps, trip logs, truck stop receipts. He rifles through them quickly. Jeff frowns, gets on the floor of the cab and gropes under the driver's seat. His eyes register a discovery. He brings out a big black semi - automatic pistol. Jeff studies the base of the grip, clearly unfamiliar with guns. He fumbles with the clip, ejects it. The clip is full of bullets. He snaps the clip back in place. JEFF -LRB- under his breath. -RRB- Fuck you, asshole.",
"EXT. BARN - NIGHT Jeff climbs out of the window onto the broad overhanging eave. He steps to the edge of the roof and lowers himself onto the Peterbilt cab, then drops to the ground. He looks around. Red's is the only house visible. A light flickers in the trees a mile away. It could be anything. Jeff moves toward the house.",
"EXT. RED'S HOUSE - BACK PORCH - NIGHT Jeff holds the gun ready as he eases open the screen door. The DOOR CREAKS on its hinges. Jeff steps into.",
"INT. RED'S HOUSE - REAR ENTRYWAY - NIGHT Jeff lets the door close silently. There are VOICES coming from a distant room. He passes a washing machine, a hamper full of dirty clothes, and moves silently down. HALLWAY toward the voices. VIDEO GAME sound effects emanate from a room off the hall. Jeff flattens against the wall, peers into the living room. Seated on the floor with his back to Jeff, Deke is playing Nintendo on a wide - screen television. Various items are scattered about : stereo speakers, a jukebox, a brand new Nordic Track. There is a rifle rack across the room. Stepping past the doorway, Jeff continues down the hall toward.",
"INT. RED'S KITCHEN - NIGHT Red is in the middle of telling a story. Arleen, Billy and Al sit around the table. The plates are cleared away. They are drinking beer. RED So there I am, it's a howling snow storm, I've got 2000 live chickens that are supposed to be in Denver days ago, and this cop is busting my balls because I have n't got chains. Arleen and the men laugh heartily. RED So what happens but this big old rooster, damn thing must've weighed ten pounds, he reaches out toward that highway patrolman. Al glances toward the door, stops laughing. Billy and Arleen follow his gaze, go silent. RED just reaches out with his beak, see, and. Red notices his audience is no longer paying attention. He turns in his chair, sees - REVERSE ANGLE - JEFF Standing in the doorway. Aiming the pistol. His clothes caked with blood and dirt. He sways slightly. Nobody else moves. JEFF Give me the key. RED -LRB- placating. -RRB- Now hold on, mister. I do n't know who you are or what you want - JEFF Give me the fucking key! There is silence. RED -LRB- a beat. -RRB- Mister - JEFF Do n't mister me, you sonofabitch! My wife is locked in a hole in your fucking barn! You do n't give me the key, I'll blow your fucking head off! Arleen glances at Red, frightened. ARLEEN -LRB- clueless. -RRB- Warren? What's going on? RED I do n't know, honey. Just stay calm - JEFF -LRB- to Arleen. -RRB- Your husband's a kidnapper and a murderer is what's going on! Did you know that about him? Huh? -LRB- gestures. -RRB- Ever wonder where all this stuff comes from? Arleen looks up at Jeff, scared. She starts to open her mouth, when - DEKE -LRB- O.S. -RRB- Stick'em up. Jeff turns. Nine - year - old Deke is aiming a rifle at Jeff from the hallway. The rifle looks enormous in his hands. The boy's lip quivers. The room is silent. No one moves. Jeff keeps the pistol aimed at Red. He swallows, speaks slowly : JEFF You do n't want to do that, kid. Just put the gun down. RED -LRB- firm. -RRB- Do n't listen to him, Deke. Keep the gun on him. JEFF Put the gun down. DEKE -LRB- voice quavering. -RRB- My daddy keeps his rifle loaded all the time. He showed me in case I needed to protect Mommy when he's away. JEFF I understand that, Deke. I'm not gon na hurt Mommy. But if you pull that trigger, there's a chance I'll still kill your father. RED He's lying, Deke. He ca n't get me. Just pull the trigger. JEFF No, Deke, do n't listen to him. He's wrong. RED Plug him, boy! Do what I tell you! Deke looks at his father, fights back tears. His finger tightens on the trigger. RED That's right, boy. Do it. Do n't worry about me. Deke whimpers, squeezes the trigger. JEFF Deke, no -! Suddenly, Billy bolts from the table. The RIFLE FIRES! The recoil knocks Deke off his feet. The bullet rips into Al's shoulder! AL Oww - goddammit, you little shit! Red is out of his chair. Jeff dives first and seizes the rifle. He whirls, aims the pistol at Red. JEFF Do n't fucking move! Everyone freezes. Jeff sidesteps to the window. Billy is running across the yard. Is he headed for the barn? Jeff swears, turns back. JEFF Deke? Deke? Get on your feet! Deke rises, tears streaming down his face. JEFF It's okay, kid. Go over there, stand next to your mother. Hurry up. Deke obeys. Clutching his shoulder wound, Al glares at the child as he passes. Jeff deliberates. Where the hell was Billy going? He gnaws his lip, decides. JEFF Okay. on your feet. Now, everybody! Red, Arleen and Al get to their feet. Deke stays at his mother's side. Jeff aims the pistol at Red, holds the rifle with his other hand. JEFF Let's go. Out. He herds them to the door. Arleen looks to Red nervously. RED Do like he says, Arleen. He's crazy.",
"EXT. BARN - NIGHT Jeff trains the pistol as his captives stand at the entrance to the barn. He glances around, keeping an eye out for Billy. JEFF -LRB- to Red. -RRB- Okay. Reach into your pocket and hand the key to your wife. RED This ai n't gon na work, boy. JEFF -LRB- jams pistol at him. -RRB- Do it. Red fishes a key ring out of his pocket and extends it to Arleen. She just stands there. RED It's okay, Arleen. Take it. She takes the keys. JEFF -LRB- indicating barn door. -RRB- Okay, now unlock it. Arleen inserts a key, opens the padlock. JEFF Good. Now give me the keys. -LRB- turning to Deke. -RRB- Deke, push the door open. Quickly. Deke looks at his father. Red nods. Deke goes to the door, begins wheeling it open. JEFF That's enough, Deke. -LRB- gesturing them inside with gun. -RRB- Let's go. Move it. Jeff herds all four into -",
"INT. BARN - NIGHT Jeff leads the group through the barn at gun - point. He glances right and left, wired. The rifle is strapped to his back. He keeps the handgun ready. He peers under the tractor - trailer, looking for any sign of Billy. They reach the trap door. Jeff circles it, constantly keeping an eye on Red and Al.. He hands the keys to Deke. JEFF Deke, I need you to open this. Deke looks at his father. He kneels, unlocks the padlock and heaves open the trap door, revealing a narrow staircase slanting into the cellar. Deke looks down into the darkness and swallows. JEFF It's okay, Deke. There's a freezer down there with a woman in it. I need you to let her out. Deke descends the steps, frightened. DEKE -LRB- O.S. -RRB- -LRB- voice quavering. -RRB- I ca n't see. Jeff jabs the pistol at Red : Tell him where the light is. RED -LRB- a beat, to Deke. -RRB- The switch is on the right. There's a CLICK and the light goes on in the cellar. Deke lets out a yip of fear. DEKE -LRB- O.S. -RRB- Dad. RED It's all right, son. Just ignore that stuff. Jeff crouches to peer into the cellar. JEFF'S POV - CELLAR Roots and mildew hang in strings from the ceiling. The light is a bare bulb. There are several distressingly - shaped garbage bags against the wall. BACK TO JEFF His gaze shifts back to Red. JEFF -LRB- to Deke. -RRB- Deke! You at the freezer? DEKE -LRB- O.S. -RRB- Yeah. JEFF Okay. You're almost done. Just open it up, let the woman out. We hear a FREEZER BEING OPENED. DEKE She's all tied up with tape. JEFF You got that Swiss Army knife your dad gave you? DEKE -LRB- O.S. -RRB- Uh - huh. JEFF Good man. Use that. Make sure you do n't hurt her. They wait tensely while Deke works downstairs. JEFF -LRB- to Red. -RRB- You better pray she's all right. DEKE -LRB- O.S. -RRB- I got her - AMY -LRB- O.S. -RRB- Jeff!? JEFF Amy! AMY -LRB- O.S. -RRB- I'm almost free! JEFF Amy, come up here! Amy climbs the stairs quickly. Scraps of duct tape cling to her wrists. She throws her arm around Jeff. AMY They were going to kill me. JEFF I know, baby. It's okay. They ca n't hurt you now. While Amy embraces him, Jeff keeps the gun on Red and the others. He gestures toward the cellar. JEFF -LRB- to Red, Arleen, and Al. -RRB- Okay. Everybody in the cellar. Nobody moves. JEFF Do it! Arleen and Al descend the steps. Red follows, then stops, halfway down. RED Remember this moment, pretty boy.'Cause whatever happens, no matter how far you run, I will hunt you down and kill you like a dog. Jeff stares back. A beat, then : JEFF Go to hell. He boots Red in the chest, sending him backward down the steps. He slams the trap door shut and locks the padlock. He looks around, sees a massive tool chest. He tips it onto the trap door - crash! Then he takes Amy's hand, still keeping an eye out for Billy. JEFF Let's get out of here. They run from the barn.",
"EXT. BARN - DAWN The first rays of sunlight are beginning to poke over the horizon. Jeff wheels the barn door shut and locks it. He sees Amy running toward Red's house. JEFF Amy, no! It's not safe - AMY -LRB- turning. -RRB- But there's a phone inside. We have to call the police. JEFF One of them's still loose. C'mon - this way! It's too much to explain. Jeff grabs her arm. As they take off running toward the light flickering in the distance. REVEAL BILLY lurking in the shadows at the corner of the barn, watching.",
"EXT. FIELD - LONG SHOT - DAWN Jeff and Amy are tiny figures sprinting across the flat terrain, illuminated by the red glow of a rising sun.",
"EXT. TRAILER HOME - DAWN (MINUTES LATER) The morning sky is lighter now. A rickety trailer surrounded by a chicken coop, junked appliances and a clothesline. There's an old utility pickup truck parked in front. Jeff and Amy arrive out of breath. Jeff pounds on the door. JEFF Hello? Hello? Anybody home? There's no answer. Jeff puts his shoulder to the door and rams it open. The flimsy door gives way easily.",
"INT. TRAILER - DAWN Jeff enters. The place is ramshackle - torn vinyl furniture, empty beer bottles scattered about. A tattered flag hangs on the wall. There's no one around. JEFF -LRB- shouting. -RRB- Hello? Anyone home? Amy follows him inside, looks around. Jeff crosses the room, snatches up a phone and dials 911. JEFF C'mon, c'mon. While he waits for an answer, Amy leans the rifle against the wall. She notices a set of car keys hanging by the door. JEFF -LRB- re : keys. -RRB- Take it. We may need to get out of here -. -LRB- into phone, suddenly. -RRB- Hello! This is Jeff Taylor. I'm reporting an emergency. I do n't know the address, the house belongs to a Red Barr - I mean, Warren something. No, I do n't know his name! AMY -LRB- suddenly hearing something. -RRB- Jeff - A DEEP RUMBLE is approaching, GETTING LOUDER by the second. JEFF No - he kidnapped my wife, he's locked in a barn. Jeffrey Taylor. If you contact the police in - Amy pulls a curtain aside, reacts to what she sees - AMY -LRB- panicked. -RRB- Jeff! Suddenly, the ROAR is DEAFENING - The PETERBILT EXPLODES through the wall of the trailer home! JEFF AND AMY dive out of the way.",
"INT. RED'S PETERBILT - DAY Inside the truck cab, we catch a glimpse of Red behind the wheel, shouting something inaudible. Fragments of debris cling to the grille.",
"INT. TRAILER HOME - DAY The rickety structure spins 360 degrees! Jeff goes flying. A TELEVISION somersaults across the room and EXPLODES. Amy slams into a wall. The speeding Peterbilt shears away a section of the trailer home with a horrible RIPPING sound! The trailer home is suddenly open to the sky.",
"INT. TRUCK CAB - DAY Red puts the truck into a hard turn, circling for another run at the devastated trailer.",
"INT. TRAILER HOME - DAY Jeff struggles to his knees. JEFF Amy?! Amy is crawling over the debris. Jeff pulls her to her feet. He grabs the rifle and car keys. JEFF C'mon! They stagger through the gaping hole in the trailer.",
"INT. TRUCK CAB - DAY Red sees Amy and Jeff flee the trailer and head for the utility pickup. He throws the Peterbilt into a turn. YARD Amy and Jeff run for the Ford F100 utility truck - an aging blue - collar workhorse equipped with side - mounted toolboxes and a lumber rack bearing a ladder. IN FORD Jeff keys the ignition. The ENGINE SPUTTERS. Amy whips around to see the Peterbilt bearing down from the side. AMY Jeff, go! Go! Jeff turns the key. The ENGINE CATCHES! He throws the Ford in gear and floors the gas. The Ford shoots out of the Peterbilt's path! HIGHWAY The FORD PEELS OUT of the driveway and joins the road, spewing exhaust. It's an old vehicle that does n't maneuver well. IN FORD Jeff mashes the gas pedal. The ENGINE STRAINS, BACKFIRING. Amy looks back, sees the Peterbilt joining the road. AMY Ca n't this thing go any faster?! A SHOTGUN BLAST SHATTERS the passenger WINDOW! Amy screams as glass showers the cab. Jeff swerves wildly. JEFF What the fuck?! He swivels his head right, sees - FIREBIRD kicking up a cloud of dust as it pulls alongside the Ford on the right - hand shoulder. The driver, Billy, is levelling a shotgun through the window. JEFF cranks the wheel. JEFF Get down! IN FIREBIRD Billy triggers a BLAST! AMY yelps as the passenger - side MIRROR DISINTEGRATES! She whips around, sees - CADILLAC DEVILLE pulling even with them on Jeff's side. The drive, Al, leers as he spins the wheel and creases the Ford - CRUNCH! JEFF raises the PISTOL and FIRES! HIGHWAY The Ford is sandwiched between the Cadillac and Firebird as they race down the highway with the Peterbilt in the rear. JEFF lets out a cry as they carom off the Cadillac. Blood flows in a trickle down his neck. Amy sees it, panicking. AMY Jeff! JEFF It's glass! Use the rifle! Amy raises the rifle, thrusts the barrel awkwardly out the window and aims at Billy. She FIRES wildly - BANG! BILLY grins as the SHOT WHISTLES past harmlessly. He reloads the SHOTGUN, snaps it shut and RETURNS FIRE - BLAM! HIGHWAY The BLAST hits the Ford's side - mounted toolbox. The door flies open. Tools scatter on the road! BILLY veers away, swearing, as hammers and chisels and power tools hit the asphalt and bounce up into his path. The front end of the extension ladder comes free from the lumber rack and hinges into his path, SMASHING the WINDSHIELD! BILLY Sonofabitch! Billy swears and jerks the wheel, steering away. He glances up suddenly, sees Jeff aiming the pistol. The PISTOL FIRES! Billy slams backward against the headrest, hit in the face. There's blood everywhere. The car careens toward the shoulder. HIGHWAY The Firebird hits a mound of earth, flies through the air and lands with a CRASH! IN PETERBILT Red sees the crash, scowling. He presses the gas and pulls closer, taking Billy's place alongside the Ford. IN FORD Amy sees the Peterbilt advancing. Whipping her head to the other side, she sees Al raising a pistol. AMY Look out! Al jacks the trigger - BLAM! BLAM! ON PETERBILT a STRAY BULLET SLICES the hydraulic brake line running to the trailer. The HOSE HISSES and whips through the air! IN PETERBILT Red swears and lets the truck fall back, swearing. Up ahead is a long, curving downgrade. He taps the brakes. There is a jolt as the trailer bumps the tractor. RED Sonofabitch - He realizes : The trailer's got no brakes. HIGHWAY The Peterbilt descends the grade, letting out a RAPID - FIRE BLAT of BACKFIRES. It's gaining speed, bearing down on the Ford. IN FORD Amy turns in the seat, terrified. The truck looms closer. Jeff keeps the gas pedal on the floor. JEFF Hang on! They are flying into a hairy curve. IN PETERBILT Red struggles to stay in control. Every time he applies the brakes, the unchecked trailer jars the cab forward. The Peterbilt races into the curve. Red has no choice. He has to pump the brakes and risk jackknifing or the truck will fly off the road altogether. He hits the brakes! HIGHWAY The huge TRUCK SCREECHES on the asphalt, tires smoking, cab and trailer folding at right angles! Then, unexpectedly, the trailer disconnects from the cab! IN CADILLAC Flanking the Peterbilt, Al glances to the side and sees the trailer come untethered from the cab. Now the trailer is an unguided missile, weaving drunkenly back and forth across the blacktop. Al tries to swerve away. The trailer streaks toward him. Al SLAMS on the BRAKES, screaming! HIGHWAY The trailer piles into the Cadillac. There is a huge IMPACT as trailer and Cadillac are reduced to scrap metal! And just as this is happening. PETERBILT blasts into the rear of the Ford, jarring it forward with a CRUNCH of METAL and taillights! JEFF slams against the wheel. Amy is thrown against the dashboard. The Ford is being propelled downhill by the Peterbilt. HIGHWAY The two vehicles are now locked together, gaining speed as they hurtle down the grade. JEFF jams the pistol through the rear pass - through window and FIRES at Red in the truck. BULLETS PING off the grille. The GUN CLICKS empty. IN PETERBILT Red hits the brakes, but it's no use. The bumpers are meshed. The two vehicles plunge downhill, skidding sideways. Up ahead, a concrete bridge spans a deep gorge. HIGHWAY The Peterbilt and Ford fly onto the bridge. The big truck glances off a railing. The vehicles suddenly come unlocked. The FORD plows into the concrete railing with a CRASH! The PETERBILT creams it from behind and caroms away, SKIDDING the length of the bridge before SMACKING the opposite railing! INSIDE ROAD Jeff grimaces. In front of them, the concrete railing has broken away. Debris falls 300 feet to the bottom of the gorge. The Ford's right front tire hangs in the air. Jeff looks at Amy. She looks wildly adrenalated, eyes wide. JEFF You all right? Amy looks back at him. She expels a long breath and nods. Jeff forces his upper body through the driver's window and looks over the Ford's roof at the Peterbilt. JEFF'S POV - PETERBILT It's facing them, 50 yards away on the bridge. The engine is dead. STEAM HISSES from the crumpled radiator. One tire is shredded. There is blood on the broken windshield. BACK TO JEFF sitting in the driver's window. He squints toward the truck, searching for any sign of Red. There is none. AMY -LRB- O.S. -RRB- Jeff. JEFF Yeah? AMY -LRB- O.S. -RRB- Jeff. I ca n't get out. Jeff drops back into the cab. The dashboard is crushed against Amy's legs. She tries to wriggle free. JEFF What is it? AMY -LRB- wriggling. -RRB- It's just. I ca n't get out. JEFF What do you mean? AMY I mean I ca n't get out! Jeff blinks. He climbs out of the Ford, runs around to Amy's side and yanks the door. It comes open with a CREAK of METAL. Behind Jeff on the bridge, a MOTOR KICKS OVER. He whirls. JEFF'S POV - PETERBILT EXHAUST BELCHES from the smokestacks. Red is behind the wheel. His face is covered with blood. He stares hatefully. With a RASP of GEARS, the Peterbilt lurches forward. BACK TO JEFF He pushes against the dashboard with life - or - death urgency. JEFF C'mon, Amy, push! Amy struggles and struggles to free her legs. JEFF Push, goddammit! Amy glances toward the Peterbilt, terrified. PETERBILT creeps toward the Ford. The truck's grille is smashed. One wheel RIM SCRAPES the asphalt. It gains speed. IN FORD Jeff crawls over Amy and tries pushing with his legs. She winces as the metal cuts into her skin. Jeff strains. AMY -LRB- turning, reacting. -RRB- Jeff! PETERBILT rams the rear of the FORD - CRASH! It jars the pickup farther through broken concrete guardrail. IN FORD Jeff and Amy are thrown forward by the impact. The Peterbilt's ENGINE ROARS. It's pushing them over the edge! IN PETERBILT Red's eyes burn as he presses the accelerator and forces the pickup farther through the broken railing. FORD lurches through the widening gap in the railing. Concrete sails into the canyon. The front tires hang over the void. IN FORD Jeff strains against the dashboard. It wo n't give. He whips around, swearing, and leaps from the Ford. AMY -LRB- panicked. -RRB- Jeff? ON BRIDGE Jeff runs to the Peterbilt and jumps on the driver's side running board, grasping the door handle. Red heaves the door open suddenly. It strikes Jeff's head with a crack! He falls backward to the ground. IN PETERBILT Red presses the gas, yelling over the ENGINE ROAR. The railing is giving way. He sees Jeff struggling to his feet. RED You think you can come into my life and fuck with me? Nobody fucks with me! He looks down. Jeff is no longer visible. Red frowns. Suddenly the passenger side door flies open and Jeff surges into the cab, landing on Red, clawing at his eyes! They grapple in the cab. Red swings an elbow into Jeff's face - crack. Jeff drives a fist to his jaw! The steering wheel drifts counter - clockwise as the truck inches forward, ramming the Ford closer to the precipice. Red gets his hands around Jeff's neck as the steering wheel continues to move counter - clockwise. ON BRIDGE The truck is no longer hitting the Ford squarely. Instead, the Peterbilt's right front tire is riding up and over the cargo bed, crushing the left side of the Ford under its massive weight. IN PETERBILT Red has both hands around Jeff's windpipe. He glances up for a second, reacts, but it's too late. ON BRIDGE The Peterbilt is surging up the driver's side of the Ford, using the pickup like a ramp! IN FORD Amy screams as the left side of the cab is flattened under the Peterbilt's weight! ON BRIDGE For an instant, the Peterbilt's front tires seem to hang in the air. then the truck is falling! IN PETERBILT Red and Jeff are thrown forward in the cab, still flailing at each other, as the truck plunges nose - first into the gorge. Then it jerks to a halt in mid - air! ON BRIDGE The left rear set of wheels on the trailer is snagged on the thick rebar reinforcement in the crumbled concrete railing. The Peterbilt is dangling nose - down from the bridge! IN PETERBILT Jeff slams into the windshield. Red lands on top of him. Loose objects from the cab rain against the windshield. They grapple. Red grabs Jeff's arm and twists sharply, forcing it at an impossible angle. Their faces are inches apart. RED You think you can fuck with me?! He headbutts Jeff viciously - crack! Blood erupts from Jeff's nose and mouth. Red is about to deliver another blow when. the windshield falls away! The loose items in the cab plummet 300 feet to the canyon floor below. Jeff drops through the windshield opening. He clings to the center support column. His legs dangle over the hood. Red slips through the opening, his hand locking on the steering wheel at the last instant. The windshield sails away into the gorge. ON BRIDGE The iron REBAR GROANS. It's beginning to give way under the weight of the truck. The truck slips slightly. ON PETERBILT Jeff feels the truck shifting. He grabs the windshield wiper blade with his free hand. The blade snaps away. Red is clinging to the steering wheel. He flails at Jeff with his feet, swearing. Jeff is barely out of reach. Jeff looks to the side. There is a grabhandle on the corner of the cab. He reaches with his free hand and seizes the handle. ON BRIDGE The REBAR GROANS. The truck is wedged against the Ford. As the truck slips, it forces the Ford closer to the edge. ON PETERBILT Jeff clings to the handle. He reaches for the passenger side door handle, working his way up toward the bridge. REBAR gives away once more and - JEFF scales the cab, finding more handholds. He climbs past the passenger door. Behind him, Red is working his way higher in the same manner. He grabs Jeff's foot, trying to pull him off the cab. Jeff kicks free and climbs past the sleeping compartment. Red grabs the door handle. Jeff boots the door release button. The passenger door flies open! Red falls away as the door opens. He's clinging to the open passenger door, suspended over the gorge. IN FORD Amy breathes in sharply, feeling the Ford move closer to the edge. She struggles to free her legs from the dashboard. AMY Oh God. Jeff. JEFF climbs higher. The Peterbilt slips again. Below, Red loses his grip and almost falls. Jeff hauls himself onto the bridge with a final gasp of exertion. He runs to the passenger side of the Ford. The Ford teeters precariously. Any move could send it over the edge. Jeff can only extend his hand to Amy over the void. JEFF C'mon, Amy, it's all you now. you can do it. With a huge effort, Amy frees herself from the dashboard and reaches for Jeff's outstretched hand just as - PETERBILT comes free from the rebar! AMY takes hold of Jeff's hand. PETERBILT plummets into the canyon! RED screams! PETERBILT seems to fall forever. before landing with a huge EXPLOSION! ON BRIDGE Jeff and Amy fall backward on the road. Down below, secondary EXPLOSIONS rock the canyon. Jeff takes Amy in his arms. AMY Do n't let me go, Jeff. JEFF I wo n't, baby. I wo n't ever let you go. He looks into her eyes. Their lips meet in a kiss and we -",
"EXT. RED'S HOUSE - DAY Police cars and official vehicles are parked outside the house. RADIOS CHATTER. Yellow crime tape holds back onlookers and news reporters. Cops and evidence technicians work the scene. A criminalist photographs stolen property as it's carried out of the barn. A plainclothes FBI AGENT closes a cellphone and walks over to where Jeff and Amy are sitting at a picnic table. They are battered and bandaged. JEFF How's the sheriff? FBI AGENT Out of surgery. It looks like he's gon na make it. As for the wife and kid, she's not talking, he's being turned over to Protective Services. Jeff nods soberly. FBI AGENT We've got I.D. on the dead suspects. Turns out they were all licensed truckers. One of'em had a rap for check kiting. Otherwise they could've been model citizens. JEFF What about the leader? FBI AGENT Same thing. His real name's Warren Claney. Three speeding tickets in five years - apart from that, he's clean as a whistle. Amy watches as cops stack windshields outside the barn. AMY -LRB- dazed. -RRB- How could they do it? How could they treat it like a. business? FBI AGENT -LRB- shaking his head. -RRB- I do n't know. I've been doing this 15 years, I've never seen anything like it. It was simple, efficient and organized. They stayed on the move, spread it over a dozen states. As long as no witnesses survived, it's an untraceable crime. -LRB- looking at them. -RRB- You were just a couple of the lucky ones. Up ahead, a television news helicopter is landing on the road. A cameraman, reporter and producer hurry over. Jeff watches the news crew, a bemused expression. It seems like a million years ago. The FBI Agent shakes his head, disdainful. FBI -LRB- re : media. -RRB- C'mon - let's get you folks out of here before things really get hairy. He escorts them to a waiting sedan. As they climb in, Jeff looks back over his shoulder, surveying the scene one last time. He gets in and the car pulls away just as the frenzied news crew arrives, mikes and cameras at the ready, running alongside the departing sedan, shouting questions. Through the rear window, we see Jeff putting his arm around Amy, pulling her close as we hear : AMY Promise me one thing. JEFF Name it. AMY Next time. we fly.",
"EXT. HOUSE - AERIAL - DAY Over this last line, the sedan drives away, and we CLIMB HIGHER and HIGHER AWAY FROM the bristling crime scene until the ranch house is just one in a town of modest houses and the pink desert floor spreads out endlessly in every direction. FADE OUT. THE END"
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] | Jeff Taylor and his wife Amy drive cross-country from Boston to San Diego in their new Jeep. Jeff narrowly avoids colliding with a beat-up truck. Later, at a gas station, Earl, the truck's driver, confronts Jeff and they exchange hostile words. Shortly after the couple resume their journey, their car breaks down on a vacant road. Leaving Jeff with the Jeep, Amy accepts a ride from a passing big rig trucker to get to a nearby diner and call for help. Jeff eventually discovers that someone has tampered with the Jeep's battery connections. After reconnecting them, he drives to the diner, only to discover that no one has seen Amy. When he sees the trucker on the road and forces him to stop, the trucker claims he has never seen Jeff or Amy. Jeff then hails a passing sheriff named Boyd, but a brief search of the truck yields no sign of Amy. The trucker, Red Barr, is let go and Jeff is instructed by Boyd to see his deputy in the town of Brackett. After speaking with the deputy, Jeff goes back to the diner. Billy, a mentally-impaired mechanic, informs Jeff that Amy left with some men, but refuses to speak with the police, claiming they are involved. Jeff rushes to the location Billy mentioned, but is ambushed on a back road by Earl. He escapes by driving his Jeep into a river, then circles back on foot to watch his attackers salvage the Jeep from the river. He is then discovered and knocked out by Billy. When Jeff wakes up, he is confronted by Billy (who feigned mental impairment earlier), Earl, and another accomplice named Al. Their leader is none other than Red Barr, who informs Jeff that he wants the $90,000 in Jeff's bank account and orders him to withdraw the money in the nearby town of Brackett in exchange for Amy's life. Realizing he has only a fraction of the assumed amount, Jeff attempts to alert the bank manager to his plight. However, paranoid that Red's group is keeping an eye on him, Jeff abandons the idea and steals marked money ribbons and a letter opener. He uses the money ribbons to pack stacks of $1 bills between two $100 bills. Jeff is then instructed to leave town, where Earl picks him up and binds him with duct tape. Earl begins gloating about how Jeff and his wife were easy targets, how he tampered with their Jeep and that his group intends to kill them anyway. Jeff cuts himself free with the letter opener and stabs Earl. After a brief struggle, Jeff takes over the vehicle, binds Earl, and tortures him to reveal his rendezvous with Red at a local truck stop. They pass Boyd, who sees the speeding, swerving pickup and stops the vehicle. When Jeff exits the truck with Earl's gun, Boyd mistakes the situation and forces him to lie down. Earl frees himself and shoots Boyd with a concealed gun. Before Earl can shoot Jeff, a wounded Boyd shoots and kills him. Jeff uses Boyd's radio to call for an ambulance and rushes to the truck stop. At the stop, Jeff sees Red and stows away under his truck. Early the next morning, Red arrives at his farm. Jeff sneaks into the barn, discovering evidence that Red has a history robbing and killing people and that his real name is Warren. Al and Billy arrive with a bound and gagged Amy, and the three lock her in a freezer in the barn's cellar, leaving her to die. Unable to open the cellar door, Jeff finds a gun and demands the cellar key from Red. When he is distracted by Red's son, Billy escapes. Jeff forces Al, Red, his wife, and his son to release Amy, then locks them in the cellar. Jeff and Amy steal a pickup and flee, while Billy returns to free Red and Al, who each pursue the Taylors in their own vehicles. During the pursuit, Billy is killed when his car explodes after Jeff forces his car off the road. Shortly after, the trailer from Red's truck detaches, causing Al to violently crash into it. Undeterred, Red attempts to force Jeff and Amy's vehicle off a bridge, trapping Amy's leg underneath the dashboard. Jeff rushes out of the vehicle and into Red's big rig, where a struggle over the steering wheel forces Red's truck over the edge, leaving it dangling on a steel bridge support. Jeff fights Red on the suspended big rig, eventually hurling him to the rocks below. Jeff frees Amy from the dashboard. Seeing that Red survived the fall, Amy pulls the automatic shifter on their pickup, causing the semi to fall on Red and crush him. Sitting on the edge of the bridge beside their mangled pickup, Jeff and Amy embrace each other. | Breakdown_(film) |
[
"EXT. ROXBURY STREET - THE WAR YEARS - DAY It is a bright sunny day on a crowded street on the black side of Boston. PEOPLE and KIDS are busy with their own things. SHORTY bops his way down the street. He is a runty, very dark young man of 21 with a mission and a smile on his face. He wears the flamboyant style of the time : the whole zoot - suit, pegged legs and a wide brim hat with a white feather stuck in the hat band.",
"EXT. STREET - DAY FOLLOW SHOT. Shorty dodges through the crowd with his packages. His smile is one of anticipation. He nods to a PAL without stopping ; eyes a COUPLE OF CHICKS dancing on the street, but is not dissuaded.",
"INT. BARBER SHOP - DAY Shorty has his jacket and hat off, his sleeves rolled up. He is like a surgeon preparing for an operation. His equipment is spread out on a table : can of lye, large mason jar, wooden stirring spoon, knife, the eggs. His actions have the character of a ritual : each thing being done just so, in time - honored fashion. He slices the potatoes and drops the thin slices into the mason jar. He adds water and makes a paste of the starch. Behind Shorty is a spirited barbershop conversation. ONE MAN is getting a haircut ; TWO OTHERS are watching -LRB- TOOMER, JASON -RRB- one of them from behind a newspaper. A middle - aged barber, CHOLLY, is doing most of the talking. CHOLLY After I hit the number that woman was n't no good to me at all. The men laugh. ANGLE - Shorty pries open the can of lye, whiffs it. It's good and strong. He pours some in the mason jar, stirring with the wooden spoon. He cracks the eggs into the mixture and stirs. He waits as fumes rise and feels the outside of the jar as it gets hot. ANOTHER ANGLE - The barbershop SEEN from a door, slightly ajar. A woolly head, entirely in shadow, peers out. CHOLLY'S VOICE She says I'm cheap cuz I wo n't cop her a diamond ring. Had the indignation to call me a cheap black sunovabitch to boot. TOOMER And when a black woman call you a cheap black sunovabitch you've been called a cheap black sunovabitch. Cholly is annoyed. It's _ his _ story. CHOLLY Will you let me tell it? ON SHORTY - He opens the bulky package he has been carrying, unfolds a large rubber apron and gets into it. Now he dons a pair of rubber gloves. SHORTY Where's Homeboy? He is all ready ; one of his hands is filled with a huge glob of Vaseline. His manner is indignant as if he were asking the whereabouts of an exasperating child. CHOLLY Red's in the head, man. TOOMER You mean hiding in the head. CHOLLY Hey, Red. Your man's here and waiting on you. His hands full, Cholly opens the door with his feet and MALCOLM comes out, a big, gawky, bright - faced country boy, wearing downhome clothes and an expression of apprehension. TOOMER Gon na get that first conk laid on, hunh, Homeboy? CHOLLY Man, do n't scare him more than he's scared already. Ai n't too bad. Malcolm allows himself to be led to an empty chair, where Cholly drapes him with a double sheet, tucking it tightly around his neck and adding a protective collar of paper. CHOLLY Like anything else. First time a chick gets her cherry popped, she might put up a little fight. But pretty soon you ca n't give her enough. Right, Homeboy? CLOSE - MALCOLM Malcolm gulps, his eyes on the fuming mason jar. Shorty starts massaging a great quantity of Vaseline into Malcolm's scalp, covering his neck and ears as well. All the men have gathered around, involved in the ritual. For Malcolm it is closer to being a kind of execution. CHOLLY Git his forehead and eyebrows. SHORTY I know what I'm doing. Shorty applies the Vaseline to that area. Now he brings over the steaming jar and places it nearby. SHORTY -LRB- contd. -RRB- Listen. You pull my coat if it's still stinging when I get through'cause this shit can burn a hole through cement. CHOLLY Hold tight, baby, and keep your eyes shut. Malcolm nods his head, clenches his eyes and grits his teeth. Shorty applies the congolene with a comb, working it into Malcolm's hair. CLOSE - MALCOLM MALCOLM I thought you said it was gon na sting. this ai n't nothin'. For a moment nothing happens, then the heat hits him. He yells, tries to catch his breath : his head is on fire. MALCOLM -LRB- contd. -RRB- You motherfucker. You're killing me. I'm burning up. My damn head is on fire. He nearly leaps out of the chair, but the barber restrains him. Shorty, utterly unmoved by the outburst, continues working the congolene into his hair. Malcolm breaks out of the chair wildly. But the three men drag him to a basin where Shorty has attached the shower spray. His cries filling the room, Malcolm is ducked under the spray. Shorty starts rinsing out his hair. SHORTY Do n't fight me, man. Let me git it out. Malcolm is a little relieved, he tentatively opens his eyes, then he feels the congolene again and there is another outburst. Shorty forces his head under the spray, spurts the water all over his head, wetting Malcolm and the shop in the process.",
"INT. CLOTHING STORE - DAY SHORTY Well, Homeboy, you almost there. Turn around. Shorty is supervising as Malcolm tries on a zoot suit. He slips into the jacket. Shoes - off, Malcolm steps into the tight - fltting peg - legged pants. dons a wide - brimmed hat with a bright blue feather. Finally, fully outfitted, he leans forward toward his new image in the full - length mirror, twirling a long, dangling key chain. SHORTY Well, all right, then. MALCOLM Well, all reet, then. The transformation is complete. The two laugh and slap hands.",
"EXT. ROXBURY STREET - DAY Malcolm and Shorty come strutting down the street : two conked, zoot - suited sharpies. Hometown boy has departed. And the CHICKS on the street notice them, especially Malcolm, the taller of the two, the lighter - skinned, the more dominant. They walk imperiously past, fully aware of their impact. CLOSE SHOT - MALCOLM FREEZE FRAME. He becomes a STILL. VOICE OF MALCOLM X When my mother was pregnant with me, she told me later, a party of Klansmen on horseback surrounded our house in Omaha. ANGLE. KLAN on horses in front of house. VOICE OF MALCOLM X -LRB- contd. -RRB- They brandished guns and shouted for my father to come out. My mother went to the door where they could see her pregnant condition. ANGLE. A pregnant Louise Little on porch. VOICE OF MALCOLM X -LRB- contd. -RRB- and told them my father was in Milwaukee, preaching. ANGLE. The Klan breaks all the windows in the house then rides off into the glorious D.W. Griffith _ Birth of a Nation _ moonlit night. CLOSE - LOUISE LITTLE VOICE OF MALCOLM X -LRB- contd. -RRB- The hooded Klansman said the good, white Christians would not stand for his troublemaking, and to get out of town. ANGLE. The terrified Little children look out a broken window at their mother. ANGLE. AN OLD FRAME HOUSE IN OMAHA VOICE OF MALCOLM X -LRB- contd. -RRB- They broke every window with their rifle butts before riding off into the night, their torches flaming. ANGLE. FRONT PORCH OF THE LITTLE HOUSE - AN EMPTY ROCKER ON IT VOICE OF MALCOLM X -LRB- contd. -RRB- My father was not a frightened Negro as most were then and as many still are today. He was six feet four and very black. CLOSE - EARL LITTLE He looks directly into the camera, wearing a Baptist Minister's robe. VOICE OF MALCOLM X -LRB- contd. -RRB- and had a glass eye. He believed, as did Marcus Garvey, that freedom, independence and self - respect could never be achieved by the Negro in America. CLOSE - EARL LITTLE He wears a Garvey hat, ornate with gold braid. VOICE OF MALCOLM X -LRB- contd. -RRB- that, therefore, black men should leave America and return to the land of their origin. ANGLE. Earl Little, in a wagon with little Malcolm. VOICE OF MALCOLM X -LRB- contd. -RRB- My father dedicated his life to his beliefs because he had seen four of his six brothers die violently. WIDER ANGLE. WE SEE Earl in front of a podium in church. He is preaching. VOICE OF MALCOLM X -LRB- contd. -RRB- three killed by white men and one lynched. There are nine children in our family. ANGLE. The nine Little children. CLOSE - LOUISE LITTLE She is a pretty, mature woman and white - looking. VOICE OF MALCOLM X -LRB- contd. -RRB- My mother was an attractive woman, an educated woman, a strong woman. CLOSE - LOUISE AND EARL A posed wedding picture, serious but sweet. VOICE OF MALCOLM X -LRB- contd. -RRB- She was very light, her mama was raped by a white man. One of the reasons she married my father was because he was so black, she disliked her complexion and wanted her children to have some color. CLOSE SHOT Flash bulb of camera flashes.",
"INT. ROSELAND STATE BALLROOM - NIGHT CLOSE - MALCOLM AND SHORTY They both were posed for a picture. The music `` FLYING HOME'' is blaring as LIONEL HAMPTON and his band is killing. The music is WILD, the dancing is frantic, the clothes are OUT, and the crowd is predominately BLACK, although there is a peppering of WHITES, especially white chicks. And Malcolm is a little bug - eyed as he nudges Shorty, watching mixed couples on the floor. A BOY in extreme zoot - suit flips him ; a WHITE GIRL in long blond hair wigs him. Malcolm is a little open - mouthed. A VOICE SHOWTIME, SHOWTIME! ANGLE - THE BALLROOM - NIGHT People start moving off the floor, making room for the dancers. The music begins to get faster and more furious. CLOSE - HAMPTON'S BAND - NIGHT It is a fast Lindy. People start clapping to the beat as they form a U around the DANCERS, with the band at the open end.",
"INT. THE DANCE FLOOR TWO COUPLES are on the floor, dancing wildly. They are quickly joined by a half dozen OTHERS. These are the best dancers and constitute the main event of a Saturday night black dance. People crowd and push to get better vantage points and the competition is under way. ANGLE ON THE CROWD It is dominantly black, but there are some whites in the audience, mostly women. One is SOPHIA, a spectacular blonde with a degree of refinement, something of a thrill - seeker. Many of the men try to catch her eye, but for the moment Sophia is just watching, looking for no one in particular, but nonetheless looking. ANGLE : - COUPLE ON THE DANCE FLOOR Getting ready to enter the fray, the GIRL takes off her shoes and bounces out on the floor barefoot with her partner. Their advent is greeted with cheers and ad libs. Clearly the crowd has its favorites. WIDER SHOT The music gets faster and the dancing takes on a more frantic and more remarkable quality. FOLLOW SHOT - MALCOLM He is looking for his partner, the girl he brought and now he sees her. He makes his way through the watching audience. CLOSE - LAURA She is a fine chick, cool and beautiful. She smiles as she sees Malcolm approaching. TWO - SHOT. Laura and Malcolm stand together, delighted to be with one another, starting to move to the music, as they watch the dancers. MALCOLM Come on, baby, let's show'em how. Laura smiles shyly ; she's willing. MALCOLM -LRB- contd. -RRB- You better get out of them shoes, girl. Laura laughs, goes quickly to a bench and changes into a pair of sneakers.",
"INT. THE DANCE FLOOR Because of the competition, Laura and Malcolm begin at high speed. In a moment they are executing the most intricate steps of the `` flapping eagle'' and the `` kangaroo.'' Malcolm starts boosting her over and around his hips, then boosting her over his shoulders. Laura is the perfect partner. She loves it. ANGLE WITH THE CROWD So does the crowd, who loves new stars. There are ad lib remarks : `` Go, man, go.'' `` Hey, Red.'' `` Mmmmmm ummm.'' ANGLE : - SHORTY A big, fat, hefty BLACK WOMAN takes Shorty out to the dance floor, and she takes the lead. As they do the Lindy she is slinging Shorty around like a rag doll. This woman slides him through her legs and Shorty has had enough, he runs off the dance floor, and hides. TWO - SHOT. Laura and Malcolm are, in the phrase, cooking on all burners now ; and when they execute an especially intricate step, even Hamp waves over. Malcolm is sweating and flushed and enormously elated. He sees that people are watching him, goading him on. He notices that Sophia, in particular, has not taken her eyes off him ; she is clapping in time to his steps. Seeing new stars in the making, the other dancers move to the side of the floor, marking time, yielding the dance floor to them. Laura and Malcolm go into a solo. ANGLES The crowd loves it. Malcolm and Sophia are very aware of each other. The finale is the classic drag, with Laura hanging limp around Malcolm's neck as he capers off the dance floor to the spontaneous applause of the audience. CLOSE SHOT - SOPHIA -LRB- SLO - MO -RRB- Clapping enthusiastically - in open admiration. CLOSE SHOT - SHORTY Waiting to catch them as they come off. Shorty is whistling and shaking his hand appreciatively. He is also looking out for his dance partner. SHORTY Hey, man, gim me some skin. MALCOLM Shorty, this is Laura. Laura is flushed and out of breath and joyous. LAURA ` Lo. I've got to freshen up. MALCOLM Now you come back. Laura laughs as she goes. She surely will be back. SHORTY That's a fine chick. MALCOLM Fine as May wine. SHORTY Except she live on the hill and got a grandma. MALCOLM Make it too easy and it ai n't no fun. Then his vision catches Sophia, who is approaching him. She makes a simple, direct gesture, `` Want to dance?'' Malcolm eyes Shorty and wordlessly glides into Sophia's arms. ANGLE - THE DANCE FLOOR Immediately from the glances of the other men at the dance, he is the cynosure of all eyes. He has new status. It's a heady feeling because she is the first white girl he has ever been with socially who is not an obvious whore. He begins to show off a little, cuts a few fine steps. TWO - SHOT. They are dancing closer than before. Sophia begins to rock his black world. CLOSE - MALCOLM Trying to play it cool - but he is beginning to pant. Not from the dancing, but from the situation : a gorgeous white chick asking for it. SOPHIA Why do n't you take your little girl home, Red, and come on back? He stops in his tracks. He ca n't believe it. SOPHIA -LRB- contd. -RRB- Just walk. Do n't run. It'll be here when you get back. He can only grin.",
"EXT. LAURA'S HOUSE - ROXBURY - NIGHT The porch of a respectable house. Malcolm with Laura ; he anxious to get away. MALCOLM I better not come in. LAURA I ai n't stupid. MALCOLM I mean it's late, baby. LAURA I know where you're going. MALCOLM I'm going to bed. I got ta work tomorrow, need my rest. Laura walks to the door. MALCOLM -LRB- contd. -RRB- Baby, I'll call you tomorrow. LAURA What for? I ai n't white and I do n't put out. The front door opens, it's Laura's grandmother, MRS. JOHNSON. MALCOLM ` Night, Mrs. Johnson. He runs down the porch steps.",
"INT. SOPHIA'S CAR - NIGHT The lone light emits from the car radio which plays The Inkspots' `` IF I DID N'T CARE.'' ANGLE - SOPHIA Sophia pulls her tight sweater over her head to expose two full ripe white breasts. Malcolm's eyes are popping out of his head. NOTE : It's very unusual for women not to wear a bra back in that day but you might say Sophia was way ahead of her time. SOPHIA Malcolm, look at them. Have you ever seen white breasts like these? CLOSE - MALCOLM He shakes his head. SOPHIA -LRB- contd. -RRB- Put your black hands on them. He is paralyzed. SOPHIA -LRB- contd. -RRB- Please do as I say. Malcolm mumbles something. He then kisses Sophia as if his black life depended on it and he commences to kill it. SOPHIA -LRB- contd. -RRB- Hey, baby. She stops him for a moment, but he buries his head in her long neck. SOPHIA -LRB- contd. -RRB- Am I the first white woman you've been with? She already knows the answer. He laughs. MALCOLM Sheeet, you ai n't. I had aplenty. SOPHIA That is n't a whore? Knowing she's right, Sophia becomes the aggressor. A beat - both panting - then Malcolm stops abruptly. He raises his hand to his face, then to Sophia's hand which is still caressing him. SOPHIA That's alright. Baby, take your time. Sophia's not going anywhere. I told you to walk, do n't run. MALCOLM Shhhh! I do n't like women that talk. CLOSE - SOPHIA She shrugs, then moves to embrace him. SOPHIA Who wants to talk? The couple starts at it again.",
"INT. MOVIE THEATRE - DAY On the screen, Bogart and Cagney are blasting away the dirty, flat - footed coppers with machine guns. It's one of those great Warner Brothers gangster B movies, maybe _ The Roaring Twenties _. ANGLE - MALCOLM AND SHORTY Malcolm and Shorty sit, transfixed in their seats. MALCOLM Do n't you know, you ca n't hump the Bogart. SHORTY Eat lead, coppers.",
"EXT. BOSTON COMMONS - DAY A bright, sunny day, long shadows in the park. The Commons is almost empty. Two improbable zoot - suited blacks race past trees, and run over the grass. Malcolm and Shorty are playing Cops and Robbers while PASSERSBY stare. SHORTY Bang, bang. You're dead. MALCOLM Naw, you missed me, copper. Try this on for size. Malcolm fires an imaginary tommy machine gun at Shorty. SHORTY I forgot to tell you I'm wearing a bulletproof vest. MALCOLM The hell you are. SHORTY I'm tired of always playing the cops. I wan na be Bogart sometimes. MALCOLM You're too small to be Bogart. SHORTY I'm not too short to be Cagney. Shorty shoots Malcolm from behind. SHORTY -LRB- contd. -RRB- Pow. Take that. Malcolm acts as if he's been hit. MALCOLM Ahhh! You got me, you dirty, filthy, rotten, stinking copper, only a low - down yellow rat bastard would shoot a man in the back. Malcolm starts to stagger, this is a long drawn out Hollywood drawn - out death a la Cagney death in _ Public Enemy _. LOW ANGLE - MALCOLM Malcolm falls directly into the camera, face first, and Shorty stands over him. SHORTY He use to be a big shot.",
"EXT. THE TROLLEY TRACKS - NIGHT (REMEMBERED TIME) MATCH CUT CLOSE EARL LITTLE Earl Little's face is in the same exact position as Malcolm's from the previous scene. His mouth opens in terror as the moving trolley comes closer and closer to the black man lying on the tracks.",
"INT. A HEARING ROOM - DAY A room, clinically empty ; table, chair, and MR. HOLWAY. He is putting papers into his briefcase ; the hearing is concluded. LOUISE What you mean took his own life?! HOLWAY I'm sorry, ma'am. You heard the verdict. A man bash in the back of his head with a hammer, lay down on the tracks and kill himself! We merely act on the verdict. We do n't make them. He is nearly out the door. LOUISE Do you pay or do n't you? HOLWAY Read the policy, ma'am. It clearly states.",
"INT. SOPHIA'S APARTMENT - MORNING Malcolm lies in bed, naked under the sheet. A half - empty whiskey bottle and an ashtray full of butts are on the night table : last night's partying. SOPHIA You like'em scrambled soft or hard, sweetie? MALCOLM C'mere. WIDEN TO SHOW SOPHIA at the stove fixing eggs. She wears an apron and nothing else. It's a nicely furnished middle - class apartment. SOPHIA Sweetie, they're almost ready. MALCOLM You hear me, girl? She shrugs, shuts off the burner, smiles and ambles toward him. SOPHIA You the man. MALCOLM You better believe it. She starts to sit down on the bed next to him. MALCOLM -LRB- contd. -RRB- Sit over there. He points to a nearby chair. Sophia makes an amiable hand - shrug and complacently goes. SOPHIA You evil this morning. MALCOLM What's your story, baby? He does n't want to hear her ; he wants to talk. He goes right on : MALCOLM -LRB- contd. -RRB- You one of them white bitches ca n't get enough black dick. Is that what you are? Sophia smiles. She aims to please. Malcolm smacks the bed next to him. She gets up and comes over. MALCOLM -LRB- contd. -RRB- Take it off. She takes off the apron. MALCOLM -LRB- contd. -RRB- Now kiss my feet. Kiss'em! CLOSE - SOPHIA As Sophia bends to do so. MALCOLM Feed me. ANGLE. Sophia now has the scrambled eggs on a plate at Malcolm's side. She spoons some into his mouth. He chews and swallows slowly, then grabs her head and brings it to his. A long, brutal kiss. Then he pulls her head away by the hair. She looks at him : anything he wants. MALCOLM Yeah, girl ; that's your story. When you gon na holler `` rape,'' sister? SOPHIA Me? MALCOLM You will, baby - if the time come. SOPHIA Lem me feed you, sweetie, while they hot. Malcolm lays back on the pillow and she holds out the eggs to him. MALCOLM Sure wish your mama and papa could see you now. And that ofay you gon na marry.",
"EXT. A BEACH - BRIGHT SUNLIGHT - DAY Malcolm and Laura are on a deserted Cape beach. They are dressed but have their shoes and socks off, and he has his trousers rolled up. They walk, like birds, avoiding getting their feet wet as the waves roll in. LAURA Malcolm, you can be anything you want. You got class and you're smart. MALCOLM All them books you read and you still do n't know nuthin. LAURA I do know I love you. Laura stops him and moves to him. Her kiss is a tender one, exploratory. Then Malcolm responds, embracing her fully. Her arms go around him as they both drop into the sand. CLOSE - MALCOLM AND LAURA LAURA Oh, Malcolm, I love you. Please, there's no one around. Now? Malcolm turns his head from her, he gets up. MALCOLM Let's go. LAURA Why? Is it because of your white gal? Folks say you're running around town with her. MALCOLM Save it, baby. Save it for Mr. Right,'cause your grandma's smarter than ya think. She looks at him. LAURA She raised me, my mother died when I was six. Is your mother alive? MALCOLM Yeah, she's alive.",
"INT. DRUGSTORE - EVENING Laura is eating a banana split. Malcolm is smoking and drinking coffee. MALCOLM You know how dumb I was? I used to think that `` Not For Sale'' was a brand name. Laura looks over. She does n't understand.",
"INT. LITTLE KITCHEN - DAY Louise's hand reaches for a small sack of flour stamped `` Not For Sale.'' She brings it down on the table with a hard, controlled whap. MISS DUNNE'S VOICE I did knock. Louise does n't look up. LOUISE Did you hear me say come in? WIDEN TO SHOW Louise with a WHITE SOCIAL WORKER, MISS DUNNE complete with pad, pencil and goodwill. Huddled out of sight, but nonetheless visible, are five small BLACK CHILDREN. MISS DUNNE There's no point in fighting about it. I'm sorry. May I sit down? Louise is very aware of the children and struggling for self - possession. LOUISE As you nice enough to ask, we'll git you one. One of the children brings over a chair. Miss Dunne sets out her papers. MISS DUNNE It's the same questions, Mrs. Little. Since the death of your husband - LOUISE Murder. MISS DUNNE - there is a serious question as to whether - LOUISE These are my children. Mine. And they ai n't no question. None. MISS DUNNE I think sometimes, Mrs. Little, candor is the only kindness. PAN THE CHILDREN'S FACES MISS DUNNE -LRB- contd. -RRB- All of your children are delinquent, Mrs. Little, and one, at least, Malcolm is a thief. LOUISE Get out. MISS DUNNE -LRB- still sitting. -RRB- Your control over your children, therefore - LOUISE Did you hear me?! MISS DUNNE You'll regret this, Mrs. Little. LOUISE If you do n't move out through that door, you're going to be past all regretting. The terror - stricken children huddle together. FREEZE FRAME. It becomes a still. MALCOLM'S VOICE We were parceled out, all five of us. I went to this reform school and lived at this woman's house. She was in charge. A SMALL CLEAN ROOM WITH A COT, A CHAIR AND A BUREAU. MRS. SWERLIN -LRB- motherly, friendly. -RRB- This is your room, Malcolm. I know you'll keep it clean. A DINING ROOM TABLE. FIVE WHITE BOYS AROUND IT. MRS. SWERLIN This is Malcolm, our new guest. We'll treat him like a brother. A CLASSROOM. MALCOLM'S VOICE I was special. The only colored kid in class. I became a sort of mascot. Like a pink poodle. KIDS PLAYING IN THE SCHOOL YARD. MALCOLM'S VOICE I did n't know then that I was a nigger. MALCOLM PLAYING BASKETBALL. MALCOLM SPEAKING BEFORE HIS CLASS. MALCOLM DOING HOMEWORK. A HORSE HAVING ITS TEETH EXAMINED. MRS SWERLIN He's bright. MALCOLM'S VOICE They talked about me like CONTD MRS SWERLIN. -LRB- contd. -RRB- MALCOLM'S VOICE. -LRB- contd. -RRB- Good grades. I was n't there. Like I was some Fine athlete. kind of pedigreed dog or a horse. President of his class. Like I was invisible.",
"INT. OSTROWSKI'S CLASSROOM - DAY OSTROWSKI is talking to Malcolm, it's after school, the classroom is empty. OSTROWSKI The important thing is to be realistic. We all like you. You know that. But you're a nigger and a lawyer is no realistic goal for a nigger. MALCOLM But why, Mr. Ostrowski? I get the best grades. I'm the class president. I want to be a lawyer.",
"INT. THE DRUGSTORE - P.M. Laura and Malcolm. Neither is talking. She is simply watching him as he sips his coffee and puffs on a cigarette.",
"INT. OSTROWSKI'S CLASSROOM - DAY OSTROWSKI Think about something you can be. You're good with your hands. People would give you work. I would myself. Why do n't you become a carpenter? That's a good profession for a nigra. Was n't your pa a carpenter? Malcolm is silent. OSTROWSKI -LRB- contd. -RRB- Jesus was a carpenter.",
"INT. THE DRUGSTORE - P.M. CLOSE - LAURA LAURA It's not the end of the world, Malcolm.",
"EXT. A SIGN - BLINDING SUNLIGHT - DAY It reads `` KALAMAZOO STATE HOSPITAL FOR THE MENTALLY INSANE''",
"INT. A ROOM IN THE HOSPITAL - DAY The room is totally white and Louise sits in a white smock at a window in a rocking chair. CLOSE LOUISE As she rocks. LOUISE I said it just as plain, I said, do n't let them feed that boy no pig, because he got enough of the devil in him already. I told her she ai n't got no reason talk to me that way cuz' my hair blow in the wind. You want my skin. All right, I'll give it to you. I'll scrape it off. See how you like it. ANGLE - Louise starts to sing a Negro spiritual. CLOSE - MALCOLM He has been standing there in deep pain all along. THE SOUND OF A SPEEDING TRAIN IS HEARD.",
"EXT. THE YANKEE CLIPPER - DAY The crack train of the New York, New Haven & Hartford speeds through the New England countryside.",
"INT. GALLEY OF TRAIN - NIGHT THREE ELDERLY BLACK WAITERS and Malcolm wearing a sandwichman's uniform are crowded around a portable radio in the galley where food is prepared. The four stand around TULLY, a bland - faced personification of fine Pullman service. They are all listening to the JOE LOUIS - BILLY CONN heavyweight championship fight. TULLY Nigger, shut up so we can hear. MALCOLM C'mon, Joe. WAITER #1 Turn it up, Tully. TULLY It is up. Fool be quiet. WAITER #2 Tully, move the antenna. Tully turns some knobs. WAITER #3 This Mick is tough. TULLY Joe is just playing possum. He's waiting for an opening. The waiters are acting as if they are at ringside. RADIO ANNOUNCER A left jab to the jaw and a right cross, scored by Louis and Conn is hurt, as Louis rips a right to the jaw. Conn is staggering, but he wo n't go down. Conn bops a left hook, he's reeling around the ring. Louis hooks a left and a right to the jaw and Conn is down. The waiters are going crazy. RADIO ANNOUNCER He's taking the count, four, five, six, seven, he's on his back, eight, nine, he's getting up, no! The referee says it's over. The bout has stopped. The waiters are all jumping up and down when the galley door opens. MR. COOPER, the white man in charge of the kitchen, pops his head in. COOPER What in hell's going on? In a moment's notice Tully and the others have resumed their customary servient roles. TULLY Nothing, Mr. Cooper. COOPER Got a lot of hungry customers out there. TULLY Yes sir, Mr. Cooper, soup done finished. MALCOLM On my way, Mr. Charlie. Cooper eyes him narrowly. COOPER The name is Mr. Cooper and do n't you forget it. Mr. Cooper. RADIO ANNOUNCER The winner and still champion, Joe Louis, but what a fight Billy Conn gave.",
"INT. A PASSENGER TRAIN - DAY As Malcolm hefts his sandwich basket and a large container of coffee down the aisle, hawking as he goes. MALCOLM Get your good haaaam and cheeeeese sandwiches. I got coffee, I got cake and I got ice cream too. Right chere. ANGLE FAVORING A WHITE CUSTOMER, BLADES. BLADES Hey, boy. Gim me a cheese on white and coffee. Malcolm's mood is exuberant : the fight is still in his ears. He makes the delivery with a flourish and a smile. MALCOLM Yes, sir. Best in the house. BLADES You mighty pleased with yourself, boy. MALCOLM Yes, sir. I aims to please. BLADES I like you, boy. INSERT - FANTASY PROJECTION. Malcolm picks up a slab of cream pie and pushes it in Blades' face. BACK TO THE PASSENGER CAR Normality again : Malcolm finishes serving him with complete servility. He pulls out a bill. BLADES Keep the change. And takes a satisfying bite out of his thin sandwich.",
"EXT. THE RAILROAD TRACKS IN HARLEM - P.M. As the Clipper surfaces in Harlem, pulls up to the 125th Street station.",
"EXT. 125TH STREET STATION - P.M. Malcolm, out of uniform and dressed in his zoot suit, comes down from the Park Avenue station in Harlem. He is hit with the sights and sounds. Everything delights him : the noise, the lights, the women, the pimps, the signs, the windows, the crowds, the laughter, the music. ANGLE - CROWD A CROWD OF PEOPLE run by Malcolm yelling and screaming. CROWD The Brown Bomber, The Brown Bomber, Joe Louis, the heavyweight champion of the world. Joe got the belt back. Lawd have mercy. Great day in the morning. CLOSE - MALCOLM He runs after them.",
"EXT. 125TH AND LENOX AVENUE All traffic has stopped, there is a huge spontaneous celebration going on. Black folks are everywhere, it seems as if all of Harlem is out on the streets. The citizens of Harlem are hugging, kissing, drinking, dancing, folks are hanging from street lamps, yelling out their windows, holding up hand - made JOE LOUIS banners, everyone has great reason to be joyous. The heavyweight champion of the world is a BLACK MAN - JOE LOUIS, THE BROWN BOMBER, he has regained his championship. CLOSE : - MALCOLM Malcolm quickly looks at his watch, he's running late for his train, as he fights his way through the crowd like a salmon going upstream, the CAMERA CRANES up to see him eventually get lost in a sea of BLACK HUMANITY `` cutting loose.'' FADE OUT.",
"EXT. SEVENTH AVENUE - NIGHT Malcolm, newly conked and sharp as a tack -LRB- zoot suit, trouser crease like a knife's edge, orange knob - toed shoes -RRB- walks toward his goal : Small's Paradise. The street is crowded with PEOPLE, KIDS and HUSTLERS. YOUNG HOOKER Slow down, daddy, what's your hurry? Lem me show you somepin brand new. Malcolm smiles `` No thanks'' keeps moving. HUSTLER Hey, man, hundred - dollar ring - diamond ; and a ninety dollar watch. Take the both of them for a quarter ; twenty - five bucks. Malcolm waves ; he's not having any. Goes on.",
"EXT. SMALL'S PARADISE - NIGHT Before entering, Malcolm sharps himself a bit, picking off some lint, cocking his hat. And enters.",
"INT. SMALL'S PARADISE - NIGHT The restaurant is crowded, both at the bar and at the tables beyond. The immediate impression is of subdued well - being, of decorum, of easy affluence. This is the world Malcolm wants into. He digs it, drinking in its details. ANGLE - BAR A big man, FOX, accidentally bumps into Malcolm almost knocking over. MALCOLM The word is excuse me. FOX Look, country boy, you should n't have been in my way. Everyone becomes quiet in the bar. FOX -LRB- contd. -RRB- So what are you gon na do? Go run home to your Mama. Malcolm grabs a bottle off the bar counter and with lightning speed brings it crashing down on Fox's head. As he lays on the floor with head bleeding, Malcolm kicks him in the stomach _ two times _. It's done, the fight is over and people pull him off of Fox. MALCOLM Do n't ever again in life step on my Florsheims again, and never talk - bout my mother. ANGLE WITH MALCOLM AND THE BARTENDER MALCOLM Gim me a whiskey. BARTENDER pours him a double. MALCOLM I ordered a single, Jack. BARTENDER The double's on that gentleman. Jack! He points. ARCHIE AT THE TABLE - FROM MALCOLM'S POV The elderly man nods. He is big, he is very black. The same color as Malcolm's father. CLOSE - MALCOLM He raises his glass, toasts Archie and downs it. Then leaning into the bar, asks : MALCOLM Who is he, man? BARTENDER That's West Indian Archie. MALCOLM Whut's he do? The bartender would not normally answer this, but Malcolm is the man of the moment, so the bartender speaks : BARTENDER This and that. Malcolm nods, then looks over again at Archie - in appreciation. Archie wiggles a finger for him to come over. AT ARCHIE'S TABLE Malcolm is standing. ARCHIE Sit down. We ai n't fixing to eat you. You look brand new in town. Pretty handy with a bottle. MALCOLM He had it coming. Malcolm sits. There are no introductions. He just nods at SAMMY and CADILLAC. ARCHIE What they call you? MALCOLM Red, and I ai n't no punk. ARCHIE You better not be. Cause if a cat toe you down in this town, you better stand up or make tracks. SAMMY Man live by his rep. ARCHIE That's a fact. What you do, boy? MALCOLM I'm working trains. Selling. ARCHIE Bet you like that shit. MALCOLM Keeps me out of the army. ARCHIE When they want your ass, wo n't nothing keep you out. MALCOLM Not this boy. I ai n't fighting their war. I got my own. Right chere. Heard tell you're a good man to know. ARCHIE Heard where? MALCOLM Where I come from. Boston. Sammy and Cadillac are watching a little skeptically. Archie is flattered. ARCHIE Sombitch and I ai n't never been to Beantown. MALCOLM Man's rep travels. ARCHIE How ` bout that? Then seeing Sammy and Cadillac's dubious visages, Archie adds : ARCHIE -LRB- contd. -RRB- You ai n't bullshitting me, is you, boy? MALCOLM My papa taught me one thing : do n't never bullshit a West Indian bullshit artist. Archie laughs. Even Sammy smiles. Cadillac still holds his judgment. ARCHIE Is your papa West Indian? MALCOLM No, my mama. She's from Grenada. ARCHIE I like you, country. SAMMY Only where'd you get them goddam vines. CADILLAC And them shoes. Oh, my. ARCHIE Yeah, got to do something about you. SAMMY You putting a hurtin' on my vision. Sammy covers his eyes. Malcolm plays off the insults. MALCOLM Where can I get a hold of you? ARCHIE YOU ca n't. I'll get a hold of you. MALCOLM Lem me write it down for you. Malcolm reaches for a pencil. ARCHIE Do n't never write nothing down. File it up here, like I do. -LRB- touching his head. -RRB-'Cause if they ca n't find no paper they ai n't got no proof. Ya dig? MALCOLM Yes, sir. Archie looks at him sharply. ARCHIE Boy, look me in the face. Malcolm does so. ARCHIE -LRB- contd. -RRB- Did you just now con me? MALCOLM Yes, sir. ARCHIE Why? MALCOLM'Cause I want in. And it do n't take a lot to know you there, daddy. Archie and Sammy laugh at his directness. Cadillac smiles. Archie pushes back his chair, about to get up. ARCHIE I got me a little run to make. Malcolm has suddenly been excluded and he wants desperately back in. MALCOLM Can I run with you, Mr. Archie? Archie eyes him, weighing him seriously. ARCHIE I like your heart and I like your style. You might just do, Little. Lessen you got to git back to that train job. MALCOLM I done told the man what he could do with his train. ARCHIE When? MALCOLM Just now. The three established hustlers smile at the newcomer in their midst. ARCHIE Come on, baby. We going shopping.",
"INT. ARCHIE'S ROOM - NIGHT Malcolm is looking at himself in a mirror in Archie's room. He has on the full outfit now, together with a new white on white shirt and a Sulka tie. Looks great. ARCHIE Just the middle button, baby. Just the middle one. Malcolm buttons the jacket and turns around, demonstrating for Archie's inspection. ARCHIE -LRB- contd. -RRB- You looking good, Little. Real clean. Clean as the Board of Health. But you missing something. MALCOLM What? ARCHIE Frisk me, baby. Give me a real pat down. Malcolm does n't understand, but he senses something - and becomes excited. Archie has walked over to him. ARCHIE -LRB- contd. -RRB- Go ahead. Do me. Malcolm frisks him carefully : pats his sides, his pockets, under his arms, his legs. Archie is clean to the touch. ARCHIE -LRB- contd. -RRB- -LRB- triumphantly. -RRB- And I'm still carrying. He smacks the small of his back. Then, reaching under his coat, he takes a revolver out from the middle of his back. And hands it to Malcolm. CLOSE - MALCOLM Holding the deadly instrument, fascinated by it, hefting it, feeling its power. ARCHIE It's yours, baby. Put it on. Malcolm slips it carefully into the small of his back, behind his trouser belt. His first gun : the feeling shines in his eyes, Bogart has become a black man. ARCHIE -LRB- contd. -RRB- How's it feel? MALCOLM Solid, daddy. ARCHIE Okay, baby. Now you outfitted. You ready to tackle the street? MALCOLM Let'em come. I'm ready.",
"INT/EXT. VARIOUS LOCATIONS - SERIES OF CLOSE SHOTS A FIVE DOLLAR BILL. CAMERA GOES IN for the last three digits. STOCK MARKET BOARD at the end of a day's trading. GO IN for the last three numbers. PREACHER in a pulpit, reading from the Bible. PREACHER Let us turn to the Gospel according to St. John. Chapter 3, Verse 83. A VOICE 3, 8, 3. Malcolm scribbles the number onto a piece of paper. A CASH REGISTER Ringing up an amount : $ 2.98. A VOICE 2, 9, 8. Malcolm's hand writes out the number. CLOSE - TRAIN TERMINAL SIGN It reads `` New York to Chicago.'' PAN DOWN TO SHOW `` Train arrives 1:05.'' VOICE 1, 0, 5. Archie with Malcolm as the latter writes down `` 1, 0, 5.'' ARCHIE I told you less paper, less trouble. MALCOLM I'm working on it. ARCHIE I keep all my numbers in my head. I've never written any down. He taps his head. CLOSE - FACE OF AN ELDERLY WOMAN ELDERLY WOMAN I saw it in my dream. 5, 5, 5. And last week my sister had a dream and she hit. CLOSE - FACE OF AN ELDERLY BARBER BARBER I got it from Ching Chow. It got to be 2, 5, 1.",
"INT. MOVIE THEATRE - NIGHT CLOSE - MALCOLM WE ARE TIGHT ON Malcolm's intense face, he is pulling on a fat joint. We hear BOGART blasting his way out of a police blockade. A phone rings.",
"INT. ARCHIE'S ROOM - NIGHT There is music playing. Wordlessly, Archie sprinkles a few grains of fine crystal onto a round shaving mirror. He slides it across a table to Malcolm and hands him a short straw. Sophia sits next to Malcolm ; she and Archie are already high. Malcolm leans over the mirror, placing the straw in his nostril. TIGHT CLOSE SHOT - MALCOLM'S FACE In the mirror -LRB- something satanic about him -RRB- - as he sniffs the cocaine well into his nose. A beat as he leans back waiting for the drug to take hold, Malcolm looks into dressing mirror. ARCHIE It hit? MALCOLM Nnnnnnn! Malcolm with gun in hand does his Bogart gangster imitation. ARCHIE Ai n't nuthin' in the world to give you that real deep cool. Like girl. You there? MALCOLM I'm there, daddy. Wheww. I'm cool enough to kill. ARCHIE Bet you are. CLOSE - MALCOLM FREEZE FRAME SOPHIA'S VOICE Malcolm, you're so funny. She continues to laugh. BACK TO REAL TIME. MALCOLM You got any money. Before Sophia can answer he grabs her pocketbook, dumping all the contents on the floor but the dough. SOPHIA Baby, I was gon na give it to you. MALCOLM Well, bitch you move too slow. ARCHIE Sometimes you got a big ugly mouth. MALCOLM Yeah, and I'm putting my money where my ugly mouth is. I'm putting you back in the numbers right now. -LRB- to Sophia. -RRB- Baby, what's today? Sophia is not sure of this, or anything else. SOPHIA August 2nd. I think. Yeah. She laughs at her achievement. MALCOLM Daddy, put me down for a combination. Combinate me, daddy : 8, 2, 1. You got me? 8, 1, 2 ; 1, 8, 2. With each number he throws a bill at Archie. MALCOLM -LRB- contd. -RRB- 1, 2, 8 ; 2, 8, 1. I git'em all? ARCHIE -LRB- angrily taking the money. -RRB- I'll take your goddam bet. Malcolm slides his tongue down Sophia's throat.",
"EXT. SMALL'S PARADISE - NIGHT A miserable night, raining and cold. Malcolm turns into the bar.",
"INT. THE BAR - NIGHT Shaking off the rain as Malcolm walks through. He is now a familiar figure to the bar's DENIZENS. He is met with ad lib cries : `` Hey, Little,'' `` Have a taste,'' from the men ; and from the women : `` Come here, sugar,'' `` Where you been?'' Malcolm acknowledges the greetings, strolls down in the bar. It's immediately clear that a subtle change has come over him. He is no longer the neophyte but a well - groomed, smooth, fully polished hustler. ANGLE - BOOTH Malcolm sits into the booth and motions for the waitress. ANGLE - HONEY A fine copper tan waitress comes to him. HONEY I thought you said we were going to the movies last night. MALCOLM I say a lot of things. HONEY And like a fool I believe it. MALCOLM Do your job, Get me a bourbon on the rocks and a pack of Lucky's. Honey stares at him. MALCOLM -LRB- contd. -RRB- I said now. She leaves. He leans his head back against the booth - A FEMALE VOICE Daniel come in yet, Honey? Malcolm turns his head sharply at the sound of the voice. It's familiar, a sound from the seemingly distant past. He looks toward the bar and sees the women who asked the question. LAURA - MALCOLM'S POV It's Laura, but not the Laura we last saw. She is still young, still vulnerable, but she is bolder, more self - assured, more vividly dressed. She is unaware of Malcolm. HONEY Ai n't that him now? ANGLE FAVORING DANIEL. He is a young, cocky, nervous, gingerbread colored boy who comes over to her quickly. He goes to the corner of the bar and quickly grabs Laura's neck and kisses her hungrily. DANIEL Hey, gorgeous, how you been? Waiting long? Lem me see you. Wow! It's obvious he's a junkie. And in need of a fix. QUICK! SHOT - MALCOLM Honey places his drink and cigarettes before him. He's watching, taking it all in immediately. Laura is clearly crazy about Daniel. CLOSE - MALCOLM He looks, then belts down his drink. CLOSER - LAURA AND DANIEL Daniel motions to her pocketbook and she takes out a five - dollar bill. He grabs it, and bolts for the door. WITH MALCOLM AND HONEY She has been watching Malcolm. HONEY You know that gal? MALCOLM Mind your own goddamn business. She comes in a lot? HONEY ` Bout every other night, Red. MALCOLM With him? Honey nods. MALCOLM -LRB- contd. -RRB- She know? HONEY If she got eyes, she do. ANGLE - LAURA Walking toward the door, looking for Daniel. She leaves the bar. CLOSE - MALCOLM AND HONEY MALCOLM Is she hooking? HONEY Not yet. But the way things going, that boy gon na turn her out any day. Malcolm smacks the table in frustration. HONEY -LRB- contd. -RRB- You stuck on her? CLOSE - GLASS Malcolm's glass on the table is trembling. MALCOLM Shut up, bitch. He raises his arm to hit her and it is held back before it can find its mark. ARCHIE Do n't do that. Archie is standing above him. Malcolm nods, and Archie lets his arm go ; standing next to him is Sophia. ARCHIE -LRB- contd. -RRB- Honey, he did n't mean it. Archie wiggles his fingers and Honey goes, but not before throwing daggers at Malcolm and Sophia. Archie sits down, takes out a cigar. For a good beat there is a coolness between them. Then Malcolm reaches over and lights Archie's cigar. Sophia stares at her man, he then motions for her to sit down beside him. ARCHIE -LRB- contd. -RRB- Thanks. You got it. Who's beating on you, Red? You looking a little up tight. The father - son thing is back, but Malcolm will never again be the student. MALCOLM Daddy, where's my money? ARCHIE What you talking? MALCOLM You owe me six big ones. Archie looks at him, non - comprehending. MALCOLM 1, 2, 8 hit, did n't it? ARCHIE You di n't have no 1, 2, 8. MALCOLM Was you that high? Old man, I threw the slats at you. I said to combinate me. ARCHIE You never had it. MALCOLM The bitch was there. Archie does n't even look at Sophia. ARCHIE Shit, what else she gon na say? MALCOLM Then skip it, man. But you slipping, baby. You done slipped. Archie is controlling himself. Everyone in Small's is all ears, a falling out between Malcolm and Archie - their reps are at stake. ANGLE. Archie looks at Sammy. Sammy is neutral. Archie digs in his pockets, comes up with a roll. He peels off six $ 100 bills and throws them on the table in front of himself, as he gets up. MALCOLM Oh, sit down, man. What you tasting? I'm buying. ARCHIE I ai n't drinking hot piss with you. Come on, Sam. SAMMY Be right there. Archie goes. SAMMY -LRB- contd. -RRB- Twenty - two years he did n't never forget no number. MALCOLM Got to be a first time, daddy - o. SAMMY He gon na, check the collector he turn into. His rep is on the line, boy, and so's yours. If you lying, one of you is dead. MALCOLM Ai n't gon na be this mother. Sammy goes. MALCOLM -LRB- contd. -RRB- Come on, sweetlips, I got us some g - i - r - l, girl. Let's you and me fly.",
"EXT. ONYX CLUB - NIGHT The well - known 52nd Street nightspot features Billie Holiday. A stand - up cutout of her is outside.",
"INT. ONYX CLUB - NIGHT This is a plush nightclub, with a mixed black and white AUDIENCE. Some of the hustlers from Small's are in evidence. CLOSE - BILLIE Lady Day starts into `` YOU DO N'T KNOW WHAT LOVE IS.'' ANGLE - TABLE Malcolm and Sophia high as a kite and on the town. CLOSE - ARCHIE He makes his way toward Malcolm's table. There is murder in his eyes. ANGLE - TABLE ARCHIE You're a damn liar. CLOSE - ARCHIE ARCHIE -LRB- contd. -RRB- You _ took _ me, you bastard, and now I'm taking you. ANGLE - TABLE MALCOLM It's me or you, ai n't it, Pops? ARCHIE You know it. MALCOLM I'll give you back the 600. ARCHIE I do n't want your money. MALCOLM I'm wearing, Archie. ARCHIE There's two guns on you. His eyes gesture. Malcolm looks : MALCOLM'S P0V Sammy at the nearby bar : his hand in his coat pocket. CLOSE - ARCHIE His hand is also in his pocket. MALCOLM And every cat's watching, ai n't they? It's a toe - down. ARCHIE That's what it is. Walk on out. MALCOLM Let Billie finish. ARCHIE Now. Archie backs away from the table, his gun on Malcolm. ANGLE. As Sammy moves a step toward Malcolm, Malcolm rises in his seat. SOPHIA You had the number. MALCOLM Baby, I got to let this old man win. Keep the faith, and tell Billie I'll see her later. CLOSE - BILLIE She knows what's going on. ANGLE - Sammy and Archie are walking behind Malcolm, when he pushes a waitress into their path with drinks flying everywhere, Malcolm darts away.",
"INT. ENTRANCE TO THE TOILET He races into the men's room. ANGLE. Archie and Sammy run after him.",
"INT. MEN'S ROOM - NIGHT There is an open window. Archie is leaning out, looking both ways.",
"EXT. OUTSIDE THE MEN'S ROOM WINDOW - NIGHT FROM ARCHIE'S POV A tiny alleyway. No one is visible. ARCHIE The dirty yellow rat bastard.",
"INT. MEN~S ROOM - NIGHT SAMMY Do n't push it. You way ahead. You back on top. That boy loves you, man. ARCHIE What you say? SAMMY He gave it to you, Archie. He did.",
"EXT. THE STREET - NIGHT Malcolm comes running out of an alleyway and onto the street. He stops to catch his breath, to regain his composure. He is shook up, frustrated, but mostly saddened. He then runs down the block and into a CLOSEUP.",
"INT. LITTLE HOUSE - LANSING MICHIGAN - NIGHT (REMEMBERED TIME) FINAL FLASHBACK CLOSE - EARL Earl is sitting up in bed, he wakes his sleeping wife Louise, next to her is a baby in a crib, another child. Malcolm sleeps between Earl and her. ANGLE - HOUSE Outside the house are 5 members of THE BLACK LEGION. They are dressed in the style of the KKK, but in black sheets rather than white. WE SEE gasoline cans being passed around. EARL Somebody out there. Wake the children. Earl starts to put on his overalls and reaches for his gun which sits on a nearby chair when an explosion of flames greets the house. EARL -LRB- contd. -RRB- Everybody out. OUT! OUT! Get the kids. ANGLE - CHILDREN'S BEDROOM Flames roar through the room and the Little kids are hysterical. Louise rushes in and pushes them past the fire, she has infant in hand covered in a blanket. CLOSE - EARL",
"EXT. HOUSE - NIGHT The entire house is in flames. The Little family stands in front of it, just out of harm's way. ANGLE - BLACK LEGION They sit on their horses watching the results of their work. CLOSE - BLACK LEGION LEADER BLACK LEGION LEADER Boy, good thing we're good Christians. Nigger, it's time for you to leave this town. CLOSE - EARL EARL This here is ` pose to be a free country. - BLACK LEGION LEADER BLACK LEGION LEADER Rev, we warned you ` bout that Garvey preaching, stirring up the good nigras here. Boy, next time you're a dead nigger. CLOSE - EARL EARL I ai n't a boy. I'm a man, and a real man do n't hide behind no bedsheets. Earl takes his pistol out from behind his back and fires above their heads. EARL -LRB- contd. -RRB- Take these here bullets for dem sheets. ANGLE - BLACK LEGION The bullets send the Black Legion flying into the glorious D.W. Griffith moonlit night. ANGLE - HOUSE The burning house collapses behind the Little family. ANGLE - EARL AND LOUISE LOUISE Earl, I know you a better shot than that. You shoulda killed'em all, shot'em dead. EARL Just wanted to scare'em, they wo n't be bothering us no more. CLOSE - YOUNG MALCOLM Young Malcolm stares at his father while the house still burns behind him, no doubt drawing on the great courage displayed by his father. EARL They wo n't be here no time soon. I'm a MAN!",
"EXT. STREET - LANSING - NIGHT (REMEMBERED TIME) It's raining cats and dogs and it's foggy. We hear a big thud, then a grunt and Earl Little falls across the trolley tracks, the sound of men running away is heard in the distance. ANGLE - A STREETCAR APPROACHES ANGLE - EARL ON TRACKS He has been beaten to a bloody pulp. ANGLE - CLOSER SHOT OF STREETCAR APPROACHING CLOSE - EARL He opens his one good eye. CLOSE - STREETCAR MOTORMAN He sees something ahead in the fog and rain. ANGLE - MOTORMAN'S POV CLOSE - HAND REACHES BRAKE LEVER CLOSE - STREETCAR WHEELS STOPPING, SPARKS FLY CLOSE - MOTORMAN Winces and then makes the Sign of the Cross. ANGLE - LONG SHOT OF PASSENGERS Jumping out of the streetcar to attend to Earl. PASSENGER'S VOICE Somebody get a doctor. MOTORMAN'S VOICE No doctor, get him a priest. VOICE OF MALCOLM X My father's skull, on one side was crushed in, and then laid across some tracks, for a streetcar to run him over. His body was cut almost in half. My father, Earl Little lived two and a half hours in that condition. Negroes were stronger than they are now.",
"INT. A CAR - NIGHT Shorty is driving with Sophia in the front seat. Malcolm is in the back. They are in the country - outside New York. SHORTY Man, I'm glad we got you out of there. With West Indian Archie on your ass, your name on the wire - Boston the best goddam place in the world for you - things are too hot and it's not even summer. Malcolm has withdrawn within himself. He takes out a packet of cocaine and sniffs it. SOPHIA We'll take it easy. I got a place fixed up on Harvard Square. How's that sound? SHORTY Yeah. Cool it and lay dead for a while, Homeboy. And do n't worry none. The drug takes hold. Malcolm is out of it. SHORTY -LRB- contd. -RRB- I'll stake you, baby. I got my band. I'm blowing great sax. Hell, you ai n't even heard us - He and Sophia keep talking it up, trying to bolster Malcolm. CLOSE - MALCOLM Stoned, his nose running, Malcolm stares out of the window at the receding landscape. FREEZE FRAME. VOICE OF MALCOLM X Like every hustler I was trapped. Cats that hung together trying to find a little security, to find an answer - found nothing. Cats that might have probed space or cured cancer -. -LRB- Hell, Archie might have been a mathematical genius. -RRB- - all victims of whitey's social order. Music of a dance combo heard in BG. VOICE OF MALCOLM X -LRB- contd. -RRB- Three things I was always scared of : a job, a bust and jail. I realized then I was n't afraid of anything. I did n't care.",
"INT. HARVARD SQUARE APARTMENT - DAY Shorty, Sophia and PEG face Malcolm - stoned in a chair. PEG is 17, Sophia's kid sister and Shorty's date. SHORTY You got to eat somethin', Red. SOPHIA You want eggs, baby? MALCOLM Yeah and get a slave, too, huh, baby? SHORTY I ai n't doing bad. MALCOLM Man, the name musicians ai n't got shit. How you gon na have something? I need a stake, a bundle, a grand. My woman ca n't afford it ; my homey ai n't got it. How about you baby? What you got? Peg smiles, afraid of Malcolm. SHORTY Jesus, Red, she's just a kid. MALCOLM Jesus ai n't got nothin' to do with this. Shorty eyes him with amazement. The degree of Malcolm's depravity surprises even him. MALCOLM Surprise you, baby? Well, that's the way it is. What kind of scratch you got on you? Turn out. Let me have it. All of you - Glances exchanged among Shorty, Sophia and Peg. Shorty reaches into his pocket.",
"INT. HARVARD SQUARE APARTMENT - NIGHT Malcolm with Sophia, Shorty and Peg around him. MALCOLM We gone rob this town blind. Anybody want out say so. Nobody answers ; they'll go with Malcolm. MALCOLM -LRB- contd. -RRB- Okay. I got the stake and I got a fence. I need a driver. PEG How about Rudy? MALCOLM Who's Rudy? SHORTY Yeah, Rudy. SAME LOCATION - LATER RUDY is with them. He is a good - looking, very - light skinned black, tough as they come. RUDY I'm half wop, half nigger and ai n't afraid of no one. MALCOLM What can you do? They are in the process of appraising each other, seeing which one has the bigger penis. RUDY You name it, feller. SHORTY Rudy does catering. Rich joints on Beacon Hill. MALCOLM That ai n't bad. SHORTY Tell him about Baldy. RUDY Yeah. This rich ofay, like he's 60. I give him a bath on Friday. Peg and Sophia are listening, a little horrified. RUDY -LRB- contd. -RRB- Then I put him to bed and pour talcum powder on him like a baby. He gets his jollies off. MALCOLM So what about him? RUDY So? The man got silver, china, rugs - MALCOLM Might be all right. RUDY Might be, shit. Man, I know this town. I got my own fences. Who the hell are you? Who put you in charge? Malcolm smiles easily. MALCOLM You want to be the head man? RUDY That's right. MALCOLM Head nigger in charge? RUDY I'm the man. MALCOLM Okay, baby. Let's flip for it. Flip this. He takes out his gun, a.38 revolver. He dumps the shells on the table, then reinserts one shell and twirls the barrel. MALCOLM -LRB- contd. -RRB- I'll flip first. He puts the revolver to his own head. PEG Do n't. Malcolm squeezes the trigger. It clicks. Now he twirls the barrel again and hands the gun to Rudy. MALCOLM Your flip, baby. Rudy is staring at him ; so are they all. Malcolm puts the gun to his temple again. SOPHIA Red, for God's sake - He pulls the trigger a second time. Click. Now he twirls it again. SHORTY Christ, Red, no - PEG I ca n't stand it. Malcolm puts the gun to Rudy's head. MALCOLM Your turn, Rudy. You want me to flip for you? RUDY Jesus Christ, no. Okay, okay. You got it, you got it! You're the boss. A beat. MALCOLM Do n't never try to cross someone who ai n't afraid to die. SHORTY You the man! Nodding accord from Rudy and Shorty. Sophia can hardly stand. MALCOLM All right. We'll start with Old Talcum Powder. You draw the house, where everything is. You and Peg go out and buy them tools like I told you. We hit tonight on account of in the daytime some of us got that high visibility. Ya dig? Rudy is at a table drawing a diagram ; the girls have left. Shorty and Malcolm alone at a window. SHORTY What did you do, Homey, palm it? MALCOLM Yeah. He breaks open the gun - the bullet is in the next slot to be fired. MALCOLM -LRB- contd. -RRB- Palmed it right in the goddam chamber. SHORTY Jesus Christ, Homey, you are nuts. Malcolm starts laughing : a silent, hysterical laugh.",
"EXT/INT. A BEACON HILL HOUSE - NIGHT The robbery, IN QUICK CUTS : - A door lock is picked by Sophia. - Pencil flashlight passes an upstairs window. - Rudy in the car. - Silver removed from a drawer by Shorty. - Peg walking down the street, as lookout. - Malcolm takes off his shoes. - The sleeping OLD MAN, OLD TALCUM POWDER, as Malcolm takes a watch, a wallet from within inches of his pillow. Then, more boldly, picks up the man's hand and removes a ring from one of his fingers. Shorty watching with bated breath, he's about to have a heart attack.",
"INT. MANSION - DAY A Boston matron, MRS. CRAWFORD, is showing the girls her collection of U.S. silver. In a fine New England home. PEG Beacon Hill survey. SOPHIA We're doing a survey for the Athenaeum Society - We wondered if you'd permit us to include your collection in the catalog of Great New England Antiques -? MRS. CRAWFORD Now these are my prizes. My Paul Revere silver coffee service. SHOT - AN ARRANGEMENT OF MUSEUM - QUALITY PIECES PEG Lovely, just lovely. Sophia is casing the room carefully as the matron continues. MRS.CRAWFORD And my husband's collection of scrimshaw should be included. SOPHIA May we see it? MRS. CRAWFORD Wo n't you step this way?",
"INT. A COURTROOM - DAY The prisoners face the bench : Peg, Sophia, Shorty, Rudy and Malcolm. VOICE OF MALCOLM X The average first offender gets two years for burglary. We were all first offenders. That's what Sophia and Peg drew - JUDGE Two years in the Women's Reformatory at Framingham. VOICE OF MALCOLM X But our crime was n't burglary. It was balling white girls. They gave us the book. JUDGE Burglary, count one - 8 to 10 years ; count two, 8 to 10 years ; count three, 8 to 10 years. He continues giving them 8 to 10 years, behind Malcolm's comment : VOICE OF MALCOLM X Fourteen counts of 8 to 10 years. JUDGE The sentences to run concurrently. VOICE OF MALCOLM X Shorty thought he hit us with 114 years till I explained what concurrently meant. It meant a minimum sentence of 10 years hard labor at the Charlestown State Prison. The date was February 1946. I was n't quite 21. I had not yet begun to shave. CAMERA HAS GONE IN for a TIGHT CLOSE SHOT of Malcolm's face : a hardened hustler, pimp, dope peddler and now jailbird at the ripe old age of 20. FREEZE FRAME. CUT TO BLACK.",
"INT. THE CELL CORRIDOR - DAY It is the afternoon lockup : about 3:30 P.M.. The line of PRISONERS stands in front of their cells, as two guards, WILKINS and BARNES, one white, one black, slowly walk past the P.M. check. The procedure is routine, done without emotion, as it is done three times a day : the black guard calls out the prisoner's name, the prisoner answers with his number, then steps into his cell. Whereupon the white guard slams the door shut and locks it. GUARD WILKINS Jackson. PRISONER A 231549. Door is slammed and gate locked. CLOSE - MALCOLM Each time a gate is locked his tension increases. His face is a mask hiding his fury, violence and the hunger of an advanced junkie who has not had a fix in over a week. GUARD WILKINS Crichlow. SECOND PRISONER A 5991301. Same procedure. ANGLE. SHOOTING PAST MALCOLM, FAVORING TWO OTHER PRISONERS. The guards are approaching Malcolm's cell. Past Malcolm are two experienced PRISONERS who have been watching Malcolm during the scene. They whisper surreptitiously without moving their bodies, and barely moving their lips. One of the prisoners is PETE, a huge barrel of a man, a lifer - beaten by the system and a lifetime of incarceration. The other is BEMBRY, a man of no great physicality, but who possesses immediately the gift of leadership. It is clear that Pete and others look up to him with great respect. PETE Looka Satan. BEMBRY I see him. Bembry's language is very unhip. He speaks carefully. He respects words and he respects himself, something which sets him apart from all the other prisoners. PETE He bout to bust. BEMBRY No, he's not gon na bust. But he's not gon na fix his face to please them, neither. ANGLE. The check - in has reached the man next to Malcolm. GUARD WILKINS Harrington. THIRD PRISONER B 775717. GUARD BARNES Yeah. Lucky Seven. Door slammed and locked. CLOSE SHOT - MALCOLM The guards are now in front of him. GUARD WILKINS Little. Malcolm does n't move. GUARD BARNES State your number. Malcolm does n't answer, does n't blink. GUARD WILKINS Little. ANGLE. Bembry in the FG of the scene. BEMBRY He's a new fish, Mr. Barnes. Give him a break. It's a bold step by Bembry and the prisoners look over at him with admiration. Barnes accepts the irregularity and calls over to Bembry. GUARD BARNES 0kay, I'll give him a break. Now state your number, Little. CLOSE - MALCOLM MALCOLM I forgot it. CLOSE SHOT - BEMBRY Shaking his head in anguish. He knows what's coming. ANGLE. Barnes makes a small gesture and Wilkins seizes Malcolm, grabbing his head and uniform at the same time. Stenciled on the chest of his faded dungarees is Malcolm's number. The guard bends Malcolm's head to the number, shoving the material in Malcolm's face. GUARD WILKINS Can you read, boy? Thass your number. GUARD BARNES Now say it. MALCOLM I'm Malcolm Little, not no goddam number. GUARD WILKINS Oh, yes you is, baby ; thass all you is. And slams Malcolm hard. He slumps to the floor. GUARD BARNES Two days in the hole. Take him. Wilkins drags Malcolm off as Barnes resumes the roll call. GUARD BARNES -LRB- contd. -RRB- Burnham. FOURTH PRISONER A 551613, sir.",
"INT. A SOLITARY CELL - DAY Only the faintest light comes into the hideous room, which consists of a mattress and a slop bucket. If Malcolm were to stretch out his arms, he could touch both walls. He lies half on the stone floor, half on the mattress. A clang as the heavy door is opened. GUARD CONE Time's up. Get on your feet. Malcolm stands. GUARD CONE -LRB- contd. -RRB- Little, state your number. A beat as Malcolm stares at the man, refusing to answer. GUARD CONE -LRB- contd. -RRB- You just drew two more days. And slams the door shut.",
"INT. SOLITARY - NIGHT It is almost pitch black. We can almost smell the stench of the room. Malcolm sits stony - faced, his back against a wall. TRUSTEE'S VOICE Water. The long spigot of a watering can is pushed through an opening in the cell door. Malcolm, animal - like, leaps at it and bends the spout, wrenching it off in his fury.",
"INT. SOLITARY CELL - DAY TWO - SHOT - A WHITE CHAPLAIN AND MALCOLM CHAPLAIN GILL Do you know what a friend you have in Jesus, son? MALCOLM Preacher, take your tin Jesus and the Virgin Mary, both, and shove'em. Door slam.",
"INT. SOLITARY - NIGHT Malcolm is alone at the bars : the hope of freedom filling his mind. Malcolm pulls at the bars, tries to shake them in impotent fury. He pounds the walls. Empty, sick, defeated, his nails scratching the walls, he slides to the floor of the cell. It is the low point of his life : nowhere to turn, nothing to hope for.",
"INT. SOLITARY - LATER Guard Cone is shaking him into consciousness. GUARD CONE All right, Little. Get up. Malcolm just about makes it. The guard is in half - focus. GUARD CONE -LRB- contd. -RRB- State your number. He is beaten. MALCOLM A 859912. A shower is heard.",
"INT. SHOWER ROOM - DAY Malcolm stands with bowed head as the hot water cascades over his broken body. He lets it run and run, but it can not really touch his problems. On a nearby bench are his clothes, his towel and the makings for a conk : lye, Vaseline, comb, etc.. He turns for a moment as he sees he is being watched by someone. It's Bembry standing nearby. Malcolm turns away, trying to find solace in the water. He wants no part of the world or anyone, just to be left alone. BEMBRY I know how you feel. Like you want to lay down and die. Malcolm shows no flicker of interest or understanding. BEMBRY -LRB- contd. -RRB- I brought you something. He puts down a small matchbox on the bench next to Malcolm's things. Malcolm eyes him like a snake - but the punishment has reduced him to deep insecurity and his belligerence is more cautious than angry. MALCOLM Who the hell are you? BEMBRY Put it in a cup of water. It's nutmeg. MALCOLM Man, what do you want? BEMBRY You need something. It's not a reefer, but it'll help some. MALCOLM Man, get outa my face. I ai n't nobody's punk. But he steps out of the shower, fills a tin cup with water and empties the contents of the matchbox into it. And drinks it down quickly. BEMBRY Sit down or it might knock you down. Malcolm sits, toweling himself as the spice hits him. For the first, he smiles ; this is the first relief he has tasted in prison. He at Bembry wonderingly, unable to figure him out. MALCOLM If you ai n't trying to punk me, what's your hype? BEMBRY I can show you how to get out of prison. And it's no hype. MALCOLM Talk, daddy, I'm listening. Hey that ai n't bad. You got some more? BEMBRY That's the last stuff you'll ever get from me. MALCOLM What did you give it to me for then? BEMBRY'Cause you needed it.'Cause you could n't hear me without it. This is a new breed of cat ; Malcolm has never met anyone like him. He eyes him closely, as he slips into his clothes. MALCOLM What in the hell are you talking about? He begins to conk his hair, but is paying attention to what Bembry is saying. BEMBRY I think you got more sense than any cat in this prison. How come you are such a fool? Malcolm looks over, piqued. BEMBRY -LRB- contd. -RRB- Nobody can bust out like Bogart does it, in the movies. Because even if you get out, you are still in prison. Malcolm is putting the conk into his hair now. MALCOLM You ai n't lying. BEMBRY When you go busting your fists against a stone wall, you're not using your brains. Cause that's what the white man wants you to do. Look at you. These last words are spoken sharply with disgust. Malcolm turns his hands massaging the conk into his hair. BEMBRY -LRB- contd. -RRB- Putting all that poison in your hair. MALCOLM Man, you been locked up too long, everybody conks. All the cats. BEMBRY Why? Why does everybody conk? MALCOLM Cause I do n't want to walk around with my head all nappy, looking like - BEMBRY Like what? Looking like me? Like a nigger?! Why do n't you want to look like what you are? What makes you ashamed of being black? MALCOLM I ai n't said I'm ashamed. He turns the water on to wash out the conk - which has begun to burn. Bembry restrains him, holding his arm. MALCOLM Leggo. I got to wash it out. BEMBRY Let it burn. Maybe you'll hear me then. But it is burning now. MALCOLM Man, you better get off me. He wrenches away from Bembry and puts his head in the water. BEMBRY Sure, burn yourself, pain yourself, put all that poison into your hair, into your body - trying to be white. MALCOLM Man, I do n't want to hear all that. BEMBRY I thought you was smart. But you just another one of them cats strutting down the avenue in your clown suit with all that mess on you. Like a monkey. And the white man sees you and he laughs. He laughs because he knows you ai n't white. Malcolm is drying his hair, finishing his conk. But some of what Bembry has said disturbs him. MALCOLM Who are you? Malcolm is completely humiliated. Bembry sees this and stops the barrage. BEMBRY The question is, who are you? You are in the darkness, but it's not your fault. Elijah Muhammad can bring you into the light. MALCOLM Elijah who? BEMBRY Elijah Muhammad can get you out of prison. Out of the prison of your mind. Maybe all you want is another fix. I thought you were smart. And he is gone. Malcolm stands looking after him, a long thoughtful moment. He is pulling the comb through his hair.",
"INT. PRISON LICENSE SHOP - DAY PRISONERS are working on a beltline that stamps out and finishes license plates. Bembry is on the stamping machines, working as he talks to the other prisoners. Malcolm is painting the plates, a little removed from Bembry, but listening with interest. Barnes, with rifle, idles by a window. A whistle sounds, ending the work shift. The inmates quickly file out into the yard. Bembry stays. Malcolm is half decided. GUARD BARNES You taking the yard? BEMBRY I'm staying. Barnes gestures to Malcolm. MALCOLM Me too. He goes. BEMBRY What you sniffing around for? I told you I gave you your last fix. MALCOLM I ai n't never seen a cat like you. Ai n't you scared talking like that in front of an ofay? BEMBRY What's he gon na do to me he ai n't already done? MALCOLM You the only cat do n't come on with that `` Whatcha know, daddy'' jive ; and you do n't cuss none. BEMBRY I respect myself. A man cuss because he has n't got the words to say what's on his mind. MALCOLM Tell you this : you ai n't no fool. BEMBRY Do n't con me. Do n't try. MALCOLM Okay, okay. BEMBRY Do n't con me. MALCOLM What do you do with your time? BEMBRY I read. I study. Because the first thing a black man has to do is respect himself. Respect his body and his mind. Quit taking the white man's poison into your body : his cigarettes, his dope, his liquor, his white woman, his pork. MALCOLM That's what Mama used to say. BEMBRY Your mama had sense because the pig is a filthy beast : part rat, part cat, and the rest is dog. Malcolm has been pondering all this and now grows animated as he thinks he has come to the essence of a hustle. MALCOLM Come on, daddy, pull my coat. What happens if you give all that up? You get sick or somethin'? I pulled a hustle once and got out of the draft. BEMBRY I'm telling you God's words, not no hustle. I'm talking the words of Elijah, the black man's God. I'm telling you, boy, that God is black. MALCOLM What? Everybody knows God is White. BEMBRY -LRB- contd. -RRB- But everything the white man taught you, you learned. He told you you were a black heathen and you believed him. He told you how he took you out of darkness and brought you to the light. And you believed him. He taught you to worship a blond, blue - eyed God with white skin - and you believed him. He told you black was a curse, you believed him. Did you ever look up the word black in the dictionary? MALCOLM What for? BEMBRY Did you ever study anything was n't part of some con? MALCOLM What the hell for, man? BEMBRY Go on, fool ; the marble shooters are waiting for you. MALCOLM Okay, okay. Show me, man. CLOSE SHOT - A DICTIONARY WE CAN READ the fine print of the definition : DICTIONARY Black. -LRB- blak. -RRB-, adj. Destitute of light, devoid of color, enveloped in darkness. Hence, utterly dismal or gloomy, as `` the future looked black.'' MALCOLM'S VOICE You understand them words? BEMBRY'S VOICE Read it. PULLBACK TO SHOW Bembry and Malcolm in a small PRISON LIBRARY. No one else is in the book - lined room. MALCOLM I ca n't make out that shit. BEMBRY Soiled with dirt, foul ; sullen, hostile, forbidding - as a black day. Foully or outrageously wicked, as black cruelty. Indicating disgrace, dishonor or culpability. DICTIONARY See also blackmail, blackball, blackguard. MALCOLM Hey, they's some shit, all right. BEMBRY Now look up `` white.'' Bembry turns the pages of the dictionary to `` w.'' BEMBRY -LRB- contd. -RRB- Read it. CLOSE SHOT - DICTIONARY DEFINITION OF `` WHITE'' MALCOLM'S VOICE White. -LRB- whit. -RRB-, adj. Of the color of pure snow ; reflecting all the rays of the spectrum. The opposite of black, hence free from spot or blemish ; innocent, pure, without evil intent, harmless. Honest, square - dealing, honorable. Malcolm stumbles through the definition as well as he can. Bembry takes over the reading, giving it ironic emphasis. MALCOLM That's bullshit. That's a white man's book. Ai n't all these white man's books? SHOT - THE SHELVES OF BOOKS BEMBRY They sure ai n't no black man's books in here. MALCOLM Then what you telling me to study in them for? BEMBRY You got to learn everything the white man says and use it against him. The truth is laying there if you smart and read behind their words. It's buried there. You got to dig it out. MALCOLM Man, how'm I gon na know the ones worth looking at? Bembry smiles at Malcolm. He is a remarkable man who always takes careful measure of his listener. He never talks down to his audience ; he talks to them. -LRB- A manner Malcolm later will adopt. -RRB- Bembry can talk funky or salty or, as we will see, in the cadence and eloquence of the Bible. Right now he goes into street talk. BEMBRY I'll pull your coat, daddy. Cause lots of these ca n't nobody read, be he black or white or a Ph.D. with their suspenders dragging the ground with degrees. Malcolm laughs. He likes and admires the man. Then caught by a passage he does not understand : MALCOLM Man, I'm studying in the man's book. I do n't dig half the words. BEMBRY Look'em up and and out what they mean. MALCOLM Where am I gon na start? BEMBRY Start at the beginning. Page one, the first one. Here - CLOSE SHOT As Bembry's hand opens the book to page one. CLOSE IN ON A PICTURE OF AN AARDVARK WITH ITS DEFINITION MALCOLM Aardvark, noun. An earth pig ; an ant - eating African mammal. Man, that sounds like the dozens. ANGLE - TWO - SHOT BEMBRY Read it and keep on reading. Malcolm's finger runs down to the next definition : DICTIONARY Abacus, noun. An ancient and primitive Chinese counting device. BEMBRY If you take one step toward Allah, He will take two steps toward you.",
"INT. MALCOLM'S CELL - NIGHT He is reading on his bunk as Barnes walks by. The lights in the cell go out. Malcolm looks up, annoyed at being interrupted. He shifts his position to the floor of the cell so that he can catch the dim light coming from the corridor and goes on with his reading. CLOSE SHOT - THE BOOK Malcolm is studying the dictionary, the last of the `` a's'' : the words azimuth, Azores, Aztec, azure, etc.. He reads a word, then holds his hand over the printed definition to test himself, half - mouthing its meaning. Malcolm is also copying the dictionary in a school book word for word.",
"INT. LIBRARY - DAY There are several books on the desk before Malcolm. WE SEE their titles : W.E.B. DuBois's _ The Soul of Black Folks _, Carter G. Woodson's _ Journal of Negro History _, Durant's _ Story of Philosophy _, H.G. Wells's _ Outline of History _, Spinoza, Thoreau, etc.. GUARD BARNES'S VOICE Closing. Knock it off. Malcolm is surprised the time has gone so fast. He gathers up his books with care. He cherishes them, putting them back on the shelf carefully. GUARD BARNES You studying to be the first colored President of the States?",
"INT. LICENSE SHOP - DAY The machines are idle ; no one is in the room but Malcolm. He starts to reach inside his jacket when Barnes sticks his head in. GUARD BARNES You taking the yard or not? MALCOLM I'm staying. GUARD BARNES Then give me a butt. Malcolm takes out a half - filled pack of cigarettes, about to offer one, then pauses. Malcolm hands him the pack of cigarettes. MALCOLM Take'em. I do n't smoke no more. He takes the pack happily and goes. Malcolm reaches into his jacket again, takes out a book. WE SEE its title : Mahatma Gandhi's _ My Struggle _. He sits next to the license press to read.",
"EXT. THE PRISON YARD - DAY A baseball game is in progress. A BLACK TEAM is playing a WHITE ONE. Most of the CONVICTS are watching the game ; partisanship at every pitch. A base hit gets a big reaction. ANGLE - MALCOLM AND BEMBRY They are out along the right field wall. They walk throughout the scene. ANGLE - The ball is hit over the fence for a home run. There is a big cheer from the black prisoners. Pete, the batter, trots proudly around the bases. MALCOLM Ole Pete ai n't much in the head, but he can lay in there with the wood. BEMBRY Lem me tell you about history : black history. You listening? TWO - SHOT - Malcolm still watching the game. MALCOLM You pitch, baby ; I'll ketch. BEMBRY The first men on earth were black. They ruled and there was not one white face anywhere. But they teach us that we lived in caves and swung from trees. Black men were never like that. Malcolm is listening to Bembry's intent statement. BEMBRY -LRB- contd. -RRB- We were a race of kings when the white men went around on all fours. There is a crack of the bat and Malcolm turns to watch another base hit, by a black convict, stir the crowd. MALCOLM This a helluva game. Somethin's going on. He sees a black convict, CHUCK, nearby and calls over : MALCOLM -LRB- contd. -RRB- Hey, whatsa score? CHUCK 10 to 1 ; we murdering them, Di n't you hear? MALCOLM What? CHUCK The Brooklyn Dodgers brought up Jackie Robinson and we pounding the hell out of them, celebrating. MALCOLM How bout that? BEMBRY Sure, white man throw us a bone and that's supposed to make us forget 400 years. MALCOLM A black man playing big league ball is something. BEMBRY I told you to go behind the words and dig out the truth. They let us sing and dance and smile - and now they let one black man in the majors. That do n't cancel out the greatest crime in history. When that blue - eyed devil locked us in chains - 100,000,000 of us - broke up our families, tortured us, cut us off from our language, our religion, our history. SHOTS OF THE FACES OF THE BLACK BALL PLAYERS AND THE CONVICTS In the stands, cheering and joyous. BEMBRY -LRB- contd. -RRB- Do they know who they are? Do you know where you came from? We are the Original People. Malcolm is listening to him now. BEMBRY -LRB- contd. -RRB- What's your name, boy? Malcolm is startled ; answers like a boy. MALCOLM Little. BEMBRY No. That's the name of the slave - master who owned your family. You do n't even know who you are. You're nothing. Less than nothing. A zero. Who are you? CLOSE SHOT - MALCOLM Wrapped in thought. ANGLE ON MALCOLM MALCOLM I'm not Malcolm Little and I'm not Satan. BEMBRY Who are you? CLOSE - MALCOLM Malcolm can not answer because he truly does not know. A ball is hit. Malcolm watches its flight but his face is fixed somewhere between understanding and anger : it is the face of the future leader. BEMBRY I told you we are a nation, the lost Tribe of Shabazz in the wilderness of North America.",
"INT. ANOTHER PART OF THE PRISON - LATE AFTERNOON The rays of the sun come through bars that cut across Malcolm and Bembry's face. BEMBRY Allah has sent us a prophet, a black man named Elijah Muhammad. For if God is black, Malcolm - MALCOLM Then the devil is white. BEMBRY I knew you'd hear me. The white man is the devil. All white men are devils. MALCOLM I sure met some. BEMBRY No. Elijah Muhammad does not say `` that white man is a devil.'' He teaches us that the white man is the devil. All white men. CLOSE SHOT - MALCOLM Listening. BEMBRY Have you ever known a good white man in all your life? Think back, did you ever meet one who was n't evil? A prison whistle is heard.",
"INT. A NICHE IN A PRISON WALL - P.M. Malcolm and Bembry standing close together. The feeling is of someone taking communion : with Bembry the minister and Malcolm the communicant. Their voices are little more than whispers. BEMBRY The body is a holy repository. MALCOLM I will not touch the white man's poison : his drugs, his liquor, his carrion, his women. BEMBRY A Muslim must be strikingly upright. Outstanding. So those in the darkness can see the power of the light. Malcolm lifts his head. MALCOLM I will do it. BEMBRY But the key to Islam is submission. That is why twice daily we turn to Mecca, to the Holy of Holies, to pray. We bend our knees in submission. Bembry kneels in a praying position. Malcolm stands. MALCOLM I ca n't. BEMBRY For evil to bend its knee, admit its guilt, implore His forgiveness, is the hardest thing on earth - MALCOLM I want to, Bembry, but I ca n't. BEMBRY - the hardest and the greatest. MALCOLM I ca n't. BEMBRY For evil to bend its knee, admit its guilt, implore His forgiveness, is the hardest thing on earth - MALCOLM I want to, Bembry, but I ca n't. BEMBRY - the hardest and the greatest. MALCOLM I do n't know what to say to Allah. BEMBRY Have you ever bent your knees, Malcolm? Malcolm laugh - snorts : MALCOLM Yeah. When I was picking a lock to rob somebody's house. BEMBRY Tell Him that. MALCOLM I do n't know how. BEMBRY You can grovel and crawl for sin, but not to save your soul. Pick the lock, Malcolm ; pick it. MALCOLM I want to. God knows I want to.",
"INT. MALCOLM'S CELL-NIGHT Malcolm holds a letter in his hand. He reads it carefully. He has read it several times before. VOICE OF MALCOLM X I received a letter that day from the Honorable Elijah Muhammad. The Messenger of Allah wrote me, a nobody, a junkie, a pimp and a convict. VOICE OF ELIJAH I have come to give you something which can never be taken from you : I bring you a sense of your own worth, the worth of one human being. The knowledge of self. The room becomes transformed. It is suddenly suffused with light. And standing in the cell with Malcolm is ELIJAH MUHAMMAD. He has materialized, but he can be seen through. He is MALCOLM'S HALLUCINATION. VOICE OF MALCOLM X It was like a blinding light and I became aware that he was in the room with me. He wore a dark suit and on his face I saw a pain so old and deep and black I could scarcely look at him. I knew I was not dreaming. He was there. ELIJAH I tell you that the most dangerous creation of any society in the world is the man with nothing to lose. You do not need ten such men to change the world. One will do. The Earth belongs to us, the Black man and whatever is around it, and on it and in it. Praises are due to him forever for bringing to us again, our self and our property, the UNIVERSE OF SUN, MOON, AND STARS. VOICE OF MALCOLM X And suddenly as he came, he was gone. The hallucination disappears. VOICE OF MALCOLM X -LRB- contd. -RRB- And then I could do it. Malcolm goes down on his knees. There are tears in his eyes as he begins praying : CLOSE - MALCOLM MALCOLM Allah Akbar : all praise to Him who is all - seeing, all - understanding. He continues to pray. VOICE OF MALCOLM X We are told that Saul, on the road to Damascus, heard the words of truth, he fell from his horse. I do not liken myself to Paul, but I understand. It happened to me.",
"INT. BEMBRY'S LIVING ROOM - NIGHT A poorly furnished, small, but immaculate room. There are two couches, a table set for eating, and, on the walls, a portrait of Elijah and a Muslim banner. It is dinner time in a Muslim home. SIDNEY, aged 20, a perfect specimen of the Fruit of Islam, stands behind his chair, waiting. Their mother, LORRAINE, a woman of Bembry's age, is seated, but she, too, awaits Bembry. SHOT - BEMBRY BEMBRY In the name of Allah, the beneficent and the merciful to whom all praise is due. At the window Bembry saying the evening prayers. BEMBRY'S VOICE Dear Brother Malcolm : I am back in the bosom of Islam, praise Allah. He comes to the table, nods and sits. Sidney respectfully sits after him. Food is passed. It is simple fare : natural foods, milk, greens. The portions are small. They eat in silence, but there is warmth and love at this table. BEMBRY'S VOICE -LRB- contd. -RRB- We do n't have much, but what we have is yours. Lorraine and my two sons join with me in saying that when you come out, which will not be too long, come straight to us.",
"INT. PRISON BARBER SHOP - DAY Malcolm is reading Bembry's letter as he waits his turn. There is a WHITE CONVICT in the chair, just being finished by a WHITE BARBER - SIMMONS. A BLACK BARBER - SLIM sits by. Both are convicts. NOTE : Malcolm now wears glasses, all that reading in his badly lit cell has ruined his eyes. BEMBRY'S VOICE You write thanking me. Do n't thank me. Praise Allah. He did it all. SIMMONS Next. Malcolm starts for the chair. Simmons moves away to light a cigarette as Slim takes over. MALCOLM'S VOICE Dear Bembry. Please thank the Honorable Elijah Muhammad for the money and tell him I have not written him because I have not yet proven myself.",
"INT. SMALL'S PARADISE - NIGHT Archie and Cadillac are reading a letter they have received. They look at each other incredulously. MALCOLM'S VOICE But I have written everyone else. ANOTHER PRISON - DAY Shorty is waving a letter he has received to his CELLMATE. SHORTY Look like Homey got himself a brand new hype.",
"INT. ELIJAH'S OFFICE - DAY An immaculate room, well furnished. ELIJAH sits in a chair as Bembry stands reading Malcolm's letter. BEMBRY `` I wrote the Mayor, the Governor and the President, but for some reason I have n't heard from them''. Bembry laughs ; Elijah smiles. MALCOLM'S VOICE Tell the Messenger of Allah that I have dedicated my life to telling the white devil the truth to his face. I greet you with the ancient words : `` As Salaam Alikum.'' ELIJAH Wa - Alaikum Salaam. MALCOLM'S VOICE P.S. I finally worked my way through the `` Z's''.",
"INT. PRISON CHAPEL - NIGHT TITLE - 6 YEARS LATER A GROUP OF PRISONERS, mostly white, but with a goodly smattering of black convicts, are listening to a lecture by CHAPLAIN GILL. CHAPLAIN GILL Are there any questions? ANGLE. Malcolm seated next to a black convict, raises his hand. It's the only hand up. The Chaplain searches for another questioner, but there are n't any. Pete, sitting next to Malcolm, whispers. PETE Watch out, baby, this cat is heavy on religion. CHAPLAIN GILL I see this has become a struggle between good and evil. Satan has a question. There is laughter from the convicts. MALCOLM Yes it is, Chaplain Gill. But I would n't want to say which one of us is what. Laughter, especially from the black convicts. CHAPLAIN GILL Why do n't you just ask your question? MALCOLM You've been talking about the disciples. What color were they? CHAPLAIN GILL I do n't think we know for certain. There are reactions from the convicts. Malcolm is sharply challenging a white man about color. MALCOLM They were Hebrew, were n't they? CHAPLAIN GILL That's right. MALCOLM As Jesus was. Jesus was also a Hebrew. CHAPLAIN GILL Just what is your question? MALCOLM What color were the original Hebrews? CHAPLAIN GILL I told you we do n't know for certain. MALCOLM Then we do n't know that God was white. There is a strong reaction to this. CHAPLAIN GILL Now just a moment, just a moment - MALCOLM But we do know that the people of that region of Asia Minor, from the Tigris - Euphrates valley to the Mediterranean, are dark - skinned people. I've studied drawings and photographs and seen newsreels. I have never seen a native of that area who was not black. CHAPLAIN GILL Just what are you saying? MALCOLM I'm not saying anything, preacher. I'm proving to you that God is black. INSERT FLASH - A BLOND, BLUE - EYED JESUS ON THE CROSS -LRB- Note : Try to get footage from _ The Last Temptation of Christ _ -LSB- Willem Dafoe -RSB- -RRB- MALCOLM'S VOICE God is black.",
"INT. ELIJAH'S OFFICE - DAY Malcolm opens the door, the room is dark and he sees a small, slight man standing against the window, he does n't move. This is the same man who appeared in Malcolm's cell, this is the Honorable Elijah Muhammad. Malcolm slowly moves toward him ; he is completely humbled in his presence. CLOSE - ELIJAH He turns from the window to Malcolm. ELIJAH My son, you've been a thief, drug dealer and a pimp and the world is still full of temptation. When God bragged how faithful Job was, the devil argued that only God's protective hedge around him kept him pure, the devil said remove the hedge and he will curse his maker. Malcolm, your hedge has been removed and I believe you will remain faithful. CLOSE - MALCOLM He can not say anything and he drops his head, he is overwhelmed with heartfelt emotion.",
"INT. BEMBRY'S LIVING ROOM - P.M. In contrast to the peaceful family scene, the room is a beehive of activity. Sidney is turning out leaflets on a mimeograph machine ; Lorraine is busy making up a mailing list using 3 x 5 file cards ; Bembry is recruiting on the telephone. MALCOLM How many you turning out? SIDNEY 500. MALCOLM Make it 1000. We got a lot of fishing to do. SIDNEY Brother Malcolm, I want you to meet Brother Earl. He just joined the Nation. Earl moves toward Malcolm and extends his hands. Malcolm shakes it warmly. MALCOLM We can always use another good brother. EARL I'm a willing servant for Allah.",
"EXT. CHURCH - DAY Sunday service has let out and Malcolm, Earl, and Sidney are `` fishing.'' They're trying to convert the Black Christians. Malcolm speaks, while the others hand out leaflets. MALCOLM You think you are Christians, and yet you see your so - called white Christian brother hanging black Christians on trees. You say that white man loves you and yet he has done every evil act against you. He has everything while he is living and tells you to be a good slave and when you die you will have more than he has in Beulah's land. We so - called Negroes are in pitiful shape. Get off your knees praying to a picture of a white, pale blond, and blue - eyed Jesus. Come out of the sky. Build heaven on earth. Islam is the black man's true religion.",
"EXT. STREET CORNER, 125TH AND SEVENTH AVENUE - DAY Malcolm is talking to a CROWD from a ladder. MALCOLM And that the white man is the devil. Yes, God is black and you are made in His image and do n't know it. That's how brainwashed you are. The crowd is listening, caught up in Malcolm's intensity. MALCOLM -LRB- contd. -RRB- My brothers and sisters, they tell you you will sprout wings when you die and fly to heaven. The Honorable Elijah Muhammad tells you that's pie in the sky. ANGLE ON SIDNEY Amid the listeners, watching their response. MALCOLM'S VOICE Have you ever seen a black man who was n't down on his knees begging the Lord to give him in heaven what the white devil enjoys right here on earth? CLOSE SHOT - SEVERAL LISTENERS They turn from Malcolm, moving a few steps away, and now are the audience on an adjacent SPEAKER. He is a young firebrand : SPEAKER The Harlem Council fights for rat control, for rent control and for community control of our schools. PAN CONTINUES to take in ANOTHER SPEAKER, a few feet away. WE SEE the street corner is Harlem's Hyde Park, with half a dozen SPEAKERS haranguing the crowd with half a dozen panaceas. That Malcolm is just one among many : SECOND SPEAKER If the man behind the counter ai n't black, do n't go in. Boycott the man. Be black. Think black. Buy black. ANGLE - MALCOLM MALCOLM Come to our Temple and hear the truth. Because, brother and sister, you are dead. Yes you are, mentally dead, spiritually dead, morally dead. And we are here to resurrect the black man back from the dead.",
"EXT. OPEN AIR \"MAID'S MARKET\" - DAY A place where black women come to offer themselves for day work. SEVERAL ARE SEEN. A WHITE WOMEN comes up to one to interview her -LRB- bargain with her -RRB-. Malcolm's voice is heard before he is seen, speaking to the women from a ladder. MALCOLM'S VOICE My beautiful sister, for you are beautiful. Beautiful because you are black. Because black is beautiful. You work in the white folks' kitchen so I do n't have to tell you that they're devils. CLOSE - MALCOLM MALCOLM -LRB- contd. -RRB- And you are putting yourselves on the auction block, letting them examine you like a horse, like a slave. The Honorable Elijah Muhammad teaches that you are black and should be proud. FACE OF ONE BLACK WOMAN, beginning to shake her head in accord.",
"INT. TEMPLE #7 - NIGHT The SAME WOMAN, now at a Muslim meeting. The faces of other listeners -LRB- from the church and from the maids' market -RRB- are scattered in Malcolm's audience. The headquarters itself shows the progress Malcolm has made. It is better furnished, larger, and the chairs are filled. Bembry, Sidney, and Lorraine are in the back of the room, pleased with the growth. Malcolm stands at a podium. MALCOLM We're not American, we're Africans who happen to be in America. We were kidnapped and brought here against our will from Africa. We did n't land on Plymouth Rock, brothers and sister. Plymouth Rock landed on us. Reactions : laughter, interest. Ad lib `` That's the truth.'' MALCOLM Put an end to your begging. No more `` Please, Mr. White Man, Lawdy boss, brush me another crumb from off your table, kindly, sir.'' We are a nation, a great nation and do n't need a thing from them. Malcolm scanning the faces of his audience as they react. He sees someone he knows and blurts out boyishly -LRB- and winningly -RRB- : MALCOLM -LRB- contd. -RRB- Shorty! The crowd turns to Shorty, sitting embarrassedly in the audience. MALCOLM -LRB- contd. -RRB- Come on up here, man, and give us some skin. Here's a man, brothers and sisters, who shot up with me, who robbed with me, and did time in the white devil's jailhouse. Stand up, Shorty, and be counted - But Shorty is trying to hide from the spotlight. Malcolm comes down from the platform and walks to him. MALCOLM -LRB- contd. -RRB- Folks, the brother is shy and needs special attention. So would you excuse us, while Brothers Sidney and Earl take up the collection. He embraces Shorty as the crowd laughs appreciatively and Brothers Sidney and Earl have a chuckle themselves.",
"INT. MUSLIM CAFETERIA - NIGHT Shortly and Malcolm sit at a table. Shorty has a cup of coffee in front of him. SHORTY I got to hand it to you, Homey. That's the best preacher hype I ever did hear. MALCOLM It is n't a hype, Shorty. And I meant what I said : join us. SHORTY Come on, baby. I do n't pay that shit no mind. MALCOLM The Honorable Elijah Muhammad says you should pay it all your mind. If you got a mind. SHORTY Baby, I love you. Take it easy, greasy. How about a snort? MALCOLM I've been clean for twelve years, Shorty. SHORTY You is something, Homeboy. My trouble is - I ai n't had enough stuff yet, I ai n't et all the ribs I want and I sure ai n't had enough white tail yet. MALCOLM How's the rest of the gang? You seen anyone? SHORTY Well, Sammy's dead. Yeah, fell over in the bed with a chick twenty years younger than him. Had twenty - five grand in his pocket. INSERT FLASH - Sammy, he's dead on top of TEENAGE WHORE who is screaming, trying to push that dead weight off her. MALCOLM'S VOICE How about Old Cadillac? INSERT FLASH - Cadillac is an old junkie, past reclaiming, sitting staring in a MENTAL WARD, twitching, nose running. SHORTY'S VOICE Hooked on horse. Been in and out of Lexington Ave times. MALCOLM'S VOICE You seen Sophia? INSERT FLASH - Sophia is a bored housewife, she's in the kitchen cooking while her husband hides behind the Wall Street Journal. BACK TO THE BAR SHORTY I ai n't seen Archie, but the vine tells it he's living somewhere's in the Bronx. If you can call it living.",
"INT. A DINGY ROOM - DAY A knock on the door rouses Archie, by now an old and dying man. All the vigor is gone, all the life has ebbed out. ARCHIE Git the hell away, you bitch, I'll pay you tomorrow. Door opens, Malcolm enters. MALCOLM Hello, Archie. Archie sits up from his bed and stares. He tries to bring back some of his old juice, tries to stand up. ARCHIE My man, Red. Come on in, man. -LRB- then giving up. -RRB- Hey, I ca n't make it. Malcolm has to help him lie back. MALCOLM Take it easy, baby. ARCHIE That really you, Red? The contrast is shocking : Malcolm tall and straight ; Archie ruined. MALCOLM You saved my life, Archie. Running me out of Harlem. When I think how close we came to gunning each other down, I have to thank Allah. ARCHIE I was n't gon na shoot you, baby. It was just my rep, that's all. And do n't shit me now, but did you have that number? Tell me. MALCOLM I do n't know. It does n't matter. The thing is we got to get you back on your feet. ARCHIE Yeah. I got a couple a new angles ai n't been figured yet. All I need's a stake and a chance - MALCOLM Can you use a few bucks? I ai n't got much, but - ARCHIE No, man, I'm doing okay. Thanks. MALCOLM Take it easy. Lay down and do n't think about it. ARCHIE Yeah. MALCOLM You could of been something, Archie, but the devil got to you. The old man is asleep. MALCOLM -LRB- contd. -RRB- You know all the angles except how to live.",
"EXT. A STREET IN HARLEM - NIGHT Malcolm walks thoughtfully down the street ; Archie is still on his mind, as he passes prostitute after prostitute. Once beautiful women now selling their bodies. He passes Laura, she has been turned totally out and she looks the part, there is no way he can recognize her. We do though. CLOSE - LAURA She has just gotten a white John and leads him into an alley. MALCOLM'S VOICE Women who could be mothers, teachers, scientists. ANGLE - ALLEY Laura kneels down to unzip her John's pants. MALCOLM'S VOICE -LRB- contd. -RRB- Who is going to raise our children? ; men who might have been astronauts, composers, engineers ; Who is going to be the head of the households? -",
"INT. TEMPLE #7 - NIGHT Malcolm is addressing a HUGE AUDIENCE. His tone is more intense, more personal than before, because of his recent encounters. In the audience, sitting with Bembry, is BETTY, a lovely dark - skinned woman. Her interest in Malcolm -LRB- true, also, for most of the other unmarried sisters -RRB- is more than religious. MALCOLM - and what has the white devil made of them : dead souls. Oh, my he has no conscience. He should fall on his knees and say, `` My kind commits history's greatest crime against your kind every day of your life.'' But does he? No. He scorns you, splits your head with his nightstick and calls you nigger. If you've had it, then stand up and come forward. If not us, then who? If not now, then when? ANGLE - THE AUDIENCE Many stand, some walk toward the podium speaking his name : `` I'm with you, Brother Malcolm,'' `` Praise Allah,'' `` Me, Brother Malcolm.'' There is applause ; some of the audience get to their feet - Malcolm acknowledges their approval, trying to quiet them, but caught up in the heady excitement of leadership. CLOSE - BETTY AND BEMBRY Both are moved by Malcolm's performances. BETTY -LRB- whispering. -RRB- He ought to try to make it a little easier, Brother Bembry. BEMBRY Why do n't you try telling him that, Sister Betty?",
"INT. A LARGE ANTEROOM IN TEMPLE #7 - NIGHT The Muslim movement has grown enormously. The activity in this anteroom, leading to other rooms off it, shows that. Betty and Bembry stand before a Directory announcing activities in the Temple : MONDAY - Fruit of Islam Meeting ; TUESDAY - Unity Night ; WEDNESDAY - Student Enrollment ; THURSDAY - Muslim Girls Training ; FRIDAY - General Civilization Class ; SATURDAY - Swahili, etc.. A stir of people and activity as Malcolm enters the anteroom. He excuses himself from a group of MUSLIMS, making his way toward Bembry. MALCOLM -LRB- little out of breath. -RRB- Brother Bembry, can we fix it so our loudspeaker is heard on the street? BEMBRY I'm sure we can. This is a new sister, Sister Betty. Malcolm nods at her ; she nods in return. BEMBRY -LRB- contd. -RRB- The Sister lectures our Muslim women in hygiene and diet. Malcolm mutters `` very good,'' but his mind is clearly on a million other details. BEMBRY -LRB- contd. -RRB- The Sister stresses care of the body and regular eating habits. Malcolm is still distracted. BETTY The Sister wonders if the Brother knows what Harriet Tubman did between taking souls to the Promised Land? Malcolm is stopped. He looks at Betty. MALCOLM What? BETTY She ate. Malcolm laughs. BETTY -LRB- contd. -RRB- And the Sister suggests he put his actions where his mouth is. Malcolm's laughter is heard, in response.",
"INT. MUSLIM CAFETERIA - NIGHT TWO-SHOT - BETTY AND MALCOLM MALCOLM Sure I'll speak to your class. But I'm a hard man on women. You want to know why? BETTY If you want to tell me.",
"EXT. ELIJAH'S GARDEN - DAY Malcolm sits next to the Honorable Elijah Muhammad. The student and the teacher. MALCOLM If you want to tell me. ELIJAH Women are deceitful. They are untrustworthy flesh. I've seen too many men ruined or tied down or messed up by women. BETTY AND MALCOLM Betty says nothing, she merely pushes the salad plate a little toward him. The food has thus far gone untouched. Malcolm continues. CLOSE - MALCOLM MALCOLM Women talk too much. To tell a woman not to talk is like telling Jesse James not to carry a gun or a hen not to cackle. And Samson, the strongest man that ever lived, was destroyed by the woman who slept in his arms. BETTY Shall I tell my sisters that we oppose marriage? CLOSE - ELIJAH ELIJAH No. We are not Catholic priests. We do not practice celibacy. If a woman is the right height for a man, the right complexion, if her age is half the man's plus seven, if she understands that man's essential nature is strong and woman's weak, if she loves children, can cook, sew and stay out of trouble - CLOSE - BETTY BETTY I think you've made your points, Brother Malcolm. MALCOLM What points? BETTY That you have n't time for either marriage or eating - Malcolm chuckles a bit. BETTY -LRB- contd. -RRB- - and that women are n't the only ones who talk a lot. Now he bursts out laughing. CLOSE - BROTHERS SIDNEY AND EARL They are alarmed at Brother Minister's behavior. TWO - SHOT - BETTY AND MALCOLM BETTY If you'll start eating, there is a question I have. Go ahead. Start. He takes a forkful of the salad. BETTY -LRB- contd. -RRB- Considering today's standards of animal raising and curing meats, I do n't fully understand the restriction on pork. MALCOLM Let me explain. No. I'll do better than that. I'll show it to you. Scientifically. But it's demonstration purely in the interest of science, you understand? BETTY'S VOICE: Yes, I understand, Brother Malcolm. Purely scientific.",
"INT. MUSEUM OF NATURAL HISTORY - DAY Before a comparative evolutionary display showing the skeletons of various animals, Malcolm is holding forth. Betty is dressed in a vivid, becoming red dress. MALCOLM Notice especially the claw, the jaw and the skull formation. This is the rat. This the mole. Here you have the aardvark and the boar. CLOSE ON THE SKELETONS MALCOLM'S VOICE All members of the pig - rodent family. BETTY I see your point. MALCOLM So it is not a matter of the breeding conditions or preparation of the meat. The meat itself is foul. ANGLE. As they saunter out, passing the huge skeletons of prehistoric animals now. BETTY Could we sit down someplace? MALCOLM I'm sorry. I've had you on your feet for hours. BETTY You've been on your feet for days. And did n't even finish your salad.",
"INT. SODA FOUNTAIN - DAY WAITER You're the strawberry soda and you're the hot fudge sundae. He plunks down the order before Betty and Malcolm. Malcolm takes a long, long satisfying pull on his straw. Then he sighs : MALCOLM That's something I have n't done in fifteen years. BETTY What? MALCOLM Sat down with a pretty girl and had an ice cream soda. BETTY How do you like it? MALCOLM Delicious. She laughs. He blushes. MALCOLM -LRB- contd. -RRB- Let's talk about you for a change. BETTY There's nothing to talk about. MALCOLM 0h, yes, there is. I know a lot about you. Brother Bembry briefed me. BETTY Oh? Purely scientific interest I'm sure. MALCOLM -LRB- a beat. -RRB- You're from Detroit, near where I come from. You majored in education at Tuskegee. You're studying nursing and having trouble with your family. BETTY I can handle it. MALCOLM They want you to quit the Muslims or they wo n't pay your tuition, is n't that it? BETTY You have enough worries of your own. MALCOLM No, good Sisters are rare. We need every one. Tell me something : how tall are you? BETTY Why do you ask? MALCOLM Just an idle question. BETTY If it's just idle, I wo n't answer it. She takes a bite of her sundae. BETTY -LRB- contd. -RRB- But Brother Bembry says I'm tall enough for a tall man. MALCOLM How old are you, Betty? BETTY There's a few things you do n't know about women, Brother Malcolm. They're possessive and vain. MALCOLM Are you? BETTY And dogged when I set my mind to something. MALCOLM What have you set your mind to? BETTY Being a good Muslim, a good nurse and a good wife. Malcolm takes a good look at the lovely woman in front of him, then a long sip from his ice cream soda. SIDNEY'S VOICE Brother Malcolm. Betty sees him first. BETTY It's Sidney. ANGLE. As Sidney runs to them at the table : SIDNEY Brother Johnson was attacked by the cops. A MAN'S VOICE There was a scuffle. The Brother was watching.",
"EXT. SIDE STREET IN HARLEM - P.M. Malcolm listening as SEVERAL WITNESSES simultaneously describe the attack. A small angry CROWD has gathered. The most animated one is BENJAMIN, a very dark young black teenager, we will soon meet him later. BENJAMIN The cop says, `` Move on.'' MAN The Brother did n't scatter fast enough for the ofay. CLOSE - MALCOLM BENJAMIN Crack. He bled like a stuck hog. MAN Watcha gon na do? VOICE FROM THE CROWD -LRB- deprecatingly. -RRB- He'll rap a little. He's a Muslim. And make a speech. ANOTHER VOICE FROM CROWD Muslims talk a good game, but they never do nothing, unless somebody bothers Muslims. Malcolm's face goes taut. He nods sharply at Sidney, as Benjamin watches them both. MALCOLM'S VOICE I demand to see Brother Johnson.",
"INT. POLICE STATION - LATE P.M. Malcolm facing a DESK SERGEANT, TWO UNIFORMED COPS and a PLAINCLOTHESMAN off to one side. SERGEANT Who the hell are you? MALCOLM I'm from Muslim Temple 7. COP Never heard of you. MALCOLM Where is he? The police respond with a squeeze play intended to intimidate Malcolm : SERGEANT Nobody here by that name. PLAINCLOTHES What's your name, feller? He feels the power play and stiffens in resistance. MALCOLM I'm Minister Malcolm X. Two witnesses saw him brought in. He was not brought out. PLAINCLOTHES You heard the Sergeant. Outside. Malcolm stands his ground coolly. MALCOLM Take a look out that window. I intend to see Brother Johnson. The cops eye each other. Plainclothes walks to the window.",
"EXT. THE STREET OUTSIDE - LATE P.M. Across from the station is a phalanx of some FIFTY MEN of the Fruit of Islam. All are dressed in dark suits with white shirts. They stand in military formation : eyes forward, every face burning. People from the neighborhood have formed a crowd behind and around them. WE MAKE OUT Benjamin among the crowd.",
"INT. POLICE STATION - NIGHT PLAINCLOTHES Who the hell are they? MALCOLM Brothers of Brother Johnson. PLAINCLOTHES Eddie, let's see that blotter. TWO - SHOT - FAVOR MALCOLM As the cops examine the police blotter. SERGEANT Yeah. We got a Muslim. The relief must of put it down. PLAINCLOTHES But you ca n't see him. You ai n't his lawyer. SERGEANT No lawyer, no see. MALCOLM Until I'm satisfied Brother Johnson is receiving proper medical attention, no one will move. Cops eye each other. Plainclothes nods slightly, he has to give in, Malcolm is not playing.",
"INT. A LOCKUP - SAME The back of Malcolm's head, as he examines Brother Johnson. As he comes up OUT OF FRAME, WE SEE that Johnson has been badly beaten. MALCOLM -LRB- shaking. -RRB- Only a pig could do a thing like that. PLAINCLOTHES Watch your tongue, boy. MALCOLM Do n't you call me boy, you pig. Letting a man bleed like that. Sergeant puts a restraining hand on Plainclothes. MALCOLM -LRB- contd. -RRB- That man belongs in a hospital. Get an ambulance. Now!",
"EXT. THE STREET - LATER (DARKER) As Johnson's body, on a stretcher, is hurried into an ambulance. The crowd has grown in proportions. There are ad libs : `` Goddam pigs,'' `` Damn police brutality,'' `` Least they got him out of the meat house.'' Malcolm with the Sergeant and a LIEUTENANT, as the ambulance pulls away. LIEUTENANT All right, break it up. You got what you wanted. MALCOLM I'm not satisfied. Malcolm starts walking down the center of the street, after the ambulance. MALCOLM -LRB- contd. -RRB- To the hospital. The Fruit of Islam fall in behind him, marching slowly. It takes on the start of a march as the neighborhood people fall in behind them. People -LRB- especially kids -RRB- race with them on the street and on the sidewalk. ANGLE - BENJAMIN Benjamin fights his way through the crowd trying to walk beside Malcolm, the Brothers in the Fruit stop him and Benjamin drops back.",
"EXT. LENOX AVENUE - NIGHT Now the march has taken over the broad avenue. COPS are forced to redirect traffic, holding up crosstown cars as the group walks solemnly by. The people walking behind have swelled it to a huge demonstration. Their faces reflect their anger and their satisfaction that, for once, something is being done about what has happened.",
"EXT. HARLEM HOSPITAL - NIGHT LONG SHOT SHOWS the Muslim men in perfect order, calm with their arms folded across their chests, waiting. Their eyes are on Malcolm as he walks toward the hospital entrance. SHOTS - of the growing crowd. - of the nervous cops, including some big brass. - of kids watching from a rooftop. - of Benjamin trying to emulate the Fruit of Islam.",
"EXT. OUTSIDE HARLEM HOSPITAL - NIGHT Malcolm is standing in front of the Fruit of Islam men, as HIGHRANKING POLICE OFFICER GREEN comes over. CAPTAIN GREEN All right, that's enough. I want these people moved out of here. MALCOLM They're all disciplined men. They're doing nothing except waiting. SHOT The unruly crowd behind the Fruit of Islam. They are restive, milling, ugly. CAPTAIN GREEN What about them? MALCOLM That's your headache, Captain. And if he dies, I pity you.",
"EXT. OUTSIDE HARLEM HOSPITAL - NIGHT DOCTOR He'll live. He's getting the best care we can give. MALCOLM Thank you, Doctor. DOCTOR I had to put a plate in his head. MALCOLM -LRB- to Captain. -RRB- You bastards. CAPTAIN GREEN All right, okay. Now disperse this mob. MEDIUM SHOT - MALCOLM, FRUIT OF ISLAM AND CROWD It's clear the decision is in one man's hands, Malcolm's. CLOSE SHOT - MALCOLM He makes a gesture with his hand, the Fruit of Islam disperse. ANGLE. People moving away, going home. Only one person remains from the Fruit of Islam and the crowd, it's Benjamin. CLOSE - CAPTAIN GREEN CAPTAIN GREEN That's too much power for one man to have.",
"INT. MUSLIM CAFETERIA - NIGHT Everyone is in a somber mood over the evening's events. ANGLE - TABLE Malcolm sits with Brothers Earl and Sidney. SIDNEY Brother Minister, we need to strike back. BROTHER EARL Put fear into those devils. MALCOLM I want to also, but until we are instructed by the Messenger to do so, we will just wait and pray. BROTHER EARL I'm tired of praying. MALCOLM That's enough, Brother Earl. ANGLE - ENTRANCE Benjamin comes into the cafeteria and everyone looks at him. He sees Malcolm sitting and moves toward his table. ANGLE - TABLE Brothers Sidney and Earl get up to intercept him but Malcolm waves him through. Benjamin stands. MALCOLM Sit down, son. Malcolm pours some cream into his cup of black coffee, then also some white sugar. MALCOLM -LRB- contd. -RRB- There is only one thing I like integrated. My coffee. Benjamin laughs. MALCOLM -LRB- contd. -RRB- What can I do for you? BENJAMIN Mr. X, I was out there tonight. I saw what you did. I want to be a Muslim. I ai n't never seen a Negro stand up to the police like that. ANGLE - SIDNEY AND EARL They exchange dubious looks. MALCOLM Do you know what it means to be a true Muslim? Benjamin hesitates. MALCOLM -LRB- contd. -RRB- Do you? BENJAMIN Not exactly, but I want to be one, like you. MALCOLM I admire your enthusiasm but you should never join any organization without first checking it out thoroughly. Benjamin is crushed and he starts to get up. MALCOLM -LRB- contd. -RRB- We need more young warriors like yourself, stick around and we shall see if your heart is true. BENJAMIN Mr. X, I wo n't make you out a liar.",
"INT. TEMPLE #1 - DETROIT - DAY CLOSE - NEWSPAPER HEADLINE -LRB- DAILY NEWS -RRB- MALCOLM X WINS $ 70,000 JUDGMENT FOR BEATEN NEGRO An AIDE of Elijah puts down the newspaper and shakes Malcolm's hand. AIDE The Honorable Elijah Muhammad would like to see you now.",
"INT. ELIJAH'S OFFICE - DAY Elijah is sweeping the floor with a plain hand broom. Malcolm enters the room, is surprised and waits at the door. The two are alone together. ELIJAH If I surprise you, let me explain. Menial work teaches us humility. MALCOLM Let me do it then. ELIJAH No, each of us must relearn that work is the only worthwhile thing. Allah has given you a great gift. Use it wisely, never forgetting that we are nothing, while He is all. MALCOLM Allah Akbar. The sweeping done, they stand together near a table at a window. ELIJAH Tonight I shall introduce you as my National Representative. It will be a difficult task. Your assignment is to build temples all over this nation. More work than you have ever done in your life and you will be in the public eye. My son, beware of those cameras, they are just as bad as a narcotic. ANGLE - AIDES and OTHERS come into the room now. They are listening. ELIJAH -LRB- contd. -RRB- Yes, the white devil will watch your every step. Even your own Brothers will become jealous, and hostile, go slowly. So I offer you a parable - regarding your work. Elijah picks up a glass and sets it before Malcolm. ELIJAH -LRB- contd. -RRB- Here is a glass, dirty and its water foul. If you offer it to the people and they have no choice, they must drink out of it. But if you present them with this glass - He is holding a clean glass, with clear water in it. ELIJAH -LRB- contd. -RRB- - and let them make their decision, they will choose the pure vessel. Islam is the only religion which addresses the needs and problems of the so - called Negro, especially in the ghettos - Islam is the only way out from drugs, crime, unemployment, prostitution, alcohol, gambling, fornication and adultery. Elijah holds up the clear glass. VOICE OF MALCOLM X This sweet, gentle man gave me the truth from his own mouth. And I adored him, in the sense of the Latin root of the word. Adorare, to worship and to fear. He was the first man I ever feared - not fear such as the one has of a gun but the fear one has of the power of the sun, I pledged myself to him, even if it cost me my life.",
"INT. A HOSPITAL WARD - DAY Betty is administering to a PATIENT, as a phone is heard ringing. It's answered. ANOTHER NURSE motions Betty to the phone. She finishes with her patient and goes quickly. BETTY Hello. MALCOLM'S VOICE Sister Betty? BETTY Yes.",
"EXT. A PAY PHONE AT A GAS STATION - DAY MALCOLM I'm in Detroit. BETTY I know. MALCOLM At a gas station. -LRB- a beat. -RRB- Will you marry me? BETTY Yes. MALCOLM Did you hear what I said? BETTY Yes I did. Did you hear my answer? MALCOLM I think so. Can you catch a plane? BETTY Yes. Did you eat? MALCOLM I love you.",
"INT. BEMBRY'S BEDROOM - NIGHT Betty and Malcolm sit on the floor in the dimlit room, very close. MALCOLM It wo n't be easy. BETTY Just hold me. MALCOLM It will be rough. BETTY Hush your mouth. MALCOLM I'll be away a lot. BETTY You're with me even when you're away. He embraces her. Then Betty laughs. BETTY -LRB- contd. -RRB- I never told you, but when I first saw you on the podium, cleaning your glasses, I felt sorry for you. Nobody as young as you should be that serious. But I do n't think that anymore. MALCOLM What do you think? BETTY The simplest thing in the world : I want to have a lot of babies with you. Dear Heart, I love you. Full embrace. BEMBRY'S VOICE We're waiting on you folks. You trying to starve us?",
"INT. BEMBRY'S LIVING ROOM - NIGHT Malcolm has just cut the cake and handed a slice to Betty. Amid laughter and great warmth, Sidney unfurls the front page of the _ Messenger _, the Muslim newspaper. Headline reads : `` MALCOLM X WEDS BETTY SAUNDERS.'' Betty kisses her husband and Bembry, Lorraine, Earl, Sidney, Peter and VARIOUS BROTHERS AND SISTERS applaud. We notice the subtle change in the apartment : it is more comfortable ; there is even evidence of some small luxury : a TV set, a new settee, etc..",
"EXT. RALLY - HARLEM - DAY Malcolm is speaking to a GOOD SIZED AUDIENCE : MALCOLM I must emphasize at the outstart, that the Honorable Elijah Muhammad is not a politician, so I'm not here this afternoon as a Republican, nor a Democrat, not as a Mason nor an Elk, not as a Christian nor a Jew, not as a Catholic nor a Protestant, not as a Baptist nor a Methodist, not even as an American. For if I was an American the problem that confronts our people today would not exist. So I stand here as what I was when I was born : A BLACK MAN! CROWD REACTIONS MALCOLM -LRB- contd. -RRB- Before there were any such things as Democrats or Republicans, we were black. Before there were any such things as Masons or Elks, we were black. Before there were any such things as Jews or Christians, we were black people. In fact long before there was ever any such place as America, we were black people. And after America has long passed from the scene there will still be BLACK PEOPLE. CLOSE - BENJAMIN He is neatly dressed in white shirt, jacket and tie, a fine young Muslim. BENJAMIN 2X Take your time.",
"INT. CHICAGO TEMPLE - NIGHT The Honorable Elijah Muhammad sits on the stage to the right of Malcolm. This is a larger audience. MALCOLM What kind of black people does the Honorable Elijah Muhammad speak for? Black people who are jobless. the black masses who are poor, hungry, and angry, the black masses who are dissatisfied with the slums and ghettos in which we have been forced to live. the black masses who are tired of listening to the promises of white politicians to correct the miserable living conditions that exist in our community. the black masses that are sick of the inhuman acts of bestial brutality practiced by these semi - savage white policemen that patrol our community, like the occupation forces of a conquering enemy army. the black masses who are fed up with the anemic, Uncle Tom leadership set up by the white man to act as a spokesman for our people and to KEEP US SATISFIED AND PACIFIED WITH NOTHING! CROWD - REACTIONS CLOSE - MALCOLM MALCOLM If the black man can not go back to his own people and his own land, Elijah Muhammad is asking that a part of the United States be separated and given to the Muslims so they can live separately. CLOSE - ELIJAH MALCOLM -LRB- contd. -RRB- The Honorable Elijah Muhammad is the only man the white people can deal with in the solving of problems of the so - called Negro. CLOSE - MALCOLM MALCOLM -LRB- contd. -RRB- as Elijah Muhammad knows his problems.",
"INT. BETTY'S BEDROOM - NIGHT A modest room. She is rocking a cradle with her foot as she writes : BETTY'S VOICE Attallah is fine. Our firstborn is an angel and a beauty. And misses you as I do. But the news that you've dedicated four new temples is almost as good as having you with us.",
"INT. HOTEL ROOM - NIGHT Malcolm sits in front of a television screen and watches the evening news. The following speech will be INTERCUT with A SERIES OF OLD NEWSREEL FOOTAGE - BLACK & WHITE -LRB- newsclips from Birmingham, Selma, Mississippi, and elsewhere -RRB- : - POLICE using dogs against DEMONSTRATORS. - The Reverend Dr. Martin Luther King marching. - Cattle prods used against MEN, WOMEN and CHILDREN. - The Reverend Dr. Martin Luther King singing `` We Shall Overcome.'' - PREGNANT WOMAN knocked down by high - pressure water hoses. - The Reverend Dr. Martin Luther King leading a crowd in prayer. - Students sitting in at a counter. - The smoldering ruins of Birmingham's 16th St. Baptist church. MALCOLM/HIS VOICE The white people who are guilty of white supremacy try and hide their own guilt by accusing the Honorable Elijah Muhammad of teaching black supremacy when he tries to uplift the mentality, the social, and economic condition of black people in this country. And the Jews, who have been guilty of exploiting the black people economically, civilly, and otherwise, hide their guilt by accusing the Honorable Elijah Muhammad of being anti - Semitic simply because he teaches our people to go into business for ourselves and trying to take over the economic leadership in our own community. The black people in this country have been the victims of violence at the hands of the white man for 400 years, and following the ignorant Negro preachers, we have thought that it was God - like to turn the other cheek to the brute that was brutalizing us. 100 years ago they use to put on a white sheet and use a bloodhound against Negroes. Today they've taken off sheets and put on police uniforms, they've traded in the bloodhounds for police dogs. And just as Uncle Tom back during slavery used to keep the Negroes from resisting the bloodhounds or resisting the Ku Klux Klan by telling them to love their enemy or pray for those who use them as spitefully today. The Honorable Elijah Muhammad is showing black people that just as the white man and every other person on this earth has God given rights, natural rights, civil rights, and any other kind of rights that you can think of when it comes to defending himself.",
"INT. TV STUDIO CLOSE SHOT - MALCOLM'S FACE With a studio mike around his neck, he's on a panel show. ANGLE - MODERATOR MODERATOR Mr. X, before we start our discussion tonight - The Black Muslims : Hate Mongers - would you mind explaining for us the meaning of your name, which is the letter X. ANGLE - PANEL Opposing Malcolm is DR. PAYSON, a NAACP - type NEGRO. CLOSE - MALCOLM MALCOLM Yes sir. As you know, during slavery time, the slavemasters named most of the so - called Negroes in America after themselves. Mr. Elijah Muhammad teaches us once you come into the knowledge of Islam, you replace your slave name with an X. Since we've been disconnected, cut off from our Eastern culture for so long that we do n't know the names we originally had, we will use X until we get back to the East. ANGLE - MODERATOR MODERATOR Thank you. Now Dr. Payson. CLOSE - DR. PAYSON DR. PAYSON Mr. X is a demagogue. He has no place to go, so he exaggerates. He's a disservice to every good law - abiding Negro in the country. Can I ask you a question? CLOSE : - DR. PAYSON MALCOLM Please, go ahead. DR. PAYSON Mr. Malcolm X, why do you teach black supremacy? Why do you teach hate? CLOSE - MALCOLM MALCOLM For the white man to ask the black man if he hates him is just like the rapist asking the raped, or the wolf asking the sheep, `` Do you hate me!'' The white man is in no moral position to accuse anyone of hate. ANGLE - PANEL MODERATOR Certainly, Mr. X, you must admit there has been progress. MALCOLM I'll talk about `` progress'' in a minute, but let me finish with my brother. Malcolm gestures to the Negro panelist. The BLACK MEMBERS of the TV audience are lapping it up. Betty and Earl also sit in the TV studio audience. MALCOLM -LRB- contd. -RRB- Stop me if I'm wrong. I `` polarize the community.'' I `` erroneously appraise the racial picture.'' DR. PAYSON You put it very well. MALCOLM You left one phrase out. Another educated Kneegrew said to me and I quote : `` Brother Malcolm oversimplifies the dynamic interstices of the Negro subculture.'' Would you agree? DR. PAYSON Entirely. ANGLE - MALCOLM MALCOLM Well, I have this to say. Do you know what a Negro with a B.A., an M.A. and a Ph.D. is called - by the white man? I'll tell you. He's called a nigger. There is some blanching and guffawing from the audience. The moderator is totally embarrassed, Betty roars. MALCOLM -LRB- contd. -RRB- And I'm not finished. To understand this man - He points a sharp finger at the Negro Panelist. MALCOLM -LRB- contd. -RRB- - you must know that historically there are two kinds of slaves. House Negroes and Field Negroes. The house Negro lived in the big house ; he dressed pretty good ; he ate pretty good and he loved the master. Yeah, he loved him more than the master loved himself. If the master's house caught fire, he'd be the first to put the blaze out. If the master got sick, he'd say : `` What's a matter, boss ; we sick?'' WE sick! If someone said to him, `` Let's run away and escape. Let's separate.'' He'd say, `` Man, are you crazy? What's better than what I got here?'' That was the House Negro. In those days he was called the House Nigger. Well, that's what we call them today because we still got a lot of House Niggers running around. There is applause from the blacks in the audience. Moderator tries to regain control.",
"INT. ELIJAH'S OFFICE - DAY CLOSE - THE HONORABLE ELIJAH MUHAMMAD He is enjoying this display by his prize student, the CAMERA PANS to a CLOSE SHOT of BEMBRY and the same can not be said. BACK TO STUDIO MODERATOR I think, perhaps, Dr. Payson has something to - MALCOLM Do n't you want to hear about the Field Nigger? DR. PAYSON Let him finish. MALCOLM Thank you. Now the Negro in the field caught hell all day long. He was beaten by the master ; he lived in a shack, wore castoff clothes and hated his master. If the house caught fire, he'd pray for a wind. If the master got sick, he'd pray that he'd die. And if you said to him, `` Let's go, let's separate'', he'd yell, `` Yeah, man, any place is better than this.'' You've got a lot of Field Negroes in America today. I'm one. BROTHER BENJAMIN Tell it. MALCOLM - there's another one. The majority of black Americans today are Field Negroes. They do n't talk about OUR progress, about OUR government, OUR navy, OUR astronauts. Hell, they wo n't even let you near the plant.",
"INT. ELIJAH'S OFFICE - DAY Bembry turns off the TV set and he commences to plant the seeds of `` betrayal.'' CLOSE - BEMBRY BEMBRY Your holy apostle, dear Messenger, I am your true servant and the brothers asked me to tell you Malcolm is getting too much press. The brothers think he thinks _ he _ is the Nation of Islam, that he has aspirations to lead the Nation. It was you who made Malcolm the man he is. You lifted him out of the darkness. CLOSE - ELIJAH ELIJAH Go and tell the brothers what Brother Minister is doing, has done, has been of great benefit to the Nation. CLOSER - BEMBRY BEMBRY Great benefit for himself. BRIEF MONTAGE. THE RISE OF MALCOLM X",
"EXT. STREET - HARLEM - DAY Malcolm is walking the streets of Harlem like he is campaigning for office. He has Brothers Sidney, Earl, and Benjamin at his side, a CROWD follows him. Malcolm sees a WINO. MALCOLM Brother Man, put that bottle down, take that poison away from your lips. That's what the devil wants you to do, stay high, out of your natural mind. I know, I've been there. The wino looks at Malcolm and continues to drink his wine. - Malcolm emerges from a doorway to be met by an army of TV REPORTERS armed with microphones. He walks ; they follow. - Malcolm walking in Harlem, urging people to lift themselves up, come to the meetings, etc..",
"INT. TEMPLE #7 Malcolm sits with Benjamin. MALCOLM It's time you received your X. But first you must copy this letter, exactly as I give it to you ; down to the dotted `` i's,'' crossed `` t's,'' everything. And you must go on a fast, just water and juices, that's it. CLOSE - BENJAMIN He takes the letter from Malcolm and looks at it. BENJAMIN I'll have it tomorrow. MALCOLM Brother Benjamin, do not rush, it has to be exact. - Benjamin goes off in a corner and very quickly copies the letter, he's so anxious. - Benjamin hands Malcolm his letter, Malcolm shakes his head and hands it back, it's not exact.",
"EXT. STREET - HARLEM - DAY Malcolm is talking to a group of PEOPLE who are having a rent strike. MALCOLM When you live in a poor neighborhood, you're living in an area where you have poor schools. CUTAWAY TO MALCOLM AND BENJAMIN Malcolm hands him back his letter again. The fast is getting to Benjamin. MALCOLM -LRB- contd. -RRB- When you have poor schools you have poor teachers. When you have poor teachers, you get a poor education. CUTAWAYS TO THE DESPAIR OF HARLEM - SLUMS, TENEMENTS, GARBAGE, RATS MALCOLM -LRB- contd. -RRB- Poor education, you only work on poor paying jobs and that enables you to live again in a poor neighborhood. CUTAWAY TO BLACK FACES MALCOLM -LRB- contd. -RRB- So it's a very vicious cycle. We've got to break it.",
"INT. MUSLIM CAFETERIA Benjamin weakly walks toward Malcolm and gives him his letter, which he takes. The fast is wearing him out. CLOSE - MALCOLM Malcolm is inspecting it. CLOSE - BENJAMIN His face is filled with apprehension. ANGLE - MALCOLM AND BENJAMIN MALCOLM You are now Benjamin 2X. BENJAMIN 2X All praises are due to Allah. Thank you, Brother Minister. MALCOLM Come, sit with us. ANGLE - TABLE Benjamin 2X sits with Malcolm and Brothers Earl and Sidney. MALCOLM We are now sitting with Brother Benjamin 2X. EARL Allah Akbar. SIDNEY You will be good. BENJAMIN 2X Brother Minister, can I have something to eat? Everyone laughs. MALCOLM Let's get this man some food.",
"EXT. HARVARD SQUARE - DAY A CROWD OF STUDENTS outside the Law School. The setting is the same as the last time we saw Malcolm and Shorty here, except now the students part for him. Malcolm walks slowly toward the entrance, looking up at the Latin inscription of the building when he is stopped by a WHITE COED. COED Mr. X, I've read some of your speeches and I honestly believe a lot of what you say has truth to it. I have a good heart. I'm a good person despite my whiteness. What can the good white people like myself, who are not prejudiced, or racist, what can we do to help the cause? CLOSE - MALCOLM He stares at her. MALCOLM Nothing! CLOSE - COED She is absolutely crushed and runs away in tears.",
"INT. HARVARD LAW SCHOOL - DAY Speaking to a packed STUDENT AUDIENCE. MALCOLM My high school was the black ghetto of Roxbury. My college was the streets of Harlem, and I took my masters in prison. If you look out the window - SHOT MALCOLM'S OLD GANG HANGOUT MALCOLM'S VOICE - you can see my burglary hangout. I lived like an animal. Had it not been for the Honorable Elijah Muhammad I would surely be in an insane asylum or dead. ANGLE - The audience carefully listening. MALCOLM Mr. Muhammad is trying to get us on God's side, so God will be on our side to help us fight our battles. When Negroes stop getting drunk, stop being addicted to drugs, stop fornicating and committing adultery. When we get off the welfare, then we'll be MEN. Earn what you need for your family, then your family respects you. They'll be proud to say `` That's my father.'' She's proud to say `` That's my husband.'' Father means you're taking care of those children. Just'cause you made them that do n't mean you're a father. Anybody can make a baby, but anybody ca n't take care of them. Anyone can go and get a woman but anybody ca n't take care of a woman. This is the type of teaching that the honorable Elijah Muhammad teaches us so we can build the moral fiber of our people. SHOT OF REPORTERS IN AUDIENCE Beginning to scribble furiously. MALCOLM I can see the gentlemen of the press, also the FBI and CIA. are with us. Get it straight ` cuz if I said, `` Mary had a little lamb,'' they'd write Malcolm X lampoons poor Mary. Loud laughter from the audience. But this response is overwhelmed by the response of ANOTHER, LARGER AUDIENCE.",
"INT. MONSTER RALLY - NIGHT Malcolm is talking before an all - black audience. It is the largest rally yet ; the hall is packed to the rafters. MALCOLM We have built temples in Boston, in Detroit, in Atlanta, Philadelphia, Washington - 100 temples in fifty states. From a handful we have grown to scores of thousands. VARIOUS SHOTS OF THE RALLY HAWKERS selling _ The Messenger _, faces of Fruit of Islam near the podium ; Lorraine, Sidney, Earl, Benjamin, and Bembry. For the first time a new note is seen in Bembry's face : reserve bordering on resentment. When others around him cheer Malcolm, Bembry is cool. Sidney notices this from his father, but makes no comment. MALCOLM/HIS VOICE The Honorable Elijah Muhammad teaches us that God is now about to establish a kingdom on this earth based on brotherhood and. -LRB-. -RRB- against peace, his history on this earth has proved that. Nowhere in history has he been brotherly toward anyone. The only time he has been brotherly toward you is when he can use you, when he can exploit you, when he can oppress you, when you will submit to him. And since his own history makes him unqualified to be an inhabitant or a citizen in a kingdom of brotherhood, the Honorable Elijah Muhammad teaches us that God is about to eliminate that particular race from this earth. So since they are due for elimination, we do n't want to be with them. ANGLE - CROWD CLOSE - MALCOLM MALCOLM -LRB- contd. -RRB- If the so - called Negro were American citizens we would n't have a race problem. If the Emancipation Proclamation was authentic, you would n't have a race problem. If the 13th, 14th, and 15th amendments to the Constitution was authentic, you would n't have a race problem. If the Supreme Court desegregation decision was authentic, you would n't have a race problem. All of this is hypocrisy. These Negro leaders have been telling the white man everything is all right, everything is under control. And they've been telling the white man that Mr. Muhammad is wrong, do n't listen to him. But everything Mr. Muhammad has been saying is going to come to pass is now coming to pass and now the Negro leaders are standing up saying that we are about to have a racial explosion. We're going to have a racial explosion and that's more dangerous than an atomic explosion. ANGLE - MALCOLM MALCOLM -LRB- contd. -RRB- It's going to explode because black people are dissatisfied. They're dissatisfied now not only with the white man, but with these Negroes who have been sitting around here posing as leaders and spokesmen for black people. Anytime you put too many sparks around a powder keg, the thing is going to explode and if the thing that explodes is still inside the house, then the house will be destroyed. So the Honorable Elijah Muhammad is telling the white man get this powder keg out of your house, let the black people in this country separate from him while there's still time. And if the black man is allowed to separate and go on onto some land of his own, where he can solve his problems, then there wo n't be any explosion. COMPLETE SEPARATION IS THE ONLY SOLUTION TO THE BLACK AND WHITE PROBLEM IN THIS COUNTRY! ANGLE - CROWD A wave of cheers as people explode.",
"INT. AN ANTEROOM OF THE RALLY - NIGHT The rally is over. A small room packed with PEOPLE congratulating Malcolm, trying to touch him. He is the hero of the hour. Sidney, Earl, and Benjamin with him, enjoying the accolades and trying to help Malcolm make his way out. Bembry stands apart, removed and silent. MALCOLM Thank you, Brother ; Sister, how are you? SIDNEY Please make way, please - ANGLE. A WELL - KNOWN PERSONALITY -LRB- DICK GREGORY -RRB- is at the door. He and Malcolm know each other well. Malcolm extends a palm, but Gregory does n't slap it. GREGORY Can I ask you something? MALCOLM Sure, man. GREGORY Are you Elijah's pimp? MALCOLM What? GREGORY -LRB- scornfully. -RRB- `` His greatest greatness.'' MALCOLM Say what you're saying. GREGORY If you do n't know, man, then I feel sorriest for you.",
"INT. MALCOLM'S HOME - NIGHT Betty, pregnant with child, is in a chair - a newspaper in her lap. Malcolm is in the other room, putting his last daughter to sleep. We hear him. ANGLE - BEDROOM MALCOLM'S VOICE Okay, last hug. As he enters, a smile on his face, but the concern of the evening clearly imprinted. He sits down heavily. Betty watches him carefully. MALCOLM Long day. Long night. Long year. Long ten years. He smiles. She does n't. MALCOLM -LRB- contd. -RRB- Why are you looking at me like that? BETTY Because you're in trouble. MALCOLM How do you know? She smiles. BETTY Dear heart, because I know you. A pause. MALCOLM I do n't want to bring my troubles home. You know that. BETTY I'm not made of glass. MALCOLM I just want to sit here and be still. BETTY We've never had a fight. Not a real one. But we're going to have one right now if you do n't talk about it. MALCOLM Talk about what? BETTY The talk is everywhere! MALCOLM There's always talk, always been talk, and always will be talk. Do n't they say how I'm trying to take over the Nation, how I'm getting rich off the Nation? BETTY We'll get to that, too, but this is n't just talk any more. She picks up the newspaper and reads from it : BETTY -LRB- contd. -RRB- `` Los Angeles, UPI : Elijah Muhammad, 67 - year - old leader of the Black Muslim Movement, today faced paternity suits from two former secretaries who charged he fathered their four children.'' MALCOLM There are always slanders, always lies. You're reading the devil's lies. Ca n't you see they're trying to bring us down, bring down the Messenger. BETTY `` Both women, in their 20's, charged they had had intimacies with Elijah Muhammad since 1957.'' MALCOLM I was going to talk to Bembry about it tonight. BETTY To Bembry? Is Bembry your friend? MALCOLM Woman, have you lost your mind? What's the matter with you? Betty gets up, goes to him gently. BETTY No, what's the matter with you? Wake up! Are you so dedicated that you have blinded yourself? Are you so committed you can not face the truth? Bembry is the editor of the newspaper you established. Ask him why your name has n't been in `` Muhammad Speaks'' in over a year? Ask him why you rate front page in every paper in the country, but not a single sentence in your own. MALCOLM -LRB- rationalizing. -RRB- I'm not interested in personal publicity. Our people know what I'm doing. BETTY Do you know what Bembry is doing? You're so blind, everyone can see this but you! MALCOLM Bembry saved my Life. The Honorable Elijah Muhammad saved my life. BETTY A long time ago. You've repaid them many times over. Ask them why they have new cars and houses full of new furniture. MALCOLM Is that what this is about? Material wealth? BETTY What do we have, Malcolm. A broken - down jalopy and the clothes on our backs. We do n't even own our own home. What about our children? What about me? You do n't even own life insurance. MALCOLM The Nation will provide for you and the children if anything happens to me. BETTY Will they? Are you sure? Are you sure or are you blind? She touches him very gently. BETTY -LRB- contd. -RRB- Dear heart, you have to help me. I'm raising our kids practically by myself, while you're running all over the world. You do n't know how many times the girls ask me when is daddy coming home? MALCOLM What do you want me to do? Our people need me. BETTY We need you too! MALCOLM What do you want me to do? BETTY Open your eyes, you can face death 24 hours a day ; but the possibility of betrayal never enters your mind. If you wo n't do that for yourself do it for us. DETECTIVE MONTAGE Malcolm knocks on the door of Evelyn Williams, one of the two secretaries/wives. She opens the door and has child in her arms. ANGLE - APARTMENT SISTER EVELYN Her name is Eva Marie, she's 2 years old. Brother Minister, I did nothing wrong. I did nothing to be put in isolation. I believed in him. I believed in the Honorable Elijah Muhammad. CLOSE - MALCOLM He can not believe what he is hearing, but he must. The truth is before his eyes. MALCOLM Sister Evelyn, believe in Allah.",
"INT. SISTER LUCILLE'S ROSARY APT. - DAY ANGLE - MALCOLM Malcolm is sitting holding both of the children. Sister Lucille who is pregnant with 3rd child waddles across the room to sit down on the sofa with him. She picks up one of the kids from him. ANGLE - SISTER LUCILLE SISTER LUCILLE This is Saudi, she's 3 and you have Lisha, she's 2. Brother Minister the Honorable Elijah Muhammad is the father of my 3 children. She touches her pregnant stomach. SISTER LUCILLE -LRB- contd. -RRB- Brother Minister he often talked about you. He loves you, loves you like his own son. Says you are the best, his greatest Minister but that someday you would leave him and turn against him. CLOSE - MALCOLM MALCOLM He told you that? SISTER LUCILLE Yes sir. MALCOLM Are you sure? SISTER LUCILLE Yes, I am, Brother Minister. All I want is support for my children. He should provide for his children. That's all I want. MALCOLM Allah will provide.",
"INT. BEMBRY'S HOUSE - NIGHT CLOSE SHOT - MALCOLM He has said everything on his mind and waits for Bembry's answer. PAN TO BEMBRY BEMBRY What are you talking about - `` blackout''? Some of the Brothers are a little jealous. Maybe they think you been a little - overpublicized. That's all. Forget it. It's nothing. Malcolm is listening closely. Bembry puts an arm around him, man - to - man. BEMBRY -LRB- contd. -RRB- Now about our coming up in the world a little. You're not naive. You're a man of the world. The Movement's grown ; we've grown with it. You know folks. They want their leaders to be prosperous. One hand washes the other. MALCOLM -LRB- quoting Bembry back to himself. -RRB- `` I'm telling you God's words, not to hustle.'' BEMBRY You want a new car? You want a new house? Is that it? It's the money, right? Malcolm has to control his rage. MALCOLM We tell the world we're moral leaders because we follow the personal example of the Honorable Elijah Muhammad. It's hard to make a rooster stop crowing once the sun has risen. The sun is up. We hear rifle shots. DRUM CADENCE -LRB- IT WILL BE THROUGHOUT ENTIRE SCENE -RRB- OMIT",
"INT. MANHATTAN CENTER - DAY Malcolm, a last - minute replacement for the ailing Honorable Elijah Muhammad, speaks before a HUGE CROWD. MALCOLM And what do I say of this so - called national mourning! I say. the white man's acts are condemned, not only by our beliefs but by his own. SHOT - AMERICAN FLAGS AT HALF - MAST MALCOLM Both his Bible and the Holy Koran say : `` As you sow, so shall you reap.'' Both say : `` Sow the wind, reap the whirl wind.'' SHOT - AMERICAN FLAGS AT HALF - MAST MALCOLM -LRB- contd. -RRB- In the soil of America the white man planted the seeds of hate. He allowed the weeds that sprang up to choke the life out of thousands of black men. SHOT - THE KENNEDY FUNERAL CORTEGE MALCOLM -LRB- contd. -RRB- Now they have strangled one of the gardeners. This is the justice of Allah. Wa - Salaam Alaikum. SHOT - AUDIENCE AUDIENCE Alaikum Wa - Salaam. SHOT - THE LONE, RIDERLESS HORSE",
"INT. MALCOLM WITH REPORTERS - DAY REPORTER Minister X! Do n't you have even a little bit of remorse. saddened by President Kennedy's assassination? CLOSE - MALCOLM MALCOLM Assassination might be too good a word, and might I add an Arabic word at that. This was a prime example of the devil's chickens coming home to roost. Being an old farm boy myself, chickens coming home to roost never did make me sad. It always made me glad.",
"INT. ELIJAH'S OFFICE - DAY On his desk is the black headlines : MALCOLM X CALLS ASSASSINATION `` CHICKENS COMING HOME TO ROOST.'' Elijah's health is getting worse, his coughing is frequent. ELIJAH Did you see the papers today? MALCOLM Yes, sir, I did. ELIJAH That was a very bad statement. The country loved this man, and you have made it hard in general for Muslims. CLOSE - MALCOLM He knows what is coming. CLOSE - ELIJAH ELIJAH -LRB- contd. -RRB- We must dissociate ourselves from your terrible blunder. I'll have to silence you for the next ninety days. You are not allowed to make any statements to the press nor are you to speak at any temples. CLOSER - MALCOLM He looks at Elijah, his leader, his friend, his father and speaks with total sincerity. MALCOLM I agree with you, sir. I submit 100 percent. ANGLE - ROOM Malcolm turns around and leaves the room. ANGLE - DOOR As the door is being closed, WE SEE Bembry kneeling before Elijah and kissing his hand. The door closes, the SCREEN IS BLACK.",
"INT. MALCOLM'S HOUSE - NIGHT Sidney is playing on the floor with the kids. Betty scoops them up. BETTY C'mon girls, it's bedtime. The phone rings. Malcolm answers it. From his expression we know it is a threat call. He hangs up. Betty leaves with the kids. SIDNEY Another one? MALCOLM How long has this been going on? SIDNEY All day since you and Betty left. Brother Minister, I have to level with you. They gave me a mission. But I could n't do it. I love y' all. MALCOLM What mission? SIDNEY To wire your car so it would explode when you turned the ignition. The Ministers say you are spreading untruths about the Messenger. The Ministers say you are a great hypocrite, Judas, Benedict Arnold. The Ministers say your tongue should be cut out and delivered to the Messenger's doorstep. MALCOLM What does Sidney say? SIDNEY I'm with you, Brother Minister. MALCOLM No. You'll be marked for death. SIDNEY Let me die then. MALCOLM I wo n't let myself come between you and your father. Go home. SIDNEY You're my father. MALCOLM And do n't come back. Sidney reluctantly leaves, walks out the door, past Betty. She looks at him, then Malcolm.",
"INT. HOTEL THERESA - DAY Malcolm - backed by Brothers Earl and Benjamin 2X - faces a roomful of SUPPORTERS and REPORTERS. MALCOLM Because 1964 threatens to be a very explosive year on the racial front, and because I myself intend to be very active in every phase of the American Negro struggle for HUMAN RIGHTS, I have called this press conference, this morning in order to clarify my own position in the struggle - especially in regards to politics and nonviolence. In the past I thought the thoughts, spoke the words of the Honorable Elijah Muhammad, that day is over. From now on I speak my own words, and think my own thoughts. Internal differences within the Nation of Islam forced me out of it. I did not leave of my own free will. But now that it has happened, I intend to make the most of it. Now that I have more independence of action, I intend to use a more flexible approach toward working with others to get a solution to this problem. I do not pretend to be a divine man, but I do believe in divine guidance, divine power, and in the fulfillment of divine prophecy. I am not educated, nor am I an expert in any particular field, but I am sincere, and my sincerity is my credentials. I'm not out to fight other Negro leaders or organizations. We must find a common solution, to a common problem. I am going to organize and head a new mosque in New York City, known as the Muslim Mosque, Inc.. This gives us a religious base, and the spiritual force necessary to rid our people of the vices that destroy the moral fiber of our community. Our political philosophy will be black nationalism. Our economic and social philosophy will be black nationalism. The Muslim Mosque, Inc. will remain wide open for ideas and financial aid from all quarters. Whites can help us, but they ca n't join us. There can be no black - white unity until there is first some black unity. A host of questions fired all at once : How many of Elijah's followers will join you? etc, etc, etc.. Malcolm calms them : MALCOLM -LRB- contd. -RRB- There is one further preparation I need. It is a return to the source of our great religion. I will make a pilgrimage to Mecca.",
"EXT. JFK AIRPORT - DAY Malcolm, at the window, as his plane takes off. He is watching Betty and the children on the Visitors' Ramp. He sees her become a tiny figure, waving a vivid bandana.",
"EXT. VISITORS RAMP - DAY The plane is out of sight. Betty gathers up her children. As they leave she is subtly surrounded by the protecting BAND OF SUPPORTERS, led by Earl and Benjamin 2X. MECCA - THE PILGRIMAGE MALCOLM GREETED AS HE DESCENDS FROM THE PLANE IN EGYPT MALCOLM'S VOICE My darling Betty. Everywhere I go I am welcomed as the representative of our people. SHOT OF CIA AGENT He watches as Malcolm walks between the two pyramids. MALCOLM'S VOICE -LRB- contd. -RRB- Our fight is known and respected worldwide. Incidentally, there's a little white man who follows me wherever I go. SHOT OF MALCOLM On a camel as he rides toward the Sphinx. MALCOLM'S VOICE I wonder who he's working for? If I was a betting man, I'd say CIA. What's your guess? GROUPS OF BURNOOSED SUPPORTERS ON THE STREETS OF JEDDA, SAUDI ARABIA. BETTY'S VOICE I arrived in Jedda, Saudi Arabia. I have never witnessed such sincere.",
"INT. AUDUBON BALLROOM - NIGHT Betty is reading Malcolm's letter to a LARGE AUDIENCE. BETTY -LRB- contd. -RRB- hospitality and true brotherhood as practiced here in the ancient home of Abraham, Mohammad and the great prophets of the Scriptures.''",
"INT/EXT. MECCA - DAY/NIGHT - Malcolm, wearing the garb of a pilgrim, walks with a VAST THRONG OF OTHERS, similarly clad, around the Great Temple. He wears two white towels, one over his loins, the other over his neck and shoulder, leaving the right arm and shoulder bare. He wears simple sandals. The other pilgrims are of various colors : from white, to yellow, to darkest black. - Malcolm and OTHER PILGRIMS kneeling together on a praying rug. - Malcolm and SEVERAL WHITE PILGRIMS eating Muslim - style ; breaking a chicken and shaking it. - Malcolm and OTHERS walking around the Great Kaaba, a black stone set in the middle of the Great Mosque. He falls to his knees. WE SEE what he describes : MALCOLM'S VOICE Today, with thousands of others, I proclaimed God's greatness in the Holy City of Mecca. Wearing the Ihram garb I made my seven circuits around the Kaaba ; I drank from the well of Zem Zem ; I prayed to Allah from Mt. Ararat where the Ark landed. It was the only time in my life that I stood before the Creator of all and felt like a complete human being.",
"INT. ELIJAH'S HOME - NIGHT Elijah and a GROUP OF BLACK MUSLIM LEADERS. Bembry among them, it looks like he is the number two man now that Malcolm has been jettisoned. The Messenger lies in bed, he is having a coughing fit, this is the worst condition he's been in. A DOCTOR orders everyone out the room. MALCOLM'S VOICE You may be shocked by these words, but I have eaten from the same plate, drunk from the same glass and prayed to the same God with fellow Muslims whose eyes were blue, whose hair was blond and whose skin was the whitest of whites. And we are brothers, truly ; people of all colors and races believing in One God and one humanity. Once before, in prison, the truth came and blinded me. It has happened again.",
"INT. MALCOLM'S HOME - NIGHT Betty is with Brothers Earl, Benjamin 2X, and the children. There are now four including another BABY - GAMILAH MALCOLM'S VOICE In the past, I have permitted myself to be used to make sweeping indictments of all white people, and these generalizations have caused injuries to some white folks who did not deserve them. Because of the spiritual rebirth which I was blessed to undergo as a result of my pilgrimage to the Holy City of Mecca, I no longer subscribe to sweeping indictments of one race. I intend to be careful not to sentence anyone who has not been proven guilty. I'm not a racist and do not subscribe to any of the tenets of racism. In all honesty and sincerity it can be stated that I wish nothing but freedom, justice and equality : life, liberty, and the pursuit of happiness for all people. SHOT. Malcolm is bent over in prayer, lone figure in a huge mosque. MALCOLM'S VOICE My first concern, of course, is with the group to which I belong, the Afro - Americans, for we, more than any other, are deprived of these inalienable rights. SHOT. Malcolm on a plane headed home. MALCOLM'S VOICE I believe the true practice of Islam can remove the cancer of racism from the hearts and souls of white Americans.",
"EXT. JFK AIRPORT - DAY A TIGHT TWO - SHOT of Malcolm and Betty in an embrace. She breaks from him and whispers : `` Go ahead. I can wait now.''",
"INT. JFK AIRPORT - DAY A large PRESS CONFERENCE : mikes of every network, every newspaper and wire service present. Malcolm sports a beard. MALCOLM Let's begin. REPORTER #1 Malcolm, you said on your trip abroad you sensed a feeling of great brotherhood. MALCOLM As I recall, I pointed out that while I was in Mecca making the pilgrimage, I spoke about the brotherhood that existed at all levels among all people, all colors who had accepted the religion of Islam. I pointed out that what it had done, Islam, for those people despite their complexion differences, that it would probably do America well to study the religion of Islam and perhaps it could drive some of the racism from this society. Muslims look upon themselves as human beings, as part of the human family and therefore look upon all other segments of the human family as part of that same family. Today my friends are black, brown, red, yellow and white. REPORTER #8 Malcolm, are you prepared to go to the United Nations at this point and ask that charges be brought against the United States for its treatment of the American Negroes? MALCOLM Oh yes. The AUDIENCE applauds. MALCOLM -LRB- contd. -RRB- The audience will have to be quiet. Yes, as I pointed out that during my trip that nations, African nations, Asian, Latin nations look very hypocritical when they stand up in the UN condemning South Africa and saying nothing about the racist practices that are manifested everyday against Negroes in this society. I would be not a man if I did n't do so. I would n't be a man. REPORTER #3 Are you prepared to work with some of the leaders of some of the other civil rights organizations? MALCOLM Certainly, we will work with any groups, organizations or leaders in any way, as long as it's genuinely designed to get results. REPORTER #1 Does the new beard have any religious significance? MALCOLM No, not particularly. But I do think that you will And black people in America, as they strive to throw off the shackles of mental colonialism, will also probably reflect an effort to throw off the shackles of cultural colonialism. And then they'll begin to reflect desires of their own with standards of their own. REPORTER #2 One of your more controversial remarks was a call for black people to get rifles and form rifle clubs sometime back. Do you still favor that for self - defense? MALCOLM I do n't see why that should be controversial. I think that if white people found themselves victim of the same kind of brutality that black people in this country face, and they saw that the government was either unwilling or unable to protect them, that the intelligence on the part of the whites would make them get some rifles and protect themselves. REPORTER #2 What about the guns, Malcolm? MALCOLM Has the white man changed since I went away? Have you put up your guns? The day you stop being violent against my people will be the day I tell folks to put away their guns. REPORTER #3 Then you're still an extremist? ANGLE - MUSLIM MALE BENJAMIN THOMAS Git your hand out of my pocket! Everyone turns around to the back to see what the commotion is about. The man who yelled out leaves quickly, we will see him later on, very soon.",
"INT. MALCOLM'S HOUSE - NIGHT Malcolm looks out the living room window, he has a rifle in hand. -LRB- NOTE : This is the same pose as the famous photograph of him. -RRB- He does n't see anyone and closes the curtain. The phone rings. CLOSE - PHONE Malcolm picks up the receiver. VOICE You're one dead nigger. ANGLE - BEDROOM Betty has picked up also and she's listening. VOICE You're days on this earth are numbered, brother. CLOSE - MALCOLM CLICK! He hangs up. ANGLE - BEDROOM Malcolm enters the room and gets into the bed with Betty, he puts his ear down on his wife's pregnant stomach. She kisses him. BETTY Get some sleep. MALCOLM You have to sleep for three. Malcolm pulls Betty closer to him. MALCOLM I'm sorry. I have n't been the best husband or father. BETTY Shhh! MALCOLM Families should n't be separated. I'll never make another long trip without you and the kids. We'll all be together. BETTY Dear heart, I love you. MALCOLM We had the best organization that black people ever had and niggers ruined it.",
"EXT. THE HOUSE - NIGHT It is a cold winter night. A Molotov cocktail is lit and hurled through the front picture glass window.",
"INT. THE HOUSE - NIGHT One of the children screams. CLOSE - MALCOLM",
"INT. MALCOLM'S BEDROOM - NIGHT Malcolm grabs his pistol and quickly throws a coat over Betty. She is half - asleep, frightened, trembling and disoriented. MALCOLM Walk out the back, dear. Hurry. Betty goes. Malcolm runs back for the children. ANGLE. He reassuringly leads the four children, in their pajamas, through the smoke - filled house. MALCOLM There's nothing to be afraid of. It might be a little cold. Hang on. We'll be fine. INSERT - FLASHBACK WE CUT BACK TO Earl Little getting his family out of the burning house in Lansing, Michigan. It should be the same exact scene we saw before earlier in the film. EARL Everybody out. OUT! OUT! Get the kids. CUT BACK TO PRESENT",
"EXT. THE HOUSE - NIGHT Neighbors' lights have gone on. There are shouts : `` What is it?'' `` Fire!'' `` Bring those children in here.'' MALCOLM Call the Fire Department.",
"EXT. THE HOUSE - NIGHT (LATER) A hose is playing on the fire. Police cars have arrived. There are TWO REPORTERS with the COPS. Malcolm faces them furiously. MALCOLM And the fire hit the window and it woke up my second oldest baby, but the fire burned on the outside of the house. It could have fallen on six -, four -, or two - year - old girls. And I'm going to tell you, if it had done it, I'd've taken my rifle and gone after anybody in sight. REPORTER Are the Muslims behind this? MALCOLM It was bombed by the Black Muslim movement upon the orders of Elijah Muhammad. SECOND REPORTER Do you know what Muslim headquarters is saying? MALCOLM -LRB- with total contempt. -RRB- I can imagine. I did it myself. For the publicity.",
"EXT. TEMPLE #1 - DETROIT - DAY Bembry is being interviewed by a reporter. BEMBRY We feel this is a publicity stunt on the part of Malcolm X. We hope this is n't a case of `` if he ca n't keep the house, we wo n't get it either.''",
"EXT. MALCOLM'S STREET - NIGHT A car comes roaring down the street with rifles sticking out the windows, and pulls right up in front of Malcolm's house. ANGLE - HOUSE Brothers Earl and Benjamin 2X run out of the car up to Malcolm. BROTHER EARL We called your house, operator said you had requested that your phone be turned off. BENJAMIN 2X Give us the command, Malcolm. MALCOLM I do n't care about myself, my wife and four children were sleeping in their beds, they have nothing to do with this. BROTHER EARL Let's get out of this cold. Brothers Earl and Benjamin take off their coats and put it over Malcolm and lead him to a police car.",
"INT. BASEMENT - DAY FIVE BLACK MEN sit around a table. They do not speak. They are Thomas Hayer, Ben Thomas, Leon Davis, William X and Wilbur Kinley. All are Muslims, all are the ASSASSINS. CLOSE - 12 - GAUGE SAWED - OFF SHOTGUN ON TABLE CLOSE - 9MM GERMAN LUGER ON TABLE CLOSE -.45 AUTOMATIC ANGLE - THOMAS HAYER He puts a roll of exposed 35mm film into a sock. ANGLE - TABLE ASSASSINS Allah Akbar.",
"EXT. NY HILTON - DAY - ESTABLISHING SHOT",
"INT. NY HILTON ANGLE - LOBBY Malcolm is checking in when he is approached by a young WHITE COED. COED Mr. X. I have a good heart. I'm a good person despite my whiteness. What can the good white people like myself who are not prejudiced do to help the cause of the Negro? CLOSE - MALCOLM He looks at her. He thinks. He speaks. MALCOLM Let sincere white individuals find other white people who feel as they do and teach non - violence to those whites who think and act so racist. CLOSE - COED COED I will, Mr. X, I will. CLOSE - MALCOLM MALCOLM Let's all pray without ceasing. May Allah bless you.",
"INT. HOTEL ROOM - NIGHT Malcolm lies on his bed, and for the first time WE SEE the strain in his face, it has begun to take its toll, he's a haunted man. A doomed man. ANGLE - MALCOLM Malcolm dials the phone. MALCOLM Brother Earl.",
"INT. HOTEL THERESA - NIGHT BROTHER EARL Malcolm, where are you? We've been calling all over the city. INTERCUT between Malcolm and Brother Earl. MALCOLM I'm gon na try and get some work done tonight. BROTHER EARL Let some of us come down there. MALCOLM No, that wo n't be necessary. I'll be all right. BROTHER EARL I wish you'd listen to us. What about the meeting tomorrow? We need to frisk people. MALCOLM I do n't want folks to be searched, it makes people uncomfortable. If I ca n't be safe among my own kind, where can I be? Allah will protect me. There is silence on the other end. CLOSE - BROTHER EARL",
"INT. AUDUBON BALLROOM - NIGHT The five assassins are casing ballroom. They check the different entrances, the exits, the bathrooms, staircases while the jam packed crowd continues to dance the night away.",
"INT. A FRIEND'S HOUSE - NIGHT Betty is putting her four daughters to sleep when the phone rings. She picks it up. VOICE That red nigger of yours is dead and so are your bastard children. CLICK. Betty hangs up the phone and it rings again. BETTY Stop calling us. Leave us alone. Leave us alone. I'll kill you. I'll kill you. CLOSE - MALCOLM MALCOLM Betty it's me. It's me. INTERCUT between between Malcolm and Betty. BETTY Malcolm, they keep calling, threatening us. I'm going crazy, when is this going to stop? MALCOLM Do n't answer the phone. It's all right. It's all right. Nothing is gon na happen to anybody. BETTY Dear heart, where are you? MALCOLM At the Hilton. The girls asleep? BETTY I just put them to bed. Can we come to the meeting tomorrow? MALCOLM I do n't think that's such a good idea.",
"EXT. ROAD A blue 1968 Cadillac passes a sign that says Patterson, New Jersey. ANGLE - CAR The assassins are on their way to the Audubon Ballroom, Wilbur Kinley is behind the wheel, no one is talking.",
"EXT.STREET - DAY Betty is driving to the Audubon Ballroom, her four daughters are in the backseat making a racket.",
"EXT. STREET - DAY Malcolm drives to the Audubon Ballroom.",
"INT. AUDUBON BALLROOM - DAY Brothers Earl and Benjamin 2X along with some others are putting the folding chairs in place for the coming meeting. The audience has not started to come in yet.",
"EXT. GEORGE WASHINGTON BRIDGE - DAY The assassins are driving over the George Washington Bridge. ANGLE - CAR KINLEY Brothers, the time is fast approaching, it's the hour of the knife.",
"EXT. STREET - DAY CLOSE - BETTY Betty is trying to quiet down her daughters as she drives.",
"EXT. STREET - DAY CLOSE - MALCOLM Malcolm is in deep thought as he drives.",
"INT. AUDUBON BALLROOM - DAY Betty and her four kids walk into the ballroom and move down the center aisle. One of the girls drops her black doll and a young man picks it up. The young man is Thomas Hayer, he gives it back to her. BETTY Say thank you. GAMILAH Thank you. THOMAS You are welcome. ANGLE. The rest of the assassins come in and go to their positions along with the rest of the crowd, the place is starting to fill up.",
"INT. BACKSTAGE - DAY BROTHER BENJAMIN 2X No sign of the minister yet. BROTHER EARL He'll be here like clockwork.",
"EXT. STREET - DAY Malcolm drives past the Audubon Ballroom, people are going in but no cops are present. ANGLE - CAR Malcolm drives by. ANGLE - STREET Malcolm parks his car, it's four blocks away. He turns off the ignition and sits there. CLOSE - MALCOLM It's as if he's frozen in his car. ANGLE - STREET Malcolm finally gets out of the car, locks the door and walks a couple of steps, then stops. CLOSE - MALCOLM Malcolm has stopped in his tracks, like some unseen force has overcome him which prevents him from moving. Malcolm is paralyzed. CLOSER - MALCOLM'S FACE His eyes are closed, and the street noise begins to build to a deafening _ roar _. Then all of a sudden it stops. ANGLE - OLD WOMAN OLD WOMAN Son, you all right? Malcolm opens his eyes, she has brought him out of it. He looks at her but does n't answer. OLD WOMAN -LRB- contd. -RRB- Are you okay? Malcolm looks at this old woman, who slightly resembles his own mother. MALCOLM Ma'am, I'm fine. OLD WOMAN Good. We need you. I recognize you, do n't pay them folks no never mind, you keep on doing what you doing. MALCOLM May Allah bless you. OLD WOMAN I'll pray for you too, son. Jesus will protect you. She walks away, carrying her two shopping bags full of groceries.",
"INT. BACKSTAGE - DAY Malcolm walks in. Present are Brothers Earl, Benjamin 2X and a secretary SISTER ROBIN. MALCOLM Is the program ready? BENJAMIN 2X No, Brother Minister. MALCOLM Why not? You've had ample time, you and the sister. SISTER ROBIN I apologize Brother Minister, we'll have it next week. He is pissed. MALCOLM Folks are sitting out there _ today _, not next week, expecting to hear our program. BENJAMIN 2X Next week, Brother Minister. MALCOLM Has the Reverend called? Is he going to show? BROTHER EARL Reverend Chickenwing called last night and said he would n't be able to attend. MALCOLM So now we have no opening speaker? Why was n't I informed last night? BROTHER EARL I called Sister Betty, she did n't tell you? MALCOLM Since when do you start telling Sister Betty my business? Since when? She has nothing to do with this. You tell me, not her, not anybody else. BROTHER EARL I assumed. MALCOLM What did I tell you about assuming? Malcolm starts pacing the room, nobody has ever seen him like this before. MALCOLM Benjamin, you better go out there and explain why the program is n't ready today. Benjamin 2X gets up to leave. MALCOLM Sister, please go with the brother. They both exit. CLOSE - MALCOLM AND EARL BROTHER EARL Brother Minister, what is wrong? MALCOLM The way I feel, I ought not to go out there today. In fact, I'm going to ease some of this tension by telling the black man not to fight himself - that's all a part of the white man's big maneuver, to keep us fighting amongst ourselves, against each other. I'm not fighting anyone, that's not what we're here for. BROTHER EARL Let's cancel. MALCOLM Is my family here yet? BROTHER EARL Down front as always.",
"INT. ANTEROOM - DAY A lone COP in uniform stands in the shadows with a walkie - talkie.",
"INT. BACKSTAGE - DAY Malcolm is about to go on stage when he sees Sister Robin. MALCOLM You'll have to forgive me for raising my voice to you. SISTER ROBIN Brother Minister, I understand. MALCOLM -LRB- to himself. -RRB- I wonder if anybody understands.",
"INT. AUDUBON BALLROOM - DAY The place is filled. Betty and the girls sit in a boxed - off section near the platform. Malcolm's bodyguards stand on and around the stand. Benjamin 2X is finishing up his speech when Malcolm walks onto the stage and sits down. MALCOLM Make it plain. BENJAMIN 2X And now, without further remarks, I present to you one who is willing to put himself on the line for you - CLOSE - BETTY AND THE KIDS CLOSE - THOMAS HAYER CLOSE - WILBUR KINLEY CLOSE - LEON DAVIS CLOSE - BEN THOMAS CLOSE - WILLIAM X CLOSE - MALCOLM X CLOSE - BENJAMIN 2X BENJAMIN 2X -LRB- contd. -RRB- - a man who would give his life for you. I want you to hear, to listen, to understand one who is a Trojan for the black man. ANGLE - STAGE A roar greets Malcolm's intro. He shakes hands with Benjamin 2X, then steps toward the podium. CLOSE - MALCOLM He starts to rearrange his 3 x 5 index cards in his hands. MALCOLM Brothers and Sisters, Wa - Salaam Alaikum. AUDIENCE Alaikum Wa - Salaam. SWIFT JERKY PAN OF CAMERA There is a commotion in the rear of the audience. BENJAMIN THOMAS Git your hand out of my pocket. The bodyguards move toward the rear. CLOSE - MALCOLM MALCOLM Hold it, brothers. Do n't get excited. Let's cool it - ANGLE - WILLIAM X He stands up from the fourth row with 12 - gauge sawed - off shotgun blasting. CLOSE - MALCOLM Throws up his hands, grabs his chest and is knocked backward. SHOTS - PURE PANDEMONIUM People hit the floor, knock over chairs, stampede for the exits. ANGLE - BACK OF AUDITORIUM Wilbur Kinley ignites a smoke bomb. ANGLE - FIRST RUN Thomas Hayer and Leon Davis stand up, run toward the stage, and empty their.45's and Luger into the fallen body of Malcolm. ANGLE - BETTY She is on the floor covering her children. ANGLE - AISLE Hayer and Davis charge up the aisle toward the rear exit, shooting at the crowd. ANGLE - BODYGUARD He stands in Hayer's way, Hayer fires, he turns, the bullet misses and the bodyguard gets off a shot which hits Hayer in the leg. ANGLE - HAYER He stumbles momentarily, then limps on. ANGLE - STAIRCASE Hayer is running down the staircase when he is tripped, and goes flying through the air to the bottom of the landing. The crowd starts to beat the shit out of him, kicking him in the head, etc., they're about to tear him apart from limb to limb when a PATROLMAN enters with gun drawn. He shoots gun into air and the crowd backs off and he takes custody of Hayer. ANGLE - STAGE One of Malcolm's bodyguards, BROTHER GENE, is over him, giving him mouth - to - mouth resuscitation. Brother Gene stops, Betty moves in and hugs her dying husband. BETTY Somebody call an ambulance. Somebody call an ambulance. ANGLE - ENTRANCE THIRTY COPS walk in like it's a spring Sunday stroll in Central Park. CLOSE - MALCOLM His eyes are glazed over. BETTY'S VOICE They killed him. They killed him. SHOT - BROTHERS EARL AND BENJAMIN 2X SITTING ON STAGE SHOT - MALCOLM IS RUSHED ON A STRETCHER TO HOSPITAL NEXT DOOR SHOT - HOSPITAL SPOKESPERSON HOSPITAL SPOKESPERSON The person you know as Malcolm is no more. THE STUNNED FACES OF BLACK PEOPLE OUTSIDE THE AUDUBON BALLROOM. - AND IN HARLEM. OSSIE DAVIS speaking behind the above : OSSIE DAVIS'S VOICE Here at this final hour, in this quiet place, Harlem has come to bid farewell to one of its brightest hopes, extinguished now and gone from us forever. DOLLY SHOT of the long line of people outside the funeral parlor, waiting to see Malcolm's body, where it lies before burial. OSSIE DAVIS'S VOICE: -LRB- contd. -RRB- For Harlem is where he worked, and where he struggled and fought. His home of homes, where his heart was and where his people are. And it is therefore most fitting that we meet once again in Harlem to share these last moments with him. For Harlem has ever been gracious to those who loved her, have fought for her and defended her honor even to death. It is not in the memory of man that this beleaguered, unfortunate but nonetheless proud community has found a braver, more gallant young champion than this Afro - American who lies before us unconquered still. Many will ask what Harlem finds to honor in this stormy, controversial and bold young captain and we will smile and we will answer and say unto them : SHOTS - FACES OF HARLEM - PRESENT DAY - THE 90'S Ordinary PEOPLE in ordinary pursuits of life, BLACK PEOPLE still struggling to stay afloat in a racist WHITE AMERICA that does not have their best interests at hand - 8 years of Reagan and now at least 4 years of Bush. OSSIE DAVIS'S VOICE -LRB- contd. -RRB- Did you ever talk to Brother Malcolm? Did you have him smile at you? Did you ever listen to him? Did he ever really do a mean thing? Was he ever associated with violence or any public disturbance? SHOT - STREET SIGN - MALCOLM X BOULEVARD - HARLEM SHOT - YOUNG AFRO - CENTRIC TEENAGERS WITH MALCOLM X T - SHIRTS, HATS, JACKETS, JEWELRY, ETC.. OSSIE DAVIS'S VOICE -LRB- contd. -RRB- For if you did, you would know him and if you knew him, you would know why we must honor him. SHOT - NEWSREEL FOOTAGE OF THE _ REAL _ MALCOLM X OSSIE DAVIS'S VOICE -LRB- contd. -RRB- Malcolm was our manhood, our living black manhood. That was his meaning to his people and in honoring him we honor the best in ourselves. FREEZE FRAME - A CLOSE - UP OF THE REAL MALCOLM X SMILING RIGHT AT US. SHOT - INT. CLASSROOM BULLETIN BOARD A picture collage of Malcolm X. It reads P.S. 153 - Harlem honors Malcolm on his birthdate May 19, 1935. OSSIE DAVIS'S VOICE -LRB- contd. -RRB- And we will know him then for what he was and is. A PRINCE, A BLACK SHINING PRINCE who did n't hesitate to die because he loved us so. ANGLE - CLASSROOM It's a fourth - grade class. CLOSE - STUDENT 1ST STUDENT I'm Malcolm X. CLOSE - STUDENT 2ND STUDENT I'm Malcolm X. CLOSE - STUDENT 3RD STUDENT I'm Malcolm X. CLOSE - STUDENT 4TH FEMALE STUDENT I'm Malcolm X.",
"INT. CLASSROOM - SOWETO, SOUTH AFRICA - DAY CLOSE - STUDENT 1ST STUDENT I'm Malcolm X. CLOSE - STUDENT 2ND STUDENT I'm Malcolm X. CLOSE - STUDENT 3RD STUDENT I'm Malcolm X. CLOSE - STUDENT 4TH FEMALE STUDENT I'm Malcolm X. CAMERA PANS slowly to head of class where the teacher stands, it's NELSON MANDELA. CLOSE - MANDELA MANDELA As Brother Malcolm said, `` We declare our right on this earth to be a man, to be a human being, to be respected as a human being, in this society, on this earth, in this day, which we intend to bring into existence by any means necessary.''"
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] | Malcolm Little is born into a poor household in rural Nebraska to a Caribbean mother and African-American father. When Malcolm is a young boy, their house is burnt down and his father, an activist for black rights, is killed by a chapter of the Black Legion. His death is falsely registered as a suicide and the family receives no compensation. Malcolm's mother's mental state deteriorates and she is admitted to a mental institution. Malcolm and his siblings are put into protective care. Malcolm performs well in school and dreams of being a lawyer, but is discriminated against by his teachers. In 1944, Malcolm, now a teenager, lives in Boston. He goes to a nightclub with his friend Shorty and girlfriend Laura. He catches the attention of the white Sophia, and the two begin to date. Malcolm gets a job as railroad worker and travels to Harlem with Sophia. At a bar, he meets "West Indian" Archie, a gangster who runs a local numbers game. The two become friends and start co-operating an illegal numbers racket. One night at a club, Malcolm bets on a series of numbers, one of which is a winner; however Archie disputes that Malcolm had selected the winning number, denying him a large sum of money. A conflict ensues between the two and Malcolm returns to Boston after an attempt on his life. Malcolm reconnects with Shorty and meets Rudy and another girl named Peg. The five delinquents decide to start performing robberies to earn some money. By 1946, the group has accrued a large amount of money from thievery. However, they are later arrested. The two girls are sentenced to two years as first offenders in connection with the robberies, while Shorty and Malcolm are sentenced to 8-10 years in jail. While incarcerated, Malcolm meets Baines, a member of the Nation of Islam, who directs him to the teachings of the group's leader Elijah Muhammad. He is initially cold towards the preachings, but later grows interested in the Muslim religion and lifestyle that is promoted by the group. Malcolm begins to resent white people for their maltreatment of his race. Malcolm is paroled from prison in 1952 after serving six years, and travels to the Nation of Islam's headquarters in Chicago. There, he meets Muhammad, who instructs Malcolm to remove his "Little" surname and replace it with "X", which is symbolic of his lost African surname that was taken from him by white people; he is rechristened as "Malcolm X". Malcolm returns to Harlem and begins to preach the Nation's message. Over time, his speeches gather large crowds of onlookers who protest African-American mistreatment. Malcolm proposes ideas such as African-American separation from white Americans. In 1958, Malcolm meets nurse Betty Sanders. The two begin dating, quickly marry and become the parents of four daughters. Several years later, Malcolm is now in a high position as the spokesperson of the Nation of Islam. After US President John F. Kennedy is assassinated in November 1963, Malcolm comments that his assassination was the product of the white violence that has been prevalent in America since its founding: he compares the killing to "the chickens coming home to roost." This statement greatly damages Malcolm's reputation and he is informed by Muhammad that he is being suspended as the Nation's figurehead for 90 days. Seeing this as a betrayal, Malcolm loses faith in the organization. In early 1964, Malcolm goes on a pilgrimage to Mecca where he finds that Muslims come from all cultures, including white. Malcolm publicly announces that he will no longer preach African-American separation and begins his own organization, the Organization of Afro-American Unity, which teaches tolerance instead of protest. He also legally changes his name to El-Hajj Malik El-Shabazz. This action publicly exiles him from the Nation of Islam. He is subsequently sent several death threats by members of the Nation and his house is firebombed in early 1965. On February 21, 1965, Malcolm prepares to speak before a crowd at the Audubon Ballroom in Harlem before he is shot several times by disciples of the Nation of Islam. One of the shooters, Thomas Hagan, is shot in the leg by one of Malcolm's bodyguards and dragged into a furious crowd, who proceed to beat him. Malcolm is transported to a hospital, but he is pronounced dead on arrival. The film concludes with a series of clips showing the aftermath of Malcolm's death. Martin Luther King Jr. delivers a eulogy to Malcolm, and Ossie Davis recites a speech at Malcolm's funeral. Nelson Mandela delivers a speech to a school, quoting an excerpt from one of Malcolm's speeches. | Malcolm_X_(film) |
[
"EXT. MEXICAN CITY - DAY Aerial over the city, flying down into a FEDERALE CAR tearing through the slums. Piles of garbage scatter, stray dogs scramble.",
"INT. FEDERALE CAR, MOVING - DAY MACHETE -LRB- MEXICAN FEDERALE OFFICER CRUZ -RRB- drives with ROOKIE OFFICER ERHMAN riding shotgun. A rosary swings back and forth on the rearview mirror. CHIEF TORREZ's yells crackle through the police radio. TORREZ -LRB- ON RADIO. -RRB- Officer Cruz! Stand down! Do not attempt to take the safehouse alone! Officer Cruz! You hear me!? OFFICER ERHMAN Torrez sounds mad. You going to answer him? Machete glares. Erhman nervously picks up the radio. OFFICER ERHMAN -LRB- CONT'D. -RRB- On route to target, no need for assistance. TORREZ -LRB- ON RADIO. -RRB- Machete, you son of a bitch! I told you to wait! Set up a perimeter and wait for further orders. You hear me, Pendejo!? Machete slowly takes the radio from Erhman. He hangs up.",
"EXT. MEXICAN HOTEL - DAY Fleapit motel sits derelict at end of the street. Dead cars on the lawn, chickens scratching in the dirt.",
"INT. FEDERALE CAR, MOVING - DAY Machete guns the engine. OFFICER ERHMAN What are you doing? We're going to set up a perimeter right? You heard the boss. Machete pulls his Machete, sticks it up to Erhman's face. MACHETE This is the boss. Ehrman crosses himself. A phalanx of ARMED GUARDS emerge from the dead cars. They narrow their weapons at MACHETE's barrelling patrolcar. OFFICER ERHMAN Hijo de puta! Machete FLOORS it directly through the DEAD CARS and right through the FRONT WALL of the fleapit.",
"INT MEXICAN HOTEL, LOBBY - DAY Erhman flies THROUGH THE WINDSHIELD into the far wall. The car stops in front of the check - in desk. Machete steps out. The dust clears. More ARMED MEN stream from the office. MACHETE sideswipes the first THUG with his MACHETE, swinging him around to face the fire of the others. THUG ragdolls around like a marionette long enough for Machete to slash one of the men's wrists, sending his aim wild and taking out the others.",
"INT. MEXICAN HOTEL, HALLWAY Machete kicks open a door.",
"INT. MEXICAN HOTEL, ROOM Naked girl on the bed. As if she was expecting him. MACHETE Get dressed. He checks the windows. CHICA It's too hot for clothes. Checks her eyes. She's been drugged. He lifts her, ass over his shoulder. CHICA -LRB- CONT'D. -RRB- Hey. what's your name? She tries to read the nametag on his uniform, upside - down.",
"INT. MEXICAN HOTEL, HALLWAY A THUG with an UZI runs out spraying bullets. Machete spins and impales his face into the wall. THUG's Uzi falls into the girl's hands. MORE THUGS emerge from the end of the hallway. She absently pulls the trigger, ripping into the pursuing men. Blood sprays the walls like Jackson Pollock. New THUGS emerge from the front of the hallway. Machete spins around and the girl unloads another spray. CHICA Oh. wow.",
"INT. MEXICAN HOTEL, LOBBY The Uzi's out of ammo. The girl frowns and drops it. The fucked - up patrolcar blocks the way out, for now. Machete resheathes his weapon into a slit in his pants. Girl arches her back, her crotch in Machete's face, then slides down his front, her breasts brushing his eyes, nose, mouth. MACHETE We need to go. Now. CHICA In what? That? The patrolcar is n't going anywhere. She rips open his shirt and rubs his tattoo. CHICA -LRB- CONT'D. -RRB- That looks like me. She reaches into his pants. CHICA -LRB- CONT'D. -RRB- What's this long, hard thing? MACHETE My machete. CHICA Is it sharp? Machete looks into her eyes. She smiles drunkenly. CHICA -LRB- CONT'D. -RRB- Good. She yanks it, drawing it into his femoral artery. Hard. He falls to the ground. He did n't see this coming. She kicks him backwards. He feels life escaping him. His point of view as : She reaches down BETWEEN HER LEGS. Fumbles with her CROTCH. Pulls out a small cell phone from her snatch. CHICA -LRB- CONT'D. -RRB- -LRB- INTO PHONE. -RRB- I got him. More life escapes him. Double crossed. He's ready to give up. CHICA -LRB- CONT'D. -RRB- -LRB- HANGING UP. -RRB- Pobrecito. CHIEF TORREZ steps in. GIRL Como hice? -LRB- Sub : How'd I do? -RRB- TORREZ Bueno. pero no tanto. -LRB- Sub : Good. but not that good. -RRB- He shoots her once ; she drops, then he empties the gun into her body, making her do a spider dance on the floor. TORREZ -LRB- CONT'D. -RRB- You had to stick your neck where it did n't belong, amigo. MACHETE Torrez? Torrez's boot connects with Machete's face and he goes backwards onto the floor. A SECOND MAN enters. This is DRUGLORD. DRUGLORD No, not Torrez. El Santo Muerte, pendejo. -LRB- I'm Saint Death, pendejo. -RRB- DRUGLORD draws a Samurai sword and SLICES Machete like carving meat. We do n't see it. DRUGLORD -LRB- CONT'D. -RRB- Quemalo. Quemalo todo. -LRB- Sub : Burn it. Burn it all. -RRB- Druglord walks out. Through Machete's blurred vision we see Torrez and other officers lighting rags dipped in bottles of tequila and throwing them into the corners of the room. The place goes up as they run out. Machete crawls and collapses as the flames rise around him AND WE CUT TO BLACK. TITLE CARD : THREE YEARS LATER",
"EXT. BORDER BRUSH COUNTRY - NIGHT TITLE CARD : SOMEWHERE ALONG THE TEXAS BORDER A group of ILLEGALS hunker down in the brush, creeping in the moonlight. One of them coughs and seizes, obviously sick. Another points at a WATER STATION up ahead, pulling the sick man along. Headlights of a large TRUCK appear over a ridge. A spotlight scans the brush, catches them. ARMED MEN ride in the bed of the truck. MAN I see em! The burly driver, VON, shifts into gear and barrels down. They scatter. Shots from the truck hit them. One keeps running. They corner the last illegal. He's lit in the spotlight like Christ on the cross, arms wide in surrender. VON smiles. VON Welcome to America. Gunfire.",
"EXT. BUNGALOW - NIGHT TITLE CARD : AUSTIN, TEXAS. 4:45 A.M.",
"INT. BUNGALOW, BATHROOM - NIGHT ELEKTRA RIVERS, 20s, lies naked, soaking in a bubble bath. She stretches, revealing tantalizing glimpses of her bod. She's having her `` private time,'' caressing every inch of her body with a phallic loofah. She oohs and ahhs with the joys of pleasuring herself in the tub. Headlights appear through the venetian blinds. She stops. Sounds of people getting out of a car, laughing, shushing each other. Then a key in a lock, struggling to open it. A door forcibly opens. More sounds of fumbling and shushing.",
"INT. BUNGALOW, BEDROOM Dim lights silhouette two people getting naked and getting physical. Lights come on. ELEKTRA stands in a bathrobe. COUPLE are stunned. Especially since the naked woman in bed looks just like ELEKTRA. ELEKTRA Jesus, Sis. How long have you known this one? Twenty minutes? NAKED MAN What the fuck? You're a twin? Hot. SIS in bed covers up. SIS Mind your own business. ELEKTRA I'm trying to. I've got to get ready for work. And you're in my room. NAKED MAN Whoa, whoa. Why do n't you join us? ELEKTRA What a charmer. You sure know how to pick ` em, Sis. SIS Fuck off. -LRB- TO MAN. -RRB- Get out. NAKED MAN What? SIS You've been kicked off the island. Get the fuck out. Naked Man cold - cocks Sis. She's out. NAKED MAN Talk nice. And you - get that robe off and get up here. ELEKTRA Sure thing. I like a man who takes control. She sidles up to the man, straddles him in bed, pushes his hands up to the bedrail and snaps the cuffs on him, cuffing him to the bed. NAKED MAN What the fuck? ELEKTRA You're under arrest, dick. She pulls a handgun from her robe, pistolwhips him good. NAKED MAN You're a cop? She hits speed - dial on a cellphone. ELEKTRA Yeah, this is Agent Elektra Rivers, Homeland Security. I could use some unis at the corner of Newning and Drake for an assault. Suspect in custody. NAKED MAN You're fucking hot. ELEKTRA -LRB- clicking phone shut. -RRB- Yeah. Thanks. I got ta get dressed now. NAKED MAN Can I watch? ELEKTRA Suit yourself. She strips off the robe, giving him an eyeful.",
"EXT. BUNGALOW - DAY Cops take the naked man into custody. Elektra, badge on her suit, gets into her car. Sis appears in the doorway holding a steak to her face. She lowers it, revealing a black eye. SIS Have a nice day, bitch. ELEKTRA You too, slut. Elektra drives away. Sis shuts the door.",
"EXT. ELEKTRA'S CAR, MOVING - DAY Elektra drives. Flicks on the radio. RADIO ANNOUNCER State Senator John McLaughlin is once again under investigation for his ties to an extremist militia organization in the capitol city - Switching radio to her favorite song as she speeds by -",
"EXT. DAY LABORER PICKUP SPOT - DAY Men mill about, waiting to be picked up for work as trucks roll by. MACHETE, ; older and tougher, strides down the sidewalk. A TACO TRUCK honks and pulls to the curb. A window opens. A gorgeous raven haired beauty, LUZ, stretches out. LUZ Cafe! Taquitos! Tarjetas de llamada! -LRB- Sub : Coffee! Tacos! Long - distance calling cards! -RRB- Men walk up and get their breakfast. Machete strides by. Moco, a worker, approaches the taco truck. MOCO Q - vole, Luz! Dos taquitos de papas con, por fa. Y cafe. -LRB- Sub : What's up, Luz? Two potato and egg tacos, please. And coffee. -RRB- He digs into the steaming plate of Migas. Luz's MINI BULLDOG PANCHO runs up and barks. Moco throws him some chorizo. He scarfs it up. LUZ Pancho vamanos! Leave him alone. MOCO It's OK Luz. You got ta feed your little man, he's hungry. LUZ He's a fat fuck, do n't do nothing and eats all day, like my last husband. MOCO Orale, you ai n't getting married again with that attitude. LUZ Thank god. Why buy the pig when I can get the chorizo for free? MOCO Puta. LUZ EAT ME Moco pulls out a hundred dollar bill and slides it across the counter to her. Their smiles turn serious. Luz hands Moco a brown box to go. LUZ -LRB- CONT'D. -RRB- Be careful mi amor, and do n't leave no scraps. Moco looks inside ; It's a.357 Magnum She hands him a french fry box filled with bullets. Moco takes the gear and leaves. MOCO Thanks Luz, Hasta luego. LUZ Via con dios. Luz notices MACHETE, standing away from the crowd, She waves him over. LUZ -LRB- CONT'D. -RRB- Looking for something? She pushes two tacos and a coffee toward him. He shakes his head no. LUZ -LRB- CONT'D. -RRB- Mañana me pages. -LRB- Sub : You can pay me tomorrow. -RRB- Machete takes the food, steps aside.",
"EXT. ALLEY - DAY Men circle in an alleyway, laying money down on the ground, placing bets on the two fighters in the makeshift ring. One is a brawny thug with a neck like a tree trunk. The other is strong, but not big. Brawny Thug makes quick work of his opponent. The men cheer. Brawny Thug's HANDLER coaxes the crowd for another opponent. Machete walks into the alley. Brawny Thug points at him. HANDLER He wants you. Machete keeps walking. HANDLER -LRB- CONT'D. -RRB- $ 500 if you lose. $ 2000 if you win. Machete keeps walking. HANDLER -LRB- CONT'D. -RRB- Hey, you, wetback! You're gon na kiss off $ 500 for five minutes? Machete stops. Rico, a WORKER, lays a fistful of bills on the ground. RICO A hundred on the new guy! HANDLER takes the money, makes a note. Bets start flying as money changes hands. RICO -LRB- CONT'D. -RRB- Orale! Come on! A Benz pulls up into the alley, and a bearded man wearing sunglasses steps out, still in the shadows, watching from a distance. Machete and the brawny thug fist fight bareknuckled. Brawny gets in several good punches, knocking Machete about, but Machete comes from behind to lay him out. Brawny falls on his face with a sickening crunch. The crowd goes wild. Rico pockets his winnings. Machete grabs his and walks off around the corner.",
"EXT. ALLEY - DAY Machete is followed by two of Brawny's gangster friends. Another steps in front of him. BRUNO Hey man, that was some good work back there. Let me borrow some money. Machete walks around him. Bruno blocks his path and sticks a Glock in Machete's face. BRUNO -LRB- CONT'D. -RRB- Hand it over. The two gangsters behind Machete pull switchblades. GANGSTER ONE Do n't make us carve you up farmer. A standoff as Machete stares. They all turn when they hear. LUZ I do the carving around here pendejos. BRUNO -LRB- SPANISH. -RRB- What the fuck is this? Get back to the kitchen chica. Luz drops her apron and gives them an eyeful. Her tan body is barely covered in cut offs and a blouse. She makes Daisy Duke look like Jabba the Hutt. A CLEAVER is in her manicured hand. She waves him over. LUZ Come to mami. Gangster One lunges at her. Luz chops into his shoulder Bruno is distracted, Machete grabs his gun ; beats him with it. Her dog Pancho bites their ankles. Luz takes out the others with lightning quick moves. The gangsters lay beaten, moaning on the ground. Machete and Luz share a look and part ways.",
"EXT. STREET CORNER - DAY A MERCEDES BENZ rolls down the street and stops by Machete. The DRIVER of the BENZ points at him. BENZ You. Another worker scrabbles to the window. BENZ -LRB- CONT'D. -RRB- Not you, Ragged Dick. Him. The worker steps aside. Machete walks up. BENZ -LRB- CONT'D. -RRB- Get in. Luz watches Machete leave.",
"INT. CAR, DRIVING - DAY Benz drives, Machete rides shotgun. BENZ You speak English? MACHETE $ 70 a day for yardwork. Hundred for roofing. One - twenty - five for septic. Sewage. BENZ $ 125? MACHETE I cost the most, because I'm the best there is. BENZ Naturally. They drive by a CATHOLIC CHURCH. A Mexican - American PADRE sweeps the steps. BENZ -LRB- CONT'D. -RRB- You can call me Benz. MACHETE Like the car. BENZ You're sharp. That's right. Just like the car. MACHETE What are you looking for, Mr. Benz? BENZ Have you ever killed anyone before? Machete eyes the church as they drive by.",
"EXT. PARKING GARAGE - DAY The Benz parks underground. They take a freight elevator up to the office.",
"INT. WAREHOUSE OFFICE Benz hits the lights. The place is nice. Machete do n't care. BENZ Drink? Benz pours two tequila shots. They shoot em. BENZ -LRB- CONT'D. -RRB- Like angels pissing down my throat. Benz points Machete to sit behind the desk. He flips open a manila folder, inside is an 8 X 10 of a well - dressed 40 - something man. BENZ -LRB- CONT'D. -RRB- Do you know this man? Machete shakes his head no. BENZ -LRB- CONT'D. -RRB- State Senator John McLaughlin, Independent from Cocksucker County. As you know, illegal immigrants such as yourself are being forced out of our country at an alarming rate. If he had his druthers, he'd ship you back to old Meh - Hee - Co.. That's his platform : Ship ` em back. But first, he'd make you build a wall along the border for no pay. Not so much as a thank you then get the fuck out. Benz sees this does n't impress Machete. BENZ -LRB- CONT'D. -RRB- What? MACHETE That does n't sound like your problem. BENZ That's where you're wrong, friend. What our senator fails to realize is that this country runs on illegal labor. Thrives on it. Keeps costs down, keeps the wheels moving. Bust that, and the world stops turning. You've chaos and shit. MACHETE What do you want me to do? BENZ For the good of both our peoples, our new senator must die. And for that I will pay you $ 150,000 cash.",
"INT. INNER ROOM Benz flicks the lights. Tables are laid out with weaponry. Machete walks past the automatics and blades. He stops at a machete. BENZ You like the machete, huh? Strictly low - tech, but good close - up, or if you're trying to make a particularly brutal point. But it's entirely unsuited to our purposes. Here. Have a look at this. He shows him an unassembled sniper rifle. As he lists the specs, he snaps it together perfect. BENZ -LRB- CONT'D. -RRB- -LRB- specific dialogue about the weapon, the laser - sight on it, the ammo it uses, then. -RRB- Cheer up, Charlie. This is your golden ticket. Benz drops a hollow point sniper shell into Machete's hand.",
"EXT. STREET IN FRONT OF CHURCH - DAY Machete walks past, the briefcase in one hand, rifle case in the other. Families have gathered on the front steps after a baptism. PADRE shakes hands with the parishioners. Seems to recognize Machete, but when he looks again, Machete's gone.",
"EXT. DAY LABORER PICKUP SPOT - DAY Machete steps up to the taco truck and sets the locked briefcase on the counter. LUZ -LRB- SMILING. -RRB- You still owe me, amigo. Two tacos y cafe. What's this? MACHETE Collateral. Machete walks away.",
"INT. CONFERENCE ROOM Senator JOHN MCLAUGHLIN sits while a foppish Italian cuts his hair. A REPORTER sits across from him. REPORTER But is n't this anti - immigration platform a hard sell in this part of the country, where so many voters have strong ethnic backgrounds? MCLAUGHLIN Not at all. Those voters are here legally. It cheapens their experience, their hard work, to have people jumping the border, taking advantage of loopholes in our system. It makes a mockery of everything they've worked for and turns it into a big steaming pile of - A hand covers the reporter's recorder. It's Benz. BENZ Thank you, that'll be all. The reporter half - smiles. Benz ushers her out and turns to the hairdresser. BENZ -LRB- CONT'D. -RRB- Who the fuck is this? MCLAUGHLIN It's Mario. He's my goddamn hairdresser. BENZ Get out. Get the fuck out. Mario leaves. MCLAUGHLIN I've got to look good for my constituency. BENZ You're in here with a reporter and a fucking shampoo queen, for Christ sake. MCLAUGHLIN Mario's the best. BENZ People want to know you're one of them. From now on, No manicures, no massages, no English tailored suits. MCLAUGHLIN Who died up your ass, Benz? I'm elected, you sonofabitch. The people have spoken, by a slim margin maybe, but they picked me. BENZ And they'll be picking through your trash looking for a reason to fuck you up. I'm doing everything I can to make your Von problem go away. Do n't add more fuel to the fire. MCLAUGHLIN Von. that fat sonofabitch. What does he say? BENZ I do n't give a damn. As long as he lays low and does n't take a step out of his little tree fort, he and his boys can play soldier till Hell freezes over.",
"EXT. ABANDONED NATIONAL GUARD ARMORY - DAY Trucks and military surplus vehicles are lining up and moving out. VON, driving a big truck, prepares to leave the premises. Shades and a cigar. MAN riding shotgun looks uncomfortable. MAN Maybe we should n't be doing this, Von. Not with the heat we're under. VON `` Congress shall make no law abridging the right of the people peaceably to assemble, and to petition the Government for a redress of grievances.'' Do you know what that's from? MAN The Constitution? VON The First Fuckin Amendment `` Congress shall make no law abridging the right of the people peaceably to assemble, and to petition the Government for a redress of grievances.'' I would like to assemble peaceably as I have some grievances to redress. Now is that all right with you? Man stands down. Puts on his cap. It says `` FREEDOM FORCE.'' The trucks roll out.",
"EXT./INT. DOWNTOWN BUILDING - DAY Machete in JANITOR uniform pushes a mop and bucket to the elevator and steps inside. A woman in a business suit, hair pinned back and glasses stops the elevator door. WOMAN You! Machete freezes. WOMAN -LRB- CONT'D. -RRB- You're not Cisco. You're new here, are n't you? Well, one of the toilets in the ladies' is busted again, and you need to clean it up snappy. MACHETE This is Cisco's floor. I'm on 11. WOMAN But this is an emergency! MACHETE Find Cisco. The elevator doors shut.",
"EXT. TOHO JAPANESE STEAKHOUSE - DAY ELEKTRA enters.",
"INT. TOP FLOOR, ROOF ACCESS Machete wheels a mop and bucket. He pulls a plastic bag out of the gray water and enters the stairwell.",
"EXT. ROOFTOP Machete slips the pieces of the rifle out of the plastic bag and assembles them. He preps for the kill.",
"EXT. COURTHOUSE STEPS - DAY Throngs of people are gathered to hear the Senator's speech. The citizen militia led by Von carry signs of support for McLaughlin and other anti - immigration slogans. They wear caps marked `` FREEDOM FORCE.'' Across the street, a counterprotest group assembles with signs of their own. Luz's TACO TRUCK is there. SPEAKER We're at a crossroads in this great land, and one man has the vision to see us into the future. MILITIA MAN -LRB- APPLAUDING. -RRB- Our man's up next. VON It's a great day in America, Amen. Benz stands among the crowd, the brim of a cowboy hat shading his eyes. SPEAKER Please join me in welcoming our great State Senator John McLaughlin! McLaughlin stands at the podium. Behind him hangs a banner : LAND OF THE FREE, NOT THE FREELOADERS. The crowds punctuate his speech with cheers. MCLAUGHLIN Make no mistake, my friends : We are at WAR. Every time an illegal sneaks across the border by dark of night it is an act of aggression against the United States. And I submit to you, it is an overt act of TERRORISM. These people are TERRORISTS. Cheers swell in the crowd, spiked with boos and jeers from across the street.",
"EXT. ROOFTOP - DAY Machete readies the sniper rifle and aims down at his target. Something catches his eye - a glint of a reflection - as he spots -. ANOTHER SNIPER across the way, aiming another SNIPER RIFLE directly at HIM. MACHETE lets off two quick rounds and the SNIPER lets off three shots in rapid succession and one of them catches Machete in the shoulder. He flips onto his back and out of the other sniper's line of sight.",
"EXT. COURTHOUSE STEPS - DAY Down below, Machete's bullet has grazed McLaughlin's cheek. The second bullet has shattered McLaughlin's shin. The throng scrambles for cover as armed guards draw their weapons and scan the skies.",
"INT. TOP FLOOR, ROOF ACCESS Machete zips up the gray coveralls but the blood starts to seep through. He pushes the mop and bucket and a small trickle of blood runs down the mop handle from where it leans against Machete's shoulder and into the bucket. He walks briskly to the elevator and slips inside.",
"INT. ELEVATOR The elevator stops on the sixth floor. A GUARD enters, talking on a 2 - way. GUARD -LRB- INTO RADIO. -RRB- Roger. I'm on my way. Machete pushes the bucket and mop out. The guard notices blood on the floor. GUARD -LRB- CONT'D. -RRB- Hey! He reaches for Machete but Machete pulls a hidden blade from the mop handle and jacks the guy with quick, sharp thrusts into his neck. The guard slides backwards into the elevator as the door closes.",
"INT. SIXTH FLOOR Machete pushes the bucket and mop towards an open office. There's a fire escape out the window. He heads towards it.",
"INT. DOWNTOWN BUILDING, GROUND FLOOR Elevator opens as the WOMAN complaining about the toilets earlier steps in and sees GUARD lying in pool of BLOOD. She SCREAMS.",
"EXT. COURTHOUSE STEPS - DAY Frantic down there, as a fight breaks out between Von's anti - immigration militia and pro - immigrant protesters. Benz grabs McLaughlin and funnels him into a waiting limousine. The limo screeches as it speeds away.",
"INT. LIMOUSINE, MOVING Benz presses his jacket against the bloody wound at McLaughlin's leg. MCLAUGHLIN The fuck was that? BENZ I'd say it was a fucking gift from the Gods. MCLAUGHLIN What are you talking about? BENZ Get ready for your numbers to rise like Lazarus. A thousand bucks says it was some bean - eating wetback just took a potshot at you. It will put the fear of God into the ethics commission. Now we get you to the hospital, you make your bedside speech and you're set. McLaughlin looks at Benz, taking it all in. MCLAUGHLIN Fix me a goddamn drink.",
"EXT. FIRE ESCAPE - DAY Machete rockets down the fire escape. He lands and a COP smashes the back of his head with a Shotgun butt. Machete flies into garbage cans. Shotguns pump. He looks up. Two cops have shotguns pointed at his head. PATROLMAN Go ahead Jorge, I'll grease your chips all over this fucking alley! One of the cops cuffs him and shoves him into the backseat of a patrol car. PATROLMAN -LRB- CONT'D. -RRB- It's going to turn into a lynch mob if we do n't get him out of here now. The patrolmen drive away ; A TV CREW spots them and jumps into their van to give chase.",
"INT. PATROL CAR, MOVING The two patrolmen are young, hyped. PATROLMAN This is fucking big. This guy took a shot at a Representative. COP Senator. PATROLMAN Same fucking thing. He could die, and we caught him. COP Yeah, we did. They're gon na hang him like Saddam. PATROLMAN We're fuckin' heroes, buddy. The patrol car zips in and out of traffic. COP I'm gon na call it in. Unless you want to do it. PATROLMAN No. You go ahead. You're good at it. COP What the fuck is that supposed to mean? That I'm not good at the action stuff? Just the pussy stuff? PATROLMAN Did I fuckin' say that? COP Did you fuckin' mean it? PATROLMAN Look, you and me both apprehended this fuckin' suspect. We frisked him and we cuffed him and now we're bringin' him downtown. We're gon na get a medal for this. COP I did n't frisk him. PATROLMAN Yeah, you did. COP I'm telling you. I did n't frisk him. You must have done it. PATROLMAN I did n't frisk him. I thought you - Suddenly, a bolus of BLOOD appears at the driver's mouth. COP Jesus fuck! What's wrong, man? In the backseat, Machete has his MACHETE in his cuffed hands, stuck through the driver's seat and into the guy's chest. Machete twists the blade and the driver turns the wheel in the direction - MACHETE is STEERING THE CAR from the BACKSEAT with the MACHETE stuck through the DRIVER! PATROLMAN -LRB- SPITTING BLOOD. -RRB- Oh, fuck! His foot goes like iron to the floor, gunning the engine. COP Slow down, man! Machete jerks the blade to one side and the COP CAR veers into oncoming traffic. COP -LRB- CONT'D. -RRB- Holy shit! The cop tries to grab the wheel but Machete jerks the blade in the opposite direction and the COP CAR wrecks, spilling sideways and sliding across the pavement. Machete slides out through the busted glass and frees his hands on the blade, then limps towards -",
"EXT. ALLEYWAY - DAY TV VAN jerks to a halt and the cameraman gets footage of the cop car wreckage and of Machete miraculously walking away. TV REPORTER hurries to catch up and describe the scene.",
"INT. TOHO JAPANESE STEAKHOUSE ELEKTRA looks up from her teriyaki and martini to the muted TV mounted on the wall. ELEKTRA Hey, turn that up, would you? TV REPORTER -LRB- ON TV. -RRB-. at the scene of an incredible accident just moments after the attempt on State Senator McLaughlin's life and we're not sure if this individual was in custody or was hit by the vehicle but he appears to be injured -",
"EXT. ALLEYWAY The COP CAR ignites its spilled gas. TV REPORTER Holy fuck! The car blows, sending them flying backwards into the side of the TV TRUCK. Machete is thrown by the explosion into BLACKOUT.",
"INT. TOHO JAPANESE STEAKHOUSE Elektra's phone rings. It's her BOSS. ELEKTRA I'm watching it. BOSS -LRB- ON PHONE. -RRB- Do n't watch it. Get on it now! I want that suspect. ELEKTRA What do you know? BOSS I only know what you know, and right know, you do n't know dick. ELEKTRA I'm gone, relax.",
"EXT. ALLEYWAY/INT. SNIPER'S CAR, MOVING - DAY SNIPER who took a shot at MACHETE watches as the cops sift through the mess left behind. SNIPER -LRB- ON PHONE. -RRB- I think he's toast. BENZ -LRB- ON PHONE. -RRB- Do n't think. Know. Check the hospital. Check the morgue. Fucking verify. ELEKTRA arrives. SNIPER gets an eyeful as she crosses the yellow tape barrier. SNIPER -LRB- HANGING UP. -RRB- Now that's what I call a fuckable ass. SNIPER drives off.",
"INT. COUNTY MEDICAL HOSPITAL ROOM - NIGHT COUNTY MEDICAL is noisy and dirty. A SEXY SPANISH NURSE wheels Machete down the corridor and into a room. Her tattoos poke out from under her tiny nurse uniform. NURSE -LRB- quietly in Spanish. -RRB- They do n't know you're here yet. You were brought in as a Juan Doe. Innocent bystander. He's barely conscious ; his vision blurred.",
"INT. COUNTY MEDICAL HOSPITAL ROOM DOC FELIX checks X - Rays. Nurse gives him a kiss. NURSE Here he is, Doc. DOC FELIX Good girl. She bends over and gives Doc an eyeful. NURSE Hey Doc. I can feel your eyeballs in my uterus. Doc slips a surgical glove on. DOC FELIX Let's investigate that. Machete coughs into semi - consciousness. DOC FELIX -LRB- CONT'D. -RRB- Oh hey, the hero has awoken. Check it out. -LRB- Holds up X - Rays. -RRB- This is amazing. You can see the bullet rebounded, entered the back of the cranium and was stopped by another bullet already lodged in the bone. I've never seen anything like it. If he had n't been shot before he would be dead now. There's a lesson in there somewhere. A GRUFF SECURITY GUARD walks in and HANDCUFFS Machete to the side of the gurney. SECURITY GUARD You're going to tell me who you're working for or I'll bury your spic ass and have your wife turning tricks for tacos by breakfast. DOC FELIX Hey, buddy. This is a patient of mine. He's in a fragile state. He's got a bullet in his cranium. SECURITY GUARD This wetback tried to kill the Senator, Doc! It's all over the TV. DOC FELIX Yeah? In that case you better let me keep him alive so you can beat the truth out of him. And collect the reward. The Guard lightens up. SECURITY GUARD You're alright, Doc. You know how it is, they take our welfare money. There ai n't none left for us decent folk. Now you get him lucid so I can torture him good. DOC FELIX Lucid. That's a good word. Go get a coffee and donut out in the lobby. I'll come get you when he's ready. SECURITY GUARD I'll be waiting. He leaves. Doc locks the door. Nurse pulls a leather pouch out from under her garter belt. Inside are three hypodermic needles ; Orange, Red and Black.",
"INT. HOSPITAL LOBBY Sniper and two THUGS pass SECURITY GUARD making a mess of a powdered donut.",
"INT. COUNTY MEDICAL HOSPITAL ROOM Doc uncaps the Orange syringe. Machete struggles. DOC FELIX -LRB- IN PERFECT SPANISH. -RRB- Do n't worry, amigo, this is not my country. I'm from Cuba ; one hundred percent. She's from Puerto Rico. We're all Children of the Sun. The Nurse gives Machete a kiss, Doc slaps her ass. DOC FELIX -LRB- CONT'D. -RRB- Leave him alone. -LRB- BEAT. -RRB- Now these are my friends. -LRB- taps the needles. -RRB- They will cheer you up special until these bullet holes feel like little butterfly kisses. The Nurse blows a kiss at them. Doc stabs the Orange one into Machete's arm. Machete's eyes SNAP open. The heart monitor speeds up. Doc tosses the needle into the trash can and pulls out the Red one. DOC FELIX -LRB- CONT'D. -RRB- This one here. The GUARD bangs on the door. SECURITY GUARD -LRB- 0.C. -RRB- Hurry up in there! Doc Felix panics. DOC FELIX is for me. He stabs his own leg with it. DOC FELIX -LRB- CONT'D. -RRB- Oh wow, that hit the spot. all the spots! Doc's head vibrates. The GUARD bangs the door. DOC FELIX -LRB- CONT'D. -RRB- This one, I call this one `` Popeye.'' Felix stabs the Black into Machete's leg. He jolts awake and breaks his shackles. The heart monitor EXPLODES. The GUARD KICKS the door in. Machete knocks him out. Machete peeks from the doorway. SNIPER and his men walking up. He shuts the door. He's cornered. MACHETE Another way out? DOC FELIX Wait, I got something. Doc hands him a wicked tool made of long curved surgical steel called a - DOC FELIX -LRB- CONT'D. -RRB- SKULL SCRAPER. We use this to scrape the bones clean. It cuts through flesh like butta. Machete slips the Nurses belt off and STRAPS the surgical tool to his arm like captain hook. MACHETE Thanks. DOC FELIX Vaya con Dios.",
"EXT. HOSPITAL CORRIDOR Doc and his Nurse cruise past the approaching Henchmen.",
"INT. HOSPITAL ROOM Machete clamps an OXYGEN CANISTER to the back of the gurney. Lays on it and shoots the valve. It EXPLODES him through the door.",
"EXT. HOSPITAL CORRIDOR Machete soars down the hall with a FIREBALL behind him. He blasts henchmen as he flies by, the corridor of windows shatters. SNIPER ducks for cover. His HOOK ARM SLICES a man's belly open. Machete CRASHES through a window at the end of the corridor.",
"EXT. HOSPITAL - NIGHT Machete FALLS ten stories.",
"INT. CAR - NIGHT A middle aged couple is having a nice drive listening to the local RUSH LIMBAUGH spew vitriol about illegals. They look up, smiles fade. COUPLES POV : Machete falls face first towards them. He CRASHES through the windshield into their laps. The car drives through the front window of a coffee shop.",
"INT. COFFEE SHOP Machete climbs out, into the night.",
"EXT. COUNTRY CLUB HOSPITAL The hospital is modern, tranquil, in sharp contrast to County Medical. Miles Davis plays softly over the speaker system. Elektra walks down the hallway, high heels clip - clopping.",
"INT. MCLAUGHLIN'S HOSPITAL ROOM She enters. Mclaughlin is making a statement on the phone. Benz gives her a hard look, waves her away to wait. MCLAUGHLIN -LRB- ON PHONE. -RRB- This act. this cowardly act. will not end my struggle, to keep our country safe from those who would destroy it. God bless everyone who stood with me today, I will return to the fight. And God Bless America. Benz takes the phone from him. BENZ No further statements. We only hope that the perpetrator is brought to swift justice in an American court. Elektra flashes a badge at McLaughlin. Benz hangs up. ELEKTRA Elektra Rivers, Department of Homeland Security. BENZ This is a state matter. We've already talked to - ELEKTRA DHS has jurisdiction over everyone so give it a rest, Mr - BENZ Booth. Michael Booth. MCLAUGHLIN I do n't know what I can do to help you in here, Agent Rivers. You want to find the bastard did this, go look for him. ELEKTRA I appreciate that, sir, and I ASSURE YOU-- McLaughlin spits on her shoe. MCLAUGHLIN You ca n't assure dick. Just ask what you want and then you can be on your way. She keeps her steely resolve as she pulls out a small note pad. ELEKTRA Is the shooter known to you, I mean, did you have any warnings or communication before today? MCLAUGHLIN No. ELEKTRA looks over at Benz, gets nothing. ELEKTRA My expertise is in profiling and assessing risks of potentially dangerous individuals who are in this country illegally. BENZ Looks like you missed one. Burn. Then, not missing a beat - ELEKTRA Would you like additional DHS officers assigned to your security detail? BENZ The senator is trying to project an image of resilience, not fear. Now I'm sure you'll agree, the Senator has had a very trying day. ELEKTRA Here's my card, in case you change your mind. Or you think of anything else. She hands Benz her card. BENZ You'll be the first person I call. Elektra leaves and Benz drops the card in the trash.",
"EXT. BACK ALLEY - NIGHT Machete runs down alleys, slowing, tired. LUZ'S TACO TRUCK sits at the end of the alley. Machete approaches as Luz is cleaning up. LUZ Hijo de la chingada. What happened to you?",
"EXT. COFFEE SHOP - NIGHT SNIPER surveys the damage. HENCHMAN Booth is n't going to like this. What are we going to tell him? Beat. SNIPER -LRB- CALM. -RRB- `` Oops.''",
"EXT. LUZ'S GARAGE, DRIVEWAY - NIGHT The TACO TRUCK pulls into a garage.",
"INT. BEDROOM, LUZ'S HOUSE Luz helps Machete to the bed. LUZ You'll be safe here.",
"INT. KITCHEN Luz sets a pot to boil with all kinds of herbs.",
"INT. BEDROOM Luz returns with the boiling pot and sets the briefcase down. MACHETE Did you open it? LUZ No. Machete nods and Luz opens it. It's filled with cut newspaper. She shows him. LUZ -LRB- CONT'D. -RRB- Nothing worth nothing here, unless you were going to make a pinata. Now lie back. Machete lays down. Luz scoops the boiling goop onto his wounds. LUZ -LRB- CONT'D. -RRB- You know what this is, right? Machete nods yes. LUZ -LRB- CONT'D. -RRB- Works every time. When the sun rises, you'll be good. Machete feels her long legs up. MACHETE I do n't know about that. LUZ Cuidado, chico. You might burn yourself. She places a Mexican blanket on him. MACHETE Why are you helping me? LUZ You know why Machete. MACHETE You know me? LUZ No, but I know the myth of the last honest cop in Mexico. MACHETE The myth might be better. LUZ Cada uno lleva su cruz. -LRB- sub. We each have our cross to bear. -RRB- Machete pulls her down onto him.",
"EXT. ELEKTRA'S BUNGALOW - NIGHT Elektra drives into the driveway. There's a Texas Ranger pickup already there. ELEKTRA Good. Now I can get some answers.",
"INT. ELEKTRA'S BUNGALOW Elektra comes in. Place looks deserted. ELEKTRA McGraw? McGraw, are you here? No answer. Elektra unholsters her sidearm, and scopes the place out. Thumping coming from the bedroom. She assumes her best vigilant stance and kicks open the door.",
"INT. ELEKTRA'S BEDROOM Ranger MCGRAW -LRB- late 20s -RRB- lies in bed while SIS rides him like a cowgirl should, not missing a beat. ELEKTRA Goddamnit! You're fucking my sister? MCGRAW Your sister? Holy shit. I thought it was you. ELEKTRA Fuckin' liar. Sis rides on, not giving a shit. ELEKTRA -LRB- CONT'D. -RRB- Did you at least get me the files? MCGRAW Sure I did. McGraw is preoccupied with the business at hand. ELEKTRA Well, where the hell are they? MCGRAW Uh. uh. uhh. ELEKTRA Never mind. I see ` em. She snatches a file from the bedside table. ELEKTRA -LRB- CONT'D. -RRB- If you need me, I'll be in the bath. Slut. SIS Bitch. Elektra exits. McGraw howls.",
"EXT. BENZ'S ESTATE - DAY Benz's home is a nice ranch - style spread.",
"INT. BENZ'S ESTATE, DINING ROOM Benz sits at the head of the table eating with his wife, JUNE and daughter, APRIL. JUNE The nerve. An honest, dedicated American like John. What on earth were they thinking? BENZ They were n't, dear. They were n't. JUNE I worry more about April. What kind of world are we leaving her? APRIL I think Cole is going to ask me to marry him. JUNE Oh, honey that's - APRIL But I do n't want to marry him. JUNE Terrible. APRIL I mean, look at me. I'm not ready for that kind of commission. BENZ Commitment. APRIL That either. I have priorities. JUNE Good for you. BENZ School, career. Those come first. APRIL I'm talking about my modeling. BENZ You're a beautiful girl, April, but that's a tough nut to crack. APRIL No it is n't. Do you know how many hits I've gotten on my website? BENZ You have a website? -LRB- TO JUNE. -RRB- She has a website. You know about this? June nods yes. APRIL I know what the online public wants, and they want me. All of me. Cole's just going to have to wait. Benz sees Sniper coming up the driveway. BENZ We'll talk about this later. I'll be in my office. Benz walks off. JUNE -LRB- whispering to April. -RRB- Are there cute guys on there? You need me to inspect them I think. APRIL -LRB- WHISPERING. -RRB- No way! You're such a slut, Mom! You're a Cougar slut! They laugh.",
"INT. BENZ'S OFFICE Benz enters to find Sniper already there, pouring himself a drink. TV is on mute in the background. BENZ I hope you've got something to celebrate. Artist's sketch of MACHETE fills the TV screen. SNIPER He's off the grid. Sonofabitch disappeared. Benz points to a map of the city on his desk. BENZ I picked him up here. Find out if anyone's seen him. He could n't have done it on his own. He has help. Find the help.",
"INT. LUZ'S HOUSE - DAY Machete wakes up, alone. A note on the pillow reads - breakfast in oven. CUT TO:",
"INT. KITCHEN - MORNING Machete opens the oven door and takes out a plate of steaming MIGAS. He eats and looks around at Luz's pictures on the walls ; Luz as a young girl on a farm in Mexico, Protesting at a university, Newspaper articles about the riots, in Rebel gear in the mountains, the pictures reveal a serious past behind the hot taco lady.",
"EXT. DRUGLORD'S SPRAWLING RANCH, MEXICO - DAY A TRUCK is waved through the gate by armed guards.",
"INT. DRUGLORD'S BEDROOM Druglord being serviced by a trio of women. TORREZ, older, enters. DRUGLORD is unfazed, keeps right on trucking. TORREZ He's alive. Druglord stops in mid - fuck. DRUGLORD Go. The first girl leaves off. DRUGLORD -LRB- CONT'D. -RRB- All of you. The other girls follow her and exit. DRUGLORD -LRB- CONT'D. -RRB- Where? TORREZ Texas. DRUGLORD Take all the men you need. But bring him back alive. I want to kill him with my own hands.",
"INT. GOVERNMENT OFFICES, TEXAS - DAY Elektra sits at her desk, going over Machete's file. Photos of Machete in Federale uniform, mugshots of YOUNG MACHETE. Pulls a sheet that reads : PSYCHIATRIC EVALUATION in Spanish. ELEKTRA -LRB- TO HERSELF. -RRB- `` Problems with authority. Prone to violence. Fatalistic, ruled by a sense of destiny and purpose.'' BEGIN FLASHBACK",
"EXT. MEXICAN SLUMS - DAY Dirt streets. Cinder - block houses with tin roofs. YOUNG MACHETE, 8, long hair, plays swordfighter in the street with a stalk of sugar cane. ELEKTRA -LRB- v.o. -RRB- `` Father was a preacher who butted heads with the local drug baron.'' Low Angle, slo mo - PREACHER DAD with a sign around his neck and waving a Bible, shouting wordlessly. There are hypodermic needles in the street at his feet. He kicks them away. ELEKTRA -LRB- CONT'D. -RRB- -LRB- v.o. -RRB- `` Inherited sense of destiny from father.''",
"INT. MEXICO, PRIMITIVE DRUG LAB Barefoot women cut white powder. Preacher Dad bursts in with a Bible in one hand and a lit TORCH in the other. Shouting in Spanish. Women scatter as he sets fire to everything inside.",
"EXT. MEXICO CHURCH - NIGHT FIVE MEN walk in with clubs, bats, and a MACHETE. THEY ATTACK Dad. BLOOD SPRAYS on the flowers. CUT TO BLACK. ELEKTRA -LRB- v.o. -RRB- `` Subject was the first to find him.'' FADE UP Young Machete walks through the gate, waving his sugar cane sword. We see glimpses of gore as he does. CU EYES ELEKTRA -LRB- CONT'D. -RRB- -LRB- v.o. -RRB- `` Subject developed Old Testament - style concepts of vengeance at an early age. Sense of righteousness.'' He drops his sugar cane sword and picks up the BLOODY MACHETE used to kill his dad. -LRB- SLO MO -RRB-",
"INT. MEXICO CITY BAR - NIGHT KILLER 1 plays foosball in the back. The ball pops into the air. A hand catches it ; reveal young Machete. Killer 1 reaches for the ball. Young Machete CHOPS his hand OFF. Killer 1 falls ; another CHOP, blood sprays Young Machete's face, he does n't blink.",
"INT. PHONE BOOTH - NIGHT KILLER 2 on the phone. He looks down at Bloody Young Machete. MACHETE STABS the man THROUGH the GLASS booth.",
"EXT. PARK - NIGHT A group of Mexicans playing late night Soccer. The ball is kicked into the bushes. KILLER 3 runs in to get it. He does n't come out. TEAMMATE Throw the ball back, Pendejo! The ball FLIES out of the bushes and lands on the field. Except it's NOT a ball! It's Killer 3's HEAD bouncing towards them.",
"INT. LIVING ROOM - NIGHT KILLER 4 sits on the couch watching a spanish sitcom. MED SHOT - he's laughing hysterically - His smile fades. A stream of blood pours down between his eyes. He falls forward revealing a knife buried in his head and Young Machete standing calmly.",
"EXT. HOUSE - NIGHT Doorbell rings. KILLER 5 answers in bathrobe and cigar. Young Machete stands there, knife in hand, covered in blood. KILLER 5 -LRB- SPANISH. -RRB- What do you want, little maricon? What you going to do with that knife? You think that scares me? You think. ELEKTRA -LRB- v.o. -RRB- `` Subject's macabre killing methods traced to childhood tragedy.'' SLURRMP! KILLER 5's head is impaled on a wooden stake, we are now at.",
"EXT. TREE HOUSE - MORNING Pull back to reveal five heads on stakes surrounding a cute plywood tree house. A SWAT TEAM converges on it. Young Machete in his Zorro pajamas eating cereal. A TEAR GAS CANISTER flies in through the top and lands in his cereal. The SWAT TEAM rushes the door.",
"INT. PRISON CELL - DAY A cell door SLAMS on Young Machete's face. ELEKTRA -LRB- v.o. -RRB- `` Recommendation : Total lockdown.'' END FLASHBACK",
"INT. GOVERNMENT OFFICES, TEXAS - DAY Boss enters. BOSS You look like you've seen a ghost. ELEKTRA No. But I read the ghost's file. My local contact Mcgraw got it from the hot sheets down south. BOSS Local contact? ELEKTRA Ex - boyfriend. Whatever. BOSS And? ELEKTRA He's dangerous. BOSS I knew there was a reason we kept you on here. It's your brilliant insights. ELEKTRA I'm working on it. BOSS Get him. The hammer's coming down on us hard for this, so if you fuck up, it's not just your ass on the chopping block, it's mine. ELEKTRA You want me to put this background on the air? BOSS I could give a fuck. Just get him.",
"EXT. CHURCH - DAY Machete walks into the church he drove by with Benz earlier.",
"INT. CHURCH Machete steps into the confessional.",
"INT. CONFESSIONAL The little door slides open, wooden cross `` windows'' light the scene. MACHETE Bless me, Padre, for I have sinned. It's been a long fucking time since my last confession. PADRE I was wondering when you were going to show yourself. They're combing the city for you. How long before they get your file and track down your stepbrother, the priest? MACHETE Sorry, bro. I mean, Padre. PADRE You were wrong to come here. How long have you been here anyway? MACHETE Few weeks. PADRE Why did n't you come to me before? MACHETE Did n't need you before. PADRE What do you think I can do for you? Give you absolution? You have to be sorry for your sins, first. MACHETE I'm not sorry. PADRE I'm not surprised. MACHETE They used me. PADRE They use all of us. Welcome to the real world. MACHETE They need to pay. PADRE In money or blood? MACHETE Either. Both. PADRE I am a man of faith. I took a vow of peace. You want me to help you kill all these men? MACHETE Yes, bro. I mean, Padre. PADRE I'll see what I can do. Padre shakes his head, makes the sign of the cross.",
"EXT. DAY LABORER PICKUP SPOT - DAY Luz's taco truck in its usual spot. Luz is sitting at the window playing with LOTERIA CARDS. Sniper pulls up. Shows Machete's picture to men who try to avoid him. He braces a few of them. LUZ Hey Culero, leave them alone. They do n't like pork. He shows her the sketch of Machete. SNIPER I'm no cop. You seen this guy? Luz flips over a LOTERIA CARD with the grim reaper. She shows it to Sniper. LUZ Have you seen him? Sniper slaps it out of her hand. LUZ -LRB- CONT'D. -RRB- Cono, this wo n't end pretty. He grabs her arm, pins it to the counter and jabs a switchblade into it, carving out a phone number. SNIPER Call me when he shows or I'll carve that pretty face of yours into a seven layer burrito got that puta!? He holds the switchblade up to her face and leaves.",
"INT. CHURCH SACRISTY Machete follows Padre into the church sacristy, a plush bachelor pad. MACHETE When I get the money, I'll give some to the church. PADRE You think Jesus wants your blood money, Judas? Machete shrugs. Padre lights a cigar and pours them two drinks. PADRE -LRB- CONT'D. -RRB- How much blood money are we talking about? MACHETE A hundred - fifty thousand. PADRE -LRB- SPIT - TAKE. -RRB- Jesus, Mary and Joseph! I want you to say ten Our Fathers, ten Hail Marys and ten Glory Be's, and I want you to light a candle for Dad. Machete eyes a bank of security monitors. Different surveillance shots of the interior and exterior of the church. PADRE -LRB- CONT'D. -RRB- I had them installed last year. Too many things were walking away from the altar, the collection plate. Check this out. Padre points at a kneeler in front of a rustic altar - looking armoire. Machete kneels. Padre opens the armoire revealing an HD TV inside. PADRE -LRB- CONT'D. -RRB- No time for that now. You need to see this. I Tivo'd it earlier. News footage of the sniper attack plays. Machete sees himself on the big screen. MACHETE Stop it. Padre pauses. Machete picks out BENZ helping MCLAUGHLIN into the LIMO. MACHETE -LRB- CONT'D. -RRB- That one. He's the one who hired me. Benz. PADRE That's Michael Booth. McLaughlin's aide or something. Cabrones, los dos. Why would he hire you to kill his boss? The video replays part of the interview with McLaughlin from earlier. MCLAUGHLIN -LRB- ON TV. -RRB-. that I may return to the senate and fight on. NEWS ANCHOR -LRB- voice - over on TV. -RRB- Polls show McLaughlin's numbers are surging since the assassination attempt and officials say they've put a hold on the ethics committee investigation into McLaughlin's ties to the Freedom Force militia. Meanwhile, police continue to scour the city for the perpetrator. If you have any information on the whereabouts of this man - Machete's mug fills the screen. Padre clicks it off. MACHETE Where does he live? PADRE Machete, you ca n't just kill everyone! MACHETE I'll leave some for you. PADRE That's not what I meant.",
"EXT. ALLEY, CHOP SHOP Sniper looks around. Chop Shop GUY approaches. GUY What are you looking for, gringo? SNIPER This guy. He shows them the sketch. GUY Looks like my sister's boyfriend's cousin's mother's son. SNIPER You're sharp. You're liable to get cut. Sniper about to make a move, but sees he's outnumbered here. Sniper puts his hands up, walks out backwards. SNIPER -LRB- CONT'D. -RRB- Safety first.",
"INT. MCLAUGHLIN'S OFFICE Benz sits behind McLaughlin's desk. Sniper across from him. SNIPER Lead's ran cold. He's underground. Probably back in the homeland by now. Benz's fax machine powers on. Benz snaps his fingers and Sniper pulls the fax as it's coming out. SNIPER -LRB- CONT'D. -RRB- Ho - ly shit. Who knew that your Mexican day laborer was a goddamn Federale?! Phone rings. Benz answers. BENZ Yeah. MACHETE -LRB- ON PHONE. -RRB- My money. BENZ Holy Mother of Christ. You've got some balls. You missed, asshole. MACHETE Or else. BENZ Or else what? Hello?",
"INT. PADRE'S CHURCH HEARSE Machete hangs up. He drives the windy road to Benz's estate.",
"EXT. BENZ'S ESTATE - DAY He parks the Hearse at the back, gets out and follows the sound of girls' laughter.",
"EXT. NATURAL SPRING - DAY Machete walks through some bushes and comes out at a waterfall and natural spring. June and April are skinny dipping. They giggle. They spot Machete and cover themselves with their arms. APRIL Hey, you're not the usual boy! MACHETE He called in sick. JUNE That little bastard promised me a ride on his leafblower. They laugh. APRIL Do n't be shy. Showing herself. APRIL -LRB- CONT'D. -RRB- Why do n't you come in? The water's fine. JUNE That's right. Come on in, sugar! We like variety around here, no matter what the boys say. You want a wine cooler? Machete holds up a bottle shaped like a cross. APRIL Oh, momma! He's got the good stuff! DISSOLVE TO: They play with Machete in the pool. The Girls drink from the Cross Bottle.",
"EXT. BENZ'S ESTATE -DAY Back door of the hearse SLAMS shut on the girls passed out cold.",
"EXT. WINDY ROAD - DAY Machete speeds away with the girls in the hearse. He passes BENZ driving home.",
"INT. BENZ'S OFFICE - DAY Benz enters to find the phone ringing. He answers. BENZ June? April? MACHETE -LRB- ON PHONE. -RRB- Or else this. BENZ Where is my wife and daughter!?! Click.",
"INT. PADRE'S CHURCH, GARAGE Padre opens the back of the hearse and sees the naked mom and daughter passed out inside. PADRE Holy. Padre crosses himself.",
"EXT. ARMORY - DAY Von watches as militiamen practice maneuvers sticking bayonets into burlap Mexican effigies. A MILITIA MAN leads SNIPER and BENZ into Von's presence. VON Well, well, Look what's come asking for Papa Von's help. BENZ It's beyond my reach, Von. I need you on this now. VON You needed me from the get go, but let's not piss on what's past. BENZ He's got my wife and daughter. VON Sweet Jesus. I bet he's got a big imagination what to do with a couple cutie pies like that. Makes me ill just thinking about it. You must have broken off a dick in his ass. First he comes after your boss, then he comes after your family. Who's next? BENZ Just find him. Benz and Sniper turn to go. VON Ai n't you worried about staining the Senator bringing us into this? BENZ Do n't you read the papers? McLaughlin's a goddamn saint, a fucking martyr. I've seen to that. Benz and Sniper leave. VON What do you think he meant by that? Von fires his pistol in the air. The men look over. VON -LRB- CONT'D. -RRB- Boys! We're goin hunting. Yee - has as they file into trucks.",
"EXT. OUTSIDE PADRE'S CHURCH - DAY Elektra is in her BMW staking out the church with binoculars. Her POV through binocs ; A GUN BARREL blocks the view. She looks up. Machete's mug five inches from her. He slides in the passenger side. MACHETE Drive. She does. ELEKTRA You can put the gun away. I'm not going to give you any trouble. MACHETE You're a cop. ELEKTRA Homeland Security. I guess that makes you a terrorist. MACHETE How did you find me? ELEKTRA Come on. Give me some credit. It's not every ex - Federale - turned - assassin that has a local priest on the family payroll. MACHETE Turn here. She does. ELEKTRA So are you going to tell me why you did it? Destiny, maybe? MACHETE It was just a job. ELEKTRA A job? Who hired you? The undocumented workers' union? MACHETE Michael Booth. ELEKTRA Sonofabitch. Can you prove that? MACHETE Maybe. Turn here. She does. MACHETE -LRB- CONT'D. -RRB- Give me ten dollars. ELEKTRA What? Why? MACHETE Ten bucks. Elektra digs into her purse. Pulls out a $ 10. MACHETE -LRB- CONT'D. -RRB- Stop the car.",
"EXT. DAY LABORER PICKUP SPOT - DAY Elektra stops the car. MACHETE Wait. Machete gets out, approaches Luz's taco truck. Luz looks beyond him to Elektra in the car. LUZ You get around. Machete lays the ten on the counter. MACHETE For the tacos and coffee. She reaches for the ten and Machete grabs her wrist, sees the sniper switchblade scar. She pulls away, slips the money between her breasts. LUZ Yeah, they came looking for you. I told them nothing, as far as I know you're a myth.",
"INT. ELEKTRA'S CAR - DAY Machete gets back into Elektra's car. Elektra looks across him at Luz. ELEKTRA `` Feelings of righteousness and purpose.'' MACHETE Drive. In the rear view mirror ; A TRUCK SPEEDS towards them. ELEKTRA Sure thing, Boss. The truck REAR ENDS them, sending Elektra's car over the curb. They rattle around inside like ragdolls. ELEKTRA -LRB- CONT'D. -RRB- Sonofabitch! She jumps out, pissed. ELEKTRA -LRB- CONT'D. -RRB- What the fuck, man? The Militia men open fire, her windows shatter. She ducks back in, peels out. The truck revs up and pursues. A second TRUCK joins the chase. They sandwich Elektra's car between them. Machete chops off the driver's hand of the right - side truck and the truck veers off, crashing. They keep up the gunfire. A slug catches Machete's shoulder. ELEKTRA -LRB- CONT'D. -RRB- My gun! Machete unholsters it and fires at the truck. The handcannon shatters the engine block and the truck flips. ELEKTRA -LRB- CONT'D. -RRB- You're shot. MACHETE No hospital. ELEKTRA Let me bring you to a safehouse. I can negotiate your safety. We'll bring Booth down together. MACHETE Onions. ELEKTRA You want onions?! Oh shit, you're delirious, dying. Do n't die please. MACHETE Onions! ELEKTRA What? What do you do with.",
"INT. ELEKTRA'S HOUSE - KITCHEN It's a mess. Machete chops onions. A pot boils over with thick green fluid. He pours the boiling green gunk into a bowl. MACHETE Come here. ELEKTRA What, is this some `` old Aztec'' shit that's supposed to heal you? MACHETE Yes. He sucks the mixture up with a TURKEY BASTER. Hands it to her. It smells nasty. ELEKTRA What do I do with this? Machete points to the hole in his shoulder. ELEKTRA -LRB- CONT'D. -RRB- Wait, you want this gunk squirted in there. I do n't. Machete takes a swig of Tequila. MACHETE Do it. ELEKTRA I. ca n't. She takes a swig, pops a pill and stares at the bloody hole. She holds her arm up ready. ELEKTRA -LRB- CONT'D. -RRB- Fuck. She JAMS the baster in. The fluid squirts in the hole and SIZZLES. Elektra watches in awe as dark green fluid dribbles out of the wound, followed by a thick yellow goo with veins and lumps of flesh. It bubbles like a volcano, she peers in and suddenly. It BURSTS and SPRAYS pus and flesh chunks all over her. ELEKTRA -LRB- CONT'D. -RRB- Ahhhh! Elektra runs screaming into the bathroom.",
"INT. CHURCH, INNER ROOM April and June rouse from two small cots in a drugged and drunken stupor. They're surprised to find they're naked in a windowless room. There's a small webcam in a corner. APRIL Mom? Where are we? I'm scared. JUNE Me, too, honey. APRIL What is this place? POV : WEBCAM. Grainy B&W image. They embrace, huddle.",
"INT. BUNGALOW- NIGHT Elektra walks out in a hot new outfit, blow drying her hair. ELEKTRA That was disgusting. Machete smashes knife handles off and fits the blades into a belt under his jacket. ELEKTRA -LRB- CONT'D. -RRB- Do you mind not breaking knives in the house? It's kind of one of my rules. I mean. Elektra's phone rings. It's Boss. ELEKTRA -LRB- CONT'D. -RRB- Oh shit. All right. I'm going to tell him what you told me. Wish me luck. MACHETE Luck. ELEKTRA -LRB- ANSWERING PHONE. -RRB- Yeah. BOSS -LRB- ON PHONE. -RRB- Where the hell have you been? ELEKTRA I had a little fender bender. BOSS -LRB- ON PHONE. -RRB- Goddamnit! I said where have you been? ELEKTRA Calm down! I have him right now. BOSS -LRB- ON PHONE. -RRB- You do? ELEKTRA Yes, but it's complicated. He's innocent. Sort of. BOSS -LRB- ON PHONE. -RRB- Sonofabitch. What kind of Stockholm Syndrome bullshit are you trying to pull? ELEKTRA Just listen. Michael Booth orchestrated the assassination attempt on McLaughlin's life. BOSS -LRB- ON PHONE. -RRB- His own advisor? ELEKTRA That's right. This was all some kind of hare - brained scheme to call off the ethics investigation. I think I can get Machete to testify. BOSS -LRB- ON PHONE. -RRB- You do, huh? Well that does n't matter because no charges are going to be filed against Booth. ELEKTRA What? BOSS -LRB- ON PHONE. -RRB- The order's come down from top brass : No more black eyes on DHS. Bring in the Mexican. Dead or alive. Now are you gon na DO your fucking job or are you gon na LOSE your fucking job? Elektra is stunned. BOSS -LRB- CONT'D. -RRB- -LRB- ON PHONE. -RRB- Agent Rivers! Agent Rivers! Answer me, goddamnit! Elektra hangs up, throws the cellphone into the bowl of green onion gunk. She looks around for Machete, but he's disappeared while she was on the phone.",
"INT. CHURCH, INNER ROOM Padre sits at a computer, with streaming webcam video of June and April on the screen. PADRE What do you want me to do with this? We ca n't keep them locked up forever.",
"EXT. ARMORY - NIGHT Battered trucks roll in.",
"INT. ARMORY Makeshift infirmary for the wounded. Von oversees the patching up of several of his men. VON The day is upon us, my friends. We'll take down the interloper, and anyone who gets in our way. Subdued chorus of mild approval. VON -LRB- CONT'D. -RRB- Do you believe in freedom?! Louder chants of `` yeah!'' VON -LRB- CONT'D. -RRB- Will you die for freedom! Louder - `` YEAH!'' VON -LRB- CONT'D. -RRB- If that's what it takes to make you free, I will kill you with my own bare hands, Amen. The men look at each other as if trying to gauge the big man's sanity. VON -LRB- CONT'D. -RRB- Heal up, brothers. Heal up good. The day is upon us.",
"INT. SNIPER'S CAR, MOVING - NIGHT Sniper patrols the streets, looking for Machete. His cellphone beeps with notice of a video message - LINK TO APRIL'S WEBSITE. He checks it out - the WEBCAM footage of April and June naked in the windowless room. SNIPER Oh shit.",
"INT. BENZ'S OFFICE/INT. SNIPER'S CAR Benz calls him. He clicks over from the message with his bluetooh earpiece so he can still see the webcam video. SNIPER Yeah. BENZ -LRB- ON PHONE. -RRB- You seeing this? SNIPER Yeah. BENZ -LRB- ON PHONE. -RRB- We have to find him. We have to find him now! I'm going to rip his heart out with my teeth!",
"EXT. LUZ'S TACO TRUCK, MOVING - NIGHT Luz is being followed by Sniper and his goons.",
"EXT. LUZ'S HOUSE - NIGHT Luz pulls into her driveway, into the garage. She steps out of the truck carrying supplies. Her dog Pancho behind her. GOON ONE is there with his boot in her crotch. She doubles over. SNIPER and a HENCHMAN walk up. SNIPER Where's your boyfriend? LUZ -LRB- STRAINING. -RRB- You again? You keep coming back up like bad menudo. Sniper pulls his cellphone, clicks it on so that she can see - INSET : WEBCAM VIDEO April and June nude in the locked room. END INSET LUZ -LRB- CONT'D. -RRB- Who's that? Your mother? SNIPER Where is he keeping them? INSET : WEBCAM VIDEO April and June pull out NUNS' ROBES from a closet. They hold them up to see if they'll fit. END INSET Luz laughs. SNIPER -LRB- CONT'D. -RRB- You're not gon na think it's funny when I cut you a new twat. Luz swings the SPINDLE of PORK into the goons belly. She stands. Her KNIFE ROLL unfurls, she grabs two knives as GOON TWO leaps at her. In a BLUR she slices off his EARS like she's chopping onions. Pancho runs in and gobbles them up. SNIPER and his henchmen open fire with their MACHINE GUNS. Luz dives back into the taco truck.",
"INT. TACO TRUCK Luz ducks and runs through the truck, as bullets blast apart everything. She grabs a gun and shoots back through the windows. Shrapnel sprays her face, a huge SLIVER of GLASS SINKS into her eye. She yanks it out and shoots back. LUZ Hijo de Puta! Luz is shot in the chest, she flies back blood spewing out. She sees the men reloading through the window. Luz is bleeding, one eye gouged out, fading fast. LUZ -LRB- CONT'D. -RRB- You're coming with me Maricons! With her last strength Luz opens the gas valves on the stove and passes out.",
"EXT. TACO TRUCK Sniper and henchman finish reloading and raise their guns. Sniper sniffs the air, smells the gas. SNIPER Wait. HENCHMAN Fuck that, you wait. The overeager henchman opens fire. The bullets slam into the truck ignite the gas and it EXPLODES. They are blasted back by the fireball. Sniper and the Henchman wake up amidst the burning wreckage. HENCHMAN -LRB- CONT'D. -RRB- Man. what happened? Sniper shoots him in the face. SNIPER Moron. His cellphone rings. It's Booth. BENZ -LRB- ON PHONE. -RRB- Anything? SNIPER She was n't very cooperative. BENZ -LRB- ON PHONE. -RRB- What the hell is that supposed to mean? Sniper takes a look at the webcam images on his cell. INSET : WEBCAM April and June wearing the nuns' robes. END INSET SNIPER They're in a church. I know where.",
"EXT. CHURCH - DAWN -LRB- shorthand version - to be fleshed out -RRB- SNIPER and some HENCHMEN surround the church. Mount a siege of the church. Gunfight with Padre. Exploding candles as bullets rip through the church. Elderly Hispanic women in shawls scatter and run for the doors. Gun battle continues outside. Padre goes to car trunk, pops it, withdraws two big shotguns. Henchmen in a car try to run him down. He blows the car into the air with double - blasts. Padre faces down a HENCHMAN. HENCHMAN Please, Father. Have mercy. PADRE God has mercy. I do n't. Padre blows his head off. Sniper shoots off Padre's leg at the knee joint. Padre goes down. Sniper drags Padre inside the church.",
"INT. CHURCH, INNER ROOMS Booth smashes down a door. It's the room where June and April were. It's empty. The nuns' robes are on the floor.",
"INT. CHURCH. Sniper and a few of the henchmen hold a battered Padre down on the ground. SNIPER Where is he? PADRE In your nightmares. Sniper looks to Booth, who nods. Sniper hammers a nail into Padre's hand. Padre grits his teeth against the pain. PADRE -LRB- CONT'D. -RRB- -LRB- TO BOOTH. -RRB- You're afraid to get your hands dirty, so you make others carry out your sins. Sniper raises the hammer again, but Booth stills his hand, takes the hammer. Booth leans over Padre's other hand. BENZ You want to be a martyr? I'm good at making martyrs. Booth raises the hammer. PADRE Like McLaughlin? BENZ That's right. In our own way, we can all be like Christ. Too bad for you, you chose the worst way. He slams another nail into Padre's other hand. PADRE You're so drunk with power, you ordered the hit on your own boss. BENZ This is the boss. Booth hammers the nails in one by one. Bloody Padre screams. BENZ -LRB- CONT'D. -RRB- Now for the last time. where are my wife and daughter? Padre, beaten and bloody, laughs. Benz puts two in his chest. Padre expires.",
"EXT. ONION FIELDS - DAY A produce truck filled with migrant workers stops on the roadside near an onion field. Workers spill out of the back and get to work. The last two out are April and June. They look up and down the road. It stretches forever with no sign of civilization anywhere. A worker tosses burlap sacks at their feet.",
"EXT. CHURCH - NIGHT Machete returns.",
"INT. CHURCH Machete sees Padre crucified. Elektra sits in a bench at the rear of the church. ELEKTRA I came back to look for you, and I found him like. this. Machete seems oblivious to Elektra. Focused on Padre's lifeless crucified body. FLASH CUT FLASHBACK YOUNG MACHETE dropping the sugarcane sword and picking up the MACHETE. Swinging wildly, chopping up the bad guys. PREACHER DAD's dead body. Another boy's hand picks up the preacher's collar. Puts it on. YOUNG PADRE. YOUNG PADRE watches SWAT team surrounding treehouse. YOUNG PADRE watches YOUNG MACHETE led away in chains. YOUNG PADRE enters church. END FLASHBACK",
"INT. CHURCH ELEKTRA -LRB- IN SPANISH. -RRB- `` The more things change -'' MACHETE ELEKTRA -LRB- in Spanish. -RRB- -LRB- in Spanish. -RRB- '' - the more they stay the'' - the more they stay the same.'' same.'' ELEKTRA -LRB- CONT'D. -RRB- That's what my Grandma used to say. MACHETE The guards told me that before they beat me. ELEKTRA I'm sorry. MACHETE You came to arrest me? ELEKTRA Not me. I'm out. But others will. MACHETE Out? ELEKTRA They do n't care about Booth. They just want to wipe you out. You're an embarrassment to the feds. I guess I am, too. She comes close to him. ELEKTRA -LRB- CONT'D. -RRB- You could have killed me. MACHETE -LRB- SMILING. -RRB- The day's still young. ELEKTRA I want to help you. She kisses him once, again. Again. MACHETE Help me find Booth. Elektra weighs it. ELEKTRA First things first, I need a drink.",
"INT. BUNGALOW - NIGHT Elektra and Machete walk in laughing with a bottle of Tequila. She flops down on the couch. ELEKTRA Shit my heel is broke. MACHETE Give it here. ELEKTRA It's nice having a man around. It's been a while. Machete pulls out some tools and fixes her heels. ELEKTRA -LRB- CONT'D. -RRB- How long awhile you ask? Well, About two years. Machete looks up. ELEKTRA -LRB- CONT'D. -RRB- Oh that got your attention? Hmm, Actually you're better than my last boyfriend. He never listened. I do n't know why I got so desperate. Do n't want to grow old alone I guess. You ever get that feeling you're alone and that you'll never meet that one person. Machete's POV : He sees Elektra talking, but only hears a monkey like jabbering coming out of her mouth. ELEKTRA -LRB- CONT'D. -RRB- Are you listening to me? Machete takes a drink off the Tequila bottle. MACHETE Si. ELEKTRA Give me that bottle. He hands it to her. She swigs. ELEKTRA -LRB- CONT'D. -RRB- So what happens now, when you get him, that's it? It's over? Elektra hears a noise in the back of the house. ELEKTRA -LRB- CONT'D. -RRB- Did you hear that? Stay here. Elektra runs into the back. Machete hears a scream from the bedroom. He heads towards it.",
"INT. BUNGALOW - BEDROOM - NIGHT Machete enters. The lights are low. Elektra grabs him from behind, gropes him. ELEKTRA Oh wow. is that a machete in your pocket or. MACHETE You're borracha. She pushes him down on the bed and stands over him. She's in lingerie. ELEKTRA I'm gon na fuck your brains out old man! She pushes him back onto the bed. She tears her clothes off, jumps on him and fucks his brains out.",
"EXT. BUNGALOW - NIGHT Guns are loaded. Shotguns racked. Men with guns run up the stairs.",
"INT. BUNGALOW - BEDROOM - NIGHT Elektra's on top ; manic, yelling, scratching. The bed frame CRACKS Machete sees a SHADOW of a man through the window curtain and another. He tries to push her off him. She WO N'T let him! She's an animal, screeches and yells in SPANISH. Machete grabs the gun off the night table, just as the HIT SQUAD gets there. He manages to keep Elektra happy as he BLASTS the MASKED HITMEN coming in. They crash through the windows and doors as he finishes everyone off at once. Elektra lets out a final scream and collapses on him. ELEKTRA Wow that was. She notices the carnage. ELEKTRA -LRB- CONT'D. -RRB- Oh my god. did I wake the neighbors? They get up. She pulls the ski mask off a dead gunman. ELEKTRA -LRB- CONT'D. -RRB- This is one of ours. He works for the agency. MACHETE Come on! They grab guns and run out.",
"EXT. BUNGALOW - NIGHT Machete and Elektra run outside. Sniper and his men are waiting for them ; guns drawn. He waves for his men to lower their guns. SNIPER Machete you can come quietly and we wo n't hurt the girl. Machete contemplates this. SNIPER -LRB- CONT'D. -RRB- You can trust me. I've brought one of your old friends to vouch for me. Erhman waves with his BANDAGED hand. ERHMAN Hola Machete amigo, long time! Erhman beams a big cheese eating smile. Machete draws his gun. MACHETE Not long enough. Erhman's smile fades. Machete SHOOTS him in the face. Machete and Elektra open fire with machine guns and speed off in a Volkswagon bug. DISSOLVE TO:",
"EXT. ALLEY, CHOP SHOP Elektra enters. She's slowly surrounded by rough - looking Mexicans. ELEKTRA My friend and I need a little help. They see Machete behind her. MAN It's him. MONTAGE : CHOP SHOP ROCK Machete sharpens blades, makes all kinds of razor - sharp metal weaponry in the chop shop, using all kinds of scrap metal. Machete lays down sketches and blueprints. The men and Machete build out a tricked - out arsenal on tricked - out vehicles, like something out of a south of the border Road Warrior. Machete sharpens his blade as sparks fly.",
"EXT. ALLEY, CHOP SHOP Sniper cruises by, hunting for Machete. The chop shop boys spot Sniper snooping. They bring out a huge blowtorch and carve up his hood. SNIPER You punk kids! That's it! Sniper climbs out of his car, gun in hand. A steak KNIFE flies in from off screen and skewers his wrist. He stumbles back gushing blood, and sees. Luz ; alive and well, a red eye patch on. She's wrapped in white bandages crossing and covering her chest and her arm. She's a mess but a beautiful one, like a female road warrior. Band aids on her forehead. The white bandages cover her dark skin. LUZ Cabron, I told you it would n't end pretty. -LRB- to the guys. -RRB- Bring him inside. They drag Sniper out of the car and into the chop shop. SNIPER You, I got you, what. LUZ It pays to have friends, Pendejo. They got your ass when you need it. FLASHBACK - INT. TACO TRUCK Back to the moment Luz has passed out in the truck. Pancho barks ; BITES Luz on the ASS and pulls her out of the Taco Truck seconds before it explodes. CUT TO:",
"INT. CHOP SHOP Sniper struggles as they drag him toward a circular saw. SNIPER No! No! MACHETE Looking for someone? SNIPER Oh my God. Please. No. Please! NO! They bring Sniper up to the saw and grind away at him. Luz and Pancho look on.",
"EXT. COUNTRY CLUB HOSPITAL - DAY News crews gather outside.",
"INT. HOSPITAL HALLWAY Booth walks towards McLaughlin's room, cellphone in hand, trying to reach Sniper. Only gets a gurgling, buzzing sound. BENZ Goddamn A T & T.",
"INT. MCLAUGHLIN'S HOSPITAL ROOM Booth enters McLaughlin's hospital room. McLaughlin is dressed in a suit and a girl is brushing his hair while another brightens his cheeks with a little makeup. MCLAUGHLIN Where the fuck have you been? BENZ Taking care of business. MCLAUGHLIN My business is here. Did you see those crews out there? They expect a statement. -LRB- noticing Booth's ragged APPEARANCE. -RRB- Jesus, what happened to you? BENZ Nothing. Just had a little talk with a priest. MCLAUGHLIN Well, what am I going to tell ` em? BENZ Whatever you tell them, I'm sure it'll be golden. -LRB- off McLaughlin's blank LOOK. -RRB- Just feed them the line about standing steadfast in the face of terrorism, continuing the fight. You know it by heart. McLaughlin looks relieved. MCLAUGHLIN I do. All right. Once this is done, you need to take a vacation. You need some air. BENZ Maybe. MCLAUGHLIN No doubt about it. You're losing your marbles, Booth. The girl finishes the makeup and hair job, and smiles at McLaughlin. MCLAUGHLIN -LRB- CONT'D. -RRB- It's showtime. McLaughlin stands and exits, Booth right behind them. As they leave, we focus on the TV set in McLaughlin's room, showing the front of the hospital and the news crews outside. Suddenly the ticker shows BREAKING NEWS. SHOOTOUT AT LOCAL CHURCH RELATED TO MCLAUGHLIN ASSASSINATION ATTEMPT? EXCLUSIVE VIDEO. DEVELOPING.",
"EXT. CHURCH - DAY Yellow police tape around the perimeter. Torrez watches from a distance, looking around. Torrez sees Elektra's car drive by. He hops into his rental and follows her.",
"EXT. HOSPITAL - DAY McLaughlin and Booth exit the hospital to face the throng of reporters. McLaughlin approaches a makeshift lectern of microphones. MCLAUGHLIN I'd just like to thank the all of you for your support during this difficult time. McLaughlin's supporters cheer and hold up pro - McLaughlin, anti - immigration signs. MCLAUGHLIN -LRB- CONT'D. -RRB- My will to fight has only just begun. We must not let the terrorists win this battle for our land, our America! Thank you. More cheers. One of the reporters steps up. REPORTER Congressman, there are reports implicating your advisors as having orchestrated the shooting. Would you care to comment? The cheers fizzle. McLaughlin looks stunned. MCLAUGHLIN Do what now? INSET : TV SCREEN Webcam footage plays of Booth in the church. BENZ You want to be a martyr? I'm good at making martyrs. PADRE Like McLaughlin? BENZ That's right. He slams another nail into Padre's other hand. PADRE You're so drunk with power, you ordered the hit on your own boss. INSET ENDS McLaughlin looks to Booth, but Booth is GONE. MCLAUGHLIN No further comment. Thank you. McLaughlin ducks back inside.",
"INT. HOSPITAL HALLWAY McLaughlin stumbling. MCLAUGHLIN Could somebody fucking help me? I think I'm having a heart attack. Booth takes hold of him and ushers him out the back door.",
"EXT. COUNTRY CLUB HOSPITAL - DAY Outside McLaughlin's supporters are dazed and confused.",
"INT. LIMOUSINE, MOVING Booth drives. McLaughlin pops vicodins with a bottle of Maker's Mark. MCLAUGHLIN What did you do, Booth? You jeopardized my career with that wetback! He could have fucking killed me! BENZ Not with that scope. MCLAUGHLIN You stupid sonofabitch. You pull something like this, without consulting me?! You fucked me. You are a stupid sonofabitch. The press is going to demand answers! You got another brilliant solution for that? They stop. Suddenly, MACHETE is standing on top of the limo. He's throwing knives into the open sunroof. McLaughlin is pinned to the seat. Booth exits the vehicle and hightails it. Machete pursues.",
"EXT. ALLEYWAY Booth and Machete on the run, after each other. Fistfight in the street. Booth scrambles up a fire escape.",
"EXT. BACK ALLEYWAY A group of men are standing around a pitbull pit where two pit bulls are going at it. The men place bets excitedly on which dog will be the victor.",
"EXT. ROOF Machete and Booth fight on the roof.",
"EXT. BACK ALLEYWAY Machete and Booth roll off a roof and tumble into the pitbull pit, fighting each other as the dogs fight. The men around them start placing bets on Machete and Booth. Booth cuts one of the men and the pitbulls go after him. Booth escapes from the circle and carjacks a woman. He kicks her out of the car and speeds towards the Armory. BENZ -LRB- DIALING PHONE. -RRB- Von! Von!",
"EXT. STREET Machete comes out of the alleyway. His buddies in their Road Warrior rides swing by and pick him up. MACHETE Follow him.",
"INT. ARMORY, MAKESHIFT INFIRMARY/INT. STOLEN CAR, MOVING Von's phone rings. Von sits on a couch watching the news. Booth's mug fills the screen. Von makes no sudden move to answer. MAN Should n't you -? VON Let him stew awhile. Von mutes the TV, answers the phone. VON -LRB- CONT'D. -RRB- Von here. Benz drives. BENZ Where are you, goddamnit!? I'm bringing him up. VON Up? Up where? BENZ Up your fat, fishbelly ass! VON Fine. Bring him here. Papa Von's got a big surprise a - waiting.",
"EXT. ELEKTRA'S BUNGALOW Elektra enters. Place looks deserted again. ELEKTRA Shit. I do n't even want to know who she's fucking now.",
"INT. ELEKTRA'S BEDROOM Sis is being savagely attacked by Torrez.",
"INT. ELEKTRA'S BUNGALOW Elektra hears it, but thinks it's Sis fucking. ELEKTRA Fucking shit, bitch. Make him pay for a goddamn hotel. Thuds get louder, then stop. Elektra looks up. ELEKTRA -LRB- CONT'D. -RRB- Sis? Bedroom door opens slowly. Elektra sees the horror inside. Puts a hand to her mouth to staunch the flow of projectile vomit. Then she's taken from behind by Torrez's henchmen. TORREZ She was just a warmup. Now I'm ready for dessert. He edges in.",
"EXT. ARMORY - DAY Militiamen guard the gate. Booth barrels towards the gate. He spins out and gets out of the car. BENZ Shut the gate quick! He's after me! Some of the men shut the gate. Booth approaches Von. BENZ -LRB- CONT'D. -RRB- He killed McLaughlin. He's coming after me. VON And you led him right to Papa Von. That's some kind of thank you. BENZ I saw to it that McLaughlin gave you the keys to this fortress. You owe us. VON The senator, maybe. But what exactly do I owe you, turncoat? BENZ What are you talkin - VON You held the hand that held the gun, Booth. Just as good as you killed him. Booth lunges for him but the other militia men hold him back. VON -LRB- CONT'D. -RRB- Put the traitor in the brig. They lead Booth away, kicking and spitting. BENZ You ca n't do this to me, Von! You need me!",
"INT. BRIG Booth is secured in the brig. Booth flings hot coffee in the guard's face, jerks his belt and smashes the guy's face into the bars. Snags the keys and escapes from the brig. He pulls a few bucks out of his pocket and flings them down Sonny - style on the prone guard.",
"INT. ARMORY Booth and Von showdown. Booth slaughters Von with an American flag through the throat, coming out his spine at the back of the neck. BENZ Glory, glory, hallelujah.",
"EXT. SHOWDOWN ROAD WARRIOR vehicles barrel towards the armory. They're driving a semitruck - It crashes through the front gate, then spins as - The backdoor of the semi trailer rolls up revealing A TRICKED OUT MOTORCYCLE - as Machete rides it out. Machete's army of workers stream out from their road warrior chop shop rides. Machete dismounts. His army behind him. He raises his MACHETE against the sun and his army all raise theirs. Big battle sequence as they storm the armory. Knives and guns. a ballet of bullets and blood. LUZ arrives in one of the HOT RODS from the chop shop. She has a MACHETE GUN that shoots out Machete blades like a Machine gun. A minuteman grabs her from behind, but. He is STABBED in the CALF by Pancho! A METAL HARNESS onhis back holds a sharp KNIFE that he stabs with. The minuteman falls, Pancho stabs him in the face. Luz leads a gang of her customers into the battle. Minutemen and Mexicanos of all walks of life - janitors, gardeners, laborers, gangbangers, etc. - fight it out at the armory. Fighting it out with the implements of their trade - knives hidden in mops, a weedwhacker attack, etc.. A wailing AMBULANCE CRASHES through a gate running down minutemen. DOC FELIX and his sexy NURSE get out and help a wounded Mexican. Doc flicks a SCALPEL at an approaching Goon. Machete unveils a Gatling Gun with a special mount that affixes to the front of the chopper. Booth scrambles to arm himself, but he's cornered. He tries to take cover behind thugs, but - Machete on the motorcycle with the Gatling Gun mows down Booth, machine gunning him in half. Booth looks down at his own white shirt, now stained crimson and ripped to shreds as he falls to the ground in TWO PIECES. While the battle between chopshoppers and militia rages on - TORREZ appears with ELEKTRA - TORREZ Machete! Machete stops, turns to see Elektra, bound and gagged in Torrez's control. TORREZ -LRB- CONT'D. -RRB- You never learned to stay down, pendejo. I killed you once. I can do it again.",
"INT. WAREHOUSE Machete skids into the warehouse. Fuel barrels line a far wall. Torrez is ready for him. TORREZ All roads lead to Hell, eh, Machete? Machete squints. Flashes back to the earlier scene. The two images blur into one. TORREZ -LRB- CONT'D. -RRB- Most people die in the fire, but you survived, you unlucky bastard. MACHETE I was born in the fire. It was n't luck. TORREZ Faith? Yeah, faith got you a good job picking melons. While I bought the world. MACHETE What good is it. TORREZ. says. for a man to gain the whole world yet forfeit his soul? Mark 8:36. I know it better than you Machete. Your father taught it to me, too! Torrez ATTACKS Machete The two FIGHT with sword and machete. Elektra rolls on the ground, dodging Torrez's rain of blows from the samurai swords. One sweep slices her bindings and she scrambles to safety. The distraction is enough for Machete to gain the upper hand and slash Torrez across the front. On the edge of death Torrez seems to soften. TORREZ -LRB- IN SPANISH. -RRB- Machete, we were friends. We stood for something. Machete impales TORREZ between the eyes. Blood shoots out his mouth. MACHETE I'm still standing. Puta. Machete pulls out the blade, Torrez falls dead. EXPLOSIONS and black smoke light up the sky behind Machete. FADE TO BLACK. FADE IN.",
"EXT. HIGHWAY - NIGHT Machete drives his Gun Bike south. COP LIGHTS appear behind him. He pulls over. The Officer walks up. His flashlight blinds him. MACHETE What's the problem officer? The Officer just stands there, silent, his flashlight blinding in Machete's eyes. MACHETE -LRB- CONT'D. -RRB- Let me give you my ID. Machete reaches for his knife : then he sees the cops shoes ; RED STILETTOS ; It's ELEKTRA. ELEKTRA What's your name? MACHETE Machete. ELEKTRA I called in some favors. Look at this. All the right papers ; a real identity. You could start over, be a real person. She puts the green card in his hand. Machete looks at it, then crumbles it and drops it. MACHETE Why do I want to be a real person. when I'm already a myth? ELEKTRA Where will you go? MACHETE Torrez was just an errand boy. I'm going to find the man who sent the message. Elektra steps into the headlights. She's dressed in hot COP LINGERIE. ELEKTRA I'll ride with you. They kiss. CUT TO BLACK FADE UP Machete and Elektra drive away on the gun bike. The cop car abandoned on the side of the road ; lights still flashing. FADE OUT DISSOLVE TO: DESERT - NIGHT. A family of illegals crossing the border in the desert, see a WATER STATION up ahead. They make for it, opening it up and drinking heavily from the water supply. A BULLET brings one of them down and the others scramble for safety but there's someone out there, shooting at them. MOTHER hushes the younger ones. MOTHER Say a prayer to El Machete to protect you. The younger ones start to pray. A JEEP patrols the area and we see it's MINUTEMEN taking potshots at the illegals. MILITIA MAN Did you get ` em? 2ND MINUTEMAN I do n't know. They're like brown jackrabbits. Let's see if they'll show their little white tails. Flicks on a highpowered light by the side mirrors on the JEEP. The light is on long enough to illuminate a MACHETE BLADE coming straight for them. MILITIA MAN Holy shit! His words gurgle in his throat as his head is severed from his body. 2nd MINUTEMAN freaks and makes a run for it. Stumbles in the dark, in the dust. Scrambles but ca n't get to his feet as he sees the outline of a DARK FIGURE above him. Young illegals' prayers continue as the MACHETE comes down on 2nd MINUTEMAN. Sounds of struggle, slaughter. then silence. MACHETE Light a candle. Say a prayer. Young illegal opens eyes. There's a glass candle in his hands, but no one else around. Instead of Christ or a Virgin on the candle is a silhouette of MACHETE. CUT TO BLACK."
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] | In Mexico, Machete Cortez (Danny Trejo), a Mexican Federal and his younger partner are on a mission to rescue a kidnapped girl. During the operation, his partner is killed, the kidnapped girl stabs him in the leg before being killed herself, and Machete is betrayed by his corrupt Chief to the powerful drug lord and former Federal, Rogelio Torrez (Steven Seagal), who kills Machete's wife and implies that he will kill his daughter before leaving him for dead. Three years later, a down-and-out Machete roams Texas, scraping by on yard work. Michael Booth (Jeff Fahey), a local businessman and spin doctor, explains to Machete that corrupt Texas State Senator John McLaughlin (Robert De Niro) is sending hundreds of illegal immigrants out of the country, which would reduce the number of laborers. In order to stop this, Booth offers Machete $150,000 to kill McLaughlin. Machete accepts the murder contract after Booth threatens to kill him if he does not. Machete trains a rifle on McLaughlin from a rooftop during a rally, but before he fires he sees one of Booth's henchmen aiming at him. The henchman shoots Machete in the shoulder, then shoots McLaughlin in the leg. It is revealed that Booth orchestrated the attempted assassination as part of a false flag operation to gain public support for McLaughlin's secure border campaign. By setting up Machete as the gunman, the conspirators make it appear that an outlaw illegal Mexican immigrant has tried to assassinate the senator, who is known for his tough stance on illegal immigration. An injured Machete escapes capture by Booth and is taken to a hospital to be treated for wounds, escaping once again from Booth's henchmen at the hospital. Agent Sartana Rivera (Jessica Alba), a persistent U.S. Immigration and Customs Enforcement agent, is sent by her superior to find and capture the injured Machete. Machete, with the help of Luz (Michelle Rodriguez), aka Shé, the leader of an illegal immigrant aid movement known as the Network, recruits Padre (Cheech Marin), his "holy" brother. To take revenge on Booth, Machete kidnaps Booth's wife June and his daughter April (Lindsay Lohan), after "starring" in an amateur adult film with them. He also collects evidence from Booth's house linking McLaughlin and Torrez in a major drug trafficking deal. After encountering Machete, Sartana begins to develop an interest in him. Elsewhere, Booth, who is revealed to be working for Torrez, hires a hitman, Osiris Amanpour (Tom Savini), to assist in the hunt for Machete. A group of border vigilantes, sponsored by McLaughlin and led by Von Jackson (Don Johnson), begin attacking anyone who may be harboring Machete and shoot Luz in the right eye. Booth and Osiris lead a raid on the church. Padre kills their henchmen before the two incapacitate him and kill him by nailing him to a cross, but do not find Booth's wife and daughter. Unbeknownst to Booth, the church has cameras. Through the CCTV recordings, the news of McLaughlin's corruption and faked assassination is eventually aired on national television. Infuriated, McLaughlin kills Booth and heads back to join Torrez and Jackson to kill Machete. In order to eliminate the people who double-crossed him, Machete gathers the Mexican Network and leads them to the base of the border vigilantes. When McLaughlin arrives at the base, Jackson turns on him for being involved with the Mexican drug trade and attempts to execute him, but is interrupted when Machete and the illegals arrive. During this confrontation, the Mexican illegals triumph over the border vigilantes. Jackson tries to escape, but Luz, who survived and now sports an eye patch, shoots him in the back of the head. Machete fights Torrez and stabs him, who then scornfully kills himself through Seppuku. April shows up wearing a nun's habit after escaping from the church and shoots McLaughlin after figuring out that he has killed her father. McLaughlin, injured, manages to escape, but he is later killed by the last remnants of his own border vigilante group, who mistake him for a Mexican. Machete meets with Sartana, who gives him a green card, but he rejects it, saying he's already a legend. They kiss and ride off into the night. The closing credits announce further adventures for Machete. | Machete_(film) |
[
"PRINCE OF THIEVES SUNSET The glowing orb ripples like a blood - red eye. BLACK, ROBED FIGURE A face of the ages. Dark, wrinkled skin. Wizened, almond eyes. He howls at the sun. His voice ECHOES across the sky. The Moslem call to prayer. Hundreds of feet below his tower, a mud - walled city of minarets and mosques. A human ants' nest. Scurrying to their devotions.",
"EXT. TWELFTH-CENTURY ARAB CITY - ESTABLISHING SHOT",
"INT. DUNGEONS - SUNSET Pervasive blackness. Moans of men in pain. Dripping water. Rats. Filth. The nadir of human degradation. Bedraggled white men, POWs from the Crusades, caged together with Arab cutthroats. Jailers wrench two crusaders from their cell. ROBIN OF LOCKSLEY and PETER DUBOIS. Their appearance reeks of long imprisonment, but remnants of their noble heritage still glimmer in their faces. Peter is so frail he can barely walk.",
"INT. TORTURE CHAMBER - SUNSET A furnace. Torture instruments glow red hot. Chained victims. A massive INTERROGATOR scrutinizes the two white men. Indicates a rat - faced lowlife, who points at Peter, jabbering in Arabic. INTERROGATOR He says you stole his bread. PETER It is a lie. I caught him stealing ours. The lowlife jabbers some more. The Interrogator debates. INTERROGATOR Cut off the infidel's hand. The jailers haul Peter to the chopping block. ROBIN No! I took the bread. PETER That's not true. ROBIN They're not interested in truth. You are too weak, Peter. You would not live through it. The Interrogator stares into Robin's eyes. INTERROGATOR Sacrifice for the weaker? How noble. As you wish. Cut off this one's hand as well! But first. He indicates an Arab prisoner, who is dragged forward. His struggling hand is laid on the executioner's block. INTERROGATOR Show them the courage of Allah. The prisoner's face braces for the pain. A red - hot scimitar flashes down. The hand flips into a basket. Twitching. Robin is next. His composure fails. He flops to his knees, crying. The Interrogator laughs. The jailers unlash the thongs on Robin's hand. They stretch it out, forcing it down. Robin goes limp, sobbing. Peter catches his eye. Robin winks. The scimitar. Drawn from the coals. Spitting flame. Arcs down. Robin is suddenly galvanized. ROBIN And this is English courage. He hurls his holders aside. Swings upward, driving his fast into the executioner's throat. Grabs the sword. Slash. His thongs melt like butter. A jailer leaps at him. Steaming, the scimitar slices into the man's chest. Despite his bindings, Peter wrestles the Interrogator. Knife pressed to his throat, Peter is forced against the furnace. At the last second, he flips the man into the fire. Screaming. PETER That's for five years of hell. A jailer aims a scalding blade at Robin's back. VOICE -LRB- O.S. -RRB- Behind you! Warned, Robin ducks away. Slams the jailer's head into the wall. Peter frees himself, but they are still outnumbered. While fighting, Robin acknowledges the man who shouted the warning. An imposing, shaven - headed SARACEN. Heavily - muscled arms and chest, covered in tattoos. Even his bald head is ornamented. ROBIN You speak English? SARACEN The king's own. Set me free. PETER No, Robin. SARACEN For pity's sake. Mine is a sentence of death. Robin sidesteps, propelling a guard into a pit. PETER Do n't trust him. Two more guards attack, yelling fury. Robin eyes the curved scimitar. ROBIN What I would give for an English sword. This is a pruning hook. A guard swings at him with a giant axe. Robin slashes. shears the axe handle in two. ROBIN Hmm! Not bad. He runs the man through. Peter loses his sword. His opponent moves in for the kill. Peter grabs tongs from the fire and smolders his opponent with a backhand. Commotion outside. RAISED VOICES and RUNNING FEET. SARACEN Free me and I will show you a way out. ROBIN Why should we trust you? SARACEN If you do n't, you are dead men. ROBIN He makes a point. The door bursts open. More guards rush in. ROBIN A good point. He slashes the man free. PETER Robin! ROBIN Whatever blood is in his veins, he does not deserve to die here. SARACEN This way! He beckons them to the back. A hidden door leads into a tunnel.",
"INT. SEWERS - NIGHT They wade through foul water up to their waists. The Saracen leads. A snake lashes out for his face. Robin lops off its head. SARACEN You are fast, my friend. ROBIN Five years I've waited for the smell of free air. That makes a man fast. Guards drop down from above, carrying torches. Blocking the way. SARACEN You will need to be yet faster. A narrow opening to their left. they splash through. Half running, half crawling in the dank water. Fire arrows land around them. The orange smoke is choking. SARACEN Poison air. Hold your breath. Flames illuminate the walls, alive with a loathsome mass of crawling slime. Peter falls. A pursuer descends on him, thrusting a blazing torch at his face. The Saracen intercepts the blow. Grabs the man's neck, SNAPPING it with one mighty twist. PETER -LRB- coughing. -RRB- Thanks. I misjudged you. SARACEN Save your breath. Gasping for air, they find the tunnel veers steeply down - ward. A slippery, granite tube. Losing purchase, they slide headlong. Sharp, rusted spikes jut out from the walls ahead. Robin grabs at the walls to break the fall. No use. They're picking up speed. He turns his sword crossways, bracing it against the sides of the tunnel, as a brake. Sparks fly. The sword cuts into Robin's chest. but it works. SARACEN Allah be praised. ROBIN Amen, brother. A bloodcurdling scream. A pursuing guard tumbles down the sewer chute. The three men press themselves against the wall. The man hurtles by. is impaled on the spikes. A draft of fresh air from the roof of the tunnel. Using the spiked guard as a ladder, Robin climbs. Removes a grating.",
"EXT. ARAB STREET - NIGHT Robin's head appears. ducks back down, as a squad of mounted soldiers thunders right over him. he reappears. All clear. They're outside the prison wall. Robin helps Peter up. ROBIN God willing, we may now be safe. Swoosh. An arrow pierces through Peter's chest - fired from the prison wall. He reels. Robin leads him under the wall for protection. Shouts of alarm. Soldiers approaching. ROBIN Come, Peter. We must hurry. Raising his sword, Peter faces the oncoming soldiers. PETER It is mortal. Leave me. ROBIN Hold on to my shoulder. Peter shakes him off. PETER My mother. my little sister. Tell them I love them. Tell them I died a free Englishman. Robin looks despairingly to the Saracen. SARACEN His wound is by the heart. We can not save him. Robin knows it's true. Peter pulls an insignia ring from a hidden pouch in his clothes. Thrusts it into Robin's hand. PETER Take this to my sister. Swear you will protect her for me. Swear it, Robin! ROBIN -LRB- reluctantly. -RRB- I swear it. Summoning hidden resources of strength, Peter charges at the oncoming soldiers, brandishing his sword. PETER For England. He fells the first Arab. The Saracen pulls Robin away. SARACEN Come now! Do not fail your friend. Make his sacrifice an act of honor. They vanish into the night. Fighting like a man pos - sessed, Peter is swallowed in a sea of enemy soldiers. DESERTED ALLEY - LATER Robin and the Saracen catch their breath. ROBIN Farewell, friend. God speed you on your way. SARACEN Our way is together. With the speed of Allah. He grins. This strange man has a sense of humor. ROBIN I go to England. SARACEN Then I go to England. ROBIN England? Why? SARACEN You saved my life. I must stay with you until I save yours. ROBIN Go your own way. I relieve you of your obligation. SARACEN Only Allah can do that. ROBIN And if I do n't want you? SARACEN You have no choice. unless you think you can kill me. He grins broadly. Offers his hand. SARACEN My name is Aslan. Resigned, Robin takes the proferred hand. ROBIN Robin of Locksley. You know a short route to England, Aslan?",
"EXT. LOCKSLEY CASTLE (NOTTINGHAMSHIRE, ENGLAND) Eerie shapes. Weaving. White light on water. The moon reflected in the moat of a small castle. Towers shrouded in night mist. Smoke curls from a chimney. SUPERIMPOSE : LOCKSLEY CASTLE, NOTTINGHAMSHIRE, ENGLAND",
"INT. LOCKSLEY CASTLE - NIGHT FIRE CRACKLES in an open hearth. Hams and a half sheep hang, smoking. An old DOG SNORES at the fireside. A bone clunks on the floor, waking him. VOICE -LRB- O.S. -RRB- Enough of that din, Remus. I ca n't think. Licking the bone gratefully, the dog looks in the direc - tion of the voice. Grey. Proud. Distinguished. LORD LOCKSLEY. Seated at a table, wine goblet in hand, he pores over a wonderful illustrated Bible. Reading to himself for solace and strength. Empty chairs surround the vast table. A deep sense of loneliness. He glances at a portrait over the fireplace. Robin. The dog jumps. Hackles rise. O.S. SHOUTS. Locksley unsheathes a dagger. Obscures it in the folds of the Bible. The door bursts open. A peasant, ragged, desperate, KENNETH. KENNETH My Lord! Help me. He's bleeding from a face wound. Another man grabs him from behind. Locksley's craggy - faced retainer, DUNCAN. Older than his master, but still strong, he holds Kenneth back. DUNCAN You must wait. I am sorry you were disturbed, Master. KENNETH -LRB- high anxiety. -RRB- My Lord, please! LOCKSLEY It is alright, Duncan. -LRB- to Kenneth. -RRB- You are Kenneth of Cowfall? The peasant falls to his knees. KENNETH They've taken my Gwen. My daughter. LOCKSLEY Who has taken her? KENNETH Men on horses. In masks. -LRB- touches his wound. -RRB- We tried to stop them. My son is dead.",
"EXT. LOCKSLEY CASTLE - NIGHT Steam pours from the nostrils of a black charger. Lord Locksley mounts, in armor. Duncan attempts to detain him. DUNCAN You can not go alone, Master. Let me ride for help. LOCKSLEY That may be too late. Kenneth, lead the way. He kicks his horse into motion. DUNCAN Master, stay! There is an evil moon tonight. LOCKSLEY Good will overcome, Duncan. Trust in that. Duncan looks up. Crosses himself. Dark clouds race across the moon.",
"EXT. WOODED TRAIL Kenneth checks the ground. Locksley waits. KENNETH They came this way, my Lord. LOCKSLEY Onward then. What is this place? KENNETH Nearby the Gregor Caves. Locksley reacts - a hint of fear. They move on. Ahead, the hillside glows, rimmed in eerie light. Strange primitive CHANTS, wafted on the wind. Locksley ties his nervous horse to a tree. Parting undergrowth, Kenneth creeps forward. Cries out. He's face to face with the maggot - eaten skull of a goat. Beyond it, a gruesome host of half - skinned human skulls, all arranged on stakes. Some male, others with rotting female tresses, staring eyelessly into the night. Kenneth turns to run. A hand grabs him. LOCKSLEY Steady, man. They are to dissuade the faint of heart. Think of Gwen. From the crest of the rise, they peer down into the craggy valley. A cave opening, ablaze with flames leers at them like the mouth of hell. Before the cave, a circle of stones. A miniature Stonehenge. A medieval orgy. Men and women in masks and loose robes. Dancing. Drinking. Reveling. Pure carnality. Lord Locksley and Kenneth watch in horror. Faces ashen. KENNETH Druids. LOCKSLEY I trusted we were rid of such evil a century ago. An unearthly SCREECH. A creature leaps into the circle of stones. Grotesque gargoyle head, horns, fur - covered arms and legs. A living Hieronymous Bosch DEMON. Its clawed hands slash across a reveler's back, drawing blood in vicious streaks. The creature tastes the blood. The reveler is ecstatic. KENNETH -LRB- petrified. -RRB- Is it the devil? LOCKSLEY If it is, I have some Christian steel that will test his hide. He draws his sword. A crucifix sculpted into the hilt. A girl is dragged from the cave. Kenneth buries his head. LOCKSLEY Gwen? Kenneth nods. The Demon shrieks, dervishing around GWEN, who is carried onto the central plinth stone. A pagan altar, the shape of an elephant's head with its trunk raised. A masked figure stands at the head of the altar. The high priest of the dark rite. The girl's body shudders as blood - red liquid is forced down her throat. The Demon's voice is husky and hideous. DEMON Come, my virgin flower. Hypnotized by the creature's voice and snake - like move - ments, Gwen stretches herself out. A single beam of sunlight slices through the mist, like a laser. The first light of the rising sun, it strikes directly on the altar, tracking down towards the girl's heart. The Demon's raised talons close in on the white flesh of her neck. Gwen's eyes are open wide, in a trance. The crowd of revelers encircle the plinth. Awed anticipation. A warrior's yell! Sword raised, Locksley THUNDERS in on his CHARGER. The terrified crowd parts. The Demon screams like a banshee. DEMON Kill him! Kill him! The followers throw themselves at Locksley. He beats them off. The high priest issues orders to armed guards, who run to intercept. One aims a spear. Locksley hacks the shaft in half. Cuts men down left and right. Reaches the altar stone. LOCKSLEY Gwen! Up, girl, up! Gwen shakes off her trance. The Demon launches itself at Locksley. Talons rip flesh from his face. With all his strength, Locksley hurls the creature down. LOCKSLEY In the name of God! His broadsword swings in a mighty arc. Slices across the gargoyle's skull. Clean through half the face. Impossibly, the demon rolls back to its feet. The head is an elaborate mask - beneath are the yellow skin, white hair, and burning red eyes of an albino crone. Screaming vitriol, the hag is unharmed. Momentarily stunned, Locksley regains his senses, hauls the girl onto his charger. The guards close in. Locksley spurs his horse. Rides for an opening. The masked high priest stands resolutely in his path. Brandishing a burning branch. The horse is freaked. Rears. Locksley and the girl are thrown. Unarmed, Locksley charges the man. Slams him into the cave wall. The mask falls. Locksley gasps in recognition. LOCKSLEY Nottingham! The SHERIFF OF NOTTINGHAM. Powerful build, black beard, cruel intensity in every feature. NOTTINGHAM You are an unwelcome surprise, Locksley. LOCKSLEY The King shall hear of this, Nottingham. NOTTINGHAM I think not. Locksley is surrounded. One by one the men reveal their faces. Locksley backs up in shock, recognizing them. LOCKSELY God help us. NOTTINGHAM One day all England will worship with us. LOCKSLEY Never. The crone spits venom in his face. DEMON I am Mortianna. You will die with my name on your lips. Locksley's agonized cry fills the valley. On the hill - side, Kenneth averts his eyes. Turns to run. Five masked figures block his way.",
"EXT. ENGLISH SHORE - DAY A twelfth century French sailboat at anchor. A cross on its sail. A longboat rows to shore. Robin stands in the prow, in a pilgrim's hooded robe. He gazes at the approaching land. Unable to wait, he leaps into the surf and wades to the beach. He kneels, pressing his hands and face into the soil. ROBIN Home. Thank you, Lord. Aslan steps from the boat, sniffing the air. The French sailors keep their distance from him. Robin takes his hand. ROBIN My friend, you have escorted me home. I beg you to free yourself of your vow. Return with the boat. I know how heavy your heart must be, this far from your family and native land. ASLAN -LRB- SARACEN. -RRB- Because I love them so dearly, I can not dishonor them. A sailor creeps up behind Aslan, club in hand. ROBIN I thought you'd say that. He nods to the sailor, who swings the club down. The Saracen sidesteps, grabs the man's arm and flips him into the surf. He turns a cold stare on Robin. ASLAN No man controls my destiny. Especially not one who attacks downwind and stinks of garlic. Robin laughs. The Saracen remains intense. ASLAN If our positions were reversed, I would have done the same. Only I would have succeeded. He smiles broadly. Robin claps him on the shoulder. ROBIN Come, Aslan. By nightfall we will celebrate your honor when we dine with my father.",
"EXT./INT. PEASANT'S COTTAGE - DAY CRASH! An armored foot splinters the door of a farmer's hovel. Children scream and run. A soldier clubs at them, laughing. Outside. More soldiers. Some on horses, others on foot, with leashed hounds. Pillaging. Vandalizing. Searching. GUY GISBORNE : An impressive figure on horseback. Strikingly handsome - except that one of his ears is missing. We recognize his face from the Druid ceremony. He coldly addresses a pregnant woman with a child in her arms, FANNY. GISBORNE You owe the sheriff three bushels of flax. FANNY You starve us. First the drought, now you take what food we have left. GISBORNE For starving people, you look fat enough. SOLDIER -LRB- emerging from the hut. -RRB- He's not here, sir. None but the woman and children. GISBORNE -LRB- to Fanny. -RRB- Where is your mate? The man they call Little. FANNY He died last winter. GISBORNE Is that so? We hear he is very much alive. Hiding out in the forest. He probably ran away to escape your scolding tongue. The soldiers join in his laughter. Incensed, Fanny pounds her fist on his legs. Gisborne kicks her down. FANNY Norman swine! A BOY of 12 springs from nowhere, thrusting a hay fork at Gisborne's throat. FANNY No, Wulf! Do n't! ` Twill only make it worse. Wulf backs off. Nostrils flaring with repressed hate. GISBORNE Seize him! While two soldiers grab the Boy, others examine his hiding place. A secret thatched door, built into the side of a haystack. a bow and quiver. and a deer carcass. Gisborne dismounts. GISBORNE This is Lord Nottingham's deer. Is this how you repay the Sheriff for his protection? WULF -LRB- BOY. -RRB- Like a wolf protects sheep. FANNY I killed it. We needed the meat. GISBORNE Poachers hang. Either he dies or you die. WULF My mother lies to protect me. FANNY No, Wulf! Gisborne drags the boy to the carcass. GISBORNE You have deprived us of a hunt, boy. He cups his hand in the deer's blood. Smears it on Wulf's face. GISBORNE The hounds know the scent well. He tosses his bloody glove to the dogs. They tear at each other in their effort to rip at the glove. GISBORNE Run, boy. Like a deer. Give us some pleasure before you die. To the accompaniment of the HOUNDS' savage HOWLS and the horrified screams of his family, Wulf runs. GISBORNE Unleash them!",
"EXT. COUNTRY ROAD - DUSK Nearing home, Robin is buoyant. The Saracen, brooding, walks two paces behind him. ROBIN Why must you walk in back of me? ASLAN In your land am I not the infidel? The unbeliever, the instrument of evil? ROBIN Our races have fought for a hundred years to prove that point. ASLAN Then I trust it is safer to appear as your slave than as your equal. ROBIN For an ` infidel' you have uncommon clarity of thinking. Yet you refuse to tell me about your home and family. ASLAN Those are my burdens. ROBIN You speak my language. You have the diplomacy and honor code of a nobleman. I ask again, why were you to be executed? The Saracen maintains a moody silence. ROBIN So, I must continue with my guesswork. You are highborn? Probably. You fell from favor. Clearly. Why? You broke the law? You were a rival for power? A woman? The Saracen reacts, almost imperceptibly. ROBIN By the Lord, that's it! Aslan is silent, but Robin knows he's right. ROBIN They say there are Arab women of such beauty that they can possess a man's mind, that he would be willing to die for them. Is that not so? Ignoring him, the Saracen stops. Examines the darkening sky. ASLAN It is close to sunset. ROBIN Your people must marry women chosen for them by others, right? No reply. Aslan unfolds a prayer rug. ROBIN Who is she? The Mullah's daughter? Another man's wife? That's it! ASLAN Endless clouds. Is there no sun in your cursed country? ROBIN You dog! You painted old dog! What is her name? ASLAN Which way is East? ROBIN Her name? ASLAN East? ROBIN Her name? ASLAN East?! Robin folds his arms. A standoff. ASLAN Damn you! Jasmina. ROBIN Ah, Jasmina! Is she beautiful? ASLAN Which way is East? ROBIN That way. Aslan throws his rug on the ground. Kneels. ASLAN Are you sure? ROBIN I would know blindfolded. I'm five miles from home. Was she worth it? ASLAN Worth dying for. Robin stands smiling over him as Aslan begins his prayers. BAYING of HUNTING DOGS. In the distance, the boy Wulf runs toward them, ducks behind a tree and clubs the leading dog with a branch. The other hounds close in. panting with exhaustion, Wulf swings into the branches. A hound savages his leg. The soldiers surround the tree. The boy clambers precariously onto the highest branch. Robin surrep - titiously steals a crossbow from one of the soldiers' horses. GISBORNE You're not playing by the rules, boy. Deer do n't climb trees. Perhaps he thinks he's a game bird. Shall we teach him to fly? Cut it down! The soldiers hack at the trunk. The tree quivers. ROBIN Hold! I am curious as to what manner of creature is so fearsome that it takes six men to attack it. Shrouded in his pilgrim's hooded cloak, he approaches them. GISBORNE Stand back, stranger. This is no affair of yours. ROBIN Have we treed the devil himself? Let me see. Ah ha! A small boy. A truly dangerous animal. GISBORNE I advise you to move on, pilgrim. This is the Sheriff's land. ROBIN Wrong. This is my land, and my tree. Therefore, whatever is in it also belongs to me. GISBORNE I grow dangerously tired of your wit. Chop it down! ROBIN The man who strikes that tree dies. He glances nervously at Aslan, who's still at his prayers. The men stop in mid - swing. More surprised than scared. Gisborne gestures to the largest of them. GISBORNE Chop down the hooded fool. ROBIN -LRB- backing up. -RRB- Perhaps we could discuss this. The soldier raises his sword. Robin lifts his cape. the crossbow. Shoots from the hip. The bolt thuds through the man's armor. He's dead before he lands. GISBORNE Kill him! ROBIN Aslan! It's time to redeem that vow. GISBORNE Set the dogs on him! Aslan ignores him, lost in his prayers. Robin lifts the other arm - a second concealed crossbow. WHUMPF! The bolt flips the dog handler into the vicious pack. Dead or not, he soon will be. Robin unsheathes his sword. ROBIN Aslan, get off your damn knees! I have four of them cornered. The Saracen remains head down. Or did we see him steal a glance? Gisborne signals his men to attack. A wave of flashing steel. ROBIN I hope there's enough of me to satisfy you all. Backed up to a tree, he grabs a branch and kicks out. Two men fly back. He lunges at a third. His sword strikes flesh. Robin sidesteps and hurls the fourth onto a sharp tree stump. Gisborne thrusts. Robin reacts too slowly. Blood flows from his arm. His sword falls. ROBIN Aslan! Gisborne is on him, sword pressed to his back. Robin freezes. GISBORNE Well, hooded stranger, allow me to know your name before I run you through. A moment of silence. Like lightning, Robin spins, kicks out Gisborne's legs. Slams one foot on the man's sword arm, the other on his throat. Throws back his pilgrim's hood. GISBORNE Robin of Locksley! ROBIN On your knees, Gisborne. Pray. He obeys. Robin raises his sword. GISBORNE Please, Locksley! No! Robin drives the point into Gisborne's rear. The man leaps. ROBIN Now get off my land. And tell your cousin the Sheriff what happens to his scum when they pick on my people. Gisborne takes off, colliding with Aslan as he folds his rug. Reacts in shock at the sight of the strange Arab. Keeps running. ROBIN -LRB- to Aslan, furious. -RRB- You worthless savage! You travel ten thousand miles to save my life, then leave me to be butchered. ASLAN I will fulfill my vow when I choose. ROBIN Which does not include prayer times, meal times, or any time I'm outnumbered six to one! ASLAN You whine like a mule. You are still alive. ROBIN Barely. Aslan examines Robin's wound. Dismissive. ASLAN A flesh wound. Why did you let their leader go? ROBIN After six years of the stench of death, I have no stomach for needless blood on my hands. Wulf climbs cautiously from the tree. ROBIN Have no fear, boy. The boy nervously eyes Robin and the Saracen, fingering a crucifix around his neck. Runs off into the woods. ASLAN -LRB- laughing. -RRB- The conquering hero returns. ROBIN Ha! It was you he was scared of. Aslan's humor is infectious. Robin's anger relents. ROBIN Come, my strange friend. Beyond that hill lies the prettiest little castle in all Christendom. Warm hearths, hot food, real beds. ASLAN With feather pillows? ROBIN With feather pillows. Warm and soft like Jasmina's embrace.",
"EXT. LOCKSLEY CASTLE - NIGHT Ruins. The moon hovers ominously over the once - proud castle. Burned to the ground. Gutted and deserted. Towers demolished. Moat drained. Robin stares, struck dumb with horror. The dark courtyard. Heartsick, Robin stumbles over debris. ROBIN Father! Hello! His VOICE ECHOES around the fallen battlements. Aslan places a hand on his shoulder and points. Suspended high on a tower wall is a decaying human corpse. CLOSE - MEDALLION round the corpse's neck. The Locksley crest. ROBIN Noooooo! A paroxysm of rage and grief. He smashes furniture. Slams his fists relentlessly into the wall. Pained, Aslan looks on. ROBIN I should have been here. Spent, he leans against the wall. In the silence, they hear an eerie TAPPING. Robin draws his sword. A hunched, old man emerges, walking with the aid of a staff. Duncan. ROBIN -LRB- shaking him. -RRB- Damn you, Duncan. Why did n't you cut him down? DUNCAN Master Robin, is it you? A miracle. I thought God had abandoned us. ROBIN You left my father to hang like a common thief, carrion for the crows. ASLAN Easy. Look at him. Duncan steps into the moonlight. His face crudely - scarred. ROBIN What has happened? DUNCAN They say they captured him worshipping with the Druids. He signed a confession before the Bishop of Hereford. ROBIN Did they have witnesses? DUNCAN Just one. Kenneth of Cowfall. The Bishop decreed all the Locksley lands forfeit. ROBIN Did you believe the charges? DUNCAN Not even when they took my eyes. ROBIN Who did this to you, Duncan? DUNCAN Guy of Gisborne. With the sheriff looking on. Robin holds the old retainer to his chest. Stares into the night in silent rage.",
"EXT. NOTTINGHAM CASTLE - NIGHT Marked contrast. A forbidding fortress. Cliff - like battlements.",
"INT. NOTTINGHAM CASTLE - NIGHT Face like thunder, Guy of Gisborne strides up curving, stone steps. A long corridor leads to a guarded oak door. SENTRY Sir Guy. His Lordship is not to be disturbed. GISBORNE Away, fool. He shoves the Sentry aside.",
"EXT. CASTLE BATTLEMENTS - NIGHT Torches illuminate Nottingham's face. Chilling cruelty in Manson - like eyes. Seated, his manicured hand dis - tractedly strokes a semi - naked girl. She sits at his feet like a frightened dog. When Gisborne enters, she covers up. NOTTINGHAM Who bade you cover up? He smashes his fist into his chair. She timidly uncovers. NOTTINGHAM Cousin, I trust you justify your intrusion with news of profound value. His attention is riveted on a dark niche in the corner of the courtyard. UNEARTHLY SOUNDS emanate from the black - ness. GISBORNE I met a hooded man today. He bade me warn you not to harm his people. NOTTINGHAM His name? GISBORNE Robin of Locksley. NOTTINGHAM Ha! The prodigal son returns. He is a whelp. This girl could best him. GISBORNE This whelp bested five of my men in the blink of an eye. NOTTINGHAM Your men were probably drunk. Yet you survived, cousin? Heavy scorn. The sheriff pats Gisborne's hand like a child's. The voice from the darkness becomes a loud CHANT. A wrinkled, monkey - like figure dances INTO VIEW, wearing a necklace of human fingers. You might think she was a hundred years old, if not for her incredible agility. MORTIANNA. GISBORNE -LRB- stunned. -RRB- You brought her here? NOTTINGHAM Quiet! The crone's fingers dart into a bag. Emerge with a writhing, SQUEALING mass. a PIGLET. A knife flashes. Blood spurts into an ornate, sacred platter. The girl flinches in horror. Mortianna shakes the con - tents of a pouch across the bloody dish. Carved bone dice - Runes. She rattles the platter. The rune symbols dance in trails of blood. Eyes vacant, mouth frothing, she hisses out her incoherent visions. Nottingham follows her every move. A connoisseur. NOTTINGHAM What do you see? MORTIANNA Change the seat of power. NOTTINGHAM London? MORTIANNA Change it. NOTTINGHAM Move the capitol to Nottingham? Excellent. How? MORTIANNA Ally with royal blood. NOTTINGHAM Put someone on the throne and rule through him? Who? MORTIANNA That is not revealed. The idea takes shape in Nottingham's mind. Mounting intensity. NOTTINGHAM Ally with royal blood. What else do you see? MORTIANNA Armies. NOTTINGHAM Whose? MORTIANNA Yours. Men and weaponry in great numgers. NOTTINGHAM And victory? MORTIANNA Much blood will be spilled. NOTTINGHAM Whose? CLOSE SHOT A dice splashes blood. Lands - a death's head symbol. Mortianna hammers the platter. The dice spins and lands again. Again the grinning skull. BACK TO SCENE The tray smashes to the ground. The hag runs at Gisborne. MORTIANNA Who have you seen?! She shakes him. Screams spittle in his face. GISBORNE -LRB- freaked. -RRB- No one. I have seen no one. MORTIANNA You lie! A man. A painted man. NOTTINGHAM What is wrong? MORTIANNA I have seen my death. She whimpers. Spins, as if fearing invisible intruders. MORTIANNA The painted man. He haunts my dreams. GISBORNE Locksley has a companion. A dark - skinned foreigner. He had the marked skin of Islam. Mortianna trembles like an epileptic. Eyes wide with terror. MORTIANNA Kill them! Kill them! She throws herself at Nottingham for protection. He caresses her. Gisborne is thunderstruck. NOTTINGHAM Cousin. Prove to Locksley that your survival was his last mistake. MORTIANNA -LRB- frantic. -RRB- And the painted man! Kill him. NOTTINGHAM Kill them both. He continues to stroke her. Her trembling subsides. NOTTINGHAM You have done well, Mortianna. Exceedingly well. No one shall harm you, I swear it. Mortianna reaches out bloodied fingers towards the young girl, who shrinks away. Nottingham gently takes the girl's hand. Draws it to his mouth, as if to kiss it. and bites down viciously, drawing blood. The girl screams. NOTTINGHAM Now, my child, Mortianna's kisses will seem soft, like an angel's. -LRB- to Mortianna. -RRB- Take her. You have earned her. Mortianna grabs the terrified girl's wrist. Drags her away. GISBORNE It is madness bringing the hag here. NOTTINGHAM Fear not for my sanity, Guy. For in madness, there is great power.",
"EXT. LOCKSLEY CASTLE - DAWN Red shards of sunlight slice through mist - shrouded trees. Robin hammers a crude cross over a hillside grave. Heads bowed, Duncan and Aslan stand at his side. ROBIN Our last words in this world were spoken in anger. He called the Crusades a foolish quest, said it was vanity to force other men to our religion. He was right. -LRB- looks to Aslan, then back to the grave. -RRB- Please forgive me, Father. DUNCAN He loved you till the end, young master. He never gave up hope of your return. ROBIN I failed him. I should have been here at his side. DUNCAN You must leave, head north to safety. Gisborne will surely seek revenge. ROBIN Leave me. DUNCAN I know what you're thinking. But one man can achieve nothing against so many. You would need an army. ROBIN Leave me. ASLAN Come, friend. He leads the old man away. GRAVE SIDE - LATER Pouring rain. Robin stands drenched at the grave side. Aslan watches from the shelter of trees. Duncan heats a stale chunk of bread over the ashes of a small fire. DUNCAN He still stands vigil? ASLAN Like a rock. Duncan offers half the bread to the Saracen. DUNCAN A curse on the Saracens! Were it not for their ungodly ways, he would never have left. This would never have happened. ASLAN It surprises me that one who curses others so readily has lived so long. DUNCAN I do not recognize the style of your voice, friend. Are you Irish? A Cornishman? ASLAN Er. no. DUNCAN What manner of name is Aslan then? ASLAN A fine Saracen name. DUNCAN Lord, no! He chokes in shock. Spitting bread. ASLAN Lord, yes. But eat in peace. I take no offense. -LRB- glances at Robin. -RRB- By the prophet! What is the man doing? Robin raises his dagger over his wrist. Aslan runs to him. ASLAN Wait! Too late. Robin slashes the dagger across his palm. Rain and blood mingle. Streaming onto the grave. ROBIN I swear by my own blood. I will not rest until I have restored my father's name. -LRB- a whisper. -RRB-. Or until I am dead.",
"EXT. FOREST PATH - DAY Ooze sucks at feet. The three men stomp through mud and rain. ROBIN We make a fine army, do we not, Duncan? A blind man, an Arab, and a fool. ASLAN A fine, wet army. I have never witnessed a storm of such duration. When does summer come to this land? ROBIN This is summer. ASLAN Then Allah truly is great. ROBIN Why, pray? ASLAN No food, no shelter, and weather that would curse the end of the earth. We will all quickly be dead, and I shall be rid of my vow. They approach a stone wall, surrounding a thatched mansion. ROBIN You despair too soon, Aslan. We shall find food and shelter here among friends. ASLAN What is this place? ROBIN Peter's home. It is nearly seven years since we left here together.",
"EXT. DUBOIS MANSION - DAY Robin pounds on the door. A hatch opens. An OLD WOMAN's face. OLD WOMAN No beggars! The hatch slams shut. Robin pounds again. ROBIN Open up! A pause. The hatch slides back. ROBIN Tell the mistress of the house that Robin of Locksley is at her door. OLD WOMAN Her ladyship is not at home. She slams the hatch again. Robin jams in his hand. ROBIN Aagh! He shouts through the hatch, over his bruised fingers. ROBIN Is the child Marian at home? OLD WOMAN Maybe she is. Maybe she is n't. Remove that hand. Robin refuses. She waits imperiously behind the locked door. Robin reluctantly withdraws his hand. Instantly the hatch slams. ASLAN The hospitality here is as warm as the weather. They wait, shivering. The door opens a crack. OLD WOMAN Leave your weapons. The three start forward. Her bony finger points at Robin. OLD WOMAN Just you.",
"INT. DUBOIS MANSION - DAY The hall. Deer heads. Boar heads. Portraits of ancestors. OLD WOMAN Wait here. He waits. CREAKING FOOTSTEPS on the balcony. GIRL Who are you? Dim lighting. Robin can not make out who it is. ROBIN I am Robin of Locksley. GIRL You lie. Robin is dead. ROBIN I may meet my maker soon from lack of sustenance. But for now I am real enough. GIRL Step into the light. Turn around. ROBIN By heaven, am I to dance next? Who are you? GIRL I am the maid Marian. ROBIN Then show yourself, child. For we knew each other well. GIRL With the king away, these are lawless times. There are outlaws villainous enough to kidnap and ransom a relative of his. ROBIN You know I am not one of them. Besides, I am sworn to protect you. GIRL -LRB- laughs. -RRB- Protect me? Robin of Locksley was nothing but a spoiled bully. ROBIN Allow that years of war and prison may change a man. Step forward, Marian, so I may see how you have changed. She moves into the light. Fat. Rotten teeth. Ugly as sin. ROBIN Er. the years have been kind. GIRL Thank you. Now remove yourself from this household. A figure steps behind Robin. Sticks a sword in his back. GIRL -LRB- turning away. -RRB- As you can see, we are already well protected. ROBIN Wait, Marian! ouch! The sword is jabbed into his back. Robins faces the man - clad in back, with a metal fighting mask. ROBIN You are truly courageous against an unarmed man. The figure gestures towards the door. Robin sidesteps. Slams an elbow. The sword drops. Slides across the floor. Robin moves for it, but the man intercepts, drawing a dagger. Robin darts to the wall. Rips off an antlered deer head. Defends himself as the attacker slashes at the horns. OUTSIDE The SOUND of the fight indoors. Aslan hurls himself at the door. It does n't give. INSIDE Chunks of horn fly. Robin parries and thrusts. The horns get shorter. Robin retreats. Left with just the nubs, Robin hurls the deer head at the mask. Gaining advantage, he charges. Grabs the dagger hand, smashes it into the wall. The knife drops. Robin wrenches off the mask. Long hair tumbles down. a beautiful YOUNG WOMAN. The front door CAVES IN. Aslan stumbles through. just in time to see the woman's knee fly up into Robin's crotch. Robin folds. The battle is over. The young woman stands over Robin. YOUNG WOMAN As she was saying, we have no need of your protection. Robin croaks through clenched teeth. ROBIN Marian.",
"INT. KITCHEN Liquid tumbles into a goblet. The three men at a table in the kitchen. The fat girl, SARAH, who pretended to be Marian, serves. Flashes a lusty smile at Aslan, who glances at Robin - `` Help!'' Marian arrives. In a gown. Stunning. An impish grin. MARIAN I trust Lord Locksley has recovered from his indisposition. Aslan laughs. Robin glares.",
"EXT. DUBOIS MANSION - DAY Rock - strewn hills. Grazing sheep. Sun peeking through clouds. Robin and Marian walk. Anger and anguish in her voice. MARIAN Why would he wish me to be protected by the boy who burned my hair when I was a child? ROBIN We were together five terrible years in a Saracen prison. MARIAN How do I know you did n't abandon him there to save your own skin. Robin hands her Peter's ring. She is shocked. ROBIN Marian, I'm sorry. MARIAN I will forward your condolences to my mother. She turns her back. He searches for a way to reach her. ROBIN On my return, I found my father dead. The Sheriff denounced him as a Druid and took our lands. MARIAN The people fear the Druids so much they'd believe anything. Nottingham would have me burned at the stake as a witch if he thought he could possess my property. ROBIN Why do you not join your mother in London? You would be safer there. MARIAN I will not retreat. Besides, I have no interest in life at court. Gossip - mongering and currying favor. Here I am my own person. ROBIN The you must allow me to be your guardian. MARIAN I do not need a guardian. She turns to face him. Streaming tears. MARIAN My brother is dead. You can not take his place. Robin grabs and holds her. ROBIN Marian, I do n't want to replace him. MARIAN What do you want? Their eyes meet. a sudden intimacy between them. Robin moves closer. Marian begins to respond, then pulls away. MARIAN This is wrong. She runs back to the house. Robin stares after her. Aslan appears in the doorway with Duncan. ASLAN Robin! The old man hears horses. Approaching fast. He runs to a bluff. a column of soldiers snakes up the hillside. ASLAN Twenty or more. In battle armor. MARIAN Soldiers coming here? Is this your protection? ROBIN I killed some of the Sheriff's men. I fear I have placed you in danger. MARIAN I can take care of myself. There are horses in the stable. Go! Aslan runs into the stables. ROBIN I'm not leaving. Marian ices him with a glare. Aslan reappears, with two bareback horses. Soldiers appear on the crest, led by Gisborne. With a mischievous grin, Marian runs to the soldiers. MARIAN Stop them! They're stealing my horses! ROBIN Damn the girl! Aslan, can you ride? In answer, Aslan grins. Leaps onto a horse. With a single swift move he hoists Duncan up behind him and digs in his heels. The mare leaps forward, and over the estate wall. ROBIN He can ride. He heads his horse at the wall. It stumbles. Barely clears it. Stones fly. Robin struggles to hold on. Marian stands directly in Gisborne's path. GISBORNE You have been sheltering outlaws, Lady Marian. MARIAN They're thieves, you imbecile. Bring back my horses, or the Sheriff will know of your cowardice. Gisborne knows she is lying. GISBORNE You're lucky he did n't steal your virtue too. -LRB- to his men. -RRB- A crown to the man who brings me Locksley's head. He leads the pursuit. A SOLDIER hangs back. Grabs Marian's hair. SOLDIER A kiss for me, Saxon bitch. MARIAN Kiss this! She unsheathes the dagger from under her skirt. Jabs the blade into his wrist. MARIAN Try me again, if you want to leave a hand behind. Shocked and pained, the man gallops away. Marian looks down at her dagger hand. It shakes violently.",
"EXT. STREAM Water erupts under hooves. Aslan fords a stream. Duncan hangs on for dear life. Robin strives to keep up. Half a mile behind Gisborne splits up his men. Trying for a short cut, Robin finds himself at the steepest part of the river gorge. His horse balks at the drop. Robin flails at his mount with hands and feet. It backs away. ROBIN Damn you, animal! Aslan shouts from the far bank. ASLAN Treat it like a woman. Robin continues to hit his horse and hurl abuse. Closing in, the soldiers unfurl their crossbows. A flight of BOLTS WHISTLES ominously close to Robin. He must jump or die. ASLAN Have you never had a woman? Gently, man. Soothe it! ROBIN Of course I've had a woman! Come on, pretty one. He pats the horse soothingly. The animal edges forward. ASLAN Softly. With your knees. ROBIN I know! I know! The soldiers reload. Robin urges the horse at the steep drop. ROBIN Easy, easy. Another wave of crossbow bolts. Robin launches the frightened animal into space. Hooves flail. touch down. Scramble up the other bank. Robin enthusiastically pats the horse's neck. ROBIN I love you! The first two pursuers misjudge their leaps. Their mounts land sprawling in the riverbed. GISBORNE -LRB- yelling. -RRB- Robin of the Hood! Son of the devil worshipper. ROBIN What is your pleasure, Gisborne? GISBORNE It was I who strung your father's corpse to the castle gate. My pleasure will be in doing the same to you. ROBIN You survived one meeting. Our next will be your last. GISBORNE Your father died a coward, cursing your name and squealing like a stuck pig. ROBIN That's a lie! Incensed, he is losing his judgement. ASLAN -LRB- shouts. -RRB- Come, Robin! He is trying to anger you into a trap. A shaft pierces the flank of Robin's horse. It rears in fright. Robin clings on. Six soldiers, the men Gisborne split off, are climbing the embankment towards him. Robin regains control. Rides right at them. Scatters them, and takes off again. Gisborne yells at his men to follow. Robin and Aslan ride flat out. Open land turns to scrub. Seeing no followers, Robin pulls up and dismounts. ROBIN We have lost them. I'll lame this mare if I ask her to go any farther. He gently extracts the shaft from his horse. Aslan opens his pouch. Pulls out two shiny clear pebbles and a square leather hide. Rolls the pebbles into the tube and holds it to his eye. A primitive telescope. Robin watches, curious. SCOPE POV Through the scope we see the movement on the hill behind them. BACK TO SCENE ASLAN Here they come. Look. Robin puts the device to his eye. SCOPE POV The soldiers are close! BACK TO SCENE He reacts in shock. Prepares to defend himself. Then realizes they are still in the distance. ROBIN Is this Arab magic? ASLAN No. Arab science. He replaces the tube in his pouch. ASLAN How did your uneducated kind ever take Jerusalem? ROBIN God knows! Aslan laughs. Robin points towards an endless expanse of trees. ROBIN We can lose them in the forest. DUNCAN Sherwood is haunted, Master. ROBIN Either we take our chances with the ghosts, or become ghosts ourselves. He remounts. They race into the trees. Gisborne's men thunder up,. slowing as they enter the forest. Peering around them in trepidation, they slowly rein in. Robin looks back. ROBIN They're not following. Gisborne curses his men, urging them on. GISBORNE Come on, damn you! There are only three of them. SOLDIER It's not the men we fear, sir. Eerie HOWLING and RATTLING of bones. Aslan draws his sword. DUNCAN Banshees. They say they fly in your mouth and suck you dry of blood before you can scream. He wraps his scarf over his mouth. ROBIN Be quiet! Listen. WIND GUSTS the trees in angry waves. Emits deathly SHRIEKS. The HORSES WHINNEY. Unnerved, Aslan smites around him with his scimitar. Wheels at the sounds, striking only air. ASLAN Allah protect us from the evil spirits. Duncan clings to his back. Robin points. ROBIN Behind you! Aslan slashes out, futilely. ROBIN No, there! And there! Aslan flails. Robin cracks up. ASLAN Cease your mad laughing. I can feel them. Robin reaches into the branches. Pulls out a string of hollowed wooden tubes - WINDCHIMES. Dozens of such strings on all the trees. He blows over the hollow end. A low chilling MOAN. ROBIN Here are your ghosts, Duncan. A child's toy put to good use. You scare easily, my painted Saladin. His laughter is broken by a piercing YELL. A red - jacketed figure swings down out of a tree on a rope. Catapults him to the ground. The bushes are instantly alive. Shaggy, wild - eyed men, armed with cudgels, scythes and hayforks. Twelfth - century Hell's Angels. The red - jacketed young turk, WILL SCARLET, leaps around Robin. WILL SCARLET -LRB- singing. -RRB- Ring around the rosie! ROBIN Aslan! Aslan makes no move to intervene. The woodsmen eye the bizarre stranger, keeping their distance from him. Will kicks at Robin, who tries to grab him. Will skips out of range. Robin falls. WILL SCARLET Atishoo, Atishoo. We all fall down. Beg for mercy, rich man. ROBIN I beg of no man. Which of you scum has guts enough to face me man to man? VOICE -LRB- O.S. -RRB- Yeah, bollocks, mate. Robin looks up. I mean up! A towering figure. Seven feet of grinning, muscled brute. The giant extends a vice that passes for a hand. Hauls Robin to his feet. His eyes twinkle with merriment. His whole body shakes when he laughs, which is often. JOHN LITTLE What are ya, m ` old cock? ROBIN Er. Robin. He pauses, checking the faces of the angry peasants. ROBIN Hood. Robin Hood. Who are you? JOHN LITTLE John Little. Bestman o' the woods. ROBIN Bestman? You lead this rabble? WILL SCARLET We waste time. Tax him. ROBIN Tax? For what? WILL SCARLET For passage through Sherwood. ROBIN I will pay no tax. Besides, I have nothing but my cloak and my sword. WILL SCARLET A man who travels with two servants and claims he's without money, is either a fool or a liar. Grabbing Robin, Little shakes him like a doll. Something CLINKS. Robin's father's medallion. Laughing heartily, Little rips it from Robin's neck and tosses it to Scarlet. WILL SCARLET And this one is a liar. -LRB- he bites the metal. -RRB- Ahah! Gold! The men cheer. John snatches the medallion back from Will. ROBIN That is sacred to me. JOHN LITTLE Sacred to us too, mush. This here'll feed us for a bloomin' month. Robin draws his sword. ROBIN You will have to fight me for it. JOHN LITTLE I'd love to, mate. He grins hugely. A boy pushes his way through the throng. WULF Wait, father! I know him. ROBIN This man is your father? Tell him how I saved your hide from the Sheriff's soldiers. That deserves some gratitude, I believe. He reaches for the medallion. John pulls it away. JOHN LITTLE Naw ya do n't, laddie. WILL SCARLET You must be Robin of Locksley. The blackguard who abandoned us to Nottingham's plundering. WULF Be careful, Father. He fights like a demon. He walloped six o' Sheriff's men? JOHN LITTLE Is that so? Another grin. Licking his lips in anticipation, he lunges for Robin's wrist. Wrenches the sword free. Bends it into a pretzel. ROBIN Aslan! Aslan shrugs. Robin swings a fist into the giant's gut. John does n't flinch. Hoists Robin off the ground with one arm. Cannonballs the other fist into Robin's stomach. Robin folds. WILL SCARLET Oh dear! The little rich boy is lost for words. Thanks for the taxes, Locksley. JOHN LITTLE And for the laughs. The woodsmen find this hysterical. They disappear into the tree. Will administers one final kick before leaving. Robin staggers to his feet. Glares furiously at Aslan. ROBIN Son of an Arab whore! Once again your assistance was invaluable. ASLAN You seemed more in danger of losing your pride than your life. DUNCAN I recognized some of the voices. Many were from your father's farms. ASLAN Your avenging army, my friend. ROBIN That rabble? ASLAN All they need is a leader. ROBIN They have a leader. A very large one. ASLAN Defeat him and they will follow you. ROBIN Allah has taken your brains. DUNCAN I hear the voice of a spoiled child, Master Robin. I suggest you cease your brave talk of revenge and flee to the north. ROBIN You, too? You expect me to fight that behemoth? DUNCAN Your father would expect you to act like a man.",
"EXT. FOREST CLEARING - DAY A large tree trunk spans a swift - flowing river. The ragged band of woodsmen approach the makeshift bridge. Stop in their tracks. Robin stands on the bridge, brandishing a long wooden staff. ROBIN This is my bridge. No one crosses without paying tax. JOHN LITTLE Just bugger off, mate, huh? ROBIN If you wish to cross, it will cost you a gold medallion. JOHN LITTLE Ai n't I hurt you a bloody nuff for one day? WILL SCARLET If he's in a hurry to end his mortal misery, help him. ROBIN You do n't have the courage to face me again, John Little? Or should I call you ` Little John'? John grabs a hefty, gnarled staff. Strides to the bridge. JOHN LITTLE Alright, m ` old cock. You wan na nuther good wallopin'? His confidence melting, Robin glances back at Duncan and Aslan, who grins like a fan at a boxing match. John storms at Robin. Staffs thrash. Driven back, Robin connects a blow on John's foot. The giant is off - balance. Robin follows up. Lands a couple to the ribs. John responds with heavy swings, which Robin blocks deftly. Back and forth, blow for blow, all blocked. John chuckles with every swing. Enjoying the time of his life. Their staffs lock. It's strength against strength. Robin is no match. With one mighty thrust, John hurtles him into the stream. The woodsmen cheer loudly. Aslan watches impassively. Robin scrambles back onto the bridge. John waits, grinning. JOHN LITTLE Lil' wet behind the ears, mate? WILL SCARLET Do n't fool with him. Get him! John charges. Robin fends him off, gets in some shots of his own. John swings in a giant arc. Robin ducks. John loses balance and falls to his knees. Robin allows him time to right himself. John comes at him again, pummeling. Wood splinters from the impact. Brute force versus agility. Agility is beginning to prevail, when Robin's staff splits in two. JOHN LITTLE Swimmin' time again, ol' chum. The coup de grace. Lands heavily. Robin teeters. Falls. Disappears under the foaming water. does not re - emerge. John waits. The spectators rush to the bank. No sign. JOHN LITTLE Bloomin' shame.' E were a brave ` un. Suddenly Robin arcs up out of the water. His hands clamp onto John's ankles. Robin heaves with all his might. John topples headfirst into the water. Surfaces in panic. JOHN LITTLE Help! Cai n't bloody swim. He submerges again. Robin pulls his head above water. ROBIN Do you yield? The terrified giant sputters. Goes under again, flailing with arms and legs. Robin holds his head just above the surface. ROBIN Do you yield? JOHN LITTLE Yes! ROBIN Good. Now put your feet down. John struggles, then his feet hit bottom. The water only reaches his chest. JOHN LITTLE I'll be buggered. ROBIN Pay me the tax. A tense pause while all wait for Little's reaction. JOHN LITTLE Robin Hood, ya got balls o' solid rock. He hands Robin back the medallion. Chuckling loudly, he swoops Robin up in his arms and carries him to the bank.",
"EXT. SHERWOOD FOREST - NIGHT A BONFIRE CRACKLES. The woodsmen drink, eat, argue, and fight. A rabble. John passes Robin a jug. LITTLE JOHN Mead. Made it m ` self. ROBIN -LRB- drinks. -RRB- A fine brew, Little John. He spits black objects from his mouth. Dead bees. John grins. LITTLE JOHN Real honey. He takes the jug back. Sneezes royally, spewing all over the brew. Oblivious, he hands the contaminated jug to Aslan. ASLAN With regrets, I decline. LITTLE JOHN An Englishman's mead not bleedin' good enough for ya? ASLAN On the contrary. I thank you, but my faith prevents me from partaking in such enjoyments. LITTLE JOHN Your bloody loss, mate. He swigs. Passes the jug on to Duncan, who drinks heartily. Wulf cautiously approaches Robin. LITTLE JOHN What is it, boy? Speak up! WULF I wan na thankee, Lord Locksley. I owes ya m ` life. ROBIN You owe me nothing, Wulf. I am glad I chanced by in time to help. LITTLE JOHN C'mon, lad, drink! ` Twill put hair on your bloomin' chest. Wulf tries the brew. The impact is instant. He turns green and runs. His father cracks up. ROBIN Tell me about your men, John. John points to a short fellow with the build of a tree trunk. LITTLE JOHN This stumpy one ` ere's David o' Doncaster. We calls ` im Bull. ROBIN How do you come by the name, Bull? BULL ` Cuz o' my size, Sire. ROBIN Because you are short? BULL Nay. ` Cuz I be so long. Proudly, he starts to pull down his pants. ROBIN No, Bull. Save it for the ladies. Drunken laughter. Robin turns to the next man at the fireside. ROBIN Your name, friend? The man's bald pate blushes scarlet as he tries to respond, but he stutters too badly to get out a comprehensible word. LITTLE JOHN That be Hal Brownwell, but the lads call i'm Hal Hiccup. The others make hiccup and belching sounds, and crack up at Hal's embarrassment. Hal strikes out angrily at his tormentors. ROBIN Hold! Hal, you have the face and hands of a farmer. I wager you are a strong and honest man, and I'd be glad to have you at my side in a fight. The next man who makes light of you will have to answer to me. There is murmuring around the group, but no one elects to try it. ROBIN How is it there are so many of you in hiding? LITTLE JOHN We're outlaws. Got prices on our ` eads, every man jack. Blasted Sheriff says we owes ` im taxes. ROBIN How do you fare? LITTLE JOHN We get by, I reckon. ROBIN While the Sheriff steals your land and your families starve? LITTLE JOHN What in bloody blazes'd ya have us do? ROBIN Your ghosts will only keep his men at bay so long, my friend. Soon the Sheriff will hunt you down and hang you. You must fight back. LITTLE JOHN We show as much as a toe outside the forest, they'll slaughter us like bleedin' sheep. ROBIN We must organize. Win by guile. LITTLE JOHN ` We'? Ya lookin' to join us, matie? ROBIN No. To lead you. WILL SCARLET Ha! I would never be led by the son of a Druid. ROBIN There are many here who knew my father to be a kind and generous man. I doubt that in their hearts they believe him capable of such a horror. Murmurs of agreement from around the fire. Robin turns to Will. ROBIN What is your name, friend? WILL SCARLET Count me not a friend, Locksley. LITTLE JOHN Stuff a flippin' cork in it, Will. The man's our guest. Will gets up. Angrily pushes his way out of the group. LITTLE JOHN That there's Will Scarlet. Pay ` im no ` eed. ` E's full o' piss and wind. ROBIN He is right to distrust me. I am a rich man's son. I have done no honest labor. But today I am as poor as any of you. Nottingham has stolen all that I own. And when I killed Gisborne's men, I, too, became an outlaw. LITTLE JOHN Ya're full o'bloody wind an' all, mate. This ` ere load o' rubbish agin the Sheriff's bloomin' army? Ya must be bloody jokin'. ROBIN We can win. And I believe we will. LITTLE JOHN Ya're a daft bugger, Robin Hood, but ya're a brave ` un, I'll give ya that. Drink up, laddie, cuz tomorrow ya may n't be so lucky! Tomorrow I shall best ya an' crack that blasted noble head in two. Laughing loudly, he throws back his head for a long draught of mead.",
"EXT. WOODSMEN'S CAMP - SUNRISE A steady trickle of RAIN drips from leaves onto the nose of the sleeping Saracen. He wakes, cursing. All around him the woodsmen lie on the forest floor, covered with rags and hides coughing and sneezing. A sorry mess. Robin sits, brooding. ASLAN -LRB- gloomily. -RRB- I have led you wrong. This is no army. These men live like dogs. ROBIN English dogs. They can learn. ASLAN Learn what? To build kennels? He sullenly stalks away. Robin shakes his head. Aslan is right. He rouses Duncan, who is asleep at his side. The old man groans awake, holding his head. Seriously hung - over. ROBIN Too much mead, old friend. What day is it? DUNCAN Sunday, I believe. ROBIN Good. Do they still give alms to the poor at the mass? DUNCAN They do. These days the need for mercy is greater than ever. ROBIN Then I must ask you a favor.",
"EXT. ROAD TO NOTTINGHAM - DAY Duncan walks alone, with the aid of his staff. Body stooped, clothes ragged, a pathetic figure. Ahead is the main gate to the walled city of Nottingham. Fresh horse manure. A man's hand reaches into it and spreads it over his clothes. And his face - Robin, dressed as Duncan.",
"EXT. CITY GATE - DAY Robin taps his way through the crowd. Past the piercing stare of the armored GUARD at the gate. GUARD Hey, you! Robin keeps going. A hand clasps his shoulder. Spins him ` round. GUARD Do I know you? Robin gazes into space, trying to look blind. The Guard sniffs his soiled hand. GUARD My God, you stink! ROBIN Pardon my blindness, sir. I'm always falling down. GUARD Yeech! Get away from me. He launches a kick in Robin's rear. Robin hobbles away, hiding a smile. The Guard tries to wipe off his hand on the wall.",
"INT. NOTTINGHAM CATHEDRAL - DAY Jesus hangs from the cross. A magnificent stained glass window. In the ornate pulpit, the BISHOP OF HEREFORD, bedecked in ermine. BISHOP We beseech thy blessing, Lord, on all your people, but most especially on our noble Lord Nottingham. Grant him the wisdom to guide and protect our glorious city. Nottingham and Gisborne sit piously among the congrega - tion of nobles and wealthy merchants. BISHOP Grant him also the strength to bring to justice the lawless men who threaten its safety. Help him to stamp out the curse of the dread Druids who would seize from us our children, even as wolves steal the lambs from their mothers. The rear of the church. Standing crushed together, the poor and afflicted. Old and young. Starving children. Among them, Robin. The sermon ends. As the nobles file out, the poor are galvanized. Begging hands reach out. VARIOUS 1. Alms! 2. Have mercy, milady. 3. Pity, fine sir. 4. For my baby. 5. Etc.. The rich drop a few mites, sparking a mad scramble. Church officials roughly keep order. Marian passes some coins to the mother of a small child. A hand grabs her wrist. ROBIN Alms for a blind man. For one who can not see your beauty. MARIAN -LRB- recognizing him. -RRB- This is dangerous. ROBIN So you care for my safety? MARIAN No, for mine. I do not wish to be seen with an outlaw. ROBIN Under the Sheriff's law, that's a badge of pride. MARIAN He's put a price on your head. ROBIN How much? MARIAN A hundred gold pieces. ROBIN Is that all? I have not annoyed him enough. Soon he will offer ten thousand. MARIAN For ten thousand I would turn you in myself. -LRB- glances back at the Sheriff. -RRB- Nottingham is mounting an army. ROBIN How do you know? MARIAN He has rounded up every blacksmith in the county. He has them holed up in the castle making swords and armor. ROBIN What is he planning? MARIAN I do n't know, but there's no limit to the man's ambitions. -LRB- as Sheriff heads towards them. -RRB- Go! ROBIN If you need me, I will be with the woodsmen. Send for me as ` Robin Hood.' MARIAN Robin! Do something for me. ROBIN What? MARIAN Take a bath. ROBIN Care to join me? With a grin, he slips into the crowd as Nottingham arrives. NOTTINGHAM You shine like the sun, my lady. He raises her hand, as he did the girl's in the castle. Kisses it. NOTTINGHAM You have been meeting with young Robin of Locksley. -LRB- as she tries to hide her shock. -RRB- My cousin tells me the knave deprived you of some horses. MARIAN -LRB- recovering. -RRB- Yes. A most disagreeable experience. NOTTINGHAM I deeply regret it, and I promise you he will be brought to justice. For subjecting you to such treatment, I will hang him from the walls with his own entrails. That gleam of insanity. Robin watches from a distance. MARIAN I would like to see that, my lord. The Sheriff places his hand possessively on her shoulder. NOTTINGHAM My dear, a woman of your refinement is not safe living alone. If you would consent to bring your household within the city walls, I could give your needs my most personal attention. MARIAN I thank you, Lord Nottingham, from the heart, but for now I prefer to stay in my family's ancestral home. My cousin, King Richard, will be deeply moved to hear of your concern for my welfare. NOTTINGHAM Alas, the King has many enemies both abroad and at home. I fear for his safe return. MARIAN Fear not, my dear Sheriff. He will return. When he does, he will wish to reward his faithful subjects. The Sheriff smiles sourly and takes his leave. Marian deflates with relief. The Sheriff walks alone towards a side door. BEGGAR -LRB- Robin. -RRB- Alms, my lord. Nottingham makes to shove the man aside. With a swift move, the beggar grabs the Sheriff in a headlock. Slides Nottingham's own dagger to his throat and drags him out of sight. ROBIN A hundred crowns, Sheriff? You insult me. Nottingham starts to struggle. Robin draws blood. ROBIN Remember young Robin of Locksley, Sheriff? Meet Robin Hood. Your nemesis. Your avenging angel. NOTTINGHAM If you kill me, you will hang. ROBIN If I kill you, I will hang happy. NOTTINGHAM What do you want? ROBIN I want to give you a chance. A chance you do not deserve. A chance to right your wrongs. NOTTINGHAM I'm listening. ROBIN From this day forward you will cease to tax my people. You will renounce the charges against my father, and you will return his lands to me. NOTTINGHAM Why should I? ROBIN Because for every harm you do, I swear by God I shall visit on you threefold in return. NOTTINGHAM Empty words. ROBIN I am here with a blade at your throat. As long as I live, you will always know that I could be here again. A YELL from across the church. Gisborne has spotted them. Robin digs the knife a little deeper. ROBIN Your answer? NOTTINGHAM Never, fool. ROBIN Then it will begin. Gisborne yells orders. Robin hurls Nottingham against the wall.",
"EXT. NOTTINGHAM CATHEDRAL - DAY Robin runs to the courtyard and leaps on the Sheriff's horse, which is held by a stunned groom. He rides through the busy marketplace. A crossbowman tracks him. A sure shot. Marian spots the danger. She fakes being tripped and stumbles into the bowman. His bolt flies harmlessly into the air. MARIAN -LRB- innocently. -RRB- Please excuse my clumsiness. Robin charges for the city gate. As he passes, he kicks the guard who hasseled him into the wall.",
"EXT. WOODSMEN'S CAMP - DAY Men gather around as Robin dismounts, admiring the horse. ROBIN A personal loan from the Sheriff. ASLAN -LRB- furious. -RRB- You should not have left without me, Englishman. ROBIN How so? You have not raised a finger to protect me. ASLAN Before I had a choice. ROBIN It was my choice to do this alone. ASLAN A foolish risk. If you had been killed, I would be cursed for eternity for failing to fulfil my pledge. ROBIN Aslan, if I did n't know better, I would swear you were worried about me.",
"EXT. NOTTINGHAM CATHEDRAL The Sheriff maniacally spits out orders to Gisborne. NOTTINGHAM Starve them out. Slaughter their livestock. I want to see Locksley's own people fighting each other to bring him to us. GISBORNE I swear he will not live to see the next full moon.",
"EXT. HAMLET - DAY A SQUEALING HOG is loaded onto a wagon. SOLDIERS round up the livestock. An old FARMER protests. FARMER Go' bless ya, sir. Leave us the sow. She's with young ` uns. The next litter'll feed us through the winter. SOLDIER You've heard of Robin Hood? FARMER Yes, sir. The Soldier brutally kicks the old man to the ground. SOLDIER Then pray he is brought to us before winter.",
"EXT. WOODSMEN'S CAMP - DAY A trail of refugees. Women and children carry their belongings into camp. Wulf runs to greet his mother and siblings. A contingent of woodsmen confronts Robin. WILL SCARLET You brought this misery on us, Locksley. We can barely feed ourselves. LITTLE JOHN Sheriff has n't left us a bloody pot to piss in. ROBIN Then we shall take from him and his rich friends. This provokes a barrage of protests. The men are angry. WILL SCARLET Brave talk, Locksley. I say we take the rich boy in. Murmurs of general agreement. ROBIN Will, do you think the Sheriff will give everything back after I am gone? WILL SCARLET He will give us the reward, and our pardons. ROBIN Alright, Will. You can take me in on one condition. You must fight me. You may use the Sheriff's horse and arm yourself as you please. I will fight on foot. Unarmed. WILL SCARLET Unarmed? ROBIN If you lose, you will accept me as your leader. If you win, you may take me in. Dead or alive. WILL SCARLET Dead, Locksley.",
"EXT. WOODSMEN'S CAMP - DAY (LATER) Hands tighten a girth. Will confidently jokes with his cronies. Woodsmen form a primitive circle of spectators. Little John and his wife, Fanny, keep to themselves, while Wulf openly talks with Robin, Aslan and Duncan. Robin is stripped to the waist, his muscled skin ravaged with scars. ASLAN This man has true purpose. He means to kill you. DUNCAN And you have given him the means. WULF Will is ruthless, Robin. Guard your back. ROBIN I am grateful for your concern, friends, but I have to prove to them it is possible to overcome unequal odds. -LRB- shouts. -RRB- I am ready, Will. Will bends, as if checking the horse's legs. Secretly grabs a handful of sand. Swings into the saddle and digs in his heels. Closing in, Will flings the sand in Robin's eyes. Robin clutches his hands to his face, blinded. Will spins back to the attack. His sword slashes. Reacting to the sound, Robin rolls aside. The men cheer like a big fight crowd. Robin's POV is blurred. Ducking the blade, he grabs Will's arm. A blow glances off his shoulder. Robin falls to his knees, still blinded. Will rides right at him, to trample him. Robin scrambles away. Will wheels his horse. A flashing hoof grazes Robin's chest. Robin leaps to his feet and yells at the top of his lungs. Panicked, the HORSE rears, WHINNYING wildly. Will struggles to stay in the saddle. Loses his sword. Robin seizes the moment and runs to a water trough. Douses his face. Yells at Will. ROBIN Come on, you little piss pot. Do your worst! Will grabs a spear from a bystander. Robin stands his ground. Will lunges, Robin sidesteps. ROBIN The horse is smarter than you are, Will. Some of the men laugh. Will is incensed. Robin ducks and weaves, easily evading Will's repeated charges. Robin ducks right under the horse's belly. ROBIN Here, Will! You aim like a girl, Will! Will stabs wildly, more and more frustrated. Laughter spreads, as Robin plays hide and seek around the horse's legs. Grabbing the end of the spear, he clowns a tug of war. Enraged, Will strains and tries to kick Robin away. Suddenly, Robin lets go. Unbalanced, Will flies back - wards off his mount. Robin snatches the spear and raises it over his fallen adversary. The crowd falls silent. Robin strikes. The point quivers in the ground below Will's crotch. Will wriggles in terror. Impaled, his pants rip open. ROBIN Thank the Lord you are not endowed like Bull. The crowd is convulsed with laughter. Robin catches his breath. Does not see Will, who grabs a heavy staff and runs at him. A strong hand grasps Will's arm as he is about to strike. LITTLE JOHN Bollocks, Will. Jus' bugger off, eh? Overpowered, Will relents. With a defiant glance, he skulks away. LITTLE JOHN Ya got us by the short and curlies, Robin Hood. Now let's hear what ya got to bleedin' say. Robin scans the faces. He has their attention. ROBIN Nottingham has taken from us everything we own. Now we are going to start taking from him. LITTLE JOHN ` Ow in bloody blazes are we gon na do that? ROBIN We are going to tax him.",
"EXT. FOREST ROAD - DAY Autumn. The forest is a mosaic of green, gold, orange, and red. A giant eye in a circle of glass. Aslan, his telescope raised. ASLAN Here they come. ROBIN How many? ASLAN Two wagons. Twenty escort. ROBIN Twenty? They usually have five. He grabs the telescope. SCOPE POV A phalanx of mounted soldiers, a cart loaded with barrels, and a tax wagon. The wagon is an armored box on wheels, with crossbow slits in the side. Guy of Gisborne commands the escort. BACK TO SCENE ROBIN This is no ordinary convoy. Bull calls up from below, where a ragged group of woods - men lies nervously in ambush. BULL ` ow many? ROBIN Er, about ten. -LRB- then, to Aslan. -RRB- Why scare them? They ca n't count anyway. ASLAN And they call me the barbarian. ROBIN Let's go. Together they run down the hill, keeping low. Gisborne eyes the forest. The beer cart is steered by a fat red - faced FRIAR, raucously singing hymns and quaffing from a jug, which he repeatedly dips into one of the barrels. ARROWS WHISTLE in. The Friar yells and drops his jug. A soldier is hit. At the forest edge, four woodsmen reload their longbows. Dressed in green, their faces camouflaged. The mounted soldiers charge them. The woodsmen run into the trees. As the horsemen close in, the runners leap into a trench. Lift up matted screens of brush and grass. It's as if they disappeared. The soldiers slash wildly at the thick screens. More arrows fly. More soldiers fall. The others spin in confusion, trying to discern the enemy. More woods - men break from cover. Run down a narrow path. Gisborne urges his men to pursue. They ride in single file, beating their way through the tangled branches. The runners dive into the trees, as other men haul on ropes, raising a giant screen in the soldiers' path. The horses swerve, on the edge of a twenty - foot drop to the river gorge. Momentum carries many of them over the cliff. BACK ON ROADWAY Robin and Aslan swing down from the trees onto the tax wagon. Kick down the two drivers and take the reins, steering the wagon off the road. The archers inside are unable to fire at them. Little John leaps onto the beer cart, sending the Friar hurtling back among the barrels. The Friar slams his head and drops unconscious. John whips the horse, driving the cart after Robin. Another camouflage screen is lifted into place, covering their route. Gisborne races back to the road. the wagons are gone. He rides frantically back and forth. Searching and cursing.",
"EXT. FOREST CLEARING - DAY Robin climbs onto the tax wagon's roof. Angry shouts from inside. ROBIN Surrender your weapons. I give you my word you shall go free. In answer, a swordblade jabs up through the roof, near his feet. ROBIN Ah, I feared as much. He signals to Aslan, who steers the tax wagon into the river. Water floods in through the slits. Inside, panic. Drowning rats. The bowmen scramble out. What they see stops them dead. Both banks are men in green, longbows aimed directly at them. COUNTRYSIDE Sparks. An axe pounds into the lock of a strongbox. The lock snaps. Little John pries open the lid. Reacts in astonishment. The trunk is filled to the brim with glittering gold coins. The woodsmen press around. Cheers of celebration. LITTLE JOHN -LRB- awestruck. -RRB- I'll be buggered. ROBIN This treasure had a purpose. We must find out what. He turns at the sound of a brawl from the Friar's cart. The Friar is at the bottom of a struggling heap of bodies. ROBIN Get off him. He's a man of the cloth. Robin drags the men off. The Friar clambers to his feet. Around him are strewn battered and winded woodsmen. FRIAR The Lord's blessing on you, kind sir. These sinners were attempting to steal these libations destined for the monks of St. Catherine's. He indicates his cargo of barrels. ROBIN It appears to me, Reverend Friar, that many of the libations have found their way into your own esteemed person. Ignoring him, the Friar mounts the cart. FRIAR A thousand pardons, sir, but duty beckons. I must hasten on. ROBIN -LRB- grabbing the bridle. -RRB- A moment, my reverend friend. You travel with poor company when you travel with Nottingham's soldiers. BULL Aye, tax him. This sparks a chorus of comments. ROBIN My men are thirsty and have much to celebrate. FRIAR Lord bless me, sir, are these your men? I had mistook them for common thieves. Kindly step aside. ROBIN Surely the Lord has the charity to spare a few barrels to good Christian men. The Friar relents, loosening his grip on the reins. FRIAR Well, sir, if you wish them to share in the good Lord's brew. Casually reaching under the seat, he pulls out a club. Smites Robin with it. FRIAR you must best me for it. Robin staggers. The Friar whips up the horse. Dazed, Robin grabs for the fat man's leg. Gets a holy sandal full in the face. FRIAR Giddyup, nag! The Friar's horse, as obese as his driver, slowly raises his head from the grass and ambles forward. Robin runs after them and dives at the Friar, toppling him from the cart. ROBIN You leave when I say. Scrambling to his feet, the Friar glances skyward. FRIAR Protect me, Lord. He sweeps his foot, knocking Robin's legs out from under him. Hurls his full body weight on top of him. Whooomf! FRIAR Yield! He bounces on Robin's stomach. Robin can barely breathe. The woodsmen are enjoying the spectacle. FRIAR Confess that Friar Tuck is a better, holier, and braver man than thou art, knave. ROBIN Never! Whoomf! FRIAR Yield, I say! Yield to Friar Tuck. Desperate, Robin bites the Friar's leg. Tuck howls. Robin extricates himself, grabs for a weapon. Smashes the Friar's head with his drinking jug. ROBIN Yield yourself! He dives onto the Friar and hammers his head into the ground. ROBIN Yield to Robin Hood. Tuck holds up a hand in surrender. Robin eases off. FRIAR -LRB- feeling his head. -RRB- Thank you, Lord, for teaching me humility. ROBIN Well, Friar Tuck. We have need of an honest man of God, to minister to these men and their families. What do you say? The Friar struggles to his feet. He reviews the motley faces of his potential flock. His eyes light on the grinning Saracen. FRIAR I'd rather roast in hell. He punches Robin in the gut. FRIAR TUCK strapped into the traces, pulls the beer cart. Sweating profusely, grunting with strain. His horse contentedly follows. ROBIN Giddyup, Friar. He flicks the reins, steering the cart into camp. Women and children rush to greet their men. Jeer the roped soldier - prisoners. The Friar checks out his flock. A woman curtsies, another crosses herself, children touch his robe in wonder. ROBIN What do you say now, Tuck? Here are the meek of the earth. Tuck surveys the hopeful, hungry faces. The little hamlet of half - built huts. He folds his hands in a moment of prayer. FRIAR The Lord moves in mysterious ways. I accept. ROBIN You will not regret it. FRIAR Aye, but you may.",
"EXT. WOODSMEN'S CAMP A blazing fire. Deer carcasses roast. Tuck's barrels supply the refreshment. Robin and Aslan pass out coins to each family. ROBIN Buy yourself a new son, Stephen. FARMER Thankee, Robin. Little John and Bull approach. John indicates the two prisoners roped to a nearby tree. LITTLE JOHN Cai n't get a bleedin' squeak outa'em, Rob. BULL They'd be spittin' it out good if they'd knowed anythin'. LITTLE JOHN Reckon the Cap'n knows summat, Rob, but stubborn ol' cocker' e is. ASLAN Perhaps it is time for some heathen persuasion. CAPTAIN OF SOLDIERS stares up at Robin defiantly. CAPTAIN Spare your breath. I know nothing. ROBIN -LRB- reasonable. -RRB- I believe you. But this Arab here, he's got it into his barbarian brain that you know a whole lot more than nothing. And when he gets like this, he's very hard to reason with. With a hair - raising war cry, Aslan leaps INTO VIEW. Stripped to the waist, brandishing his scimitar. The Captain tries to back away. Robin tries to restrain Aslan, is hurled aside. Snarling, drooling at the mouth, Aslan explores the Captain's body with his hands. A butcher checking meat. ROBIN I strongly advise you to talk. He has n't eaten in weeks. CAPTAIN -LRB- rising terror. -RRB- What does he want? ROBIN You. CAPTAIN For Godsakes, get him off me! ROBIN -LRB- very deliberately. -RRB- No, Aslan. not this one, Aslan. How about this other one? Fatter, yes. more meat. The other soldier, who definitely has more flesh on the bone, is struck dumb with horror, as Aslan turns his attention to him. With one swing of his sword, Aslan slices through the man's ropes. Drags him to his feet. Little John runs over. LITTLE JOHN -LRB- urgent. -RRB- No, Robin, no! They be God - fearin' men. ROBIN I can not stop him, John. Besides, if they will not tell what they know, then they must pay the price. LITTLE JOHN Kill'em aye, but not like this. ` Tai n't Christian. Blood - curdling SCREAMS from behind the wagon where Aslan has dragged his victim. The Captain's face pales. Then silence. The demented Arab slowly reappears. Blood drips from his lips. He munches the flesh from a long bone, on the end of which is the soldier's glove. the man's arm. Turning to Robin, Aslan shouts in Arabic and gesticulates wildly at the Captain. CAPTAIN What does he say? ROBIN Well, roughly, he says that he does n't care for the way your friend tastes, and he wants you. CAPTAIN No, God, no! I'll talk. Just keep him away. Keep him away! BEHIND WAGON Bull holds the other prisoner, muffling the man's mouth and trying to suppress his own laughter. Beside them lies a large chunk of venison. The man is unharmed, except that he's missing a glove.",
"INT. WOODSMAN'S HUT - NIGHT The walls shake with Little John's laughter. LITTLE JOHN Sure changed the color of ` is britches, did n't ` e? ROBIN Thanks to our cannibal friend. Aslan repeats his wildman act, munching on a chunk of venison. LITTLE JOHN Gon na laugh my bloody balls off. BULL Why'd the Sheriff be sendin' gold north o' the border? ROBIN To hire mercenaries. The Celts are savage tribesmen, trained to kill from birth. LITTLE JOHN Aye, the Romans built a bleedin' great wall to keep'em out. BULL What does' e want wi'em? ROBIN Since he also has every Smith in the country working in his castle, we can assume he is planning a little war. LITTLE JOHN Agin' who? ASLAN England.",
"INT. CASTLE ARMORY - NIGHT Sparks. Smoke. Sweat. The Sheriff inspects his weapon factory. His eyes glint with the reflections of the smithy's fires. A DOOR CRASHES open behind him. FOOTSTEPS. Paying no heed, he draws a sword from a furnace. It's blade white - hot. GISBORNE We were ambushed. In Sherwood Forest. Nottingham tests the sword against an anvil. NOTTINGHAM Spanish steel, cousin. So much stronger than our native blades. Any losses? GISBORNE All the men are gone. NOTTINGHAM Yet again you are the sole survivor, cousin? Interesting. And the gold? GISBORNE Well, it er. disappeared. The Sheriff looks at Gisborne for the first time. NOTTINGHAM Robin Hood? GISBORNE They were woodsmen, dressed in green. NOTTINGHAM Robin Hood. He places a hand reassuringly on his cousin's shoulder. NOTTINGHAM Cousin, we must be strong. We can not allow this outlaw to make fools of us. Without warning, he drives the blade into Gisborne's belly. NOTTINGHAM And I can not allow a lieutenant to fail me. -LRB- turning to the horrified smithy. -RRB- It is indeed fine steel.",
"EXT. VILLAGE - DAY A small procession. Tuck drives his cart, Bull the tax wagon. Both vehicles laden with supplies. Wulf and Hal pass out flour, chickens, blankets, clothing to the villagers. Their weapons are prominently displayed. Tuck swigs from a jar, passes it to an old villager. FRIAR God bless you, sir. VILLAGER An' Go' bless Robin ` Ood, friar. They says as ` ow none o' the Sheriff's cronies dare go within miles o' Sherwood for fear o' havin' their pockets pinched. FRIAR Ah, the good Lord giveth and the good Lord taketh away. OLD WOMAN Unless Robin Hood takes it first! Laughter. The procession passes two of the Sheriff's mounted soldiers. They glumly watch as Tuck raises his jug in greeting. FRIAR Good morrow, brothers.",
"EXT. FOREST POOL - DAY Water, sparkling with sunlight. Bursts, as Robin dives in naked. He luxuriates in the cool water. HOOFBEATS. He attempts to hide. too late. Four horses emerge from the trees. Bull and Hal, with Marian and her servant Sarah sandwiched between them. Bull has a black eye. Marian jumps down. MARIAN -LRB- to Robin. -RRB- How dare you! ROBIN Good morning, Lady Marian. In response, she starts pelting him with stones. MARIAN You send men to drag me from my home in the middle of the night, like some slave girl? Is this the way the famous Robin Hood treats a lady? ROBIN Ah well. er, let me finish this bath you wished me to take. Then I'll explain. MARIAN I demand an explanation right now! ROBIN If you will be patient, I could spare your propriety by. MARIAN I will decide when my propriety is compromised. ROBIN As you wish. He wades bare - ass naked out of the water towards her. She casts a contemptuous look over his muscled body, glistening with water. MARIAN How dare you expose yourself to me?! She slugs him. Robin stumbles backwards into the water. Bull grins, gesturing to Sarah and pointing to his own black eye. BULL The big ` un did the same to me.",
"EXT. WOODSMEN'S CAMP - DAY An arrow flies into a bull's - eye, crudely marked on a tree. Little John lowers his crossbow, delighted at his shot. LITTLE JOHN -LRB- to Wulf. -RRB- Right m ` lad. Let's see how close you can git to that bugger. Wulf takes aim. His arrow slices clear through his father's arrow, splitting it in two. Little John slaps Wulf on the back and beckons everyone over. LITTLE JOHN Take a gander at this ` un, mates. Never seen nuthin' like it in my bloomin' life. Robin leads Marian through the camp. the beginnings of a village - women doing laundry, kids playing, men prac - ticing archery and swordplay, others working on defenses, camouflaging a giant pit. Marian is impressed, but not about to admit it. MARIAN This better be damned important. Robin leads her into a hut. Inside is a trove of cap - tured loot - purses, jewelry, weaponry, fancy coats and. the treasure chest. At Robin's nod, Bull throws back the lid. Marian is speechless. ROBIN Nottingham robs the poor. We rob Nottingham and give back to the poor. MARIAN Do you think he's going to let you get away with all this? The man is without mercy. He will annihilate you. ROBIN Somebody has to take a stand. MARIAN You're taking a stand with the lives of these people. These young ones. A beat. She checks the faces. Her eyes meet Robin's. Is there a hint of concern for him also? MARIAN What do you want from me? ROBIN Nottingham was sending this gold to buy reinforcements from the Celtic tribesmen. We need to warn King Richard. MARIAN Nottingham would not dare challenge the King. ROBIN The King is not in England to be challenged, is he? While he is away, he may lose his country. -LRB- Marian masks her concern. -RRB- You are Richard's cousin. You can get word to him. He would believe you. MARIAN Now you want me to participate in your folly? A little girl approaches, holding a bouquet of wild flowers. Touched, Marian kneels to accept the offering. BOUQUET protrudes from Marian's saddle. She is mounted, ready to go. Sarah giggles as she takes her leave of Bull. ROBIN -LRB- to Marian. -RRB- I am sending Duncan with you. Give him some warm food and a real bed. I grow tired of his bellyaching. DUNCAN Hah! I have endured more hardship in my lifetime than any man here. Robin laughs and speaks to Marian in a stage whisper. ROBIN Do n't tell him I told you, but he may be useful to you. There is no one to whom I would rather entrust your safety. MARIAN Duncan, you are most welcome. Taking the lead rein from Duncan's horse, she rides away. ROBIN -LRB- calls after her. -RRB- Will you send word to the King? MARIAN I'll think about it.",
"INT. DUBOIS MANSION - DAY A globule of red liquid. A signet ring. Marian seals a letter.",
"INT. BISHOP'S CASTLE - DAY The letter is held in the pudgy, jeweled fingers of the Bishop of Hereford. A lavish office. MARIAN It is a personal matter, my Lord, but one of vital importance. BISHOP I understand, my dear lady. This is my most trusted emissary. He hands the letter to a solemn courier. MARIAN You will travel to France immediately. You must give this directly into the hands of the King, and him alone. The courier bows in acknowledgement. Marian indicates Sarah. MARIAN My lady - in - waiting will accompany you. Surprised, the courier glances at the Bishop. BISHOP My dear, I could not vouch for her safety. The journey is fraught with danger. MARIAN I appreciate your concern, my Lord, but Sarah is an accomplished rider. I must insist that she goes along. BISHOP -LRB- a beat. -RRB- As you wish.",
"EXT. WOODSMEN'S CAMP - DAY An informal council of war. Robin uses a stick in the dirt. ROBIN We have to be ready to move camp at any time. The only way we can be attacked is from the Nottingham Road. We hide lookouts in the trees, here and here. If they see soldiers, they shoot warning arrows. Whistles by day, fire by night. Wulf runs up to Little John in panic. WULF Father! Come quick. Mother's dying.",
"INT. WOODSMEN'S HUT - DAY Fanny Little writhes in agony. John rushes in. Tuck looks up from Fanny's side. FRIAR The child comes early. Fanny screams. John kneels beside her, taking her head. LITTLE JOHN Hush, m ` lass. Ya'll be fine. FANNY'S not like t ` others, John. Oh God, it pains me so. LITTLE JOHN -LRB- angrily, to Tuck. -RRB- Ya're sittin' thar like a fat sow. Help her, man, help her! FRIAR I am doing all I can. Aslan appears in the doorway, with Robin. Whips back the blanket. Fanny's chest is covered with black squirming creatures. ASLAN By Allah, leeches! He starts to pull the parasites off. Tuck jumps at him. FRIAR Get away from her! Aslan pushes him away, continuing his work. ASLAN Blood is like air. If she loses blood, she and the child will die. John is paralyzed with confusion. Tuck appeals to Robin. FRIAR He lies. He is the devil's seed, sent to lead us astray. ASLAN Fool, both the Bible and the Koran instruct us to preserve life. Tuck raises an arm to strike Aslan. Robin blocks the blow. Aslan gently touches the mother's stomach. ASLAN -LRB- soothing. -RRB- Your baby has not turned. It can not be born without help. FRIAR What do you know, you damned savage? ASLAN -LRB- to John. -RRB- If you will allow me, I can help her. It will not be without danger. FRIAR Do not listen to him! He will kill her. ASLAN If you do not listen to me, she will certainly die. And the child, too. Fanny cries out. John looks to Robin, pleading for advice. ROBIN The good Friar has done all he can. I suggest you let the Arab try. -LRB- as John is undecided. -RRB- If I am wrong, and they die, then you may take my life. John's eyes meet his wife's. She nods. LITTLE JOHN So be it. FRIAR Then it will be on your head. I have warned you. He storms out. All business, Aslan speaks to Wulf. ASLAN Bring me a needle, thread, water, a skinning knife, and burning ashes. Wulf runs to obey. John looks horrified. Robin eases him outside, then returns to Aslan's side. They whisper. ROBIN What are you going to do? ASLAN The child must be taken out by the knife. ROBIN The knife? ASLAN I have seen it many times with horses. ROBIN Horses? By the Lord, what are her chances? ASLAN After wasting so much blood. not good. ROBIN Now you tell me! Wulf runs back in. Aslan holds up a piece of wood. ASLAN -LRB- to Fanny. -RRB- Are you ready? Bite down on this. Robin, hold her steady. He lifts the red - hot knife from the ashes. OUTSIDE Little John paces. Wulf comes out of the hut. Families hover and wait. From inside, MUFFLED GROANS. FRIAR I tell you, the barbarian is killing her. John moves to the hut. Wulf restrains him. INSIDE The mother heaves, then drops. ROBIN Is she gone? Aslan ignores him, keeps working over Fanny's body. Robin can not watch. a WAIL! Aslan mutters something in awed Arabic. ROBIN What did you say? Aslan holds up a bloody struggling infant. ASLAN It is a boy. The mother revives. Aslan places the child on her breast. ASLAN Your son, my lady. Robin, hold her skin together while I sew her up. He picks up the needle and thread. Robin's eyes turn to the woman's abdomen. He faints. LITTLE JOHN marches among the cheering families, holding his newborn child high for all to see. Tuck sits miserably to one side. Bloody and exhausted, Aslan appears at the hut door. Tuck jumps to his feet, drawing his knife. Heads turn. Tense silence. Robin appears, unsteadily, behind Aslan. Watches, ready to intervene. Tuck stares at Aslan. Raises his blade. and slices down across his own wrist. FRIAR This day God has taught me a fine lesson. He hands Aslan the knife and extends his bloodied wrist. FRIAR I would be honored. Aslan slices his own wrist. The two wrists clasp together in the universal sign of brotherhood. Everyone cheers. FRIAR You are a good man, my barbarian friend. We shall open a barrel together and I shall do my damndest to save your heathen soul. ASLAN Alas, I am not permitted. FRIAR Our God made this brew, brother. I merely combined the ingredients. Do you dare to insult his works?",
"EXT. COUNTRY ROAD - DAY Hooves fly along a track. Sarah and the courier. The courier reins in, Sarah draws alongside. SARAH What is wrong? COURIER My horse seems to be favoring a foreleg. Sarah leans down to look and the courier cudgels her across the neck. She falls from the saddle, unconscious.",
"INT. DUBOIS MANSION - MARIAN'S CHAMBER - NIGHT Flickering candlelight. Marian is alone, reading. A sudden gust extinguishes her candle. HAMMERING and SHOUTING from a distant part of the house. Unnerved, she calls out. MARIAN Who is there? Duncan!",
"INT. DUBOIS MANSION - KITCHEN - NIGHT Marian enters stealthily. A candle in one hand, a drawn dagger in the other. Something leaps at her! A cat, looking for scraps on the kitchen table. She shoos him down. MARIAN Off, Nicodemus. Go find mice. She sighs with relief. is grabbed from behind. A masked SOLDIER. SOLDIER We meet again. He reveals a large scar on his wrist - removes his mask - the man who attacked her earlier. He prods her with his sword. SOLDIER Drop your blade. MARIAN You are still overmatched, soldier. She drops the sword. He hurls her against the table. Lays his blade against her chest. SOLDIER You owe me favors, wench. Bare your breasts. or I will do it for you. Resignedly, she raises a hand to loosen the string on her dress. With the other hand she reaches behind her, grabs a pepper bowl. Flips the contents into his face. Screaming, he grabs his face. She reaches for her dagger. He slashes with his sword. She backs to the fireplace, grabs a spit of roasted chickens. drives the point clean through his chest. He stares in shock at his own blood pouring from the cooked fowls pinned to his breast. FOOTSTEPS. masked soldiers converge from both sides of the house, dragging the servants. Duncan is shoved through the door. DUNCAN I am sorry, my lady. There were too many. She stares at the invaders with studied calm. MARIAN Is there something you need, gentlemen? I remember no masked ball on my calendar. AERIAL SHOT FLYING LOW OVER treetops, OVER an expanse of green, intersected by brown roads and tracks. We are LOOKING AT a detailed scale model of Sherwood Forest in.",
"INT. CASTLE CHAMBER - NIGHT The Sheriff and SIX BARONS are gathered around the model. These are the men who revealed their faces to Lord Locksley in the Druid ceremony. Nottingham toys with a white rat on his arm. REDHEAD BARON Forget about Locksley. He is no threat. NOTTINGHAM How can we control all England if we can not control our own county? The people are turning him into a hero. GREYBEARD BARON It is impossible to attack him in the forest. We have tried everything. He is cunning. NOTTINGHAM Then we will be more cunning. I must be rid of him. We may not be able to intercept his next warning to the King. Sounds of COMMOTION outside. The door swings open. Framed in the doorway is a colossus in black armor. His helmet is the head of a dragon. He slowly raises the visor. Deep tribal scars on his cheeks. Implacable ferocity in his eyes. CELTIC CHIEFTAIN I want the heads of the men who stole my gold. NOTTINGHAM Welcome, sir. We were discussing how to rid ourselves of those very men. The outlaws who band with Robin Hood. REDHEAD BARON My Lord Nottingham, I must protest. It is a mistake to ally ourselves with foreigners. GREYBEARD BARON What can these Celts do that we can not? The Chieftain strides across to the fire. Grabs a burning log. The Baron backs away in fear. The log spits sparks as the Chieftain raises it above his head. and drives it into his own palm. He stares unblinking at the Baron, holding the log to his hand for a full three seconds. An awed silence. Nottingham grins, delighted with the demonstration. He deposits his white rat onto the model. NOTTINGHAM This rat Hood has hidden out in the forest. He resists all our assaults with traps and devices, while he robs us blind. We must bring him out and destroy him. The rat has scurried into the shelter of the model trees. The Chieftain watches impassively, then calmly touches the log to the model. The trees ignite. the RAT SQUEALS in terror and runs. The Chieftain cuts off its escape, setting fire to more trees. again. and again. The Sheriff watches the flames, fascinated.",
"EXT. WOODSMEN'S CAMP - NIGHT The campfire. Aslan shrieks a war cry. Dervishes ` round the fire, swigging from a jug. Equally drunk, the Friar follows, howling, mimicking him. Robin and the others watch in amusement. Tuck scoops another jug and hands it to Aslan. FRIAR Come, you son of Saladin. A toast to all of Jehovah's children. The saved and the damned. ASLAN This must be a truly evil potion, to make the soul feel this good. He downs the entire jug in one long draught. Refills it. ASLAN Come, holy man. A toast to all of Allah's children. The true believers and the fat infidels. Tuck laughs and drinks. Aslan sways and topples at the Friar's feet. Heaves up all over the holy sandals. Tuck looks at Robin. FRIAR How can these Arabs hold Jerusalem when they ca n't even hold their brew?",
"EXT. FOREST LANE - DAWN A masked soldier gallops along. Hurls a bundle to the ground.",
"EXT. WOODSMEN'S CAMP - DAWN The Friar and the Saracen lie head to head on the dewey grass. Tuck snores. Robin shakes Aslan, who grabs for his weapon. The hangover hits him like a mallet. He clutches his temples. ROBIN The dancing demon! Good morning. ASLAN -LRB- wincing. -RRB- If it was Jehovah who created this brew, he is truly wise. He built the punishment into the crime. An ARROW WHISTLES into a tree. Robin reacts. ROBIN They need help.",
"EXT. FOREST LANE - DAY Bull and Hal are crouched in the roadway, over a body. Robin runs up with Aslan. He kneels beside them. The body is Duncan. Robin clasps a dead hand. Silence. Fighting his emotions. BULL A bloke wearin' a mask o' the Druids rode by. Tossed ` im down. ROBIN Are you sure it was a Druid mask? -LRB- as Bull nods. -RRB- Damn them to hell! They must have Marian. Do you know where they meet? BULL The Gregor Caves, I ` eard tell. ASLAN We will go there. ROBIN No! You stay here, dammit! I will go alone. ASLAN You forget yourself. I am not your servant. ROBIN Then be my friend. There are women and children here in greater need of your courage. ASLAN -LRB- considers. -RRB- Take my eyes, then. He hands Robin his telescope.",
"EXT. CAVES SQUAWKING ominously, CROWS burst from the trees. Robin rides up the path to the caves that his father took. Checks the ground. Horse tracks. He dismounts, moves cautiously forward. POV THROUGH SCOPE - CIRCLE OF STONES No one visible. Debris. Smoke rises from ashes. Remnants of a recent ceremony. BACK TO SCENE Robin climbs silently down the rocks into the stone circle. There is blood on the sacrificial altar. Through the opening of the cave, he spies a woman's form, lying face down. ROBIN -LRB- under his breath. -RRB- Marian! He runs forward. Turns the body over. Skin chalk - white from loss of blood. Sarah! A shadow falls across Robin. Before he can react, a cudgel stuns him into blackness.",
"INT. CAVE - DAY Robin's eyes - he wakes. Squints around him, the dark smoke - filled recesses of the caves. The walls weave. Eerie WATERY sounds, like the CRIES of drowning men. He tries to stand. VOICE -LRB- O.S. -RRB- Robin! Robin! A figure in a flowing white robe. Angelic. Floating towards him. Marian. He tries to speak her name. Reaches out his hand. MARIAN Death is not to be feared, Robin. Embrace it. Her LAUGH ECHOES around the cave, as if hundreds of lost souls are laughing with her. Robin crawls away, cover - ing his ears. Marian lifts his face to hers. MARIAN Drink this. Weakly, Robin tries to push away the cup. Her hand grips his chin, forcing his mouth open. MARIAN Drink. The liquid trickles over his lips. He tries to focus. Her features are BLURRED, her voice hypnotic. MARIAN Look at me. Listen to me. You belong to me. Your soul is mine. You will obey my every word. Do you understand? Her face is inches from his. He tries to pull away, his subconscious sounding alarms. ROBIN Why, Marian? MARIAN Because you love me. Say it. You love me. -LRB- as Robin struggles. -RRB- Say it! ROBIN -LRB- sinking. -RRB- I love you. MARIAN Kiss me. He gives himself to her. Their lips meet. something changes in his vision. Her eyes glow red. Her face starts to shrivel - He is kissing the wrinkled lips of Mortianna. He pulls away. strong arms grab him. He shakes his head, trying to make sense. Through his BLURRED vision, we see he is surrounded by masked men. ROBIN -LRB- slurred. -RRB- Where is Marian? MORTIANNA She is with friends. -LRB- cackles. -RRB- Your resistence is strong, but useless. Sign this. -LRB- as quill is forced into his hand. -RRB- You are a Druid like your father. You consort with the devil. Your confession will be witnessed by the Bishop of Hereford. A guard forces Robin's hand across the page. then cries out, clutching his back. An arrow lodged be - tween his shoulders. In the cave mouth are Wulf, bow in hand, Bull kneeling beside Sarah's corpse, and Aslan. MORTIANNA -LRB- horror. -RRB- The painted man! Aslan's war CRY RICHOCHETS off the cave walls. A curved scimitar in one hand, a straight English sword in the other, his arms are lethal windmills. The masked guards are cut down left and right. Mortianna retreats, scurry - ing into the depths of the cave. Bull joins the fray, charging like his namesake, howling in rage, flailing at heads with his quarterstaff. Wulf stays in the mouth, picking off men with deadly accuracy. A furious melee. Bull and Aslan mow down the enemy like hay, battling far superior odds. Soon they are the only two left standing. Bull peers cautiously into the dark - ness. Behind him, one of his victims crawls back to his feet. and lunges. ASLAN Behind you! Too late. A sword is driven through Bull's gut. Aslan grabs the attacker by the neck and pile - drives him into the cave wall. The man's SKULL CRACKS against the rocks. Aslan runs to Robin's side, as Wulf hurries to Bull's. Robin is slumped against a rock. ROBIN -LRB- groggy. -RRB- Marian? Aslan runs to the back of the cave, searching. Wulf is crouched beside Bull, who murmurs his dying words. BULL Ya be sure Sarah gits a Christian burial. Promise me, boy. WULF I promise. Aslan stumbles at the edge of a deep crevasse. Far be - low he sees Mortianna, clambering down the steep rock. For a second their eyes meet. She hisses - venom, hatred, fear - then is gone.",
"EXT. GREGOR CAVES - DAY Aslan carries Robin outside. Robin is staggering, glassy - eyed, mumbling incoherently. His arm blocks the light from his eyes. ASLAN They have poisoned you. There are herbs that can alter a man's brain. I know of only one cure. He drops to one knee, slams Robin violently across the other. Slaps him on the back and forces his fingers down his throat. ASLAN It worked for me this very morning. -LRB- as Robin heaves. -RRB- You will thank me for this later.",
"EXT. COUNTRY LANE - DAY Distant THUNDER. Three horses. First Wulf's, leading another with the bodies of Bull and Sarah draped across its back. Aslan rides the third, with Robin propped up in front of him. ROBIN You have fulfilled your vow. Now you can leave. ASLAN Your gratitude warms my heart. ROBIN You ignored my request. ASLAN It is fortunate that I did. ROBIN Because of you, another good man is dead. ASLAN He urged me to bring him. He was a brave man and I grieve for him. Praise be to Allah that I do not grieve for you also. Or for my broken vow. ROBIN To hell with your damn vow. ASLAN I am glad you are feeling better. Ahead of them, Wulf shouts and reins in. He points into the distance. A huge cloud of smoke is darkening the sky. ROBIN The forest! Ride!",
"EXT. SHERWOOD FOREST - DAY Fire. Blazing rampant. Along a hillside are hundreds of crossbowmen with fire arrows. At a shouted order, another wave of flaming arrows ignites the trees. Behind the crossbowmen are two figures on horseback. One is the Sheriff, in full armor. The other is the black - clad Celtic chieftain. He sits as still as a rock.",
"EXT. WOODSMEN'S CAMP - DAY Chaos. Acrid black smoke pours across the clearing. Disarray. COUGHING, SCREAMING, confusion. Little John vainly attempts to instill calm. LITTLE JOHN Ya'll be jus' fine. Lil' smoke ai n't gon na kill ya. Scared and injured woodsmen careen out of the trees. Full retreat. WILL SCARLET -LRB- running up. -RRB- It's burning for miles, John. It's hotter than hades, and them damn screens ai n't worth nothing. Two woodsmen, blinded and choking, stumble into one of their own camouflaged pits. Hideous screams as they're impaled on hidden stakes. John tries to gather the able - bodied men to his side. LITTLE JOHN ` Ere, lads. Over ` ere! We must make a stand. Most of them keep on running. LITTLE JOHN Damn y' all! Ya're no more use than a load o' wet farts. WILL SCARLET Where's that damn Locksley? I'll swear he betrayed us. LITTLE JOHN Bollocks, Will. Quit yer bloody bellyachin'. Hal runs to join them, stuttering. HAL C. cccc. LITTLE JOHN C. ccc? What the bloody hell ya sayin'? Cows? Cowards? HAL Cccc. elts! WILL SCARLET Celts? Where? HAL -LRB- pointing behind him. -RRB- Gggg. God help us.",
"EXT. HILLSIDE - DAY Celts, arrayed behind their Chieftain. An awesome sight. Clad in hides and skins, painted arms and faces, head - pieces the faces of wild animals. Standing in eerie silence. A loud CLAP of THUNDER. Nottingham rides up to the Chieftain. NOTTINGHAM I want prisoners. The Chieftain does not turn his head. CHIEFTAIN We came to fight. NOTTINGHAM Nevertheless, I need prisoners. With only a short flick of his head, the Chieftain spits. Nottingham waves his arm, signalling his own foot sol - diers to advance. The Chieftain raises his sword. Instantly a tumultuous chilling roar from his warriors. They charge forward.",
"EXT. SHERWOOD FOREST - DAY The bloodcurdling cry fills the sky. Amidst the smoke and chaos, Little John's small band is gathered at the edge of the clearing. WILL SCARLET What are we gon na do, John? LITTLE JOHN Stop ` ere and flippin' well fight'em, that's what. Whadya say, lads? Half - hearted support from about a dozen men, including Tack. LITTLE JOHN Nay, reveren'. Ya best be goin' wi' the wenches. FRIAR This holy man believes in doing God's work with his hands. He snatches a quarterstaff. John slaps him on the back. The men are encouraged. LITTLE JOHN Let's give'em a bloody good wallopin' an' all, lads.",
"EXT. FOREST ROAD - DAY Aslan reins in. In the valley below, the forest is ablaze. The Sheriff's armed hordes swarm over the em - battled woodsmen. ROBIN Wulf, stay here. I need your horse. He climbs onto Wulf's horse, steers it right at the heart of the enemy. Aslan blocks his way, grabbing his reins. ROBIN What are you doing? Out of my way! ASLAN I saved your life. I will not let you give it away for no purpose. ROBIN Out of my way, damn you! ASLAN Does the witch still have possession of your senses? If we meet up with the survivors we may yet give them some help. And do some damage to the enemy. Robin debates. Relents. They urge their horses into a gallop.",
"EXT. SHERWOOD FOREST - DAY The Sheriff's men stomp through the burning forest. From the other side of the flaming trees, Little John's men pick off shots with their longbows. They retreat, turn and fire again. They back into a clearing. The Celtic mercenaries charge at them across the open ground. The woodsmen drop their bows. Hand - to - hand combat. Woodsmen are being decimated. Little John storms and shouts, cutting down the enemy, inspiring his men. The Scotsmen are awed by this giant. Tuck is confronted by a wild - eyed Celt. FRIAR Surely you would not harm a man of the cloth? The man swings, Tuck sidesteps. FRIAR You would? Then to hellfire with you. He pummels the man to the ground with his staff. The woodsmen are broken into two groups. One group, including Will, is surrounded and surrenders. The others fight on. Bleeding from several wounds, Little John is surrounded by four Celts. He spins, challenging them, spitting out expletives. Defiant to the last. suddenly his attackers are hurled aside. Robin rides right through them, slashing with his sword. LITTLE JOHN ` Bout bleedin' time, mush. Tuck is driven to the ground. his assailant is deliver - ing the lethal blow, when Aslan cuts him down. Tuck glances heavenwards. FRIAR Thank you, Lord. -LRB- an afterthought. -RRB- And thank you, Allah. Aslan is a wild man. Steering his horse with just legs and knees, he strikes out with both swords to left and right. The momentum is turning. Wulf appears at the edge of the clearing. Starts picking off stragglers. His father spots him. LITTLE JOHN Git the bleedin' ` ell outa there, ya li'l bugger. Distracted, he does n't see a Celt swing at his back. but Wulf's arrow pierces the man's adam's apple. He freezes in mid - air, before toppling at John's feet. When John turns back, Wulf is being dragged away by three of the Sherrif's men. He attempts to pursue, but is intercepted by two more Celts. and struck down. Aslan charges between the two Celts. Slashes down with both swords. Both men topple to the ground simultaneously. Suddenly all is quiet. The smoking clearing is a mass of fallen bodies. Only four men seem to be alive. Robin, Aslan, Tuck, who is slouched against a tree gasping for breath, and Hal, who kneels clutching his wounded shoulder. Robin dismounts and runs to Little John. Overwhelmed and exhausted, he slumps over the giant's unmoving form. LITTLE JOHN Do n't ` ee start bleedin' blubberin', or ya'll make me bloody vomit. Robin manages a relieved smile. Aslan strides over. All around them lie slain Celts and woodsmen. ASLAN It was a fiendish mind that planned this campaign.",
"EXT. SHERWOOD FOREST - DUSK A shovel breaks dirt. Beyond exhaustion, Robin digs a grave. The clearing is transformed into a cemetery. Tuck blesses the bodies of Bull and Sarah. Aslan drags a Celt's corpse into a grave. Throws the man's armor and weapons into a growing pile. ROBIN You were an honor to your countrymen today, Aslan. You fought better than twenty English knights. ASLAN This war is the God of Abraham against the forces of evil. ROBIN Well, the war is over. He stares across the desolate clearing. ROBIN There is too much blood on my hands.",
"INT. CASTLE DUNGEONS - NIGHT A heavy key turns in a lock. Bolts drawn back. Fol - lowed by guards, Nottingham enters the torture chamber where the captured woodsmen are chained, among them Wulf and Will Scarlet. Putrid ankle - deep water on the floor, walls encrusted with dried blood and grime. Nottingham walks up to the FIRST MAN. Wry smile. NOTTINGHAM -LRB- wry smile. -RRB- Would you prefer pain or death? FIRST WOODSMAN Death. Dignity masking his terror. Nottingham appears to consider. NOTTINGHAM Torture him. The man is dragged away by guards. The next PRISONER - NOTTINGHAM And you? Pain or death? SECOND WOODSMAN -LRB- PRISONER. -RRB- -LRB- pure terror. -RRB-. Er. pain. NOTTINGHAM Torture him. you see, it makes no difference. You will all be tortured. You will all tell me all you know about Robin Hood, and then you will all be hanged. Then we will catch your beloved Robin Hood and do the same to him. WILL SCARLET I will kill him for you. WULF Will, no! Nottingham strides up to Will, drawing his sword. NOTTINGHAM Why would I need you? WILL SCARLET All your attempts to kill him have failed. Your army failed. Your Celtic mercenaries failed. Nottingham places his sword point against Will's throat. NOTTINGHAM And you can succeed? WILL SCARLET I am one of his men. He would never suspect me. WULF He knows you always hated him, traitor. WILL SCARLET He is a trusting fool. He will believe me. If he does n't, he will kill me and you have lost nothing. Nottingham slides his blade between Will's teeth. NOTTINGHAM If you fail, I will personally cut out your lying tongue. He withdraws the blade. Will tries to smile. WILL SCARLET And if I succeed? NOTTINGHAM His friends will. -LRB- to a guard. -RRB-. torture him! He turns back to Will. A smile of mock apology. NOTTINGHAM It will look better.",
"EXT. SHERWOOD FOREST - NIGHT A winter's night. Bitterly cold. Sad figures huddled around a small fire. Fanny tends to John's wounds, their little ones asleep by their feet. John drinks and passes the jug to Tuck, who numbly shakes his head. Too depressed even to drink. Aslan folds his prayer rug and walks over to Robin, who sits alone, staring vacantly into the darkness. ROBIN My pride brought us to this. ASLAN No, friend. It was you who gave these men pride. ROBIN I gave them nothing but false hope. Tomorrow we will disperse. These people can move south and start over. You must go home and win your Jasmina. ASLAN And you? ROBIN I am no longer your responsibility. ASLAN That is for me to decide. ROBIN -LRB- raging. -RRB- Damn you, Arab. I want you out of my life. Ca n't you understand that? Go home. Go back to your own kind. Aslan stares at him, then turns away. Not the time for argument. Robin fingers his father's medallion. rips it from his neck. ROBIN Damn you, too, Father. You reared a coward and a fool. He hurls the medallion. it catches on a low - hanging branch. NOVEMBER MOON Watery, full. The FOCUS SHIFTS TO the medallion, dangling in its center. the last thing Robin sees before his eyes close into troubled sleep. The white moon against the black sky. ITS NEGATIVE IMAGE - a black circle against a white sky. An executioner. The round medallion has become a noose. In the noose appears Wulf's face. The executioner hauls on the rope and Wulf's features contort in the agony of death. Another noose, another face. Duncan. Another - Bull. Another - Marian. MARIAN Kiss me, Robin. The noose tightens on her neck. As she dies, her face shrivels into the cackling features of Mortianna. Next, Robin's father. He stares accusingly right AT us. LOCKSLEY Why have you betrayed me? Why? Before he pulls the rope, the executioner peels back his hood. It is Robin. Gloating, he hauls on the rope. His laughter blends with that of Mortianna in a hideous cacophony. ROBIN'S FACE DISTORTED in water. The LAUGHTER BECOMES the sound of a RUNNING RIVER. Robin is washing, trying to drive away the horror. The first streaks of light fight their way through a thick, morning mist. Out of the mist steps a figure, at first indecipherable. Aware of his presence, Robin looks up. ROBIN Will! I thought you were taken. WILL SCARLET I was. ROBIN How did you escape? WILL SCARLET I promised to kill you. ROBIN And will you? Before Will can answer, Little John runs up. Grabs Will's throat. LITTLE JOHN I'll wring yer scrawny neck, Will Scarlet. I'd be doin' yer a bloody favor an' all. Quickly, others arrive. Aslan, Tuck, Hal, Fanny, with kids clinging to her skirts. FANNY Afore ya kill ` im, John, ask ` im if Wulf be still alive. Will is choking, unable to speak. John loosens his hold just enough for Will to splutter out. WILL SCARLET Y. e. LITTLE JOHN Git us a rope, Hal, and we'll put the bleedin' weasel outa ` is misery. ROBIN John, wait. Let us hear what he has to say. LITTLE JOHN No bugger ` scapes the Sheriff, ` nless ` e's linin' ` is bloomin' pockets. ROBIN A traitor sneaks in and out under cover of darkness. Will walked in and announced himself. LITTLE JOHN -LRB- dismissive. -RRB- Aye.' E always did ` ave balls o' brass. HAL Let's sss. string ` im up. ROBIN Let him speak. John reluctantly moves his hold from Will's neck to his shoulders. LITTLE JOHN Search ` im, Hal. ` E'll ` ave a bloody blade on ` im somewheres. Will eyes the accusing faces. Hal searches, lifts Will's shirt. His whole skin is lacerated with deep gashes and fresh burns. LITTLE JOHN Bugger me. He steps back. Ready to listen. WILL SCARLET I bring a message from Nottingham. Our men are to be hung in the square on Saturday. At high noon. FANNY What about my boy? WILL SCARLET The boy, too. Ten men in all. Fanny drops her head on John's shoulder. WILL SCARLET Their deaths are a warning. Anyone who associates with the outlaw Hood is to suffer the same fate. Man, woman, or child. Even anyone who so much as utters his name. FRIAR Robin Hood! Robin Hood! Robin Hood! -LRB- chuckles. -RRB- May as well be hung for a sheep as a lamb. WILL SCARLET The hangings are to be part of the celebration for the Sheriff's marriage. LITTLE JOHN Marriage, eh? What lucky wench gits to play with the Sheriff's codpiece? Will turns his gaze directly on Robin. WILL SCARLET Lady Marian. FRIAR He takes a bride of royal blood? LITTLE JOHN Aye, and then with King Richard gone, he takes the bloody throne. Everyone reacts with shock. Only Robin appears unsur - prised. ROBIN You were to use this news to get close to me, and then kill me? Right, Will? WILL SCARLET -LRB- sly grin. -RRB- Not straightway, of course. ROBIN What is your intention, Will? WILL SCARLET That depends on you, Locksley. ROBIN How so? WILL SCARLET I've never trusted you, that's no secret. What I wan na know is, are you gon na finish what you started? Robin is on the spot. All eyes on him. Will presses his point. WILL SCARLET Will ya stay and keep us fightin' till every man jack of us is dead? Or will you run like the spoiled little rich boy I always took you for? ROBIN You present quite a choice. What would you have me do, Will? WILL SCARLET If you run, I will kill you. ROBIN And if I stay, will you all stay with me? Robin checks the other faces. ASLAN To the end, friend. FRIAR If my heathen brother stays, I stay. HAL Mmmm. meee. tttt. He ca n't get it out. Little John covers Hal's mouth. LITTLE JOHN ` E's in. We're all bloody in. Daft buggers. ROBIN There's your answer, Will. We finish it.",
"EXT. NOTTINGHAM TOWN SQUARE - DUSK Ten gallows, silhouetted against the setting sun. The black - armored Celt tests a gallows, springing the hatch. A heavy sack dangles from the rope. Grim - faced peasants watch. Among them - Fanny Little.",
"INT. DUNGEON - DUSK The sound of the gallows ECHOES inside the damp, stone walls. Wulf and the other woodsmen are chained to rings in the floor. Wulf lifts his eyes to a chink of light high in the wall. The purple sky is turning black. He fingers his wooden crucifix. WULF If it be your biddin' that this be my last night o' life, Lord, gim me the pluck to die proud. An' look ` ee kindly on my folks an' the young ` uns. The light in the cell melts to total darkness. BRANCHES Sunlight glistens on frost - laden branches. A COCK ROBIN CHIRPS.",
"EXT. SHERWOOD FOREST - DAWN In the troubled human realm, Tuck says his morning prayer. FRIAR Lord, grant us the courage to endure, and if you're as smart as I believe you are, grant us victory. and the victuals to celebrate it with. Aslan is crushing charcoal into a mixture of yellow powder, which is turning black. Tuck approaches. FRIAR Will you pray with me, son of Allah? ASLAN I have prayed for you, often, my brother. But, let us put prayer aside and help our gods in a more practical manner. I must reveal to you the mysteries of the black powder. Tuck takes a bowl of the powder close to the fire to examine it. Aslan snatches it back. Before Tuck can react, Robin walks up. ROBIN Will it work? Aslan throws a handful of powder into the firel A fire - ball rips ten feet in the air. Tuck falls on his ass in terror. ROBIN -LRB- impressed. -RRB- You are truly a wizard. ASLAN There is no such thing. But if there was. -LRB- chuckles. -RRB-. I would surely be one. Robin reaches out and shakes Aslan's hand. A moment of bonding. He moves on to the others, clasping each man's hand as he speaks. ROBIN We have no armored knights, no glorious banners. But I am honored to be going to battle in this company. Today we fight not just for the lives of our friends, but to save all England. A moment of tension before Will takes the proferred hand. ROBIN We may be only six men, but. FANNY Seven! She strides towards them from the trees. LITTLE JOHN What in blazes ya doin', woman? Where's the little ` uns? FANNY Them's safe, wi' my mother. -LRB- pushes past Little John. -RRB- Robin, I been to town an' seen the scaffold and the guard towers. LITTLE JOHN Ya gone bleedin' cracked, girl? FANNY You go an' birth eight babies and then you can come an' tell me ` bout hurtin', ya big ox. I ai n't gon na sit aroun' an' let one o''em die, neither. LITTLE JOHN Ya should be bloody well mindin' the other seven. Tell ` er, Rob. Robin starts to draw a diagram on the ground with a stick. ROBIN Fanny, show me the exact location of the scaffold. Little John double - takes.",
"EXT. NOTTINGHAM - DAY The gallows. Swathed in a pink glow. A brilliant, wintry morning. Breath billows from the mouths of the sentries.",
"INT. NOTTINGHAM CASTLE - CORRIDOR - DAY Boots clack confidently down a stone corridor. The Sheriff decked in wedding finery. He enters.",
"INT. CASTLE CHAMBER - DAY Mortianna's apothecary. Dark, smoke - filled. Foul things in jars. Animals in cages, waiting to meet unspeakable ends. Marian is strapped in a chair, flanked by two armed guards. NOTTINGHAM How is my bride? Marian smiles as he leans toward her. and spits in his face. NOTTINGHAM Ah. You are overwhelmed with happiness. He slowly wipes off the spittle. and slaps her hard. MARIAN -LRB- calm, uncowed. -RRB- I will never marry you. Mortianna emerges from a dark corner, bearing the goblet she used at the Druid ceremony. MORTIANNA Hold her! Marian struggles against her bonds. MARIAN Get away from me, you disgusting hag. I will not. augh! The guards viciously restrain her, forcing her mouth open. Mortianna pours the blood - red liquid down her throat. Marian fights, gagging and choking. until the drug takes its effect. She slumps forward. Nottingham watches with amusement. NOTTINGHAM -LRB- to Mortianna. -RRB- When we are married, thirty of the northern barons will pledge me their support as king. As you predicted. Mortianna squats on the floor besides a platter of blood. Clasps the dice - like runes. NOTTINGHAM What do you see in the portents? Mortianna rocks on her heels, clutching her taloned hands to her sides. She chants, fingering the bloody stones. MORTIANNA The union. The blood of the lion and the house of Nottingham. New faith. New power. New souls. She stares at Nottingham, her red eyes demented. MORTIANNA If there is no union, there will be darkness, despair, death. Ours! NOTTINGHAM Di not give me riddles, woman. We are to be married within hours. How can we be in danger? MORTIANNA The blood does not lie. NOTTINGHAM -LRB- shouting. -RRB- Tell me how it will result. MORTIANNA I have told you what I know. NOTTINGHAM Confound you, crone. Without my protection, the people would hunt you down, rip out your black heart and burn it. Mortianna runs at him. Points her bony finger at his heart. MORTIANNA Without me, you are nothing. You are straw, a fleabite, a speck. -LRB- as Nottingham laughs. -RRB- Laugh, fool. I birthed you from this body. I stole a babe in this very castle, and killed it so that you might rise in its place. You are my son. -LRB- Nottingham is too shocked to react. -RRB- Together we are strong. Now is not the time to doubt. Now is the time to believe, to be bold. The bold will prevail.",
"EXT. CITY GATE - DAY Masses stream in. They give wide berth to a Celtic war - rior in a boar's head helmet. Soldiers prod and harness the passing peasants. Tuck drives a cartload of barrels. A GUARD stops him. GUARD What you got there, Father? FRIAR The Lord's finest brew for the good Nottingham's fighting men. It has a mighty kick. GUARD -LRB- smiling. -RRB- I'll warrant. Pass.",
"EXT. DUNGEON GATE - DAY Wulf blinks at the sunlight as the prisoners are led out. Holds his head high. Soldiers hurl abuse, the people are too cowed to show support. Fanny glances at her son, crosses herself and scurries into the castle, unnoticed. On horseback, encircled by guards, the Sheriff and his baron cronies watch the outlaws progress with cruel amusement. A yell attracts Nottingham. Will is being shoved back by guards. WILL SCARLET Sheriff! My Lord Sheriff! I have word for you! Of Robin Hood! Nottingham shouts to one of his mounted guards, who rides over, grabs Will by the collar, and drags him to his side. NOTTINGHAM Ah, the turncoat. Did you succeed? WILL SCARLET I found his lair, but alas he still lives. The Sheriff strikes down with his armored hand. Will crumples. NOTTINGHAM Stretch his neck with the others. Hands yank Will to his feet. Dazed, he tries to speak. Disinterested, Nottingham turns away, until he catches. WILL SCARLET He. He. is here! NOTTINGHAM Locksley, here? Where? Will struggles to get free of his holders. WILL SCARLET Call off your dogs. NOTTINGHAM Release him! Now, where is he? WILL SCARLET I want your word, in front of these witnesses. If I tell you, I will go free. NOTTINGHAM -LRB- scoffs. -RRB- We will find him. WILL SCARLET He is concealed. He is going to free the prisoners and stop the wedding. Nottingham's jaw tightens. Eyes the prisoners, the scaffold. NOTTINGHAM Put Hood in my hands, you go free. WILL SCARLET With the reward. Ten thousand crowns. NOTTINGHAM Damn your worthless hide! Just tell me where he is. WILL SCARLET The reward! The parade of prisoners reaches them. Seeing Will, Wulf charges at him, screaming in blind rage. Soldiers grab Wulf. Throw him down, kicking and beating. Voices in the crowd plead to let him be. Someone tries to intervene, gets hurled down. NOTTINGHAM -LRB- to Will. -RRB- You'll get your reward. Where is he?",
"EXT. SCAFFOLD Tuck urges his ancient nag towards the scaffold with his cargo of barrels. The crowd parts unwillingly. FRIAR Out of the way. Make way for the Lord's business. Across the square, Will points urgently in Tuck's direction.",
"EXT. CITY WALL - DAY A massive oak stands near the southern wall. A large figure climbs to its uppermost branches. Little John. He scrambles from the tree, starts to climb the wall itself. He slips frequently.",
"EXT. CITY SQUARE - DAY The prisoners are led to the scaffold, where the hooded executioner waits, along with the Chieftain. Wulf staggers, from his beating. Nottingham's men encircle Tuck's cart. He watches them nervously.",
"EXT. CITY PARAPET - DAY Fanny lowers a knotted rope over the battlement. Far below, John clings to the outer wall. Above him it's sheer, without footholds. The rope does n't reach his fingertips. He stretches, loses balance. Falls. desperately grabbing at the rope. He swings, clinging by one arm, his body smashing into the wall.",
"EXT. CITY SQUARE - DAY Will leads the Sheriff to Tuck's cart. NOTTINGHAM Step down, friar. FRIAR As you wish, sire. Is there something amiss? NOTTINGHAM This man claims you have outlaws concealed in these barrels. Among them the cursed Robin Hood. Tuck glares at Will with unconcealed hatred. FRIAR This man will rot in hell as a knave and a liar. These are libations for the celebration of your lordship's nuptials. NOTTINGHAM Break one open! FRIAR -LRB- nervous. -RRB- Why waste fine vintage, my lord? A cask is shattered. wine torrents out. WILL SCARLET Try another. There are many barrels, only a few outlaws. A drum roll. The Sheriff's attention turns to the scaffold, where the first victim is escorted up the steps - Wulf. Tense, Tuck pulls a tinder box from his robes, strikes a flame.",
"EXT. CITY PARAPET - DAY John strains, heaving his giant frame up the rope. He nears the top, just as a SENTRY approaches. Fanny blocks the man's view. SENTRY What is your business, woman? FANNY Ai n't doin' no ` arm, m ` dear. Likes a good ` angin', I do. Luvly view up ` ere, ai n't it? She gestures below. The Sentry looks, then turns back to her. notices the rope. With all her might, Fanny rams his head into the stone battlement. Twice. Three times. He slumps unconscious.",
"EXT. CITY SQUARE - DAY Wulf crosses himself as the executioner steers him to the noose. A hush falls. except for a rotund old woman who is barging to the front. And a WOUNDED SOLDIER, his head bandaged, who eases her path, striking out with his tree - branch crutch. WOUNDED SOLDIER Give room for a fightin' man and his ma. Step aside, or I'll make ya. I wan na see the bastards walk on air.",
"EXT. CITY PARAPET - DAY John struggles over the battlement. Collapses. FANNY ` Bout time, ya gurt lug. She wrenches the longbow from his back, fumbles for an arrow. FANNY We be too late.",
"EXT. CITY SQUARE - DAY The scaffold is impregnable. Celts and their Chieftain guard the platform itself. The Sherriff's men surround the base. The executioner encircles Wulf's neck with the noose. SPARKS! Tuck ignites a fuse - cord leading to one of the barrels. A hand tightens the noose. Another grasps an arrow. The executioner's eyes glint through the slits. Nottingham intently watches Wulf. The Chieftain stands, impassive. Fingers close on a bowstring. the fuse - cord burns. Wulf steps to the trap, ready to plunge. His eyes close. An arrow flies. slices through the executioner's eye slit. The executioner falls. Little John celebrates. but the Chieftain leaps forward. releases the trap. Wulf's body plunges. The rope snaps tight. Little John yells. Fanny screams. A figure leaps onto the platform. the wounded soldier throws aside his crutch. Robin! Wulf dangles, strangling. His hands wrench at the choking cord. The burning fuse - cord reaches the barrel. Tuck hurls the smoking barrel thundering towards the Sheriff. Spotting it, Nottingham urges his horse over his own men in his effort to escape. The Chieftain smites at Robin. his blow is blocked. by the Celt with the boar's head. KAABOOM! The GUNPOWDER in the barrel EXPLODES. Spewing smoke and wood. SCREAMS of panic. Soldiers fly. Mass confusion. Amidst the smoke. Robin's sword slashes through Wulf's rope. He hauls him onto the platform. Another figure on the platform. the old woman. Slashes the ropes of the other prisoners. Whips off her wig. It's Hal. He passes out weapons from a bundle under his arm. HAL Here. By God. Let's fight'em! WOODSMAN Hal! What happened to your stutter? HAL It's gg. ggg. g. oh crap! A guard attacks, Hal fells him. HAL Take that, ya mug. No stutter this time! The woodsmen join battle with the guards. The Chieftain cudgels his Celt attacker across the head. The boar's head helmet tumbles. revealing Aslan. CHIEFTAIN Impostor! You dishonor the clan. Aslan retreats, fending off the Chieftain's shattering blows. FROM PARAPET John and Fanny peer down as the smoke clears. They watch Wulf struggle to his feet. A Celt sneaks up behind him. LITTLE JOHN Fight fair. He aims. Grits his teeth. picks off the Celt with a shaft. LITTLE JOHN Or do n't fight at all. ON SCENE Robin leaps and swings from gallows to gallows, kicking out, slashing down. Sends two Celts hurtling down the trap hole. Will battles the Sheriff. A reprise of his own fight with Robin, the roles reversed. The Sheriff, armed and mounted, flails at Will, who, unarmed, dodges in and around the horse's legs. Aslan and the Chieftain are locked in mortal combat. Aslan stumbles back and falls. The Chieftain swipes at his head. Aslan rolls aside. The sword smashes wood. Tuck surrounded, rolls another smoking BARREL. It EXPLODES. The Greybeard Baron spots Little John and Fanny on the parapet. GREYBEARD BARON Up there! No mercy, shoot them! Crossbowmen on the opposite parapet fire. Bolts ricochet all around Little John and Fanny. ON SCAFFOLD Wulf guards the steps, beating back all comers. ON SCENE Aslan evades the charging Chieftain. Drop - kicks a soldier, takes his sword, and whirls back at the Chieftain. His blows have no effect on the Scot's black armor. The Sheriff rears his horse. hooves flail. knocking Will to his knees. The Sheriff lunges. Desperate, Will grasps the sword, ignoring the pain. a tug of war. Blood pours from Will's hands, where the blade cuts in. He suddenly lets go. Nottingham topples from his horse. Will leaps on him. WILL SCARLET Pain or death, you butcher? The Sheriff's men drag Will off before he can choke him. Raging, Nottingham climbs to his feet. Will is held by four men. NOTTINGHAM Here's another message to Robin Hood, written in your blood. He drives his sword repeatedly, insanely, into Will's belly. WILL SCARLET It's over, fool. You can kill my body, but you can not kill our spirit. He finally drops. Nottingham heads for the castle. Robin attempts to follow. He swings from the noose, using the rope to vault over the surrounding soldiers. As he lands, he is waylaid by one of the barons and his men. REDHEAD BARON It's Hood! Get him! The Chieftain knocks Aslan down. Aslan loses his sword. CHIEFTAIN I am iron. I am rock. I am your death. Aslan spots one of John's arrows protruding from a dead Celt's back. Scrambles over and tears it out. ASLAN You talk too much! He leaps. rams the arrow through the Chieftain's mouthpiece. out the back of his neck. The Chieftain grabs his helmet, trying to rip it off. He topples, his life's blood gushing from both sides of his neck. Aslan plants a foot on the slain warrior. ASLAN Englishmen! I am not one of you, yet I fight for you. Against a tyrant. Join me now. Join Robin Hood. The onlookers are inspired. Grabbing weapons from fallen soldiers, many join the fray. Nottingham runs through the castle gate. Angry peasants pursue. NOTTINGHAM Lower the portcullis! Now! A guard winds down the giant gate. Nottingham hurls him aside. NOTTINGHAM Too slow, fool! He hacks at the ropes. The gate slices down like a guillotine, pinning soldiers and peasants alike. Fighting his way towards the gate, Robin sees with dismay that the portcullis is closed. Weakening, he staves off the redhead baron's vicious assault. Suddenly peasants are swarming over his attacker. The baron is dragged off and trampled down. ROBIN Friends! We must raise the gate.",
"EXT. CASTLE PARAPET - DAY Crossbow bolts fly. Little John ducks and weaves, while spinning and firing at the men advancing at him from both sides. LITTLE JOHN Come on, ya ckicken - ` earted buggers. Ya milksops, ya bleedin' pansies. He ca n't shoot fast enough. As they descend on him, he leaps from the battlements onto a soldier's back. Grabs his sword. LITTLE JOHN Excuse me, m ` old cock. Ya mind if I borrow this? He's backed up against a battlement, outnumbered five to one.",
"EXT. CASTLE GATE - DAY Robin and the others try in vain to lift the portcullis.",
"INT. CASTLE - MAIN CORRIDOR - DAY The Sheriff marches through, issuing orders. NOTTINGHAM Seal the entrance. Guard it with your lives. Bring the bishop to my chapel.",
"INT. CASTLE CHAMBER - DAY Surrounded by flickering candles, Marian sits before a mirror. In a white wedding gown. Her eyes faraway, lifeless, in deep trance. Mortianna sensuously combs the bride's hair with her taloned fingers. The Sheriff's face appears in the reflection. NOTTINGHAM Come! It is time for the union. The guards roughly haul Marian to her feet. She is oblivious.",
"INT. CASTLE CHAPEL - DAY Once, Christian, now blasphemously transformed to the practice of black magic. The crucifix on the altar is upside down. Marian stands before it, between the Sheriff and Mortianna. The Bishop is dragged in. Frightened. The BATTLE SOUNDS ECHO. BISHOP They are rebelling. We must escape. NOTTINGHAM Marry us. When I am declared king, that rabble will not dare go against us. BISHOP Is is madness to delay. Mortianna screams and slashes her talons across the Bishop's outstretched hands. Blood flows. MORTIANNA Face them, or face me.",
"EXT. CASTLE GATE - DAY Robin leaps onto Tuck's cart. ROBIN Light all the barrels, Tuck. Robin snaps the reins, steering the rumbling cart across the yard. Bouncing in the back, Tuck lights barrels. FUSES smoke and CRACKLE. ROBIN Jump! Tuck jumps. Robin steers the wagon at the gate. At the last second, he slashes the reins and leaps onto the horse's back. The BARRELS EXPLODE! The portcullis is blown to kingdom come. Out of the smoke, Robin rides the old nag like a charger. Leads his cheering, ragged fighters through the open gate.",
"INT. CASTLE KITCHENS - DAY Fanny is chased into the kitchens by a vengeful soldier. He grabs her and pushes her into the open cooking fire. Desperate, she grabs a poker and smashes him over the head. The servants stare in shock. A chef comes at Fanny with a knife.",
"EXT. CASTLE FORECOURT - DAY Hal and the others battle against huge odds. More peasants join them, daring to take on the Sheriff's hated men. Aslan's a whirlwind, striking out in all directions. Each blow for a cause. ASLAN For Allah! For Jehovah! For brotherhood! For justice!",
"INT. CASTLE HALLWAYS - DAY A door SLAMS back. Robin bursts through. Alone, against three attackers. He swings a soldier around. Holds him as a shield, using the man's own sword against his companions. In seconds, all three are down and Robin is off and running. Down corridors, searching. Soldiers and armed servants converge to block his way. Robin strikes, vaults, flings statues. Up the stairs. topples a suit of armor down on his pursuers. ROBIN -LRB- grabbing a servant. -RRB- Where is she? Where is Lady Marian? The man refuses to speak. Robin looks up the corridor, sees six men guarding the private chapel's arched door - way. ROBIN Ah! There is my answer. He hurls the man aside. The armed guards charge him.",
"INT. DUNGEONS - DAY Carrying a flaming torch, Tuck runs down the dark passage - ways. Before him, an awesome sight. dozens of pitiful men in cages. Suddenly he is confronted by the jailer. A cruel behemoth of a man, carrying a spiked club. FRIAR -LRB- pious. -RRB- My son, there is a holy war being waged outside. Release all these wretches and God shall surely find you a place in heaven. JAILER I'd rather go to hell! WHAM! Tuck takes the lethal cudgel full in the chest. Flies back.",
"INT. CASTLE CHAPEL - DAY Sweating, fearful, the Bishop rushes through the service. BISHOP your bodies to be bound in immortal wedlock. Do you, Marian Dubois, take. The chapel DOORS SHATTER inward. Robin backs in, bloodied, fencing with four remaining soldiers. He smashes one by swinging the heavy door into him, hurtles a pew at another. He springs off another pew, taking down a third. ROBIN Marian, run! It's me, Robin. Run! Marian remains immobile. Mortianna moves to her side. Robin is struck in the thigh. Like a vulture, the Sheriff waits. Tiring, blood pouring from his leg, Robin prepares to fight him. ROBIN I warned you, I would find you no matter what. NOTTINGHAM No companions? No army? You rush to your death for the sake of a woman. Lust has turned you into a fool. Recognize this, Locksley? He raises his sword to reveal its handle. A crucifix sculpted into the hilt. Robin's father's sword. NOTTINGHAM Appropriate I should use it to kill you with, do n't you think? He lunges. A savage, accomplished swordsman, with fire in his eyes. Exhausted, Robin is driven back, parrying desperately.",
"INT. DUNGEONS - DAY Tuck picks himself up from the floor. The jailer is amazed. FRIAR The Lord helps those who help themselves. Grinning, he pulls open his robes, revealing chest armor. and a miniature powder keg. He holds it to his flaming torch and tosses it to the jailer. Stupified, the man catches the smoking bomb. FRIAR Give my regards to the devil. The KEG ERUPTS, blowing the jailer through a wall.",
"EXT. PARAPET - DAY John is in deep trouble, but undaunted. LITTLE JOHN Ya gutless bloody sissies. Someone attacks his assailants from the rear. The tide turns. LITTLE JOHN Wulf! I told ya to keep outa the fightin'. WULF Sorry, Father. Could n't help myself. LITTLE JOHN Well, ya'll get a bloody good wallopin' if we get ` ome. For now, let's see how well I taught ya. Wulf sends an attacker plummeting off the parapet.",
"EXT. CASTLE FORECOURT - DAY A crossbow bolt strikes Hal between his shoulder blades. He falls. The Sheriff's soldiers are regaining the advantage. The peasants are giving up, dropping their weapons. HAL No! Fight on. Fight! He sees a familiar pair of holy sandals marching towards him. Tuck leading a barefoot army. Dozens of ragged prisoners, armed with chains and torture implements. FRIAR Sinners, beware! God's avengers are at hand. Dying, Hal manages a weak smile. HAL Go' bless ya, Tuck. Tuck flails a chain at a Celt. FRIAR Repent, heathen! The man spins to strike back. freezes. grinning. Aslan!",
"INT. CASTLE - KITCHENS - DAY The chef raises his knife. Fanny appeals to the whole room. FANNY Listen! Outside, your countrymen rise against the Sheriff. Is there one man or woman here who does not hate him? Who has not suffered at his hand? -LRB- to the chef. -RRB- Turn that on the Sheriff and his bullies. A deadly pause. A woman cook dumps the giant wedding cake right over the chef. Suddenly it's havoc. Flying food and cutlery.",
"EXT. CITY SQUARE - DAY A full - scale riot. The populace has turned. Into the fray comes Fanny Little, leading a rabble of servants and kitchen staff, fighting with pots, pans, brooms, knives, hooks, and bedpans.",
"INT. CASTLE - CHAPEL - DAY Nottingham slashes maniacally. Robin is cornered, weakening. NOTTINGHAM You should have stayed away, Locksley. Fools like you never learn. A blow slices Robin's arm. His sword flies from his grasp. Nottingham gloats. Two of his men scramble back to their feet. Robin is beat. a war cry! Aslan, followed by Tuck. ASLAN Ali akbar! FRIAR Amen! MORTIANNA -LRB- seeing Aslan. -RRB- Agh. the painted one! Nottingham glances over. a split - second opportunity! Robin lashes out. Kicks the Sheriff in the gut, chops down his sword hand. His father's sword clatters to the floor. Whirling swords in each hand, Aslan attacks the other men. Robin pile - drives Nottingham into the wall. The Bishop makes his escape. Tuck blocks his path. FRIAR So! You sold your soul to the devil? BISHOP No, I swear it, in God's name. FRIAR Blasphemer! You accuse innocent men of Druid worship while you practice the black arts yourself. The Bishop surreptitiously draws a dagger from his robes. A taloned hand grips a spear. Mortianna creeps up on Aslan. ROBIN -LRB- glimpsing her. -RRB- Watch out! Aslan spins. too late. Screeching, Mortianna drives the spear into Aslan's side. He cries out and slides to the floor. Nottingham uses Robin's distraction to regain his sword. Back on the defensive, Robin tries to evade the blows. Mortianna drags Marian out onto a balcony. Robin can not pursue. In acute pain, Aslan struggles to his feet. Grasping the spear where it enters his side, he pulls with all his strength. The Bishop, concealed dagger in hand, approaches Tuck. BISHOP -LRB- innocently. -RRB- I am sure you would not strike a man of the cloth. FRIAR Think again! Without an eyeblink's pause, Tuck punches the Bishop so hard, he flies back THROUGH a stained - glass WINDOW.",
"EXT. CASTLE - BALCONY - DAY Mortianna hauls Marian against the battlements. Peers down at the battle. She spins in shock at Aslan's voice. ASLAN What you fear is not below. He charges at her with the bloody spear. She screams hideously as he thrusts it right through her chest. Her madness is superhuman. With strength beyond all reason, she crawls up the spear's shaft, forcing it further through her body in her effort to get at him. Clutching, screeching, hissing. Her talons groping at his face, Aslan strains to the last ounce of his will and heaves her over the battle - ments. With an ear - splitting shriek, she plummets to the ground.",
"INT. CASTLE CHAPEL - DAY Sword raised, Nottingham has Robin backed against the altar. NOTTINGHAM What can your puny God do for you now? The blade comes whirring down. clang! It's blocked. Robin has the altar's crucifix in his hand. He swings it again, slamming Nottingham across the temple. The Sheriff hits the floor. Robin grabs his father's sword. Raises it two - fisted. Nottingham tries to squirm away. ROBIN This is for my father. He drives the sword down, like a stake, right through Nottingham's heart. The man shudders, and is still. Robin stands over him. Drained. Tuck rushes outside. Kneels at Aslan's side. Robin spots Marian swaying on the edge of the steep parapet.",
"EXT. CASTLE BALCONY - DAY Robin grabs Marian, pulling her back. Carefully lifts her face. Her lifeless eyes suddenly flash. She lashes out. A spitfire. MARIAN Let me go! Who are you? ROBIN -LRB- restraining her. -RRB- I'm your sworn protector. Any way I see fit.",
"EXT. CITY SQUARE - DAY Robin emerges from the castle. Draped over his shoulder, Marian is kicking and beating at him. He reaches the fountain in the center of the square and tosses her into the freezing water. She leaps to her feet, yelling. Slips and tumbles back. Water streams from her bridal gown. A crowd gathers, enjoying the show. MARIAN Robin? Oh God, is that you? She stumbles out of the fountain. and storms at him, pounding her fists on his chest. MARIAN How dare you?! Robin grins at the crowd. ROBIN I think she's feeling better. Marian looks about her. the chaotic aftermath of battle. Reality gradually sinks in. She folds against Robin's chest. Little John arrives, his huge arms enfolding Wulf and Fanny. LITTLE JOHN We done it, mate. We clobbered the buggers. FANNY Are you ` urt? ROBIN It will mend. He spots a group kneeling beside the fallen body of Aslan. His smile fades. He runs over. Cradles Aslan's head. ROBIN Aslan, my friend. ASLAN I'm going home the easy way, Robin. FRIAR -LRB- shaking Aslan. -RRB- You die on me, you son of satan, and I swear I'll bury you as a Christian in St. Catherine's Cathedral with a thousand monks chanting prayers for your miserable soul. You hear me? ASLAN -LRB- weakly. -RRB- I have no strength, Brother Tuck. FRIAR -LRB- kicking him. -RRB- A fine friend you are! By the grace of Allah and Jehovah we have won the day, and you want to give up the ghost. I'll pickle your remains in mead, lay you in your grave with a pig for a companion, and mark it with a cross as big as this castle. ASLAN Please! It hurts when I laugh. FRIAR See. There's life in the heathen dog yet. ROBIN -LRB- laughs. -RRB- Here, Tuck. Look after him. You deserve each other. Robin stands, Marian joins him. Around them cheering grows, till the whole crowd is in unison. CROWD Robin Hood! Robin Hood!",
"INT. CATHEDRAL - DAY A VOICE ECHOES from the vaulted roof. A wedding is in progress. FRIAR -LRB- O.S. -RRB- By the power vested in me by God's holy church, I now pronounce you husband and wife. Tuck is performing the ceremony before the happy couple. FRIAR You may kiss the bride. The husband draws back the bride's veil. Robin and Marian. They kiss. long. FRIAR -LRB- whispers. -RRB- Hurry. We waste good celebration time. They break the embrace, turn to the congregation and start down the aisle. They pause at the front pew, where KING RICHARD and members of his court are sitting. Robin bows, Marian curtsies. KING RICHARD May I kiss the bride? ROBIN Who would dare refuse his king's request? KING RICHARD -LRB- kissing Marian's cheek. -RRB- You look radiant, cousin. ROBIN We are deeply honored by Your Majesty's presence. KING RICHARD It is I who am honored, Lord Locksley. Thanks to you I still have a throne. They continue down the aisle, past the smiling congre - gation. Waiting by the door is Aslan. He and Robin embrace. ASLAN -LRB- whispers. -RRB- My friend, a word of advice. Ride her better than your horse. Robin laughs.",
"EXT. NOTTINGHAM CATHEDRAL - DAY WEDDING BELLS PEAL. Robin and Marian step out into the sunlight. The crowd cheers. At a signal from Little John, the ex - outlaws shoot flaming arrows into the sky. FIREWORKS. FADE OUT. THE END"
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] | During the Third Crusade, Richard the Lionheart, King of England is away in France, leaving the cruel Sheriff of Nottingham—aided by his cousin Guy of Gisbourne, the witch Mortianna, and the corrupt Bishop of Hereford - to rule the land. Robin of Locksley, a nobleman, chose to follow the king in his Crusade. At Locksley Castle, Robin's father, who is loyal to King Richard, is attacked by the Sheriff's men after refusing to join them. Robin, meanwhile, has been imprisoned in Jerusalem along with his comrade, Peter Dubois. They break free from Ayyubid prison guards and save the life of a Moor named Azeem, but Peter is mortally wounded in the process. After making Robin swear to protect his sister, Marian, Peter sacrifices himself so Robin can fully escape the city. Robin returns to England with Azeem, who has vowed to accompany him until his life-debt to Robin is repaid. After a run-in with Gisbourne, Robin returns home, finding his father dead and the castle in ruins. Robin tells Marian of Peter's demise and, after fleeing the Sheriff's forces, encounters a band of outlaws hiding in Sherwood Forest, led by Little John. Among the band is Will Scarlett, who holds a belligerent grudge against Robin. Robin assumes command of the group, training them into a formidable force in opposition of Nottingham. They rob any convoys that pass through the forest and distribute the stolen wealth among the poor. Friar Tuck, once a member of a convoy, joins the group after coming to understand Robin's cause. Marian sympathizes with the band and offers Robin any aid she can muster; the two grow close and begin to fall in love. Robin's successes infuriate the Sheriff, who increases the mistreatment of the people, resulting in greater local support for Robin Hood. The Sheriff kills Gisbourne for his failure to prevent the looting of several convoys and hires Celtic warriors to bolster his forces. The Bishop betrays Marian after she confides in him an attempt to contact King Richard in France and she is taken prisoner. After locating the outlaws' hideout, the Sheriff launches an attack, destroying the refuge and capturing many; Robin is presumed dead. To consolidate his power and claim the throne, the Sheriff proposes to Marian (who is Richard's cousin); if she accepts, he will spare the lives of the captured outlaws. Nevertheless, several of the rebels are due to be executed by hanging as part of the wedding celebration. Among the captured is Will; he makes a deal with the Sheriff to find out if Robin lives and, if so, kill him in exchange for freedom. Will finds Robin alive, along with John and a handful of other survivors. After informing Robin of the executions and the Sheriff's plans to wed Marian, Will continues lashing out at Robin. Questioning Will as to why he holds so much hate, Will reveals that he is Robin's younger half-brother; after Robin's mother died, his father had taken comfort with a peasant woman. Robin's anger over what he saw as a betrayal of his mother's memory caused his father to leave her, thereby leaving Will fatherless. Robin is overjoyed to learn that he has a brother and reconciles with Will. On the day of the wedding and hangings, Robin and his men infiltrate Nottingham Castle and free the prisoners. After Azeem inspires the peasants to revolt, the Sheriff retreats with Marian into a chapel to be married; Robin pursues him and, after a fierce fight, kills the Sheriff. Mortianna attacks him, but she is slain by Azeem, fulfilling his life-debt to Robin. Tuck finds the Bishop attempting to flee with bundles of gold; Tuck burdens him with the treasure before defenestrating him. Robin and Marian profess their love for each other and are married in the forest, though they are briefly interrupted by the return of King Richard, who blesses the marriage and thanks Robin for his deeds. | Robin_Hood:_Prince_of_Thieves |
[
"THE LAST SAMURAI Fade In : A BRIGHT BLUE TIGER Surrounded by a pack of dogs, ten of them snarling and gnashing their teeth. The TIGER'S, eyes burn with fury as he wheels in a circle, lunging at one dog clawing at another, keeping them all at bay. Suddenly, the TIGER leaps over the dogs and transforms into a WHITE BIRD, soaring majestically into the sky. THE FACE OF A JAPANESE MAN Sits up into frame, sweating, waking from a dream. He is KATSUMOTO. We will come to know him later. Fade to black. CREDITS OVER. The faint SOUND of a BRASS BAND. WINCHESTER REP -LRB- V.O. -RRB- the leader in all forms of armament used by the United States Army. When you need a friend, Winchester is by your side. THE FACE OF AN AMERICAN MAN As he smokes a cigar, barely listening. CAPTAIN _ NATHAN ALGREN, U.S. Army, ret, 36 years old and looking every day of it. His eyes are lined and saddened. He takes a swig from a flask. He is BACKSTAGE at :",
"INT. CONVENTION HALL SAN FRANCISCO DAY Where a trade show is in progress. Scantily clad lovelies in red - white - and - blue undies demonstrate the nation's most important new export : arms. Every weapon imaginable is on display : rifles, pistols, even howitzers. Banners declaim the virtues of Winchester and Springfield. Of Colt and Remington and Smith & Wesson. Crowds mill around a stage. where : WINCHESTER REP Ladies and Gentlemen. the Winchester Corporation is proud to bring to you. a true American hero. A patriot who has proven his gallantry time and again on the field of battle. LITTLE TIN SOLDIERS are all lined up. A mass of grey. Rebel troops surrounding a band of blue Union cavalry. A large, metal diorama. WINCHESTER REP I hope you will join us in welcoming. Late of the U.S. Cavalry. The Savior of Sutter Hill. Captain Nathan Algren! A last swig. Algren steels himself, then strides onstage as we reveal a banner : WINCHESTER PRESENTS : THE MIRACLE AT SUTTER'S HILL! Garish limelight from a row of foot lights illuminates Algren. ALGREN My thanks, Mr. McCabe. Ladies and Gents. He looks down at the little metal soldiers and begins to tell the story of the battle that made him famous. His narration is halting, unsteady : ALGREN On that fateful day, Johnny Reb had us in a spot, perched on the lonely top of Sutter's Hill, nothing but grey as far as the eye could see : Unhorsed and out of ammunition, I gazed down into the, um, mael. mael. -LRB- squints to see better. -RRB- - maelstrom below us, and saw them moving up. We realize he is reading from cue cards. The little Rebel soldiers begin sliding up the metal hill. ALGREN I knew it was fight or die. Into the teeth of the enemy or we would all be buried. buried. -LRB- loses his place, under his breath. -RRB- Shit. -LRB- finds it again. -RRB-. on the same hill with our comrades a1ready gone to Merciful Heaven. A sudden flash : Algren's mind. The real battle of Sutter's Hill. The grim reality is ver y different from the dashing tale. Union soldiers scream in agony. Those horses still alive buck and froth at their tether. Algren, a lieutenant then, moves among the panicked, bloody men. He stops beside a PRIVATE, his brother, DAVID ALGREN, 19, blonde, not much more than a boy. DAVEY They're coming, Nate. He looks over the wall. Rebel troops are moving up the hill. ALGREN Keep your head down. DAVEY -LRB- smiling. -RRB- Papa alwa ys said we should've joined the navy. ALGREN What'd he know? -LRB- looks fondly at his brother. -RRB- You watch me now. Do whatever I say. DAVEY Aye - a ye, lieutenant. Algren punches his shoulder and moves on down the line. Nearby, Algren's friend, SERGEANT ZEBULAH GANT, though severely wounded, reloads his revolver with the last of his ammunition. GANT How're the horses? ALGREN Better than you. Smell better, too. -LRB- looks at him. -RRB- Can you hold on, Zeb? GANT -LRB- fighting the pain. -RRB- I got I choice? Algren smiles sadly. His mend will die loon without medical attention. Algren moves down the line, bullets whizzing overhead. He kneels beside COLONEL BAGLEY, his commanding officer. BAGLEY -LRB- panicking. -RRB- We need a flag. Find me a goddamn white flag! ALGREN What are you talking about?! BAGLEY Surrender, damn it! That's an order! Back to the convention hall : ALGREN No thought of surrender among those boy. Better to die as God made us, we thought, as soldiers. So I gave the order. Mister Bugler, sound mount up. Mister Bugler, sound prepare arms. There were only thirty of us, but we had fire in us yet. I looked down the hill at the destiny ordained for us. And gave the order. Mister . says. Bugler, charge! The little Union cavalry soldiers begin moving down slots in the hill. On Sutter's Hill : Algren leads a chaotic cavalry charge down the hill toward the advancing rebel infantry - artillery explosi ons - bullets snapping, trees shattering. Algren's brother, Davey, rides beside him. The wounded Sergeant Gant pulls himself up, waves his cap and yells. Bagley remains cowering behind the stone wall. Back to the convention hall : ALGREN And straight into them we went. On Sutter's Hill : Carnage. Union and Confederate soldiers slam together, falling, drowning in mud and blood, stepped on by panicked hones. Algren wields his saber in one hand and his revolver in the other, serving death on all sides. A soldier riding next to Davey is shot. A horse falls into a shellhole. Back to the convention hall : ALGREN `` Hip - hip hurray'' we shouted, for we had spirit in us yet - More flashes : Algren slices right and left with his saber. He is a truly gifted swordsman. A tree branch knocks Davey from his horse. He sits, dazed, on the ground. Algren kills a rebel soldier just as be is about to fire on him. Single - handedly, be rallies his men, screaming orders, then lifts his wounded brother onto the saddle beside him. He leads them downhill toward safel y, Davey clinging to him for dear life. Back to the convention hall : ALGREN Before they knew what hit them, we had broken through into the rear of the rebel army. On Sutter's Hill : Algren and his men gather in a copse of trees. They are giddy with the exhilaration of having survived. DAVEY We did it, bro', WE DID IT! Whoeeeee! Algren's smile is shortlived, though. SUDDENLY, the woods ERUPT with gunfire. Trees are shredded. Algren's men are literally cut to pieces - Davey is riddled with bullets, his dead body shielding Algren from harm until he slides, lifeless, to the mud. ALGREN Davey -! Men and horses are torn apart - they contort and writhe in agony - jerking grotesquely as the bullets rip into them. Algren frantica1ly tries to locate the source of this firepower. Then he sees : A Gatling Gun. Six barrels glisten like steel teeth. This early machine gun is the pinnacle of current military might - 60 rounds a second - a triumph in engineering. ALGREN AHHHHHHH -! With insane courage, he wheels and charges the gun. Bullets rip into horse and rider alike. Algren falls, lifeless, into the mud. Back to the convention hall : ALGREN And the 23rd rode on to glory. Applause. At the back of the hall three elegantly dressed JAPANESE MEN watch Algren's performance. They wear Western frock coats and top hats ALGREN Now let me : tell you, gentlemen, if there's one thing on earth I could have had with me on that glorious day, it would have been this beauty. Algren holds up a Winchester repeating rifle. At the back of the audience we note someone else watching Algren. SERGEANT ZEBULON GANT, whom we last saw on Sutter's Hill. ALGREN The Winchester Model'73 lever - action rifle. 15 shot capacity, one round - per - second, accurate at 400 yards. You'll note the patented loading port just beneath the cartridge chamber and the smooth cocking action. Lets' just see here - He peers into the ejection port as he cocks the weapon and sights out over the crowd. KA - BOOM! The report echoes among the screams of the ladies. Dust and glass fall from a rear chandelier. ALGREN Smooth trigger action, too. Audience - members murmur nervously. ALGREN This is, gentlemen, The Gun That Is Winning The West. Step on up and take a look. Mr. McCabe is here to answer any question and take orders. I thank you. Later. A Winchester representative is handing Algren an envelope. WINCHESTER REP What the hell was that? ALGREN Got their attention, did n't I? WINCHESTER REP Boston in three weeks. And sober this time. He goes. Algren immediately starts counting the cash.",
"INT. SEEDY HOTEL ROOM NIGHT Algren sits alone on the bed. He takes out a leather - bound journal and begins to write. ALGREN -LRB- V.O. -RRB- June 17th, 1876. The dead are with me tonight. They return each time I am obliged to tell their story.",
"INT. SQUALID BAR NIGHT Algren sips absinthe. He stares at the milky, green liquid before him. ALGREN -LRB- V.O. -RRB- I can almost see them in the shadows, their bodies whole and beautiful once more. Sometimes it's as if they call to me in a sweet invitation -",
"EXT. GAS-LIT STREET NIGHT Algren walks in the fog. Sputtering gas lamps give an unearthly glow. ALGREN -LRB- V.O. -RRB- `` We are dead,'' they whisper, `` and we are happy.''",
"INT. SEEDY HOTEL ROOM NIGHT Algren is back in the hotel room. From his small suitcase, he takes the Medal of Honor, looks at it for a long moment. ALGREN -LRB- V.O. -RRB- `` Do not be afraid,'' they whisper. `` You have been dead, too.'' A sudden flash : We are back on Sutter's Hill. Algren's slaughtered cavalry litter the bloody ground, dead to the last man. A rebel army surgeon gives a cursory look at each body before it is loaded onto a wagon. Algren's turn is no different than the others. He is declared dead and hoisted unceremoniously onto the pile of corpses. Back in the. hotel room. : Algren sits, staring into the middle distance. ALGREN -LRB- V.O. -RRB- Is this why they gave their lives? So that I might disgrace their memory? He reaches into the suitcase and takes out a Colt revol ver. Stares at it, cracks the cylinder to make sure it's loaded. His finger wraps around the trigger, the barrel makes its way toward his head. And then, unaccountabl y, he is laughing. ALGREN -LRB- V.O. -RRB- And why, after taking so many lives, do I find myself incapable of taking just one more? A KNOCK on the door. Algren shuts his eyes, then calls out. ALGREN Go away. GANT -LRB- V. O. -RRB- Not exactly the greeting I imagined. Algren looks up. He knows that voice. He carefully puts the revolver back into the suitcase and shuts it before opening the door. GANT Thought you'd seen the last of me, I expect. Algren is filled with emotion, which he tries to hide. ALGREN Zeb. They embrace. ALGREN Sit. Please. Gant moves to the proffered chair with a pronounced limp. GANT Saw your little melodrama today. Very inspiring. ALGREN Given up soldiering to become a critic? Gant smiles and shakes his head. GANT Got a job for you, unless you're running for office. ALGREN I have I job. GANT I mean a real job. Back in uniform. ALGREN I' m retired. GANT I do n't mean a U.S. uniform. Algren looks at him. Curious despite himself.",
"INT. RESTAURANT NIGHT Gant leads Algren into a lush San Francisco restaurant. Flickering gaslight and trays of lobster. COLONEL BENJAMIN BAGLEY -LRB- whom we saw in flashback -RRB- sits with the three Japanese men. Bagley's hair has greyed. He has his eye on a political future. BAGLEY Nathan, good to see you. ALGREN -LRB- stunned. -RRB- Colonel Bagley. BAGLEY Sit down. This is Mr. Omura, from Japan, and his two associates who, so far as I can tell, do n't have names. OMURA 40, is a handsome and intelligent man. He watches Algren closel y as Algren pours a glass or whiskey from a decanter. BAGLEY They're looking to hire real American soldiers to create the first Japanese Imperial Army. Algren looks at him. BAGLEY Japan's got it in mind to become a civilized country and they're willing to spend what it takes to hire white experts to do the job right. Algren takes a slow lip of whiskey. BAGLEY Sergeant Gant has already agreed to serve. You would be my second - in - command. ALGREN. says. With approval from Washington, of course. BAGLEY Both governments prefer to consider our mission unofficial. We'd be there as non - combatants only, advisors to the Japanese officers. Help them with training, ordinance and the like. GANT You ought to think about it, Captain. Unless you intend to take up a career in the theater. ALGREN I have an agreement with the Winchester Corporation - I'm sure these people have some concept of what an agreement is. Omura suddenly speaks. His English is flawless. OMURA You are paid seven dollars for each performance. You do, on average, fourteen performances a year. We will pay you 400 dollars. ALGREN A year? OMURA A month. Algren looks at him. The figure, in 1876, is staggering.",
"EXT SHIP--OCEAN DAY A steamship chums its way across the great Pacific. Algren leans on the ship's rail and looks out into an endless processi on of wa ves. ALGREN -LRB- V.O. -RRB- June 23, 1876. It is impossible, standing here, not to appreciate one's, own insignificance. A dolphin crests the surface, arcing into the air. ALGREN -LRB- V.O. -RRB- Here there is neither past, nor future. Only an oblivion of water. In his tiny cabin, Algren finishes writing in his journal and takes out a daguerreot ype of a HAUNTINGLY BEAUTIFUL BLOND WOMAN. ALGREN -LRB- V.O. -RRB- And yet I ask myself, will the dead follow me across the ocean to this strange new land? He stares at the woman in the picture.",
"INT. SHIP CABIN DAY In the main cabin, Algren sits with Gant and Omura. Algren is drinking. OMURA After the Shogun gave up power, the daimyos - you would call them warlords - knew that Japan needed a centralized government. So they asked OMURA -LRB- CONT'D. -RRB- the hereditary Emperor, His Highness the Enlightened Meiji, to lead the country. ALGREN And these warlords just. gave up hundreds of years of power? OMURA Economic incentives were offered. Most provincial leaders saw the financial benefits of modernization. ALGREN What about those that did n't? OMURA To deal with those who have resisted, the Emperor has decided to create an Army with allegiance only to him. We considered hiring advisors from Germany, but your Ambassador reminded us of your experience in suppressing rebellious elements in your Civil War. This evocation of the Civil War is not lost on Algren. ALGREN Who are we supposed to be fighting against? OMURA His name is Mori Katsumoto. He is samurai. ALGREN Samurai? OMURA The word you might use it `` warrior''. But that does not quite capture it. Katsumoto once served the Emperor but he is now a traitor who leads a band of traitors. He must be punished. Algren looks pointedly at Bagley. ALGREN You told them about our experiences together on Sutter's Hill, did you, Colonel? BAGLEY They know I was your commanding officer. Yes. Algren glares at Bagley, then stands. ALGREN Excuse me, gentlemen. I need some air. -LRB- to Omura. -RRB- I'm sure Colonel Bagley can amuse you with more stories of patriotic gore. He walks away. OMURA He is insolent. BAGLEY Get him in front of the troops, you'll see. Top of his class at West Point. Brilliant tactician. Even wrote a book. OMURA Why did he leave your army? BAGLEY What's a hero to do when there's no more great battles? OMURA Is that an evasive answer? BAGLEY Sir, this man was left for dead at Sutter's Hill. Doct ors swore his heart had stopped beating, but before they could bury him, he came back to life. After the war he fought the Sioux, the Cree, and the Blackfoot. -LRB- leans closer. -RRB-. Point him at the enemy. He was born for it.",
"INT. SHIP -- ALGREN'S BERTH NIGHT Algren lies in his cramped berth. Ca n't sleep. A sudden flash : On the wagon of dead bodies, Algren's eyes open to stare into the unblinking eyes of his brother, Davey, half his face shot off. He tries to move but be is buried beneath the weight of those piled on top of him. Blood drips down into his eyes and mouth, blinding and choking him. Back to the ship : Algren awakens, bathed in sweat. Terror. A silhouette in the doorway. Colonel Bagley stands looking down at him. BAGLEY I hope you realize the kind of second chance this is for you. I wo n't tolerate insubordination. Algren reaches for a nearby glass, drains it. ALGREN Court - martial me. BAGLEY Would you rather I had n't recommended you for the medal. Nathan? Is that it? ALGREN We both know why you helped me, Colonel. Do n't expect me to go all weepy with gratitude. BAGLEY I expect you to do your job. Save the self - pity for your own time. He turns and walks out, leaving Algren to stare at the empty glass.",
"EXT. SHIP DAY Algren and Gant stand at the rail. GANT Hate boats. If the Lord bad wanted man to sail he would n't have created infantry. ALGREN How many rimes you puke today? GANT I'm down to two. Omura comes up next to them. OMURA I understand you are a scholar, Captain Algren. -LRB- to Gant. -RRB- Have you read his book, Mr. Gant? GANT Ca n't say I have. OMURA An analysis of the triumph of weapons technology over antiquated military tactics. ALGREN -LRB- wr y. -RRB- A real page - turner. Sold twelve copies. OMURA Nonetheless, I was impressed. I enjoy reading military history. I spent two years studying English at Princeton University. ALGREN And where did you learn to speak Japanese? Omura is perplexed by Algren's remark, then realizes he is being kidded. He laughs heartily. Algren laughs with him. A connection is made. OMURA Yes, and in Japanese there are twenty - seven words for `` war.'' I will be impressed if you learn only half of them. He walks away. Algren watches him go. His face darkens. ALGREN I got twenty - seven words too - Reb, Sioux, Pawnee, Blackfoot, Jappo. Only one language when it comes to war.",
"EXT. YOKOHAMA HARBOR DAY Like all Japan, Yokohama is at the cusp of a new era. Ancient sampans and wooden schooners beside freighters and steamships.",
"EXT. YOKOHAMA DOCK DAY After 23 days at sea, they are all glad to climb down the gangplank. The Yokohama docks are a frenzy of languages and looks and smells and sounds. Japanese competes with German and English and French and Russian. Warehouses fly the flags of a dozen countries. One striking Japanese character dominates : the symbol for, Omura. It is seen on buildings, warehouses, and the headbands of scores of laborers. A series of palanquins, litters carried by bearers, await our voyagers. As does SIMON GRAHAM, a dissipated Englishman who has lived in Japan for many yean. Slender and pale, with an occasional consumptive cough, in his 50's, he wears a white linen suit, a bit worse for wear. OMURA Captain Algren, this is Mr. Simon Graham. He will be your translator. GRAHAM Pleasure, Captain. BAGLEY You'll be quartered at the Embassy for now. OMURA The Emperor will summon you at his pleasure. Graham ushers Algren and Gant into their own less - ornate version. GRAHAM If you please, Captain. ALGREN They're gon na carry us? GRAHAM You're guests of the Emperor. You can not walk. Algren notes the hoods covering the faces of the palanquin bearers. ALGREN Why the hoods? GRAHAM So you wo n't have to burden your eyes by looking at slaves. Oh, excuse me, they're servants now. -LRB- coughs, wipes a bit of blood. -RRB- This wa y, gentlemen.",
"INT /EXT PALANQUIN - YOKOHAMA STREETS DAY Their bearers maneuver them through the bustling streets of Yokohama. White face painted geishas walk alongside bearded Russians. Traditional Japanese kimonos alongside European suits and hats, schizophrenic world of ancient Japan versus modern commercialism. GRAHAM Twenty years ago Yokohama was a lovely little port. Then your Commodore Perry arrived and changed all that. ALGREN All this in twenty years? GRAHAM Japan has. embraced. Western wa ys. Hired lawyers from France, doctors from Germany, naval architects from Britain, civil engineers, railway designers, scientists, teachers. And, of course, warriors from the United States. ALGREN Buying the future. GRAHAM Or selling the past.",
"INT. GUEST QUARTERS DAY A shoji screen is opened by a bowing servant to reveal the clean, classic lines of a Japanese room. Algren is about to enter when Graham stops him, indicating for Algren to remove his boots. Algren scowls, confused, and struggles to pull off the high, filthy boots. He takes in the foreigness of the room, an arrangement of fl owers on a low table. ALGREN No chairs? GRAHAM Correct. And this -. -LRB- points to a mat. -RRB-. is your bed. ALGREN And this? He points to a block of wood. GRAHAM Your pillow. ALGREN You mean to say there are no real beds in Japan? GRAHAM For its entire history Japan his been completely aakoku, I `` closed country.'' Thirty years ago, if you had washed up on Japanese soil. you would have been beheaded on sight. Now, they let you keep your head. and give you a wooden pillow.",
"EXT. AMERICAN EMBASSY-. GARDEN DAYS LATER In the pristine grounds of the Embassy, a garden party is in progress. Incongruous lilting Yankee tunes are heard from the Japanese band. Algren and Gant, now in their dress uniforms wander through the party with Graham. Liveried servants pall trays of canapés. Elsewhere we see diplomats representing all the powers currently trying to devour Japan : Russia ; England ; Germany ; France ; Spain ; etc.. GRAHAM I remember when it was just America and the Dutch. Now ever ybody' s getting into the game. They pass two German diplomats. The Germans glance to Algren and Gant with suspicion, bow tersely. Graham greets them in German. GRAHAM The Germans are particularly eager. ALGREN What do they want? GRAHAM Same thing your country wants. Most favored nation status. ALGREN How long have you been in Japan? GRAHAM Oh, western time quickly loses its meaning here. I first came as part of the British legation in 1857. But I was soon relieved of my position, as a result of various. disagreements with the Crown's attitude toward the locals. Omura separates himself from his entourage and approaches. OMURA Gentlemen. I hope you are enjoying a taste of home. ALGREN I've done with worse, believe me. OMURA America has much to offer us, though. Its' industry and ingenuity are without peer. -LRB- ingratiating. -RRB- I have spoken to the Emperor about you. He is interested in the most modem theories of warfare. ALGREN I look forward to the opportunity of meeting him someday. OMURA You will have that chance sooner than you think. He has requested an audience. Graham is open - mouthed at this turn of events.",
"EXT. IMPERIAL PALACE DAY Algren and Bagley sit with Graham in an ornate carriage as they cross the moat and enter the ancestral palace of the Shoguns.",
"INT. IMPERIAL PALACE ANTECHAMBER DAY Algren waits with Bagley and Graham outside the throne room. GRAHAM Remember that he is arahitogami. A god in human form. During the last two hundred years no emperor was even seen by commoner. You may look at him, with deference, but do not speak unless you are spoken to.",
"EXT. IMPERIAL COURT -- THRONE ROOM DAY Algren and Gant are surprised to discover the living god is barely in his twenties. The divine EMPEROR MEIJI is an intelligent and curious young man, yet there is a tentativeness about him. His throne is surrounded by ADVISORS, principal among them is Omura. Nearby, the American AMBASSADOR SWANBECK a cagey diplomat The throne room itself is sweeping, beautiful, and extremely restrained. Everywhere, tasteful displays of the traditional flower of the monarchy : chrysanthemums. The vibrant yellow bl ossoms haunt the chamber. As the Emperor considers his guests, Omura whispers into his ear. Then : OMURA The Emperor bids you welcome. He wishes you to know that he is most grateful for the assistance your country offers ours, in order to rid ourselves of the brutality of the provincial warlords - and to accomplish the same national harmony which you enjoy in your homeland. The Emperor speaks in Japanese. The advisors are non - plussed, and Omura leans down for a moment to confer with him, then smiles indulgently : OMURA The Emperor is most interested in your American Indians, and wishes to know if you have seen them firsthand. Algren looks at Graham, who nods. He may speak. ALGREN I have seen many of them, and have fought them, too. They are very brave. Graham translates. The Emperor nods and smiles. EMPEROR -LRB- accented English. -RRB- Thank. you. very. much. He stands. Everyone else hurries to follow suit. The audience is over.",
"EXT. PALACE GARDEN DAY A1gren, Graham, and Bagley walk through the palace grounds. BAGLEY That young pup runs this country? GRAHAM That `` pup'' runs the country no more than I do. He was installed as a figurehead at age twelve when the warlords realized Japan needed a central government. But do n't be fooled - he may be a powerless god, but to these people he's a god nonetheless. GENERAL YOSHITAKA appears. He is a seasoned soldier in his 40's. A decent man. He stops before them, bows quickly. GRAHAM Gentlemen, may I present General Yoshitaka. He will assist you in training the army. ALGREN General. Algren offers his hand. General Yoshitaka does not take it. He bowl his head and speaks a few words. Graham translates : YOSHITAKA/GRAHAM He greets you with extreme courtesy and asks if you are ready to meet the Imperial Army.",
"EXT. PARADE GROUND DAY About a thousand Japanese soldiers in baggy uniforms are milling around a large parade ground. Each has an old single shot rifle. Algren, Gant, and Yoshitaka look down on them from a reviewing stand. GANT Jesus. ALGREN Ask the General what training they' ve had. Graham speaks to General Yoshitaka, then translates his response. YOSHITAKA/ GRAHAM He sa ys. We have trained them not to shoot their. asses off. Algren glances to General Yoshitaka, who looks back wryly. ALGREN Sergeant Gant, have the men stand to attention. GANT Imperial Army, Atten - tion! Graham translates, rather mildly. ALGREN For God's sake, let's not keep it a secret who's in charge here. Mr. Gant. GANT -LRB- roars. -RRB- ALL RIGHT YOU SLANTY - EYED LITTLE BASTARDS STAND UP STRAIGHT OR I WILL SHIT - KICK EVERY ONE OF YOU COCKSUCKERS! As the soldiers immediately stand to attention, we begin a montage of the training of the first Imperial Army : We see Gant drilling the men. Shouting at his translator. Trying to get them to march in formation. Algren is nearby, watching. ALGREN -LRB- V.O. -RRB- August 4,1876. As I watch this new army train, I can not help but think of those who rode with me in me 23rd cavalry. Algren sits in his tent, writing in his journal. Outside, the Japanese are being taught the basics of firing tactics. ALGREN -LRB- V.O. -RRB- For four years they had survived, never once shrinking from the fire. And so, when given my order to charge the advancing rebel infantry, they never hesitated. And they all died. We see Algren showing the Japanese how to fire in formation. The old single - shot rifles they carry make reloading a painfully slow process. ALGREN -LRB- V. O. -RRB- Now I am training another army. In another civil war. Algren and Gant spar with sabers - Algren's expertise far exceeds Gant's, a fact which Gant accepts with good humor. ALGREN -LRB- V.O. -RRB- Is this why I was spared? Once again to lead men to their death? It is sunset Algren, Graham, and General Yoshitaka watch the training. General Yoshitaka speaks. YOSHlTAKA/ GRAHAM the problem is they're peasants. They have never had this sort of responsibility or power. Algren watches Gant march beside the Japanese. They are illuminated by the majestic red sunset ALGREN -LRB- to Graham. -RRB- Ask him if they have a flag. Graham translates. Genera1 Yoshitaka responds. GRAHAM No flag. ALGREN They need a flag.",
"EXT. TOKYO STREET EVENING Tokyo is a city in chaos. Everything seems out of balance. Dystopic. A collision of Eastern and Western. Algren and Gant watch as Graham prepares to take a photograph of an old merchant in front of his store. GRAHAM I've been doing this for years. Trying to capture it before it's all gone. Afraid I'm losing the battle. Algren silently watches the passers - by. Something draws his attention : Across the street. a man is striding down the crowded sidewalk. His martial bearings, two swords, traditional dress and unique top knot of hair instantly identify him to us as a samurai. We will meet him again later, he is UJIO. A terse, grim man in his 40's. His proud gait and rigid, imperious manner intrigue Algren. Most of the people on the sidewalk instantly step out of the wa y, bowing in deference. But two young Japanese in Western dress do not. Ujio stands before them, waiting for them to move. They do n't. Tense words are exchanged. Ujio glares at them. Algren watches. ALGREN Mr. Graham. GRAHAM Ah. now this should be interesting. He's waiting for them to show deference. Across the street, Uji o barks out some harsh commands to the two Japanese men. They laugh in response. Then one of the men raises a hand and barks some clearly disrespectful words back - Like lightning - Ujio pulls out his long samurai sword - it flashes - Cleanly beheading the disrespectful Japanese man - The beheaded corpse begins to fall - In one smooth motion, Ujio wipes his blade clean of the corpse as it falls and sweeps it back into its scabbard. The other man immediately drops to his belly, prostrating himself. Without another glance, Ujio walks away. His face is completely impassive. GANT What the hell was that? GRAHAM That. is a samurai.",
"INT. RESTAURANT NIGHT Sergeant Gant gazes unhappily at his dinner : glistening raw fish ; tepid beancurds ; boiled rice. Algren, Gant, Graham, and General Yoshitaka sit cross - legged on the floor. Gant finds this extremely uncomfortable. GRAHAM Before the edicts every citizen had to prostrate himself in the presence of a samurai. ALGREN What edicts are those? GRAHAM The Council of State has been passing a series of laws designed to eliminate the samurai. GANT Why? GRAHAM Because you are here now, Sergeant. For the last 800 years guarding Japan and fighting her wars was the exclusive occupation of the samurai. The next course arrives. Thick, black eel. Gant groans. GRAHAM Men like Mori Katsumoto were the most elite caste in Japanese society until the Council of State - led by your friend Omura - decided the whole class had to go. -LRB- munching eel. -RRB-. Most of the samurai accepted the new laws. But some did n't. Or could n't. Like Katsumoto. General Yoshitaka speaks up. Graham translates : GRAHAM General Yoshitaka bids you to remember that the word samurai means `` one who serves.'' Their whole existence is based on serving their country as warriors. Graham finishes translating, then continues on his own : GRAHAM. says. Your Imperial Army is taking away their only reason for being. So what are they to do now? Algren considers this as he pours another cup of sake. ALGREN This is sake? GRAHAM Sake. Rice wine. YOSHITAKA Hie! Sake. ALGREN Sake. -LRB- to Yoshitaka. -RRB- Good. Yoshitaka nods. Enthusiastically tries an English word. YOSHITAKA Good! GRAHAM Vexing people, the samurai. Blood - thirsty, honorable, cruel, fabulously artistic. Wanted to write a book about them for years, but no Westerner can get close enough. ALGREN Ask him if he ever saw a samurai in battle. Graham looks at A1gren. GRAHAM He is samurai. Algren looks at Yoshitaka with new eyes.",
"EXT. TOKYO STREET NIGHT Later that night. Algren and Gant, a little drunk by now, wander Tokyo's bustling red light district. Like Amsterdam, the geishas sit in windows facing the street.",
"INT. GEISHA HOUSE NIGHT This is certainly not the whorehouse they expected. Elegant Japanese furnishings. Lovely flute music. The MADAM lowers her head and speaks quietly in greeting. GANT My friend and I were looking for some companionship. The Madam speaks no English. Gant speaks louder, as if to a deaf person. GANT Ladies of the evening? Hootchie - contchie? Boom - Boom? ALGREN -LRB- embarrassed. -RRB- Zeb. -LRB- tries a bow to the madam. -RRB-. so sorry. Gant flashes a fistful of Japanese currency. GANT Universal language. boyo. The Madam nods and bows. Almost magically, two beautifully - dressed GEISHAS appear, their faces are painted pure white. One of the Geishas smile. Her teeth are blackened, to better set off the whiteness of her face paint GANT That one's yours.",
"INT. GEISHA HOUSE ROOM NIGHT Algren and Gant are led into an elegant room with paper screens, and a table set for the Japanese tea ceremony. Gant tries to take the arm of one of the geishas - but she moves awa y, gesturing for him to sit The other begins the tea ceremony. ALGREN No tea. Sake. A musician plays a traditional lute. The geisha begins a graceful fan dance. GANT Fan dance. Saw this once in Chicago. Algren smiles at the Geisha preparing the. She smiles back. Algren pours himself a cup of sake. Later. The sake bottle is empty. The interminable lute music continues. Gant is increasingly agitated as the geisha continues her dance. Algren ca n't help but laugh at his frustration. Finally Gant has had enough. He rises, a bit unsteady from the sake. GANT Okay, darlin' time to get down to business : He shoos the musician out of the room, then approaches the geisha, who shrinks from his intention. ALGREN Zeb. I do n't think she - GANT She's just shy. Who knows what we white devils have got in our trousers, eh, darlin'? He takes her arm. She resists - her voice rising. GANT Come on, now. He tries to pull her along. Her kimono tears. She calls out in terror. Two men appear, bouncers presumably, but alight of build. ALGREN Oh, shit. The Madam yells angrily at Gant in Japanese. Pushing him out roughly. GANT Now, hold on there, sister. I paid good money. One of the bouncers puts his hand, politely, on Gant's arm. GANT Back off, short - stuff. This time, the bouncer is more insistent. Gant takes a swing at him. Wrong move. Before Gant knows what hit him, the little man uses Gant's momentum in an akido move to flip him to the mat, hard. Algren can only stare, in awe, at the lethal move. As the second bouncer moves to confront him, bowing apologetically, Algren speaks in English, smiling, knowing they ca n't understand a word he's saying. ALGREN Obviously you can kick the shit out of people much larger than you, so we'll be leaving now.",
"EXT. _PARADE GROUND DAY The training continues. We see Gant, now sporting a black eye. Algren walks with General Yoshitaka and Graham. Graham translates : YOSHITAKA/ GRAHAM The General wishes to know if you bad a pleasant evening? Algren looks at Yoshitaka, who gives him. wry look. ALGREN It was. educational. -LRB- Yoshitaka nods. -RRB- Would the General mind telling me more about our common enemy? Yoshitaka looks at him. Has Algren deliberately used the word, `` enemy,'' knowing that Yoshitaka, too, is a samurai? Algren gives nothing away. YOSHITAKA/GRAHAM Mori Katsumoto is an extremely charismatic leader. To those who honor the old ways, he's a hero. His force is estimated at about five hundred and growing by the day. All samurai. ALGREN What kind of man is be? Graham translates. General Yoshitaka considers his words. YOSHITAKA/GRAHAM Katsumoto has no fear. He has no pity. He is kotsutai - the soul of old Japan. He is my honored kinsman. ALGREN Kinsman? YOSHITAKA/GRAHAM We grew up together in Yoshino. Marched together and fought together. He is Kaishaku the brother of my spirit. Algren considers this as they observe rifle practice. Erratic but improving. Algren notes Yoshitaka's reaction. The rifles seem to make him unhappy. ALGREN Ask him what kind of guns Katsumoto has. GRAHAM The samurai do n't use guns. ALGREN No, ask him what kind of firearms they have. Graham obliges. Yoshitaka responds, with disdain : YOSHITAKA/GRAHAM The samurai no longer dishonor themselves by touching firearms. Algren is surprised at this bit of information. A servant approaches, bows. GRAHAM Colonel Bagley requires you.",
"INT. TENT DAY Colonel Bagley and Algren stand at a map. Omura sits. ALGREN They're not a fighting unit yet BAGLEY We have no choice. -LRB- refers to the map. -RRB- - the railroad has been stopped here. Just as it entered Yoshino, Katsumoto's province. OMURA Captain, we can not govern a country in which we can not travel freely. Katsumoto's provocation is strategic. His defeat will demonstrate to the other disloyal samurai that resistance is an act devoid of honor. BAGLEY The rebels do n't have a single rifle. They're savages with bows and arrows. You get up there and show'em how it', done. ALGREN With respect, sir, I need more time. OMURA With all due respect. this railroad can not wait. He bows and leaves them alone. Bagley spins on A1gren. BAGLEY You think we're the only country interested in Japan?! You do n't think the Germans and the French would like to oversee the new army? ALGREN Colonel - BAGLEY -LRB- brutally. -RRB- Why do you think we're here, Captain? Because Remington and Colt and Winchester have powerful allies in Washington. We're here to sell a shitload of American guns. and steel. and timber. That should n't be bud for a Winchester whore like you to understand. Algren looks at him, murderously. ALGREN Yes, air.",
"EXT. RUINED VILLAGE DAY A STEAM ENGINE lends plumes of smoke into the air as it waits. Algren, Bagley, and General Yoshitaka ride along the railroad line. The Imperial Army follows, with Sergeant Gant, on foot. A traditional Japanese village is being torn aside to make room for the railroad line. Houses are being leveled and black smoke drifts up. The displaced villagers gather belongings. Omura guards herd them about rather bruta1ly. Railroad workers are laying a new spur, building a brick station. A1gren notes the by now familiar Omura symbol on the new water tower and on the headbands of the guards and workers. ALGREN What is that sign? GRAHAM It's the symbol for the Omura Zaibatsu. ALGREN Zaibatsu? GRAHAM Old family businesses that own ever ything worth owning. The molt powerful is the Omura Zaibatsu. That's your friend, Omura. ALGREN They own all of this? GRAHAM They do now. SEVERED HEADS on pikes line the road, a warning to those who continue to resist ALGREN -LRB- V.O. -RRB- October 24,1876. Today we entered Kansai province. Here the local warlords have all been convinced to accept the emperor's rule. They pass a particularly wrenching sight. Villagers kneeling outside what used to be a Shinto temple. The railroad tracks cut straight through it. ALGREN -LRB- V.O. -RRB- Our destination is Yoshino, home of the rebel Katsumoto. Protected by high mountain passes, it can be reached only during the summer months, and even then with great difficulty. The Army moves on. Ahead are towering mountains.",
"EXT. MOUNTAIN PASS DAY The Imperial Army winds its way up I steep mountain pass. ALGREN -LRB- V.O. -RRB- A long march. And then a battle. A new enemy, but the same feeling I had in my guts at twenty - one, in the cornfield at Antietam - men will die here, today, and will I be among them?",
"EXT. MOUNTAIN PLAIN MORNING Fog. Obscuring everything. Algren and Bagley, on horseback, wait with Graham. General Yoshitaka and a few Japanese Commanders are mounted as well. The thousand strong Japanese Army is on foot They stand, rifles ready. ALGREN -LRB- to Graham. -RRB- Ask him how they'll come at us. Graham speaks to General Yoshitaka. Yoshitaka responds : YOSHITAKA/ GRAHAM They'll come straight on. They will push forward and keep on attacking. And he adds that there is no samurai word for `` retreat.'' Algren prepares himself. They wait. General Yoshitaka is suddenly alert. He speaks quietly to Graham. YOSHITAKA/GRAHAM He sa ys they're coming. Algren gazes into the thick fog ahead, sees nothing. Bagley looks worried. BAGLEY Captain Algren, have you posted a rear guard to protect our supply train? ALGREN Yes. BAGLEY Who is overseeing their deployment? Algren is somewhat confused by the question. ALGREN No one. BAGLEY Mr. Graham, you will accompany me to the rear. I want to be certain we are protected from any surprise assault. GRAHAM Yes. Of course. Before Algren can respond, Bagley has left the front lines with Graham in tow. Gant watches as they head out of harm's way. GANT Son of a bitch. ALGREN -LRB- almost to himself. -RRB-. I'm going to kill him. GANT Waste of good ammo. Gant checks his two revol vers. The methodical clicking of the chambers as he checks his rounds is the only sound. Then absolute silence. A light SNOW begins to fall. Algren continues to peer into the fog. Nothing. Then a sound. distant. building through the fog. The steady rumble of horses. Slowly approaching. Closer and closer. Algren notes some of the Japanese soldiers are literally shaking in fear. Algren peers again into the fog. Nothing. But the sound is closer. Then the sound abruptly stops. Silence broken only by the murmured prayers of some of the soldiers. ALGREN Sergeant Gant, order the troops to assume staggered firing positions. GANT Imperial Army, assume staggered firing positions. His order is translated. The Japanese soldiers prepare to fire, one row kneeling, the other standing behind them. One of the Japanese soldiers faints from sheer tension. Algren can see nothing through the dense fog. The tension is unbearable. Then a form on horseback. ghostly. like lame sort of medieval monster. An elaborate, horned helmet. Sweeping samurai armor. All we can see it the eerie silhouette in the fog. Like something from a nightmare. And then another figure. and another. as 500 mounted samurai warriors slowly move into position. The Japanese troops are terrified GANT -LRB- quickly. -RRB- Hold the line. hold the line. The order is translated. A terrible, beautiful moment of absolute stasis. Nothing moves. The Japanese soldiers wait. The ghostly silhouettes wait. Silence. Then - as if a silent signal were given - the samurai suddenly CHARGE, emerging from the fog in a great wave -! The force of a tsunami. The silence is shattered as the charging samurai roar out ancient war - cries that chill the blood - sweeping forward on their hones like lightning - swords and spears flashing ALGREN FIRE! The Japanese troops fire then quickly begin trying to reload their single shot rifles - others fumble at the ask and then break and run - Panic and chaos - ALGREN Hold the line! Too late - the samurai are on them - They attack with an intensity few have ever seen - many of the Japanese soldiers try to escape, turning and running in blind panic - they are butchered - run through by the ashigaru, cut inhalf by the naginata. Those soldiers who laboriously try to reload their rifles are quickly mowed down by ferocious clouds of samurai arrows, fired by mounted Samurai. ALGREN Sound fall back! Sound fall back! A bugler sounds the order. The Army begins to retreat. But suddenly they are attacked from behind as well! Arrows shoot from the fog and more mounted samurai appear. They are surrounded. Algren, Gant, and the Japanese Offi cers call out orders but all discipline soon breaks down - it is every man for himself - The battle swirls ever ywhere around us. Fleeing soldiers are run through by lances, run down and trampled by horses. Each samurai wears individual, vibrantly col ored armor. Various battle flags sweep through the fog. Gant uses his two cavalry revolvers - firing constantly - finally out of ammo he drops from his horse in the cavalry st yle and pulls a Winchester repeating rifle, crouching and quickly firing - Algren uses his revol ver first - firing as he turns on his horse - when the revol ver is empty he pulls his cavalry saber. He manages to parry the lethal blows as the Samurai hurtle past - But one Samurai, his armor all in black, comes at him on a collision course and SLAMS INTO HIM, sending both horse and rider to the ground. Algren scrambles to his feet, his saber nowhere to be found as another rider heads toward him carrying a lance. Algren manages to grab it and throw the rider to the ground, wrestling the lance from his grip and running him through. In the midst of the battle we notice a peculiar thing. One samurai is just sitting on his horse. Watching Algren. This samurai wears a BLACK MASK. The MASKED SAMUARI watches Algren fight. Algren now wields the lance to battle the horsemen as they sweep past. He spears one and then unseats another. When a third samurai cuts his lance in half, Algren uses the remaining half as a club to take him down. The Masked Samurai continues to watch Algren. Algren's tenacity is amazing. He continues to fight with heroic passion, refusing to give an inch, long after Those around him have fled. Then a blaze of bright yellow - a samurai in yellow armor galloping past, firing arrows steadily from horseback. His control and speed are astounding. We will come to know him as YORITOMO, a handsome young samurai. Yoritomo fires arrow upon arrow - the speed is breathtaking - Two arrows slam into Gant, knocking him to the ground. The battle, meanwhile, has become a rout. Those Imperial soldiers who fight are easily cut down. Those who flee are run down like prey. Left alone, Algren finds himself confronted by ashigaru - samurai foot soldiers carrying pikes. He turns to discover his retreat cut off by other samurai wielding katana - the lethal long sword. But rather than give any quarter, Algren launches an attack. He kills one samurai before he is RUN THROUGH, at the shoulder, by a lance. In agony, Algren SNAPS OFF the hilt of the lance, leaving its tip buried deep in his chest, and fights on. He manages to parry a blow - which SLICES into his side. The next blow takes off a piece of his scalp. Blood fl ows down his faces and into his eyes. Algren is now surrounded by ten samurai. A man's heroic stand against certain death is of great interest to them. As they begin to close in, Algren whirls the lance around, a tattered battle - flag with TIGER INSIGNIA still dangling from the end. The MASKED SAMURAI removes his mask. It is the JAPANESE MAN, whose dream of the tiger we glimpsed at the beginning of the story. His eyes wide in surprise, he watches his dream come to life - the blue tiger holding the dogs at bay. In SLOW MOTION Algren whirls the lance, as one samurai, wearing BLOOD - RED ARMOR, advances. With a murderous smile, he draws his katana. Algren seems spent - he drops to one knee, swaying, on the brink of losing consciousness. . says. But as the RED SAMURAI, lets out a battle cry and propels himself forward for the death blow - Algren suddenly LEAPS UP and propels the jagged wooden end of the broken lance into the unprotected throat of his attacker. As the samurai falls, the rest of his comrades close in to cut Algren off. A harsh COMMAND stops them in their tracks. The Masked Samurai leaps from his horse. Everyone steps aside deferentially so that be might pass by without being jostled. He looks down at Algren, then removes his battle helmet. And we meet _ MORI KATSUMOTO, the leader of the samurai. He it an imposing man of about Algren's years. Sensing that he is about to be killed, Algren pulls himself t o his knees, and SWINGS his saber at Katsumoto. With blinding speed, Katsumoto pulls his katana from its scabbard. Algren's saber is SNAPPED CLEANLY IN TWO. Katsumoto looks down at Algren. Then Gant appears behind Katsumoto - limping toward him, cocking his rifle, urgently trying to save Algren - Ujio, -LRB- the Samurai we saw earlier on the streets of Tokyo -RRB- leaps to protect his Lord. His sword flashes - Gant is eviscerated. Algren watches in horror. A dreadful beat as Gant stands, pathetically trying to hold his guts in. Then he sinks to his knees. Katsumoto turns, leaps back onto his horse and trots off. Algren finally wrenches himself from under his horse. He crawls to Gant, blood pouring from his own injured back and shoulder. Gant is dead. Algren looks up to see the battle is lost. The Japanese soldiers have fled. Or are surrendering, injured or dead. And he sees one other thing. General Yoshitaka is still on his horse, head down. He has not pulled his sword. He has not been hurt. Katsumoto rides to Yoshitaka. A few serious words are exchanged. Katsumoto bows his bead in respect, seems to agree to something. Both men climb from their horses. General Yoshitaka pulls out a small b1ade and hands it to Katsumoto, who holds it out firmly. General Yoshitaka quickly and calmly pulls himself on to the blade, plunging it into his stomach, embracing Katsumoto. It is seppuku - the traditional form of samurai suicide. Algren watches, stunned. Then a terrible scream cuts through the battlefield. Algren sees samurai calmly walking among the injured and captured Imperial soldiers. killing them one by one with a single stroke. Algren looks over the slaughter. And then passes out, bill wounds overcoming him. Fade to.",
"EXT. MOUNTAIN PASS DAY Algren is unconscious, tied to a horse. The mounted samurai move up a treacherous mountain pass, disappearing into the soaring mountains of Yoshino.",
"EXT. VILLAGE SUNSET Katsumoto's village is the other Japan. The Japan we have not yet seen. The gorgeous mountain scenery of Yoshino envelopes the village. Snow - capped mountains soar in the distance. A valley below with rice fields. After the turmoil of Tokyo, this place seems a bucolic paradise. Traditional, wooden Japanese architecture. Farming. The sense of harmony so markedly absent from the cities. Algren, barely conscious, hunches over his horse. He has lost a lot of blood. Katsumoto leads his samurai into the village. As he passes, every person in the village touches his or her forehead to the ground to show respect. Most of these villagers have never seen a white face and gaze at Algren with curiosity. And suspicion. Katsumoto dismounts in a large square, the rest of his men follow suit. A samurai helps Algren painfully slide from his horse. Katsumoto moves to the steps of the largest house. His officers fall into formation around him. Algren notes Ujio - the grim samurai who killed Gant - in jet black armor, glaring at him coldly. Ujio walks forward and SCREAMS at Algren in Japanese. Algren does n't move. This only makes Ujio more angry. He paces back and forth like a caged panther spitting invective at Algren. Algren does n't move. He watches Uji o evenly. This takes incredible will. His wounds are so bad that - he can barely stand. SUDDENLY - Ujio draws his long sword - it slashes through the air - the blade singing - and stops an inch away from Algren's face! Algren does n't move. Ujio brings the cutting edge' into contact with Algren's check. Blood runs where even this feather - light touch cuts Algren's skin. Algren does n't move. Ujio glares at him. Then sheathes his sword and walks away. Katsumoto looks at Algren deepl y, gauging him. Then be speaks. In English. Algren is surprised. KATSUMOTO You can not escape. We are deep in the mountains and winter is coming. Katsumoto turns and walks into his house. Uji o follows him. Algren collapses. Fade to black. As Algren begins his time at the heart of the samurai world.",
"INT. YORITOMO'S HOUSE NIGHT Algren'. eyes open. A WOMAN is leaning close, her eyes intent on the task of sewing up his wound. She is beautiful, but he is not really conscious enough to notice, or even feel the pain. He blacks out again.",
"INT. YORITOMO'S HOUSE NIGHT Algren wakes again. He is lying on a simple mat. His injuries are such that he can barely move his head. He takes in the traditional Japanese furnishings. A red ball rolls across the floor. And after it. TOSHIIE, a little boy. around four. The boy l ooks at Algren. offers him the ball. Smiles. A1gren blacks out.",
"INT YORITOMO'S HOUSE ANOTHER DAY Algren's eyes open. Through the archway he can see Toshiie and his older brother HIGEN, around ten. Also the beautiful WOMAN who earlier was stitching his wound. From his recumbent position, Algren watches as she ministers to the boys, who are dearly her sons. Algren is fascinated by her grace and the sweet attention she gives them. She seems to sense him. Her eyes raise, meet bit. She speaks to someone, and YORITOMO appears. He is twenty - one, too young to be the woman's husband. Yoritomo comes into Algren's room. Speaks to him. Algren shakes his head. Does n't understand Yoritomo speaks to the woman, who approaches and places bowl of soup in front of Algren. He ignores it The boys stand in the doorway. Yoritomo shoos them away. Algren glances up at the : woman. Her eyes avoid his, her expression is opaque.",
"INT. YORITOMO'S HOUSE ANOTHER DAY Algren now sits in the main room. The woman is changing the dressing on his wounded right shoulder and arm. Yoritomo kneels across from Algren. He is impressed at the many battle wounds on Algren's body ; the old bullet wounds and scars. In Japanese, he indicates his admiration. Algren his no idea what Yoritomo is saying. Finally he interrupts with the only Japanese word he has bothered to learn : ALGREN Sake. Yoritomo's face breaks into a wide smile. YORITOMO Sake? ALGREN Sake. Yoritomo glances to the woman. She nods, and brings A1gren a saucer of sake. He drinks it down. Holds out the saucer for a refill Smiling, Yoritomo indicates for the woman to comply, but before she can pour another saucer, Algren takes the jug out of her other hand. Yoritomo laughs as Algren drinks it down.",
"EXT. VILLAGE NIGHT Autumn leaves fall to the ground. In a tiny hut, the village swordsmith begins work on a samurai blade.",
"INT. YORITOMO'S HOUSE NIGHT Algren writhes on his mat. Trapped in his recurrent nightmare. A sudden flash : The wagonload of the dead. Davey's bl oody corpse closes in on Algren suffocating him. Back in the house Yoritomo and the woman are asleep in separate rooms. A piercing SCREAM shatters the night",
"EXT. VILLAGE FOLLOWING The screaming continues. Lamps are lit around the village.",
"INT. YORITOMO'S HOUSE FOLLOWING Yoritomo and the woman hurry to Algren's room - Algren in the throes of his recurring nightmare - awakens, disoriented. ALGREN Sake. Yoritomo and the woman confer. Yoritomo looks It Algren and shakes his head, no. ALGREN SAKE! Yoritomo refuses - Algren roars and tries to rise. Laughing at Algren's ferocity in his weakened condition, Yoritomo easily pushes him back down. Algren folds in on himself, rocking like a feral animal.",
"EXT. YORITOMO'S HOUSE NIGHT Katsumoto stands outside the house, drawn by the commotion. Ujio stands with him, shaking his bead. UJIO -LRB- subtitles. -RRB- My lord, why do you spare the barbarian? He is shamed in defeat, be should kill himse1f. KATSUMOTO -LRB- subtitles. -RRB- The barbarian does n't know hit shame. UJIO -LRB- subtitles. -RRB- Then I will kill him. KATSUMOTO -LRB- pats him ; subtitles. -RRB- Ujio - San, he will still be shamed tomorrow or in a month. For now there are things I wish to learn.",
"EXT. VILLAGE DAY A glimpse of village life - fish are hung on lines to dry, children chase each Other, clothes are washed in the river, and in the rice fields below, farmers squat as they have for thousands of years. In his hut, the swordsmith continues to hammer and fold the blade.",
"INT. YORITOMO'S HOUSE NIGHT Algren sits hunched in a dark corner. His body is convulsed with shivering. His withdrawal from alcohol, his wounds, his isolation and his imagined sins are devouring him. Then we see he is not alone. The woman stands in the doorway, watching him closely. Finally she enters with a bowl of soup. He glances up, something like panic in his eyes. She kneels and attempts to hand him the soup, but be knocks it out of the way and grabs her by the throat. ALGREN Sake! She stares at him, the breath being squeezed out of her, but there is not even a whisper of fear in her eyes. She is utterly impassive. Shaken, he lets her go, and crumples to the floor. ALGREN -LRB- mumbling to himself. -RRB- Sake. The woman leaves the soup and wa1ks away.",
"INT. YORITOMO'S HOUSE DAYS LATER Daylight streams in, finding Algren lying on his back. The worst of the detox is past. As be lies there, these first moments of repose lead to : A sudden flash of memory : The beautiful blond WOMAN from the picture laughs merrily, and falls back languorously in a grassy fi eld. Back in the room Algren shakes off the memory as harsh SOUNDS from outside draw him to the window.",
"EXT. YORITOMO'S HOUSE MORNING Algren watches from the window as the samurai train. It is like nothing else in the world. Part sacred ritual, part martial preparation, samurai training com bines athletic prowess and graceful artistry into one effortless whole. Finally well enough to walk, Algren comes out onto the porch to watch the spectacle. In front of him, is a Kendo -LRB- The Way of the Sword -RRB- master practice with their long and short swords. They have incredible control. NAKAO, a mountain of a man, is a Karate master. He stands unarmed, four samurai facing him. They attack with wooden swords. He effortlessly defeats them - the agility of the huge man is shocking. Kyudo -LRB- `` The Way of the Bow'' -RRB- masters use their bows for target practice. Yoritomo holds a bundle of arrows. In the distance, a line of plums. Algren watches. Yoritomo just seems to stand there, his eyes hall - open. And then - in a stunning blaze of movement - Yoritomo fires the arrows - one after another, amazingly fast - cleanly hitting each plum. The final arrow splits the previous one as it buries itself in the tree. A wooden sword leans against the porch. Algren idly picks it up, feeling its balance. In a flash, Uji o has raced over and grabbed it from him. Algren stands motionless as Ujio screams at him. The training stops, as everyone watches Uji o berate Algren. Even as Ujio continues screaming. Algren simply shakes his head, turns awa y, and walk back into the house.",
"INT. YORITOMO'S HOUSE DAY As the sounds of training resume outside, Algren explores the house. He comes upon Higen and Toshiie playing with the red ball. They are embarrassed to encounter him alone. There's a moment of suspension, and then Higen throws the ball to Algren. Algren looks back and forth between the two boys, fixes his gaze on Higen but throw the ball to Toshiie, causing both boys to laugh and run away. Algren walks on.",
"INT. SMALL ROOM DAY Algren opens a sliding shojii screen and discovers a small room that has been made into a kind of shrine. Cand1es and incense burn, a small Buddha sits on a dais, and Algren's eyes are drawn to what seems like an apparition standing in the corner. The BRIGHT RED ARMOR of the warrior Algren killed in the fog, is held upright by an unseen stand. It is almost as if the dead warrior himself is swing back at him. Algren senses someone behind him and turns. The woman is standing across the hall. Their eyes meet. She turn, and walks away.",
"EXT. VILLAGE NIGHT A first, light snowfall has covered the ground. A1gren walks out into the still night. He turns a corner and confronts curious sight : Ten warriors kneel, motionless in the snow, their eyes closed in concentration. As Algren puzzles over this, he becomes aware that Katsumoto is now standing next to him. KATSUMOTO They are training. ALGREN Training what? KATSUMOTO Their minds. It is called bushido. Algren looks at him. He has never heard the word. KATSUMOTO The way of the warrior. We study from when we are young. Are my words correct? Algren does not respond. KATSUMOTO I will practice my Eng1ish with you. ALGREN Why do you learn English? KATSUMOTO To know my enemy. ALGREN If I am your enemy, why have you not killed me? Katsumoto does n't answer. ALGREN Was General Yoshitaka your enemy? KATSUMOTO No, I honor his memory as my kinsman. ALGREN That why you helped him kill himself? KATSUMOTO If a samurai is defeated in battle, he must take his own life to spare himse1f the shame of capture. It is required that his kaishaku his trusted friend, help him. I was honored to by his kaishaku. ALGREN Hell of an honor. KATSUMOTO It was his destiny. He knew it, he died at peace. ALGREN Who was the warrior in the red armor? KATSUMOTO My son - in - law. His name was Hiroshi. ALGREN And the woman who cares for me? KATSUMOTO My daughter, Hiroshi's wife. Her name is Taka. Algren is incredulous. ALGREN I killed her husband? KATSUMOTO It was an honorable death. Katsumoto walks away.",
"INT. YORITOMO'S HOUSE DAY Algren it now well enough to kneel at the table with the others. Taka treats him with utter politeness and dignity. He watches her intently, seeking any sign of the animosity he's certain she must feel. She hands him a bowl of rice. ALGREN -LRB- smiling politely. -RRB- You hope I choke on it, do n't you? She bows, uncomprehending. ALGREN You want to poison it and watch me fall over the table and foam at the mouth. Yoritomo bows in response to Algren's new willingness to communicate. YORITOMO -LRB- to Taka, subtitles. -RRB- I promise I'll make him take a bath. TAKA -LRB- subtitles. -RRB- Soon. Please. . EXT.. VILLAGE - BATHING TUB DAY Yoritomo leads Algren to a large, wooden bathing tub in I secluded part of the village. A banked fire smolders beneath it. Embarrassed, Yoritomo indicates to Algren that be needs to bathe. Algren strips off his filthy uniform then lowers himself into the steaming water. Yoritomo begins taking off hit own kimono. A1gren is taken aback. Used to Western privacy, he is a bit disquieted about bathing with another man. Yoritomo, unconcerned, climbs into the tub. He chats pleasantly as they bathe, showing off his old battle wounds. Algren's discomfort turns to outright alarm when a toothless old grandmother appears.She happily strips and joins them in the tub! Algren sinks a little lower into the water. The old grandmother smiles at him with her toothless grin.",
"EXT. VILLAGE DAY Algren. feeling self - conscious in the clean kimono he's wearing for the first time, walks back with Yoritomo. Kids start walking with them, pointing at his Japanese garb, laughing as he stumbles in his wooden clogs. They pass by Ujio training a group of samurai using wooden kendo swords. Nearby, Higen and Toshiie are imitating the grown - ups, sparring with wooden swords that are much too big for them. Yoritomo watches his nephews proudly, murmuring details of their prowess to Algren, who has no idea what he's talking about. Higen charges his little brother, but goes careening past, right toward Algren, who deftly dodges out of the way. This causes gales of laughter from the boys, one of whom takes Toshiie's sword and offers it to Algren. Algren looks at the sword in his hand and unthinkingly twirls if with a f1ourish - causing the boys to applaud. Yoritomo bows, and encourages A1gren in Higen's direction. Algren shakes his head politely, but Higen is already on the attack. Algren dodges one thrust, then parries another, as the boys begin to cheer. Suddenly, ever yone goes silent. Algren turns. Ujio is standing behind him, arms folded. Ujio barks a command in Japanese. He wants Algren to drop the sword. It is obvious to Algren what it must mean, but he does nothing. Ujio approaches Algren slowly. Algren holds the wooden sword casually, only his eyes betraying the tension of the moment. Ujio's wooden sword FLASHES, quicker than the eye can follow. Algren's sword is knocked from his hands, then, somehow in the same fluid movement, Ujio brings the sword around and cracks Algren across the chest hard enough to knock the breath from his body and lend him to his kneels. Satisfied with himself, Uji o starts to walk away, but the expressions of the bystanders cause him to turn back :. Algren is standing again, and again holding the sword. With grim purpose, Uji o returns to Algren, who has assumed a ready pose. Again Ujio's SWORD FLASHES. Algren manages to parry one blow, before he is cracked across the face, and blood begins to flow free1y from his nose. Ujio knocks Algren's legs out from under him, and while Algren is sprawling on the ground, Ujio kicks Algren's sword out of his hand, and starts away. Again, Algren manages to stand up, and before Ujio can turn, charges him. But Uji o does n't need to turn. In a sliding move, he dodges and cracks Algren in the side, then the legs, then the neck. Gasping for breath, at least one rib broken, Algren writhes on the ground. Ujio digs the point of his sword into Algren's hand until he releases his grip. Again Ujio kicks the sword away. The ever - enlarging crowd gasps as Algren once again struggles to his feet. This time without hesitation, Uji o runs back and rains blows upon Algren's now defenseless body. First the wrist, then the back, then the stomach, then finally the head. Algren hits the ground, unconscious, his fingers still clutching the sword. Ujio reaches down, pries it from his fingers, and breaks it across his knee.",
"INT. YORITOMO'S HOUSE EVENING Algren lies painfully on a mat, his eyes unfocused. A sudden flash of memory : The lovely blond woman, tears in her eyes, looks up to Algren's shining face, the epaulets on his crisp officer's, uniform gleaming gold in the sun. The reverie is broken. As Taka kneels to swab the cuts on his face. He stares at her darkly. ALGREN Who are you people anywa y? She makes no attempt to understand or respond. ALGREN You have no God, you have no mercy, you do n't even have any fucking walls. Your walls are made of paper, what's the matter with you? She pushes his head aside so she can attend to his neck. ALGREN This man tries to kill me and I've done nothing to him, and you, I kill your husband and you act like, what? Like I'm a guest in your house. What is wrong with you? This last said so intensely that she glances at him before picking up a bowl of soup she had brought for him, and bringing it to his lips. ALGREN Do you have a soul at all? He stares at her for a moment, then knocks the soup out of her blinds. Her eyes FLASH for one moment, before resuming their usual mildness. But that flash is enough to satisfy him, and he calms down. She walks away. He sighs, exhausted, only to see her approach again with a new bowl. Their eyes meet, and hold for a moment. She does have a soul. He takes a sip.",
"INT. SHINTO SHRINE DAY Algren is led past baldheaded monks into an ancient shrine. Katsumoto kneels before a small altar. He does n't seem aware that Algren is present. KATSUMOTO Ujio is teaching you the way of the Japanese sword. ALGREN Is that what he's doing? KATSUMOTO At what age did you become I soldier? ALGREN Nineteen. KA TSUMOTO To fight in your American civil war. ALGREN Yes. KA TSUMOTO Tell me about that war'. ALGREN What about it? KATSUMOTO Everything. ALGREN Everything about the civil war? Katsumoto sits impassively, staring at the altar. ALGREN That would take a year. KATSUMOTO You have pressing business elsewhere? Shaking his head, Algren sits down. ALGREN The civil war began on April 12. 1861 when the rebs attacked Fort Sumter. Well, actually, it probably began three years earlier when the Supreme Court decided a runaway slave had to be returned to his master DISOLVE TO: The TWO OF THEM, hours later - ALGREN - and Pickett says he wants to do it, over Longstreet's objections and Lee does n't know what to think, but he lets him. So 15,000 men go up that hill. And most of them die. KATSUMOTO Was that wise? ALGREN No, it was stupid. KATSUMOTO Why? ALGREN The point of a battle is to win, or at least have enough men survive to fight another day. KATSUMOTO You did not try to survive when we took you prisoner. Algren eyes him, frustrated. ALGREN What do you want from me? KATSUMOTO What do you want for yourself? ALGREN You know they're not going to ransom me. KATSUMOTO We have little use for money. ALGREN -LRB- mounting fury. -RRB- Then what are you doing, why are you asking me these questions, what is going on here? KATSUMOTO The snows will melt in May, and the passes will open, and the events of the world will unfold. Until that time, you are here. -LRB- smiles. -RRB- I enjoyed this conversation in your English. I hope you will honor me with more tomorrow. Katsumoto stands, bows, and leaves.",
"INT. YORITOMO'S HOUSE DAY Young Toshiie sits near Algren. He labors over a scroll with a brush, the gentle brush strokes are hypnotic as they sweep across the rice paper. Algren tries to indicate that he would like pen and paper for himself. Toshiie gives him what he asks. Algren begins to write : ALGREN -LRB- V.O. -RRB- Day unknown, month unknown, 1876. I continue to live among these strange people.",
"EXT. VILLAGE DAY Katsumoto watches Ujio bark orders to the men he is training. A sudden Movement of their eyes, causes Uji o to stop. He turns to find : Algren standing at the end of the line, holding I wooden sword. An almost imperceptible look passes bet ween Ujio and Katsumoto, but Ujio's Resentment is over - ruled. Without a word, he continues. Algren does his best to follow the exercise. Katsumoto, the slightest hint of a smile on his face, walks away. ALGREN -LRB- V.O. -RRB- Each day I am confounded by their strange customs and contradictions, savagery followed by mildness.",
"INT. YORITOMO'S HOUSE NIGHT Algren now kneels at the table with the rest of the family as they eat. He is in considerable pain from the rigors of training. He tries to roll the stiffness out of his neck, when be notices that Higen it imitating him. Toshiie laughs. ALGREN -LRB- V.O. -RRB- They seem to value nothing more than their families, and yet they kill defenseless wounded men without a shade of remorse. Yoritomo sternly tells Higen not to make fun of their guest. Yoritomo apologizes to Algren, who shakes his head unnecessary. ALGREN . Raisu? -LSB- Rice? -RSB- They stop, shocked. He has spoken! Yoritomo calls for Taka to serve him more rice, then begins yammering enthusiastically in Japanese. Algren holds up his hand. ALGREN Not so fast Ko. toba? -LRB- Words? -RRB- -LRB- bolds up chopsticks. -RRB- What is this? YORITOMO Hashi. ALGREN Hashi. Yoritomo is hysterical with glee now. YORITOMO Hail! The boys are suddenly dervishes, pulling various objects from the table and around the room, shouting the Japanese words for each. Algren shakes his head, and smiles for the first time in this story. Yoritomo manages to quiet the boys. He points to himself. YORITOMO Yoritomo. ALGREN -LRB- points to himself. -RRB- Algren. YORITOMO All - gren. Algren nods, and the boys start screaming `` All - gren!'' YORITOMO -LRB- points to each in rum. -RRB- Higen. Toshiie. Taka. ALGREN -LRB- bowing. -RRB- Higen. Toshiie. -LRB- turns to Taka. -RRB- Taka. She meets his eyes for the slightest moment, then looks down and walks away.",
"INT. KATSUMOTO'S HOUSE NIGHT Katsumoto is arranging flowers. Algren watches in confusion, as this powerful lord goes about doing something so feminine and delicate. Finally : KATSUMOTO The parliament of your country has two houses. Why is that? ALGREN To keep either one from being too powerful. KATSUMOTO Does not a people need a powerful ruler to protect them? ALGREN We believe the opposite. Katsumoto thinks about this. ALGREN I have a question. How do you come to speak English? KATSUMOTO Members of the Council were required to study . it. Yes, I was a member of the government. I helped restore the Emperor to the throne. ALGREN So that Japan could have a powerful ruler to protect it. Katsumoto understands Algren's irony, but does n't smile. ALGREN And now you must hate him for what he's done. KATSUMOTO He is my blood. I serve him with my life. ALGREN By fighting his army? Katsumoto looks at A1gren. KATSUMOTO I do not fight the emperor. I fight those who seek to influence him, those who betray the soul of my country. He slowly draws his long samurai sword, and places it next to the flowers on the table in front of him. KA TSUMOTO The Emperor gave this blade to my ancestors 400 years ago. It has been used only to defend his sacred honor. Katsumoto hands the sword to Algren. Algren studies it. KATSMUOTO It takes many years to make a sword. It is a holy Act. A samurai's sword is his soul. ALGREN This sword is flawed. What is this uneven line near the edge? Katsumoto smiles at Algren's ignorance. KATSUMOTO One man is flexible and compromises too much to avoid conflict. Another man is so fierce he wins every battle, but so rigid he can never know peace. A man who knows both is the perfect warrior. The lame is true of a blade. one steel bends, and the other cuts. And where they meet is never perfect Hold the blade up. Algren holds the sword, cutting edge up. Katsumoto takes a silk cloth and drops it. It gently billows down - and splits evenly on the edge. KATSUMOTO Some believe a blade is thirsty until it tastes the blood of its enemy. Algren hands the sword back. Suddenly, Katsumoto swings the sword, cleanly splitting the table in two. Silence. ALGREN The crew at Winchester can produce one rifle ever y seven minutes. KA TSUMOTO We gave up firearms two hundred years ago. It takes no courage to kill. A man from half a mile away. You must look into the eyes of your enemy to know who you have killed. ALGREN I'm not sure an artillery officer would agree. KATSUMOTO Do you? ALGREN I think all killing's a filthy business. KATSUMO TO Taking a man's life is nothing. It is his honor you can never take away. ALGREN In other words you have no respect for human life. KA TSUMOTO -LRB- fierce. -RRB-. What do you know of human life? You come here to kill for money Where is your family? Where is your wife, your sons? What is your legacy? ALGREN -LRB- undaunted. -RRB- And what is yours? To rebel against the future? I fought the South in our civil war. Their leaders believed they were fighting for `` honor'' just as you do. And their people died by the thousands! Katsumoto simply looks at him. ALGREN And my wife is dead. KATSUMOTO Mine, too. They look at each other. Some unexpected recognition has taken place. KATSUMOTO Tomorrow we will discuss your country's wish for dominance in the. `` Far East.'' ALGREN I look forward to it. Algren turns to go.",
"EXT.VILLAGE SQUARE DAY We see the village swordsmith at work. He has been forging the same long samurai blade for months. Algren watches him as he works. ALGREN -LRB- V.O. -RRB- March 9. 1877. I have never known such a disciplined people.",
"EXT. VILLAGE DAY Algren trains with the other men. He attempts an attack, which is easily brushed aside by Nakao. Algren ends up in the dirt again. ALGREN -LRB- V.O. -RRB- From the moment they wake, they devote themselves to the perfection of whatever they pursue -",
"EXT. VILLAGEDAY Algren walking with Katsumoto - they are deep in conversation. ALGREN -LRB- V.O. -RRB- And yet the more time I spend here, the less I understand them.",
"EXT. VILLAGE DAY Two women are bowing repeatedly, chattering in smiling, earnest argument. ALGREN -LRB- V.O. -RRB- Everyone is polite, every nuance of behavior seems to have a great meaning, and increasingly I am convinced that the lower they bow, the leas they mean it.",
"EXT. YORITOMO'S HOUSE Algren, holding the wooden sword in 1870' 5 baseball manner, is coaxing Higen to throw the ball at him. The children laugh as Algren hits it onto the next porch. Taka watches her sons impassively. It is dear how much they like Algren. ALGREN -LRB- V.O. -RRB- And I am sure they regard my wa ys to be as confounding and unfathomable as I find theirs. AN ICE CRYSTAL ON THE END OF A BRANCH Starts to drip. SPRING bas begun. BXT. VILLAGE DAY Villagers laugh as they go about the business of life. A man throws a sack of rice to another. Two women hurry away from a farmer who is teasing them. Algren is once again among the training warriors. He and another man face off, each waiting for the other to attack with his wooden sword. Algren moves first, but his opponent counters, and strikes him easily. They wheel around and engage again, and again Algren is bested. Furious, he throws himself at his opponent, reverting to classic saber technique. In a flurry of movement, his opponent manages to deflect the blows and also knock Algren to his knees. Yoritomo approaches and bows. YORITOMO A1gren - San. Please forgive. Too many mind. ALGREN What? YORITOMO -LRB- pointing as he explains. -RRB- Mind sword, mind face, mind people watch, too many mind. -LRB- on Algren's confused expression. -RRB- No mind. ALGREN No mind? YORITOMO Hai! No mind. You try. Algren nods, uncertainly, and picks himself up. Again he faces the opponent, shaking off the tension and trying to stay calm. This time the opponent charges first, and Algren manages to parry one blow, before he is again bested. Yoritomo bows happily and begins yammering in Japanese, clearly taking credit for Algren's progress. Across the square, Katsumoto watches.",
"EXT. IMPERIAL PALACE GARDEN DAY The cherry blossoms have emerged, creating a scene of intense col or, beauty, and serenity. The Emperor sits cross - legged next to a shrine. He is approached by Omura and two other advisors. OMURA Your majest y, beg permission to approach. -LRB- the Emperor nods. -RRB- Your humble servants are most anxious to know if his Majesty has signed the order regarding the railroad progress. EMPEROR -LRB- after a long moment. -RRB- I am most impressed at the way the blossoms float upon the air, as if held by unseen hands. OMURA Yes, they represent the highest form of gyoko. About the order, your Majesty. EMPEROR This railroad must go through Yoshino Province? OMURA It is absolutely necessary your Highness. EMPEROR If you say so, I shall sign.",
"EXT. VILLAGE DAY Algren walks through the village, past the swordsmith who is now honing the blade, carefully sharpening it. EXT.. CHERRY TREE FOREST DAY Algren makes his way through a stunning cherry forest near the village. The pink and red blossoms are dazzling and abundant. Other villagers can be seen gathering cherry bl ossoms. It is a place of otherworldly beauty. It is all so beautiful that Algren just stops. Takes it in for a moment. He reaches out and touches a blossom. KATSUMOTO -LRB- O.S. -RRB- A perfect blossom is a rare thing. Algren turns. Katsumoto is kneeling nearby, meditating. KA TSUMOTO You could spend your life looking for one. And it would not be a wasted life. ALGREN Were you praying? KATSUMOTO Just sitting. I do not think I have the word. Satori it means, maybe, awareness. ALGREN Of what? KATSUMOTO This moment alone, apart from all others. You know this? -LRB- Algren shakes his head. -RRB- I am writing a poem about this time we hive spent. I have only written one line on `` His eyes were like my own but seen through a deep and troubled ocean.'' Can you suggest a second line? ALGREN I'm not much of a writer. KA TSUMOTO Is this why you spend so much time with your journal? ALGREN How do you know that? -LRB- no answer. -RRB- She told you. Katsumoto appraises Algren. ALGREN Did you love her husband as your own son? KA TSUMOTO You have sent men to their deaths, just as I have. ALGREN The difference is, you feel nothing. KA TSUMOTO Before you were a soldier, you were a farmer. ALGREN What does that have to do with anything? KA TSUMOTO You lived on a farm. Or in a forest of trees. ALGREN How do you know? KA TSUMOTO The way you look at the cherry blossoms. ALGREN -LRB- reluctantly. -RRB- We lived in a place called Connecticut. My. brother and I climbed the maple trees. KA TSUMOTO Were they beautiful? ALGREN Yes. KATSUMOTO And you were sad to see them die in the winter. A beat. Something flickers in Algren's eyes. KATSUMOTO You were something before you were a soldier. You were a boy who was sad to see the leaves fall and the trees die. Katsumoto looks at him deeply. KA TSUMOTO Like those trees, we are all dying. The future is an illusion, our plans are an illusion, our fears an illusion. We live life in every breath. Eat, drink, fuck. Now. Every cup of tea. Every word we write. Every blossom we hold. He smiles sadly. KA TSUMOTO Every life we take. A beat. He stands, takes in the beautiful cherry orchard. KATSUMOTO Life in every breath. That is bushido. The way of the samurai. He goes. Algren stands for a moment deep in thought",
"INT. YORITOMO'S HOUSE NIGHT Algren is asleep. And then we note that the ground is vibrating. he slides across his mat. - wakes with a start An unholy rumbling - Algren bolts up. just as a paper wall rips open, the wooden framework to the room splits and the roof collapses - An earthquake. Common for this part of Japan.",
"EXT. VILLAGE NIGHT Yoritomo appears. He and Algren crawl out of the house just as the ground lurches violently - Part of the house contorts and caves in Around the village, the wooden frame houses are swa ying and lurching they have some torque, but not enough Ujio directs the villagers as they battle a fire - Taka appears, calling frantically for Toshiie. Then an even larger seismic tremor suddenly TEARS THROUGH THE VILLAGE Houses are ripped apart - the whole world shifting. Though the smoke, Algren sees Toshiie cowering under an eave A heavy ceiling beam breaks loose, threatens to crush Toshiie Algren dives forward, grabs Toshiie and pulls him out of the way. the front of the house collapses, the beams smashing to the ground. Taka and Higen race to Algren and Toshiie. The boy is safe. Taka grabs the child and cradles him. Her look to Algren is fierce, protective, almost feral - as if he were the threat instead of the rescuer.",
"EXT. VILLAGE DAY Algren watches the villagers rebuild. Yoritomo and Higen strugg1e with a large wooden framework. ALGREN -LRB- V.O. -RRB- I am str uck by these people and their acceptance of Fate in a1l it s variations. At a time like this, they seem utterly without sentiment. Even the children have a gravity beyond their years. Algren goes to them. Silently begins to help them.",
"INT. YORITOMO'S HOUSE DAYS LATER Algren works with Yoritomo, binding the wooden framework. Higen prepares the paper walls nearby. He does this with considerable skill. Taka is getting water from a rain barrel she observes Algren helping rebuild her home. Yoritomo is working nearby. Algren's Japanese is rough but improving : ALGREN -LRB- in Japanese, subtitles. -RRB- Would last longer. if stone. YORITOMO -LRB- subtitles. -RRB- No. House fall. House go back easy with wood. Algren shakes his head. Taka appears with cups of water. Algren looks at her For the first rime, she holds his gaze.",
"EXT. YORITOMO'S HOUSE EVENING Torches illuminate a small stage in the center of the village square. Several samurai perform a ritualistic Noh drama. -LRB- A form which, by the wa y, the samurai invented. -RRB- Others play flutes and large steel drums. ALGREN -LRB- V.O. -RRB- And yet I have never seen a people with more capacity for the joy found in the simplest things of life. Katsumoto himself plays the lead role. An enthusiastic actor, he plays to the children in the audience. They are delighted with his broad theatrics.",
"INT. YORITOMO'S HOUSE Taka is carrying in a huge lack of rice. Algren goes to help her. TAKA -LRB- subtitles. -RRB- No, please. ALGREN -LRB- insistent. -RRB- Hai. He carries the rice for her into the pantry area. TAKA -LRB- subtitles. -RRB- Japanese men do not help with this. ALGREN -LRB- subtitles. -RRB- I know. She looks at him, a little surprised. ALGREN -LRB- subtitles. -RRB- I am not Japanese. In spite of herself, she smiles a little. There is an awkward moment. ALGREN -LRB- subtitles. -RRB- 1. did n't know he was your husband. TAKA -LRB- struck ; subtitles. -RRB- He did his duty. You did your duty. ALGREN -LRB- subtitles. -RRB- And you do yours. TAKA -LRB- softl y. -RRB- Hai. They look at each other for a long moment. She starts to move, but he stops her. They are close enough to smell each other's hair, to feel the warmth of the other's breath. She looks up at him, pleading with her eyes not to take this any further. He lets her go.",
"EXT. VILLAGE DAY Algren stands across from Ujio, ready again for the ken - jutso. They stand frozen for a long time, hands on the hilts of their wooden swords. Other samurai watch. Algren and Ujio stare at each other. But there is something different about Algren's expression. Not as much fury and competition, more a sense of balance and alertness. He studies Ujio's eyes, his hands, the folds of his kimono, the attitude of his body. We watch A1gren closely. Gradually all SOUND drains away. We hear only Algren's steady breathing. He is aware of everything. A bird in a tree. A woman grinding rice. A plum about to fall. A gently swa ying battle flag, Slow - motion as : Algren attacks - no fury, just control - Ujio tries to deflect the blow, Algren anticipates - he swings his sword elegantly - Ujio blocks it - Algren counters - Algren presses forward, his sword slashing masterfully, forcing Ujio back Ujio counters with complex moves as he retreats - Algren keeps moving forward, calm - finally Ujio's sword is swept aside in one clean movement. Algren ends with the edge of his wooden sword It Ujio's throat. The other samurai watch. Amazed. Algren twirls his sword in a fancy cavalry `` fl ourish.'' The pride he has alwa ys taken in his swordsmanship has been restored. He bows to Uji o. Ujio nods his head, slightly, in respect The other samurai, led by the hearty Nakao, congratulate Algren.",
"EXT. MEADOW DAY Algren carries water from the river through a riot of spring wild - flowers. Something makes him stop, and see the sunlit clouds in the deep blue sky, the colors around him, hear the buzzing of the bees, feel the kill of the air. A sudden flash of memory His beautiful wife, in green field not unlike this one, laughing, tossing her hair, falling back into the long grass. Back to Algren The force of the memory causes him to link to the ground. Another flash of memory, longer this time : His wi fe leans over and kisses his mouth, and his cheek, and his forehead. He holds her al tightly as be can. Back to Algren As tears begin to course down his face, and he sinks down into the flowers and the grass, looking up into the impossibly beautiful sky. He gives in to the sobs wracking his body.",
"EXT. VILLAGE DAY As Algren returns with the water, he sees Katsumoto approaching with Ujio and several warriors. KATSUMOTO The Emperor has requested my presence. We leave tomorrow. You will be released in Tokyo. He goes. Algren stands, not sure how to react.",
"INT. YORITOMO'S HOUSE NIGHT Algren writes on parchment by the light of an oil lamp. ALGREN -LRB- V.O. -RRB- April 13, 1877. Tomorrow we return to civilization. As eager as I am to be among my own kind, I confess to a curious reluctance.",
"EXT. KATDUMOTO'S VILLAGE DAWN Algren stands overlooking the village as the sun rises over the misty peaks. ALGREN -LRB- V.O. -RRB- These months have marked me, and I do n't fully know yet why.",
"EXT. YORITOMO'S HOUSE DAY Algren prepares to mount up. Yoritomo says goodbye to his family. ALGREN -LRB- V.O. -RRB- I do know it is here that I have known my first untroubled sleep in many years. Taka comes to Algren, bows her head. TAKA -LRB- subtitles. -RRB- You are alwa ys welcome in our home. ALGREN Domo Arrigato. He glances at the unfinished house. ALGREN -LRB- subtitles. -RRB-. You will finish it soon. TAKA -LRB- subtitles. -RRB- If that is my destiny. She bows her head again. Toshiie hands him a scroll : it is a picture of the Family. Algren is included. Japanese characters list all their names. Toshiie bows. Algren bows and tucks the scroll into his coat. Algren and Yoritomo move out with Katsumoto, Ujio, Nakao and his bodyguard of several dozen Samurai. The villagers bow and honor the warrior as they pass.",
"EXT. MOUNTAINOUS LANDSCAPE DAY Algren trots alongside Katsumoto. ALGREN The Emperor sends a message for you to return to Tokyo, and you go? KATSUMOTO Yes. ALGREN Even though you're in rebellion against him. KATSUMOTO Against the Emperor? Never. I serve him. As I have alwa ys done. ALGREN I do n't understand. KATSUMOTO Our Emperor is young, and there are things I must say to him. ALGREN But ever yone around him wants you dead. KA TSUMOTO And if the Emperor desires, I will take my own life at his command. He spurs his horse and rides on. A1gren watches him.",
"EXT. MOUNTAIN VALLEY SUNSET They approach a large inn. A boy working in the fields see Katsumoto approaching. He does n't believe it - the Great Katsumoto. He drops his hoe and races awa y, calling out. KATSUMOTO We will stop here for the night.",
"EXT. MOUNTAIN VALLEY SUNSET Samurai guards have been posted around the perimeter.",
"INT. KATSUMOTO'S RQOM NIGHT Algren is escorted in. Katsumoto kneels at a table. Preparing the traditional Japanese tea ceremony. KATSUMOTO Sit, Captain. Algren sits. By now he has learned how to sit on the ground. Katsumoto begins the exacting, delicate and precise tea ceremony. KATSUMOTO Do you drink tea? ALGREN I've had little else for some time. Katsumoto continues with the tea ceremony. ALGREN How's your poem coming? KATSUMOTO I am having trouble. The truth is I am not a very good poet. -LRB- Algren smiles. -RRB- Do you know why you were sent here? To Yoshino. ALGREN To protect the railroad. KATSUMOTO Why is the railroad here? ALGREN So Tokyo can control the whole country. KATSUMOTO You have seen my province. All mountains. Far from Tokyo. Yet the rail line must come here? Katsumoto tosses a tiny bit of coal on the simmering brazier on the table. Algren watches carefully. ALGREN You have something they want KATSUMOTO What do they want in my mountains? ALGREN Minerals. Gold. KA TSUMOTO -LRB- smiles. -RRB- There is no gold in Japan. Katsumoto gently blows on the coal brazier. The coal flares a bit. ALGREN Coal? -LRB- Katsumoto looks at him. -RRB- For steamships. KA TSUMOTO And why would steamships be so important? ALGREN China. Katsumoto looks up at him. Impressed. KATSUMOTO Japan has nothing. China has ever ything. ALGREN Mine the coal to create a way station for the trip to China. Freeze the Europeans out and Japan and America have a monopoly on the China trade. KATSUMOTO Add to this the Omura Zaibatsu. You know the Zaibatus? ALGREN The wealthy families. KATSUMOTO As patron of the railroad, Omura owns all land within four hundred feet of every new rail line. As my country grows, so will his wealth. -LRB- looks at him. -RRB- This is why you are fighting. Katsumoto completes the tea ceremony. He pours a cup for Algren. Bows his head and offers it to him. ALGREN And you will tell the emperor to stop them? KATSUMOTO I do not tell the emperor what to do. ALGREN Then what do you hope to accomplish? Katsumoto looks at Algren, the slightest gleam in his eye. KATSUMOTO Will you return to America? Algren watches him - why did n't Katsumoto answer? ALGREN I have a job here. KATSUMOTO You should return to your home. ALGREN Why? KATSUMOTO Because I do not wish you to be my enemy again. Katsumoto returns to his poem, he does not look up. KATSUMOTO Go home Captain. Anshinritsumai. I wish you peace. Algren waits but Katsumoto just continues to work on his poem.",
"EXT. AROUND THE INN NIGHT The samurai guards are alert, their senses heightened to almost superhuman proportions. But there is another way. Another way of learning combat. A way without the beaut y, the philosophy and the moral code. They are almost imperceptible at first. their head - to - toe black clothes a perfect camouflage. their silence and stealth are otherworldly. They were then known as Shinobi, masters of stealth and spying. We know them as Ninjas. They float across the ground. creeping an inch every hour. complete physica1 control. One black - gloved finger moves. Then the next. They crawl and then wait Poised on their fingertips and toes. There is no sound as they strike. The samurai guards are garroted in an instant. Other Ninjas catch the samurai's weapons as they fall. No sound disturbs the peaceful night.",
"EXT. INN -- FRONT DOORWAY NIGHT Silence. Two samurai guards are in position. One of them glances up at the stars. A Ninja throwing star instantly slices into his jugular - blood sprays - the other guard turns - a series of Ninja slice into him.",
"EXT. INN--WALLS NIGHT Silence. The Ninjas use mew claws to crawl up the walls like spiders.",
"EXT. INN ROOF NIGHT Silence. A samurai guard stands at the edge of the roof. A Ninja silently moves toward him. Stops. Ten feet away. He pulls out a shuriken - a small needle - shaped projectile, dips it into a sack of poison. Places it carefully into the palm of his hand. And with the flick of his wrist - The needle flies - stabbing into the samurai - he crumples. Other Ninjas immediately pour over the edge of the roof - catching the samurai before he falls.",
"INT. INN -- KATSUMOTO'S ROOM NIGHT Silence. Katsumoto can not sleep. He stares out the window at a nightingale.",
"INT. INN--UJIO'S ROOM NIGHT Silence. Ujio sits in his room. He is unblinking. Alert. Swords at the ready.",
"INT. INN ALGREN'S ROOM NIGHT Silence. Algren can not sleep either. He sits leaning against a wall. Thinking.",
"INT. INN -- MAIN HALL NIGHT Silence. Yoritomo drinks tea with Nakao, the huge martial arts master.",
"INT. OUTSIDE KATSUMOTO'S ROOM NIGHT A guard stands sentinel. Above his head, unbeknownst to him, two Ninjas descend on ropes. One of them swings a long chain - to which I barbed - knife is attached. As it lodges in the guard's chest, the second Ninja swings down just in time to catch the dead guard, silently, before his body hits the ground.",
"INT. INN -- KATSUMQTO'S ROOM NIGHT Silence. Katsumoto lies in bed listening to the night bird. It stops singing. Katsumoto smiles sadly. He decides to give up on sleep, leans forward to rise. This act saves his life. For when the Ninjas come, they come all at once - A Ninja suddenly comes TEARING STRAIGHT THROUGH THE PAPER WALL, his sword slashing down. - just missing Katsumoto. Katsumoto calls out an alarm, diving and rolling across the floor for his sword. He instantly kills one Ninja using his steel - tipped `` war fan'' to slash his attackers throat. Another smashes in through the window.",
"INT. INN -- MAIN H ALL NIGHT Ninjas EXPLODE into the main hall. Samurai who come out of their rooms are cut down by a variety of weapons - one takes a throwing star in the face, others are felled by the traditional ninja - to, short swords ideal for fighting in confined spaces, chain - knives, nun - chaka and others. More Ninjas drop from the rafters on ropes.",
"INT. INN -- ALGREN'S ROOM NIGHT A Ninja SMASHES through the paper wall - Algren grabs the nearest object, a low tea table. and swings it at his head. The Ninja dodges the blow and slices at Algren with short - sword. Algren barely avoids the blow by ducking behind a post as the sword LODGES deep in the wood. Algren flings himself, bodily, at his attacker.",
"INT. INN-- MAIN HALL NIGHT Ninja throwing stars spin across the room, killing a samurai. Yoritomo emerges from his room, readying his bow, but the dead samurai falls back blocking his way. From behind the rice wall, Yoritomo lets fly an arrow without even looking. It passes THROUGH the wall, killing the Ninja on the opposite balcony.",
"INT. INN-- FIRST FLOOR NIGHT Ujio screams a war cry and begins to battle his way up the stairs. With breathtaking moves, he slashes hands and limbs, forcing the Ninja back. Nakao fights his way up beside him, desperately trying to reach Katsumoto's room. Using only his bare hands he catches a Ninja's wrist and hurls him over the railing.",
"INT. INN -- ALGREN'S ROOM NIGHT Algren and the Ninja are in a death struggle, kneeing, gouging, butting. They awkwardly smash through a paper wall into the next room.",
"INT. INN -- KATSUMOTO'S ROOM NIGHT Katsumoto wields his long sword in one hand and his short sword in the other. It is the first time we have seen him in action and his movements are both beautiful and deadly. But more Ninjas are pouring in through the window, threatening to overwhelm him.",
"INT. INN -- ALGREN'S ROOM NIGHT Rolling on the ground, Algren manages to grab a chopstick and STAB his adversary through the eye. He picks up the fallen short sword and steps out into the hall. ARROWS whiz past, thudding into the wall beside his head.",
"INT. INN-- KATSUMOTO'S ROOM NIGHT Katsumoto, breathing heavily, his kimono shredded and bloody, is fending off the Ninjas' increasingly savage attacks as Algren enters. Algren SCREAMS, distracting them just long enough for Katsumoto to take advantage and kill one. Then, just as a Ninja it about to kill Algren, Katsumoto FLINGS his short sword. it pin - wheels across the room, hitting Algren's attacker in the chest. Without missing a beat, Algren pulls the short sword from the dying Ninja's chest and uses it to stab another Ninja who, thinking Algren defenseless, has launched an attack.",
"INT. INN -- MAIN HALL NIGHT Ujio and Nakao are back to back, a perfect fighting machine as they fight their way to Katsumoto's rescue. They battle Ninjas wielding lethal kusarigamas, the Ninjas swing chains, the attached blades slice the air - Nakao catches the chains and flinging the Ninja over the balcony.",
"INT. YORITOMO'S ROOM NIGHT Yoritomo is pinned down. Darts and throwing stars shred the rice paper wall above him. He picks off another Ninja before changing his position.",
"INT. INN-- KATSUMOTO'S ROOM NIGHT The blazing sword battle continues. Algren throws a beautiful painted standing - screen in front of an attacking Ninja, momentarily confusing him. Then he stabs THROUGH THE SCREEN - as a blood - stain SPREADS across the pastoral painting. But another Ninja catches Algren off - guard and slices at him with his short sword. As Algren lifts his sword to parry the blow, HIS LITILE FINGER IS CHOPPED OFF. He drops the sword, momentarily defenseless. Across the hallway Yoritomo has been watching the shadowplay on the rice - paper walls. Algren's attacker raises his blade to deliver the death blow. In Katsumoto's room Algren flinches involuntarily beneath the raised blade. Suddenly the Ninja JACKKNIFES as if punched by an unseen hand. As he spins, dead, to the ground, we SEE an ARROW lodged bet ween his shoulder blades. Yoritomo has FIRED blindly, through the wall - killing Algren's attacker. Nearby, a Ninja hurls a throwing star at Katsumoto. With blind instinct Katsumoto turns and takes the blade in the meat of his arm. Algren, meanwhile, has ripped the sleeve of his kimono into a tourniquet for his maimed hand. He uses the rest of the fabric TO TIE HIS HAND TO HIS SWORD before launching himself back into the fray - slicing an attacker just as he is about to impale Katsumoto. Together, he and Katsumoto force the last two Ninjas through a paper wall to the next room. They fight all the way through that room and BLAST through another paper wall to the next.",
"INT. INN STAIRWAY NIGHT The battle continues unabated on the stairs - the Ninjas spring for position with incredible grace - perching and fighting on banisters, leaping from one level to the next. It is a mayhem of flashing swords and flailing limbs and flyi ng arrows and spinning Ninja stars. Sprays of blood splatter against the white rice paper walls. Some of the fighting is less than elegant. Men bite and wrestle and gouge to survive in close quarters. All of them arc bloody and sweaty and dirty and tired, heaving for breath, their skin flayed open, their kimonos ripped, their hands and arms and faces blood - stained. But more samurai reinforcements follow Ujio up the stairs : Together with Yoritomo and Nakao, they have begun to gain the upper hand. Ujio flings both his swords through the air - killing two Ninjas - and dives to fight others - his martial arts skills are dazzling. Algren and Katsumoto are fighting sidc by side And we cut to -",
"EXT. INN NIGHT Outside of the inn, we slowly pull away. The sounds of the battle gradually fade. Soon it is nothing more than a lovely rustic inn nestled in the mountains.",
"INT. INN STAIRWAY NIGHT Later. The battle is over. Ninja and samurai corpses litter the inn. We slowly move up the long stairway from the bottom. Yoritomo pulls a Ninja star from Nakao's _ shou1der. Then one from his own. We move up another level, past more bodies. Ujio moves through the Ninjas. Making sure they are dead. Before sheathing his sword, he angrily FLICKS it at the rice paper wall, spattering it with the bloody spray. Katsumoto wipes his sword on a nearby corpse, replaces it in its sheath. He sits beside Algren on a stair. Both men are exhausted. Bloodied. Alive. A long beat as we watch the two warriors. Slow fade to.",
"EXT. TOKYO -- IMPERIAL PALACE DAY Algren, Katsumoto and the others are nearing the palace. Algren slows to a stop - his path is toward the city. Katsumoto stops, looks at him, then does something absolutely extraordinary. He kneels and bows before Algren. Quickly touching his head to the dirt. Then he rises, turns and walks toward the palace. Algren stands, stunned.",
"EXT. PARADE GROUND DAY Algren walks onto the parade ground. The change he sees could not be more remarkable. Thousands of new Japanese troops are drilling with new bolt - action Mausers. They are precise, exact and frighteningly mechanistic, their uniforms new and crisp. New German advisors are barking commands. Colonel Bagley sees him. BAGLEY Algren? My God, you never cease to astonish. Bagley runs over, hand extended, but Algren turns to look at the troops. ALGREN They have new weapons. BAGLEY The Kaiser was only too happy to help. Along with his friends at Mauser and Krupp. Thank God we Americans still have a few teeth in our head. And they come to the `` teeth.'' Howitzer cannons. A row of them. Artillery officers in US Army uniforms arc instructing Japanese offi cers. BAGLEY The ambassador and I have spent eight months kissing Omura's ass so he'll sign the damn trade pact with us. You spent all this time living with those savages? -LRB- A1gren looks at him. -RRB- He's going to want to talk to you. ALGREN I need a bath. BAGLEY And your back pay, I imagine. Algren starts walking away. BAGLEY They got their flag. See? And we see it. snapping on I flagpole high above the parade ground. It is immediately familiar. A red circle on a white field. The Rising Sun. The Howitzers fire in sequence. Thundering blasts that shake the heavens. EXT, ROYAL TEMPLE DAY Omura stands above Emperor Meiji respectful but persistent. The Emperor is kneeling, tending to his iris garden. It is one of the wonders of the Palace : a sea of white, pink, blue, and purple blossoms. Retainers and servants stand at a distance. One holds a standard with the Imperial seal : a yellow chrysanthemum. Omura sees Katsumoto making his way toward them. He talks a bit more quickly to the Emperor. Katsumoto begins to prostrate himself before the Emperor, the usual sign of extreme respect - but the Emperor stops him : EMPEROR -LRB- subtitles. -RRB- No, Mori - san. We arc `` civilized'' now. Katsumoto stops prostrating himself. The Emperor offers his hand. KATSUMOTO -LRB- subtitles. -RRB- I can not touch the Sacred One. EMPEROR -LRB- subtitles. -RRB- You can. It is a difficult moment for Katsumoto. He simply can not do It. OMURA -LRB- subtitles. -RRB- Did you have a pleasant journey, Minister Katsumoto? KATSUMOTO -LRB- subtitles. -RRB- It was uneventful. Omura appreciates Katsumoto's droll response. He assumes that Katsumoto is aware of his part in the assassination attempt. EMPEROR -LRB- subtitles. -RRB- If it is not a great imposition. I desire a moment alone with Minister Katsumoto. Omura - San. OMURA -LRB- subtitles. -RRB- Enlightened One, perhaps I can be of service in a conversation of state. EMPEROR -LRB- subtitles. -RRB- So kind of you, but I fear my old teacher wishes to upbraid me in private for neglecting my studies. Omura bows his head quickly and goes. Silence. The Emperor gazes at Katsumoto. Then : EMPEROR -LRB- subtitles. -RRB- You rise against me, my teacher. KATSUMOTO -LRB- subtitles. -RRB- No, Highness, I rise against your enemies. EMPEROR -LRB- subtitles. -RRB- They are my teacher, my advisers, like you. KATSUMOTO -LRB- subtitles. -RRB- They advise in their own interest. EMPEROR -LRB- subtitles. -RRB- The world is changing, Mori - you have not seen what goes on beyond our borders, the inventions, the science. I need men who can look outward, or soon we will be left behind, and defenseless. KATSUM OTO -LRB- subtitles. -RRB- I am sworn to defend you even to my last breath. EMPEROR -LRB- subtit1es. -RRB- The samurai live in the past. You can not defend against a future you do n't understand. KATSUMOTO -LRB- subtitles. -RRB- If I am no use, then I will happily end my life, EMPEROR -LRB- subtitles. -RRB- No, Mori. It is my wish that you rejoin the Council of State. I need your voice. KATSUMOTO -LRB- subtitles. -RRB- It is your voice that needs to be heard, Highness. You are a living God, you can do what ever you think is right. The young emperor is silent a moment. EMPEROR -LRB- subtitles. -RRB- I am a living God only as long as I do what they think is right. KATSUMOTO -LRB- subtitle. -RRB- Your Highness, may I beg forgiveness for saying what a teacher must, that such a statement is pathetic drivel not worthy of an ignorant stable boy, let alone a young man I know to have some modest intelligence. The emperor laughs warmly, almost happy to be scolded as he once was. EMPEROR -LRB- subtitles. -RRB- Is it possible a living God can be too afraid to make his voice heard? -LRB- Katsumoto's look is not unkind. -RRB- Tell me what to do, Mori - San? KATSUMOTO -LRB- subtitles. -RRB- You are emperor, my Lord, not me. You must find the wisdom for all of us.",
"EXT. YOKOHAMA WHARF DAY A series of warehouses, beyond which we see warships in the harbor. A1gren walks with Bagley and two other OFFICERS.",
"INT. WAREHOUSE DAY The cavernous warehouse piled high with huge crates. BAGLEY As soon as they sign the agreement, they're obligated to buy the entire weapons package, from Colt revol vers to Ha1liwell twelve - pounders. Plus this particular item you might recognize. A few stevedores tear open one of the crates. Algren hides his astonishment : A Gatling Gun is revealed. BAGLEY They've been calibrated to fire 200 rounds a minute, The new copper cartridges cut down on jamming. Algren closes his eyes, trying to keep his memories at bay.",
"EXT. TOKYO STREETS DAY Algren fights the crowds with Colonel Bagley And Ambassador Swanbeck. ALGREN -LRB- V.O. -RRB- May 15, 1877. The city I return to is immeasurabl y changed New construction ever ywhere. Telegraph wires strung next to an ancient temple. A modern European hotel is going up, dwarfing the traditional Japanese buildings. Huge billboards advertising Western goods. A new invention, the rickshaw, has replaced many of the palanquins. ALGREN -LRB- V.O. -RRB- As though Tokyo were determined to become another New York or Chicago. - all in one headlong rush. Spider's web of telegraph cables spread from a tall new brick building. It is like a New York office building stabbing into the heart of old Japan. The familiar Omura character is emblazoned on the side. INT. OFFICES OF THE OMURA ZAIBATSU DAY Aside from the occasional bit of Japanese decor, this could be a buzzing Wall Street firm. Telegraph operators click away. Accountants use adding machines. Secretaries use pneumatic tubes to send documents back and forth. Engineers plot out railway lines. All are dressed in Western clothes. Algren, Colonel Bagley, and Ambassador Swanbeck enter. AMBASSADOR SWANBECK -LRB- to Algren. -RRB- If he asks, you can talk about ordnance and tactics. But remember, this has to do with a lot more than just weapons. An anteroom holds waiting delegations from the various European powers. A babel of language. French. Dutch. Russian. German. A pretty American secretary looks up from her desk. SECRETARY Ambassador Swanbeck, if you'll follow me. Some of the delegates arc craning forward, watching Algren and the others hungrily as they head into the final office.",
"INT. OMURA'S OFFICE DAY Omura stands like an industrial titan before large picture windows offering a dramatic view of Tokyo. The only decoration in the room is an enormous Caravaggio. OMURA Please, sit down, gentlemen. Omura removes a gold cigarette case and lights up. Cigarettes are the newest Western fad Sweeping Japan. OMURA -LRB- re : cigarette case. -RRB- A gift from Czar Alexander. Captain Algren,. it seems you have endured your captivity with little ill - effect. ALGREN Yes, sir. OMURA He's an extraordinary man, is n't he? ALGREN He is samurai. Omura gazes at him. Slowly takes I puff from his cigarette. AMBASSADOR SWANBECK Mr. Omura, my people have been drawing up the documents we discussed. I have a draft - OMURA We're not quite ready to announce the treaty, Ambassador. AMBASSADOR SWANBECK Excuse me? OMURA The Emperor is. sentimental. Katsumoto was his old mentor - he is not eager to offend him. It will take I few more days. AMBASSJ\\DOR SW ANBECK How many da ys is'' a few?'' OMURA I assure you the Samurai will not stand in the way of our agreement. You are prepared to make deliver y? AMBASSADOR SWANBECK Soon as your emperor signs on the dotted line. OMURA Captain Algren you are the expert. Will this array of ordnance be sufficient? ALGREN Depends on what you're trying to accomplish. OMURA I want my country to take its place as a modern power. ALGREN Then they will set you well on your way. OMURA I am pleased. AMDASSADOR SW ANBECK Mr. Omura, you assured us you had the influence with your emperor to make this deal come to pass. With all due respect perhaps there is someone else we should be speaking to. OMURA With all due respect, Ambassador, perhaps there is someone else we should be speaking to, for instance the French. Or the English. Or any of the legations waiting in the next room. Ambassador Swan beck stands swallowing his rage. AMBASSADOR SWANBECK Yes, we1l, we look forward to hearing from you. OMURA Good afternoon, gentlemen. They start to go. OMURA Captain Algren, perhaps you can stay a moment And tell me of your experiences in our rebellious provinces. Bagley looks at Algren. Do as he asks. He leaves A1gren alone with Omura. OMURA Cigarette? ALGREN Thank you. Omura lights his cigarette. A moment as he takes Algren's measure. OMURA You fought bravely on behalf of our army - against the rebel Katsumoto. Algren says nothing. OMURA And yet you helped save his life when attacked by the Ninja. ALGREN My role was much less significant than you may have heard. OMURA Tell me about your role in Katsumoto's plans. ALGREN I have none. OMURA And your sympathies? ALGREN Again, I have none. OMURA I know you have little sympathy for Colonel Bagley. ALGREN He is. unsympathetic. Omura smiles. OMURA I thought it was we who are inscrutable. Now it is Algren who smiles. OMURA You have gained important knowledge of Katsumoto's province, his army, and his rebellion. This is extremely valuable to me. He watches Algren to see how this lands. OMURA You also possess significant knowledge of my army, my weaponry, and my plans. This is extremely va1uable to Katsumoto. ALGREN Again, you flatter me. OMURA No. I am a businessman. I recognize what is valuable. And I buy it. -LRB- looks at him. -RRB- In this case, I value your loyalty. Algren considers the implications of what Omura is saying. ALGREN I did n't know loyalty was something that could be sold. OMURA Then perhaps you will give it, as a token of future friendship - for which, as a friend, I would be in your debt. ALGREN -LRB- stands. -RRB- Then I will consider it. OMURA And I will be grateful.",
"INT. SHIPPING OFFICE DAY Algren is in a shipping office. A clerk consults his schedule of departure. CLERK All righteee, the ANDREW JACKSON leaves tomorrow - if you want a steamship you'll have to wait six weeks. -LRB- Algren is silent. -RRB- Gets ya to Frisco by the 28th. 14 dollars for a private cabin, 8 for a shared or 3 for a lower berth. What can I put you down for? Algren is silent, concentrating on a calendar hanging behind the clerk. It features a beautiful Hiroshigi watercolor of mountains. CLERK Sir? ALGREN -LRB- after a moment. -RRB- Private cabin.",
"EXT. TOKYO STREET DAY Graham walks with Algren. GRAHAM Leave? Why would you leave now? No white man has ever been in your position. Do you have any idea what it will mean to have Omura as your friend? You want land, you want women, you want boys? Algren starts to walk faster, but Graham Stops him. GRAHAM Nathan. I wanted to leave, too. For three years. You must believe me there is a majesty about these people - can you imagine what your own country would be if it had half the drive and the discipline and the belief and the bravery of these ridiculous little people? Then raised voices from across the street stop them. They see Yoritomo surrounded by four Imperial Army soldiers. The soldiers are rough and imperious, drunk with power. They carry gleaming rifle. The soldiers bark orders. Yoritomo stands proudly, responding calmly. ALGREN Whit is this? GRAHAM My God, it's the edicts. ALGREN What edicts? Algren arrives as the situation is clearly growing volatile - the soldiers are pointing to Yoritomo's head, screaming Algren steps toward the soldiers - ALGREN That's enough - One of the soldiers SCREAMS at him - raises his rifle - all the soldiers raise their rifles - Yoritomo reaches for his sword - Algren tries to push through - ALGREN -LRB- subtitles. -RRB- YORITOMO, WAIT! One of the soldiers smacks Algren in the chin with a rifle butt. Algren reels, and by the time he stands straight again, four others are pointing their ba yonets at his face. Graham takes hold of Algren's arm. GRAHAM Do n't be stupid. Algren makes eye contact with Yoritomo, who - in deference to his friend - puts his sword away. The Japanese soldiers continue to scream at Yoritomo. They force him to his knees. Rifles pressed to his head. Yoritomo bows his bead, speaking quietly, as if praying. Algren witches in horror all one of the soldiers removes his bayonet - another grab. Yoritomo's hair, jerks his head back and begins hacking off Yoritomo's traditional top - knot of hair. Brutally. Blood. Yoritomo remains kneeling, head down, blood flowing down his face. The soldiers laugh and move off. Algren kneels by Yoritomo. Yoritomo looks up at him. There are tears in his eyes.",
"EXT. KATSUMOTO'S HOUSE DUSK Katsumoto's house on the outskirts of Tokyo is spacious and harmonious. Utterly Japanese. Samurai guards in full regalia, stand menacingly outside.",
"INT. KATSUMOTO'S HOUSE DUSK Ujio kneels with Yoritomo, dressing the wounds on his head. Graham sits across the room talking quietly to the mammoth Nakao, taking notes in a small notebook. Nakao has been brutally shorn of his top knot as well. His shame is apparent.",
"INT. KATSUMOTO'S CHAMBER DUSK Servants he1p dress Katsumoto in his exacting samurai wardrobe as Algren is ushered in. KATSUMOTO Captain, I had not thought to see you again. ALGREN I'm leaving tomorrow. But before I go I need to tell you what's going on here. KATSUMOTO You mean the Gatling Guns and the howitzers, is that how you say it? ALGREN They're about to close a trade agreement that will bring this country more weapons than you can imagine. KATSUMOTO Yes, if the emperor agrees - but Omura knows the Emperor must be convinced there is cause to need those weapons before be will sign. ALGREN -LRB- realizing. -RRB- And you are to be the cause. KATSUMOTO Elegant, is n't it? Omura passes laws sure to cause a samurai revolt, creating a need for the weapons. The Emperor sees that the weapons are needed so he agrees to the entire treaty, giving your country what it wants and the Omura Zaibatsu what it wants. And my country is sold to yours. As Katsumoto dresses, Algren notes that Katsumoto's body it at battleground of old scars, so like his own. KA TSUMOTO Today the Council passed two edicts. The first called for the elimination of our traditional topknots. ALGREN I know. KATSUMOTO The second banned the wearing of sword. Algren stops. He knows what swords mean to the samurai. KATSUMOTO -LRB- re : his swords. -RRB- Hand them to me, will you? Algren picks up Katsumoto's two swords. Looks at him deeply. ALGREN If you do this, they will kill you. KA TSUMOTO I am hard to kill. ALGREN You do n't know what their weapons can do. All your men butchered. Just for pride. KATSUMOTO Not for pride. For the emperor. ALGREN But the emperor is the one signing the agreement. KATSUMOTO He has not signed it yet. He holds out Katsumoto's two samurai swords. ALGREN Is it worth it? just for these, KATSUMOTO I can not live without my soul. Can you? They regard each other.",
"EXT. OUTSIDE KATSUMOTO'S HOUSE NIGHT Algren leaves Katsumoto's gate and sets off on foot.",
"EXT. TOKYO STREETS NIGHT As Algren walks, he becomes aware that he is being followed. Two dark figures lurk some distance behind him. After a few moments, he whips around to face them. They stand for a moment, then melt away into the shadows.",
"INT. COUNCIL OF STATE CHAMBER NIGHT The Council of State meets in an august chamber. Many of the Council members wear Western clothes. Cigarette smoke billows. The young Emperor sits on a dais off to the side, as befits his ceremonial role in the proceedings. Omura is speaking. be stops. looking at something. all the Council members turn. and gape. Katsumoto strides into the chamber, his swords proudly displayed. OMURA -LRB- subtitled. -RRB- Minister Katsumoto, you honor us. KATSUMOTO -LRB- subtitled. -RRB- It is my honor to join again the men who are leading Japan into her glorious future. OMURA -LRB- subtitled. -RRB- You arc perhaps unaware of this Council's edict regarding the wearing of swords? KATSUMOTO -LRB- subtitled. -RRB- I read every edict with singular attention. OMURA -LRB- subtitled. -RRB- Yet you would bring weapons into this chamber? KATSUMOTO -LRB- subtitled. -RRB- This chamber was protected by my sword for four hundred years - OMURA -LRB- interrupting, subtitled. -RRB- We need no protection. We are a nation of laws now. KATSUMOTO -LRB- calm, subtitled. -RRB-. We are a nation of whores. Selling ourselves to our Western `` allies.'' Katsumoto slowly looks around at the Members of the Council, but his words are addressed to the Emperor. KATSUMOTO -LRB- subtitled. -RRB- Does Japan no longer need its patriots? Omura speaks with quiet conviction and honesty. OMURA -LRB- subtitled. -RRB- Who is the patriot? The man who would keep his country trapped in the past, or the man who would help his people into the future? KATSUMOTO -LRB- subtitled. -RRB- A future with no honor, OMURA -LRB- subtitled. -RRB- Honor means less to me than feeding our children. And teaching them. And giving them modern medicine so they will live. KATSUMOTO And lining your own pockets in the process. They stare at one another with barely concealed hostility. OMURA -LRB- subtitled. -RRB- Minister Katsumoto, it is with great regret that I ask you to remove your sword, as this body has declared in its edict. Katsumoto's hand closes on his sword hilt KATSUMOTO This sword serves the emperor, and only he can command me to remove it. Katsumoto looks to the Emperor, as murmurs fill the room. OMURA -LRB- quickly. -RRB- Ah, but it is our tradition that the Emperor's voice is too pure and great to be heard in such worldly circumstance as the Council of State. One last time, Katsumoto meets the Emperor's eye. KATSUMOTO Then, with great regret, I must refuse to give up my sword. Omura looks to his associates, and a silent decision is made. OMURA Minister Katsumoto, I must invite you to accompany our soldiers to Himeji Castle, where you will be our honored guest. I think you will find the surroundings there quite harmonious. Guards with Mauser rifles move into position around Katsumoto. He turns to the other Council members. Looks at them. KA TSUMOTO -LRB- subtitled. -RRB- Brothers. One day you will know what you have done and feel what I never will. shame. Omura nods to the guards. The guards lead Katsumoto out.",
"EXT. LIVING QUARTERS AFTERNOON A BEARER is loading the last of Algren's luggage on the back of a rickshaw. Algren emerges from the building, sees the same two disreputable MEN who followed him earlier lurking nearby. He resists the temptation to confront them. Instead he climbs into the rickshaw and it starts off. But a moment later, Graham has jogged alongside, huffing and puffing. GRAHAM Thought I'd missed you. Were you going to leave without even saying goodbye? ALGREN I have a fear of sentimental Englishmen. GRAHAM You sod. -LRB- trying to keep up. -RRB- Christ, give us. second here Algren indicates for the bearer to stop. Graham tries to catch his breath. GRAHAM You're making a mistake, I promise you. Katsumoto's under house arrest, Omura's made his move - he'll need you more than ever - Graham stops, sees the look on Algren's face, realizes. GRAHAM Oh, my goodness. How silly of me. All that time you were with him, up in those mountains, . I told you they were a remarkable people. Algren does n't answer, but is n't denying it either. GRAHAM Then you should get out. Because Omura will become rather impatient with anyone who is n't on the team. Graham notices Algren staring at his followers. GRAHAM Case in point. ALGREN Who are they? GRAHAM Ronin would be my guess. Disgraced samurai doing odd jobs for his Nibs. ALGREN What do they want from me? GRAHAM To make sure you're on the side of God and Country, or to make sure you get the hell out. ALGREN You've been a great help, Graham. I thank you. GRAHAM Look who's getting sentimental now. A look bet ween them, then Algren nods for the bearer to continue.",
"EXT. HARBOR SUNSET Algren stands at the gangplank. Porters wait with his luggage. Algren looks back into the crowd and sees the ronin. They glare back, no longer trying to keep out of sight. A BLAST from the steam whistle. Algren looks from the ship, to the ronin, to the bustling, chaotic city behind them. Finally, he looks out at the harbor and the ocean, beyond which used to lie his home. He turns to the bearer. ALGREN -LRB- subtitles. -RRB- Take back to quarters. I walk. And Algren starts back into the city.",
"EXT. TOKYO STREETS EVENING Down a shadowy street, lit only by t orches. Slowly we realize he is being followed and that he knows it. Up ahead, the street appears to dead - end. The two Ronin step out from the shadows and face him, their hands on their swords. Behind him, Another dangerous looking Ronin joins the one who has been following him. They begin to close in. Algren stands completely still. They grow closer. Algren appears to close his eyes. And the sound of the approaching footsteps fades as We HEAR ONLY the sound of his breathing. The Ronin draw their swords. Algren gently opens his eyes. Ever ything has SLOWED DOWN : a sign in the breeze, a piece of rubbish on the street, the flame of a nearby torch. A BLUR OF MOTION. Everything happens so fast it is hard to tell just what has taken place. In the strobing shadows, all we really know is that Algren has leapt to the attack. Within seconds, four bodies lie in the street Algren holds bloody sword. His face is cut and a sleeve of his jacket is ripped, but other than that he is unharmed. Ujio has taught him welt As he stands, catching his breath, we HOLD on his face in CLOSE - UP. A sudden flash : We see Algren grab one of the torches and smash it across the ronin's face. It is the attack - replayed in real - time. Rolling to avoid a death - blow, he grabs the fallen man's sword and eviscerates attacker # 2. The two remaining Ronin strike. He parries the blow of attacker # 3, whirls to slice the legs of attacker # 4, whirls again to cut off the hand of attacker # 1, who has returned to the attack. Meanwhile, attacker # 3 serums and charges - just lit attacker # 4 is trying to stand. Algren steps back as attacker # 3 impales attacker # 4. Algren steps forward and cuts off the head of attacker # 3. Even now, it has happened too fast to be truly appreciated. BACK TO THE STREET We move, closer - still on Algren's face. A sudden flash : And so we watch the attack again. in super - slow motion now, so we can fully appreciate it's terrible beauty. A torch smashes across a face. A sword slices the sleeve of a coat. Sparks fly as two swords meet. A severed hand falls in the dirt. Blood sprays from a decapitated head. A sword is wiped clean. BACK TO THE STREET In real time, Algren kneels to examine one of the dead Ronin. On his arm is tattooed a familiar emblem : The sign of the Omura Zaibatsu",
"EXT. OMURA CASTLE NIGHT Omura lives in a huge medieval castle on a promontory directly above Tokyo Bay. A testament to Japan's martial past.",
"INT. CASTLE TOWER NIGHT Two guards arc : standing at attention in a dank corridor high in one of the towers of the castle. Cell doors line the corridor. Katsumoto's samurai swords lean against the wall next to them.",
"INT. CASTLE CELL NIGHT Katsumoto kneels in a cramped cell. A sound draws his attention. He rises and looks out a barred window. Bel ow he sees two rickshaws moving up the twisting road to the castle.",
"INT. RICKSHAW NIGHT Algren and Bagley, in formal dress uniforms, sit in one of the rickshaws. Bagley looks him over. BAGLEY Oughtta shave more often, Algren. Becomes you. ALGREN Thought I would follow the Japanese fashion. BAGLEY Heard you were leaving, actually? ALGREN Why would I do that? Omura wants me to train his personal guard. BAGLEY Certainly seems obsessed by you. Why do you think that is? ALGREN Could it be my nose is n't permanently lodged up his ass? Bagley shakes his bead, turns away. Algren stares up at the looming aide.",
"EXT. CASTLE- MAIN GATES NIGHT The two rickshaws stop by the heavily - guarded main gates. Guards check the occupants. Motion to other guards atop the gates. The main gates slowly swing open.",
"EXT. CASTLE - COURT YARD NIGHT The bearers lower the rickshaws. Algren and Bagley climb from one. Ambassador Swanbeck climbs from the other.",
"EXT. CASTLE -- RECEPTION CHAMBE R NIGHT Omura waits in elegant evening clothes. A woman plays a harp. The interior of Omura's castle is heavy, oppressive. Old Masters paintings dot the walls. Leather - bound boob. Chippendale furniture. OMURA Gentlemen. AMBASSADOR SWANBECK Omura, you have a lovely home. It must be very old. OMURA Nothing is `` old'' in Japan, ever ything is `` ancient.'' But the views are pleasant. Sit down. They move to chairs by the roaring fireplace as Omura turns to Algren, noticing the cut on his face, but saying nothing. OMURA Do you know your Wagner, Captain? This is the ` Leibestod' from Tristan and Isolde. ALGREN I'm surprised you enjoy it. Literally translated it means ` love/death.'. -LRB- looks at him. -RRB-. A samurai concept, do n't you think? The two men take each other's measures. Servants appear with trays. OMURA Champagne? And cigars, of course. Servants light their cigars. BAGLEY -LRB- re : cigar. -RRB- A gift from President Grant? OMURA -LRB- smiles. -RRB- Queen Victoria. ALGREN Mr. Omura, may I use the necessit y? OMURA Certainly. Omura summons a servant. The servant escorts Algren out. OMURA Now, Mr. Swanbeck, regarding our agreement, I noticed a discrepancy in paragraph seven in reference to the investment protocols for coal.",
"INT. CASTLE CORRIDOR NIGHT The servant leads Algren through a corridor, head bowed. Then, stil1 puffing on his cigar, Algren taps the servant on the back, and as the man turns, decks him. The servant falls. Algren flicks hit cigar out onto the sloping roof. We FOLLOW the BURNING EMBER as it rolls off the roof and lands at the feet of TWO CURIOUS GUARDS.",
"EXT. CASTLE COURTYARD NIGHT The guards look up, trying to determine where the cigar butt has come from. But their curiosity lasts only a moment : ARROWS pierce their necks, strangling any sound. We REVERSE to discover that one of the rickshaw - bearers has fired the arrows. As he peels back his hood, we SEE it is Yoritomo. We realize the other bearers are Ujio, Nakao, and Simon Graham. They hurry past the dead guards and up the stairs.",
"INT. CASTLE APPROACH NIGHT The three samurai and Graham race up the winding parapets. Three GUARDS round a corner. Swords flash as Ujio and Nakao dispatch them without even slowing. They race on, Graham laboring to keep up.",
"INT. CASTLE KEEP NIGHT Algren rounds a corner - Ujio, Yoritomo, Nakao, and Graham are moving toward him. ALGREN This way. Clearly, this has all been Algren's plan. They move up a stairway.",
"INT. CASTLE KEEP (SECOND FLOOR) NIGHT The three guards are still standing at attention outside Katsumoto's cell. His swords are next to them. Algren keeps the others out of sight and lowers his head to whisper with Ujio. Ujio nods, then walks into sight and calmly approaches the guards. Still hidden, Algren gestures for the others remain to silent. After a moment, he gestures that they can proceed. Algren and the others round the comer to discover the bloody remains of the three guards - whom Ujio has dispatched in absolute silence. They unlock the cell.",
"INT. CASTLE CELL FOLLOWING Katsumoto is shocked to see Algren enter. Algren tosses him his swords. ALGREN How's the poem coming? KATSUMOTO The ending is proving difficult.",
"INT. CASTLE -- RECEPTION CHAMBER NIGHT Omura glances up from the documents. OMURA What has become of Captain Algren?",
"INT. CASTLE CORRIDOR NIGHT Algren, Katsumoto, and the others race through an upper corridor. KATSUMOTO -LRB- re : Graham. -RRB- Who is this? ALGREN Name's Simon Graham. Wants to write a book about you. GRAHAM An honor. I have followed your activities with great interest. I think the European public would be fascinated by a book about your adventures. KATSUMOTO Not a book. A play! Suddenly, from below, the raised voices of guards. They hurry a way.",
"INT. CASTLE STAIRS NIGHT Guards carrying pikes race up the stairs -",
"INT. CASTLE CORRIDOR NIGHT Algren and the others are moving swiftly down a stone corridor. The sound of the approaching guards is growing louder. A silent WILD BUNCH moment of preparation as they stride down the corridor, five abreast. Algren pulls the cavalry saber from his dress uniform. Katsumoto prepares his swords. Nakao stretches his huge arms. Yoritomo and Uji o draw their bows.",
"EXT. CASTLE - UPPER COURTYARD FOLLOWING Ten guards with rifles patrol the upper battlements. Yoritomo and Uji o crouch and fire. Arrow a fter arrow a fter arrow, as fast as a repeating rifle, the arrows streak through the night. Completely silent. It is a dazzling display. They time shots to sail over walls, shoot through tiny windows, shoot out torches. Multiple arrows. Perfect aim. In a matter of seconds all ten guards are dead. They continue across the courtyard, up some steps -",
"INT. CASTLE--TIGHT CORRIDOR FOLLOWING They stride through a tight, dark stone corridor. Suddenly, a cadre of Omura guards emerge from the shadows. Without hesitation, they launch into battle. Algren and Katsumoto wield their swords. Yoritomo and Ujio fire arrows. Nakao fights with his hands, dramatic martial arts from the huge man. But this corridor is just too tight - it is a sea of combat. the guards and our warriors are slammed together - the swords and pikes sending up sparks in the darkness as they strike the stone walls. The right corridor echoes with samurai war cries and clanging swords. Then. More guards appear. These guards have rifles. Rifle blasts thunder - startling strobe - like bursts of light in the darkness - Algren dives in front of Katsumoto to protect him - Yoritomo is hit - He jerks back - blood - Ujio fires arrows at the guards with rifles, hitting two - but more guards with rifles are appearing, bullets sending showers of debris and ricochets - Algren sees a stairway leading to a higher 1evel, barks out a command. As Nakao drags Yoritomo toward the stairs - the others bolt a heavy SIEGE DOOR - designed to keep attackers at bay.",
"INT. CASTLE SIEGE ROOM NIGHT Ujio fires arrows through the siege ports - momentarily delaying the guards as Algren leads them toward a rear stairs.",
"INT. REAR STAIRS NIGHT Algren starts down - only to discover MORE GUARDS blocking this means of escape. He backs out of the way just in time as rifle blasts SPLINTER the wooden stairwe11. Meanwhile, an EXPLOSION from behind them indicates that the guards have blown the siege door. Algren, Graham, and Ujio have no choice but to continue upwards into the castle keep. Nakao helps the wounded Yoritomo as they climb.",
"INT. UPPER KEEP NIGHT A narrow ladder leads to the final redoubt. They start to climb but Yoritomo leans against the wall. He is gravely wounded. ALGREN Come on. YORITOMO -LRB- subtitled. -RRB- You go, Algren - san. I will stop them. ALGREN No - YORITOMO Please. Yoritomo's determination is absolute. Finally, Algren nods. Katsumoto moves to Yoritomo, leans in for a few final words, taking his head and pressing his forehead to Yoritomo's. Bullets begin ricocheting around them - Yoritomo looks to Algren : YORITOMO -LRB- subtitled. -RRB- Tell my family. Algren bows his bead in respect. Then Algren leads them up the stairs. Ujio fires a final volley, nods with respect to Yoritomo, then follows the others. Yoritomo pulls himself erect. Draws his two samurai swords. A beat. He closes his eyes. Smiles. Then he opens his eyes and hurls himself down the stairs - The guards fire hitting Yoritomo - but still he comes - wading into them swords flashing - he is hit again and again - but still he comes. It is a glorious death.",
"EXT. SIEGE ROOM NIGHT Algren leads them into the highest room of the castle, the siege room. The echoes Yoritomo's death rings in their ears. Katsumoto glances at Ujio and Nakao. Without a word, they kneel on the floor, open their kimonos and unsheathe their short - swords, preparing to commit seppuku. ALGREN No. Wait! Katsumoto glares at him harshly, furious to have his concentration disturbed at such a moment. ALGREN There's a way out. Look -! Reluctantly, Katsumoto joins him at the window. ALGREN This place is designed to keep people from getting in, not from getting out. We can make it KA TSUMOTO This was your plan? ALGREN Do you have a better one? Nakao and Ujio look at Katsumoto, awaiting his response. He turns to Algren. ALGREN I may die. But I'll die trying. And without another word he LAUNCHES himself out the window, onto the sloping roof.",
"EXT. CASTLE ROOF TOPS NIGHT Like his cigar butt earlier in the sequence, he rolls, then falls, hits another roof, rolls, slides, falls, hits again.",
"INT. UPPER KEEP CONTINUOUS Katsumoto and the others share a look. Has he survived? GUNFIRE begins to pepper the floorboards, bullets whistling past them.",
"EXT. CASTLE ROQF TOPS CONTINUOUS Algren slides, bumps, rolls, falls, hits, then slides again. Until he finally plummets into the moat. As his head rises above water, he lets out a scream of absolute joy.",
"INT. UPPER KEEP CONTINUOUS Katsumoto hears the scream. A look of disbelief spreads over his face. Then the beginnings of a smile. Without a second look, be leaps out the window. Ujio follows. Graham shrinks away in fear. Nakao lifts him bodily, throws him out, and then follows.",
"INT. CASTLE -- RECEPTION CHAMBER LATER Omura stands, very calm, smoking a cigarette, listening to the report of his guards. Colonel Bagley tries to apologize. BAGLEY 1 do n't know what to say, sir. I never would have thought him capable of treason. OMURA I would say Captain Algren's acts tonight have assured our success. AMBASSADOR SWANBECK What do you mean? OMURA Katsumoto will rejoin his kinsmen. They will fight. We will destroy them with your new weapons. BAGLEY What if he just goes off to the mountains and becomes a damn sheep - herder or some such? OMURA You still do not understand us. Katsumoto can do nothing but fight. It is his role in the drama. He must act out his destiny. He knows it. AMBASSADOR SWANBECK You trust a lot in destiny. OMURA This story was written years ago. From the first sight of your warships in our harbor. -LRB- stares out the window. -RRB- It is a1l inevitable.",
"EXT. HILLS SUNSET Algren, Katsumoto, and the others ride over rocky ground. ALGREN -LRB- V.O. -RRB- June 1, 1877. Yesterday, I passed the field where Zebulon Gant was killed by the man with whom I now ride. In the distance a steam train chugs along. Inevitable. Progress.",
"EXT. FOREST MOUNTAINS DAY They climb a steep trail. Beyond, the glaciers glow pink. ALGREN -LRB- V.O. -RRB- I am beset by ironies - trained to fight rebels now I am one. And yet 1 ask mysel f. can a man be reborn? : Algren, Katsumoto, and the others ride through a dense forest Katsumoto reins his horse. The others follow suit. They wait ALGREN -LRB- V.O. -RRB- And if so, what would he make of it? Mounted samurai emerge from the thick forest As it they were invisible. The leader leaps from his horse and bows, touching his head to the dirt. All the other samurai follow suit.",
"EXT. CHERRY TREE FOREST--NEAR THE VILLAGE EVENING Katsumoto rides at the head of his samurai as they pass through the cherry orchard. Then he reins his horse and falls in beside Algren. KATSUMOTO -LRB- his voice troubled. -RRB- I was prepared to die in Omura's castle. And yet here I am. I can not help but ask why were you sent into my life. What is the lesson you were meant to give me? ALGREN Maybe that neither of us is as smart as we thought. Katsumoto laugh. And then in a surprisingly deft imitation of Algren KATSUMOTO You. ai n't whistlin' Dixie. He spurs his horse and heads off. Algren shakes his head and follows.",
"EXT. VILLAGE EVENING The returning warriors are warmly welcomed by the villagers. Algren rides directly to Yoritomo's house, dismounts. Taka and Toshiie are waiting. He goes to them. His expression tells them all they need to know.",
"INT. YORITOMO'S HOUSE NIGHT Algren sits with the family. The boys sit next to their mother. ALGREN -LRB- subtitles. -RRB-. he gave his life to save us. He died bravely. TAKA -LRB- subtitles. -RRB- Thank you, Algren - San. HIGEN -LRB- subtitles. -RRB- Will you fight the white men? ALGREN -LRB- subtitles. -RRB- If they come here, yes. HIGEN -LRB- subtitles. -RRB- Why? ALGREN -LRB- subtitles. -RRB- Because they come to destroy what I have come to love. Taka looks at him, moved and surprised. Suddenly, Higen jumps up and bolts. out of the room. Algren looks to Taka. TAKA -LRB- subtitles. -RRB- The way of Samurai is difficult for children. He misses his father. ALGREN And he is angry because I am the cause of that. She smiles ever so slightly at his obliviousness. TAKA No. He it angry because he fears you will die as well.",
"EXT. VILLAGE NIGHT Higen stands, looking up at the stars. ALGREN Higen. HIGEN -LRB- subtitles. -RRB- My father taught me it is glorious to die in battle. ALGREN -LRB- subtitles. -RRB- That is what he believed. HIGEN -LRB- subtitles. -RRB- I would be afraid to die in battle. ALGREN -LRB- subtitles. -RRB- So would I. HIGEN -LRB- subtitles. -RRB- But you have been in many battles. ALGREN -LRB- subtitles. -RRB- And I was always afraid. Higen looks at him, tears welling in his eyes. HIGEN -LRB- subtitles. -RRB- I do n't want you to go. Algren has no answer. He can only gather the boy up in his arms and hold him.",
"EXT VILLAGE DAY Nakao is standing proudly, his massive arms folded across his chest. We pull back : Graham is bunched behind his photographic equipment. A flash of phosphorous and the moment is immortalized. Meanwhile, Algren is working with Higen on the house. Katsumoto silently watches Algren working with the boy. KATSUMOTO Algren - san. Algren turns. KATSUMOTO They are corning.",
"EXT MOUNTAINS DAY Algren and Katsumoto perch on a precipice, looking down into a valley. It is a beautiful setting. Towering peaks and peaceful valleys. It is here that the final act of the inevitable drama will play out. Bel ow they see the Imperial Army, thousands strong, marching across the valley toward them. Terrifying martial columns in strict formation. ALGREN I call it five thousand troops. They'll come in waves of about a thousand, a few minutes between each wave. Katsumoto listens carefully to Algren's expertise. ALGREN German formations have the infantry staggered with on1y light flanking. They'll come straight on with rifles and fixed bayonets. Mausers are only accurate to about 150 yards. They'll look to overthrow us. Katsumoto takes this in.",
"EXT. VALLEY DAY Colonel Bagley, Omura, several German advisors and Japanese officers ride at the head of the Imperial Army. Bagley sees something, raises a hand. The troops halt. Algren and Katsumoto ride up to them. Stop. ALGREN Colonel. BAGLEY Captain. -LRB- to Katsumoto. -RRB-. Sir, the Imperial Army of Japan demands your surrender. If you and your fellows lay down your arms you will not be harmed. KATSUMOTO That is not possible. As Omura knows. Omura meets Katsumoto's look, nods. Bagley turns to Algren. BAGLEY Captain Algren, we will show no quarter. You ride against us and you are the same as they are. ALGREN I take that as a compliment, Colonel. -LRB- a deadly calm. -RRB- I'll look for you on the field. Algren and Katsumoto wheel their horses and go.",
"EXT. MOUNTAIN RIDGE DAY Algren and Katsumoto ride. ALGREN They have the howitzers. KATSUMOTO How many? ALGREN About a dozen. Katsumoto considers this. Algren looks up into the mountains. ALGREN A man could get lost up there. Build an army. Hold out a very long time. KATSUMOTO Algren - san. Have you seen what happens to the villages that stand In the way of the railroad? Algren nods. He remembers. KATSUMOTO That is what will happen to my village if we do not stand and fight. -LRB- looks at him. -RRB- No. We serve the Emperor here. ALGREN By dying? KATSUMOTO Perhaps. ALGREN At least make it battle, not a suicide. KATSUMOTO And what would that accomplish? Algren lifts his head, enjoying the feeling of the sun and wind on his face. ALGREN It might give you one more day. One more fine day like this. Katsumoto stares at him for a long moment, then smiles and spurs his horse. Algren follows. They ride together, side by aide, the wind billowing their cloaks - We enjoy the ride as they do, the trees strobing by, the sun slanting through the leaves.",
"EXT. VILLAGE NIGHT It is the eve of battle. And the samurai rejoice. Katsumoto is on stage at the center of the village square, enthusiastically performing a Noh drama. Algren sits with Toshiie and Taka in the audience, enjoying Katsumoto's theatrics. Other samurai can be seen around the village, eating, singing, and playing instruments. Tonight is for celebrating life. Elsewhere, a flash as Graham takes a photograph of some children. On the stage, Katsumoto spots Algren in the audience, points to him and encourages him to join him. Algren resists. Toshiie prods him. Algren surrenders and joins Katsumoto on the stage. The villagers are delighted. Katsumoto embroils Algren in the performance. Algren does his best, laughing at Katsumoto's antics. It is the freest and happiest we have ever seen Algren. Time SLOWS as we Savor his simple enjoyment Toshiie is highly amused. Taka has a deeper response, she is moved as she watches Algren give himself over to the part.",
"EXT. VILLAGE LATER THAT NIGHT A somber mood has descended. Algren sits and writes in his journal. ALGREN -LRB- V.O. -RRB- July 14, 1877. For so long now, I have managed to convince myself that there was nothing worth believing in. A samurai plays a melancholy bamboo flute. The gentle sound floats through the village. ALGREN -LRB- V.O. -RRB- Certainly nothing worth dying for. We see samurai preparing for the final battle. Some check their armor. Others meditate. ALGREN -LRB- V.O. -RRB- Now I am not so sure. Some make up their faces so they will look handsome when they greet death. Some methodically polish their swords. Some sit with their families. ALGREN -LRB- V.O. -RRB- And so, for the first time in my life, I am truly afraid. Not of dying. But of losing something worth living for. Ujio is performing a graceful, ritualistic sword - dance to the song of the flute. Algren Joins Graham to watch him. GRAHAM What is it :? ALGREN The kenbu,. his dance of death. Taka comes to them. TAKA -LRB- subtitles. -RRB- Algren - san, will you come with me? Algren leaves Graham and accompanies Taka toward the house. They pass Higen and Toshiie, who sit with other children at the feet of the massive Nakao, listening to a quiet story he tells,",
"INT. YORITOMO'S HOUSE FOLLOWING The gentle flute music from outside drifts in. One of Yoritomo's beautiful kimonos is elegantly spread on a mat. TAKA -LRB- subtitles. -RRB- If you wear this, it will honor us. He nods. She steps to him. A moment. She gently reaches forward and unbuttons his collar. A tender, silent scene as she undresses him and carefully wraps him in the kimono. Her hands move gracefully around his body, never quite touching him. His movements are gentle in response. When he is fully dressed, then are tears in his eyes. Suddenly, fiercely, they are holding each other.",
"EXT. KATSUMOTO'S HOUSE -- PORCH LATER THAT NIGHT The quiet evening continues. Algren, now dressed in the kimono, finds Katsumoto carefully dropping little leaves of incense into a small flame that simmers inside his battle helmet. KATSUMOTO So my hair will have a pleasing scent when I meet my ancestors. -LRB- dry. -RRB-. You do not do this? Algren smiles, sits. ALGREN I studied war at a place called West Point. They taught us about a battle called Thermopylae. Three hundred brave warriors held off the king of Persia's army of a million men. For two da ys they made them pay so dearly that the king lost all appetite for further invasion. -LRB- looks at him. -RRB-. I have some thoughts about the battle tomorrow. KATSUMOTO -LRB- bemused. -RRB- Do you really think we can defeat them? ALGREN I sure as hell want to find out. KATSUMOTO You believe a man can change his destiny? ALGREN No. But I think a man can not know his destiny. He can only do what he can, until his destiny is revealed. A si1ent beat. Then Katsumoto picks up a long bundle wrapped in cloth. He unwraps it. A beautilu1 long samurai sword. He bows his head and offers it to Algren. There are Japanese characters etched on the blade. ALGREN What does it say? KATSUMOTO `` I belong to the warrior in whom the old ways have joined the new.'' Algren is moved beyond words. He bows. As the CAMERA pulls away, Algren and Katsumoto squat side by side, drawing in the dirt with a stick, planning the next day's battle strategy. Across the square, Ujio continues his elegant dance of death, his graceful form illuminated in silhouette by a fire.",
"INT. YORITOMO'S HOUSE MORNING It is the day of the battle. Algren is buttoning the long coat of his cavalry uniform. He looks up to see Higen standing in the doorwa y, holding the breast - plate of his father's armor.",
"EXT. YORITOMO'S HOUSE DAY Algren emerges from the house, wearing the breast - plate over his coat. Taka is at his horse, tying a bag of food to the saddle. She turns and sees her husband's armor on this man. And her breath stops. Algren approaches her. They stand very cl ose. TAKA -LRB- subtitles. -RRB- Return. ALGREN -LRB- subtitles. -RRB- If that is my destiny. Anshinritsumai. -LRB- I wish you peace. -RRB- TAKA Anshinritsumai. He bows his head to her, she responds. The boys stand on the porch, watching. He mounts his horse and trots off. They watch him go. Algren joins the line of samurai leaving the village. It is the first time we have seen them in their full battle armor since the battle in the fog. Katsumoto in his black armor, Ujio in his jet black. And Algren in the blood - red breast - plate. It is dazzling.",
"EXT. BATTLEFIELD DAWN We move along the line of waiting samurai. The faces are stoic. Prepared. Their horses are corralled well behind them. Algren stands with Katsumoto and Ujio. Graham is nearby. They peer into the plain beyond. They have chosen a strong defensive position. A steep mountain pass. Slopes on either side create a funnel ahead of them. The Imperial Army will have to pass through the funnel to reach them. On a hill above them Higen is revealed. He looks down first at the five hundred Samurai, then sees, beyond, the overwhelming mass of the IMPERIAL ARMY. Back on the battlefield A distant thud followed by a high - pitched whine. A MASSIVE EXPLOSION ahead of the Samurai. Artillery. Algren finds Graham cowering at the base of a straw barricade. ALGREN Mr. Graham. GRAHAM Captain? ALGREN Would you please stay with the horses? Graham would like to be brave enough to remain, but he is not a soldier. GRAHAM As you suggest. Graham starts to go - ALGREN Mr. Graham. Take this. From his coat, Algren takes his journal, hands it to Graham. ALGREN Maybe you can use it for your book. GRAHAM I will. He heads back to the relative safety of the horse corral. Meanwhile, the samurai remain impassive as artillery is stepped in closer, the range bracketed. Then artillery rounds begin to fall among them. Samurai are blown to pieces as they bravely stand and await death. Katsumoto BARKS a command to Ujio. Suddenly, the Samurai break ranks and trot into a new defense alignment. The artillery rounds now fall ineffectually where once they stood. Bagley directs the artillery to be re - targeted, It is a laborious, clumsy process. They fire again. Another command. The Samurai change position again. Bagley is furious. Their fluid tactics have rendered his field artillery useless. Katsumoto and Algren share a look of grim satisfaction. They are leveling the playing field. Bugle calls are heard from the Imperial Army. ALGREN The call to advance. The rattle of the snare drums. The sound of marching boots. And then they appear. Thousands upon thousands of them. The Imperial Army marching relentlessly forward in strict formation. The Rising Sun displayed. Katsumoto gazes at the awe - inspiring sight. His 500 samurai face a staggering 5,000 soldiers. KATSUMOTO Tell me. what happened to those three hundred warriors at Thermopylae? ALGREN -LRB- a grim smile. -RRB- Dead to the last man. Katsumoto glances to him, smiles.",
"EXT. THE SAMURAI POSITION CONTINUOUS The First Division of the Imperial Army moves into the funnel, their numbers reduced by the size of the access, and head toward the barricade. Katsumoto and Algren watch as they move closer and closer. We are expecting the samurai to open fire, but they do not. They just wait. Finally the Imperial soldiers are in rifle range. They stop to fi re a volley. Bullets begin hitting among the samurai. Many fall. Algren nods to Katsumoto, Katsumoto then calls out a command and the samurai retreat. They race back toward the rear of the funnel. The Imperial Army soldiers climb awkwardly over the first barricade and pursue - The samurai, meanwhile, have taken cover behind a second barricade that had been hidden from the Imperial soldiers' view. Now safely behind the second barricade, Katsumoto calls out a command and - The samurai fire! 500 arrows explode - almost instantly followed by 500 more - Like an image from Agincourt, the clouds of arrows sweep across the sky - Imperial Soldiers fall, the attack falters - From behind the new barricades, archers fire FLAMING ARROWS, that Hit the old barricade. It EXPLODES INTO FLAMES, trapping the Imperia1 Army bet ween the two barricades. And from the second barricade, two large CA TAPULTS send balls of flaming pitch into the already panicking soldiers.",
"EXT. OPPOSING HILL TOP DAY Colonel Bagley, Omura, several German advisers and Japanese Officers watch through binoculars. Stunned. As the First Wave is routed. HAGLEY What the hell? OMURA It seems Katsumoto will resist his destiny. -LRB- snaps an order. -RRB- Send in the second wave. Two divisions.",
"EXT. BARRICADES DAY Algren and Katsumoto wait behind the second barricade. We note that this barricade is the real thing. Katsumoto removes a piece of shattered armor from his left forearm, a bullet wound beneath. Algren looks over the barricade. They see Imperial soldiers using semaphore flags to communicate with their commanders on the opposing hilltop. KATSUMOTO How long? ALGREN They need to regroup and report our position. Then they'll come hard. Katsumoto considers the bodies of the dead Imperia1soldiers. KA TSUMOTO It is sad to see brave men die without faces. You can not tell one warrior from another. ALGREN They're not warriors. They're soldiers. It's a modern army. KATSUMOTO Not my world anymore.",
"EXT. BATTLE FIELD DAY Bugles. The attack is reforming. Ranks now bolstered by reinforcements. They come at a trot, through the narrow defile, skirting the first barricade, continuing at a trot toward the second barricade.",
"EXT. 2ND BARRICADE DAY Katsumoto pulls his long sword. Algren does the same. Katsumoto calls out an order - the archers fire another round. The Imperial soldiers are being annihilated but still they come in great waves - for every one who falls it seems there are ten to take his place. They race forward, stepping over their fallen comrades, bayonets poised - The Mauser rifles flash - Bullets explode around the samurai, many are hit. The Imperial Army has been trained to keep firing on the run. The waiting Samurai will be decimated, except - From the hills on either side Fully half of the Samurai force - who have been kept hidden until this moment. charge, screaming into the flank of the attacking Army. Even rifles can not fire in three directions at once. Algren and Katsumoto lead the charge over the second barricade. Some are cut down, but in moments swords engage ba yonets in brutal hand - to - band combat. Algren And Katsumoto fight back to back, as if one person, slashing with their swords, shattering bayonet, dealing death on all sides. Ujio crouches, his back leg straight and planted, his front leg bent. Still using his bow, firing off arrows with Stunning speed, refusing to budge - On the opposing hillside Bagley and Omura watch the battle through binoculars. BAGLEY A classic `` V'' ambush. Sonofabitcb is using Welt Point tactics. In the midst of the battle A charging soldier thrust s his bayonet into Katsumoto's arm - Katsumoto kills, the soldier with his short sword but is awkwardly tangled with his body, a second soldier races toward him for the kill - Algren spins and attacks killing the second soldier - but a third races toward Algren, bayonet f1ashing He dodges - but the bayonet slices into his side - Algren kicks the soldier away - tries to use his sword but the soldier springs back ath1etically. Ujio appears like a black spectral figure to deliver the coup de grace. All SOUND gradually fades and is replaced by the elegaic sound of a bamboo flute. the images of combat become fragmented and impressionistic. Bur no matter how bravely the samurai fight, they are simply outnumbered. Nakao is like a cornered bear, arcing his two swords wildly around him. He is shot in the chest, and staggers a moment before continuing. Another soldier shoots him in the arm at point blank range. Nakao', sword goes fl ying, so the giant Samurai leaps forward and picks up the shooter bodily, twirling him around like a wrestler, throwing him finally onto the upraised pike of a fellow Imperial soldier. But now three more soldiers have levelled their weapons, and a ruthless volley staggers him again. Shots rain on him as he tries to continue fighting, but his strength leaves him. Finally, with one last lunge, he manages to pull an Imperial soldier with him, crushing him as he falls. More and more fall as Algren, Katsumoto, and their comrades fight desperately. The mournful flute is the appropriate accompaniment as Ujio is mortally wounded. The grim award master is cut through with bullets. Still he fights. An Imperial soldier holds up a rifle to protect himself, and Ujio's blade cuts through the barrel. The soldier just has time to look at the gun in amazement before a second sweep of Uji o's sword beheads him. But there are too many to take the man's place, and finally fi ve men run Uji o through with bayonets, and he is pinned against the barricade, still upright in death. At last, what is left of this second wave of the Imperial Army, retreats.",
"EXT. PLAIN ALMOST SUNSET The plain before the barricade is littered with Imperial Army dead. Algren and Katsumoto sit exhausted, leaning against the barricade. They are both wounded. Only about. hundred samurai are still alive. Algren looks over the decimated warriors for a moment. Even those still alive are in bad shape as they wait for the next wave of Imperial soldiers. Katsumoto is looking at Ujio's body nearby. KATSUMOTO He was Kaishaku. my trusted friend. ALGREN We wo n't be able to hold them back this time. KATSUMOTO This is not your battle. You do not have to die here. A long beat. ALGREN I died a long time ago. KATSUMOTO But now you live again. ALGREN Yes. KATSUMOTO It was not your time. ALGREN No. Maybe I survived just to live this one last day. Algren looks at him. ALGREN I'll stay. He slowly pulls himself up. He and Katsumoto gaze at the plain before them. At the infantry troops massing on the opposing hilltop. Algren looks at Katsumoto. He reaches into the pocket of his old uniform and takes out the Medal of Honor he received, long ago, at Sutter's Hill. He affixes it to his old cavalry tunic. Katsumoto looks at Algren. They are both thinking the same thing. Silent agreement.",
"EXT. PLAIN SUNSET The hundred mounted samurai are a beautiful sight. They wait in formation in front of the barricade, the long plain through the funnel to the opposing hilltop before them. Katsumoto draws his long samurai sword. Algren draws his. And they slowly begin to trot forward. And then to canter. BEHIND THE IMPERIAL ARMY Colonel Bagley and Omura watch, transfixed. There is something approaching admiration on Omura's face. On Bagley's, there is only malice. BAGLEY The gatling guns. Quickly.",
"EXT. PLAIN SUNSET Katsumoto points his sword and screams out his war cry. And they charge. It is suicidal It is glorious. It is the end of the samurai. They charge forward, their war cries echoing in the canyon. The Imperial troops fire rifles - samurai fall. but still they come : - pounding over the earth like something from an ancient dream Algren and Katsumoto charge side by side. Alive. Warriors. BEHIND THE IMPERIAL ARMY Bagley and Omura watch as the samurai fall, one by one. WITH THE CHARGE Fifteen or twenty of the samurai - including Algren and Katsumoto - somehow manage to fight their way through the lines. They break into the open. And continue riding straight toward the rear. ALGREN AND KATSUMOTO Are both wounded, yet still they charge. They have only one thought in mind - death to their enemies. They gallop forward toward Bagley and Omura. BAGLEY Looks around in abject terror. He screams out an order. TWO WAGONS Are moving into position. Their rear gates fall open. revealing the GATILING GUNS. ALGREN AND KATSUMOTO Are near enough to see them. Yet they will not be deterred. They charge on. Up ahead. THE GATLING GUNS Are not yet ready to fire. Japanese soldiers slam ammo belts into the chambers. ALGREN, KATSUMOTO AND THE REMAINING SAMURAI Have almost reached their goal. BAGLEY Cowers in fear, looks around, but there is nowhere to hide. THE SAMURAI CHARGE Even while riding at I full gallop, they have fixed arrows into their long bows. They let loose a lethal volley. BAGLEY BAGLEY Fire! Fire, dammit! But before the guns can open up, he is IMPALED BY ARROW AFTER ARROW, a human pincushion. The final arrow pierces his forehead. Then. The Gatling Guns finally fire. Ripping into the samurai - Destroying them - One after another is hit - and still they come - their voices raised in glorious cries of triumph - Graham watches from a hilltop, tears in his eyes. Katsumoto is hit, blood explodes. - his horse falls - he spi1ls off - Then Algren is hit - he falls - Algren drags himself to Katsumoto, bullets exploding ever ywhere - Algren looks up to see. The remaining samurai still charging - And still the Gatling Guns tear through them - And still they charge - Until they are all down.",
"EXT. OPPOSING HILLTOP SUNSET A Japanese Officer shouts out an order - the Gatling Guns stop. Omura screams at him to continue firing! The Japanese officer barks out response. Refusing. Omura sees all the samurai are dead or dying. But he also sees Algren kneeling by Katsumoto, dragging him away. He screams at the Japanese officer to resume fire! The Japanese officer refuses. He just looks over the plain of dying samurai for a moment. Then he does the most remarkable thing. He slowly kneels and touches his head to the dirt. Then a soldier near him does the same thing. Then another and another. And then by the thousands. They kneel and touch their heads to the dirt. Honoring the last samurai.",
"EXT. PLAIN SUNSET A1gren drags the dying Katsumoto to a8 copse of cherry trees nearby.",
"EXT. CHERRY TREES SUNSET Both men are bleeding profusely. KATSUMOTO Help me up. ALGREN Just - stay there. KATSUMOTO Help me up. Algren helps him to stand. Without Algren's support, he would fall. KATSUMOTO My sword. ALGREN No. KA TSUMOTO You have your honor again. Let me die with mine. Kaishaku. Algren looks at him, deeply moved. Katsumoto manages to pull out his short sword. KATSUMOTO You must help me. Hold it firmly. Algren supports Katsumoto as he holds the sword's point firmly to his stomach. KA TSUMOTO Are you ready? ALGREN No, Kaishaku. Katsumoto looks at him deepl y, warmly. KATSUMOTO We will ride together again. Katsumoto embraces Algren firmly - the sma1l sword impales him Algren holds him tightly. Katsumoto is looking over Algren's shoulder as he dies. Katsumoto sees something. A look of joy and absolute peace comes to his features. KATSUMOTO -LRB- whispers. -RRB- It is perfect. They are all perfect. His eyes cl ose. He is dead. Algren gently kneels with Katsumoto's body He holds him for a moment and then turns to see what Katsumoto was looking at. Cherry blossoms. A display of perfect beauty. We slowly fade to.",
"INT. IMPERIAL PALACE -- THRONE ROOM DAY Ambassador Swanbeck, Omura, and a retinue of advisors are presenting the treaty documents for the Emperor's signature. The Emperor sits restively on his throne. AMBASSADOR SWANBECK will usher in an era of unprecedented prosperity and cooperation between our two great nations. A servant comes and whispers into the Emperor's ear. OMURA -LRB- subtitles. -RRB- Highness, if we could just conclude the matter at hand. The Emperor ignores Omura, and gestures that the doors to the chamber be opened. Algren enters with Graham. Algren carries something wrapped in a blanket. He approaches the Emperor. Kneels and sets the bundle at the Emperor's feet. Algren remains kneeling with his head bowed. He unwraps the bundle. It is Katsumoto's long samurai sword. ` The Emperor looks at it. OMURA -LRB- subtitled. -RRB- All your enemies are dead, Enlightened One. The Emperor continues to look at the sword. He does not look up. EMPEROR/TRANSLATOR -LRB- to Algren. -RRB- You were with him at the end. ALGREN/TRANSLA TOR Yes. He asked that I bring you this - that the strength of the samurai will be with you alwa ys. The Emperor rises from his chair and sits on the floor, in the traditional Japanese fashion, before the sword. OMURA -LRB- after a moment. -RRB- En1ightcned One, we all weep for his loss, but the future of our country lies in - The Emperor interrupts him, speaking in English - to ever yone's surprise. EMPEROR My ancestors have ruled Japan for 2,000 years. And for all that time we have slept. During my sleep I have dreamed. I dreamed of a unified Japan. Of a country strong and independent and modern. -LRB- touches the sword lovingly. -RRB- And now we are awake. We have railroads and cannon and Western clothing. But we can not forget who we are. Or where we come from. The Emperor looks up at the gathered dignitaries. EMPEROR Ambassador Swanbeck I have concluded that your treaty is not in the best interests of my people. AMBASSADOR SWANDECK Sir, if I may - EMPEROR You may not. From this moment on, economic investment from every nation will be considered equally. Ambassador Swanbeck is stunned. AMBASSADOR SWANBECK This is an outrage - The Emperor gestures. A servant escorts Swanbeck to the exit. Omura takes a step closer to the Emperor. OMURA -LRB- subtitled. -RRB- Enlightened One, we should discuss this EMPEROR -LRB- subtitled. -RRB- Omura, do you know our northern island? Omura is confused. EMPEROR -LRB- subtitled. -RRB- There is a small one called Taraku. A rock in the sea. There is nothing there but crabs who have been known to tear a sleeping man apart. I have had a small house constructed on the island. You will go there now and await our summons. OMURA -LRB- subtitled. -RRB- Sir? EMPEROR -LRB- subtitled. -RRB- I hereby seize your family's assets and present them as my gift to the people. Omura looks at him, stunned. EMPEROR -LRB- subtitled. -RRB- Further, I have decided to stop the railroad cxpansion into Yoshino. OMURA -LRB- subtitled. -RRB- Enlightened One EMPEROR -LRB- subtitled. -RRB- You have served your function. I have no more need of you. You can conspire with the crabs now. Remove yourself. OMURA -LRB- protests, subtitled. -RRB- Honored Emperor, I do not know why you disgrace me. The Emperor finally looks up from the sword. EMPEROR -LRB- subtitled. -RRB- If your shame is too unbearable. I offer you this sword. Omura looks at him for a moment. Then bows tersely and goes. The Emperor looks at Algren, still kneeling before him. EMPEROR -LRB- in English again. -RRB- The samurai is not a man now. He is an idea. -LRB- a beat. -RRB- Tell me how he died. Algren looks At the Emperor. ALGREN I will tell you how he lived. We slowly fade as Algren begins to speak.",
"EXT. VILLAGE DAY Spring. A few years later. There are no samurai training in the square, but otherwise the village is bustling with life. We HEAR Graham's voice : GRAHAM -LRB- V.O. -RRB- And so the days of the samurai had ended.",
"INT. LECTURE HALL (ENGLAND) DAY Graham stands at a lectern on a book tour. A well - dressed audience listens attentively. A banner proclaims, `` The Last Samurai,'' by Simon Graham. GRAHAM -LRB- V.O. -RRB- And in the years to come the Rising Sun of Imperial Japan would fly in triumph over Korea, over Russia, even over China. Nations, like men, it is sometimes said, have their own destiny",
"EXT. VILLAGE DAY We see that Yoritomo's house has finally been completed. Toshiie sits on the porch, Instructing a group of younger children in calligraphy. GRAHAM -LRB- V.O. -RRB- As for the American Captain, no one knows what became of him. All that is left is his journal which I have published, according to his last request. Taka steps from the house and passes Toshiie, she carries a basket. We move through the village with her. GRAHAM -LRB- V.O. -RRB- Some lay he died of his wounds, others that he returned to his own country. She passes an old man teaching the Noh drama to a group of teenagers. She passes Higen, working on a new building. Apparently he has found a good life as a carpenter. He seems content. We go with Taka as she leaves the village.",
"EXT. CHERRY TREES DAY Taka moves through the cherry orchard. GRAHAM -LRB- V.O. -RRB- But I like to think he may have found at last some small measure of the peace we all seek, but few of us ever find. Taka stops. Watching. We follow her gaze to discover : Algren, sitting alone. Gazing peacefully sat the cherry bl ossoms. Waiting for the perfect one. He turns to her, a smile of quiet joy spreads across his face. GRAHAM -LRB- V.O. -RRB- Anshinritsumai. -LRB- I wish you peace. -RRB- Fade out."
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] | Former US Army Captain Nathan Algren, a bitter alcoholic traumatized by the atrocities he committed during the American Indian Wars, is approached by his former commanding officer Colonel Bagley to train the newly created Imperial Japanese Army for a forward-thinking Japanese businessman Omura, who intends to use the army to suppress a Samurai-headed rebellion against Japan's new emperor. Despite his hatred of Bagley for his role in the Indian Wars, an impoverished Algren takes the job for the money, and is accompanied to Japan by his old friend, Sergeant Zebulon Gant. Upon arriving, Algren meets Simon Graham, a British translator knowledgeable about the samurai. Algren finds the Imperial soldiers are actually conscripted peasants that have no knowledge of firearms or battle. Early in their training, Algren is informed that the samurai are attacking one of Omura's railroads; Omura sends the army there, despite Algren's protests that they are not ready. The battle is a disaster; the undisciplined conscripts are routed and Gant is killed. Algren fights to the last before he is surrounded; expecting to die, he is taken prisoner when samurai leader Katsumoto decides to spare him. Algren is taken to Katsumoto's village to live among his family. While he is poorly treated at first, he eventually gains the samurai's respect and actually becomes friends with Katsumoto. Algren overcomes his alcoholism and guilt, and learns the Japanese language and culture. He develops sympathy for the samurai, who are upset that the pace of modern technology has eroded the traditions of their society. Algren and Taka, Katsumoto's sister and the widow of a samurai killed by Algren, develop an unspoken affection for each other. One night, a group of ninjas infiltrate the village and attempt to assassinate Katsumoto. Algren saves Katsumoto's life, and then helps defend the village. Katsumoto requests a meeting with Emperor Meiji and is given safe passage to Tokyo. He brings Algren, intending to release him. Upon arriving in Tokyo, Algren finds the Imperial Army is now a well-trained and fully equipped fighting force. Katsumoto, to his dismay, discovers that the young and inexperienced Emperor has essentially become a puppet of Omura. At a government meeting, Omura orders Katsumoto's arrest for carrying a sword in public and asks him to commit Seppuku to redeem his honor. Algren refuses Omura's offer to lead the new army to crush the rebels, due to his sympathy. Omura sends assassins to kill Algren, but Algren kills them. Algren assists the samurai in freeing Katsumoto; in the process, Katsumoto's son Nobutada is mortally wounded, sacrificing himself to allow the others to escape. As the Imperial Army marches to crush the rebellion, a grieving Katsumoto contemplates Seppuku, but Algren convinces him to fight until the end, and joins the samurai in battle. The samurai use the Imperial Army's overconfidence to lure them into a trap and deprive them of artillery support. The ensuing battle inflicts massive casualties on both sides and forces the Imperial soldiers to retreat. Knowing that Imperial reinforcements are coming and defeat is inevitable, Katsumoto orders a suicidal charge on horseback. During the charge, the samurai break through Bagley's line. Bagley is killed by Algren, but the samurai are quickly mowed down by gatling guns. The Imperial captain, previously trained by Algren and horrified by the sight of the dying samurai, orders all of the guns to cease fire, disregarding Omura's orders. A mortally wounded Katsumoto commits Seppuku with Algren's help as the soldiers at the scene kneel in respect. Days later, as trade negotiations conclude, Algren, though injured, arrives and interrupts the proceedings. He presents the Emperor with Katsumoto's sword and asks him to remember the traditions for which Katsumoto and his fellow Samurai died. The Emperor realizes that while Japan should modernize, it cannot forget its own culture and history; he promptly rejects the trade offer. When Omura attempts to protest, the Emperor silences him by threatening to seize the Omura family assets and distribute them among the populace. While various rumours regarding Algren's fate circulate, Graham concludes that Algren had returned to the village to reunite with Taka. | The_Last_Samurai |
[
"CASE 39 INSPIRED BY REAL EVENTS. Pitch black. We hear FOOTSTEPS sneaking up an old wooden staircase. Two people moving as one. Topping the stairs, they creep down the hall to the closed door that protects us. We can hear them behind it, whispering, bickering insanely, one shushing the other. The squeak of a door knob slowly turning. The faint click of the latch. And the door inches open, throwing a razor - thin shaft of light into the darkness where it illuminates a FRIGHTENED EYE As a ten - year - old GIRL sits up in bed. Dead tired. Staring at the two dark faces peering in at her. GIRL I can see you. And the door closes, leaving us once more in total darkness. We can hear them bickering again as they shuffle away, their footsteps descending the stairs, fading into the uneasy silence of this old house.",
"INT. FIFTH GRADE CLASSROOM, LOS ANGELES - DAY A young teacher -LRB- DARLA -RRB- chalks a lesson on a blackboard in a sun - drenched Los Angeles classroom. DARLA - and we know from yesterday that the base of a triangle times half the height equals the area. A girl in the back row raises her hand. DARLA Yes, Mia? GIRL Lucy's asleep again. Darla puts down the chalk and comes up the aisle to where a slight, fair - skinned girl in a thrift shop dress sleeps head down on her desk. The girl from the opening scene. LUCY SHERIDAN. Darla stands over her with obvious concern. Puts a finger to her lips to quiet the giggles. DARLA Let her sleep. She draws the shade. It drops a shadowbox on the sleeping girl.",
"INT. COUNSELING ROOM, DEPARTMENT OF CHILD SERVICES, LOS ANGELES - DAY A former gang member sitting with his wife and troubled eight - year - old son. The MARTINEZ FAMILY. A family in crisis. Sitting opposite is an LA County social worker. Twenties. Attractive but overworked. EMILY. GANG MEMBER He would just go off, you know, start tearin' the place down. You did n't even know why he was doin' it half the time, you just got out of his way. EMILY And what you learned from your father now Diego's learning from you? It's painful for him to hear that. He loves his son, quit the streets for him. Overcome by emotion, he nods yes. EMILY That really upsets you, does n't it? He wipes his eyes on his tattooed arm. GANG MEMBER Yeah. Cuz I mean I do n't want him to be like me. The boy looks at his father, has never seen him cry before.",
"INT. CORRIDOR - DAY Outside the conference room, Emily musses the boy's hair. EMILY A whole week without skipping school? Is that true? He smiles, nods. A glimpse of the boy he might have been. EMILY That's the last time I make a bet with you. -LRB- to his parents. -RRB- See you guys next week. The Martinez family heads down the hall, Diego lagging behind. Emily watches with guarded optimism, knowing their chances. Then turns to the NEXT FAMILY, welcoming the EMILY You cut your hair. It looks great.",
"INT. EMILY'S CUBICLE - DAY The hurried opening and closing of files reveals PHOTOS of abused children. Bruises. Cuts. Broken bones. Emily trying to locate a single case amid the stacks and clutter on her desk. An angry mother SCREAMING at her on the phone : EMILY No one is trying to steal your child, they found bruises and cigarette burns - Mrs Lynch, I read the medical report - well, if you feel you need legal representation that's perfectly within your rights. A flurry of obscenities followed by a dial tone. Emily puts the phone down. Sighs wearily. WAYNE. -LRB- O.S. -RRB- One less Christmas card for Emily. Her supervisor WAYNE, forties, gay, leaning in the doorway. WAYNE How many active cases you have? EMILY Thirty - eight. He drops another file on her desk. EMILY No, absolutely not, look at this, Wayne, look, I'm buried - WAYNE Sorry, Em, we all are. He walks off. Emily shoves the new file onto the shelf above her desk. Looks at it guiltily. Takes it down again. Handwritten on the front : SHERIDAN, LUCY. She opens it. A school portrait of ten - year - old Lucy clipped to the preliminary report. The sad face draws Emily in.",
"EXT. WILSHIRE BLVD - DAY An old VOLVO WAGON skirts rush hour traffic on Wilshire. Faded red paint. Ski rack on the roof. An ancient bumpersticker says Educate.",
"INT. VOLVO WAGON - DAY IPod jacked into the car stereo playing hip alternative MUSIC, Emily leans on an elbow as she drives, not crazy about L.A. but at ease with herself.",
"EXT. EMILY'S HOUSE - DAY Emily's red Volvo wagon turns in the drive of a single - person home she rents in a working - class neighborhood.",
"INT. EMILY'S HOUSE - DAY Cozy. Her haven. Light colors offset dark hardwood floors. Emily comes in, stack of files under her arm. Tired. Long day. Drops the files in a chair. Sprinkles some food in a fish tank. Referees through the glass. EMILY Do n't fight. Hey, that's his. Turns on the tv. World news. Violence. People suffering. Turns it off. Puts on some quiet music. Hits play on her answering machine as she flops down barefoot on the sofa with a magazine, peeling an orange, decompressing. YOUNG WOMAN'S VOICE Hey, it's Suze, missed you at yoga the other day, give me a call. BEEP. YOUNG WOMAN'S VOICE # 2 Hi, Em, Jackie, just checking in, hope you're good. BEEP. A charming male voice : DOUG'S VOICE Exhausted, her career path questionable, her faith in mankind shaken, she resisted her tendency toward introspection and went to have a drink with her friend Doug. BEEP. Emily gives a tired sigh. Faint smile under it.",
"INT. BAR - NIGHT Noisy, trendy downtown bar. Professional type on a bar stool. Thirties. Handsome. DOUG. He laughs when he sees Emily. DOUG I am so in your head. She gives him a kiss. Sits down beside him. EMILY Be honest. The whole psychology thing, it's just about scoring chicks, is n't it? DOUG Regrettably, yes. They share a laugh. He gestures to the bartender for another beer. EMILY You know what freaks me out? DOUG That you have a four - year degree and make seventeen grand a year after taxes? EMILY I sit there talking to these families, you know, like I'm some expert. My family's a train wreck. I mean, I had this moment today where I realized I might be totally full of it. DOUG Everybody's full of it. In the end you're a number to call for people who do n't have anyone else. There's no way that's bad. Emily nods, appreciates that. Recognizes a girl going by in the crowd. A friend from school. Well - dressed. Career - oriented. The track Emily might be on if she were n't a social worker. EMILY Hey Becca. FRIEND -LRB- HUGGING HER. -RRB- Hey. So one of us is a major screwup, I ca n't remember if I was supposed to call you or the other way around? EMILY No, it's me, it's just been a crazy couple weeks. You remember Doug. FRIEND -LRB- HANDSHAKE. -RRB- Hi. -LRB- then to Emily. -RRB- Listen, my ride's leaving, let's catch up soon, okay? Emily nods okay. The girl departs. Emily's beer arrives. Doug hands it to her. DOUG So anyway, I've done some soul searching and I just want to say that if a full - on relationship feels like too much right now, I'd be willing to consider a purely physical one. Emily, sipping her beer, smiles. DOUG Hey, you might actually enjoy yourself. EMILY I'm sure I would, I just. Hard to explain. Doug saves her the trouble. DOUG I know, I know, the job, you get home you do n't have anything left. Emily nods yeah, leans in closer, the friendly banter giving way to a moment of real sincerity. EMILY If it were anyone, it'd be you. They exchange a look then Doug clinks his glass against hers. And as they drink together after a long day, more than friends, less than lovers.",
"INT. EMILY'S BEDROOM - NIGHT Emily in glasses, reading the Sheridan file on her bed. The preliminary report concerns her : `` Socially withdrawn. Lack of appetite. Sleeping at school.'' Her gaze returns to Lucy's photo. Sadly, under her breath : EMILY What are they doing to you?",
"EXT. SHERIDAN HOUSE - DAY A dark, rundown family home on a once - prosperous cul de sac. Emily pulls up. Gets out. Checks that she has the right address. Halfway up the walk something stops her dead in her TRACK. A WOMAN'S FACE staring at her through one of the lacy white curtains upstairs. Ghostly pale. Gone as soon as she sees it. Emily stands frozen for a moment. Walks on. She reaches to knock on the door and it opens abruptly, the security chain snapping taut. A woman's voice growls at her from the darkness inside : WOMAN'S VOICE What? EMILY Emily Jennings. Child Services? We spoke on the phone? Peering through the crack is the pallid, bony face from the upstairs window. Lucy's mother. MARGARET SHERIDAN. MARGARET You said the seventeenth. EMILY Today is the seventeenth. MARGARET Is not. EMILY I'm sorry, but it is. MARGARET Friday was the thirteenth. Emily, rather amazed at the conversation she's having, takes a newspaper from her bag. Indicates the date. EMILY Friday was the fourteenth, that makes today the seventeenth. Monday the seventeenth. The date of our appointment. The door closes in Emily's face. What the hell? Then we hear the chain unlock. It opens again. And we get our first good look at Lucy's mother. Gaunt. Pale. Dark rings under her eyes. She steps aside, not welcoming Emily in, merely allowing her to enter.",
"INT. SHERIDAN HOUSE - DAY It's dark, the curtains drawn. Margaret twitches one open in begrudging courtesy. The house is tidy but sad, steeped in a kind of puritanical gloom. Lucy peers down through the upstairs banister, anxious, unsure what's going on. Emily sees her, smiles. EMILY Come down, I'd like to meet you. Lucy hesitates, sensing her mother's disapproval. Comes slowly down the stairs. Emily shakes her hand. EMILY My name's Emily. What's yours? LUCY Lucy. EMILY Pretty name. Pretty girl. Lucy turns shyly away. EMILY -LRB- TO MARGARET. -RRB- Is there somewhere we can talk? Margaret sighs and heads down the hall.",
"INT. LIVING ROOM, SHERIDAN HOUSE - DAY Emily, file in hand, trying to project professionalism in an arm chair that tilts to one side. Margaret and Lucy sitting opposite on the sofa. EMILY When do you expect your husband back? Margaret shrugs. EMILY Because we've found it's more beneficial if the whole family participates. MARGARET Well he's not home so. Shrugs again. EMILY Do you have any way of contacting him? MARGARET Not if I do n't know where he is. Just then we hear a POWER TOOL go on in the basement. Emily, sensing the lie, indicates the floor. EMILY Is that? Margaret averts her eyes. EMILY Would you ask him to join us? MARGARET He does n't have anything to say. EMILY Would you ask him? Margaret weighs Emily's resolve, gives Lucy a cautionary glance then exits. We hear her open a door and holler into the basement over the noise of the power tool. MARGARET. -LRB- O.S. -RRB- Edward! EDWARD! The power tool stops. MARGARET. -LRB- O.S. -RRB- That lady's here. From the state. She wants to talk to you. We hear an angry unintelligible reply. MARGARET. -LRB- O.S. -RRB- I already told her, she wants to anyway. We hear the power tool get thrown aside. FOOTSTEPS pounding up the cellar stairs. Emily's and Lucy's faces reflect the same simple fear. Their eyes meet. EMILY It'll be okay. Lucy not so sure. The FOOTSTEPS are upon them. EDWARD SHERIDAN makes his entrance. A menacing man with a gaunt face and dark deep - set eyes. Emily holds out her hand. EMILY Hi, I'm Emily - Edward forgoes the handshake, his contempt obvious. Sits beside Lucy on the sofa. Margaret sits on the other side. Lucy tenses, trapped between them. Emily speaks with kindness and composure. Hostile encounters part of the job. EMILY I'm here today because Lucy's school is concerned about changes they're seeing in her academic performance. The kinds of changes they're seeing are often associated with family problems. Edward leans over and whispers something caustic in Margaret's ear. MARGARET Eddie says we do n't have family problems. EMILY That's just it, many times a family wo n't even know they're having problems until it's too late. That's where we come in. We help families communicate and learn healthier ways of resolving conflict. Edward whispers again in Margaret's ear. MARGARET Eddie says we do n't need your help. EMILY Mr Sheridan, is there some reason you wo n't speak to me directly? Edward just stares at her. EMILY -LRB- TO MARGARET. -RRB- Is there some reason why your husband wo n't speak to me directly? Margaret nods, gives Edward a look as though for permission. MARGARET Eddie does n't like speakin' out of anger. Emily does well to hide her fear. Refusing to be intimidated, she engages Edward's stare. A battle of wills. But his gaze has a murderous intensity she ca n't match. She looks down, shuffling papers. Battle lost.",
"INT. CHILD SERVICES - NIGHT Emily follows Wayne along a row of cubicles after hours. He's dropping files on desks. The new cases never stop. WAYNE No laws against being weird, Em. Send it over to CMC, we'll do a follow - up in a month. EMILY I did n't say weird, I said scary. The guy sat there the entire time staring at me, the mother is like his emotional slave. Wayne pauses in mock bewilderment. WAYNE Wait, did you just fly to New York and meet my parents? EMILY Wayne, this girl's in trouble. I can feel it. Beneath Wayne's humor, a sober, hard - learned practicality. WAYNE Wan na know what I can feel? The lawsuit we're gon na get hit with if we violate her parents' rights without any evidence they've done something wrong. EMILY Every time I talk to you you sound more like a lawyer, you know that? WAYNE Yeah, well, maybe because every time I make an emotional decision I get called by one. I'm sorry, you're gon na have to let this one go. EMILY You put these files in front of me and you ask me to tell you what's going on. Well, I'm telling you, there's something going on and it's not something good. I've done my job, I've told you, what you do with it is yours. She walks off. Wayne alone after hours with his conscience.",
"INT. CORRIDOR, CHILD SERVICES - DAY The elevator doors open with a DING and Edward and Margaret Sheridan step out in their Sunday best. Benevolent faces. Lucy between them, ribbon in her hair, brand new dress, appearing coached as she eats an ice cream cone. Emily, disgusted by the charade, trades looks with the parents as they go past.",
"INT. PRIVATE CONFERENCE ROOM - DAY Gazing fondly at Lucy, Edward directs his comments at Wayne, who sits opposite the family with Emily. EDWARD They really are God's miracles. Day she was born was the happiest day of our lives. We're not perfect parents, we know that, but we figure if you let ` em know how much you love ` em a lot of the other stuff takes care of itself. Wayne nods his agreement. Edward puts his arm around Lucy for effect. Her eyes go to Emily. A silent plea for help. EMILY -LRB- HOSTILE. -RRB- Tell me, Mr Sheridan, since you've suddenly acquired the power of speech, does n't it concern you a little that Lucy's grades have gone from A's to D's in three months? EDWARD Course it does, she's our daughter. With a glance Wayne cautions Emily about her tone of voice. EMILY So you have no idea why she's falling asleep at school every day? Why she's not able to sleep at home? Edward looks at Margaret, then Emily, affects bewilderment. EDWARD Bad dreams?",
"INT. BREAK ROOM - DAY Emily and Wayne in private conversation. She's pissed off. The Sheridan family in the other room, preparing to leave. EMILY He's gon na be having bad dreams when he gets hit with child endangerment. -LRB- off Wayne's reluctance. -RRB- Do n't tell me you're buying this daddy's little girl routine? WAYNE So they're overcompensating a little. EMILY A little? Let me talk to her. Alone. She wants to talk. WAYNE EM -- EMILY Five minutes. Talk to them about how much they love kids. She goes out the door.",
"INT. CORRIDOR - DAY Emily walks with Lucy, looking for a way in. EMILY I knew someone at school named Lucy, she was a writer. Do you ever write? I do sometimes, it helps me sort out how I'm feeling. Lucy does n't take the bait. She stops for a drink at a water fountain. Emily bends for a sip after. Misfires. As she wipes her face, embarrassed : EMILY Okay, I just shot like a gallon of water up my nose. So much for establishing trust. Lucy smiles, for the first time. It's the opening Emily was looking for. Maintaining that precious eye contact, EMILY What's happening to you? I can help. Let me help. Lucy looks away, eyes brimming with tears. EMILY What is it, sweetheart? LUCY They hate me. She lowers her head in shame, tears rolling down. EMILY I'm sure they do n't hate you. LUCY They do. I hear them. They go in the cellar and talk. EMILY What do they talk about? LUCY Sending me to hell. Emily's mouth falls open. EMILY You've heard them say that? Lucy nods. As Emily registers this in quiet horror.",
"INT. CONFERENCE ROOM - DAY A tape recorder is running. Emily and Wayne alone with Lucy. She's hesitant to speak, naturally distrustful. EMILY It's okay. You can tell him. He's on our side. WAYNE Did you hear your parents say they were going to hurt you? Nobody sees what Lucy sees at this moment. Edward glaring in at her through the window. Lucy looks at Wayne, shakes her head. Wayne looks at Emily, case closed.",
"INT. CORRIDOR - DAY Emily watches in agony as the Sheridan family steps into the elevator. Parent on each side, Lucy gives her one last pleading look then the elevator doors close and she's gone.",
"INT. WAYNE'S OFFICE - DAY Emily and Wayne in the heat of an argument. EMILY She does n't trust anybody. You think I made it up? WAYNE I think you'd do just about anything you had to do to help a child you thought was at risk. Here are the facts, Emily. They have n't laid a finger on her that we can tell. And we have no proof they intend to. Meanwhile on your desk right now are thirty - plus cases of actionable abuse. What about those? EMILY I'm not giving up on her, Wayne. WAYNE Yes, you are, you're leaving this alone. A look that says he means it. EMILY I hope you can live with a dead child on your conscience. WAYNE -LRB- HURT. -RRB- That's a little unfair, do n't you think? I care about these kids as much as you do, but we ca n't go around yanking them out of their homes on a hunch. Parents, even bad ones, have rights, that's how the laws of this great land are written. Emily gives a resigned nod, backing away from him, from the job, all of it. EMILY So that's it? We let kids get killed until they rewrite the goddamn laws? She exits before he can answer, does n't want to hear it.",
"INT. DETECTIVE BARRON'S OFFICE, POLICE STATION - NIGHT Detective MIKE BARRON. Veteran of the force. Man of quiet faith. A well - built silver - haired family man who played fullback at Brigham Young. He's doing paperwork. Smiles warmly as Emily enters. BARRON Was just thinking about you, got a nice letter from Sandy Hutchinson. She drops Lucy's file on his desk. Whatever Barron was going to say is no longer relevant. Soberly, after a pause : BARRON Well, it's sitting in front of me which means our good friend Wayne thinks it fails to meet the criteria for child endangerment and has told you in no uncertain terms to leave it alone? EMILY Surprise, surprise. She starts to open the file. Barron stops her. BARRON I ca n't, Emily. I'm sorry. EMILY Mike, I'm desperate here. Tense beat. The need for privacy now apparent, Barron gets up and closes his door. Sits down at his desk again. BARRON You know how dear to my heart the work you do is, but the department does n't pay me to stakeout potential child abusers. Last time almost cost me my job. EMILY This girl heard her parents say they're going to send her to hell. BARRON Sickening as that is, you're a part of the system that handles those situations, I'm not. EMILY The system is broken. BARRON Maybe you just need to let it work. EMILY What? Jesus, I feel like I'm talking to Wayne. You do n't want to get involved, fine, but do n't bullshit me, I'm running out of people I respect. BARRON Okay. No bullshit. Give me evidence of a crime, I'll be all over it. Till then there's nothing I can do. CUT TO: The blade of a circular saw SCREAMS through a pinewood board, spitting sawdust. A ten - pound hammer CRUSHES the head of a nail, sinking it, CRUSHES another, CRUSHES another, the speed of the handiwork conveying its urgency.",
"INT. SHERIDAN HOUSE - NIGHT Lucy peering into the basement through an air vent in the floor, vertical bands of light on her face. Edward hammering down below. He steps aside and we see what he's making. A HOMEMADE COFFIN Sensing Lucy's stare, he glances up over his shoulder. And Lucy ducks out of sight, breath held.",
"EXT. ELEMENTARY SCHOOL - DAY Children waiting for the bus after school. Talking, laughing. Lucy stands apart, tired and solemn. The bus pulls up to the curb. As she goes to get on : EMILY. -LRB- O.S. -RRB- Lucy. She turns. Emily behind her. EMILY I just wanted you to know I have n't forgotten about you. I'm doing everything I can. Lucy hugs her, clinging for a moment. LUCY If I disappear will you come look for me? EMILY You're not going to disappear. LUCY If I do? Emily holds her gaze, seeing the fear. Backing away, Lucy indicates the bus. LUCY I have to go. They get mad when I miss the bus. Lucy turns to go. Emily watches. Helpless. EMILY Lucy, wait. Takes her cell phone from her bag. Puts her number on speed dial. EMILY If anything happens, call me, okay? Just press this. Do n't let your parents know you have it. Tucks the cell phone in Lucy's coat pocket. EMILY I'm gon na get you out of there, I promise. Lucy boards the bus. Waves to Emily from a back window as it drives away. Emily waves back, heart in her throat. Might be the last time she sees her alive.",
"INT. EMILY'S HOUSE - NIGHT A sleepless night finds Emily slouched on her sofa, leaving a ANSWERING MACHINE Hey, this is Doug, here it comes - BEEP. EMILY It's me, thought you might be up, um, anyway, call if you get this. Hangs up. Clicks on the tv remote. Channel - surfs. World news. Cooking show. Home shopping network. Hip - hop music video. Watches it for a moment. Gangster with a mic. Scantily - clad girls shaking their asses. The phone RINGS. Emily mutes the tv, picks up. EMILY Too late, I met someone else. A child's whisper. LUCY. -LRB- V.O. -RRB- Emily? EMILY -LRB- concerned but calm. -RRB- Lucy? Are you okay? LUCY. -LRB- V.O. -RRB- I'm scared. EMILY Why? Why are you scared, honey? LUCY. -LRB- V.O. -RRB- They're waiting to get me, I can hear them. I'm sorry. EMILY Why are you sorry? LUCY. -LRB- V.O. -RRB- I'm falling asleep. EMILY Okay, listen, I want you to go over and open the window. Can you do that? Lucy? LUCY. -LRB- V.O. -RRB- -LRB- softly ; drifting off. -RRB- I'm sooorry. EMILY Lucy, no, wake up!",
"INT. LUCY'S BEDROOM - NIGHT The cell phone lying on the bed at Lucy's fingertips. EMILY -LRB- FROM PHONE. -RRB- Lucy?! The illuminated screen casts an eerie glow on her SLEEPING FACE.",
"INT. EMILY'S APARTMENT - NIGHT Emily drops the phone. Moment of panic. Then a decision. Throws a coat on over her bed clothes. Grabs the phone again, dials a number in desperation. EMILY Mike, it's Emily, listen, that girl I told you about, I think she's in trouble - yeah, I know what you said, but - Mike, you're not listening -. -LRB- LOSES IT. -RRB- HELP ME!",
"EXT. EMILY'S CAR - NIGHT Emily fumbles with her keys. Gets the right one in the door. Opens it. Jumps in. Starts the engine. Peels off down the road.",
"INT. LUCY'S BEDROOM - NIGHT The cell phone turns itself off, plunging the room into total darkness. In BLACK, we hear FOOTSTEPS coming up the stairs. Down the hall. Stopping at the door. The knob turning. The click of the latch. The door opening. A shaft of light. Edward and Margaret peering in with frenzied anticipation : Lucy is asleep. The time has come.",
"INT. EMILY'S CAR - NIGHT Emily red - lines the tachometer, doing ninety down the freeway.",
"INT. STAIRWAY - NIGHT Slowly, quietly, Edward descends the stairs with Lucy asleep in his arms. Margaret in front of him, moving in tandem, holding a roll of duct tape. They reach the bottom. Margaret rushes ahead into the kitchen.",
"INT. KITCHEN - NIGHT Edward carries Lucy toward the OLD GAS OVEN where Margaret waits, holding open the door. Delicately, cradling her head, Edward puts Lucy into the oven without waking her. But as he lifts the door, one of the metal hinges CREAKS. Lucy jolts awake with a SCREAM. Kicks open the door before Edward can shut it. With animal terror she thrashes her way out onto the linoleum floor. Margaret throws a piece of duct tape over her mouth, silencing her screams as Edward wrestles her back into the oven. But she kicks open the door again and the frantic struggle continues as.",
"EXT. SHERIDAN HOUSE - NIGHT Emily's car lurches to a stop out front. As she jumps out, Barron's pickup arrives. He joins her, a reluctant accomplice. BARRON What are we doing here? EMILY Saving her life! She goes up the walkway. Barron lagging a few steps behind, eyeing the darkened house. BARRON They're asleep. EMILY They're not asleep. Emily hears something inside the house. EMILY Did you hear that? BARRON I did n't hear anything. Emily, trusting her gut, starts pounding on the door. EMILY Leave her alone!",
"INT. KITCHEN - NIGHT Hearing Emily, Edward and Margaret intensify their efforts, jamming Lucy's legs inside the oven. The duct tape peels off her mouth in the struggle and before the oven door slams shut she belts out one last desperate SCREAM.",
"EXT. SHERIDAN HOUSE - NIGHT Clearly audible outside, it makes Barron jump. EMILY Did you hear that?! Barron pounds his big fist on the door. BARRON Police, open up! EMILY Break it down! Barron rams his shoulder against the door, but it holds solid.",
"INT. KITCHEN - NIGHT We see Lucy's screaming face through the oven window as Margaret cranks the temperature dial as high as it will go.",
"INT. GAS OVEN - NIGHT From inside we see Edward and Margaret peering in as Lucy claws at the glass with her fingernails. Coughing as the gas fills the oven with a low hiss. We hear it ignite beneath her with a faint poof. The first shimmering waves of heat rising up, singeing her hair.",
"EXT. SHERIDAN HOUSE - NIGHT Emily, hysterical, knowing they're too late : EMILY BREAK IT DOWN!",
"INT. DOWNSTAIRS HALLWAY - NIGHT The front door comes crashing down, kicked off its hinges by Barron. Emily and he race in. EMILY LUCY?! They take off toward the kitchen at the end of the hall.",
"INT. KITCHEN - NIGHT Emily and Barron rush in. Emily sees Lucy trapped inside the oven. The sleeve of her pajamas catching fire. EMILY Oh my God. Edward tries to fend Barron off. It's a mistake. Barron unleashes a devastating blow that sends him recoiling into the fridge so hard the back of his head leaves a visible dent in the door. Emily shoves Margaret aside and throws open the oven. Pulls Lucy out onto the kitchen floor, swatting out her burning pajamas with a dish towel. Margaret grabs a steak knife and rushes at Emily, but Barron has her covered. Backhands Margaret so hard it spins her around fully before dropping her to the floor. BARRON The hell's the matter with you people?! Pajamas scorched, wild with terror, Lucy cries in great heaving sobs in Emily's arms. Reduced to tears herself, Emily keeps saying the same thing over and over. EMILY I gotcha. I gotcha. I gotcha. Shielding her from the sight of her parents : Margaret sprawled on the linoleum weeping. Edward slouched against the fridge, blood pouring down his shirt, his broken jaw hanging open like a man thinking wow.",
"INT. COUNTY COURTROOM - DAY Edward and Margaret holding hands at the defendant's table, remorseless and defiant in their Sunday best. Among the many spectators we find Emily and Mike Barron. The STATE PROSECUTOR and PUBLIC DEFENDER addressing the JUDGE. STATE PROSECUTOR Prosecution asks that you disallow an insanity defense. This was an act committed with premeditation, malice AFORETHOUGHT - PUBLIC DEFENDER Your honor, the egregiousness of the crime makes the competency question all the more relevant. JUDGE Yes. I hereby order the defendants undergo psychiatric evaluation to determine their mental fitness for trial. Emily rolls her eyes at Barron, some justice system.",
"EXT. COURTHOUSE PARKING LOT - DAY Barron walks Emily to her car. She's outraged. EMILY Steal a pizza, San Quentin, try killing your kid, Freudian dream analysis. BARRON Well, you're gon na hate me for saying this, but my money's on crazy. EMILY Did they or did they not know what they were doing? That's the legal standard. They knew, they knew damn well! BARRON It's not that simple sometimes. EMILY -LRB- stops on a dime. -RRB- Meaning what exactly? Barron hesitates. He's crossing the line by telling her this. BARRON When we brought them in that night they told Captain Lister. They think she's evil, some kind of demon spirit, minion of the devil or something. EMILY -LRB- LAUGHS. -RRB- Oh, that's great - what is this, late - night cable? BARRON No, but that might be the world they're living in.",
"INT. CHILDREN'S HOSPITAL - DAY Lucy in a hospital bed, dressings on her hand. Emily's friend Doug sitting bedside. Child psychologist. DOUG - and what's the most important thing we talked about that you have to remember? LUCY It's not my fault what happened. DOUG That's right and you know what? It's not. Lucy nods, not entirely convinced. Doug gives her a pat, crosses to the exit. At the door he runs into Emily. Shakes his head, awed at what she did. DOUG That is some seriously proactive social work happenin' there. You all right? EMILY Yeah, I'm okay. How's she doing? DOUG Typical reaction, blames herself. We'll get there. I'm gon na put her in a group setting, see if I can get her to open up. EMILY Group therapy for kids, what's that say about the world? He nods - no kidding, heads off. Emily comes over and sits on Lucy's bed. Strokes her hair. EMILY Good news. You get to leave here tomorrow. LUCY Doug said I might have to go to a state home. EMILY Only for a few days, till we find a better place. LUCY Why ca n't I live with you? EMILY Oh, sweetheart. That would never be allowed. LUCY Why? EMILY It's complicated, there's a whole process, I'm not even a foster parent. Lucy gives a sad nod. Emily touches her arm. EMILY I'm sorry.",
"EXT. STATE CHILDREN'S HOME - DAY No frills, purely functional housing. Emily comes up the steps with Lucy and knocks. The COORDINATOR answers. A kind but beleagured - looking woman of fifty, who is surprised to see them. COORDINATOR They were supposed to call you. We do n't have any rooms. EMILY Nothing? COORDINATOR There was a mixup with the dates. Sorry. Emily rolls her eyes. Lucy standing there holding a suitcase.",
"INT. EMILY'S CAR - DAY Through the windshield Lucy watches Emily on a pay phone outside a convenience store. Her back is to us but you can see she's arguing with someone, scratching addresses off a typed list with a ballpoint. TIME CUT TO : Emily gets in and starts the car, putting on a smile. EMILY Hey, are you hungry? Let's get some lunch. What kind of food do you like? LUCY There's nowhere for me to go is there? Heartbreaking. Emily ca n't lie. She turns off the engine and leans back with a sigh. Lucy's silence is a plea for rescue. EMILY I ca n't, Lucy, it would n't work, I live in this tiny house, I. I'm sorry, I'm not mom material. LUCY You do n't have to be my mom. Just my friend. A ten - year - old girl stranded at a convenience store, suitcase in her lap. Emily stares out the windshield, wrestling with her conscience.",
"INT. CONFERENCE ROOM - DAY At a round table, Emily addresses the CHILD WELFARE PANEL, six grave - faced administrators. Wayne is here, offering support. EMILY I know what it feels like to be that age and be unwanted. It's terrifying. She needs to be with someone she trusts ; she trusts me. So much of our time is spent negotiating red tape, I think if we just look at the situation - this one situation, this one child - it's clear what's best for her. The head of the panel is a bloated bureaucrat in a polka dot blouse -LRB- NANCY -RRB-. NANCY This is highly irregular and I'll tell you right now it makes me very uncomfortable. But since, Wayne, you've spoken so persuasively on Miss Jennings's behalf.",
"INT. CORRIDOR OUTSIDE CONFERENCE ROOM - DAY Emily comes out and nods yes to Lucy who waits with a guardian. As they hug : NANCY. -LRB- V.O. -RRB- . I'm going to go against my better judgement and approve this petition for temporary custody.",
"INT. EMILY'S HOUSE - DAY Emily walks Lucy through the house, showing her around, tidying things self - consciously. EMILY I like to think of it as a glass - half - full situation. Kitchen. Bathroom. Fish. And here, is your room.",
"INT. LUCY'S BEDROOM - DAY They stop in the doorway. A small office in which Emily has made space for a bureau and a bed. Professional books and backup case files pushed aside on a shelf. EMILY Be okay? Lucy nods yes. LUCY Where's your family? EMILY My family. well, I've met my dad twice and my mom's not a part of my life anymore. LUCY Why? EMILY -LRB- choosing her words. -RRB- Sometimes people have kids and then decide they do n't want to be parents. Beneath the measured tone Emily's pain is revealed, raw and untouchable, her entire life a rebellion against it. She opens Lucy's suitcase on the bed. Pauses, remembering something. EMILY I'm glad you're here. Lucy comes over to help unpack the clothes. TIME CUT TO : Lucy in bed, sipping a cup of tea as Emily brushes her hair. LUCY What's this? EMILY Chamomile, when I get stressed out it helps me sleep. Lucy nods that it's good. Emily brushes her hair. A natural bond between them. EMILY None of this ever should have happened, if I could make it go away I would. LUCY You did. Nice moment for Emily. A rare triumph. She tucks Lucy in. Turns off the bedside light. EMILY I'm right down the hall if you need me. Lucy settles. Emily pauses at the door, looks back at the lost child she's taken in, then closes the door halfway.",
"EXT. SHERIDAN HOUSE - DAY Dark, abandoned. Emily's Volvo pulls up.",
"INT. EMILY'S CAR - DAY She eyes the house. It haunts her, the memory of what happened. A SUDDEN KNOCK on the window makes her jump out of her seat. The guy there gestures a friendly sorry, did n't mean to scare you. White shirt and tie. A COURT CLERK.",
"EXT. SHERIDAN HOUSE - DAY Emily signs a form as he unlocks the door, letting her in. EMILY I have to grab some of her things, might take me a minute. COURT CLERK I trust ya, Em, make sure you lock it on the way out.",
"INT. SHERIDAN HOUSE - DAY Emily closes the door, glances around the dark interior. Through a window she sees the Court Clerk drive off. She's alone. It's quiet, eerily still. She goes up the stairway. Slows, noticing something on the WALL. A FAINT SQUARE where a picture once was hung, the wallpaper a half tone darker underneath. More SQUARES farther up. A few nails still sticking out.",
"INT. LUCY'S BEDROOM, SHERIDAN HOUSE - DAY Tattered lace curtains sway in a draft beside a bed with a moth - eaten coverlet. Emily packs Lucy's spare clothes into a dufflebag. Zips it and walks out.",
"INT. UPSTAIRS HALLWAY - DAY Exiting Lucy's room, she notes the door to Edward and Margaret's bedroom, at the far end of the hall, is slightly AJAR. Succumbs to a natural curiosity.",
"INT. EDWARD AND MARGARET'S BEDROOM - DAY The door pushes open, Emily peering in. A sad little master bedroom with old floral printed wallpaper and water stains on the ceiling. She explores the room, inspecting various personal items - aftershave, glasses, hair brush - looking for clues to their madness. An ALARM CLOCK with a cracked crystal face. She picks it up and it GOES OFF in her hand. Gives her a scare. She puts it down. Sees something out the bedroom window. Steps closer. Parts the curtains. In the backyard, by the garden shed, a long rectangular hole has been dug. A SHALLOW GRAVE filling with leaves. Edward's handiwork. Emily's seen enough, heads for the door. But slows, noticing something odd as she comes back around the bed - A LONG DEEP SCRATCH in the wooden floor, hidden under a long runner rug. Emily peels back the rug and finds - HUNDREDS OF LONG DEEP SCRATCHES in the floorboards leading toward the door. Something - the old oak bureau perhaps? - has been dragged repeatedly across the room. Emily comes over and looks behind the door and sees, on the back of it, something even more bizarre - TWO MASSIVE DEADBOLTS screwed hastily, crookedly, into the wood. She closes the door. Slides - to the big heavy bolts - CLUNK. CLUNK. Pauses. Looks again at the bureau. Slides it in front of the door, a wheelless caster bracket leaving another long scratch in the hardwood. And it's clear at this point what the deadbolts and bureau add up to - A BARRICADE. Emily stares at it. Looks over at Edward and Margaret's bed, imagining them here behind this door. Slides the bureau aside. Opens the deadbolts. And as the door swings open she is looking straight down the hall at LUCY'S BEDROOM. Emily stares, bewildered.",
"INT. GROUP THERAPY ROOM - DAY ABUSED CHILDREN aged eight to thirteen sit in a circle of folding chairs. Lucy among them. Diego. Doug facilitating. DOUG Sometimes when our parents are n't getting along it's better if they do n't see each other for a while, that's what a ` restraining order' does.",
"INT. CORRIDOR OUTSIDE GROUP THERAPY - DAY Emily looks in, waiting with other parents. Lucy sees her in the window and sneaks her a little wave. Emily smiles and holds up a hand that says, hi, hon. It's clear from these gestures how close they've gotten. TIME CUT TO : Emily and Doug walk together after session. Lucy talking to other kids her age by the elevator. DOUG She's starting to come out of her shell. It's good, I just wish I thought it was me making the difference. Emily accepts the compliment. EMILY I went by the house. I think her mom and dad were barricading themselves in their room at night. How sick is that? DOUG Hatred and fear are part of the same pathology - oh, but I forgot, you do n't think they're crazy. EMILY I'm coming around. As they part ways.",
"INT. EMILY'S CAR - DAY Emily pulls up in front of Lucy's school. Big moment for Lucy. New clothes. New haircut. New life. EMILY Okay? Lucy nods, apprehensive, but she's ready to face it. Emily hugs her. EMILY This is your new beginning. Lucy gets out. Pauses on the sidewalk. LUCY I love you, Emily. Emily, touched, smiles. EMILY I love you, too. Lucy goes up the walk. Emily watches her safely into the building.",
"INT. CHILD SERVICES DEPARTMENT - DAY Emily draws grim looks as she crosses the common area. A pall hanging over the entire department. The first person she walks past says : COWORKER Wayne's looking for you. The second person : COWORKER #2 Wayne wants to - EMILY Got it. She comes past Wayne's office. Empty. A coworker points over toward Emily's cubicle - he's there. She goes over. Wayne's inside, grave - faced, looking for a file. He finds it on the shelf. A photo of eight - year - old DIEGO clipped inside the cover. The boy we met earlier. EMILY What's up with Diego? Wayne hesitates, wanting to spare her the bad news. WAYNE Why do n't we talk in my office. EMILY Tell me what's going on. WAYNE We do n't know why yet, but. he killed his mother and father last night. Emily stands there, jaw on the floor.",
"EXT. MARTINEZ HOUSE - DAY A police perimeter around a small house in a tough low - income neighborhood. Cops and crime scene investigators on the scene. Local news media broadcasting live. A couple of news choppers hovering overhead. Emily pulls up, jumps out of her car. Mike Barron waves off the uniformed officer who moves to intercept her as she comes up the walkway to the house. EMILY What happened? BARRON Sure you want to see this? With an uncertain nod she follows him inside.",
"INT. MARTINEZ HOUSE - DAY Emily and Mike Barron come along the uncarpeted hallway. BARRON Gets a tire iron from the garage, comes back inside, locks all the doors and windows, kills them in their sleep. The master bedroom. A bloodbath. BARRON Had to use dental records to identify the bodies. Emily looks around, aghast. EMILY An eight - year - old did this? There's no way. BARRON I was there when they brought him in. Took three guys my size to subdue him. Kid was climbing the walls. Barron turns to the window and - WHAM! - AN ATTACK DOG HITS THE GLASS RIGHT IN FRONT OF HIS FACE. Barron recoils with a yelp. Then, embarrassed, eyes the TRIO OF BATTLE - SCARRED PIT BULLS prowling the chainlink - fenced backyard. BARRON Just your average American family.",
"EXT. MARTINEZ HOUSE - DAY Emily and Barron come down the steps. EMILY Where is he now? BARRON Juvie lockup. And, no, I'm not taking you to see him. EMILY You want to know what happened? BARRON I know what happened. EMILY I do n't. I need to talk to him. Mike, please, I care about this kid.",
"INT. JUVENILE DETENTION CENTER - DAY Diego Martinez sitting alone in a holding cell. Confused. Scared. He sees Emily approaching and immediately breaks down. EMILY Diego. Emily tells the cop at the cell door : EMILY Let me in. He wo n't hurt me. The cop looks at Mike Barron who nods it's okay. The cop opens the cell. Emily enters. Diego looks up at her, shuddering with emotion : DIEGO Are they dead? Emily, gutted, nods yes. Diego buries his face in Emily's stomach and sobs. EMILY What happened? Tell me what happened. DIEGO -LRB- SOBBING. -RRB- I killed my mum and dad. Emily, devastated, trades looks with Barron through the bars.",
"EXT. VENICE PIER - DAY Doug tenderly consoles Emily. Has his arms around her. They're leaning against the railing, wind on their faces. DOUG Every family you sit down with every day of every week is a family in crisis. Those are your odds. That's the job you do. Trying to beat them. Wipes away her tears. The hair from her face. DOUG You're one person, Em. You ca n't save the world. -LRB- THEN. -RRB- I know somebody you did save. Lucy on the beach below, walking barefoot at water's edge, hem of her dress in her hands. Emily watches her and, finding solace in it, leans into Doug's embrace and closes her eyes.",
"EXT. BEACH - DAY The plaintive cries of seagulls overhead as Emily and Lucy walk along the surf at sundown, Emily barefoot now as well. LUCY You okay? Emily nods, putting on a brave face to spare Lucy. EMILY It's just work. Do n't worry. Lucy nods okay. They walk on in silence for a moment. LUCY Why do you do it if it makes you sad? EMILY My job? I do n't know, I guess. I guess maybe I want to believe families can work, so I can have my own someday, I do n't know - does that make sense? Lucy nods, takes her hand. They walk off up the beach together.",
"INT. EMILY'S HOUSE - DAY Emily, days later, dressed for work, halves an omelet with a spatula and slides the halves onto two plates. EMILY -LRB- calls to other room. -RRB- Breakfast. There's no answer. Emily goes to get her.",
"INT. LUCY'S ROOM - DAY Stops in the doorway. EMILY Honey, breakfa - Sees Lucy hide something under her pillow. Emily comes over, brow arched, playful. EMILY Come on, let me see. Lucy guiltily eyes the floor. Emily lifts the pillow. Underneath it is a photograph. EMILY, AS A YOUNG GIRL, WITH HER MOTHER. She looks at Lucy, then at the filing cabinet from which it was taken. More surprised than upset. EMILY You went through my things? LUCY I'm sorry. I wanted to know what happened to you. Disarming sincerity. Emily's gaze falls to the photo. Quiet moment. She sits down on the bed with it. LUCY Is that your mom? Emily nods, lost in the image. It's a photo that captures her entire childhood. Emily and her mother sitting on the steps of a house, together but apart, like a lost child that sat down next to a pretty stranger who has n't yet noticed her. Emily's ten - year - old face shows the quiet sadness of the disconnect. Reminds you of a child from her caseload. EMILY She used to just leave, she'd just. -LRB- GESTURES ` ADIOS'. -RRB-. and I never knew when she was coming back, or if she was. I used to think it was my fault and I would try so hard when she got home to be good, do everything I could think of, so she'd think I was ` special' and stay next time or take me with her, but. it did n't matter, she'd always go away again, that's how it was. Emily fights her emotions and, practiced at the task, wins. Lucy sits beside her on the bed. Understands her deeply. Linked by their pasts. LUCY Where was your dad? EMILY Gone, he left before I was born. First time I met him I was like thirteen. LUCY What'd you say to him? EMILY Oh, I had all these things I was gon na say. Angry things I'd thought of and kind of memorized. And um. And then I met him and I was n't angry, I was just sad and I told him. -LRB- pauses, raw emotion. -RRB- I said, I love you, even if you do n't love me. Emily smiles a pained smile and then buries the memory. Lucy, a portrait of contrition : LUCY Are you mad at me? EMILY No. No, I'm not mad at you. -LRB- puts her arm around her. -RRB- But I need you not to do that again, okay? Go through my private things without asking? Lucy nods okay. Emily moves on, with a loving touch : EMILY Omelet's getting cold. Better hurry. Lucy exits. Emily eyes the photo a moment longer then stands and puts it away in the filing cabinet. She pauses, feeling exposed, and turns the little key to lock the drawers.",
"INT. EMILY'S CUBICLE - DAY Emily stops at her cubicle, registering a surprise. Wayne handing her case files to three COWORKERS. Awkward moment for everyone. WAYNE -LRB- SYMPATHETIC. -RRB- I need another set of eyes to go over them, make sure we have n't missed anything else. EMILY You mean, to make sure I have n't missed anything else? WAYNE It's just a legal thing. You'll have them back tomorrow. They exit. She goes in and stares at the BARE SHELF above her desk. Her caseload gone. More than an insult. Everything she cares about. A pink phone message on her keyboard. She picks it up : Mike Barron called. Important.",
"INT. COFFEE HOUSE - DAY Newspaper headline : `` INSANITY DEFENSE FOR GLENDALE COUPLE''. MUGSHOTS of Edward and Margaret below. The morning edition folded on a table between Barron and Emily. They're drinking coffee. BARRON You watch, six months, their lawyer will hire some expert to say they're rehabbed and they'll sue for custody when they get out. EMILY She's not going back there, I'll take her out of state before I let them near her again. BARRON I did n't hear you say that. Emily knows she's misspoken, but lets it stand. EMILY You wanted to talk about something? Barron nods, sips his coffee, a bit uncomfortable. BARRON We pulled the Martinezes' phone records. They got a call that night before the murders. EMILY From who? BARRON -LRB- SOBER PAUSE. -RRB- Emily, the call came from your house. EMILY What? BARRON Look, I'm not accusing you of anything, I just need to know what was said. EMILY That's impossible. I might have called the week before? BARRON I'm talking to you as a friend here, you know that, right? EMILY Did you not hear me? I'm telling you, Mike, as a friend, I did not call that family. BARRON Then who did? Go find the guy who broke in and just happened to dial the number of a kid whose case you handle. Emily starts to say something, but stops as a confounding realization comes to her. And then to Barron.",
"INT. EMILY'S HOUSE - DAY Lucy sits on the sofa studying a photo of Diego. Emily sits beside her, her advocate. Barron opposite. LUCY He's in my group. -LRB- puts down photo. -RRB-. why, did something happen? Emily nods yes. Barron, gently, mindful of Lucy's age : BARRON We're trying to figure out why. He got a call Thursday night from this number. I'm just wondering if he might have said anything. LUCY It was n't me. BARRON You did n't call him? Lucy shakes her head. Barron nods okay, then, speaking to her as a father might his own daughter : BARRON Lucy, it's hard sometimes to tell the truth, but I know you will because you're a good little girl. LUCY I am telling the truth. EMILY My backup files are in your room. Diego's is in there. Maybe you got curious and went through some, dialed a number? LUCY It was n't me, I swear. Complete innocence. Emily nods okay, wanting to believe, but remembering the stolen photograph. BARRON The call was at 2 am, are you ever up that late? LUCY I did n't call him. BARRON Are you ever up that late? EMILY Mike, she said no. Maybe someone made a mistake. Barron reads Emily's posture and disengages, stands to go. BARRON Yeah, maybe so. Night, Lucy.",
"INT. FRONT DOOR, EMILY'S HOUSE - NIGHT Exiting, Barron tells Emily as gently as possible : BARRON She's lying. And goes down the steps. Emily closes the door. Turns around and there's Lucy. Uncomfortably close. LUCY Do you believe me? EMILY I believe you. Lucy hugs her and Emily hugs her back, but she's still thinking about what Barron said.",
"INT. EMILY'S CUBICLE - DAY A PHOTO of Emily and Diego tacked to the corkboard panel beside her desk. Emily sits contemplating it. Her gaze goes from the photo to the BARE SHELF above her desk. Her caseload is still missing. This is bullshit.",
"INT. WAYNE'S OFFICE - DAY Emily walks in, power pose. EMILY Give me back my cases or fire me. Right now. Wayne, caught unprepared, eating a doughnut.",
"INT. EMILY'S OFFICE - DAY Caseload restored, Emily is multi - tasking, opening mail, sorting backlogged paperwork, talking on the phone : EMILY I do n't care if it's a hairline fracture, he broke her arm, I do n't want him back in that house. He what? He found Christ? When? That recently? Uh huh. Well he should have found Him sooner. Hangs up. Doug leans in the doorway, drops a manila envelope in her in - box. And a computer printout. EMILY What's up? DOUG Copy of the Sheridans' psych evals for the file. And the cognitive profile Lucy did for me the other day. EMILY -LRB- re : Lucy's profile. -RRB- How's it look? DOUG WINTERS Normal. But his tone suggests otherwise. EMILY Do I have to beg or are you gon na tell me what's going on? DOUG You have to beg. -LRB- SAME BREATH. -RRB- Coming from an environment like that, testing this normal is a bit abnormal, if that makes any sense. EMILY She's ` abnormally normal'? DOUG I think she faked it, gave the answers she thought she should. EMILY Why would she do that? DOUG -LRB- SHRUGS. -RRB- She's ashamed of who she is. Ashamed of how she feels. Afraid nobody would want her if they saw the real her. -LRB- off Emily's reaction. -RRB- It's no big deal, it just means I might have to push her a little. EMILY No, I know, I just. The Martinezes' got a call Thursday night. From my house. DOUG Did you ask her about it? EMILY She said she did n't. Mike thinks she's lying. DOUG What do you think? EMILY I do n't know what to think. DOUG Hmm. Bring her in after work, I'll do a one - on - one. I wanted to talk to her about this anyway. He departs. Emily, alone in her cubicle, scans the test results with growing concern.",
"INT. JUVENILE DETENTION CELL - DAY Diego eating macaroni and cheese from a jailhouse tray. Emily sets a folded blanket on the bed as she sits down to talk to him. EMILY Got you an extra in case it gets cold. Diego nods without looking up. EMILY I need to ask you something. about the night it happened. did you get a call, really late? Diego stops eating. Stares at his food. Shakes his head no - warily, like someone might be listening. EMILY You did n't? He shakes his head no. Still staring at his food. EMILY Diego, I know you did, they called from my house. Diego puts down his fork, his fear obvious now, his breathing quick and shallow. EMILY What's the matter? What's scaring you? He looks at Emily, terrified, starts HYPERVENTILATING. EMILY Oh God. Emily tries to calm the panicked boy as he gasps for air, a horrible WHEEZING sound in his throat. EMILY It's okay. slow breaths. you'll be okay. -LRB- yelling down hall. -RRB- Can somebody help us down here?!",
"INT. INFIRMARY, JUVENILE DETENTION CENTER - DAY A little two - bed infirmary with unpainted cinder block walls. Diego in bed on an IV drip. Emily talking to a NURSE by the check - in desk. NURSE He asked to see you before you left. Emily comes over to Diego's bed. He holds her gaze in silence, a secret he's afraid to tell. Emily speaks at a whisper, as if to make the truth less frightening : EMILY Who called you? Was it Lucy? Diego's PULSE ACCELERATES on the EKG monitor. He gives a trembling nod. EMILY Did she say something to you? Something that scared you? Diego replies in Spanish, barely discernible, his throat raw : DIEGO El dijo. EMILY ` El' dijo? What do you mean, ` He said'? Diego looks at her, confused, terrified. His RACING PULSE a jagged green line above the bed. DIEGO Era un hombre. A chill goes through Emily. EMILY It was a man? Diego gives another trembling nod. Emily beside him, baffled and a bit scared.",
"INT. CHILD SERVICES - NIGHT After hours, the office is empty, half lit and eerily still. Emily is photocopying at a work station, haunted by what Diego said, the harsh upward light accentuating her tense features. The CYCLICAL SQUEAKING NOISE we hear is Lucy, in Emily's cubicle in the b.g., turning herself in circles on the office chair. Something very creepy about the disappearance and reappearance of that pale watchful face. Finished, Emily walks back to her cubicle, thrown by the sight of Lucy spinning in the chair, walking head - on into that eerie intermittent gaze. LUCY Do. -LRB- TURNS. -RRB- you. -LRB- TURNS. -RRB- like. -LRB- TURNS. -RRB- working. -LRB- TURNS. -RRB- here? Emily, unnerved, enters the cubicle. EMILY Well, photocopying is n't much fun. Lucy stops turning, stares at her, sensing something. EMILY What? Lucy just stares. Doug appears in the doorway. DOUG Knock, knock. Sorry I'm late, guys. -LRB- TO LUCY. -RRB- Ready, kiddo? Lucy nods and gets up from the chair. DOUG Go ahead down, I'll be right there. Lucy heads down the hall to the conference room. DOUG -LRB- TO EMILY. -RRB- You all right? EMILY This is weird. Diego said it was Lucy that called, but he called her a he, he said it was a man. His face - what? Emily nods yes. Doug's brow arches then furrows. He turns and heads down the hall.",
"INT. CONFERENCE ROOM - NIGHT Doug sits opposite Lucy at the table, keeps it easygoing despite what he's just been told. DOUG So how's school? LUCY Fine. DOUG Any of your classmates giving you a hard time? LUCY No, they've been nice. DOUG Sleeping okay? LUCY That's not really what you want to talk about, is it, Doug? Awkward pause. Awkward smile. DOUG You got me. Opens his file. Takes out her cognitive assessment profile. Lays it flat on the table. DOUG Question 16a, are you afraid of the dark? You answered ` no'. Question 16b, are you afraid of being alone? ` No'. 16c, are afraid of your parents? ` No'. You answered ` no' to everything in that section. I think some of those should have been yesses. Everybody is afraid of something. Working through our fears, conquering them, is how we get better. So I want you to tell me. What scares you? Lucy steeples her fingers and rests her chin on top, regards Doug with a look of frank appraisal. It is the face of a child, but behind those eyes there is a keen intelligence. LUCY I'll tell you what scares me if you tell me what scares you. Doug did not see this coming. DOUG Fair enough. When I was twelve I was climbing a tree and I accidentally put my hand through a giant hornets' nest. They did n't like it. I got stung over a hundred times. They had to rush me to the hospital. I've been afraid of hornets ever since. Do n't climb many trees either. -LRB- SMILES. -RRB- Everybody has fears. Now, what scares you? LUCY Me. Pause. DOUG You scare yourself? LUCY Sometimes. DOUG Why, what about yourself scares you? LUCY I have bad thoughts. DOUG About what? LUCY People. DOUG People in general or certain people? LUCY Certain people. DOUG Like who? LUCY You. Silence. DOUG You have bad thoughts about me? -LRB- SHE NODS. -RRB- Why? LUCY -LRB- SHRUGS. -RRB- I just do. DOUG Was there something I said or did that upset you? LUCY -LRB- shakes her head. -RRB- It's just the way you are. DOUG How am I? LUCY Facile. DOUG Facile? -LRB- she nods yes. -RRB- Do you even know what that means? LUCY Easily comprehended. Often lacking sincerity or depth. You're smug, too. Want me to tell you what that means? Dead silence. Doug skewered by a ten - year - old. A boyish shyness emerges, a relic from his own youth. DOUG Well, if, um, if I seemed ` smug' or ` facile' I want to - LUCY -LRB- GIRLISH LAUGH. -RRB- Do n't apologize. DOUG Why? LUCY You're a grown up, it's embarrassing. -LRB- THEN ; DEADPAN. -RRB- -LRB- MORE. -RRB- LUCY -LRB- CONT'D. -RRB- Should we talk about school now? My grades are getting a lot better. Doug just stares at her.",
"INT. HALLWAY, CHILD SERVICES DEPARTMENT - NIGHT Waiting until Lucy is out of earshot down the hall, Doug confers with Emily by the water cooler. He's sweating, shaken by the encounter. DOUG Talked to a lot of ten - year - olds, I do n't think I've ever felt like that before. EMILY Like what? DOUG Threatened. -LRB- THEN ; BAFFLED. -RRB- I know a specialist, I'll call him in the morning. EMILY What do I do with her in the meantime? Doug pauses, no idea, smiles an eerie smile. DOUG Do n't let her get in your head. Exits. His paranoia feeding Emily's. In the hush she hears that faint CYCLICAL SQUEAKING. Looks across the darkened office to her cubicle where Lucy is turning circles in her chair again. That face. That face. That face.",
"INT. EMILY'S HOUSE - NIGHT Tense dinner. Emily barely touching hers. Lucy, absently, but with an almost surgical precision, is CUTTING PEAS IN HALF ON HER PLATE AND EATING THEM ONE BY ONE OFF THE TIP OF THE KNIFE. Weird. She stops, self - conscious, looks at Emily across the table. LUCY Are you mad at me? EMILY No. Just tired. LUCY Want me to brush your hair? EMILY That's okay. LUCY Are you sure? EMILY Some other time. LUCY -LRB- STANDS UP. -RRB- It will make you feel better. I'll get the brush. EMILY I said no, thank you. Lucy stares at Emily for a moment then sits again. And it's strange, her posture seems subtly different, stiffer, bonier, as if all her muscles have drawn taut under her clothes. In a voice at once innocent and menacing : LUCY Doug said something, did n't he? EMILY No. Doug? He says you're doing great. Tense silence. LUCY What did he tell you? EMILY Nothing. Lucy stares at her, seeing through the facade. Then, oddly bright, taking a bite of food : LUCY You're funny.",
"INT. LUCY'S BEDROOM - NIGHT EMILY SILHOUETTED in the doorway, keeping her distance as she EMILY Get some rest. She starts to close the door. LUCY You forgot to kiss me goodnight. A tense pause then Emily walks over and kisses her on the forehead. EMILY Goodnight. Lucy clutches her wrist as she turns to go. LUCY I love you. Emily, trapped, forces a tender smile. EMILY I love you, too. Lucy's EYES GLEAM in the darkness. She turns onto her side for sleep, but those eyes do n't shut even after Emily has walked out and closed the door behind her.",
"INT. DOUG'S CONDO - NIGHT Football highlights on a liquid plasma tv. Doug flipping through a DSM IV diagnostic manual. The phone RINGS. He picks up, distracted, scanning the DSM index. DOUG Hello? A strange INTERMITTENT STATIC BUZZ on the line. DOUG Hello? BZZZZT. BZZZZT. BZZZZT. A telecommunications glitch. DOUG Try again, sorry. He hangs up. Finds the chapter he's looking for. ANTI - SOCIAL PERSONALITY TYPE. But he hears it again now - BZZZZZZZZT BZZZZZZZZZT - louder, deeper - and realizes, in quiet terror, that it's coming from INSIDE HIS EAR.",
"INT. DOUG'S BATHROOM - NIGHT Doug opens the medicine cabinet and grabs a Q - tip. Wiggles it around in his ear and when he takes it out there's a HORNET sitting on the cottony tip, scissoring its wings. Doug stares in disbelief. Mouth gaping. He throws the Q - tip in the toilet. Hits the flush lever. Watches the hornet spiral away. Gone. Stares at the empty bowl. Did I just imagine that? Shaken, he turns to the sink. Wedges his head under the tap and runs water into his ear. Straightens and looks at himself in the mirror, toweling his face, trying to impose rational thought on the situation. But as the water spills from his ear, down his neck, onto his shirt, it brings with it - TWO MORE LIVE HORNETS, half drowned. With a yelp Doug swipes them from his shirt. Crushes them underfoot. Terrified, but clinging to rational thought a moment longer, he turns his head sideways to the mirror, parts his hair, and sees - ANOTHER HORNET crawl from the ear canal, followed by SIX OR SEVEN MORE! DOUG FUCK! Rationality goes out the window. He flails at them with the towel. Swats them dead. Picks them up and drops them in the toilet. Studies the last one for a moment. Its little legs twitching. Drops it in. Flushes. A false respite. And a brief one. Because as the FLUSHING NOISE FADES he can hear an ominous DEEP BUZZING SOUND RISING. It's coming from behind him. He turns to have a look. Nothing there. Bare wall. But it's strange : the BUZZING IS STILL BEHIND HIM. With dawning horror Doug turns and checks his back in the mirror, sees HIS ENTIRE SHIRT BACK IS CRAWLING WITH HORNETS! Whimpering like a child, he undoes the buttons of his shirt, taking it off as delicately as possible. Slipping his arms gently from the sleeves. Holding it by the collar, he takes two quick steps and tosses it in the shower. Slams the glass door, seals the crack with towels. And watches the hornets fly around in the glass enclosure, BUZZING FURIOUSLY, bouncing off the glass. But as he backpedals he realizes the FURIOUS BUZZING is too close, too loud and too deep, to be coming from the shower over there. A sharp pain in his head confirms it. He GROANS and brings a hand to his ear as something awful happens inside. The BUZZING in his right ear spreads to his left - LOUDER, ANGRIER, its sources multiplying. Disoriented, he stumbles backwards with an AGONIZING SCREAM. Catches sight of himself in the mirror, the terror of the moment on his face. This ca n't be happening. And now the nightmare takes a devilish turn. Looking at himself in the mirror, he sees - HORNETS START CRAWLING FROM HIS NOSE. FROM BETWEEN HIS LIPS. FROM UNDER HIS EYELIDS. THE BUZZING NOW UNBEARABLY LOUD. AN ENTIRE SWARM RAGING INSIDE HIS SKULL, FIGHTING ITS WAY OUT! Doug grabs his head in both hands and starts shaking it, trying to shake away the madness inside. But the hornets keep coming, COUGHED UP IN CLUMPS as he gasps for air. They're all over him, stinging his tongue, his eyes. He goes berserk and starts SMASHING HIS HEAD against the wall, the door, the edge of the sink, anything he can find, opening a deep gash in his forehead, smashing it harder and harder because the BUZZING WO N'T STOP, cracking his skull, SCREAMING HYSTERICALLY, pitching his head violently forwards and backwards like some demon - possessed heavy metal fanatic. It's a grotesque display that ends on a sickening note when, with one particularly violent head jerk, he snaps his own neck - CRACK! He sinks to the floor, head askew, astonished look on his face. And there he sits, paralyzed, eyes locked on the tv in the living room where football highlights play in silence. Fully conscious as the hornets fight their way back into his ears, nose, and mouth - a pilgrimage back to the mind that bore them.",
"INT. CORRIDOR OUTSIDE COUNSELING ROOM - DAY Emily exits a counseling room. Says goodbye to a young FAMILY - EMILY See you next week. - and comes down the hall toward the common area. A coworker stands from an adjacent cubicle. DENISE. DENISE Seen Doug? He had an appointment with one of my kids this morning, never showed up. EMILY Did you try calling him? DENISE All I get is voicemail. Emily dials Doug on a fax/phone by the Xerox machine. On the ANSWERING MACHINE Hey, this is Doug, here it comes - BEEP. She hangs up. A dark thought sends her toward the exit, calling back to Denise - EMILY Cover my desk.",
"EXT. DOUG'S CONDO - DAY Emily knocking on the door of his Marina Del Rey townhouse. EMILY Doug, it's me, it's Emily. No answer. She comes down the steps to his car, walks past it and then stops, noticing the window is open a crack. Slipping her hand inside, stretching, she extends one finger just far enough to push the button on the garage door remote clipped to the sunvisor. Up the drive, the door starts to open.",
"INT. DOUG'S CONDO - DAY A door in the first - floor hallway opens. Emily steps in. EMILY Doug? No answer. She comes up the stairs into the LIVING ROOM. The tv is still on. Muted. Calls up the next flight of stairs. EMILY Doug, you here? No reply. She goes up the stairs and down the hall and checks the BEDROOM. Empty. The bed unmade. It's when she turns from the room to go back downstairs that she sees him : SLOUCHED DEAD AGAINST THE BATHROOM WALL, GUT BLOATED BY DECOMPOSITION, FACE COVERED IN BLACKENED DAY - OLD BLOOD. EMILY NOOOOO!",
"INT. COUNTY CORONER - DAY With stoic grief Emily walks down the cold, fluorescently - lit corridor, intercepts a CORONER as he exits the exam room. EMILY Dr Johannsen? He looks at her ; pale, bespectacled, a bit standoffish. EMILY You did the autopsy on Doug Winters? CORONER -LRB- trying to remember. -RRB- Winters - oh, right, Douglas. EMILY How did he die? CORONER Family? EMILY Friend. -LRB- preempting his reply. -RRB- I know the rules - please, he meant a lot to me. Her face the proof. He indicates his adjoining office. They go in.",
"INT. CORONER'S OFFICE - DAY He takes the autopsy report from a filing cabinet. Reviews his findings. CORONER Compression fracture of the third and forth vertebrae. Severed his spinal cord. Actual cause of death was. suffocation. EMILY You're saying he did that to himself? CORONER It appears all his injuries were self - inflicted, yes. EMILY Oh come on. He looked like he'd been beaten to death! Do n't tell me he was some - some suicidal. -LRB- BREAKING DOWN. -RRB-. I knew him! He was my best friend! She turns away crying. CORONER Miss, I would never presume to know your friend better than you. But the injuries suggest he was trying to hurt himself. Unfortunately, he succeeded. I am sorry. Emily, composing herself, gives a quiet nod. She has no quarrel with this man. EMILY Have you ever seen this before, somebody dying like this? The coroner files the report, world weary. CORONER Truly, I am shocked every day by the violence people do to themselves.",
"INT. CEMETERY - DAY DOUGLAS J. WINTERS etched in granite. A final prayer read by a PRIEST as he is laid to rest. A breeze ruffles the clothes of the MOURNERS. Blows hair across Emily's haunted face. Lucy, at her side, sees her grief and reaches for her hand. Instinctively, Emily retracts it. Lucy registers the slight, the wider implications. Emily watches the coffin descend. She weeps openly.",
"INT. EMILY'S CAR - DAY Emily, red - eyed, driving home, sees something in her peripheral vision that sends a chill through her. Lucy, gazing quietly out the passenger - side window, is SWINGING HER LEGS in that contented way children do. A small but telling detail. Immediately HER LEGS STOP SWINGING, sensing Emily's stare. And with her head still turned away : LUCY You think it's my fault, do n't you? She turns to face Emily, who measures her words. EMILY It was an accident. It was nobody's fault. Lucy holds her gaze. Then, as if to test her, reaches again for Emily's hand. Trapped in the lie, Emily has to let her. And as she drives on in that private hell, holding hands with Lucy.",
"INT. MIKE BARRON'S OFFICE - DAY Emily, an emotional wreck, confides in Barron. EMILY He was scared. He came out of that room with her, Mike, and he was scared. He said she threatened him. BARRON Listen. You're still in shock. Let's NOT -- EMILY Diego said it was a man on the phone. You know who made that call. There was no one else in the house. -LRB- off his look. -RRB- You think I do n't know how crazy this sounds?! BARRON Look, I do n't know, all I'm saying is a kid in his state of mind maybe is n't the most reliable witness. EMILY Why is he in that state of mind? Why was Doug? Pull my phone records. See if she called him. BARRON Emily. I already did. There were no calls from your house. Emily's argument collapses. She sits there for a moment, vexed, her intellect telling her one thing, her gut another. She gets up to go. Pauses at the door. EMILY Her mother and father, their bedroom door has these deadbolts on it, big ones, two of ` em. Something came through that door and they did n't want it ever coming through there again.",
"INT. EMILY'S CUBICLE - DAY Emily digs through her in - box, spilling things on the floor. Finds the manila envelope Doug gave her. Rips it open. Dumps the contents into her hand. A VIDEO TAPE Typed on the label : Sheridan, Marg. & Ed., Prelim. Psych Interviews. CUT TO: ON A TELEVISION - Margaret Sheridan sits facing the camera, responding to the questions of an unseen interviewer. Her haunted face and frank tone make the interview chilling. INTERVIEWER And by forcing your daughter into the oven, can you tell me, what did you think the outcome would be? MARGARET You mean what were we doing it for? INTERVIEWER Yes. MARGARET To kill her. INTERVIEWER Why? MARGARET God's will.",
"INT. CONFERENCE ROOM - DAY Pulling back, we see Emily alone in a dimmed conference room watching the tape. INTERVIEWER And why was it God's will that you should kill your daughter? An eerie smile comes to Margaret's face. INTERVIEWER Why is that funny, Margaret? MARGARET ` Cause she's not my daughter. INTERVIEWER You're her mother? MARGARET I bore her, but she's not mine. INTERVIEWER Help me understand. If you and Edward are Lucy's biological parents, how can she not be yours? MARGARET ` Cause she's not Of us. INTERVIEWER Not Of you? Margaret nods. INTERVIEWER Who is she Of? MARGARET Not who, what. INTERVIEWER What is she Of? MARGARET Stop acting like you do n't know what I'm talking about. Stares at him. Her eyes black and unblinking. INTERVIEWER You think your daughter is the devil? MARGARET Not him himself, Of him, working in his name, in his honor. INTERVIEWER Evil incarnate? MARGARET I do n't care what you call it. INTERVIEWER And why do you think that? MARGARET Not what I think it's what I know. INTERVIEWER How do you know this? Could you give me an example? Margaret pauses. Seeming afraid for the first time. Some secrets perhaps best left untold. MARGARET She can make you see things. Visions. INTERVIEWER Visions of what? MARGARET Hell. Damnation. Whatever you're afraid of. INTERVIEWER I see. Any other ` special abilities'? MARGARET People die around her, is that a special ability? INTERVIEWER She kills people? MARGARET Not by her hand, they just die. I had two brothers, Brent and Travis. Margaret's voice falters. Overcome by grief, she dissolves into tears. It's a side of her we've never seen. Human. MARGARET and I mean they was healthy boys, healthy as can be. Eddie, three sisters. Soon as she was born they started dying. INTERVIEWER You blame Lucy for their deaths? Margaret nods yes, wiping her eyes. Embarrassed. Unaccustomed to crying in front of strangers. INTERVIEWER Why do you imagine you were spared? MARGARET I guess she could n't get rid of us till she found somebody else. Now that she has, I do n't imagine we're long for this world. CLOSE UP ON MARGARET - face streaked with tears, her pain deep and undeniable. CUT TO: VIDEO OF EDWARD SHERIDAN in a violent rage. Pushing his chair back from the interview table, he stands, screaming through clenched teeth, his broken jaw wired shut : EDWARD THE HELL DID I JUST SAY?! INTERVIEWER Edward, please calm - EDWARD YOU AND YOUR GODDAMN QUESTIONS! YOU DO N'T KNOW WHAT YOU'RE TALKING ABOUT! A pair of orderlies rush in to restrain him. The CAMERA gets knocked ajar in the struggle. The tape ends as they take Edward screaming to the floor. EDWARD IT'S NOT CHILD KILLING IF SHE'S NOT A CHILD! And that's the interview. Emily stares at the BLANK BLUE SCREEN, transfixed, lowers her gaze to the table. There's a PHOTO tucked inside the psychiatric file. Edward and Margaret in happier times - YOUNG BIBLE CAMP COUNSELORS in T - shirts and hiking boots on a path through sunlit forest. Sweet. Innocent. Emily's age. The year they met perhaps. She holds it up to the newspaper mugshots for a before - and - after comparison. The transformation of their faces is shocking. Emily sits frozen by the realization : Edward and Margaret Sheridan. Not criminals. Victims.",
"INT. STATE PSYCHIATRIC HOSPITAL - DAY An old brick orphanage turned psychiatric hospital. Emily's Volvo goes up the winding tree - lined drive. CHIEF PSYCHIATRIST. -LRB- V.O. -RRB- Unfortunately Mrs Sheridan suffered a rather severe psychotic episode last night.",
"INT. STATE PSYCHIATRIC HOSPITAL - DAY Emily and the CHIEF PSYCHIATRIST walk down a dark, institutional corridor. CHIEF PSYCHIATRIST Woke up screaming, absolutely convinced she was on fire. She was n't, of course, they managed to sedate her. But it's curious, she displays all the symptoms of a burn patient. Except the burns themselves. Margaret's door. Emily peers through a little square of reinforced glass. A padded cell. Margaret strapped to a bed. Writhing in pain. Laboring to breathe. Eyes swimming. CHIEF PSYCHIATRIST In no condition for visitors as you can see. If you'd like, I could let you see Mr Sheridan? Emily hesitates, afraid of him. EMILY Okay. She casts a departing glance through the window and shudders to see that Margaret's roaming eyes have locked on her in a hollow stare.",
"INT. VISITATION ROOM, PSYCH HOSPITAL - DAY Restrained in a straitjacket, Edward is brought in by two orderlies who seat him at a table opposite Emily and then exit. Jaw wired, everything he says is spoken through clenched teeth. EMILY I know I'm probably the last person you want to see right now, but you're. His stare unnerves her. She stops and collects herself. EMILY You're the only one I can talk to. Lucy's been staying with me - EDWARD Who died? Emily falls silent. Her voice cracks with emotion. EMILY A friend. Edward nods yup. Regards her in silence. Emily speaks, or tries to, just to fill that awful void. EMILY I, ummm. EDWARD You're scared. Emily, skewered again, nods yes. EDWARD You oughta be. Dead silence. She meets his gaze. And there is eye contact, true understanding. EDWARD You judged us before you ever walked in that house. Sat there in our living room tellin' us about our problems, how to be better parents - certain of everything and dead wrong about all of it. -LRB- THEN. -RRB- Ask what you came to ask. After a moment : EMILY What is she? It's a question Edward has asked himself once or twice. He leans back in his chair and folds his arms with an almost casual air. EDWARD Can tell you what she's not. She not a daughter of mine. She's not a ten - year - old having trouble in school. She's not some innocent victim whose door you busted down and life you saved. And she's not going no place, lady, till she's good and done with you. EMILY Done with me how? EDWARD However she wants. You think it's an accident her ending up with you? She saw you coming a mile away. EMILY Why me? I do n't have anything. EDWARD You have that you're good. Kindness. Decency. That's what she feeds on. Bleeds ya dry, moves onto the next. We were a big family, she went through us like a wrecking ball. And you know, every time something happened, every time, we had an excuse for why it was n't her fault. Cuz it's easier to lie to yourself than think bad things about your baby girl. But finally we got to a point where me and Maggy looked at each other -. -LRB- remembers so clearly. -RRB- - where we looked at each other and we was out of lies, both of us. Most terrifying moment of our lives. And that's where you are now. Emily silently registering this truth. EDWARD I'll tell you this. She sees everything. And what she does n't see she just sort of senses it, like when you call a friend and they pick up before it rings? -LRB- MORE. -RRB- EDWARD -LRB- CONT'D. -RRB- Only time you got the upper hand is when she's sleepin' but she almost never does. We checked on her every night for three months. Every twenty minutes, up and down those stairs. First time she slept was the night you kicked in my front door. After a moment : EMILY What does she want? EDWARD To know. what your idea of hell is. and make you live there. Emily sits in haunted silence. Edward's features soften. EDWARD I'm not a hateful man. I look at you and I wish I could tell you you're through the worst of it. That it's gon na work out for you in the end. I wish I could. EMILY What should I do? A pitying smile reveals Edward's wired teeth. EDWARD How strong's your faith?",
"INT. CORRIDOR, CHILD WELFARE - DAY NANCY, the bloated director from the custody panel, walking briskly down a corridor. Emily calls to her from behind, approaching. EMILY Nancy? NANCY Emily, I heard about Doug. I'm so sorry. EMILY -LRB- NODS. -RRB- Do you have a minute? Nancy glances at her watch, nods okay, a minute.",
"INT. CHILD WELFARE DIRECTOR'S OFFICE - DAY Emily and Nancy enter the lavish office. NANCY How's it working out with the Sheridan girl? EMILY Actually, that's why I'm here. I appreciate what you did for me, Nancy, I really do, but I think it'd be best if she was placed in foster care. NANCY She is. You're it. EMILY I know, but it's not working out. NANCY Playing mommy is n't the laugh - a - minute you were hoping, huh? EMILY I suppose not. Nancy nods, not entirely surprised. NANCY Sorry, you petitioned for custody, you got it. She's your responsibility. EMILY Until when? NANCY Till we find a suitable foster home. EMILY How long is that going to take? NANCY You're asking me questions you know the answer to. Three to six weeks. Surely you can manage that long. EMILY I do n't want her anymore. I'm done. That's it. Nancy grimaces. Scary lady. NANCY Now you look. I put my reputation, quite possibly my career, on the line for you. Do n't embarrass me. You make this work. EMILY How do I make it work if it's not working? NANCY However! Find a way!",
"INT. HARDWARE STORE - DAY A CLERK stops in an aisle, hands Emily a DEADBOLT from a shelf. HARDWARE CLERK That what you're looking for? EMILY -LRB- NODS. -RRB- Thanks. He walks off. Emily weighs the deadbolt in hand. Puts it down and picks up the next larger size. Grabs a second one just to be safe. A third for good measure.",
"INT. LUCY'S ROOM, EMILY'S HOUSE - DAY With urgency Emily removes all her backup files from the shelf in Lucy's room. Dropping them in banker's boxes. Stops on Diego's. Eyes his photo. Drops it in. Grabs the office phone, boxes it with the files.",
"INT. EMILY'S HOUSE - DAY Emily unplugs the phone in the kitchen. Unplugs the one by the sofa. Opens the closet and tosses the phones inside with the banker's boxes she put there. Closes the door. Locks it. Hides the key. Just then, a FLASHING RED LIGHT draws her gaze to the window - A SCHOOL BUS stopping at the end of the block. Emily crosses to the window, watching as LUCY gets off and comes up the sidewalk toward the house. Sensing Emily's stare, she stops and meets it. Waves, testing the waters. Emily waves back but it's a hollow gesture. Lucy's smile fades, knowing this as she continues toward the house. In a sudden panic Emily goes into the kitchen, grabs one of the knives. Eyes the blade, forced to contemplate the unthinkable - its use as a weapon, self - defense. She comes into the living room, holding it. Catches sight of herself in the mirror. A jarring image : Sweet Emily Jennings with a butcher's knife in her hand. The sound of LUCY'S FOOTSTEPS on the front steps breaks the spell. Emily hides the knife behind the fish tank. No good, you can see it through the glass. We hear LUCY'S KEY IN THE LOCK. Emily grabs the knife. It's in her hand as the door CLICKS open, until the last second when she tosses it under a sofa pillow. Lucy enters. Shy. Innocent. A ten - year - old home from school. LUCY Hi. Emily returns a plastic smile. EMILY Hi. LUCY You were n't there so I took the bus. EMILY Sorry, work - lost track of time. LUCY It's okay, I know how busy you are. Emily watches unnerved as Lucy crosses to the sofa, to the very pillow where she hid the butcher's knife, and sits down to untie her shoes. The point of the knife is almost touching her leg. If she moves at all, it will cut the skin. LUCY Does n't matter anyway, the bus stops right at the end of the street. So I can always get home, whether you're there or not. EMILY Lucky. Lucy nods then pauses and looks at the pillow, or appears to, but she is actually looking at the end table. LUCY Where's the phone? EMILY Oh, it was n't working. Lucy nods oh. Finishes untying her shoes then gets up and walks into the kitchen, checks the wall, turns to Emily. LUCY Wow. That one, too. Emily, caught in a lie, says nothing. LUCY Can I have a shower? We had gym today. Emily nods. Lucy heads into the bathroom. Pauses at the door, back turned. LUCY Are they being nice to her? EMILY Who? LUCY My mother. She turns for Emily's reaction. EMILY How - how would I know that? LUCY I thought you said you were going to see her. EMILY I never said that. Lucy frowns. A bewilderment that seems genuine. LUCY Hm. I must have dreamt it. Goes into the bathroom. Closes the door.",
"INT. EMILY'S HOUSE - DAY Ear pressed to the bathroom door, Emily listens to the RUNNING WATER : Lucy taking a shower. She goes to the closet, unlocks it. Grabs one of the phones.",
"INT. EMILY'S KITCHEN - DAY It sounds like EMILY'S VOICE is coming from the fridge until we sweep past it to see her crouching by a phone jack in the corner. Whispering. EMILY I do n't care, Robin, anywhere. Just find somewhere that will take her. Tonight. I do n't want this girl in my house. Emily unplugs the phone. And just then hears a SOFT BREATH behind her. Oh shit. Slowly turns. LUCY IN A BATH ROBE BEHIND HER. Hair dripping wet. A chilling stare. How much did she hear? Lucy walks out. We hear her bedroom door close. Emily crouched in the corner, holding the phone, terrified at the thought of what's in store.",
"INT. EMILY'S BEDROOM - NIGHT THE HEAD OF A TURNING SCREW - Emily installing a DEADBOLT on her door in the middle of the night. It's the third lock, the other two already in place. Hands trembling, she lines up the last screw. It slips from her fingers. ROLLS UNDER THE DOOR. She cracks opens the door. Reaches to grab it and lets out a SHRIEK, recoiling - FEET standing just outside her door. LUCY, IN PAJAMAS, HOLDING THE SCREW She hands it back to Emily, making no overt acknowledgement of it. LUCY Good night. She walks down the hallway to her bedroom. As soon as Lucy's door closes, Emily closes hers and goes back to work, doublespeed. Winds that last screw into the wood and then slides - to the heavy bolts. CLUNK. CLUNK. CLUNK. Scooting backwards, she sits against the bed, wide - eyed with terror, screwdriver clutched in her fist like a stabbing weapon.",
"EXT. OLD STONE CHURCH - DAY A bell TOLLS in a steeple. Down below, Emily is going against the tide, walking up the steps past CHURCHGOERS who are coming down after morning mass. Halfway up, she runs into Mike Barron and his wife and son. It's awkward, more for her than him. BARRON Emily? EMILY Mike.",
"EXT. CHURCH PARK - DAY Sitting on a bench in a park that occupies the shadow of the old stone church, Emily and Mike talk privately. His wife pushing his young son on a playground swing. EMILY ` No such thing as a bad kid, only bad parents.' I always believed that. It's a lie. Her parents are n't crazy. BARRON You wan na end up where they did keep talking like this. -LRB- off her look. -RRB- I'm not judging you. You're grieving for Doug and you're still confused about what Diego did. EMILY Are n't you? BARRON Diego grew up in a bad home, he saw violence and he repeated it, that's the cycle, you know that better than anyone. EMILY Why did she lie about calling him? BARRON ` Cause she's a liar, that does n't mean she made him do it. Look, let me tell you what Lucy is. Lucy is a damaged child, a deceitful child, a manipulative child. But a damaged, deceitful, manipulative child is not a demon. Ask my brother - in - law, he's got a couple of ` em. Barron stands from the bench. EMILY Mike, you know I'm not crazy. Do n't run away from something just because it scares you. His concern edges toward sadness. He indicates the church. BARRON I stopped you on the steps. I think maybe you oughta go all the way in. Walks off to rejoin his wife and son. Emily alone on a bench in the shadow of a church.",
"INT. CORRIDOR OUTSIDE GROUP THERAPY - DAY The circle of abused children. Lucy among them, a happy participant. Nancy filling in for Doug. It's EMILY'S POV - as she spies on Lucy through the window, second - guessing herself for a moment. Session over, Nancy dismisses the group with a smile and theatrical applause. Emily watches Lucy cross the room. At the coat rack, she whispers something to another girl. The veil of Lucy's hair partially obscures her profile, but through that veil Emily sees something chilling. For a moment, a moment so fleeting it might just be a trick of the eyes - LUCY'S LIPS APPEAR THICKER, MORE MASCULINE, SPEAKING CAUSTIC WORDS THAT HOLD THE OTHER GIRL CAPTIVE. Emily draws a sharp inward breath. Lucy, feeling Emily's stare now, turns to meet it. Her SWEET INNOCENT GIRL LIPS widening into a smile. But Emily knows what she saw. She throws open the door and rushes in.",
"INT. GROUP THERAPY ROOM - DAY Grabs Lucy by the arm and yanks her bodily from the room. This, to the amazement of Nancy, the other children -",
"INT. CORRIDOR OUTSIDE GROUP THERAPY - DAY - and to the shock of the other PARENTS waiting outside. Nancy comes after her in a fury. Runs her down. Erupts. NANCY Who do you think you are barging in there like that?! EMILY I do n't want her in group anymore, I do n't want her around the other kids. NANCY Well that's not your decision, is it?! Emily opens her mouth to reply, but Lucy beats her to the punch. LUCY It's okay, Nancy, Emily's been under a lot of stress lately, but she's really nice to me and I hope I can stay with her a really long time. Nancy, disarmed by the glowing praise, turns back to Emily. NANCY We'll talk about this later. Storms off. LUCY See you next week, Nancy. Nancy does n't hear, busily reassuring parents, damage control. Emily and Lucy arrive at the elevator. Emily hits the button. EMILY You're never going back there. LUCY Why, Emily? Emily says nothing. Lucy keeps asking the same question, in the exact same intonation, as Emily ignores her : LUCY Why, Emily? Why, Emily? Why, Emily? DING. The doors open.",
"INT. ELEVATOR - DAY Emily and Lucy step in. The door closes. Lucy continuing her verbal assault as they start to descend : LUCY Why, Emily? Why, Emily? Suddenly the ELEVATOR LURCHES TO A VIOLENT STOP. It buckles Emily's knees. She is terrified, practically hyperventilating. EMILY W - w - what's happening -?! Lucy has gotten her attention. LUCY Can I go back to group next week? EMILY You're never going back there! Lucy looks at her as one regards a small dumb animal. Then looks up at the ceiling. LUCY Are you sure? Horror as Emily realizes what she's thinking. We hear the first CABLE SNAP above them. In the CREAKING HUSH that EMILY No. The second CABLE SNAPS. The elevator goes into a HELLISH FREE FALL. The acceleration is dizzying. Emily clutches the rail with both hands, SCREAMING as the elevator goes cannonballing down the shaft. Lucy indifferent as they plummet toward certain death. The floor indicator light races toward L, the car shuddering violently, the noise deafening. It's a horrible way to die. Emily closes her eyes in anticipation of impact. And in the sudden BLACKNESS there's no noise at all. Just a soft, DISTINCT DING. A breathless pause then Emily opens her eyes. And sees the elevator is no longer falling. Never was. The doors glide open to the first floor lobby. Lucy gives her a quiet look and strolls out. A businessman steps into the elevator, watching bewildered as Emily releases her white - knuckled grip on the railing and staggers out, so badly shaken she can barely stand.",
"INT. EMILY'S HOUSE - NIGHT Fish swim languidly in the tank. It's after midnight. We're looking down the darkened hall at Emily's closed bedroom door.",
"INT. EMILY'S BEDROOM - NIGHT Emily, in a coat and shoes, packing a suitcase. Snaps it quietly shut. Looks over at the barricaded door. Draws a tense breath.",
"INT. HALLWAY - NIGHT From down the hall we hear the DEADBOLTS SLIDE QUIETLY OPEN. The door opens a crack. EMILY'S TERRIFIED FACE peers out. Making sure the hall is empty. She steps out, suitcase in hand. Tiptoes down the hall. Quietly as possible as she comes past Lucy's door. It's open a crack. The room pitch black inside. Emily steps closer, breath held. Peers in through the little crack. Sees - LUCY ASLEEP IN BED. But suddenly her EYES SNAP OPEN. Her face horizontal on the pillow. LUCY I can see you. Emily backs away. Goes quickly to the front door.",
"INT. EMILY'S CAR - NIGHT Emily throws the suitcase in the trunk. Slams it shut. Comes around to the driver's side door. Jumps in. Closes the door. And gets the scare of her life. LUCY IS SITTING IN THE PASSENGER SEAT! Emily recoils with a SCREAM, throwing her body against the window behind her. Lucy sits there, silent, betrayed. It's too much for Emily. She breaks down. Buries her face in her hands and sobs. Lucy, after a moment, takes a brush from Emily's bag and starts lovingly brushing her hair. Emily slowly lifts her head, resigning herself to this latest horror. She sits zombie - like behind the wheel, tears streaming as Lucy tugs gently at the snarls, playing mommy. LUCY Do n't be sad. This is your new beginning.",
"INT. EMILY'S CUBICLE - DAY Unopened mail and new case files piling up. Emily looks terrible, phone to ear, getting SCREAMED at, sworn at, interrupted every time she tries to speak. EMILY Mrs Lynch, I told you - will you let - that's not what I said - no, I did not - you never sent me the - Mrs Lynch - will you let me respond? - will you let me - Mrs Lynch - will you let - Emily ca n't take it anymore. She unloads. EMILY SHUT THE FUCK UP YOU MISERABLE MISERABLE WOMAN BEFORE I GET IN MY CAR AND COME OVER THERE AND BEAT YOUR ASS LIKE YOU BEAT YOUR SON! I HAVE YOUR ADDRESS! THINK ABOUT THAT NEXT TIME YOU CALL AND SWEAR AT ME! I KNOW WHERE YOU LIVE! Slams the phone down. Sits there looking rather dazed. Wayne arrives, dazed in a different way, having overheard. WAYNE Um, so, I notice you have n't taken any personal days. Come on, you look like crap, go home. Emily levels a withering stare. EMILY I do n't want to go home.",
"EXT. LOS ANGELES APARTMENT BUILDING - DAY Emily knocking on a door in an outside hallway. It opens. It's the girl from the bar. BECCA. The friend. Not expecting her. BECCA Emily.",
"INT. BECCA'S APARTMENT - DAY Emily, disheveled, five days without sleep, doing her best to appear rational. EMILY I know I have n't been a great friend lately, but. do you think maybe I could crash here for a couple of nights? BECCA Sure, when? EMILY Tonight and tomorrow. Becca draws air through her teeth, pained by her predicament. BECCA Em, any other weekend you know I'd say yes, but I just met this guy and he's coming over tonight like for the night and it might be, you know, kinda weird. Emily nods. And there's nothing more to be said.",
"INT. EMILY'S ROOM - NIGHT Stormy night. Heavy rain. High winds. The trees, thrashing outside the window, backlit by a streetlight, cast OMINOUS SHADOWS on the walls of the bedroom. Emily huddles in the corner, wrapped in a blanket, clutching the screwdriver. There is a KNOCK on the bedroom door. Emily's EYES JERK WIDE OPEN. She looks at the door, but does n't answer. After a moment, Lucy's voice, innocent, afraid - LUCY. -LRB- O.S. -RRB- Emily? Can I come in? I'm scared. Emily says nothing. Heart racing. There's another KNOCK. A little louder. LUCY. -LRB- O.S. -RRB- Emily? Please? I know you're in there, please? Emily says nothing. Lucy starts pounding on the door. LUCY. -LRB- O.S. -RRB- Please, Emily. SILENCE. Emily listening, barely breathing. Is that it? Is she gone? And then suddenly - WHAM! - WHAM! - WHAM! - the pounding turns VIOLENT, practically shaking the door off its hinges. Far too violent for a little girl. Emily wedges herself into the corner, absolutely petrified. There is something very strong and very angry on the other side of that door, SHRIEKING in the voice of a child - LUCY. -LRB- O.S. -RRB- LET ME IN! WHAM - WHAM - WHAM - WHAM - WHAM - WHAM! LUCY. -LRB- O.S. -RRB- LET ME IN! WHAM - WHAM - WHAM - WHAM - WHAM - WHAM! The door getting absolutely pummeled, looking like it might splinter from the force. And it's so intense that it's almost surreal what Emily is seeing. Lucy's voice eerily monotone, the words coming inhumanly fast like some auctioneer from hell - LUCY. -LRB- O.S. -RRB- Let me in, let me in, let me in, let me in, let me in, let me in, let me in, let me in, let me in, let me in. Relentless. Tormenting Emily. Until she ca n't take it anymore. And she SCREAMS as loud as she can, half cursing, half begging, the veins standing out in her neck - EMILY LEAVE ME ALONE! And the POUNDING STOPS DEAD. All we hear is the rain drumming on the roof. And Emily's QUICK TERRIFIED BREATHS as she stares at the door wondering what's next. But there's nothing. Just the shadows dancing on the walls. It appears the nightmare is over for now. But not quite. A sudden CLUNK in the closet makes her jump. Her head snaps around - what was that? She just stares, unable to breathe because whatever she just heard is INSIDE HER ROOM! White - knuckled grip on that screwdriver, Emily stands up and comes slowly over to the CLOSET DOOR. Raises the screwdriver. Ready to stab. Takes hold of the door handle. Slowly turns it. Opens the door. PITCH BLACK inside. A tense pause as she stares into that blackness, then reaches a hand into the closet, feeling around for the pull - string. Finds it. Gives it a tug. And there, right in front of her, is a vision of unspeakable horror : MARGARET SHERIDAN Twitching spasmodically in a hospital gown. HIDEOUSLY BURNED. She comes at Emily arms flailing, clumsy with rage and dementia. Emily leaps aside and Margaret goes careening into the furniture, howling and spinning like some crazed Whirling Dervish. Emily scrambles over the bed. Reaches the door. Fumbles at the deadbolt. Here comes Margaret. At the last second Emily gets the door open. Runs out.",
"INT. HALLWAY - NIGHT Tears a path down the dark hallway. Margaret right behind her, hideous, reeling, hitting the walls with her flailing arms. Emily throws open the front door.",
"EXT. EMILY'S HOUSE - NIGHT Dashes from the house into the abandoned street. Running in the rain. Margaret comes crashing out of the house, chasing her down the middle of the street. Emily sees a city bus parked up ahead. Makes a run for it.",
"EXT. METRO BUS - NIGHT A metro transit bus idling along the curb. The DRIVER with his feet up between shifts, reading a porno mag. Emily comes running up to the door. Pounds frantically on the glass. EMILY Help me! Please! The driver meets eyes with her through the door. Keeps reading. Unimpressed. More pounding from Emily. EMILY Let me on! The driver points to the sign above the door : OUT OF SERVICE. Keeps reading. Emily near hysterics at this point. Margaret closing in fast. EMILY She's coming! Please! The driver sighs, weighing his obligations. Emily spins, back to the door. Margaret nearly upon her, ten feet away, five, four.",
"INT. METRO BUS - NIGHT The driver opens the door. Emily dives backwards onto the bus, the door snapping closed in front of her just as Margaret lunges for her throat. EMILY Drive! BUS DRIVER There's nobody out there. EMILY DRIVE! BUS DRIVER There - is - nobody - out - there! It sinks in the second time. Emily scans the sidewalk, the darkened streets outside the bus. Margaret is gone. Was never there. The driver opens the door, nods to her - out.",
"EXT. METRO BUS - NIGHT With a hydraulic HISS the bus releases its brakes and diesels off down the empty street. Emily stands alone. Rain - soaked. Shivering. Staring at her house down the block. The SILHOUETTE OF A CHILD in the window.",
"INT. CHILD SERVICES DEPARTMENT - NIGHT Wayne and his BOYFRIEND shake rain off an umbrella as they cross the darkened office. BOYFRIEND -LRB- re : the office space. -RRB- No, I like it. It's like those things they put baby cows in to make veal - The boyfriend slows as they go past a cubicle. Saw something weird. WAYNE What? He points. Freaked. Wayne comes over, pokes his head in a cubicle. EMILY head down on her desk, rain - soaked, sleeping in her chair. WAYNE Em? No reply. Wayne's face darkens. Is she dead? He comes over, puts his hand on her shoulder. WAYNE Emily? She awakens with a jolt. Expecting to see Margaret. She looks terrible. WAYNE Jesus - are you okay? EMILY -LRB- HOARSE WHISPER. -RRB- I. I had some things to catch up on. She fumbles unconvincingly at some loose paperwork. WAYNE You look like shit, you need to see a doctor. EMILY I saw a doctor. WAYNE What did they say? EMILY -LRB- LOSES IT. -RRB- They said mind your own fucking business! Shocked by the outburst, by her general appearance, he walks away, muttering to his boyfriend. Emily puts her head in her hands, pressing down at her temples. Wayne steps into his office in the b.g. and grabs something then they exit. And the office is quiet again. Emily closes her eyes. Just then, she hears - A faint CYCLICAL SQUEAKING NOISE in the cubicle right next to hers. Goes rigid. Recognizes the sound. Calls over the partition without moving. EMILY Wayne? No reply, but the SQUEAKING CONTINUES. Rising slowly from her seat, scared as hell, she leans over her desk and peers over the partition into the adjacent cubicle. It's empty. But the OFFICE CHAIR IS TURNING as if someone were just playing there. Emily steps slowly back. And now hears the same CYCLICAL SQUEAKING behind her. The opposite row. She spins.",
"EXT. CHILD SERVICES DEPARTMENT - NIGHT Walks slowly from her cubicle. Comes along the row of darkened cubicles, following the sound to its source. This is the one. She looks in. Empty cubicle. TURNING CHAIR. Emily backs away. Terrified. The chair winding slowly to a stop. Suddenly, behind her, at the far end of the office, a different NOISE splits the silence. Emily turns and stares toward the sound. The XEROX MACHINE. Someone is using it. EMILY Hello? No answer. Emily comes slowly down the aisle to the partitioned workstation. A torturous walk set to the RHYTHMIC CADENCE of the photocopier, the HARSH GREEN LIGHT SWEEPING ACROSS THE CEILING ABOVE IT, again and again and again. And then it stops, ejecting one final page as Emily enters the workstation. And sees there's no one there. She stares at the idle machine for a moment, then at the STACK OF COPIES lying upsidedown in the tray. She comes over, picks them up. Turns them over. The first page is a photocopy of a PAIR OF HANDS PRESSED FLAT AGAINST THE COPYING GLASS. Emily stares, haunted. Tense breath. Continues through the stack. Successive pages show the same two hands, but leaning forward into the inky blackness between them is a FACE, its features resolving into murky focus as it approaches the glass. The last page is a horrific image. A man screaming in such terror that his face appears almost deformed. It's DOUG. The night of his death. Like a snapshot from his bathroom mirror. Emily shudders, the stack of pages tumbling to the floor. Runs out. And we see the photocopies, lying on the floor, are totally BLANK.",
"INT. CORRIDOR, CHILD SERVICES BUILDING - NIGHT Emily, leaving, rushes down a corridor toward the lobby. Tense. Head on a swivel. Hears MORE SQUEAKING behind her. Spins. A NIGHT JANITOR WHEELING A MOP BUCKET She walks on. Turns the corner and RUNS INTO SOMEONE UNEXPECTED. Jumps back with a SHRIEK before she realizes who it is. EMILY Robin. A ponytailed woman in her mid - forties, the child placement specialist Emily called from home. ROBIN What are you doing here so late? I tried calling you. I found someone to take Lucy. EMILY -LRB- STUNNED RELIEF. -RRB- You did? ROBIN Anaheim couple. They've helped us out before. She shows Emily a custody form with an attached photo : A KIND HUSBAND AND WIFE WITH TWO YOUNG CHILDREN. Emily's face darkens. EMILY -LRB- under her breath. -RRB- Oh God. ROBIN What's the matter? Emily stares at the unsuspecting family. Lucy's next victims. She fends off a wave of emotion as the full horror of her predicament hits her. Then, matter - of - factly, facing that fear head - on : EMILY I ca n't. I'm keeping her. As Emily walks off, ripping the custody form to shreds, Robin utterly confused.",
"INT. STATE PSYCHIATRIC HOSPITAL - DAY Emily sits opposite Edward Sheridan in the visiting room, an odd sense of camaraderie between them. EMILY If I get rid of her, if I put her into the system. EDWARD -LRB- NODS YUP. -RRB- She starts all over again somewhere else. Ca n't let her stay, ca n't let her go. That leaves you with one option. Eye contact. Emily looks away, shakes her head. EMILY I ca n't, Edward, I - EDWARD You have to. You have to find the strength. Do n't you understand? That's why she's doing this. To test you. Test your faith. EMILY I do n't have any faith. EDWARD How ` bout anger. Got some of that? Emily lowers her gaze to the table. EMILY How. how do I? EDWARD Kill her? In her sleep, assuming you can. -LRB- THEN ; THINKING. -RRB- Tell you what I'd do different. Count myself dead at the outset. Accept that going in and use it to my advantage. That's the one thing I do n't think she'd see coming, someone giving up their own life to take hers. As Emily registers this.",
"INT. EMILY'S HOUSE - NIGHT Middle of the night, the living room is lit by the eerie glow of the fish tank. The filter humming. The fish swimming languidly. Suddenly they DISPERSE, spooked by something outside the tank.",
"INT. EMILY'S BEDROOM - NIGHT The bureau has been pushed in front of the deadbolted door to form a barricade. Emily lies in a fetal position on her bed, exhausted but unable to sleep. She tenses at the sound of a MUFFLED MALE VOICE in the other room. Comes over to the door, trying to listen. Thinks she recognizes it. EMILY -LRB- calls through door. -RRB- Mike? No reply. A moment of indecision then Emily tightens her grip on the screwdriver and quietly slides open the deadbolts.",
"INT. HALLWAY - NIGHT She comes slowly down the hall, following the VOICE to its source, stops in the living room doorway, haunted.",
"INT. LIVING ROOM - NIGHT THE TELEVISION. Edward's psych interview playing to the empty room. He's straightjacketed, sedated. Talking directly to the camera. EDWARD Where is she now? Some family somewhere? INTERVIEWER Why does that concern you, Edward? EDWARD ` Cause you have to warn them. Emily turns off the tv. IMMEDIATELY IT SWITCHES ITSELF BACK ON. Emily freezes, realizing the room is not empty. Turning, she sees Lucy sitting in the shadows holding the remote. Lucy mutes the sound and returns Emily's stare, thoughtful, almost empathetic. LUCY I like it here. I like you. You want me to like you, do n't you? Emily nods. The room bathed in the tv's flickering blue light. Lucy is quiet for a moment. Then, in her innocently menacing voice, explains the rules : LUCY You have to do what I say. If I say I want to go to group, you have to do it. If I say I want a new dress, you have to do it. If I say I want ice cream every day after school, you have to do it. Okay? Emily gives a haunted nod, remembering : A FLASHCUT of Lucy sitting between Edward and Margaret at the Child Services meeting, new dress, ribbon in her hair, licking her ice cream with a wicked little smile. BACK TO SCENE Lucy stares coldly at the television : Margaret speaking with the sound off. LUCY They did what I said for a while and then they stopped and started with the secrets. But they were n't really secrets I guess. -LRB- looks at Emily. -RRB-. because I always knew what they were thinking. She holds Emily's gaze then looks back at the tv. Margaret's image reflected in the pupils of her eerie unblinking eyes.",
"INT. MARGARET'S PADDED ROOM, PSYCH HOSPITAL - NIGHT Margaret, straps unbuckled, sits on the bed beside a YOUNG NURSE who checks her temperature. Done, the Nurse heads out. MARGARET Do n't leave me. Terror in Margaret's voice. YOUNG NURSE It's okay, Maggie. I'll check on you later. The Nurse exits. Locks the door. CLICK - KA - THUNK. The sound of doom to Margaret. She stands up, looking around, trembling at what's to come. Her footsteps sound oddly HOLLOW, METALLIC on the floor. MARGARET'S POV - surveying the room, we see what Margaret's hell looks like. It's not a room she's living in. AN OLD OVEN With dark scorched metal walls. A bolted - down bed to one side, perfectly white, like a practical joke. We can hear the low HISS of it filling with gas. The faint POOF as it ignites beneath her. The first SHIMMERING WAVES OF HEAT rising up, singeing her hair. Margaret runs screaming to the door, claws at the pane of glass like a madwoman. But there is no escape from the hell of her own mind. The YOUNG NURSE'S FACE APPEARS there in the window, shocked by Margaret's insane rantings.",
"INT. PSYCH HOSPITAL CAFETERIA - NIGHT Edward, dinner tray in hand, going through the cafeteria line with other INSTITUTIONAL PATIENTS. He sits down at a table and starts eating, quiet, lost in his thoughts. Takes another mouthful of food and suddenly stops chewing, noticing something very strange : A BALD, MORBIDLY OBESE INMATE SITTING DIRECTLY ACROSS THE TABLE IS CUTTING PEAS IN HALF ON HIS PLATE, ABSENTLY, BUT WITH AN ALMOST SURGICAL PRECISON, EATING THEM ONE BY ONE OFF THE TIP OF HIS KNIFE! He lifts his gaze to Edward. Smiles a knowing, taunting smile. Then his WIDE WET MOUTH speaks in a little girl's LUCY'S VOICE I'm happy you're getting the help you need, daddy. Edward goes berserk. Launches himself across the table at the guy, stabbing him in the neck with his fork. Vicious attack. Unprovoked as far as anyone else is concerned. A guard rushes over. Edward turns on him, maniacal. THE GUARD SHOOTS HIM DEAD. As blood pools around Edward's body, some LUNATIC who witnessed the event starts to applaud. Others join in. It's the most excitement they've seen all year. And as the applause spreads through the entire cafeteria.",
"EXT. EMILY'S HOUSE - DAY Emily comes down the steps, past the morning paper on the walkway. Stops dead in her tracks. Stunned. Comes back and picks it up. HOSPITAL PROBES DEATH. At the bus stop at the end of the street, Lucy mingles happily with other CHILDREN. She meets Emily's gaze down the length of the sidewalk. Smiles and waves goodbye as she gets on the school bus.",
"INT. BARRON'S OFFICE, POLICE STATION - DAY Emily drops the newspaper on Barron's desk. The headline about Edward speaks for itself. BARRON I know. It's a different Mike Barron than last we saw. Gone is the quiet assurance. Whatever happened rocked him to the core. He closes the door for privacy. BARRON There's something I want you to hear. Came in at two o'clock last night. You might wan na sit. Emily sits. Barron cues a voicemail message on his phone, plays it over the speaker. After a BEEP we hear it. A SINISTER MALE VOICE, guttural, taunting, the voice of a SINISTER MALE VOICE. -LRB- mocking his earlier line. -RRB- ` It's hard sometimes to tell the truth, but I know you will ` cause you're a good little girl.' . -LRB- THEN ; INTIMATE. -RRB- Twenty years in the trenches, ca n't make Lieutenant? Hurts, does n't it? Shakes your faith sometimes. You know why they keep passing you over? Do you, Michael? ` Cause you're soft. Soft, soft, soft. DELIRIOUS LAUGHTER followed by a CLICK and a DIAL TONE. Emily's mouth gapes. After a moment : BARRON You're right. She called Doug. Took me an extra couple of days to get your cell phone records. That's what she's been using. Grim pause. Emily digs through her bag. Reaches the bottom. No cell phone. Staring into the bag, voice wavering with EMILY She's taking me apart, Mike. She loses it for a second. Barron sits in front of her on the edge of the desk. BARRON I'm gon na help you get to the bottom of this. EMILY -LRB- re : Edward's photo. -RRB- He told me I have to kill her. Barron registers that in silence. Stuns her, and himself, by what he says next. BARRON I'll help you. Emily looks at him. Disbelief. BARRON Whatever it takes. She hugs him. A godsend. BARRON I'm gon na put Beth and Tim in a hotel. Keep her at the house.",
"INT. DOCTOR'S OFFICE - DAY Emily buttoning her shirt after an exam. DOCTOR Physically you're fine. How's the stress? EMILY I'm not sleeping, I was hoping you could give me something. The doctor writes on her prescription pad. DOCTOR Take one of these, you'll sleep. Emily watches the pen scribble.",
"INT. EMILY'S CAR - DAY A prescription pill bottle on the passenger seat. Emily, driving home, glances at it with apprehension.",
"EXT. HOTEL - NIGHT A high - rise hotel in downtown Los Angeles.",
"INT. HOTEL ROOM - NIGHT Barron, saying goodbye to his WIFE and SON, sets down the overnight bags they've packed. BARRON'S WIFE Why wo n't you tell me what's going on? BARRON Because I ca n't. Kisses her. Turns to his son. BARRON Take care of your mom. Musses the boy's hair and leaves.",
"INT. HOTEL CORRIDOR - NIGHT Barron strides down the corridor, his face reflecting the grim task ahead.",
"INT. HOTEL PARKING STRUCTURE - NIGHT His footsteps echo in the parking structure as he walks along a row of parked cars. A faint JANGLING SOUND stops him dead in his tracks. He turns and scans the garage behind him. It's quiet, eerily still. He continues onward, but hears the faint JANGLING SOUND again a moment later. Spins, trying to place it. There it is again. Closer this time. Something moving, hiding, behind the rows of cars over there. He bends, trying to get a look under the cars. Ca n't see anything. Unnerved, he moves on, clicks the button on his keychain remote. The lights flash on his car fifty yards away. But as he continues toward it they reveal themselves, trodding into view from between the cars, CHOKE - CHAIN COLLARS JANGLING around their necks. THREE PIT BULLS Battle - scarred. Vicious. The dogs from Diego's house. They sit down right in front of Barron's car. It's a surreal moment, a trio of attack dogs sitting at quiet attention, square - jawwed, black - eyed, the kinetic calm before a predator strikes. Barron draws his gun. Fires a warning shot over their heads. BANG! Deafeningly loud, it echoes through the garage like a thunderclap. But the dogs do n't move, just sit there staring. Barron lowers his gun. It's time to get the hell out of here. He backpedals, making no sudden movements, gun still trained on the dogs. They watch him, eyes livening with excitement, one of their back legs twitching in anticipation. Barron quickens his step and that's their cue. ALL AT ONCE, WITH EXPLOSIVE SPEED, THE DOGS SPRING INTO MOTION, VICIOUS AND MUSCLED AND SMELLING BLOOD. Barron fires an errant shot and takes off running. But he ca n't match their pace, the deadly trio race along the row of police cruisers, closing the gap with ease. At the last second Barron jumps the partition. The pit bulls crash skull - first into the concrete, but continue their pursuit unfazed as Barron takes off up the adjoining ramp. He jumps up onto the row of cars and runs across the hoods, denting the metal. The dogs jump up behind him, relentless in their pursuit. Jaws snapping at his heels, Barron takes to the car roofs, the pitbulls leaping from car to car behind him. He looks back just in time to see the dogs launch themselves. They hit him at chest height, sinking teeth in his flesh. Stumbling forward, struggling to keep their jaws from his throat, Barron does n't see what's coming. The last car. The edge of the parking garage. He's over the edge before he even understands, flailing his arms for a handhold that does n't exist. The ground, far below, flies up at him in a rush of acceleration. We hear a sickening THUD and find Barron lying face down on the pavement below, blood pooling around him. Clinging to life, he opens his eyes and sees the TRIO OF PIT BULLS SITTING OBEDIENTLY BESIDE HIM, unharmed, watching. But from a distance we see there is only Barron. Dying alone between the parked cars. No dogs anywhere in sight.",
"INT. EMILY'S HOUSE - NIGHT Emily opens the front door, peers in, trying not to make a sound. EMILY Lucy? No reply. She enters. Sees - THE CLOSET DOOR IS OPEN. She comes closer. EMPTY BANKER BOXES strewn in the hall. SCATTERED PAGES. At the far end, the light is on in Lucy's bedroom. The door open a crack. A shaft of light spilling out into the darkened hallway. Emily comes down the hallway past SCATTERED FILE PAGES. Preliminary reports. Medical records. Personality profiles. She opens the door to Lucy's room.",
"INT. LUCY'S BEDROOM - NIGHT Freezes in the doorway, shocked by what lies before her. EMILY Oh my God. Black eyes. Bloody noses. Bruises. Cuts. Burns. PHOTOS OF ABUSED CHILDREN COVER THE ENTIRE FLOOR. A collage of misery. Lucy is nowhere to be seen. Emily comes in and starts quickly picking them up. Tucked between the file cabinet and the wall is a CORKBOARD. Emily pulls it out. It's covered with PHOTOS FROM WORK. COWORKERS. HER KIDS. Two of the photos are turned around. She flips them over in rapid succession. Diego. Doug. She rips all the photos from the board. Photos bunched in her hands, she heads for the door, but hears something that stops her in her tracks - A strange INTERMITTENT BUZZING NOISE It lasts two seconds and stops. She turns around, scans the room. Puts down the stack of photos. There it is again : BZZZZZZZZZZZT. BZZZZZZZZZZZZT. Sounds like a housefly trapped against a window, but it's bigger, angrier, and appears to be coming from the KNOTTED RUG at the foot of Lucy's bed. Emily crosses to it. The BUZZING STOPS. She bends. Takes hold of a corner. Peels it slowly back to reveal BARE FLOOR. Weird. Nothing there. BZZZZZZZZZZZZZT! BZZZZZZZZZZZZZZT! Emily straightens, turns. It's coming from the BED. As she approaches it the BUZZING INTENSIFIES, louder, more agitated. Pauses as she gets there, terrified of what she might find, the bed BUZZING FURIOUSLY FROM WITHIN. Something is trapped under those blankets, waiting for release. Emily extends a trembling hand, takes hold of the blankets and, slowly, rigid with fear, peels them back to reveal BARE MATTRESS. Impossible, because the BUZZING IS LOUDER THAN EVER. With a tense swallow Emily realizes it's coming from lower, deeper within the bed, between the mattress and the box spring. She slips her fingers into the crack. And slowly lifts the mattress, the BUZZING GROWING FRIGHTENINGLY LOUD as its source is exposed, something hellish waiting for her as she cranes her neck and look to see what lies below - HER CELL PHONE Vibrating. BZZZZZZZZZT. BZZZZZZZZZZT. On the viewscreen : `` INCOMING CALL.'' She picks it up. Stares at it vibrating in her hand. Presses the TALK button. Brings it to her ear. The LOW STATIC of an open line. Then, a RASPY MALE VOICE : MALE VOICE ON PHONE Emily. Emily flinches. EMILY Who is this? MALE VOICE ON PHONE It's Wayne, Emily, I just got a call, Mike's dead. Emily, stunned, barely able to speak. EMILY No. he's. WAYNE. -LRB- V.O. -RRB- They do n't know if he fell or what happened. Emily's phone hand drops to her side in shock. From down there, we hear Wayne's voice : WAYNE. -LRB- V.O. -RRB- Emily? Emily, are you okay? After a moment, she lifts it. EMILY I have to go. Hangs up. On the brink of emotional collapse. Her only confidante dead. Just then she hears BREATHING from behind the open door. Someone or something hiding in that dark corner over there. She crosses to it. Pulls back the door and there sits LUCY quiet, innocent, chin on her knees. EMILY What did you do to him? Lucy says nothing. Emily grabs her by the arm. Yanks her to her feet. EMILY WHAT DID YOU DO TO HIM?! After a moment : LUCY He did it to himself. WHACK! Emily slaps her. Hard across the face. Knocks her to the floor. Lucy sits up, lip split. Tastes the blood with her tongue. Hint of a smile. The taste of victory. LUCY Europa. Ganymede. Io. Callisto. The moons of Jupiter. We got back our astronomy tests today. It's there on the floor. A + + Well done, Lucy! There's a LOUD BEEP in the other room. Lucy gets up and walks out. Emily watches as Lucy goes into the kitchen. Takes a bag of popcorn from the microwave. Empties it into a bowl. Sits down on the living room sofa and clicks on the tv remote, watching it like nothing ever happened. Emily walks over and pitches the tv onto the floor. The SCREEN SHATTERS. EMILY Get out of my house. Lucy, unimpressed, expressionless, takes another handful of popcorn. Chews it. CRUNCH. CRUNCH. CRUNCH. Emily swats the bowl from her hands. EMILY GET OUT! Flicking bits of popcorn off herself, Lucy stands up from the sofa. Her face catches the light from the hallway. Emily shudders at the sight. Lucy's features look altered somehow, sharpened. It's subtle, but the overall effect is chilling. THE FACE OF A LITTLE GIRL LAID OVER THE MUSCULATURE OF SOMETHING MORE DEVIOUS AND WICKED. LUCY Do n't yell at me. My mom and dad used to yell at me. Emily backs away, mortified, takes off down the hall.",
"INT. EMILY'S BEDROOM - NIGHT Rushes in. Slams the door. Bolts the deadbolts. CLUNK. CLUNK. CLUNK. Moment of panic. Will they hold? Slides her bureau in front of the door. Shoves her bed in front of the bureau just to be sure. In the silence we hear LUCY'S FOOTSTEPS coming down the hall toward the door. Closer, closer. There's nothing else to block the door with. Emily backs away, trembling as LUCY'S FOOTSTEPS arrive at the door. A tense silence. Then : LUCY. -LRB- O.S. -RRB- Emily. I'm sorry. I did n't mean to. Emily grabs the screwdriver, clutches it in both hands. LUCY. -LRB- O.S. -RRB- Can I come in so we can talk and work it out? There's a GENTLE KNOCK on the door. Emily flinches, remembering last time. LUCY. -LRB- O.S. -RRB- Emily? EMILY Stay away from me! LUCY. -LRB- O.S. -RRB- Do n't be mad. I said I was sorry. I'll brush your hair for you. EMILY STAY AWAY FROM ME! Silence. WHAM! The door shudders from a MAMMOTH IMPACT. Last time, it shook the door, this time it shakes the entire wall. Emily recoils, dropping the screwdriver. WHAM! CRACKS APPEAR in the door as it bows from the tremendous force. WHAM! CRACKS FAN OUT into the plaster around the doorframe. WHAM! Half the SCREWS HOLDING THE HINGES fly from the wall. WHAM! The DEADBOLTS BENDING from the ungodly pummeling. WHAM! The DEADBOLT SCREWS getting yanked from the wood. Emily frozen in terror, watching. Whatever's out there is coming in. WHAM! One of the DOOR HINGES rips clean from the wall. WHAM! The FIRST DEADBOLT comes flying off. WHAM! The SECOND DOOR HINGE gone. WHAM! ANOTHER DEADBOLT flies off. WHAM! The DOOR SPLITS down the center. WHAM! The THIRD DEADBOLT lands on the floor at Emily's feet with a METAL THUD. A breathless silence. Then the DOOR RATTLES and drops loose from the frame with a DEAD WOODEN CLUNK. Nothing holding it in place now except the bureau and the bed. And now they both start to SLIDE BACKWARDS as whatever is on the other side starts pushing its way in. Emily topples a high bookcase against the door and pushes back with every ounce of strength she can muster, but it's no use. The bureau overturns, CRASHES to the floor. Emily's bare feet slide backwards along with the bed. And then they stop. The barricade sufficiently breached. Emily, in her panic, makes a hasty decision. She hides under the bed. We HOLD LOW on the open door as LUCY'S FEET step into the room, the feet of a child, but the BREATHING we hear sounds emphysemic and the VOICE is unquestionably male - harsh, guttural, taunting Emily as it comes for her : SINISTER MALE VOICE Emily. Wide - eyed with terror under the bed, she watches those feet pick their way over the shattered remnants of the barricade. SINISTER MALE VOICE Emily. We need to learn healthier ways of resolving conflict, Emily. The feet step gingerly past the overturned bureau. SINISTER MALE VOICE. Most families do n't even know they have a problem. The feet stop at the SCREWDRIVER. SINISTER MALE VOICE. until it's too late. A HAND reaches down and picks it up, a girl's hand, but the fingers as they wrap tightly around the handle look strong and sinewy. The feet stand motionless for a moment then turn and come toward the bed, stopping right in front of EMILY'S HORRIFIED FACE. A pause and then, still from Emily's POV, we see Lucy lower herself onto her knees. WHAM! - with shocking force that hand IMPALES THE SCREWDRIVER IN THE WOODEN FLOOR! Another pause then both hands come into view, palms flat on the hardwood, as she leans her head down. Emily recoiling in anticipation as the face comes into view - LUCY'S INNOCENT FACE A little girl. With a little girl voice to match. LUCY -LRB- PLAYING MOMMY. -RRB- What are you doing, you silly pumpkinhead? Emily, hyperventilating, stares in shock. Lucy reaches her hand in. Emily backs away, wedges herself in the corner. LUCY -LRB- PLAYING MOMMY. -RRB- You do n't want me to come under there and get you, do you? Emily, crying now, shakes her head. Lucy, almost sympathetic, frowns. LUCY -LRB- PLAYING MOMMY. -RRB- I'm going to count to three. One. EMILY No. LUCY -LRB- PLAYING MOMMY. -RRB- Two. Two and a half. EMILY Please. LUCY -LRB- PLAYING MOMMY. -RRB- Two and three quarters. Three. Lucy starts crawling under the bed. LUCY Here I come. Emily tries to go backwards, but there's nowhere for her to go. LUCY'S FACE SLIDING CLOSER LIKE THE HEAD OF A SNAKE. Trapped, Emily screams. EMILY WHAT DO YOU WANT?! Lucy stops crawling. Folds her arms, sets her chin on them. Comfortable here under the bed. Delighting in the question. LUCY What you wanted from your mother. I want you to love me. EMILY Okay. okay, I will, I will, I promise. Lucy weighs Emily's surrender for a moment. Then, oddly LUCY Come tuck me in. EMILY Okay. I'll be right there. LUCY You better come. Lucy slithers out and we see her feet scamper from the room. Emily puts her head down on the floor and cries, covering her mouth with her hands so she wo n't make a sound.",
"INT. EMILY'S KITCHEN - NIGHT A WHISTLING KETTLE on the stove. Emily, still in tears, takes it from the burner. Dumps SIX SLEEPING PILLS from the prescription bottle. Crushes them with the blunt edge of a knife. Stirs them into a cup of Chamomile tea. She freezes at a NOISE behind her. Looks tensely over her shoulder. The fridge. She adds sugar, continues stirring.",
"INT. HALLWAY - NIGHT We follow the TEA CUP, in Emily's hand, as she comes nervously down the hall to Lucy's room. We can see Lucy in there, waiting for her in bed. Emily, playing the part, dries her eyes and enters.",
"INT. LUCY'S ROOM - NIGHT Sits down on the bed, hands Lucy the tea. LUCY Chamomile. Emily nods. The face of a loving mother. Lucy brings the cup to her lips, pauses. LUCY Maybe you should have it, you look stressed. EMILY I'll have one later. Lucy considers this, nods okay, takes a sip of tea. Emily picks up a brush and brushes Lucy's hair. EMILY Tomorrow's our new beginning. LUCY I'll be good. EMILY I know. Lucy takes a few more sips and sets the tea cup on the bedside table. Emily, tucking her in, gives the cup a nervous glance. Did she drink enough? EMILY Get some rest. LUCY Say it. EMILY I love you. LUCY Forever and ever? EMILY Forever and ever. Emily kisses her on the forehead. Lucy looks up at her and for a moment she's the little girl Emily met. Innocent, angelic, closing her eyes for sleep. They flutter open one last time. LUCY Where are you if I need you? EMILY Right down the hall. Lucy's eyes shut. Emily, brushing her hair, staring at the HALF - FULL TEA CUP.",
"INT. HALLWAY - NIGHT Lucy asleep in bed. Emily watches from the door, wary, expecting Lucy's eyes to snap open any second. EMILY Sweetheart? She does n't move, dead to the world. Or is it a game? Emily closes the door. Leans against the wall, shaking, contemplating her next move. Wedges a chair under the door handle. Time of the essence.",
"INT. EMILY'S GARAGE - NIGHT Junk - filled. The door lifts to reveal Emily, silhouetted, looking in. Amid the clutter is a lawnmower. Beside it, a big can of GASOLINE.",
"INT. EMILY'S HOUSE - NIGHT Emily stifling sobs as she douses the walls of the house. The hallway, the bathroom, the kitchen, all of it. TIP OF A MATCH strikes flint, ignites. Emily stares at it for a long moment. Lets it fall. FLAMES SCURRY in a shimmering blue - gold sheet across the floor. Climb the walls, the entire house ablaze in a matter of seconds. Emily sits and watches as the door to Lucy's bedroom is engulfed. It's an image straight from hell : A YOUNG WOMAN SITTING ON A SOFA IN A HOUSE OF FIRE. The fish, frantic in their tank, catch Emily's eye. She goes over and grabs the tank.",
"EXT. EMILY'S HOUSE - NIGHT Smoke swirling past her, she exits the house, locking the front door behind her. She backs away and watches it burn, holding her fish tank, the only thing she saved. TIME CUT TO : Billowing black smoke. The house fully engulfed as fire engines arriving on the scene, sirens wailing. Emily watching with neighbors on the sidewalk as the FIREFIGHTERS uncoil their hoses. The window to Lucy's bedroom is a bright red square, an inferno. And as Emily stares at it, disbelieving what she's done, the figure of a CHILD appears. LUCY, Her whole body ablaze. Horrific. She just stands there, arms at her sides, burning. Just now the FIRE MARSHALL crosses to the onlookers. Hollers over the noise and commotion : FIRE MARSHALL Everybody get out okay?! Emily wavers, not sure what to say. The Fire Marshall sees her indecision. FIRE MARSHALL This your house?! -LRB- she nods yes. -RRB- Anybody else inside?! -LRB- off her hesitation. -RRB- Ma'am?! Emily opens her mouth to reply, but sees something behind her that closes her throat. LUCY standing on the sidewalk in her pajamas. Unscathed. FIRE MARSHALL Anyone else inside?! Yes or no?! Emily, in shock, shakes her head no. The Fire Marshall rushes off, walkie - talkie squawking. Emily stands frozen as Lucy comes through the crowd to her. More dismayed than angry. LUCY That was mean. She takes Emily's hand. Together they watch the house burn. Firelight playing on their faces. The fish bouncing off the glass in the tank at Emily's feet.",
"INT. EMILY'S CAR - NIGHT The blue halflight before dawn. Emily and Lucy sit in the Volvo, eyeing the scorched remains of the house. The firecrew stowing equipment. Emily puts the car in drive.",
"INT. EMILY'S CAR - DAWN The FISH FLOATING DEAD at the top of the tank in the back seat as Emily drives down the freeway at daybreak. Lucy gazing out dreamily at the sunrise. LUCY Maybe we can find a hotel with a swimming pool. Emily says nothing. Lucy turns and looks at her, thoughtful, almost empathetic. She draws up her knees and rests her chin on top, levels an appraising stare at Emily like the one she leveled at Doug. LUCY It's sad, is n't it? How it gets passed on. How people do to their own kids what their parents did to them. That's why you got the job. Emily turns on the radio, full volume, trying to drown out Lucy's voice. Lucy reaches over and turns it off. CLICK. LUCY To prove to yourself you're not like her, that you're not like your mother. Because that scares you. Scares you more than anything. Lucy, in mock sentiment, puts her hand on Emily's. LUCY I love you. even if you do n't love me. Emily looks at her, gutted. But defiant. Turning her gaze forward, she tightens her grip on the wheel and calmly, resolutely, JAMS THE GAS PEDAL TO THE FLOOR. The acceleration pitches Lucy backwards into her seat. She sits up, eyes wide, did n't see this coming. A suicide run. LUCY What are you doing? Slow down. A tense smile from Lucy. The tables have turned. LUCY Did you hear me? Emily stares dead ahead, red - lining the tachometer. Lucy flits her eyes skyward. IMMEDIATELY IT DARKENS AND STARTS TO RAIN. Emily turns on the wipers, speeds on, unfazed. LUCY I said slow down! Emily ignores her, going eighty now, weaving through SLOWER TRAFFIC THAT FLIES TOWARD THEM OUT OF THE GRAY HAZE. Lucy, panicking, changes channels like a tv. Innocent child all of a sudden. LUCY Please, stop, Emily, I'll be good. Emily ignores her, beyond apology. And Lucy's face sharpens. She points down the road. LUCY Look out! Through the heavy rain we see - A TRACTOR - TRAILER RIG CRASH THROUGH THE DIVIDING MEDIAN AND JACKKNIFE, BARRELING AT THEM HEAD - ON! Emily goes for the brake, but reconsiders, seeing the truck for what it is : a test of faith. She welcomes it. Tightens her grip on the wheel and goes full throttle again, right at the truck. Lucy shrieks in terror. LUCY What are you doing?! EMILY It's not real. LUCY Yes, it is! EMILY Are you scared?! Pedal to the floor. Inviting the head - on collision. You can see the BIG RIG DRIVER in the cab, wrestling frantically with the steering wheel. Lucy bracing herself, screams - LUCY STOP! Emily clenches her teeth in anticipation of impact, of death. THE CHROME GRILLWORK OF THE TRUCK RUSHES TOWARD THEM IN THAT FINAL MOMENT, THE AIR HORN DEAFENINGLY LOUD! But the impact never comes. In the blink of an eye the truck is gone. Open road in front of them. It's not raining. Never was. The wipers SQUEAKING on a dry windshield. Lucy sits in silence, her bag of tricks empty. Emily, triumphant, turns to her with a vindictive smile, the speedometer hitting a hundred. EMILY ARE YOU SCARED?! She clutches Lucy's wrist. EMILY I'M NOT! Emily jerks the car off the road, crashing through the guardrail. Trees snapping in half across the hood as they go careening through roadside woods and down a steep embankment TOWARD -",
"EXT. LOS ANGELES RESERVOIR - DAY The car tears through a chainlink fence and leaps off the high embankment into the water.",
"INT. EMILY'S VOLVO - DAY Impacts and sinks with frightening speed. Water rushing in from all sides. Emily shackles Lucy with her arms as the water rises to cover their mouths. UNDERWATER. They stare wide - eyed at one another through the water. Hair swirling around their faces as they sink to the bottom. LUCY'S LIPS CURL INTO THAT CREEPY MANNISH SMILE. As though she anticipated this. Or welcomes it. Or knows something Emily does not. And now Emily sees what Lucy sees - A FIGURE SWIMMING DOWN TOWARD THEM THROUGH THE MURKY WATER. A HAND pries open the door and wrestles Lucy from Emily's grasp. Pulls her from the car, swimming to the surface with her. Emily is left empty - handed, stunned, alone in her watery grave. SHE DROWNS IN STAGES, EACH ONE DIFFICULT TO WATCH, THE INITIAL FRANTIC FLAILINGS, THE HOPELESS PANIC, THE SLOW DAWNING OF ACCEPTANCE, THE MUSCLES LOOSENING, ARMS FLOATING LIMP, EYES FIXED IN A BLANK STARE. And just when her death seems certain, a HAND grabs her by the shoulder and yanks her out the driver's side window.",
"EXT. BANK OF RESERVOIR - DAY Ambulances. Patrol cars. Paramedics. Onshore, drying off with a towel, talking to a uniformed officer is the PASSERBY who saved Lucy's life. PASSERBY Right through the guardrail, never touched the brakes. Emily goes by on a gurney, semi - conscious, oxygen mask over her face. Paramedics checking her vitals. Loaded into the ambulance, she meets the gaze of Lucy who is being attended to by a female PARAMEDIC, who puts her arm around Lucy in a maternal gesture, shielding her from the sight of Emily as Emily did of the Sheridans. PARAMEDIC Do n't look at her, okay? Just do n't even look. Lucy nods, the innocent victim. Clinging to her protector as she watches the ambulance take Emily Jennings away. CUT TO: A TELEVISION - NEWS FOOTAGE of Lucy wrapped in a blanket sitting beside the female paramedic in an ambulance. Shivering. Wet - hair clinging to her face. Portrait of a child victim. NEWS REPORTER A remarkable story of survival this morning as a young girl is pulled from the Los Angeles reservoir in an accident police are calling suspicious. INSTITUTIONAL PATIENTS watching tv in the psych hospital rec room. Slouched on the vinyl sofa, watching without comprehension, heavily sedated, Margaret Sheridan.",
"INT. WINDOWLESS ROOM - DAY Emily talking agitatedly to a MAN IN A SUIT who is writing something and not paying attention to her. We only see her face at first. EMILY Where is she? Where'd they put her? Foster care? Is she with a family? You have to let me talk to them. She snatches the pen from his hand. EMILY Do you hear me?! He looks at her, quietly takes back his pen. MAN IN SUIT I hear you. Continues writing. There's a KNOCK on the door. A BAILIFF pokes his head in. BAILIFF Set. Emily stands up from the chair she's been sitting in and we see she's wearing an ORANGE LA COUNTY JAIL JUMPSUIT. The man, her public defender, instructs her as they exit : MAN IN SUIT Let me do the talking in here.",
"EXT. PRIVATE WOODED ROAD - DAY Lucy walks a private road through sunlit forest with a kind RETIRED COUPLE. Temporary guardians who've taken her in for the weekend. LUCY Why ca n't I live with you? RETIRED WOMAN Oh, darling, we're not foster parents, we just help out when the system's full. RETIRED MAN They'll contact us, Lucy, when your placement comes through. The woman puts her arm around her as they walk on. RETIRED WOMAN Some nice family that always wanted a little girl. Lucy smiles, shy, innocent, quietly taking in the scenery.",
"INT. FOSTER PLACEMENT SERVICES - NIGHT Two women cross the office after hours, a pudgy middle - aged FOSTER CARE SUPERVISOR and a younger CASEWORKER who is leaving for the day. The office reminds you of Child Services, another tier of the child welfare system. CASEWORKER Going to the thing Saturday? SUPERVISOR I do n't know. CASEWORKER Oh, you should. It'll be fun. SUPERVISOR Maybe I will, I do n't know. We'll see. CASEWORKER Bye, Janey. SUPERVISOR See you tomorrow. The Caseworker exits. The Supervisor comes down the row of cubicles dropping files on desks. Alone. After hours. A thankless profession. It lands on some random desk, amid the usual backlog of mail and paperwork. A case file like all the others. The name typed on the label : SHERIDAN, LUCY. FADE OUT."
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] | Emily Jenkins is a social worker living in Oregon, who is assigned to investigate the family of Lillith Sullivan, a troubled ten-year-old whose school grades have declined while an emotional rift with her parents, Edward and Margaret Sullivan, has emerged. Emily suspects that the parents have been abusing Lillith for her lack of obedience in life. Emily's suspicion is confirmed when Edward and Margaret are planning to incinerate Lillith by gassing her alive in the oven at home. Emily saves Lillith with the help of Detective Mike Barron. Lillith is originally ordered to be sent to the children's home, but she begs Emily to look after her instead. With the agreement of the board, Emily is assigned to take care of Lillith until a suitable foster family comes along. In the meantime, Edward and Margaret are placed in a mental institution for attempted murder. Not too long after Lillith moves in, strange things begin to happen around Emily. Two weeks later, another of Emily's cases, a boy named Diego, suddenly murders his parents with a crowbar, and Barron informs Emily that somebody phoned Diego from her house the night before the crime. As she is suspected of involvement in the incident, Lillith undergoes a psychiatric evaluation by Emily's best friend, Douglas J. Ames. During the session, however, Lillith turns the evaluation around, asking Douglas what his fears are and subtly threatening him. That night after receiving a strange phone call, Douglas is panicked by a mass of hornets coming out of his body in hysteria and kills himself in the bathroom. Emily gradually becomes fearful of Lillith, so she heads to the mental asylum for answers from Edward and Margaret. They tell her that, far from being truly human, Lillith is actually a Succubus-like demon who feeds on emotion, capable of causing deadly hallucinations based on her victims's fears. The desperate attempt to kill her had been an attempt to save themselves and others. Edward tells Emily that the only way to kill Lillith is to get her to sleep. Shortly after Emily leaves the asylum, Margaret hallucinates being on fire, and Edward is stabbed in the eye after attacking a fellow inmate through whom the voice of Lillith spoke. Barron initially thinks Emily should seek psychiatric help, but is later convinced when he receives a strange phone call in his home from Lillith. He arms himself to help Emily. However, he fatally shoots himself in the head with his shotgun, as Lilith makes him imagine he is being attacked by dogs. After realizing that her closest colleagues have been eliminated, and that the rest of her cases will be next, Emily serves Lillith tea spiked with sedative. While Lillith is asleep, Emily sets fire to her house, hoping to get rid of her. However, Lillith apparently escapes unharmed. A police officer offers to escort Emily and Lillith to a temporary place to sleep. As Emily is following the police cars, she suddenly takes a different route and drives her car at a high speed, hoping to bring fear to Lillith. Instead, Lillith forces Emily to relive her childhood memory of her mother driving fast in a rainstorm, and that a truck overturns in their path. Emily fights through the memory, telling herself that it is not real. The image fades, and Lillith herself is frightened that the illusion failed and Emily no longer fears her. Emily drives the car off a pier. As the car sinks, Emily struggles to lock Lillith, now in her demonic true form, in the trunk. Emily then attempts to swim to the surface. Lillith grabs Emily's foot to stop her from swimming away, but after seconds of struggling, Emily breaks free and climbs out of the water as the trapped Lillith sinks to the bottom to her death while Emily recovers on the pier. | Case_39 |
[
"INT. ARCADE WORLD -- ELECTRONIC DARKNESS We do n't know if it's night or day. It's just black. And maybe. maybe intermittent SPARKS racing by. So quick we barely perceive them. Like the sparks you imagine when your eyes are closed. BREATHING, slow and hollow, filling up the entire world. It's eerie as hell. A feeling of utter loneliness. And now the breathing recedes, fading into the darkness. Whatever it was. it's gone now. MAIN CREDITS ROLL. We hear CELLOS. Four of them. Weaving an intricate melody. And now the visuals. BRIGHTLY COLORED SHAPES spinning in. Equally intricate, matching the music. They grow and flourish, like flowers opening up in time lapse photography. FRACTALS. is what they're called. The visual manifestation of geometric formulas. The Mandelbrot Set. The Julia Set. Each mathematic form made up of progressively smaller forms and on into infinity. Glorious and beautiful. Forms folding in upon themselves and regenerating. This is creation we're witnessing. This is life in the making.",
"INT. COUNSELOR'S OFFICE -- DAY AN EYE For a brief moment we still hear the CELLOS. And in the eye, the last of the fractals are spinning away, leaving us with the iris. A nice blue one. This is ALEX MANNING'S eye. ALEX -LRB- V.O. -RRB- Time. That's all I ever think about anymore. It's like there's never enough of it, you know?",
"INT. MANNING HOUSE, HALLWAY -- DAY This is a flashback, in case you're wondering. We'll continue to hear Alex's VOICE as we move through the house in slow motion. Everything is very bright and dreamlike. Right now we're moving with the camera, slowly moving down a long hallway. At the end of the hallway is an open door. We stop at the doorway. We're afraid to go in. ALEX -LRB- V.O. -RRB- It's strange. When the future's in front of you, it seems to go on forever. I mean, you never really get there. It's always one step ahead of you. It's like there's no present. There's no `` now''. As soon as you think, `` I'm here'', the moment's already gone. Either everything's in the future, or it's in the past. -LRB- beat. -RRB- There's no `` now''. MAN -LRB- V.O. -RRB- So where are you then? ALEX -LRB- V.O. -RRB- I'm in the past. We move through the doorway.",
"INT. MANNING HOUSE, BEDROOM -- DAY Everything looks normal at first. A typical bedroom with sunlight streaming in through the windows. A bed, made - up. Flowers in vases. Everything looks perfect. Then we move further in, and over to the right. There's something on the floor, curled up in the entranceway to the bathroom. Halfway in, halfway out. It's a woman's body. She's wearing a dress, her legs awkwardly bent. We ca n't see her face from this angle. But in her limp hand is a gun. And all around that hand, speckling the pristine white tile of the bathroom and the carpeting beyond, is BLOOD. A shrill BELL shatters the moment.",
"INT. COUNSELOR'S OFFICE -- DAY The bell continues. It's a school bell signaling the end of the period. ON ALEX as we see her for the first time, startled. She's seventeen and pretty, though in a simple way. Her eyes are the most striking. Deep. Intense. If Alex has a problem, it's the fact that she thinks too much, and it's reflected in her eyes. Across from her is MR. WEAVER, a high - school guidance counselor and that was his voice we heard with Alex's. He's unexceptional, middle - aged, incapable of really hearing what Alex has to say. This is his office we're in. Typical `` SAY NO TO DRUGS'' teen propaganda decorate the room. Fun. As the BELL dies we hear the army of FOOTSTEPS outside, students milling in the halls. Alex glances at the door and starts to rise from her chair. MR. WEAVER We do n't have to stop now. ALEX -LRB- cutting him off. -RRB- That's okay. I've got a test coming up anyway. Got ta study. MR. WEAVER -LRB- sighs. -RRB- I have to tell you, I'm a little concerned about you, Alex. It's been three months now since your mother, uh. ALEX -LRB- offering, fixing him with a stare. -RRB- Killed herself? Mr. Weaver stops, more than a little uncomfortable. MR. WEAVER -LRB- reluctant. -RRB- Yes. Now your father. ALEX He's a basket case. You've talked to him. You know that. He might as well be dead too. Alex glances down at the floor, anything to avoid looking at the counselor. She heaves a backpack onto to shoulder. ALEX -LRB- continuing. -RRB- Look Mr. Weaver, I do n't even know why I came here. I fine. Really. -LRB- looking up. -RRB- It's like I said. It's just part of the past now. It does n't matter anymore. She turns, and before Mr. Weaver can respond, she's out the door.",
"INT. HIGH-SCHOOL HALLWAY - DAY Alex moves quickly through the mass of STUDENTS, wiping the remnants of half - tears on her coat sleeve.",
"INT. HIGH-SCHOOL CAFETERIA - DAY Fun - time. Total chaos. If you've been to high - school you know the riff. Bad food, teen - age melodrama, and a squadron of SUPERVISORS trying to keep a lid on things. ALEX makes her way to the far corner of the cafeteria where a cluster of kids lounge around a table. These are Alex's FRIENDS. And while none of them are your garden variety pocket - protector - type nerds, these kids are n't exactly part of the `` in - crowd''. They're a little off. Quirky. All of them come from screwed up families, and that's what bonds them. They are : GREG HOLLISTON - Alex's boyfriend. Hopeful artist -LRB- not bad, either -RRB- and kind of punk looking. Greg and the others are big fans of thrift - shop clothing. Because they do n't have the money, they improvise. NICK DRAKE - Greg's best friend and future computer pioneer. He's attractive and he's got an edge. A bit of a hot - shot. Genius in the making. BENZ AND STILTS - Inseparable. Benz is flunking out of school and would like nothing better than to spend the rest of his life reading comic books. He's tall, perpetually unkempt, awkward, and nervous. Stilts, contrary to his nickname, is quite short and never without his skateboard. Stilts is constantly hitting on. LAURIE - The sixth member of the group. A teen Theda Bara and as cynical as you can get. She's what's affectionately known as an `` art chick''. The boys in the group, particularly Nick and Stilts, are avid skateboarders and are frequently seen with their boards. Stilts is always leafing through an issue of THRASHER magazine. Right now the group is in the midst of an argument. Nick has a pocket video game in his hands which he casually plays. He can get through these games in his sleep. It BEEPS and WHIRS. NICK -LRB- to Benz. -RRB- You're an idiot, you know that? What're you going to do when you get out of here? BENZ I was thinking about writing for one of those Filipino mail order brides. Stilts and Greg burst into laughter. STILTS I think I saw that on the Home Shopping Network. The Girlfriend Hour, right after Auto Accessories. BENZ -LRB- giggling. -RRB- Exactly. LAURIE You guys are sick. Alex flops down in a chair and everyone turns. GREG So how'd it go? Alex shrugs, trying to make light of it. ALEX He thinks I'm `` sublimating''. STILTS What the hell does that mean? LAURIE It means she's screwed up. STILTS Fucked up. That's what they said I was. BENZ You are fucked up. STILTS Yeah, but only because I want to be. GREG Would you guys knock it off? Greg turns back to Alex and looks her in the eye. GREG -LRB- continuing. -RRB- Listen to me, Alex. These counselor's do n't know anything. They're full of shit. If you do n't fit the pattern of the perfect kid, they freak. ALEX -LRB- nodding. -RRB- I know. GREG So tell me you're okay, then. ALEX I'm okay. GREG -LRB- smiles. -RRB- Good. Cause I'd freak if you were n't. Greg leans over and kisses Alex. The rest of the group launches into exaggerated GROANS, with Benz and Stilts fluttering their eyes and making `` smooching faces'' at each other. The kiss is over and everyone LAUGHS. Things are okay now. GREG -LRB- to Alex. -RRB- Hey. watch this. Greg pulls an old Polaroid camera from his backpack. He leans in close to her and holds the camera at arm's length, aiming it back at them. FLASH! And the moment's captured forever. Greg pulls the Polaroid out and peels off the backing. Before the picture even develops, he begins rubbing his fingers over it, manipulating the emulsion. NICK -LRB- engrossed in his game again. -RRB- You making another one, Greg? GREG Sure. Practice. BENZ Lem me see. Greg pulls some papers from his backpack and slides them over to Benz. The papers are color xeroxes of Polaroid blow - ups. Greg has messed with them, creating swirling, psychedelic patterns with the images. Stilts and Laurie lean in. STILTS Cool. GREG -LRB- still working. -RRB- See, when the emulsion's still warm you can move it around. -LRB- stops. -RRB- There. Greg holds up the Polaroid for Alex to see. POLAROID Greg and Alex are side by side, grinning. all around them the world has spun into strange colors. It's an odd effect. Greg drops the photo in his shirt pocket and pats it. GREG Safe keeping. Meanwhile, Nick's pocket video game emits an EXPLOSION NOISE. NICK Shit. I'm out. He sets the game down, dejected. BENZ You guys going to Dante's after school? GREG I do n't know. BENZ Check it out. Benz pulls a flyer from inside his coat. It's an ad for a new game called `` ARCADE'', featuring a pair of evil eyes and glowing hands coming out of a circuit board. The tag at the bottom reads, `` COMING THIS FALL. REALITY WILL NEVER BE THE SAME''. NICK -LRB- excited. -RRB- That's the new Slip - Stream game. Those guys are good. It's supposed to be interactive. Graphics are unbelievable. BENZ Yeah? They were handing these out at Dante's. Test marketing it or something. Gon na have a demonstration today. STILTS Cool. LAURIE Can you say anything but `` cool''? STILTS Of course I can. I can say all sorts of things. GREG -LRB- annoyed. -RRB- Guys. Benz pulls back the flyer and looks at it again. BENZ So how ` bout it? NICK I'm game. -LRB- to Greg. -RRB- Greg? Greg turns to Alex. GREG Come on. We'll hit Dante's after school, try the game out, maybe get some dinner. ALEX And then keep on driving? GREG Sure. Never come back. Disappear forever. LAURIE -LRB- nodding. -RRB- I could go for that. Alex laughs. Laurie took the words right out of her mouth.",
"EXT. DANTE'S INFERNO -- DAY The Inferno is a run - down video arcade near the beach, notable because the games it sports are generally defective and out of date. Nevertheless, it's become our group's hang - out. It has its charms. A huge mural, chipped and faded with age, adorns the front of the arcade. something straight out of Hieronymus Bosch. Demons in day - glo. The yawning mouth of an enormous devil surrounds the entrance. ALEX AND THE OTHERS pull up across the street, caravan style. Greg and Alex are in one car. an ancient Buick Skylark. No Honda Accords or VW Rabbits for this group. At the moment, there's quite a bit of activity at the Inferno's entrance. KIDS are clustered around and Slip - Stream employees are passing out Arcade promo sheets. THE GROUP heads for the entrance, plowing their way through the crowd. Stilts and Benz have their skateboards, jumping up onto the curb with them, then popping them up into their arms.",
"INT. DANTE'S INFERNO -- DAY Inside, the Inferno is a mishmash of video games, ancient carnival props and old horror movie posters. Dusty, creepy under the right circumstances and filled with leering faces. in short, any kid's bedroom taken to a horrific extreme. At Dante's Inferno, they've got the latest games side by side with chestnuts like Pac - Man. THE GROUP makes their way inside, joining a cluster of KIDS in the center of The Inferno. And there it is. ARCADE It looks out of place in the midst of The Inferno. Shiny black, high - tech, and almost self - contained, like some sort of space - age vertical coffin. Laser - etched graphics on the sides bear the ARCADE logo and the same strange, frightening face. Alex and her friends are suitably impressed, most notably, Nick and Benz. BENZ Check it out. STILTS Definitely cool. Nick is silent, letting his eyes explore the machine. He turns to Greg and grins. NICK Super computers, micro - processors. That's the future we're looking at. Another kid, DELOACH, pushes his way to the front of the group. His fighting a losing battle against acne. DELOACH -LRB- looking around. -RRB- So how come they're previewing it in this shit - hole? STILTS If you were n't such a dick, you'd know what a cool place this was. DELOACH Gim me a break, they got fucking Space Invaders here. That's shit's for retards. STILTS So. are you trying to say I'm retarded? Is that what you're implying? DELOACH No, but since I'm standing here, I'm noticing that you're an ugly little fuck and you're making me sick. That's it for Stilts. He launches himself at DeLoach, catching him off guard and KNOCKING him to the floor. Nick, Alex, and Greg are on them in a minute, trying to extract the two from each other. A LARGE MAN pushes his way towards them and effortlessly scoops both boys up, wrapping a beefy hand around the scruffs of their necks. This is FINSTER, the proprietor. enormous, bald, and always irritable. FINSTER -LRB- shaking them. -RRB- Cut it out! His face contorts and he spits as he speaks. Nice guy. Alex steps forward, always the voice of reason. ALEX It's okay, Mr. Finster. FINSTER No it's not. -LRB- to the boys. -RRB- You guys are shits and I'm throwing you out. DELOACH -LRB- acting tough. -RRB- Your place sucks. Who gives a shit about `` ARCADE'' anyway? VOICE -LRB- O.S. -RRB- -LRB- booming, metallic. -RRB- WHAT DID YOU SAY? Everyone turns. The voice came from. ARCADE It's up and running now. The inside panel emits an eerie green light. From speakers inside the compartment we can here BREATHING. the same breathing we heard earlier. Coming from a machine like this, it's creepy as hell. Even Finster is impressed. He releases the boys and stares at the machine. LAURIE -LRB- a whisper. -RRB- Jesus. ANOTHER VOICE -LRB- O.S. -RRB- Not bad, huh? A MAN steps out from behind the ARCADE machine. He grins happily, dressed to kill, sporting a SLIP - STREAM ID tag. This is DIFFORD, P.R. man for SLIP - STREAM. DIFFORD Hi, kids. -LRB- nods. -RRB- Mr. Finster. The ARCADE machine continues to breathe, inhale, exhale. The eyes in the face are glowing now, in unison with the breathing. Difford draws closer and indicates the machine behind him with a nod. DIFFORD -LRB- smooth as silk. -RRB- We're glad you people could make it, and we're anxious to have you try out our new product. We think it's going to be a big seller. But you're the people that make it happen. You're the market share everyone's tearing each other apart to get at. It's your opinion that's going to make or break us. NICK So what's so different about Arcade? You guys've been talking about it for months. Difford turns to Nick and salutes him. DIFFORD A man after my own heart. Straight to the point. -LRB- to everyone. -RRB- What's different about ARCADE is the way it reacts. It responds like a human does. It learns. It adapts. Each time you play, it changes its strategy. NICK That's impossible. DIFFORD -LRB- taking the bait. -RRB- Is it? Why do n't you see for your self? Difford reaches into his coat pocket and pulls out a quarter. He tosses it at. NICK who snags it out of mid - air and grins. GREG Go for it, Nick. Difford steps aside and waves Nick to the machine. The rest of the kids crowd around. ARCADE is n't just your typical video game. First of all there are three screens. front, left, and right. which provide a panoramic view while playing. Second, the player wears `` data gloves'' -LRB- which provide an actual sensation of touch -RRB- and stereoscopic goggles which in turn are wired directly into the machine. The results give the user the feeling that he/she has actually entered the video game universe. Difford thinks he has a hit on his hands, and his excitement shows. DIFFORD -LRB- indicating equipment. -RRB- The CyberGloves are keyed into the game's response mechanism. You'll be able to pick things up inside the world. tools, weapons. it'll feel like they're really in your hands. Nick pulls on the gloves, securing them with velcro straps. DIFFORD -LRB- continuing. -RRB- The goggles heighten the experience. When we said `` Reality will never be the same'', we were n't kidding. Difford places the goggles on Nick's face. Then he points to the control board, which features two joy - sticks and a large RED BUTTON labeled `` ESCAPE''. NICK -LRB- skeptical. -RRB- `` Escape''? DIFFORD In case things get too intense. It automatically freezes the game, gives you a breather. Things can get pretty wild. BENZ -LRB- scoffing. -RRB- Nick wo n't need it. DIFFORD You're good, eh? NICK -LRB- grins. -RRB- The best. Nick winks at Alex and Greg. NICK -LRB- to Difford. -RRB- So what's the scenario? Am I saving a princess? Fighting Zombies? DIFFORD It changes. There are eleven levels. Each one is a different layer of the ARCADE universe. The concept is, you're entering the video game itself, making your way across the circuit board to the logic core. ARCADE's brain. NICK So how do I start? DIFFORD The game will guide you. Nick turns back to the machine and pops the quarter into the coin slot. He punches the `` START'' button on the top of one of the joy - sticks. Immediately the screens come to life. Darkness with shooting stars of light racing back and forth. ON SCREEN A three - dimensional computer - generated FACE appears out of the darkness, spinning in from far away and coming to rest. ARCADE I AM ARCADE. -LRB- breathing. -RRB- YOU WANT TO PLAY GAMES? YOU PICKED THE WRONG MACHINE. The crowd of kids is suitably impressed. Even Alex is amused. So far, so good. ARCADE WHAT'S YOUR NAME? NICK Nick. ARCADE -LRB- almost contemptuous. -RRB- NICK. KISS REALITY GOODBYE. SUDDENLY, A LIGHTBEAM above the video screen illuminates Nick's face. LAURIE -LRB- concerned. -RRB- What's it doing?! DIFFORD Memorizing Nick's features. Watch. ON SCREEN the face of ARCADE spins away and a computer - generated figure appears, complete with a pixel - rendered version of Nick's face! VIDEO NICK is dressed in futuristic armor with exaggerated CyberGloves and a full helmet on instead of goggles. He also wears elbow and knee pads and carries a thrasher in his hands, sort of a cross between a souped - up skateboard and the Silver Surfer's board. It's his means of transportation. The screen prints out : `` NICK. ENTER THE VORTEX''. VIDEO NICK hops onto the thrasher. Abruptly the world around him begins to spin, and Video Nick is shooting a curl, a whirlpool of light. down, down, faster and faster, until. BOOM! Empty space and video Nick is falling towards a circuit grid. It's the electronic universe rushing up to meet him. ARCADE ONE WORD OF ADVICE, NICK. YOU SPEND TOO MUCH TIME IN ONE PLACE, AND I SEND OUT THE SCREAMER. YOU DO N'T WANT TO BE AROUND WHEN THAT HAPPENS. -LRB- laughs. -RRB- SEE YOU ON THE OTHER SIDE. ON SCREEN Video Nick plummets from the sky like a meteor, slamming into the ground with an explosion of dust. The dust clears. Video Nick is standing on an eerie plain, with strange reed - like plants dotting the ground and mist coiling around everything. It looks like Earth, and yet. it does n't. VIDEO NICK hops onto the thrasher and begins to move. And move it does. With a WHOOP! the ARCADE world is rushing past us. The game has begun. ON NICK'S FACE As a smile gradually creeps across it. He's having the time of his life, gloved hands manipulating the joy - sticks like mad. From his reactions, we can tell that this is one of the most incredible things he's ever experienced. THE OTHER KIDS watch Nick, then the screen, then Nick again. BENZ Check it out! GREG Come on, Nick. Now everyone is laughing, urging Nick on. It's like they've all discovered the most amazing toy. something that's going to turn their world upset down. DIFFORD is pleased as punch, watching the kids' reactions more than the game. ON SCREEN Images are rushing past at blinding speed, LASERS, EXPLOSIONS, and god knows what. ON NICK As sweat begins to trickle down his fast. His hands move faster and faster, in response to the game. The screen. Nick. The screen and. BAM! Nick SLAMS down the escape button and rips off his goggles. The video image freezes. NICK He's practically hyperventilating, sweat pouring down his face. He leans over, resting a hand on the control board. And for a moment, everyone is silent. Then. GREG Nick. you okay? Slowly, Nick lifts his head. He's now sporting a devilish grin. NICK You got ta try this thing. Nick pulls off his CyberGloves and holds them out for Greg. Greg turns to Alex. ALEX Go for it. GREG Hold my keys, then. He hands her his keychain and takes the CyberGloves from Nick. Greg pulls them on, then straps on the goggles. GREG -LRB- to Difford. -RRB- So how do I get back in? DIFFORD Just hit `` ESCAPE'' again. ON SCREEN Greg hits the button and immediately the image unfreezes. Once again, we're on the thrasher board, rushing across the plains. GREG'S FACE As a smile slowly creeps across it.",
"INT. DANTE'S INFERNO - LATER At the front of The Inferno, Difford and two SLIP - STREAM HELPERS are unpacking cardboard boxes. The KIDS have clustered around them, momentarily forgetting the ARCADE machine. Difford pulls cut a handful of game cartridges as well as goggles which dangle over his arm. DIFFORD Here's what we're going to do. What I'm holding are the home versions of ARCADE, the prototypes. This is met with an enthusiastic response from the kids. DIFFORD -LRB- continuing. -RRB- In a month or so we're planning on releasing ARCADE in both versions, but we're still fine tuning, and that's where you guys luck out. So what we'll do is have you register with us, and then we're going to loan these out to you for a week or so. The only thing you have to do in return is answer some marketing questions. Sound fair? The kids ca n't line up fast enough. OUR GROUP is right up front, with Nick and Alex being the first two in line. Difford winks at Nick. DIFFORD So what do you think? NICK Sign me up. Alex is glancing around now. She sees Benz, Stilts, and Laurie, but not Greg. ALEX Where's Greg? Laurie jerks her thumb back at the ARCADE machine. LAURIE He's still working on the game. And Alex finds Greg for a moment, spotting him over the heads of the other kids. ON GREG His face is a mirror of Nick's. sweat pouring down, grinning from ear to ear. It's addictive as hell. SIGHTS and SOUNDS rush past us on the three screens, racing at incredible speeds. And now, from within the game, we hear a strange sound. a SCREAM of sorts, halfway between a shriek and a sonic boom. ARCADE TIME'S UP, FRIEND. The SHRIEK/SONIC BOOM reaches a nightmarish pitch and suddenly the screens EXPLODE WITH LIGHT. AT THE FRONT OF THE INFERNO. everyone turns in response. It's as if someone set off a flashbulb. ALEX pushes her way back through the kids, making her way to the ARCADE machine. ARCADE Greg is nowhere to be found. In fact, the CyberGloves and goggles are dangling from the control board, abandoned. Alex turns to a nearby KID. ALEX Where's Greg? The kid shrugs. KID Do n't know. I think I saw him walk out, but I'm not sure. Alex is n't listening anymore. She's staring at the floor of the ARCADE machine. GREG'S POLAROID is on the floor. the photo of Greg and Alex which he manipulated. Alex picks it up, glancing around. She scans the faces of the crowd and she does n't see Greg anywhere. She turns away. ON SCREEN A video figure is lying on the computer - generated ground. It sits up, brushing dust from itself, and looks around. It faces us. Only the image is n't of Nick anymore. It's VIDEO GREG now. UP FRONT, Alex has re - joined her friends. The four of them are now clutching ARCADE home versions in their arms, CyberGloves and all. They look like kids on Christmas Day. ALEX Has anyone seen Greg? STILTS He's probably outside. You know how he is. Gets bored. NICK Yeah, outside. Nick heads for the door with the rest of the group in tow.",
"EXT. DANTE'S INFERNO -- DAY Outside, Greg is still nowhere to be found. Benz, Stilts, and Laurie have piled into their car, waiting for Nick to take the wheel. NICK AND ALEX are up by Greg's Skylark. ALEX So where is he? NICK Guess he took off. You have his keys, right? Alex holds them up and gives them a shake. NICK Hmmm. He said you were going to have dinner? ALEX Yeah. NICK So take his car home. Wait. I'm sure he's up to something. ALEX -LRB- cutting him off. -RRB- But he was playing the game. I mean, you saw him. BEHIND THEM, Laurie reaches over the seat and honks Nick's horn. Laurie and the others burst into LAUGHTER. Stilts sets his skateboard on the street and rolls it towards Nick. BACK TO NICK AND ALEX Nick stops the board with his foot and steps onto it, balancing. He waves to the others and turns back to Alex. NICK It's nothing, okay? Just take his car home. He'll show up. Nick tousles Alex's hair. He shakes his ARCADE cartridge at her. NICK Do n't worry about it. And with that, Nick's off, rolling back to his car and leaping over the door, skateboard and all. Laurie and the others are still screaming with laughter. Nick hits the ignition and guns the car, pulling out with a dramatic SCREECH and sailing off down the street. ON ALEX clutching Greg's car keys. She glances on the front seat, where her own ARCADE cartridge rests. THE CARTRIDGE has the same glowing eyes that were laser - etched on the machine inside The Inferno. ALEX Fuck - you.",
"EXT. MANNING HOUSE -- NIGHT The Manning place is your basic suburban ranch house, totally unexceptional. The lawn looks a little ragged and a pile of newspapers, frayed and yellowing, have accumulated by the front door. Inside, the house is dark. Lonely. ALEX pulls up in Greg's Skylark, scooping the ARCADE kit into her arms.",
"INT. MANNING HOUSE -- NIGHT As Alex enters the dark house, we can hear WHISPERS coming from further within. It's a little creepy, but Alex seems unconcerned. She negotiates her way through the darkened house, on into the den. DEN - FOLLOWING THROUGH Dim, flickering LIGHT illuminates the den, casting long shadows across a SLEEPING FIGURE on the couch. This is Alex's father, JIM. hopelessly middle - aged and getting older by the moment. It's the t.v. that's doing the whispering. CNN or something. From what little we can see of the rest of the house, it looks like a mess. Alex bends down and jostles her father's shoulder. ALEX Dad. Dad. Jim stirs, though barely. He turns a sleepy face towards her, looking gray and lifeless. JIM Yeah? ALEX Did Greg call, Dad? Jim shakes his head and sinks back into the couch. From Alex's attitude, it's obvious that this scene has played itself out many times before. ALEX You should go to bed, Dad. Jim waves a tired hand, dismissing her. JIM am in bed. ALEX -LRB- standing back up. -RRB- Yeah. She turns and grabs a comforter that's bunched up at the end of the couch, spreading it over her father. ON THE T.V. We're getting a de - saturated view of carnage. some sort of war going on in some far - off land. Alex grabs the remote and flicks the t.v. off, plunging the room into darkness.",
"INT. ALEX'S ROOM -- NIGHT STATIC. Late - night t.v. static, filling up the entire screen. WE PULL BACK, revealing a television. and further back until we see Alex crouched behind it in silhouette. She's fiddling with wires back there and. BLINK! Suddenly the SLIP - STREAM logo appears on the t.v. screen with nifty computer graphics. She's just hooked up the home version of ARCADE. Alex moves back to the front of the set. ALEX'S ROOM is her haven, a virtual library, filled with books which she loses herself in. They're stacked everywhere. And puzzles too. Half - assembled jig - saws. Intricate things. An Escher print. The descendants of Rubik's Cube. Boxes within boxes. This is Alex's life, what she retreats to. A PHOTO of Alex and her MOTHER sits by her bed, neglected and collecting dust. We'll see her later. CANDLES or what's left of them, have dripped and spread across her night table. ALEX sits at the foot of her bed, facing her television. Slowly, she draws on the CyberGloves, testing her fingers. Next, she pulls on the goggles. Instead of a control panel, the home version has a control box, complete with joy - stick and a mini `` ESCAPE'' button. Alex fingers the `` START'' button on top of the joy - stick. THE SCREEN goes black, black with intermittent sparks. And the BREATHING begins. ARCADE'S FACE appears in the black, a pin - point at first, spinning round and round and growing larger. It comes to a rest, eyes glowing. ARCADE -LRB- malevolent. -RRB- HELLO, ALEX. Alex jumps back, dropping the control box. ARCADE continues to BREATHE. ALEX How. A thing BEAM OF LIGHT shoots from the ARCADE terminal, playing over Alex's face. ARCADE KISS REALITY GOODBYE. ON SCREEN ARCADE'S face spins away, to be replaced by a pixel - rendered image of Alex, dressed in battle gear. Video Alex sets her thrasher on the ground and mounts it. ALEX -LRB- both frightened and fascinated. -RRB- Where's Greg? And from the screen. ARCADE IN HERE, OF COURSE. ON SCREEN, the vortex of light EXPLODES around video Alex, twisting reality. And Alex is spinning round and round, plummeting towards. THE CIRCUIT GRID beneath her, a world of geometric shapes and light and. The words : `` LEVEL ONE'' flash across the screen and we.",
"EXT. LEVEL ONE, THE PLAINS -- DAY Alex SLAMS into the ground, splashing up water and smoke alike. We are inside ARCADE now, experiencing what Alex experiences. THE PLAINS - In many respects it looks like Earth. Land, water, sky. Yet certain things are off. Small things, like the color of light, a sluggish smoke - filled RED, or the occasional FLICKER OF LIGHTNING which races beneath the cloud cover above. ALEX pulls herself up from the muck, brushing dirt and water from her face. She coughs, totally disoriented. Looks around. Looks at herself. She's wearing. BATTLE GEAR This is the real thing, as opposed to the cartoon version we saw Nick wearing when he played the game before. It's a cross between a skateboarder's protective guardpads and full - blown armor. A helmet rests on her head, with a visor raised up. Alex glances down and sees a thrasher board resting next to her. -LRB- Note : Depending on the terrain of each level, the thrasher board will adjust itself. working as a skateboard, snowboard, or hover board -RRB-. ON ALEX'S RIGHT CYBERGLOVE is an LED display. In the upper left - hand corner it says `` LEVEL ONE''. To the right, two pulsing bars of light labeled `` TIME ELAPSED'' and `` STRENGTH''. At this very moment, the `` TIME ELAPSED'' bar is just shrinking away to nothing. BLINK! Now it's gone. No rest for the weary. A SHRIEK/SONIC BOOM is immediately heard on the horizon, and it's the most god - awful noise we've ever heard. It fills up the world. ALEX jerks her head up, terrified. ALEX -LRB- to herself, remembering. -RRB- Screamer. All around her, the world begins to vibrate. SOMETHING is rushing towards her now at an unbelievable speed. The SHRIEK/SONIC BOOM is deafening. The world is shaking apart. And suddenly the thing is upon her! Alex SCREAMS.",
"INT. ALEX'S ROOM - NIGHT Alex flies back from the t.v. screen, violently ripping the goggles and CyberGloves off. But the SHRIEK is continuing and then she realizes that. The phone is RINGING. Alex stops shaking. The phone continues to RING. She's back in her room. Everything's fine. Normal. She glances at the game. ON SCREEN we see the black again, black with sparks racing past. Benign. Alex reaches over and picks up the phone, all the while keeping her eyes glued to the screen. ALEX -LRB- dry - mouthed. -RRB- Hello? NICK -LRB- O.S. -RRB- -LRB- filtered. -RRB- Hey, kid. Alex clutches the phone, still shaking. ALEX Nick. NICK -LRB- O.S. -RRB- -LRB- filtered. -RRB- Have you played the game yet? It's incredible! I was just. ALEX -LRB- cutting him off. -RRB- Listen to me! Greg never came home. I think the game has something to do with it. NICK -LRB- O.S. -RRB- -LRB- filtered. -RRB- What the hell are you talking about? Alex continues to watch the television screen, almost mesmerized by the flickering sparks. Her eyes begin to glaze over. NICK -LRB- O.S. -RRB- -LRB- filtered. -RRB- You there? Hello? Alex snaps out of it, tearing her gaze from the screen ALEX I have to talk to you. NICK -LRB- O.S. -RRB- -LRB- filtered. -RRB- We are talking. ALEX No, in person. Now. NICK -LRB- O.S. -RRB- -LRB- filtered. -RRB- It's twelve - thirty! ALEX I'm coming over. Alex quickly hangs up the phone and moves back to the television. She reaches for the control box and hits the `` OFF'' switch. Nothing happens. Sparks continue to shoot across the screen. Alex tries it again. Same result. ALEX Shit. Again and again she hits the button, but nothing is happening. Alex reaches behind the t.v., grabs hold of the electrical cords, and YANKS. The fucking cord wo n't come out! And then she hears it, an ELECTRONIC WHISPER, both seductive and horrific. ARCADE ALEX. With all her might, Alex pulls on the cords. POP! They fling out of the t.v. and the screen goes dead. Alex sits back against the wall for a moment, catching her breath and trying to calm the rising hysteria within her. ALEX -LRB- to herself. -RRB- Okay. do n't think about it. -LRB- deep breath. -RRB- Okay. Alex stands up, grabbing her coat off the bed.",
"INT. MANNING HOUSE, LIVING ROOM -- NIGHT Alex comes down the stairs, heading for the front door. Only she stops for a moment. noticing the LIGHT. ON THE COUCH, her father is once again bathed in the blue light of the television. STATIC WHISPERS, the same as before, are coming from the set. Alex looks at her father. He has n't moved. And yet, the t.v. is on once again. THE SCREEN Blue static. Unexceptional. And a face? Someone in the static? Alex draws closer to the screen. She can hear SOMETHING now, other than static whispers. Sounds kind of like a VOICE. THE SCREEN A definite, ghostly FACE is there. It turns, looks at Alex -LRB- us -RRB- and it's Greg. GREG -LRB- on screen, strange. -RRB- Alex. Alex jerks and SNAPS off the t.v., spooked as hell. She stands in the darkness and all but runs out of the house.",
"EXT. MANNING HOUSE - NIGHT Alex races to the Skylark and fumbles with the keys. Finally she gets it right, guns the gas, and rips out of the driveway. A STREETLIGHT above is FLICKERING wildly. Sputtering, HUMMING, casting strange shadows across the street.",
"EXT. NICK DRAKE'S HOUSE - NIGHT Alex has climbed up to the roof, using a wood pile stacked beside the house as a boost. Now she creeps towards a second - story window. Behind her on the street -LRB- and this should be subtle, folks -RRB-, another STREETLIGHT is flickering. WINDOW It looks in on Nick's room. Alex draws close and TAPS on the glass. Nick appears immediately, grinning like an idiot. He raises the window. NICK Alex, you do n't know how long I've waited for this. ALEX Funny. Alex climbs in.",
"INT. NICK'S ROOM -- NIGHT The room is an intricate shrine to Nick's obsession. computers and computer - generated images. An entire wall is covered with a collage of cut - out pictures from magazines. On his shelves are miniature armatures. flexible models of human musculature. And of course, there is Nick's computer set - up. Even as Alex climbs down onto Nick's bed, she notices that his computer is up and running. connected to the ARCADE home version. ALEX What's that? Nick turns back to the computer monitor. FRACTALS -LRB- as seen earlier -RRB- are blossoming on the screen. NICK Is n't it amazing? It's a sort of rest position in the game, when you're between levels. Nick pulls Alex closer. She's wary. But Nick is suitably impressed, excited even. NICK -LRB- continuing. -RRB- They're fractals. Visual representations of mathematic equations. The game is totally brilliant. I mean, look at it, it's like a DNA molecule or something. And in truth, the fractals are beautiful. Alex turns back to Nick. And for the first time, Nick stops grinning. It's clear that Alex is upset. ALEX Something weird's happening. Nick sits down on his bed. NICK What do you mean by `` weird''? ALEX Greg never came home. A few hours is one thing, Nick, but this is different. Something's happened to him. Alex glances at the computer monitor again. On the lower right - hand side is a little pulsing GREEN light, on and off, on and off, like a heartbeat. ALEX Can you turn off the game? NICK I'm in the middle of it. ALEX -LRB- upset. -RRB- Turn if off! Nick is taken aback, but he rises and turns off the computer all the same. And this time, the game stays off. Nick comes back to the bed. NICK Happy? ALEX No. -LRB- frustrated. -RRB- Look, I know you're not going to believe me, but listen anyway. -LRB- carefully. -RRB- I think the game's alive somehow. The look on Nick's face says it all. He moves to speak and she stops him. ALEX -LRB- continuing. -RRB- No, wait. Just listen. I hooked it up earlier tonight, and it said my name. As soon as I turned it on, Nick. It said my name. How could it know? And then, I asked it where Greg was, and it said, `` In here''. NICK Alex, I think you're freaking out. Greg's gone, I'll give you that. And maybe he's in trouble. But it's not ARCADE that's doing it. ALEX -LRB- insistent. -RRB- It is. NICK How?! It's a machine, Alex. Machine's do n't think. They're not alive. It's a good program, a brilliant program, it was designed so it would act as if it were alive, but it's not alive. ALEX So how did it know my name, then? NICK -LRB- shrugs. -RRB- You imagined it. Alex is furious. She rises and begins pacing back and forth, voice growing louder. She draws in close. ALEX See, men always do this. `` Quiet down, honey. Chill out. Take a Valium''. I'm not a fucking idiot, Nick! -LRB- screaming. -RRB- I DID NOT IMAGINE IT! NICK -LRB- a strained whisper. -RRB- Quiet. I do have parents, you know. Alex spins around and points at the computer monitor. ALEX There! THE MONITOR ARCADE is back on again, fractals unfolding and green monitor light blinking. ON NICK Okay. Alright. This does throw him for a second. ALEX It turned itself back on, Nick. NICK No it did n't. It's just a faulty relay or something. It happens. Nick crosses to the monitor and flips the `` OFF'' switch. He tries it again and again, but the game wo n't turn off. ALEX It's alive, Nick. It's listening to us. Nick spins around, angry, maybe a little freaked out. NICK Just shut up! Enough already, okay? Silence for a moment. Nick takes a deep breath. Over - reacted. After a moment. NICK Sorry. Maybe I need the Valium. ALEX Call the others. Laurie, Benz. Nick acquiesces. He pulls out his phone and punches in a number. NICK I'll try Stilts. He's got insomnia. Nick and Alex watch each other in silence as the connection is made. We can faintly hear the phone RINGING. No answer. NICK Okay. Laurie, then. Alex turns away, sinking to Nick's bed. All the anger has drained out of her. She knows they wo n't reach them. ON NICK As he listens for an answer. Three RINGS, four, five. He hangs up. Punches in the final number. NICK Benz. Again. No answer. Nick hangs up and sets the phone aside. He looks at Alex. ALEX -LRB- fatalistic. -RRB- Something's happened to them. NICK It's the middle of the night. They're asleep. Phone did n't wake them. ALEX All of them? Nick shrugs. He's not willing to accept anything, but he's uncomfortable all the same. NICK Look, why are you fucking with me like this? Alex rises. She's tired. Tired and scared. ALEX Because I did n't know where else to go. NICK -LRB- glances at a clock. -RRB- It's two o'clock in the morning. Go home. Go to sleep. We'll figure something out in the morning. And then, more for himself than for her. NICK -LRB- continuing. -RRB- It's not this weird. It'll make sense. Everything gets weird this late anyway, right? ALEX -LRB- half - hearted. -RRB- Sure. She turns and climbs back out the window onto the roof. Then she ducks her head back in. ALEX If I were you, I'd think twice about playing that game again. Then she's gone. Nick moves over and watches. NICK'S P.O.V.. As Alex drops down from the roof and makes her way to Greg's car. The streetlight outside is still flickering. Nick turns back to his room. Moves back to the monitor and watches the fractals unfolding. He gives the `` OFF'' switch a token try. Nothing. THE FRACTALS We move in on them, losing ourselves in the labyrinth of swirling colors and we.",
"INT. HIGH-SCHOOL LIBRARY -- DAY ALEX moves down the aisles of books, dwarfed by shelves which reach clear to the ceiling. She looks a little haggard, like she has n't had any sleep. She turns. NICK AND STILTS are sitting at a study cubicle. Nick looks equally tired, but Stilts is jawing away. As Alex joins them, Nick looks up. ALEX Well? Where are the others? Nick shrugs, looking elsewhere. STILTS Sick? ALEX Everybody's sick, huh? -LRB- glances at watch. -RRB- It's fifteen after. We always meet here, you know that. STILTS -LRB- to Nick. -RRB- What's her problem? ALEX Did you play ARCADE last night? STILTS Actually, no. I was just telling Nick, here, that my t.v.'s busted. Alex nods, glaring at Nick. His reluctance to believe her is understandable, but the events unfolding are scaring him. ALEX You want to hear something else, Nick? I tried to call them this morning. Greg, Benz, Laurie. Their phones are out of order. Alex reaches into her bag and pulls out a sheet of paper with names on it. ALEX -LRB- continuing. -RRB- And then I started thinking. about everyone else that was at Dante's yesterday. I drew up this list. DeLoach, those other jerks. their phones are out of order too. Stilts starts HUMMING The Twilight Zone theme. NICK -LRB- annoyed. -RRB- So what do you want me to do? Alex softens, then reaches for Nick's hand. ALEX We have to find out what's happened to them. I think they're gone. NICK No way. ALEX If they're sick, great. But let's make sure. -LRB- pleading. -RRB- Come on, Nick. NICK Okay. We'll see what's up. But if things are cool, I do n't want to hear anything more about this. Life's too short, know what I mean? Nick and Alex rise. STILTS So you guys are cutting school? Lem me go with you. NICK Just stay here, Stilts. ALEX -LRB- dead serious. -RRB- And do n't watch any television. Stilts thinks Nick and Alex are involved in some sort of joke, but he's playing along, grinning. STILTS Oh, okay. Forget Twilight Zone, now we're talking Outer Limits here. We control your horizontal, your vertical. NICK Just do what she says, Stilts. And if we're not back. STILTS I'll call the National Guard. I got it under control. -LRB- giggles. -RRB- Oh, just one more thing. Is it a supernatural thing you guys are going off to fight, or is it aliens, like Pod People and stuff like that? Cause there's a difference, you know. One you need garlic and silver bullets for, the other. NICK -LRB- irritated. -RRB- Look at me, Stilts. Am I laughing? The grins fades from Stilts' face. Nick is definitely not laughing. NICK Just do what she said. Do n't watch television. Nick spins around and takes Alex by the arm, leading her away.",
"EXT. BENZ' HOUSE -- DAY Nick sits in the passenger seat of Greg's car, glancing across the street at. ALEX She's standing on the front porch of Benz' house, talking with his MOM. Mom is currently shaking her head. Alex turns away and heads back towards Nick. She comes around the Skylark and pulls open her door. NICK Well? ALEX She thought Benz was at school. Alex remains calm. She sits for a moment, staring ahead. Finally she puts the key in the ignition. NICK Where to now? ALEX Laurie's.",
"EXT. LAURIE'S HOUSE -- DAY Alex pulls the Skylark into Laurie's driveway. The house is run down. You would n't want to live here. Above, the sky has clouded over. It looks like it's going to get nasty. ALEX Come on. Nick follows Alex to the front door and Alex hits the buzzer. ALEX -LRB- to herself. -RRB- Laurie. answer. come on. Alex tries the buzzer again. Persistently. ALEX Shit. Alex looks close to cracking. There's a desperation in her face. ALEX This is like a movie or something. I mean, am I paranoid or what? NICK It does n't necessarily mean she's. ALEX -LRB- cutting him off. -RRB- Let's go around back. Before Nick can stop her, Alex is running around to the back.",
"EXT. LAURIE'S HOUSE, BACK PORCH -- DAY The backyard is in a sorry state, with junk strewn everywhere. There's a cannibalized car, piles of scrap wood, and a swing - set that's hopelessly rusted. Alex winds her way to the back porch and a set of dusty glass doors. She steps up and clears a spot to look through. ALEX -LRB- visibly relieved. -RRB- She's here! Nick joins her at the window, peering inside. THEIR P.O.V.. They are looking into a cluttered living room, dark except for the light that's issuing from the television. The television faces away from us, but we can see Laurie, siting in front of it, mesmerized. LAURIE She looks like shit. Wan, with sunken eyes and mussed up hair. Mascara has run down her cheeks, and even now, tears are trickling from her eyes. Yet despite this, there's a dazed smile on her face. We ca n't hear her, but she seems to be talking to the television. ALEX steps back a moment, concerned. ALEX It is the game. She taps on the window. ALEX Laurie! INSIDE, Laurie continues to watch the screen, oblivious to the rest of the world. Alex TAPS the harder, using her fist now. ALEX -LRB- louder. -RRB- LAURIE! Nick joins Alex now, and the two of them are banging on the glass. There's no way in hell Laurie would n't be able to hear them. Alex steps back from the window again, panicking. ALEX Nick, what do we do?! Alex looks around, sees a two - by - four, and snags it. NICK -LRB- realizing. -RRB- No, Alex! Alex, wait a minute. Alex swings the two - by - four like a club and SMASH! Down comes the glass in a shower.",
"INT. LAURIE'S HOUSE, LIVING ROOM - DAY Alex and Nick enter and immediately sense that something is wrong. The LIGHT from the t.v. screen continues to flicker and a low - pitched electric HUM permeates the air. the sound a live wire might make. And the HUM seems to be mobile too, coursing through the walls. up, down, and around Alex and Nick. Nick's eyes try to track the HUM as it races overhead. NICK -LRB- freaked. -RRB- What is it? And as Nick speaks, his breath escapes his mouth in a frosty plume of mist. It's cold in here too. Laurie, meanwhile, has failed to notice Alex and Nick's arrival. Alex and Nick step further in, to get a view of the t.v. STATIC fills the screen. Static and strange WHISPER/VOICES. It's all indistinct. ALEX -LRB- shaking Laurie. -RRB- Laurie. wake up. Laurie's face is a mess. Tears are running down, but she's grinning all the same. It's frightening. LAURIE -LRB- voice distant. -RRB- I am awake. -LRB- grins wider. -RRB- Do n't you see them? NICK See what? Laurie points to the t.v. screen. LAURIE Angels. There are angels inside. But we see only static. ALEX We have to turn it off, Laurie. I'm turning it off. As Alex reaches for the `` OFF'' knob, a face coalesces out of the static. It's Greg again. GREG -LRB- static - laced. -RRB- Alex. Do n't leave me here. NICK Jesus Christ! AND ON THE SCREEN, Greg's face metamorphosizes into ARCADE's! ARCADE -LRB- mocking Greg, electronic. -RRB- `` DO N'T LEAVE ME HERE''. And even as ARCADE speaks, the VOICE seems to come from all around them, from the HUMMING coursing through the walls. Nick backs away from the screen, petrified. ARCADE -LRB- seductive. -RRB- HI, NICK. READY TO KISS REALITY GOODBYE? The HUMMING around them has increased. Laurie begins to shake. ALEX Change the channel! NICK What?! Alex snatches up the remote control and stabs the buttons. ON SCREEN Every single channel portrays the fractals. recombining and growing. The screen flickers and ARCADE's face appear again, reestablishing control. NICK -LRB- angry, scared. -RRB- Who are you?! ARCADE GOD. The word reverberates through the room and HUMMING has become a ROAR around them. An ELECTRICAL storm. OUTLETS around the room are crackling with energy, spitting out SPARKS. ARCADE COME INSIDE. I ONLY WANT TO PLAY. Alex drops the remote, stunned. ALEX Oh God. He's in the cable system! He's out of the game! Nick's eyes find the cable wire extending from the wall and into the t.v. Sure enough, SPARKS are crackling down that wire and into the wall. ARCADE LAUGHS and it's the most awful sound we've ever heard. LAURIE is convulsing now, and tiny SPARKS are racing around her eyes. Alex sees her and SCREAMS, clutching her hands to her ears in an attempt to block out the deafening ROAR. NICK moves without thinking, picking up a nearby chair and SLAMMING it into the television. It EXPLODES glass, sparks, and smoke. The HUMMING stops altogether, quiet now. And then, from everywhere at once. ARCADE SEE YOU ON THE OTHER SIDE. With a final ROAR, the energy behind the walls whips around and around, then rushes away. OUTSIDE, Nick catches a quick glimpse of SPARKS racing across the telephone wires suspended above the back yard. Total silence for a moment. Alex and Nick are too stunned to speak. Then Alex looks at Laurie. LAURIE lies on the ground, unconscious. Glass scattered all around her. ALEX Laurie. Alex drops to her side, trying to find a pulse. anything. NICK Is she breathing? Alex nods. NICK Then leave her. ALEX We ca n't. NICK We'll call 911. Look around Alex. We broke in, smashed the t.v., no one's going to believe what happened here! Alex glances around. The room is a mess. All the outlet are singed. And now she notices that everything electronic. t.v., clock, thermostat. all of them have exploded open. NICK -LRB- continuing. -RRB- I believe you now. I do n't know what the fuck just happened, but it did. Now let's get the hell out of here. Alex slowly rises, reluctant to leave Laurie's side. ALEX Where do we go? NICK My house. I want to try something.",
"EXT. NICK'S HOUSE -- DAY As Alex and Nick pull up, the streetlights BUZZ on and off even though it's still daylight. This does n't escape Nick's notice. Alex parks the car and the two of them jump out. NICK Around back.",
"EXT. NICK'S BACKYARD -- DAY Nick leads Alex to a cellar door and down inside.",
"INT. NICK'S CELLAR -- DAY Rear the doorway is an old, paint - caked fuse box. Nick pries it open and begins unscrewing fuses. NICK I'm not taking any chances. Nick steps back. NICK Okay. I'm going inside. If I'm not back out in, say, two minutes, you get the hell out of here. Alex nods. She lifts her digital watch up and sets her timer with a BEEP. ALEX Meet you by the car.",
"EXT. NICK'S HOUSE -- DAY Alex sits on the hood of the Skylark watching the streetlight above with a wary eye. She glances at her watch. About a minute and a half has elapsed and. Here's Nick now, carrying a lap - top computer and a modem hook - up. Nick sets the equipment in the back seat. NICK We need to find a pay - phone.",
"EXT. SHOPPING MALL, PAY-PHONE -- DAY Nick sets up his lab - top inside the phone booth as Alex watches. He hooks up the modem to the phone receiver and turns the machine on. THE SMALL SCREEN warms up, and in black and white, we see the same FRACTALS. Nick flips off the lap - top and sighs. NICK That's what I thought. ALEX What? NICK It's not just the cable system. It's in the phone system as well, the electronic net. It's everywhere. ALEX Nick, what is it. NICK Maybe it is alive in a way. some sort of electronic intelligence. It's like a computer virus that developed a personality or something. It's self - replicating. it mimics life. ALEX Like the fractals? Nick nods. He grabs his skateboard out of the back seat and sits on the curb, spinning a wheel with his finger. He stares at the wheel a moment. NICK It's growing. Getting stronger. Maybe it's only localized now. ALEX -LRB- catching his drift. -RRB-. but then it hits the relay stations. NICK Right. And then communication satellites, and then anywhere. Alex looks up into the sky despite herself. ALEX -LRB- disbelief. -RRB- Anywhere. -LRB- beat. -RRB- We have to stop it from getting out. NICK -LRB- shakes his head. -RRB- It's already out. ALEX The Police, then. NICK Give me a break, Alex. What are we going to tell them? Excuse me, officer, but there's some sort of electronic monster loose in the phone lines. I'd think twice about calling any of those 976 numbers. ALEX -LRB- angry. -RRB- Then where do we go?! NICK I do n't know. Alex stalks off a few paces. Thinking. Thinking. ALEX SLIP - STREAM. NICK What? ALEX They made ARCADE. It's still a game, right? It thinks like a game. Maybe it still has to play by the rules. Someone had to program it in the first place, did n't they? At this, Nick perks up. NICK You mean we learn the rules. ALEX And beat it at it's own game. NICK You realize that in order to do that, we'd actually have to play the game. ALEX I was afraid you'd say that.",
"EXT. SLIP-STREAM, INC. -- DAY The SLIP - STREAM compound comprises a cluster of mirrored, antiseptic - looking buildings. Carefully maintained greens surround the compound, dotted with perfectly positioned trees. The whole effect, greenery included, seems prefabricated and sterile. We move with the camera, sweeping in and dropping low, across the main concourse and up the stone steps to the main lobby.",
"INT. SLIP-STREAM LOBBY -- DAY Alex and Nick are moving across the lobby. Nick is still carrying his skateboard. The two of them look extremely out of place, being that the rest of the people bustling around them are `` dressed for success''. THEIR P.O.V. as they approach a prefab RECEPTIONIST sitting behind and enormous desk. The guy's smile is so perfect he must've had it tattooed on. He wears one of those obnoxious phone/headsets. RECEPTIONIST May I help you? ALEX We need to see Mr. Difford. RECEPTIONIST I see. And do you have an appointment? NICK No, but it's important and if you'd. RECEPTIONIST -LRB- cutting him off. -RRB- I'm sorry, but if you do n't have an appointment, I wo n't be able to help you. If you'd like, you can call his office from our courtesy phone outside and schedule one. Nick reaches across the desk and snags the receptionist by his shirt, jerking him forward. NICK -LRB- menacing. -RRB- If Difford's not out here it one minute we're calling the news and informing them that your fucking games are whispering in our ears and telling us to commit suicide. I'm talking public relations nightmare here, buddy. Satanism, virgin sacrifices, backward messages, the whole bit. The receptionist glances at Alex who puts on a stern face and nods. Nick releases his grip. The receptionist smooths out his shirt and smiles. RECEPTIONIST One moment please. -LRB- punches in extension. -RRB- Rachel, would you be kind enough to tell Mr. Difford that we have a situation in the lobby which requires his immediate attention? -LRB- beat. -RRB- Thank - you. The receptionist clasps his hands together and looks back up. RECEPTIONIST -LRB- continuing. -RRB- Mr. Difford will be right with you. ALEX Why thank - you. Alex and Nick move away from the reception desk, having caused quite a scene. The rest of the VISITORS watch them with curiosity. ALEX Virgin sacrifices? NICK -LRB- shrugs. -RRB- Drives'em crazy every time. Nick casts his eyes over the walls where graphics from various SLIP - STREAM games are displayed. He stops on one display in particular, a triptych of sorts featuring the haunting face of ARCADE. BING! Alex and Nick turn at the sound, just in time to see Difford exiting an elevator and briskly making his way towards them. DIFFORD Nick, Alex, how are we today? ALEX How'd you know it was us? DIFFORD Security camera. -LRB- points to one. -RRB- Pulled your files before I came down. Be careful what you say, kids. I know where you live. Difford laughs and claps Nick on the back. DIFFORD -LRB- continuing. -RRB- Now what seems to be the problem? ALEX It's the game, ARCADE. DIFFORD You do n't like it? NICK That's got ta be the understatement of the century. It's killing people. Beat. Difford looks from Alex to Nick, and back again. His smile fades from his face. DIFFORD If this is a joke, I'm not laughing. ALEX Neither are we. Something's wrong with the game, Mr. Difford. DIFFORD -LRB- clearing his throat. -RRB- Why do n't we take this into my office.",
"INT. DIFFORD'S OFFICE -- DAY Difford closes the doors behind him. He stares and Alex and Nick for a moment, assessing, calculating risks. DIFFORD Talk to me. ALEX There's something wrong with ARCADE. The game's alive somehow. At this Difford breaks into a smile. Nick sees this and acts quickly to save the situation. NICK What Alex is trying to say is that it `` seems'' like it's alive. ALEX No I'm not. NICK -LRB- freezing her with a stare. -RRB- We're not getting very far into the levels and we kind of thought maybe we could talk to a programmer, learn some tricks and stuff. -LRB- beat. -RRB- I mean, you do n't want us kids running around school saying your game's too hard, right? DIFFORD -LRB- relieved. -RRB- That's what this is all about? Tricks? Sure, I'd be happy to introduce you to ARCADE's programmer. Alex has caught on. She shuts up for the moment. DIFFORD -LRB- continuing. -RRB- Tell you what, I'll take you down to our R&D labs right now.",
"INT. RESEARCH AND DEVELOPMENT -- DAY Hardly what you'd expect. The lab is hopelessly cluttered, as if a whirlwind had swept inside and thrown everything helter - skelter. Difford leads Nick and Alex inside. A MAN sets in front of a stack on monitors. One his head is a helmet - like instrument. sort of an extension of the stereoscopic goggles. He wears a lab - coat and a SLIP - STREAM I.D. badge, but aside from that, his appearance is unkempt. Kind of your 60s drop - out look. DIFFORD This is one of our newest projects. We're trying to get rid of joy - sticks altogether. NICK -LRB- nodding. -RRB- The Air - Force is working on the same thing. MAN -LRB- to screen. -RRB- Come on, come on. He moves his head this way and that. THE MONITORS A computer - animated TURTLE is crawling across the screen. Then the words `` TIME'S UP'' flash over. The turtle flips onto it's back and dies, tongue hanging out. MAN Shit. DIFFORD -LRB- clearing his throat. -RRB- Albert. ALBERT turns around in his seat and pulls off the helmet. DIFFORD -LRB- continuing. -RRB- This is Nick and Alex. They'd like to talk to you about ARCADE. Maybe you can give them a few programmer's secrets. ALBERT Yeah, sure. DIFFORD -LRB- to Nick and Alex. -RRB- Then I leave you in capable hands. Difford exits. Nick points to the helmet in Albert's hands. NICK Does that thing work? ALBERT Getting there. It's more sensitive than a joy - stick. Your video - character can respond as fast as you can. -LRB- standing. -RRB- But what can I do for you? ALEX We're having some problems with ARCADE. ALBERT Yeah, who is n't. NICK What do you mean? ALBERT It's a tough game. Hard to pin that bastard down. Keeps on changing the rules. ALEX We vere thinking there might be tricks. You know, surprises that you'd worked into the game. ALBERT Sure. Every game's got'em. I'll start with the schematics. I can print these up if you want. Albert moves back to the wall of monitors, then reaches for a computer disk and inserts it into a nearby drive. He taps a few buttons and BINGO. SCHEMATICS of each world/level within the ARCADE game appear on the monitors. ALBERT You've got your ten levels, right? Here they are. Each level has an exit, only remember, the exits are n't always what they seem. -LRB- points to each one. -RRB- First one's The Blood Red Sky, then you've got The Blue Desert, Tower of Ghosts, Kingdom of the Blind. On each world you have to find a golden key and you've only got so much time to do it in. If you're too late, The Screamer comes. NICK How do you stop The Screamer? ALBERT You ca n't. He gets you and you're dead. It's like time catching up with you, you know? Like Fate. Each level you get progressively less time to complete. First half of the game takes place in the Wild Lands. Then you reach Level 6, and that's the Sea of Darkness. There's a two - headed Boatman that'll take you across if you answer his riddle right. If you do n't. He motions cutting a knife across his throat. NICK What's the riddle? ALBERT If I tell you, then it's no fun. NICK -LRB- harder. -RRB- Just tell me the fucking riddle. ALBERT Well. it involves a paradox. You have to trick The Boatman. -LRB- beat. -RRB- Now all the while, you also have to watch your strength. You can build that back up by catching FIREFLIES. the little glowing guys. Albert hits some keys again and Levels One through Six disappear. Now they're replaced by Seven through Ten. Only instead of a schematic for Level Eleven, there's only a question matc. ALBERT -LRB- continuing. -RRB- The next half of the game takes place in ARCADE's brain, The City of Truth. It's urban scenarios, lots of metal and concrete. Screamer comes faster here. On Level Four you can get a free life if you wait until the last possible second before exiting that world. Got ta time it right though. ALEX What's the question mark? ALBERT Level Ten. That's where you've got to unlock ARCADE's heart using the keys you've found. ALEX How do you do that? ALBERT Good question. See, that's where the fun comes in. ARCADE changes it every time. He's a machine without a soul. Once you give him a soul, he stops being a threat. Alex looks dejected. ALEX But how can it change every time? ALBERT It's the game's logic core. We actually patterned it after human brainwaves. I mean, there's a personality in there. That's what makes it so incredible. NICK How the hell did you do that? ALBERT Well, we're veering into classified info here, but I'll tell you that it involved a donor. He was dead of course, so it's not like anything unethical was happening. At this, a chill runs down Alex's spine. ALEX Dead? ALBERT Well, brain - dead anyway. Coma patient. It's really not all that important. ALEX Maybe he's not dead. ALBERT He? ALEX The donor. Maybe he's alive inside the game. ALBERT -LRB- laughs. -RRB- And maybe you've been taking too many drugs. Nick glances at the helmet again. NICK Could you play ARCADE with that? ALBERT Well, technically `` yes'', but this is only the prototype. Nick nods and smiles, offering his hand. NICK Thanks, Albert. Think you could print up those schematics? ALBERT Sure. Albert moves back to the computer console. Meanwhile, Nick pulls Alex aside. NICK -LRB- quietly. -RRB- Go outside, get your car, and meet me out front with the engine running. And make it quick, okay? ALEX What are you going to do? NICK Get that helmet. If we're going to play ARCADE, I want every advantage possible. ACROSS THE LAB, Albert is oblivious to their conversation. Alex backs towards the lab doors, turns, and opens them.",
"INT. SLIP-STREAM HALLWAY - DAY Alex makes her way quickly down the hall, turning a corner and passing a SECURITY GUARD. She waves at him, her smile fading as soon as she's passed.",
"INT. R&D LAB - DAY Albert is just pulling the last printed copy of the schematics from a laser printer. He turns and hands them to Nick. ALBERT Here you go. Happy hunting. Nick takes the schematics and tucks them inside his jacket. NICK Thanks again. And with that, Nick pulls back his fist and punches Albert square in the face. Albert goes down, more stunned than hurt, and Nick springs into action. He scoops up the CyberHelmet in his free hand, kicks open the doors, and tosses his skateboard into the hallway.",
"INT. SLIP-STREAM HALLWAY - DAY Nick leaps on the board and starts pumping his foot like a bandit, picking up speed like mad. He's racing down the hallway, maneuvering between startled EMPLOYEES. And here comes a MAN with a mail cart. WHOOSH! Nick zips by him. And now an ALARM is ringing. NICK Shit.",
"INT. ANOTHER HALLWAY - DAY Nick comes SCREECHING around the corner, narrowly missing a collision with two SECURITY GUARDS. GUARD #1 That's him! But Nick's already past them. He puts his foot down again, pushing for more momentum. THE GUARDS are after him now, CHARGING down the hallway. UP AHEAD, A set of double doors labeled `` EMERGENCY EXIT'' blocks his way. Nick spins out, sweeping the back of the board forward and SCREAMS to a stop just before the doors. He kicks the board up into his free hand and. WHAM! He hits the doors running. Now the FIRE ALARM is blaring in addition to the other alarm. A VOICE is squawking over the P.A. and it's a hell of a racket. VOICE -LRB- on P.A. -RRB- SECURITY BREACH IN R&D. SUBJECT HEADING TOWARDS EASTERN EXIT.",
"INT. STAIRWELL -- DAY Nick is charging down the stairs four and a time. One level, two. Now he's reached ground floor.",
"INT. GROUND FLOOR HALLWAY - DAY BOOM! Nick tumbles out of the stairwell only to see a trio of GUARDS heading straight for him. Nick drops his board to the ground and heads right, pumping his foot. One of the GUARDS leaps at him and. misses by a foot or so, CRASHING to the tile floor. NICK SCREECHES to another stop, TWISTS, and starts pumping down another hallway.",
"INT. LOADING AREA -- DAY Nick plows into the loading area like a bullet, whipping around stacks of boxes and lumbering forklifts. A few WORKERS attempt to stop him, but he's moving too fast. AHEAD, is a loading dock, raised four feet from the ground to accommodate semis. Nick's heading for it. The loading door is open, and outside is freedom. JUST THEN, the steel loading door begins to GRIND and lower. Some genius has hit the controls. NICK pumps like mad, and he's really moving now. Either he'll make it, or he's going to hit that steel door at about forty miles and hour. THE DOOR is quickly closing off Nick's escape route. He's only got about four feet to negotiate. Nick ducks low and clears it!",
"EXT. LOADING DOCK -- DAY Nick ROCKETS off the loading dock, through the air and down, hitting the concrete driveway. The driveway peels off to the left and slopes downward. Nick hangs tight, hugs the curve, and picks up more speed. BELOW, the driveway splits off. To the left, SLIP - STREAM's main building, and to the right, the parking lot. GUARDS are piled into an electric cart, SPEEDING up from the left to cut Nick off. It's going to be close. Nick forks off to the right dust before they reach him. It's clear sailing now, and up ahead, Nick can see Alex pulling up to the end of the driveway. WHOOSH! Nick scrapes the board forward, grinding the wheels sideways in order to slow his speed. He leaps. picking the board up with him. and dunks himself smack - dab in the back seat of the Skylark. ALEX guns the engine and tears away in a cloud of exhaust.",
"EXT. COUNTRY ROAD -- DAY Nick is in the back seat, LAUGHING. The sun is beginning its descent and the sky is taking on a reddish tint. NICK Jesus Christ! ALEX I ca n't believe you made it! Nick climbs into the front seat next to Alex, and for a second, he's pretty close to her. He kisses her on the cheek. caught up in the moment. Then he sinks back, catching his breath. ALEX You got the schematics? NICK Everything. Neither one speaks for a moment as the mood dampens once again. Driving. Wind whipping Alex's hair around. She stares at the road ahead. ALEX So where do we play the game, Nick? Nick does n't answer at first. For a second there, he'd managed to forget everything. NICK I've been thinking about that. -LRB- beat. -RRB- ARCADE's like a virus, so it seems like the place to hit him would be where the virus started. You know, like his point of origin? ALEX -LRB- grim. -RRB- Dante's Inferno. NICK Yeah. -LRB- deep breath. -RRB- The Inferno. OVERHEAD, as we watch Alex's Skylark speed away from us. Shadows are creeping across the landscape now. Streetlights are flickering, sputtering on. And night is falling.",
"EXT. DANTE'S INFERNO -- NIGHT Sweeping down from the sky, we follow The Skylark. As Alex and Nick near The Inferno, streetlights blink off in succession. progressive darkness working its way towards their destination. DANTE'S INFERNO We move past the painted walls, the various demons illuminated by moonlight. Alex and Nick rush to the front door. It's gated. Inside, The Inferno is totally dark. Shadows. ALEX The windows are barred. -LRB- thinking. -RRB- There's a skylight. We can get in through the roof.",
"EXT. DANTE'S INFERNO ROOF - NIGHT Alex and Nick creep over the roof, and sure enough, there's a skylight in the center, caked with grime. Nick stands and plants his foot through the skylight. It SHATTERS, raining down glass into the darkness below. Nick pulls off his belt and hooks it around one of the iron sash bars. Gripping the belt, he lowers himself down. After a moment, he disappears from view. Alex leans over the skylight. She ca n't see a thing. ALEX Nick. -LRB- beat. -RRB- Nick! For the longest moment there's no response. Then. NICK -LRB- O.S. -RRB- -LRB- from below. -RRB- Okay, your turn. Alex climbs over and grasps the belt tightly, lowering herself down into The Inferno.",
"INT. DANTE'S INFERNO -- NIGHT Alex dangles from the skylight, a good eight feet from the floor. ALEX -LRB- warily. -RRB- Are you there? HER P.O.V.. The Inferno is a world of threatening shapes and shadows. And Nick is nowhere to be seen. Alex steels herself and drops to the floor. She stands, a bit shaky, and cautiously moves around a cluster of video games. NICK is standing on the other side, staring at a game screen which pulses with a DIM LIGHT. Alex approaches, putting a hand on his shoulder. He turns. NICK Alex. ALEX You did n't hear me? Nick shakes his head. Alex leans forward to see what he's looking at. ON THE SCREEN fractals are unfolding. It's mesmerizing. ALEX Stop looking at it. Nick shuts his eyes, pulling away from the screen. He shakes his head, trying to clear his thoughts. NICK Shit. it's like a trance or something. -LRB- breathes. -RRB- Okay. I'm fine. Really. It's at that moment that Nick and Alex hear the VOICES. VIDEO SCREENS all around them flicker on, static - laced IMAGES fading in. They are the faces of their friends. Greg, Laurie, and many others. All those that have disappeared. The VOICES fade in and out, merging with one another, tinged with the same mechanical edge of ARCADE's voice. VOICES -LRB- eerie. -RRB- Nick. Alex. save us. ALEX -LRB- horrified. -RRB- Oh God. Nick grabs Alex and pulls her into the canter of the room. NICK Put it out of your head, Alex. It's just trying to psyche us out. Despite Nick's words, we can tell that the VOICES are having a disheartening effect on him. THE ARCADE prototype stands in front of them now, and surprisingly, the machine is not on. The eyes in the leering black face are quite dead. Around Alex and Nick, the faces of their friends continue to fade in and out, casting the whole room in a strange shimmering blue light. Nick moves to the back of the machine and opens the access panel, revealing the internal circuitry. He pulls a small penlight from his pocket and flips it on. ALEX What are you looking for? NICK A way to hook this helmet into the game. I'm sure there are interfaces. NICK'S P.O.V. And indeed there are. Parallel interfaces, where you might hook a printer cable into a computer. Nick takes the cable from the CyberHelmet and secures it into one of the interfaces. NICK There. Now we're wired in. He stands and moves around front, pressing the `` START'' button of the game. Nothing happens. He presses it again. Nothing. ALEX Is the game plugged in? Nick checks. It is. NICK -LRB- frustrated. -RRB- I do n't understand. It wants us to play the game. It's been taunting us. ALEX Put in a quarter. NICK It can turn itself on, Alex! It does n't need a quarter. ALEX Yes it does. Do n't you see? We have to play by the rules. That's what it wants. Nick rifles through his pockets. He does n't have a quarter. Neither does Alex. NICK Change machine. Nick moves over to the change machine and picks up a nearby chair. He SMASHES the chair into the face of the machine again and again, obliterating the lock. Nick opens the front of the machine and tears out the coin box, spilling quarters all over the floor. He grabs a handful and returns. NICK There. He shoves one in ARCADE's coin - slot and pulls on the CyberGloves. ALEX Two players, Nick. You need to put in another quarter. Nick straps the goggles over his eyes. NICK You're not coming, Alex. ALEX Yes I am. NICK -LRB- snapping. -RRB- I know how to do this! I'm good at these games. You never play, you'd be nailed in an instant. ALEX And what if something happens to you? Am I suppose to go in after you alone?! NICK No. If you're smart, you run like hell. Alex grabs a second quarter and shoves it in the coin slot. ALEX I'm going. Nick stares at her a moment, then nods tiredly. She reaches for the second pair of CyberGloves and pulls them on. NICK You do n't get it, do you? ALEX -LRB- strapping on goggles. -RRB- What? NICK I do n't want anything to happen to you. I care about you. ALEX I already have a boyfriend, Nick. NICK I know. -LRB- beat. -RRB- It sucks. The two of them stand there a moment, looking at one another. After a moment, Nick laughs tiredly. NICK What can I say? -LRB- pulls on the CyberHelmet. -RRB- Tough being a hero, is n't it? Nick reaches out for the joy - stick and hits the `` START'' button. NICK -LRB- grim. -RRB- Here goes nothing. As before, the screen comes to life. Darkness and sparks. Then we hear the BREATHING. ARCADE'S FACE spins into view, grinning at Alex and Nick. ARCADE NICK. ALEX. I MISSED YOU SO MUCH. ALL YOUR FRIENDS ARE HERE. ALEX Fuck - you. ARCADE ANY TIME. ALEX We know what you are. ARCADE A HEARTLESS MONSTER, OF COURSE. -LRB- incredibly evil. -RRB- OH SAVE ME, ALEX, SAVE ME FROM MYSELF. ARCADE laughs and it's not a sound you'd want to hear twice. THE LIGHTBEAM clicks on, playing over their faces and analyzing their features. ON SCREEN ARCADE'S face spins away and computer - generated versions of Alex and Nick appear. As before, they are suited up in video game armor, each carrying a thrasher board. ARCADE KISS REALITY GOODBYE. The video versions of Nick and Alex hop onto their thrasher boards and the world around them curls in upon itself. The process is similar to what we've seen before, but even more extreme. LIGHTS and SOUNDS are pouring out of the ARCADE machine in almost unbearable intensities. It seems as if the `` real'' world is going to be shaken apart. NICK -LRB- over noise. -RRB- Hold on! ARCADE SEE YOU ON THE OTHER SIDE. ANOTHER FLASH OF LIGHT AND. Alex and Nick disappear from the real world completely. Their equipment, gloves and goggles, fall to the floor, empty. They've been physically sucked inside the game! The light from the screen dies down now and everything is oddly quiet. ON SCREEN BOOM! Suddenly a circuit grid is rushing up to meet them! -LRB- Note : As we move through each level, video legends will appear on the screen as title cards, enhancing the effect that we are actually inside a video game. -RRB- The words `` LEVEL ONE - BLOOD RED SKY'' flash across the screen and we.",
"EXT. LEVEL ONE, THE PLAINS -- DAY Alex and Nick slam into the ground like twin meteors, splashing up water and muck. THE RED SKY crackles with LIGHTNING. Smoke obscures everything. Alex and Nick pull themselves up, a bit dazed. ALEX -LRB- looking around. -RRB- You feel it? It's different this time. NICK We're actually inside, are n't we? Alex nods. NICK Okay. -LRB- deep breath. -RRB- Give us a kiss? ALEX -LRB- after a moment. -RRB- One. In case. NICK Do n't even say it. Nick leans over and gently kisses Alex on the lips. It's over in a moment, but he'll savor it the rest of his life. NICK Thanks. Always wanted to do that. ALEX Yeah, well I figure these are unusual circumstances. NICK -LRB- grins. -RRB- That's what I was hoping you'd say. Nick flips the visor on his helmet down and checks the digital read - out on his CyberGlove. When he speaks, his VOICE is filtered through a radio headset. Nick looks good in his armor, tough. Hell, they both do. NICK I'll take the lead and handle the physical threats. You watch the elapsed time and look for exits. ALEX Got it. Nick tosses his thrasher board down and it hovers above the water. He steps onto it, comfortable. Alex does the same. She's a little shaky, but she maintains her balance. NICK You steer by pivoting your back foot. -LRB- he demonstrates. -RRB- Okay? Nick turns, looking around. The land seems identical in every direction. NICK Which way do you think Level Two is? ALEX You've got the schematics, check. Nick panics for a moment, patting his uniform, checking pockets. He ca n't find them. NICK Oh shit! What if they did n't come with us?! He stops. Reaches into a pocket, and pulls out the schematics. Breathes a sigh of relief. NICK -LRB- looking at them. -RRB- Okay. It's West. ALEX The keys are supposed to be at the end of each level. Once we get all the keys, we can unlock ARCADE's heart. And then. She looks at Nick, uncertain. NICK and then we go to the Final Level. -LRB- off her look. -RRB- Hey, do n't worry about it. It's a game. How bad could it be? Alex glances at her wrist display. The `` ELAPSED TIME'' bar is made up of ten blocks of light stacked upon each other. The top block has disappeared. One tenth of their time is gone. ALEX The clock's already ticking. NICK Right, then. Nick leans forward and the board starts to float. Alex does the same, and in seconds, they're gliding over the plains. FROM ABOVE, as we see their forms disappear in the smoke.",
"EXT. LEVEL ONE, PLAINS -- LATER Nick and Alex pull to a stop. A DOORWAY stands in the plains, seemingly leading to nowhere. Nick reaches out and opens it. It's just plains and empty space beyond. but hanging from the top of the doorway is a golden key. ALEX There. She reaches up and pulls it down. NICK I do n't get it. This is supposed to be the end of the level, but it does n't go anywhere. Alex puts her hand through the doorway and her hand disappears. ALEX It only looks like it leads to nowhere. Nick glances at his wrist display. NICK And we've still got time left. This was a piece of cake. ALEX Yeah, that's what worries me. She steps through the doorway and disappears. Nick follows. We hold on the empty doorway. Hold for a moment, and then. We hear a distant, high - pitched RINGING. It's grating, seeping inside our brains and mucking around in there. On the horizon there is a quick FLASH OF LIGHT. Something is coming. The words `` LEVEL TWO - DEADLANDS''",
"EXT. LEVEL TWO, SALT FLATS -- DAY Alex and Nick are cruising along salt flats. Sporadic pools of water and strange ROARING sounds in the mist. So far so good. Nick glances at his wrist display. His `` STRENGTH'' only has a few blocks left. NICK Hey, my strength's low. Look out for Fireflies. ALEX There. She points North. A small BALL OF LIGHT is streaking across the sky, just above the watery plains. Alex and Nick swerve towards it, gaining ground. As they near it, Nick swings out his hand, scooping the Firefly up. As soon as he touches it, it bursts like a bubble. NICK Shit. ALEX Check your read - out. Nick does. His `` STRENGTH'' is back to normal again. NICK You're right. It worked. Nick and Alex slow their boards to a stop, stepping off them. ALEX -LRB- pointing. -RRB- There's another. She sweeps left and scoops the second Firefly out of the sky. Off in the distance we can hear that RINGING again, just at the edge of our vision. Alex and Nick do n't hear it yet. Nick is glancing down at his schematic of Level Two. NICK According to this, the doorway should be somewhere around here. THEIR P.O.V.. The salt flats have gradually diminished, replaced by more and more water. Ahead of them, there's no longer anything solid to stand on. just water, muck, and strange reeds poking through the mist. Alex's wrist display begins to BEEP. She glances down. WRIST DISPLAY Only one block of time remains and it's pulsing on and off. The RINGING is a little louder now. ALEX -LRB- worried. -RRB- Our time's up. NICK What?! There's nothing here! ALEX Look around. The two of them stumble through the water, not even sure of what they're looking for. NICK -LRB- starting to panic. -RRB- I do n't see the doorway! Alex and Nick's wrist displays are BEEPING like crazy now. The beeps come closer and closer until they meld into one piercing high - pitched TONE. JUST THEN, the RINGING turns into the SHRIEK/SONIC BOOM of the Screamer. A burst of light on the horizon shatters the sky. NICK What the fuck is that?! ALEX Screamer. ALEX plunges into the marsh - like water, waist - high, and it's then that she sees a glow emanating from beneath the water. She dives forward. BENEATH THE SURFACE OF THE BRACKISH WATER Alex swims towards the GLOW. Ahead of her, the depths drop off sharply, perhaps some hundred feet or so. HER P.O.V.. She can just make out a doorway. down, down, down. THE SURFACE Alex bursts up from the water, gulping in breaths of air. Nick is nearby. THE WORLD is beginning is vibrate now, heralding the Screamer. The SHRIEK is unbearable. ALEX Nick! It's beneath the water! We have to swim! Nick stumbles in up to his neck. He can see the GLOW now too. NICK -LRB- incredulous. -RRB- We ca n't reach that! ALEX -LRB- over the noise. -RRB- We do n't have a choice! Alex dives beneath the surface again. Nick glances back towards the horizon and gets one fleeting glimpse of. THE SCREAMER A nightmare creation rocketing in from the East. That's it for Nick. He dives, terrified. UNDERWATER, Nick follows Alex into the shadowy depths. He swims madly, but the GLOW seems impossibly far away. Even under water, the Apocalyptic sound of the Screamer can be heard. NICK peddles his arms and legs furiously. Down, down, down. He knows that they'll never have enough air to make it back to the surface. THE GLOW is more clearly distinguished now. It's a DOORWAY. And set in its side is a golden key. Alex reaches it. She grabs the key and turns to see how far behind Nick is. NICK doubles his efforts, but his lungs are straining. THE SCREAMER has plunged into the water above, shooting towards Nick like a torpedo, a swirling jet - stream of bubbles trailing around it. Nick panics, and what little air he has left escapes him. Alex is reaching for Nick. Nick is blacking out, one last lunge at the doorway. The Screamer is there now. No time. The words `` LEVEL THREE - THE BLUE DESERT'' flash across the screen and we.",
"EXT. LEVEL THREE, DESERT -- DAY Alex and Nick fall from the sky onto the dunes. They lie there a moment, gasping for breath. They're an odd sight, two people soaked from head to toe, dropped in the middle of a bone - dry desert. and a blue one at that. There's an eerie stillness about this Level, even the clouds above are frozen. Nothing lives here now, and nothing ever will. Nick coughs, sucking in air. Alex rises halfway, pulling up her visor. She stares at the golden key which she clutches in her hand. Her wet hair hangs about her face in strings and she shivers. NICK -LRB- looking at the key. -RRB- So that's what we almost died for? ALEX One of them, anyway. -LRB- beat. -RRB- Did you see it? The Screamer? NICK -LRB- looking away. -RRB- I do n't want to talk about it. Nick glances at his wrist display. DISPLAY Even as he watches, the first of the ten `` TIME ELAPSED'' blocks blinks away. NICK -LRB- exhausted. -RRB- Christ. no time. ALEX -LRB- rising. -RRB- There never is. Nick heaves himself up into a standing position and looks around. They are on the top of a massive dune. THEIR THRASHER BOARDS now looks like snowboards. It does n't take Nick long to figure out what to do. NICK We can take the dunes down like a ski slope. Pretend you're on a snowboard. ALEX -LRB- snapping down her visor. -RRB- Never been on a snowboard. Nick steps on the board and edges it over the crest of the dune. He begins to slide down, slowly picking up speed. A SERIES OF SHOTS. as Alex and Nick negotiate the dunes. They glide over the sand gracefully, cutting back left and right to keep their speed down, sweeping in wide arcs. Under any other circumstances, they'd be having the time of their lives. Alex has adjusted to the environment quickly, at ease of the Thrasherboard. LATER - The dunes gradually level out. Alex and Nick slow to a stop. Alex flips up her visor. Her face is covered with grime now, hardened. ALEX I guess we're walking from here on out. They pick up their boards and walk.",
"EXT. LEVEL THREE, DESERT -- LATER Alex and Nick have been walking for a long time. Nick is silent, just staring straight ahead at the endless sand. He looks wasted. Zoned out. His face is beaded with sweat. Once again, their wrist displays begin to BEEP. ALEX -LRB- almost a whisper. -RRB- Time's up. Nick starts to LAUGH, sinking to his knees. NICK We're fucked. That's it. Alex pulls on Nick's arm, forcing him to his feet. ALEX Get up, Nick. Nick is n't going anywhere fast. Alex tries to drag him forward, but she slips in the sand. ALEX GET UP! And then, from off in the distance. VOICE -LRB- O.S. -RRB- -LRB- far away. -RRB- Alex. help me. Alex turns. She focuses on the horizon and sees a tiny speck. She taps a control on her helmet and her view is magnified. ALEX'S P.O.V. Benz is up ahead. buried up to his waist in the blue sand and sinking quickly. He waves his hands for help. and clutched in one of them is the second key. ALEX It's Benz! Alex breaks into a run, and after a moment, Nick follows. He's walking, though. in no hurry to reach Benz. ON BENZ The desert is swallowing him up. Only his head and arms remain. He's in a state of total panic. BENZ -LRB- terrified. -RRB- Get me out of here! Oh God! ALEX is running at top speed, half - stumbling across the dunes. Her wrist - display is BEEPING furiously. BENZ His head starts to disappear beneath the sand and his cries are choked off. ALEX Benz! Alex reaches the spot and now, only Benz' clutched fist remains. The hand opens and the gold key falls onto the sand. Alex DIVES for Benz' hand, but it sinks just before she can reach it. She SCREAMS and claws at the sand, trying to find him. She digs and digs, but all she finds is more sand. With each second she becomes more frantic. Finally Alex stops, noticing the key and idly picking it up. THE SAND around Alex ERUPTS and BONES come flying up into the air, Benz' bones! Alex SCREAMS. The bones rain down around her in bloody fragments. It's as if the Earth has chewed Benz up and spit out the nasty bits. At that very moment, the BEEPS on her wrist - display meld into the single tone heralding. THE SCREAMER As if on cue, it enters Level Two, breaking the Sound Barrier. ON NICK As he stands some hundred feet away, oblivious to everything. We can hear Alex SCREAMING, but the sound is muffled, distant. Nick is staring down at his feet at an area where the sand has hardened like glass. Inside the sand/glass, Nick can make out fractals. He smiles. THE SCREAMER streaks across the sky towards them, blowing up a maelstrom of sand as it crosses the dunes. ON ALEX as she sees that a rabbit hole of sorts has been created where the bones were ejected. Actually, not a rabbit hole, but a circular, pulsing mouth with razor sharp teeth. Alex realizes, much to her horror, that this is the doorway to Level Three! Alex shouts at Nick, trying to break the spell over him. ALEX Run! RUN! But the Screamer is bearing down on him, like a heat - seeking missile. ON NICK as he watches the fractals. ARCADE'S face appears in the mirrored sand, smiling back at him. ARCADE GOODBYE, NICK. At the last possible moment, Nick seems to wake from his trance. He sees Alex, hears her, then turns. He has about one fear - wrought second to realize that the Screamer has reached him when. WHAM! The Screamer SLAMS into Nick at about 200 miles per hour. Nick, literally, liquefies. The human body is 95 % water, and Nick EXPLODES like a water balloon on high impact, blood spraying in a fine mist across the dunes, Alex, and everything for a good fifty yards. Alex is frozen with terror. You remember your worst childhood nightmare monster? The one you'd see in your room at night as your brain cooked with fever? Too paralyzed to call out for Mom? Well that's the Screamer. THE SCREAMER stands where Nick used to be -LRB- a red mess on the blue sand now -RRB-. Black as night. Like living, roiling lava. Smoking, charged RED EYES. One third demon, one third Balrog, and one third rotting corpse. Clad in chains and samurai armor, CLINKING as it moves. It rear back its head, opens a fanged mouth, and lets loose a ROAR designed to shake the stars from the sky. Then it focuses it's eyes on Alex. And it charges. ALEX unfreezes. She's got seconds to make up her mind, the doorway/mouth or the Screamer. It's really no choice at all. Alex turns and dives straight down into the pulsing mouth. The jaws of the rabbit hole SNAP shut around her. Darkness consumes everything. These words appear on screen, `` LEVEL THREE - TOWER OF GHOSTS''",
"EXT. LEVEL FOUR, VOLCANO -- DAY We are looking at a steep cliff face composed of black, volcanic rock. This world is desaturated, gray, and harsh. The rocks looks sharp as razors. As we will discover, the cliff face is also composed of skulls, old and blackened, set inside the rock. We hear a HUMMING and Alex `` fades in'', appearing on the side of the cliff face. Immediately she starts to fall, realizes where she is, and hugs the cliff for dear life. Rock shards crumble away beneath her feet. Alex looks down. Big mistake. She hugs the cliff face tighter, tears and grime streaking her face. She's alone now and she knows it. She looks up. It's a long way to go. Alex reaches a hand upward. Ouch! The rock's hot. She jerks her hand back and almost loses her perch. HER HAND Her gloves are smoking and singed. Alex starts to cry freely now. She reaches inside her chestplate, fumbling, and pulls something out. It's the Polaroid of her and Greg. But then the wind catches it and tears it from her hand. THE POLAROID twists downward, round and round into infinity. Alex stares after it a moment. Then she lets out a tired little laugh and starts to climb. A SERIES OF DISSOLVES. as Alex climbs, sometimes using a skull itself as a hand or foothold. We see her `` TIME ELAPSED'' blocks blinking away. Time running out and more climbing. Then.",
"EXT. LEVEL FOUR, VOLCANO RIM -- DAY Alex stands on the rim of the volcano. At her feet is a golden key. And before her, a big drop. ALEX'S WRIST DISPLAY Her final block of time disappears. The BEEPING starts. Alex does n't even pause. She steps off the rim into empty space. and just as she's about to fall, a doorway of light appears in the air. Alex falls through it, vanishing. `` LEVEL FIVE - KINGDOM OF THE BLIND''",
"EXT. LEVEL FIVE, ARCTIC WASTES -- DAY Snow whips across a world of white in wraith - like sheets. We move in on one particular bank. Something is buried there. The wind gradually blows the snow away, uncovering. ALEX She rises from the snow bank, disoriented. Everything is impossibly bright, blinding. Alex stands. She draws up her hand to shade her eyes and we. Music begins. CELLOS. Like before. Alex, snowboarding for real this time, over slopes of powder. Alex's `` STRENGTH'' diminishing. Alex catching Fireflies. Alex jumping across a crevice on her board. -LRB- Warren Miller stuff here. -RRB- . `` TIME ELAPSED'' growing with every moment. Alex gliding down mountainsides. A flash of Greg, of Benz, of Laurie. A flash of Nick. NICK'S VOICE -LRB- V.O. -RRB- I know how to do this. I'm good at these games. You never play, you'd get nailed in a second. And a flash of Nick's horrified face at the Screamer reaches him. Alex's face, grim and determined.",
"EXT. LEVEL FIVE, ARCTIC WASTES -- LATER Alex glides to a stop even as her wrist display starts to BEEP. This time a wooden doorway is standing directly in front of her, the golden key sticking out of the lock. As Alex reaches for it, the Screamer enters Level Four. Alex slowly opens the door. ALBERT'S VOICE -LRB- V.O. -RRB- You can get a free life on Level Four, but you have to wait for the last possible instant. Alex turns and waits calmly for the Screamer. THE SCREAMER is a black speck on the horizon, then a bullet, then a nightmarish face bearing down on her. IT'S JAWS flare open to engulf her. Alex does n't flinch at all. And at the last possible second before impact. BLINK! A stylized figure appears on her wrist - display next to the `` TIME ELAPSED'' meter. Beneath the figure it says `` FREE LIFE''. Alex feels the breath of the Screamer on her face and falls back through the doorway. `` LEVEL SIX - SHOCK CORRIDOR''",
"INT. LEVEL SIX, SHOCK CORRIDOR -- NIGHT Alex steps out of a doorway into a long, narrow hallway. The hallway is mirrored on one side. It has no doors or windows, and up ahead, it branches off to the right and the left. Alex turns and looks behind her. The doorway she came through is gone now. A mirrored wall stands in its place, with her own reflection staring back at her. THE REFLECTION There are subtle changes. They should n't be noticeable at first, but the reflection seems somehow more threatening. Alex starts down the hall, her reflection keeping pace with her. Up ahead, she hears a BUZZING noise, drawing closer. LIGHT flickers in the hallway to the left, presumably whatever it is that's BUZZING. Suddenly a streak of light, running along the floor, turns the corner and heads down the hallway towards Alex. The light hits her feet and SPARKS fly. Alex SCREAMS and is thrown back against the wall, shocked. The streak of light continues past her and disappears into the mirror at the hall's end. It's like a moving electrical pulse. ALEX She's been given a pretty good jolt. Her hands shake for a moment, an after - seizure of sorts, and she stands. HER MIRRORED REFLECTION is watching her, arms crossed. This would n't be a problem were it not for the fact that Alex currently does n't have her arms crossed! ALEX -LRB- to her reflection. -RRB- Fuck you. The reflection grins and its/her eyes GLOW with fractals. ALEX REFLECTION -LRB- in ARCADE'S voice. -RRB- ANY TIME, BITCH. Spooked, Alex continues down the hallway, reaching the end and turning left. NEW CORRIDOR Alex moves quicker now, glancing left as her reflection follows. BUZZZZZ! Here comes another streak of light, rushing in along the floor from a side corridor. Alex LEAPS over it, and it passes harmlessly under her. Now she's getting the hang of it. She starts forward again. BUZZZZZ! Here come two at a time from opposite directions. Alex has to jump left to avoid the first streak and lands directly in the path of the second. Then she jumps back to the right again. THE TWO STREAKS pass by, zipping away from each other. ANOTHER CORRIDOR The pace quickens, with Alex racing down the corridors. She turns corner after corner. It's become a virtual maze. We cut back to Alex's `` STRENGTH'' and `` TIME ELAPSED'' meters again and again. Both are shrinking away to nothing. And all the while, her reflection keeps pace with her, growing increasingly more nightmarish in appearance. As Alex tires, the reflection seems to gain more strength. BUZZZZZ! BUZZZZZ! The streaks are shooting towards her with more frequency, and now they're racing along the walls too. Alex is jumping left and right, with SPARKS exploding around her. THE REFLECTION seems to be metamorphosizing. Each time we see it/her, she looks a little different. What's gradually happening -LRB- as time elapses -RRB- is that Alex's reflection is turning into The Screamer. Alex moves with increasing urgency as the streaks converge on her. The corridors are filled with a constant BUZZING and flickering of light. SPARKS fly and Alex is shocked over and over. She stumbles, falls to the floor, and rolls to the right, just missing a streak. It cuts past her face, centimeters away. BEEP! BEEP! BEEP! Off goes her wrist display! Alex is up and running now, desperate. We cut faster and faster Alex running, the streaks of light, the reflection until. END CORRIDOR She's back where she started. And the corridor dead - ends in a mirrored wall. BEHIND ALEX, Dozens of light streaks are dogging her heels, literally just behind her. They're so thick that she could n't possibly leap over all of them. Seconds before they reach her. AHEAD OF ALEX, the mirror shows her own reflection, rushing closer. Her wrist display indicates that time is up with a prolonged BEEP and her own reflection vanishes. It's the Screamer in her reflection's place. Only it's rocketing towards her in the mirror. It's in front of her this time, instead of behind her. Rock and a fucking hard place. Light streaks or Screamers? It's really no choice at all. Her guts says `` Screamer''. Alex leaps and SMASHES into the mirror at full speed. The world is filled with SHATTERING GLASS and a shower of infinite reflections and then we.",
"EXT. LEVEL SEVEN, PIER -- DAY The sound of SHATTERING GLASS carried through as Alex EXPLODES out of the sky. And it's the sky itself that seems to be shattering. Title reads `` LEVEL SEVEN - SEA OF DARKNESS'' ALEX continues her fall. She lands hard. No blue desert sand to cushion her here. It takes her a moment to rise. Alex is on a slat - board pier extending out into a sea of black water. The shore is completely desolate with the exception of the pier. Storms clouds have gathered above, and if you've seen a storm blowing in on the open sea, you know what it looks like. the and of the world. A strange and scary yellow/green sky presses down on us. It's a hurricane sky. The calm before the storm. ON THE HORIZON, TWO CITIES can be seen. Techno - cityscapes, angular and metallic - looking, towers jutting up from the sea like knives. AT THE END OF THE PIERS are two boats. Standing in them are two pale - faced, cloaked FIGURES. Like Charon, the boatman on the river Styx. Somewhere off in the distance, the RINGING can be distinctly heard now. But Alex is preoccupied now. As she moves down the pier, recognition dawns on her. It's Laurie and Stilts. They are dressed completely in black, hair slicked back and eyes empty. White - faced Gothic harlequins. Each is holding a wooden staff, staring into space. ALEX Guys! Oh my God. Alex rushes forward, excited, but as she sees their faces excitement fades. A chill wind picks up and the sea laps at the pier like a metronome, lulling the world into stillness. ALEX -LRB- unsure. -RRB- Laurie? Stilts? Neither of them acknowledges Alex with their eyes. STILTS -LRB- like ARCADE. -RRB- You may ask one of us a question. One tells the truth, and the other lies. Who you ask, remains your discretion. But if the answer is wrong, the questioner dies. Laurie motions to the techno - cities behind her. LAURIE -LRB- like ARCADE. -RRB- One of these cities, is the place you seek. The Teller of Truths will take you there. But the City of Lies, is dark and bleak. And death is certain if you enter, beware. STILTS I am The Liar. Where should I take you? LAURIE I am the Truth Teller. Where should I take you? Alex stares at them a moment, utterly confused. The sky above darkens, and the wind picks up. She looks to the horizon, from one city to another, then back at her friends. ALEX -LRB- horrified. -RRB- What did he do to you? LAURIE Is that your question? ALEX -LRB- realizing. -RRB- Wait! No! That's not it! BEEP! BEEP! BEEP! Alex does n't even need to look at her wrist display anymore. She begins to pace on the end of the pier, nervously glancing at the horizon. And yes, there's the FLASH followed by the SHRIEK/SONIC BOOM. ALEX -LRB- to herself. -RRB- Think! I want to go to the City of Truth, and the Truth Teller is from there. but which one is which? The liar. think! LAURIE You have no time. What is your question? ALEX -LRB- snapping back. -RRB- I'm thinking! LAURIE You have no time. THE SCREAMER is visible now, arms opening to engulf Alex. Talk about pressure. ALEX -LRB- she stops pacing. -RRB- The liar. Truth Teller. liar. liar. Alex rushes over to Stilts. ALEX Liar. Did you come from the city on the left, or the city on the right? STILTS -LRB- pointing. -RRB- I came from the city on the left. ALEX -LRB- grins. -RRB- But you always lie, so you did n't come from there. That means the city on the left must be the City of Truth. THE SCREAMER has reached the pier now, rocketing over the wooden slats and shaking the entire structure. Alex turns to Laurie. ALEX -LRB- quickly. -RRB- Take me to the city on the left! Laurie nods and steps aside, making room for Alex to climb into the boat. She does and. THE SCREAMER dissipates just before it reaches Alex. It turns into mist and vanishes, the HOWL lingering as an echo long after the Screamer itself has gone. At once, the boat begins to glide through the water, away from the pier. Alex gets a last glimpse of Stilts standing in his boat, diminishing as Alex and Laurie move away from him. He looks like the loneliest person in the world. `` LEVEL EIGHT - CITY OF TRUTH''",
"EXT. LEVEL SEVEN, OPEN SEA -- LATER As Alex and Laurie near the city, its features become more apparent. It is truly a Necropolis, black and angular. It's a shadow on the sunset horizon, empty of all life and looming above them. Just then, Alex hears a tiny VOICE. VOICE -LRB- weak. -RRB- Help. help me. A SMALL FIGURE bobs in the water about fifty yards in front of them. It waves it's hands frantically, sinking below the water's surface, then rising once again. It's a little BOY. Alex's boat is going to pass right by the boy. She grabs hold of the gunwale and reaches out for him. ALEX Grab my hand! Their hands lock and Alex YANKS the boy out of the water as the boat cruises by. THE BOY ca n't be more than seven or eight. Small and frail - looking, he shivers in her arms. BOY -LRB- terrified. -RRB- Where are we? Just then the boat comes to a CRASHING stop, slamming into the black rocks which the city rests on. Alex and the boy are violently pitched forward and out of the boat. They land roughly on a beach of black gravel. Alex turns. LAURIE stands in the boat. In an instant, night has fallen. She is a silhouette in the moonlight. LAURIE -LRB- in a voice like Death. -RRB- The City of Truth. And Laurie literally fades before their eyes. In her place, is a small golden key. Alex snatches up the key. Alex turns back to the boy and.",
"INT. LEVEL EIGHT, CONCRETE WASTELAND -- NIGHT Alex and the boy are now standing on the top of a concrete incline. It extends downward into a system of tunnels and viaducts. The RINGING starts immediately, followed by the FLASH on the horizon. Time's already up. The little boy reaches for Alex's hand, frightened. ALEX How did you get here? Did you play the game?! BOY Yes. ALEX Thought so. Alex removes pulls her Thrasher board from her back and drops it on the lip of the incline. There's a FLASH and the board has changes into a motorcycle. A sleek black one. ALEX Can you hang onto my back? The little boy nods. He knows that Alex is his only chance of getting out of here. Nevertheless, we can tell that he's terrified. Alex kneels down next to him. The wind around them has picked up and the RINGING increases. High - pitched, stabbing into our brains. ALEX -LRB- over noise. -RRB- There's a monster here. We have to kill it before we can leave. That's what we have to do. I know it's scary, but I wo n't let anything happen to you. Okay? The boy nods again. BOY Then we'll go home? ALEX Then we'll go home. Alex's wrist display starts BEEPING and. BOOM! The RINGING is replaced by the Screamer's shriek. In the distance, the Screamer is a fireball spiraling towards the city. Alex jumps on the motorcycle and pulls the boy up. He crawls behind her and hugs her back tightly. ALEX -LRB- pulling down her visor. -RRB- Here goes everything. She fingers the throttle and the cycle ROARS to life. It rockets off the incline and down into the tunnels. A SERIES OF SHOTS as Alex maneuvers the cycle through a forest of concrete. It's a harrowing ride, as her headlight reveals little of what's up ahead. Somewhere above the tunnels, the Screamer has arrived. In the course of the chase, it's SHRIEK will become louder and louder as it draws closer, locating Alex. ANOTHER CYCLE appears out of side tunnels and a chase is on. The RIDER is dressed in black with glowing death's head masks. BOY -LRB- to Alex. -RRB- Dark Riders! If they touch us, we're dead! The tunnels get narrower and narrower, as Alex keeps pushing the limit off the bike. Rider # 1 tries to cut Alex off, charging forward and ramming her bike. Alex almost loses it, but finds balance once again, sweeping left and up the side of a circular tunnel. RIDER # 1 bites it. His cycle careens into the wall and EXPLODES in a shower of GREEN LIGHT. The death's head tumbles away, spinning end over end. The Screamer BLASTS over the remains of the Rider, having entered the tunnels. TWO MORE RIDERS APPEARS gaining on Alex. Rider # 2 pulls a staff from his back and thrusts it forward like a lance. CHINK! The staff hits Alex's rear wheel, nearly throwing her. The rider pulls off a gloved and reaches a glowing, skeletal hand towards them. Death touch. The boy SCREAMS in terror. UP AHEAD, a wall is rushing to meet them. Alex jams the breaks and slides/skids sideways, cutting right at the last possible moment. WHAM! Rider # 2 slams into the end wall, not able to negotiate the turn. Another EXPLOSION of green and the second death's head comes tumbling away. Alex looks back. There should be one Rider left, only now their are three! Alex guns the bike and cuts sharply to the right. NEW TUNNEL - Alex SCREECHES to a stop, having found yet another fork. The tunnel branches off into two directions. Two neon signs with arrows point in opposite directions. NEON SIGNS They read, `` THIS WAY'' and `` THAT WAY''. Alex checks her wrist display. Not much time left. ALEX Which way? BOY -LRB- pointing. -RRB- That way. Alex backs up the cycle and heads down the tunnel marked `` THIS WAY'' instead. ALEX Sorry. THE TUNNEL It narrows almost immediately. Alex hears a ROAR, glances behind her, and sees four death's head RIDERS on her tail. She makes another turn. AHEAD, is a crumbling brick wall with the words `` WRONG WAY'' painted in blood - red. BOY -LRB- screaming. -RRB- It's the wrong way! ALEX -LRB- over the noise. -RRB- In this world, wrong is right! SUDDENLY, the tunnel behind them flares with light, shaking like an earthquake. The Screamer has found them. A KEY hangs out from the wall, sort of like the brass ring on a merry - go - round. Alex snags it as she sweeps by. THE SCREAMER rockets around the corner, twisting down the narrow tunnel. Alex grinds the motorcycle forward for all it's worth, and the Screamer is literally breathing down her neck. She turns corner after corner, faster and faster, scraping the bike into the scum - covered walls and shooting out showers of SPARKS. If she takes one second too long to negotiate a turn, pauses for even an instant, the Screamer will be on them. A CLAWED HAND lashes out and tears away the cycle's tail - pipe. Another hand takes out a chunk of the seat. THE BOY is WAILING, curling low to avoid the Screamer's claws. AHEAD, the tunnel narrows to a dead - end. Alex and the Screamer are on a collision course. A hundred miles an hour and gaining. The Screamer LASHES out again, gouging a bloody gash in Alex's shoulder and cutting clear through her armor. It's claws sink into her flesh, latching on. Alex CRIES OUT in pain, her face contorted into a mask of agony and fear. She pulls out a knife with her left hand a stabs blindly into the monster. THE SCREAMER LURCHES forward onto the motorcycle and opens its jaws wide. Black saliva and ooze flow from it's mouth splashing over Alex's shoulder's and neck. It's going to bite her head off. It's going to. Alex and the Screamer SLAM into the dead - end and a spectacular fireball of GREEN LIGHT consumes the screen. `` LEVEL NINE - THE GHETTO OF GREED''",
"EXT. LEVEL NINE, CRUMBLING HONG KONG GHETTO -- NIGHT We're on a dark, crowded street lined by decrepit tenements which are caving in upon themselves. There is a flash of GREEN LIGHT. Alex and the boy suddenly appear on the street in a whirlwind of papers, sans motorcycle, but still sliding forward at a good thirty miles an hour. Were it not for their armor, they'd be torn to shreds. They skid to a stop under a sputtering streetlight. Alex and the boy are still SCREAMING. Anguish is the word for Alex. She clutches her shoulder which is gushing blood and stumbles to her feet. BEEP! BEEP! BEEP! BEEP! BEEP! It's her fucking wrist display again and TIME - IS - FUCKING - UP! Alex SCREAMS, pushed to the absolute breaking point. BOOM! Once again the streets begin to vibrate as the Screamer enters the level. BOY It's here! ALEX -LRB- manic. -RRB- Oh God. oh god. THE STREETS - Impoverished PEOPLE bustle back and forth everywhere. Alex grabs the boy's hand and all but drags him down the darkened streets. It becomes a mad, blind dash through Hell. She SMASHES into peddlers, stalls, tripping over or knocking down everything in her path. The SHRIEK/SONIC BOOM of the Screamer overwhelms everything else. With each level, it's gotten louder and louder. Wind is tearing down the streets. A BLACK - CLAD FIGURE spins out of the shadows, landing in front of them. It's a Ninja, two swords spinning in its hands. Instinctively, Alex reaches to her side, and sure enough, there's a gun there now. She unholsters it and FIRES in a blind panic. BLAM! Down goes the Ninja # 1, spouting blood from its chest. THWUNK! THWUNK! Two throwing stars imbed themselves into Alex's chest - plate. and Jesus - fucking - Christ, Ninjas are crawling out of the wood - work! They dive out of the shadows, weapons spinning and glistening in the moonlight. Throwing stars are flying like hail now, CLINKING! into the concrete walls behind Alex and the boy. ALEX Shit! ALEX spins around, shooting indiscriminately into the crowd of bodies. BLAM! BLAM! BLAM! Ninjas fall right and left, but in no time, twice as many move in to take their place. They're like the hornet's nest of Alien monsters, black - clad shadows creeping towards them. A shot hits the streetlight above, casting a sputtering, strobing light over the whole scene and adding to the chaos. The world is shaking apart. It's the end of everything. It's flashes of light and noise, nightmares and blood, chaos heaped on chaos. Alex FIRES her gun again and again and again. and in the midst of this mess, here comes the Screamer again. It shoots down the street like a guided missile. Alex stumbles. The Boy drags at her arm, trying to pull her up. THE BOY Come on! Alex is crying, hysterical. She turns and sees the Screamer bearing down on her, just like Nick did before her was ripped to shreds. The boy is yelling something. Alex focuses. THE BOY The doorway! It's here! THE BOY is pulling back a manhole cover. BLUE LIGHT issues up from below. Before Alex can stop him, the boy disappears down the hole. Alex has one last chance. She throws herself at the hole even as the Screamer reaches her. A clawed hand wraps around her leg. Alex FIRES into the hand. The hand is severed! She's falling! Falling into darkness. `` LEVEL TEN - BAD BRAINS''",
"EXT. LEVEL TEN, TECHNO-SKYSCRAPER -- NIGHT ON ALEX AND THE BOY as they blink into existence on this level. Alex rises, shaking badly. Her armor is battered, burnt, covered with grim and blood. it's impossible to tell who's blood, though. She looks like she's just walked out of a slaughter - house. A bone - jarring HUMMING is heard. Alex turns. ARCADE'S BRAIN looms over her, all glass and black steel. It reaches into the sky and keeps on going. Massive. Tendrils of crackling ENERGY race up and down it, BUZZING. And as impossible as it may seem, this thing definitely appears to be alive. TWO GLASS DOORS swing open in invitation. A red carpet rolls out from within the building, rolling by itself. Emerald City time. The carpet unfurls completely, ending just at Alex's feet. Above the doors, a neon sign blinks on, one word at a time, `` THIS. IS. THE. PLACE''. Fucking - A. Alex offers a tired, near - maddened laugh. It's all she can do anymore. THE BOY looks up at Alex, frightened. BOY We have to go in there, do n't we? Alex nods. She takes his hand and together, they walk down the red carpet towards the entrance of ARCADE'S brain.",
"INT. LEVEL TEN, ARCADE'S BRAIN -- NIGHT Inside, the lobby is a cacophony of LIGHT and SOUND. We hear HUNDREDS OF VOICES at once. whispering. fading in and out. It's like channels being changed. A snippet of an opera here, maybe Bugs Bunny's voice there. RAP MUSIC, COUNTRY MUSIC, a woman in the throes of orgasm, Nazis screaming `` HEIL HITLER!'' , anything and everything. SIGNS BLINK ON AND OFF. Catchy phrases like, `` THIS IS MY BRAIN AND WELCOME TO IT'', and `` I THINK, THEREFORE, I'M FUCKED'' flash before us. T.V. MONITORS are everywhere, displaying an endless array of STATIC. And now the monitors are displaying FRACTALS. Every single one of them. We hear the CELLOS, like an orchestra tuning up. ALEX throws her hands over her ears as the SOUNDS become unbearable. ALEX -LRB- top of her lungs. -RRB- SHUT UP! She pulls out her gun at FIRES into the SOUNDS and IMAGES. Shooting the fuck out of everything. Monitor screens shatter, glass flies and. just like that, total silence descends. One by one, the lights blink off, and it's dark once again.",
"INT. LEVEL TEN, THE NIGHT ROOM - A SPOTLIGHT comes on, isolating Alex. The boy stands behind her, and everything else is dark. It's impossible to tell how large the room is. It might go on forever. MORE LIGHTS come on now, pin - point spots illuminating the faces of her friends. They're all there. Stilts, Laurie, the others. Even Nick. They sit in rows, motionless. a peanut gallery. It's eerie as hell. And now, Alex sees something else, Greg. He's encased in a block of ice. A frozen prince. And in his hands he holds a sword. The sword is very unusual. The hilt is shaped like a heart and it glows RED as if it had just pulled from a furnace. Alex realizes that the sword is ARCADE'S heart. Alex moves towards Greg. As she gets closer, she sees a keyhole carved into the ice. Alex knows what to do. She withdraws her belt on which the nine golden keys are attached. Removing the keys, Alex begins to fit them together. one, two, three. until they combine to form the shape of a single, greater key. THE KEY Alex fits it into the keyhole and turns it. THE CASE OF ICE splits in half, opening up with a cloud of frosty air. Inside, Greg is frozen still, clutching the sword. Alex pulls the sword out of his stiff grip, lifting it up. ALEX -LRB- looking around. -RRB- Okay. I'm here, ARCADE. Where are you? No answer. Alex turns, eyes searching through the darkness. ALEX -LRB- shouting. -RRB- Where are you, damnit?! Her voice echoes in the cavernous room. ARCADE -LRB- O.S. -RRB- RIGHT HERE, BITCH. Alex spins around and. THE BOY stands before her. He grins and his eyes pulse with an internal light. We can hear him BREATHING now, just like before. Just like the game. ALEX -LRB- stunned. -RRB- You. you're ARCADE? But the donor. ARCADE/BOY WAS AN EIGHT - YEAR OLD BOY. YOU SEE, MOMMY USED TO BEAT ME. MOMMY THREW ME DOWN A FLIGHT OF STAIRS. THEN I WENT TO SLEEP FOR A LONG, LONG TIME, AND WHEN I WOKE UP, I WAS HERE, AND I WAS N'T ME ANYMORE. -LRB- shivers. -RRB-. AND I FUCKED MOMMY UP GOOD. ARCADE begins to change, shaking and ROARING as something black and insect - like bursts out of the boy's skin. It claws at its face, ripping the flesh away and revealing something altogether awful underneath. Nothing could have prepared Alex for this. It/ARCADE rises above her and it takes every ounce of her courage to keep from screaming. Somehow, Alex finds a reserve of strength. Alex swings the sword and. ARCADE SMASHES it aside. It CLATTERS to the floor, useless. But that's academic now as a gnarled hand clamps around Alex's throat. ARCADE lifts Alex into the air and SLAMS her against a wall, pinning her there. He thrusts his face into hers. ARCADE YOU'RE TOO LATE, ALEX. YOU'VE ALWAYS BEEN TOO LATE. AND NOW YOUR TIME'S UP. YOU SEE, I NEEDED SOMEONE TO RETRIEVE MY HEART FOR ME. I COULD N'T DO IT MYSELF. THOSE ARE THE RULES. BUT NOW THAT I'VE GOT IT, I'LL DESTROY IT. AND I'LL BE FREE OF MY PROGRAM, AND I'LL BE GOD. THANK - YOU, ALEX. THANK - YOU SO MUCH. ARCADE slowly squeezes her throat and Alex chokes, gasping for air that is n't forthcoming. Tears well up in her eyes and her face turns red. She tries to pry the bony, black fingers from her throat, but she ca n't. HER P.O.V. as she sees the faces of her friends. Frozen. Unable to help. Then the images swirl and Alex begins to lose consciousness. ARCADE YOU'RE NOT DYING YET, ALEX. YOU HAVE N'T BEEN TO THE FINAL LEVEL. LEVEL TEN. ARCADE drops Alex to the ground, then wraps a hand into her hair and drags her across the floor. A DOORWAY stands in the darkness. ARCADE rips it open, revealing absolute emptiness beyond. It's like a doorway into space, a hole in the fabric of reality. It sucks the air into it, light. everything. It touches some sort of primal fear. Gut instinct. You do n't ever want to go to this place. Ever. ALEX -LRB- screaming. -RRB- No! NO! She twists madly, trying to pull away, but ARCADE is too strong. He shoves her through the doorway. Her hands briefly latch onto the doorjamb. ARCADE violently kicks her and her hands slip away. They slip and she tumbles through. ARCADE slams the door shut. ARCADE GOODBYE, ALEX. IT'S BEEN REAL. These words appear on the screen, `` FINAL LEVEL - THE REAL WORLD''",
"INT. MANNING HOUSE, HALLWAY -- DAY Alex lands on the hallway floor, disoriented. Somewhere, we can hear a clock TICKING. But other than that the house is silent, in stark contrast to the storm of sounds a moment ago. THE HOUSE looks just like the dream/flashback we saw earlier. Everything is white. Bright and dreamlike. Hyper reality. Alex looks up and. ANOTHER ALEX is sitting in a chair nearby, back straight, hands clasped in her lap. Reserved. OTHER ALEX Time. That's all I ever think about anymore. It's like there's never enough of it, you know? The other Alex vanishes. Now the chair is empty. Alex turns to look down the long hallway. At the end of the hallway is the open door. A door we've seen before. The words fade in like phantoms. MAN -LRB- V.O. -RRB- So where are you then? ALEX -LRB- V.O. -RRB- I'm in the past. ALEX -LRB- a whisper. -RRB- No. oh no. With a building sense of dread, Alex moves towards that doorway. She stops at the threshold, terrified.",
"INT. MANNING HOUSE, BEDROOM -- DAY Everything looks normal at first. A typical bedroom with sunlight streaming in through the windows. A bed, made - up. Flowers in vases. Everything looks perfect. We turn with Alex. Ever so slowly. Over to the right and the entranceway of the bathroom. Over to where her mother is. seated on a chair. dressed in white and radiating warmth! ALEX'S MOM Hi, honey. HER MOTHER looks beautiful. Eyes sparkling. Alive and vital. Alex ca n't believe what she's seeing. Immediately, tears come to her eyes and her voice falters. ALEX Mom? -LRB- uncomprehending. -RRB- You're alive. ALEX'S MOTHER Of course I am. ALEX But I do n't understand. ALEX'S MOTHER I miss you so much, Alex. I want so much to be with you. Tears are running freely down Alex's face now. ALEX'S MOTHER -LRB- continuing. -RRB- I love you, Alex. I never wanted to leave. You know that, do n't you? ALEX -LRB- nodding. -RRB- Yes. but. how did you. Her mother looks ecstatic. And now there are tears in her eyes. Joy, reunion. it's unclear which. ALEX'S MOTHER Magic. We'll be together again. -LRB- beat. -RRB- I know you do n't believe in an afterlife, but there is one. Heaven is real. Alex looks around her. It's all too much to take in. Her mother. Back in her own home. Sunlight is streaming in, bathing everything around her in gold and the moment is crystallized. A still - life. Forever. ALEX Is. is that where we are? Did I die? ALEX'S MOTHER Not yet, honey. Her mother stands and Alex sees that she is holding a gun. no, the gun, in her hands. She raises at Alex. ALEX'S MOTHER -LRB- continuing. -RRB-. but I can fix that. Alex has no time to respond. A still - born scream is frozen in her throat. A split - second of realization. And then her mother FIRES the gun. CRACK! The bullet hits Alex square in the forehead, snapping her head back as an are of blood and brain matter trail outward. The world spins to a stop, like a record player running down. Alex is killed instantly. Her body collapse, head thumping unceremoniously against the carpeted floor. HER EYES open and fixed on infinity. No life here. Seems hard to believe that there ever was.",
"INT. LEVEL NINE, THE NIGHT ROOM - ON ALEX'S FACE There is no bullet - hole in her forehead, but her eyes are just as lifeless. THE PEANUT GALLERY Row after row of frozen faces. Are they aware that Alex has died? Is there consciousness inside those skulls? ON ARCADE as he crouches over Alex's body. A smile creeps across his face. ARCADE OH ALEX. SO SORRY. BUT DO N'T YOU WORRY, I'LL BRING YOU BACK IN THE GAME. MAYBE I'LL EVEN GIVE YOU HEAVEN. He laughs. ALEX'S BODY begins to decompose in front of us, skin sinking in and shriveling up. In moments, she's just a husk. ARCADE rears back, and is about to turn away, when something catches his eye. He hears a tiny BEEPING. ALEX'S WRIST MONITOR Remember the stylized symbol of a woman? The one that said `` FREE LIFE'' beneath it? Well it disappears now. There's a sudden FLASH behind ARCADE and he spins around. ANOTHER ALEX is standing behind him. and she's got the heart/sword in her hands! ALEX Guess what, ass - hole? You forgot about my free life! She DIVES forward, thrusting the sword with all her might. It sinks into ARCADE'S chest and she pushes further, burying it up to the hilt. ARCADE lets loose the most terribly SCREAM we've ever heard. It literally shakes world. THE SWORD is glowing like molten lava. The heart - shaped hilt burns into the monster's chest, spreading crackling fire over his entire body. His body is immersed fire now, vibrating like mad and suddenly. ARCADE EXPLODES IN A FIREBALL OF GREEN LIGHT AND. he's gone. Like he never existed. The sword drops to the floor, a gun - metal gray now. Alex stands there a moment, stunned, not quite willing to believe that she's won. A NEON SIGN above her drops down. It flashes `` CONGRATULATIONS'' over and over again. `` CONGRATULATIONS''. ALEX looks down at herself. She feels odd. Something is happening. She's fading out, as if she were a signal being lost. Her image stutters, flickers and.",
"INT. DANTE'S INFERNO -- NIGHT Alex FLASHES back into the real world. And then one by one, so do the others. It's a glorious sight. Each one is heralded by BUZZING STATIC, and then a rippling in space, an image stuttering in and. POP! POP! POP! One after another come FLASHING back in bursts of light! There are dozens. The Inferno is filled with them, like a flurry of flashbulbs going off. Familiar faces and people we've never seen. Benz, Laurie, Stilts, DeLoach. POP! And there's Nick! And more, and still more! Forty, fifty. Just how many people did ARCADE take? Everyone is grinning, crying, hugging one another. SPACE SHIMMERS just before Alex. SOMEONE else is trying to fight their way back. It's Greg. He's blinking back into reality. ALEX -LRB- crying. -RRB- Greg! He flickers for a moment, tentative. GREG -LRB- fading in and out. -RRB- Alex! You did it! and then he's back for good. He wraps his arms around Alex, grabbing her so tight that it's almost painful. Both of them are sobbing. GREG -LRB- in between kisses. -RRB- You did it. Together, the two of them start towards the door, eager to leave this place. In groups of twos and threes, the others follow.",
"EXT. DANTE'S INFERNO -- DAWN Outside, light is just beginning to creep its way back into the world. Alex glances up and ca n't help but notice the streetlight fading out as the sun returns. She points and laughs. WE BEGIN TO RISE UP, as Nick and the others join them. Everyone is laughing now. It's uncontrollable. This is positive. Life affirming. And hell, we should probably wrap this thing up on that note. We should. but we wo n't. WE WATCH as a series of dissolves portray the crowd of people leaving, bit by bit, until only our original group is left. THE GROUP as they make their way down the street and away from The Inferno. GREG So how did you do it, Alex? ALEX Well, it's a long story. Alex catches Nick's eye briefly, and he smiles. Whatever happened between them is over now. Friends again. Suddenly Alex stops in her tracks, a look of concern washing over her face. NICK What is it? ALEX I just thought of something. If we came back from the game. -LRB- turning to Nick. -RRB-. what if ARCADE did too? A beat as the group mulls it over. Then Greg shakes his head. GREG Nah. You won, right? You played by the rules. Greg's right. Alex grins and dismisses the thought. ALEX Okay. Forget I ever said it. The group moves away from us once more. STILTS So start at the beginning. LAURIE Give her a chance, will you? STILTS I am giving her a chance. Why do n't you get off my back? GREG -LRB- annoyed. -RRB- Guys.",
"INT. DANTE'S INFERNO -- DAY We are moving slowly through the empty arcade, ducking around and between video machines until we reach the silent ARCADE prototype. SUDDENLY, SPARKS appear on the ground nearby, chasing each other around and coalescing into a ball. ENERGY crackling. SOMETHING is flickering in and out at an incredible rate. BUZZING. STATIC. And. WHAM! A FLASH OF LIGHT EXPLODES OUTWARD. A FORM rises up from the floor, still trailing tendrils of smoke. It lifts its head. THE BOY stares directly at us, eyes glowing like nuclear reactors. And inside those eyes we see the swirling fractals. He grins, flashing a mouthful of perfectly white teeth. ARCADE/BOY KISS REALITY GOODBYE, SUCKERS. And we. Darkness. THE END"
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] | Alex Manning (Megan Ward) is a troubled suburban teenager. Her mother committed suicide and the school counselor feels that she has not dealt with her feelings properly. Manning and her friends decide to visit the local video arcade known as "Dante's Inferno" where a new virtual reality arcade game called Arcade is being test marketed by a computer company CEO, Difford, who is more than willing to hand out free samples of the home console version and hype up the game as if his job is depending on it, and it is. However, it soon becomes clear that the teenagers who play the game and lose are being imprisoned inside the virtual reality world by the central villain: Arcade. It would seem that Arcade was once a little boy who was beaten to death by his mother, and the computer company felt it would be a good idea to use some of the boy's brain cells in order to make the game's villain more realistic. Instead, it made the game deadly. The game's programmer knew there would be a problem with this, and even tried, but failed, to convince the computer company, Vertigo/Tronics, to halt the game's release because of the company's unorthodox decision to use human brain cells in the game's development. Nick and Alex enlist the help of the game's programmer and head to the video arcade for a final showdown with Arcade and his deadly virtual world. While Alex is able to release her friends from a virtual prison, she also ended up freeing the evil little boy, who taunts Alex in the final moments of the film. In the original CGI version, however, the film ends on a somewhat happier note, with Alex, her friends, and Albert (the programmer) simply walking away from Dante's Inferno, with the donor's soul seemingly laid to rest. | Arcade_(film) |
[
"MUSIC OF THE HEART CREDITS OVER PHOTOS IN AN ALBUM The photos include a sepia - tone portrait of an Italian immigrant family. a b & w snapshot of ROBERTA, a nine - year - old girl playing violin in front of a refrigerator -LRB- 1950 -RRB-. Roberta and her dashing Italian father, hand - carving a wooden music stand. a b & w snapshot of Roberta in a communion dress. Roberta at 15, playing violin in front of the same refrigerator, eyes on the music stand. a color photo of two cute blonde little boys building a sandcastle on a beach. a color photo of a groom in a white naval uniform and his pretty bride, -LRB- Roberta at 25 -RRB-, her hand over his as they cut their wedding cake with a sword. a color photo of Roberta and her husband Greek dancing with another couple at an outdoor taverna. Roberta's husband and the other man's sexy wife are exchanging a slight smile. HOLD ON THIS LAST PHOTO as we now see the ALBUM open on the floor of a bedroom, as if it's been tossed. We are :",
"INT. GUASPARI HOUSEHOLD, ROME, N. Y. - BEDROOM - DAY (1988) WOMAN'S VOICE -LRB- O.S. -RRB- Wake up, Roberta! We hear the sound of KNOCKING as the CAMERA PANS a small, darkened guest room. A few streaks of daylight filter through Venetian blinds. WOMAN'S VOICE -LRB- O.S. -RRB- Come on, Bert - get out of bed! The CAMERA finds a WOMAN lying face down on a twin bed, thick wavy hair sprawled across her shoulders. WOMAN'S VOICE -LRB- O.S. -RRB- Please, Bert - you need to get out of that bed. The KNOCKING continues, and she puts the pillow over the top of her head. END CREDITS",
"INT. GUASPARI BEDROOM - DAY The WOMAN - ROBERTA GUASPARI - DEMETRAS -LRB- 38 -RRB- - retrieves the photo album from the floor, looks at a photo and removes it. She's a beautiful woman with large, expressive eyes, but right now she looks like hell. She stares at the photo - it's the two couples dancing. A quick glimpse of hurt on her face, then her jaw tightens and she rips the picture in half. There's muffled talking outside the door, and then two young boys' voices. BOY'S VOICE -LRB- O.S. -RRB- Can you come out now, Mommy? Please? She puts the half with her and her husband on the dresser, then tears the woman off the other half and rips her into pieces. BOY #2 -LRB- O.S. -RRB- Mommy, Nick broke my crayon! BOY #1 -LRB- O.S. -RRB- Well, Lexi hit me and he almost broke. he almost broke my ear! O.S. arguing `` I DID NOT!'' `` YES YOU DID!'' `` LIAR!'' etc.. As if that one action siphoned all her energy, Roberta returns to bed, gets into fetal position, and stares at a point beyond the wall, ignoring the O.S. voices. WOMAN'S VOICE -LRB- O.S. -RRB- Hear that? Your boys need you.",
"EXT. GUASPARI HOUSE - DOORWAY - DAY ASSUNTA GUASPARI -LRB- 58 -RRB-, Roberta's slender, tired Italian - American mother, stands in the doorway of a well - tended working - class home, addressing a young NAVAL OFFICER who holds a lengthy delivery inventory. It's a gray day with ominous storm clouds. Late 70's CARS are parked on the street. ASSUNTA But I have no room for this! OFFICER I'm sorry, M'am. We have orders to deliver these. Assunta looks beyond the man, dismayed. HER POV Large wooden CRATES cover her front lawn, and TWO MOVERS plant down another. They hurry back to the TRUCK, grabbing the next crate too quickly this time. It slips from their hands, CRASHES to the ground and splinters open. Several VIOLIN CASES spill out. The crate looks like it holds a whole lot more. BACK TO SCENE Instantly a second - story window is flung open, and Roberta sticks her head out, a hundred times more energized than we've seen her so far. ROBERTA Watch it, you idiots! Be careful with those! The men scramble to pick them up. Assunta looks at all the violins, then up at Roberta. ASSUNTA Why so many? Roberta disappears inside and slams the window shut.",
"INT. GUASPARI LIVING ROOM - DAY The living room is filled with boxes shipped from Greece, labelled by the U.S. NAVY. And on the floor, in the middle of the boxes, are FIFTY VIOLIN CASES of various sizes, also with Greek and U.S. NAVY labels. NICK -LRB- 7 -RRB- and LEXI -LRB- 5 -RRB- climb over the boxes as if they were giant blocks. NICK -LRB- calling. -RRB- Mommy, which box has our toys?",
"INT. GUASPARI HALLWAY - CONTINUOUS ROBERTA'S on the phone, yelling at someone. She's still in the same ratty nightgown. ROBERTA Look, I know he's there, so quit lying to me! Then check under Lana Holden - Mrs. Lana Holden. Fine. Just tell Lieutenant Demetras that his wife called and - ASSUNTA grabs the phone from her hand and hangs it up. ROBERTA Ma! ASSUNTA No. I want you to listen to me. You ca n't keep doing this to yourself - or to the boys. They need their mother now. You're a beautiful, talented woman and you have your whole life ahead of you. ROBERTA If I'm so beautiful and talented, why did Charles leave me? ASSUNTA Because Charles is a big jerk. -LRB- beat. -RRB- Now get dressed. She exits, leaving Roberta to mull over her words.",
"INT. GUASPARI KITCHEN - DAY Coffee is brewing and homemade cinnamon rolls are cooling on a rack. We recognize the kitchen from the home movie footage. As Assunta clears the boys' breakfast dishes from the table, Roberta enters. She's dressed, but has n't put on makeup or done much with her hair. It's a start. ROBERTA You really think Charles is a jerk? ASSUNTA From the day you married him. ROBERTA Why did n't you say something? ASSUNTA Since when do you listen to me? Roberta half - smiles, pours herself some coffee, then sits down at the table. ROBERTA -LRB- sighs, then. -RRB- What am I gon na do? ASSUNTA First, you eat breakfast. Second, you go out and get a job - any job. Your boys, god - bless - em, are good eaters - but I ca n't afford it. ROBERTA Mama, he's gon na get tired of her - you'll see. Assunta's face shows she's doubtful about this. ASSUNTA Well in the meantime, get a job.",
"INT. DEPARTMENT STORE - GIFT WRAP COUNTER - ROME, N.Y. - DAY Roberta is behind the counter, meticulously wrapping a present with ribbons, bows and stickers. At one point she even unties a ribbon and redoes it because it's not perfect. She looks pretty, but she's dressed conservatively, like a navy housewife. There's only one other clerk wrapping gifts and a long line of impatient customers. A male SUPERVISOR appears behind Roberta. SUPERVISOR Just wrap. You're not Picasso. He exits, and Roberta quickly tries to finish her task. MALE VOICE -LRB- O.S. -RRB- Picasso would probably put the bows on the back of the box. Roberta looks up to find BRIAN TURNER -LRB- 40 -RRB-, a handsome, sexy guy with longish hair and a beat - up leather jacket. ROBERTA Brian Turner? BRIAN Hello, Roberta. ROBERTA I thought you moved away. BRIAN I did. I'm in town for my Mom's birthday. He holds out his hand. Roberta misunderstands the gesture and tries to shake his hand. BRIAN No - that's her gift. ROBERTA -LRB- embarrassed. -RRB- Oh! Sorry. Roberta hands him the gift she's been wrapping. BRIAN It looks very pretty. ROBERTA Thank you. -LRB- beat. -RRB- I heard you had a book published. I did n't read it but. BRIAN That's O.K. My parents did n't read it either. It looks good on their coffee table, though. Roberta smiles. BRIAN So what are you doing here? I thought you'd be in Carnegie Hall by now. HOLD ON ROBERTA as she takes this in.",
"INT. COFFEE SHOP - ROME, N.Y. - DAY Roberta sits opposite Brian. Her lunch is untouched. ROBERTA My college professors said it was too late - I had n't had enough training to be a concert violinist. So I got a teaching degree instead. BRIAN I'll bet you're a great teacher. ROBERTA I think I am. It's just that. -LRB- sighs. -RRB- See, every time I'd get started somewhere, Charles would be transferred. then I had my kids and took time off to raise them. and then when I decided to teach again, no one would hire me'cause you ca n't count on a navy wife to stick around. I finally decided I'd start my own program - Charles gave me the money and I bought fifty violins from this little Greek shop - got started at a private school and then. BRIAN Your husband ran off with your best friend. A beat. ROBERTA She was n't my `` best'' friend. She was a friend. -LRB- beat. -RRB- Charles is the last person you'd think would cheat on me - he never broke a rule. -LRB- a few beats. -RRB- I wake up one night - it's like one in the morning - and he's not in bed. I go outside and our neighbor - this old Greek guy - is sitting out there, smoking a cigar, so I ask if he's seen my husband. `` He's taking a walk with the other officer's wife,'' he says. `` He takes a walk every night with the other officer's wife.'' A beat as she gets lost in the memory. She takes a bite of a french fry. ROBERTA God, these are cold. BRIAN So you're just gon na wrap presents and wait for him to come back? ROBERTA You sound like my mother. BRIAN That's not very sexy. ROBERTA Are you trying to be sexy or be my friend? BRIAN A little of both. Roberta smiles, blushing a bit. Brian looks at her, getting an idea. BRIAN You know, I know this really cool lady who runs this elementary school - I wrote a piece on her. It's a public school, but it's alternative - she might be able to create some kind of gig for you. Let me give her a call. ROBERTA Great! BRIAN -LRB- takes his last bite of sandwich. -RRB- If she hires you, though, you have to be willing to relocate. ROBERTA Where is it?",
"EXT. SPANISH HARLEM, NEW YORK CITY - TRAVELLING SHOT - DAY A SALSA SONG PLAYS OVER as we see stores with Spanish names and signs ; Black and Latino elementary school children walking home from school ; some burned - out buildings ; Black and Latino teens playing basketball on a cement court ; Spanish graffiti on walls ; elderly women buying fruit at a produce stand. PULL BACK TO REVEAL this is the POV of Roberta from the back seat of a cab. The SALSA SONG plays on the cab's radio. Roberta looks scared shitless. Suddenly, two YOUNG MEN flash down the middle of the street, dart IN FRONT of the cab and the driver SLAMS on the brakes, jerking Roberta forward. TAXI DRIVER Welcome to East Harlem.",
"EXT. CENTRAL PARK EAST ELEMENTARY SCHOOL (CPE 1) - EAST HARLEM - ESTABLISHING - DAY",
"INT. JANET WILLIAMS' OFFICE - DAY JANET WILLIAMS, a Black woman -LRB- 40's -RRB- with a kind face, sits behind her desk and looks at Roberta's resume. A sign on her desk indicates that she's the DIRECTOR. Also on the desk is a FRAMED PICTURE of Janet, her husband, daughter -LRB- 14 -RRB-, and son -LRB- 12 -RRB-. Roberta sits nervously in the chair opposite her. JANET -LRB- looking at resume. -RRB- Aside from half a term in a private school - in Greece - and a year teaching chorus in Hawaii - ten years ago - it does n't look like you've had any other teaching experience. ROBERTA Well, not traditional teaching experience. I've been doing private lessons. Janet looks for this on the resume. ROBERTA It's not on there. I taught my sons. Janet smiles politely. JANET I'd like to help you, Mrs. Demetras. Brian spoke highly of you and I told him I'd consider starting a violin class. But without the proper qualifications, and without any experience in an inner city school. Roberta nods, defeated. JANET I'm very sorry.",
"INT. CPE 1 - HALLWAY - DAY Roberta stands outside Janet's office, dejectedly watching the children noisily running through the hall.",
"INT. AREA OUTSIDE JANET WILLIAMS' OFFICE - THE NEXT DAY Roberta knocks on Janet's door. JANET -LRB- O.S. -RRB- Yes? As Roberta opens the door, we see that Nick and Lexi are with her. All three have violins. INSIDE, Janet's in conversation with DENNIS RAUSCH -LRB- 38 -RRB-, an uptight man with a tie that does n't match his suit jacket. He's showing Janet a large scheduling chart. ROBERTA I'm sorry to interrupt, but I wanted you to meet my sons - Nick, Lexi. They enter.",
"INT. JANET'S OFFICE - CONTINUOUS Janet smiles at the boys, but clearly thinks Roberta's a little off. Roberta holds her hand out to Dennis. ROBERTA Roberta Guaspari - Demetras. Dennis shakes her hand, regarding her warily. JANET This is Dennis Rausch, our music teacher and program coordinator. -LRB- beat. -RRB- Mrs. Demetras, did n't I make things clear yesterday? ROBERTA If I could just show you something - it'll only take a minute. Before Janet can answer, Roberta and the kids quickly take out their violins and get into position. Janet and Dennis exchange a look. DENNIS Are we having a talent show? I should have brought my tap shoes. Roberta ignores the jab, then nods to the boys. The three of them begin an incredibly impressive violin trio, playing an ETUDE in three - part harmony. For the first measures, Janet's still annoyed by the intrusion, but she's quickly won over. Dennis watches impassively. Roberta and the boys finish their piece ; Janet applauds and Dennis joins in to be polite. The three take bows. A beat. LEXI Will you hire her now? Janet laughs, then gestures for them to sit. JANET How long have you boys been playing? NICK Since I was three. LEXI -LRB- contemplates, then. -RRB- Maybe since I was three and a half. JANET Your mom must be a good teacher. NICK -LRB- shrugs. -RRB- She's O.K. Roberta gives Nick a look, but Janet smiles. JANET -LRB- to Roberta. -RRB- If you could teach our students to play like that, I'd be thrilled, but - ROBERTA I can. Any child can learn the violin. DENNIS Assuming they had the discipline. ROBERTA I'll teach them to have discipline. JANET A lot of our parents are struggling to feed their kids and pay the rent - they do n't have time to help them learn violin. ROBERTA They do n't have to. If they can help, great - but these kids will be committed. They'll practice on their own, they'll help each other in the classroom - Dennis laughs. Roberta looks at him, a bit miffed. DENNIS -LRB- with an edge. -RRB- I think I know these students, Miss Demetras. Their attention span does n't go past do - re - mi. Maybe on a good day, I can get them to `` fa.'' ROBERTA You're underestimating them. They can play as well as any other kids. DENNIS That I'd like to see. ROBERTA You will. A beat. Janet observes the tension, then turns to Roberta. JANET -LRB- to Roberta. -RRB- For now I'll put you down as a sub, but I have to warn you - even if it works out, the Board may not let me create a permanent position for you. ROBERTA That's O.K. I'll worry about that later. -LRB- with a grateful look. -RRB- Thank you. We see relief - and fear - in Roberta's face. DENNIS -LRB- to Janet. -RRB- Well, I've already planned out the whole term, and I can tell you right now, there's no room for this! Besides, where you gon na find money for violins? ROBERTA You need violins?",
"INT. MUSIC ROOM - DAY In a noisy music room with bad acoustics, Roberta tries to take control of fifty kids, third through fifth - graders, who are in a state of manic excitement over the FIFTY VIOLIN CASES on the floor. ROBERTA -LRB- gently. -RRB- Please do not open the cases, O.K? They ignore her. ROBERTA Look, can everyone just settle down and listen to me - please? ANGLE - Three girls open their cases. ROBERTA -LRB- starting to lose it. -RRB- Keep them closed! Please. ANGLE - Two boys open their cases. ROBERTA -LRB- to the boys. -RRB- Did you hear what I just said? ANGLE - Three kids are using the violin cases as pretend machine guns - and shooting each other. ROBERTA Put those down, please! ANGLE - A boy and a girl are having a `` sword fight'' with their bows. ROBERTA -LRB- to the fencers. -RRB- Do n't do that! Put the bows back in the cases - right now! There's the SOUND of violin strings being plucked. ROBERTA Who's plucking? Roberta wheels around to find a girl plucking her violin like a banjo, and doing a little dance. This is LUCY, a skinny Puerto Rican girl in perpetual motion. ROBERTA What have I been saying? Put that away! Back in the case! Roberta takes a breath. The kids settle down a bit. ROBERTA O.K. Thank you. That's much better. -LRB- takes another breath. -RRB- I'll be dividing you into five classes, but for today - ANGLE - A boy plays `` bongos'' on his violin case. ROBERTA O.K. - that's it! You! Stand up! The bongo player stands. ROBERTA You will be the first student who will NOT be in my violin class. Out! The child looks stunned. ROBERTA I said OUT! With a sheepish expression, he exits. The room is finally quiet - and Roberta's amazed that something worked. She puffs up a little bit, enjoying the feeling of control. ROBERTA Who else would like to be kicked out of my class? The students stare at her, afraid of her now. DE SEAN, a small but tough Black boy, raises his hand. ROBERTA Are you raising your hand because you want to be kicked out? DE SEAN Yeah. ROBERTA Why? DE SEAN I do n't wan na learn no stupid violin. It's for wimps. ROBERTA Who told you that? DE SEAN I just know. ROBERTA What's your name? BOY De Sean. ROBERTA Well, De Sean - you have n't given me a good enough reason, so you're staying. She looks around the room. ROBERTA Anyone else? Silence.",
"INT. MUSIC ROOM - LATER In front of the class, Roberta helps NAEEM, a graceful Black boy, hold the violin. He has a serious expression and a scar on his left cheek. Roberta controls the bow and fingerboard, but it appears that the boy is playing music. He smiles. NAEEM Hey, I play pretty good. Roberta laughs. ROBERTA -LRB- to Naeem. -RRB- See how easy it is? -LRB- to the class. -RRB- Maybe in the spring, we could have a big concert for your families and for the whole school. -LRB- to the boy. -RRB- What's your name? NAEEM Naeem. Roberta writes in a notebook and we see that she's measuring for violin sizes. ROBERTA -LRB- to class. -RRB- If you listen to me and do exactly what I say, you're gon na sound beautiful at the concert and you're gon na be so proud of yourselves. -LRB- to Naeem. -RRB- Good, Naeem. Your hand's staying soft. -LRB- to the class. -RRB- But if you do n't listen to me, you'll sound so bad that your own parents will feel sick when they hear you. They might even throw up. ON THE KIDS, not used to a teacher speaking like that.",
"INT. BRIAN'S APARTMENT - LIVING ROOM - NIGHT A funky apartment on the Upper West Side. Nick and Lexi are both asleep in sleeping bags on top of a futon on the floor, their suitcases nearby. Brian tiptoes past them, carrying two glasses of champagne. He knocks on his office door. ROBERTA -LRB- O.S. -RRB- Come in.",
"INT. BRIAN'S APARTMENT - OFFICE - CONTINUOUS Roberta's in a bathrobe and nightgown, some rollers in her hair. She's tidying up her suitcase, etc., next to an old couch that's been made up as a bed. Leftist political books line a shelf above Brian's desk, including copies of his own, TO HELL AND BACK : INTERVIEWS WITH VIETNAM VETS by BRIAN TURNER. His desk is covered with files and books pertaining to MIGRANT WORKERS. Brian enters. ROBERTA -LRB- referring to champagne. -RRB- What's this? BRIAN It's a toast. -LRB- giving her a glass, holding his up. -RRB- To Roberta, who's made it through her first week. They clink glasses and drink. ROBERTA I do n't know, Brian. I'm hanging on by a thread there. Out of fifty kids, maybe six are listening to me. BRIAN Look at the progress. Did n't you say no one was listening to you on Monday? Roberta laughs. ROBERTA I really appreciate all you've done for us. And I promise - this weekend I'll start looking for a place. BRIAN There's no rush. ROBERTA No, we've put you out enough. You're supposed to be writing, not babysitting for us. -LRB- crosses to his desk, flips through his Vietnam book. -RRB- I've started your book. It's very powerful. BRIAN Thank you. Brian comes up behind her and starts to kiss her neck. Roberta's scared - so she keeps talking, as if it's not really happening. ROBERTA So what made you choose migrant workers for your next book? I mean, how do you know what to write about? BRIAN -LRB- kissing her neck. -RRB- I follow my gut, pay attention to what I'm being drawn to. Roberta's aroused, in spite of herself. She turns around and faces him. ROBERTA What are you doing? BRIAN I've been waiting to do that since Mr. Baines' orchestra class. ROBERTA You did n't even notice me! BRIAN Sure I did. You used to ignore me and it drove me wild. ROBERTA You had at least five different girlfriends. BRIAN It did n't mean I had the one I wanted. He gives her a flirtatious smile, then takes out one of her rollers. BRIAN You're not a navy wife anymore. He moves to takes out another roller and Roberta stops him. ROBERTA Yes I am. legally. BRIAN And is it a navy requirement that you dress like it's the 1950's? ROBERTA I do not! BRIAN -LRB- goading her. -RRB- Who did you vote for in the last election? ROBERTA What does that have to do with anything? BRIAN Tell me. ROBERTA -LRB- hesitates, then. -RRB- I do n't know. Charles filled out my absentee ballot. BRIAN Oh my God - it's even worse than I thought! -LRB- touching her hair. -RRB- Is this the same Roberta who got the orchestra to strike until they gave us new uniforms? She laughs wistfully, then looks a little sad. ROBERTA That Roberta's not around anymore. He pulls her towards him by the belt to her robe. BRIAN I do n't believe that. They kiss and it heats up quickly. Roberta pulls back. ROBERTA I should n't. BRIAN Because? ROBERTA The boys - BRIAN They're sleeping. ROBERTA I know, but. I'm still married. BRIAN And what's your husband doing right now? A few beats, and she moves towards him.",
"INT. BRIAN'S BEDROOM - DAY Sun streams into the room as Roberta awakens in Brian's bed, a look of afterglow on her face. She suddenly remembers where she is, and quickly looks at the clock. ROBERTA Oh shit - the boys. BRIAN -LRB- O.S. -RRB- They're still sleeping. She turns, relieved, until she sees that Brian's packing a suitcase. ROBERTA Where are you going? BRIAN Texas. He dashes out. Roberta sits up, rattled by this news.",
"INT. BRIAN'S OFFICE - DAY Brian excitedly gathers papers and files scattered around his electric typewriter. ROBERTA -LRB- O.S. -RRB- What's in Texas? He turns to see Roberta in the doorway. BRIAN Farm workers. I just got the call - it came through - my research grant! It came through! Is n't that great? ROBERTA Today? He places items into a carry - on bag, packing at a rapid clip. In contrast, Roberta seems to be moving in slow motion. BRIAN I've got a few families lined up there, some in California - ROBERTA How long will you be gone? BRIAN Two, three months. ROBERTA What?",
"INT. BRIAN'S BATHROOM - DAY Brian throws toiletries into a plastic bag. Roberta enters. ROBERTA I thought. I just thought you were gon na be around. And then last night - He stops what he's doing and looks at her. BRIAN Whoa. Roberta - last night was great but did you think I was gon na marry you in the morning? ROBERTA No! Of course not. We see in her face that part of her did think that. ROBERTA It's just that. we just got here and we're barely. I do n't even know where to buy groceries. Brian softens as he sees how vulnerable she is. He takes her in his arms. BRIAN You're gon na be fine. You have a job, a place to stay, your kids have a school to go to - and there's a D'Agostino's around the corner. She attempts a smile. ROBERTA Congratulations. He kisses her forehead, then exits. HOLD ON ROBERTA, looking hurt and frightened.",
"INT. MUSIC ROOM - DAY Roberta rosins her bow, standing in front of ten kids - third through fifth - grade - who sit on the floor next to their violin cases. The kids are Black and Latino, with a couple of white faces. They're all talking and ignoring Roberta except for NAEEM and GUADALUPE, a petite Mexican girl with a long dark braid. -LSB- NOTE : We'll see other violin students from time to time, but this is the class we'll follow for Roberta's first year -RSB- ROBERTA And what am I doing now? NAEEM/GUADALUPE Rosining the bow. ROBERTA Good. And what am I doing when I turn this little screw? -LRB- raising her voice. -RRB- Everyone stop talking. Right now! The kids quiet down. Only Naeem raises his hand. ROBERTA Naeem? NAEEM Tightening the horse hair. ROBERTA -LRB- touches the heel of the bow. -RRB- And what do we call this? Again, only Naeem raises his hand. Roberta sees him but turns to DE SEAN, who's talking to his neighbor. ROBERTA De Sean? DE SEAN Yeah? ROBERTA What do we call this? DE SEAN I do n't know. ROBERTA Why not? DE SEAN I was n't here. ROBERTA Yes you were but you were n't paying attention! Do you want people to think you're stupid? This makes De Sean blush - and it pisses him off. ROBERTA All right, Naeem - tell them. NAEEM It's called the frog. Some kids giggle and joke about this. Roberta points to the scroll of the violin. ROBERTA Anyone remember what this is? LUCY, the fidgety girl, snaps her fingers. ROBERTA Lucy! Do you like people snapping their fingers when you're talking? LUCY Yeah! The kids laugh. Roberta does n't. She points to the scroll. ROBERTA What is this called? LUCY The jeri curl? Roberta laughs, even though she's trying to be tough.",
"INT. DENNIS' MUSIC CLASSROOM - DAY Dennis's twenty students play recorder in rows of attached theatre - style seats. Dennis sits at his desk, a METRONOME ticking, and apathetically leads them in scales, using a red pen as a baton. He keeps one eye on a stack of quizzes that he's marking, stopping to circle mistakes with the pen. DENNIS C - C - C - C, D - D - D - D, E - E - E - E. ANGLE - Roberta stands in the hallway at the open door, dismayed by Dennis' uninspired teaching. She enters and crosses to Dennis, speaking quietly to him. ROBERTA Excuse me - sorry to interrupt - The students immediately start to chatter. DENNIS No talking! He looks back at Roberta, annoyed by her intrusion. ROBERTA I'm supposed to take kids out of Miss Cooper's classroom for my ten o'clock class - there's nobody there. DENNIS Miss Cooper's students have phys ed on Tuesdays. ROBERTA But you scheduled them for violin. DENNIS You must have read the schedule wrong. ROBERTA -LRB- trying to remain polite. -RRB- I do n't think so. DENNIS Well, I ca n't solve this problem for you right now. -LRB- nods to his class. -RRB- I'm trying to teach. ROBERTA So am I. She exits.",
"INT. BRIAN'S BEDROOM - NIGHT Lexi and Nick are in Brian's bed. Roberta's tucking in Lexi ; he holds a toy truck with Greek writing on it. LEXI Can I bring a puppy for show and tell tomorrow? ROBERTA Honey, we do n't have a puppy. NICK Daddy said we could get one when we moved back to America. Roberta looks at Nick, then turns back to Lexi. ROBERTA How about your truck? I'll bet you're the only one in school with a truck from Greece. NICK When's Daddy coming back? Roberta turns to Nick and tucks him in. ROBERTA Well, he's still on his tour, so we'll just have to see but. It should n't be too much longer. LEXI Is he gon na live with us and Brian? ROBERTA No, honey. We're just staying at Brian's house for a little while. She turns back to Nick who looks worried. She kisses him. ROBERTA Good night, sweetie. She kisses Lexi, then reaches to turn off the lamp. NICK No! Leave it on. Roberta nods, smiles at her sons, and exits.",
"INT. MUSIC ROOM - DAY Nine children stand, violins under their right arms, bows hanging down from their right hands, and try to position their feet as Roberta addresses them. ROBERTA Now take the right foot and put it on a tile. Good. Now with the other foot take a tiny step forward and put it on a line. Try to make a box with your feet - She walks over to BENJAMIN, a white boy with glasses, and corrects his feet. She sees Lucy dancing in place. ROBERTA Lucy! Would you like to leave the class right now? Lucy nods, giggling. Roberta walks down the row of students. ROBERTA You should feel very strong - so strong and balanced that if I wanted to knock you over I could n't. She crosses to TANISHA, a sweet - natured Black girl with her hair in tiny braids, and gently pushes her belly. ROBERTA You see? If you're standing strong, I ca n't even push you. Roberta turns to De Sean, who's talking to JAMES, a pudgy Black/Puerto Rican boy. ROBERTA De Sean! James! Quiet! -LRB- as she crosses to another student. -RRB- Does anyone know where Naeem is? TANISHA I saw him this morning but he's not here. ROBERTA Yes, I know he's not here - that's why I'm asking. She gently pushes Guadalupe's belly. The girl stumbles back. ROBERTA See how I pushed you? It means your feet are n't centered. Guadalupe tries to correct her feet. Roberta bends down to help and sees that the little girl wears LEG BRACES under her pants. Roberta stands and gestures to one of the boys. ROBERTA Can you bring over a chair? -LRB- to Guadalupe. -RRB- It's probably better for you to sit. The boy brings the chair. Guadalupe sits, embarrassed.",
"EXT. SCHOOL YARD - DAY Roberta walks through a school yard filled with kids and parents picking them up. She sees Naeem and crosses to him. ROBERTA Where were you today, Naeem? NAEEM I ca n't be in violin class anymore. ROBERTA Why not? NAEEM My mother wo n't let me. ROBERTA What? NAEEM'S MOTHER, MRS. ADISA, steps INTO FRAME. She's an attractive Black woman in a dress and head scarf made of African fabric. MRS. ADISA My son's got more important things to do than learn dead white men's music. ROBERTA They're gon na learn `` Twinkle Twinkle Little Star''! MRS. ADISA How many Black classical composers can you name? How many Black classical violinists do you know? ROBERTA That does n't mean it's the way it should be. Naeem's learning to play music - and that makes him feel good about himself. Why should it matter who wrote it? NAEEM Please, Mom? Ca n't I be in the class? Mrs. Adisa puts a protective arm around her son, then addresses Roberta. MRS. ADISA Look. I've seen this before. You white women come up here and think you can rescue our poor inner city children who never asked to be rescued in the first place. No thank you. She walks off with Naeem. He glances back at Roberta, then turns away quickly. Roberta watches after them.",
"INT. BRIAN'S LIVING ROOM - NIGHT Roberta attempts to read Brian's book, To Hell and Back : Interviews with Vietnam Vets, but she's distracted. She glances at her purse, then back to the book. She puts the book down and dials the phone. ROBERTA Brian Turner's room, please. While she waits, she looks at Brian's picture on the book jacket. There's no answer and she hangs up. She starts to straighten the already clean room, then gets her purse, takes out her wallet, and opens it to the plastic covered pictures. INSERT - PICTURES Charles in uniform ; a studio shot of the boys when they were 3 and 1 ; the whole family posed on the terrace of their home in Greece, a view of the ocean behind them. BACK TO ROBERTA She's really depressed herself now.",
"INT. CLASSROOM - DAY ALICE CROWLEY -LRB- 50's -RRB-, a no - nonsense Black teacher, shows her fifth - graders a globe. She does n't turn as Roberta enters and crosses to her. In the b.g. we see ROBERTA'S STUDENTS waiting in THE HALL. ALICE And which ocean is this? Kids simultaneously yell out `` ATLANTIC'' and `` PACIFIC.'' ROBERTA Excuse me. I'm here for the violin students. ALICE -LRB- icy. -RRB- You're late. ROBERTA Just a couple of minutes - I'm sorry. ALICE They're having a lesson now. ROBERTA But this is when they have violin class! ALICE That's not my problem. Roberta's reluctant to argue in front of the kids ; she exits.",
"EXT. SCHOOL YARD - DAY Lots of noise and chaos as kids run wild during lunch recess. Janet rushes through the throngs while Roberta tries to keep up. ROBERTA I thought all the teachers agreed to this. JANET In theory. -LRB- to a student. -RRB- Adam! I want you in my office right after lunch, you understand? ADAM What'd I do? JANET Think about it! -LRB- to Roberta. -RRB- Whenever you pull kids out, it's a disruption, plus it's extra work for the teacher'cause they have to fill the kids in on what they missed. Some teachers resent it. ROBERTA Well, ca n't you talk to them? Janet stops walking and pulls a box cutter out of her pocket. JANET I took this off a second - grader this morning. I'll help you Roberta - but I ca n't hold your hand here. Janet starts to walk away, then turns. JANET A word of advice? When you're picking up your students, go to Alice's classroom first. Roberta stands there as Janet walks on ahead.",
"INT. MUSIC ROOM - DAY The nine children hold their violins in position as Roberta addresses them. ROBERTA So pretend you're driving a car and I'm the policeman and I say STOP! Thumb up, fingers straight up, flat palm. Now you be policemen, but turn your hand and make it say stop to yourself. ON THE CHILDREN, attempting this. She walks around and helps. DE SEAN -LRB- to himself. -RRB- You're under arrest. Some kids crack up and start joking and chatting. ROBERTA Knock it off, De Sean! -LRB- to all. -RRB- If you kids ca n't take this seriously, I do n't want you here. I'm teaching you a difficult instrument because I respect you and have faith that you can learn it. But none of that matters if you do n't have respect for yourself. Some of the children think about what she's saying. A couple, uncomfortable with the intensity, hold back giggles. ROBERTA Now turn your wrist so it's flat against the fingerboard, and that's how you'll set up your hand. Roberta sees Guadalupe struggling. ROBERTA Guadalupe! You've got the violin in the wrong hand! How did that happen? Embarrassed, Guadalupe corrects her position.",
"INT. BRIAN'S KITCHEN - NIGHT At the small kitchen table, Nick does homework and Lexi puts stickers in a sticker book. Roberta's cooking dinner ; she grabs a potholder and checks on a bubbling lasagna in the oven. The PHONE RINGS and she answers it. ROBERTA Hello? CHARLES -LRB- O.S. -RRB- Hello, Bobbi. Her face falls as she hears the voice. She holds onto the counter to steady herself. ROBERTA Where are you? CHARLES -LRB- O.S. -RRB- -LRB- calm, detached. -RRB- I'm back in the States. I'm at my parents. Roberta closes the oven and gathers her courage. ROBERTA Are you still with her? A beat. CHARLES -LRB- O.S. -RRB- No. We watch Roberta's body collapse into a sense of overwhelming relief. FOLLOW HER as she steps into THE HALLWAY, then stretches the phone into :",
"INT. BRIAN'S BATHROOM - CONTINUOUS She half - closes the door, leans against the sink and starts to cry. ROBERTA -LRB- through tears. -RRB- We've missed you so much, Charles. The boys. they ca n't wait for you to come home. I know we'll have a lot to work out and it wo n't be easy right away, but we're gon na get through this, you know? We're a family and we belong together and - CHARLES -LRB- O.S. -RRB- -LRB- more emotive than before. -RRB- Bobbi - stop, O.K? Just stop. Roberta looks as if she's been slapped. A beat. CHARLES -LRB- O.S. -RRB- I want a divorce. ROBERTA What? Silence. ROBERTA But you said. you and Lana. you said it was over. CHARLES -LRB- O.S. -RRB- It is. -LRB- beat. -RRB- It's over between us too, Bobbi. HOLD ON ROBERTA, devastated. ANGLE on NICK, watching her through the door.",
"INT. BRIAN'S HOTEL ROOM, TEXAS - NIGHT Brian's on the phone with Roberta. He's in a t - shirt and sweats, and his papers are scattered on the bed. ROBERTA -LRB- O.S. -RRB- He would n't even talk about it! No explanations, no discussion. INTERCUT Roberta in Brian's living room. She's extremely agitated and her eyes are puffy from crying. BRIAN I ca n't believe you were still holding out hope. The guy has n't called you or the kids in three months - I thought you'd moved on. ROBERTA I never said that. BRIAN No? Maybe not with words. This embarrasses her, then pisses her off. ROBERTA You know what? I should n't have called you. This was a mistake. BRIAN No, no - I'm sorry. Look, I know it hurts, but you're gon na get through this, Roberta - you will. ROBERTA I'm moving back to my Mom's. BRIAN What? You're gon na quit teaching in the middle of the term? ROBERTA I do n't fit in there - I'm not making any progress with the kids. BRIAN What are you gon na tell Janet - your husband left you and nothing else matters? ROBERTA I do n't know yet.",
"INT. BRIAN'S LIVING ROOM - NIGHT Roberta lies awake on the futon, heartbroken.",
"INT. BRIAN'S BEDROOM - NIGHT Roberta stands and watches Nick and Lexi sleep. She lies down beside them and closes her eyes.",
"INT. SCHOOL HALLWAY - DAY Roberta walks through crowds of kids towards Janet who's in the middle of confronting a boy student. Janet holds a FIFTY - DOLLAR BILL. Roberta hangs back and waits for a chance to speak. BOY My mother gave it to me. JANET Why would she give you fifty dollars? BOY To buy breakfast. Janet gives him a stern look. JANET Do you know how hard your mother works? Do you think it's right for you steal from her? BOY I did n't! JANET Well let's go call her right now and ask her. As Janet turns to walk off, Roberta crosses to her. ROBERTA I need to speak to you. It's important. JANET It'll have to wait. -LRB- to the boy. -RRB- Come on. In my office. Roberta watches as Janet dashes off with the boy in tow.",
"INT. MUSIC ROOM - DAY Guadalupe sits on a chair in the empty room, struggling to set up her violin. Roberta enters, surprised to see her. ROBERTA Guadalupe? What are you doing here? GUADALUPE I ca n't get the stop sign. ROBERTA Honey, your teacher's probably looking for you. Guadalupe sighs, then hands Roberta the violin. GUADALUPE I ca n't come anymore. It's too hard. ROBERTA The violin is hard for everyone. GUADALUPE But everyone else is better than me. I'll always be slow. Roberta looks at her sadly and puts the violin in its case. ROBERTA Did you ever hear of Itzhak Perlman? GUADALUPE No. ROBERTA He's one of the greatest violinists in the world, and he has problems with his legs too. He walks with two canes - but he still makes the most beautiful music. GUADALUPE And he sits down when he plays? ROBERTA He has to. Guadalupe takes this in. GUADALUPE He was your student? Roberta laughs. ROBERTA No. But if he was, I'd tell him the same thing I'm telling you. You should n't quit something just because it's hard. GUADALUPE But I ca n't stand strong. ROBERTA Standing strong does n't only mean using your legs. You can stand strong on the inside too. -LRB- beat. -RRB- Know what I mean? Guadalupe nods. Roberta holds out the violin case. Guadalupe lunges forward and hugs her around the waist. Roberta awkwardly accepts the hug, startled and touched by it, and strokes the girl's hair. Guadalupe lets go, takes the violin and exits. HOLD ON ROBERTA as she absorbs what just happened. JANET pokes her head into the room. JANET You wanted to speak to me? ROBERTA Oh. Umm - that's O.K. It's taken care of. Janet looks at her curiously, then exits.",
"INT. EMPTY APARTMENT - EAST HARLEM - DAY Roberta walks around an empty, rundown apartment, her expression somber. Crayon markings on the walls, cigarette burns on the floors, a filthy bathroom and kitchen. An older Puerto Rican woman stands back as Roberta inspects the place. Roberta wipes grease off one of the windows. LANDLADY Is just for you and your boys? ROBERTA Yes. LANDLADY No husband? No boyfriend? A beat. ROBERTA No.",
"EXT. SCHOOL YARD - LUNCH RECESS - DAY Roberta enters the yard from inside the school. It's filled with kids playing, including Nick and Lexi. She waves to them and Lexi runs up to her, carrying a piece of artwork. LEXI Look what I made you, Mommy! He gives her a tempera PAINTING of a man's face, the background decorated with glued - on macaroni. It says DADDY. ROBERTA -LRB- covering her discomfort. -RRB- That is so beautiful! He runs off. Roberta exhales, sits down alone on a bench and takes out her lunch. She smiles at ALICE CROWLEY and another TEACHER but they cross to another bench. ISABEL VASQUEZ -LRB- 25 -RRB- approaches, a lively Puerto Rican woman with a strong New York accent. ISABEL Whatsa matter - you got cooties? ROBERTA Apparently. ISABEL I'll take my chances. -LRB- extends a hand. -RRB- Isabel Vasquez. Second grade. ROBERTA Roberta Demetras. I'm the - ISABEL Violin teacher. I know. She sits down beside Roberta, takes out her lunch. ROBERTA Is it my imagination, or does everyone hate me? ISABEL It's hard to fit in when you're doing a special program. People figure you're not gon na be here very long, so why make the effort? -LRB- beat. -RRB- It may take a while for folks to warm up, but nobody hates you. ROBERTA -LRB- sotto. -RRB- What about Alice Crowley? ISABEL -LRB- sotto. -RRB- A. -RRB- she thinks the violin's a waste of time. and B. -RRB- - she's a bitch. Roberta laughs. ROBERTA And then there's Dennis. ISABEL The Music Man. You've had the bodacity to threaten his private little empire - not to mention the fact that you messed up his sacred scheduling chart. ROBERTA How come you're being nice to me? ISABEL Ulterior motives. I want my daughter in your class next year. Roberta smiles. ROBERTA If I'm here next year. ISABEL You will be.",
"INT. ROBERTA'S NEW APARTMENT - LIVING ROOM - NIGHT LEXI'S PAINTING is on the wall, along with a crayon drawing of himself, Roberta, and Nick in front of a house. ANGLE - ROBERTA looks out the window. She's gotten some used furniture, cleaned the place, and it's less depressing. ROBERTA'S POV OUT THE WINDOW On the street below, three prostitutes stand at the corner. Two men sit on a stoop, smoking a joint, and in a parked car, three men seem to be making a drug deal. One of the buildings on the street is burned out, missing a front door. BACK TO SCENE Nick, in his pajamas, enters and crosses to his mother. She smiles at him and they both look out the window. NICK In Greece, we could see the ocean. Remember? ROBERTA I remember. And the fishing boats. NICK And the octopuses. Roberta smiles and puts her arm around him. NICK Is Daddy coming here soon? Roberta tenses up. ROBERTA Well, that's something I've been wanting to talk to you about. Daddy's not gon na live with us anymore. You and Lexi will have special times when you stay with him, like at Christmas. A beat. NICK Can you tell the birthday story? Roberta looks at him, concerned that he's not responding to her news. ROBERTA Do n't you want to talk about what I told you? NICK I want to hear the birthday story. A beat as she contemplates whether to push or not, then : ROBERTA It was the day of Grandpa's birthday, and I was sad because he had died a few months back. NICK But you knew I'd be born that day. ROBERTA So I packed a bag and got all ready - NICK And Daddy laughed. ROBERTA I said, `` It's my father's birthday, and the baby's gon na be born today.'' NICK He did n't believe you. But I was born. The same day as Grandpa. ROBERTA It was a happy day. NICK Was Daddy happy too? She looks at him, taken aback by the question. ROBERTA Of course he was. NICK Then why is he leaving me? Roberta, overcome with emotion, can barely answer. ROBERTA He's not leaving you, Nick. He loves you and Lexi very much. NICK Then why ca n't he live here? ROBERTA -LRB- struggling. -RRB- It's very hard to explain. Sometimes things happen between grown - ups. and they just ca n't be together. The CAMERA moves behind them as they continue to look out the window, and we see Nick move away from his mother.",
"INT. MUSIC ROOM - DAY The kids play `` Twinkle Twinkle Little Star'' and they sound awful. Roberta looks disgusted as she leads them. ROBERTA Slow bows! Slow bows! Do n't squeeze! Stop! Everybody stop! -LRB- to De Sean. -RRB- How much did you practice this week? DE SEAN My asthma - it was very bad and I had to go to the hospital. ROBERTA Again? You told me you went to the hospital last week. DE SEAN Oh yeah. Maybe it was last week. Roberta rolls her eyes, then turns to Lucy. ROBERTA Lucy - you sounded the worst of all. Have you practiced? LUCY No. ROBERTA Why not? You ca n't be in this class if you do n't practice! LUCY My grandma got mugged. A beat. ROBERTA Oh. I'm sorry. Is she O.K? LUCY She died. Roberta stands there, sobered. ROBERTA I'm really sorry, Lucy. -LRB- tries to get her bearings. -RRB- Just do the best you can.",
"EXT. SCHOOL YARD - DAY A group of kids stand together with their violins and chat. Roberta exits the building and they greet her. She waves back, but she's clearly still upset by her interaction with Lucy. She sees Naeem and his mother and approaches them. NAEEM Hi, Roberta. ROBERTA Hi, Naeem. Can I talk to your mom for a minute? Naeem nods and moves off. ROBERTA Look, I did n't come up here to rescue anybody. I'm a single mother and I needed a job. And I know you think you're protecting your son, but you're not. I mean, what if Arthur Ashe's mother had stopped him from playing tennis because it's a `` white man's game''? -LRB- beat. -RRB- The important thing is that when Naeem plays music, his whole face lights up. You should see him. Mrs. Adisa takes this in. Roberta exits. Mrs. Adisa looks for Naeem and sees him watching the violin students, longing to be among them. She watches her son with compassion.",
"EXT. OUTDOOR MARKET - DAY Roberta and the boys shop in a colorful outdoor produce market in their neighborhood. The boys suddenly rush over to A MAN sitting on the ground with mixed - breed PUPPIES in a cardboard box. The boys pet them excitedly. Roberta watches her sons ; they're happier than she's seen them in ages.",
"INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT A brown puppy is jumping all over Nick and Lexi who laugh delightedly. Roberta is putting down newspapers. ROBERTA We all have to take turns cleaning up, O.K? The boys are oblivious to her - they're in heaven. ROBERTA -LRB- to herself. -RRB- Yeah, right.",
"INT. MUSIC ROOM - DAY Roberta's SCREAMING at the kids as they play `` Twinkle Twinkle Little Star.'' ROBERTA First finger on the E! Three - two - one - open! -LRB- to a white girl with pigtails. -RRB- Wrong string, Becky! We've done this fourteen times! And look at your nails! You're supposed to cut them for violin class! O.K, everybody stop! It sounds horrible! I ca n't believe how bad it sounds! They stop playing. Tanisha raises her hand. ROBERTA Is this an important question, Tanisha? Tanisha nods. TANISHA Do you have two of those skirts? ROBERTA What? TANISHA You wore a skirt just like it on Monday. Some of the kids crack up. ROBERTA You know, Tanisha - I do n't think that's such an important question. -LRB- to class. -RRB- O.K. Let's try - The door opens and Naeem enters with Mrs. Adisa. Roberta crosses to them. MRS. ADISA Naeem and I were wondering if he could still be in the class. A beat. ROBERTA I'd love that. -LRB- to Naeem. -RRB- You'll have a lot of catching up to do. You think you can work that hard? NAEEM Yeah, I can. ROBERTA Maybe we can also arrange some private lessons at my house. MRS. ADISA I would n't have the money for that. ROBERTA That's O.K. -LRB- to Naeem. -RRB- Why do n't you go grab one of my spare violins? Naeem happily runs to the extra violins at the front of the room ; Mrs. Adisa nods to Roberta with a look of gratitude, then exits. Roberta crosses back to the front of the room. ROBERTA -LRB- to class. -RRB- Let's try it again. They begin again, and we see Naeem take out a violin and join in. As they play, Roberta's ears perk up at something she's hearing. She crosses to Lucy. ROBERTA What are you playing? LUCY Twinkle. ROBERTA -LRB- to class. -RRB- Everyone stop! -LRB- to Lucy. -RRB- Let me hear. Lucy hesitates, thinking she's in trouble. She plays a jazz variation of the song. Roberta smiles. ROBERTA Did someone teach you that? LUCY No. I made it up. ROBERTA That's really great, Lucy. I'm proud of you. Lucy beams. ROBERTA -LRB- to class. -RRB- All of you - try it. The class plays Lucy's jazz variation and Naeem happily joins in.",
"INT. JANET WILLIAMS' OFFICE - DAY Roberta sits opposite Janet and MRS. LAMB, a white woman in her 30's. MRS. LAMB You're shouting at them. All the time. ROBERTA Not all the time. But if they do n't listen - MRS. LAMB Did n't you tell them that they were making their parents sick? Janet raises her eyebrows at this. ROBERTA That was n't exactly what I said - MRS. LAMB I'm raising Becky in a supportive atmosphere. I do n't send her to school to be abused. ROBERTA I'm just trying to discipline them. If they're gon na learn an instrument, they need to take it seriously - JANET I think what Mrs. Lamb is trying to say, Roberta, is that you're a little too harsh. I'm sure you might be able to soften some of your comments to the children? She gives Roberta a long hard look. Roberta nods.",
"INT. MUSIC ROOM - DAY Roberta listens to the students play `` Go Tell Aunt Rhody'' - badly. They finish and stare at her, afraid of her response. ROBERTA Well, that was. that was pretty good. that was n't too bad. They look at her in disbelief, then look at each other. DE SEAN It was n't? I thought we stunk. ROBERTA I would n't put it that way. You all just need to practice a bit more. -LRB- to James. -RRB- James, have you practiced this week? The boy nervously shakes his head no. ROBERTA Can you please try a little harder for next week? James nods. The kids are baffled by her politeness. ROBERTA Good. Just do the best you can. DE SEAN Why you acting like that? ROBERTA Like what? DE SEAN Nice. ROBERTA Do n't you want a nice teacher? DE SEAN I already got nice teachers. You added some variety. LUCY Yeah. We like you better the way you used to be. ROBERTA Oh. -LRB- to Becky. -RRB- What about you, Becky? BECKY Yeah. This is even worse. You're acting weird now. A beat. ROBERTA Well, then - I take it back. You all stunk. The kids laugh. ROBERTA But do n't tell your parents I said so! The kids laugh again.",
"INT. KENNEDY AIRPORT - DEPARTURE GATE - DAY Christmas MUZAK plays in the b.g. as Roberta kisses and hugs Lexi and Nick goodbye. A FLIGHT ATTENDANT stands nearby. LEXI Ca n't you come with us? Please? ROBERTA Honey, I told you. This is Daddy's special time with you. Lexi looks upset ; Nick is stoic. Roberta hugs them one last time. The FLIGHT ATTENDANT steps forward. FLIGHT ATTENDANT I'll take good care of them. The FLIGHT ATTENDANT escorts them into the jet way. Roberta holds back tears as they get further away from her. At the last moment, Lexi turns and waves ; Nick does not. Roberta waves, tears starting to fall, and the boys disappear from sight. She observes all the families travelling together, and feels like the loneliest person in the airport.",
"INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT Roberta enters her apartment, back from the airport, and double - locks the door behind her. You can see on her face that she's dreading the emptiness. She crosses to a small Christmas tree, obviously decorated by her and the boys, and plugs in the tiny blinking lights. It's not exactly Rockefeller Center. She turns on the T.V., playing IT'S A WONDERFUL LIFE. She crosses to the kitchen, then returns with a carton of eggnog, a glass, and a bottle of rum. She sits down on the couch, pours herself some eggnog, adds rum, adds more rum, goes back into the kitchen, returns with nutmeg, sprinkles some on top, then drinks. She sighs, glancing miserably at the tree and the T.V. Pathetic. She could n't look any less festive if she tried. There's a KNOCK on the DOOR. Roberta gets up and warily approaches the door. ROBERTA Who is it? BRIAN -LRB- O.S. -RRB- Santa Claus. She looks through the peephole, then quickly unlocks the door and opens it, revealing BRIAN, giving her a big smile. He looks sexy as hell -LRB- even with a silly lit - up Santa Claus pin on his leather jacket -RRB-, and he holds a long - stemmed red rose in one hand, and a Christmas present in the other. BRIAN I'm back. Roberta's thrilled and relieved to see him. She embraces him, and they kiss passionately.",
"INT. BROWNSTONE - DAY (TIME CUT - TWO MONTHS LATER) CLOSE ON plaster walls being knocked down with sledgehammers. REVEAL Brian, Roberta, and a couple of workmen knocking down the walls in an old brownstone.",
"EXT. BROWNSTONE - EAST HARLEM - THE SAME DAY A mild winter day. Roberta, covered with plaster dust and overheated from working, leans against a car and drinks a beer. The three - story brick building has some graffiti on it and is badly in need of a paint job ; there are a few broken windows, and the front stairs need repairing. WORKMEN file in and out. We can see from the STREET SIGNS that we're on 118th STREET, a few houses off FIRST AVENUE. Brian -LRB- also dust - covered -RRB-, Nick and Lexi toss around a football. LAWRENCE -LRB- 6 -RRB-, a Black boy who lives next door, joins them. Brian crosses to Roberta, sweaty and out of breath. He takes a swig of her beer. ROBERTA O.K., enough goofing off - back to work. BRIAN You trying to kill me? She laughs and they kiss. ASSUNTA comes up the street with a bag of take - out food. She casts a dubious glance at the lovers. ASSUNTA I was the only person in the whole coffee shop not speaking Spanish. Roberta rolls her eyes. O.S. a car BACKFIRES. ASSUNTA You hear that? Gunshots! How you gon na live here by yourself? -LRB- calling. -RRB- Boys, come eat! ROBERTA I work in this neighborhood, Mama. I want to live here. The boys approach and Assunta hands them sandwiches. Lawrence hangs back. Assunta calls to him. ASSUNTA What's your name? LAWRENCE Lawrence. ASSUNTA You hungry, Lawrence? Lawrence nods and she hands him a sandwich. Roberta smiles at her mother's gesture. The kids move off to Lawrence's front steps and Assunta gives Roberta and Brian sandwiches. ASSUNTA -LRB- to Brian. -RRB- Why did you let her buy this house? BRIAN Hey, your daughter does what she wants - or have n't you noticed? ASSUNTA I've noticed.",
"INT. ROBERTA'S APARTMENT - KITCHEN - DAY Robert washes dishes and Assunta dries. The leftovers from an Italian dinner are on the counter. ASSUNTA I still do n't understand the rush. ROBERTA Having my own place will make me feel like I'm really starting my life again. ASSUNTA But if you invested your divorce settlement, you could buy something nice someday. It's bad enough that you've been renting in this neighborhood, but to lock yourself into a mortgage - ROBERTA -LRB- snapping. -RRB- Mama, please. Just stop! Assunta backs off. Roberta feels guilty and moves to her. ROBERTA Do n't worry, O.K? Besides, if things keep going well, I'm sure eventually Brian will move in with us. A few beats. ASSUNTA How much do you know about this man? ROBERTA Brian's a good person, he's helped me a lot, he's great with the boys - since he got back to town, it's been really sweet. ASSUNTA -LRB- with an attitude. -RRB- And how long has he been back? ROBERTA Two months. ASSUNTA That's not very long. Do n't make the same mistake twice, Bert. You barely knew Charles when you married him. ROBERTA -LRB- defensive. -RRB- I do n't get it - you're ragging on me about buying the house - I would think you'd want Brian to live with me. ASSUNTA Not if he's the wrong person. Roberta locks her jaw, not wanting to believe that she's right.",
"INT. MUSIC ROOM - DAY The kids play `` Allegro,'' Roberta leading them. ROBERTA Get ready, now - we're coming up to the fermata. They reach a certain note, then pause. ROBERTA Hold. Hold. Do n't anybody move. Now at the Spring Concert, the audience is gon na be dying for that next note - but we'll make them wait. As a matter of fact, I think I'll go grab a cup of coffee. She starts for the door and the kids moan and groan : `` Come on, Roberta!'' `` Roberta, get back here!'' She smiles. ROBERTA Well, O.K.. But you have to promise you'll all start together. She nods. They begin again - all at different times. DE SEAN Man. We'll never get that right. ROBERTA That's not a very nice thing to say about your classmates. -LRB- to class. -RRB- How many people think they can get it right by the concert? All the kids raise their hands. De Sean looks around, embarrassed, then raises his too. Roberta smiles.",
"INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT Brian and Roberta finish making love on the futon. They lie in each other's arms, still breathing heavily. ROBERTA I love you. Brian makes a sound that's either panting or laughing. ROBERTA Did you just laugh? BRIAN I'm sorry. It's just. Roberta looks at him, offended. ROBERTA What? BRIAN Why do people feel like the minute something's going great, they got ta name it? -LRB- beat. -RRB- Once you name something, you snuff the life out of it. She disentangles from him. ROBERTA Jesus, Brian. Do you still get away with that crap? It's not the Sixties anymore. BRIAN Well, maybe if you'd actually gone through the Sixties, you'd know what I'm talking about. ROBERTA Fine! We wo n't name it, we wo n't talk about it, we'll act like we have no feelings for each other whatsoever! She angrily turns on her side with her back to him. Brian regrets hurting her and moves to her, kissing her shoulder. BRIAN I'm sorry. I'm being an asshole. -LRB- sweetly teasing. -RRB- You can say you love me if you want. ROBERTA Forget it. I changed my mind. He laughs and coaxes her to kiss him - a temporary truce.",
"INT. BROWNSTONE - DAY ERNIE -LRB- 70's -RRB-, a rickety Black man in work boots, looks baffled by a tangled mess of wires protruding from a wall. Roberta approaches. ROBERTA How's it coming, Ernie? ERNIE Well, if I could just remember what I did here yesterday, I'd be moving a whole lot faster. -LRB- beat. -RRB- You look real pretty today, honey. Brian overhears, rolls his eyes and pulls her aside. BRIAN You're crazy. Why did you hire him? ROBERTA He needed a job. Besides, he's wired all of East Harlem. BRIAN When? Fifty years ago? Brian sighs and walks off into another room. Two MEN carry in large panels of sheetrock with old WALLPAPER on it. ROBERTA Why is there wallpaper on it? MAN #1 That's how it comes. They lean the panels against a wall. Roberta turns to Ernie. ERNIE Yep, that's how it comes now. The guys quickly exit. Brian re - enters and sees the panels. BRIAN What the hell is this? ROBERTA Sheetrock. BRIAN You've got ta be kidding. Those ex - cons you hired ripped this off - and you too! Roberta feels stupid but does n't want to show it. ROBERTA Look - this house is taking every penny of my settlement. I ca n't afford fancy union workers! BRIAN -LRB- throwing up his hands. -RRB- Fine. Do it your way. He stomps off. ANOTHER ANGLE - Nick watches them fight and looks distressed.",
"EXT. SCHOOL YARD - DAY Lots of screaming and commotion as the kids crowd around a fight in progress. As we move through the crowd we see that NICK's in a fight with another boy ; Nick's nose is bleeding and he has the boy in a headlock. TWO TEACHERS run over to break it up.",
"INT. AREA OUTSIDE JANET'S OFFICE - DAY Nick sits outside, holding an ice pack to his bloody nose.",
"INT. JANET'S OFFICE - DAY Roberta stands opposite Janet. JANET I'm giving him a two - day suspension - but next time he'll be expelled. ROBERTA There wo n't be a next time - I promise. JANET Have you noticed your son lately? He's tied up in knots and he needs help. ROBERTA Janet, kids fight. You're making too much of this. JANET He was choking the kid. -LRB- beat. -RRB- Nick's in trouble, Roberta. You need to deal with it. Roberta takes this in, upset.",
"INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT Roberta plays `` Go Tell Aunt Rhody'' with Guadalupe, De Sean, Naeem, Benjamin, and two kids from the other classes. Lexi plays along with them. Nick enters from the kitchen, eating a cookie, ignoring the students. He turns on the T.V. ROBERTA -LRB- to students. -RRB- Keep playing, guys. Roberta crosses to Nick and shuts off the T.V. ROBERTA You can watch when we're done. NICK It's my house! They do n't live here - I do! ROBERTA -LRB- sotto. -RRB- Nick honey - the kids are real nervous about the Spring concert. You could probably give them some pointers. NICK I do n't feel like it. He reaches for the T.V. dial and she stops him. ROBERTA I said no. She crosses back to her students ; Nick turns on the T.V.",
"EXT. CENTRAL PARK - DAY Brian, Nick and Lexi laugh as they play frisbee alongside a DUCK POND. Roberta watches, relieved to see Nick enjoying himself. BRIAN Good catch Nick! Nick throws it back to Brian and it lands in the WATER. BRIAN -LRB- mock sternly. -RRB- Uh - oh. You know what that means? He stalks towards Nick menacingly, picks him up and pretends he's going to throw him into the water. Nick laughs hysterically. NICK -LRB- through laughter. -RRB- Do n't! Do n't throw me in! BRIAN Whatsa matter? Afraid of a little water? The ducks are n't afraid! Are you a chicken or a duck? NICK Do n't! Do n't throw me! BRIAN Looks like you got yourself a chicken, Roberta! NICK I'm not a chicken! BRIAN Well then you must be a duck! He pretends again to throw Nick in, then puts him down. Lexi holds out his arms to Brian. LEXI Throw me in the water, Brian! Do it to me! Brian swoops him up and Lexi starts laughing. Roberta laughs along, happy to see the affection between Brian and her sons.",
"EXT. CENTRAL PARK - A LITTLE LATER Brian and Roberta speak as they stroll ; the boys run ahead of them, dragging sticks along the pavement. In the b.g. we see HARLEM STREETS bordering the park. ROBERTA You seem to be the only one who can get Nick to laugh these days. BRIAN He misses his dad. I'm just a surrogate. ROBERTA No - I think Nick really likes you. -LRB- taking his arm. -RRB- You know. we're all hoping you'll move into the new house with us. BRIAN Whoa. Can we just slow down here a minute? It's too much like getting married. ROBERTA What's so bad about that? BRIAN That kind of commitment just is n't realistic. I mean, how can we know that you and I will even be able to stand each other in five years? ROBERTA Well, we do n't. But if two people care about each other, they take a chance. BRIAN And look what happened to you and Charles. ROBERTA I'm not talking about Charles. I'm talking about us. BRIAN Look, Roberta. Marriage is based on a belief that one person can completely meet another person's needs. I just do n't buy that. This is making her nervous. She looks at him, afraid of what he might be saying. ROBERTA -LRB- carefully. -RRB- What are you saying? If there's some need you have that I do n't meet, you'd go and get it `` met'' by someone else? He heaves a sigh of frustration, not wanting to answer the question. BRIAN I'm saying that it's the 80's and it's a fantasy to think of marriage lasting these days. One out of two marriages ends in divorce! ROBERTA You did n't answer my question. -LRB- beat. -RRB- If I do n't meet all your needs, and we're in a committed relationship - forget marriage for a minute ; I'm just talking about a relationship - would you go to someone else? A beat. BRIAN In theory, yes. ROBERTA In theory. Roberta looks very disheartened. Brian feels badly. BRIAN Roberta, we've got something good right now - that's the important thing. Let's just keep it that way, O.K? He pulls her to him, kissing her neck, but she pulls away from him. ON NICK, observing with an anxious expression.",
"INT. ROBERTA'S APARTMENT - NIGHT NICK -LRB- O.S. -RRB- -LRB- whining. -RRB- Why ca n't he? Roberta looks distressed by her talk with Brian as she and the boys enter, back from the park. ROBERTA He just ca n't, O.K? Brian's at his house tonight, and we're at ours. NICK Well then I wan na go to his house. ROBERTA Enough, Nick. Now why do n't you and your brother practice while I make dinner. NICK I do n't feel like practicing. ROBERTA Well do it anyway. NICK I wan na go to Brian's! ROBERTA Stop whining, and get your violin. Nick stomps off to get his violin. Lexi follows. Roberta puts down her bag and takes off her coat. While Lexi sets up his violin, Nick opens his violin case, takes out the violin and angrily starts playing, loudly and roughly. ROBERTA What the hell are you doing? NICK The problem with you is you're mean to everybody and then they do n't want to be with you! ROBERTA I've heard just about enough from you, young man. Now set your violin up properly and start practicing. Nick THROWS the violin against the floor. Roberta's speechless. NICK I hate the violin! ROBERTA You pick that violin up right now and do n't you ever ever - Nick picks up the violin and THROWS the violin down even harder, then YELLS at Roberta before she can even respond. NICK It's all your fault! You made Daddy leave and you're gon na make Brian leave too! You're gon na be all alone and I'll have to take care of you! Roberta is stunned. The anger drains out of her as she suddenly sees what this is all about. ROBERTA Nick - you do n't have to take care of me. NICK Then who's going to? ROBERTA I'll take care of myself - and I'll take care of you and Lexi. I promise. NICK You did n't try hard enough. You made Daddy leave us. This hits her in the solar plexus. Her hurt and vulnerability start to pour out. ROBERTA That's not true. I begged him not to leave, but he did n't listen. NICK Why not? Roberta hesitates, but knows she has to tell them the truth. She addresses both boys. ROBERTA Your father met someone he liked more than Mommy, and then - NICK Who? Roberta swallows, shocked to hear him ask this. She can hardly answer him. ROBERTA Lana. Remember our friends Lana and Tom? NICK Is he gon na marry her now? ROBERTA No, but he's not coming back. to me. Nick and Lexi look very upset, not only from hearing the finality in her words, but from seeing their mother's pain. Roberta moves closer to them. ROBERTA I'll take care of you, Nick. You too, Lexi. I promise. I'm not going anywhere. We're still a family. Nick starts crying. Roberta takes him in her arms. Lexi starts to cry and Roberta holds him too. ROBERTA -LRB- softly, to both. -RRB- I promise.",
"INT. BROWNSTONE - DAY Ernie's radio plays a BLUES SONG. The BRICK WORKERS radio plays SPANISH MUSIC, and the PAINTERS' radio plays a RAP SONG. Roberta stands in the middle, about to lose her mind. HER POV - Ernie sits on a stool facing his wiring. He's fast asleep. ANOTHER ANGLE - The brick workers build a crooked fireplace. BACK TO SCENE Roberta sighs heavily, then crosses to the painters. ROBERTA What color is this? PAINTER White. ROBERTA I told you Eggshell. PAINTER Eggshells are white. Brian watches this interaction as he sands a door. BRIAN You're an idiot! I told you - you ca n't be your own contractor. ROBERTA You're right. I'm an idiot. She crosses to Ernie and shakes him. ROBERTA Wake up, Ernie. He looks at her groggily. ROBERTA You're fired. She crosses to the brick workers. ROBERTA You're fired. She crosses to the painters. ROBERTA You're fired. Brian smiles at her, impressed. BRIAN That's more like it. ROBERTA You're fired too. Brian laughs. ROBERTA No, Brian. I mean it. I need to be with a man who can make a commitment to me. I need that, and my sons need that. -LRB- beat. -RRB- So can you? BRIAN -LRB- hesitates, then. -RRB- Roberta - His tone and expression tell her the words are not forthcoming. ROBERTA Get out. He looks at her, shocked by her toughness, but knows he ca n't give her what she wants. He exits. Roberta stands in the middle of the room, a determined look on her face.",
"INT. SCHOOL AUDITORIUM - NIGHT ROBERTA Stands in the aisle, leading the students and playing violin. ON STAGE The fifty fifth - grade students play the `` Twinkle'' variations. Their playing is impeccable and they look terrific. As the CAMERA PANS the audience, we recognize : MRS. ADISA, tears in her eyes as she watches Naeem ; MRS. LAMB and her husband, watching Becky in amazement ; ISABEL and her daughter sitting with ASSUNTA, NICK and LEXI ; JANET, impressed as hell ; and DENNIS, seething with jealousy. As the kids start the jazz variation of `` Twinkle,'' a WOMAN elbows her husband : WOMAN That's the one Lucy wrote! The CAMERA returns to the children and captures their own pride in their playing, including LUCY, who smiles as she hears her song played by fifty. THE CONCERT - TIME DISSOLVE The students are now playing `` Allegro,'' and they reach the fermata. They hold their positions in silence and the audience watches in anticipation. Roberta cues them and they play the next note in perfect unison. An involuntary smile lights on DE SEAN's face. They finish the song, the audience applauds, and Roberta turns to face them. She lights up when she sees how thrilled Janet looks, and Janet in turn raises her hands higher as she applauds Roberta.",
"EXT. CPE 1 - DAY - ESTABLISHING - TIME CUT (1998) The side of the building now has an impressive mural : an urban landscape with three super heroes - Puerto Rican, Black, and white - rising up out of the street. It reads ONLY THE STRONG SHALL SURVIVE.",
"INT. CLASSROOM - DAY Roberta stands in front of a classroom of twenty cute first - graders - mostly Black and Latino, a few white - sitting on the floor, chatting excitedly. Even though Roberta's ten years older, she seems more youthful ; her wavy hair is loose over her shoulders, her clothing's casual and artistic. Beside her is Janet, her hair flecked with gray, and Dennis, who looks pretty much the same. The classroom teacher is ISABEL, a little older, a little tougher. ISABEL C'mon everybody, settle down - Janet wants to talk to you. JANET Today's a very special day because we're starting the tenth year of the East Harlem Violin Program. This is a wonderful opportunity for you, so I want you to talk to your parents about whether you'd like to try this. ISABEL My daughter took violin with Roberta when she was your age, and now she's in high school and she still talks about how much she loved it. DENNIS Janet and I started this program because we knew how much you kids could benefit from it. CUTAWAY to Roberta and Janet exchanging glances over Dennis taking credit for the program. DENNIS You should know, however, that the violin is a difficult instrument. JUSTIN, a Black boy with attitude, raises his hand. He always wears a puffy red, yellow and green crocheted beret. Isabel nods to him. JUSTIN Who's that lady in the back? ANGLE - DOROTHEA -LRB- Doro - taya -RRB- VAN HAUFTEN -LRB- 40's -RRB-, an elegant, beautiful woman, smartly dressed, takes photographs from the back of the room. JANET That's Dorothea Van Hauften - JUSTIN Say what? What kinda name is that? ISABEL Justin - sshh! JANET - and she's taking pictures of Roberta's classes for a magazine article about music education. JUSTIN I wan na be in the magazine! ISABEL First things first, Justin. Roberta's gon na explain to you about the `` lottery.'' Roberta steps forward. RAMON OLIVAS -LRB- 7 -RRB-, a small, adorable Puerto Rican boy with a crew cut, watches her with adoration. ROBERTA I used to just teach fifty kids at this school. But now I teach a hundred and fifty kids at three East Harlem schools and there's so many children who want to take violin classes that we have to have a lottery. VANESSA raises her hand, a white girl whose clothes and accessories are always adorned with cats. VANESSA Can I be in the class? ISABEL Roberta's explaining that. Just listen. ROBERTA After your parents sign your permission slips, I'm gon na put them in a sack, and I'll pick fifty names from each school. ANGLE - Ramon listens intently with his fingers crossed. ROBERTA So everyone bring in your slips by Friday, and I'll come back and tell you who's in violin class. ISABEL Remember, she's just picking names from a hat. It does n't mean that anyone's better than anyone else. RAMON raises his hand. RAMON -LRB- to Roberta. -RRB- I really really hope that I get in the class. Roberta looks at him, struck by his sweetness. ROBERTA I hope so too.",
"EXT. 118TH STREET - STREET SIGN - ESTABLISHING - DAY",
"EXT. ROBERTA'S BROWNSTONE - DAY The brownstone looks a lot better than when we last saw it. Graffiti's been removed, the stairs have been repaired, the windows have security bars, and there are flowers blooming in pots in front of the building. Roberta steps INTO FRAME, walking Allegra, now a 10 - year - old dog.",
"INT. BROWNSTONE - DAY The house is transformed : the first floor is one long open room with oak floors, a living room in front with a beautiful fireplace and a grand piano, and a country kitchen in the rear, complete with pots hanging over a large butcher block. NICK -LRB- 17 -RRB- practices cello and LEXI -LRB- 15 -RRB- practices piano ; they play Haydn's `` Trio # 13.'' Now handsome young men, their blonde hair has darkened to brown. Nick is huskier ; Lexi has a slighter build. Both are passionate, talented musicians. On the couch, RACHEL -LRB- 12 -RRB-, a mature, beautiful Black girl, rosins her bow. RACHEL How come you guys do n't play the violin? LEXI Well, picture her being your teacher and your mother. Rachel cracks up but stifles her laughter as Roberta enters from outside with Allegra. ROBERTA Hi Rachel. Be right with you. As Roberta removes Allegra's leash, Rachel and Lexi share a conspiratorial look. In the b.g., Nick packs up his cello. ROBERTA -LRB- to Nick. -RRB- You're gon na practice upstairs? NICK No. I'm done. ROBERTA Already? You've barely practiced. NICK What - are you timing me with a stop watch? Why do n't you pick on Lexi for a change? LEXI'Cause I'm perfect. Nick jostles him and heads upstairs. Lexi gets up from the piano. LEXI -LRB- to Rachel. -RRB- Have a good lesson. He crosses to a sharp - looking bike parked behind the front door and addresses Roberta. LEXI I'll be back in a couple of hours. ROBERTA Be careful. Lexi mouths `` be careful'' along with her.",
"EXT. RIVER EAST PARK - DUSK Lexi plays basketball with a group of Black and Latino guys. Despite his small stature, he's a great athlete, and an accepted part of the group. The game ends. He and his buddy Lawrence -LRB- now 16 -RRB-, both all sweaty, cross to a water fountain. As Lexi takes a drink - MALE VOICE -LRB- O.S. -RRB- Can I try your bike? Lexi wipes his mouth and looks up at HENRY -LRB- 18 -RRB-, a tall, intimidating Black teenager who towers over him. Lawrence watches tensely. LEXI I'm gon na be leaving pretty soon. HENRY Just wan na take it for a spin. LAWRENCE C'mon, Henry - he do n't want to loan you his bike. HENRY I did n't hear him say that. -LRB- to Lexi. -RRB- Is that true? Did you say that? Lexi looks at him, knowing there's only one right answer.",
"INT. LIVING ROOM - DAY Roberta and Rachel play Bach's `` Minuet One'' together on the violin. The girl has obvious talent. ROBERTA Vibrato. do n't wiggle your wrist. Rachel stops, frustrated. RACHEL Dang! I ca n't get that right. ROBERTA You almost have it. RACHEL Almost is n't good enough. ROBERTA Did I turn you into such a perfectionist? RACHEL No. I came that way. ROBERTA -LRB- smiles, then. -RRB- Just as long as you get it right for your Julliard audition. RACHEL What? ROBERTA I've recommended you for a gifted kids scholarship. Rachel looks at her in wide - eyed gratitude. ANGLE - Lexi enters the front door, a glum look on his face. ROBERTA Where's the bike?",
"INT. HONDA/EXT. EAST HARLEM STREETS - NIGHT Roberta drives with Nick in the front, Lexi and Lawrence in the back. They're in a dangerous looking part of East Harlem. LEXI Mom, please. Do n't do this to me! NICK C'mon, Mom - why do n't you let me handle this? ROBERTA Are we getting closer, Lawrence? LAWRENCE It's the next block up. LEXI -LRB- to Roberta. -RRB- You do n't have to do this. I'll pay you back. ROBERTA How? It took me six months to save up for it. NICK I'll help him, O.K? We'll both pay you back. LEXI Or we'll ask Dad - he'll help us out. ROBERTA Yeah, right. LAWRENCE O.K., slow down. It's the second one on the right. Roberta slows the car down next to a HOUSING PROJECT.",
"EXT. HOUSING PROJECT - NIGHT Not a place you'd want to go into, even in the day time. PULL BACK TO REVEAL this is their POV from INSIDE THE CAR. The boys look frightened, but Roberta's on a mission. NICK C'mon Mom, let's get out of here. ROBERTA Lock the doors. And she exits. The boys watch as she heads for the building, then Lexi shakes his head and covers his face. LEXI I'm dead. She's gon na get me killed. Nick jumps out of the car and heads after her. NICK I'm coming with you! ROBERTA No. Get back in the car and stay with the boys. Nick hesitates and heads back. Roberta presses on. Lawrence opens the window and calls to her. LAWRENCE Do n't take the stairs!",
"INT. TENEMENT BUILDING - LOBBY - NIGHT CLOSE ON THE ELEVATOR DOOR with a handwritten SIGN that reads OUT OF ORDER. WIDER - Roberta stands in front of the elevator, staring tensely at the sign. She takes a deep breath, then heads for the staircase.",
"INT. TENEMENT BUILDING - STAIRWELL - NIGHT Roberta climbs the dimly - lit stairs of a dilapidated, scary building. O.S. a BABY CRIES, a couple of TV's BLARE.",
"INT. TENEMENT BUILDING - HALLWAY - CONTINUOUS At the top of the stairs, Roberta turns down the hall, passing a door riddled with bullet holes. She finds the apartment and knocks. No response. She knocks again. OLD WOMAN -LRB- O.S. -RRB- Yeah? ROBERTA I'm a school teacher. Henry has taken my son's bicycle and I want it back. A beat, then the door cracks open, an OLD WOMAN visible through the chain lock. OLD WOMAN Henry's not here. ROBERTA Well you tell Henry that if he returns the bike, I wo n't have to notify the police - or his school principal. Although since I am a teacher, it would be very easy for me to do that. A couple of beats. OLD WOMAN He's not home. He does n't get home till late. ROBERTA How late? OLD WOMAN Not till after ten. ROBERTA I'll be on the steps of CPE 1 at 11 P.M. I'll be waiting for him. The door closes. Roberta exhales. Did she just do that?",
"EXT. CPE 1 - NIGHT Roberta, Nick, Lexi and Lawrence sit on the front steps of the school. The street is deserted. LEXI You're crazy. He's not gon na show. Roberta sits confidently. NICK You think he actually cares that you're a teacher? You think he even goes to school? LEXI C'mon, Mom - let's just go. ROBERTA It's only five after eleven. Nick and Lexi roll their eyes and exchange a look : she's nuts. Suddenly, there's the SOUND of a bicycle. Nick, Lexi and Lawrence look towards the sound, incredulous. Lexi stands. Henry rides up on the bike and dismounts. Lexi looks directly at him as he takes the bike from him. HENRY I was just borrowing it. He glances at Roberta, then walks off.",
"INT. CPE 1 - CLASSROOM - DAY Roberta stands in front of Isabel's class and calls out names, handing the selected children acceptance letters. The kids are charged up ; `` My heart is pounding!'' `` Please pick me!'' ROBERTA Shandra Wilson. A pretty Black girl with braids and tons of barrettes jumps up and down, then runs up for her letter. The kids SQUEAL and CHEER for each student called. Shandra hugs her best friend MYESHA, a chubby Black girl who also holds a letter. ROBERTA Justin Brady. JUSTIN raises his fists in triumph. ANGLE - RAMON anxiously waits to see if his name will be called. JUSTIN sits down next to him, waves his letter in Ramon's face, taunting him. ROBERTA Vanessa Klein. Vanessa takes her letter and smiles. She puts it into her cat - shaped backpack. ROBERTA O.K.. One more name. Ramon crosses his fingers and holds his breath. ROBERTA Leonard Hood. RAMON looks crushed. JUSTIN taunts him some more. LEONARD, a scrawny white boy takes his letter, scared by it. He starts to cry. LEONARD It's too hard! I do n't wan na do it! ISABEL Do n't you even wan na try, Leonard? LEONARD -LRB- through tears. -RRB- I do n't want to! Isabel looks at Roberta. ROBERTA Well, O.K. then. I'll pick someone else. -LRB- she picks a name. -RRB- Ramon Olivas. Ramon's face lights up.",
"EXT. SCHOOL YARD - DAY As Roberta walks through the yard, she sees kids excitedly showing acceptance letters to their moms. SHANDRA and MYESHA hold hands as they run to Shandra's mom, BEVERLY WILSON, pushing a stroller. She looks at the letter and hugs Shandra. ANGLE - RAMON reads his letter to his mother, CONCEPCION -LRB- 45 -RRB-, whose eyes tell you that she's lived through a lot. She speaks with a Puerto Rican accent. RAMON This is to inform you that your child, Ramon Olivas, has been chosen by lottery to be in the violin program. CONCEPCION You happy? Ramon spins round and round with the letter in his hand. CONCEPCION I think you're happy.",
"EXT. RIVER EAST ELEMENTARY SCHOOL - DAY Roberta illegally parks her old Honda, rushes out of the car, grabs her book bags and three violins, pulls a parking ticket from her pocket and puts it on the windshield. WOMAN'S VOICE -LRB- O.S. -RRB- -LRB- German accent. -RRB- Does that really work? Roberta turns. It's DOROTHEA, the PHOTOGRAPHER we saw in the classroom. ROBERTA No. But I keep trying. And maybe someday the school will give me a parking space! She rushes towards the school and Dorothea follows her. DOROTHEA Wait - She hands Roberta a thin box. Roberta puts down her violins, glances inside it and forgets about being late. INSERT - Terrific black and white shots of Roberta's advanced classes playing violin. ROBERTA -LRB- O.S. -RRB- God, these are great. BACK TO SCENE DOROTHEA Those copies are for you. ROBERTA Thank you. Can I. pay for you them? DOROTHEA Do n't be silly. Besides - you'll need your money for parking tickets. They smile at each other. DOROTHEA What you're doing for these children is wonderful. My husband's a violinist - he was quite impressed when I told him about you. ROBERTA What's his name? DOROTHEA Arnold Steinhardt. ROBERTA Of the Guarneri String Quartet? Dorothea nods, and hands Roberta a card. DOROTHEA Stay in touch. Let us know when the kids have a concert. RACHEL, heading for school, calls out to Roberta. RACHEL Do n't be late for violin class! I hear the teacher's really mean. Roberta smiles, slips the card in her pocket, nods to Dorothea and follows Rachel.",
"INT. RIVER EAST SCHOOL - MUSIC ROOM - DAY Roberta's advanced class plays `` Can - Can.'' Rachel's one of the eight sixth - graders. Roberta plays along, crossing to AMANDA, a white girl in a country - western outfit. ROBERTA Amanda, what did I tell you about wearing cowboy boots to violin class? They're too slippery! She crosses to a pudgy Black/Puerto Rican boy with glasses. ROBERTA Relax your two, Simon. She glances at STEPHANIE, a white girl with red hair, next to KENNY, a Black boy with an earnest expression. ROBERTA Your stop sign has to be up, Kenny! Stephanie, it does n't look like you ever had a lesson with me! CARLOS -LRB- 13 -RRB- hurries in, a handsome Black boy in a baseball jacket that says `` LOS LEONES.'' He looks 15. ROBERTA Where's your violin, Carlos? CARLOS It's coming. He nervously looks down the hall. ROBERTA What, is it walking here by itself? A Black third - grade girl rushes into the room and hands Carlos his violin, then runs off. Roberta crosses to Carlos as he quickly readies the violin. ROBERTA Your buddies giving you a hard time? CARLOS Look, it's just not cool. You would n't understand. ROBERTA Hey, you want your sister to carry your violin, that's fine. But is she practicing for you too? Because lately, that's how it sounds. CARLOS I've been busy! I've been - ROBERTA I'm not interested! Just get here on time, and commit to this class or I do n't want you in here, you understand? He nods sullenly. ROBERTA You're a good violinist, Carlos - and it's definitely not `` cool'' to waste your own talent. Carlos takes this in as Roberta crosses to another student.",
"EXT. RAMON'S APARTMENT - EAST HARLEM - ESTABLISHING - NIGHT It's upstairs from a grocery store on a busy street.",
"INT. RAMON'S APARTMENT - LIVING ROOM - NIGHT Ramon sits on the floor, upset, half - heartedly building with Legos, while his parents argue in the KITCHEN. His father MANUELO is a stocky, muscular man. INTERCUT between the two areas. This is a modest, well - kept apartment. Off the kitchen, religious candles burn on a shelf above a washing machine. MANUELO Why did n't you show it to me? CONCEPCION It just needed one parent's signature. MANUELO -LRB- with some Spanish. -RRB- Well, I'm his parent and I do n't give permission! He should be playing baseball, not the violin! CONCEPCION It makes him happy. ON RAMON, looking far from happy at the moment.",
"EXT. RIVER EAST SCHOOL - DAY Rachel steps off a city bus, carrying her violin. She passes two sixth - grade boys and a girl. BOY #1 -LRB- loudly. -RRB- Ooh, check out little Miss Violinhead. GIRL She carry that violin with her all the time'cause she think she special. Rachel turns to them. RACHEL I am special. She proudly continues on, then sees Roberta walking towards the school and catches up to her. RACHEL -LRB- nonchalant. -RRB- So I heard from Julliard. Roberta stops and looks at her. ROBERTA And? RACHEL They said yes! Roberta gives her a big hug.",
"INT. CPE 1 - MUSIC ROOM - DAY ON THE BEGINNER'S CLASS, including Ramon, as they play `` Lightly Row.'' Roberta walks around, making corrections as she addresses the students. She does n't see Justin poking Ramon with his bow ; Ramon swats the bow away and glares at his nemesis. Roberta moves some of Shandra's braids away from the violin. ROBERTA So when you take the violins home, tape your music to the wall directly in front of your nose so you can play with perfect posture. Your parents are gon na be so excited to hear you play!",
"INT. RAMON'S HOUSE - LIVING ROOM - NIGHT SCREECHING comes from Ramon's room as he practices `` Lightly Row.'' His brothers, PEDRO -LRB- 18 -RRB- and ERNESTO -LRB- 17 -RRB-, cringe as they try to watch T.V. Ernesto gives up and puts on his Walkman ; Pedro's ready to break the violin. Concepcion listens patiently as she folds laundry, but even she winces. PEDRO -LRB- yelling. -RRB- Ramon! How many cats you killing in there? INTERCUT RAMON - He plays with pride, eyes on the music taped to the wall.",
"INT. CPE 1 - MUSIC ROOM - DAY (A FEW MONTHS LATER) ON RAMON, his improved playing showing that time has passed. WIDER - the beginner's class plays `` Lightly Row.'' JUSTIN is struggling more than the other students. Roberta plays along with the class, eyeing each student. ROBERTA More bow! To the frog! Myesha, your stop sign line should be touching. Do n't let it wiggle! You're on the wrong string, Justin! And look at your feet! Vanessa enters the front door without her violin. ROBERTA Where's your violin? VANESSA I forgot. ROBERTA Goodbye! And you may be dropped. Vanessa pouts and exits. Roberta moves to ROSARIO, a Puerto Rican girl. ROBERTA Look at those nails, Rosario! She pulls a clipper from her pocket and swiftly clips them. MYESHA nervously glances at her own nails. ROBERTA I see you over there, Myesha. She moves to Ramon and corrects his bowing position. ROBERTA -LRB- to Ramon. -RRB- You're doing much better. As Roberta walks on to the next student, Justin purposely knocks over Ramon's music stand. RAMON Drop dead, Justin! JUSTIN It was a accident! RAMON Was not! ROBERTA Ramon, I do n't like that kind of talk. Justin, pick up his stand, now! Our spring concert is in three weeks and you might not be in it. Is that what you want?",
"EXT. CPE 1 - DAY As Roberta heads for her car, she sees Vanessa being helped into a car by her FATHER, his suit wrinkled and tie loosened. There's SNOW on the ground. ROBERTA Mr. Klein? I'm gon na have to drop Vanessa from the class if she keeps forgetting her violin. MR. KLEIN -LRB- sotto. -RRB- She's going back and forth between houses. My wife and I split up. ROBERTA -LRB- softening. -RRB- Oh. I'm sorry. Roberta leans into the car window. ROBERTA Vanessa, maybe you could write down for your Mom and Dad which days are violin days. VANESSA -LRB- almost in tears. -RRB- The tape does n't stick. ROBERTA What? VANESSA I taped the music to the wall at my Mom's house and then I took it to my Dad's house and it does n't stick anymore. Mr. Klein's eyes tear up and he quickly wipes them. ROBERTA Well you know what? That's an easy problem to solve. She looks through her book bag, takes out a piece of music and gives it to her. ROBERTA Now you have two, O.K? One for each house. Vanessa nods, clutching the piece of music. Roberta and Mr. Klein exchange a look. She touches his arm, then walks off.",
"INT. RAMON'S HOUSE - NIGHT Ramon, holding his bow and violin, crosses to his father who's watching a baseball game on T.V. RAMON You wan na hear my new song, Papa? MANUELO -LRB- in Spanish. -RRB- Not right now. Ramon exits, hurt. Concepcion watches from the side, and crosses to her husband. CONCEPCION We made mistakes with Pedro and Ernesto and we ca n't fix them now, but Ramon - he works so hard. The violin makes him want to be good at everything. He shows no response, and she exits. Manuelo ponders what she said.",
"EXT. CPE 1 ELEMENTARY SCHOOL - DAY (MORNING) Roberta approaches the school on a winter morning. She smiles as she sees Vanessa get out of her MOTHER'S car with her violin. Roberta nears the front door and finds Isabel and some teachers huddled in conversation. A few students are crying. ROBERTA -LRB- to Isabel. -RRB- What happened?",
"INT. MUSIC ROOM - DAY The beginners sit on the floor and rosin their bows. A few chat, but it's quieter than usual, except for RAMON who is `` blessing'' kids with his violin bow. RAMON You go to heaven. You go to hell. You go to hell. heaven. Roberta enters slowly. She looks very shaken up. She takes note of what Ramon is doing, and overhears Toussaint and Shandra in mid - conversation. TOUSSAINT My grandpa died and my uncle, so that makes six. SHANDRA I know more than that. At least seven people. maybe even nine. Roberta gently tells Ramon to sit, and then she sits down on a child - sized chair in front of them. ROBERTA -LRB- quietly. -RRB- I know that you've all heard the bad news about Justin. MYESHA I did n't hear. TOUSSAINT There was a drive - by shooting by his house and he got shot on accident and he died. Myesha takes this in, looking sad. ROBERTA Does anyone want to talk about it? RAMON -LRB- angry. -RRB- I think we should just play violin. Roberta watches him.",
"INT. RAMON'S HOUSE - LIVING ROOM/KITCHEN AREA - DAY Concepcion cooks chicken and Pedro sets the table, whistling along to Ramon's O.S. violin playing `` We Shall Overcome.'' There's a KNOCK on the door. Concepcion answers it, revealing Roberta. CONCEPCION Roberta! Come in. Roberta enters. ROBERTA I came by to check on Ramon. CONCEPCION -LRB- confused. -RRB- Why? ROBERTA Did n't he tell you what happened at school? Concepcion shakes her head no.",
"INT. RAMON'S ROOM - DAY Ramon is still playing violin as Concepcion and Roberta enter. When he sees Roberta he straightens up even more. CONCEPCION Roberta wants to talk to you, O.K? He nods. Concepcion touches his head, then exits. RAMON Did that sound O.K? ROBERTA Yeah, it did. Ramon smiles, pleased with himself. ROBERTA I've been thinking about Justin. Remember how mad I got the last time I saw him? RAMON Yeah. You got very strict with him. ROBERTA It was n't always so easy to be nice to him, you know? Ramon looks away from her, upset. RAMON You think Justin's in heaven or hell? ROBERTA Heaven. Ramon runs his fingers along his bow. RAMON I told him to drop dead. Roberta touches Ramon's back. ROBERTA Justin did n't die because of what you said. I promise. RAMON How do you know? ROBERTA I do n't think you're that powerful, do you? I mean, if you had such powers, just imagine what kind of violin player you'd be by now! RAMON Yeah. I'd be better than you! They laugh together, then Ramon looks sad again. ROBERTA It's O.K. to cry, you know. RAMON Not for a man. ROBERTA My boys still cry and they're big, strong young men now. -LRB- beat. -RRB- I bet Justin's daddy cried. Ramon's eyes get teary. Roberta quietly leaves the room.",
"EXT. ROBERTA'S BROWNSTONE - ESTABLISHING - DAY (SPRING)",
"INT. ROBERTA'S BROWNSTONE - LIVING ROOM - DAY Roberta brings in the mail, looking curiously at a manila envelope with a return address from the NY REVIEW OF BOOKS. She opens it, looks inside, then pours out a batch of other letters onto the table. They're addressed to BOX HOLDER 127. She opens one, reads it, then rushes to an INTERCOM. ROBERTA Nick, Lexi! Get down here right now!",
"INT. ROBERTA'S BROWNSTONE - MOMENTS LATER NICK We were just trying to help! Nick and Lexi stand by the table, opposite Roberta - with the incriminating pile of letters between them. ROBERTA This is humiliating! NICK Mom, no one knows it's you! I mean, you do n't even have to read them if you do n't want to. -LRB- glances at pile. -RRB- Although obviously, a lot of guys are interested in dating you. ROBERTA No. A lot of guys are interested in dating you and Lexi. -LRB- beat. -RRB- What did you say about me, anyway? They thought she'd never ask. NICK `` Beautiful musician, late 40's, tired of playing solo - LEXI - seeks a healthy, stable, attractive man who's not afraid of a duet with a strong, independent woman. NICK My violin playing will feed your soul. LEXI And my lasagna will be music to your palate.'' They beam with pride. Roberta looks at them, mortified. ROBERTA Oh, my God. LEXI Did you catch all the music metaphors? ROBERTA Do n't you think it's a little weird that you're trying to get your mother a date? NICK Do n't you think it's a little weird that you're not even interested in dating? ROBERTA Boys, look. Number one - even if I wanted to date, I do n't have time. And number two - I've got my teaching, I've got you guys - that's all I need. The boys nod, disappointed, and she exits. They look at each other with glum expressions. LEXI -LRB- to Nick. -RRB- I really thought she'd like the music metaphors.",
"INT. ROBERTA'S BROWNSTONE - LIVING ROOM - NIGHT Roberta lies on the couch, reading the personal ad letters. She tosses one aside, then opens another. INSERT The letter is designed like a newspaper with a headline that reads : JOURNALISM PROFESSOR DAN PAXTON ANSWERS PERSONAL AD ; HOPES RUN HIGH BEAUTIFUL MUSICIAN WILL CALL FOR A DATE! BACK TO SCENE Roberta ca n't help but be charmed.",
"INT. ROBERTA'S BROWNSTONE - LIVING ROOM - NIGHT Roberta, Nick and Lexi play Haydn's `` Trio # 13'' together on their respective instruments. We sense that this is a special family ritual. They play throughout their conversation : ROBERTA I think you're flat, Nick. NICK I'm not flat. ROBERTA The B sounded flat. NICK Just play the violin, Mom. I'll take care of the cello. They play for a few beats. LEXI You nervous, Mom? ROBERTA No. I'm fine. The DOORBELL rings and Roberta jumps up, bolting into the bathroom down the hall. Lexi and Nick exchange a smile, then Lexi crosses to the door and opens it.",
"INT. DOORWAY - CONTINUOUS Standing in the doorway is a man in casual college professor attire. He's nice - looking, but no Prince Charming. He shakes Lexi's hand and smiles warmly. DAN Hi. I'm Dan Paxton. Lexi shows him in.",
"INT. ROBERTA'S BATHROOM - CONTINUOUS IN THE MIRROR - Roberta takes a last look at herself, wondering if he'll find her attractive. She touches her hair, adjusts her dress, then takes a deep breath as she builds up her courage.",
"INT. ROBERTA'S BROWNSTONE - LIVING ROOM - CONTINUOUS Roberta enters the living room where Dan is chatting with Nick and Lexi. Dan sees her and is instantly smitten. DAN -LRB- shaking her hand. -RRB- Wow. An honest woman. ROBERTA Honest? DAN Your ad. When you said you were beautiful, you were telling the truth. She smiles, blushing, and avoids eye contact with her sons who are trying really hard not to laugh. As she and Dan start to exit : NICK Make sure you're home by midnight, young lady.",
"INT. ROBERTA'S BROWNSTONE - LIVING ROOM - NIGHT CLOSE ON CLOCK It reads 12:30. WIDER - Nick and Lexi play a video game on the TV screen. O.S., there's the SOUND OF A CAR. They race to the window. LEXI Ten bucks he tries to kiss her. NICK That's a no - brainer. Of course he'll try. The real question is whether she'll let him. LEXI O.K. - ten bucks she lets him. NICK You're on. They stare out the window intently.",
"INT. DAN'S CAR - NIGHT Dan pulls his car up in front of Roberta's house. Beside him, Roberta holds a program from a Lincoln Center concert. Roberta's tense, but Dan seems relaxed and centered in his attraction to her. DAN I had a lot of fun tonight. ROBERTA Yeah, I did too. DAN I have a confession - I've never answered an ad before. I did it on a dare. ROBERTA Well, I have a confession - my boys placed the ad behind my back. They both laugh, then smile at each other. An awkward beat : will he or wo n't he? Dan leans in to kiss her, and Roberta turns away, uncertain. ROBERTA Look, Dan - I went along with this'cause it's been a while. Quite a while. And I had a very nice time. but I'm not sure if I'm ready to get involved with anyone right now. A beat. Roberta feels badly about rejecting him. DAN -LRB- deadpan. -RRB- Does this mean I do n't get any lasagna? Roberta cracks up. Dan smiles at her.",
"INT. ROBERTA'S BROWNSTONE - NIGHT Roberta enters. The boys are back to their video game, covering that they've been spying on her. ROBERTA Why are you guys still up? NICK -LRB- all innocence. -RRB- Why? Is it late? ROBERTA Good try, Nick. LEXI So how was it? ROBERTA Well. he's nice. NICK `` Nice''? As in `` let's just be friends'' nice? ROBERTA I do n't know yet. We'll see. Nick looks disappointed. NICK There's still a lot more letters. ROBERTA Good night, Nick. She starts heading upstairs. LEXI Hey, Mom - can you loan me ten dollars?",
"INT. CPE 1 - MUSIC ROOM - DAY THE BLACKBOARD reads : SPRING CONCERT IN 10 DAYS! PRACTICE PRACTICE PRACTICE! Roberta rushes in, frazzled, not noticing at first that the beginners are very quiet - and that most do n't have violins. ROBERTA Guys, I'm so sorry - I got stuck over at CPE 2. She puts her stuff down, then looks at the kids. ROBERTA What's going on? Where are all your violins? RAMON We heard you got fired. ROBERTA What?!",
"EXT. HALLWAY - DAY Janet and Dennis talk outside Janet's office. Roberta storms over to them. Janet looks at her, alarmed. ROBERTA Is it true? JANET Why do n't you come in my office? ROBERTA It's true? You're firing me? JANET It's not me, Roberta. The Board of Ed. cut the budget, the District had to comply, and as of the end of this term, the violin program has been. excessed. Roberta takes this in, momentarily speechless. In the b.g., the beginners slip into the hall to watch. ROBERTA Excessed. -LRB- beat. -RRB- They specifically said that my violin program has to go. JANET They've slashed the budget - music and art programs got hit the worst. ROBERTA What about Dennis' classes? DENNIS I'm tenured, Roberta. Roberta looks at him, then back to Janet. ROBERTA When was this decided? JANET Things happened very quickly. I wanted to tell you myself - ROBERTA -LRB- reeling. -RRB- I just. I ca n't even believe this is happening! DENNIS Why not? You're a sub. Your position has never been permanent. JANET Shut up, Dennis! You're not helping! -LRB- softly, to Roberta. -RRB- Come into my office, please. They leave Dennis standing there, looking as if he's had his face slapped.",
"INT. JANET WILLIAMS' OFFICE - CONTINUOUS ROBERTA There's got ta be a way to fight this! JANET Fight it with what? I do n't have any other extra programs to give them instead. ROBERTA Oh, I see. So after ten years, after fourteen hundred children have learned to play the violin, this is just an `` extra program.'' JANET You know I do n't feel that way and you know damn well I've been standing by you all these years! You think I have n't noticed what you've done for these kids? ROBERTA Then do something! JANET -LRB- points to her phone. -RRB- I've been on this phone for the past three days trying to `` do something'' - the District office ca n't even stand the sound of my voice. Believe me, there are some people around here I'd much rather get rid of. But as far as the Board's concerned, violin classes are not a priority. Roberta's fury starts to give way to grief. She looks terribly wounded. Janet looks at her helplessly. JANET I do n't have the power here, Roberta. I'm so sorry. A beat, and Roberta exits.",
"EXT. SCHOOL YARD - DAY Roberta's dazed and in pain as she walks through the crowds of children, oblivious to kids calling her name and waving.",
"INT. ROBERTA'S BROWNSTONE - DAY (LATE AFTERNOON) Nick and Lexi enter the darkened house, chatting as Nick wheels in the bike and Lexi bounces a basketball. They turn on a light to reveal ROBERTA sitting at the kitchen table with a glass of wine, her face ashen. NICK What happened?",
"EXT. STREETS - DAY (LATE AFTERNOON) Roberta, Nick and Lexi walk Allegra in their neighborhood. Roberta looks worn out. ROBERTA I'm a good teacher. I've worked so hard to give these kids something to be proud of. Lexi moves to comfort her. LEXI I'm so sorry, Mom. I ca n't believe they did this to you. ROBERTA It's like when my father got killed. For twenty years, he followed every safety rule the factory had, and then someone else flips the wrong switch. -LRB- she chokes up. -RRB- It's not fair. You do everything right and then. NICK It's the wrong analogy. You could n't do anything about Grandpa's death. It was irreversible. This is n't. ROBERTA Tell that to the Board of Education. NICK Let me ask you something. Why did you risk your life for a bicycle? Roberta and Lexi look at Nick, baffled as to the relevance of the question. ROBERTA I did not risk my life. NICK Of course you did! That building? Threatening Henry? And for what - two hundred dollars? ROBERTA No. Not for that. LEXI Then why? ROBERTA When someone steals something that belongs to my kids, I'm not gon na sit back and let that happen! A beat as she realizes what she's just said. The boys look at her and the three of them stop walking. ROBERTA Guys - you need to think about this. If I try to fight this - with no salary coming in - I could lose the house, screw up your college plans. It would be a lot safer to just go out tomorrow and get a job in a private school. LEXI Yeah, but is that where you really want to be?",
"INT. ROBERTA'S HOUSE - LIVING ROOM - NIGHT Roberta frantically searches through her purse, then crosses to a hall closet and quickly checks the pockets of her coats and jackets. She feels inside a jacket pocket, then finds it : DOROTHEA'S BUSINESS CARD.",
"EXT. COLUMBIA UNIVERSITY - ESTABLISHING - DAY",
"INT. COLUMBIA UNIVERSITY - DEPT. OF JOURNALISM - DAY FOLLOW DAN PAXTON as he walks down the hall towards his office and sees a strange silver object on the floor in front of his office door. He picks it up. INSERT - A foil - covered plate with a note on top : DO YOU KNOW ANYONE AT THE NEW YORK TIMES? BACK TO SCENE Dan lifts up the foil to reveal a large piece of LASAGNA.",
"INT. CPE 1 AUDITORIUM - THE CONCERT - STAGE - NIGHT SEVENTY - FIVE KIDS play `` We Shall Overcome'' and it's incredibly moving. Nick's on cello, Lexi plays piano. ROBERTA proudly leads the children. At the side of the stage, we see DOROTHEA photographing the concert. THE CAMERA PANS THE AUDIENCE of teary - eyed parents, many of them with CAM CORDERS. We FIND Ramon's family. Manuelo is riverted by his son's playing, and he starts to cry. Concepcion knows this without looking. She takes his hand. ANGLE - JANET stands along the side and her eyes start to fill with tears. She tries to stay composed, then discreetly exits the auditorium. The song ends and the audience APPLAUDS, rising from their seats, including ASSUNTA -LRB- now 65 -RRB-, next to ISABEL and DAN. Someone remains seated : a REPORTER -LRB- 40's -RRB-, sitting beside Dan and taking notes. The STUDENTS bow, then point to Roberta who bows and takes the stage. She gestures for people to sit. A beginner student brings her flowers. Roberta kisses her, then approaches the mike. ROBERTA -LRB- to the audience. -RRB- The beautiful concert that you just heard could be the last concert of the East Harlem Violin Program. The Board of Education and the District Superintendent do n't think that music is important for our children. But they're wrong - and they're in for a fight. The parents stand and applaud. We see the REPORTER writing quickly. Dorothea snaps more pictures. Roberta extends an arm towards the kids, directing the applause at them. Ramon gives her a thumbs up.",
"INT. ROBERTA'S BROWNSTONE - LIVING ROOM - NIGHT ROBERTA is vacuuming the living room while Assunta dusts. Extra chairs are set up in the living room in preparation for a meeting. The doorbell RINGS. ROBERTA Someone's early. FOLLOW ASSUNTA to the DOOR. She opens it, revealing JANET, who's carrying two bags of groceries. Assunta's demeanor instantly cools when she sees her. In the b.g. Roberta sees Janet and turns off the vacuum cleaner. JANET Hello, Assunta. How are you? ASSUNTA I'd be a lot better if my daughter had a job next year. ROBERTA Ma! JANET -LRB- to Assunta. -RRB- I would too. Janet briskly walks into THE LIVING ROOM, puts the grocery bags down on a table, and begins to take things out of them. Roberta watches her, mystified. JANET -LRB- to Roberta. -RRB- Sorry I'm early, but I figured we'd need time to set up. Roberta watches Janet for a beat, then addresses Assunta. ROBERTA Mama, why do n't you take Allegra out for a walk? Assunta hesitates for a beat, then gets the dog and exits. Janet continues unpacking the bags as if there's nothing unusual about her being there. Cheeses, crackers, bread, salads, fruit, paper plates, napkins, etc.. She sees Roberta's confused expression. JANET You are having a meeting here tonight, right? Parents and teachers? ROBERTA Well, yes, but. JANET Take it from me. If you want to get parents to help you with something, you have to feed them. She holds up two wedges of cheese. JANET You have a cutting board for these? Roberta crosses into the kitchen and returns with a cutting board and a knife. JANET -LRB- as she continues to unpack. -RRB- And if you think parents are bad, teachers are even worse, no offense. If you do n't feed them, you never get anything extra out of them. That's why I got this. She pulls out an Entenmann's blackout cake. JANET Entenmann's gets them every time. Roberta continues to stare in amazement at Janet. JANET What? Do n't tell me you expected me to bring something homemade. ROBERTA -LRB- as she takes the cake from her. -RRB- Well, no. I - JANET Good. Because take it from me - my own family begs me to stay out of the kitchen. ROBERTA What I did n't expect was for you to be here. JANET Why not? We've got ta figure out a way to fight this. -LRB- as she arranges crackers on a plate. -RRB- After ten years, Roberta, I ca n't imagine walking through those hallways and not hearing that off - key, screechy, scratchy, nails - on - the - blackboard violin music. Roberta smiles. Janet holds up a baguette. JANET What do you think? Cut it into slices now, or leave it whole? ROBERTA Let's cut it now. It'll be less messy. Janet hands her the bread. A beat as the two women exchange a private smile, then return to their respective tasks.",
"INT. ROBERTA'S BROWNSTONE - NIGHT There's a crowd of PARENTS assembled in Roberta's front room, talking at once, yelling out ideas, including CONCEPCION, BEVERLY WILSON -LRB- Shandra's mom -RRB-, MR. ADAMS -LRB- Black -RRB- and MRS. ADAMS -LRB- Puerto Rican -RRB-, the parents of James -LRB- from Roberta's first year -RRB- and Simon. DOROTHEA, JANET, ISABEL are also there ; ASSUNTA is keeping tabs on the refreshments. ISABEL Do n't they realize how much this program helps the kids? MR. ADAMS Simon's our third child to study with Roberta. James is pre - med, April's valedictorian - now that says something! MR. KLEIN I think we should inundate the Board and the District with letters. JANET You're wasting your time. The Board and the District are not gon na pay for this program, no matter how many letters they get. Disappointed grumblings. ISABEL What if we raise the money ourselves? JANET I ca n't see how they'd object to that. A beat as people take this in. CONCEPCION Well once that newspaper article comes out, that should help bring in money. BEVERLY Yeah, but what if it does n't? For all we know, it's gon na be buried on the back page. Besides, who says anyone's gon na give a damn about our kids? DOROTHEA -LRB- to Roberta. -RRB- What if you do a benefit concert? We can raise a batch of money from ticket sales, and then the concert itself could be great publicity. There's word of mouth. you could get reviewed. ROBERTA It better be a good concert! Some people laugh but we see the anxiety on Roberta's face. ROBERTA We have to offer something more than me and the kids. -LRB- to Dorothea. -RRB- Do you think maybe your husband would perform with us? DOROTHEA -LRB- slyly. -RRB- I'm sure I could persuade him with a little pillow talk. And maybe he can get another violinist too - Itzhak Perlman, perhaps. This gets people's attention. ROBERTA That would be fantastic. DOROTHEA We could rent a place like the 92nd Street Y - it's perfect for this. It seats about nine hundred people and if we charge between fifty and a hundred a ticket - ISABEL -LRB- to Roberta. -RRB- We could probably raise enough to reinstate your program for a year. JANET Sounds like a plan. ROBERTA -LRB- half to herself. -RRB- It better be a good concert. The DOORBELL RINGS and Roberta crosses to get it. DAN enters, holding copies of the NY POST, the DAILY NEWS, and a couple of other papers. Each paper has been opened to a specific page. DAN Take your pick. Roberta grabs the top one - the POST - opened to page 5. INSERT The page has a photo of Roberta at the Spring Concert, and a large article headlined A VIOLIN TEACHER FIGHTS BACK.",
"INT. MUSIC ROOM - DAY Lots of chaos as a TELEVISION NEWS CREW sets up. Roberta tries futilely to get the beginners to pay attention to her. ROBERTA Kids, listen to me - it's really important that you do n't look at the camera and you try to act as natural as possible. Dennis storms in. DENNIS Who authorized this? ROBERTA Janet. DENNIS Well Janet's not here today and I want these people out of here. The kids quiet down and watch them argue. A CAMERA GUY starts shooting the argument and Dennis sees him. DENNIS Turn that off, you hear me? ROBERTA Why are you doing this? We're not bothering anyone. DENNIS You're disrupting school and I want them out of here - now. ROBERTA You still do n't get it, do you? I do n't care if you hate me, Dennis - that's your business. But think about the students for once. Every time you interfere, you're not hurting me - you're hurting them. She points to the kids. They're silent, waiting to see if Roberta got through to him. A beat. DENNIS Get these people out of here or I'm calling the police. ROBERTA Go right ahead, call them. That'll look real good on the eleven o'clock news. A beat and he exits. Roberta takes a deep breath, then turns back to the kids who are watching her, impressed. RAMON I do n't hear no sirens.",
"INT. ROBERTA'S BROWNSTONE - LIVING ROOM - NIGHT ON THE TV is the news segment : ROBERTA speaks to an unseen interviewer. ROBERTA I'm from a blue collar family, and if it were n't for the lessons I got in public school, I never would have learned the violin. It CUTS TO Roberta's beginners speaking to the interviewer. INTERVIEWER -LRB- O.S. -RRB- How does it make you feel to lose your violin program? SHANDRA It makes us sad! RAMON Yeah, like we're never gon na have no more violin lessons - VANESSA And it's bad because. because we love violin class. WIDER - REVEAL Roberta, Lexi and Nick watching the TV.",
"INT. ARNOLD STEINHARDT AND DOROTHEA'S APARTMENT - NIGHT ON TV - THE SAME NEWS SEGMENT, ANOTHER SOUND BITE ROBERTA Yes, I've gotten offers from two private schools, but this is where I want to be. DOROTHEA -LRB- O.S. -RRB- Arnold, these kids need help. WIDER - REVEAL a comfortable Upper East Side apartment and DOROTHEA watching T.V. while ARNOLD practices violin. There's FRAMED PHOTOGRAPHY on the walls, signed by Dorothea. ARNOLD Did n't we send them a donation? DOROTHEA They need something bigger. And you ca n't just write a check - you have to get involved. ARNOLD Involved how? The look on her face tells him it's more than he bargained for. ARNOLD Uh - oh.",
"INT. SERIES OF SHOTS - DAY 1. Arnold Steinhardt speaks on the phone. His Roladex is open to the name ITZHAK PERLMAN. In the b.g., Dorothea tensely waits to hear if Itzhak Perlman will say yes. 2. Parents, Roberta, Nick and Lexi hang `` FIDDLEFEST CONCERT'' posters around their neighborhood, announcing a concert at THE 92ND STREET Y with ARNOLD STEINHARDT, ITZHAK PERLMAN and STUDENTS FROM THE EAST HARLEM VIOLIN PROGRAM. 3. Parents - including Beverly Wilson, Concepcion, Mr. Adams and Carlos' mom and dad - stuff envelopes with INVITATIONS to `` FIDDLEFEST'' and accompanying LETTERS and TICKET ORDER FORMS. Roberta and Dorothea open envelopes with filled - out TICKET ORDER FORMS and CHECKS. They stack the checks in a pile, address return envelopes and place FIDDLEFEST TICKETS inside them.",
"INT. MUSIC ROOM - DAY Thirty - three excited kids from Roberta's different classes chat, tune their violins, rosin their bows. The students include Carlos, Stephanie, Amanda, Kenny, Rachel, Simon, Ramon, Vanessa, and Shandra. Roberta enters the room, full of energy, and addresses them as she heads to the front. ROBERTA Listen up, everyone! Quiet down! The students give her their attention. ROBERTA You are my very best beginner and advanced violin students and I've chosen you to play in Fiddlefest because I trust that you can handle the pressure. It's gon na be a lot of work - a lot. Right now, we've sold some tickets, but I'm not gon na be back here in the fall if the audience storms out of their seats, demanding a refund! She nods to Rachel who starts handing out sheets of music. ROBERTA Rachel's gon na be my lieutenant and I expect you to listen to her. Ramon looks through his music sheets. RAMON Bach's `` Minuet One''? ROBERTA People are gon na be paying good money for this concert - we're not just gon na play `` Twinkle.'' -LRB- handing out papers. -RRB- I'm passing out a contract that you and your parents need to sign. The kids read the contracts. Carlos' eyes widen. CARLOS Every Saturday and Sunday? ROBERTA Plus night time rehearsals during the week. There's only six weeks till the concert, so classes in school wo n't be enough. The kids look sobered by this. ROBERTA Come to think of it, we'll probably also need to meet before school. Lots of grumbling : `` Say what?'' `` No way!'' `` Before school?'' I ` ma be sleepwalking!'' ROBERTA You've heard of Navy Seal Training? Well, this is gon na be Roberta String Training. ANOTHER ANGLE - Two young men and two young women walk in, carrying violins. We realize from the scar that one is NAEEM -LRB- 20 -RRB-, now a strikingly handsome man, over six feet tall. With him is DE SEAN -LRB- 19 -RRB-, a short guy with dreadlocks, looking more like a rapper than a violinist. GUADALUPE -LRB- 19 -RRB-, walking with a cane, is now a beautiful young woman, her long braid pinned up. The fourth is a reserved Puerto Rican woman -LRB- 20 -RRB-. ROBERTA Oh my god! Naeem! De Sean! -LRB- hugs them. -RRB- Guadalupe! She hugs her, then looks closely at the other woman. ROBERTA Lucy? Is that you? The woman snaps her fingers and smiles. Roberta laughs and embraces her, then turns to the students. ROBERTA Kids, these are four of my very first violin students and I've asked them to play in the concert with us. -LRB- to the alumni. -RRB- I was just telling them how hard they're gon na have to work. DE SEAN -LRB- to class. -RRB- Take it from me - this lady do n't lie. Y' all are gon na work your butts off.",
"INT. RAMON'S HOUSE - NIGHT Ramon's father carefully reads the violin contract while Ramon and Concepcion anxiously watch. He stops to look up a word in the English - Spanish dictionary beside him. Ramon and his mom are squirming. Manuelo nods as he finishes reading, then SIGNS the contract. Ramon breaks into a smile, throws his little arms around his Papa and kisses him.",
"EXT. RIVER EAST - DAY School's letting out ; Carlos' sister exits, carrying Carlos' violin. A few beats later, Carlos quickly exits, checking his watch. He sees his LOS LEONES teammates standing in a group, and tries to bypass them without being noticed, but they spot him. TEAMMATE #1 Hey Carlos! Where ya goin'? We got a game, remember? CARLOS Yeah, I know, but. I ca n't make it. TEAMMATE #1 What you talkin' about? CARLOS I just ca n't make it. TEAMMATE #2 You got a date with the violin teacher? A beat. CARLOS Yeah. I do. He dashes off, a barrage of Spanish and English curses behind him, and crosses to his sister, waiting for him DOWN THE STREET. He takes the violin from her and carries it himself.",
"INT. CPE MUSIC ROOM - DAY The Fiddlefest kids, including Carlos, Vanessa, Shandra, Ramon, Stephanie, Amanda, Kenny, Simon, Thomas, De Sean and Guadalupe practice Bach's `` Minuet One,'' Roberta leading them and giving direction. They're playing badly. Rachel plays as well, but walks around the room making corrections. It's early morning, and the kids look half - asleep. ROBERTA Frog! Frog! I need more accents on the down beat! More bow! More! They play a few more bars and still sound pretty bad. ROBERTA Stop! Stop! -LRB- they do so. -RRB- You sound horrible! Is n't anyone practicing? CARLOS How can we practice? We're rehearsing all the time. Some kids laugh, including Stephanie. ROBERTA -LRB- to Stephanie. -RRB- You think this is funny, Stephanie? -LRB- to all of them. -RRB- You think the four hundred people who've bought tickets so far will think it's funny too? You think Itzhak Perlman will think it's funny that he's donating his time and you're all gon na stink? Vanessa yawns and Roberta sees her. Uh - oh. ROBERTA Am I boring you, Vanessa? VANESSA No. It's 7:30 in the morning. I'm just tired. ROBERTA There's no time to be tired. -LRB- to all, getting her violin in position. -RRB- Let's try it again.",
"INT. ARNOLD AND DOROTHEA'S APARTMENT - DAY Dorothea opens the door for Roberta who just charges in, agitated, without even saying hello. We sense that Dorothea too, is troubled by something. ROBERTA I must have been crazy to agree to this. They're never gon na be ready. And you should hear the Bach Double! A disaster. So the good news is tickets are selling like hot cakes, but the bad news is that the kids sound like shit. DOROTHEA There's more bad news. We've lost the Y. Roberta looks at her, aghast. ROBERTA What?! DOROTHEA They had a flood - a water heater burst. The concert hall was damaged and they've cancelled all events. ROBERTA Until when? DOROTHEA `` Until further notice.'' ROBERTA This ca n't happen! We've sold tickets! We've done publicity! The concert's in three weeks! DOROTHEA I've been on the phone all morning calling other theaters. Nothing's available. They both sink into the couch, completely undone by this. ROBERTA Just keep looking.",
"INT. ROBERTA'S BROWNSTONE - NIGHT The Fiddlefest kids are crammed into Roberta's house, -LRB- including De Sean, Guadalupe, Ramon, Vanessa, Shandra, Carlos, Thomas, Stephanie, Amanda, Kenny, and Simon -RRB-, rehearsing `` Orange Blossom Special.'' They play badly. Rachel helps Roberta correct students. ROBERTA Stop! Someone's playing the wrong notes! And you should n't need your music anymore! Except for the Bach Double, everything has to be memorized by next rehearsal! The kids look at each other, daunted. ROBERTA And you sound like you're sleepwalking. Your heart's not even in it. VANESSA Maybe'cause we do n't have a place for the concert. Roberta looks at her, and then notices the despondent looks on many of the kids' faces. ROBERTA Well, you're right. This might all be for nothing. So we can either keep on rehearsing in case we find a place - or we can just. give up. DE SEAN Am I hearing right? Did you use the words `` give up''? -LRB- to the students. -RRB- Let's take a vote. How many of you want to give up? No one raises a hand. Roberta takes this in. GUADALUPE See? You taught us well.",
"INT. ROBERTA'S BROWNSTONE - KITCHEN - DAY It's early morning. Lexi cooks breakfast while Nick and Roberta look at scribbled - on, marked - up lists. ROBERTA What about in the Bronx? NICK There's nothing. -LRB- beat. -RRB- Why do n't you just do it in one of the schools? It'll be a lot smaller but - ROBERTA We wo n't make enough money. LEXI What about postponing it? ROBERTA Itzhak and Arnold are booked all summer. They all look depressed. Lexi places an equally depressing - looking stack of pancakes on the table. There's a BANGING on the door, startling everyone. DOROTHEA -LRB- O.S. -RRB- It's Dorothea. Nick opens the door and Dorothea rushes in, out of breath, talking a mile a minute. DOROTHEA I have good news - really good news. Arnold got a call from his friend Wally Scheur who heard about us losing the Y and wanted to see how he could help - and then Wally had this brilliant idea and called his friend Isaac Stern and it's all arranged! We have a new place for Fiddlefest! ROBERTA Where? DOROTHEA Carnegie Hall. Dorothea grins from ear to ear, Nick and Lexi whoop and holler, and all wait for Roberta to jump up and down for joy - but she looks stricken. ROBERTA -LRB- panicked. -RRB- Carnegie Hall?",
"INT. CARNEGIE HALL - DAY CLOSE ON THE CEILING OF CARNEGIE HALL, revolving slowly. PULL BACK TO REVEAL THIS IS ROBERTA'S POV She stands on the empty stage, gazing at the ceiling as she slowly turns around. She's holding her violin case. She looks at the UPPER BALCONIES - THE LOWER BALCONIES - THE ORCHESTRA SEATS. Her footsteps echo as she walks towards the front of the stage, then stops. CLOSE ON ROBERTA We can see her imagining the audience on the night of the concert. She ca n't believe her eyes. A beat, and she looks around to make sure she's alone. She takes out her violin, takes a deep breath as she looks out towards her `` audience,'' then starts to play the second violin part of the Bach Double Concerto. Suddenly, there's the SOUND of a stage door opening. Roberta stops. MALE VOICE -LRB- O.S. -RRB- Incredible sound in this room, no? Roberta turns to see ISAAC STERN approaching her. She's completely flustered. ROBERTA Oh my god - Isaac Stern. ISAAC STERN You must be Roberta. ROBERTA Thank you so much for helping us. ISAAC STERN -LRB- looking out at the hall. -RRB- Would you believe in 1960, they tried to tear this place down? They wanted to replace it with a bright red skyscraper - we called it `` the red terror.'' ROBERTA You're kidding. ISAAC STERN We had to fight like hell, but with a lot of help, we saved Carnegie Hall. Roberta takes this in, relating it to her own struggle. ISAAC STERN If it's all right with you, I'd like to play in your concert. Maybe bring a couple of friends. ROBERTA Yes, of course! That would be great! Isaac nods, then touches her shoulder. ISAAC STERN Do n't give up.",
"EXT. SIDEWALK CAFE, UPPER WEST SIDE - DAY Roberta pours nervous energy into her cappuccino, adding cinnamon, chocolate, and sugar, stirring loudly. Dan sits across from her, observing. ROBERTA I just do n't see how I'm gon na do this. It's huge. It's gigantic! It's Carnegie Hall! And listen to this : now Isaac Stern wants to play with us - Diane Monroe, Michael Tree - there's other people calling - DAN That's fantastic! ROBERTA Fantastic? I'll never get the kids up to speed in time, I'll never get myself up to speed. I'm gon na be playing side by side with the world's greatest violinists. DAN And `` the world's greatest violinists'' are playing side by side with you because they want to help you win this fight. He offers her a forkful of some decadent - looking chocolate cake, but she shakes her head. ROBERTA Yes, but. you do n't understand. Maybe there's a good reason why I never made it as a violinist - maybe I just ca n't cut it. I keep blaming it on not having enough early training, but if I were talented, if I had a gift - DAN But you do have a gift. You're gon na put thirty East Harlem kids on stage at Carnegie Hall not because they're prodigies, but because you got them to stick with something that's hard as hell and to strive for excellence - which, by the way, I certainly was n't striving for when I was their age. Not to mention the other ten years' worth of students whose lives were changed because of you. That's your talent, Roberta. She takes this in, looks at him gratefully and puts her hand over his. He strokes her hand. ROBERTA I'm scared. DAN I know. -LRB- beat. -RRB- And by the way, I happen to think you're a pretty good violinist too. ROBERTA You've barely heard me play. DAN I've heard enough to know you're gon na do just fine. Roberta looks at him with trepidation. Dan takes another forkful of his cake. DAN Besides, no one's gon na be paying attention to your playing anyway. Roberta laughs. Dan smiles, glad he got her to lighten up.",
"EXT. CPE 1 - DAY (EARLY MORNING) The Fiddlefest kids -LRB- including Ramon, Shandra, Vanessa, De Sean, Naeem, Guadalupe, Lucy, Simon, Stephanie, Amanda and Kenny - but RACHEL is absent -RRB- stand outside the locked school gate, waiting for Roberta. Some of the kids have their violins out of the cases, tuning them. CARLOS Teacher's late. I think she should be dropped, do n't you? Kids laugh. RAMON Yeah. I do n't think we should let her play in Fiddlefest! A few kids start playing `` CAN - CAN.'' It catches on, and more of them join in. PASSERSBY stop to listen, and some drop change into the open cases. RAMON and a couple of other kids grin at this. CARLOS steps in front of the kids as he plays, and begins an uncanny imitation of Roberta : CARLOS More bow! To the frog! You sound terrible! I ca n't believe how terrible you sound! The kids crack up, but a few spot ROBERTA heading quickly up the street. Carlos is oblivious to this - and no one signals him that Roberta's watching. CARLOS You're gon na make everyone in Carnegie Hall sick to their stomachs! That's right, they're gon na pay a thousand dollars a ticket and you're gon na make them throw up on their gowns and tuxedos! Carlos senses a presence and turns to see Roberta. A tense beat as he awaits her reaction. ROBERTA -LRB- in all seriousness. -RRB- If you're gon na imitate me, do it right. -LRB- corrects his posture. -RRB- Shoulders back. Violin higher. Check your feet. There. -LRB- beat. -RRB- G'head, Carlos. Continue. Carlos freezes. CARLOS No, that's O.K.. You can take it from here. Roberta nods, and addresses the kids as she unlocks the gate. ROBERTA He's right, by the way. You do sound terrible, and you are gon na make everyone in Carnegie Hall sick to their stomachs. The kids start filing in. Rachel comes up the street and catches up to Roberta. RACHEL I need to talk to you. Roberta sees how distressed Rachel looks. ROBERTA -LRB- to kids. -RRB- I'll be right in. Start on Minuet One. -LRB- to Rachel. -RRB- What's wrong? RACHEL We're moving away. ROBERTA What? Where are you moving? RACHEL -LRB- looking downward. -RRB- It's a secret. My father. he's been hurting my mom. We have to leave. ROBERTA -LRB- gently. -RRB- Has he been hurting you too? Rachel shakes her head no, then starts to cry a little. RACHEL I'm sorry about Julliard. and the concert. She hands Roberta her violin. ROBERTA Keep it. Take it with you. RACHEL No. I do n't want to play anymore. ROBERTA What?! You ca n't give up violin, Rachel - it's a part of you. A very important part. Rachel looks anguished. Roberta moves closer and touches her arm. ROBERTA Please honey. Just take it. RACHEL I do n't want to. Roberta looks at her, pained, then hugs her. Rachel quickly kisses Roberta goodbye and exits. Roberta watches her.",
"INT. CPE 1 - MUSIC ROOM - A LITTLE LATER Roberta leads De Sean, Naeem, Guadalupe, Lucy, Stephanie, Thomas, Carlos, Erica and Nicholas in the Bach Double Concerto. The other kids watch. Roberta's on the edge of hysteria. She signals the players to stop. ROBERTA No, no, no! Accent the up bow after the slurred notes and then it'll get you off of those slurred notes! You Double Concerto kids need to be working harder! This is the grand finale of the concert! You're each gon na be sharing a music stand with one of the world's greatest violinists! The kids say `` the world's greatest violinists'' along with her - they've obviously been hearing this a lot. Roberta glares at them. ROBERTA I think we should forget the Bach Double. -LRB- to the other kids. -RRB- And you guys are never gon na get Minuet One. I think we should drop that too. VANESSA No! We can do it, Roberta! CARLOS And we'll get the Bach Double. We will. She stops, takes a breath. NAEEM It's gon na be O.K., Roberta. ROBERTA -LRB- vulnerable. -RRB- You think? All the kids nod. A few beats. ROBERTA O.K. -LRB- not believing it. -RRB- It's gon na be O.K. She crosses to take a look at her music, and the kids exchange looks that say, `` Oh shit. What did we just promise?'' REHEARSAL MONTAGE - SERIES OF SHOTS - DAY 1. Carlos practices violin against the fence around River East School. In the b. g., his buddies make fun of him. 2. Shandra practices in a school stairwell, ignoring a boy who pulls one of her braids as he passes by. 3. Stephanie practices at a bus stop, her eyes closed, then looks up and realizes she's just missed her bus. 4. Ramon practices in his living room, his father watching attentively, then helping him lift the violin higher. 5. Vanessa practices in a crowded school hallway, frustrated as kids keep bumping into her. 6. Roberta, in her nightgown, practices in front of her refrigerator in the middle of the night.",
"INT. ROBERTA'S BROWNSTONE - DAY (LATE AFTERNOON) Pandemonium. Nick and Lexi, both in tuxes, are doing several tasks at once while Roberta, in a simple black velvet dress and stockinged feet, tries to put on her makeup but keeps poking her head out of the bathroom, giving orders. Allegra BARKS outside the back door. ROBERTA Nick - did you feed Allegra? NICK -LRB- fixing Lexi's tie. -RRB- Yes, Mom. ROBERTA Lexi, can you make sure the charts are still in my bag? LEXI I already checked, Mom. ROBERTA -LRB- O.S. -RRB- Check again, please. And look for my repair kit too. ASSUNTA descends the staircase, dressed in a formal dress. She holds a small jewelry box and heads for the bathroom. ASSUNTA Bert, which earrings you want? Roberta sticks her head out and picks the earrings. Assunta enters the small bathroom to work on her own makeup. ROBERTA Nick? Get two more violins. NICK You've already got two - how many emergencies can there be? A beat. ROBERTA Get three more. And make sure a couple of them are half - size. Nick rolls his eyes and runs upstairs while Lexi organizes things by the door : Nick's cello, Roberta's papers, extra violins. Roberta rushes out of the bathroom, adjusting the earrings. She starts compulsively straightening the house. ROBERTA Lexi - can you call about the car again? LEXI Mom, they're not gon na forget to send a car! Nick comes running down the stairs with the violins and stares in disbelief at Roberta fluffing a couch pillow. NICK What are you doing? ROBERTA Just straightening a little. NICK You're insane, you know that? -LRB- grabs the pillow. -RRB- Finish getting dressed! He throws the pillow onto the couch. Roberta heads upstairs.",
"INT. CARLOS' ROOM - DAY IN THE MIRROR - Carlos adjusts his tuxedo. We see the reflection of his baseball bat, glove and trophies in the room behind him.",
"INT. GUADALUPE'S ROOM - DAY Guadalupe's mom pins up her braid, then steps back to look at her daughter, radiant in a floral gown. Her mom starts to cry.",
"INT. SHANDRA'S ROOM - DAY Beverly puts rhinestone - studded barrettes in Shandra's hair.",
"INT. RAMON'S ROOM - DAY ON RAMON - He's in a sharp black suit and looks very dapper. WIDER - Manuelo and Concepcion stand back to admire him, then Manuelo straightens Ramon's tie, brimming with pride over his son.",
"INT. ROBERTA'S BROWNSTONE - FRONT ROOM - DAY ROBERTA -LRB- O.S. -RRB- SHIT! Nick and Assunta look towards the stairs. Roberta comes running down. ROBERTA Can you believe this? She turns around, revealing a RIP on the back of the dress, next to the zipper. The DOORBELL RINGS. ROBERTA It ca n't be time! Is it time? ASSUNTA I'll sew it in the car.",
"EXT. ROBERTA'S BROWNSTONE - DAY Roberta, Assunta and the boys step outside, amazed to see a STRETCH LIMOUSINE double - parked in front, a CHAUFFEUR waiting. LEXI See? I told you they'd send a car. Roberta's open - mouthed. She leads her entourage towards the limo. THE NEIGHBORS come out of their houses to watch. Some lean out windows, gawking. Ad libs. `` Who's that?'' `` It's the Violin Lady!'' LAWRENCE, dressed in a tux, gives Lexi a high sign. The chauffeur helps Roberta and Assunta into the limo while Nick and Lexi start to load the instruments into the trunk.",
"INT. LIMOUSINE - CONTINUOUS Roberta sits down beside Assunta and turns around so Assunta can mend the tear in her dress. Assunta partially unzips the dress and starts stitching it from the inside. ROBERTA Thank you, Mama. ASSUNTA Do n't worry about it. You rip - I sew. ROBERTA Not just for that. -LRB- beat. -RRB- Thank you for getting me out of bed. Assunta stitches, remembering, and smiles. ASSUNTA Do n't thank me - thank Charles. ROBERTA Charles?! ASSUNTA If that jerk had n't of left you, none of this would've happened. Roberta contemplates this. A beat. ROBERTA Thank you, Charles. Her last stitch finished, Assunta rips the needle from the thread.",
"EXT. CARNEGIE HALL - ESTABLISHING - DUSK",
"INT. CARNEGIE HALL - BACK STAGE - NIGHT The kids and their parents are practically boiling over with excitement. Last minute kisses, violin tunings, and clothing adjustments take place throughout the room. The boys are in suits or tuxes, the girls in velvet or flowered dresses, some with bows in their hair, some with their hair up in buns. Roberta tries to take a head count, Dorothea confers with a stage manager, Assunta fixes a boy's tie, and Janet helps one girl with her hair, stopping in the middle to button the back of another girl's dress. ROBERTA Where's Vanessa? Has anyone seen Vanessa? Janet looks at her, concerned. JANET I'll call her house. ANGLE - Roberta sees MRS. ADISA enter the room with Naeem. The two women walk towards each other and embrace. As they start to chat, Roberta suddenly sees someone and excuses herself : BRIAN is walking towards her, wearing a tux. They smile at each other, but Roberta's clearly a bit shaken to see him. They're not quite sure how to greet each other - he takes her hand, and then kisses her on the cheek. BRIAN Congratulations. ROBERTA Thank you. BRIAN I knew you'd get here sooner or later. I'm glad I'm here to see it. A beat. ROBERTA I am too.",
"INT. CARNEGIE HALL - BACKSTAGE WINGS AREA - NIGHT Guadalupe shyly approaches Itzhak Perlman, her mother behind her, silently encouraging her. GUADALUPE Excuse me, Mr. Perlman? He turns around. GUADALUPE -LRB- extends a hand. -RRB- I'm Guadalupe. I've wanted to meet you for a long time. He smiles at her and they shake hands. ITZHAK PERLMAN A pleasure to meet you, Guadalupe. As Guadalupe introduces him to her mother, CARLOS approaches. CARLOS You nervous, Mr. Perlman? ITZHAK PERLMAN Should I be? CARLOS Us kids are gon na be great - I do n't know about you guys. How much did you practice? Itzhak Perlman laughs.",
"INT. CARNEGIE HALL - BACK STAGE - NIGHT Roberta talks to Janet with a worried expression. ROBERTA You called Vanessa's father and mother? JANET No answer at either. A Carnegie Hall staff person in a suit enters. STAFF PERSON Half hour call! It's now half hour call! So pace yourself accordingly. Do n't get more than thirty minutes worth of nervous! The room electrifies with nerves. VANESSA rushes into the room with her father. She's out of breath, her stocking has a big run in it, and she's in tears. VANESSA They stole the car! MR. KLEIN With the violin. ROBERTA Oh my God. -LRB- calling. -RRB- Nick, Lexi - NICK Done. The boys rush over to the extra violins and look to find the right size. VANESSA -LRB- crying. -RRB- And then when we were getting a taxi, I fell down. Roberta comforts her and Janet moves in. JANET C'mon honey - let's get you cleaned up. ANGLE - DAN enters with a bouquet of long - stemmed red roses. He's in a tux and looks very handsome. He crosses to Roberta, hands her the flowers, and they hug. DAN You're glowing. ROBERTA It's terror.",
"INT. CARNEGIE HALL - NIGHT The hall is filling to capacity as people take their seats, the room buzzing with voices.",
"INT. CARNEGIE HALL - BACKSTAGE - NIGHT The CARNEGIE HALL staff person enters. STAFF PERSON FIVE MINUTE CALL. WE NOW HAVE FIVE MINUTES. The tension in the room shoots sky high.",
"INT. CARNEGIE HALL - STAGE - PODIUM - NIGHT Janet stands onstage and addresses the audience. JANET When I became the principal of Central Park East Elementary, I envisioned a school where children could fulfill their highest potential, despite the challenges of poverty and racism. Ten years ago, Roberta Guaspari walked into my office because she needed a job, and because she had a vision that any child could learn the violin. We put our dreams together and created the East Harlem Violin Program which has helped more than a thousand students expand their vision of what's possible in their lives. When a program like this is cut, our children's future is compromised. I want to thank you for your support. Enjoy the concert.",
"INT. CARNEGIE HALL - BACKSTAGE - NIGHT In the b.g. we hear the audience APPLAUDING Janet. Roberta holds up her hands to quiet down the anxious students. ROBERTA Everyone - attention please! They become quiet. ROBERTA I want you all to take a second just to breathe, O.K? Deep breath. The kids breathe. ROBERTA I would like you all to play with your heart, all right? Play like I know you can play. You'll be wonderful. Watch me, do n't look out in the audience - you do n't need to be afraid. It's gon na be really wonderful. So play - play from here. She pats her heart.",
"INT. CARNEGIE HALL - BACKSTAGE CORRIDOR - NIGHT The kids head out towards the stage, the APPLAUSE getting louder as they get closer.",
"INT. CARNEGIE HALL - STAGE - NIGHT CRANE SHOT of the children on stage, in their positions. REVERSE SHOT - FOUR FILLED BALCONIES BACK TO THE STAGE Some of the kids look awestruck by the audience ; one subtly waves hi to her family. Roberta walks out to APPLAUSE. She bows to the audience, turns to the kids, signals them with a slight nod and the BACH MINUET ONE begins. We've heard it in all phases, and now it is flawless. PAN the STUDENTS watching her : VANESSA, wearing a corsage ; SIMON in his red bow tie ; SHANDRA in black velvet with pearls ; NAEEM standing proud and tall, DE SEAN in dreadlocks and a tux ; RAMON playing from his heart.",
"INT. CARNEGIE HALL - BACK STAGE - CONTINUOUS Isaac Stern, Itzhak Perlman, Michael Tree, Arnold Steinhardt, Diane Monroe, Karen Briggs and Mark O'Connor wait back stage, chatting and listening to the kids.",
"INT. CARNEGIE HALL - THE STAGE - MOMENTS LATER The students finish MINUET ONE. There's an exquisite moment of silence, then APPLAUSE.",
"INT. CARNEGIE HALL - THE STAGE - LATER Country fiddler MARK O'CONNOR plays ORANGE BLOSSOM SPECIAL with the kids. He improvises, surprising them as his violin makes the sound of a TRAIN moving through a tunnel. RAMON smiles, awed by this - but he remains calm and professional.",
"INT. CARNEGIE HALL - BACK STAGE CORRIDOR - LATER As the guest violinists head for the stage, we hear their names over a mike, mixed with APPLAUSE : MALE VOICE -LRB- V.O. -RRB- Isaac Stern, Itzhak Perlman, Arnold Steinhardt, Diane Monroe, Michael Tree, Mark O'Connor and Karen Briggs.",
"INT. CARNEGIE HALL - STAGE - MOMENTS LATER CRANE SHOT of the six guest violinists on stage for the Grand Finale, each one sharing a music stand with a student. Roberta nods, and they begin THE BACH DOUBLE CONCERTO. She turns to face the audience as she joins them. MOVE IN AND PAN the performers and students : NAAEM shares a stand with ARNOLD STEINHARDT ; ISAAC STERN stands and plays with GUADALUPE, sitting beside him ; ITZHAK PERLMAN sits and plays next to CARLOS, standing beside him ; MICHAEL TREE plays beside DE SEAN ; DIANE MONROE plays beside LUCY ; KAREN BRIGGS plays beside THOMAS, and MARK O'CONNOR plays beside STEPHANIE. NICK plays cello ; LEXI plays the piano behind them ; and, playing with her own solo music stand, ROBERTA. Their expressions are serious and passionate, broken by occasional smiles lighting on faces : Isaac Stern. Lucy. Carlos. Itzhak Perlman. Diane Monroe. De Sean. The song finishes and the APPLAUSE begins. The OTHER FIDDLEFEST PLAYERS come out from back stage, RAMON in front, and join the rest. More applause. The CAMERA PULLS BACK TO INCLUDE the audience facing the stage, then REVERSES to show the audience standing in the orchestra and balconies. We see the students' PARENTS ; JANET, ISABEL and their families ; ASSUNTA, LAWRENCE and DOROTHEA ; DAN ; CONCEPCION, MANUELO and their sons ; BRIAN ; and DENNIS - even he ca n't stop himself from applauding. BACK AGAIN to the stage where the students and guest violinists bow. and MOVE IN CLOSER on ROBERTA in her moment of triumph.",
"INT. CARNEGIE HALL - STAGE - PODIUM - MOMENTS LATER Roberta addresses the audience. Her voice is strong but softer around the edges ; she is a woman in a state of grace. ROBERTA We're all here tonight because we have a bigger mission : to take the magical spirit of tonight's concert with us out into the world, and to fight for music and art to be a part of every child's education. Thank you. The APPLAUSE is DEAFENING, then slowly diminishes as we :",
"INT. CPE 1 - MUSIC CLASSROOM - DAY Roberta addresses ten first - graders sitting in a circle on the floor. She points to the horsehair on her bow. ROBERTA And this? What's this? BOY The frog hair? Roberta and the kids laugh. ROBERTA Did you ever see a frog with hair? The boy smiles and shakes his head. A FEW KIDS It's horsehair! ROBERTA That's right. -LRB- to the boy. -RRB- But you're right, there is a frog. Can you show me where it is? One girl raises her hand with urgency. GIRL Ooh! I know! ROBERTA Sssh - let him answer. The boy points to the frog of the bow and Roberta smiles. And as she continues her lesson, her voice recedes and we : THE END Roberta Guaspari lives in East Harlem with her daughter Sofia, whom she adopted from El Salvador. Nick is a professional cellist in a graduate music program, and Alexi has been accepted to medical school. Roberta teaches violin to approximately 150 students a year in three East Harlem elementary schools. The East Harlem Violin Program, however, is still not funded by the New York City Board of Education. The money raised from Fiddlefest supported Roberta's violin program for three years. Roberta and Opus 118 continue their fundraising efforts to keep the program alive."
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] | In 1988 New York City, Roberta Guaspari, a recently divorced violinist, lives with her two sons, Alexi and Nicholas Tzavaras, and her mother, Assunta Guaspari. With Assunta's encouragement, Guaspari attempts to rebuild her life and is recommended to the head teacher of East Harlem's Central Park East School. Despite having little experience in actual music teaching, she accepts a substitute violin teaching position at Central Park East. With a combination of her toughness and determination, she inspires a group of children, and their initially skeptical parents. The program slowly develops and attracts publicity, eventually expanding to Central Park East II and River East Schools. Ten years later, the Central Park East, Central Park East II and River East School string programs work with the New York City Board of Education to help eliminate funding for the programs, which leads to Guaspari's early dismissal. Determined to fight the budget cuts, she enlists the support of former pupils, parents and teachers and plans a benefit concert, Fiddlefest, to raise money so that the program can continue. But with a few weeks to go and all participants furiously rehearsing, they lose the venue. However, Arnold Steinhardt, the husband of a publicist friend, is a violinist in the Guarneri Quartet, and he enlists the support of other well-known musicians, including Isaac Stern and Itzhak Perlman. They arrange for the concert to be mounted at Carnegie Hall. On the day of Fiddlefest, Guaspari and her students perform with Perlman, Steinhardt, Stern, Mark O'Connor, Michael Tree, Charles Veal Jr., Karen Briggs, Sandra Park, Diane Monroe, and Joshua Bell, increasing donations and making the event a massive success. In the epilogue, descriptions show Guaspari and the Opus 118 program's activities after the events in 1991. | Music_of_the_Heart |
[
"INT. (MONTAGE). NIGHTMARE MUSIC THEME begins as we FADE UP on a SERIES OF SHOTS, all CLOSE and teasing. - A man's FEET, in shabby work shoes, stalking through a junk bin in a dark, fire - lit, ash - dusted place. A huge BOILER ROOM is what it is, although we only glimpse it piecemeal. Then we SEE a MAN'S HAND, dirty and nail - bitten, reach INTO FRAME and pick up a piece of METAL. - ANOTHER ANGLE as the HAND grabs a grimey WORKGLOVE and slashes at it with a straight razor, until its fingertips are off. - CLOSE ON SAME HANDS dumping four fishing knives out of a filthy bag. Their blades are thin, curved, gleaming sharp. - MORE ANGLES, EVEN CLOSER. We can HEAR the MAN's wheezing BREATHING, but we still have n't seen his face. We never will. We just SEE more metal being assembled with crude tools, into some sort of linkage - a splayed, spidery sort of apparatus, against a background light of FIRE, and a deep rushing of STEAM and HEAVY, DARK ENERGY. - And then we see this linkage attached to the glove. - Then the BLADES attached to all of it. - Then the MAN'S HAND slips into this glove - like apparatus, filling it out and transforming it into an awesome, deadly claw - hand with four razor/talons gleaming at its blackened fingertips. Suddenly the HAND arches and STRIKES FORWARD, SLASHING THROUGH a DARK CANVAS, tearing it to shreds.",
"EXT. LOS ANGELES. NIGHT. (2nd Unit) A PULSATION OF LIGHT AND SHADOW. MUSIC DROPS AWAY to a hushed RUSHING OF WIND and DISTANT SIRENS. CAMERA RACKS INTO FOCUS on a HIGH PANORAMA of the San Fernando Valley, its night sky lit from within by a strange GREENISH LIGHT. TITLES BEGIN. CAMERA TILTS DOWN and ZOOMS SWIFTLY into the valley's web of light.",
"INT. CONCRETE PASSAGEWAY. TITLES CONTINUE as TINA GRAY, a strong girl of fifteen in a thin night shift, moves towards us down a dark concrete corridor. Her steps quicken as TITLES appear in the portion of frame she leaves free. A subliminal COLLAGE of SOUND threads in and out of the MUSIC. Distant insane LAUGHTER. Slamming iron DOORS. A bleating animal CRY. A LAMB, white and blank - faced, skitters across her path and on into the dark. No reason why it's there. Then another SOUND, much nearer - the slithering SCRAPE of something like fingernails across slate. It sets our teeth on edge, twists the MUSIC, and sends TINA running.",
"INT. BOILER ROOM. Suddenly TINA's a tiny figure running among huge boilers steam pipes and catwalks - a shadowed forest of iron and stone. She stops, listening intently as the SOUND of tiny hooves suddenly turns into the rattle of DISTANT RAIN. Then she hears RIPPING FABRIC. Someone is shouldering behind a ragged screen of dirty canvas, approaching TINA. CLOSER ON THE CANVAS. The long curved fingerblades suddenly punch through, flashing in the firelight, and begin ripping through the thick fabric, as easily as scalpels through flesh. They make a hideous, extended RIPPING SOUND. TINA rushes away, hands over her ears. ANOTHER ANGLE - as the blinded girl stumbles backwards. Then the canvas flaps free. The blades are gone. The TITLES END, and everything goes silent. CAMERA CIRCLES until TINA's looking right into our eyes. The light from a nearby boiler pours through her thin night dress, leaving her naked and vulnerable. Then a deep, ragged VOICE whispers at her as CAMERA CLOSES IN ON HER FACE. VOICE -LRB- O.S. -RRB- One two, Freddie's coming for you. TINA opens her mouth to scream but only a dry, yellow dust pours out. And at that precise moment a huge shadowy MAN with a grimey red and yellow sweater and a weird hat pulled over his scarred face lunges at her. And it's his fingers that are tipped with the long blades of steel, glinting in the boney light and giving the hulk the look of an otherworldly predator. TINA dodges away, her legs suddenly elephantine and slow. The MAN seizes the trailing hem of her nightgown and hauls her back. The MUSIC shrieks as TINA manages to tear free - the MAN lurches after her with a hoarse SHOUT as we -",
"INT. TINA'S BEDROOM. NIGHT. TINA convulses in bed with a SCREAM, looking around wildly. Someone is KNOCKING on her door. WOMAN'S VOICE -LRB- O.S. -RRB- You okay, Tina? TINA'S MOTHER sticks her head in with a worried look. TINA sits up and blows out a breath, groggy. TINA Just a dream, Ma. -LRB- more to herself. -RRB- Damn dream, is all. The woman, once attractive, ventures a step into the room. A MAN hovers BACKGROUND. TINA'S mother waves him away without looking, shoving a strand of bleached hair from her eyes. She appraises her daughter. TINA'S MOTHER Some dream, judging from that. She nods at TINA's nightshift. TINA looks down at her nightgown, only now aware of the chill penetrating it from the room. There are four long slashes up its middle, cleanly cut as if by scalpels. MAN -LRB- OS. -RRB- -LRB- distant, annoyed. -RRB- You coming back to the sack or what? TINA'S MOTHER Hold your horses. -LRB- lower, to Tina as she stands to leave. -RRB- You got ta cut your nails or stop that kind of dreaming, Tina. One or the other. The woman shuts the door behind her. TINA looks back to her nightgown. TINA -LRB- low. -RRB- Oh, shit. She suddenly snatches up the cross that hangs over her head, her face white as her sheet. FADE TO BLACK BURN ON THE FIRST DAY CHILDREN -LRB- OS. -RRB- -LRB- singing. -RRB- One two, Freddie's coming for you. Three four better lock your door Five six grab your crucifix.",
"EXT. HIGH SCHOOL. DAY. FADE UP ON SHOT OF this large highschool and its crowds of STUDENTS. FOREGROUND, TINA climbs out of a cherry - red 1959 Cadillac convertible with two other students, best friend NANCY WILSON, and Nancy's boyfriend and owner of the car, GLEN LANTZ. FOREGROUND several GRADESCHOOLERS are playing jump - rope, and the old ditty they sing continues unbroken from TINA's bedroom. ROPE JUMPERS Seven eight, gon na stay up late! Nine ten - never sleep again! MOVING ANGLE FAVORING NANCY. She's a pretty girl in a letter sweater, with an easy, athletic stride and the look of a natural leader. GLEN, holding her hand, wears one of the school's football jerseys ; a good - natured, bright kid. Tina's in mid - conversation. TINA -LRB- referring to kids' song. -RRB- That's what it reminded me of - that old jump rope song. -LRB- shudders. -RRB- Worst nightmare I ever had. You would n't believe it. Nancy nods. NANCY Matter of fact I had a bad dream last night myself. TINA turns to NANCY, but before either can say more, ROD LANE, a lean, Richard Gere sort in black leather and New Wave studs joins up with them and interupts. ROD -LRB- to Tina. -RRB- Had a hardon this morning when I woke up, Tina. Had your name written all over it. Tina cracks her gum with a look of withering indifference. TINA There's four letters in my name, Rod. How could there be room on your joint for four letters? The guy's stopped in his tracks. ROD Hey, up yours with a twirling lawn mower! He cuts off across the lawn. TINA Rod says the sweetest things. NANCY He's nuts about you. TINA Yeah, nuts. TINA makes a face and rakes her fingernails across a tree as she passes. TINA -LRB- CONTD. -RRB- -LRB- yawns. -RRB- Anyway, I'm too tired to worry about the creep. Could n't get back to sleep at all. -LRB- beat. -RRB- So what you dream? NANCY Forget it, the point is, every - body has nightmares once in a while. No biggy. GLEN Next time you have one, just tell yourself that's just all it is, right while you're having it, y' know? That's the trick. Once you do that, you wake right up. At least it works for me. TINA looks at GLEN sharply. He kisses NANCY and darts off for class. TINA Hey! You have a nightmare too? But GLEN's gone. TINA -LRB- CONTD. -RRB- Maybe we're gon na have the Big Earthquake. They say things get weird just before that. BELLS ARE RINGING, and STUDENTS crowding ; TINA and NANCY are drawn into the crush. FADE TO BLACK",
"EXT. A VALLEY STREET. NIGHT. ANGLE ON A MODEST HOME ; no car, just a couple of BIKES in the drive. Every light in the house and yard is turned on. We HEAR the rock group MADNESS played at a ` No adults home' volume.",
"INT. TINA'S LIVING ROOM. NIGHT. ON GLEN, dialing. Nancy and TINA are watching, giggling. TINA I ca n't believe his mother let him come over here. NANCY Right. Well, she did n't, exactly. GLEN shoves a cassette into TINA's Ghetto Blaster. GLEN -LRB- to TINA. -RRB- See, I got this cousin who lives near the airport, that it's okay for me to stay with, right? So I found this sound effects tape at Licorice Pizza, and. The phone is answered. GLEN jerks the tone arm off the record with a SCRUUPT! GLEN -LRB- CONTD. -RRB- Hello, Mom? -LRB- pushes the ` play' button. -RRB- Yeah, out here at Barry's. A JET PLANE begins to make itself heard on the tape. GLEN moves the machine closer to the phone. It's a big plane - sounds like a 747 coming in for a landing. GLEN -LRB- CONT. -RRB- Huh? Yeah, noisy as usual. Glad we do n't live here - huh? Yeah, Aunt Eunice says hello. The Jet is SCREAMING IN now, full flaps and howling like a monstrous banshee. NANCY and TINA dissolve into muffled giggles. GLEN -LRB- CONT. -RRB- -LRB- shouting over the din. -RRB- Right, right - I'll call you in the morning! Right! Huh? Yeah, sure, I, huh? Suddenly the tape goes silent. GLEN blanches. Next moment another ENGINE is heard, but this one is a FORD LOTUS screaming by at 180 mph. GLEN -LRB- CONT. -RRB- -LRB- reacting to his mother's reaction. -RRB- Uh. some kid's drag racing outside, I think. The sound effect changes abruptly to a SPEEDING SEDAN - and the ages - old SCREECH of BRAKES, last - second SCREAM and horrible COLLISION. NANCY gamely tries to find the right button to turn it off, but misses. There's a loud SCREEK of fast - forward mayhem - Glen improvises desperately. GLEN -LRB- CONT. -RRB- Listen, Mom, I got to go - I think there's been an accident out front - I - NANCY jumps back from the cassette player - WORLD WAR II bursts out at top volume - MACHINE GUNS, HAND GRENADES, DIVING BEARCATS and SHOUTS of charging Huns. GLEN makes a last - ditch dive and flings the cassette out of the machine. Blessed silence at last. GLEN -LRB- CONT. -RRB- Right. I'll call the police. No, just some neighbors having a fight, I guess. I'm fine, I'm fine! Call you in the morning! He hangs up and sags back. NANCY Worked like a charm. GLEN Jesus. TINA shoves another cassette in, and MICHAEL JACKSON'S ` THRILLER' blasts from the STEREO. The kids relax, the CAMERA GLIDES PAST THEM TO THE WINDOW. The WIND is moving the bare TREE BRANCH outside. CAMERA PANS BACK to the comfortably threadbare room, uneasy. We see NANCY poking at a flame in the hearth as TINA comes FOREGROUND to draw the drapes. NANCY Nice to have a fire. TINA Really. Turn ` er up a little. NANCY turns a nearby valve handle, and the gas fire climbs brightly over its artificial log. TINA joins her, heartened. NANCY Maybe we should call Rod, have him come over too. He might get jealous. TINA Rod and I are done. He's too much of a maniac. GLEN He should join the Marines, they could make something out of him. Like a hand grenade. TINA laughs despite herself. NANCY brightens. NANCY See? You've forgotten the bad dream. Did n't I tell you? TINA shakes her head, wishing she had forgotten. TINA All day long I been seeing that guy's weird face, and hearing those fingernails. NANCY looks up with a flinch. NANCY Fingernails? -LRB- blinks, laughing. -RRB- That's amazing, you saying that. It made me remember the dream I had last night. TINA looks up. TINA What you dream? NANCY I dreamed about this guy in a dirty red and yellow sweater ; I dream in color, y' know ; he walked into the room I was in, right, right through the wall, like it was smoke or something, and just stared at me. Sort of. obscenely. Then he walked out through the wall on the other side. Like he'd just come to check me out. The story has left the room deathly quiet. Especially TINA seems effected. TINA -LRB- quietly. -RRB- So what about the fingernails? NANCY remembers, imitating the frightful coincidence. NANCY He scraped his fingernails along things - actually, they were more like fingerknives or something, like he'd made them himself? Anyway, they made this horrible nose -. -LRB- imitates. -RRB- sssssccrrrtttt. TINA pales. TINA Nancy. You dreamed about the same creep I did, Nancy. The girls stare at each other. GLEN That's impossible. They look at him. He looks away, as if suddenly listening. TINA What? GLEN Nothing. TINA There's somebody out there, is n't there. NANCY I did n't hear anything. Then there's an unmistakeable SOUND. A distinct SCRAPING against the house, just outside the window. Something multiple, thin and sharp. Something like metal fingernails. NANCY's mouth opens a fraction of an inch.",
"EXT. FRONT OF HOUSE. NIGHT. CLOSE ON FRONT DOOR as a BOLT UNLOCKS, a KEY TURNS, a CHAIN is REMOVED. At last the door swings open and GLEN swaggers out. GLEN I'm gon na punch out your ugly lights, whoever you are. No answer but a slight RUSTLE in the bushes. GLEN does a 180 and walks right back inside. The girls prod him right back out, giddy with giggling fear. GLEN It's just a stupid cat. NANCY Then bring us back its tail and whiskers. The girls push him farther. GLEN edges towards the shadows. Then the SCRITCHING again. GLEN stops ; TINA edges back into the house. TINA Anyway, I do n't have a cat. ANGLE INTO THE SHADOWS. Turned from the girls, GLEN sobers, listening. IN HIS POV we see the street. Silent houses. Motionless trees on empty lawns. GLEN Kitty - kitty? Chow chow chow? Not a living, or dead, soul. GLEN turns back to the girls with a shrug. Instantly, a large FIGURE pounces and throws him to the ground with a shout. The girls SCREAM in panic and run for the house. REVERSE - ROD leaps up and shouts like a sportscaster - ROD And it's number thirty - six, Rod Lane, bringing Lantz down just three yards from the goal with a brilliant tackle! And the fans go wild! ROD dances into the light, flashing a wild gypsy's grin at TINA. The girl's relieved and frightened at the same time. TINA What the hell you doing here? ROD Came to make up, no big deal. Your ma home? TINA Of course. What's that? ROD takes the spindly hand rake he's found and scraps the house's wall. It makes a terrible SCRIIITCHING SOUND. He grins and tosses it aside. ROD Intense, huh? -LRB- sizes up the three. -RRB- So what's happening, an orgy or something? GLEN Maybe a funeral, you dickhead. ROD wheels, a knife suddenly in his hand, as if ready to take Glen's throat out. NANCY breaks between - NANCY - Just a sleep - over date, Rod. Just Tina and me. Glen was just leaving. ROD eyes GLEN, laughs and flips the knife closed and away, putting his arm around TINA's shoulder and laughing as if it's all a great joke. ROD You see his face? -LRB- lower. -RRB- Your ma ai n't home, is she? -LRB- to Nancy & Glen. -RRB- Me and Tina got stuff to discuss. He pulls TINA inside without further ceremony. NANCY Rod. But ROD's already got himself and TINA halfway through the living room, heading into the darker part of the house. ROD We got her mother's bed. You two got the rest. ANGLE BACK ON GLEN AND NANCY. NANCY We should get her out of here. TINA darts to the front door, her blouse half out. TINA Hey - you guys're hanging around - right? -LRB- fake laughing/whine. -RRB- Do n't leave me alone with this lunatic - Pleeeeze, NANCY! She disappears. GLEN looks at NANCY. Too innocent. GLEN So we'll guard her together. Through the night. -LRB- moving closer. -RRB- In each others' arms like we always said. NANCY Glen. Not now. I mean, we're here for Tina now, not for ourselves. She kisses him lightly, then pushes him back. GLEN -LRB- frustrated. -RRB- Why's she so bothered by a stupid nightmare, anyway? NANCY Because he was scary, that's why. GLEN Who was scary? NANCY turns and looks at him. NANCY Do n't you think it's weird, her and me dreaming about the same guy? -LRB- GLEN looks away ; NANCY stares closer. -RRB- You did n't have a bad dream last night, did you? GLEN gives her a funny look. GLEN Me? I do n't dream. He takes her inside. Over the SOUNDS of locks falling shut we FADE TO BLACK",
"INT. TINA'S LIVING ROOM. NIGHT. FADE UP ON an old 50's CLOCK, one of those set into the black plaster body of a stalking panther. It's just past 2 AM. PAN the cold hearth and darkened living room to REVEAL GLEN on the couch, cacooned in sheets. He's listening miserably to the SOUNDS OF LOVEMAKING coming from the next room. TINA peaks, ROD howls. Then silence. GLEN Morality sucks.",
"INT. TINA'S MOTHER'S BEDROOM. NIGHT. This is a slightly larger room than TINA's. Adult. Female. Spare in its appointments. The streetlight throws the narrow bed into broken shadow and light. TINA AND ROD lie in each other's arms in the middle of the big bed. Satiated. TINA I knew there was sometihng about you I liked. ROD yawns into the pillows, happy. ROD You feel better now, right? TINA Jungle man fix Jane. ROD No more fights? TINA No more fights. ROD -LRB- sleepily. -RRB- Good. No more nightmares for either of us then. He pulls the covers over his head. He's almost out already. TINA -LRB- beat. -RRB- When did you have a nightmare? ROD -LRB- under the blankets. -RRB- Guys can have nightmares too, y' know. You ai n't got a corner on the fucking market or something. He rolls over, practically snoring, and pulls another cover over his head. A dirty red and yellow cover. TINA -LRB- sleepily. -RRB- Where'd you get this snotty old thing? SNORES from ROD. TINA yawns, turns off the light and snuggles against ROD, pulling the cover gingerly over herself, too.",
"INT. TINA'S BEDROOM. NIGHT CAMERA MOVES across the room of the original nightmare to find NANCY alone in TINA's bed, staring at the slanting ceiling above the bed. Thinking. We can just hear her HEART beating. She sighs and turns on her side. Immediately the wall above her head turns a faint reddish hue, with a broad yellow smear across its center. All unseen by NANCY, the wall begins to pulse in exact time with her heart's beat. CLOSE ON NANCY'S FACE. She closes her eyes. ANGLE BACK UP ON THE CEILING JUST ABOVE HER HEAD. SOMETHING presses against the surface from the inside. The plaster buldges out as if suddenly elastic, taking the shape of the thing pressing from inside - taking the shape of a man's face. The face opens its mouth. The knives rake through the surface. ANGLE ON NANCY - as plaster dust snows down on her. She jerks awake, sitting bolt upright. The face retracts suddenly - the wall is normal. ANGLE DOWN ON NANCY as she looks up to the ceiling, touching her hair and feeling the plaster dust. REVERSE IN HER POV TO THE CEILING. There are three parallel cuts in the plaster there. About eight inches long. As if cut by sharp knives. Nothing else. Back on NANCY. She draws the covers around her and shivers. Eyes wide open.",
"EXT. TINA'S HOUSE. NIGHT. Not a car or person in sight. A stricken breeze dies in the trees. ZOOM IN on the window of the room where TINA sleeps. By the time we're FULL IN CLOSE on it, the air is again still as death. A moment later a PEBBLE bounces off the pane. The NIGHTMARE THEME appears in the lower registers and holds its breath. Another PEBBLE strikes, with a sharper RAP.",
"INT. TINA'S MOTHER'S BEDROOM. NIGHT. CLOSE ON TINA'S FACE as her eyes open. REVERSE IN HER POV. Another PEBBLE clatters off the glass. TINA raises slowly. TINA ROD. SNORES FROM ROD. TINA sits up. PAST HER TO THE WINDOW. The WIND MOVES AGAIN ; the trees brush the window with their shadows. Then another pebble. RAP! TINA slips to the window.",
"EXT. TINA'S BACKYARD. NIGHT. She looks out on an old yard with a patch of bananna trees rattling in the Santa Ana winds. It seems deserted, though the welling dark wo n't let her be sure. Then another pebble - PAP! - hitting with a sharp RACK FOCUS. A LOW ANGLE TO WINDOW as TINA jumps back, startled. She had n't seen that one coming. But she's drawn back to the glass out of curiousity, straining to see in the dark. It's as if the stones are materializing out of thin air.",
"INT. TINA'S MOTHER'S ROOM. NIGHT. WHAP! This time a heavier stone, and a thin crack bristles across the glass. TINA -LRB- low. -RRB- Who the fuck you think you are, whoever you are?",
"EXT. TINA'S BACK YARD. NIGHT. WIDE ANGLE ON THE REAR OF THE HOUSE. A LIGHT COMES ON. TINA appears in the doorway. TINA -LRB- listening. -RRB- Somebody there? She can see through the backward to a yawning gate and the back alley. No one there. But a word is spoken, as if by wind. VOICE -LRB- garbled. -RRB- Tina. TINA straightens, unable to swallow. There's a ragged, obscene GIGGLE. Deep in the throat. Phlegmy. TINA Who the hell is that? TINA charges across the yard and through the gate, the MUSIC chasing after.",
"EXT. A SERVICE ALLEY. NIGHT. She brakes in the middle of the alley and whirls around. Listening. Shivering in the same thin slashed nightgown. A sharp crank of METAL, and fifty feet down the alley the lid of an ash can rolls from the dark like a huge tin coin and spirals noisily down. LOW REVERSE ACROSS LID TO TINA. Despite herself she comes over and touches it. She comes up with long worms on her fingers. Next moment the exact same shambling MAN from her nightmare staggers into view fifty feet behind her. TINA falls back into the shadows, shaking the worms off her fingers in repulsion. The MAN turns and starts directly for her, something shining on his right hand as he spreads his arms wide. He starts scraping the steel FINGERNAILS along a cinderblock wall. Orange sparks spurt out - his arms elongate until they reach from one side of the alley to the other - and TINA is cut off from her home! CLOSE ON HER as the SCRAPING of the blades gets louder and closer. She begins to shake uncontrollably. TINA Oh, shit, please God. KILLER -LRB- softly, approaching. -RRB- This is God. He holds up his steel - tipped hand like a surgical - steel spider. TINA runs for her life. WIDER ANGLE IN THE ALLEY - a terrifying, all - out footrace between the girl and her pursuer. The MAN is fast ; the distance between them closes with each heartbeat. TINA overturns ashcans - claws her way through a rotten back fence, hammers against a window. Ashen FACES appear, recoil, pull curtains closed and disappear in fright.",
"EXT. TINA'S STREET. NIGHT. TINA runs out onto front lawns, SCREAMING for help. No help comes. In fact, the only response is for all the porch lights on the block to be turned off. The MAN roars out from behind a tree - a tree too narrow to have hidden him - nearly upon the girl! TINA runs in panic - at last making her own home, only to be trapped against its locked front door. She hammers against its thick wood. TINA Nancy! Open the door - Nancy! The MAN slows. He has TINA now and knows it. MAN She's still awake. Nancy ca n't hear you. TINA turns and looks full at the approaching MAN. Smudged by deep shadow, he's big and hideous. He wears the same dirty yellow sweater from the first nightmare - from the wall - hanging and blanket too - and has the same sagging hat and leering grin over his misshapen face. And on his fingers are the steel talons. CLOSE ON HIM as he takes the blade on the end of his right index finger and lopes off one of the fingers of his left hand. Then another. We SEE the PIECES OF FINGERS fall past TINA'S face in SLOW MOTION. ANGLE ON THE GROUND of the FINGERS squirming on the ground, one flopping onto TINA's naked foot. TINA leaps back, sickened, and begins stamping on then as if they were huge bugs. The MAN snaps up his arm and the FINGERS fly back into place on his hand. He leers at TINA - then suddenly lunges at her, sweeping with his cutting hand! TINA's no weak sister - blocks his arm, deflecting the spines, and grabs the MAN's ugly face with her other hand. But the face only slides off to the bone. The MAN presses in, and TINA contorts in horror as the knives slash across her shoulder - cutting her deeply. TINA staggers backward, GROANING, her foot now inexplicably caught in bedclothes! She falls over her bed's conformter, twists away from the man and, like a child, pulls the cover over her! The skull - faced MAN crushes down, and there's a fierce grappling - punctuated by his GRUNTS and the girl's DEAFENING SCREAMS - and they both become totally wrapped in the comforter - until they're beneath it, fighting for life and death.",
"INT. TINA'S BEDROOM. NIGHT. ROD lurches up into CLOSE UP in the lightless bedroom, half - awakened by the tremendous struggle somewhere, somehow inside the dark bed. ROD grabs groggily, lifting the blanket. IN HIS POV we glimpse the dark underside of the blanket - see TWO SHADOWY FIGURES flailing and clawing under the bedspread - TINA and the MAN - or a shape that could be a man - raging against each other. ROD drops the blanket and leaps from the bed, scared full awake and terrified. Then the horrible TINA's GASPS change to the CRIES of a terribly wounded victim. ROD instantly jerks back the bedspread. IN HIS POV we SEE TINA struggling and flailing along on the sheets, the MAN nowhere in sight. ROD T - tina!? Suddenly TINA - eyes turned inward to her tormentor - give an awful jolt - her arms and legs are spraddled as if by overwhelming force and pinned to the bed. Next instant, her nightgown flies apart and four long gashes chase across her torso. From no visible instruments! A huge irrigation of blood floods the bed. Terrified, ROD dives for the light - but at the same moment something invisible grabs TINA, wielding her body in the air and bringing it around in a swift blow that knocks ROD crashing into the light - smashing it to bits. CLOSER ON HIM as he struggles around. In the blue FLASHES OF ELECTRICITY ROD sees TINA sliding up the bedroom wall in a dark smear, dragged feet first! ANGLE ON ROD - paralized by terror! ANGLE ON TINA'S DYING EYES - moving with her up the wall and bumping around the corner onto the ceiling. She's just looking at who's dragging her, eyes glazing. REVERSE IN HER POV - to the shadowy, horrendously ugly MAN, dragging her with fierce glee across the ceiling, literally swabbing the ceiling with her bloody body. SEEN in FORCED PERSPECTIVE, the SHOT carries her across a great distance without seeming to get anywhere - as if the ceiling is an endless plane. ANGLE DOWN ON ROD - on his hands and knees - the lamp next to him blurting blue SPARKS and STROBING the nightmare room. ROD'S screaming up at TINA'S invisible tormentor. ROD What the hell's going ON here! Tina! ANGLE ON TINA - upside down, clawing at the hanging swag lamp above her mother's dressing table - desperate for some anchor. But she's dragged away from it. The lamp swings back, it's wires gushing more SPARKS. CLOSER along the ceiling as TINA rakes a long furrow in the ceiling with her fingernails. But her eyes are glazing, glazing. And then they fall closed. WIDE, UP ON THE CEILING, as her body suddenly flops loose, hanging for an awful moment by the feet over the bed. REVERSE ON ROD - staring like a terrified child. ROD Tina - REVERSE IN HIS POV - as the body falls like a sack of rocks onto the devastated bed, in SLOW MOTION, striking with a huge splash of blood. A sick, awful GIGGLE floats around the room, then ECHOES off into infinity. ROD staggers up, staring around as if hoping to see this phantom. ROD You motherfucker! I'll kill you for that!",
"INT. TINA'S BEDROOM. NIGHT. NANCY is sitting straight up in bed, terrified. The CRIES of ROD are ringing through the whole house. She forces herself to move - bolting from the bed despite her terror and sense of dread.",
"INT. HALLWAY. NIGHT. NANCY flies into the dark hall - crashing directly into SOMEONE who lurches out of the dark before her. She SCREAMS and jumps back - GLEN What the hell's going on!? NANCY Oh - jeez - Glen! Rod's gone ape! ROD -LRB- OS. -RRB- -LRB- sobbing. -RRB- I'll kill you! NANCY grabs the door ; it's locked ; she pounds on it. BAM! BAM! BAM! Things fall into sudden, awful silence on the other side. GLEN's voice cracks with fear. GLEN Rod? -LRB- silence. -RRB- Rod, you better not hurt Tina. ROD erupts into terrible HOARSE LAUGHTER AND SOBBING. Then they hear BREAKING GLASS. GLEN barrels into the door like the football player he is. The frame splinters and they're in.",
"INT. TINA'S MOTHER'S BEDROOM. NIGHT. Just inside the door NANCY slips and goes down hard. GLEN finds her in the dark more by touch than sight. GLEN You okay? NANCY Yeah. Something slippering all over here. -LRB- feeling. -RRB- Tina? No answer. The room is quiet as a tomb. Except for a stead DRIPPING, from all over. Then GLEN finds a LIGHT SWITCH. On the CLICK the devastation is revealed. There's BLOOD everywhere : up the walls, over the clawed ceiling, soaking the killing floor of the bed, and pooling in the dark red puddle where NANCY has slipped and fallen. GLEN Oh, shit. NANCY wobbles up and sees TINA in the center of the ravaged bed. Unmistakeably and utterly dead. NANCY presses against the wall, then contorts and chokes. GLEN -LRB- CONTD. -RRB- -LRB- numb. -RRB- I. I'm gon na call the cops - He bursts from the room. TIGHT ON NANCY. She turns away from the body in repulsion, sticking her head through the shattered window ROD LANE used for his escape, sucking in the cold night air and moaning. FADE TO BLACK",
"EXT/INT. POLICE STATION. NIGHT. FADE UP ON RED LIGHTS and SIREN as an unmarked POLICE CAR speeds to the curb. LT DON THOMPSON, a decent - looking man in his mid - 40's, exits and punches a cigarette from his pack. His shaken aide, a uniformed patrolman named PARKER, greets him. -LRB- CAMERA FOLLOWS them from the car straight into the station and eventually to THOMPSON'S OFFICE. -RRB- PARKER Lieutenant Thompson. Sorry to wake you, but - LT THOMPSON I'd've canned your ass if you had n't. What you got? PARKER stumbles to open the door for THOMPSON as the man bulls into the station at a furious pace. PARKER Her name was Tina Gray. It was her home. Father abandoned ten years ago, mother's in Vegas with a boyfriend. We're trying to reach her now. LT THOMPSON grimaces as if he knows the story. LT THOMPSON What's the Coroner got to say? PARKER Something like a razor was the weapon, but nothing found on the scene. THOMPSON is already to the desk officer SERGEANT GARCIA. The big MAN shoves him a sheaf of papers - SERGEANT GARCIA -LRB- wary. -RRB- Leautenant. You know who - LT THOMPSON Where is she? SERGEANT GARCIA I put her in your office. PARKER scurries after. PARKER Looks like her boyfriend did it. Rod Lane. Musician type, arrests for brawling, dope - LT THOMPSON Terrific. What the hell was she doing there? PARKER She lived there. LT THOMPSON I do n't mean her -",
"INT. INTERROGATION ROOM. NIGHT. THOMPSON enters his office and confronts NANCY and her mother, MARGE SIMSON. LT THOMPSON -LRB- CONTD. -RRB- I mean you. -LRB- accusingly, to Marge. -RRB- What the hell was she doing there? MARGE SIMSON is in her middle thirties ; a good - looking woman despite the hour and circumstances. MARGE Hello to you, too, Donald. THOMPSON stops, the steam suddenly out of him. The girl is a wreck and he winces to see it. LT THOMPSON Marge. THOMPSON glances at PARKER and the other UNIFORMED COPS who are in the room. As a man they head for the door. There's no question who the boss is here. THOMPSON turns to NANCY. She fumbles a smile. LT THOMPSON -LRB- CONTD. -RRB- How you doing, pal? NANCY Okay. Hi, dad. NANCY's dress is dark with dried blood, her skin clammy and the color of paste. MARGE shoots her ex - husband a worried glance. THOMPSON pulls a chair close to NANCY. LT THOMPSON I do n't want to get into this now, god knows you need time. -LRB- hotter. -RRB- But I'd sure would like to know what the hell you were doing shacked up with three other kids in the middle of the night - especially a delinquent lunatic like Lane. NANCY weaves. NANCY Rod's not a lunatic. LT THOMPSON You got a sane explanation for what he did? The girl is shredding a Kleenex, staring off. MARGE Apparantly he was crazy jealous. Nancy said they'd had a fight, Rod and Tina. NANCY -LRB- quietly. -RRB- It was n't that serious. MARGE Maybe you do n't think murder's serious - NANCY sits bolt upright in her chair, her eyes flashing. NANCY She was my best friend! Do n't you dare say I do n't take her death seriously! -LRB- lower, near tears. -RRB- I just meant their fights were n't that serious. The girl holds the woman's eyes a moment, then looks away. NANCY -LRB- CONTD. -RRB- -LRB- to herself. -RRB- She dreamed this would happen. LT THOMPSON What? NANCY She had a nightmare about somebody trying to kill her, last night. That's why we were there ; she was afraid to sleep alone. A tear splashes off the arm of her chair. MARGE She's been through enough for one night. You have her statement. The mother and daughter rise ; THOMPSON raps on the door and PARKER opens it. LT THOMPSON -LRB- to MARGE. -RRB- I suggest you keep a little better track on her - she's still a kid, y' know. MARGE wheels on him. MARGE You think I knew there were boys there!? You try raising a teenager alone. Then she and the girl are gone. THOMPSON glares at PARKER. LT THOMPSON -LRB- low to PARKER. -RRB- See they get home okay. PARKER shoves his hands in his pockets. ON HIS FACE we FADE TO BLACK",
"INT. NANCY'S KITCHEN. MORNING. BURN ON THE SECOND DAY FADE UP ON MARGE SIMSON opening a new bottle of gin, pouring herself a careful shot, drinking it, then chasing it with coffee. Nearby a TV drones the morning news. We ca n't yet see the SCREEN. TV NEWSCASTER -LRB- OS/FILTER. -RRB- In the headlines this morning - a local teenage girl was brutally murdered during an all - night party. MARGE TURNS, startled, seeing NANCY coming downstairs. The girl looks a little better than she did in the Police Station, but her eyes are still red - rimmed, and a vacant stress masks her face. She looks to the TV. Stops. TV NEWSCASTER -LRB- CONTD. -RRB- Police say the victim, fifteen - year - old Christina Grey, had quarrelled earlier with her boyfriend, Rod Lane, a punk rocker with a history of delinquency. Lane is now the subject of a city - wide manhunt. According to - The TV PICTURE has begun featuring a HANDHELD NEWSREEL SHOT of a dark rubber BODY BAG being carried to a CORONER'S VAN. Just before the thing is lifted inside, TINA'S bloodied, white ARM slips from its zippered side and lolls into the dark night air. A man rudely shoves it back inside and pulls the zipper up the rest of the way. WIDER - as NANCY pales visible. MARGE darts to the TV and slaps it off, then turning to NANCY. She looks at the girl a moment, then goes to her and hugs her. MARGE -LRB- kind. -RRB- Where you think you're going? NANCY School. MARGE I could hear you tossing and turning all night, kiddo. You've no business going to school. NANCY pulls away, determined. NANCY I got ta go to school, Mom. Please. Otherwise I'll just sit up there and go crazy or something. MARGE studies her face a moment. MARGE Did you sleep? NANCY I'll sleep in study hall, promise. I'd rather keep busy, you know? She absently drains the woman's coffee cup - then pecks her cheek. MARGE Right home after. NANCY -LRB- cont'd. -RRB- Right home after. See you. MARGE watches the girl disappear outside, then lights a cigarette from the one already burning in her fingers.",
"EXT. STREET. DAY. MUSIC slips back in, subtle but tense as we TRACK with NANCY as she walks alone down a sidewalk edged with thick flowering Oleander. She cocks her head, puzzled, as if sensing something. MUSIC mounts. NANCY looks across the street. REVERSE IN HER POV. A MAN is over there in dark clothes, reading a newspaper, but really watching her. NANCY shrugs and continues on, then stops and looks back again. IN HER POV we SEE the MAN is gone. Next moment - with a MUSIC STING - a BLOODIED HAND jumps out from the opposite direction, clamps over NANCY'S mouth and drags her into the bushes.",
"EXT. BUSHES. DAY. NANCY struggles, twisting against the powerful assailant. A WIDER ANGLE REVEALS ROD LANE - barefoot, clad only in jeans and leather jacket, still caked with dark blood. The rest of his skin is pale as a ghost's. ROD I'm not gon na hurt you. He releases her warily. NANCY makes no move to run or scream, even though several STUDENTS pass on the nearby sidewalk. This reassures ROD just a little. ROD Your old man thinks I did it, do n't he? NANCY He does n't know you. -LRB- eyeing the blood. -RRB- Could n't you change? ROD The cops were all over my house. -LRB- shivers. -RRB- They'll kill me for sure. NANCY Nobody's gon na kill you. He runs his hands down his face, trying to believe that. The two study each other. ROD I never touched her. NANCY You were screaming like crazy. NANCY says this without accusation, just cool observation. ROD Someone else was there. NANCY The door was locked from your side. ROD grabs her hard. His muscular body tenses. ROD Do n't look at me like I'm some kind of fucking fruitcake or something, I'm warning you. VOICE -LRB- O.S. -RRB- Morning, Mr. Lane. The boy jerks around. NANCY's father, his.38 leveled right at ROD's belly, eases out of the bushes. LT THOMPSON Now just step away from her, son. Like your ass depended on it. I'm warning you. ROD backs away, looking once at NANCY with a look of terrible sadness. Then he dives out of the bushes and runs like hell. THOMPSON snaps his revolver to fire - but instinctively NANCY jumps between - NANCY No! THOMPSON jerks his gun into the air, furious. THOMPSON Jesus - are you crazy!? He plunges past the girl.",
"EXT. STREET. DAY. ROD races like a frightened animal across the lawns - but is soon cut off by the PLANECLOTHESMAN NANCY saw watching her before - and then TWO UNIFORMED POLICEMAN, who close from another angle. The chase is short and pitifully off - balance, and ROD is soon wrestled to the ground. Next moment one of the cops is holding ROD'S knife into the air for THOMPSON to see. THOMPSON looks at NANCY, as if to say' I told you.' Background, ROD'S SHOUTS can be heard as he's shoved into a SQUAD CAR. ROD -LRB- O.S. -RRB- I did n't do it -! -LRB- fading. -RRB- I did n't kill her, Nancy! The car's door slams and ROD is gone. NANCY turns to her father, livid. NANCY You used me, daddy! LT THOMPSON -LRB- exasperated. -RRB- What the hell you doing going to school today, anyway - your mother told me you did n't even sleep last night! NANCY spins angrily and walks away. LT THOMPSON Nancy! Hey! But she just keeps going. FADE TO BLACK",
"INT. CLASSROOM. DAY. FADE UP ON an ENGLISH TEACHER and CLASS, NANCY among the kids, trying to concentrate. TEACHER According to Shakespeare, there was something operating in Nature, perhaps inside human nature itself, that was rotten - a canker, as he put it. The TEACHER'S eyes glance across the room. ANGLE ON NANCY ; yawning but listening. TEACHER -LRB- CONTD. -RRB- Of course Hamlet's response to this, and to his mother's lies, was to continually probe and dig - just like the gravediggers - always trying to get beneath the surface. The same was true in a different way in Julius Caesar. Jon, go ahead. She nods to a SURFER who's been waiting uncomfortably in front of the class. He squints at his book and begins, the recitation a struggle between baked and salted brain and the poetry of the Bard. SURFER -LRB- reading aloud. -RRB- Uh, In the most high and palmy state of Rome. WISEGUY STUDENT -LRB- O.S. -RRB- California's the most high and palmy state, man. The SURFER halts with a grin ; KIDS snicker. ENGLISH TEACHER Can it. She glares them back into silence. The SURFER starts over, as we CUT TO NANCY. She's nodding off now, barely able to keep her eyes open in the warm, close boredom of the classroom. SURFER -LRB- O.S. -RRB- In the most high and palmy state of Rome, a little ere the mightiest Julius fell. -LRB- NANCY's head pitches forward ; she jerks it back up, barely awake. -RRB- The graves stood tenantless, and the sheeted dead did squeak and gibber in the Roman street. NANCY's head has sunk again, eyelids drawn as if by enormous weight. By the time her cheek's against the desk, the SURFER'S VOICE is ECHOED and DISTANT. But another voice, TINA'S, is very near, very much present. A sad, thin plaint. TINA -LRB- O.S. -RRB- Nancy. NANCY gives a start. Her eyes lock onto something. REVERSE. TILTED SIDEWAYS, IN HER HEAD'S POV, we look straight out through the open doorway of the classroom into the hall. There, standing in a black pool of fluid, is a full - sized rubber body bag. Dark red and yellow. Weaving slightly, the merest suggesting of movement within it. BACK ON NANCY, sitting upright, wiping the sleep from her eyes, shaking her head like a punchy prozefighter. She looks back out the door. REVERSE IN ` NORMAL' POV - the hallway is empty. But there's a dark smear on its floor tiles. NANCY looks nervously towards the rest of the class. No one else has noticed a thing outside the door. All are dumbly spellbound by the SURFER, who now recites like a deep - voiced robot, his face wreathed by white hair. SURFER O God, I could be bounded in a nutshell and count myself a king of infinite space, were it not that I have bad dreams. ANGLE BACK ON NANCY. She slips from her seat, eye warily on the teacher and class. But no one turns as she disappears through the doorway.",
"INT. SCHOOL HALLWAY. DAY. NANCY turns and looks both directions. No sign of anybody. TINA -LRB- O.S. -RRB- -LRB- distant. -RRB- Nancy. NANCY wheels and sees the bag, prone on the tiles at the far end of the hall, at the end of a long snail's trail of slime. A pale hand thrusts out of it. A moment later, as if pulled by invisible gravity, the bag slides out of sight into an intersecting corridor. NANCY Tina! NANCY starts running for it. ANGLE AT THE CORNER as NANCY races blindly around the turn and smashes straight into a BODY lunging at her from the opposite direction! Both go down. ANGLE AT THE FLOOR. A dazed freshman HALLGUARD cranks herself up on one elbow. She wears a plastic plaque on her red and yellow sweater that reads ` Hall Guard'. Her nose is bleeding from the impact. HALLGUARD Y - you're not supposed to run. W - where's your pass - you got a pass? NANCY leaps up - NANCY Screw your stupid pass! She turns - sees the body bag halfway down this darker, narrower hall, upright again. But just as she sees it, it tips and pitches headlong through a doorway - like some godawful rotten tree finally timbering down. She can hear the sickening CRUNCHING of it falling down a long flight of stairs. NANCY runs for it again. The HALLGUARD staggers up FOREGROUND, bleeding profusely from her eyes and ears. HALLGUARD Hey, no running in the halls! The HALLGUARD raises her hand and we see it's tipped with long metal spikes. REVERSE ANGLE AT THE DOOR as NANCY runs up. NANCY turns to check out the HALLGUARD. She's vanished. NANCY turns and looks down through the open door. The MUSIC sweeps through a strange, brooding movement of strings, mounting towards the NIGHTMARE THEME.",
"INT. A STAIRWELL. NANCY edges into the stairwell and looks down. Looks like there's a fire somewhere down there, from the way the orange light dances. But there's only a low WHITE NOISE. NANCY Tina? No answer. NANCY starts down the stairs.",
"INT. BOILER ROOM. DAY. NANCY comes off the stairs into a dank boiler room. The smear trail is there. It runs behind a cracking, red - hot boiler the size of a diesel locomotive. Everything about the place feels dreadfully wrong, and the MUSIC is deep into the NIGHTMARE THEME when it pauses. TIGHT ON NANCY. Slow terror moves into her face. There's a low, sinister GIGGLE. REVERSE IN HER POV - we see a tangle of pipes, shadows, and the tainted fire of the huge boiler. Then from behind this, deeply shadowed but still identifiable, steps TINA's KILLER. The same filthy red and yellow sweater and slouch hat, the same melted face twisting into a smile, the same GARBLED LAUGH as he slides the long blades from beneath his shirt and fans them on the ends of his bony fingers. NANCY Who are you? MAN Gon na get you. The leering MAN brings the bloodied scalpel - fingernails across his own chest, splitting a nipple. Yellow fluid pours out. MAGGOTS and WORMS. NANCY forgets the question - jerks around and flees in blind panic into the first opening she sees - a dark pipe tunnel.",
"INT. PIPE TUNNEL. ANGLE IN THE NARROW PASSAGEWAY. In the BACKGROUND the killer shambles towards her ; FOREGROUND NANCY breaks into a run. The killer sprints - NANCY tears ahead into darkness. She flees deeper and deeper into the labyrinth of steaming, SIZZLING pipes, squeezing through smaller and smaller openings. The killer is just yards behind her, and soon she's trapped, just as TINA was before her. She presses her back to the wet bricks. There's no hope of fighting him off, for NANCY is not as strong as TINA. But she is smart as hell, and thinking even in this nightmare. So by the time the creep has raised his knives to strike, NANCY has realized something. She wheels and shoves her arm against one of the scalding steam pipes. In the sme split second we HEAR her flesh scald, we",
"INT. ENGLISH CLASS. DAY. NANCY lurches up SCREAMING, arm raised to ward off the invisible blow, books clattering to the floor - other GIRLS nearby SCREAM in surprise as she stumbles over them. Then she stops, confused and groggy from the nightmare. WIDER ANGLE. EVERYBODY is staring at NANCY as if she's gone mad. The ENGLISH TEACHER rushes over, herself frightened by the terror in the girl's eyes. TEACHER Okay - Okay, Thompson! Every - thing's all right now - Nancy! NANCY jerks around with panicked eyes, expecting the killer to leap from any direction. But there's only the sea of staring eyes. NANCY begins methodically picking up her books. TEACHER I'll call your mother. NANCY No! No, really, I'm fine. I'll go straight home. I'm okay. She marches for the door. TEACHER You'll need a hall pass! But the girl's gone.",
"EXT. THE SCHOOL. DAY. NANCY walks out of the building, shaken. Then she pauses at one of the big pine trees out front, stops and rests her head against its bark, teeth set. NANCY starts to shake, and next second she's sobbing like a broken - hearted, frightened child. But she shakes herself silent. Wipes the tears away with a slash of sleeve. She rubs her arm absently, lost in thought, then reacts in surprise and pain. She lifts her arm and stares at the spot she's touched. INSERT ON HER ARM and the BURN there ; about the size and shape of a half - dollar. WIDER ON NANCY. Utterly, chillingly confused. TINA, against the tree inches from NANCY, -LRB- SC 7 -RRB- - turns to her and says - TINA Could n't get back to sleep at all. -LRB- beat. -RRB- What you dream?",
"EXT. A BUSY STREET. DAY. NANCY is walking quickly, head erect, jaw set. Then she enters her father's Police Station.",
"INT. VAN NUYS POLICE STATION. DAY. NANCY crosses directly to the GARCIA. NANCY My dad here? GARCIA looks up from his paperwork. SERGEANT GARCIA Lieutenant. LT THOMPSON emerges from another room, uneasy to see NANCY. LT THOMPSON Decide to take a day off after all? NANCY Dad, I want to see Rod Lane. THOMPSON does n't miss a beat. LT THOMPSON Only family allowed, Nancy. You know the drill. NANCY Just want to talk to him a second. LT THOMPSON He's dangerous. NANCY You do n't know he did it. LT THOMPSON No, I know, thanks to your own testimony, that he was locked in a room with a girl who went in alive and came out in a rubber bag. NANCY flinches ; her father shows the first signs of color in his neck. NANCY I just want to talk to him. -LRB- beat, lower. -RRB- Please, Dad. THOMPSON shifts almost imperceptibly towards GARCIA, then turns back to NANCY. LT THOMPSON Make it fast.",
"INT. CELL AREA. DAY. A GUARD exits pushing a cart of food trays. NANCY waits warily until he's gone, then looks back to ROD LANE. ROD looks more like a captured coyote than a human ; haggard, ribbed, expecting poisoned bait. His hair is wet, his clothes are borrowed jeans and work shirt. NANCY -LRB- low. -RRB- And then what happened? ROD I told you. -LRB- reluctantly. -RRB- It was dark, but I'm sure there was someone else IN there, under the covers with her. NANCY reacts. NANCY How could somebody get under the covers with you guys without you knowing it? ROD How the fuck do I know? -LRB- beat. -RRB- I do n't expect you to believe me. NANCY studies his encrypted eyes. Surprisingly, she looks like she just might believe him. She leans closer with a new thought. NANCY What he look like? You get a look at him? He looks away. ROD No. NANCY Well then how can you say somebody else was there? ROD Because somebody cut her. While I watched. Now the place is so quiet you can hear heartbeats. NANCY Somebody cut her while you watched and you do n't know what he looked like? ROD smiles an insane smile, stuck with a reality no one will buy. ROD You could n't see the fucker. You could just see the cuts happening, all at once. NANCY gives a twitch. NANCY What you mean ` all at once'? ROD -LRB- low. -RRB- I mean, it was as if there were four razors cutting her at the same time. But invisible razors. She just. opened up. By now he's picking at a clot of dark blood on his jacket, as if it was a scab on his own body. Then he catches NANCY watching and turns away to the back of the cell. He smashes his fist into the wall - bone - crushing blows that scare the wits out of NANCY. NANCY Rod! He stops, and his fist is dripping blood as he says in a small, sad voice. ROD I probably could've saved her if I'd moved sooner. But I thought it was just another nightmare, like the one I had the night before. -LRB- beat. -RRB- There. was this guy who had knives for fingers. CLOSE ON NANCY, unable to swallow the gorge rising in her throat. ROD turns to her, and to his surprise she's ashen. ROD -LRB- CONTD. -RRB- Do you think I did it? NANCY No. FADE TO BLACK",
"EXT. ELM STREET / NANCY'S HOME. NIGHT. FADE UP ON ESTABLISHING SHOT as a spooky WIND sets a DOG BARKING down the block. A CAR goes by, then this pleasant residential street falls into silence. CAMERA has MOVED IN on NANCY's well - tended two - story home.",
"INT. NANCY'S KITCHEN. NIGHT. The house is in shadow. Alone, MARGE scrapes the last of the evening's dishes and slips them into the dishwasher. Neither she nor her daughter has touched the food. But MARGE is well into a bottle of gin ; her appetite for that is growing, right along with her dread. She turns and looks up the stairs, calling. MARGE Nancy, do n't fall asleep in there. NANCY -LRB- OS. -RRB- I wo n't. MARGE Get into bed.",
"INT. UPSTAIRS BATHROOM. NIGHT. NANCY I will. NANCY'S in the tub, so drowsy she can hardly rinse without falling asleep. The water in the tub is opaque with suds. Luxurious. CLOSER ANGLE, AT WATER LEVEL ON NANCY. Her eyes droop. She slides closer to the surface of the water, letting its heat sooth her nerves. Her eyes stare straight up, glazed ; her breathing deepens. REVERSE, across to her legs, crooked, one knee on each side of the tub. There's a ripple in the water between. Then something tiny and shiny breaks the surface between them. It pops up with a slithering MUSIC CUE and catches a sliver of light. Then it begins to rise. Higher and higher it rises, soon accompanied by another, then two more shining, gleaming blades, and then the full glove and dark hairy hand and then the wrist and arm, straight up light an evil sapling between the girl's knees, the knives bloosoming into a bright flower of razor sharp steel in the air, moving over the girl's belly. The hand rears back, the claws arch to strike. MARGE -LRB- OS/APPROACHING. -RRB- Nancy? MARGE raps on the door. The instant she does NANCY jerks up, opening her eyes groggily. The dark wet arm, hand and knifes are gone. NANCY What? MARGE -LRB- OS. -RRB- -LRB- through the door. -RRB- You're not falling asleep, are you? You could drown, you know. NANCY Mother, for petesakes. MARGE -LRB- OS. -RRB- It happens all the time. -LRB- brighter. -RRB- I've got some warm milk all ready for you. Why do n't you jump into bed? -LRB- fading. -RRB- I'm gon na turn on your electric blanket, too. C'mon, now. -LRB- then she's gone into another room. -RRB- NANCY -LRB- low. -RRB- Warm milk. Gross. She slides down to water level again, and sings softly, thoughtfully to herself. NANCY -LRB- CONTD. -RRB- One, two, Freddie's coming for you, three four, better lock your door, five six, grab your crucifix, seven eight gon na stay up late, nine ten, never sleep again. The next instant she's jerked with incredible violence straight down beneath the surface of the tub - as if the bottom had suddenly dropped out and she was in a bottomless well!",
"EXT. UNDERWATER SHOT. NIGHT. LOOKING UP PAST HER ANKLES we SEE NANCY pulled sharply down into really deep water, the dim light of the surface and bathroom beyond receding with each yank. And yet she somehow flails and gasps and struggles back towards the surface, managing by pure panic to break the surface with her hands!",
"INT. HALLWAY OUTSIDE BATHROOM. MARGE rushes to the door and listens, alarmed at the wild SPLASHING audible through the locked door. MARGE Nancy! NANCY!",
"EXT. UNDERWATER SHOT. NIGHT. MARGE'S VOICE reaches to the girl, who thrusts up through main force and breaks the surface with her head and shoulders.",
"INT. BATHTUB. Gasping and choking, NANCY breaks the surface of her bathwater, like a drowning sailer getting one last chance. Her mother's VOICE booms over her, ECHOED and frantic - and the loud BANGING on the door finally opens her eyes. She turns and calls gasping to her mother - NANCY Mommy! REVERSE ON THE DOOR - as MARGE, using the old hangar through the doorhandle truck, makes it into the room. She rushes across to the tub. NANCY is staggering up in the bathwater, again with solid porcelain beneath her feet. MARGE I told you! Hundreds of people a year drown like that! The mother throws a towel around the gasping girl, helps her from the tub and begins drying her like a child. NANCY looks like she's likes paralized with some sort of weird dread. MARGE You okay? NANCY Great MARGE -LRB- not believing it for a minute. -RRB- To bed with you, c'mon. MARGE rushes out to get the room ready. NANCY turns and looks at herself in the cabinet mirror, then opens the medicine chest and begins a quick, furtive search. CLOSER as she takes out the box of No Doz and slips it into her robe.",
"INT. HALLWAY. NIGHT. NANCY emerges from the bathroom yawning. MARGE follows as the girl plods obediently to her room. MARGE No television, forget the homework, no phone calls. NANCY No, Mother. Yes, Mother. No, Mother.",
"INT. NANCY'S ROOM. NIGHT. MARGE And no school tomorrow, either. you take a little vacation, relax and rest for a change. NANCY Yes, Mother. G'night. MARGE offers a smile, and a little yellow pill. MARGE Take this, it'll help you sleep. NANCY Right. NANCY pops it in her mouth and swallows obediently. MARGE leans to her with a kiss. MARGE Sleep tight, do n't let the bedbugs bite. MARGE goes out, relieved. NANCY closes the door, leans against it and spits the pill into her hand. She tosses it straight out her window and takes a NoDoz. FADE TO BLACK FADE UP ON INSERT OF TELEVISION SCREEN. A MONSTER MOVIE in BLACK AND WHITE. NO SOUND from the set. PULL BACK to REVEAL NANCY propped up in bed, furtively watching. Or is she just thinking? A bedside CLOCK reads 12:45 pm. The girl YAWNS. She shakes herself violently and sits up straighter, forcing herself to concentrate on the movie. ON THE TELEVISION SCREEN. A DIVER struggles to keep facing a large circling shark. ON NANCY. Her eyes droop shut - then she jerks awake, rattling her head as if it were a radio drifting off station. She tumbles out of bed, throws open the window and takes a deep breath of the cool night air.",
"EXT. NANCY'S HOUSE AND STREET. NIGHT. HIGH ANGLE, AT SECOND - STORY LEVEL. NANCY looks directly across the street to a lighted, open window. Its curtains, sucked out and waving in the night breeze, give the only motion to the deserted street. Then someone pitches out of the dark at her. NANCY gives a YELP - then clamps her hand over her mouth as she recognizes GLEN, balanced precariously on the rose trellis outside her window. GLEN Sorry! Saw your light on. Thought I'd see how you were. She gets herself together, barely. NANCY Sometimes I wish you did n't live right across the street. GLEN Shut up and let me in. You ever stand on a rose trellis in your bare feet?",
"INT. NANCY'S ROOM. NIGHT. NANCY looks over her shoulder to make sure her mother has n't heard. GLEN's already through her window and planted on her bed. NANCY points to a chair. NANCY If you do n't mind. GLEN crosses to the chair and plops down. GLEN So. I heard you freaked out in English class today. There's no maliciousness in his voice, and the familiar frankness is actually comforting to NANCY. NANCY Guess I did. GLEN Have n't slept, have you? NANCY Not really. NANCY tries to smile, but ca n't fake it very well. GLEN looks her over. GLEN You look dead and rained on, if you want the ugly truth. And what you do to your arm? She shrugs, trying to keep it casual. NANCY Burned myself in Englsh class. She hazards a look in the mirror, and her jaw drops. NANCY M'god, I look twenty years old. -LRB- turning back to him. -RRB- You have any weird dreams last night? GLEN Slept like a rock. NANCY -LRB- pleased. -RRB- Well at least I have an objective wall to bounce this off. -LRB- off. -RRB- You believe it's possible to dream about what's going to happen? GLEN No. NANCY You believe in the Boogey Man? GLEN One two, Freddie's coming for you? No. Rod killed Tina. he's a fruitcake and you know it. NANCY You believe in anything? GLEN I believe in you, me, and Rock and Roll. And I'm not too sure about you lately. NANCY thinks. NANCY Listen, I got a crazy favor to ask. GLEN Uh - oh. NANCY It's nothing too hard or anything. -LRB- beat. -RRB- I'm just going to. LOOK for someone, and. I want you to be sort of a. guard. Okay? GLEN makes the Twilight Zone sound. NANCY Okay? GLEN Okay, okay. -LRB- beat. -RRB- I think. She comes very close to him. NANCY You wo n't screw up, right? I mean, a whole lot might depend on it. The way she's looking at him gives him the creeps. GLEN Okay, I wo n't screw up. Nancy takes a deep breath. Then without another word turns off the TV and the light. GLEN -LRB- IN DARK. -RRB- Jesus, it's dark in here. NANCY Shhh. Now listen, here's what we're gon na do.",
"EXT. ELM STREET. NIGHT. FADE UP ON NANCY, still in her pajamas, walking through the shadowy streets near her home, listening for the slightest sound. We MOVE with her. But nothing, not even the dog barking earlier, is there now. NANCY peers into the darkness of lawns and trees behind her. NANCY -LRB- stage whisper. -RRB- You still there? Across the street and a distance away, GLEN steps from behind a tree. GLEN Yeah. So? NANCY Just checking - keep out of sight! GLEN throws up his hands in exasperation and walks back out of sight. NANCY turns and looks down between the houses, deep into a dark alleyway. Then she forces herself to walk into it.",
"EXT. ALLEY. NIGHT. MOVING WITH HER as she makes herself go deeper and deeper into shadows. Each time she pauses and waits, the MUSIC grows more threatening and expectant. The feeling is of immense tension - we're sure the killer will come screaming out on her at any second. But he does n't. In fact absolutely nothing happens, and NANCY emerges from the far end of the alley unscathed. The only thing strange is that she now finds her self looking across the mall to",
"EXT. POLICE STATION. NIGHT. The Police Station. It takes her a little by surprise, it just seems to have appeared. MUSIC creeps into the NIGHTMARE THEME as NANCY whispers hoarsely back down the dark alley. NANCY -LRB- CONTD. -RRB- Still there?",
"EXT. ALLEY. NIGHT. We only HEAR the DISTANT VOICE, slightly ECHOED. GLEN'S VOICE -LRB- OS. -RRB- -LRB- yawning. -RRB- Still here! NANCY On your toes, right? NANCY stares into the dark trying to see him, but she ca n't. She turns back and makes up her mind to move without him in sight.",
"EXT. POLICE STATION. NIGHT. MUSIC MOUNTS as we MOVE WITH NANCY across the lawns to the police station, creeping to the first lighted window she sees. It's a low, barred basement window, and NANCY reacts as soon as she looks through it.",
"INT. ROD'S CELL. NIGHT. NANCY'S POV down into ROD LANE's cell. The boy is on his rough cot, twitching in disturbed sleep. And a long SHADOW is sliding across the wall. A big SHAPE appears in the shadowed corridor outside the boy's cell, and as IT walks closer NANCY can barely see it's the shambling, grimly scarred man with the filthy red and yellow sweater and strange slouch hat pulled across his brow. The KILLER from all of their nightmares. And this giant shadow of a man passes through the bars of the cell, like so much evil Jello. Halfway through he pauses, turning to check over his shoulder. We see the bars clearly penetrating his body, going in his head, passing out his ankles. Then he turns back to ROD and moves forward, and within another heartbeat is beside the boy.",
"EXT. POLICE STATION. NIGHT. NANCY draws back sharply, swallowing in terror. She looks behind her for help. NANCY -LRB- CONTD. -RRB- Glen. No answer. NANCY -LRB- CONTD. -RRB- -LRB- louder. -RRB- Glen?! The street is absolutely deserted. There is no motion, and no sound save one : the distant but unmistakeable sound of GLEN SNORING. NANCY -LRB- CONTD. -RRB- GLEN! A beat of silence after the shout's echoes die, then the steady, boyish SNORES again. NANCY swears under her breath and jerks back around, forcing herself to look again into ROD's cell.",
"INT. ROD'S CELL. IN HER POV - the killer picks up ROD's bedsheet and tests it between his powerful hands. Without thinking, NANCY bangs against the glass. NANCY -LRB- CONTD. -RRB- Rod! Look out! The KILLER wheels around, locking eyes with NANCY. The girl goes white. The man's face is in the light, and it's horrible - seething with hatred and a twisted, insane intelligence. The hold of those eyes is only broken when ROD rolls up on an elbow with a deep, troubled GROAN. The instant ROD does this, the KILLER fades into the shadows in the cell. But even then his eyes hold on NANCY's until the last second he's visible. ROD looks around the cell groggily, runs his fingers through his matted hair, then collapses back on his pillow. No matter how hard NANCY screams, ROD never once looks at the window. He just pulls the twisted covers about his shoulders and succumbs once more to sleep. And now the bed sheet is no longer on the bed. The KILLER, materializing out of the shadow again, is holding it between his hands like a garrote. He looks up and leers at NANCY, then moves for ROD.",
"EXT. POLICE STATION. NIGHT. ANGLE BACK ON NANCY. She pounds on the window, then turns in frustration and yells into the night. NANCY Glen! She turns back to the cell in desperation.",
"INT. ROD'S CELL. IN NANCY'S POV we look into a cell that is quite deserted save for ROD. Sleeping peacefully.",
"EXT. POLICE STATION. NIGHT. NANCY pulls back from the window, stunned. NANCY I swear. Suddenly NANCY feels utterly exposed. She shivers, chilled and vulnerable to the bone in her thin night clothes. She ca n't move. It's as if some great nerve between her instincts and body had been severed. And she hears the SOUND behind her. A sort of filling - vibrating Scrriiitchh. MUSIC sneaks in - the unmistakeable NIGHTMARE THEME, creeping over her. NANCY forces herself, by sheer will, to look. Ahead of her perhaps twenty - five feet, covered with a thick plastic body bag through which we can barely see her face, is TINA. Standing square in the middle of the street. A dark ooze of BLACK EELS roil out of its bottom, and at its top, the zipper CHATTERS down and the greenish - white face of TINA lolls out. She gestures, supplicating, her watery eyes desperate to convey some desperate message. The MUSIC FALLS TO A HUSH. NANCY backs away, eyes streaming tears. NANCY Glen, where are you! Wake up! Glen! DEEP RAGGED VOICE I'm here. NANCY twists around in horror at the same instant the KILLER grabs for her face with his knife - fingers! The girl intinctively pitches back, then scrambles up and runs like hell! NANCY Glen! Glen!",
"EXT. ELM STREET. NIGHT. MOVING WITH NANCY at full gallop, running blind. She crashes through a sawhorse into a new sidewalk, sinking into the wet cement over her ankles. The stuff sticks to her legs in long gluey globs and she can barely pull her feet loose. The KILLER looms nearby, mocking her - his scalpel claws gleaming in the streetlight. He just misses the girl as she wrenches free and flees again, now so winded she can only stagger. MOVING WITH THEM. Time after time NANCY just barely manages to elude the shadowy form, leaping from his reach by inches and pouring on more steam. It's too close to even bother screaming now ; and besides, that would take breath she does n't have. The only SOUND is of RUNNING FOOTSTEPS, RASPING BREATH and the KNIFE - FINGERS WHISTLING through the air.",
"EXT. NANCY'S HOME. NIGHT. NANCY tears across her front lawn and into the open front door of her home, SLAMMING it with all her might. There's a tremendously satisfying CONCUSSION of wood against doorframe, and the LOCKS fall shut.",
"INT. NANCY'S LIVING ROOM. NIGHT. NANCY Glennn! But her voice is garbled as if she's under water, and there's no answer. The only clue to Glen being there at all is his distant SNORING. Innocent. Persistent. Deep. NANCY stops, breath in shreds, face smeared with dirt and tears. Something is clawing the window in the dark of the kitchen. NANCY looks and catches the MAN prying at the glass with his big knife - fingers, the sharp blades SIZZLING against the edges of the glass as they crack it away from the frame. NANCY runs upstairs in blind panic.",
"INT. NANCY'S ROOM. NIGHT. NANCY darts into her unlit bedroom, slams the door and locks it. Safe at last. She listens at the door. Nothing. She crosses to her bed. Next second the KILLER dives through her window and seizes her in a shower of shattered glass! NANCY twists and manages to grab the wrist of his knife hand with both of hers, barely keeping the blades from her throat. The two fall backwards in a terrible, gasping struggle, crashing onto NANCY's bed. Her grip is broken - the MAN stabs - NANCY twists away, backed into a corner of bed and walls. Defenseless, she snatches a pillow up ; the KILLER lashes out - disemboweling the pilow and sending a great gush of feathers flying. NANCY dives for escape in a virtual blizzard. The KILLER manages to snare her with his other hand, and the two crash across the bedside table to the floor, the table and all its contents cascading around them in a whiteout of feathers. ANGLE AT FLOOR LEVEL - CLOSE ON NANCY'S AND THE KILLER'S HEADS. The blades inch towards the girl's face - the drool of the grizzled shadow with the horribly scarrred face spills into her eyes. Feathers are everywhere ; MUSIC is absolutely insane! But just when the points of steel are less than an inch from her eyes, the old fashioned alarm clock thrown to the floor next to NANCY's head goes off with a jarring RINGGGGGGG! Instantly the MUSIC STOPS. And a moment later the room is light. WIDER as NANCY reels up, blinded by the sudden light, SCREAMING AND FIGHTING on her bed. ANGLE ON GLEN, lurching from his own sleep at the frightening noise. He discovers NANCY pressed in terror against her headboard, clutching a pillow like a drowning woman would a straw. It's an intact pillow, and there is n't a feather in sight. NANCY stares incredulously at GLEN, then around the room, untangling herself from her bedclothes. Wary and furious, her voice hoarse. NANCY Glen, you bastard. The boy looks at his friend in groggy alarm. She's absolutely livid, more angry than he's ever seen her, and more strange. GLEN What I do? He reaches for her - she flattens against the wall, eyes hard, and terribly hurt, too. NANCY -LRB- low. -RRB- I asked you to do just one thing. Just stay awake and watch me - Just wake me if it looked like I was having a bad dream. -LRB- eyes wild. -RRB- But you. You shit - what do you do - you fall asleep! She stops herself, wiping a bit of spittle off her lip, alarmed at how out of control she's become. And suddenly she breaks, sinking into her torn bedclothes and rubbing her head. NANCY -LRB- CONTD. -RRB- -LRB- mostly to herself. -RRB- I must be going nuts. MARGE -LRB- OS. -RRB- Nancy? Her mother's door opens OS. GLEN Oh, shit. NANCY composes her voice as best she can. NANCY Yes, mother? MARGE's flip - flops approach outside the door. GLEN barrels out the window - NANCY dives for the bed, jams off the light and disappears under the covers. MARGE, bleary eyed herself, opens the door and flicks on the light. MARGE -LRB- beat. -RRB- You okay? NANCY -LRB- weakly. -RRB- Yeah. Just had a little dream. I'm falling right back to sleep. MARGE -LRB- beat. -RRB- Okay. You need anything, just call. NANCY Okay. MARGE closes the door. NANCY immediately sits up and looks at the window. A single bone - white feather floats down in the moonlight. Then it's sucked outside and is gone.",
"EXT. POLICE STATION. NIGHT. GLEN's CADILLAC CONVERTABLE careens into the parking lot and SCREECHES to a stop. GLEN and NANCY jump out and head for the station. GLEN You mind telling me what's going on? NANCY's races into the station without answering. GLEN -LRB- CONTD. -RRB- Oh, I see. That makes it all perfectly clear.",
"INT. POLICE STATION. NIGHT. NANCY goes straight to the SERGEANT's desk. NANCY Garcia, I want to see Rod Lane again. GARCIA winces. SGT GARCIA I thought when I took the night shift I'd have peace and quiet for a change. NANCY It's urgent, we've got ta see Rod. SGT GARCIA It's three in the morning. Your mother know you're out this late? NANCY -LRB- faking it. -RRB- Of course - look, at least go back and look at him. Just see if he's okay. GARCIA glances at GLEN. GLEN -LRB- faking it. -RRB- We have reason to think there might be something weird going on. LT THOMPSON -LRB- OS. -RRB- Oh, no argument on that. NANCY jumps around at the sound of her father's voice. LT THOMPSON emerges from his office, rumpled and yawning. NANCY Dad - what you doing here? LT THOMPSON It so happens I work here, and there's an unsolved murder. I do n't like unsolved murders, especially ones my daughter's mixed up in - what are you doing here at this hour? You're supposed to be getting some sleep. GLEN Listen, sir, this is serious. Nancy had a nightmare about Rod being in danger, or something, and so she thinks. He trails off, loosing it under LT THOMPSON's glare. Besides, he does n't know exactly what the hell's really going on himself. GARCIA puts his beefy hand on NANCY's shoulder. NANCY I just want to see if he's okay! SGT GARCIA Take my word for it, Nancy. The guy's sleeping like a baby. He's not going anywhere.",
"INT. CELL BLOCK. NIGHT. ANGLE ON ROD in his cell. He's asleep, all right, but not safely so. His bedsheet has come alive. It twitches, pulsates, then snakes towards his throat. ROD stirs, the sheet falls still ; ROD slips into deeper sleep, and the sheet moves again, completing the noose around his neck!",
"INT. BOOKING ROOM. NIGHT. NANCY makes a move for the cell block - NANCY This is n't your average nightmare, Daddy - damn it! The door's locked ; she hauls on it in desperation. LT THOMPSON Now look, Nancy, do n't push it. You've already rubbed my nose in sex, drugs and violence - do n't start throwing in insanity! NANCY takes that one to heart. She wheels on him and pleads, her intensity sobering even to him. NANCY Just go back and check - please! The man takes a beat, then shrugs and nods towards SGT GARCIA. LT THOMPSON Okay, Garcia. What the hell. SGT GARCIA Right. -LRB- feeling in his pockets. -RRB- Now where'd I put the key. He mumbles backs towards his desk. MUSIC BUILDS as we HOLD ON NANCY'S FACE.",
"INT. ROD'S CELL. NIGHT. With a terrible SNAP ROD's sheet jerks tight around his neck. The startled teenager is hauled upright - eyes popping, face purple. He claws at the sheet, but despite his strength he ca n't get his fingers between the noose and his windpipe. He's dragged backwards across the cot.",
"INT. BOOKING ROOM. NIGHT. GARCIA finally has the keys. Urged on by NANCY he fumbles with the lock.",
"INT. ROD'S CELL. NIGHT. ROD'S being dragged backwards, gasping and struggling in vain against the powerful pull - right across his cell and up the wall, too. He clutches blindly at his throat at the far end of the sheet coils around the bars of the high window. Then there's a powerful wrench of the sheet, and ROD'S neck SNAPS. The kid's body sags lifeless. ANGLE THROUGH THE BARS as NANY, GLEN, LT THOMPSON and GARCIA appear in the corridor outside, the girl sprinting ahead. NANCY Rod! But it's too late ; NANCY sinks back in horror as her father and GARCIA rush into the cell. LT THOMPSON Gim me a hand, dammit! GLEN, pale as the sheet that's killed ROD, climbs to the bars and unties the knot. ROD slides down over the SERGEANT'S shoulders, limp as a marrionette with its strings slashed. SGT GARCIA Goddamn loco kid - he did n't have t ` do that - Madre dios! They lay ROD at NANCY's feet ; a strange Pieta. NANCY's father looks at her in spooked suspicion. LT THOMPSON How'd you know he was gon na do this? NANCY says nothing. FADE TO BLACK",
"EXT. FOREST LAWN CEMETERY. DAY. BURN ON: THE FOURTH DAY FADE UP ON a stark afternoon. On a hill of sere grass overlooking the valley, the casket of ROD LANE is lowered into its grave. A small group of FAMILY and FRIENDS watches soberly as the MINISTER raises his hand in benediction. MINISTER Ashes to ashes, dust to dust. May God be with this young man's soul. ON THE FACES of MARGE, LT THOMPSON, TINA'S MOTHER and ROD'S PARENTS. Just for a second or two, in looks too rapid for an outsider to even notice, these adults exchange looks. Furtive, quick glances that suggest an immense something that they all share, something beyond even this second death among their children. Then they are all staring ahead again, as if the others were n't even there. MINISTER -LRB- CONTD OS. -RRB- His life and his death attest to the Scripture's warning that he who lives by the sword shall die by the sword. ANGLE ON GLEN, watching - NANCY, standing alone, not believing it for a minute. MINISTER -LRB- CONTD OS. -RRB- But let us recall also our Lord's admonition that we ` Judge not, lest we be judged.' Let us attempt only to love. And may Rod Lane rest in peace. NANCY -LRB- quietly. -RRB- Amen to that much. The mourners walk away from the grave, MARGE among them. She pauses near a MAN and two WOMEN in black - TINA'S MOTHER, ROD'S PARENTS. They almost, it seems, speak. Then MARGE hurries on. WE MOVE WITH HER as she's joined by LT THOMPSON. Both are worn and on edge. THOMPSON absently lights another cigarette, offering one to MARGE. LT THOMPSON How's Nancy doing? MARGE I do n't think she's slept since Tina died. -LRB- shakes her head. -RRB- She's always been a delicate kid. THOMPSON lights her cigarette, attempting some sort of nonchalance. LT THOMPSON She's tougher than you think. Any idea how she knew Rod was gon na kill himself? MARGE No. All I know is, this reminds me too much of ten years ago. THOMPSON blows a plume of smoke against the hard sky and looks away. LT THOMPSON Yeah. Well. Let's not start digging up bodies just because we're in a cemetery. He gives her a look that could cut stone. MARGE toses down her cigarete and crosses to NANCY. The girl is simply staring off over the valley. MARGE -LRB- very gently. -RRB- Time to go home, baby. She moves her away from the brink of the hill.",
"EXT. CEMETERY PARKING AREA. DAY. MARGE opens the door of the station wagon for NANCY. NANCY turns to them both, speaking in a still, small voice. NANCY The killer's still loose, you know. She has a wild, Cassandra aspect that sends a chill right up MARGE'S spine. LT THOMPSON You saying somebody else killed Tina? Who? NANCY smiles a weird sort of smile. NANCY I do n't know who he is. But he's burned, he wears a weird hat, a red and yellow sweater, real dirty, and he uses some sort of knifes he's got made into a sort of. glove. Like giant finger - nails. As NANCY has described this monster from her dream, unseen by her, the faces of MARGE LT and THOMPSON have drained completely of color. LT THOMPSON -LRB- low, even, to MARGE. -RRB- I think you should keep Nancy at home a few days.'Til she's really over the shock. MARGE I got something better. -LRB- to NANCY. -RRB- I'm gon na get you help, baby. So no one will threaten you any more. She takes the girl by the arm and guides her into the car, locking the door from outside. NANCY never taking her eyes from her father's as the car bears her away. FADE TO BLACK THE FIFTH DAY",
"EXT. UCLA SCHOOL OF MEDICINE. DAY. FADE UP ON UCLA's WESTWOOD CAMPUS and PAN TO SIGN : UCLA SCHOOL OF MEDICINE INSTITUTE FOR THE STUDY OF SLEEP DISORDERS",
"INT. A LABORATORY SLEEPING CHAMBER. A NURSE applies sencors to the head, breast, arms, and fingers of NANCY THOMPSON. The girl is lying on a simple broad cot, in her pajamas. The room is subdued in color and holds only this single bed. A large mirror set into one wall hides an observation room beyond. NANCY But I just do n't feel. ready to sleep yet. Please, do I have to? WIDER, REVEALING DR SAMUEL KING, a young, curly - haired internist ; intelligent and wry. He treats NANCY at all times like a young adult, never patronizing. He winks as the NURSE finishes. DR KING Do n't worry, you're not gon na change into Bride of Frankenstein or anything. NANCY manages a smile, but she's haggard and visibly thinner. MARGE, background, looks downright distraught. DR KING -LRB- CONTD. -RRB- Nancy have any severe childhood illnesses? Scarlet Fever? High temperatures - concussions? MARGE No, nothing. NANCY He means, did you ever drop me on my head. The doctor and girl share a nervous laugh ; MARGE does n't even smile. DR KING Nightmares are expected after psychological trauma. Do n't worry, they go away. MARGE I sure as hell hope so. NANCY I do n't see why you could n't just give me a pill to keep me from dreaming. DR KING Everyone's got to dream. If you do n't dream, you go. -LRB- he drills his finger at his temple. -RRB- All set? NANCY No. MARGE They're just simple tests, Nan. We'll both be right here. DR KING Look, I know it's been fright - ening, I know your dreams have seemed real. But. it's okay. Okay? MARGE Please, Nancy. Trust us. The girls gauges her mother, the doctor, the situation very carefully. Then lowers her eyes. NANCY It's not you I do n't trust. It's. -LRB- gives up. -RRB- Okay. Let's do it. Greatly relieved, MARGE gives NANCY a goodnight kiss, then follows the doctor through a doorway near the mirror. As soon as her mother is out of sight, NANCY'S eyes drift to the mirror itself. In its reflection she sees herself looking back, alone on the bed.",
"INT. THE OBSERVATION ROOM. MARGE and DR KING overlook NANCY's sleeping chamber through the one - way mirror. And KING monitors the girl even more closely with a bank of instruments - a mass of glowing dials, graphs and meters. His manner with MARGE is slightly more sober. DR KING How long's this been going on? MARGE Since the murder. She was fine before that. DR KING Not to worry. No signs of path - ology in Nancy's EEG or pulse rate. I'd guess what we've got is a normal young girl who just happens to have gone through two days of hell. MARGE It's just made her think. her dreams are real. KING adjusts a dial, watching the EKG like a hawk. DR KING Ever hear the old Buddhist tale about the King who dreamed he was a beggar who dreamed he was a king? MARGE twitches. Then there's a slight alteration in the sound of the EKG. KING nods in satisfaction. DR KING -LRB- CONTD. -RRB- Okay, good. She's asleep. MARGE -LRB- immensely relieved. -RRB- Thank God. MUSIC RISES SOLEMNLY, MAJESTICALLY into a haunting transition as we DISSOLVE TO A MONTAGE OF SHOTS, of the EKG GRAPH, its inky needles calming, of a METER tracing the quieting of NANCY's pulse, and of OTHER INSTRUMENTS, indicating life processes we can only guess. All smoothing out. CLOSE ON NANCY on TV MONITOR, asleep like the child she is. Innocent. MARGE lights a cigarette, angry at her helplessness. MARGE What the hell are dreams, anyway? DR KING Mysteries. Incredible body hookus pokus. Truth is we still do n't know what they are or where they come from. As for nightmares. -LRB- leans closer. -RRB- Did you know that in the last three years twenty Philipino refugees in California died in the middle of nightmares? Not from heart attacks, either. They just died. He gives a `` Ah don' know'' shrug. MARGE looks out into the sleeping room. NANCY is a motionless bundle in the middle of the bed. ANGLE ON A NEEDLE on an EKG dipping to a lower reading. WIDER ANGLE - the mother and DOCTOR watching. MARGE What happened? That needle sank like a rock. DR KING -LRB- quietly. -RRB- She's entering deep sleep now. Heart rate's a little high due to anxiety, but otherwise she's nicely relaxed. All normal. She could dream at any time now. -LRB- beat. -RRB- Right now she's like a diver on the bottom of an ocean no one's mapped yet. Waiting to see what shows up.",
"INT. THE SLEEPING ROOM. We can see NANCY drift from the initial stage, over the brink into deep sleep. Her hair falls into her eyes ; her face relaxes ; her shoulders curl round her like comforters. THE MUSIC DEEPENS, and begins to hint at the tones of the NIGHTMARE THEME.",
"INT. CONTROL ROOM. DAY. DR KING and MARGE watch the instruments' every move. One of the machines begins a slight CHIRPING. KING scans it, liking what he sees. DR KING Okay, she's started to dream. He leans forward in his chair, like a pilot starting an instrument approach. MARGE THOMPSON licks her dry lips, fighting a turn of nausea. MARGE How can you tell? DR KING R.E.M.'s. Rapid eye movements. The eyes follow the dream - their movement picks up on this - He prods a dial with his pencil and scribbles the time on a note pad. DR KING -LRB- CONTD. -RRB- Beta Waves are slowing, too. She's dreaming, all right. A good one, too. MARGE watches the TV MONITOR. It's in extra - close on NANCY's eyes - and they're darting beneath the lids, reacting to events lost behind a skein of flesh and neurons. KING points to a moving graph. A needle's begun waving lazily between plus and minus three. The DOCTOR nods, assured. DR KING -LRB- CONTD. -RRB- Typical dream parameter. A nightmare, now, would be plus or minus five or six ; she's just around three point - He stops. Outside, visible through the glass, NANCY twists around. Eyes still closed, she's nevertheless holding her head in the attitude of prey listening to the first faint sound of the predator's approach. MARGE looks from her daughter to the DOCTOR, color draining from her face. MARGE What the hell's this? She awake or asleep? The needle of the graph gives a jagged pitch up, plunges, then surges well above the eight mark. A strange MUSIC CUE - disonant and threatening, creeps in - the NIGHTMARE THEME slurred into awful minors and weird disonance. KING stares at the gauge in disbelief, rapping his finger on its glass. DR KING Ca n't be. It never gets this high. The needle swings even higher, benind. DR KING -LRB- CONTD. -RRB- Jesus H. Christ. He's cut off by the high - pitched KEENING of the girl, the SOUND cutting through the double thickness of the glass like a lasar. A warning BEEPER has begun, the instruments light up like a Christmas tree - and outside in the sleeping room, NANCY is contorting as if shot through with a thousand volts. KING knocks over his chair in his sprint for the door.",
"INT. SLEEPING ROOM. The DOCTOR and MARGE come in on the run - NANCY's flailing and screaming as if the devil himself were after her. KING grabs her to shake her awake ; ANGLE ON NANCY -LRB- eyes open -RRB- - looking in terror - SOUND ECHOED STRANGELY. IN HER POV - dressed in KING'S clothes - the horribly scarred MAN reaches out. WIDER - -LRB- NANCY'S eyes closed in sleep -RRB- as the girl's fist shoots out with incredible force and knocks DR KING flying! The NURSE and MARGE both descend on her - and again in her SLEEPING POV we see the MAN stagger for her. WIDER ON NANCY - -LRB- still in her nightmare -RRB- - fighting like a tiger with both MARGE and the NURSE - sending the NURSE sprawling - leaving MARGE hanging on for dear life. ANGLE on the stunned DOCTOR fumbling with a hyperdermic needle, spilling most of the stuff on himself with his shaking hands - the SCREAMS AND CURSES of NANCY are deafening and worthy of a stevador fighting off his worst enemy. Stranger still, her hair is electrified, standing on end and greying before their very eyes! MARGE screams at the top of her lungs. MARGE NANCY! IT'S MOM - NANCY! Some deep bolt of psychic power smacks through the girl, and her eyes flap open - they're glazed with terror and fury, but open. NANCY's awake. She stares around like a cornered animal in the middle of the bed, her purple face gasping out gut - wrenching SOBS. The NURSE and MARGE dare to go back in and hold the sweat - drenched girl as DR KING comes for her with the needle. DR KING Now, this is just going to let you relax and sleep, Nan - With incredible swiftness, NANCY backhands the hypodermic into a far wall, shattering it into a million pieces. NANCY No. That's enough sleep. Her eyes are windows straight into white fire as she locks into KING'S face. He dabs his split lip, swallowing painfully. DR KING Okay, kid. Okay. Fair enough. He holds out his hand. NANCY at last takes it, and sags back into her pillow, exhausted. Then KING comes up with blood on his hand. He stares at it, dumbfounded, then at the girl. Across her left forearm, a deep gash is bleeding freely, as if made by a very sharp instrument. MARGE Oh my god, oh my god. DR KING -LRB- to the NURSE. -RRB- Get the kit! The NURSE scrambles away as the DOCTOR claps his hand over the wounds. He looks into NANCY's face. What he sees frightens him even more : NANCY'S haunted, ghost - like eyes turn from him to her mother, and a terrible, chilling smile opens across NANCY's white lips. NANCY You believe this? She pulls her free arm from beneath the sheets and reveals a strange hat, filthy and worn - the KILLER'S hat. The sight of it frightens MARGE more than anything that's come before. MARGE -LRB- deathly pale. -RRB- Where the hell did you get that? NANCY fixes her with Xray eyes. NANCY I grabbed it off his head. MARGE stares at the hat as if it held her whole future, and her future was a horror. FADE TO BLACK",
"EXT. NANCY'S HOUSE. DAY. BURN ON THE SIXTH DAY FADE UP ON NANCY'S HOUSE, early morning.",
"INT. NANCY'S KITCHEN. DAY. MARGE is on the telephone, the dirty hat in her hand. Nearby is a nearly empty bottle of gin. MARGE She said she snatched it off his head in a dream. -LRB- listens. -RRB- No, I'm not crazy, I've got the damn thing in my hand! -LRB- listens. -RRB- I know we did, we all. -LRB- hears NANCY approaching. -RRB- Got ta go. She hangs up and stuffs the hat and bottle into a drawer, screening the action with her body. NANCY enters. By now the girl has an extraordinary look. Her hair is ashen, her skin transluscent, and eyes dark - ringed. Her right forearm is heavily bandaged over the slashes. In short, instead of the girl next door, we now could be looking at the lunatic from the next cell. MARGE, though she does her best to hide it, is downright frightened of her. MARGE -LRB- CONTD. -RRB- You did n't sleep, did you? The doctor says you have to sleep or you'll - NANCY pours herself a cup of black coffee. NANCY Go even crazier? MARGE I do n't think you're going crazy - and stop drinking that damn coffee! NANCY Did you ask Daddy to have the hat examined? MARGE I threw that filthy thing away - I do n't know what you're trying to prove with it, but - NANCY comes closer, her eyes shining with a new sureness. NANCY What I learned at the dream clinic, that's what I'm trying to prove. Rod did n't kill Tina, and he did n't hang himself. It's this guy - he's after us in our dreams. MARGE But that's just not reality, Nancy! Furious, NANCY janks open the drawer before MARGE can stop her and spills the bottle and hat onto the counter. MARGE grabs away the bottle protectively - but it's the hat NANCY goes for. She waves it triumphantly - demonically. NANCY It's real, Mamma. Feel it. MARGE -LRB- horrified. -RRB- Put that damned thing down! MARGE lunges for it - NANCY leaps out of reach - NANCY His name is even in it - written right in here - Fred Krueger - Fred Krueger! You know who that is, Mamma? You better tell me, cause now he's after me! MARGE swallows, then persists in the lie. MARGE Nancy, trust your mother for once - you'll feel better as soon as you sleep! NANCY shoots a hard humorless laugh, holding up her slashed arm. NANCY You call this feeling better? Or should I grab a bottle and veg out with you - avoid everything happening to me by just getting good and loaded - MARGE slaps her hard. MARGE -LRB- losing it. -RRB- Fred Krueger ca n't be after you, Nancy - he's dead! The room falls silent, both women staring at the other. MARGE -LRB- CONTD. -RRB- -LRB- low, raw. -RRB- Fred Krueger is dead. Dead and gone. Believe me, I know. Now go to bed. I order you, go to bed. MARGE snatches the hat away. NANCY is furious, betrayed. NANCY You knew about him all this time, and you've been acting like he was someone I made up! MARGE pulls away. MARGE You're sick, Nancy. Imagining things. You need to sleep, it's as simple as that. NANCY wheels and smashes MARGE'S bottle of gin in the sink. NANCY Screw sleep! MARGE -LRB- CONTD. -RRB- Nancy! But NANCY runs past her mother for the front door. MARGE -LRB- CONTD. -RRB- Nancy - it's only a nightmare! NANCY turns in the doorway. NANCY That's enough! On the door SLAM, we CUT TO",
"EXT. SHAKESPEARE BRIDGE. DAY. ANGLE ON A NEIGHBORHOOD STREET. We hear GLEN's VOICE and PAN UP to REVEAL NANCY and GLEN high above, two tiny figures walking across this strange white bridge in old Los Angeles. CAMERA BEGINS A SLOW ZOOM. GLEN Whenever I get nervous I eat. NANCY And if you ca n't do that, you sleep. GLEN Used to. Not anymore. GLEN jams more Big Mack into his face. By now our ZOOM reveals he's attacking a huge bag of Big Macks, and furtively eyeing NANCY. The girl's hair is startlingly white in the sunlight. She's reading a book, hardly paying attention. GLEN -LRB- CONTD. -RRB- You ever read about the Balinese way of dreaming? NANCY No. GLEN They got a whole system they call ` dream skills'. So, if you have a nightmare, for instance like falling, right? NANCY Yeah. GLEN Instead of screaming and getting nuts, you say, okay, I'm gon na make up my mind that I fall into a magic world where I can get something special, like a poem or song. -LRB- grins hopefully. -RRB- They get all their art literature from dreams. Just wake up and write it down. Dreamskills. He stops, seeing the look on NANCY's face. Our ZOOM is much closer now, a wide medium, and still coming in on the kids. NANCY And what if they meet a monster in their dream? Then what? GLEN They turn their back on it. -LRB- grins hopefully. -RRB- Takes away its energy, and it disappears. NANCY What happens if they do n't do that? GLEN -LRB- shrugs. -RRB- I guess those people do n't wake up to tell what happens. NANCY Great. She leans over the railing, poking her face back into her book. GLEN tips its cover and reads its title. OUR ZOOM IS STILL MOVING CLOSER, a MEDIUM CLOSE UP NOW. GLEN ` Booby Traps and Improvised Anti - personel Devices'! NANCY I found it at this neat survivalist bookstore on Ventura. GLEN -LRB- shocked. -RRB- Well what you reading it for? OUR ZOOM LOCKS IN ON A TIGHT TWO ON THEIR FACES, NANCY's grimly determined. NANCY I'm into survival. She walks away, OUT OF FRAME, leaving GLEN watching after her in astonishment. GLEN She's starting to scare the living shit out of me.",
"EXT. ELM STREET/NANCY'S HOME/EVENING ANGLE ACROSS NANCY'S `` TREE LAWN'', the grass between the sidewalk and the street, in the general direction of GLEN's home. This ANGLE does n't quite reveal Nancy's house. FOREGROUND is a utility truck in which a half dozen Hispanic WORKERS are loading tools, extension cords and hardware. They look like they've put in one hell of a hard day's work. MARGE appears and hands a check to the FOREMAN of the crew, a white guy in clean coveralls and a gold chain. He scrutinizes it. FOREMAN And the other. MARGE forks over a wad of cash, hands trembling in her half - drunk, helpless rage. MARGE Where's your mask and gun? The FOREMAN counts the money swiftly. FOREMAN Do n't bust my chops, lady. If the city found out I put'em in without inside releases I'd loose my license. He shoves the money in his pocket and climbs in his truck. MARGE EXITS FRAME for her house. PAN WITH THE TRUCK as it pulls away, THEN PICK UP NANCY, walking across the street from the corner. Alone. Dispirited. She lifts her eyes to her home and stops in her tracks. NANCY Oh gross. WIDENING TO REVEAL THE HOUSE as NANCY walks across her front yard. Every single window has been covered with brand - new ornamental iron bars, bolted deeply into their frames. CLOSER, AT A WINDOW. NANCY gives a set of bars a powerful shake. They do n't budge. Then girl looks up and sees even the window to her second floor bedroom is barred. And the rose trellis has been ripped down and heaped at the foundation in a tangle of wood, thorns and broken flowers.",
"INT. MARGE'S ROOM. EVENING. ANGLE ON THE DOORWAY INTO THE HALL. Easy listening MUSIC wafts through the air. NANCY appears in the doorway. NANCY -LRB- OS. -RRB- Mom, what's with the bars!? REVERSE to MARGE, propped against the headboard of her bed, a crooked shadow in the gloom. A fresh bottle of Gin glints in her hand. NANCY Oh, Mom. The girl crosses and reaches gently for the bottle. MARGE snatches it away. MARGE'S ` mine. She rocks the bottle in her arms. NANCY What's with the bars? MARGE S'curity. NANCY sits on the bed, a surprising compassion entering her voice. NANCY Mom, I want to know what you know about Fred Krueger. MARGE Dead and gone. NANCY I want to know how, where - if you do n't tell me, I'm going to call daddy. MARGE gives a laugh - a rasping chachination from deep in her chest. MARGE -LRB- CONTD. -RRB- Your father the cop. That's a good one. -LRB- colder. -RRB- Forget Fred Krueger. You do n't want to know, believe me. NANCY I do want to know. He's not dead and gone - he's after me and if I sleep he'll get me! I've got to know! MARGE blinks at her a moment, then cracks a terrible, crooked grin. MARGE All right.",
"INT. NANCY'S CELLAR/NIGHT MARGE drags NANCY headlong down the cellar stairs and across the room with a crazy fury, twisting her down near the foundation. And she thrusts her face so close to her daughter's that NANCY reels from the alcohol. MARGE You want to know who Fred Krueger was? He was a filthy child killer who got at least twenty kids, kids from our area, kids we all knew. It drove us all crazy when we did n't know who was doing it - but it was even worse when they caught him. MARGE draws herself up with a shake. MARGE -LRB- CONTD. -RRB- Oh lawyers got fat and the judge got famous, but someone forgot to sign the search warrant in the right place, and Fred Krueger was free, just like that. NANCY So he's alive? MARGE smiles grimly. MARGE He wouldn've stopped. The bastard would've got more kids first chance he got - they found nearly ten bodies in his boiler room as it was. But the law could n't touch him. At the mention of `` boiler room'', NANCY gives a shake. MARGE misses this, too busy taking a pull on the bottle that's never left her hand. MARGE -LRB- CONTD. -RRB- What was needed were some private citizens willing to do what had to be done. She reels slowly, looking at NANCY is defiance. NANCY -LRB- hushed. -RRB- What did you do, mother? MARGE cradles the bottle. MARGE Bunch of us parents tracked him down after they let him go. Found him in an old boiler room, just like before. Saw him lying there in that caked red and yellow sweater he always wore, drunk an' asleep with his weird knives by his side. NANCY -LRB- dreading it. -RRB- Go on. MARGE reaches over and taps a dusty two - gallon jug of gasoline near the lawn mower. MARGE We poured gasoline all around the place, left a trail out the door, locked the door, then. She mimes striking a match - MARGE -LRB- CONTD. -RRB- WHOOSH! Her arms shoot up and her eyes go wide with the light of that fire. There's awe in her voice. Then she drops her arms. MARGE -LRB- CONTD. -RRB- -LRB- hushed, remembering. -RRB- But just when it seemed not even the devil could live in there any more - he crashed out like a banshee, all on fire - swinging those fingerknives every which direction and screaming he. he was going to get us by killing all our kids. She stops with a sudden quake and drinks for a long moment. But the intake does n't hide the image. Her face bathed in tears, she looks at her daughter and shakes her head. MARGE -LRB- CONTD. -RRB- There were all those men, Nancy, even your father, oh yes, even him. But none could do what had to be done - Krueger rolling and screaming so loud the whole state could hear - no one could take your father's gun and kill him good and proper except me. She sweeps her hand across the air in a terrific slash, then stops, her hand shaking, her voice hoarse and terrified. She looks at her daughter, begging. MARGE -LRB- CONTD. -RRB- So he's dead Nan. He ca n't get you. Mommy killed him. For someone who started this film at a very young seventeen, NANCY's now the battle - tempered veteran as she takes her mother in her arms and rocks her. NANCY Who was there? Were Tina's parents there? Were Rod's? MARGE sags back. MARGE Sure, and Glen's. All of us. But that's in the past now, baby. Really. It's over. -LRB- slyly. -RRB- We even took his knives. The woman twists around and opens the door on an old furnace - a furnace unused since the newer gas one nearby was put in. She fishes inside the cavity - as then we hear a touch of the familiar ` SCRRIITCH'. Next moment she pulls out an object wrapped in rags, opens it and displays the long, rusted blades and their glove - like apparatus. MARGE -LRB- CONTD. -RRB- See? NANCY stares at the damn things, chilled. NANCY All these years you've kept those things buried down here? In our own house? MARGE -LRB- CONTD. -RRB- Proof he's declawed. As for him, we buried him good and deep. MARGE shoves the knives into their hiding place, closes the little iron door. MARGE -LRB- CONTD. -RRB- So's okay, you can sleep. She lurches up and staggers upstairs. NANCY shivers and looks down at her arm. The cut beneath her bandage has begun to bleed again. And from inside the furnace, as if from deep below, the PULSING of the boundless nightmare - boiler room can be faintly heard.",
"EXT. ELM STREET. NIGHT. WIDE ON THE STREET AND BOTH HOUSES, GLEN's on the right, NANCY's on the left. A TELEPHONE RINGS. ZOOM IN ON GLEN'S UPSTAIRS BEDROOM WINDOW.",
"INT. GLEN'S & NANCY'S BEDROOMS - INTERCUT. NIGHT. GLEN, yawning, crosses and picks up his telephone. GLEN Hello? NANCY -LRB- telephone. -RRB- Hi. GLEN Oh. Hi, how y ` doing? NANCY looks out the window and touches her hair. NANCY -LRB- CONTD. -RRB- Fine. Stand by your window so I can see you. You sound a million miles away. In the lighted window across the way, she can SEE GLEN move into sight. In his shot, we can SEE NANCY step into her window behind the bars. NANCY -LRB- CONTD. -RRB- Much better. GLEN I heard your ma went ape at the security store today. You look like the Prisoner of Zenda or something. How long's it been since you slept? NANCY Coming up on the seventh day. It's okay, I checked Guiness. The record's eleven, and I'll beat that if I have to. -LRB- beat. -RRB- Listen, I. I know who he is. GLEN Who? NANCY The killer. GLEN You do? NANCY Yeah, and if he gets me, I'm pretty sure you're next. GLEN is appalled. GLEN Me!? Why would anyone want to kill me?! NANCY Do n't ask - just give me some help nailing this guy when I bring him out. GLEN pales. GLEN Bring him out of what? NANCY My dream. GLEN How you plan to do that? NANCY Just like I did the hat. Have a hold of the sucker when you wake me up. GLEN Me? -LRB- switching back to a more comfortable reality. -RRB- Wait a minute, you ca n't bring someone out of a dream! NANCY If I ca n't, then you all can relax, because it'll just be a simple case of me being nuts. GLEN I can save you the trouble. You're nutty as a fruitcake. I love you anyway. NANCY Good, then you wo n't mind cold - cocking this guy when I bring him out. GLEN What!? NANCY -LRB- simplicity itself. -RRB- You heard me. I grab him in the dream - you see me struggling so you wake me up. We both come out, you cold cock the fucker, and we got him. Clever, huh? GLEN You crazy? Hit him with what? NANCY You're a jock. You must have a baseball bat or something. Come to my window at midnight. And meanwhile. GLEN -LRB- weakly. -RRB- Meanwhile? NANCY Meanwhile whatever you do do n't fall asleep. Midnight. She hangs up. GLEN's eyes bug out. GLEN Holy shit! Midnight. Baseball bats and boogemen. Unfucking real.",
"EXT. THE VALLEY AND HILLS. NIGHT. HIGH, WIDE SHOT. The moon is above the horizon. A cool wind slides a bank of white fog inland. The valley and its lights stretch forever, an endless net of illumination and darkness. A coyote HOWLS on the dark hill.",
"EXT. POLICE STATION. NIGHT. A palm frond scuttles across the center of the parking lot. LT THOMPSON arrives in an unmarked car. COP -LRB- passing. -RRB- Lieutenant Thompson - what you doing in at this time? LT THOMPSON Ca n't sleep, thought I'd come break up the poker game. The COP laughs and goes his way. THOMPSON's smile evaporates.",
"INT. POLICE STATION. NIGHT. THOMPSON enters and checks the log. Nearby, SGT GARCIA pours coffee. SERGEANT GARCIA If it was any more quiet we could hear owls farting. LT THOMPSON Is quiet, is n't it? SERGEANT GARCIA -LRB- too casually. -RRB- How's your girl? THOMPSON looks at the Desk sergeant a moment, then tosses down the log. LT THOMPSON She's sensible. She'll sleep sooner or later.",
"EXT. ELM STREET. NIGHT. The neighborhood is utterly still, most of the homes already dark. But not NANCY's. Or GLEN's. ZOOM TO GLEN'S LIGHTED LIVING ROOM WINDOW.",
"INT. GLEN'S LIVING ROOM. NIGHT. GLEN's father watches eleven o'clocks news, a dreary FILM CLIP -LRB- STOCK -RRB- of war and refugees in a far - away land. MR LANTZ takes a pull on his Bud. MR LANTZ You'd think they'd have some - thing ` bout the Lane kid hanging himself. MRS LANTZ walks through the room, drying her hands on a dishtowel. MRS LANTZ Maybe we're all making more out of it than we should. She heads upstairs. MR LANTZ pops the automatic tuner. CARSON blinks ON. CARSON -LRB- TV. -RRB- I would n't touch that line with a ten foot pole. ED MCMAHON and the AUDIENCE laugh in delight.",
"INT. GLEN'S HOUSE/UPSTAIRS CORRIDOR. NIGHT. MRS LANTZ comes along the upstairs hall and knocks gently at a closed door. MRS LANTZ Glen? you all right? She puts her ear to the door and listens. MRS LANTZ -LRB- CONTD. -RRB- Glen honey? No answer.",
"INT. GLEN'S ROOM. NIGHT. GLEN lies sprawled across the bed, long legs flung over the end, head not visible. His mother enters. She looks at the boy, turns off the TV. Looks at him again. From this angle she can see his head, earphones crammed over it rasping their tinny noise. But no movement from the kid at all. MRS LANTZ crosses and pokes him in the ribs. GLEN lurches up, arms windmilling. GLEN Whuu? He refocuses his eyes, takes off his earphones. MRS LANTZ How can you listen to Carson and a record at the same time? GLEN swings his legs over the edge of the bed and shakes his head to clear the cobwebs. GLEN Was n't listening to the tube, just watching. Miss Nude America's supposed to be on tonight. MRS LANTZ Well how you gon na hear what she says? GLEN Who cares what she says? The mother gives up. MRS LANTZ You should get to sleep soon, Glen. It's almost midnight. Goodness knows we've all had enough of a time the last few days. GLEN I will, Mom. in a while. You guys turning in? MRS LANTZ Pretty soon. His MOTHER sighs and goes out, closing the door behind her. GLEN flips the TV back on and glances at the clock. INSERT OF CLOCK. It's 11:42. TIGHT ON GLEN's face. He clamps the earphones back on, and turns the volume up high. The MUSIC is so loud we can hear it resonating inside his skull. CAMERA MOVES PAST GLEN to his window, then ZOOMS through to :",
"EXT. ELM STREET / NANCY'S HOUSE. NIGHT. CONTINUE ZOOMING into the LIGHTED window of NANCY's barred second floor bedroom and",
"INT. NANCY'S ROOM. NIGHT CLOSE ON MARGE, weaving on the edge of NANCY's bed, stroking the girl's hair. NANCY's still something of a wreck, but less than MARGE. MARGE We'll go away, take a vacation. Get your hair colored nice, the way it was. No one will ever know. -LRB- sniffs. -RRB- This whole room smells of coffee, y' know? She gathers up NANCY's coffee cups and empty NoDoz boxes, leans down and kisses her. MARGE -LRB- CONTD. -RRB- It's all over now, baby. The nightmare's over. Please. NANCY nods her head, half stubborn, half sadly. She can barely keep her eyes open now. NANCY Okay. She scrunches into her pillow. MARGE smiles haggardly and shuts off the light, taking the coffee pot with her as she leaves. NANCY -LRB- CONTD. -RRB- Night - night. MARGE smiles, relieved. The girl pulls the blanket around her shoulders. Her eyes flutter closed, her breathing becomes regular and deep. Once again she's the litle girl MARGE fantasizes she is. The mother tiptoes out of the room, closing the door behind her. HOLD ON NANCY's sleeping face as the DOOR CLOSES. Her eyes remain closed another beat, then open wide. She quietly jumps out of bed and shakes herself savagely to scatter the sleep settling so quickly. Still in the dark, she fishes a full electric coffepot from under her bed and pours herself a fresh fix into a mug she digs from beneath her pillow. The face illuminated by the neon light on the pot is set in absolute determination. NANCY drains the cup, then crosses to her closet, retrieves a pitcher of ice water from behind a heap of clothes and splashes her eyes and the back of her neck. That done she eases open her window and presses her face to the bars, sucking in cool night air until every shred of sleep is gone from her brain. Then she starts pulling on clothes.",
"INT. NANCY'S HOUSE/DOWNSTAIRS. NIGHT. ANGLE ON MARGE as she checks the lock on the backdoor. Firm. ANGLE IN THE LIVING ROOM as she pads through the darkened house, feels her way to a wall of shelves and takes down a book. Then another, and a third. Then reaches in and fishes out a bottle of gin.",
"EXT. NANCY'S HOUSE AND ELM STREET. NIGHT. The sky has gathered in greater darkness. LOW, DISTANT THUNDER rolls around the horizon like a great drum. ANGLE ON NANCY'S HOUSE from across the street. The moon glints off the barred windows. CAMERA ZOOMS to NANCY's window. The imprisoned girl hovers in the darkness behind the grill like a ghost, her eyes turned towards GLEN's. Then she switches to something much CLOSER TO CAMERA ANGLE, and she draws back. REVERSE ON GLEN's father, standing on the front porch of his home, also in the shadows, looking straight across and up at NANCY. He draws on his cigarette ; his face glows red. NANCY pulls down the shade. GLEN's father grinds the cigarette beneath his shoe. MRS LANTZ Should n't stare. As the man turns our SHOT WIDENS TO REVEAL MRS LANTZ. MR LANTZ Know what I think? I think that kid's some kinda lunatic. The woman spoons more sweetness into her mouth and rubs her forehead. MRS LANTZ Should n't say such a thing about the poor child. If you mean the bars, Marge's just being cautious, her being alone and Nancy acting so nervous lately. The woman rises and pulls him gently towards the living room. As he goes inside he takes one last look. MR LANTZ -LRB- CONTD. -RRB- Well, she ai n't gon na hang around our boy no more. Once the two are inside, the door is locked.",
"INT. NANCY'S ROOM. NIGHT. CLOSE ON NANCY's face. VERY CLOSE. Her eyes stare ahead, red - rimmed, anxious. She picks absently at the thick bandage covering her forearm. The long cuts from Fred Krueger's fingers are bleeding again, but she does n't even care anymore. Too late to sweat the small stuff. She crosses the room. On the bedside table with the nearly empty Pyrex coffee maker, the empty cup and the empty box of No - Doz, is her old fashioned alarm clock, and a phone. NANCY pours herself the last of the coffee and drinks it to the dregs, then looks to the clock. INSERT CLOCK - ten minutes to midnight. NANCY'S eyes go to the door. WIDER. Fully clothed and in a jacket now, she creeps to the door and cracks it, just to make sure. Then freezes.",
"INT. HALLWAY OUTSIDE NANCY'S DOOR. IN NANCY'S POV through the door we see MARGE, rummaging around in the linen closet not fifteen feet away. There's no way NANCY can get past her. The woman pulls out a full bottle of gin in satisfaction and begins fumbling with its cap.",
"INT. NANCY'S ROOM. NIGHT. NANCY eases the door closed again and sinks to the key hole, watching through it with a sinking heart. NANCY -LRB- very quiet, very intense. -RRB- Hang on GLEN.",
"INT. GLEN'S ROOM. NIGHT. GLEN, coat now on, goes to his window, checking.",
"INT. ELM STREET. NIGHT. GLEN'S POV - NANCY'S porch is deserted ; front door closed, lights out. No sign of NANCY.",
"INT. GLEN'S ROOM. NIGHT. GLEN shrugs, takes off his jacket and plops back onto his bed. GLEN Well, I'm not gon na risk sneaking out until she does. He puts the earphones back on.",
"INT. NANCY'S ROOM. NIGHT. Absolutely frustrated, NANCY turns from the keyhole to the window. She opens the blind and eases back the curtain.",
"EXT. ELM STREET. NIGHT. IN NANCY'S POV THROUGH THE BARS we ZOOM directly across to GLEN's window.",
"INT. GLEN'S ROOM. NIGHT. GLEN lies on his bed, fully clothed, earphones over his ears, CARSON droning from the TV. And the boy's eyes begin to droop.",
"INT. NANCY'S BEDROOM. NIGHT. NANCY picks up her phone, bites her lip, then begins dialing.",
"INT. GLEN'S ROOM. NIGHT. TIGHT ON PHONE as it begins RINGING loudly. WIDER SHOT, revealing GLEN asleep BACKGROUND, the MUSIC still LOUD in his earphones.",
"INT. GLEN'S LIVING ROOM. NIGHT. RINGING here, too, just as MR LANTZ is turning out the lights for bed. He stops in the dark, scowling. MR LANTZ Who at this hour? He refuses to turn the light back on. His wife picks her way to the telephone. MRS LANTZ Hello? -LRB- listens, frowns slightly. -RRB- Oh. Hold on. -LRB- covers the mouthpiece. -RRB- It's her. She wants to talk to Glen. The father crosses to the telephone, suspicious. MR LANTZ -LRB- whispering. -RRB- About what? MRS LANTZ -LRB- into phone. -RRB- What's this about, Nancy? She listens, covers up again. MRS LANTZ -LRB- CONTD. -RRB- She says it's private. Very private and very important. MR LANTZ grabs the telephone from his wife and barks into it. MR LANTZ Glen's asleep. Talk to him tomorrow! He SLAMS down the telephone with a grunt of satisfaction to his wife. MR LANTZ -LRB- CONTD. -RRB- Just got to be firm with kids, is all. Then as a refinement he takes the phone off the hook and lays it on the table.",
"INT. NANCY'S ROOM. NIGHT. NANCY dials again. This time she gets a BUSY SIGNAL. She slams the phone down in frustration and looks out the window. NANCY Glen. Do n't fall asleep. She goes and sits on the bed, propping her chin on her fists. Yawns. The TELEPHONE RINGS. NANCY snatches it up. NANCY Glen? TIGHT ON HER, ZOOMING EVEN CLOSER ON HER EAR AND THE EARPIECE as we HEAR the awful SCRITCHING SCRAPE of STEEL FINGERKNIVES. NANCY slaps the phone down as if it were diseased - then, in pure rage, rips the thing's cord from the wall. Spent instantly, she puts the receiver back on the cradle and lays it on her bed, chiding herself. NANCY Brilliant. Now what if Glen calls? She wraps the phone cord around the useless machine and puts it on her bed, then sneaks back to the door. This time she gives an expression of relief, and opens the door. MARGE is gone. Then the TELEPHONE RINGS again. CAMERA MOVES IN ON NANCY as she turns slowly. REVERSE IN HER POV. THE TELEPHONE RINGS again, despite the fact that the end of its janked - out cord is clearly visible. The NIGHTMARE MUSIC THEME slips right up our spines. BACK ON NANCY. She starts to shake. She goes to the telephone as we WIDEN, unwraps it as it RINGS even louder. She's shaking so hard by now she can barely manage to lift the receiver. MOVE IN CLOSE ON HER, so close we can HEAR her teeth chattering as she brings the phone to her ear. NANCY -LRB- CONTD. -RRB- Hello? The unmistakeable VOICE of FRED KRUEGER comes over the phone, garbled by time and unknown dimensions, but clear enough. KRUEGER -LRB- FILTER. -RRB- -LRB- triumphant. -RRB- I'm your boyfriend now. CLOSE ON THE MOUTHPIECE. It's changed from a normal telephone mouthpiece to an actual mouth - Fred Krueger's mouth - and his long, slick tongue flicks out and darts into the startled girl's mouth! WIDER - as NANCY explodes from her micro - dream - absolutely mad. She jerks the telephone away from her and smashes it against her wall, then attacks it with her feet and hands, smashing it to smithereens. ANGLE ON THE TELEPHONE PIECES. Normal pieces of a normal telephone. She pinches herself hard - until tears come and her flesh is nearly bleeding. NANCY I'm awake, I am awake. This is not a dream! I am - She stops, realizing what Krueger meant. NANCY -LRB- CONTD. -RRB- My boyfriend!",
"INT. NANCY'S LIVING ROOM. NIGHT. NANCY barrels down the stairs and across the darkened living room to the front door. It takes her a moment of tugging and fumbling to realize the deadbolt is locked from inside. And there's no key in it now. She races to a porch window and throws it open, shaking and banging on the bars like a mad woman. But there's no getting through. She staggers back, stymied and furious. Then somebody moves behind her in the dark. VOICE -LRB- OS. -RRB- Locked. NANCY jumps around in shock. Her mother has posted herself on the couch with her bottle. NANCY -LRB- furious. -RRB- Give me the key, mother. MARGE I do n't even have it on me, so forget it. The word is final. NANCY runs past the woman to the back door, to one window after the other, shaking bars and slamming locks and SCREAMING in teenage fury. But it's no good. The house is her prison. MARGE -LRB- CONTD. -RRB- -LRB- drunk satisfaction. -RRB- Paid the guy damn good to make sure you stayed put. You ai n't goin' nowhere, kid. You're gon na sleep tonight if it kills me. NANCY clenches her fists and screams at the top of her lungs, a heart - wrenching, eardrum - breaking cry of love in despair - NANCY GLEEENNNNNN!",
"INT. GLEN'S ROOM. NIGHT. CLOSE ON GLEN'S FROM DIRECTLY ABOVE. The MUSIC is tinny from the earphones, the TV SOUND DISTANT AND ECHOED. The boy is breathing deeply now, slowly and gently. Then, unmistakeably, he begins to SNORE. Very faintly, far in the background, we can hear NANCY. NANCY -LRB- OS. -RRB- Glen! Do n't fall asleeeeeep! CAMERA PULLS BACK AND STRAIGHT UP as the SNORES merge with a weird, unsettling MUSIC CUE. The boy lies sprawled, still clothed, in the middle of his bed. Save for the bedside lamp, the room is dark. FULL WIDE ANGLE FROM THIS HIGH SPOT looking down at him as from the eyes of some great fly hung on the ceiling. THE MUSIC REACHES A TERRIFYING PITCH OF ANTICIPATION - THEN STOPS ABRUPTLY. There's a heartbeat's pause. Then with tremendous force, two powerful arms shoot up beneath the red and yellow bedspread and grab GLEN around the waist! Next moment the young man's body is dragged straight down into the bed, as if some huge beast had grabbed him and heaved him down! His feet and his arms shoot up - there's another hauling yank - and the boy disappears except for his hands and fingers - down into the pit in the middle of the bed! His hands are last to go, clawing for a hold. But soon they vanish as well, dragging blankets and bedsheets, wires and stereo across the caved - in bed and into the abyss. There's HIDEOUS SCREECHING of MUSIC jamming in with GLEN's ECHOING SCREAMS - then an unholy, sudden silence. Next moment what's left of GLEN is vomited up from the pit of the nightmare bed. a horrible mess of blood and bone and hair and wires. streaming out and over the bed. Then the pit in the bed is gone as if it were never there. Drawn by the terribly screams and struggle, GLEN's mother bursts into the room. The women stares for one moment of horrified disbelief, then reels back and lets out the most god - awful SCREAM imaginable. The cry splits the night.",
"EXT. ELM STREET. NIGHT. The SOUND of the SCREAM CROSS - FADES WITH the WAIL of the AMBULANCE as it screeches to a halt at the curb, followed by two BLACK AND WHITES and an UNMARKED CAR. Uniformed POLICEMEN spill out FOREGROUND. LT THOMPSON and PARKER exit the unmarked car. By habit or by premonition THOMPSON glances at the house that was his home. His eye is caught by a movement ; his daughter is at her upstairs window, white - haired, hollow - eyed, looking down on him through her bars. She gives a little wave. Unnerved, THOMPSON waves back, then walks rapidly for GLEN's home. MR LANTZ, pale as a ghost himself, waits on the porch ; we can hear the mother's WAILING inside.",
"INT. NANCY'S ROOM. NIGHT. CLOSE ON NANCY'S BIG OLD WINDUP ALARM CLOCK. Its big and little hands sweep together at midnight. THE NINTH DAY There's a BABBLE of POLICE RADIOS, SIRENS WINDING DOWN, RUNNING FOOT - STEPS, SHOUTS, NEIGHBORHOOD KIDS and DOGS BARKING as CAMERA LIFTS TO NANCY'S FACE. Set. Unafraid. Ruthless. The girl pulls the window shade on it all, then looks at her bed. NANCY Okay, Krueger, you bastard. We play in your court.",
"INT. GLEN'S LIVING ROOM/NANCY'S KITCHEN -- INTERCUT. NIGHT. LT THOMPSON is halfway across the living room when he stops. Something dark and red is welling from a crack in the ceiling. One of his men is rigging a bucket beneah to catch the leaking. The telephone rings and PARKER picks it up. PARKER Lieutenant. It's your daughter. Says it's urgent. THOMPSON turns away from the dripping. LT THOMPSON -LRB- low. -RRB- Tell her I'm not here, tell her. PARKER Uh, she just saw you, sir. THOMPSON nods, crosses and picks up the telephone. SCREEN SPLITS ; we see both. LT THOMPSON -LRB- CONTD. -RRB- Hello Nancy. NANCY Hi daddy. I know what happened. LT THOMPSON Then you know more than I do - I have n't even been upstairs. NANCY -LRB- guessing. -RRB- You know he's dead though, right? THOMPSON debates, then admits it. LT THOMPSON Yeah, apparantly he's dead. How the hell'd you know? A tear coarses down NANCY's cheek, but her voice remains firm. NANCY I've got a proposition for you. Listen very carefully, please. LT THOMPSON Nan, I - NANCY Please. I'm gon na go get the guy who did it and bring him to you. I just need you be right there to arrest him. Okay? LT THOMPSON Just tell me who did it and I'll go get him, baby. NANCY Fred Krueger did it, Daddy, and only I can get him. It's my nightmare he comes to. The detective flinches at the name. LT THOMPSON Where'd you hear about Krueger - NANCY presses, very firm, very rational. NANCY - I want you to come over here and break the door down exactly twenty minutes from now - can you do that? LT THOMPSON Sure, but. NANCY That'll be exactly half past midnight. Time for me to fall asleep and find him. LT THOMPSON Sure, sure, honey. You just do that - get yourself some sleep - that's what I've been saying all along. NANCY And you'll be here to catch him, right? PARKER Lieutenant - they're waiting upstairs. THOMPSON waves curtly, still speaking to NANCY. LT THOMPSON Sure, okay, I'll be there. Now you just turn in and get some rest, sweetheart. Please. Deal? NANCY Deal. NANCY hangs up. LT THOMPSON starts upstairs. But then he stops, and as an afterthought he could never really explain, turns to PARKER. LT THOMPSON -LRB- CONTD. -RRB- Get outside and watch her house. If you see anything funny call me. PARKER ` Anything funny' like what? THOMPSON shakes his head, embarassed. LT THOMPSON I do n't know - but one thing for sure, I do n't want her coming over here. She's way too far gone to be able to to handle this. As PARKER exits, ANGLE CUTS TO NANCY'S KITCHEN as the girl hangs up and sinks back agiainst the wall, trapped by her own resolution. She looks at her watch. INSERT - five past midnight. NANCY switches modes to stopwatch and sets the COUNTDOWN going at twenty - five minutes.",
"INT. GLEN'S BEDROOM. NIGHT. LT THOMPSON steps into GLEN's room, anxious to be done with it. He hits a wall of stench and horror even before he takes it in with his eyes, and as soon as he sees the bed he claps his hand over his mouth, pivots and walks right back into the hallway.",
"INT. HALLWAY. NIGHT. He sags against the wall, unable to look at the COPS who hover there. COP -LRB- faint. -RRB- What the hell did that, Lieutenant? There ai n't even a head left. LT THOMPSON Goddamed if I know. -LRB- tries to straighten. -RRB- What's the Coronor say? COP He's in the john puking since he saw it.",
"INT. CELLAR. NIGHT. NANCY pulls tools and hardware out with grim resolution. Hammer, nails, spools of wire, an old square of heavy fishneting, some old shot gun shells, a file - referring only once to the booklet in her hand.",
"INT. NANCY'S LIVING ROOM. NIGHT. Barely able to control her shaking hands, NANCY starts stringing off the spool of wire across the living room, crying and swearing at the same time. DISSOLVE TO HER HANDS wrapping bare lamp wire around two thumbtacks stuck into the insides of the pinchers of a common wooden clothespin. The wire goes OFF SCREEN. ANOTHER ANGLE as she inserts a Lifesaver between the two prongs. One end of the fishline is tied to the lifesaver. The whole now is stretched taut about three inches off the living room carpet. ON NANCY carefully filing a hole in a LIGHTBULB. OH HER pouring powder and shot from shotgun shells into the opening in the bulb until it's full, then sealing it with tape. DISSOLVE TO HER screwing the bulb back into the floor lamp, and placing the thing near the foot of the stairs. SC 174 -LRB- DELETE -RRB-",
"INT. NANCY'S UPSTAIRS HALLWAY. NIGHT. - NANCY completes installing a sturdy sliding bolt to the outside of her own bedroom door. - NANCY screws a hinge into the wall directly above her door. Attached to the hinge is the shank of something - some kind of tool. We ca n't see what it is because CAMERA never quite frames the whole thing. - NANCY tiptoes to her mother's door and peeks in.",
"INT. MARGE'S BEDROOM. NIGHT. MARGE lies propped in her bed looking back at NANCY. Her drunkeness has been altered by the SIRENS and BABBLE outside into a sort of comatose clarity. MARGE Guess I should'n' a done it. NANCY Just sleep now, Mom. MARGE Just wanted to protect you, Nan. Just wanted to protect you. MARGE slides over on her side. NANCY smooths her hair, covers her as she would a child, then exits the room. DELETE SC 177",
"INT. NANCY'S ROOM. NIGHT. The girl enters, turns out her bedside light, slips out of her dress and puts on her nightgown. Then she kneels by her bed. NANCY -LRB- quietly. -RRB- Now I lay me down to sleep, I pray the Lord my soul to keep. If I should die before I wake, I pray the Lord my soul to take. She gets into bed and pulls the blankets to her chin. CLOSE ON NANCY's face. She stares straight up at the ceiling for a long moment, then closes her eyes.",
"INT. GLEN'S LIVING ROOM. NIGHT. LT THOMPSON trudges down the stais and confronts GLEN'S FATHER. LT THOMPSON I know it's hard to think at a time like this, Walter, but can you think of anyone who could've done such a thing? The father stares away, his voice low and dull. MR LANTZ He done it. THOMPSON looks at the man, baffled. LT THOMPSON Who? Who did that? MR LANTZ Krueger. LT THOMPSON Krueger? The father gives him the strangest look. MR LANTZ Had to've done it. No one else was in there. LT THOMPSON How you know that? MR LANTZ Cause I thought Glen was gon na sneak out to see your lunatic daughter, that's why. So I locked him in his room! -LRB- getting control. -RRB- Sorry. Anyways, the door was still locked when we heard the screams. He blinks. MR LANTZ -LRB- CONTD. -RRB- Maybe god's punishing us all. LT THOMPSON -LRB- much lower and hard. -RRB- Keep your head - this is a fucking flesh and blood killer we're talking about. MR LANTZ Like Rod Lane? A voice calls down from upstairs. COP -LRB- OS. -RRB- Lieutenant Thompson. Coronor wants to show you something. THOMPSON gives MR LANTZ one final look, then heads upstairs. NOTE : These rewrites of scenes 180 and 180 A replace NANCY walking through the ` dream streets' at night, and NANCY approaching the huge deserted building at night, prior to her entering the Boiler Room the final time.",
"INT. DOWNSTAIRS, NANCY'S HOUSE. NIGHT. LOW ANGLE UP STAIRS as NANCY appears at head. As she comes downstairs, CAMERA MOVES WITH HER through the hallway to the cellar door. She opens the door.",
"INT. NANCY'S CELLAR. NIGHT. NANCY appears at top of these stairs, hesitates, then comes down. WIDER as NANCY approaches center of room, stops in CU, then turns eyes. We HEAR the distant SOUND of the boiler room now, faint but unmistakeable. NANCY MOVES, and CAMERA PANS HER to the cellar's side WALL, where another, new doorway is REVEALED. NANCY opens this door and looks down. FIRELIGHT is on NANCY'S face now, and the SOUND of the Boiler Room is very clear. NANCY goes through the door.",
"INT. BOILER ROOM. NANCY decends like Orpheus into hell, but without weapon save her wits. She decends a steel stair to the lowest level, then hears the SOUND of the knives from down another shaft. She sees there's an even deeper place down there. She starts down. Again, and then again, NANCY decends, each ladder narrower or more twisting, each level deeper, wetter, darker, more airless. Soon she's gasping for air, but still she pushes herself on. She does n't stop until she breaks out at last at the very bottom of the place, a wet, firelit sump deep in the bowels of the place. CAMERA NOW PANS AROUND WITH HER, and for the first time we SEE the vast maul of the empty boiler behind her. She stares at it. It's seething with some dark WIND that soughs and whines like a huge dying dog. NANCY crosses to it, touching the pile of old, coal - dusted dirt at its base. It looks almost like an old grave. She turns suddenly, listening. Then, hearing nothing, she looks down. NANCY'S POV as she picks up GLEN's earphones. WIDER as she suddenly drops them, staring at her fingers. They're dripping blood. There's another BEEP. INSERT ON NANCY'S WATCH - the COUNT - DOWN a blur of black digits counting down to zero. They've just crossed the ten minute warning. CLOSE ON NANCY'S FACE. She speaks into the night. NANCY -LRB- quietly. -RRB- Come out and show yourself, you bastard. No sooner are these words off her lips than the huge bulk of FRED KRUEGER lurches up behind her! The man is even more hideous hatless, his bald head and tormented face veiled in skeins of ruined flesh, his ragged teeth barred, the great spider of razor - blades flashing from his fingertips. He leaps, but the girl leaps just as fast, a fierce jump, that sends her out over black space and down into a huge, dark sump of blackness.",
"EXT. THE HEAVENS. NIGHT. CLOSE ANGLE ON NANCY as she curves like a swan though her apogee, and begins falling, diving, planing through black air, the wind ripping at her hair and eyes. Suddenly the complex, glittering skein of light that is the San Fernando Valley seen from the air slides INTO FRAME, and we see she's falling from high, high over the earth. NANCY falls, falls in slow motion against the spinning lights, free as a sky diver freefalling - a giddy, acrophobic plunge.",
"EXT. ELM STREET/NANCY'S HOUSE. NIGHT. NANCY crashes suddenly out of the night and into a hedge just outside her own front door, rolling out at its bottom scratched and bloodied. If she were in any normal reality she'd be a mass of broken bones - but somehow she's able to claw her way up and look at her watch once more. INSERT. Just a few seconds from zero. She staggers for her house's front door - but a moment later KRUEGER crashes down atop her! NANCY struggles to her knees just as the man lunges with that godawful handful of blades. But instead of running, she ducks inside the deadly grab and seizes him in a desperate bearhug! The surprise move sends him pitching backwards, her still on him - and they fall into the jumble of torn - down trellis of roses beneath her window. Almost at that very second we HEAR the jarring, deafening RINGING of NANCY's alarm clock!",
"INT. NANCY'S BEDROOM. NIGHT. NANCY sprawls out of her bed onto the floor, twisting from the jabs of the already vanished thorns, briars and brush. Gasping, she takes a second to get her bearings ANGLE ON THE BED as she recovers quick as she can, snatching up the net, ready for an assault from any direction. But the room is empty. Hardly able to catch her breath, her hair tangled, her nightgown torn, she drops the net. She sits on the bed, turns on the bedside lamp and re - examines her room. No one there but herself. It's a terrible blow, despite the fact that she's safe. Her face is covered with tears, she's shaking and breathless. She rattles her head in confusion and despair, realizing her own madness. NANCY I'm crazy after all. At that very instant FRED KRUEGER leaps up from the far side of the bed with an EXPLOSIVE SHOUT of rage! He lunges across the table for her, missing by inches as NANCY pitches backwards and scrambles for the window. But she's stopped by the bars. KRUEGER, incredibly fast, regains his feet and leaps again - the girl wheels and shatters the coffeepot over his head. As he crashes backwards NANCY flings open the door of her room and dives through - only to rebound off someone on the other side -",
"INT. HALLWAY. NIGHT. MARGE, knocked flying by NANCY'S charge, hits the floor hard, knocking the wind out of herself. NANCY sees what she's done, jumps over the body and slams the door and throws the new bolt home. Next instant she gingerly ties a string to the door's knob, a string that trails down from the ceiling, attached to something up there that's still just barely out of sight. Next instant she's dragging her MOTHER towards the woman's bedroom as fast as she can. KRUEGER is already splintering the doorway behind her as NANCY dips and makes it into MARGE's room, SLAMMING the DOOR behind her and locking it in a flash. The MANIAC breaks the bolt and rips open the door. But the in the very act of doing this he of course unknowingly pulls the string attached to the outside doorknob with terrific force. CLOSE ANGLE ON THE CEILING. The string jerks against a single - edged razor, which in turn cuts a tight wind of cord holding a heavy wedge of steel to the ceiling. WIDER as the thing falls free, pivoting at the hinge at the far end of its handle, and drives straight into KRUEGER'S groin with a terrific blow. As he catapaults backwards with an incredulous shriek, the twenty pound sledge hammer swings back and reveals to camera just what it is! ANGLE DOWN ON KRUEGER, clawwing his way up despite his agony, lurching and cursing forward like an enraged bull. WIDER ANGLE IN THE HALLWAY as KRUEGER roars out - only to immediately strike the length of WIRE strung across the hallway, catching it just above the thigh. He cartwheels head - over - heels and lands flat on his back! Instantly the DOOR to NANCY's MOTHER's bedroom flies open and NANCY brings a brass lamp down over KRUEGER's head with all her might! It sounds like a line - drive caroming off a metal flagpole. NANCY SLAMS the DOOR as KRUEGER struggles up, clutching his head. Enraged, the huge man CRASHES against the door with terrific force, and rears back and starts smashing against the door like the utter homicidal lunatic that he is.",
"EXT. ELM STREET/NANCY'S HOME. NIGHT. HIGH ANGLE at the second floor level. NANCY jerks open the window to her MOTHER's bedroom and jams her face to the bars. The AMBULANCE is pulling away with a tremendous WAIL of its SIREN as NANCY SCREAMS down, trying to make herself heard. NANCY Help! Hey - Daddy - I got him trapped! Where are you!? ANGLE ON the street. PARKER, assigned to guard the house, sees NANCY - hair white, eyes wide - pounding on the bars and screaming like a lunatic. But her meaning is utterly lost in the noise of the ambulance next to him. PARKER -LRB- yelling up at her. -RRB- Everything's going to be all right! Everything's under control! ANGLE at the window. Close on NANCY's face, incredulous at his response. NANCY Get my father, you asshole! PARKER does a little take. That almost sounded sane. PARKER -LRB- OS. -RRB- You heard what I said! Now get back inside or I'll tell your dad! Behind her the DOOR SPLINTERS. NANCY whirls around just in time to see KRUEGER bull in! NANCY's eyes go wide - she's trapped against the bars and has nowhere to go. The man bunches his knives into a single thick blade and rushes her, stabbing. NANCY closes her eyes - Then from OUT OF FRAME Marge leaps between the two. MARGE No! She blocks the charge perfectly - blocking the knives. Both she and NANCY are slammed backwards against the bars behind. Drunk though she is, is hanging onto KRUEGER'S weapon hand, keeping the knives inside herself, away from her daughter! MARGE Nancy - for god's sake's run! But NANCY turns to the window instead, screaming for her father. NANCY Daddy! Where are you!",
"EXT. ELM STREET. NIGHT. PARKER, just about to turn back to the business at GLEN's house, sees NANCY and SOMEONE else fall just inside the window. Something begins to dawn on the man. Just a little. PARKER Poor woman's got her hands full with that kid. Maybe I better tell the lieutenant. He turns and jogs towards GLEN's house.",
"INT. MARGE'S BEDROOM. NIGHT. ANGLE ON KRUEGER, hauling MARGE up in rage, knocking her senseless across her bed and climbing after her with his knives raised. NANCY wheels behind him and whams him in the kidneys with her fists, spilling him back off the bed, then running past him for the door. She makes it to safety, then turning back. She flips the monster the bird, her eyes wild with pain and fury. NANCY Hey fuckface - ca n't catch me! The bait works - KRUEGER leaves MARGE and howls after NANCY.",
"INT. UPSTAIRS HALLWAY. NIGHT. As NANCY clears the hall and makes the stairs, KRUEGER lurches through the shattered doorway after her.",
"INT. LIVING ROOM. NIGHT. The girl careens down the stairs, across the room and to the front door, banging against it with terrified fury. NANCY -LRB- screaming. -RRB- Come on - he's in here! Daddy! Do n't let him kill me too! Behind her the huge MAN is thumping down the stairs, KNOCKING THINGS OVER, SCRAPING his LONG STEEL FINGERNAILS along the wall with a horrible sound! NANCY flings a heavy ash tray through the porch window and screams through the bars. NANCY -LRB- CONTD. -RRB- HEELLLPPP! Daddyyyyyyy! KRUEGER, bloody and spewwing threats, staggers for her - NANCY dives behind the couch. CLOSE ON KRUEGER'S FEET as they hit another wire. CLOSE ON the Lifesaver jerking out - the clothespin snapping together, completing the circuit with a CRACKLING SPARK. WIDER ON THE EXPLOSION that rips out of the floor lamp next to KRUEGER and knocks him sprawling across the room. NANCY peeks out from behind the couch. The man lies in a smoking heap. NANCY runs to the windows and screams out again. NANCY -LRB- CONTD. -RRB- Hey - Daddy! Hey! I got the bastard! KRUEGER roars up behind her - she throws herself sideways - he crashes into the window frame, smashing glass and wood to bits. NANCY turns SCREAMING and runs deeper into the house.",
"INT. CELLAR. NIGHT. She careens down the stairs, throwing on the lights, the man thundering after her. ANGLE AT THE FAR END OF THE CELLAR. NANCY brakes at the wall. Nowhere left to hide. THE SCRAPPING of the blades against brick turns her to see the huge killer holding his knife - laden fingers up for her. KRUEGER Ready for these? ON NANCY - she ducks behind the furnace - comes out the other side with the big jug of gasoline and lets KRUEGER have it straight over the head. The heavy container shatters, showering its contents over every square inch of the man. He staggers backwards with a ROAR of fury, NANCY screaming after him with a box of kitchen matches. Before the man can realize what she's up to, she ignites the whole box and throws it in KRUEGER's face. There's a blinding WHOOSH - and KRUEGER goes up in a terrific BALL OF FIRE. Faster than a flash the girl runs past the howling maniac and makes for the stairs, KRUEGER after her in full pyrrhic rage.",
"INT. NANCY'S KITCHEN. NIGHT. NANCY holds the heavy door until the precisely right moment. Just as the burning, blind monster tops the stairs, NANCY brings the heavy oak door round with all her might and catches him in a great RINGING CONCUSSION. It sends him windmilling backwards and down the stairs in an ass - over - teakettle sprawl of sparks and flames. NANCY slams the door and throws the deadbolt home. No sooner does she accomplish this than the man is SLAMMING again and again against the door from the cellar. The terrible SCREAMS and CURSES PEAK, THEN GROW WEAKER AND MORE GARBLED. Then there's just silence. NANCY staggers, half blind, from the kitchen. As the room begins seething SMOKE from every pore, we",
"INT. GLEN'S UPSTAIRS HALLWAY. NIGHT. The CORONER steps out of the bathroom peeling bloody rubber gloves. Pale and sweating. CORONER Found you something, Donald. Should remind you of something. The man shoves out his hand to LT THOMPSON. THOMPSON stares at it without touching it. A long, thin steel blade, razor sharp, attached to some sort of ring and armature - broken off. The CORONER gives a sweaty, grim smile. CORONER -LRB- CONTD. -RRB- Only place I ever heard of such a thing before was ten years ago. Remember that fucker Fred Krueger? LT THOMPSON has just knocked PARKER sprawling in his race to the stairs. PARKER Hey - your daughter's acting kinda -! -LRB- THOMPSON'S gone. -RRB- Strange.",
"EXT. NANCY'S HOME. NIGHT. CRASH as NANCY breaks another window and presses against the bars. The house shudders and glows orange behind her. She sees her father bursting out the front door of Glen's house! NANCY DAD! GET US OUTTA HERE! LT THOMPSON Oh, Jesus - Nancy! -LRB- to his men. -RRB- Hey! We got a fire! ANGLE ON NANCY'S FRONT DOOR. Many MEN batter the door down as black smoke pours from the windows and NANCY's SCREAMS and SHOUTS fill the air. Within moments they've destroyed the door and LT THOMPSON has pulled his daughter into the safety of his arms. But NANCY immediately fights free and darts right back to the front door - beckoning him to follow - gesturing like a wild woman. NANCY I got him - I got Fred Krueger! THOMPSON stares at his wild little girl in astonishment, then runs in after her. The others follow, coughing and choking.",
"INT. LIVING ROOM. NIGHT. THOMPSON collides with NANCY as she brakes, frozen. THE SMOKE IS BELCHING OUT OF THE CELLAR, but whoever was locked in there certainly is n't now. The door is flat on the kitchen floor. LT THOMPSON What the hell are you talking about, Nancy? NANCY wheels without answering. A series of tiny, isolated fires burn across the living room and up the stairs. Firesteps. NANCY -LRB- CONTD. -RRB- He's after Mom! Come on! She darts across the living room, following the flaming footprints of FRED KRUEGER up the stairs before THOMPSON can stop her. LT THOMPSON NANCY!",
"INT. MARGE'S BEDROOM. NIGHT. NANCY STOPS IN THE SPLINTERED DOORWAY - a ragged gold - red light splashing her horrified face. REVERSE IN HER POV - FRED KRUEGER, literally a man of fire, has a screaming MARGE pinned to the bed and is crawling all over her! NANCY gives a banshee's howl, snatches up a chair and brings it down over the back of the firey beast, stunning him. By the time LT THOMPSON races into the room NANCY'S seized a heavy blanket has thrown over both of them, fighting the flames. The father joins his daughter without a second thought, heaving another blanket over the bed and smothering the last of the flames. NANCY He's under there! Watch it! THOMPSON pushes the girl back - yanks out his.38 and pulls off the first cover. No movement. He pulls back a second one, ready to fire. But the only thing he sees is the blackened half - skeleton of his ex - wife, smoking and seething and sinking into the fluid - like mattress, sinking right down through it as if she were sinking into a lake. A blackened, gnarled hand goes last, then the bed solidifies over the place she's disappeared. And it's as if no one was ever there. NANCY turns and looks at LT THOMPSON, her face white as her ghostly hair. THOMPSON shoves his.38 back in its holster and finds a cigarette, his hands shaking so badly he can barely manage. NANCY Now do you believe me? PARKER barges in. The room is filled with smoke, the bed is stripped, but other than that, the place seems normal. PARKER You find him? -LRB- looking closer at THOMPSON. -RRB- Sir? LT THOMPSON just walks by him. PARKER chases after. PARKER -LRB- CONTD OS. -RRB- -LRB- fading. -RRB- Sir - here, let me light that for you - Lieutenant? What happened? -LRB- gone. -RRB- WIDER, ON NANCY alone in the room. She turns and looks at the bed. MUSIC slips in and builds. The bed has changed color. It's now an ash - darkened red and yellow. CLOSER ON NANCY from the direction of the bed. MUSIC SUDDENLY STOPS, and the surface of the red and yellow bed gets a bump in its center that keeps raising, raising until it's a hump that's a head and shoulders, still raising until it looms over NANCY. Then FRED KRUEGER's entire shape sweeps up into the yellow and red mass - and the garish head, smoking and seething, pops through. NEW ANGLE - KRUEGER, a burned, sizzling black hump of a killer, clumps onto the floor between NANCY and the door. NANCY falls absoltely still, and her face goes through a strange, almost sublime transformation. NANCY -LRB- quietly. -RRB- I know you're there, Krueger. She turns and faces him. FREDDIE You think you was gon na get away from me? NANCY shakes her head. NANCY I know you too well now, Freddie. KRUEGER smiles bitterly. Coming closer. FREDDY And now you die. There's a SLICKERING RATTLE at his side, and he raises the only thing on him not charred - the gleaming steel talons. NANCY simply shakes her head again, as if seeing a light at the end of her long, long tunnel. And the way she says the words, they might be appearing on the inside of her eyes. NANCY It's too late, Krueger. I know the secret now - this is just a dream, too - you're not alive - the whole thing is a dream - so fuck off! I want my mother and friends again. KRUEGER grins insanely, confused and amused at the same time. FREDDIE You what? NANCY -LRB- even, firm. -RRB- I take back every bit of energy I ever gave you. You're nothing. You're shit. And then she turns her back on him. KRUEGER bunches his fingers, producing a single ragged bundle of razor talons and raises his hand over the back of her head and neck. NANCY closes her eyes and steps to the door. CLOSE ON HER HAND, touching the door knob. CLOSE ON KRUEGER'S KNIFE - FINGERS poised. MUSIC BUILDS then SHRIEKS as KRUEGER stabs down, right through NANCY - as if she were an optical illusion - loosing his balance and falling down, down, down. And he's gone.",
"EXT. ELM STREET. DAY. CLOSE ON NANCY'S FRONT DOOR AS NANCY jerks it open and blinks in the bright, diffused light. The MUSIC FADES on a transitional note, into light. We hear BIRDS. CHILDREN playing. Early morning SOUNDS. NANCY -LRB- to herself. -RRB- God, it's bright. MARGE sticks her head out, squinting, and nods. Sober. MARGE Gon na burn off soon or it would n't be so bright. NANCY turns and looks her mother over. NANCY Feeling better? MARGE They say you've bottomed out when you ca n't remember the night before. -LRB- shakes her head. -RRB- No more drinking, Baby, suddenly I just do n't feel like it any more. She touches NANCY. MARGE -LRB- CONTD. -RRB- Did n't keep you up last night, did I? You look a little peeked. NANCY smiles. NANCY Nah. Just slept heavy. The girl gives a wave and goes off. MARGE calls after. MARGE See ya. NANCY turns and waves. NANCY See ya. WIDER ON NANCY as she walks to the curb. The whole scene is wrapped in an unseasonal tule fog, bright yet diffuse. We notice that NANCY's house no longer has bars on its windows. Then we see a familiar convertible pull up at the curb, top down. TINA and ROD are in the back seat. They all wave to MARGE as NANCY climbs in. GLEN -LRB- calling. -RRB- You believe this fog? MARGE -LRB- laughs. -RRB- I believe anything's possible. TINA slaps five with NANCY. TINA Lookin' good, girl! ANGLE INSIDE THE CONVERTIBLE. GLEN slips into the seat next to NANCY. Someone else is driving, it seems. NANCY looks up to the DRIVER. The big MAN turns and grins at NANCY, a terrible, scarred, hideous leer of a grin - FRED KRUEGER'S grin! ANGLE BACK OUTSIDE THE CONVERTIBLE as its top clamps over the kids within - a bright red and yellow top that closes as fast and hard as a beartrap! NANCY'S frightened face flies to the window, pressing against the thick glass as the car roars away from the curb and into the thick fog. CAMERA PANS TO a group of LITTLE GIRLS, half - hidden by the fog, jumping rope and singing gayly. GIRLS One two - Freddy's coming for you! Three four - Better lock your door! Five six - Get your Crucifix Seven eight - Gon na stay up late! Nine ten - Never sleep again! MUSIC CROSSFADES WITH THIS SONG, expanding the simple tune to symphonic, boundless dimensions as the little girls fade into thin air, and we FADE TO BLACK ROLL END TITLES."
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] | In March 1981, at Springwood, Ohio, Tina Gray awakens from a nightmare wherein she is attacked by a disfigured man in decayed clothes who wears a blade-fixed work glove on his right hand. Her mother points out four mysterious slashes on her nightgown. The following morning she is consoled by her best friend, Nancy Thompson, and Nancy's boyfriend, Glen Lantz. The two stay at Tina's house when Tina's mother goes out of town, but their sleepover is interrupted by Tina's boyfriend, Rod Lane. When Tina falls asleep, she dreams of being chased by the disfigured man. Rod is awoken by Tina's thrashing and sees her dragged and fatally slashed by an unseen force; he flees as Nancy and Glen awaken to find Tina covered in blood and dead. The next day, Rod is arrested by Nancy's father, Lieutenant Don Thompson, despite his pleas of innocence. At school, Nancy falls asleep in class. While masquerading as Tina, the man chases her to the boiler room where she is cornered and burns her arm on a pipe. The burn startles her awake in class and she notices a burn mark on her arm. At home, Nancy falls asleep in the bathtub and is nearly drowned by the man. Nancy goes to Rod at the police station, who tells her about what happened to Tina and his own similar dreams; this makes Nancy believe that the man is responsible for Tina's death. Nancy invites Glen to watch over her as she falls asleep. In her dream, she sees the man prepare to kill Rod in his cell, but then he turns his attention towards her. Nancy runs away and wakes up when her alarm clock goes off. The man kills Rod by wrapping bed sheets around his neck like a noose. Nancy and Glen find his body hanging in his cell. At Rod's funeral, Nancy's parents become worried when she describes her dream. Her mother, Marge, takes her to a sleep disorders clinic, where, in a dream, Nancy grabs the man's fedora and pulls it from the dream into reality. Marge begins to drink and smoke heavily and bars the windows at home. She reveals to Nancy that the man, Fred Krueger was an insane child murderer who was released on a technicality and then burned alive by Marge, Don, and other parents (who lived on their street) seeking vigilante justice. Nancy realizes that Krueger, now a vengeful ghost, desires revenge and to satiate his psychopathic needs. She tries to call Glen to warn him, but his father prevents her from speaking to him. Glen falls asleep and is sucked into his bed by Krueger, and a large fountain of blood is released in his room. Now alone, Nancy puts Marge to sleep and asks Don, who is across the street investigating Glen's death, to break into the house in twenty minutes. She rigs booby traps around the house, and grabs Krueger out of the dream and into the real world. The booby traps affect Krueger enough that Nancy is able to light him on fire with a Molotov cocktail and lock him in the basement. Nancy rushes to the door for help. The police arrive to find that Krueger has escaped from the basement. Nancy and Don go upstairs to find a burning Krueger smothering Marge in her bedroom. After Don puts out the fire, Krueger and Marge vanish into the bed. When Don leaves the room, Krueger rises from the bed behind Nancy. Realizing that Krueger is powered by his victim's fear of him, Nancy calmly turns her back to him and Krueger evaporates when he attempts to lunge at her. Nancy steps outside into a bright and foggy morning where all of her friends and her mother are still alive. As she gets into Glen's convertible to go to school, the top (patterned like Krueger's sweater) suddenly comes down and locks them in as the car drives uncontrollably down the street. Three girls in white dresses playing jump rope are heard chanting Krueger's nursery rhyme as Marge is grabbed by Krueger through the front door window. | A_Nightmare_on_Elm_Street |
[
"EXT. PLAZA COLON/INT. BANK - DAY (1980) BLACK and WHITE. The past was so clear - cut. Or was it? Tiled roofs, the stark white stucco of a colonial town square. Black iron bars at a bank. A briefcase carried in a man's hand. A sniper's rifle being assembled. Thick blocks of hundred dollar bills. Placed in the briefcase. A man's teeth as he smiles grimly at the sight. Sounds over a SUBJECTIVE VIEW. The BRIEFCASE SNAPS SHUT. A VAULT DOOR SLAMS. RUBBER SOLES WALK a tiled floor. Ahead, brilliant, white light suffuses the exit. Like the way people describe near - death eperiences. We're either going outdoors or over to the other side. A long rifle silencer juts from a window. We see the shooter FROM BEHIND, a view OVER his shoulder. In the bank, the man crushes out a cigarette. A pause and a DEEP EXHALE as we step outside into a flood of light. In answer, the LOW PUFF of a SILENCER. Only the plaza pigeons notice. As they take flight. A man lies dead on the cobblestones. And as we look UP TOWARD the window, there's nothing there. The pigeons wheel above the plaza. We FOLLOW, finally losing them to the sky. SLOWLY that sky BLEEDS from gray to blue. And as we PAN BACK DOWN.",
"EXT. MARSH - SUNSET We're no longer in a plaza, but in a vast marshland. Not in the past, but in the present. The sun sparkles over the water. Two silhouetted figures move past in the dis tance. One walks a little behind the other. The man in front is KETCHAM. He wears an expensive suit and Gucci loafers. He swats at flies nearly too small to see, curses under his breath at the calf - deep mud. The man behind is RATH. He moves easier ; the flies do n't seem to bother him at all. His jeans are tucked into rubber boots. He holds a silenced.22 at his side. Like it was part of him. They continue until one of Ketcham's shoes is sucked off by the mud. KETCHAM Aw - shit. Ketcham balances on one leg, holding his silk - socked foot in the air. The shoe disappears, filled with mud. KETCHAM When I first saw you I was n't scared. I was just wondering why you were dressed like that. -LRB- re : mud. -RRB- Now I know. Ketcham pulls off his sock, sticks his foot in the mud. He smiles. It feels good. He pulls off the other shoe, tosses it. Grabbing for the other sock, he loses his balance and sits down in the mud. Rath waits patiently as Ketcham laughs at the absurdity of it all. Ketcham finally pulls the sock off, then stands, digs his toes into the dark, wet earth. KETCHAM This feels good. They move on, Rath still a little behind. Ketcham enjoys the new sensation, but after a bit, the pleasure fades. KETCHAM It's twisted, but I'm honored. You're the best. It means at least they're still afraid of me. Ketcham looks ahead as they close on a grove of trees. He knew they were going somewhere, but it's a chilling realization all the same. KETCHAM I knew this day would come. But this morning, I could've sworn I was going to live forever. They're only a few steps away from the first of the trees. Desperation begins to creep into Ketcham's voice. KETCHAM Any chance of you telling me who the Contractor was? Huh? -LRB- off no answer. -RRB- At least tell me how much I was worth. A dime? Two? They're into the trees. Ketcham does n't need to be told. He stops just where a dead branch hangs from a tree. KETCHAM Here? Rath uses the.22 to gesture Ketcham to the left. Ketcham gives the branch a wistful smile. Leaving his last hope behind, he takes a few steps over. KETCHAM We both play the game, Rath. Sooner or later the wheel turns. For everybody. Who's got your bullet? What kind of shoes'll you be wearing when the day comes? Rath's answer is to move directly behind him. Ketcham is finally showing his fear. KETCHAM Whatever the contract is, I'll double it. Just say you could n't find me. Buy yourself some good karma. Ketcham ca n't see, but he almost senses it as Rath raises the silenced.22 to the back of his head. KETCHAM Oh, God. Do n't pull yet, not yet. Christ, I've done some bad things in my time. -LRB- trembling. -RRB- I ca n't die like this. Not like a mark. I'm not a mark! Finally, Ketcham begins to just cry. Nothing left to say. A man in mourning for himself. But Rath is not unaffected, not without his own peculiar version of mercy. Keeping the.22 steady, an inch behind Ketcham's head, Rath reaches into his jacket. He pulls out a second, nearly identical silenced.22. Ketcham looks down, curious as the clip drops into the mud at his feet. Rath, ready to fire at any sign of trouble, gently eases the gun into Ketcham's hand. Ketcham looks down, smiles. It's his gun, his dignity. KETCHAM Hello, old friend. -LRB- hefts it ; knows. -RRB- One in the chamber. Slowly, so Rath can see, Ketcham raises the.22, sets the tip of the silencer against the side of his head. He squints at the sun, the last thing he'll ever see. KETCHAM Last few years I've been looking for a sunrise. Maybe a sunset's better. -LRB- a beat. -RRB- Thanks, Rath. The sun disappears over the horizon. Ketcham squeezes the trigger. The SILENCER WHISPERS and he crumples, begins to sink into the mud. Rath lowers his gun. He takes a deep breath and lets it out slowly, standing alone in the middle of nowhere. We TILT DOWN TO an EXTREME CLOSEUP of blood in the water.",
"INT. HOTEL ROOM - DAY (LATE AFTERNOON) Rath closes the curtains. There is a makeshift office on the desk. A cell phone is connected to a lap - top computer. The prompt flashes epectantly. On the coffee table, we see the dismantled.22, spread clean on a white towel. Rath stands at a window looking out at the city. He leans forward until his forehead rests against the window. He closes his eyes, enjoying the cool of the glass. A beat. Then he looks to the street below. For just an instant, he's wondering what it would be like to fall. Breaking from his reverie, Rath steps to the desk. He sits, regards the computer with loathing, then types in a long access code sequence. He waits. After a few moments, a line of dialogue appears. Rath is communicating with someone. The Contractor. Contractor Where have you been, Robert? Rath Sick. The flu.",
"INT. CONTRACTOR'S OFFICE - LATE AFTERNOON EXTREME CLOSEUP OF eyes, hands, mouth, computer, etc.. Contractor I do n't believe you. BACK TO RATH. RATH I do n't care what you believe. I want out. I've had it. Contractor I've been sitting on a prime contract. But these days, something else is on Rath's mind. RATH Who are you, you sonuvabitch? Rath Send the file. I'll have the estimate tonight. Contractor I'm worried about you, Robert. RATH You should be. Rath Do n't be. Contractor Good. You are my # 1. The screen goes blank. A beat and the word `` TRANSMITTING'' appears. Rath stands. A slimline PRINTER HUMS, starts to reproduce a newspaper photo of ALAN BRANCH. Strong. Hard eyes which Rath studies a moment, then circles. As a second sheet feeds, Rath is n't that interested.",
"EXT. CITY STREETS - SUNSET Mist fills the air. As night comes on, Rath walks. He has no real purpose at the moment. And the crowds do n't magically seem to get out of his way. He watches them laughing, talking, hurrying this way and that. Rath's a loner. An outsider. Life moves around him, but he's not part of it. At least not this version. The mist turns to darkness.",
"INT. MALL - UPSCALE WOMEN'S CLOTHING STORE - NIGHT Rath pauses, his eye caught by a scene inside. A dowager berates a female CLERK. The Clerk takes it stoically, nodding, placating. Huffing and puffing, the dowager heads back to the racks. The Clerk watches her in easperation. No one deserves this kind of abuse. Rath is going to continue when, on an impulse, he decides to enter the store instead.",
"INT. UPSCALE WOMEN'S CLOTHING STORE - NIGHT Rath steps inside, begins to look around. The Clerk sighs to herself. Another customer and it's almost closing time. The dowager jams the dress back on the rack and it fallsto the floor. She ignores it, but Rath does n't. RATH I think you dropped something. The dowager gives him a look. RATH Maybe you better hang it back up. And it is n't a question. The woman looks shocked, then gruffly hanging the dress back up, hurries out of the store. Tired, a bit apprehensive, the Clerk gives Rath a moment before joining him. CLERK Can I help you, sir? We're just closing. Rath suddenly wonders what the hell he's doing here. RATH I'm looking for something. I, I'm not sure what. CLERK -LRB- knows the routine. -RRB- Birthday? Anniversary? Rath shakes his head. There's something sad about him, but she misreads it. CLERK A fight. Rath starts to say something, but then stops. She takes it as a yes to her question. CLERK You said something you regret? A beat. It takes Rath a moment to confess : RATH Regret. Yes. She thinks, decides on a way to get rid of him. CLERK Are you really sorry? Rath nods. He is. Finding what she's looking for, she holds up an elegant red velvet dress. CLERK Bring this home and she'll say she's sorry. But it's expensive. That price tag should get him out of here. A beat. There's something oddly appealing about the moment. It's hard to say, but Rath is charmed. Then, almost shyly. RATH She's about your size. Would you? The Clerk is caught off guard by this request. She is all alone and it is getting late. Still, it'd be nice to end the day with a sale. CLERK Give me two minutes.",
"INT. MALL - UPSCALE WOMEN'S CLOTHING STORE - NIGHT Rath stares out the window. There's something mournful almost haunting about him. An old soul to be sure.",
"INT. UPSCALE WOMEN'S CLOTHING STORE - NIGHT Rath scans the empty store, then checks his watch. He's lost his mind. As he heads for the door, the Clerk steps out. The transformation is stunning. Rath stops short, takes in the beauty of it all. CLERK What do you think? RATH -LRB- soft, gentle. -RRB- It's perfect. She ca n't believe it. CLERK I'll write it up? She steps to a desk, scribbles out a receipt. Rath notices an open textbook, several lines have beenhighlighted. RATH College? CLERK Do you think I'm too old? My daughter says I'm too old to go to school. I just sit in right now. I do n't have the money yet. But I do n't want to spend the rest of my life selling somebody else's dresses. I mean, you're never too old to have dreams, right? To start over? Rath looks away, ca n't hold her gaze. RATH I do n't know. An awkward beat. Then. CLERK Should I wrap it? Rath nods. BACK ROOM CLOSE as she finishes tying the box. STORE She steps out. Her smile fades as she sees he's gone. The sale is lost. CLERK Damn! She plops the bow on the counter, then notices a wad of $ 100 bills sticking out from her textbook. CLERK -LRB- softly. -RRB- Damn. She pulls them along with a note written on the back of a store business card. She reads it. INSERT CARD : Your daughter is wrong. She steps to the window, looks out. Rath's lonely figure exits to the street outside.",
"INT. HOTEL ROOM - NIGHT Outside it is raining. Rath is at the window looking at a faed photo of his net target, Alan Branch. On the street below a fire truck and an ambulance race along - SIRENS BLARING. Rath crosses to his bed. He reviews photos, scribbles notes as he scans articles, one head - line : `` Billionaire Recluse Linked to Financing of Central American Death Squads.'' A photo of a brother. An obituary mentions `` car accident.'' Rath sketches a diagram on a legal pad. Satisfied with what he's got, he calls up a box on his computer screen and dials an Internet number. A beat and he enters the access code. Rath picks up the photos of Branch. Studies the eyes - circled, the only thing that matters. They're cruel eyes. The network comes on line. Rath takes a brath, lets it out slow. Types : Rath I have my bid.",
"EXT. AIRPORT - RUNWAY 32 - DAY An American Airlines 757 approaches right to left, descends toward the runway.",
"INT. AMERICAN AIRLINES 757 - DAY Staring pensively out the window, Rath barely notices as the plane touches down.",
"EXT. AIRPORT - RUNWAY 8 - DAY Someone else is here. Left to right, an Avianca Airlines jumbo 747 glides silently down, its landing gear reaching out like talons. As it touches down.",
"INT. AMERICAN TERMINAL - DAY Rath walks, blends in perfectly with the crowd.",
"INT. INTERNATIONAL TERMINAL - DAY Tired travelers trudge, clogs the concourse. But one man moves briskly. Singular of purpose. Dressed stylishly, we do n't quite see his face. He's BAIN, a presence, and for whatever reason, no one ever seems to be in his way.",
"INT. LUGGAGE CAROUSEL - DAY Rath reaches down, picks up a case.",
"INT. CUSTOMS - DAY A glass booth. A similar case is checked off. The CUSTOMS OFFICER looks up at Bain, who we still only see in glimpses. And reflections. OFFICER Is your visit business or pleasure? BAIN Both.",
"EXT. AMERICAN TERMINAL - DAY Rath gets into a hotel courtesy van, blending in with everyone else.",
"EXT. INTERNATIONAL TERMINAL - DAY Seen FROM BEHIND, Bain cuts a swath, raises a hand for a cab which immediately scoots forward to meet him.",
"EXT. CITYSCAPE - DAY Pretty, but with a sense of foreboding. It is n't big enough for the two of them. Bain's cab moves briskly along.",
"EXT. OAKWOOD CEMETERY - SUNSET The sky glows red. The taxi waits, parked just inside the gates. In the distance, Bain moves among. HEADSTONES There are rows of chairs set up. A fresh grave has been dug. Preps for a service tomorrow. Perfectly at home, Bain wanders as though looking for something specific. An old CARETAKER in a pair of worn coveralls watches from a mausoleum. His voice dies on the wind. CARETAKER Can I help you? Bain turns. It's our first good look. His features are strong, refined. He looks like a fine young man. He's not. He smiles warmly. BAIN I'm looking for someone. CARETAKER -LRB- steps over. -RRB- What's the name? I'll check the plot map for you. BAIN He's not dead yet. Turning, Bain heads off. The Caretaker just shrugs.",
"INT. DRUG STORE - MAGIC HOUR FROM OUTSIDE we see Rath move down the aisles. Selecting an odd array of items. Rolls of gauze. A box of plaster of paris. A sling. He pays and exits onto the busy sidewalk.",
"EXT. OAKWOOD CEMETERY - DAY (LATE AFTERNOON) A crowd of onlookers. Police lines. Private securityguards control entrance into the service area itself. The media are here in full force. REPORTER #1 Just witnessed the arrival of recluse billionaire Alan Branch. Here attending the funeral of his brother, Samuel Branch, who died last week in a tragic car accident. We MOVE PAST Reporter # 1 TO. REPORTER #2 Alan Branch has not been seen since testifying at a Senate hearing ten years ago. At the time he was questioned for his alleged financing of right wing death squads throughout South and Central America. Branch was born in. SECURITY TABLE Seated, a `` Security Systems'' tech checks a name against a driver's license with Rath's picture. It carries the name Paul Gray - the name Rath typed into the computer. He looks up and hands the license back to Rath. As he turns we see that under his jacket, his right arm is in a cast, in a sling close to his side. He moves past a hearse and several limousines as he joins other latecomers who are walking up a hill towards a group at a gravesite.",
"EXT. GRAVESIDE - DAY (LATE AFTERNOON) As a soloist finishes the last notes of `` Ave Maria.'' The PRIEST invites those assembled to stand. All do except for Alan Branch in his wheelchair. He is ten years older than the photo - now frail but with the same eyes. His BODYGUARDS stand on either side. We see Rath move into position across the grave from Branch. Rath removes a piece of white tape from his cast, eposes a barrel opening. The Priest raises his hands, all heads bow. Branch's. Rath's - though his eyes stay on his mark. PRIEST I am the resurrection and the life, saith the Lord. As the Priest continues, Rath twists his body slightly, taking aim with the.22 which must be inside the cast. He's got a clean shot at the back of Branch's head. PRIEST shall not die, but have everlasting life. Rath's about to squeeze the trigger. PRIEST Amen. Water pelts as sprinklers surge to life on all sides of the service area. Bad timing. Or is it? All heads turn. Several people move to get away from the spray.",
"EXT. GRAVESTONE - DAY It is Bain sighting along the barrel of his silenced rifle. TELESCOPIC POV OF BRANCH in his wheelchair. TIGHT ON a spot above his heart. BACK TO GRAVESITE Rath spins back to look toward Branch. The old man's head is still bowed in prayer. Or is it. Crimson spreads out across his white shirt. He's been shot through the heart. As one of the Bodyguards realizes. BODYGUARD He's been shot! The crowd panics - people running everywhere. Rath spots a young caretaker. Wearing coveralls. Nonchalantly heading off beyond a mausoleum, wheeling a trash can full of leaves. It's Bain. Rath turns his body to aim. In all the confusion, no one notices a.22 shell. BAIN Reacts as a BULLET drills the trash can. Pulling a sniper's rifle from the can, he runs, dives as another BULLET RICOCHETS off the tombstone just in front of him.h -RRB- 0 * 0 * 0 * BODYGUARDS All this has attracted their attention. Drawing guns, they charge after Bain. He comes up FIRING silently. The Bodyguards go down. But now police are on the way. BAIN Stands and tries to run. Again, he's pinned down as TWO BULLETS blossom granite around him. He scans the crowd, has no idea who's shooting at him. CEMETERY And a small army of POLICEMEN are advancing, service revolvers everywhere. POLICEMAN Drop it! Now! Bain makes one last attempt to move. A BULLET nearly takes off his ear. Making a strategic decision, he tosses out his rifle and waits for the cops. In an instant, they've surrounded him. They pin him to the ground - find his.22 pistol and handcuff him. RATH He sidesteps for a clear shot ; Police are everywhere. RATH Move, you sonuvabitch. Give me a line. Goddamnit, get out of the way. Cursing again under his breath, he wo n't take the chance of hitting a cop. BAIN As they hustle him along, he ducks and weaves, perfectly aware of how to take advantage of his human shield. For an instant, he sees a man. Fifty yards away. Silhouetted by the low sun. Watching. Bain squints against the light, ca n't make him out, but knows it's Rath. He ducks. CEMETERY Far ahead Rath sees Bain being frisked against a police cruiser. The cops handcuff him, shove him in the back. His rifle goes in the front. In a moment the cruiser rolls out, led by a second. Rath hurries across the cemetery, headed for.",
"EXT. CEMETERY - UPPER ROADWAY Rath climbs into his rent - a - car. He releases two Velcro strips and the cast neatly separates - revealing his silenced.22 held comfortably in his hand. He slaps in a new clip and ROARS forward.",
"EXT. INTERSECTION - LATE DAY Rath eyeballs the street. Crowded with people and cars. The police cruisers are gone.",
"INT. RENT-A-CAR - MOVING - LATE DAY Rath continues, reaches under the seat for a portable police band RADIO. He switches it ON. Garbage until : COP #1 -LRB- V.O. -RRB- This is twenty - three. Proceeding to 7th with suspect in custody. Over. As the DISPATCHER ROGERS they got the message, Rath spins the wheel, hangs a right to try and catch up.",
"EXT. STREET - LATE DAY Two police cars race by. Bain is in the back seat of the second one.",
"INT. POLICE CRUISER - STREETS - LATE DAY Bain sits in the back seat. Handcuffed. Separated from the two cops up front by a steel mesh screen. The sniper's rifle is in the front seat. The second cruiser is up ahead, leading the way. As city blocks whizz past, Bain stares back over his shoulder. The street is empty behind them. Bain stares ahead. Silent. Behind his back, he grips his left hand with his right thumb. Slowly, he pulls his left thumb out of its socket. The digit folds unnaturally into his palm, as Bain slides the cuff over his hand.",
"INT. RENT-A-CAR - LATE DAY Rath turns onto Victoria. No police cruiser in sight. Rath turns west, GUNS it.",
"INT. POLICE CRUISER - STREETS - LATE DAY Speeding along. COP # 1 looks back at Bain who stares out the side window. As Cop # 1 looks ahead - BOOM! Bain rears back with both feet and kicks out the side window. Before either Cop can even react, Bain reaches through the rear side window and through the driver's side window. As he wrenches back on Cop # 2's neck.",
"EXT. STREET - LATE DAY The CRUISER SKIDS out of control. It slams into a row of parked cars, straightens for an instant before it cart - wheels end over end, lands on its roof. The second cruiser starts to break as they realize what's happened behind them. A silent moment before Bain pulls himself out the side window of the wreck. He has blood trickling from his hairline. Bain reaches into the cruiser for his rifle. Cops # 1 and # 2 hang upside - down in their seats. Cop # 2's neck is twisted - broken. Groggy, Cop # 1 is still alive. Bain lies flat on his stomach, aims back through the window at Cruiser Two which has turned and is speeding back the other way.",
"INT. CRUISER TWO COP # 3 is on the radio as cop # 4 drives. COP #3 Officers down. We need an aid car, now, twenty - seven hundred block. Victoria Ave.",
"INT. RENT-A-CAR - MOVING - LATE DAY Rath has the calls, hangs a right.",
"INT. CRUISER TWO - MOVING - LATE DAY COP #3 Request backup and ambulance to. Suddenly the WINDSHIELD SPIDERWEBS and Cop # 3 is hit in the chest.",
"INT. CRUISER ONE - UPSIDE DOWN - LATE DAY Bain FIRES again.",
"INT. CRUISER TWO - MOVING - LATE DAY The other side of the WINDSHIELD SPIDERWEBS. Cop # 4 is hit.",
"INT. CRUISER ONE - UPSIDE DOWN - LATE DAY Upside down Cop # 1 twists a desperate look back at Bain. COP #1 Do n't shoot me. Please. BAIN -LRB- agreeable. -RRB- Okay. Bain rolls clear as Cruiser Two slams into and through Cruiser One.",
"EXT. WRECKAGE - LATE DAY Bain looks at the wreckage for a beat and disappears between two buildings - the rifle at his side.",
"INT. RENT-A-CAR - SUNSET Rath slows as he nears the wreckage. Bain is nowhere in sight. Rath stops. Holding his.22, Rath leans low out of the sedan for a quick look. Four dead cops, but no Bain. Just a discarded pair of coveralls on the sidewalk. Rath scans the deserted streets. It's a little spooky. Then, a shadow moving. Across the street.",
"EXT. STREET - SUNSET Rath gets out of his rent - a - car,.22 in hand. As we hear a DISTANT SIREN, Rath crosses to a chainlink fence, peers through. Our hearts are in our throats as, without warning, a big watch dog lunges at the fence. But Rath is unphased. He gets back in his car, continues driving and scanning for any sign of life.",
"EXT. STREETS - SUNSET He hangs a left, coasts, then hangs a right. A block ahead, a yellow cab waits at a red light. Rath looks a little more determined as it gives him an idea. A police car races by.",
"INT./EXT. YELLOW CAB/INTERSECTION - NIGHT The DRIVER's eyes look to the rearview as headlights loom. He winces as his cab is bumped from behind.",
"EXT. INTERSECTION - NIGHT Rath gets out of the sedan and the Driver out of the cab. As they converge on the bumper. DRIVER There better not even be a scratch, you dumb sonuva - Before the Driver can finish his point, Rath knocks him cold with a short, powerful punch. He catches the man, drags him over to the safety of the sidewalk. Rath relieves the Driver of his cap, sticks two hundred bucks in his hand and hops into the cab. The light turns green and he's off.",
"INT. YELLOW CAB - NIGHT Cap on, Rath is behind the wheel. He turns up the CB, hoping to get lucky. CALLS CRACKLE, then. DISPATCH -LRB- V.O. -RRB- Who's near Adams and Nine? I got a fare going to the airport. Rath picks up the mic, pulls the Driver ID from the dash, checks the cab's ID number. RATH This is 501. I got it. Rath clicks off, shoves the ID under the seat. Sticking the.22 down between his legs, he rolls.",
"EXT. ADAMS AND NINE - NIGHT An empty payphone on the corner. Not a soul in sight. The Yellow CAB pulls up, IDLES at the curb.",
"INT. YELLOW CAB - NIGHT Rath holds the.22 with one hand, the door handle with the other. Tense as a tiger ready to spring. A couple exit from a dingy bar across the street. Rath looks over, frowns as they start toward him. In that instant, the opposite passenger door opens and someone gets in the back. As the door slams shut, Rath checks the rearview mirror. It's Bain. He carries his rifle wrapped in his jacket. For the first time we realize that the front and back of the cab are separated by bullet - proof glass. An awkward silence as Rath slides the.22 back between his legs. Bain looks at his eyes in the rearview. -LRB- Bain never really saw him at the cemetery. -RRB- BAIN Is there a problem? RATH -LRB- cool as can be. -RRB- The airport, right? BAIN Right. RATH No problem.",
"EXT. INTERSECTION - NIGHT As the Yellow Cab pulls away, we get the distinct feeling this is going to be no ordinary cab ride.",
"INT. YELLOW CAB - NIGHT Rath studies Bain in the rearview. Bain stares out the side window, chuckling to himself, a thin trickle of blood on his temple. RATH You're cut. Bain touches the blood, looks at it a bit surprised. BAIN -LRB- smiles. -RRB- I had an accident at work. RATH What kind of work? BAIN Look, I'm, how do you say? Dead tired. Save the chitchat for someone else. Rath nods. Bain stares out the window. Rath continues studying him.",
"EXT. AIRPORT NEIGHBORHOOD - NIGHT The Yellow Cab rolls through the intersection. An airport exit is coming up.",
"INT. YELLOW CAB - ROLLING - NIGHT The cab passes the airport turn - off. Bain sits up. BAIN What're you doing? RATH What? BAIN That was the turn - off for the airport back there. RATH Sorry. BAIN Yeah, well, you just blew your tip, pal. RATH You think I'm running you up? BAIN Just do your job.",
"EXT. CURB - SOCCER FIELD - NIGHT Rath pulls to the curb, lurches to a stop. On an adjacent field, a soccer match in progress.",
"INT. CAB - STOPPED - NIGHT Rath slaps the cab in park, looks over his shoulder at Bain. Only we see Rath grip the.22. RATH Get out. BAIN What? RATH You think I'm running you up? Get out. BAIN You ca n't - RATH The hell I ca n't! Get out! Bain almost finds it funny. He opens the door to get out. Rath faces forward. He'll shoot him when he does. BAIN I do n't believe this. Bain has one leg out when he looks back, sees the ID is missing from the dash. An odd beat as Bain wonders. Bain looks to Rath's eyes in the rearview. It's now all the confirmation he needs. BAIN Cojones de Dios. Robert Rath. The cab rocks as both men draw their guns. Bain is poised at the door ; Rath leans back across the front seat. They draw down on each other despite the glass. Bain looks like he'll make a run for it, but then. BAIN I get out, pow, you got me. Bain pulls the door closed, smiles. BAIN Now what? RATH Who are you? BAIN Cono. Robert Rath wants to know me. Bain leans back, a big moment for him. BAIN Bain. Miguel Bain. -LRB- laughs. -RRB- I do n't believe this. You rolled some cabbie, then waited for the right call. That's genius, man. Genius. -LRB- really impressed. -RRB- And then you got the balls to sit there and bullshit with me. No way I could've done that. RATH You stole my contract. How did you know? Bain admires Rath's gun. What begins to show through is that in a twisted way, Rath is Bain's hero. BAIN A silenced Smith Wesson.22. Classic. I switched when I heard that's what you used. -LRB- re : rifle. -RRB- Excuse this. It was a long shot. RATH Who contracted you? Bain looks across to where the kids play soccer. Co - ed. As Bain rolls down his window.",
"EXT. SOCCER FIELD - BAINS POV OF GAME - NIGHT BACK TO CAB BAIN Why do n't you drive? We can get acquainted. Chitchat. RATH We'll sit. Rath sees the kids, too as Bain levels the sniper's rifle.",
"EXT. SOCCER FIELD - NIGHT The SOCCER BALL EXPLODES in mid - air as Bain FIRES. The kids stand confused. The silencer muffled the report.",
"INT. YELLOW CAB - PARKED - NIGHT Bain smiles at Rath. BAIN Drive. -LRB- aims again. -RRB- Number thirteen looks tired. Maybe she needs a rest. Bain's finger curls around the trigger as he follows a girl down the field.",
"EXT. SOCCER FIELD - LONG LENS POV - NIGHT of girl playing.",
"INT. YELLOW CAB BAIN Help me out, Rath. A moving target. That's the front sight, right?",
"EXT. CURB - SOCCER FIELD - NIGHT Rath throws it into drive and starts away.",
"INT. CAB - MOVING ACROSS BRIDGE - NIGHT Bain smiles. BAIN Protect the innocent. That's weak. You could've had me in the cemetery, but you could n't shoot the cops. You're Antiquado. RATH And you've got a lot to learn. THWUMP! Rath looks back to where a slug is imbedded in the glass. Bain coughs as the rifle smoke clears. BAIN I had to try. I mean, who knows?",
"EXT. CAB - STREET - BRIDGE - NIGHT Two POLICE CARS SCREAM by going the other way.",
"INT. CAB - MOVING - NIGHT BAIN They look pissed, huh? RATH I would n't be surprised. BAIN How'd you like the cemetery? Rome. 14 BC. They killed a General, Flavius, at his brother's funeral. But I could n't wait for Branch's brother to die. So I killed him, too. Proud of me? Although he's actually impressed, Rath does n't answer. He's too busy trying to figure a way to take Bain out. BAIN I killed a guy in his bathtub once. Was a bitch, but I wanted to do him like they did Marat. You know, the French Revolution? Rath just stares grimly ahead. Bain's a bit disappointed. After a beat. BAIN It was nice meeting you, Rath. Someday, I'll tell my little nietos about this. Moving like lightning, Bain slides, reaches the RIFLE through the right rear passenger window and FIRES. The first SHOT BLOWS OUT the passenger WINDOW. As Bain moves the rifle in for a better shot, Rath jerks the wheel hard left. Off balance, Bain's second SHOT drills the roof at Rath's head.",
"EXT. CITY STREET - NIGHT Rath jerks the wheel, sends the cab sliding across the yellow lines. A HORN BLARES as he hurtles toward an oncoming car and a head - on collision! Bain FIRES a wild third shot - the windshield spiderwebs. Rath cuts hard back across the yellow lines. The cab slides, slams into the side of a bus traveling the same direction. As Bain FIRES again, Rath slams the cab against the side of the bus, smack into an `` I am the NRA'' placard. The rifle is ripped from Bain's hands. The cab bounces off, continues on. The rifle is crushed under bus wheels. Bain's lucky to still have his arm.",
"INT. YELLOW CAB - NIGHT The bus continues, Rath slams on the brakes. Bain bangs into the glass as the cab shudders to a stop.",
"EXT. CAB - STOPPED - NIGHT Rath is getting out of the cab,.22 at the ready. Bain's got about three seconds to live and knows it. Several blocks away a POLICE CAR - LIGHTS FLASHING - races towards them. SIRENS WAIL. Gritting his teeth, Rath gets back behind the wheel. A huge grin from Bain as he looks back at the police car that's bearing down on them. Rath throws it in gear, flips a U - turn and races off.",
"INT. CAB - ACCELERATING - NIGHT BAIN You and me. We're teammates! Companeros! Rath speeds up. Faster and faster. Bain suddenly does n't feel so safe, beat. As Bain buckles his seatbelt.",
"INT. POLICE CAR - NIGHT Where one of the OFFICERS is on the radio. OFFICER in pursuit of yellow cab, number 5 - 0 - 1, reported stolen near same twenty as officers down. Proceeding west on.",
"EXT. POLICE HELIPAD - NIGHT Two police officers race to waiting HELICOPTER. As it LIFTS OFF towards the skyline of the city. We LIFT OFF net to it, RISING and SWINGING WITH it as it turns towards the city skyline.",
"EXT. CITY STREETS - CHASE - NIGHT The cab at 60. The cop car stays with. A hard braking left and then a sliding turn and the cab is nearing a street running under a viaduct.",
"INT. YELLOW CAB - CHASE - NIGHT Bain smiles as they leave the cop behind. Ahead, a second cop car turns off a side street and heads right at them. Rath turns under a viaduct. BAIN Can you feel it, Rath?! It's real! We're alive! RATH Do n't count on it. BAIN Before I went freelance, I was an exchange student. -LRB- smiles. -RRB- C.I.A. University. You were a legend at Langley. Even if you were Army. -LRB- looks ahead. -RRB- I know this neighborhood. Turn in here. Rath turns under a viaduct.",
"EXT. ROAD UNDER VIADUCT - NIGHT It's a race with the two police cars right behind.",
"INT. YELLOW CAB UNDER VIADUCT - CHASE - NIGHT Down the straightaway, two sets of cop lights and SIRENS -LRB- # -LRB- #K behind them. Bain leans forward, right behind Rath. BAIN I studied everything you ever did, Rath. God damn you were good. You and the Russian. Nicolai Talinkov - The name hits Rath like a hammer. RATH Tachlinkov. How did you know about Nicolai? Rath turns, nearly broadsiding a train car. BAIN They said he shaded you. Over and over. And in the end, he aced you. Shaded and faded. They say he's living on some Greek island, but I say you were the best. I say Nicolai's dead as a clavo. -LRB- thinks ; smiles. -RRB- A doornail. Am I right? Rath does n't answer. BAIN I heard you guys played chess. Coded in the New York Times obituaries. Rath's past is chasing him almost as hard as the cops. BAIN Ten miles of microfilm, but I found it. The last game ends before anyone wins. -LRB- smiles. -RRB- He thought you were his friend. That's how you got him, right?",
"EXT. INTERSECTION - VIADUCT - NIGHT Rath starts to answer when. Suddenly an enormous truck appears, blocking their path. Rath is forced to brake. He whips the wheel around, powerslides a grinding U - turn in front of the truck. BAIN Hey, Rath. -LRB- opens door. -RRB- Black queen to king's bishop 4! Bain throws himself out of the door. Rath whips a look over his shoulder as Bain tumbles head over heels toward the truck. What he said means something, but no time to explain now. As he continues. BACK TO BAIN Pushing himself to his hands and knees, Bain watches the two cars disappear. He disappears into the darkness.",
"EXT. INTERSECTION - VIADUCT - NIGHT The cab races away from the intersection with the police cars in pursuit.",
"INT. YELLOW CAB - NIGHT Rath takes another hard turn. But suddenly the cab is bleached white by a searchlight.",
"INT. POLICE HELICOPTER - NIGHT Where a HELI - COP trains the light on the cab below. HELI-COP We got you now, rabbit.",
"EXT. SKY - AERIAL - NIGHT From above the chopper blades of the police helicopter chasing the cab below - we see the cab appearing, dis - appearing, and reappearing from underneath a viaduct below. The cab passes under an overpass. They lose sight of it, but it'll only be for a moment as they move up and around.",
"EXT. CAB YARD - NIGHT The cab appears from around a corner sliding quickly into a parking lot. Rath slips out the door and disappears.",
"EXT. CAB YARD - AERIAL - NIGHT Down below we see a parking lot full of cabs and the first police car to arrive.",
"EXT. PARKING LOT - NIGHT The other cop cars pull up. As the police begin to search, and the helicopter hovers overhead, we follow the beam of the Zenon light up to the chopper where everything becomes white. DISSOLVE TO:",
"INT. HOTEL ROOM - NIGHT The white of Rath's computer screen. Rath types, calls up a file. A chess game sets up in four neat rows. A line reads : Game Started May 5, 1980. The pieces move, accompanied by COMPUTER VOICE notation of the move and the date they were made. Rath studies the screen. RATH Fifteen years and I still remember. -LRB- watches. -RRB- Those were good moves, Nicolai. You were the best. The screen and the computer voice both ask : ENTER NEXT MOVE. A beat before Rath types in the move Bain gave him. RATH Bishop takes rook pawn. A big moment as the computer moves : Bishop takes rook pawn. A beat and the screen starts to flash : CHECK. CHECK. CHECK. Rath ca n't believe what he's seeing. COMPUTER VOICE -LRB- V.O. -RRB- Game in check. RATH -LRB- softly. -RRB- I'm a mark. A mark. Who the hell is Miguel Bain? A pause. Rath finally clears the screen, types the access code, waits. As the system comes on line. Contractor Hello, Robert. Rath Who the hell is Miguel Bain? Contractor That's no way to talk to a lady. Rath Who? Contractor The name Bain is not familiar. RATH Are you setting me up? -LRB- a beat. -RRB- Is this how it went, Nicolai? Rath He was there. He stole the contract. Contractor I'll make inquiries, Robert. RATH I bet you will. Contractor: $ 2,000,000. That's the bonus on the next contract. RATH I quit. I'm gone. Rath moves to shut down the rig, but then hesitates. Contractor Robert? Are you there? RATH Two million. Two million and I'm gone. Rath Location? Contractor Seattle. Rath The mark? Contractor Surveillance epert. Selling a synthetic heroin formula to a Dutch buyer. A beat as Rath thinks things over. Then. Rath Conditions? Contractor Retire the mark, retire the buyer and retrieve the information. A computer disc. Rath watches as miniaturized pages flash on his screen. Many of an angular - faced Dutch man. His henchmen. A complete file, except. Rath The surveillance jacket on the seller? Contractor A ghost. All we have is an internet logo. The transmit prompts again. The screen goes black except for two green, slit - iris cat eyes. Under that, MEOW@comsat.next. And as we move in on the eyes :",
"INT. ELECTRA'S APT. - ELECTRA'S KITCHEN - PEARL - DAY A live cat with the same eyes. She watches as a kid's remote control dump truck whirs past her. In the truck bed, a bowl of tuna fish. Pearl chases. Her pride stops her. She waits, pounces as the truck backs up. Pearl wins. As she eats. Electra sets down a remote control, kneels to watch Pearl eat. A surveillance genius, an `` information assassin,'' Electra depends on smarts and intuition to succeed in a dangerous world. Like most geniuses, she's a free spirit. ELECTRA Mmmm. Hungry Pearl. Electra steps over to check on the progress of a coffee machine. Almost done. As she waits, she flips through a packet from `` One Hour Photo.'' All photos of Pearl. Electra stops to study one. ELECTRA -LRB- shows Pearl. -RRB- I like this one, baby. It's your good side. She pours coffee, takes a sip, sighs with satisfaction.",
"EXT. ELECTRA'S APARTMENT BUILDING - DAY At the base of three massive transmit towers. Two stories, eight apartments. We see Electra enter her second floor living room. In the apartment directly below we see a young couple -LRB- JENNIFER & BOB -RRB- fighting.",
"INT. ELECTRA'S APARTMENT - LIVING ROOM - DAY Like the control booth of a low - rent nextwork television show. TV's of various size, make and quality are stacked and set in a semi - circle around an overstuffed chair. Electrical cables and bundles of fiber optical cable are duct - taped to the walls. Some disappear through holes punched in the floor, others the ceiling. They hang like vines in a jungle. Electra settles into her chair. Flicks a remote. The CD PLAYER KICKS IN SOME MUSIC. The first two TVs show empty apartments. A third - an old woman rolling out dough. The view is wide - angle, from above. Just like a cooking show. ELECTRA Yummy. Electra switches on another TV. Jennifer and Bob's argument. BOB -LRB- V.O. -RRB- -LRB- TV. -RRB- I do n't give a shit what your mother thinks. I'm not sleeping with your mother ; I'm sleeping with you. JENNIFER -LRB- V.O. -RRB- -LRB- TV. -RRB- You wo n't be for long with that attitude. Electra turns UP the VOLUME, leans forward as the drama ` unfolds. BOB -LRB- V.O. -RRB- -LRB- TV. -RRB- Jesus, Jennifer, if you're so god damned worried about your mother's approval, why do n't you move back home so she can pat you on the head when you do something right. ELECTRA Jerk. Electra's PAGER SOUNDS. She barely looks at it. Jennifer starts to say something, but stops, trying to keep herself from crying. BOB -LRB- V.O. -RRB- -LRB- TV. -RRB- Oh good. Go ahead and cry. Jennifer exits the room, slams the door hard behind her. BOB -LRB- V.O. -RRB- -LRB- TV. -RRB- You like to slam doors? Electra switches one of the sets to a shot of Jennifer crying in her bedroom. BOB -LRB- V.O. -RRB- -LRB- TV. -RRB- I can slam doors too! Bob exits the apartment, slamming the door on his way out. Electra switches all the TVs to shots of Jennifer. She watches, listens to her cry. Affected, Electra reaches out, her fingers lightly touching the screen. She is n't simply a voyeur. She cares about these people's lives. As her PAGER SOUNDS again. TELEPHONE TABLE A system like Rath's. Electra picks up a cellular, dials. As a woman's voice answers, Electra clicks a stopwatch. WOMAN -LRB- V.O. -RRB- Room one - fifteen. Slipping a filter over the mouthpiece, Electra responds in a deep baritone. ELECTRA I have the merchandise. -LRB- or alternate. -RRB- I have the disc. She picks up a computer disc, holds it at arm's length. WOMAN -LRB- V.O. -RRB- The buyers arrive at noon. Flight 10 - 55. Electra covers the receiver, thinks things through. ELECTRA Off the plane. Customs. They're Dutch. A half hour. She twists the filter to the high pitch of a child. ELECTRA I'll attempt contact at 12:30 and every fifteen minutes after that. WOMAN -LRB- V.O. -RRB- You have the hard copy images? Electra reviews photos of the Dutch, similar but not the same as Rath's. ELECTRA Affirmative. What do I call the principal? Electra checks the stopwatch. Forty - eight seconds. WOMAN -LRB- V.O. -RRB- Call him Remy. How will they know - Electra hangs up, sticks the disc in her pocket. ELECTRA They'll know. OMITTED",
"EXT. ELECTRA'S APARTMENT - DAY Electra comes out carrying Pearl's porta pet and a shoulder - slung duffel bag. She puts them in the back ofh -RRB- # 0 * 0 * 0 * her Mustang convertible. Hopping in, Electra pulls out of a parking spot identified with her apartment number.",
"EXT. THE HYATT - DAY It has a big day ahead of it. Electra's car drives past the main entrance and she turns into the parking garage entrance.",
"INT. PARKING GARAGE Electra pulls into a spot up front, hands the attendant $ 20. ELECTRA Keep it handy. He nods. Sunglasses on, carrying her duffel bag and porta pet, Electra heads for a bank of elevators. She steps in.",
"INT. HYATT - ELEVATOR - LOBBY LEVEL - DAY From inside, the doors open at the lobby level. A man and a woman with a white fur coat step inside. Backed in a corner, Electra stares at a veritable wall of fur. She does n't like it. Setting down the port - a - pet, she reaches into her duffel for what looks like a canister of breath spray.",
"INT. UPPER FLOOR - HALLWAY - DAY The elevator doors open. None the wiser, the couple step out. As they walk down the hallway away from us we see a large circle with a slash through it on the back of the fur coat. As the doors close we hear. ELECTRA -LRB- V.O. -RRB- You're welcome, Pearl.",
"INT. AIRPORT - INTERNATIONAL TERMINAL - DAY We hear a SCREAMING JET OVERHEAD. Four Dutch men exit the jetway. They look like lions in leather jackets. They move predatorially, REMY recognizable from Rath's computer info.",
"INT. THE HYATT - ROOM 718 - DAY 106 A laptop computer, a transmitter and a remote intercom rest on the coffee table. On the computer, Electra scrolls through airline flight information. She finds KLM flight 1055. The screen flashes : Arrived.",
"INT. UNITED TERMINAL - ESCALATOR - DAY Looking past a digital clock we see the Dutch ride down the escalator, jumpy. INTERCOM -LRB- V.O. -RRB- Mr. Remy, to the white courtesy phone. Mr. Remy. Remy looks to his # 2. Suddenly, the four of them pound down the escalator steps, snaking between people, push - ing others out of the way. WHITE COURTESY PHONE Remy picks up the receiver. His men fan out, ready for trouble. REMY Hello? ELECTRA -LRB- V.O. -RRB- Are you ready to go shopping on the Home Information nextwork? The price is $ 40,000. REMY Where are you? ELECTRA -LRB- V.O. -RRB- Are you ready? Yes or no? REMY Yes.",
"INT. THE HYATT - ROOM 718 - DAY Electra's on a cell phone. ELECTRA There's a payphone bank in the Hyatt Hotel by the elevators. You got twenty minutes. She hangs up, clicks her stopwatch.",
"INT. UNITED TERMINAL - DAY Remy hangs up, motions to his men to follow. As the Dutch move away, we RACK FOCUS back to a man in the b.g. It's Rath. Looking absolutely non - descript. He waits till they're almost out of sight before following. Rath scans faces as he moves. Someone else may be here as well. UNITED TERMINAL EXIT The Dutch exit. Rath's about to follow when he spots a young man turning away to a cash machine. Bain? Drawing the.22, Rath closes the gap, spins him. The young man, holding his cash, turns into the barrel. It's not Bain and in an instant the gun is gone. Rath is shaken, but nearly as much as the young man. Rath moves on.",
"EXT. AIRPORT ROADWAY - DAY Remy and his men get into a waiting limo. It pulls away. Rath exits, hops into a cab before it can even coast to a stop. They pull away as well.",
"INT. CAB - DAY CLOSEUP of the time on the meter.",
"INT. THE HYATT - ROOM 718 - DAY Pearl watches as Electra unscrews an A/C panel. Popping the screen to reveal a vertical duct, Electra tapes a piece of cardboard at an angle inside it. The effect is to redirect into the room anything traveling down.",
"INT. LIMO - ROLLING - DAY The Dutch open waiting briefcases, check out the silenced 9 MM's waiting inside.",
"INT. THE HYATT - ROOM 718 - DAY Electra at the window, looking down through binoculars. ELECTRA'S POV - BINOCULAR MATTE The Dutch heading from their limo for the hotel. ELECTRA One, two, three, four.",
"INT. HYATT LOBBY - DAY Looking toward the entrance as the Dutch stride in. As a PHONE begins to RING, Remy hurries to a. PAYPHONE BANK Answers it. REMY Hello. ELECTRA -LRB- V.O. -RRB- Pick up the Yellow Pages. He does as he's told. ELECTRA -LRB- V.O. -RRB- Lonely? In town on business. Who'll ever know if you check out the escorts? As Remy flips to the `` Es''.",
"INT. HOTEL ENTRANCE - DAY Rath steps in, heads for the front desk, but watches.",
"INT. HOTEL - PAYPHONES - DAY Remy's found it. In the escort ads, a room key card. ELECTRA -LRB- V.O. -RRB- It's room 942. I want all four of you in there. No deal otherwise. And if there's more of you, I'll know it. I smell a rat, I go. Are we simpatico? REMY Yes. Simpatico. Checking about, the Dutch get in an elevator. Rath does n't have a chance without raising a red flag. The doors close. He thinks a beat. As a maintenance worker passes, something occurs to him. Spurred to action, Rath moves.",
"INT. HYATT - ELEVATOR - DAY Two passengers get off on three. The ride continues. It's just the anxious Dutch and a man in the corner. He looks up. It's Bain! The elevator stops at nine. As the Dutch step off, Bain slyly slips `` something'' into Remy's jacket pocket. We see, but we're not quite sure what. They do n't say a word, just exit as the elevator stops at nine. As the doors close behind them, Bain looks grim.",
"INT. HYATT HOTEL - MAINTENANCE OFFICE - DAY Where a JANITOR answers a RINGING PHONE. Beyond him, we see a hotel computer terminal. JANITOR Maintenance. What?! Sounds like we got a short. I'll be right there. The Janitor rushes out. The office is empty. A beat and Rath enters. Tucking his cell phone -LRB- he made the call -RRB- into his pocket, he takes a seat at the terminal. He must have used this trick before as he scrolls computer info. Room bills. Reservations. Guest names. He elim - inates the Chicago Bulls, a doctors' convention, and a wedding party. All 10 plus rooms. As he continues his process of elimination.",
"INT. HYATT HOTEL - ROOM 942 - DAY On a table are a screwdriver, a laptop hooked to a cel - lular modem and a remote intercom matching Electra's. The Dutch enter, guns drawn.",
"INT. HYATT HOTEL - ROOM 718 - DAY Over the INTERCOM, Electra can hear them entering the room, moving about. ELECTRA Close the door.",
"INT. HYATT HOTEL - ROOM 942 - DAY As one of them pulls the door shut.",
"INT. HYATT HOTEL - ROOM 718 - DAY Electra can hear it bang shut. ELECTRA First, I need a ten thousand dollar deposit. REMY -LRB- V.O. -RRB- -LRB- TV. -RRB- That was n't the agreement.",
"INT. HYATT HOTEL - ROOM 942 - DAY The computer screen goes blank. ELECTRA -LRB- V.O. -RRB- We have nothing more to discuss. Good - bye. REMY Wait, wait. Okay. A beat, the screen turns back on. ELECTRA -LRB- V.O. -RRB- Here's today's menu. The screen fills with file names. Number 2 reads, nods his approval. Remy inserts a blank disc. Guns are drawn, aimed as a BEEPING sounds from the wall. From the A/C vent. ELECTRA -LRB- V.O. -RRB- I believe you'll find a screwdriver on the table. Cautiously, Number 3 picks up the screwdriver, undoes the screen which is now backlit. Electra's remote dump truck, a flashlight and pen - sized camera taped on the cab roof. As the Dutch exchange a look.",
"INT. HYATT HOTEL - MAINTENANCE OFFICE - DAY Rath has narrowed his search to three individuals who each hold two rooms apiece. Clark, Rogers and Katz. Rath selects K. Katz. Rooms 718 and 942. He switches to room service charges. In two days nothing on 942 - not even a phone call, but. RATH -LRB- reading. -RRB- Room 718. Coffee. Coffee. Coffee. Coffee. Tuna fish. Reaching into a pocket, he pulls out and unfolds a print - out of the green cat eyes. MEOW@comsat.next. RATH Meow.",
"INT. HYATT HOTEL - ROOM 718 - DAY 1 Manipulating a joystick, Electra watches an air duct view pass by on a Sony Watchman.",
"INT. AIR DUCT - DAY The dump truck rolls carrying a $ 10,000 payload. It turns at one branch, turns left at another. Ahead, a square hole opens up where a third branch goes vertical. Just when we think a catastrophe will occur, the truck stops, eecutes a DMV 3 - point turn. It backs to the edge of the hole. The truck bed angles back as it dumps.",
"INT. ROOM 718 Electra smiles as ten thousand dollars drop out of the vent and onto the carpet. ELECTRA I'm going to format your disc, orient it to receive the data. Electra begins typing.",
"INT. HYATT HOTEL - ROOM 942 - DAY The Dutch watch a little clock tick away on the laptop screen as this is done.",
"EXT. 9TH FLOOR HALLWAY - DAY Not far from 942, an attractive couple pause to begin kissing in a corner. Overwhelmed, they ca n't keep their hands off each other.",
"INT. HYATT HOTEL - ELEVATOR - DAY Rath gets in, his fingers deciding between the ninth and seventh floors. He presses one, but we do n't see which. As he starts up.",
"INT. HYATT HOTEL - ROOM 942 - DAY Remy watches as file names start to appear on the computer screen.",
"INT. HYATT HOTEL - ROOM 718 - DAY Electra continues to send information. 9TH FLOOR HALLWAY - DAY Here comes Bain. Resolute, but excited at what's about to happen. He passes the couple. They do n't see him or they do n't care. But as Bain gets a few steps past. He wheels, raises the SILENCED.22 and FIRES. The couple crumple, both head shots. He drags them into a stairwell.",
"INT. HYATT HOTEL - ROOM 718 - DAY Electra types.",
"INT. 9TH FLOOR HALLWAY - DAY Bain leans over the bodies of the attractive couple. Amazingly, he relieves them both of silenced 9mm pistols. What the hell's going on? Bain steps to the middle of the hall. Watching several doors at once, he takes out a cellular phone, punches in a number, then hits send.",
"INT. HYATT HOTEL - ROOM 942 - DAY A very LOUD BEEPING sounds! After a confused moment, Remy reaches into his pocket, pulls out the slim BEEPER Bain deposited there. They barely have time to exchange a look before the room door blasts open and Bain enters, both the.22 and one of the 9mm's BLAZING. The Dutch try to return fire, but Bain has them. As he EMPTIES both GUNS.",
"INT. HYATT HOTEL - ROOM 718 - DAY Electra looks up from her typing, listens to the odd thwapping and grunting coming over the INTERCOM SPEAKER. She stops typing.",
"INT. ROOM 942 - DAY Bain checks Remy's wallet. Finds a badge. BAIN Interpol? Bain pauses, but then shrugs it off. No time to worry about it now. He looks to the dead Dutchmen. BAIN No more worries. Suena con los angelitos. ELECTRA -LRB- V.O. -RRB- What's going on there? Bain spots the intercom. Then he sees the laptop screen flashing : He realizes the transmission is incomplete. ELECTRA -LRB- V.O. -RRB- Hello? BAIN Please complete the transmission.",
"INT. ROOM 718 - DAY Electra's momentarily flustered. ELECTRA -LRB- starts typing ; stops. -RRB- Who is this? She hears no answer. Electra begins erasing all of the information she has sent.",
"INT. ROOM 942 - DAY Bain sees the information begin to disappear line by line - he frantically tries to save some of it. BAIN I'm going to tear your heart out.",
"INT. ROOM 718 - DAY Sudden fear washes over Electra. Flipping down her sun - glasses, she grabs her duffel bag, picks up Pearl, pulls the disc. But as she turns to the door. SLAM! It bursts open and she's staring right at a silenced.22. Rath is here, quite obviously there to kill her. But maybe surprised she's a woman. ELECTRA Do n't. ROOM 942 Now it's Bain's turn to listen. BAIN Do n't what? -LRB- realizes. -RRB- Rath? Is it you? ROOM 718 Keeping the gun on Electra, Rath looks at the intercom. Does n't answer. ROOM 942 But Bain is sure. He picks up the remote, switches on the room TV. BAIN It is you. ROOM 718 Gun still aimed, Rath holds out his hand, whispers. RATH The disc. She fumbles, holds it out with a wildly trembling hand. Rath takes it. ROOM 942 Bain accesses -LRB- on TV -RRB- the hotel's in - room checkout system. BAIN You checked out that move, did n't you? Black queen to king's bishop 4? ROOM 718 Bain is getting under Rath's skin. As his finger tightens, Electra is frozen in fear. BAIN -LRB- V.O. -RRB- You got a move for me, Rath? Electra tries to say something, but ca n't give volume to the words. Rath reaches over, takes off her sunglasses. She blinks at him. As a tear streaks her cheek. ROOM 942 On the TV checkout, Bain has the room charge for 942 and the fact it's coupled with the charges for room 718. BAIN It's like chess. What's your move? Is she alive? Did you kill her? Are you there, sweetie? And Bain slips silently out of the room. ROOM 718 BAIN -LRB- V.O. -RRB- Is she dead yet, Rath? I took care of business on my end. What about you? Come on. Pull the trigger. Kill her. Electra closes her eyes. Rath turns his aim from her to the INTERCOM, FIRES. As it bursts into a hundred pieces. 7TH FLOOR HALLWAY Bain steps out from the stairwell, silently sprints to. ROOM 718 Bain enters with a military roll. It only takes an instant to realize. Rath and Electra are gone.",
"INT. PARKING GARAGE - DAY Electra and Rath step off the elevator. She wears her jacket, carries her computer and porta pet. He holds her arm, keeps the gun at her side. RATH Where's your car? ELECTRA I do n't know. The Attendent -LRB- seen earlier -RRB- steps over, eagerly points out her Mustang. ATTENDENT It's right here, Miss.. As the Attendent hurries over with the keys. RATH I guess a black Chevy would have7 A stuck out too much. -LRB- -",
"EXT. HYATT - MUSTANG CONVERTIBLE - DAY The Mustang zooms out of the parking garage, bottoms out at the top. Electra's behind the wheel. Rath rides shotgun, watching the hotel for trouble. Pearl in her porta - pet in the back.",
"EXT. STREET - MUSTANG (MOVING) - DAY Electra is terrified. We now learn she talks when she's nervous. ELECTRA I always thought I was going to die in a bus crash. Is n't that dumb? The odds are like five - hundred million to one. You know what the odds of meeting a stranger who's a murderer? One - thousand to one. Holding the.22, Rath just stares at her. ELECTRA I think I've been worrying about the wrong statistic. RATH If I was going to kill you, you'd be dead already. As Electra speeds up.",
"INT. ROOM 718 - DAY Bain tears the room apart. Pulls open drawers, overturns the mattress. He wants that disc. But the room has been cleaned out. Then he spots it. Electra's computer carrying case - in haste forgotten - on a chair. F Electra's jacket - in haste forgotten - draped over a chair. Rifling through it, he finds the photos Electra had of Pearl. Bain flips through them. Nothing, but Pearl. Inside, outside. But Bain flips back one. Pearl outside. Bain's finger jabs down on something in the background. Three TV transmit towers. Bain strides to the window, looks out. BAIN'S POV - CITY Scanning, spots it. In the distance, three radio towers. BACK TO BAIN Smiling. He shoves the picture in a pocket, hurries out.",
"INT. MUSTANG - ROLLING - DAY ELECTRA Who the hell are you?! RATH I work for the government. ELECTRA Bullshit. -LRB- turning. -RRB- Where are we going? RATH Just drive. Electra hits the gas. The MUSTANG ZOOMS. 40, 50. Rath takes her laptop from the backseat. He plugs it into his cellular, punches a number in. Rath types in the access code sequence. The system comes on line. Contractor This is not a scheduled call, Robert. 60 mph. Electra begins to slalom between cars. Rath looks up as he types. RATH Watch your speed. Rath He was there again. Contractor Shut down. We'll talk at the scheduled time. The system shuts down. 70 mph. RATH Slow down! ELECTRA I ca n't. Rath reaches over with his foot, starts to brake them. ELECTRA What about the other guy? Does he work for the government, too? Rath just gives her a look, takes his foot off the brake. They've slowed considerably. ELECTRA It's between you and him, right? Just leave me out of it. RATH We ca n't. You're the mark. A chilling thought. Across a wide median, she sees a bus pulling up to a bus stop. Ahead, the light turns red. OMITTED",
"EXT. STREET - DAY Electra moves to slow down, but at the last second she accelerates, rear ends the car ahead. Electra is braced, but Rath slams the dash. Electra takes the keys, leaps out of the car. Grabbing the porta - pet, she dashes across the median. Rath is quickly after her. Electra nears the bus which is taking on the last of its passengers. As she looks back over her shoulder, she slams into a man, drops the porta - pet. Rath is closing. There's no time. Acting on survival instincts, Electra leaps onto the bus. It's away just as Rath arrives.",
"INT. BUS - ROLLING - DAY Electra hurries to the back, stares out the window. In the receding distance we see Rath and the porta - pet in the street. She's escaped, but at what cost? ELECTRA Oh, Pearl. Sorry.",
"EXT. BUS STOP - DAY As an IRATE MOTORIST shouts `` car insurance,'' Rath ignores him, carries Pearl back to the Mustang. He gets inside, checks the glove box - nothing. But reaching under the seat, he pulls out a paper bag with cat food inside. The bag is printed : Prize Pets. With an address.",
"EXT. PRIZE PETS - DAY A local mom & pop operation. As the Mustang pulls up.",
"INT. PRIZE PETS - DAY An OLDER WOMAN looks up as Rath approaches the counter. But she's not looking at Rath. OLDER WOMAN Pearl! How are you, dearie? Where's Mama? Holding the cat in his arms, Rath smiles.",
"EXT. ELECTRA'S BUILDING - DAY Three towers in the background. A car pulls into an assigned spot. `` Bob'' gets out, heads into the building.",
"INT. ELECTRA'S LIVING ROOM - DAY Electra packs. No rhyme or reason. She just tosses stuff into her bag. As she moves into the bedroom, we STAY here. The monitors are on. Bob enters Jennifer's apartment.",
"EXT. ELECTRA'S BUILDING - DAY Bain steps up, smiles at the towers. There are three cars in the lot. He walks along, placing a palm on the hood. Seeing which engine is warm. Bob's. Noting the apartment number on the space, Bain heads inside.",
"INT. JENNIFER'S APARTMENT - LIVING ROOM - DAY Bain enters, begins looking through the room, after the disc. OMITTED",
"INT. JENNIFER'S APARTMENT - BEDROOM - DAY Bob hears the sound, thinks the wrong thought.A BOB Jenn? Bob hears FOOTSTEPS coming down the hall. As they near he door. BOB I love you. Bain is there, filling the doorway. BAIN That's sweet.",
"INT. ELECTRA'S LIVING ROOM - DAY Bag packed, Electra steps out from the bedroom. She stops short at the sight of the monitor. Bain raises the.22, Bob's eyes widen. As he steps back, Bain steps forward. BOB -LRB- V.O. -RRB- -LRB- on TV. -RRB- Who are you? BAIN -LRB- V.O. -RRB- -LRB- on TV, advancing. -RRB- You'll never know. Romeo. Bob backs right into the walk - in closet. Bain follows. The SILENCER WHISPERS and BOB THUMPS to the floor. JENNIFER'S BEDROOM Bain takes in the room. Breathes it in. Something catches his eye. A smoke detector on the ceiling. He stands on the bed. BELECTRA'S LIVING ROOM Electra's mouth open, but no sound comes out as Bain's face suddenly looms right into the monitor. Distorted, his face right in the camera.",
"INT. JENNIFER'S APARTMENT - BEDROOM - DAY Standing on the bed, Bain pulls the detector housing should be. He pokes at it. A warped smile as he realizes what it is.",
"INT. ELECTRA'S LIVING ROOM - DAY BAIN -LRB- V.O. -RRB- -LRB- on TV. -RRB- You sick little bitch. Electra turns to get out, stops short at MEOW. PEARL trots into the room. Electra scoops her and Rath is there. He spots Bain on the monitor, draws his.22. She flinches. RATH Where is he? Electra points to the floor. The screen goes to snow as Bain reaches, yanks the smoke detector from the ceiling. Rath grabs Electra and they're out of there.",
"EXT. MUSTANG (PARKED) - DAY Up the street, the front end smashed. Rath gets Electra and Pearl inside. RATH Wait for me at the pet shop. She nods. Without another word, Rath heads back. Electra STARTS the car. Smoke pinwheels off the tires as she roars off.",
"INT. JENNIFER'S APARTMENT - LIVING ROOM - DAY Leading with the.22, Rath enters. Every nerve is tingling as he steps into. JENNIFER'S BEDROOM Rath steps in. No Bain. Rath spots the plaster torn from the ceiling, Bob's legs visible through the closet door. Rath steps over. As he kneels to take a pulse, he hears FOOTSTEPS OVERHEAD. In Electra's apartment.",
"INT. ELECTRA'S LIVING ROOM - DAY Two discs on the coffee table. Bain scoops them, runs them through his scanner. Red lights flash. Not the ones he wants. He tosses them aside.",
"EXT. NEIGHBORHOOD STREET - MUSTANG (ROLLING) - DAY Electra slows for a stop sign. Continuing, she passes Jennifer going the other way. Headed home. Oh no! Electra looks back over her shoulder. She makes a decision. A HORN BLARES. Electra brakes, looks ahead where she's come inches from a head - on collision. She throws it in reverse, nearly hits a car coming up from behind. More HORNS. Back to drive, Electra hops the curb, driving over a circular median and knocking down a `` Slow'' sign as she turns around.",
"INT. ELECTRA'S BUILDING - 2ND FLOOR HALLWAY - DAY Gun drawn, Rath makes his way, enters.",
"INT. ELECTRA'S APARTMENT - LIVING ROOM - DAY No Bain. Rath moves silently toward. ELECTRA'S BEDROOM Bain searching the place. Holding his.22, he picks up a bottle of perfume, takes a whiff, smiles. BAIN Jasmine. In the dresser mirror, Bain spots Rath enter behind him. Dropping the perfume, Bain wheels, FIRES! A MIRROR on the back of the door SHATTERS and Rath is gone. Or at least his image. Guessing. Bain starts FIRING in a moving pass across the wall. The SILENCER makes it almost surreal. LIVING ROOM Rath runs, just a step ahead of the BULLETS which BURST from the wall behind him. Diving, he rolls into the. KITCHEN Coming out of the tuck and roll, Rath slams into the stove, rocking it two feet across the floor. He looks up at the gas line inches over his head. LIVING ROOM Slapping in a new clip, Bain leaps out, sees that Rath must be in the kitchen. Bain aims, but stays where he is. BAIN You're getting slow, Abuelo. RATH -LRB- O.S. -RRB- I'm not the one shooting at mirrors.",
"INT. JENNIFER'S APARTMENT - BEDROOM - DAY Home, Jennifer stops short when she sees plaster every - where. Looking up, she sees the cable snake up to the hole in Electra's floor. Unfortunately, she does n't see Bob. Furious about the mess, she hurries out of the room.",
"INT. ELECTRA'S LIVING ROOM - DAY Where Bain is edging his way toward the kitchen. That's when Jennifer storms in. JENNIFER Who the hell are you? She stops short at the sight of Bain's.22. BAIN -LRB- whispers ; wants. -RRB- The disc. A frozen moment before she bolts for the door. Bain FIRES. As Jennifer falls, Bain makes a critical error. BAIN -LRB- at kitchen. -RRB- I beat you to the buyers and now I beat you to the mark. I'm starting to think I picked the wrong guy to be my hero.",
"INT. KITCHEN Rath wonders who Bain shot. Out the window, he sees Electra pull up in the Mustang, run for the building. LIVING ROOM Bain waits for an answer, does n't get one. BAIN You know it's my birthday today, Rath? It's true. Today I become number one. Picking up a big shard of mirror, Bain inches his way to the kitchen door. It's blind ; no view at all. STAIRWELL Electra makes her way up. LIVING ROOM Bain tosses the MIRROR SHARD against the open kitchen door. It BREAKS into pieces, one of them a leaner. They give Bain a full view of the kitchen. Rath is n't there. BAIN You got a present for me, Rath? KITCHEN Tense as a steel spring, Bain steps inside. There's another doorway in the far corner. Bain moves for it, then stops short at a HISSING in the air. Framed by the window behind him, Bain sniffs, whips a look over to the stove where the GAS LINE is wide open. A trail of liquid leads from the kitchen to a back hall. Bain whips a look that way where we hear the distinctive sound of a MATCH BEING STRUCK. HALLWAY RATH Make a wish. Rath discards a bottle of brandy, sets the burning match into the trail of liquid. As it ignites, he rushes back, comes face to face with Electra. He dives for the floor, takes her with him. KITCHEN The flame trail zips in. Bain flips the kitchen table on its side, ducks behind it as the AIR BURSTS INTO FLAMES. The table is driven back by the force.",
"EXT. ELECTRA'S APARTMENT - SECOND FLOOR - DAY Bain hurtles back through the kitchen window, followed by a huge fireball and lots of debris.",
"INT. APARTMENT BUILDING - HALLWAY - DAY Rath rises, motions Electra to wait. Smoke is everywhere.",
"INT. KITCHEN - DAY A few flames, but there's not much left to burn. Rath peeks around the corner. Bain is n't here. We can see the ground below as well. There is debris everywhere but Bain is gone. Rath sees Jennifer's body in the door - way. He checks to see if she is alive. ELECTRA'S BUILDING - STAIRWELL Leading with his.22, Rath tries to lead Electra out, but she does n't want to go. She has other things to consider. ELECTRA Wait. Jennifer. Rath looks at her, shakes his head. Jennifer did n't make it. Turning her gently, they continue down.",
"EXT. MUSTANG - PARKED - DAY Electra and Rath make it to the car. Distraught, she's still staring back as he gets her inside.",
"INT. MUSTANG - DRIVING - DAY Electra's neighborhood. Rath drives away. He glances over at Electra who sits clutching hold of Pearl. In shock over Bob and Jennifer, she's withdrawn into her - self. Rath knows there's nothing he can say so he keeps quiet and drives.",
"EXT. CHAIN HOTEL - NIGHT The Mustang drives up. Rath is at the wheel.",
"INT. CHAIN HOTEL ROOM - NIGHT Electra enters ahead of Rath. She sets her bag down, lets Pearl out of the porta - pet. Feeling like a prisoner, she sits in a chair in the corner. Pearl jumps up in her lap. Rath gets a quick feel for the room. After checking the view out the window, he draws the curtains. Rath takes off his jacket. Pulling off his shoulder holster, he sets the rig on the coffee table, then sits in a couch opposite Electra. The gun is halfway between the two. Electra does her best to be nonchalant, but she's well aware of the fact. May be the very first time we've seen Rath rela. Pearl jumps to the carpet, pads her way toward him. ELECTRA Pearl. Ignoring her owner, Pearl leaps up, settles into Rath's lap. As he scratches her ears. ELECTRA Here, girl. Electra snaps her fingers, but PEARL just closes her eyes, begins to PURR. Electra is not happy about this. RATH She likes me. ELECTRA She likes dead fish, too. As Rath looks down at the cat, Electra looks at the gun, measuring the distance with her eyes. ELECTRA What do you call yourself? RATH Robert Rath. ELECTRA Yeah, sure. Call me Electra. 7 F So, are you one of them? RATH Used to be. -LRB- checks watch. -RRB- Retired. ELECTRA Pardon me if I do n't believe you. RATH If I was going to kill you, you'd be dead already. She pretends to look away, but as Rath looks down at Pearl, Electra lunges for the gun. He never moves or even blinks an eye. He just watches as she struggles a moment to free the.22 from its holster. She realizes, suspects the worst. ELECTRA What? It's not loaded? RATH It's loaded. ELECTRA I could shoot you. I could be 500 miles away by the time they find you. Electra keeps the gun on him, but ca n't shake the feeling he's got the upper hand. A long silence. Rath scratches Pearl's ears. ELECTRA Stop it. She does n't like it. PEARL begins to PURR. RATH Afraid you'll hit the cat? Rath sets Pearl down, looks back to Electra. Waits. Without warning she starts squeezing off ROUNDS. A LAMP EXPLODES on one side of Rath. Two tufts of stuffing erupt from the couch on the other side. Rath does n't move. ELECTRA -LRB- steps forward. -RRB- You think letting me get this gun was a mistake, do n't you? You think I'm afraid. Do n't you? She FIRES just over his head ; the round digs the wall. ELECTRA You do n't know shit about me! RATH You're wrong. I - ELECTRA Shut up! A final step, she levels the gun at Rath's face. ELECTRA This was supposed to be a good day. A payday. Forty grand. I was going to get Pearl a boyfriend. Now two people are dead. I'm almost dead. -LRB- a beat. -RRB- I'm in way over my head, Rath. I just want out. For the first time really, she looks into his eyes. Her hand begins to tremble. The gun barrel shakes. RATH You have the gun. The keys are on the dresser. Go. Electra covers Rath as she steps over to the dresser, scoops up the keys. Her next words are more to reassure herself than to convince Rath. ELECTRA I do n't have a social security number, a driver's license. I barely remember my real name. I'm a ghost ; I can disappear. RATH I found you. So did he. ELECTRA I want my life back. Please, that's all I want. Rath shakes his head. RATH I'm sorry. Electra's finger tightens on the trigger. Suddenly, jerking her arm left, she FIRES a wild shot. A CRASH as a cheap print is obliterated by the bullet. Electra lowers the gun limply to her side, lets it drop to the carpet. ELECTRA I need to be alone. -LRB- a beat. -RRB- I have n't spent this much time with someone in years. ? PNear tears, Electra moves blindly for the bathroom, Pearl at her heel. As Electra closes the door behind her. RATH Neither have I. He closes his eyes, listens as we hear her begin to CRY.",
"INT. BATHROOM - NIGHT Her back to the door, Electra slides slowly to the floor as she cries. Hugging her knees to her chest, it gets worse. A lonely, desolate moment. As PEARL MEWS.",
"EXT. CITYSCAPE/INT. PAYPHONE - NIGHT A twinkling panorama. We PAN ACROSS TO a computer screen. A cursor blinks to life as. Contractor What went wrong, Miguel? We're at a payphone booth. Bain has hooked his laptop into the payphone wiring. Bain Nothing. I retired the buyers. And the seller. Contractor The disc? Bain Rath has it. He's a difficult mark. Contractor Rath is n't the mark. THE DISC. Bain is taken aback by this response. He's not used to being criticized. Bain You'll get it. A long pause. Even Bain notices. The Contractor is never this reticent. Finally. Contractor You had your chance. The contract has been reassigned. BAIN What?! No lo puedo creer! Bain is in a rage as he types. Bain Fuck you. Contractor That's no way to talk to a lady. BAIN I do n't care what you are - Bain hits the repeat key. `` Fuck you's'' flash across the screen. As the Contractor logs off, Bain slams his fist against the glass of the booth.",
"INT. CHAIN HOTEL ROOM - NIGHT Rath is at his desk conversing with the Contractor. Electra must still be holed up in the bathroom. Rath I have the disc. Contractor You're still the best, Robert. RATH Then who's this kid? Rath I'd like the two million in cash. Contractor Where do you want to make the trade?",
"INT. CHAIN HOTEL - BATHROOM - NIGHT Freshly showered, Electra looks better. Drying her hair, she sees that Pearl is peering into the toilet. ELECTRA How many times have I told you? Pearl paws down the trip handle. The water swirls. As she leans down to drink.",
"INT. CHAIN HOTEL ROOM Rath watches the late news. Troubled, he holds the disc. The bathroom door opens and Electra emerges. She watches over his shoulder. ELECTRA What did they say about the dead guys at the Hyatt? RATH Nothing. ELECTRA I do n't need details, just in general. RATH Nothing. ELECTRA That's impossible. RATH No. Not if. ELECTRA Not if what? RATH They were C.I.A. Or Interpol. Rath CLICKS OFF the SET as the `` Weather'' comes on. He considers the disc. Rath has a hunch, but wonders if he really wants to know. RATH What's on this? ELECTRA It's encrypted. Breaking the code on my laptop could take two, maybe three hundred years. RATH I thought you were a genius. ELECTRA I am. In fact, I was the best. RATH Was? ELECTRA I'm retiring, too. -LRB- re : disc. -RRB- I wish I had an insight, but it was all anonymous. Just an intercepted satellite transmission. Rath knows that in this case, ignorance is bliss. Rath stands, goes into the bathroom. Electra steps over to the bed. The blanket has been `` turned - down.'' Two chocolate mints rest on the triangle. ELECTRA There's only one bed. I guess you picked up on that. Rath exits the bathroom, rolling two towels together. RATH It's all yours. ELECTRA You want the couch? Rath sets the roll on the floor. He switches on a ceiling light directly over it. Electra watches, under - stands, but teases. ELECTRA What's that, a trick of the trade? So you do n't get too comfortable? -LRB- off no answer. -RRB- Why do n't you just tie a string from your toe to the doorknob? RATH -LRB- does n't think twice. -RRB- The door opens in. Rath reenters the bathroom ; Electra ca n't help but smile. BATHROOM Rath sits on the toilet seat and looks at his reflection in the mirror. He's not quite sure he knows who he's looking at. Sensing someone else, he looks down to where Pearl stares up at him. CHAIN HOTEL ROOM Electra is in bed. The lights on her side of the room are off. Rath passes. He kicks off his shoes, sits on the floor. He sets the.22 down, stops short. Electra has set one of the `` turn - down'' chocolates on his towel. Rath picks it up. He lies on his back, stares at the ceiling. On her side, Electra faces the other way. As Rath unwraps the chocolate. ELECTRA Thanks. RATH For what? ELECTRA I do n't know. Saving my life I guess. A long moment of silence before. RATH How'd you like to make a million dollars? ELECTRA What do I have to do? -LRB- looks over. -RRB- Nothing cheap I hope. Rath smiles. As he pops the chocolate into his mouth.",
"EXT. DOWNTOWN STREET - MUSTANG - DAY Electra behind the wheel, in sunglasses and a kerchief. Rath in the passenger seat as they pull up to the curb. RATH Follow our plan. And if I do n't show. ELECTRA I know. Split! Rath barely nods. Reassuring a woman is a skill he never had. He takes the laptop from the back, casts about the front seat for something he ca n't find. Electra holds up the disc. He reaches, but she does n't give it to him. ELECTRA In ten minutes you'll have two million dollars and no reason to come back. I ditched you. I really did n't know you that well at the time, but who knows, maybe you hold it against me and - Rath gently crosses her lips with two fingers. Then, with absolute finality : RATH Partners. She gives him the disc. Rath gets out of the car. Electra watches as he disappears, swallowed by the crowd. ELECTRA Be careful. Partner. Electra drives on.",
"EXT. MONORAIL STATION - DAY Carrying the laptop, wearing sunglasses, Rath boards a northbound monorail. The doors shut and it glides away.",
"EXT. STREET BELOW MONORAIL - DAY As the monorail moves along above, the Mustang follows below. Her eyes looking up, Electra nearly rear ends a car slowing for a left turn. As she swerves around it.",
"INT. MONORAIL CAR - DAY Rath sits, his back to the window. Turning on the computer, he inserts the disc. A list of file names scroll across the screen.",
"EXT. MONORAIL TRACKS - DAY Two tracks run parallel. The northbound train slows as it nears a southbound. Reaching a station, the two trains stop directly across from each other. ANGLE BETWEEN TRAINS Two facing doors open. Rath stands, partly concealed behind one. A courier behind the other. He holds up an open briefcase. Inside : 20 stacks of banded $ 1000 bills. Rath, his face hidden, holds up the laptop, the screen visible. The laptop and briefcase are both closed. ANGLE ABOVE TRAINS All we see are hands as the briefcase is exchanged for the laptop. As both trains continue on their way.",
"INT. MONORAIL CAR - DAY Rath holds the briefcase in his lap. It feels good. ANGLE ON WATCHER His back to Rath, reading the paper. But watching Rath from a piece of reflective tape on the inside lens of his glasses.",
"EXT. MUSTANG - DAY Electra drives, falling behind. As the light turns red ahead, she swerves ` round traffic, shoots through the intersection inches ahead of the cross traffic.",
"INT. MONORAIL CAR - DAY Picking his spot, Rath pulls down on the emergency stop cord. The monorail lurches to a stop. Rath grabs the release handle on the door, pushes it open.",
"EXT. MONORAIL CAR - DAY Briefcase in hand, Rath leaps, lands on the roof of a neighboring business.",
"INT. MONORAIL CAR - DAY The Watcher stands, but the doors close. True to his name, he can only watch as.",
"EXT. BUSINESS BUILDING - DAY Rath swings himself over the edge of the roof, drops down to the street below.",
"INT. MONORAIL CAR - DAY As the monorail continues, the Watcher loses sight, does n't see as.",
"EXT. BUSINESS BUILDING - DAY Rath's only just gotten to his feet when the Mustang pulls up, RADIO BLASTING. Rath hops in and they tear off.",
"EXT. MUSTANG - DRIVING - DAY Rath grabs the briefcase from the back. ELECTRA It's in there? Rath nods. As he swings the briefcase onto his lap, the RADIO LOSES RECEPTION. Rath frowns. He moves the briefcase away and the RECEPTION RETURNS. Rath looks around them. Pedestrians everywhere. RATH Turn left! Hearing his urgency, Electra turns.",
"EXT. SIDE STREET - DAY Deserted. Rath heaves the BRIEFCASE up with all his might. It soars straight into the air. EXPLODES! As the air fills with shredded money.",
"EXT. MUSTANG - DAY Electra slams on the brakes. As she starts to get out, Rath holds her back. ELECTRA But the money. RATH Go. The street behind them is already filling with instant lottery winners.",
"INT. MONORAIL CAR - DAY The Watcher hears the REVERBERATION, watches smoke rise in the distance. He takes out a cell - phone, speed dials. WATCHER -LRB- into phone. -RRB- There's been an explosion. He flips it shut.",
"INT. MUSTANG - DAY They continue. Rath with quiet resolve. RATH No money. No disc. Though shaken, Electra suddenly smiles like the cat who ate the canary. Rath catches the look. RATH What? ELECTRA I was n't sure you'd come back. This morning I switched discs. All they got was a list of file names. Bupkis. Electra holds up the real disc. Rath ca n't believe it. ELECTRA Zero, a goose egg, jackstraw, ni, nada, zot, zilch, squirt, a dry hump, diddly squat. -LRB- a beat. -RRB- I read a slang dictionary once. RATH Keep reading. ELECTRA Your contractor just tried to kill you. That's not good. Rath nods. He takes the disc from her, considers it.",
"INT. MUSTANG - PARKED - DAY MOVE WITH Electra. Carrying a paper bag, she exits a gourmet market and crosses the street to the Mustang. Rath waits with Pearl and his computer. As Rath sets up his computer, Electra treats Pearl to some caviar. ELECTRA Do you know that caviar is not a Russian word? RATH Ikra. It's ikra. ELECTRA -LRB- surprised. -RRB- How did you know that? No answer. There is a very particular reason that he knows this. She watches him as he types in his access code. Finally, Rath looks over at her. RATH I had a friend. Nicolai. He told me. ELECTRA Had? RATH Fifteen years ago. He was taken. ELECTRA Killed? Rath nods. Before Electra can delve any deeper, the s COMPUTER TERMINAL BEEPS. Words appear. Contractor Robert, is that you? RATH That's right, you sonuvabitch, I'm still alive. Rath I still have the disc. Contractor We can make new arrangements. Rath plays it cool. says. Rath The price has changed. WIDEN to show Electra watching over Rath's shoulder. RATH Let's see just how valuable he thinks it is. Rath $ 20,000,000. ELECTRA Twenty million?! That's insane! RATH May well be. They wait as the screen remains, unchanged. The Contractor is thinking it over. ELECTRA Where do you think this person is right now? A mile from here? Ten thousand? RATH I never thought about it. Until now. ELECTRA You quit your job. You're having thoughts you never had before. Sounds like a mid - life crisis to me. RATH Yes. You're it. Rath smiles. The cursor flashes. The answer is coming. Contractor It will take two days to arrange the transfer. What's the bank code and account number? Pulling out a small notebook, Rath checks a bank account number. ELECTRA I do n't believe it. Twenty million and he wants to know what the account number is. -LRB- a long beat. -RRB- Partners? Rath nods, types in the information. ELECTRA -LRB- almost in tears. -RRB- Ten million each! RATH Eight. The bank'll take twenty percent. ELECTRA It's that kind of bank, huh? Rath STARTS the CAR. As they pull away. RATH -LRB- V.O. -RRB- You have a passport? ELECTRA -LRB- V.O. -RRB- Twelve. Where are we going?",
"EXT. AIRPORT - DAY As the plane lands in the b.g., Bain types on his computer. It's set on the hood of his car. Bain looks at the screen as. Contractor Miguel? Are you there? Bain lets the Contractor sweat. Contractor You know what I want? Bain pauses, types his one condition : Bain Say please. A long beat. Bain watches with satisfaction as the letters appear one - by - one : P - L - E - A - S - E. HARD CUT TO:",
"EXT. CARIBBEAN - LATE DAY Aquamarine that can only be the Caribbean. Without warning we WHIP UP OVER a sea wall, CLIMB hard ABOVE the ruins of a colonial Spanish fort. HIGHER and a modern city spreads out below us. The CAMERA DROPS, CLOSES ON a beat - up local tai. As it bounces over blue cobblestones. RATH -LRB- V.O. -RRB- The Hotel Paraiso por favor.",
"INT. LOCAL TAI- DAY (LATE AFTERNOON) Rath and Electra sit in the back, both in sunglasses. Electra looks out the window, taking everything in. But Rath stares straight ahead. He's been here before.",
"EXT. HOTEL PARAISO - PLAZA COLON - LATE DAY The cab stops at a four - story, boarded, blackened husk. It's surreal, truly the shadow of its former glory. RATH -LRB- shocked. -RRB- The Paraiso. Why did n't you say? CABBY -LRB- thick English. -RRB- You did n't ask. Fire, Senor. Years ago. There was no money to rebuild. Rath gets out, stares up at the hotel. Electra is out behind him. Her attention drifts to the people around her, the bustle on the plaza. Rath only has eyes for a third - story Paraiso window. Electra looks at the International Bank across the way. It's a beautiful old building, the ornate black iron bars on the windows in great contrast to the white - washed con - crete walls. ELECTRA Is that the bank? Is that where our siteen mil is? Rath is n't listening. He's somewhere else. She follows his gaze to a hotel third - story window. It's spooky. ELECTRA What's up there? RATH He'll be.",
"INT. HOTEL PARAISO - ATRIUM COURTYARD - LATE DAYA A ruins. Spooky even in the daylight. Rath and Electra enter. She looks around, taking the place in. Rath gestures her toward a rickety stairwell. Up they go.",
"INT. HOTEL PARAISO - THIRD FLOOR HALLWAY - LATE DAY TIMBERS CREAK as they make their way down. Rath takes Electra's arm, guides her ` round a hole in the floor. They're going to a bad place.",
"INT. HOTEL PARAISO - ROOM 302 - LATE DAY They enter. Electra looks about as Rath goes to the window. Pulling back on a decrepit shutter he looks across the plaza and remembers. FLASHBACK - EXT.. PLAZA COLON - DAY -LRB- 1980 -RRB- The black and white of the prelude. The plaza. A sniper's rifle in the window. A figure steps out from the bank. We see more detail than before, but it seems to strobe AWAY FROM us. The gunman is a younger Rath. The Mark seems familiar. He looks up to the blank, is shot down. As pigeons take wing. CUT BACK TO:",
"INT. HOTEL PARAISO - ROOM 302 - LATE DAY (PRESENT) Rath is snapped from his reverie as real pigeons flap by the window. Electra studies him. ELECTRA Are you okay? Rath gestures her over. He points to strategic spots below as he talks. RATH At ten o'clock tomorrow I'll enter the bank. He'll be in the plaza somewhere. In the crowd. When he sees me go in, he'll move up here. ELECTRA You're sure? RATH -LRB- nods. -RRB- You'll be at the cafe. You'll see him when he goes inside. We'll have two - way mics so we can talk. ELECTRA What do we do after he goes inside? RATH We wait. Rath describes the rest not the way he planned it, but the way he remembers it. RATH It'll take all day, but he'll begin to doubt himself. He'll start to think he missed me. He'll have to see with his own eyes whether I'm still in the bank. It'll be sunset, closing time. He'll have to leave the rifle here when he goes to the bank. There are metal detectors at the door. When he's out of sight, you'll come in here and take the rifle. Electra looks back at the bank. ELECTRA What if he tries to shoot you before you go into the bank? Rath speaks like it was all written in stone. RATH He'll wait for the prime shot. When I come out. ELECTRA How can you be so sure? RATH Because he likes history. -LRB- a beat. -RRB- Fifteen years ago I was at this same window. ELECTRA Fifteen years. And as they stand side by side, suddenly everything is clear to Electra. ELECTRA Oh my God. Rath finally looks at her. ELECTRA Your friend Nicolai. You said he was taken. Rath nods. ELECTRA -LRB- a whisper. -RRB- You killed him. Rath does n't answer. And suddenly Electra is scared again. She looks at him a beat longer then does the only thing she can to protect herself : she puts on her sunglasses. We MOVE IN ON the lenses, see Rath reflected in them.",
"EXT. NEW HOTEL - MAGIC HOUR The cab pulls away.",
"INT. NEW HOTEL - LOBBY - NIGHT Rath and Electra walk through an archway and start upstairs. In front of them walks a newlywed couple - kissing and giggling - very much in love - Rath pays no attention while Electra ca n't take her eyes off them.",
"INT. NEW HOTEL HALLWAY - NIGHT They reach a landing. To make things worse, they have adjoining rooms. Rath opens their door, enters. Electra lingers, watches the other couple as he fumbles for his keys. Watches as she runs her hand over him. He finally gets the door open. He pushes her inside.",
"INT. NEW HOTEL - ROOM - NIGHT Electra listens to the sounds coming from the other side of the wall. LAUGHTER quickly turning into PASSION. ELECTRA -LRB- sarcastic. -RRB- You should check them out. Maybe they're Interpol. RATH -LRB- in no mood. -RRB- Not even professionals could pull that act off. As the sounds become MORE MUFFLED, Electra grabs a glass, holds it to the wall. Rath watches with distaste. RATH You're a voyeur. Electra looks at him, hears the disgust in his words. But she has some in her own. ELECTRA There are worse things. Rath looks away. There are. Electra is possessed of knowledge she ca n't understand, let alone forget. RATH Look, Nicolai and me. It's none of your business. ELECTRA -LRB- fierce. -RRB- It is my business. I'm with you! Rath is n't going to say anymore. Electra turns back to the wall as the sounds of PASSION BUILD. ELECTRA -LRB- a beat. -RRB- I ca n't trust you. You ca n't trust me. How can we possibly help each other - RATH I trust you. ELECTRA Why? Why do you trust me? He does n't have an answer. She picks up Pearl, walks into the bathroom. As the door locks behind her.A",
"EXT. PLAZA COLON Almost deserted, a different story after sundown. As the last fruit VENDOR shuts up his cart. BAIN -LRB- O.S. -RRB- Un momento. Por favor. The Vendor sighs, waits as Bain, carrying a nylon bag, steps over. He nods politely, scans the fruit, picks out two apricots. He hands the Vendor a twenty, walks on without waiting for his change. VENDOR Gracias, Senor. MOVE WITH Bain as he strolls across the plaza. Biting into the apricot, savoring the taste, he looks at the bank, at the big iron gates barring the front entrance, but also at the modern metal detectors just beyond. Taking another bite, he turns, scans the opposite side. The Hotel Paraiso is even gloomier than the first time we saw it. By instinct, Bain settles on the same window that Rath did. He walks to the bank entrance, imagines the sight line back to the hotel. Doing his homework. Finishing the first apricot, Bain sets the second on a column ledge just to the right of the entrance. Bain crosses the plaza to the hotel. Pulling free a 24 nailed to the entrance, he steps inside.",
"INT. HOTEL PARAISO - LOBBY - NIGHT An atrium courtyard. The burnt - out interior hall bal - conies stare down from four sides. The ceiling is gone. Bain stares up at the moon. It casts broken patterns of light across the walls and floor. Bain seems almost reverent. Like he was in a holy place. Moving cautiously, Bain starts up the staircase, headed for the third floor.",
"INT. HOTEL PARAISO - ROOM 302 - NIGHT Bain enters. We jump as a FLOOR BOARD gives way with a SNAP. Taking it in stride, Bain pulls his leg free, steps carefully over to a. THIRD FLOOR WINDOW Bain stares across at the entrance to the bank. A good clear view, the vertical angle not too EXTREME. He unzips his bag. Quickly, epertly, he puts together a sniper's rifle complete with a two - foot silencer. Holding up the rifle, he closes one eye, sights. A CLICK as Bain squeezes the TRIGGER on an empty chamber. He looks up from the sight, across the plaza. This is good.",
"EXT. NEW HOTEL - BALCONY - NIGHT Holding Pearl, Electra stands looking out at the city. What holds her attention is the procession moving down the cobblestoned street, following a trail of marigold petals to a nearby cemetery. It includes children made up as skeletons.",
"INT. NEW HOTEL - HALLWAY - NIGHT A WAITER pushes a room service cart. We do n't see his face, but we suspect the worst. As he reaches the door to Rath and Electra's room.",
"INT. NEW HOTEL - ROOM - NIGHT Rath looks up at a KNOCK on the door. Drawing his.22, he steps over, stays to the side of the door.A RATH Who is it MUFFLED VOICE -LRB- O.S. -RRB- Room service. Rath places the end of the silencer against the door - head level. RATH I did n't order room service. As he cocks back the trigger, Electra steps in from the Balcony. ELECTRA I did. Rath pulls the gun away, pauses a moment to collect himself. He holsters it, opens the door. The Waiter smiles, rolls the cart in. As he sets up the plates, Electra steps over. ELECTRA Excuse me. -LRB- points out balcony. -RRB- What's happening out there? WAITER The Day of the Dead, Senora. ELECTRA What are the flowers for? WAITER Families make a path from their homes to the cemetery. So the souls of the dead loved ones can find their way back home. Electra is fascinated. As the Waiter finishes, Rath tips him and he exits. ELECTRA Can we go? RATH He'll be here by now. This room and the bank. That's it. Disappointed, she sets Pearl down and steps back out on the balcony to watch. Rath pours himself a drink. As he does, he notices something. There's a slight tremble in his hand. He h -RRB- P? sets the drink down, looks to the balcony. After a moment, he steps over, stops to the side of it. RATH I wish I could explain why I killed Nicolai. I may have been manipulated. I do n't know. -LRB- a beat. -RRB- For what it's worth, I'm sorry did it. A beat. He waits for her to say something, ca n't really blame her when she does n't. RATH I used to hope the same thing would happen to me. A least it's a way out. It may. Finally, Rath steps out to be with her. RATH Electra.",
"EXT. BALCONY - NIGHT Rath steps out. Electra's gone! Not on the ground a floor below. Nowhere in sight. Rath looks to the cemetery and the fire escape leading from the balcony down to the cobblestone street below.",
"EXT. OLD CEMETERY - NIGHT A procession emerges from a tunnel, through old gates and into a cemetery. It includes some American tourists. Marigold petals and candles are everywhere. There are headstones, many of which lie flat. Also much well - made statuary. Two local women stand to one side selling coffee and shaved ice. Solemn, but not dreadfully so. Stepping up from the shadows of a darker part of the cemetery is Electra. She looks on eagerly. This is prime people - watching territory. She spots the coffee women, starts to move in closer. As she passes behind a larger memorial, she hears. BAIN -LRB- O.S. -RRB- Hola. Que pasa? Electra freezes, peeks around the memorial to see Bain not more than four feet away, standing near the coffee women. They smile at him. He seems respectful. In fact, as Bain watches the ceremony, he's in his element. He speaks, almost like he's addressing the women, but not really. Electra ca n't take her eyes off him. BAIN Death is like me. Quiet, a little scary. Sharp, he's real sharp. And even though you want to stay away from him, you ca n't. He draws you. You dig him and fear him at the same time. -LRB- laughs. -RRB- I'm a million years old, but I look like I'm thirty. ELECTRA She hurries away into the shadows. In the gloom, she nearly trips over a headstone. In the process she sends an old GLASS CANDLE HOLDER flying. As it SMASHES. BAIN At first we do n't think he heard it, but then he turns, looks back into the darkness. He's going to turn back to the ceremony, but he ca n't. It's instinctual. Reaching into his jacket, Bain heads into the darkness. The two women watch him go. One looks to the other, makes `` crazy circles'' around her ear with a finger. DARKENED CEMETERY Electra moves. Hears someone behind her. Or was it to the left? She ducks behind an angel statue. Moments later, Bain steps up. Electra holds her breath as he scans the area. All of Bain's senses are working, including smell. BAIN -LRB- under his breath. -RRB- Jasmine. His.22 in hand, Bain moves on. Electra stands, moves back. She has n't gone far when a hand slaps down over her mouth. It's Rath! BAIN - He's starting to get a little spooked himself. Sure that he's cornered someone, he leaps around a corner, takes aim down a row of tombstones. No one's there. RATH AND ELECTRA Rath's feeling the same way. Motioning for her to stay put, he creeps around a statue, sees Bain, draws a bead - but a large group from the procession moves in between them - when they clear, Bain is gone. Rath takes Electra's hand and they move on. BAIN Looking about, the feeling passing. Then he spots it, a Jasmine in a vase by a stone. Bain takes a sniff. Laughing, he turns, heads back to the ceremony.",
"INT. NEW HOTEL - ROOM - NIGHT Electra enters followed by Rath. Rath is ehausted from the past tension. Electra watches as he locks the door, leans his forehead against it. Finally. ELECTRA Am I attractive? Rath looks at her a beat, nods. She is. ELECTRA Are you attracted to me? RATH Yes. ELECTRA Is it a physical thing or a mental thing? RATH Both. ELECTRA When did it start? RATH -LRB- a beat ; almost shy. -RRB- When you were shooting at me. ELECTRA That's strange, do n't you think? -LRB- a beat. -RRB- You're a strange man, Robert Rath. RATH Joseph. My real name is Joseph. For a man like Rath, this is like giving her the Hope Diamond. Electra knows it. A beat and then. ELECTRA -LRB- savors the sound. -RRB- Joseph. I'm Anna. It's awfully 7 nice to meet you. She holds her hand out like a promise. All Rath has to do is take it. He does. They come together. Kissing, wanting, needing contact. And they're on the bed. Never have two people needed each other more. As Pearl runs out of the room.",
"INT. NEW HOTEL - ROOM #2 - NIGHT Lying in their bed, the newlyweds listen to the sounds of LOVEMAKING coming from the room next door. As they smile at each other.",
"EXT. BANK ENTRANCE - CLOSE ON APRICOT - NIGHT that Bain left here. Dewy, glistening. Without warning, it EXPLODES into a thousand pieces. WHIP PAN TO:",
"INT. HOTEL PARAISO - ROOM 302 - NIGHT Bain lowers the rifle. Slowly, solemnly, he raises his forefinger to heaven. Tomorrow he will be number one. And Rath's dream of a new life will die.",
"EXT. PLAZA COLON - DAWN Deserted as the sun casts an early morning glow.",
"INT. NEW HOTEL - ROOM - COMPUTER SCREEN - DAY Contractor The contract has been paid. Transferred to the specified account. Rath and Electra look from the screen to each other. More than partners this morning. Rath And the disc? Contractor You'll be advised. Good - bye, Robert. The screen goes blank. Rath switches it off. Sitting in front of the remains of a huge breakfast, Electra pours herself coffee. Rath opens a case. He takes out two small `` hearing aid'' mics. He sets them on the table alongside his gun. Electra immediately scoops up one of them. ELECTRA Two way? RATH -LRB- nods. -RRB- Remember, you tell me when he leaves the hotel ; I'll tell you when he leaves the bank. -LRB- a beat. -RRB- We're gone. Electra nods. Rath hands her his.22. ELECTRA What's this for? RATH Just in case. Electra moves to hand it back, but Rath does n't take it. ELECTRA I do n't think I could shoot someone. RATH Did you play Cowboys and Indians when you were a kid? ELECTRA Sure, but this - RATH Which were you? ELECTRA An Indian. Always an Indian. RATH Then pretend he's a cowboy and pull the trigger. You can pretend he'll just get up after, but you pull the trigger. For Electra, this is getting a little too real.",
"INT. BANK - DAY Glossed with light. We PULL BACK and see other squares. Black and white. Like a chessboard. A woman's HEELS CLICK past. RISING HIGHER, we see the woman walking. man crosses behind her going the other way. HIGHER STILL and we realize we're looking at the black and white marble floor of the.",
"INT. BANK - DAY The ceilings are vaulted and vast, the suspended lights baroque. An enormous clock -LRB- 10:00 AM -RRB- hangs from the wall. With its massive oil paintings and bronze statues, the bank could be a museum. Armed guards stroll the floor. Customers go about their business. Carrying a large black briefcase, Rath steps onto the checkered floor.",
"EXT. OUTDOOR CAFE - DAY Set just off the plaza with a view of the side of the hotel and the front of the bank. Electra sits on the patio sipping a thick, almost sludgy espresso. She hears Rath over her ear - piece. RATH -LRB- V.O. -RRB- I'm in the bank. He'll move now. She scans the plaza, nervous. ELECTRA I do n't see him. I - There. Across the Plaza. Bain glides through the crowd like a shark. Headed for the Hotel Paraiso.",
"INT. BANK - DAY Rath waits for a teller. Electra whispers in his ear. ELECTRA -LRB- V.O. -RRB- He's here.",
"EXT. OUTDOOR CAFE - DAY The owner brings a second espresso, steps away. Electra downs it in a gulp as she watches Bain disappear between a gap in the boarded - up, burned - out hotel. ELECTRA -LRB- scared. -RRB- He's going in. He's in the hotel.",
"INT. BANK - DAY Rath hears the fright in her voice. RATH That's what we want. Try a decaf. Rath steps up to the TELLER. TELLER May I help you, sir? RATH Yes. Could you check on a transfer for me? Rath slides a withdrawal ticket over.",
"INT. HOTEL PARAISO - ROOM 302 - DAY7 Bain steps into the same room we saw him in last night. He reaches overhead into some charred, half - collapsed timbers, pulls down the silenced sniper's rifle. Stepping to the window, Bain aims at the bank entrance. Through the scope he follows an eiting man. The cross - hairs are right on the man's forehead. Bain pulls the trigger. CLICK. Satisfied, Bain slaps a magazine into the rifle. Reach - ing into his pocket he pulls out an orange. Watching the bank, he starts to peel it. He reaches into a duffel bag, pulls out his small keyboard and a set of headphones. He plugs in the phones, begins to play, always watching the bank.",
"INT. BANK - TELLER'S WINDOW - DAY The Teller returns with a BANK OFFICIAL. He carries a printed receipt, wears a great big smile. OFFICIAL Senor. We have received your transfer. He hands the receipt to Rath who sees a `` two'', counts the zeros after it. There are seven of them. RATH I want to close this account. Could you get the paperwork together? The smile fades. OFFICIAL Today? You wish to close the account today? Rath nods solemnly. No joking here. OFFICIAL How would you like the funds? RATH American currency. It's all the Official can do to keep from crossing him - self. He looks around, catches the eye of the one man in the building who looks even more official than he does - the BANK PRESIDENT. The President steps over, confers with his underling in low tones. In Spanish. Occasionally the President glances at Rath, but mostly he listens. Finally. PRESIDENT You're aware, Senor, that there may be. a withdrawal fee? RATH Yes, I am. The President looks to the Official, nods. As the Official hurries off, the President looks back to Rath. PRESIDENT This will take some time. RATH I have all day. DISSOLVE TO:",
"EXT. SUN High in the sky. White hot.",
"INT. HOTEL PARAISO - ROOM 302 - DAY7 Bain sits in a charred chair staring out the window, his back soaked with sweat. He rubs his eyes. One at a time. He's afraid to blink lest he miss something. He checks his watch, raising it to eye level, rather than look down. BAIN What are you doing in there? The heat in the room makes it hard to even breathe. There! A man walks out of the bank dressed like Rath. Bain's body snaps erect. Leveling the rifle, he sites the man's head. He's about to squeeze the trigger when he realizes it's not Rath. Bain wipes the sweat from his forehead, leaves a smear of black from the charcoal. Fumbling for his bag, he pulls out a container of bottled water. He drinks, never once taking his eyes off the bank. BAIN Relax, baby. Calmate.",
"EXT. PLAZA COLON - DAY The shadows are getting longer, stretching out toward the bank where.",
"INT. BANK - DAY Rath sits in a big, highback leather chair. Cool as a cucumber, he watches the traffic in the lobby. The big clock reads 3:10. RATH Talk to me.",
"EXT. CAFE - DAY Electra watches the hotel, a sith empty espresso cup before her. ELECTRA No sign of him. He's just sitting up there, same as us. INTERCUT the following :",
"INT. BANK/EXT. CAFE - DAY RATH No. I mean talk to me. Tell me some of that weird stuff you know. Electra smiles, thinks a beat. An old man in a beat fedora passes by. Inspiration. ELECTRA You know the expression, ` Mad as a hatter'? RATH Alice in Wonderland, right? ELECTRA Yeah, but it's a real thing. Hat makers, hatters, they used mercurous nitrate to make felt hats. They'd absorb it through their skin and some of them went insane. No one knew why at the time. As long as their hats fit. Rath is amused. RATH Tell me another one. ELECTRA -LRB- coy. -RRB- Well, there's ` Mad as a March Hare.' RATH What's that, rabbit hat makers? ELECTRA Hares are bold, wild in March. March is when they mate. -LRB- a beat. -RRB- I think the correct term is ` rutting.' Wild rutting bull bunnies. As Rath smiles to himself.",
"INT. HOTEL PARAISO - ROOM 302 - DAY Teeth gritted, Bain rocks side to side. He has to urinate. Bad. He tries to scan the faces coming out of the bank, but the situation has become intolerable. BAIN Esto es una locura! Always watching the bank, he grabs the empty water bottle, unzips his pants and begins refilling it.",
"INT. BANK RESTROOM - DAY INTERCUT Bain's discomfort with Rath in the bank's elegant restroom. He stands at the sink, pats his hands dry on a towel. Not a trace of sweat on his brow.",
"INT. HOTEL PARAISO - ROOM 302 - DAY Spotting someone exiting the bank, Bain drops the bottle of urine, spilling it, to grab for his rifle. He looks through the scope. Not Rath. As Bain curses.",
"EXT. CAFE - DAY Concerned, the owner starts for Electra with another cup of espresso. Seven empties dot her table. She looks over, waves him off. No mas.",
"INT. BANK - DAY The sun clock on the wall reads 5:10. After a long beat, the MINUTE HAND CLICKS over to 5:11. PAN DOWN TO where the Bank President approaches Rath. PRESIDENT Senor, we've deducted our fee and are making a second count. The funds will be available in one half hour.",
"INT. HOTEL PARAISO - ROOM 302 - DAY The sun is getting low, filling the room with golden light. Bain is just a knot by the window. As a large group exit the bank, he scans faces through the scope. Frantically as they disperse. No Rath. Bain pounds the butt of the rifle down, splintering a floorboard. He checks his watch. 5:47. In fifteen minutes the bank will close. Maybe he missed him. Bain stands up.",
"EXT. CAFE - DAY Electra sits up almost in shock as she sees Bain emerge from the shadows of the hotel. He moves with purpose, shoving aside people who do n't get out of his way. ELECTRA -LRB- almost shouting. -RRB- He's coming. -LRB- a whisper. -RRB- He's coming.",
"INT. BANK - DAY Rath looks up at the clock, frowns as he remembers. RATH He waited four minutes longer than I did. ELECTRA -LRB- V.O. -RRB- What? RATH Go.",
"EXT. CAFE - DAY Electra moves for the hotel, enters.",
"INT. HOTEL PARAISO - LOBBY - DAY Watching her footing, Electra heads up the main stair - case, on her way to the third floor.",
"INT. BANK - DAY The Bank Official carries Rath's briefcase to the President's desk. It looks heavy now. The President looks to Rath who motions he'll be one moment. RATH -LRB- into mic. -RRB- Where are you?",
"INT. HOTEL PARAISO - BURNED-OUT HALLWAY - DAY Electra counts doors, enters. ROOM 302 ELECTRA I'm in 302. She's ready to grab the rifle and run. The only problem is, it's not here. She checks behind a blackened mattress leaning against the wall. Nothing. ELECTRA It's not here. The rifle's not here.",
"INT. BANK - DAY Rath is horrified. RATH Get out of there.",
"EXT. PLAZA COLON - DAY Bain strides across the plaza, a maniac gleam in his eye. The bank is just ahead.",
"INT. ROOM 302 - DAY Electra looks through the lathing into 301. Maybe she has the wrong room. But as she turns, she spots it. Bain's rifle stashed up in the rafter. ELECTRA Wait. I got it!",
"INT. BANK - DAY Relief replaces the nausea. RATH Okay. Go.",
"INT. BANK - DAY As Bain charges in, Rath removes the ear - piece, pockets it.",
"INT. ROOM 302 - DAY But as Electra steps forward, the floor gives out at her feet. She falls, jerks to a stop as her ribs wedge into the hole. She cries out in pain.",
"INT. BANK - DAY Soaked in sweat, his eyes covered by sunglasses, Bain scans the lobby. Rath sits, waits, unaware of Electra's plight. Turning, Bain spots him. A man seemingly without a care in the world. Confused, Bain's first instinct is to run. But then, taking a breath, he starts for Rath. BAIN How'd you know? Who told you? RATH History - Nicolai. Fifteen years ago I walked into this bank just like you are now. That makes you good. Because I was the best. -LRB- a beat. -RRB- But right now you feel like a mark, do n't you? The words sting. RATH You think you've been sold out. You do n't trust anyone. It's the first commandment. It's what keeps you alive. BAIN And you, Antiquado? Who can you trust? No one. You're alone, same as me. If Bain only knew how wrong he really was.",
"INT. ROOM 302 - DAY ELECTRA Rath. I'm stuck. No answer. Electra follows the ear - piece cord to the transmitter unit under her shirt. A tug reveals it's smashed from the fall.",
"INT. BANK - DAY Bain's nervous, watching anyone who comes near them. RATH Why the sunglasses, kid? Ca n't you look me in the eye? Bain turns defiantly toward him, seething with energy. BAIN You and Nicolai. Me and you. History will repeat. RATH If you were really a student of history, you'd know we're just pawns. The contractor is number one. Not listening, Bain glances toward the back of the bank. RATH There's sixteen million coming out of there. I could give it to you right now to let me walk. You would n't take it. BAIN You're pathetic. You sound like a mark. RATH -LRB- smiles sadly. -RRB- No. I just know where you're going. Bain takes off his sunglasses, looks Rath in the eye. Bain suddenly does n't look so nervous. BAIN I tell you, that night, in the cab, I thought I was lucky to be alive. Now I think different. You were the lucky one. Rath sits calmly, stares back at him. RATH You're right. I am lucky. BAIN No more chit chat. A beat. And then, Bain winks. Turning, he heads for the exit. As he disappears, Rath reaches into his jacket, sticks his ear - piece back in. RATH Electra, where are you? No answer. Rath frowns. RATH Electra?",
"INT. HOTEL PARAISO - ROOM 302 - DAY Panic is setting in as Electra struggles in vain to free herself.",
"INT. BANK - DAY Rath looks up as the Bank President and guards step over. One carries the briefcase. PRESIDENT Everything is in order, Senor.",
"EXT. PLAZA COLON - DAY Trying to look three different ways at once, Bain crosses the plaza in long, pounding strides.",
"INT. HOTEL PARAISO - ROOM 302 - DAY Slowly, painfully, carefully, Electra eases herself from the hole she's in. Almost out, she slips back.",
"INT. BANK - $16,000,000 - DAY in the open briefcase. Held by one of the guards. The Bank President closes it, looks over at Rath. PRESIDENT This is awkward, not really my affair. But I was told you would give us something. In return. The guards look formidable. As Rath's eyes narrow.",
"EXT. HOTEL PARAISO - DAY As Bain blasts inside.",
"INT. HOTEL PARAISO - ROOM 302 - DAY Almost out, Electra pulls herself free. It hurts. And then, she hears BAIN TEARING UP the hotel STAIRS.",
"INT. BANK - DAY As Rath hands the disc over to the almost apologetic Bank President. He sticks it in a scanner similar to the one Bain used. The light flashes green. It checks out. The guard hands Rath the briefcase. The President gestures toward the exit. The clock reads 6:03. PRESIDENT -LRB- smiling. -RRB- And now, we are closed, Senor.",
"INT. HOTEL PARAISO - ROOM 302 - DAY7 Electra reaches to the rafter, but ca n't quite get the rifle. Bain sounds awfully close. Terrified, she reaches again.",
"INT. HOTEL PARAISO - 3RD FLOOR HALL - DAY Here he comes. Like a wild beast. He charges into.",
"INT. ROOM 302 - DAY Electra is gone. Bain charges to the spot, on tiptoes, pulls down his rifle and bag. Whipping to the window, he sites through the scope. The stairs are empty. BAIN -LRB- intense. -RRB- Step outside, Rath. Step outside and I'll set you free. ANGLE BEHIND BURNED MATTRESS - Here she is. Trembling, Electra peeks out, sees Bain's back. At the window. Fifteen feet away.",
"INT. BANK - DAY Rath walks toward the exit, closely followed by the guards and Bank President. One long walk. Like a man being released from prison, or is he on his way to eecution dock? We'll know in a few moments.",
"INT. ROOM 302 - DAY Bain's attention is riveted to the hotel steps. BAIN Come on. Orgulloso toro. I got the sword right here. There's no shame. I promise you wo n't feel a thing. Behind him, behind the mattress, Electra raises Rath's.22, her hand shaking like crazy.",
"INT. BANK - EXIT - DAY No flood of light this time. In fact, it looks dark outside. Rath is crowded from behind by the guards. PRESIDENT Thank you for your business, Senor. Practically pushed into taking a step outside, every - thing is suddenly spinning out of his control. As the big doors shut behind him.",
"INT. ROOM 302 - DAY Bain has Rath in the doorway. Not quite a clean shot, but Bain's willing to wait. BAIN Take a step. Just one little step. Electra's knuckles are white around the.22's grip. But she ca n't pull the trigger. Bain is n't a cowboy and she's not an Indian.",
"EXT. BANK - DOORWAY - DAY Rath looks from side to side. There's no car waiting. In fact, the Plaza is nearly deserted. RATH Electra? Are you there? Head down, there's only one way to find out. Rath starts down the stairs.",
"INT. ROOM 302 - DAY Bain leans forward, his aim rock steady. The crosshairs are an `` X'' on the top of Rath's head. BAIN Look up. I want to see your eyes. Electra better act. Now's not the time to be a voyeur.",
"EXT. PLAZA COLON - DAY Rath stops, slowly looks up. He sees the rifle's long silencer jut from the window, Bain's shadow beyond it. He's a dead man, but the worst part is not knowing where Electra is. Was he deserted? Is she in trouble? In another second, it wo n't matter.",
"INT. ROOM 302 - DAY About to pull the trigger, Bain hesitates. BAIN'S POV - THROUGH RIFLE SCOPE He sees the mic in Rath's ear, the cord snaking under his shirt. ROOM 302 Bain frowns, then sniffs the air. There's something strangely familiar in it. BAIN Jasmine. Bain whips a look back over his shoulder, sees Rath's.22, Electra who practically shrugs in apology. ELECTRA Howdy. The.22 SILENCER kisses the air. Bain's shoulder erupts red.",
"EXT. PLAZA COLON - DAY Pigeons take wing as Rath sees the RIFLE twist up, FIRE wildly into the sky. A beat and Rath dashes forward.",
"INT. ROOM 302 - DAY The rifle dropped, Bain grabs his bag and charges for the wall. Electra FIRES TWICE more, misses twice as Bain crashes through the lathing into. ROOM 301 Stumbling blind, he falls. The floor opens beneath him to let him pass.",
"EXT. PLAZA COLON - CAFE - DAY Rath races for the hotel. Past a man picking up coffee cups.",
"INT. THE HOTEL PARAISO - ROOM 301 - DAY Electra steps up. The.22 trained on the hole, she looks down. Bain's bag is there, but the man himself is nowhere in sight. A ghost. Electra moves.",
"INT. 2ND FLOOR HALLWAY - DAY Bain on his back, aiming his own.22 at her footsteps overhead. He FIRES.",
"INT. 3RD FLOOR HALLWAY - DAY There's no warning blast, just BULLETS silently drill - ing the floor at her feet. Electra runs, aware the floor could collapse under any given footfall.",
"INT. 2ND FLOOR HALLWAY - DAY Bain moves to the railing, aims at the stairs. Electra appears on the landing above, freezes as she realizes she's eposed. RATH -LRB- O.S. -RRB- Bain! Rath in the lobby. Before Bain can target him, he's gone. So is Electra. BAIN Two against one. Is that your edge, Rath? You did n't take the mark. You took the bribe. Bain starts for the stairs. BAIN I'll take her, even the odds! ELECTRA -LRB- O.S. -RRB- -LRB- scared somewhere. -RRB- I think he's serious, Rath! ROOM 205 Rath pulls himself up through a hole in the floor. RATH You've got something of mine, Electra. 3RD FLOOR HALLWAY Electra looks at the.22, gauges Rath's position from his voice. ELECTRA When do you want it back?! RATH -LRB- O.S. -RRB- Now! ATRIUM - HALLWAY BALCONIES Electra appears at the third floor balcony. Rath at the second, a little further down. Bain turns the corner on the staircase. As Electra tosses Rath the.22, Bain FIRES. Time slows. Rath's hand closes around the gun even as he's hit in the shoulder. Stumbling back, he RETURNS FIRE. Electra has disappeared from the railing as Bain con - tinues after her. And getting to his feet. Rath gets to his feet and motors. 3RD FLOOR Light plays through the lathing. Every creak could mean your life. INTERCUT BETWEEN Rath, Electra and Bain as they play the equivalent of the hedge - maze game. Bain FIRES at a shadow moving against a wall three rooms away. Electra nearly steps into a gaping hole as she looks back at a sound behind her. Rath wheels as the Electra WHISPERED NAME `` Rath'' ECHOES oddly. No way to tell where it came from. 3RD FLOOR HALLWAY The full length stretched before us. Electra steps out from a room. Rath appears at the other end. As she starts toward him, Bain steps out from the opposite end. She's about to get caught in one hellacious crossfire. RATH -LRB- dashing forward. -RRB- Down! As Electra hits the deck, Bain leaps forward with a rebel yell. The two men unload their silent.22's. Sprinting at each other. Bain shouting. Rath jerks to a sinew - stretching stop as his right leg goes through the flooring. He FIRES. And as Bain's hit in the thigh, he goes down. Disappears h -RRB- f through the floor right at Electra's feet.",
"INT. FLOORS - DAY MOVE WITH Bain as he tumbles. Breaking, then continuing his fall at each floor he encounters. 3RD FLOOR HALLWAY Rath and Electra look THROUGH the hole. No ghost this time. Bain's down there. Motionless, nearly buried in debris. Rath looks up at Electra. RATH Do n't move. Rath starts down the hall. A beat and Electra is following right behind him.",
"INT. HOTEL PARAISO - LOBBY - DAY The light from the lowering sun slips through gaps, cracks and broken window panes, casting surreal patterns. Rath steps over to where Bain lies broken. 22 aimed at Bain, he turns to face Electra as she comes up behind. They embrace a moment before he pulls away. The only way to describe him is pissed with joy. RATH You were n't supposed to be here. What happened? What the hell happened?! Before Electra can explain. VOICE -LRB- O.S. -RRB- That's no way to talk to a lady.",
"INT. LOBBY - DAY A chill down Rath's spine. He wheels, but the voice has no source. Till The CONTRACTOR steps out of the shadows, holds a.22 about a foot from Electra's head. CONTRACTOR It's been a long time, my friend. Rath turns, is stunned at the sight.h -RRB- g RATH Nicolai. NICOLAI/CONTRACTOR The years have been good to you, Robert. -LRB- re : gun. -RRB- Put it down. Nicolai motions to Rath's gun. Rath has no choice. He drops it. Nicolai gestures toward Bain. NICOLAI Miguelito? -LRB- as Rath nods. -RRB- I never pictured him so young. shame. Second best after all. Electra ca n't believe what's happening. She looks from Nicolai to Rath. ELECTRA You killed him. NICOLAI -LRB- smiles. -RRB- He did. Nicolai opens his jacket to reveal a bulletproof vest. NICOLAI -LRB- to Rath. -RRB- Walking out of that bank was the worst moment of my life. -LRB- to Electra. -RRB- He always went for the heart. Predictable. Nicolai holds up a flattened slug, tosses it to Rath who lets it land on the floor. RATH Fifteen years, fifteen goddamn years you let me think I killed you. You sonuvabitch. NICOLAI You're forgetting you shot me. You sonuvabitch. Rath ca n't argue the facts. NICOLAI The Cold War was ending. I needed to die. To leave no past behind. You delivered me. -LRB- looks to Electra. -RRB- You, my darling, must be the mark. ELECTRA And you, my darling, must be the contractor. NICOLAI -LRB- nods ; to Rath. -RRB- I'm disappointed, Robert. You were supposed to kill her. Rath is the only one aware that Bain has come to. With his free hand, Nicolai pulls the disc from his pocket, looks to Electra. NICOLAI You're a thief. A good one. ELECTRA -LRB- looks to Rath. -RRB- I'm retired. NICOLAI I had to use both my best to track you down. ELECTRA -LRB- re : disc. -RRB- Let me guess. There's something on there that would bring you back to life. NICOLAI -LRB- nods. -RRB- You're very good. Also a shame. Rath and Nicolai regard each other grimly. A moment of truth is at hand. ELECTRA -LRB- scared. -RRB- Hey, ca n't you two just kiss and make up? Nicolai smiles at her, picks the briefcase up off the ground. At the same time, Bain's hand moves almost imperceptibly to his gun a few inches away. NICOLAI This is sad for me, Robert. Sentimental, but I did n't want to find you alive. -LRB- a beat. -RRB- First things first. Nicolai motions Rath to take a step aside. Nicolai moves forward. Leaning over Bain, he holds the.22 to the base of his skull. The coup - de - grace. NICOLAI Always make sure. You should've known better. As Nicolai's finger tightens, Rath dives for his own gun. Nicolai swings his aim for Rath enabling Bain to grab his own.22. Bain FIRES from the rubble, drills Nicolai up through the chest cavity. Nicolai drops. Rath rolls to his feet, aims at Bain who swings his aim to Rath. But neither man fires. ELECTRA Do n't do this. Finally, Bain sticks out his free hand. BAIN Ayudame. -LRB- sighs. -RRB- Help me up, will you? Rath takes his hand, pulls Bain, bloody, covered in soot, to his feet. As Rath stares down at Nicolai. RATH I'm gone. Bain considers the implications. BAIN That would make me number one. RATH I can live with that. Can you? BAIN Absolutamente. Companeros. Bain turns his aim away. Rath does the same. Electra breathes a sigh of relief. Rath moves toward her. BAIN I'm sorry, Rath. Rath freezes as he hears the HAMMER COCK behind him. Bain has him dead, the.22 aimed at the back of Rath's head. BAIN As long as you're out there, I'll never be number one. Feeling like a fool, Rath looks across at Electra. beat. In a moment of compassion, Bain turns his aim away. BAIN You want to say goodbye? Rath has nothing to say. He just looks at her. In response, Electra raises her sunglasses, slides them on. Like she's withdrawing away at the end. But wait. That's not it at all. Rath's eyes flicker wide as he sees Bain in the lens reflection. Rath knows eactly where he's standing. Bain realizes as well. As he moves to fire. The side of Rath's coat blossoms as Rath SHOOTS through it. Like a Wild West trick shooter. Hit in the chest, the gun slips from Bain's hand. His eyes flicker from his wound to Rath. Rath stares back. Bain goes down hard. He's dead. Rath and Electra come together. A beat and they start out. On the way, Electra scoops up the briefcase. moment more and they're gone. OMITTED FREEZE FRAME. FADE TO BLACK. THE END"
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] | Robert Rath (Sylvester Stallone) is a paid assassin who wants to retire, haunted by the memory of murdering his own mentor Nicolai years ago. He is on an assignment when someone else gets to the 'mark' (target) before he does. That intruder turns out to be Miguel Bain (Antonio Banderas), a fellow assassin and a competitive sociopath. Bain plans to kill Rath to become the number one assassin. As Rath tries to figure out who sent Bain, the contractor offers him a lucrative job that could allow him to retire: kill a computer hacker named Electra (Julianne Moore) and the four Dutch buyers of a computer disk and retrieve the disk. Electra has set up CCTV cameras and an elaborate mechanism for remotely moving items between rooms in the building where she is based. Bain gets there first and kills the four Dutch buyers, who turn out to be Interpol agents. Rath, meanwhile, spares Electra, and the two escape from Bain with the disk. Rath exchanges the disk for his fee, given to him in a briefcase, which actually contains a bomb placed by his own contractor in an attempt to kill him. Electra then tells him she had swapped the disk, not sure if Rath was coming back. Rath demands a greatly increased fee from his contractor, this time to be wired to a bank. The contractor (who is also Bain's contractor) sends Bain a new mark: Rath. Rath and Electra travel to the bank, where Rath identifies the decrepit, abandoned hotel that Bain will use as a sniper post and plans a trap. After Bain's apparent death, Nicolai appears, revealing that he had had a bulletproof vest on when Rath had shot him years ago. Knowing that Nicolai would kill him too, Bain revives and joins Rath in shooting him dead. Bain still plans to kill Rath and become number one. Electra puts on her sunglasses, allowing Rath to see Bain; Rath shoots through his own jacket to kill him. | Assassins_(film) |
[
"EXT. TWO-LANE HIGHWAY - NIGHT We see a clean moving POV illuminated by headlights. We're floating down an old two - lane highway through a desolate, desert landscape. This gliding, eerie POV continues as credits roll. when the credits end, the headlights seem to dim and soon we're moving through BLACKNESS.",
"INT. THE MADISON HOUSE - BEDROOM - DAY in the blackness, a man, FRED, is sitting on a bed smoking a cigarette. we see his back, but with each glow of the cigarette ash, we see his face reflected in a mirror on the wall across from him. In the darkness, there starts the sound of a motor which draws curtains back across a large picture window just off screen. As the curtain moves, hard - edged light begins crawling across the room, and we see everything clearly. Fred is wearing a robe and pajamas, it's early morning. CLOSE UP ON FRED'S FACE IN THE MIRROR - Blank expression - face somewhat obscured or distorted by smoke from the cigarette. CLOSE UP 0N FRED'S ACTUAL FACE - Unshaven, haggard look, eyes seem empty, glazed over. Fred is 32 years old, with dark hair. THE DOORBELL RINGS. Fred looks up, startled by the noise. He looks at the digital clock : 5:30 a.m. FRED STANDS, goes to an INTERCOM on the wall next to the mirror. He pushes a button. A VOICE comes over the intercom. VOICE OVER INTERCOM Dick Laurent is dead. Fred leaves the bedroom and goes through the house. He is on the upstairs level. He looks through a narrow slot window, but ca n't see the front door below. He goes further in the house to a picture window that overlooks the street below. There is NOBODY there.",
"EXT. THE MADISON HOUSE - DAY We can see Fred standing at the picture window, looking out.",
"INT. THE MADISON HOUSE - LIVING ROOM - NIGHT Fred is dressed to go out : Black sport coat and slacks, buttoned up white shirt. He picks up a music case. A woman comes into the room. This is Fred's wife, RENEE, 30 years old, dark hair, dressed smartly, a drink in her hand. RENEE You do n't mind that I'm not coming tonight? FRED What are you going to do? RENEE I thought I'd stay home and read. Fred looks her over, she's sexy without trying. FRED Read? Read what, Renee? Renee sits down on a couch and sips her drink. Fred comes over to her, kisses her on the neck, which makes her laugh. FRED It's nice to know I can still make you laugh. RENEE I like to laugh, Fred. FRED That's why I married you. RENEE Wake me up when you get home. Fred brushes her cheek with his fingers, allowing them to linger for a moment on her face.",
"EXT. CITY STREET - NIGHT A blue neon sign reads : LUNA LOUNGE.",
"INT. LUNA LOUNGE - NIGHT Fred is on the bandstand. He takes a solo on his saxophone. Fred plays hot, hard, neo - bop. The BAND wails madly behind him. The PATRONS explode onto the dance floor, making it a wild scene. Fred Is a lion now, roaring away on his tenor, driving everyone nuts.",
"INT. LUNA LOUNGE - LATER After the band quits to take a break, FEMALE FANS come onto Fred, but he moves away, refusing their attentions.",
"INT. LUNA LOUNGE - BACKSTAGE - LATER Fred dials a pay phone.",
"INT. The MADISON HOUSE - NIGHT We move through the empty living room - empty bedroom, etc.. The ringing telephone goes unanswered.",
"INT. LUNA LOUNGE - BACKSTAGE - NIGHT LOSE UP 0N FPED'S FACE as he listens to the ringing. Sweat is still rolling off his face. His eyes are blank.",
"EXT. THE MADISON HOUSE - NIGHT Fred's car pulls up in the driveway in front of his house. Fred gets out, and goes into the house carrying his music case.",
"INT. THE MADISON HOUSE - NIGHT Fred puts down his music case, goes to the bedroom, and sees Renee sleeping soundly.",
"EXT. THE MADISON HOUSE - DOORSTEPS - DAY Renee in a bathrobe, opens the front door to collect the mail. She sees a plain, clean, manila envelope lying on the step. She picks it up. CLOSE UP ON THE ENVELOPE - No stamp, no writing, blank. She takes the mail from the box, and goes back into the house.",
"INT. THE MADISON HOUSE - LIVING ROOM - DAY Renee opens the manila envelope. She's noticeably nervous when she sees a videotape inside. She stares at it. Fred enters, also wearing a bathrobe. He sees Renee staring at the videotape - before she hears him enter. When she does hear him, her eyes jerk away from the tape. FRED What's that? RENEE A videotape. FRED Who's it from? RENEE I do n't know. There's no return address on the envelope. In fact, there's no address on it. FRED Does it say anything on the tape? RENEE -LRB- looking it over. -RRB- No, nothing. Fred walks over and picks up the tape. FRED Well, let's see what's on it. Fred takes the tape to the VCR. He inserts it into the machine, and turns it on. Fred goes toward the couch. FRED -LRB- CO N'T. -RRB- -LRB- to Renee. -RRB- Come on. They sit on the couch in front of the television. The TV monitor : We begin on the TV, then the videotape fills the entire frame. The videotape shows the front of THE MADISON HOUSE, the camera panning slowly over it. The picture is accompanied by an eerie DRONING SOUND. After the camera pans back to the front door, the tape image turns to snow. Fred and Renee stare at the snow for a few moments. Renee looks relieved. RENEE It must be from a real estate agent. FRED Maybe. We see a WIDE SHOT encompassing Fred, Renee, and the snowy image on the TV.",
"INT. THE MADISON HOUSE - DINING ROOM - DAY Renee is seated at the dining room table - coffee cup and grapefruit in front of her. She is wearing glasses, reading a book. Fred enters, and sees Renee, who does not look up or acknowledge him. Fred goes into the kitchen, which is just off the dining room. He comes back into the dining room with a cup of coffee, and sits down with it opposite Renee. He lights up a cigarette, sips his coffee, and looks at her. FRED Good book, huh? RENEE -LRB- she looks up. -RRB- Huh? oh, yeah, it is. FRED Same one you were reading the other night? RENEE What night? FRED When you did n't come to the club. RENEE Oh. Oh, yeah. No. This is a different one. FRED I called, you know. RENEE Called? When? FRED From the club. You did n't answer. RENEE I must have fallen asleep. I was asleep when you got home, was n't I? FRED You were asleep when I got home, yes. Renee goes back to her book. Fred sips his coffee and smokes. RENEE -LRB- without looking up. -RRB- I told you you could wake me up if you wanted to. Renee looks up at him now, takes off her glasses, and stares at him. CLOSE UP OF FRED'S FACE - a disturbed expression. Renee seems about to say something more, but stops, puts her glasses back on and resumes reading.",
"INT. THE MADISON HOUSE - BEDROOM - NIGHT Fred is in bed waiting for Renee. He hears noises from the bathroom - bottles clinking, drawers opening and closing. Renee comes out wearing a robe, which she sheds just before getting into bed. Naked under the covers, she switches out her bedside lamp. The only light in the room comes from the outside, through the windows. Fred moves closer to Renee, puts his lips to her cheek, a hand on her breast. She does not respond. Fred pulls Renee to him, and kisses her passionately. Renee accedes to his demands, but does not participate willingly. He makes love to her voraciously, but her lack of passion disturbs him. Fred ca n't stop, however, and when he comes she acts consolingly, stroking him maternally while he calms down. He climbs off of her and retreats to his side of the bed. CLOSE UP ON FRED'S EYES - which express his horror and humiliation. They lie there in the dark silence for a while. Fred turns back toward Renee in the darkness. FRED I had a dream about you last night. RENEE Yeah? FRED You were in the house. calling my name. but I could n't find you.",
"INT. THE MADISON HOUSE - NIGHT FRED'S DREAM Fred is walking slowly across the living room. Fred's POV : moving - searching. Fred stops and listens. RENEE -LRB- tentatively - distant and off screen. -RRB- Fred? Fred, where are you? The camera turns slowly back toward the hallway, and as it drifts it RISES UP following along the hall and turning slowly into the bedroom. Renee is lying below in the bed. FRED V.0. says. Then there you were. lying in bed. but it was n't you. It looked like you. but it was n't. The camera suddenly dives violently at Renee - into a TIGHT CLOSE UP. Her face registers TOTAL FEAR.",
"INT. THE MADISON HOUSE - BEDROOM - NIGHT Fred is lying in bed with Renee, who is now backlit by her bedside lamp. Fred looks at her shadowed face, but it's not Renee's face. It's a face Fred has never seen before. Fred quickly turns and switches on his bedside lamp, and looks quickly back at Renee, whose face is now her own. RENEE Fred, are you all right? Fred reaches out a hand and tenderly touches her face. Renee covers his hand with her own, and closes her eyes.",
"EXT. THE MADISON HOUSE - DAY Renee finds another envelope on the doorstep. She opens it, pulls out a videotape. A large dog is BARKING incessantly somewhere in the neighborhood. Renee looks around to see if she can see the dog.",
"INT. THE MADIS0N HOUSE - LIVING ROOM - DAY Renee brings the videotape upstairs with the rest of the mail. She is a bit puzzled and unsettled. She puts the tape down on a table. She stares at it. Fred comes in. FRED You're up early. RENEE That dog woke me. I lay there for a while, then decided to get up. FRED Who the hell owns that dog? Fred notices the tape and manila envelope on the table. FRED What's that? Another tape? RENEE Yes, I just found it on the step. Fred picks it up. FRED Do n't you want to watch it? RENEE I guess so. Fred goes to the VCR and inserts the tape. He turns the television on. He is about to start the tape - he looks up for Renee. She's hanging back. FRED Well, do you wan na watch it? Again, Renee seems to be nervous about what could be on the tape, but she hides this from Fred and walks toward the couch. RENEE Yeah. Renee sits on the couch. Fred starts the VCR and joins her. As before, we first see it on the TV, then the videotape fills the frame. This tape shows the front of the house, as before, then shows the INTERIOR of Fred and Renee's house - AT NIGHT. The eerie DRONING SOUND goes throughout. The camera glides at a very high angle near the ceilings looking down as it travels along a hallway and turns into their bedroom, where we see Fred and Renee sleeping. The tape image then goes to snow. Fred and Renee stare at the snowy TV picture. After a few moments of silence, Renee gets up and switches off the set. She is visibly shaken, trembling. She stares fearfully at Fred who seems less disturbed. RENEE We've got to call the police. FRED All right.",
"INT. THE MADISON HOUSE - LIVING ROOM - DAY Renee is on the telephone. Fred is pacing, smoking, behind her. RENEE yes, I've been on hold for ten minutes. I ca n't. All right, thanks. Renee looks around anxiously. Fred gives her his cigarette, which she puffs on. He lights another and continues pacing. RENEE Hello, yes. Good. My name is Renee Madison. My husband is Fred Madison, the jazz musician. we live at 442 Hollis Street. Right. 442 Hollis. near the observatory. Someone's been in the house. at night. while we were sleeping. I know because they sent, dropped off a videotape. two videotapes. to show us. That's right. Yes. it. the second one. shows us asleep. Someone broke in and taped us while we slept! Is n't that enough? Okay, sure. We will. 442 Hollis. Yes, we'll be here. Renee hangs up. FRED So? RENEE Two detectives are coming out.",
"INT. THE MADISON HOUSE - LIVING ROOM - DAY Two men in suits - the Detectives, ED and AL, are seated on the couch, watching the last part of the second videotape. The screen goes to snow and stays that way for several moments, until Fred shuts it off. FRED That's it. ED Let's have a look at the hallway outside the bedroom.",
"INT. THE MADISON HOUSE - HALLWAY - DAY All four of them go to the hallway, where Ed and Al look around, especially up toward the ceiling. AL Very strange. RENEE What is? AL The angle. The high angle shot on the tape. ED How'd the camera get so high like that? AL And smooth. Almost no movement - back and forth, I mean. ED Like you'd get if it was hand held. AL Right. This just glided along.",
"INT. THE MADISON HOUSE - BEDROOM - DAY The Detectives enter the bedroom. Fred and Renee follow. ED This is the bedroom. The Detectives look around without touching anything. AL Do you always sleep here? In this room? Both of you? FRED This is our bedroom. ED There's no other bedroom? FRED No. There is, I mean, I use it as a practice room. it's soundproofed. AL You're a musician? FRED Yes, I thought my wife. ED What's your axe? FRED Tenor. Tenor saxophone. Do you. ED -LRB- shakes his head. -RRB- Tone deaf. AL -LRB- to Renee. -RRB- Do you own a video camera? RENEE No. Fred hates them. The Detectives both look at Fred. FRED I like to remember things my own way. AL What do you mean by that? FRED How I remember them. Not necessarily the way they happened. ED Do you have an alarm system? RENEE Yes, actually we do. but we have n't been using it. AL Why not? FRED It kept going off for some reason. False alarms. ED Might be a good time to try using it again. AL Anybody else have a key to the house. RENEE No. AL Maid? Relative? RENEE No, one of us is always here to let the maid in. Nobody else has a key. ED -LRB- to Al. -RRB- Let's check the doors and windows. See if there's been a break - in. They all leave the bedroom.",
"INT THE MADISON HOUSE FRONT DOOR - DAY Ed is checking the door for marks.",
"INT. THE MADISON HOUSE LIVING ROOM - DAY Fred's POV : He's watching Ed and Al with Renee who are outside the house, walking around the property, checking it out.",
"EXT. THE MADISON HOUSE - DRIVEWAY - DAY Ed and Al are standing by an unmarked police car with Fred and Renee. The Detectives are about to depart. AL We'll keep a watch on the house. ED As best we can. AL If anything else happens, you'll call us. Al hands Fred a card. Ed hands Renee a card. RENEE We will. FRED Thanks, guys. ED It's what we do. Ed and Al get into the car and drive off. Renee and Fred look at each other, warily, then go back into the house. THE CAMERA SLOWLY PANS OVER THE FRONT OF THE HOUSE AS IN THE VIDEOTAPE.",
"INT. LUNA LOUNGE - NIGHT Fred is on the bandstand, sweating, and honking his saxophone. He handles the horn roughly, braying like a beast as the CROWD gathered in front of the stage gyrates as one swept away in the madness of the moment.",
"INT. LUNA LOUNGE - SAME At the back, near the side door, Renee can be seen with TWO MEN, only one of whose faces we see. The trio are going out the side door led by one of the men ; we see only the back of his head. Renee glances briefly at the bandstand before she exits with the two men.",
"INT. LUNA LOUNGE - BANDSTAND - SAME CLOSE UP OF FRED as he plays, seemingly oblivious to his surroundings. His eyes open and shut as he clamps down on the horn.",
"INT. LUNA LOUNGE - SAME In the back of the club, the side door slowly closes.",
"INT. THE MADISON HOUSE - STAIRWELL / LIVING ROOM - DAY Fred is standing in the living room looking in the direction of the stairwell. We HEAR someone's steps coming up the stairs. It's Renee, who eventually comes into view. She is holding another manila envelope. She arrives at the top step. She and Fred lock eyes. Fred takes the envelope, opens it, and pulls out a third videotape. without saying anything, Fred takes the tape to the VCR. He inserts it very carefully, slowly. He hits play, turns on the television and he and Renee sit down on the couch together and begin to watch with great apprehension. Again we begin with a WIDE SHOT and then the TV monitor fills the screen : We see the interior of the house at night. The camera glides looking down from a high angle along the hallway and into the bedroom, where Fred and Renee are sleeping. Again, the DRONING SOUND plays throughout. in the bedroom where Fred and Renee are seen sleeping, SUDDENLY, Fred, on the tape, slowly awakens as the camera holds on him. He rises and turns unnaturally in the bed, as if drawn up by his awareness of some strange presence in the room. He comes to a sitting position, his head straining upwards, looking in the direction of the camera. At this point, the videotape image turns to snow.",
"INT. THE MADISON HOUSE - LIVING ROOM - DAY Fred and Renee are on the couch. The TV remains on, showing snow. Renee is very upset, crying. RENEE What the hell is going on?! FRED -LRB- equally horrified - frightened. -RRB- I wish I knew. Fred reaches over and tentatively takes Renee's hand in his. She trembles, allows him to touch her, but otherwise does not respond. Suddenly, she jumps with fright. RENEE What was that?! FRED What? RENEE On the tape! There was something else on the tape. Fred gets up and rewinds it, passing an image. RENEE -LRB- CO N'T. -RRB- There! Play it! Fred runs the tape forward. We see snow - then a half - second long MEDIUM SHOT of Fred on his knees near the bedroom wall on Renee's side of the bed. He is looking directly at the camera - his face a ghastly grimace, contorted. His eyes are WIDE WITH HORROR. Fred runs it back again and FREEZES the tape there on his tormented image. This image fills the screen. He and Renee stare at it.",
"INT. THE MADISON HOUSE - LIVING ROOM - DAY The Detectives, with Fred and Renee are seated on chairs and the couch. The three videotapes in their manila envelopes are stacked on a coffee table in the center. AL You do n't remember being awakened? It looks like you were aware of someone. ED Or something. FRED No, I do n't remember anything. it looks like I. but. I do n't remember. RENEE Why would anyone do something like this? AL Has anyone made any threats to either of you recently? ED Or not so recently? FRED No, not to me. Al, Ed and Fred all look at Renee. RENEE I. no. No. No threats. ED We'll take the tapes with us, if that's all right with you? Ed looks at Fred, then Renee, both of whom nod their agreement. AL We'll see that the patrol of the house is doubled. RENEE I do n't know if I want to stay here. I do n't feel safe. FRED Where would you feel safe? RENEE I do n't know. maybe a hotel. Ed and Al are watching this exchange between Fred and Renee with keen interest. There is a strained silence between them. ED Did you use the alarm system since we were here last? FRED The first night. Not the last two. AL Why not? FRED -LRB- shrugs. -RRB- I forgot. Anyway, I hate the idea of acting paranoid. RENEE Acting paranoid?! Someone is in our house while we're sleeping, filming us, and you do n't want to act paranoid?! I thought you set the alarm! Fred gets up, lights a cigarette, paces. FRED I'll make sure the alarm is set from now on. RENEE But that does n't solve the problem. Who is doing this? And why? Ed and Al rise from their chairs. Ed picks up the envelopes. AL We'll find out, Mrs. Madison. Renee stands with the Detectives. Fred stands apart - his expression, pained and bewildered.",
"INT. ANDY'S HOUSE - NIGHT A swinging party is in progress at Andy's house - the man whose face we saw at the Luna Lounge with Renee. ANDY, 37 years old, a slick guy, is seen moving through the crowd, making small talk, kissing and being kissed. The PEOPLE here are wannabe players, the men mostly shady, gold - chain - wearing, slightly unsavory types ; the women dressed provocatively, big hair and skin - tight dresses. Through sliding glass doors we see nude and semi - nude people cavorting in a swimming pool. Everyone has a drink in his or her hand. Renee finishes her drinkt and hands the empty glass to Fred who walks away with it. Andy grabs Renee, and dances with her. They laugh and talk. Renee appears to be a bit intoxicated. Fred, who appears less than thrilled with the carryings on, makes his way to the open bar where he orders two drinks. When the drinks arrive he drains one of them completely, then sets the empty glass down on the bar. Then he swallows the other drink, too, and sets down the glass. A MYSTERY MAN, tall, well - dressed and groomed, older than Fred, approaches him. MYSTERY MAN We've met before, have n't we? FRED I do n't think so. Where was it that you think we've met? MYSTERY MAN At your house. Do n't you remember? FRED -LRB- surprised. -RRB- No, no I do n't. Are you sure? MYSTERY MAN Of course. In fact, I'm there right now. FRED -LRB- incredulous. -RRB- What do you mean? You're where right now? MYSTERY MAN At your house. FRED That's absurd. The Mystery Man reaches into his coat pocket, takes out a cellular phone and holds it out to Fred. MYSTERY MAN Call me. Fred snickers, like this is a bad joke. The Mystery Man puts the phone into Fred's hand. MYSTERY MAN -LRB- CON - T. -RRB- Dial your number. Fred hesitates, puzzled. MYSTERY MAN -LRB- CON - T. -RRB- Go ahead. Fred shrugs, laughs, dials his number. We HEAR a pick up as we stay on FRED'S FACE. PHONE VOICE OF MYSTERY MAN I told you I was here. Fred, still holding the phone, stares at the man standing in front of him. FRED How did you do that? The Mystery Man points to the phone. MYSTERY MAN Ask me. Fred, mirthful at first, as if it is a party trick of some kind, suddenly turns serious - it's obvious he's thinking now of the videotapes. He speaks into the phone. FRED -LRB- angrily. -RRB- How did you get into my house? PHONE VOICE OF MYSTERY MAN You invited me. It's not my habit to go where I'm not wanted. Fred looks at the man in front of him, but speaks again into the phone. FRED Who are you? The man laughs - identical laughs - both over the phone and in person. PHONE VOICE OF MYSTERY MAN Give me my phone back. The man in front of Fred reaches out his hand for the phone. Fred hears the line go dead, and he slowly passes the phone back to the Mystery Man who takes it, folds it, and puts it in his pocket. MYSTERY MAN It's been a pleasure talking to you. The man walks away from Fred. Renee appears and comes up to Fred. RENEE I thought you were getting me a drink? FRED Just a minute. He takes Renee by the arm and goes over to the host of the party, Andy. He grabs Andy and points across the room toward the Mystery Man, who is engaged in conversation with OTHER GUESTS. FRED Andy, who is that guy? ANDY -LRB- looking at the Mystery Man. -RRB- I do n't know his name. He's a friend of Dick Laurent's, I think. FRED Dick Laurent? ANDY Yes, I believe so. FRED -LRB- remembering something. -RRB- But Dick Laurent is dead, is n't he? ANDY He is? I did n't think you knew Dick. How do you know he's dead? Andy and Renee exchange a worried look, which Fred does not notice. FRED I do n't. I do n't know him. ANDY -LRB- angrily. -RRB- Dick ca n't be dead. Who told you he was dead? RENEE Honey, who? Who's dead? Fred takes Renee by the arm away from Andy. FRED Let's go home. RENEE But. FRED Now! We're leaving now! I did n't want to come here in the first place. Fred drags the reluctant Renee out of Andy's house.",
"INT. CAR - NIGHT Fred is driving fast and recklessly. Renee is drunk and is smiling at him. FRED How'd you meet that asshole, Andy, anyway? Renee stares out the front window - thinks back. RENEE It was a long time ago. I met him at this place called Moke's. We. became friends. He told me about a job. FRED What job? RENEE I do n't remember. Anyway, Andy's okay. FRED He's got some fucked up friends.",
"EXT. THE MADISON HOUSE - DRIVEWAY - NIGHT Fred and Renee's car pulls up in front of their house. Fred jumps out of the car. FRED Stay in the car! Fred enters the house, careful to turn off the alarm first.",
"INT. THE MADISON HOUSE - NIGHT There are only a couple of dim lights on, the house is mostly dark. Fred moves slowly and carefully through his house - searching each room for a possible intruder. Fred's POV - moving creepily room by room through the dark house - past the telephone - down the hall to the bedroom. There is NO ONE there. He goes back outside for Renee.",
"EXT. THE MADISON HOUSE - DRIVEWAY - NIGHT Renee is standing next to the car, shivering. FRED I told you to stay in the car! RENEE Why? what is it? Why did you make me wait out here? FRED I thought there might be somebody inside. RENEE Was there? FRED No. of course not. They enter the house.",
"INT. THE MADISON HOUSE - NIGHT Fred switches on more lights. RENEE It's so odd. Waiting out there, I had the strangest feeling. Like this had happened before. I mean, your telling me to stay outside while you went in like that. Fred looks at Renee, then continues to look around the house, disturbed, seriously disquieted. Renee, still tipsy, follows him, moving from room to room.",
"INT. THE MADISON HOUSE - BEDROOM, ETC. - NIGHT Fred and Renee are preparing to go to bed. Renee goes into the bathroom off the bedroom. Fred takes another look out into the hallway.",
"INT. THE MADISON HOUSE - HALLWAY - NIGHT Fred walks down the hallway.",
"INT. THE MADISON HOUSE - LIVING ROOM - NIGHT Fred looks around the dark living room. Then absentmindedly, he begins to inspect objects. He picks up an ashtray and studies it - lost in thought.",
"INT. THE MADISON HOUSE - BATHROOM - NIGHT Renee is washing her face, standing at the sink in her slip.",
"INT. THE MADISON HOUSE - LIVING ROOM - NIGHT Fred is staring at himself in a mirror.",
"INT. THE MADISON HOUSE - BEDROOM - NIGHT Renee comes in. Fred is not there. She goes to the door and peeks down the hallway. RENEE -LRB- tentatively. -RRB- Fred? Fred, where are you?",
"INT. THE MADISON HOUSE - LIVING ROOM - NIGHT No one is in the living room now - but a SHADOW moves slowly across a wall.",
"INT. THE MADISON HOUSE - HALLWAY - NIGHT Renee's POV - down the hallway. There is just darkness at the end of the hall. It is EERIE. After a moment, Fred slowly walks out of the darkness toward Renee. He walks out of the shot and the camera remains on the rectangle of darkness at the end of the hall.",
"INT. THE MADISON HOUSE - LIVING ROOM - DAY Footsteps can be heard on the stairs. Fred's head appears at the top of the stairway. He comes up into the living room carrying a manila envelope, like the ones previously received. His expression is strained. He is alone. Fred pulls a videotape out of the envelope and inserts it in the VCR, turns it on. He sits on the couch and watches. We go from a WIDE SHOT to a FULL FRAME SHOT of the video. On the tape is the same nighttime interior of the house, accompanied by the DRONING SOUND. The camera moves eerily down the hall toward the bedroom, sliding at a high angle. The camera turns slowly into the bedroom - looking down. BLOOD is splattered over the floor, bed, walls. The camera drifts. THE DEAD BODY OF RENEE lies on the floor at the foot of the bed. She is badly mutilated. Fred is hovering over her on the tape, ON HIS KNEES, A HORRIFIED, UNBELIEVING EXPRESSION ON HIS FACE. On the tape, Fred turns away from Renee - his hands raised, dripping blood - her blood. His movements are almost mechanical, constricted, as he strains strangely upwards seemingly against his will, as if feeling some enormous pressure. He looks directly at the camera, his face a ghastly grimace, contorted, just before the taped image goes to snow.",
"INT. THE MADISON HOUSE - LIVING ROOM - DAY Fred, sitting in front of the TV, shudders as the tape ends. He sits trembling, attempts to speak, almost chokes, and finally releases a tortured, warbly cry. FRED Renee! Fred looks up as if seeing something, he starts to stand, - staggering, partially paralyzed. FRED -LRB- CO N'T. -RRB- -LRB- Shouting. -RRB- RENEE!",
"INT. POLICE STATION - INTERROGATION ROOM - NIGHT Fred's POV : A BIG FIST slams into Fred's face, knocking him back in a chair. Ed and Al are standing in front of Fred. ED Stay put, killer! The Detectives' POV : Fred's face is a bloody mask. He is crying, whimpering. FRED I did n't kill her! Tell me I did n't kill her!",
"INT. JAIL CELL - DAY Fred, his lips and eyes swollen, sits on a cot, dressed in jail clothes. He studies his hands, which appear crippled. He flexes the fingers, slowly, painfully.",
"EXT. THE MADISON HOUSE - DAY We are in back of the house tracking slowly past the bedroom and living room windows. Inside the house, INVESTIGATORS and FORENSIC EXPERTS are moving around, measuring, scraping samples of carpet, searching for fingerprints on furniture.",
"INT. CITY MORGUE - NIGHT Renee's CORPSE on a slab is rolled into an examining room by an ATTENDANT. The entrance of the body is shown reflected in a chrome - framed mirror that juts out from a tile wall. The Attendant prepares for the impending autopsy, laying out a rack of instruments, positioning the corpse. As he is doing these things, the MEDICAL EXAMINER enters, accompanied by his GIRLFRIEND. The M.E. is dressed formally, in a tuxedo. The young woman is wearing a slinky dress with a fur wrap, pearls, spike heels. The couple are close ; she has an arm through his, and she laughs, nervously. He is smoking a cigarette. ATTENDANT Hi, doc. Workin' late tonight, huh? M.E. Party at the mayor's house, George. This is his daughter, Joyce. ATTENDANT Howdy, Joyce. JOYCE Howdy, George. The Attendant uncovers the body - individual parts are wrapped like packages from a butcher's shop, and labeled : L. ARM, HEAD, R. BREST -LRB- misspelled -RRB-. M.E. -LRB- looking at the packages. -RRB- Just like Christmas. He begins to unwrap them. JOYCE I do n't know if I can watch this. The M.E. tosses his cigarette down on the floor. The camera goes down on the smoking cigarette butt on the floor drain ; smoldering there among hair and flesh gristle on the drain's filter screen. M.E. -LRB- Voice - over. -RRB- Leave any time you want, lover. I wo n't take it personally. The camera stays on the drain as we HEAR the M.E. unwrapping the packaged body parts. Joyce's high heels enter the frame around the drain. She is stepping nervously, like a spooked horse. The clatter of her heels is very loud. We hear the M.E. chuckle. M.E. -LRB- Voice - over. -RRB- Easy, girl, easy. JOYCE You talking to me or. her? M.E. -LRB- laughs. -RRB- A corpse can tell you plenty, Joyce.",
"INT. COURTROOM - DAY The camera is behind a female FOREMAN in the jury box. The shot begins on her shoes and travels up her body as she stands. Over her left shoulder we see Fred standing at the defense table. Over her right shoulder the JUDGE is seated. JUDGE Have you reached a verdict? FOREMAN Yes, we have, your honor. JUDGE Please hand it to the bailiff. The BAILIFF goes to the Foreman, takes the paper from her, then takes it to the Judge. The Judge opens it and reads it to himself, then hands it back to the Bailiff, who returns it to the Foreman. JUDGE And what is your verdict? The camera moves to Fred, registering his tension. The camera goes to the Foreman's face. FOREMAN We the jury find the defendant guilty of murder in the first degree. Fred faints. Fe is lifted up by his ATTORNEY and GUARDS in attendance. Fred revives slightly. JUDGE Fred Madison, the jury having found you guilty of murder in the first degree, it is my order that on a date to be determined, you be put to death in the electric chair. We see Fred's eyes roll open as he cranes his neck around and upwards, looking at the video camera high on the wall of the courtroom, pointing down on him.",
"INT. LINGERIE SHOP - DAY MARIAN and RAQUEL, two exquisite young women, are looking over the merchandise. RAQUEL Did you see that about the guy who chopped up his wife into a million pieces? MARIAN How could I miss it? The TV wo n't quit with that stuff. RAQUEL They're gon na cook him. MARIAN Andy's from Utah. He says there you have a choice. You can die by hanging or by firing squad. RAQUEL Which would you choose? Marian holds up a black teddy to her body. MARIAN Andy would go for this, do n't you think? Firing squad, definitely. RAQUEL Do they aim for the head or for the heart? MARIAN The heart, I guess. RAQUEL I would n't. The brain would know what's going on. Your heart would be ripped open trying to pump blood, blood pouring into the chest cavity. Savage pain, Marian. Raquel takes a red teddy and holds it up to her chest. MARIAN Oh, that's hot. So you'd rather be hung, huh? They both giggle at the obvious joke. RAQUEL Absolutely. Soon as your neck snaps, you black out. It might take a while for the body to die, but you would n't feel it. Marian reaches for a pair of panties with a hole in the crotch. MARIAN You might be right, Raquel. Marian sticks a finger through the hole in the panties and wiggles it. The girls giggle. Raquel sees Andy walking into the store. He is sneaking up behind Marian, and motions with a finger to his lips to Raquel not to say anything. When Andy gets directly behind Marian, he puts his hands over her eyes. ANDY Guess who?",
"INT. PRISON - DEATH ROW - DAY Fred, in the custody of GUARDS, wearing handcuffs and leg irons, is being escorted to his cell. He appears zombie - like as the guards open the cell door, unlock and remove his shackles, and lock him in. GUARD Make yourself to home, fella. The guards leave. Fred stands near the cell door, begins to look around at the four walls, the single cot, the wash basin, and the toilet bowl without a seat. He hears the muffled, DISTORTED NOISES - VOICES from the surrounding cells. Lost voices - the voices of death row. Fred realizes where he is now. He walks over to the cot and slowly sinks down and sits on the edge. Fred perched on the cot in his cell resembles a man adrift on a tiny raft in the middle of an ocean.",
"INT. PRISON - DEATH ROW - DAY A TRUSTEE is pushing a meal cart along the row. At each door, the Trustee stops and takes a tray off the cart. He shoves the meal tray through a slot in the door. We watch him distribute the trays down the long row of cells.",
"INT. PRIS0N - DEATH ROW HALLWAY - NIGHT The hallway is quiet - distant sounds reverberate.",
"INT. PRISON - FRED'S CELL - DAY Fred sits on the edge of his bed, a tray of prison food sits on the floor - uneaten.",
"INT. PRISON - FRED'S CELL NIGHT Fred lies awake on his cot he stares at the ceiling.",
"INT. PRISON - DEATH ROW HALLWAY - NIGHT The hallway is quiet - distant sounds reverberate.",
"INT. PRISON - EXERCISE YARD - DAY This is a small narrow yard, not the large exercise yard for population. This yard is for use by death row prisoners only, to exercise in one hour each day, by himself. Fred is released into the area, which is more like a dog run. The Guards watch Fred as he walks slowly up and down the exercise yard.",
"INT. PRISON - DEATH ROW - NIGHT There is more activity on the row tonight than usual. A COUPLE of MEN in suits walk through with an air of authority. There is a building murmur among the prisoners.",
"INT. PRISON - FRED'S CELL - NIGHT Fred sits on the edge of his bed, listening as sound of the prisoners builds. He's shaking.",
"INT. PRIS0N - DEATH ROW - NIGHT TWO GUARDS are standing at the guard station. GUARD #1 -LRB- very quietly - solemnly. -RRB- Here he comes. Several of the men in suits, along with several GUARDS, and a CLERGYMAN, a PRISONER in the middle of the group, enter the hallway. They proceed past the guard station down the hall. As the procession files by, DEATH ROW INMATES come to their doors and talk to the prisoner. INMATE #1 See you soon, Sammy. Do n't think takin' a jolt is gon na get you outta payin' me back the twenty you owe me. INMATE #2 Do n't take it personal, pal. INMATE #3 Un fuerte abrazo, amigo! As the men march down the hallway, they pass Fred's cell. His window panel is empty. The camera stops on Fred's cell door, as we HEAR other prisoners talking to the inmate on his way to the ELECTRIC CHAIR. INMATE #4 Hang in there, honey. INMATE #5 Keep an eye out for me, Sammy G.",
"INT. PRISON - FRED'S CELL - NIGHT Fred sits on his bed, listening fearfully. The camera stays on Fred as we HEAR : INMATE #6 Show'em you got big stones, bro.",
"INT. PRISON - DEATH CHAMBER - NIGHT The prisoner is strapped into the electric chair. Behind a glass partition WITNESSES are seated. One of the men in suits, the WARDEN, goes to a telephone on the wall and stands with his hand on the receiver. He picks it up. WARDEN -LRB- into phone. -RRB- Line check. -LRB- pause. -RRB- Okay. The Warden hangs up the telephone and stays next to it. We see one of the condemned man's WRISTS being clamped with an electrical device. The other wrist is clamped. A metal halo is placed around the condemned man's head. A large electrical cable leads off from the halo. Electrically conductive ointment is smeared around the areas where the clamps have been placed. The Clergyman moves close to the condemned man continuing to give the man his last rites. When he is finished, he nods to the Warden. The Warden approaches the condemned man. WARDEN Any final words, Sam? The condemned man shakes his head `` no''. The Warden and the others clear the room and the doors are locked. The EXECUTIONER steps into place near a huge lever. He looks to the Warden. The Witnesses sit in silent anticipation. The hands of the clock on the wall have moved past midnight. The Warden takes one last look through a window at the condemned man - then nods to the Executioner.",
"INT. PRISON - FRED'S CELL - NIGHT Fred sits frozen at the edge on his bed. A distant but LOUD ELECTRICAL HUM begins. Fred's head jerks upward to the light on his ceiling. It has dimmed to almost nothing. Fred sits in the humming darkness.",
"INT. PRIS0N - EXERCISE YARD - DAY The Guards release Fred into the yard for his exercise. At first the sunlight is blinding, and Fred covers his eyes. He moves along the wall, tentative, his fingers feeling the way. Fnally he slumps down on his haunches, back leaned against the wall, eyes closed, letting the sun hit his face. Very soon, however, the sun passes behind a cloud and Fred is bathed in shade. Fred stands up, but is almost immediately hit by a searing pain in his head. Fred holds his head with his hands, sinks down to his knees. The Guard, who has been observing Fred from the doorway, comes over to him. GUARD Something wrong? FRED My. My head. GUARD Headache, huh? Too much sun, I guess. You want to come in? Still got forty - five minutes outside if you want it. FRED No, no. I want to go in. The guard assists Fred back inside the building.",
"INT. PRISON - FRED'S CELL - DAY Fred is on his cot, holding his head. He is obviously in pain. He gets up and staggers to the cell door. Fred pushes a CALL button next to the door to summon a guard. The GUARD comes and speaks to Fred through a double mesh opening. GUARD What's botbering you, Madison? FRED The pain is getting worse. I need more aspirin. GUARD I ca n't give you anymore. I'll talk to the doctor. The guard leaves. Fred collapses to the floor of the cell, writhing in pain.",
"INT. PRISON - INFIRMARY DAY Fred is brought in wearing handcuffs and leg irons, a GUARD on either arm. He is placed on a chair in the middle of the room. The guards stand one on each side of him. A DOCTOR enters. He is in late - middle age, with serious eyebrows. Fred's head is hanging down, chin on chest. The Doctor lifts Fred's head and we see dark circles under Fred's eyes ; his face is pale, teeth clenched, eyes tearing. The Doctor takes a light utensil from his pocket, and inspects each of Fred's eyes. He feels Fred's forehead. After this, he allows Fred's head to drop down again. The Doctor takes Fred's pulse. He drops Fred's wrist. He next takes Fred's blood pressure. DOCTOR You sleeping okay? FRED -LRB- strained whisper. -RRB- I ca n't sleep. The Doctor goes over to a cabinet, unlocks a drawer, and removes a large blue pill. He fills a paper cup with water from a dispenser, goes back to Fred and places the pill in Fred's mouth. The Doctor tilts Fred's head up and pours the water down his throat, some of it dribbling down the front of Fred's shirt. The Doctor looks into Fred's mouth to make sure he swallowed the pill. DOCTOR You'll sleep now. -LRB- to Guards. -RRB- Take him back to his cell. The guards lift Fred by his arms, and shuffle march him out of the infirmary.",
"INT. PRISON - FRED'S CELL - NIGHT Fred awakens on his cot. He turns and sits up in the darkness. A stream of light through the slot window illumines Fred's head, the forehead of which is swollen and discolored. He staggers up and shuffles over to the call button, which he leans on. A few moments later, a GUARD appears on the other side of the mesh. GUARD What is it? FRED Aspirin. fly head. I got ta have more aspirin. GUARD The doctor said not to give you anything. You can see him in the morning. FRED But my head. The guard looks at Fred through the window, and what he sees disturbs him. The guard makes a strange face.",
"INT. PRISON - DEATH ROW HALLWAY - NIGHT The guard walks away from Fred's door to the guard station, where another GUARD is sitting at a table, reading a magazine. GUARD #1 Shit, that wife killer's lookin' pretty fucked up. GUARD #2 -LRB- not looking up from his magazine. -RRB- Which one? They both laugh.",
"INT. PRIS0N - FRED'S CELL - SAME - NIGHT Fred is on the floor lying on back. The camera comes slowly down at him from the ceiling, like a weight pressing on his head. Fred's pain is demonstrably overwhelming him now. He moans and rolls from side to side in the dimness, making grotesque, otherworldly sounds. As the camera moves into a CLOSE UP, the last image of Fred's head shows the discolored swelling has increased. Fred looks up, sensing something.",
"EXT. THE MADIS0N HOUSE - NIGHT There is a `` For Sale'' sign posted in front. The camera pans slowly as in the videotape across the front of the house. The interior of the house is dark, but fleetingly we are aware of movement, shadows inside.",
"INT. ANDY'S HOUSE - NIGHT Marian and Raquel are in the living room, attired in the undergarments they purchased at the lingerie store. HOT MUSIC is BLARING from a stereo. Marian and Raquel are dancing, as sexy and wild as it is possible for them to be. Andy is lying on his back on the rug, dressed only in undershorts and socks, the girls stomping feet stepping furiously around his head and body. His eyes are closed at first, but when he opens them, he sees their feet in a blur. He tries to get up, but he is too strung out, and he collapses again. Marian and Raquel take him by his hands and feet and begin pulling him around the room as they dance. Andy is blitzed, smiling moronically. The girls' breasts tumble out of their teddies. Raquel drops her end of Andy, turns up the music even louder, and dances into a frenzy. Marian drops to her knees, Andy's feet on either side of her, shaking her shoulders and whipping her hair around. Andy makes another attempt to sit up - he looks at Marian, reaches for her but falls back, dead to the world. Raquel and Marian do n't quit.",
"INT. PRISON - FRED'S CELL - NIGHT Fred is still curled on the floor, but spasms begin to rock his body. He goes into convulsions, blood gushes from his nostrils. His head is badly swollen. Fred vomits repeatedly, and drags around in his mess. Fred turns, straining upwards as we've seen him do before. His face and head are hideously deformed. Fred brings his shaking, tortured hand to his forehead. He pulls his hand down across his face squeezing it as it goes. As his hand passes over his face, Fred's features are removed leaving a blank, white mass with eye sockets. We move into the eye sockets and beyond.",
"EXT. TWO-LANE HIGHWAY - NIGHT We see a clean moving POV illuminated by headlights. We are floating down an old two - lane highway through a desolate, desert landscape. This gliding, eerie POV continues until the headlights illuminate a figure standing at the side of the road. This figure is a man, PETE DAYTON. Pete turns, unsettled, as he looks directly at us as we move closer to him. The ghost image of a house appears behind Pete. There is a girl, SHEILA, standing on the lawn in front of the house. She is afraid and is trying to communicate with Pete. Pete does n't seem to hear her and continues to stare directly at us. Now Pete seems to move toward us as we move toward him. His head fills the screen.",
"INT. PRISON - FRED'S CELL - NIGHT Fred's blank face begins to contort and take on the appearance, feature by feature, of Pete Dayton. Fred Madison is becoming Pete Dayton.",
"EXT. PRISON - DAWN We watch the sun rise outside the prison, ascending over the strands of barbed - wire above the wall.",
"INT. PRISON - DEATH ROW - MORNING A GUARD is making his early morning rounds. He stops at each cell and looks in, making a mark with a pencil on a piece of paper on a clipboard. when he comes to Fred's cell, he is about to make a check - mark, but looks in again and appears confused. THE MAN INSIDE IS NOT FRED. GUARD Who are you? What are you doing in this cell? The MAN in the cell sits still on the cot, staring straight ahead. The man is thin, younger than Fred.",
"INT. PRISON - DEATH ROW HALLWAY - MORNING The guard hurries over to the guard station. He picks up the telephone and dials. He begins to sweat. GUARD This is Johnny Mack at station 8. Yeah, look, somethin' crazy's happened. No, I mean, Madison ai n't in his cell. No, there's somebody in there, but it ai n't Madison! Right, right. Okay. Captain Henderson's comin''? Right. Johnny Mack hangs up. He sweats. He walks back down the row and looks in again at Fred's cell. JOHNNY MACK F - u - u - u - ck me! He walks back to the station. A supervisor arrives, CAPTAIN HENDERSON. CAPTAIN HENDERSON Now, Mack, what's the situation? JOHNNY MACK I'm not entirely certain, Captain. You'll have to see for yourself. Together they walk quickly to Fred's cell and look in. CAPTAIN HENDERSON That's not Fred Madison? JOHNNY MACK No, sir, it's not. CAPTAIN HENDERSON Who is it? JOHNNY MACK I could n't say, sir. Captain Henderson? CAPTAIN HENDERSON Yeah, Mack? J0HNNY MACK Captain. this is some spooky shit we got here.",
"INT. PRISON - WARDEN'S OFFICE - DAY Captain Henderson is standing in front of a desk, behind which the Warden is seated. A nameplate on the desk reads : WARDEN MARSHALL R. CLEMENTS. WARDEN Repeat that, Bill. CAPTAIN HENDERSON Warden, it's not him. It. was not Fred Madison in that cell. WARDEN Of course, it's Madison! Who else could it be? CAPTAIN HENDERSON I do n't know. The guards say they've never seen him before. WARDEN Where is he now? CAPTAIN HENDERSON He's in the infirmary, being examined. WARDEN Did you ask him who he is? CAPTAIN HENDERSON He. He ca n't talk. it appears as if he ca n't talk, anyway. WARDEN If he's not Madison, then where's Madison? CAPTAIN HENDERSON I've got men searching the building and the grounds now. The Warden stands up and comes around the desk. WARDEN I want to take a look at this man myself.",
"INT. PRISON - INFIRMARY - DAY The man from Fred's cell is just finishing being fingerprinted. The doctor with serious eyebrows - DR. ROGOFF - is inspecting the man's face. The Warden enters with Captain Henderson. GUARDS are standing by the door and at strategic spots in the room. WARDEN What is this, Rogoff? DR. ROGOFF I do n't know yet. Dr. Rogoff begins to draw blood from the man's arm. He takes several vials. The man watches the blood coming out of his arm, but does n't seem to understand where he is or what is happening to him. WARDEN Who is this man? DR. ROGOFF He's just been fingerprinted, and I'll run these blood tests right away. We'll find out soon enough. Dr. Rogoff opens the man's mouth and peers in with a pencil light. WARDEN He's not Madison? DR. ROGOFF -LRB- slowly, deliberately Not even close. Dr. Rogoff stands up, puts the light in his breast pocket. DR. ROGOFF -LRB- CO N'T. -RRB- I examined Madison last night, Marshall. He had a headache. WARDEN A headache? DR. ROGOFF I did a routine once - over, and gave him a sleeping pill. I've never seen this man before. Neither have the guards. I do n't think he's in the system. The Warden moves closer to the man - he looks closely at him. WARDEN Where the hell did you come from, mister? CLOSE UP OF THE MAN - he's staring straight up.",
"INT. PRISON - WARDEN'S OFFICE - DAY Present are the Warden, Captain Henderson and TWO other PRISON OFFICIALS. The Warden is looking at a computer next to his desk. WARDEN Well, gentlemen, we know who the stranger is. His name is Peter Raymond Dayton. He's twenty - four years old. His birthday is April 21st. He was born and raised right here. He lives with his parents, William and Claire Dayton at 814 Garland Avenue. Pete Dayton was arrested five years ago for auto theft, for which he was put on probation for one year. That was his first and only offense. No record since then. Warden Clements looks up, takes a deep breath and stares at the men in front of him. WARDEN -LRB- CON - T. -RRB- How about Madison? Have we had even a hint of his whereabouts? CAPTAIN HENDERSON Nothing, Marsh. Vanished. There's an APB out on him. His photo's been faxed nationwide. PRISON OFFICIAL #1 I had a call from the governor's office about this. WARDEN How the hell does she know? PRISON OFFICIAL #1 There's press outside right now. WARDEN How the hell. 7 CAPTAIN HENDERSON One of the guards must have leaked it. WARDEN What's the word on the street? PRISON OFFICIAL #2 Only that Madison has apparently escaped. Nothing about the other guy. WARDEN Good, let's keep it that way. Keep a lid on Dayton. Nothing gets out about him.",
"INT. PRISON - DEATH ROW - DAY Johnny Mack walks down the row and enters Fred's cell.",
"INT. PRISON - FRED'S CELL - DAY Johnny Mack looks around, up and down the walls, half peers under the cot, then - checking first to see no other guard is watching him - he looks inside the toilet bowl, then gets down on his knees and really looks under the cot. He gets up and sits down on the bed. He rubs a hand over his face. Johnny Mack is clearly perplexed.",
"INT. PRISON - MEDIA ROOM - DAY A press conference is being held. Present are REPORTERS, TV cameras, et al.. The Warden and Captain Henderson represent the prison. WARDEN I have a statement to read. Fred Madison, an inmate being held on death row has, apparently. has escaped. An all - points bulletin has been issued to authorities not only statewide, but nationwide. We are confindent that he will be apprehended very soon. No further details are available at this time. Thank you very much. REPORTER Warden, nobody's ever escaped from death row before. How did he get out? The Warden and Captain Henderson leave the room without answering.",
"INT. PRISON - LONG CORRIDOR - DAY Pete's parents, BILL and CLAIRE DAYTON, escorted by a PRISON GUARD, are approaching the Warden's office. It is a long walk along the corridor and the camera examines them in detail as they get closer and closer to the office. The Daytons are a middle - aged, San Fernando Valley couple. Bill Dayton is wearing a sport shirt with the short - sleeves rolled up. His skin is leathery, tanned and his thinning hair is slicked back in a duck - tail. He's working - class, ex - biker. Claire Dayton was obviously a good looking `` chick'' who's gone to seed from too much sun, cigarettes and booze. She retains the remnants of a good figure, but it's going fast. Claire is wearing sunglasses.",
"INT. PRISON - WARDEN'S OFFICE - DAY The Daytons are ushered in by the guard. The Warden is standing behind his desk. Dr. Rogoff is standing to one side, and next to him is Captain Henderson. The Daytons stand just inside the room for a moment before the Warden extends his right hand. WARDEN I'm Warden Clements. This is Captain Henderson and Dr. Rogoff. Please, sit down. Bill and Claire move to the chairs in front of the desk and sit down. The Warden, Dr. Rogoff and Captain Henderson all sit down. WARDEN -LRB- CO N'T. -RRB- Mr. and Mrs. Dayton, as you were told over the phone, your son, Peter, is here. Claire Dayton removes her sunglasses. She and Bill wait - the warden is searching for words. WARDEN -LRB- CO N'T. -RRB- He. He was discovered this morning. in a cell on death row. Bill and Claire look at each other - bewildered. WARDEN -LRB- CO N'T. -RRB- A cell that was supposed to be occupied by an inmate named Fred Madison. BILL The wife killer? WARDEN Yes. CLAIRE How is this possible, Warden? The warden shakes his head. WARDEN Tell me, what was Peter's condition the last time you saw him? Bill and Claire look at each other again - briefly. BILL His condition? What do you mean? WARDEN His physical condition. BILL -LRB- hesitates. -RRB- Same as always. Pete takes care of himself. Bill and Claire look at each other once again. CLAIRE I saw him before he went to the garage day before yesterday. He's a mechanic. Look, is he okay? Can we see him? The Warden looks at Dr. Rogoff. DR. ROGOFF He has a hematoma on his forehead and a condition called blepharitis. that's redness and swelling around the eyes. BILL Was he in a fight? DR. ROGOFF These conditions do n't indicate a fight. CLAIRE But what is the cause then? And how did he get in that cell? DR. ROGOFF He ca n't talk. Or wo n't. BILL That does n't sound like Pete. DR. ROGOFF Your son has experienced some sort of trauma, I'm afraid. We were hoping that the two of you could help explain the cause of the trauma and how he came to be here. CAPTAIN HENDERSON You do n't know Fred Madison? BILL No. Only what was in the news. CAPTAIN HENDERSON Do you think Pete knows him? CLAIRE I would n't know how. WARDEN -LRB- to Claire. -RRB- You say you have n't seen your son since the day before yesterday? CLAIRE When he went to work, right. WARDEN What about yesterday? CLAIRE He did n't come home. BILL Sometimes he stays at a friend's. CAPTAIN HENDERSON Any particular friends? BILL A girl's, a buddy's. I do n't know. He's his own man ; he comes and goes as he pleases. CLAIRE I want to see him. WARDEN Yes, and we need to talk to him. if we can. -LRB- to Dr. Rogoff. -RRB- Mel, let's get Peter in here. Dr. Rogoff leaves the room. While he's gone, nobody talks, increasing the tension. Dr. Rogoff returns with Pete Dayton, dressed in his own clothes : jeans, boots, sport shirt. Pete's forehead is lumpy and his eyes are red and swollen. He can walk, but unsteadily. Pete looks around the room - sees his parents. Claire jumps up. CLAIRE -LRB- tenderly. -RRB- Pete. She and Dr. Rogoff help get Pete settled in a chair. Bill is taken aback at the sight of his son, but says nothing. WARDEN -LRB- CO N'T. -RRB- Pete, can you tell us now, anything about this? CLAIRE Pete, what happened to you? Pete has a dazed look on his face. He starts to speak, then stops. CLAIRE -LRB- CO N'T. -RRB- It's okay. Take your time, honey. Pete's gaze drifts from his mother's face around the room and back to her face. PETE -LRB- afraid - quiet. -RRB- Where. am I? The Warden and Captain Henderson look to Dr. Rogoff. DR. ROGOFF You're in the state penitentiary. You were found in a cell on death row. PETE My head hurts. Pete rubs his head like it's about to explode with pain. WARDEN A man named Fred Madison was occupying that cell. He's missing. we're trying to find out how it is you were in there and not him. PETE I. I do n't know. CAPTAIN HENDERSON Do you know Fred Madison? PETE -LRB- straining. -RRB- No. There is a silence in the room, as Pete massages his throbbing temples. CLAIRE -LRB- worried. -RRB- Warden, can we take him home? The Warden looks at Dr. Rogoff. DR. ROGOFF -LRB- to Warden. -RRB- From a medical standpoint, I do n't see why not. CAPTAIN HENDERSON We need to find out what happened here. BILL -LRB- standing up. -RRB- Have you made any charges against him? WARDEN No. BILL Then he's coming home with his mother and me. WARDEN All right. but you see our predicament. Legally we ca n't hold him, but he may be able to help us. perhaps later. For now, he's free to leave. Bill and Claire help Pete up and carefully escort him out of the warden's office. With a nod from the Warden, the guard accompanies them out of the room. The Warden, Captain Henderson and Dr. Rogoff stand but remain in the office. CAPTAIN HENDERSON -LRB- to warden. -RRB- You just gon na let him go? WARDEN We'll get a tail put on him.",
"EXT. DAYTON HOUSE - SAN FERNANDO VALLEY - DAY Bill, Claire and Pete pull into the driveway of a bleached out, 60's ranch - style house on a street lined with many more of the same. Bill and Claire get out of the car first, then help Pete out and up into the house.",
"INT. DAYTON HOUSE - DAY Bill and Claire take Pete to his room, which has a bed, desk, two chairs and a sea of disassembled motorcycle parts belonging to a classic Indian motorbike which Pete is rebuilding. Each part is shiny and clean. Pete sits down on his bed and looks up at his parents - shaking his head with confusion and embarrassment. BILL Just rest easy, Pete. You're gon na be okay. CLAIRE Are you hungry, honey? I'll fix you something. PETE No. I do n't feel so good. I would like some aspirin. CLAIRE Coming up.",
"INT. DAYTON HOUSE - NIGHT Pete sleeps. In the living room, Bill is drinking a beer and watching television. In the kitchen, Claire is finishing the dishes. She goes into the living room and leans down and whispers something in Bill's ear. Bill nods and Claire walks quietly down the hallway and opens Pete's door. She looks in on him sleeping.",
"EXT. DAYTON HOUSE - DAY An unmarked police car pulls up across the street from the Dayton house. In the front seat are the Detectives, Ed and Al.. Al, who is on the passenger side, is holding two styrofoam cups filled with coffee. Ed removes from his inside jacket pocket a 5'' x 7'' photo of Pete Dayton, which he props up on the dashboard so that it is visible for both himself and Al.. Al hands one of the cups to Ed. ED Thanks, Al.. Al studies Pete Dayton's face in the photo. AL Now we'll see what this son of a bitch is up to. ED Yeah. Ed and Al sip their coffee and stare at the house.",
"EXT. DAYTON HOUSE - BACKYARD - DAY Pete Dayton is lying on a chaise lounge. His forehead is still swollen, but his eyes are less red. He stares up into the sky - a hot breeze blows over him.",
"INT. DAYTON HOUSE - DAY The camera moves slowly through the interior of the empty house cast with shadows. The refrigerator running is the only sound.",
"EXT. DAYTON HOUSE - BACKYARD - DAY Pete slowly moves up to a sitting position, then stands. He stretches and walks around the yard feeling the dry, unwatered lawn on his bare feet. He walks over and leans over the neighbor's fence. His eyes fall on a plastic toy boat floating in b child's plastic swimming pool. He watches the boat as the warm breeze blows it lazily in a circle. A small plane drones overhead. In the distance, a WOMAN finishes hanging out some wash and goes in the back door of her house. The slamming of her screen door sounds a thousand miles away. Pete continues to observe these seemingly peaceful surroundings - but something does n't feel right to him.",
"INT. DAYTON HOUSE - NIGHT Pete is eating a sandwich - he is looking much better. Claire opens a bag of chips and sets them in front of Pete as Bill comes in the front door. CLAIRE I'm in the kitchen. Bill comes in and pops a beer - looks around. BILL Where's Pete? CLAIRE Out in back. BILL You talk to him? CLAIRE -LRB- urgent. -RRB- No. Here he comes. Their gazes follow a path from the backyard into where Pete has been sitting all the time. BILL How're you feelin'? Pete looks at his parents - he ca n't figure out what has just happened. PETE -LRB- unsure - brow furrowed. -RRB- Better. BILL Arnie called this morning while you were sleepin'. They miss you pretty bad down at the garage. I told ` im you still had a `` fever''. PETE Okay. Thanks. BILL Nice to know they ca n't seem to get along without ya. PETE Yeah. BILL You really do n't remember the other night, do you? PETE What night is that? BILL The night before you showed up in the slammer. CLAIRE Do you remember? PETE No. I do n't. Why? Bill and Claire just stare at him. Pete shakes his head and takes another bite of his sandwich - but inside the worrisome feeling returns.",
"INT. DAYTON HOUSE - PETE'S BEDROOM - NIGHT Pete is stretched out on his bed watching television. He hears the front door bell ring - footsteps, and a moment or two later the door to his bedroom opens and three of his friends, CARL, LANIE and STEVE -LRB- `` V'' -RRB- saunter in. \"V\" Where the fuck have you been? Pete pulls himself up to a sitting position. PETE Hey. CARL You look like shit. LANIE What happened? PETE Just have n't been feelin' well. \"V\" You're not contagious are you? PETE I do n't think so. \"V\" Good. You up for a drive? PETE Where to? Hey, Lanie, I heard you were out of it for a while, too. LANIE They found a cyst on my god damn ovary. Had to cut it out. You wan na see the scar? Lanie pulls up her shirt and pulls down her pants a ways revealing a fresh scar about three inches long. CARL -LRB- winking. -RRB- Had n't slowed her down none. LANIE -LRB- smacking him. -RRB- Shut up, bone - head. Then Lanie laughs good - naturedly. \"V\" Just goin' up ` ta `` Tops''. Maybe the `` Ten Pin''. PETE Sheila'll be at `` Tops''. \"V\" Sure, what's wrong with that? PETE Okay. Pete hauls himself up off the bed and throws on a black leather jacket. The four of them go through the living room where Bill and Claire are drinking and watching TV. PETE -LRB- to Bill and Claire. -RRB- Goin' out with these clowns for a while. BILL Do ya good. After Pete leaves with his friends, Bill and Claire look at each other.",
"INT. \"V'S\" CAR - VAN NUYS BOULEVARD - NIGHT `` V'' drives a black, beat - up'66 Grand Prix. Carl and Lanie are in the back seat, and Pete rides shotgun. The four of them., are cruising down Van Nuys Boulevard along with many other MUSCLE CARS and LOW - RIDERS filled with KIDS looking for action. `` V's'' car is making a hell of a noise. PETE I hate ridin' in this fuckin' car. CARL Take it easy, Pete, `` V'' loves this rod. \"V\" Look at that goin' my way. `` V'' has seen a couple. of GIRLS in short, tight dresses walking up the boulevard. \"V\" -LRB- CO N'T. -RRB- Oh my, oh my. LANIE Keep it in your pants, `` V''. Some big cars nearby rev their engines. `` V'' guns his car and it lurches roughly forward. The sound of the rough running engine reverberates in Pete's brain. PETE This rod is a fuckin, embarrassment, Carl. Whatiya burn in this thing, `` V''? \"V\" Texaco. What's wrong with that? PETE Listen. \"V\" You got ta be kiddin'. This is the boulevard. You ca n't hear yourself think. Pete shakes his bead with disgust. `` V'' pulls the car off the boulevard into `` Tops'' drive - in. Cars are lined up at the `` to go'' window and all along the side of the building where people are hanging out under a long metal awning. MUSIC is playing LOUD. `` V'' pulls into a parking spot by the awning. The headlights illuminate a group of HIPSTERS - some dancing, some just hanging out. THREE or FOUR GIRLS hanging out together turn toward `` V's'' car. They see Pete in the front seat, and one of the girls, Sheila, smiles and walks toward him. SHEILA Hey. Where have you been? Pete talks to her through the open window while `` V'', Carl and Lanie climb out through `` V's'' door. `` V'' leans back in. \"V\" -LRB- to Pete. -RRB- You want somethin'? PETE No, I'm okay. `` V'' walks off with the others to the `` take out'' window. Sheila leans in closer to Pete. SHEILA I missed you. PETE Yeah? SHEILA Yeah. Sheila's girlfriends saunter over and lean on the car around her - looking in at Pete. GIRL #1 What happened to your face? PETE Nothin'. SHEILA What are you guys doin'? PETE Guess we're goin' over to the `` Ten Pin''. SHEILA You want some company? PETE Sure. `` V'', Carl and Lanie return with burgers and drinks. `` V's'' got a mouthful of burger. \"V\" -LRB- muffled. -RRB- What's happenin'? PETE They're comin' with us. \"V\" -LRB- muffled and spitting. -RRB- Pile in. Sheila and her girlfriends jump in the car with `` V'', Carl, Lanie and Pete. `` V'' fires up the rough - running engine and pulls out - leaving behind a cloud of smoke.",
"INT. TEN PIN BOWLING ALLEY - NIGHT The bowling alley is divided into a game room area, a bar / restaurant area and a bowling area. Pete and the group stroll into the bar and take a large booth. MUSIC is playing LOUD. A WAITRESS takes orders for drinks. Bowling pins clatter loudly in the distance. `` V'' takes one of Sheila's friends and dances with her. Sheila takes Pete by the arm and pulls him up to dance. The music is fast, but they dance slow. SHEILA Why have n't you called me? PETE Sorry. I. Sheila looks around and moves closer to Pete. She whispers urgently, worried. SHEILA -LRB- whispering. -RRB- What's happening to you? What happened to your face? PETE I do n't know. SHEILA -LRB- whispering. -RRB- What do you mean? You've been acting strange lately. Like the other night. PETE What night? SHEILA Last time I saw you. PETE I do n't remember. What happened that night? SHEILA You sure were n't acting like the Pete Dayton I've always known. PETE Whatiya mean? SHEILA You were acting like a different person. Pete laughs, but Sheila does n't. PETE Who else could I be7 Sheila stares seriously at Pete, but then laughs too. SHEILA I do n't know. Sheila leans in very close to Pete and whispers in his ear. SHEILA -LRB- CO N'T. -RRB- You still care about me? PETE Sure. Sure I do. Sheila pushes her mouth on Pete's and they kiss., Pete breaks away - looks at Sheila - serious. PETE -LRB- CO N'T. -RRB- What else about that night? Did anything happen? SHEILA You really do n't remember? PETE No. I told you. SHEILA It was weird. PETE Whatiya mean, Sheila? SHEILA I do n't want to talk about it. PETE Sheila?! SHEILA No. I really do n't want to talk about it.",
"EXT. TEN PIN BOWLING ALLEY - NIGHT Ed and Al sit in their unmarked police car watching the bowling alley entrance and `` V's'' car.",
"EXT. DAYTON HOUSE - MORNING Pete fires up his souped up Camaro and listens happily to the engine purring. He eases the big Camaro out of the driveway and blasts off down the street.",
"EXT. ARNIE'S GARAGE - MORNING Pete cruises into his parking place and cuts the engine. ARNIE comes rushing toward him, sporting a big smile. ARNIE Wonderful! Wonderful to see you, Pete. How are you? PETE -LRB- climbing out of the Camaro. -RRB- Feeling good, Arnie. Ready to get to work. ARNIE Wonderful, Pete. Really wonderful. Alotta people Pete. alotta people are gon na be very happy. Arnie takes Pete by the arm and they go inside the garage.",
"INT. ARNIE'S GARAGE - MORNING Other MECHANICS give Pete the `` hi'' sign and yell their greetings over the din. Arnie pulls Pete closer and shouts. ARNIE Mr. Smith has been waiting for you and Mrs. Trueworthy. Can you take care of Mr. Smith now? PETE Sure. ARNIE Mr. Eddy's called every day. Can I call him to come in? PETE Sure, Arnie. Bring'em on, I'm ready. Pete walks over to a Ford Station wagon and pops the hood. A happy MR. SMITH comes out of the office to join Pete at his car.",
"EXT. ARNIE'S GARAGE - MORNING Ed and Al pull to a stop down the street from the garage. Ed kills the engine and they stare at Arnie's.",
"INT. ARNIE'S GARAGE - DAY Pete is leaning down into the engine well of a Chevy Caprice working hard for Mrs. Trueworthy. Arnie's Garage is busy.",
"EXT. ARNIE'S GARAGE - DAY A large black Mercedes 600 Pullman pulls into the garage.",
"INT. ARNIE'S GARAGE - DAY The Mercedes pulls to a stop and MR. EDDY and TWO of his ASSISTANTS climb out. Arnie waves to Mr. Eddy from the office. MR. EDDY PETE! WHERE'S PETE?! Pete comes up out of the well and turns. When he sees Mr. Eddy, he heads across ihe garage to greet him. Mr. Eddy opens his arms wide and embraces Pete. When he pulls away, he sees Pete's face. MR. EDDY -LRB- CO N'T. -RRB- What happened? Somebody givin' you trouble? PETE No, it's nothin'. I'm all right. MR. EDDY Because if anybody's givin' you trouble, Pete, I can take care of the problem. like that. -LRB- snaps his finger - loud. -RRB- PETE No, no. It's okay, Mr. Eddy. MR. EDDY I mean it, Pete. Like THAT! -LRB- snaps his finger - loud. -RRB- PETE Thanks, Mr. Eddy. whatiya need? Just the regular tune - up? MR. EDDY I want you to ride with me. Somethin' does n't sound right. PETE Okay. Lem me clear it with. MR. EDDY It's okay with Arnie. Come on, let's go.",
"EXT. ARNIE'S GARAGE - DAY Ed and Al do n't notice that Pete is in the big black Mercedes, as it cruises past them.",
"INT. MR. EDDY'S 600 PULLMAN - DAY Mr. Eddy drives. Pete is in the passenger seat up front, and the two, stone - faced assistants ride in back. MR. EDDY Now listen. It only happens when I'm accelerating. I think it's the carburetors. Mr. Eddy pulls out after a light turns green and gives the car a stab forward. PETE No, it's not the carburetors. Pull over, but keep it runnin'. Mr. Eddy smiles as he pulls over. MR. EDDY Best god damn ears in town. -LRB- to the guys in back. -RRB- You guys are lookin' at him. The man with the best god damn ears in town. When the car stops, Pete gets out, pops the hood and disappears down by the engine. Mr. Eddy sits, smiling at Pete as he works. Pete pops up and gives Mr. Eddy the `` thumbs up'' and gets back into the car. PETE Give that a try. MR. EDDY All right! Mr. Eddy carefully pulls out into traffic and accelerates when he gets the chance. MR. EDDY -LRB- CO N'T. -RRB- Beautifull Smooth as shit from a duck's ass. Let's take a ride. PETE Whatever you say, Mr. Eddy. Mr. Eddy hangs a right turn and heads up into the hills.",
"EXT. MULHOLLAND DRIVE - DAY Mr. Eddy takes the big Pullman along the scenic Mulholland Drive - cruising smoothly. A silver - gray Infiniti is moving up fast behind the Mercedes.",
"INT. MR. EDDY'S 600 PULLMAN - DAY Mr. Eddy looks into his rearview mirror. MR. EDDY Oh, shit. Is that what I think it is? Pete turns and looks back. A car is TAILGATING them, the silver - gray Infiniti. The two assistants in the backseat turn nonchalantly to take a look - then they return their look to Mr. Eddy. Mr. Eddy starts to take a slow burn - keeps looking at the Infiniti in the rearview mirror. The assistants look to one another take a deep breath. Mr. Eddy slows slightly and then keeps the Pullman steady at 32 m.p.h.. The Infiniti moves up ten feet behind the Pullman, and blows its horn. Mr. Eddy rolls down his window. The assistants are paying close attention - they buckle their seatbelts. Pete notices a tension in the car. He watches Mr. Eddy's face. Mr. Eddy pulls slightly to the right of the road, pastes a polite, courteous smile on his face, puts his left arm out the window and waves the Infiniti by. The Infiniti jets forward and swerves around the Pullman. When the cars are side by side, the irate DRIVER in the Infiniti gives Mr. Eddy `` the bird'' and flies past. CLOSE ON MR. EDDY'S RIGHT FOOT as it slams down on the gas pedal. The Pullman catapults forward toward the Infiniti. Pete is thrown back - he grabs on to the door handle and the seat for support. The Pullman gains on the Infiniti in a flash. The Infiniti tries to go faster, but Mr. Eddy's Pullman has much more power. MR. EDDY -LRB- clenched teeth. -RRB- This is where power and mechanical excellence pays off. Mr. Eddy jams the Pullman into the back of the Infiniti and pushes it faster and faster along Mulholland. The Driver of the Infiniti tries to brake and blue - gray smoke streams out from beneath the Infiniti with a scream of burning rubber. At a turn, Mr. Eddy steers his massive Mercedes and the Infiniti ahead on a gut - wrenching path off the road, up a mountain and into a little glade of trees. Dust and brush fly everywhere. Mr. Eddy and his assistants leap from the Pullman and make for the Driver's side of the Infiniti. Mr. Eddy throws open the Infiniti's door and pulls the trembling and screaming Driver out like a rag doll. Mr. Eddy pulls out his.44 Ruger Blackhawk and pistol whips the Driver to the ground. He smashes the butt of his gun across the man's face, tearing a gash which starts to gush with blood. Mr. Eddy's assistants each draw.45's and point them at the Driver. Mr. Eddy, red - faced with anger, leans close to the man. MR. EDDY DO N'T YOU EVER FUCKIN' TAILGATE. Mr. Eddy hits the Driver in the side of the head with his gun. MR. EDDY -LRB- CO N'T. -RRB- WHAT DID YOU SAY? DRIVER -LRB- scared shitless. -RRB- I. I did n't say anything. ASSISTANT #1 Tell him you wo n't tailgate. MR. EDDY EVER! DRIVER I wo n't ever tailgate. MR. EDDY DO YOU KNOW HOW MANY FUCKIN' CAR LENGTHS IT TAKES TO STOP A CAR AT 35 M.P.H? DRIVER No. MR. EDDY SIX FUCKIN' CAR LENGTHS. THAT'S ABOUT A HUNDRED AND SIX FUCKIN' FEET, MISTER! YOU WERE FOLLOWING TEN FEET BEHIND ME. IF I'D HAD TO STOP SUDDENLY, YOU WOULD HAVE HIT ME. I WANT YOU TO GET A DRIVER'S MANUAL, AND I WANT YOU TO STUDY THAT MOTHERFUCKER. AND I WANT YOU TO OBEY THE GOD DAMN RULES. FIFTY FUCKIN' THOUSAND PEOPLE WERE KILLED ON THE ROAD LAST YEAR. -LRB- hitting the driver once again - hard. -RRB- CAUSE OF FUCKIN' ASSHOLES LIKE YOU. TELL ME YOU'RE GON NA GET A MANUAL. DRIVER I'll get a manual. -LRB- almost a whisper. -RRB- and study it. MR. EDDY -LRB- kicking the man. -RRB- FUCKIN' `` A''. Mr. Eddy and his assistants return to the Pullman - get in and slam their doors. Mr. Eddy throws the Pullman into reverse and pulls back off the hill onto Mulholland Drive. He eases the car into `` drive'' and leaves the crying and beaten tailgater behind.",
"INT. MR. EDDY'S 600 PULLMAN - DAY Mr. Eddy rotates his neck - shaking out some adrenaline remnants. Pete is visibly shaken by what he has seen. MR. EDDY Sorry about that, Pete, but tailgating is one thing I ca n't tolerate. PETE I can see that. MR. EDDY I'll bet you know how many car lengths it takes to stop at. say 45 m.p.h. PETE Eight, nine car lengths. A hundred and sixty - two feet. MR. EDDY At sixty? PETE Fifteen car lengths. About two hundred and seventy feet. MR. EDDY -LRB- to his companions in the reariew. -RRB- What'd I tell ya. Mr. Eddy smiles and they continue along their way.",
"EXT./INT. ARNIE'S GARAGE - DAY The Pullman pulls off the street into Arnie's. Mr. Eddy and his assistants stay in the car. Pete opens his door. MR. EDDY Wait a minute. Mr. Eddy takes out a couple of one hundred dollar bills and puts them into Pete's hand. PETE Thanks, Mr. Eddy. MR. EDDY No. Thank you! I'll be bringin' the `` Caddy'' by tomorrow. Mr. Eddy reaches into the glove compartment and takes out a videotape. He holds it out to Pete. MR. EDDY -LRB- CO N'T. -RRB- You like pornos? PETE Pornos? MR. EDDY Yeah. Give ya a boner. PETE No thanks, Mr. Eddy. Mr. Eddy tosses the tape back in the glove compartment. MR. EDDY Suit yourself, champ. PETE Okay. Well, I'll see ya then. MR. EDDY You will.",
"EXT. ARNIE'S GARAGE - DAY Ed and Al are staring at the Pullman. They see Pete get out. They notice the man driving the Pullman. ED You recognize that guy? AL Yeah. Laurent.",
"EXT. DAYTON HOUSE - MORNING Pete walks out his front door with a lunch box and jumps in the Camaro. He fires up the big engine and heads off for work. Ed and Al follow.",
"INT. ARNIE'S GARAGE - DAY Pete is on a skate - working under a car. The radio is on and a tune comes on that begins to drive Pete crazy - it gives him a headache. The tune is one of Fred Madison's be - bop saxophone pieces. Pete gets out from under the car and goes to the radio. He changes the station. PHIL, another mechanic working nearby, looks at Pete. PHIL Why'd you change it? I liked that. PETE Well, I did n't. Pete rubs his throbbing head and when he gets back under the car, he lays on the skate - unable to work. A car horn honks and the sound reverberates inside the garage. Pete looks up - from under the car he sees the wheels of a Cadillac roll up just outside the open garage doors. He sees a car door open and Mr. Eddy's feet appear and walk in his direction. Pete winces and wheels himself out from under the car. He stands as Mr. Eddy walks up to him, then freezes as he sees - back behind Mr. Eddy, sitting in the passenger seat of the car - a beautiful blonde - haired GIRL, who looks exactly like Renee. CLOSE UP BEAUTIFUL GIRL - she looks exactly like Renee except she is about eight years younger. The girl is staring right into Pete's eyes. Mr. Eddy steps between Pete and the girl - blocking her from Pete. Mr. Eddy smiles at Pete - not noticing or not letting on that he notices the serious eye contact going on between Pete and the girl. MR. EDDY I'm leavin' the Caddy, like I told you. Think you'll get a chance to give her a once over today? PETE -LRB- regaining his composure. -RRB- Sure. Sure, Mr. Eddy. You gon na pick it up later, or tomorrow? MR. EDDY If you think you can finish it, I'll be back later today. PETE It'll be ready. MR. EDDY You're my man, Pete. Mr Eddy pinches Pete's cheek - which Pete does n't like, but aliows. Mr. Eddy gives Pete a big smile then turns, goes back to his car, escorts the beautiful girl outside where the Pullman is waiting. Pete watches her walk and move. He watches her until Mr. Eddy drives her away. She steals one last glance back at Pete before she disappears. When she is gone, Pete replays the scene of seeing this beautiful girl over again in his mind. The scene is accompanied by Lou Reed's version of `` This Magic Moment''.",
"INT. DAYTON HOUSE - NIGHT Pete is sitting perched unsteadily on the very edge of his bed. He HEARS a succession of highly - amplified SOUNDS at intervals with eerie stretches of silence : CRICKETS in fractured cadence a distant TELEVISION - a FLY buzzing slowly in the room a MOTH'S wings beating against light bulbs in the ceiling fixture - the washing of DISHES. Pete's reaction to these sounds is one of petrified confusion. Underlying these sounds is a kind of unearthly, steady DRONE. Pete gets up off the bed, unsteadily. He moves toward his bedroom door. As he moves the amplified SOUNDS shift. He can hear laughter. The laughter seems to be LOUD, but at the same time coming from people who are trying to contain the laughter - to hide it. Pete opens his door and peers out. Pete's POV down the hall toward the living room - his mother and father have stopped laughing and are turned with guilty smiles in his direction. They are smoking a joint, passing it back and forth. They are not looking directly at him. They seem to be looking, but not seeing. Pete's parents POV down the hall toward Pete's room. There is no one there - just an empty hallway. Pete's parents continue to stare, but then turn away toward each other - they start to laugh quietly again. Pete's Pov - the hallway and the living room - there is no one in the living room. It's empty.",
"INT. DAYTON HOUSE - PETE'S BEDROOM - NIGHT Pete turns from the hallway and comes back in his room - unsettled and confused. He can hear laughter coming from the living room.",
"EXT. DAYTON HOUSE - NIGHT Ed is behind the wheel. Al is in the passenger seat. Ed is looking at the Dayton house. Al's head is bent, looking down. At first we hear nothing, then the sound of Al's piss streaming into an empty coffee cup. The camera stays on the top of Al's head until he has completed the last few spurts of his micturition. Al's head comes up and he opens the passenger side door and dumps the urine into the street. He closes the door and zips up his trousers.",
"INT. DAYTON HOUSE - PETE'S BEDROOM - NIGHT Pete paces the room. Finally he stops himself, throws on his black leather jacket and opens his bedroom door. He looks down the hall. No one is in the living room. He walks out of the house.",
"EXT. DAYTON HOUSE - NIGHT Ed and Al watch Pete get in his Camaro and drive off. They follow.",
"EXT. STREETS - NIGHT Pete drives through the night - up Ventura Boulevard with the `` Cruisers''. He looks in the other cars and looks at the GIRLS on the street. He drives past `` Tops'', but does n't see anyone he knows. He turns off the boulevard and drives through San Fernando valley neighborhood streets. He pulls up in front of Sheila's house and honks his horn. He lights a cigarette while he waits. In a few minutes Sheila comes out and leans in the passenger side window. SHEILA What do you want? PETE Nothin'. You want to go for a drive? SHEILA I do n't know. PETE Come on. get in. Sheila hesitates for a moment, then gets in.",
"EXT. STREETS - NIGHT Pete and Sheila drive along dark streets. PETE Come here. Sheila slides across and sits close to Pete. Pete puts his arm around her. She takes a drag from his cigarette and puts her head on his shoulder. Pete pulls over into a dark shadow under a tree and stops the car. He cuts the engine, turns to Sheila and kisses her. She breaks away. SHEILA Why do n't you like me? PETE I do like you, Sheila. Sheila puts her lips up' close to his and whispers. SHEILA How much? Pete kisses her and she kisses him back. They start to feel each other and Sheila takes off her tight sweater. She's wearing no bra and Pete begins to feel her breasts while she unbuttons his shirt. They continue to kiss hard throughout.",
"EXT. STREET - NIGHT Ed and Al are stopped a half a block behind Pete and Sheila. They're watching the couple as they make love in the front seat of Pete's car.",
"EXT. STREET - NIGHT Pete and Sheila are naked in the front seat. Sheila clings to Pete as they make love. She's hopelessly in love with him.",
"INT. ARNIE'S GARAGE - LATE AFTERNOON Pete and the other MECHANICS are working in the garage. The clock on the wall reads : 4:45 p.m.. Some of the guys are cleaning up - washing their hands - putting tools away. Pete is ragging off some grease from his hands when he notices a CAB pull up to the front of the garage. The beautiful blonde steps out of the cab and comes up to him. Pete's heart races - she smiles at him. BEAUTIFUL BLONDE -LRB- ALICE. -RRB- Hi. I'm Alice Wyatt. PETE Pete Dayton. ALICE I was here yesterday. PETE Yeah, I remember. ALICE How would you like to take me to dinner? PETE -LRB- laughs uncomfortably. -RRB- I do n't know. ALICE Okay, then, I'll take you to dinner. Pete hesitates - thinks. PETE Look, I do n't think it's a good idea. Alice looks hard at him, then smiles. ALICE Where's your phone? I have to call another taxi. PETE -LRB- pointing. -RRB- Over there. Alice walks to the office inside the garage - picks up the phone and dials information. ALICE -LRB- into phone. -RRB- Can you give me the number for United Cab? She turns and looks at Pete while she's speaking, then listening. ALICE -LRB- CO N'T. -RRB- -LRB- into phone. -RRB- Thanks. Alice dials the number. ALICE -LRB- CO N'T. -RRB- -LRB- into phone. -RRB- Yes, I need a taxi at Arnie's Auto Repair, the corner of Fifth and. Pete has walked over. He takes the telephone out of her hand. PETE -LRB- into phone. -RRB- We wo n't be needing a cab, thanks anyway. He hangs up the phone. ALICE Why do n't we just skip dinner7",
"EXT. ARTHUR'S HIDEAWAY MOTEL - NIGHT Pete and Alice pull up to the cheap motel in Pete's Camaro. Pete gets out and leaves Alice in the car. She waits and watches him go into the office.",
"EXT. ARTHUR'S HIDEAWAY MOTEL - ACROSS THE STREET - NIGHT Ed and Al are watching Pete and Alice. They watch Pete come out of the office and take Alice into one of the motel rooms. ED ` Fucker gets more pussy than a toilet seat. Al shakes his head with anger mixed with a lot of envy.",
"INT. ARTHUR'S HIDEAWAY MOTEL - A ROOM - NIGHT Pete and Alice enter the room. There is a double bed, a little desk, two bedside tables with lamps, a floor lamp, and a bathroom. They do n't notice any of this. Just inside the room Alice takes Pete's hand and they turn to each other. Alice puts Pete's hand between her legs. She moves up close to him and closes her eyes. They kiss tenderly at first - then hotter. ALICE -LRB- whispers. -RRB- Take off my clothes.",
"INT. ARTHUR'S HIDEAWAY MOTEL - THE ROOM - NIGHT Pete and Alice are naked on the double bed in just the glow of the motel's neon lights coming in between the window curtains. They're up on their knees - right next to each other. They look in each other's eyes as their hands move and touch. Alice smiles with a wild, dreamy look in her eyes. Pete puts his hand between her legs and Alice kisses him with a frenzy. They fall back on the bed.",
"INT. ARTHUR'S HIDEAWAY MOTEL - THE ROOM - NIGHT Pete and Alice make violent love on the bed. Alice is hungry.",
"INT. ARTHUR'S HIDEAWAY MOTEL - THE ROOM - NIGHT Alice and Pete are dressed. Alice is still breathing hard. She moves up close to Pete by the motel room door. Her hand is shaking as she touches his cheek. ALICE -LRB- whispers. -RRB- I want more. PETE Me, too. ALICE Can I call you? PETE Yeah. Call me at home. I'll give you the number. ALICE -LRB- kissing him. -RRB- Okay, baby.",
"EXT. ARTHUR'S HIDEAWAY MOTEL - ACROSS THE STREET - NIGHT Ed and Al watch Pete and Alice leave the motel room, get in the car and drive off. Ed starts his car and he and Al follow them.",
"INT. PETE'S CAMARO - NIGHT Pete and Alice are riding side by side - Alice's head is on his shoulder. Alice looks up at Pete as he drives - she smiles. The light from headlights behind them catch Alice's attention. Her eyes dart back to a car that could be following them. ALICE -LRB- fear. -RRB- Is that car following us? Pete glances in the rearview mirror - sees the headlights. At the last moment he pulls a hard right and accelerates down the street. The car follows - they both see it. PETE I'll lose'em at the light. Alice steals a look back. ALICE I do n't recognize the car. At a tralfic light, Pete revs up the big Camaro and expertly peels out between on - coming cross traffic. He swerves between two cars going in opposite directions - blasts up a block and hangs a hard right - disappearing from view. Ed and Al go out into the traffic after them, but the swerving, screeching cars braking around them form a barrier and trap them. ANGRY DRIVERS lean on their horns. Pete and Alice have lost them.",
"EXT. DAYTON HOUSE - NIGHT Establish.",
"INT. DAYTON HOUSE - NIGHT CLOSE UP ON TELEPHONE - it starts to ring. PETE -LRB- voiceover. -RRB- I'll get it! Pete enters the kitchen where his mother goes for the ringing phone and gets to it before she does. PETE -LRB- into phone. -RRB- Hello. ALICE -LRB- phone voice. -RRB- It's me. PETE Hi. ALICE I ca n't see you tonight. PETE -LRB- disappointed. -RRB- Okay. ALICE I have to go somewhere with Mr. Eddy. PETE Sure. ALICE I think he suspects something. We have to be careful. I miss you. Pete is silent. ALICE -LRB- CO N'T. -RRB- Pete? PETE Me, too. ALICE I'll call you again. Alice hangs up. Pete throws the phone back down on the cradle. It bounces off and he has to hang it up again. He slams it down. CLAIRE What's the matter? PETE Nothin'.",
"EXT. DAYTON HOUSE - NIGHT Pete kick - starts his big Harley and roars angrily out of the driveway.",
"EXT. STREETS - NIGHT Pete rides his cycle fast through neighborhoods.",
"EXT. VAN NUYS BOULEVARD - NIGHT Pete rides up the boulevard with the `` Cruisers''. He spots `` V's'' car parked at `` Tops''. He pulls in beside `` V's'' car and shuts down the engine. The usual crowd is at the drive - in, including Sheila. Pete goes up to `` V'' and Carl and says hello. He lights a cigarette and leans up against a steel pole supporting the awning above. `` V'' and Carl both notice that Pete is in a bad mood. Sheila is over with her girlfriends. She has n't seen Pete arrive. Suddenly Sheila looks over in Pete's direction. She looks like she's seeing something, yet not seeing anything. She keeps looking - staring. Sheila's POV she sees `` V'', Carl and a lot of PEOPLE, but Pete is not there. Pete looks at Sheila. He's unsettled and confused by her staring, but not seeming to see him. He watches her turn away and take one of her girlfriend's hands - leading her out to dance to the LOUD music. Pete watches her dance. Suddenly, he ca n't see her. He thinks maybe she may be dancing on the other side of the building - out of view. He moves to look and his head is struck by a violent pain. He grabs his head with his hand and leans forward. `` V'' grabs his arm. \"V\" You okay, man? PETE What? \"V\" You okay? What's wrong7 Pete looks up at `` V''. He does n't seem to recognize him - `` V's'' head is a featureless blur. Pete shakes his head trying to drive out the pain. He looks over again for Sheila. He sees her there dancing with her girlfriend. \"V\" Pete. You okay? PETE Yeah. Pete stands back up against the post - turns to `` V'' - recognizing him. PETE -LRB- CO N'T. -RRB- I'm, okay. You okay? \"V\" Sure, I'm okay. Some drunk GUYS move over to Sheila and her girlfriend. They cut in on the girls. The guy with Sheila puts his hand around her waist and pulls her against her will into a grind. She tries to push him away, but he holds on tighter - laughing with his buddy. `` V'' and Carl look at Pete as he pushes off the post. Pete crosses quickly to the man dancing with Sheila. He slams his fist into the man's nose - almost snapping the man's neck in the process. The man goes down bleeding. Pete attacks the other man who is turning toward him ready for a fight. He hits the man in the gut - the man's head goes down and Pete brings his knee up cracking the man's face. The man's torso flies up with Pete's knee - then continues on as the man falls to the floor. Pete picks him up, ready to hit him again, but the crowd pulls him off. Pete stands and turns - pulsating with anger. Sheila is there beside him. SHEILA Where'd you come from? PETE I've been here. You were lookin, right at me. SHEILA I was? PETE Yeah. Sheila sinks into his arms. SHEILA I did n't know you cared. PETE Come on. Pete takes her to the Harley and they blast off.",
"INT. ARTHUR'S HIDEAWAY MOTEL - THE ROOM - NIGHT Pete is making desperate love to Sheila in the same room - the same bed, as with Alice. SHEILA -LRB- whispered pain. -RRB- Pete. Pete. Pete keeps on - harder - obsessed. When he comes, he crashes down on Sheila, who wraps her arms around him tight. She does n't know what is going on with him. Her eyes are open wide as she listens to his frantic breathing. She does n't know what to say - or what questions to ask.",
"EXT. ARTHUR'S HIDEAWAY MOTEL - NIGHT Ed and Al are staring silently at the motel and the Harley parked out in front. AL What a fuckin' job. ED His or ours? AL Ours, Ed.",
"INT. DAYTON HOUSE - NIGHT Pete enters through the front door. His parents are sitting as if they have been waiting for him. PETE Hey. BILL Sit down a minute. PETE What's up? BILL Sit down. Pete sits in a chair opposite Bill and Claire. BILL -LRB- CO N'T. -RRB- You do n't look so good. PETE I got ta headache. What's goin' on? BILL The police called us. PETE Yeah? what did they want? BILL They wanted to know if we'd had a chance to find out what happened to you the other night. They wanted to know if you remembered anything. PETE But I do n't remember anything. What did you tell'em? CLAIRE -LRB- whispers. -RRB- We saw you that night, Pete. BILL You came home. Your friend Sheila brought you here. PETE Sheila? BILL Yes, there was a man with you. She brought you here. She did n't know what else to do. PETE What is this? Why did n't you tell me? What? I do n't remember any of this. CLAIRE We know that. PETE Who was the man? BILL Never saw him before in my life. PETE Did you tell the police this? BILL We're not saying anything about that night to the police. We should all forget that night. PETE What happened to me? Bill and Claire just stare at Pete. PETE -LRB- CO N'T. -RRB- Please tell me. BILL No.",
"INT. DAYTON HOUSE - NIGHT The clock on the wall reads : 1:30 a.m.. The house is completely quiet, except for the refrigerator motor. Pete is on the phone in the kitchen talking quietly. PETE Why did n't you tell me you brought me here that night? -LRB- he listens. -RRB- To my house. my parents told me. What are you tryin' to hide? -LRB- he listens. -RRB- Sheila. Tell me. Who was with me? Who was the man? -LRB- he listens. -RRB-. When you brought me home! -LRB- he listens. -RRB- What was he doin' there? -LRB- he listens. -RRB- What are you cryin' about? Sheila?",
"INT. ARNIE'S GARAGE - DAY Pete is working on a car. The Mercedes Pullman pulls into the shop. Mr. Eddy gets out with his two assistants. They stay by the car while Mr. Eddy walks over to Pete. Mr. Eddy smiles. MR. EDDY How ya doin', Pete? PETE Okay. MR. EDDY I'm sure you noticed that girl that was with me the other day. Good lookin' blonde? She stayed in the car? Pete just stares at Mr. Eddy. His heart begins to race. MR. EDDY -LRB- CO N'T. -RRB- Her name is Alice. You know I love that girl to death. If I ever found out somebody was makin' out with her, I'd take this. -LRB- he opens his coat and pulls out his.44 Ruger Blackhawk and holds it up in front of Pete's face. -RRB-. and shove it so far up his ass it would come out his mouth. Then you know what? PETE -LRB- very quietly. -RRB- What? MR. EDDY I'd pull the trigger and shoot him right between the eyes. Abruptly, Mr. Eddy becomes cool - he holsters his pistol and smiles at Pete. MR. EDDY -LRB- CO N'T. -RRB- So, Pete, you're lookin, better. What have you been up to? CLOSE UP ON PETE'S FACE - staring at Mr. Eddy.",
"INT. DAYTON HOUSE - NIGHT The phone rings in the kitchen. PETE -LRB- voiceover. -RRB- I'll get it. Pete moves into the kitchen and picks up the phone. PETE Hello. ALICE Meet me at the Starlight Motel on Sycamore. I'll be there in twenty minutes. PETE -LRB- hesitates. -RRB- Okay. Alice hangs up. Pete stares at the phone for a moment, then hangs it up slowly.",
"EXT. STARLIGHT MOTEL - NIGHT Pete pulls his Camaro into the parking lot. When he gets out of the car, he hears a voice and looks.up. ALICE Up here. Come on. Pete takes a stairway past a `` Coke'' machine and meets Alice in front of a second floor room where the door stands open. ALICE -LRB- CO N'T. -RRB- I already got the room. Pete follows Alice into the motel room and she shuts the door.",
"EXT. STARLIGHT MOTEL - NIGHT Ed and Al are parked across the street - watching.",
"INT. STARLIGHT MOTEL - ROOM - NIGHT Pete and Alice are sitting on the bed - dressed. A bedside table lamp is on. ALICE He'll kill us. PETE Are you positive he knows? ALICE I'm not positive. but. he knows. PETE So what do we do? ALICE I do n't know. PETE We should stop seeing each other. ALICE No. no. Alice moves closer to Pete and melts into him. She places his hand on her breast and looks in his eyes. ALICE -LRB- CO N'T. -RRB- I do n't want to live without you. She kisses Pete and pulls up her sweater to let him feel her bare breasts. Pete kisses her back - lost in his longing for her. Alice breaks away. ALICE -LRB- CO N'T. -RRB- We have to get away. We have to get some money. Pete just stares at her. ALICE -LRB- CO N'T. -RRB- I know a guy. He pays girls to party with him. He always has alotta cash. Alice puts her band up to Pete's cbeek and lets it drift around. ALICE -LRB- CO N'T. -RRB- He'd be easy to rob. Then we'd have the money. and we could get away. We'd be together. Alice kisses Pete's lips over and over - looking in his eyes. PETE Have you partied with him? ALICE I used to. Inside, Pete goes crazy with jealousy. PETE You like it? ALICE No, honey. It was part of the deal. PETE What deal? ALICE He works for Mr. Eddy. PETE What's he do? ALICE He makes films for Mr. Eddy. PETE Pornos. ALICE Yeah. PETE How'd you get in with these fuckin' people? ALICE Pete. Do n't. PETE How'd it happen, Alice? ALICE It was a long time ago. I met someone at this place called Moke's. we became friends. He told me about a job. PETE In pornos? ALICE No. A job. I did n't know what. He set up an appointment for me to see a man. ALICE'S STORY We see Alice wearing a sexy tight dress in a plain room. It feels like we are inside of a large building - maybe an office building. Alice is waiting nervously. A SLICKSTER in shiny shirt and pants is leaning against a closed door. There is another door off the room which is open onto a room where a MUSCLE MAN in tiny briefs is doing bench presses. No one is saying anything. ALICE -LRB- voiceover. -RRB- I went to this place. They made me wait forever. There was some guy guardin' the door. I started gettin' nervous. In another room I could see some guy liftin' weights. Both these guys gave me the creeps. They never said anything to me. So I just smoked cigarettes and waited. We move in on a nervous EXHALE OF SMOKE to a CLOSE UP of Alice waiting. We see a CLOSE UP of the man guarding the door. We see a CLOSE SHOT of the man bench pressing a lot of weight. Suddenly, there are two knocks on the other side of the closed door. The Slickster moves off the door and opens it a crack. He talks quietly to someone Alice ca n't see, then he turns, opens the door and gestures for Alice to go through. Alice puts out her cigarette - her hand is shaking. She walks over past the Slickster and enters a much larger room. There are about FIFTEEN MEN in the room - all leaning comfortably at different points on the walls. There is only one chair in the room - Mr. Eddy is sitting in it. No one says anything to her, but one man nods his head and from this nod, Alice feels she should walk to the center of the room. She does, and she instinctively turns to the man sitting in the chair. They all just stare at her silently. She looks around nervously - her eyes return to Mr. Eddy's. Suddenly, a man steps quickly up to her - draws a pistol and cocks it against her head. Alice goes weak in the knees. Her eyes fill with fear. The men continue to stare. Mr. Eddy gives Alice a small gesture as if to say `` well?'' . Somehow she knows what they want, even though they have n't asked for it with words. Alice starts to undress - slowly - in as sexy a way as she knows how. The men just stare without expression. When she is completely naked, Mr. Eddy gestures her over to him. Soon she is on her knees in front of him - making herself available for whatever he wants. Mr. Eddy's POV - Alice looks in his eyes. She reaches her hand up to stroke his cheek.",
"INT. STARLIGHT MOTEL - ROOM - NIGHT Alice's hand reaches up and strokes Pete's cheek. PETE Why did n't you just leave? Alice does n't say anything. She drops her hand - looks down. PETE -LRB- CO N'T. -RRB- You liked it. ALICE If you want me to go away, I'll go away. The feelings shift inside Pete. Alice looks in his eyes. PETE I do n't want you to go away. Alice smiles a little - leans in and they kiss. ALICE -LRB- whispers. -RRB- I love you, Pete. They kiss some more. PETE -LRB- desperate whisper. -RRB- I love you, Alice. They start to make love - undressing each other and kissing all the while. Alice stops. ALICE So, should I call Andy? PETE Andy? ALICE That's his name. Andy. Our ticket out of here. PETE Yeah. Call him. Alice gets serious. ALICE I'll set it up for tomorrow night. You'll meet me at his place at eleven o'clock. Do n't drive there. Take a bus. Make sure no one follows you. His address is easy to remember. It's 2224 Deep Dell Place. It's a white stucco job on the south side of the street. I'll be upstairs with Andy. The back door will be open. That leads into the kitchen - go through the kitchen to the living room - there's a bar there. At eleven fifteen, I'll ask Andy to fix me a drink. When he does, you can crack him in the head. Okay? PETE Okay. ALICE Lem me call him now. Make sure he's not already busy tomorrow night. PETE Okay. Still entwined with each other, Alice reaches for the phone and dials a number. It starts to ring and she smiles at Pete when she hears it being answered. ALICE Andy? It's me, Alice. How ya doin? -LRB- whispers. -RRB- Andy. I can get away tomorrow night. I could come to your house. That sounds good. Around nine. Yeah, me too, Andy. Great. See ya then. She hangs up the phone. ALICE -LRB- CO N'T. -RRB- Set. PETE Why are ya goin' so early? ALICE'Cause that's how long it's gon na take, baby. PETE What if Andy tips off Mr. Eddy? ALICE Are you kidding? I've got so much on Andy, it is n't funny. PETE What about tonight? Whatiya gon na do about Mr. Eddy tonight? ALICE I'm not goin' home tonight. I'm goin' somewhere else. -LRB- off his look. -RRB- To a girlfriend's house. -LRB- she smiles. -RRB- But, we still have a coupla things to take care of. PETE Oh, yeah? What else? Alice reaches down between their legs. Pete smiles. ALICE This. and this. They start to go at it again - at first slowly and tenderly - then wildly. Alice tears herself away and looks up at Pete. ALICE -LRB- CO N'T. -RRB- Are you my man? PETE -LRB- getting hotter. -RRB- Yes. ALICE Are you gon na be a man about this, Pete? Pete looks at her - starting to understand what she means. ALICE -LRB- CO N'T. -RRB- Are you? Pete stares at her - then nods.",
"EXT. DAYTON HOUSE - NIGHT Pete drives up and parks his Camaro in the driveway. When he gets out of the car, he sees Sheila standing by the front step. She is looking in his direction, but does n't seem to see him. She SUDDENLY turns and looks up the street - she YELLS. SHEILA -LRB- total horror. -RRB- THERE'S SOMEONE WITH HIM! As she yells, she starts to look around wildly - then her eyes follow the path the Camaro took into the driveway - then the path Pete took to where he has been standing all this time. Her eyes find Pete and she stands by the front step. PETE -LRB- frightened. -RRB- Sheila? She heads toward him. PETE Sheila, what is it? What are you doin' here? SHEILA You've been fucking somebody else have n't you? PETE Sheila. SHEILA You fuck me whenever you want. You do n't call. Tell me who she is. Sheila has come up and is grabbing Pete by the front of his shirt. PETE Hey. Sheila. SHEILA What's the BITCH'S name?! PETE Look Sheila. I'm sorry. SHEILA YOU'RE SORRY! PETE Go home, Sheila. Sheila starts beating him in the face and chest. SHEILA YOU'RE SORRY! YOU PIECE OF SHIT! YOU'RE SORRY! She starts crying and hitting him harder. SHEILA -LRB- CO N'T. -RRB- FUCK YOU! Sheila's screaming is reverberating around the neighborhood. INSIDE PETE'S MIND the SOUNDS are even LOUDER. Bill comes out of the house. Claire is behind him waiting on the front porch. Sheila beats Pete and trips him to the ground. She is sobbing as she tears at him. PETE Sheila. Stop. SHEILA FUCK YOU! FUCK YOU! Bill comes up to Sheila and takes her gently by the shoulders. Sheila jerks around and looks up at Bill. BILL Why do n't you two come inside and talk things over quietly. Come on. Come on in, Sheila. Sheila gets to her feet - crying. She looks down at Pete, who remains lying on the front lawn. For Pete, every word and every sound is LOUD and DISTORTED. The DRONING SOUND returns. SHEILA -LRB- to Pete. -RRB- You are different. BILL Sheila. SHEILA -LRB- to Bill. -RRB- TELL HIM! The phone inside the house starts to ring. Claire turns in the doorway and goes to answer it. BILL Sheila. Do n't. SHEILA I do n't care anyway. I'm sorry, Mr. Dayton. I wo n't bother you or any member of your family again. Sheila runs off crying. Pete and Bill watch her go. Claire comes to the door. CLAIRE Pete. There's a man on the phone. He's called a couple of times tonight. Pete pulls himself up. PETE Who is it? CLAIRE He wo n't give his name. Pete walks slowly inside - stares at the phone and picks it up. PETE Hello. MR. EDDY -LRB- phone voice. -RRB- Hey, Pete. How ya doin'? PETE Who is this? MR. EDDY You know who it is. Bill and Claire have stopped in the living room - watching Pete. Pete is going crazy with Mr. Eddy on one end, and his parents staring at him on the other. He waves his parents away, but they leave slowly and reluctantly. PETE Mr. Eddy? MR. EDDY Yeah. How ya doin', Pete? PETE Okay. MR. EDDY You're doin, okay? That's good, Pete. PETE Look. It's late, Mr. Eddy. I. MR. EDDY I'm really glad you're doin' okay, Pete. Pete does n't know what to say. MR. EDDY You sure you're doin' okay? Everything all right? PETE Yeah. MR. EDDY That's good, Pete. Hey. I want you to talk to a friend of mine. Pete can hear the phone being handed over to someone. There is a long silence. Pete can hear breathing. VOICE We've met before, have n't we? Pete freezes. His mind is scrambling. PETE I do n't think so. Where was it that you think we've met? VOICE At your house. Do n't you remember? PETE No. No, I do n't. VOICE We just killed a couple of people. PETE What? Pete can hear Mr. Eddy laugh in the background. VOICE You heard me. We thought we'd come over and tell you about it. Pete is getting pale with fear. PETE What's goin' on? VOICE Great question! In the east. the far east. when a person is sentenced to death. they're sent to a place where they ca n't escape. never knowing when an executioner will step up behind them and fire a bullet into the back of their head. it could be days. weeks. or even years after the death sentence has been pronounced. This uncertainty adds an exquisite element of torture to the situation, do n't you think? It's been a pleasure talking to you. Pete can hear the phone being passed again. MR. EDDY Pete. I just wanted to jump on and tell you I'm really glad you're doin' okay. The phone goes dead and Pete sits - fearfully pondering his fate. He hears a NOISE and turns. Down at the far end of the hall he sees his parents staring at him. CLOSE UP ON PARENTS staring in the direction of the living room as if sensing something, but not seeing. PARENTS POV - The hall and living room beyond. There is no one there.",
"EXT. STREET - BUS STOP - NIGHT A City Bus pulls up to the stop. The doors open and Pete climbs on.",
"INT. BUS - NIGHT Pete rides along in the empty bus. He stares at his reflection in the dark window.",
"EXT. STREET - BUS STOP - NIGHT The bus stops and Pete gets out. He starts walking.",
"EXT. DEEP DELL PLACE - NIGHT We see a street sign saying `` Deep Dell Place''. Pete walks up the street looking at numbers. He finds 2224 Deep Dell Place - Andy's House. He stares at the house from the sidewalk. Lights are on upstairs and down. The hot wind moves big shadows of trees over the front of the house. Pete looks at his watch. It reads : 11:05 p.m.. He walks down the driveway, crosses through some bushes and comes to a fence separating the front yard from the back. He stops and listens. He pulls himself up and over the fence, but crashes on something on the other side. He freezes - listening. He hears the wind blowing through the trees, and distant music from inside - a slow jazz piece. He hears echoing sounds of love making. He makes his way around back - goes up the stairs and tries the back door. It opens.",
"INT. ANDY'S HOUSE - NIGHT Pete sneaks through the kitchen and comes into the living room. Pete stops short and stares. A movie projector is running in the living room. A porno film is being projected on a huge screen at the far end. Alice is in the porno film. A man is fucking her from behind - with LOUD SLAPPING SOUNDS of flesh banging flesh. Her face is in the foreground. Her eyes look out directly at Pete. She is loving every minute of it. Inside Pete, jealousy starts to rage out of control. He looks around. He sees clothes scattered about. He picks up a girl's sweater and smells it. He looks up the stairs. Feet appear at the top of the stairs. They start down. Pete runs for the bar. Along the way, he grabs a heavy, bronze figurine of a well - stacked woman off a rectangular glass - topped coffee table, and ducks behind the bar. He can hear Andy approaching. He can hear Andy gather two glasses. He can hear Alice being fucked harder in the porno film. He clenches his teeth with rage. Suddenly, Andy moves right in front of him. They see each other. Andy's eyes widen - Pete leaps up, and thwacks the bronze figurine down on the top of Andy's head. Andy falls. The breasts of the figurine have made two bloody holes in his forehead. Pete turns. Alice is coming quickly down the stairway - naked, except for a pair of panties. Lipstick is smeared around her mouth. She is carrying a half - filled pillowcase. Her porno film is playing on the wall behind her. These images jump and spin in Pete's mind. He moves unsteadily toward her. ALICE You got him. PETE -LRB- still holding the figurine. -RRB- Alice, I. Pete starts to tremble. He drops the figurine. He tries to embrace her. There is a crashing noise behind him. Pete turns and sees Andy staggering, blood streaming from the wound in his head, THEN CHARGING FULL SPEED AT PETE. Andy hits him hard, and Pete goes down. When Pete hits the ground, he pushes Andy up and throws out his arms. This, and Andy's momentum, catapult Andy into the corner of the rectangular glass - topped coffee table. There is a sound like a hammer going through a bucket of eggs as the glass corner embeds about eight inches into Andy's forehead. CLOSE UP OF ANDY'S HEAD - impaled on the sharp corner of the table, his chest area suspended, his legs and stomach touching the floor. ALICE -LRB- amazement - no feeling. -RRB- Wow! Pete pulls himself off the floor. Pete moves close to Alice, they drift to the glass coffee table, staring for a few moments at Andy's dead body. While Pete stares, unbelieving, at Andy - Alice hurriedly picks up her sweater and puts it on. On the sofa next to it lay Andy's trousers. She goes through the pockets, finds a roll of cash bound by a rubber band. Alice hands the roll to Pete. ALICE -LRB- CO N'T. -RRB- Put this in your pocket. Alice kneels next to Andy's body and quickly removes his Rolex wristwatch, a couple of rings and the gold chain dangling from his neck. These items she puts inside the empty pillowcase. Alice finds the rest of her clothes scattered about the living room and puts them on. Pete watches her, trembling, unable to say anything. She comes back to Pete, who starts breathing irregularly, hyperventilating. ALICE -LRB- CO N'T. -RRB- You all right? PETE, We killed him. ALICE You killed him. PETE Alice? Alice slides up close to Pete. ALICE It was an accident. Accidents happen every day. Pete clutches her, eyes squeezed tight, as if he is holding on for dear life. PETE Alice. ALICE -LRB- pushing back. -RRB- We got ta get the stuff and get out of here. Alice starts off across the living room with the pillowcase. Pete opens his eyes, he sees Alice move as a blur. He looks around the room, which spins in and out of focus. His eyes land on, a PHOTOGRAPH in a frame on the wall. This photo troubles him. Pete squints, then points to the photograph. PETE Is that you? Are both of them you? CLOSE UP OF THE PHOTOGRAPH - Four people appear in the frame : Andy, Renee, Alice and Mr. Eddy. Alice stops and comes back. She looks at the photo, walks closer to it, and points at herself. ALICE That's me. She turns to Pete. Pete is staring at the photograph - at Alice and Renee in the photograph. His nose is bleeding profusely. ALICE -LRB- CO N'T. -RRB- Pete? Pete starts to reel - blood from his nose soaking his shirt. PETE Where's the bathroom? ALICE Up the stairs - down the hall. Pete runs up the stairs - about to get sicker. Alice watches him go with a nuance of disdain.",
"INT. ANDY'S HOUSE - UPSTAIRS - NIGHT Pete staggers toward the bathroom at the rear right of the hallway. THE HALLWAY SUDDENLY BECOMES HAZY, DIFFERENT AND LONGER THAN IT APPEARED TO BE. Pete wanders down this `` changed'' hall. On his left, he identifies a door with the number 25 on it. He pauses for a moment in front of it, then goes on until, on his right, he comes to a door with the number 26 on it. He enters through this door. Inside is a WOMAN in front of a mirror with a MAN. Her arms are resting on a shelf under the mirror as the man takes her from behind. The man's face is blank, featureless, and is buried in the woman's back - we ca n't see it. Pete now sees that the woman is an extremely whorish version of Alice - she's looking at Pete's reflection in the mirror. He's looking at her reflection in the mirror. Pete's head is pounding. WOMAN/ALICE -LRB- to Pete. -RRB- Did you want to talk to me? Pete rubs his head - the pain is severe. WOMAN/ALICE -LRB- CO N'T. -RRB- -LRB- laughs. -RRB- Did you want to ask me `` why''? Pete staggers out of the room. He closes the door. The hallway has `` changed'' back to Andy's hallway. The doors no longer have numbers. Pete walks, unsteadily, back down the hall - faltering. He starts down the stairs.",
"INT. ANDY'S HOUSE - LIVING ROOM - NIGHT Pete comes downstairs to the living room and sees Alice at the desk in the corner, filling the pillowcase with cash and jewelry. She has a PISTOL in her hand. Alice turns when she hears Pete and they study each other's face as Pete makes his way to her. His head is still throbbing with pain. His focus goes from her face to the gun - which is pointing right at him - back to her. Alice smiles. ALICE Do n't you trust me, Pete? She laughs and hands him the pistol. ALICE -LRB- CO N'T. -RRB- Stick that in your belt. She shows him the pillowcase filled with loot. ALICE -LRB- CO N'T. -RRB- -LRB- going through the loot. -RRB- Look at all this shit. I know a fence. he'll give us money and get us passports in exchange for this and the car. -LRB- looks up at him. -RRB- We can go anywhere. PETE Alice? Alice grabs Pete's arm and hurries him toward the door. ALICE Come on, baby.",
"EXT. ANDY'S HOUSE - DRIVEWAY - NIGHT Alice takes Pete to Andy's car and throws him the keys. ALICE You drive. Alice jumps in Andy's car and tosses the bulging pillowcase in the back. Pete takes the revolver out of his belt. He opens the driver's side door of Andy's car and slowly sits inside. He sets the pistol on the seat between them. He looks up at her. She smiles wildly. Pete slalms the door - starts the car and they drive off.",
"EXT. RESIDENTIAL STREET - EDGE OF THE DESERT - NIGHT Alice and Pete pull up into the driveway of a house at the end of a street at the edge of a desert. Alice gets out into a hot wind. Pete stays in the car as she goes up to the house. Pete's POV : He watches Alice ring the doorbell. She waits in front of the door for a few moments, her hair blowing in the wind. A HOUSEBOY opens the door. Alice says something to him - Pete can not bear anything that is said, even though his driver's side window is down. All he can hear is the hot wind blowing. The Houseboy moves out to where he can see Pete, waiting in the car. The Houseboy and Alice exchange information. The Houseboy points out toward the desert. Alice turns back to the car. The Houseboy watches her.",
"INT. ANDY'S CAR - NIGHT Alice gets into the car. ALICE Come on. Pete starts the car and begins backing it out the drive. The Houseboy is still standing - watching them. ALICE -LRB- CO N'T. -RRB- We have to go to the desert. He's at his cabin. Pete and Alice drive off. The Houseboy continues to watch them.",
"EXT. DESERT - TWO-LANE HIGHWAY - NIGHT We see the clean moving POV illuminated by headlights. We're floating down an old two - lane highway through a desolate, desert landscape.",
"EXT. DESERT - NIGHT Pete and Alice pull off the two - lane highway onto a barely discernible dirt road that cuts through the dark desert.",
"EXT. DESERT - NIGHT Pete and Alice drive up to a ONE ROOM CABIN built on stilts next to a dry lakebed. They both get out and go up the stairs to a porch where Alice knocks on the door. There is no answer. Alice opens the door, but there is NOBODY INSIDE. ALICE We'll have to wait. The hot wind continues to blow. Alice and Pete walk back down to the car. The HEADLIGHTS are on and Alice reaches in through the window and switches on the RADIO. She ca n't get anything in but static, with bits and pieces of old tunes fading in and out. She hits the `` seek'' button. The radio starts to search. Pete is standing in the glare of the headlights watching her. Alice walks slowly to him. The camera captures this from a back seat perspective - then drifts toward them. PETE Why me, Alice? Why choose me? The radio sticks on a particular tune - a tune filled with longing. Alice begins to dance. She takes Pete's hand and pulls him close to her. ALICE So we can be together. You still want to be with me, do n't you Pete? Alice gives Pete that wild smile. ALICE -LRB- CO N'T. -RRB- More than ever? She kisses Pete over and over. He begins to kiss her back. She starts to move him in a dance to the music in the glare of the headlights, the hot wind caressing them. The scene is out of a dream. Alice and Pete help each other undress as they dance in and out of the light, and the wind whips at their bodies. They sink down on the soft ground and start making love. The lights from the headlights combine with the starlight, bathing them in a pristine glow. The music fades and the radio begins to `` seek'' through static for another station. The music it finds now is LOUD and INTENSE. Alice - her hunger appearing, now becomes carnivorous in her approach to love making with Pete. She is the aggressor, highly - charged - she wants more and more - taking, not giving, insatiable. The headlights flare their bodies in blinding light. They become amorphous, glowing shapes burning in the light. Pete is trying desperately to please her - to have her. The driving music fills with cracks of piercing static. The radio strains to hold the station. Pete's white - hot body clings to Alice. He chokes with emotion. PETE I want you. I want you. With a burning smile, Alice rolls them out of the beams of light into the darkness. The wind billows a black cloud of dust around them. Alice pulls away from Pete and brings her dark mouth to his ear. ALICE You'll never have me. Alice glides away from Pete and stands up looking down at him from above. She turns and walks, naked, to the cabin where she disappears within it. Pete turns, face down on the ground in the darkness. He's holding his head and shaking. As he starts to stand - he turns into the glare of the headlights and we see that it is NOT PETE - BUT FRED. As Fred stands up, the car's LIGHTS DIM and the RADIO FADES. Fred looks at the car. He sees some movement inside. Fred looks closer and sees the figure of a man in the back seat. CLOSE UP OF THE MAN - it's the Mystery Man from Andy's party. VOICE FROM BEHIND FRED Hello. Fred turns toward the cabin and sees the Mystery Man now standing in the doorway. Fred turns again to the car, but this time it's empty. He looks back at the cabin and sees the Mystery Man still in the doorway. MYSTERY MAN Here I am. Fred is dizzy with fear and confusion. He pulls on his trousers and shoes and walks up the steps to the cabin toward the Mystery Man, who goes inside. Fred stops in the doorway. He looks around. FRED Where's Alice? MYSTERY MAN Alice who? Fred looks around again but there is no one there except the Mystery Man - standing in the center of the room. Fred stares at him. MYSTERY MAN -LRB- CO N'T. -RRB- Her name is Renee. If she's told you her name is Alice, she's lying. -LRB- filled now with anger. -RRB- AND YOUR NAME, WHAT THE FUCK IS YOUR NAME?! Fred freaks, scared to death. He bolts down the stairs to the car, stumbling more than once. Fred attempts to start the car which is drained of electrical charge by the use of the headlights and radio. The Mystery Man appears in the doorway of the cabin. He starts toward Fred. The starter motor moans as Fred twists the key frantically. The smiling Mystery Man is almost at the car, The engine catches. Fred revs it - throws the car in reverse and peels out away from the Mystery Man, whose hand is reaching for him. Fred swerves the car around - throws it in drive, and takes off across the dark desert.",
"EXT. DESERT HIGHWAY - NIGHT Fred pulls up onto the two - lane highway. An old, rusted roadsign is posted there. It reads : `` LOST HIGHWAY''. Fred is driving along the two - lane desert `` lost highway''. The wind is picking up even stronger than before. A big storm is blowing in. Fred sees a sign glowing just ahead that reads : LOST HIGHWAY HOTEL. The sign is swaying and blinking as the gusts hit it. Fred pulls in and stops under the sign and stares at it. He gets out of the car, tucks the pistol in his belt under his shirt and enters the hotel, which is an old two - story building.",
"INT. LOST HIGHWAY HOTEL - OFFICE - NIGHT Fred walks up to the registration desk, where a CLERK is smiling at him in a half - baked way. CLERK You just got in before the big storm hits. Fred pulls the roll of bills from his pocket. FRED I need a room.",
"INT. LOST HIGHWAY HOTEL - UPSTAIRS HALLWAY - NIGHT The hallway is strangely similar to Pete's vision upstairs at Andy's. Fred comes to the door numbered 25, looks at his key which says `` 25'' and unlocks the door and enters.",
"INT. LOST HIGHWAY HOTEL - ROOM 25 - NIGHT Fred takes the revolver out of his shirt and puts it under the pillow on the bed. He sits on the edge of the bed. He takes a cigarette from a pack in his shirt pocket and lights it with a match from a book of `` Lost Highway Hotel'' matches. Fred smokes the cigarette, listening to the wind blow. Lightning cracks outside the window. Fred crushes the cigarette out in the ashtray on the bedside table. As the last of the blue smoke drifts away, Fred falls back on the bed. Fred closes his eyes.",
"INT. LOST HIGHWAY HOTEL - CORRIDOR - NIGHT The camera moves in on the door numbered 26.",
"INT. LOST HIGHWAY HOTEL - ROOM 26 - NIGHT Renee is in bed with Mr. Eddy/Laurent. He and Renee are feverishly making love as the storm rages outside.",
"INT. ANDY'S HOUSE - NIGHT A criminal investigation is under way. Ed and Al are present, among a fleet of LAW ENFORCEMENT PERSONNEL who are busy dusting for fingerprints and examining the murder site. ED Hey, Al, look at this. Al walks over to where Ed is looking at the photo on the wall. Al looks at it. AL It's her, all right. Fred Madison's wife. with Dick Laurent and Mr. Dent - head over there. CLOSE UP ON THE PHOTOGRAPH - that shows RENEE AS THE ONLY WOMAN IN THE PICTURE, standing between Andy and Mr. Eddy / Laurent. AL We've got Pete Dayton's prints all over this place. ED You know what I think? AL What's that, Ed? ED There's no such thing as a bad coincidence.",
"INT. LOST HIGHWAY HOTEL - ROOM 26 - PRE-DAWN Renee is sitting half dressed on the edge of the bed, pulling on her stockings. Mr. Eddy/Laurent is asleep next to her. Renee stands up, finishes dressing, then leans down and kisses her lover while he sleeps. Renee leaves the room, closing the door as quietly as possible behind her. As the door CLICKS, Mr. Eddy/Laurent wakes up. He sits up and gets a pack of cigarettes from the bedside table, shakes one out, lights it with a book of `` Lost Highway Hotel'' matches, and smokes it while seated on the edge of the bed.",
"INT. LOST HIGHWAY HOTEL - ROOM 25 - PRE-DAWN Fred, still fully dressed, is waking up, AS IF IN A TRANCE - the same attitude he had on the videotape. He strains upwards and looks eerily around the room. He gets up and crosses slowly to a window. He takes the edge of the window curtain and pulls it back. The view is of the gravel parking lot of the hotel. Fred's POV : He sees Renee, down below, walk over to a car, get in and drive away. Fred walks back to his bed, picks up his revolver from under the pillow, crosses the room to the door and walks out.",
"INT. LOST HIGHWAY HOTEL - CORRIDOR - PRE-DAWN Fred crosses over to Room 26 and knocks softly on the door.",
"INT. LOST HIGHWAY HOTEL - ROOM 26 - PRE-DAWN Mr. Eddy/Laurent is standing - almost dressed, when he hears the knock. MR. EDDY/LAURENT Renee? He goes to the door and opens it a crack. As the door opens, Fred smashes the gun into Mr. Eddy / Laurent's face and pushes his way inside the room. Fred hits Mr. Eddy/Laurent viciously again with the gun barrel. Mr. Eddy/Laurent is bleeding profusely from gashes on his forehead and nose. MR. EDDY/LAURENT What the fuck? What's going on? FRED -LRB- pointing the gun at him. -RRB- You're coming with me. Fred puts the pistol up against Mr. Eddy/Laurent's head and marches him out of the room - past the camera's eye. The camera stays in the room and moves slowly toward the window, through which we see Fred and Mr. Eddy/Laurent appear down below in the back lot. Still watching out the window, the camera sees Fred knock Mr. Eddy/Laurent over the head with the gun butt and put him into the trunk of a car. Fred slams the trunk lid and climbs into the driver's side of what is obviously Mr. Eddy/Laurent's car - the Mercedes 600 Pullman. As Fred drives away, a HAND appears in our window foreground. The hand moves the window curtain further to one side. The camera pulls back to reveal it as the hand of the Mystery Man. The Mystery Man leans fully into the frame and watches Fred drive off down the Lost Highway as day breaks.",
"EXT. DESERT HIGHWAY - DAYBREAK Fred is driving along the road. Suddenly he pulls the car off the road and drives over the dirt and brush to a deserted spot, stops and gets out. Fred opens the trunk. When he does. Suddenly, Mr. Eddy/Laurent charges up and attacks Fred - knocking them both to the ground. Mr. Eddy/Laurent tries to strangle Fred, but Fred's anger is too great. Fred tears loose and gets Mr. Eddy/Laurent in a hold bending his head back. Fred's hand reaches out behind him - feeling, searching. A KNIFE appears. it comes into Fred's hand from another. Fred slices Mr. Eddy/Laurent's throat, and throws him down. Mr. Eddy/Laurent squirms on the ground - his hand grasped around his throat - trying to hold his neck together. Blood is flowing rapidly through his fingers and over the front of him as be turns and opens his mouth with a gurgling sound. Fred stands, facing him, his pistol out now - pointing right at Mr. Eddy/Laurent's forehead. CLOSE UP ON MR. EDDY/LAURENT - he lifts his head and stares at Fred. Blood is rushing out of him. MR. EDDY/LAURENT -LRB- wet and jagged. -RRB- What do you guys want? The camera pans around to Fred - we see that the Mystery Man is standing beside Fred, and it is the Mystery Man who is holding the gun, not Fred. The Mystery Man reaches into his pocket and pulls out a little watchman TV. He turns it on and hands it over to Mr. Eddy/Laurent, who manages to take it. Mr. Eddy/Laurent looks down at the small television screen. Mr. Eddy/Laurent's POV : As he watches the TV screen, we move in until the screen fills the frame - as with the former videotapes. The full frame of the TV screen reveals -",
"INT. ANDY'S HOUSE - LIVING ROOM - NIGHT We see the movie screen on a wall in Andy's living room. Marian, Raquel and RENEE'S images are being projected on this screen, simultaneously involved in pornographic acts with two men. Watching this movie in Andy's living room are several people in shadows behind the light of the projector. Among them we see RENEE and MR. EDDY/LAURENT standing next to ANDY. Mr. Eddy/Laurent and Renee are hot - kissing - his hand is up under her skirt. They are watching the porno film. They are watching murky images of sex turning to violence. In a CLOSE UP we see Renee and Mr. Eddy/Laurent in the shadows looking out at the film, both half - smiling, stoned, aroused. The image on the Watchman changes now.",
"EXT. DESERT - DAYBREAK On the Watchman TV screen Mr. Eddy/Laurent sees an image of Fred and the Mystery Man staring at him. The Mystery Man's image speaks. MYSTERY MAN -LRB- on TV screen. -RRB- Now you can hand it back to me. Mr. Eddy/Laurent sees the Mystery Man's image reach out a hand. Mr. Eddy/Laurent looks up. The Mystery Man has his arm outstretched just as it was on the video image. Mr. Eddy / Laurent hands the Watchman back, and locks eyes with the Mystery Man. MR. EDDY/LAURENT -LRB- wet and jagged. -RRB- You and me, mister, we can really out - ugly the sumbitches, ca n't we? The mystery Man unloads the pistol into Mr. Eddy/Laurent, who jerks and dies in the dust. The Mystery Man then leans close to Fred and whispers in his ear. The camera moves in, past the Mystery Man to a CLOSE UP OF FRED'S EYES as he listens. The camera cuts back wide to reveal Fred holding the gun. He is standing alone - there is no Mystery Man. Fred turns to go back to the car.",
"EXT. THE MADISON HOUSE - DRIVEWAY - EARLY MORNING Fred drives up to his house in Mr. Eddy/Laurent's Mercedes 600 Pullman and stops in front. He gets out of the car, goes to the front door and RINGS THE DOORBELL. There is a BEEP sound. FRED -LRB- into intercom. -RRB- Dick Laurent is dead.",
"EXT. THE MADISON HOUSE - STREET - EARLY MORNING As Fred finishes this sentence we see the cop car containing Ed and Al pull in to the curb just up the street from Fred and Renee's house.",
"EXT. THE MADISON HOUSE - DRIVEWAY - EARLY MORNING Fred turns and sees the cop car. He jumps in his car, fires it up, and peels out. The cops give chase.",
"EXT. DESERT HIGHWAY - DAY Fred is behind the wheel of his car. Behind him are the cops. CLOSE UP ON FRED'S FACE - through the front windshield. The shot is wide enough to reveal the cop car in hot pursuit. Fred's face begins to change again, grotesquely contorting as he races into the vortex. His tormented SCREAM blends with the howling SIREN of the police car gaining on him. THE END"
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] | One day, Fred Madison, a Los Angeles saxophonist, receives a message on the intercom of his house: "Dick Laurent is dead." The next morning, his wife Renee finds a VHS tape on their porch containing a video of their house. After having sex, Fred sees Renee's face as that of a pale old man, then tells her he had a dream about someone resembling her being attacked. As the days pass, more tapes arrive, showing shots of them asleep in their bed. Fred and Renee call the police but the detectives offer no assistance. Fred and Renee attend a party being thrown by her friend Andy. The Mystery Man Fred dreamed about approaches Fred, claiming to have met him before. The man then says he is at Fred's house at that very moment and answers the house phone when Fred calls him. Fred learns from Andy that the man is a friend of Dick Laurent's. Terrified, Fred leaves the party with Renee. The next morning, another tape arrives and Fred watches it alone. To his horror, it shows him hovering over Renee's dismembered body. He is sentenced to death for her murder. While on death row, Fred is plagued by headaches and visions of The Mystery Man and a burning cabin in the desert. During a cell check, the prison guard finds that the man in Fred's cell is now Pete Dayton, a young auto mechanic. Although Pete is released into the care of his parents, he is followed by two detectives who are trying to find out more about him. The next day, Pete returns to work at the garage where gangster Mr. Eddy asks him to fix his car. Mr. Eddy takes Pete for a drive, during which Pete witnesses Mr. Eddy beat down a tailgater. The next day, Mr. Eddy returns to the garage with his mistress, Alice Wakefield, and his Cadillac for Pete to repair. Later, Alice returns to the garage alone and invites Pete out for dinner. When Pete and Alice begin an affair, she fears that Mr. Eddy suspects them, and concocts a scheme to rob her friend Andy and leave town. Alice also reveals to Pete that Mr. Eddy is actually an amateur porn producer named Dick Laurent. Pete gets a phone call from Mr. Eddy and The Mystery Man, which frightens Pete so much that he decides to go along with Alice's plan. Pete ambushes Andy and accidentally kills him, before he notices a photograph showing Alice and Renee together. Later, when the police are at the house investigating Andy's death, Alice is inexplicably missing from the photo. Pete and Alice arrive at an empty cabin in the desert and start having sex outside on the sand, which ends with Alice getting up and disappearing into the cabin. Pete transforms back into Fred. Upon searching the cabin, he meets The Mystery Man, who begins filming and chasing Fred with a video camera. Fred escapes and drives to the Lost Highway Hotel, where he finds Mr. Eddy and Renee having sex. After Renee leaves, Fred kidnaps Mr. Eddy and slits his throat. The Mystery Man shoots Mr. Eddy dead and then whispers something to Fred before he disappears. Fred drives to his old house, buzzes the intercom and says: "Dick Laurent is dead." When the two detectives drive up to the house, Fred runs back to his car and drives off, with the detectives in pursuit. Fred suddenly begins convulsing and screaming as his car speeds down the darkened highway. | Lost_Highway_(film) |
[
"EXT. PLANET EARTH A medium shot of The Planet Earth floating in space. An important - sounding NARRATOR begins. NARRATOR -LRB- V.O. -RRB- As the twenty - first century began, human evolution was at a turning point. Natural selection, the process by which the strongest, the smartest, the fastest reproduced in greater number than the rest, a process which had once favored the noblest traits of man. DISSOLVE on pictures of great historical figures, Galileo, Leonardo. DaVinci, Columbus, MLK Jr., etc.. NARRATOR -LRB- V.O. ; CONT'D. -RRB- Now began to favor different traits. DISSOLVE on pictures of Geraldo, Joey Buttafuco, Kathy Lee Gifford, the guy from `` The Bachelor.'' NARRATOR -LRB- CONT'D. -RRB- While most science fiction of the day predicted a future that was more civilized and more intelligent. DISSOLVE on pictures of 1960s - sci - fi - style antiseptic future : Handsome scientists, pristine domed cities, etc.. NARRATOR -LRB- CONT'D. -RRB- all signs indicated that the human race was heading in the opposite direction - a dumbing down. We PAN from the images over to a bunch of modern - day dumbasses with fanny packs, standing in line at a TOMORROWLAND RIDE - revealing that the images we just saw were from the ride. NARRATOR -LRB- CONT'D. -RRB- How did this happen? Evolution does not make moral judgments. Evolution does not necessarily reward that which is good or beautiful. It simply rewards those who reproduce the most.",
"INT. TASTEFUL APARTMENT A prosperous YUPPIE couple speaks to the camera as if being interviewed. YUPPIE HUSBAND I'm a cardiologist, and I'm finishing my residency at Harvard. I'm twenty - six years old. This is my wife, she's a financial planner. YUPPIE WIFE -LRB- good - natured correcting. -RRB- And I'm finishing law school. YUPPIE HUSBAND Having kids is such an important decision. YUPPIE WIFE We're waiting for the right time. It's not something you want to rush into. THE SCREEN SPLITS. The YUPPIE couple is squeezed into the LEFT SIDE of the screen, where they chastely hold hands. On the RIGHT SIDE of screen appears :",
"INT. CRAPPY BEDROOM A heinous trashy white couple, fresh off a hair - pulling free - for - all episode of Jerry Springer is making out, getting hot and heavy on their ratty fold - out couch. TRASHY GUY Shit. SLUTTY GIRL Shit, yeah. TRASHY GUY Naw, I mean, shit! I ai n't got no rubbers! SLUTTY GIRL Aw, shit. A beat. Then they go back at it. TRASHY GUY Aw, Fuck it. The right side of the screen divides into four smaller frames as the couple's babies pop up. The yuppie couple, now in their thirties. Their living room shows signs of greater financial success. YUPPIE WIFE There's no way we could have a child now, not with the market the way it is. YUPPIE HUSBAND -LRB- nods in agreement. -RRB- It just would n't make sense. As they continue, they are drowned out by the More years have passed. The Trashy Guy is looking at a check. Several kids, now more grown up, fight in the background. He's with a NEW SLUTTY GIRL. TRASHY GUY You mean we get more welfare money if we have more kids? NEW SLUTTY GIRL Yeah. Foodstamps too. They share a look, then : SEVERAL MORE BABIES POP UP, and the frames multiply. The Yuppie couple ages, the frames on the right side of the screen continue to multiply, indicating more years going by. The yuppie couple is now in their late thirties. The mood is tense. YUPPIE WIFE Well, we've finally decided to have kids, and I'm not pointing fingers, but. It's not going well. YUPPIE HUSBAND Oh, and this is helping! YUPPIE WIFE I'm just saying, before I have in vitro, maybe you should be willing - YUPPIE HUSBAND It's always me. YUPPIE WIFE Well, it's not my sperm count. We feature a fifteen - year - old TRASHY JOCK -LRB- one of the trashy kids we've seen grow up -RRB-, lumbering off the field with his arms around four skanks. JOCK I'm gon na fuck all y' all! More and more babies pop up. As the right side of the screen becomes more and more crowded, it begins to PUSH INTO THE LEFT SIDE OF THE SCREEN. THE RIGHT SIDE OF THE SCREEN is brimming with new generations of dumbass. They are all speaking at once and multiplying like rabbits, drowning out the yuppie couple. The Yuppie Woman, in her 50s, is now crowded into a small corner in the bottom - left of the screen, alone. YUPPIE WIFE Unfortunately, Trevor passed away of a heart attack while masturbating to produce sperm for artificial insemination, but I've got some eggs frozen, and just as soon as the right guy comes along. The Yuppie wife's square is forced into oblivion as the screen is consumed by the ever - increasing generations of dumbasses, her voice drowned out by a cacophony of yelling morons. Sound fades out. Narrator's voice fades in : NARRATOR -LRB- V.O. -RRB- But there would be a savior. A man who would become a legend. Whose mighty hand would pull humanity from the brink of self - destruction. It was in the year 2004, in an army base in Virginia.",
"EXT. ARMY BASE - ESTABLISHING - DAY",
"INT. ARMY BASE - DAY JOE BOWERS, 30s, is hunched over a test bench, soldering iron in hand, concentrating intensely. We get a little closer and see Joe is holding the tip of the soldering iron to a popcorn kernel. The kernel pops, hitting Joe in the eye. Startled, Joe drops his hand onto a circuit board, shocking himself, causing him to fall back onto his stool. SERGEANT MILLER, 40s, with a noticeable BATTLE SCAR on his lower lip, enters. Another officer lingers by the door. MILLER Today's your lucky day Joe. That guy out there? That's Officer Collins from the Pentagon. They're asking you to volunteer for a top secret experiment. This could be a great opportunity for you. JOE Oh, no thanks sir. I've just got six years'til my pension and I do n't wan na do anything that might screw it up. Miller looks at Joe, sizing him up. MILLER You know Joe, there's something else that comes with that pension, something they do n't tell you about. JOE What's that? MILLER A hollow empty feeling. JOE Hollow empty feeling? MILLER Yep. I've seen it a thousand times - It's the same feeling that trust fund kids and lottery winners get. It's the feeling you get when you've got nothing to strive for, no struggle. Drives some of'em to suicide. You know how you get rid of it? You do something that matters, you challenge yourself. JOE Sorry sir, but remember the last time you had me challenge myself? When I tried to rewire the sound system in the Mess Hall?",
"INT. MESS HALL - DAY We see Miller, WITHOUT THE SCAR ON HIS LOWER LIP, go up to a microphone. MILLER Testing. One two - AAAAAAAGH! Miller is blown out of frame by a spark arcing off the microphone on to his lower lip. PRESENT Miller's hand unconsciously moves to the scar on his lower lip. MILLER -LRB- CONT'D. -RRB- Yeah. I remember. Look, I know you do n't like responsibility, just wan na be left alone in your little corner here, but the truth is, this is n't much of a challenge. It's some kind of hibernation experiment. You'd be getting paid to sleep for a year. It would be pretty hard to screw this up. JOE Yeah well, all the same sir, I kind of like things the way they are. Miller sighs, disappointed. Beat. MILLER Look Joe, I wanted to give you the opportunity to volunteer first. Thought it would make you feel better about yourself, but the fact is, this is an assignment. You've got no choice. Off Joe's worried expression we CUT TO :",
"INT. ARMY BASE - CONFERENCE ROOM - DAY Highly decorated officers sit around a conference table. OFFICER COLLINS is at the head of the table, holding a remote, giving a slide presentation. He's a nerdy - creepy Army Engineer in his 40s, with a big mustache that looks out of place on his wimpy face. COLLINS Gentlemen, CNAPA, or Chronological Noncompatibility and Peacetime Aging has plagued the armed forces for years. Some of our best pilots, soldiers and military leaders have spent their entire careers without ever seeing battle. We've seen all their talents and expensive training go to waste during times of peace. The officers murmur agreement. A slide appears : HHP - Top Secret! COLLINS -LRB- CONT'D. -RRB- Enter the Human Hibernation Project, designed to save our best men, frozen in their prime, for when they're needed most. The Officers are impressed. COLLINS -LRB- CONT'D. -RRB- We have selected two test subjects, a male and a female. Collins clicks his remote. We see a large, unflattering picture of Joe. COLLINS -LRB- CONT'D. -RRB- This is Private Joe Bowers, an electrician here on the base, not one of our best men. He was chosen primarily because of how remarkably average he is - extremely average. In every category. Collins clicks through several slides of bell curves for intelligence, physical strength, etc.. Joe is at the dead center of each curve. COLLINS -LRB- CONT'D. -RRB- The most average person in our entire Army. He also has no family - unmarried, an only child, parents deceased - making him an ideal candidate, with no one to ask any nosy questions should something go wrong with the experiment. Various officers nod, approving. COLLINS -LRB- CONT'D. -RRB- We had a little less luck finding a female volunteer with these qualifications within our ranks, and were forced to go into the private sector. Collins clicks his remote. There's a picture of RITA, a pretty woman in her 20s, obviously a prostitute. The officers react, confused. COLLINS -LRB- CONT'D. -RRB- This is Rita. Like Joe, she has no immediate family. She agreed to participate in exchange for dropping some criminal charges, and a small fee. Collins cues up a slide of a pimp in full pimp regalia. COLLINS -LRB- CONT'D. -RRB- Arrangement with her pimp - a gentleman here in the D.C. area who goes by the name, `` Upgrade,'' which he spells U - P - G - R - A - Y - E - Dd -, with two'D's, as he says. -LRB- air quotes. -RRB- `` For a double dose of this pimpin'''. As Collins talks, he clicks through several slides of Upgrayed in different outfits, showing off his jewelry, driving in a Mercedes, etc.. The Officers begin to shift uncomfortably. COLLINS -LRB- CONT'D. -RRB- Upgrayed agreed to `` loan'' us Rita for exactly a year, and keep quiet in exchange for some leeway from local police in running his `` pimp game.'' First, however, there was the difficult manner of gaining his trust. A slide of Collins and Upgrayed sharing a giant bottle of champagne. OFFICER Could we skip to the technicals, please? COLLINS Sure. Let me just finish here. The other officers squirm as Collins clicks through slides of himself with Upgrayed, with ho's, etc.. COLLINS -LRB- CONT'D. -RRB- You see, a pimp's love is very different from that of a square - OFFICER #2 Collins! There's an awkward silence. After a beat : COLLINS -LRB- pouty. -RRB- Fine. We'll move on. It is a fascinating world, though. Collins quickly clicks past more slides of himself with Upgrayde. And clicking some more. And some more. And some more. OFFICER #2 Jesus, Collins! Collins speeds through another dozen slides of Upgrayed and his hos The crowd rolls their eyes. Finally, a slide of the hibernation pod. COLLINS Anyway, the experiment is ready to begin immediately. If successful, we believe humans could be stored in a dry freeze'' indefinitely.",
"INT. JOE'S APARTMENT - NIGHT A small on - base apartment. Joe is packing up his place for his year - long absence and talking on the phone to his girlfriend, SHARON. SHARON -LRB- V.C. -RRB- I'm so sorry I had to work late. I mean, it's your last night and you're gon na be gone for a whole year. JOE Do n't worry, it's not your fault. Look, I know a year is a long time. I do n't expect you to wait for me - SHARON -LRB- V.O. -RRB- No, Joe. Do n't even say that. You did n't have a choice. JOE I'll tell you what, I'll make it up to you. I'll meet you at TJ Swan's, one year and three days from now. October 17th.",
"INT. OFFICE - CONTINUOUS Sharon is at her desk, a secretary's desk outside an office. She finishes the call. SHARON Okay, it's a date. Her boss, a creepy Ben Affleck type, walks over and sits on the edge of her desk. BOSS Soooo. I could n't help but overhear. You know, if I had a girl like you, I sure would n't let her out of my sight for a minute, let alone for a year. Sharon blushes a little, flattered.",
"INT. ARMY BASE SECRET HOSPITAL ROOM - DAY Joe and Rita, the prostitute, are waiting to go through some medical tests. Both are in Army - issue hospital gowns. Joe is nervous, wound up. Rita on the other hand, is bored, hungover, does n't want to be there. Joe awkwardly tries to strike up a conversation. JOE So. This is kind of crazy huh? What unit are you with? RITA I ai n't in the service. JOE Ohh, private sector. -LRB- beat. -RRB- So what do you do? RITA A little of this, a little of that. She looks away, trying to end the conversation. JOE Wow. That's great. I really envy people who can make a living that way doing a little bit of this and that. I had a neighbor who used to make chainsaw sculptures and sell'em at the flea market. I guess I do n't really have much of an imagination. That's why I'm in the Army. Heh heh. Rita rubs her temples It looks like she had a rough night. JOE -LRB- CONT'D. -RRB- So. You're an artist or something? Beat. RITA Urn, yeah. JOE Wow, that's great. Do you do like, paintings or - RITA -LRB- short. -RRB- Yeah, paintings. JOE Oh, great. What kind of stuff do you paint? Rita sighs impatiently. This is more work than she expected. RITA I do n't know, people and fruit and shit. JOE Wow, it must be great to make a living doing something you love. RITA Ah. -LRB- world - weary sigh. -RRB- It's not all it's cracked up to be. A DOCTOR enters. DOCTOR Okay, who wants to go first? RITA -LRB- get me out of here. -RRB- Me! A beefy ORDERLY enters and prepares a thermometer for Joe. JOE Wow. A professional artist. That's really cool. ORDERLY Oh yeah, she's a professional alright. -LRB- cracks himself up. -RRB- Joe does n't get it, laughs politely along.",
"INT. SECRET POD ROOM - DAY A small top secret room containing two sleeping pods with their hatches open. Joe and Rita are sitting up in their pods. Joe and Rita look uneasy as they are strapped in, hooked up to hoses, IVs, etc.. Rita looks especially freaked out as the reality of it starts to set in. A LOUD COMPRESSOR KICKS ON, startling both of them. Rita instinctively grabs Joe's hand. RITA -LRB- worried. -RRB- This shit's safe, right? Joe looks around the room, uneasily. JOE Sure. They know what they're doing. I mean look at all these. machines and stuff. It'll be fine. They tested it on dogs. I think. Do n't worry. Joe puts on a brave face for her as they lie back in their pods. Various shots - Collins and the Doctor going over a checklist, checking all the apparatus, etc.. The checklist complete, the pod doors are sealed. Collins hits a button and milky orange liquid begins flowing through the IVs. JOE'S POV : Things begin to get blurry, as Collins leans in. COLLINS See you in a year! Joe and Rita's eyes flutter and close. They're out cold. The orderlies and the Doctor exit the room. After a beat, Collins follows. He hits a button labeled Top Secret'' and a facade drops from the ceiling, concealing the door.",
"INT. COLLINS'S OFFICE - DAY The office of a highly - decorated officer - trophies, commendations, etc. are everywhere. Collins sits at his desk doing paperwork. NARRATOR -LRB- V.O. -RRB- The Human Hibernation Project was one of the army's most ambitious projects. But it was not immune from the usual government bureaucracy. Suddenly, a horde of tough Military Police storm Collins's office, grab him, and throw him to the ground. A newspaper. There's a picture of Collins on the cover. The caption reads : Army Officer Busted in Attempted Prostitution Ring! NARRATOR -LRB- V.O. ; CONT'D. -RRB- With Collins gone, there were only four people left who knew about this top - secret experiment.",
"INT. AMERICAN LEGION HALL - NIGHT A big buffet table is being prepared. NARRATOR -LRB- V.O. -RRB- All four died tragically in a botulism outbreak at a Veteran's Day banquet. We see a dumb looking kitchen worker pouring canned chicken'n' dumplings into a big pot, and lighting a little can of Sterno underneath. A teenage busboy swoops out a tablecloth over a nearby table, blowing out the Sterno.",
"EXT. AMERICAN LEGION HALL - NIGHT E.M.S workers load four draped bodies into ambulances. NARRATOR Joe and Rita were forgotten.",
"EXT. ARMY BASE - DAY The army base looks abandoned. It's shuttered and padlocked. NARRATOR and the Base eventually closed. A worker walks into frame and plants a sign into the ground : - `` Future Site of Sierra Vista Estates.'' Bulldozers pile earth onto the base, burying it.",
"INT. SHARON'S OFFICE - DAY Sharon sits sadly at her desk. The calendar says March 14th. Her creepy Boss comes up behind her. BOSS It's been a year and a half. Do n't you think he would've called? He starts rubbing her shoulders. BOSS -LRB- CONT'D. -RRB- Oooh, you feel tense.",
"INT. BEDROOM - NIGHT WE PAN down from a Playboy Jazz Festival poster to find Sharon and her boss going at it in her boss's big four - poster Pottery - Barn bed, -LRB- tastefully covered by the bed sheets -RRB- to the sounds of lite jazz. DISSOLVE on calendar pages turning as we BEGIN MONTAGE.' NARRATOR As Joe and Rita lay dormant, the years passed, and mankind became stupider at a frightening rate. A chart depicting intelligence over time. An animated line begins at the present time. As it moves into the future, it drops precipitously. DISSOLVE TO a few years in the future. There's now an ugly development of McMansions where the army base once stood. High - speed time - lapse of a building being built over the site, finally revealing a new FUDDRUCKER'S. Time lapse fast - motion of Fuddrucker's being torn down to build an even bigger Futtbucker's, which is torn down to build an even bigger Buttrucker's. NARRATOR -LRB- CONT'D. -RRB- Some scientists had high hopes for genetic engineering. But the efforts were slow, misguided and quickly overtaken by the declining intelligence and exploding population. We see a baseball stadium. The marquee outside announces `` Championship Baseball.'' DISSOLVE to a marquee reading `` Extreme Baseball.'' Inside, a runner is caught in a rundown between second and third. Instead of gloves, the second and third basemen brandish bats menacingly. In the background, various players are engaged in batfights that seem to have little connection to the game. Outside, the marquee DISSOLVES again, this time it just reads `` FIRE.'' We see huge flames rising up from the center of the stadium as the crowd goes berserk. DISSOLVE on calendar pages turning, over images of gradually more stupid - looking people, starting with dumbasses of the present, continuing to future dumbasses. The calendar pages stop somewhere in the 2900s.",
"EXT. MOUNTAIN RANGE -- SUNRISE In silhouette, we see a magnificent vista that calls to mind the alps or the Grand Tetons. NARRATOR Plagues and World Wars came and went, and by simply being unconscious for several hundred years, Joe had managed to become something neither he, nor anyone who had ever known him, thought he had the potential to become. the smartest person on Earth. As the sun rises, we see that this is not a natural mountain range - it is a huge, stinking mountain of garbage, ridiculously steep and unstable, the result of centuries of stacking garbage with no plan whatsoever. We are definitely in the future. The highest peak. A truck winds its way up a small road, a Dr. Suess - looking path carved into the side of an absurdly steep face. At the wheel of the truck is the DRIVER, the dumbest looking guy you've ever seen, a fat gum - drop - headed guy, with a weird futuristic haircut, an ugly uniform and the McDonalds golden arches tattooed on his forehead. He is looking at a porn magazine while he drives. He alternates between excited grunts from the porn and startled grunts as he nearly swerves off the road. The driver manages to navigate the truck to the summit. He parks it, pulls a lever and the garbage begins to unload, causing the mountain to quiver under the new extra weight. The driver cracks a beer and watches. In the background we see an OMINOUS BLACK DUST STORM of epic proportions approaching - like the Great Dust Bowl. The truck finishes unloading and the driver tosses his empty can on top, but the dusty wind knocks it back down. The driver tries again. And again. Frustrated, he finally takes the can and plants it forcefully on top, causing the small peak to collapse, which causes the next part below to collapse, and a chain reaction on down the mountain. It was one beer can more than this mountain was designed to hold. In a WIDER SHOT, we see a huge, epic GARBAGE AVALANCHE! The huge waves of garbage engulf the city below. CLOSER, we see Joe AND RITA'S PODS emerge, riding the crest of the garbage wave. They split into two directions. We FOLLOW Joe's pod for a while. CLOSE ON Joe'S POD as it comes to a stop. PULL OUT to reveal we are in",
"EXT. FILTHY STREET - CONTINUOUS Joe's pod has come to rest on a dirty street below a giant billboard ad of a scowling, Neanderthal looking macho - man with a cigarette hanging from his mouth. It reads, `` If you do n't smoke Carltons. Fuck you!'' As we PULL OUT further, we see that every single square inch of everything is plastered with advertisements. Even the passersby's clothes are covered with ads. Everything seems to be in some stage of decay. TV screens everywhere blast out competing trash and talking vending machines compete like carnival barkers for the attention of passersby. WIDER ANGLE. Dumb - looking, overweight people wander around. On the back of everyone's left hand is a UPC tattoo. No one seems to have noticed or cared much about the garbage' avalanche. They pay no attention to Joe's pod. Suddenly, the ground RUMBLES. Another wave of garbage comes roaring down the street, smashing into Joe's pod, sending it flying into the air.",
"EXT. RUNDOWN APARTMENT BUILDING - CONTINUOUS A half - built, dirty - looking place. Joe's pod goes crashing into a window.",
"INT. RUNDOWN APARTMENT - APARTMENT - CONTINUOUS The pod lands on the floor of a tiny room with only enough space to house a La - Z - Boy recliner and a giant TV. DIZZ, mid - 30s fatass, sits sunken deep in the recliner. He watches TV, his jaw hanging open in a dull expression, does n't seem to register the pod that just crashed through his window. Outside Dizz's window, the dust storm and avalanche continue. He could n't care less. From the TV we hear an announcer with that testosterone - heavy Fox style, but even dumber sounding. TV -LRB- V.O. -RRB- Next, on the Violence Channel, an all - new episode of `` Ow! My Balls!'' Huh huh, yeah. The TV show begins : The MAIN CHARACTER, a frail, feeble looking man with a permanently worried look on his face, stands on a high - rise balcony looking out at the view. A big lumbering JOCK comes up behind him, kicks him in the balls, sending him over the balcony. ANGLE ON DIZZ, amused. DIZZ -LRB- primitive laugh sound. -RRB- Uuuugh! Joe's pod. It starts to come to life. We hear fluids flowing, LED lights come on. The pod displays a message : Unfreezing! The show continues. In rapid succession, the Main Character falls off the balcony, lands on a high voltage wire, on his balls, gets sling - shotted off, starts falling, heading straight for a fence, lands on his balls, then falls into someone's yard. A dog runs up, bites his balls, he scrambles over the high fence, falls down the other side, lands on a sawhorse, right on his balls, then finally falls to the ground. He stands up, brushes himself off, then notices something : a huge wrecking ball swinging right towards his balls. He stands there like a deer caught in the headlights, then WHAM, right in the balls. We follow him through the air, his balls straddling the wrecking ball. MAIN CHARACTER/AUDIENCE Ow! My balls! DIZZ -LRB- laughing, losing it. -RRB- Uuuugh - huuuuh - ugh! The pod door opens. Joe leans up, cracks open his freezer burned eyes, looks around dazed. He's still in his military hospital outfit. Joe looks at Dizz. He has no idea what he's looking at or where he is. He clutches his head in pain. JOE -LRB- groggy. -RRB- Uhhhh. Dizz's eyes remain glued to the TV, but he is momentarily distracted by Joe's noise. DIZZ Ugh? Joe rubs his eyes, takes in his surroundings. He is completely disoriented. Nothing makes sense to him. JOE -LRB- really groggy. -RRB- Urn, where? Is this ah. DIZZ Shut up! -LRB- back to TV, laughs. -RRB- Huuuh - uuugh. Joe looks at Dizz, confused. Joe tries to get up, stumbles a couple of times, falls to the ground. JOE -LRB- rubbing his eyes, trying to figure it out. -RRB- Urn. Where's Officer Collins? Is this? Are we on base? Irritated, Dizz becomes hostile. DIZZ I'm gon na base yer. ass on my. -LRB- ca n't quite make it work. -RRB- Ff. fist! Ass! Shut up! Joe, groggy and half - blind, stumbles backwards in retreat. JOE I'm sorry, I'm just. where am I? DIZZ SHUT UP! Dizz gets up angrily, revealing that the `` recliner'' is also a toilet. He pulls up his pants, flushes it, then walks over, grabs Joe and throws him out the window. DIZZ -LRB- CONT'D. -RRB- Yeah!",
"EXT. CITY STREET -- CONTINUOUS Joe hits the ground hard. Joe gets up and painfully limps around. He looks across the street, sees something that makes him do a double - take : JOE' S POV : A cheerful T.G.I.F. - looking restaurant. The sign reads : Buttfucker's! -LRB- In the exact shape, colors and font of Fuddrucker's. -RRB- Joe looks at the sign a beat, at the kids' birthday party going on inside, back at the sign, and shakes his head. A guy and a girl walk by, each obese and wearing those T - shirts that make it look like you're naked. JOE Excuse me. -LRB- points to Buttfucker's. -RRB- could you read that sign for me? GUY Read? What do I look like, a fag? The guy growls at Joe. Joe stumbles off, nearly getting run over by a broken - down futuristic car being pulled by a team of dogs. The car is continually making that annoying dinging sound they make when the door is open. Joe rubs his eyes in disbelief, then walks unsteadily, holding his head. JOE I must be hallucinating.",
"EXT. CITY STREET - DAY Joe stops near a group of guys. NARRATOR -LRB- V.O. -RRB- Joe wandered the streets, desperate for help, but the English language had deteriorated into a hybrid of hillbilly, valley - girl, innercity slang, and various grunts. Joe was able to understand them, but when he spoke in his ordinary voice, he sounded pompous and `` faggy'' to them. Joe asks for directions. The guys all laugh and make fun of him. Joe pleads. One of the guys freaks out and starts beating his chest and yelling incomprehensible obscenities. Joe runs away, then he notices something. JOE Oh thank God. JOE'S POV : A -LRB- misspelled -RRB- sign reads : `` Memorial'' Hospitle. Above it is a huge billboard which reads : `` Surgery with an ATTITUDE!'' With a picture of a Vin Diesel type in a scrub suit, holding a scalpel, with an anti - authority, `` fuck you'' scowl. Joe just shakes his head and walks towards the entrance. -LSB- NOTE : For the purpose of this script, the dialogue of people of 2974 will be written in normal English, but for the movie, a future - dumbass accent and appropriate slang would be created, as described above. -RSB-",
"INT. \"MEMORIAL\" HOSPITLE - SAME TIME Joe walks through the waiting room. People are sprawled around with a variety of strange injuries - a fat guy tangled up trying to take off his sweatshirt who's violently struggling to free himself, a whole family with their hands all stuck in a big jar of food like it's a raccoon trap. Joe staggers up to what looks like a fast food counter. A dull, bored - looking COUNTER WOMAN is behind the counter, wearing a uniform that's halfway between Mcdonalds's and hospital whites. JOE Hi. uh, I was in this army experiment - and I'm not feeling so good. I think I might be seeing things. COUNTER WOMAN Uuuh. We see the Counter Woman looking down at a machine that looks like one of those cash registers at Mcdonalds where there are no words or numbers, just pictures, icons depicting various ailments - a picture of an elbow with pain lines coming out, a picture of a guy with a knife in his head making a frowny face, a guy's butt, a knee, etc.. She glances up at Joe, back at the key pad, thinking hard : COUNTER WOMAN -LRB- CONT'D. -RRB- Uhhhhh. Finally her finger lands on a key with an icon of a guy shrugging, looking bewildered. She presses it. COMPUTER VOICE -LRB- V.O. -RRB- Diagnostic, male! COUNTER WOMAN Uh. go over there. Joe starts to leave then turns around. JOE Is there a drinking fountain? The woman just points over her shoulder. Joe walks up to the drinking fountain and hits the button. He starts to drink and then makes a confused, disturbed face. He pulls away from the fountain to reveal some fluorescent greenish gatorade - type liquid is being dispensed. On the side of the fountain is a logo that reads, `` RAUNCHO, THE THIRST MUTILATOR.'' Joe stops a passing doctor. JOE -LRB- CONT'D. -RRB- Excuse me, I think this is Gatorade or something. I'm just looking for some regular water? DOCTOR -LRB- stumped. -RRB- Water? You mean like in the toilet? What for? JOE Just to. drink? The Doctor stares at him a beat, then just starts LAUGHING LIKE AN IDIOT and walks off.",
"INT. HOSPITAL - DIAGNOSTIC ROOM - LATER ON Joe is in line leading up to a uniformed TECHNICIAN running what looks like one of those auto - diagnostic machines from Jiffy Lube, or an automated car wash. A sad - looking man pulls up his pants as the technician hits a button on the machine. COMPUTER VOICE -LRB- you've got mail. -RRB- You've got hepatitis! The man looks shocked. He starts to break down. COMPUTER VOICE -LRB- CONT'D. -RRB- Hey! Take it easy! Your illness is important to us! TECHNICIAN Next. Joe steps up. The Technician holds up three probes connected to the diagnostic machine. TECHNICIAN -LRB- CONT'D. -RRB- Okay. This one goes in your mouth. Joe tentatively opens his mouth. The technician puts it in. TECHNICIAN -LRB- CONT'D. -RRB- This one's for your ear. The technician sticks a second probe in Joe's ear. TECHNICIAN -LRB- CONT'D. -RRB- And. This one goes in your butt. The technician hands Joe a third probe. Joe looks at it reluctantly, hesitates a beat, then looks at the line of 20 people staring at him. GUY IN LINE Hurry UP ASSHOLE! Joe unhappily puts the plug up his butt -LRB- 0. S. -RRB-. TECHNICIAN Shit, wait a second. The Technician pulls all three plugs out and stupidly fumbles with the identical cables. TECHNICIAN -LRB- CONT'D. -RRB- Okay, one goes in your. No, wait a second. Joe tries to follow the one that was in his butt like three card monte, but it's a lost cause. The technician stops shuffling the probes. TECHNICIAN -LRB- CONT'D. -RRB- Okay. This one goes in your mouth. Joe stares in horror as the Technician brings the probe closer to his mouth. Joe hesitates. GUY IN LINE -LRB- O.S. -RRB- COME ON!",
"INT. HOSPITAL - WAITING ROOM Joe at the drinking fountain, furiously rinsing and spitting.",
"INT. DOCTOR'S OFFICE - LATER Joe sits, waiting for the doctor. He sees a magazine on the doctor's desk : Hot Naked Chicks and World Report. Joe picks up the magazine. He sees the date on it : March 3, 2974. JOE -LRB- mutters. -RRB- Weird misprint. Joe flips through it. He lands on an article : Economy be all bad and shit! / Inflation higher than a motherfucker! Another article : Dust Storms kicking our ass. On another page, a picture of an impoverished man, with the quote : `` I'm fuckin' hungry!'' The DOCTOR enters, a big, affable lunk holding several charts and computer printouts. DOCTOR Hey, how's it going, man? JOE Not so good. I'm hallucinating like crazy. I think it's the drugs these.Army guys put me on. It's kind of Top Secret, but if you could just get me well enough to get back to Base. DOCTOR -LRB- nodding. -RRB- Uh - huh, uh - huh. Kick ass. -LRB- looking at Joe's chart. -RRB- Anyway, I do n't wan na sound. Like a dick or nothing, but I looked at your charts and it seems like you're fucked up, you talk like a fag, and your shit may be retarded. What I'd do, man, is get plenty of rest - JOE Wha? I. I want a second opinion. DOCTOR -LRB- holds up Joe's charts. -RRB- OmniPal does n't lie, man. But listen - there's plenty of ` tards out there living really kickass lives. My first wife was retarded and she's a pilot. JOE Okay, I'm going to another hospital. DOCTOR So, that'll be six billion dollars. -LRB- hands Joe an invoice. -RRB-. -RRB- So if you can just sign this while I scan you. JOE Wait, six billion? What? The Doctor takes Joe's wrist as Joe reads the invoice. Joe notices the date : March 3, 2974. JOE -LRB- CONT'D. -RRB- That's funny. That's the exact same misprint as that magazine over there. What're the odds of. Joe trails off. His eyes go wide. JOE'S POV : The date on the magazine, the date on the invoice, the date on the Doctor's desk calendar. Suddenly it all comes together. JOE -LRB- CONT'D. -RRB- Oh. my. God! As Joe starts freaking out, the doctor notices he does n't have a UPC tattoo. DOCTOR -LRB- panicking. -RRB- Where's your ` ttoo? The doctor reacts by shrieking like a monkey and flailing his arms. Joe and the doctor are feeding off each other's mutual freak - outs. DOCTOR -LRB- CONT'D. -RRB- You're an unscannable! JOE Hunh?! The Doctor hits a button on his desk. A loud alarm goes off. JOE -LRB- CONT'D. -RRB- Wait a minute! You do n't understand! DOCTOR UNSCANNABLE! JOE I need to talk to someone in the army! -LRB- realizing. -RRB- Wait a minute. They're all dead. -LRB- freaking out. -RRB- Everyone I know is dead! Oh God! And Sharon! I stood her up! By a thousand years! More alarms start going off. We hear more people in the hospital start screaming : `` Unscannable!'' Joe takes off running out of the building.",
"EXT. CITY STREET - DAY Joe wanders the street, still freaked out. He stops in front of a Radio Shack type store, and looks through a window at a display of futuristic Tvs. We PAN ACROSS the TVs, each one with a network logo in the corner. The first is the Violence Channel, featuring two Butterbean - looking guys hitting each other, then the Masturbation Network featuring two topless women, and finally Fox, featuring two topless women hitting each other. Joe just stares, bewildered.",
"EXT. MOVIE THEATRE Joe stares up at a big stark marquee with the word `` ASS'' in the middle of it. Underneath, it says,'' # 1 MOVIE IN AMERICA!''",
"INT. MOVIE THEATRE On the screen is nothing more than a man's ass, full screen, farting every ten seconds or so. We PAN across an audience of scary, Neanderthal people laughing like baboons and stuffing their faces with greasy popcorn, to find Joe sitting alone, horrified.",
"EXT. CATHEDRAL Joe limps up the steps and opens the grand door.",
"INT. CATHEDRAL In a wrestling ring at the altar, a steroided - out guy in a Jesus wrestling outfit is doing an incredibly violent wrestling move on a guy in a Devil outfit. The congregation goes nuts as the Devil's manager grabs a folding chair and starts sneaking up on the victorious Jesus. Joe backs away, freaked out.",
"EXT. STREET - NIGHT TIGHT ON Joe's frightened and confused face. Joe notices something across the street. It's the Golden Arches. He walks over.",
"EXT. BIG MCDONALD'S-LOOKING VENDING MACHINE - CONTINUOUS A woman and her four hungry kids in front of the ugly futuristic vending machine. Under the golden arches is written : `` Powered by OmniPal!'' The woman is getting'' frustrated, hitting a screen and waving the UPC tattoo on her wrist in front of it. The COMPUTER VOICE, the voice of the omnipresent Omnipal network, has that annoying `` Sprint - PCS/AOL `` You've got mail'' voice, disjointed and booming with cheery enthusiasm, even when it's giving you bad news. COMPUTER VOICE Enjoy your cheeseburger! WOMAN -LRB- furious. -RRB- You did n't give me no cheeseburger! I just got an empty can! COMPUTER VOICE Would you like. another. cheeseburger? WOMAN I DID N'T GET ANY! COMPUTER VOICE Your account has been charged. -LRB- beat as hard - drive clicks. -RRB- You have no more money! Please come back when you can afford to make a purchase! The woman BANGS on the machine in frustration. -LSB- Note : the following line will be the computer's catchphrase, always delivered in the same condescending, enthusiastic manner o.f Robert Young in the old Maxwell House decaf commercials -RSB- COMPUTER VOICE -LRB- CONT'D. -RRB- Hey! Take it easy! -LRB- she bangs again. -RRB- Hey! Take it easy! WOMAN My children are starving! And you took all my money! COMPUTER VOICE Your children are starving. OmniPal believes that no child should go hungry! You are an unfit mother! Now notifying Child Protective Services! We hear a siren in the distance. The woman and her four hungry kids take off running past Joe. COMPUTER VOICE -LRB- CONT'D. -RRB- Your children will be placed in the custody of McDonald's! Joe watches them run off, concerned. Suddenly, there's a stampede of dumbass COPS converging on the vending machine. One of the Cops notices Joe : COP 1 Hey! Is that the unfit mother? COP 2 No, he's an unscannable! COP 1 That must be the one from the hospital! Alright! Ten cops tackle Joe and handcuff him.",
"EXT. STREET - MOMENTS LATER Joe is led, cuffed, to a waiting police car. He struggles against his handcuffs. Passersby, laughing stupidly, watch the cops drag him off. JOE I can explain! I was in an army experiment! It's not my fault! A cute LITTLE BOY and his MOM. The kid points at Joe. LITTLE BOY Mommy, that man talks like a fag! MOM Huh huh. He sure does.",
"INT. POLICE CAR- CONTINUOUS Joe is thrown in the back of the squad car. The car looks about 100 years more futuristic than today's cars, but everything looks busted and filthy. Out the window, Joe notices something on the street - RITA'S EMPTY POD. JOE Hey, that's the other pod! Rita? She's alive?! I got ta find her! The cop leans back and maces Joe. Joe howls, the cop slams the thick glass partition shut. As Joe claws at his eyes, the car begins speaking with the now familiar COMPUTER VOICE. COMPUTER VOICE -LRB- V.O. -RRB- Welcome to police custody! You have the right to - ERROR IN TWELVE! -LRB- a beat. -RRB- I'm sorry, your operation has caused a fatal ACP error. Would you like to report this error? Would you like to report this error? Would you - JOE -LRB- rubbing his eyes in pain. -RRB- No! COMPUTER VOICE Your operation has caused a fatal ACP error. Would you like to report - JOE Fine! Yes! COMPUTER VOICE Thank you. -LRB- long beat. -RRB- I'm sorry, your request has caused a fatal bit stream error. Would you like to report this error? Finally, Joe snaps. JOE Shut up! COMPUTER VOICE -LRB- V.O. -RRB- Hey! Take it easy! Would you like to report this error? -LRB- on and on. -RRB- Joe starts to thrash around as the car pulls away.",
"EXT. STREET - NIGHT Rita wanders the street, disoriented, still waking up. She finds herself face to face with a guy who makes no attempt to hide his horniness, mumbling unintelligible come - ons, looking her up and down. HORNY GUY Aaawww yeeeeah. Mmmmmrn girl. I could groove you real good. Rita shakes it off, keeps walking. The guy, undeterred, follows. Rita looks around at her crazy surroundings, trying to put things together. RITA What the? Man, shit's changed in a year. Where are those army guys? HORNY GUY Mmrn baby, I got an army in my pants. Rita ignores him, notices a futuristic pay phone and walks up to it. She looks at the phone, puzzled. It's still recognizable as a phone, but there's no keypad. She tentatively picks up the handset. COMPUTER VOICE Welcome to AOL - Time - Warner - Starbucks - US Government long distance! Powered by OmniPal! Please say the name of the party you wish to call! RITA -LRB- unsure. -RRB- Uh. Upgrayed? Beat, as the hard drive clicks away. COMPUTER VOICE There are 9,726 listings for `` Upgrayed''! Rita looks at the phone, confused. COMPUTER VOICE -LRB- CONT'D. -RRB- Please deposit $ 2,000 to begin connection! RITA Two thousand dollars? Where'm I gon na get two thousand? The Horny Guy holds out a bunch of money, excited. Rita shakes her head, knowing what she has to do. RITA -LRB- CONT'D. -RRB- -LRB- to herself. -RRB- Guess shit did n't change all that much. Rita reluctantly takes the money. RITA -LRB- CONT'D. -RRB- Alright hon'. Can you wait a sec' while I make a call? HORNY GUY Oooh, yeah baby, I could wait so good. Rita notices the guy's dumbass demeanor, gets an idea. RITA Oh yeah? I like a man who can wait. HORNY GUY Baby I can wait a long time. RITA Could you wait a day? HORNY GUY Baby I could wait two days. Rita gains confidence. RITA Okay. I charge by the hour. HORNY GUY Ooooh yeah, you gon na be glad you waited baby. The horny guy smugly peels off a bunch of bills.",
"INT. COURTROOM - DAY The courtroom is a mess, like a run - down inner - city public school classroom. There's garbage everywhere, graffiti. The flag is lying on the floor in a heap. An audience of rowdy spectators waits for the trial to begin. The crowd jeers as Joe is wheeled in in a cage. A pumped - up BAILIFF in tights walks in with a microphone. He whips up the crowd like an announcer at a wrestling match : BAILIFF Are you ready for some JUSTIIIIIIIICE! The crowd goes crazy. BAILIFF -LRB- CONT'D. -RRB- Because we've got a fag - talking retard who thinks we oughtta pay his hospital bills! Do you want to pay his hospital bills!? CROWD Hell, no! Joe gets hit with a milkshake. BAILIFF I ca n't hear you! JURY HELL, NO! The Judge enters. He is surprised and frightened by the noise of the courtroom. He bangs his gavel until everybody shuts up. When he speaks, he seems to be making up big - sounding words as he goes along. He has the stupid confidence of a man who's never encountered anyone smart enough to correct him. JUDGE Now since y' all. -LRB- rolls his eyes. -RRB- Say you ai n't got no money, we have proprietarily obtained you one of them court - appointed lawyers. Joe's lawyer enters. It's none other than Dizz, the fat guy whose apartment he crashed into. JOE You're my lawyer? Dizz opens up a greasy paper bag and pulls out a bunch of crumpled, stained legal briefs. He looks them over. DIZZ So, uh. Says here you robbed a hospital. Why'd you do that? JOE I'm not guilty! Dizz shakes his head. DIZZ That's not what the other lawyer said. JOE -LRB- exasperated. -RRB- What the other - Listen! You've got to put me on the stand! I can explain everything! We can take them to your house and show them the pod I came in! The Judge starts banging his gavel. JUDGE Y' all shut up, now! I'm fixing to commencerate this trial here! Everyone shuts up. JUDGE -LRB- CONT'D. -RRB- Okay, then. We're gon na. -LRB- showing off the big word. -RRB- Utilize the process of deliberation, examining the various puppitudes of this individual, and see If we ca n't come up with us a verdict up in here. Now, why you think he done it? The Prosecutor stands. He has a stoned/surfer accent. He's wearing a T - shirt that reads `` Lawyers Do It in front of a judge'' PROSECUTOR Okay, number one, your honor? Just look at him. The whole courtroom boos and laughs at Joe. PROSECUTOR -LRB- CONT'D. -RRB- And B, we've got all this evidence about how, like, this guy, like, did n't pay at the hospital, okay? Like, six billion dollars? And I heard that he does n't even have his tattoo. And I'm all. You got to be shitting me! But check it out, man. Judge should be like, Guilty! Peace! The prosecutor sits down, proud of himself as the crowd starts clapping. Joe looks around at everyone clapping and shouting at him. JOE Please! Let me explain what happened! Dizz stands indignantly and slams his fists down on the table. DIZZ Objection! The court quiets down. Everyone looks at Dizz. Joe is pleasantly surprised. A beat. JUDGE What're you objectifying on? Dizz looks unsure for a moment. JOE -LRB- whispering to Dizz. -RRB- C'mon, just put me on the stand! DIZZ Okay. Yeah. Okay, your honor? I object that this guy also broke my apartment! JOE What? DIZZ Yeah, your honor! And I object he's not gon na have any money to pay me after he pays for all the money he stole from the hospital. JOE Do n't say I stole! You're lawyer! The crowd starts to boo Joe. DIZZ And I object he interrupted me when I was watching `` Ow, my Balls!'' This is the last straw for the crowd - they start throwing junk at Joe. Joe stands. JOE Okay, uh, your honor I think we have a mistrial or something! DIZZ I'm gon na mistrial my foot up your ass you do n't shut up! Everyone, including the judge, cracks up. The court is filled with gales of big, stupid laughter. JOE Please, listen! PROSECUTOR -LRB- crude Joe impersonation. -RRB- `` Please, listen!'' The court cracks up again. Diz leans over and high - fives the Prosecutor. JOE I did n't steal anything! I was part of an army experiment, hundreds of years ago. Something must've went wrong. There was a girl, too - The crowd starts shouting Joe down. The Judge scribbles some notes on a computerized OmniPal tablet and frowns at the results. Then he bangs on his gavel until he has silence. JUDGE Alright, easy everyone. Now, sissified individual makes a bunch of good points, about the, uh, allegationisms of, uh, what transgressed at that particular time. So I believe. Joe hangs on the Judge's every word. JUDGE -LRB- CONT'D. -RRB- Hmmm. A long, tense beat. The Judge thinks, the court leans forward. Joe's future hangs in the balance. JUDGE -LRB- CONT'D. -RRB- Hmmm. The Judge stands. He paces, thinking intensely. He stops, his back to the court. JUDGE -LRB- CONT'D. -RRB- My verdict? The Judge drops his pants. ANGLE ON JUDGE'S ASS : `` GUILTY!'' Is scrawled across it. The crowd explodes. Joe miserably bangs his head on the table. BAILIFF He's going to. -LRB- crowd joins in. -RRB- Priiiiiiiiiisonnnnnnnn! Joe, miserable, looks at the screaming crowd. Bailiffs grab Joe roughly and haul him off.",
"INT. GOVERNMENT BUILDING - DAY Joe is in line with his police escort. Various other people are in various lines getting passports, driver's licenses, etc.. JOE What're we doing here? COP Gettin' your tattoo. Joe is lead by a leash to what looks like a big ATM with a computer terminal mounted on it. It says `` OmniPal E - Z ID'' on it. COMPUTER VOICE Welcome to the identity processing program of America! Please insert your arm in the arm receptacle! Joe slides his arm into a hole in the machine. His arm disappears into the machine up to his elbow. We hear the machine tighten its grip on Joe like a blood pressure machine - he is n't going anywhere. COMPUTER VOICE -LRB- CONT'D. -RRB- Thank you! Please speak your name as it appears on your current federal identity card, document number 2. 4. G. 3. Joe looks totally puzzled. JOE I'm not sure if I have an identity card. But my name is - COMPUTER VOICE You have entered the name. NOT SURE. Is this correct, NOT SURE? JOE What? No! It's not correct COMPUTER VOICE Thank you! `` Not'' is correct! Is `` Sure'' correct? JOE What? No! No, it's not! Go back! Cancel! You've got the wrong name! My name Joe Bowers! Not `` Not Sure'' - COMPUTER VOICE You have already confirmed your first name is `` Not''! Please confirm your last name, `` Sure''! JOE No! My last name is not `` Sure''! I mean - no, wait! COMPUTER VOICE Thank you, Not Sure! Your confirmation is complete! Please wait a minute while I tattoo your new identity on your arm! Panicked, Joe tries to yank his arm out of the machine. It wo n't budge. JOE No! Stop! Give me my arm back! COMPUTER VOICE Hey, take it easy! The machine begins tattooing Joe's arm. It's very painful. We hear loud buzzing sounds. Joe tries to pull his hand out to no avail. A progress bar indicates Joe's tattoo is almost done. As Joe screams and pummels the computer with his free hand, a camera flash goes off. We see a picture of Joe's face twisted in anger on the monitor with Sure, Not'' printed along with his height, eye color, fingerprints, etc.. Like a driver's license. COMPUTER VOICE -LRB- CONT'D. -RRB- Thank you, NOT SURE. Your identification file is now complete.",
"EXT. GOVERNMENT BUILDING - LATER Another bland federal building. COP C'mon. Got ta get your IQ and appatude tests. JOE What for? COP To figure out what your appatude is good at - and get you your jail job.",
"INT. GOVERNMENT BUILDING - LATER Rows of people are sitting at testing stations wearing headphones. They're doing dumb little tests like putting pegs into holes, matching colored blocks, touching their noses, etc.. Joe is sitting at one of the testing stations, wearing a pair of headphones. Next to him, a guy is furiously trying to jam a round peg into a square hole. We hear the voice coming from Joe's headphones : COMPUTER VOICE If you have one bucket that holds two gallons and another bucket that holds five gallons, how many buckets do you have? Joe looks confused, like it should n't be that easy, then leans towards a microphone. JOE Two?",
"INT. PADDY WAGON - DAY - MOVING Joe sits in a bus full of the scariest degenerates you've ever seen.",
"EXT. PRISON YARD - LATER The prisoners are herded off the bus and into the prison.",
"INT. PRISON - CHECK-IN - DAY Joe is shoved into a room where PRISON GUARDS are preparing new inmates for life in prison - they're taking their clothes, giving them uniforms and sending them into various lines - Maximum Security, Minimum Security, Parole. PRISON GUARD ` Ttoo. Joe holds out his hand. The Guard scans it. PRISON GUARD -LRB- CONT'D. -RRB- Over there. The Guard shoves Joe towards one of the lines. JOE'S POV : Out in the Prison Exercise Yard, a scary, angry 400 - pound man is sitting, naked, on the ground. His horrible folds of fat cover up what we can only assume are the world's most disgusting genitals. A closer look reveals that he is actually sitting on the face of some poor bastard trapped beneath him. The trapped man's legs kick futilely. Joe stares in disbelief at this horrific image. The man catches Joe looking, points to the guy below him and clearly mouths `` You're next.'' Joe recoils. Joe is now at the front of the line, looking panicked. He's about to be sent off to lockdown. Desperate and terrified, he gets an idea. JOE -LRB- to guard, tentative. -RRB- Uh, actually. I'm getting out of prison today? A beat. The guard just stares at Joe, trying hard to process this. then smacks Joe upside the head. PRISON GUARD 2 You're in the wrong line, dumbass! JOE Yeah, uh. I'm a big dumbass. Sorry. The guard grabs Joe, buzzes him through a security gate, then shoves him into the `` parole'' line. A third guard scans Joe's UPC and checks his computer terminal. PRISON GUARD 3 Uh. Uh, yeah. I do n't see you in here, so you're gon na have to, uh, stay in prison. JOE Could you check again?'Cause I was, like, definitely in prison. -LRB- points off. -RRB- That guy sat on my face and everything. The guard looks off, then looks down at his terminal, getting confused. The guard concentrates very hard, looking for Joe's name. After a beat, Joe takes off running. Everyone just watches him go. Alarms start going off like crazy. Everyone just keeps standing around. The guards look confused and frightened.",
"EXT. CITY STREETS - MOMENTS LATER Joe is running as fast as he ever has. He seems to have put some distance between himself and the cops. But as he runs past some kind of vending machine, we see an infrared beam silently scan his UPC.",
"EXT. CITY STREET - LATER Joe stops for a moment, totally out of breath. He looks up and recognizes a familiar billboard - the Carltons Cigarettes ad. He then notices his pod through the broken window of Dizz's apartment.",
"INT. DIZZ'S APARTMENT - CONTINUOUS Dizz is sitting in front of the TV in his La - Z - John, eating marshmallowy goop with his hands from a giant tub labeled - FOOD. TV ANNOUNCER -LRB- V.O. -RRB- You're watching The Masturbation Network. America's number one network for 300 years! ANGLE ON DIZZ'S FACE : The TV starts pumping out some primitiv bootknocking jam. Dizz settles in, gets comfortable. The mood is broken by a loud knock on the. door. DIZZ Go ` way! ` Bating! The knocking keeps going. Dizz gets up, not happy, and opens the door. Joe runs in, slams the door and pulls down the shades. He looks around, totally paranoid. DIZZ -LRB- CONT'D. -RRB- Hey, get out of here! JOE No way! You just let me, an innocent man, get thrown into jail! DIZZ Yeah, well. you broke my house. JOE Yeah, well. I could have you disbarred. Then maybe you'd go to jail for not having money. Dizz looks scared. DIZZ Really? JOE Okay look, you're the only person I know. You got ta help me. DIZZ So, what do you want me to do? JOE Well, I've been thinking - it's been a thousand years, someone's' got ta have invented a way to travel back in time by now. I mean, I think they were pretty close, even back in my day. Something with Einstein or something? DIZZ Huh? JOE You know, like a time machine? DIZZ Uhhhhhh. Joe looks around, from Dizz's. slack face, to the tub of `` Food,'' to the TV. He slumps against the wall. JOE I guess that was too much to hope for. DIZZ Oh, no, they got a time machine. JOE They do? Are you sure? Can it take me back to 2003? DIZZ Yeah, but it's like really expensive and it breaks all the time? Cuz some guy made it a long time ago? JOE I do n't care, you've got ta take me there. DIZZ Look, I supersize with you, but did n't you go to jail for not having any money? Joe is stumped. Then, a brainstorm! JOE Okay, how about this? You get me to the time machine, and when I get back home, I open a savings account in your name. 1000 years later, it'll be worth billions! Dizz stares at Joe blankly. JOE -LRB- CONT'D. -RRB- Cuz of the interest. You'll have billions of dollars! DIZZ I like money. How many billions? JOE -LRB- making it up. -RRB- Uh. Like, ten! DIZZ Time machine costs 20. JOE Okay, then. 30! 30 billion dollars! Dizz chews it over. DIZZ if I had 30 and the time machine cost 20. What's the minus of 20 and 30? JOE It' s, uh. -LRB- seeing an opportunity. -RRB- Well, that's 80 billion dollars, Dizz. That's a mighty big minus. DIZZ Yeah. I like money. There's a KNOCK at the door. COP -LRB- O.S. -RRB- Police! Open the door! We're looking for an escaped individual, goes by the name, `` Not Sure''! Dizz looks at Joe, then at the door, unsure of what to do. JOE -LRB- whispering. -RRB- 80 billion. A beat. DIZZ He's, uh. Somewhere else. COP -LRB- O.S. -RRB- A coke machine in the vicinity caught his ` ttoo, seemed to be heading for this domicile. DIZZ Well, uh. you ca n't come in. COP Can too! The cops start smashing down the door. Dizz and Joe look at the broken window. DIZZ Let's go get my money. The two of them jump out the window just as the cops kick the door in.",
"EXT. DIZZ'S APARTMENT - NIGHT Dizz and Joe land hard on the street and run towards Dizz's car. They get in the car. Dizz starts it up. JOE Okay, there's just one more thing. We got ta go find this girl first. DIZZ Uh. Um. Is she hot? JOE Um, yeah actually, she's not bad. But - DIZZ Cuz that was n't really part of the deal. A cop jumps out the window and starts running towards the car. JOE Okay, I'll throw in another ten billion, just go! Dizz hits the gas. They peel out.",
"EXT. STREET - MOMENTS LATER Dizz's electric car turns a corner. We hear sirens approaching in the distance. JOE Okay, her pod is up here on the right, so she should n't be too far away. I hope.",
"EXT. ANOTHER STREET - SAME TIME Horny Guy negotiates with Rita. HORNY GUY So when are we gon na do it?'Cause you said 10,000 dollars an hour, and it's been, like, three days? RITA Oh, yeah, soon baby. Why do n't you come back tomorrow? The guy peels off a bunch of 10,000 bills. HORNY GUY Yeah, yeah, baby, cuz when I finally ut - i - lize you, you gon na be payin' me. The guy leaves. RITA -LRB- calling off. -RRB- And you're still on the clock! Dizz' s car comes around a corner. Joe calls out. JOE -LRB- O.S. -RRB- Rita! It's me, Joe. RITA Huh? Ohhh yeah. What - JOE Get in the car! Quick! RITA What the hell's going on anyway? What happened to -? Police sirens get louder. JOE I'll explain everything later, just get in the car! Rita jumps in the car and Dizz takes off.",
"INT. DIZZ'S CAR - CONTINUOUS Dizz takes off as fast as he can. The sirens get louder. Rita notices, as the cops turn the corner, now only a block away. RITA Wait a minute. You've got cops after you?! JOE Yeah. RITA And you made me get in the car?! I got two strikes asshole! JOE I'm just trying to help you! RITA Help me? What'd you do to get cops after you?! DIZZ He robbed a hospital. JOE No I did n't! DIZZ Oh yeah. He also escaped from jail. The cops are gaining on them. JOE Come on! Step on the gas Dizz! DIZZ What's `` gas?'' JOE Just go faster! Suddenly another HUGE DUST STORM blows in, completely obscuring their view. Dizz turns a corner and manages to lose the cops in all the dust.",
"INT. DIZZ'S CAR - LATER The dust clears. Dizz's' electric car putters through the city streets. We hear sirens fade in the distance. Joe looks around cautiously as Rita freaks out in the back seat. RITA It's been a thousand years?! Upgrayed's gon na kill me! He gets mad when I'm a day late with his money. JOE Your boyfriend? RITA Ah. he's sort of a manager too. JOE Well, if you owed him money, you do n't have to worry Rita, he's been dead hundreds of years. RITA But you said there's a time machine! JOE Yeah, there's a time machine, not back then. RITA You do n't know Upgrayed. Upgrayed do n't care where the time machine is - now, then, last week - he'll find a way to come get me. JOE I do n't think you understand - Rita pulls a wad of bills out of her bra. RITA I promised him I'd only be gone a year. I've got ta get this back to him. Joe picks up the money and looks at it. The $ 10,000 bill looks like a garish, over - detailed Master P album cover. In the center is a long - haired former president with his arms around two bikini girls, a 40 in each hand, and a giant dollar sign gold necklace. Various slogans are plastered around : `` Ten Thousand bucks,'' `` That's what I'm talkin' about,'' `` Gettin' Paid,'' `` Haulin' Ass.'' JOE I'm not sure this money is going to be good back in 2003. Rita laughs knowingly, snatches the money back. RITA I'll let you tell that to Upgrayed. Damn! A thousand years? What happened? JOE I do n't know. Maybe they just forgot about us. Joe just shakes his head, sadly. JOE -LRB- CONT'D. -RRB- Everyone must've forgotten about us. DIZZ That's bad, man. Really supersize with you. Joe leans his arm out the window. ANGLE ON JOE'S TATTOO : As they pass an ATM machine, a light scans across Joe's UPC tattoo. Dizz's dashboard computer comes to life. COMPUTER VOICE Dizz Jeeter! You are harboring a fugitive by the name of Not Sure! Joe's mug shot appears on the monitor. COMPUTER VOICE -LRB- CONT'D. -RRB- Please pullover and wait for the police to incarcerate your passenger! Thank you for your help! The car starts to slow down. JOE What are you doing? DIZZ It shut off my battery.",
"EXT. STREET - NIGHT Dizz, Joe and Rita abandon the stalled car and take off running across. the street towards the first place they see - a fancy nightclub. DIZZ Come on! We can hide in there! Joe, Rita and Dizz try to blend into the line leading into the club. Inside, futuristically hip people are dancing and having a great time. As the line moves forward, we see it leads up to a ROBO BOUNCER -LRB- `` Powered by OmniPal!'' -RRB- who scans each person's UPC and looks them up and down before admitting them into the club. The ROBO BOUNCER scans a guy's hand. It speaks in the same familiar Computer Voice. ROBO BOUNCER You are too. -LRB- hard - drive whirring. -RRB- POOR and UGLY to enter! The guy shuffles off. The bouncer scans a girl's hand. ROBO BOUNCER -LRB- CONT'D. -RRB- You are too. FLAT CHESTED to enter! The girl looks shocked and hurt. ROBO BOUNCER -LRB- CONT'D. -RRB- Hey, take it easy! Joe, Dizz and Rita are next in line. Joe puts out his hand, then realizes, and tries to pull it back. JOE Oh, shit, what am I doing? ROBO BOUNCER You are too. WANTED BY THE POLICE! Please wait here for incarceration! They take off running. A guy gets his hand scanned. ROBO BOUNCER -LRB- CONT'D. -RRB- You are too. DARK SKINNED to enter! Joe, Rita, Dizz hear a big noise. They turn and look down the street in horror as the police converge on Dizz's car and start blasting away at it with guns. The cops, dumb - looking and incredibly well - armed, are totally indiscriminate - shoulder - mounted missiles are straying into apartment buildings, etc.. One cop has his shoulder - mounted missile on backwards. It fires out the back, goes straight up - after a beat, a plane crashes in the background. People get excited by the violence. They start cheering the cops on. Random fights start breaking out. Joe, Rita, and Dizz run for their lives. They manage to put a couple blocks between them and the police.",
"EXT. STREET - SUNRISE They round a corner, haggard. They are under a badly designed, unfinished freeway overpass - way too many levels, piles of unused hardened concrete, etc.. RITA How much further is it? DIZZ A few miles I think. Rita sags, Joe leans against the side of pillar, rubbing his head, squinting at the early morning sun. JOE Oh man. I'm still groggy. 1000 yeas of sleep. Boy, I could really go for a Starbucks. DIZZ Yeah, well, I do n't think we got time for a handjob right now. Joe and Rita look at each other, confused. DIZZ -LRB- CONT'D. -RRB- Anyway, Walmart's up there, they got a shuttle that'll take us right near the time machine. Dizz points to a mind - bogglingly gigantic Walmart surrounded by a shantytown of homeless people. Joe and Dizz take off running towards the Walmart.",
"EXT. WALMART - MOMENTS LATER Joe, Dizz and Rita make their way towards the front gate. As they get there, they see 20 cops pull up. They quickly try to disappear into the crowd of beggars. Joe and Dizz push through the mob of starving homeless people clamoring to get in. JOE I ca n't let them see my tattoo, so you pay for us, okay? DIZZ Uh, okay. Dizz's runs his hand over a scanner next to the front entrance. DIZZ -LRB- CONT' D ; CONT'D. -RRB- Three. COMPUTER VOICE Dizz Jeeter! You were harboring a fugitive today! Are you still harboring a fugitive? Dizz looks nervous. JOE -LRB- whispering. -RRB- Say, `` no''! DIZZ Uh. no. COMPUTER VOICE Thank you! Do you know the whereabouts of fugitive Not Sure? DIZZ Uh. No? COMPUTER VOICE Thank you! The three enter through the automatic revolving door. As they exit, a feeble, elderly lady approaches the entrance on her walker. She scans her UPC. COMPUTER VOICE -LRB- CONT'D. -RRB- Velveeta Jordan! Have you seen any dangerous criminals in the vicinity? VELVEETA Well. I'm not sure. COMPUTER VOICE Thank you! You are `` Not Sure''! You are a wanted criminal! Suddenly, the revolving door clamps shut, trapping Velveeta inside. COMPUTER VOICE -LRB- CONT'D. -RRB- Please step away from the criminal while I notify authorities! Sorry for the inconvenience! The frightened old woman starts banging on the glass. We HOLD on the revolving door as several cops hack it open with axes. COP Yeah! We got him! The cops grab Velveeta, roughly throw her to the ground, and hog - tie her.",
"INT. WALMART - MAIN ROOM Joe, Rita and Dizz walk into a huge marketplace. It stretches the length of several football fields. It has everything from Tvs to herds of goats. It is lit mostly by a huge rotted - out hole in the ceiling. They jog by the GREETER on their way to. the main shopping area. GREETER -LRB- rote. -RRB- Welcome to Walmart, I love you. JOE -LRB- uncomfortable. -RRB- Um. Thanks. As other patrons enter GREETER Welcome to Walmart, I love you. Welcome to Walmart, I love you. DIZZ Shuttle bus is over near electronics. It's ` bout a half a mile from here.",
"INT. WALMART - LATER Joe, Rita and Dizz are still running through Walmart. We see many shops within shops. They pass a `` Yogurt, My Ass!'' franchise, and a `` Starbucks Exotic Coffee for Men'' with a line of guys out the door. A sign reads, `` Latte, $ 2000. ` Extra Foam' $ 500,000,000.'' Scantily - clad baristas help customers. Dizz slows down, out of breath. JOE We've been running forever. How much further is it? DIZZ ` Bout half a mile. RITA That's what you said an hour ago! Are you sure you know where we're going? DIZZ Yeah, I know this place pretty good. I went to law school here. JOE In Walmart? DIZZ Yep. Got a fart scholarship. RITA A what? DIZZ Fart scholarship. Took the fart team to nationals in' 68. ` Course that was when I was in shape. I got ta slow down. They slow to a walk.",
"INT. WALMART - A LITTLE LATER Joe, Rita and Dizz walk through a huge appliance area. DIZZ Why do you guys wan na go back so bad? When I studied history in school, they said the past was stupid. JOE Well maybe it was, but at least I was n't wanted by the police. -LRB- wistful. -RRB- I also had a pension coming, and a pretty nice girlfriend who probably died thinking I stood her up. RITA Well, I got no choice. Upgrayed's gon na be so pissed off if I do n't get back. JOE Rita, I'm not sure you understand this completely - RITA No, I do n't think you understand.",
"INT. WALMART - SHUTTLE STOP - DAY They arrive at the shuttle stop. DIZZ Shuttle comes every few minutes. Should n't be too long. RITA Do I have time to use the bathroom? Dizz starts laughing stupidly. Rita rolls her eyes. RITA -LRB- CONT'D. -RRB- I'll be right back. Rita leaves, -LRB- back in the direction they came from -RRB- Joe and Dizz wait. Dizz checks her out. DIZZ -LRB- hornily. -RRB- Mmmm. She's hot. You mind if I hit that? I like having sex with chicks. JOE I think everyone does, Dizz. DIZZ Yeah, but I like it a lot. Ooooh. Joe looks on, kind of disturbed, as Dizz breaks into a weird booty dance, making an embarrassing, primitive sex face. DIZZ -LRB- CONT'D. -RRB- -LRB- filthy. -RRB- Aw, yeah! The dance goes on a couple beats beyond what is funny. People start to look. JOE Dizz. Cut it out! You're gon na get us caught I As Joe waves his hand, trying to get Dizz to stop, we see a TV in the furniture section scan Joe's tattoo. ALL THE TVS COME TO LIFE. COMPUTER VOICE Warning! OmniPal has detected a dangerous fugitive near Walmart shuttle stop 5C! JOE Dammit! Come on, let's get Rita! Joe and Dizz take off towards Rita, but then they see cop cars - indoors - heading from that direction straight for them, blocking their path to the bathrooms. They stop. The shuttle pulls up. The doors open. Joe takes a step towards the shuttle, then stops. JOE -LRB- CONT'D. -RRB- Dammit! What do we do now!? We ca n't just leave her here. On all the TVs in the furniture section, the bad picture of Joe from the ID machine appears. COMPUTER VOICE The fugitive goes by the name Not Sure, and is described as `` a fag.'' Free Starbucks gift `` certificate to whoever apprehends him! Suddenly, 100s of guys snap to attention and start looking all over for him. Joe keeps his head down, trying not to be noticed. The shuttle is about to leave, as the last few people get on. Joe is torn. JOE Damn! If we go get her it's suicide. If we wait for her, we miss the shuttle, and I'm busted for sure. -LRB- gets an idea. -RRB- Wait, I know. How ` bout we go to the time machine. Then, when I qat back to the past, I could just tell Rita not to do the experiment. Then she wo n't even be here. That'11 work, right? Dizz stares at Joe, looking like he's about to have a mental hernia trying to wrap his mind around this. JOE -LRB- CONT'D. -RRB- But wait a minute, she here so. that means I did n't go back in time? DIZZ Uuh. Sirens get closer. A guy recognizes Joe and starts yelling. JOE Okay, no, wait. I just have n't done it yet. Right? So I'll go back, tell her not to do the experiment, then I wo n't have to do it either, because I wo n't have to come here and rescue her if she's not. no, wait a second. DIZZ Uuh. Cops? We now see the cop cars closing in. JOE But. Wait, maybe I already did go back and told her not to do it and she disappeared, but I just did n't see it. But then. what am I still doing here? Did I come back for another. At any point did you notice two of me? Joe clutches his head, collapsing under the weight of the concept, as the sirens converge. JOE -LRB- CONT'D. -RRB- Dammit, how does this time travel work?! The shuttle leaves. The cops pile out of their cars. Joe and Dizz start to run, but it's no use. The cops grab Joe, and throw him into the back of a squad car. JOE -LRB- CONT'D. -RRB- Rita! Dizz presents more of a problem to the cops - he tries to get under a nearby cop car, rolling around in the dirt, totally undignified. The cops drag him out and throw him in a different car. ANGLE ON THE WOMEN'S BATHROOM : Rita comes out just in time to see the cop cars pulling away with Joe and Dizz. She watches, a little scared. A cop starts to glance her way. Before he can see her, she ducks behind a couch. RITA Damn.",
"INT. SQUAD CAR Joe is in the back seat. Two COPS. sit up front. JOE -LRB- O.S. -RRB- Can I just - COP That's enough of your bullshit, sir. One of the Cops leans over and casually Maces Joe. He recoils, rubbing his eyes and screaming in pain. COP -LRB- CONT'D. -RRB- -LRB- looks at computer screen. -RRB- Alright, says here we're supposed to take this alleged individual. To the White House?! COP 2 Hunh? COP Yeah. Says the president wants to see him. Joe barely manages to crack his burned eyes open in surprise. JOE The President? The Cop brandishes the Mace. COP Sir, I'm not telling you again. Joe flinches.",
"EXT. THE WHITE HOUSE The same White House, but with graffiti all over it, a casino attached, a bunch of junked cars on the grass, and a Presidential limo up on blocks. A bunch of girls in bikinis lay out in the yard. The cop car pulls up.",
"EXT. STREET -DAY Rita walks out of the Walmart. She stops a passing guy. RITA Excuse me, could you tell me where the, ah, time machine is. The guy looks her up and down. GUY Baby, I. got a time machine in my pants. RITA Great. Rita keeps walking. The guy calls off to her. GUY Yeah baby, and it's even bigger than the one' at the Science Center. RITA -LRB- to herself. -RRB- Science Center?",
"INT. OVAL OFFICE Joe is shoved roughly into the room. There are three cabinet members - ATTORNEY GENERAL, a Chyna type, SECRETARY OF DEFENSE, A Hispanic bouncer looking guy, and SECRETARY OF STATE, a 14 - year - old boy. They all wear shorts and outfits that look like Wal - Mart Halloween costumes with themes based on their jobs. JOE Wait a minute. I'm the smartest guy in the world? Says who? SECRETARY OF DEFENSE That IQ test you took in prison. You got the highest score in history. 14 YEAR OLD Yeah, dumbass. That's how come President Camacho's makin' you Secretary of Interior. Cuz you're so smart. I'm the Secretary. of state, that's the Secretary of Defense and she's the Attorney General. JOE Look, this has got to be some kind of mistake. That test was too easy. I am not the smartest guy in the world. Joe takes in the dull faces of the Cabinet Members, Dizz, the Cops, the official oil portrait of the current president on the wall with a bad haircut and a Captain - America looking outfit, making a stupid heavy metal face. JOE -LRB- CONT'D. -RRB- Okay even if that's true, I ca n't be Secretary of Interior! I do n't even know what that is! The Cop advances on Joe, brandishing his mace. COP Sir, I'm not gon na tell you again. A SECRET SERVICE GUY wearing only black tights, sunglasses, and an earpiece, grabs the cop and does an atomic pile driver on him. Joe backs away, shaken. PRESIDENT CAMACHO enters with a couple of groupies. Be whispers to them to wait outside, something about having to `` take care of some bi ` ness baby.'' They take off his coat a la James Brown. PRESIDENT CAMACHO So where's my new Secretary of Interior? Everyone points to Joe. Camacho walks over to Joe, towering over him. PRESIDENT CAMACHO -LRB- CONT'D. -RRB- So you're smart, huh? -LRB- sizes him up. -RRB- I thought your head would be bigger. The deposed FORMER SECRETARY OF INTERIOR enters, furious. He's built like a bouncer. FORMER SECRETARY Where is he?!? Where's the little pencildick that took my job?! -LRB- points at Joe. -RRB- Is that him? The Former Secretary rips off his shirt and charges at Joe. Secret Service agents restrain him with various wrestling holds. Joe, terrified, hops on a table, dodging the mass of bodies. The 14 - year - old Secretary of the State starts crying. JOE I'm sorry! I'm Sorry! I do n't even want the job! The Cop charges at Joe again. COP Alright, that's it! You're going down! The Secretary of Defense clotheslines the Cop, causing him to mace Former Secretary full in the face. Former Secretary screams, flailing his huge arms. Former Secretary, blinded, manages to throw off the secret service and comes at Joe. Former Secretary falls on the table, smashing it and sending Joe to the ground. Camacho runs up and kicks Former Secretary in the gut. He goes down and stays down. PRESIDENT CAMACHO Yeah! As the melee continues, Joe seizes the opportunity and makes a beeline for the door. A cop steps between Joe and the exit, brandishing a giant, scary - looking gun. COP I ca n't let you do that, Secretary Not Sure. The fight stops. Camacho cold - cocks Former Secretary for good measure. JOE Look, I do n't understand. I do n't wan na be Secretary of the Interior, why are you making me? PRESIDENT CAMACHO Cuz you're the smartest guy in the world. And we got all these problems. -LRB- yelling down at Former Secretary. -RRB- That this asshole could n't fix! Camacho kicks him again for good measure. JOE What problems? ATTORNEY GENERAL All the crops be dying for some reason, and people are running out of food and shit and there's all these dust storms which caused that garbage abulanche and the economy's all bad and shit. PRESIDENT CAMACHO Yeah, and it's really hurting me in the polls. JOE But I do n't know how to be a secretary of anything. I've never even voted! PRESIDENT CAMACHO Well you better start votin' or whatever you got ta do to figure this shit out, before I kick your smart balls all the way up the roof of your smart mouth. Joe backs away, scared. PRESIDENT CAMACHO -LRB- CONT'D. -RRB- Ah I'm just fuckin' wi' ya. But seriously, you better solve that shit. If you solve it, I'll get you a full presidential pardon. If you do n't, you're goin' back to prison. Camacho starts to leave, stops by the door. PRESIDENT CAMACHO -LRB- CONT'D. -RRB- -LRB- to secret service, re : Joe. -RRB- Watch him. He's smart. He's important too, so if he tries to leave shoot him. Camacho leaves. The cabinet members all stare at Joe for a beat, slackjawed. ATTORNEY GENERAL Do something smart. JOE Uh, well. I think it would be pretty smart if you guys could get my lawyer, Dizz, here because. well, he's really good at figuring stuff out. and stuff. ATTORNEY GENERAL Hmmm. okay. Various cabinet members nod. JOE And also, there's this girl named Rita. You think you could bring her here too? 14-YEAR-OLD -LRB- suspicious. -RRB- Why? JOE -LRB- trying to Come up with something. -RRB- Uh. Well. Uh, you know. The cabinet members mistake his hesitation for innuendo, immediately getting the wrong idea. They start laughing like idiots and doing the finger - in - hole gesture. The 14 - year - old gets so excited he busts out into an R. Kelly style song. 14-YEAR-OLD -LRB- singing. -RRB- Secretary Not Sure gon na uuuu - tiliiiiiize a girl ned Ri - taaaaa. They gon na have interco - o - o - ourse in a sexual wa - a - a - a - a - ay! Joe goes along with it. JOE Yeah. Alright. So you can bring her here, right? SECRETARY OF DEFENSE -LRB- filthy. -RRB- Ooooh yeah. Butt first! All the Cabinet Members laugh and high - five the Secretary of Defense. Joe joins in weakly.",
"INT. HOUSE OF REPRESENTIN' - SENATE FLOOR - NIGHT Congresspersons are having a raucous good time greeting each other - slapping each other on the back, throwing gang signals, etc.. Joe is escorted to a seat by his guards. The lights dim and the crowd falls into an excited hush. The room begins to fill with dry ice smoke. Strobe lights start flashing in time with heavy techno jock jam music. Which leads into an all - out light show. Laker Girl - looking Dancers run out into the middle of this. The spotlight hits them and they start freaking each other in a way that skirts bad taste. The President struts out, waving a towel over his head. After a few `` Hell yeah `` s, he calms the crowd down and begins to read his speech off a Teleprompter. PRESIDENT CAMACHO Shit. ANGLE ON the Teleprompter. It reads, `` Shit.'' It scrolls down, `` I know shit's. PRESIDENT CAMACHO -LRB- CONT'D. -RRB- I know shit's bad right now. With all that starving bullshit. But I got a solution. The crowd starts to get ugly. CONGRESSMAN 1 That's what you said last time dipshit! CONGRESSMAN 2 I got a solution. YOU'RE A DICK! -LRB- claiming. -RRB- South Carolina! What's up! The crowd cheers. People start firing guns in the air. ANGLE ON Joe looking terrified. Fed up, Pres! ent Camacho reaches down and pulls out an even HUGER SCARIER GUN, fires a couple warning shots in the air. The crowd quickly shuts up. PRESIDENT CAMACHO -LRB- cocky. -RRB- That's what I thought. Now I understand everyone's shit's emotional right now. But listen up. I got a three point plan to fix everything. Number one, we got this guy Not Sure. Joe appears live on the jumbotron. PRESIDENT CAMACHO -LRB- CONT'D. -RRB- Number two, he's smarter than anyone in history, and number three, he's gon na fix everything! I give you my word as President! The crowd starts to rally. Joe looks uneasy. PRESIDENT CAMACHO -LRB- CONT'D. -RRB- He'll fix the starvation! And that ai n't all. -LRB- Jimmy Swaggart rhythm. -RRB- I give you my word, he's gon na fix the, crops too! And I give you my word, he's gon na fix the dust storms! ANGLE ON JUMBOTRON : Joe tries to interrupt, weakly raising a hand, but he's ignored. The crowd is eating this up. PRESIDENT CAMACHO -LRB- CONT'D. -RRB- He's gon na fix the economy! He's gon na fix, the abulanchesl He's gon na fix the problems with the cars! Ladies and gentleman, the new Secretary of the Interior, NOT SUUUUUURE! The crowd goes wild, starts shooting guns in the air. President Camacho feeding off their enthusiasm, picks up his even huger gun and starts enthusiastically spraying the ceiling with bullets. The jumbotron, with Joe's terrified face, gets hit with a bullet, and explodes like that scene from `` The Natural.''",
"INT. TUNNEL - MOMENTS LATER The crowd files out. Joe comes out, still surrounded by Secret Service Guards. Dizz is brought to him. DIZZ Congratulations man. I did n't know you were smart. Shit, they got me a room in the White House! Everyone gets laid at the White House. Everyone. Joe leans in to Dizz. JOE Look, I'm glad you're happy about it, but I brought you here cuz I need your help. I do n't know what he's talking about. I ca n't solve all these problems. I want you to draw me a map to the time machine and leave it in my coat pocket. You got that? DIZZ Uuh. JOE You still want that money do n't you? DIZZ Oooh yeah. Man if I had money and a room at the White House. Dizz starts going into his filthy booty dance and making vulgar noises. Joe stops him. JOE -LRB- whisper. -RRB- Cut it out. I told everyone you were really smart, so act smart okay? DIZZ Smart? You mean like you? -LRB- whiney, uptight, overly effeminate imitation of Joe. -RRB- `` Get me back to the time machine so I can see my girlfriend. She thinks I stood her up.'' JOE I do n't sound like that. DIZZ -LRB- whiney, annoying. -RRB- `` I do n't sound like that.'' A guard turns around, kind of surprised. GUARD Shit, I thought there were two of you.",
"EXT. SCIENCE CENTER - DAY It's similar to the Seattle Science center - kind of like a huge college campus, but for dumbasses. Rita looks for the time machine. She heads up some steps into what looks like it could be the Smithsonian. We PULL OUT to reveal she is heading into THE NATIONAL FART MUSEUM.",
"INT. NATIONAL FART MUSEUM - DAY Rita wanders through, looking for the time machine. There are dioramas of cavemen hunting, T - rex skeletons, recreations of the Apollo moon landing, abstract sculpture. All the displays have. one thing in common : a continuous audio track of various farts. Rita passes a kindergarten class being led on a tour, then up to a diorama featuring a life - size stuffed wolly mammoth. She sees a button down below the glass and pushes it. A LONG, LOW FART is heard. Rita shakes her head and keeps walking. Suddenly, she's grabbed by a bunch of Secret service cops. RITA What the hell?! COP You're coming with us!",
"INT. THE WHITE HOUSE - OVAL OFFICE - THE NEXT DAY Various cabinet members around the conference table. Dizz is there, too. Joe is led in by his guards. He's pushed into a chair a little more roughly than is necessary. ATTORNEY GENERAL Oh good. He's here. SECRETARY OF DEFENSE So did you solve all the problems yet? JOE Ah. Well, no. The cabinet members are all stunned and annoyed. SECRETARY OF DEFENSE What?! Why not?! JOE Well. I just got here yesterday. I've been in my room all night. The guards would n't let me go anywhere ATTORNEY GENERAL Oh man. President Camacho is definitely gon na be pissed off. JOE Well, what does he expect? It's gon na. take some time. SECRETARY OF DEFENSE I think he said one week. JOE What? SECRETARY OF DEFENSE He did a press conference this morning, and told everyone you'd have everything solved in one week - starvation, crops, the economy, the dust storms, the garbage abulanches, and a bunch other stuff. 14-YEAR-OLD You better get on that. It's already been like four days. JOE No it has n't! 14-YEAR-OLD Well that's what he told everyone. JOE So you guys are saying I've got three days to solve all the country's problems? The starvation, the dust, the. ab - ulanches? Or I' go back to prison? ATTORNEY GENERAL Yep. Overwhe1med, Joe clutches his head miserably, then gets an idea. JOE Well, if I'm gon na solve your starvation problem, maybe I should have a look at some of these dying crops. Especially the ones by the ah. Science Center?",
"INT. WHITE HOUSE - HALLWAY - LATER Joe's guards escort him to his room. A cop approaches. GUARD Mr. Secretary, we found that whore you wanted. JOE Okay, maybe that's what you guys call women in the future, but ah. GUARD No, sir, turns out she's wanted for unlicensed whoring. JOE Yeah well, they arrested me for stealing. I would n't put too much faith in your legal system. She's an artist. GUARD Yeah, she charged some guy a bunch of money and did n't put out. That could get her ten years. Do n't worry though, we can get her a temporarY whoring license as long as you're doing her. Cuz you're Government. They arrive outside Joe's room where the cops are waiting with Rita. RITA Joe?! GUARD It's Not Sure ma'am. Secretary Not Sure. RITA Secretary? Secretary of what? JOE Ah, would you guys mind if Rita and I talked in the room. A1one. GUARD -LRB- disappointed. -RRB- Oh really? Cuz we were kind of hoping we could all go family style on her. JOE Ah, no thanks. I just like it, you know, regular. GUARD Oh, alright. We'll just listen then. Go ahead.",
"INT. WHITE BOUSE - BEDROOM - LATER Rita sits on the bed, Joe paces. They talk in hushed tones. RITA So if neither of us can leave, how'll we ever get to the time machine? JOE Well, the only way they'll let me go is if I solve all their problems - the economy, world hunger, dust storms, garbage ab - u - I'm sorry, avalanches. RITA So what are you gon na do? JOE I'm thinking we'll escape. Trust me, you do n't wan na go to jail here. RITA Sounds good to me. Should n't be too hard to escape, ` cuz I do n't know if it's just me or what, but these future - ass motherfuckers do n't seem too bright. The Guard yells from outside the door. GUARD -LRB- O.S. -RRB- -LRB- harsh. -RRB- Come on already! Joe lowers his voice. JOE I'm really sorry but, just so they do n't get suspicious, maybe I should just ah, well. here. Joe sits on the bed, starts gently bouncing up and down, making a SQUEAKING NOISE. GUARD -LRB- O.S. -RRB- Yeah! It's about time! JOE -LRB- quietly. -RRB- By the way, do n't worry, I'll sleep on the floor. You can have the bed. Joe keeps bouncing a little faster. GUARD -LRB- O.S. -RRB- Come on! You can do better than that. Do n't make me come in there! Joe bounces a little faster and nervously improvises some lame sex noises. JOE -LRB- stilted. -RRB- Yeah. This is great! Rita rolls her eyes, pushes Joe out of the way and takes charge, bouncing enthusiastically and improvising various filthy sounds. Joe backs away, impressed, turned on and a little scared. Outside, we hear the guards CHEER. GUARD -LRB- O.S. -RRB- That's what I'm talkin' about!",
"EXT. CROPS - THE NEXT DAY Joe, Rita, Dizz, Joe's Guards and Cabinet Members stand at the edge of a HUGE FUTURISTIC WHEAT FARM, with automated watering systems, automated plows etc.. Joe looks on at the shriveled up dead plants, pestilence - ravaged, with flies and parasites buzzing everywhere. It's bleak. JOE Boy ah. Yeah, that sucks. Joe discreetly looks down at his pocket, sees the folded map from Dizz. JOE -LRB- CONT'D. -RRB- Hey ah, I need to go to the bathroom, and, uh. Rita does too. We'll just go behind those bushes. If that's okay. GUARD -LRB- lecherous. -RRB- Aw, yeah! I get it! The cabinet all start laughing like idiots, doing the juvenile finger - in - hole gesture, as Joe and Rita head across the field to some bushes, in a ravine. Rita and Joe reach a place where they ca n't be seen. Joe pulls the map out of his pocket and unfolds it. It's incredibly crude and useless, like a 3 - year - old would draw : a big box in the corner says `` time masheen.'' There's no scale, directionals, or any other markings. JOE Aw, Damnit! Way to go, Dizz. Joe throws it down in frustration. RITA Maybe we should just make a run for it - ask for directions. JOE I do n't think that's a good idea. We ca n't take any chances. My face was all over national TV. There's no way I'm going back to that jail. Joe has a QUICK FLASHBACK, like a Vietnam flashback of the 400 pound guy sitting on the guy's face. JOE -LRB- CONT'D. -RRB- Dammit! Okay, we'll go back, I'll get a better map. Next chance we get, we'11 make a run for it. RITA What if we do n't get another chance? Boy, I better find Upgrayed before he finds me. JOE Upgrayed ca n't find you! Okay? It's impossible. RITA Oh, you think so? Let me tell you a story. I ran off to Buffalo once, did n't tell no one where I was going. I check into a motel, the phone rings - BAM! It's Upgrayed. JOE Yeah, that was a thousand years ago! Just trust me. You're safe. RITA -LRB- starting to believe. -RRB- You really think so? JOE Yes. And I know it's none of my business, but when we get back, you and Upgrayed should think about couples counseling. And maybe you should get an art manager who's not your boyfriend. Just then, the GUARDS come running through the bushes, into the ravine. GUARD Hey! You were supposed to be doing her! JOE Ah. I was. We finished already. Beat. GUARD -LRB- suspicious. -RRB- You sure? RITA -LRB- playing along. -RRB- Yeah. He was great. The Guard puts away his gun GUARD Alright let's get back. They start heading back. Suddenly, the automated sprinkler system comes on. Joe looks at the drops on his arms, notices they're green. JOE What is this? RITA -LRB- tasting it. -RRB- Is it that gatorade stuff? They look up and see a giant tank/water - tower with the Rauncho logo. It says `` RAUNCHO'S GOT WHAT PLANTS CRAVE,'' and `` WITH ELECTROLYTES.'' RITA -LRB- CONT'D. -RRB- They're watering plants with that shit? Joe looks around, sees acres and acres of crops being watered with Rauncho, getting an idea.",
"INT. WHITE HOUSE - CONFERENCE ROOM - DAY Joe meets with the CABINET MEMBERS. He looks frustrated, like this has been going on a while. JOE Once again, I'm pretty sure all that Rauncho stuff might be what's killing the plants. SECRETARY OF DEFENSE But Rauncho's got what plants crave. It's got electrolytes. ATTORNEY GENERAL -LRB- thinking painfully hard. -RRB- So wait a minute. You're saying you want us to put water on the crops? Water? Like out of the toilet? JOE It does n't have to be from the toilet, but yes, that's the idea. SECRETARY OF DEFENSE Okay, but Rauncho's got what plants crave. ATTORNEY GENERAL It's got electrolytes. JOE Look, your plants are n't growing. So I'm pretty sure the Rauncho's not working. Now I'm no botanist, but I do know that if you put water on plants they grow. 14-YEAR-OLD Like from the toilet? JOE Look, you want to solve this problem, I want to get my pardon. So why do n't we try it, and stop worrying about what `` plants crave.'' ATTORNEY GENERAL -LRB- helpful. -RRB- Rauncho's got what plants crave. SECRETARY OF DEFENSE Yeah, it's like the commercial says, `` Plants work hard, and they need a drink that works hard.'' 14-YEAR-OLD Oh, and it's got electrolytes. Joe's about to lose it. JOE What are electrolytes? Does anyone even know?! ATTORNEY GENERAL They're what's in Rauncho. JOE But what are they? ATTORNEY GENERAL They're what they use to make Rauncho. JOE But why do they use them to make Rauncho? SECRETARY OF DEFENSE Cuz Rauncho's got electrolytes. Joe has had it. JOE Alright, look. I'll prove it to you. Is there a library around here?",
"EXT. LIBERRY OF CONGRESS - DAY Establishing shot. Yes, it's spelled `` Liberry.''",
"INT. LIBERRY OF CONGRESS - DAY CLOSE ON Joe's astounded face. He looks around in disbelief as we PULL OUT to reveal that the library apparently contains nothing but miles and miles of pornography. The Cabinet Members and guards are there too. JOE So. all you have is pornography? SECRETARY OF DEFENSE Uh, they got other stuff.",
"INT. LIBERRY OF CONGRESS - STACKS - LATER Secretary of Defense pulls. a book off the shelf that says, `` Extreme Science.'' Joe opens it. We see a woman in a G - string seductively holding a DNA double helix model. He flips through it. It's all quasi - porn. JOE Hmm. Do you have any. older books?",
"INT. LIBERRY OF CONGRESS - DIFFERENT SECTION - DAY Secretary of Defense hands him a book called `` Horny Grandmas.'' JOE That's not what I meant by `` older.'' I need a book that was made a long time ago.",
"INT. LIBERRY OF CONGRESS - DEEP IN THE STACKS - DAY Joe is poring over several ancient, yellowed, mildewed books. Be finds one that seems like what he's looking for.",
"INT. LIBERRY OF CONGRESS - READING AREA - DAY The Cabinet Members are all looking at issues of `` Horny Grandmas,'' `` Moms Who Like to go.'' Joe comes running out, excited. JOE -LRB- his mind reeling. -RRB- I figured it out! Electrolytes are salt. That's your problem. It's just like the Dust Bowl. It probably worked for a few decades, but now salt's building up in the topsoil. That's what's killing the plants. That's what's causing the dust storms - just like the Dust Bowl! Beat. ATTORNEY GENERAL Yeah, that's what we were saying. Rauncho's got electrolytes. Joe sees he's not going to get anywhere. JOE Okay, look. You're just gon na have to trust me on this. You've got nothing to lose. Just switch all the crops to water. 14-YEAR-OLD Like from the toilet? JOE Okay fine. Yes, from the toilet. Wherever you get the water, send that to crops! SECRETARY OF DEFENSE Okay. You do n't have to have a fag attack. 14-YEAR-OLD Hey look! My Grandma! The 14 - Year - Old proudly holds up a centerfold -LRB- we do n't see it -RRB-. Joe gets an eyeful, recoils, and quickly looks away, suppressing a dry - heave. VARIOUS LOCATIONS, Crops, landscape sprinklers, lawns, etc.. Sprinklers come on. The last spurts of Rauncho sputter out, and water begins flowing.",
"EXT. WHITE HOUSE - ROSE GARDEN - DAY Joe and the Cabinet Members stand before what was once the Rose Garden. Joe watches with the cabinet Members as the sprinklers change to water. 14-YEAR-OLD It's not working. JOE Yeah it is. That's water. 14-YEAR-OLD I mean the plants are n't growing. JOE Well, like I told you, it's gon na take a while. Remember? President Camacho walks up with a few groupies. PRESIDENT CAMACHO There's my boy! What's up? You got this problem solved? JOE Well, yes Mister President. I think I do. It may take a while, but if everyone is patient, I'm pretty sure this will work. The crops will start growing, the dust storms will stop, the economy'll get better. You just got ta be patient. So about my pardon - Camacho gives him big overly aggressive bear hug. PRESIDENT CAMACHO My man!",
"INT. HOUSE OF REPRESENTIN' - DAY Camacho addresses congress. Joe sits with Rita, Dizz and the Cabinet Members out on the floor as before. PRESIDENT CAMACHO Today, I solved the biggest bummer in the history of America. How? -LRB- not a rhetorical question, actually forgot. -RRB- Uuuh. remember when I hired Secretary Not Sure? He thought of a bunch of science involving uh,. water and uh. electrolytes. The audience starts nodding, impressed, on board, when they hear `` electrolytes.'' PRESIDENT CAMACHO -LRB- CONT'D. -RRB- And Not Sure did that science to the plants. So now, there will be crops! The problem is solved! The crowd cheers. Joe appears live on the Jumbotron. Various Congressmen pat him on the back, congratulatory. PRESIDENT CAMACHO -LRB- CONT'D. -RRB- And all that other stuff will stop too, like the dust storms, the starvation, the ambulanches and the economy. Be pauses for the crowd to cheer. PRESIDENT CAMACHO -LRB- CONT'D. -RRB- And I'm gon na be going up in the polls! And I'm gon na be gettin' my pole up - ya'll know what I'm talkin' about?! My pole! Everyone CHEERS like crazy as President Camacho grabs his crotch. ANGLE ON Joe, looking a little uneasy. He leans over to the Attorney General. JOE So, ah. Be seems pretty happy. Do you think I could get my pardon now? ATTORNEY GENERAL Yeah, Camacho said you could get it as soon as the crops grow. That way they can lock your ass down if your plan does n't work. He's a good mo - vi - tator. Worried, Joe looks out and sees Congressmen doing some filthy air - booty spank dance, chanting `` Crops.''",
"INT. WHITE HOUSE - BEDROOM - NIGHT Joe looks out the window at the dead rose garden, as Rita lies on the bed. JOE Wow. If this works, I really did save the country. I've never done anything like that before. Beat. JOE -LRB- CONT'D. -RRB- I hope something grows fast. I do n't want to wait too long for that pardon. RITA Well, we can always try to make another run for the time machine. JOE Yeah. I'll get Dizz working on a better map tomorrow. Joe goes over and sits in a chair. RITA To tell you the truth, I'm not in such a big hurry to get back to Upgrayed anyway. And I'm not sure if it's the drugs they gave us in that experiment or what, but I kind of feel like I'm smarter than most of these people. JOE Yeah. I know what you mean. RITA It's kind of a good feeling. -LRB- musing. -RRB-. -RRB- You think Einstein walked around thinking everyone was a bunch of dumbshits? JOE Huh. I never thought of it that way. -LRB- considers. -RRB- Now I know why he built that bomb. Joe lies down on the floor. RITA You know, you do n't have to sleep on the floor. I wo n't bite. Joe is caught off guard, a bit awkward. JOE Oh, ah. that's okay. I would n't want to get you in trouble with Upgrayed - sleeping with some stranger. Rita ca n't help herself, she starts laughing. Joe nervously joins in. RITA Well, if you change your mind, it's better than the floor.",
"INT. WHITE HOUSE - BEDROOM - MORNING Joe wakes up, goes over to the window and looks out at the rose garden. Nothing is growing yet. The sprinklers are on with water, but it still looks barren. He looks a little worried. JOE Shit.",
"INT. WHITE HOUSE - HALLWAY - LATER Joe's guards lead him to a conference room. He runs into Dizz walking the opposite way with a chick on each arm. DIZZ Hey man, these chicks have never seen the inside of the White House. Ladies, this is Secretary Not Sure. CHICK #1 -LRB- hornily. -RRB- Ooooh. I saw you on TV. JOE Oh, yeah. Hey Dizz, can I talk to you a second? -LRB- to the guards. -RRB- Excuse me a second. This is ah, top secret, technical crop stuff. Joe pulls Dizz to the side, talks quietly. JOE -LRB- CONT'D. -RRB- Dizz, you need to draw me a better map. DIZZ `` Draw''? I got it off OmnipalMapSmart. JOE Well get a better one, or just get me the address. Quick. DIZZ I'm kind of busy with these chicks. JOE The money Dizz, remember? DIZZ Oh yeah. Alright. I can do'em fast. Dizz walks towards the ladies, undressing as he goes. Joe turns away in disgust. The Cabinet Members come running up to Joe, in a panic. SECRETARY OF DEFENSE Shit! All shit's broken loose! ATTORNEY GENERAL We got the CEO of Rauncho on the phone, and he's pissed off! Come here, quick!",
"INT. WHITE HOUSE - CONFERENCE ROOM - MOMENTS LATER Joe and the Cabinet Members are gathered around a VIDEO PHONE talking to the CEO OF RAUNCBO, who's in his office, panicking. We hear people rioting outside his building and occasionally bottles and debris hit his window. RAUNCHO CEO What happened?! JOE Ah. Well, we switched the crops to water. RAUNCHO CEO I'm not talking about that. -LRB- points to a computer screen, freaked out. -RRB- Our sales are all like, down. Way down! The stock went to zero and the computer did auto - layoff on everybody! ATTORNEY GENERAL Shit! Almost everyone in the country works for Rauncho! RAUNCHO CEO Not anymore! And the computer said everyone owes Rauncho money! Everyone's bank account is zero now! 14-YEAR-OLD -LRB- scared. -RRB- I think that makes the economy suck! RAUNCHO CEO What're we gon na do?! Shit's going crazy! He ducks as a bottle from the angry mob shatters the window. JOE -LRB- trying to stay calm. -RRB- Okay, ah. Why do n't you just. hire everyone back? RAUNCHO CEO I ca n't! The computer wo n't let me. JOE Ca n't you shut the computer off? RAUNCHO CEO No. I got laid off too. My password does n't work! -LRB- on the verge of tears. -RRB- Why is this happening?! JOE -LRB- reticent. -RRB- Well. It's probably because we switched to water, but - 14-YEAR-OLD You mean this is your fault?! RAUNCHO CEO Yeah, all this shit started when you switched to water! JOE Look, do n't worry. Sometimes things have to get worse before they get better. ATTORNEY GENERAL Huh? We hear another angry mob, this time outside the White House. Joe looks out the window and sees the mob gathering, yelling and throwing stuff. JOE -LRB- trying to play it cool. -RRB- Um. I have to go to the bathroom. Joe casually steps out of the room. IN THE HALLWAY As soon as he's out, Joe takes off running,.",
"INT. WHITE HOUSE - BEDROOM - MOMENTS LATER Joe runs in. Finds Rita. JOE We got ta get out of here. Right now. RITA What's wrong? Joe pulls open the curtain, revealing the angry mob, yelling and throwing bottles. RITA -LRB- CONT'D. -RRB- Oh my God. JOE I knew it! This is what happens when I try to fix something. Camacho bursts in with Guards. PRESIDENT CAMACHO There he is. Get him. The guards grab him and throw handcuffs on him. JOE Wait! I was just trying to help! -LRB- pleading. -RRB- It's gon na take time. PRESIDENT CAMACHO Save your smart - man double - talk brain tricks for the judge. JOE Judge? Oh no, not another trial. PRESIDENT CAMACHO Oh yeah. You're going to the Extreme Court. TV, FULL SCREEN We're watching the news on the Violence Channel. A Violence Channel news graphic comes on. A FEMALE NEWSCASTER with an amazing hairdo, at a news desk, an image of Joe behind her. She is straining to sound smart. FEMALE NEWSCASTER He tried to take water from toilets but it's Not Sure who finds himself in the toilet now. And as history pulls down its pants and prepares to lower its ass on Not Sure's head,. it is daddy justice who will be crapping on him this time. -LRB- dramatic pause. -RRB- We now go live to Violence Channel correspondent, Japhet Rivera, at the Rauncho Shareholders meeting where all shit has broken loose.",
"INT. RAUNCHO HQ - STOCKHOLDERS' MEETING A MALE REPORTER stands in front of the camera. He's a Geraldo - type, like a war correspondent, who's enjoying the mayhem a little too much. Behind him, stockholders yelling, throwing stuff. The Rauncho CEO is at a podium, trying in vain to maintain order. MALE REPORTER Thank you Rhonda. What you see behind me kicks ass. As you can see, these people want answers and - Whoa! A full - on brawl breaks out, and starts spreading throughout the whole room. The reporter watches, getting excited. MALE REPORTER -LRB- CONT'D. -RRB- Oooh yeah! Yeah. Yeah. Kick his ass! The Reporter ca n't help himself, he drops the microphone, and joins in the fight, whaling on the first person he sees. FEMALE NEWSCASTER Thank you Japhet. Kick ass. We'll see more of that action later. A bad picture of Not Sure comes back on. FEMALE NEWSCASTER -LRB- CONT'D. -RRB- With us now to discuss' the trial of Secretary Not Sure, is one of the most important celebrities or our times, the star of `` OW My Balls.'' Welcome, Bob Nyquil. In a WIDER SHOT, we see the STAR OF `` OW MY BALLS'' sitting across a table from her a la Larry King. OW, MY BALLS GUY Thank you, June. You know, it really hurts me to see what's going on. He said he'd make the crops grow, but the only thing he made grow was - The Female Newscaster winks to the camera, then hauls off and KICKS HIM SWIFTLY IN THE BALLS. He SCREAMS in pain, then falls to the floor. OW, MY BALLS GUY -LRB- CONT'D. -RRB- Oooooow! My Balls! The people in the studio all laugh like baboons. BACK ON FEMALE NEWSCASTER FEMALE NEWSCASTER -LRB- finishes laughing, then turns to camera, serious. -RRB- We go now to Buzeta Jones, at the Extreme Court, with highlights. of today's trial.",
"EXT. EXTREME COURT - DAY It's what used to be the Supreme Court, dumbed - down and extremed - out. A FEMALE REPORTER stands in front. FEMALE REPORTER Thank you June. As he awaited trial, Not Sure had this to say to America : `` I do n't care how many people lose their jobs and starve. I'm the smartest man in history, ha ha ha.'' Well let's see who laughed last today.",
"INT. EXTREME COURT - DAY Just like the Supreme court, but of course, dumber. Twelve Judges, who look more like futuristic Pimps, sit on the bench. FEMALE REPORTER It started off boring and slow with Not Sure tryinq to bullshit everyone with a bunch of smart - talk. DIZZ My client wants to address the court, your Extremenesses. Joe stands up, addresses the 12 Justices. JOE I do n't even really understand what I'm on trial for. I never said I was the smartest guy on Earth, you people did. I told you not to make me secretary, but you did it anyway, so I just tried to help. I told you it was gon na take a long time for the plants to grow, and it will work if you give it a chance. I know it will. Look, even if you find me guilty and lock me away, for your own sake you ca n't switch back to Rauncho. Eventually, it will kill everything, and you'll all starve. You got ta believe me. That's all I got ta say. Thank you. Uh, your extreme. ness. es. Joe sits. The courtroom is quiet for a beat. It seems like maybe Joe's words sunk in. Then some REALLY STUPID MUSIC kicks in. The PROSECUTOR gets up and starts dancing around. FEMALE REPORTER -LRB- V.O. -RRB- Prosecutor to turn this trial out.",
"INT. EXTREME COURT - LATER The room is now filled with bikini girls dancing around the prosecutor, fireworks going off, dry ice, giant flags. The prosecutor dances around in front of the 12 Justices like a rapper, doing a call and response. PROSECUTOR Guilty of what? JUSTICES/COURTROOM Talkin' out his butt! PROSECUTOR Guilty of what? JUSTICES/COURTROOM Talkin' out his butt!",
"INT. EXTREME COURT - LATER The chief justice bangs his gavel. CHIEF JUSTICE Not Sure! For ruining the country, we sentence you to. REHABILITATION! The courtroom CHEERS. Joe looks a little relieved. JOE -LRB- to Dizz. -RRB- Rehabilitation? That does n't sound so bad. FEMALE REPORTER -LRB- V.O. -RRB- `` Not so bad''? Here's some highlights from last week on Rehabilitation.",
"EXT. GIANT SCARY STADIUM A Gladiator - style stadium, with a giant sign that reads `` REHABILITATION''. A condemned prisoner runs for his life, pursued by five giant pitbulls and a guy in a golf cart swinging a mace. The pitbulls converge, the prisoner goes down - off - screen - and there are some AWFUL NOISES as he gets finished off. The crowd roars its approval. FEMALE REPORTER -LRB- V.O. -RRB- Good luck, Not Sure! This is Monster Truck week!",
"INT. PRISON - VISITING AREA - DAY Rita visits the condemned Joe. They are separated by thick glass. They speak quietly. RITA So you think you can escape again? Like you did last time? JOE No. They pretty much fixed that. RITA How? They chained me to a big rock. Rita looks over the partition and sees a chain going from Joe's foot to a gigantic boulder. JOE Look Rita, this `` Rehabilitation'' thing is basically a gladiator - style death sentence. Only one guy out of the last ten made it out alive. RITA Well you got a good chance then. I bet you're smarter than all those guys. JOE I do n't think smart matters when a guy's trying to run you over with a giant truck. Look Rita, I want you to go to the time machine without me, do n't wait. RITA I wish there were something more I could do. I'm sorry Joe. JOE No, I'm sorry. It's my fault. We should've made a run for it when we had the chance. Instead I had to stay and screw everything up as usual. RITA You did n't screw things up, they did. You were just tryin' to do the right thing. JOE Yeah, well. PRISON GUARD -LRB- O.S. -RRB- Visit's over! Behind Joe, a forklift starts rolling the giant boulder he's chained to. JOE Guess I better go. RITA Good luck Joe. Rita puts her hand up to the glass. Joe gets up to do the same and is immediately yanked back by his chain.",
"INT. GIANT SCARY STADIUM - NIGHT. Wide establishing shot of the gladiator - style stadium, with a giant sign that reads `` REHABILITATION.'' We see a giant Zamboni - looking thing sweeping up the crushed remains of a vehicle that has been smashed into oblivion. ANNOUNCER -LRB- V.O. -RRB- That's three kills and one more to go. Next up for rehabilitation is Noooot Suuuuure! Are you ready for some car on car action!? The crowd cheers. We see that President Camacho and his cabinet have box seats to this event. ANNOUNCER -LRB- V.O. ; CONT'D. -RRB- How ` bout it for the Dildozer! The crowd cheers as a vehicle the size of four monster trucks comes thundering out of the gate, like a Freudian nightmare. It has a giant phallic - looking drill on the front of it. ANNOUNCER -LRB- V.O. ; CONT'D. -RRB- The Assblaster! Another huge truck, a Hummer times a hundred, but even stupider looking, comes roaring out with a huge phallic - looking jackhammer at the front end of it. ANNOUNCER -LRB- V.O. ; CONT'D. -RRB- And the Bitchmaker! A giant monstrosity with blades in front - like a giant rototiller, but phallic shaped. Joe watches in horror from a holding pen, somehow still chained to the giant rock. JOE -LRB- momentarily detached. -RRB- I never would've guessed that this is how I was gon na die. He talks to a guard. JOE -LRB- CONT'D. -RRB- I get a car too right? GUARD Yeah, here it comes. A pathetic econ - box the size of a Geo Metro, with a flaccid 3 - foot rubber dildo glued to the hood, comes puttering out. The guard unlocks Joe's chain and shoves him in the car. He's handcuffed to the steering wheel. They close the gate behind him. GUARD -LRB- CONT'D. -RRB- Good luck. The guards start CRACKING UP. Joe tries several times to start the engine. It barely starts. ANNOUNCER -LRB- V.O. -RRB- And now, he tried to ruin the country by pouring toilet water on our crops, he cost millions of starving families their jobs. In a WIDE SHOT Joe's tiny pathetic car putters into the arena, dwarfed by the trucks. The three giant monster trucks rev their mighty engines and fire up their weapons It's deafening. ANNOUNCER -LRB- V.O. ; CONT'D. -RRB- Let's get ready to rehabilitate Not Suuuuuuuure! A loud HORN goes off. The bloodthirsty crowd goes wild. The Dildozer charges at Joe. JOE -LRB- to himself. -RRB- Well, ca n't let'em get me without a fight. Bring it on assholes! He guns it, lurches forward and immediately stalls. The rubber dildo flops back and splats against the windshield, startling Joe. He frantically restarts it just in time to maneuver the car between the giant wheels of the Dildozer, which is so huge and jacked up, it roars right over him without even touching him. Joe gains a little confidence. Allows himself a grin, until he sees. WIDE SHOT, the Dildozer hydraulically drops itself down like a lowrider, until it's barely clearing the ground. The Assblaster and Bitchmaker do the same. JOE -LRB- CONT'D. -RRB- Oh shit.",
"INT. WHITE HOUSE - BEDROOM - CONTINUOUS Rita watches the `` Rehabilitation'' on TV. SPORTSCASTER -LRB- V.O. -RRB- Well, this should n't take too much longer. The record's five minutes. He's already been in a minute and a half, and as we all know, he is a pussy. Rita ca n't take it anymore. She turns away and starts sadly packing a suitcase. Dizz enters. DIZZ That's a bummer about Not Sure, huh? RITA Yeah. DIZZ He was a pretty cool guy. I liked him. Too bad he had to go cause all that suffering and shit. Dizz pulls out a folded up paper. DIZZ -LRB- CONT'D. -RRB- Here's the directions to the time machine. Or I could drive you there if you want. RITA -LRB- sadly. -RRB- Thanks Dizz.",
"EXT. GIANT SCARY STADIUM - NIGHT The Bitchmaker comes tearing at Joe, doing a wheelie. Joe just barely out - maneuvers him as a giant wheel comes crashing down, missing Joe by an inch. Joe manages to outmaneuver the Assblaster, charging at Joe from the other direction, but then Joe's car stalls out again in the middle of the arena. The Assblaster and the Bitchmaker position themselves on opposite sides of Joe, and get ready to smash him. Joe frantically tries to restart his car. JOE Come on. Come on. The two gigantic trucks come charging at Joe. Joe looks like a dead man. Then, at the last second Joe's engine turns over just enough to lurch the car forward, out of the way. The two trucks collide. The Assblaster's jackhammer gets chewed up by the Bitchmaker's rotoblades, sending shrapnel into the Bitchmaker's cockpit, KNOCKING OUT THE BITCHMAKER'S DRIVER. Joe breathes a sigh of relief, until he gets rammed by the Dildozer from behind, sending his car flipping and bouncing several times. The crowd goes nuts. Joe's car lands upside - down. It looks like it's all over. But then he sees that his steering wheel has broken off, enabling him to leave the car. He climbs out, his left hand still cuffed to the broken - off steering wheel. He takes off running, narrowly escaping as the Dildozer pulverizes what's left of his car. The crowd's loving it. The Assblaster backs up and stops. The crowd goes wild, yelling some kind of one syllable chant that sounds vaguely like `` dogs.'' Joe looks confused. Then a hatch falls open on the back of the Assblaster, dumping a load of PIT BULLS the size of small horses on the arena floor.",
"INT. WHITE HOUSE - BEDROOM - CONTINUOUS Rita and Dizz watch the same thing on TV. RITA I ca n't watch. Rita turns away from the TV and looks out the window. Something catches her eye. . RITA RITA says. Holy shit. Dizz come here! LOOK! Dizz comes over to the window. Dizz and Rita's POV : A rose has bloomed, along with several other sprouts. The garden seems to be coming to life for the first time. RITA He was right! Dizz, you got ta get me to this Rehabilitation place, now!",
"EXT. ROAD - NIGHT Dizz drives as fast as he can. Rita looks for a way to turn on the radio. RITA How do you turn on the radio? I wan na see if Joe's okay. DIZZ -LRB- to car. -RRB- Radio. Radio! The voice activation does n't work. Dizz leans down closer and closer. DIZZ -LRB- CONT'D. -RRB- Radio! Ra - di - o! Dizz leans down so far into the microphone, he takes his eyes off the road. The car goes bouncing off the road into some crops. In the headlights, we see rows and rows of green sprouts growing. RITA Oh my God. He did it! Hurry Dizz!",
"EXT. GIANT SCARY STADIUM - NIGHT Joe does his best to keep the pit bulls at bay, running and swinging his steering wheel cuffed to his hand at them, and hiding behind the stalled Bitchmaker. ANGLE ON THE STANDS Rita and Dizz come running in. Rita gets as close as security will allow her to the Presidential box, and yells down to them. RITA Mr. President! Mr. President! You got ta stop this thing! The crops are growing! President Camacho, with a groupie on each arm, looks back at Rita yelling to him. PRESIDENT CAMACHO -LRB- to his groupies. -RRB- That chick wants me. RITA Joe - I mean Not Sure - was right! It worked! The crops are growing! Camacho yells back to Rita, condescending. PRESIDENT CAMACHO Sure they are. You got ta wait your turn baby. There's enough President for everyone. Rita sees Joe on the Jumbotron. She looks down a few rows and sees a CAMERAMAN in the press area, covering the action. She gets an idea. RITA Dizz, go get that guy with the camera and take him to those crops we saw. Tell him to broadcast it everywhere. She pulls a big wad of money out of her bra. RITA -LRB- CONT'D. -RRB- Give him this! Bribe him! I'm gon na try to stop this thing.' Dizz runs off. Rita yells to Camacho. RITA -LRB- CONT'D. -RRB- Mr. President! You got ta believe me! The security guards push Rita back. Secretary of Defense recognizes her. SECRETARY OF DEFENSE Hey, is n't that Not Sure's ` ho? PRESIDENT CAMACHO Oh yeah. It is. RITA Just - watch the Jumbotron! You'll see in just a few minutes! The crops are growing! ATTORNEY GENERAL What if she's right? The president considers for a moment. PRESIDENT CAMACHO Hmmm. Okay, you got 5 minutes. -LRB- yells to someone o.s. -RRB- ROPE! Hearing this, the audience starts chanting. AUDIENCE -LRB- in rhythm. -RRB- Rope! Rope! Rope! A rope is lowered from the ceiling Joe climbs it as best he can with a steering wheel cuffed to his hand. He gets up, clear of the pit bulls reach, but looking up, quickly realizes there's nowhere to climb to but a flat ceiling. It's only there as a cruel joke to prolong his suffering. Rita looks up at the Jumbotron, hoping. RITA -LRB- apprehensive, to herself. -RRB- Come on Dizz. You can do it.",
"EXT. ROAD - NIGHT Dizz drives with the Cameraman. Something catches his eye. He stops the car. DIZZ Whoa! Look. DIZZ'S POV : A Starbucks. A blinking sign that says, `` 1/2 OFF ON `` GENTLEMEN'S' LATTES.'' CAMERAMAN Shit that's a good deal. Dizz pulls out the money Rita gave him. DIZZ I got a bunch of money too. I forgot what it was for. CAMERAMAN Probably for lattes. DIZZ Oh yeah. Probably. They pull into the Starbucks.",
"INT. GIANT SCARY STADIUM - NIGHT Joe holds on to the rope for dear life. Be strains to hold on, losing his grip. The Dildozer makes another pass at him. Joe yells to the driver : JOE That other driver called you a fag! The Dildozer peels out in anger, after the Assblaster. The Assblaster charges at Joe, doing a wheelie. The Dildozer enters frame, slamming into the Assblaster and knocking him upsidedown. ON RITA, still being held back by security. She watches Joe, looks up at the Jumbotron. RITA Come on Dizz, what's taking so long.",
"EXT. STARBUCK'S - NIGHT Dizz and the Cameraman emerge from Starbuck's stretching, satisfied. Their pace is agonizingly slow. Dizz is in his boxer shorts. CAMERAMAN Man. that was great. DIZZ Yeah. -LRB- looks down. -RRB-. -RRB- Hey. Was I wearing pants when we went in there? CAMERAMAN Shit. What do I look like, a pants goblin? Another beat of satisfied stretching. Cameraman notices something. CAMERAMAN -LRB- CONT'D. -RRB- Hey look, Starbucks. DIZZ Oh yeah. They stare at it for a beat. Something catches Dizzes eye - A sign that reads `` The Official Exotic Gentleman's beverage of Rehabilitation.'' DIZZ -LRB- CONT'D. -RRB- Wait a minute. This reminds me of something. Dizz zeroes in on the word `` Rehabilitation.'' Be stares at it for a painfully long beat. DIZZ -LRB- CONT'D. -RRB- Uuuh.",
"INT. GIANT SCARY STADIUM - NIGHT The Dildozer is the last remaining vehicle. Joe ca n't hold on to the rope much longer. He starts to slip. The Dildozer charges at him. Joe barely pulls himself back up, but he has no more strength. The Dildozer circles around, dramatically prolonging the kill. The crowd starts chanting `` Grease! Grease! Grease!'' JOE Oh no. ANGLE ON RITA, begging Camacho for more time. RITA Just another 5 minutes, please! The crowd is getting too angry. They start throwing stuff. Camacho looks back at Rita. He has no choice. PRESIDENT CAMACHO GREASE! The crowd goes nuts as grease starts to ooze out of the place where the rope is attached to the ceiling. It drips down towards Joe. JOE Shit. ANGLE ON RITA, watching the Jumbotron, fingers crossed. RITA Come on Dizz.",
"EXT. STARBUCK'S - CONTINUOUS Dizz is still staring at the word `` Rehabilitation'' on the Starbuck's sign. DIZZ Uuuuh. CAMERAMAN What do ya keep readin' that word for? You a fag? The word `` fag'' seems to have jarred Dizz's memory. Words echo in his mind, `` fag,'' `` Rehabilition,'' `` Not Sure!'' DIZZ Fag? Oooh yeah. Not Sure. Shit.",
"INT. GIANT SCARY STADIUM - NIGHT The Grease slips slowly down the rope to where Joe's hands are, making it too slick to hold on to. He starts to slowly slide down. He falls off the rope, lands in the dirt. ANGLE ON RITA. She looks at the Jumbotron, losing all hope that Dizz will come through. ON THE DILDOZER : The Dildozer revs its engine a few times, getting ready for the kill. ON Joe, staggers up, getting ready to run, or dodge the Dildozer. ON RITA. She turns away, not wanting to watch Joe get killed. As she looks down, we hear the cheers of the crowd suddenly turn to CONFUSED MURMURS. Rita allows herself a peek. ON THE JUMBOTRON : A GREEN SPROUT! RITA Yes! Everyone including President Camacho and the cabinet members are looking and pointing at the Jumbotron. The camera pans several rows of growing sprouts. Camacho and the Cabinet Members start to put it together. The driver of the Dildozer, expecting cheers of bloodlust is confused by the quiet murmurs. He too looks up at the Jumbotron. Joe, adrenalined up, fearing for his life, sees only that the driver of the Dildozer is distracted. He makes a run for the abandon Bitchmaker. He jumps in, starts it up and charges at the Dilldozer. The Dilldozer's driver does n't see it coming. Joe does what amounts to a vehicular sucker punch, SLAMMING THE DILDOZER INTO THE WALL. The Dildozer bursts into flames. The crowd becomes interested again. Joe sees the driver is stuck in the burning Dilldozer. He watches for a beat. Be looks conflicted and then realizes he has to save him. He runs over and pulls the Driver out. But as soon as the Driver is safe, he immediately starts beating the shit out of Joe. Then the Driver grabs an axel rod, comes back over to finish Joe off. President Camacho and the Cabinet Members see this. They jump out of their box seats, Camacho in the lead, climb into the arena and pull the driver off, and beat his ass down, rescuing Joe. Camacho raises Joe's hand in victory, pointing at the sprouts on the Jumbotron. The crowd cheers Joe.",
"INT. WHITE HOUSE - LOUNGE AREA - MORNING Joe, Rita, and Dizz are hanging out, having a little after party, enjoying some FOOD - each eating from their own bucket, watching `` Ow, My Balls'' on TV. ON TV : We see the Ow, My Balls guy running around with his crotch on fire, alternately smacking at his crotch and yelling in pain. We see a fireman take aim. with one of those high - powered fire hoses. The high - pressure stream nails him in the balls, lifting him in the air, hurling him 30 feet. He lands crotch - first on a cactus. BALLS GUY Ow! My balls! Joe, Dizz and Rita all have a good LAUGH. Joe scoops a big bite of Food. JOE Man this stuff is good. I'm gon na miss it. -LRB- shoving in a last mouthful. -RRB- Well, I've got a full pardon now, we're free to go, so. You ready to head to the time machine? RITA I'm not going. Joe is stunned. JOE What? Why not? RITA I had some ah, bad habits back there I do n't wan na fall into again. JOE And what about Upgrayed? RITA I think I'm kind of over Upgrayed. And without him, I would n't even have a place to stay. JOE You could stay with me. -LRB- realizing. -RRB- and Sharon. RITA That sounds kinda crowded. JOE Oh, it's not so bad. Sharon's ex - boyfriend stayed with us for eight months once, while he was starting a record label. -LRB- getting bummed out. -RRB- It was kind of crowded actually. -LRB- another depressed beat. -RRB- He still owes me 2,000 dollars. RITA Do n't worry about it. Besides, they offered me a pretty good job at Starbucks here. I'm gon na be a CEO. JOE Starbucks? You're still gon na paint, are n't you? RITA Uh,. yeah. Sure. JOE Well, I guess this is goodbye then. Rita's sad to see him go, but she ca n't quite admit it. Joe, also sad, stands awkwardly, not sure what to say. DIZZ watches them, laughing hornily. Finally, Joe shakes her hand, then picks up his suitcase, getting ready to leave. RITA Hey, Joe? If you ever meet Upgrayed, promise me you'll still think of me the way you think of me now? You know, as a painter. JOE Well of course. Why would n't I? RITA You'll see. Spend a little time with Upgrayed and you'll be surprised what starts making sense. The Attorney General, The Secretary of Defense and the 14 - year - old Secretary of the Interior enter, followed by a cute little FIVE - YEAR - OLD BOY, smoking a cigarette. ATTORNEY GENERAL Hey guess what? Camacho's gon na make you Vice President! They all start patting him on the back, congratulating. JOE Ah. You guys - SECRETARY OF DEFENSE Kick ass! 14 YEAR OLD Oh, and, ah, my son wanted to meet you. Is that okay? JOE Your son? The boy walks up to Joe, shakes his hand. 14 YEAR OLD Extreme, say hello to the new Vice President. EXTREME My Dad says you're gon na be the best Vice President ever! JOE Well, hold on now. I. I ca n't accept the job. Cabinet Members are stunned. ATTORNEY GENERAL What?! Why? JOE I got ta get home. 14-YEAR-OLD But how are we gon na fix all our problems? ATTORNEY GENERAL Yeah. When you switched to water? And you turned off the computer? Taxes are n't working now. SECRETARY OF DEFENSE Yeah, and there's a. -LRB- struggling with the pronunciation. -RRB- Nuk - uller - er reactor in Florida that's not working and it's leaking or something. 14-YEAR-OLD I thought it was in Georgia. ATTORNEY GENERAL Georgia's in Florida. Is n't it? Joe starts to look stressed, then gathers himself. JOE Look, you guys are gon na have to solve these problems yourselves. SECRETARY OF DEFENSE How? JOE You know, you think about it, you work it out. Like we did with the crops. ATTORNEY GENERAL Huh? SECRETARY OF DEFENSE -LRB- defeated. -RRB- Ah, it's so complicated. The Cabinet members all groan, making various GIVING UP NOISES. JOE Well. so what if it's complicated! The country's depending on you! Come on you guys! ATTORNEY GENERAL Ah, forget it. JOE Look, you ca n't just keep giving up so easily. You've got ta take command. Make decisions! Think about things! If you do n't, who will? More blank, confused stares from the Cabinet members. EXTREME So you're just gon na leave us? JOE -LRB- having a meltdown. -RRB- Look, I do n't wan na go, but I ca n't stay. I'm not a leader. I mean, I got lucky once, but. I got ta get back. to my life. -LRB- clutching his head, unravelling. -RRB- But if I leave - you guys'll. who knows what'll happen to the world? Rita senses Joe is wavering. She gets an idea. RITA Joe. I think you should stay. JOE But I ca n't just. TJ Swan's - Rita walks over to Joe, determined, on a mission. RITA Joe. Can I talk to you? Alone. JOE -LRB- confused. -RRB- Huh? Okay. She pulls him back into a room with a pool table and shuts the door. JOE -LRB- CONT'D. -RRB- -LRB- confused. -RRB- What's going -? Rita jams her tongue down his throat and throws him down on the pool table. Joe does n't put up much of a fight, goes with it. The music we heard earlier on the Masturbation Network kicks in, this time as score.",
"INT. WHITE HOUSE - LOUNGE AREA - CONTINUOUS The Cabinet Members all crowd around the door to listen. 14-YEAR-OLD Hey, this door's got a keyhole! He leans down to look, but Dizz knocks him out of the way like a football player, and starts watching. We do n't hear Joe and Rita, but from the noises Dizz is making, we get the idea that they're going at it pretty good. DIZZ Ooooh yeah! Mmmmm yeah. Damn. Way to go! Utilize! Yyyyyyyyeah! Not Sure kicks ass!",
"INT. WHITE HOUSE - LOUNGE AREA -. LATER The Cabinet Members are all sitting around. Joe stumbles out. He's only wearing his underwear, but does n't seem to care. He looks a little happier and a tad stupider than he did before. He flops down in a chair, grabs a handful of Food, and eats it, thoughtfully. JOE You know. Maybe I do n't need to go to that time machine right away. Cabinet Members all cheer. EXTREME Yeah. That ride sucks anyway. Beat. JOE -LRB- confused. -RRB- Ride?",
"INT. TIME MACHINE Joe, Rita and Dizz sit strapped into a car on a track, like a typical amusement park ride, or haunted house. A Voice Over begins. Note : this is not the Computer Voice, it's more like a Vincent Price horror movie voice. VOICE OVER Welcome to the Time Machine. We are going to take you back. Back! BACK! First, to the year 1939, when Charlie Chaplin and his evil Nazi regime enslaved Europe and tried to take over the world! A spotlight goes on. We see a wax figure of Charlie Chaplin in his classic Tramp costume, his arm extended in a Nazi salute amidst a mishmash of various other historical perversions. ANGLE ON Joe and Dizz. JOE So you knew this thing was just a ride the whole time? DIZZ Yeah. You thought you could really travel through time? JOE Well. Yeah. I guess. DIZZ Boy, for the smartest guy in the world, you're pretty dumb. JOE Well, why did n't you tell me? Dizz is a little embarrassed. DIZZ I like money. Sorry. JOE But if it's not a real time machine there would n't have been any money. Long beat on Dizz, trying to put it together, then. DIZZ Ooooooh yeeeah. Shit. Joe looks at Rita. JOE Well, I guess we're stuck here. Might as well make the best of it. RITA Yup. Joe puts his arm around Rita. They both smile and enjoy the rest of the ride. VOICE OVER Fortunately, Charlie Chaplin's evil career was cut short by cocaine addiction. We see mug shots of Robert Downey, Jr. with a Charlie Chaplain mustache airbrushed on.",
"INT. HOUSE OF REPRESENTIN' - DAY Joe is giving a speech, being cheered by the Congressmen and audience. Dizz is on one side of him and Rita on the other. NARRATOR -LRB- V.O. -RRB- And so after serving a short term as Vice President, Joe was elected President of America. Dizz became Vice President and Rita, the former prostitute, became First Lady. Under President Not Sure's leadership, a new era dawned. As the cheers subside, Joe continues his speech. JOE And we need to stop relying on computers all the time, and start making more decisions and figuring things out for ourselves. BEGIN MONTAGE Various people watching his speech people, `` servers'' in Starbucks, shantytown, hospital JOE -LRB- CONT'D. -RRB- You know, there was a time when people did n't have computers. It was n't easy, but they built airplanes, and pyramids and ships.",
"INT. LIVING ROOM - CONTINUOUS The JUDGE, from before, watches the speech with his FAMILY OF FIVE, each on their own La - Z - John. JOE And there was a time in this country, a long time ago, when reading was n't just for fags. And neither was writing. People wrote books and movies - movies that had stories so you cared about who's ass it was and why it was farting. JUDGE He's not so bad. for a fag. BACK TO HOUSE OF REPRESENTIN' JOE -LRB- on a roll. -RRB- And we got ta stop calling our women whores! ANGLE ON RITA : she looks around uncomfortably and claps sheepishly. JOE -LRB- CONT'D. -RRB- And start calling them chicks again! The crowd CHEERS. JOE -LRB- CONT'D. -RRB- I know these things are n't easy to do. I'm pretty lazy myself. But you know, sometimes you have to challenge yourself, and do something that matters, cuz if you do n't, you'll wind up with a hollow empty feeling inside. Beat. The crowd looks a little confused. CONGRESSMAN You mean like when you're hungry? CONGRESSMAN 2 -LRB- cracking up. -RRB- Or like when you got diarrhea? Congressmen all start cracking up and making fart noises. JOE Yeah, why not. like when you got diarrhea. The crowd CHEERS again. The applause grows and the crowd starts chanting. AUDIENCE -LRB- chanting. -RRB- Not Sure! Not Sure! Not Sure! Joe grabs the same big gun President Camacho had and awkwardly shoots it in the air. The recoil almost knocks him down, as the crowd goes nuts.",
"EXT. ROSE GARDEN - STILL MORE YEARS LATER Joe and Rita play with their kids. NARRATOR Joe and Rita had three children, the three smartest kids in the world. We PAN OVER to Dizz, surrounded by eight girls in bikinis waiting on him hand and foot. NARRATOR -LRB- CONT'D. -RRB- Vice President Dizz took eight wives, and had a total of thirty - two kids,. Several filthy kids run around, pulling roses out of the ground, throwing mud. NARRATOR -LRB- CONT'D. -RRB- thirty - two of the dumbest kids to ever walk the earth.",
"INT. THE WHITE HOUSE Joe and family relax in the Oval office. NARRATOR -LRB- CONT' D. -RRB- Okay, so maybe Joe did n't exactly save mankind, but he got the ball rolling. And that's pretty damn good for an Army Electrician. We PAN OVER to Rita, doing a HIDEOUSLY BAD OIL PAINTING, as Joe looks on proudly. FADE OUT. CODA OVER CREDITS : EXT.. FILTHY STREET - DAY We see another pod come to life, creaking open. We pullout to reveal UPGRAYED getting out of the pod. He rises, dusts himself off, starts walking. UPGRAYED -LRB- determined. -RRB- I'm gon na go find that ` ho. THE END?"
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] | In 2005, Corporal Joe Bauers, a United States Army librarian, is selected for a suspended animation experiment on grounds of average appearance, intelligence, behavior, etc. Lacking a suitable female candidate within the armed forces, they hire Rita, a prostitute whose pimp "Upgrayedd" has been bribed to allow her to take part. The experiment is forgotten when the officer in charge is arrested for having started his own prostitution ring under Upgrayedd's tutelage. Over the next five centuries, the expectations of 21st-century society lead to the most intelligent humans choosing not to have children, while the least intelligent reproduce prolifically, which creates generations that collectively become increasingly dumber and more virile with each passing century. In 2505, Joe and Rita's suspension chambers are unearthed by the collapse of a mountain-sized garbage pile, and Joe's suspension chamber crashes into the apartment of Frito Pendejo, who releases him. The former Washington, D.C. has lost most of its infrastructure, with people living in plastic huts called "domistiles". The human population has become morbidly stupid, speaks only low registers of English competently, and is profoundly anti-intellectual, with individuals being named after corporate products. Suspecting hallucination, Joe enters a hospital, where he is incompetently diagnosed, and comes to realize what has happened to him and to society. He is arrested for not having a bar code tattoo to pay for his doctor's appointment, and after being assigned the grossly incompetent Frito as his lawyer, he is sent to prison. Rita returns to her former profession. Joe is renamed "Not Sure" by a "stupid" speech-recognition tattooing machine. He takes an IQ test and is assessed as the smartest person alive. He then tricks the entrance guard by telling him that he was in the wrong line and he should be in the getting out line. He escapes by simply walking out the door while the guard is checking his prisoner exit records. Once free, Joe asks Frito whether a time machine exists to return him to 2005, and bribes him with promises of riches through compound interest on a bank account Joe will open in the 21st century. Frito claims he knows of one, and leads him with Rita to a gigantic Costco store, where a tattoo scanner identifies Joe. He is apprehended, but is surprised to be taken to the White House, where he is appointed Secretary of the Interior, on the grounds that his IQ test identified him as the most intelligent person alive. In a speech, President Camacho gives Joe the impossible job of fixing the nation's food shortages, Dust Bowls, and crippled economy within a week. Joe discovers that the nation's crops are irrigated with a sports drink named "Brawndo", whose parent corporation had purchased the FDA, FCC, and USDA. When Joe has the drink replaced with water, Brawndo's stock drops to zero, and half of the population lose their jobs, causing mass riots. Joe is sentenced to die in a monster truck demolition derby featuring undefeated "Rehabilitation Officer" Beef Supreme. However, Beef Supreme's derby vehicle is too large to enter the arena. Frito and Rita discover that Joe's reintroduction of water to the soil has prompted vegetation to grow in the fields. During the televised event, they arrange for the sprouting crops to be shown on the stadium's display screen, and Camacho gives Joe a full pardon, appointing him Vice President. Joe and Rita eventually find that the "time masheen" Frito had mentioned is merely an amusement ride which is history-themed (but, of course, inaccurate). Following Camacho's term, Joe is elected President. Joe and Rita marry and conceive the world's three smartest children, while Vice President Frito takes eight wives and fathers 32 of the world's stupidest children. | Idiocracy |
[
"FADE IN on the words CZECH AIRLINE. We are panning across the words on the side of the plane.",
"INT. AIRPLANE ANGLE DOWN on a tray table. Crumpled Czech bills and coins are on it. Hands are counting the money. The airline hostess announces the arrival at JFK - in CZECH. A hand reaches into a breast pocket - pulling out two passports. One is opened. Belongs to EMIL SLOVAK. The next passport belongs to OLEG RAZGUL. The hand passes the Oleg Razgul passport to the man next to him. We notice several empty airline bottles of vodka and a small disposable camera on Oleg's tray table. The passport is set down. Oleg picks it up. We hear Emil's voice in CZECH. The scene is subtitled in ENGLISH. EMIL -LRB- V.O. -RRB- Just do what I do. Say the same thing I say. Do n't open your mouth. OLEG -LRB- V.O. -RRB- Okay.",
"INT. PASSPORT CONTROL - KENNEDY AIRPORT - DAY CAMERA DOLLIES down a long line of passengers. They are split into two lines - one for Americans, the other for visitors. CAMERA finally arrives at EMIL SLOVAK. An unshaven Czech in his mid - 30's. Tall, scraggly beard. Piercing blue eyes. He's dressed in an outdated suit. His eyes are alert, cunning and smart. OLEG RAZGUL, stands in line behind Emil. Oleg is big. Not tall - but wide. A wrestler's body. Emil looks at Oleg. -LRB- The following is in CZECH and subtitled in ENGLISH. -RRB- EMIL Do n't fool around. OLEG Okay. Oleg holds up his disposable camera - at arms length - to take a picture of himself. EMIL Did you hear what I said? OLEG I want to document my trip to America. IMMIGRATION OFFICER Next. -LRB- Emil steps up. -RRB- Could I see your documents, please? EMIL Yes sir. He hands the passport to the officer who runs it through an image swipe. Emil glances furtively back to Oleg. IMMIGRATION OFFICER What is your intended purpose of your visit to the United States? EMIL Two weeks holiday. IMMIGRATION OFFICER How much money are you carrying with you? EMIL I have five - hundred dollars. IMMIGRATION OFFICER Can you show me? Sir, no cameras in the FIS area! Oleg was about to take a picture of Emil and the Immigration Officer. Oleg puts the camera away. Smiles sheepishly. IMMIGRATION OFFICER -LRB- CONT'D. -RRB- -LRB- to Emil. -RRB- Is he with you? Are you travelling together? EMIL Yes. IMMIGRATION OFFICER Please join us. -LRB- to Oleg. -RRB- Come on forward. EMIL Is there a problem? IMMIGRATION OFFICER No, you're travelling together. I want to talk to you together. Hi, how are you? Can I take a look at your documents? -LRB- takes Oleg's passport. -RRB- Are you related? OLEG Yes. he's my friend. IMMIGRATION OFFICER Okay. You're a Czech national and you're a Russian national. How do you know one another? Oleg starts to speak, but Emil cuts him off. EMIL We are both from Prague. IMMIGRATION OFFICER -LRB- to Oleg. -RRB- How long are you planning to stay? EMIL Two weeks. IMMIGRATION OFFICER I'd like to speak for himself, okay? EMIL He does n't speak English. OLEG I speak English. IMMIGRATION OFFICER -LRB- to Oleg. -RRB- Then answer my questions. Where were you planning to stay during the two weeks that you're here? OLEG New York. IMMIGRATION OFFICER Yes, we're in New York now. But where are you planning to stay in New York? OLEG A cheap hotel. IMMIGRATION OFFICER What are you coming here to do? OLEG I'm here for movies. IMMIGRATION OFFICER Movies. to be in the movies or to see movies? OLEG Yes. No. Both. When I was a boy, I see movie at school called `` It's a Wonderful Life'' directed by Frank Capra. Ever since I want to come to America. Land of the free. Home of the brave. A land where anyone can be anything. As long as they are white. IMMIGRATION OFFICER Excuse me? EMIL He made joke, bad joke. First time on airplane. The SUPERVISOR comes over to see what the problem is : IMMIGRATION OFFICER Well, they've got valid visas, but they do n't have much money. Uh. and I'm not. uh, I think there's a possibility they may be coming to live and reside. SUPERVISOR Look how long the line is. We got ta move'em out. I'll take them down to secondary. Emil looks at Oleg, pissed.",
"INT. P.B. HERMAN'S RESTAURANT - DAY The place is empty except for one table at the end of the bar. EDDIE FLEMMING, Manhattan's most famous detective, and his savvy, black partner, LEON JACKSON are having cocktails. Eddie is smoothly handsome, tough, smart and tired. Not only is he the best homicide detective Manhattan has ever seen, he's continually mentioned in New York columns and has been the subject of several magazine articles. There's even been a TV movie about one of his biggest cases. Leon has been with Eddie a long time and was also featured in the TV movie. Sitting with Eddie and Leon is ROBERT HAWKINS, host and star reporter for the tabloid show, `` Top Story.'' Hawkins is also the best in the business and has dealt with them all : Joey Buttafuco and Amy Fisher, Lorena Bobbit and OJ. Wait staff bustles in the b.g. doing the morning set up. Hawkins listens as Eddie, cigar in hand, finishes a `` war story'' and a vodka tonic at the same time. EDDIE So we're waitin' to hit this warrant - we got Emergency Service with the heavy weapons standin' by - ready to go. I say, lem me get a cigar outta the car. I go to get the cigar and BOOM! All the sudden I turn around and a kid with a shotgun let one go. Right where I was standin'. That coulda been it. I coulda had my head blown off and for what? Some stupid kid got panicky, takes the safety off and it's over. If I had n't gone back for that cigar - for a bad habit - I would've had my head blown off. HAWKINS Jesus Christ. PAULIE, the owner, walks up. PAULIE Speakin' of bad habits, everybody okay? HAWKINS Another martini. LEON Coffee for me, I got ta slow down. EDDIE Vodka tonic. LEON -LRB- rethinks it. -RRB- Maybe you could just put in a shot of Martell? Paulie takes the drinks off the table and an empty bottle of vodka. LEON -LRB- CONT'D. -RRB- -LRB- of Eddie's story. -RRB- It was freaky, I'll tell you. Stupid kid. EDDIE What's the kid gon na say - sorry? Meanwhile I'm not here anymore. Like last week - we were at the morgue and this guy was all chopped up - spleen here - liver there - his heart in a pan. Six hours ago this guy was walkin' his dog or buyin' a quart of milk. Who knows? But some kid's robbed him for $ 3 or some shit and shot him and now you ca n't tell if he's a piece of beef or a human being and I'm thinkin' that's me. Sooner or later. That's me. HAWKINS Sooner or later that's everybody. EDDIE Not chopped up. Not chopped up like that. I mean, what do I got left? Coupla articles. A medal or two. Plaque here and there and in a coupla years no one remembers me anymore. HAWKINS I think you're getting a little moody there, Eddie. EDDIE I'm not moody. Hawkins and Leon share a look. HAWKINS Is n't he a little moody? LEON Of course he's moody. He thinks he's in love. HAWKINS In love? With who? Paulie delivers the drinks and sets some cigars on the table. Takes a seat next to Eddie. Eddie asks Hawkins. EDDIE How old are your kids? HAWKINS My kids? Let's see. Susan's 15. Aundrea's 9. Do n't tell me you're thinking about having a kid! How old are you? Never mind. Let me just tell you this : Every stupid cliche you hear about kids - they change your life, they make you a better person, they make you whole. -LRB- beat. -RRB- It's all true! Before I had kids when friends talked about their kids, I wanted to vomit. Now - I get it. Am I right, Leon? LEON Absomotherfuckin ` lutely. You can have all three of my ex - wives. But somebody so much as looks sideways at my four girls - I'd kill'em. -LRB- takes out his wallet. -RRB- You have n't seen my youngest have you? As he hands pictures to Hawkins his cell phone rings. LEON -LRB- CONT'D. -RRB- Yeah? HAWKINS Paulie, you've got kids, right? PAULIE My kids do n't talk to me anymore but they were great when they were young. LEON -LRB- into the phone. -RRB- Sure it's him? Great! -LRB- collapses the phone. -RRB- Unique's home. They all rise from the table. EDDIE Paulie, I need the cure. PAULIE Step into my office. Leon and Hawkins sit back down as Eddie and Paulie leave. HAWKINS So you got your kids listening to Opera? You still singing in the church on the weekends?",
"INT. SECONDARY IMMIGRATION OFFICE - DAY Now other officers are questioning Emil and Oleg. They've been there a while. The SECONDARY OFFICER is looking Oleg. SECONDARY OFFICER Okay. You work in a vodka factory. I understand that. -LRB- to Emil. -RRB- And what kind of work do you do? EMIL I am butcher. SECONDARY OFFICER You're a butcher? What do you use pig intestines for? EMIL You stuff sausage in it. SECONDARY OFFICER And what do you do with the bones? EMIL Dog food. Emil looks at Oleg. Blaming his stupid responses at Passport Control for their detainment. SECONDARY OFFICER Are you married? EMIL No. Are you proposing? ANGLE UP through a thousand ICE CUBES. A face plunges towards us.",
"INT. MENS ROOM Eddie has his back to us as he dunks his face into a sink full of ice. He dries his face, looks into his bloodshot eyes. Presents a small black ring box to the mirror. EDDIE Will you marry me? Wan na get married? What are you doin' Saturday? Leon enters. Eddie turns. EDDIE -LRB- CONT'D. -RRB- I'm gon na propose. LEON When? EDDIE Tomorrow. At lunch. LEON You ready? Eddie leans back and drops some Visine in his eyes. Turns. EDDIE The thrill of the hunt. I love it.",
"EXT. TIMES SQUARE - DAY Oleg and Emil stare at the bright lights - all the nonstop action. Each stands with an old suitcase. OLEG -LRB- in Russian. -RRB- Look. Times Square. Just like in the movies! EMIL -LRB- in Czech. -RRB- Do n't speak Russian! OLEG -LRB- in Russian. -RRB- Why? Why do I always have to speak to you in Czech? EMIL -LRB- in Czech. -RRB- Because I do n't like your ugly language. I heard enough of it in school! Now speak Czech or English. And do n't fool around anymore. You almost got us thrown out! Emil pulls out an envelope with Milos' address on it. This is who they came to see. Emil hails a CAB. Oleg is staring inside a camera store - at himself on a monitor. A videocamera's pointed out in the street. OLEG Look. New videocameras. Color viewfinder. Image stabilization. Solarization. Night vision. EMIL We have no money. Come on. Oleg stares at the videocamera - dying to have one like this. Emil slides into the cab. CABBIE Where you wan na go, buddy? Emil pulls out the post - marked envelope. Points to the return address on it and passes it through the slot to the Cabbie. EMIL Here. Emil looks out the window - no sign of Oleg. Then, Oleg hurries out the camera store, gripping something inside his coat. He flings both suitcases in the trunk, SLAMS it shut and jumps in the back seat. He opens his jacket - pulling out the VIDEOCAMERA he just stole. EMIL -LRB- CONT'D. -RRB- Go! Oleg smiles sheepishly at Emil.",
"EXT. SPANISH HARLEM - DAY Eddie's car pulls up. Eddie, Leon and Hawkins get out. HAWKINS So what's unique? EDDIE Not what. Who. Eddie passes Hawkins a Polaroid - of a woman on a bed - covered in blood. EDDIE -LRB- CONT'D. -RRB- He's from Antigua. His girlfriend was taking too long to put her make - up on. they were late for a party. Stabbed her with a beer bottle. HAWKINS That's unique. EDDIE Yeah. And he still went to the party. Leon moves to a LOOKOUT - gives him a twenty. LOOKOUT Top floor. Back room. EDDIE Yeah. I make big cases, they make the news and I look good. But the problem with becoming a star is downtown. They shoot at stars. Now be quiet. Shhh. As they reach the doorway - Eddie surprises two crackheads. Waves them off. They hurry away. EDDIE -LRB- CONT'D. -RRB- I hope this prick does n't run. My knees are killing me. Stay behind me. HAWKINS You're worried for my safety. I'm touched. Eddie flattens against the building - watches Unique descend the fire escape. HAWKINS -LRB- CONT'D. -RRB- Ready? EDDIE Keep them out of my way. HAWKINS Okay. You ready? EDDIE Yeah, yeah. Jesus. Eddie closes in. HAWKINS -LRB- into his cell phone. -RRB- COME ON! COME ON! YOU FUCKING GUYS, LET'S MOVE IT! Unique is climbing down the fire escape - before he gets to the bottom, Leon bursts through a door behind him and kicks the fire escape, sending Unique flying into the alley. Where he lands dropping his gun. Eddie pulls him off the ground as Leon scoops the gun up. EDDIE What's your rush? Going to a party? UNIQUE Why you chasin' me, man? EDDIE I do n't know. You always come outta your house that way? UNIQUE It's not my house, man. I do n't live here. EDDIE Well, sounds like burglary to me. Leon cuffs Unique who recognizes Eddie. UNIQUE I know you man. An unmarked van comes tearing into the scene. Disgorges a mini - cam team that starts filming but they missed the bust. HAWKINS -LRB- to Eddie. -RRB- Any chance we can do that again? EDDIE Again? I did n't wan na do it the first time.",
"EXT. EAST SIDE - LATE DAY The cab is in front of an old five - story brownstone. Oleg gets the bags out of the trunk as Emil tucks the envelope into his jacket, then steps up to the old building. He looks back at Oleg - who's VIDEOTAPING him. EMIL Turn that off! Get the bags. OLEG Why should I carry your bag? I am not a dog. EMIL For five years I paid for your stupidness - you'll carry my bag for the rest of my life if I say so. -LRB- challenging. -RRB- Unless you refuse, Oleg. Oleg looks at Emil. Even though Oleg is stronger than Emil, he fears him. He picks up both bags. Emil searches the occupant list over the buzzers to the apartment building. EMIL -LRB- CONT'D. -RRB- There. 5RW. Emil pushes ten of the buzzers except 5RW. A BUZZER clicks and Emil pushes it open.",
"INT. MILOS' APARTMENT BUILDING - STAIRWELL - DAY The brownstone has no elevator so Emil and Oleg climb the stairs. Oleg cradling his camera. Emil notices a crack pipe on the floor and picks it up. Smells the bowl. OLEG What? EMIL Smell like chemicals. for smoking drugs. Emil pockets the pipe and climbs to the top floor, moving down the dirty hallway to a corner door.",
"INT. MILOS' APARTMENT BUILDING - HALLWAY - DAY He KNOCKS. FOOTSTEPS approach. The door is opened by MILOS - a 40 - year - old Czech, dressed in stained plumbers overalls. He is surprised to see Emil and Oleg in his doorway. Oleg films him. MILOS Emil?! EMIL Surprise! Surprise! Milos shoots a look across the tiny kitchen to TAMINA, his comely wife.",
"INT. MILOS' APARTMENT - CONTINUOUS Emil pushes his way inside. Oleg follows. Milos wears plumbers overalls but Emil notices sports a Rolex. Tamina has on a faded dress but despite their cheaply furnished apartment she wears an expensive brushed gold necklace, bracelet and big pearl earrings. The room is furnished with kitsch from Disney World and Las Vegas. The only anomaly is a HUGE SONY TRINITRON HOME ENTERTAINMENT CENTER. -LRB- The following is in Czech and subtitled in English. -RRB- EMIL Your sister said she did n't know where you were so you should n't write to her with return address if you're hiding. MILOS Did you hurt her? EMIL You know me. I never hurt anybody. Where's the money? OLEG Hello, Tamina. Oleg is looking Tamina over. Milos - though scared - barks at Oleg. MILOS Take your eyes off her, Oleg! -LRB- to Emil. -RRB- Look. It was n't my fault you two were caught. -LRB- of Oleg. -RRB- It's his fault. Trying to get the bank clerk's phone number?! I was n't going to wait! EMIL Milos. Get my money! Oleg videotapes the scene. CLOSE ON AN AJAR DOOR All we see behind it is a WOMAN'S FACE and her wet hair - she obviously came from the shower and we see the towel wrapped around her. MILOS -LRB- nervously. -RRB- We spent it! EMIL Ha. Ha. MILOS Look at the way we live. I'm a plumber. You think I'd be working if I had money?! Emil, pissed, moves to a wood block and pulls out a KITCHEN KNIFE. He grabs Tamina roughly, putting the blade to her throat. MILOS -LRB- CONT'D. -RRB- Emil. Put down the knife. Milos looks at his wife - who is terrified. MILOS -LRB- CONT'D. -RRB- Emil. I'll help you. Milos closes the gap between him and Emil - trying to calm him by talking softly. MILOS -LRB- CONT'D. -RRB- I can get you a job. EMIL A job? MILOS Yes, the money is good. EMIL As a plumber?! MILOS It's easy to learn. EMIL A job? As a plumber? You think I come to America to work! MILOS We started over, you can too. EMIL -LRB- furious. -RRB- You spent all the money while I was in prison? Now you tell me to get a job fixing toilets?!? Emil pulls the knife away from Tamina - then angrily PLUNGES it toward Milos' chest! Oleg videotapes it. Then lowers the camera - shocked that Emil killed Milos. Blood sprays Tamina's face. She tries to run but Oleg grabs her, not noticing her brushed gold bracelet falls to the floor. He covers her mouth as he points the videocamera at Emil who STABS Tamina - absolutely enraged! THE WOMAN BEHIND THE DOOR flees. Emil hears NOISE in the bedroom - a window opening. Emil kicks the bedroom door open. Sees the window leading to the fire escape. He dashes to it. Sees four flights down - the WOMAN, wearing a summer dress. Barefoot. Her hair still wet. She looks up. She is beautiful and terrified. She runs down the alley. EMIL -LRB- CONT'D. -RRB- She saw! Emil hurries toward the bathroom. She just got out of the shower. Her underwear and purse are draped over a chair. Emil grabs the purse. Finds a CZECHOSLOVAKIAN PASSPORT. He opens the cover, stares at her photo and name. EMIL -LRB- CONT'D. -RRB- Daphne Hanlova. There's one stamp in the passport - from the U.S. when she arrived - June 16, 1998. Underneath is written - 6 MONTH STAY. Emil flips through the rest of the passport - all blank pages. EMIL -LRB- CONT'D. -RRB- Six month visa. Still here two years later. They'll deport her if she goes to Police. Emil pockets Daphne's passport and wallet, scoops up her shoes and jacket - enters the kitchen and dumps them on the floor. He tears through the kitchen cabinets, throwing cans and bottles aside. OLEG What are you looking for? Emil finds nail polish remover - looks at the bodies. EMIL I'm going to make a bohemian barbecue. Emil draws the kitchen curtains plunging the room into darkness.",
"EXT. CENTRAL PARK - NIGHT A face comes from the darkness. It's an athletically handsome man, jogging out of a tunnel towards us. He's in a tie and jacket in Central Park at NIGHT. He is JORDAN -LRB- JORDY -RRB- WARSAW. A sensitive man of rugged honesty. He runs down the hill in a hurry. A MUGGER steps in his path. MUGGER Got any spare change? How ` bout a spare twenty? JORDY Look, I do n't have time for you, get out of my way! MUGGER Alright, how ` bout all your fuckin' money? The Mugger pulls a knife - and in a whirl of movement, Jordy grabs his wrist and disarms him in a deadly, professional manner - hurling him down to the pavement, twisting his arm behind his back. With his other hand, Jordy whips out a BROWNING 9MM from his shoulder holster and places it behind the mugger's head. Jordy displays his shield. JORDY Okay, you're under arrest! Now you happy? MUGGER Fire Department? Firemen do n't carry guns. JORDY Oh yeah? Guess again. Jordy handcuffs the Mugger and searches the Mugger's coat pockets - pulling out a handful of driver's licenses and credit cards. JORDY -LRB- CONT'D. -RRB- Nice - how many people you ripped off tonight?! Get up! As Jordy yanks the Mugger to his feet, his BEEPER goes off. JORDY -LRB- CONT'D. -RRB- You could n't listen to me, could you? Jordy drags the Mugger to a tree. Cuffs him so his face is pressed up against the bark. JORDY -LRB- CONT'D. -RRB- I'll send a cop back for you. MUGGER Hey. C'mon, you ca n't leave me like this. Some freak'll come by and stab me! Jordy jogs off across the park. MUGGER -LRB- CONT'D. -RRB- Wait! Come back!",
"EXT. MILOS' APARTMENT - NIGHT FIRE TRUCKS from three battalions. Radios CRACKLE. There's a crowd growing. Jordy pushes his way through. The top floor of the brownstone where Milos and Tamina lived has been reduced to smoking ruins. The trees are covered in debris and soot. Jordy moves to LOUIE - Battalion Chief. LOUIE Lieutenant - take up your line and relieve Ladder Company 60 on the top floor. JORDY Hey, Louie, were you first due? LOUIE Yeah, I radioed you guys right away'cause you got two roasts on the top floor but you do n't hafta investigate cause homicide is up there. JORDY Homicide? Who let them up? I did n't make it a crime scene yet. LOUIE Hey, it's Eddie Flemming. KORFIN -LRB- O.S. -RRB- Yo, Jordy! BOBBY KORFIN - an overweight arson investigator with a quick with and good sense of humor - comes over, pulling on a turnout coat. KORFIN -LRB- CONT'D. -RRB- Where you been, man? We got a celebrity! JORDY I heard. Who the hell let them up there? KORFIN I do n't know, you think Eddie will give me his autograph? JORDY You see anything in the crowd? Anybody suspicious? KORFIN Naw - I'm sure the suspect's not here. JORDY Oh yeah, why? KORFIN'Cause Eddie woulda locked him up by now!",
"INT. MILOS' APARTMENT - NIGHT The roof is gone. The sky is exposed. It's charred ruins, smoked beams and watery muck. Eddie and Leon are standing by what's left of the mattress, looking at Milos and Tamina's charred bodies. Eddie grips a half - smoked Cuban cigar, listening to Leon. LEON So, it looks to me - from the sixty - nine position - that they were doin' each other but were so whacked out of their heads they set the pipe on the mattress, lit it up, and they got fried. What do you think, Eddie? Jordy enters - with Korfin who's carrying a paint can. EDDIE I do n't know. We got the experts here. Show them what you found - I hope you do n't mind, we came over to see if we could help. Korfin makes a beeline for Eddie - wanting to meet the celebrity. KORFIN Nah, not at all. Detective Flemming - Bobby Korfin. My Uncle Tony worked with you at 2 - 1 back when you were a rookie. JORDY Could you put out the cigar? Part of the job is picking up scents. EDDIE Oh, sure. Eddie puts his cigar out. Carefully slides it into a cigar holder and pockets it to finish later. LEON Well, I found - check it out - crack pipe. Looks like they got careless. Leon displays the pipe Emil found on the stairs. Korfin shines the flashlight on Leon to look at the pipe. LEON -LRB- CONT'D. -RRB- Mind not shining that light in my eyes? KORFIN Sorry, bro. JORDY Hey, that's great you guys got it all wrapped up, but you do n't mind if we go through the routine? It gives us somethin' to do. EDDIE No, we do n't mind. You mind Leon? LEON No. Go ahead. JORDY Thanks. Appreciate it. Jordy throws a look at Korfin. Homicide detectives have no respect for fire marshals' investigative skills. Eddie rummages through the apartment - moving into the kitchen and living room. Leon watches as Korfin sticks a pencil in a charred beam, measuring how deep in it goes. KORFIN Okay, Jordy - it was a fast fire, we got good patterns - about thirty minutes old. Jordy moves to one of the corpses. He pulls on a white rubber glove. Inserts his finger in the corpses mouth. The glove comes out white. JORDY Mouth's clean, too. KORFIN Clean? JORDY Do n't blow your nose! Jordy's looking at Leon, who was just about to blow his nose. JORDY -LRB- CONT'D. -RRB- The smoke'll permeate your nostrils - burn'em out. Let it run. KORFIN But you knew that, right? Leon looks at Jordy, then lowers the handkerchief. Jordy turns back to the corpses on the bed. Eddie - in the other room - has found Tamina's brushed gold bracelet on the floor. JORDY So the way you see it, two crack heads burned themselves up? LEON That's what it looks like to me. JORDY And while they're burning up, they're still goin' down on each other? You got to hand it to them. LEON -LRB- realizes he's wrong - blows it off. -RRB- Yeah, well, some people got their priorities straight. Leon watches Jordy, quietly. With a pair of tweezers, Jordy pulls a small unburned piece of cloth from behind one of the heads. Korfin supplies the paint can. Jordy drops the cloth inside. LEON -LRB- CONT'D. -RRB- What was that? JORDY Evidence. Of a homicide. That got Eddie's attention and he comes back to the bedroom. JORDY -LRB- CONT'D. -RRB- You know what that is, right? EDDIE No, what is it? JORDY Why do n't you explain it, Bobby. -LRB- to a fireman joking a wall. -RRB- Hey Camello! You mind punching a hole in the floor? CAMELLO No problem. -LRB- to Eddie and Leon. -RRB- Excuse me, gentlemen. You might wan na back up a little more. Do n't wan na get your pants wet. Leon and Eddie move to higher ground - on top of a burnt TV set. Eddie hands the brushed bracelet to Leon. As Camello hacks at the floor with an ax, Jordy continues to examine the bodies and Korfin explains : KORFIN They have not soot in their mouths, which means they were n't breathin' before the fire and that usually means they were deceased - and this piece of cloth that my partner found means they were wrapped up in something, probably doused with a flammable liquid and positioned like this on the bed. To the untrained eye, it looks like an accident. Jordy kicks around the draining floor, reaches down for something. LEON What's he looking for? EDDIE A timer. Jordy finds some wires attached to an outlet, pulls them up - on the other end is a timer. Korfin takes the timer from Jordy and moves to Eddie. KORFIN Here you go. A big double homicide.",
"EXT. MILOS' APARTMENT BUILDING - NIGHT As Jordy and Korfin exit the brownstone, a CAMERA CREW is arriving. Jumps out. Korfin and Jordy cross toward Korfin's car. They open the trunk. Take off their muddy boots throwing them in. KORFIN You see Eddie's face when I gave him the timer? Wish I had a picture of it. JORDY He knew all along. KORFIN What? JORDY That's why he was so quiet. He was testing us. Eddie and Leon exit - Eddie carrying a baggie with a timer inside. NICOLETTE KARAS, young and attractive, pushes her microphone at Eddie. She's smart, aggressive and respected by her peers. NICOLETTE Detective, does it look like a murder? EDDIE We do n't know that yet. It's much too early. There's a lot to be done. NICOLETTE How many victims are up there? EDDIE There are two bodies found at this point. NICOLETTE Can we go up to the crime scene? EDDIE You know you ca n't do that. C'mon. NICOLETTE Is it drug related? EDDIE We do n't know. When I have more I'll let you know. Nicolette signals for her camera man, MIKE, to zoom in on Eddie's hand. She barrels on. NICOLETTE Detective. what's that you're holding in your hand? Evidence? Mike pans up to Eddie's face. Other reporters arrive, hurling questions which Eddie easily answers. Cameras flash as we PAN BACK TO Korfin and Jordy. Jordy is about to get in the car as he notices, back behind some construction - DAPHNE HANDLOVA. She's still wearing the crumpled summer dress. She tentatively steps out to signal Jordy. He only catches a glimpse of her. He starts toward her - knifes through the crowd - but Daphne is gone. KORFIN What? JORDY There was a woman - I think she wanted to talk to us. She looked scared. Oh shit! Oh no!",
"EXT. CENTRAL PARK - LATER Korfin's car SCREECHES to a stop. Jordy leaps out. Suddenly, Jordy stops. the Mugger handcuffed to the tree is now NAKED! MUGGER You motherfuckin' bastard! She stripped me! It was a bag lady! She touched me all over, it was disgusting. Jordy unlocks the handcuffs. JORDY I'm sorry. I'm really sorry. Korfin delivers a blanket. Jordy covers him. JORDY -LRB- CONT'D. -RRB- You okay? MUGGER A dog pissed on me! I'm gon na sue you for this! You violated my civil rights! JORDY Your civil rights?! You tried to rob me! I could arrest you right now! You're lucky you're walking away from this. Now get outta here. Jordy gives him a push. The Mugger wraps the blanket around himself cursing - hurrying away.",
"EXT. 8TH AVENUE - NIGHT Exhausted HOOKERS who have worked all night loiter outside a sleazy hotel. CAMERA PANS up to a blinking hotel sign.",
"INT. KING EDWARD HOTEL ROOM - NIGHT The light is blinking an eerie green and yellow light into the room. Emil is at the window pulling the blind down trying to shut out the blinking light. He pulls it down twice and it pops back up both times. The third time he angrily pulls it so hard, it comes off the window completely. He sits down in a chair in frustration - adjusting a pillow behind his back. THE ROSEANNE SHOW is on TV. Roseanne has been talking to a FATHER. ROSEANNE -LRB- ON T.V. -RRB- So you slept with your son's wife! What's that all about? FATHER -LRB- ON T.V. -RRB- I take full responsibility for sleepin' with my daughter in law. I had low self esteem, I thought I had to compete with him. Emil reaches for his dictionary. EMIL -LRB- mutters. -RRB- Self - esteem? Self - esteem? He flips through his dictionary to find the meaning of self esteem. FATHER -LRB- ON T.V. -RRB- Losin' my job and everything, caused my behavioral disorder. -LRB- turns to his son. -RRB- Forgive me, Kirk. Let me hug you? The audience boos. Roseanne mediates. Oleg - fresh from the shower with wet hair - sits on the bed in his skivvies - staring into the videocamera's LCD screen - rewinding Milos' murder. We see it now for the first time - as he rewinds it. Oleg watches - a bottle of cheap vodka between his legs. Emil, looks up from his dictionary. He's wearing Milos' Rolex. Tamina's jewelry - her brushed gold necklace and pearl earrings - are in front of him with Daphne's wallet. Emil looks up - Oleg is holding his videocamera. EMIL -LRB- Czech. -RRB- Turn that fucking thing off! OLEG -LRB- Czech. -RRB- I'm not filming. I'm watching Milos die. It's just like a move but realer. Emil grabs the videocamera. -LRB- Czech. -RRB- Do n't break it! Do n't break it! EMIL Speak English! OLEG -LRB- English. -RRB- You said speak Czech! EMIL How you erase this? OLEG I'll do it. Do n't hurt my camera! Emil tosses the camera back to Oleg who drops his vodka bottle in order to catch the camera. Oleg, holding the camera like it's gold, goes to the dresser and puts it away. Emil starts to go through Daphne's wallet. EMIL Stupid, Milos. I did n't want to kill him. -LRB- noticing. -RRB- What's this? Emil found the last card in the wallet. It's pink with a picture of a busty globe. Printed in the middle is - WORLDLY ESCORTS - and a number. EMIL -LRB- CONT'D. -RRB- Worldly escorts? Emil picks up his dictionary and begins to flip the pages - finding the meaning of worldly. He gets up and dials the number. A soft, SEXY VOICE answers. Soft music in the background. SEXY VOICE Hi? EMIL Hello? SEXY VOICE Are you looking for companionship? Oleg, who's listening, moves to Emil. OLEG Whore? EMIL I'm homesick. You have Eastern European girl? A Czech girl? SEXY VOICE Matter of fact, I have a lovely Czech girl. EMIL I take her. Send her!",
"EXT. FIRE STATION 91 - NIGHT Korfin's car pulls up to the station - as a fire engine is returning. JORDY Now that you know him, maybe you can get extra work in the next movie they make about him. KORFIN Yeah? JORDY Maybe you can be his stand - in.",
"INT. FIRE STATION 91 - NIGHT The men are pulling off their equipment - coming down from the high of fighting a fire. Korfin and Jordy walk toward the TV room. The TV is on in the background. We can see Nicolette interviewing Eddie. He holds up the paint can. CHIEF DUFFY -LRB- O.S. -RRB- What the hell is that? You gave Eddie Flemming the evidence?! They turn. DEPUTY CHIEF FIRE MARSHAL DECLAN DUFFY - the head of the arson squad - comes over. Duffy's tough, Irish and very political. DUFFY -LRB- pointing to the TV. -RRB- Who did cause and origin? JORDY Who do you think, Chief?! DUFFY Then why did n't you talk to the reporter? JORDY'Cause we got more important things to do, like finding out who did it. They walk to the back of the station and start up the stairs. DUFFY Do n't you guys understand? It's all about image. The better we look the more money I get to pay you guys overtime. KORFIN Yeah, right. DUFFY What was that, Korfin? KORFIN I said, yeah, you're right, Chief. As soon as we get somethin' we'll let you alert the media. DUFFY You do that, wiseguy. Now let's solve this thing before Eddie Flemming does. They all head upstairs.",
"INT. ARSON SQUAD ROOM - DAY The Chief, Jordy and Korfin enter. There are posters of pyros, arsonists and terrorists on the walls. GARCIA - a Puerto Rican investigator - looks up from his desk. GARCIA Hey guys, I got your torch. He just gave a full confession. A scruffy, unshaven white man sitting across from Garcia, turns. He is MAX, a pyromaniac in his 40's with a freshly scratched cross etched in his forehead. He craves attention. MAX It's my fire! Screw homicide. I'll tell you guys everything! Jordy moves to his desk with Korfin. They sit across from each other. Duffy keeps going to his office, not even bothering to stop. JORDY What's that on your forehead, Max? That's a nice attention getter. MAX Yeah, I'm religious. I'm not an Atheist like you! Now, are you guys gon na arrest me, or not? JORDY How did you start the fire this time? MAX I used an accelerant. JORDY Yeah? What kind? MAX -LRB- to Jordy. -RRB- Hey, by the way, I'm really sorry about your wife leavin' you. KORFIN Max. MAX -LRB- continuing. -RRB-. Yeah, and with your old man dying last year you - what's it? Just you and the dog now? KORFIN Max! MAX Does it feel bad - I mean the new guy your ex - wife's seeing - I hear he's a big shot downtown. Jordy pops out of his seat. JORDY That's it! You're outta here. Jordy pulls Max by the collar - pushes him down the aisle. MAX That's it. I'm suing. KORFIN Get in line. Korfin takes over - throwing him out. Jordy turns to Garcia who is laughing. JORDY What's so funny. How does he know so much about me? Who tells him my life story? GARCIA He hangs around downstairs. The guys talk to him. He's a joke. JORDY He's no joke! One day he's gon na graduate from trash can fires and do something big. GARCIA Okay. Okay. We'll ban him from the station.",
"INT. KING EDWARD HOTEL ROOM - TV SET - NIGHT As the `` Top Story'' logo is splashed across the screen, accompanied by a catchy TV THEME, Robert Hawkins introduces America's highest rated ` news magazine' show. ROBERT HAWKINS Good evening, I'm Robert Hawkins and this is Top Story. Tonight we bring you an exclusive interview with Stephen Geller - who horrified the nation two years ago when he went berserk and murdered three clerks in a Manhattan shoe store. But now, Mr. Geller's claim, spoken softly and articulately, is that he is the victim. According to Mr. Geller, the events of that fateful day were not his fault but were the fault of his psychiatrist. Hard to believe. watch. EMIL -LRB- O.S. -RRB- Louder. VIDEOCAMERA SLOWLY ZOOMS OUT and PANS over to Emil, sitting on the hotel bed watching the TV. He looks at us. EMIL -LRB- CONT'D. -RRB- Louder. Oleg's hand reaches in front of the lens - turning up the volume. The scene cuts back to Stephen Geller being interviewed by Robert Hawkins and his camera crew. He's sitting on the front lawn of a mental institution in a paint stained shirt. A showing of his artwork is displayed in the background. Patients peruse the paintings of weird dysfunctional faces that avoid eye contact. One of the paintings depicts Eddie Flemming and Leon Jackson. STEPHEN GELLER This had nothing to do with shoes that did n't fit or my relationship with my father who, as you know, made a fortune selling penny loafers in the fifties. These people died because of the criminal actions of my doctor. ROBERT HAWKINS Your doctor? STEPHEN GELLER Yes. My psychiatrist did n't insist that I stay on my medication. ROBERT HAWKINS so you feel absolutely no responsibility for killing these people? STEPHEN GELLER It was my finger that pulled the trigger, but I'm not morally responsible. My psychiatrist knew what I was capable of. How could I know. I'm not a doctor. ROBERT HAWKINS You seem very savvy for a man who's been found mentally incompetent to stand trial. STEPHEN GELLER Look, I'm a victim here, too. I was a year away from getting my masters in Art, now I'll never graduate. My life has been permanently disrupted. ROBERT HAWKINS Permanently disrupted? Are n't you selling paintings now for quite a lot of money? Has n't this ` incident' as you call it, jump started your career as an artist? STEPHEN GELLER Look, I'm in here. You call this a career move? ROBERT HAWKINS And is n't there a movie in the works about you? STEPHEN GELLER We're in negotiations, that's correct. ROBERT HAWKINS But does n't the Son of Sam Law prevent criminals from profiting from their crimes? STEPHEN GELLER That does n't apply to me because I'm not a criminal. I'm not a criminal! I was n't convicted. Emil leans forward - listening. Fascinated. EMIL I love America. No one is responsible for what they do. There's a KNOCK on the door. Our VIDEOCAMERA POV swings over to it. Then WHIPS back to Emil. Emil looks at us. EMIL -LRB- CONT'D. -RRB- Get in the bathroom! OLEG -LRB- O.S. -RRB- Whatever we do - we fuck her, right? EMIL Oleg, get in bathroom, stay there and shut up! Emil turns off the TV. Our POV backs into the bathroom, closing the door but leaving it open a crack. Emil looks down at his shoe. The POV PANS down to the kitchen knife sticking out of Emil's BOOT. Emil's hands pull his pants cuff over it. POV PANS up to Emil as he moves to the door and opens it. It's not Daphne and she's not world class. HONEY Hi, I'm Honey. EMIL Where's Czech girl? HONEY Baby, I'm anybody you want me to be. I'm a little schoolgirl, I'm mommy, I'm a Czech girl. She enters. Closes the door behind her. HONEY -LRB- CONT'D. -RRB- Now I like to get business out of the way before we get down to pleasure. Why do n'tchya put my money on the dresser. EMIL I ordered a Czech girl. Daphne, you know her? Oleg ZOOMS in for a CLOSE UP of Honey. During the rest of the scene Oleg films her. Honey begins to undress. HONEY It's an outcall service run out of an apartment. I do n't meet the other girls. Are n't you gon na get undressed? EMIL Where is escort service? HONEY That's confidential. Could you put the money on the dresser? EMIL I like to talk to the person who runs the service. Can you give me address? HONEY Look. Do we have a problem here? There's no reason to have a problem. I'm gon na make you feel real good. You wan na Czech girl? After I'm done with you, you wo n't miss her. Now why do n't you pay me? She starts to unfasten Emil's belt. EMIL -LRB- stopping her. -RRB- Listen to me. I do n't want sex. Just give me the address and then you go. HONEY -LRB- suddenly hard as nails. -RRB- Look, man, I do n't give a shit if you want sex or not, but you're payin' for my time. Emil pulls the knife out of his boot and SHOVES her against the door, PUSHING the blade against her throat - suddenly furious like he was before killing Milos and Tamina. EMIL Give me the address! HONEY Alright, alright - do n't hurt me! Please, it's in my book, in my purse! Emil backs off as she reaches for her purse, and comes out with a can of mace, SPRAYING Emil's face! Emil stumbles backwards - Oleg holding him in the frame. He WHIP PANS back to Honey as she grabs her clothes, unlocking the door but Emil's HAND SLAMS it shut! Emil turns blindly, rubbing his burning eyes - guarding the door. Honey darts toward the bathroom - she pushes open the door and runs into Oleg who is VIDEOTAPING HER. Horrified, she turns around as Emil SMASHES her in the face so hard she topples backwards, tripping into the bathtub, pulling the shower curtain down on her! Like a panther out for the kill, Emil POUNCES. Oleg films as Emil lifts his hand, gripping. THE KITCHEN KNIFE As Emil's hand comes FLYING DOWN - then RISES UP, BLOODIED. Her screams are muffled by the shower curtain wrapped around her face. Oleg films the scene as the knife plunges DOWN",
"INT. FIRE STATION 91 - ARSON SQUAD ROOM - NIGHT DAPHNE, a sketch of her face. JORDY -LRB- O.S. -RRB- Her lips are fuller than that. You can see'em a mile away. WIDER Food containers are scattered all over the place. The female COMPOSITE ARTIST looks at Jordy. Stacks of failed sketches sit beside her. COMPOSITE ARTIST What about her cheek bones? JORDY Her cheek bones are prominent and her eyes were huge. Big, blue eyes and when I saw her, she looked scared. Like she was looking to get away. But she was absolutely beautiful. The composite artist looks at Jordy. JORDY -LRB- CONT'D. -RRB- I got ta good look at her. Korfin has his chair turned around from his desk and is watching the sketch evolve as he speaks on the phone to the landlord of the 7th Street brownstone. Garcia is also on the phone. The other investigators are gone. Working late into the night. Everybody's exhausted. It's almost dawn. KORFIN - From Czechoslovakia? And how long have they been livin' in your building? -LRB- writes 4 YEARS on his pad. -RRB- Alright, I'll be in touch when we know somethin'. -LRB- to Jordy. -RRB- Milos and Tamina Karlova. They were quiet and kept to themselves. Landlord do n't know who your girl is. JORDY How long they been livin' here? KORFIN You hear that question, Garcia? GARCIA Yeah, I got Immigration on the phone - they've been here illegally. KORFIN Well, they're definitely permanent residents now. GARCIA I got the owner of the plumbing company Milos worked for. KORFIN Why do n't we get some sleep and we'll go see him in the morning. JORDY You go home. I'm takin' your car and goin' back to the crime scene. KORFIN Are n't you tired? JORDY If I go home I wo n't be able to fall asleep anyway. Jordy takes the sketch of Daphne which is n't a bad likeness and heads for the door. Korfin falls in behind him. As they pass Garcia he hands Jordy the address. KORFIN -LRB- of the picture. -RRB- She keepin' you up? Like to meet her, huh? She'd make you forget your ex wife. Cure your insomnia.",
"INT. MILOS' APARTMENT - DAWN CAMERA DESCENDS FROM THE SKY picking up Jordy as he enters what is left of Milos and Tamina's apartment. The roof has been burned off. He moves into the next room, trying to see through the darkness - looking through the muck and char. EDDIE Okay to smoke? Jordy turns, surprised. Eddie sits on a singed chair. He pours from a half - pint bottle of vodka into his ` won ton soup' container, smoking a cigar. On the arm of the armchair is a brown legal folder and stacks of photographs of the crime scene and the burned bodies. JORDY It's your crime scene now. You can do what you want. EDDIE Watch the news? JORDY Nah, I musta missed it. EDDIE Well, just so you know. I gave you guys the credit. JORDY Well, just so you know, I do n't care about that stuff. EDDIE Nah, why should you? JORDY I do n't even watch TV. EDDIE Good. Good. Commendable. Eddie knocks his ` won ton soup' back. JORDY Did you get a report from the M.E? EDDIE Sure. But I would like to ask you something. You got a problem with me? JORDY If you found me steppin' on your crime scene - it might piss you off, too. -LRB- then. -RRB- What about the report? EDDIE You were right, they were both dead before the fire. The male was stabbed so hard the killer broke off the tip of the knife in his spine. That's usually an indicator of something personal. Jordy pulls out a sketch of Daphne. Hands it to Eddie. JORDY The Super said he'd seen her before but she did n't live here. EDDIE Pretty. JORDY -LRB- acts as if he did n't notice. -RRB- Hmmmm. EDDIE Maybe you do n't care about that either. -LRB- beat. -RRB- Prettiest suspect I've had in awhile. JORDY Who says she's a suspect? Jordy tries to take the sketch back. Eddie holds on. EDDIE What would you call her? JORDY Look, I'm not even sure she has anything to do with this. I saw her outside after the fire - thought it was a lead. Maybe she saw something. Maybe she was visiting somebody here. Who knows? Eddie walks up to the burnt mattress - where the bodies were. EDDIE Obviously they were n't having sex. As you pointed out. So why go through all the trouble of putting'em like that? Eddie passes a crime scene photo of the bodies to Jordy. JORDY Maybe it's a ritual thing or someone trying to send a message. Burial rites are taken very seriously in Eastern Europe. It could be to humiliate them. Just burning them up, no proper funeral, it's like condemning them to hell. EDDIE Eastern Europe. Like what? Romania? Hungary? JORDY Or Czechoslovakia. The Slavs have been fighting the Germans and the Russians for a thousand years. These are very intense people and they take things personally. Eddie's cellular rings - he grabs it. EDDIE Yeah? Where? You sure it was a knife? Uh - huh. Really? Okay. -LRB- to Jordy. -RRB- We've got another murder - in a hotel on Eighth Avenue. A stabbing. Clerk said the room was rented by a Russian. Eddie's moving with Daphne's sketch. JORDY I'll come with you. EDDIE There was n't a fire. There'll be nothing for you to do. JORDY I can watch you, Eddie. Maybe I'll learn something. EDDIE This is n't homicide school. JORDY My parents are from Poland. I can help with the Eastern European angle. EDDIE You're Polish? JORDY My folks are. EDDIE Stay here.",
"EXT. TIMES SQUARE - NEWS STAND - DAY Video POV of the news stand as a hand reaches into frame and picks up a copy of THE NEW YORK POST. Eddie's photo is on the front page - holding the kitchen timer by the wires. Underneath his picture the caption reads, `` DOUBLE HOMICIDE. FLEMMING'S ON IT.'' The videocamera widens out revealing Emil standing in front of a Times Square news stand, reading the front page. The videocamera turns around - until focusing on Oleg himself. OLEG This is second day in America. First day was very exciting. Full of thrills and chills. Over there, is co - star of my new movie, Emil! He turns the camera around - FILMING EMIL. EMIL -LRB- to vendor. -RRB- Who is he? VENDOR New York's finest. This is his case. The VENDOR - picks up People. Stephen Geller is on the cover. VENDOR -LRB- CONT'D. -RRB- This all you want? EMIL Do you know how much killer gets for movie rights? VENDOR -LRB- People. -RRB- In here, says he wants a million. EMIL Million?! The killer gets one million dollars for a television interview? VENDOR Hey, tabloids paid Ted Bundy - famous serial killer - half a million for his interview. And how much you think Monica got for writing book about the President coming on to her? It pays to be a killer or a whore in this country. Look, you want magazine or not? EMIL Yes. Both. OLEG And these. Oleg picks up FILM COMMENT, MOVIELINE and PREMIERE magazine. Emil pays for everything. EMIL -LRB- to Oleg. -RRB- Get a taxi. Oleg tucks the magazines in his coat, picks up the suitcases and hails a taxi. As Emil collects his change he sees an old BLIND WOMAN waiting at the crosswalk. The light's blinking WALK. EMIL -LRB- CONT'D. -RRB- Let me help. Emil gently takes her arm and crosses her to the other side. BLIND WOMAN Thank you, son. Emil watches her walk on.",
"INT. KING EDWARD HOTEL ROOM - DAY The hotel room is a hive of activity. GIL is dusting the dresser for prints. Another officer is stripping the bed and putting the bedding into a big, clear plastic bag. As Eddie enters the crime scene, a POLICE PHOTOGRAPHER is standing in the doorway taking pictures. EDDIE Where is she? LEON Takin' a bath. EDDIE Any I.D? LEON Still unknown but we're running prints. Kid over there caught the case. Jordy enters. Leon steps in his way. LEON -LRB- CONT'D. -RRB- Sorry. PD only. EDDIE It's okay. Eddie walks over to a young detective. TOMMY CULLEN, only 26, is excited to meet Eddie. TOMMY Tommy Cullen. Heard a lot about you. Nice to meet you. Here's what we got. A girl in there, figure her to be a prostitute, looks like she was fighting for her life. She's got defense wounds on her hands. Right this way - in the bathroom. EDDIE After you. Eddie follows Tommy into the bathroom. There's blood splattered all over the walls and the floor. Honey's topless body lies in the tub tangled in the bloody shower curtain. MURPHY, an Irish medical examiner -LRB- M.E. -RRB-, is examining the body. TOMMY Room was registered to a Francis Capra. JORDY Capra? That's not Czech or Russian. Who said he sounded Russian? TOMMY The clerk? EDDIE Check the switchboard, see what phone calls were made from this room. TOMMY I'll do it. Tommy heads out. Eddie takes out his cigar holder. Slides out what's left of his cigar. Re - lights it. Looks down at Honey's body in the bathtub. Gil's dusting the tub for prints. MURPHY Clothes were off in the other room. Tub is dry except for the blood. EDDIE Any of you guys take a piss lately? Gil looks confused. Eddie points to the toilet. Seat is up. EDDIE -LRB- CONT'D. -RRB- Do the seat for me. Gil crosses to the toilet and starts to dust it. Eddie stands in the bathroom - studying the scene. Holding the unlit cigar. Looking around at the blood splattered walls. EDDIE -LRB- CONT'D. -RRB- Only one guys checked in? LEON Yeah. EDDIE C'mere. You wan na go to homicide school? Here - make yourself useful. Eddie positions Jordy behind the tub next to the wall. EDDIE -LRB- CONT'D. -RRB- Our killer. our killer's standing here slashing at her. She's fightin' him. The blood is splattering this way. It's on this wall. -LRB- pointing to the right of Jordy. -RRB- And there's some specks over here. -LRB- to the left of Jordy. -RRB- There's nothing here because someone was standing right here. Someone big. And he's got blood on him. Lots of blood. He would n't walk out of here like that. -LRB- turning to Murphy. -RRB- Murphy, what kind of knife you think we're talking about here? Murphy pulls out a clear plastic ruler and walks over to the blood - splattered wall. MURPHY If you look here where he missed and hit the wall you see that the marks are n't deep but they're kinda wide. not your everyday kitchen or pocket knife. EDDIE What if the tip was broken off? MURPHY Could be. Then we should find it here somewhere. EDDIE I think we've already found it. Eddie exchanges a look with Jordy as Tommy, the young detective, returns. TOMMY There was only one call from this room last night. I dialed it. It's an escort service. LEON Did you identify yourself? TOMMY Hey, I'm new but I'm not stupid. EDDIE Call communications and get an address on that number. Tommy holds up a slip of paper with the outcall service address on it. EDDIE -LRB- CONT'D. -RRB- Good work.",
"INT. KING EDWARD HOTEL ROOM - STAIRS - DAY Jordy hurries out - catches up with Eddie. JORDY You goin' to the escort service? EDDIE You got any better ideas? JORDY Mind if I ride along with you? EDDIE This has nothing to do with your fire. JORDY But what if it does? You might need my help. As Eddie exits the hotel, a MAN approaches. MAN Hey, Eddie, can I get your autograph for my son?",
"EXT. KING EDWARD HOTEL - DAY Jordy catches up. Eddie finishes signing the autograph using the man's back. EDDIE I'll let you know what happens. JORDY This is ridiculous. I'm not gon na be in your way - we can talk the case over. EDDIE Tell you what - I'll flip you a coin. If you win you can come with me. If you do n't win, you do n't come. JORDY I'll call it. tails. Eddie pulls out a coin and hands it to Jordy. EDDIE Okay. I'll call it. Heads. Jordy flips the coin and it's heads. EDDIE -LRB- CONT'D. -RRB- Heads. See, you lost twice. -LRB- beat. -RRB- Okay. Get in. Jordy goes for the passenger side of the car. Before Jordy can get in, Eddie starts to pull away. Jordy stands on the sidewalk - dejected. Eddie stops the car again and this time lets Jordy get in. WHIP PAN TO:",
"INT. UPPER EASTSIDE HALLWAY - DAY Eddie and Jordy arrive in front of Rose's door. Eddie knocks and flips a coin to Jordy. EDDIE Oh here. A souvenir. Jordy takes the quarter. Not understanding what Eddie means. He looks at the quarter. JORDY Two heads. EDDIE Better than one. Eddie suckered him with the coin toss. Jordy reacts. Eddie laughs - squirts Binaca in his mouth. Knocks again. We hear ROSE HELLER. ROSE -LRB- O.S. -RRB- Who's there? EDDIE Police. We'd like to ask you a few questions. ROSE -LRB- O.S. -RRB- I have nothin' to say. If you wan na contact my attorney. EDDIE -LRB- commands. -RRB- Homicide, Miss Hearn. It's Detective Eddie Flemming. Open up. Rose reacts. Immediately UNLOCKS, UNCHAINS and opens the door! ROSE You! I've seen you on TV! Eddie glances self - consciously at Jordy. ROSE -LRB- CONT'D. -RRB- C'mon in. C'mon in!",
"INT. ROSE'S APARTMENT - DAY They enter. ROSE Just a minute. Shit. And I do n't have a camera. Hold on a second. Rose moves back to the phone - finishes up her conversation in Afrikaner. We hold on Eddie and Jordy at the door. Eddie looks around - taking in the place. FOUR GIRLS are on phones. Two girls take orders for customers. The other two work the phone sex lines. Rose hangs up the phone - turns to Eddie and Jordy : ROSE -LRB- CONT'D. -RRB- What's wrong? EDDIE We do n't have her I.D. yet, but one of your girls was killed last night at the King Edward Hotel. ROSE Oh my G - d. Honey! Honey's dead? JORDY Do you remember the man who called? Though Rose answers Jordy, she directs her response to Eddie. ROSE Yeah. He wanted a girl from Czechoslovakia, but I sent him Honey'cause once they get there, you know, it does n't really matter - Honey was killed? Poor girl. EDDIE Do you have any Czech girls working for you? ROSE No. EDDIE Did you tell him you did? A BUTCH GIRL enters. Rose speaks to her in Afrikaner. ROSE -LRB- Afrikaner. -RRB- Boy, she's so popular all the sudden. EDDIE What are you saying? ROSE Daphne. Another guy came in asking me about her, too. Jordy pulls out the sketch, unfolds it. JORDY This her? ROSE Yeah. Sort of. I tried to recruit her, gave her my card. She said she'd think about it but I never heard from her. BUTCH GIRL -LRB- Afrikaner. -RRB- Beautiful eyes. EDDIE Who came by looking for her? ROSE He said he was her cousin. I told him where she works. They were just here. EDDIE Describe him. ROSE Tall, short - haired, scary eyes. Second guy with him was. shorter, with a wrestler's build. And he would n't turn his videocamera off me. EDDIE He had a videocamera? Where is she? Quickly! ROSE She washes hair up at Ludwig's - a salon on 63rd and Madison.",
"EXT. EDDIE'S CAR - DAY As Eddie speeds through the street, SIREN BLARING.",
"INT. EDDIE'S CAR - DAY Jordy holds on as Eddie darts in and out of cars with astonishing dexterity. This man can drive. Eddie picks up his phone - dials. Jordy is on his cell phone as well. EDDIE Leon - meet us at 63rd and Madison. Hair salon. Ludwig's. JORDY -LRB- overlapping. -RRB- I'm on my way with Eddie. Ludwig's. 63rd and Madison. The suspects might be there already. Eddie looks over as Jordy disconnects. Eddie picks up a beer he was holding between his legs - finishes it. EDDIE You thirsty? JORDY I'm on duty. EDDIE -LRB- drinking. -RRB- So am I. Alright, I'll go inside and you cover the back. JORDY Of course. EDDIE Hey! I always wanted to be a cop when I was a kid. I dreamed of running up to a door, kicking it in, pulling my gun and yelling ` Freeze!' at the bad guy! What'd you dream about? JORDY I wanted to run up to a building on fire, kick in the door, rush into the smoke and save a kid. EDDIE Then I guess we're doin' this the right way, are n't we? If we pull up to a burning building I'll gladly let you go first. Jordy looks at Eddie - ca n't deny he's right.",
"INT. LUDWIG'S SALON - DAY We're in a moving video POV of Ludwig's, the hair salon - it's big and spacious. The lens finds THE RECEPTIONIST. OLEG -LRB- O.S. -RRB- Daphne Handlova? RECEPTIONIST Daphne? In the back. Probably shampooing a customer's hair. Oleg approaches Daphne who is mixing hair dye. LUDWIG, the owner, is with her. LUDWIG Why are you messing with your hair color again? You're going to kill your hair. You wo n't look good with black hair. DAPHNE I want to do it, alright? LUDWIG Well, then do it after work. A customer's waiting. He leaves, a customer approaches. She smiles at him - turns on the water in the sink then sees - Oleg filming her. She backs up. suddenly moves to the emergency door! TO THE BACKYARD There's a garden out there. Daphne runs toward the alley. Oleg follows her - still videotaping. As she rounds the corner she bumps into. Emil! He pulls out his kitchen knife, shoving her against the wall, pushing the blade with the broken tip against her throat. EMIL I. I have a temper. She looks at him, not understanding. Oleg films the scene. EMIL -LRB- CONT'D. -RRB- When I lose it, I lose control. I did n't intend to kill Milos but he stole from me. Cheated me! When I went to prison, they beat me. I still did n't tell he was my partner. I loved Milos like a brother. The tone in Emil's voice - there's an uncharacteristic softness to it. He wants to reconcile his behavior to her. EMIL -LRB- CONT'D. -RRB- -LRB- in English. -RRB- I'm not a killer. The back door opens. He shoves the knife in his pocket as Ludwig peers around the alleyway. What he sees is Emil leaning close to Daphne, kissing her. LUDWIG Daphne, will you be coming back to work? DAPHNE In a minute, Ludwig. Ludwig leaves. EMIL Smart girl. I'm glad you're not a whore. But washing hair? This is no job for a woman as beautiful as you. They should be washing your hair. Emil reaches into his pocket and pulls out SOMETHING, sticks it in the palm of her hand, closing her fingers around it. EMIL -LRB- CONT'D. -RRB- I do n't want to kill you. But if you talk, I will. -LRB- whispers. -RRB- I thought you'd want these. He taps her hand. he turns and goes out the rear exit. Oleg follows. Jordy arrives. JORDY Daphne? She says nothing. JORDY -LRB- CONT'D. -RRB- I'm a fire marshal. You remember me from the other night? You are Daphne, right? She says nothing. Eddie arrives. Daphne turns. Recognizing Eddie. EDDIE You do n't have to be afraid. We're here to protect you. Come with me. We want to talk to you. You speak English alright? Eddie looks at Jordy. Takes Daphne by the arm.",
"EXT. LUDWIG'S SALON - CONTINUOUS As they come out, Eddie notices Daphne clutching something in her hand. He reaches for her hand. Opens it. It's a brushed gold necklace. EDDIE Did he give you these? Was he just here? Eddie searches the streets. Notices Oleg and Emil on the far corner. Oleg is videotaping him. Leon and Tommy pull up. Korfin behind. They all pop out. Eddie grabs Leon - squeezes his arm - quietly. EDDIE -LRB- CONT'D. -RRB- The other side of the street. The guy with the videocamera. -LRB- back to Jordy. -RRB- Do n't look - put her in the car. -LRB- to Leon. -RRB- Stay this side. LEON -LRB- back to Tommy. -RRB- Stay with her. They start heading down the curb - trying not to attract the attention of Oleg and Emil. A VIDEO CLOSE - UP of the scene from across the corner. EMIL -LRB- Czech. -RRB- Put the fuckin' camera down! Let's go! Emil starts to flee.",
"EXT. NYC STREETS - CONTINUOUS What follows next is an incredible foot chase with Eddie, Jordy, Korfin and Leon running through traffic - chasing Emil. Eddie tries to stay in the lead but is running out of breath. EDDIE Split up! Jordy runs down one side of Madison - Eddie, the other. Korfin continues down 62nd and Leon covers the other side. They search for Emil, grabbing people, turning them around, missing him. Emil seems to have disappeared. Leon, gun raised, approaches the cafe. As he rounds the corner, Emil darts out, cracking Leon across the face! Leon crashes into a table, dropping his gun. Emil scoops up the gun and PISTOL - WHIPS Leon. BEATING the detective to a pulp. People are running from the scene. Emil takes Leon's wallet. He is distracted by LAUGHTER. Oleg is VIDEOTAPING the scene. OLEG Emil, look! Oleg swivels with the videocamera. Korfin is running toward them - pushing through the crowd. Emil FIRES! Korfin is blown backwards. OLEG -LRB- CONT'D. -RRB- Perfect! Cut. Print! Eddie arrives. Bends down to Leon, whose face is red with blood. Jordy runs to Korfin, who's laying in the street, shot in the side. Jordy cradles his partner. EDDIE Are you hit? LEON No. I'm okay. JORDY -LRB- to Korfin. -RRB- Bobby, Bobby! Where're you hit?! KORFIN It hurts. Aw, Jesus! JORDY Lay down. Stay down, Bobby. Jordy looks up as Eddie steps into the center of the street. Cars screech out of the way! Eddie crouches, taking aim at Emil, who is almost two blocks away. It's an impossible shot, out of range. But Eddie closes an eye, aims and squeezes off one SHOT. Two blocks away, Emil topples. Korfin and Jordy look at Eddie, astonished he made the shot. Emil scrambles to his feet. Runs. Eddie holsters his weapon. Pulls out a handkerchief. Dabs Leon's wounds. LEON He got my gun! Motherfucker was filming the whole time! EDDIE I know. Relax. Take it easy. Do n't worry, we'll get those fuckers. EMS VEHICLE Eddie and Jordy watch as Korfin on a stretcher, is loaded in an EMS VEHICLE and in b.g., an EMS DOCTOR attends to Leon's bloody face. Eddie and Jordy turn to go back into the restaurant, now cleared out - as Nicolette Karas arrives with her cameraman. NICOLETTE Detective - can you tell us what happened here? EDDIE I ca n't talk right now. We have some things to take care of. Jordy moves off, he does n't want to get pulled in front of Nicolette. Daphne can be seen waiting in the back of the restaurant, maybe twenty feet away. Tommy stands next to her. This is where Eddie and Jordy are headed. NICOLETTE I understand, but I noticed that the Fire Marshall is here with you. Is this somehow related to the fire department? EDDIE I really ca n't give out any information right now at this point. NICOLETTE Okay. But I do understand that your partner, Leon Jackson's been injured. Is that correct? EDDIE He was hurt, but not seriously. He'll be fine. NICOLETTE Do you have the suspect in custody? EDDIE Um. now is not a good time, okay. Detective Jackson's hurt. He's fine. I've got a Fire Marshall shot, Detective Jackson is hurt but not seriously. NICOLETTE -LRB- to cameraman. -RRB- Alright, cut, cut, cut. Mike the cameraman cuts the cameraman - lowers it from his shoulder. NICOLETTE -LRB- CONT'D. -RRB- -LRB- to Eddie. -RRB- Eddie, are you okay? EDDIE Yeah. Now's not a good time. NICOLETTE Alright. EDDIE Alright? NICOLETTE Alright. EDDIE Alright. NICOLETTE Okay. Eddie walks into the restaurant. Throws a look back at her, then enters.",
"INT. ARMAND RESTAURANT - DAY Jordy talks to Daphne. DAPHNE I told your partner, I ca n't help. I did n't see anything. EDDIE C'mon, start at the beginning. You know these people? DAPHNE Tamina was a friend of mine. My shower was broken, she let me use theirs. EDDIE Go on. She says nothing. EDDIE -LRB- CONT'D. -RRB- Whether you tell us or not, we'll find out. Better if it comes from you. DAPHNE If I tell you, will you arrest me? EDDIE Arrest you for what? Why would we arrest you? She still hesitates. EDDIE -LRB- CONT'D. -RRB- What are you hiding? Why are you afraid JORDY She just saw two of her friends killed! They probably threatened her. EDDIE Is that all there is? She looks at Eddie. EDDIE -LRB- CONT'D. -RRB- Are you here illegally? Do n't worry about that. We'll talk to Immigration. They wo n't deport you. DAPHNE No, no, do n't talk to Immigration! She clams up. JORDY Why not? EDDIE Something back home? Jordy leads Daphne to a table - she sits. Eddie sits across from her. Jordy crouches down next to her. DAPHNE my little sister and I shared a flat - I came home one night and a man was raping her. His gun was on the chair. He came at me and I shot him. JORDY -LRB- optimistic. -RRB- Alright. That's a justifiable homicide. DAPHNE Yes, but he was a cop. EDDIE A cop? DAPHNE -LRB- beat. -RRB- I'm from a small town in Slovakia. Like the South here. The Police is right, a civilian is wrong. So I fled. EDDIE Look, we can help you but right now we have to deal with what's happening here. Tell us the truth. is that the truth? DAPHNE You're a cop - you'll never believe me. JORDY -LRB- to Eddie. -RRB- Can I talk to you? Eddie steps away with Jordy. Keeping his eyes on Daphne. She tries to listen. EDDIE She's fucked. Even if that story is true. JORDY Raw deal. Eddie tilts his head. Measures Jordy. JORDY -LRB- CONT'D. -RRB- Look - let me talk to her. Any leads I get, they're all yours. Just let me have a first crack at her. EDDIE You wan na talk to her alone? JORDY Yeah. EDDIE What would your girlfriend think of that? JORDY I do n't have a girlfriend. EDDIE My point exactly. JORDY I'm serious here. EDDIE So am I. JORDY C'mon. You intimidate her'cause you're a celebrity. She sees me differently. EDDIE You're her Savior? Is she the kid you're gon na save from the burning building? JORDY You know what I'm saying here. Eddie looks at his watch. Thinks it over. Measures Jordy. EDDIE Okay, tell you what, I'll give you a head start. You take her to the station house. Do n't let her out of your sight. She's the only warm body we got left. JORDY Hey. I'm a professional. EDDIE Women like that have a way of turning professionals into amateurs. He gives Jordy a look and heads for the door.",
"INT. A SEEDY BATHROOM - DAY Emil pulls off his sock and shoe, lifts his foot into a stained sink and washes the blood away, exposing the chunk of pink flesh taken out of his ankle. Emil grabs some toilet paper, plugs the wound, then cuts the towel off the dispenser with his kitchen knife and wraps his ankle. He grits teeth in pain. The lights go out. Then Oleg adjusts the fluorescent light above the sink. OLEG Got ta light the scene better. Now it's more moody. like a scene from THE THIRD MAN. EMIL Shut up. OLEG Does it hurt? Emil lifts his foot out of the sink. EMIL This is nothing. Emil lifts his shirt, exposing his back. OLEG Oh, shit. I hate looking at that! EMIL Do n't want to film this? We do n't see what Oleg sees - not yet - but from his expression, it's horrible.",
"INT. JORDY'S CAR - DAY Daphne rides in the backseat. Jordy's watching her in the rearview. DAPHNE Now I become custody of police department? JORDY If you cooperate with the DA - maybe they'll help you with your situation. DAPHNE I will if they do n't send me back. JORDY They wo n't until this is over. She looks away. Out the window. Jordy sees emotion filling her eyes. She looks back at him - her eyes have teared up. DAPHNE Are you married? JORDY Divorced. DAPHNE Do you live alone? -LRB- beat. -RRB- I've been in these clothes since. the killings. Could we stop at your place? I could take a shower. before I go into custody? Jordy looks at her. Ca n't quite tell if she's trying to manipulate him or really just wants to get cleaned up before all the shit starts. JORDY I ca n't take you to my place. DAPHNE Somewhere else? Jordy looks at her. EDDIE Staring right at us. EDDIE I want to talk to you about something serious. He holds up the diamond engagement ring. EDDIE -LRB- CONT'D. -RRB- I want to live the rest of my life with you. I do n't know you've been married before and I've never been married, but I do love you, and. Eddie is standing in front of a mirror - rehearsing the proposal. He notices a small dab of blood on his shirtcuff. Leon's blood. Paulie enters carrying a towel and a vodka tonic. PAULIE She's here. Paulie sets down the drink and begins their silent ritual. He hands Eddie the towel. Eddie wipes off his face and hands, then hands the towel back to Paulie. Paulie helps Eddie on with his coat. Eddie takes some Visine out of his coat pocket. Drops a few in each eye. HE straightens himself and looks in the mirror, taking a big gulp of the drink. Eddie sets the glass down and starts out. Paulie hands him a Binaca. Eddie gives himself a squirt as he exits. Paulie follows.",
"INT. P.B. HERMAN'S RESTAURANT - DAY It's lunchtime. it's crowded. Eddie takes a seat at a table. He takes the ring out of his pocket - holds it under the table. Nicolette Karas walks up to Eddie from behind. Gives him a kiss on the cheek. NICOLETTE Hey, honey. EDDIE Hey. She orders a drink in Greek from the Greek waiter, then sits down across the table. There's a long pause - they just look at each other. NICOLETTE What is your problem? Why'd you snap at me? I just wanted a statement. EDDIE I ca n't. I ca n't answer you just because you want me to answer you! NICOLETTE You did n't have to embarrass me in front of my colleagues. You could give me something. EDDIE Oh, I'm sorry. Did I embarrass you, sweetheart? Oh. NICOLETTE Stop it. EDDIE Maybe I should just, ya know. turn to the cameras and say, do you mind if we just work something out? NICOLETTE Alright, alright, Eddie. Do n't patronize me. EDDIE I'm not. NICOLETTE Yes you are. I'm not just some reporter. I do n't just stick a microphone in your face. You could give me something. EDDIE Yeah, well you took the camera and put it right down on the evidence. That was. NICOLETTE That was good. You were holding the evidence. EDDIE You were merciless. You did n't give a shit if you got me or not. NICOLETTE Well, who was it that taught me how to do that? Huh? EDDIE You're ruthless. NICOLETTE You're not so bad yourself. They look at each other. NICOLETTE -LRB- CONT'D. -RRB- C'mere. They kiss. NICOLETTE -LRB- CONT'D. -RRB- Look at this. You have blood on your shirt. Whose is it? EDDIE Could be Leon's. NICOLETTE Jesus. And last week you came over with blood on your shoes. What am I going to do with you? Eddie takes her hand. EDDIE You know, I been thinkin'. these shoes might look nice with another pair of shoes next to them in the closet. She looks at him. EDDIE -LRB- CONT'D. -RRB- You know, Nicky, I've been married twice before. My first wife was a professional woman, did n't have time for children. My second wife. I never wanted to go home to her. Nicolette's phone rings. Eddie stops - looks at the ringing phone. NICOLETTE What are you doing? What are you saying? Nicolette's phone keeps ringing. Eddie stares at it. NICOLETTE -LRB- CONT'D. -RRB- Eddie? Nicolette's phone keeps ringing. NICOLETTE -LRB- CONT'D. -RRB- Do n't worry about the damn phone. I wo n't answer it. EDDIE Answer the phone. NICOLETTE No. Tell me what you want to say. EDDIE Answer it. NICOLETTE Okay. Okay. Hold that thought just for a second. They only call me when it's an emergency. Just hold that thought. -LRB- into the phone. -RRB- Can you call back? PHONE VOICE -LRB- O.S. -RRB- We need you here in twenty minutes. Get in a cab. NICOLETTE What're you talking about? PHONE VOICE -LRB- O.S. -RRB- Katie. We do n't know where she is. We ca n't find her. You got ta anchor the 5:00. This is your shot. Come now. NICOLETTE What? Oh. Okay. Yeah. The line disconnects. She collapses the phone. Turns to Eddie. NICOLETTE -LRB- CONT'D. -RRB- Oh my G - d, they want me to anchor. They want me to anchor tonight! EDDIE That's good. NICOLETTE Yeah. EDDIE Well, that's great. NICOLETTE Okay. That is great. But I ca n't go now, we're in the middle of something here. EDDIE No. Go ahead. You're gon na be great. NICOLETTE No. No, listen to me here. I want to know what you're talking about. You know, the shoe thing and the marriages and. EDDIE I'll tell you tonight. Let's do it tonight. As soon as you get back we'll talk. We'll talk. NICOLETTE Promise? EDDIE I promise. We'll talk. You'll be great. You'll be fine. Go ahead, just imagine that, uh. Just look into the lens and imagine you're talking to me. NICOLETTE Yeah. I'll do that. As long as you're not patronizing me. EDDIE Patronizing you. Nay, I love you. NICOLETTE I love you. They kiss. NICOLETTE -LRB- CONT'D. -RRB- Okay, til tonight. EDDIE Tonight. NICOLETTE You promise? EDDIE Yeah. I promise. NICOLETTE Okay. And you know what, I'll swing by my place, grab a couple pairs of shoes and maybe just test them out next to yours. How's that. Would that be a good thing. EDDIE Yeah, yeah. Good thing. NICOLETTE Okay. EDDIE See you later. Good luck. NICOLETTE Thank you. EDDIE Do n't be late. She walks out.",
"INT. FIRE STATION 91 - DAY Jordy unlocks the door. Enters with Daphne. The fire station is empty. JORDY The men are out of quarters - practicing putting out fires. DAPHNE So. the station is empty? JORDY Yeah. This way. He gestures toward the stairs.",
"INT. FIRE STATION LOCKER ROOM - CONTINUOUS Jordy and Daphne walk through the locker room. Her eyes never leaving Jordy's. JORDY You considered becoming a prostitute? DAPHNE Yes, I considered it. JORDY Did you ever turn tricks before? DAPHNE No. JORDY What about back home? DAPHNE No. Daphne stops. Looks at him. Stands very close. DAPHNE -LRB- CONT'D. -RRB- I came here. I had no money. I knew no one. I could n't get a job because you have to have a green card to get work. They approached me - I could've made a lot of money. I considered it, but. it's not who I am. They pay me below the table at Ludwig's. JORDY So you were never a prostitute? DAPHNE What are you asking me? JORDY I'm just trying to find out who you are. She looks up into his eyes. Searching. Thinking he's hinting. DAPHNE Can you let me go? She leans in close to him - giving him the opportunity to kiss her. Jordy is tempted but. remembers Eddie's warning and backs up slightly. JORDY Showers are this way. Desperate now, willing to do anything, Daphne moves in even closer. DAPHNE You could shower with me. Jordy is locked in her eyes. Almost giving in. Then breaks away. Gestures towards the showers. Daphne looks away form him - crestfallen. She heads to the showers. Jordy follows her into the bathroom. The walls are lined with shower stalls. JORDY I'll uh, I'll get you a towel. He leaves her there. Alone. She quickly moves to the window. Opens it. Looks down. It's a two - story drop to the street. JORDY gets a towel from the locker room. His beeper goes off. He checks the number but decides not to return the call. We follow him back into the bathroom. The shower is on but he notices the window. It's open. JORDY -LRB- CONT'D. -RRB- Shit! He rushes over. He looks out. No sign of her. He turns - looks back at the shower. It's on but he ca n't see through the curtain. Ca n't tell if she's there. He walks over - quickly - fearing that she's left. He pulls the curtain aside. She's crouched in the corner shower stall. Holding herself. She looks up at him - her eyes filled with tears. JORDY -LRB- CONT'D. -RRB- Are you alright? Jordy sits on the bench next to the shower. DAPHNE I'm not a whore. I'm not a whore. JORDY I know. DAPHNE You do n't know. I'm sorry. I was desperate. That's not me. I shot a cop. Can you imagine what they'll do to me when I got to prison? JORDY They're not gon na send you right back. DAPHNE I'm sorry. I did n't mean to. I'm glad. Actually I'm glad it's over. All this time. Hiding. Never being able to look anyone in the eyes. Always afraid that someone would find out who I was. Never trusting anyone. He covers her with the towel, pulling her up. JORDY You can trust me. She embraces him. Trusting him. He stands there for a moment. Then awkwardly holds her. Comforting her.",
"INT. NYC RESTAURANT - DAY CLOSE UP on a steak. Male hands cut a piece. Another male hand sets down a huge bottle of Extra Strength Excedrin. The hands abandon the steak and rip open the bottle. The CAMERA pulls back to include the LCD screen of Oleg's videocamera. He is taping Emil as he rips open the safety plastic with his teeth. Emil is sweating with fever and his eyes are glazed over in pain. He ` drinks' pills from the bottle and chews them up. Wincing in pain. Emil washes them down with a beer. Emil looks down and the camera follows his gaze to the `` People'' magazine article he's reading on Stephen Geller. Emil laughs. Shaking his head at the article as the videocamera tilts back up to his face. OLEG What is it? EMIL The video of Milos and Tamina - I told you to erase it. OLEG I did. EMIL And the whore's murder? You did n't erase that either, did you? Do n't lie, I wo n't be angry. OLEG Why not? EMIL Put the camera down, Oleg. Oleg closes the LCD screen and puts the camera down. Emil removes a small address book - from Leon's wallet - he looks up Eddie Flemming's name. OLEG What is that? EMIL What does it look like? It's an address book! Oleg jumps up with the camera to tape the book. OLEG Let me get a shot of it. EMIL Sit down! OLEG This way. Hold it this way. Good. Oleg gets a shot and quickly sits back down. OLEG -LRB- CONT'D. -RRB- Why wo n't you be angry at me for keeping my movie? Emil takes a gulp of beer - drops cash on the table and limps away. Oleg follows.",
"INT. PRECINCT - DAY It's quiet - Chief Duffy paces in front of the Sergeant's desk. Looking at his watch. Growing more and more aggravated as every second ticks by. Jordy enters escorting Daphne. Sees Duffy and tires to go past him. Duffy turns and sees Jordy and Daphne. DUFFY Hey. Warsaw. Jordy stops and comes back. Sitting Daphne down on a bench. JORDY Hey, Chief, what are you doing here? DUFFY I came to see how the investigation was going. -LRB- looks at Daphne. -RRB- I called and you're not here. I wait up at the station and you do n't even show up! I beep you - you do n't return my call. Where the hell have you been?! Jordy takes a few steps away from Daphne. JORDY Ladder 20 was on the Rock for training. We stopped there. so she could get cleaned up. DUFFY What do you mean, ` cleaned up?' JORDY I let her take a shower. DUFFY A shower!? Did you take one, too? JORDY No! Nothing happened. DUFFY Oh really. That's nice. You took a homicide witness to take a shower after your partner was shot? Are you out of your fucking mind? Are you having that much trouble gettin' dates?! EDDIE -LRB- O.S. -RRB- I told him to take her there. Jordy and Duffy turn. Eddie walks out. Eddie turns - Tommy - the young detective who caught the case in the King Edward Hotel - is coming out of the back office. EDDIE -LRB- CONT'D. -RRB- Tommy, get her outta here. Tommy takes Daphne into the precinct. TOMMY This way, ma'am. EDDIE There was too much press hangin' around there. I did n't want her face on the news. So I told him to take her to a quiet area until things settled down. DUFFY Oh. EDDIE It was my decision, not his. DUFFY Well, I'm the Deputy Chief Fire Marshall and every now and then I'd like to be included in decisions. EDDIE Look, after Jordy briefs me, you can do the press conference. How about that? The case is all yours. DUFFY Oh yeah? Alright. EDDIE -LRB- to Jordy. -RRB- I'm ready to be briefed. -LRB- to Duffy. -RRB- Excuse us. DUFFY -LRB- to Eddie. -RRB- Yeah, sure. -LRB- to Jordy. -RRB- Beep me when you're ready for the press conference. JORDY Will do, Chief. Eddie leads the way, walking past the Sergeant's desk - toward the back and to his office. JORDY -LRB- CONT'D. -RRB- Eddie, I. Eddie holds up his hand - silencing Jordy. EDDIE Wait.",
"INT. POLICE PRECINCT - DETECTIVE ROOM'S SQUAD - DAY A handful of detectives talk about work over burned coffee. Eddie enters with Jordy. EDDIE Guys. give me a few minutes? They empty out. JORDY Look, Eddie, I'm tellin' you - I did n't touch her. EDDIE Well, you shoulda because nobody's gon na believe you did n't. including me. JORDY I took her there for a shower and that's it. EDDIE Just a shower? Eddie gives Jordy a questioning look. JORDY Yeah, just her in the shower. Nothing happened. Look, I'm sure you probably think I'm a fool and I fucked up, but. EDDIE No, I do n't think you were a fool, I just think you were stupid about it. I mean, to say the least, you outta know better. You do n't know her well enough. She's got the potential to fucking hang you even if she suggests that you made a pass at her, it's fuckin' over. You can deny it all you want, but it will not make one fucking bit of difference. You're dead. JORDY I told you, you know, I thought I was doing the right thing, you know, I think she's innocent. EDDIE Well, it's not up to you to decide whether she's innocent or not. Do n't you understand, that's why you're a professional. JORDY But, I mean, did n't you ever go out on a limb for somebody? I mean, you shoulda heard her there. Tellin' her whole story. I believed her. EDDIE How you go out on a limb for somebody is by giving her a number of an Immigration lawyer. Here, here's a number of an Immigration lawyer. That's how you help her. But you ca n't get involved in her like that. You're gon na jeopardize your career, your life and you're gon na jeopardize my case. And lem me give you another piece of advice. Maybe you do n't watch TV but I'll let you in on a little secret - the whole fuckin' world watches television. And when you get out there, they know your face. And the little fame, the little fuckin' itty bitty fame that I get in this city makes it a lot easier for my job. And I get more done because of it. Jordy studies Eddie for a quiet beat. JORDY Why'd you help me back there with the Chief? Why'd you stand up for me like that? EDDIE You know, I do n't know. I like you. You remind me of a puppy I used to have. He pissed on the rug all the time, but I still kept him. Eddie picks up his cigar that's going out. He sticks it in his mouth. A match is lit. He looks up. Jordy holds the match. Eddie dips the end of the cigar and puffs. The homicide detective and the fire marshal hold a look.",
"INT. EDDIE'S APARTMENT - NIGHT Eddie walks in - carrying flowers. He closes and locks the door behind him. He grabs the phone. Dials. EDDIE It's Flemming. anything turn up? Did they check the hospitals? Airports? Yeah, I hit him! I fuckin' hit him! We should be all over everywhere - with dogs, choppers, everything! These guys are from fuckin' Czechoslovakia. He looks at the flowers. Decides to put the case behind him for a moment. EDDIE -LRB- CONT'D. -RRB- I'll call you later. He HANGS up. Arranges the flowers in a vase. So they look perfect. Sets them on the coffee table. Fills out a card, writes, `` Nicky, I love you. Will you marry me?'' He sticks the card in the flowers - turns the lights down low. Puts a romantic Sinatra song on the stereo. Moves to the liquor cabinet. Pours himself a drink. He sets the ringbox on the coffee table - next to the flowers. There's a knock at the door. EDDIE -LRB- CONT'D. -RRB- Coming! Eddie smooths his hair, unlocks the door. But the hallway is empty. EDDIE -LRB- CONT'D. -RRB- Nicky!?!? No answer. Eddie steps out in the hallway with the drink in his hand. Walks toward the elevator. Does n't notice the shadow that passes behind him - entering his apartment. Eddie turns. No sign of anyone. EDDIE -LRB- CONT'D. -RRB- Nicky?! He walks back toward his apartment. Turns and locks the door. A BLUR jumps out of the shadows SLAMMING him on the head with a gun. Eddie tumbles to the floor! OUT COLD! A BLURRED VIDEO IMAGE as it's focused - on Eddie - handcuffed and upper body taped to a chair - 20 minutes later - sobered up. Emil is sitting in front of him. On the coffee table alongside him are the flowers in a vase. They've ransacked the place. Emil has Eddie's watch, his gold shield and his money. He's smoking one of Eddie's cigars and in Emil's hand. is the diamond engagement ring and card. Oleg, 60 MINUTES - style, is positioned behind Emil videotaping Eddie. He moves to the corner of the room - bringing a light back over to illuminate Eddie's face. EMIL So. who's Nicky? EDDIE What do you want? EMIL Your opinion. -LRB- leaning forward. -RRB- You see, they going to make a movie about me, too, Eddie. And write books. EDDIE -LRB- sarcastic. -RRB- What's your accomplishment. EMIL I kill someone famous. EDDIE Then do it, asshole. EMIL Good - be tough to the end. Actor who plays you will want to die like hero. Eddie looks at the videocamera. Emil answers Eddie's look. EMIL -LRB- CONT'D. -RRB- So tabloids do n't have to do re enactments. They going to have real movie this time. EDDIE If you kill me and film it you're putting a noose around your neck. Emil turns to Oleg. EMIL Turn it off. Oleg obeys. Emil turns to Eddie. EMIL -LRB- CONT'D. -RRB- No. We are insane. Who else but crazy men would film their murders? -LRB- gestures to Eddie. -RRB- So we kill someone famous and if we are caught, we are sent to mental hospital. But what good is money there? Because once in hospital I say I not crazy. Just pretended to be acquitted. We see psychiatrists. They must certify we are sane and because of your - what is law called? -LRB- Eddie says nothing. -RRB- Oh - I got it. Because of your Double Jeopardy law, we ca n't be tried for same crime twice. We come out free, rich and famous! OLEG Good idea! EDDIE You really think you'll be able to fool a jury with this bullshit? How fuckin' stupid are you? EMIL Smarter than Americans. You're fed cry baby talk shows all day long. Not only will Americans believe me, they'll cry for me. -LRB- laughs. -RRB- So. Detective Eddie Flemming, would you like to say goodbye to your Nicolette? Maybe you can propose to her now? Eddie says nothing. Just stares at Emil. Emil puffs on Eddie's cigar. EMIL -LRB- CONT'D. -RRB- Okay. He has nothing to say. -LRB- signaling Oleg. -RRB- Start the camera! OLEG Cut! Emil looks at Oleg. OLEG -LRB- CONT'D. -RRB- This is my project. I say ` action.' I am the director! You are the talent. You wait for me to say ` action!' Emil looks at Eddie as if to say, `` See what I have to put up with.'' Oleg gestures from behind the videocamera. OLEG -LRB- CONT'D. -RRB- And. action! Oleg FILMS as Emil raises Eddie's service revolver. Eddie suddenly KICKS at Emil's hand, but Emil pulls it away, backing out of Eddie's reach. EMIL Bad last moment - I cut that out. Emil raises the pistol again - pointing the gun at Eddie's left temple. Emil cocks the hammer, but Eddie avoids the gun, ducking his head to the side of Emil's arm. Standing and following his head up Emil's arm and pushing him over into the desk. Eddie then knocks Emil with the chair and Emil falls off the desk and onto the floor. Oleg still grips the videocamera. Eddie continues around with the chair and drives Oleg back across the room - pinning him to the wall. Eddie comes back from Oleg to the gun at the same time as Emil is limping for it. Eddie knocks Emil out of the way with the chair and then stabs him with the legs of the chair repeatedly. Eddie comes up and around again at Oleg who is coming at him from the wall. Eddie knocks Oleg over the coffee table and onto the sofa. Falling on top of him, rolling over and leaving Oleg on the sofa. Eddie manages to get up from the sofa and position the chair in such a way that he can fall over backward and grab the gun. Emil limps toward the gun at the same time and it is not clear in the darkness who has the gun. Oleg gets up from the sofa and goes over to get the videocamera. Eddie has managed to get the gun and comes up as Oleg is moving in with the camera and starts shooting toward Oleg - managing to shoot one of the blinds off the window and one of the lampshades off the lamp. Oleg crouches down with the camera and Eddie starts to turn toward Emil who comes at him with the knife and stabs him in the stomach. Emil steps back, revealing the knife is BURIED IN EDDIE'S STOMACH. Eddie stumbles backward, falling over but still attached to the chair - holding the gun. Eddie ca n't believe he got stabbed. Blood swells around his stomach. He ca n't be dying. This ca n't be happening. He looks at Emil. The pain is terrible. Oleg has knelt down next to Eddie - getting a close up. Emil looks at Eddie. EMIL -LRB- CONT'D. -RRB- Die. Die. Emil looks around. Grabs a black pillow and finishes Eddie off, suffocating him. BLACKNESS We are moving through a tunnel - pitch black, so dark all you feel is the motion. We are travelling very fast. Finally, in the distance, a speck of light which fills the frame. We slowly pull back from the white light to discover it is a tiny pixel on a TV screen. WIDENING further out we see Eddie's funeral on the evening news. It's an enormous gathering - a sea of blue uniforms and dignitaries. In the upper right hand corner, superimposed over the funeral, is a picture of Eddie from his ID and in his NYPD uniform. We see Oleg's reflection on the set with the videocamera. He is filming the TV. We hear the audio from Eddie's funeral. NEWSCASTER -LRB- ON T.V. -RRB-. Detective Flemming was one of the most decorated NYPD detectives in the history of New York. He made several thousand arrests during his career, including the famed Stephen Geller case. Beloved by the community in which he served. His partner eulogized him. Leon is at the mic. LEON -LRB- ON T.V. -RRB- Eddie was my mentor, my best friend and my partner. he taught me the meaning of the word ` cop.' He was a man in every sense of the word. I'll miss him. -LRB- choking on tears. -RRB- Sleep well, brother. Leon begins to sing `` Amazing Grace.'' Oleg PANS from the TV and focuses it on a lightbulb. Hands enter the frame - carefully pouring clear liquid into an ashtray. A long hypodermic needle slides into the ashtray - the plunger is pulled back and the needle quickly fills with liquid. Gingerly, the needle is inserted into the lightbulb. Again, the plunger moves and the lightbulb is filled and placed on a table. next to a CAN OF GASOLINE. VIDEOCAMERA ZOOMS OUT revealing. Emil sitting at a hotel desk doing this.",
"INT. P.B. HERMAN'S RESTAURANT - DAY It's packed with COPS drinking. Prosecutors. lawyers. many who were at the funeral, including Leon. All wear the black ribbon on their badges. There's a quality of an Irish wake - boisterous, guys cursing. many cops in uniform. A buffet has been laid out. Hawkins enters in a black suit, wearing a black ribbon. He greets people, shaking hands, embracing Leon. HAWKINS Awful. what an awful day. He was New York City. Hawkins notices a young man by the window. Teary - eyed. It's Tommy. Hawkins nods to him. TOMMY I never got to tell him how much I admired him. HAWKINS I know, son, I know. We all loved him. Hawkins moves on. greeting others. He notices at the end of the bar - sitting alone on a stool - is Nicolette. He moves to her. Pulls up a stool alongside her. She turns, looks at him. Just stares at him for a long beat. She is bombed. Definitely drunk. She's had many. She turns to Hawkins. NICOLETTE You know. you know he was gon na propose to me. The crime guys found a card he'd written out to me. And a ring box. these fuckers that killed him - have my ring. They have my diamond engagement ring. Hawkins touches her shoulder with compassion. HAWKINS I know. NICOLETTE What do you mean you know? He told you he was gon na propose to me? HAWKINS Well, he. NICOLETTE -LRB- overriding. -RRB- I want to hear everything he said. HAWKINS I'm trying to tell you. NICOLETTE Alright. Go ahead. HAWKINS That morning. He was talking to me and Leon about marriage. NICOLETTE Oh my G - d. We were having lunch here. He started making overtures - talking about little shoes next to his in his closet but I got a call to anchor - and I walked out on him. I walked out on him when he was trying to ask me to marry him! Nicolette is crying now. She angrily wipes away a tear. NICOLETTE -LRB- CONT'D. -RRB- I'd never had a great relationship before. I'd never made great choices with men. And he was n't easy to get to know. He was older, my parents told me I was nuts to get involved with him. But he was so great to me. Always encouraging, telling me I could do anything. -LRB- beat. -RRB- He was the one. You know, I'd give up everything - everything - for just a little more time. I would've spent fifteen minutes with him if that's all I knew I had. She's lost it. Hawkins consoles her. Nicolette shrugs him off - turns back to her drink. Downs the rest of it. A woman arrives, MAGGIE, Hawkins' producer - assistant in tow. MAGGIE Robert? HAWKINS What are you doing here? MAGGIE -LRB- holding a cellular. -RRB- You've got a call. HAWKINS I ca n't talk to anybody right now, ca n't you see I'm busy! I ca n't talk business. Hang up. Have a drink. -LRB- to Paulie. -RRB- Get her a whiskey. MAGGIE Trust me, you'll want to take this call. Robert steps off the stool. Takes the phone. HAWKINS Hello? Who is this? -LRB- listens. -RRB- How do I know this is you? Hawkins gives Nicolette a comforting squeeze on her shoulder. Backs away from the bar. Now out of hearing distance, he looks back at Nicolette and lowers his voice. HAWKINS -LRB- CONT'D. -RRB- Where? We INTERCUT Emil on a public phone in the lobby of a movie theater. Oleg videotapes Emil on the phone, as he throws glances into the theater. EMIL Come to 45 Broadway. Do n't bring the Police. Come alone or you'll be in my next film. HAWKINS -LRB- low. -RRB- Look asshole. I've been threatened by better than you. EMIL No. I'm the best that's ever threatened you. HAWKINS I'll meet you on one condition - I get exclusivity and you surrender to me. EMIL We'll talk about that. Four o'clock gives you time to go to bank. Three hundred thousand dollars. HAWKINS What? It does n't work that way. EMIL -LRB- incensed. -RRB- If you do n't want my film - I'll call another show. And they will show it. HAWKINS Wait a minute. Wait a minute. EMIL Come alone. Bring cash. And we'll talk about surrendering. CLICK. The line goes dead. Hawkins disconnects. Hands the phone back to Maggie. She's looking at him. Excited. Hawkins looks at Nicolette. His mind whirls.",
"INT. FIRE STATION 91 - KITCHEN - DAY Daphne and Korfin are sitting at a table. Korfin's arm is in a sling, his side bandaged. Duffy and Jordy enter in their dress uniforms. Korfin walks over to them. KORFIN How was it? JORDY -LRB- numb. -RRB- Not good. Jordy's quiet. Dazed. Nobody can believe Eddie's gone. DUFFY -LRB- nods to Daphne. -RRB- Did the D.A. videotape her deposition? KORFIN Yeah. He finished awhile ago. DUFFY -LRB- to Korfin. -RRB- Alright. Swing by her apartment. Let her pick up her clothes and take her straight to Hoover Street. You got that? KORFIN Yeah. Jordy looks at her. Duffy sees them hold each other's look. JORDY Chief - mind if I take her? DUFFY Okay. But not water sports. Duffy walks out. Jordy leads Daphne out of the station. Korfin follows. A MAN IN A CHEAP SUIT is talking to Camello who points as Jordy walks by. The man chases after Jordy. MAN Excuse me - Jordan Warsaw? JORDY Yeah. MAN -LRB- shoving papers in Jordy's hand. -RRB- Consider yourself served. Jordy opens the papers. Korfin puts Daphne in the car. Walks back over to Jordy and reads over his shoulder. KORFIN Zwangendaba? Is suing you, the department and the city of New York for 10 million? Who is Zwangendaba? Jordy remembers. and gets more depressed. JORDY The mugger.",
"EXT. DAPHNE'S APARTMENT BUILDING - NIGHT It's an old brownstone - in poor condition. Jordy pulls up. Opens the door for Daphne - takes her by the elbow - steering her to the door. He is edgy. Jumpy. Looking around. DAPHNE Are you alright? JORDY I still ca n't believe Eddie's gone. DAPHNE I'm sorry. He looks at her. Nods. They walk up to the stairs as the front door opens. A NEIGHBOR exits, shocked. Jordy pulls Daphne out of the way. DAPHNE -LRB- CONT'D. -RRB- -LRB- in Czech to the man. -RRB- Hello. How are you?",
"INT. DAPHNE'S APARTMENT BUILDING - HALLWAY - CONTINUOUS Jordy and Daphne make their way up the stairs. A bouquet of flowers are outside Daphne's apartment. JORDY What's this? She takes the card. Jordy looks over her shoulder. Daphne reads : `` Good luck with all your troubles. I'm here if you need me. Ludwig.'' JORDY -LRB- CONT'D. -RRB- Is he your boyfriend? DAPHNE Ludwig? He's gay - are you jealous? JORDY If I was your boyfriend, I might be. DAPHNE If you were my boyfriend, I'd suggest you find another girlfriend that is n't going to jail ten - thousand miles away. They're staring in each other's eyes. The sexual tension strong. JORDY A good Immigration lawyer could stall the process. Eddie recommended one. DAPHNE No matter what happens. I'm glad I met you. JORDY I'm glad I met you. They hold each other's eyes. then suddenly they kiss. Urgently. Passionately. Somebody is coming up the stairs. They part quickly. A tenant enters his apartment down the hall. Jordy clears his throat. JORDY -LRB- CONT'D. -RRB- Let's get your stuff. He opens the door. Peers inside - checking it out. Turns to her. Gestures that it's okay to enter.",
"INT. DAPHNE'S APARTMENT - CONTINUOUS It's very small. Almost no furniture. The bare minimum. The apartment is a hole. She looks at Jordy. Both thinking the same thought. Another kiss. JORDY You better get packed. DAPHNE Right. She holds his look. JORDY Do you have coffee? DAPHNE In the kitchen. JORDY I'll make some for us. DAPHNE I'll get my clothes. She heads down the hall. Jordy enters the small kitchen. He flips on the kitchen light and the LIGHTBULB EXPLODES - SETTING THE CEILING ON FIRE AND RELEASING A RAIN OF FIRE INTO THE ROOM. Jordy JUMPS BACK. DAPHNE -LRB- CONT'D. -RRB- Jordy! JORDY No! Get back! GET BACK! Jordy's more surprised than shaken. It's a fire - he knows the drill. He pushes her into the living room. Then notices a FIRE EXTINGUISHER hanging on the wall. Grabs it. Aims it at the FIRE spreading in the kitchen. He SPRAYS as Daphne SCREAMS! DAPHNE That's not mine! WHOOOOOOOOOSH! The fire extinguisher FEEDS THE FIRE! Flames leap up from the fire - shooting toward the extinguisher because it's filled with gasoline. The handle LOCKS! Jordy CA N'T TURN IT OFF. Flames engulf the extinguisher and JORDY'S HAND. He flings the extinguisher - BACKS OUT OF THE KITCHEN. Closes the door. Jordy takes off his jacket. Stuffs it under the bottom of the door. Blocking the smoke. He hurries into the living room. Knowing it's moments before the extinguisher will explode. Jordy pulls out his cellular. Hits the speed dial as he notices Daphne about to throw a chair through the window. JORDY Do n't! It'll suck the flames toward us! Too late. She SMASHES the window. There's an EXPLOSION in the kitchen. Smoke and fire rush down the hallway and along the ceiling. Jordy yells into the phone : JORDY -LRB- CONT'D. -RRB- This is Jordan Warsaw! We got a 1075, make it quick, we're trapped! 8th Avenue and 44th Street. He pulls Daphne toward the bedroom. It's locked. Jordy kicks it open. Grabs the comforter off the bed. Shoves that under the door jam. He pulls Daphne into the bathroom. Shuts the door. Runs his severely burned hand under the cold water. Daphne looks out the window - hearing the sirens. She notices someone has nailed the window shut. And on top of one nail. is Eddie's gold shield. DAPHNE Oh my G - d! Oh my G - d! Jordy turns - sees Eddie's shield. DAPHNE -LRB- CONT'D. -RRB- They were here! This freaks her out. They were in her home. She starts to panic. JORDY Calm down. Get a hold of yourself! Get down! He pulls aside the curtain to the bathtub. In it is a CAN OF GASOLINE. A virtual bomb. JORDY -LRB- CONT'D. -RRB- Oh Jesus! Daphne reaches for the can of gasoline. JORDY -LRB- CONT'D. -RRB- What are you doing? DAPHNE Pouring it out! She grabs the can of gasoline - pours it down the drain. The FIRE is raging outside the bathroom. The bathroom door is beginning to smoke and burn. They are trapped. Jordy turns - grabs an exposed water pipe that runs up the wall to the ceiling. He throws his feet against the wall for leverage. Pulls with all his might to break it loose. It's creaking - but he's having a hard time with it. DAPHNE -LRB- CONT'D. -RRB- Oh shit! Jordy looks over. The gasoline she's pouring out - is not going down the drain. It's stopped up. As soon as the fire gets in the bathroom, everything will explode! Jordy begins pulling at the rusty pipe with all his might. Daphne comes over - helps him. Both of them trying to break it off. Suddenly it snaps and water POURS into the room. SOAKING THE WALLS. They point the pipe toward the door, soaking some of the flames which are consuming the door. Trying to stop the fire from coming in. He and Daphne are drenched. And trapped. Jordy grabs a broken piece of pipe. Starts SMASHING the wall behind them. The wall to the adjacent apartment. VIDEO POV Jordy and Daphne in the bathroom - surrounded by fire. CAMERA WHIP PANS down the street as FIRE ENGINES arrive. OLEG is VIDEOTAPING them from the opposite rooftop. Tenants from Daphne's building are fleeing down the fire escape. Emil stands in back of Oleg - who is very excited. He turns the camera on himself. OLEG This is great film! You can see fire right now - Daphne is in fire - Fire Marshal is here. Everything is so messy. Everything is so crazy right here! Look at this fire! We made it! 90 % of people who die in fire die from eating smoke. So most likely they all die from eating smoke. The CAMERA PANS to Emil. OLEG -LRB- CONT'D. -RRB- And this is the man who started the fire. Say something to your fans, Emil! Emil waits a beat and then blows a kiss to the lens. DAPHNE'S BATHROOM Filled with smoke. You can barely see Jordy or Daphne. Jordy SMASHES a hole in the wall - which reveals the bathroom in the apartment next door. The smoke has a place to escape. There's a 7 - year old KID in there. Standing in the bathroom. Terrified. JORDY Get back! Get out of the bathroom! Run! 7-YEAR OLD KID The hallway is on fire! JORDY It's okay. I'm a fireman. I'm going to help you. Get back! Now! Jordy pushes Daphne through the wall - turns as the bathroom door catches fire. It's seconds before the whole room will blow up. OLEG Across the roof is videotaping the bathroom as it EXPLODES!",
"EXT. STREET - CONTINUOUS Fire engines have arrived. The street is filled with gawkers. Garcia and Korfin pull up just as Jordy runs from the building - holding the kid in one arm and pulling Daphne with the other. Carefully guarding his bandaged hand. A fireman grabs the kid. Another grabs Daphne. Garcia and Korfin run to Jordy. GARCIA Jordy! What the hell happened?! KORFIN Are you alright, man? Lem me see the hand! JORDY Where's Daphne? Daphne? He spots Daphne on the corner as a familiar voice pushes through the crowd. VOICE Is n't she a beauty? She's my fire, look at that loom - up on her! Jordy turns - it's Max. The attention pyromaniac who Jordy threw out of his office. As a news crew arrives, Max turns to the cameras. MAX I did this! I did this! Take my picture! I'm Max! Max Gornick! Jordy grabs Max - pushes him away. JORDY Get outta here! KORFIN What the hell happened? JORDY They were inside. They booby trapped her apartment! Korfin scans the crowd. Looking for Emil and Oleg. In the b.g., Duffy is SCREAMING. DUFFY What the hell are you talking about? They're gon na do what? Jordy and Korfin turn. The Chief has a phone to his ear and is freaked.",
"INT. LOBBY OF CHANNEL 12 BROADCASTING - NIGHT JORDY'S POV as he enters the TV station. His clothes burnt and still wet. The lobby's full of ANGRY COPS. Tommy and Leon, still in his funeral suit, SCREAMING above them all at Maggie the producer and her ASSISTANT, who are standing behind the desk. TOMMY Where is he?! Where is Hawkins?! MAGGIE He's not on the premises! LEON I want the tape. Go get it and bring it here this minute. MAGGIE Any request for the video must be directed to `` Top Story's'' attorney - Bruce Cutler. I'll be happy to give you his number. Leon jumps over the desk where Maggie stands. Tommy pushes past the security guard to follow Leon. They continue toward Maggie, pushing her further back into the office. She tries to protect herself with an office door which Leon slams open. LEON Lady, if you put Eddie's murder on TV, I'll get a warrant for your arrest and shove it so far up your ass it'll come outta your mouth! MAGGIE I want your shield number! HAWKINS -LRB- O.S. -RRB- Viewer discretion advised! MAGGIE -LRB- pointing at the TV. -RRB- You want the tape? There it is! Leon, Tommy, all the cops and Jordy - turn toward a TV set which is mounted in the lobby. The `` Top Story'' logo flashes on the screen, then Robert Hawkins is seen behind his desk. HAWKINS What we are about to broadcast is very graphic footage. Everyone is riveted. But Jordy notices outside. a `` Top Story'' NEWS VAN is waiting in the alley. Robert Hawkins jumps from a doorway and into the van. Jordy backs out.",
"INT. PLANET HOLLWYOOD - NIGHT POP. a video POV of a bottle of Crystal as the cork is popped. The videocamera pans up to Emil sitting at the table. He nods at the waiter who leaves. Emil raises the glass - looking into the lens. EMIL America! Who says you ca n't be success in America? I arrived with nothing, knowing nobody - now look - I am a success story! The videocamera is lowered. Oleg turns it off. Asks suspiciously. OLEG You are success story? I am success story! Why do you say I and not we? EMIL Oleg, do n't be paranoid. You got a hundred - fifty thousand dollars, did n't you? I gave you half of what they gave me. Look - here we are! Emil gestures toward the big television set. We are in Planet Hollywood - where diners and those by the bar can watch a huge screen hanging from the ceiling. Robert Hawkins is introducing his show. HAWKINS -LRB- ON T.V. -RRB- Good evening. Welcome to `` Top Story''. Tonight, I present to you material of a graphic and violent nature never before seen on television. And I do so with a heavy heart. You will be first - hand witness to the slaying of celebrated New York City Homicide Detective, Eddie Flemming. It would be only normal to ask, why? Why are we showing something so journalist, I must show it. A democracy survives through the freedom of its media, and if we can not see what is happening then we do n't deserve our democracy, or our freedom. Eddie Flemming was my friend. I cried when I watched this footage and vowed to fight this violence with every molecule of my being from this day onward. Hopefully, this will have a similar effect on you. One final word, this material is absolutely not appropriate for children. The restaurant BUZZES. Emil checks his watch. OLEG In movie they make of us, who do you think would act me? EMIL The one who got caught in the bathroom. -LRB- beat. -RRB- George Michael. Emil laughs. Oleg does n't. OLEG I'm serious. EMIL Shut up. Look! Emil points towards the TV. `` Top Story'' is continuing. The scene cuts to Emil's video footage. Eddie is handcuffed to the chair. The light illuminating his face. OLEG -LRB- O.S. -RRB- This is my project. I say ` action.' I am the director! You are the talent. You wait for me to say ` action.'. -LRB- beat. -RRB- And ` action!' EMIL Bad last moment - I cut it out. Emil looks at Oleg - furious. EMIL -LRB- CONT'D. -RRB- I told you to cut that out before we handed in the tape! OLEG Be quiet. Watch. Oleg watches the big - screen TV as Emil raises the pistol to Eddie's temple. Eddie pushes him over the desk. Eddie then knocks Emil with the chair and Emil falls off the desk onto the floor. Eddie continues around with the chair and drives Oleg back across the room - pinning him to the wall. Eddie and Emil both go for the gun. Eddie knocks him out of the way. Stabs him with the legs of the chair repeatedly. Leaves him in a ball on the floor. Oleg comes at Eddie and he knocks Oleg over the coffee table and onto the sofa. The blinds and lamp shade are shot - bathing the room with more light. Emil stabs Eddie in the stomach. Oleg kneels down for a CLOSE - UP. EMIL Die. Die.",
"EXT. TIMES SQUARE - CONTINUOUS Hawkins' van drives across Times Square. Jordy's car following. We WIDEN OUT. Eddie's murder is being broadcast on the JUMBOTRON in Times Square. People stare up - stunned.",
"INT. PLANET HOLLWYOOD - CONTINUOUS The dinner patrons are watching TV. Shocked. Emil glares at Oleg. EMIL Why did you leave that stuff in about you being the director? OLEG Because I am the director. Do n't you realize, if it was n't for my film, for my talent, my idea to do this - no way would we be sitting here right now. EMIL Your idea? I thought it was my idea. Oleg tenses. Emil laughs. EMIL -LRB- CONT'D. -RRB- Are n't you just the cameraman? Oleg does n't laugh. OLEG I'm serious. this - this is a great American film. Full of violence and sex. And I want my credit. EMIL Credit? OLEG Yes. Before we hand in the next video - I put titles on it and my credit is going to read - Directed by Oleg Razgul. EMIL Yes. But there's only one problem - you want credit but the problem is - I do n't share credit. Oleg is pissed. EMIL -LRB- CONT'D. -RRB- You got that? OLEG No, I do n't get that! EMIL You think you are a director? You are a fucking little, small Russian piece of shit. And I hate you. I fucking hate you. Emil slaps Oleg across the face. Oleg stands up. Emil suddenly pulls out Eddie's gun but before he can pull the trigger, Oleg STABS Emil in the arm! Emil squeezes off a shot through the crowded restaurant. Patrons SCREAM - Oleg runs through the restaurant, escaping. It's chaos. Hawkins arrives with a crew and with BRUCE CUTLER, a confident, tough criminal attorney. Emil pulls the steak knife out of his arm, picks up a napkin - pressing it to his wound. EMIL -LRB- CONT'D. -RRB- Oh, hello. Cutler accesses the situation. EMIL -LRB- CONT'D. -RRB- Are you my attorney? -LRB- extends his hand to Cutler. -RRB- I'm Emil. I'm insane. CUTLER I'm not your lawyer until I see the money. EMIL Here. I have your money. Emil picks up a briefcase and hands it to Cutler. Cutler opens it - inside is the cash Emil got from Robert Hawkins. Emil looks at the table, pushing the plates and silverware aside. Emil looks under the table, throwing the chair aside, freaking. He's lost the most important thing in his life. EMIL -LRB- CONT'D. -RRB- Oh no! No! Shit! CUTLER -LRB- follows Emil - reaching out to him. -RRB- Emil. Take it easy. Stay with me. Sit down. What do you need? What are you looking for? EMIL He has the camera! He took the movie! Jordy comes in, gun raised. JORDY Do n't move! Do n't move! Get your hands up! Drop it! Emil puts his hands in the air. Immediately drops the gun! EMIL I give up! Jordy is disappointed! He did n't want to take Emil alive. Hawkins signals to his camera man, who swings his camera at Jordy as he approaches Emil, his gun aimed at Emil's head. CUTLER This man is unarmed, officer. He's surrendered. Jordy cracks Emil across the face - knocking him down. CUTLER -LRB- CONT'D. -RRB- What are you hitting him for? JORDY Turn that camera off! Jordy handcuffs him. Emil turns to the camera for sympathy, appearing more hurt than he is. EMIL No. Keep filming. Jordy realizes how media savvy Emil is and understands in that moment why he's surrendering. Jordy yanks Emil up - dragging him across the restaurant floor - Emil still favoring his ankle. CUTLER -LRB- to Emil. -RRB- Do n't say anything. EMIL Where are we going? CUTLER I'm coming with you. EMIL Yes. Yes, come with me! CUTLER -LRB- to Jordy. -RRB- I'm invoking rights - this man is represented by counsel. I'm coming with him. The `` Top Story'' crew is all over them, filming everything. Cutler stays close to Emil. Making sure he's in the video footage. JORDY Turn that camera off!",
"EXT. PLANET HOLLWYOOD - CONTINUOUS As Jordy comes out with a limping Emil, police are arriving. Tommy, Leon and Murphy run over as Jordy opens the back door to his car. Leon grabs Emil. LEON I'll take him. JORDY No way! He's mine! LEON -LRB- holding on to Emil, squeezing his arm hard. -RRB- We're takin' him. Do n't argue! JORDY He's my collar! LEON Well, he killed my partner! JORDY He's yours but I take him in! I'll drive him to the precinct, you can have him but I'm walkin' him in. Leon realizes Jordy wants to be seen on TV taking Emil into custody. LEON Okay, kid, have your 15 - minutes. I'll follow you. Tommy, you ride with him! Leon stares hatefully into Emil's eyes. LEON -LRB- CONT'D. -RRB- You're goin' down, motherfucker, you are goin' down. I'll be there with a smile when they put you down! Cutler hurries to Emil's side. CUTLER Do n't say a word. Do n't respond to his taunting! -LRB- to Leon. -RRB- He's represented by counsel. You want to speak to someone - you speak to me! TOMMY Out of the way, counselor. Tommy shoves Cutler aside. CUTLER Do n't you put your hands on me, Detective. Jordy pushes Emil in the back seat and slams the door. Leon turns to Hawkins, whose cameras are filming everything. LEON And you, you'll pay for what you did! HAWKINS -LRB- low. -RRB- This footage will work in your favor. When the jury sees this - no matter what Cutler tries, they'll convict him. Leon looks at him. This man used to be his friend. LEON You outta be ashamed. Ashamed of yourself. HAWKINS If I did n't put it on somebody else would! I was his friend! LEON Do n't give me that fucking shit. The cameras are rolling. MURPHY Do n't get into it on TV. LEON -LRB- yells to other cop cars. -RRB- Alright, let's get going! Leon and the other cops rush to their cars. Jordy is already behind the wheel. As soon as Tommy jumps in the passenger seat, Jordy takes off. The cameras film him driving away.",
"INT. JORDY'S CAR - NIGHT Jordy takes a left turn, racing away. Running all the lights. TOMMY What are you doin'? You're gon na lose everybody! Jordy rips through another turn, heading toward the West Side Highway. The car speeds up the ramp and races up the left lane - having lost the police. TOMMY -LRB- CONT'D. -RRB- Where are you goin'? This ai n't the way to the station! Jordy looks up at Emil in the rear view mirror.",
"EXT. WEST SIDE HIGHWAY EXIT - CONTINUOUS Jordy pulls off on 130th Street. They are way uptown in the middle of nowhere. The car drives down a dark street. Crumbled, vacant buildings dominate the streets and there are no people around.",
"EXT. DESERTED STREET - CONTINUOUS The car slows down. Tommy watches Jordy, realizes what's going on. Jordy stops at a dead end. Pulls open the back door, yanks Emil out and starts to drag him up into the deserted tunnel. TOMMY Jordy?? Listen to me. You ca n't do this. This is n't the way to do things. Jordy ignores Tommy, slamming him up against the tunnel wall. JORDY Were you a fireman? That how you knew how to rig the apartment? EMIL My father was. He gave me many lessons about fire. Now it's my friend. JORDY Tommy, take a walk. TOMMY What are you gon na do? JORDY Do n't you get it? He knew he was gon na get caught! That's why he videotaped Eddie's murder - he thinks he's gon na get off. TOMMY Do n't stoop to his level! Jordy tosses the car keys to Tommy. JORDY Take the car. Get outta here, Tommy. TOMMY Look, you ca n't shoot him in cold blood. JORDY -LRB- erupting. -RRB- GET OUTTA HERE NOW! GET IN THAT CAR AND DRIVE AWAY! DO WHAT I SAY OR I'LL KILL YOU, TOO! Tommy nervously backs up toward Jordy's car. Climbs behind the wheel and drives away, leaving Jordy and Emil alone in the darkness. Jordy takes out Eddie's pistol. The one Emil took from Eddie. Jordy opens the cylinder - two bullets left. Jordy snaps the cylinder shut, tucks Eddie's gun in Emil's belt. He drags Emil away from the wall, into the center of the empty space - unlocks Emil's handcuffs and throws them aside. Still holding the gun on Emil, he circles around to face him. JORDY -LRB- CONT'D. -RRB- Get your hands up! Get your hands up! Now facing Emil, he sticks his gun in his waistband - the same place he put Emil's. JORDY -LRB- CONT'D. -RRB- You wan na be a real American? Go for your gun. Emil holds his arms out - making it clear he's not going for the gun. JORDY -LRB- CONT'D. -RRB- Pull the gun! You want to be famous? Shoot me, you'll get more headlines and make more money. Emil watches Jordy. a slow grin spreads across his face. EMIL You ca n't kill me. You're not a cop. Just fireman with a gun. I bet you never shot anybody in your life. JORDY You'll be my first. Jordy pulls out his 9mm and pushes the barrel right between Emil's eyes. EMIL C'mon. Pull the trigger. Do it. Oh, look, you're sweating. You do n't have the balls. JORDY Get down on your knees. Emil gets on his knees and starts to sing in Czech. SIRENS fill the air. Police cars come flying down the street. JORDY -LRB- CONT'D. -RRB- Where's your partner? EMIL The Sheraton! On Broadway! Room 210. Go get Oleg. He'll kill you. Leon runs up. Tommy's relieved to see Jordy did n't kill Emil. LEON Gim me your gun, Jordy. We all want him dead but you ca n't do it this way. Emil is still smiling. Jordy suddenly slams Emil in the face. Knocking him to the floor. He jumps in his car and speeds away.",
"INT. BROADWAY SHERATON - 2ND FLOOR HALLWAY - NIGHT A room service WAITER wheels a tray with a magnum bottle of Crystal, with three glasses, toward Oleg's room. Jordy follows behind him - gun aimed at his back. WAITER Do you really need me? JORDY Keep your mouth shut. Do n't mess this up. They reach the room. Jordy flattens himself against the wall. The waiter KNOCKS. HOOKER'S VOICE Who's there? WAITER -LRB- nervous. -RRB- R - room service. A HOOKER, wrapped in a towel, opens the door a crack, looking out at the waiter. HOOKER Come in. Jordy whips around the corner - pointing his gun and pushing the hooker back out of the room. Jordy moves to the bedroom door. Peers through the crack. Oleg sits on the edge of the bed in his skivvies with two naked prostitutes. He's hooked up his videocamera to the TV set and is showing them his footage of the fire. OLEG Look at that. See that shot! Seamless. No cuts. -LRB- excited. -RRB- And look. Look at that transition. That's filmmaking! Is n't it great?! Jordy KICKS in the door - gun raised. JORDY Do n't move! Oleg grabs the videocamera. Has on hooker in a head lock and picks up the other one. He rushes at Jordy - using one of the hookers for protection. JORDY -LRB- CONT'D. -RRB- Drop the girl! Drop her! Oleg pushes the hookers at Jordy - knocking Jordy back into the living room and over the back of the sofa. Oleg rushes out into the HOTEL HALLWAY Oleg runs to the fire exit - Jordy follows, chasing Oleg down the stairwell.",
"EXT. BROADWAY - NIGHT Oleg bursts out a door which opens onto Broadway. He runs through the crowd - knocking pedestrians aside! Jordy chases him, gun in hand! Oleg runs into the street, darting in and out of traffic, cars braking to a stop. One SLAMS into another. Jordy leaps over a car, closing in on Oleg. People gawk. Even in New York, it's odd to see a man being chased in his underwear. Oleg runs, knocking people aside. He's holding the camera in his hand. It's on. JORDY STOP! STOP THAT MAN! A UNIFORMED COP turns as Oleg runs right into him. Knocking him down. Oleg beats him, takes his gun and runs into :",
"INT. MOVIE THEATER LOBBY - CONTINUOUS Oleg, gun in hand, runs past the TICKET TAKER at the door. TICKET TAKER Hey, come back here! The ticket taker runs after Oleg who continues past the candy counter. Jordy rushes in the door. JORDY Where is he? Where'd he go? TICKET TAKER Middle door. Jordy continues running through the lobby - past the middle door - and enters the theater through the far door.",
"INT. MOVIE THEATER - NIGHT Jordy enters the theater, crouches down in the aisle. It's a night scene, the theater is dark. Jordy tries to see faces. He cuts through a row of seats to the middle aisle. DRUNK'S VOICE Kill him! Kill the bastard! Jordy spins toward the voice - it's a DRUNK. Others start YELLING for blood! AUDIENCE Shoot him! SHOOT! A GUNSHOT! Jordy ducks! Another GUNSHOT! Jordy realizes the shots are coming from the screen. OLEG Look! Over here! Jordy turns. Oleg stands up and FIRES at him - trying to film Jordy's death with a videocamera. Jordy ducks, then rises up with his gun as Oleg vaults over the seats, leaping from one to the other, mashing shoulders and heads, bounding for the screen. JORDY Everybody down! Stay DOWN! Jordy FIRES as the screen villain blasts away. Some in the audience do n't realize the real thing is happening. Oleg leaps on the stage in front of the screen, illuminated by it. Jordy runs down the aisle. Oleg FIRES at Jordy. Jordy FIRES back. People panic - scurrying away - Jordy ca n't get a clear shot. Oleg FIRES again, wounding a moviegoer. Jordy raises up as the theater lights go on. and Oleg is gone! Jordy jumps on the stage - runs backstage - Oleg has disappeared. JORDY -LRB- CONT'D. -RRB- Shit! SIRENS are heard from outside. VOICES of cops are heard as they enter. CLOSE ON TV A REPORTER is in Times Square, reports from outside the movie theater. REPORTER -LRB- ON T.V. -RRB- and the wild chase through Times Square ended with the suspect, Oleg Razgul, escaping. The fire department has identified the fire marshal involved in the failed pursuit as Jordy Warsaw. The channel is changed. PETER ARNETT is reporting the same story. PETER ARNETT -LRB- ON T.V. -RRB- In a related matter, Mr. Slovak's attorney, Bruce Cutler - famous for handling sensational cases - claims his client is unfit to stand trial.",
"INT. JAIL CELL - WIDER - DAY Daphne sitting on a bench in a jail cell. Watching TV through the bars. She is in the fire department's holding cell in Brooklyn. PETER ARNETT -LRB- ON T.V. -RRB- In fact, Cutler claimed Mr. Slovak was not the alleged mastermind behind the murders. According to Cutler, Mr. Slovak was being directed by his partner, who threatened to kill him if he did n't follow Mr. Razgul's orders. Cutler told reporters today that Mr. Razgul did in fact stab his client. The scene CUTS TO Cutler's press conference. CUTLER My client, Mr. Slovak, is a victim. What's happened is not his fault. Emil was under the influence of his partner. At the trial, you'll see that my client will be vindicated.",
"INT. BELLEVUE - MENTAL OBSERVATION UNIT - DAY The CAMERA WIDENS from the TV set. We are now in an interview room, a guard is posted outside the room. Emil sits at a small table - with Cutler. Emil is dressed in Bellevue clothes. He's handcuffed and his ankle is bandaged. Emil gives a complimentary nod toward Cutler. CUTLER I brought you some letters. It's really fan mail. Women mostly. One wants to buy you clothes, another sent a check. Another wants a check. EMIL You bring the cigarettes? CUTLER Oh, sure. Cutler shakes a cigarette out of the pack, stuffs it in Emil's mouth and lights it for him. Emil has never smoked before. CUTLER -LRB- CONT'D. -RRB- How're they treating you, alright. -LRB- Emil is nonresponsive. -RRB- I want to get the cuffs off. but there's a little bit of a problem. Things out there are very negative right now for us. We got ta change that around. Perception is very, very important. Perception is reality. I know you're not fuckin' crazy. But it's important that I get that message out. Cause that's our only defense in this case. Emil leans forward. Cutler retrieves the cigarette from between his lips. CUTLER -LRB- CONT'D. -RRB- I want you to focus on three things : fear. He puts the cigarette back in Emil's mouth. CUTLER -LRB- CONT'D. -RRB- delusions and paranoia. EMIL I was all of these. CUTLER Well, you did n't appreciate the severity of it until recently. No question about that. EMIL What about Oleg? CUTLER Disappeared. They're looking everywhere. Maybe he went back to Czechoslovakia. EMIL No, he is here. Shit. CUTLER Do n't worry about him. Think about yourself. EMIL What about my movie rights? Book rights? CUTLER Look, I have n't really focused on that kind of thing. EMIL What's your cut? How much? CUTLER I would say. half. Half is fair. EMIL -LRB- laughs. -RRB- No. No way. CUTLER But it's. EMIL Thirty - percent. No more. Or I call another lawyer. This is the biggest case of your life. Do n't try to negotiate. Thirty percent. Say yes or no. CUTLER This is not about money, Emil. I need your trust in me. EMIL What else do you need? CUTLER I need to know about your background. I need to know about your upbringing. Why you're here. EMIL -LRB- indicating cigarette. -RRB- Give me another one, please. Cutler stuffs another cigarette in Emil's mouth. Lights it. CUTLER Tell me about yourself. What you did as a young boy. what your parents were like. EMIL My father always degraded me. Killed my self - esteem. And my mother was blind. CUTLER Your mother was blind? EMIL Yeah, she went blind giving birth to me. She went to fucking black market doctor to induce me. CUTLER Back in the Czech Republic? EMIL Yeah, yeah. bad doctor gave her bad drugs which made her go blind. And my father blamed me for her blindness. CUTLER Your father blamed you for your mother's blindness? EMIL Yeah, he hated me from day when I was born. Put it out. Can you put the cigarette out? Cutler takes the cigarette from Emil's lips and extinguishes it. EMIL -LRB- CONT'D. -RRB- That's what he did to me. He put cigarettes out on me. CUTLER Your father put cigarettes out on you? EMIL Out on my back when I was a small boy. CUTLER Can I see your back? Emil rises. Cutler comes around and pulls his shirt up. HIS ENTIRE BACK IS COVERED WITH DISGUSTING PURPLISH WELTS FROM CIGARETTE BURNS. Cutler recoils - horrified. CUTLER -LRB- CONT'D. -RRB- Oh, Jesus. EMIL I'm abused. Do n't you think? CUTLER I do n't think it's abuse, I think it's torture.",
"INT. FIRE STATION 91 - DUFFY'S OFFICE - DAY Inside the Arson Squad, Duffy sits behind his desk. Jordy stands across the table from his Chief. Behind Jordy we can see Garcia and Korfin outside, listening. Duffy has a subpoena in his hand. DUFFY The public does n't have any idea what we do and now you're going to define our image! This is going to be our Rodney King! JORDY What was I supposed to do? The guy tried to mug me. I was gon na send a cop back - I just forgot. DUFFY Forgot? You handcuffed a civilian to a tree?! JORDY Chief - I know I screwed up - but this guy was no innocent civilian. DUFFY Well this is gon na end your career and probably mine. JORDY End my career? DUFFY How are you going to fight this? Maybe if Oleg had n't gotten away and you'd been on the front page, as a hero, this thing would be easier to fight. You'd have the good to weight against the bad! It's unfortunate that I have to make decisions based upon your press coverage but there's nothing I can do! Gim me your shield. JORDY But Chief? Over this? DUFFY There's nothing to talk about. Get a good lawyer. You're suspended until your trial. Jordy sighs. Dying inside. He surrenders his shield. Drops his handcuffs, his pager and his gun. Duffy picks up the gun - looks at it. DUFFY -LRB- CONT'D. -RRB- -LRB- pats Jordy's shoulder. -RRB- I know you got backup at home. Drop it off. Jordy sighs and exits.",
"INT. IMMIGRATION & NATURALIZATION OFFICE - DAY Jordy is talking to BILL STERN, a senior special agent. In another office we see Daphne with two 25 - year old ASSISTANT U.S. ATTORNEYS. STERN -LRB- to Jordy. -RRB- Look, what do n't you understand? We've got a good relationship with the Czech's and the State Department does n't want to cause an incident. JORDY But the D.A. needs her as an eyewitness! STERN They've got her testimony on videotape. And even if they do take her to court immediately after she'll be extradited. The Czechs want her back. She shot a cop! I mean, Christ, man, what if Emil Slovak and Oleg Razgul fled to the Czech Republic? How would you feel if the Czechs would n't give them back to us?! Stern looks over at Daphne sitting in another office. Lowers his voice. STERN -LRB- CONT'D. -RRB- And just between us. I was married to a redhead. They're a jinx. Redheads are like cross - eyed priests. Stay away from both. Jordy gives him a look. STERN -LRB- CONT'D. -RRB- You want to see her - go ahead. Jordy enters the other office. Sits next to Daphne. The assistant U.S. Attorneys leave. JORDY We're gon na fight the extradition. Daphne takes Jordy's bandaged hand in hers. DAPHNE Forget about me. You have enough problems of your own. JORDY Do you really want me to forget about you? DAPHNE I do n't want to drag you down with me. JORDY Daphne, I. Daphne touches her finger to his lips. DAPHNE Shhhh. She leans in and kisses him. Then looks into his eyes, trying to find a smile.",
"EXT. FEDERAL COURT HOUSE STEPS - DAY It's weeks later. Nicolette is looking worn, tired, frazzled. She's trying to go through her stand up. But she's unraveling. Not recovered from the loss of Eddie. NICOLETTE and today with his partner who he blamed for the crimes still at large, Emil Slovak will appear in court. His lawyer will argue that he is mentally unfit to stand trial. Eyewitness News has also learned that later this month, Jordy Warsaw will himself be appearing in court. He will be arraigned on charges of violating the civil rights of. Zwangen. Zwagen. MIKE Zwangendaba. NICOLETTE Goddamn assholes everywhere. Zwangenbobby. Zwangendaba. I got it. I'll do it. Shit. Let's start again. 5 - 4 - 3 - 2 - 1. She starts over.",
"INT. JORDY'S APARTMENT - NIGHT Jordy's on the couch. A drink in his hand, watching TV with his dog, ZACK. Jordy's eyes are glazed. He's drunk, his eyes are as bloodshot as Eddie's were. without his job or Daphne. His mind miles away - the dog and drink are his only comfort. As Nicolette reports -LRB- she got the name right -RRB-, her anger seeps through her broadcast. NICOLETTE -LRB- ON T.V. -RRB- Mr. Zwangendaba claims to be a direct descendent of the African King from whom he takes his name. Jordy's face is flashed on screen. The phone RINGS. Jordy picks up. JORDY Hello? -LRB- listens. -RRB- No comment. He hangs up. The phone RINGS AGAIN. JORDY -LRB- CONT'D. -RRB- Hello? -LRB- listens. -RRB- No! Jordy hangs up. Changes the channel. He stops as Robert Hawkins' face fills the screen. He is standing across from someone - in a park - interviewing him. HAWKINS -LRB- ON T.V. -RRB- He robbed you? The ANGLE CUTS to Zwangendaba, the mugger, now dressed in a suit and tie. Clean shaven and with a fresh haircut. He stands in the same spot where Jordy handcuffed him to the tree. He's appearing on `` Top Story''. ZWANGENDABA -LRB- ON T.V. -RRB- That's right, I encountered him right here. I was just askin' for change an' he whips out his big gun an' pushes me up against that tree, whereupon he takes my money and handcuffs me to it, leavin' me there all exposed. The phone RINGS again. Jordy suddenly pulls the phone off the table and throws it through the window : BACK TO TV as the channel is changed. A REPORTER is on TV. Behind him is a picture of Emil. Emil is smiling, in a shirt and tie. The reporter stands in front of the jail. REPORTER and WBAI has learned that Mr. Slovak wo n't have to worry about how he is going to pay for his defense. He has received movie offers and been in conversations with numerous publishers concerning the rights to his life story. REVERSE ANGLE Oleg is at a bar watching TV. Poisoned with envy.",
"INT. JORDY'S BEDROOM - NEXT MORNING Jordy stands in front of the mirror over the dresser. We see the TV overturned in the b.g. His back up gun is on it. He stares at it. Dark thoughts dancing in his head.",
"EXT. BATTERY PARK - DAY Jordy sits in a taxi, wearing sunglasses. Looking inside the park where a POLICE BARRICADE surrounds a POLICE TUGBOAT. Cutler and Emil are arriving - Emil is being transferred to Rykers Island. Jordy pulls his.38 out of his ankle holster and sticks it in his pocket. CLOSE ON METER to $ 42.00. The TAXI DRIVER looks in the rearview mirror. TAXI DRIVER I ca n't believe this guy got off. Unbelievable. Jordy takes out money. All he's got is fifty bucks and he crams it into the slot. JORDY Whatever's leftover, keep. Jordy exits the cab. The anger rising inside his body is coming to a boiling point. He walks into the park. Leon is sitting on a bench. Just sitting there. Also filled with rage and frustration. Jordy meets his eyes. Leon gets up and walks away. Disgusted by it all. Jordy's right hand grips the gun inside his pocket as he walks on. HIGH WIDE SHOT Many policemen are trying to control a swarm of reporters. All are waiting for Emil. WE SEE : HAWKINS and his camera crew, and, not far from him - frustrated and frazzled, waits Nicolette. Still grieving her loss, she looks over at Hawkins and his crew. She shoots him a disgusted look - Hawkins shrugs it off. He checks his watch - anxious - looks at his cameraman. HAWKINS He said he'd be here. Pick him up as he comes through the crowd. Do you hear me? For Chrissakes do n't miss this. THE POLICE VAN PULLS UP Cutler's car behind it. Emil - handcuffed - is unloaded from the van. Reporters swarm forward - Cutler gets out of his car, hurrying up, taking his place alongside Emil and the POLICE ESCORTS. The swarm follows - firing questions at Cutler. He answers the barrage of questions with : CUTLER my client was suffering from a major illness of schizophrenic nature wherein during times of intense stress, as a result of paranoid and psychotic delusions - there was impairment of his ability to appreciate wrongfullness. This is a victory for the mentally ill! Jordy walks alongside the moving mass. His eyes focused on Emil - his hand in his pocket. We notice in the crowd Max, the celebrity - crazed pyromaniac. What's he doing here? Max's hand is also stuck deeply in his pocket. A weird gleam in his eye. We see Korfin in the group, speaking to other cops. Nicolette and her camera crew are vying for their place in the mass. She watches Emil with quiet rage. Cutler continues : CUTLER -LRB- CONT'D. -RRB- before Emil boards the police boat and heads for Rykers Island where he will be checked into the psyche ward, I want to say one last word to you all. As you know, Emil was coerced by Oleg Razgul into committing these murders, yet Oleg is still out in the street, a free man, filming gruesome murders. My client and I hope he is brought to justice in the near future. They are through the monuments, approaching the steps when Jordy passes a distracted Hawkins - who's checking his watch obsessively. HAWKINS Where the hell is he? Goddamn it?! Jordy glares at Emil. Emil looks back at Jordy, gloating. Smiles. He won. He beat the system. Jordy suddenly erupts. JORDY You think this is funny? What the hell are you laughing at? Emil stares down Jordy. Jordy grips the gun inside the jacket. CUTLER -LRB- to a nearby escort. -RRB- Officer, keep this man back, he's assaulted my client on previous occasions. A PATROLMAN blocks Jordy from Emil. JORDY This is it? This bastard kills the best cop this city ever had and we do nothing? CUTLER You may not like it marshal, but that's the law. JORDY And what about the other victims? What about their families? He'll end up in some country club nuthouse while his lawyer sells his rights to the movies and we just stand here and do nothing? We let this scumbag walk? Jordy moves past the officer. Emil breaks away from Cutler. Gets in Jordy's face. Laughs quietly. EMIL Be careful. I can kill you. I'm insane. Jordy shoves Emil into Cutler. A scuffle breaks out as the cops separate the two - pulling Jordy back as we cut to : A VIDEO POV as it approaches Hawkins from behind. A hand dips into frame tapping Hawkins on the shoulder. Hawkins turns - sees who he's been waiting for. His face lights up. HAWKINS I thought you would n't show up. Where is it? Where is the tape? IT'S OLEG In disguise - sunglasses and a hat. Holding his videocamera. OLEG It's all in here. All in here. MEANWHILE JORDY has been separated from Cutler and Emil as Hawkins' voice cuts above the din of the crowd, announcing excitedly : HAWKINS Wait a minute, Bruce! We've got some interesting evidence, something you should look at! Reporters turn as Hawkins speaks. His crew is taping as he continues introducing his broadcast : HAWKINS -LRB- CONT'D. -RRB- I have exclusive rights to the ORIGINAL UNCUT videotape shot by Oleg Razgul, proving Emil Slovak was not insane! Hard to believe. watch! Reporters swing their cameras over as Oleg holds his videocamera up in the air. OLEG -LRB- ON VIDEO. -RRB- He knew exactly what he was doing - all of this was planned! It's all here in my movie. Emil is not insane. Look. Look! Oleg PLAYS his videocamera as lenses focus, we see excerpts of the moment where Emil explains to Eddie : EMIL -LRB- ON VIDEO. -RRB- so we kill someone famous and if we are caught, we are sent to mental hospital. CUTLER -LRB- points to Oleg. -RRB- Officers, there's your killer, do your duty, arrest him! The police are attempting to get to Oleg, but a sea of reporters separate them. We hear the staccato calls from the press corps. Nicolette looks on in amazed outrage. Jordy notices and starts moving towards her. Before the POLICE CAPTAIN in charge of the detail can react, the rage which killed Milos, Tamina and Honey wells up inside Emil. He yells at Oleg! EMIL Traitor! OLEG No. You are the traitor. You are murderer. I am director. Action! Oleg pulls his gun. Emil pulls Cutler in front of him as : BANG! Oleg FIRES! Cutler is SHOT and goes down. Hawkins swings his camera over to Oleg - filming the would - be assassin. Oleg FIRES off another SHOT - hitting the COURT OFFICER escorting Emil. Emil grabs the down officer's gun. He swivels - rapid fires at Oleg. Oleg topples. People are screaming. It's CHAOS. Emil darts forward - grabbing Nicolette who is closes to him. He puts his handcuffed arms over her head - points the gun at her head. CAPTAIN Drop the gun! DO N'T SHOOT! EMIL I'll kill her! Back off! Everyone back away from me! We hear Jordy's voice above Emil. JORDY Let her go. Let her fucking go! The captain is screaming at all his men. CAPTAIN No one shoot! Lower your weapons! Do not fire! No officer will fire his weapon unless I say so! -LRB- to Emil. -RRB- Let the woman go! Cops reluctantly lower their weapons. But Jordy is still aiming his gun at Emil. He is the only one who has n't lowered his gun. The captain is yelling at him. CAPTAIN -LRB- CONT'D. -RRB- Holster your weapons! Back away. That is an order! No officers will fire! Emil is screaming back at the captain as Jordy screams at Emil. EMIL Tell him to put his gun down! JORDY Let her go! Let her go! EMIL If he does n't lower his gun I'll fucking kill her. Jordy does n't lower his gun. Emil tries to back away. The reporters - who have ducked and covered - are still keeping their lenses pointed at the scene. This is great film! Jordy follows after Emil - his gun raised. JORDY Let her go. NICOLETTE Shoot! Shoot him! EMIL Shut up! Meanwhile, the captain is still yelling : CAPTAIN No on shoot! No one shoot! No officer will follow. No officer will shoot! Nicolette is still encouraging Jordy. NICOLETTE Shoot! Shoot! Shoot him! EMIL Shut up! Everyone is screaming at once. It's mass chaos. The captain is trying to keep everyone calm. Cops following along with their weapons lowered. All except Jordy - his gun still pointed at Emil. Hawkins ca n't believe what footage he's getting. He's pushing his cameraman to the front of the pack. Trying to get the best coverage. EMIL -LRB- CONT'D. -RRB- I'll surrender! I'll surrender if he lowers his gun. He's pointing at Jordy but he's continuing to back away towards the police boat. NICOLETTE Do n't. Do n't let him surrender. Shoot him! Jordy wo n't take his gun off him. JORDY Let her go. Let her go. The captain is yelling at Jordy. CAPTAIN Lower your weapon. I told you - lower your weapon! Jordy struggles to get a clean shot at Emil. He ca n't. His heart pounding. Adrenaline pumping. He suddenly lowers his weapon. Turns away. The captain visibly relaxes. Emil laughs. Jordy suddenly turns back. Quickly raises his weapon. JORDY SHOOTS Emil takes a shot in the leg. Nicolette ducks under the handcuffs and scurries away. Emil looks at Jordy - surprised he shot him. Jordy FIRES AGAIN. Emil is hit in the shoulder. Jordy marches forward, EMPTYING HIS CLIP in Emil's chest. Abdomen. Head. Gun fire echoes in the humid air as Emil stumbles back. Does a funny dance and drops to the ground. Dead. The captain yells. CAPTAIN -LRB- CONT'D. -RRB- I told you not to shoot! No officers should shoot. Jordy quietly answers : JORDY I'm not a cop. I'm a fire marshal. HAWKINS He's still alive. Hawkins looks down at Oleg. He is sprawled on the ground. His videocamera in hand - he's still making the movie. OLEG'S VIDEO POV as it ZOOMS from the Statue of Liberty and PANS to Oleg. He looks in the lens with his dying eyes, gasps : OLEG A film. by Oleg Razgul. And Oleg dies but suddenly his eyes pop WIDE OPEN. Hawkins jumps back, Oleg smiles, coughing in pain. OLEG -LRB- CONT'D. -RRB- How was that? Oleg's head rolls to one side. Now dead. Nicolette runs over to Jordy. Composing herself. Coming together. Glad Emil is dead. Jordy starts to walk away. NICOLETTE Wait a minute. Where are you going? Learn from Eddie. Talk to the court of public opinion. Take the credit, you need it. She turns him around. Straightens his tie. Starts to push the hair out of his face but he stops her hand. JORDY No thanks. Jordy puts something in her hand. She looks down. It's EDDIE'S BADGE. The one Jordy took out of Daphne's bathroom. She looks up at him. Her cameraman rolling. The lens pointed at Jordy. Jordy looks at Nicolette. Meets her eyes. He does n't want to make a statement. He still does n't want the fame. He did learn from Eddie. Eddie was killed because he was a celebrity. Jordy wants no part of it. NICOLETTE Cut. Her cameraman lowers his leans. Jordy smiles. She nods. Jordy turns and walks away. NICOLETTE -LRB- CONT'D. -RRB- Get a shot of him leaving. Then pan to me. Jordy disappears into the sea of people. The camera PANS back to Nicolette. NICOLETTE -LRB- CONT'D. -RRB- Well, he would n't talk to us, but you saw it. The CAMERA PULLS BACK from Nicolette's face and the video is now on : THE JUMBOTRON IN TIMES SQUARE We PULL BACK FURTHER and FURTHER. Nicolette finishing her stand up : NICOLETTE -LRB- CONT'D. -RRB- New York City has a new hero, Fire Marshal Jordan Warsaw. I hope that Fire Marshal Warsaw's heroic actions this afternoon will help with his other legal problems. WB11 has also learned that the fire Marshal has retained an immigration lawyer to help Daphne Handlova with her case. We wish her well. This is Nicolette Karas, live at Battery Park, WB11 New York. Good night. THE SCREEN FADES TO BLACK."
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] | Ex-convicts Emil Slovak (Karel Roden) and Oleg Razgul (Oleg Taktarov) arrive in the United States to claim their part of a bank heist in Russia (or in the Czech Republic). Oleg steals a video camera from a Make-Your-Own-Movie establishment. At the rundown apartment of their old partner, they are denied their share, so Emil fatally stabs him and his wife as Oleg tapes it with the camera. Czech immigrant Daphne Handlova (Vera Farmiga) witnesses the murders from the bathroom, then escapes before they can kill her as well. To hide the crime, Emil burns down the apartment. Jordy Warsaw (Edward Burns) is an arson investigator assigned to the case. Eddie Flemming (Robert De Niro) is a flamboyant New York City detective who is also called to the scene. Flemming is such a high-profile celebrity that he is followed around by a reporter from a tabloid TV show, Top Story, hosted by the arrogant Robert Hawkins (Kelsey Grammer). Everywhere he goes, citizens cheer him on. Flemming and Warsaw agree to work the case together. While checking out the crowd, Warsaw spots Daphne trying to get his attention, but she disappears. Emil calls an escort service and asks for a "Czech girl." One calling herself Honey (Noelle Evans) arrives, whom he kills but not before getting the address of the escort service. Oleg tapes the murder. He continually films everything, claiming he wants to be the next Frank Capra. Flemming and Warsaw investigate her murder, visiting the escort service. Rose Hearn (Charlize Theron), who runs it, tells them that the girl Warsaw described doesn't work for her but rather a hairdresser. She mentions a couple of other guys having just asked her the same questions. Flemming and Warsaw arrive at the hair salon just after Emil and Oleg have warned Daphne to keep quiet. Flemming notices someone filming them from across the street. A foot chase begins, Flemming's regular partner Leon Jackson (Avery Brooks) being hit with a glass bottle and his wallet stolen. Emil finds a card with Flemming's name and address. He is jealous of Flemming's celebrity status and is convinced that anyone in America can get away with anything. On the night Flemming is to propose to his girlfriend Nicolette Karas (Melina Kanakaredes), Oleg and Emil sneak into his house and bind Flemming to a chair. While Oleg is recording, Emil explains his plan to Flemming: He will kill him and sell the tape to Top Story. After being committed to an insane asylum, he will declare that he is actually sane. Since he can't be tried again, he will get off, collecting royalties from his books and movies. Fleming attacks them with his chair (while still taped to it), but Emil gets the upper-hand and stabs him in the chest, mortally wounding him. Emil then suffocates and kills Flemming with a pillow. The entire city is in mourning. Emil calls Hawkins to offer a tape of the killing that he is willing to sell to Top Story. Hawkins pays him $1 million for it. Warsaw and the entire police force are furious, unable to believe that the TV show would air it, especially since Hawkins's main reporter is Nicolette. Emil and Oleg sit in a Planet Hollywood to watch the show in public. Halfway through the broadcast, customers realize that Emil and Oleg are right there with them and panic. Police arrive and arrest Emil, while Oleg escapes. Instead of delivering his suspect to the police station, Warsaw takes Emil to an abandoned warehouse to kill him. Other police arrive just in time and take Emil into custody. Everything goes as planned for Emil, now a celebrity who is pleading insanity. His lawyer agrees to work for 30% of the royalties Emil will receive for his story. Meanwhile, in hiding, Oleg becomes jealous of the notoriety that Emil is receiving. While the lawyer is leading Emil away, surrounded by the media, Warsaw provokes an argument, with the Top Story crew recording the whole thing. Oleg quietly approaches Hawkins and hands him the tape of Emil explaining his plan to Flemming, proving he was sane the whole time. Hawkins shouts out to Emil about the evidence in his possession. Emil grabs a policeman's gun, shoots Oleg and grabs Nicolette, who is covering the story, threatening to shoot her. Against orders, Warsaw shoots Emil a dozen times in the chest to avenge Flemming's murder. An officer observes that Oleg is still alive. Hawkins rushes to his side, where Oleg says a final few words about the movie that is still being taped, just before he dies. Hawkins attempts to get a comment from Warsaw, who punches him and walks away as the police all smile with approval. | 15_Minutes |
[
"EXT. AIRFIELD -- DAY We are moving through a small airfield full of parked light planes. There are no people around. We move through the cluster of planes toward a hangar on the edge of the field.",
"INT. HANGAR -- DAY We are still moving through light planes, but now we are inside the hangar. Some of the planes have their engine covers open, parts strewn around. Others are partially covered with tarps or have sections missing. There is even a sleek executive jet parked in one corner. As we float past the planes we notice a woman leaning against the wing of a Piper Cub, her chest against the wing's trailing edge, her arms spread out to each side, as though flying herself. As we get closer we see that her jacket is pulled open to expose one of her breasts, which rests on the metal of the wing. CU breast on metal. CU hard nipple and rivets. CU woman - Catherine. Early thirties, dark, short hair, stylish executive clothes. Her eyes are wide open but unfocussed. A hand grips her shoulder from behind. We follow the hand down behind Catherine and discover a man crouched behind her, kissing her back. Catherine is standing on a low mechanic's platform and her skirt has been raised and hooked over the wing's flap. She wears garters and stockings but no panties. The man, handsome, cruel - looking, rises up behind her, enters her, kisses her neck. Catherine half closes her eyes. She rotates her pelvis gently against the thrusting.",
"EXT. FILM STUDIO -- DAY We are floating toward the modest gates of a small film studio ; the sign above the gates says ` CineTerra' in Art Deco script.",
"INT. FILM STUDIO -- DAY We now float through a film set on which a commercial for a mini - van is being shot. Lights are being reset, the van polished for a beauty tracking shot. We pick up an assistant director as he strides through the action, looking for someone. AD I'm looking for James. Has anybody seen James Ballard? You know who I mean? The producer of this epic. A dolly grip with very close - cropped hair looks up from a section of dolly track which he is adjusting with small wooden wedges. GRIP I think I saw him in the camera department.",
"INT. FILM STUDIO. CAMERA ROOM -- DAY We float toward the door marked CAMERA DEPT.. Inside the room we find a young woman, a camera assistant, wearing a T - shirt and heavy woolen socks and work boots and nothing else. She is draped across a table strewn with camera parts, stomach down, head resting on a black, crackle - finish camera magazine, her legs spread. Camera parts and cases, tripods, changing bags everywhere. A man is behind her, kissing the backs of her thighs. We hear the sound of the AD approaching with deliberately heavy footsteps. The AD pauses just outside the door. AD -LRB- off screen. -RRB- James? James, are you in there? Could we please get your stamp of approval on our little tracking shot? The man, James, looks up from the woman's thighs. JAMES Of course. Be there in a minute. The camera girl twists around on to her back and throws her legs over James's shoulders. CAMERA GIRL It'll take more than a minute.",
"EXT. BALLARD APT. BALCONY -- NIGHT Catherine stands at the railing of the balcony of the Ballard apartment, which overlooks a busy expressway near the airport. Her arms are spread wide as they were in the airplane hangar, only now it is James, her husband, who is standing behind her. They are both half naked, and he is inside her. Their sex - making is disconnected, passionless, as though it would disappear if they noticed it. An urgent, uninterrupted flow of cars streams below them. JAMES Where were you? CATHERINE In the private aircraft hangar. Anybody could have walked in. JAMES Did you come? CATHERINE No. What about your camera girl? Did she come? JAMES We were interrupted. I had to go back to the set. Catherine turns toward James and pulls open her blouse, exposing her left breast. She pulls James's face down and presses her nipple against his cheek. CATHERINE Poor darling. -LRB- pause. -RRB- What can I do about Karen? How can I arrange to have her seduce me? She desperately needs a conquest. JAMES I've been thinking about that, about you and Karen.",
"INT. DEPARTMENT STORE. LINGERIE DEPARTMENT -- DAY James lingers among racks of nightdresses outside a changing cubicle. Monitored by a bored, seen - it - all middle - aged saleswoman, James glances now and then through the curtains to watch Karen help Catherine try on underwear. Karen, Catherine's secretary, a moody, unsmiling girl, is methodically involved in the soft technology of Catherine's breasts and the brassières designed to show them off. Karen touches Catherine with peculiar caresses, tapping her lightly with the tips of her fingers, first upon the shoulders, along the pink grooves left by her underwear, then across her back, where the metal clasps of her brassière have left a medallion of impressed skin, and finally on the elastic - patterned grooves beneath Catherine's breasts themselves. Catherine stands through this in a trance - like state, gabbling to herself in a low voice, as the tip of Karen's right forefinger surreptitiously touches her nipple.",
"INT. UNDERGROUND PARKING-LOT -- DAY James sits in the car beside his wife. She watches as his fingers move across the control panel, switching on the ignition, the direction indicator, selecting the drive lever, fastening his seat - belt. As the car moves off, James puts his free hand between Catherine's thighs.",
"INT. FILM STUDIO. JAMES'S OFFICE -- NIGHT James studies storyboards for an automotive battery commercial, which are spread out over a broad architect's table. He makes notes on each panel of the boards with a sharp pencil. As we move around him, we reveal his secretary, Renata, sitting and watching him intently from the vantage point of her corner chair, her hand poised to write down anything he might say in a small, leather - bound notebook. From her point of view, we watch James from behind as he works. Every movement he makes - bending over to correct a panel, manipulating the pencil, touching the sharp point of the pencil to his lip, straightening up again - provokes a different tiny response from Renata, so attuned to him is she. But he says nothing to her, and she remains poised and vigilant.",
"EXT. FILM STUDIO. PARKING-LOT -- NIGHT James settles into his car - a boring American four - door sedan - running through his control - panel routine like a pilot before driving off. This time his routine ends with the switching on of the windshield wipers because it has begun to rain heavily.",
"EXT. RAINSWEPT ROAD -- NIGHT Driving home from the studio, James hits a deep puddle at 60 miles an hour and suddenly finds himself heading into the oncoming lane. The car hits the central reservation with a thump and the offside tire explodes and spins off its rim.",
"INT. JAMES'S CAR -- NIGHT In the car, James fights desperately for control.",
"EXT. RAINSWEPT ROAD -- NIGHT The car hurtles across the reservation and, bouncing and slamming down on its suspension, heads up the high - speed exit ramp. Three sedans are barreling down the ramp toward James.",
"INT. JAMES'S CAR -- NIGHT James pumps the brakes and saws away inexpertly at the wheel. He manages to avoid the first two cars, but the third he strikes head - on. At the moment of impact, the man in the passenger seat of the other car is propelled like a mattress from the barrel of a circus cannon through his own windshield and then partially through the windshield of James's car. The propelled man's blood spatters James's face and chest, his body coming to rest half inside James's car, its head dangling down into the dark recess of the passenger footwell. James's chest hits the steering wheel, his knees crush into the instrument panel, his forehead hits the upper windshield frame. As this happens, James is vaguely conscious of the same thing happening to the woman driving the other car, as though she is a bizarre mirror image. Slammed back into their seats after the initial impact, James and the woman look at each other through the shattered windshields, neither able to move. The woman, handsome and intelligent - looking, supported by her seat - belt, stares at James in a curiously formal way, as if unsure what has brought them together. Out of the corner of his eye, James can see the hand of the dead passenger, now his passenger, caught on the dashboard and lying palm upwards only a few inches away from him. James squints as he tries to focus on a huge blood - blister, pumped up by the man's dying circulation, which has a distinct triton shape. James shifts his focus to the hood ornament of his car, twisted up into the cold mercury - vapor glare of the roadway lights but still intact. It is the same triton imprinted on the palm of the dead passenger, the car manufacturer's logo.",
"EXT. RAINSWEPT ROAD -- NIGHT Traffic is beginning to back up behind the accident and a growing circle of spectators, some of them pedestrians, some drivers who have left their own cars, begins to form. The more adventurous members of the crowd paw hesitantly at the seized doors of the two cars, afraid really to yank them open in case the violence of that act might trigger some further unnamed catastrophe.",
"INT. JAMES'S CAR -- NIGHT Numbly watching James as she fumbles to undo her seat - belt, the woman in the other crashed car inadvertently jerks open her blouse and exposes her breast to James, its inner curve marked by a dark, strap - like bruise made by her seat - belt. In the strange, desperate privacy of this moment, the breast's erect nipple seems somehow, impossibly, a deliberate provocation.",
"INT. HOSPITAL -- DAY We are close on a face having makeup applied to it. It is a very pale, blotchy face, and the makeup is smoothing it, making it appear healthy and even slightly tanned. There are also some crude black stitches in this face, and we realize that it is James's face, and that a very serious Catherine is applying the makeup. James's legs are up in a sling, drainage tubes coming from both knees. Wounds on his chest : broken skin around the lower edge of the sternum, where the horn boss had been driven upwards by the collapsing engine compartment ; a semicircular bruise, a marbled rainbow, running from one nipple to the other. Stitches in the laceration across the scalp, a second hairline an inch below the original. Unshaven face and fretting hands. Catherine is dressed more for a smart lunch with an airline executive than to visit her husband in hospital. CATHERINE There, that's better. JAMES Thank you. James examines himself in her hand - mirror, staring at his pale, mannequin - like face, trying to read its lines. Catherine looks around her as she puts her makeup away. There are twenty - three other beds in the briskly efficient - looking new ward, all of them empty. CATHERINE Not a lot of action here. JAMES They consider this to be the airport hospital. This ward is reserved for air - crash victims. The beds are kept waiting. CATHERINE If I groundloop during my flying lesson on Saturday you might wake up and find me next to you. JAMES I'll listen for you buzzing over. Catherine crosses her legs and tries to light a cigarette with a heavy, mechanically complex lighter with which she is obviously unfamiliar. JAMES -LRB- referring to the lighter. -RRB- Is that a gift from Wendel? It has an aeronautical feel to it. CATHERINE Yes. From Wendel. To celebrate the licence approval for our air - charter firm. I forgot to tell you. Catherine finally succeeds in lighting the cigarette. She takes a deep drag. James props himself up on his elbow, breathing with transparent pain. JAMES That's going well, then. CATHERINE Well, yes. -LRB- pause. -RRB- You're getting out of bed tomorrow. They want you to walk. James gestures for the cigarette. Catherine puts the warm tip, stained with pink lipstick, into his mouth. CATHERINE The other man, the dead man, his wife is a doctor - Dr Helen Remington. She's here, somewhere. As a patient, of course. Maybe you'll find her in the hallways tomorrow on your walk. JAMES And her husband? What was he? CATHERINE He was a chemical engineer with a food company. A dark - haired student female nurse comes into the ward. She wags a finger at James. STUDENT NURSE No smoking, please. As Catherine retrieves the cigarette from James and stubs it out in a glass, the nurse examines Catherine's glamorous figure, her expensive suit, her jewelry. STUDENT NURSE -LRB- to Catherine. -RRB- Are you this gentleman's wife? Mrs Ballard? CATHERINE Yes. STUDENT NURSE You can stay for this, then. The nurse pulls the bedclothes back and digs the urine bottle from between James's legs. She checks the level and, satisfied, drops it back, flips over the sheets again. Both Catherine and James watch her closely, her sly thighs under her gingham, the movement of her breasts as she bends to check the chart at the foot of the bed, the pulse in her throat. The nurse catches them watching her, smiles enigmatically back at them, and leaves. Catherine pulls out a manila folder from her bag and slips a set of storyboards for a commercial out of it. CATHERINE Aida telephoned to say how sorry she was, but could you look at the storyboards again, she's made a number of changes. James waves the folder away. Catherine examines his body, aloofly curious. JAMES Where's the car? CATHERINE Outside in the visitors' car - park. JAMES What!? They brought the car here? CATHERINE My car, not yours. Yours is a complete wreck. The police dragged it to the pound behind the station. JAMES Have you seen it? CATHERINE The sergeant asked me to identify it. He did n't believe you'd gotten out alive. JAMES It's about time. CATHERINE It is? JAMES After being bombarded endlessly by road - safety propaganda, it's almost a relief to have found myself in an actual accident.",
"INT. HOSPITAL HALLWAYS -- NIGHT James is taking his walk through the hallways, trundling his IV stand along with him like an awkward pet. A white - coated doctor - Vaughan - steps into the ward from a room at the end of the hall. He is bare - chested under his white coat. His strong hands carry a briefcase filled with photographs, which he pauses to shuffle through, as though checking a map. As James approaches this new visitor, Vaughan's pockmarked jaws chomp on a piece of gum, creating the impression that he might be hawking obscene pictures around the wards, pornographic X - ray plates and blacklisted urinalyses. He sports copious scar tissue around his forehead and mouth, rumpled and puckered as though residues from some terrifying act of violence. Vaughan looks James up and down, taking in every detail of his injuries with evident interest. VAUGHAN James Ballard? JAMES Yes? VAUGHAN Crash victim? JAMES Yes. Vaughan shuffles his photos again. James manages to make out the shapes of a few crushed and distorted vehicles caught in lurid, flash - lit news style. Vaughan flips through them distractedly, then with an unexpected, almost flirtatious flourish slides them back into his briefcase and tucks it under his arm. VAUGHAN We'll deal with these later. He flashes James an enigmatic smile, and walks off down the hallway. As James turns to continue, a young woman comes out of the same room that Vaughan appeared from and moves toward him, using a dark wooden walking stick. She presses her face into her raised shoulder, possibly to hide the bruise marking her right cheekbone. The woman is Dr. Helen Remington, whose husband died in her car crash with James. James stops as she approaches. He speaks without thinking. JAMES Dr. Remington? The woman looks up at James as she continues her approach. She does not falter, but changes her grip on the cane, as if preparing to thrash him across the face with it. She moves her head in a peculiar gesture of the neck, deliberately forcing her injury on him. She pauses when she reaches the doorway, waiting for him to step out of her way. James looks down at the scar tissue on her face, a seam left by an invisible zip three inches long, running from the corner of her right eye to the apex of her mouth. James is acutely aware of her strong body beneath her mauve bathrobe, her ribcage partly shielded by a sheath of white plaster that runs from one shoulder to the opposite armpit like a classic Hollywood ball - gown. James steps aside. Deciding to ignore him, Helen Remington walks stiffly along the communication corridor, parading her anger and her wound.",
"INT. HOSPITAL -- DAY Catherine washes James's body as he lies in his hospital bed, gently exploring his bruises and his wounds. CATHERINE Both front wheels and the engine were driven back into the driver's section, bowing the floor. Blood still marked the hood, streamers of black lace running toward the windshield - wiper gutters. Catherine resoaps her right hand from the bar in the wet saucer on the bed tray, a cigarette in her left. James strokes her stockinged thigh as she continues her monologue. CATHERINE Minute flecks were spattered across the seat and steering wheel. The instrument panel was buckled inwards, cracking the clock and the speedometer dials. The cabin was deformed, and there was dust and glass and plastic flakes everywhere inside. The carpeting was damp and stank of blood and other body and machine fluids. JAMES You should have gone to the funeral. CATHERINE I wish I had. They bury the dead so quickly - they should leave them lying around for months. JAMES What about his wife? The woman doctor? Have you visited her yet? CATHERINE No, I could n't. I feel too close to her.",
"EXT. ROAD HOME FROM HOSPITAL -- DAY Catherine and James travel home in the back seat of a taxi. Learning against the rear window of the taxi, James finds himself flinching with excitement toward the approaching traffic streams, which now seem threatening and super - real. Catherine watches him, aware that he is over - exhilarated, very excited herself by his new sensitivity to the traffic.",
"EXT. BALLARD APT. BALCONY -- DAY James sits in a reclining chair on the balcony of his apartment, looking down through the anodized balcony rails at the neighborhood ten stories below. Cars fill the suburban streets, choking the parking - lots of the supermarkets, ramped on to the pavements. Two minor accidents have caused a massive tail - back along the flyover which crosses the entrance tunnel to the airport. In one of them, a white laundry - van has bumped into the back of a sedan filled with wedding guests. James gazes raptly down at this immense motion sculpture, this incomprehensible pinball machine. Catherine comes on to the balcony, kneels down beside him, begins to toy lovingly with the scars on his knees. CATHERINE Renata tells me you're going to rent a car. JAMES I ca n't sit on this balcony forever. I'm beginning to feel like a potted plant. CATHERINE How can you drive? James. your legs. You can barely walk. JAMES Is the traffic heavier now? There seem to be three times as many cars as there were before the accident. CATHERINE I've never really noticed. Is Renata going with you? JAMES I thought she might come along. Handling a car again might be more tiring than I imagine. CATHERINE I'm amazed that she'll let you drive her. JAMES You're not envious? CATHERINE Maybe I am a little. -LRB- rising. -RRB- James, I've got to leave for the office. Are you going to be all right?",
"INT. BALLARD APT. GARAGE -- DAY James stands at the entrance to his apartment building's underground garage. Only about a dozen cars are there ; most of them have been driven to work. James walks among those that remain, absorbing the details of the personal things left in them - a silk scarf lies on a rear window - sill, a pair of sunglasses hooked over a carpeted transmission hump. James stops in front of the empty bay marked ` Balladr'. He stares at the familiar pattern of oil - stains marking the cement.",
"INT. RENTED CAR -- DAY A steering wheel, an instrument panel, a windshield. Renata's hips gripped by the fabric of the passenger seat, her legs stowed out of sight beneath her red plastic raincoat. James drives Renata in a rented car, his first drive since the accident.",
"EXT. FIRST CRASH SITE -- DAY The rented car slows and stops on the concrete verge a few yards from the spot where James's crash took place.",
"INT. RENTED CAR -- DAY RENATA Are we allowed to park here? JAMES No. RENATA I'm sure the police would make an exception in your case. James unbuttons Renata's raincoat and places his hand on her thigh. She lets him kiss her throat, holding his shoulder reassuringly, like an affectionate governess. JAMES There's still a patch of blood there on the road. Did you see it? RENATA I saw the blood. It looks like motor oil. JAMES You were the last one I saw just before the accident. Do you remember? We made love. RENATA Are you still involving me in your crash? An airline coach passes, the passengers bound for Milan staring down at the couple in the car. Renata buttons her coat.",
"EXT. FIRST CRASH SITE -- DAY James steps from the car, his right knee giving way after the effort of driving. At his feet lies a litter of dead leaves, cigarette cartons and small drifts of safety - glass crystals. A hundred yards behind them, a dusty old Lincoln is also parked on the verge. The leather - jacketed driver watches James through his mudspattered windshield, broad shoulders hunched against the door pillar. As James crosses the road the man picks up a camera fitted with a zoom lens and peers at James through the eye - piece. Spotting the man, Renata opens the car door for James. RENATA Who is that man? Is he a private detective? James gets back into the car.",
"INT. RENTED CAR -- DAY RENATA Can you drive? JAMES I can drive. James shifts the car into gear and cruises slowly toward the man with the camera. As they approach him, he gets out of his own car, ignoring them, and kneels down to study the hieroglyphics of the skid marks on the road surface. As James and Renata drive past the kneeling man, the sunlight highlights the ridges of scars on his forehead and around his mouth. The man looks up at James and he recognizes Vaughan, the young doctor he last saw in the hallway at the airport hospital.",
"EXT. AIRFIELD. HANGAR -- DAY James proudly shows off his new car to Catherine and Karen at their offices at the airport. The car is identical to the one he crashed. James sits sideways in the driver's seat, door open, weirdly jaunty. CATHERINE I ca n't believe you've done this. KAREN This is the exact same car as your old one, is n't it? CATHERINE Yes, it is. -LRB- to James. -RRB- Are you planning to have another car crash? JAMES I'm not thinking about the crash at all. James is telling the truth. What he is thinking about is the way that Karen's hip casually brushes against Catherine's hip, without either woman seeming to be conscious of it.",
"EXT. POLICE POUND -- DAY James enters the gate of the police pound on foot, and shows his pass to the guard at the gate. His pass now stamped, he hesitates for a beat before he enters.",
"INT. POLICE POUND -- DAY Some twenty or so crashed vehicles are parked in the sunlight against the rear wall of an abandoned cinema. At the far end of the asphalt yard is a truck whose entire driving cabin has been crushed, as if the dimensions of space had abruptly contracted around the body of the driver. Unnerved by these deformations, James moves from one car to the next until he comes to his own. The remains of towing tackle are attached to the front bumper, and the body panels are splashed with oil and dirt. He peers through the windows into the cabin, runs his hand over the mud - stained glass. Without thinking, he kneels in front of the car and stares at the crushed fenders and radiator grill. Two policemen cross the yard with a black Alsatian dog. They watch James hovering around his car as if they vaguely resent his touching it. When they are gone, he unlatches the driver's door and, with an effort, pulls it open. James eases himself on to the dusty vinyl seat, tipped back by the bowing of the floor. He nervously lifts his legs into the car and places his feet on the rubber cleats of the pedals, which have been forced out of the engine compartment so that his knees are pressed against his chest. The two policemen are exercising their dog across the yard. James opens the glove compartment, forcing the shelf downwards. Inside, covered with dirt and flaked plastic, are a set of route maps, a mildly pornographic novel, a polaroid of Renata sitting in the car near a water reservoir with her breasts exposed. James pulls open the ashtray, which promptly jumps on to his lap, releasing a dozen lipstick - smeared butts. Someone passes in front of the car. A policeman's voice calls from the gatehouse. Through the windshield, James sees a woman in a white raincoat walking along the line of wrecked cars. The woman - Helen Remington - approaches the car next to his, a crushed convertible involved in a massive rear - end collision. James sits quietly behind the steering wheel. Helen turns from the convertible. She glances at the hood of James's car, clearly not recognizing the vehicle that killed her husband. As she raises her head she sees James through the glassless windshield frame, sitting behind the deformed steering wheel among the dried bloodstains of her husband. Helen's strong eyes barely change their focus, but one hand rises involuntarily to her cheek. She takes in the damage to the car, then takes in James. Without giving away anything, she turns and moves toward a damaged truck, then turns and comes back as James gets out of his car. She gestures toward the damaged vehicles, then speaks to James as though continuing a conversation already in progress. HELEN After this sort of thing, how do people manage to look at a car, let alone drive one? -LRB- pause. -RRB- I'm trying to find Charles's car. JAMES It's not here. Maybe the police are still holding it. Their forensic people. HELEN They said it was here. They told me this morning. She peers critically at James's car, as if puzzled by its distorted geometry. HELEN This is your car? She reaches out a gloved hand and touches the radiator grill, feeling a chrome pillar torn from the accordion, as if searching for some trace of her husband's presence among the blood - spattered paintwork. JAMES You'll tear your gloves. James gently takes her hand and moves it away from the grill. JAMES I do n't think we should have come here. I'm surprised the police do n't make it more difficult. HELEN Were you badly hurt? I think we saw each other at the hospital. -LRB- pause. -RRB- I do n't want the car. In fact, I was appalled to find that I have to pay a small fee to have it scrapped. JAMES Can I give you a lift? -LRB- almost apologetically. -RRB- I somehow find myself driving again.",
"INT. JAMES'S CAR -- DAY James is driving Helen Remington away from the police pound. JAMES You have n't told me where we're going. HELEN Have n't I? To the airport, if you could. At these words, James is stricken by an odd feeling of loss. JAMES The airport? Why? Are you leaving? HELEN Not yet - though not soon enough for some people, I've already found. A death in the doctor's family makes the patients doubly uneasy. JAMES I take it you're not wearing white to reassure them. HELEN I'll wear a bloody kimono if I want to. JAMES So - why the airport? HELEN I work in the immigration department there. James is very aware that, as they speak, Helen is intently watching his hands and feet operating the controls of the car, perceiving these motions in a way that she never would have before her crash with him. He, in turn, has trouble taking his eyes off her facial scars, which she now makes no attempt to hide. She pulls a cigarette packet from the pocket of her raincoat. She searches the instrument panel for the lighter, her right hand hovering above his knees like a nervous bird. Having found the lighter, her strong hands tear away the cellophane from the cigarette pack. HELEN Do you want a cigarette? I started to smoke at the hospital. It's rather stupid of me. JAMES -LRB- suddenly very agitated. -RRB- Look at all this traffic. I'm not sure I can deal with it. HELEN It's much worse now. You noticed that, did you? The day I left the hospital I had the extraordinary feeling that all these cars were gathering for some special reason I did n't understand. There seemed to be ten times as much traffic. JAMES Are we imagining it? Helen waves her cigarette in a gesture that takes in the whole interior of the car. HELEN You've bought yourself exactly the same car again. It's the same shape and colour.",
"EXT. FIRST CRASH SITE -- DAY They are now passing the spot where their crash took place. Intimidated by the aggressive traffic around him, James allows the front wheel of the car to strike the curb of the central reservation, throwing a tornado of dust and cigarette packs on to the windshield.",
"INT. JAMES'S CAR -- DAY The car swerves from the fast lane and veers toward an airline coach coming out of the exit ramp. Helen quickly shifts to the left of her seat and, pressing her shoulder against James's, closes her hand over James's hand on the wheel. With Helen's help, James just manages to pull the car behind the coach. They watch the cars swerving past on both sides of them, horns sounding. HELEN Turn up here into the car - park. It wo n't be busy this time of day.",
"INT. AIRPORT CAR-PARK -- DAY The car winds its way slowly up the rampways leading to higher and higher parking levels. James finds the rhythm soothing and begins to calm down. HELEN I've found that I enjoy burying myself in heavy traffic. I like to look at it. Yesterday I hired a taxi - driver to drive me around for an hour. ` Anywhere,' I said. We sat in a massive traffic jam under an off - ramp. I do n't think we moved more than fifty yards. -LRB- pause. -RRB- I'm thinking of taking up a new job with the Road Research Laboratory. They need a medical officer. The salary is larger - something I've got to think about now. There's a certain moral virtue in being materialistic, I'm beginning to feel. Well, it's a new approach for me, in any case. JAMES The Road Research Laboratory? Where they simulate car crashes? HELEN Yes. JAMES Is n't that rather too close? HELEN That's the point. Besides, I know I can give something now that I was n't remotely aware of before. It's not a matter of duty so much as of commitment. They have now reached the top level of the multi - story car - park, and James pulls into a parking spot overlooking a major runway. An immense jumbo jet is maneuvering into its take - off position. James turns off the car and puts his arms around Helen. She offers no resistance, as though the whole scenario were well understood and agreed upon. James kisses her mouth, her eyelids, unzips her dress. With the jet engines screaming for accompaniment, Helen lifts her right breast from her brassière, pressing James's fingers against the hot nipple. Helen now straddles him and, awkwardly meshing with the technology around them, they make love in the driver's seat of the car.",
"INT. BALLARD APT. -- NIGHT James and Catherine make love in the same position as in the preceding scene. James's thoughts keep flashing back to himself and Helen in his car, the images mixing confusingly with his present lovemaking to Catherine.",
"INT. FILM STUDIO. JAMES'S OFFICE -- DAY James is back in his office, but it is obvious that he is only nibbling at the work that has piled up in his absence. Renata comes in. RENATA I almost forgot to give you this. Probably because I know you're going to like it. Renata hands James a brown manila envelope with no markings on it. JAMES What is it? RENATA A complimentary ticket for a special stunt - driving exhibition. Definitely not part of the big auto show. There's a map in the packet and a note requesting you be discreet about the location. JAMES Really? What kind of exhibition is it? RENATA I suspect it involves re - enactments of famous car crashes. You know, Jayne Mansfield, James Dean, Albert Camus. JAMES You're kidding. RENATA Serious. But you'll have to take your new friend, the female crash - test dummy. She dropped it off for you. JAMES You're not jealous, are you? You have to understand. Helen and I had this strange, intense. experience together. Renata kisses him hard, then bites his lip. James pulls away in surprise. RENATA We've had a few of those ourselves, have n't we? Renata turns on her heel and floats out the door, leaving James to contemplate the contents of the envelope.",
"EXT. COUNTRY ROAD -- NIGHT We are looking at the words ` Little Bastard' written in black script on silver metal, enamel on unpainted aluminum. We pull back to reveal the entire metal object, which is a 1955 Porsche 550 Spyder race car. It is small and curvaceous, and is being fussed over by several men in overalls. The number' 130' is painted on its hood and doors. The Porsche sits on a country road, two - lane blacktop, heavily wooded, lit by a series of movie lights. On the hills lining the road a few rough wooden stands have been erected. A blond man - Vaughan - stands near the rear of the Porsche, a microphone in his hand. His voice floats eerily out of the woods from speakers mounted on a series of pine trees. VAUGHAN -LRB- over speakers. -RRB- ` Do n't worry, that guy's got ta see us!' These were the confident last words of the brilliant young Hollywood star James Dean as he piloted his Porsche 550 Spyder race car toward a date with death on a lonely stretch of California two - lane blacktop, Route 466. ` Do n't worry, that guy's got ta see us.' The year, 1955 ; the day, September thirtieth ; the time : now.",
"EXT. COUNTRY ROAD. GRANDSTAND -- NIGHT Helen and James sit in a half - empty stand, looking down at the road from amid the trees. Helen has her arm around James's waist, her face touching his shoulder. JAMES It's strange - I thought all this would be far more popular. Helen is consulting a yellow program sheet. HELEN The real thing is available free of charge. Besides, it's not quite legal. They ca n't advertise. VAUGHAN -LRB- over speakers. -RRB- The first star of our show is ` Little Bastard', James Dean's racing Porsche. He named it after himself, and had his racing number, 130, painted on it. JAMES Who is that? The announcer. Do I know him? HELEN That's Vaughan. He talked to you at the hospital. JAMES Oh, yes. I thought he was a medical photographer, doing some sort of accident research. He wanted every conceivable detail about our crash. HELEN When I first met Vaughan, he was a specialist in international computerized traffic systems. I do n't know what he is now. VAUGHAN -LRB- over speakers. -RRB- The second star is stuntman and former race driver - Colin Seagrave, who will drive our replica of James Dean's car.",
"EXT. COUNTRY ROAD -- NIGHT Seagrave, a coarse and burly man, wriggles his way behind the wheel of the delicate little race car without acknowledging the cheers of the crowd. He wears James Dean clothes - a red windbreaker, a white T - shirt, jeans, loafers, prescription glasses with clip - on sunshades. As he talks, Vaughan tours the phalanx of tripod - mounted cameras to check their placement, and chats off - mike with the pair of cameramen with hand - held cameras. He seems to be more the director of the event, possibly the ringmaster, than an actor in it. VAUGHAN -LRB- over speakers. -RRB- I myself shall play the role of James Dean's racing mechanic, Rolf Wütherich, sent over from the Porsche factory in Zuffenhausen, Germany. This mechanic was himself fated to die in a car crash in Germany twenty - six years later. And the third and in some ways most important party, the college student Donald Turnupseed, played by movie stuntman Brett Trask. Trask, slim and wiry, wearing loafers and a blazer, waves his hand and gets into a replica of Turnupseed's two - tone, black - and - white 1950 Ford sedan. He starts up the Ford, which smokes badly, and drives it up the hill about 100 yards. VAUGHAN -LRB- over speakers. -RRB- Turnupseed was on his way back to his home in Fresno for the weekend. James Dean was on his way to an automobile race in Salinas, a dusty town in northern California. The two would only meet for one moment, but it was a moment that would create a Hollywood legend. At this point Vaughan, who is dressed in light - blue cotton 1950s mechanics' overalls, sees James and Helen in the thin crowd and waves to them, as though they were long - standing aficionados of crash spectacles. He does n't wait to see if they react, but immediately steps into the passenger side of the Porsche, microphone still in hand. VAUGHAN -LRB- over speakers. -RRB- You'll notice that we are not wearing helmets or safety padding of any kind, and our cars are not equipped with roll cages or seat - belts. We depend solely on the skill of our drivers for our safety, so that we can bring you the ultimate in authenticity. All right, here we go. The fatal crash of James Dean! Vaughan hands the microphone to a stills cameraman who also functions as an assistant, and then sinks down into the silver car. Seagrave starts the Porsche, which settles quickly into a husky idle. A few blips of the throttle, and then the Porsche is reversed down to the edge of the lighted strip of road. When the Porsche stops, the excited crowd goes quiet. An assistant with a walkie - talkie kneels beside the silver car on the driver's side, co - ordinating the start with his opposite number standing next to the Ford over the hill. There is a calculated pause before anything happens, and then the Porsche spins its wheels and accelerates up the hill. From their vantage point in the stand, James and Helen can clearly see that the Ford has also started and that the two cars are headed toward each other, each in its respective lane. The Porsche accelerates hard, the Ford lumbers along at a moderate pace, swaying clumsily on its soft springs. As the cars approach each other, James notices a fresh clearing at the side of the road at just about the point where they seem likely to pass. Sure enough, when the cars are about thirty yards apart, the Ford wanders over the center line. As the Porsche approaches it, it seems to move back into its own lane, but then suddenly swerves again as though making a left turn. The Porsche, in its turn, swerves to avoid the big American car but they collide, the immense chrome grill punching into the side of the fragile race car, crumpling it like a wad of tin foil and shunting it unceremoniously off the road into the clearing that has been prepared for it. As the Porsche hobbles to a stop, Vaughan seems to stand up on his seat and then throw himself out of the car, rolling over what's left of the front hood on to the ground. Seagrave remains slumped in the driver's seat. Vaughan lies still where he lands, a few feet ahead of the crumpled nose of the race car. The door of the Ford opens and Trask stumbles out. He begins to walk around in a dazed and agitated manner, and the crowd, which has been buzzing, goes silent again. Trask walks away from the crash site and disappears into the shadows at the edge of the road.",
"EXT. COUNTRY ROAD. GRANDSTAND -- NIGHT There is no movement from either Seagrave or Vaughan. James is not sure how to react, but Helen seems genuinely worried. JAMES Is that part of the act or are they really hurt? HELEN I do n't know. You can never be sure with Vaughan. This is his show. A stills cameraman runs out of nowhere and kneels beside the apparently stricken Vaughan in the weeds at the side of the road. It is not clear whether he is taking his picture or ministering to him. It soon becomes clear that he has handed him a radio microphone because Vaughan's low, melodramatic growl now ripples out of the woods from the tree speakers. VAUGHAN -LRB- over speakers. -RRB- Rolf Wütherich was thrown from the Porsche and spent a year in the hospital recovering from his injuries. Donald Turnupseed was found wandering around in a daze, basically unhurt. James Dean died of a broken neck and became immortal.",
"EXT. COUNTRY ROAD -- NIGHT Vaughan now leaps to his feet, hands raised in triumph. Seagrave stirs behind the wheel, then raises his hands. Trask emerges from the woods, waving to the now - supercharged crowd. Seagrave tries to get out of the collapsed Porsche but is jammed behind the wheel. Without missing a beat, Vaughan dances over to the car and begins to haul Seagrave out of his seat. COLIN Hold me. I'm dizzy. I ca n't stand up.",
"EXT. COUNTRY ROAD. GRANDSTAND -- NIGHT Helen stands up as the crowd buzzes. HELEN I know that man, Seagrave, the stunt driver. I think he's genuinely hurt. Helen makes her way down the rickety grandstand steps toward the road, and James follows her.",
"EXT. COUNTRY ROAD -- NIGHT Just as James and Helen step on the road, six police cars, lights flashing and sirens wailing, converge on the lit stretch of road, three from each end. They screech to a halt and dozens of cops pour out of the cars. The crowd panics and streams down from the grandstand on to the road. A loudspeaker mounted on one of the police cars begins to blare. POLICE -LRB- over loudspeaker. -RRB- This is an illegal and unauthorized automotive demonstration which is in contravention of the Highway Traffic Act. You are all liable to fines and possible arrest and confinement. Disperse at once! Disperse at once! Because James and Helen are just in advance of the first wave of spectators, they manage to link up with Vaughan as he helps haul a still - groggy Seagrave off the road and into the woods. Helen takes Seagrave's free arm. HELEN -LRB- to Vaughan. -RRB- What's the matter with Seagrave? VAUGHAN Hit his head, I think. His balance is off. The police spread out through the crowd, collaring people at random before they are able to escape into the woods.",
"EXT. WOODS -- NIGHT James and Helen help Vaughan hustle Seagrave through the woods. The din of the roadway fades away behind them. JAMES Why are the police taking this all so seriously? VAUGHAN It's not the police. It's the Department of Transport. Internal politics. It's a joke. They have no idea who we really are. In the gathering darkness of the woods, it is apparent that James does n't really know who they are either.",
"INT. VAUGHAN'S LINCOLN -- NIGHT Vaughan drives the Lincoln through a scarred, bleak landscape. In the front seat with him are Helen and James. Seagrave is lying down in the back seat with his eyes closed. VAUGHAN That was glib, was n't it? ` James Dean died of a broken neck and became immortal.' But I could n't resist. Vaughan puts his hand between Helen's thighs. She seems not to notice, but her eyes close dreamily every once in a while. James watches microscopically. Sometimes, when the flow of traffic allows, Vaughan stares intently at James while his hand works away between Helen's thighs, and James looks away, flushed, like a schoolgirl.",
"EXT. SEAGRAVE'S GARAGE -- NIGHT The Lincoln turns into the forecourt of Seagrave's garage and showroom. His business, which has clearly seen better days, is hot - rodding and customized cars. Behind the unwashed glass of the showroom is a fiberglass replica of a 1930s Brooklands racer, faded bunting stuffed into the seat. They get out of the car, helping the woozy Seagrave through the door at the side of the showroom, which leads to the stairway up to the apartment above the garage.",
"INT. SEAGRAVE APT. -- NIGHT The Seagrave apartment is dirty and depressing, featuring cheap, cigarette - scarred leatherette furniture. James watches Helen and Vaughan steer Seagrave into the living - room, where two people sit on a couch watching television with the sound turned off : Gabrielle, a sharp - faced young woman who is rolling a hash joint ; and Seagrave's wife, Vera, a handsome, restless woman of about thirty. Vera stands as they come in and rushes over to the shaky Seagrave. VERA Oh, God. What happened? Here, lie down. Vera and Helen lay the confused Seagrave down on the three - seat sofa, while Vaughan sits next to Gabrielle and helps her prepare another hash joint. James, awkwardly left standing, notices long scars on Vera's thighs and legs. HELEN They did the James Dean crash. It seemed to go perfectly. But he started to feel nauseous on the way back. I'm sure it's concussion. VERA Ah, well. We're familiar enough with that, then, are n't we? James watches Gabrielle and Vaughan. As she rolls a small piece of resin in a twist of silver foil, Vaughan brings a brass lighter out of his hip pocket. Gabrielle cooks the resin, and shakes the powder into the open cigarette waiting in the roller machine on her lap. On Gabrielle's legs are traces of what seem to be gas bacillus scars, faint circular depressions on the kneecaps. She notices James staring at her scars, but makes no effort to close her legs. On the sofa beside her is a chromium metal cane and, as she shifts her weight, James sees that the instep of each leg is held in the steel clamp of a surgical support. It now becomes obvious from the over - rigid posture of her waist that she is also wearing a back - brace of some kind. Gabrielle rolls another cigarette out of the machine, but does not offer it to James. Instead, Vaughan gets up and takes it over to Seagrave, who has managed to sit up. VAUGHAN I'd really like to work out the details of the Jayne Mansfield crash with you. We could do the decapitation - her head embedded in the windshield - and the little dead dog thing as well. You know, the Chihuahuas in the back seat. I've got it figured out. Seagrave takes the lit joint and draws heavily on it. He holds the smoke in his lungs for a while, studies the grease on his hands before he answers. COLIN You know I'll be ready, Vaughan. But I'll want to wear really big tits - out to here - so the crowd can see them get cut up and crushed on the dashboard. James turns to go, leaving Helen to her conversation with Vera, but Vaughan follows him through the door, holding his arm in a powerful grip. VAUGHAN Do n't leave yet, Ballard. I want you to help me.",
"INT. VAUGHAN'S WORKSHOP -- NIGHT James follows Vaughan down a cramped corridor to a photographic workshop formed out of a warren of small rooms. Vaughan eases James into the first room and then carefully closes the door behind them. JAMES Do you live here? With Seagrave? VAUGHAN -LRB- laughs. -RRB- I live in my car. This is my workshop. Pinned to the walls and lying on the benches among the enamel pails are hundreds of photographs. The floor around the enlarger is littered with half - plate prints, developed and cast aside once they have yielded their images. Vaughan makes a sweeping gesture that takes in all the photographs. VAUGHAN And this is the new project, Ballard. As Vaughan hunts around the central table, turning the pages of a leather - bound album, James looks down at the discarded prints below his feet. Most of them are crude frontal pictures of motor - cars and heavy vehicles involved in highway collisions, surrounded by spectators and police, and close - ups of impacted radiator grills and windshields. Vaughan opens the album at random and hands it to James. He leans back against the door and watches as James adjusts the desk lamp. The first thirty pages record the crash, hospitalization, and post - recuperative romance of the young woman Gabrielle - a social worker, the photos suggest - who is currently getting very stoned in the next room. By coincidence, her small sports car had collided with an airline bus at the entry to the airport not far from the site of James's own accident. Vaughan had obviously been there, shooting film, moments after the crash. The incredibly detailed photos end with her affair with her physical therapy instructor. The remainder of the album describes the course of James's own accident and recovery, and includes his sexual encounters with Renata, Helen Remington, and his own wife, Catherine. Vaughan stands at James's shoulder, like an instructor ready to help a promising pupil. James closes the book. JAMES What kind of help can I possibly be to you? You seem to be everywhere at once as it is. At that moment, there is a knock at the door, and then Gabrielle enters and takes a few stiff steps into the room on her shackled legs. She holds out a couple of joints to Vaughan. GABRIELLE Thought you might be missing these. -LRB- to James. -RRB- So here you are at the nerve centre. Vaughan makes everything look like a crime, does n't he? Vaughan takes the joints and lights them both. He hands one to James, who takes it gratefully. JAMES What exactly is your project, Vaughan? A book of crashes? A medical study? A sensational documentary? Global traffic? VAUGHAN It's something we're all intimately involved in : the reshaping of the human body by modern technology.",
"INT. FILM STUDIO. JAMES'S OFFICE -- DAY James watches Renata and Catherine talking animatedly at the other end of his office. He ca n't hear what they are saying, but Renata is showing Catherine layouts of ads involving images of private planes flying in formation. They touch each other from time to time without seeming to notice it, but James notices it.",
"EXT. VARIOUS LARGE CITY ROADS -- DAY James and Catherine set off for home in their own separate cars. At times, they are within sight of each other and James watches her microscopically, as though he did n't know her, as though, perhaps, she is n't human. At one point he sees her with her hands resting on the steering wheel, her right index finger picking at an old adhesive label on the windshield. And then, abruptly, James is aware of the dented fender of Vaughan's Lincoln only a few feet behind Catherine's sports car. Vaughan now surges past James, crowding along the roadway as if waiting for Catherine to make a mistake. Startled, Catherine takes refuge in front of an airline bus in the nearside lane. Vaughan drives alongside the bus, using his horn and lights to force the driver back, and again cuts in behind Catherine. James moves ahead along the center lane, shouting to Vaughan as he passes him, but Vaughan is signalling to Catherine, pumping his headlights at her rear fender. Without thinking, Catherine pulls into the courtyard of a filling station, forcing Vaughan into a heavy U - turn. Tires screaming, he swings around the ornamental flower - bed with its glazed pottery plants, but James blocks his way with his own car. Heart racing, Catherine sits still in her car among the fuel pumps, her eyes flashing at Vaughan. James steps from his car and walks across to Vaughan, who watches James approach as if he had never seen him before, scarred mouth working on a piece of gum as he gazes at the aircrafts taking off from the airport. JAMES Vaughan, what the hell are you doing? Are you trying to create your own Famous Crash? Vaughan hooks his gear lever into reverse. VAUGHAN It excited her, Ballard. Your wife, Catherine. She enjoyed it. Ask her. Vaughan reverses his car in a wide circle, almost running down a passing pump attendant, and sets off across the early afternoon traffic.",
"INT. BALLARD APT. -- NIGHT James and Catherine lie naked in bed, she with her back to him, buttocks pressed into his groin. He is inside her. CATHERINE He must have fucked a lot of women in that huge car of his. It's like a bed on wheels. It must smell of semen. JAMES It does. CATHERINE Do you find him attractive? JAMES He's very pale. Covered with scars. CATHERINE Would you like to fuck him, though? In that car? JAMES No. But when he's in that car. CATHERINE Have you seen his penis? JAMES I think it's badly scarred too. From a motorcycle accident. CATHERINE Is he circumcised? Can you imagine what his anus is like? Describe it to me. Would you like to sodomize him? Would you like to put your penis right into his anus, thrust it up his anus? Tell me, describe it to me. Tell me what you would do. How would you kiss him in that car? Describe how you'd reach over and unzip his greasy jeans, then take out his penis. Would you kiss it or suck it right away? Which hand would you hold it in? Have you ever sucked a penis? Do you know what semen tastes like? Have you ever tasted semen? Some semen is saltier than others. Vaughan's semen must be very salty. They both have huge orgasms within moments of each other.",
"INT. HELEN'S CAR -- DAY We are close on the distracted, solicitous face of Helen Remington. HELEN Have you come? Helen Remington and James are having sex in the back seat of Helen's car, Helen sitting on James's lap with her back to him. She dismounts him and touches his shoulder with an uncertain hand, as though he were a patient she had worked hard to revive.",
"EXT. AIRPORT CAR-PARK -- DAY Helen's car is parked on the upper level of the airport car - park, which is currently quite busy. Streams of traffic, both pedestrian and vehicular, flow past the car.",
"INT. HELEN'S CAR -- DAY James lies against the rear seat of the car while Helen dresses with abrupt movements, straightening her shirt around her hips like a department - store window - dresser jerking a garment on to a mannequin. JAMES Please finish your story. HELEN The junior pathologist at Ashford Hospital. Then the husband of a colleague of mine, then a trainee radiologist, then the service manager at my garage. JAMES And you had sex with all of these men in cars? Only in cars? HELEN Yes. I did n't plan it that way. JAMES And did you fantasize that Vaughan was photographing all these sex acts? As though they were traffic accidents? HELEN Yes. -LRB- laughs. -RRB- They felt like traffic accidents.",
"INT. ROAD RESEARCH LAB -- DAY We are witnessing a spectacular road accident re - created under laboratory conditions in the immense confines of the Road Research Lab. A motorcycle is in the process of having a head - on collision with a sedan bearing a family of four - an extremely violent and disturbing crash, despite the use of cradles, dummies, rails, cables and extensive metering and recording technology. Among the many witnesses to the crash, including numerous engineers, technicians and Transport Ministry officials, are James, Helen and Vaughan. Vaughan is energetically masturbating through his jeans, shielded by a sheaf of publicity folders which he holds in his other hand. There is a terrific metallic explosion as the motorcycle strikes the front of the sedan. The two vehicles veer sideways towards the line of startled spectators. The motorcyclist and his bike sail over the hood of the car and strike the windshield, then careen across the roof in a black mass of fragments. The car plunges ten feet back on its hawsers and comes to rest astride its rails. The hood, windshield and roof have been crushed by the impact. Inside the cabin, the lopsided family lurch across each other, the decapitated torso of the front - seat woman passenger embedded in the fractured windshield. The engineers wave to the crowd reassuringly and move toward the motorcycle, which lies on its side fifty yards behind the car. But it is Vaughan - a black - jacketed figure striding on long, uneven legs - who arrives first at the bike. For a moment it seems that he might try to lift it up himself, but he then backs away to where technicians are picking up pieces of the motorcyclist's body, and then turns away completely and rejoins Helen and James. Vaughan holds up the bundle of technical hand - outs in his grip. VAUGHAN Get all the paper you can, Ballard. Some of the stuff they're giving away is terrific : ` Mechanisms of Occupant Ejection', ` Tolerances of the Human Face in Crash Impacts'. Helen takes James's arm, smiling at him, nodding encouragingly, as if urging a child across some mental hurdle. HELEN We can have a look at it again on the monitors. They're showing it in slow motion. An audience of thirty or so gathers at the trestle tables to watch a slowmotion replay on a huge television monitor. As the hypnotic, grotesque ballet unfolds, the crowd's own ghostly images stand silently in the background, hands and faces unmoving while the collision is re - enacted. The dream - like reversal of roles makes them seem less real than the mannequins in the car. James looks down at the silk - suited wife of a Ministry official standing beside him. Her eyes watch the film with a rapt gaze, as if she were seeing herself and her daughters dismembered in the crash.",
"INT. VAUGHAN'S CAR -- NIGHT James rides in Vaughan's car. Vaughan drives aggressively, rolling the heavy car along the access roads, holding the battered bumpers a few feet behind any smaller vehicle until it moves out of the way. VAUGHAN I've always wanted to drive a crashed car. JAMES You could get your wish at any moment. VAUGHAN No, I mean a crash with a history. Camus's Facel Vega, or Nathaniel West's station wagon, Grace Kelly's Rover 3500. Fix it just enough to get it rolling. Do n't clean it, do n't touch anything else. JAMES Is that why you drive this car? I take it that you see Kennedy's assassination as a special kind of car crash? VAUGHAN The case could be made. They approach a major intersection. For almost the first time on this drive, Vaughan applies the brakes. The heavy car sways and goes into a long right - hand slide which carries it across the path of a taxi. Flooring the accelerator, Vaughan swerves in front of it, tires screaming over the blaring horn of the taxi. As they settle down, Vaughan reaches behind him and lifts a briefcase off the back seat. VAUGHAN Take a look at this and tell me what you think. James opens the briefcase and slides out a thick packet of glossy photographs, all of them marked up with coloured ink pens. The photos are culled from a variety of sources - newspapers, magazines, video stills, film frames - blown up to uniform 8' x 10' size. Each one depicts a famous crash victim in the prime of life, and each one has the wounds to come marked up very explicitly - lines circling their necks and pubic areas, breasts and cheekbones shaded in, section lines across their mouths and abdomens. Handwritten notes complement the circles and arrows. A second packet of photographs shows the cars in which these famous people died. Each photo is marked to show which parts of the cars destroyed or fused with which famous body part : for example, a close - up of the dashboard and windshield from the Camus car - Michel Gallimard's Facel Vega - is marked ` nasal bridge', ` soft palate', ` left zygomatic arch'. JAMES It's very. satisfying. I'm not sure I understand why. VAUGHAN It's the future, Ballard, and you're already part of it. For the first time, a benevolent psychopathology beckons towards us. For example, the car crash is a fertilizing rather than a destructive event - a liberation of sexual energy that mediates the sexuality of those who have died with an intensity impossible in any other form. To fully understand that, and to live that. that is my project. JAMES What about the reshaping of the human body by modern technology? I thought that was your project. VAUGHAN A crude sci - fi concept that floats on the surface and does n't threaten anybody. I use it to test the resilience of my potential partners in psychopathology. The traffic has jammed up to a walking pace. Using his horn, Vaughan forces the drivers in the slower lanes to back up and let him across on to the hard shoulder. Once free, he accelerates past the lines of traffic, occasionally scraping the right flank of the Lincoln against the cement divider. In the distance the airport car - park looms.",
"INT. AIRPORT CAR-PARK -- DAY The Lincoln spirals its way up toward the upper levels of the airport carpark. James just spots a sharp - faced young woman in a very short skirt, an airport whore, provocatively bent over a railing ostensibly to watch airplanes land and take off, when Vaughan slams on the brakes and jumps out of the car. VAUGHAN You drive. The startled James numbly obeys, sliding over into the driver's seat as Vaughan approaches the whore and begins to negotiate with her. James gingerly maneuvers the boat - like car to one side to allow traffic to pass as Vaughan returns with the gum - chewing whore in tow. As the girl, with short black hair and a boy's narrow - hipped body, opens the passenger door, Vaughan hands her a joint and lights it for her. Then, lifting her chin, he puts his fingers in her mouth and plucks out the knot of gum, flicking it away into the darkness. VAUGHAN Let's get rid of that. I do n't want you blowing it up my urethra.",
"EXT. AIRPORT ROADS -- NIGHT James drives the Lincoln along the bizarrely lighted roads that ring the airport. Vaughan and the whore are in the back seat.",
"INT. LINCOLN -- NIGHT James adjusts the rear - view mirror so that he can see into the rear seat. Vaughan is having strange, disconnected sex with the whore. James realizes that he can almost control the sexual act behind him by the way in which he drives the car. It is, in that sense, a sexual threesome - or, more properly, a foursome, because the sex between Vaughan and the whore takes place in the hooded grottoes of the luminescent dials, surging needles and blinking lights of the black, brooding Lincoln.",
"INT. FILM STUDIO. JAMES'S OFFICE -- DAY James and Renata sort through some storyboards together at the architect's table. Renata takes a few cast - offs and walks past the window toward the filing cabinet. She takes a quick peek out the window on her way. RENATA Your friend's still out there. James leaves the table and looks out the window. Vaughan is sitting in his car in the center of the parking - lot. Most of the staff are leaving for home, taking their cars one by one from the slots around Vaughan's dusty limousine. RENATA What does he want from you? JAMES Hard to say. RENATA I'm going to leave now. Do you want a lift? JAMES No, thanks. I'll go with Vaughan.",
"EXT. FILM STUDIO. PARKING-LOT -- DUSK James walks out into the nearly deserted parking - lot to find two cars parked in front of Vaughan's Lincoln : a police patrol car and Catherine's white sports car. One policeman is inspecting the Lincoln, peering through the dusty windows, with Vaughan fidgeting beside him. The other stands beside Catherine's car, questioning her. James slows guiltily as both policemen begin to talk to Vaughan. Catherine spots James and walks crisply over to him. CATHERINE They're questioning Vaughan about an accident near the airport. Some pedestrian. they think he was run over intentionally. JAMES Vaughan is n't interested in pedestrians. As if taking their cue from this, the policemen walk back to their car. Vaughan watches them go, head raised like a periscope. CATHERINE You'd better drive him. He's a bit shaky. I'll follow in my car. Where is yours? JAMES At home. I could n't face all this traffic. CATHERINE I'd better come with you, then. Are you sure you can drive? As Catherine and James walk toward Vaughan, he reaches into the rear seat of his car and pulls out a white sweatshirt. As he takes off his denim jacket, the falling light picks out the scars on his naked abdomen and chest, a constellation of white chips that circle his body from the left armpit down to his crotch.",
"EXT. JAMMED MOTORWAY -- NIGHT The Lincoln has entered an immense traffic jam, and brake - lights flare in the evening air. Vaughan sits with one arm out the passenger window. He slaps the door impatiently, pounding the panel with his fist. A police car speeds down the descent lane of a flyover, headlights and roof - lamps flashing. Ahead, two policemen steer the traffic from the nearside curb. Warning tripods set up on the pavement flash a rhythmic ` Slow. Slow. Accident. Accident.' Eventually, they begin to edge past the accident site, which is lit by a circle of police spotlights. Three vehicles - a taxi, a limousine and a small sports sedan - have collided where an on - ramp joins the main roadway. A crowd has gathered on the sidewalks and on the pedestrian bridge that spans the road. Beside the taxi, its three passengers lie in a group, blankets swathing their chests and legs. First - aid men work on the driver, an elderly man who sits upright against the fender of his car, face and clothes speckled with drops of blood. The limousine's passengers still sit in the deep cabin of their car, their identities sealed behind the starred internal window.",
"INT. VAUGHAN'S CAR -- NIGHT Catherine has half hidden herself behind the passenger seat. Her steady eyes follow the skid marks and loops of bloodstained oil that cross the familiar macadam like a battle diagram. Vaughan, by contrast, leans out the window, both arms ready as if about to seize one of the bodies. In some recess in the back seat he has found a camera, which now swings from his neck. Siren whining, a third ambulance drives down the oncoming lane. A police motorcyclist cuts in front of James and slows to a halt, signalling him to wait and allow the ambulance to pass. James stops the car. Ten yards from them is the crushed limousine, the body of the young chauffeur still lying on the ground beside it. Three engineers work with surreal hand - tools and hydraulic cutting and prying equipment at the rear doors of the limousine. They sever the jammed door mechanism and pull back the door to expose the passengers trapped inside the compartment. The two passengers, a pink - faced man in his fifties wearing a black overcoat, and a younger woman with a pale, anemic skin, still sit upright, staring blankly, in the rear seat. A policeman pulls away the traveling rug that covers their legs and waists. The woman's legs are bare, the older man's feet splayed, apparently broken at the ankles. The woman's skirt has ridden up around her waist, and her left hand holds the window strap. As the older man turns to the woman, one hand searching for her, he slips sideways off the seat, his ankles kicking at the clutter of leather valises and broken glass. The traffic stream moves on. James eases the car forwards. Vaughan raises the camera to his eye, lowering it from sight when an ambulance attendant tries to knock it from his hands. The pedestrian bridge passes overhead. Half out of the car, Vaughan peers at the scores of legs pressed against the metal railings, then opens the door and dives out.",
"EXT. MOTORWAY VERGE -- NIGHT As James pulls the Lincoln on to the verge, Vaughan runs back to the pedestrian bridge, darting in and out of the cars. James and Catherine get out of the car. As James closes the door, he notices that the blood of one of the accident victims has somehow been splashed on to the door handle, and that some of it is now on his hand. He finds a section of newspaper at the side of the road and wipes the blood off his hand. When he looks up, he realizes that Catherine has followed Vaughan back to the accident site.",
"EXT. JAMMED MOTORWAY -- NIGHT James walks back alone, eventually spotting them among the throng of spectators, Catherine watching Vaughan's scarred face intently, provocatively, as he photographs every aspect of the accident. There is a calmly festive and pervasive sexuality in the air among the onlookers, and even a congregational feeling as one group of engineers works on the crushed sports sedan, prying at the metal roof which has been flattened on to the heads of the occupants. And now Vaughan poses an only slightly reluctant Catherine against the backdrop of the stricken taxi as though she were one of the shaken survivors of the accident. When the roof of the sports sedan is levered up, the hair of the driver, its only passenger, comes off with it as though scalped, stuck to the roofliner with drying blood. But it's soon apparent that it's not hair, but rather a cheap, tangled, platinum blond wig. Vaughan makes his way over to the sedan, intrigued by the dangling ` scalp', which is almost phosphorescent in the road - rescue work lights. Catherine trails obediently behind him, like a harshly disciplined puppy. When the body of the driver is exposed to the lights, the effect is doubly grotesque, for not only is the driver dead and partially crushed, but he is also a cross - dresser : Seagrave, in Jayne Mansfield drag. His long, greasy hair is tied up in a knot on his head, he is unshaven, his huge, fake bosom is bloody and askew ; his bloated, muscular body strains against the pink 60s skirt and jacket, the blue suede boots with high heels. There is also a dead Chihuahua bitch inside the car with Seagrave, which Vaughan manages to move with his foot until a cop, outraged, shoos him away. The dog is stiff with rigor mortis, obviously dead long before the crash. An excited Vaughan has spotted James and now approaches him, breathless. VAUGHAN It's Seagrave. He was worried that we would never do Jayne Mansfield's crash, now that the police were cracking down. So he did it himself. Vaughan turns back to look at the wreck again, almost reverent. This is Seagrave's own solitary work of art. VAUGHAN -LRB- shakes his head. -RRB- The dog - God, the dog is brilliant, perfect. I wonder where he got it? Now Vaughan turns to James, his face flushed, incandescent with joy. VAUGHAN Come with me, James. I have to document it. Vaughan lopes off toward the Seagrave wreck. But James hangs back, watching, as the passengers from the taxi are carried on stretchers to an ambulance. The dead chauffeur of the limousine lies with a blanket over his face, while a doctor and two ambulance men climb into the rear compartment. Beyond them, Vaughan begins to snap away at every possible aspect of Seagrave's wreck, beginning with the dead Chihuahua.",
"EXT. MOTORWAY VERGE -- NIGHT Some time later, as the crowd disperses and the traffic begins to flow normally, James kneels beside the Lincoln and shows Vaughan the blood on his door. Catherine sits in the back seat. JAMES We must have driven through a pool of blood. If the police stop you again, they may impound the car while they have the blood analyzed. Vaughan kneels beside him and inspects the smears of blood. VAUGHAN You're right, Ballard. There's an all - night car - wash in the airport service area. Vaughan rises and holds the door open for James, who sits behind the wheel, expecting Vaughan to walk around the car and sit beside him. Instead, Vaughan pulls open the rear door and climbs in beside Catherine. As they set off, Vaughan's camera lands on the front seat.",
"INT. VAUGHAN'S CAR -- NIGHT As they drive, James watches Catherine in the rear - view mirror. She sits in the center of the back seat, elbows forward on her knees, looking over his shoulder at the speeding lights of the expressway. At the first traffic light, she smiles at James reassuringly. Vaughan sits like a bored gangster beside her, his left knee leaning against her thigh. One hand rubs his groin absent - mindedly. He stares at the nape of her neck, running his eyes along the profiles of her cheek and shoulder.",
"EXT. CAR-WASH -- NIGHT Near the airport, the Lincoln joins a line of cars waiting their turn to pass through the automatic car - wash. In the darkness, the three nylon rollers drum against the sides and roof of a taxi parked in the washing station, water and soap solution jetting from the metal gantries. Fifty yards away, the two night attendants sit in their glass cubicle beside the deserted fuel pumps, reading their comic books and playing a radio.",
"INT. VAUGHAN'S CAR -- NIGHT The car ahead advances a few yards, its brake - lights illuminating the interior of the Lincoln, covering the trio with a pink sheen. Through the rear - view mirror James sees that Catherine is leaning against the back seat, her shoulder pressed tightly into Vaughan's. Her eyes are fixed on Vaughan's chest, on the scars around his injured nipples, shining like points of light. James edges the Lincoln forward a few feet. When he turns around, he sees that Vaughan is holding in his cupped right hand his wife's bare breast. James fumbles for change as Vaughan caresses Catherine's nipple in the back seat. Catherine looks down at this breast with rapt eyes, as if seeing it for the first time, fascinated by its unique geometry.",
"EXT. CAR-WASH -- NIGHT Their car is alone in the washing bay. A voice rings out. Cigarette in hand, one of the attendants stands in the wet darkness, beckoning to James, who inserts his coins in the pay slot and closes the window. Water jets on to the car, clouding the windows and shutting the trio into the interior.",
"INT. VAUGHAN'S CAR -- NIGHT Within their blue grotto, Vaughan lies diagonally across the back seat. Catherine kneels across him, skirt rolled around her waist. The light refracted through the soap solution jetting across the windows covers their bodies with a luminescent glow, like two semi - metallic human beings of the future making love in a chromium bower. The gantry engine begins to drum. The rollers pound across the hood of the Lincoln and roar forward to the windshield, driving the soap solution into a whirlwind of froth. Catherine settles over Vaughan, and as the rollers drum against the roof and doors, Vaughan drives his pelvis upwards, almost lifting his buttocks off the seat. In the mounting roar of the rollers, she and Vaughan rock together, Vaughan holding her breasts together with his palms as if trying to force them into a single globe. When his hands move away to her buttocks, James can see that her breasts have been bruised by Vaughan's fingers, the marks forming a pattern like crash injuries. At just this moment, Catherine looks into James's eyes in an instant of complete lucidity. Her expression shows both irony and affection, an acceptance of a sexual logic they both recognize and have prepared themselves for. James sits quietly in the front seat as the white soap sluices across the roof and doors like liquid lace. Catherine cries out, a gasp of pain cut off by Vaughan's strong hand across her mouth. He sits back with her legs across his hips, slapping her with his free hand. His sweaty face is clamped in an expression of anger and distress. The blows raise blunted weals on Catherine's arm and hips.",
"EXT. DESERTED MOTORWAY -- NIGHT James drives the Lincoln home along a deserted motorway.",
"INT. VAUGHAN'S CAR -- NIGHT The street - lamps illuminate Vaughan's sleeping face in the rear of the car, scarred mouth lying open like a child's against the sweat - soaked seat. Catherine sits forward, freeing herself from Vaughan. She touches James's shoulder in a gesture of domestic affection. In the mirror, James can see the weals on her cheek and neck, the bruised mouth that deforms her nervous smile.",
"EXT. BALLARD APT. BUILDING -- NIGHT The Lincoln pulls up at the Ballards' apartment building. James and Catherine get out and stand in the darkness beside the now - immaculate black car. Vaughan is still asleep in the back. James takes Catherine's arm to steady her, holding her bag in his hand. As they walk toward the entrance, Vaughan gets up and climbs unsteadily behind the steering wheel. Without looking back at James and Catherine, he starts the engine and quietly drives off.",
"INT. BALLARD APT. BUILDING. ELEVATOR -- NIGHT In the elevator, James holds Catherine closely, lovingly.",
"INT. BALLARD APT. BEDROOM -- NIGHT That night, James kneels over Catherine as she lies diagonally across the bed, her small feet resting on his pillow, one hand over her right breast. She watches him with a calm and affectionate gaze as he explores her body and bruises, feeling them gently with his fingers, lips and cheeks, tracing and interpreting the raw symbols that Vaughan's hands and mouth have left across her skin.",
"INT. AIRPORT CONVENTION CENTER. AUTO SHOW -- DAY James and the crippled Gabrielle visit the annual auto show, which occupies the immense halls of the airport convention center. He watches appreciatively as she swings herself on her shackled legs among the hundreds of cars displayed on their stands. Gabrielle approaches the imposing Mercedes stand and, pivoting about on her heels, seems to take immense pleasure from these immaculate vehicles, placing her scarred hands on their paintwork, rolling her injured hips against them like an unpleasant cat. She soon draws the attention of a young salesman, who tries hard not to notice her scars and braces. SALESMAN Is there something here that interests you? GABRIELLE The white sports model. Could you help me into it, please? I'd like to see if I can fit into a car designed for a normal body. Both James and Gabrielle enjoy the salesman's discomfort as he helps her into the Mercedes sports car. She does her best to make it difficult, deliberately snagging her leg brace clips on the soft leather of the driver's side armrest, forcing him to unhook her and to touch her deformed thighs and knees while manipulating her legs into the footwell.",
"EXT. AIRPORT CONVENTION CENTER. PARKING-LOT -- LATE DAY James makes love to Gabrielle in the front seat of her small invalid car, deliberately involving the complex hand controls in the mechanics of their sex. As he slips his hand around her right breast, he collides with the strange geometry of the car's interior. Unexpected controls jut from beneath the steering wheel. A cluster of chromium treadles is fastened to a steel pivot clamped to the steering column. An extension on the floor - mounted gear lever rises laterally, giving way to a vertical wing of chromium metal moulded into the reverse of a driver's palm. Amid this small forest of machinery, James explores Gabrielle's new and strange body, feeling his way among the braces and straps of her underwear, the unfamiliar planes of her hips and legs, the unique culs - de - sac, odd declensions of skin and musculature. Gabrielle lies back. She lifts her left foot so that the leg brace rests against his knee. In the inner surface of her thigh the straps form marked depressions, troughs of reddened skin hollowed out in the forms of buckles and clasps. James unshackles the left leg brace and runs his fingers along the hot, corrugated skin of the deep buckle groove. The exposed portions of her body are joined together by the loosened braces and straps. Through the fading afternoon light the airplanes move across their heads along the east - west runways of the airport. Gabrielle's hand moves across his chest, opening his shirt, her fingers finding the small scars below his collarbone, the imprint of the instrument binnacle of his own crashed car. She runs the tip of her tongue into each of the wound - scars on his chest and abdomen. James exposes her breasts, feeling for the wound areas which surround them. As he tries to enter her, she puts her hand over his mouth. GABRIELLE Do n't. Not there. She spreads her left leg and exposes a deep, trench - like wound - scar in her inner thigh. She directs his hand to this neo - sex organ. GABRIELLE Do it there. And then after that, do it here. Gabrielle rotates over him so that he can see the wounds of her right hip. James turns her back, pulls her thigh in between his own thighs and enters her scar. With his mouth fastened on the scar beneath her left breast, his tongue exploring its sickle - shaped trough, he comes almost immediately.",
"INT. FILM STUDIO -- NIGHT We float through the studio past a one - story - high automobile battery. Its six cells are transparent and each one contains something submerged in the bubbly water that represents battery acid : a two - man submarine, a scuba diver, a small shark. James stands pacing as the dolly shot is reset, lighting is adjusted. An AD brings him a cellular phone. AD Somebody named Vaughan. Do you want it? James nods. The AD presses the TALK button and hands the phone to James. JAMES Hello? Ballard.",
"INT. TATTOO PARLOR -- NIGHT We are close on Vaughan's scarred mouth. VAUGHAN I need to see you, Ballard. I need to talk to you about the project. JAMES -LRB- phone. -RRB- Where are you?",
"EXT. MALL. TATTOO PARLOR -- NIGHT James drives up to the tattoo parlor, which is located in a small mall. It is next to a small, private medical clinic, and has the same antiseptic, untextured look of the ear, nose and throat suite next door.",
"INT. TATTOO PARLOR -- NIGHT James enters to discover Vaughan getting a wound tattoo on his abdomen, one that looks as though it could have been made by the fluted lower edge of a plastic steering wheel. The woman giving Vaughan the tattoo is sexless and professional. She could be a nurse or a hospital dietician. James sits next to them, barely acknowledged by the woman. Vaughan has messy papers spread out in front of him that include stylized sketches of famous crash wounds, photos of Andy Warhol's scars, automotive styling - detail drawings from a 50s Detroit design studio. VAUGHAN -LRB- to tattooist. -RRB- You're making it too clean. TATTOOIST Medical tattoos are supposed to be clean. VAUGHAN This is n't a medical tattoo. This is a prophetic tattoo. Prophesy is dirty and ragged. Make it dirty and ragged. TATTOOIST -LRB- a hint of sarcasm. -RRB- Prophetic? Is this personal prophesy or global prophesy? VAUGHAN There's no difference. James - I want you to let her give you this one. Vaughan spreads out a stained scrap of paper as though it were a sacred piece of parchment. On it is a fiercely sketched wound that looks as though it were made by the Lincoln's hood ornament. JAMES Where do you think that one should go? Vaughan spreads his legs in a mechanical, unsexual way and grabs the right inner thigh of his greasy jeans. VAUGHAN It should go here.",
"INT. VAUGHAN'S CAR -- NIGHT We are close on the fresh tattoo on James's inner thigh. It looks more like a cartoon version of a wound than a real wound. We can see it because James's trousers are down around his knees. Vaughan's face comes into frame. He gently kisses the tattoo. James lifts Vaughan's face to his own and kisses his mouth, touches his tongue to each of the scars around Vaughan's mouth.",
"EXT. UNDERPASS NEAR AUTO-WRECKER'S YARD -- NIGHT We see that the Lincoln sits in the shadow of an underpass at the edge of an abandoned auto - wrecker's yard, looking quite comfortable next to the stacks of crushed auto hulks and piles of wheels and bumpers visible through the chain - link fence.",
"INT. VAUGHAN'S CAR -- NIGHT James and Vaughan show their wounds to each other, exposing the scars on their chests and hands to the beckoning injury sites on the interior of the car, to the pointed sills of the chromium ashtrays, to the curtain of wheel covers hanging on a web of twisted wire just outside the car window. They touch, embrace, kiss.",
"EXT. UNDERPASS NEAR AUTO-WRECKER'S YARD -- NIGHT James steps unsteadily from the Lincoln into the roadway, followed for an instant by Vaughan's uncertain arm reaching for him. He moves away from the car, along the palisade to the overgrown entrance of the wrecker's yard. Above him, the cars on the motorway move like motorized wrecks.",
"EXT. AUTO-WRECKER'S YARD -- NIGHT Just outside the fence of the auto - wrecker's yard, a wreck, its engine and wheels removed, sits on its axles. James opens the door on its rusting hinges. A confetti of fragmented glass covers the front passenger seat. James gets in and sits there for a moment, crouched over the mudstreaked instrument panel, his knees tightened against his chest wall. A moment or two of this strangely comforting foetal security, and then James unfolds and begins to get back out of the car. An engine starts with a roar. As James steps back into the roadway he is briefly aware of a heavy black vehicle accelerating toward him from the shadow of the overpass where he and Vaughan embraced together. Its white - walled tires tear through the broken beer bottles and cigarette packs in the gutter, mount the narrow curb and hurtle on toward him. Knowing that Vaughan will not stop, will kill him, James presses himself against the concrete wall. The Lincoln swerves after him, its right - hand fender striking the rear wheel housing of the car James has just left. It swings away, ripping the open passenger door from its hinges. A column of exploding dust and torn newspaper rises into the air as it slides sideways across the access road. The Lincoln remounts the curb on the far side of the road, crushing a ten - yard section of the wooden palisade. James can see Vaughan flicking a look back, his hard eyes calculating whether or not he can make a second pass at him. The rear wheels regain their traction on the road surface and the car swings away on to the motorway above. James leans against the roof of the abandoned car. The passenger door has been crushed into the front fender, the deformed metal welded together by the impact. James retches suddenly and emptily. Shreds of torn paper eddy through the air around him, pasting themselves at various points against the crushed door panel and radiator hood.",
"EXT. BALLARD APT. BALCONY -- DAY James sits on the balcony of his apartment, watching the sky. A single - engined airplane floats above the motorway, a glass dragonfly carried by the sun. It seems to hang motionless, the propeller rotating slowly like a toy aircraft's. The light pours from its wings in a ceaseless fountain. Below it, the traffic moves sluggishly along the crowded concrete lanes, the roofs of the vehicles forming a continuous carapace of polished cellulose. Suddenly, Catherine is behind him. She puts her hands on his shoulders and he turns to her as though in a dream, gestures toward the airplane. JAMES I thought that was you, up there. CATHERINE My last lesson's next week. -LRB- pause. -RRB- James. my car. James can see now that Catherine is frightened. He takes her hand. JAMES What? Tell me.",
"EXT. BALLARD APT. DRIVEWAY -- DAY Catherine's car sits in the driveway. The paintwork along the left - hand side has been marked in some minor collision. Catherine and James stand examining the mark soberly, archeologists faced with a problematic hieroglyph. CATHERINE I was n't driving. I'd left the car in the parking - lot at the airport. Could it have been deliberate? JAMES One of your suitors? CATHERINE One of my suitors. He kneels down to examine the assault on her car. He feels the abrasions on the left - hand door and body panels, explores with his hand the deep trench that runs the full length of the car from the crushed tail - light to the front headlamp. The imprint of the other car's heavy front bumper is clearly marked on the rear wheel guard. James rises and takes Catherine's arm. He opens the passenger door for her. JAMES It's Vaughan. He's courting you. Let's go find him.",
"EXT. DESERTED MOTORWAY -- LATE DAY Catherine's car hurtles along a deserted six - lane highway.",
"INT. CATHERINE'S CAR -- LATE DAY James is driving. He looks across at Catherine. She sits very still, pale, one hand on the window - sill. JAMES The traffic. where is everyone? They've all gone away. CATHERINE I'd like to go back. James. JAMES Not yet. It's only beginning.",
"EXT. FAMILIAR STRETCHES OF ROAD -- LATE DAY INTO NIGHT They drive past stretches of road we have seen before : the underpass near the wrecker's yard, several accident sites and filling stations, etc..",
"EXT. AIRPORT FILLING STATION -- NIGHT One of the filling stations is near the airport. As they cruise by it, they spot Vera Seagrave talking to a girl attendant at the pumps. James turns into the forecourt. Vera is dressed in a heavily insulated leather jacket, as though she were about to leave on an Antarctic expedition. James calls to her from the car. JAMES Vera! Vera Seagrave! At first she fails to recognize him. Her firm eyes cut across him to Catherine's elegant figure, as if suspicious of her cross - legged posture. James gets out of the car and approaches Vera. He points to the suitcases in the rear seat of Vera's car. JAMES Are you leaving, Vera? Listen, I'm trying to find Vaughan. Vera finishes with the girl and, still staring at Catherine, steps into her car. VERA The police are after him. An American serviceman was killed on the Northolt overpass. James puts his hand on the windshield, but she switches on the windshield wipers, almost cutting the knuckle of his wrist. VERA I was with him in the car at the time. Before James can stop her, she accelerates toward the exit and turns into the fast evening traffic. James gets back into Catherine's car. JAMES I think he'll be waiting for us at the airport. CATHERINE James. James turns the car into the traffic.",
"EXT. AIRPORT ROADWAYS -- NIGHT Vaughan is waiting for them at the airport flyover. He makes no attempt to hide himself, pushing his heavy car into the passing traffic stream. Apparently uninterested in them, Vaughan lies against his door sill, almost asleep at the wheel as he surges forward when the lights change. His left hand drums across the rim of the steering wheel as he swerves the Lincoln to and fro across the road surface. His face is fixed in a rigid mask as he cuts in and out of the traffic lanes, surging ahead in the fast lane until he is abreast of them and then sliding back behind them, allowing other cars to cut between them and then taking up a watchful position in the slow lane. James can see that Vaughan's car has become even more battered than it was before, scarred with many impact points, a rear window broken, cracked headlamps, a body panel detached from the off - side rear wheel housing, the front bumper hanging from the chassis pinion, its rusting lower curvature touching the ground as Vaughan corners. When they slow down for a line of tankers, Vaughan makes his move. He pulls up beside them and then cuts viciously across three lanes of traffic to hit them broadside. The nose of the Lincoln just nicks the tail of the light sports car, which spins down the road. The Lincoln keeps on going, its vast momentum taking it into the guard rails of the exit ramp, and then over them. Catherine and James slam spinning into the tail of a tanker which has all but stopped. The traffic behind them has already been slowing and thus easily avoids hitting the sports car when it comes bouncing to a halt across two traffic lanes. Catherine lies back, sprawled in her seat, eyes wide and staring with fright, body rigid, bleeding from a small cut on her cheekbone. James jumps out of the car, then immediately slows with a limp. He continues, working his way doggedly through the motionless cars to the edge of the ramp. When he looks over the edge, James sees that Vaughan's Lincoln has plunged into the top of an airline coach which was running on the roadway below. With the Lincoln now inside it, the coach then slewed sideways and crashed into several other vehicles. Wreckage, flames and blood are everywhere. James's eyes are wide : not with horror, but with excitement.",
"EXT. POLICE POUND -- NIGHT Catherine and James stand at the gatehouse of the police pound, collecting the gate key from the mustachioed, sharp - eyed young officer there. They then walk down the lines of seized and abandoned vehicles. The pound is in darkness, lit only by the street - lights reflected in the dented chromium. They soon find Vaughan's crashed Lincoln, massive and charismatic even here, even in death. James manages to wrench open the passenger - side rear door enough to allow them both to get inside.",
"INT. VAUGHAN'S CAR -- NIGHT Sitting in the rear seat of the Lincoln, Catherine and James make brief, ritual love, her buttocks held tightly in his hands as she sits across his waist.",
"EXT. POLICE POUND -- NIGHT Afterwards, they walk among the cars. The beams of small headlamps cut across their knees. An open car has stopped beside the gatehouse. Two women sit behind the windshield, peering into the darkness. A pause, and then the car moves forward, its driver turning the wheel until the headlamps illuminate the remains of the dismembered vehicle in which Vaughan died. The woman in the passenger seat steps out and pauses briefly by the gates. It is Helen Remington. When she helps the driver out of the car, James and Catherine see that it is the crippled Gabrielle, her leg shackles clacking as she and Helen begin to walk toward Vaughan's car. They stroll haltingly, arms around each other, like strange lovers in a cemetery visiting a favorite mausoleum. At one point, Helen kisses Gabrielle's hand, and it is obvious that they have become lovers. James and Catherine circle away from the couple and make their way back to the gatehouse. In the depths of the pound, Helen helps Gabrielle into the Lincoln. In the darkness of the back seat, they embrace.",
"EXT. POLICE POUND. GATEHOUSE -- NIGHT James stands talking to the officer at the gatehouse window, holding Catherine's arm around his waist, pressing her fingers against the muscles of his stomach. JAMES I'd like to register a claim for the black 1963 Lincoln, the one that came in a couple of days ago. Is there a form I can fill out? POUND OFFICER There certainly is, but you'll have to come back between 7:30 and 4:30 to get one. What's your attachment to that thing? JAMES A close friend owned it. POUND OFFICER Well, it's got to be a total write - off. I do n't see what you could possibly do with it.",
"EXT. CROWDED RAIN-STREAKED ROADWAY -- SUNSET We are close on the huge, battle - scarred grill of Vaughan's Lincoln, now brought back to swaying, bellowing life. The restoration of the Lincoln is as Vaughan would have wanted it : just enough to get it running and nothing more, with ugly brown primer slapped on to the replaced panels, and whatever was cracked, scraped and crumpled still cracked, scraped and crumpled - a mobile accident rolling on badly misaligned wheels.",
"INT. VAUGHAN'S LINCOLN -- SUNSET We pull back to see James alone in the car. The road is crowded and manic ; James is intense, hard, exhilarated, alert - a hunter. The car is full of junk, pop cans, styrofoam containers, all suggesting that he has basically been living in the car for some time. James is searching for something among the lanes of traffic, threading the immense car in and out of the shifting holes that appear and disappear, driving with a fluid recklessness that is recognizably Vaughan's style. Suddenly, James becomes tense, focused : he has spotted what he has been looking for.",
"EXT. CROWDED RAIN-STREAKED ROADWAY -- SUNSET Through the Lincoln's insect - and oil - smeared windshield we can see the unmistakable shape of Catherine's white sports car, itself winding its way aggressively through the braids of vehicles. The Lincoln lurches out on to the narrow emergency lane and takes off after Catherine's car, scraping the low concrete wall as it wallows from side to side, clipping the corner of a truck that has made the lane too narrow.",
"INT. CATHERINE'S SPORTS CAR -- SUNSET In her mirrors, Catherine spots the Lincoln charging toward her along the emergency lane. Her demeanor is just as predatory as James's, and she does not hesitate to react. Catherine cranks the steering wheel to the right and dives across two lanes of startled vehicles to fishtail down a little - used utility access road. Behind her, and closing rapidly, the lumbering Lincoln follows suit.",
"EXT. UTILITY ROAD -- SUNSET Around the decreasing - radius curve of the utility road, the more nimble sports car stretches out the distance between it and the Lincoln, but once the road uncurls, the booming V - 8 allows the American car to gobble up the ground until it is nose to tail with Catherine's car. James begins to bump the tail of the sports car, breaking off the accelerator for a beat to let the white car - which looks especially fragile and delicate by comparison - get away a bit, then charging back until it makes contact. Now the road ahead curves again, and just as Catherine enters the curve, James gives her a seriously violent jolt. The rear of her car slews off on to the grass verge, almost comes back, then loses traction completely. Catherine's car spins backwards off the road, then rolls unceremoniously, almost gently, down a small grade, shedding bits and pieces, until it finally flops to a halt on its side in front of a cement culvert.",
"INT. VAUGHAN'S LINCOLN -- SUNSET Momentum has carried James past the point where Catherine has left the road. James stands on the brakes until the Lincoln shudders to a halt. He jams the shift lever into reverse and backs up, tires squealing and smoking in protest, to where he saw her go over the edge.",
"EXT. UTILITY ROAD -- SUNSET James jumps out of the car and stands for a beat at the edge of the road on the wet grass, savoring the tableau below him. Catherine lies sprawled, half out of the car, her tight black dress hiked up over her hips, one arm across her face as though shielding her eyes from the sight of her ruined, lightly smoking sports car. James eagerly makes his way down the wet grass of the hill toward Catherine. As he approaches her, she begins to move, stretching her arms behind her head, as though awakening from a deep sleep. He can now see that her dress is wet, soaked by the dirty water trickling out of the culvert and now dammed up by her torso. James kneels close to Catherine. JAMES Catherine. Are you all right? Are you hurt? Catherine's eyes flutter open. Her mascara is smeared, as though she has been crying, and there is wetness at the corners of her eyes. Her upper lip is bruised and beginning to purple, and there is blood on her forehead and at the corner of her mouth. CATHERINE James, I. I do n't know. I think I'm all right. James slips her panties down her legs, leaving them around her left ankle when they snag on the one high - heeled shoe she still has on. He gently rotates her on to her right hip, undoes his fly, then lies down on the concrete with her, ignoring the light, muddy stream which now begins to soak the thigh of his trousers. Kissing the back of her neck, he enters her from behind. JAMES Maybe the next one, darling. Maybe the next one. We pull up and away from the couple on the ground until we lose them behind the overturned sports car, then rise and pivot until we are once again watching the frantic lanes of traffic hurtling by obliviously only a few meters away. THE END"
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] | Film producer James Ballard (James Spader) and his wife, Catherine (Deborah Kara Unger), are in an open marriage. The couple engage in various trysts but, between them, have unenthusiastic sex. Their arousal is heightened by discussing the intimate details of their extramarital sex. She recounts sex that day with a stranger in a prop plane hangar, where she caresses the plane hull with her bare breast as the film's opening scene. She was, however, left unsatisfied. When Ballard replies he did not achieve satisfaction with his office sexual encounter that day, as he was interrupted, his wife replies "maybe the next one". While driving home from work late one night, Ballard's car collides head-on with another, killing its male passenger. While trapped in the fused wreckage, the driver, Dr. Helen Remington (Holly Hunter), wife of the dead passenger, exposes a breast to Ballard when she pulls off the shoulder harness of her seat belt. While recovering, Ballard meets Remington again, as well as a man named Vaughan (Elias Koteas), who takes a keen interest in the brace holding Ballard's shattered leg together and photographs it. While leaving the hospital, Remington and Ballard begin an affair, one primarily fueled by their shared experience of the car crash (not only do all of their sexual assignations take place in cars, all of Remington's off-screen sexual encounters take place in cars as well). In an attempt to make some sense of why they are so aroused by their car wreck, they go to see one of Vaughan's cult meetings/performance pieces, a re-creation of the car crash that killed James Dean with authentic cars and stunt drivers. When Department of Transport officials break up the event, Ballard flees with Remington and Vaughan. Ballard becomes one of Vaughan's followers who fetishize car crashes, obsessively watching car safety test videos and photographing traffic collisions. Ballard drives Vaughan's Lincoln convertible around the city while Vaughan picks up and has sex with street prostitutes and, later, Ballard's wife. In turn, Ballard has a dalliance with one of the other group members, Gabrielle (Rosanna Arquette), a beautiful woman whose legs are clad in restrictive steel braces and who has a vulva-like scar on the back of one of her thighs, which is used as a substitute for a vagina by Ballard. The film's sexual couplings in (or involving) cars are not restricted to heterosexual experiences. While watching videos of car crashes, Remington becomes extremely aroused and gropes the crotches of both Ballard and Gabrielle, suggesting an imminent ménage à trois. Later, Vaughan and Ballard eventually turn towards each other and have sex while, also later, Gabrielle and Remington have sex with each other. Although Vaughan claims at first that he is interested in the "reshaping of the human body by modern technology," in fact his project is to live out the philosophy that the car crash is a "benevolent psychopathology that beckons towards us." The film's climax begins with Vaughan's death in an intentional crash. It ends with another deliberate crash where Ballard rams his wife's car, as she unbuckles her seat belt intentionally. As he caresses her bruised body on the grass median near the crash, she replies that she is unhurt. As they lovingly copulate under the overturned car, the film ends with Ballard whispering in her ear, "Maybe the next one", implying their fetish involves death. | Crash_(1996_film) |
[
"EXT. OSSINING CORRECTIONAL FACILITY - EARLY MORNING Mist shrouds the prison. C.U. - EYES Closed. Then the lids fly wide open.",
"INT. CELL An ASIAN MAN sits up on his cot, coming out of sleep with a gasp. SHU KAI KIM is in his late 20s. With a muscled torso and shaved head meant to inspire fear. And to hide it.",
"INT. CELLBLOCK - LATER The electrified doors slide OPEN. Shu steps out of his cell. ORTEGA - a rugged young Chicano - steps out of a nearby cell. The two cons trade small nods.",
"INT. CORRIDOR The CONS walk in single file. Ortega is behind Shu. Ortega speaks softly, with barely perceptible lip movement. ORTEGA Fear will kill you. Shu's replies are like a ventriloquist's, as well. The two men are running through some sort of arcane drill. SHU I'm not afraid. ORTEGA You know I'd stand in for you. But then, believing you are weak, they'd come for you anyway. SHU No. I want this. ORTEGA Good. Right after chapel. it's going down in the yard. Now Shu and Ortega file into :",
"INT. PRISON CHAPEL - MORNING On the dais, the MINISTER leads a small CONVICT CHOIR. REVERSE - THE CONGREGATION The cons have segregated themselves into sullen groups of black, white, and brown. CLOSE - FOUR CONS At the rear. SHU is flanked by TWO stringy CHICANOS. Ortega sits behind Shu. All four stare ahead with an intense blankness. ANGLE - FROM THE SIDE Now we see what's really happening : Shu grips two sharpened spoons. The Chicanos wrap duct tape around Shu's fists - so that even if he wanted to, he could n't let go of the knives. ANGLE - A WHITE CON In front. DUANE LINDEMAN is burly, with long blond locks, his arms decorated with SWASTIKAS. Tattooed on one cheek are three black teardrops. Lindeman is surrounded by OTHERS like him. All SINGING a hymn to the Lord Jesus. THROUGH THE CHAPEL DOORS A disturbance out in the hall : we hear THUMPS, loud CURSING. DUANE LINDEMAN and FRIENDS just keep on singing. WIDE The rest of the Congregation turns around, to see what's going on. The TWO CORRECTIONS OFFICERS at the rear of the Chapel venture to the door and peer out, truncheons drawn. TWO WHITE INMATES spring out of opposing back row aisle seats and SLAM SHUT the Chapel doors on the C.O.s - who immediately start POUNDING on the doors with their STICKS. ONSTAGE - A hulking WHITE member of the CHOIR discreetly moves to block the fire exit offstage. SHU AND ORTEGA turn back around to face what appears at first glance to be a grotesque apparition : DUANE LINDEMAN seems to be flying from the front of the chapel toward them, blond hair flowing, arms waving, a warlock. In fact, he's racing from the top of one pew - back to the next - and his HANDS are duct - taped, too, around not sharpened spoons, but long, serrated blades. ORTEGA Motherfuckers! Not in here! A SIREN WAILS as Lindeman leaps at Shu - who executes a perfectly timed karate throw, sending Lindeman over his shoulder to land sprawling in the aisle. Lindeman's tattooed ACCOMPLICES move to help. Ortega holds them off. Before Lindeman can right himself, Shu pins the blond Goliath. Brings a fist to Lindeman's neck, sharpened spoon pressed against the neo - Nazi's jugular. Outraged, the MINISTER claws his way through the crowd of rubbernecking cons. Shu is breathing too hard to demand that Lindeman concede. But his message is clear. Now, in gasps : LINDEMAN Kill. me. Instead, Shu lifts the sharpened spoon away from Lindeman's neck. Carefully climbs off, steps back. Lindeman lies there defeated. Then looses a startling banshee SCREAM and springs, blades flashing, at Shu. They're like two snarling cats. Wrestling so furiously, we see only a blur of flesh, glint of metal. Splash of blood. A RING of INMATES forms around the combatants. Some CHEER, others SHOUT for the fight to stop. None dare interfere. Now the BACK DOORS virtually fly off their hinges as a HALF - DOZEN C.O.s in RIOT GEAR charge the Chapel. It takes all six to drag the bloody cons apart. Shu immediately goes limp ; Duane Lindeman is slack, twitching. Horrified, the Minister backs off, vestments soaked in gore.",
"EXT. JFK AIRPORT - MORNING A CAB merges onto the Brooklyn - Queens Expressway. AERIAL SHOT - MANHATTAN ISLAND We PAN to the Brooklyn Bridge and PICK UP the CAB as it hits Mannattan.",
"INT. CAB In the back seat, face pressed to the glass, is ROGER BARON. A 25 - year - old whose persona straddles two worlds : In his Brooks Brothers suit he'd be welcome in any boardroom. With his Buddy Holly glasses and conceptually cropped hair, he's someone you'd want in your band. Roger checks his watch. ROGER Could I give you some extra money, have you drop me at the Courthouse and bring my luggage to the hotel? The CABBIE turns around, at a red light. No creepier than the average New York Cabbie. He is smiling. CABBIE No problem. Roger smiles back. Big problem.",
"EXT. 100 CENTRE STREET Manhattan's fortress - like Criminal Courts Building. Roger climbs out of the cab, lugging a suitcase, a briefcase, a duffel bag and a garment bag.",
"INT. COURTHOUSE CORRIDOR To a COURT OFFICER : ROGER I'm looking for the court where Edward T. Dowd is defending a Mr. Nevins. The Court Officer consults the docket sheet. ROGER That's the Edward Dowd. The Court Officer blinks at Roger. COURT OFFICER Part 73, Room 1113. Then, deadpan : COURT OFFICER That's the Room 1113.",
"INT. COURTROOM An Assistant D.A. stands before the JURY, in mid - summation. D.A. Edward Dowd is an inventive lawyer. I'm sure he'd like you to believe that the pound of pure cocaine found in his client's home was intended for personal, recreational use. Several JURORS stifle snickers. D.A. He may claim that the many pounds of baby laxative were intended to help Mr. Nevins stay regular. More muted SOUNDS of amusement, from the gallery, as Roger ENTERS. He quietly deposits his luggage in the empty back row, then moves to the front row, behind the defense table. Seated there is a slick, natty DEFENSE ATTORNEY. Next to him is a wired and weird - looking DEFENDANT in a threadbare suit, the cut decades out of date. D.A. What will Mr. Dowd say the defendant weighed on his laboratory scales? Oh, he'll think of something. But bear in mind that you jurors control the scales that really count - the scales of justice. Only you can ensure that the defendant - a man who sells dangerous drugs to teenagers, for profit. ANGLE - THE DEFENDANT winces. He's in his mid - 40s, his face framed by a MANE of HAIR that hangs to his shoulders. His vintage suit accented by an embarrassingly wide and loud floral - print tie. D.A. -LRB- O.S. -RRB- will pay a penalty. Be wise, be fair, and have courage. Thank you. As she crosses to the Prosecution Table : JUDGE BAUM Thank you, Ms. Jessum. Mr. Sweeney, may I have a word with you? As Mr. Sweeney - the Court Officer - confers with the Judge, Roger leans forward. Whispers to the Defense Attorney : ROGER Roger Baron. Sorry I'm late. The Defense Attorney looks mildly baffled. Regardless, Roger extends a hand. ROGER This is an honor. And a thrill. DEFENSE ATTORNEY Really? But what the hell : he shakes with Roger. Now the DEFENDANT turns, to see what's going on. Trying to breathe as much empathy as he can into the one syllable : ROGER Hi. The Defendant has fixed Roger with the sort of soul - piercing stare it takes many acid trips to perfect. So, delicately : ROGER What're you, um, accused of? DEFENDANT All sorts of things. How ` bout you? ROGER Me? N - no, I'm a lawyer, I'm here to work with Mr. Dowd. Nodding at the Defense Attorney. We HEAR a POUNDING gavel. JUDGE BAUM Mr. Dowd, would you care to make your closing argument? Roger pats the Defendant's shoulder. Reassures : ROGER You're in good hands. The Defendant lifts his eyebrows, as though to say `` Is that so?'' Turns back around. And, for some reason, he rises. DEFENDANT I would, your Honor. ROGER Confused, at first - then mortified : omigod, that's Dowd! EDWARD C. DOWD takes three long, crooked strides over to the Jury Box, hands clasped behind his back, hair streaming. EDDIE Brian Nevins' pound of pure cocaine was quite clearly intended for sale. The JURORS look surprised. So does the D.A.. So does BRIAN NEVINS. EDDIE The baby laxative - dealers use it to dilute their coke before selling it. They can - quadruple their profits. NEVINS throws a jittery glance at the jury. EDDIE and of course you ca n't sell cocaine without a laboratory scale. Eddie strikes a tone of cosmic lamentation. EDDIE Cocaine is evil. Selling cocaine is evil. Nevins checks his mental Rolodex for a great appeals lawyer. EDDIE Pity this foolish merchant. Dislike him if you must. But despise the tactics the police employed to snare Brian Nevins. Do n't lose sight of what's really on trial here - our basic personal freedoms, our quality of life. `` Freedoms'' and `` life'' are rendered as startling SHOUTS that make the Jurors sit up straight. EDDIE Sublime concepts, such as `` the right of the people to be secure in their persons, houses, papers, and effects, against unreasonable searches and seizures.'' Eddie's delivery suggests an unholy but hard - to - dismiss hybrid of rabbi and diva. EDDIE For when we condone the bugging of our citizens' bedrooms, when we allow the police to enter our citizens' homes with specious warrants, when we invade our citizens' privacy in a frenzied quest for a wicked white powder, are n't we capitulating to the evil, are n't we surrendering to the drug? Are n't we saying cocaine is more potent than our Constitution?",
"EXT. COURTHOUSE - AFTERNOON - LATER Roger maintains a discreet distance behind Eddie and Nevins as lawyer and client stroll down the steps. NEVINS Wow, that speech. It was beautiful. Amazing horseshit. EDDIE -LRB- tight smile. -RRB- Amazing client. Nevins is n't sure how to respond. So he gives Eddie a quick, vigorous, almost hostile hug. NEVINS Eddie Dowd. Everybody should own one. OMIT Nevins spins away, hops into his girlfriend's double - parked Porsche. As the happy couple blasts off down the block, Roger draws even with Eddie. OMIT ROGER About the mix - up back there. I, ah, never saw your photo, I just read every civil liberties brief you filed in the'60s. Eddie distractedly nods. Then rotely sticks out his hand. EDDIE Hey, it was nice meeting ya. Got ta get back to the office. It takes Roger a beat to realize the awful truth. ROGER Roger Baron, Oberlin undergrad, Michigan Law? None of this rings a bell? Exactly. Amused, now, by the absurd series of missteps : ROGER You hired me? To clerk for you? My letter? Top 5 percentile, Law Review, salary is no object? This last detail apparently jogs Eddie's memory. EDDIE That's right. They start trudging to the subway station. Roger awkwardly lugs his suitcase, garment bag, duffel bag and briefcase. EDDIE Here, lem me help you. He grabs the briefcase.",
"EXT. SHERIDAN SQUARE - LATER Several streets converge here ; so do gays, yuppies, and diehard bohemians. As Eddie and Roger emerge from the IRT station, and cross 7th Avenue : ROGER read your Chase Manhattan bombing case summation in the'71 Leftist Law anthology. Eddie lives and works over a landmark cigar store and an eyesore of an all - night deli. As he unlocks the downstairs door, Roger takes in the seedily picturesque Square. ROGER So this is Greenwhich Village? Eddie smiles. Somewhere between sarcastic and self - effacing : EDDIE Yes Roger. You've arrived. He starts up the stairs. Roger follows.",
"INT. LAW OFFICE Balding rugs, macrame hanging things, birdcages, Salvation Army couches. TWO leather - clad SCARECROWS pace ; a teenage GIRL with blue hair squats on the floor, comforting her SQUALLING INFANT. Then there's the slick young COUPLE in Ralph Lauren Polo ensembles, here with a furtive STRAIGHT - ARROW who scans the Wall Street Journal. A crew - cutted secretary -LRB- BILLY -RRB- types with one hand, grabs the RINGING PHONE with the other. To judge by her typing and telephone skills, she was hired for her capacity to manage this menagerie. Roger has struggled up the stairs, behind Eddie. Though he quickly notes the office's squalor and questionable clientele, what catches his eye is the trio of cracked and yellowing PHOTOGRAPHS tacked on a wall in the foyer. Eddie in his late -'60s glory days : On a dais, igniting an anti - war rally. Hugging a pair of Black Panthers outside a courtroom, his face suffused with joy. In a swarm of student activists outside a Federal courthouse, held on the shoulders of the crowd like a conquering hero. As his gaze lingers on the photographs : ROGER and re - read that summation til I knew it verbatim. You were my age when you defended that case. Eddie edgily pushes Roger past the photos. EDDIE I was never your age. The SCARECROWS clamor for Eddie, e.g., `` You got ta call my parole officer!'' and `` Did we get the continuance?'' Eddie ignores. Addresses his secretary. EDDIE Billy - this here's Roger, the new assistant. Eddie wheels away, answers the RINGING PHONE -LRB- grunting a perfunctory promise into it -RRB-, then gestures for Straight - Arrow and Slick Couple to come into his inner office. Roger starts to follow, but Eddie shuts his inner office door behind him. BILLY You want to be an `` assistant'' or an `` associate''? Roger turns to see Billy tugging on her denim jacket. BILLY Some of them like `` assistant,'' some like `` associate''. Up to you. ROGER - How many others are there? As Billy, wearing a slight smirk, bustles out the door : BILLY You're the current one. Roger wistfully watches her go. OS, he HEARS : MAN'S VOICE You Eddie's new partner? SCARECROW 1 is standing a tad too close for comfort. Still, Roger is grateful for the attempt at friendliness. ROGER Not exactly. Well, kind of. Roger flinches, lets out an involuntary YELP as Scarecrow grabs his lapels, shakes him. SCARECROW You got ta call my parole officer!",
"INT. COURTHOUSE CORRIDOR - DAY - A FEW WEEKS LATER A spruce ASSISTANT D.A. -LRB- GLENN FULTON -RRB- jauntily exits a courtroom. Followed by a grim - faced Eddie, with Roger and CLYDE GRUNER, a sullen, street - hardened PUNK. EDDIE -LRB- to his client. -RRB- Clyde, you wait here. -LRB- to the D.A. -RRB- Glenn, got a minute? FULTON I had a minute before the Mapp hearing - but I could n't get you on the phone, Eddie. EDDIE Yeah, well I had reasonable cause to believe the judge might've heard of the Fourth Amendment. We TRACK with Fulton, Eddie and Roger as they thread through the THRONG of milling lawyers, clients, relations and cops. FULTON Hey - Gruner was caught with three pounds of methedrine. The legality of the search and seizure was the only issue. The Judge refused to exclude the evidence. No deal. He turns a corner. So does Eddie. EDDIE No it's not the only issue. There's another issue, for the jury. What about entrapment? FULTON What about entrapment? Fulton veers into the Men's Room. Eddie follows.",
"INT. MEN'S ROOM Roger enters, behind Eddie. EDDIE Glenn, the government sent an undercover cop to dangle the lure of fantastic profits before Clyde Gruner's eyes. Anyone so sorely tempted might succumb! Roger lingers at the sink as Eddie follows Fulton to the urinals. EDDIE We do n't prosecute people because in the abstract they might be weak. Judge Brandeis said it best : Entrapment is a `` dirty business!'' FULTON Ca n't I take a simple piss without - Eddie's voice trembles with outrage and inspiration. EDDIE Do n't you see? Planting the idea of being a criminal is just one step away from planting the evidence! Fulton flushes. Grudgingly : FULTON Have n't heard that one before, Ed. -LRB- zips up, sighs. -RRB- But I guess I'll be hearing it again. EDDIE Not necessarily. Roger backs out of the bathroom.",
"INT. CORRIDOR Clyde is standing out here. Roger has nothing to say to Clyde. He goes to the water fountain for a very long sip.",
"INT. LAW OFFICE - EARLY EVENING At this hour, the office is empty. As EDDIE and ROGER enter : BILLY Nevins stopped by. It's on your desk. As he lopes toward his inner office : EDDIE We pleaded out Clyde Gruner to five years' probation. BILLY Score another point for truth and justice. Eddie stops, shoots Billy a `` fuck you too'' look. Then turns to Roger and staunchly reaffirms : EDDIE The last struggle for constitutional rights is being waged over drugs.",
"INT. INNER OFFICE Atop his desk is a package wrapped in newspaper. Eddie tears it open, revealing small bills bundled with rubber bands. As he counts the cash : EDDIE And we're in the ring, Roger, doing battle with Big Brother. Roger turns away from the drug money, embarrassed and ashamed.",
"INT. OUTER OFFICE - NIGHT - LATER Now Billy is gone as well. ROGER sits in his cramped anteroom of an office, mechanically making notes. OS, there's a KNOCK. ROGER'S' open. He does n't bother looking up - who cares which East Village doper or Yuppie coke dealer it is? But then he hears : WOMAN -LRB- O.S. -RRB- Edward Dowd? ANGLE - TWO ORIENTAL WOMEN are in the outer office. One is college - age, assimilated. The other is in her early 40s, with the aspect of an immigrant. A vinyl satchel is slung over her shoulder. The younger woman has come - reluctantly, it seems - to translate for the older. TRANSLATOR Edward Dowd, please. Roger gets up from his desk. Hurries into the big room. ROGER I'm Roger Baron - Mr. Dowd's associate. Can I help you? The Immigrant anxiously peers past Roger. She knows he's not Edward Dowd. TRANSLATOR Mrs. Kim needs a lawyer. Her son stabbed a man to death. In response Mrs. Kim - who evidently understands English - makes a passionate point, in a foreign tongue. TRANSLATOR It was self - defense. In prison. This clarification elicits another burst from Mrs. Kim. ROGER -LRB- calls. -RRB- Eddie. TRANSLATOR -LRB- amends. -RRB- He did n't belong there in the first place. Eight years for a murder he did n't commit. -LRB- adds. -RRB- I'm her neighbor's daughter. Without turning away : ROGER Eddie. Finally Eddie comes striding in from his office. Waving away a cloud of pot smoke that's followed him out. He gives the women his patented reassuring smile. EDDIE I'm Eddie Dowd. What's up? Mrs. Kim starts in again, rapid - fire. The Translator spews : TRANSLATOR Her son did n't shoot anybody. He's the wrong guy. You meet him, you see he would n't stab a guy for fun. EDDIE He shot a man and stabbed a man? Mrs. Kim violently shakes her head as she chatters. TRANSLATOR He did n't shoot anybody! Eight years in jail! The wrong guy! A good boy. From a fine home in Seoul, Korea. Shu Kai Kim. Mrs. Kim finally quiets. The Translator takes a breath. And explains : TRANSLATOR That's his name. Shu Kai Kim. Eddie nods, solemnly taking all this in. Then : EDDIE I'll bet he's a wonderful boy. Roger watches Eddie, to see where he's going. Hides his disappointment when he hears : EDDIE But I ca n't help him. You see I have a specialty. Lawyers specialize, Mrs. Kim, and these days I do mostly. He does n't bother explaining. EDDIE Anyway, I could n't even go see your son without looking at the files on his case, first. In response Mrs. Kim swings her satchel - bulging with Shu's files - into Eddie's arms. It's like taking a medicine ball to the chest. When he catches his breath : EDDIE How did you find me? TRANSLATOR -LRB- over Mrs. Kim. -RRB- She went to all the courthouses. She talked to pot smokers, pill sellers. They all speak of you, they all say the same thing. Eddie ca n't help but puff up a little. EDDIE What do they say? Mrs. Kim answers in Korean. Translator hesitates. Then : TRANSLATOR You do cases cheap. Roger stifles a laugh. Eddie lowers Mrs. Kim's satchel to the floor and places a hand on her shoulder. EDDIE Tell you what. Mr. Baron and I will review your material and get back to you as soon as possible. Mrs. Kim intently peers at Eddie to gauge his sincerity. He boldly meets her gaze as he steers her to the door. EDDIE Thank you for stopping by. Evidently convinced, Mrs. Kim makes a parting remark. TRANSLATOR She thanks you in advance for saving her son. Eddie flashes one last smile, then closes the door on the women. Roger shakes his head, bemused and moved. ROGER `` She thanks you in advance for saving her son.'' He picks up the vinyl satchel, starts pulling out papers. Eddie feels compelled to poison the moment. EDDIE Talk about hard - sell, huh? He snorts, incredulous, as he crosses the room. EDDIE Show me a guy who's not somebody's son. Roger looks up at this remark. Then sets down the satchel.",
"INT. EDDIE'S INNER OFFICE Eddie has re - lit his evening joint. As he settles back to enjoy it, there's Roger in the doorway. EDDIE - Hit? Rather than reach for the joint, Roger mops his brow. ROGER Whew. That was close. We almost defended a guy who was n't a dealer. Who knows, might even be innocent. Eddie chuckles, defensive. Then : EDDIE We have a full caseload, Rog. ROGER Right, I forgot. We're pledged to protect every mid - level drug dealer in the Tri - state area. -LRB- shivers. -RRB- It's an awesome responsibility. EDDIE I do n't venerate drug dealers, Roger. To the contrary. ROGER Of course. THE OUTER OFFICE EDDIE through use of informants, eavesdropping, unreasonable search and seizure! ROGER Right. You're right. EDDIE Damn right I'm right. Roger starts for the door. Stops. Turns. ROGER It's just. I leave behind friends, family, a coupla good job offers in Chicago and in three dizzying weeks I've helped acquit a coke dealer, a speed dealer - EDDIE I specialize, Roger. ROGER - an angel dust dealer - EDDIE I'm not a kid anymore, I ca n't be all over the map - ROGER - a speed manufacturer - EDDIE So go take your job on Wall Street. ROGER Do n't tell me where to work. I moved to New York to work for Edward Dowd. But I ca n't believe that Edward Dowd has nothing better to do these days than invoke exalted legal issues to get off guilty little - EDDIE Hey. You plan to be a criminal defense attorney, know this going in : Everybody's guilty. This buys Roger's silence, for two beats. Then, sadly : ROGER You would n't've said that ten years ago. He grabs his briefcase. Starts for the door. As he swings it open he HEARS : EDDIE Ten years is a long time. ROGER -LRB- stops, turns. -RRB- Look - I'm tired, I'll see you in the morning, Eddie. Eddie watches him walk out. Drops the joint and vengefully grinds it out on the floor. To the closed door : EDDIE Long time. Alone, now, he surveys his shabby domain and sighs, deeply. As he exhales, Eddie seems to be trying to blow away all the pot smoke that has clouded the room and shrouded his heart. Then he shambles across the office and through the door that leads to his living quarters. We TRACK with EDDIE past a kitchenette equipped with no labor - saving devices into :",
"INT. BEDROOM Small, and beyond spartan. Single bed in one corner, plain wooden bureau opposite. The only color is provided by Eddie's festive trial ties, casually strewn. Eddie's bedroom is not unlike a cell we saw at the beginning of the movie. Eddie stands at the window, trying to stare past the security bars into the New York night. But all he can see is his reflection.",
"INT. HOTEL ROOM - EARLY NEXT MORNING ROGER is roused from sleep by a persistent KNOCKING. He stumbles out of bed, staggers to the door. ROGER - Yeah? EDDIE'S VOICE -LRB- through the door. -RRB- We're late. Let's get going! Roger opens up. Eddie looks alarmingly revved. ROGER Where? EDDIE Ossining Correctional Facility. Sing Sing. Everybody's innocent there, man. Just ask'em.",
"EXT. ROUTE 9 - LATER Wending north along the Hudson. ANGLE Eddie's rusty old Buick Riviera as it wheezes its way upstate. OVER : ROGER'S VOICE At 16 Shu Kai Kim emigrated with his family from Korea to New York.",
"INT. RIVIERA - MOVING Roger extracts the pertinent info from the newspaper clippings in Mrs. Kim's files. ROGER Kim got busted at 19 for burglary. At 20 he was convicted in the shooting death of a young Chinese gang lord. The prosecution claimed Kim did it to get into `` the Joe Boys''? EDDIE Chinatown street gang. ROGER Kim denied it. But he admitted the gun was his, and he got life. Seems to have been an okay prisoner for eight years, til the. incident with Duane Lindeman. EDDIE - The Nazi he knifed? But Roger is staring ahead now, speechless. THROUGH THE WINDSHIELD The turrets and watchtowers of the Ossining Correctional Facility loom. all too real.",
"INT. PRISON TWO CORRECTIONS OFFICERS lead the lawyers through a security checkpoint.",
"INT. CONFERENCE ROOM The room is large and bare but for a long wooden TABLE, four chairs. Leaden light leaks through one high, barred window. Eddie and Roger, on one side of the table, anxiously wait. Roger jumps at the CRUNCH of a deadbolt lock, turning. Two hefty OFFICERS enter escorting SHU, in manacles. One pulls out the chair for Shu, the other sits him down. Eddie waits for them to back out of the room and re - lock the door. EDDIE I'm Eddie Dowd. I'm a lawyer. This here's Roger Baron - also a lawyer. Shu's eyes, beady and suspicious, bore into Roger. Roger wants to smile. But he ca n't. He stares down at his notebook. Now Shu peruses Eddie's long hair, peculiar suit. SHU My mother find you? EDDIE That's right. SHU Figures. EDDIE -LRB- undaunted. -RRB- Want to tell me what went down here? SHU -LRB- very slowly. -RRB- Racist asshole came at me. EDDIE Exactly what happened then? SHU -LRB- coolly. -RRB- I killed the motherfucker. EDDIE Okay. Roger is now furiously scribbling notes ; we can almost hear him whimper. EDDIE The night that kid was shot to death in Chinatown, you were. where? Shu does n't answer. Eddie reaches into his jacket pocket, pulls out a pack of cigarettes. Offers one to Shu. Shu wordlessly plucks the cigarette from his fingers, careful to avoid any contact. Eddie lights it. Now Roger wills himself to look up from his notebook. ROGER At the trial, you said you were at your apartment that night. Alone. EDDIE - Remember? SHU -LRB- stubbornly. -RRB- That's eight years ago. Long time. He studies his cigarette. No - he's staring at the shackles on his wrists. Stares for one, two, three beats. Gravely : SHU Real long time. Eddie's eyes flicker : He's heard that phrase, or one quite like it, somewhere before.",
"EXT. PRISON - LATE AFTERNOON The lawyers head for Eddie's Riviera, in the visitor's lot. ROGER So what would we claim? He stabbed Duane Lindeman in self - defense? EDDIE With two knives taped to his hands? Forget it, Rog. Roger sighs. Shrugs. ROGER I feel like I've been mugged. Guy scared the shit out of me. You made your point, Eddie. I'm relieved we're not taking the case. EDDIE We're taking the other case. ROGER What other case? EDDIE Eight years ago. The Chinatown hit. Roger stares, baffled, as Eddie orates. EDDIE Some gang punk gets wasted in front of the tourists. The mayor pressures the cops. The cops pressure the rival gang - the Joe Boys. The Joes give up Shu Kai Kim - the schmuck kid from Korea who's been pestering'em to get in. ROGER You really think that's what happened? EDDIE I do n't know but it makes one hell of an opening statement. As they reach the Riviera, Eddie's in his all - the - world's - a - courtroom mode ; i.e., he shouts, does semaphore. EDDIE We prove Shu should never have been imprisoned in the first place, D.A.'ll back off the Lindeman charge! The lawyers climb in. OMIT ROGER - Easy as that, huh? EDDIE Easy? No. We have to find some piece of evidence that got buried, to reopen the sucker. ROGER Are you sure we want that? Eddie shifts into gear. Pensive, now, as he steers out of the prison parking lot : EDDIE He's a victim, Roger. He deserves to see the sun again, breathe the air. He's been in prison too goddamn long.",
"EXT. STREET - LATE NIGHT - A FEW DAYS LATER A block of warehouses in lower Manhattan, under the shadow of the West Side Highway. Out of the drizzly darkness comes the RIVIERA, headlights doused. The car GROANS to a halt. Eddie and Roger climb out. Furtively glance around. Roger follows Eddie to the fortified ENTRANCE of one of the warehouses. Eddie KNOCKS -LRB- in a pattern -RRB- on the reinforced steel door. Three sets of TUMBLERS TURN. The door opens. Filling the doorframe is the imposing silhouette of a MAN in Nikes, chinos and windbreaker that must be standard issue for plainclothes cops. In a Darth Vader voice : COP -LRB- TOMMY. -RRB- Okay. C'mon.",
"INT. WAREHOUSE BLACK. Then Tommy flicks ON a row of OVERHEADS, lighting a long, tall aisle of gunmetal gray LOCKERS. Aisle after aisle, in shadow, to either side. Reverently, to Roger : EDDIE the Exhibit Warehouse. END OF THE AISLE - LATER Tommy paces, checking his Timex. Eddie and Roger squat on the asphalt, sifting through piles of paper. Each has two large boxes to process. ROGER Transcript. transcript. exhibits. He pauses to to contemplate a grisly photo. INSERT - THE PHOTO A man's face, in 3/4 profile, with gaping entrance wound above the left eye. The man is young, Asian, very dead. SCENE Roger hurriedly tucks the picture away. But the next item he comes upon is : ROGER - The murder weapon. He gingerly holds a sealed plastic bag sagging with the weight of a handgun. ROGER They found four of Shu's fingerprints on this thing. Eddie impatiently glances over. EDDIE When did you start working for the goddam D.A? ROGER Eddie. I do n't know about this. But Eddie has already resumed his search. An hour later. Roger holds a form, yellowed with age. ROGER Eddie. What's a DD - 5? EDDIE A Complaint Follow - Up form. ROGER - Listen : `` November 5, 1980. Cecil Stipe walked into 5th Precinct. Says he witnessed Chin shooting, saw suspect's picture in Post. Says Shu Kai Kim wrong man.'' EDDIE `` Cecil Stipe''? Have we seen any affadavit with that name? Roger looks at Eddie, slowly shakes his head. Time stops. Roger looks back down at the memo. Reads : ROGER `` Also says he knows who killed Kennedy.'' Time starts again. Roger lets the memo flutter to the floor. EDDIE Keep looking. Something'll turn up. EDDIE'S HANDS Reaching for another sheaf of documents. Rifling through the pages, running his index finger down columns of text. END OF THE AISLE - DAWN Piles of paper everywhere. By the lawyers' haggard looks, we know something did n't turn up. Tommy surveys the mess. TOMMY Clean - up time. Eddie looks up, exhausted - but scheming, still. EDDIE How's your brother, Tommy? TOMMY You kept him out of the slammer and I thank you, Dowd. But if you're not gone before the day shift shows up, I'm back to emptying parking meters. Eddie surveys all this evidence, that they've been through twice. Looks over at Roger. EDDIE That DD - 5. ROGER What, the lunatic who - EDDIE `` Cecil Stipe.'' Find it.",
"EXT. MACDOUGAL STREET - MORNING - TWO DAYS LATER KITTY GREER strides down the West Village street. Kitty's 40, once cute, now simply sexy, and not apologetic about it.",
"INT. CAFFE REGGIO The hangout that time forgot. Kitty finds the table where Eddie and Roger sip espresso. With studied detachment : KITTY Hi Eddie. Eddie stands. Pulls out Kitty's chair. EDDIE Roger Baron, Kitty Greer. -LRB- to Kitty. -RRB- Roger's my new associate. Top of his class at Michigan Law. Kitty smiles at Roger. KITTY You read Eddie's Chase Manhattan Bombing summation in the Leftist Law anthology? ROGER - Eddie told you? Eddie clears his throat. Kitty smiles some more. KITTY My skip - trace turned up two Cecil Stipes. One's in Butte, Montana. Other's at Riverhead Veterans Psychiatric. ROGER I'll take odds on Cecil Number Two. KITTY So what'd this guy do? Snitch off a dealer? EDDIE -LRB- casually. -RRB- Murder witness. KITTY You're doing a murder case? EDDIE It has n't been that long. Kitty disagrees. She starts counting the years, to herself, on her fingers. Before she can run out of fingers : EDDIE Stipe was just one of four eyewitnesses who came forward, Kitty. Y' oughta start looking for the others. KITTY Eddie, I'm not working on this case. You boys have fun. She checks her watch. KITTY I have business back on Planet Earth. She stands. EDDIE Lem me guess. Some corporate V.P.'s banging his secretary over lunch and you have to focus your camera and plug in your little tape recorder. KITTY Beats getting paid in twenties by slimedogs selling angel dust to high school seniors. EDDIE Kitty, where exactly do you place the microphone to catch the most incriminating moans? Roger is trying to disappear behind his espresso cup. KITTY Just which Constitutional amendment protects our right to peddle PCP? EDDIE Forget it. You've blown your chance to participate in this case, Kitty. KITTY I'm kicking myself, Eddie. Right out of here. She briskly exits the coffeehouse. Eddie turns to Roger. Wearing a little grin. EDDIE We got her.",
"EXT. RIVERHEAD VETERANS PSYCHIATRIC - DAY A gray edifice just outside a blue - collar Long Island town. As Eddie and Roger ENTER : EDDIE You have to gently pressure a guy like this to test whether he'll keep it together on the stand.",
"INT. DAYROOM - CLOSE ON CECIL STIPE Hollow - eyed, tousle - haired, late - 30s. In pajama bottoms and an olive - drab t - shirt. STIPE Dr. Berger said you g - guys needed to talk to me? WIDE - THE DAYROOM Depressing in proportion to the attempts to make it cheery. Eddie and Roger sit at a round wooden table we last saw in nursery school. As he pulls out a chair, for a wary Stipe : EDDIE ` lo, Cecil. STIPE See - cil. EDDIE See - cil. I'm Eddie Dowd, this is Roger Baron. We're lawyers. Stipe looks at Roger. Then at Eddie. To Eddie : STIPE You're a l - lawyer? -LRB- beat. -RRB- I. I have n't had my meds, or m - my vital signs t - taken yet. I. ROGER Mr. Stipe. A young man named Jimmy Chin was shot to death eight years ago, in Chinatown. Do you remember talking to the police? STIPE -LRB- beat, then. -RRB- That guy they arrested - he was the wrong g - guy. EDDIE Cecil, we want to reopen the case, and we ca n't without your testimony. I want to use what you have to say so badly - but I must add, my friend, that I think you're fucking full of shit. Roger winces : this is `` gentle pressure''? ROGER I think what Eddie wants to say is - STIPE No! They g - got the wrong guy! I saw it! The killer was n't Chinese. EDDIE Oh come on, Cecil. STIPE Hey, Chinese people have this energy field that vibrates at a particular frequency. Eddie and Roger trade glances. Then : ROGER Uh, Cecil. What's all this about the Kennedy assassination? Stipe's voice goes hollow. He should've known. STIPE You're from the Company. He anxiously peers past the lawyers - as though looking for a hospital orderly, as though looking for help. ROGER -LRB- incredulous. -RRB- CIA? STIPE Telephone. -LRB- sarcastic. -RRB- I suppose you do n't know the phone company killed Kennedy because he was trying to b - break it up - and they'll never let that happen. They control everything : what you say in the mouthpiece is never exactly what comes out the other end, and - ROGER The phone company was broken up. STIPE -LRB- with muted contempt. -RRB- And you b - believe that. EDDIE - Cecil. -LRB- places his hand over Stipe's. -RRB- Are you what heroes are made of? Stipe looks down at Eddie's hand, touching his own. Waits for a lethal bolt of electricity. But nothing happens. STIPE I did two tours in ` Nam. EDDIE Good. Now we're going to take an affadavit from you, but only concerning the facts of the Chinatown shooting. We honestly do n't give a shit about the Kennedy assassination. Stipe considers whether Eddie and Roger might be on the level. EDDIE Are you willing to testify that the man you saw shoot Jimmy Chin was not the man the cops arrested? STIPE They g - got the wrong g - guy. EDDIE When the D.A. hears I filed the writ, he'll send someone here, maybe claiming to be a journalist. That person will ask you lots of questions. Just be truthful, Cecil, okay? To all of us? STIPE I always t - tell the truth. -LRB- sad smile. -RRB- That's why I'm here.",
"INT. FEDERAL DISTRICT COURT - MORNING - SIX WEEKS LATER No jury. CECIL STIPE on the stand. Hair freshly cut, beard trimmed. In a suit no worse than Eddie's best. Eddie speaks softly, so as not to excite the mental patient. EDDIE You told the Desk Sergeant you were certain Mr. Kim was n't the killer? -LRB- Stipe nods. -RRB- You left your telephone number? STIPE Y - yes, sir. EDDIE Did the police make any attempt to phone you, to follow up? STIPE No, s - sir. EDDIE Thank you, Mr. Stipe. Eddie rejoins Roger at the defense table. JUDGE Mr. Rabin? You may cross - examine. Assistant D.A. DEAN RABIN, 30, jumps up - alert and vigilant, as though he were the bodyguard of Justice herself. RABIN Mr. Stipe, for how long have you been a patient at the Riverhead Veterans Psychiatric Hospital? Overlapping, Eddie leaps up, ROARS : EDDIE Objection, your Honor! The fact that the witness is currently a patient is immaterial! JUDGE Sustained. RABIN Alright. Mr. Stipe, how long have you resided at the Riverhead Veterans - JUDGE Mr. Rabin, you're out of line. The question is stricken. But so, unfortunately, is Stipe : his whole body twitches. Now Rabin moves in for the kill. RABIN Mr. Stipe : you're under oath to tell the truth and nothing but the truth. Who killed President Kennedy? EDDIE - Objection! Irrelevant! The witness is not an expert in - RABIN -LRB- overlapping. -RRB- Your Honor, the question relates directly to the witness's bail - STIPE -LRB- overlapping ; tremulous. -RRB- I'd l - like to answer the question. EDDIE Mr. Rabin has no right to - CLOSE - STIPE He's answering. But, given the din of the lawyers' battle, he ca n't be heard. Until the Judge POUNDS his gavel. STIPE Lee. H - Harvey. Oswald. To mouth this hideous lie has taxed all Stipe's strength and self - control. In mid - argument, Eddie stops shouting. He sits. RABIN Never mind, your Honor. He's left sheepishly smiling at the Judge, who's wondering what the hell that was about.",
"INT. PRISON CELL BLOCK - THAT AFTERNOON Shu is escorted along the tier by TWO C.O.s.",
"INT. CONFERENCE ROOM Enter the two C.O.s, with SHU. EDDIE and ROGER wait here. EDDIE Shu, the judge has ordered a retrial in the Chinatown murder case. Shu's lips move. No sound emerges. ROGER If we can prove reasonable doubt on your imprisonment eight years ago, we feel sure the D.A. will reduce the charge in Lindeman's death. You may get out of here much sooner. Now Shu is standing, breathing hard. SHU Do I - have to be in the courtroom? Eddie knows that Shu is n't eager to relive the last trial. EDDIE The State wo n't want to retry an eight - year - old case. At the pre - trial conference, an offer'll be made. Odds are we'll cut some kinda deal. Roger is searching Shu's face for a ray of hope. Instead he hears, constricted : SHU - I ca n't pay you. ROGER -LRB- gently. -RRB- That's okay, Shu. We're not billing. This makes Shu even more uncomfortable. His eyes bore into Eddie's, searching for an answer. Finally Eddie supplies it. EDDIE You've done enough time, Shu. Shu holds Eddie's gaze for a beat. Then he nods. And then, without expression, he backs out of the Conference Room. CLOSE - X - RAY POSITIVE As we contemplate a man's shattered skull we hear : ROGER According to the evidence, the bullet, the wound, the powder burns, Shu's gun - they're a perfect match.",
"INT. EDDIE'S INNER OFFICE Eddie sits at his desk, across from Roger. EDDIE Hey. The cops tell the eyewitnesses, `` Do n't doubt your ID, we got'em dead on the gun.'' Meantime they tell their ballistics expert, `` Hey, it's cool - three people saw the guy fire the gun.'' It's a game, man. And you know what? As Eddie continues, Roger queasily flips through a stack of forensic exhibits. We SEE x - ray positives of Jimmy Chin's skull, prints of microscopic autopsy slides. EDDIE In the eight years since the first trial, advances in forensic ballistics analysis will enable us to piss on the evidence. The phone starts RINGING. Now the door swings open - it's KITTY. As she casually strips off her overcoat : KITTY Of the prosecution's three original eyewitnesses, one's dead, one's moved to Montreal and wo n't budge. Kitty catches Roger watching her with a look of pleasant surprise. With a little smile : KITTY You getting this? ROGER - Every word. KITTY -LRB- sits. -RRB- But they've still got Laura Gordon - and she was the closest, about 20 feet from the killer. Eddie appears untroubled. EDDIE Gee, maybe she saw the gun. He pulls a joint from the desk drawer and lights up. ROGER Do you have to do that? EDDIE `` Have to''? No. He takes a hit. Then turns to Kitty. EDDIE Start looking into the Joe Boys - who assigned the hits in 1980, what rank generally did the hits. -LRB- pointedly. -RRB- Your extensive law enforcement contacts should be of some use. KITTY -LRB- to Roger. -RRB- I was never politically correct enough for Comrade Dowd. The phone starts RINGING again. Shouting through the wall : EDDIE Billy. No result. So Eddie picks up, as Kitty and Roger continue TALKING, in b.g. EDDIE Yeah. Who? Eddie grinds out his joint. Signals his colleagues to shut up. His customary braggadocio giving way to bafflement : EDDIE Put him through. -LRB- then. -RRB- Speaking. -LRB- listens, then. -RRB- Sure. Fine. See you then. Eddie hangs up. EDDIE That was Donald Reynard. Roger has heard of Reynard. With a trace of incredulity : ROGER The Manhattan D.A?",
"EXT. NEW YORK ATHLETIC CLUB On Central Park South. Where Manhattan's oligarchs go to stay hungry. Several generations of WASPs stride in and out, attache cases in their left hands, racquets in their right. EDDIE hurriedly enters this sanctum of health and wealth, too self - conscious to notice the startled WASPs noticing him.",
"INT. CLUB BAR With a Rare Book Room ambience. A MAITRE D' steers an edgy Eddie past POWER BROKERS who stop brokering, briefly, to gape at this bizarre interloper. Excepting one self - absorbed MAGNATE who pontificates on the trade gap at FOUR REPORTERS. Eddie is delivered to a table in the center of the room. Settled here, sipping a scotch, is Manhattan D.A. DONALD REYNARD : mid - 40s, sharp - featured, soigne. At Reynard's elbow sits Dean Rabin. Wearing a vindictive little grin. MAITRE D' Mr. Reynard? Head bowed, Eddie awkwardly thrusts out a hand. EDDIE Edward T. Dowd. REYNARD -LRB- shaking. -RRB- Don Reynard. He offers Eddie a seat. Indicates the human terrier at his side. REYNARD Of course you know Dean Rabin, one of my Assistant D.A.s. Dean generally handles nuisance cases like the. what's the man's name? EDDIE Shu Kai Kim. REYNARD You wo n't remember this, but in'72 I was one of several prosecutors assigned to the Black Panther - Police Shootout. -LRB- laughs. -RRB- We had a whole team, and you walked into court by yourself and kicked our collective butt. -LRB- beat. -RRB- So what've you been up to since then? EDDIE This and that. REYNARD My staff tells me it's been mostly drug pushers. I said that ca n't be the same Edward Dowd. EDDIE -LRB- evenly. -RRB- It's in the area of narcotics, Mr. Reynard, that the government tramples on the Fourth Amendment. REYNARD Let's not drag the Constitution into this. Rabin can contain himself no longer. RABIN Mr. Dowd, you used the testimony of a paranoid schizophrenic to overturn a murder conviction that had stood unchallenged for eight years. Now we do n't intend to sit back and - Reynard holds up a palm, silencing Rabin. REYNARD What you did was very cynical. I'm annoyed with you, Ed. Clearly a supreme understatement. EDDIE I'm sorry if I've ruined your day, Mr. Reynard. But my client's had a rough eight years behind bars and - REYNARD Your client is guilty. Do n't dick around with me. Rabin glows. He's getting revenge, albeit vicariously. REYNARD Back in the Seventies I spent years putting away gangsters in a Colombian syndicate called `` the Ochoa''. These guys are very dangerous, Ed. When I hear that a small - time dope lawyer is conniving to spring one of these guys, I see red. EDDIE I'd have that checked, Mr. Reynard. Reynard is not amused. REYNARD Now maybe you got this case reopened because you see yourself as a thorn in society's side, or you want to walk into any restaurant in Chinatown and get free dumplings. EDDIE Are you implying that my motives are less than sincere? REYNARD Yes, but that's not the issue. What's on your wish list, Ed? Pleading Kim out to first degree man on both homicides, with an agreed sentence of 15 to life running concurrent? Come on. What're you looking for here? EDDIE What am I looking for? You're the one talking deal. REYNARD Friday's the drop - dead date on the offer. EDDIE Please do n't bullshit me, Mr. Reynard. You've got witness problems, you've got proof problems. REYNARD You're my only problem, Ed. What does it take to make you go away? Eddie does n't have to ponder long. EDDIE 8 - 1/3 on both counts to run concurrent, and credit for time served. Reynard pretends to do some calculations. REYNARD I see : He'd walk out next month. EDDIE That's right. REYNARD We reconvict, your man's looking at 25 years on two counts, served consecutively. So what I'd like to ask, Ed, is : Are you joking? EDDIE -LRB- rising. -RRB- I never joke about waiving a client's Sixth Amendment right to trial. REYNARD You're pissing me off again, Ed. EDDIE You know you're very tense, Mr. Reynard. Y' oughta take a week off, fly the wife and kids to Oahu. Eddie turns. As he lopes away - REYNARD Do n't forget : after Friday, no deal. ANGLE - A REPORTER at the Trade Gap table sniffs a story.",
"INT. CORRIDOR Eddie waits for the elevator. And HEARS a confidential : REPORTER Excuse me. Len Davis. Eddie turns. REPORTER Looks like you've wriggled up Reynard's ass. What gives? EDDIE You're not a reporter? REPORTER Daily News. He reaches for his press card. The elevator arrives. EDDIE I ca n't talk to you. Eddie boards. Slow enough that the Reporter has time to follow him in. The door closes.",
"INT. LOBBY - ON THE ELEVATOR DOOR as it opens ; Eddie and the Reporter step out. The Reporter madly scribbles notes as Eddie declaims. EDDIE not saying there was a conspiracy. Law enforcement is too disorganized for that. No, I suspect sloth was the culprit - lassitude. My client made a convenient patsy. They stride past CAMERA, Eddie just warming up, as we :",
"INT. CAFFE REGGIO - NEXT NIGHT At this hour, the espresso has given way to red wine. KITTY, EDDIE, ROGER and assorted West Village characters have taken over a table in the middle of the room. ROGER `` Edward C. Dowd, retained to defend Mr. Kim, has disclosed that a witness will corroborate Mr. Kim's alibi''? Roger reads from the Daily News - everyone at the table has a copy. On an inner page is a file photo of Eddie under the headline `` Stunning Revelations in ` Wrong Man' Murder Case.'' EDDIE I embellished. KITTY `` Dowd also reports that his team of private investigators.''? EDDIE I embroidered. KITTY. are close to naming the man they believe actually killed Jimmy Chin''? EDDIE I lied. Roger gives Eddie a thin smile. ROGER Shoulda told the one about Shu being the bastard child of Mother Theresa. EDDIE -LRB- smiles back. -RRB- Saving it for the Sunday Times. Eddie stands, stretches. EDDIE I'm heading home - get some sleep.",
"EXT. MACDOUGAL STREET - NIGHT As Eddie starts north, a STREET DEALER calls from the shadows : OMIT STREET DEALER Hey Eddie. Loose joints? Buy one, get one free. EDDIE I get'em all free. ON SHERIDAN SQUARE Eddie crosses Seventh Avenue. Pulls out his keys, to let himself into his building. OS, hears : VOICE Hey, Eddie. A MAN stands, silhouetted, at the top of the subway stairs. MAN Spare a quarter? EDDIE reaches back into his pocket. And gets RAKED across the jaw with a short length of PIPE. HIS ASSAILANT is a muscular PUNK in a black sleeveless t - shirt. Two black teardrops tattooed on his cheek. In a WHISPER : PUNK Race traitor. Gook lover.",
"INT. SUBWAY STAIRS The Punk flings a stunned Eddie halfway down the stairs, to continue the beating out of plain sight. On the landing, the men bob back and forth, drunken dance partners - - and then Eddie manages to grab the Punk's face, squeezing it with his ebbing strength, SMUDGING the TEARDROPS. EDDIE puzzles, for an instant, at the smeared `` tattoos''. THE PUNK senses something's awry. In his eyes, a flicker of panic. SCENE Then the Punk's eyes go cold again as he smashes Eddie's head against the tile. As Eddie collapses : PUNK Enemy of the Aryan People. Punctuated with a kick of his combat boots. Eddie curls up to protect himself. PUNK Commie. Faggot. Motherfucker. Jew. EDDIE -LRB- gasps. -RRB- - Only half. For this, Eddie gets another kick. Then the ultimatum, told as a `` Confucious say'' joke : PUNK Aryan Warriors say : If the Chink goes to trial, you die. Eddie groans, his eyes roll back. FADE to BLACK. While the SCREEN stays BLACK, we HEAR : DETECTIVE 1'S VOICE In my humble opinion, Mr. Dowd, you opened a Pandora's box of ugly shit.",
"INT. POLICE HEADQUARTERS - NIGHT - LATER EDDIE, in the Detective Bullpen - ice pack pressed to his bruised jaw - leafs through a mugbook. ROGER, beside him, addresses a DETECTIVE, across the desk. ROGER Oh, Eddie deserved this. I guess rape victims want to get laid at gunpoint. But Eddie could care less. Indicating the mugbook : EDDIE These are all the known Aryan Warriors in New York? IN THE BOOK Mugshots and descriptions, four to a page. Several subjects sport the teardrop tattoos. DETECTIVE -LRB- O.S. -RRB- Every last delightful one. SCENE Eddie stops paging. Squints. CLOSE - A MUGSHOT of the Punk. Sure enough, no teardrops on his face. His name : CHUCKIE ROEDER. Eddie's HANDS enter FRAME. His fingertips still smudged with black ink, from Roeder's cheeks. BACK TO SCENE Eddie studies the photo, his fingertips. Abruptly shuts the mugbook. EDDIE Y ` do n't mind, I'll look some more tomorrow. Starting to see double.",
"EXT. POLICE HEADQUARTERS As they emerge, Roger grips Eddie's upper arm, to steady him. Quietly : EDDIE His name is Chuckie Roeder. But something's very weird. ROGER - You found his mugshot? They round the corner. In b.g. is the County Coroner's Office ; official AMBULANCES are double - parked in front. EDDIE The tears. they were n't real. Roger gives Eddie a questioning look. OMIT",
"EXT. EXPRESSWAY - LATE NIGHT As we TIGHTEN on Eddie's wheezing RIVIERA we HEAR, OVER : ROGER'S VOICE I do n't believe we're going to talk to a bunch of Nazis. At night. EDDIE'S VOICE They only think they're Nazis.",
"INT. RIVIERA - MOVING Roger drives. Eddie, in the passenger seat, massages his swollen jaw. In his free hand are scribbled directions. EDDIE They're just frightened, fucked - up losers that prison fucked up worse. ROGER -LRB- tense, snaps. -RRB- I did n't ask for a closing argument. EDDIE There's no one else to talk to. The tattoos were phony! ROGER - Yeah? EDDIE So an upstanding member of the Aryan Warriors would n't paint them on. They take those teardrops seriously - they're badges of courage, of honor. Only their most vicious killer elite get to wear them! ROGER I feel much better now. EDDIE Hey, Clyde Gruner sold these guys a pound of crystal meth at cost. We're Clyde's buddies, it's cool. -LRB- checks the directions. -RRB- Next exit.",
"EXT. ROW HOUSES - LATE NIGHT A desolate, sub - working - class - outpost on Staten Island. Eddie KNOCKS on a door. Roger waits with trepidation. The door is answered by : A BOY Towheaded, in pajamas. No more than eight years old. EDDIE Hi there. Is your daddy home?",
"INT. ARYAN WARRIOR HOUSE The little boy GIGGLES, then leads Eddie and Roger through a nightmare LIVING ROOM strewn with pizza cartons, shotgun shells and dogshit. A MAC - 10 submachine gun is propped in a corner. In another corner, an old b & w TV. Flickering across the screen : a rerun of `` Love, American Style.'' TWO ARYAN WARRIORS were slumped in front of it, swigging generic beer while ogling the'60s bikini queens. Now they sit up straight and reach for the guns as the lawyers pass, into :",
"INT. BEDROOM The little boy wraps his arms around a pair of legs. ANGLE UP on a young man whose face is marred by a single teardrop tattoo. EDDIE I'm a friend of Clyde Gruner's. The walls are decorated with white power posters, portraits of Hitler and Jesus. TEARDROP We know who you are. You're the race traitor who's defending the gook. O.S. we hear : MAN'S VOICE You've got balls coming here. Eddie and Roger turn. Behind them another Aryan Warrior has materialized. Chewing a Slim Jim. SLIM JIM We respect balls. Roger exhales. EDDIE Who's Chuckie Roeder? TEARDROP Chuck? Rhymes with suck? -LRB- cackles, then. -RRB- Chuckie Roeder is no longer a comrade in the resurrection of our nation. We expelled that faggot junkie last year. Eddie and Roger trade glances. EDDIE Do you know where he can be found? TEARDROP Hanging with his tongue out and a sign around his neck says `` I Betrayed My Race'' along with the rest of society's scum, on the Great Day of the Rope. ROGER Um. prior to the Great Day of the Rope, where can Chuckie be found? TEARDROP Mixing with mongrel races. EDDIE - A job? An address? Teardrop does n't answer. Hoping to help him out : SLIM JIM Art supplies, right? Teardrop shoots a look at Slim Jim. If looks could kill, Slim Jim's brains would be decorating the walls. Teardrop turns back to Eddie and Roger. TEARDROP Now get the fuck out of here. Instead Eddie steps forward, in Teardrop's face. EDDIE A man jumped me tonight. He said he was an Aryan Warrior, and you're saying he was n't. I have to hear it really clear : You guys were n't behind this. Very slowly, so Eddie gets it straight : TEARDROP If we were, you would n't be standing here, asking.",
"INT. RIVIERA - MOVING - EARLY MORNING Route 9, North. An excited Roger drives, a little wildly, on the empty road. Eddie stares out into the night.",
"EXT. OSSINING CORRECTIONAL FACILITY - DAYBREAK ROGER is asleep, in the back seat of the Riviera. PAN TO : EDDIE At the main gate, that is n't open yet. Eddie stands still, head bowed, hands clasped behind his back. A supplicant. Waiting to get in.",
"INT. VISITORS ROOM - MORNING - LATER Eddie and Shu are separated by a plexiglass pane. They talk over telephones. Shu strives to remain impassive as he HEARS : EDDIE -LRB- O.S. -RRB- Shu, the D.A.'s offered us a deal. I can make a counter - offer I know he'd accept. You'd be free in four years. Shu's response : SHU Who did that to you? Eddie worries his discolored jaw. EDDIE An Aryan Warrior with black teardrops painted on his face. SHU `` Painted''? Eddie nods. SHU That was n't an Aryan Warrior. Eddie nods. EDDIE But why would a guy would do that? Paint black teardrops on his face? SHU I guess he. wanted you to think he was. somebody he was n't. EDDIE But why? SHU Maybe. because someone's afraid. EDDIE Afraid of what? SHU I do n't know. The truth, maybe. EDDIE - About what? SHU About Chinatown. What went down. EDDIE What went down? SHU You tell me, man. EDDIE No. You tell me, Shu. SHU How can I tell you what I do n't know! EDDIE You ca n't. So tell me what you do know - say it! SHU I do n't know shit, man! Goddammit - EDDIE Well I know that you're innocent, Shu - even if you forgot. Shu sucks in a breath. The curses are like stifled sobs. SHU Shit. fucking. bitch bastard. Tears are spilling down Shu's rock - hard cheeks. Eddie brings his palm up against the plexiglass divider. He's breathing hard too. EDDIE Shu. We take this deal, that's the end. I do n't look for the scumbag that jumped me, do n't get him on the stand to tell the court who put him up to it, do n't go after the fuck who put him up to it - the fuck who did the crime and let you do the time. We take this deal, we walk away without knowing what really went down, never get a shot at nailing some guilty bastard's balls to the wall. Shu swipes at his face, roughly wiping it dry. SHU No. EDDIE `` No,'' what? Now Shu raises his palm. Presses it against the plexiglass, where Eddie's palm is. Slowly, emphatically : SHU Fuck the D.A.'s deal.",
"EXT. CHINATOWN STREET - DUSK - VARIOUS SHOTS Hungry tourists, hyper street vendors, harried locals. Roasting chicken carcasses, counterfeit merchandise aggressively hawked, tiny old ladies bent over bins, squeezing strange fruits. The air a shivaree of piped - in flutes and drums, dissonant mercantile chatter, clogged honking traffic. On Pell Street we FIND Eddie striding down the sidewalk, nose in trial transcript. To himself : EDDIE Jimmy came east on Pell. He stopped on the corner to a let a car go by. Eddie stops. EDDIE At the last instant he must've sensed something. He turned - Eddie looks up from the text, turns his head. There's : ROGER About twenty feet away. He looks up from his transcript. ROGER Laura Gordon stood here. No bus stop, phone booth, stop sign in the way. -LRB- chagrined. -RRB- She had a perfect view of the killer's face. Eddie adamantly shakes his head as he moves to Roger. EDDIE But she could n't have, could she, because she thinks she saw Shu and now we know she did n't see Shu. Roger looks dubious. Eddie grabs his shoulders, marching him east on Pell, the way Jimmy Chin came. EDDIE You're cruising along without a care but now I'm stalking you, I'm right behind you, there's rage in the air. You feel the rage, like an electrical charge - you turn - He yanks Roger's head around. EDDIE I pull out a loaded gun - Eddie shapes the fingers of his right hand like a gun. EDDIE - Time contracts, space explodes, perceptions ca n't be trusted when I - Eddie violently whips his finger - gun into Roger's face. Roger flinches - we HEAR a shattering GUNSHOT - and we're in :",
"INT. FORENSIC BALLISTICS LAB - A FEW DAYS LATER A forensic ballistics expert -LRB- GEORGE -RRB- has just test - fired Shu's gun into a long wooden box. He and Roger remove their ear - protectors. -LRB- Eddie had n't bothered wearing one. -RRB- To Roger, as he opens the box's lid : GEORGE Some guys in the field, they'll try to bullshit you that comparison microscopy's an exact science. ROGER Not exactly. GEORGE I'm saying, we need to finesse a little, we'll finesse. Eddie adamantly shakes his head. EDDIE George - I told ya -! We do n't need to finesse this one! GEORGE Jesus! Jump back. He recovers the bullet with a pair of sterile forceps. GEORGE You wan na hang out, Eddie, I'll have something preliminary in an hour. EDDIE My associate'll wait, George. I've got good news of my own to deliver.",
"EXT. CRIMINAL COURTS BUILDING - DAY - LATER The D.A.'s office is on the south side of the building. RECEPTIONIST -LRB- V.O. -RRB- Is Mr. Reynard expecting you?",
"INT. REYNARD'S RECEPTION AREA Reynard's Receptionist is politely but terminally skeptical. EDDIE This'll only take a minute. RECEPTIONIST I'm sorry but Mr. Reynard is running about an hour behind schedule. EDDIE Then just leave word : Mr. Dowd and Mr. Kim plan to proceed with trial.",
"INT. CORRIDOR Grand, marbled. Eddie's footfalls ECHO as he lopes to the stairs. And now he hears a deep, sepulchral : MAN'S VOICE Ed? ANGLE - ROBERT REYNARD stands at the far end of the corridor, shirt - sleeves rolled up, arms akimbo. REYNARD Did my girl hear your message correctly? Eddie ambles toward Reynard. EDDIE I guess so, or you would n't be standing there, am I right? The D.A. shakes his head, disappointed in himself. REYNARD Why did I think I could deal reasonably with a man who defends coke pushers for free? The lawyers face off, salvos reverberating. EDDIE Coke pushers pay cash. That subsidizes the pot possession cases. D.A.s slip past, careful to stay out of the line of fire. REYNARD But now you've strayed from your area of expertise - dope - into street assassins. A subject on which you're dangerously ignorant. EDDIE But I'm a quick study. Tell your Deputy D.A. - Rabin? - that I'll see him in court. REYNARD No, Mr. Dowd, you'll see me in court. I'm prosecuting this case. Eddie takes a beat to absorb the news. Then : EDDIE Why am I surprised? It's consistent. Reynard nods in solemn accord. EDDIE You seem to have a talent for putting non - whites behind bars. A frost settles on the District Attorney's face. REYNARD I'll prosecute anyone who fucks up. If that makes me look racist, it's a trade - off I'll live with, Ed. EDDIE That's big of you, Bob. He gives Reynard a farewell - for - now salute. EDDIE I'll see vou in court. He does a little pirouette. Reynard's words, swelling out, follow him as he dances down the hall. REYNARD I'll beat you, Ed. You can hide behind the whole Bill of Rights. Eddie hurriedly descends the stairs.",
"EXT. WEST VILLAGE - THAT NIGHT As we PAN the quaint townhouses and tenements we HEAR, OVER : EDDIE'S VOICE You guys shoulda been there. FIND a WINDOW in which THREE SILHOUETTES are seen. In the context of the cityscape, there's a poignant - even fearful - sense of their smallness and isolation. EDDIE The fuckin' D.A. himself.",
"INT. OUTER OFFICE Eddie paces, gesticulates. EDDIE Dude was quaking. Finally Roger feels compelled to deliver bad news. ROGER Uh, Eddie? The, um, ballistics guy, George? He called, and. -LRB- uneasily. -RRB- His tests show that Shu's gun fired the bullet that killed Jimmy Chin. EDDIE George is a fucking burnout case. I did n't want him on the stand anyway. Get more names from Billy. Eddie turns to Kitty. EDDIE Did you find me an expert witness on the Joe Boys? Kitty is nearly as reluctant as Roger. KITTY The best expert in New York is a Soc professor at Columbia. -LRB- carefully. -RRB- Apparently doing a hit was the way to get into the Joe Boys. Eddie levels a `` So what are you telling me?'' look at Kitty. KITTY So there goes your theory about the Joes giving up Shu to protect their trigger man. EDDIE But I like that theory. And since I'm not putting Twerp Professor on the stand, and since I do n't have a better theory, I'm sticking with that theory. Meantime I want pictures of the Joes. What'll you bet there was a guy in the gang looked enough like Shu to fool the eyewitnesses! Kitty and Roger halfheartedly nod. Eddie tries a pep - talk. EDDIE Our guy is innocent. We prod in enough places, I do n't care how solid this case against Shu looks - there's a weak spot somewhere and when we hit it the whole hideous thing collapses. Better yet, we get our hands on Chuckie Roeder, we do n't have to grope in the dark. Chuckie is the answer man! Kitty snakes her head. KITTY I've phoned every art supply retailer and wholesaler in the Tri - state area. No one's heard of Chuckie Roeder. EDDIE Have you considered that Chuckie Roeder's not calling himself Chuckie Roeder these days? Get his mugshot from one of the many law officers who've got hotpants for you. then canvass those art supplies places. We're gon na win this one, Kitty, but ya got ta believe. ROGER Uneasy with Eddie's optimism, he stands, wanders back toward the bathroom. Then notices that the door leading to Eddie's living quarters is slightly a jar. THROUGH THE OPEN DOOR Roger sees a single bed in one corner, plain wooden bureau opposite. But on the walls, something strange and beckoning. As Eddie exhorts in b.g., Roger slips into :",
"INT. EDDIE'S BEDROOM Hung on a hundred hooks and nails are as many TIES. The wide, thrift - shop kind that Eddie wears to court. From a distance we ca n't distinguish the prints ; the room is lit only by a blinking neon across the street. As Roger sifts through the ties, we go in CLOSE on the big amoebas, the zaftig mermaids, the oddball, dated patterns and paintings. It's as though each tie stands for a case won or lost, but fought. As though each loud, shameless tie is a piece of Eddie himself. Now, as he pulls the ties from their hooks to examine them, Roger exposes old PHOTOS tacked to the wall and forgotten. THE PHOTOS are mostly yellow, cracked, faded. Here is EDDIE twenty - five years ago, hair cropped, a Princeton undergrad. Five years later he's sprouted a beard and is posed with his graduating class at Yale Law School. Now it's the glory days of the mid - sixties and Eddie's in his prime, a longhaired defense attorney in denim and leather. At a press conference, flanked by Abbie Hoffman and Jerry Rubin. In Washington Square Park, igniting an anti - war rally. At a Sheep Meadow Be - in, arm around a lovely young woman, toddler balanced on his shoulders, infant cradled in her lap. Eddie's family on a long - ago spring day. And here is Eddie, about 30, in a swarm of student activists outside a Federal courthouse, clearly after winning an acquittal, held high above the crowd like a conquering hero. Now we BRING UP an excited BUZZ of VOICES - as though the crowd, in the photo, were somehow coming to life. OVER : JUDGE'S VOICE Matter of People vs. Shu Kai Kim.",
"INT. SUPERIOR COURT - MORNING We've hit the big time ; it's clean, spacious, echoic. The previous courtrooms were, by comparison, mere vestibules. JUDGE QUEALY BANGS his GAVEL. JUDGE This case has been tried before, but you the jurors must make no. Now the Judge notices something amiss. He squints - AT THE DEFENSE TABLE There's SHU. With his new bristly growth of head - hair and oversized suit, he appears thin and mild - mannered, almost bookish. At Shu's left sits ROGER, looking around, bemused. The chair at Shu's right is empty. JUDGE - Where is Mr. Dowd?",
"INT. MEN'S ROOM Eddie is alone in here, at the sink. He's just doused his face. He examines his reflection in the dirty mirror, trying hard to like what he sees. HOLD for several silent BEATS as Eddie gathers his strength and courage. Then : REYNARD -LRB- V.O. -RRB- You will hear from the detectives who arrested Shu Kai Kim and found the murder weapon in his apartment.",
"INT. COURTROOM - A FEW MINUTES LATER Eddie has now taken his seat beside Shu. Reynard is in the midst of his opening statement. REYNARD An eyewitness will testify that she saw Mr. Kim shoot Jimmy Chin in cold blood. An expert who examined Kim's gun, and the bullet that tore through Jimmy Chin's brain, will testify that Shu Kai Kim was the killer. He strides over to the jury box. REYNARD But this trial is about much more than Mr. Kim's guilt. It's a test of our legal system - the fairest, most liberal in the world, in world history. So fair and liberal that lawyers like Mr. Dowd can manipulate it on a whim to re - try convicted killers. Well that's a trade - off we can live with, provided we have the courage to meet our civic obligations. You twelve are all that stand between society and every Shu Kai Kim itching to get free. Quite a responsibility. But one I know that each of you can handle. EDDIE paces off a large circle - a territorial act in which he is claiming the courtroom as his. EDDIE Picture this. In a part of town that thrives on its spirit of celebration. good food, friendly faces. one young man walked up to another, out on the street, in front of the tourists, and committed murder. As Eddie pivots, we see that his hair is pulled back with a bright blue ribbon. The Jurors see this, too. If he did n't have it before, Eddie's now got their full attention. EDDIE I wonder if Chinatown's shopkeepers and restaurant owners pleaded with the Mayor. I wonder if the Mayor put pressure on the Police Commissioner. Eddie jigs over to the jury box. EDDIE What do you think the Mayor said to the Police Commissioner? I think the Mayor said, `` Arrest somebody. He's trailed off ; the last word is whispered. As he opens his mouth again - - TWELVE JURORS crane forward to hear. EDDIE ANYBODY!'' An older woman GASPS. The others merely flinch. The homicide detectives lead off. First up is MONTELL. Early 40s, beefy, black, with a tough - but - fair persona. Reynard concluding his direct. REYNARD And so, having brought Mr. Kim in for booking, you arranged a line - up with six other Asian males. MONTELL That's right. REYNARD And the results of the line - up? MONTELL All the eyewitnesses picked Kim. Eddie smiles broadly at Montell, who smiles back. Then : EDDIE Is n't it a fact that the `` six other Asian men'' in the line - up were all of the classic Mongoloid type, whereas Shu has the distinct facial bone structure of a Korean? REYNARD Objection. The witness is not an expert in racial classification. EDDIE Is n't it a standard trick to pack a line - up with men who resemble each other but look different than the suspect, so the suspect will stand out for the eyewitnesses? REYNARD Argumentative. JUDGE Sustained. Eddie takes a beat, flashes another smile. Montell reciprocates. Now Eddie shifts into his empathetic mode. EDDIE You had to use less than scrupulous methods, true? The Mayor was pushing you hard for an arrest, was n't he? Montell sadly shakes his head. As empathetic as Eddie : MONTELL I do n't want to disappoint you. But the Mayor and I have never spoken. A few TITTERS in the GALLERY. EDDIE I was being metaphorical, Detective Montell. MONTELL Is that a fancy way of being wrong? The half - dozen REPORTERS can barely suppress their snickers.",
"INT. COURTROOM - NEXT DAY Next up is SKLAROFF, a coiled, rangy cop in his late 30s. EDDIE Exactly what information led you to arrest my client just two - and - a - half hours after the shooting took place? SKLAROFF We had a description of the suspect. EDDIE A `` description''? What, Asian male 18 to 30, black hair, brown eyes? From the prosecution table - REYNARD Badgering. SKLAROFF We had intelligence. EDDIE You had intelligence? Phrased to sound as likely as peace in Beirut. Sklaroff struggles to contain his resentment. Carefully : SKLAROFF We had information bearing on Mr. Kim's desire to gain admission into the Joe Boys by assassinating a member of a rival gang. EDDIE Did n't this `` information'' come from the Joe Boys themselves - did they not all but hand you Shu Kai Kim, a Korean, an outsider? REYNARD Objection! Your Honor, this is n't cross - examination, it's Mr. Dowd's opening argument again - and again, it's pure fabrication. JUDGE Sustained. Eddie essays another line of attack. EDDIE Is n't it unusual for a man who's just committed a murder in plain sight to bring the weapon back to his apartment? REYNARD Calls for speculation. JUDGE Sustained. But Sklaroff has weathered enough abuse. Indignantly : SKLAROFF You're implying that I planted a gun? EDDIE Not at all - SKLAROFF Kim's prints were all over it - He admitted it was his gun, f' r godsake! EDDIE -LRB- hastily. -RRB- Your Honor, the witness' response was non - responsive. I ask you to strike it from the record! As Judge Quealy does just that, OS, Eddie backs away from the excitable detective. EDDIE No more questions. As he drifts back to the defense table, Reynard stands. REYNARD The People call retired Detective Vincent Badalato. Eddie sits. Wearing a confident grin for the benefit of any jurors who may be watching. Only Roger and Shu can HEAR : EDDIE I'm dying out there. SHU -LRB- quietly reassures. -RRB- It's okay, Eddie. The Bailiff escorts the last homicide detective into court. ROGER You've got another shot. ANGLE - DETECTIVE BADALATO enters. In a wheelchair, pushed by his sister CONNIE. He's overweight and droopy - eyed, probably on pain pills. She's got the gait, physique and complexion of a spinster alcoholic. ANGLE - THE DEFENSE TABLE EDDIE -LRB- sotto, to Roger. -RRB- A fucking wheelchair? ROGER -LRB- explains. -RRB- A spinal injury, in the line of duty. It was in Kitty's report. Reynard concluding his direct. Mellifluous and caring, a pediatrician to a kid with mumps. REYNARD And you left the murder scene? Badalato clutches his original report. His eyes rake the page, find the relevant section. He adjusts his glasses. His voice is a whisper thickened by painkillers. BADALATO At, un, ten - thirty, sir. REYNARD And then what did you do, Officer? As Badalato replies we FLASH BACK TO :",
"EXT. CHINATOWN STREET - NIGHT, NOVEMBER 2, 1980 The scene has been secured, photos and statements taken. Police tape holds back GAWKERS. Jimmy Chin's shrouded BODY is loaded, on a stretcher, into the rear of the paddywagon. FIND BADALATO - young, fit - at the driver's side door of the paddywagon, discreetly conferring with the DRIVER. Now the DRIVER steps out, and Badalato climbs in, in his place. As he pulls the paddywagon away we HEAR, OVER : BADALATO -LRB- V.O. -RRB- I proceeded with Decedent's body to the office of the County Coroner. REYNARD -LRB- V.O. -RRB- Thank you. No further questions.",
"INT. COURTROOM - EDDIE questions the disabled detective, careful to be cordial. EDDIE Detective Badalato. You reached the County Coroner's and signed over the body, when? Badalato finds the relevant section of the report. Focuses. Fusses with the pages. Starts to answer - then succumbs to a terrible coughing fit. COMPASSIONATE MURMURS from the JURY. The Bailiff hurries over, gently pats Badalato's back, pours him a cup of water. Badalato downs it with effort. Then : BADALATO Eleven - thirty. Eddie opens his mouth, to continue his cross. But now his eyes dart to the jury box, and what comes out is : EDDIE No more questions, your Honor.",
"INT. COURTHOUSE - AFTERNOON Eddie hurries past Reynard, in the rotunda, surrounded by REPORTERS. Looking well pleased with himself, the D.A. is engaged in a spontaneous, genial Q & A. Roger and Kitty catch up with Eddie, making for the exit. EDDIE A fucking wheelchair? KITTY I did n't put him in a wheelchair. Reynard did. He can get around without one - it's all in my report. EDDIE I do n't have time to read every word in every report, I'm too busy getting killed in court. Meantime my crackerjack investigator ca n't find the goddam art supplies store where Chuckie - fucking - Roeder works!",
"EXT. 100 CENTRE STREET - AFTERNOON As the trio descends the steps : KITTY I'd love to chat but I'm meeting a cop for drinks. He'll be bringing the Joe Boys' mugbook, circa 1980. Eddie tries not to look overly impressed. EDDIE And I need an expert on the Joes I can put on the goddam stand! Kitty pulls a BAG from her pocketbook. KITTY Eddie? Stick this up your ass. She hops into an idling CAB. Eddie pulls a length of PIPE from the bag. He and Roger trade baffled looks. Then Roger notices the PRINTING on the BAG. CLOSE - BAG As Roger reads. ROGER -LRB- O.S. -RRB- `` Art's Supplies.'' SCENE Suppressing a smile, Eddie reads the rest. EDDIE `` Everything For The Plumber''. ESTABLISHING - LONG ISLAND CITY - EARLY EVENING Light manufacturing and loft - dwelling refugees from SoHo, separated from Manhattan by the East River. TIGHTEN ON : \"ART'S SUPPLIES\" as Eddie and Roger enter the warehouse.",
"INT. Roger notes the PLAQUES that line the walls, from the Chamber of Commerce, Urban League, etc., naming Arturo Esparza `` Equal Opportunity Employer of the Year''. At the front desks are three tough - looking SECRETARIES. EDDIE Is `` Art'' around? SECRETARY 1 squints at this bizarre interloper. SECRETARY 1 He expecting you - all? EDDIE No, but this wo n't take long. ANGLE A coffee - colored YOUNG WOMAN gets up from her desk in the far corner. She hurries over to rescue the Receptionist. WOMAN I'm Mariquilla Esparza - Art's wife. Eddie is abashed at her fine, radiant features. Roger tries not to stare. EDDIE `` Mariquilla''? It's a lovely name. Marquilla turns her face, to hide her blush. MRS. ESPARZA Thank you, Mister. And then a compact, powerful - looking LATINO -LRB- bald, bearded, bespectacled -RRB- charges INTO FRAME. LATINO Art Esparza. How can I help you? He nods at Mariquilla - she makes herself scarce. EDDIE Eddie Dowd. ROGER Roger Baron. They wander past Esparza, and into : THE WAREHOUSE A multi - tiered space crowded with sinks, toilets, tubs. Black, white and brown MEN load skids, ride forklifts. ESPARZA You ca n't come back here. Anything happens to you I'm liable. EDDIE -LRB- pleasantly. -RRB- I'm a lawyer. The firm is thinking about renovating. Everything dates back to the Sixties. ESPARZA I noticed. EDDIE -LRB- to Roger. -RRB- Do you see a toilet here you think is really me? Roger joins in the snowing of Esparza. ROGER We're considering one of those high tech designs, what do you call it, a `` lowboy''? ESPARZA Excuse me but we're not a store and we're not a showroom. Eddie has slipped away. Hoping to distract Esparza : ROGER Did n't I read it's healthier? To sit lower on a toilet? Y' know, with your knees up, and - Esparza is suddenly - angrily - aware he's been had. Sharply : ESPARZA - Where's your friend? ON EDDIE Striding down a long AISLE bounded by tall walls of piping. He ducks around a SKID stacked with industrial sinks. Runs into a waist - high CONVEYOR BELT loaded with large cartons. Starts to back away - then sees, below the conveyor belt - PAIR OF BOOTS The combat boots that he last saw aimed at his eye. EDDIE Freezes, for a beat - then takes off down the length of the conveyor belt. But the belt goes on and on, and so Eddie drops down and scuttles under it. As he gets to the other side and leaps up, he sees - CHUCKIE ROEDER Who sees Eddie, lets out a startled cry and drops the carton he was checking, then spins on his heels and sprints away. EDDIE gives chase, slipping on the contents of the spilled carton. scores of loose spigots. Then he finds his footing, and races after Roeder down another : AISLE OF PIPES This one about thirty yards long. Now from the other end, moving quite fast, comes a FORKLIFT. Roeder dives out of its way, climbing up the wall of pipes. Eddie clambers after him as the forklift DRIVER frantically downshifts - and the point of a prong catches Eddie's pantleg, tearing it, as - ROEDER scurries over the now - collapsing wall of pipe, onto a double skid of horizontally stacked HOT WATER HEATERS. SCENE Eddie stumbles after him. Both men struggling to stay balanced. Now, just as Eddie is about to seize him, Roeder reaches a steep ladder - he breathlessly climbs up to : A CATWALK Eddie claws his way up the ladder, right behind. He takes a flying leap at Roeder, grabbing hold of his belt. But the catwalk sways, sickeningly, and Roeder kicks free, nearly sending Eddie over the side. Now Roeder bolts to the far end of the catwalk, fairly flying down the ladder there. Meantime, Eddie takes a breath and drops off the catwalk. twenty feet down, and just an arm's length from Roeder. But as he thrusts out his hand, a HUGE MAN intercedes, hurling Eddie to the concrete. ROEDER dashes across a sea of TUBS, his boots CRACKING several. Then OUT a BACK DOOR, disappearing into the night. SCENE Eddie - winded and disoriented - is yanked to his feet by a flushed Art Esparza. ESPARZA You fool. Muscular EMPLOYEES, brandishing pipe - wrenches, etc., have formed a menacing ring around Eddie. ESPARZA Everything's cool! Back off. take five! He starts briskly walking Eddie back to the front office. EDDIE Look, I'm a lawyer and - ESPARZA - I do n't care who you are. You could've been killed. Every man and woman in here has done hard prison time. And we look out for each other. EDDIE `` We''? ESPARZA I did five years in Attica. Lot of cons helped me in the joint. But I never got help from any lawyer. I built this business for guys like me who could n't get a break anywhere else. `` Art's Supplies'' is for ex - cons. Not lawyers. They're reached : THE FRONT OFFICE Roger is waiting here. EDDIE Chuckie Roeder's a material witness in a murder case, Mr. Esparza. Esparza is pained to hear it. ESPARZA Chuckie. Never learn. Then remembers he's with civilians. Collects himself. ESPARZA `` Art's Supplies'' is founded on trust, Mister - EDDIE Dowd. Eddie Dowd. ESPARZA If you'd had the sense to ask for my help, I might've helped you. But you've probably scared Chuckie Roeder off for good, I have a whole bunch of jumpy employees to handle and you're both going to be on your way. Now.",
"EXT. As Eddie and Roger cross to the Riviera : EDDIE Goddam it. the little punk bests me again, I get thrown down and lectured at and where the hell were you? ROGER 1530 Rivington Street. EDDIE - What? ROGER Chuckie's address. I sneaked a peek at the Rolodex. EDDIE You sneaked a peek at the Rolodex. -LRB- then. -RRB- Nice.",
"EXT. RIVINGTON STREET - EARLY EVENING Eddie parks at a hydrant, the lawyers hop out. Eddie goes to the trunk, forces it open, finds what he was looking for. Tucks the tire iron into his pants. Roger was already checking the addresses on this stretch of lower East Side transient hotels and pawn shops. ROGER Eddie? 1530 Rivington. ANGLE - 1530 RIVINGTON A hole in the ground, surrounded by a fence that's decorated with a fanciful sketch of a luxury condominium that'll never be built and some pretty words about urban renewal signed by His Honor Edward I. Koch. ANGLE EDDIE on the corner pay phone. EDDIE Kitty, when they demolish a residential hotel, the city has to relocate the tenants! Housing Authority'll have records of -. -LRB- then. -RRB- You taught me that? So why'm I wasting my breath?",
"INT. LIVING ROOM - EVENING Pleasant, middle - class decor. We have n't been here before. We HEAR a persistent KNOCKING. KITTY crosses to the door, squints through the peephole and sighs. Then opens the door. ENTER : EDDIE - Find him? KITTY Eddie, these things take time. Particularly at this hour. Eddie's all over the room, edgily picking up odds and ends. KITTY My guy at Housing's waiting at home for a pass to get back in his office. Meantime Eddie has found a BINDER on Kitty's coffee table. EDDIE The Joe Boys in 1980! KITTY A number of them are dead, three are in prison, one's a waiter. Two - you'll enjoy this - two are actually members of the Chamber of Commerce. ON THE MUGBOOK Like the one the cops showed Eddie. But instead of sneering tattooed whites, here are sneering tattooed Asians. SCENE Eddie looks up from the book. EDDIE Does n't do me much good unless I know what Shu looked like back th - Kitty hands him a photocopy of Shu's 1980 mugshot. EDDIE -LRB- studying it. -RRB- Whoa. THE MUGSHOT An ornery - looking Shu Kai Kim wearing a greasy shag haircut. A far cry from Mrs. Kim's `` Small, Small World'' photo. SCENE EDDIE Boy, I was right about the distinctive facial bone structure of a Korean. I thought I was bullshitting. He's all over the room, waving Shu's photo, fulminating : EDDIE The odd man out always takes the fall! Have n't I been saying all along that - Suddenly aware that Kitty's watching him play Edward C. Dowd, Legendary Hell - For - Leather - Lawyer, he falters, embarrassed. But Kitty's expression is affectionate, approving - this is just the spirit that drew her to Eddie years ago. Sensing this, Eddie relaxes. His voice softens. EDDIE I have n't thanked you for your work, Kitty. You're doing good work. KITTY I'm a professional, Eddie. Getting paid is all the thanks I require. EDDIE -LRB- realizes. -RRB- I have n't paid you. KITTY -LRB- little smile. -RRB- Right. A beat passes between them that's both intimate and awkward. EDDIE Got any booze in the house? KITTY You do n't drink `` booze''. EDDIE You do. KITTY Eddie, if I wanted to make love with you again, I'd do it sober. Eddie gently places his big hands on Kitty's slim shoulders. KITTY Eddie this is silly. are we supposed to pretend nothing's happened in the last ten years and - EDDIE Nothing has. But that's all changing. Touched by Eddie's optimism, Kitty kisses him. It's meant to be quick and light but he embraces her and the kiss continues. BLACK. A phone RINGS. It's answered. Groggily : KITTY'S VOICE Yes? -LRB- then. -RRB- Oh. Great.",
"EXT. DELANCEY STREET - LATE NIGHT Kitty repeats Roeder's current address, in VO. KITTY'S VOICE 913 Delancey. As Eddie's Riviera pulls up to a Bowery flophouse. He goes to his trunk, for that tire iron.",
"INT. LOBBY The ancient NIGHT CLERK is asleep, his head resting on the Front Desk. Gimlet - eyed, Eddie peers at the NAMES taped to the mailboxes behind him. UPSTAIRS CORRIDOR Musty, narrow, dimly lit. Muffled, debauched LAUGHTER. Eddie squints at one door, then another, then : Room 2D. He takes a breath, pulls out the tire iron, KNOCKS with it. No answer. Eddie tries the door. It's unlocked.",
"INT. ROOM CHUCKIE ROEDER sits quietly at a plain wooden desk in the darkened, unadorned room. Scattered across the floor are well - thumbed copies of Guns & Ammo and Blueboy. EDDIE - Roeder? CLOSER - ROEDER Waxy and still - like a Duane Hanson sculpture. Right hand suspended over the left forearm. EDDIE sharply inhales as he ventures closer. CLOSER A SYRINGE in Roeder's right hand, needle jammed in a vein. The left arm is dotted with track marks. SCENE Eddie slowly backs away from the upright corpse. Gripped not by horror, but the strangest sort of pity.",
"INT. MORGUE - MORNING Chuckie Roeder is laid out in a locker drawer. On one side stands a MORGUE TECH ; on the other, Detective 1 -LRB- from the police headquarters scene -RRB-. Roger is off in a corner, giving a statement to Detective 2. Eddie stands nearby, moodily contemplating the demise of his last, best hope. OS, he HEARS : MAN'S VOICE - I guess you found him. ART ESPARZA has entered. His face is flushed with emotion. ESPARZA He had no family. I have to I.D. him. I'm his family. Eddie nods, not sure what to say. Esparza grimly regards Roeder's corpse, then nods at Detective 1. A tear slides down his cheek as the MORGUE TECH slams shut the drawer. Esparza turns to Eddie. His voice thick : ESPARZA You wo n't be able to use him now, will you? Roger wraps an arm around Eddie's shoulder. ROGER C'mon, Eddie, let's go. ESPARZA - That's goddam tragic, is n't it? He starts for Eddie, who does n't speak or even move to defend himself. Detective 1 grabs Esparza in time, holds him back. DETECTIVE 1 C'mon, get outta here, Dowd.",
"EXT. MORGUE - MORNING Eddie and Roger exit with Detective 2. They're in the City Hall district, not far from the Criminal Courts Building. As the Detective crosses, returning to Police Headquarters, adjacent : DETECTIVE 2 You're in over your head, Dowd. Do n't you defend pot smokers? Eddie ignores. He and Roger keep walking, the other way. ROGER So what're we gon na do? EDDIE What do you mean? ROGER Well, I mean, Roeder's gone, now. A dead end. Believe me, I'm sorry too, but. EDDIE But what? ROGER -LRB- breaks the news. -RRB- I've heard from the last ballistics expert on the list. It's an even ten who say Shu's gun killed Jimmy Chin! EDDIE That's why I hate experts. ROGER Eddie. it's one thing to compare Clyde Gruner to Jesus Christ. It's even okay to claim that Shu Kai Kim is just slightly holier than the Pope. as long as you do n't really believe it! EDDIE Hey - you believe what you want. Shu Kai Kim is innocent. ROGER - Eddie. EDDIE You know how I know?'Cause Reynard says he's guilty, and Reynard's full of shit! Look - Intoxicated by his illogic, Eddie yanks out his battered wallet. Tugs out one of his two photos of Shu - the `` Small, Small World'' snapshot from Mrs. Kim. EDDIE It's not the face of a killer! He hands it to Roger, who hands it right back. ROGER You're carrying that around like it was a picture of your girlfriend! -LRB- blurts. -RRB- I do n't want to see your heart broken when this case crashes and burns! EDDIE -LRB- grim resolve. -RRB- That's not gon na happen. I'm gon na create reasonable doubt. Buckle your seatbelt and watch me work. Eddie steps into the street, into traffic. Cars wildly swerve around him, drivers HONKING in outrage. Roger looks both ways, dashes out. Catching up : ROGER But Roeder's dead. Ballistics says it's Shu! We do n't have one witness - unless we put Cecil Stipe on the stand. EDDIE I'm not that desperate. ROGER I am. Eddie - we've got nothing. EDDIE I've got a meeting in Chinatown. ROGER -LRB- resigned, sighs. -RRB- Let's get a cab. EDDIE - Roger -? Indicating with a gesture that they're only blocks from Chinatown. Puzzled, Roger peers back the way they came. ROGER That's weird - I pictured the morgue being way across town. After two beats he turns around to find Eddie gone.",
"INT. CHINESE RESTAURANT - LATE MORNING Empty but for a banquet table Eddie shares with SIX PILLARS -LRB- ranging in age from 30 to 80 -RRB- of the Asian community. The table is laden with delectable dim sum dishes. Eddie is the only one not eating - he's too busy sucking up to his hosts. EDDIE We need you in court. The jury'll be swayed by your support. You men are the backbone - the conscience - of your community! The Pillars are unmoved. Eddie lightens up. EDDIE Only people who've sat on my side of the courtroom so far are a wino trying to stay warm and a bail bondsman I owe money to. Nothing. EDDIE C'mon, guys - the dignity of your race is being threatened here! Finally he gets a reaction. PILLAR 1 If the dignity of our race is threatened, it is threatened by your reopening of this ugly case. PILLAR 2 When a violent thug is taken off the street, our quality of life - and commerce - immeasurably improves. The other Pillars nod. Eddie's gorge rises as they resume eating, sipping tea, quietly conversing in Cantonese. EDDIE `` A violent thug''? I happen to know that two of you were once Joe Boys. This gets the table's full attention. EDDIE But I'm not here to point the finger. I did dumb things when I was 19 too - we all did. Wrong time, wrong place, everybody here could've made a perfect fall guy instead of our lives turning out how they did. This case is about all of us. And you're gon na feel like a bunch of goats when the truth comes out. Clearly, one would n't try to bully such a venerable bunch unless one were desperate, unhinged, or a bit of both. EDDIE You'll kick yourselves for standing on the sidelines while the D.A. made you out to be fungible! Now PILLAR 1 whispers to PILLAR 2, who whispers to PILLAR 3. PILLAR 3 Excuse me. But what is `` fungible''? EDDIE Interchangeable. As in, `` Hey, maybe we got the wrong guy but what the hell, one slanty - eyed sonovobitch is the same as the next''! Eddie stands. EDDIE Enjoy your dumplings, gentlemen. He lopes out of the restaurant.",
"INT. COURTROOM - A FEW DAYS LATER Reynard concludes his direct examination of the Police Gang Expert, a florid, 50ish Irish Detective. REYNARD So according to your information, Detective, the Joe Boys normally used aspiring members - like Shu Kai Kim - to do the `` hits''? GANG EXPERT That's how you got into the gang. REYNARD Thank you. Your witness, Mr. Dowd. REVERSE In the GALLERY, on Eddie's side of the room, sit the SIX PILLARS. Some have brought their equally dignified WIVES. And several sweet - looking CHILDREN. EDDIE rises INTO FRAME as he stands at the defense table, newly energized. he straightens his mermaid tie and assumes a look of collosal incredulity. EDDIE You're the police expert in Chinatown gangs? GANG EXPERT For ten years, now. EDDIE Do you speak Cantonese, Mandarin, or both? GANG EXPERT - Me? Neither. Eddie cups his ear. EDDIE Pardon. Which dialect do you speak? GANG EXPERT Neither. Eddie turns to the gallery. EDDIE Neither? The hoped - for HUBBUB among the Pillars et al.. SHU cranes to see, heartened and slightly amazed at the support. Turning back to the government witness : EDDIE You do n't speak any Chinese dialects? Then you get your intelligence from snitches? REYNARD Badgering. GANG EXPERT -LRB- between gritted teeth. -RRB- They're Chinamen who speak English. We call them informants. EDDIE -LRB- thunders. -RRB- And I call your testimony hearsay. I have no more questions for you. On the wall opposite the jury hang TWO POSTERS. Apparently identical photos of a spent BULLET, deformed by impact. In front of them, wielding a pointer, stands Reynard's venerable BALLISTICS EXPERT. BALLISTICS EXPERT Bearing in mind that every gun barrel leaves a distinctive mark on the bullet it fires, we must conclude that the bullet that killed Jimmy Chin was fired from Mr. Kim's.38. REYNARD And the powder burns at the site of the victim's entrance wound? BALLISTICS EXPERT Can also be linked to the bullet. REYNARD Thank you. Your witness. ON EDDIE as he jigs over to the wall and grabs the pointer. EDDIE The photo on the left shows the bullet that killed Jimmy Chin, true? BALLISTICS EXPERT True. EDDIE And the one on the right is the bullet you test - fired from Shu's gun? BALLISTICS EXPERT Correct. Eddie contemplates these apparently identical photos. And manages to sound a note of outraged disbelief. EDDIE You would have the court believe that these two bullets were fired from the same gun? BALLISTICS EXPERT Absolutely. Eddie presses the tip of the pointer to a thin smudge along the lower edge of the right bullet. EDDIE I see a groove here. I do n't see a groove here. Pointing, now, to the lower edge of the left bullet. BALLISTICS EXPERT It's not a significant difference. Eddie's pointer finds another mark on the rear of the right bullet. Or maybe it's the shadow cast by the pointer. EDDIE And what about this? I do n't see this on the other bullet. He points to something else on one of the enlargements - but so quickly, we're not even sure what he was pointing at. EDDIE Or this - is this a significant difference? BALLISTICS EXPERT No it is not, Mr. Dowd. As though baffled by the Expert's criteria, Eddie sets down the pointer. EDDIE To the best of your recollection, were you sober when you performed the tests? REYNARD Objection. A GIGGLE from the Jury Box. EDDIE Forensic ballistics is n't an exact science, is it? BALLISTICS EXPERT It most certainly is. EDDIE Is n't there a ten to fifteen - percent margin of error? BALLISTICS EXPERT Absolutely not. No more than seven percent. EDDIE In other words, seven times out of a hundred, you're wrong! The EXPERT stews. The PILLARS nod.",
"INT. COURTROOM - NEXT DAY On the stand : LAURA GORDON, the young white eyewitness. REYNARD Would you tell the court exactly what you remember seeing on that evening? MS. GORDON I'll never forget it. I was walking east on Pell Street. As she continues, we FLASH BACK TO :",
"EXT. PELL STREET - EVENING, NOVEMBER 2, 1980 MS. GORDON -LRB- V.O. -RRB- A man walked past me. I noticed him for two reasons. HER POV The KILLER hurries by. ONSCREEN for only a second - but long enough for us to see he looks a lot like Shu. MS. GORDON -LRB- V.O. -RRB- He was walking very fast and his hand was shoved inside his jacket. I was in front of a restaurant called Andy Lee's. Something told me to turn. We watch the Killer's back as he races to an intersection where several PEDESTRIANS wait for the Walk signal. We glimpse his face again as he pulls a gun. The YOUNG MAN in front of him whirls, there's a sharp CRACK and then the YOUNG MAN is lying in the street, blood welling around his head. The Killer takes off running. BACK TO COURTROOM REYNARD And the man whom you saw murder Jimmy Chin. Is he in this courtroom? Ms. Gordon nods at Shu. MS. GORDON That's him sitting right there. EDDIE stands before the witness box. EDDIE Ms. Gordon. I have studied the diagrams and the photographs and I have visited the murder scene and the conclusion I keep reaching is. and I hate to have to say this. You were n't even close enough to see the killer's gun. Ms. Gordon is shocked by the rawness of Eddie's accusation. REYNARD Does Mr. Dowd have a question? His eyes boring into Ms. Gordon's : EDDIE Come now. Did you see the gun? MS. GORDON I can describe it. EDDIE -LRB- scoffs. -RRB- Oh really? MS. GORDON It was silver, with a stubby barrel. snub - nosed, I think they call it. It was n't automatic, it had one of those. cylinders. EDDIE You ca n't remember that -! MS. GORDON I can see the hammer still, it was cocked. EDDIE -LRB- as though pained. -RRB- How can you remember that? MS. GORDON I did n't take my eyes off it! EDDIE Ah. Eddie is facing the JURY - only they can see the smile that's sprouted on his face. EDDIE Thank you, Ms. Gordon. A HUSH in the COURTROOM. And now Ms. Gordon realizes she's been tricked. As Eddie returns to the defense table : MS. GORDON Not the whole time, of course. I - EDDIE -LRB- sitting. -RRB- No further questions. SHU turns to Eddie. The look on his face says `` Hell, we're actually holding our own.'' As the frustrated eyewitness is led off the stand we HEAR a calm, resonant - REYNARD Your Honor. The People wish to call a witness whose name does not appear on the witness list. He - Eddie's smile evaporates. He leaps up. EDDIE Your Honor, that's trial by ambush! REYNARD We just discovered him, your Honor! His appearance is critical to a fair presentation of our case! He is an inmate at Ossining Correctional and - EDDIE - Objection, your Honor! This case has no connection with any subsequent act my client may be charged with! REYNARD The witness will substantiate Mr. Kim's modus operandi. It's circumstantial evidence in the case at hand! As Judge Quealy ponders, the D.A. keeps up the pressure. REYNARD The witness is recalcitrant, your Honor - I had to personally make a body attachment this morning - it took two Marshalls to drag him here! EDDIE The great personal sacrifices endured by Mr. Reynard have no bearing on the legal issues, your Honor -! REYNARD Your Honor, I know as much about these gangs as anyone ; I'm well aware of the secrecy in which their machinations are cloaked. I assure you this witness offers the court a rare opportunity to place the defendant's crime - EDDIE - alleged crime - REYNARD - in a context. The lawyers anxiously wait as Judge Quealy considers. Now : JUDGE I will allow the witness to testify. With the understanding that your questions are confined to the area of Mr. Kim's modus operandi. EDDIE - With objection! JUDGE So noted. Eddie skulks back to the defense table. REYNARD As their final witness, the People call Richard Ortega. The Bailiff swings open the rear door. Escorted by the a forementioned MARSHALLS, enter ORTEGA, from the opening scene. He looks resentful and scared. Reynard begins his direct examination. REYNARD Mr. Ortega, you've known the defendant at Ossining Correctional for how long? ORTEGA I would tend to plead the Fifth. JUDGE Invalid invocation, Mr. Ortega. What I call `` name, rank and serial number'' questions are not covered by the 5th Amendment. You must answer counsel. REYNARD looks pleased ; ORTEGA, grim. ORTEGA Five years. REYNARD Mr. Ortega. What is `` La Compania''? ORTEGA A Cubano army, basically. inside and outside prisons. REYNARD And its purpose? ORTEGA Fighting the Aryan Warriors and the Black Guerrillas, basically. REYNARD For control of the prison drug trade? ORTEGA I would tend to plead the Fifth. JUDGE Mr. Ortega, you've already answered questions about La Compania. You can not now selectively invoke the 5th Amendment. Reynard glows with satisfaction. EDDIE Your Honor, that's not fair -! JUDGE -LRB- testy. -RRB- Complain to the Bar Commission. Judge Quealy turns back to the witness. JUDGE Answer the question, Mr. Ortega. Your unserved time can double. The prospect of an extra day in prison fills Ortega with despair. REYNARD Do the rival gangs compete for control of the prison drug trade? ORTEGA Yeah, we do some of that. REYNARD What is your rank within La Compania? Ortega hesitates. With a tight smile, Reynard reminds him : REYNARD `` Name, rank and serial,'' Mr. Ortega. Let's not hide behind the Fifth. ORTEGA -LRB- surly. -RRB- I'm a soldado in the G - Wing Regiment. REYNARD And what does a soldado - a soldier - do? ORTEGA A soldado, he runs messages and materiel between the regiments. REYNARD `` Materiel''? What do you mean by that? ORTEGA Cigarettes, candy bars. -LRB- then, concedes. -RRB- PCP, crack. REYNARD If a member of the Aryan Brothers tries to cut in on your distribution? ORTEGA A soldado, he takes care of it. REYNARD By `` takes care of,'' you mean `` kills''. ORTEGA -LRB- a beat, then. -RRB- That's right. At the Defense Table, Shu stiffens. So does Eddie. REYNARD Mr. Ortega, what is Shu Kai Kim's rank within La Compania? ORTEGA Soldado. REYNARD Is n't it unusual for an Asian to be accepted into a Cuban prison gang? ORTEGA Shu's the only one I know of. REYNARD And why was an exception made? ORTEGA Chinatown. Sounded pretty cold. REYNARD You mean to say Mr. Kim told you that he murdered Jimmy Chin? EDDIE Objection. Leading. His tone is stern. But for once he does n't stand. JUDGE Overruled. Ortega looks past Reynard, at Shu. Mournfully : ORTEGA Man, they got me all fucked up here. Judge Quealy POUNDS his GAVEL. JUDGE Mr. Ortega! I warn you. REYNARD - Did Mr. Kim confess to you that he killed Jimmy Chin? ORTEGA I think he mentioned it, yeah. Reynard turns to face the jury. REYNARD In other words Shu Kai Kim is, and always has been, a killer for hire. Reynard's epithet reverberates in the courtroom. EDDIE Objection. JUDGE Sustained. REYNARD Withdrawn. The People rest. AT THE DEFENSE TABLE Shu stares down at his penny - loafers. Eddie rises. Dully : EDDIE I move that the witness's testimony be stricken. He has clearly been terrorized by the prosecution, he's - JUDGE The testimony will remain in the record. Do you wish to cross - examine? Before Eddie can answer, Ortega jumps up and SHOUTS, at Shu : ORTEGA I'm sorry, man -! Motherfuckers. The Bailiff rushes to the witness box as Judge Quealy POUNDS his GAVEL. And suddenly SHU leaps to his feet. SHU Take me outta here! I never wanted this -! The Marshalls obligingly drag Shu toward the prisoners' entrance, behind the bench. The JURORS appear shocked and alarmed. The SPECTATORS stare, transfixed. JUDGE Court is hereby adjourned until ten a.m. tomorrow! Eddie just stands there. The sky has fallen on him. Now Reynard rises at his desk. He catches Eddie's eye. REYNARD I hope you've learned something, Mr. Dowd. Then he and Rabin briskly exit the courtroom together.",
"INT. COURTHOUSE CORRIDOR - LATER The spectators - including KITTY - emerge. The PILLARS and their FAMILIES disperse quickly, silently. Here comes EDDIE. What has seemed a merry jig in court now looks like a limp. ROGER behind Eddie. He moves to catch up, but sees that Eddie is moving toward Kitty, waiting at the exit door. So Roger hangs back. But without even slowing down or giving a sign, Eddie moves right past Kitty, and out of the building. Shocked, Roger goes to Kitty. Gently touches her arm. KITTY It's okay. It was always like that. ROGER Should n't one of us? KITTY No - leave him be. It's better for everyone. Roger nods, resigned - and then someone else in the departing CROWD catches his eye. A WOMAN Furtive and alone, hurrying away. SCENE Roger turns to Kitty, an odd look on his face. ROGER Would you excuse me? Kitty shrugs : sure.",
"INT. PRISON VISITORS ROOM - EVENING - LATER The lawyer and his client face each other through a pane of bulletproof plastic. Each has a telephone in front of him ; both fretfully finger their receivers. Eddie picks up first. EDDIE Quite a bit you did n't tell me. SHU When I joined up I took an oath of secrecy. I told you what you needed to know. Eddie's words hiss, like steam escaping. EDDIE I did n't need to know that a man I'm defending on a gang - murder rap is a prison soldier who kills over drugs? SHU It was self - defense. EDDIE Jimmy Chin? Was that self - defense too? In response Shu hangs up. Eddie POUNDS on the plastic, to get him to pick up again. Shu does, provisionally. EDDIE I'm sorry, it's just - You'll laugh but there was awhile when I thought, Hey, we're two sorry assholes who need each other. Who can help each other. As though he could n't possibly have heard this right : SHU - How could I help you? EDDIE By trusting me. Shit, man. He trails off, momentarily defeated by the magnitude of what's been lost. Now : EDDIE I got my face kicked'cause I trusted you. I could n't find an expert to say it was n't your gun killed Jimmy Chin but it did n't matter. I went up against the goddam D.A. himself but I did n't care because I trusted you, because I believed in you, because I thought there was a bond between us! Like a spurned lover who ca n't let go, Eddie implores Shu, through the plastic : EDDIE Did n't you feel that? Shu looks at Eddie is though he were an alien life form. SHU You're out there and I'm in here. My bond - my trust - is with the dudes in here that watch my ass. I took an oath of loyalty to them. You're out there. Who are you to me? As he continues, a simmering resentment heats up his words. SHU When you leave this place you're going out to dinner or a movie or get laid. Where's our bond? I'm going back to my cell and wait to die. So tell me : Where's our bond? EDDIE For awhile we had this dream we were innocent. That was our bond. but then we woke up. And now I'd like to hear everything. Shu's eyes narrow. SHU What do you mean, `` everything''? With exaggerated calm, to cover the rage : EDDIE Tell me about Chinatown, Shu. Tell me the tr - Shu hangs up. Rocks to his shackled feet. And shuffles out of the room, to return to his cell.",
"EXT. ART'S SUPPLIES - EVENING - LATER Through the gated window, a WOMAN and MAN - surely Art and Mariquilla Esparza - are seen in silhouette. Business hours are over ; the couple is alone in the front office. Mariquilla sits at her desk, Art paces the office. Now, as he passes her chair, Art leans down and kisses the top of his wife's head. She involuntarily stiffens. Art takes umbrage. MUFFLED WORDS. Mariquilla rises, grabs her raincoat. Art touches her shoulder, entreating. Mariquilla shakes her head.",
"EXT. STREET - ROGER Watching this shadow play from the opposite curb. In b.g., the shimmering lights of the 59th Street Bridge and Manhattan's skyscrapers seem worlds away from this misery. BACK TO `` ART'S SUPPLIES'' As Mariquilla exits the building.",
"EXT. STREET - EVENING - WITH MARIQUILLA As she hurries along, lost in her thoughts. Now Roger falls into step beside her. ROGER Mrs. Esparza? She startles slightly, then quickly recovers her composure. MRS. ESPARZA What do you want? ROGER I'm Roger Baron. I work with Edward Dowd. Mariquilla gives no sign that this means anything to her. ROGER What were you. Why were you at Shu's trial this afternoon? MRS. ESPARZA - What trial? Her pace quickens. ROGER I followed you here from court. MRS. ESPARZA -LRB- flustered. -RRB- I knew Jimmy Chin. The boy who was shot. Okay? ROGER -LRB- trying to make sense. -RRB-. And you were at the trial to. to see that justice was done? MRS. ESPARZA That's right. She briskly rounds a corner. Roger stays on her. ROGER Then it was your idea to have Chuckie Roeder scare Eddie off the case? MRS. ESPARZA - Why do n't you ask Chuckie? ROGER -LRB- reminds her. -RRB- Chuckie OD'd, Mrs. Esparza. He's dead. Mariquilla seems to flinch. ROGER Art did n't tell you? Mariquilla abruptly stops and turns to him. Imploring. MRS. ESPARZA Look. Mister - ROGER - Roger - MRS. ESPARZA You must n't talk to Art. You must n't tell Art that I was at the trial. Do you hear me? There is animal fear behind Mariquilla's eyes. ROGER But you lost a friend. You've got a right to. A realization forms. ROGER Wait. Were you and Jimmy Chin? Mariquilla gazes into Roger's open, questing eyes. They're the same age, but one has lived much longer than the other. MRS. ESPARZA I ca n't talk to you anymore. Go away, please. Never come back. With that, she crosses the street. Slipping into darkness. ROGER watches her disappear. And then, after two beats, he resumes walking, back the way he came, toward the subway station. REVEAL A figure, lurking in the shadows, lights a cigarette. As the match flares we make out the face of ART ESPARZA.",
"INT. HALLWAY - LATE NIGHT A glassy - eyed Eddie KNOCKS and KNOCKS. Finally the door, still chained, opens a crack. An eye peers out. WOMAN'S VOICE Oh, Christ. EDDIE Do you realize I have n't gotten stoned since the trial started? The door closes. Then reopens, unchained. Kitty stands there in a robe she's thrown on. KITTY Eddie. A guilty client's not the end of the world. EDDIE EXACTLY! He slams his fist against the wall. OS, NEIGHBORS SHOUT for him to shut up. EDDIE It's liberating! I feel free! More COMPLAINTS, OS. Shouting back at the neighbors : KITTY Go fuck yourselves. Kitty turns back to Eddie. Tenderly : KITTY Eddie. go home. Get some sleep. EDDIE I do n't need sleep! KITTY I need sleep. Some of us are mere mortals. EDDIE Screw you too, Kitty. He turns, and skulks back down her hallway into :",
"EXT. KITTY'S BUILDING - EARLY MORNING A converted brownstone in Chelsea. Eddie sinks down on the stoop, head in hands. Presently KITTY emerges, and sits down next to him. Several silent BEATS. Then Eddie speaks., looking straight ahead, not at Kitty. EDDIE For years I've defended scumbags. Dealers. Hitters. And somehow it seemed fine until this kid came along who knew me as a true believer who'd fought the good fight and. but. he seemed so damned disappointed in who he found. and then, out of nowhere, here we were fighting to free an innocent man - an innocent man, I do n't see many of those in my line anymore and I thought, Wow, the kid brought me good luck, y' know? For one minute I was a true believer again. Well, my minute is up, Kitty. I'm going back to defending scumbags. But not just dope dealers anymore. From now on : Child molesters. Porno merchants. Repeat drunk drivers, and I'm gon na get'em all off. Hit men. Send me every contract killer. None of'em does time ever again. He rises, faltering a little. Kitty stands, steadies him. KITTY Eddie. We can discuss this. after you get some sleep. Eddie shakes his head. As he stumbles down the steps : EDDIE I told you, Kitty - no more sleep for me.",
"EXT. GROVE STREET - NIGHT - LATER Eddie wanders up to his funky building. There's a SLEEPING BUM curled up in front of the door. Eddie wearily leans down, to nudge the Bum aside. But it's ROGER. EDDIE The hell're you doing here? Roger awakens very fast. He jumps to his feet. ROGER Eddie - it's Art Esparza! EDDIE What's Art Esparza? ROGER I think he hired Shu to kill Jimmy Chin. It was n't a Chinatown gang hit - Jimmy Chin and Art's wife were lovers! She just about told me! EDDIE -LRB- baffled. -RRB- You phoned up Art Esparza's wife? ROGER I followed her from the courthouse. Eddie blinks. EDDIE Esparza's wife was at Shu's trial? Roger nods. EDDIE And you spotted her in the crowd? Roger nods. Eddie takes a breath. EDDIE What're you, trying to show me up here?",
"INT. POLICE HEADQUARTERS - LATE NIGHT DOLLY PAST the odd HOOKER and VAGRANT being led from booking to the bullpen. The unnatural quiet bespeaks the late hour. CAMERA PUSHES into Records, closed for the night. Pacing here is TOMMY, the cop who'd opened up the Exhibit Warehouse for Eddie, earlier. Tommy appears to have been dragged out of bed. Under his car coat is a flannel pajama top. Between tense puffs on his cigarette : TOMMY Dowd. We're even now. PUSH PAST Tommy, to TWO FIGURES huddled at a desk in the corner. ROGER looks on as EDDIE rifles through a DOSSIER. EDDIE Esparza's security clearance to go inside the jails for parole hearings. CLOSE - PHOTO A passport - type snapshot of the chubby, bald, bearded, bespectacled ART ESPARZA. EDDIE'S VOICE Wonderful work Esparza does. INTERCUT EDDIE AND ESPARZA'S FILE Pictures, warrants, complaints. We ca n't make out the fine print, only the PHOTOS as Eddie flips through them. EDDIE Skipping back two years. THE NEXT PHOTO - A grainy telephoto shot of Esparza emerging from Art's Supplies. His hair was thicker, he was thinner. Wore a walrus moustache. EDDIE Esparza was being watched by Narco. Suspected of using his warehouse as a drug drop. Surveillance terminated. NEXT PHOTO - A set of mugshots. Esparza is dramatically thinner here. Lots more hair. Aviator glasses. EDDIE Four years ago. Esparza charged with assault. Dismissed. NEXT PHOTO - More mugshots. Esparza even thinner. Hair thicker, longer. EDDIE Accessory to extortion. Dismissed. Eddie flips, faster, through the file. EDDIE Dismissed for lack of evidence. Dismissed, dismissed. Roger looks questioningly at Eddie. EDDIE This little prick is protected. He glances, suddenly skittish, at Tommy - who picks up on Eddie's paranoia and promptly reciprocates. TOMMY That's it - I'm outta here. You owe me one, Dowd. Frowning, Eddie returns his attention to the file. EDDIE Dismissed. CLOSE ON ESPARZA'S FACE As he gets younger, the moustache shrinks. Seven years back, and it disappears. EDDIE dismissed. Shit! Eight years ago : Esparza's black hair is cut in a shag, and the glasses are gone. EDDIE -LRB- softly. -RRB- Shit. Something new in Eddie's voice commands Roger's attention. ROGER - What? EDDIE I've seen this picture before. He reaches into his wallet, pulls out Shu's old mugshot. Holds the two mugshots next to each other. Hushed : EDDIE They could've been brothers. It's why the eyewitnesses picked Shu. ROGER Christ. Shu is innocent. INSERT - THE PHOTOS Given that they're of different races, the resemblance between Art Esparza and Shu Kai Kim, in 1980, is startling. ROGER `` The killer was n't Chinese''. Cecil Stipe was right! EDDIE Everyone else was wrong and the one fucking lunatic was right! Roger wears a tense smile. ROGER Does this mean Kennedy was killed by the phone company?",
"INT. HEADQUARTERS CORRIDOR The two lawyers hurry out. Roger smiles at the DESK SERGEANT with exaggerated amiability. EDDIE -LRB- quiet intensity. -RRB- But Shu's gun is an absolute match! How could that be, goddammit?",
"EXT. POLICE HEADQUARTERS - LATE NIGHT The lawyers bound down the steps, dart into the street - - and are nearly run down by an AMBULANCE that whizzes past, pulling into the garage of the County Coroner's Office. ROGER Jesus! EDDIE Least we'd already be at the Morgue. Briskly shaking off their brush with eternity, Eddie and Roger proceed down the block. ROGER Let's make a citizen's arrest of Esparza! We'll need back - up. Who's the meanest motherfucker you ever got off? As Roger ducks into a phone booth : EDDIE Fuck that, Rog. Esparza's nobody. This goes higher than him. Roger feeds the phone. ROGER Got ta start somewhere. Gim me a name - any client who owns a Magnum. -LRB- beat. -RRB- Eddie? Eddie's staring at the PHONE BOOTH. It's pagoda - style, with Chinese - red pent roof. EDDIE Wait a second. Eddie squints down the street. ANGLE Even at this late hour we see enough decoration and signage to recognize Chinatown, not seven blocks uptown. EDDIE -LRB- softly. -RRB- How long did it take Badalato to drive Jimmy Chin's body from Chinatown to the morgue? ROGER An hour. -LRB- realizes. -RRB- That's why I thought the morgue was on the other side of town. Eddie fairly pushes Roger out of the phone booth. Thumbs through the White Pages, finds the page he's looking for, tears it out and stuffs it into his pocket. As he races for his Riviera, parked in a towaway zone : EDDIE Roger. I may be late for court this morning. He hops in, revs the old heap. EDDIE Fill in for me, huh? And Eddie peels out.",
"EXT. STUYVESANT TOWN - LATE NIGHT A mammoth'50s housing project by the East River. The monolithic buildings are like giant tombstones jutting into the night sky.",
"INT. BEDROOM Dark. The front door buzzer BUZZES. We HEAR a groggy : WOMAN'S VOICE - Who the hell? A frowzy CONNIE BADALATO snaps ON a LIGHT. Reflexively reaches for the bottle of Seagrams on her night - table. AT THE DOOR stands the long - haired creep from last week's murder trial. EDDIE Hope I did n't wake you. I'm Edward C. Dowd. You're Mrs. Badalato? Connie waves her bottle of scotch like a weapon. CONNIE Ms. Vin's sister. EDDIE I have to talk to your brother. CONNIE The hell you do. At this hour? As he brushes past her, Connie grabs his ponytail. Eddie whirls and grabs Connie's bottle - waves it over her head. CONNIE Gim me back my bottle. EDDIE Let go of my hair. Connie lets go, Eddie relinquishes her bottle. As he backs up, toward Badalato's bedroom, he points a finger. EDDIE - Stay. Like a good dog, Connie hangs back. Whimpering, slightly.",
"INT. BADALATO'S BEDROOM Eddie gasps - stops short. Badalato lies propped up in his robe and socks. He's staring at the test pattern of a TV on his bureau. He's dead. No he's not. Expressionless, still staring ahead : BADALATO Do I know you? Eddie crosses to the inert ex - cop. EDDIE I'm Eddie Dowd. I cross - examined you. -LRB- beat. -RRB- But not very well. Badalato's eyes are shiny as marbles. On his night - table we notice a half - dozen prescription vials. EDDIE What did you do with Jimmy Chin's body? Badalato's lips part, but there's no sound. Eddie shakes him. EDDIE What did you do with Jimmy Chin's body? Badalato's lids flutter. BADALATO I brought it. to the coroner. EDDIE An hour after you picked it up! Badalato reaches for a vial, casually fishes out two pills. Drowsily concedes : BADALATO An hour later. He pops the pills. EDDIE From Chinatown. Which is right up the street from the morgue! Where did you go with the body? What did you do with it? BADALATO Please. I need to sleep. Eddie slams Badalato up against the headboard. BADALATO You're fishing. You do n't know shit. EDDIE I know about Esparza. A cloud crosses Badalato's face. OS, we HEAR : CONNIE'S VOICE - It was n't Vin's idea. Connie has advanced to the doorway. EDDIE Whose idea was it? Badalato tries to focus on his sister. BADALATO Connie get outta here. this is official business! CONNIE You were pressured. Tell the man! BADALATO Dammit Connie - go back to bed! As she backs out of the room, to Eddie : CONNIE The little guys always take the rap for the big shots. BADALATO -LRB- growls. -RRB- Connie! Connie leaves. Eddie turns back to Badalato. Before he can resume his inquisition : BADALATO Montell. one of my partners. he said it'd work if it was a thru - and thru. Eddie inhales sharply. Lets go of the ex - cop. His voice shrinking to a near - whisper : EDDIE What's a `` thru - and - thru''? Badalato reaches for another pill. BADALATO I have this chronic pain. He pops the pill, leans back. BADALATO Eight years I'm waiting for some genius to notice it took me an hour to drive seven blocks. He lets his eyes close. One, two, three beats. Then : BADALATO I drove Chin's body to The Firing Line. Pistol range, near the Battery. Lotta cops used to go there. FLASH BACK to NOVEMBER 2, 1980 : BADALATO'S POV - MOVING - MIDNIGHT As he pulls the paddywagon into an alley, marked by a sign overhead : `` THE FIRING LINE''. The SHOT has the floating quality and irresistible forward motion of a dream. BADALATO -LRB- V.O. -RRB- Sklaroff brought Shu Kai Kim's gun. Montell was already there.",
"INT. PADDYWAGON Badalato -LRB- younger, fit -RRB- lifts his end of the stretcher bearing the sheet - covered corpse. Slides it out, to Montell. BADALATO -LRB- V.O. -RRB- He said we'd only have three hours. After that, with the body cooling, and the clotting. it would n't look right to the pathologist.",
"INT. PISTOL RANGE The cops squat beside the stretcher. Badalato strips the bloody sheet down to the corpse's waist. Sklaroff grips Jimmy Chin's shoulders and carefully hoists his torso upright. Chin's head lolls, empty eyes staring. BADALATO -LRB- V.O. -RRB- Chin was hit once in the forehead by Esparza's.32. The bullet exited clean. -LRB- beat. -RRB- That's a thru - and - thru. Badalato gingerly tugs on a hank of Chin's hair, to raise up the corpse's head. BADALATO -LRB- V.O. -RRB- All Montell had to worry about was firing Kim's.38 at the same angle. Montell, with gloved hand, brings Shu's gun to Jimmy Chin's forehead. Tilts it, just so. And FIRES.",
"INT. BEDROOM - BADALATO The ROAR of the GUN - BLAST, no less loud as it echoes in his head eight years later, has startled open Badalato's eyes. BADALATO We recovered the bullet and that was it - an airtight case. Eddie is trying to wrap his mind around this awful thing. EDDIE But why? All to protect Esparza? Badalato reaches, unsteadily, for another pill. His lids have drooped again. BADALATO Nasty little bastard. He stepped in shit. Badalato's head slumps. The impact of his chin striking his chest surprises him awake again. BADALATO we had to lick his boots clean. EDDIE -LRB- realizes. -RRB- He was your snitch. BADALATO -LRB- sardonic smile. -RRB- Our own Colombian Connection. For three years. Three years of ball breaking detective work. And we put a lotta bad guys behind bars. EDDIE And one good guy. Badalato reaches for the vial again. Eddie grabs it first. Reads the label. EDDIE Demerol? What the fuck is your problem, man? You wan na die? BADALATO I'm dead. We're both dead. Eddie hurls the open vial across the room : the pills scatter. EDDIE Nobody dies till I hear the truth! Who ordered the frame on Shu? Badalato stubbornly shakes his heavy head. EDDIE It was wrong, Vinnie - you know that! But we can make it right. if you'll fucking stand up! Badalato looks up at Eddie. His eyes fill with tears. Still he does n't move. Eddie grabs the ex - cop's pudgy hands. EDDIE Get up, godammit! And Eddie hauls Badalato off the bed.",
"INT. HALLWAY Eddie drags Badalato past Connie, chewing her cuticles. CONNIE Do n't hurt him. EDDIE Where's the nearest hospital? CONNIE Bellevue. Straight up First -",
"INT. ELEVATOR Badalato is slumped in the corner. The car descends with painful slowness. Eddie nudges Badalato's shoulder. EDDIE Stay awake, Badalato. Vinnie. Come on, man, talk to me! Badalato's response : A faint SNORTING sound. EDDIE Did I say snort? No, I said talk. Please. I need you to live. -LRB- an idea. -RRB- Hey : When was the first time you got laid? -LRB- no answer, then. -RRB- Okay, I sympathize, I blocked mine out myself. She had a moustache. Finally the car stops. The door creakily slides open. As Eddie pulls the hulking ex - cop upright : BADALATO Where're we goin'? EDDIE That - a - boy. Hospital. BADALATO I don' need a hospital. I feel fine. EDDIE Too fine, Badalato. The bad news is, you're gon na live. In response Badalato GURGLES - it sounds, disconcertingly, like a death rattle. EDDIE Make y' a deal. You clean up, I clean up. No more dope. -LRB- amends. -RRB- No more dope for a year. -LRB- amends. -RRB- For the rest of the year. He hauls Badalato OUT of the elevator, and right into - SKLAROFF AND MONTELL Montell, the burlier of the two, flings Eddie against the wall. With an odd, brutal melancholy : MONTELL Why'd you have to come here, you hippie - dippie fuck? Meantime Sklaroff helps Badalato down the access stairs as he murmurs soothing assurances in the ex - cop's ear. As Montell roughly pat - searches Eddie : EDDIE Montell. listen to me : Vinnie took a buncha pills. He needs a hospital. MONTELL Makes two of ya. He knees Eddie in the groin, then tosses him into :",
"INT. ACCESS STAIRS Eddie tumbles down the short flight. Then picks himself up as Montell hurtles after him. Eddie makes a break, into :",
"INT. UNDERGROUND GARAGE but ESPARZA's waiting here. He hauls off, smashing Eddie's head against the concrete wall. MONTELL Goddammit Art, get back in the car! Meantime Sklaroff walks Badalato past a row of dark sedans huddled like hearses. Past a mesh gate that guards the building's ancient furnaces, crackling with flame, spewing steam. To an UNMARKED CAR parked at the far end of the garage. Softly, suppressing his unbearable tension : SKLAROFF Vin. What'd you tell the lawyer? He opens the back door, maneuvers Badalato onto the seat. BADALATO Lou. With infinite kindness, infinite patience : SKLAROFF I'm here, Vin. So's Dave. We need to know what you told the lawyer. Badalato nods, slowly. A stoned, beatific smile forms. BADALATO I came clean. Pain stabs Sklaroff's face. He pats Badalato's knee. SKLAROFF Good, Vinnie. You wait here. As he starts back to where Montell and Esparza stand over Eddie, Sklaroff draws the gun from his shoulder - holster. His face, in the dirty yellow flourescent light down here, is a taut, shiny death mask. Quietly : SKLAROFF Vinnie told ` im everything. Woozily, as he mops the blood from his brow with a sleeve : EDDIE What, `` everything''? You shot a corpse. I do n't give a shit about that -! ESPARZA Let's snuff this lowlife! EDDIE -LRB- to Esparza. -RRB- Hey - the fact you popped Jimmy Chin in broad daylight proves it was n't premeditated. Jury'll sympathize - dude was banging your wife, right? ESPARZA Shut your sewer mouth! He lunges at Eddie. Montell pulls him back. EDDIE Killing me in the middle of the trial would cause quite a stink. -LRB- to Esparza. -RRB- It wo n't be clean like with Chuckie. What, y' treat him to a match - head of pure smack? Esparza shakes Montell loose. ESPARZA That's right - I'm a generous guy! Montell gazes with loathing at Esparza. MONTELL - Who'd y' waste now, Art? Meantime Sklaroff levels the gun at Eddie's face. SKLAROFF Goddam you. ESPARZA Do it. So we can go home. Sklaroff's finger twitches, on the trigger. EDDIE Still letting your snitch run you? Sklaroff's eyes flash. Eddie's touched a nerve. MONTELL Lou. We have to. ESPARZA Waste him, y' little worm! Sklaroff's gaze flies from Esparza to Eddie to Montell. All four men's faces are slick with sweat. ESPARZA -LRB- draws his.32. -RRB- Okay then I'll put this filthy lawyer freak out of his mis - Abruptly Sklaroff swivels, jams his gun against Esparza's ear and FIRES. As Esparza topples backward, eyes and mouth wide : SKLAROFF Shut up, Art. Eddie jumps up in horror. Montell blinks at Sklaroff. SKLAROFF Shoulda done that eight years ago. Waving his gun at Esparza's ruined head, Sklaroff hoarsely shouts at Eddie : SKLAROFF You see that? You wan na be like that? EDDIE No. No. SKLAROFF You fucking swear to shut up! Montell registers shock at his partner's offer. MONTELL We ca n't trust this fuck. SKLAROFF -LRB- at Eddie. -RRB- You gon na keep quiet -? Eddie considers for a moment that feels like forever. Then : EDDIE I ca n't do that. Keep quiet? You ca n't ask me to do that! MONTELL -LRB- explodes. -RRB- Shoot ` im, f' r Chrissakes! Desperate, Sklaroff kicks Esparza's corpse. SKLAROFF That's the motherfucker killed Jimmy Chin. It's justice! Eddie nods. he agrees. EDDIE But I have a client eight years in prison did n't do it. Montell grabs the gun from Sklaroff. MONTELL You sorry bastard. Eyes fixed on the gun, Eddie takes a step back. EDDIE My guy's got ta walk. You hear me? Montell swallows hard, then raises the gun. EDDIE You hear what I'm saying? It's over - all the bullshit. Your bullshit, my bullshit - all the lies - that's it, party's over, enough's enough. Y' live a lie, you die inside - do n't you know that? -LRB- then, softly. -RRB- I have to go now. I have to be in court. Eddie turns. MONTELL'S GUN Pointed at Eddie's back. His finger tightens on the trigger. EDDIE crosses the oil - stained concrete. past the row of black sedans, the clanking furnaces. barely able to breathe. waiting for the bullet. MONTELL'S ARM starts to shake, just slightly. He brings up his other arm, to steady the gun. EDDIE has traversed this humid half - acre of hell. he reaches the unmarked car. A bleary Badalato looks up at him, Eddie holds out a hand. His voice catching : EDDIE Vinnie. You coming? Badalato reaches up. And takes Eddie's hand. MONTELL AND SKLAROFF Sklaroff places his hand on Montell's wrist. He helps his partner slowly lower the gun. Party's over. EDDIE AND BADALATO awkwardly walk up the ramp. The sun is just rising over New York City. The two men squint as they come into the light.",
"INT. COURTOOM - NEXT MORNING The Pillars have bailed out. Shu sits at the Defense Table. Not happy to be here. Roger stands. ROGER Your Honor, Mr. Dowd indicated that he may be detained this morning. He asked me to fill in for him. JUDGE This does n't amuse me, Mr. B - The door opens. It's EDDIE. Tattered, bruised and tired. AT THE PROSECUTION TABLE Rabin nudges Reynard. It appears that the defense has been on a titanic bender. SCENE The Judge puts on a sarcastic smile. JUDGE Good morning, Mr. Dowd. Do you think you might be up to cross - examining Mr. Ortega this morning? EDDIE Your Honor : I imagine that, no matter how careful my questioning, Mr. Ortega would, in his well - intentioned way, dig my client's hole even deeper. Judge Quealy nods. Not without a trace of compassion. JUDGE Well then, does the defense have any witnesses? EDDIE I suppose I could find an inmate who'd say that Shu boasted about Chinatown just to survive in the joint - though he did n't really do it. AT THE DEFENSE TABLE Shu looks up. Interested, again, in the proceedings. SCENE EDDIE I guess I could find witnesses to dispute every point made by the D.A.. But in the end, would we be any closer to understanding what really happened eight years ago? As Mr. Reynard has said, these matters are cloaked in secrecy. How can we, here in the safety and sanctity of this court, presume to pass judgment on Shu Kai Kim, a refugee. AT THE DEFENSE TABLE Reynard trades smug looks with Rabin and starts packing his briefcase. EDDIE'S VOICE who has spent his young adulthood like a caged animal in a prison where kill or be killed was the code. SCENE His impatience tinged with pity : JUDGE - Then you do n't wish to call any witnesses, Mr. Dowd? EDDIE I would like to put Shu's alleged crime in a context, your Honor. And we do have the foremost expert on prison and street gangs right here in this room. If it please the court, I'd like to call Mr. Reynard. AT THE DEFENSE TABLE DEAN RABIN looks outraged. REYNARD is merely annoyed. REYNARD I would ask opposing counsel to make an offer of proof that this is anything more than a desperate tactic. JUDGE Will you both approach the bench? Reynard strides up. As Eddie joins him : REYNARD - Ca n't Mr. Dowd find his own expert witness, your Honor? EDDIE I'd need a continuance. Three weeks at least. Judge Quealy sighs. He does n't have three weeks to waste. JUDGE Your questions would of course be restricted to Mr. Reynard's area of expertise. REYNARD It's a last - ditch ploy, your Honor. The Defense clearly hopes that my presence on the stand will create the opportunity to call for a mistrial. He flashes Eddie a grim smile. REYNARD But the Defense is mistaken. Reynard proceeds to the witness box. Though it's clearly a formality, the D.A. must be sworn in. CLERK Do you swear to tell the truth, the whole truth and nothing but the truth, so help you God? REYNARD I do. Eddie ambles over to the witness box. EDDIE Let's start by establishing your credentials as an expert witness, Mr. Reynard. In the late'70s you led an investigation into a Colombian crime syndicate called `` the Ochoa''? As though indulging a child : REYNARD Yes, Mr. Dowd. EDDIE Did n't this investigation, with its attendant publicity, catapult you into the office you now hold? REYNARD If I were sitting where I normally sit, I would say `` Calls for speculation.'' THE JURORS are charmed by Reynard's ironic bonhomie. EDDIE Did you do any hands - on work or did you just supervise, from on high? REYNARD Mr. Dowd, I was personally involved with all phases - and principals - of the investigation. EDDIE And who were the detectives who assisted you, Mr. Reynard? REYNARD glances into Eddie's eyes, to read what's behind them. EDDIE His expression gives away nothing. SCENE Reynard, as he answers, manages to sound perfectly casual. REYNARD Lou Sklaroff, Vin Badalato, Dave Montell. EDDIE The same three detectives on the Jimmy Chin case. Judge Quealy perks up considerably. REYNARD In those days, they often worked as a team. EDDIE And who was Arturo Esparza? Reynard hesitates. Then : REYNARD I do n't think I know that name. EDDIE - But you just said you were personally involved with all the principals of the investigation. REYNARD I ca n't be expected to remember the name of every informant eight years after the fact. EDDIE I did n't say he was an informant. But since you mentioned it, was n't Esparza your primary informant? REYNARD -LRB- bristles. -RRB- You're trespassing into the area of witness protection, Mr. Dowd. Such showboating puts lives at risk. Heedless, Eddie hammers at him. EDDIE Is n't it true that without Esparza, you had no investigation? REYNARD -LRB- scalding contempt. -RRB- I think you're a dangerous man, Mr. Dowd. EDDIE I hope so, Mr. Reynard. Eddie moves in closer. EDDIE On the night of November 2, 1980, did Art Esparza phone you at home to say, `` I just killed a man in Chinatown - people saw me do it''? The REPORTERS trade looks, then start to madly scribble. REYNARD -LRB- ice. -RRB- No. EDDIE No? Then what did he say? DEAN RABIN has no idea what's going on. All he knows is that he must do something. He stands. RABIN Objection. Badgering the witness. Judge Quealy's withering glance causes the Deputy D.A. to sink back down and stay down. EDDIE You'd worked too hard to let Esparza's crime of passion spoil everything. You ordered your team to comb through the mugbooks. Find a patsy. Frame him. -LRB- beat. -RRB- Protect your case. -LRB- beat. -RRB- Protect your career. Is n't that so? The COURTROOM sucks in a collective breath. REYNARD That's an outrageous accus. Reynard trails off as, in the back of the courtroom : VIN BADALATO is helped into the courtroom by CONNIE. Who pointedly sits her brother behind the defense, with Kitty and Mrs. Kim. REYNARD A cornered animal. His gaze flicks from Badalato to Eddie. SCENE This time Eddie returns Reynard's gaze. EDDIE Putting away one punk enabled you to keep your informant out of prison and in place. SHU has gone pale. Tears stream down MRS. KIM's face. KITTY reaches an arm around her shoulders, to comfort her. EDDIE By keeping your informant out of prison and in place, you were able to complete your work. Ultimately you saved scores of lives, did n't you? No answer. Now Eddie invokes the D.A.'s pet principle : EDDIE It was a trade - off, was n't it? Quietly, with a kind of tragic dignity : REYNARD A trade - off, yes. -LRB- then. -RRB- I'd do it again. Eddie nods. Then returns to the defense table and sits, between Roger and Shu. Eddie looks drained but exalted. He can sleep now. EDDIE The defense rests.",
"INT. PRISON CELL - MORNING Shu Kai Kim sits on the edge of his cot. Listens to the ECHO of FOOTSTEPS that grow LOUDER. In eight years of waiting, a man learns patience. The FOOTSTEPS STOP, tumblers TURN. Still, Shu does n't move ; moving might break the spell. The cell DOOR slides OPEN. C.O.'S VOICE C'mon, Kim. Time to go.",
"EXT. PARKING LOT Shu emerges from the Main Gate, toting a sad little vinyl valise. Blinking, as though he has n't seen daylight in years. He heads toward the concrete depot where a bus will take him south, to New York City. How strange to walk without shackles, handcuffs, armed guards. OS he HEARS : MAN'S VOICE Need a lift? Edward C. Dowd lounges against his Riviera. Shu cocks his head, stares at the lawyer. Eddie shrugs, stares down. Three beats. When he looks up - Shu is standing before him. Searching for words. Failing to find them. At last : EDDIE Shit, man - let's get out of here. Now ROGER steps out of the car, holds open the door for Shu. THE RIVIERA Spewing clouds of pollution, Eddie's car pulls away. RISE over the turrets and towers and electrified fences as Eddie, Roger and Shu drive away from the prison, to freedom. THE END"
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] | Eddie Dodd is a burnt-out attorney who has left behind civil rights work to defend drug dealers. Roger Baron is an idealistic young legal clerk, fresh out of law school, who encourages Dodd to take on the case of Shu Kai Kim, a young Korean man who was imprisoned for a gang-related murder. Kim's mother believes her son was wrongfully accused. Dodd and Baron's investigation leads to a conspiracy among the district attorney, a police informant, and several police officers. [3] | True_Believer_(1989_film) |
[
"Friday the 13th Part IV A NIGHT SKY Ominous black clouds roll across the heavens. THUNDER begins to RUMBLE within the clouds. An unsettling feeling of approaching danger. VARIOUS FOREST SHOTS Deep shadowed woods. A quiet breeze rustles some dry leaves. NOISY CRICKETS. Some unseen creature runs through the bush. THE CRICKETS STOP.",
"EXT. FOREST ROAD - NIGHT A very mangy wild dog feeds on what was once a rabbit run over in the road. ROARING AROUND THE BEND COMES AN OLD FORD PICKUP. The terrified canine runs for its life into the woods.",
"INT. PICKUP TIGHT ON HOCKEY MASK We stare down on Jason's infamous mask held in a young man's -LRB- HAWES -RRB- hands. HAWES -LRB- Southern accent. -RRB- I do n't know how the hell you talked me into this, Jarvis. ANGLE ON HAWES Sitting in the passenger seat examining the mask is ALLEN HAWES. He is a rather unusual - looking guy in his mid - twenties, nervously smoking a cigar. HAWES Hell, I must be crazy. If the old institution ever found out about this. boy, they'd throw our butts back in an' strait - jacket'em permanent. TOMMY -LRB- o.s. -RRB- You did n't have to come, Hawes. PRESS IN - ON DRIVER TOMMY JARVIS is a good - looking young man in his late teens. He drives like a bat out of hell, wearing a very intense expression of determination. TOMMY This is between me and Jason. TWO SHOT ON THEM HAWES -LRB- becoming more nervous. -RRB- Yeah, I know. But I still do n't get the therapy here. Jason's dead, right? How will seeing his corpse stop your hallucinations? TOMMY Seeing it wo n't. But destroying him once and for all will. Jason belongs in hell. TIGHT ON TOMMY TOMMY -LRB- coldly. -RRB- I'm gon na see he gets there. HAWES stares wide - eyed at Tommy. He then turns to look out the back window.",
"EXT. PICKUP TIGHT ON HAWES' FACE IN REAR WINDOW - TILT DOWN A huge can of gasoline, a crowbar and two shovels are seen in the back of the truck. THUNDER BEGINS TO RUMBLE LOUDER.",
"EXT. FOREST ROAD - NIGHT Dust kicks up as the old pickup races down the road. LIGHTNING FLASHES, illuminating the dark woods. THUNDER CRASHES HELLISHLY.",
"EXT. CEMETERY - NIGHT TRACKING along a row of tombstones, we follow Tommy and his flashlight as he searches. Hawes follows, carrying the gas can, tools and mask. THUNDER continues as a fierce, whistling WIND attacks. Tommy's eyes squint to read each tombstone, looking for the one. LIGHTNING FLASHES. WIDER - ON TOMMY Getting frustrated, but far from giving up, Tommy moves to the new row of markers. Suddenly he freezes and we PRESS IN on him. ANGLE ON JASON'S GRAVE LIGHTNING illuminates the tombstone that reads `` Jason Voorhees - At Rest''. TIGHT ON TOMMY As he stares, a deep terror chills his bones. Something else then catches his eye. ANGLE ON ANOTHER GRAVE Close to Jason's marker we see another. It reads `` Pamela Voorhees - Beloved Mother.'' FULL SHOT ON TOMMY AND HAWES Returning his attention to Jason's grave, Tommy points `` this is the one'' to Hawes, who gulps and nods. Putting down the other items, the boys take hold of the shovels. Tommy raises his up first. THE SHOVEL plunges into the ground. A LIGHTNING BLAST punctuates it as it removes a large chunk of grass and dirt. CLOSE ON OUR GRAVEDIGGERS They begin to exhume the legendary killer's body. Tommy works feverishly. Hawes works nervously. Again and again their shovels strike, digging into the earth. THE SHOVEL -LRB- LATER -RRB- is scraping the dirt of of a rotted coffin lid. ANGLE UP - ON TOMMY The sweating boy tosses the shovel out of the shallow grave. Hawes silently hands him the crowbar from above. TIGHT ON COFFIN The crowbar is driven into the side. Tommy's hands take a firm grip and yank. A HORRIFIC CREAK resounds as the lid cracks open. LOW ANGLE - ON TOMMY He hands the crowbar back to Hawes. They exchange a look and a deep breath. Tommy then goes for it. His hands extend slowly toward the coffin. More THUNDER GROWLS. TOMMY'S FINGERS slip into the narrow space beneath the coffin lid. PRESS IN TIGHT ON HAWES' FACE He winces and bites his lip. PRESS IN TIGHT ON TOMMY'S FACE With all the courage he can muster, Tommy strains to do the deed. He yanks the casket open! ANGLE ON JASON IN COFFIN With a BRILLIANT FLASH OF LIGHTNING, the lid swings open to reveal the huge decomposing body of JASON. His HEAD IS COMPLETELY COVERED BY AN ARMY OF DISGUSTING MAGGOTS. HAWES GASPS He fights with his stomach to keep his dinner down. TOMMY CLIMBS OUT OF GRAVE He turns and stares down at his nemesis. A slow hatred begins to build. We PRESS IN on Tommy, HEARING his horrid memories : His sister screams, NO, TOMMY, NO while 10 - year - old Tommy kills Jason, repeating, `` DIE, DIE!'' TIGHT ON TOMMY As he listens, his eyes well up with a violent rage. WIDER Tommy looks around vengefully. Seeing an old fence a few yards away, he heads for it. Hawes is confused by his actions. HAWES Hey, where are you going? TRACK WITH TOMMY Without a word, he storms over to the rusty fence. He grabs one of the spearlike posts and pulls it out. LOW ANGLE - DOLLY BACK With fire in his eyes, Tommy stalks Jason with the weapon. THUNDER ROARS ABOVE. HAWES rushes up to Tommy, greatly alarmed. HAWES What's that for? Tommy, what are you doin', boy?! The boy storms right past him. REACHING THE GRAVE Tommy glares down hatefully at this monster who has destroyed his loved ones and his life. Raising the spear, he explodes and jumps down. TOMMY You bastard! LOW ANGLE - ON TOMMY As he lands in the grave, Tommy plunges the spear down with a mighty force. THUNDER AND LIGHTNING BLAST HELLISHLY. THE SPEAR penetrates deep into Jason's chest. ANGLE ON HAWES, DUMBFOUNDED HAWES Oh, shit. TOMMY withdraws it, then angrily rams it down again and again. CLOSE ON JASON'S FACE The force of the blows causes many of the numerous maggots to start dropping off his face. Grossly decayed flesh is illuminated the LIGHTNING. CLOSE ON TOMMY'S FACE Exhausted, his rage finally vented, he drives the spear into Jason for the last time. ANGLE DOWN - ON TOMMY AND JASON Over the boy's shoulder we see the long spear extending out of Jason's cold heart. WIDER Recovering from his tantrum, Tommy climbs out of the grave. Hawes stares open - mouthed at his friend. HAWES Boy, he must've really messed you over. TOMMY reaches down, picks up Jason's hockey mask, and stares at it. INSERT - HOCKEY MASK It seems to stare back evilly at him. TOMMY -LRB- O.S. -RRB- Yeah. Fuck you, Jason. RESUME TOMMY Tommy, knowing the nightmare is finally over, tosses the mask into the grave. He then bends down and starts to uncap the gas can. WIDER ON SCENE Without warning, the sky EXPLODES with a mass of LIGHTNING. One of the BOLTS OF ELECTRICITY is drawn to the spear as to a lightning rod. SPARKS fly as the spear is struck and electrified. Tommy and Hawes dive for cover. TIGHT ON JASON'S FACE JASON'S DECOMPOSED EYELIDS FLASH OPEN! ANGLE ON TOMMY AND HAWES Uncovering their heads, they look skyward in fear. Quickly, Tommy gets to his feet and goes for the troublesome spear. ANOTHER ANGLE The unintended lightning rod is still smoking a little from the blast. He touches it. It's hot. He pulls out a pair of gloves from his jacket. Putting them on, he then attempts to remove the spear. He ca n't get proper leverage. So Tommy jumps down into Jason's grave. LOW ANGLE - ON TOMMY He struggles to pull the spear out. It's apparently driven into the bottom of the coffin as well. Hawes leans down into the grave. HAWES Let's just get the hell out of here. My heart ca n't take any more of this. CLOSE ON JASON'S FACE Jason's wicked eyes glare at Tommy. RESUME TOMMY The boy, of course, does not see what's about to occur. He finally yanks the spear out, and throws it up onto the grass. Slowly he removes his gloves and tosses them to Hawes. He starts to climb out. JASON SPRINGS UP FROM BEHIND AND GRABS HIM. CLOSE ON HAWES SCREAMING He goes crazy with hysteria. He starts to run. ANGLE DOWN - ON GRAVE Tommy fights for his life as Jason tries to pull him down into the grave. He manages to kick Jason back down long enough to climb out. TOMMY scrambles for the gas can as the STORM CLOUDS DETONATE ABOVE. He gets it open, turns around, and starts throwing it on the rising corpse of Jason. ANGLE ON JASON The gas splashes all over him as he keeps coming! REVERSE ON TOMMY He backs up as Jason stalks him. Knowing there's enough gas now on his predator, he drops the can. TIGHTER - ON JASON He's coming closer. TIGHTER - ON TOMMY Panicking, he searches his pockets for the matches. He finds them. As he pulls them out, the STORM CLOUDS ERUPT WITH AN INCREDIBLE DOWNPOUR. JASON stops as the rain drenches him. Maggots start to wash off him as he stares at his helpless victim. RESUME TOMMY He tries desperately to light a match in this pounding rain. TOMMY'S HANDS struggling with the soaked matchbook. JASON starts to close in. Suddenly HAWES EMERGES FROM BEHIND, HOLDING UP A SHOVEL. He HOLLERS as he swings it. ANGLE ON HAWES He WHACKS the back of Jason's head as hard as he can. It does n't even faze his undead superkiller. JASON WHIPS AROUND ON HAWES His arm lunges forcefully at Hawes' chest. ANGLE HAWES' BACK JASON'S HAND, CLUTCHING HAWES' HEART, BURST OUT HAWES' BACK. ANGLE ON GRAVE Hawes' body falls back into Jason's grave. TIGHT ON COFFIN As Hawes lands in the coffin, the lid shuts over him. ANGLE ON TOMMY Horrified and weaponless, he runs like hell. LOW ANGLE - ON JASON Seeing his victim escaping, Jason whips around and looks for a weapon. He goes for the nefarious spear. Something in the grave then catches his attention.",
"EXT. FOREST ROAD - NIGHT Tommy races out of the cemetery to his pickup. He jumps into the truck and takes off in the rain.",
"EXT. CEMETERY - NIGHT With his back to us, Jason dons his beloved hockey mask and picks up the spear. We PRESS IN TIGHT ON HIM as he turns around to face us. FREEZE FRAME. Meaner, stronger, and more unstoppable than ever before. TITLE PROCLAIMS : `` JASON HAS RISEN'' OPENING CREDITS",
"EXT. SHERIFF'S OFFICE - NIGHT Tommy's old pickup SCREECHES UP before us. He leaps from the truck and races for the office door. The sign by it reads `` Forest Green County Sheriff's Dept.''",
"INT. SHERIFF'S OFFICE - NIGHT Tommy BURSTS into the room. ANGLE ON SHERIFF BEHIND DESK SHERIFF MICHAEL GARRIS is a hard - ass Vietnam vet who, at forty - three, has `` seen enough trouble and do n't want no more.'' That's why he took this job a few years back. Having just nodded off, Tommy's entrance startles him. He leaps to his feet, gun drawn with lightning speed. REVERSE ON TOMMY Shocked by the sheriff's sudden aggression, Tommy instantly throws up his hands. TOMMY Do n't shoot. Please. ANGLE ON SHERIFF He relaxes, seeing it's just a teenager. But he's still pissed off as he holsters his gun. SHERIFF You in show business, kid? You sure know how to make an entrance. MOVING SHOT The hyper boy rushes toward the sheriff. TOMMY You got ta do something! Jason's alive! He killed my friend, now he's coming for me!",
"EXT. FOREST ROAD - NIGHT Jason is coming. Gripping the spear before him, he heads toward us.",
"INT. SHERIFF'S OFFICE - NIGHT SHERIFF -LRB- sitting back. -RRB- Now you better cool out a minute, boy. You already almost got your head blown to pieces. TOMMY -LRB- demanding. -RRB- Will you listen, dammit! SHERIFF -LRB- stands up. -RRB- Do n't piss me off, junior. Or I will repaint this office with your brains. Tommy tries to control his emotions and sound rational. TOMMY Jason is alive. We dug up his body. I was gon na cremate it and. SHERIFF -LRB- smirks and interrupts. -RRB- Hold it. Whoa. What's your name, son? TOMMY -LRB- quickly. -RRB- Tommy Jarvis. We got ta do something. He's even more powerful now that. The sheriff circles the desk and approaches Tommy. SHERIFF Are n't you the kid whose mother and friends were. TOMMY -LRB- nods. -RRB- Yeah. Jason murdered them and. SHERIFF -LRB- cutting him off again. -RRB- And you've been at some psychiatric clinic ever since, have n't you? TOMMY -LRB- catching his drift. -RRB- Yes, but they released me because. The door behind him BURSTS OPEN. DEPUTY Rains stopped. Ya owe me that five - spot, partner. ANGLE ON DOORWAY DEPUTY RICK COLONE hurries in with an armload of fast food. Dark, mid - thirties, and a little on the short side. He is surprised to see someone here this late. DEPUTY Sorry. I did n't. BACK TO SCENE Sheriff Garris waves his deputy in. SHERIFF -LRB- sarcastic. -RRB- No problem, Rick. Come over and meet a former resident here, Tommy Jarvis. He's got some kinda prank going about. TOMMY -LRB- explodes. -RRB- There's no time for this bullshit. MOVING SHOT - ON TOMMY He bolts across the office and grabs one of the rifles from the rack. TOMMY Jason's got to be stopped. ANGLE ON GROUP Both lawmen drive for the crazy kid. Their food flies as they struggle to get the rifle away from the strong youth. Finally the deputy pins Tommy's arms from behind. The sheriff yanks the rifle away. SHERIFF -LRB- pointing at Tommy. -RRB- Now that's what know in the books as screwin' the pooch. -LRB- to deputy. -RRB- Iron this punk. Tommy fights to get away from the deputy, who throws him into the cell. The iron bars are slammed shut. TOMMY -LRB- struggling. -RRB- No. Ya got ta listen. Jason's coming back here. He's after me. I tried to destroy him but I fucked up. TIGHT ON SHERIFF He leans in toward Tommy's cell. SHERIFF You got that right. Now you listen up. I'm sorry for what happened to you and your folks years ago. But no one in Forest Green wants to be reminded of what that maniac did here. That's why they changed the name to Forest Green. People want to forget this was once Crystal Lake. And they do n't need some kid stirring up Jason shit again. RESUME ON TOMMY He paces the cell in wild frustration. TOMMY Why did n't you cremate him?! SHERIFF -LRB- impatiently. -RRB- They were gon na! But some asshole sent a lot of money to give Jason and his mother a decent burial. Now look, you just lie down and get some rest. In the morning I'll call that clinic and see if they. Tommy grabs the bars and pleads with him. TOMMY If you'd just go to the cemetery, you'll see I'm not lying. CLOSER ON SHERIFF AND TOMMY SHERIFF Either you go to sleep or I'll come in there and put you out. TOMMY -LRB- defiantly. -RRB- You're gon na be sorry you did n't listen to me. SHERIFF -LRB- more defiantly. -RRB- You're gon na be sorry if you do n't shut the fuck up.",
"EXT. FOREST BACK ROAD - NIGHT A funky VW Bug bounces along a narrow muddy road. LAUGHTER is HEARD from within.",
"INT. CAR - NIGHT A likable couple in their mid - twenties are obviously lost. LIZBETH drives and giggles, slap - happy from the long trip and late hour. Her boyfriend, DARREN, struggles to read the map in the dim car light. A huge pothole causes him to bang his head on the roof. DARREN Will you slow down? It's hard enough to read this thing. LIZBETH -LRB- trying not to laugh. -RRB- Well, who told me to take this cow path? DARREN You admit the sign did say `` Camp Forest Green,'' with an arrow pointing this way. LIZBETH I admit nothing without talking to my lawyer. DARREN throws down the map with a growl. DARREN So much for the head counselors ever finding the camp on their own. I say we stop the car, get out, and start screaming for help. The car comes to a grinding halt. DARREN -LRB- sighs. -RRB- I was just kidding, Lizbeth. He looks at his girlfriend, who is staring fearfully out the windshield. Darren turns to look. DARREN'S P.O.V. - OUT WINDSHIELD Standing in the middle of the road, illuminated by the headlights. JASON. He holds the deadly spear before him. RESUME COUPLE Needless to say, Lizbeth is becoming more afraid. LIZBETH Darren, we better turn around. DARREN Why? LIZBETH Why? Because I've seen enough horror movies to know masked weirdos are never friendly. She starts to back up. Darren looks behind him, then grabs the wheel. DARREN Wait! THE CAR TIRE almost rolls off the narrow road into a water - filled gully. ANGLE ON DARREN He stares intensely at Lizbeth. DARREN There's no way we can do this. -LRB- he looks at Jason. -RRB-. If the car drops into that gully, we'll never get it out. JASON just stands his ground. He ai n't backin' down. LIZBETH keeps her eye on the evil - looking stranger. LIZBETH Do you have any alternate suggestions? ANGLE ON DARREN AND LIZBETH He bites his lip nervously. DARREN Yeah. We're gon na scare him. LIZBETH -LRB- taken aback. -RRB- We're gon na scare him?! Darren attempts to pump up a macho attitude. DARREN That's right. Just drive toward him. He'll move. Nobody wants to die. LIZBETH -LRB- staring at Darren. -RRB- That's a freakin' fact. Least of all us. DARREN Just drive. He'll get out of our way. ANGLE ON LIZBETH She shakes her head, not believing she's actually going to do this. INSERT - ACCELERATOR Her foot stomps it down. THROUGH WINDSHIELD We race toward Jason, who does n't budge. INSERT - BRAKE Her foot slams on the brakes. LOW ANGLE - ON HEADLIGHT The car skids to a stop, inches from the stock - still killer. LIZBETH turns to her now - less - than - confident boyfriend. LIZBETH -LRB- sarcastically. -RRB- Yeah, that really scared the shit out of him. ANGLE ON DARREN He gets pissed. He leans over and BLASTS the HORN. LOW ANGLE - ON JASON Jason gets pissed too. He swings the spear and SMASHES OUT a headlight. BACK TO COUPLE DARREN -LRB- shocked. -RRB- Oh, jeez. LIZBETH -LRB- starting to shift. -RRB- That's it. We're driving this baby back to town. in reverse. Darren, now angered, grabs her hand as she starts to shift. DARREN The hell we are. ANGLE ON GLOVE COMPARTMENT Darren opens it and pulls out a.22 revolver. LIZBETH stares at the gun, then at Darren, in shock. LIZBETH Where'd you get that? Darren gets out of the car. He's scared shitless, but tries not to show it. DARREN Do n't worry about it. Just stay cool. LIZBETH -LRB- trying to maintain. -RRB- Stay cool? You ai n't Dirty Harry. Now stop it. JASON watches Darren's every move. DOLLY BACK ON DARREN TO JASON With great apprehension he heads toward Jason, holding the gun out with both hands. He clears his nervous throat. DARREN All right, scumbag. Get out of the road. From over Jason's shoulder we see Darren cock the trigger and aim. DARREN Now! Instantly Jason rams the spear into the other headlight! He is now a very dark figure in front of the car. LIZBETH screams, and shouts at her boyfriend. LIZBETH Darren, get in here right now! He'll kill you! ANGLE ON DARREN He gets a bit cocky, knowing he's the one with the gun. He glances back at his girl. DARREN -LRB- loudly. -RRB- Not if I get him first. JASON suddenly CHARGES him! ANGLE ON DARREN AND JASON Darren fires. But the bullet either misses or it just does n't affect Jason. He thrusts the spear forward. THE SPEAR drives right through Darren's stomach and out his back! PRESS IN ON LIZBETH She goes hysterical. LOW ANGLE - ON JASON Effortlessly, he lifts up the impaled boy and tosses his limp body aside. Jason then turns his murderous gaze on Lizbeth. THROUGH THE WINDSHIELD Lizbeth gasps. Quickly, she tries to drive away. Seeing something coming, she dives across the other seat. JASON'S SPEAR SMASHES THROUGH THE WINDSHIELD AND IMPALES ITSELF INTO THE DRIVER'S SEAT. ANGLE ON LIZBETH The terrified girl crawls out of the open passenger door. She falls into the muddy and water - filled gully alongside the road. MOVING SHOT - ON JASON He withdraws his weapon from the car and heads for his victim. LIZBETH struggles to stand. She slips, badly twisting or breaking her ankle. Looking back quickly, she is horrified. HER P.O.V. - ON JASON with spear poised, he's coming! TIGHT ON LIZBETH Knowing it's hopeless to run, she tries a last - ditch effort to barter for her life. Lying in the muddy water, Lizbeth digs into her jacket. She pulls out her wallet and removes her money and credit cards. LIZBETH -LRB- crying. -RRB- Do n't kill me, please. You can have these. She looks up and offers her valuables. LIZBETH'S P.O.V. Jason is gone. BACK TO LIZBETH She is amazed. Where did he go? What's the difference - she's safe. WRONG. As she looks behind her, JASON'S FEET SLAM DOWN IN THE WATER NEXT TO HER HEAD. She opens her mouth to scream. LOW ANGLE - UP ON JASON He raises the spear and RAMS IT DOWN TOWARD HER FACE! A spine - chilling CRUNCH is HEARD. WIDER Jason stands over his victim. Her body floats on the filthy water, but her head is drive down underneath. BLOOD begins to bubble up around the extended spear. CLOSE ON HER HAND A lifeless hand releases the money and credit cards it was clutching. We follow the floating American Express card along the now - bloody stream. Remember, do n't leave home without it.",
"INT. SHERIFF'S OFFICE - DAY Tommy is asleep on the cot in his cell. Suddenly the LOUD SOUNDS of the DOOR OPENING and YOUNG VOICES startle him awake. MOVING SHOT - ON GROUP Entering from the bright sunshine are the sheriff and four kids in their late teens. Teasing, holding on to the arm of her sheriff father, is MEGAN. She is a cute and feisty 18 - year - old. Her three friends, PAULA, a warm and personable girl with a short new - wave haircut ; SISSY is black, sexy and very boy - crazy ; and CORT, with his long hair and heavy metal T - shirt, is always ready to rock. MEGAN -LRB- to sheriff. -RRB- Come on, Dad. You could have Rick drive down Cunningham Road and look for them. SHERIFF Megan, my deputies have more important things to do than look for camp counselors with car trouble. CORT Sheriff, could n't you like put our an all - points bulletin for them? That would be really wicked decent. The sheriff shoots him a look. PAULA It's just that Darren and Lizbeth are in charge of organizing and setting up the new campgrounds. SISSY All the little kids arrive today. We're not ready to deal with that alone. ANGLE ON SHERIFF He sits down behind his desk and picks up the phone. SHERIFF I sympathize with you kids. The best I can do is call the station in Carpenter and have them keep a lookout for them. TOMMY -LRB- O.S. -RRB- I got a bad feeling of what might've happened to them. Everyone turns to look. TOMMY is gripping the cell's bars. His eyes connect with Megan. TOMMY You've got to convince the sheriff to look for your friends. Hopefully, they're fine. But there's a very good chance that Jason. THE SHERIFF jumps up angrily. SHERIFF Shut up. Megan, attracted to the good - looking prisoner, walks toward his cell. MEGAN Jason who? SHERIFF -LRB- ordering her. -RRB- Megan, get away from him. He's dangerous. ANGLE ON MEGAN AND TOMMY She stops a few feet from the cell. TOMMY -LRB- sincerely. -RRB- I'm not dangerous, believe me. Jason is out there. He's looking for me. But there's every possibility he'll return to the camp where it all started. WIDER ON SCENE The sheriff stomps over toward Tommy. SHERIFF -LRB- clenching his teeth. -RRB- I told you to shut. SISSY -LRB- nervously. -RRB- You mean the Jason of Camp Blood? TOMMY Yes! SHERIFF No! -LRB- to kids. -RRB-. You kids better leave. This boy here is not well and I need to talk to him in private. MEGAN But, Dad, we. SHERIFF -LRB- very firmly. -RRB- Megan, take your friends back to the camp. I'll let you know if I hear anything about your counselors. ANGLE ON MEGAN She wants to argue, but the look in her father's eye tells her she'd better cool it. She takes one more look at Tommy as she approaches her father. MEGAN -LRB- wisecracking. -RRB- Do n't beat him up too bad, he's kinda cute. This really steams the sheriff. SHERIFF Megan, leave! BACK TO KIDS They stumble out awkwardly as Megan struts away with a cool Lauren Bacall swagger. ANGLE ON TOMMY AND THE SHERIFF On the door is closed, the steely - eyed sheriff leans in close to Tommy's face. SHERIFF I was going to call the clinic and have them collect your ass. But I do n't want you around here any longer poisoning my daughter, or anyone else, with your warped mind. TOMMY -LRB- extremely concerned. -RRB- But they have to be warned, Sheriff. Jason will return to the area that's familiar. No matter what you call it, it's still Camp Crystal Lake to him. SHERIFF GARRIS walks away, not listening to Tommy. He straps on his holster and puts on his coat. SHERIFF -LRB- deadly serious. -RRB- We're gon na escort you and that shit - pile pickup of yours to the edge of my jurisdiction. -LRB- he picks up his rifle. -RRB-. Then we'll say goodbye and we'll never see your deranged butt around here again. -LRB- he cocks rifle. -RRB-. Right? TOMMY pushes off the bars in frustration and paces the cell like a caged animal.",
"EXT. FOREST - DAY A large clump of thick bushes. Someone's moving behind them. We TRACK along, following the rustles. It stops. We HOLD and WAIT. SUDDENLY THE BUSHES PART ABRUPTLY. A bespectacled little man in Army fatigues and camouflage makeup pokes his head out at us. ROY, wearing protective goggles, looks right - left, then hides back in the brush. ANOTHER AREA OF THE FOREST We follow TWO OTHER BUSINESSMEN decked out in green jungle fatigues, looking like out - of - shape Rambos. STAN and LARRY are both carrying handguns, watching for any movement around them. They, too, wear goggles. STAN -LRB- quietly. -RRB- Once we nail Roy, that's it. Victory is ours. LARRY This is taking forever. I'm starving. STAN That's your problem, Larry. That's why your sales are always below quota. Your instinct to eat is stronger than your instinct to win. LARRY -LRB- insulted. -RRB- My ass. STAN Yeah, that's fat too. ANGLE OVER JASON'S SHOULDER He watches motionlessly as the two arguing men pass. They, of course, do n't see him. BACK TO GUYS LARRY -LRB- outraged. -RRB- You become a whole other person when you're out here, Stan. And I do n't like it. STAN -LRB- arrogant. -RRB- This is a man's game. Requiring a man's cunning and intelligence. SUDDENLY, A FIGURE EXPLODES OUT OF THE BRUSH. ANGLE ON STAN AND LARRY They react in terror. LOW ANGLE A goggle - wearing woman, also in Army fatigues, has her revolver pointed at them. KATIE fires at them. BOTH GUYS are splattered by red - paint pellets. Boy, are they pissed. KATIE grins triumphantly. KATIE with a woman's touch. WIDE ON GROUP STAN Now wait a second! I thought Burt shot you. KATIE -LRB- turns all around. -RRB- See any paint? -LRB- cocky. -RRB-. Sorry, guys, I did in Mr. Commando. Survival is the name of the game, and that flag is mine. As they walk away, Larry looks at his paint - smeared chest. LARRY -LRB- to Stan. -RRB- Never should've let her play. STAN It's a damn company executive game, and she's a damn company exec. KATIE -LRB- motherly. -RRB- Now, now, boys. Do n't be spoilsports. JASON silently watches. He then heads for them!",
"EXT. CAMP FOREST GREEN - DAY The freshly painted and beautifully renovated cabin retreat gleams in the bright sunlight. Even the lake itself shimmers tranquilly, free of any memories of its horrid past. Megan, Cort, Paula, and Sissy carry food supplies from their car to the cabin. PAULA I'm getting worried. CORT About Jason. PAULA No. about Darren and Lizbeth. They should have at least called. Do n't you think, Megan? Megan. Megan's mind is definitely on something - or someone - else. MEGAN -LRB- breaking out of it. -RRB- Huh? Yeah, what? SISSY -LRB- giggles. -RRB- This girl's back in the cell with her prisoner of love. Megan hits her playfully. MEGAN What's it to ya? SISSY Do n't be playin' with no crazy jailbird. Those dudes are bad news. MEGAN Yeah? How would you know? SISSY I've been around long enough. to see plenty on TV. Everyone laughs or groans at Sissy. PAULA I do n't know, Megan. He seemed pretty weird with all that Jason stuff. CORT Yeah, he was really into it. MEGAN -LRB- playing with them. -RRB- Maybe he was telling the truth. Everyone stops and stares at her in disbelief. MEGAN -LRB- keeping the ruse going. -RRB- Just because our parents keep telling us that Jason was only a legend, does n't mean it was n't true. What if Jason did come back here. -LRB- dramatically. -RRB-. And you know what today's date is, do n't you? ANGLE ON HER THREE FRIENDS Each of their faces registers a different expression, wondering if Megan is serious or not. MEGAN looks past them at something, then smiles. MEGAN -LRB- slyly. -RRB- I can think of only one thing even more terrifying. CORT -LRB- nervously. -RRB- What? She points behind them. They turn to look. A BIG YELLOW BUS pulls up into the camp. The doors fly open. A group of screaming youngsters pile out. THE COUNSELOR stare in dread. How are they gon na handle this? SISSY I think I'd rather deal with ol' Jason.",
"EXT. FOREST - DAY A MACHETE IS SEEN. We follow the deadly weapon as it's carried through the woods. Reaching some heavy brush, it hacks away at it. WIDER ANGLE REVEALS BURT, a real Rambo/Commando clone in paint - splattered fatigues, whacks angrily at the brushes. Of all the would - be hunters, he looks like he takes the game almost too seriously. He wears a commando belt loaded with a survival knife, devil darts and his machete sheath. Like his partners, he too is a sore loser. As he hacks away, he mumbles curses about this `` stupid game.'' He raises the machete higher as he attacks the defenseless bushes. SUDDENLY, A HORRIBLY DISFIGURED HAND GRABS HIS HAND, STOPPING THE MACHETE IN MID - SWING. Shocked, Burt whips around, and gasps at the masked Jason. ANGLE ON MACHETE Jason's iron grip turns the hunter's hand with the machete toward his bug - eyed face. Jason forces the helpless man to stare at the weapon in his own hand that's about to take his life. He then PLUNGES the razor - sharp blade through his neck! GROUND LEVEL Burt's corpse drops before us. The gaping wound through his throat bubbles out bloody air bubbles. His eyes stare lifelessly at us.",
"EXT. CEMETERY - DAY LOW ANGLE - UP ON MARTIN The crusty old CARETAKER stares down in utter horror. His bloodshot, alcoholic eyes widen at what they see. MARTIN Oh, shit. Shit - SHIT! WIDER He stands over Jason's dug - up grave, cursing at what has happened. ANGLE ON MARTIN Taking out a pint of Whiskey from his coat, he takes a strong slug and winces. With hangover equilibrium, he paces, nervous and afraid. MARTIN Oh - hh. Why me? I know he's gon na blame me for this. Martin looks around quickly. He decides to cover up the open grave. He starts throwing all the evidence into the hole, then, grabbing the shovel, begins filling it in. MARTIN -LRB- become more frightened. -RRB- Damn. Why Jason? Mothers could have their pick. -LRB- he gestures. -RRB-. of any of these other graves. ANGLE DOWN ON OPEN GRAVE Shovel - loads of dirt and mud slam down on the coffin. Hawes' foot is seen sticking out of the casket. MARTIN -LRB- O.S. -RRB- Shitheads could n't even stick him back in right. Well, I ai n't gon na touch the slimy sucker. CLOSE ON MARTIN He's beginning to sweat as he works faster. MARTIN He ca n't find out. He'll think I ai n't doin' my job. I need that money. He wo n't find out. -LRB- looking around fearfully. -RRB-. No one's gon na know. I need my money.",
"INT. PICKUP - DAY Tommy drives with incredible anxiety down the forest road. He glances up into the rear - view mirror. REAR - VIEW MIRROR Sheriff Garris and his deputy, Rick, are following close behind in their police car.",
"INT. SHERIFF'S CAR Keeping a stern eye on Tommy, the sheriff shakes his head. SHERIFF -LRB- to deputy. -RRB- It's kinda frightening to think that a kid like that can go so far over the edge. Jason really screwed up the poor sonofabitch's mind. DEPUTY -LRB- amazed. -RRB- He really believes Jason's still alive, does n't he? SHERIFF -LRB- nods and sighs. -RRB- But that's no what worries me the most. It's how far he'll go to try and prove it.",
"EXT. FOREST ROAD - DAY Tommy's pickup, with the sheriff's car right on his tail, roars down the road.",
"EXT. FOREST - DAY Roy has still not been found. Hiding behind a tree, the little man with funny - shaped glasses watches for any unseen assassins. WIDE ON SCENE In his ill - fighting fatigues, he dashes comically from behind one tree to another. His foot catches in some vines and he takes a terrific pratfall. The paint - pellet gun flies from his hand and vanishes into the fallen leaves. ANGLE ON ROY He scrambles on his hands and knees to find his weapon. Panicking he'll be seen and shot, Roy starts to whimper as he searches. WIDER Slowly we MOVE toward the vulnerable little man with his back to us. BURNED - OUT AREA OF THE FOREST A fire some time ago has blackened the trees and ground in this area. Katie, Stan and Larry walk along, looking for their missing players. Holding up the other team's flag victoriously, Katie hollers out : KATIE Come on, you guys! The game's over! STAN -LRB- disgruntled. -RRB- You do n't know for sure. What about Roy? Nobody's seen him. KATIE -LRB- cocky. -RRB- Of course not. If he has n't already accidentally pelleted himself, I'm sure he's lost. STAN Yeah, but the game's not over until it's over. LARRY -LRB- going along. -RRB- That's right. Katie starts to counter, when she thinks she hears something. She stops them abruptly. KATIE Shh - hh. Wait a second. What was that? Everyone freezes, listening very intently. A LONG WAIT. HIGH ANGLE - LOOKING DOWN ON THEM All three stand stock - still, looking around and listening. TIGHT THREE SHOT Not hearing a thing, Stan relaxes. STAN Ahh, nothing. KATIE -LRB- loud whisper. -RRB- I could swear I heard. JASON SLAMS DOWN BEFORE THEM. REVERSE OVER THEIR SHOULDER Jason wants to play army, too. He quickly withdraws the machete from his newly acquired commando belt. With one violent slice, the blade slashes their throats. CLOSE ON ALL THREE FACES AND NECKS The razor - sharp machete opens up all three throats almost simultaneously. It happens so fast, they barely have time to even gasp. REVERSE ANGLE THREE HANDS DROP OFF, FOLLOWED BY COLLAPSING BODIES. Jason watches them fall, then looks up at something. JASON P.O.V. Terrified beyond belief is Roy! He stands a few yards away in a small clearing. MOVING SHOT - ON JASON He wastes no time as he stalks the final hunter. PRESSING IN ON ROY So incredibly frightened, he does n't think as he raises his gun at Jason and fires. ANGLE ON JASON The blood/red - paint pellet makes a direct hit on Jason's chest. He stops and glances down at this annoying mess. CLOSE ON HIS MASKED FACE As he looks up at Roy, he is even more pissed off. He LUNGES for him. ROY screams, drops the gun, and runs for his life. TRACKING SHOT - ON JASON He is hell - bent on catching this nerd. DOLLYING BACK - ON ROY Tears of terror are welling up as the poor guy races. Jason is seen a short distance behind, machete poised and ready. Roy glances back quickly, then screams as he heads through the ugly charred forest. ROY Oh, God, help me! Somebody, help! He's trying to kill me! SIGN : `` ETERNAL REST CEMETERY''",
"EXT. FOREST ROAD - DAY We are TRAVELING toward the large sign and arrow pointing left.",
"INT. PICKUP Tommy stares at the sign and the approaching turnoff. He glances up in his rear - view mirror again. Biting his lip, he decides to go for it.",
"EXT. FOREST ROAD Tommy's pickup makes a sudden left turn and heads up the road toward the cemetery.",
"INT. SHERIFF'S CAR SHERIFF -LRB- exploding. -RRB- Fuckin' A, what'd I tell ya! -LRB- to deputy. -RRB-. Hit the noise and cherries. Rick turns on the siren and the red lights.",
"EXT. FOREST ROAD The police car SCREECHES left and roars after Tommy.",
"INT. PICKUP Tommy gets nervous hearing the siren BLARING, but instead of pulling over, he speeds up.",
"INT. SHERIFF'S CAR CLOSE ON SHERIFF SHERIFF -LRB- vengeful. -RRB- I'm getting real tired of this maniac. DEPUTY Maybe we better call that psychiatric clinic. SHERIFF -LRB- coldly. -RRB- Better call an ambulance first.",
"EXT. FOREST ROAD (TOWARD CEMETERY) The sheriff's car accelerates and gains on the pickup. The high - speed chase continues down the narrow dirt road.",
"EXT. CEMETERY - MAIN GATE Tommy's old pickup SKIDS to a stop in front of the open gates. He leaps out of the truck as the sheriff SCREECHES UP next to him. We CRANE UP past the `` Eternal Rest'' sign as Tommy races into the old cemetery. The sheriff and his deputy are running close behind.",
"EXT. CEMETERY TOMMY sprints across the bone yard in the direction of Jason's grave. In his eyes there is now the hope that they'll see he's telling the truth. HIS P.O.V.. We HEAD toward where Jason's open grave was. DOLLY BACK - CLOSE ON TOMMY RUNNING He squints his eyes. Maybe he's in the wrong area. He slows down to look around. TOMMY IS VIOLENTLY TACKLED BY THE SHERIFF. WIDER Angry and out of breath, the sheriff pins him down to cuff him. Tommy struggles to get up. TOMMY I got ta show you Jason's grave. SHERIFF -LRB- clenching his teeth. -RRB- I've seen it. TOMMY -LRB- desperate. -RRB- Please, Sheriff. You'll see we dug it up. ANOTHER ANGLE Finally handcuffing him, the sheriff yanks him to his feet. Gripping Tommy's arm with one hand, he points at something. SHERIFF -LRB- sarcastically. -RRB- Well, he must've got chilly in the night and pulled the dirt back over. Tommy looks around to where the sheriff is pointing. The boy is astounded by what he sees. TOMMY'S P.O.V.. About twelve yards away are Jason's and his mother's tombstones. From this distance, it is impossible to tell that the chunks of lawn over Jason's grave have been replaced. ANGLE ON TOMMY AND LAWMEN Tommy shakes his head in utter disbelief. TOMMY That's not right. Somebody covered it up. -LRB- going toward it. -RRB-. I got ta see it. The sheriff yanks him back. The deputy pulls his.357 revolver with a laser scope attached. He aims at Tommy's head. SHERIFF -LRB- very icy. -RRB- Now see what you've done. You've made my deputy draw his revolver. That could be a serious headache for you. He's been dyin' to try out his new mail - order laser scope. The deputy presses his gun's grip. Instantly a tiny, bright red beam appears on Tommy's temple. SHERIFF It's a damn impressive piece of high - tech weaponry. Wherever the red dot goes. a bullet is sure to follow. CLOSE ON TOMMY AND LASER BEAM He stares, fearing for his life, at the stolid deputy. MARTIN What's the problem, Sheriff? WIDER ON SCENE The old caretaker rushes awkwardly toward them. Immediately, the sheriff whips Tommy around. He drags him back toward the car as Rick quickly holsters his gun. SHERIFF Nothing, Martin. Just a vagrant kid. We got it under control. TIGHTER ON GROUP As they leave, Tommy looks back at the old man. TOMMY -LRB- demanding. -RRB- Who covered up Jason's grave?! Martin stops abruptly and tries to hide his nervousness. MARTIN What!? What are you talking about? The sheriff pulls Tommy along even faster. SHERIFF Do n't concern yourself, Martin. This boy needs treatment. We're taking care of it. Sorry for the disturbance. TOMMY -LRB- screaming. -RRB- Jason's not in his coffin! Hawes is! Dig it up! You got ta dig it up! ANGLE ON MARTIN He watches with extreme uneasiness as Tommy is thrown into the back of the squad car. The deputy gets into Tommy's pickup and follows the sheriff's car. PRESS IN ON MARTIN Pulling out his near - empty bottle of Jack Daniel's, he downs it all. With a noisy exhale, Martin glances back at Jason's grave. MARTIN -LRB- mumbles to self. -RRB- Dig it up? -LRB- he snickers. -RRB-. Hell, what kinda butt - hole does he think I am! PRESS IN ON JASON'S GRAVE As we TIGHTEN in, the large chunks of rearranged lawn are now visible. We HOLD on Jason's tombstone.",
"EXT. CAMP FOREST GREEN - DAY A large group of cheering female youngsters. ANGLE ON MEGAN AND CHILDREN The little girls sit on two large picnic tables. Megan stands before them. MEGAN And then after that we'll swim, hike, and have lots of fun together. Okay? The youngsters squeal even louder. ANGLE ON SISSY AND PAULA SITTING ON CABIN STEPS Sissy mimes sticking her finger down her throat in disgust. Paula stifles a laugh and slaps Sissy's knee. She looks around. PAULA So where's Cort gone off to? SISSY Are you ready? He's taken our young men off to teach them my favorites sport. PAULA -LRB- smirking. -RRB- Which is? SISSY -LRB- sexily. -RRB- Boy scouting. PAULA -LRB- laughing. -RRB- You got ta be kidding!",
"EXT. FOREST PATH - DAY CLOSE ON TWELVE - YEAR - OLD BOY, TYEN TYEN -LRB- sarcastically. -RRB- You got ta be kidding! WIDEN ON SCENE Cort is kneeling on the path, positioning two rocks. He's surrounded by a group of bored, arms - folded, pre - teen boys. CORT -LRB- trying hard. -RRB- No, seriously. the Indian scout would arrange the rocks in such a way that like only his fellow Indians would know. You know, which way he went. -LRB- no response. -RRB-. You know? TYEN leans into another equally bored youngster, BILLY. TYEN If this is as exciting as it gets, we're in big trouble, dude.",
"EXT. BURNED-OUT FOREST AREA - DAY JASON STALKS THROUGH THE BLACKENED WOODS. He heads toward us, wearing a commando belt displaying a knife and devil darts, a bloody machete in his hand. This undead killing machine keeps coming. There's a slight fog moving in as night approaches.",
"EXT. INTERSTATE HIGHWAY - LATE AFTERNOON Off on the side of the road, Sheriff Garris opens his backseat door. He pulls Tommy out of the vehicle. Gruffly, he turns him around and uncuffs him. TIGHT ON TOMMY AND SHERIFF Whipping him back around, the Sheriff grabs him by his shirt and pulls him uncomfortably close. SHERIFF I do n't find it amusing that the nut house you belong in thinks you're responsible enough to leave here unescorted. In fact, it gripes my ass. Tommy just stares coldly into his eyes. SHERIFF -LRB- letting him go. -RRB- You've been damn lucky, pisshead. With all the grief you've caused me and my partner, you should be leaving wearing your balls as earrings. THE DEPUTY walks up and slaps Tommy's car keys into his hand. Tommy looks up, down at his keys, then back at the wicked, smiling deputy. DEPUTY I think we should do it to him anyway. The sheriff leans in and taps Tommy's earlobes with his index fingers. SHERIFF Naw. But if we see ol' Tommy ever again. you can guarantee it. WIDER Both lawmen turn and climb back into their car. Tommy waits there as they pull out and drive away. REVERSE ON TOMMY He watches as they disappear down the highway. Slowly the boy's stubborn determination returns. He rushes toward his old pickup. Behind it, the SUN IS SETTING.",
"EXT. CAMP FOREST GREEN - NIGHT The campgrounds are peaceful and quiet. A foggy haze covers everything. As tranquil as it seems, we feel uneasy. Is somebody watching from the woods.",
"INT. BOY'S DORMITORY CABIN Two rows of sleeping youngsters in their cots are seen.",
"INT. GIRL'S DORMITORY CABIN The same. The little girls' faces reflect pleasant dreams.",
"INT. COUNSELOR'S CABIN Paula and Sissy are seated at a card table, playing the board game CLUE. Paula keeps looking toward the window, troubled by something. Sissy rolls the die and moves her token along the board. SISSY -LRB- excited. -RRB- Okay, okay. I suggest that the crime was committed in the bedroom, by Colonel Mustard, with the knife. PAULA -LRB- preoccupied. -RRB- Huh? Oh, come on, Sis. I'm tellin' ya, we ca n't play Clue with just two people. SLOWLY WE TIGHTEN IN ON THEM SISSY Why not? I used to play it alone. I love murder games. Have you ever played The Consulting Detective? PAULA -LRB- fidgety. -RRB- No. Did Megan say when she's coming back from her. visit? SISSY Of course not. She probably took him a loaf of bread with a saw hidden in it. I still do n't get it. Why him? I mean, he's cute alright, but. Paula smirks. PAULA -LRB- quickly. -RRB- Is n't that enough? Sissy laughs and nods. SISSY You're right. And for the area, that even makes him overqualified. Paula then reaches for the phone. TIGHTEN IN ON HER. PAULA I'm gon na call her at the ol' jail house. Maybe her dad has found out what happened to Darren and Lizbeth by now. -LRB- she starts dialing. -RRB-. I ca n't believe they have n't called. I say if they're not here by morning, we send all the kids home. We're not prepared to run this place by ourselves. SUDDENLY, A CHILD'S HORRIFIED SCREAMS ECHO THROUGH THE CAMP. ANGLE ON PAULA AND SISSY Hanging up the phone, Paula races out the door, followed by Sissy.",
"EXT. CAMP FOREST GREEN - NIGHT WE FOLLOW BEHIND Sissy and Paula as they run in the direction of the scream. We follow them up the steps of the girls' dormitory cabin.",
"INT. GIRL'S DORMITORY CABIN As Paula and Sissy burst in, a LITTLE GIRL in pajamas rushes toward them. She points at a cot across the way. LITTLE GIRL -LRB- terrified. -RRB- She saw a monster. PAULA Who did? ANGLE ON PAULA She looks to where the little girl is pointing. PAULA'S P.O.V. Huddled up on her cot and pressed against the wall is NANCY. The sweet - faced nine - year - old is frightened out of her wits. Her big blue eyes are filled with tears. WIDER Behind Paula and Sissy, the other children stare wide - eyed at Nancy. Paula approaches her gently. PAULA -LRB- reassuringly. -RRB- Hi. Everything's all right now. We're here. SISSY -LRB- awkwardly going along. -RRB- Yeah, we're here. ANOTHER ANGLE Paula crouches down next to Nancy's cot. Sissy stands next to her friend. Nancy has still not stopped trembling. PAULA -LRB- softly. -RRB- So what happened? NANCY -LRB- holding back tears. -RRB- There was this monster. He was after me. He wanted to kill me. SISSY Where? NANCY Everywhere. PAULA -LRB- smiling. -RRB- You mean you had a bad dream. NANCY -LRB- shakes her head. -RRB- No, he was real. Like on TV. CLOSE ON PAULA AND SISSY In motherly fashion, Paula wipes Nancy's tears and tucks her back under the blanket. PAULA Okay, listen. what's your name, sweetie? NANCY -LRB- sniffling. -RRB- Nancy. PAULA -LRB- warmly. -RRB- Well, Nancy, I'm Paula. remember? This is Sissy, and we're gon na be right out there all night so nothing can hurt you. Okay? The child nods tentatively. PAULA Good. So no more bad dreams can come around here, huh? NANCY -LRB- faintly. -RRB- No more. Paula smiles lovingly at her, then stands. WIDER As Paula and Sissy start to leave, Sissy gets cocky addressing the others. SISSY Now you all go back to Z - land. We're on the job and ya do n't have to worry about shit. Paula nudges her for her choice of language. SISSY What? I'm sure they hear worse at home. REACHING THE DOOR Paula looks outside, then turns to Sissy. PAULA -LRB- quietly. -RRB- I just realized something. Where's Cort? I have n't seen him for hours. SISSY -LRB- disgusted. -RRB- I do n't know. He called somebody, then took off. PAULA He did n't say anything? SISSY Yeah, he was gon na check out `` things that go bump in the night.''",
"EXT. MOBILE-HOME CAMPGROUND - NIGHT A lone RV bounces and pumps to the beat of LOUD ROCK MUSIC within. Surrounded by a heavy fog, bright light beams from the windows of the mobile home. A cord extends from the vehicle and is plugged into the power outlet of this isolated trailer campground.",
"INT. MOBILE-HOME - NIGHT HEAVY - METAL MUSIC BLASTS as Cort and a savagely sexy girl, JILL, make love to the beat. With her on top, Cort is really getting his `` bump in the night.'' He just lies back and enjoys he skilled technique. ANGLE UP - ON JILL She moans and bites her lip with erotic pleasure, never missing a beat with the music. Jill even bumps and grinds perfectly to the song's drum breaks. JILL -LRB- very hot. -RRB- They're the best. The best. -LRB- panting. -RRB-. You got ta keep it up till the end of the song. CORT nearing his climactic moment, strains to avoid it. CORT -LRB- breathing heavy. -RRB- I'm tryin'. how much longer? Jill bends forward, laying her soft breasts on his chest. She whispers seductively in his ear : JILL Only ten more minutes. Poor Cort's eyes widen. He'll never make it to the final chord.",
"EXT. MOBILE-HOME CAMPGROUND From a short distance back, we watch the rockin', rollin' RV. SUDDENLY, JASON STEPS SHOCKINGLY INTO FRAME. ANGLE ON JASON He stands in the foggy woods and watches too. He does n't like it. And he moves to do something about it.",
"INT. MOBILE-HOME CLOSE ON THE CASSETTE PLAYER The rock tune now BLARES out a WILD GUITAR SOLO. CLOSE ON JILL She gyrates wildly along with every screeching note. CLOSE ON CORT His face contorts wildly as he tries to control his near - exploding passion. He's just about to.",
"EXT. POWER OUTLET Jason's hand grabs the cord and tears it out, leaving the plug SPARKING in the outlet.",
"EXT. MOBILE-HOME The RV's bright lights, music and bouncing instantly retard and CEASE. JILL'S VOICE Oh, fuck. CORT'S VOICE -LRB- passion relieved. -RRB- Oh ye - aaah.",
"INT. MOBILE-HOME Dim moonlight spills in through the windows. Jill jumps off Cort and starts to investigate the problem. JILL Wait a second, I'll. -LRB- realizing, angrily. -RRB-. Cort, you did n't already. CORT sits quickly. CORT -LRB- defensively. -RRB- I thought that was the end of the song. ANGLE ON JILL JILL -LRB- frustrated. -RRB- Great. Just great. She stumbles through the RV. Shivering, she puts on her coat and heads to the AC power switch. JILL If this thing is burned out, friggin' Horace will ground my butt. CORT Who's Horace? JILL -LRB- disgusted. -RRB- My friggin' stepfather and asshole - in - residence. Jill flips the switch a couple times. Nothing. She presses her face against the window and looks out. JILL'S P.O.V.. The power cord is seen laying on the ground below. JILL How did that happen? CORT has pulled the blankets around himself to fight the cold. CORT What? JILL -LRB- almost demanding. -RRB- Go out and plug the cord back in. CORT What? Who pulled it out?! Jill stomps toward him. JILL -LRB- sarcastically. -RRB- Smokey the friggin' bear. I do n't know, just do it. ANGLE ON CORT Nervously, he starts to get dressed.",
"EXT. MOBILE-HOME The door opens tentatively. Cort sticks his head out and slowly looks around. JILL -LRB- O.S. -RRB- Will you hurry up! I got ta get this fuckmobile back before Horace finds out I took it. CORT -LRB- jumping out. -RRB- Alright, alright. We TRACK with Cort as he walks around the RV, watching everything around him. It's getting tense. ANOTHER ANGLE Apprehensively, Cort approaches the cord and picks it up. He keeps staring out at the surrounding drifting fog. PRESSING IN ON CORT Without looking at it, the jittery boy starts to plug in the cord. He then notices the torn - out plug and frayed cord. Cort gasps. He turns to call to Jill. HE BANGS INTO SOMEONE RIGHT BEHIND HIM. it's Jill. JILL -LRB- irritated. -RRB- What are you doing? -LRB- seeing the cord. -RRB-. What happened to it? ANGLE ON BOTH Cort hands her the damaged cord. CORT -LRB- very scared. -RRB- I do n't know. -LRB- he heads for the door. -RRB-. But unless you wan na look exactly like it, I say we make this place a memory. Jill looks down at it. INSERT - CORD Close up, the horribly ripped and torn cord end does look quite grotesque. BACK TO JILL She cans the foggy night and a deadly fear now grips her. Slowly, then picking up speed, she follows after Cort. CORT has stopped in the RV's doorway. Jill rushes up, and turns to look at what he's staring at. CORT -LRB- straining to see. -RRB- I think someone's out there. CORT'S P.O.V.. The woods are still, with the exception of the drifting fog. Is that a tree in the shadows, or? JILL pushes him into the mobile home. JILL -LRB- scared. -RRB- I do n't wan na know. She climbs in, slams the door, and LOCKS it.",
"INT. MOBILE-HOME Cort jumps into the driver's seat. He tries to start the car. IT'S DEAD. He looks at Jill in terror. CORT This ca n't be. Jill shakes her head at him. JILL It is n't. She calmly turns the power switch over to `` BATTERY''. CORT tries the ignition again. It starts up. He grins at her. JILL -LRB- impatiently. -RRB- Are you gon na drive or not? Quickly he shifts and ROARS backward. Jill is thrown to the floor. Items fall off the counters.",
"EXT. MOBILE-HOME CAMPGROUND In a cloud of dust, the huge RV races backwards. MOVING SHOT - FROM BEHIND THE TREES We FOLLOW AFTER the vehicle as it peels out of the campgrounds.",
"INT. MOBILE-HOME Jill is now sent flying back toward the camper. She lands on the bed. She sends a burning stars at the back of Cort's head. HER P.O.V. Cort LAUGHS LOUDLY as he races down the bumpy dirt road. JILL tries to control her temper. Enough things have gone wrong tonight without having this idiot destroy her old man's RV. JILL -LRB- standing up. -RRB- That's it. Pull over. I'm drivin'. CORT -LRB- cocky. -RRB- No way. -LRB- turns on radio. -RRB-. I wan na rock! DOLLY BACK - ON JILL as she heads toward him. WITHOUT WARNING, JASON EXPLODES OUT OF THE BATHROOM. He yanks her to him. The door slams shut on them. ANGLE ON CORT DRIVING His head bobs enthusiastically to the LOUD ROCK MUSIC. He whoops, then looks up at the rear - view mirror. Not seeing Jill, he turns around and looks. CORT'S P.O.V. Jill is not there. But a RUCKUS can be HEARD coming from the tiny bathroom. ANOTHER ANGLE ON CORT CORT -LRB- feeling his oats. -RRB- Sounds like you're havin' fun in there! Need any company?!",
"INT. MOBILE-HOME - BATHROOM CLOSE UP - ON JILL Jason's viselike grip squeezes her throat. She gasps and gags as his fingers begin to meet. Her nose bleeds. CLOSE ANGLE UP - ON JASON His soulless eyes stare down at her from behind the mask. PROFILE CLOSE UP - ON JILL Jason's fingers connect. Her throat collapses. BLOOD BURST OUT OF HER MOUTH!",
"INT. MOBILE-HOME Cort is still rockin' out behind the wheel. He checks his rear - view mirror again. CORT Hey, what are you doing? Taking a dump? How about if I come back and snatch a peek. Or vice versa. As he cackles with amusement, JASON THROWS OPEN THE DOOR. Cort does n't hear it. Menacingly, JASON STALKS HIM. CLOSE ON JASON'S COMMANDO BELT His hand pulls out the long, jagged survival knife. He holds it poised and ready. MOVING SHOT - OVER JASON'S SHOULDER Slowly, the infamous slasher closes in on Cort. REVERSE - THROUGH WINDSHIELD Cort drives, oblivious to the grim reaper standing right behind him. ANGLE ON CORT A new SONG plays on the radio. Cort beams, recognizing it as a favorite of his. He turns it UP. CORT Alright! Yo, Jill! Listen to this! He looks up into the rear - view mirror. TIGHT ON MIRROR JASON'S HOCKEY - MASKED FACE GLARES AT HIM. CORT RECOILS IN HORROR. JASON'S HAND GRABS HIM BY THE HAIR. THE GLEAMING BLADE RAISES UP. CLOSE ON BACK OF CORT'S HEAD AS THE JAGGED KNIFE PLUNGES INTO HIS EAR. Suddenly, all SOUND CUTS OUT. THROUGH WINDSHIELD We watch in EERIE SILENCE as Jason lets go of Cort's knifed head. The lifeless body flops over the wheel. Immediately, the RV veers off to the left.",
"EXT. FOREST ROAD SOUND RESUMES as the runaway mobile home drives off the road with a horrible CRASH, it falls over on its left side. ANOTHER ANGLE ON FALLEN R.V. Slowly the fog swirls around the motionless vehicle. We wait, SUDDENLY, THE DOOR BURSTS UP AND OUT. Jason climbs out of the wreckage. WIDER ON SCENE Surrounded by an evil fog, Jason stands atop the fallen metal beast like a conquering warrior.",
"INT. SHERIFF'S OFFICE - NIGHT ANGLE ON SHERIFF SHERIFF -LRB- very perturbed. -RRB- What makes you so high and mighty? You keep forgetting, little Megan, I'm the parent. WIDEN ON SCENE Megan is slouched in a chair and pouting. MEGAN -LRB- interrupting mockingly. -RRB-. And you're the child. She sits up in hot - blooded frustration. MEGAN When are you going to stop treating me like one! SHERIFF When you stop acting like one. Tommy Jarvis is a very sick boy. And you. MEGAN How do you know? Did you take his temperature? SHERIFF -LRB- pointing at her. -RRB- You watch that smart - mouthing, young lady. CLOSE ON MEGAN She crosses her eyes in a comic attempt to watch her mouth. MEGAN Kinda hard to see it from this angle? Got a mirror? ANGLE ON BOTH Megan enjoys pushing her temperamental father to the limit. He stomps around like Ralph Kramden. MEGAN -LRB- coolly. -RRB- Now tell me, `` If your mother was alive, you would n't.'' The poor sheriff finally blows sky - high. He throws open the door. SHERIFF That's it! Out! I do n't need this tonight. Out, Megan! The sheriff gets a CALL over the SHORT - WAVE. Unintimidated by his bellowing, Megan calmly answers it. MEGAN Sheriff's office. -LRB- listens. -RRB-. Can you hold on? He's in the can draining his lizard. SHERIFF GARRIS slams the door and roars toward his precocious daughter. MEGAN -LRB- sweetly into phone. -RRB-. Oh, here he comes now. -LRB- to sheriff. -RRB-. Daddy, it's Rick. The growling sheriff practically rips the receiver out of snickering Megan's hand. SHERIFF -LRB- barking. -RRB- What?! What kinda problem?!",
"EXT. FOREST ROAD Deputy Colone stands outside his squad car. Talking into the mike, he stares fearfully at the VW Bug and Lizbeth's floating corpse in the background. SHERIFF You better get down here. I found what's left of the counselors. Looks like someone did them in using Jason's old M.O.",
"INT. SHERIFF'S OFFICE SHERIFF -LRB- rubbing his face. -RRB- I knew I should've done something about that sonofa. Where are you? -LRB- listens. -RRB-. Right. I'm on my way. Megan grows concerned as her father gathers his things with a deadly urgency. MEGAN What it is? SHERIFF -LRB- trying to control his emotions. -RRB- Not what. who. Seems your boyfriend wants people to believe Jason has returned. MEGAN -LRB- catching him. -RRB- I thought Jason was only a legend? SHERIFF He is. Only Tommy wants to prove the legend is true. -LRB- ordering her. -RRB-. You stay put. And I'm not kidding. Grabbing his rifle, the sheriff rushes out. ANGLE ON MEGAN She stares, wondering what the hell is going on.",
"EXT. FOREST - NIGHT WE TRACK with Jason's filthy boots. He's walking at a faster clip toward his destination. TRACK with Jason's hand holding the razor - sharp machete. DOLLY BACK as Jason's maleficent eyes stare with pure hatred. He keeps coming right at us.",
"INT. SHERIFF'S OFFICE - NIGHT Megan sits alone at the desk. waiting. A large window is right behind her. Bored, she puts her feet on the edge of the desk. She then leans back toward the window, seeing how far back the chair will go and still stay balanced. CIRCLE AND PRESS IN SLOWLY ON MEGAN Tension builds as we move closer to the balancing girl and the window behind her. We stop and wait. SUDDENLY THE PHONE RINGS LOUDLY. It startles Megan, who screams as she pratfalls backwards. ANGLE ON MEGAN Laughing at herself, she gets up and answers the phone. MEGAN Sheriff's office. -LRB- listens. -RRB-. No, I'm sorry, he's not in at the moment. Can I take a message? As she listens, Megan immediately straightens up. MEGAN Oh, hi. I'm Megan, his daughter. Remember, I met you this morning.",
"EXT. PHONE BOOTH - NIGHT Tommy is in a badly sabotaged old phone booth next to a closed gas station. He is illuminated by the LIGHTS of his pickup. TOMMY -LRB- preoccupied. -RRB- Yeah, hi. Listen, I've got to talk to your dad. About Jason. I've got a plan. I need to buy some things first but mainly need help to.",
"INT. SHERIFF'S OFFICE MEGAN Tommy, my father is out looking for you right now. Something happened tonight and he's sure you're responsible. If he finds you, he'll.",
"INT. PHONE BOOTH TOMMY -LRB- interrupting. -RRB- I already have a very good idea what could've happened. -LRB- frustrated. -RRB-. Megan, Jason is out there. He has to be stopped. I'm positive he's heading back to the lake area. He'll keep killing until. MEGAN'S VOICE I'll pick you up. Where are you? TOMMY -LRB- shocked. -RRB- What?",
"INT. SHERIFF'S OFFICE MEGAN -LRB- determined. -RRB- It's the only way. My father will nail you in your car in a second. -LRB- demanding. -RRB-. Where are you?",
"EXT. PHONE BOOTH Tommy looks around for something identifiable. TOMMY Uh. Howie's Service Station and Feed Bag Stop. I think it's. MEGAN'S VOICE -LRB- on phone. -RRB- I know where it is. See you within a half - hour. Hearing her HANG - UP, Tommy does the same and exits the booth. ANGLE ON TOMMY He looks around, shivers and zips up his jacket. He's worried about involving Megan in this. He's worried for himself.",
"EXT. DARK WOODS - NIGHT Out of the foggy shadows, an evil spectre emerges into the moonlight. JASON. He stares. JASON'S P.O.V.",
"EXT. CAMP FOREST GREEN The renovated campsite looks quite peaceful and calm before the. ANGLE ON JASON He cocks his head, not quite sure why it looks so different. But it feels like home. With machete in hand, he proceeds into the camp ground.",
"EXT. FOREST ROAD - NIGHT A grossly bloody sheet. It covers a corpse that is lifted into an ambulance. As we PULL BACK, Sheriff Garris and TWO OTHER OFFICERS when in disgust. The sheriff suddenly turns and heads for the patrol cars. Officers PAPPAS and THORNTON follow behind. SHERIFF -LRB- controlling his rage. -RRB- I want all officers, all units and stations within a fifty - mile radius alerted about this wacko kid. OFFICER PAPPAS Yes, sir. SHERIFF You have his vehicle description. I want roadblocks on. DEPUTY'S VOICE -LRB- yelling from distance. -RRB- Sheriff! Get over here!",
"EXT. WOODS ANGLE ON SHERIFF He takes off into the woods toward his deputy's voice. SHERIFF'S P.O.V.. We MOVE rapidly through the maze of trees and brush. MOVING SHOT - CLOSE ON SHERIFF He heads towards us, searching for the deputy. DEPUTY'S VOICE Sheriff, over here! SHERIFF'S P.O.V.. We TURN and HEAD FOR Deputy Colone waving a flashlight at us. ANGLE ON SHERIFF AND DEPUTY Running up to his ashen - faced deputy, Sheriff Garris looks down at what Rick holds out. INSERT - DEPUTY'S HAND A pair of blood - splattered glasses. We recognize them as once belonging to Roy, the last remaining survival hunter. BACK TO SHERIFF AND DEPUTY The sheriff looks at him. SHERIFF Is that all you found? DEPUTY I wish it was. He shines his flashlight at the ground. A SEVERED MAN is illuminated before us. It wears an Army fatigue sleeve. We FOLLOW the light over a couple of yards to a HACKED - OFF LEG, also in fatigues. CLOSER ON LAWMEN Both keep staring stoically down at the body parts. SHERIFF Better get out the Hefty Bags. Looks like our boy desperately wants us to believe his story. DEPUTY He sure chose the right day to pull this shit. SHERIFF Whaddya mean? DEPUTY -LRB- cryptically. -RRB- Happy Friday the 13th. The sheriff slowly looks over at him in utter disbelief.",
"EXT. CAMP FOREST GREEN - NIGHT CLOSE ON TELEPHONE CORD ON CABIN WHACK! The machete blade cuts the phone cord in half. ANGLE BEHIND JASON He stares at his handiwork, then heads towards the lit and open window.",
"INT. COUNSELOR'S CABIN Paula has fallen asleep on her bed. The phone is right next to her. SISSY is wearing headphones, listening to her Walkman. She sits on her bed, ogling through the pages of a `` PLAYGIRL'' magazine. OVER SISSY'S SHOULDER The magazine is filled with beefcake - posing guys. She is practically drooling on the pages. In the background, a figure quickly passes by the open window. CLOSE ON SISSY The movement catches her eye. She cranes her head to look. WIDER Taking off the ROCK'N' ROLL BLARING headphones, Sissy shuts off her Walkman. She walks over to the window and looks out.",
"EXT. WINDOW Sissy, framed by the open window, surveys the area. HER P.O.V. All is still and motionless in the campgrounds. CLOSE ON SISSY A bit perplexed. She knows she saw something. She starts to turn away, when the SOUND of LEAVES CRUNCHING underfoot is HEARD. She sticks her head out the window. She tries to sound authoritative. SISSY All right, who's out there? PAULA stirs and awakens halfway. PAULA -LRB- sleepily. -RRB- What's goin' on? ANGLE ON SISSY SISSY -LRB- a bit nervous. -RRB- I think somebody's messin' around out there. Paula smirks, rolls over, and closes her eyes. PAULA It's got ta be Cort. He loves to scare people. -LRB- falling asleep. -RRB-. Teach him a lesson. BACK TO SISSY She HEARS FOOTSTEPS right below the window. She thinks, then breaks into an impish grin, seeing something. Sissy quietly tiptoes over to the table and picks up her half - consumed can of `` Cherry Coke.'' MOVING SHOT Sissy, trying not to laugh, sneaks back to the window. She crouches down, then extends the can outside. CLOSE ON CAN Her hands turn it over and sticky `` Cherry Coke'' pours down on her victim. We HEAR IT HITTING SOMEONE. ANGLE ON SISSY Quickly she withdraws the can and jumps back from the window. Expecting a response, she is surprised not to get one. Stifling a laugh, she creeps back toward the window. DOLLY IN - SLOWLY FOLLOWING SISSY Tension mounts as she reaches the frame and tentatively peers over it. SHOCKINGLY, JASON SPRINGS UP AND GRABS HER. PROFILE ANGLE - ON WINDOW Bottom half of Sissy's body is WHIPPED VIOLENTLY OUT THROUGH THE WINDOW. PAULA AWAKENS just as Sissy's legs fly out through the window. PAULA -LRB- groggy. -RRB- Hey, you guys. Try got to wake the kids. Paula listens. She HEARS a STRUGGLE, a WHOOSH, a THUMP, then SILENCE. She snickers once again, then falls back into dreamland.",
"EXT. PHONE BOOTH - NIGHT Megan's orange Camaro SCREECHES UP. We FOLLOW as she jumps out and is met by Tommy. TOMMY -LRB- adamantly. -RRB- I'm gon na borrow your car. You ca n't do this with me. It's much too dangerous. She looks past him at his pickup. MEGAN And you ca n't leave that truck out in plain sight. Talk about dangerous. Tommy turns around to look. TOMMY What? MEGAN Hide it behind the gas station. Then we can get the hell out of here. He turns back to her. TOMMY -LRB- irritated. -RRB- Look, this is n't a game. You're not going with me. I'm already responsible for causing the death of. Megan cuts him off. MEGAN -LRB- quickly. -RRB- Did n't you say you needed some supplies to do this? TOMMY Uh. yes. But. MEGAN -LRB- firmly. -RRB- Then let's get goin'. We can argue on the way. You tell me what you need. -LRB- with a sly smile. -RRB-. I'll make sure you get in. She heads toward her LOUDLY PURRING Camaro. MEGAN And nobody drives this baby but me. -LRB- pointing. -RRB-. Now get that pickup hid and let's boog. ANGLE ON TOMMY There is n't much he can say. With an exasperated sigh, he runs to move his truck.",
"INT. GIRL'S DORMITORY CABIN - NIGHT SLOWLY we TRACK along a row of sleeping children. Each has her own unique position of slumber. We PULL BACK to reveal her large windows just above them beaming in moonlight. JASON'S SILHOUETTE CARRYING SISSY'S HEADLESS CORPSE PASSES. ON THE OPPOSITE WALL We FOLLOW Jason's evil shadow as it crosses more sleeping kids. When it falls across little Nancy, her half - open eyes flash open! She sits up in wide - eyed fear as we rapidly PRESS IN on her.",
"EXT. FOREST ROAD - NIGHT Megan's hot Camaro jets down the road, kickin' up dust.",
"INT. MEGAN'S CAR Tommy shoots Megan a look. TOMMY -LRB- dryly. -RRB- Can this tub go any faster? She returns a flirtatious grin. MEGAN -LRB- self - assured. -RRB- You got it. Just keep an eye out for roadblocks. TOMMY -LRB- looking ahead ; deadpan. -RRB- Okay. There's one. THEIR P.O.V. - THROUGH WINDSHIELD As they round the bend, two police cars with lights a - flashin' are blocking the road.",
"EXT. FOREST ROAD Megan's car SKIDS to a stop.",
"INT. MEGAN'S CAR Tommy looks at the temperature Megan for a plan. She delivers. Grabbing his head, she pulls it down onto her lap. MEGAN -LRB- forcefully. -RRB- Get down. CLOSE ON TOMMY'S FACE He stares bug - eyed as he confronts her tight - jeaned crotch. INSERT - GEARSHIFT She slams it into reverse.",
"EXT. FOREST ROAD The orange bomber ROARS backwards down the road. THE TWO POLICE CARS spring into action and give chase.",
"INT. POLICE CAR Pappas, the very good - looking one of the two officers seen earlier, calls it in! OFFICER PAPPAS -LRB- into mike. -RRB- Unit 45, Officer Pappas to Sheriff Garris. Do you copy?",
"INT. SHERIFF'S CAR The distressed sheriff answers the call. SHERIFF -LRB- into mike. -RRB- Yeah, I'm here. What? OFFICER PAPPAS' VOICE -LRB- over radio. -RRB- Got a different vehicle that just turned tail seeing us. Saw somebody duck down. SHERIFF Got a description or plates? OFFICER PAPPAS' VOICE The whole enchilada. It's an'82 orange Camaro, license.",
"EXT. FOREST ROAD Megan's car back quickly into a turnoff, then PEELS OUT full steam ahead!",
"INT. POLICE CAR Officer Pappas is just finishing the vehicle's description when the sheriff explodes : SHERIFF'S VOICE -LRB- over radio. -RRB- Son of a shittin' bitch! That's my daughter's car! OFFICER PAPPAS -LRB- nervous. -RRB- How should we proceed, sir?",
"INT. SHERIFF'S CAR SHERIFF -LRB- beside himself emotionally. -RRB- With extreme car, for God's sake. If that kid is with her, there's every good chance he'll do something crazy.",
"INT. MEGAN'S CAR CLOSE ON TOMMY'S FACE STILL ON HER LAP TOMMY -LRB- to Megan. -RRB- Please do n't do anything crazy. ANGLE ON MEGAN She drives like a hellcat trying to lose the pursuing cops. MEGAN I know what I'm doing. I got your supplies for ya, did n't I? Now if I can get to Cunningham Road, I can lose them. -LRB- Tommy starts to sit up. -RRB-. Just stay where you are. BACK TO TOMMY He puts his head back down and stares at the view. TOMMY -LRB- deadpan. -RRB- Whatever you say.",
"EXT. FOREST ROAD OVERHEAD SHOT - ON ROAD Megan's car ROARS by, immediately followed by the two police cars. CAMARO'S P.O.V. Headlights illuminate the windy path we TRAVEL. Enormous trees stand dangerously close to the curved road.",
"INT. MEGAN'S CAR TIGHT ON MEGAN Our strong - willed heroine is determined to reach her destination.",
"EXT. FOREST ROAD The Camaro fires past us. One cop car, then the other, follow suit. All three vehicles' tires SQUEAL on the hazardous curves.",
"INT. MEGAN'S CAR ANGLE ON TOMMY Megan's wild driving causes his head to roll around in her lap. He tries to be discreet about where it keeps landing. MEGAN -LRB- O.S. -RRB- That's what I want. Tommy registers surprise. CLOSE ON MEGAN What she sees ahead has her beaming with confidence. MEGAN'S P.O.V. - OUT WINDSHIELD Two signposts are seen. One reads `` Cunningham Road,'' the other `` Camp Forest Green'' with an arrow pointing right. BACK TO MEGAN MEGAN This is gon na be a hairy turn. Grab ahold of something. ANGLE ON TOMMY He looks up at her with a look of `` you got ta be kidding.'' MEGAN'S P.O.V. - OUT WINDSHIELD Her car SCREAMS around the turn onto Cunningham Road. SHOCKINGLY, HER FATHER AND HIS CAR ARE WAITING IN THE DARK FOR THEM. The deputy and his car are right behind the sheriff. Both have their rifles aimed and ready.",
"EXT. FOREST ROAD Megan's car barely has enough room to brake. The Camaro fishtails to a stop. The sheriff remains stock - still, not flinching at all. PRESS IN - ON SHERIFF With a deadly cool, her orders his daughter : SHERIFF Megan, step out of the car! ANGLE ON MEGAN - THROUGH WINDSHIELD She stares in horror at her father. She's never seen him point a gun at her. But then again she's never pulled a stunt like this. Megan then looks down at her feet.",
"INT. MEGAN'S CAR ANGLE DOWN - ON TOMMY He is sprawled across the floorboard, his face between Megan's feet. He stares at her in utter dread. MEGAN It's all over. TOMMY -LRB- shaking his head. -RRB- It's just beginning.",
"EXT. CAMP FOREST GREEN - NIGHT SUBJECTIVE MOVING CAMERA We HEAD across the campgrounds toward the counselors' cabin. Climbing the steps, we slowly open the door.",
"INT. COUNSELOR'S CABIN Paula is sound asleep. The SOUND of the DOOR OPENING causes her to stir. SUBJECTIVE MOVING CAMERA We CONTINUE through the door into the cabin. Looking around, we spot the sleeping counselor. We HEAD for her. PRESS IN - ON PAULA Tension builds as we stare at the restless girl. Sensing someone over her, Paula opens her eyes. She gasps! PAULA'S P.O.V.. A bloody machete is held out before us. WIDER Little Nancy stands over Paula, holding the machete. NANCY I ca n't sleep, Paula. I'm scared. I saw someone at the window and. Paula sits up quickly and grabs the disgusting machete. PAULA -LRB- interrupting. -RRB- Where'd you get this? NANCY -LRB- pointing. -RRB- I found it outside. Paula does n't know what to think. Looking around the cabin and not seeing anyone, she draws some rapid conclusions. PAULA -LRB- trying to sound comforting. -RRB- You know what? Sissy and Cort are playing jokes. You know, trying to scare each other. NANCY -LRB- innocently. -RRB- Why? PAULA Well, grown - ups think it's funny to be scared. NANCY -LRB- confused. -RRB- Are they grown - ups? PAULA That's debatable. NANCY -LRB- more confused. -RRB- Huh? Paula shakes her head, puts the machete down on the floor, and stands up. PAULA Never mind. -LRB- looks at watch. -RRB-. Is it that lake already? She grabs the phone and starts to dial. PAULA I ca n't believe no one called back. I better. NANCY Who ya calling? PAULA realizes the child does n't need to hear this conversation. She hangs up. PAULA Why do n't we first try and find Sissy and Cort, then you can go to sleep. She takes Nancy's hand and they head for the door. NANCY -LRB- worried. -RRB- But what if they try and scare us? PAULA -LRB- playfully. -RRB- We'll scare'em right back. Nancy giggles with delight. They exit the cabin door.",
"EXT. CAMP FOREST GREEN Paula leads Nancy down the steps. She makes a game out of quietly sneaking around, looking for the missing counselors. For the child, this is fun. WITHOUT WARNING, JASON'S MASKED FACE IS BEFORE US. A STING accompanies this SHOCK CUT. OVER JASON'S SHOULDER In the dark shadows, Jason watches the two giggling girls. He waits for his moment. For Jason, this is fun.",
"INT. SHERIFF'S OFFICE - NIGHT COMPOSITE MASTER - BEGIN CLOSE ON SHERIFF SHERIFF -LRB- adamantly. -RRB-. And I said, shut up! PULL BACK AND PAN TO INCLUDE MEGAN MEGAN -LRB- just as adamant. -RRB- All he's asking is for you to check it out. WIDEN TO SEE TOMMY IN CELL BEHIND TOMMY TOMMY -LRB- pleading. -RRB- You got me where you want me. There's no reason not. TIGHTEN AS SHERIFF STOMPS TOWARD HIM SHERIFF -LRB- restraining his rage. -RRB- If I had you where I really wanted you, they'd be pumping your ass full of formaldehyde. MEGAN STEPS BETWEEN THEM MEGAN Ca n't you at least call the camp and make sure everything's all right? SHERIFF -LRB- snapping at her. -RRB- We have! Trying to track you down. The phone there is disconnected. TOMMY Does n't that tell you something?! SHERIFF Yeah. They should've paid their bill. In the background we HEAR a CALL coming in on the radio. Deputy Colone is HEARD answering it. The sheriff points at Tommy. SHERIFF -LRB- icy hatred. -RRB- You just sit tight, Jason. Once the authorities from Carpenter get here, you'll. DEPUTY -LRB- O.S. -RRB- -LRB- interrupting ; urgent. -RRB- Sheriff, you better take this. We TRACK with the sheriff over to the deputy on the radio headset. SHERIFF -LRB- taking the call. -RRB- Sheriff Garris. -LRB- as he listens, he reacts to the horrible news. -RRB-. Approximately what time? -LRB- he glares in Tommy's direction. -RRB-. I'll be right there. We FOLLOW the sheriff as he grabs his coat and hat to leave. Megan runs up to him. MEGAN What? What happened?! Her father looks past her to his deputy. SHERIFF -LRB- coldly. -RRB- Rick. Keep and eye on our wacko kid. I'll be back as soon as I can. MEGAN -LRB- insistent. -RRB- Daddy, what is going on? SHERIFF -LRB- to Rick. -RRB- And make sure my daughter stays put. -LRB- looking at Megan. -RRB-. She's grounded. Megan steps in his path as he turns to go. She pushes against his chest as hard as she can. MEGAN -LRB- exploding. -RRB- Tell me! The sheriff immediately raises his hand to strike her. Then, quickly controlling himself, he grabs her by the shoulders. SHERIFF -LRB- clenching teeth. -RRB- They just found your friend Cort and some girl. She was brutally strangled, and Cort. he had a knife rammed through his skull. Megan shakes her head in disbelief. MEGAN No. No, it's not. SHERIFF Yes, Megan. Tommy Jarvis is a killer. A very deranged boy who wants you to believe that. ANGLE ON TOMMY TOMMY Jason did do it. I swear! Sheriff, when were they murdered? BACK TO MEGAN AND SHERIFF He disregards Tommy's question and stares at his daughter with sincere concern. SHERIFF For God's sake, stat away from him. Please, Meggie. As he starts again to leave, Megan, still in shock from the news, grabs her father's arm. MEGAN -LRB- intensely. -RRB- Dad. What time were they murdered? The sheriff hesitates, not wanting to answer. Somehow it blurts out : SHERIFF They think somewhere around 8:30 or 9:00. MEGAN steps right up to her father. MEGAN I was with Tommy all that time. CLOSE ON SHERIFF This obviously hits him on more than one level. He masks his reaction, turns, and heads for the door. SHERIFF Rick, I'll call you when I get there. He exits and slams the door. MEGAN with sorrowful eyes, looks back at Tommy. TOMMY slams both fists against the bars. TOMMY Damn.",
"INT. GIRL'S DORMITORY CABIN - NIGHT Paula and Nancy are tiptoeing, trying not to awaken the other children. Reaching little Nancy's bed, Paula tucks her in snugly. She crouches next to the child. PAULA -LRB- whispering. -RRB- I'm sure Cort and Sissy are back in their cabins. So you just go back to sleep and do n't worry. NANCY But what I get scared again? PAULA -LRB- whispering. -RRB- Shhh. You know what I used to do when I was a little girl when I got scared? Nancy shakes her head timidly. PAULA -LRB- whispering. -RRB- I would close my eyes and say a little prayer. And pretty soon, you know what? Everything scary went away. -LRB- reassuringly. -RRB-. It worked for me. I'll bet it'll work for you too. She kisses the child's forehead. PAULA -LRB- lovingly. -RRB- Good night. See ya in the morning. REVERSE ON PAULA As she stands up, we see JASON GLARING AT THEM THROUGH THE WINDOW. Paula smiles tenderly at Nancy. PAULA'S P.O.V. Nancy smiles back at her, rolls over, and closes her eyes. TRACKING SHOT - ON PAULA She begins to quietly head for the door. JASON FOLLOWS RIGHT ALONG OUTSIDE FROM WINDOW TO WINDOW.",
"EXT. CAMP FOREST GREEN Paula exits the dormitory door as silently as possible. She looks around the area, still very concerned about her companions. PAULA'S P.O.V.. A gently breeze is blowing away the evening fog. The trees and brushes seem to shiver nervously. PRESS IN - ON PAULA as she slowly descends the steps. Somehow she can sense her deadly face. Paula looks around again, then hurries toward her cabin. WIDE ON SCENE Paula races across the camp to the counselor's cabin. MOVING SHOT - OVER HER SHOULDER She rushes up the cabin steps and finds the door closed. She seems relieved. PAULA Sissy?",
"INT. COUNSELOR'S CABIN As Paula enters, she is disappointed to find it empty. TIGHTEN ON PAULA She hurries to the phone and starts dialing. For the first time, she realizes the phone is dead. Her frustration turns to alarm when she notices something at her feet. PAULA'S P.O.V.. THE MACHETE SHE LEFT ON THE FLOOR IS GONE. BLOODY STAINS ON THE FLOOR MARK WHERE IT HAD LAIN. PAULA hears a NOISE and turns to look. ANGLE ON OPEN DOOR It moves a bit. Was it the wind or is someone behind it? MOVING SHOT - ON PAULA Not sure if it's a joke or her imagination, Paula slowly heads towards it. Tension mounts. Just as she reaches it, she slowly extends her hand to grab the knob. SUDDENLY, THE WIND BLOWS IT TOWARD HER. She backs up. It slams shut. No one, of course, is there. She giggles at herself and reopens the door. JASON IS RIGHT THERE IN THE DOORWAY. TIGHT ON PAULA'S GASPING FACE TIGHT ON JASON'S MACHETE AS IT ADVANCES",
"EXT. CAMP FOREST GREEN A few yards from the cabin, we watch as Jason quickly lunges at Paula and SLAMS the door, MUFFLING her SCREAM.",
"INT. SHERIFF'S OFFICE - NIGHT Deputy Colone is hunched over his desk, doing what he hates most. filling out reports. He glances up at Tommy, then over at Megan. Satisfied, he returns to his shitwork. ANGLE ON MEGAN Seated across the room, she appears to be idly sketching something on a large pad. TOMMY sits on his jail cot, head in hands, hopeless. MEGAN looks up at the deputy, then over at Tommy. CLOSE ON TOMMY He glances up at her. OVER MEGAN'S SHOULDER - ON TOMMY She holds up the sketch pad for him to read. As she does, his eyes widen, amazed at what she's written. He mouths `` Are you sure?'' as she lowers the pad. TIGHT ON MEGAN She nods a strong affirmative. WIDE ON SCENE Tommy gets up off his cot and stretches nonchalantly. He eyes the deputy, then Megan. She flips a page over, and starts to really sketch. TOMMY So what are ya drawin'? MEGAN What's it to ya? THE DEPUTY looks up, irritated by the noise. DEPUTY Hey, pipe down, Jarvis. TOMMY grabs the cell bars. TOMMY I was just curious about what she was drawin'. MEGAN holds it up for Tommy to see. MEGAN -LRB- sarcastic. -RRB- There. Ya happy? TOMMY No. MEGAN Why? TOMMY'Cause it stinks. Megan throws the sketch pad at him. It bounces off the bars. ANGLE ON TOMMY He reaches down, grabs it, and pulls it into his cell. MEGAN stands up defiantly. MEGAN Okay, give it back. TOMMY -LRB- slyly. -RRB- Come and get it. ANGLE ON DEPUTY This is really getting him pissed. He gets up. DEPUTY Bastard. Megan, I'll get in. MEGAN is already in front of the wall. She reaches through the bars for the pad. MEGAN Give it to me, punk. TIGHT ON TOMMY AND MEGAN Suddenly he grabs her arm, pulls her to the bars, and starts kissing her passionately. The more she struggles, the tighter he envelopes her. MOVING SHOT - ON DEPUTY He races across the room. Awkwardly, he grapples to separate them. INSERT - DEPUTY'S REVOLVER As they battle, Megan's hand secretly reaches down and pulls the gun from the deputy's holster. ANGLE ON GROUP Megan allows herself to be torn from Tommy's embrace. The angry deputy reaches at Tommy, who backs away into the cell. DEPUTY You stinkin' maggot, I oughta! MEGAN -LRB- O.S. -RRB- -LRB- demanding. -RRB- Let him out of there. PRESS IN - ON DEPUTY As he turns to face Megan, a red laser dot appears on the tip of his nose. DEPUTY P.O.V. Megan points the laser - scoped revolver right at us. She definitely means business. TIGHT ON DEPUTY He chuckles in disbelief. DEPUTY Come on, Megan, do n't clown around. MEGAN holds the gun dead - steady. MEGAN I ai n't the one with the funny red nose. Open the cell and exchange places. with him. -LRB- she cocks the trigger. -RRB-. Now. ANGLE ON DEPUTY AND TOMMY The boy moves up behind him and reinforces the seriousness of the situation. TOMMY -LRB- enjoying this. -RRB- Better do as she says,'cause. wherever the red dot goes, a bullet is sure to follow. The deputy reluctantly removes his keys and turns toward Tommy. DEPUTY -LRB- furiously. -RRB- You brainwashed her, you sonofabitch? MEGAN breaks into a cocky smile, and answers for him. MEGAN Yeah, something like that.",
"EXT. SHERIFF'S OFFICE - NIGHT Tommy and Megan fly out the door and race toward the Camaro. TOMMY Got the keys? MEGAN reaches under the car and quickly withdraws a tiny box. MEGAN No, he took'em. But I got my Hide - a - Key. TOMMY rushes up and grabs it from her. TOMMY Sorry, Megan. Not this time. MEGAN -LRB- pissed. -RRB- Wait a minute. I just. TOMMY -LRB- determined. -RRB- I thank you for getting me out. But I got ta finish what I started. MEGAN stares defiantly at him as she opens the driver's door and gets in. She suddenly slides over to the passenger's seat. MEGAN Well, come on, hot lips, let's go. You drive, I'll navigate. ANGLE ON THEM IN CAR Tommy throws up his hands, then climbs in. The car starts up and ROARS down the street.",
"INT. GIRL'S DORMITORY CABIN JASON PATROLS THE CHILDREN'S CABIN. Slowly and menacingly, he walks by the sleeping youngsters. TRACKING ALONG BED - ON LITTLE GIRLS Slumbering soundly, they have no awareness of the monster at the edge of their beds. JASON reaches the end of the dormitory. With his back to us, he stops, senses something, and whips around. TIGHT ON JASON'S MASKED FACE He glares at someone with evil intent. PRESS IN WHILE ZOOMING OUT - ON NANCY The terrified child's eyes peek from under the sheet. She ai n't dreaming. This monster is real. WIDER Jason stands and stares at Nancy at the other end of the cabin. He then stalks her.",
"EXT. CAMP FOREST GREEN - NIGHT SHERIFF GARRIS' CAR PULLS ONTO THE CAMPSITE Another patrol car, with Officer Pappas and Thornton, pulls up behind it. The wind is getting stronger as it whips through the trees.",
"INT. GIRL'S DORMITORY CABIN JASON STANDS OVER NANCY'S BED! The child is frozen in pure terror. She ca n't even cry out. NANCY'S P.O.V. Slowly, Jason's masked face descends toward us. MOVING SHOT - DOWN TOWARD NANCY The child squeezes her eyes shut and begins to pray, very quickly : NANCY -LRB- whimpering. -RRB- Now I lay me down to sleep, I pray the Lord my soul to keep. JASON'S FACE COMES CLOSER AND CLOSER NANCY -LRB- voice quavering. -RRB-. If I should die before I wake, I pray the Lord my soul to take. Now I lay me. etc.. ANGLE ON JASON AND NANCY Jason HEARS the CAR DOOR SLAM outside. His face turns toward the noise. He immediately heads for it. DOLLY IN - ON NANCY AS JASON LEAVES With her eyes still tightly shut, she continues to pray, unaware that her monster has gone.",
"EXT. CAMP FOREST GREEN Sheriff Garris surveys the campgrounds suspiciously. The two officers approach him. OFFICER THORNTON So what's the story here? SHERIFF Why do n't you boys nose around. I got ta go break the news to Megan's friends about what's happened. Holler if you see anything. OFFICER PAPPAS Like what? SHERIFF heads for the lit counselor's cabin. SHERIFF Anything that do n't belong. And do n't wake the kids. WIDE ON SCENE The two officers take out their flashlights. They spread out and scan the area. The RAGING wind causes everything to WHISTLE and move.",
"INT. COUNSELOR'S CABIN ANGLE ON CLOSED DOOR KNOCKING is HEARD on it. SHERIFF Girls? It's Sheriff Garris. Slowly he opens the door and sticks his head in. PRESS IN SHOCKINGLY - ON HIS FACE He is horrified! The entire room is SPLATTERED WITH BLOOD. It drips from the ceiling and streaks down the walls. BACK TO SHERIFF Quickly, he bolts out of the room.",
"EXT. CAMP FOREST GREEN The sheriff races down the steps and heads for the children's dormitories.",
"EXT. LAKE FOREST GREEN - BOAT LANDING - NIGHT Officer Thornton's flashlight scans the two boats along the small dock. Nothing unusual here. ANGLE ON SHADOWED WOODS Although we ca n't see anyone in the WIND - RUSTLED bushes, we sense Jason is watching the lone cop. TIGHT ON JASON'S COMMANDO BELT His hand withdraws a long, razor - sharp devil dart. ANGLE ON OFFICER With his back to us, the unsuspecting cop concludes his search of the landing and turns around. His flashlight now focuses on the woods before him. PAN ACROSS SHADOWED WOODS We FOLLOW the flashlight beam as it surveys the windswept area. JASON IS ILLUMINATED! He raises up the sinister dart. TIGHT ON OFFICER Recognizing a weapon in this prowler's hand, he goes for his revolver. CLOSE ON JASON'S ARM With supernatural strength, he throws the deadly projectile at us. ANGLE ON OFFICER Before he can pull his gun, THE DEVIL IMPALES ITSELF DEEP INTO HIS FOREHEAD. The force of it sends him reeling back. THE TARP - COVERED BOAT Officer Thornton's body falls into it. His lifeless eyes stare up at the sky. The dart extends from his third eye.",
"INT. BOY'S DORMITORY CABIN SHERIFF'S P.O.V.. A row of sleeping boys stacking Z's in their cots. ANGLE ON SHERIFF Standing in the doorway, the sheriff quietly closes the door.",
"EXT. CAMP FOREST GREEN - NIGHT The panicked sheriff now rushes across to the girls' dorm.",
"INT. GIRL'S DORMITORY CABIN As silently as possible, he opens the door and peeks it. He carefully surveys all the slumbering occupants. The sheriff suddenly registers alarm. SHERIFF'S P.O.V. All the girls are nestled contentedly in their beds. except one. The covers have been kicked off and her pillow lies on the floor. Little Nancy is missing.",
"EXT. FOREST ROAD - NIGHT The orange speed - demon Camaro rockets past us.",
"INT. MEGAN'S CAR Megan, sitting shotgun, stares open - mouthed at Tommy. MEGAN -LRB- sarcastically. -RRB- Let me know when you're about to blast into hyperspace. I'll fasten my seat belt. TOMMY drives like a man possessed. TOMMY I got a bad feeling we're already too late. Megan glances back at the large sack in the rear seat. She reaches over and looks in at his supplies doubtfully. MEGAN Are you sure this is gon na work? I mean, why did n't we bring that gun and just blast him away? ANGLE ON BOTH TOMMY It probably would n't have any effect on him. The only sure way to stop Jason is to return him to his original resting place, where he drowned in 1957. MEGAN Lake Forest Green? TOMMY -LRB- nods, then corrects her. -RRB- Crystal Lake. where the nightmare began.",
"EXT. LAKE FOREST GREEN - NIGHT The infamous lake is churning in the moonlight. RACK FOCUS as Officer Pappas steps before us. It's apparent that he's getting tired of searching for God - knows - what. TRACK WITH OFFICER His flashlight scans the windblown, vibrating bushes. Suddenly, FOOTSTEPS are HEARD on the other side of the bushes. ANGLE ON OFFICER He stops abruptly and strains to listen. Tentatively, he creeps toward the bushes. OFFICER'S P.O.V.. We HEAD toward whatever is hiding behind the trembling shrubbery. ANOTHER ANGLE - ON OFFICER PAPPAS Reaching the brushes, he calls out : OFFICER PAPPAS Alright, come out of there! ANGLE ON BUSHES No reply. BACK ON OFFICER He draws his revolver and aims it. He knows someone's there. OFFICER PAPPAS I'm askin' you one more time. come out of there! Still no response. MOVING SHOT - FOLLOWING OFFICER With his gun held before him, the nervous officer goes for a closer look. TIGHT ON HIS FACE Tension builds as he comes closer. RESUME ON MOVING SHOT - FOLLOWING HIM He is almost to the bushes. WITHOUT WARNING, SOMEONE DIVES BEFORE US AND ATTACKS HIS LEG. He gasps aloud. ANGLE ON OFFICER AND NANCY The frightened child holds on to Pappas for dear life. He catches his breath, then crouches down next to her. OFFICER PAPPAS -LRB- kindly. -RRB- Hey, hey, what are you doing running around out here? Now you get back to bed. She squeezes his leg even tighter. NANCY -LRB- terrified. -RRB- No. There's a scary man. The good - looking officer smiles with amusement. OFFICER PAPPAS What scary man? JASON EXPLODES OUT OF THE BUSHES. NANCY RUNS SHRIEKING TOWARD THE CAMP. OFFICER PAPPAS OPENS FIRE ON JASON. THE BULLETS PENETRATE HIS CHEST, BUT HE KEEPS COMING. ANGLE ON OFFICER Suddenly Jason is before him. His powerful hand reaches out and grabs the officer's SCREAMING face. TIGHT ON OFFICER'S FACE JASON'S FINGERS DIG IN TO THE COP'S SKIN. HE YANKS DOWN, LITERALLY RIPPING THE SKIN OFF HIS SKULL. A BLOODY GRINNING SKULL STARES AT US FOR A MOMENT, THEN DROPS FROM VIEW.",
"EXT. CAMP FOREST GREEN - NIGHT THE SHERIFF'S CAR DOOR is thrown open. The sheriff reaches in and quickly pulls out his shotgun. WIDER Leaving the door open, he sprints across the camp towards the gunshots. MOVING SHOT - ON SHERIFF As he rounds the corner of a cabin, Nancy comes SCREECHING toward him. He catches the child and attempts to comfort her. SHERIFF Hold on. Take it easy. I got you. Everything is fine. ANGLE ON SHERIFF AND NANCY As he hugs her, he looks up at the boys' dormitory cabin. SHERIFF'S P.O.V. All the children are pressed against the windows, staring down terrified. WIDER Quickly, the sheriff picks Nancy up and heads for the cabin.",
"INT. BOY'S DORMITORY CABIN Sheriff Garris bursts into the cabin. All the girls have gathered in the boys' cabin for safety. He puts little Nancy down and addresses the petrified youngsters. SHERIFF Kids, listen to me very carefully. I want everyone to lie down on the floor and stay there. Do not get up until I come back. Now hurry. VARIOUS SHOTS OF KIDS HITTING THE FLOOR Some cover their heads, others crawl under the cots.",
"INT. CAMP FOREST GREEN - NIGHT The sheriff runs out of the children's cabin, securing the door behind him. TIGHT ON SHOTGUN IN HIS HANDS He pumps the weapon as he walks. ANGLE UP - ON SHERIFF - DOLLYING BACK With stern vigilance, he storms toward his objective. SHERIFF GARRIS arrives in the area behind the cabins near the lake. There is no one to be found. The savage wind whips the trees and bushes, causing the sheriff to twitch at every movement. ANOTHER ANGLE Slowly, he turns and heads into the shadowed area between the cabins. MOVING SHOT - ON SHERIFF With the shotgun held before him, he walks tensely through this dark passage. TIGHT ON HIS FACE The sheriff's eyes dart nervously, straining to see in the near blackness. Suddenly, he trips and falls from view. ANGLE ON SHERIFF FALLING Rapidly, we TILT DOWN as he slams down on Officer Pappas' corpse. THE SHERIFF'S FACE LANDS PRESSED AGAINST THE GROTESQUE BLOODY SKULL. Horribly repulsed, he scrambles to his feet. THE SHERIFF stands up, turns, and JASON IS WAITING RIGHT THERE. WIDER Quickly, he backs away from this masked spectre of evil. Then they both stands motionless for a long time, sizing each other up. LOW ANGLE - ON JASON He decides to make the first move. He lunges forward. LOW ANGLE - ON SHERIFF Instantly, he raises the shotgun and BLASTS Jason with both barrels! ANGLE ON JASON'S TORSO A hole is ripped out of Jason's side! DOLLY BACK - ON JASON IT DOES N'T FAZE HIM AT ALL. HE KEEPS COMING. DOLLY TOWARD THE SHERIFF Shocked beyond belief, the sheriff drops the rifle and pulls out his.357. Backing up, he empties the chamber into the stalking ghoul. ANGLE BEHIND JASON As he advances on the firing sheriff, we see THE BULLETS EXITING FROM JASON'S BACK. TIGHT ON JASON CLOSING IN All this is only making him madder. TIGHT ON TERRIFIED SHERIFF His gun CLICKING empty, he has but one option left. He takes it. The sheriff turns and runs like hell toward the woods! JASON IS RIGHT BEHIND.",
"EXT. CAMP FOREST GREEN - NIGHT Megan's Camaro roars into the campsite next to the police cars. Megan jumps out and looks around for her father. Tommy grabs the heavy sack from the back seat. MEGAN -LRB- excited ; pointing at cars. -RRB- They did show up. Is n't that great? TOMMY -LRB- worried. -RRB- I hope so. MEGAN sees the lights on in the counselors' cabin. She rushes toward it. TOMMY Megan, wait! ANGLE ON COUNSELORS' CABIN Megan dashes up the steps and throws the door open. She SCREAMS in horror at the blood - spattered room. She turns and runs toward the dormitories. MEGAN Dad! Daddy! TOMMY lugging the heavy sack, chases after her. TOMMY No, Megan!",
"EXT. WOODS - NIGHT Through the violently windblown forest dashes our `` formerly macho'' sheriff. Primal instincts tell him only one thing. save your own ass. He runs for his life. JASON continues his pursuit of the lawman.",
"INT. BOY'S DORMITORY CABIN Megan BURSTS in through the door! All the kids SCREAM. She quickly scans the room. MEGAN'S P.O.V. Petrified little faces stare up at her from the floor. ANGLE ON MEGAN She hurries into the cabin. MEGAN It's okay. It's me - Megan. Do n't be afraid. NANCY AND A COUPLE OTHER KIDS run over and hug her for security. MEGAN -LRB- trying to sound calm. -RRB- It's all right. Shhh - hh. ANGLE ON DOORWAY Tommy looks in and is relieved to see they're all right. He quickly turns and runs back down the steps.",
"EXT. LAKE FOREST GREEN - BOAT LANDING - NIGHT Tommy races from the campsite toward the dock, lugging the heavy satchel. ANGLE ON TOMMY Reaching the landing, he starts to board one of the two boats. TIGHT ON TOMMY He recoils in horror. TOMMY'S P.O.V.. The murdered cop, Officer Thornton, lies in the rowboat. His dead eyes glare right at us. Blood flows from the impaled dart in his forehead. BACK TO TOMMY He immediately goes for another boat. ANGLE ON ROWBOAT Unfortunately, this one is older and more rickety, evident when Tommy steps into it and it SQUEAKS and MOANS. TIGHT ON SACK Opening it up, Tommy pulls out a long and very heavy chain. He then withdraws some huge padlocks. ANGLE ON TOMMY With intense urgency, he looks along the lake shore for something.",
"EXT. WOODS - NIGHT TRACKING ON JASON'S FEET Suddenly, they stop, turn, and retrace their steps. ANGLE THROUGH TREES - ON JASON Seems he has lost his prey. Carefully, he searches the RUSTLING bushes for the hiding sheriff. TIGHT ON SHERIFF'S SWEATING FACE Buried deep in the thick bushes, the winded sheriff holds his breath as Jason passes.",
"INT. BOY'S DORMITORY CABIN Megan has done her best to assure the children that they are safe. She stands up. MEGAN Now I got ta find my daddy, the sheriff, so we can all go home. Okay? The kids nod. MEGAN heads for the door. She turns to them. MEGAN So you stay here and we'll be back to get you. Everyone lie back down and do n't worry. ANGLE ON TWO BOYS The 12 - year - old youngsters seen earlier. Billy turns to his sarcastic friend Tyen. BILLY -LRB- scared. -RRB- What do you think? TYEN I think we're dead meat.",
"EXT. LAKE SHORE - NIGHT Tommy struggles to roll a large, heavy rock toward the boat. In the background, Megan is running around the campsite CALLING OUT for her father. ANGLE ON TOMMY Already fearing the worst, he yells to Megan : TOMMY Megan! Use your dad's car radio and call for assistance. and an ambulance!",
"EXT. CAMP FOREST GREEN - NIGHT ANGLE ON MEGAN She stares at Tommy, petrified at what that means. She then runs toward the sheriff's car. ANGLE ON CAR DOOR As Megan throws the car door open, SISSY'S HEAD ROLLS OUT AND LANDS AT HER FEET. LOW ANGLE - UP AT MEGAN She goes berserk with horror. MEGAN -LRB- screaming. -RRB- Oh, God! Oh my God! Megan looks around, terrified that this same fate has befallen her father. She SCREAMS OUT even LOUDER : MEGAN Dad! Answer me! Daddy, where are you! Help us!",
"INT. BOY'S DORMITORY CABIN Lying on the floor, Tyen looks at Billy with a what - did - I - tell - ya' attitude. TYEN -LRB- scared. -RRB- Real dead meat.",
"EXT. WOODS - NIGHT CLOSE ON SHERIFF He looks up, HEARING his daughter's distant CRY. What can he do? ANGLE ON JASON He stops his search. He HEARS Megan as well. JASON HEADS IN THE DIRECTION OF MEGAN'S VOICE. WIDER The sheriff peeks out of his hiding place. Our killer storms by without seeing him. Jason is hell - bent for Megan. CLOSER ON SHERIFF Seeing Jason heading towards his daughter, his protective fatherly instincts cause him to take action without thought. He leaps out at Jason! SHERIFF No! Not her! JASON IS TACKLED FROM BEHIND With almost superhuman strength, the sheriff attacks Jason and starts pounding him into the ground. TIGHT ON JASON AND SHERIFF So aggressive and relentless is the pummeling, for a moment you think he might kill the monster. But only for a moment. CLOSE ON JASON Only disoriented and not at all hurt, Jason rolls over under the sheriff. He grasps the sheriff's arm, stopping the assault. ANGLE DOWN - ON THEM JASON SHOCKINGLY TEARS THE SHERIFF'S ARMS OUT OF THEIR SOCKETS. He throws them aside. LOW ANGLE UP - ON THEM JASON GRIPS THE SHRIEKING LAWMAN'S HEAD. HE PUSHES IT BACK, CAUSING THE SHERIFF'S BODY TO BEND ALL THE WAY BACKWARDS. TIGHT ON SHERIFF'S CONTORTED FACE As he is forced back toward his feet, a horrid CRACK is HEARD. HIS SPINE HAS BEEN SNAPPED IN HALF. His body collapses backwards. WIDER Enraged, Jason throws the rag doll - like body of the sheriff aside as he rises. Megan's VOICE is HEARD again, calling for the father. JASON HEADS FOR HER.",
"EXT. LAKE FOREST GREEN - BOAT LANDING - NIGHT Megan is struggling to help Tommy get the huge rock into the boat. Her eyes are watering from fear. MEGAN You got ta help me look for him. We need him to help us. ANGLE ON BOAT The chains are arranged to go around the rock. Tommy tries to brace himself as they lower the boulder down. A CRACK is HEARD as the huge stone lands in the old wooden boat. TOMMY -LRB- exhausted. -RRB- Whew. Okay, hand me those padlocks. MEGAN -LRB- near hysteria. -RRB- Did you hear me?! ANOTHER ANGLE ON THEM TOMMY -LRB- impatiently. -RRB- Yes. And I said, hand me those padlocks. She grabs the locks and gives them to him angrily. MEGAN You're gon na be sorry. TOMMY starts padlocking the chains tightly around the rock. TOMMY I hope not.",
"EXT. WOODS - NIGHT JASON STOMPS THROUGH THE WINDY FOREST.",
"EXT. LAKE FOREST GREEN - BOAT LANDING - NIGHT ANGLE ON CHAIN IN BOAT Tommy straightens out the rest of the heavy chain. He fashions a noose. MEGAN paces the dock in nervous fear. She does n't know what to do.",
"EXT. WOODS - NIGHT JASON IS COMING CLOSER.",
"EXT. LAKE FOREST GREEN - BOAT LANDING - NIGHT Tommy unties the boat and pushes off the dock into the churning water. TOMMY Megan! Get back into the cabin with the kids. MEGAN keeps pacing and looking around nervously. TOMMY Megan, please! Suddenly it dawns on her that he's actually leaving her alone out here. She panics. MEGAN No. Do n't leave. ANGLE ON TOMMY IN BOAT He starts rowing out into the lake. TOMMY -LRB- adamant. -RRB- Megan, get in there with them before it's too late.",
"INT. BOY'S DORMITORY CABIN It's too late. JASON EXPLODES THROUGH THE DOOR, KNOCKING IT OFF ITS HINGES. THE CHILDREN run SCREAMING to the back of the cabin.",
"EXT. CAMP FOREST GREEN - NIGHT MOVING SHOT - OVER MEGAN'S SHOULDER She races from the landing toward the cabin.",
"EXT. ON LAKE - IN BOAT - NIGHT Tommy watches, helpless. He stands up. TOMMY Megan!",
"EXT. BOY'S DORMITORY CABIN - NIGHT Megan is only a few yards from the cabin. WITHOUT WARNING, JASON BURSTS OUT THROUGH A WINDOW AND LANDS BEFORE HER. ANGLE ON JASON AND MEGAN He springs up and grabs the stunned Megan. TIGHT ON MEGAN'S FACE As she SCREAMS, Jason's hand grips her face. She is about to share the same horrific fate as Officer Pappas. TOMMY -LRB- O.S. -RRB- JASON! LOW ANGLE - ON JASON GRIPPING MEGAN He looks over toward the lake. JASON'S P.O.V. Out on the lake, Tommy is seen awkwardly standing in the boat, waving his arms. TOMMY Come on, Jason! It's me you want! Come and get me! BACK TO JASON He suddenly tosses Megan aside and heads for Tommy. MEGAN falls on the ground, trembling and hyperventilating. She stares at the departing Jason and looks back at the cabin. ANGLE ON CABIN WINDOWS All the eyes of the petrified kids peek down at her from the bottom of the window frames.",
"EXT. ON LAKE - IN BOAT - NIGHT Tommy keeps taunting Jason to come for him. TOMMY That's it! Come on, pus - head!",
"EXT. LAKE SHORE - NIGHT Jason reaches the lake and keeps going as if the water did n't even exist. He stays fixed on the one thing he's wanted to kill the most. Tommy.",
"EXT. ON LAKE - IN BOAT - NIGHT Seeing he's got him, Tommy sits down. He reaches for the chain noose and holds it in his sweating hands.",
"EXT. LAKE SHORE - NIGHT Jason is wading deeper into the dark, choppy waters.",
"EXT. CAMP FOREST GREEN - NIGHT Seeing Jason is getting dangerously close to Tommy, Megan jumps up and starts yelling : MEGAN Tommy, get out of there! Row to the other side of the lake! Hurry!",
"EXT. LAKE - NIGHT Jason stops and turns back to look at Megan. Should he get her first? ANGLE ON TOMMY IN BOAT He panics and yells at Jason : TOMMY Hey, asshole! It's me you want, remember?! Come on, chickhenshit, I'm sittin' here waitin'! JASON turns back towards the boy. He moves on him like a hungry shark. ANGLE ON CHAIN NOOSE Tommy's nervous hands keep the noose out of Jason's sight as he opens it wider. TIGHT ON JASON'S MASKED FACE He is almost to the boat. TIGHT ON TOMMY'S FACE He is sweating profusely as he grits his teeth. TIGHT ON NOOSE It's ready. JUST AS JASON REACHES THE BOAT, HE SUBMERGES, DISAPPEARING INTO THE DARK WATERS. ANGLE DOWN - ON TOMMY IN BOAT The boy goes crazy, looking from one side to the other. CLOSER ON TOMMY He scans the sinister, churning waters. Where will Jason re - emerge? BACK ON ANGLE ABOVE TOMMY AND BOAT A long, tense wait. ANGLE OFF SIDE OF BOAT Bubbles rise. Tommy holds the noose over him. JASON EXPLODES UP FROM THE OTHER SIDE. ANOTHER ANGLE ON BOAT Tommy loses his balance and drops the noose into the bottom of the boat. His fall causes the rickety boat to CRACK. INSERT - ON HULL Water starts to leak in around the huge rock. JASON grabs for Tommy, who struggles to reach the noose.",
"EXT. CAMP FOREST GREEN - NIGHT Megan is freaking out, not knowing what to do.",
"EXT. LAKE - NIGHT JASON'S HAND GRABS TOMMY'S JACKET. The boy fights to break free of his grip. INSERT - ON HULL Their struggle causes it to split open wide. More water pours in. ANGLE ON TOMMY'S FOOT He tries to snag the noose as Jason pulls harder on him. TOMMY yanks his arm away violently, causing his sleeve to rip off in Jason's hand. ANGLE ON TOMMY'S FOOT He manages to catch to noose with his shoe. INSERT - ON HULL The boat is filling up with water around the rock. JASON grabs ahold of Tommy's leg. TOMMY'S OTHER FOOT slides the chain up to his outstretched fingers. ANGLE ON TOMMY AND JASON The boy grabs the noose and forces it over Jason's head. TIGHT ON JASON Enraged, he lunges at Tommy! ANGLE ON BOAT That's all that's needed to split open the hull! JASON IS PULLED UNDER AND HE DRAGS TOMMY DOWN WITH HIM.",
"EXT. CAMP FOREST GREEN - NIGHT MEGAN SCREAMS HYSTERICALLY.",
"INT. UNDERWATER The large boulder falls to the bottom of the lake. Its chain pulls taut. CLOSE ON JASON The chain noose tightens around Jason's neck. ANOTHER ANGLE Jason struggles to hold on to Tommy while trying to loosen the choke - chain. TIGHT ON TOMMY He fights to free himself of Jason's grasp before running out of breath. ANGLE ON JASON He gives up on the noose, opting to strange Tommy instead. Both are drowning in this battle.",
"EXT. LAKE - NIGHT Bubbles appear on the surface of the lake. After a flurry of them, they cease.",
"EXT. CAMP FOREST GREEN - NIGHT MEGAN COVERS HER MOUTH IN DREAD.",
"EXT. LAKE - NIGHT After a moment, Tommy's limp body rises to the surface. It floats, lifeless.",
"INT. UNDERWATER Jason's body also hangs lifeless, anchored vertically by the chain. The two have destroyed each other.",
"EXT. CAMP FOREST GREEN - NIGHT Knowing it's over, all the kids slowly exit the cabin. They surround the catatonic Megan. The wind has DIED DOWN. LITTLE NANCY stares up sorrowfully at Megan. NANCY -LRB- softly. -RRB- Is he kill - ded? MEGAN breaks out of her shock. She heads for the lake. MEGAN -LRB- to kids. -RRB- Stay here. REVERSE ANGLE TOWARD LAKE Megan races to the lake and dives in.",
"EXT. LAKE - NIGHT Megan swims toward the motionless Tommy. ANGLE DOWN - ON MEGAN AND TOMMY She reaches her man, holds him around the chest, and pulls him to shore.",
"INT. UNDERWATER MEGAN'S LEG IS GRABBED BY JASON. He tries to pull her down.",
"EXT. LAKE - NIGHT Megan fights for her life as she repeatedly gets yanked down.",
"INT. UNDERWATER Megan's feet kick at her attacker. But Jason's iron grip will not let go of her leg. TIGHT ON JASON'S HEAD AND NECK ONE OF MEGAN'S POWERFUL KICKS DRIVES INTO JASON'S THROAT. A stream of final air bubbles and disgusting, ugly black fluid rushes from his mask! JASON'S HAND lets go of Megan's leg. She swims away. FINAL SHOT OF JASON Our infamous killer is at last defeated. His rotting corpse hangs in its original underwater burial ground.",
"EXT. LAKE SHORE - NIGHT Megan pulls Tommy's body onto the shore. THE CHILDREN run down and surround them with concerned faces. ANGLE ON MEGAN AND TOMMY She frantically gives him mouth - to - mouth resuscitation. TIGHT ON TOMMY He does n't respond. MEGAN wo n't accept that he's dead. She fights back the tears as she pushes on his abdomen. TIGHT ON TOMMY Still nothing. ANGLE ON NANCY She watches Megan trying desperately to revive the lifeless boy. The child gets an idea. She closes her eyes and whispers a little prayer. RESUME MEGAN AND TOMMY The tears are now flowing down Megan's cheeks. She knows her efforts are in vain. In frustration, she strikes his chest hard. TIGHT ON TOMMY He coughs and spits out water. ANGLE ON MEGAN She WHOOPS and helps him to sit up. A few of the kids CHEER. LITTLE NANCY opens her eyes and is quite surprised it worked. She looks heavenward and smiles a `` thank you.'' CLOSE ON TOMMY As Megan hugs him gratefully, Tommy looks out over the moonlit lake. TOMMY -LRB- sighs ; relieved. -RRB- It's over, Megan. It's finally over. Jason is home. WIDE ON SCENE - BEHIND GROUP We look over the shoulders of Tommy, Megan and the kids as they stare at the now - peaceful lake.",
"EXT. CEMETERY - DAY SUBJECTIVE MOVING CAMERA Slowly we HEAD between the tombstones, stalking the old caretaker, Martin. He is bent over, pulling weeds. We COME CLOSER and CLOSER, then finally stand towering over him. He senses us and turns around, STARTLED. ANOTHER ANGLE ON MARTIN He climbs nervously to his feet, quickly dropping the weeds. MARTIN -LRB- overly friendly. -RRB- You. ha - ha. frightened me. I was just, you know, cleaning up the. place, you know. Ha - ha. OVER THE SHOULDER OF STRANGER - ON MARTIN All we see is a dark suit and longish red - gray hair. The way Martin looks up at him, we know he is hiding true terror of this mysterious stranger. MARTIN Er. nice to see you again, Mr. Voorhees. Have n't seen you in Crystal. er, Forest Green, in quite some time. There is only a deathly silence from the nefarious man. MARTIN -LRB- nervously. -RRB- Hey, I've been takin' real good care of your wife and son's graves. Go look. You'll be real pleased. Martin forces a grin to cover his fear. ANGLE ON MR. VOORHEES' HAND It reaches into his back pants pocket and withdraws a small wad of money. The gnarled hand gives it to Martin. MARTIN obsequiously accepts his payment. He practically genuflects before him. MARTIN Thank you, Mr. Voorhees. Thank you. I'll leave you in private, like you like. Okay, er. bye. Thank you. He takes his earning and dashes away. probably to the liquor store. ANGLE ON LAWN Mr. Voorhees' black shoes head toward us and stop. Slowly, we TILT UP toward his face. Just as we reach his chest. ANGLE OVER HIS SHOULDER - ON TWO GRAVES We recognize them from before. CLOSER ON GRAVES Of course, they are his wife's and son Jason's. WIDER ANGLE - FROM BEHIND HIM He stands menacingly over his family's resting place. Does he sense something is wrong here? EXTREME CLOSEUP OF HIS EYES They stare down at his son's grave. These eyes are truly evil. Cold. Dark. Demonic. Then the worst happens. They slowly look up at us. They seem to accuse us of knowing the true whereabouts of his son. AND HE WO N'T STOP GLARING AT US.",
"EXT. LAKE FOREST GREEN - DAY We GLIDE tranquilly over the blue water toward the middle of the lake. SLOWLY MOVING IN on the water, it seems we are about to descend into it. JASON EMERGES AT US! We PULL BACK a bit. No, it's only his infamous MASK. Freed from it's wicked owner, it floats peacefully along old CRYSTAL LAKE. for now."
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] | Picking up a couple of years after the events at Pinehurst Halfway House, Tommy Jarvis, who killed mass murderer Jason Voorhees, returns to Crystal Lake, now renamed Forest Green, after being released from the mental institution. Tommy, still suffering from hallucinations ever since his past encounter with Jason, arrives with his friend Allen Hawes, hoping to cremate Jason's body and finally end his hallucinations once and for all. At the cemetery, they exhume Jason's corpse but seeing it causes Tommy to have an audio flashback to killing Jason, and he stabs Jason's body with a metal fence post. As he turns his back on Jason, two lightning bolts strike the post and revive Jason, who kills Hawes with a punch through the heart and retrieves the hockey mask Tommy brought with him. Tommy flees to the sheriff's office to warn the police of Jason's return, but he is caught and arrested. His warning that Jason has returned goes unheeded by Sheriff Mike Garris. The sheriff, who is aware of Tommy's institutionalization and thinks he is imagining Jason, locks Tommy in a cell. On the road, camp counselors Darren and Lizabeth get lost looking for the camp. They are killed by Jason, who impales them both with the metal rod that resurrected him. The following morning, Garris' daughter Megan and her friends Sissy, Cort, and Paula arrive to report Darren and Lizabeth missing. Tommy warns them about Jason, but as he is now considered an urban legend, they ignore the warnings, though Megan becomes attracted to him. In the woods, Jason happens upon a corporate paintball game; he kills the players for their equipment. During these kills, Jason discovers that he is far stronger than before when he rips off a man's arm. At Camp Forest Green, the children arrive, and the teens do their best to run the camp without Darren and Lizabeth. Meanwhile, Garris decides to escort Tommy out of his jurisdiction due to his influence on Megan. Tommy tries to make a run for Jason's grave but finds that the caretaker had covered it up to deny responsibility for it being dug up, and Hawes' body is buried in its place. Tommy is then handcuffed and escorted out of town by Garris, who warns him to never return. That night, Jason murders the caretaker and a nearby couple who witness the murder. Meanwhile, Cort goes out to have sex with a girl named Nikki, but Jason kills them both. The sheriff's men find the victims' bodies and Garris immediately implicates Tommy in the murders, believing he has gone insane imagining Jason. Tommy contacts Megan and convinces her to help him lure Jason back into Crystal Lake. Meanwhile, Jason makes his way to the camp and kills both Sissy and Paula, but refrains from harming the children. Meanwhile, Tommy and Megan are pulled over by Garris. Despite Megan's alibi that she was with Tommy, he does not believe him to be innocent and arrests him, and then goes to the camp to investigate. As Tommy and Megan develop a ruse to trick the watching deputy and escape, Jason kills Garris and two other deputies when they arrive at the camp. Jason is about to kill Megan when Tommy calls to him from the lake; apparently remembering his killer, Jason goes after Tommy instead. Tommy is attacked in a boat in the middle of the lake and ties a boulder around Jason's neck to trap him. Jason fights back, holding Tommy underwater long enough to seemingly drown him. Megan rushes out to save him but is nearly killed when Jason grabs her leg; she turns the boat's activated motor around onto Jason's neck, and he releases her. She takes Tommy back to shore and uses CPR to revive him. Tommy says that it is finally over and Jason is home. Under the water, anchored to the bottom of the lake, Jason is still alive. The final shot of the film is his eye staring off into the water, waiting patiently for an opportunity to return. | Friday_the_13th_Part_VI:_Jason_Lives |
[
"INT. STARBUCKS - 7:30 A.M. We're watching a pair of hands arrange white sugar packets, blue Equal packets, and pink Sweet and Low into small containers. With precision and lightning speed, the mixed up colors and crumpled packets are transformed into neat little color - coded rows. Wait, this container has three Equals and four Sweet'n' lows. The hand quickly plucks the mutant Sweet'n' Low. There. Symmetry. We move up those hands and meet SAM DAWSON as he surveys his domain. Something about him. He's extremely compelling, uniquely handsome. But it's more than that. Those eyes, they sparkle with the wonder of a child. Life's cynical edge has not etched it's path across this face. They light on a COFFEE CUP held by one of the Regulars. SAM Double double decaf low - fat Cap. BRUCE You got it, buddy. SAM Good choice very good choice. Sam moves along, commenting to CUSTOMERS as he places Sweet'n Lows on tables, the self - appointed host of Starbucks. SAM -LRB- CONT'D. -RRB- Mocha rumba Frappuccino no whipped, half low, half non. Excellent choice. Very good choice. He stops in front of sale mugs and turns them so that the logos all face the same way. His boss GEORGE approaches. GEORGE Sam, they called. It's time for you to go. Sam FREEZES, but does n't turn around. GEORGE -LRB- CONT'D. -RRB- Sam, did you hear me? SAM `` It's time for you to go.'' GEORGE Yes. SAM It's time. GEORGE Good luck. Without another word, Sam walks straight out the door.",
"EXT. LOS ANGELES STREET - DAY Sam, still in his white apron, walks down the busy street. He has a fast, loping gait that does n't slow or hesitate for anyone. A COUPLE argue on the sidewalk. Sam WALKS RIGHT BETWEEN THEM. SAM It's time. It's time. Sam keeps moving, he crosses the street without stopping. Traffic SCREECHES to a HALT! Cars HONK, a taxi driver YELLS. SAM -LRB- CONT'D. -RRB- It's time, it's time for you to go.",
"INT. HALLWAY - LATER Sam plows down the hall and comes to room 324. SAM Rebecca! Sam pushes the DOOR OPEN. And we REALIZE we are entering : A HOSPITAL LABOR DELIVERY ROOM AT LA COUNTY HOSPITAL. REBECCA is in the middle of a major contraction. Her face is the opposite of Sam's. Hardened. She lets out a scream that stops Sam dead in his tracks. GERTIE, a no - nonsense Black Nurse, looks up from the monitor. GERTIE You the one responsible for this? Sam nods, taking Gertie quite literally. SAM I'm sorry. GERTIE Too late for sorries, daddy, get over here and hold her hand. Sam reaches for Rebecca's hand. She pulls it away. ANOTHER CONTRACTION - Rebecca screams. Sam SCREAMS. NURSE You got a live one, Gert.",
"INT. LABOR ROOM - LATER DR. JAMISON Okay, this is it! SAM -LRB- spins in circles. -RRB- This is it! This is it! DR. JAMISON And it's a girl. The BABY lets out her first cry. Sam watches, awestruck. Gertie wraps the baby in a blanket and holds her out to Rebecca. Rebecca shakes her head - NOT NOW. Gertie walks over to Sam. GERTIE There's someone who's been waitin' an awful long time to see you, Sam. She places the BABY into SAM'S ARMS. Suddenly Sam's whole body RELAXES and becomes very still. He looks to Rebecca, but she has turned away. He meets Gertie's eyes. Then in quiet amazement : SAM This is it. GERTIE What's her name? SAM -LRB- looks at clock. -RRB- Let me see let me see let me see. 12:17, March 2nd. Lucy in the Sky with Diamonds. Recorded March 2nd. 1967. Lyrics by John Lennon, music by Paul McCartney. Lucy Diamond Dawson. We hear LIKE A LULLABY, `` Picture yourself on a boat in a river with tangerine trees and marmalade skies.''",
"EXT. HOSPITAL - NEXT MORNING Sam, holding the baby, and Becca, having just checked out, walk down the steps of the hospital holding their complimentary plastic baby bag. Sam is nervous haling the precious cargo and Becca is agitated. They see the bus pulling up and down the street and Sam moves quickly so they can hurry and catch it. As he approaches the bus, he looks to Becca by his side, but she is not there. He looks around and no sign of her. Frantically turning in a full circle, he sees the fabric of her dress disappearing into the crowd down the street. He screams. SAM Becca! Becca! The more he screams the faster she moves away. Till there's no trace of her. Sam stands in the middle of the busy block holding Lucy to his chest, devastated. We hear, `` Look for the girl with the clouds in her eyes, but she's gone.''",
"INT. BUS - NIGHT Sam holds the now sleeping baby to his chest. Next to him is the plastic bag from the hospital containing diapers, two cans of formula and a half empty bottle of milk. Sam is surrounded by PASSENGERS, the eerie world of the underground at night. Instinctively, Sam holds her even tighter, two against the world.",
"INT. SAM'S APARTMENT - DAWN A marvel of organization. A closet reveals clothes on hangers exactly equidistant from each other ; precisely folded T - shirts, underwear and socks organized by color. A carefully systemized record collection fills makeshift bookshelves. Beatles posters from every era decorate the walls. Becca's things sit in one corner. An island of chaos in an `` Hold Everything'' showroom. The kitchen counter has been transformed into a changing table. Bottles and pacifiers lined up next to a stack of cloth diapers. Underneath, a clothes line of baby clothes. The sound of a CRYING BABY breaks the silence. The camera follows and finds the CRADLE : a DRAWER tucked snugly into a blanket hanging like a hammock between two chairs. An exhausted SAM POPS up from his bed, behind the hammock. He swings the hammock, hoping against hope the baby will go back to sleep. SAM Did n't you just fall asleep, little girl? -LRB- Lucy cries harder. -RRB- Okay, if you say it's time to get up, then it's time to get up, time to get up. -LRB- Sam sniffs the air. -RRB- Oh my, oh my, oh my. Quite a bit of business. He rushes over to the kitchen counter and unsnaps the baby's pajamas, revealing a cloth diaper held together with promotional buttons : one says `` Hertz, # 1 for Car Rentals'', the other a picture of Magic Johnson and reads `` Go, Lakers, Go!'' Sam undoes it. SAM -LRB- CONT'D. -RRB- Oh my God, oh my God, oh my God. Let me see let me see let me see. Sam attempts to clean and diaper her. He finally manages to pin the buttons so that it at least stays on. SAM -LRB- CONT'D. -RRB- You look very beautiful this morning, very beautiful. He holds her up, and the diaper falls down around her ankles. We pan across a row of diapers on a supermarket shelf : HUGGIES, PAMPERS, EXTRA ABSORBENT PAMPERS, LUVS.",
"INT. WALMART - DAY Sam stares at the `` Great Wall of Diapers'', awed. He reaches for the Pampers, balancing Lucy, then the Luvs, no, the Huggies. Sam stops moving, Lucy starts CRYING, so he jogs in place. Sam decides on one of each. He heads to the FORMULA AISLE. Gerber, Carnation, Carnation Iron Fortified. He stops. Lucy WAILS. WE HEAR THE SONG `` HELP, I NEED SOMEBODY''",
"INT. SAM'S APARTMENT - 9 P.M. Sam paces, carrying Lucy who screams at the top of her lungs.",
"INT. SAM'S APARTMENT - 11:25 P.M. Sam rocks the CRYING BABY in the hammock. He's exhausted, but she's just getting started. He puts another blanket on her.",
"INT. SAM'S APARTMENT - 1:30 A.M. Peace. A punch - drunk Sam lays the sleeping baby into the cradle as if she were a bomb that might detonate. He tiptoes, his FIST raised victoriously - `` YES!'' He does n't get two steps before Lucy wakes screaming. Defeated, he picks her up. HELP. The PHONE RINGS. HE PRESSES speaker. RASPY WOMAN -LRB- O.S. -RRB- What the hell are you doing to that baby?! He looks out his window and sees ANNIE CASSELL, his neighbor on the phone, watching him through her window. She is a strange creature with very thick glasses. We sense a uniquely profound intelligence behind all that armor. SAM Everything's so tiny, tiny. Tiny. Everything. Wo n't you please come over? Help. I need somebody. Wo n't you please please help me. ANNIE You know I ca n't do that. What does her mother say? SAM Her mother? Her mother said `` This is n't my life. I'm outta here when she comes. It did n't mean anything, Sam. It was just one night. The two of you. That's all I need.'' Annie, what if she's sick?",
"EXT. HALLWAY - CONTINUOUS ANNIE has her door open a crack. Annie feels the baby's forehead. Lucy stares up at her, quiet now, fascinated. ANNIE She's overheated and not eating enough. How often are you feeding her? SAM A lot, Gerber, Carnation, Gerber. ANNIE What's a lot? SAM Breakfast, lunch, and dinner. Three squares hot. ANNIE Babies need food every two hours, Sam. SAM Oh. I'm sorry Lucy Diamond. ANNIE What time does the little diamond wake up? SAM She never really goes to sleep. ANNIE Okaaaay. Well, let's assume she's up at six. Keep your TV on Nickelodeon. I want you to feed her first while `` Bewitched'' is on. Then again, when `` Hogan's Heroes'' starts. After that, well until `` Father Knows Best.''",
"INT. SAM'S APARTMENT - EVENING We are watching `` Hogan's Heroes''. We hear SHULTZ'S INFAMOUS RESPONSE : `` I know nothing, absolutely nothing!'' Sam feeds a content Lucy.",
"INT. SAM'S APARTMENT - LATER `` Father Knows Best'' on TV. Lucy blissfully falls asleep in Sam's arms. Euphoric, he tiptoes to the cradle and places her ever so gently, when suddenly, the FRONT DOOR FLIES OPEN. Sam's BEST FRIENDS DESCEND inside : IFTY, a Pakistani gentlemen with a gentle face and a wide smile, carrying a large stuffed giraffe with a bow on it. BRAD, who sees himself as a real ladies man, in tight jeans and a Farrah Fawcett T - shirt ; and ROBERT, highly paranoid, thinks the world's out to get him. Lucy WAILS. Sam RUNS to the CRIB. SAM What are you doing here now?! Her first sound sleep, not a sound, not a sound. BRAD Eight years every Thursday Video Night and you forgot?! SAM Oh my god, Video Night. First Thursday of the month. Video night at Sam's house. I'm sorry, I forgot. IFTY Becca's gone. `` Gone with the Wind'' is a very sad movie. ROBERT Oh here we go. Everything changes now. Soon you'll forget about Wednesday night Denny's and Friday night Karaoke. And I got hit by a car today. SAM You did? ROBERT It's probably that guy from the V.A. BRAD What guy? ROBERT -LRB- closing window. -RRB- I ca n't discuss it. And now this. Ifty makes ORIGAMI BIRDS out of newspapers. Lucy's rapt. SAM She looks smart, does n't she? IFTY Of course, look. She's already reading the newspaper. I have five smart sisters in Pakistan. I am only brother. `` Seven Brides for Seven Brothers'' was a wonderful movie I forgot to bring last week for Video Night. BRAD Did you get `` Blade Runner'' for tonight? ROBERT Now it's all my fault?! BRUCE Do n't tell me you forgot again. I broke a date with a daydream to come here. There's a knock at the door. Ifty goes to get it. Brad moans when he sees his 65 YEAR OLD MOTHER, ESTELLE, standing in the doorway. BRAD Mom! I told you Video Night's over at nine! It's only six - thirty! ESTELLE -LRB- unaware of the baby. -RRB- Sorry. I'll wait in the lobby. She exits. Lucy begins to CRY. Brad takes her - like a hot potato, Robert takes her - now Ifty runs around in circles. IFTY She needs motion. My father drove my sisters in his taxi to get them to go to sleep. Two - fifty surcharge on all taxi's from the airport. ROBERT I got hit by a taxi on Tuesday. And it all starts again and we -",
"EXT. BUS - NIGHT An empty bus makes its way through the city at night.",
"INT. BUS - NIGHT BUS DRIVER Main and Temple. again. She out yet? The camera moves along and stops on the long seat at the back. Sam lies with Lucy spooned into the crook of his arm, almost asleep. SAM Almost there, almost there. One more round and she'll be down for the night. We hear the song `` Golden Slumbers''. In a SERIES OF DISSOLVES, we see Lucy and Sam in DIFFERENT SLEEPING POSITIONS on the bus seat. Gradually, she GROWS in HIS PROTECTIVE EMBRACE - ONE MONTH, THEN TWO. NOW FIVE. She's BIG AND ROUND at SIX MONTHS. And on and on into the night.",
"INT. WALMART'S PHOTO BOOTH - DAY We see Sam and Lucy CRAMMED into the booth, wearing birthday hats, taking HER FIRST BIRTHDAY picture. We see the PHOTO STRIP as it comes out of the slot. Sam's shoulder with Lucy's ear - Lucy's nose with Sam's elbow, their faces never made it into the picture.",
"INT. STARBUCKS - 8:30 A.M. The place is packed. Sam moves from table to table, cleaning. SAM Double macciatto, low foam, low - fat. Good choice, very good choice. Sam turns and WE SEE LUCY attached to him in a handmade snugly, crocheted by Annie. She faces outward, all hands, all 16 MONTHS of her ; too big for the snugly. She grabs a croissant from a customer. George looks confused. Then makes a SWIPE for a customer's coffee, knocking it to the ground. It SPLATTERS all over an anorexic, on - her - fourth double - latte WOMAN in a designer exercise outfit. She begins shrieking. George looks at Sam, this ca n't go on.",
"INT. APARTMENT HALLWAY - MORNING Sam, Lucy by his side, has his foot in Annie's door. SAM Please, Annie! She's too big to take to work. ANNIE I'm not a baby - sitter. I'm too busy. LUCY Annie, Annie, Annie. ANNIE -LRB- suspicious. -RRB- Did you teach her that? SAM It was her first word. Very first word. Annie opens the door, takes Lucy's hand, and pulls her in. ANNIE And people worry you're not smart.",
"INT. ANNIE'S APARTMENT - ONE WEEK LATER The apartment looks like a fallout shelter. The kitchen contains enough canned goods to last a year. Brightly colored crocheted doilies - Annie's hobby - adorn every available surface. The BRIGHTLY COLORED WEB of an AGORAPHOBE. Lucy sits in Annie's lap, getting her first piano lesson. WE SEE LUCY'S TINY FINGERS on the keys. In a SERIES OF DISSOLVES, it is joined by Annie's hand tapping out one note, now two notes, and as the weeks pass, a chord. Until finally the notes merge to become the most unlikely duet of `` Twinkle, Twinkle, Little Star''. ANNIE This is Mozart. He did twenty - two variations of `` Twinkle Twinkle Little Star''. You smell good. You can tell a lot about a person by their smell. If they've got too much perfume on they're covering something up. You got ta watch someone who smells like soap. Got ta wonder what their priorities are. Nervous people. People who try too hard. They smell like fish. But you. You smell like milk. Milk and hope. Lucy leaves the piano and toddles over to Annie's loom and plays with a ball yarn. VOICE -LRB- O.S. -RRB- Groceries, Annie. ANNIE Thanks. Annie opens the door to pull in the groceries. The ball of yarn ROLLS OUT the door and Lucy chases after it. Annie, terrified, bellows : ANNIE -LRB- CONT'D. -RRB- Lucy! Come back here! Come back! It becomes obvious Annie ca n't walk outside. Trembling : ANNIE -LRB- CONT'D. -RRB- `` Lucy in the sky with diamonds.'' Hearing the familiar tune, Lucy stops and toddles back. Annie sweeps her up, relieved and we -",
"INT. KARAOKE BAR - NIGHT Sam on stage, with Ifty and Brad as his back - up singers, continuing the song in the oddest, most heartfelt version to Lucy who sits on Robert's lap and in heaven.",
"EXT. PARK - DAY A beautiful blue sky. And `` Lucy in the Sky with Diamonds'' continues as Lucy's THREE YEAR OLD laughing face SWINGS INTO FRAME on a swing then DISAPPEARS out THE OTHER END OF FRAME. Now Lucy SWINGS BACK DOWN and out of the other end again. Sam's FACE, glowing with delight, APPEARS AGAINST THE SKY and then disappears. Sam and Lucy are on swings surrounded by MOTHERS and KIDS at the park. LUCY -LRB- V.O. -RRB- Daddy, where does the sky end? SAM -LRB- V.O. -RRB- Let me see, let me see. I've never been there but they say it's somewhere near China.",
"EXT. PARK - ONE YEAR LATER Lucy FLIES INTO FRAME, now FOUR, sitting on Sam's lap, swinging. LUCY -LRB- V.O. -RRB- Are lady bugs only girls or are there boys, too. And if there are, what are they called? SAM -LRB- V.O. -RRB- The Beatles.",
"EXT. PARK - ONE YEAR LATER Then Lucy FLIES INTO FRAME, now FIVE, followed by Sam. LUCY -LRB- V.O. -RRB- Do I look more like you or Mommy? ON SAM'S FACE He knew this moment would come.",
"INT. DENNY'S - THURSDAY NIGHT DINNER - EVENING Lucy and Sam are having a serious talk over breaded Sole. LUCY If you and Mommy liked each other enough to have me, how come you're not together anymore? SAM I think she fell out of love with me. Not you, never you. Me, just me. LUCY When you fall out of love where do you land? SAM Somewhere in Florida, I think. LUCY Do you think she'll ever come back? SAM -LRB- long pause. -RRB- Paul McCartney lost his mother when he was fourteen. John lost his mother twice. First when Julie gave John to her sister Mimi to raise. And then again when Julia was hit by a car. They say God picks certain people, special people. That's what they say. Lucy takes this in. Sam begins to shift his tomatoes just so. his potatoes just slightly to the left. Lucy watches. LUCY Daddy, did God mean for you to be like this or was it an accident? SAM Do you mean - what do you mean? LUCY I mean you're different. SAM What do you mean? I mean, what do you mean? LUCY You're not like the other daddies. SAM I'm not am I. I'm sorry. LUCY Do n't be sorry. I'm lucky. Nobody else's daddy ever comes to the park. ON SAM'S FACE Filled with relief. Bursting with love. SAM We are very lucky, are n't we? Grace approaches with two plates of pie, ice cream on the side. GRACE Ice cream on the side. LUCY Not on top. Not on top. SAM Good choice. Very good choice.",
"INT. SAM'S APARTMENT - THURSDAY NIGHT VIDEO NIGHT SAM Brad, I know it was your turn. I'm sure of it. BRAD I swear to God it was Robert's turn. ROBERT Why is it always my fault? IFTY I keep track, last time, I say to myself, I say, write it down. Bank of America give away beautiful calendar, every month a picture of wild animal, look June, an Elk. Elke Sommer. she starred in the remake of `` Prisoner of Zenda''. Three stars Leonard Maltin video movie guide. As they go on, Lucy matter - of - factly PULLS A VIDEO OUT OF HER BACKPACK, and puts it in the VCR. She turns it on. It's `` Kramer vs. Kramer''. Everyone stops their arguing and stares at Lucy. LUCY Annie let me borrow it.",
"INT. CHILDREN'S SHOE STORE - DAY A row of brand new children's shoes on display. Lucy tries on dozens of school shoes, surrounded by Sam and her `` Godfathers'' : Ifty, Brad and Robert. SAM You need a good sturdy school shoe. Arches are very important. IFTY Sturdy is boring. Red shoes bring good luck. BRAD But red does n't got with green. IFTY Except on Christmas. BRAD No brown clodhoppers. Everyone will make fun of her. SAM NO ONE will make fun of Lucy. ROBERT She might be stupid. IFTY No she's not - ROBERT Did they test her? BRAD You do n't know for sure. SAM Yes I do. BRUCE But if she is, do n't make her go to school. ROBERT Do n't let her in the lunch room. Johnny Marzettie's there. BRAD And gym. Get her a pass. The rules for volleyball are so hard to remember. `` Rotate Rackman Rotate.'' IFTY Throw the ball at his forehead and the water on his brain will come out his nose. Meanwhile, Lucy has been trying on a simple brown shoe. LUCY I like these. SAM She know what she likes. She likes these. How much are they? SALESMAN Forty - nine ninety - nine. SAM One penny less than fifty. These shoes are one penny less than fifty? LUCY It's okay, Dad. I do n't really like them. SAM No, no no no no. IFTY We'll all give ten dollars. BRAD I've only got three plus five. But I need one for stamps. ROBERT Do n't pull your wad out in front of people. They all dig in their pockets and begin counting very slowly. SAM Thank you, thank you. We are rich in friends. That's what our fortune cookie said. 1, 2, 3, 4, quarters that makes one. SALESMAN I'll count it. SAM Is it enough? SALESMAN -LRB- exasperated. -RRB- If there's a God. BRAD Do we get a balloon with these? SALESMAN Yes. ROBERT All of us, or just her?",
"EXT. STREET NEAR SHOE STORE - DAY Those new little brown shoes walking in between four pairs of man's shoes. We move up from those shoes to see FIVE PAIR OF HANDS tightly clasping their balloons as they march victoriously down the street. We MOVE IN on Lucy's little brown shoes skipping with joy and -",
"EXT. SCHOOL FIELD - DAY Those same little shoes in the midst of a mass of black soccer cleats. We move up and see Lucy in the middle of a fierce kids soccer game. Score's tied. The ball comes to Lucy. She kicks and misses. From the sidelines we hear : SAM Beautiful kick! Very close! Lucy looks up at her dad proudly. The ball comes again. Nobody could miss this one. But Lucy does. SAM -LRB- CONT'D. -RRB- Thatta girl! Thatta girl! They're getting scared now! The game continues. The GOALIE'S FATHER, DUNCAN RHODES, handsome, commanding and dressed in a suit, calls to his son : MR. RHODES C'mon, Conner! On your toes! They're all counting on you! Conner tenses up, alert under the pressure. Meanwhile, down at the other end, the ball heads toward Lucy. She kicks it! Hard. Right into her team's own goal. The crowd GROANS. SAM Hurray, Lucy! You're getting the hang of it now! You've got them scared now! Lucy's bursting with confidence, plows toward the ball and NAILS IT! The ball goes flying. The parents in the stand are completely baffled! Sam is completely ecstatic! SAM -LRB- CONT'D. -RRB- L - u - c - y! That's our battlecry! The ball heads into the goal, just passing the goalie, Conner. Sam runs to embrace Lucy when he hears Duncan reaming his son - MR. RHODES The whole game was right in front of your nose! I leave work early to watch you blow the whole game!? Conner slouches against the fence as his father walks away. Seeing this, Sam whispers to Lucy.",
"INT. SAM'S APARTMENT - AFTERNOON A child's hand double jumps across a checker board. CONNER -LRB- O.S. -RRB- Ha! Lucy and Conner are playing checkers while Sam cooks dinner. Two carrots cut into ten pieces. Bow Tie Pasta - 35 pieces each. CONNER -LRB- CONT'D. -RRB- What's wrong with your father? Why's he acting like a retard? LUCY He is. Their hands graze against each other on the check board - he pulls his hand away. CONNER Are you? LUCY No. CONNER Are you sure? LUCY Yeah. CONNER How do you know? LUCY He told me. CONNER But he's a retard. LUCY Yeah well it takes one to know one! He crowns her - her eyes shift to Sam in the kitchen, for the first time a bit uneasily.",
"INT. SAM'S APARTMENT - NIGHT Sam's reading Lucy her homework book. SAM `` They perched in sisisi.'' LUCY `` Silence.'' SAM. silence for a long time.'' Boy. Your teacher chose a hard book this time. `` How can we be so difdifdif.'' LUCY `` Different.'' Sam glances up at Lucy self - consciously. Lucy grabs the book from Sam, tosses it on the pile and picks up another. LUCY -LRB- CONT'D. -RRB- I do n't like that book - let's read `` Green Eggs and Ham''. Relieved, Sam plunges into the book, which is more memorized than read. SAM `` I am Sam, Sam I am. Do you like green eggs and ham? I do not like them, Sam I am!'' They both laugh, delighted. Lucy looks sleepy. Lucy is getting drowsy. Sam is just getting started. SAM -LRB- CONT'D. -RRB- `` And I will eat them here and there. Say I will eat them ANYWHERE. I do so like green eggs and ham, thank you thank you, Sam I am!'' One more time! LUCY Daddy, I have school tomorrow. I do n't wan na be too sleepy. SAM Just the part about the boat and the goat in the rain in the train? LUCY Daddy, Hamburger Hamlet has twelve different kinds of hamburgers. Can we go there Wednesday instead of Denny's? SAM But Wednesday night's Denny's, Thursday's Video Night, Friday Night Karaoke. Lucy nods, a little deflated. SAM -LRB- CONT'D. -RRB- How about one more time, just the beginning? `` I am Sam, Sam I am.'' Lucy sighs and closes her eyes against her father's chest.",
"INT. CLASSROOM - DAY Lucy draws a picture while everyone reads aloud from `` STELLALUNA''. MISS WRIGHT Lucy, your turn. Start where Sara left off. Lucy? LUCY I ca n't. MISS WRIGHT Sure you can. LUCY `` They perched in sisisisi.'' MISS WRIGHT Silence. LUCY -LRB- throws down book. -RRB- There. I told you. It's too hard. MISS WRIGHT Lucy! I know you can read this! LUCY No, I ca n't! And you ca n't make me! Lucy runs out of the class.",
"EXT. BUS STOP - DUSK Sam, in sunglasses, waits for the BUS. A YOUNG WOMAN, LILY, sits down next to him. The WIND CATCHES her floral dress that's just left of innocent ; just right of alluring. She reads a TABLOID. LILY Look here. `` Premature baby claims he's cupid - has the arrow to prove it.'' Do you believe that? SAM Well, if he has the arrow. LILY Yeah. You got a good point. She crosses her legs. A tuft of pink dress falls on Sam's knee. SAM You're a good reader. LILY Yeah, I've always been smart. SAM You're lucky. I'm looking for a smart, good mother. LILY I can be a mother. A real good mother. SAM Oh, good. Good. LILY I could even spank you. SAM Oh no no no. I do n't believe in that. LILY Okay okay. I can be very gentle. SAM Gentle. Gentle. Yes. Do you tell stories? LILY I got stories up the wazoo. Why do n't you come with me. I'll tell you a nice story. SAM I have to pick up Lucy at Annie's first. LILY A menage a toi? SAM French, French the language of France. You could teach my daughter, Lucy. LILY Your daughter?! Ca n't you pick her up after?! SAM After?! No no, Lucy comes too. LILY Whatever. She takes Sam's hand, they move to get on the bus JUST AS ANOTHER HAND brusquely lands on theirs. COP Not so fast. You're under arrest. Solicitation. LILY He wanted to bring his kid, I said no. A lightbulb flashes and we -",
"INT. POLICE HEADQUARTERS - THAT NIGHT Sam blinks as his MUGSHOT is being taken. Now the profile. He turns so they can get the back of his head. Now the FINGERPRINT. Now Sam, in the corner of the room, on the phone making thumbprints on the wall. While the COP discusses his case with a social worker, MARGARET BROWN. Over the years she's seen it all, and to get through it has had to pretend it's just a job. COP It's the first time in nineteen years I actually believe the guy when he says he did n't know she was a hooker - MARGARET BROWN You say that like it's a good thing. SAM Your teeth do n't sound like they were brushed. Do it with me now. COP Let him go. He says he's never spent a night away from his kid. Come with me - I got a guy who beat the shit out of his two year old. Again. Her cell phone beeps. MARGARET BROWN Yes. I am seeing you tomorrow, Mr. Rabins. She's still screaming? No, McDonald's wo n't help. she's four months old. SAM Thirteen up. not on the gum line not on the gum line, 1, 2, 3. Margaret watches Sam as he talks to Lucy on the phone.",
"INT. PRINCIPALS OFFICE - DAY The WALLS are lined with CHILDREN'S ART. Various interpretations of the family. We stop at one of a very small man and a very big little girl with her arm around him. MISS WRIGHT It gives us a great deal of insight into what she must be feeling. And in the classroom, it's becoming clear she's holding herself back. It's as if she's literally afraid to learn. We PULL BACK and see Sam staring at the picture. Mrs. Wright and the principal watch him. MISS WRIGHT -LRB- CONT'D. -RRB- No one doubts that you love your daughter, Mr. Dawson. But the Department of Social Services contacted us. They shared with us that your records show that your intellectual capacity is around that of a seven year old. Our concern is what happens when Lucy turns eight? PRINCIPAL Mr. Dawson, do you understand what Miss Wright is trying to tell you about Lucy? SAM No one wanted The Beatles to break up. But you can hear it on the White Album. They were going in different directions.",
"INT. LUCY'S BEDROOM - NIGHT It's bedtime. Sam and Lucy are reading from `` STELLALUNA''. LUCY How can we be so dif. dif. I do n't know that word. SAM Yes you do. It starts with a `` d'' - LUCY I'm tired. SAM I do n't believe you. LUCY Are you calling me a liar? SAM Yes. Now read the word. LUCY -LRB- crying. -RRB- No. I'm stupid. SAM No you're not. LUCY I do n't want to read it if you ca n't. SAM It makes me happy. I'm happy hearing you read it. He holds the book open for Lucy. Now Lucy, pushing through a mountain of resistance, reads. And reads beautifully. LUCY `` Why are we different and so much alike?''",
"INT. SCHOOL HALLOWEEN PARADE - AUDITORIUM - DAY Two children, dressed as Batman, march followed by CINDERELLA. We see Lucy dressed in NEWSPAPER - an ORIGAMI BIRD. And behind her, marching more proudly than any child, is Sam, dressed as PAUL McCARTNEY, in the black suit era - with Beatle boots and guitar strapped to his chest. Sam is the only adult participating in the parade. Music BLASTS over the loudspeaker. Sam begins to dance with joyous abandon. Lucy joins him. They dance together happily. Suddenly Lucy becomes aware that her classmates are beginning to laugh. She slows and watches through their eyes Sam pony around the room. Conner pulls up his pants high on his waist and begins to imitate Sam. Another kid joins him. KID I'm a Super Freak! CONNER And I thought my dad was a dork. Lucy's face hardens for the first time. In a corrupt world the pure can only stay pure for so long.",
"INT. HAMBURGER HAMLET - EVENING Sam and Lucy sit in a booth. Lucy's ecstatic. Sam's trying. LUCY They have eleven different kinds of hamburgers. This is so great. SAM A new place. Your choice. I said we'd go to a new place. And here we are. Sam anxiously rearranges the condiments on the table. Lucy tries to fold a napkin into an Origami bird. LUCY You know what else I want for my birthday, Daddy? I want a hundred birds. SAM The napkins are much stiffer at Denny's. They make better birds. There's not so much stuff on the tables there either. Why do they have two kinds of mustard on every table? WAITRESS Coffee? SAM No, no coffee. Sam's system ca n't handle coffee. WAITRESS Okaaay! What can I get you folks? LUCY I'd like the Benito Bandito burger and a chocolate chip milkshake, please. SAM I'll have the fish special, side of potatoes, salad with Thousand Island Dressing, cherry pie, and. WAITRESS I'm sorry, sir. We do n't have a fish special. There's fish and chips. It comes with a dinner salad. SAM Chips, chips? You mean potato chips? I do n't want potato chips. I want a side of potatoes. WAITRESS You want french fries? SAM No, a side of potatoes, like at Denny's. A side of potatoes. LUCY They're little red potatoes. WAITRESS We do n't have new potatoes. SAM Denny's has new potatoes. Six new potatoes parsley garnish parsley garnish. ON LUCY Her smile fades.",
"INT. DENNY'S - HALF-HOUR LATER Sam happily eats his fish special with six new potatoes. Lucy's untouched dinner sits in the middle of the table. She doodles on the placement - drawing a man sitting with a pile of new potatoes in front of him ; larger than he is. SAM Fish and chips fish and chips. I will not eat fish and chips. LUCY -LRB- exploding. -RRB- I will not eat them here or there! I will not eat them anywhere! I will not eat green eggs and ham! I will not eat them, Sam I am!",
"INT. SAM'S APARTMENT - DAY Balloons and a banner reading `` Happy Birthday, Lucy!'' For Lucy's birthday, Sam has rented a moon bounce - which sits in the center of the apartment and filling the entire place - leaving no room for the few kids and their parents. Brad stands too close to a young attractive mother. Robert shakes all the presents suspiciously. SAM Now when they come through the door, everybody yell `` Surprise!'' Do you want to rehearse again? CONNER No. I bet she already knows. ROBERT I did n't tell her. Did Brad say I did? There's a KNOCK at the door. SAM Is that Lucy? Annie's supposed to call and warn us. Shhhh, everyone. Brad hits the lights. Sam OPENS THE DOOR and everyone yells `` SURPRISE!'' But instead of Lucy, it's the Social Worker. MARGARET BROWN I do n't know if you remember me. I'm Margaret Brown from Children's Social Services. We met at the police station. SAM Put your present over there - Hurry up! Lucy might be on her way. -LRB- the phone rings. -RRB- Hello? Annie says she's coming up the stairs. Everyone be quiet. Assume surprise positions! -LRB- Conner keeps talking. -RRB- Be quiet! Assume surprise positions! CONNER Oh brother! SAM Why are you such a party pooper?! Assume surprise positions! CONNER Make me! Sam puts a hand over Conner's mouth ; Conner struggles against him. MR. RHODES Hey! SAM He's gon na ruin the surprise! He's gon na ruin the surprise! CONNER He touched me! I've got cooties! I've got cooties! MR. RHODES Get your hands off my boy! Conner's father hurls Sam across the room - Sam gets tangled in the MOON BOUNCE! To get attention, Conner bursts into tears. We hear FOOTSTEPS outside the door - Brad hits the lights. We hear a CRASH! And in the light, the DOOR SHEDS as it opens, Lucy and Ifty see - that MOONBOUNCE, swaying. Then from within the Moonbounce : SAM Surprise! Happy Birthday! Lucy stands frozen, holding a red balloon. LUCY Daddy?! CONNER You do n't have to call him `` Daddy''. -LRB- in Sam's face. -RRB- She says you're not her real father, anyway. She's adopted! Humiliated, Lucy RUNS AWAY! The Social Worker watches, profoundly concerned, and reaches for her cellular phone.",
"EXT. WALMART - DAY A police car pulls into the parking lot. Sam and Margaret in the back. Sam and Margaret see Lucy's little feet dangling from beneath the curtain of the photo booth. SAM I'll go get her. MARGARET BROWN It would be better if you stay here. I'm sorry to say this, Mr. Dawson, it's clear how much you love your daughter, but we're going to have to remove Lucy from your home. Sam's baffled. One cop places his hand on Sam's shoulder, restraining him. The OTHER heads toward the photo booth. SAM No, no no no. It's her birthday! It's her birthday! MARGARET BROWN I know how hard this must be. -LRB- cell phone rings. -RRB-. Hello, Betsy. I'm scheduled to come to your apartment at four. No, not five every two hours. It's two every five hours. She only weighs thirty pounds for chrissakes. -LRB- back to Sam. -RRB- The city has given me the difficult task of deciding when to intervene on behalf of the child. Unfortunately, I've learned the hard way that it's better too soon than too late. For now the court will decide what's in Lucy's best interest. Sam watches the cop's legs meet Lucy's under the curtain. Suddenly, Sam screams from the deepest core of his being. SAM Run, Lucy, run! We see LUCY'S FEET KICK the COP'S LEGS and wrestle out of his grasp. She flies out the booth, holding that balloon. She runs down the street, the balloon soaring into the sky - a cop follows. Sam struggles. ON SAM Reeling, devastated, we HEAR A JUDGE speaking : JUDGE -LRB- O.S. -RRB- Given the fact that the father was arrested for solicitation, did not cooperate with the police.",
"INT. COURTROOM - DAY Sam sits ALONE. At another table, Margaret Brown and a lawyer, along with several people from the CPS. JUDGE could not control his emotions, endangering other children. Miss Brown also cites Mr. Dawson's mental deficiencies which raise serious questions about his ability to properly parent. I agree to grant petition. The child shall be removed from the home until a forma jurisdictional hearing. Mr. Dawson, is there anything you'd like to add? SAM Yes. I just wanted it to be a nice surprise party. I had gotten the plates at Pic - N - Save. Pink and yellow, pink and yellow. Like a princess. And the balloons at - JUDGE -LRB- gently. -RRB- Mr. Dawson, it sounds like a lovely party, but right now I want to talk to you about your legal rights. I would strongly suggest you get yourself legal counsel and allow your attorney to present your case at the jurisdictional hearing on February 13th. Counsel, are you available? COUNSEL Ted, I have a trial that day. JUDGE February 20th. 8:00 a.m. SAM -LRB- panicking. -RRB- Twenty - two days? Lucy will come home and you want me to bring Lucy back in twenty - two days? JUDGE No, Mr. Dawson. You'll have supervised visits twice a week for two hours. Now I'm sorry, we have thirty more cases to see today. Next! Hopkins vs. Clifford.",
"INT. SAM'S APARTMENT - DAY Sam's on the phone, a teddy bear in his hand. Robert, Ifty, and Brad all sit with Yellow Pages open in front of them. SAM Thursday? Today is Monday, Mrs. Brown. That's three days away. That's too long. She ca n't sleep without Mr. Jeeters. Well if you're not available until Thursday, maybe I could see her without you there. maybe the Judge made a mistake - maybe he does n't know that for seven years I played with her without you there. No Mrs. Brown, I'm not trying to violate the court. -LRB- the other line hangs up. -RRB- Mrs. Brown? ROBERT I bet they were recording the whole conversation. Check your phone. You ca n't make a move. You need a lawyer. BRAD Call Jerry Spence. He has his own show. He must know what he's doing. ROBERT No. Johnny Cochran. He has his own show, too. BRAD Yeah! He can even get a guilty person off. SAM So you think I'm guilty? IFTY No. You did n't kill anybody. SAM But she said I'm not her father. IFTY She did n't say that. That runty kid with the blue shirt and the mean father whose voice sounds like the man on the Channel Four News who has a toupee. Toupees are expensive. SAM But Ifty. She said it. IFTY But she did n't mean it. I said I hated my mother once. `` Once upon a time.'' is how stories begin. ROBERT You should get a personal injury lawyer. You've been personally injured. BRAD Here - look at this - `` Sebastion Gibson.'' He can do anything. Pedestrians. Back and neck. Uninsured Motorist. Dog attacks. SAM The Social Worker said it's a custody case. ROBERT Then get a divorce lawyer. IFTY When Dustin Hoffman was trying to keep Billy from going back to Meryl Streep, his lawyer said it was going to cost him fifteen thousand dollars - and that's if we win! SAM Fifteen thousand dollars! BRAD Do n't worry about money now. Get the best. Century City - Here : `` Rubel Bly Harrison and Williams''.",
"INT. RITA HARRISON'S CENTURY CITY OFFICE - DAY A Century City lawyer spins in front of our eyes. It's SAM'S POV as he sits in a chair that spins - in the center of RITA HARRISON'S lavish, penthouse office. Now we see the panoramic of Los Angeles. Now the dots in the Lichtenstein on the wall WHIRL PAST US. Now the DOOR SWINGS OPEN AND - RITA HARRISON and her assistant burst in. Rita moves in opposite circles around the room. Looking for something. In fact, as we watch Rita, we realize that she never stops moving. Period. Ten steps ahead of anyone, too much energy, too much caffeine, not enough food. If she slowed down a beat she might get vulnerable. Ca n't have that. Ca n't be wrong. Ca n't really look you in the eye. Ca n't help it if she's smarter than anyone else in the room. Any room. Any time. RITA Did Fred Kimble call? I'm already twenty minutes late. PATRICIA He - RITA What'd Michelle Kresge say? PATRICIA She - RITA She was n't defensive, was she? PATRICIA Well - RITA That's ridiculous. What happened with my car? PATRICIA They - RITA Because it was n't my fault. PATRICIA I - RITA Thank you, Patricia. PATRICIA This is Mr. Dawson. There was some confusion with the temp last week and - RITA Mr. Dawson, it's a pleasure. Since somebody made a mistake, unfortunately we only have a little time. Hold all my calls unless it's my kid - I'll have a double cap. SAM Good choice, very good choice. RITA Can we get you anything to drink? SAM Is it free? ON RITA Hmmmm? TEN MINUTES LATER - Sam is in the middle of the beginning of his story. Rita on her second cappuccino, eyes her computer screen for calls. SAM -LRB- CONT'D. -RRB- Lucy had an ice - cream cake with pink flowers - pink, not white not white. Lucy's favorite is cherry vanilla which is pink, too. Cherries and vanilla. RITA Uh huh uh huh - uh huh uh. -LRB- into Amtel. -RRB- If that's Jake Hiller, put him through. -LRB- picking up phone. -RRB- Jake. No no no no no no. PATRICIA -LRB- from speaker. -RRB- Your son's on line two. RITA Jake, did you get that?! -LRB- to Patricia. -RRB- Tell him to hold for just one second. Jake I have to go. he what? PATRICIA -LRB- through speaker. -RRB- Deborah Chapman on line three - RITA Hold on Jake. -LRB- she punches another line. -RRB- No no no no no no no. Have a nice weekend. -LRB- punches another button. -RRB- Jake?! We HEAR MUSIC coming from the other end of the phone - SAM Burt Bacharach shared billing with The Beatles and Jose Jiminez on the Ed Sullivan Show June 5th, 1968. RITA Really? -LRB- then. -RRB- Jake, what'd you say you tell him yes I am. -LRB- yelling ; re : coffee. -RRB- This tastes like low, are you sure it's non? Okay okay okay. I think there's been a little mistake here - SAM Yes. A little one. Your son's on line two. RITA Oh my God. -LRB- pushes another line. -RRB- Danny? -LRB- Danny's hung up. -RRB- Patricia? Get Danny back. Well keep trying. She unconsciously digs through the bowl of jelly beans on her desk sorting out all the yellow ones. RITA -LRB- CONT'D. -RRB- Mr. Dawson, what I'm trying to say is I'm a divorce lawyer and as much as I'd like to, I do n't handle cases like yours - SAM Since you would like to, why do n't you talk to your boss. Maybe he would let you. She pours the bowl of jelly beans onto her desk, now frantically sorting through them. RITA -LRB- into phone. -RRB- Then keep dialing -. -LRB- to Sam. -RRB- What I mean is that at this point in my career, I ca n't afford to. SAM I earn eight dollars an hour at Starbucks. I can pay your hourly rate, rate by the hour, hourly - Rita stands up, ushering him to the door. RITA Mr. Dawson, I'm sorry, I have to be in court in eight minutes with the Kresges. You understand, good luck to you and do n't give up. She turns, ahhhh! He's gone! She begins searching the room. RITA -LRB- CONT'D. -RRB- Patricia?! Where are my keys? Where the hell are my keys?! Alright alright. -LRB- replaying. -RRB- I walked into the room - I went over here - I looked at my desk - I put my coat down - Patricia?! Where's my coat? SAM -LRB- O.S. -RRB- Is there a child involved in Mr. Kresges' case? Stunned, Rita looks up and sees Sam holding up a strip of photos taken at the birthday booth. RITA No. SAM This is Lucy. One year old. First word, `` apple''. December third. 3:16 p.m. December third. Out of his pocket he pulls another photo strip. SAM -LRB- CONT'D. -RRB- Here's Lucy two years old. First merry go - round ride. June 6th. 4:13 p.m. June 6th. Here's Lucy. Seven years old. The day the police took her away. Rita looks at the photo strip of Lucy's birthday. In the first three we see Lucy's sad face. The fourth has a cop's face smashed into the frame with her. SAM -LRB- CONT'D. -RRB- Thank you for telling me not to give up. I wo n't give up. PATRICIA -LRB- through the phone. -RRB- Danny on Line 2. Rita LUNGES FOR THE PHONE. RITA Danny? Hi. Could we possibly talk about this when I get home. Danny? Danny? C'mon. You're not gon na talk to me? I bought you a bag of your favorite lemonade jelly beans. Danny? -LRB- Rita starts singing. -RRB- `` One little bird in one little tree, we're all alone and we do n't want to be. So they flew far away over the trees.'' I said `` Over the sea.'' I know the words, I said `` Over the sea.'' Since when do n't you like that song? Danny? She checks her watch, puts him on the SPEAKER PHONE, and frantically searches the room for her keys. RITA -LRB- CONT'D. -RRB- Danny? Silence. We hear SIX LOUD THUDS - the sound of a basketball bouncing against the floor. RITA -LRB- CONT'D. -RRB- Danny? CLICK! The LINE GOES DEAD. Rita trips over the coffee table, completely losing it. RITA -LRB- CONT'D. -RRB- I hate this stupid coffee table - how many times have I asked you to get rid of this crappy coffee table? She kicks it, sending the lemonade jelly beans FLYING. Then, after a beat. SAM -LRB- from the doorway. -RRB- You did say `` over the trees'' instead of `` over the sea.'' It's hard to remember all the words to all the songs. There's so many. -LRB- Rita almost stops. -RRB- you have a child Rita rubel Bly Harrison Williams. If they took him away would n't you hire the fastest talking four - named lawyer you could? RITA Yes, I would. I went to college with a friend who does these kinds of cases. Leave your number. I'll see if she can help you. PATRICIA -LRB- through your phone. -RRB- Your therapist on Line 1. RITA Tell him you ca n't find me.",
"INT. STARBUCKS - DAY Sam is face to face with George. SAM I'm ready. GEORGE Let's not add more stress to your life. SAM I'm ready. I'm ready to make coffee. Lo - fat decaf latte. Coffee up to here. Add steamed milk up to here. No foam, no foam. Cinnamon or chocolate sprinkles. GEORGE That's pretty good Sam. I'll think about it. SAM I know what that means. I stock shelves at Lucky Supermarkets. I want to bag groceries, Miss Losey says `` I'll think about it.'' Randy Brenner gets the job. I was the janitor at the La Reina Theater, I wanted to take tickets. Mr. Jenkins said he'd think about it. Larry Peters gets the job. Lets his friends in for free. GEORGE I promise you, Sam. I'll honestly think about it. You have my word. SAM Words, words, words. I need more than that. I need to pay my lawyer. I need to make coffee.",
"INT. RUBEL BLY HARRISON AND WILLIAMS - 8:15 P.M. A group of Rita's colleagues are celebrating a big win. Rita is backing out of the room with her glass of champagne. RITA I am celebrating congratulations to us these are the moments good night. She stops, stunned, as she sees Sam, sitting in the lobby holding out a Starbucks Cappuccino. SAM Non - fat vente cap. I'm sorry to bother you, but did you call your friend? -LRB- Rita's confused. -RRB- Your friend from college, your friend who does this kind of work? RITA -LRB- there never was a friend. -RRB- I do n't have her number anymore, Sam. We lost touch. SAM -LRB- devastated. -RRB- Oh, that happens. That happens. People lose touch. Will you call me if you find it? If you get back in touch? RITA Yes, I'm just in the middle. it's a special. I'll call you. To avoid any further interaction, she heads back to the employee party she previously escaped from. Sam walks down the hall. COLLEAGUE Is that the new janitor? RITA No, it's a case. Sort of a pro - bono thing. Her assistant Patricia clears her throat. RITA -LRB- CONT'D. -RRB- What's that supposed to mean? PATRICIA Nothing. A cracker went down the wrong pipe. Muffled laughter from her colleagues. RITA You think I do n't pro - bono? I can do pro - bono. I can do Goddamn pro - bono. where the hell are my keys. hold the door! Rita runs to the open elevator and comes face to face with Sam who's been holding the door open for her.",
"INT. ELEVATOR - CONTINUOUS The door closes. Rita is trapped with Sam. She stares forward trying to will him not there. Rita gulps her champagne. SAM 32nd floor. 32 floors more. 31st floor. 31 floors more. And on and on and on. Rita is about to spontaneously combust. Finally, `` G'' - Rita bolts out the elevator doors, then just as suddenly turns around. RITA Alright, alright I'll take you. Alright, Goddammitt, I'll take you. SAM Oh my God oh my God! Rubel Bly Harrison and Williams! Sam, shaking with relief, pulls out his wallet just as the elevator door starts closing. RITA No, no no. Pro - bono. Alright? Pro bono. The doors close. We hear from within, as Sam goes up again : SAM -LRB- O.S. -RRB- Yes! Alright! I liked Sonny Bono too!",
"INT. BUS - MORNING Sam stares out the window at an unfamiliar neighborhood. On his lap, the pink box, now ripped, allowing us to see Lucy's birthday cake. It's lopsided from having been thawed and refrozen.",
"EXT. BUS STOP - NOON Sam waits for his transfer. He sets the cake down on the bench and takes out a piece of paper with directions written on it. The number 43 bus pull sup and Sam consults his paper once more before jumping on, forgetting the cake. The bus goes half a block before it SCREECHES to a halt. Sam jumps off and runs back for the cake, but the bus continues on its way. Moments later, the NUMBER 34 bus pulls up. Flustered and worried about being late, Sam jumps on. He feels something cold on his hand, looks down, the box is starting to leak ice cream.",
"INT. SOCIAL WORKERS OFFICE - DAY Lucy, Margaret, a therapist and a child psychologist wait for Sam. MARGARET BROWN Lucy, I'm sorry. But it does n't look like he's going to make it. LUCY -LRB- staring forward. -RRB- He'll be here. You smell like soap. MARGARET BROWN Lucy, he's an hour and 45 minutes late. You'll only have a few minutes left. Suddenly through the door comes Sam CARRYING THE MELTED, DRIPPING birthday cake. Lucy runs to him. LUCY Daddy! I told you I told you!",
"INT. THE SOCIAL WORKER'S SMALL GREY OFFICE - MOMENTS LATER Margaret, the therapist -LRB- Ms. Geller -RRB-, and the Child Pscyhologist all write voraciously into note pads as they observe Sam and Lucy who sit in the center of the room, nervous under their scrutiny. SAM and she's a Century City lawyer - a very famous lawyer. Guess what her name is? Rita Harrison. LUCY -LRB- jaw drops. -RRB- Lovely Rita Meter Maid. SAM Harrison. Just like George. They move to hug each other. EVERYONE REACHES for their pens. Sam pulls back self - consciously. Everyone writes even harder. SAM -LRB- CONT'D. -RRB- You've grown. LUCY Have I? SAM Your ears are larger. And your eyes are older. He's right. Her eyes are older. He hugs her - ALL THE PENS GO UP. SAM -LRB- CONT'D. -RRB- I'm gon na get a phone machine. Next paycheck. If I'm not home, you can leave a message. `` Hi, This is Lucy.'' LUCY You ca n't afford a phone machine. The writing starts again. SAM Yes we can. I'm in line for a promotion. Big promotion. A promotion that's big. LUCY They're gon na let you make coffee?! SAM Set your dreams high, Lucy. Lucy looks at her father lovingly. LUCY I'm sorry, Daddy. It was all my fault. SAM No, Lucy. Do n't say that. LUCY I would n't want any Daddy but you. She looks around to see if anybody's writing. NOBODY IS. She suddenly screams at them : LUCY -LRB- CONT'D. -RRB- I said I was sorry! I said I did n't want any Daddy but him! Why do n't you write that down?!",
"INT. RITA'S OFFICE - DAY We hear sobbing and see Rita sitting across from a very rich, very angry COUPLE. Rita's foot is twitching furiously. RITA are you telling me that neither of you want custody of your child? WOMAN He's created a monster. He's exactly like him. He. he. The woman is distracted by a loud thumping on Rita's glass wall - it's SAM. Holding an envelope. Very distressed, as the Secretary attempts to corral him back into the lobby. RITA I am right here with you, excuse me. -LRB- she unlocks door. -RRB- Sam? Did n't I tell you that you have to call? SAM I - RITA You know how to make an appointment. SAM It's - RITA That's ridiculous you can always get Patricia. SAM They - RITA Good. I'll see you next week. SAM But it's an emergency - lots of three syllable words urgent open at once. He hands the letter to Rita. Rita looks through the glass wall at her clients who are getting impatient. RITA They want to have you and Lucy evaluated by a shrink. The appointment is today at three. Today. Now. Today! SAM I know and I want you to object. RITA Sam I ca n't object. It's court ordered. Sam notices that the woman in Rita's office is crying. He walks in and hands her a handkerchief from his pocket. SAM Here. Do n't be sad. She looks at him as if he's from Mars. Rita, now outside her office, watches Sam now inside the office. RITA Patricia, I'm in the middle - get him out of there - She quickly gets up but Rita's too impatient and pushes past her into the office. RITA -LRB- CONT'D. -RRB- Sam. Sam come with me. -LRB- to the Couple. -RRB- We're gon na get through this excuse us. -LRB- to Sam. -RRB- Sam this is their turn now. Not yours. Theirs. If you leave now you'll never make it and you have to make it. SAM Okay okay I know I take the # 34 bus and transfer to the # 13. than the Downtown Express to Wilshire then - Rita looks at the Couple leaving her office.",
"INT. RITA'S PORSCHE - DAY Redefining road rage, Rita's slamming the horn. Sam next to her. RITA Go! Go! GO! for chrissakes! Green means GO! SAM Red means stop yellow in the middle means no no no. I do n't like shrinks. I've seen too many shrinks. RITA Yeah. You and me both. Right or left which will it be you IDIOT!? SAM Your mother sent you to shrinks, too? RITA No. Well, sort of. I talk about her the whole time I'm there. SAM That's nice. Did you notice that everyone else is driving slower. I noticed that did you? RITA -LRB- on the horn. -RRB- Go for Chrissakes! How about your mother? Maybe she can help you - SAM She's gone. She's at the Park Lane Mortuary. Two from the left. Under the big tree. RITA Oh. I'm sorry. The light is green! WOULD YOU MOVE MOVE MOVE!? She cuts around the car in front of her ; flips him off, and in a split second that her head is turned, almost SMASHES into the car in front of her! She slams on the brakes. SAM Too many shrinks. I'm sorry Mrs. Dawson, if I were you I would n't waste any more time. I'm sorry Mrs. Dawson it must be a tremendous disappointment. I'm sorry Mrs. Dawson I think you'd both be happier if Sam was in a home. Rita looks over at Sam, forced to stop.",
"INT. PSYCHOLOGIST OFFICE - DAY Sam sits across from a shrink, MS. GELLER, nervously straightening her desk. PSYCHOLOGIST Mr. Dawson, you do understand, that since I am a court appointed psychologist, the traditional client therapist confidentiality will be waived. -LRB- Sam looks confused. -RRB- Mr. Dawson, do you understand that the confidentiality will be waived? Sam nods nervously and waves. With that she begins.",
"INT. SAM'S APARTMENT - NIGHT Sam, Ifty, Brad and Robert hover over a used answering machine. Ifty pours over the instructions. IFTY Before you read your message press the red button for record, when you finish, press the yellow button. If you press the green button, it will play it back you. Let's start with the `` ogm''. SAM Okay, okay. I'm ready. Hello, I am Sam. IFTY No, no. I did n't press the red button. SAM Oh, yes. False start, false start. IFTY It's not working. That's what you get for buying a used machine. Used means broken. You're asking for other people's problems, you have enough of your own, not that everyone does n't have problems. BRAD It's not used. It's pre - owned. Guy bought it for his auto shop and then he got a secretary. IFTY Testing, one two three. SAM That's a good code. I'll remember that. One, two, three. IFTY -LRB- pressing button. -RRB- Quick, you're recording. SAM I'm hi. I am Sam. I'm not home. ROBERT No, you do n't want to say that. you do n't want them to know you're not home. SAM But then I'm lying. ROBERT Everybody's lying. SAM I'm not a liar. It will send a mixed message to Lucy. IFTY -LRB- pressing the button. -RRB- You're on the air! SAM Let me see, let me see, let me see. Hi, how are you? BEEP! the tape runs out. IFTY That was pretty good. That was natural. SAM Did I sound like a good father? IFTY It's the outgoing message. You need to sound more outgoing. Let's start again.",
"INT. GROUP HOME - NIGHT Mrs. Kerry unlocks the phone and dials. She hands the phone to Lucy who waits eagerly in her pj's. Sam's answering machine clicks on ; as if on slow speed. ANSWERING MACHINE Hi, it's Len's Auto Body Shop. We'd love to show you our body work, but it's invisible. Leave it at the beep. LUCY Try again. You must have dialed the wrong number.",
"INT. RITA'S OFFICE - DAY Rita and Sam walk through the lobby at Rita's Olympic pace. She passes the elevator and heads for the stairs. RITA Look, we've got a lot to go over and I've got five minutes. SAM -LRB- pointing to elevator. -RRB- Rubel Bly Harrison and Williams thirty second floor, thirty - two floors up. Rita heads up the stairs. We hear a BEEP. Then another. Rita checks her heart rate watch. Starts walking up the stairs. RITA One - twenty. Got ta get to one - twenty five to make it count. Okay okay okay. I'm gon na need that list of people who can testify that you're a good father despite your handicap. I did n't mean your handicap I meant your disability - I mean the fact that you're retarded. That's not the right word. I mean. What do I call you? SAM Sam. I am Sam. Rita looks at Sam as she bounds up the fourth floor. RITA Yes you are. -LRB- he hands her a list - her CELL PHONE RINGS. -RRB- Hello Ted how you doing / Whattaya mean what's that supposed to mean? -LRB- her heart beep rate goes up. -RRB- Put Danny on. You're supposed to be taking him to karate. No it is not my day it's your day. I took your day last Wednesday - are you eating no I will not hold. Go pick him up! What? I ca n't hear you I'm in the car - they put you through to me here. I'm losing you -. -LRB- clicks off phone. -RRB- I get paid for this memory - I know I took him last. A look of horror falls across her face. She does a 180 and starts RUNNING down the stairs reading the list. RITA -LRB- CONT'D. -RRB- We're making progress. Three character witnesses. That's a good start. What does Ifty Bhutto do? SAM He works in a bank. RITA -LRB- tripping down the stairs. -RRB- Excellent.",
"INT. RITA'S OFFICE - THE VERY NEXT DAY Ifty sits across from Rita who attempts to take notes. IFTY Sam is a very concerned father. He always saves his money at Bank of America. Last year there was a lion on the calendar. This year a gazelle. The gazelle is national bird of Tunisia. We have clients, not customers. At Bank of America. Bank on us. He looks up at her, lost. So is she. IFTY -LRB- CONT'D. -RRB- What was the question again, please?",
"INT. RITA'S OFFICE - DAY ON BRAD Who sits across from Rita. She tape records him. BRAD He always made a point of feeding her breakfast when `` Bewitched'' was on and lunch when `` Jeopardy'' was on so she'd be smart. Is that Wonderbra you're wearing? Because you look wonderful.",
"INT. RITA'S OFFICE - DAY Robert sits across from Rita, who records him. RITA How long have you and Sam - ROBERT Why are you recording this? Who's listening? RITA It's often necessary - ROBERT Who are you really? RITA I'm - ROBERT What's that supposed to mean? RITA Let's - ROBERT I need to talk to my lawyer.",
"INT. RITA'S OFFICE - LATER Rita maniacally picks the frosting off a donut. RITA Patricia, get Mr. Dawson on the line. Over her INTERCOM, we hear SAM'S ANSWERING MACHINE. ANSWERING MACHINE -LRB- O.S. -RRB- Hi, it's Len's Auto Body Shop - RITA I need this like a - call him at Starbucks - no I do n't know which Starbucks. There's forty two between here and the end of the block.",
"EXT. STREETS - DAY Rita stands next to her Porsche. There are Starbucks in every direction she looks.",
"INT. STARBUCKS - DAY Sam is straightening Sweet and Lows. Rita barrels in. RITA Look I do n't think you understand what you're up against we have to be in court in three days and we do n't have a decent witness. Now you've got ta know someone who can testify who's been to college - or has a degree of some kind - or some sort of way of expressing themselves that's gon na make the court believe that you deserve to get your daughter back I need a coffee. Big. Tall. SAM Tall's the smallest. RITA Of course. Of course, whatever. Okay okay okay. Damn! I forgot to call back no I did and once you think of this person and there has to be one person - I want you to call me at work - because I'm going back there now to my seven other cases -. -LRB- her cellphone RINGS. -RRB- What? Mrs. Robeck? I'm on my way, the traffic's horrible on the 405. Dorothy, we put in five months lets not let a three car pile up. I know it's been enormously stressful. Your Esczema? Oh, honey, nobody notices. AH! They opened a lane! SAM -LRB- too loudly. -RRB- Do you want it here or to go? RITA -LRB- dial tone. -RRB- Dorothy? Dorothy? No no no I did n't stare at the eczema for five months for - She takes out her car beeper, clicks it towards the window and realizes that they're towing her car! RITA -LRB- CONT'D. -RRB- Sonuvabitch!",
"INT. ANNIE'S APARTMENT - EVENING Annie is at the piano, lost in a Beethoven concerto. SAM Annie, it's one day. One hour. Maybe only 53 minutes. Lucy needs you. -LRB- Annie keeps playing. -RRB- You went to college. You can give the right answers. Annie plays even harder. Frustrated, he POUNDS the piano. SAM -LRB- CONT'D. -RRB- We ca n't lose her. ANNIE I ca n't. I'd make it worse for you. I ca n't do it. Do n't you think I would if I could?",
"INT. COURTROOM - DAY We HEAR A VOICE : VOICE -LRB- O.S. -RRB- All rise for the Honorable Judge Phillip McNeily. Sam stands along with others in the courtroom. The Judge enters and sits. Everyone else sits now, too. Except Sam. Who continues to stand until Rita pulls him down. Now we see : Ifty, Robert, Brad - and Brad's MOTHER, who sits several seats behind Brad knitting. Robert holds up a handmade sign from the back of the courtroom `` Free Lucy Dawson''.",
"INT. COURTROOM - ONE HOUR LATER Turner, the prosecuting attorney, examines his first witness. He's disheveled, but do n't let the rumpled suit fool you. This man is razor - sharp. The THERAPIST who evaluated Sam is on the stand. Sam anxiously rearranges all the pens on the desk he sits at with Rita. Projected on a SCREEN is a SLIDE of the drawing Lucy made in school. THERAPIST there is an unhealthy reversal of roles here. As you can see from her drawings, she has an exaggerated sense of responsibility. Lucy feels she has to take care of her father. Although at her birthday party her true feelings about her father were revealed. RITA Objection. `` True feelings revealed''?! TURNER The state is paying Miss Geller for her opinions - RITA Then every child who rages because they did n't get to stay up for that extra hour of TV - TURNER Objection your honor - Sam TUGS at Rita's sleeve. She ignores it. RITA in fact any child who said they hated their parents because they did n't want to take a bath would be a prime candidate for Foster Care. TURNER Objection. SAM I think they want you to stop. RITA Really?! Thank you, Sam. JUDGE MCNEILY We all appreciate your assistance Mr. Dawson - continue with your witness, Mr. Turner. TURNER Now Ms. Geller, I assume in your therapy session, Mr. Dawson extolled his parenting abilities. THERAPIST On the contrary, Mr. Dawson admitted he felt profoundly inadequate - that he was terrified he'd made and would continue to make - and I quote : `` Huge mistakes, huge mistakes, mistakes that are huge.'' TURNER No further questions. Rita starts to scribble notes furiously. So does Sam. Turner smugly sits down. Rita confidently strides toward the witness. RITA You're a mother, are n't you Ms. Geller? THERAPIST Yes. RITA Would it be fair to say that as a parent, you've felt confused from time to time, possibly overwhelmed on occasion, even though you're a wonderful mother? TURNER Objection. It's Mr. Dawson's parenting. Not Ms. Geller's that's at question here. RITA But if Ms. Geller has never had a moment where she felt confused as a mother it would bias her opinion. And it is her expert opinion we're all after, is n't it, Mr. Turner? JUDGE MCNEILY Overruled. I'll allow it. RITA Thank you, your Honor. Ms. Geller, I know there have been many moments as a parent where I've felt I've made huge mistakes - mistakes that are huge. And I've had to admit them to myself. My husband. But most importantly, to my therapist. Which is the guise Mr. Dawson thought he was seeing you under, is n't that right, Ms. Geller? TURNER Objection. JUDGE MCNEILY Get to the point, Ms. Harrison. RITA The point is you've never had those moments, have you Ms. Geller? Moments that every parent I've ever spoken to has - moments when you've felt the task is so unbelievably challenging that you feel retarded, disabled in some way. Moments when you feel everyone has the key but you. But you've never had those moments, have you Ms. Geller? THERAPIST I - RITA Yes or no? THERAPIST I - RITA Let me rephrase the question. When your son od ` ed - TURNER Objection! RITA But if Ms. Geller did n't feel she had made mistakes - mistakes that were huge it might bias her opinion toward Mr. Dawson. JUDGE MCNEILY I will - RITA Thank you. So Ms. Geller - yes or no - when your son od ` ed, did you feel you might have made mistakes, mistakes that were huge? THERAPIST -LRB- tearfully. -RRB- Yes.",
"INT. COURTROOM CAFETERIA - DAY Sam and Rita go down the cafeteria line. SAM You made her cry. RITA You got lucky. SAM That's not nice. Not very nice. RITA Only in there. SAM Your secretary too. Yellow and green in one bowl. -LRB- Sam stares at a bowl of Lima beans and corn. -RRB- You separate the Lima beans from the corn please? The CAFETERIA WORKER stares at him. Yeah. Sure he will. RITA Sam, do n't be impossible. -LRB- then to Worker. -RRB- Can I have the spinach omelet - only egg whites no fat no oil no butter and extra mushrooms. CAFETERIA WORKER Absolutely. Sam is anxiously separating his Lima beans and corn into separate piles. They arrive at the cashier. Rita pulls out her billfold. Sam reaches for his wallet. SAM My treat. My treat. RITA Do n't be ridiculous. I'll get it. SAM I said it's my treat. That means I'll get it. RITA Sam, do you really want to get it or are you just trying to - SAM Trying to what? RITA You know, trying to act like a - SAM Like a what? RITA Like a. a. SAM A real man? RITA I did n't say that. SAM You're my lawyer and you think what they think. I do n't have a chance. No chance at all. Even with an expert witness. Rita looks at him. He's right. She chooses her words carefully. RITA I think. you deserve. a fair trial. SAM Answer the question. RITA Okay okay okay. What was the question again? SAM Do you think what they think? Sam ca n't order food. Sam ca n't pay a check. Sam ca n't take care of Lucy? RITA It does n't matter what I think - it matters that we win. SAM You're my lawyer it matters what you think. RITA Hey, it does n't matter to them what I think. SAM Me. It matters to me. He reaches for the receipt, and faces the CASHIER defiantly. SAM -LRB- CONT'D. -RRB- Fourteen thirty three. That's 5 ones, 2 quarters and 16 cents less than twenty. He slowly counts his money, takes his tray and walks away. Rita watches him, with a trace of remorse and a hint of admiration.",
"INT. COURTROOM - DAY DR. DONOVAN, an attractive soft - spoken woman is on the stand. Rita is working the room. Sam, having a hard time concentrating, is following a crack up the wall and onto the ceiling. RITA Dr. Donovan, the American Medical Journal named you one of the country's leading oncologists. Is n't that correct? DR. DONOVAN Yes. RITA What kept you going the twelve years you were in medical school? DR. DONOVAN Caffeine. Sugar. And my mother's confidence in me. RITA I wish I had a mother like that. She must have been smart. DR. DONOVAN She had great instincts. RITA Do you have any idea what her IQ was? DR. DONOVAN In the lower ranges. About eighty. RITA So your mother, this woman with the IQ of a nine - year old had the wisdom to recognize that you would be a great doctor. I guess her disability did n't seem to hold you back in life. DR. DONOVAN No. My mother's condition taught me what they ca n't teach you ; compassion and patience. RITA Traits most doctors have in spades. Thank you, no further questions. Sam runs to hug Dr. Donovan, bumping into Rita who sits him down. TURNER How'd you get through medical school? Where'd you live? DR. DONOVAN We lived with my mother's parents. TURNER Oh, Grandma and Grandpa. Would it be fair to say your grandparents were of normal intelligence? DR. DONOVAN Yes. TURNER And did n't these people - your grandparents - with normal intelligence - have the real responsibilities? RITA -LRB- relishing this. -RRB- Objection! I hear Mr. Turner's mother in - law lives with him! She must help out. Does that mean he does n't have the real - TURNER Motion to strike that from the record. Irrelevant, immaterial and immature - RITA Irrelevant?! Any parent has a right to a support system. TURNER I'm not talking about the rights of the parent, I'm talking about the rights of a child. -LRB- the gavel bangs. -RRB- I'm talking about entrusting an eight year old's welfare in the hands of someone whose records show he was diagnosed with infantile autism, mental retardation. RITA Objection! Motion to strike that from the record. It's clear that one's intellectual capacity has no bearing on their ability to love. You Honor, would you please instruct council to proceed with a modicum of sensitivity? TURNER Oh, I'm sensitive. I'm real sensitive when I see people like you -. -LRB- the gavel BANGS! -RRB- come here and try to give meaning to your life by screwing up somebody else's! JUDGE MCNEILY That's enough. Both lawyers approach the bench! RITA -LRB- both approach. -RRB- And I suppose tearing apart a family is truly noble work, Mr. Turner. JUDGE MCNEILY That's it. I fine you both for contempt. Two - hundred fifty dollars. TURNER What's that to her? She gets that for picking up the phone. RITA Oh, that's what this is about. TURNER I'll tell you what this is about. See this is an award for you at some luncheon. But I'm here everyday. -LRB- gavel POUNDS AGAIN. -RRB- You win, you're out the door. But guess who I see come back? The kid. Most of the time, in less than a year. Only now it's too late. So you're right. I'm real sensitive. You ca n't even touch that area. ON SAM Devastated.",
"INT. INSTITUTIONAL GRAY SOCIAL WORKERS OFFICE - DAY Margaret Brown observes Sam and Lucy. LUCY But how did he prove it? SAM Columbus had to sail around the world to prove it was round. LUCY You're so smart, Daddy. Sam shoots a look at Margaret. He has n't heard anything nice about himself in so long. Lucy looks into her father's eyes. LUCY -LRB- CONT'D. -RRB- Are we winning, Daddy? Sam shoots ANOTHER look. He does n't want to lie. Lucy catches the look between Sam and Margaret. MARGARET BROWN Excuse me, time's up. LUCY Please. Just a little more. MARGARET BROWN I have another client at two - thirty. You need to put your shoes on and get ready to go. LUCY Oh no! There's a knot. A really big knot. Sam attempts to undo it. Lucy and he work very slowly, cherishing each moment together. MARGARET BROWN I'll help you. She undoes it quickly. Hands it back. LUCY I need to go to the bathroom.",
"INT. BATHROOM - MOMENTS LATER Lucy's feet dangle from under the stall. Margaret's sturdy shoes from under another. Suddenly, Lucy's head pops out and now she quietly wriggles out from under the stall, tip toes across the room and out the door. Locking it with a key.",
"INT. SOCIAL WORKERS ROOM - CONTINUOUS Lucy runs up to her father. LUCY Daddy, she said we could go to the park. SAM What's going on? What made her change her mind? LUCY I started crying in the bathroom. She thought we needed more time. SAM That was so nice of her. Very nice.",
"INT. BUS - DAY Sam and Lucy hold hands and look out the window. Sam sees Echo Park approaching and gets up. Lucy pulls him back to the seat. She looks Daddy in the eye and in a furtive whisper : LUCY Let's not get off. Let's keep going. SAM No, Lucy. LUCY Please. SAM That would be wrong. LUCY Tamara's Mommy lost her case and Tamara has n't seen her in six years. She's had five different mommies and one of them hit her. SAM I wo n't let that happen. LUCY That's what her real mommy said. And now they wo n't even let her talk to her. Sam reels with confusion. Lucy buries herself in his chest. LUCY -LRB- CONT'D. -RRB- Daddy, it's the only way to be together. We'll start a new life, get new names. We'll live in a new apartment. They'll never find us. The bus has stopped. Passengers for the park have exited. Sam does n't move. As the BUSDRIVER closes the door and heads on, he holds Lucy protectively to his chest. SAM I love you Lucy. I love you. LUCY My name is n't Lucy anymore, it's Michelle.",
"INT. BUS - NIGHT Lucy sleeps cuddled close to Sam, who is wide awake, as he gazes out at the passing highway, far from home. We hear the song `` Michelle''.",
"EXT. PARK - 4 A.M. Sam, totally disoriented, walks in circles around the plastic tunnels and jungle gym. A flashlight shines in Sam's face. COP Hey, buddy. No loitering. Move it. SAM Not yet not yet not yet. COP You want me to get a black and white down here? He moves toward Sam. SUDDENLY THE SPRINKLER SYSTEM goes on. The cop backs off, but Sam does n't move, standing in the middle of the park and getting totally wet. SAM Not yet not yet not yet. He shines the flashlight in Sam's face and we see INSIDE THE PLASTIC TUNNEL where LUCY SLEEPS PEACEFULLY on a bed of coats, holding a discarded stuffed animal. COP Jesus Christ. SAM She has n't been sleeping well. She needs a good night's rest. Let her sleep, let her sleep. -LRB- the cop moves toward Sam. -RRB- NO! COP What are you, crazy? All the cop sees is a lunatic walking in protective circles in the downpour of the sprinklers with a kid in a plastic tunnel.",
"INT. POLICE STATION - DAWN Police doors swing open as Rita, coat over pj's, a sleepy DANNY by her side, storm inside. Lucy lies on a bench with her head in Sam's lap. RITA What were you thinking what were you possibly thinking?! SAM I - RITA That's ridiculous! Danny stay with me -. -LRB- he moves away. -RRB- What could you possibly gain by kidnapping your kid in the middle of a custody hearing?! SAM She - RITA I do n't wan na hear it! Can you possibly explain this to me?! SAM But Lucy said - RITA Who's the parent here? Who's the goddamned parent here? Danny! Stay in the hallway - Danny turns the corner just as Margaret Brown rushes in. Rita turns to her - her expression changes on a dime. RITA -LRB- CONT'D. -RRB- Miss Brown, I can imagine what you're thinking. MARGARET BROWN I'm - RITA But I ask you what parent in their right mind seeing their child in pain - MARGARET BROWN I have seen - RITA Their yearning for contact - would n't take them in an attempt to comfort them? Where the hell is Danny? MARGARET BROWN You - RITA He - MARGARET BROWN There's - RITA Oh yes there is! And if I were you I'd look at my conscience you do have one do n't you long and hard before I tried to use this in court. MARGARET BROWN Is that a threat? RITA No. It's a plea. Give'm a break. Give'm one goddman break. Margaret's cell phone RINGS. MARGARET BROWN What?! No, Mrs. Sloan. His temperature could n't be 117, no not even 107. Okay, okay, I'll come. Come on Lucy, I'll take you back. RITA C'mon, Danny. We're going home. Danny!? Danny!?!? The FIRE ALARM GOES OFF and - RITA -LRB- CONT'D. -RRB- Goddamn it, Danny! Rita avoids Margaret's look. Margaret's cell phone goes off again. She does n't answer. Now Rita looks at Margaret, but this time Margaret avoids looking at her. Lucy runs to Rita and throws her arms around her waist. LUCY Please do n't fire us. It was all my idea. Please do n't. Please. Please. Rita is disarmed. She's moved and not used to being moved.",
"INT. COURTROOM - DAY BAILIFF the whole truth, and nothing but the truth, so help you God? Lucy's in her best dress, being sworn in. One hand in the air. LUCY So help me God. And now CAMERA MOVES AROUND HER AND WE SEE THAT SHE'S HIDING HER OTHER HAND BEHIND HER BACK - FINGERS CROSSED.",
"INT. COURTROOM - LATER Lucy is on the stand, Turner is cross - examining her. TURNER I heard you turned seven this year. That's pretty exciting. LUCY Everybody gets older. It's not that big a deal. TURNER What'd you get for your birthday? LUCY I have n't opened my presents yet. TURNER Really? That's odd. Why not? Lucy looks to her father and Rita. LUCY I opened my presents. I got the HELP album - limited edition. ON RITA AND SAM What is she doing? TURNER Oh, I'm sorry. I was confused. I thought you did n't open your birthday presents because you ran away from your own party when your best friend told everyone that you were adopted. LUCY I never said that ; why would I say that? TURNER Why would your friends say it if you had n't said it? LUCY Kids lie all the time. Next to her skirt, we see her fingers are crossed so hard they're practically turning purple. TURNER May I remind you Lucy that you're under oath? LUCY You may. TURNER And do you know that means if you lie you could be in serious trouble? LUCY I do. TURNER So now that you and I have agreed to tell the truth, where did you sleep last night? Rita glares at Margaret. Thanks a lot. LUCY In my bed at the Foster home. TURNER All right, Lucy. If you're not going to tell the truth, I am. Your dad kidnapped you last night and the police found you sleeping in a seedy park a hundred miles from here. You're lying right now because you're afraid. Afraid that everyone will see how scared and frustrated you really are. You're afraid of hurting him, but now we need to tell the truth. The truth is deep inside you know you're not getting what you need from your father. Is n't that right, Lucy? A LONG SILENCE. She stares at Turner defiantly. LUCY `` All you need is love.''",
"INT. COURTROOM CORRIDOR - DAY WE HEAR THAT SONG as Sam and Rita walk out of the courtroom. Rita is breaking pieces off a candy bar she has stuffed in her purse. They see Lucy running down the corridor toward Sam, Margaret Brown behind her. LUCY Daddy! I did great, did n't I? SAM No, Lucy, you lied. LUCY Shhh! Do n't tell anyone. Rita watches Sam. Moved by his concern as a parent. MARGARET BROWN Lucy, Mrs. Kerry's here to take you back. LUCY I thought you'd be proud of me. Jo Jo's mom told him to lie on the stand and say he never saw a needle in the house ; and he did, and now they're back together. SAM Jo Jo is n't us. The truth, the truth, when the judge hears the truth, he'll know, he'll know we should be together. LUCY -LRB- bursting. -RRB- Nobody's interested in the truth, Daddy. Nobody cares! They lead her down the hallway toward Mrs. Kerry - Sam's voice gets louder and louder - determined to make her hear. SAM I CARE! DO YOU HEAR ME? THE TRUTH. THE WHOLE TRUTH! SO HELP ME GOD!",
"INT. SAM'S APARTMENT - NIGHT The darkness of Sam's apartment. We see him on his knees. Saying his prayers by his bedside. SAM Help me, God. Help me, God. Help me, God. We see ANNIE'S SILHOUETTE from the window of her apartment as it moves across the frame.",
"INT. COURTROOM - DAY Turner cross examines George, the manager of Starbucks. GEORGE Sam's my most reliable employee. He's never missed a day of work in eight years. Always warm, always friendly. TURNER Admirable qualities for a single father. Mr. Walker, in these eight years, have Mr. Dawson's responsibilities, which. let me see. would include bussing tables, replenishing Sweet'n Lows, and sweeping up the place. increased? GEORGE No. Not really. TURNER And is n't that because he's mentally incapable of learning management skills or working the cash register or even making a cup of coffee? RITA Objection. Leading the witness. JUDGE MCNEILY You may answer the question. George searches for a way to tell the truth. GEORGE Well as a matter of fact, Sam and I have been discussing a promotion that I was planning on putting into effect at the end of the week. Sam leaps to his feet. SAM Oh boy! Thank you, George! Rita pulls him down. Turner seizes the moment. TURNER Yes. Thank you, George. Now, after eight years, Sam can finally measure out a teaspoon of coffee and cup of water. Now, he must certainly be able to help Lucy with her geometry. RITA Objection - TURNER No further questions.",
"INT. COURTROOM CORRIDOR - LATER Rita prepares Ifty. RITA and when I ask another question? IFTY I answer in one sentence. RITA Yes. Short and sweet. IFTY Yes. One sentence. Short and sweet. My aunt was short and sweet. But her cooking was too spicy she. Rita's twitching foot knocks over her purse. Out spill several Snickers Bars with the chocolate picked off them. Embarrassed, she kneels to pick them up when she and Sam see something that stops them both, awestruck. In the corner of the corridor, huddled on a bench in dark sunglasses, sits ANNIE IN A PROFESSIONAL BUSINESS SUIT. Sam runs to her. SAM Annie! I ca n't believe it! ANNIE -LRB- visibly trembling. -RRB- Tell them to take me quickly. RITA Give me one minute with the judge.",
"INT. COURTROOM - FIFTEEN MINUTES LATER Annie, wearing her dark glasses, is being questioned by Rita. RITA Besides being Lucy's godmother, are n't you also Lucy's piano teacher? ANNIE Yes. RITA Lucy's very lucky. Did n't you graduate Magna Cum Laud from the Julliard School of Music? ANNIE Summa Cum Laud. RITA -LRB- delighted. -RRB- Excuse me. Now Ms. Cassell, in all the time you've known them, have you ever questioned Sam's ability as a father? ANNIE Never. RITA Never? ANNIE Never. Look at Lucy. She's strong, she's able to display true empathy for people, all kinds of people. I know you all think she's as bright as she is despite him. But it's because of him.",
"INT. COURTROOM - LATER Turner stands where Rita did. TURNER Can Sam add? ANNIE Yes. TURNER How about multiplication? ANNIE He's learning. TURNER So what you're saying is that Sam can not even multiply two times two? ANNIE I do n't know about you, Mr. Turner, but my fondest memories of my parents have nothing to do with times tables or state capitals. TURNER I bet he's knocking on your door all the time with questions. ANNIE Yes. All the time. The last question was whether to use Biz or Clorox to get the grass stains out of Lucy's soccer uniform. ON RITA AND SAM This is too good to be true. TURNER So let's see. he does n't know math. he ca n't even wash her clothes. How about puberty? I can only imagine how much insight he'll bring to approaching the sensitive issues of a young girl's development. ANNIE Mr. Turner, show me a father, any father, who knows how to do that and I'll give them the Parent of the Year award. TURNER And you've had plenty of opportunity to observe fathers, have n't you? RITA Objection! TURNER But the fact that Ms. Cassell has n't come out of her room in years might have some effect on her perception. JUDGE MCNEILY I'll allow it. ANNIE I had twenty eight years in the world to observe all kinds of fathers. TURNER What about your father, Ms. Cassell? Since you appear to be an expert on father - daughter relationships. A long pause. Sam watches as Annie visibly tightens. TURNER -LRB- CONT'D. -RRB- Excuse me, Ms. Cassell, I did n't hear your response. What about your father? Annie reaches for her water glass. We see her hand SHAKE. It knocks over the glass, shattering it on the floor. SAM Objection! No further questions! TURNER Excuse me, Mr. Dawson? SAM I said that's enough! I will not allow it! Overruled! Overruled! Rita does n't stop him. The Judge hesitates, incredulous, then pounds the gavel as the courtroom erupts.",
"EXT. SAM'S APARTMENT - DUSK Rita sits in her Porsche with Annie and Sam. Annie is curled into a tight ball in the passenger seat. Sam is tucked into the shelf in the back. His legs kick Rita in the face with every gear shift. RITA Thank you again, Annie. You were truly extraordinary. SAM Extraordinary. Truly extraordinary. Annie does n't move. RITA Okay okay okay okay. Well, Sam has his big day on the stand tomorrow and we need to work a little bit so that he's as effective as you were. SAM Effective. Very effective. RITA On a Porsche, the, uh, the door handle is a little hidden by that thingamajig, so if you're having a hard time finding it I'll just - Rita reaches across to open Annie's door when she SCREAMS! ANNIE Noooooooo! SAM Annie's not quite ready to go outside yet. RITA Okay, we'll just take our time.",
"INT. PORSCHE - TWO HOURS LATER It's dark now. Annie is still catatonic. Rita's on the car phone, the kind that voice activates and she's yelling. RITA Home! Home! HOME GODDAMNIT! Juanita, help Danny with his English assignment. Ayude Danny un story. story. STORIO! ANNIE -LRB- rising from the dead. -RRB- I'm ready now. RITA -LRB- gently. -RRB- Good, fine, Sam? Annie's ready. Sam's fallen asleep.",
"EXT. RITA'S LAVISH BEL AIR HOME - NIGHT Rita and Sam enter.",
"INT. RITA'S BEL AIR HOME - NIGHT Sam is awestruck at the magnificent home. RITA Okay okay okay okay. We'll work in the library. It's down the hall and to the left. They pass another room and see Danny zoned out in front of the wide - screen TV watching MUTANT NINJA TURTLES. RITA -LRB- CONT'D. -RRB- Hey, Danny. -LRB- no answer. -RRB- Where's your father? DANNY -LRB- staring at TV. -RRB- Guess. RITA I do n't want to guess. Where is he? -LRB- Sam watches Rita. -RRB- I told you I do n't want to guess. DANNY Well where was he last night? RITA Working late. DANNY There you guessed it. RITA He said he was working late? DANNY That's what he said. RITA Well who did he say was taking care of you? DANNY You. But you said you were working late. RITA I am working late. DANNY Then go work. RITA How was your day? DANNY You have to work. Go work. RITA No. How was your - Her CELL PHONE goes off. Rita moves into the hallway to answer her phone. Sam moves into the den, sits on the couch, the sound of Rita arguing with her husband drifts into the room. Sam looks sideways at Danny who remains stonefaced. SAM This is my favorite part. Hey Dommy, this one looks like he's suffering from shell shock. DANNY Boy I guess we can shell it out. It was a shell of a good hit. Rita stands in the doorway watching Sam have a longer conversation with her son than she's had in months. She retreats.",
"INT. RITA'S DEN - LATER Danny and Sam eat popcorn watching the movie. SAM -LRB- bellowing. -RRB- `` Turtles in the half - shell, turtle power!'' Rita! Come this is the best part. He heads towards Rita.",
"INT. PANTRY - CONTINUOUS In the half - light Sam catches a glimpse of Rita standing in the pantry unconsciously stuffing marshmallows into her mouth. Their eyes lock for a moment. SAM You eat too fast. Come watch the movie. RITA It's getting late. We have to get to work. -LRB- handing him a suit. -RRB- This is my husband's. He wo n't notice. He's got ten more just like it. Try it on.",
"INT. RITA'S LIBRARY - MOMENTS LATER Sam comes out of the bathroom in the new suit. Rita stares at him astonished. He looks incredibly handsome. Rita, attempting to stifle her reaction, turns away from Sam. SAM Bad? RITA No. Very, very good. But your tie's crooked. Rita stands behind Sam with her around him showing him how to do his tie properly. Their images are reflected in the mirror. RITA -LRB- CONT'D. -RRB- Cross over once. Loop it around on the inside of your neck. -LRB- her hand grazes his neck. -RRB- Slide the other side through the loop, then tighten. Rita comes around to the front and straightens and tightens the tie. They are both nervous. The room is charged. RITA -LRB- CONT'D. -RRB- Okay okay okay okay. Our strategy is that we're aggressively pursuing a support system. I'm going to ask you h ow are you prepared to help Lucy in school? SAM Let me see let me see let me see. RITA Sam! I told you you have to stop that! It makes you look stupid! Okay okay okay. Try again. -LRB- endless pause. -RRB- You say you will find her a tutor. Then I say, `` How will you pay for it?'' SAM Could you slow down? Why do you eat so fast? RITA -LRB- ignoring him. -RRB- We've gone over this a million times. You've found a free tutoring service for her at the YMCA. SAM But I did n't. You did. RITA Ca n't you grasp the concept of manipulating the truth? Not lying. Just a little tweak here and there. SAM No. You're so lucky. You get to play with Danny all the time. RITA He does n't want to play with me. SAM Yes he does. He does he does. He thinks you do n't want to. RITA Oh that's ridiculous of course I want to. SAM Tweak, tweak. RITA -LRB- exploding. -RRB- I drove around after work yesterday'til 9:30 looking for a goddman razor scooter! SAM -LRB- in his own world. -RRB- Tweak, squeak, peek peek. Rita shifts uneasily, embarrassed by her overreaction.",
"INT. RITA'S LIBRARY - LATER RITA Okay, why did you harass that young boy at your home? SAM You know I did n't harass him, Rita. You know that, you know that! RITA Sam, I'm pretending to be Mr. Turner, remember? Okay? SAM Oh yeah yeah yeah yeah. I did n't harass him, Mr. Turner. Mr. Turner -. -LRB- Sam ca n't keep a straight face. -RRB- You do n't look like him. RITA That's a blessing. SAM You're so much prettier. RITA -LRB- suddenly shy. -RRB- Thank you. Now. What makes you think you can take care of a woman - I mean a young child - when you have a hard time taking care of yourself?",
"INT. RITA'S LIBRARY - TWO HOURS LATER Rita is relentless. Sam is exhausted but determined. RITA But who are you kidding? Is n't Lucy already smarter than you? SAM In some ways. But in other ways, she's not, I think. RITA You think? SAM I think. RITA Sam. You've got to be firm on this. SAM I think in other ways I'm smarter than her. Smarter than you are, Mr. Turner. In fact, in some ways I'm smarter than you, Judge McNeilly. RITA Whoa! Bring it down. SAM What parent does n't want more for their child? To be more than the sum of the parts of the whole of them. RITA Yeah yeah yeah, but it's one thing for a little girl to love her daddy when she's a baby, but once she loses respect for you, what will you do? SAM -LRB- fierce. -RRB- I wo n't let that happen. I wo n't. RITA How can you say that? SAM Respect is not just about how smart someone is. Smart is not just about how smart someone is. RITA But what about Lucy? Are n't you being selfish? Does n't she deserve a better life? Do n't you think she's just pretending she's happy to not hurt your feelings? Sam jumps up from the table, trembling with anger. SAM Lucy is happy! We have fun! We go to Denny's, we go to video night. I know how to love her. I know I'm not going to able to go to law school and learn how to be a mean person, but I know how to love. I know how to be her father, Mr. Turner! By this time he is face to face with Rita, breathing hard, overcome with emotion. Rita is unexpectedly near tears. Suddenly before she knows it, she is HOLDING SAM. The room charged. She speaks tenderly, moved by this awkward boy/man. RITA I know you do, Sam. I know you do.",
"INT. STARBUCKS - MORNING Sam rushes into the coffee shop in his new suit. GEORGE You look great, Sam. What time do you have to be in court? SAM Half day, half day. I take the stand at two. George leads him behind the counter. THE STAFF BEAMS. Euphorically, Sam approaches the huge espresso machines. GEORGE Okay, we need two grande cappucinos, non fat. SAM Sprinkles or Cinnamon?",
"INT. STARBUCKS - 11:00 A.M. Sam is doing great. He's humming as he prepares a triple latte with the precision of a Swiss watchmaker.",
"INT. STARBUCKS - 12:00 P.M. The place is packed, including a GROUP OF JAPANESE TOURISTS. Sam zips around, trying to juggle between the blender, the espresso machine, steamed milk, icemaker, all the while glancing up at the clock. Sam hands three cups to customers, the foam overflowing, coffee spilling out. A CUSTOMER takes a sip and SPITS IT OUT. GUY What is this? I ordered an Americano, not a latte. SAM Americano, Americano, not a latte. Working as fast as he can but still NOT FAST ENOUGH, Sam unconsciously drinks the latte.",
"INT. STARBUCKS - 12:45 P.M. Hyped on coffee, Sam is zooming around and he's a mess. Shirt hangs out, coffee stains on it, his hair wild. Frazzled, he forgets to put the lid on the blender and turns it ON. A mint mocha frappuccino SPLATTERS HIM in the face. At that moment, George comes out of his office. SAM I'm going to be late! I'm going to be late! GEORGE I'll call a taxi. SAM No, no, I ca n't wait. I ca n't wait. I've got to go right now. Sam heads out, the coffee drink still dripping from his face.",
"EXT. STREET - DAY Walking a hundred miles an hour, Sam barrels down the street out of his mind. Cars are jammed up. He walks over them, a man possessed.",
"INT. COURTROOM - DAY Everyone is in their places, waiting. TURNER Your Honor, if the defendant does n't have enough interest in his daughter to even show up - RITA Your Honor, I'm sure he'll be here any moment. This is an extremely important day to Mr. Dawson. At THAT MOMENT, Sam bursts through the doors. Suit stained, hair sticky with frappuccino. Rita's jaw drops. RITA -LRB- CONT'D. -RRB- Your Honor, may I have a moment with my client? JUDGE MCNEILY Make it brief, Ms. Harrison. Rita heads towards Sam. Up close, he looks even worse. RITA What the hell happened? -LRB- sniffing the air. -RRB- What is that smell? Mint? Sam, determined, heads for the stand. Rita grabs Sam's shoulders and tries to focus him. Looks deep into his eyes. RITA -LRB- CONT'D. -RRB- Sam, look at me. Look at me! -LRB- he does. -RRB- I will guide you like last night. -LRB- Sam hugs her. -RRB- Not that part of last night, the other part. Now you can do it. I know you can. Lucy needs you. SAM -LRB- a mile a minute. -RRB- Lucy needs me. RITA Yes, slow down because Lucy needs you. SAM Lucy needs you. JUDGE MCNEILY Ms. Harrison. We need you!",
"INT. COURTROOM - LATER Sam, on the stand, talks a mile a minute from the coffee. RITA How will you be able to pay for private tutoring? SAM There's a free program at the YMCA. Lucy can go there. RITA But do n't you ever think it would be better for Lucy if she lived with a permanent foster family and you could visit whenever you wanted? SAM The Fosters do n't know her. Why ca n't she live with me and they can come visit if they want to. I'm firm on this. And I'm getting firmer. Lucy belongs with me. RITA Why? Sam puts his finger to his chin and starts his `` Let me see.'' Rita gives him a look ; he lowers his finger and starts talking very fast from the coffee. The STENOGRAPHER desperately tries to keep pace. SAM Paul wrote the first part of the song `` Michelle''. He said to John, `` Where do I go from here?'' John had been listening to Nina Simone. There was a line in it that went something like, `` I love you, I love you, I love you.'' They put that into the song. It would n't be the same song without that. It made the song complete. That's why the whole world cried when they broke up on April 10, 1970. ON RITA Well, he has some kind of point. MARY, the Stenographer, is still typing. JUDGE MCNEILY Did you get that, Mary?",
"INT. COURTROOM - LATER Turner fires questions at Sam - a mile a minute. TURNER When you were Lucy's age, were you living at home? SAM No. TURNER Were you living with your mother and father? SAM No. TURNER Well then where were you living? SAM -LRB- very quietly. -RRB- In an institution. TURNER So your parents put you in an institution? SAM Only after my mom got sick. TURNER What about your father? Where was he? SAM Gone with the wind when Sam was born. TURNER So, you were n't raised by your mother? SAM I saw her I saw her. TURNER When? SAM Christmas, Easter and my birthday. TURNER Oh, once a year on your birthday. So in a way, the people at the institution were your parents. Were they nice to you? SAM Some yes. Some on. Some yes. TURNER Did they hit you? SAM Sometimes. Sometimes they did sometimes. TURNER Like when you hit Lucy's friend at her birthday party? RITA Objection! Nobody hit anybody! TURNER Let me rephrase that, strong - armed. So what role model do you call upon as a father when you're parenting Lucy? The head of the institution? The Principal the warden? SAM No. Not Mr. Whitehead. Not him. TURNER Then who? SAM Myself. TURNER you have the mental capacity of a seven year old. So you ask yourself, a seven year old - SAM I am not a seven - year old. TURNER How to parent a fellow seven - year old? SAM Yes. No. What was the question? TURNER The question is : what makes you think you can be a parent? Your background? Your IQ? Your friends who ca n't even testify for you? RITA Objection - SAM My friends - RITA Objection - SAM My friends love Lucy even if Rita thought they were n't smart enough to testify. Even if she said you'd wipe the floor with them. ON RITA Trying to telepathically reach Sam. TURNER Excuse me, Mr. Dawson, your lawyer just objected ; that means you did n't have to answer the question. You ca n't even follow the simple rules you've watched here day after day. You really think you can raise a seven - year old? A ten year old? A thirteen - year old? -LRB- in his face. -RRB- That means she'll be six years more advanced than you. Sweat pours down Sam's coffee stained collar. He searches for words. Then from the clearest place inside himself : SAM I've had a lot of time to think about whatever it is that makes somebody a good parent. It has to do with constancy. It has to do with patience. It has to do with listening. To pretending to listen when you ca n't even listen anymore. The court is riveted by Sam's eloquence. Rita's amazed. SAM -LRB- CONT'D. -RRB- It has to do with love, like she says. Rita's antenna goes up : who's `` she?'' SAM -LRB- CONT'D. -RRB- And I do n't know where it's written that a woman has a corner on that market, that a man has any less of those emotions than a woman. Billy has a home with me! It's not perfect! I'm not a perfect parent! Sometimes I forget he's just a little kid. -LRB- whispers from the courtroom. -RRB- We built a life together and we love each other and if you destroy that, it may be irrep, irrep, irrep. IFTY Irreparable. All eyes TURN to the back of the room. Ifty is there trying with all his might to help his friend. IFTY -LRB- CONT'D. -RRB- Joanne, do n't do that, please. Do n't do it twice, not to him. Then Meryl Streep ca n't even look at Dustin Hoffman after that. TURNER Right, `` Kramer vs. Kramer.'' Thank you for the commentary, Mr. Bhutto. It's hard to find words is n't it, Mr. Dawson. It's confusing. It's confusing to know what to say to Lucy half the time, is n't it? Mortified, so uncomfortable in this strange world, so at a loss how to swim through it, beginning to believe everything Turner's saying, Sam looks out at the faces in the courtroom. Rita, stunned and incredulous ; Turner and his associate smirking at him ; Ifty, shaking his head ; Robert, his face in his hands ; Miss Wright, Margaret Brown, the State's Expert, almost willing him to fail. Are they right? Are they? SAM No, yes, no. TURNER No what? SAM Let me see let me see let me see. TURNER You do n't know what? SAM Yes. TURNER Yes. You're right, you do n't know. You do n't know enough to really raise your daughter? RITA Objection. These are n't questions, these are attacks. SAM -LRB- frantic. -RRB- I am Lucy's father. TURNER Are you? Are you really? I'm not talking about the fact that you got some homeless woman pregnant. RITA Objection your Honor. I motion a recess. JUDGE MCNEILY Denied. Get to the question, Mr. Turner. TURNER The question is if you love your daughter as much as they say you do do n't you think she deserves more?! Do n't you? In your heart of hearts, secretly question yourself every day? Do n't you?! SAM Yes. TURNER Was that a `` yes?'' RITA Objection. SAM Yes. She does. She deserves everything. In my heart of hearts. TURNER Yes she does. And you agree with everyone, you ca n't give her that? SAM -LRB- in unbearable pain. -RRB- Maybe. Maybe everybody's right. ON TURNER There. He got it. ON RITA Anguished. Watching Sam unravel as he stands up and starts walking around in a circle in the witness box. SAM -LRB- CONT'D. -RRB- No more no more! Let it stop! No more! No more! No more! The Judge watches Sam, sad and stunned. The verdict is obvious. Sam has passed judgement on himself.",
"EXT. CHILD AND FAMILY PROTECTIVE SERVICES - HALLWAY Sam, broken, walks down the long hallway with Rita toward Margaret Brown's office. Suddenly, Rita stops as she and Sam both see - LUCY Sitting, hopeful on the bench. She searches Sam's face for the verdict. The minute she sees sorrow in his eyes, she knows. She runs to him, gluing herself to his chest. LUCY No Daddy! No Daddy! No Daddy! In a SERIES OF WORDLESS DISSOLVES, they hold each other in the hallway through the entire forty five minute visit. The only thing moving is the hands of a large wall clock in the background. Pained, Margaret reaches for Lucy. MARGARET BROWN C'mon, Lucy. It's time to say goodbye. LUCY NOOOO! Do n't let go do n't let go do n't let go - Sam's tears mix with Lucy's as they sob, clinging to each other. With such fierce love ; a parent and a child. LUCY -LRB- CONT'D. -RRB- Do n't let them Daddy do n't let them! Do n't ever let me go! He ca n't let her go. That he ca n't do. Margaret, steel herself, turns to Rita, no matter how many times she's done this. MARGARET BROWN Please help me. Rita, aching from a place she thought she buried long ago, shakes her head, NO. Now, Margaret literally has to wrench Lucy away from her father's arms. Lucy bellowing as she pulls her down the hallway. Sam is frozen in incalculable pain.",
"EXT. SAM'S APARTMENT HALLWAY - NIGHT We hear `` Fool on the Hill''. We follow a trail of PINK LIQUID melting down the hall and come to Annie's door where a pile of grocery bags and newspapers sit in a PUDDLE OF STRAWBERRY ICE CREAM. Suddenly, the needle SCRAPES LOUDLY across the record, followed by a mysterious POUNDING against the wall.",
"INT. SAM'S APARTMENT - NIGHT The CAMERA MOVES to the WINDOW. Inside, the lights are dim. Lucy's HAMMOCK SWINGS EMPTY, ghostlike. Sam, curled into a ball in Lucy's bare corner, bangs his head over and over again against the wall, overcome with grief.",
"INT. DANNY'S ROOM - RITA'S HOUSE - NIGHT The POUNDING CONTINUES as we see Rita standing in the doorway, watching her sleeping child. This stranger that she's raised. She moves to cover him, this tough little boy, when she sees POOH BEAR tucked under his arm. She tucks them both in, tenderly.",
"EXT. CARPENTER HOUSE - DAY Saturday in idyllic suburbia. Sam, directions and a map in his hands, tentatively rounds the corner. A small bouquet of flowers in his hands when he stops - STARING AHEAD AT - REVERSE ANGLE Lucy looking absolutely radiant in a new spring dress. She stands on the front porch with RANDY, who wears a red smock and is setting up TWO EASELS AND PAINTS. There's a tiny chair for Lucy and a tiny chair for her. CLOSE ON LUCY AND RANDY The tension in Lucy's face, Randy straining to connect with her. RANDY Your teacher told me you were an artist. LUCY You wear too much perfume. You're trying too hard. RANDY I am, are n't I. Maybe you could teach me how to paint. LUCY My daddy's coming today. We're going to open my birthday presents. Why do n't you just go do something. BACK TO SAM From where he stands, all he sees is Lucy getting everything she deserves. He looks down at the tiny bouquet in his hand - feeling profoundly inadequate, he reaches for some flowers from a garden he's passing. Puts them in his bouquet. Then stops. Feels guilty. Tries to put the flowers BACK. He stares up at Lucy on the porch a few houses away. Lucy sits on the steps. Randy sits right next to her. BACK ON SAM Where he WAS standing, but is now GONE. The flowers lay in the dirt. From the porch, Lucy looks out and waits. And waits. And waits.",
"INT. STARBUCKS - DAY It's Saturday. The place is buzzing. Sam listlessly cleans the tables, without the usual energy and verve. A TODDLER marches around a table, playing under the adoring gaze of his parents. MAN Excuse me, my kid knocked over a coffee, could you clean this up? Sam sees a FAMILY at a table covered with spilled coffee. MAN -LRB- CONT'D. -RRB- I said I need a refill and a towel over here. SAM -LRB- snapping. -RRB- You need a towel? A refill? A glass of water? You need more than you already have? You have everything -. -LRB- all his fury and frustration. -RRB- Everything. But it's not enough. Take my daughter, too! Sam's out of control, the whole shop stares at him as he backs into a shelf of MUGS he so carefully arranged. They CRASH onto the floor.",
"EXT. CARPENTER PORCH - DAY Paints and brushes go FLYING across the porch as Lucy KNOCKS THEM OVER. Totally out of control. LUCY You gave him the wrong address! You're hiding me from him! As Randy reaches for her, Lucy pours black paint on her.",
"EXT. CARPENTER HOUSE - DUSK Lucy sits in a ball on the corner of the porch. Her eyes swollen from crying. Finally, she gets up and moves to the tiny chair that Randy put out for her. Straightens the easel and begins to paint. The front door opens and Randy comes out having washed her face and hair. Without speaking, Randy straightens her easel and sits down next to Lucy and begins to paint. Randy and Lucy paint in silence for a long time. Then - LUCY You're going to send me away now, are n't you? RANDY -LRB- tenderly. -RRB- No. We hear what sounds like a child's hand playing the song `` Here, There and Everywhere.''",
"INT. SAM'S APARTMENT - EVENING We see SAM sitting at Lucy's miniature toy piano as he plays with one finger. IN A SERIES OF DISSOLVES, as DAYS and WEEKS PASS, we see SAM'S HANDS at the PIANO -",
"EXT. CARPENTER HOUSE - DAY With Lucy and Randy's hands as they PAINT side by side to Sam's sad melody. Lucy's pictures start ANGRY, angular with blacks and blues, then GRADUALLY soften and the dark figures recede. By the END, there is a BRUSHSTROKE of the red of Randy's smock peeking into the corner of Lucy's picture.",
"INT. SAM'S APARTMENT - DAY We come back to Sam, having withdrawn completely into himself serenading no one.",
"INT. LUCY'S BEDROOM - DAY We see Lucy and Randy sitting on her bed unwrapping the birthday presents. TIME HAS PASSED. They look close, almost like a mother and daughter. Lucy finishes unwrapping Sam's present and we see a stack of ONE HUNDRED DENNY'S NAPKINS. RANDY Oh, he must've forgotten to put the gift in. Randy picks up one of Lucy's pictures and moves to the wall. RANDY -LRB- CONT'D. -RRB- You know, this wall really needs something special on it. Lucy half - smiles and unconsciously begins to fold one of the Denny's napkins into an origami bird. Then crushes it. Then cautiously : LUCY What's the longest any one of those kids stayed with you? RANDY Megan stayed a little over a year. LUCY -LRB- averting her eyes. -RRB- Did you ever want any of them to stay longer? ON RANDY Moved herself. Understanding how huge a question this is coming from this bruised little heart.",
"INT. SAM'S APARTMENT - WEEKS LATER - DAY Sam sits in a dark corner ; maniacally folding newspaper into an odd origami pattern. There's a knock at the door - Sam does n't move, he just continues folding his paper. RITA -LRB- O.S. -RRB- Sam it's me! Open up! He does n't answer it, just methodically folds.",
"EXT. SAM'S APARTMENT - CONTINUOUS Rita stands there impatiently. RITA I do n't have time for this! You were supposed to show up for your first evaluation. And I leave work early to get there and where the hell are you?! Open the door! Sam! Open the goddamn door! -LRB- nothing. -RRB- Alright. If you do n't care enough to open the goddamn door I'm outta here! I've ruined my practice, I've alienated my colleagues - I sent my kid off on a fishing trip with his father so I could work with you and you wo n't open your goddman door for me?! Fine! THAT'S IT! I've had enough! She starts down the hall when suddenly she turns and - with the mastery of a karate black belt - RUNS AND KICKS the door down.",
"INT. SAM'S APARTMENT - CONTINUOUS Rita bursts through the door and then stops. Sam has created an origami wall of newspapers, intricately woven together. A fortress against the world. He keeps folding - does n't even look at Rita. He's more far gone than she could imagine, she walks gingerly to the wall and knocks gently on it. RITA Sam, it's Rita. Can I come in? SAM No room. No room. RITA Hey. I lived in the East Village. I do n't need a lot of room. SAM Sam makes life too hard. Sam makes life too hard on everyone. RITA Sam, I can go at least nine more rounds. But you got ta let me in. Please Sam. Please. He pulls out one small brick of origami, opening a window. RITA -LRB- CONT'D. -RRB- Thank you. Now I can see your kind eyes. George told me you needed a break from work. SAM I do n't want to work there anymore. Too many people. RITA Maybe we could find you a quieter job. Because remember one of the judges conditions is you have to earn more money ; you've got to keep earning more money for when we get you Lucy back. SAM Lucy does n't need me anymore. She has a new family. She does n't need me anymore. RITA Is that what she said? SAM She did n't have to say it. I may be stupid, but I know. I know. RITA Well that's the first stupid thing I've ever heard you say. Sam looks at her through the window. A CHINK in the wall. RITA -LRB- CONT'D. -RRB- Sam, Sam you can get her back. The court favors reunification. The only thing that can block you is if the foster family petitions to adopt. And from what I've heard, Lucy's making their life miserable - that's our girl. Sam, fight for her. SAM I tried. I tried. RITA Try harder. SAM You do n't know. You do n't know. RITA I do n't know? SAM You do n't know what it is to try and try and never get there. You were born perfect, perfect. RITA Is that right? Everyone else is perfect but only Sam feels loss and pain? SAM That's right. People like you do n't know. RITA People like me? SAM People like you do n't know, do n't know what hurt feels like, people like you do n't feel, do n't feel anything. She slaps him. STUNNED, he slaps her back. STUNNED, she slaps him again. HE SLAPS HER. She rips the newspaper wall down. RITA You think you got the market cornered on human suffering? Well let me tell you something about `` People like me.'' People like me feel little and lost and ugly and dispensable. People like me have perfect husbands screwing someone far more perfect than me and my son, my son hates me, I try too hard and I push and he knows it and I talk in that voice, that voice I promised I'd never use, and I've screamed, I've screamed horrible things to him, a five year - old because he does n't want to get in the car at the end of a day and he stares at me with such anger and I hate him then. I know I'm failing you, I know I'm disappointing you, I know you deserve better but get in the fucking car! It's like every morning I wake up and fail, and I look around and anybody, anybody can pull it off, but somehow I ca n't. And I know, I know I have everything, and I'm still miserable and it's pathetic. I know it's pathetic. No matter how hard I try, something about me will never be enough. She's crying too hard to continue. He pulls her to him. Before she realizes what's happening, she's holding him tightly. He whispers in her ear. SAM You're enough. You're so much more than enough. He looks her straight in the eye - she's undone by the intimacy of the moment, by the strength of his purity. And staring into his eyes, she begins to sob, walls crumbling. He kisses her elbow, her shoulder, her forehead, her eyes, her tears. And something ignites between them - something confused and scary and deep and filled with a passionate ache. SAM -LRB- CONT'D. -RRB- Lovely Rita. On a bed of newspaper that was once a wall they come together, whole again.",
"EXT. RANDY'S NEIGHBORHOOD - DAY Sam rounds the corner walking - or rather being walked by SIX DOGS, all shapes, all sizes. He heads up the walkway to Randy's house. She comes out of the house and shuts the door behind her, stopping him. RANDY You're early. SAM All the lights were green. RANDY There's a reason for the court schedule. You stopped showing up. Lucy has had to rebuild her life. SAM I want her back. I can do it. I know I can. RANDY That's not up to me, but I'm telling you, I will do everything in my power to prevent Lucy from getting hurt again. Sam hangs his head. A dog barks at Randy. RANDY -LRB- CONT'D. -RRB- Whose dogs are these? SAM Supplemental income supplemental income - bathe, walk and feed. Sam Dawson meets your canine needs. -LRB- to dogs. -RRB- Sit! Sit! Sit! Sit! Sit! Sit! All the dogs sit but a BIG BLACK LAB. Randy heads into the house. The front door opens and Lucy comes out. She runs down the stares to Sam. Thrilled, Sam opens his arms to her. She leaps into them and begins slugging his chest with pent up fury. LUCY You never came! You never even called! You forgot about me! How could you forget me! SAM I never forgot you. I forgot me. SAM -LRB- CONT'D. -RRB- I hate you I hate you I hate you! Lucy pulls away. A long charged silence. Lucy refusing to even look at her father. SAM -LRB- CONT'D. -RRB- Lucy, I tried to write you a letter last night. A BASSET HOUND SNEEZES. SAM -LRB- CONT'D. -RRB- Gesundheit, Buster. Buster has a cold. But the letter had too many big words. Pokey, sit. The black lab has begun eating Randy's flowers. Lucy stares forward. Sam speaks tentatively, carefully : SAM -LRB- CONT'D. -RRB- Dear Lucy. Pokey sit. Dear Lucy, I'm sorry that I hurt you. Every moment of the day I thought about you. Lucy in the hammock, Lucy at school. Lucy in the sky. XXOO. Daddy. P.S. I love you, recorded September 11th, the day you took your first step. Lucy raises her head and looks at Sam for the first time.",
"INT. DENNY'S - DAY ON SALAD BAR Rows of carrots, tomatoes, cucumbers and - uh - oh, a tomato's in the peas. A hand comes into frame and carefully places the tomato just so, in the tomato bin. Now it moves to the olives. Should n't all the pimentos be facing up? PULL BACK To reveal Sam, in white apron and hat, deftly filling the containers of the elaborate salad bar as people fill their plates. SAM Napa cabbage, excellent choice. Purple and green, purple and green. Very rich in Vitamin C. Good choice. Very good choice.",
"INT. COURTHOUSE - HALLWAY - DAY Sam walks toward the courtroom when we see Rita approaching from the other end of the hall. They both slow down when they see each other. Rita unconsciously fixes her hair. Sam adjusts his tie. RITA Hello, Sam. Mr. Dawson. Sam. Dawson. SAM Hello, lawyer. They almost shake hands - realize that means touching each other and do n't. Rita motions toward the door. RITA Shall we? SAM No. We already did. Do n't tell anybody. They nervously walk through the door, bumping into each other.",
"INT. SMALL COURT ROOM - LATER She's very aware of Sam. He looks away, over compensating obviously. Throughout the scene, Rita's hair falls in her eyes. She attempts to put it in place. RITA Furthermore, my client has found a new job, and is making every effort to find a bigger apartment so that - Rita's hair falls in her eyes again. Sam stands up, pulls HER BARRETTE from his pocket, the one she left at his house. SAM Here. Rita stares at the barrette as if it were the murder weapon. RITA Oh, thank you. What a. a lovely barrette, Mr. Dawson. It will look great on Lucy. Who I'm sure you bought it for. Furthermore, so that. there will be more room for Lucy as she grows up. MARGARET BROWN All of that is well and good but the fact that Mr. Dawson quite his job, missed his hearing, and did not even show up for his visits with his daughter. RITA The fact that my client went through profound depression is the most natural reaction any parent could have. MARGARET BROWN But once again he had no idea how his behavior during that depression impacted on his daughter. RITA In these next months, Mr. Dawson will be expanding his support system to include Social Service programs, tutors - MARGARET BROWN It's too late! The foster family is petitioning the court for sole custody of Lucy and I fully support their request. Sam turns to Rita. This ca n't be happening.",
"INT. DENNY'S - NIGHT Sam, Rita, Ifty, Robert and Brad sit in a booth. With one extra person, it's a little tight. Rita picks at her Salisbury Steak special, trying to deal with the business at hand. IFTY Is n't it illegal? It's illegal to go through stop signs. It's illegal to cross on the red. RITA It's not illegal. It's very complicated. When a strong foster parent lobbies for a child it changes the equation. ROBERT They're reaching right through Sam as if he does n't exist. As if he's a ghost. RITA There's one option we've never talked about, Sam. -LRB- very carefully. -RRB- I know what you went through the last time you took the stand. We could settle out of court, ask for the most incredible visitation rights - it would almost seem like joint custody. SAM You're saying I do n't have a chance. That's what you're saying. RITA I'm not saying you do n't have a chance. ROBERT That's what you said last time and look where he is now. SAM Stop. Rita's not saying I do n't have a chance. Are you? Tell me I have a chance. Too long a pause. Ifty looks at the clock. IFTY Oh my God! 6:35 is Video Night at my house and I'm not even there! ROBERT If we get there before you do we'll wait for you - check! BRAD Sam get your dessert to go. SAM This is very hard to say. I'm having my dessert here. With Rita. I'm not coming to video night. Devastated, Ifty, Robert and Brad solemnly gather their things. RITA Sam - if you want to go. SAM I said no, Rita. RITA I know, but if you - SAM What? Do you want me to go? RITA I did n't say that. But do you want to go? SAM Where? RITA Nevermind. SAM Fine. RITA Fine. IFTY, ROBERT & BRAD Fine. They leave in a huff. The WAITRESS delivers the check with dessert and coffee. RITA I've got it. SAM I've got it. Long pause. Rita slowly eats her pie. SAM -LRB- CONT'D. -RRB- It's good to chew. You're eating more slowly. Rita laughs and nods. SAM -LRB- CONT'D. -RRB- Coconut Rhubarb. Sidebar, we need to talk. Sidebar. RITA -LRB- carefully. -RRB- Yes we do. SAM I need to get Lucy back. We need, we need - to be professional. RITA Do you know what that means? SAM When dealing with Starbucks' customers, be friendly but not familiar. I can be your friend. RITA -LRB- oddly touched. -RRB- Thank you, Sam. SAM You need to leave your husband. RITA -LRB- her armor up again. -RRB- Oh, my marriage is n't so bad. SAM ` Life is very short and there's no time for fussing and fighting, my friend.' RITA -LRB- undone. -RRB- It's just. it's just that. I've never lost anything.",
"EXT. SCHOOL - DAY Randy kisses Lucy goodbye as she heads toward school. We follow Lucy - suddenly a BIRD SAILS THROUGH THE SKY and LANDS IN FRONT OF LUCY. It's an ORIGAMI BIRD. She looks around - but does n't see Sam anywhere. But she feels him. She walks toward school, clutching the bird, past a tree and we move up that tree and see Sam nestled in the branches. There. They made contact.",
"EXT. RANDY'S NEIGHBORHOOD - DAY It's later that week. Lucy walks proudly down the street in a GIRL SCOUT UNIFORM, selling cookies. Randy is by her side, beaming. LUCY We've made $ 22.36. That's seven dollars, 64 cents less than thirty. RANDY Well that's one way of looking at it.",
"EXT. RANDY'S NEIGHBORHOOD - LATER DISSOLVE as they move through the neighborhood. Finally we see her bound up the steps to an apartment building. She knocks on the door. It opens - and Lucy and Randy's JAW DROPS. REVERSE ANGLE Sam stands there. Holding three kittens. WE see various dogs in arm chairs, the couch. LUCY Daddy?! RANDY What are you doing here? SAM I live here. This is where I live. LUCY This is where you live? So close to me? SAM I wanted to be close to you. I wanted to be closer. Look at my apartment number. -LRB- it's number 9. -RRB- John was born on October 9th. His son was born on October 9th. LUCY John met Yoko on November 9th. SAM His mother lived at 9 Newcastle, Liverpool. LUCY Newcastle. 9 letters. Liverpool - 9 letters. RANDY Lucy, give me one minute with your father. Sam, I consider myself an understanding person but I do n't understand this. You ca n't close the distance between you and Lucy with a new address. We go to court in a week - SAM I do n't want to spend half my visit with Lucy on the bus getting to Lucy. I do n't want to waste one more minute. Buster sneezes. LUCY -LRB- from the doorway. -RRB- Does Buster still have his cold? SAM He's better, much better. Now I'll have one box of mint chocolate cookies. LUCY That'll be three - eighty six. LUCY & SAM -LRB- in unison. -RRB- Let me see let me see let me see. That's one dollar and 14 cents less than five. Randy watches with a mixture of jealousy and fear as Lucy effortlessly enters her and Sam's universe.",
"EXT. CARPENTER HOUSE - DAY From the window, Randy watches as Sam hands Lucy four leashes and the two of them get pulled down the street by the dogs.",
"INT. LUCY'S BEDROOM - 2 A.M. Lucy lies in her hammock, unable to sleep. Staring at the little origami bird on her window sill. She moves it, opens the window wide, quickly takes Mr. Jeeters - and within a moment she's out the window and onto the limb of the tree.",
"EXT. MAIN THOROUGHFARE - NIGHT `` The night grows teeth.'' stray dogs fight over garbage - a wino talks to himself and in the midst of it all walks Lucy in her pj's. Mr. Jeeters tucked under her arm. Lucy crosses the street. HONK! the screeching of tires.",
"EXT. APARTMENT BUILDING - MOMENTS LATER We're looking at an old fashioned fire escape when suddenly we make out a figure climbing higher and higher. It's Lucy. We catch glimpses of her and then lose her as the neon sign across the street blinks on and off.",
"INT. SAM'S BEDROOM - CONTINUOUS Sam's asleep. Suddenly his eyes open wide. And like an animal sensing danger, he gets up. We HEAR THE SOUND of something THUMPING AGAINST RUNG AFTER RUNG OF THE FIRE ESCAPE. He rushes to his window and looks to see -",
"EXT. SAM'S APARTMENT Lucy climbing the fire escape! Sam opens the window and reaches for her. SAM Lucy Lucy. What are you doing?! You could have really hurt yourself. What are you doing? LUCY I could n't sleep. Daddy, did you know that Warren G. Harding was the twenty ninth President of the United States? SAM No. LUCY Remember - the twenty - ninth President. In case the Judge asks.",
"EXT. RANDY'S STREET - NIGHT Sam, in his pajamas, holds a sleeping Lucy in his arms. He turns a corner and heads up the walkway to Randy's house. He knocks on the door. Finally the door opens and we see Randy and Bill in their pajamas SHOCKED at seeing Sam and Lucy. SAM She could n't sleep. RANDY Give me my daugh -. -LRB- she stops herself. -RRB- Give me - I'll take Lucy. SAM Maybe if you rub her tummy twenty - three times, tell her two stories and give her half a Denny's blueberry muffin and a third of a glass of milk she'll sleep. Good night. Randy and BILL, her husband, watch as Sam turns and walks purposely down the walkway - his houseslippers scuffling on the quiet street. SERIES OF SHOTS AT 3:00 A.M. -",
"EXT. STREET - NIGHT Lucy in her pj's walks down the middle of the street.",
"EXT. SAM'S WINDOW - NIGHT Lucy knocks on Sam's window.",
"EXT. STREET - NIGHT Lucy and Sam walk back down the street to Randy's house.",
"EXT. SAM'S WINDOW - NIGHT Lucy lugs encyclopedias to Sam's windowsill.",
"EXT. STREET - NIGHT Lucy in a blanket being carried by Sam toward Randy's house.",
"INT. LUCY'S ROOM - NIGHT Until FINALLY, we see Lucy in her hammock at Randy's house looking out the windows, which have now been completely covered with BARS. Her room is filled with origami birds from the 100 Denny's napkins, her birthday gift. Lucy gets out of her hammock and tiptoes across her room - quietly opening the door.",
"INT. CARPENTER HOUSE - STAIRS TO LIVING ROOM - NIGHT We follow her through the dark house as she creeps down the stairs. She gets to the front door. It's been DEAD BOLTED where she can not reach it. From the darkness we hear - RANDY -LRB- tenderly. -RRB- Lucy. Come here. Randy sits in the darkness, next to a THIRD OF A GLASS OF MILK and a HALF A DENNY'S BLUEBERRY MUFFIN. RANDY -LRB- CONT'D. -RRB- I made us a midnight snack. Lucy stares at the muffin and milk. Torn. RANDY -LRB- CONT'D. -RRB- I understand that you want to see your daddy. And I do n't want to keep you from him. I honestly do n't. So you tell me when you want to see him. You can see him anytime you want. But we have to arrange it first. Do you understand? -LRB- Lucy nods. -RRB- Now would you like a snack? Lucy nods. Elated, Randy makes room for her on the couch. But Lucy just reaches for the milk and muffin and heads up the stairs then turns back and speaks gently to Randy. LUCY Thank you. Goodnight. RANDY -LRB- words caught in her throat. -RRB- Goodnight, Lucy.",
"INT. SAM'S BEDROOM - DAY We PAN ACROSS THE ROOM and see Sam's shoes, his tie, and a YELLOW PAD WITH ALL THE PRESIDENTS LISTED IN ORDER. A KNOCK at the door - Sam opens it to see Rita standing there, looking intensely vulnerable, holding her husband's suit. RITA My husband left this when he moved out. SAM Oh, lovely Rita, meter maid. RITA -LRB- entering. -RRB- Nice place. I worry. I worry sometimes. SAM You worry you did the wrong thing? RITA I worry that I've gotten more out of this relationship than you. SAM No no no. I'm the lucky one. I have the lawyer that never loses. RITA -LRB- covering. -RRB- That's me. okay, let me see, let me see, let me see. -LRB- pulls out notes. -RRB- They're going to put Bill and Randy on the stand first and then you. SAM Them first, then me. They're a nice couple. They have a nice house. She's pretty. She's smart, too. I can tell. The manager of the salad bar is gon na testify, is n't he? That will help us. For a moment, Rita's mask drops and her fear for Sam overwhelms her. RITA Absolutely. SAM Nobody believed that George Harrison could really be a song writer. But he wrote `` Here Comes the Sun''. John and Paul said it was one of the best songs on ABBEY ROAD. RITA -LRB- tenderly. -RRB- George was always my favorite Beatle. SAM Lucy's was Paul.",
"INT. RANDY AND BILL'S BEDROOM - 2 A.M. Randy and Bill are asleep when Randy senses something. She opens her eyes and sees Lucy staring at her. LUCY Now. RANDY What honey? LUCY Now. I want to see him now.",
"INT. SAM'S BEDROOM - 3:30 A.M. We see Sam sleeping in bed. There's a KNOCK at the door. Sam wakes with a start, throws down the covers. We see that he's wearing the Armani suit. Sam opens the door to see Randy standing there, holding a sleeping Lucy in her arms. RANDY She fell asleep on the car ride over. I was gon na turn back and tuck her in to her bed. with the pink canopy. and the quilt I made. But I was afraid she'd wake up at our house. -LRB- fighting the ache in her soul. -RRB-. and want to come home. Sam looks at Randy with profound compassion. RANDY -LRB- CONT'D. -RRB- I was gon na tell the judge that I could give Lucy the kind of love she never had. But I would be lying. SAM I hope I hope I hope that you're saying what I think you're saying even though you're not saying it. Randy nods and hands the sleeping Lucy into Sam's strong arms. For a moment they BOTH HOLD LUCY between them in the most unique embrace. Randy finally lets go and struggles to say goodbye. RANDY Goodnight. I'll see you in court. Save me a seat. on your side. Randy walks away. Stunned, Sam watches her, holding Lucy in his arms. Then, from a very brave place : SAM Randy! If I tell you I ca n't do it alone, will you tell the judge? RANDY -LRB- turns gently. -RRB- No. SAM Promise? RANDY Promise. SAM I've looked and looked for a mother for Lucy. Help, I need someone, help, not just anyone. You're the red in Lucy's painting. ON RANDY So unexpectedly bonded to them both.",
"EXT. SOCCER FIELD - DAY A glorious sunny day. Lucy and her team are in the middle of a fierce game. A foul is called when we hear - SAM Penalty! Rules broken. Penalty, please! Sam, wearing a UNIFORM and whistle around his neck, walking his inimitable walk, races up the field, COACHING THE TEAM. Ifty, Robert and Brad sit in the bleachers. Robert, in sunglasses, paranoid, looking behind him. Brad follows around an attractive YOUNG WOMAN as close as he can get to her. Sam runs by the water stand, manned by Randy and Bill. They share a look - a moment of intense parental pride. Lucy and a kid named PHILLIP go after the ball. OBNOXIOUS MOM Get her! Phillip, you get her! ROBERT I saw that! You gave him a secret signal! Did n't you? IFTY Keep both eyes on the ball, Lucy - balls are round - on sale at Kmart. The earth is a ball, too. Phillip steps in front of Lucy and shoves her as hard as he can. Sam blows his whistle repeatedly and races over. SAM Penalty! Repeat! Rules broken! Penalty! RITA -LRB- O.S. -RRB- Penalty?! Sue him! Kick his ass outta the game! It's RITA! With Danny - hollering from the stands. ON LUCY Looks over at her father. Sam does every coaching gesture, and referee hand signal from every sport known to man. It looks like a bizarre TWYLA THARP DANCE. ON LUCY She does it right back at him. Their secret code. The code that will bind them for the rest of their lives. ON THE CROWD AND PLAYERS All watching. What the hell was that? Sam blows his whistle. SAM Play ball! Play ball! The game heats up. Lucy's team gets the ball and is headed toward the goal. Sam is running right alongside them, so excited, until he ca n't hold himself back anymore and intercepts the ball! Sam runs valiantly down the field with it! We hear `` Here Comes the Sun''. Little darlin', it's been a long, cold lonely winter. Little darlin', it feels like years since you've been here. Here comes the Sun. Here comes the sun. And I say, `` It's alright.'' And the CREDITS ROLL. FADE TO BLACK."
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] | Sam Dawson (Sean Penn), a man with an intellectual disability, is the single father of Lucy (Dakota Fanning), following their abandonment by her mother, who is revealed to be a homeless woman. Sam is well-adjusted and has a supportive group of friends with disabilities, as well as a kind, agoraphobic neighbor Annie (Dianne Wiest) who takes care of Lucy when Sam cannot. Though Sam provides a loving place for precocious Lucy, she soon surpasses his mental ability. Other children bully her for having an intellectually-disabled father, and she becomes too embarrassed to accept that she is more advanced than he is. In danger of losing custody, Sam gets advice from his friends and also hires a lawyer, Rita Harrison (Michelle Pfeiffer), whose complete absorption in her work and neglect of her son reveal her to be at least as handicapped as Sam is, although in a socially-acceptable way. In an attempt to prove to others that she is not cold, Rita agrees to take on Sam's case pro bono. As they work together to secure Sam's rights, Sam helps Rita see her own life, anew. This includes encouraging her to leave her philandering husband and repair her fractious relationship with her son. She and Sam have a moment together when they reveal that they never feel good enough. At the trial, Sam cries. Afterwards, Lucy resides in a foster home with Randy Carpenter (Laura Dern) but tries to convince Sam to help her run away. She continually escapes in the middle of the night to go to his apartment, though he immediately returns her. However, the foster parents decide not to adopt her as they had planned and return her to Sam. Randy assures him that she will tell the judge (Ken Jenkins) Sam is the better parent for Lucy. In turn, Sam asks Randy if she will help him raise Lucy, because he feels she needs a mother figure. The final scene depicts a soccer game, in which Sam referees and Lucy participates as a player. In attendance are Lucy's former foster family, Sam's friendship group, and a newly single Rita with her son. | I_Am_Sam |
[
"Cat People The RKO trademark FADES OFF, leaving a black screen, in the center of which are two slits of pale light. These move closer until we see that they are a pair of cat's eyes. Over these mysteriously blinking lights the title is SUPERIMPOSED. DISSOLVE A misty OUT - OF - FOCUS SHOT of a black panther pacing behind cage bars. Over this come the production credits. A pale fog rises over the shot of the black panther, and over it Is SUPERIMPOSED the following quotation : EVEN AS FOG CONTINUES TO LIE IN THE VALLEYS, SO DOES ANCIENT SIN CLING TO THE LOW PLACES, THE DEPRESSIONS IN THE WORLD CONSCIOUSNESS. SIGMUND FREUD",
"EXT. ZOO PROMENADE - PARK - AFTERNOON As the last word of the quotation FADES from the screen, the fog clears, the caged leopard comes into full focus, and we see that it is an actual leopard behind actual bars. Over the scene is the wheezy music of the Triumphal March from `` Aida,'' as played on a hand, organ. This is playing in the distance, and we do not see the organ - grinder until later. The CAMERA DRAWS BACK to show a young artist sitting before the cage on a campstool with a drawing portfolio in her hand. She is presumably sketching the panther, although her drawing is not shown, and we do not see the features of the girl's face. The girl picks up the drawing and holds it off, weighing its values. It evidently does not meet with her approval, for she wads the drawing Into a ball and turns to look for a place to throw the waste paper. We see her face. It is heart - shaped, demure, even a little naive. She is small, young, and very beautiful. In one hand the wad of waste paper is poised, ready to throw into a container. INSERT WASTEPAPER BASKET as Irena sees it. It is a rather fancy container in the shape of a tree trunk. OLIVER Yes. -LRB- then continuing in the same tone. -RRB- `` Sometimes whoever seeks abroad may find Thee sitting careless on a granary floor, Thy hair soft lifted. -LRB- ponders, as if trying to remember. -RRB- Thy hair soft lifted.'' ALICE -LRB- snapping her compact shut. -RRB- Reminds me. I have a date with the hairdresser. OLIVER What a way to spend a Saturday afternoon! ALICE The business girl's holiday OLIVER You should've minded your mother and eaten more bread crusts. You'd have curly hair now. ALICE Thank you for lunch. See you at the office Monday. She starts off down the promenade. She walks briskly in one direction, while Oliver turns the other way, ambling toward the leopard cage. Along the promenade a file of Saturday afternoon idlers goes by. Oliver moves up to the cages and pauses at the guard rail before the leopard cage. Near him sits Irena, busily sketching. Oliver looks at her, but she does not look up at him. She gets up and moves a few steps, her eyes intent on the movements of the panther, which is walking about In its cage. Oliver politely steps aside so that she can get a better vantage point. She does not even notice him. She frowns at her drawing, wads the paper into a ball, and turns to throw it into the container. Oliver steps before her, smiling and extending his hand. She looks at him a moment, then smiles and drops the wad of paper into his hand. IRENA Thank you. With an easy aim, Oliver tosses it neatly into the container and turns to her with a shrug, as if to say how easy it was. But Irena has picked up another drawing upon which she has worked and is now studying it. The music of the organ - grinder grows constantly louder as the scene progresses. OLIVER You wo n't believe this, and you've probably heard it a dozen times before. but I've never known any artists. IRENA I'm not an artist, really. not a real artist. just a sketch artist for fashion drawings. She has picked up the drawing and is holding it in her hand with its back toward Oliver, who extends his hand. OLIVER May I see it? Irena smiles but shakes her head as she tears the drawing about two - thirds of the way through, dropping it face down upon the pavement. IRENA Oh, no. It's not good. If I let you see it, you might not want to know any artists. ever. OLIVER -LRB- SMILING AT HER. -RRB- I'm afraid it would have to be pretty bad to do that. Besides, look. -LRB- pointing to a drawing she had dropped, quoting in a mocking tone. -RRB- `` Let no one say, and say it to your shame.'' Irena laughs and starts to pick up the paper, but a gust of wind blows it down the promenade. She turns to Oliver and shrugs her shoulders. She starts to fold up her campstool. Oliver comes forward to offer his assistance. At the same time the organ - grinder passes between them and the camera, playing `` Aida'' on his hand organ. Oliver asks Irena if he may help her, but the music is so loud she can not hear him. He assists Irena in gathering up her things. He takes the campstool, and Irena carries her artist's portfolio. They start toward the avenue together. CLOSE SHOT of the torn drawing as a little wind, carrying with it some autumn leaves, picks up the paper again and blows it over and over up the promenade. The torn half of the drawing falls over into place, so we see what Irena had been drawing. It is a smart fashion sketch of the type seen in Vogue or Harper's Bazaar, but the face of the model is the blunt mask of a black panther, and the hands protruding from the sleeves are tipped with feline talons. The CAMERA HOLDS on the drawing. DISSOLVE OUT",
"EXT. STREET - AFTERNOON TWO SHOT of Irena and Oliver as they walk down a side street. Irena is looking straight ahead of her, amused. Oliver is doing his best to get acquainted. OLIVER Irena Dubrovna - is that a Russian name? IRENA No. I am from Serbia. OLIVER I see. Would you mind spelling it? IRENA You want to know how to spell my name? Are you going to write me a letter? OLIVER I'd like to write you a letter. IRENA What about? OLIVER I would say in this letter. `` Dear Miss. Dubrovna,'' I would say, `` will you have tea with me?'' Irena shakes her head with a little smile. Oliver is undaunted. OLIVER Well, in that case, I'd just have to write you another letter, I'd say. But again, with the same teasing smile, she shakes her head. She suddenly stops and TURNS to Oliver. IRENA Here is my house. Oliver starts to give her the campstool he is carrying, She lays a soft, gloved hand on his coat sleeve and smiles charmingly. IRENA Perhaps, Mr. Reed, you would like to have tea in my apartment. Oliver looks at her quizzically, realizing that she had meant to ask him all the time, that he need n't have tried so hard to wangle a date. He grins. OLIVER Oh, Miss Dubrovna, you make life so simple! DISSOLVE",
"INT. GROUND FLOOR HALLWAY - IRENA'S APARTMENT HOUSE AFTERNOON MED. SHOT of Irena and Oliver as they enter the building from the street. It is the ornate, elaborate interior of a brownstone mansion converted into an apartment house. They walk the few steps of the short hallway to the stairs. Oliver looks at the enormous staircase. OLIVER -LRB- POINTING. -RRB- I never cease to marvel at what lies behind a brownstone front. They start up the stairs.",
"INT. HALLWAY OUTSIDE IRENA'S APARTMENT - AFTERNOON MED. SHOT. Irena has inserted the key in the lock of her door. She turns it, but before she opens the door, she looks up at Oliver. OLIVER What's the matter? IRENA Nothing. OLIVER But you looked at me in such a funny way. IRENA I've never had anyone here. You're the first friend I've met in America. I know lots of people in business. editors, secretaries, other sketch artists. you know. But you might be my first real friend. That's why I looked at you. -LRB- pauses. -RRB- OLIVER -LRB- seriously. -RRB- Thank you. Irena swings the door wide open. Through the doorway a little bit of the room can be seen. Prominently displayed is an odd equestrian statuette. It is the figure of a man in armor, carved out of gray stone. The man wears a regal chaplet on his head and is mounted on a magnificent horse. Around the base of the statue is a circle of flames, while the rider holds high above his head a sword upon which is impaled the figure of a writhing cat. Irena takes a step into the room and stands waiting for Oliver to follow her, then turns to look back at him. He has become aware of the perfume in the room. OLIVER -LRB- cont'd. -RRB- Mm. Nice. IRENA That's Lalage. OLIVER Lalage? IRENA The perfume I use. I like it, perhaps too well. Maybe I use too much of it, living alone like this. OLIVER Oh, I like it all right. It's hard to describe. not like flowers. it's like something warm and living. As he goes on into the room, she closes the door. DISSOLVE OUT DISSOLVE IN",
"INT. IRENA'S LIVING ROOM - TWILIGHT MED. CLOSE SHOT of statuette. The figure is silhouetted against a window dim with twilight. As the CAMERA HOLDS on the statuette, a light appears in a bay window across the street, bringing the figures of horse, king, and cat into dramatic focus. Over the shot we hear Irena's voice humming `` Berceuses du Chat'' by Stravinsky. The CAMERA PANS to show Irena and Oliver seated together on a couch near the window. Because of the dim light in the room they can barely be seen. Oliver is listening to her sing. She ends her song, and they sit quietly for a moment. Suddenly, as sometimes happens, there is a lull in the traffic outside. In this momentary stillness, this stillness in which a great city seems to catch its breath, Oliver hears the sound of distant roaring, muffled and yet full of savage reverberation. OLIVER -LRB- looking toward Irena. -RRB- What's that? IRENA It's the lions in the zoo. One can hear them here often. Many people in this building complain. The roaring keeps them awake. OLIVER And you do n't mind it? IRENA No. To me it's the way the sound of the sea is to others, natural and soothing. I like it. She looks out the window, then turns back to Oliver. IRENA -LRB- cont'd. -RRB- Some nights there is another sound. The panther. It screams. like a woman. I do n't like that. Oliver strikes a match to light his cigarette. He looks at Irena's face in the dancing match light. She smiles at him. IRENA -LRB- cont'd. -RRB- I had n't realized how dark it was getting. She rises and goes over to a lamp. She speaks in a sighing breath of ecstasy. IRENA -LRB- cont'd. -RRB- I like the dark. It is friendly. She turns on the lamp. Now, in the light, we see her apartment -- a nicely proportioned living room with a little fireplace set under a neat Georgian mantel. Doors at either end of the room lead off into small bedrooms. Behind a fantastic three - part screen on which is painted the long, sleek figure of a black leopard against a background of jungle foliage, is concealed the two - burner stove, tiny sink, and old - fashioned icebox which make up the kitchenette. In the other corner, under the wide window, are a drawing board and a desk, littered with crayons, brushes, bottles of discolored water, and papers. On one side of the wall, in neat frames, hang three of Grandville's amusing studies of cats dressed as humans. Over the mantel hangs a beautiful reproduction of Goya's sinister portrait of Don Manuel Osorio do Zunlga and the cats. In front of Oliver, on the coffee table, are the remnants of their tea. Irena comes down to pick the tray up to take it into the kitchenette. Oliver starts to help her, but she stops him. IRENA -LRB- cont'd. -RRB- No, no. Sit still, please. She begins to dump the ash trays and collect the saucers and cups. Oliver smokes contentedly. Irena carries the tray behind the screen. Oliver snuffs out the cigarette and picks the statue up, holding it for a moment in his hand. IRENA -LRB- cont'd. -RRB- -LRB- coming out from behind screen ; eagerly. -RRB- Are you admiring my statue? OLIVER -LRB- who does not like it at all. -RRB- Not exactly. Who's it supposed to be? IRENA King John. OLIVER King John? The Magna Carta and stuff? IRENA Oh, no. King John of Serbia. He was a fine king. He drove the Mamelukes out of Serbia and freed the people. OLIVER But why have this around? IRENA Perhaps you have in your room a picture of George Washington or Abraham Lincoln? OLIVER -LRB- still unconvinced. -RRB- Are n't there some better statues of him - some without that cat thing? IRENA Yes. There are beautiful statues of King John. There is one in Belgrade, where his face shines with goodness. But this statue reminds me of my home, the little village where I was born. This is the statue that stands in the square. OLIVER But what does it mean? Why is he spearing that cat? Irena turns, her back to the fireplace mantel. In her hand is the statue of King John. Above her, to one side, the three cats in the Goya portrait glare from the shadowed background. IRENA It's not really a cat. It's meant to represent the evil ways into which my village once had fallen. You see, the Mamelukes came to Serbia long, long ago, and they made the people slaves. But my village was too little, too far away in the mountains. They left it alone. For five hundred years my little village was cut off from the Mother Church. At first the people were good and worshipped God in a true Christian way. But, little by little, the people changed. When King John drove out the Mamelukes and came to our village he found dreadful things. The people bowed down to Satan and said their Masses to him. They had become witches and were evil. King John put some of them to the sword and burned some of them in fires. -LRB- pauses, drops her voice a little. -RRB- But some - the wisest and the most wicked - escaped into the mountains. -LRB- looks at Oliver. -RRB-. -RRB- Now, do you understand? Oliver comes over beside her near the mantel. OLIVER I still do n't see what it has to do with you. Irena looks down at the statue of King John. There is a haunting look of memory in her eyes. IRENA Those who escaped -- the wicked ones - their legend haunts the village where I was born. The past remains. She breaks off suddenly, conscious that she has spoken too much and too frankly. A little ormolu clock on the mantel strikes the hour. It is six. It is obvious that Irena welcomes the interruption and she glances down at her own wrist watch. Oliver takes the hint. He starts toward the door. OLIVER -LRB- as he picks up his things. -RRB- Boys who come to tea ca n't expect to stay to dinner.",
"INT. HALLWAY OUTSIDE IRENA'S APARTMENT & STAIRWAY - TWILIGHT Irena has followed Oliver out and stands in the doorway Oliver turns to look at her. OLIVER When am I going to see you again? Tomorrow? Irena nods with a smile, Oliver continues to the head of the stairs and turns back. OLIVER -LRB- cont'd. -RRB- What time tomorrow? Irena shrugs her shoulders. OLIVER -LRB- cont'd. -RRB- Dinner? Irena nods and smiles at him. SHOT of stairway as Oliver comes down the stairs. He reaches a landing, turns, and looks up, Irena is looking down at him from the bannister. They both smile. He continues down the stairs. At the very bottom he looks up again. Irena is still standing watching him. He smiles up at her and exits. FADE OUT FADE IN",
"INT. DRAFTING OFFICE - MORNING WIDE VIEW. The Consolidated Ship and Barge Construction Company has a handsome drafting office. Severe and modern, it is nevertheless a room that immediately suggests shipbuilding. A wide doorway opens in from the hall, in the f.g. are three draftsmen's tables, glass - topped and lighted from beneath. Behind them are several tables for other workers. There are a number of rows of filing cabinets, and at one side is a water cooler. The back wall of the office is unadorned, wide, and slightly curving. At the moment, a group of office workers are just starting to paste up the sectional plans of a ship, entitled `` PROJECT NO. 457,'' on this wall. The ship's bow can be seen taking form in detailed constructional profile. Two of the three draftsmen's tables in the f.g. are now occupied. Oliver sits working at one of them. The center one is unoccupied. At the other one, a tall, lean Englishman works. This is James Carver. At the back wall, Alice Moore is supervising two workers, who are doing the actual pasting. She holds in her hands a small sheet of paper with the detailed mathematical measurements of the project, Beside her, Commodore Judson, head of the Consolidated Ship and Barge Construction Company, stands watching the beginning of the project with genuine delight. He is a bald, bearded gentleman and would look like an amiable tramp rather than the head of a successful shipbuilding company, if it were not for the seamanlike neatness of his clothes. ALICE -LRB- motioning to one of the men at the wall. -RRB- A little more to the left, Harry. Easy. just a hair. She lifts her hand to indicate that it's in position. COMMODORE By George! This is going to bo our best yet. Wait till she rides into Tokyo Bay. ALICE She's got what it takes all right, Commodore. Alice turns and goes to the desk between Oliver and Jim Carver. She picks up a sheet of paper from the desk and is just about to return to the wall, when she is stopped by the sound of a cat's mewing. She listens. The mew is repeated. Carver raises his head and also listens. Alice takes a look at the floor under and around her desk, Oliver is still bending over his work, Alice looks suspiciously and questioningly at Carver, Carver replies by throwing his hands out to show that he does n't know, and then pointing to himself and shaking his head to announce that the mew is not coming from him. The mewing continues during this, which is one reason Carver and Alice do not speak. They are listening. Alice and Carver both turn and look at Oliver, He knows very well that they are looking at him, and his pose is one of elaborate innocence. There is a light cardboard box on his desk. The CAMERA FOCUSES on it as the lid of the box rises, and the head of a very small Siamese kitten pokes out, Alice hurries to Oliver's desk, uttering a cross between a coo and a cry of pleased surprise. ALICE -LRB- cont'd. -RRB- A - a - ah! She picks up the kitten and cuddles it against her cheek. ALICE -LRB- cont'd. -RRB- It's a darling! Where'd you got it? OLIVER Bought it. The Commodore has joined them. COMMODORE You're not going to start keeping cats, are you? -LRB- scratching kitten's head. -RRB- OLIVER No, Commodore, I just got it for a friend. CARVER We arrive at the inescapable conclusion that our Oliver. -LRB- he is addressing the assembled multitude. -RRB- has a girl. COMMODORE A brilliant deduction. He takes Carver's arm and draws him away / ALICE A girl friend? OLIVER -LRB- almost as if correcting her. -RRB- A girl. ALICE Anybody I know? Oliver takes the kitten and puts it back into the box. It makes vain efforts to scramble out past his restraining hand, OLIVER Not yet, but I know you'll like her. Alice watches him try to got the cover of the box over the protesting kitten. ALICE -LRB- SPEAKING LIGHTLY. -RRB- If you like her, she's okay with me. CAMERA PANS DOWN to CLOSE SHOT of kitten, and as the lid of the box hides It from view, we DISSOLVE",
"INT. HALLWAY OUTSIDE IRENA'S APARTMENT - NOON MED. SHOT. Oliver, with the boxed kitten under one arm, is ringing the bell to Irena's apartment. After a moment, she opens the door. She is wearing a paint - stained smock and has obviously boon interrupted in her work. She smiles at Oliver, and he bends down to put the box on the floor. OLIVER Look, Irena. I brought you a present. He takes the kitten out of the box and sets it on the floor. Irena stoops down beside it. Seeing her, the kitten draws back, arching itself. Oliver, puzzled, looks from the cat to Irena. She leans forward, smiling, trying to coax the kitten to come to her. The kitten snarls and spits viciously at her. Oliver scoops it up in his hands. OLIVER -LRB- cont'd. -RRB- Why, you little devil! IRENA -LRB- as she rises to her feet. -RRB- It's all right. It's just that cats do n't seem to like me. OLIVER But this is only a kitten. It's very friendly. When I had it in the office, Alice -- the girl who works in our department -- it played with her. IRENA -LRB- smiling uncomfortably. -RRB- Cats just do n't like me. Oliver has stuffed the kitten back into its box and put the lid over it. He is obviously disappointed. Irena puts her hand on Oliver's arm. IRENA -LRB- cont'd. -RRB- -LRB- Brightly. -RRB- I know what we can do. You got it at a pet store, did n't you? OLIVER Yes. IRENA Good. We could exchange it for some other pet? She looks up at him. He nods. IRENA -LRB- cont'd. -RRB- I'll get my hat and coat. She turns to go back into the apartment for her coat and hat. DISSOLVE",
"INT. PET STORE - DAY All is tranquil in Miss Plunkett's Pet Shoppe. Outside it is raining, a soft autumn rain. Miss Plunkett sits nodding. Most of the birds and animals are sleeping. Above Miss Plunkett, in a circular stand, a brilliant macaw swings. It looks very much like Miss Plunkett, and, like her, is peacefully nodding in sleep. A little bell tinkles, and there is the sound of the door opening and closing. Miss Plunkett sleeps right on. We see that Irena and Oliver have entered the shop. Immediately there is a transformation. The birds begin to call back and forth to one another, their calls growing excited, shrill. The monkeys, awakened, clamber excitedly in their cages, whimpering and chattering madly. The puppies begin to bark, the cats to meow. In a moment the sound has grown to sheer cacophony. The macaw, too, has awakened, and is screeching its head off. Miss Plunkett snaps out of her stolen rest and looks about her, blinking curiously. Her lips form the words of amazement, `` Landie, dearie me!'' but there is so much noise now that nothing she says can be heard. She looks up to see what may have startled the animals into such noisy activity ; MED. SHOT of Irena and Oliver, as they stand, perplexed by all the commotion. Oliver is closing an umbrella. Miss Plunkett comes into the scene. She tries to yell to the animals to bo quiet. The noise is too much for her. Oliver tries to explain to Miss Plunkett that he wants to exchange the kitten, which he holds in the box in his hands, for a canary, but he can not make himself heard. She only shakes her head and tries to say something at which Oliver shakes his head. Irena touches Oliver's arm, indicating that it might bo better to go outside. Oliver points outdoors to Miss Plunkett. She nods and follows them out onto the street.",
"EXT. PET STORE - DAY MED. SHOT. The three emerge from the store, Miss Plunkett closing the door behind her. All three stand under the umbrella. In the loud, shrieking voice she has been using, Miss Plunkett starts to speak. MISS PLUNKETT I ca n't imagine. She realizes she does n't have to talk so loudly now, and, with an embarrassed laugh, begins again in her natural voice. MISS PLUNKETT -LRB- cont'd. -RRB- Landie, dearie me! I ca n't imagine what got into them. all that caterwauling. The last time they did that was when an alley cat got in and ate up one of my nice rice finches. OLIVER All I want is to exchange this kitten for a bird. MISS PLUNKETT Why, of course. I have some lovely canaries. One little lemon - colored follow with top notes like Caruso. She opens the door cautiously and peeks in, turning back to them with a pleased expression MISS PLUNKETT -LRB- cont'd. -RRB- As peaceful as my dream of heaven! Shall we go back now and select just which little birdie? IRENA -LRB- to Oliver. -RRB- You go, please, Oliver. Pick the one you like. It's so hot and stifling in there. I'd rather stay here. OLIVER -LRB- handing Irena the umbrella. -RRB- Of course. I'll only bo a minute.",
"INT. PET STORE - DAY Oliver and Miss Plunkett return inside the shop, Miss Plunkett talking all the while. MISS PLUNKETT Animals are ever so psychic. There are some people who just ca n't come in hero. My dear brother's wife, for instance ; she's a very nice girl. I've nothing against her. but you should just see what happens when she puts her foot inside this place. The cats particularly. They seem to know. You can fool everybody, but landie, dearie me, you ca n't fool a cat. In some ways they seem to know who's not right -- if you know what I mean. -LRB- she has the bird in her hand and holds it up with pleasure. -RRB- Here we are! Is n't he a ducky little angel! Oliver takes the bird and holds it up for Irena to see. Irena, standing outside the window, looking in, nods her head eagerly. Oliver turns back to Miss Plunkett OLIVER This is it.",
"EXT. PET STORE - DAY MED. SHOT of Irena. The little bell tinkles over the door as Oliver comes out with the bird in a small wooden cage. He comes over to Irena. She exchanges the umbrella for the bird cage. OLIVER -LRB- giving her the cage. -RRB- What do you think of it? Irena holds the cage up before her eyes, tenderly to the bird. She coos. IRENA Ah, he is sweet! -LRB- turns and smiles up at Oliver. -RRB- He will like me very much. You will see. I like to be liked. Oliver takes her by the arm and smiles at her. OLIVER That ought to be easy. Really easy. They start away together up the street, under the umbrella, smiling at one another, as we FADE OUT FADE IN",
"INT. DRAFTING OFFICE - DAY MED. SHOT. In the b.g. the ship plans on the wall can be seen. They are complete now as far back as the flying bridge. Obviously some time has elapsed. Oliver and Alice are sitting back to back, both of them doing particularly exacting pieces of mathematical measuring. Oliver raises up to call out : OLIVER Slide rule. Alice makes no motion. He turns to her more definitely, calling out again, louder this time : OLIVER -LRB- CONT'D ; cont'd. -RRB- Let me borrow your slide rule, will you? But Alice is in the midst of a difficult problem, and she goes on with it. Oliver turns around to her, places one arm around her, and whispers in her ear after the fashion of Charles Boyer. OLIVER -LRB- CONT'D ; cont'd. -RRB- Mademoiselle, you are so beautiful - so charming. So gracious a lady will surely pass me her slide rule, no? Alice succumbs. She looks up at him and gives him the slide rule. Then she gulps. ALICE -LRB- getting up. -RRB- I have to wash the taste of that out of my mouth. She goes over to the water cooler. Oliver follows her, Alice looks up to see Jim Carver approaching. ALICE -LRB- cont'd. -RRB- Look who's coming. Oliver winks at her, Jim reaches the two at the water cooler. Alice has a paper cup full of water in one hand. She takes out a coin with the other hand. ALICE -LRB- cont'd. -RRB- Doc, I'll bet there's one thing you ca n't do. CARVER What's that? ALICE -LRB- demonstrating with belt on her dress. -RRB- I'll bet you a dollar you ca n't hold a quarter on your forehead like this, pull out your belt, lower your head, and let the quarter fall bingo into your trousers. CARVER -LRB- taking the quarter ; with confidence. -RRB- A mere matter of precision. He balances the quarter on his forehead, throwing his head back to do so. He holds out the front of his trousers. Oliver takes a box of paper clips from a near - by desk and empties them into Carver's trousers. They all laugh. Carver laughs with them. At this moment the Commodore comes down from the mezzanine. There is instant silence. COMMODORE Who wants to go out on my boat Sunday? Everyone ad libs enthusiastic acceptance except Oliver. Carver, forgetting the paper clips, joins in and moves a little more than he should ; a deluge of clips falls around his ankles. The Commodore looks at him, then back to Oliver. COMMODORE -LRB- cont'd. -RRB- Do n't you want to go, Ollie? OLIVER The fact is, sir, I've got an engagement for Sunday. ALICE Your boat seems to have competition, Commodore. CARVER You should meet the competition. ALICE Have you met her, Doc? CARVER I saw her one day with Ollie. ALICE -LRB- looking at Oliver. -RRB- Ollie's always saying he'll take me to see her, but he never does. OLIVER As a matter of fact, Alice, I was going to take you around next Sunday, but since the Commodore. COMMODORE -LRB- QUICKLY. -RRB- I withdraw my invitation to you two. ALICE We'll take a rain check, Commodore. -LRB- looks at Oliver. -RRB- COMMODORE -LRB- turning to go. -RRB- I'll expect the rest of you. He starts toward the door. Carver moves to get out of his way. There is a veritable deluge of clips. The Commodore looks down at the clips and then gives Carver a long and searching glance. COMMODORE -LRB- cont'd. -RRB- I always wondered what held you together, Carver. DISSOLVE",
"INT. IRENA'S LIVING ROOM - AFTERNOON Alice, Irena, and Oliver are walking Into the room. It is obvious that Alice and Oliver have just arrived and been met at the door by Irena. She has her free arm linked through Alice's. IRENA I think, Alice, I shall like you very much. We shall be good friends, you and I. Alice is a little embarrassed by Irena's warmth of manner. She looks about the apartment. ALICE Ollie tells me you like to draw cats. I tried to draw a cat once - looked more like a mouse. IRENA Cats are harder to draw than the human hand. a good cat portrait is almost impossible. Look up there. -LRB- pointing to the mantel picture. -RRB- Even Goya could n't do it. not really well. That's why I like It. because it's hard.' ALICE -LRB- with a laugh. -RRB- Because it's hard? You're a glutton for punishment. IRENA No, it's not just because it's hard. In a way, I felt I had to draw them. Did n't you draw boats? ALICE -LRB- NODDING. -RRB- Sure. I spent half my study periods drawing boats. The Marblehead tomboy -- that was me. My poor mother wept every time I brought home a report card. IRENA And I drew cats. The other children in my village had cats, and they could hug them and play with them. But cats do n't like me. They wo n't let me cuddle or caress them. So instead of playing with them, I drew them. They're the one subject still too hard for me. You understand, do n't you? Without waiting for an answer, she rises and picks up a sheaf of drawings from nor desk. She spreads them out before Alice. IRENA -LRB- CONT'D ; cont'd. -RRB- Look, Fashion drawings bore mo.. The only way I can do them is this way. Alice picks up one of the drawings and looks at it, IRENA -LRB- CONT'D ; cont'd. -RRB- Of course, when I got the gown the way I want it, I rub out the cat's face and sketch in a regular face. Alice nods and puts the drawing back with the others. Oliver, looking at Alice, is afraid that she has not been sufficiently Impressed. He feels called upon to defend Irena's work and to change the subject. OLIVER I think it's right clever. How about my mixing a cocktail? IRENA I have them all mixed. She hurries off behind the screen. Alice looks up at Oliver, He is beaming with pride. She smiles at him, holding up her finger, ring - joined, in a little gesture of silent approval. The canary beings to sing. Alice rises and goes over to the canary's cage. Oliver joins her beside the cage. OLIVER This is what the kitten turned into. ALICE Much easier for a working girl to keep. -LRB- as the bird hits an especially high note. -RRB- Listen to her, will you? Little old Jenny Lind herself. The bird suddenly stops singing. Alice and Oliver look at one another. IRENA'S VOICE -LRB- coming over scene. -RRB- Was the bird singing? They turn. ALICE Yes. It gave out with an aria. Irena comes toward them. She holds a small tray upon which is a martini whirler, three glasses, and a small plateful of hors d'oeuvres. She places the cocktail things upon a small table. IRENA It's never sung before. This is the first time. She comes up to the cage, trying to coax the bird into song with little cooing and whistling noises. The bird mopes on its perch as far away from her as the cage will allow. IRENA -LRB- cont'd. -RRB- The naughty bird. For me he will never sing. ALICE Probably a prima donna. Turning toward the coffee table, Irena speaks suddenly, as if with a desire to change the subject. IRENA Shall we have our martinis? Oliver bends down, gets the glasses, and hands them around. Just as they lift their glasses, the eerie scream of the panther sounds. Oliver and Alice look up. IRENA -LRB- cont'd. -RRB- It's the panther - OLIVER -LRB- lifting his glass. -RRB- Here's luck to all of us. May we always be in better voice than that. MED. CLOSEUP of Alice. She is twirling the glass in her fingers thoughtfully. ALICE To all of us. DISSOLVE",
"EXT. PANTHER CAGE - PARK - DAY The panther is pacing behind the bars of its cage. It is a windy day, one of the last days of fall. A gust of wind blows a shower of dead leaves across the screen in front of the cage. DISSOLVE OUT",
"INT. IRENA'S LIVING ROOM - NIGHT CLOSE SHOT of the panther screen, glowing In bright firelight. Over this shot comes the melody of `` Berceuses du Chat.'' CAMERA DRAWS BACK to Include CLOSE SHOT of Irena near the phonograph as she turns down the music so that it Is only background music. She is wearing an attractive hostess gown. She goes over to the sofa where Oliver is stretched out and sits beside him. Irena's fingers begin to stroke his brows regularly. She smiles down at him. IRENA Better now? OLIVER Much better. Those under - lit tables we work at. we had to use them all day today. they give a man a rotten headache. IRENA What about Alice? Does n't she mind them? OLIVER I suppose so, but she never lets anything bother her. She says the best cure for anything is swimming. -LRB- his voice begins to get sleepy. -RRB- She only lives at that women's club because there's a pool there. Irena continues to caress his brow. His head sinks down into the pillows. He closes his eyes. An outside sound distracts Irena, and she looks up. CLOSE SHOT of the window from Irena's viewpoint. It has begun to rain, and a blast of wind has spangled the window with raindrops. CLOSE SHOT of Irena as she smiles contentedly and looks down at Oliver. He has fallen asleep and is breathing easily. He moves gently, and one hand extends over the edge of the sofa. Irena lets herself slide from the sofa to the floor. She nestles against the sofa, cuddles her cheek against the back of Oliver's outstretched hand, and rubs her face back and forth, almost like a cat that pets itself against its master's hand. Her eyes look toward the dancing flames in the fireplace. DISSOLVE",
"INT. IRENA'S LIVING ROOM - NIGHT SHOT of the fire. The flames have burned down. There are only glowing coals on the hearth. The room is almost dark. The music has stopped. The CAMERA MOVES from the fire to Irena, as she still sits on the floor with her cheek against Oliver's hand, Oliver stirs slightly and opens his eyes. Irena does not move. Oliver looks at her. OLIVER Irena IRENA Yes. OLIVER I've been asleep. IRENA I know. OLIVER It could n't have been very entertaining for you. IRENA I was watching you. OLIVER And that was fun? Irena makes a little purring murmur of assent. There is a pause then Oliver speaks softly. OLIVER -LRB- cont'd. -RRB- Do you love me, Irena? Again the little murmur of ascent. OLIVER -LRB- cont'd. -RRB- I thought so. And you know that I love you, do n't you? Again the little, happy, thrilling murmur from the darkness. Oliver puts his hand on her shoulder. OLIVER -LRB- cont'd. -RRB- I've never kissed you. -LRB- pauses. -RRB- You know, that's funny, Irena withdraws gently from him and moves back a bit into the shadows away from him. IRENA Why? OLIVER When people in America know each other as well as we do -- when they're in love -- or oven think they're in love, they've usually kissed long ago. Irena slips further away from him into the shadows. He leans toward her. OLIVER -LRB- cont'd. -RRB- Well? He can see only the dim outline of her shoulders, the white blur of her face. IRENA -LRB- suddenly taut, anguished, as if the words were being pulled from her throat. -RRB- I love you, Oliver. OLIVER -LRB- sitting up, alarmed by her intensity. -RRB- For heaven's sake, Irena, what's wrong? Without answering, Irena suddenly lays her cheek against his knee and beings to sob. Perplexed, Oliver looks down at her and puts a hand on her head. She turns her head but does not look at him. Her voice has a wild, strained quality, echoing some strange agony. IRENA I've lived in dread of this moment, Oliver. I've not wanted to love you. I kept myself away from people. I stayed alone. I never wanted this to happen. OLIVER But you just told me you loved me. IRENA I do. I do. Oliver puts his hands under her elbows and tries to draw her up to him. OLIVER Then there's only one thing to do. Come up here and be kissed. IRENA -LRB- withdrawing from his hands. -RRB- No. I ca n't, Oliver, I've fled from the past, from things you could never know or understand. evil things. evil. She breaks out again, sobbing. He looks down at her, worried. Her sobs lessen, and Oliver begins to speak very quietly, very calmly. OLIVER Irena, you've told me something of the past. of King John, and the witches in the village, and the cat people who are descended from them. Fairy tales, Irena, fairy tales you heard in childhood. nothing more than that. They've nothing to do with you, really. You're Irena. you're here In America. you're so normal you're even in love with me. Oliver Reed. a good, plain Americano. He tries to raise her again, to kiss her, but she eludes him and cuddles down by his feet, pressing her cheek against his knee. She has stopped crying. OLIVER -LRB- cont'd. -RRB- Yes, you're so normal that you're going to marry me, Irena, And those fairy tales of yours, you can tell them to our children. for them. hundreds of kittens to amuse them. Irena utters a little murmur of happiness and delight. Oliver bends over, and kisses her hair softly. Over the sound of the rain and wind comes the coughing roar of lions in the park. DISSOLVE OUT DISSOLVE IN",
"EXT. & INT. SERBIAN RESTAURANT - NIGHT The Belgrade, as seen through the plate glass window from outside. It la snowing, the first light snow of the winter. In the window on display are three calves' heads prepared in Serbian fashion. They have been skinned. The eyes, considered a great delicacy by gourmets, are wide open and glisten like bullets. The heads are crowned with chaplets of artificial flowers. In the b.g. we see the wedding party. Seated around a table are Oliver, Irena, Alice, the Commodore, Jim Carver, and some of the other people we have seen on the office sequences. Irena is dressed in a light suit and wears a bridal bouquet on her shoulder. She is laughing a natural, happy laugh to contrast with the later hysterical laugh. The proprietor of the restaurant has just brought proudly to the table from the kitchen a large iron kettle from which the steam of hot wine is rising. The CAMERA TRUCKS THROUGH to the wedding party. A trio of musicians, dressed in Balkan costume, is playing a Balkan love song. Jim Carver, like everyone else in the party, has been drinking, and is in a gay mood. As the proprietor places the iron kettle on the table, Carver applauds. CARVER -LRB- calling out. -RRB- Ah! Comitaji! The proprietor gives him a fierce look. Irena laughs merrily. IRENA Oh, Mr. Carver, you should not call the good man that. CARVER But it's Serbian. I got it from my barber this afternoon. IRENA You might insult him. `` Comitaji'' means bandit. robber. CARVER Bless my soul! Commodore Judson, seated next to Alice, is watching Irena. He turns to find Alice's eyes on his. COMMODORE Oliver's bride seems a very nice girl. and very pretty too. Carver tells me she's a bit odd. He's a little worried about the marriage. ALICE -LRB- defensively. -RRB- Nonsense. Irena's a grand gir1. She and Oliver are going to be very happy together. MED. CLOSE SHOT of a woman who is seated at a little table at the far side of the restaurant. She is in evening dress, but is dining alone. The woman looks like a cat. She has a round, tabby face and a pompadour which somehow suggests the roundness of a cat's head. The eyes, slanting, large, and very light in color, fringed with sweeping lashes, are completely feline. She turns these great, luminous eyes in the direction of the wedding party and stares at the festivities. MED. SHOT of the wedding party. The Commodore rises, with his glass in one hand. COMMODORE To the bride. Everybody toasts Irena. Oliver looks down at her, proud and happy. CLOSEUP of the Cat Woman, as she looks straight at Irena. MED. SHOT of the wedding party. As the Commodore is sitting down, he sees the Cat Woman. He turns to Jim Carver. COMMODORE -LRB- cont'd. -RRB- Look at that woman. Is n't she something. CARVER -LRB- glancing up. -RRB- Looks like a cat. He turns back to his food. MED. SHOT - the Cat Woman. Drawing - on her gloves, she rises and crosses the room. As she reaches the wedding party and is directly opposite Irena, she stops and stares at Irena. MED. SHOT - the wedding party, holding her hand as she talks. Irena is turned to Alice. IRENA Thank you so much, Alice, for this lovely party. I did not know there was a Serbian restaurant. ALICE Anything you want to know about this city, ask me. I know all the unimportant details. Irena laughs, and turning around, looks up at the Cat Woman. The smile fades from her face. She stares at the woman with a kind of haunted fascination. The Cat Woman takes a step closer, never removing her eyes from Irena. She smiles and speaks. -LRB- Note : Irena's voice is to be dubbed in on the sound track when the Cat Woman speaks. -RRB- CAT WOMAN Moja sestra. Irena blanches and shrinks, back into her chair. She makes the sign of the Cross. The Cat Woman smiles and repeats the words. -LRB- Note : Scene without sign of Cross to be made for England. -RRB- CAT WOMAN -LRB- cont'd. -RRB- Moja sostra. She turns and walks out back on a festive basis. Alice tries to put the party ALICE How do you like that? WO SHOT - Oliver and Irena. Irena is looking white and shaken. Oliver takes her hand. OLIVER What did that woman say to you? Irena looks up at him with frightened eyes, OLIVER -LRB- cont'd. -RRB- What did she say, darling? IRENA -LRB- slowly, seriously. -RRB- If this were any night but - my wedding night. If you were any man but my husband. I would not tell you. OLIVER Wait a minute. It ca n't be that serious. just one single word - IRENA -LRB- very seriously. -RRB- She greeted me. she called me `` sister.'' -LRB- seizing his hands, looking up at him. -RRB- You saw her, Oliver. You saw what she looked like. OLIVER -LRB- laughing. -RRB- Oh, the cat people. she's one of the cat people. She looks like a cat, and so she must be one of the cat people. one of King John's pets. -LRB- tweaks her chin playfully. -RRB- Irena, you crazy kid! Irena looks at him from her throat sobs of hysterical laughter break OLIVER -LRB- cont'd. -RRB- Look. you're laughing. You can see how funny it is yourself. And it is true. Irena is laughing with him, but hers is the forced, flat laughter of near hysteria. The CAMERA MOVES IN so that we see that it is hysteria, whereas Oliver, seated beside her, feels sure it Is normal laughter joined with his. DISSOLVE OUT. DISSOLVE IN",
"EXT. IRENA'S APARTMENT HOUSE - NIGHT A cab draws up before Irena's apartment house. In it are Oliver, Irena, the Commodore, and Carver. It is still snowing lightly. Carver is the first out, extricating himself from the jump seat. He helps Irena out, and Oliver follows her. CARVER I know a joke about weddings. Why would my wedding be a dollar and cents wedding? He looks at Irena. She does not say anything. He looks around at the rest. No one says anything. Then the Commodore pokes his head out of the cab. COMMODORE All right - why? CARVER Because I have n't d dollar, and my girl has n't any sense. No one laughs. It has n't bean a funny joke. Then Irena, begins to laugh. She laughs hysterically. Oliver locks at her worried. Carver is very pleased, because he thinks he has been funny. The Commodore reaches out from the cab and taps him on the shoulder. COMMODORE Come along, Carver. Carver climbs into the cab, and it drives off. TWO SHOT of Irena and Oliver on the sidewalk. The soft snow falls on their shoulders. For the first time they are alone together, and Irena's problems have to be discussed. OLIVER What is it, darling? Irena is struggling to put a hard request into reasonable words. She forces herself to speak. IRENA I'm going to beg - She breaks off, unable to speak. They stand there a moment. Oliver is looking at her. He wants to help her ; he wants to know the way of her thoughts. OLIVER -LRB- encouragingly ; softly. -RRB- Mrs. Reed. Irena stops and puts her hands tenderly against his chest. IRENA It's nice to hear that. nice. I want to be Mrs. Reed. OLIVER You are, Irena. IRENA But I want to be Mrs. Reed really. I want to be everything that name means to me --. -LRB- with tears coming to her eyes. -RRB- - and I ca n't - I ca n't. OLIVER There's no sense in what you're saying, darling. You're excited. That woman in the restaurant upset you. IRENA She brought back the old fears. If I could have some time to -. -LRB- seizing his hands. -RRB- Oliver, be kind - be patient - let me have time - time to get over this feeling there's something evil in me. Oliver looks at her quietly for a moment. OLIVER Darling, you can have all the time there is In the world, If you want it, and all the patience and the kindness there's in me. You did n't have to ask for that. Irena draws his hand to her lips and kisses it. IRENA Only a little time. only a little time, Oliver. I do n't want more than that! They turn toward the house, and as they begin to walk DISSOLVE",
"INT. IRENA'S BEDROOM - NIGHT Irena is crossing the room toward the door. The room is lighted only by the glow from the street lamps outside. She is in a negligee. Outside, through the window, the snow can be soon falling.",
"INT. IRENA'S LIVING ROOM - NIGHT Oliver, still wearing street clothes, stands at the door of Irena's bedroom. He taps lightly on the door. OLIVER -LRB- softly. -RRB- Good night, Irena, He stands waiting.",
"INT. IRENA'S BEDROOM - NIGHT Irena presses herself against the door. Her hand goes down to the doorknob.",
"INT. IRENA'S LIVING ROOM - NIGHT Oliver stands waiting.",
"INT. IRENA'S BEDROOM - NIGHT Irena sinks down to her knees beside the door and crouches there, lonely and desirous. She moves slightly. Her hand goes up toward the doorknob. There is no doubt that her intention is to open the door. From the park comes the thin, eerie scream of the panther. Irena listens, trembles, and takes her hand from the knob. IRENA -LRB- almost whispering. -RRB- Good night, Oliver. OLIVER'S VOICE -LRB- from the other side of the door. -RRB- Good night, Irena. FADE OUT FADE IN",
"EXT. PANTHER CAGE - PAR\" - DAY The keeper of the cat cages is sweeping out the blank panther's cage with a long - handled broom. He sings to himself in a nasal New England voice. Irena comes and stops at the guard rail. KEEPER -LRB- SINGING. -RRB- There was not any person hurt, Except the Reverend Parson Burt. -LRB- sliding the broom handle far into the cage. -RRB- He was n't killed by cannon ball, As judged by jurors one and all. The panther steps haughtily over the broom handle, and comes up to the bars. KEEPER -LRB- cont'd. -RRB- But being in a sickly state, He frightened fell and met his fate. The leopard, maneuvering for a better view of Irena, gets in the way of the broom. The old keeper stops his work and his song, turning to see what has attracted the leopard's attention. On seeing Irena, he tips his peaked cap and smiles,. KEEPER -LRB- cont'd. -RRB- Ai n't seen you here for some time, ma1am. IRENA I've been married. I've been married almost a month. Withdrawing his broom, the old keeper uses it as a crutch to support himself. He jerks one thumb in the direction of the leopard. KEEPER That's what I tell this misbegotten devil. nobody comes to see him when they're happy. The monkey house and the aviary draw the happy customers. Irena leans over the guard rail. The leopard's hackles rise and he tenses his front paws to unsheathe the talons. IRENA -LRB- admiringly. -RRB- But he's beautiful. KEEPER No. He ai n't beautiful. He's an evil creature, ma'am. You read your Bible. In Revelations - when the Book is talking about the worst beast of them all - it says, `` And the beast which I saw was like unto a leopard.'' IRENA -LRB- repeating softly. -RRB- Like unto a leopard. KEEPER Yes, ma'am, like a leopard. but not a leopard. I guess that fits this fellow. IRENA Yes, it fits him. She pauses a moment, then leaves the guard rail to continue on her way down the promenade. The old keeper calls after her. KEEPER Best wishes for your marriage, ma' am. She turns and waves to him. DISSOLVE",
"INT. IRENA'S LIVING ROOM - DAY The panther screen is glowing in the bright sunlight streaming through the window. The sun throws a shadow onto the screen just over the panther. It is the enlarged shadow of tbe bird cage, with the canary hopping about inside the bars. CAMERA DRAWS BACK to show Irena at her desk. She has just finished working on a sketch. Now she gets up, stretching and turning. Her eyes fall on the bird in its cage, and she crosses over to it, the CAMERA MOVING with her. The bird huddles on its perch, frightened, Irena tries to encourage it to sing. She whistles a few notes. Still no response. She opens the small door of the cage, and puts her hand inside to take hold of the canary. The bird flutters wildly. Before she can get hold of it, it falls to the cage floor and lies there. Irena picks it up tenderly and holds it in her hands. The bird is dead. Irena is serious and concerned as she puts the bird down on a table, opens a drawer, and takes out an empty bonbon box. Very carefully she places the dead bird in the box, and ties it up with a bit of ribbon. She puts on her hat and coat, gets a trowel chat Is on. The window lodge by one of the window boxes, and leaves the room with the trowel and the box under her handbag. QUICK DISSOLVE",
"EXT. PARK WALK - DAY Irena walks along the park path. The CAMERA is MOVING with her. Her eyes are searching for a likely spot of earth to bury the dead bird. Under a bush she spies a bit of soft earth. She stops, and takes a step toward It. A whistled tune attracts her attention, and she looks up. A policeman has rounded a corner of the path, and is coming toward her amiably swinging his nightstick, as he whistles `` Who?'' Irena swiftly pushes the purse back on her arm and continues walking along the path, passing the policeman, who goes right on whistling.",
"EXT. PANTHER CAGE - PARK - DAY Irena comes up the walk. The panther is pacing back and forth behind the bars. It stops pacing as she passes the cage. She, too, stops, and looks at the beast. Suddenly, as if under the compulsion of some thought or desire outside herself, she hurriedly takes the box, tears off the lid, and throws the dead body of the canary into the cage. CLOSE SHOT of the panther, as daintily, with little paw pats, it begins to play with the dead bird, shuffling the tiny yellow body across the dusty floor of the cage, CLOSE SHOT of Irena watching the animal. She shudders, almost as if recovering herself, and turning, walks quickly away. DISSOLVE",
"INT. IRENA'S LIVING ROOM - NIGHT Irena is standing looking out the window. Oliver is opening the little cabinet which they use for a bar. He half turns and calls over his shoulder to her. OLIVER Would you like some sherry? Irena does n't answer. Oliver fills two glasses with sherry and brings them over to her. He offers her one. OLIVER -LRB- CONT'D ; cont'd. -RRB- Here. If you're determined to mourn that bird. we'11 have a regular wake. IRENA -LRB- LOOKING AT HIM. -RRB- It's not just because the bird died. Oliver puts a glass Into her hands and stands beside her. She takes a little sip of the wine and stares into the glass, thoughtfully. IRENA -LRB- cont'd. -RRB- It's me. I envy every woman I see on the street. OLIVER They ca n't match your little finger. IRENA I envy them. They are happy. They make their husbands happy. They lead normal, happy lives. They're free. -LRB- a pause. -RRB- The bird. do you know what happened to the bird? OLIVER It died. IRENA It died of fright when I tried to take it In my hand. OLIVER All right. The bird was afraid of you - that's nothing. I had a rabbit once that hated me ; yet I grew up to be quite a nice fellow. IRENA -LRB- shaking her head. -RRB- Oliver, when I went past the panther's cage I had to open the box ; I had to throw the bird to him. -LRB- a pause ; then more intensely. -RRB- Do you understand? I had to. I had to do it! That's what frightens me. Oliver looks at her for a moment then, speaks quietly, no longer mocking her. OLIVER I've been trying to kid you out of it. Maybe that's wrong. I've tried. IRENA -LRB- taking his hand. -RRB- No one could have been more gentle or more patient. OLIVER I've tried to make you realize all these stories that worry you are so much nonsense. Now I see it's not the stories. it's the fact that you believe them. We've got to have help, Irena. Irena half turns. The statuette of King John is on the table before her. She lets one hand rest for a minute on the base of the figure. Oliver follows the direction of her gaze and he shakes his head. OLIVER -LRB- cont'd. -RRB- Not that sort of help. There's something wrong, and we have to face it in an intelligent way. We do n't need a King John with fire and sword. We need someone who can root out the reason for your belief and cure it. That's what we need -- a psychiatrist. Irena turns toward him, her face eager and hopeful, IRENA -LRB- eagerly. -RRB- Find one for me, Oliver. The best one. the very best one I DISSOLVE",
"INT. DR. JUDD'S OFFICE - DAY CLOSE SHOT of Irena. She is in a dark room. Coming diagonally across is a square shaft of light which falls softly on Irena's face, framing the closed eyes, the nose, and the mouth, leaving everything else in undisturbed darkness. From the darkness comes a male voice, a very persuasive, insistent voice. JUDD the cats. the cats. you were saying the cats. the cats. IRENA -LRB- eyes still closed as she speaks. -RRB- They torment me. I wake in the night, I fool their warmth and their strength in me. in me. I walk in the day, and the tread of their foot whispers in my brain. I have no peace. for they are in me. She pauses, and a little grimace of pain goes over her features. From her closed eyes two tears course slowly down her cheeks. From the darkness the voice continues to urge her on. JUDD In me. in me. There is no response. The man gets up, so that we see him in silhouette. He crosses the room and draws the curtains, letting in the brilliant sunlight. Irena lies with eyes closed, breathing with the shallow, regular breath of sleep, undisturbed by the harsh light. TWO SHOT of Irena and Dr. Louis Judd. He stands for a moment watching her. Judd is a harshly ugly man of early middle ago. There is an arrogance in his bearing which makes some women see him as the suave, continental man, perfectly sure of his success with any woman. His consulting room is clean, antiseptic, and sparsely furnished with a couch, a chair, and a gooseneck lamp on a stand. Irena is lying on the couch. Judd, standing beside her, makes a few notations on a pad. Then he lightly pats her cheek to wake her. She comes from sleep very quietly. JUDD -LRB- cont'd. -RRB- You are very tired. IRENA -LRB- smiling uncertainly. -RRB- No. not very. Dr. Judd pours her n drink from a carafe. JUDD Hypnosis always tires me. And some of my patients, too, find it exhausting. IRENA -LRB- taking the glass he gives her. -RRB- It's only that I remember nothing. JUDD But It 1s my duty to remember. -LRB- patting the notebook in his hand. -RRB- I have it all here. Most Interesting. You told me of your village, and the people, and their strange beliefs. IRENA -LRB- anxiously. -RRB- Is that all I told you? JUDD You told me tales of blood, violence. mangled bodies in dark forests. men torn to death by woman half witch, half panther. IRENA I am so ashamed. It must seem so childish. JUDD And the cat woman of your village. you told me of them, too. woman who In jealousy or anger, or out of their own corrupt passions, could change into great cats, like panthers. And if one of those woman were to fall in love. and if her lover were to kiss her. take her into his embrace, she would be driven by her own evil to kill him. JUDD -LRB- cont'd. -RRB- -LRB- pausing, coming closer to her. -RRB- That's what you believe and what you fear, is n't it? Irena nods her head but does not raise her eyes. JUDD -LRB- cont'd. -RRB- Frankly, there is no need to be ashamed. This is only what we call a psychological block. a thing which stands between you and what you really desire. Irena looks at him. He looks at his watch, crosses to the desk and puts away his notebook with an air of finality. JUDD -LRB- cont'd. -RRB- Those things are very simple to psychiatrists. You told me of your childhood. Perhaps we'll find this trouble stems from some early experience. You said you did n't know your father. that he had died in some mysterious accident in the forest before your birth. and because of that the children teased you and called your mother a witch. a cat woman. These childhood tragedies are inclined to corrode the soul, to leave a canker in the mind, but we will try to repair the damage. Irena rises and gives Dr. Judd her hand. He places an arm around her shoulders with familiar ease, as he leads her to the door. JUDD -LRB- cont'd. -RRB- You are not to worry. IRENA What shall I tell my husband? Naturally, he is anxious to have some word. JUDD -LRB- with heavy gallantry ; as he assists her with her coat. -RRB- What does one tell a husband? One tells him nothing. By this time they have reached the door to the outer office - the waiting room.",
"INT. DR. JUDD'S WAITING ROOM - DAY Dr. Judd and Irena enter and cross to the door which leads to the hall. He opens the door for her. JUDD Friday, at eleven? Irena nods and leaves. Dr. Judd turns to another of his patients in the waiting room. She is a beautiful, neurotic looking woman, swathed in furs and adorned with loops of pearls. Judd bows from the waist to kiss her hand. JUDD -LRB- cont'd. -RRB- My dear lady. DISSOLVE",
"INT. GROUND FLOOR HALLWAY - IRENA'S APARTMENT HOUSE AFTERNOON CLOSE SHOT of Irena running lightly up the stairs, humming a little snatch of song.",
"INT. HALLWAY OUTSIDE IRENA*5 APARTMENT - AFTERNOON CLOSE SHOT of Irena as she reaches the top of the stairs and goes down the hallway to her door, still humming the song. Joyously she swings open the door of the apartment * CLOSEUP of Irena as she sees something inside, REVERSE SHOT. Through the door can be seen Oliver and Alice seated together on the sofa. Oliver - is just bending over to light Alice's cigarette. They turn and look as Irena enters and closes the door. Irena, Alice and Oliver. IRENA -LRB- as she crosses to Alice. -RRB- Alice, it's so nice to see you! ALICE Hello, darling. How did you make out with Louis? IRENA -LRB- puzzled. -RRB- Louis? ALICE Dr. Judd. Instantly Irena's mood changes. She looks at Alice, puzzled and a little hurt to think that Oliver has spoken of her visit to the psychiatrist. Oliver catches Irena's look. OLIVER -LRB- quickly. -RRB- Alice knows, darling. ALICE -LRB- not catching the vibrations in the air. -RRB- Of course. Did n't I suggest Dr. Judd? I met him on the Commodore's boat. The way he goes around kissing hands makes me want to spit cotton, but I guess he knows all there is to know about psychiatry. Oliver is looking very embarrassed. Irena is both startled and angry now. Alice looks at both of them and catches on. ALICE -LRB- cont'd. -RRB- Uh - oh! OLIVER -LRB- to Irena. -RRB- I told Alice ; I knew she'd know some good doctor. IRENA I do n't see why that was necessary. Her manner is very cold. She gives them both a long look, and walks away to stand by the window, gazing out, with her back toward them. Alice looks guiltily at Oliver, shrugs her shoulders, and picks up her hat and coat from a near - by chair. ALICE Sorry. I seem to have put my big foot in it. She lets Oliver help her on with her coat, and, with her hat still in her hand, she goes over to the door. Pausing, she calls out to Irena. ALICE -LRB- cont'd. -RRB- Sorry, Irena. I'm sure neither I nor Oliver had any notion of offending you. I'm dreadfully sorry. IRENA -LRB- half - turning, coldly. -RRB- Good - bye, Alice. With another - guilty look at Oliver, Alice closes the door behind her. The moment the door clicks shut, Irena turns to face Oliver. She is furious, hurt, offended. Oliver tries to make nice with her. OLIVER Darling, really, there's no reason. IRENA But, Oliver, how can you discuss such things. such intimate things about me? How much did you tell her? OLIVER -LRB- good - naturedly. -RRB- You can tell Alice anything. She's such a good egg, she can understand anything. IRENA There are some things a woman does n't want other women to understand. She crosses the room, goes into the bedroom, and closes the door firmly behind her. Oliver is honestly perplexed. He looks after her ruefully. DISSOLVE",
"INT. IRENA'S BEDROOM - NIGHT Irena is unable to sleep. A bright moon drives a shaft of misty light through the window and across her bed. She turns restlessly, gets up, and goes to the window for a moment to look out. From the park comes the sound of the lions and one eerie, piercing shriek that she knows is the leopard's cry. She trembles, perhaps with cold, perhaps with some emotion that she can not understand. She comes to a decision, throws a fur coat over her nightdress, outs on a pair of galoshes over her bedroom slippers, and lets herself out of the room.",
"INT. IRENA'S LIVING ROOM - NIGHT Irena hesitates as she tiptoes across the studio room of her apartment. The moonlight Is pouring in through the window, throwing the familiar objects of the room Into mysterious half - shadows. She goes quietly over to the other door, opens it quietly, and looks in.",
"INT. OLIVER'S BEDROOM - NIGHT Oliver is sound asleep In his bed. He sleeps quietly.",
"INT. IRENA'S LIVING ROOM - NIGHT Irena closes the door to Oliver's bedroom softly, and tiptoes to the main door, snapping the night latch back, and quietly letting herself out. X X X X X X TWO SHOT. Oliver comes out of the shadows of the hallway and joins Irena on the steps. OLIVER I woke up. You were gone, What's wrong, darling? IRENA -LRB- a pause, as she looks at him. -RRB- I could n't sleep. I went out. They continue up the stairs together, the CAMERA HOLDING on them. As they reach a landing, Oliver stops. OLIVER Where'd you go? IRENA Just walked. There is a brief pause. Oliver reaches out and takes her hand. OLIVER I'm sorry about this afternoon. I just did n't think. IRENA We should never quarrel, Oliver. I need you so much. You must help me, Oliver. -LRB- pauses. -RRB- Never let me feel jealousy or anger. Whatever it is that is In me is held in. is kept harmless. when I am happy. OLIVER I'd turn handsprings, darling. I'd dance In the streets. to make you happy. He smiles down at her. Then, taking her little face in his hands, he pinches her cheeks together so that her mouth puckers to an enforced smile. FADE OUT FADE IN",
"EXT. THE PANTHER'S CAGE - PARK - DAY Irena stands at the guard rail, watching the old keeper unlock the cage door and throw in the big, bloody chunks of meat. He is singing again his monotonous, nasal song, but even his singing can not drown out the noisy feeding of the panther as it gnaws and tears at the meat. When he has thrown in the last chunk, he slams shut the cage door and moves on. It is a gusty, blowy day of hard, inconstant winds. Irena notices that he has left the key in the look of the cage. INSERT THE KEY in the panther cage lock. BACK TO SCENE. Irena pushes aside the little gate, gets the key, stands with it for a moment in her hands, and then runs after the keeper. She holds it out toward him. IRENA You forgot your key. KEEPER -LRB- taking the key. -RRB- Ah, I'm always forgettin' it, ` Tai n't no worry in It. Nobody'd steal one of them creatures. He moves on, muttering his monotonous song to himself. Irena returns to the little gate. Dr. Judd is now standing where she had formerly stood. He is smiling at her. She lets herself out of the gate and stands beside him. He leans on his cane with a great air of nonchalant ease. JUDD You resist temptation admirably. IRENA Temptation? JUDD The key. IRENA Why would I want it? JUDD For many reasons. There is, in some cases, a psychic need to loose evil upon the world. And we all of us carry within us a desire for death. You fear the panther ; yet you are drawn to him again and again. Could you not turn to him as an instrument of death? -LRB- a pause. -RRB- You did n't come back to see me Friday. I've had to come to you. IRENA -LRB- bewildered. -RRB- How did you know where to find me? JUDD -LRB- smiling. -RRB- You told me many things. Irena looks away. Irena and Dr. Judd as SHOT from within the panther's cage. The black panther moves from time to time in the foreground, sometimes blotting one and then the other character from view. Irena and Judd are seen through the bars of the cage. JUDD -LRB- cont'd. -RRB- Why did n't you come back? IRENA I do n't feel that you can help me. You are very wise. You know a great deal. Yet when you speak of the soul, you mean the mind. and it is not my mind that is troubled. JUDD What a clever girl! All the psychologists, all the theologians have tried for centuries to find that subtle shade of difference between mind and soul. and you have found it! IRENA -LRB- apologetically, turning away. -RRB- It does seem presumptuous of me, does n't it? Good - bye, Doctor. She starts off. The CAMERA STAYS with her, as we hear o.s. Judd's voice. JUDD'S VOICE I can cut one thread of fear for you. Irena turns back to him questioningly, and he smiles at her, as he joins her on the walk. JUDD Your mother. Do you remember her? IRENA Yes. My mother was a peasant. She was lovely. quiet and strong. a big woman. The doctor takes one of her hands and holds it up before her. JUDD And this aristocratic little hand. is this a peasant hand? The little bones of this wrist. are they peasant bones? -LRB- drops her hand and looks at her. -RRB- The mystery of your father is very simple. Perhaps a young aristocrat from Belgrade. maybe an artist on a sketching trip. And your mother. fresh and attractive, as peasant girls are when they are young. -LRB- making a little gesture with his cane. -RRB- It's quite clear -- a hasty marriage. a brief pastoral -- and then he disappears. JUDD -LRB- cont'd. -RRB- No wonder your mother never spoke of him. that the village people drew aside from her. As for the children who teased you. who would explain his absence to them? Naturally, they could only go by old wives' tales of cat women and violence. -LRB- pauses, looking closely at Irena. -RRB- I'm right, am I not? Irena pauses thoughtfully for a moment. IRENA -LRB- quietly. -RRB- But what of my mother's death? JUDD Her death? You did n't tell me. IRENA -LRB- still quietly. -RRB- I held her hand when she died. That hand. even as I held it. turned to the black paw of a panther. I felt the coarse hair, the sharp talons, the pads. I felt them. I saw her lying, black. I saw that. She pauses and looks at Judd, who is frowning at her ; she speaks, almost with a note of triumph, IRENA -LRB- cont'd. -RRB- What little pastoral, Doctor. do you have to explain that? JUDD -LRB- confidently. -RRB- You were a child? IRENA I was thirteen when my mother died. JUDD Why did she die? IRENA There was an epidemic in the village. JUDD And you were sick, feverish, delirious, when your mother died? IRENA No. I was called from school. I can remember it so clearly. I came through the fields. The meadow larks were singing, and the sun was shining. I carried the knapsack of school books in my hand. I remember I could not believe that on such a day anyone could die. I was not delirious. JUDD There is a delirium in great grief. There are the illusions of bereavement. IRENA The priest would not come into our house when he saw what was on the bed. Was his also an illusion of grief? Dr. Judd has no answer to make for a moment. He flicks a leaf from the path with his cane, then smiles at her. JUDD There is always an explanation for every phenomenon. We shall find the reasonable explanation for this one. Irena gives him a scornful look of disbelief, and turns away as we DISSOLVE",
"INT. DRAFTING OFFICE - DAY TWO SHOT of Oliver and Alice. They are at a plotting table, Oliver is holding a slide rule in his hand, and is calling out numbers as she moves the batten. He looks at the number on the hairline, and calls It off to Alice. OLIVER Toward the sheer line. sixty - two degrees - Alice moves the batten with which she is plotting the curve of a bulkhead to the measurement Oliver has given her. It takes a sharp, awkward bend. She looks up at Oliver and points at the batten. ALICE Hey! Oliver looks at the batten, grins ruefully and apologizes! OLIVER I'm sorry. Must have given you the wrong figure. Let me try again. ALICE -LRB- coming round the table to him. -RRB- Wait. Let's have a cigarette first. They go toward the water cooler, as he fishes through his pockets for a package of cigarettes. Alice takes a cigarette, taps it on her nail, and smiles at him. ALICE -LRB- cont'd. -RRB- That's the third wrong figure you've given me this morning. OLIVER Getting careless in my old ago. ALICE Something's on your mind. Anything wrong? OLIVER No. They have reached the water cooler. She lights her cigarette, and accepts the cup of water he hands to her. He draws another cup for himself. She grins at him, as she waves away the first strong puff of smoke from her cigarette. ALICE -LRB- lightly. -RRB- Must be marriage. OLIVER In a way, it is. I'm worried about Irena. ALICE I thought she was going to Dr. Judd. OLIVER That's what I thought. But I bumped Into Judd this morning, and she has n't been there since the first visit. ALICE But you told me she seemed anxious to be cured. OLIVER Apparently not. Alice crumples up the paper cup and drops It into the waste basket. ALICE I'm sorry, Oliver. It must make you very unhappy. OLIVER -LRB- thoughtfully, simply. -RRB- You know. it's a funny thing. I've never been unhappy before. Things have always gone swell for me. I had a grand time as a kid. lots of fun at school. at the office here with you, and the Commodore, and Doc. That's why I do n't know what to do about all this. I've just never been unhappy. Alice looks at him. Suddenly she begins to cry. Oliver looks at her in astonishment, takes a quick glance to see that the other workers in the office have not noticed, and quickly leads her around behind the filing cabinets. OLIVER -LRB- cont'd. -RRB- -LRB- drawing out the word. -RRB- Hey -. -LRB- pulling out his handkerchief. -RRB- Wait a minute! ALICE -LRB- blowing her nose. -RRB- I ca n't help it. I just ca n't help it. -LRB- looking up at him. -RRB- I ca n't bear to see you unhappy. I love you too darn much, and I do n't care if you do know it. I love you. OLIVER -LRB- a pause. -RRB- I did n't' know it. ALICE Of course, you did n't. What do you think I'd do. drag my blooding heart across the drafting tables? It just had to come out now. It's been too hard to love you. to see you in love with Irena. and to see you unhappy. They stand looking at each other. Alice gives a final blow to her nose, hands the handkerchief back to Oliver, and manages a grin. ALICE -LRB- cont'd. -RRB- Forgot it. There's Irena. you're in love with her. OLIVER -LRB- puzzled. -RRB- I do n't know. All this trouble has made me think - I do n't know what love really is. I do n't oven know whether I'm in love with Irena. Alice looks at him very thoughtfully. ALICE -LRB- simply, sincerely. -RRB- I know what love is. It's understanding. It's you and me. and let the rest of the world go by. It's just the two of us, living our lives together. happily. proudly. No self - torture. no doubt. It's enduring and it's everlasting. Nothing can change it. Nothing can change us. That's what I think love is. Oliver looks over at the water bubbles rising in the cooler. He looks intently at them, almost as if counting them as they rise, burbling to the surface. He speaks without looking at Alice, his eyes on the bubbles rising in the water cooler. OLIVER I do n't feel that way about Irena. It's a different feeling. I'm drawn to her. There's a warmth from her that pulls at me. I have to watch her when she's in the room. I have to touch her when she's near. But I do n't really know her. In many ways were strangers. He turns and looks at Alice. She reaches out and takes his hand. They stand together like two people on a street corner shaking hands. ALICE -LRB- SIMPLY. -RRB- You and I. we'11 never be strangers. He smiles at her and she returns his smile. FADE OUT FADE IN",
"INT. IRENA'S LIVING ROOM - NIGHT Irena is in the window alcove, busily engaged in washing her paint brushes. She twirls them between her palms to get the water out of them. Oliver is in his easy chair. He holds a magazine in his hands, but he is not reading. Suddenly he puts the magazine down. OLIVER Irena. Irena turns toward him, but continues to twirl the brush she has In her hands. OLIVER -LRB- cont'd. -RRB- -LRB- rising and coming toward her. -RRB- Irena, I'm worried. What's happening to us? Irena looks up at him as she stops twirling her brush. She speaks very simply, as if this explained and adjusted all difficulties. IRENA I love you, Oliver. OLIVER I know - but people can love, and people can still drift apart. And that's what I feel is happening to us. We do n't talk together openly -- you are not frank with me. IRENA -LRB- interrupting. -RRB- I have never lied to you. OLIVER I ran into Dr. Judd today. Irena looks at him and then down at the brush in her hand. OLIVER -LRB- cont'd. -RRB- You have n't been back to see him. IRENA He can not help me. OLIVER You wo n't lot him help you. You wo n't let me help you. You wo n't even help yourself. It's what I said to Alice this afternoon -- At the mention of Alice, Irena has repeated the name softly, furiously, the while a look of concentrated fury has come to her face. The rest of Oliver's speech has been lost to her through her own anger. OLIVER -LRB- cont'd. -RRB- You're content to go on as we are. IRENA -LRB- softly, but savagely sibilant. -RRB- Alice! Oliver looks at her. He sees her anger, realizes that she is just about to burst forth savagely. He makes a gesture of resignation. OLIVER -LRB- restraining himself. -RRB- I promised you we'd never quarrel. Let's calm down a bit. -LRB- starts toward the door. -RRB- I'll go down to the office -- I've got some work to do. At the door he picks up his hat and coat and goes out, closing the door quietly behind him. No sooner has the door closed than Irena jumps to her feet, paces quickly toward it, then back again.",
"EXT. OFFICE BUILDING - NIGHT Oliver comes up in front of the office building that houses the Consolidated Ship and Barge Construction Company. A plaque on an entrance cornerstone bears the name of the company. There has been snow, followed by thaw, so that the streets are wet. Oliver stands on the wet street, watching the revolving door slowly move around with abrupt jerks. No one, however, is in any of the door compartments. Then as the door comes around, we see that in one of the compartments, on her hands and knees, scrubbing the floor, is a thin charwoman, Mrs. Agnew, her blowsy hair falling down over her face. As she gets around in front of Oliver, she looks up, brushing the hair out of her eyes. A lighted cigarette, with a long ash dangles from one corner of her mouth. She picks up her bucket and scrubbing brush and starts to move out of Oliver's way. MRS. AGNEW You want to go up to the office, Mr. Reed? OLIVER No, I think I'll go around the corner to Sally Lunn's and get a cup of coffee before I got to work. -LRB- starting off down the street. -RRB- I'll be back. Mrs. Agnew nods. The long ash of her cigarette falls down the front of her dress. She brushes off the ashes with ladylike strokes, as if it were a usual occurrence,",
"INT. SALLY LUNN'S TEAROOM - NIGHT Oliver comes into the tearoom. It is a typical quaint tearoom of the type seen in Manhattan side streets. A Negro waitress, Minnie, dressed in a stylized soubrette costume -LRB- something like the kind worn by the Brown Derby waitresses -RRB- turns around as Oliver enters. MINNIE -LRB- with a broad smile as he sits down. -RRB- Maybe you'd like some nice chicken gumbo, Mr. Reed. OLIVER No, thanks, Minnie. How about some apple pie and a cup of coffee? MINNIE -LRB- disappointed. -RRB- Yes ` r, Mr. Reed. -LRB- as she turns to get his order. -RRB- My goodness, do n't nobody like chicken gumbo? DISSOLVE",
"INT. DRAFTING OFFICE - NIGHT Alice is working alone late at night. She has just hung up the last T - square on the back wall. Now she turns out the light above her desk, leaving the room illuminated by a single light near the door. On her under - lit drafting table, taking full advantage of the warmth, his forepaws snuggled under his chin, is the most decorous sort of office cat. He looks like a bookkeeper. Alice is putting on her hat when the telephone rings. She picks up the phone. ALICE Into phone. -RRB- Hello. -LRB- no response. -RRB- Hello. -LRB- still no response. -RRB-",
"INT. IRENA'S LIVING ROOM - NIGHT Irena has the telephone in her hand, and over the phone we hear Alice's voice. ALICE'S VOICE Hello - Hello -- Irena quietly hangs up the phone.",
"INT. DRAFTING OFFICE - NIGHT There is a faint click from the other end of the wire, as of a receiver being put softly back onto the cradle. Alice, disgusted, slams her own receiver into place. ALICE -LRB- addressing the cat. -RRB- John Paul Jones, do n't you hate people who do that? She grabs her coat and starts putting it on. She turns out the last remaining light and starts to leave the office. At the door she pauses and calls through to the cat. ALICE -LRB- cont'd. -RRB- Good night, John Paul. -LRB- closes door. -RRB-",
"EXT. A ROOFTOP OPPOSITE IRENA'S APARTMENT - NIGHT Along the rooftop of the building opposite Irena's apartment glide a couple of mangy alley oats. They lead into the scene. Seeing Irena's lighted window, they seat themselves on the parapet side and look down into the lighted square of the window. Through it Irena can be seen on her knees, her hands folded in prayer. Her lips are moving. ANOTHER ANGLE SHOOTING : fI * bm ^ ; : VohlMv ; th6? ae ^ h ^ 1M ` V / ¦ : :, iV ^ cat in line ; a little further to one side than the other. From this vantage point we can see down into Irena's apartment. We now see the object of Irena's adoration and her plea : the statue of King John of Serbia. Suddenly, Irena rises swiftly to her feet, and with a quick, violent movement she sweeps the statue to the floor. The cats, frightened, scamper away over the rooftops. The CAMERA MOVES toward the window, as we see Irena catch up her hat and coat and leave.",
"INT. LOBBY - OFFICE BUILDING - NIGHT Alice comes out of the elevator. Mrs. Agnew is in the lobby and has risen to a sitting position on her knees. She has Just finished lighting a fresh cigarette. Alice reaches In her pocketbook and takes out a couple of match books. ALICE Here, Mrs. Agnew, I've got a couple of new match books for your collection. MRS. AGNEW Thanks, Miss Moore. -LRB- admiring a particular one. -RRB- Chartreuse. My, ai n't that elegant! Alice smiles and starts out. MRS. AGNEW -LRB- cont'd. -RRB- Too bad you was n't here a minute ago. Mr. Reed looked in. ALICE -LRB- stopping. -RRB- Oh? Where'd he go? MRS. AGNEW Said he was going around the corner to Sally Lunn's. ALICE -LRB- starting off. -RRB- I'll see if I can catch him, Good night. MRS. AGNEW Good night, Miss Moore. The ash of her cigarette falls down on her dress again. Almost automatically she brushes it off with her customary ladylike gesture.",
"INT. SALLY LUNN'S TEAROOM - NIGHT Alice enters the tearoom and stands beside Oliver. She signals to Minnie. ALICE Could you squeeze the coffee pot for me, Minnie? OLIVER -LRB- turns and sees Alice. -RRB- Hello! MINNIE I sure could. Only this coffee's been workin' so long, it's got muscles. Alice smiles at Oliver as she sits down beside him. ALICE What are you doing in this part of town at this hour of night? Oliver shrugs his shoulders. Alice nods. ALICE -LRB- cont'd. -RRB- Hmmm. Stormy weather.",
"EXT. STREET - NIGHT Irena as SHOT in the reflection of a florist shop window. She is walking with fast, soft steps.",
"INT. SALLY LUNN'S TEAROOM - NIGHT Alice and Oliver have finished drinking their coffee. She Is looking very seriously at him. ALICE Ollie, you're going to have to solve your problems your own way. -LRB- picking up her cup. -RRB- I'm going to drink up and go home. You'd better go home, too, and make it up with Irena. OLIVER -LRB- leaning over and patting her hand. -RRB- You're very swell. ALICE -LRB- lightly. -RRB- That's what makes me dangerous. I'm the new type of other woman. They leave the counter, calling `` good nights'' to Minnie, who turns and nods to them.",
"EXT. STREET - NIGHT As SHOT through the plate glass window of the florist shop, with a grouping of tiger lilies in the f.g. Irena stands in an alcove - entrance, watching Oliver and Alice as they go by. TWO SHOT - Oliver and Alice. Alice stops, shivers, and draws the collar of her coat higher. Oliver turns to her. OLIVER Cold? ALICE -LRB- shaking her head. -RRB- A cat just walked over my grave. They smile at each other and move on. CLOSE SHOT of Irena through the tiger lilies, as she looks after them.",
"EXT. TRANSVERSE ENTRANCE - NIGHT Alice and Oliver pause at the entrance to the transverse, which stretches away from them, Its darkness punctuated with pools of widely spaced street lights. Alice looks up the street and turns to Oliver. OLIVER Do n't you want me to walk you home? ALICE I'm a big girl now, and I'm not afraid. OLIVER Well, good night. ALICE Good night. They shake hands. Oliver turns and starts off across the street, Alice waves good night to him as he reaches the other side ; then she draws a deep breath of the cold, crisp night air, and turning, starts toward the transverse walk.",
"EXT. PARK WALL - NIGHT Irena steps out from the shadows around the park wall. She draws up her fur collar over the lower part of her face and turns toward the transverse walk. On the sound track the music for `` Berceuses du Chat'' begins in an eerie, minor key.",
"EXT. TRANSVERSE ENTRANCE - NIGHT Irena pauses at the entrance to the transverse. Ahead of her, walking briskly about one hundred feet in advance is Alice. There are no other pedestrians on the narrow transverse walk. The street and sidewalk are glistening wet and reflect the pools of light from the street lamps. The melting snow drips down the stone walls. Irena turns into the transverse and starts to walk after Alice.",
"EXT. TRANSVERSE. WALK - NIGHT SHOT of Alice, as she walks along. On one side of her are the high, rock walls of the transverse ; on the other is the street. SHOT of Irena, as she, too, walks along. MED. SHOT - street lamp on transverse. It throws a circular pool of light, Alice emerges from the darkness, crosses the area of light, and continues on into the darkness. The soft click of her heels fades into the distance. Even as the sound of her steps fades, the sound of Irena's steps comes into the scene. Irena comes from the darkness, crosses the area of light, and continues oh after Alice into the darkness. CLOSEUP of Alice's feet as they walk along, the heels clicking on the wet pavement. CLOSEUP of Irena's feet as they walk along, her heels likewise clicking on the pavement. MED. SHOT of a lighted area, as Alice again walks through a circle of light. She walks directly through and into the darkness beyond, her footsteps clicking on the pavement. As her footsteps fade, we would logically hear Irena's steps coming onto the scene. But we do not. There is nothing, only the sound of Alice's heels fading into the distance. The music of the `` Berceuses du Chat'' rises and fades. SHOT of Alice as she walks along, the CAMERA TRUCKING with her. There is the sound of her feet on the pavement. She stops in a pool of street light, frowning, sensing the presence of something behind her. She glances over her shoulder, then looks around. The music is growing louder. LONG SHOT of the glistening wet transverse walk, as Alice sees it - a dark, deserted walk, fading off to a perspective line. It is lighted by regularly spaced street lamps. SHOT of Alice, as she peers more closely into the darkness. She is troubled. The silence is ominous. She frowns apprehensively, turns, and starts to walk on a little faster. She turns her head slightly, but does not dare look behind her. She increases her pace and walks very rapidly through the next area of light and on into the darkness. The sound of her own steps is loud, and she begins to run. She reaches the next pool of light, stops stock still, panic - stricken, afraid to move. Outside the circle of light is only blackness and silence, Alice's frightened eyes poor into the darkness. She shrinks against the lamp post. Sheer terror crosses her face. Suddenly there is a roaring sound that fills the sound track, completely drowning the loud music. A pattern of light cuts across Alice's face. She throws up one arm, almost as if to defend herself. There is a hissing, screeching sound. SHOT of a transverse bus, as with a hiss of air brakes it stops directly alongside Alice. She grasps the platform rail to steady herself. The doors open. BUS DRIVER Climb on, sister. Alice steps up. A snarl sounds in the darkness, looks behind her. Her eyes are carried upward. The wet shrubbery at the top of wall stirs, settling, as if something had only that moment passed through it. Alice is looking back over her shoulder, fascinated by what she has seen. She is standing just within the bus, but the driver can not close the door. BUS DRIVER -LRB- exasperated. -RRB- Are you ridin' with me, or ai n'tcha? Alice nods weakly, and steps In.",
"INT. TRANSVERSE BUS - NIGHT Alice Is fumbling in her purse for change. She has been greatly shaken by her fright. Her hands are trembling. The bus driver looks up at her. BUS DRIVER You look as if you'd seen a ghost. ALICE -LRB- eagerly. -RRB- Did you see it? The driver looks at her in amazement. Abashed, Alice drops a coin in the box and moves on. The driver shakes his head morosely, as if crazy women were the cause of all misfortune in this world, and pulls the gear that operates the door.",
"EXT. SHORE OF PARK LAKE - NIGHT The waterfowl are nesting on the shallow, reed - fringed shores of the lake. Their heads are tucked in under their wings. Suddenly, one of the fowl, the leader, comes to life, and starts to cluck. CLOSE SHOT - the tall reeds swaying, moving unnaturally, as If something wore stealing quietly behind them. All the birds have wakened now, and silently are swimming out to the safety of the deeper water in the middle of the lake.",
"EXT. ARCHED BRIDGE OVER BRIDLE PATH - PARK - NIGHT A mounted policeman, in glistening raincoat and cape, sits quietly on his horse. A cone of lamplight illuminates him. Overhead, from the bridge, a dark shadow glides. There is the deadened sound or padded paws on the stonework of the bridge. The horse, sensing the presence and hearing the sound, rears suddenly and plunges. The policeman struggles to rein in the maddened animal. The policeman gets the horse in hand, although it continues to snort and start nervously. He bends down from the saddle to pat the horse's lathered neck. POLICEMAN What got into you, Joe?",
"EXT. SHEEPFOLD - PARK - NIGHT Inside the sheepfold there is panic. The sheep mill about in the darkness, leaping over each other in blind fright, bleating piteously.",
"EXT. SHEEP CARETAKER'S HUT - PARK - NIGHT The caretaker comes out of his hut, with a lantern. He has been roused from his sleep, and goes toward the fold, muttering. CARETAKER The woolly fools!",
"EXT. SHEEPFOLD - PARK - NIGHT The caretaker stumbles over something on the ground inside the sheepfold. He holds up his lantern. CLOSE SHOT of a killed lamb lying torn on the muddy ground. The muddy soil around the dead animal Is trampled. The caretaker raises his lantern higher, and peers into the light. The bodies of three more slain lambs lying on the earth, are revealed by the caretaker's lantern. The caretaker hobbles over to the last body, pausing for just a second at the body of each lamb on the way. He reaches the last body, and kneels down beside it, examining the ground. CLOSE SHOT of the prints of an animal In the soft mud around the body of the fourth lamb. CAMERA MOVES a few feet beyond the body. Here, going off toward the sheep pasture gate, are more prints, but not the prints of the animal. Those are the dainty imprints of a woman's slippered - foot. The caretaker, stunned and a little frightened by what he has seen, brings a whistle up to his lips, and blows it shrilly.",
"EXT. PARK ENTRANCE - NIGHT Irena is standing under a street lamp. She seems dazed and bewildered. She is dabbing at her lips with her handkerchief. The caretaker's whistle is blowing in the distance. Irena frowns, puzzled, irresolute. Another whistle, closer, responds to the caretaker's whistle. A taxi drives up and stops beside her. TAXI DRIVER Taxi? Irena looks up, nods and gets into the cab. DISSOLVE",
"INT. IRENA'S LIVING ROOM - NIGHT Oliver is pacing the floor. The room lights are on full. He is smoking a cigarette nervously. There is the sound of the door being opened. Oliver turns around. Irena has let herself In. She closes the door behind her and leans up against it. She is blinking in the glare of the light, She looks ghastly, white, and drawn, her shoes and stockings are wet, muddied, torn. She has lost her hat, and her hair is in wild disorder. In her hand she is crumpling and re - crumpling a soiled lace handkerchief. TWO SHOT of Irena and Oliver. Irena's exhaustion is so great that she looks as if she were about to collapse. Oliver jumps quickly to her side, putting his arm around her waist to support her. She draws away from him, OLIVER Are you all right? IRENA Please. please. do n't touch me. do n't come near me. OLIVER -LRB- weakly. -RRB- All right. Oliver hesitates and looks at her with sympathy. OLIVER -LRB- cont'd. -RRB- Look, Irena, I'm sorry. I've been worried to death. I did n't know where you were. I thought. There is a pause. She turns away from him. OLIVER -LRB- cont'd. -RRB- These things. what happened tonight. happen in every family. I was all on edge. You've got to understand, and you've got to forgive me. Irena starts toward her room, mumbling brokenly. IRENA I forgive you. She stumbles. Oliver tries to help her, but she eludes his hand and slips into her room. Oliver stands at the closed door.",
"INT. IRENA'S BATHROOM - NIGHT She has turned on the water taps and is filling the tub with water. She is pulling off her wet clothes as rapidly as she can.",
"INT. IRENA'S LIVING ROOM - NIGHT Oliver stands at the door to Irena's room. OLIVER Irena? Irena? IRENA'S VOICE -LRB- over the sound of running water. -RRB- What do you want? Oliver Is worried.",
"INT. IRENA'S BATHROOM - NIGHT. CLOSEUP of the base of an old - fashioned bathtub that has floor supports of ornamental balls with tiger claws extending down over the tops. Over the scene comes the broken sobbing of Irena. CAMERA MOVES UP, and we see Irena In the tub. She sits very still in the still water, but her glistening shoulders shake as she tries to control the storm of her hysteria. DISSOLVE",
"INT. IRENA'S BEDROOM - DAY CLOSE SHOT of Irena sleeping. She moves slightly in her sleep. Her lips move as if she were trying to speak. LAP DISSOLVE OVER HER FACE SPECIAL EFFECT SHOT. An army of gigantic, thin, angular cats marches up from the back of the screen until their weird shapes, and glowing eyes fill the entire screen from frame to frame. Then through their ranks comes stalking a knight in chain armor with ragged grave cerements for cloak and tabard. He is unearthly tall and, as he walks forward, it is as if a statue were moving. It is the same figure we have seen on horseback as King John of Serbia. The face under the crowned helmet is in darkness. When he comes up close, this darkness is divided and reveals the face of Dr. Judd. Suddenly, and with a savage movement, this knightly figure draws his sword. It comes flashing from the scabbard and instantly changes, to an enormous Yale key on a ring. The key grows constantly larger, blotting out everything else from the screen. Over this sequence is the music of `` Berceuses du Chat'' in the softer portions of the melody we hear constantly the repetition of Judd's suggestions : JUDD'S VOICE -LRB- over EFFECT SHOT. -RRB- Go loose evil upon the world - a psychic necessity -- a desire for death - to loose evil - a desire for death - to loose evil -- a desire for death - We LAP DISSOLVE BACK to Irena's face in such a manner that it seems this enormous key were pressing down upon her in her sleep. DISSOLVE",
"EXT. PANTHER CAGE - PARK - DAY A light rain is falling. Once more the keeper is singing to himself in his nasal voice as he pushes chunks of meat in for the beast. He looks up to see Irena standing at the guard rail and smiles at her. KEEPER Good afternoon, ma'am. IRENA The animals must love you. You feed them so promptly. the same time every day. One could set one's watch by you. KEEPER Thank you, ma'am. It ai n't that the animals like me, though. I tell you, they'd just as leave have me for their dinner, even if they was to get everlastin1 dyspepsia. IRENA -LRB- LAUGHING. -RRB- I do n't think they'd find you indigestible. This strikes the keeper as being very amusing. He chuckles to himself and absent - mindedly moves on to the next cage. Irena looks at the door Of the panther's cage. THE KEY to the panther's cage has been left in the lock again by the keeper. BACK TO SCENE, Irena looks around her, making sure that no one is near enough to see her. Very quietly she opens the little gate, takes out the key and slips it in her purse. She steps back onto the promenade, closing the gate behind her. The keeper looks up ; he is still chuckling. Irena smiles and looks toward the black panther. CLOSEUP of the black panther's face as the beast stares at her. DISSOLVE",
"INT. FLECKER MUSEUM - MODEL SHIP EXHIBIT - NIGHT CLOSEUP of a grinning cat's face which adorns the bowhead, the end of the timber projecting at right angles from the bow of a model ship. CAMERA DRAWS BACK for CLOSE SHOT of Irena looking at the ship model. It is the `` Royal Harry,11 progenitor of the mighty British fleet. But what obviously holds Irena's interest is the cat's face. She is fascinated. THREE SHOT - Alice and Oliver in the f.g.and Irena in the b.g. Alice and Oliver are engrossed in their examination of a frame model of the privateer, `` Swallow''. They move over to the next, model, which brings them beside Irena. Alice stops and looks at Oliver. ALICE I'm afraid this is dull for Irena. Irena, aroused from her absorption in the quaint cat face on the `` Royal Harry,'' comes to herself with a start. Oliver takes her elbow. OLIVER Look, darling, there are some beautiful moderns upstairs. Why do n't you take a look at them? IRENA I like these little boats. I want to be with you. -LRB- looking up at Oliver ; pouting. -RRB- Do n't send me away. OLIVER -LRB- gently and lightly. -RRB- We're not sending you away. We just do n't want you to be bored. Irena looks at him. Her mood changes, as she feels that perhaps they do want to be rid of her. She walks off. OLIVER -LRB- cont'd. -RRB- -LRB- calling after her. -RRB- We'll meet you in the main lobby in an hour. Alice's attention is attracted by a set of line drawings. She turns to them. ALICE Ollie, look! Line drawings of the `` America!'' They begin to examine the drawings,",
"INT. MUSEUM CORRIDOR - EGYPTIAN ROOM - NIGHT Irena paces the museum corridors. She walks alone, the CAMERA TRACKING with her. A sullen look is on her face and her lips are heavy with sulkiness. She passes a showcase filled with terra cotta figurines of the cat - headed goddess, Bubastis. She only glances at them as she passes. Her stride lengthens with her growing anger. At the end of the aisle she stops still and looks up. As SHOT from Irene's VIEWPOINT, looking up, we see a towering effigy of the goddess Bubastis, carved into a black basalt caryatid. The huge cat head is supported by a lovely, slim, women's neck, rising from rounded, feminine shoulders. The goddess gazes down at Irena from blind, enigmatic, cat's eyes. Irena, as she looks up at this dread goddess of the noonday sun, seems to reach a resolve. Her expression grows grim, resolute. She turns, and walks quickly away.",
"INT. MAIN LOBBY - MUSEUM - NIGHT Irena walks through the main lobby toward the exit door. She pauses for a moment beside a greet bronze statue of a puma leaping on a frightened horse, and looks toward the ship exhibit room.",
"INT. MODEL SHIP EXHIBIT ROOM'- MUSEUM - NIGHT As SHOT from the lobby, from Irena's VIEWPOINT, with the bronze statue of the puma and the horse in the f.g.. We can see Alice and Oliver within the exhibit room, with their backs turned, closely Inspecting a ship model.",
"INT. MAIN LOBBY - MUSEUM - NIGHT SHOOTING through the intricacies of the puma - and - horse statue at Irena, who looks a moment at Alice and Oliver, then turns, and walks out of the building. DISSOLVE",
"EXT. ALICE'S HOTEL - NIGHT A cab drives up in front of the hotel and Alice gets out. She waves good - bye to Oliver, and the cab drives off with him. She turns and enters the hotel. The streets are still wet. Just as Alice is passing through the door, another cab drives up. Irena gets out. She pays the driver, and the cab moves off. Irena stands for a moment irresolutely under the marquee.",
"INT. ALICE'S HOTEL, - LOBBY - NIGHT Alice, striding cheerfully across the lobby, stops at the desk, where a young blonde desk attendant is stationed. ALICE Could I have the key to the swimming pool? BLONDE Of course, dearie. The attendant gives Alice the key. A little black kitten suddenly jumps up onto the desk top. Alice picks it up and holds it against her cheek. ALICE What a darling kitten! BLONDE Yeah. It's one of four. Minou had'em about a month ago. Alice laughs and putting the kitten down on top of the desk, starts toward a stairs where there is a placard marked `` TO THE SWIMMING POOL'' the kitten jumps down from the desk top and starts after Alice. The blonde leans over the desk. BLONDE -LRB- cont'd. -RRB- -LRB- calling out. -RRB- Qh, dearie! When you get through, do n't forgot to turn off the light, will ya? ALICE I wo n't forget! She starts down the stairs. The little kitten follows her. The desk phone rings, and the blonde picks it up. BLONDE -LRB- ON PHONE. -RRB- Hullo. Ah, gee - I ca n't tonight. I got Civilian Defense work. Yeah. As I was saying to Brenda, them Japs and Nazis is whittling down my social life.",
"EXT. ALICE'S HOTEL - NIGHT Irena is walking irresolutely back and forth underneath the lighted marquee. Suddenly, she seems to come to some decision and walks up the lighted steps toward the entrance",
"INT. ALICE'S HOTEL - LOBBY - NIGHT The desk clerk is still talking over the phone as Irena comes quietly up to the counter. The blonde glances up and sees her. BLONDE -LRB- ON PHONE. -RRB- Just a minute, dearie. -LRB- looking up, to Irena. -RRB- Yes? IRENA Is Miss Moore in? BLONDE She just went downstairs to the swimming pool. IRENA Would it be all right if I went down to see her? BLONDE Of course, dearie. Right down them steps there. Irena nods and goes toward the steps. The blonde picks up the phone again and continues. BLONDE -LRB- cont'd. -RRB- As I was sayin' to Brenda. QUICK DISSOLVE",
"INT. LOCKER ROOM - ALICE'S HOTEL - NIGHT Alice is standing in front of her locker, drying herself with a big towel. She has just come out of the pool. The door to the plunge is open behind her, but she has turned out the lights and it is dark within. There is only the single light gleaming in the locker room. Alice removes her wet bathing cap and shakes her hair out. She puts on a chenille wrapper over her bathing suit and goes toward the door. She starts to turn out the lights in the locker room, but remembers the kitten. She looks around and sees the kitten. CLOSE SHOT of the little black kitten. It is standing on the threshold, looking up toward the stairs. Its tiny ears are raised, listening. SHOT of Alice, as she looks from the kitten toward the stairs. SHOT of the stairway, as Alice sees it. A shaft of light comes down the stairs. The rest of the stairway is in darkness. No one is on the stairs. CLOSE SHOT of the black kitten. Its back begins to arch. Suddenly it turns, scampers through the locker room, leaps up the wall, clambers over the top sill of the half - opened window, and drops into the areaway. Alice shrugs her shoulders good - humoredly. She turns out the lights in the locker room and steps toward the entrance door. She pauses as she hears something ahead of her and looks up, trying to peer into the darkness. SHOT of the hallway, as Alice sees it. It is in shadow. Over the scene is the sound of padded feet on pavement. Alice starts toward the hall. A snarl sounds in the darkness ahead of her. She pauses, rooted in panic, as the slow, stealthy tread of feet starts again. She looks toward the stairs. Alice, with terror in her eyes, looks into the darkness. The locker room, SHOOTING toward the door, as Alice sees it. All is blackness. Alice takes a step backward. She looks behind her, and pauses an instant. She turns, flings off the robe, throws it toward something in the blackness, and races through the locker room toward the pool. We hear the splash of her dive.",
"INT. PLUNGE ROOM - ALICE'S HOTEL - NIGHT SHOT of Alice in the pool, as she swims rapidly out to the center. Behind her there is a frustrated snarl of rage, the sound of fanged teeth ripping, sharp claws snagging into cloth. Alice reaches the center of the pool and treads water. Around the edge of the tank she can hear her pursuer begin to run with bounding steps along the tiles. Then there is silence. Alice looks about her in the quiet darkness. Her eyes try to peer into the shadows. Her whole expression is one of taut, almost hysterical panic. She listens closely. CLOSEUP of a little wave of water, as it slaps against the side of the tank. Alice, as she hears the water, afraid that the thing may have slipped into the pool. She looks around her in terror. She begins to scream. Her cries race around the empty room, echo back at her from the dark end of the pool, and are thrown back at her from the high, beamed ceiling.' SERIES of THREE QUICK SHOTS, over which are the echoes of Alice's voice screaming for help. First, the empty dark room. Then, the black surface of the pool. Then, the high, beamed ceiling. SHOT of Alice, as she thrashes about in the water, screaming, the sound track filled with the sound of her voice and the mocking echoes.",
"INT. ALICE'S HOTEL - LOBBY - NIGHT The blonde, still telephoning, hears the cries for help. She slams up the receiver and runs out from behind the desk. BLONDE Mrs. Hanson! Mrs. Hanson! Mrs. Hanson,, a buxom Scandinavian, comes running into the scene. MRS, HANSON P3r barmhertighetens skull. -LRB- breaks off, hearing the cries. -RRB- Kom med skynda. Mrs. Hanson and the blonde run toward the stairs and start down them.",
"INT. PLUNGE ROOM - ALICE'S HOTEL - NIGHT Alice's voice is gone. Her strength is ebbing. She paddles weakly around in the water. There is a sharp shriek and the room is flooded with light. Alice looks, in the direction of the metallic click. SHOT of Irena, as she stands by the electric switch, dressed immaculately as Alice had last seen her, calm, poised. IRENA What Is the matter, Alice? SHOT of Alice as she stares back at Irena. Mrs. Hanson and the blonde come running down the stairs crying in unison. MRS. HANSON Vad fattas, Miss Moore. BLONDE Gee whiz, dearie, you all right? Alice, glancing toward Irena, has recovered her poise. She explains lamely. ALICE It's nothing. It was dark down here. Mrs. Reed, coming in unexpectedly, frightened me. I'm terribly sorry. SHOT of Irena, as she smiles at the women, and then looks back toward Alice. Mrs. Hanson and the blonde breathe sighs of relief, and start back toward the stairs. MRS. HANSON -LRB- -LRB- to herself. -RRB- Jag ar glad att allt & r v & lbestSlt med er. Alice has no desire to be left in the same room with Irena alone and she calls out to the women. ALICE Do n't go. I'm coming right out. She starts swimming toward the edge of the pool. SHOT of Irena, as she smiles and starts toward the stairs. Alice and Irena. Alice has taken hold of the edge of the pool. Irena bends down, smiling. IRENA I'm sorry I disturbed you, Alice. I missed you and Oliver. I thought you might know where he is. ALICE We looked for you at the museum, You'll probably find him at home. IRENA -LRB- RISING. -RRB- If you do n't mind, then, I'll run on.",
"INT. LOCKER ROOM - ALICE'S HOTEL - NIGHT Irena goes up the stairs. As Irena disappears up the stairs, Alice comes in from the pool. ALICE -LRB- to the blonde. -RRB- Would you get me my robe? I left It over there. The blonde picks it up and examines it. She looks up with genuine amazement on her face. BLONDE Why, honey, it's torn to ribbons! Alice looks at the robe, taking it in her hands. INSERT THE TORN ROBE in Alice's hands. It is literally cut to shreds. BACK TO SCENE. Alice looks down at the robe thoughtfully, DISSOLVE",
"INT. SMALL ALCOVE OFF LOBBY - ALICE'S HOTEL - NIGHT This is a small, feminine room of the type to be seen in women's hotels, where the guests may receive gentlemen callers. Alice is seated on a sofa, smoking a cigarette. Dr. Judd is beside her. His hat and coat lie on a near - by chair ALICE Thank you for coming at so late an hour, Dr. Judd. I phoned you because I am troubled. I think you can help me. -LRB- pauses and looks at him closely. -RRB- How much do you believe about the cat people? JUDD The cat people? The story Mrs. Reed told me? Alice nods. JUDD -LRB- cont'd. -RRB- I believe, my dear Miss Moore, exactly what I told Mrs. Reed. The story is a product of her own fears, her own overworked imagination. ALICE What would you say, Dr. if I were to tell you that believe Irena's story? JUDD Yes? ALICE -LRB- SIMPLY. -RRB- Twice I have been followed by something that was not human, something that attempted to take my life. I believe that was the cat form of Irena. JUDD Why should she wish to harm you? Alice looks at him a moment. She determines to tell him the truth. ALICE -LRB- very quietly. -RRB- Because I am in love with her husband. - Judd is highly amused. He chuckles to himself as he settles back in the sofa. JUDD Oh, my dear Miss Moore, the story grows more and more charming. And simpler all the time, too. You are both victim of fear. Mrs. Reed fears the past and you fear the present. Mrs. Reed has a very strong imagination, and you have an equally strong conscience. ALICE I am not a victim of fear, Dr. Judd. The danger that threatened me was very real. JUDD -LRB- shaking his head. -RRB- You disappoint me, Miss Moore. Alice looks at his smiling face. Quietly she reaches down beside her and brings forth the torn robe. ALICE Here is my robe. Judd examines the robe. The smile fades from his face. He looks up at Alice's serious expression and shrugs his shoulders. He gives the robe back to her. Both rise. JUDD To understand this, I would first have to hear Mrs. Reed's version of the story myself. That should be a most interesting interview * ALICE I should n't advise you to see her alone. JUDD Do you think I am afraid of so charming a lady? ALICE I know you do n't believe me, Doctor but you must be careful. JUDD -LRB- laughing. -RRB- You want me to carry some means of protection -- a gun, perhaps, with a silver bullet. is that what you mean? ALICE -LRB- amused in spite of herself. -RRB-. -RRB- If you're lucky enough to have one. JUDD -LRB- smiling ; lightly, not gravely menacing. -RRB- Of course, this is n't silver. He twists the top of his stick and pulls out a short, steel rapier. He smiles at Alice. She nods to him in dismissal. With a little shrug, he pushes the dagger back into the cane, and with a bow starts to leave the room. JUDD -LRB- cont'd. -RRB- Good night, Miss Moore. Alice looks down thoughtfully at the torn robe she holds in her hands. FADE OUT FADE IN",
"INT. DRAFTING OFFICE - DAY Alice stands for a moment before the telephone. In back of her, Oliver can be seen working at the desk. She turns, half looks at him a moment, and then, picking up the phone, starts to dial.",
"INT. IRENA'S LIVING ROOM - DAY Irena is working at her drawing table. She has on her smock. The telephone rings, and Irena picks it up. In the b.g, the empty bird cage swings in the cold winter sunlight. IRENA Hello. -LRB- a little, frown, as she recognizes the voice. -RRB-. -RRB- Alice?",
"INT. DRAFTING OFFICE - DAY ALICE -LRB- into phone. -RRB- I did n't sleep last night, Irena. IRENA'S VOICE -LRB- over phone. -RRB- Oh, darling. Alice pauses for a moment, looking over at Oliver. Then she turns back to the phone, and the blunt truth comes boldly from her lips. ALICE You hate me, Irena, do n't you? You hate me so much that twice you have tried to kill me, have n't you? -LRB- pausing, then continuing. -RRB- That night on the Transverse. again last night in the swimming pool. that was you, was n't it?",
"INT. IRENA'S LIVING ROOM - DAY The smile, the innocence have left Irena's face. A look of dread horror takes their place. She leans against the table for support. Her tone is imploring. IRENA -LRB- into phone. -RRB- Do n't say that, I do n't remember last night. I do n't remember. It is n't true. You must n't say it!",
"INT. DRAFTING OFFICE - DAY Alice realizes by Irena's desperate tone that Irena in her human form is entirely ignorant of what she may do in some other guise. ALICE -LRB- into phone. -RRB- I am sorry, Irena. She hangs up and turns around, looking at Oliver, draws a deep breath and starts back to her desk.",
"INT. IRENA'S LIVING ROOM - DAY Irena places the phone back on the desk. She leans forward, one troubled hand, brushing the hair back from her forehead. In the b.g. the empty bird cage fills the scene. The sun throws the shadows of the bars across her face. Irena comes to a decision, rises, and throwing on a fur coat over her smock, leaves the apartment. DISSOLVE",
"INT. DR. JUDD'S OFFICE - DAY CLOSE SHOT of Judd at his desk. IRENA'S VOICE Help me. help me. Judd looks in her direction calmly through the arch of his joined fingers. JUDD You say you have lapses of memory for which you can not account. they are becoming more frequent. and you are afraid. TWO SHOT of Irena and Judd. She is looking at him imploringly. IRENA Help me. JUDD I can not help you. You are not truthful with me. IRENA But I am. I have told you everything. I have not lied. Judd comes around the desk to stand beside her, bends down and places his hand on her shoulder. JUDD Do you sincerely believe that if your husband were to kiss you, you would change into a cat and rend him to bits? IRENA -LRB- looking down. -RRB- I do n't know. I am only afraid. JUDD -LRB- bonding closer. -RRB- And if I were to kiss you? IRENA -LRB- moving away from him so that his hand falls from her shoulder. -RRB- I do n't know, I only know that I should not like to be kissed by you. Dr. Judd seats himself on the edge of his desk. JUDD -LRB- as he looks intently at her. -RRB- My dear Mrs. Reed, sometimes, in my profession, there comes a contest of will between the doctor and his patient. The patients are clever. oh, very clever. and they can fool the doctor. sometimes. You are very clever and, perhaps you enjoy this little game you are having with me. But, in the end, I will discover your secret. IRENA -LRB- desperately. -RRB- Dr. Judd, believe me. I beg you to believe, me. I have no secrets. I have told you everything. I have not lied to you. I need your help. JUDD I can not help you when you refuse to confide in me. But I can warn you. These hallucinations approach insanity -- this nonsense about Miss Moore - in the park and at the swimming pool -- it is a deterioration of the mind -- the escape into fantasy -- and it is dangerous -- He leans forward and shakes his forefinger before her face. JUDD -LRB- cont'd. -RRB- At this moment I could go before n board and have you put away for observation. -LRB- his voice drops to a confidential tone. -RRB- You are that close to real insanity. For a moment they face each other, and frightened. Irena is shaken JUDD -LRB- cont'd. -RRB- I can not help you. You can only help yourself. You keep going back to the mad legends of your birthplace. Forget them. You surround yourself with cat objects -- pictures -- get rid of them. Lead a normal life. He rises, puts his arm about her shoulder, and starts leading her toward the door. At the door Irena looks up at him. IRENA -LRB- Softly. -RRB- For the first time you have been kind to me. JUDD It is because you interest me. As Irena walks out, he stands at the door watching her. DISSOLVE",
"INT. IRENA'S LIVING ROOM - NIGHT Oliver and Irena are sitting at a little table drawn up before the fireplace. They have finished dinner. Only the empty dessert plates and the empty demitasse cups remain. The fire is burning bright, but low. Above the mantle is an empty space. The Goya has been removed. Later, as the CAMERA SHIFTS, we will notice that the Grandville drawings and the panther screen have also been taken away. Oliver is looking down at his empty coffee cup, lost in thought. Irena is watching him. IRENA Oliver? Oliver does not look up. IRENA -LRB- cont'd. -RRB- I've been to Dr. Judd. Oliver looks up Irena looks first at him, then at the empty space where the Goya had hung. He follows her gaze and notices that it is no longer there. They look at each other. IRENA -LRB- cont'd. -RRB- I am no longer afraid. Oliver looks at her very thoughtfully ; then he rises and starts around the table toward her. She rises expectantly, almost as if preparing herself for his kiss. She stands smiling. A step away from her he stops. OLIVER Listen, Irena - I had hoped - things have changed. Irena still smiles at him, but there is more inquiry than invitation in her smile. Oliver finds the words he wants to say and says them with blunt simplicity. OLIVER -LRB- cont'd. -RRB- I do n't love you, Irena. I love Alice. I've always loved her, but I did n't know it. I had to learn maybe through this marriage of ours - what love was. I did n't want to tell you this. But now, you see, I have to. It's too late. CLOSEUP of Irena. Oliver's words. She has tears in her eyes as she echoes IRENA Too late - Irena and Oliver. OLIVER It's no one's fault. neither yours, nor mine. I'm sorry we've caused each other unhappiness. IRENA -LRB- looking tip at him. -RRB- You gave me happiness. She sinks down on the edge of the sofa. Oliver faces her. It is obvious that he is trying to be very practical and matter of - fact. He takes this attitude from a sense of kindness. OLIVER There seems only one decent thing for me to do - I'll give you a divorce. Believe me, it is better this way. IRENA Better? Better for whom? -LRB- she pauses, averts her face and then says brokenly. -RRB- I am being loft alone. CLOSE SHOT of Oliver. Her words have affected him greatly. He tries to say something but Is struck by the futility of anything he can say and does not speak. -LRB- Note to director : If necessary to get over this thought, you might lot him start and swallow the word `` Irena'' as if he were going to say more. -RRB- Irena. She looks at him. As she looks, her mood changes ; anger comes to her face and it is almost as if with this flood of anger, her grasp on reality and sanity relaxed. Although her voice lowers, it gains in intensity. -LRB- Note to director : There are a great many `` s'' sounds in the following speech and, if possible, they should be emphasized so that we can almost hear the spitting of a cat in her voice. The words between should be held in low key. The facial expression is tense and presages the immobility of her face in the coming scene with Judd. -RRB- IRENA -LRB- cont'd. -RRB- Speak. You ca n't speak - there's nothing you can say. There's only silence. But I love silence -- I love loneliness - Irena and Oliver. He kneels down beside her alarmed by her tone and very concerned. Irena turns away from him hiding her face In the back of the sofa. Her two hands rest on the back, stiffly, claw - like. IRENA -LRB- cont'd. -RRB- -LRB- in the same low voice but growing more incoherent as she goes on. -RRB- I do n't care. I am not a woman. I can feel fierce pleasures a woman never knows. She grows completely incoherent, pouring forth torrentially the meaningless words. IRENA -LRB- CONT'D ; cont'd. -RRB- In me - they are in me - their warmth - -- their strength -- their softness - lonely -- dark -- silent -- silent. Oliver bends close to her and shakes her shoulder. OLIVER Irena -- you're talking, like an insane woman. Irena fights for self - control. We can see her fingers dig deep into the upholstery. Then her voice comes, throaty and vibrant with attempted control. IRENA Please - please go. Oliver looks at her, concerned, reluctant. IRENA -LRB- cont'd. -RRB- I want you to go -- go -- please, go. Oliver gets up hesitantly and goes toward the door. He looks back, sees her tensely quiet on the sofa, picks up his hat and coat, looks again, his face showing worry and concern. Finally he leaves, closing the door softly behind him. Irena's two hands rip downward, the nails slashing the thin fabric of the sofa covering. Oliver is dialing a number. There is a tense look of urgency on his face. He gets a response. OLIVER Dr. Louis Judd, please. FADE OUT FADE IN",
"INT. SALLY LUNN'S TEAROOM - DAY We open the scene with a CLOSE SHOT of the kitchen door as it opens outward into the restaurant. It is held open for a moment as Minnie, the waitress, gets her tray through. On the back of the door, a placard reads : PUSH THE CHICKEN GUMBO TODAY Sally Lunn, Manager Through this door Minnie comes, bearing a tray on which is a piece of apple pie, a dish of Bavarian cream, another of Roquefort cheese, and three cups of coffee. CAMERA PANS with her as she proceeds across the restaurant with mincing steps. She is followed by a large, sinuous black cat. Minnie comes up to a booth in which Alice, Oliver and Dr. Judd are seated. MINNIE Bavarian cream? Oliver indicates Alice's place. MINNIE -LRB- cont'd. -RRB- Roquefort? Oliver indicates Dr. Judd. MINNIE -LRB- cont'd. -RRB- And you get the apple. She serves the three cups of coffee and retires with the cat, tail aloft and proudly waving, pacing behind her. Judd resumes a conversation that has obviously been interrupted by the waitress. JUDD I have pointed out two alternatives, Mr. Reed. Either have her put away for observation and restraint or have your marriage annulled. ALICE It's tough for Oliver either way, Doctor. JUDD As a psychiatrist I should recommend that you have her put away. He looks first into Oliver's face and then into Alice's. JUDD -LRB- cont'd. -RRB- As your friend, however, I have much more reasonable advice to offer. I think you should have your marriage annulled. In this way you are free of responsibility. You two could marry. ALICE And if Irena is sent away? JUDD The law is very explicit. One can not divorce an insane person. OLIVER If she's not well, I am going to take care of her. ALICE -LRB- looking at Oliver. -RRB- It's the only right thing. JUDD -LRB- shrugging. -RRB- As you will. I shall have the commitment papers drawn up and arrange an interview with Mrs. Reed tonight at her apartment. Let's say 6 o'clock? Oliver and Alice nod agreement. DISSOLVE OUT",
"INT. IRENA'S LIVING ROOM - NIGHT The ormolu clock on the mantel indicates that it Is now 7:30. It rings, the half hour. The apartment is as we first saw it ; all the pictures are back ; the screen is up. Alice has just taken a record off the phonograph. Now she puts on another one. It is the Berceuse. Oliver stops the machine and takes off the record with an apologetic smile. OLIVER Let's not play that. -LRB- looking at his watch. -RRB- I do n't think Irena's coming. We've waited an hour and a half. I do n't think she Intends to come. She's probably walking in the park. SHOT of Judd as he rises and picks up his coat, hat, and gloves. JUDD Perhaps it Is useless to wait. He looks at his walking stick. INSERT JUDD'S WALKING STICK resting on the sofa. BACK TO SCENE. Judd smiles and quietly pushes the stick down under the cushions. WO SHOT - Oliver and Alice. ALICE Let's get back to the office, Ollie. We've had a terribly broken ~ up day. There's lots of work to be done. OLIVER Suits me.",
"INT. HALLWAY OUTSIDE IRENA'S APARTMENT - NIGHT Alice and Oliver have just started down the stairs. Dr. Judd pauses to strike his forehead with his gloved fingertips. JUDD How stupid! I left my walking stick in the apartment. OLIVER I'll get it for you. JUDD -LRB- stopping Oliver. -RRB- No, no. It is my fault. Give me the key. I shall only be a moment. Oliver gives Judd the key ; Judd starts down the hall. SHOT of Judd, as he opens the door to Irena's apartment and goes in.",
"INT. IRENA'S LIVING ROOM - NIGHT Judd crosses the room in the half - light, having left the door to the apartment open. He picks up his walking stick from under the pillow, and starts back. CLOSE SHOT of Judd at the door. He takes the key out of the lock. INSERT JUDD'S HANDS, as he slips the latch off the lock. BACK TO SCENE. Judd lets himself out, closing the door.",
"INT. HALLWAY OUTSIDE IRENA'S APARTMENT - NIGHT Judd rejoins Oliver and Alice. He returns the key to Oliver. JUDD -LRB- smiling. -RRB- Thank you so much. I should be quite lost without my walking stick. He looks at Alice. They start down the stairs. DISSOLVE",
"INT. DRAFTING OFFICE - NIGHT Alice and Oliver have turned on the light in the office. Oliver is sitting down at the desk, a thoughtful look on his face. Alice has taken off her coat, and is just removing her hat. As she pats her hair into shape, she gets a look at Oliver's face. She comes over to him and touches his arm. ALICE Do n't worry, Ollie. It'll come out all right. It must. He turns and smiles at her, John Paul Jones, the office cat, walks across the drafting table in front of Alice, jumps down and crosses to the door. He scratches to be let out. ALICE -LRB- cont'd. -RRB- -LRB- as she goes to open the door for him. -RRB- All right, John Paul - I do n't ask questions - She opens the door. John Paul passes through with dignity, and Alice returns to her drafting table, leaving the office door slightly ajar. OLIVER Let's get to work. He picks up a list of measurements and starts reading them out. OLIVER -LRB- cont'd. -RRB- Three and a quarter. ALICE -LRB- picking up the batten, reporting the measurement. -RRB- Three and a quarter. DISSOLVE",
"INT. DRAFTING OFFICE - NIGHT Oliver has reached the end of the list, the last number. He calls out OLIVER And one and three eighths! ALICE -LRB- repeating, as she bonds the batten into shape. -RRB- And one and three eighths! -LRB- looking up at Oliver. -RRB- There! She smiles at Oliver, who returns her smile, the telephone rings. Alice reaches for it. ALICE -LRB- cont'd. -RRB- I'll get it. -LRB- lifts the receiver. -RRB- Hello. -LRB- there Is no response ; she repeats. -RRB- Hello. hello! From the other end of the line there is a little click as the receiver is hung up. Alice looks at Oliver. ALICE -LRB- cont'd. -RRB- They hung up. She puts the receiver back on the cradle and pushes the phone aside. Suddenly she remembers another evening when the telephone had rung. ALICE -LRB- cont'd. -RRB- -LRB- thoughtfully. -RRB- That's funny. OLIVER What? ALICE It happened once before like that. The telephone rang. I answered. There was someone on the other end of the line ; I could almost hear them listening. And then there was a little click, as they put up the receiver. That was the night I was followed on the transverse. -LRB- looks at Oliver and takes his sleeve. -RRB- Oliver. OLIVER What is it, Alice? ALICE Let's get out of here, I'm afraid. He looks at her. ALICE -LRB- cont'd. -RRB- That was Irena. I know it was Irena who called. She could call from downstairs. She may be on her way up now. Oliver looks at her grimly and reaches for his hat and coat. OLIVER Your things. She quickly gets into her coat and hat and picks up her pocketbook. Oliver puts his hand on the light switch. OLIVER -LRB- cont'd. -RRB- I'll have to turn out the lights from here. Alice looks ahead. SHOT of the door into the hall, from Alice's viewpoint. The door is open, and one can see out into the dimly lit hallway. TWO SHOT of Alice and Oliver. She takes his arm. ALICE The door's open. We can see to get out into the hall. OLIVER I'll switch off the table lights as we go. Oliver turns out the light, and together they start toward the door, the CAMERA MOVING with them. Oliver turns out the under - lit table lights. Halfway across the room Alice stops, her fingers clenching in Oliver's sleeve. There is n soft, metallic click as of a door closing. They look In the direction of the sound. SHOT of the door. It is closed. TWO SHOT - Alice and Oliver. ALICE -LRB- turning to him. -RRB- It's shut now. Just a minute ago it was open. They go to the door, Oliver reaches out and turns the knob ; then he turns to look at Alice. OLIVER It's locked. Alice seizes his arm. In the darkness, to one side of them, there Is a sound like a snarl. Instinctively Oliver and Alice step backward, away from the sound in the dark. The CAMERA MOVES with them. They bump into a desk, grope their way around It. From the darkness following them, there is a whisper of light, padded feet -- a delicate tick, tick of claws scraping the floor. Alice bumps Into the glassy coldness of the water cooler, gasps in fright, arid pushes it away from her. There is a crash, the sound, of glass breaking, and then the throaty gurgle of water spilling out onto the floor. It is silent then. Alice and Oliver are creeping back down between a row of filing cabinets. Now there comes again, pursuing them, the whispering tread of soft paws. Alice and Oliver are against the further wall now. Alice is pushed behind Oliver, her back against the wall. Panic - stricken, she begins to whimper with restrained hysteria. Her nerves are cracking up. Oliver tightens his hold on her wrist. A cold sweat breaks out on his forehead. He reaches in his pocket, and pulls out a book of matches. He lights one. It throws a faint glow around them. Shadows flicker across their faces. Behind them the match light dimly reveals the letters `` Project No. 457.'' They peer into the darkness. SHOT of the dark, shadowy room. Alice is sobbing with fright, trying to restrain her fear, so that the sobs, when they come, are the more terrifying to hear. Oliver calls into the darkness. OLIVER -LRB- cont'd. -RRB- Irena. Irena. -LRB- the match light begins to flicker. -RRB- Irena. The match light dies. He lights another and pushes the book of matches into Alice's hands. OLIVER -LRB- cont'd. -RRB- Keep lighting them. Alice lights a match, the scene is brighter. OLIVER -LRB- cont'd. -RRB- Leave us, Irena. Leave us. SHOT of the darkness before Alice and Oliver. Oliver's match light flickers out before Alice's match also goes out, Oliver looks up to one side. CLOSEUP of a T - square hanging beside him on the wall. As Oliver reaches up to got the T - square, Alice's match light dies. In the darkness, he snatches the T - square Alice lights another match. Oliver has the T - square in his hand and in the eerie light, a shadow is thrown on the wall above and to one side of him. He leans forward tensely. He speaks with deep feeling, the name of God in tones of reverent supplication. OLIVER -LRB- cont'd. -RRB- Irena. I beg you, leave us In peace. -LRB- pauses. -RRB- In the name of God - Irena. There is a snarl. The match light flickers out. Again Alice lights a match. Oliver leans forward, still gripping the T square In his hands. The darkness. There is only silence. Beyond, the door stands open, and one can see out into the hall again. Oliver takes Alice's hand and starts back toward the hall. She holds a match in her free hand.",
"INT. HALLWAY OUTSIDE DRAFTING OFFICE - NIGHT Alice and Oliver close the door to the office behind them and stand in the dimly - lighted hallway. They look down the hall. SHOT of the elevator, from their point of view, as it stands waiting. Alice takes a step toward the elevator, but Oliver stops her. OLIVER -LRB- cont'd. -RRB- Let's go down the stairs. They turn and go toward the stairs.",
"INT. STAIRWAY - OFFICE BUILDING - NIGHT As Alice and Oliver reach the bottom of the first flight of stairs, Alice stops, leans up against the railing, and covers her face with her hands. Oliver puts an arm around her. OLIVER Do n't Alice. It's gone. Everything's all right. Do n't be afraid. ALICE -LRB- lifting her face to his, smiling. -RRB- I'm not afraid. He smiles, and kisses her lips. They turn and continue down the stairs.",
"INT. LOBBY - OFFICE-BUILDING - NIGHT Alice and Oliver come out of the doorway marked `` Stairway.'' They stop short. Oliver points off. OLIVER Look! TWO SHOT - Alice and Oliver. She looks beyond the elevators, and her fingers tighten on Oliver's arm. He follows the direction of her gaze. SHOT of the revolving door, from their viewpoint. It is spinning emptily, as if someone had just passed through. TWO SHOT - Alice and Oliver. Alice looks about her and then up at him. ALICE Irena's perfume - strong -- sweet. They go out the revolving door.",
"EXT. STREET OUTSIDE OFFICE BUILDING - NIGHT Alice and Oliver stand on the sidewalk. He tries to peer through the night. There is a heavy ground fog, white and still. The night is windless and quiet. Alice puts one hand to her forehead and sways a bit. She forces a grin at him. ALICE I've got to have a drink. They start off. DISSOLVE",
"INT. IRENA'S LIVING ROOM - NIGHT Dr. Judd Is seated in a chair. The phonograph is playing the music for Irena's song. The phone starts to ring. Judd looks at it. The phone rings again, and he picks it up. JUDD Yes? ALICE'S VOICE -LRB- over phone. -RRB- Dr. Judd?",
"INT. TELEPHONE BOOTH - IN A BAR - NIGHT CLOSE SHOT of Alice and Oliver at pay telephone. Alice is speaking into the phone. ALICE Yes. We've been trying to get you on the phone, Dr. Judd. I called your hotel. -LRB- pause. -RRB- Yes. I know. That's what I want to talk about. Are you alone? -LRB- pause. -RRB- You had better leave then. She may be on her way back now. -LRB- pause. -RRB- She is dangerous, Dr. Judd. I warn you -- Hello. Hello. Dr. Judd. Dr. Judd are you there? -LRB- pause. -RRB- Alice hangs up the receiver and turns to Oliver. ALICE -LRB- cont'd. -RRB- I think Irena just came in. He hung up on me. OLIVER -LRB- taking her arm as they start out. -RRB- We'll get a taxi!",
"INT. IRENA'S LIVING ROOM - NIGHT SHOOTING PAST Judd, who is putting down the phone, we see Irena standing, looking at him, the open door behind her. He stands up and comes toward her as she closes the, door. JUDD I kept my appointment, late, are n't you? Irena continues to look at him with a calm, measuring stare. He comes closer to her, speaking as he moves. In the b.g. the record still plays Irena's music. She looks up at him, betraying no emotion. He is beside her. He kisses her hand. Still no emotion crosses her face. She only looks at him. JUDD -LRB- cont'd. -RRB- I have never believed your story. I am not afraid of you. He puts his arms around her, looks into her eyes. She does not struggle, continues only to stare at him. He speaks softly to her. JUDD -LRB- cont'd. -RRB- I take you in my arms. You are so very little. so soft. there is warm perfume in your hair. your body. Do not be afraid of me, Irena. CLOSEUP of Irena's face, his kiss. She lifts her mouth to receive CLOSE TWO SHOT of Irena and Judd as he bends to kiss her. They kiss. He draws back from her, smiling, his arms still around her body. CLOSEUP of Irena. This is as immobile, as expressionless a shot of her face as we can achieve ; there is a frightening blankness and vacancy in this face. Then the whole head moves forward slowly toward the camera, the expression never changing, not even stirring to breathe. CLOSEUP of Judd. The smile suddenly fades from his face. Its place is taken by shock and terror.",
"INT. TAXI - NIGHT SHOT of Alice and Oliver in a taxi that is racing through the streets.",
"INT. IRENA'S LIVING ROOM - NIGHT Judd fumbles behind him for his cane, finds it, and draws the dagger out. Beads of sweat stand out on his brow. He can not take his eyes off something in front of him. CLOSE SHOT of the panther screen. Silhouetted on it are the shadows of Judd and some beast - like figure as they fight. There is the sound of furniture being overturned, snarls of rage from the beast, and the heavy, terrible breathing of Judd. ANOTHER ANGLE of the panther screen. The fight is reflected in its glossy surface. Something crashes into the screen, and it goes over.",
"EXT. STREET - NIGHT SHOT of a taxi racing through the foggy city streets *",
"INT. IRENA'S LIVING ROOM - NIGHT CLOSE SHOT of the Goya portrait. On the glossy surface of the painting, two shadows are engaged in a struggle. We hear the sound of the struggle o.s. SHOT of a charming table lamp. The table on which it is set is turned over, and the lamp rolls to the floor. The lamp shade rolls back, and the electric globe casts, moving shadows over the scene. SHOT of the empty bird cage swinging crazily. Something knocks it to the floor.",
"EXT. IRENA'S APARTMENT HOUSE - NIGHT The taxi draws up in front of the apartment, and Alice and Oliver got out quickly.",
"INT. IRENA'S ROOM - NIGHT SHOT of the table lamp still rolling back and forth, with large, moving, distorted shadows fighting. Something crosses In front of the strong light, completely blotting the scene from view.",
"INT. GROUND FLOOR HALLWAY - IRENA'S APARTMENT - NIGHT Alice and Oliver come hurriedly in. Oliver lets the door close behind him, and they start up the stairs. A man's high - pitched scream of mortal agony cuts down the stairwell. It is followed by hideous noises, bestial snarls and growls, the crash of overturned furniture. Alice and Oliver look at each other ; then they start running up the stairs. As they reach the first landing, the sounds of snarling and struggle grow louder. There comes one piercing, human shriek of agony and then quick silence. Again Oliver and Alice pause and look at each other, then continue on up the stairs. SHOT of the stairs a flight above Oliver and Alice. There is a shadow on the stairs, moving, black, and stealthily agile.",
"INT. STAIRWAY - IRENA'S APARTMENT HOUSE - NIGHT TWO SHOT - Oliver and Alice. They are running up the second flight of stairs. SHOT of the stairs above them. We can see the shadow now more clearly. It is Irena. She is coming down the stairs. Her fur coat is only half on. One arm is in the sleeve ; the other side of the wrap is draped about her shoulders, pulled across her breast as if she were holding it to hide some hurt. She sees Alice and Oliver below her and moves stealthily back into the deeper shadows of the stairway. Alice and Oliver are passing an angle of the stairway where Irena stands. Neither of them sees her. CLOSEUP of Irena as she watches them go by. Her eyes are on Oliver.",
"INT. HALLWAY OUTSIDE IRENA'S APARTMENT - NIGHT Alice and Oliver come up the stairs. On the stairway, coming down from another floor, are two old ladies in faded dressing robes. Other tenants have congregated about the open door of the apartment.",
"INT. GROUND FLOOR HALLWAY - IRENA'S APARTMENT HOUSE - NIGHT Irena is on the first floor. She is looking up. IRENA -LRB- calling softly. -RRB- Oliver!",
"INT. HALLWAY OUTSIDE IRENA'S APARTMENT - NIGHT TWO SHOT - Alice and Oliver. Oliver does not hear his name but sensing Irena's presence, he stops, hesitating. FIRST OLD LADY'S VOICE Mr. Reed! Oh, Mr. Reed! Oliver turns in the direction of her voice.",
"INT. GROUND FLOOR HALLWAY - IRENA'S APARTMENT HOUSE - NIGHT SHOOTING DOWN the stairwell from the upper floor, we see Irena make a gesture of farewell to Oliver and turn away toward the street door.",
"INT. HALLWAY OUTSIDE IRENA'S APARTMENT - NIGHT Oliver and Alice join the two old ladies and go through, the doorway of Irena's apartment.",
"INT. IRENA'S LIVING ROOM - NIGHT As Alice and Oliver step into the apartment, Alice gets one look at the room and turns away. Oliver takes her in his arms, trying to hide the room from her. Over the scene is the sound of the phonograph record still revolving with a monotonous, grinding sound. REVERSE SHOT of the apartment as Alice and Oliver see it. The room bears the signs of a terrific struggle. Furniture is overturned, ornaments smashed, the draperies and pictures torn down. Judd's body is hidden by a chair. Only his legs, one pants leg torn, can be seen. O.S. is the sound of the record revolving.' The two old ladies push into the room. They seem quite pleased at all the excitement. FIRST OLD LADY -LRB- to Oliver. -RRB- You need n't worry, Mr. Reed, Sue Ellen and I phoned the police Just as soon as we heard the racket. Oliver speaks almost automatically as he starts to look in the other rooms. OLIVER Thank you. The second old lady stoops and starts to pick something up. The first old lady stops her. FIRST OLD LADY Sue - Ellen! You know better than that. You're not supposed to touch anything until the police get here. SUE-ELLEN But it's all blood. She points down. INSERT THE BROKEN SWORD CANE in Judd's hand. BACK TO SCENE. Alice and Oliver have joined the two old ladies and are looking down at the broken sword. ALICE We've got to help her. OLIVER -LRB- thoughtfully. -RRB- She never lied to us. ALICE -LRB- taking his arm. -RRB- Come on. They slip out of the room together.",
"EXT. IRENA'S APARTMENT HOUSE - NIGHT Alice and Oliver come down the steps, and they start to run through the foggy night.",
"EXT. ZOO PROMENADE - PARK - NIGHT Irena starts down the promenade. A white ground fog lies heavily upon the earth. She pauses for a moment.",
"EXT. PANTHER CAGE - PARK- NIGHT Irena comes up to the cage of the black panther. The panther rises and looks at her.",
"INT. PANTHER CAGE - PARK - NIGHT REVERSE SHOT - as the panther in the f.g. looks out between the bars at Irena.",
"EXT. PANTHER CAGE - PARK - NIGHT Irena opens the gate, reaches in her purse and finds the key. She goes up to the lock in the cage and fits the key in the lock, turning it. She pauses a moment and then swings open the cage door. CLOSEUP of the panther, doorway. It is crouched, in the open REVERSE SHOT of Irena. She is standing facing the panther. Her head is up ; her arms hang at her side, her hands spread out. Her eyes are wide open. MED. SHOT of Irena and the panther. The beast snarls once and leaps forward. With one sweep of a heavy paw the animal hurls Irena to the ground. Free, he bounds off into the darkness. CLOSE SHOT of Irena. There is a little smile on her lips. Her coat has fallen back from a naked shoulder. A piece of the broken blade of Judd's dagger protrudes from a bloodless wound in the shoulder. A thin trickle of blood flows from the corner of her mouth. She scrabbles with her fingers against the hard pavement. Then her fingers relax. She is dead.",
"EXT. PARK WALL - NIGHT The panther leaps up on the wall and pauses, then leaps, down, bounding across the avenue.",
"EXT. STREET - PARK - NIGHT SHOT of a taxicab speeding along through the fog, with headlights glaring. Suddenly there is a scream of brakes, an impact, a startling scream. The cab pulls to a stop, almost beside the avenue, and the driver gets out. A policeman joins him. They start running back. CLOSE SHOT of the dead panther of the policeman's flashlight. We see it in the beam",
"EXT. PANTHER CAGE - PARK - NIGHT Oliver and Alice come to a little space before the cage. They see a black object lying on the pavement. Quietly and cautiously they cross over to it. Oliver bends down to examine it. Under Irena's fur coat is a black leopard's body, the leg and paw in the same attitude her arm and hand had taken, and the broken blade that had once protruded from Irena's gleaming shoulder is now rooted in the black fur of the panther. Oliver looks up at Alice, then gets to his feet, takes her arm, and they start to the walk. Some few foot away, they turn back to look again at the body. OLIVER -LRB- softly. -RRB- Poor Irena. They turn off and walk away, arm in arm. They are lost to view in the foggy luminosity under a street lamp. THE END"
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] | A prologue set in an undisclosed, primitive human settlement shows a sacrificial maiden being tied to a tree. A black panther approaches and rests its paws on her, and the scene fades to black. Another girl with feline features approaches a similar big cat in a cave, without incurring its attack. A close-up of her face segues to that of similarly featured Irena Gallier, who travels to present-day New Orleans from Canada to reconnect with her brother Paul. Irena was raised in foster care after they were orphaned. Paul spent his childhood in psych wards, is now involved in a church and lives with his Creole housekeeper Female. That night, a prostitute named Ruthie walks into a fleabag motel to meet a john, but instead finds a melanistic leopard that mauls her foot. The police and zoologists Oliver, Alice and Joe capture the panther. Meanwhile, Irena wakes to find Paul missing. Female guesses he went to the mission and urges Irena to enjoy New Orleans on her own. Irena visits the zoo, is drawn to the newly captured leopard and stays after closing hours. She is discovered by Oliver, the zoo's curator, who takes her to dinner and offers her a job in the gift shop. Irena reveals she is a virgin in conversation with Alice, who shares a romantic history (and is still in love) with Oliver and sees her as a rival. One day the leopard tears Joe's arm off during a routine cage cleaning. Joe bleeds to death and Oliver resolves to euthanize the cat, only to find it missing. In its cage lies a puddle of melted flesh like the one found by the motel prostitute. Paul turns up and makes a sexual advance towards Irena. She flees, flags down a police car and has second thoughts about turning Paul in, but a police dog catches a strong scent from the house and a detective is called in. In Paul's basement, police find shackles, bones, and remains of dozens of corpses. They figure Paul is a serial killer who fed corpses to a captive panther, and call in Oliver and Alice to inspect. On the run from Paul, Irena takes refuge in a frustrated romance with Oliver, fearing the consequences of physical intimacy. Paul visits Irena again and explains their shared werecat heritage, thus revealing himself as the escaped murderous leopard. Mating with a human transforms a werecat into a leopard, and only by killing a human can it regain human form. His explanation complements the film's prologue, but leaves unclear whether the sacrifice made cats humanlike after devouring the maidens, or was a rare successful case of hybridization. He tells her their parents were siblings because werecats are ancestrally incestuous and only sex between werecats prevents the transformation. He resumes his sexual advances, hoping Irena will accept their predicament, but she does not. Paul then transforms, attacks Oliver and is shot by Alice. Oliver starts an autopsy on the cat. A green gas emanates from the surgical cut and a human arm and hand reach up from within the corpse. Before he can document this, the leopard has melted into a pool of green slime. Irena stalks and nearly attacks Alice twice. She later has sex with Oliver and transforms into a leopard but she flees, sparing his life, and is later trapped on a bridge by police. Oliver arrives in time to see her jump off the bridge. Realizing where she is headed, he confronts Irena at a secluded lake house. She has regained human form by killing the house's caretaker. Irena tells Oliver she did not kill him because she loves him, and begs him to kill her. When he refuses, she begs him, then, to make love to her again so she can transform and "be with [her] own kind." Oliver ties Irena naked to the bedposts by her arms and legs to restrain her, and has sex with her. Some time later, Oliver is again in a one-sided relationship with Alice. He stops at the cage holding the "recaptured panther"--Irena, now trapped in her cat form. Oliver reaches through the bars, casually hand-feeds and strokes the now-docile panther's neck. | Cat_People_(1982_film) |
[
"EXT. A NATIVE VILLAGE IN A CLEARING BETWEEN THE JUNGLE AND THE RIVER. LATE MORNING LONG SHOT - A CHAPEL Intense light and heat, a stifling silence. Then the SOUND of a reedy organ, of two voices which make the words distinct, and of miscellaneous shy, muffled, dragging voices, beginning a hymn : VOICES -LRB- singing. -RRB- `` Guide me O Thou Great Jehovah.''",
"INT. CHAPEL -- LONG SHOT -- THE LENGTH OF THE BLEAK CHAPEL PAST THE CONGREGATION, ON BROTHER, AT THE LECTERN, AND ROSE, AT THE ORGAN BROTHER, a missionary, faces CAMERA near center ; ROSE, his sister, is at side, her face averted. Everybody is singing. `` Pilgrim through this barren land.'' middle - aged, rock - featured, bald, sweating painfully, very much in earnest. He is very watchful of his flock. He sings as loud as he can, rather nasally, and tries to drive the meaning of each word home as if it were a nail. He is beating with his hand, and trying hard to whip up the dragging tempo : `` I am weak, but Thou art mighty.'' CLOSER SHOT - ROSE early thirties, tight - featured and tight - haired, very hot but sweating less than Brother. She is pumping the pedals vigorously, spreading with her knees the wings of wood which control the loudness, utilizing various stops for expressiveness of special phrases, and rather desperately studying the open hymnal, just managing to play the right notes - a very busy woman. She, too, is singing her best and loudest, an innocent, arid, reedy soprano ; and she, too, is very attentive to the meanings of words : `` Hold me with Thy powerful hand.'' INSERT - HALF - WAY THROUGH THE FOREGOING LINE, AN EXOTIC AND HORRIBLE CENTIPEDE - LIKE CREATURE SLITHERS INTO VIEW BETWEEN TWO OF THE ORGAN KEYS. WITHOUT INTERRUPTING HER PLAYING, AS METHODICALLY AS SHE WOULD PULL OUT A NEW STOP, ROSE SWIPES IT AWAY. ROSE - AS BEFORE - completes `` Thy Powerful Hand'' ; o.s. Voices of singers. Unperturbed, Rose finishes her casual disposal of the bug and pulls out a new stop. MISCELLANEOUS SHOTS - Through rest of hymn, SHOOT and CUT against its lines for meaning, irony and pathos, roughly as follows : FULL VIEW of congregation past Brother and Rose. They are all Negroes and nearly all are dressed in glaring white - the women in garments like camisoles, the men in pants which reach about to their shins : splayed, bare feet. Some of the faces bear the marks of heavy savage ornaments which have been removed, or of tatooing and scarring rituals which have been outlived - torn nostrils, lips and ear lobes, a neck curiously thin and weak from the enormously heavy metal bands which used to surround it. Some of the children are naked or near - naked. Nearly everybody dutifully shares open hymnals, but it is obvious that few, if any, can read. The singing of most of them is weirdly shy and inchoate - a little like that of a neighborhood audience when a group `` sing'' is imposed upon them. But on certain high phrases a glad, rich, wet soprano lifts out large and happy, very child - like ; and a big male voice bleats forth joyous, jazz - like improvements on the tune, a little off - key. There are very few men present. We detail or bring into salience, bare feet slapping time and an anklet shimmying ; a very earnest young married couple with the wedding ring prominent and an impressive phalanx of children in tow ; the owner of the happy soprano, a sweet, contented, pre - moral face ; the owner of the big male voice ; the inevitable rather effeminate man in every congregation who loves religion because he loves Beauty. He is immensely pleased that he knows all the words -LRB- the others just dab at them -RRB- : he sings them without any knowledge of their meaning : they sound Hawaiian. Also, we SPOT a tremendously old, wrinkled, bent - over woman, dressed in white like a good Christian, but with a bone stuck through the septum of her nose. She croaks, toothless, bleary - eyed. These things must be disposed of by late in the first stanza, which continues : `` Open now the crystal fountain Whence the living waters flow, Let the fiery, cloudy pillar Lead me all my journey through.'' We close on the old dame with the bone singing -''. my journey through.'' o.s., on''. fiery, cloudy pillar'', a queer SOUND, steadily louder : the absurdly flatulent, yammering syncopation of a rachitic steam motor. Eyes begin to wander from hymnals : CUT IN Brother frowning and singing harder trying to impose order ; attention to the hymn begins to fall apart a little ; FOLLOW the white, veering eyes to FRAME, through the open window. LONG SHOT - THE AFRICAN QUEEN whose WHISTLE lets out a steamy whinny, then REPEATS it, with great self - satisfaction. She is squat, flat - bottomed - thirty feet long. A tattered awning roofs in six feet of her stern. Amidships stand her boiler and engine. A stumpy funnel reaches up a little higher than the awning. ON SECOND WHINNY, MEDIUM CLOSE SHOT - ALLNUTT - ON HIS BOAT He is in worn, rather befouled white clothes. He is barefooted and his feet are cocked up and he is sitting on his shoulder blades, smoking a bad cigar. He wears a ratty boater, slantwise, against the sunlight. He is attended by two young Negroes so tall, thin and gracile they suggest black macaroni. One is proudly and busily puttering at the engine, which requires a lot of attention : the other is fanning ALLNUTT, who is feeling just fine. Allnutt speaks to the fanner in Swahili. The young man without breaking the rhythm of his fanning, licks out one long, boneless arm and alters the lashed tiller ; the Queen begins to swerve toward shore. o.s., the hymn continues, all but drowned by motor noise. LONG SHOT - INT. CHAPEL Rose pulls out all the stops, spreads her knees, and pumps like mad in her effort to drown out the ENGINE SOUND. Brother sweats and sings even harder, scowling, shaking his head. The singing is fraying out half to hell ; the congregation is a solid black wall of wandering eyes ; a few pious converts frown or nudge at the less pious ; a little group is coalescing toward the window. The hymn, meanwhile, continues : `` Feed me with the heavenly manna in this barren wilderness, Be my sword, my shield, my banner, be the Lord my righteousness.'' Rose's sense of artistic propriety is too much for her. To keep things going, she ought to play loud, but on the next line - `` When I tread the verge of Jordan.'' she shuts down to the vox humana and the tremolo and maintains that through - `` Bid my anxious fears subside.'' On this line, Allnutt appears and lounges against the front door frame still drawing on his cigar. Rose lets everything rip fortissimo on the closing lines : `` Death of death, and hell's destruction land me safe on Canaan's side.'' By the time of `` hell's destruction,'' Allnutt becomes aware that a lighted cigar in church is bad manners, and, nodding casual apology to Brother, tosses it away onto the packed dirt, out of our sight. Instantly there is a hell of a hullaballoo o.s., all in gibberish, against which the closing words of the hymn compete stridently. The less self - controlled of the flock are no longer singing, and are craning their necks and rolling their eyes, but with just enough Sunday - Schoolish discipline to stay in their places. The more pious, with effort, keep their eyes where they belong and SING all the harder. IN QUICK SHOTS, Brother and Rose redouble their efforts. There is a final long - drawn `` Aaaa - men,'' and it is clear this is the closing hymn of the service. Brother closes his book and picks up his service - book ; Rose shuts and locks the box - organ and puts the key -LRB- which is on two shoestrings -RRB- around her neck. Brother strides with decorous alacrity down the middle aisle. Immediately following him, the natives hurry from their benches. SHOOTING PAST ALLNUTT - THROUGH DOOR on the cause of the hullaballoo - a squabbling football scrimmage of virtually nude male heathens, battling for the cigar butt. In b.g., if permissible, a couple of equally nude women ; a thin, pot - bellied little boy dashing happily toward the fight. Brother and the eager heads of white - clad Christians come into the SHOT, BACK TO CAMERA, watching. One of the heathen fights his way up from the heap with a yowl of supremacy, filed teeth in a great grin, prancing and holding high above them all the frantically busted cigar of vaudeville ; others leap after it. REVERSE ANGLE Allnutt, seeing the wrecked cigar, looks kind of bleak. As Brother comes out, he meets his annoyed eye with mingled reproach, apology and indifference. ALLNUT -LRB- to Brother. -RRB- Hello, Reverend. BROTHER Mr. Allnutt. ALLNUT Here's your mail. Sorry I'm late, but one thing and another kept me in Limbasi. You know how it is, Reverend. -LRB- he winks. -RRB- Or maybe you do n't. Brother clears his throat. ALLNUT They gave me a real going over when I got to the mine. They called me all the names they could think of - in Belgian, but I do n't mind so much bein' cursed in a foreign language, so I just took it with a smile. They would n't fire me, I was sure of that. There ai n't nobody in Central Africa but yours truly knows how to get up a head of steam on The African Queen. It may sound like bragging, Reverend, but I'm mighty close to being in - di - spensable. Seein's how them Belgians is too damn cheap to buy ` er a new engine. Rose joins them at the door. ROSE -LRB- indifferently. -RRB- Good morning, Mr. Allnutt. ALLNUT Mornin', Miss.. Rose's prayer book is clamped under her sharp elbow. Her walking is used to country, yet tight and spinsterish. MEDIUM CLOSE SHOT - ALLNUTT, BROTHER AND ROSE For a moment Allnutt looks at Rose with utter casualness and indifference ; his eyes leave her even before Brother speaks. Brother is looking through the mail. Past them, the liberated Christians walk into the sunshine. BROTHER Ah, splendid, At last they've come. ALLNUT Huh? BROTHER My marrow seed. Behind these lines, the TINY OLD WOMAN with the nose - bone makes herself prominent ; she's waiting to speak to Brother, almost plucking his sleeve. BROTHER -LRB- to Allnutt. -RRB- Yes. -LRB- to Grandma. -RRB- Yes? OLD WOMAN -LRB- in snaggle - toothed, adoring enthusiasm. -RRB- Oh Mistah Sayuh, I does like how you preach! BROTHER k you? OLD WOMAN All dat hell - fish! Brother nods and smiles uneasily. OLD WOMAN De way yo' neck swell up. BROTHER -LRB- in dismissal. -RRB- Thank you, thank you. -LRB- to Allnutt, without enthusiasm. -RRB- You'll stop for tea, Mr. Allnutt. ALLNUT Do n't care if I do. They start walking TOWARDS AND PAST CAMERA.",
"INT. DINING ROOM. MED. SHOT -- RIGIDLY SYMMETRICAL, ACROSS DINING ROOM TABLE Rose at dead center, Brother at her left, in profile, Allnutt at her right, opposite Brother, in profile. The room is so shaded against heat it is gloomy. The silence, gloom and heat are stifling. Rose is pouring the second of three cups of tea ; she pours the third. Brother is deep in the news of a Mission paper. Allnutt sits oppressed by the silence, like a child on his good behavior. A long silence while Rose leisurely pours. ROSE You take sugar, Mr. Allnutt, I seem to remember. ALLNUT That's right, Miss.. Couple o'spoonfuls. She doles them into his cup. ROSE And cream. ALLNUT Right. Rose passes him his tea. ROSE Bread and butter? ALLNUT -LRB- taking some. -RRB- ` oh obliged. He picks up his cup an inch to drink and puts it down again. Nobody else is served yet. Rose fixes Brother's tea and plants it beside him. She puts a slice of bread and butter on his plate. BROTHER -LRB- reading. -RRB-' k you? Rose finishes fixing her own tea, and helps herself to bread - and - butter. She lifts her cup, not quite crooking her pinkie, and sips. Allnutt still does n't move ; he is waiting for Brother. Brother finishes and turns his page, and, without shifting his eyes, finds his tea with a blind hand and blindly drinks it and sets down the cup again. Allnutt, licensed, takes a big bite of bread - and - butter and picks up his cup and washes it down. By Rose's covered reaction, it is clear that she has been taught never, never to do this, but that she expects no better of such as Allnutt. Allnutt sighs wetly and contentedly. This, too, is bad manners to Rose, but she takes it in her stride. They go on soberly eating bread - and - butter and drinking tea. The only SOUNDS are those of china, sipping, chewing and swallowing. Nobody looks at anyone else. Brother and Rose are wholly, stiffly reposeful ; they are used to this. Allnutt begins to get a little squirmy, like a child in church. The silence makes him visibly uneasy, but he tries not to show his uneasiness. All of a sudden, out of the silence, there is a SOUND like a mandolin string being plucked. At first the sound is unidentifiable, though instantly all three glance sharply up, each at the other two, then away ; in the next instant they recognize what it is and each glances sharply, incredulously, at the other two - and then again, quickly away ; then Brother and Rose glance with full recognition at Allnutt, at the instant that he knows the belly - growl is his. At the moment of recognition, he glances down at his middle with a look of embarrassed reproach. He glances up quickly and slyly - hopeful they've missed it - to find the eyes of both still fixed on him. The instant their eyes meet they bounce apart like billiard balls, and fix on the first neutral object they happen to hit. Then Allnutt looks at them again : neither will look at him. All three lift their cups at the same moment, for a covering, disembarrassing drink of tea. Rose and Allnutt simultaneously recognize what they are doing -LRB- Brother is pretending to read, misses it, and goes ahead and drinks his -RRB-, and both, at the same moment, lower their cups to saucers with an almost simultaneous clink. Both look away from each other. Brother clears his throat rather loudly and turns a page. Rose and Allnutt reach for their cups ; Brother beats them to it. When Brother has again put down his cup, Rose - the tail of her eye on Allnutt - picks up her cup and drinks, her eyes carefully empty above the cup. Allnutt has his cup again on the way to his mouth when his insides give out with a growl so long - drawn and terrible that Rose first flinches, then makes a noise across it with her spoon, stirring her tea. Brother tightens up like a fist, his first reflex being that this loud one is a calculated piece of effrontery. Allnutt just endures it, with a look of suffering stoicism. When it is over there is a tense silence. Allnutt slowly, slyly looks up at Brother ; he is stone. He looks to Rose ; she is gazing far off into space. Allnutt is quite embarrassed, and knows they are. He does his best to relieve his own embarrassment and theirs. ALLNUT -LRB- in a friendly, yet detached tone. -RRB- Just listen to that stomick of mine. There is a silence. By their almost invisible reaction, it is clear that to just listen to that stomick of his, is the last thing they want to do. Allnutt is a bit chilled by the silence, but he tries again. ALLNUT Way it sounds, you'd think I'd got an ` eye - ener inside me. A silence. Rose looks at Allnutt ; their eyes meet ; he attempts a friendly smile. Her face goes stony with embarrassment and she looks quickly away. So does he. ROSE -LRB- as soon as she can manage it. -RRB- Do have another cup of tea, Mr. Allnutt. ALLNUT Thanks, Miss, do n't mind if I do. He passes his cup, while she pours. There is a third growling ; not so bad. Allnutt says nothing. Then, after a pause : ALLNUT Scuse me. Rose looks stone deaf. She hands him his cup. ALLNUT Much obliged, Miss.. He drinks some tea. ALLNUT Queer thing, ai n't it. -LRB- a silence. -RRB- Wot I mean, wot d'you spose it is, makes a man's stomick carry on like that? ROSE Bread and butter, Mr. Allnutt? ALLNUT Thanks, Miss.. He takes some and eats. After a little chewing, his jaws slow ; he is expecting another growl and listens intently ; so does Rose ; none comes, After a little, Allnutt relaxes and Rose relaxes at least to a state of armed truce. They are both munching methodically, eyes out of focus, when Brother takes a curiously official - mannered gulp of tea, sets down his cup, and breaks the silence. BROTHER Herbie Morton's a bishop. ALLNUT -LRB- thinking the remark is addressed to him. -RRB- Huh? ROSE Who's that, dear? Allnutt is pretty embarrassed to have said `` huh.'' BROTHER Surely you remember Herbie Morton. -LRB- Rose looks doubtful. -RRB- Blond, ruddy - complected chap, a bit younger than me. He sang a solo at the graduation exercises. `` Holy, Holy'', I believe. ROSE -LRB- dubiously. -RRB- I think I remember. It was so long ago. BROTHER Well, he's a bishop now. ROSE Splendid. BROTHER I'd say Herbie was a bit younger than I - four or five years. -LRB- Rose pours more tea into his cup. -RRB- Surprising in a way. I mean - well, there was nothing outstanding about him. He was no great shakes as a student and he did n't have any more than his share of the social graces. -LRB- a pause ; he drinks then eats bread and butter, but with rather less relish than before. -RRB- No doubt one does get ahead quicker at home than in a foreign field. And then, of course, he did marry well. ROSE Oh! BROTHER That manufacturer's widow. What was his name? Briggs - Griggs - Briggs - yes, Alfred Briggs. Soap flakes, I think. Yes, Mrs. Alfred Briggs. -LRB- pause. -RRB- Not to take anything away from Herbie. -LRB- pause. -RRB- I am delighted for him. ROSE Of course. BROTHER It was `` Holy, Holy.'' ROSE -LRB- pause. -RRB- Yes. A silence. Brother is n't even looking at his paper. Allnutt's stomach talks gently. They all accept it stoically. ALLNUT -LRB- after quite a silence. -RRB- There ai n't a thing I can do about it. A silence. ROSE More tea, Mr. Allnutt. ALLNUT No, Miss, I reckon not. About time I shoved off, if I'm gon na get back to the mine by tomorra night. ROSE -LRB- insincerely. -RRB- Do n't hurry, Mr. Allnutt. BROTHER -LRB- sure he is safe. -RRB- Stay for dinner. ALLNUT -LRB- shaking his head. -RRB- Thanks all the same. Brother pushes back his chair. Allnutt pushes back his chair and gets up. Rose pats her lips with her handkerchief, pushes back her chair, and gets up. BROTHER Mr. Allnutt brought the marrow seed at last. ROSE Splendid. BROTHER I must say, though, they were forever getting here. ALLNUT Lucky they come through now, cause it do n't look like they'll be no more mail for a while. BROTHER Why not? ALLNUT Reckon the Germans'll hold it up. BROTHER -LRB- irate - we sense a background of unpleasant relations with the Germans. -RRB- In heaven's name why? ALLNUT Cause it looks like there's a war on. BROTHER No. Really? Where, Mr. Allnutt? ALLNUT Europe. BROTHER -LRB- with the patronizing concern of one who hears of another Balkan brawl. -RRB- Indeed! Between whom? ALLNUT Oh, Germany, England, the whole - BROTHER AND ROSE -LRB- electrified. -RRB- England! ALLNUT Right. BROTHER -LRB- pop - eyed. -RRB- You mm - you really mean war? ALLNUT Wot they tell me. Germans claim the British started it. British claim it was the Germans. In any case, it's war. ROSE -LRB- with great intensity. -RRB- But what's happened! What do you know about it! BROTHER -LRB- like a whip. -RRB- Rose! -LRB- she shuts up fast. -RRB- Exactly, Mr. Allnutt, what has happened? ALLNUT Well, now, that's about all I can remember. Oh yes - France is in it, too. She's with us, I fink. A lot' o them little countries are in it too - Austria - Hungary, Spain, Belgium - I forget ` oo's with ` oom. A pause. BROTHER -LRB- quiet desperation. -RRB- And that is all you can tell us? ALLNUT All I know. - I'll try to pick up some more, next trip to Limbasi. BROTHER I wonder to what extent we here shall be affected. ALLNUT None, I should n't think. BROTHER This is German territory. ALLNUT Why would they want to bother a poor devil of a missionary and his maiden sister? - beggin' your pardons. BROTHER We are enemy aliens. ALLNUT Wot's the difference - in this God - forsaken place? ROSE -LRB- bridling. -RRB- God has not forgotten this place, Mr. Allnutt - as my brother's presence here bears witness. ALLNUT No offence, Miss.. Another puzzled pause. BROTHER Really war. ALLNUT Looks like it. Well, I better shove off now. Many thanks for the tea. He opens the door and goes through it. REVERSE ANGLE SHOT - GROUP as Brother and Rose come through after him. ALLNUT Well, take care of yerselves. -LRB- he goes down the steps. -RRB- See ya next month. BROTHER Goodbye. And thank you. ALLNUT -LRB- at bottom of steps. -RRB- ` Bye, Miss.. ROSE Goodbye, Mr. Allnutt. LONG SHOT - PAST THEM CAMERA watches them watch him as he shambles towards his boat. He soon lights a stogie ; his relief in smoking and in being free of them is eloquent in his back. His boys jump to action ; curious villagers make way for him ; the engine is going by the time he gets there. The boat backs out and sets its course upstream ; Allnutt turns and lifts a hand. Brother lifts a hand ; Rose does n't. The boat soon goes out of sight beyond trees. OVER the above, back - to - CAMERA, or quarter - profiled from the rear as they idly watch his departure, Rose and Brother talk quietly as follows : ROSE Should n't we perhaps call him back? Get to Limbasi while we can? BROTHER -LRB- with unction, yet with dignity. -RRB- The good shepherd does not forsake his flock when wolves prowl. -LRB- a pause. -RRB- Besides, I think Allnutt is very probably right. I ca n't imagine any reason why the Germans should trouble us. ROSE No, I suppose not. By now, the boat is pulling out ; Brother and Allnutt exchange their not very friendly waves. Rose looks idly after Allnutt, in Sunday boredom. Nothing is said for a few seconds after the boat vanishes ; the SOUND of the engine dwindles. BROTHER -LRB- awed, and moved. -RRB- War. England. Just think! As he speaks, CAMERA STARTS a coldly SLOW PAN, past the chapel, and square onto the jungle, so altering its position behind Brother and Rose that they are held in - l.s. -LRB- where before they were in r.s. -RRB-. -LRB- N.B. : BY MID - PAN the ENGINE SOUND dies. -RRB- An almost nude native explodes from the wall of jungle, running as fast as he can, bellowing breathlessly in Swahili and English. Until they hear his bellowing, Brother's and Rose's heads are still ANGLED AWAY from jungle - not towards river still, but idle and unfocused. With the first sound of his voice, their heads turn sharply, with weary impatience, not alarm, towards the sound. The native does not pause in the village, though he shouts vague things in Swahili as he runs, setting up a kind of helpless agitation among the villagers ; in b.g. we see still more of them coming with lazy interest out of their huts, while the native tears towards the bungalow bellowing, breathlessly. NATIVE Mistah Sayuh! Mistah Sayuh! MEDIUM CLOSEUP - ROSE AND BROTHER -LRB- FROM RUNNER'S ANGLE -RRB- favoring Brother. NATIVE'S VOICE -LRB- o.s. -RRB- Mistah! Oh Mistah Sayuh! The eyes of Brother and Rose abruptly lift beyond the runner and come into focus as hard as hawks ; almost instantly, their faces become terrible with recognition, despair, and courage - and, for the moment with uncertainty, still, whether such emotions are needed. REVERSE SHOT - -LRB- FROM THEIR ANGLE AND DISTANCE -RRB- - GERMAN TROOPS emerge from the somber wall of the jungle, tiny against the wall, but looking very efficacious and professional in their tropical uniforms. Instantly they form ranks before an officer who barks an order in German, just audible to us. The natives are somewhat scared and awed, but mainly immobilized with scare, awe, and curiosity. Upon the order, the Germans promptly break ranks and start swiftly and effectively about their business. One group starts rounding up the natives. Another starts collecting live - stock, usable food and supplies. Another covers operations with rifles. Two men light torches and start setting fire to straw huts. One man stands by the officer. BROTHER'S VOICE -LRB- o.s. ; as soon as it becomes clear what the Germans are up to, his voice is quiet but harsh. -RRB- Rose - go indoors and stay there. o.s., the SOUND of their feet on the front steps. They come swiftly into the SHOT BELOW the CAMERA and walk fast, Rose trailing, towards the officer. After only a few steps Brother begins to trot, ungainly ; Rose, still more ungainly, in her narrow skirt, trots too. CLOSE SHOT - THE OFFICER - a tired, rather heavy, neutral, thoroughly unmemorable face. He is not as tall as Brother, to whom he is giving the once - over. His look is neither brutal nor humane : just experienced. It seems to say, roughly and humorously : `` Well, well, what have I got to deal with here?'' His guardian soldier steps quickly to one side and forward ; a nonentity with a gun. LESS CLOSE SHOT - BROTHER - -LRB- ROSE IN B.G. -RRB- BROTHER -LRB- boiling mad, the innocent courage of a lion. -RRB- What is the meaning of this outrage! OFFICER - centered, but a little less close than before ; his guard in extreme r.s. OFFICER -LRB- calmly, in German. -RRB- Speak German, please ; I speak no English. CLOSER SHOT - BROTHER the crest of a wave of righteous fury mounting just before breaking ; toppling forward ; the terrifying face of a man almost ready to murder out of a sense of being right. MEDIUM CLOSE SHOT - THE FOUR OF THEM - as close as the CAMERA can frame all four ; as, simultaneously, Brother lunges forward at the officer, Rose lunges forward to prevent Brother ; the officer steps neatly backward and sidewise, and his guardian steps forward briskly and, sharply but just hard enough to be effective, and with an ugly SOUND of impact, strikes Brother on the left joint of the jaw with his rifle butt. Brother goes heavily to the ground with a groaning gasp. BROTHER -LRB- rage, shock, astonishment. -RRB- No! ROSE -LRB- at same instant, squatting beside him, turning his head ; she is beside herself. -RRB- Judkins! CLOSE UP - BROTHER - -LRB- SHOOTING DOWN PAST ROSE -RRB- as she turns his head. BROTHER -LRB- semi - conscious ; his jaw not broken but bleeding and already swelling. -RRB- No. No. ROSE -LRB- across his words. -RRB- Oh, Judkins. Brother dear. Come, dear. Come, Brother. She helps him to his feet ; past them, the officer and his guard walk briskly, aloofly away, and past the whole business, as Brother and Rose get up and the CAMERA LIFTS to normal eye level with them, a much later stage of the destruction of the village is visible in b.g. and is implied o.s. by Brother's eyes. Brother's eyes, scorched - looking, appalled, all but demented, flick from horror to horror ; he is watching the annihilation of his life's work and, to his mind, the annihilation of Christian and potential Christian souls ; his head quavers in the negative gesture like that of a paretic ; his mouth, always hard up to this moment, trembles now and looks curiously large and sensual. BROTHER No! No, Lord! O no! O no! Lord! No! O no! Rose is in the SHOT with him ; shorter and less favored than he is. Her eyes are constantly upon his face. Tears come out of her eyes, but she is doing no vocal crying. She is watching his heart break and, essentially, she is watching him die, and knows it. LONG SHOT - SAME AS THAT WHICH OPENS THE PICTURE - the hottest part of the day - most smashing sunlight possible. There is no village now - only the round scorched marks where the huts stood ; a sketch of debris. At some distance from the bungalow, and in the middle of a lot of gaping space, Brother is hoeing in his vegetable garden. He is terribly small in the enormous barrenness and light. He hoes long enough to convey great loneliness and a kind of blind perseverance, then straightens and looks rather vaguely around him, mopping his face and bald head with a handkerchief. Then, with an abrupt look of purpose, he starts walking, letting the hoe fall where it happens to. He walks towards the bungalow, across the bare ground, not very fast or very steadily, but purposefully. The sunlight makes a near - halation on his bare, bald head. The walk takes him long enough to infer utter loneliness and the destruction of any human sense of time. He starts up the front steps. MEDIUM CLOSE SHOT - ROSE IN THE PARLOR She hears him coming up the steps o.s.. She continues mending his nightshirt. On SOUND of him coming through front door, she glances up again and her face becomes curious, then concerned. MEDIUM CLOSE SHOT - BROTHER - -LRB- FROM HER VIEWPOINT -RRB- as he advances into room. He is dressed in his Sunday best, immaculate except for sweat - and - dust of immediate garden work. His face is carefully shaven, but it has thinned and he is very pale. The wounded jaw is not bandaged and is virtually healed ; stubble around it. There is a streak of garden dust across the temple and up onto the bald head. He is looking hard at Rose, but his eyes ca n't keep in focus. BROTHER -LRB- sweat pouring from him, teeth rattling. -RRB- Why are n't you dressed, Rose? It's time for Service. SIDE ANGLE SHOT - ROSE gets up, deep concern on her face, comes quickly to him, bringing both into SHOT, and lays a hand against his forehead. Her reaction infers that Brother has a terribly high fever. ROSE You must wear your hat! BROTHER -LRB- teeth chattering. -RRB- Time, this minute! Rose starts to lead and support his obstinacy, CAMERA WITH THEM, towards his bedroom door. ROSE You must lie down a bit. You're not at all well. BROTHER -LRB- resisting feebly but coming along, shakily. -RRB- But it's time. It's time. ROSE You're not well enough. Lie down a bit, dear. BROTHER Perhaps I should. I feel rather odd. ROSE I'll help you off with your things. BROTHER -LRB- in a suddenly normal and shriveling voice ; quietly. -RRB- Rose. She opens his door for him ; he starts through. BROTHER -LRB- as he turns to shut his door. -RRB-' k you? He shuts the door in her face. For a moment she stands outside the door as if paralyzed. Then she starts somewhere fast. CLOSE UP - THEIR FORLORNLY POPULATED BOOKSHELF. Rose hurries into the SHOT and takes down a large obsolescent - looking Home - Medical Compodium. CLOSE SHOT - ROSE SHOOTING LOW across the bleak dining room table as she hustles the big book to it and opens it. She is standing. She is still in a painful rush through the index when o.s. there is the NOISE of a catastrophic fall. CLOSE SHOT - ROSE -LRB- BACK TO CAMERA -RRB- at Brother's door. By reflex, she hesitates and raps timidly. Instantly realizing the idiocy of this, she bursts in. REVERSE ANGLE SHOT - ROSE inside Brother's bedroom, SHOOTING FROM LOW as she enters and stands a moment transfixed by what she sees, her face suddenly rigid and masklike with horror and pity. CLOSE SHOT - DOWN - BROTHER -LRB- FROM ROSE'S VIEWPOINT -RRB- He is piteous, absurd and ugly ; sprawled out on the floor as ill - shaped as a wounded bat, with his nightshirt partly on, shrouding his head, and his trousers half off, trammeling knees which are grotesquely angled. Between lowered pants and hiked - up nightshirt, a sad, humiliating expanse of long white drawers in this furnace weather. His feet are fouled - up in his suspenders. The SHOT is to be both preposterous and shocking. CLOSE UP SHOT - ROSE past Brother from floor. ROSE -LRB- almost whispering. -RRB- Brother! Brother dear! She rushes stooping towards him. CAMERA MOVES into CLOSE UP, as she lifts his heavy head clearly into the SHOT and gets it unveiled from the nightshirt. The big face looks ruined, disgraced, dead, but a low mumbling sighing comes from him. He is far gone. She is about to try to lift him towards his bed when he begins to walk ; she waits and listens. BROTHER -LRB- eyes shut ; a faint, delirious voice. -RRB- Smite them, Lord! Smite the Amalekites, hip and thigh! ROSE -LRB- whispering - almost by reflex. -RRB- Amen. -LRB- with a long a. -RRB- BROTHER So cold and so foggy. My eyes are so tired. Where is Rose? Rose, are you down there in the shop? Rose, bring me a cup of hot tea. ROSE I'm here with you, Brother dear. Right here beside you. BROTHER I try to study - so hard. I have n't had the start some have : ` Ebrew ; Greek - no - facility. If only there were more time. Well, if I ca n't pass the examinations, I can volunteer. I can be a missionary. Rose, too. Not comely among maidens, but she can become a servant in the house of the Lord. Yes, even for such as she, God finds a goodly use. There is deep pain on Rose's face. She almost wants to say something, but knows the senselessness of it. She just keeps looking at him and listening. BROTHER -LRB- with calm, resolve, acceptance. -RRB- I'm going to put my books away, Rose. I'm not going to study any more. If I do n't pass, it only means that God has other work for me. Thy will be done. -LRB- in a different voice, secret, piteous, impassioned. -RRB- But, Lord, if it be Thy Will, O let me distinguish myself and give me a call here in England, right here at home, Lord. Mother will be so proud, Lord. Abash and put to shame all them that revile me and persecute me for Thy Name's sake. -LRB- whispering ; pleading. -RRB- Lord, I have tried so hard. He is silent ; she is motionless. Slowly LIFT CAMERA, losing Brother, CENTERING ROSE IN CLOSE UP. FULL SHOT - MUDDY WATER - MORNING The screen is filled with a foamy, strongly sliding floor of muddy water ; a strong, serene freshness of water SOUND. The SHOT is VERTICAL onto this water from perhaps three feet above it. o.s., already loud, and loudening, the NOISE of the engine of The African Queen. LIFT CAMERA, picking up the launch unexpectedly close as, slanting into broadside, she draws the letters of her name. THE AFRICAN QUEEN large across the SHOT. CONTINUE LIFTING ; as boat passes, we see Allnutt very briefly and see that he is alone. MEDIUM CLOSE SHOT - ALLNUTT over SOUND of expiring engine and rattle of anchor chain, reacting to his first sight of the vanished village. He looks a little scared and very cautious ; he has seen what was done at the mine, and now even the smell of violence, or the echo of its impact, makes him very uneasy. He is even dirtier and more unshaven than when we first saw him and he looks extremely tired. LONG SHOT - THE VILLAGE what we see of it from his angle. Since he is lower than the village, all we can see is a lot of abnormal, empty sunlight. MEDIUM CLOSE SHOT - ALLNUTT -LRB- SAME AS BEFORE -RRB- He is wary, but knows he must investigate. He goes overside, almost out of the SHOT, stepping across a stump to shore. SWING WITH HIM. As he reaches the top of the low bank, TRUCK with him, MEDIUM CLOSE, as he walks through a little of the burnt - out village. Past him, the scorched circular blotches where the huts were ; burned and half - burned little pens and fences ; ravaged gardens. He is still careful and uneasy. Unaware of it, he walks through this silence of devastation almost on tiptoe. Now he raises his eyes towards the intact bungalow o.s., and a new kind of carefulness comes into his eyes. STOP the TRUCKING and PAN with him as he walks past and bring in the bungalow, looking cavernous, very still, and cryptic or menacing in the sunlight, as he walks the last few paces towards it. He hesitates a moment at the foot of the steps. It obviously occurs to him that he may find corpses, or nobody at all. He starts up the steps, still walking a little stealthily. MEDIUM CLOSE SHOT - ALLNUTT through the screen door, from inside, as he comes up the quietly creaking steps, sensitive to the mood of a kind of desolation different from that of the village ; uneasy. He crosses the porch very quietly, again hesitates, peers through the gray screen door into the dark interior, and raps rather timidly. ROSE -LRB- o.s., a dry quiet voice with the calm of exhaustion in it. -RRB- Come in, Mr. Allnutt. Her voice startles him as much as it should ourselves. He peers again, forehead wrinkled like a monkey's. He ca n't see her. He shyly opens and comes through the door, mumbling something apologetic and subversal. As he catches sight of her, SWING CAMERA to RIGHT, losing him, and PICK ROSE UP, MEDIUM CLOSE. She is past the angle of visibility from the screen door. She is in a wicker rocking chair, sitting quite primly, working with those rings on which embroidering is done. She glances up at him with eyes like fused glass - then quickly back to her needlework. It is clear by the over - precision of her motions, and their rigidity and tension, that she is under great strain, but this is to be keyed low and simple. CLOSE SHOT - ALLNUTT -LRB- FROM HER ANGLE -RRB- He watches her ; he knows enough to keep quiet ; he waits ; becomes aware of his muddy feet and quietly tries to clean one against the calf and shin of the other leg. CLOSE SHOT - ROSE -LRB- SAME AS BEFORE -RRB- She does a couple more stitches, obtains sufficient control of herself, and lowers the needlework into her lap. ROSE -LRB- quietly, as before. -RRB- Thank God you've come. CLOSE SHOT - ALLNUTT -LRB- AS BEFORE -RRB- Nobody has ever thanked God in connection with him before. His reaction is quiet, but clearly this is a surprising and novel experience. He says nothing. ROSE -LRB- o.S. -RRB- Sit down, Mr. Allnutt. ALLNUT Do n't mind if I do. He walks into : TWO SHOT - ROSE AND ALLNUTT He sits on the edge of a chair and jockeys it, shyly, a little nearer her. ALLNUT So they got here afore I did, eh? ROSE Yes, they got here. Just after you left. ALLNUT No! She says nothing. ALLNUT Could n't a been more wrong, could I? Bout the Germans. ROSE -LRB- a quieter, remote voice. -RRB- Burning villages. ALLNUT That's to keep the natives from runnin' away. No place to come back to. Been doin' it all over, they told me up at Limbasi. The Germans are gon na train'em into an army and try to take over the whole of Africa. ROSE Poor helpless natives! ALLNUT It was the same up at the mine when I got back from Limbasi. A clean sweep of everything. Just plain luck I was on the river. They could certainly use my launch and what's in ` er, too. Blastin' gelatine, Miss.. Eight boxes of it. An' a lot of canned grub. An' cylinders of oxygen an' hydrogen for that weldin' job on the crusher. Lots o' stuff. ROSE -LRB- same dead voice. -RRB- Oh, trust them. ALLNUT But as it ` appens, I got the stuff - an' the launch. Only I've got no crew, an' she ai n't an easy boat to run single - ` anded. Cause them two boys o' mine just skipped in the night. Do n't know if they were scared o' me or the Germans. ROSE -LRB- quietly, always. -RRB- They are fiends out of hell. His whole life's work smashed. Ruined. In a few minutes. ALLNUT The Reverend, eh? -LRB- Rose nods. -RRB- Where's' e now, Miss? ROSE -LRB- pause ; quietly. -RRB- He's dead. ALLNUT I say, that's too bad! Pretty rough on you, Miss. -LRB- embarrassed ; trying to keep the ball rolling. -RRB- What'd' e die of, Miss? ROSE They killed him. ALLNUT -LRB- really a little surprised and shocked. -RRB- Well, now that's just awful! If they'll up and shoot a Reverend, who could n't do'em a bit a ` arm, there ai n't nobody safe. ROSE They did n't shoot him, Mr. Allnutt. But they are accountable to God just as surely as if they had. ALLNUT ` Ow d'you mean, Miss? ROSE They broke his heart. He did n't take care of himself. He did n't want to live. She is looking into his eyes as if daring him to doubt or disagree. He is timid, perceptive and kind enough not to argue with her. After a moment, he avoids her eyes. ALLNUT Well, Miss that's cert ` nly too bad, that's all I can say. -LRB- both are quiet and he is uneasy in the silence. Making conversation. -RRB- When'd' e die, Miss? ROSE Early this morning. -LRB- an odd gesture. -RRB- He's in there. ALLNUT Hey! ROSE I beg your pardon? ALLNUT ` Scuse it, Miss. -LRB- delicately. -RRB- Wot I mean to say is - the climate'n all - quicker you get ` im under ground the better, if you do n't mind me sayin' so. Rose nods. ALLNUT -LRB- getting up. -RRB- Got a shovel? ROSE Behind the bungalow. ALLNUT Right. - Tell ya wot. While I'm diggin' the grave, you get yer things together, Miss - all the things ya want to take. Then we can clear out of ` ere. ROSE Clear out? ALLNUT Germans might come back any time. ROSE Why should they? They left nothing. ALLNUT Oh, they'll come back, all right. Lookin' for The African Queen. They'd dearly love to get their ` ooks on ` er. She's the only power boat on the river. ROSE Where will we go? ALLNUT I thought, Miss, ` ow we might find somewhere quiet behind an island. Then we could talk about what to do. ROSE -LRB- a pause ; then with quick decision. -RRB- I'll get my things ready. ALLNUT Fine, Miss, I'll be quick's I can. He starts for the front door. ROSE Thank you, Mr. Allnutt. ALLNUT You'd do the same for me, Miss.. As he thinks it over, he begins to wonder, literal - mindedly, whether she really would. He goes on out. TWO SHOT - ROSE AND ALLNUTT - AT THE GRAVE They stand on opposite sides of the new grave. At its head is an improvised cross, two pieces of wood carefully and securely wired together. Rose is reading the last lines of the burial service from a Methodist or Presbyterian prayerbook. She reads rather badly ; -LRB- i.E., with the Protestant shadings of `` expressiveness'' -RRB- yet between the language and the conflict between restraint and deep emotion in her voice, it is quite moving. Allnutt, while she reads, is trying to pay polite attention ; he even says `` Amen'', and such, in a sheepish kind of way. But his eyes keep sliding uneasily to the jungle ; the Germans really do worry him. When she has finished, she stands very silent, for longer than he can take. He tries reasonably hard, but finally he has to speak. ALLNUT Well, Miss, let's get outa here while the gettin's good. Rose, without looking at him or at the grave, and without speaking, walks away ; he picks up his spade and follows. MEDIUM SHOT - ROSE AND ALLNUTT at the edge of the porch. Rose pauses, looks over towards Brother's grave for the last time. Allnutt stands beside her, carrying her suitcase, not wanting to hurry her again, but wishing she'd get a move on. MEDIUM LONG SHOT - ROSE AND ALLNUTT - -LRB- SHOOTING PAST THEM, FROM THE INSIDE EDGE OF THE PORCH -RRB- By the turn of her head, our eye is led across the scarified clearing. We see the stunted cross and the overwhelming jungle and, perhaps, a little of the chapel. ROSE -LRB- really meaning it ; but very restrained and prim. -RRB- It was very kind of you, Mr. Allnutt, to think of the cross. ALLNUT Shucks. Just seemed like he oughta have one, him a Reverend'n all. Rose walks down the steps and towards the river. Allnutt eagerly keeps pace. We SWING the CAMERA losing the grave, and passing and losing the chapel, and centering them getting smaller along the bare ground in the hot sunlight, bringing in the river beyond them. ALLNUTT'S VOICE -LRB- o.s. -RRB- Careful now, Miss.. Watch your step. That's right. MEDIUM LONG SHOT - OF AFRICAN QUEEN AT ANCHOR -LRB- SHOOTING PAST BOW -RRB- and keeping the noisy SOUND of the water. We pick up Rose and Allnutt as Allnutt helps her aboard. In her long and somewhat narrow skirt she is distinctly old - maidish. ROSE -LRB- with the upward English inflection - a little as if he had passed her a teacup. -RRB- Thank - you? Allnutt steps aboard. MEDIUM SHOT - ROSE AND ALLNUTT Rose sits down at the rear of the boat and looks around her. Her feet are drawn under her and knees close together and hands lightly folded on her knees -LRB- perhaps a lady's scrap of handkerchief in one hand -RRB-, as prim, genteel and ladylike as if, on a holiday afternoon, she were about to be rowed across an artificial lake fifty yards wide. And that is more or less the way she glances about her in her new surroundings - politely and restrainedly, as if a little critical of a parlor somewhat humbler than her own. -LRB- This SHOT, at the very beginning of her voyage, is to be quite touching, delicate and ironical, and through her very genteelism and total unconcern for what she is up against - an unawareness - we begin already to sense her complete intrepidity. -RRB- Allnutt pauses to light up a cigarette before getting to work. He hangs the cigarette inside his upper lip. This cigarette, dead or alive, is a chronic fixture with Allnutt. Allnutt kneels in the bottom of the boat and addresses himself to the engine. He hauls out a panful of hot ashes and dumps them overside with a sizzle and a splutter. He fills the furnace with fresh wood from a pile beside him, and soon smoke appears from the funnel, and we hear the ROAR of the draught. The engine begins to sigh and splutter, and then begins to leak gray pencils of steam. Allnutt peers at his gauges, thrusts in some more wood, and then leaps forward around the engine, displaying monkeyish agility in handling more tasks than he quite has the hands or the stamina for. With grunts and heaves of the small windlass, he hauls in the anchor, the sweat pouring from him in rivers. We see already that he is physically not a strong man. Allnutt thrusts mightily at the muddy bank with a long pole, snatches the pole on board again, and then rushes aft to the tiller. ALLNUT ` Scuse me, Miss.. He sweeps her aside unceremoniously -LRB- she is astonished but quickly reassembles herself -RRB- and he puts the tiller over just in time to save the boat from running into the bank. CAMERA IN on Rose, resettling her plumage, and on Allnutt at the tiller. The river bank starts to swing in square to the stern. Their eyes are past the CAMERA. MEDIUM SHOT - -LRB- MOVING WITH BOAT -RRB- - ROSE AND ALLNUTT Rose is deeply sad and very tired, but a very quiet kind of exhilaration is already growing in her ; and still more clearly, her calm and tremendous, unreflecting resoluteness begins to show. A pause. ROSE Mr. Allnutt. ALLNUT Yerss? ROSE What are the chances of our getting out through Limbasi on the railway to the Coast? ALLNUT The railway was in German ` ands when I was in Limbasi - and by this time Limbasi is too, I'll bet. ROSE Then how do we get out, Mr. Allnutt? ALLNUT You got me, Miss. -LRB- after a pause. -RRB- We've got ` eaps of grub ` ere, Miss, so we're all right, far as that goes. Two thousand cigarettes, two cases of gin. We could find a good ` iding place an' stay there for months if we want to. Rose's astonishment at this suggestion keeps her from replying. ALLNUT -LRB- rattling on. -RRB- I spose there's goin' to be a fight. If our troops come from the sea, they'll attack up the railway to Limbasi, I spose. In that case, the best thing we could do would be to wait round down ` ere an' just go up to Limbasi when the time came. - On the other ` and, they might come down from British East, an' if they do that we'd ` ave the Germans between us and them all the time. Same if they came from Rhodesia or Portuguese East. We're in a bit of a fix, whichever way y' look at it, Miss. -LRB- abruptly. -RRB- Mind takin' the tiller, Miss? Allnutt stands up and Rose takes over the tiller, holding the iron rod resolutely. Allnutt goes to his engine and is violently active once more. He pulls open the furnace door and thrusts in a few sticks of fuel ; then he scrambles up into the bow and stands balanced on the cargo. The river is studded with islands so that it appears as if there were a dozen different channels. ALLNUT Port a little, Miss.. CLOSE SHOT - ROSE She is confused by the command. ALLNUTT'S VOICE -LRB- o.s. -RRB- Pull it over this side, I mean. - That's it! Steady! MOVING SHOT - THE LAUNCH The boat crawls up a narrow tunnel of leaf and shade. -LRB- If color photography is used, the SHOT would be startingly juicy and green - many shades of green reflected in rich brown water. -RRB- Allnutt comes leaping back over the cargo and shuts off the engine ; the propeller stops vibrating. Allnutt dashes into the bow again. Just as the trees -LRB- SHOOTING PAST ROSE and her interest in it -RRB- begin apparently to move forward again as the current overcomes the boat's way, he lets go the anchor with a rattling CRASH, and almost without a jerk the launch comes to a standstill. A great silence seems to close in on them - the silence of a tropical river at noon. The only SOUND is the subdued rush and gargle of the water. The sober air is filled with a strange light - a green light. Allnutt turns from his work at the anchor. He and Rose look about them and at each other, for a moment mysteriously bemused by the stillness and by the beauty of the place. The sudden quietness and the look of the place are richly romantic ; the two people are quieted by it, but they are wholly unaware of any such potentiality between them. They are just a couple of oddly assorted derelicts who hardly even know each other, and do n't care for what little they know. A pause. ALLNUT So far so good. ` Ere we are safe an' sound, as you might say. -LRB- he beams upon his surroundings. -RRB- Not too bad a spot, is it, Miss, to sit a war out in? All the comforts of ` ome, includin' runnin' water. He laughs at his joke and is disappointed when Rose does not join him. ROSE I'm afraid, Mr. Allnutt, that what you suggest is quite impossible. ALLNUT ` Ave you got any ideas? -LRB- he takes a map out of his pocket and hands it to her. -RRB- ` Ere's a map, Miss.. Show me the way out an' I'll take it. Rose opens the map and starts studying it. ALLNUT -LRB- after a while. -RRB- One thing sure ; our men wo n't come up from the Congo, not even if they want to. They'd ` ave to cross the lake, and nothin' wo n't cross the lake while The Louisa is there. ROSE -LRB- blankly. -RRB- The Louisa? What's that? ALLNUT It's an ` undred - ton German steamer, Miss, and she's the boss o' the lake'cause she's got a six - pounder. ROSE What's that? ALLNUT A gun, Miss.. The biggest gun in Central Africa. ROSE I see. ALLNUT If it was n't for The Louisa, there would n't be nothin' to it. The Germans could n't last a month if our men could get across the lake. But all this does n't get us any nearer ` ome, does it, Miss? Believe me, if I could think wot we could do. ROSE This river, the Ulanga, runs into the lake, does n't it? ALLNUT Well, Miss, it does ; but if you was thinkin' of goin' to the lake in this launch - well, you need n't think about it any more. We ca n't and that's certain. ROSE Why not? ALLNUT Rapids, Miss.. Cataracts and gorges. There's an ` undred miles of rapids down there. Why, the river's even got a different nyme where it comes out on the lake to what it's called up ` ere. It's the Bora down there. No one knew they was the same river until that chap Spengler - ROSE He got down it. I remember. ALLNUT Yes, Miss, in a dugout canoe.' E ` ad half a dozen Swahili paddlers. Map makin',' e was. In fact, that's ` is map you're lookin' at. There's places where this ole river goes shootin' down there like out of a fire ` ose. We could n't never get this ole launch through. While he talks, Rose begins to look restive and vague, as well as discouraged. By the time he is through, she has stood up, CAMERA WITH HER ; she hardly hears him. She strolls a little aimlessly PAST THE CAMERA, which SWINGS TO CENTER HER BACK as she walks forward. As if half in her sleep, she sidesteps the engine. REVERSE ANGLE - ROSE -LRB- SHOOTING FROM THE BOW -RRB- as Rose sidesteps. She walks toward CAMERA into MEDIUM CLOSE UP, eyes glazing with dreamlike concentration. She sees something before and below her eye - level ; stops, focusing on it. CLOSE SHOT - -LRB- FROM ROSE'S ANGLE -RRB- - THE GELATINE CASES not marked or labeled as such. ROSE'S VOICE -LRB- o.s. -RRB- Mr. Allnutt - MEDIUM CLOSE SHOT - ALLNUTT ALLNUT Yes, Miss.. MEDIUM CLOSE SHOT - ROSE - -LRB- FROM ALLNUTT'S ANGLE -RRB- ROSE What did you say is in these boxes with the red lines on them? MEDIUM CLOSE SHOT - ALLNUTT - -LRB- FROM ROSE'S ANGLE -RRB- lounging and lazy. ALLNUT That's blastin' gelatine, Miss.. MEDIUM SHOT - ALLNUTT AND ROSE -LRB- SHOOTING FROM BOW -RRB- ROSE -LRB- head towards him, away from CAMERA. -RRB- Is n't it dangerous? ALLNUT Bless you, no, Miss, that's safety stuff, that is. It can get wet and not do any ` arm. If you set fire to it, it just burns. You can ` it it wiv an ` ammer and it wo n't go off - at least I do n't fink it will. It takes a detonator to set it off. I'll put it over the side if it worries you though. ROSE -LRB- sharply, yet absently as she turns into CAMERA. -RRB- No. We may need it. Allnutt keeps watching her idly, a little amused and very slightly contemptuous. She wanders away from the boxes, eyes downcast in thought, and pauses again. ROSE -LRB- not looking up. -RRB- Mr. Allnutt - ALLNUT Yeah? INSERT - THE STEEL CYLINDERS IN BOTTOM OF BOAT ROSE'S VOICE -LRB- o.s. -RRB- And what are these queer long round things? MEDIUM SHOT - THE BOW - -LRB- PAST ROSE - ON ALLNUTT -RRB- ALLNUT Them's the oxygen and hydrogen cylinders, Miss.. Ai n't no good to us, though. Next time I shift cargo, I'll dump'em. CLOSER SHOT - ROSE ROSE -LRB- sharply, yet still more subconsciously and quietly than before. -RRB- I would n't do that. She keeps looking down at them, musingly, `` subconsciously,'' while CAMERA CREEPS CLOSER to her. ROSE They look like - like torpedoes. `` Torpedoes'' is spoken over : INSERT - CYLINDERS - a new and most deadly possible looking SHOT of the cylinders. STILL CLOSER SHOT - ROSE Slowly she raises her eyes from floor angle to normal ; a wild light is dawning in her eyes. ROSE -LRB- in the voice almost of a medium. -RRB- Mr. Allnutt - She turns very slowly towards him. MEDIUM CLOSE SHOT - ALLNUTT - -LRB- FROM ROSE'S ANGLE -RRB- ALLNUT -LRB- a little bit smug. -RRB- I'm still right here, Miss, and on a thirty - foot boat there ai n't much of any place else I could be. MEDIUM CLOSE SHOT - ROSE - -LRB- FROM ALLNUTT'S ANGLE -RRB- walking slowly and somewhat portentously towards him. ROSE -LRB- full of the wild light. -RRB- You're a machinist, are n't you? Was n't that your position at the mine? MEDIUM CLOSE SHOT - ALLNUTT - -LRB- FROM ROSE'S ANGLE -RRB- CAMERA ADVANCING on him at Rose's pace, stopping, looking down, during his last six or eight words. ALLNUT -LRB- comfortably. -RRB- Yeah, kind of fixer. Jack of all trades and master o' none, like they say. CLOSE SHOT - ROSE - -LRB- FROM ALLNUTT'S ANGLE -RRB- disconcertingly close. ROSE Could you make a torpedo? ALLNUTT'S VOICE -LRB- o.s. -RRB- Come again, Miss? ROSE Could you make a torpedo. CLOSE SHOT - ALLNUTT ALLNUT You do n't really know what you're askin', Miss.. It's this way, you see. A torpedo is a very complicated piece of machinery what with gyroscopes an' compressed air chambers an' vertical and horizontal rudders an' compensating weights. Why, a torpedo costs at least a thousand pounds to make. He relaxes ; his manner is `` The State Rests.'' SWING CAMERA to center Rose, still perched on the gunwale. ROSE -LRB- after a short pause ; unperturbed. -RRB- But all those things, those gyroscopes and things, they're only to make it go, are n't they? MEDIUM CLOSE SHOT - ALLNUTT - -LRB- NEUTRAL ANGLE -RRB- ALLNUT Uh - huh. Go - and hit what it's goin' after. ROSE - -LRB- AS BEFORE -RRB- ROSE -LRB- at the height of her inventiveness ; the words triumphant and almost stumbling out. -RRB- Well! We've got The African Queen. She stands up with these words, CAMERA RISING with her, SHOOTING FROM A LITTLE BELOW ; her eager eyes are constantly on Allnutt. ROSE If we put this - this blasting stuff - in the front of the boat here - and a - what did you say - deno - detonator there, why that would be a torpedo, would n't it? CLOSE SHOT - ALLNUTT looking up at her, greatly amused, almost sardonically admiring her. ROSE'S VOICE -LRB- o.s. -RRB- Those cylinders. They could stick out over the end, with that gunpowder stuff in them and the detonator in the tips where the taps are. ROSE - -LRB- AS BEFORE -RRB- ROSE Then if we ran the boat against the side of a ship, they'd - well, they'd go off, just like a torpedo. -LRB- somewhat doubtfully, in a return to her submissive feminine habit. -RRB- Would n't they? TWO SHOT - ROSE AND ALLNUTT ALLNUT -LRB- tremendously amused ; gravely. -RRB- That might work. -LRB- humoring her along, and a little taken in by his own fondness for makeshift. -RRB- Them cylinders'd do right enough. I could let the gas out of'em and fill'em up with the gelignite. I could fix up a detonator all right. Revolver cartridge'd do. -LRB- warming up to it, as an impossible project. -RRB- Why, sure, we could cut ` oles in the bows of the launch, and ` ave the cylinders stickin' out through them, so's to get the explosion near the water. Might turn the trick. But what would ` appen to us? It would blow this ole launch and us and everything all to Kingdom come. ROSE I was n't thinking that we should be in the launch. Could n't we get everything ready and have a - what do you call it - a good head of steam up and point the launch toward the ship and then dive off before it hit? Would n't that do? ALLNUT Might work, Miss.. But what are we talkin' about, anyway. There ai n't nothin' to torpedo.'Cause The African Queen's the only boat on the river. ROSE Oh, yes there is. ALLNUT Is what? ROSE Something to torpedo. ALLNUT An' what's that, Miss? ROSE The Louisa. ALLNUT -LRB- on mention of The Louisa, a blank, silent stare of mock amazement. Then, patiently. -RRB- Do n't talk silly, Miss.. You ca n't do that. Honest you ca n't. I told you before we ca n't get down the river. ROSE Spengler did. ALLNUT In a canoe, Miss! Rose looks stubborn. ROSE If a German did it, we can, too. ALLNUT Not in no launch. We would n't ` ave a prayer. ROSE How do you know? You've never tried. ALLNUT Never tried shootin' myself through the ` ead, neither. -LRB- pause. -RRB- Trouble with you is, you just do n't know nothin' about boats, or water. A pause. They look at each other, Rose much more fixedly and searchingly than Allnutt ROSE In other words, you are refusing to help your country in her hour of need, Mr. Allnutt? ALLNUT I did n't say that. ROSE Well then -! ALLNUT -LRB- sighs deeply. -RRB- ` Ave it your own way, Miss - only do n't blame me, that's all. Allnutt stands perplexed and inarticulate, his cigarette drooping from his upper lip. His wandering gaze strays from Rose's feet, up her white drill frock to her face ; he starts slightly at her implacable expression. ROSE Very well, let's get started. ALLNUT What! Now, Miss? ROSE -LRB- impatiently. -RRB- Yes, now. Come along. ALLNUT There is n't two hours of daylight left, Miss.. ROSE We can go a long way in two hours. Allnutt starts to speak ; refrains ; limps over to windlass and raises the anchor. Rose watches him. CAMERA PANS after The African Queen as Allnutt backs her out into the channel, then turns her nose downstream. CLOSE SHOT - ALLNUTT AND ROSE He is at the tiller - back to CAMERA ; Rose, standing looking downstream. The Mission clearing on the bank, which they now approach, is unobserved by both of them. Presently pencils of steam begin coming out of the engine. Allnutt, feeling that it requires his attention, signals to Rose, who takes his place at the tiller. Allnutt goes to the engine and begins to tinker. CLOSE UP - ALLNUTT - -LRB- ROSE IN B.G. -RRB- ALLNUT A lot o' the time I'm going to ` ave more than enough to do, keepin' the ole engine goin.' So you might as well start learnin' to steer right now. Rose nods. Her hand takes a firmer, more authoritative hold on the tiller. ALLNUT -LRB- continuing. -RRB- She ai n't no one - man boat, the Queen. Not in the shape she's in. Rose again shifts her hand a little ; and she sits up very straight with her new sense of responsibility. ALLNUT Know port from starboard, Miss? ROSE I've heard of them. ALLNUT Well, that's port -. -LRB- gesturing. -RRB- - an' that's starboard. ROSE Is n't that a bit - well, silly? Why not just say left and right? ALLNUT Well, spose yer facin' the other way in the boat an' I say `` to the left.'' You might think I meant to your left, see, an' move to starboard. It's the boat ya got ta think of, see? So port's always that side -. -LRB- gesturing. -RRB- - an' starboard, that - an' forrard's always up there an' aft is where we are right now - no matter what way we're turned around or the boat is headed. ROSE Why yes, I see. It's really quite - sensible, is n't it? ALLNUT Uh huh. Okay. Now go easy, Miss - light on the tiller. Now steer her just a little to starboard. Rose puts the tiller to starboard ; the launch swerves a little to port. She looks at Allnutt, bewildered. Allnutt is quietly amused. ALLNUT Okay, Miss, just straighten her out again. -LRB- using flat hands to demonstrate. -RRB- Now looky here. Here's yer tiller. -LRB- he extends his right hand. -RRB- Here's yer rudder. -LRB- he extends his left hand, below and beyond his right. -RRB- They're joined. Tiller sets the rudder, rudder steers the boat. -LRB- he slants both hands rigidly to one side. -RRB- ROSE -LRB- eagerly. -RRB- Oh, I see! Rose lifts her own hand from the tiller to show ; the boat yaws abruptly. ALLNUT Tiller, Miss! Rose, startled, grabs the tiller and rights her course. ROSE -LRB- blushing. -RRB- Sorry. ALLNUT'S all right, just do n't never do that,'s all. ROSE Why, the water - well - pushes against the rudder, where it turns, and - sort of drags the boat that way. Turns it. ALLNUT You're catchin' on fine, Miss.. Rose looks as pleased as if she had personally invented the rudder. ALLNUT Now a little to starboard, Miss.. Easy now. -LRB- Rose does it right. -RRB- Fine. Now a little to port. -LRB- Rose does it right. -RRB- ROSE Is that all there is to it? ALLNUT Well, ya got ta know how to read the river. ROSE Read? ALLNUT Ya got ta know the water an' what's under it, that ya got ta steer clear of. ROSE Steer clear of. Why, that's where that expression comes from. ALLNUT -LRB- uninterested. -RRB- Uh huh. Mostly ya can tell it by the surface o' the water. Now ya see that long thing out there like a `` V'' kinda? LONG SHOT - ACROSS THE LINE a long, quiet `` V'' on the water. ALLNUTT'S VOICE -LRB- o.s. -RRB- That always means a snag. Limb stickin' up from a dead tree ; likes o' that. TWO SHOT - ROSE AND ALLNUTT ALLNUT Stay off them `` Vs,'' they're murder. Rose looks very seriously, almost reprimandingly, towards the `` V.'' LONG SHOT - A DIFFERENT PART OF THE RIVER The higher light shows it is later in the morning. In the distance, past smooth water, a choppy patch. ALLNUTT'S VOICE -LRB- o.s. -RRB- Now all that little choppin', them's shallas, Miss.. TWO SHOT - ALLNUTT AND ROSE Rose's eyes move from the shallows to steering ; she shifts course a little, and a long `` V'' trails past. LONG SHOT - FORWARD ALONG THE BOAT as she resets her course. MEDIUM CLOSE SHOT - ROSE her eyes to starboard. Again the light is later. Rose's face is a shade more pleased and in bloom than before. ROSE -LRB- pointing. -RRB- What's that queer flat place, Mr. Allnutt? MEDIUM LONG SHOT - ANOTHER PART OF THE RIVER at medium distance off starboard bow, an odd flat turbulence in otherwise easy water. ALLNUTT'S VOICE -LRB- o.s. -RRB- That's a rock. An' it ai n't only a few inches under water. The Queen's got a shalla draft, an' that's where we're lucky.'Cause anythin' ya ca n't read on the surface, we're safe to go right over it. TWO SHOT - ROSE AND ALLNUTT - -LRB- HIGHER LIGHT -RRB- The BEAT of the engine alters a little. ALLNUT Only thing to worry us is much of a breeze. I reckon you know why. The BEAT of the engine alters still more. ROSE It makes us - it - pushes the boat around? ALLNUT Naw. It chops the water so - He rushes forward to the engine. MEDIUM SHOT - THE ENGINE - ALLNUTT starts rapping the boiler's safety - valve smartly with a wrench. After a few socks, it blows off steam. WIDE SHOT - THE AFRICAN QUEEN ALLNUT -LRB- loud, over his shoulder, while steam blows off. -RRB- Chops it up so bad ya ca n't see no signs to warn ya. ROSE -LRB- louder. -RRB- Oh. Of course. Allnutt is intently busy at the feed pump - this time, a brief operation. Rose watches him out ; he does a little refueling. -LRB- Wood is piled high in the waist now, drying in the sun. -RRB- -LRB- NOTE : From here on until indicated, no TWO SHOTS. Allnutt is amidship, in hot sunlight ; Rose, at stern, in cool, breezy shadow of awning. -RRB- ROSE What was the matter, Mr. Allnutt? ALLNUT Feed pump choked. An' one o' my boys dropped sumpin in the safety valve ; ca n't count on it, ya got ta hit it. ROSE What happens when the feed pump chokes? He finishes fueling and sits down and dries his sweat. ALLNUT Whole boiler can blow up. Specially the shape she's in. This water's awful muddy. Rots the tubes, plugs'em up with scale. ` Sides that, the pressure gauge is kinda on the blink. Ca n't count on it fer sure, but ya ca n't forget it, neither. Bring ` er higher'n fifteen pound, the whole engine starts fallin' apart. An' much less'n that, she quits. Oh, come to think of it. Know why I got to keep the engine goin'? ROSE Why, so we can go, of course. ALLNUT That ai n't wot I mean. Rose looks blank, and interested. ALLNUT'Cause if the engine dies ya ai n't got enough - ROSE Oh. The water does n't push against the rudder hard enough to - ALLNUT -LRB- nodding approvingly. -RRB- That's right. No steerage - way. An' in bad water that's life or death. Rose looks at him, for the first time aware that he is as important to navigation as she is. ALLNUT If you steer wrong we're goners ; if I let the engine die, we're goners, too. He adds another couple of pieces of wood. Rose nods, and takes on both a sense of dignity and a sense of interdependence. ALLNUT -LRB- proudly. -RRB- Oh, she's fulla tricks, this ole engine. Even the fuelin'. Ya got ta fuel ` er light an' steady, keep the pressure right. An' that ai n't so easy as it sounds, Miss.'Cause wood makes an awful lotta ash an' chokes yer draft. Ya got ta plan it all very careful. Empty the ash pan, ya got ta figure ` ow it'll change yer draft. Ya got ` alf a dozen different kinds o' wood an' every one burns different. Got to figure on wot the heat o' the sun does to the boiler, different times o' day. An' that safety valve. An' the water pipes keep springin' leaks, an' the water gauge just works when she's a mind to. -LRB- he looks over the whole engine with affection. -RRB- You got to know ` ow she's feelin', Miss - keep a step ahead of ` er. Right now she's got ` er best foot forrard'cause there's a stranger aboard. But do n't be took in, Miss.. Wait till you see ` er in a mean streak. He puts on a little more fuel, and lights a cigarette. MEDIUM SHOT - THE BOILER AND ENGINE HEAD - ON like an altar. Allnutt lounges in one side of the SHOT like an acolyte, and quietly watches toward Rose, steering. CLOSE SHOT - ROSE steering. There is something regal about the way she sits holding the tiller, as though it were a scepter.",
"EXT. THE RIVER -- TWILIGHT MEDIUM LONG SHOT - THE PROW OF THE LAUNCH as it noses upstream along a narrow channel. A swerve and a steadying ; the prow advances into MEDIUM CLOSE UP ; the anchor starts to drop. Before it hits the water : MEDIUM SHOT - THE FAÇADE OF THE ENGINE with SPLASH and RATTLE of anchor and chain o.s., as Allnutt rushes into the SHOT and shuts off steam. The pencils of steam abruptly fade and drift. MEDIUM CLOSE SHOT - ALLNUTT standing very attentively. PAST HIM, a wall of leaves shows that the boat, after a couple of inches of drift, stops gently. He still stands attentive, as if he were listening in the abrupt new silence. He is much more grimy and sweaty than before. ALLNUT It's ` ot work, ai n't it, Miss? I could do with a drink. TWO SHOT - ROSE AND ALLNUTT He goes to the locker beside Rose, produces two dirty enamel cups. Watching him, Rose frowns slightly. Then, from under the bench he drags out a wooden case. From the case he brings out a bottle. He opens the bottle, proceeds to pour a liberal portion into one of the cups. CLOSE SHOT - ROSE watching with a kind of fascination. CLOSE SHOT - ALLNUTT as he makes a movement with the bottle toward the second cup. ALLNUT ` Ave one, Miss? CLOSE SHOT - ROSE ROSE -LRB- horrified whisper. -RRB- What is it? ALLNUTT'S VOICE -LRB- o.s. -RRB- Gin, Miss.. And there's only river water to drink it with. ROSE -LRB- appalled. -RRB- No! MEDIUM CLOSE UP OF ALLNUTT - -LRB- ROSE'S VIEWPOINT -RRB- He dips the empty mug overside. He turns back straight and, with care, decants the water into the gin. CLOSE SHOT - ROSE She is in conflict between her intensifying fascination, and her sense of actually watching something forbidden and even outrageous. Impulses play through her, covertly suggested in her face, to protest, to appeal to his better nature, even to snatch the drink from him. And now a new shading enters her face. All she has seen up to now as mere preparation for sin : now she is witnessing Sin itself. Something related to fear begins to enter her face. CLOSE SHOT - ALLNUTT - -LRB- FROM ROSE'S ANGLE -RRB- He slaps casually at a mosquito, and lifts the mug for a second swig. CLOSE SHOT - ROSE eyes still more fixed, fascinated and full of wild doubts and suppositions. CLOSE SHOT - ALLNUTT - -LRB- FROM ROSE'S ANGLE -RRB- Allnutt lowers the mug. Happier now than before, he glances at Rose in an impersonal way ; looks away ; looks back in doubt at her, mildly puzzled by what he sees, but not interested. STILL CLOSER SHOT - ROSE as she watches him very sharp. She is puzzled by how quiet and peaceable he is, but she knows better than to trust him. She is waiting for the trouble she is sure is bound to come. - o.s., Allnutt hiccups slightly. She tightens and withdraws a little more, then comes to a standstill. CLOSE SHOT - ALLNUTT -LRB- FROM ROSE'S VIEWPOINT -RRB- He looks up again, a little more puzzled. ALLNUT Somethin' the matter, Miss? CLOSE SHOT - ROSE ROSE -LRB- shortly. -RRB- No. ALLNUTT - -LRB- AS BEFORE -RRB- Still a bit puzzled, he raises his mug and finishes his drink off. Across this nice, long drink : TWO SHOT - ROSE AND ALLNUTT Rose's whole body and posture is as withdrawn, pinched and tense as her face. ALLNUT -LRB- setting down his cup. -RRB- Now, Miss, ` ow ` bout some tea? CLOSE SHOT - ROSE By the way she lets out a long, long - held breath, we realize for the first time the extremity of tension she has been under. PULL AWAY to INCLUDE ALLNUTT, as Rose relaxes all over, all but trembling, between relief and her ravenous need for tea. ROSE -LRB- able to speak now. -RRB- Ohhh! Yes! CAMERA PANS with Allnutt as he goes over to the boiler. He draws hot water into the two cups, then places them on the bench before her and makes tea. ALLNUT -LRB- stirring. -RRB- ` Course it tastes a bit rusty, but you ca n't ` ave everything. -LRB- a little formally. -RRB- Sugar, Miss? ROSE -LRB- also a little formally. -RRB-' k you? ALLNUT -LRB- a little bit caught by her tea - party manner ; bashfully. -RRB- do n't mention it. Allnutt brings out a lantern and lights it. They both drink. She takes a ladylike trial sip ; then really guzzles as never before. Sweat starts out on her forehead and she shuts her eyes. Across her bringing down the cup : ROSE -LRB- in a tea - wet voice, more relaxed and female than at any time before. -RRB- It's simply delicious! TWO SHOT - ROSE AND ALLNUTT ALLNUT -LRB- surprised, and somewhat pleased. -RRB- Not ` alf bad, is it! He tastes his again. Living to himself, he has not been much interested in taste and such. Rose sets down her cup and, angling her sharp, long - sleeved elbows high, extracts a long pin from her hat, lays it beside her and lifts the big, dark hat from her head and lays that beside her too, and carefully thrusts the pin back into the hat and briefly tidies her tight hair. Then, picking up her cup again, she drains the last of her tea. ROSE -LRB- holding out her cup. -RRB- If you please? ALLNUT Right. -LRB- he starts the business of making tea again. -RRB- ` Ow long you been out ` ere, Miss? ROSE Almost ten years. ALLNUT You're from the midlands, ai n't you? ROSE Manchester. ALLNUT Ever get ` omesick? He goes over and gets crackers and tinned meat out of the locker. ROSE Every day of my life. ALLNUT I'd give my eye teeth to be back on a Saturday night, rubbin' elbows like they say - all the jostlin' an' the noise an' the music - ai n't nothin' can touch it for cheering a chap up. ROSE It's always Sunday afternoons I think of - the peace and quiet. They are eating the meat and crackers as they talk. ALLNUT I do n't remember very much about the Sundays. I was always sleeping it off. They finish eating. For a few seconds they listen to the quiet soliloquy of the water. ALLNUT -LRB- continuing. -RRB- Did n't see no crocodiles in this arm, Miss, did you? ROSE Crocodiles? No. ALLNUT No shallas for'em here. An' current's too fast. -LRB- he coughs, a little self - consciously. -RRB- I could do with a bath, ` fore supper. MEDIUM CLOSE SHOT - ROSE ROSE -LRB- spontaneous, unconsidered. -RRB- I'd like one too. She is a little surprised at herself, but not troubled. MEDIUM CLOSE SHOT - ALLNUTT ALLNUT -LRB- getting up. -RRB- I'll go up in the bows an' hang onto the anchor chain. You just stay back ` ere an' do what you like to, Miss.. Then, if we do n't look, it wo n't matter. MEDIUM CLOSE SHOT - ROSE She is semi - aware of a change in herself, but still irresistibly spontaneous. ROSE Very well. MEDIUM CLOSE SHOT - ALLNUTT - -LRB- PAST ROSE -RRB- ALLNUT -LRB- hesitant. -RRB- Well. ROSE -LRB- coolly. -RRB- Very well, Mr. Allnutt. He walks towards the bow, sidestepping the engine. Bring up SOUND of water a little. REVERSE ANGLE - ROSE Rose looks after him, checking the six - inch width of the funnel which will stand between them ; not much concerned. While she watches, she is undoing her dress at its cuffs and at its high neck. She stands and takes it off over her head with a voluminous motion. She starts to remove an undergarment and hesitates, frowning a little ; compresses her lips and, clearly, decides not to remove the garment. CLOSE SHOT - THE FUNNEL centered, in the lamplight. The water SOUND rises another fraction ; other SOUNDS fade a little. CLOSE SHOT - ROSE'S FEET IN THE WATER - not more than shin - deep. -LRB- She is sitting on the gunwale. -RRB- The water distorts and drives and sways them a little and she is moving them gently. CLOSE UP - ROSE -LRB- HEAD AND SHOULDERS -RRB- Her head bent forward, she is watching and quietly enjoying her feet in the water. There is a little NOISE o.s. ; her eyes slip a little in the direction of the bow. TAIL - OF - THE - EYE SHOT - PAST ENGINE AND FUNNEL A dim grayish - white shape lowers itself over the bow. ROSE - -LRB- AS BEFORE -RRB- eyes not too quickly forward. She is not shocked, excited, or self - conscious ; just calmly interested. -LRB- o.s., prodigious KICKINGS and SPLASHINGS and WHOOSHINGS as Allnutt takes his bath. -RRB- Slowly her head goes lower in the SHOT and her head and shoulders begin to twist as she turns to cling to the gunwale. Bring up WATER SOUND a little. As she lets her body loose into the water, CAMERA SWINGS loose along it ; it is clear as she lengthens out and submerges that she is wearing bloomers and camisole. CLOSE SHOT - ROSE'S FACE - -LRB- PAST HER HANDS -RRB- clinging to the low, stern gunwale, as her arms stretch. There is a deep and delicate sensuous enjoyment in her face ; her body lifts out full length behind her, a dim and water - addled blur. Then she pulls herself up towards the boat as strongly as she can ; her wet, strapped shoulders rise, and one elbow clamps over the gunwale. VERTICAL INSERT - SUITCASE Over SOUNDS of her vigorous drying o.s., the insect - and moisture - proof tin suitcase or box in which Rose has packed all her worldly goods. It is open. By lantern light some of its contents are visible ; a few garments and undergarments, neatly folded ; her prayer - or service - book and her Bible ; and a group photograph of Rose and Brother and their family, in which the intention is to anchor Rose deep in English puritanism. Perhaps eight seconds are allowed for a look at this photograph ; then Rose's thin, cleansed hands lay in the dark dress in which she began this voyage ; it is neatly folded ; it covers not only the picture but also the religious books. MEDIUM CLOSE SHOT - ROSE Her head emerges from the white drill dress into which she is shuffling herself ; the head, with its slightly dampened hair -LRB- which is still pinned up, but strands are loose -RRB- looks so refreshed and integrated in the lantern light that it is as if it were brand new. With somewhat freer motions than she has made before, she pulls, straightens and pats the dress, and buttons it at the bosom. ALLNUT -LRB- o.s. -RRB- Are you ready, Miss? ROSE Yes. She glances past her shoulder towards him as she wrings out a damp undergarment, overside. Allnutt comes past the engine out of the shadows, into SHOT, carrying a couple of rolled rugs. ALLNUT You better sleep ` ere under the awnin', Miss, ` case it rains. ` Ere's a coupla rugs. There ai n't no fleas in'em. ROSE Where will you sleep? He unrolls a rug and spreads it on the bottom of the boat as he talks. ALLNUT Forrard, Miss.. I can fix up a sorta bed outa them cases. ROSE The - explosives? He spreads the other rug. ALLNUT Sure, Miss.. Wo n't do'em no ` arm. The idea is queer to Rose, but everything is now. ROSE -LRB- a little curtly. -RRB- All right. ALLNUT Be sure you cover up good. Gets a bit chilly on the river, towards mornin'. ROSE All right. Allnutt returns into the bow. SWING and HOLD CAMERA a couple of seconds on the shadows ; he is vaguely visible and there are the SOUNDS of his arranging the gelatine cases. CLOSE SHOT - ROSE finishing her hair into the second of two short, tight braids. She reaches into the tin box and under the dark dress and brings out the folded spare clothing. SOUND of the picture rattling against the bottom. With one hand she puts her hat and her comb in on top. She closes the box. HOLD on the closed box a moment. CLOSE SHOT - ROSE - -LRB- ANOTHER ANGLE -RRB- On one rug and beneath another, in her dress, Rose arranges the spare clothes as a pillow and settles her head ; from the instant it settles she is immensely but not unhappily tired. Over Allnutt's line, o.s., her eyes focus and follow his sentence, sleepily in the lantern light. ALLNUTT'S VOICE -LRB- o.s. -RRB- I'll turn out the light if you're ready, Miss.. ROSE Quite ready. The light on her face begins to dwindle. CLOSE SHOT - ALLNUTT - -LRB- FROM HER ANGLE -RRB- at the lantern. He turns it down. He neither looks at Rose nor takes squeamish care not to. ALLNUT -LRB- quietly, impersonally, when the light is very low. -RRB- ` Night Miss.. ROSE - -LRB- AS BEFORE -RRB- in the lowered light. ROSE -LRB- as quietly and impersonally. -RRB- Good night, Mr. Allnutt. o.s., the SOUND of his blowing out the lantern ; darkness. The darkness is almost total for a second ; then there is faint visibility. o.s., very subdued, the brief SOUNDS of Allnutt's settling - down ; then silence from him. Deeply subdued, the SOUNDS of water slowly dwindle and die entirely, and Rose's eyes are closed. Her mouth softens a little and opens a little ; in sleep her face is even more deeply virginal than when she is awake. But now in her sleep one hand moves up to her throat and slips inside her dress, next the skin. CLOSE SHOT - ALLNUTT in a similar hovering SHOT, asleep in his nest of explosives - boxes. He is not snoring, but with each exhalation his lips blow out lightly, with a small SOUND of `` Puhhh'' - `` Puhhh.'' In his sleep, comfortably, his fumbling hand scratches his haunch. There is no sound of water. CLOSE SHOT - ACROSS TOP OF AWNING - -LRB- NIGHT -RRB- It is raining, quietly but firmly. CLOSE SHOT - VERTICAL - OVER ALLNUTT It is raining into his face. Not quite waking, he pulls his blanket over his face. CLOSE SHOT - VERTICAL - ALLNUTT'S FEET as the pulled - up blanket exposes them to the quietly increasing rain. They pull up under the blanket like a touched snail into its shell. CLOSE SHOT - ALLNUTT'S FACE He is peering disconsolately from under the torn blanket. The rain is increasing. He glances aft. MEDIUM SHOT - ALLNUTT - FULL - LENGTH The rain is bristling meanly all over the hunched blanket ; he gets up, wrapping it around him, and walks past CAMERA. MEDIUM SHOT - ALLNUTT - -LRB- PAST ROSE -RRB- He comes in under the leaky awning and on into a CLOSE SHOT - ALLNUTT as he comes under the awning as quietly as he can, clearly trying not to wake up Rose. He lies down beside her, CAMERA TILTING and bringing ROSE IN CLOSE UP, and rising into VERTICAL TWO SHOT above them. Rose is asleep. He is being just as discreet and careful as he can, but the margin of dryness is narrow ; in avoidance of leakiness, and efforts to settle himself comfortably, he jostles her awake. She wakes up, facing him -LRB- his head and body are turned from her -RRB- and instantly assumes the worst of him. In profound shock and outrage, she sits up and clutches her rug about her - though she is wearing a dress. ROSE Mr. Allnutt! ALLNUT -LRB- turning, murmuring. -RRB- Sorry I woke you, Miss.. ROSE -LRB- across his line ; her eyes cold blaze. -RRB- What are you doing here? He meets her eyes and understands what she thinks of him. He is very much astonished and embarrassed. CLOSE SHOT - ALLNUTT ALLNUT Blimey, Miss! CLOSE SHOT - ROSE ROSE -LRB- measuring her words, with her really terrifying quiet anger. -RRB- Get out - this instant! CLOSE SHOT - ALLNUTT He feels an explanation is hopeless and is beyond words anyhow. He gets up out of the SHOT. CLOSE SHOT - ROSE settling down prostrate again. Her eyes follow him in cold fury. CLOSE SHOT - ALLNUTT - -LRB- FROM HER VIEWPOINT -RRB- as he walks humbly out into the rain. A splendid outburst of THUNDER and LIGHTNING blinds and deafens the SCREEN, and the rain really cuts loose. CLOSE SHOT - ROSE The thunderbolt makes her leap like a salmon ; spray from the rain gets at her face, even under the awning. Now she understands and she is a bit embarrassed and sorry ; her changed eyes look at Allnutt. CLOSE SHOT - ALLNUTT - -LRB- FROM HER VIEWPOINT -RRB- He is sitting, hunched, in the open, patiently adjusting the blanket over his head. He is facing away from her. ROSE -LRB- o.s. -RRB- Mr. Allnutt. Her voice is barely audible in smashing rain. He does not hear. CLOSE SHOT - ROSE ROSE -LRB- calling loudly. -RRB- Mr. Allnutt! MEDIUM SHOT - ALLNUTT - -LRB- FROM HER VIEWPOINT -RRB- He turns his head sadly towards her. ROSE -LRB- loud, o.s. -RRB- You may come in out of the rain, Mr. Allnutt! He looks unsure of himself, but gets up and comes towards her. He stumbles against an awning stanchion and gets a cataract down his neck and comes along under the profusely leaky awning towards Rose, stooping, then lying down and adjusting his bedding ; he is whimpering gently. ALLNUT Thanks, Miss.. CLOSE SHOT - ROSE - -LRB- PAST ALLNUTT -RRB- ROSE Certainly, Mr. Allnutt. VERTICAL TWO SHOT - ALLNUTT AND ROSE ALLNUT -LRB- after a pause. -RRB- Miss. ROSE Yes, Mr. Allnutt? ALLNUT Sorry I give you such a turn. ROSE That's quite all right, Mr. Allnutt. ALLNUT Thanks, Miss.. Night. ROSE Goodnight, Mr. Allnutt. He turns away from her and tries to make himself comfortable. A quick drop - drip - dropping of water starts directly into his face. He miserably pulls his head out of the way and it drops loudly onto the boards beside him. Back to her, Allnutt huddles into the dry space, doing his best not to touch her, yet to stay dry. As CAMERA DESCENDS INTO CLOSE UP OF BOTH, he has already dropped off. Upon one elbow she hovers over him, watching him, with a strange cool virginal tenderness. Splatterings of rain which have hit the bench above them, spray his sleeping face. Gently but inhumanly, as if he were an ugly little doll, she draws a corner of her rug across him, to protect him. FULL SHOT - THE AFRICAN QUEEN moving down the river. The water is almost painfully bright in the midday sun. MEDIUM CLOSE SHOT - ROSE at the tiller. There is a new shading of pleasure and confidence in her expression. She is almost smiling. CLOSE SHOT - ALLNUTT in the killing sunlight, and beside the devastating heat of fire and boiler -LRB- an extreme shimmering of heat waves -RRB- ; he is half - drowned in sweat, yet his face is unconcerned as he oils the cylinders. TWO SHOT - ROSE AND ALLNUTT ROSE What a frightfully strong smell, is n't it! I suppose it's bound to be at its worst in the middle of the day. ALLNUT What smell? ROSE The river. I never realized before how very strongly it smells. Allnutt sniffs at it, curiously. ALLNUT Hmm. So it does, now I notice it. Guess I'm on the water so much, I forget all about it. ROSE It's like marigolds. Stale ones. ALLNUT -LRB- tries again. -RRB- Do n't guess I ever smelt no marigolds. ROSE Well, they smell just like this. ALLNUT Do, huh? Not a very good smell for a flower. ROSE They're very pretty, though. Marigolds. ALLNUT Are, eh? He puts on some more fuel. o.s., a NOISE of soft ROARING begins. Allnutt's eyes hear it and look mean and happy ; he starts aft. TWO SHOT - ROSE AND ALLNUTT as he sits down, with cruel and secret pleasure, the ROAR loudens. ROSE Mr. Allnutt. ALLNUT -LRB- all innocence. -RRB- Yes? ROSE What is that roaring sound? ALLNUT -LRB- licking his chops. -RRB- Oh, that? Rapids, Miss.. ROSE Really? So soon? ALLNUT Just around the bend. -LRB- pause. -RRB- Kind of dangerous. -LRB- pause. -RRB- P'raps I better take over, Miss.. ROSE You be ready to - but I'd like to try it. ALLNUT -LRB- gloating. -RRB- Well - maybe that's a good idear at that, Miss. -LRB- malicious. -RRB- Learn by doin', like they say. MEDIUM SHOT - THE RAPIDS Shooting against the prow of The African Queen, which is charging downstream quite rapidly. The NOISE of water is joltingly louder. CLOSE UP - ALLNUTT Past him, wild water, rocks, a swiftly moving, ragged shore. He is pretending to tinker with the engine, in order to leave Rose alone with her fear. He is a little scared, knowing that Rose is a neophyte at steering and being a woman, may get rattled - but mainly he is feeling fine - by God, this'll big rapids. He takes time off for a quick glance back at her -LRB- o.s. -RRB- ; turning back to his tinkering, his face is even more satisfied. ROSE - MEDIUM CLOSE SHOT - -LRB- FROM HIS ANGLE -RRB- Her face is extraordinarily chiseled and tense ; her eyes are hard as diamonds. We can easily suppose her expression to be one of cold terror, as Allnutt does. This SCENE is to last about thirty seconds. The rapids are to be rough enough to excite and to give a considerable sense of hazard, but they are mild compared to what will be seen later on. A fair amount of the SCENE is just racing through loud, ragged water, but there are to be perhaps three real hazards. They might, for instance, be : the two rocks the scene opens with ; a buried rock, just spotted and avoided in the nick of time, scaring the daylights out of Allnutt and tightening Rose's face still more into this simulacrum of fear -LRB- he is comforted out of his own fears, seeing this face -RRB- ; and, caught between rocks, jutting into their only available channel, a large jagged tree - limb, bony - looking as antlers. There's no way out : Rose drives dead against it with an instinct for the angle which will bring against it the most powerful leverage : it hits hard and there is a tremendous NOISE of CRACKING and BREAKAGE. Within another couple of seconds they are in quieter water ; within a couple more, the water is almost normal, the ROAR is fading. The boat has slowed down. The ENGINE SOUND is near normal balance ; Rose distinctly relaxes, and sits down ; Allnutt relaxes at his tinkering, and finishes it off with a bit of a flourish. -LRB- From the breaking of the branches, SHOOT FROM AMIDSHIPS, sternward, on Rose past Allnutt. -RRB- While he stands, back to Rose, finishing his tinkering, Allnutt looks happy as a clam and thoroughly smug. Everything's the way he wants it, now. He checks his gauges, o.s., and turns away, and strolls back towards Rose with something of a swagger. TWO SHOT - ROSE AND ALLNUTT as Allnutt seats himself a little too smugly on the sternbench at right angle to Rose. He sizes her up for a couple of seconds, greatly relishing the moment. ALLNUT -LRB- quietly gloating. -RRB- Well, Miss, had enough? ROSE Enough? Of what, Mr. Allnutt? ALLNUT White water. Rapids. Now ya got a taste of it, how d'ya like it? Huh? ROSE Very much indeed. -LRB- Allnutt's eyes change ; his mouth falls open a little. -RRB- I'd never dreamed that any - any mere - er - physical experience could be so - so stimulating. He just keeps looking at her. He begins to need a cigarette. Without taking his eyes off her he gets one out. Rose is quite unaware of what she is doing to Allnutt - much friendlier in her tone than ever before. ROSE -LRB- fishing up the mot juste. -RRB- So - exhilarating. Allnutt puts the cigarette between his lips, and gets out a match ; he is still watching her ; every moment, he is more and more deeply aghast. ROSE I notice that near rocks, the water seems to push away from the rock. One must take that into account in steering, must n't one? Allnutt scratches a match ; it fails to light. He gets another. ROSE You know, I've only known such - excitement a few times before. His look inquires of her. He gets a match lighted. ROSE A few times, in my dear Brother's sermons, when the Spirit was really upon him. Allnutt raises the match to light his cigarette. His eyes leave hers for the lighting. His eyes look bruised and sick ; his hands are shaking. He stands up, in quiet desperation, to beat it into her thick head. ROSE Tell me, Mr. Allnutt. He looks up at her hopelessly. ALLNUT -LRB- just managing to shape the sound. -RRB- Yes? ROSE I steered rather well for a beginner, did n't I? ALLNUT -LRB- without spirit. -RRB- Not so bad, Miss, considerin'. But that was n't such bad water - nothin' compared to what's farther on. ROSE I can hardly wait! -LRB- Allnutt looks as if he could wait quite a while. A pause. -RRB- Now that I've had a taste of it I do n't wonder you love boating! He gives her one last flabbergasted, hopeless look, wheels abruptly and walks away - CAMERA SWINGING, losing Rose - and sits near the engine, turned away from her, looking crumpled and beaten. He is still shaking his head. o.s., blithely, Rose hums the opening bars of Guide Me, O Thou Great Jehovah. Allnutt shifts a little as if to look at her ; has n't the heart to ; shudders faintly ; and stretches his shaking hands toward the furnace. DETAIL SHOT - GIN BOTTLE -LRB- TWO - THIRDS FULL -RRB- as Allnutt pulls out cork, with luscious SOUND. TWO SHOT - ROSE AND ALLNUTT -LRB- AT RIGHT ANGLES IN STERN SEATS -RRB- SHOT slightly favors Allnutt. Late twilight ; the boat is moored near a bank. Rose is taking a swallow of steaming tea ; she lowers her cup. Allnutt's full mug of tea stands beside him on the bench, untouched. Rose watches him with interest. Allnutt lifts the bottle to drink ; he raises his eyes and meets hers ; sullen and defiant. He puts the bottle in his mouth, cocks it up and drinks deep of neat gin ; past the bottle, the hostility of his eyes increases. Rose looks perplexed. The rum gin burns him ; he has a brief spasm of the gasping shakes. He tries not to show this, and avoids her eyes. Genuine concern blends with her perplexity. ROSE -LRB- gently. -RRB- Is something the matter, Mr. Allnutt? He meets her eyes again, sullen, a little bitter. His eyes still on hers, he raises the bottle, cocks it up showily, and drinks again - looking at her past the bottle. The gin makes sweat start out on his forehead. He keeps on, though, taking a deep drink, watching her all the time. Finally he brings the bottle down. His eyes go out of focus, against his will. And against his will and pride, he wipes the sweat off his forehead with the palm of his hand, and the sweat from his hand onto his shirt. ROSE -LRB- gently, again. -RRB- Tell me. He looks at her with angry reproach. A pause. ALLNUT -LRB- already affected by the gin ; proud and sullen. -RRB- Nothin'. A pause. He raises the bottle ; lowers it. ALLNUT Nothin' you'd understand. He drinks. ROSE -LRB- after waiting him out. -RRB- I want to understand. I just ca n't imagine what's the matter. It's been such a pleasant day. -LRB- pause. -RRB- What is it, Mr. Allnutt? Allnutt looks at her bitterly. Suddenly he looks mad and stands up. Just as suddenly he sits down again. This makes him sore at her. ALLNUT -LRB- bitterly ; after a pause. -RRB- All this fool talk about The Louisa. Goin' down the river. ROSE What do you mean? ALLNUT I mean we ai n't goin' to do nothin' of the sort. He needs a drink on this, but Rose interrupts. ROSE Why, of course we're going! What an absurd idea! ALLNUT -LRB- feeling his oats and his gin ; mimicking nastily. -RRB- What an absurd idea! What an absurd idea! Lady, I may be a born fool, but you got ten absurd idears to my one, an' do n't you forget it! -LRB- pause. Speechless with scorn and resentment. -RRB- Huh! He drinks. A pause. ROSE -LRB- with a glimmer of tact. -RRB- Why do n't you want to go, Mr. Allnutt? ALLNUT What do I want to blow up sumpin' for? You tell me. Yeah. You tell me. That's all! ROSE -LRB- quietly. -RRB- Why do n't you want to go? A pause. ALLNUT -LRB- sullenly. -RRB- Already come further'n I ever meant to. Do n't hardly even know the river, this far down. -LRB- bitterly and a little incoherently. -RRB- Only come this far'cause there you was all by your lonesome, lost your brother and all - wot you get for feelin' sorry for people. ROSE -LRB- quietly. -RRB- Why, Mr. Allnutt? ALLNUT This river. That's why. An' Shona. ROSE Shona! ALLNUT -LRB- mimicking her tone, nastily. -RRB- Shona! -LRB- pause. -RRB- If there's any place along the whole river the Germans'll keep a lookout, it'll be Shona.'Cause that's where the old road ferries over from the South. ROSE But they ca n't do anything to us! ALLNUT Oh, they ca n't, eh? They got rifles, maybe machine guns, maybe even cannons, an' just one bullet in that blastin' gelatine an', Miss, what's left of us would be in bits and pieces. ROSE Then we'll go by at night. ALLNUT Oh no, we wo n't! ROSE -LRB- with asperity. -RRB- Now why not? ALLNUT'Cause the rapids start just a little ways below Shona, an' they ai n't nobody in his right mind ` ud tackle'em even in daylight, let alone at night. ROSE Then we'll go in daylight. We'll go on the far side of the river from Shona, just as fast as ever we can. ALLNUT -LRB- a sudden realization. Boozily, sorely. -RRB- - Say, who do you think you are, all this we'll do this an' we'll do that? ` Oose boat is this, any'ow? ` Oo asked you aboard? Huh? Huh? You crazy, psalm - singin', skinny old maid. CLOSE UP - ROSE In the first phase of realization, her lower lip thrusts out like a shovel or like the lower lip of a baby within a stone's throw of crying, and her eyes look soft with dampness. Then she catches her lower lip between her teeth in her effort to restrain herself, and her eyes harden with self - discipline. Then she does n't need the teeth any more. Her lips are tight and thin. Her whole face is edgy. Her eyes are hard with bitter resentment and with hatred. Slowly, without moving her head or altering her face, she lifts her tea into the SHOT and drinks, and lowers the cup out of the SHOT. Her face grows still harder and more immovable. Against this, o.s., mostly in breathy, lonesome undertone, on one or two phrases loudly and assertively, Allnutt is singing, rottenly and inchoately, some part of the following : ALLNUTT'S VOICE -LRB- o.s. ; singing. -RRB- Gimmy regards ter Leicester Square Sweet Piccadilly an' Myefair, Remember me to the folks darn there They'll under - sta - and. SLOW FADE on Rose as first daylight begins to appear. FADE IN",
"EXT. RIVER AND THE AFRICAN QUEEN -- MEDIUM CLOSE SHOT - ALLNUTT He is prostrate beside the engine in early morning sunlight. Except that his eyes are closed, he looks as if he had been dead for about a day. o.s., the HARSH SCRAPING of broken glass against wood and the happy shouts of early birds ; also the quiet gurgling of river water. For a few seconds, these sounds do n't even register. Then they reach into him and he winces profoundly. -LRB- NOTE : Suddenly and painfully exaggerate all SOUNDS. -RRB- His dry mouth works a little. His eyelids twitch. The eyes open - and shut fast ; light is painful to him. o.s., the SOUND of a small avalanche of broken glass being thrown overside and hitting the water. Rose's hand reaches down past the far side of his head and picks up an empty bottle and an almost empty bottle, and withdraws from SHOT. Allnutt registers vague awareness that someone is near, but does n't open his eyes. o.s., again painfully exaggerated, the SOUND of the gin case being DRAGGED along the deck. His eyes still shut, Allnutt suffers intense pain. He opens his eyes, squeezes them tight shut -LRB- which hurts him badly -RRB-, opens them again, and gazes up past CAMERA in listless, uncomprehending horror. ROSE - -LRB- FROM HIS VIEWPOINT -RRB- She is in painfully bright, early sunlight, and she is wearing white. She has lifted the bottles and the case to the bench beside her. She kneels on the bench, aloof to the CAMERA. She tosses the empty bottle astern. She is on the verge of disposing of the gin in the nearly - empty bottle ; on second thought she sniffs at it with mistrustful curiosity ; her reaction indicates disgust with the smell, with Drink, and with Allnutt. She turns the bottle upsidedown and lets the contents pour overside into the river, and tosses the bottle contemptuously astern. ALLNUTT - -LRB- SAME ANGLE AS BEFORE -RRB- - A LITTLE CLOSER His eyes are bloodshot and are swimming with tears induced by the light. He does n't quite take in what he sees. ALLNUT -LRB- a whimpering moan, pure misery ; not for what he sees. -RRB- Oh. Oh! Allnutt shuts his eyes. o.s., the GLUG - GLUG - GLUGGING of a full bottle. He looks again. He begins to comprehend and what he sees is, to him, terrible and almost unbelievable. ALLNUT -LRB- with deeper feeling but quietly ; reacting now to what he sees. -RRB- Oh! o.s., the SOUND of another flung bottle hitting the water, and of another being opened. Allnutt, using all his strength, manages to lift his head from the floor. The effort is so exhausting and the pain so excruciating that he just lets it fall ; the bang is even more agonizing. He licks his dry lips with his dry tongue and tries speaking. ALLNUT -LRB- in a voice like a crow. -RRB- Miss.. ROSE - -LRB- FROM HIS VIEWPOINT -RRB- She is emptying gin and pays him no attention. ALLNUTT'S VOICE -LRB- o.s. -RRB- Miss? She pays him no attention except to turn the inverted bottle to absolute verticle. ALLNUTT - -LRB- AS BEFORE -RRB- - A LITTLE CLOSER ALLNUT Have pity, Miss! -LRB- pause ; SOUND of `` glug - glug'' o.s. -RRB- Miss? -LRB- `` glug - glug''. -RRB- Oh, Miss, you do n't know what you're doin'. I'll perish without a hair o' the dog. SOUND, o.s., of bottle hitting water. ALLNUT -LRB- continuing. -RRB- Ai n't your property, Miss.. SOUND, o.s., of a new bottle being opened. CAMERA CREEPS CLOSER on Allnutt, whose eyes become those of a man in hell who knows, now, that his sentence is official, and permanent. With terrible effort, he lifts his head and shoulders. MEDIUM CLOSE SHOT - ROSE - -LRB- NEUTRAL ANGLE -RRB- - NORMAL EXPOSURE She is emptying gin. She hears the SOUNDS of Allnutt's moving o.s.. Her hard face hardens still more. She glances towards him, continuing to pour. MEDIUM SHOT - ALLNUTT - -LRB- FROM HER VIEWPOINT -RRB- He is with great pain and effort getting himself to his knees and his arms onto the side bench. It may seem for a moment that he is going to try to come at Rose and make a struggle for it, but no : he now gets his knees to the bench and hangs his body far out over the gunwale and drinks ravenously of the muddy water. He overhangs so far that he is in clear danger of falling in. ROSE - -LRB- SAME ANGLE AS BEFORE -RRB- - A LITTLE CLOSER She is watching him. SOUNDS, o.s., of the gin emptying, and of his drinking. She is aware he may fall in and she does n't care. ALLNUTT - -LRB- AS BEFORE -RRB- He finishes drinking and tremulously pulls himself back, and turns, and collapses into a sitting position on the bench. ROSE - -LRB- AS BEFORE -RRB- She is opening another bottle and casually watching him, and as casually looking away. She is pitiless, vengeful, contemptuous, and disgusted. ALLNUTT - MEDIUM CLOSE SHOT - -LRB- NEUTRAL ANGLE -RRB- His head hangs between his knees ; his hands hang ape - like beside his ankles. After a little he is able to lift his head. He props his temples between his hands and his elbows on his knees. He is so weak that one elbow slips, letting his head fall with a nasty jolt and a whimper of anguish. He sets himself more carefully solid and gazes ahead of him at the floor. ALLNUT Oh! ROSE - -LRB- AS BEFORE -RRB- She ignores him completely ; she lays the flap back from some canned meat. ALLNUTT - -LRB- AS BEFORE -RRB- He gets out and fumblingly lights a cigarette ; his hands are shaky. He takes a deep drag and it gives him a dreadful fit of coughing. He glances toward her piteously. ROSE - -LRB- AS BEFORE -RRB- She is slicing bread ; she ignores him. His coughing is loud, o.s. ALLNUTT - -LRB- AS BEFORE -RRB- Recovered from his spasms, he timidly tries a lighter drag. This time he can taste it. It tastes foul. He puts it out, carefully, for later use, takes one look at it, and disconsolately tosses it overside. He looks again towards Rose. He looks away again. He sighs deeply and buries his face in his hands. o.s., their SOUND abnormally sharp, the birds are singing like mad. MEDIUM SHOT - ROSE - -LRB- MID - AFTERNOON -RRB- She is sitting on a side - bench in the shade of the awning, calmly reading her Bible. She is in a clean white dress, exactly like the one she wore yesterday. Not a hair is out of place in her tight hair - do. Her bare feet are crossed demurely at the ankles. She sits up straight. She looks very cool, considering the weather. PULL BACK, bringing in her day's work : up past her left, pinned to the edge of the awning, hang her newly - laundered dress and undergarments, full of sunlight. There are a few ineradicable streaks of grease in the dress. On the bench to her right, her sewing - basket and some evidently finished sewing chores. o.s., the steady GURGLING of river water among the treeroots of the bank ; the nervous SCRAPING of a razor. FORMAL SHOT - THE ENGINE It looks much cleaner than ever before. -LRB- Same SOUNDS o.s. -RRB- The CAMERA IS RISING as the SHOT OPENS. It soon brings in Allnutt's head, past the engine, very hot - looking in strong sunlight. He is shaving. SLOW PANNING DETAIL. A welter of wet footprints and splashed, soapy deck, Allnutt's clean bare heels glistening high in the SHOT as he stands shaving. CAMERA TILTS and brings in a drowned sliver of soap. Allnutt's filthy clothes, a wet and arrestingly filthy towel. Same SOUNDS o.s., razor - scraping a little UP. Past the back of Allnutt's head on his close reflection in a small mirror, hung from a funnel - stay ; past that, Rose. Allnutt is shaving ; Rose, in b.g., is reading. It is painful to take off as much beard as Allnutt has been carrying, and he is not a man who takes pain easily ; but he does his best to keep his reactions private, and by now he is nearly through. He is whistling softly against his teeth, and frowning at his reflected work with the concentration of a surgeon. He knows, however, that he is visible to Rose, and unwisely keeps glancing towards her -LRB- she never looks up once -RRB- ; thanks to this, he lets the razor slip. ALLNUT Ow. cut myself. He glances sharply at Rose to see if she has taken any notice. She does not glance up. Allnutt resents this bitterly. He finishes shaving, and strokes his smooth cheeks with satisfaction. Rose turns a page. With a Rembrandt's patience and concern, he perfects, with his comb, the ideal coiffure, with an artistic quiff along the forehead. His eyes go vain. He treats himself, in reflection, to his idea of what the Lord of Creation should look like. Then he glances towards Rose, who keeps on reading. His look is aloof, miles above her. CLOSE UP - ROSE SOUND o.s., of Allnutt's entrance past the engine. She does not glance up, but her eyelids flicker. ALLNUTT - -LRB- PAST ROSE -RRB- He walks a couple of steps towards her in the brilliant sunlight, swaggering a little. Then he stands still, the Stag at Eve, looking at her with a certain high contempt. He is obviously challenging response and recognition. He gets none. ALLNUT -LRB- after a pause ; scornfully. -RRB- Huh! He walks in under the shade of the awning and into MEDIUM CLOSE UP - -LRB- CAMERA SWINGING PAST AND OPPOSITE ROSE -RRB- As he sits down. After another silence, he decides on a new approach. He arranges his face to express high good humor. ALLNUT -LRB- brightly. -RRB- Well, Miss, ` ere we are, everything ship - shape, like they say. PULL AWAY to TWO SHOT of Rose and Allnutt, as he awaits her reaction. No answer. ALLNUT -LRB- continuing. -RRB- Great thing to ` ave a lyedy aboard, with clean ` abits. Sets me a good example. A man alone,' e gets to livin' like a bloomin' ` og. -LRB- no answer. -RRB- Then, too, with me, it's always - put things orf. Never do todye wot ya can put orf till tomorrer. -LRB- he chuckles and looks at her, expecting her to smile. Not a glimmer from Rose. -RRB- But you : business afore pleasure, every time. Do yer pers ` nal laundry, make yerself spic an' span, get all the mendin' out o' the way, an' then, an' hone - ly then, set down to a nice quiet hour with the Good - Book. -LRB- he watches for something ; she registers nothing. -RRB- I tell you, it's a model for me, like. An inspiration. I ai n't got that ole engine so clean in years ; inside an' out, Miss.. Just look at ` er, Miss! She practically sparkles. -LRB- Rose evidently does not hear him. -RRB- Myself, too. Guess you ai n't never ` ad a look at me without whiskers an' all cleaned up, ` ave you, Miss? -LRB- no look. -RRB- Freshens you up, too ; if I only ` ad clean clothes, like you. -LRB- huh - uh. -RRB- Now you : why you could be at ` igh tea. -LRB- no recognition from Rose. -RRB- ` Ow ` bout some tea, Miss, come to think of it? Do n't you stir ; I'll get it ready. Rose does not stir. Allnutt is running low. A little silence, now. He watches her read. ALLNUT -LRB- continuing. -RRB- ` Ow's the book, Miss? -LRB- no answer. -RRB- Not that I ai n't read it, some - that is to say, me ole lyedy read me stories out of it. -LRB- no answer ; pause. -RRB- ` Ow ` bout readin' it out loud, eh, Miss? -LRB- silence. -RRB- I'd like to ` ave a little spiritual comfort m ` self. -LRB- silence ; he flares up. -RRB- An' you call yerself a Christian! -LRB- silence. -RRB- You ` ear me, Miss. -LRB- silence. -RRB- Do n't yer? -LRB- silence ; a bright cruel idea. Louder, leaning to her. -RRB- Do n't yer? -LRB- silence. Suddenly, at the top of his lungs. -RRB- HUH? EXTREME CLOSE UP - ROSE In spite of herself she flinches ; but swiftly controls it. LONG SHOT - FROM OTHER SIDE OF THE RIVER A half mile of hot, empty water, then jungle, silent on a dream of heat. On the far side the tiny boat and the two infinitesimal passengers. After two seconds, Allnutt's `` HUH?'' is heard. EXTREME CLOSE UP - ROSE In her face are victory, cruelty, and tremendous secret gratification : a Jocasta digesting her young. The ECHO comes. Over it - EXTREME CLOSE UP - ALLNUTT A second, further echo comes, and dies. ALLNUT -LRB- yelling. -RRB- Heyy! Watchful, listening, he walks out of SHOT ; CAMERA LOWERS to Rose, whose quiet, pitiless eyes - wholly unamused - follow him secretly. The ECHO returns to her ; she resumes reading. TWO SHOT - FAVORING ALLNUTT -LRB- PAST ROSE -RRB- He wanders all over the boat, CAMERA ALWAYS CENTERING him, always shifting past the statue - like reader. He barks like a dog ; he yowls like a tomcat ; he roars like a lion ; he bleats like a goat ; he crows like a rooster. Finally he sickens of it and walks back past her to his old seat at right angles to her. MEDIUM CLOSE SHOT - ALLNUTT as he sits. Clearly now he is going to try silent decorum, in imitation of her. He crosses his ankles in imitation, and settles his hands in his lap, and even holds his head primly, watching her. But something itches him under the arm and he scratches - first covertly and insufficiently, then to his heart's content. His exertions have worked up quite a sweat ; the midges of late afternoon convene enthusiastically about his head. He looks bitterly towards Rose. MEDIUM CLOSE SHOT - ROSE There is n't a bug near her. Taking her time, she finishes the last page and, not hurrying, but without pause, starts right in on Genesis. SWING CAMERA, losing Rose, bringing Allnutt into CLOSEUP. He hates her and the Good Book. PULL AWAY into TWO SHOT - of Rose and Allnutt. After a few moments of silent, motionless tableau, Allnutt hating, Rose reading, he speaks. ALLNUT Feller takes a drop too much once in a while. T's only yoomin nyture. ROSE -LRB- remotely. -RRB- Nature, Mr. Allnutt, is what we are put into this world to rise above. ALLNUT Miss, I'm sorry. I ` pologize. There. What more can a man do than say he's sorry. Eh? -LRB- no answer. -RRB- You done paid me back, Miss.. Did n't even leave me a drop. -LRB- no answer. -RRB- Come on, Miss. ` Ave a ` eart, ca n't ya? Fair's fair. -LRB- no answer. -RRB- Miss, I do n't care wot ya say, long's you say somepin. -LRB- no answer. -RRB- I'll be honest with ya, Miss : I just ca n't stand no more of it. I ai n't used to it, that's all. A pause. ROSE So you think it was your nasty drunkenness I mind. A foolish, helpless gesture from Allnutt. ALLNUT -LRB- bewildered. -RRB- Well - wot else? ROSE You lied to me. ALLNUT -LRB- with earnest dignity. -RRB- Lied? Oh no, Miss.. Lyin's one thing I do n't never do. Not unless there's no way out. ROSE You promised we'd go down the river. He is so honestly flabbergasted, this brings him up on his feet, goggling at her. When he can find words : ALLNUT Why, Miss! Is that wot it's all about? ROSE Of course. He draws a deep breath and sits down closer to her than before. He begins quietly, with great patience and reasonableness. ALLNUT Now for the last time, Miss.. Just try and listen, wo n't you? Try to understand. -LRB- Rose looks at him coldly ; her jaw is set. -RRB- It's sure death a dozen times over down this river. I ` ate to disappoint you, Miss.. But do n't blyme me. Blyme the river. ROSE You promised. ALLNUT -LRB- shouting. -RRB- Well, I'm takin' my promise back! He gets up and strides away, CAMERA CENTERING HIM, and walks past the engine. CLOSE UP - ROSE She watches after him. She is not a hundred per cent sure of victory ; only ninety - five or so. CLOSE UP - ALLNUTT - -LRB- DAWN -RRB- He is asleep on his box of high explosives. o.s., SOUNDS of early birds - and of Rose's bustling, and of a strong breeze, and of leaves. Presently he stirs, groans and opens his eyes. After a moment he glances in her direction. CLOSE SHOT - ROSE She is readying the fire for tea. ALLNUTT - -LRB- AS BEFORE -RRB- After a little, Allnutt gives up. He creakily, painfully rises from his bed and gets up into : MEDIUM SHOT - FROM OUTSIDE THE BOAT - -LRB- ON LINE WITH ENGINE AMIDSHIPS -RRB- He walks towards CAMERA into CLOSE UP and passes engine, CAMERA SWINGING INTO TWO SHOT of Rose and Allnutt. Rose is thrusting a saucepan of water into the crackling furnace. Allnutt pauses shyly. ALLNUT -LRB- a pitiful effort to sound casual, and dignified. -RRB- G'mornin', Miss.. Rose straightens up and does n't even see him, and turns and walks away, CAMERA on her, losing Allnutt. She sits on the stern bench and gets out bread and one mug and a can, and starts opening the can. He does not exist. After a few seconds, he walks into the SHOT, BACK - TO, and sits down on a right - angle bench, a few feet away from her. She continues opening the can. He lights a cigarette from the open tin ; it is damp and swollen from the night air, lights slowly, and tastes poorly, but he tries to make the best of it. o.s., the SOUND of hot water joins that of the crackling fire. Rose gets up with a cloth for the hot handle and walks up past Allnutt into CLOSE UP and OUT OF SHOT. SOUNDS, o.s., of her getting out the water and shutting the door. Allnutt's eyes follow her, wretchedly, wherever she goes. She reenters the SHOT, BACK - TO, and returns to her place, still ignoring Allnutt, and starts fixing tea for herself. CLOSE UP - ALLNUTT - NEUTRAL ANGLE He is watching her ; the last of his staying - power is dissolving. MEDIUM CLOSE SHOT - ROSE - -LRB- FROM HIS VIEWPOINT -RRB- She is stirring her tea and now she drinks some. ALLNUTT - CLOSE SHOT - -LRB- NEUTRAL ANGLE -RRB- He is watching her and thorough despair is in his eyes, and unconsciously his head begins to shake a little. ROSE - -LRB- AS BEFORE -RRB- Now she is eating bread and canned meat. ALLNUTT - -LRB- AS BEFORE -RRB- He stops shaking his head and just looks. ALLNUT -LRB- quietly. -RRB- All right, Miss.. You win. CLOSER SHOT - ROSE - -LRB- AS BEFORE -RRB- She meets his eyes, immediately, but says nothing. ALLNUTT - -LRB- FROM HER ANGLE -RRB- ALLNUT -LRB- accepting utter defeat. -RRB- Down the river we go. He turns to the engine. TWO SHOT - ROSE AND ALLNUTT ROSE -LRB- quietly. -RRB- Have some breakfast, Mr. Allnutt. He is so moved by this line that he is on the verge of tears. ROSE Or, no. Get up steam. Breakfast can wait. He reacts with the quiet hopelessness of a slave ; one beaten look at her, gets to his feet and walks towards CAMERA and engine, filling SCREEN. SHOOTING FORWARD ALONG PORT SIDE OF BOAT - -LRB- ABOUT NINE IN THE MORNING -RRB- The boat is going along at full speed. Boat fills most of r.s., a downstream vista of the river, and the bank, l.s.. The breeze is strong now ; two - foot waves ; clear sunlight. A calmly exhilarating NOISE of water and, o.s., strong, the SOUND of the engine. STRAIGHT ACROSS THE BOAT - ON ALLNUTT He is sitting on the starboard bench, back to the sun, transferring canned meat to bread. The floor of the SHOT is a high stack of firewood. The left wall of the SHOT is the engine. ROSE -LRB- o.s., calling something not fully distinguishable, as. -RRB- Which bank is Shona on? ALLNUT -LRB- shouting ; leaning his ear towards her. -RRB- ` Ow's that? ROSE - FROM SAME POSITION OF CAMERA - -LRB- DIFFERENT ANGLE -RRB- She is at the tiller but in spite of cross - bucking the waves she now has the casualness of experience. Except for much more difficult steering, she does n't have to think much about it now. Her hair is done up, but has blown part free. Her dress is flecked with the dampness of blowing water. ROSE -LRB- shouting. -RRB- Which bank is Shona on? ALLNUT -LRB- loudly, o.s. -RRB- Left. On a hill. ROSE -LRB- shouting. -RRB- Good. The sun will be in their eyes. ALLNUT -LRB- o.s. -RRB- Huh? ROSE -LRB- louder, gesturing. -RRB- The sun. Will be in their eyes. ALLNUTT - -LRB- AS BEFORE -RRB- It is becoming more real to him now. He glances towards her. He sets his breakfast aside, gets up, and goes past the engine into the bow section. ROSE - -LRB- AS BEFORE -RRB- Her eyes strain curiously after him. MEDIUM SHOT - ALLNUTT - -LRB- IN THE BOW SECTION -RRB- He walks in among the boxes of blasting gelatine, his face troubled, and looks down at them. THE BOXES - -LRB- FROM AN ANGLE OPPOSING THAT OF HIS EYES -RRB- They are disposed irregularly in the sunlight ; their red lines look sinister. MEDIUM CLOSE UP SHOT - ON ALLNUTT as, with face still more troubled, he bends over and lifts a box. REVERSE ANGLE - ALLNUTT - -LRB- SIDE TO CAMERA -RRB- The prow and river beyond him ; he is stacking the boxes along the port bow. He has stuck a rug between them and the hull. Now he stacks the last box and covers it with a rug. He stands and looks at the rug a moment, rather helplessly, then turns to CAMERA and into MEDIUM SHOT ; his face is still more badly worried. He glances back towards Rose. He stoops and drags the heavy cylinders into the starboard bow, trimming ship. He walks back towards the engine, mopping his forehead. ROSE - -LRB- AS BEFORE -RRB- She is watching him curiously. ALLNUTT - -LRB- FROM HER ANGLE -RRB- as he comes past the engine, he meets her eye, and looks away. He goes towards his bench and breakfast. ALLNUTT - MEDIUM CLOSE SHOT as he sits down. He glances towards his gauges and resumes eating. But his appetite is not so good now. ROSE -LRB- o.s., not quite distinguishably. -RRB- Do n't worry, Mr. Allnutt. ALLNUT If a bullet hits them boxes, there'll be no time to worry. Taking his knife to use it eating, he suddenly goes still and wary with a new idea. He glances secretly at the knife, and secretly towards the engine. INSERT : A PIECE OF ROTTED RUBBER HOSE, PART OF THE WATER LINE. ALLNUTT - -LRB- AS BEFORE -RRB- His face gets still darker with guile. With a clumsy imitation of concern for the engine, he gets up and walks out of the SHOT, the open knife in his hand filling the SCREEN. TWO SHOT - PAST ENGINE - FAVORING ALLNUTT -LRB- CLOSE -RRB- ROSE STANDING IN BACKGROUND. As he pretends to tinker with the engine below SHOT, his eyes flicker towards the hose and the knife and think, obviously, of danger and of Rose, of whom he is painfully aware. It is clear by his eyes and face that he is trying desperately to make up his mind to cut the hose ; and delays because he so dreads the consequences with Rose, who is watching him with mild curiosity. The decision is taken out of his hands. Past him, Rose looks with interest ahead, off the port bow. ROSE -LRB- shouting and pointing. -RRB- Mr. Allnutt! She shifts course sharp to starboard. Allnutt hears her and looks around and sees her pointing, and quickly turns and looks ahead and to port. Great fear comes into his face, but also some excitement unrelated to fear. LONG SHOT - PAST ALLNUTT AND THE ENGINE As a curve opens, the walled hill - town of Shona is disclosed. Above one building of corrugated iron, a German flag flies. EXTREME CLOSE UP - ALLNUTT Besides the fear and excitement in his face, indecisiveness reaches the point of agony. Past him, the right bank of the river approaches, moving more and more swiftly. MEDIUM CLOSE SHOT - ROSE She is near the bank. She straightens her course. EXTREME CLOSE UP - ALLNUTT He glances desperately toward the rubber hosing. INSERT : RUBBER HOSING. ALLNUTT - -LRB- AS BEFORE -RRB- He glances desperately towards Shona. Shona is swinging wide into view. People are seen, including two men apparently in uniform. Allnutt glances desperately towards his knife. INSERT : He closes the knife and slips it into his pocket. ALLNUTT - -LRB- AS BEFORE -RRB- His face is committed helplessly to catastrophe. He turns his head to call to Rose. REVERSE ANGLE - MEDIUM CLOSE - ALLNUTT ALLNUT -LRB- over his shoulder, as he crouches. -RRB- Keep as low as ya can, Miss.. ROSE - -LRB- FROM HIS ANGLE -RRB- She nods, and crouches below the benches, her hand still high to steer. INSERT : THE RUBBER HOSE. as it bursts ; a strong spume of water. CLOSE UP - ALLNUTT eyes to SOUND. CLOSE UP - ROSE eyes to SOUND. INSERT : The WATER GAUGE slowly drops. ALLNUTT - ANOTHER CLOSE UP as with frantic speed he gets tape and a piece of flat rubber out of his toolbox. INSERT : RUBBER HOSE, as Allnutt claps the rubber to the burst hose and starts taping ; water still escapes abundantly. CLOSE UP - ALLNUTT - -LRB- FROM ANGLE OF HOSE INSERT -RRB- His desperate face as he works. INSERT : The PRESSURE GAUGE, sinking. INSERT : The WATER GAUGE, still lower. o.s., the engine SOUND slows and fades to a lugubrious CLANKING, then stops altogether. From here on, very quiet but in all shots on the boat, steadily LOUDER, a faint RUMBLING ROAR, o.s., the rapids. MEDIUM SHOT - ROSE anxious and much interested, but no fear. ALLNUT -LRB- o.s. -RRB- Just turn ` er loose, Miss.. Let ` er drift. Rose looks uncomprehending. MEDIUM SHOT - ALLNUTT - -LRB- FROM HER ANGLE -RRB- He is hard at work. There are no pencils of steam any more. ALLNUT -LRB- over shoulder ; bawling desperately in the silence. -RRB- Let ` er drift! All we can do! ROSE - -LRB- AS BEFORE -RRB- She nods. She releases the tiller. o.s., the SOUND of a bullet ; followed, seconds later, by the REPORT of a rifle. Rose looks towards Shona and towards Allnutt. ALLNUTT - -LRB- AS BEFORE -RRB- He is working. Water is still splattering. ALLNUT -LRB- over shoulder. -RRB- ` Cross our bows, I reckon. Did n't ` it us any'ow. He ducks still lower to his work. LONG SHOT - THE AFRICAN QUEEN and its occupants, through field glasses, from high bank. Even so, they are small, on the far side of the river. 1ST OFFICER -LRB- o.s. in German. -RRB- But why did n't they put in? 2ND OFFICER -LRB- o.s. in German. -RRB- Probably they're making for the lower landing. LONG SHOT -LRB- NOT THROUGH GLASSES -RRB- - LOWER LANDING Deep in l.s., the lower landing, which is small. High in r.s., The African Queen. MEDIUM SHOT - 1ST AND 2ND OFFICERS AND SWAHILI TROOPS on hard, bare ground, corrugated iron building, and German flag, and a portion of the town, in b.g. 1st Officer is a moderately stupid German. 2nd Officer is a moderately intelligent German. The Swahilis, in their whites, with their elderly Martini rifles, are all eyes and teeth and excitement - and eagerness to use their weapons. 1ST OFFICER -LRB- in German. -RRB- Fire twice more across their bows. 2nd Officer raises rifle, with telescopic sight. LONG SHOT - THE AFRICAN QUEEN - -LRB- THROUGH CROSS - HAIRED SIGHT -RRB- raked from stern to stem. 2ND OFFICER -LRB- o.s. in German. -RRB- She is adrift. 1ST OFFICER -LRB- o.s. in German. -RRB- Fire. The shot moves ahead of the boat. A little kick in the SHOT as the rifle fires ; SOUND o. s. The boat advances into the SHOT. 1ST OFFICER -LRB- o.s. in German. -RRB- Again. The shot again leads the boat safely. Some kick, SOUND o. s., and advance of boat as before. MEDIUM SHOT - THE OFFICERS AND THE NATIVES 1ST OFFICER -LRB- in German. -RRB- She's not turning. LONG SHOT - THE BOAT is opposite the lower landing, still at far shore. 2ND OFFICER -LRB- o.s. in German. -RRB- She ca n't. She is adrift. OFFICERS AND MEN - -LRB- AS BEFORE -RRB- 1st OFFICER She could anchor. 2nd Officer has no answer for that. 1ST OFFICER -LRB- quietly, to Swahili corporal, in Swahili. -RRB- Order your men to fire. The corporal clicks heels and salutes with enthusiasm, and about face, to his men. CORPORAL -LRB- happily and bossily, in Swahili or in Swahili - esque German. -RRB- Fire! The boys are all eagerness and delight. They hurry forward into : A TRUCKED FRIEZE OF MEDIUM CLOSE UPS Some fall prone to fire as they have been trained ; others stand ; several squat where they take aim. It is clear by their handling of their weapons that they are all farcically lousy shots. A SHOT ALONG THEIR RAGGED LINE - some prone, some standing. CORPORAL -LRB- with a sweeping gesture. -RRB- Fire! They fire a ragged volley, rifles at all sorts of angles. MEDIUM SHOT - ALLNUTT - -LRB- PAST ROSE -RRB- Allnutt is still hard at work. The boat is moving faster, near the bank. There is a peculiar multiple NOISE in the air, like bees in a violent hurry, accompanied by the SOUND of tearing paper. ALLNUT -LRB- crouching still lower at his work. -RRB- They got us! ROSE - -LRB- FROM HIS ANGLE -RRB- curious about the sound. Now comes the straggling REPORTS OF RIFLES ; a volley echoing back from cliff to cliff. INSERT : Allnutt completes his taping. ALLNUTT - -LRB- FROM ROSE'S ANGLE -RRB- stepping away. ROSE -LRB- o.s. -RRB- Finished? ALLNUT Yes - if we can get up steam in time, an' the boiler'll stand that much cold water, an' the mend holds. He puts on a lot of wood, and he gets the pump going, cautiously. There is a dangerous straining and CRACKLING SOUND from the boiler as the cold water rushes in. Across it, there is another BUZZING of bullets. Some speckle the water ; some hit the heightening rock cliff above and past the boat ; the reports arrive and ECHO. ALLNUT -LRB- continuing ; he has been cringing and mute during the buzzing ; he speaks across the reports. -RRB- If only we do n't drift into the back eddy. ROSE - -LRB- AS BEFORE -RRB- She nods. She is watching anxiously, helplessly. ALONG STARBOARD - -LRB- SHOOTING FORWARD FROM HER ANGLE -RRB- The fast current in which they drift, and the slow back - eddy, and their dividing line, are visible. SWING SHOT to CENTER along axis of boat and on Allnutt. o.s., there is the SOUND of a much faster bullet, and suddenly, causing Allnutt to leap like a stricken faun, the whole boat RINGS like a harp. INSERT - THE WIRE FUNNEL - STAY on portside has parted, close above the gunwale. It hangs loose by the funnel. ALLNUTT - MEDIUM CLOSE SHOT noting and reacting. He turns to Rose, CAMERA SWINGING into TWO SHOT. She has noticed it too, but is not particularly frightened. o.s., there is a METALLIC SMACK. They glance up sharply. DETAIL SHOT - -LRB- FROM ALLNUTT'S ANGLE -RRB- - A HOLE high in the funnel. DETAIL SHOT - -LRB- FROM ROSE'S ANGLE -RRB- - ANOTHER HOLE on the far side of the funnel. INSERT : WATER GAUGE, rising. CLOSE SHOT - ALLNUTT checking gauges, working hard. INSERT : PRESSURE GAUGE, rising. CLOSE SHOT - ALLNUTT crouching. He adjusts pump to let more water in. The straining SOUNDS intensify. He opens the furnace door. LONG SHOT - THE BOAT -LRB- THROUGH TELESCOPIC SIGHT -RRB- o.s., the rifle FIRES ; the shot kicks. CLOSE SHOT - ROSE as a bullet WHINES past overhead. o.s., the furnace door CLANKS SHUT and there is an increased SOUND of fire. She looks reprimandingly towards the bank. We can scarcely see the figures of the officers and men. The rifle REPORT comes through. MEDIUM SHOT - THE OFFICERS AND MEN The men are sheepish and downcast in b.g.. The 1st Officer, who fired, lowers his rifle. The 2nd Officer has field glasses. They look at each other. The 1st Officer shrugs. 1ST OFFICER -LRB- in German. -RRB- Give it to me. He takes the rifle and takes careful aim. LONG SHOT - THE BOAT - -LRB- THROUGH THE TELESCOPIC SIGHT -RRB- He is leading Allnutt just a trifle, and leisurely trying to perfect his aim. While he takes his time, the boat crosses the path of the full glare of the sun. He mutters some German expletive under his breath, and FIRES into blind glare. DETAIL SHOT - GELATINE BOXES A corner of one of the gelatine boxes flies apart in splinters. MEDIUM CLOSE SHOT - THE TWO OFFICERS as the 1st Officer lowers the rifle, his eye hurt by glare, he hands it back to the other. 1ST OFFICER -LRB- in German. -RRB- Fire at random. CORPORAL Everybody shoot. Everybody happily starts shooting at random. The natives love it. FULL SHOT - ALONG THE FULL LENGTH OF THE BOAT - ON ALLNUTT - PAST ROSE Ahead, the escarpment looms, the right bank narrows, a deep shadow between them. The ROAR is by now almost deafening. ALLNUT -LRB- shouting as loud as he can. -RRB- Man the tiller now - we'll try. She does n't understand ; she does nothing. He gestures - the manipulation of a tiller. Rose takes it. The SINGING of the bullets is all but inaudible, but three hit the boat. Allnutt starts the engine. It stammers and gulps and dies. The boat swings with great speed into deep, cool shadow as he tries again. It stammers and catches, and dies. SHOT PAST ALLNUTT - AND THE PROW The water is terribly swift, but not yet stony ; but within a hundred yards ahead there is a terrific cataract. EXTREME CLOSE UP - ALLNUTT - -LRB- PAST HIM, ROSE -RRB- There is terrific tension in his face, but he is much too busy to be frightened. Rose's face is a sharpening image of her face among the easier rapids. Now that they have come within close, high stone banks, the ROAR is prodigious. Allnutt, below SCENE, is working on the engine. THE CATARACT - -LRB- FROM HIS ANGLE -RRB- twice as near. ALLNUTT - -LRB- AS BEFORE -RRB- The engine catches and rises, just AUDIBLE ABOVE the ROAR OF WATER. CATARACT - -LRB- FROM ALLNUTT'S ANGLE -RRB- They swallow ten of the last twenty yards before the cataract. CLOSE UP - ROSE standing, looking intensely ahead, hand firm on tiller. THE BOAT - -LRB- FROM ALLNUTT'S ANGLE -RRB- as it enters upon the cataract. CLOSE UP - ALLNUTT as he drops onto his bench next the engine. ALLNUT Our Father Who art in Heaven. The African Queen bucks like a bronco. The air is full of spray and of the ROAR of rushing water. Allnutt serves the engine with panic in his soul. Out of the tail of his eye, he glimpses rocks flashing past. CLOSE UP - ROSE She rides the mad tide like a Valkyrie, weaving a safe course through the clustering dangers. There comes a place where the river widens and the sweep of the current takes The African Queen over to the opposite bank, as if she were no more than a chip of wood. Rose tugs at the tiller with all her strength. The bows come around. It looks for a space as if the stern would be flung against the rocks. The boat just manages to hold her way. Then a backwash catches her, flinging her out again into midstream, so that Rose has to force the tiller across with lightning swiftness. Hardly are they straight again when the banks close in upon them and Rose must instantly pick out a fresh course, through the rocks that stud the surface in flurries of white foam. FULL SHOT - THE AFRICAN QUEEN plunging down a narrow ribbon of water between vertical faces of rock. CLOSE SHOT - ALLNUTT as he waves at the engine and shouts something that is drowned out by the ROAR of the waters. CLOSE UP - ROSE She shakes her head and her lips form the words : `` I ca n't hear.'' CLOSE SHOT - ALLNUTT gesticulating frantically. He moves forward into a CLOSE UP and shouts : ALLNUT -LRB- shouting. -RRB- Need fuel! We got to get fuel! CLOSE SHOT - ROSE She nods, to show her understanding of their plight. FULL SHOT - THE AFRICAN QUEEN There is a natural dam ahead, only broken in the center, and there the water piles up and tumbles over in a vast green hump. The launch puts her nose and heaves up her stern as she hits the piled - up water ; then she shoots down the slope, landing with a crash on the high green waves beneath the waterfall. MEDIUM SHOT - THE AFRICAN QUEEN - -LRB- SHOOTING PAST ROSE -RRB- Green water comes boiling over the port deck and into the boat. Allnutt must hold onto the engine to keep from being swept off his feet. It seems as though The African Queen is doomed to put her nose deeper and deeper into the torrent until she will submerge entirely - but at the last possible moment she shakes herself loose and comes clear. CLOSE SHOT - ROSE as she throws her weight on the tiller ROSE -LRB- shouting. -RRB- Stop the engine! CLOSE SHOT - ALLNUTT as he obeys dazedly. MEDIUM SHOT - THE AFRICAN QUEEN The maneuver was nicely calculated ; the launch's momentum carries her through the edge of the eddy into the slack water under the lip of the dam. She comes up against this natural pier with hardly a bump, and instantly a trembling Allnutt is fastening painters to rocks. ALLNUT Whew! FULL SHOT - ROSE as she starts to rise, but finding herself weak in the knees, sits back momentarily. Despite an empty feeling in her stomach and a pounding heart, she wears a smile of satisfaction. She looks around. They are moored in what must be one of the loveliest corners of Africa. There are numerous shelves on the high banks bearing flowering plants which trail shimmering wreaths down over the rocks. A beam of sunlight reaches over the edge of the gorge and turns its spray into a dancing shadow. The NOISE of the fall is not deafening, but rather a pleasant musical accompaniment to the joyful SINGING of the river. ROSE How lovely! Allnutt enters the SHOT from BEHIND CAMERA. She turns her smile on briefly. then raises her eyes again to the hanging gardens above. ROSE -LRB- continuing. -RRB- Lovely, is n't it. ALLNUT -LRB- following her gaze. -RRB- It is at that. -LRB- he laughs suddenly. -RRB- We sure pulled it off, did n't we, Miss? Sucked the Germans in proper. They were so surprised to see the ole African Queen - they did n't think of shootin' at us till we were almost past. They did n't believe anybody'd try to get down these gorges. Did n't believe nobody could. Well, we showed'em, did n't we? -LRB- Rose nods. -RRB- Not that I'd like to do it every day of the week. We took on enough water to sink anything else that floats. He reaches for the pump and goes to work. ROSE -LRB- coming out of her reverie. -RRB- Here - let me do that. ALLNUT -LRB- protesting. -RRB- Oh, no, Miss.. ROSE Please let me. ALLNUT All right - but do n't wear yourself out. I'll pick up some wood. Rose applies herself to the pump. It takes her a little while to get into the right rhythm, and when she does, even so small a thing as this brings a thrill of achievement. ROSE I hardly know what happened after Shona. Everything's a jumble. I have no idea how far we've come or whether it's morning or afternoon or - MEDIUM SHOT - ALLNUTT AND ROSE as Allnutt gathers wood on the bank. ALLNUT I guess you were too busy, Miss, to pay attention to anything but what you were doing. ROSE -LRB- hesitantly. -RRB- Did I - do all right? ALLNUT -LRB- with deep feeling. -RRB- Better'n all right, Miss. CLOSE UP - ROSE Her face flushes with pride. PAN SHOT - ALLNUTT as he goes back onto the boat carrying an armload of wood. He is limping a little. He lets the wood fall by the engine, then sits down and begins to unlace his canvas shoe. ALLNUT Picked up a thorn on the bank, I guess. Went right through the rubber sole. ROSE Let me. On her knees, she slips the shoe off ; she takes his slender, rather appealing foot into her hands. She finds the place of entry of the thorn and presses it with her finger - tips while Allnutt twitches and jumps with absurd ticklishness. ROSE No, there's nothing there now. She lets his foot go. ALLNUT Thank you, Miss.. He lingers on the bench, gazing up at the flowers, while Rose lingers on her knees at his feet. ALLNUT -LRB- a certain awe in his tone. -RRB- It is pretty at that. Rose looks up at his face. There is something appealing, almost childlike about the little man as he looks wonderingly around. Her expression grows tender ; she would like to pet him. He looks down at her. She averts her eyes. ALLNUT It reminds me - that waterfall does - of - Allnutt never tells what it reminds him of. He puts out his hand toward Rose. She catches it - to hold it, not to put it away. Allnutt comes down to his knees and they are in each other's arms. LONG SHOT - AFRICAN QUEEN - -LRB- EARLY MORNING -RRB- as a few slanting rays of the sun strike her funnel. Vapors still cling to the surface of the river. Over the SOUND of the waterfall, comes the tuneful SINGING of a bird. Presently Rose's figure is revealed moving about. MEDIUM SHOT - ROSE as she pours tea into two cups, and moves with them toward the stern, CAMERA PANNING WITH HER as she crosses to the sleeping Allnutt. CAMERA MOVES into CLOSE TWO SHOT as she kneels beside Allnutt and puts one tea - cup down close to his outstretched hand. ROSE -LRB- softly. -RRB- Mr. Allnutt. I mean - dear. ALLNUT -LRB- opening his eyes. -RRB- Well now - blimey! This is more like it. Breakfast in bed. ROSE Two spoonfuls of sugar is right, is n't it? ALLNUT -LRB- nods. -RRB- Fancy your building the fire and all - while I slept. Rose regards him tenderly for a long moment ; then, with a birdlike movement, she kisses him on the cheek. Allnutt puts his arms around her. ROSE Dear - there's something I simply must know. ALLNUT What's that? ROSE -LRB- after a blushing interval. -RRB- What's your first name? ALLNUT Charlie. ROSE -LRB- to herself like a schoolgirl. -RRB- Charlie. Charlie. Charlie. ALLNUT Give us another kiss. ROSE -LRB- her arms around him, kissing him. -RRB- Charlie! Charlie dear. They hold each other for a while. Then she slips out of his arms, hands him his cup and they begin stirring their tea. Rose looks at the beauty all around them. ROSE -LRB- her eyes suddenly wet. -RRB- This must be one of the loveliest places in all Africa. ALLNUT I've been around a bit and I must say I never seen no place to compare with it in the whole world. Kinda hate to leave it. -LRB- hastily, as though he fears being misunderstood. -RRB- Not that I ai n't all for goin' on, Y' unnerstand. -LRB- she gives his hand a squeeze. -RRB- Do you spose that last big cataract coulda been Ulanga Falls? As I remember the map, it was just a little way down from Shona. And if it was Ulanga, there ai n't no more big cataracts between us an' the lake. ROSE How much farther is the lake, Charlie? ALLNUT Oh - ` bout two ` undred miles. They are quiet a moment. Abruptly, Rose gets final, and energetic - swallows the last of her tea in that manner and stands up, a touching blend of spinsterish edginess and blossoming female softness. ROSE Well, I suppose it's time we were on our way. FULL SHOT - DECK OF BOAT Rose takes her place at the tiller and Allnutt goes forward in unquestioning obedience. He is boss of the family, but she is boss of the boat and the voyage. He casts off, and starts up the engine. Again The African Queen is under way. CLOSE SHOT - ROSE at the tiller. She looks back, drinking in the place with her eyes. She wants never to forget a single detail. Allnutt enters the SCENE - puts his arm around her, and stands looking back at the loveliest place in the world. MEDIUM SHOT - AFT - PAST THEM We see the waterfall and the flowers withdraw. The SOUND of the waterfall still dominates - a SOUND of serene, inexhaustible vitality like that of their bloodstream. ALLNUT -LRB- in a broken voice. -RRB- Give us another kiss, old girl. They kiss, as the boat is swept into motion. FULL SHOT - THE AFRICAN QUEEN The river is smooth, swift and fairly straight. The launch passes some hippos bathing in the shallows. The deep, swift - running channel carries her to within a few yards of the great beasts. Allnutt and Rose shout at them and wave their arms. The hippos squeal like pigs. Allnutt imitates the SOUND, a feat which Rose finds to be funny beyond words. She laughs until it is painful and she has to hold her side. Allnutt laughs too, between squeals, hugely delighted with the success of his imitation. Just as Rose is about able to control her laughter, he squeals once again, which sends her off into fresh peals of mirth. ROSE Stop, Charlie - stop it! Their laughter begins to die down, then starts up again. Finally comes a moment of silence while they struggle to regain breath, and during that moment Allnutt hears a SOUND which is not at all funny. ALLNUT Rosie, listen. You ` ear wot I ` ear? OVER the SOUND of the engine, comes a distant ROAR. ALLNUT I guess that was n't Ulanga Falls, after all. ROSE -LRB- soberly. -RRB- I guess not. Allnutt applies himself to the boiler, putting more wood in, adjusting the draft. The speed of the river increases, as does the DIN of the approaching cataract. The African Queen begins to heave among the first waves of the race. CLOSE SHOT - ROSE staring forward as she braces herself once more to hold the tiller steady. LONG SHOT - THE RIVER AHEAD - -LRB- FROM ROSE'S VIEW -RRB- as the waterfall comes into view, Allnutt in f.g.. He throws her a swift, backward look. CLOSE UP - ROSE scared, but game. ROSE -LRB- calls. -RRB- Goodbye, Charlie. CLOSE UP - ALLNUTT shouting an answer ; his voice is lost in the UPROAR. FULL SHOT -LRB- MOVING -RRB- - THE AFRICAN QUEEN as she rears up and hangs for a moment at the crest of the waterfall. Then she shoots forward and down, finally to crash in a tangle of currents below the waterfall. She shakes with the impact. Water flies back, high over the top of the funnel, then she surges on. There is a TEARING SOUND beneath, followed by a horrid vibration which seems as if it will shake the boat to pieces. CLOSE UP - ROSE ROSE -LRB- screams. -RRB- Keep her going, Charlie! CLOSE SHOT - ALLNUTT opening the throttle. The devastating vibration increases. CLOSE SHOT - ROSE as she fights to keep the boat in mid - current, but something is wrong with the steering. ROSE -LRB- screams. -RRB- Charlie! CLOSE SHOT - ALLNUTT He points toward the bank where a big rock juts out into the river. CLOSE SHOT - ROSE fighting the tiller. The boat swings around crabwise toward the rock, and it looks for a moment as though the stern will surely crash into it. Rose keeps the tiller hard over. Sure enough, The African Queen comes all the way about, her bows to the shore, grounded ; but the maneuver is not completely successful. Instantly she heels and rolls. A mass of water comes boiling in over the gunwale. The boiler fire is extinguished and a wild flurry of steam pours out. CLOSE SHOT - ALLNUTT Grabbing a painter, he leaps like an athlete into the whirling eddy, gets his shoulder under the bows and heaves. MEDIUM SHOT - THE BOAT The bows slide off and the boat rights herself, wallowing, three - quarters full of water. Instantly the current pulls her downstream. CAMERA PANS as Allnutt leaps up the face of the rock, clutching the painter. He gives it a turn around an angle of the rock and braces himself. His shoulder - joints crack as the rope tightens, but slowly the boat swings in to shore. Five seconds later, she is safe, and Allnutt is making painter after painter fast to the shore. CLOSE SHOT - ROSE standing on the bench in the stern, the water slopping at her feet. She manages a smile at Allnutt. She feels a little sick and faint now that it is all over. CLOSE SHOT - ALLNUTT He sits down on a rock and grins back at her. ALLNUT We nearly done it that time, did n't we, Rosie. CLOSE SHOT - ROSE as she sits on the gunwale. She does n't wish to let her weakness be seen. She forces herself to be matter of fact. ROSE I wonder how much we've lost. CLOSE SHOT - ALLNUTT ALLNUT Let's get this water out and see. He swings himself aboard, splashes down to the waist and fishes about for the pails. CLOSE SHOT - ROSE as she tucks her skirt up into her underclothes as though she were a little girl at the seaside. CAMERA PANS with her to Allnutt. She takes a pail and the two of them go to bailing, and conversation ceases with the effort. MEDIUM CLOSE SHOT - ALLNUTT - -LRB- SHOOTING DOWN OVER ROSE'S SHOULDER -RRB- He has gotten up a couple of floor boards in the waist, and is down on his knees inspecting the planking. ALLNUT It's better than we coulda hoped for. We ` ave n't lost nothin', far as I can see. ` Ave n't damaged ` er skin worth mentionin'. I shoulda thought there'd been an ` ole in ` er somewheres, after wot she's been through. ROSE What was all that clattering just before we stopped? ALLNUT We still got to find that out, old girl. ROSE How are we going to do that, dear? ALLNUT I'll ` ave to go underneath and ` ave a look. He is out of his shirt and trousers in a jiffy. His drawers are the old - fashioned kind reaching to the knee and tying up with a string behind. He picks up a rope and ties one end around his middle and gives the other end to Rose. ALLNUT There ai n't no other way. You stay ` andy with that rope - case there's a fancy current down at the bottom. ` Ere goes! And over the side he goes. His feet remain in view for a moment ; then, kicking, they disappear. UNDERWATER SHOT - THE PROPELLER SHAFT OF THE LAUNCH Allnutt swims into the picture, giving forth with bubbles. He inspects the shaft. CLOSE SHOT - ROSE leaning far over the stern, trying to glimpse what is happening beneath The African Queen. Presently, Allnutt's head breaks the surface of the water. ROSE -LRB- hovering anxiously over him. -RRB- Could you see anything, dear? ALLNUT Yes. MEDIUM SHOT - ALLNUTT AND ROSE With her help, he climbs back aboard, sits down on the bench. Rose sits beside him and waits for him to regain his breath. She puts out her dry hand and clasps his wet one. ALLNUT -LRB- dully. -RRB- Shaft's bent to blazes like a corkscrew, and there's a blade gone off the prop. ROSE We'll have to mend it, then. ALLNUT Mend it! -LRB- he laughs bitterly. -RRB- Not likely. ROSE Why is that, dear? -LRB- he does n't answer. -RRB- What shall we have to do before we go on? ALLNUT I'll tell ya. -LRB- savage despondency in his tone. -RRB- I'll tell ya what we could do if we was sittin' in the landin' slip at Limbasi. We could pull this old tub out an' take the shaft down an' ` aul it over to the workshop where they'd forge it straight again. An' then we could write to the makers and get a new prop. They might ` ave one in stock'cause this boat ai n't over thirty years old. An' while we was waitin' we might clean ` er bottom an' paint ` er. Then we could put in the shaft an' the new prop an' launch ` er an' go on as if nothin' ` ad ` appened. - But this ai n't Limbasi, an' so we ca n't. ROSE -LRB- after a pause. -RRB- Ca n't you get the shaft out without pulling the boat on shore? ALLNUT I dunno. I might. Means workin' underwater. Could do it perhaps. ROSE Well, if you were able to get the shaft up on shore, could you straighten it? ALLNUT Ai n't got no hearth. Ai n't got no anvil. Ai n't got no coal. Ai n't got nothin'. An' furthermore, I ai n't no blacksmith. ROSE -LRB- tapping her memory. -RRB- I saw a Masai native working once. Using charcoal. on a big hollow stone. He had a boy to fan the charcoal. ALLNUT Yes, I've seen that, too! But I'd use a bellows, myself - make them easy enough. ROSE Well, if you think that would be better. ALLNUT -LRB- the engineer in him taking over. -RRB- There's ` eaps an' ` eaps of driftwood up on the bank. ROSE Why do n't you try it? ALLNUT -LRB- suddenly shying. -RRB- No. It ai n't no use, Rosie, old girl. I was forgettin' that prop. There's a blade gone. ROSE Ca n't we go on the blades that are left? ALLNUT There's a torque. Prop would n't be balanced. Would n't take five minutes for the shaft to be like a corkscrew again. ROSE We'll have to make another blade. There's lots of iron and stuff you could use. ALLNUT -LRB- ironically. -RRB- And tie it on, I suppose. ROSE -LRB- missing his irony. -RRB- Yes, if you think that will do. But would n't it be better to - weld it? That's the right word, is n't it? Weld it on? ALLNUT You're a one, Rosie. Really you are. -LRB- laughs. -RRB- ROSE Is n't weld the right word, dear? You know what I mean even if it is n't, do n't you? ALLNUT Oh, it's the right word, all right. He laughs again. At first, Rose is afraid that his laugh is caused by desperation, but when she sees that it is not, she laughs with him. Directly they are in each other's arms, kissing as two people might be expected to kiss on the second day of their honeymoon. UNDERWATER SHOT - ALLNUTT working on the shaft. Now and then he bangs his hammer on the hull of the boat. Apparently he and Rose have a system of signals. Just as he succeeds in loosening the bracket supporting the shaft, a whim of the river expresses itself in a fierce underwater swirl. Allnutt is turned upside down, but he holds onto the bracket like grim death. ROSE - IN THE STERN pulling in on the rope. Allnutt comes to the surface, drops the bracket into the boat. ALLNUT -LRB- gasping. -RRB- Swallered about half the river that time. ROSE You were down there an awfully long time. I got scared. ALLNUT Shaft is ready to come out now. It'll be too heavy for me to swim up with. I'll ` ave to walk with it in to shore. Well, ` ere goes - for the last time, I ` ope. ROSE Charlie. ALLNUT Huh? ROSE Let me help you. ALLNUT ` Ow do you mean? She begins to peel off her clothes. ALLNUT Wot d'you think you're goin' to do? ROSE Go down with you. ALLNUT An' get drownded? You do n't know wot it's like, Rosie. Them currents is just fierce. -LRB- he shakes his head. -RRB- Wot'll you be thinkin' of next! -LRB- he takes two deep breaths. -RRB- Well, ` ere goes. -LRB- After a third and deeper breath, he is gone. -RRB- CLOSE SHOT - UNDERWATER - THE SHAFT Allnutt swims into view, slides the shaft out through the bearings and begins to carry it toward shore. The current catches him. He loses his footing, regains it, only to fall again. The heavy shaft is too much for one man to handle. He is struggling vainly with it when into the SCENE swims Rose. She takes one end of the shaft, Allnutt the other, and together they walk under water toward shore CLOSE SHOT - MAKESHIFT FORGE - NIGHT Rose is working the bellows while Allnutt hammers patiently. Presently he lays aside the hammer and, using a taut string, judges the straightness of the shaft. Apparently he is pleased with his work, for he grins at Rose and nods briefly. ALLNUT If my old dad ` ad put me to blacksmithin' when I was a kid, I do n't think I should never ` ave come to Africa. I might've -. -LRB- a faraway look comes into his eyes ; he is thinking about Charing Cross on a Saturday night ; finally he shakes himself. -RRB- - But then I should n't never ` ave met you, Rosie old girl. -LRB- he goes back to hammering. -RRB- I would n't trade you for all the fried fish shops in the world. ROSE -LRB- protesting this accolade. -RRB- Oh, Charlie! He slips a ring of wire over the end of the shaft and moves it up and down its length, testing the diameter. ALLNUT -LRB- finally. -RRB- Well, I guess it's just about as good as I can get it - And it did n't take so long a time, neither. ROSE Only a week. ALLNUT The blade's a different proposition. I'll ` ave to make it. INSERT : THE NEW PROPELLER BLADE -LRB- DAY SHOT -RRB- held in place on stone anvil with a pair of pliers ; it is beginning to take shape under blows of Allnutt's hammer. The pliers carry it over the other two blades, which are its models, and turn it this way and that for purposes of comparison. UNDERWATER SHOT - ALLNUTT AND ROSE getting the shaft, with its new propeller, back into position. CLOSE SHOT - THE PROPELLER -LRB- UNDER WATER -RRB- turning. SOUND of the engine, o.s. CAMERA TILTS UP. Allnutt is leaning over the stern, watching. In the b.g. stands Rose, with her hand on the throttle. ALLNUT It turns right enough. But that do n't prove nothin' much. Will it stand up under a full head of steam, that's the question. We'll get our answer out there - and Lord ` elp us if it ai n't the right one. ROSE Let's find out right now. ALLNUT Why not? TWO SHOT - ROSE AND ALLNUTT Rose comes back and takes the tiller in hand. Allnutt casts off the moorings. As the bows come out into the current, he gently opens the throttle. CLOSE SHOT - ALLNUTT ALLNUT Goodbye, darling. He bends over the engine. CLOSE SHOT - ROSE ROSE Goodbye, darling. Neither she nor Allnutt hears the other ; neither is meant to ; there is a high courage in them both. FULL SHOT - THE AFRICAN QUEEN CAMERA PANS with boat as she surges out into the stream. She spins around as her bows come into the river, and Rose puts the tiller across. Next moment she is flying down the stream once more.",
"EXTERIOR -- THE RIVER -- LONG SHOT In the foreground, a spray of jungle foliage in sharp and exotic contrast to the upland pines of the last sequence. The African Queen comes into view, and CAMERA PANS with her. A flock of ibis in the path of The African Queen rise on great snowy wings, only to settle again when she has passed. CLOSE SHOT - ALLNUTT AND ROSE looking about them. ALLNUT Well, we done it, old girl. We got down the rapids all right. I did n't think it could be done. If it ` ad n't been for you, sweetheart, we should n't be ` ere now. Do n't you feel proud of yourself, dear? ROSE -LRB- indignantly. -RRB- No, of course not. Look at the way you made the engine go. Look how you mended the propeller. It was n't me at all. -LRB- with even greater emphasis. -RRB- I do n't think there's another man alive who could have done it. ALLNUT -LRB- wryly. -RRB- I do n't think anyone's likely to try. LONG SHOT -LRB- MOVING -RRB- - A TURN IN THE RIVER Her waters widen and a dreary, marshy, amphibious world is revealed ; tree trunks and little creeper - entangled islands take the place of the foaming rocks of the upper river. MEDIUM SHOT - ALLNUTT AND ROSE ALLNUT Looks like this old river got tired of all that runnin' an' jumpin' she did an' decided to lay down an' rest for a while. ` Ow about our doin' the same, Rosie - seein' as ` ow the sun's goin' down. Rose nods. She edges The African Queen in towards the shore. Allnutt gets his boat hook into the stump of a large tree which, still half alive, grows precariously on the edge of the water with half its roots exposed. Rose goes to the boiler and starts making tea, while Allnutt gets a line around a root. There is hardly any current. The light is fading. ALLNUT It must be right ` bout ` ere the river changes her nyme from Ulanga to Bora. -LRB- he slaps at a mosquito. -RRB- Not that it matters. Nobody lives between ` ere and the lake. Unless you call monkeys people. He slaps again. There is the high frequency SOUND of mosquitoes which fill the air. ROSE -LRB- slapping. -RRB- How much farther do you think it is to the lake? ALLNUT Oh - not so many miles, but - He slaps his arms and legs, get up and stands and makes swift passes in the air, as though shadow - boxing. ROSE -LRB- slapping. -RRB- But what, Charlie? ALLNUT -LRB- a note of hysteria in his voice. -RRB- I got a feelin' that before long we'll wish we was shootin' the rapids again. Ow! Ow! CLOSE SHOT - ROSE AND ALLNUTT It is nightfall and the mosquitoes have left their homes in the mud, under leaves, on stalks of reeds, to hunt flesh and blood. They close in on Rose and Allnutt ; they bite through clothes - they crawl under clothes ; some of the smallest creep into nostrils and under eyelids. Rose and Allnutt are used to ordinary attacks, but this is beyond all experience. They slap ever more wildly ; they begin to show panic. ROSE Oh! ALLNUT This is awful! ROSE -LRB- pulling at her dress. -RRB- I'm going in! I'm going to get under the water! ALLNUT Yes! That's it! But looking past Rose toward the river, he sees something that makes him grab her wrist. ALLNUT No! ROSE But I'm being eaten alive! ALLNUT -LRB- pointing. -RRB- Look. MEDIUM SHOT - LARGE CROCODILE on the bank. ALLNUT -LRB- o.s. -RRB- What'd you say ` bout bein' eaten alive? And now we see that it is not one crocodile but several submerged and partially submerged. Two slide into the water from the bank. CLOSE SHOT - ROSE AND ALLNUTT After their first start at the sight of the crocs, they go back to fighting the cloud of mosquitoes that, hungry for blood, fill the air with their WHINING. ROSE Get me out of here, Charlie! I'm going mad! MEDIUM SHOT - ROSE AND ALLNUTT Allnutt runs to the engine, tries to start it. ALLNUT Ai n't no steam. Ca n't start engine. ROSE -LRB- wails. -RRB- I ca n't stand it, Charlie! ALLNUT ` Ere! Lay down! Get under the canvas there! I'll get us out into the channel. She obeys. Allnutt casts off, and seizing a deckboard begins to paddle. The space between the launch and the bank slowly widens till at last they are in the channel. Rose peeps out from under the canvas. ALLNUT Right, Rosie. We got away from'em. You can come out. ROSE -LRB- crawling out. -RRB- I'm ashamed, Charlie, acting like that - but I could n't help it. I was going mad. ALLNUT Me, too. ROSE You're so bitten! Even in the faded light, his face and body show innumerable bumps. ALLNUT The bites themselves ai n't so bad ; it's ` avin' them all round you. I've ` eard of them sendin' buffaloes an' native cattle stark starin' mad - an' they run an' run till they fall dead. ROSE -LRB- after a pause. -RRB- What are we going to do, Charlie? ALLNUT Now you're asking! ROSE Will they be like that wherever we tie up? ALLNUT Ca n't say. ROSE We ca n't just drift all night. ALLNUT If the river keeps straight an' deep an' slow, there ai n't nothin' much can ` urt us - I know! I'll let the anchor out a ways. She'll stop us before trouble gets too near. He lets the anchor chain out, then sits on the bench. Rose leans against him. He puts his arm around her. ALLNUT -LRB- after a long silence. -RRB- What a time, Rosie - what a time! We'll never lack for stories to tell our grandchildren - if we live to ` ave any. The launch seems to be floating in space, solitary as any one of the stars that are now beginning to shine and twinkle overhead.",
"EXT. DELTA -- DAWN The river ends in a five - mile - wide pool, fringed all the way round with reeds. These reeds extend as far as the eye can see. The boat comes down into the pool, nosing along the edge, looking for an opening. Allnutt and Rose are talking as she steers and he feeds the furnace. ALLNUT Look - maybe that's a channel. -LRB- it is n't. -RRB- No. A herd of hippopotami suddenly surface and scatter. Plunging through water, mud and reeds just ahead of the boat. Behind them is left a faint indication of a channel. ROSE What about there? -LRB- pointing. -RRB- That looks like a way through. ANOTHER ANGLE showing a very doubtful passage into the reed bed. ALLNUT Could be. -LRB- worried. -RRB- I dunno. -LRB- pause. -RRB- Once we get in, an' these ` ere reeds close up be'ind our stern - we'd never get back, you know, Rosie. ROSE We ca n't stay going round and round out here. ALLNUT If anything goes wrong a few ` undred feet in there, we're ` eld in a trap, you know - till we starve or go orf our ` eads. I dunno! -LRB- loudly. decisively. -RRB- All right. Put ` er over. Rose swings the tiller and the boat charges at the little opening in the reeds. FULL SHOT - REEDS looking from outside. We see the boat nose into the opening. In front of her the reeds part. Others are pressed under water. But as soon as her full length is inside, the reeds she has parted or submerged close together again, or rise slowly from under water. As they close, they form an increasingly solid barrier behind her wide stern. Very soon The African Queen is completely hidden from us except for the top of her tall funnel, which moves more and more slowly as she goes on into the reed bed.",
"EXT. REED BED seen from a few feet above. A view of the endless miles of papyrus reed. At one place we see the top of the funnel of The African Queen.",
"EXT. -- THE LAUNCH the engine choking and gasping, shaking the launch. CAMERA CLOSE - BOW OF LAUNCH pushing ineffectually against the knotted roots of the reeds, which have piled up under it. There is almost no water - just the tangled roots and an inch of liquid mud. MEDIUM SHOT - ALLNUTT shutting off steam. The corners of his mouth tighten. He is badly frightened. He tries to keep the fear out of his voice as he tells Rose ; but we can see that Rose is desperately scared too. ALLNUT It's the propeller, I think. It wo n't work in this mud. Allnutt looks down over stern. He gets up. ALLNUT Where's the boat - ` ook? ANOTHER ANGLE Allnutt finding boat hook and moving forward. ALLNUT Maybe we can pull ` er along. MEDIUM SHOT - BOWS OF LAUNCH Allnutt reaching forward with boat hook, hooking it into strong clumps of reeds, pulling desperately. The clumps resist ; it seems as if the boat is about to move. Then the clumps give way. MEDIUM SHOT - ROSE amidships, watching Allnutt. ROSE Here! Wait a minute! She finds a long pole or plank, chooses a good spot and begins to push. After a couple of ineffectual attempts, Allnutt hooks an especially strong clump at the same time as Rose finds a solid spot against which to push. The boat heaves and shakes, and, with a final heart - breaking effort on the part of Rose and Allnutt, it moves forward a couple of feet. ANOTHER ANGLE - ROSE AND ALLNUTT gasping for breath, hope flickering up again. ALLNUT Come on - again! As they resume their efforts, CAMERA DRAWS BACK, RISING TO FULL SHOT - REED BED from twenty feet above. We see the funnel of the launch inching slowly and painfully through the reeds. FULL SHOT - THE AFRICAN QUEEN in the reeds. Rose and Allnutt are poling with their boat hooks. Even through the masks of mud they are wearing, we can see that they are both terribly haggard and exhausted. ALLNUT We've come along under steam, and we paddled an' pushed ` an' pulled the ole boat along with the ` ook. Wot we ai n't done yet is get out an' carry ` er. I spose that'll come next. ROSE Hard to breathe! - the air is so wet and heavy. ALLNUT Ca n't ` ardly tell water from land - or for that matter, day from night. ROSE The whole thing is like a fever dream, is n't it? ALLNUT All the channels we've lost - an' the twistin' we've done - we may come back out where we started - if we come out at all. ROSE We've always followed the current, dear - what little there is. ALLNUT That do n't mean nothin' - with this river. This river's crazy. Crazy as I am! ROSE -LRB- gently. -RRB- Charlie. -LRB- she touches him. -RRB- We must try to keep hold of ourselves. ALLNUT Sorry, old girl. Allnutt starts pushing all the more energetically on his pole. ALLNUT Best thing to put the roses back in our cheeks is to get out o' these reeds. Allnutt's exertions carry them into the shallows. The boat touches bottom. Not all of their strivings with the boathooks serve to move it an inch further. ALLNUT -LRB- finally. -RRB- What I said a while back about ` avin' to carry the boat was meant for a joke - but as it turns out, I was n't jokin'. Taking the painter, he goes over the side and starts pulling like a draft animal. Slowly, ever so slowly, the boat begins to move, until at last she is floating again. Rose helps him back in. Suddenly she gives a cry of horrified surprise. ALLNUT What's the matter? Rose can only point. As he sees what it is, Allnutt's face contorts with panic and disgust. He makes a kind of growl of horrified surprise, across which : DETAIL SHOT - ALLNUTT'S ARM, CHEST OR BELLY A couple of leeches hang to him, visibly swelling with his blood. QUICK PULL AWAY TO TWO SHOT - ROSE AND ALLNUTT - Over his line ; we see 20 or 30 leeches on him. ALLNUT Augh, the little beggars -. -LRB- a cracking voice. -RRB- Pull'em off me, Rosie - no, the heads stay - poison yer blood. ROSE -LRB- sudden remembrance. -RRB- Salt! She rushes to get their tin box of it. EXTREME CLOSE UP - ROSE AND ALLNUTT eyes on what she is doing below SCREEN. DETAIL - DAMP SALT applied to a leech. It flinches, elongates, bunches and swells, and drops off. TWO SHOT - ROSE AND ALLNUTT She dabs salt on the last two or three, while he stands like a partly calmed, still shocked horse. ALLNUT Anythin' I hate in this world it's leeches - filthy devils. He stands trembling quietly, the triangular bites still bleed freely. Rose dabs tenderly at one of the sinister little wounds. TWO SHOT - ROSE AND ALLNUTT - AT BOWS -LRB- SHOOTING FORWARD FROM STERN -RRB- They hook the boat with great effort slowly along. The hull grazes something. They work still harder. There is a rumbling SCRAPE. Then, also, a sludgy GRINDING. With the grinding, Allnutt moans as if in his sleep and tries desperately to reverse direction. ALLNUT -LRB- gasping. -RRB- Back! ` Old ` er back - ROSE -LRB- imitating him. -RRB- Mud? ALLNUT Yes. There is too much momentum for them. ALLNUT -LRB- reversing his dragging. -RRB- Let's try an' get ` er over it, then. Give ` er all you got, Rosie. They strain enough to half kill them ; the sludgy grinding intensifies. ALLNUT -LRB- gasping. -RRB- Good girl - we're still makin' ` eadway - All you got now - Abruptly the boat comes to a dead stop. VERTICAL SHOT - THE MOTIONLESS GUNWALE AND MANGROVES and the just perceptibly moving slime on the water between. ROSE AND ALLNUTT They sit by each other, she holding his forehead ; he is in a dry nausea of exhaustion. ROSE There, there, dear. There, there. There, dear. Able to speak, ashamed, he tries to joke. ALLNUT Fine specimen of a man I am, ai n't I! ROSE You're the bravest man that ever lived. He is silent, slowly and rather inanely shaking his head ; she watches him. ROSE -LRB- like a very old wife to a very old husband. -RRB- Lie down, dear. Rest. Both of us. He keeps on shaking his head. ROSE You just overdo, that's all. You must take care of yourself! You're not one bit well. ALLNUT Well! We're both of us half dead. ROSE -LRB- ignoring this. -RRB- Besides, it's high time we had our supper. It'll be dark before long. ALLNUT You ` ave some. I ai n't up to it yet. ROSE Or a nice steaming cup of tea. ALLNUT You fix yourself some. ROSE Not just yet, thank you. -LRB- she gets up, taking his hand. -RRB- Come now. -LRB- she helps him weakly up. -RRB- Lie - down. CAMERA STAYS WITH THEM, MOVING INTO VERTICAL TWO SHOT - Rose helps Allnutt to the floor, and nurse - like, puts bunched rags under his head. ROSE There now. All comfy? He tries to smile. ALLNUT You rest, too. ROSE Indeed I will. -LRB- she lies down beside him and smiles at him. -RRB- That's all we need, a good long rest, and we'll be on our way in a jiffy. You'll see. ALLNUT -LRB- managing a smile. -RRB- Sure. She turns her back to him because she ca n't meet his eyes. Both lie with eyes wide open, obsessed. ROSE -LRB- after a pause. -RRB- Try to sleep, dear. ALLNUT -LRB- pause. -RRB- Sure. You too. ROSE Of course. She reaches a hand behind her and pets him. He clearly has, and resists, an impulse to take her hand. She withdraws her hand. A pause. ALLNUT Rosie. ROSE -LRB- pause ; with quiet dread. -RRB- Yes, Charlie. ALLNUT You want to know the truth, do n't you? ROSE -LRB- pause ; very quietly. -RRB- I know it. His eyes show deep pain. ROSE We're finished. ALLNUT That's right. ROSE Even if we had all our strength we'd never be able to get her off this mud. ALLNUT Not a chance in this world. They are silent a while ; everything is in their eyes. As suddenly and swiftly as her weakness allows, she turns to him ; their faces are close. CAMERA DROPS NEARER. She looks into his quiet eyes ; her own eyes are fiery, not with tears but with passionate, incredulous despair ; speechless, trying to speak ; a sort of palsy. ROSE So useless! He puts a hand along her cheek. Slowly he realizes, and enhances for us, her only concern with dying. ALLNUT They do n't come no better'n you. They lie still, looking at each other. Within about 15 seconds, their faces profoundly alter ; by changes of makeup, every couple of seconds, the motionless faces become years older, and take on a kind of worn majesty ; and gradually lose consciousness ; by the end of the seconds, the eyes are closed. The CAMERA meanwhile very slowly withdraws upward. In the last we can clearly see of their faces, they are quite possibly dead. As CAMERA RISES, we see them at full length, as prostrated and flattened as grasses pressed in a book ; then, their static boat and the crawling water ; the CAMERA RISES among the overhanging mangrove branches which obscure and trap them ; and, as it rises, the SCREEN slowly darkens. The CAMERA STOPS RISING. The dead silence is broken by an infinitesimal SOUND OF RUSTLING. By eye and ear, after a few seconds, it becomes recognizable as the stillest, slenderest kind of rain, splintering downward, very gradually increasing in volume and in richness of SOUND as the darkness deepens, to an immense, peaceful, steady, flooding downpour. The darkness pales into full daylight and the downpour continues, and through it we can dimly see the boat and the prostrate bodies, and after perhaps ten seconds of the new daylight -LRB- after maybe fifteen of darkness -RRB-, the rain begins to abate and the CAMERA BEGINS VERY SLOWLY TO DESCEND. It gets down through the branches. The bodies are motionless ; so is the boat ; but the slime on the water, though still slow, moves with a distinct new kind of energy. THE CAMERA STOPS DESCENDING. A couple of seconds later, the boat stirs, just perceptibly ; motionless again ; then stirs again, more distinctly. At height of PULL UP OF CAMERA and darkening, a quiet rich CRUMPLING OF THUNDER. -LRB- Throughout this short sequence all sounds, even those recorded at full blast, are held way down on the track - as if heard in a dream or in imagination. -RRB- Across MUTTERING OF THUNDER - SHOT - SKY AND MOUNTAINS Low in foreground, a sharp watershed peak ; all foliage is fiercely ruffled, showing pale undersides : beyond, a tremendous valley, a dim streak of river through it ; beyond that, magnificent peaks : but most of the SCREEN is sky, in which -LRB- sped up by SLOW CAMERA -RRB- prodigious black and white clouds bloom, explode and wrestle. Over all, a solemn, ominous light. A moment of absolute stillness ; then first huge drops of splattering rain ; then SCREEN is blinded and deafened with simultaneous THUNDER AND LIGHTNING, over which CAMERA TILTS DOWNWARD along the line of enormous columns of rain which take over SCREEN. SHOOTING UPSTREAM, to breadth of a swollen river, in heavy rain : PAN DOWNSTREAM, past Mission clearing. Possible CUT IN : Mission bungalow screen door flapping and banging in wind ; or porch rocking chairs' ghostlike cradling : PAN ON DOWNSTREAM flooding water. LONG SHOT across roaring river on Shona, PANNING DOWNSTREAM ; one tiny figure struggles miserably through mud : Possible CUT IN : the drowned German flag, clinging disconsolately to its pole. END PAN on water at mouth of rapids ; bring up ROAR From high and to one side : where the rapids enter the Basin : -LRB- greatly augmented water NOISE. -RRB- PULL CAMERA DOWN and to right to VERTICAL SHOT over the Rose - Allnutt waterfall, much more water than before, plunging into pool ; bringing up SOUND sharp. TILT CAMERA UP to right, to center on where rapids leave the pool ; the whole pool, dark and calm on first trip, is now boiling white. TILT A LITTLE FURTHER and CUT OFF SHORT. The rock behind which they sheltered for the welding ; it is so over - whelmed with water it is no longer visible ; there could be no anchorage here now. QUICK PAN DOWNSTREAM. Where the river enters the pre - Delta broadening : the water is markedly slowed, but there is much more movement than when we were here before ; TILT UPWARD across a solid floor of calmer, rain - marked water, lighter rain and THUNDER, overcast ; SOUND of calm, steady rain on miles of water ; the reeds where Rose and Allnutt entered : lighter rain ; its SOUND among reeds ; the water is distinctly higher on the reeds and broken reeds distinctly move on it ; LIFT towards mangroves past reeds. Mangroves and shadow ; and the infinitesimal splintery whisperings of light rain. TILT CAMERA DOWNWARD and resume the vertical SHOT on which we faded from Rose and Allnutt, and SLOWLY BRING THE CAMERA TOWARDS THEM, through and beyond mangrove tanglings, to MEDIUM CLOSE. The boat shines with wetness and they are drabbled with it. Nothing moves except the slime - flecked water and that moves slowly, but with a new kind of energy. Neither Rose nor Allnutt is conscious. At MEDIUM CLOSE, halt CAMERA. A couple of seconds after it stops, there is a first, scarcely discernible shifting motion of the boat. They are still unconscious. Bring up the SMALL SOUNDS OF RUNNING WATER a little ; another little shifting of the boat ; a little more distinct. They are still unconscious. ROSE - IN EXTREME CLOSE UP She looks as if she had cried herself dry, and she looks as if she might quite possibly be dead. ALLNUTT - EXTREME CLOSE UP His face is crumpled and distorted against one elbow ; in his face, too, there is the look of incredible sadness and defeat ; and he, too, could be dead. -LRB- In both faces, also the epitome of utter weariness and of rest after weariness. -RRB- DETAIL SHOT - Allnutt's emaciated hand, motionless, caressing her shoulder, and involved in her hair. ANOTHER - Her own hands, motionless ; they are folded - quite unconsciously - in her automatic gesture of prayer. TILT CAMERA UPWARDS from this - past gunwale, we see by quiet motion of mangrove roots, that the whole boat is cradling gently in the rain. FROM BENEATH BOAT - DETAIL SHOT - past bottom of hull, dim daylight opens just discernibly as boat lifts from muck. PAST PROW - ON MANGROVES Prow is just perceptibly rising. UNDERWATER SHOT - BENEATH THE KEEL a real, gaping light now, visible in motion of boat and of water and of muck - flakes in water. PAST PROW - ON MANGROVES The prow really moves forward now. ANOTHER SHOT - PAST PROW -LRB- UNDERWATER -RRB- A new obstruction looms ; a thick, dark root ; prow -LRB- and CAMERA -RRB- come right up against it but hit it slowly, a little to one side, and the whole boat, with a hollow SCRAPING, glances along past. ACROSS THE GLANCING MEDIUM SHOT - BOAT -LRB- FROM DOWNSTREAM -RRB- silently floating towards CAMERA in rustling rain, pointing slantwise, beginning to straighten. ABOARD - -LRB- PAST ROSE AND ALLNUTT -RRB- who are still unconscious ; athwart the boat ; the quiet movement past the mangroves. THE ENGINE - -LRB- SHOOTING FORWARD FROM STERN -RRB- The engine approaches a low and dangerous - looking branch ; it just clears BOAT - -LRB- SHOOTING PAST PROW -RRB- The boat nears a splitting of waterways. Both look bad, but one looks far worse ; prow nudges a mangrove mass and for a few seconds everything is at stalemate ; then stern begins to swing forward. BOAT STERN as it begins to swing forward. It looks as if everything would jam ; and with soft bumpings and subdued underwater scrapings and near - misses above water too, the boat does a slow, somnambulistic broken - field crawl during which the light becomes stronger and the rain less, and its SOUND less. TWO SHOT - ALLNUTT AND ROSE The strengthened lights and shadows move on their faces and their closed eyes. Rose registers nothing. Allnutt's face and his slow, weak, negative hands both convey that he is dreaming something and does n't believe it. His face goes inert again. There are fewer shadows now, brighter light, and there is a deep quiet scraping SOUND which makes him open his eyes. Still unable to believe what he sees, he turns his face up toward CAMERA. MEDIUM SHOT - THE MOVING, THINNING OVERHEAD TANGLE OF MANGROVES - -LRB- FROM HIS VIEWPOINT -RRB- and the sun - touched last of the rain. ALLNUT -LRB- o.s., softly ; an almost incapable voice. -RRB- Rose. Rosie. TWO SHOT - ROSE AND ALLNUTT He is half - up, hands on her, trying to stroke and pat her awake. ALLNUT Darling. Dear. He takes her head gently between his hands and turns her face up to him. ALLNUT Look at us, Rosie! My God just look! We're movin', dear! We're movin'! She opens her eyes and looks up. All she sees at first is Allnutt's face, close to her. She looks at it with devotion and with terrible sadness. ROSE We did our best, dear. He grabs her quite roughly into his arms and kisses her several times, rapidly and without passion. ALLNUT -LRB- talking through this. -RRB- No, look, Rosie, just look at us! We're movin', do n't you see? Movin', that's what! And with this, as we catch her first realization and reaction, we leave the last of the mangroves and are among the reeds, gliding slowly yet freely ; with a RUSTLING of reeds against the boat reminiscent of the rustling of the finished rain, and the late afternoon sunlight moving through the reeds as though they were harpstrings, and casting an almost rustling of slender light and shadow across their faces. Her face becomes quietly transcendent. She gets with great difficulty to her feet -LRB- she is very weak ; so is he -RRB- and, reaching over the gunwale, begins grabbing reeds and with what strength she has, tries to help them along. As soon as he realizes, he gets up weakly, too, and hurries and gets the pole, crying : ALLNUT Easy, Rosie dear! You just rest, old girl. Easy now. Meanwhile, with what strength he has, he is poling. Past them and past prow, we see light beyond the high reeds which steadily, slowly part for the prow and sweep past the flanks of the boat. ANOTHER ANGLE - ROSE AND ALLNUTT Both continue working ; their incredulous eyes are fixed past the prow. Behind them, reeds partly close back, dark mangroves recede. Their eyes intensify. PAST PROW - FROM THEIR VIEWPOINT The last few feet of the reeds part and the boat drifts free and clear onto a horizonless floor of golden light -LRB- or if in black and white, a kind of unearthly silver -RRB- ; a low group of wooded islands in the distance. TWO SHOT - MEDIUM CLOSE - ROSE AND ALLNUTT as they still drift, a soft breeze on them, looking around. He sits down, obviously because he feels too weak to stand. Rose, still standing, looks towards him, waiting his authority to believe what she already knows. They speak quietly, as if someone were asleep. ROSE It - really is? He reaches out his hand to her. ALLNUT Come on - sit down, old girl. Yer tremblin' like a leaf. But she gets down quietly onto her knees and bows her head. He looks at her a few moments, then a little uneasily and shyly, gets down onto his knees. She begins to cry very deeply and silently ; we do n't see her face. Allnutt puts his arm around her, and she hides her face against him and cries, audibly now but quietly, taking his free hand in her own. ALLNUT -LRB- very quietly. -RRB- There, there, Rosie. There, old girl. We're all right now, dear. There, there. ROSE It's like Heaven. By Allnutt's face, it is better than that, but he knows what she means. ROSE -LRB- in a queer voice. -RRB- God let us live. ALLNUT Musta been ` Im, all right - ` twere n't nothin' in our power. A pause. ROSE -LRB- quiet, charged voice. -RRB- It was n't for our sakes, either. ALLNUT -LRB- pause ; carefully. -RRB- ` Ow you mean, Rosie? ROSE He brought us here to do His work. She gets to her feet and walks past CAMERA towards bow. ROSE - -LRB- PAST BOW -RRB- as she comes up, Allnutt following. She is looking all around, and past her we see only empty water and empty sky. She begins to look impatient. ALLNUT -LRB- quietly. -RRB- Rosie, this lake's an ` undred miles long ; forty wide, at the biggest. It might be days afore she comes our way. ROSE Then start the fire. We'll go find her. ALLNUT No, Rosie, we wo n't ` ave to go out of our way. She'll come to us. ROSE Come to us? ALLNUT Patrolin' the lake. She's bound to come by, do n't you never worry. An' when she does, we want to be well ` id. ROSE Hmmm. Perhaps you're right. ALLNUT Sure I am. So let's just cruise about a bit till we find a good ` idin' place, an' then we'll lay in wait fer ` er. Right? ROSE Right. They go back towards engine. TWO SHOT - ROSE AND ALLNUTT as, Rose watching almost with reverence, Allnutt strikes a match and touches it to the carefully prepared wood. THE CURLING SMOKE - -LRB- FROM THEIR VIEWPOINT -RRB- and catching flame and the SOUNDS - an image almost of resurrection. ROSE AND ALLNUTT - -LRB- FROM FIRE'S ANGLE -RRB- their faces revitalizing, as light of flame works on them over increasing SOUND of fire ; he gently shuts the furnace door, and adjusts the draft ; the fire begins a really happy ROARING. Allnutt looks up and around across the water, clearly figuring where they might cruise around. ALLNUT -LRB- murmuring. -RRB- Let's - see. We might, uh - His eyes sharpen into great intentness on something very distant. All of a sudden he picks up a bailing pail, dips it full, and douses the fire. TWO SHOT - ROSE -LRB- PAST ALLNUTT -RRB- Rose looks at him amazed. He gestures silently with a jerk of his head. She walks towards CAMERA and looks. LONG SHOT - THE LAKE Almost invisibly small on the horizon, a small black smudge, a gleaming white speck, which sharpens like a fresh star as we look. ALLNUTT'S VOICE -LRB- o.s. -RRB- That's The Louisa. CLOSE SHOT - ROSE AND ALLNUTT He gets up on the gunwale. ALLNUT Yes, that's The Louisa all right. ROSE Which way are they going? ALLNUT They're comin' this way. ROSE -LRB- forcing herself to be calm. -RRB- They must n't see us here. Can we get far enough among the reeds for them not to see us? ALLNUT Got to work fast. Pulling and tugging with the boat hooks, they swing the launch around and head her into the reeds. ROSE We'll have to cut some down. How deep is the mud? Knife in hand, Allnutt goes over the bows among the reeds. WIDER SHOT - ROSE AND ALLNUTT as he goes over the bows. He sinks in the mud until the surface of the water is up to his armpits. Floundering about, he cuts every reed within reach. Then, pulling on the bow painter, he is able to work the launch up into the cleared space. ROSE There's still a bit of her sticking out. She throws a desperate glance towards The Louisa, which is making good time, and is less than half the former distance away. Allnutt splashes back among the reeds and goes on cutting and hauling. Rose helps him to get back on board. He is in a state of near collapse from his exertions. He lies on the deck panting while Rose cranes her neck over the reeds. LONG SHOT - THE LOUISA ROSE -LRB- o.s. -RRB- She's coming right toward us, Charlie! CLOSE SHOT - ROSE AND ALLNUTT Groaning, Allnutt staggers to his knees, then to his feet. Together they watch the approach of The Louisa. LONG SHOT - THE LOUISA white, spotless, beautiful. At her stern floats the flag of the Imperial German Navy. On her foredeck, we can pick out the six - pound gun which gives the Germans command of the lake. We can see the figures of sailors moving about on the deck. Over the SOUND of her engines comes a smartly given order, following which The Louisa alters her course by a point or two. CLOSE SHOT - ROSE AND ALLNUTT Allnutt groans again, this time from relief. ROSE They're going a different way now. ALLNUT I thought they'd seen us. LONG SHOT - THE LOUISA heading toward some little islands in the middle of the lake. ROSE AND ALLNUTT - AS BEFORE ALLNUT They're makin' for them islands to anchor for the night. They'll go on in the mornin'. But do n't you worry. They'll come ` ere again. You just see if they do n't. You know ` ow Germans are ; they lays down systems an' they sticks to'em. Mondays they're at one place. Tuesdays somewheres else. Wednesdays p ` raps they're ` ere. Same ole round, week after week. You know. LONG SHOT - THE LOUISA as the SOUND of her engines ceases. ALLNUTT'S VOICE -LRB- o.s. -RRB- Look! Wot did I tell ya! She's droppin' ` er anchor. CLOSE SHOT - ROSE AND ALLNUTT ROSE -LRB- nods. -RRB- How long will it take to get the torpedoes ready? ALLNUT I can get the stuff into the tubes in no time, as you might say. Do n't know ` bout the detonators. Got ta make them up, you see - devise something. Then we got to cut ` oles in the bows. Might ` ave it all done in three days. Depends on them detonators. Rose receives this information in silence. Her eyes remain on The Louisa, now lying at anchor. ALLNUT Rosie, old girl - Rosie - ROSE -LRB- a faraway note in her voice. -RRB- Yes, dear. ALLNUT I know wot you're thinkin' ` bout doin'. -LRB- he takes her hand and presses it. -RRB- You're thinkin' ` bout takin' The African Queen out at night next time The Louisa comes ` ere, ai n't you, old girl? -LRB- Rose nods. -RRB- We ought to manage it. PAN SHOT - ALLNUTT'S HAND as it takes one of the packages out of the box and carries it to one of the cylinders and places it inside. A wrench and the cylinder head are in view lying on the deck. Allnutt's face comes into the SCREEN. He puts more packages into the cylinder. CAMERA PULLS BACK to include Allnutt and Rose in TWO SHOT. Leaning over the side, Rose brings up handfuls of mud from the bottom and dumps it on the deck. Allnutt carries the sticky stuff to the cylinder and drops it in. INSERT : A DISC OF WOOD IN ALLUTT'S HAND. Three holes have been punched through it. Allnutt's fingers fit cartridges into them. Then a second disc of the same diameter is placed over the first. The second disc has three nails in it. It is turned so that a nail point rests on the percussion cap of each cartridge. ALLNUTT'S VOICE -LRB- o.s. -RRB- Ought to work all right. He begins to screw the pair of discs together. CAMERA PULLS BACK revealing Rose and Allnutt intent upon his handiwork. ALLNUT Ca n't put them into the cylinders yet. They're a bit tricky. We can put'em in when we're all ready to start. ROSE It will be dark then, of course. Will you be able to do it in the dark? ALLNUT Case of have to. -LRB- he puts the detonators away in the locker. -RRB- Better get the cylinders into place now. With Rose's help he drags and pushes one of the cylinders forward. CLOSE SHOT - THE BOW The cylinders in position, projecting like cannon through two holes on either side of the stem just above the waterline. o.s., the SOUND of hammering. The CAMERA RAISES and DOLLIES FORWARD TO : CLOSE SHOT - ALLNUTT - SHOOTING at him over Rose's shoulder. He is nailing the cylinders solidly into position with battens torn from provision cases. Finally, the work done to his satisfaction, he tosses the hammer aside. ALLNUT Well, old girl - I done it all now. Everything. We're all ready. It is a solemn moment. He shakes his head. ALLNUT -LRB- reminiscently. -RRB- You know I been thinkin'. There ai n't no need for us both to - to do it. Now I've ` ad time to study it, I can plainly see it's a one - man job. TWO SHOT - ROSE AND ALLNUTT ROSE You could n't be more right, Charlie dear. ALLNUT Glad you agree, Rosie. When the time comes I'll put you ashore on the south side of the lake and you wait for me while I attend to The Louisa. ROSE -LRB- interrupting. -RRB- Certainly not! You're the one to be put ashore. ALLNUT Me? ROSE Of course, you. This whole thing was my idea, was n't it? I'm the logical one to carry it out. ALLNUT Why, Rose! I'm surprised! You're a very sensible woman as a rule. Now we wo n't ` ave no more talk along those lines. ROSE I can manage this launch every bit as well as you, Charlie Allnutt, and you know it! ALLNUT Rosie, you're cracked! ROSE Did n't I steer going down the rapids? ALLNUT Oh, you steered well enough. But you do n't know nothin' about the engine. Spose she broke down on you out there in the middle of the lake? Where would you be? But me, I'd leave the tiller and go and do a thing or two to the engine - you know, spit on ` er or kick ` er in the belly - an' she'd go right to work again. She knows ` oo ` er boss is, you bet, that ole engine does. ROSE -LRB- defeated. -RRB- All right, Charlie. I guess you have to be there. ALLNUT Well, now, that's more like it. I'll dive off a second or two before the crash and swim over to where you'll be waitin' on the north shore. ROSE Charlie. ALLNUT Yes. ROSE No need of our pretending. ALLNUT I do n't know wot you're talkin' about. ROSE Oh, yes you do. There's got to be a hand on that tiller right up to the last. Allnutt would like to protest ; he opens his mouth to do so, but no words issue. He falls into a stricken silence. ROSE -LRB- continuing. -RRB- Do n't you understand, dear? I would n't care about going on to Nairobi - without you. Having no words, Allnutt can only nod. ROSE -LRB- continuing. -RRB- We'll do it together. It will be you at the engine and me at the tiller, as it has been from the start. ALLNUT -LRB- in a choked voice. -RRB- Right. ROSE When you come to think of it, we're a very lucky couple, really. ALLNUT Are n't we just. ROSE Charlie. ALLNUT Yes, dear. ROSE Let's make The African Queen as clean as we can. Let's scrub her decks and polish her brass. ALLNUT -LRB- in quick agreement. -RRB- I've got a can o' paint for ` er mast. She ought to look ` er best. ` Er very best. Representin' as she does the Royal Navy. MEDIUM SHOT - THE AFRICAN QUEEN Quite a transformation has taken place in her appearance. Her decks are clean, her brass polished. Rose is engaged in painting her stumpy mast. Her old boiler shines like a mirror. In fact, Allnutt is using it as such while he shaves. ALLNUT -LRB- between strokes of the razor. -RRB- I wish I ` ad somethin' clean to put on. It do n't seem right for the ship's captain to be without pants. ROSE Charlie. ALLNUT Yes, dear. ROSE I have a pair you can wear. ALLNUT You mean a pair o' yours? ROSE What's the difference? ALLNUT Well, you're the one'll have to look at me. She gives them to him. Getting into them, Allnutt begins to laugh. When he reveals himself to Rose, it is with obvious embarrassment. He assumes a position rather like September Morn's. ROSE Here. Put this on, too. -LRB- she displays one of her singlets. -RRB- ALLNUT Ai n't that goin' a bit too far? ROSE Do n't be silly! He takes it and puts it on. He looks intently at Rose, expecting ridicule. Her eyes are not on him ; they are on the horizon. LONG SHOT - A PUFF OF SMOKE AND A WHITE DOT The Louisa. TWO SHOT - ROSE AND ALLNUTT as she stares at the horizon. His eyes follow hers. LONG SHOT - THE LOUISA CLOSE SHOT - A CYLINDER - -LRB- NIGHT -RRB- as Allnutt's hands finish fitting a detonator into its fore - end, tapping around its edges with a hammer. He is in the water. CAMERA PANS with him around the bow to the other cylinder. Rose passes down the second detonator. Allnutt puts it into place and pulls himself up over the side. He goes to the boiler which casts a red glow on the surrounding deck, and inspects the gauge. Steam is up. He looks across the waters of the lake toward the little group of islands. LONG SHOT - THE LOUISA A bundle of faint lights in the distance. TWO SHOT - ROSE AND ALLNUTT as a sudden gust of wind strikes the surrounding reeds, causing them to bend and toss. Allnutt takes Rose in his arms. Clinging to one another, they kiss ; try to speak ; fail - then separate. ALLNUT Blowing up a bit. We better get started. All right? ROSE All right. He unfastens the side painter, then takes the boat hook and thrusts it against a clump of reeds. The African Queen moves slowly out into the fairway. Allnutt lays the boat hook down, feels for the throttle valve and opens it. The propeller begins its beat and the engine its muffled clanking. FULL SHOT - THE AFRICAN QUEEN coming out of the reeds into the lake. TWO SHOT - ALLNUTT AND ROSE Allnutt is staring at the bows, scowling. ROSE -LRB- observes his expression with anxiety. -RRB- Is something the matter, dear? ALLNUT ` Er bows are ridin' awful low for this kind o' water. Them ` eavy cylinders are what's doin' it. A wave splashes over the bows into the boat, so that her decks swim in water. ALLNUT Got to get ` er nose way up ` igh or we'll be in trouble. He begins shifting ballast into the stern of the boat, which is swaying and staggering about in haphazard fashion. ROSE We've been through worse. ALLNUT Rivers is one thing - open water another. She ai n't built for it. Not when it's rough. He goes to the engine, begins to tinker with it for a moment. CLOSE UP - ROSE steering. She is calm, resolute. Allnutt comes back into SHOT. His brows are working. ALLNUT Rosie. ROSE Yes, Charlie. ALLNUT This ` ere storm is messing things up a bit. ` Er bows ` ave got to ride ` igh or we'll be swamped before we get ` alf way to The Louisa. On the other ` and, they've got to be low when we ` it ` er, so' the explosion will be down at ` er waterline. ROSE Can anything be done? ALLNUT -LRB- nodding. -RRB- Just before we ` it, I'll bring the ballast back forrard. ROSE Goodbye, darling. ALLNUT Goodbye, sweetheart darling. A wave breaks over the side, drenching them both. ALLNUT Blimey! FULL SHOT - THE BOAT It rolls extravagantly as a wind of incredible speed whips down on the lake and rouses the shallow waters to maniacal fury. A series of waves come crashing against the flat sides. Then suddenly the darkness is torn away by a dazzling flash of lightning which reveals the wild waters around them. Thunder follows with a loud BANG like a thousand cannon fired at once. Then comes the rain pouring down through the blackness in solid rivers. The wind abates momentarily, but the surface of the lake still heaves. The boat begins to pound, raising her bows high out of the water and bringing them down again with a shattering CRASH. Allnutt seizes a pail and begins to bail furiously, but to no purpose. Now the wind strikes from a new quarter, laying its grip on the torn surface of the lake and building it up into mountains. CLOSE SHOT - ROSE numbed and stupefied, but struggling to maintain her hold on the tiller. Suddenly Allnutt is at her side, putting her arm through a life buoy. They totter and sway for a long moment, then the stern of the launch is engulfed by a heavy wave, and they are up to their waists in water. The African Queen is swamped. Very slowly she capsizes. In the distance we see the lights of The Louisa, safe at anchor.",
"INT. CAPTAIN'S CABIN -- THE LOUISA The CAPTAIN and FOUR of the SHIP'S OFFICERS constitute the court in a proceeding against a small man dressed in woman's bloomers and a ragged singlet. The latter stands, chin on his chest, gazing dully at the carpet. The CAPTAIN is President of the court, of course. He is a corpulent man with whiskers, groomed in imitation of von Triplitz. Behind him on the wall is a portrait in oils of the Kaiser. He keeps his eyes closed throughout the proceedings. To the Captain's right, stands the ship's FIRST OFFICER, who is acting as prosecutor. He is clean - shaven, dark, with pale blue eyes ; his manner is rigidly correct. To the Captain's left, sits the ship's SECOND OFFICER, who is serving as defense counsel. He is a sleepy, stupid looking man with a big scar on his cheek. All three members of the court are in snowy ducks with gold buttons, white gloves and decorations. 1ST OFFICER -LRB- in broken English. -RRB- What is your nationality? Allnutt does nothing to indicate he hears the question. 1ST OFFICER French? Belgian? English? ALLNUT -LRB- thickly. -RRB- English. 1ST OFFICER Your name? ALLNUT Charles Allnutt. 1ST OFFICER What were you doing on the island? -LRB- Allnutt remains sullenly silent. -RRB- The punishment for not answering the court is hanging. ALLNUT All right. ` Ang me. ` Oo cares? 1ST OFFICER What were you doing on the island? ALLNUT Nothing. 1ST OFFICER How did you get there? ALLNUT Swam. 1ST OFFICER Do you know that you are in an area prohibited to all but members of the forces of His Imperial Majesty, Kaiser Wilhelm II? ALLNUT ` Oo cares? 1ST OFFICER What is your rank. ALLNUT ` Ow's that? 1ST OFFICER You are a soldier, are you not? ALLNUT -LRB- disgustedly. -RRB- Naaa! 1ST OFFICER What are you then? ALLNUT I ai n't nothin'. 1ST OFFICER -LRB- in German. -RRB- The prisoner is obviously here to spy on the movements of the Königin Luise. The Captain, without opening his eyes, turns to the Second Officer ; nods to him to proceed. The latter is completely at a loss. He rises, stammers a few words in German. 2ND OFFICER -LRB- in German. -RRB- No proof of criminal intent - He stops, tongue - tied ; then throws up his hands in a final gesture, sits heavily and starts wiping his face with a handkerchief. CAPTAIN -LRB- to Allnutt in English. -RRB- What were you doing here, if you were not spying? -LRB- Allnutt does n't answer. -RRB- The Court sentences you to death by hanging. -LRB- then in German to the others. -RRB- Not from the yard arm, but when we reach port. At this moment, there is a bustle outside the tiny crowded cabin. Then the door opens and a colored Petty Officer comes in and salutes them. PETTY OFFICER -LRB- in Swahili. -RRB- We are about to pick up another one. A woman. The Captain rises and goes to the door. LONG SHOT - ROSE FROM HIS VIEWPOINT She is sitting on one of the small barren islands, a little way up from the beach ; the dinghy manned by native oarsmen with a white officer, is already half way there. CAPTAIN' VOICE -LRB- o.s. -RRB- She looks like she's white.",
"INT. CAPTAIN'S CABIN -- AS BEFORE CAPTAIN -LRB- to Allnutt in English. -RRB- Was there a woman with you? Allnutt drops his mask of sullen stupidity and turns quickly to the door, but the Captain's bulk is blocking his view. He tries to push him aside. The First Officer hits Allnutt a hard blow across the face. Allnutt runs to a porthole and looks out in time to see : LONG SHOT - ROSE FROM HIS POINT OF VIEW She is struggling with the WHITE OFFICER who is trying to make her enter the boat. CLOSE UP - ALLNUTT frantic with excitement. ALLNUT -LRB- calls, shouting. -RRB- Rosie! Rosie! LONG SHOT - ROSE SHE STOPS STRUGGLING, ROSE -LRB- calling back. -RRB- Charlie!",
"INT. CABIN -- AS BEFORE The First Officer, who seems to enjoy hitting Allnutt, now delivers a second blow, this time knocking him down. He remains standing over Allnutt while the Captain and Second Officer resume their seats. CAPTAIN -LRB- to Allnutt. -RRB- Who is that woman? ALLNUT -LRB- rising unsteadily. -RRB- I do n't know. CAPTAIN But you just called her by name. ALLNUT I thought it was somebody else. CAPTAIN -LRB- in German. -RRB- Maybe I'll change my mind and hang you from the yard arm after all. o.s., the SOUND of approaching steps ; then Rose, followed by the WHITE OFFICER, enters the cabin. She stands staring at Allnutt for a long time. ROSE Charlie dear! ALLNUT ` Ello, Rosie. CAPTAIN Aha! You do know her! ALLNUT I calls all the girls Rosie. The WHITE OFFICER swings into view a life buoy on which is printed `` The African Queen''. WHITE OFFICER -LRB- in German. -RRB- She had this with her. CAPTAIN -LRB- to Rose, in English. -RRB- Who are you? ROSE Miss Rose Sayer. CAPTAIN English? ROSE Of course. CAPTAIN What are you doing on the lake? ALLNUT I ai n't told ` im nothin', Rosie. 1ST OFFICER Silence! CAPTAIN Answer the question! ROSE We were boating. CAPTAIN Last night? In such weather? ROSE We were not responsible for the weather. CAPTAIN And why were you boating? ROSE That is our affair. 1ST OFFICER As your fellow - prisoner has already learned, the penalty for not answering the court is death. ROSE -LRB- slow take. -RRB- You mean he - She gets it. She goes swiftly close to Allnutt. ROSE Charlie! Are they telling me. CAPTAIN -LRB- in German. -RRB- Order! The First Officer lays a restraining hand on her shoulder. ROSE -LRB- wheeling in fury and slapping him hard across the face. -RRB- Stop that! He goes cold and smiles yellow. ROSE Are they, Charlie? The truth? Allnutt looks back at her ; his chin begins to tremble ; with heroic effort he masters it. He nods. CAPTAIN Fraulein Sayer, you will come to order and answer the questions of this court. Rose wheels and faces him ; she is all cold fire. ROSE Ask your questions. CAPTAIN What were you doing on the lake? ROSE We came here to sink this ship, and - ALLNUT -LRB- in a loud voice. -RRB- Rosie! ROSE - and we would have, too, except for - ALLNUT Rosie! ROSE Let's at least have the fun of telling them about it, Charlie. ALLNUT Do n't you believe her, yer Honor. She's touched with the fever. ROSE -LRB- impatient. -RRB- Oh stop it, Charlie, we've been through all this. -LRB- primly. -RRB- I'm not going to outlive you and that's all there is to it. CAPTAIN -LRB- a bit amused and skeptical. -RRB- Just how, Fraulein, did you propose to sink - the Königin Luise? ROSE We were going to ram you. CAPTAIN With how large a vessel? ROSE With torpedoes. CAPTAIN AND 1ST OFFICER -LRB- look at each other ; in unison. -RRB- Torpedoes! 2ND OFFICER Torpedoes? CAPTAIN AND 1ST OFFICER -LRB- in unison ; tossing bones to a dog ; in German. -RRB- Torpedoes. 2ND OFFICER -LRB- gaping. -RRB- Nein! -LRB- foolish enough to believe Rose and Allnutt, he looks at them with awe. -RRB- 1ST OFFICER -LRB- interpreting, smooth and sardonic. -RRB- I think it is safe to assume, Miss Sayer, that the British Admiralty did not entrust you and this - gentleman - with the torpedoes. Will you be so good as to tell us precisely where and how you acquired them? ROSE Acquired? Mr. Allnutt made them. First Officer and Captain exchange a significant glance : she is obviously nuts. All through this, the Second Officer, who no spik English, is like a puzzled observer at a tennis match. 1ST OFFICER -LRB- a little like a warden in a loony house. -RRB- How very interesting. ROSE I do n't think you even believe me. Tell him how you did it, Charlie. -LRB- Over Allnutt's lines, the officers exchange glances which mean : `` He's loony, too''. -RRB- ALLNUT -LRB- 100 % the engineer. -RRB- Well - wot I did was take the ` eads off two cylinders of oxygen an' fill'em up with ` igh explosive - ` bout two ` undred weight. That was easy enough - it was the detonators took some hingenooity. Know wot I used? Cartridges, an' nails, in blocks o' soft wood. A pretty job. Then I mounted the cylinders so they stuck through the bows of The African Queen, near the water line, so when we rammed you - CAPTAIN -LRB- half believing what he ca n't believe. -RRB- Where is The African Queen? ROSE She sank in the storm. CAPTAIN How did you get onto the lake? ROSE We came down the Ulanga - the Bora, you call it down here. All three officers look at each other - even the Second Officer catches this - and back at Rose. CAPTAIN -LRB- in English. -RRB- 1ST OFFICER -LRB- in English. -RRB- 2ND OFFICER -LRB- in German. -RRB- -LRB- together. -RRB- But that is impossible! ROSE Nevertheless! CAPTAIN Everybody knows the river is unnavigable. ROSE -LRB- proudly. -RRB- We came down it, though - did n't we, Charlie? - on The African Queen. CLOSE SHOT - THE DERELICT AFRICAN QUEEN floating keel up. She is under water except for the two cylinders which stick up like the antennae of a snail. CAMERA DOES LONG PULL BACK, to show The Louisa approaching.",
"EXT. DECK -- THE LOUISA MEDIUM SHOT - ROSE AND ALLNUTT as they come out of the cabin surrounded by the ship's officers. The company stops near the main mast where a crew member has finished making a hangman's noose of one rope and is now tying a knot in another. 1ST OFFICER -LRB- to Captain. -RRB- The man first. ROSE Please - hang us together. CAPTAIN Very well. He nods to the First Officer to proceed with the execution. Allnutt and Rose exchange a look of satisfaction. ALLNUT Rosie, I ai n't gon na say goodbye again. It's gettin' to be an old story. ROSE Darling! The next moment, the deck heaves upward. There is a rush of air and a frightful ROAR. Smoke and flying debris fill the SCREEN. MEDIUM LONG SHOT - THE WATER where those who were on deck are now struggling. There is something ludicrous about the Germans in their ducks with the gold buttons and decorations trying to keep above water. CLOSE SHOT - ROSE AND ALLNUTT ALLNUT Wot ` appened? ROSE We did it, Charlie, we did it! ALLNUT But ` ow? Rose points to a piece of wreckage floating on the water in the near distance. ALLNUT Well I'll be. Are you all right, Rosie? ROSE Never better. And you, dear? ALLNUT Bit of all right. ROSE I'm all turned round, Charlie. Which way is the south shore? ALLNUT The one we're swimming towards, old girl. CAMERA MOVES TOWARD the piece of wreckage, losing Rose and Allnutt, into CLOSE SHOT showing the printed words `` African Queen'' on the wreckage. When the name fills the SCREEN - THE END"
] | [
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] | Samuel Sayer and his sister Rose are British Methodist missionaries in the village of Kungdu in German East Africa at the beginning of World War I in September 1914. Their mail and supplies are delivered by a small steam launch named the African Queen, helmed by the rough-and-ready Canadian mechanic Charlie Allnut, whose coarse behavior they stiffly tolerate. When Charlie warns the Sayers that war has broken out between Germany and Britain, they choose to remain in Kungdu, only to witness German colonial troops burn down the village and herd the villagers away to be forcibly recruited. When Samuel protests, he is beaten by an officer, and becomes delirious with fever and soon dies. Charlie returns shortly afterward after having found his mine to have been destroyed by the Germans and being chased for his supplies, which include gelatin explosives. He helps Rose bury her brother, and they set off in the African Queen. While planning their escape, Charlie mentions to Rose that the British are unable to attack the Germans due to the presence of a large gunboat, the Königin Luise, patrolling a large lake downriver. Rose comes up with a plan to convert the African Queen into a torpedo boat and sink the Königin Luise. Charlie points out that navigating the Ulanga River to get to the lake would be suicidal: they would have to pass a German fort and negotiate several dangerous rapids. But Rose is insistent and eventually persuades him to go along with the plan. Eventually Charlie becomes inebriated and drunkenly insults Rose and her plan, who retaliates by dumping his supply of gin into the river. Charlie allows Rose to navigate the river by rudder while he tends the engine, and she is emboldened after they get through the first set of rapids with minimal flooding in the boat. But when they pass the fortress and the soldiers begin shooting at them, the bullets damage the boiler, although they are unable to shoot the boat severely due to the sun getting in their eyes. Charlie manages to reattach a pressure hose just as they are about to enter the second set of rapids. The boat rolls and pitches as it goes down the rapids, leading to more severe flooding in the boat. However, they make it through. While celebrating their success, the two find themselves in an embrace. Embarrassed, they break off, but eventually succumb and become lovers. The third set of rapids damages the propeller shaft. Rigging up a primitive forge on shore, Charlie straightens the shaft, welds a new blade onto the prop, and they are off again. All appears lost when the boat becomes mired in the mud and dense reeds near the mouth of the river. They try to tow the boat through the muck, only to have Charlie come out of the water covered with leeches. With no supplies left and short of potable water, Rose and a feverish Charlie pass out, both accepting they will die soon. Rose says a quiet prayer. As they sleep, exhausted and beaten, torrential rains far upstream gently raise the river's level and float the African Queen off of the mud and into the lake. Once on the lake, they narrowly avoid being spotted by the Königin Luise. Over the next two days, Charlie and Rose convert some oxygen cylinders into torpedoes using gelatin explosives and improvised detonators. They push the torpedoes through holes cut in the bow of the African Queen as improvised spar torpedoes. The Königin Luise returns, and Charlie and Rose steam the African Queen out onto the lake in darkness, intending to set her on a collision course. A strong storm strikes which causes water to pour into the African Queen through the torpedo holes. Eventually the African Queen capsizes, throwing them both into the water. Charlie loses sight of Rose in the storm. Charlie is captured and taken aboard the Königin Luise, where he is interrogated by the captain. Believing that Rose has drowned, he makes no attempt to defend himself against accusations of spying, and the German captain sentences him to death by hanging. However, Rose is captured and brought to the Königin Luise just after Charlie's sentence is pronounced. The captain questions her, and Rose confesses the whole plot proudly, deciding they have nothing to lose. The captain sentences her to be executed with Charlie, both as a British spies. Charlie asks the German captain to marry them before executing them. After a brief marriage ceremony, there is an explosion and the Königin Luise quickly capsizes. The Königin Luise has struck the overturned submerged hull of the African Queen and detonated the torpedoes. The newly married couple happily swims to safety. | The_African_Queen_(film) |
[
"EXT. TWA PLANE IN FLIGHT OVER LOS ANGELES - NIGHT With the myriad lights of the city beneath it. As the plane lands :",
"EXT. HUGE HANGAR Troop carriers filled with ARMED SOLDIERS are lined up before the hangar ; several official cars filled with SECRET SERVICE MEN, four MOTORCYCLE POLICEMEN, and a caravan of three limousines complete the waiting entourage. The CHIEF of the SECRET SERVICE looks toward the airfield as the plane is heard taxiing in. He turns and gets into one of the limousines, followed by the others. LONG SHOT - VEHICLES ON AIRFIELD Coming toward camera. The plane looms in the f.g.. A motorized stairway is on the way toward the door of the plane. The vehicles come to a halt before the camera. HIGH ANGLE SHOT - PLANE The Armed Soldiers leap out of the troop carriers and form a cordon around the plane. The Secret Service Men get out within the circle of guards, wait for the door to open.",
"EXT. JET DOOR It opens. GRANT steps out : in middle thirties, with the air of a man who takes nothing seriously - his coverup for involvement. He turns to help JAN BENES out of the plane. Benes is Mittel European in dress and manner. Physically, he is Schweitzer at forty : the leonine head, the shock of hair. He carries a battered suitcase. In response to Grant's gesture, he precedes him down the stairs. ON THE FIELD As Benes reaches the last step, he is greeted by the Chief of the Secret Service, who shakes his hand, introduces him to several of his subordinates, and leads him to a limousine. Their words are lost in the din of jets. About to get into the car, Benes turns and moves back quickly to Grant, who is near the bottom of the stairs. Benes extends his hand. They shake warmly. Benes moves back toward the limousine. GRANT - ON PLATFORM STAIRS He watches as Benes gets into the limousine and the caravan takes off with the Motorcycle Escort. The Soldiers are climbing back into the troop carriers. Grant starts down the stairs, is lost to view in the general activity.",
"EXT. PICO BOULEVARD Down which the cavalcade speeds.",
"EXT. WAREHOUSE DISTRICT OF STUDIO (BACK LOT) The cavalcade races through an area of dark warehouses.",
"EXT. DESERTED STREET (BACK LOT) A rundown area. The cavalcade starts down the street. In the second floor of an otherwise dark house, a light is turned on and off, an evident signal. PAN DOWN to a heavy car, waiting in a narrow alley which opens into the street. Its headlights are off, the sound of its engine completely drowned by the concerted roar of the oncoming cars and motorcycles. As the cavalcade nears the entrance to the alley, one of the motorcyles comes speeding up from the rear of the escort. The car in the alleyway starts toward the entrance to the alley.",
"EXT. ALLEYWAY The car starts hurtling forward at full speed. The front of the limousine is now visible. A broadside impact seems inevitable.",
"EXT. ALLEY The motorcycle from the rear reaches the limousine as the kamikaze car comes hurtling out like a motorized projectile. It hits the motorcycle - a totally unexpected obstruction - and sends the Policeman flying out of scene. It is sufficient to deflect the kamikaze car from its deadly aim. The car hits the rear of the limousine, sends it spinning out of control. The suicide car, also out of control, careens toward the opposite side of the street. The limousine smashes into a telephone pole, which brings it to a jolting stop.",
"INT. LIMOUSINE The impact throws Benes to the side. His head hits the door handle with stunning force, almost knocking him out.",
"EXT. STREET The kamikaze car slams directly into a brick wall. It instantly bursts into fire, engulfing the Driver. The fitful flames illuminate the otherwise dark street.",
"EXT. LIMOUSINE The Chief of the Secret Service jumps out of the limousine, waves to a sedan to pull up, his shouts lost in the general turmoil. Other Secret Service Men are helping the dazed Benes out, shielding him. A sedan pulls up beside the limousine.",
"INT. SEDAN The Chief of the Secret Service instantly hustles Benes into the rear. As he climbs in beside him, and the other Secret Service Men rush to the other side to get in, there is the sharp crack of a rifle shot. It shatters the rear window of the sedan, narrowly missing Benes. The Chief thrusts him onto the floor, sprawls on top of Benes to cover him, while shouting to the Driver to get going, his words indistinguishable in the confusion of more rifle shots, which sends glass and bullets ricocheting through the interior of the sedan.",
"EXT. STREET In the eerie light of the burning car, the sedan can be seen speeding off, flanked and spearheaded by Motorcycle Police. The Secret Service Men and those in the sedans are left behind, firing toward the top floor of a nearby bullding from which the rifle fire came. SERIES OF IMPRESSIONISTIC CUTS THROUGH CREDITS Without divulging the nature of the hospital, the unconscious Jan Benes is seen undergoing a fast and thorough medical probe by TECHNICIANS and SPECIALISTS, using the latest equipment. Huge X - ray machines, Centrifuges whirling blood samples, EKGs, Encephalographs, and a variety of instruments used in cerebral examinations are featured. After the LAST CREDIT :",
"EXT. CITY STREET - NIGHT It is late. A car is speeding along.",
"INT. CAR Seated in the rear, Grant looks as if he has just been aroused from sleep and hustled into the car in a hurry. He is getting into his shirt, helped by a MAN beside him. There is a smudge of lipstick on his cheek. MAN Sorry we had to get you up at this hour, Mr. Grant. GRANT -LRB- yawning. -RRB- I thought I was on my vacation. What's it all about? MAN I ca n't tell you. GRANT Where we going? MAN I ca n't tell you that either. Excuse me, Mr. Grant, but you've got a smudge on your cheek. He takes out handkerchief, realizing Grant ca n't see it. MAN May I? GRANT Go ahead. As Grant finishes buttoning on his shirt, the Man rubs off the lipstick. Then he throws the handkerchief out of the car. GRANT What'd you do that for? MAN I'm married. GRANT And she said it was indelible.",
"EXT. DESERTED WAREHOUSE - PARKING AREA - NIGHT The car bearing Grant pulls up on an unpaved parking area used for loading trucks. Nothing stirs. The DRIVER shuts off the engine and lights.",
"INT. CAR The Driver and the Man in the rear get out. As Grant starts to follow : MAN You're to stay inside, Mr. Grant. -LRB- answering look. -RRB- And wait. They close their respective doors, leaving Grant alone in the car, looking out mystified into the darkness.",
"EXT. PARKING AREA The two men move off together, until they reach what they obviously know is a proscribed distance from the car. Then they stop and look at it. For a moment nothing happens, then the ground seemingly starts to sink with the car.",
"INT. CAR Grant is startled to see the earth sliding up past the car. LONG SHOT - ELEVATOR SHAFT It now becomes apparent that the car has been resting on what is really the top of an elevator shaft. The sides of the shaft now become visible : it is seemingly bottomless.",
"INT. CAR - IN SHAFT Grant responds as the elevator finally comes to a halt.",
"INT. BOTTOM OF ELEVATOR SHAFT The car is on the earthen platform. Two big doors open. A scooter bearing the distinctive insignia of the appears, driven by an M.P. wearing the same emblem. Grant gets out of the car, is waved by the M.P. into the scooter. He gets in, is driven away.",
"INT. UNDERGROUND ORDNANCE DEPOT They pass through a vast empty area, obviously capable of holding large pieces of equipment. The insignia of the is prominent. RAMP The scooter carrying Grant speeds up the incline to :",
"INT. CENTRAL CLEARANCE AREA MALE and FEMALE OFFICERS, all in the uniform of the, are moving about busily. As the M.P. and Grant drive across the foyer, Grant eyes the Female CMDFs appreciatively. Their uniforms emphasize non - military points. The scooter reaches :",
"INT. CLEARANCE DESK The OFFICER behind the desk looks up. OFFICER Your I.D. card, please. Grant takes out a card with only an embossed number. The Officer places it into an IDENTIFIER. We see its screen is blank. After a moment, Grant's picture flashes on in color, in full view and profile. The Officer looks up at Grant, sees it is an exact likeness. He then extracts the card. The screen goes blank. He hands Grant the I.D. card. The scooter takes off, speeding down a long neon - lit corridor, marked off for scooter traffic : four lanes, two in each direction. Numerous doors leading to offices open on both sides of the walkways. Traffic is heavy. Grant is the only one in mufti. The scooter approaches doors over which lights flash :! As the scooter nears the Sentry Box, the M.P. on duty hits a switch. The steel doors slide open. The scooter goes through into :",
"INT. MEDICAL FOYER GENERAL ALAN CARTER is coming out of a door in a hurry. The scooter bearing Grant pulls up beside him. Grant gets out. They shake hands. CARTER Hello, Grant. Good to see you again. GRANT The Pentagon, was n't it, General? Only you were n't in that uniform.",
"INT. OBSERVATION ROOM They move to window overlooking the OPERATING ROOM, see the unconscious Benes being wheeled in for Surgery. His head is uncovered. The full shock of hair stands out against the white pillow. His body is draped in the usual manner. A battery of SPECIALISTS and MEDICAL ATTENDANTS, MALE and FEMALE, are moving about under the glare of beams focused on the Operating Table. GRANT -LRB- startled. -RRB- Benes. What the devil happened? CARTER The Other Side got to him. GRANT How bad off is he? CARTER Brain injury. GRANT Before or after what he wanted to tell you? CARTER Before he could breathe a word. He's the only scientist who knows the answer to what we're after. That's why we have to operate - He turns away from the window, moves toward another door, with Grant following. CARTER - and why we need you. GRANT Bewildered, he follows Carter through door into :",
"INT. MONITORING ROOM Carter moves to a panel of many switches and TV screens. GRANT I ca n't even put a Band - Aid on my finger. CARTER Here's the Surgeon. He flicks a switch. On the TV screen appears the INTERIOR OF DUVAL'S OFFICE. We see DUVAL, a brain surgeon in the middle forties. He has the manner of one totally dedicated to his work. At the moment, he is testing a ruby laser, narrowing the beam down to pencil - like thinness. Assisting him is CORA PETERSON. In the middle twenties, her attractiveness is matched by her efficiency, which is considerable. They work together smoothly, the result of long association. It is evident neither know they are being observed during : CARTER Duval. Dr. Peter Duval. Top brain man in the country. Ever hear of him? GRANT Sorry, but I'm rusty on surgeons. Who's the girl? CARTER Cora Peterson, his Technical Assistant. You'll join Duval and the others - GRANT What can I do? Except maybe pass out? Carter flips on another switch. On the TV screen appears the INTERIOR OF DR. MICHAELS' OFFICE. It is dominated by big blowups of the Circulation System. Michaels is asaembling charts, as if under pressure. CARTER'S VOICE -LRB- on loudspeaker. -RRB- Mike. Michaels moves to a wall, presses a switch. His TV screen shows Grant and Carter. MICHAELS Yes, Alan. CARTER Meet Grant. This is Dr. Michaels, Chief of the Medical Section. MICHAELS Glad to have you with us, Mr. Grant. GRANT Wish I knew why. CARTER Tell him where he fits in, will you? I've got a few things to check out. He moves to another panell is seen throwing on switches, monitoring a fast series of scenes, all of which are indistinguishable in angle of shot. Michaels is seen bustling about, collecting charts during : MICHAELS We need you for Security purposes, Mr. Grant. GRANT At an operation? MICHAELS They know they failed to kill Benes. Security thinks they'll try again, first chance they get. We're afraid of medical sabotage - or surgical assassination. GRANT Surgical assassination?! But that means you suspect - CARTER -LRB- re - entering scene. -RRB- -LRB- LINE OF DIALOGUE CUT OFF. -RRB- MICHAELS I do n't agree. Just because he's often difficult - CARTER Difficult? He's impossible! MICHAELS That's no reason to suspect him of disloyalty. GRANT But why take the chance, when there must be other doctors? CARTER We have no choice. Duval's the most skillful brain surgeon in the country, and he's right here, at hand. GRANT I would n't know if he's trying to save him or kill him. MICHAELS I'll be standing by. know. CARTER -LRB- to Grant. -RRB- And no matter what happens, you're to take orders from Dr. Michaels, understand? GRANT Right, sir. CARTER Come along, they'll be operating shortly. -LRB- hand on switch. -RRB- See you later, Mike. Michaels waves. Carter switches off the monitor. He moves to a door. Grant follows.",
"INT. MEDICAL FOYER As they emerge : GRANT His technician okay? In addition to the Looks Department? CARTER No question of her loyalty. As Carter leads Grant to the scooter and they take their places, Grant looks at the big insignia on the floor. GRANT I do n't mean to be inquisitive. But this - for all I know it could stand for? CARTER -LRB- matter - of - fact. -RRB-. GRANT -LRB- blankly. -RRB- Say that again? Carter starts the scooter and they drive through the big doors leading out of the Medical Foyer.",
"INT. CORRIDOR - TRAVELING WITH SCOOTER CARTER We can reduce anything down to any size we want. People - ships - tanks - planes. GRANT General, I've heard some wild ones. But this takes it. CARTER We can shrink an Army - with all its equipment - and put it in a bottle cap. That's why we call it. GRANT -LRB- with silent whistle. -RRB- If the Other Side ever gets hold of a thing like that. CARTER They have. -LRB- answering look. -RRB- But we've both got the same problem - lack or control. We can only keep things Miniaturized for exactly sixty minutes. Arter that, everything starts growing back to its original size. They arrive at the root of the escalator, leave the scooter and board the moving stairway. WITH ESCALATOR As they ride up : GRANT I assume Benes knows how to control it. CARTER That's right. He wanted us to have the secret, and not them. Which is why they tried to kill him. GRANT They're bound to try again. No wonder they want me to stand by during the operation. CARTER And take a little trip with them. GRANT -LRB- bewildered. -RRB- Trip? Where to? CARTER -LRB- matter - of - fact. -RRB- Well, the only way to reach that clot is from inside the Brain. So we've decided to put a Surgical Team and a Crew into a submarine - reduce it way down in size, and inject it into an Artery - GRANT -LRB- jolted. -RRB- You mean going along? CARTER As part of the Crew. GRANT Wait a minute! They ca n't shrink! CARTER -LRB- assuringly. -RRB- Grant, our Miniaturizer can shrink anything. GRANT But I do n't want to be Miniaturized -! CARTER It's only for an hour - GRANT Not even for a minute! General Carter, sir, I'd like you to reconsider your choice. I'm just not the right man for a mission of this kind. He starts walking against the direction of the escalator, thus remaining in the same place. CARTER -LRB- taking his arm. -RRB- Come on, Grant. You're going to a Briefing. They have reached the top of the escalator. Nearby is a door marked : Carter opens the door, waves him in.",
"INT. CONFERENCE ROOM Grant and Carter enter in the middle of what is evidently a heated argument between COLONEL DONALD REID and Duval. Reid is in the uniform of the, with a cadaceus which indicates he is the Medical Division. Also present is CAPTAIN BILL OWENS, in Naval uniform, and Michaels. Cora stands beside Duval, rather abashed, since she is the cause of the vociferous disagreement. DUVAL -LRB- irascibly. -RRB- Miss Peterson volunteered to come along! REID So did every male Technician in the Unit. A woman has no place on a mission of this kind. DUVAL -LRB- brooking no rebuttal. -RRB- I insist on taking my Technician. REID You'll take whoever assign! DUVAL -LRB- angrily. -RRB- Do n't tell me whom I'm to work with! Not on this operation or any other! I'll do what think is best, without any interference from anyone! Before Reid can reply : MICHAELS -LRB- diplomatically. -RRB- Dr. Duval has relied on Miss Peterson for years. And since she wants to come along, I'm sure it's for the best, Dr. Reid. REID -LRB- making best of defeat. -RRB- I do n't agree with you - but since you're in charge, you can do as you please. But I want to go on record as being against it. CARTER Grant - Colonel Reid, Operation Commander. -LRB- they nod ; of Michaels. -RRB- You've met our Medical Chief. Grant and Michaels shake hands, in effect their first meeting vis - a - vis. CARTER This is Dr. Duval, our Head Surgeon. GRANT Oh yes, I've heard of you, Doctor. With the attitude of the completely dedicated professional, Duval throws him a cursory glance, nods, sits down, quickly opens up a folder containing the latest lab reports on Benes, which he scans during : MICHAELS Miss Peterson, his Technical Assistant. GRANT -LRB- the charmer. -RRB- How are you, Miss Peterson? She responds with an impersonal nod, sits down beside Duval and opens up her sheaf of lab reports, handing him the pertinent ones during : CARTER This is Captain Bill Owens, designer of an experimental submarine for the Navy's ` Oceanographic Research and Development Program.' As they shake hands : GRANT Out of your element, are n't you, Captain? OWENS Sort of. GRANT That makes two of us. CARTER Grant's uniquely qualified for this mission. He's a Communications Expert and was a Frogman during the War. Besides, he brought Benes into this country, and the fewer people who know about him, the better. At any rate, you'll find Grant invaluable, should anything go wrong once you're under way. -LRB- to Reid. -RRB- Okay, Don. REID Here's the overall Target Area. Reid presses a switch. A large anatomical map of a Brain flashes on a central screen. The ganglia and dendrites form a network, much like intersecting roads, in a detailed war map. The clot is a solid obstruction in the center. Grid lines cross the map vertically and horizontally as points of reference. The entire projection has a three - dimensional effect, since it is drawn in perspective. DUVAL Benes' brain. near as we can map it stereotaxically. He switches on a flashlight arrow, points to the clot. DUVAL The clot's right here. He switches off the arrow and quickly flashes it on again, this time on the edges of the map. The arrow now probes and with draws from the base, center and top of the brain, like the animated technique of showing an attack which is repulsed at the perimeter. DUVAL Impossible to get at -. -LRB- arrow makes vertical penetration to give impression of wide cut. -RRB- - without damage to the intervening tissue. which would prove fatal to Benes. He presses another switch. A startling OVERLAY OF THE BLOOD VESSELS OF THE HEAD AND NECK appears over the anatomical drawing of the brain, encasing it. The red - colored arteries and blue - colored veins form such an intricate maze, that finding one's way through it seems virtually impossible. DUVAL The only way to reach it is via the Arterial System. Grant looks at Cora. She is busy making notes from the projected map. Owens is showing no undue reaction, apparently having been apprised. REID Phase One calls for Miniaturizing a submarine, with Crew and Surgical Team, and injecting it into the Carotid Artery. He points with the arrow to the exact spot. OWENS How small would that be? REID About the size of a microbe. GRANT Colonel, I'm sure that's quite a comfortable size, but - REID Reduced proportionately, you wo n't find it too strange - GRANT All in a day's work, sure. But I was thinking of the speed of the Circulatory System. MICHAELS About forty miles an hour. GRANT Well, it seems to me if you reduce a ship to microscopic size - and the stream remains constant - we'd take quite a beating. OWENS -LRB- very worried. -RRB- I hope you've taken that into account - CARTER We have. REID You wo n't be going anywhere near that fast. We're putting Benes in deep Hypothermia - that is, freezing him low as compatible with human life. It'll slow down his heartbeat, Circulation, and all other physical processes. Owens begins polishing his glasses, indicating his inner qualms. OWENS Even so, because of our size - I mean lack of it - we'll still be cruising mighty fast. We'll be smashed to bits if there's any turbulence - MICHAELS -LRB- pointing with flashing arrow. -RRB- The only danger of turbulence is in the Heart - and we're not going through it. -LRB- flashing arrow. -RRB- Once in the Carotid Artery, we'll remain in the Arterial System. until we reach the point of damage -. -LRB- flashes around clot. -RRB- - where Dr. Duval will attempt to dissolve the clot with a laser beam. After the operation, we'll return by way of the Venous System -. -LRB- coursing down with arrow. -RRB- - until we reach the base of the neck -. -LRB- arrow stops. -RRB- - where we'll be removed right here - with a hypodermic. GRANT How will you know where the sub is, at any particular moment? REID Dr. Michaels - our Circulatory Specialist - will serve as your Navigator. He'll know just where you are. And you can communicate directly with us, by wireless. Besides, the sub is nuclear - powered, and we'll be tracking it just as we would any radio - active tracer. CARTER There'll be a team of Surgeons standing by. We're prepared to remove you immediately, should anything go wrong. In any event, you must be out within sixty minutes. After that, you'll be in danger of attack. GRANT Attack? Who - or should I say what from? REID Benes' natural defenses. White Corpuscles - Antibodies. Once you begin to grow - and become a menace to the body - you'll trigger them off. MICHAELS With all the unknown factors in the body, I still say risking five lives for one is something we should reconsider - CARTER We understand your concern, but we've made our decision, Doctor. Any questions? Anybody? GRANT Just one, General. CARTER Yes? GRANT Where can I get a cab back to town? No one responds to the attempted levity. Carter rises. CARTER -LRB- to all. -RRB- Proceed to the Sterilization Section. Carter and Reid move out of the room through the door. The others go out through another.",
"INT. CORRIDOR The five appear and stop before a cylindrical door with handles similar to those in a vault, to give the effect of a sealed chamber within. Over the door flashes : The five reach the door. An electronic beam swings it open automatically. They start in. As Grant moves past the sign : GRANT How much can a man give to his country? The door swings automatically shut behind him.",
"INT. CONTROL TOWER A huge plastic bubble in the form of a truncated semicircle, with glass panels overlooking areas not visible in the angle of the shot. TECNICIANS in the uniform of the are seated at a desk - level bank of monitors, on a slightly raised platform. They are checking the numerous TV screens for focus. A cacophony of B - Beeps from the screens underscores the sense of last - minute preparations. A COMMUNICATIONS AIDE wearing headphones and throat microphone moves about. Carter crosses to the Miniaturization Control Panel. Reid goes to the window overlooking the OPERATING ROOM. Below, he can see Benes on the operating table, a towel over his head. Surgical Aides are making a last - minute check of the Thermal Blanket which encases him in three sections. Reid presses a button on the wall beside the window. REID Make the final preparations. They begin to remove the towel from Benes' head. Reid turns away from the window and crosses to the window overlooking the MAIN OPS ROOM. With him we see a huge room, bisected by a floor - to - ceiling detailed map of the entire ARTERIAL and VENOUS SYSTEM from rib - cage to skull, to simulate the body of Benes in a prone position. Grid lines mark off areas in relation to true North and South. TECHNICIANS are bustling about with charts and reports which are coming in through headphones, telephones, teletypes, batteries of Computers, Oscillographs, etc.. Encircling the entire floor are glass - fronted booths which enclose the SPECIALISTS' POSTS. Reid turns to a Technician at the Master Control Section. REID -LRB- to Technician. -RRB- Heart. The Technician flips on a switch. On a TV screen appears the INTERIOR OF THE HEART POST, one of the glass - enclosed booths looking out onto the MAIN OPS ROOM. Like all the Specialists Posts, it is concerned with its particular area and nothing else : Blowups of the Heart in great detail, X - rays of Benes' heart, its beat being recorded electronically on a huge EKG chart which fills one wall and is in constant operation via remote control. The HEART SPECIALIST is standing before the EKG chart, while a TECHNICIAN twirls dials at a panel. Reid can be seen in the closed TV circuit in the Heart Post. -LRB- As in all subsequent TV communications. -RRB- REID How's it look, Henry? HEART SPECIALIST -LRB- over TV. -RRB- Holding steady at thirty - two per minute. REID -LRB- to another Technician. -RRB- Respiration. The Technician flips on another switch. On a TV screen appears the",
"INTERIOR OF THE RESPIRATION POST. Here everything relates only to the lungs. In addition to cut - away sections where each small area assumes the proportions of a detailed war map, there are banks of Benes' X - rays, lit up in panels, plus immense calibrated charts labeled INHALATION and EXHALATION, on which the rate is being electronically recorded. REID How's he doing, Jack? The Lung Specialist is seen glancing at a chart. LUNG SPECIALIST -LRB- over TV. -RRB- Respiration is now six per minute. I would n't take him down any further. Another Technician flips switch in response to : REID Hypothermia. On a TV screen appears the INTERIOR OF THE HYPOTHERMIA POST, its walls festooned with dials recording bodily temperature, before which TECHNICIANS sit watching and making minute adjustments. The HYPOTHERMIA SPECIALIST moves along, keeping a sharp eye on the various zones labeled : CIRCULATORY, RESPIRATORY, CARDIAC, RENAL, etc.. REID Any problems, Dr. Sawyer? HYPOTHERMIA SPECIALIST -LRB- over TV. -RRB- No sir. We're holding him at twenty - eight degrees Centigrade. Carter enters, moves to the Control Section to join Reid. CARTER Where do we stand? REID Medical's ready. The Communications Aide with headphones moves up to them. COMMUNICATIONS AIDE They're in the Sterilization Corridor -",
"INT. STERILIZATION CORRIDOR Bathed in eerie ultra - violet light. The five are passing down the corridor, in single file. All are dressed in khaki uniforms. Grant moves ahead of Cora. As they reach a vestibule at the end, the door swings open automatically. Grant starts to help Cora over the threshold. CORA Do n't touch me. I'm sterile. Grant grins. They move into :",
"INT. MINIATURIZATION ROOM A huge parquet area, composed of white octagonal modules. In the center is the Zero Module, in red. Standing over it is a fifty - foot craft. The angle and the distance renders its details indeterminate. WHITE - CLAD TECHNICIANS wearing rubber gloves are seen working about it. As the five come into the room : CARTER'S VOICE -LRB- on loudspeaker. -RRB- Please board and check all your equipment immediately. They look up, see : CARTER AND REID AT WINDOW OF CONTROL TOWER - THEIR P.O.V.. They can be seen, high above. DOWN INTO MINIATURIZATION ROOM - FROM P.O.V. CONTROL TOWER Carter and Reid look down at the tiny figures below as they move toward : THE PROTEUS - OVER THE ZERO MODULE With Grant and the others, we now get the full impact of the experimental sub at close range : sleek lines from the intake in the nose sweep over a transparent plastic bubble atop the structure, and then down to taper off at the stern under which are double vents. The sub is supported by cradles, allowing it to stand free of the module. Plastic windows in the bow afford the occupants a full view. A white - Clad Technician hands Owens a small lead box. TECHNICIAN Here's the particle, sir. OWENS Everything aboard? TECHNICIAN All squared away, sir. Carefully holding the lead box, Owens starts up the ladder, followed by Duval, then Michaels. Grant waves Cora to precede him. They reach the monk's steps above the ladder, climb upward, then one by one disappear through the hatch. Grant is the last one in.",
"INT. PROTEUS With Grant we see the interior. There are plastic windows in the bow. In the center is the Navigation and Communications kiosk, which contains charts, reports, and a wireless set. Four swivel chairs are spaced about the kiosk. Behind it, a ladder leads to the Conning Bubble above. Set in the rear of the kiosk is a watertight door leading into the escape hatch. Behind the kiosk is a Lab and Storage Section, not visible at the moment. No power of any kind is on - lights or air - conditioning. The interior is illuminated by the light coming in through the plastic windows. Duval, Michaels and Cora instantly move to the kiosk and busy themselves examining the charts and reports in the numerous pigeonholes. Owens hands the lead box to Grant. OWENS Hold this. Grant takes the lead box. Owens removes a crank from the tool box, inserts it into a hole in a circular trap door which reads : Owens turns the crank. The lid of the trap door opens. A hollow cradle comes up. Owens then opens the lead box by undoing two butterfly screws. He removes the Seed Cage from within the box. GRANT -LRB- not relishing thought. -RRB- Atomic fuel? OWENS Nothing you could see with the naked eye. But there's a microscopic radio - active particle inside. He puts the Seed Cage on the cradle and lowers it back beneath the floor, by reversing the crank. During the above : GRANT If it's no military secret, how can a sub run on a microscopic particle? OWENS They ca n't reduce nuclear fuel. But once the Reactor's Miniaturized - along with the submarine - a microscopic particle should emit enough energy to activate it. GRANT That's cutting it mighty close - for a perfect fit. OWENS It should work - theoretically. If it does n't, the mission's off. The craft's nuclear - powered. Except for your wireless. The lid of the trap door is now level with the floor. Owens removes the crank, and taking the lead box from Grant, he puts both back into the tool box during : GRANT -LRB- looking about ; admiringly. -RRB- All in all, quite a canoe. OWENS Designed for Piscatorial Research - the Spawning Habits of Deep Sea Fish. GRANT Remind me to ask you about the love life of an octupus. He moves to the wireless, sees Cora smile as she goes through the aft door. Grant begins tapping out a message.",
"INT. CONTROL TOWER A WIRELESS TECHNICIAN is writing down the message heard coming in. He tears it off his pad, hands it to the Communications Aide, who takes it to Carter. COMMUNICATIONS AIDE Test message from the Proteus, sir. -LRB- reading. -RRB- ` Miss Peterson has smiled.' REID That's an auspicious sign. CARTER Confirm receiving.",
"INT. PROTEUS Grant is at the wireless, logging the incoming message. In the meantime, Owens finishes battening down the entrance hatch. Duval is studying medical reports, Michaels is spreading out the first of the Navigation Charts, a very detailed map of the Vascular System of the Neck and Head. As Owens crosses on the way to the ladder leading to the Bubble : MICHAELS Captain, how will you be able to follow my charts -. -LRB- of Bubble. -RRB- - from up there? OWENS On the Repeater. Michaels looks at him blankly. Owens flips a button up and down of a hooded device which is trained on the chart area. The small screen remains blank. OWENS Once the power's on, we'll be in direct touch. Come, I'll show you. Michaels moves with him to the ladder leading to the Bubble. Owens stops, waves him to continue. Michaels goes up the ladder.",
"INT. CONNING BUBBLE An ultra - sophisticated set of controls, consisting of a push - button panel and an airplane - like steering wheel. The plastic affords a 360 degree view of the Miniaturization Room. There is room for only one person. Owens remains on the ladder, so that only his head is within the Bubble. Owens points to the identical Repeater on the Panel. OWENS That's it. MICHAELS -LRB- of controls ; ironically. -RRB- Looks simple to operate. He sits down in the single seat.",
"INT. PROTEUS Grant is moving aft. With him we hear : OWENS'VOICE -LRB- from Bubble ; with pride. -RRB- It actually is, although the controls are highly sophisticated. There's a button for everything - Grant enters :",
"INT. LAB AND STORAGE SECTION Originally designed for marine research, it still shows some of its pre - adaptation structure : there is a series of glass - fronted compartments, now labeled ANTIBIOTICS, ANTI - COAGULANTS, COAGULANTS, MED OXY, etc.. A wide counter runs the length of the compartment on one side, suitable for working on specimens. A Ruby Laser sits on the counter at the end, its plastic cover removed and to the side. At the other is a piece of metal on a metal base. As Grant enters, he sees Cora working with a set of very small tools, making minute adjustments on the laser. GRANT Bet you're pretty handy around the house. Can you cook? CORA -LRB- indicating oxy containers. -RRB- We're pushing oxygen today. GRANT I'll take some Laughing Gas, ma'am. CORA -LRB- surprised. -RRB- You sound as if you're not looking forward to it. GRANT Well, it's not exactly a pleasure cruise. CORA I think it's the most exciting -. -LRB- with awe. -RRB- We're going to see things no one ever saw before. The actual physical process of Life itself - not something under a microscope. Just think of it - GRANT That's the trouble. I am. Being shrunk. CORA You may learn to like it. She has finished adjusting the laser. She now lifts Grant's hand away from the metal disc. CORA Excuse me. She presses a button on the laser. With startling suddenness, a thin pencil of light shoots out, cutting a hole through the metal instantaneously. Had Grant's hand remained, the beam would have gone right through it. GRANT For a nice young lady, you play with the damndest toys, Miss Peterson. She adjusts the intensity and thickness of the laser beam, each new one cutting different size holes through the metal during : CORA -LRB- with smile. -RRB- That'll teach you where to keep your hand. GRANT Now I know. As she drills metal through again : GRANT That could be quite a lethal weapon. It could kill, not cure. CORA Not in the hands of a great surgeon like Dr. Duval. The beam of this laser can be regulated to one millionth of a millimeter. GRANT I understand you've been Dr. Duval's Assistant for quite some time. He must've snatched you out of the cradle. CORA I've been with him since I got out of school. He brought me into the CMDF, over five years ago. GRANT A long time, with one man. CORA Not working for someone like Dr. Duval - She breaks off, realizing she may have revealed her feelings. She switches off the laser, averts looking at Grant as she fits the plastic cover over it. Into the silence, the wireless is heard as a message comes in. Grant starts back into :",
"INT. PROTEUS Thoughtful, listening to the wireless. Michaels is coming down from the Bubble. As Grant reaches the wireless, the tapping comes to an end. GRANT -LRB- loud enough for all. -RRB- ` Prepare for Miniaturization'. OWENS Positions, please. And strap yourselves in. Grant and Duval begin putting on their safety harnesses, which are attached to their respective seats. Cora appears out of the aft compartment. Michaels moves toward it, a check - list in hand. He disappears within. In the meantime, Owens is busy tightening every lock - screw in evidence. AT THE KIOSK Cora stops before Duval, tries to help him with the final stages of getting into the harness. DUVAL It's all right - I can manage. She starts to leave, stops. CORA -LRB- with difficulty. -RRB- Doctor. DUVAL -LRB- busy with harness. -RRB- Yes, Cora. CORA I - I want to say. She falters as he looks at her. DUVAL What is it? -LRB- anxiously. -RRB- Anything wrong? CORA -LRB- the moment gone. -RRB- I just wanted to thank you for taking me along. DUVAL Thank you for volunteering. She turns abruptly, gets into one of the seats and starts putting on her harness. In the meantime, Michaels appears from the aft compartment, checking off a few items on the bottom of his list as he moves quickly to the kiosk. He places the list into a pigeonhole, sits down, quickly straps on his harness. WITH OWENS Everything battened down, he now checks Cora's harness, then does the same with Duvalls and Michaels'. All are now sweating. Finished with Grant's harness, Owens moves quickly up the kiosk ladder leading to :",
"INT. BUBBLE Owens drops into the seat, and with the speed of much practise, slips into his harness.",
"INT. PROTEUS Grant and the others hear : OWENS' VOICE -LRB- from above, in Bubble. -RRB- Okay, Mr. Grant. Tell them we're ready. As Grant begins to tap out message :",
"INT. CONTROL TOWER The message is coming in. The Wireless Technician writes it down, rips it off the pad and the Communications Aide reads : COMMUNICATIONS AIDE ` Proteus reports all secured.' CARTER -LRB- to Technician. -RRB- Miniaturizer. A TECHNICIAN at a panel marked throws a switch.",
"INT. MINIATURIZATION ROOM What appeared to be a solid wall at the end now slowly starts to slide apart, gradually revealing : THE MINIATURIZER A huge, honeycombed disc, suspended from a rail running along the ceiling, begins to roll silently toward the sub.",
"INT. PROTEUS As Grant gets his first sight at what is going to shrink him, he reacts quite convinced. He glances at Duval, Michaels and Cora. They, too, are looking at the oncoming Miniaturizer, but with none of his response. They apparently have seen it before. P.O.V. MINIATURIZATION ROOM - FROM CONTROL TOWER Reid and Carter are looking down at the M1niaturizer as it rolls slowly toward the sub. When the disc is directly over the sub, the Techn1cian at the panel throws a switch, instantly stopping the Min1aturizer. REID All stations stand by. A Technician presses a button. There is the SOUND of a warning claxon. MAIN OPS ROOM - P.O.V.. The last minute scurry, as all take their respective places. The GRID OFFICER is seen moving up to the big center grid map of the Arterial System with something in hand which we ca n't distinguish as yet. CUTS OF TECHNICIANS IN MAIN OPS ROOM Now all are mobile, waiting at their machines.",
"INT. CONTROL TOWER Reid is now before the monitors, all of which are on. Carter turns from the window overlooking the Miniaturization Room, looks at Reid. The latter nods in silent affirmal. Carter turns to the Communications Aide. CARTER Commence Miniaturization. COMMUNICATIONS AIDE -LRB- into throat mike. -RRB- Commence Miniaturization.",
"INT. MINIATURIZATION ROOM The bottom of the Miniaturizer begins to glow with increasing intensity. Simultaneously, the modules beneath the sub also begin to light up with equal intensity. Gradually, the entire sub is encased in a blaze of incandescence.",
"INT. PROTEUS The lack of ventilation and the tension is causing Grant and the others to sweat profusely.",
"INT. CONNING BUBBLE From his vantage point, Owens can see the light of the Miniaturizer reach the peak of intensity.",
"INT. CONTROL TOWER A light flashes on the panel. With Carter we see a grid on the Technician's Control Panel as it becomes activated. Two blips from the co - ordinates marked and flash on. Reid remains at the monitors, eyes on the charts which keep flashing on, sending Benes' temperature, heartbeat, etc..",
"INT. MINIATURIZATION ROOM The light is bathing the entire sub in an iridescent glow. There is a dull hum.",
"INT. PROTEUS With Grant we get the first realization that the sub is shrinking : the proportions of what he can see in the Miniaturization Room are changing. He looks about him in a moment of wonder. DUVAL AND MICHAELS From their vantage points at the kiosk tower, they can see a little more of the outside than Grant. They respond like scientists : with intense absorption in the process. CORA She responds enthralled. OWENS Up in the Bubble, he gets the unlimited view - and he is transfiXed. For now the Miniaturizer stretches far, far up, and the honeycombed light from the Miniaturizer disc seems as distant as stars. The walls of the room are barely discernible in the distance. BACK TO GRANT The final subjective reaction as with him we see : CONTROL TOWER - GRANT'S P.O.V. Far, far up, the windows of the tower have merged into a tiny ray of light.",
"INT. MINIATURIZATION ROOM - P.O.V. CONTROL TOWER Now with Carter we get the first view of the shrinking Proteus as they watch it shrink down, down, down in the center of the Zero Module, which we see is laced with intersecting lines. When the sub reaches the size of a capsule about the length of a centimeter, Carter looks down at the grid on the Technician's Control Panel. He sees the blips on the co - ordinates approach closer and closer until they finally merge into one. He looks back at :",
"INT. MINIATURIZATION ROOM - P.O.V. CONTROL TOWER The lights at the bottom of the Miniaturizer's disc go off. The hum stops. At this distance, the sub looks like a speck on the floor. CARTER Elevate Zero Module. THE ZERO MODULE - MINIATURIZATION ROOM It starts to rise from the floor with the capsule - sub.",
"INT. PROTEUS Grant and the others respond as the vast parquet floor with its maze of hexagonal lines seemingly stretching into infinity suddenly begins dropping beneath them. The effect is that of becoming air - borne.",
"INT. BUBBLE With Owens we get the unobstructed view : everything is falling far, far below. The bottom of the Miniaturizer seems an infinite distance above. THE ZERO MODULE Still rising slowly. THE ZERO MODULE - P.O.V. FROM INTERIOR CONTROL TOWER The capsule - sub is now about four feet off the floor, on the Module. The Zero Module comes to a stop.",
"INT. PROTEUS - ON MODULE All are sweating more profusely, showing increasing discomfort.",
"INT. CONTROL TOWER Carter turns from the window, looks at Reid, who glances up from viewing the monitors. REID Okay to proceed. CARTER Phase Two.",
"INT. MINIATURIZATION ROOM A panel slides open and a precision handling device is rolled in by several WHITE - CLAD TECHNICIANS. A NURSE follows, in uniform. The machine is fourteen feet high, consists of pulleys on a tripod, which control a vertical arm angling down from a horizontal extensor. Two sets of mechanical fingers are on the vertical arm, about a foot apart. Together they act as clamps. All adjustments are controlled by various worm - gears. As the tall tripod rolls by, on the side of the base we see stamped : MIN PRECISION HANDLING, under the insignia of the.",
"INT. PROTEUS Grant and the others react to the first sight of the oncoming in relation to their own reduced size : a button is immense, a shoe - although far down from their position on the Zero Module - is long as a city street, the heads gargantuan atop skyscraper - tall bodies. The precision handling machine itself is beyond recognition, owing to its vast proportions.",
"INT. MINIATURIZATION ROOM The tripod is eased to a stop so that its vertical arm is directly over the Proteus on the Module. A TECHNICIAN at the gear box starts turning a worm - gear control, which lowers the vertical arm toward the capsule - sub.",
"INT. PROTEUS Grant reacts as huge steel fingers at the bottom of the arm slowly slide into view. He glances at Cora and the others. They apparently know what to expect, but watch with the interest of scientists. The mechanical fingers slowly disappear beneath the sub.",
"INT. MINIATURIZATION ROOM The Technician maneuvers the mechanical fingers carefully so that they slip under the cradle of the sub, in effect becoming its holding fork. Once the steel fingers are in place, the Zero Module sinks below the floor from view, while the tripod holding the Proteus is eased back.",
"INT. CONTROL TOWER A Technician presses a switch. CYLINDRICAL AMPULE - MINIATURIZATION ROOM A glass ampule about as tall and round as a small silo starts coming up out of the floor on the Zero Module. The transparent container is filled with a clear liquid, two - thirds to the top. It rests on an encircling cork base. The lettering at the base reads : SALINE SOLUTION. CYLINDRICAL AMPULE - P. 0. V. PROTEUS Grant and the others react to what appears to be something big as an illuminating gas storage tank - albeit filled with liquid.",
"INT. MINIATURIZATION ROOM - P.O.V. CONTROL TOWER With Carter we see the tripod with the Proteus brought to a stop close to the saline solution.",
"INT. MINIATURIZATION ROOM The Technician at the tripod moves it so that the claw holding the Proteus is directly over the water in the ampule.",
"INT. PROTEUS Grant and the others react as they see themselves suspended over what appears to be a huge lake far below, bounded by cylindrical glass walls in the distance. Reflected light bounces off the top of the water, with iridescent effect. Suddenly they begin to descend. Grant and the others react as they seem to be dropping at suicidal speed toward the water which is rushing up to meet them as if they were in a dive - bomber. Then as the surface nears :",
"INT. MINIATURIZATION ROOM Within the high walls of the ampule, the capsule - sub is deposited into the water. Despite the delicate handling :",
"INT. PROTEUS It ` hits' the water, jarring all within, as at a launching from drydock.",
"INT. MINIATURIZATION ROOM The Technician now begins to maneuver the mechanical fingers out from under the sub.",
"INT. PROTEUS Grant and the others see the gigantic steel fingers sliding past the plastic windows.",
"INT. MINIATURIZATION ROOM The lifting fork is now disengaged from the sub, which floats free in the ampule.",
"INT. BUBBLE The sub is rocking none too gently on the surface of the vast glass - enclosed ` lake.' As Owens sees the ends of the immense prongs move past the bubble and continue upward : OWENS -LRB- down toward kiosk. -RRB- We've got to submerge manually. Grant, open Valves One and Two on the bulkhead.",
"INT. PROTEUS Grant slips out of his harness and moves quickly to a butterfly valve marked in the bulkhead. On the opposite side of the sub is a duplicate valve marked. As Grant begins turning Valve One : DUVAL Here - I'll get the other. Duval gets out of his harness and moves to the second valve. Grant watches him covertly while working at his own valve. MICHAELS As he sees the fluid rising toward the bow windows, he begins to respond with increasing fear.",
"INT. BUBBLE Owens' attention is on the gauges in the panel before him. They begin recording PRESSURE and DEPTH. The surface of the saline solution begins to flood upward.",
"INT. PROTEUS Grant and Duval at the valves, now fully open. Through the outer windows the water appears to move upward in relation to the sub, which continues submerging. MICHAELS Face sweating, his eyes reflect growing irrational terror as he stares at the rising fluid bubbling over the bow windows.",
"INT. BUBBLE As the depth gauges near the < 30 > mark : OWENS Close valves.",
"INT. PROTEUS Grant and Duval twist the valves shut. When both are done : GRANT Valves closed. OWENS'VOICE -LRB- from Bubble. -RRB- Right. That's all for the present. As Grant and Duval move to their seats, Michaels opens his harness, slips out and hangs onto the bulkhead ledge, gasping for breath. DUVAL Doctor, what's wrong? MICHAELS I ca n't breathe! I've got to get out! DUVAL It's too late now. We must go on. GRANT You'll feel better once we're underway. Michaels hangs on tighter to the bulkhead ledge, trying to control himself. MICHAELS -LRB- gasping. -RRB- I - I'm sorry. Claustrophia - buried alive - two days - air raid - England. Thought I'd gotten over it. Please - forgive me. I'm quite all right now. He sinks back into his seat. Grant helps him with his harness.",
"INT. MINIATURIZATION ROOM We now see the sub for the first time beneath the surface of the saline solution : a small capsule submerged at an even keel, about one - fourth of the way down in the huge transparent container. The Modules on which the ampule rests now return to floor level.",
"INT. MINIATURIZATION ROOM - P.O.V. CONTROL TOWER From his vantage point above, Carter can barely see the capsule in the ampule. He glances at Reid, who looks up from the monitors and nods. CARTER -LRB- to Technician. -RRB- Phase Three. The Technician presses a button on the panel, activating the grid. The two blips flash on again, moving down the and co - ordinates. THE MINIATURIZATION ROOM Instantly the disc of the Miniaturizer trained on the ampule begins to glow again. The light is reflected on the entire surface of the saline solution. The low hum resumes.",
"INT. PROTEUS Again we first get the view of the shrinking process : Grant and the others see everything rushing away into an immensity of distance. And all the time the reflected light which has illuminated the interior of the sub is diminishing. We see the reason :",
"INT. MINIATURIZATION ROOM The view : the ampule has shrunk way below the Miniaturizer. Its far smaller size reflects only a spark of light. The sub is now only a particle, shrinking with the ampule. The Technicians and Nurse look on, grouped at the tripod which is beyond the range of the Miniaturizer.",
"EXT. PROTEUS As the sub shrinks to invisibility, disappearing before our eyes :",
"EXT. AMPULE AND PROTEUS In its now fully reduced size, we see the ampule is actually a glass cylinder about two inches long and half - an - inch in diameter. MIN GRID - P.O.V. CONTROL TOWER With Carter we see the two blips merge and hold. Instantly the lights in the Miniaturizer go off. The hum stops. A loud CLICK is heard. All look up at : CLOSEUP - ELECTRIC MINUTE RECORDER A big < 60 > flashes on, and holds. -LRB- NOTE : We will see the same kind of clock, in varying sizes, in every set, flashing on the passage of time in, from now to the end of the picture. -RRB-",
"INT. MINIATURIZATION ROOM - P.O.V. CONTROL TOWER The Zero Module now begins to rise above floor level. The ampule, on its reduced cork base, appears very tiny from this height. GARTER -LRB- to Wireless Operator. -RRB- Inform Proteus they are at Full Reduction. The Technician taps out the Proteus' call letters. All wait, tense, for a response, as the tapping stops. They react, relieved, as they hear :",
"INT. PROTEUS Grant tapping out reply. Now, for the first time, we get the view of what all see from their various vantage points, distorted through liquid and the glass walls. The light is dim, all are finding it very hard to breathe in the unventilated craft. When the incoming message stops : GRANT -LRB- LINE OF DIALOGUE CUT OFF. -RRB-",
"INT. BUBBLE Owens glances at his wrist watch. Then he flips a switch. He watches the buttons on his panel. None light up. There is an anxious moment. Then the myriad lights on the panel begin to glow dully. The Minute Recorder on the panel begins to flash < 59 >.",
"INT. PROTEUS The lights become brighter. Cora, Duval and Michaels react with relief. The ventilators come on, permitting all to breathe easier.",
"INT. BUBBLE The buttons on the panel are now aglow. Owens makes a test : he touches a button which spins his seat, with the control panel before him, in a complete 360 degree turn within the Bubble.",
"INT. CONTROL TOWER After a brief message is heard coming in : COMMUNICATIONS AIDE Proteus On - Power. With relief, Carter turns to Reid. CARTER It's all yours, Don. Reid moves from the monitors, presses a button on the Control Section.",
"INT. MINIATURIZATION ROOM As the Technicians at the tripod hear : REID'S VOICE -LRB- over loudspeaker. -RRB- Phase Four. The Technicians move the tripod so that the vertical arm is brought directly over the ampule and lowered, until the two sets of mechanical fingers clamp the cylinder firmly. Then the ampule is raised a few inches from its position on the module. The reduced cork base still encases the bottom. The Nurse and a Technician move to the ampule. He holds a small instrument case. AT AMPULE When they reach the clamped ampule, the Technician opens the case. The Nurse takes out a plunger. Very carefully, she begins to insert it into the top of the ampule without disturbing the liquid. She then gently pulls away the cork remaining at the base of the ampule, revealing a small opening in the center. But owing to the pressure above, the liquid does not run out. She takes a needle out of the case and carefully fits it into the nipple. We now see the ampule is actually a hypodermic syringe.",
"INT. MINIATURIZATION ROOM - P.O.V. CONTROL TOWER Ried and Carter watch as the tripod is carefully wheeled across the room. THE HYPODERMIC NEEDLE - MOVING SHOT The saline solution in the cylinder is sloshing slightly, despite the great care of those moving it.",
"INT. PROTEUS The sub is being rocked, causing everyone to hold on for support.",
"INT. BUBBLE Owens is trying to keep an even keel with his controls, now in full operation.",
"INT. MINIATURIZATION ROOM As two big doors slide open for the tripod to pass through : EXTREME CLOSEUP - RADIAL LINES What appears to be a myriad number of radial lines crossing each other to form tiny squares over a domed surface is revealed to be : BENES' HEAD Now shaved clean, the head is grid - marked for Stereo - encephalatomic measurements. In the background, the tripod is seen being wheeled in.",
"INT. OPERATING ROOM Moving with the hypodermic needle clamped in the tripod, we now get the full impact of the set : the floor is marked off for True North and South, with latitudinal and longitudinal lines. The modern operating table is set so that Benes' head corresponds with the exact position of the Arterial Head on the big grid map in the Main Ops Room. Benes is lying under a thermal blanket, covered up to the collarbone. Thin rubber pipes lead out from the blanket to the Central Thermal Unit under the operating table, out of the way of everyone. A TEAM OF GAUZE - MASKED SURGEONS AND ASSISTANTS stand grouped around the unconscious patient. In a semi - circle at the head of the bed, beyond the head, is a series of SMALL TRACKING DEVICES resembling radio - telescopes. They are remotely controlled. The Minute Recorder, in a prominent position now changes from < 59 > to < 58 >.",
"INT. OPERATING ROOM - P.O.V. CONTROL TOWER Reid and Carter are looking on. The Communications Aide stands at his side. They see the clamped hypo rolled up to the side of Benes' head and brought to a gentle stop. BENES AND HYPO A small circle marks the exact spot of the injection. A SURGICAL AIDE swabs the area with alcohol. CLOSE SHOT - ACTIVATOR It is brought down mechanically by use of worm - gears on the tripod toward the plunger, engaging it.",
"INT. CONTROL TOWER Reid, watching the proceedings below : REID -LRB- to Wireless Operator. -RRB- Contact Proteus -",
"INT. PROTEUS Grant takes down the message as it comes in. When message stops : GRANT -LRB- loud enough for Owens in Bubble. -RRB- Stand by for injection! Suddenly the sub begins to rock hard. All hold on.",
"INT. BUBBLE Owens is manipulating controls, trying to keep an even keel.",
"INT. OPERATING ROOM The hypodermic is being angled by the precision gears of the tripod for the exact degree of injection. When this is accomplished : BIG CLOSEUP - BENES' NECK The point of the needle approaches the exact spot, which we now see is marked off by a tiny cross within the circle on the Artery. TECHNICIAN AT TRIPOD He presses the mechanical activator which sends the needle plunging into Benes' neck O.S.",
"INT. CONTROL TOWER Instantly a warning klaxon goes off. It keeps on for a few seconds, then stops. Into the silence : REID Tracking. A Technician flips a switch.",
"INT. TRACKING POST - ON MAIN MONITOR IN CONTROL TOWER Four TECHNICIANS are seated before their radar screens, which show flat electronic lines, except one. This is picking up a blip.",
"INT. CONTROL TOWER A Technician at the Control Panel throws on a switch. Another TV screen next to the Main Monitor goes on, revealing : CLOSE SHOT - BLIP ON TV SCREEN Duplicating the blip seen in the Tracking Post. We see the blip is heading down, at an angle identical with that of the hypo. CAMERA MOVES IN on the blip, and keeps moving until it fills our entire screen and becomes :",
"EXT. PROTEUS - WITHIN THE HYPO Diving at a terrific speed, steeply angled like the hypo, through the clear saline solution.",
"INT. PROTEUS All hold on as if riding a roller coaster at its steepest plunge. Suddenly all goes pitch - dark.",
"INT. BUBBLE Only the buttons are glowing, and the Minute Recorder, which now reads < 57 >. Owens throws a switch. Through the plastic windows the headlights of the sub are seen coming on. They pierce the darkness sufficiently to catch the side of the steel wall of the needle, which is rushing past at a tremendous speed, giving the effect of an enclosed channel. The beams gradually reveal : HOLE OF NEEDLE - P.O.V. BUBBLE A small aperture in the distance, barely visible. HOLE OF NEEDLE - P.O.V. PRINCIPALS IN KIOSK Grant and the others see the opening at the end of the needle becoming bigger and bigger, apparently rushing toward them with great speed.",
"EXT. END OF NEEDLE It fills the screen, an immense aperture in relation to the tiny sub which suddenly comes shooting out of it. MAIN OPS ROOM - P.O.V. CONTROL TOWER Reid and Carter observe the Grid Officer, wearing headphones and throat mike, move up to the Arterial Map with a tiny replica of the Proteus. He places it in the center or the huge channel in the neck, which depicts the Carotid Artery. The little sub is held magnetically on the grid. The Minute Recorder now reads < 56 >. Reid turns from the window, moves to the Map Case, which contains the same assortment of charts as in the sub's kiosk. Reid takes out an OVERLAY MAP OF THE HEAD AND NECK. He places it on a Radarscope. The blip shows it is traveling up the Carotid Artery. LONG SHOT - ESTABLISHING - PROTEUS IN ARTERY The headbeams of the speeding sub reveal a world of dazzling color and beauty : the Arterial Stream. The walls of the vast amber - colored chamber are lost in the distance. Now the screen is filled with a floating wonderland : huge red corpuscles, whirling globules, platelets, particles, minuscule fragments drift with the stream, reflecting the entire spectrum of color.",
"INT. BUBBLE Owens is slowing down the sub. He gazes in awe at : ARTERIAL ELEMENTS - THROUGH BUBBLE As the Proteus moves through the swirling conglomerations, the elements are parted, flow over the sub, bounce about it, forming new fluid galaxies in a universe of amber. And each grouping and regrouping, every mass and disc, though loosely linked, has a. Thus the Corpuscular drift, the bouncing particles, the parting and the merging achieve a majestic choreography lyrical in quality, a fugue of motion.",
"INT. PROTEUS Grant and Cora, strapped in their seats, look on enthralled at the sheer beauty of the dancing wonder - world visible through the windows. Duval appears equally moved. Michaels observes with more clinical detachment.",
"INT. BUBBLE Owens has now slowed down the sub so that it moves slightly faster than the current, thus enabling him to maintain maneuverability. OWENS You may unfasten your belts.",
"INT. PROTEUS Grant, Cora and Duval quickly slip out of their harnesses, move to the bow for a maximum view of the scene. Michaels remains at the console, checking their course on the Neck and Head chart.",
"EXT. PROTEUS - HEAD-ON SHOT Approaching camera, with the three people looking out of the bow windows in speechless wonder at what they behold.",
"INT. PROTEUS - SHOOTING OVER THEIR BACKS For a moment the three gaze in silent awe at the dancing drift directly outside : nuclei are clearly visible in the cells ; variegated tiny organisms sweep like cosmic dust through the orbits of the spinning globules. Their first sight of the interior world, with its beauty and rhythmic splendor has affected them deeply. Finally breaking the silence : DUVAL -LRB- quietly, as he looks on. -RRB- The Medieval Philosophers were right. is the center of the Universe. We stand in the middle of Infinity, between Outer and Inner Space. And there's no limit to either. GRANT You mean Inner Space is endless? DUVAL Everything can be divided in half, no matter how minute. As the concept sinks in, Grant turns to look out again. Cora has never taken her eyes off what she sees through the bow windows. CORA I never. never imagined it could be anything. like this. GRANT -LRB- equally awed. -RRB- I always thought it was nothing but red. DUVAL Only to the naked eye. -LRB- indicating. -RRB- Those corpuscles - carrying oxygen - give the stream its color. But the rest of the plasma's very much like sea water. An ocean of life. GRANT Quite a piece of plumbing. MICHAELS End - to - end, a hundred thousand miles long. Grant reacts. Of something up ahead : CORA Dr. Duval - what could those be? The sub is suddenly engulfed by a mass of very tiny discs in chain - like combinations, which blot out the rest of the stream. DUVAL -LRB- now the scientist. -RRB- Never saw. Not even under an electron - mrcroscope. CORA They're much smaller than bacteria. MICHAELS Looks like the molecular structure of proteins. DUVAL -LRB- flatly. -RRB- I do n't agree. I think we ought to stop and take a sample. MICHAELS That's not the purpose of this mission. -LRB- up at Owens. -RRB- Captain - keep a straight course - until you're in the clear.",
"INT. BUBBLE Steering by instruments, Owens remains on course, the massed discs obstructing his view. Suddenly they float off, revealing : OWENS Arterial Wall to the right! With him we see : LONG SHOT - ARTERIAL WALL Barely visible in the spill of light, a smooth endothelial wall is seen in the distance.",
"INT. PROTEUS Michaels consults his chart, brings the co - ordinates into place over two Arteries. MICHAELS -LRB- up at Bubble. -RRB- What's our speed? OWENS' VOICE -LRB- from Bubble. -RRB- Fifteen knots. Michaels makes a rapid calculation with his slide rule. MICHAELS We should reach the Branching Artery in two minutes. He switches on the REPEATER.",
"INT. BUBBLE The same REPEATER device is now active on the panel, reflecting the chart on the console below, with Michaels' navigational calibrators pointing to the intersect1ng Artery. MICHAELS' VOICE -LRB- from below. -RRB- Keep the Wall at its present distance when you turn. That'll bring you safely into the middle of the Branch.",
"EXT. PROTEUS - IN ARTERY It cruises for a moment through the dazzling elements, the Arterial Wall in the distance. Then suddenly the sub accelerates and veers off course toward the Arterial Wall.",
"INT. BUBBLE Owens reacts, tries to slow down the sub and steer it back into the middle of the channel. But the speed increases, and the sub continues being swept toward the Wall.",
"INT. PROTEUS Grant and the others respond to the ever - increasing speed and the nearing Wall. They turn to Michaels, who, too, is aware of the change. MICHAELS Captain - correct your course - and speed.",
"INT. BUBBLE Increasingly concerned as he works the controls and glances at the gauges : OWENS She wo n't respond! We're in some sort of current!",
"INT. PROTEUS Duval moves to Michaels. DUVAL -LRB- bewildered. -RRB- But that is n't possible. MICHAELS Not in a sealed vessel like an Artery. -LRB- up at Owens. -RRB- Captain - something must be wrong with your controls! OWENS'VOICE -LRB- from Bubble. -RRB- No - it's a current! It's too strong - I ca n't break out of it!",
"INT. BUBBLE Owens is trying to gain control of the sub. It begins to vibrate. Startled, Owens peers out, trying to determine the cause, but the beams reveal nothing ahead but an iridescent swirl of Arterial elements which bounce back the light. The buffeting increases rapidly. The Arterial Wall is clearly visible to the side, getting closer.",
"INT. PROTEUS - IN BOW Grant and Cora exchange startled looks as the membranes of the Arterial Wall suddenly become visible in the spill of light from the headbeams : its connective strands arch Gothic - like, lost in the darkness of the vaulted enclosure. The vibrations have now increased so that all must hold onto stanchions for support. DUVAL AND MICHAELS Gripping the console for support. Through the plastic windows to the side they can see the Arterial Wall looming with menacing closeness. They look at each other, unable to fathom the cause of the now - greater vibrations.",
"INT. BUBBLE Owens is desperately trying to avoid a head - on collision with the Wall, but the sub wo n't respond to any of his manipulations. The Wall looms closer, the buffeting is worse.",
"INT. PROTEUS Smashing into the Wall directly ahead seems inevitable. Now the connective strands almost fill the windows. Cora closes her eyes, in anticipation of the fatal impact. And just when a collision appears inevitable, the sub veers, narrowly missing the cable - like strands, thick enough to support a bridge.",
"INT. BUBBLE - PARALLEL TO ARTERIAL WALL With Owens we see the sub swept close alongside the Wall. It is evident the craft is out of his control, and that whatever averted the collision has nothing to do with his attempt to steer it. The swirling mass of particles up ahead begins to part. The vibrations -LSB- LINE OF DESCRIPTION CUT OFF -RSB-",
"INT. PROTEUS Grant reacts as he sees the now - visible area ahead. GRANT Whirlpool! Strap yourselves in! He grabs Cora, and against the buffeting, moves quickly to help her toward her seat. Duval and Michaels instantly take their seats at the console, begin getting into their harnesses. LONG SHOT - THE WHIRLPOOL - P.O.V. BUBBLE Owens is appalled as in the distance, in the center of the channel, he sees what appears to be an immense liquid centrifuge rotating at great speed, the Arterial elements within it whipped about like the contents of a mixmaster. Now the buffeting is reaching its climax. The sub is inexorably approaching the rim of the whirlpool, with Owens desperately trying to steer away from it.",
"INT. PROTEUS Duval and Michaels are in their harnesses. GRANT AND CORA Slowed up by the intense buffeting, Grant is now helping Cora into her seat. But before he can assist her into the harness, the sub is caught in the whirlpool. The instant effect is that of a Carnival Whip. The centrifugal force flings Cora out of her seat against the bulkhead. Grant is spun around and slammed against the opposite part of the bulkhead, and then onto the floor, with stunning impact. DUVAL AND MICHAELS Pinned back in their seats, unable to get out and help as they see : GRANT AND CORA Helpless in the whiplike rotation, Cora is thrust from the bulkhead onto the floor. Grant manages to grab a stanchion, hold on. With his free hand he reaches out for Cora, now prone on the floor. She extends her hand, but a foot separates them. They desperately reach out to each other as the centrifugal force pulls them farther and farther apart. Grant takes the only possible chance or reaching her : he lets go of the stanchion which sends him slamming against the base of the seat. He grips the leg of the seat with one hand and grabs Cora's waist with the other, just in time to prevent her from again being flung against the bulkhead. She holds onto him with all her strength. Grant strains to maintain his grip on the leg of the seat with his free hand, which in effect holds them both against the centrifugal whipping.",
"INT. BUBBLE - TO INCLUDE WHIRLPOOL Owens, too, is thrust back in his seat, powerless to move. The sub is completely at the mercy of the whirlpool. A gauge on the panel is registering in circles.",
"EXT. PROTEUS IN WHIRLPOOL - LONG SHOT Rotating at great speed, a tiny piece of flotsam caught in a cataclysmic force which is inexorably spinning it toward the vortex.",
"INT. SUB - CUTS OF PRINCIPALS Reacting to the ROAR of the massive turbulence and the whirling stream, which is seen through the windows. The centrifugal force keeps them pinned to their positions, with Grant holding onto Cora as before.",
"EXT. PROTEUS - NEARING VORTEX It is whipped around and down in the final circle - and disappears through the rapidly rotating center.",
"INT. PROTEUS The steeply angled dive causes greater strain on Grant as he keeps his grip on Cora. Duval and Michaels are now thrust forward as if they were in a gondola of a shoot - the - shoots making its steepest descent.",
"INT. BUBBLE In a similarly forward - tilted position, with Owens we see the stream whipping by in a seemingly endless drop. And then ahead there suddenly appears : LONG SHOT - FISSURE IN ARTERIAL WALL - P.O.V. BUBBLE An immense crack through which some red corpuscles are streaming in an eddy.",
"INT. PROTEUS From their prone positions on the floor, Grant and Cora react to the huge fissure looming through the windows. Duval and Michaels exchange looks, suddenly realizing what it signifies. Now the immense crack is directly ahead.",
"EXT. PROTEUS - FISSURE FROM WITHIN VEIN As the tiny sub is swept out into the stream, where the blue corpuscles are. Through the crack, a stream of red corpuscles are whipping by on the other side. The angle of the dive now becomes less oblique.",
"INT. BUBBLE The sub is caught in a less turbulent current, which results in its gradually losing its angle and speed, permitting Owens to steer it away from the center toward a more placid area.",
"INT. PROTEUS The sub is now level, moving much slower. Exhausted from the ordeal, Grant sees it is safe to let go of Cora. He helps her rise. She stares dazed at the bluish stream. Duval and Michaels, equally spent, begin to get out of their harnesses. EXTREME CLOSE SHOT - BENES' NECK PAN over to the Miniature Tracking Devices. TWO RADAR SCREENS - INT. TRACKING POST - MAIN OPS ROOM The blip goes from one machine to the other, where it does n't belong. The Tracking Technician reacts, instantly presses a button.",
"INT. CONTROL TOWER A warning buzz from a TV Monitor. Reid and Carter respond to the SOUND. The Communications Aide comes over to them. COMMUNICATIONS AIDE Proteus Off Course, sir. They've picked up a blip in Quadrant 23, Level B. Reid moves quickly to the window overlooking the Main Operations Room, followed by Carter. MAIN OPS ROOM - P.O.V. CONTROL TOWER Both see the Grid Officer below move the replica of the sub from the Carotid Artery to another channel near it within a quadrant marked 23. The channel is outlined in blue. REID -LRB- jolted. -RRB- They've crossed over into the Jugular Vein! CARTER That ca n't be - there's no direct connection between the two - REID Normally not. Unless it's an Arterio - Venous Fistula -",
"INT. PROTEUS Grant, Cora and Duval are grouped around Michaels at the chart. In the distance, the endothelial walls of the Jugular Vein are vaguely visible. GRANT -LRB- blankly. -RRB- A what? MICHAELS A forced joining of an Artery and Vein. Must've happened when Benes was hurt. DUVAL Yes, a fistula too small to show up on the X - rays. CORA But big enough for us. In the stream outside, the bluish corpuscles are increasing in number. MICHAELS -LRB- up at Bubble. -RRB- Captain - head back into the Artery.",
"INT. BUBBLE As if it were a suicidal order : OWENS -LRB- brooking no argument. -RRB- We could never fight that current it's physically impossible. MICHAELS' VOICE -LRB- from below. -RRB- Then do n't drift down further. OWENS I'll do what I can. As he manipulates the controls :",
"INT. PROTEUS GRANT If we ca n't go back, is there an alternate route? MICHAELS Yes. We can go forward on this course, but it means going directly through the Heart.",
"INT. BUBBLE Owens is appalled as he sees the route being traced on the Repeater, down the Jugular Vein toward the Heart. Before it can go any further : OWENS -LRB- alarmed. -RRB- We ca n't do that! We decided in the Briefing - the craft could never stand the turbulence!",
"INT. PROTEUS Michaels looks up from the chart, to the others. MICHAELS Yes, it would be a hundred times worse than the whirlpool. The others respond with grim realization of what it portends. GRANT That's just dandy. We ca n't go forward - and we ca n't go back. MICHAELS I'm afraid there's only one thing we can do. Call off the mission. CORA -LRB- emotionally. -RRB- Doctor. you ca n't mean that! Not when we've come this far. And if we give up, there'll be no way of saving Mr. Benes - DUVAL Dr. Michaels is right. We have no choice. MICHAELS -LRB- to Grant. -RRB- Tell them to take us out. GRANT If there's any chance - MICHAELS -LRB- an order. -RRB- Request removal, Mr. Grant. As Grant moves to the wireless :",
"INT. CONTROL TOWER Carter and Reid are looking down into the MAIN OPS ROOM at the replica of the Proteus. It is in the same position as last seen in the Jugular Vein on the big grid. REID But we have no choice! We've got, to take them out! CARTER -LRB- adamantly. -RRB- No. He turns away from the window as a message is heard coming in. With seeming unawareness of the incoming message, Carter looks at the Minute Recorder, It is flashing < 51 >. CARTER We still have fifty - one minutes. Leave them in. REID But it's hopeless! They ca n't go back and they ca n't go on. I tell you there's nothing else we can do but remove them! CARTER -LRB- the final word. -RRB- Not until the very last second. We must think of something. Something to save the situation. The incoming message stops. The Communications Aide takes it from the Wireless Technician. COMMUNICATIONS AIDE -LRB- reading. -RRB- Proteus reports trapped in Venous System. Requests removal, sir. REID Well, there it is. What do I tell them, General? Carter turns his back on him, moves to the window, stands looking down on the OPERATING ROOM. The scene below is almost a tableau, except for the moving Miniature Tracking Devices. The Surgical Team around the table stands watching, waiting. Benes lies motionless. Reid joins Carter. As they both look down at the patient, whose only chance of life is now in their hands : CARTER -LRB- finally. -RRB- Doctor. without killing him - how long could we stop his heart? REID The less time, the better. CARTER I know that. But what's the maximum? REID In his comatose state. and everything slowed down. no more than sixty seconds. Carter takes out a slide rule. CARTER -LRB- as he figures. -RRB- At topspeed. and adjusting distance for Degree of Miniaturization -. -LRB- getting answer. -RRB- The sub should get through the Heart in fifty - seven seconds. REID That would give us only three seconds to revive him. CARTER What are the problems in stopping the Heart? REID Nothing - compared to starting it up again. From the window, Carter can see the big Minute Recorder in the Operating Room flashing from < 51 > to < 50 >. CARTER We're wasting time, Colonel. Let's get on with it. The decision made, Reid takes command. REID -LRB- to Technician. -RRB- Heart. Technician presses monitor button. As Carter moves to the Communications Aide, the HEART POST flashes on the TV screen. REID -LRB- to Heart Post. -RRB- we're stopping the Heart. CARTER -LRB- to Communications Aide. -RRB- Message to Proteus. Now both give their orders simultaneously. As Reid speaks, we can see the HEART POST swing into action on the TV screen : the big X - rays of Benes light up on panels, a CATHODE TUBE recording his heartbeat becomes activated. The Heart Specialist and several Heart Technicians are seen leaving the POST. Meanwhile, the Communications Aide is taking down Carter's message for transmission. CARTER You are heading in the opposite direction of the Target Area, as a result of crossing over into the Jugular Vein. Since you are in a closed system, you will have to go through the Heart and proceed on your mission by taking an alternate route. We will stop Benes' Heart for exactly sixty seconds. Maintaining maximum speed, you will get through in fifty - seven seconds. That will give us three seconds to spare in which to revive him. Stand by for exact instructions - REID An Arterio - Venous Fistula has forced the Proteus into the Venous System. At this moment, it is in the Lateral Cervical Region, anterior to the anterior to the Cervical Plexus. The haemo - dynamics of the Venous System are at absolutely minimum levels. It would be fatal to further decrease the rate of flow by Hypothermic means. In order to minimize the turbulence, we will have to arrest the Heart. The Proteus will proceed to the entrance of the Right Atrium -",
"INT. OPERATING ROOM Reid's Voice is heard as the Heart Technicians rig Benes for electric shock with a Cardio - Verter. They are removing the top third of the Thermal Blanket. When his chest is exposed, they apply electrodes to it. Then the Technicians take their places at the various Cardiac Instruments which are recording the pulse and configuration of the heartbeat. The last is visible on the big cathode tube of the Cardioscope, a replica of which was seen in the Heart Post.",
"INT. PROTEUS All are listening to Grant reading the end of the message. GRANT - at which point the Heart will be stopped by electric shock. CORA -LRB- into the silence. -RRB- And if it should take more time to get through - DUVAL -LRB- flatly. -RRB- We ca n't take a second more. MICHAELS -LRB- up at Bubble. -RRB- Captain - head in the d1rection of the flow and drift with it. He takes out a detailed Cardiac Map.",
"INT. BUBBLE Through the Repeater, Owens can see Michaels spread the Cardiac Map. He reacts to its great complexity. OWENS I'll never find my way through that. MICHAELS I'll guide you, once we're in the Heart.",
"EXT. PROTEUS Drifting down the Jugular Vein.",
"INT. MAIN OPS ROOM The Grid Officer can be seen moving the replica of the Proteus down the Jugular Vein.",
"INT. CONTROL TOWER Carter and Reid are looking down at Benes in the OPERATING ROOM.",
"INT. OPERATING ROOM Benes is now rigged for electric shock. The Tracking Devices are concentrated on his chest. The Heart Specialist looks at the Cardioscope Screen. The big screen registers the beat of the Heart with a cathode - tube effect, each pulsation causing an electronic pattern. They are very slow, regular. The Heart Specialist nods to one of his Technicians who wears headphones. The latter presses a button.",
"INT. CONTROL TOWER A warning buzzer SOUNDS. The Communications Aide moves up to Reid and Carter at the Tracking Station Monitor and Radarscope. COMMUNICATIONS AIDE Ready for Cardiac Shock. Reid nods, acknowledging the message. As he removes the map off the Radarscope, Carter takes out an OVERLAY MAP OF THE HEART from the Map Case and places it on the Radarscope. The blip is seen progressing down the Vena Cava, leading to the entrance of the Heart. REID -LRB- pressing button. -RRB- Stand by. Carter takes out a stop watch.",
"INT. PROTEUS Grant and the others respond as they begin to hear the SOUND of a distant boom - boom, slow and measured. It has an ominous effect. It quickly gets louder during : CORA -LRB- in awe. -RRB- Listen. the Heart. MICHAELS Yes. slowed down agreat deal. GRANT Sounds like heavy artillery. MICHAELS It lays down quite a barrage in a lifetime. Forty million beats. DUVAL -LRB- quietly. -RRB- And every beat separates a man from. -LRB- LINE OF DIALOGUE CUT OFF. -RRB-",
"EXT. PROTEUS - IN VENA CAVA The SOUND of the Heart is now very loud, each measured boom like heavy artillery in a relentless barrage. The headbeams illuminate the long passage, the walls of which are lost to view.",
"INT. PROTEUS Grant and the others look on ahead, responding to the now - deafening beat, which increases as they near the source in the bluish channel. And then they react with wonder as they see : LONG SHOT - TRICUSPID VALVE - P.O.V. PROTEUS In the distance, three huge membranes are billowing open, with tendrils resembling supporting strands of parachutes.",
"EXT. PROTEUS - IN THE ATRIUM The parachute - like membranes are at the end of the Atrium, the entrance of which the sub now approaches. As the membranes blossom fully, with a lovely effect, a big aperture is revealed. The dilation causes a big forward surge of the stream.",
"INT. PROTEUS All hold onto whatever is at hand as the sub is swept onward, rocking with the tidal wave. Now in the distance they can see : LONG SHOT - TRICUSPID VALVE - P.O.V. PROTEUS It is beginning to close, the three membranes seemingly collapsing like three parachutes over the aperture. The boom of the beating Heart is massive, making any communication very difficult. MICHAELS -LRB- over the sound ; up at Bubble. -RRB- Captain! They'll stop it on the next beat!",
"INT. BUBBLE Owens at the controls, eyes on the now - closed membranes, as he hears : MICHAELS' VOICE -LRB- from below. -RRB- As soon as the Valve opens again, go through and give it everything you've got! TRICUSPID VALVE - P.O.V. BUBBLE The sub approaches the now seemingly solid wall. Owens steers directly to where he last saw the aperture. The closed membranes loom closer and closer, the headbeams illuminating the delicately threaded strands. Suddenly, the three membranes start billowing open again. THE CARDIOSCOPE SCREEN The electronic pattern is recording the beat. THE CARDIO - VERTER AND TECHNICIAN He immediately presses the triggers on two electrodes held against Benes' chest. AMPERE NEEDLE ON CARDIO - VERTER The needle swings over into the red zone. THE CARDIOSCOPE SCREEN The electronic pattern indicating the heartbeat instantly flattens out and remains so.",
"INT. BUBBLE Owens is throwing on the full - speed - ahead control. The sound of the Heart has completely stopped.",
"EXT. EXHAUST JETS A surge from the twin jets as the sub is propelled forward with a tremendous burst of power.",
"INT. PROTEUS All hang on against the acceleration. PROTEUS IN TRICUSPID VALVE As it sweeps through the now - motionless membranes which wave limply in the stream, with no life of their own.",
"INT. OPERATING ROOM A tense silence pervades. The Heart Specialist and his Technicians concentrate on the various instruments. The Surgical Team stands by, immobile. TRACKING DEVICES The little cones are the only things that move in the Operating Room. As they weave back and forth : STOP WATCH Calibrated in seconds. The hand is now crossing < 5 >.",
"INT. CONTROL TOWER In the silence, Carter looks up from the stop watch in hand to check with the big radar screen. Moving across the OVERLAY MAP OF THE HEART is a blip, indicating the sub's passage.",
"EXT. PROTEUS - IN RIGHT VENTRICLE Racing through a subterranean channel partially illuminated by the headbeams : a forest of tendrils, connecting huge roots which are the chordae tendineae extending into the walls. The color of the stream is predominately blue, and the overall effect is that of a weird wonderland. As the sub surges ahead at top speed :",
"INT. OPERATING ROOM Everyone stands rooted.",
"INT. CONTROL TOWER - HEART MAP OVERLAY ON RADAR SCREEN The blip has crossed more than half the distance. Carter and Reid look on, tense. The Proteus moves further down the Ventricle. Carter glances at his stop watch. CARTER Twenty - four seconds left including the three to revive him.",
"INT. PROTEUS Michaels is anxiously scanning the way ahead for signs of an opening. There is none. OWENS' VOICE -LRB- from above. -RRB- Nineteen seconds, Doctor. MICHAELS The Semi - Lunar Valve should be on our left any time now.",
"INT. CONTROL TOWER Reid and Carter are tensely watching the Heart Map Overlay, as the time runs out and the sub is nearing the end. Carter looks at the stop watch. It now shows only fifteen seconds to go, which means they must be out in twelve.",
"INT. OPERATING ROOM The Heart Specialist is watching the blip nearing the end of the Radar Screen, with time running out. The Heart Technician standing before the Cardio - Verter stands immobile, looking at the needle which is at Zero Amperes.",
"EXT. PROTEUS - IN RIGHT VENTRICLE Racing at top speed through the immobile forest of tendrils.",
"INT. PROTEUS Suddenly, off to the side, Grant sees a small opening, half - moon in shape. GRANT There it is! MICHAELS Fasten yourselves in. There should be a tremendous surge when the Heart starts up again. DUVAL If it does. Grant throws him a look as they quickly start to get into their harnesses.",
"INT. BUBBLE Steering for the opening, Owens glances at the Second Recorder on the panel. OWENS Eight seconds left -",
"INT. CONTROL TOWER On edge, Reid and Carter are watching the blip on the OVERLAY MAP OF THE HEART on the Radarscope. If the sub makes it, it will be exactly in 57 seconds. There are now only six seconds left.",
"INT. OPERATING ROOM All are focusing on the Radarscope. Five seconds left. HEART SPECIALIST Stand by. The Technician at the Cardio - Verter is set to press the red button.",
"INT. CONTROL TOWER Carter and Reid hold their breath as they see : STOP WATCH It now reads < 56 >. OVERLAY MAP OF THE HEART As the blip approaches the Semi - Lunar Valves, a warning buzzer SOUNDS.",
"INT. OPERATING ROOM - RED BUTTON OF CARDIO-VERTER A finger presses it. PULSE RATE NEEDLE ON CARDIO - VERTER It swings over, recording the first shock. CARDIOSCOPE SCREEN The cathode tube registers nothing. HEART SPECIALIST AT CARDIO - VERTER Concerned, he never takes his eyes off the Cardio - scope Screen. He increases the pulse rate. CARDIOSCOPE SCREEN It still records nothing. The Heart Technicians and the Surgical Team exchange tense looks. Again the Heart Specialist increases the pulse rate. PULSE RATE NEEDLE ON CARDIO - VERTER As it swings over, recording a higher and higher output.",
"EXT. PROTEUS - IN RIGHT VENTRICLE Bathed in weird St. Elmo's fire as it keeps racing toward : SEMI - LUNAR VALVE which suddenly dilates into a huge opening. And with it comes an immense surge of the stream from behind, and the first boom of the Heart.",
"EXT. PROTEUS It is swept through the Semi - Lunar Valve and into : ORIFICE OF PULMONARY ARTERY - SHOOTING TOWARD SEMI - LUNAR VALVE Out of which the Proteus is thrust on a great tidal wave of the bluish stream.",
"INT. OPERATING ROOM - CARDIOSCOPE The electronic pattern is on full - a leap of life. The Heart Specialist and the others react with relief as now the EKG and the other instruments begin recording Benes' return from the dead.",
"INT. CONTROL TOWER Reid and Carter are at the window overlooking the OPERATING ROOM. COMMUNICATIONS AIDE Proteus in Quadrant 161 Level E. They leave the window and walk over to the one where they can view the MAIN OPS ROOM. They see the Grid Officer is moving the tiny sub into the wide channel leading to the Lungs. CARTER They're in the Pulmonary Artery. REID They'll make up some time, once they get through that and reach the Pleural Cavity. -LRB- to Technician. -RRB- Respiration Post. On the monitor next to Reid, a Technician flashes on the INTERIOR OF THE RESPIRATION POST. The calibrated charts marked INHALATION and EXHALATION indicate the return to breathing. REID What's his rate, Jack? LUNG SPECIALIST -LRB- over TV. -RRB- Back to six per minute. Reid reaches out, knocks a cup of coffee off the Central Control Section, spilling it on his trousers. REID Damn. And I just had them cleaned.",
"EXT. PROTEUS - IN PULMONARY ARTERY It is now flowing down to its normal speed. Through the smooth endothelial walls, we see the outlines of what appears to be a maze of mammoth conduits arching above and beneath the channel through which the sub is proceeding. Smaller conduits divide and subdivide from the circular immensity, to be lost in the distance. The effect is that of a multi - level series of Over and Underpasses.",
"INT. PROTEUS All are out of their harnesses. Grant, Duval and Cora are at the bow windows, looking out. Michaels is at the console, plotting their position on a detailed Map of the Lungs. GRANT I'd hate to get lost on that Freeway. DUVAL They all lead to the same place - the Lungs.",
"INT. BUBBLE In the light of the headbeams, Owens can see the Walls becoming increasingly narrow and more transparent. He glances at his Repeater, sees the Lung Chart reflected, with the co - ordinates pinpointing their position. OWENS Doctor - the channel's getting awful narrow. MICHAELS' VOICE -LRB- from below. -RRB- We're entering a Capillary. Remain in the middle. OWENS -LRB- fascinated. -RRB- The Wall's transparent. MICHAELS' VOICE -LRB- from below. -RRB- It's less than one ten - thousandth of an inch thick. And porous.",
"INT. PROTEUS - AT WINDOW Grant reacts as he sees a peculiar phenomenon : the big - bluish corpuscles which stream past the submarine are turning bright red the instant they impinge against the Capillary Wall. They keep moving on, in a constant flow, taking on their new color during : GRANT -LRB- amazed. -RRB- Look at that. they're changing color. CORA -LRB- thrilled. -RRB- Doctor - is it possible? That we're seeing it happen before our eyes? DUVAL -LRB- quietly. -RRB- Yes, Cora. We're the very first to see the process. They both look out, too deeply moved to speak. Atter a moment : GRANT Mind letting me in on what's going on out there? DUVAL A simple exchange, Mr. Grant. Corpuscles releasing carbon dioxide - the moment they touch the Wall of the Lung - in return for oxygen coming through from the other side. GRANT Do n't tell me they're refueling. DUVAL -LRB- almost in a reverie. -RRB- Oxygenation. Cora turns to look at him, feeling close in this shared moment. Grant, too, is moved by Duval's manner. Michaels glances up from the Lung Map. DUVAL -LRB- still gazing out. -RRB- We've known it exists - even though we never saw it. like the structure of the Atom. But to actually behold one of the miracles of the Universe - the engineering of the Cycle of a Breath. He is too moved to continue. MICHAELS -LRB- into the silence. -RRB- Nothing miraculous about it. Just an interchange of gases. The end product of five hundred million years of Evolution. DUVAL You ca n't believe all that's accidental? That there is n't a Creative Intelligence at work - Before Michaels can answer, they hear a warning buzzer SOUND in the Bubble above.",
"INT. BUBBLE The buzzer is going while a red light is flashing on the panel. Owens looks startled at : PRESSURE GAUGE ON PANEL The indicator is dropping rapidly toward a red horizontal line delineating the danger level. Owens flicks the button off and on rapidly, as if testing the mechanism, but the indicator keeps dropping. He shuts off the buzzer. OWENS -LRB- imperatively. -RRB- Grant.",
"INT. PROTEUS All look up toward the Bubble, at the urgency of his tone. Grant moves from the bow toward the console during : GRANT What is it, Skipper? OWENS' VOICE -LRB- trom Bubble. -RRB- We're losing pressure in the Flotation Tanks. Check the Manual, right over there. Grant can see him pointing to the Manual Control Section at the rear of the kiosk. GRANT Right. He moves quickly to : MANUAL CONTROL SECTION Over a series of controls are numerous gauges. The indicators marked TANK RT and TANK LT show the left tank is rapidly losing pressure. GRANT -LRB- up at Bubble. -RRB- The left tank's losing pressure.",
"INT. BUBBLE Owens presses a button and swivels around. With him we see : P.O.V. - EXT.. STERN OF PROTEUS A stream of large air bubbles is pouring out behind them.",
"INT. BUBBLE Startled, Owens presses the button which swivels him back. OWENS Grant! Get up here, quick! He starts getting out of his harness.",
"INT. PROTEUS As Grant moves toward the Bubble, he passes Duval and Cora, who are now looking toward the stern. CORA -LRB- with apprehension. -RRB- Air bubbles! Doctor - DUVAL No danger of an embolism. At our reduced scale, they're much too minute to prove fatal to Benes.",
"INT. BUBBLE As Grant appears, Owens is slipping out of his harness. OWENS There's a short in the valve. Take over. -LRB- of controls. -RRB- Steers like an airplane. Grant nods as he gets into the seat. Owens starts quikly down the kiosk, leaving Grant at the controls.",
"INT. PROTEUS Cora and Duval, at the window, watch anxiously as Owens moves to the Manual Control Panel. Michaels remains at the console, also deeply concerned. Owens opens the Circuit Panel, revealing a maze of wires and circuit breakers. Only someone with an intimate knowledge of the sub could posslbly find the right one. Owens does quickly. He trips a switch, shuts the panel. He turns, sees their anxious looks. OWENS Well, that takes care of the valve. It was probably caused by that electric shock. MICHAELS -LRB- to Owens. -RRB- Was there any damage? OWENS Not to the valve. But we've lost too much air to make it the rest of the way. DUVAL What do you propose we do, Captain? OWENS Nothing we can do. We must have full tanks to continue. He starts up toward the Bubble, leaving the three staring at each other in consternation.",
"INT. BUBBLE As Grant slips out of the seat and Owens resumes at controls : GRANT Any reserve air? OWENS Enough to breathe, but that's all. Grant starts down.",
"INT. PROTEUS He steps into the cabin in time to hear : DUVAL -LRB- ironically. -RRB- Just a few cells away from a vast air chamber - one of the countless Alvioli of the Lung - and we ca n't get enough to fill a microscopic tank. GRANT Maybe we can. -LRB- as they look at him in bewilderment. -RRB- Skipper, is there a snorkel on this sub? OWENS' VOICE -LRB- from Bubble. -RRB- Yes, there is. GRANT -LRB- to Michaels and Duval. -RRB- Could I run a tube through that Wall, without harming Benes? MICHAELS At this size, I would certainly think so. GRANT If those Corpuscles can take on air, no reason why we ca n't. -LRB- to Duval. -RRB- All we have to do is hook up the snorkel to that air chamber you were talk1ng about, and when Benes inhales, there should be plenty of pressure to force the oxygen into the tank. -LRB- up at Owens. -RRB- How's that sound to you, Skipper?",
"INT. BUBBLE As Owens considers the possibility : OWENS It's a dangerous procedure. If I miss the timing, we could explode the tanks. But I'm willing to try it.",
"INT. PROTEUS MICHAELS Yes, by all means. We must try it. OWENS' VOICE -LRB- from Bubble. -RRB- It'll be safer if everybody leaves the sub. Grant moves to the aft compartment, opens the door, goes into :",
"INT. LAB AND STORAGE SECTION As he moves to compartment containing the Underwater Gear, he is jolted by something he sees o.s. LASER OVER WORKING COUNTER It is swinging loose on one hook, its plastic cover off.",
"INT. LAB AND STORAGE SECTION Grant takes a step toward it, stops. GRANT Cora! After a moment, she appears. She follows his look toward the laser, reacts aghast. GRANT Looks like you did n't batten it down too well. CORA But I did. I'm positive! Duval and Michaels appear in the doorway in time to hear : GRANT Then how come it worked loose? CORA I have no idea. DUVAL Cora, is something wrong with the laser? CORA -LRB- distraught. -RRB- I do n't know yet, Doctor. And I wo n't know until I test it. GRANT That'll have to wait until after we're refueled. As he takes out the Underwater Gear and passes it to the three : CORA -LRB- righting laser. -RRB- I ca n't imagine how it possibly could have come loose. I distinctly recall fastening it with all four bolts - MICHAELS It must have been jarred loose during the whirlpool. Grant and Michaels exchange looks, as if neither are satisfied with the explanation. GRANT -LRB- of gear. -RRB- Well, let's get into these as quickly as possible. He leads the way out. Michaels and Duval follow. Left alone, Cora starts to unzip her jumper, revealing she is wearing her swim suit beneath. Her eyes remain on the laser, now her prime source of anxiety.",
"INT. MAIN OPS ROOM Starting on the grid map, we see the sub in the channel of the Pulmonary Artery. CAMERA then TILTS DOWN to the Radarscope, where the blip is blinking on and off in one place, without moving.",
"INT. CONTROL TOWER On the monitor at the Map Table, we see the INTERIOR OF THE TRACKING POST, where the same blip is in the identical stationary position on the Radarscreen. PULL BACK to include Reid staring at the blip on the monitor. Carter is pacing on the other side of the table. REID They've stopped - on the outer limits of the Right Lung. Carter looks at the Minute Recorder. It reads < 42 >. CARTER Another delay. With only forty - two minutes left. REID It'll be close - but there's still a margin of safety. CARTER Let's find what the devil's holding them up! -LRB- to Wireless Technician. -RRB- Contact the Proteus! As the message is heard being tapped out : REID -LRB- glancing at Monitors ; none are on. -RRB- It must be some kind of mechanical difficulty. The tapping stops. As they wait for an answer, Carter pours a stream of sugar into his coffee. REID I told you to cut down on the sugar. CARTER I ca n't help it. I'm just weak, I guess.",
"INT. PROTEUS - AT DOOR OF ESCAPE HATCH All have stepped out of their jumpers and are now revealed in their swim suits except Owens, who remains in the Bubble. The suits are form - fitting, antiseptic - looking, with a Breather Pack strapped to the back. Duval is tightening Cora's pack. Grant is checking Michaels' pack. The latter looks in rear at the small hatch, visible through the open door. The wireless starts tapping again. CORA -LRB- of tapping wireless. -RRB- Should n't you answer that? GRANT -LRB- putting on swim mask. -RRB- Not now. We need air, not greetings! He motions Michaels to precede him into the hatch. Face reflecting his irrational fear, Michaels puts his swim mask over his fear. But he freezes at the door, unable to step into the small hatch. Grant and Duval exchange looks. GRANT Let's go, Doctor. Michaels forces himself into the Escape Hatch. Grant follows, closing the door.",
"INT. ESCAPE HATCH There is only space for the two. Michaels cowers against the wall, palms pressed against the metal, fighting against another seizure of his phobia. Grant opens a valve. Liquid starts pouring into the hatch from several ports. When it is up to their chins, Grant bends down to unlock the ventral hatch.",
"EXT. PROTEUS Grant drops out of the hatch. Michaels follows. Grant then closes the hatch. With Grant in the lead, they swim toward :",
"EXT. TOP OF PROTEUS Grant reaches the snorkel, looks toward Bubble.",
"INT. BUBBLE Where Owens has now swiveled so that he faces the stern. Owens sees Grant signal to proceed. Owens presses button on SNORKEL RELEASE.",
"EXT. PROTEUS The snorkel starts rising. When the tube is a few feet above the sub, Grant takes the bobbing end, holds it under one arm, and starts swimming with his free arm toward the Capillary Wall on the left.",
"EXT. SIDE OF PROTEUS As Grant swims by with the end of the unreeling tube, Michaels joins him. Then Duval and Cora, who are now coming out of the ventral hatch. All swim to the nearby Capillary Wall. -LRB- NOTE : During the following, their action is complicated by the big Corpuscles flowing by in a steady stream, taking on oxygen and bumping into them. -RRB- They reach :",
"EXT. ALVEOLAR CREVICE It shimmers with the liquid that seems to cover it like a door of reflecting glass. The opening is just large enough for all to look within. They see :",
"INT. ALVEOLUS A vast conical volcano, the upper part lost to view. Numerous outcroppings of immense crags are visible on all sides. GRANT It's full of rocks! -LRB- NOTE : During all Swimming Sequences, we will hear the Speaker's Voice via the AUDIO PICKUP within the swimming mask of the one who responds vocally. -RRB- MICHAELS In a way - yes. Those are impurities imbedded in the Lung after a lifetime of ` Civilization.' Carbon from smoke and smog - specks of dust - GRANT Well, we better get on with it. He starts shoving the front of the snorkel through the vertical liquid entrance. To his startled surprise, it immediately comes flying out with great force. Michaels and Duval grab it in time to prevent the snorkel from snaking off down the stream. MICHAELS Careful! There is a tremendous air pressure in there - in relation to our size! Grant grabs hold or the front part again. GRANT I'll try to hold it from the other side of the wall, while you push from out here. Maybe that'll do it. CORA You ca n't - it's too dangerous - MICHAELS Yes - with all that pressure, and suction within - GRANT There's no other way. Tie my safety line to the sub. DUVAL Here, let me have it. Grant takes out his safety line, hooks it onto his suit. Duval starts swimming with the other end back to the Proteus.",
"INT. BUBBLE Owens is eyeing the pressure gauges anxiously. He reacts as he sees :",
"EXT. PROTEUS - P.O.V. BUBBLE With Owens we see Duval is nearing the sub, the safety line strung out behind him.",
"EXT. PROTEUS - AT VENTRAL HATCH Duval hooks Grant's safety line onto a ring for the purpose, signals :",
"EXT. ALVEOLUS CREVICE Grant acknowledges signal. The Alveolar Wall can be seen dilating slightly. GRANT All right now - push the snorkel through as soon as I get inside. MICHAELS -LRB- eyes on Wall. -RRB- Walt for the lull - between the time he inhales and exhales. As the dilating stops : MICHAELS Grant pushes quickly through the shimmering entrance.",
"INT. ALVEOLUS He has literally transposed himself into another element : air. There is no turbulence, no sound. Instantly he props his feet against both sides of the entrance. The snorkel is shoved through. As he grabs it and holds, a breath is heard starting. Only Grant can hear the ensuing sound. CAPILLARY SIDE OF ALVEOLUS Duval now joins Michaels and Cora. They hold against the increasing pressure from within. Grant can be seen straining on the other side against the enormous wind pressure.",
"INT. BUBBLE Owens' finger is on the button of the MASTER PRESSURE GAUGE, waiting. Tha indicator is quickly swinging toward FULL.",
"INT. ALVEOLUS The wind is rising to gale force. Grant is holding on with all his strength to the end of the snorkel. The others can be seen pushing from their side, to keep the tube from flying out. MASTER PRESSURE GAUGE As the indicator hits the FULL position : AIR TANK CONTROL BUTTON Owens' finger presses down while : OWENS' VOICE -LRB- o.s. -RRB- Full!",
"INT. ALVEOLUS In response, Grant lets go of the snorkel, which is instantly whipped out. Buffeted by the howling wind, he now tries to get out. But the hurricane causes Grant to lose his balance. He falls, slammed against the outcroppings by the force of the wind. Finally the lull comes. Instantly, Grant starts climbing back, hand over hand, using the rope as one would in scaling a mountain. The crevice is still far up ahead when suddenly a new breath starts in the upward direction. Grant is caught in the tremendous suction of the exhalation and is pulled toward the interior of the Lung. SAFETY CLASP ON SUB RING The Safety Clasp breaks off at the end of the nylon.",
"EXT. ALVEOLUS CREVICE Michaels, Duval and Cora react as the line snakes past them through the crevice. CORA -LRB- horrified. -RRB- He's gone!",
"INT. ALVEOLUS The suction sends Grant flying upward, past the crevice, with the safety line trailing after him. The wind whips him toward a fantastic height. Finally he hits : COLUMNAR CILIA Long stalks, with a waving motion that makes it resemble a vast field of wheat. Grant is seen flying through it, until he is lost from view. Then as the wind subsides :",
"EXT. ALVEOLUS CREVICE The three are waiting, tense. DUVAL -LRB- to Michaels. -RRB- What can we do? MICHAELS Nothing - against all that force. CORA But we just ca n't leave him in there! What'll happen to him? MICHAELS We'll know - in the next breath. They react as they see the Alveolar Wall starting to dilate again, signaling the advent of another breath.",
"INT. ALVEOLUS - SHOOTING UP The wind starts howling. And then Grant is seen at a vast height, plummeting down. Part of the way he hits a spongy area, bounces, is caught up again by the blasting wind, hits another spongy section, with a big outcropping of `` rock.''",
"EXT. OUTCROPPING Fighting the gale, he manages to snake his safety line around the big rock. As he hangs on, he sees : P.O.V. - PRINCIPALS AND SUB - THROUGH CREVICE Not too far above, with rocks between. GRANT He waits it out until the howling tornado subsides. Then in the lull, he releases himself quickly and clambers toward the opening. He thrusts himself through the crevice, just as another breath begins.",
"EXT. ALVEOLUS CREVICE The others grab him, pull him through all the way before he can be sucked back.",
"EXT. CAPILLARY WALL - P.O.V. BUBBLE Owens is relieved to see the four start swimming back to the sub.",
"INT. CONTROL TOWER Carter is pacing in the heavy silence. Reid is watching the monitors. Carter glances at the Minute Recorder. It flashes to < 37 >. Suddenly the tapping starts. Tense, they wait for the message. It is brief. As the Wireless Operator tears it off the pad, Carter takes it. CARTER -LRB- reading. -RRB- ` Proteus reports putting in to refuel air. Proceeding through the Pleural Cavity.'. -LRB- suddenly realizing. -RRB- Refuel air? As Reid starts to remove the OVERLAY MAP OF THE HEART from the Radarscope : REID Why not? They had a choice of over a billion Alveoli. LONG SHOT - PROTEUS IN PLEURAL CAVITY The lone voyager is proceeding in a calm sea. Its headbeams reflect a yellowish cast, which becomes increasingly warm and sunny during the scene.",
"INT. BUBBLE Owens glances at the Repeater. The co - ordinates show the sub is traveling toward the apex of the Pleura, to the north, which is bounded by an undefined area simply marked `` Lymphatic.'' A sense of absolute serenity seems to pervade. Abruptly : SMASHED LASER TRANSISTOR as it is placed on the edge of an array of disassembled parts.",
"INT. LAB SECTION - WORKBENCH Cora is putting the tiny transistor down. Then, with a tweezers, she takes out the last part : a hair - like strand of wire. To Duval, who is beside her : CORA And a broken trigger - wire.",
"INT. LAB AND STORAGE SECTION Grant and Michaels are standing at the doorway, reacting to : DUVAL -LRB- fingering the parts. -RRB- A smashed transistor. No way to fire the lamp. Well, that's the end of the laser. Grant and Michaels exchange looks. GRANT -LRB- to Cora. -RRB- You must carry spare parts - CORA Not anything built into the chassis. -LRB- with guilt. -RRB- If it had n't come loose - MICHAELS That's beside the point now. -LRB- to Duval. -RRB- I do n't see the sense of going on. CORA We must! MICHAELS With no laser - GRANT -LRB- to Duval. -RRB- Is n't there another surgical procedure you can try? DUVAL No, there's no other way. Before Michaels can answer, Grant squeezes into the compartment, picks up the broken transistor. GRANT -LRB- to Cora. -RRB- If you had a transistor about this size and power output, and a thin enough wire -. -LRB- of laser. -RRB- - could you piece it together? CORA No, it requires such absolute precision - GRANT A surgeon might. CORA Oh yes, I'm sure Dr. Duval could. If we had the parts. GRANT I've got a source. All I have to do is tap it. At their blank looks, he turns and moves into :",
"INT. PROTEUS As he goes to the wireless and begins to unscrew the panel, Michaels suddenly realizes : MICHAELS Grant - wait a minute - you're not going to dismantle the wireless? GRANT Just one little transistor and a circuit wire is all it takes. MICHAELS But that'll knock out our communications! We'll be cutting ourselves off from the outside. GRANT They'll still be able to track us by radar, because of the radioactive fuel. He moves to the panel, revealing a maze of electronic parts. GRANT Well, sir? Which is it? The wireless, or Benes' life? MICHAELS -LRB- finally. -RRB- Send the following message.",
"INT. CONTROL TOWER A LUNG OVERLAY MAP is now on the Radarscope. Reid and Carter see the Grid Officer is moving the replica of the Proteus into the next quadrant of the Pleural Cavity. An incoming message is heard. The Wireless Operator takes down the message. As the tapping stops : CARTER -LRB- reading. -RRB- ` Cannibalizing wireless to repair laser. This is last message.' Reid and Carter exchange grim looks. CARTER Incommunicado. Now they're really on their own. Reid moves to the window overlooking the OPERATING ROOM. As he looks down on Benes and the little Tracking Devices weaving back and forth across his chest : REID -LRB- quietly. -RRB- We can still track them - but that's all we can do. Carter joins him. As they both look down : CARTER Something told me I got into the wrong end of the bus1ness. -LRB- answering look. -RRB- Space. TINY TRANSISTOR AND STRAND OF WIRE In the palm of Grant's hand. Cora's fingers delicately pick up both. CORAlS VOICE -LRB- o.s. -RRB- The transistor will do. But the wire's much too thick.",
"INT. LAB AND STORAGE SECTION Duval is picking up the original wire with the tweezers and placing it on a contrasting surface during : GRANT Nothing closer. As Cora turns to the workbench : DUVAL I may be able to scrape it thin enough. Cora, get me a number eleven scalpel. She puts the transistor and wire down on the workbench and moves to open a medical kit. Duval takes the wire and places it between two small clamps on the workbench. Cora extracts a scalpel, gives it to him. Duval swings a magnifying glass over the strand as Cora trains a light on the wire. Duval bends over. Peering through the magnifying glass, he slowly begins to scrape the strand with the scalpel. GRANT AND MICHAELS They exchange looks. Then Grant turns away.",
"INT. PROTEUS Grant leads the way to the bow. As they look out : GRANT Looks like the sea, at dawn. MICHAELS We're safe - long as it remains that color. -LRB- answering look. -RRB- We're in the Pleural Sac. -LRB- indicating arched dome far above. -RRB- It keeps the Lungs from rubbing against the Wall of the Chest up there. When those membranes become inflamed, we wind up with Pleurisy - and a wracking cough. GRANT Cough? If he can kick up a storm by just - MICHAELS His Pleura's in fine condition. It should be clear sailing through this area. GRANT Let's hope. So far, somebody's tried to sabotage this mission twice. He glances back in the direction of Duval. Both drop their voices so that Duval and Cora ca n't hear : MICHAELS -LRB- startled. -RRB- Sabotage? I do n't understand. GRANT I saw the laser just before we started. It was fastened down securely. You do n't suppose what happened was an ` accident?' Any more than my safety line snapping after it was tied off to the sub? MICHAELS You have no right to blame Duval - GRANT That line was tampered with. MICHAELS -LRB- agitated. -RRB- I - I do n't know what to say. I know he's under a cloud, but there's not a more dedicated man in the entire medical profession. GRANT You still never know what's going on in anyone's mind. MICHAELS -LRB- with finality. -RRB- I ca n't believe it. Whatever happened was an accident. GRANT Two in a row? MICHAELS It's possible - Grant looks at the Minute Recorder. It now reads < 32 >. GRANT Thirty - two minutes left. -LRB- back to Michaels. -RRB- But chances are we wo n't have to wait that long for try - number three. OWENS' VOICE -LRB- from above. -RRB- Look at those Walls up ahead! Grant and Michaels look out through the bow. Grant reacts amazed as he sees : ENTRANCE OF LYMPHATIC DUCT - P.O.V. BOW A huge tube - like structure looms up. The Walls are transparent, composed of a single layer of squamous cells with round nuclei. Since the color of the stream is now predominately yellow, the globs create the impression of innumerable : GRANT'S VOICE -LRB- o.s. -RRB-?!",
"INT. BOW As Michaels moves to the console : MICHAELS -LRB- with smile. -RRB- We're entering the Lymphatic System. Those are nuclei of cells, lining a Duct. GRANT -LRB- puzzled. -RRB- I always had an idea there was only one System. The Circulatory. MICHAELS The Lymphatic System drains off excess fluid from the Tissues. Without it, we'd all swell up like balloons. He reaches the console, begins to take out a new chart.",
"INT. BUBBLE The new chart suddenly becomes visible on the Repeater as it is spread out below. Owens reacts to the labyrinth. OWENS Looks like quite a Navigation problem. The co - ordinates are seen being moved to indicate the sub is passing through a Lymphatic Duct on its way to the first Node, which is followed by a series of others, strung out like sausage links. MICHAELS' VOICE -LRB- from below. -RRB- Only until we get through the Nodes - the Lymphatic Glands. Follow your present compass heading.",
"EXT. PROTEUS - LYMPHATIC DUCT As it courses easily through the sunny stream, to suddenly emerge into :",
"EXT. LYMPHATIC NODE A startlingly different world. The headbeams reveal what appears to be an underwater marshland : a tangle of reticular fibers which wave with the gentle cross currents seeping through the mesh. Weird bacterial forms drift by, moving in groups like raiding parties. The yellowish light of the Lymphatic Stream still filters through.",
"INT. BUBBLE Owens is forced to slow down as he carefully begins to thread his way through the tangle, trying not to brush against the tendrils. But for all of Owens' care, the nose of the sub breaks some fibers as it nudges through the increasingly narrow spaces of the brambly mesh.",
"INT. PROTEUS Grant reacts as he sees the broken fibers drift against the bow windows, and then become momentarily entangled around them. When the tendrils clear the windows, he looks back to the stern. FLOATING TENDRILS - P.O.V. GRANT They are floating aft. Some adhere to the propulsion section, trailing out so that Grant can see them.",
"INT. PROTEUS Grant reacts, looks back and up toward Bubble. GRANT Skipper, you're picking up seaweed - or whatever it is. MICHAELS -LRB- reassuringly ; at chart. -RRB- Reticular fibers. We ought to be clear of them soon.",
"EXT. LYMPHATIC NODE - P.O.V. BUBBLE With Owens, we see the way ahead is more tangly. As he keeps slowing down to get through safely : OWENS -LRB- anxiously. -RRB- I hope so, Doctor. If that stuff clogs the vents, the engine'll overheat - He breaks off as a big clump of fibers is torn loose, for all his skillful steering.",
"EXT. UNDERSIDE OF SUB The mass of tendrils drifts down the length of the underside. Part of the clump adheres to the ventral hatch, another section twines around the exhaust : In so doing, it snags on the brambles beneath.",
"INT. LAB AND STORAGE SECTION Scalpel poised over the wire, Duval reacts as the Proteus momentarily jars while it pulls loose. He exchanges looks with Cora, who is holding the lamp.",
"INT. PROTEUS Grant glances back toward the open door of the aft compartment, realizing the danger of trying to repair the laser now. He looks at Michaels, who is bent over the chart. GRANT Doctor - He is interrupted by a loud WHAM against the bow windows. Startled, both look off, see :",
"EXT. LYMPHATIC NODE - BEGINNING OF BATTLE BETWEEN BACTERIA AND ANTIBODIES - P.O.V. PRINCIPALS Flashing reflected light from the headbeams, elongated crystalline structures with rod - like projections which make linkage possible, are whipping against the bow windows where they have trapped a mass of ferocious - looking large Bacteria. The smaller crystalline Anti - bodies are rapidly coupling with others that speed in to join the fray. The Bacteria fight back with their flagella, in a death struggle. VIEW OF BATTLE FROM INT. BUBBLE Owens ducks involuntarily as the linking Antibodies and the Bacteria slam against the Bubble in such numbers and sizes as to make the way ahead virtually invisible. As a result, the sub tears through a clump of fibers like a scythe.",
"INT. PROTEUS Duval appears in the doorway. DUVAL What's causing all that -? He breaks off as he sees the Antibodies and Bacteria whipping against the windows. Cora appears behind him, gasps at the sight of the monsters locked in battle. GRANT Looks like somebody declared war. MICHAELS Just what it is. Antibodies, destroying Bacteria - or any other foreign invader that threatens the System. BIG CLOSEUP - ONE ANTIBODY AND BACTERIUM As both slam and hold against the bow windows in a life - and - death struggle. An amazing phenomenon is taking form : Antibodies are hooking up at the rods to completely encase the Bacterium - and the geometric forms fit the antagonist. CORA'S VOICE -LRB- o.s. -RRB- Look - it's taking its exact shape! GRANT'S VOICE -LRB- o.s. -RRB- Like hand - in - glove. MICHAELS' VOICE -LRB- o.s. -RRB- Much closer. Like two atoms. Now the crystalline geometric links start pressing together with inexorable force. The Bacterium fights back with its flagella. Then suddenly it goes limp. As the destroyed Bacterium drifts off, another mass of virulent monsters smashes into the windows and are instantly embattled with a swarm of Antibodies that come linking up. Now the SOUND of the battle can be heard along the entire length of the sub. Meanwhile, the sub is jarred hard, as it breaks through another clump of entangling fibers. The sound and sight of the mortal battle increases in intensity, as does the forced passage during : DUVAL -LRB- with glance at Minute Recorder. -RRB- We'll never get there in time, at this rate. GRANT -LRB- to M1chaels. -RRB- Is n't there another route? So we can by - pass all this? DUVAL Yes. -LRB- to Michaels. -RRB- We can transfer over to the Inner Ear, and go by way of the Endolymphatic Duct. GRANT -LRB- to M1chaels. -RRB- Then why not take it? MICHAELS It's infinitely more hazardous than going this way. Once we enter the Inner Ear, sound in the Operating Room will be disastrous. At our reduced size, the vibrations inside the Ear would have a shattering effect. Another jar of the sub, and more smashing against the hull and bow windows, as the battle of the Antibodies and Bacteria reaches a climax. GRANT -LRB- over sound. -RRB- They're tracking us Topside. Once they see where we're going, I'm sure they'll take every precaution. MICHAELS Let's hope they realize the danger. -LRB- up at Bubble. -RRB- Captain, I'll give you a new compass heading. BENES' SHAVED HEAD With the radial lines in the f.g. Beyond, the Tracking Devices are now weaving back and forth in the area of the Neck.",
"INT. MAIN OPS ROOM CAMERA on the TRACKING POST, PICKING UP the Four Technicians before their Radarscreens. CAMERA then TILTS UP to the big grid map. We see the Grid Officer above, positioning the replica of the Proteus in the Inner Ear.",
"INT. CONTROL TOWER Reid and Carter are looking down at the OPERATING ROOM. They turn as the Communications Aide announces : COMMUNICATIONS AIDE Proteus turning in Quadrant 73. Reid and Carter move to window overlooking the MAIN OPS ROOM. They exchange relieved looks as the Grid Officer moves the sub to the lateral quadrant, in the Neck. REID -LRB- with relief. -RRB- At last they're heading for the Inner Ear. Carter glances at the Minute Recorder. It flashes < 27 >. CARTER -LRB- biting into unlit cigar. -RRB- About time they realized they'd never make it the other way. Reid moves to the Control Section, presses button.",
"INT. OPERATING ROOM The Surgical Team and the Technicians exchange looks as they hear : REID'S VOICE -LRB- o.s. -RRB- The Proteus is about to enter the Inner Ear. You are not to walk, talk, or make a sound of kind. -LRB- strongly. -RRB- must be maintained until they are out of the danger area. As all remain frozen in their positions : TRACKING DEVICE PAN with it to : EXTREME CLOSE SHOT - BENES' EAR CAMERA MOVES IN on the Ear, until it fills the screen. PANEL OF PROTEUS The red warning lights are flashing, the needle of the TEMPERATURE GAUGE is in the danger zone. The SPEEDOMETER is nearing zero.",
"INT. BUBBLE Owens is working the controls, apparently without avail. He glances anxiously ahead, sees :",
"EXT. COCHLEAR DUCT - ENDOLYMPHATIC STREAM - P.O.V. BUBBLE A huge clear area. In the distance, a few drifting Antibodies. There is nothing evident that should be giving the Proteus any difficulty.",
"INT. BUBBLE As Owens looks back with grave concern to the panel, the SPEEDOMETER needle drops to zero.",
"EXT. COCHLEAR DUCT - LONG SHOT The Proteus is sinking to the bottom.",
"INT. PROTEUS Duval and Cora are back in the lab Section, working on the laser. Grant is beside Michaels at the chart. Both look up as the Proteus touches bottom with a slight jar. GRANT -LRB- up at Bubble. -RRB- What's wrong, Skipper? OWENS' VOICE -LRB- from Bubble. -RRB- What I was afraid would happen. The stuff we passed through - that looked like seaweed - MICHAELS Reticular fibers - OWENS' VOICE -LRB- from Bubble. -RRB- It clogged the intake vents. We're not getting any propulsion. GRANT Well, there's only one thing to do. As he moves to put on his Breather Pack, Cora appears in the doorway of the Lab Section. She looks anxiously out of the bow windows. In the distance, several Anti - bodies can be seen. CORA You're going out there? With those Antibodies - MICHAELS -LRB- to Grant. -RRB- No danger of attack, as long as you do n't trigger them off by any injury to the System. Grant nods, steps into the Escape Hatch, closing the door behind him. The light flashes red. Cora remains at the bow windows, looking toward the drifting Anti - bodies, with apprehension.",
"EXT. VENTRAL HATCH Grant is dropping out of the opening, causing the attached seaweed - like fibers to come loose and drift off. WITH GRANT He swims toward the bow, reaches the propulsion intake vents. As the clogged vents come into view : OWENS' VOICE -LRB- over audio. -RRB- How's it look? GRANT I could use a lawnmower.",
"INT. BUBBLE Owens glances at the Minute Recorder. OWENS How long do you think it'll take? GRANT'S VOICE -LRB- over audio. -RRB- Quite a while.",
"INT. PROTEUS Cora turns from the bow windows. The Antibodies are still in view. CORA Would n't it be quicker if we all helped? MICHAELS -LRB- with glance at Minute Recorder. -RRB- Yes, there's no time to spare. And those fibers can be quite tenacious. He moves to the Escape Hatch with Cora, both strapping on their Breather Packs. She glances at Duval, still in the Lab Section. DUVAL I'd better use the time to finish repairing the laser. Michaels and Cora step into the Escape Hatch, adjust their swimming masks.",
"EXT. PROTEUS - BOW Grant is pulling the seaweed - like fibers out of the intake vents. He works fast at what seems an endless task.",
"INT. BUBBLE Owens is watching the TEMPERATURE GAUGE. The needle is still in the danger zone.",
"EXT. PROTEUS - BOW Michaels and Cora swim up to Grant, join him in yanking out the long clinging tendrils. All work quickly as possible.",
"INT. OPERATING ROOM Absolute silence. The immobile Surgical Team and Technicians create a tableau - like effect. The forced silence and the inactivity causes several to sweat with tension. All are focusing on the Tracking Devices, now weaving back and forth at Benes' Head.",
"INT. CONTROL TOWER Reid and Carter are at the window overlooking the OPERATING ROOM. The Communications Aide turns to them. They react with misgiving as they hear : COMMUNICATIONS AIDE Report no movement of the Proteus since entering Quadrant 74, Level D. Reid and Carter exchange grim looks, move to look down on the MAIN OPS ROOM. They see the little Proteus is in the quadrant of the Cochlear Duct. Carter glances at the Minute Recrder. It now reads < 24 >. CARTER Twenty - four minutes left. Maximum. This is just what we need - another delay. He sees an ant crawling along the table, in the direction of a few spilled grains of sugar. Automatically, he starts to bring his thumb down to crush it. But he stops just in time. Reid looks at Carter curiously as the latter carefully picks up the ant and puts it on the railing so it can crawl out of harm's way. REID -LRB- with smile. -RRB- You'll wind up a Hindu. Respecting all forms of life - however small.",
"EXT. PROTEUS - BOW Loose tendrils are flowing about the hull like drifting seaweed. But the vents seem to hold an endless amount. Grant, Cora and Michaels, working at an exhausting pace, keep pulling out more and more clumps of long fibers.",
"INT. BUBBLE Eyes on the TEMPERATURE GAUGE, Owens reacts with relief as he sees the needle beginning to swing away from the danger zone.",
"INT. OPERATING ROOM Nothing moves except the little Tracking Devices on their silent bearings. But the ordeal of absolute silence and no movement is beginning to tell on all. Particularly : SURGICAL CHIEF An older man, corpulent, he is sweating profusely under the strain. The headband of his Surgical Cap is wet. Automatically, he brings his rubber - gloved hand up to wipe the perspiration away, stops, as he glances at the patient o.s.",
"EXT. PROTEUS Many loose tendrils now about the hull attest to the progress of cleaning the vents. The three keep working.",
"INT. BUBBLE The needle of the TEMPERATURE GAUGE is now almost out of the danger zone.",
"INT. MAIN OPS ROOM - SUB GRID MAP The sub is not moving. The Minute Recorder reads < 21 >.",
"INT. MAIN OPS ROOM - SHOOTING TOWARD CONTROL TOWER Reid and Carter are at the window, looking down into the room.",
"EXT. PROTEUS The last of the fiber clumps is now being removed. SURGICAL CHIEF Rivulets of sweat are streaming down toward the wrinkled corners of his eyes, causing him to blink. FEMALE SURGICAL AIDE Seeing his extreme discomfort, she follows the usual procedure of reaching for a towel on the instrument table. TOWEL A surgical scissors is partially tucked within the folds.",
"INT. OPERATING ROOM The scissors is not visible from the Aide's angle. As she pulls the towel gently off the table, careful not to make a sound : SCISSORS Dislodged from the table. CAMERA WHIPS with it toward the floor. On the shattering impact : FLASH CUT - BENES' EAR It fills the screen, the sound reverberating o.s. Instantly :",
"EXT. COCHLEAR DUCT The vibrations send the Proteus flying through the clear sea, as if struck by a cataclysmic undersea force. -LRB- NOTE : Until the end of this sequence, the vibrations keep on as if they have set off reverberations in endless echo chambers. -RRB- GRANT Flung in one direction. MICHAELS Hurled off in another direction. CORA Whipped away from all the others. OWENS IN BUBBLE Clutching the panel for support. DUVAL IN LAB SECTION Clutching the laser.",
"EXT. ORGAN OF CORTI - WITH CORA As she is tossed toward the Cells of Hensen : a series of tall columnar structures, non - rigid, with cuticular plates forming a mosaic pattern. CORA She is horrified as she sees where she is heading for : P.O.V. - CHASM One wall consists of the TECTORIAL MEMBRANE, opaque, with built - in huge fibers. The other wall : geometric and translucent. Spaced at intervals are what appear to be electrical conduits with four exposed strands spanning the two walls. All the conduits are vibrating. WITH CORA - DOWN THE CHASM She is thrust over the curved edge, starts falling head down. She narrowly misses the first connective conduit. Then her Breather Pack snags on one of the strands of the next conduit, which flings her partially to one side so that her legs are caught between the other strands. As she hangs head down, the weight of her body causing the strands - and herself - to be whipped back and forth, she is further terrifled to see : LONG SHOT - CHASM - CORA'S P.O.V. All the quadruple strands are vibratlng in the seemingly bottomless abyss. BACK TO CORA As she tries to extricate herself, which causes her to be `` vibrated'' with even greater intensity : CORA -LRB- screaming. -RRB- Help!",
"EXT. COCHLEAR DUCT In the distance, the Proteus is being brought under control. Michaels and Grant are in view, swimming against the force set off by the diminishing vibrations in this part of the Ear. GRANT He hears : CORA'S VOICE -LRB- barely audible : over audio. -RRB- Please! Help! Grant looks about. There is no sign of her. CORA Struggling head down, in terror, she hears : GRANT'S VOICE -LRB- over audio ; in distance. -RRB- Cora! Where are you? CORA I do n't know! I think I'm caught on some auditory fibers!",
"EXT. COCHLEAR DUCT Michaels swims up to Grant. GRANT Where would that be? As Michaels points, Grant hears : MICHAELS' VOICE -LRB- over audio. -RRB- Right down there. They both swim off in the indicated direction, reach :",
"EXT. EDGE OF CHASM Both look down. At first they do n't see her. Then Grant spots Cora. He points for Michaels' benefit. They see : CORA IN CHASM - THEIR P.O.V. Far below, still trying to struggle loose. CORA IN CHASM As she hears : GRANT'S VOICE -LRB- on audio. -RRB- Okay! I can see you! She stops struggling. But unseen by her, the vibrating strands in which she is entangled have called forth, in apparent response : FEW ANTIBODIES - IN CHASM Appearing from the far side, and below Cora. They start moving toward her. More Antibodies instantly appear from the same area.",
"EXT. EDGE OF CHASM Grant and Michaels are swimming over the curved mosaic cells. INSIDE THE CHASM Grant and Michaels swim down toward Cora on the strands. Now the Antibodies become visible, gathering in increasing numbers as they stream up toward Cora. They are as yet unlinked, but she is unmistakably their target. MICHAELS -LRB- startled. -RRB- Antibodies! Coming at Cora! She's triggered them off! CORA ON STRANDS From her head - down position, she sees : LONG SHOT - ANTIBODIES - CORA'S P.O.V. Streaming upward in increasing numbers toward her. GRANT AND MICHAELS - IN CHASM GRANT Doctor! Get back in the sub! Quick! Michaels starts swimming fast as he can toward the Proteus.",
"EXT. CHASM - GRANT, CORA AND ANTIBODIES He is racing to reach Cora before they do. ON THE AUDITORY STRANDS - IN CHASM From her head - down position, Cora sees vast numbers of : Antibodies, now nearer. Frantic with fear, she tries to free herself, causing the strands to start vibrating again, which calls forth more Antibodies to stream out of the far side. Grant reaches her, starts working desperately to get her loose. She tries to help as he yanks at her Breather Pack, trying to work it off the wires.",
"EXT. PROTEUS - COCHLEAR DUCT Near the edge of the chasm. Duval is seen at the bow windows, looking out anxiously.",
"INT. PROTEUS Duval turns as the door of the Escape Hatch opens from within and Michaels steps out. He closes the door quickly. The light over it instantly flashes red. DUVAL Where are they?! As Michaels pulls off his swimming mask, breathing hard : MICHAELS Below the Cells of Hensen. If those Antibodies reach her, they'll attack as if she were bacteria. LONG SHOT - ANTIBODIES - IN CHASM - P.O.V. CORA -LRB- HEAD DOWN -RRB- They are beginning to link up.",
"EXT. CHASM - CORA AND GRANT He is still trying to get her Breather Pack loose. CORA -LRB- franticaliy. -RRB- Hurry! Oh please, please! He manages to get her pack loose, now starts pulling the strands apart at her ankles so that she can extricate herself. As she finally does, they execute a half - somersault in the stream to start swimming upward. Both get a fleeting look at : LONG SHOT - ANTIBODIES - P.O.V. GRANT AND CORA The links have now formed chains the of Cora.",
"EXT. CHASM - GRANT AND CORA Grant grabs her at the torso and starts to propel her upward. LONG SHOT - CHASM - ANTIBODIES AND PRINCIPALS The long links, in vast numbers, now race after the frantically swimming Cora and Grant.",
"EXT. EDGE OF CHASM Grant and Cora appear, swim over the slippery edge of the mosaic cells. She is too exhausted to keep up the pace. Grant holds her with one arm as he keeps swimming toward :",
"EXT. PROTEUS Duval and Michaels can be seen at the bow windows, looking out. Owens is visible within the Bubble, peering out anxiously.",
"EXT. VENTRAL HATCH The two reach it, Grant still helping Cora. They are at the point of exhaustion. Grant reacts as he sees : LIGHT OVER VENTRAL HATCH Flashing red.",
"EXT. VENTRAL HATCH Grant waits, hand at the wheel. Cora looks back toward the edge of the chasm for signs of the Antibodies. CORA -LRB- gasping. -RRB- Open it! Open it before they get here! GRANT I ca n't till the hatch is flooded! At her look of fright, he turns and sees : ANTIBODIES - EDGE OF CHASM - P.O.V. CORA AND GRANT The long links catapult over the edge of the chasm like Polaris missiles in flight, then begin to execute a turn for a massed attack in the direction of :",
"EXT. VENTRAL HATCH The light flashes green. Grant begins turning the wheel quickly as he can. INTERCUT ANTIBODIES Hurtling down toward Cora, and the wheel turning.",
"EXT. VENTRAL HATCH Just as the door drops down, the vanguard of the Anti - bodies reaches Cora. Two coils whip transversely around her shoulders. There is no time to tear them off. Grant thrusts Cora through the door, then follows, with the massed attackers streaming in after them.",
"INT. ESCAPE HATCH Cora is clawing at the Antibodies which are coiling around her from every direction. For the moment, Grant ca n't help her as he struggles to close the door against : ANTIBODIES AT VENTRAL DOOR The crystalline links are forcing their way in, against the pressure of the closing door. Grant struggles with all his strength against the coiling mass. Finally he manages to get the door closed and locked.",
"INT. ESCAPE HATCH - GRANT, CORA AND ANTIBODIES The water level starts falling, accompanied by the hissing of air pressure. Grant and Cora try to claw at the crystalline structures. But in the extremely narrow confines of the chamber, there is little either can do. Suddenly Cora's expression changes to one of horror and pain. CORA -LRB- gasping. -RRB- They're tightening. Desperately, Grant tries to get at least one coil loose, but to no avail. The crystalline structures are now constricting around her.",
"INT. PROTEUS Duval and Michaels stand before the Escape Hatch, waiting for the red light to change to green. DUVAL -LRB- up at Bubble. -RRB- How much longer?! OWENS' VOICE -LRB- from above. -RRB- Ten seconds - DUVAL That's too long! He starts to twist the wheel, to open the Hatch.",
"INT. ESCAPE HATCH The water is now down to their knees. Grant is still pulling at one of the many links around Cora, but without any effect. CORA -LRB- barely audible. -RRB- Please - I - ca n't - ca n't breathe. And she is cut off as all the Antibodies lock into place. Her mouth remains open, in the manner of someone being choked to death. The crystalline coils about her body give her the appearance of a female Laocoon. Suddenly the entrance door is thrust open behind them.",
"INT. PROTEUS Water pours out from the Escape hatch as Grant drags Cora out. She falls on the floor. Duval and Michaels instantly start pulling at the Antibodies. Cora is almost unconscious. Grant joins in the frantic effort to free her. And then Owens, who comes bounding down from the Bubble. All four men pull at the structures with all their strength. And suddenly they begin to break off, shattering into crystalline fragments. With some coils broken, the others soon lose their lethal adhesion. Finally Cora is free. As soon as she finds her breath, she begins to cry hysterically. Duval bends over, calming her.",
"INT. OPERATING ROOM All are still immoblle, sweating out the long wait. The Female Surgical Aide who caused the scissors to drop stands holding the towel. The scissors is still on the floor at her feet. In the silence, she carefully reaches out and dabs at the rivulets of sweat running down the Head Surgeon's face. Now all are concentrating on the : TRACKING DEVICES Moving silently back and forth across Benes' head, the only contact with what is transpiring within.",
"INT. CONTROL TOWER Reid is looking down into the OPERATING ROOM, Carter is pouring two fresh cups of coffee. At the SOUND of a warning buzz, both look at the TV monitor. They see the INTERIOR OF THE TRACKING POST. The blip is moving on the radar screen. COMMUNICATIONS AIDE Proteus proceeding toward Quadrant 75. Reid takes the coffee which Carter extends. REID -LRB- relieved. -RRB- On their way again. Carter glances at the Minute Recorder. It now reads < 12 >. He upends empty sugar container without looking at it. CARTER Twelve minutes left -. -LRB- breaks off ; sees no sugar. -RRB- Of all the time to run out of sugar.",
"EXT. ENDOLYMPHATIC DUCT The Proteus is speeding through the very wide passage.",
"INT. PROTEUS Michaels is spreading out a chart of the Brain, with the help of Duval. As the complexity comes into view, Grant reacts. With glance at the Minute Recorder : GRANT Looks like quite a way to go. MICHAELS No, we should reach the base of the Brain shortly. And from there, it's not far to the site of the injury. Suddenly, light pours in. Astonished, Grant sees : HUGE OVAL MEMBRANE - THROUGH BOW WINDOWS Semi - transparent. The immense pillars which form the Stapes of the Inner Ear are illuminated by the light behind it. GRANT'S VOICE -LRB- o.s. -RRB- Where's that light coming from? MICHAELS' VOICE -LRB- o.s. -RRB- The outside world. Filtering in through Benes' Eardrum.",
"INT. PROTEUS Duval bends over the chart. DUVAL -LRB- pointing ; to Michaels. -RRB- That puts us right here. Which means we can head straight for the Sub Arachnoid Cavity. MICHAELS Yes. DUVAL If we can go in past the Oculomotor Nerve. As both men remain bent over the chart, conferring, Grant moves into :",
"INT. LAB AND STORAGE SECTION Cora is lying on the cot. As Grant enters, she starts to rise. GRANT No need to get up - CORA I feel much better now. But she remains seated, still weak. As the light grows brighter : CORA -LRB- quietly. -RRB- The outside world. I thought I'd never see it again. Grant stops at the laser which is fastened securely, runs his hand along it. CORA -LRB- turning to Grant. -RRB- Thank you for saving my life. GRANT That's what they pay me for. CORA A great deal more than that, I believe. He looks up from the laser. GRANT Such as? CORA Keeping an eye on Dr. Duval. GRANT -LRB- into the silence. -RRB- What gives you that idea? The light now dims back to normal, indicating they have passed the Eardrum. CORA That's why you're really here. I knew it from the start. GRANT As obvious as that? Our Security people will jump for joy. -LRB- with smile. -RRB- I suppose Duval's onto me, too? CORA You're not the first, but he's much too innocent, much too involved with his work, to realize what's going on around him. GRANT Under a cloud without cause, I take it. CORA Oh, no. Plenty of cause. He wo n't follow the herd, or change his convictions - even when they're not popular. And he believes in an absolutely free interchange of information between scientists of different countries - and these days, there's nothing more suspicious than that. GRANT Depends on which end of the telescope you look through. CORA What do you mean? GRANT Well, if you happen to be very fond of him - even in love with him - it would certainly affect your point of view. Before she can answer, they hear : DUVAL'S VOICE -LRB- o.s. -RRB- It's out of the question. MICHAELS' VOICE -LRB- o.s. -RRB- Now be reasonable! DUVAL'S VOICE I wo n't do it. GRANT Sounds like trouble. The two move toward the door.",
"INT. PROTEUS Grant and Cora silently witness : DUVAL It's against my better Judgment. MICHAELS Better Judgment?! To wait until the actual operation - when it may be too late? DUVAL I've done all I could with the laser. MICHAELS All I'm asking is you test it beforehand! DUVAL If it wo n't work, it's beyond my power to fix it. But if it does, there's no telling how long it will hold up. It's a jury rig, at best, and we'll need every second of use we can get out of it. That's why I do n't want to put any extra strain on the connections by running unnecessary tests. MICHAELS Dr. Duvall I insist you test the laser. DUVAL -LRB- angrily. -RRB- I'll do nothing of the sort! The operation is responsibility! I wo n't do it, and that's final! MICHAELS -LRB- controlling himself with difficulty. -RRB- As usual, you want everything your way. Except this time there's more than your damned ego at stake. DUVAL -LRB- tightly. -RRB- I know only too well what's in the balance, Doctor. And it's not my ego, damned or otherwise. GRANT Looking thoughtfully after Duval.",
"INT. CONTROL TOWER Reid and Carter are relieved to hear : COMMUNICATIONS AIDE Proteus turning into Quadrant 791 Level F. Reid presses button.",
"INT. OPERATING ROOM Still in tableau. All hear : REID'S VOICE -LRB- o.s. -RRB- The Proteus has passed the Inner Ear. Instantly the tension breaks. There is coughing, clearing of throats. Someone sneezes, evoking : AD LIBS - Just in time! I could n't hold it back another second! - I was afraid to! - My foot's asleep. - Only one? - I thought I'd die when the scissors hit the floor! The Female Surgical Aide picks up the scissors.",
"INT. CONTROL TOWER Reid is moving to the window overlooking the MAIN OPS ROOM. Carter turns from the Minute Recorder, which now reads < 8 >. CARTER -LRB- on edge. -RRB- Only eight minutes left. As he joins Reid and both look down into the MAIN OPS ROOM, they see the Grid Officer moving the Proteus to the Quadrant at the base of the Brain. REID -LRB- softly. -RRB- Imagine - they're in the Human Mind - CEREBRAL LIGHTS A dazzling display of flashing lights fills the screen. Then as the CAMERA PANS DOWN slowly, we see a high wall of complex circuitry, in which the tiny lights glow on and off rapidly. Finally, as the CAMERA NEARS the bottom, it reveals :",
"EXT. PROTEUS - IN CRANIAL FJORD The sub seems a mere speck as it cruises through a chasm formed by two walls of similar circuitry and electronic pyrotechnics. There is a sense of order despite the complexity.",
"INT. PROTEUS Grant has joined Cora and Duval at the bow. The three are deeply impressed and moved by what they see. Michaels remains at the chart. As they look on : DUVAL -LRB- softly. -RRB- `` Yet all the suns that light the Corridors of the Universe shine dim, Before the blazing of a Single Thought -'' GRANT `` Proclaiming in incandescent glory The myriad Mind of Man.'' Cora looks at Grant in rather surprised awareness of this other side of him. MICHAELS Very poetic, gentlemen. You seem to see a great deal out there. Let me know when we pass the Soul. Duval turns from the bow windows to face Michaels with the answer : DUVAL -LRB- quietly. -RRB- The Soul? The finite mind can not comprehend Infinity. And the Soul which comes from God is Infinite. MICHAELS Take a close look at your Soul, and your Infinity, and your God out there - GRANT In thoughtful response to : MICHAELS' VOICE -LRB- o.s. -RRB- - and you'll find it's nothing but a combination of atoms, molecules -",
"INT. PROTEUS Not letting Duval interrupt : MICHAELS - and certain chemicals involving proteins - DUVAL You left something out. MICHAELS What's that? DUVAL -LRB- flatly. -RRB- The Breath of God. Before Michaels can reply : OWENS' VOICE -LRB- from Bubble. -RRB- Doctor - what's that up ahead? They turn toward bow, see :",
"EXT. FOREST OF DENDRITES As it comes into view with the sub turning the corner of the chasm : a huge semi - circular area of branchlike nerves, through which the cerebral lights flash. In the center is the site of the injury. The lights stop at its perimeter, as if short - circuited, causing a dark area. DUVAL -LRB- up at Bubble. -RRB- There it is. That's the site of the injury - the dark spot. We'd better get prepared. They move into the Lab Section, where they put on their Breather Packs quickly during : MICHAELS It's too late. Startled, they follow his look, see the Minute Recorder now reads < 6 >. MICHAELS You could n't possibly operate and get out before the hour's up. -LRB- up at Bubble. -RRB- Captain, keep going. Head for the Removal Point. He begins to spread out a map of the Removal Area. DUVAL Removal Point? What're you talking about! MICHAELS We have no alternative. With only six minutes left, we'll just barely make it. GRANT -LRB- up at Bubble. -RRB- Hold it, Skipper. -LRB- to Michaels. -RRB- What happens if we overstay? MICHAELS Once time's up, De - Miniaturization begins. In a matter of seconds the ship will grow big enough to become a danger to the System. Then White Corpuscles will swarm to destroy it, as they would any invader. GRANT -LRB- up at Bubble. -RRB- How long will it take to get from here to the Removal Point? OWENS'VOICE -LRB- from above. -RRB- Approximately two minutes. DUVAL That still leaves me four minutes to operate. MICHAELS All you'll succeed in doing is getting us trapped! -LRB- glancing at Minute Recorder. -RRB- Captain, you will proceed immediately to the Removal Point. OWENS' VOICE -LRB- from above. -RRB- Yes sir. Grant moves quickly to the Manual Panel and throws some key switches into the OFF position.",
"INT. BUBBLE Owens is startled to see the lights over the buttons go off, rendering the controls inoperative. The sub comes to a stop at some distance from the Forest of Dendrites and the dark area up ahead. OWENS My power's gone! -LRB- looks down, sees him. -RRB- Grant - what're you doing!",
"INT. PROTEUS With manner of taking over : GRANT Get the laser, Dr. Duval. As Duval and Cora move quickly into the Lab Section : MICHAELS -LRB- furiously. -RRB- I'm in charge of this mission! You were instructed to take orders from me, not give them! GRANT Sorry, but the situation has changed. MICHAELS Nothing has changed as far as authority goes! He is going to operate! Not in the little time we have left! There's no chance of success! It's sheer suicide for all of us! He breaks off as Duval and Cora come out of the Lab Section carrying the laser and power unit. As they move to the Escape Hatch door, which Grant opens : MICHAELS -LRB- furiously. -RRB- Dr. Duval, you are not going through with this! I absolutely forbid it! I'm responsible for the lives of everyone here! I will not allow you or anyone else to leave this ship! DUVAL I'm going to do what I can to save Benes. He steps into the Escape Hatch with Cora. Grant closes the door. MICHAELS -LRB- rageng at Grant. -RRB- You fool! Do n't you see what you've done? You've given him a perfect opportunity to kill Benes! The lights start flashing red, indicating the Escape Hatch is being flooded. Grant puts on his Breather Pack during : GRANT I do n't believe that. MICHAELS Why not? Because of his gibberish about GOd and the Soul? Camouflage - that's all it is - to blind the gullible like you! And to hide his real identity - a fanatic whose only purpose is to kill Benes! And you made it possible! The light over the Escape Hatch turns green. As Grant opens the door : GRANT I've come up against fanatics before, and Duval just does n't fit the pattern. -LRB- up at Bubble. -RRB- I'm going out there, Skipper. Maybe I can be of some help. OWENS Remember - we ca n't take more than five minutes to get out. As Grant starts closing the door, he glances at : MINUTE RECORDER It now reads < 5 >.",
"INT. PROTEUS Grant closes the door. The light over it flashes red. Michaels moves to the bow window to observe :",
"EXT. SITE OF INJURY - P.O.V. MICHAELS Duval and Cora are swimming toward the dark spot with the laser and the power unit. They reach :",
"EXT. SITE OF INJURY - CLOSER Duval presses the laser control, not knowing if it will work. To his relief, a beam of light shoots out. Instantly a small portion of the clot begins to light up. This gradual encroachment of flashing lights in place of the dark area marks the progress of the operation.",
"EXT. VENTRAL HATCH Grant drops out and starts toward Duval and Cora. SECTION OF THROMBUS IN BRAIN The laser beam is slowly dissolving away a small portion of the vast darkness. Grant swims up. He glances at his wrist watch. GRANT How does it look, Doctor? DUVAL -LRB- as he works. -RRB- If I can relieve the pressure on a few key vessels. More of the dark area lights up.",
"INT. PROTEUS - AT BOW WINDOWS Watching, Michaels responds grimly to the increasing number of flashing lights in the injured area. He turns with grim resolution from the bow. MICHAELS -LRB- up at Bubble. -RRB- Skipper.",
"INT. BUBBLE Owens is startled to hear : MICHAELS' VOICE -LRB- from below. -RRB- There seems to be something wrong with the Escape Hatch. OWENS What do you mean? MICHAELS' VOICE -LRB- from below ; imperatively. -RRB- Fluid is seeping through. Better come down and have a look! Quickly, Owens starts slipping out of his harness, starts down the ladder leading into :",
"INT. PROTEUS - AT ESCAPE HATCH DOOR Michaels is not visible in the angle of the shot as Owens moves to the Escape Hatch, looking for the seepage. Seeing nothing wrong : OWENS -LRB- turning ; puzzled. -RRB- I do n't see any sign of - He breaks off, his expression reflecting horrified surprise as a hand wielding the heavy crank of the winch smashes down on his head before he has a chance to dodge it. Owens slumps to the floor at the feet of : MICHAELS He drops the heavy tool, goes quickly to the Manual Panel, throws the switches back into the ON position, restoring all the controls to where they were before Grant changed them. Then he climbs up into :",
"INT. BUBBLE The lights over the buttons are all on again, indicating the controls are in working order. As Michaels sits down hastily and begins to slip into the harness, with him we see :",
"EXT. SITE OF INJURY Duval is aiming the laser in short bursts at a dark area around the large Central Nerve. Grant glances at his wrist watch. GRANT Doctor, we've just about had it. DUVAL It I can clear this Central Nerve, that be enough. Unseen by them : LONG SHOT - PROTEUS In the distance it is swinging around in a wide arc them.",
"INT. BUBBLE As Michaels maneuvers into position, he responds grimly to :",
"EXT. SITE OF INJURY - P.O.V. INT. BUBBLE Light begins to play along sections of the Central Nerve.",
"INT. BUBBLE The bow is now lined up straight with the Central Nerve. Face set, Michaels presses the FULL SPEED button.",
"EXT. JETS The churning indicates full power is on. The Proteus spurts ahead, speeding toward :",
"EXT. SITE OF INJURY - CENTRAL NERVE More and more of the Central Nerve lights up as the intervening darkness is dissolved by precise bursts of the laser beam. Unaware of the oncoming sub, Duval and Cora keep working. As Grant glances at his wrist watch, electrical impulses begin racing in a continuous flow through the Central Nerve, which is now incandescent along its entire height. DUVAL That should be enough. He looks critically at the results, as he normally would. GRANT We better get back to the sub. Every second counts now. CORA -LRB- suddenly. -RRB- Look! They follow the direction of her glance, are startled to see :",
"EXT. PROTEUS Speeding directly toward the Central Nerve high above them. The person in the Bubble is indeterminate at the distance and angle. CORA'S VOICE -LRB- o.s. -RRB- It's heading right for the Nerve! DUVAL'S VOICE -LRB- o.s., confused. -RRB- I do n't understand.",
"EXT. SITE OF INJURY As they watch helplessly : GRANT -LRB- getting idea. -RRB- The laser! Let me have the laser! Grant grabs the laser from Duval. With Cora trailing, holding the power unit, Grant leads the way upward at an angle to intercept :",
"EXT. PROTEUS It is speeding toward the Central Nerve like a projectile homing in on a target.",
"INT. BUBBLE The incandescent Central Nerve looms closer and closer. Michaels holds the controls in place with the fixed look of a pilot on a suicide course. GRANT, CORA AND PROTEUS He stops swimming. She remains near him. The sub is now over their heads, at an angle which makes the rudder visible. GRANT Give me your widest beam! Full power! Cora turns a dial on the power unit. Grant takes careful aim. A wide beam shoots out from the laser, across the intervening distance and hits :",
"EXT. RUDDER AND REAR HULL The concentrated light disintegrates the rudder and burns open a large section of the hull.",
"INT. LAB SECTION Fluid pours through the hole into :",
"INT. PROTEUS The intact section with its trapped air holds off total inundation. The unconscious Owens stirs, face up, the liquid just short of covering him. The sub begins to keel, owing to the inflow.",
"INT. BVBBLE Michaels wrestles with the controls, trying to keep on course, as the Central Nerve ahead looms closer and closer. For a moment it appears he will be able to ram it. But the increasing tilt suddenly causes :",
"EXT. PROTEUS - CENTRAL NERVE To dive at a sharp angle, just barely missing the Central Nerve.",
"INT. BUBBLE Michaels wrestles with the controls, but to no avail. Through the Bubble, he is startled to see :",
"EXT. FOREST OF DENDRITES - P.O.V. BUBBLE It looms closer and closer as the Proteus dives inexorably toward :",
"EXT. FOREST OF DENDRITES Treelike branching nerves form an intricate mesh as if in a dense forest. The Proteus careens into it, tearing loose a section of nerve fibers. The sub keels over on one side.",
"INT. BUBBLE Now at a sharp tilt. The impact causes one of the arms of the swivel chair to spring out of place, pinning Michaels to the seat. Lying at an angle, he struggles to break loose, without avail. Suddenly his startled eyes fix on : THE MINUTE RECORDER ON CONTROL PANEL It flashes < 0 >. The lights begin to dim.",
"INT. CONTROL TOWER - MINUTE RECORDER Flashing < 0 >. The SOUND of a warning siren is on loud. It continues during the scene, adding urgency to the reactions of all. Reid and Carter exchange grim looks. REID Time's up. We'll have to take them out immediately. CARTER It means killing Benes. -LRB- savagely. -RRB- And for all we know, they may have completed the operation! -LRB- slamming table. -RRB- Damn it to hell! He turns away. Reid goes to the window overlooking the OPERATING R00M. REID Remove the Proteus.",
"INT. OPERATING ROOM For a moment only the undulating wail of the warning siren is heard. Then : CHIEF SURGEON Prepare for trepanation. One of the Surgical Technicians begins swabbing Benes' head with alcohol.",
"INT. BUBBLE The lights are almost out. It is now lit only by the eerie glow of the pulsing flashes in the Forest of Dendrites. Michaels is vainly trying to pry the steel arm loose, but it holds him in a vise - like grip in the chair. He looks fearfully toward the bow window, as if knowing what to expect next.",
"EXT. EDGE OF FOREST OF DENDRITES Grant, Duval and Cora are swimming through the maze of nerves toward the sub lying at a sharp keel. GRANT The ship's good as finished. We'll have to get out on our own! Is there a quick way out? DUVAL We could follow the Optic Nerve to the corner of the Eye. CORA It's beginning to grow. They stop, treading water as they see :",
"EXT. PROTEUS Growing visibly before their eyes.",
"INT. BUBBLE Michaels reacts as he sees the dendrites outside growing, which indicates the sub and he are growing larger.",
"EXT. EDGE OF FOREST OF DENDRITES DUVAL We've got to get them out. As he starts toward the sub, Grant stops him. GRANT Hold it. They follow his look, see : WHITE CORPUSCLES - IN FOREST OF DENDRITES Huge monster - like blobs are starting to ooze through the nerves toward the Proteus, which is now about a quarter as large as when last seen, and growing rapidly. CORA'S VOICE -LRB- o.s., horrified. -RRB- White Corpuscles!",
"EXT. EDGE OF FOREST OF DENDRITES DUVAL They'll ingest the ship and everything in it! GRANT Stay here, both of you. Hold them off, if you can. He hands the laser to Duval and starts swimming toward :",
"EXT. PROTEUS - IN FOREST OF DENDRITES The White Corpuscles are slithering through the interlaced dendrites. They are still some distance from the disabled sub. MICHAELS - IN BUBBLE He is horrified to see the White Corpuscles slide into his view, though still removed from the sub. He renews his frantic effort to break loose from the steel grip of the sprung arm.",
"EXT. DAMAGED HULL Grant swims the hole through into :",
"INT. LAB AND STORAGE SECTION Quickly he makes his way through the narrow flooded area, picking up two Breather Packs en route.",
"INT. PROTEUS Grant emerges into the air - filled portion, pushes up his swim mask. He takes in the prone Owens and Michaels pinned in the Bubble as : MICHAELS -LRB- frantically. -RRB- Grant! Help! For a moment Grant stands between the unconscious man and the one trapped in the Bubble. Then he hurriedly unzips Owens' jumper, revealing the swim suit beneath. Owens regains consciousness. During the above : GRANT What happened? OWENS -LRB- in a daze. -RRB- Dr. Michaels. He went berserk. GRANT -LRB- with realization. -RRB- Berserk nothing. He's the one who's been sabotaging the mission. -LRB- handing him Breather Pack. -RRB- Get this on. Hurry! MICHAELS' VOICE -LRB- from Bubble ; frantically. -RRB- Grant!",
"INT. BUBBLE A monster - like cell is slithering toward the Bubble. Michaels is tearing at the steel arm that holds him to the chair. MICHAELS -LRB- with growing terror. -RRB- Macrophages! Moving against the extreme tilt, Grant appears. Responding to the oncoming White Corpuscle, Grant pulls at the steel arm with all his strength. MICHAELS -LRB- during above. -RRB- Get me out of here. Get me out! For all his effort, Grant is unable to free Michaels. WHITE CORPUSCLE Gradually oozes over the entire Bubble, covering it.",
"INT. BUBBLE Grant makes a last desperate effort to free Michaels as he sees the Bubble begin to dissolve beneath the body of the adhering White Corpuscle. As the fluid body begins flowing over Michaels : MICHAELS -LRB- in terror. -RRB- No. no. His scream is cut off by the White Corpuscle engulfing him. Grant jumps back into :",
"INT. PROTEUS OWENS Come on - it's no use! GRANT We can get out through the Lab Section. Both pull down their swim masks. Owens moves off, followed by Grant.",
"INT. LAB SECTION Owens is swimming through the hole. Grant follows through the cramped area.",
"EXT. PROTEUS Owens appears, swims off toward Duval and Cora. The two are working the laser and power unit. Duval is hitting the White Corpuscles and dissolving them in an attempt to keep them off the sub, but without avail. The monster cells are swarming in greater numbers.",
"EXT. DAMAGED RUDDER A monster White Corpuscle is flowing along it, down toward the hole. As Grant now emerges, the White Corpuscle grasps him in its tentacles. GRANT AND WHITE CORPUSCLE He struggles, unable to break out of the fluid mass which engulfs him.",
"EXT. EDGE OF FOREST OF DENDRITES Duval and Cora swim up. Duval aims the laser, presses the trigger. The beam shoots out with surgical precision, making a direct hit on : VACUOLE OF WHITE CORPUSCLE The nucleus of the monster cell disintegrates, releasing Grant. He swims quickly toward :",
"EXT. FOREST OF DENDRITES The three see another White Corpuscle moving after Grant. Duval dissolves it just as the laser goes dead. As Grant reaches them : GRANT You said there was a quick way out! DUVAL What about Dr. Michaels? GRANT It's too late! Duval drops the laser, turns and starts to swim off. Cora drops the power unit. With Duval in the lead, they swim as fast as they can through :",
"EXT. FOREST OF DENDRITES The dendrites are now in relat1on to the four as they keep on through the Cranial Region of flashing lights.",
"EXT. PROTEUS White Corpuscles are now festooned all over the sub and flowing in through the Bubble and damaged portion of the hull.",
"EXT. EDGE OF FOREST OF DENDRITES The swimmers look back and respond to :",
"EXT. PROTEUS It is crumbling like the Hindenburg Zeppelin. The White Corpuscles are swarming over the remains, ingesting every particle. THE GROUP Reacting to the destructive power of these internal defenders. They swim off.",
"INT. OPERATING ROOM The Chief Surgeon's gloves are on. Now all start to take their places around the Operating Table. The operating beams are switched on. The Chief Surgeon holds out one hand. A Surgical Nurse slaps a scalpel into it.",
"INT. CONTROL TOWER Standing at the window overlooking the OPERATING ROOM, Carter and Reid can see the Chief Surgeon bending down over Benes' head, about to make an incision. Carter suddenly gets an idea, presses button. CARTER Hold it, Doctor! BENES' HEAD AND SCALPEL The cutting edge is a fraction of an inch from the shaved head. It stops just in time. The Chief Surgeon and the Surgical Team around the table look up toward the window.",
"INT. CONTROL TOWER Reid looks tensely at Carter. REID What is it? CARTER That blip we're picking up might only be the radio - active particle. The Proteus may already be destroyed. REID What're you getting at? CARTER -LRB- thoughtfully. -RRB- If I were in their place and I'd run out of time, I'd abandon the ship before I grew to dangerous size. and use the few extra minutes to get out the quickest way possible, on my own. REID -LRB- with quick realization. -RRB- Along the Optic Nerve to the Eye. Swiftly, Reid crosses to the window overlooking the OPERATING ROOM. He presses button.",
"INT. OPERATING ROOM The Chief Surgeon and the others exchange tense looks as they hear : REID'S VOICE -LRB- o.s. -RRB- Wait thirty seconds. He rushes through the door leading down to the Operating Room.",
"EXT. ARACHNOID CORRIDOR - RIGHT OPTIC NERVE Composed of a cobweb of fibers. Sausage - like links, pinched in the center, compose the walls of the winding passage. These are the Nodes of Ranvier. Intermittent flashes leap across the Nodes, of varying intensity and duration. THE GROUP - IN RIGHT OPTIC NERVE As he keeps swimming, Duval turns his head to the others. DUVAL -LRB- encouragingly. -RRB- Light impulses - on the way to the Brain! We're nearing the Eye! They swim on with renewed effort. They are now larger in relation to what they pass. Cora starts to fall behind, unable to maintain the pace, for all her valiant effort. Grant puts one arm around her waist and thus manages to keep after Duval and Owens.",
"EXT. APEX OF CORNEA The four climb up on what appears to be the top of a huge transparent mound. The fluid is rapidly seeping upward from the channel below. A low - domed ceiling - the inside of the Eyelid - which is bisected by a crack, necessitates their crawling over the mound toward a crevice which affords more height. They force themselves along exhausted, and reach :",
"INT. CREVICE BETWEEN EYELIDS The four reach the grotto - like niche, where they can stand erect at their increased size. As they rise from their crawling position and lean panting in exhaustion against the wall :",
"INT. OPERATING ROOM Reid wheels over a magnifying glass mounted on a stand. He bends down and pries open Benes' right Eyelid.",
"INT. CREVICE BETWEEN RIGHT EYELIDS The four, their breath now regained, react in response to the unexpected : PARTING OF RIGHT EYELIDS The bisected dome above them parts like the walls of the Red Sea. Simultaneously the beam of the operating lights blaze in with blinding intensity, causing the four to shield their eyes and look down into the retina. KALEIDOSCOPIC EFFECT A symphony of colors is reflecting from the cones far beneath, through the VITREOUS BODY and the manifold furrows of the IRIS. REID He is bringing the magnifying glass into focal position. As he squints through it, he reacts on seeing : THE FOUR - THROUGH MAGNIFYING GLASS - ON SURFACE OF EYEBALL Now magnified, we see the four figures being swept inexorably toward the far corner of the Eye by a flood of water. REID -LRB- o.s. -RRB- A glass slide! Quick! Through the magnifying glass, we see their frantic attempts to fight the sweep of the cascade. Just as the four near the fall - off point, where the corner of the lids Join, the magnified end of a glass slide comes into view and catches the teardrop - with the four in it.",
"INT. OPERATING ROOM Reid carefully straightens up, holding the glass slide. He can barely see :",
"EXT. GLASS SLIDE Tiny specks are visible in the teardrop, moving about in the fluid.",
"INT. OPERATING ROOM All respond to Reid's imperative : REID Open those doors! Holding the slide so the teardrop does n't spill, Reid moves quickly through the sliding doors into the Miniaturization Room.",
"INT. CONTROL TOWER Carter rushes to the window overlooking the MINIATURIZATION ROOM.",
"INT. MINIATURIZATION ROOM All group around in silence, holding their breath as Reid very slowly and carefully bends down and places the glass slide on the platform. Above, at the window, Carter can be seen looking down.",
"EXT. GLASS SLIDE - ON FLOOR The tiny spots are growing visibly before our eyes.",
"INT. CONTROL TOWER Carter, looking down into the MINIATURIZATION ROOM, reacts as the four dots below on the glass slide continue to grow and grow to the point where they can be discerned on the platform, and a bedraggled quartet it is. They look like survivors of a shipwreck : dripping wet, exhausted, all the fight knocked out of them. Owens is seated, head between his drawn - up knees ; Cora is leaning against Grant for support ; Duval is fighting for breath.",
"INT. MINIATURIZATION ROOM Now fully grown, the four look about, amazed at where they are. And the Surgical Team and Reid encircling them are staring with equal confoundment.",
"INT. CORRIDOR - HOSPITAL SECTION - DAY Grant and Owens are driving a scooter. Both are rested, freshly groomed. The scooter goes through door marked : The scooter stops in :",
"INT. MEDICAL FOYER They alight and go through door leading into :",
"INT. HOSPITAL ROOM As Grant and Owens enter, they see Benes is propped up on his bed, with Carter, Duval, Cora and Reid grouped around him. Grant moves immediately to Benes. GRANT -LRB- warmly ; extending hand. -RRB- Hello, Mr. Benes. How's the prize patient? Benes smiles as they shake hands. DUVAL -LRB- beaming. -RRB- He's making a fine recovery. CORA He certainly is. He should be up and about in no time. OWENS That's great. Grant and Owens look toward Carter, who is pacing, visibly upset. CARTER -LRB- answering their look. -RRB- Oh yes, great. The only problem is, he ca n't remember what he came to tell us. GRANT Ca n't remember? What do you mean? CARTER He's blanked out on that one particular point. REID Yes, he can remember everything - except how to control De - Miniaturization. GRANT Oh, no. OWENS After all that. DUVAL A specific area of memory may have been destroyed by the laser beam when Dr. Michaels interfered. CARTER As long as it is n't a certainty, we've got to try everything possible to make him remember! OWENS Well, if you have no further need for me. GRANT Yes, we'd like to get moving. CARTER -LRB- mind only on Benes. -RRB- Why do n't you go on. We'll meet you at the Clearance Desk in a few minutes. He paces, looking at Benes while : GRANT Good - bye, Mr. Benes. I must say it's been quite an experience knowing you. Benes smiles weakly at the double - entendre. As Grant starts out with Owens : CARTER Now how soon can we try Sodium Pentathol? REID I'd hold that off awhile. CARTER Well, how about hypnosis? That ca n't hurt him! Benes closes his eyes wearily. DUVAL I suggest the first thing we try is letting the patient get some rest. As he starts herding them out and they reach the door, they are startled by a loud CRASH o.s.. They rush out. TWO SCOOTERS - AT INTERSECTION Another scooter has run into the one containing Grant and Owens with such impact that the two have been tossed out. The M.P. is blowing his whistle, stopping all traffic. THE GROUP Carter, Reid, Duval and Cora are running toward : THE INTERSECTION Grant is rising, holding the side of his head. Owens, dazed but uninjured, is also getting up. As the others reach them : DUVAL -LRB- of Grant. -RRB- He may have a head injury! -LRB- to Reid. -RRB- Get him to the hospital! Instantly, Grant grabs Owens and hustles him to their scooter. GRANT Who, me? Oh, no! Do n't bother about me! We're not hurt! Is n't that right, Skipper? OWENS -LRB- dazed. -RRB- Uh - what? GRANT -LRB- getting him into scooter. -RRB- We feel great, do n't we? Just?! OWENS -LRB- catching on. -RRB- Oh - sure, sure! Never better! GRANT -LRB- taking off. -RRB- Nothing wrong with us! Not a thing! We're fine - just fine! In his haste, he almost runs into another scooter but averts a crash by a matter of inches. He keeps going at top speed, by - passing the stopped traffic by traveling in the wrong lane. LONG SHOT - SCOOTER As it is lost to view down the long corridor. FADE OUT THE END"
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] | The United States and the Soviet Union have both developed technology that can miniaturize matter by shrinking individual atoms, but only for one hour. (The novel stated that the duration of miniaturization is inversely proportional to its degree. A 50% reduction, say, could be maintained for many days, but a reduction to microbial size could last for only an hour.) Scientist Dr. Jan Benes (Jean Del Val), working behind the Iron Curtain, has figured out how to make the process work indefinitely. With the help of American intelligence agents, including agent Charles Grant (Boyd), he escapes to the West, but an attempted assassination leaves him comatose with a blood clot in his brain that no surgery can remove from the outside. To save his life, agent Grant, pilot Captain Bill Owens (Redfield), Dr. Michaels (Pleasence), surgeon Dr. Peter Duval (Kennedy), and his assistant Cora Peterson (Welch) are placed aboard a Navy submarine (originally built to study the deep-sea spawning habits of fish) at the Combined Miniature Deterrent Forces facilities. The submarine, named Proteus, is then miniaturized to "about the size of a microbe", and injected into Benes. The team has 60 minutes to get to and remove the clot; after this, Proteus and its crew will begin to revert to their normal size, become vulnerable to Benes's immune system, and (in the words of Asimov's novelization) "kill Benes regardless of the success of the surgery." The crew faces many obstacles during the mission. An arteriovenous fistula forces them to detour through the heart, where cardiac arrest must be induced (at the risk of killing Benes) to avoid turbulence that would be strong enough to destroy Proteus. After an unexplained loss of oxygen, they must replenish their supply in the lungs. They are forced to pass through the inner ear, requiring all outside personnel to make no noise, so as to prevent destructive shocks (a sound is accidentally made, though, and the ship and crew are badly thrown about) and Cora almost gets killed by antibodies. When they discover that the surgical laser that is needed to destroy the clot is damaged, it becomes obvious that a saboteur is on the mission. They must cannibalize their wireless telegraph to repair the laser, making communication and guidance from outside impossible to get. By the time they finally reach the clot, they have only six minutes remaining to operate and then exit the body. Before the mission, Grant had been briefed that Duval was the prime suspect as a potential surgical assassin, but as the mission progresses, he pieces the evidence together, and near the end, instead begins to suspect Michaels. During the critical phase of the operation, Dr. Michaels knocks out Owens and takes control of Proteus, while the rest of the crew is outside for the operation. Duval successfully removes the clot with the laser, but Michaels tries to crash the submarine into the clot area to kill Benes. Grant fires the laser at the ship, causing it to veer away and crash. Michaels is trapped in the wreckage and killed when a white blood cell attacks and destroys Proteus. Grant saves Owens from the ship, and they and the remaining crew swim desperately to one of Benes's eyes. They escape through a tear duct seconds before returning to normal size. The original screenplay included a follow-up scene in which, because of brain damage caused by the submarine, Benes no longer remembers the formula for unlimited miniaturization. Surviving stills suggest that this scene was filmed but never used. | Fantastic_Voyage |
[
"EXT. IOWA LANDSCAPE - DAY Rolling green hills, lush farmland, vast open space. Not a house or sign of life in sight. On a long dusty road, a TRUCK is driving across the screen. Clouds of dirt follow in its tracks - its motor, the only sound we hear.",
"INT. TRUCK - DAY FRANCESCA JOHNSON is sitting in the front seat of the pick - up truck. Her expression is distant. Her eyes are sad, as if hiding a burden she can hardly bear. Her husband, RICHARD JOHNSON, is driving. RICHARD You feeling better Franny? FRANCESCA Yes. I'm fine. It's just this heat I think. He nods, satisfied. He turns on the radio as the VOICE OF DINAH WASHINGTON sings a bluesy, haunting love song, `` I'LL CLOSE MY EYES.'' DINAH WASHINGTON -LRB- SINGS. -RRB- `` I'LL CLOSE MY EYES. TO EVERYONE BUT YOU. AND WHEN I DO. I'LL SEE YOU STANDING THERE.''. -LRB- CONTINUES. -RRB- RICHARD -LRB- surprised. -RRB- What station is this? FRANCESCA It's a Chicago station. I found it the other day. RICHARD Kinda pretty. Is this uh. jazz kinda singing? FRANCESCA -LRB- nicely. -RRB- I do n't know. Can we turn it off? I have such a headache. RICHARD Sure. Richard shuts it off. Francesca turns her face away from him to look out at the vast expanse out of the countryside.",
"EXT. JOHNSON HOUSE - DAY The truck stops in front of an isolated FARM HOUSE. A wooden gate stands twenty yards from the front door. A barn and a hot house sits on either side, surrounded by acres and acres of beautiful pasture. CAROLYN JOHNSON, a sixteen - year - old girl, steps out from the vegetable garden with an arm full of vegetable. She watches her parents exit the truck. Francesca carries her groceries, walking briskly through the front gate and entering the house. Richard grabs a bag of feed from the flatbed and strolls more leisurely. When he walks through the front gate, he notices something on the ground and picks it up. It is a BUTTON with RED NATURAL surrounding it. As if it had been torn from a piece of clothing. His daughter approaches him. RICHARD Your mother is n't feel well. I want you to help her out tonight with dinner. -LRB- she nods. -RRB- Tell Michael to put this feed away. He puts the feed bag down. She exits. He enters the house.",
"INT. FRONT HALL - DAY Richard enters the front hall opposite the stairs to the second floor. To his left is the living room. To his right, through an archway is the kitchen. He moves towards the stair when he suddenly hears the kitchen radio turned on and `` I'LL CLOSE MY EYES'' continues. It puzzles him. He looks to the kitchen. Francesca is obviously there but we ca n't see her. He is about to call to her when his son, Michael, yells : MICHAEL -LRB- O.S. -RRB- Dad! You bought the wrong feed! RICHARD -LRB- irritated. -RRB- What?! He exits through the house to the back door.",
"INT. KITCHEN - LATER The family - Francesca, Richard, Carolyn and their seventeen - year - old son MICHAEL - are eating supper. No one speaks. FRANCESCA So what are you going to do with the prize money? CAROLYN I do n't know. I might save up for one of those hi - fi stereo players like Peggy has. Francesca nods. Silence again. She asks her son : FRANCESCA Are you seeing Betty tonight? MICHAEL -LRB- eating. -RRB- Nah. Silence. She is used to her son's one syllable answers. RICHARD Oh! Frannie, is this yours? He places the button with red material on the table. Hiding her surprise, Francesca takes the button. FRANCESCA You found it! I got my dress caught on that damn gate. You must have eyes like a hawk. FRANCESCA -LRB- cont'd. -RRB- You must all be tired. You got home so early. What time did you leave Illinos this morning? RICHARD ` Bout 4:30. FRANCESCA Well you should all go to bed early. I'll do the cleaning up. This last remark she addresses to her daughter. Everyone returns to their silent eating.",
"INT. JOHNSON HOUSE - NIGHT The house is asleep and dark except for a bright light coming from the kitchen. Carolyn quietly exits her bedroom in her nightclothes. She was awakened by noises coming from the kitchen downstairs.",
"INT. KITCHEN She enters to find the lights are on. An empty cake pan and a half - used bowl of frosting sitting unwashed in the sink. She hears the motor of the truck being turned on. She moves to the front hall and looks out through the door to see : The truck driving away. She calls out : CAROLYN Mom! But she gets no response. She stands there wondering where her mother could possibly being going this time of night, as we - THIRTY YEARS LATER - SAME LOCATION Carolyn, thirty years older, stands in the same doorway of the same house thinking back to that evening her mother acted so strangely. A LAWYER is unpacking a briefcase in the living room off the front entrance. Carolyn sees a car with Florida plates driving up to the house. She smiles.",
"EXT. JOHNSON HOUSE - DAY Carolyn steps out of the doorway and heads for the car, out of which exit her brother Michael and his country girl wife BETTY, a stout buxom chatterbox. Both boast Florida tans and fashion styles. MICHAEL -LRB- to Carolyn. -RRB- Explain to me again why we did n't do this in Des Moines in an air conditioned office? CAROLYN Mom's orders. MICHAEL Lawyer here? CAROLYN -LRB- nods. -RRB- I have some sandwich fixings if you're hungry. BETTY -LRB- proudly. -RRB- No, we just had lunch at the hotel with my brother and his new wife. She told me all the dirt. I forgot how interesting things can get around here. It was so good to see them. The last time we visited they were in Europe. He is doing so well. He ordered champagne. For lunch! I nearly died. MICHAEL I nearly died when we split the bill. BETTY Michael does n't understand. People who make the kind of money my brother makes do n't carry money on them. They keep it all in various accounts. MICHAEL Then we should have had lunch at the bank. Carolyn tries not to laugh. Betty shoots him a dirty look, then stops to take in the house and its surroundings. BETTY Boy. It sure has been a long time. MICHAEL -LRB- correcting her. -RRB- We were here two Christmases ago. BETTY Well, that's a long time. MICHAEL It's not that long. BETTY -LRB- suddenly upset. -RRB- Well, why do n't I just say black so you can say white! -LRB- to Carolyn. -RRB- Do n't be surprised to find your brother has n't changed an iota. He hardly ever talks and when he does it's in that tone! You should have heard him at lunch - not two words until the bill came and then he says, `` Worth every penny.'' MICHAEL -LRB- defensive. -RRB- SO! BETTY -LRB- angry. -RRB- You said it in that tone! Like you were angry at me, my brother, at the world for forcing you to eat a nice lunch! MICHAEL Oh Jesus. BETTY -LRB- staring to cry. -RRB- I simply can not stand that tone! CAROLYN -LRB- sympathetically. -RRB- Come inside. You're just tired from the trip. She comforts Betty who indulges in the attention. BETTY I am so sick and tired of apologizing and not knowing what I've done! CAROLYN I'm sure you have n't done anything. Have some iced tea. How are the kids? MICHAEL He dropped them off at Betty's mom. Where's Steve? CAROLYN -LRB- uncomfortably. -RRB- He's not coming. Betty suddenly stops crying and abrasively focuses on Carolyn's problems. BETTY Aw, is he still cheating on you, hon? Carolyn suddenly hoses sympathy for her.",
"INT. LIVING ROOM - DAY The lawyer hands Michael a document. LAWYER Just sign here as having received the contents from the safe deposit box. -LRB- Michael does. -RRB- And this one, which clears the bank of all further responsibility fo0r the contents. Betty whispers to Carolyn. BETTY This is kind of exciting. You think we'll find out your mother had secret millions lying around? Carolyn smiles weakly. Michael hands back the papers. LAWYER All right. Why do n't we begin. He takes out Francesca's Last Will and Testament. LAWYER -LRB- cont'd. -RRB- Your mother has been interred at Lakeside Funeral Home until arrangements can be made. MICHAEL -LRB- to Carolyn. -RRB- I thought everything WAS arranged. CAROLYN Well, there's a problem. MICHAEL What problem? LAWYER Your mother left explicit instructions that she wished to be cremated. MICHAEL Cremated?! BETTY Eeeww! CAROLYN I know. I do n't understand it either. MICHAEL When did she decide this? LAWYER -LRB- reading will. -RRB- Apparently just before her death. MICHAEL Well, that's crazy. I do n't know anybody who gets cremated. BETTY My Jewish friend's grandmother did. MICHAEL Well, no one in my family did! Dad bought cemetery plots at Oak Ridge. One for him, one for mom. LAWYER It clearly states in the will - MICHAEL I do n't care what it says! Maybe Mama was delirious, you know. She did n't know what she was saying. If she wanted to be cremated, why the hell did she let dad buy two plots, huh? LAWYER Well, she was very specific. She wanted her ashes to be thrown over Roseman Bridge. MICHAEL WHAT! BETTY How bizarre! CAROLYN Mr. Peterson, are you sure mama wrote all this? LAWYER Well, it was notarized, and witnessed by a Mrs. Lucy Delaney. Maybe you can ask her. MICHAEL Who the hell is Lucy Delaney? CAROLYN I remember a Mrs. Delaney but Mama told me years ago she died. MICHAEL Well, I do n't care if it's legal or not, we're not cremating her and throwing her all over some bridge where we ca n't even go visit her because she's going to be blown all over the place like an ashtray. BETTY Not to mention people driving over her and doggies doing their business - MICHAEL -LRB- interrupting. -RRB- We're not doing it! I'm not even sure it's Christian. BETTY Maybe it's an Italian thing. Their mother was Italian. MICHAEL Does n't matter. Move on. The women dare not object. The lawyer raises his eyebrows and continues : LAWYER Well, we'll come back to that. Shall we open the box? MOMENTS LATER C.U. SAFETY DEPOSIT BOX A key is inserted and the lid is opened. There are many papers, deeds, et. Michael begins sorting through these. Carolyn notices a manila envelope addressed to her mother, postmarked 1965. She opens it up to find TWO LETTERS and A PHOTOGRAPH - FRANCESCA standing NEAR A COVERED BRIDGE, her hair wind blown, her expression serene, beautiful and sad. She wears a RED DRESS with buttons down the front. CAROLYN Michael, look - I've never seen this picture of mama. Have you? Betty and Michael look over her shoulder. He shakes `` no.'' CAROLYN -LRB- cont'd. -RRB- It was in this envelope from 1965. BETTY She's not wearing a bra. -LRB- takes bridge photo. -RRB- This is Roseman Bridge in case anyone's interested. Interested yes, but no one thinks anything of it. Michael returns to the other papers. Betty takes the photograph for further examination. Carolyn opens one of the letters and begins to read. The following dialogue is heard OS, as CAMERA ANGLES ON CAROLYN reading one of the letters : BETTY -LRB- O.S. -RRB- It's a beautiful picture of her. MICHAEL -LRB- O.S. -RRB- -LRB- to lawyer. -RRB- Why are there two deeds here? LAYER -LRB- O.S. -RRB- One of for the original parcel your father bought and this one is for the additional acres he purchased in' 59. MICHAEL -LRB- O.S. -RRB- And this? LAWYER -LRB- O.S. -RRB- Those are bills of sale from the equipment your mother sold in. -LRB- CONTINUES O.S. -RRB- Throughout their conversation, we focus on Carolyn as she reads and her expression sinks into one of shock and confusion. She flips to the last page of the letter to read who it is from. She ca n't believe her eyes. BETTY -LRB- O.S. -RRB- What's that? Carolyn jumps a little, so engrossed in her discovery. She lies. CAROLYN Oh, just a old letter from a friend. BETTY -LRB- laughs. -RRB- No treasure maps, huh? CAROLYN -LRB- laughs nervously. -RRB- No. Betty starts inspecting knit knacks around the house she might be able to take. Carolyn looks to Michael. CAROLYN -LRB- cont'd. -RRB- Michael. MICHAEL -LRB- reading documents. -RRB- Yeah. CAROLYN Michael. MICHAEL -LRB- irritated. -RRB- What?! CAROLYN Come here a minute. Michael crosses impatiently to Carolyn. Carolyn looks around to the others, then guides him OS into the kitchen for privacy. He protests. MICHAEL What? Where are we going? They exit. Alone with the impatient lawyer, Betty examines a vase as she pumps him for info. BETTY Did she say anything in there about me? Leaving me anything in particular? LAWYER No. Betty prattles on as she examines each item, much to the lawyer's dismay, hiding her resentment and hurt. BETTY I did n't expect so. She never liked me. It's okay. I always knew. Thought we married too young. Nobody broke his arm - that's what I said but you know mothers and their sons. Also, she never liked the fact of us moving to Florida although what's where the opportunities were. Could n't deny that. Suppose we should have visited more but you know she hardly ever made an effort to come to Tampa. Not even to see her grandchildren. She was a cold woman. They say Italians are hot - blooded but not her. She was cool as ice. -LRB- picks up a candlestick. -RRB- She leaves these to anyone? Michael and Carolyn re - enter the living room. Michael's expression now matches Carolyn in disbelief. BETTY -LRB- cont'd. -RRB- What's going on? MICHAEL Um. we were just wondering how it might be better if me and Carolyn went over the stuff by ourselves. Not keep you two waiting around. I'll contact your office about the legal work. Grateful, the lawyer packs up to leave. BETTY I do n't mind waiting. MICHAEL Well, there's a lot of boring stuff to do. Lists of people we have to write to. Find mama's relatives addresses in Italy - stuff like that. BETTY Well, I can help. MICHAEL I said NO! That came out a bit aggressively. Betty is hurt. MICHAEL -LRB- cont'd. -RRB- Why do n't you go to your mothers. Or back to the hotel. Sit in some air conditioning. Take a bath. BETTY -LRB- near tears. -RRB- I do not need instructions from you to bathe! -LRB- gets her bag. -RRB- I knew you'd do this! I knew I'd come all the way here and be shut out as usual! I came to be here for you! I did n't have to come! -LRB- genuinely hurt. -RRB- Lord knows I was never much welcome in this house before. Apparently dead or alive, nothing's changed. CAROLYN Aw, Betty. Carolyn feels badly for her. An impatient Michael refuses sympathy. Embarrassed, Betty starts to exit then stops at the mantle. BETTY Carolyn - you want these candlesticks? CAROLYN No. You can have them. Betty grabs them both and exits. Carolyn looks at him disapprovingly. Michael takes the letter from her hand. MICHAEL Now what's this about?",
"INT. KITCHEN - LATER Sitting at the kitchen table, Carolyn is in the middle of reading the letter to Michael. CAROLYN - going over and over in my mind every detail, every moment of our time together and I ask myself, `` What happened to me in Madison County?'' I struggle to put it together in a way that allows me to continue knowing we're on separate roads. But then I look through the lens of my camera, and you're there. I start to write an article and I find myself writing it to you. It's clear to me now we have been moving towards each other, towards those four days, all our lives - MICHAEL -LRB- rises. -RRB- Goddamn sonofabitch! I do n't want to hear anymore! Sonofabitch! Burn the damn thing! I do n't want to hear it! Throw it away! Carolyn continues reading silently. Michael's curiosity gets the best of him : MICHAEL What's he saying now? CAROLYN Well, he just gets on about how if mama ever needed him, she could find him through the National Geographic magazine. He as a photographer. He promises not to write again. Then all it says is. -LRB- beat. -RRB- I love you. Robert. MICHAEL Robert! Jesus! I'll kill him. CAROLYN That would be some trick. He's already dead. That's what this other letter is. -LRB- takes letter and skims. -RRB- From his attorney. He left most of his things to mama and requested. -LRB- she stops. -RRB- MICHAEL What? CAROLYN That he be cremated and his ashes thrown on Roseman Bridge. MICHAEL DAMN HIM! I knew mama would n't have thought of that herself. It was some damn perverted. photographic mind influencing her! When did the bastard die? CAROLYN 82. MICHAEL Wait a minute! That was thirty years after daddy. Do you think? CAROLYN I do n't know. I'm completely in the dark here. That's what I get for moving away. MICHAEL This happened way before we both got married. I. I ca n't believe it. -LRB- then, innocently. -RRB- You think she had sex with him? Carolyn can not believe he is this dense. CAROLYN -LRB- sarcastic. -RRB- My Lord. It must feel real nice living inside your head with Peter Pan and the Easter Bunny. MICHAEL Do n't talk to me like that. She was my mother for Christsakes. And now I find out she was. She was a -! CAROLYN Do n't say that! MICHAEL Well, what am I supposed to think? CAROLYN I ca n't believe she never told me? We spoke at least once a week. How could she do that? MICHAEL How did she meet him? Did Dad know? Anything else in that envelope? CAROLYN No, I do n't think so. I - She dumps it over and a SMALL KEY FALLS OUT. Pause, as Carolyn and Michael look to each other - they grab the key and run out of the kitchen, almost comically falling over each other in their obsession to put this puzzle together. A SERIES OF JUMP CUT - From one lock to another as they try to find the keyhole that fits the key - they try closets, attic doors, jewelry boxes, night tables, vanity drawers. Finally -",
"INT. BEDROOM - DAY At the foot of their parents bed sits an WALNUT HOPE CHEST, covered with a tapestry. Michael and Carolyn look to each other first, before one removes the tapestry and the other tries the key. It fits. They open the chest to find : Camera equipment, a chain with a medallion that reads `` FRANCESCA,'' three leather bound notebooks - and a sealed envelope with `` Carolyn or Michael'' written on it. CAROLYN/MICHAEL You read it! Carolyn relents. She takes out the lefter and reads : CAROLYN `` January, 1987. Dear Carolyn. I hope you're reading this with Michael. I'm sure he would n't be able to read it by himself and he'll need some help understanding all this, especially the parts about me having sex.'' Insulted, Michael pulls the lefter out of her hand and defiantly attempts to read it aloud himself to disprove his mother's claim. But after looking at a few lines, he surrenders and hands the lefter back to his sister. CAROLYN -LRB- cont'd. -RRB- `` First, and most of all, I love you both very much and although I feel fine, I thought it was time to put my affairs, excuse that word, in order.'' MICHAEL I ca n't believe she's making jokes. CAROLYN Sshhh. `` After going through the safety deposit box, I'm sure you'll find you're way to this letter. It's hard to write this to my own children. I could let this die with the rest of me, I suppose. -LRB- cont'd. -RRB- But as one gets older, one fears subside. What becomes more and more important is to be known - known for all that you were during this brief stay. Row said it seems to me to leave this earth without hose you love the most ever really knowing who you were. It's easy for a mother to love her children no matter what - it's something that just happens. I do n't know if it's as simple for children. You're all so busy being angry at us for raising you wrong. But I thought it was important to give you that chance. To give you the opportunity to love me for all that I was.'' Carolyn and Michael look to each other like two school children about to take a difficult exam. They continue. CAROLYN -LRB- cont'd. -RRB- `` His name was Robert Kincaid. He was a photographer and he was here in 1965 shooting an article for National Geographic on the covered bridges of Madison County. Remember when we got that issue and looked at those bridges we'd seen for years but never noticed? How we felt like celebrities? Remember when we started getting the subscription? They do n't remember. CAROLYN -LRB- cont'd. -RRB- I do n't want you to be angry with him. I hope after you know the whole story, you might even think well of him. Even grateful. MICHAEL Grateful!? CAROLYN -LRB- reads. -RRB-''. It's all there in the three notebooks. Read them in order. If you do n't want to, I suppose that's okay too. But in that case I want you to know something - I never stopped loving your father. He was a very good man. It's just that my love for Robert was different. He brought out something in me no one had ever brought out before, or since. He made me feel like a woman in a way few women, maybe more, ever experience.'' MICHAEL That's it! Grabbing the letter, he starts putting everything back in the trunk. CAROLYN What are you doing? MICHAEL This is crazy. She waits till she's dead to tell us all this. Well, I got news for you. She was my mother. That's enough for me. I do n't have to know who she was. CAROLYN Well, I'd like to read them. MICHAEL No. We're going to lock this up and - CAROLYN STOP IT! -LRB- Michael freezes. -RRB- I want to read them! If you do n't want to, then just leave. But do n't you push me around like I'm some mule you paid for - I already GOT A HUSBAND! Michael is stymied.",
"INT. KITCHEN - LATER Carolyn opens the first notebook which is dated AUGUST 1965. Michael sits beside her with a cup of coffee. CAROLYN -LRB- reads. -RRB- `` I suppose his coming into my life was, in many ways, prepared for weeks, maybe even months before. There was a restlessness I feeling. Out of the blue and for no apparent reason. There's nothing more frightening to a woman whose been settled down for almost twenty years than to suddenly feel unsettled. I do n't know when it started. I do remember one night in particular, a little over a week before Robert arrived.'' CAROLYN'S VOICE BECOMES FRANCESCA'S VOICE AS WE : 1965",
"INT. JOHNSON'S BEDROOM - NIGHT Richard is fast asleep while Francesca sits up in bed reading. FRANCESCA -LRB- V.O. -RRB- `` It was late at night after a long day. Your father was tired - fighting all afternoon with that new equipment Robert Harrison convinced him to buy. But I was n't tired. Lately, I could hardly sleep more than two hours a night. I was reading some John O'Hara novel, skimming the words, turning the pages without absorbing what I was reading. My mind was far away. And no matter how I tried, I could n't call it back.'' Francesca closes the book and turns off the light. She nestles into the bed and tries to sleep. After a beat, she opens her eyes and turns on the light. As she gets out of bed she awakens Richard. RICHARD What time is it? FRANCESCA Later. Go back to sleep. RICHARD Where you going? FRANCESCA I'm not tired. I thought I might finish Carolyn's skirt. RICHARD Now?! -LRB- checks clock. -RRB- It's after eleven. FRANCESCA I ca n't sleep. RICHARD Again? Maybe you should see a doctor. FRANCESCA I'm not sick, Richard. I'm just not tired, now go back to sleep before you're up for the whole night too! Francesca exits. Richard nestles under the covers, mumbling : RICHARD If you're not sick, how can it be contagious?",
"INT. ATTIC - NIGHT Francesca sits at her sewing machine, working on Carolyn's skirt. When the thread runs out, she checks her sewing box for another spool of that color. Not finding it, she raises and walks to an opened closet. She pulls on a light cord and checks her supplies. There are shelves of boxes, crates, old clothes and shoes all crammed together. She pulls out one shoe box and an entire stack of items tumble off the shelf onto her head. FRANCESCA Damn it! Shit! She looks at the mess and decides it's time to re - organize. The clock reads 2:30 AM. The closet has been emptied. Francesca rummages through box after box. Two huge piles have been created - one for items to be thrown away, another for items to be kept. Francesca is wiping the bare shelves down with a rag and some cleanser. Looking up to the bottom of the next shelf, she notices A SHOULDER STRAP hanging, wedged between the wall and the shelf. Pulling over a stool, she steps up to be eye level with the shelf. It is an OLD HANDBAG - of a style not seen since the forties when she was a young girl. She pulls it down to examine. It is very dusty and worn, but the snaps still work. She places it against her side to see if it would still be fashionable. She opens it and finds an old lipstick - reading the bottom where the name of the shade is located. FRANCESCA -LRB- cont'd. -RRB- Ha, they do n't even made this color anymore. She exits the closet and moves to an old mirror, trying the lipstick on. As she decides whether or not she likes it, a thought occurs to her. she remembers something. She crosses back to the handbag and feels the inside for a compartment hidden by a flap of material and a snap. She unsnaps it and an old BACK & WHITE PHOTO slips out. She looks at its image - two young people against an Italian background. Francesca is twenty years younger with her arms around a handsome, black - haired charmer named - FRANCESCA -LRB- V.O. -RRB- `` Niccolo. I could n't remember the last time I had seen that face. And then the memories would n't stop. Like an avalanche.'' FLASHBACK -",
"EXT. NAPLES COUNTRYSIDE, 20 YEARS EARLIER - DAY A hot, breezy summer day. A young vibrant Francesca is storming through an open field, angry, while Niccolo calls after her in pursuit. The following scene is played in Italian with subtitles. NICCOLO Francesca! Francesca! Where the hell are you going? FRANCESCA Leave me alone! NICCOLO You play these games and I'm supposed to follow - run after you like a schoolboy. Well, I'm not! I'm fed up! Niccolo stops. Several yards ahead of him, Francesca stops and turns. Suddenly, she storms back towards him until they are face to face. FRANCESCA So that's it! You just give up! NICCOLO What `` give up''? You agreed with them! Mommy and Daddy said stay away from me and you said all right. What am I supposed to do? FRANCESCA Fight for me! Niccolo grabs her violently. NICCOLO ENOUGH! You do n't know what you want! Stop looking for me to tell you! STOP IT! Francesca knows he's right. He releases her. NICCOLO -LRB- cont'd. -RRB- We can go back now and end it or we can go back and you tell them off. This is your choice! Not mine. But I wo n't do this anymore. This is for children! Frustrated and sad, Francesca sits upon the ground. Niccolo knows she can not face her parents yet he looks sympathetic.",
"EXT. JOHNSON HOUSE - DAWN 1965 Francesca sits on the back porch in her bathrobe, looking out over the pasture as if she were watching the previous scene happen right before her eyes. In the pasture stands NICCOLO as he was twenty years ago. Memories have overlapped. A field in Naples is now a pasture in Iowa and Niccolo is as real to her as the grass. He is staring at her seated on the porch of her Iowa home, a woman twenty yards older than when he knew her. He smiles. FRANCESCA -LRB- V.O. -RRB- `` I had forgotten this. I had somehow remembered it being more his fault, his decision. Then I remembered we made love in that field before we left for home. And I remembered it was my idea. I remembered tearing his shirt and biting his body, hoping he would kidnap me. I had forgotten that too. And I wondered, as I sat there. how many other things I'd forgotten.'' RICHARD -LRB- O.S. -RRB- Frannie. Startled, Francesca turns as if she were caught in the act. Richard is fully dressed, prepared to start the day. Francesca turns back to the pasture - Niccolo is gone.",
"INT. JOHNSON HOUSE - EVENING It is a week later. Francesca is making dinner. A COUNTRY STATION is tuned in on the radio. FRANCESCA -LRB- V.O. -RRB- `` The following week was the Illinos State Fair. The two of you were going with dad to exhibit Carolyn's prize steer. It was the Sunday night you left. I know it sounds awful but I could n't wait for you all to leave. You were going to be gone until Friday. Four days. -LRB- beat. -RRB- Just four days.'' Francesca's expression looks as if she needs a break from her family for more like four years. FRANCESCA -LRB- cont'd. -RRB- Michael! Carolyn! Richard! Dinner! She sets down a bowl of potatoes, a plate of sausages, coffee and corn as one by one her family enters and sits down. Michael enters through a screen door from the back, letting the DOOR SLAM SHUT. FRANCESCA Michael, what did I tell you about that door? Richard enters after Michael, letting the door SLAM THE same way. Francesca is about to say something, but gives up. Everyone begins eating - in complete silence. When Michel ca n't open the ketchup bottle, Francesca grabs it, palms the top skillfully and twists it off. She hands it back to Michael who makes no comment. When Richard scans the table for something that obviously is n't there, Francesca is up out of her seat before he can ask, at the fridge, grabbing the sour cream, closing the fridge and back at the table with incredible swiftness. When Michel moves his big arm to reach for the salt, he knows over his cup and saucer, which Francesca catches with both hands before they hit the floor. Her reflexes are like a trained athlete. Finally, Francesca is able to sit and sip her coffee. She watches her teenage daughter fill her plate with a blank expression that lets nothing slip through - no indication of all the tempests of emotions that go through a teenage girl. FRANCESCA You excited about going, Carolyn? Without looking up, Carolyn fakes a smile. Looking at her, Francesca remembers Carolyn as a three - year - old girl : FLASHBACK. In the same kitchen, THREE - YEAR - OLD CAROLYN runs around her mother's feet completely naked, squealing with delight as Francesca flicks her water from the tap. FLASHBACK ENDS. Francesca watches as Carolyn eats in silence, distant, locked in her own secret teenage thoughts and dreams. Francesca then looks to her son, shoveling food into his mouth at an alarming rate. She attempts a conversation. FRANCESCA -LRB- cont'd. -RRB- How was your date last night? MICHAEL -LRB- w/o looking at her. -RRB- Okay. FRANCESCA What's her name? MICHAEL Betty. FRANCESCA What's she like? MICHAEL Okay. Silence. Frustrated, Francesca has a fantasy - Francesca picks up a blunt butter knife, rises out of her seat, grabs her son and shoves the knife at his throat : FRANCESCA Do you like her? Michael finally reacts with more than one word - frightened for his life. MICHAEL Uh. Yeah. Yeah. She's real nice. FRANCESCA Well, what's nice about her? Tell us! MICHAEL Well, she's. she's real pretty and. and she's got a cute shape. she's a good sport, ya know, for laughs and. -LRB- desperate. -RRB-. she loves fried chicken wings and beer. FRANCESCA Is n't that nice? You should bring her home to meet us! FANTASY ENDS. Francesca looks at Michael in disgust. RICHARD We better get moving. -LRB- to Francesca. -RRB- You sure you do n't want to come? Francesca looks at Richard with complete conviction. FRANCESCA I'm positive. RICHARD I'm going to miss you. FRANCESCA It's only four days. He gives her a sweet peck on the lips. Francesca smiles, anxious for them all to leave.",
"INT. JOHNSON HOUSE - LATER THAT NIGHT Alone, dressed in her bathrobe, Francesca checks the front door. She crosses to the living. Noticing two throw pillows on the floor, she arranged them neatly on the couch. She sits herself in an easy chair then flicks on a reading lamp and opens her book. After five seconds, she closes the book. She crosses to the TV and turns it on, then turns it off before the picture tuned in. She turns and leans on the TV, flicking the ON/OFF switch on and off as her mind wanders. She gets an idea. She crosses to the hi - fi and looks through several albums she got from her Columbia Record Club. But nothing inspires her and she quickly loses the desire for music. She's antsy. She has this time alone and she does n't know how to spend it. She walks through the dining room, passing a china closet filled with fancy dishes and glasses. She stops. Shoved in the corner behind is an old, un - opened bottle of BRANDY. She removes up, setting atop the dining table to open it. But when she catches a reflection of herself in the window opposite her, she stops. She sees a lonely, frustrated woman in a tattered bathrobe anxious to open a bottle of liquor. Deflated, she returns the brandy to the cupboard and exits.",
"EXT. BACK PORCH - NIGHT Francesca sits on the porch with a book in her lap, gazing out over the pasture. It's a hot night. She opens the top of her rope a bit. Feeling the air against her skin, she decides to open it a bit more. She gets an idea. Standing, she looks to see if anyone is around - though rationally she knows there is n't a soul for miles. She turns off the porch light. With a brave and daring impulse, she sheds her bathrobe and stand naked under the night sky. The air feels good against her body. She opens her arms up against the night sky and moon like an Indian priestess. Suddenly, she starts hitting her body as mosquitoes begin attacking her bare torso. Thwarted, she quickly covers herself with a robe and runs into the house.",
"INT. KITCHEN - MORNING Francesca trudges into the kitchen. As if on automatic, she takes the coffee pot and fills it with water. She gets the coffee and begins spooning it out. She stops. She gets the idea of taking herself out for breakfast and dumps the coffee pot out.",
"EXT. MAIN STREET; WINTERSET - MORNING A one street town. On either side are rows of storefronts, an old coffee shop/diner, a bank, a medical center, a newspaper building, a courthouse and a movie theater showing CAT BALLOU. The steeple of the local church is the highest structure, towering over the town from the end of Main Street.",
"INT. COFFEE SHOP/DINER - MORNING Dressed in jeans and a light summer blouse, Francesca sits alone - treating herself to breakfast and the paper. Some of the gossip news includes rumors of Frank Sinatra, 49, marrying Mia Farrow, 19 : Cary Grant 61, marrying DYAN CANNON, 27. Francesca shakes her head in disbelief at such news. She tries to continue reading, but is distracted by the loud conversation in the booth beside her : TWO MIDDLE - AGED WOMAN and ONE MIDDLE - AGED HUSBAND sit after breakfast discussing the local gossip. ELEANOR Oh, this heat! Times like this I wish we took that offer from your brother and moved on up to Michigan. HENRY They got heat in Michigan. ELEANOR Not this kind of heat. HENRY Heat is heat. ELEANOR Heat is not heat! There's different kinds! And this heat is much hotter than what they got in Michigan. You go and call your brother and see if he do n't say the same thing. HENRY I'll get right on it. Mrs. Delaney, an attractive well - off woman in her forties, enters the shop and heads for the counter. GLADYS -LRB- whispers. -RRB- Mrs. Delaney. -LRB- Eleanor looks. -RRB- Did you hear the latest? ELEANOR No, what? GRADYS Apparently, she caught them. -LRB- Eleanor gasps. -RRB- Ran right into them in Des Moines in the middle of her shopping. ELEANOR Oh, what a horror. Poor woman. That Redfield girl's got no business showing her face in daylight. GRADYS I do n't know how that tramp stands living here. No one can bear even speaking to her. She has no friends. HENRY Well, nobody put a gun to his head. ELEANOR Oh, shut up! It's the woman who's in control of these situations. Men do n't know which end is up till a woman points. Mrs. Delaney acts as if nothing is wrong. Yet, she knows everyone knows and everyone knows she knows they know, yet no one says a word. She sits at the counter. MRS. DELANEY Just coffee, please. Francesca hears the gossip continue in hushed tones : GLADYS See. Money do n't buy happiness. I must say, she's taking it well. ELEANOR I'd kill him. Him and that Redfield woman. Together. First one then the other. And then I'd laugh. GLADYS I'd laugh first then I'd kill them. Make sure they heard me laughing. Eleanor nods. Not being able to stand it, Francesca rises. She must pass them on the way to the counter, in order to pay. Eleanor immediately stops her. ELEANOR Francesca! So, everybody got off okay last night? FRANCESCA Yes, thanks. GLADYS What you going to do all alone for four days - a woman of leisure? FRANCESCA Oh, you know there's always something to be done. Have a good day. Henry. Henry nods back. As she exits, they whisper. ELEANOR She's changed. GLADYS Oh, yes. ELEANOR She used to be so friendly. HENRY Maybe she's going through `` the changes.'' Eleanor hits him in the chest. ELEANOR What do you know about `` the changes''? HENRY Well, I did n't know they was a secret club. ELEANOR Do n't talk about what you do n't know. Besides, she's too young for `` the changes.'' GLADYS My niece had `` the changes'' when she was thirty - one. ELEANOR No. What a tragedy. What happened? GLADYS -LRB- wisely. -RRB- She changed. At the counter, Francesca pays up. She looks to Mrs. Delaney and tries to smile, but Mrs. Delaney works hard at not making eye contact with anyone. Suddenly, she rises telling the waitress : MRS. DELANEY Excuse me for a moment, I left something in the car. She exits quickly. Francesca pays up as the waitress adds : WAITRESS Poor woman.",
"EXT. COFFEE SHOP/DINER - MORNING Francesca exits and heads for her truck. As she crosses from one corner to another, she notices down the side street - Mrs. Delaney sitting alone in her own car, sobbing. Unable to bear the humiliation, she stole herself away to cry. Francesca wants to help but feels useless. She quickly heads for her truck.",
"EXT. JOHNSON HOUSE - DAY Francesca sits on the front porch with some iced tea, trying to cool herself off. It is a scorcher. She is barefoot, her blouse hanging out of her jeans, her hair fastened up by a tortoise shell comb. Camera begins a slow move into close - up, as she sips her tea and lets her mind wander. WE INTERCUT HER FANTASIES WITH HER FANTASY : Back in town, Francesca slides into Mrs. Delaney's car. She embraces the woman who cries into her arms. - Francesca on the porch. FANTASY : Mrs. Delaney's car is surrounded by townpeople staring into it. Francesca hugs Mrs. Delaney closer to her in defiance. - Francesca on the porch. FANTASY : Mrs. Delaney's car drives up to a train station. She and Francesca exit with suitcases. They are surrounded by news reporters as they make their way to the train. REPORTER Mrs. Johnson! Mrs. Johnson! Is it true Cary Grant has proposed to you? FRANCESCA Yes. And I've accepted. REPORTER What about his engagement to Dyan Cannon? FRANCESCA I said to him Cary you're being ridiculous. You're more than half her age. He said no one had ever been that honest with him and he falls in love with me. REPORTER What about your husband? FRANCESCA I'm very sad but Richard said that since it's Cary Grant, he completely understands. I'm also taking Mrs. Delaney away from this town. She'll be living with Cary and I in Beverly Hills. She boards the train with Mrs. Delaney. END OF FANTASIES. Tired of her fantasies, Francesca looks up to the sun to clear her mind. It is blinding. When she looks back out onto the road, her vision is momentarily blurred. Until, slowly, out of the blue, she sees : A TRUCK driving toward her house, kicking up dust, like some phantom appearing through the etheric plane. Francesca is n't even sure it's real. She sips cool drink & blinks to regain her vision. The truck slows down and turns into her driveway. Francesca watches with suspicious curiosity as : The truck stops and ROBERT KINCAID steps out. Flashing his blue eyes in her direction, he smiles and says : ROBERT Sorry to bother you, but I've got a feeling I'm lost. Francesca remains guarded. FRANCESCA Are you supposed to be in Iowa? ROBERT -LRB- laughs. -RRB- Yeah. FRANCESCA: Well, you're not that lost. He laughs. She puts down her tea and crosses to him. ROBERT I'm looking for a covered bridge out this way. uh. wait a minute - He looks through a small notepad for the name. Francesca finds herself scanning his body. FRANCESCA Roseman Bridge? ROBERT That's it. FRANCESCA Well, you're pretty close. It's only about two miles from here. ROBERT Oh, terrific. Which way? Pause as Robert awaits directions and Francesca scans a sudden impulse. FRANCESCA Well, I can take you if you want. Robert is pleased, but a bit surprised as is Francesca who anxiously recants : FRANCESCA -LRB- cont'd. -RRB- Or I can tell you. I can take you or tell you. It's up to you. I do n't care. Either way. Robert smiles finding her sudden nervousness charming. ROBERT Well - Suddenly, from the opposite direction of the road, A CHEVY barrels by. The driver, FLOYD, toots his horn. FLOYD Howdy, Francesca. FRANCESCA Hey, Floyd. He drives off. Francesca knows they've been seen. Slightly annoyed by Iowain neighborliness, she turns to Robert and with some defiance says : FRANCESCA -LRB- cont'd. -RRB- It'd be better if I show you, I think. ROBERT If I'm not taking you away from anything. FRANCESCA No. I was just going to have some iced tea then split the atom, but that can wait. -LRB- he smiles. -RRB- I just have to get my shoes. Robert watches her as she turns and heads back to the house. He watches her lift her blouse and tuck it into her jeans, revealing her shapely hips and buttocks. He turns back to the truck and notices the mailbox - MR & MRS. RICHARD JOHNSON. He nods as if he knew all along and begins to make room on the front seat for Francesca.",
"INT. JOHNSON HOUSE Francesca is slipping on her boots when she suddenly stops. `` What am I doing?'' , she asks herself silently.",
"EXT. JOHNSON DRIVEWAY Francesca approaches the truck. On the door, she reads : KINCAID PHOTOGRAPHY, BELLINGHAM, WASHINGTON. Robert is clearing away paper cups, banana peels, paper bags, photography equipment. In the back, Francesca notices a cooler and a guitar case. ROBERT I was n't expect company. Let me get this out of the way. He hauls a case of film from the front to the back. Francesca notices his tanned, muscular arm move in one graceful sweep. ROBERT -LRB- cont'd. -RRB- Okay. All set. Francesca smiles. They both get into the truck. ROBERT -LRB- cont'd. -RRB- Now, where are we going? FRANCESCA Out, then right.",
"EXT. MADISON COUNTY ROAD - DAY As the truck drives, we see no one else in sight.",
"INT. KINCAID'S TRUCK They drive in silence. Francesca is enjoying the breeze against her face. ROBERT Pretty country. FRANCESCA Hmm - mmm. She looks out at the vast expanse. It depresses her. ROBERT There's a wonderful smell about Iowa - very particular to this part of the country. Do you know what I mean? FRANCESCA No. ROBERT I ca n't describe it. I think it's from the loam in the soil. This very rich, earthy kind of. alive. No. No, that's not right. Can you smell it? FRANCESCA -LRB- shakes her head. -RRB- Maybe it's because I live here. ROBERT That must be it. It's a great smell. Francesca wants to know more about him. FRANCESCA Are you from Washington originally? ROBERT Uh - huh. Lived there till I was twenty or so and then moved to Chicago when I got married. FRANCESCA Oh. When did you move back? ROBERT After the divorce. FRANCESCA Oh. ROBERT How long you been married? FRANCESCA Uh. uh. -LRB- ca n't remember. -RRB- Umm. long time. ROBERT You do n't look like a native, if you do n't mind my saying so. FRANCESCA No, I do n't mind. I'm not from here. I was born in Italy. ROBERT Well, from Italy to Iowa - that's a story! -LRB- Francesca smiles. -RRB- Whereabouts in Italy? FRANCESCA Small town on the Eastern side no one's ever heard of called Bari. ROBERT Oh yeah, Bari. I've been there. FRANCESCA -LRB- surprised. -RRB- No, really? ROBERT Oh, yeah. Actually, I had an assignment in Greece and I had to go through Bari to get the boat at Brindisi. But it looked so pretty I got off and stayed for a few days. Breathtaking country. Francesca is overcome by the idea of such freedom. FRANCESCA You just. got off the train because it looked pretty? ROBERT Yeah. Excuse me a sec. He reaches over with one arm, brushing slightly against her thigh. He opens the glove compartment and pulls out a pack of Camels and a Zippo lighter. ROBERT Like one? Francesca, who does n't usually smoke, accepts. FRANCESCA Sure. She takes a cigarette out of the pack. Robert drops the pack and, with the same hand, flicks open the Zippo and ignites it. Francesca leans over. The road is bumpy and a breeze blows through both windows. She cups her hands around his to shelter the flame. She feels his skin for a brief moment. She sits back and enjoys the ride and her cigarette as Robert lights up. Silence. They drive. ROBERT So, how long you've been living here? FRANCESCA Long. -LRB- changes subject. -RRB- You just got off the train and stayed without knowing anyone there? ROBERT -LRB- laughs. -RRB- Yeah.",
"EXT. ROSEMAN BRIDGE - DAY The truck stops. They exit. Robert takes out some equipment. ROBERT This wo n't take long. I'm shooting tomorrow morning. I just need to do some prep work. FRANCESCA I do n't mind waiting. He smiles and takes his equipment to the bridge. Francesca slowly follows. She watches his body move. Catching herself, she stops. Robert sets up a tripod in the small ravine beneath the bridge, pointing a view finder up as he plans his shots. Francesca walks through the bridge, noticing lovers names scrawled on the inside : CATHY & BUDDY 4 EVER. ROSIE AND HANK TILL THE END OF TIME. Through a crack in one of the wooden planks, Francesca watches like a voyeur as Robert works. She sees him take out a handkerchief and wipe the sweat off his neck, then inside his shirt and around his chest. Without knowing where Francesca is, Robert speaks aloud : ROBERT Is it always this hot? Francesca moves quickly away from the plank, like a Peeping Tom who's been caught. FRANCESCA This time of year. ROBERT Would you do me a favor and go to the truck? Inside that leather bag with the pockets is a package of lens cleaners. Would you grab me one? Francesca obliges, grateful for something to occupy her. Inside the truck, she scans for the leather bag. She sees it next to a duffel bag. The bag' zipper is opened. She glimpses inside as Robert's personal things - clothes, socks, underwear, shaving kit. Life magazines from July and August, one depicting the death of Aldai Stevenson ; the other a cover photo of the Watts riots. She grabs the leather bag and opens it. At the bridge, Francesca looks for Robert in the raving but he is gone. She looks through the bridge to the other end and sees only the tripod. No Robert. She walks through the bridge and out the other end. She finds Robert bent over, picking flowers. FRANCESCA Oh there you are. ROBERT Oh! You caught me. He rises with a bouquet of wildflowers for her. ROBERT Thanks for your help. Francesca smiles, not knowing how to take this. ROBERT Men sill give women flowers, do n't they? I mean, as a sign of appreciation? I'm not that out of date, am I? FRANCESCA No, not at all -. -LRB- suddenly. -RRB- except those are poisonous. ROBERT WHAT! He flings the flowers down. He wipes his hands furiously. FRANCESCA I'm sorry. I was kidding. Robert looks at her with a shocked smirk, secretly liking her strange behavior. FRANCESCA I'm sorry. I do n't know what - I'm sorry. Really. They're lovely. She begins picking up the flowers. ROBERT -LRB- smiling. -RRB- Are you by nature a sadistic person? FRANCESCA No, I'm not. -LRB- trying not to laugh. -RRB- I do n't know why I said that. I've been in a very. strange mood all day. I've never done anything like that before. It's. I'm just. -LRB- looking for excuse. -RRB- Well, you know, the whole world is just going nuts. Robert looks at her like she's nuts. Francesca tries to dig herself out of her hole. Robert enjoys offering no help. FRANCESCA What with those riots in Los Angeles and people burning draft cards and. Adlai Stevenson dying last month. She rises with the flowers. Robert gives her a friendly pat on the arm. ROBERT Should n't let things get to you so much. He continues with his work. Francesca expresses relief and embarrassment behind his back.",
"INT. TRUCK - LATER Driving back, Francesca sits with her feet up on the dashboard. Robert drives while he fiddles with the radio. All he can find are country stations. FRANCESCA Looking for something in particular? There's not much of a selection. ROBERT I found this Chicago station before. Wait a minute. -LRB- he tunes it in. -RRB- Here it is. We hear a BLUES SINGER with a sax arrangement. FRANCESCA Oh, that's nice. ROBERT Want another cigarette? FRANCESCA Sure. Francesca's having a great time.",
"EXT. JOHNSON HOUSE - DAY Robert's truck drives down the road and into the driveway. ROBERT Well, thank you for all your help, Mrs. Johnson. FRANCESCA Francesca. ROBERT Francesca. Robert. Francesca nods, as if to say hello and goodbye in the same moment. She gets out of the car, closes the door, then asks : FRANCESCA Would you like some iced tea?",
"INT. KITCHEN - DAY Robert fiddles with the kitchen radio, tuning in to the Chicago station. Francesca is making iced tea. Robert sits back down at the kitchen table. FRANCESCA Lemon? ROBERT Sure. With her back to him, Robert never takes his eyes off her. She turns and crosses to him, with the tea. ROBERT -LRB- cont'd. -RRB- Thanks. Francesca smiles and sips her own. She watches him gulp down the tea so fast, some of it dribbles down the side of his face and neck. Francesca finds it sexy. He empties it. FRANCESCA Would you like another one? Robert nods and he pulls out his cigarettes. ROBERT Mind if I smoke? FRANCESCA -LRB- at the sink. -RRB- Not at all. Robert lights up as he watches her fix another iced tea. He watches her slip off one boot, then the other - never missing a beat of her preparation. He ca n't help eyeing her body. When she returns, she also has the flowers he picked for her arranged in a Casper the Friendly Ghost jelly glass. She places them on the table and sits. ROBERT Sure you want to keep those in the house? FRANCESCA I'm so sorry about that. It was rude. I think I just got nervous for some reason. ROBERT I thought it was funny. She likes that. FRANCESCA Where are you staying while you're here? ROBERT A little place with cabins. The something - Motor Inn. I have n't checked in yet. FRANCESCA And how long are you here for? ROBERT As long as it takes, I might stay a week. No more I do n't think. Where's your family? FRANCESCA My husband took the kids to the Illinos State Fair. My daughter's entering a prize steer. ROBERT Oh. How old? FRANCESCA About a year and a half. ROBERT No, your kids. FRANCESCA Oh. Michael's 17 and Carolyn's 16. ROBERT Must be nice having kids. Francesca looks at him and FANTASIZES SAYING : FRANCESCA Not any more. It's awful. They're awful. I ca n't stand them. But in reality, Francesca chooses instead to say : FRANCESCA -LRB- cont'd. -RRB- They're not kids anymore. Things change. ROBERT Everything does. One of the laws of nature. People are always so afraid of change. But if you look at it like it's something you can count on happening, it's actually a comfort. Not many things you can count on for sure. FRANCESCA I guess. Except I'm one of the people it frightens. ROBERT I doubt that. FRANCESCA Why? ROBERT Italy to Iowa? I'd call that a change. FRANCESCA -LRB- explaining. -RRB- Richard was in the army. I met him while I was living in Naples. I did n't know where Iowa was. I only cared that it was America. And of course, being with Richard. ROBERT What's he like? As Francesca thinks of an answer, she looks over to the entranceway between the kitchen and the front hall and sees : Richard standing there in his underwear, reaching over his shoulder. RICHARD Franny, could you clean out my boil again? Francesca answers Robert, half of her still in fantasy - FRANCESCA He's very. clean. ROBERT Clean? FRANCESCA -LRB- catching herself. -RRB- No. I mean yes, he's clean but he's also other things. He's a very hard worker. Very honest. Very caring. Gentle. Good father. ROBERT And clean. FRANCESCA Yes. Very clean. They drink. Francesca thinks she sounds like an idiot. ROBERT So you must like Oiwa, I guess. Francesca looks at him. She wants to tell the truth, but holds back. FRANCESCA It's. uh. uh. She stops. Robert smiles. ROBERT Go ahead. I wo n't tell anyone. Surprised, Francesca looks at him oddly - as if he already knows and is giving her permission. FRANCESCA It's. -LRB- tries again. -RRB- I. -LRB- finally. -RRB- I hate it! She covers her mouth, like a reflex - worried someone heard. Robert just smiles and nods. Francesca is so taken by his understanding and acceptance, she lets the flood gates open, speaking faster than her mind can keep up - FRANCESCA -LRB- cont'd. -RRB- -LRB- without a pause. -RRB- I hate it! I hate it! I HATE IT! I hate the corn and the dust and the town and the cows and that SMELL that you love! I hate the people. Everybody knows everybody's business, I mean it's nice now and then, they're always there to help out, but that's just it, it's like they're waiting for something awful to happen to help out and when nothing awful is happening, then they just sit around and talk about what is happening which is none of their business. I want to kill them sometimes for how cruel they can be - Camera begins slowly moving out to a wider angle. FRANCESCA -LRB- cont'd. -RRB- - everybody's talking about poor Mrs. Delaney whose husband is having an affair with that Redfield woman and `` is n't it a shame,'' and `` is n't it awful,'' and the truth is THEY'RE LOVING IT! Poor woman ca n't even be cheated on without the grocery man knowing about it - no one respects anyone's privacy. You're not even safe in your own home! They think they can just walk right into your house because they BAKED you something. It's like they have a secret password and YOU CA N'T KEEP THEM OUT! I live in fear of that door opening and having a peach cobbler shoved at me. -LRB- CONTINUES MOS IF NEEDED. -RRB- Throughout this rapid fire monologue, camera has moved to a wide angle as Robert just sits and listens, letting her get it all off her chest. She continues as we :",
"INT. LIVING ROOM Francesca is lying on the couch as Robert places a cold cloth on her head. Her `` confession'' took a lot out offer. ROBERT Feeling better? FRANCESCA Much. ROBERT Is the dizziness gone? FRANCESCA I think so. She sits up. She feels exposed. But also, relieved. ROBERT I better go. You sure you're all right? -LRB- she nods. -RRB- It's been a pleasure. Sincerely. FRANCESCA I feel so embarrassed. ROBERT Why? You uncorked a bottle. From what I can tell, I got here just in time. Any later and you'd have made the front page, running down Main Street naked, smoking Camels out of your butt. FRANCESCA -LRB- laughs. -RRB- But I. We do n't even know each other. ROBERT -LRB- sincerely. -RRB- You have no reason to feel ashamed. You have n't said anything you do n't have a right to. And if anybody tells you different - you just send them to me. She smiles. He turns to exit. ROBERT -LRB- cont'd. -RRB- Better get my stuff. Francesca surprises herself. She does n't want him to go. FRANCESCA Would you like to stay for dinner? -LRB- he turns. -RRB- There are n't many choices in town and. anyway, you'd have to eat alone. So would I. ROBERT That's very nice of you. I do n't get many dinner invitations on the job. It would be a welcome change. Thanks.",
"INT. BEDROOM - LATER Francesca rushes in and starts to disrobe, getting ready to shower and change for dinner. She glances out the window and sees :",
"EXT. JOHNSON HOUSE Robert is at the water pump. His shirt is off and he is washing himself. -LRB- WE INTERCUT THE TWO. -RRB- Francesca finds herself staring, a bit open mouthed. He has a muscular, firm body. She watches how the water cascades over his body. How he seems so unashamed, so `` in his skin,'' moving with such strength and grace. Robert pauses and looks out over the open pasture. The cold water feels good. Since the pump is the back of the house, hidden from the road, no one can see him. He decides to take off his pants and cool himself further. Francesca begins watching this in shock until she has to literally pull herself away from the window with such a force that she rams herself into a chest of drawers, knocking over an array of perfume bottles and a mirror. She deftly catches a falling bottle and freezes. Taking a breath, she pulls herself together. FRANCESCA This is ridiculous. Stupid! She replaces the bottle and heads for the bathroom quite composed, then, without warning, makes an immediate 180 degree turn and heads back to the window to sneak a peek. Seeing him, she gasps. FRANCESCA -LRB- cont'd. -RRB- Oh my God. Watching him, she is possessed by some very frightening feelings and runs from the window, into the bathroom, closing the door behind her.",
"EXT. JOHNSON HOUSE - EARLY EVENING Francesca is gathering some vegetables for dinner, from her garden. Robert is at his truck, in his pants, changing into a fresh shirt.",
"INT. KITCHEN - LATER Francesca is cutting up vegetables. Robert enters with some of his gear. ROBERT I'm just going to put some of this film in your fridge. Heat is n't too forgiving out there. He does. On the radio, TONY BENNETT sings `` WRAP YOUR TROUBLES IN DREAMS.'' Robert approaches Francesca. ROBERT -LRB- cont'd. -RRB- Can I help? FRANCESCA -LRB- surprised. -RRB- Help cook? ROBERT Sure. Men cook. We do n't all eat bananas with our feet, ya know. FRANCESCA -LRB- laughs. -RRB- Okay. They stand side by side. Francesca hands him a stack of carrots and a knife. Tony Bennett's up - tempo tone plays over a series of images of Francesca and Robert talk and prepare dinner. - Four hands side by side, cutting and chopping. Occasionally, a hand brushes against another as it reaches for something. - Robert's hand gently touching Francesca's waist as he reaches around her for an onion. - Robert lighting Francesca a cigarette. - Robert brings in his cooker through the screen door. HE MAKES SURE IT DOES N'T SLAM. FRANCESCA MAKES A NOTE OF THIS. - Robert opens the cooler and removes two cold beers, tossing one to Francesca. - Francesca opening a new tablecloth and spreading it out on the table. - Francesca handing Robert plates from the shelf, their fingers only barely touching. END OF MONTAGE",
"INT. KITCHEN - EVENING Robert and Francesca are in the middle of dinner. But instead of the usual silence that surrounds Johnson family eating, Francesca is mesmerized by Robert as he manages to eat and tell a story. The scene begins with a LAUGH FROM FRANCESCA. ROBERT -LRB- laughs. -RRB-. No, wait, it gets better. He stands up and acts it out for her. ROBERT -LRB- cont'd. -RRB- You have to get the full picture here. I have three cameras around my neck, a tripod in one hand and my pants down around my ankles. I thought this was a private bush. I look up and this gorilla, this female gorilla, is staring at me with what can best be described as the most lascivious expression I've ever seen on a female with so much body hair. -LRB- Francesca laughs. -RRB- I freeze.'Cause that's what they tell you to do. In this position. She comes towards me and. and she. -LRB- he stops awkwardly. -RRB- FRANCESCA What? ROBERT She starts sniffing me. FRANCESCA Oh my God. -LRB- laughs. -RRB- You're blushing. ROBERT It's still a very sensitive memory for me. FRANCESCA Then what happened? ROBERT We got engaged. FRANCESCA Oh you! She throws a napkin at him. FRANCESCA -LRB- cont'd. -RRB- None of this is true! ROBERT No, it is. Except for the engagement part. She would n't have me, although I still get a Valentine every year. Francesca is laughing so hard she ca n't breath. Robert loves making her laugh. FRANCESCA You ought to write these stories down. ROBERT Nah. I've tried. My writing's too technical, I think. Problem of being a journalist too long is you stop giving yourself permission to invent. I better just stick to making pictures. FRANCESCA `` Making pictures.'' I like that. You really love what you do, do n't you? ROBERT -LRB- nods, smiles shyly. -RRB- I'm kind of obsessed by it, actually. FRANCESCA Why, do you think? ROBERT I do n't know if obsessions have reasons. I think that's why they're obsessions. FRANCESCA You sound like an artist. ROBERT No. I would n't say that. National Geographic is n't exactly the hub of artistic inspiration. They like their wild life in focus and without any personal comment. I do n't mind really. I'm not artist. I'd faced that a long time ago. It's the course of being well - adjusted. I'm too normal. FRANCESCA -LRB- supportively. -RRB- I do n't think you're normal. He looks at her in surprise. She catches herself again. FRANCESCA I did n't mean that the way it sounded. ROBERT Well, let's just call it a compliment and move on. -LRB- changes subject. -RRB- Did you love teaching? FRANCESCA -LRB- cont'd. -RRB- Sometimes. When there was a particular student who made a difference. I know they're all supposed to, but it's not true. You tend to single out one or two you think you can contribute something to. ROBERT And did you? FRANCESCA I'd like to think so. I know one of them went on to Medical school. ROBERT Why did you stop? FRANCESCA My children. And Richard did n't like my working. ROBERT Do you miss it? FRANCESCA I do n't know. I've never thought about it. what was the most exciting place you've ever been to? Unless you're tired of talking about it. ROBERT You're asking a man if he's too tired to talk about himself? You do n't get out much, do you? Francesca smiles, a little embarrassed. ROBERT I'm sorry. That was. FRANCESCA -LRB- overlapping. -RRB- No. It's all right. I just meant, it might be a little dull for you, telling all this to some housewife in the middle of nowhere. ROBERT This is your home. It's not nowhere. And it's not dull. Francesca smiles again, this time relieved. ROBERT Let's see - my favorite place. Francesca settles in to listen, never taking her eyes off of him. ROBERT -LRB- cont'd. -RRB- Well, it's the obvious choice, but I think I'd have to say Africa. It's another world. Not just the people and the cultures but the land, the colors you see at dawns and dusks - and the life there. It charges every molecule of air. Francesca is fascinated, being drawn into his imagery. ROBERT -LRB- cont'd. -RRB- It's tangible - the moment to moment of life and death, the co - habitation of man and beast, of beast and beast, who'll survive, who wo n't - and there's no judgement about it. No right or wrong or imposed morality. It's just life. It's a voyeurs paradise really because those animals do n't want anybody in their business. You can watch but at a distance. -LRB- excited. -RRB- I remember one time I was on a truck headed for the Niger. Lights begin to dim as Francesca is so taken in by his story, she begins to actually see what he is describing. ROBERT -LRB- cont'd. -RRB- We were driving north. The truck was old so I guess the sound of the motor muffled this kind of rumbling in the distance - until finally, it was upon us like, like a hundred thunder claps all at once. CU on FRANCESCA as WE BLEND THE SOUNDS OF AFRICA and -",
"EXT. AFRICA - DAY Robert and a driver are in a truck driving north. Robert turns to look out the window and sees : A HERD OF GIRAFFES AND GAZELLES AND WATERBUCKS AND ZEBRA are running in the grasslands to the right of the truck. Robert excitedly instructs the driver : ROBERT Get us closer! The driver veers off towards the stampede as Robert opens his door and makes his way to the flatbed part of the truck with his camera. The truck takes its position within this breathtaking force of wildlife, as giraffes, zebras and gazelles surround it - all going in the same direction. Robert stands in the truck, shooting as fast as he can. The truck races to keep up with the animals. Robert is so pumped he can hardly catch his breath. Suddenly, the force and beauty of these creatures causes him to lower his camera. He is unable to film it because it overwhelms him. He just stands there in awe and lets out a primal scream. The animals gradually veer off to where the truck can no longer follow. Robert watches them disappear into the distance.",
"INT. JOHNSON KITCHEN - NIGHT Francesca has seen all of this in her mind. Robert smiles at her, sensing how in tune with the story she was. FRANCESCA My God. How I'd love to see that. ROBERT They have safaris for tourists now. Maybe you can convince your husband. Francesca smiles. There is an awkward pause between them. ROBERT -LRB- cont'd. -RRB- It's a beautiful night. Would you like to go for a walk? FRANCESCA Well, it's kind of buggy out there. ROBERT -LRB- rises. -RRB- Have no fear. This Shoshone Medicine Woman taught me how to make bug repellent tea out of tree root. FRANCESCA You drink bug repellent? ROBERT No, you rub it on you. I have some in the truck. Do n't go away. She shakes her head. He runs out the screen door, not letting it slam. Francesca looks like a teenager with first date excitement.",
"EXT. PASTURE - NIGHT Francesca and Robert walk through the pasture. She sniffs her arm. FRANCESCA Smells like dirt. ROBERT You get used to it. FRANCESCA When? ROBERT -LRB- laughs. -RRB- You want to go back in? FRANCESCA No. I'm all right. It's working. Silence. They walk. It is a beautiful night. ROBERT You've got it all right here, you know. It's just as beautiful as any other place I've seen. God, it knocks me out. FRANCESCA What? ROBERT -LRB- indicating the night. -RRB- This''. Of what I call God and fools can Nature.'' Who wrote that? FRANCESCA Umm, I do n't know. I can look it up. ROBERT I'd appreciate it. I like knowing who I'm stealing from. If you ca n't create art I think the least you can do is recognize it around you, do n't you think? There is. -LRB- genuinely affected. -RRB-. so much beauty. She watches him with great appreciation. He smiles at her. Instead of looking away, their eyes remained locked for a moment. There is clearly an attraction. They simultaneously look away and continue walking. Francesca's heart is beating a mile a minute yet she ca n't deny she is enjoying herself. Walking side by side in silence, Francesca turns back occasionally to look at her house as they get further away from it. Suddenly, the more distant the house becomes, the more frightened she starts to feel. Something inside her knows she's going too far with this man - too far from home. Although a part of her wants it, she is surprised to find a larger part of her finds too unknown. She stops. ROBERT -LRB- cont'd. -RRB- What's wrong? Francesca looks confused for a moment, not knowing what she wants. She ca n't move. She searches for a way out. FRANCESCA Would you like some coffee? Or maybe, some brandy? Somehow Robert can sense her uneasiness. He obliges. ROBERT How about both?",
"INT. KITCHEN - NIGHT Francesca moves about the kitchen preparing coffee - dropping the coffee pot basket, spilling the grounds. She acts tense. Robert sits at the table opening the brandy bottle Francesca almost opened the night before, aware of her mood. Francesca gets the coffee going then sets the table with cups and saucers. ROBERT You sure you wo n't let me help you with those dishes? FRANCESCA -LRB- coldly. -RRB- No. I'll do them later. ROBERT Francesca? FRANCESCA What? ROBERT Are you all right? FRANCESCA Yes. ROBERT Francesca? FRANCESCA What? ROBERT We're not doing anything wrong, do you. Francesca freezes. He has read her mind again. ROBERT -LRB- cont'd. -RRB- -LRB- smiles. -RRB- Nothing you ca n't tell your children about. Once again, he relieves her of fear and anxiety. He hands her a glass of brandy. 1995",
"INT. KITCHEN - DAY Carolyn and Michael have come to the end of a notebook. MICHAEL He's getting her drunk. That's what happened. Jesus, maybe he forced himself. That's why she could n't tell us. CAROLYN Oh, he did not. He's such a nice guy. MICHAEL Nice? He's trying to sleep with somebody's wife. CAROLYN I do n't think so. Not yet anyway. And besides, something like that does n't make you a bad person. He reminds me of Steve in a way. Steve's weak, immoral and a liar but he's still a real nice guy. He just should n't be married. -LRB- laughs. -RRB- At least not to me. You getting hungry? I'm hungry. Michael nods, then speaks with sincere compassion. MICHAEL I had no idea it's gotten that bad, sis. CAROLYN Oh, do n't feel sorry for me. Please. No one's forcing me to stay. MICHAEL Then why do you? CAROLYN And do what? Live alone? Go back to school? Find someone else? Start a magazine for confused woman? What if I ca n't do any of those things? Michael ca n't answer her. Carolyn looks through the cabinets. CAROLYN -LRB- cont'd. -RRB- There's not much here to make. MICHAEL Let's go into town and get a bite. We'll take the books with us. Carolyn nods. Michael looks for the next notebook, checking the dates.",
"INT. CAR - EARLY EVENING Michael drives as Carolyn opens the next notebook and reads : FRANCESCA -LRB- V.O. -RRB- `` We sat sipping brandy. I thought if anybody walked through the door now there'd be no explaining it. But I did n't care. And I loved that I did n't care. I almost wanted it to happen. Then there'd be no turning back. I wanted to be like him. I lived this life of his. We talked about his wife and I was jealous - not of her - but of his leaving. His fearlessness. He knew what he wanted. How did he do that. 1965",
"INT. LIVING ROOM - NIGHT Francesca sips her brandy. Robert sits in the easy chair. FRANCESCA Do you mind if I. ask you why you got divorced? ROBERT Not at all. I was n't around much. So why did I get married? Well, I thought it was a good idea at the time. Have a home base. Roots. You can get lost moving around so much. FRANCESCA So what happened? ROBERT I never got lost. For some reason, I'm more at home everywhere than at one place. So I decided I'll think of myself as some kind of world citizen. I belong everywhere and nowhere. I'm kin to everyone, and no one in particular. See, once you get into the habit of not needing anyone, it's kind of hard to break. FRANCESCA You must get lonely at times. ROBERT Never touch the stuff. I've got friends all over the world. Good friends I can see when I want, if I want. FRANCESCA Woman friends, too? ROBERT I'm a loner, I'm not a monk. Francesca averts her eyes, before continuing her investigation. FRANCESCA You really do n't need anyone? ROBERT No, I think I need everyone! I love people. I want to meet them all! I just think there are too many out there saying `` This is mine.'' or `` She's mine.'' Too many lines have been drawn. World's breaking apart because of man's weakness for some testosterone conquests over territory and power and people. He wants control over what deep down he knows he has no control over whatsoever and it scares him silly. FRANCESCA Why does n't it scare you? ROBERT I embrace Mystery. I do n't know what's coming. And I do n't mind. FRANCESCA Do you ever regret it? The divorce, I mean. ROBERT No. FRANCESCA Do you ever regret not having a family? ROBERT Not everybody's supposed to have a family. FRANCESCA But - how can you just live for what you want? What about other people? ROBERT I told you, I love other people. FRANCESCA But no one in particular. ROBERT No. But I love them just the same. FRANCESCA But it's not the same. ROBERT That's not what you're saying. I know it's not the same. What you're saying is, it's not as good. Or it's not as normal or proper. FRANCESCA No, I'm just saying - ROBERT -LRB- interrupting. -RRB- I'm a little sick of this American Family Ethic everyone seems to be hypnotized by in this country. I guess you think I'm just some poor displaced soul doomed to roam the earth without a self - cleaning oven and home movie. FRANCESCA -LRB- irritated. -RRB- Just because someone chooses to settle down and have a family does n't necessarily mean they're hypnotized. Just because I've never seen a gazelle stampede does n't mean I'm asleep in the world. ROBERT Do you want to leave your husband? Francesca is completely stunned and thrown off guard. FRANCESCA No. Of course not. -LRB- rising, upset. -RRB- Beat. Awkward silence. Suddenly there is tension between them. ROBERT My mistake. I apologize. FRANCESCA What made you ask such a question? ROBERT I thought that's what we were doing - asking questions. FRANCESCA -LRB- defensive. -RRB- I thought we were just having a conversation. You seem to be reading all this meaning into it. Meanings I must be too simple to, uh. interpret or something. ROBERT I already apologized. Silence. Robert remains seated. Francesca remains at the sink. ROBERT -LRB- cont'd. -RRB- It's getting late. -LRB- rises. -RRB- Thank you for dinner. Pause. Francesca feels badly. FRANCESCA Listen, I'm sorry I - ROBERT No, no. Forgive me. I made a mistake. It was an inappropriate thing to ask. FRANCESCA -LRB- shrugs it off, then :. -RRB-. I feel like something's been spoiled now. Robert smiles and crosses to her. He takes her hand into both his hands. ROBERT It's been a perfect evening. Just the way it is. Thank you. Francesca smiles. The possibility of a kiss hangs in the air between them until Robert turns to get his film out of the fridge. As he exits through the screen door, he stops. ROBERT -LRB- cont'd. -RRB- One thing though - do n't kid yourself, Francesca. You're anything but a simple woman. He smiles and exits, catching the screen door before it slams. Francesca does n't move for a moment, then crosses to the door as if to run after him when she is stopped by the PHONE RINGING. She picks up. FRANCESCA Hello? RICHARD -LRB- on phone. -RRB- Franny? FRANCESCA Richard, hi. RICHARD -LRB- on phone. -RRB- How are you? FRANCESCA Fine. Everyone settled in okay? RICHARD -LRB- on phone. -RRB- Just fine. We're all in one room. Michael's on the couch and Carolyn's. -LRB- continues. -RRB- She hears Robert's truck door open and close. She hears the motor being turned on. She half - listens to Richard. FRANCESCA Uh - uh. good. Hmmm. She hears the truck driving away as Richard continues : RICHARD -LRB- on phone. -RRB- We got our position in the Fair. Not bad although I would have liked to be third which is not too early and not too late. But I told Carolyn not to worry. -LRB- continues, if needed. -RRB-",
"INT. FRANCESCA BEDROOM - NIGHT Francesca exits her bathroom, in her bathrobe, shutting the light. She is brushing her hair and thinking of Robert. She sits on the edge of the bed. She sees her reflection in a mirror on the closet door. She stands and takes her robe off. She steps forward to look at her body - running her hands gently around her curves, her neck, down the side of her thighs, her face, her breasts. She shuts off the lights and gets into bed under the covers. She closes her eyes and tentatively begins to explore her body. It is awkward for her but we can see her trying to let herself go. Until she opens her eyes in frustration. It's no good. She ca n't do it. She feels ashamed. The shame turns into anger.",
"INT. LIVING ROOM - NIGHT Francesca sits at a writing table with two large books opened before her containing literary quotations. She searches for the line Robert mentioned in the pasture. A note sits before her as well. On it reads : `` Robert. Again, I'm sorry for last night. Would you like supper again tonight after you're finished. I'd like it very much if I were one of those good friends you have in the world. Anytime is fine - Francesca. P.S. By the way, `` Of what I call God and Fools call Nature'' was.'' She writes the name BROWNING.",
"EXT. ROSEMAN BRIDGE - NIGHT Francesca is tacking a note for Robert to the bridge. She considers taking it down a moment later, but decides not to. She gets back into her truck and drives away. WIDE ANGLE OF BRIDGES - DAWN The view of the bridge goes in and out of focus until we realize we are seeing it through Robert's camera lens. Once the focus it sets, Robert notices something is tacked onto the bridge. He crosses to it hurriedly - time for the perfect shot is running out - pulls it down, thumbtack and all, and shoves it into his pocket, unread. He returns to his camera to take his shots.",
"INT. JOHNSON BEDROOM - MORNING Francesca is making her bed when she hears a truck driving down the road. She looks out the window to see : Robert's truck. However, it passes right by her house. Francesca's spirit sinks. She feels silly, ashamed and rejected. She sits on the bed. Inside the truck, Robert drives by the house and chuckles to himself at the foolishness of some boring, frustrated housewife. Francesca's note has been crumbled and stuffed into a dirty ashtray. Francesca enters her bathroom, slamming the door behind her.",
"INT. KITCHEN - LATER THAT MORNING Francesca sits at the kitchen table in her bathrobe with a cup of coffee - a comic portrait of shame and self - pity. Her hair is a mess, she has n't showered or dressed and she stares into space while listening to the bluesy Chicago radio station. The sink is full of dirty dishes she refuses to clean. Beside it is an ashtray of butts from the night before. She carries it over to the table and begins fingering for a butt to smoke in desperation. She lights up and stares into space. Robert is in Africa talking to TWO ZULU TRIBE MEMBERS. THE ROBERT -LRB- laughs. -RRB-. and then she tacks this note on the bridge asking me to have dinner with her again! One Zulu turns to the tower and remarks. ZULU How pathetic. Francesca put out her cigarette and suddenly gets an idea. She goes to the phone, reads a number off of a slip of paper and dials. FRANCESCA -LRB- on phone. -RRB- Hello? Is Richard Johnson staying there? No, I do n't want to leave a message. Maybe you can help me - I'm his wife and I live in Winterset Iowa - I wanted to surprise them by driving up tonight. What would be the fastest route, the Interstate? Huh - huh. Hold it, let me get a pen.",
"EXT. PAY PHONE, GAS STATION - LATE MORNING Francesca's note is opened in Robert's hand. Her phone number is written after the `` P.S.'' He stands in the pay phone getting a busy signal from Francesca's line. He hangs up.",
"INT. JOHNSON HOUSE - DAY Francesca, dressed and packed, prepares to leave. She checks her purse to make sure she's got everything. She grabs her bag and exits. A few beats later, the phone rings. But she does n't return. It rings again. We hear Francesca's truck door open and close. It rings again. We think Francesca is on her way, until : We suddenly hear her burst into the house and see her leap for the phone. FRANCESCA Hello? says. INTERCUT -",
"INT. SLOW BEND SALOON/RESTAURANT - DAY Robert is at another pay phone. ROBERT Francesca? says. FRANCESCA -LRB- out of breath. -RRB- Yes! Hi. ROBERT Am I interrupting anything? FRANCESCA No. I was just. No. ROBERT I'm sorry I did n't call sooner, but I just read your note. I stuffed it into my pocket. The light was fading and I had to get my shot. FRANCESCA -LRB- relieved. -RRB- The light was fading. Huh - huh. ROBERT I would love to come for dinner. FRANCESCA -LRB- smiles. -RRB- Wonderful. Uh. ROBERT Listen, I have to shoot Cedar Bridge until a little after sunset. I want a few night shots. Would you like to come with me? If you're interested. FRANCESCA Oh, sure. Great. ROBERT I'll pick you up. FRANCESCA No. I'll drive myself. I have a few errands. I'll meet you there. ROBERT Okay. See you later. FRANCESCA Yeah. See you later. Francesca is thrilled. Her mind races with a list of things she must do before tonight. She opens a cabinet, removes a coffee can and empties it of her house money. She quickly counts it, then shoves it into her purse.",
"EXT. ON THE ROAD - DAY Francesca drives past a sign marking Des Moines as the next town.",
"INT. SLOW BEND SALOON/ RESTAURANT - DAY The second of two eating establishments in Winterset. A lunch time crowd fills the place. Robert is seated at the counter. He can sense their eyes on him, wondering who this stranger is and what's he doing here. He knows the whispered conversation is about him. A MIDDLE - AGED COUPLE talk at table. WIFE Thelma told me he checked into the Motor Inn and the bill goes to National Geographic Magazine. HUSBAND National Geographic? What the hell's he doing here? We ai n't got no naked pygmies to take pictures of. WIFE He's taking pictures of the bridges. HUSBAND Ai n't no pygmies there either. Robert wants to finish his lunch as quickly as possible. At that moment, someone enters the restaurant and all the conversation stops. He overhears one waitress turn to the other and whisper - WAITRESS God. It's Lucy Redfield. Both the Waitress and Robert -LRB- though more subtly -RRB- turn to see : THE REDFIELD WOMAN. But instead of being the harlot we might think, she's actually a rather plain, demure looking woman - not nearly as fancy or pretty as Mrs. Delaney herself. As she crosses the counter, Robert immediately picks up on the vibes in the room. He notices all the patrons stare then turns away to whisper. The waitress behind the counter ignores her. A customer eating at the counter places a bag on an empty stool beside her, so the Redfield woman ca n't sit down near her. Robert and the Redfield woman's eyes meet. She is clearly uncomfortable. She turns, about to leave, when Robert clears his cameras off of a stool next to him and offers : ROBERT Got room right here if you like. She is surprised at his courtesy. Others are astounded. Some disgusted. She accepts his offer and sits beside him. REDFIELD WOMAN Thank you. ROBERT Hot out there today. She nods and smiles. The waitress tosses a menu at her and slams down a glass of water, then moves on down the counter. The Redfield woman tries to act casual, glancing through the menu. Robert subtly scans the room as all eyes are on them, then turn away. Robert returns his glace back to the Redfield woman who is now only pretending to read the menu. She is so embarrassed. She wants to leave but ca n't move. WAITRESS Well, are you ordering anything!? Her harsh tone startles the Redfield woman as well as Robert. Gathering her dignity, she responds. REDFIELD WOMAN No. Thank you. I've changed my mind. She politely nods to Robert, gathers her things and exits. Robert looks to the waitress, as a SECOND WAITRESS enters. SECOND WAITRESS I'd've thrown that water right in her face. WAITRESS Poor Mrs. Delaney. The waitress walks O.S. leaving the second waitress facing Robert, who looks at her curiously. The second waitress looks back as if to say, `` What business is it of yours?'' and exits.",
"EXT. DES MOINES - DAY A metropolis compared to Winterset. Francesca exits a liquor store with a bottle of wine in a paper bag. She also carries a bag of groceries as she heads down the street to her parked truck. She passes a DRESS SHOP and stops.",
"EXT. WINTERSET - DAY Robert enters a general store. He buys a six pack of beer for his cooler and approaches the counter for the Cashier. CASHIER That all? Robert nods. He decides to have some fun and test the waters a little bit. ROBERT Is n't it awful about poor Mrs. Delaney? With this, the damn bursts - CASHIER Tragic is more like it. The pain that woman has been subjected to by that no - good husband. I never liked him. Known him for years. People say he's quiet. Well, it's the quiet ones that can sneak up behind you and stab you in the back. I heard yesterday, that she confronted him. Gave him the ultimatum and you know what he did? -. -LRB- CONTINUES AS NEEDED. -RRB- Robert stands astounded, listening to this diatribe of gossip.",
"INT. DES MOINES DRESS SHOP - DAY Francesca sits in her slip, alone in a dressing room, with several dresses strewn about. The panic of indecision has set in. She looks at herself in the mirror and begins to doubt that seeing Robert is a good idea. Or perhaps she's imagining something that is n't there. And what about Richard? A few years back. Francesca is dressed up for some formal affairs. She heads down the stairs. Richard is waiting in the hall, in a suit and tie. He looks at her admiringly. FRANCESCA Ready. You have the keys? But Richard does n't answer. He's just staring at her. Francesca stops. Richard looks at her like a little boy. FRANCESCA -LRB- cont'd. -RRB- What's the matter? Richard is obviously impressed by how she looks, but he ca n't say anything. He just smiles shyly and shakes his head to say nothing is wrong and opens the door for her. Francesca feels guilty when a SALESWOMAN enters with a pretty summer dress. SALESWOMAN How about this one? Francesca examines it. She likes it. But the guilt. FRANCESCA I do n't know. I have n't bought a dress for myself in so long. -LRB- saleswoman nods. -RRB- I mean, I'm just buying a dress. It's not a special occasion or anything. I'm just shopping. Just shopping for a new dress, that's all. SALESWOMAN -LRB- completely understands. -RRB- That might work. And if he's still mad, just tell him you could have done better but you married him out of pity. That's always works for me.",
"INT. JOHNSON HOUSE - LATE AFTERNOON Francesca enters with her new dress, groceries and wine as the PHONE RINGS. She puts everything down to answer. FRANCESCA Hello? Intercut ROBERT at a pay phone. ROBERT It's Robert. FRANCESCA Oh, hi. Look, I'm running a little late, but I'll still. ROBERT -LRB- w/difficulty. -RRB- Listen, do n't take this the wrong way but, I'm wondering if this is such a good idea. Francesca's heart sinks. FRANCESCA Oh. ROBERT I uh. I had lunch in town today. Happened to cross paths with `` that Redfield woman.'' I apologize. I thought you were half - joking about that. FRANCESCA Oh. I guess you got the whole story. ROBERT The cashier at the general store was very dangerous. FRANCESCA I think he's running for town crier next year. ROBERT I now know more about their affair than I remember about my marriage. -LRB- seriously. -RRB- Francesca, the last thing I want to do is put you in any kind of situation that would. even though we know it's just - I mean, it's nothing like that, but if anybody saw us or. -LRB- ca n't finish. -RRB- FRANCESCA -LRB- disappointed. -RRB- I understand. -LRB- touched. -RRB- That's very kind of you. Silence. Both want to meet. Both experience the idea of not seeing each other even again in this brief moment. Someone has to say something to save it - but who will it be? FRANCESCA -LRB- cont'd. -RRB- Robert? ROBERT Yeah? FRANCESCA I want you to come. Robert is relieved. FRANCESCA -LRB- cont'd. -RRB- I'll meet you at the bridge just like we planned all right. Do n't worry about the rest of it. I'm not. ROBERT All right. See you there. Francesca smiles and hangs up. In that moment, Francesca realizes consciously what she is doing and what she wants.",
"EXT. CEDAR BRIDGE - DUSK Robert is already there, working. He checks his watch, anxious for Francesca to arrive, when he hears a truck driving up. He looks to see Francesca stop and get out. By their expressions we can tell how glad they are to see each other. FRANCESCA Sorry I'm late. Richard called. ROBERT Oh, how is he? FRANCESCA Fine. They're all having a good time. How many more shots do you have? ROBERT Couple. Want to help? She nods. He extends his hand. She pauses, then takes it. He leads her to the bridge. Walking away from camera, they say : ROBERT -LRB- cont'd. -RRB- I should stop off at the motel to clean up before dinner. FRANCESCA Well, I have plumbing at my house.",
"INT. JOHNSON BEDROOM - EARLY MORNING Francesca enters. Robert is in the bathroom, in the shower, with the bathroom door slightly ajar. His clothes are laid on the bed with his bag beside them. A fresh shirt is folded. Francesca takes his dirty shirt and decides to clean it. As she exits, her eye ca n't help roaming toward the bathroom door. For a moment, she pauses to listen to the sound of the water as it hits his body.",
"INT. KITCHEN - LATER Francesca is busy preparing dinner. Robert enters, cleaned and dressed. ROBERT Can I help? FRANCESCA Actually, no. I've got everything under control. I'd like to clean up myself a bit. I'm going to take a bath. Dinner'll be ready in about a half hour. ROBERT How about if I set the table? FRANCESCA Sure. ROBERT Would you like a beer for your bath? FRANCESCA -LRB- surprised. -RRB- Yes, that'd be nice. Robert gets her one.",
"INT. BATHROOM - LATER Francesca lounges in a tub with a beer poured into a wine glass. She finds it very elegant. She takes a deep breath, thinking `` What's going to happen tonight?''",
"INT. KITCHEN - LATER Robert is at the radio when Francesca enters in her new dress. She looks beautiful. And it's all over Robert's face. FRANCESCA What's wrong? Unlike her husband, Robert has an answer. ROBERT Absolutely nothing. You're just sort of a knockout in that dress. She smiles and crosses to the stove. FRANCESCA Table looks beautiful. He ca n't take his eyes off of her. On the radio we hear DIHAH WASHINGTON begin to sing `` IF IT'S THE LAST THING I DO'' - a beautiful, blusey lovesong. Francesca pulls out a pan of hot rolls as THE PHONE RINGS. Francesca moves toward it with a roll, which she tosses to Robert. He burns his fingers and he smiles at her joke. The song plays throughout. FRANCESCA -LRB- cont'd. -RRB- Hello? Hi, Madge? Francesca and Robert do not take their eyes off of each other throughout the call. Robert takes a bit of the roll. FRANCESCA -LRB- cont'd. -RRB- Huh - huh. Nothing, just making myself some dinner. No what? Oh. I heard about him. Yeah, I hear he's some kind of photographer. -LRB- Robert smiles. -RRB- No, I did n't. Huh - huh. Hippie? I do n't know, is that what hippies look like? Robert steps closer to her, purposely reaching across her body for a napkin. FRANCESCA -LRB- cont'd. -RRB- Oh he is, huh? Well, do n't tell Floyd, he'll be out with a shotgun. She notices a crumb on Robert's mouth and wipes it off. Robert takes her hand and holds it, lowering it to his side. FRANCESCA -LRB- cont'd. -RRB- Well, listen, I have a pot boiling. I've got to go. No, they do n't get home until Friday morning. Well, maybe I'll give you a call. Okay. Bye. She hangs up. The two are now almost face to face. Robert raises her hand up and slips his free one around her waist. They begin to dance to the song. The kitchen lights have not been turned on since the sun went down. The sky, a dark orange and magenta, illuminates the room through the window. They never take their eyes off of each other. Suddenly, Robert stops. ROBERT You're shaking. Are you cold? Francesca shakes her head. They dance a bit more, but Francesca is shaking which makes it difficult. They both stop. Robert places his huge hands on either side of her face, gently stroking her hair away from her cheek. He whispers. ROBERT -LRB- cont'd. -RRB- If you want me to stop, tell me how. He brushes his cheek and face softly against hers. Francesca rubs hers against him. She can barely breathe. ROBERT -LRB- cont'd. -RRB- Francesca, I wo n't be sorry. I wo n't apologize for this. FRANCESCA Nobody's asking you to. They kiss. Hands gently explore. Their bodies touch. Their lips never spend more than seconds away from each other. Robert gently slide his hands down her breasts and torso, exploring every inch of her. Francesca grips his massive back, sliding up to his neck and hair. Robert lifts her leg and presses it against his hip, kissing her neck and shoulders. Francesca starts to lose herself, clutching his head at her breast then pulling him up to her mouth once again. 1995",
"INT. SLOW BEND CAFE - PRESENT DAY - EVENING The same saloon/restaurant of twenty - five years ago has been turned into a modern cafe yet the original charm is still there. Carolyn and Michael sit in a booth, with half - eaten dinners before them. Carolyn has been reading the book to Michael when she looks across from her to find - Michael looking like a little boy who is fighting not to cry. CAROLYN What's the matter? Michael shakes his head. He ca n't or wo n't explain. He's too upset. His eyes tear up. Carolyn feels badly for him. MICHAEL I'm going to get some air. He exits. Carolyn smiles sympathetically. Somehow this last passage of their mothers does n't affect her in the same way. She returns to the book but first asks a passing waitress, with great urgency. CAROLYN Can I smoke here? The waitress nods. Carolyn needs a cigarette for the rest of this. She opens her bag to get her pack. Inside her bag she notices a BUSINESS CARD. She picks it up to read IRA NEWMAN, attorney. Divorce. Pre - Nuptials. Marital Litigation. She pauses for a moment. Then, tossing the card back inside, she lights her cigarette and takes a drag. We follow the curls of smoke up as we : 1965",
"INT. JOHNSON LIVING ROOM Camera moves down curls of smoke, to reveal : Robert and Francesca in each others arms, under a blanket on the living room floor on a bed of couch pillows, smoking a cigarette after lovemaking. Francesca seems miles away - feelings of regret and guilt creeping in. ROBERT Are you comfortable? -LRB- she nods. -RRB- Do you. want to move to the bedroom? FRANCESCA No. I ca n't. Not yet. She ca n't bring herself to go into her husband bed. ROBERT You want to eat something? FRANCESCA Are you hungry? ROBERT No. Silence. Robert shifts his body to face her. ROBERT -LRB- cont'd. -RRB- Honey. Are you all right? She looks at him and starts to cry, shaking her head. The room is filled with memories of her family. She nestles in his arms. He folds her. She closes her eyes. FRANCESCA Take me somewhere. ROBERT What? FRANCESCA Right now. Tell me someplace you've been - someplace on the other side of the world. Anywhere but here. ROBERT -LRB- thinks, then :. -RRB- How about Italy? FRANCESCA Yes. ROBERT How about Bari? FRANCESCA Yes. Tell me about the day you got off the train. ROBERT Have you ever been to that station? FRANCESCA Yes. ROBERT You know that little place nearby with the striped awning that sells sandwiches and little pizzas. The two transport themselves together to another place, where there is no familiar memories surrounding them to interfere.",
"EXT. JOHNSON PORCH - NIGHT The two sit in bathrobes on the porch looking out over the pasture. They have plates of dinner on their laps. They eat voraciously. ROBERT Do you have anymore of the stew? Chewing, Francesca nods and leans over, picks a pot off the porch and ladles some more onto his plate. Too much falls out and it spills onto the robe. FRANCESCA Oh, I'm sorry. ROBERT It's okay. It's not that hot anymore. Thanks God. Francesca hands him a dish rag. Robert wipes off the food revealing his bare leg. She reaches over and touches it. He looks at her and smiles. She leans over and kisses him passionately until, suddenly, she pulls away. She looks upset. She rises and moves away to look out to the pasture. Robert can sense what is wrong. ROBERT -LRB- cont'd. -RRB- You think too much, you know that? FRANCESCA I just feel like I'm getting a little. out of control that's all. It's kind of frightening. ROBERT Why? FRANCESCA Why!? Because, I'm having thoughts I hardly know what to do with. I. ca n't seem to. stop them. ROBERT Nobody's asking you to. FRANCESCA -LRB- excited. -RRB- And arraccinos and zeppolis. Yes! I know it! ROBERT I sat outside and had coffee. FRANCESCA Where? Near the doorway or the near the front of the church? ROBERT Near the church. FRANCESCA -LRB- closes her eyes. -RRB- I sat there once. It was hot. Like today. I'd been shopping. I had all these bags around my feet I kept having to move every time the waiter came by.",
"EXT. SANDWICH CAFE - BARI - DAY Francesca sits at the outdoor cafe in Bari with shopping bags around her feet. She re - arranges them as the waiter passes by, mumbling something vulgar under his breath. When she looks up - Robert is standing there. She smiles. He offers her hand. She takes it and rises. They leave the cafe. Francesca and Robert together against the breathtaking backdrop of the Italian countryside.",
"EXT. BARI COUNTRYSIDE - DAY On a lakefront, Robert and Francesca make love.",
"INT. JOHNSON LIVING ROOM - EVENING FRANCESCA AND ROBERT MAKING LOVE ONCE AGAIN. Francesca looks at him and understands he is giving her full permission to explore whatever she wants. Hesitantly, she crosses to him and takes his plate away. She stands before him, leaning him back into his chair. She slowly, tentatively, opens her robe. She strokes his hair, then caresses his head and gently guides it between her legs. 1994",
"INT. SLOW BEND RESTAURANT - NIGHT C.U. on an ashtray filled with cigarette butts as Carolyn anxiously lights another. These last entries have over stimulated her. She calls to the waitress abruptly. CAROLYN Can I get another cup of coffee, please? When she looks up, she sees Michael has returned. He sits. CAROLYN -LRB- cont'd. -RRB- Where did you go? MICHAEL Bar across the street. CAROLYN Have you called Betty? -LRB- she shakes his head. -RRB- Maybe you should. MICHAEL I found out who Lucy Delaney is. -LRB- she looks interested. -RRB- Remember the Delaneys from Hillcrest Road? CAROLYN Yeah. But I thought she died. MICHAEL He remarried. Apparently they were having an affair for years. Apparently the first Mrs. Delaney was a bit of a stiff. CAROLYN You mean - she did n't like sex? MICHAEL -LRB- nods, then simply :. -RRB- I bet mom could've helped her. CAROLYN Boy. All these years I've resented not living the wild life in some place like Paris and all the time I could've moved back to Iowa. Are you drunk? MICHAEL Not yet. You want to go? CAROLYN I think I better. Between the book and the coffee, I'm this close to raping the busboy.",
"EXT. IOWA LAKEFRONT - NIGHT Michael and Carolyn have parked in a secluded area near a lake. Some place where the moonlight and the scenery create a beautiful backdrop. They sit on the ground, leaving the headlights and the radio on. They are getting drunk sharing a bottle of whiskey. MICHAEL I used to love this place. I used to take Kathy Reynolds down here. CAROLYN You never dated Kathy Reynolds! MICHAEL Not officially. Her and Steve Kendall were pinned at birth. But I was crazy about her. And for about three months, I managed to catch her during her `` exploring'' stage. CAROLYN I never knew that. MICHAEL -LRB- sadly. -RRB- Nobody did. CAROLYN Was this during Betty? MICHAEL Everything was during Betty. God we were so young. Why did we think we had to do it all so fast? I've never cheated on Betty. Not once we were married, I mean. CAROLYN Did we want to? MICHAEL Only about a thousand times. What do I do now? `` What's good enough for mom is good enough for me?'' CAROLYN -LRB- pissed off. -RRB- What gets me is I'm 46 years old. I've been in this crummy fucking marriage - MICHAEL Carolyn! CAROLYN -LRB- ignores him. -RRB- - for over twenty years because that's what I was taught - you stick with it! Normal people do n't get divorced. I ca n't remember the last time my husband made love to me so intensely that he transported me to Europe, for Christ's sake - quite frankly, I do n't think he ever did! And now I find out in between bake sales, my mother was Anais Nin! MICHAEL What about me! I feel really weird. Like she cheated on me, not dad. Is n't that sick? I do n't mean I wanted to sleep with her or anything but - ya know - being the only son. You're sort of made to feel like you're the prince of the kingdom, ya know? And in the back of your mind, you kind of think your mother does n't need sex anymore because she has you. CAROLYN You're right - that is sick. They drink. MICHAEL If she was so unhappy, why did n't she leave? They look to each other without an answer. Then simultaneously they reach for the notebooks. MICHAEL -LRB- cont'd. -RRB- Can I read it now? I think I'm ready. Carolyn offers him the book then lays back in a relaxed position in order to listen. Michael flips to an ear marked page. MICHAEL -LRB- cont'd. -RRB- What paragraph were you up to? CAROLYN -LRB- casually. -RRB- She just made him perform oral sex on the porch. Michael freezes. He loses his nerve. Carolyn helps. CAROLYN -LRB- cont'd. -RRB- Go ahead, Michael. You've got to do this. Just think, `` Today I am a man.'' Michael nods and takes another swig. He reads : MICHAEL `` I'd never had a man make love to me that way before.'' -LRB- stops. -RRB- Oh Jesus. -LRB- continues. -RRB- `` I could n't believe the feelings bursting inside of me. As if I had opened some forbidden Pandora's box.'' Camera begins to move to wide angle as Francesca takes over. FRANCESCA `` It seems, thinking about it now, that in those few days I lived a completely different life as a completely different woman. What was recognizable as me before Robert was gone. We decided to spend Wednesday away from Winterset. Away from Madison County. Away from pastures and bridges and people too familiar and reminders too painful. We let the day take us where it wanted.'' 1965",
"INT. DES MOINES MOVIE THEATER - DAY VIVIEN LEIGH is walking down a ships stairs in the 1965 film `` SHIP OF FOOLS.'' She is alone on screen. She walks, slightly intoxicated. Suddenly, Charleston music plays out of nowhere and she begins to dance, by herself, without any self - consciousness. In the movie theatre, Robert sits with his arm around Francesca like teenage lovers. Her head is nestled in his chest as she eats from a bag of popcorn. Robert barely keeps his eyes on the screen, staring at Francesca and stroking her hair.",
"EXT. DOWNTOWN DES MOINES STREET - DAY Francesca and Robert walk hand - in - hand, window shopping and taking in the sights. For Francesca, it is as if she is seeing everything for the first time.",
"INT. BOOK STORE - DAY Robert introduces Francesca to the photography section, showing her a book of one of his favorite photographers, Walker Evans. Francesca admires one photograph in particular - a mother and child during the depression. FRANCESCA On that one is beautiful. Look at their expressions. As if the camera were n't on them at all. As if they had no strength left to hide what they were feeling. ROBERT He's a genius. They're not photographs - they're stories, entire histories captured in moments. FRANCESCA I bet you could do a book. ROBERT No. I could n't. FRANCESCA Why do you say that? ROBERT Because I already tried once. Francesca is surprised. She senses his disappointment. ROBERT -LRB- cont'd. -RRB- It's no big deal. I know how to work a camera, how to make it `` make pictures'' - but I do n't know how to make it make art. -LRB- laughs. -RRB- At least that's what six publishers said. To take what we see of this world and give it back with a bit of ourselves in it. It's a mystery to me. FRANCESCA -LRB- smiles, supportive. -RRB- But you do n't mind. ROBERT -LRB- smiles. -RRB- No, I do n't mind. She brushes his hair away from his face affectionately. As he looks at another book, she notices their reflection in a mirror. She puts her arm through his. They look like a couple to her - two people who belong together.",
"INT. FANCY RESTAURANT - DAY Francesca and Robert have an elegant lunch. FRANCESCA What were you like when you were younger? ROBERT -LRB- smiles. -RRB- Trouble. Why? FRANCESCA -LRB- laughs. -RRB- I just wondered. Why were you trouble? ROBERT I had a temper. FRANCESCA What were your parents like? Pause. Robert does n't reply. She looks at him curiously. ROBERT I ca n't do this, honey. FRANCESCA What? ROBERT Try and live a lifetime before Friday. Cram it all in. -LRB- shakes his head. -RRB- This is the first time either has mentioned their time clock. Francesca nods, understandingly. Across the room, Francesca notices A MOTHER having dessert with her FIVE - YEAR - OLD DAUGHTER, a pretty little girl in a fancy yellow dress. The mother rises and exits to the ladies room while the little girl continues eating a large sundae. Francesca smiles. As the girl licks a spoon of fudge, she sees Francesca looking at her and smiles back. Robert watches the silent exchange as he eats. Francesca makes a funny face at her. The little girl giggles as she spoons more ice - cream. Unfortunately, she spoons too much and the ice - cream falls on her pretty dress. She tries to take it off her, but she slips through her fingers and stains her even more. She looks at Francesca as if she's about to cry. Francesca smiles. FRANCESCA Excuse me a minute. Robert watches her cross to the little girl and kneel beside her. He sees her consoling the little girl while taking a napkin and dabbing it in the water glass. She helps the girl carefully wipe away the mess, all the while calming her. The mother re - enters the scene and shakes her head at her daughter. The daughter is afraid of being reproached but the mother is smiling. She and Francesca begin talking. She thanks Francesca. Robert sees the two mothers exchanging a moment of common experience and brief friendship. The mother and daughter take their leave as Francesca says goodbye and returns to the table. Robert looks at her lovingly. Francesca returns to her meal, but suddenly she is no longer hungry. Robert senses something is upsetting her. ROBERT You're somewhere else, where? FRANCESCA Just that it's been a perfect day and that I'd like to skip my fancy dessert and go home after this. ROBERT Uh - huh. And? FRANCESCA -LRB- beat. -RRB- You're right, you know. We do n't have much time. Uncomfortable silence hangs between them. A waiter passes by. ROBERT Check, please. OS, as the MOTHER YELLS : MOTHER REBECCA! REBECCA! Both Robert and Francesca look to the voice.",
"EXT. RESTAURANT - DAY The mother stands on the street frantically calling for her daughter. MOTHER REBECCA! The Maitre'd, Francesca and Robert exit the restaurant. MOTHER Oh my God! FRANCESCA What happened? MOTHER I was paying the check. She ran outside. I told her to wait for me right here! Oh God, where is she? Rebecca! The sidewalk is filled with people. Francesca looks to Robert. He recognizes the concern in her expression. Going home will have to wait. ROBERT I'll check down here. Someone call the police. The Maitre'd goes back inside. Francesca comforts the mother. FRANCESCA Think for a second. Is there someplace she said she wanted to go? MOTHER I do n't remember!",
"EXT. STREET Robert searches through the street, poking in and out of storefronts, looking across the street.",
"EXT. RESTAURANT Francesca and the mother search in the opposite direction.",
"EXT. STREET Through the crowd of people, Robert looks across the four lane Main Street to a LARGE CITY PARK. He crosses to it.",
"INT. RESTAURANT - AN HOUR LATER Francesca sits with the mother as TWO POLICEMEN take down a description. The mother is crying. A waiter brings over some water for her. The Maitre'd stands by. MOTHER She was right outside. I turned my head for a second. POLICEMAN When was this? FRANCESCA About an hour ago. MOTHER They're not going to find her! FRANCESCA Yes, they are. At that moment, the mother looks up and cries. MOTHER REBECCA! She jumps out of her seat as all turn to see : Robert holding the little girl in his arms, entering the restaurant. He carefully hands her over to the mother. The two wrap their arms around each other. Francesca looks to Robert, loving him even more now. FRANCESCA Where was she? ROBERT Across the street. She went into the park and got turned around and did n't know her way out. MOTHER You crossed the street by yourself?! REBECCA -LRB- crying. -RRB- It was a green light. The mother is too relieved to be mad. Robert sits down. MOTHER Thank you so much! ROBERT -LRB- frazzled. -RRB- I need a drink. Everyone laughs out of relief. Francesca wraps her arm around his shoulder and kisses his forehead. He kisses her back.",
"INT. TRUCK - DUSK Robert drives as Francesca sits inside his arm. Neither speaks.",
"INT. JOHNSON HOUSE - DUSK Francesca calmly leads Robert up to her bedroom.",
"INT. JOHNSON BEDROOM Naked, Francesca guides Robert into bed beneath the covers. They begin to make love - softly, lovingly - like a couple that are beyond the erotic, discovery stage ; a couple that have been together and in love for years. LATER - Francesca puts her arm around him as he nestles his head to her breast. Francesca strokes his hair as Robert closes his eyes. ROBERT I do n't know why I'm so tired all of a sudden. FRANCESCA Long day. Go to sleep. ROBERT Am I too heavy for you? FRANCESCA No. Robert settles into her. But Francesca is wide awake. Something is on her mind - `` Tomorrow? What happens after tomorrow?''",
"INT. KITCHEN - MORNING Francesca is serving Robert breakfast, then sits down beside him. Silence. We can sense some tension between them - this being their last day together. Francesca seems ingeniously friendly. Robert is suspicious. FRANCESCA Sleep all right? ROBERT Yes, thanks. FRANCESCA Good. More coffee? -LRB- he nods, she pours. -RRB- Robert, I hope you do n't mind my asking, but I feel like I should. ROBERT What? FRANCESCA Well, these. women friends of yours. all over the world. How does it work? Do you see some of them again? Do you forget others? Do you write them now and then? How do you manage it? Her facetiousness startles Robert. ROBERT I. What do you want? FRANCESCA Well, I just want to know the procedure. I do n't want to upset your routine. Do you want any jam? ROBERT -LRB- insulted. -RRB- Routine! I do n't have a routine. And if you think that's what this is - FRANCESCA Well, what is this? ROBERT -LRB- upset. -RRB- Well, why is that up to me? You're the one who's married. You told me you have no intention of leaving your husband. FRANCESCA To do what? Be with someone who needs everyone and no one in particular? I mean, what would be the point. Would you pass the butter? ROBERT I was honest with you. I told you who I was. FRANCESCA Yes. Absolutely. You have this habit of not needing and that it's hard to break. I understand. -LRB- beat. -RRB- Of course, in that case, why sleep - you do n't need rest or for that matter eat, you do n't need food. She takes his plate away from him, rises and throws it into the sink. ROBERT What are you doing? FRANCESCA -LRB- sarcastic. -RRB- Gee, I do n't know. I guess I'm not cut out to be a World Citizen who experiences everything and nothing at the same time. ROBERT How do you know what I experience? FRANCESCA -LRB- angry. -RRB- I know you! What can this possibly mean to anyone who does n't `` need'' meaning -. -LRB- mocking. -RRB- `` Who goes with the Mystery'' - who pretends he is n't scared to death. ROBERT Stop it! FRANCESCA You have no idea what you've done to me, do you? And after you leave, I'm going to have to wonder for the rest of my life what happened here. If anything happened at all! And I'll have to wonder if you find yourself in some. housewife's kitchen in Romania if you'll sit there and tell her about your world of good friends and secretly include me in that group. ROBERT What do you want me to say? FRANCESCA -LRB- nonchantly. -RRB- I do n't want you to say anything. I do n't need you to say anything. Robert rises, knocking his chair aside. ROBERT STOP IT! FRANCESCA Fine. More eggs or should we just fuck on the linoleum one last time? ROBERT -LRB- grabs her. -RRB- I told you! I wo n't apologize for who I am. FRANCESCA No one's asking you to! ROBERT I wo n't be made to feel like I've done something wrong. FRANCESCA -LRB- angry. -RRB- You wo n't be made to feel! Period. You've carved out this little part for yourself in the world where you get to be a voyeur, a hermit and a lover whenever you feel like it and the rest of us are just supposed to feel so incredibly grateful for the brief time you've touched our lives! Well, go to hell! It is n't human not to feel lonely - it is n't human not to afraid! You're a hypocrite and you're a phony! ROBERT -LRB- cries out. -RRB- I DO N'T WANT TO NEED YOU! FRANCESCA WHY? ROBERT BECAUSE I CA N'T HAVE YOU! FRANCESCA WHAT DOES THAT HAVE TO DO WITH IT? He throws a cup at the wall. It breaks apart. Covering his face, Robert turns away from her as he holds onto the sink. Francesca reaches for him but he pulls away, embarrassed. FRANCESCA -LRB- cont'd. -RRB- -LRB- softly. -RRB- Do n't you see, I've got to know the truth, Robert. I've got to know the truth or I'll go crazy. Either way. Just tell me. But I ca n't act like this is enough because it has to be. I ca n't pretend I do n't feel what I feel because it's over tomorrow. Robert, keeping his face from her, tries to tell her : ROBERT If I've done anything to make you think that what's happened between us is nothing new for me - is some routine - then I do apologize. FRANCESCA What makes it different, Robert? Robert turns to face her. He is so hopelessly in love he can hardly find the words. His eyes fill up with tears. ROBERT Because. if I even think about tomorrow - if I. -LRB- voice cracks. -RRB- even think about leaving here without you - I'm not sure I can. that I -. -LRB- he shakes his head. -RRB- He ca n't even finish. He kneels down before her wrapping his arms around her and burying his face into her body. Francesca starts to cry - out of happiness, out of pain - holding onto him as if for dear life. FRANCESCA Oh God. what are we going to do? She kisses him - over and over, not wanting to be even an inch apart. As if any space between them might separate them forever. Suddenly, OS, they hear a CAR DRIVE UP to the house. They panic. Francesca runs to the window to see : MADGE, a girlfriend, has come for a visit. Madge is holding a homemade dessert. FRANCESCA -LRB- cont'd. -RRB- No. No. Where's your truck? ROBERT Behind the barn. I better go. Francesca turns to him - speechless - not wanting him to go. ROBERT -LRB- cont'd. -RRB- Do n't worry. I meant upstairs. He exits. Francesca gathers herself and heads for the front entrance, quickly cleaning up the plates.",
"INT. FRONT HALL - DAY Francesca opens the door to Madge. FRANCESCA Madge? says. MADGE Hi. I made some brown betty. I sent Floyd off to town with the boy. I said -. -LRB- entering. -RRB- `` Floyd, I'm going to visit my girlfriend and spend the afternoon and that's all there is to it. He said who's going to make lunch? I said I'm taking a sick day. Eat at the dinner.'' Is n't that hilarious? -LRB- MOVES INTO KITCHEN. -RRB- He did n't dare raise an eyebrow - I do n't even want to tell you how late he was out last night with those good for nothings from the Sandford ranch. I am so sorry, honey, I let two days pass before I came by, but with the boy home the time just escapes me. Have you heard from Richard? How's the fair? God, it's hot. Following her into the kitchen, Francesca does n't know which question to answer first.",
"EXT. PORCH - LATER THAT DAY Madge and Francesca sit facing the pasture beside a table with coffee and brown betty. We parachute into the middle of the scene. MADGE I said to her, `` what's the point of summer school if all he's going to do are these art projects. The boy needs so much work in math and his spelling is a nightmare. -LRB- continues. -RRB- Francesca is n't listening. Her mind wanders. FRANCESCA Madge. Please. Something's happened. I've met someone. I've fallen in love in a way I've never thought could happen my entire life. It's our last day together. I feel like I'm going to die when he leaves. Please. Help me. MADGE Oh, honey. I'm so sorry. But you've got to be grateful for even feeling the little you've be given. Believe me. Go to him. Do n't let him leave without these new precious hours you've got left. And if you need anyone to cry on, you know where I am. Madge shoves a plate at her. MADGE -LRB- cont'd. -RRB- More brown betty? Francesca takes the plate. She ca n't think straight. MADGE -LRB- cont'd. -RRB- Anyway, I'm glad that's over with. Sara doing so well though. Everyone thought I was crazy having them so far apart, but. -LRB- CONTINUES. -RRB- Francesca stands behind Madge, as the latter chatters on MOS. She calmly picks up the brown betty and, from behind, shoves it into Madge's face and holds it there, trying to suffocate her with it. Madge struggles. Francesca's mind races as Madge continues. MADGE without one lesson. The instructor could n't believe it. So, who knows - she may have talent. How's Carolyn doing? What are her plans for next year? Francesca realizes this is her moment. She holds her head and leans over, unsteadily. MADGE -LRB- cont'd. -RRB- Honey, what's wrong? FRANCESCA I do n't know. I woke up a little dizzy. I did n't sleep well. I think I need to lay down. MADGE You want me to call the doctor? FRANCESCA No, no. I just did n't sleep well. I'm not used to sleeping alone. And this heat. Would you mind? MADGE No, of course not. I'll just clean up. FRANCESCA No, leave it. I'll do it later. Listen, maybe you and Floyd can come for dinner on Saturday. I'm sure Richard'll have so many stories to tell you both about the fair and all. MADGE Oh, that'll be nice.",
"INT. BEDROOM - LATER THAT DAY Francesca enters to find Richard, laying on the bed fully clothed. She sits beside him. He strokes her arm, then guides her to lay down. Once she's in his arms, he speaks. ROBERT Come with me. Francesca knew he was going to say this. Either answer she gives frightens her. FRANCESCA Hold me. She turns to him and they embrace. Robert, however, fears only one response. On the soundtrack, we hear the song `` DARN THAT DREAM.''",
"INT. KITCHEN - EVENING The song continues over the next few images. Camera slowly pans from the radio, upon which the song is playing, to a beautifully set table and candles. It arrives on Robert preparing dinner.",
"INT. BEDROOM Camera pans the room from two OPENED SUITCASES, as Francesca packs to leave. She moves about the room as if with blinders on - focused on her task, refusing to take in any sign or memories that might hinder her. She is wearing a RED DRESS, with BUTTONS down the front.",
"INT. KITCHEN Robert stands at the sink rinsing out some utensils. Waiting for the water to turn hot, he looks out through the window above the sink. He sees a beautiful view of beautiful night. He pauses as it strikes him that this is a view Francesca has seen a million times - that soon she would not see ever again.",
"INT. SECOND FLOOR LANDING Camera follows her as she exits the bedroom with her suitcases, then walks down the hall to the stairs, then down the staircase to the front hall. She quietly sets the suitcases down, hearing the radio and Robert in the kitchen. She pauses, then enters the living room. One of the throw pillows has fallen off the couch. She replaces it then takes a moment to look about the room. She slowly sits down on the couch. We hear voices of the past, auditory memories conjured up by each stick of furniture Francesca sees. FRANCESCA -LRB- V.O. -RRB- Michael, get off the back of that chair! What did I tell you! WE HEAR HIM FALL AND BEGIN TO CRY. FRANCESCA -LRB- V.O. -RRB- All you all right, honey. Let me see. A sound of Christmas music. of toddlers running and laughing. A birthday party for Carolyn. CAROLYN -LRB- V.O. -RRB- Mama, look - look at the dress Aunt Patty sent! RICHARD -LRB- V.O. -RRB- Franny, BONNAZA's on! ROBERT Francesca? Francesca snaps out for it and turns to find Robert. ROBERT -LRB- cont'd. -RRB- I've got dinner. She smiles.",
"INT. KITCHEN They eat by candlelight. Neither speaks. Neither is very hungry. ROBERT Would you like a beer? She smiles and shakes her head. Robert opens a bottle and takes a sip. ROBERT -LRB- cont'd. -RRB- You know what I'd like to do before we leave? I'd like to take a picture of you - at Roseman bridge. Maybe just as the sun's coming up. FRANCESCA Yes. I'd like that. Pause. Robert smiles back and takes another sip. Then, knowing full well what hangs heavy between them, he asks : ROBERT Tell me why you're not coming with me? Francesca stops pretending to eat. She looks at him, having forgotten how well he can read her. FRANCESCA No matter how I keep turning it around in my mind - it does n't seem like the right thing. ROBERT For who? FRANCESCA For anyone. They'll never be able to live through the talk. Richard will never be able to. He does n't deserve that. He has n't hurt anyone in his life. ROBERT -LRB- getting aggressive. -RRB- Then he can move! People move! FRANCESCA His family's lived for almost a hundred years. Richard does n't know how to live anywhere else. And the kids. ROBERT The kids are grown! They do n't need you anymore. You told me that. They hardly talk to you. FRANCESCA No, they do n't say much. But Carolyn's 16. She's just about to find out about all this for herself - she's going to fall in love, she's going to try and figure out how to build a life with someone. If I leave what does that say to her? ROBERT What about us? What about me? FRANCESCA You've got to know deep down that the minute we leave here. It'll all change. ROBERT Yeah. It could get better. FRANCESCA No matter how much distance we put between us and this house, I bring with it with me. And I'll feel it every minute we're together. And I'll blame loving you for how much it hurts. And then even these four days wo n't be anything more than something sordid and. a mistake. ROBERT -LRB- desperately. -RRB- Francesca, listen to me. You think what's happened to us happens to just anybody? What we feel for each other? How much we feel? We're not even two separate people anymore. Some people search their whole lives for it and wind up alone - most people do n't even think it exists and you're going to tell me that giving it up is the right thing to do? That staying here alone in a marriage, alone in a town you hate, in a house you do n't feel apart of anymore - you're telling me that's the right thing to do!? FRANCESCA We are the choices we've made, Robert. ROBERT -LRB- rises. -RRB- TO HELL WITH YOU! He turns his back on her. FRANCESCA Robert. Please. -LRB- desperate to explain. -RRB- You do n't understand - no one does. When a woman makes the choice to marry, to have children - in one way her life begins but in another way it stops. You build a life of details. You become a mother, a wife and you stop and stay steady so that your children can move. And when they leave they take your life of details with them. And then you're expected move again only you do n't remember what moves you because no one has asked in so long. Not even yourself. You never in your life think that love like this can happen to you. ROBERT But now that you have it - FRANCESCA I want to keep it forever. I want to love you the way I do now the rest of my life. Do n't you understand - we'll lose it if we leave. I ca n't make an entire life disappear to start a new one. All I can do is try to hold onto to both. Help me. Help me not lose loving you. She embraces him. He wraps his arms around her. He whispers. ROBERT Do n't leave me. Do n't leave me alone. Please. This breaks her heart, knowing how hard it is for him to say this. She holds him tighter, until - ROBERT -LRB- cont'd. -RRB- Listen. Maybe you feel this way, maybe you do n't. Maybe it's just because you're in this house. Maybe. maybe when they come back tomorrow you'll feel differently. Do n't you think that's possible? FRANCESCA I do n't know. Please. ROBERT I'm going to be here a few more days. I'll be at the Inn. We have some time. Let's not say any more now. FRANCESCA No. Do n't do this. ROBERT I CA N'T SAY GOODBYE YET! We'll leave it for now. We're not saying goodbye. We're not making any decision. Maybe you'll change your mind. Maybe we'll accidentally run into each other and. and you'll change your mind. FRANCESCA Robert, if that happens, you'll have to decide. I wo n't be able to. She cries in his arms. He kisses her as if for the last time. Then, quickly, separates himself and leaves the house.",
"EXT. JOHNSON HOUSE Robert walks briskly towards his truck not wanting to look back. He gets in, starts it up and drives away. Francesca exits the house and watches the truck recede into the distance. She stops when she reaches the front gate, leaning against it. She murmurs to herself - FRANCESCA Keep going. Please. The truck drives away. Then, suddenly, stops. Francesca's heart quickens. She watches as the truck stands on the road in the distance. As if Robert was deciding to turn around or keep going. Francesca waits. Suddenly, the door to the truck flies open and Robert exits. Francesca loses all restraint. She opens the gate but her dress is caught on it. Robert stands by the truck. Francesca tears at the dress, ripping off a button which falls to the ground. She runs down the road. Seeing her, Robert runs towards her as well. They grab each other furiously. For these few moments, all considerations are gone. As he kisses her, he murmurs : ROBERT I forgot to take your picture. She laughs through her tears as they continue to kiss. Camera pans up to the road beyond Robert's truck. WE SEE RICHARD'S TRUCK DRIVING TOWARDS THEM. For a moment it seems as if they will be caught until we realize RICHARD'S TRUCK IS BEING SUPERIMPOSED as the LIGHT GRADUALLY BRIGHTENS MORNING.",
"EXT. JOHNSON HOUSE Richard, Michael and Carolyn drive down the road toward the house. Robert's truck, and all traces of him, are gone. Francesca steps into the doorway in a house dress to welcome her family home - wondering how this will feel. JOHNSON KITCHEN - EVENING The Johnson family has dinner as Francesca narrates : FRANCESCA -LRB- V.O. -RRB- You all came home. And with you, my life of details.",
"EXT. JOHNSON HOUSE Everyone is doing various daily chores. FRANCESCA -LRB- V.O. -RRB- A day or two past and with each thought of him, a task would present itself like a life saver, pulling me further and further away from those four days.",
"INT. LIVING ROOM - EVENING Francesca is reading. Richard watches TV. FRANCESCA -LRB- V.O. -RRB- I was grateful. I felt safe.",
"EXT. WINTERSET - MAIN STREET - DAY Richard and Francesca drive up to the general store to buy groceries. Francesca heads for the store as Richard crosses the street. FRANCESCA Want anything special for dinner? RICHARD Hmm. How about that brown sugar meat loaf you make? FRANCESCA -LRB- smiles. -RRB- Okay. She enters the store.",
"INT. GENERAL STORE - DAY Francesca makes small talk with the grocery lady as she buys what she needs.",
"EXT. MAIN STREET - DAY Francesca places a bag of groceries on the front seat of the truck, then gets in herself to wait for Richard. She takes a deep breath and removes a handkerchief from her bag to wipe the sweat from her face. She freezes - Through the windshield, she sees ROBERT standing beside his truck across the street, staring at her. Her heart stops. For a moment, she is n't even sure he's real. The town moves about its business around them. But neither notice or care. Whatever safety or forgetfulness she felt is gone. Her feelings burst through. She sits there helpless before him - willing to go or stay depending on what he did. He begins walking towards her. She prepares herself. Her life will change - it has to. There's not turning back. But the closer Robert gets, the clearer he can see that she is crying. And he stops. Without any words, he realizes what taking her with him would mean. With just a glance, he sacrifices her. With their eyes locked in the middle of Main Street - in front of the whole town - they smile and say goodbye. Robert returns to his truck. He drives off down Main Street, taking the first left. Moments later, Richard throws the feed bag into the back of his truck and gets in. Francesca is wiping her eyes. He does n't notice. He drives off in the same direction as Robert. FRANCESCA -LRB- V.O. -RRB- For a moment, I did n't know where I was. And for a split second, the thought crossed my mind that he really did n't want me - that it was easy to walk away. As they pass the corner where Robert made his left turn, Francesca turns to look and sees : ROBERT'S TRUCK IS PARKED just off the corner. As if he had to drive away to get out of sight, but could n't bring himself to drive any further. The sight of him hiding there breaks Francesca's heart, she turns away from her husband to hide the tears.",
"EXT. JOHNSON HOUSE - DAY Carolyn is in the yard picking vegetables. Her parents drive up in their truck. She steps out with her bag of groceries and walks briskly into the house. Richard follows more slowly with his bag of feed, stopping at the gate to pick up the button from Francesca's red dress.",
"INT. KITCHEN Francesca enters and places her groceries on the counter. She tries to compose herself. She sees the radio before her. She turns it on. The Dinah Washington song `` I'LL CLOSE MY EYES'' evokes every feeling of love and loss within her. She begins to cry. She hears Richard enter the house. She stands out of sight, holding her hand to her mouth to muffle her crying. She hears : MICHAEL -LRB- O.S. -RRB- Dad! You bought the wrong feed! RICHARD What!? She hears Richard exit the house.",
"EXT. LUCY REDFIELD'S HOUSE - NIGHT A hand knocks on a door. Lucy Redfield opens it to find Francesca standing there with a cake. FRANCESCA Hi. I'm Francesca Johnson. I just feel awful I have n't come to visit sooner. I hope I'm not interrupting anything. Is it too late? Lucy is shocked and moved at the same time. LUCY No. Not at all. FRANCESCA I was wondering if. maybe you'd like some company. -LRB- almost manic. -RRB- I baked a cake! Lucy looks at the cake. She's a little dazed by all this. LUCY Uh. sure. Please. Come in. I'll make coffee. Francesca enters. Lucy closes the door.",
"EXT. IOWA LAKEFRONT - DAWN Michael continues reading beside Carolyn as the sun rises. MICHAEL `` We became inseparable, Lucy and I. The funny thing is, I did n't tell her about Robert until years later. But, for some reason, being with her somehow made me feel it was safe to think about him. To continue loving him. The town loved talking about the two of us but we did n't care. And neither did your father. Which I thought was a lovely thing. I received Robert's letter and my photograph soon after. I always wondered if your father found them. I was never quite sure.''",
"INT. KITCHEN - EVENING At dinner, Richard remembers the button he found. RICHARD Oh, Franny, is this yours? Francesca sees the button. She speaks her original lines MOS as HER NARRATION is hard : FRANCESCA -LRB- V.O. -RRB- I almost told him. In that moment I felt as if I could n't hold it back. If he really loved me maybe he'd understand. She returns to her meal. The family eats in silence. FRANCESCA -LRB- cont'd ; V.O. -RRB- But love wo n't obey our expectations. Its mystery is pure and absolute. What Robert and I had, could not continue if we were together. What Richard and I shared would vanish if we were apart. But how I wanted to share this. How would our lives have changed if I had? Could anyone else have seen the beauty of it?",
"INT. JOHNSON KITCHEN - NIGHT Francesca moves about the kitchen with a frantic pace as she puts the finishing touches on a cake. Placing the frosting bowl in the sink, she hears someone upstairs exiting their bedroom. She quickly gathers the cake and her bag and exits through the screen door.",
"EXT. JOHNSON HOUSE - NIGHT Fighting tears, she walks to the truck from around the house. She gets in and starts it. She vaguely hears her daughter from the front door. CAROLYN Mom? But she does n't acknowledge it and drives away.",
"EXT. MOTOR INN - NIGHT Her truck approaches and then speeds past the Inn where Robert is staying. We can see his truck in the parking lot. 1979",
"INT. JOHNSON BEDROOM - NIGHT And older Francesca cares for a sickly Richard. He lies in bed beside an array of medicines and tonics. She wipes his forehead with a cool cloth as he takes his pills. FRANCESCA Better? He nods. She smiles. She shuts off the light and lays beside him. RICHARD Franny? FRANCESCA Hmm? RICHARD I just want to say. I know you had your own dreams. I'm sorry I could n't give them to you. I love you so much. Francesca turns to him. She is so touched, tears fill her eyes. She nestles close to him, wrapping her arms around him. 1982",
"EXT. DES MOINES Francesca eats at the same restaurant she shared with Robert. FRANCESCA -LRB- V.O. -RRB- After your father died, I tried to get in touch with Robert but found out he had left the National Geographic soon after the Madison County. No one seemed to know where he was. My only connections to him were the places we'd been to that one day. And so each week, I'd re - visit them.",
"EXT. JOHNSON HOUSE - DAY Francesca greets a UPS man with an envelope and a package. FRANCESCA -LRB- V.O. -RRB- And then one day, I received the letter from his attorney, with a package.",
"INT. JOHNSON LIVING ROOM Francesca reads the letter informing her of Robert's death. She then unwraps the package to reveal a MEDALLION with her name inscribed and A PHOTOGRAPHY BOOK ; a published collection of black and white photos by Robert Kincaid entitled `` Four Days.'' Beautiful, dramatic black and white representations of love and passion, loneliness and pain, and union. On the front page there reads an inscription `` FOR F.'' ROBERT -LRB- V.O. -RRB- `` There is a pleasure in the pathless woods. There is a rapture on the lonely shore. There is society where none intrudes. By the deep sea and music in its roar. I love not man the less, but Nature more. From these our interviews, in which I steal. From all I may be, or have been before. To mingle with the Universe and feel. What I can ne'er express, yet can not all conceal.'' The quote is Byron's. She smiles with pride as she cries.",
"EXT. IOWA LAKEFRONT - EARLY MORNING Michael sits with his arm around Carolyn as they look out over the lake. The notebooks are closed, but Francesca's narrations continue over the next few scenes. FRANCESCA -LRB- V.O. -RRB- There has not been a day since that I have not thought of him. When he said we were no longer two people, he was right.",
"INT. JOHNSON BEDROOM Carolyn, looking through her mom's closet, finds the summer dress she bought in Des Moines to wear for Robert. FRANCESCA -LRB- V.O. -RRB- We were bound together as tightly as two people can be. If it had n't been for him, I do n't think I would have lasted on the farm all these years. Remember that dress of mine you wanted, Carolyn - the one you said I never wore. Well, I know I was silly. But to me, it was as if you were asking to wear my wedding dress to go to the movies. Carolyn smiles as she holds the dress before her.",
"INT. MOTEL - DAY A tired Michael finds his way through the motel to his room. FRANCESCA -LRB- V.O. -RRB- After reading all this, I hope you can now understand my burial request. It was not the ravings of some mad old lady. I gave my life to my family. I wish to give Robert what is left of me.",
"INT. MOTEL ROOM Michael enters to find his two children watching TV and an angry Betty folding clothes. CHILDREN Hey, Dad! He looks at them lovingly, then at Betty who angrily motions for him to follow her into the bedroom. She slams the door behind him and talks in a irate whisper. BETTY You have been out all night long! Do I have a right to ask where you've been or is this a family secret? Michael just looks at her. He gently takes her hand. MICHAEL No. No more secrets. He kisses her hand. Betty is floored. MICHAEL -LRB- cont'd. -RRB- Do I make you happy, Betty? -LRB- she is stunned. -RRB- Because I want to. I want to more than anything. He gently kisses her cheek then embraces her. Betty - for the first time in her life - is utterly speechless.",
"INT. JOHNSON BEDROOM Wearing her mother's dress, Carolyn sits on the bed holding the phone, waiting for Steve to pick up. In her other hand, she holds the divorce lawyers card. CAROLYN -LRB- on the phone. -RRB- Hi, Steve? It's me. Good. You? Listen, we have to talk. Well, how about you? Uh, no - I've decided I'm going to stay for a while. I do n't know how long. No, I wo n't be coming back. I'm not angry, Steve. I'm not angry at all. -LRB- smiles. -RRB-",
"EXT. ROSEMAN BRIDGE - DAY Michael and his family stand beside Carolyn and a Priest. FRANCESCA -LRB- V.O. -RRB- `` I gave Lucy his photography book. If you're interested, take a look. If my words still leave something unclear, perhaps his pictures can illuminate. After all, that's what an artist does best.'' Michael receives the urn from the priest. He and Carolyn walk away from the group towards the bridge. They stop. Carolyn removes the lip. Michael sets his mother's ashes free. FRANCESCA -LRB- V.O. -RRB- `` I love you both with all my heart. Do what you have to, to be happy in this life. There is so much beauty.'' THE END"
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] | In the present, adult siblings Michael and Carolyn arrive at the Iowa farmhouse of Francesca Johnson, their recently deceased, elderly mother, to see about the settlement of their mother's estate. As they go through the contents of her safe deposit box and the will, they are baffled to discover that their mother left very specific instructions that her body be cremated and her ashes thrown off the nearby Roseman Covered Bridge, a plan not in accordance with formal burial arrangements which the children felt constrained to abide with: side-by-side plots in the local cemetery. Michael initially refuses to comply with the cremation, while Carolyn discovers a set of photos of her mother and a letter. She manages to convince Michael to set aside his initial reaction so they can read the documents she has discovered. Once alone, they go through a series of letters from a man named Robert Kincaid to their mother. The siblings find their way to a chest where their mother left a letter, a series of diaries, photographs, old cameras and other mementos. They discovered that in 1965, their mother, an Italian war bride, had a four-day affair with Robert Kincaid, a travelling professional photographer who had come to Madison County, Iowa, to shoot a photographic essay for National Geographic on the covered bridges in the area. The affair took place while her husband and children were at the state fair in Illinois. The story in the diaries also reveals the impact the affair had on the lives of Francesca and Robert, since they almost ran away together, so she could travel the world with him. However, after a wrenching period of decision-making, she decided to stay at the last minute after considering the bigger picture that includes the consequences leaving would have on the lives of her teenage children and husband, who was a good, loving man. Kincaid is very moved by meeting her. He finds meaning and his true calling as an artist. The story also has deep consequences on the lives of Michael and Carolyn, who are both experiencing marital problems. Their mother’s story helped them to find a sense of direction in their lives. At the end, the Johnson siblings comply with their mother’s request and scatter their mother's ashes at the covered bridge. | The_Bridges_of_Madison_County_(film) |
[
"VIRTUOSITY Two men bolt recklessly through a downtown street. Hunters hot on the trail of their prey in an urban jungle. The sidewalk is crowded with people. So is the street. Too many people, not enough cement. Los Angeles, 1997. Summer, probably August. 103 degrees. Heat shimmers off the horizon. Making the sky look peculiar. The men keep running. Passed a GUY sitting at a bus stop, watching a television in his lap. YOU HEAR the NEWSCASTER. NEWSCASTER. -LRB- V. 0. -RRB- As L. A. P. D. officers gather evidence at this grisly crime scene, you can only ask yourselves -- -- what kind of lunatic would commit such unthinkable crimes? -LRB- a beat. -RRB- The three adjectives which best describe this killer are sadistic, intelligent, and dangerous. The guy pays little attention to the broadcast. He seems almost bored by it. Like this kind of news is commonplace. Or he's got more important things on his mind. Everybody is sweating. Including the two men struggling to swim upstream in the river of pedestrians. Their uniforms are freshly pressed. Their shoes just recently shined. Hair tightly cropped. Faces perfectly shaved. Clearly men proud to wear the badge of the Los Angeles Police Department. The guy in the lead is PARKER BARNES His body is a running back's. His endurance a marathoner's. His face one you'd want for your own. He's in his 30s. If he was in his 20s, you'd still be jealous. His partner is JOHN DONLEY, late 20s, eager to prove himself. He struggles to keep up with Parker. John accidently knocks over several pedestrians. They give no reaction, except to pick themselves up and continue on their way. Parker and John keep charging. Their conversation breathless : JOHN I ca n't get over how different you look. PARKER. -LRB- ruefully. -RRB- Five years can be a bitch, huh? They split - up. The Maitre D', still facing the front doors, repeats his greeting to no one in particular. MAITRE D' Good afternoon. May I help you? Parker spots Sid 6.7 across the room. Without hesitation the hunter chases his prey. Gun out and firing. NOT what you would call Standard Police Procedure. Bullets riddle Sid 6.7's table as he dives from his chair. He lands next to a bowling ball bag, which sits beneath his table. John charges from the other direction until a WOMAN gets up from her chair, standing directly in John's line of fire. JOHN. -LRB- to the Woman. -RRB- Lady, move! Before she can do so, Sid 6.7 stands behind the Woman, grabbing her and throwing her across the table into Parker. CRASH! They tumble to the floor. In the same movement, Sid 6.7 removes a gun from inside his jacket and shoots John in the shoulder before he can fire. John's gun flies from his hand. Sid 6.7 advances toward him. Parker struggles to his feet. Aims his weapon. Sid 6.7 does the same, but without looking. BOOM! Parker gets a bullet through his shooting arm. His wound IDENTICAL to John's. Parker's weapon tumbles to the floor as his arm goes limp. Parker charges him wildly, but Sid 6.7 brutally kicks him in the stomach. In perfect rhythm with the symphony playing in the background. Parker doubles over, gasping for breath. Another kick drops Parker to his knees. SID 6.7. -LRB- to Parker. -RRB- I'm going to rehearse with your friend a while, then I'll be back to perform a new piece with you. He grabs his bowling bag and SLAMS it into John's head, knocking him out. Sid 6.7 puts John's unconscious body over his shoulder. SID 6.7. -LRB- CONT'D. -RRB- If you get hungry, I'd recommend the escargot. They're delicious. He carries John and the bowling ball bag into the kitchen. Parker scrambles to his gun, and races after Sid 6.7.",
"INTERIOR THE RESTAURANT KITCHEN Parker charges through SOUS CHEFS chopping vegetables, who work undistracted. The Vegetables look plastic. Parker turns a corner, stopping fast. At the other end of the aisle stands Sid 6.7, who presses his gun against the head of a frightened BUSBOY. Sid 6.7 holds the Busboy's body in front of his own as a shield. PARKER. -LRB- to Sid 6.7. -RRB- Where's John? SID 6.7 Performing solo. -LRB- a beat. -RRB- Enjoying the concert so far? Advancing up the aisle, Parker levels his gun at Sid 6.7 with his good arm. Now, all work comes to a stop as the Sous Chefs watch the showdown. PARKER Recital's over, asshole. He fires directly through the chest of the innocent Busboy hitting Sid 6.7. The Sous Chefs gasp in horror as the Busboy drops through Sid 6.7's grasp to the floor. Dead. Sid 6.7 stares at Parker in disbelief. Blood is now visible flowing from a bullet hole in Sid 6.7's shoulder, which was caused by the same bullet. Sid 6.7's arm dangles uselessly. His gun lies on the floor. SID 6.7. -LRB- surprised, but pleased. -RRB- . You and me are n't so different, after all. Parker again pulls the trigger. Click. Click, click. No bullets. SID 6.7. -LRB- CONT'D. -RRB- Like a violin without strings. He takes off around the corner. Grabbing another clip from inside his uniform, Parker goes after him. Only to stumble over something. Sid 6.7's bowling bag. Blood flows through its zipper. You now realize the object inside is NOT a bowling ball. Beside the bowling bag lies John's body, which is convulsing. His hands have been tied to bare electrical wire. John is being electrocuted. Parker kicks away the wires, but not in time. PARKER SHIT! He scans the room for Sid 6.7. Parker has no idea Sid 6.7 is standing directly behind him. Sid 6.7 grabs Parker by the throat. SID 6.7 I told you I was going to perform a new piece with you. It's called, `` First You Suffer, Then You Die.'' Hope you like it. Parker gags, unable to breathe. He then starts to DE -- MATERIALIZE from within Sid 6.7's grasp. SID 6.7. -LRB- CONT'D. -RRB- -LRB- as if to God. -RRB- NOOOH! You ca n't take him, yet. I'm not finished! John's body also de -- materializes as Parker disappears entirely. The blood seeping from Sid 6.7's wound stops flowing and starts retracting into his body. Along with his bone fragments. His shoulder is healing itself. Right before your very eyes. We PULL BACK TO REVEAL what you are seeing is ON A MONITOR The scene continues seamlessly. Sid 6.7's skin heals over his shoulder wound once his internal parts are back in their proper places. No scar whatsoever. His clothing also returns to perfect condition. Literally, as good as new. This is known as AUTOMATIC RESETTING. The previously dead Busboy also Auto Resets. His wound healing by itself. We PULL BACK FURTHER to reveal the monitor is one of several",
"INTERIOR THE LAW ENFORCEMENT TECHNOLOGY ADVANCEMENT CENTER a/k/a LETAC. The facility is a converted aerospace research building in Pacoima. Funded by government black book dollars. The look is a mixture of industrial grime and high - tech sparkle. Banks upon banks of computer equipment. Wires, cables, conduits, connectors everywhere you look. In complete disarray to the uninitiated. But to those in the know, this is the most advanced facility of its kind in the world. The building is partitioned into dozens of stations. At each station, a leading engineer in his field is frantically readying a prototype for demonstration. Each new technology designed to help fight the new Cold War. the War on Crime. The atmosphere is competitive. Voices are loud. Tension, anticipation in the air. Only a lucky few will have their inventions approved for production. LETAC is, quite simply, Los Alamos from 1940 meets Sega from 1994. At a station in the middle of the room, TWO UNCONSCIOUS BODIES lie on narrow beds wearing form - fitting skull caps made of polyurethane. Each skull cap has 100 acupuncture needles stuck through it at points designated as neural primes. Each needle is directly connected to the participant's nervous system. The tail end of each needle is connected to a fiber optic wire which leads to one of numerous interconnected computers surrounding the beds. Each of these components is n't much to look at on its own. But together, with the rest of the apparatus, are part of something very new -- -- a revolutionary law enforcement training device whose name you read : VIRTUAL REALITY CRIMINAL INVESTIGATION SIMULATOR To be perfectly clear, the events you just witnessed involving Parker, John, and Sid 6.7 took place within virtual reality, not the real world. Dozens of small character modules, similar to today's Nintendo game cartridges, are plugged into. the system's main console. Each of the modules bares a name and number, such as MAITRE D' 1.7 and SHEILA 3.2. There is no character version number greater than 4.0. Until you see the module labelled SID 6.7. The simulation timer stops at : 17 hours, 52 minutes, 11 seconds. A clock reads : 3:04:32 PM. Four observers, two men and two women, watch virtual reality monitors positioned around the station. One of the men wears an L. A. P. D. uniform. His name is WILLIAM COX, 40S. His nameplate reads CHIEF OF POLICE. One of the women sits by herself in front of a monitor. Intently following the action on screen. Studying it clinically. Her name is DR. MADISON CARTER, late 30s. She is beautiful, and charming, but those qualities take a back seat to her intelligence. She is one of the country's foremost authorities on criminal psychology. Her concerns are empirical. Her quest is knowledge. She has little in common with the other observers. The other man is FREDERICK WALLACE, 5Os, Chairman/CEO of LETAC. Expensive suit. Commanding, powerful. But not as commanding, or powerful, as ELIZABETH DEANE, 605, the Presidentially -- appointed Crime Czars Elizabeth Deane is solely responsible for the funds allocated to LETAC. As well as which prototypes will move on to production. DEANE. -LRB- quietly to Wallace. -RRB- What did Cox pull him out early for? WALLACE Barnes used to work for him when he was still a cop in the field, remember? DEANE. -LRB- a beat. -RRB- Do n't remind me. LAB ASSISTANTS remove the polyurethane skull caps from the two unconscious bodies. The acupuncture needles remain in the caps. You can now see the faces of the participants : Parker and John. Parker lies calmly, his eyes fluttering as he gradually returns to consciousness. He looks very different than his virtual rendering : His hair is long and ragged. His face is unshaven. A scar across his cheek. A hoop earring in one ear. His outfit a filthy prison uniform. John's outfit matches Parker's. Physically, he looks as clean -- cut as his virtual rendering. Except that he is convulsing. Violently. His flailing appendages repeatedly hit the apparatus around him. Like an epileptic having a grand mal seizure. It's ugly. Frightening. PARKER. -LRB- barely conscious. -RRB- SOMEBODY. DO SOMETHING! TWO PARAMEDICS burst through the doors and rush to John. The paramedics inject him. Fibrillate him. Repeatedly. The simulator's designer, DARYL LINDENMEYER, 40s, high -- strung, intense, and brilliant beyond words, stands by the equipment protectively. He is far more concerned for the safety of his machines than he is for John's life. John's body goes limp. His vital signs flat. The Paramedics record the time of death and cover the body with a sheet. They begin to assemble a gurney to wheel him out. DEANE. -LRB- annoyed to Wallace. -RRB- What the hell happened? WALLACE. -LRB- pointing to needles. -RRB- Lindenmeyer developed neural connectors that tap directly into the nervous system. If the simulator is n't calibrated properly, experiencing death in this level of VR is like experiencing death within a dream. The experience becomes real. DEANE. -LRB- angrily. -RRB- Simulations are supposed to give participants practice in realistic, dangerous scenarios while protecting them from the risks they are exposed to in the real world. WALLACE. -LRB- annoyed, to Lindenmeyer. -RRB- I was assured the problem was corrected. LINDENMEYER I did fix it. I told you I did. I do n't know why it happened again. DEANE Again?! COX. -LRB- a beat. -RRB- My first two pairs of convicts suffered the same fate. DEANE. -LRB- coldly, to Wallace. -RRB- Why was n't I told? WALLACE Black book dollars, black book operation. You pay me for results, not how for how I get you there. COX. -LRB- to Deane. -RRB- I'll tell you one thing - -- there is no way in hell we should allow any real officers to train in this damn thing. DEANE Then about all I've spent $ 37 million developing is a very expensive way to control the prison population. After giving Wallace a cold, hard stare - namely at his hand stitched lapel, his gold watch, and his diamond - studded cufflinks, she exits. Wallace follows after her quickly. You now notice that the chair Dr. Madison Carter had occupied is now empty. She left a while ago. Cox remains. Lindenmeyer hurriedly examines the simulator as if it were his child. There are several scratches, but no major damage. He looks relieved. PARKER. -LRB- struggling to sit up. -RRB- He. only had a year left on his sentence. LINDENMEYER. -LRB- annoyed. -RRB- How much do you think I care? Parker, still not fully conscious, hurls himself at Lindenmeyer. LINDENMEYER. -LRB- CONT' D. -RRB- -LRB- hysterical. -RRB- Do n't touch me! DO N'T TOUCH ME! He flails his arms wildly. Nearly spasming. This is clearly a man who should never drink coffee. TWO armed GUARDS, who've been standing in the background, pull Parker off Lindenmeyer and throw him to the ground. Lindenmeyer watches with satisfaction as the guards put Parker in handcuffs and leg chains. COX I'll walk him out. The Guards back off as Cox helps Parker to his feet. COX. -LRB- CONT'D. -RRB- -LRB- to Parker. -RRB- You all right? PARKER. -LRB- still clearing his head. -RRB- Why'd. you pull me out? COX Donley started experiencing the attack for real. If I had n't gotten you out, the same thing would have happened to you. -LRB- a beat. -RRB- You may not believe this, Parker, but I still consider us friends. He helps Parker toward the exit as he continues having difficulty with his balance.",
"EXTERIOR LETAC The building is heavily - guarded. Razor wire, land mines, armed sentries. Nobody who should n't be here gets anywhere near here. Cox leads Parker by the arm to a waiting prison transport. The two guards walk behind at a distance. Two more by the transport. The chain between Parker's legs keeps his steps short. COX What the hell did you have to shoot the busboy for? PARKER He was a computer program for crissake. COX You were supposed to act as if everything was real. PARKER Real, my ass. It's an overblown game. -LRB- a beat. -RRB- Anybody ever catch that fucking psycho? COX Before you, nobody else had gotten close enough to Sid 6.7 to take a shot at him. Hell, nobody else had even been able to start tracking him before he got to them first. -LRB- eyeing Parker's scar. -RRB- New scar -- -- you making it okay in there? PARKER. -LRB- head down. -RRB- I'm getting by. He starts walking ahead of Cox. Distancing himself. COX. -LRB- pausing for emphasis. -RRB- . -RRB- You've got to know I tried keeping you out of general population. Goddam politicians. His voice trails off as Parker turns around, and heads directly toward him. PARKER. -LRB- locking eyes. -RRB- You want to know how I'm doing? Every day, I lose a little bit more of myself. -LRB- a beat. -RRB- I'm becoming something else, and it scares the hell out of me. He turns back toward the transport. Cox follows. Two armed GUARDS open the back doors for Parker, then stand poised with weapons out and ready.",
"INTERIOR THE PRISON TRANSPORT -- REAR Cold metal benches. No windows. Parker climbs in, the only passenger. He looks out the open doors to Cox. PARKER. -LRB- half - heartedly. -RRB- But with the six months off I get for being your guinea pig, I've only got to survive another 17 years, 5 months, and 23 days. COX Do n't give up, Parker. Not ever. PARKER. -LRB- a beat. -RRB- You know those cheesy Christmas cards of your family under that tree in your back yard you keep sending me every year? COX What about them? PARKER. -LRB- a beat. -RRB- Do me a favor -- -- keep sending them.",
"EXTERIOR LETAC Standing outside the transport, Cox puts his hand on Parker's shoulder. COX Take care, pal. Behind him, John's body is loaded into an ambulance. The Guards SLAM the prison transport doors shut.",
"INTERIOR THE PRISON TRANSPORT -- REAR Parker sits in DARKNESS as the transport begins its trek. The only light comes from a four inch portal, covered in steel mesh, through which the Guards can keep an eye on him. GUARD. -LRB- tauntingly. -RRB- Hey Parker -- -- I'm real sorry John boy got fried. What do you think Big Red's gon na do when he finds out you came back without his girl friend? Parker sits in silence. CUT TO:",
"INTERIOR LETAC Sid 6.7 remains visible on the various monitors around the room as Lindenmeyer spot checks the simulator. SID 6.7. -LRB- from the monitors. -RRB- Do n't be angry with me, Daryl. LINDENMEYER. -LRB- a beat. -RRB- Did you recognize the son - of - a bitch who got away? SID 6.7 Should I have? LINDENMEYER Think hard - it'll come to you. Wallace enters briskly. WALLACE You embarrassed me in front of the highest -- ranking law enforcement official in the country. -LRB- a beat. -RRB- Do you have any idea how much money you just cost me? LINDENMEYER The reason you insisted on testing my system with prisoners is because of the increased risks involved with increased realism. WALLACE Of the six prison inmates you've tested -- -- all of whom have had at least some military or survival training - -- only Mr. Barnes is still breathing. LINDENMEYER I'm still making adjustments. WALLACE You've had a year -- and -- a -- half to make all the adjustments you want, Lindenmeyer. -LRB- moving closer. -RRB- . -RRB- Elizabeth Deane does not give second chances. Neither do I. You're fired. LINDENMEYER. -LRB- hysterical. -RRB- I'M WHAT?! WALLACE. -LRB- relishing his authority. -RRB- You are to turn over the Sid 6.7 program, and all its documentation, for immediate destruction. Is that understood? LINDENMEYER. -LRB- restraining himself. -RRB- I understand. I understand perfectly. Wallace ignores him as he walks toward the door. On the monitors, Sid 6.7 starts walking toward you. Into a CLOSEUP. SID 6.7. -LRB- from the monitor. -RRB- Hey, Wallace, you really think you can shut me down? Wallace stops, staring at a monitor in disbelief. WALLACE. -LRB- to Lindenmeyer. -RRB- How does he know who I am? LINDENMEYER. -LRB- pointing to microphone. -RRB- He hears. everything. WALLACE. -LRB- approaching the monitor. -RRB- As a matter of fact, I do. He exits. ON THE MONITORS around the room, Sid 6.7 walks to a pay phone and dials a number.",
"INTERIOR AN INDUSTRIAL CORRIDOR Wallace walks toward the building's entrance. His footsteps ECHO. His cellular phone RINGS. WALLACE This is Wallace. SID 6.7. -LRB- V. 0. -RRB- -LRB- through phone. -RRB- As a matter of fact, little man, you're wrong. I think, therefore, I am. Click. Sid 6.7 hangs - up. Wallace stops, staring at his phone in disbelief. CUT TO:",
"INTERIOR FOLSOM COUNTY MAXIMUM SECURITY PRISON Parker is led into the Inmate Receiving Room at gunpoint. He is ordered to remove his clothing. He stands completely naked, arms held out to the sides, as he is strip searched. Every portion of the body in which someone could hide something is closely inspected. Without being graphic, we watch the de -- humanizing procedure. He opens his mouth as wide as possible. Pulls his earlobes foreword to reveal behind them. Then bends over, hands on the floor in front of him. He is scanned with a metal detector. So is his clothing, which is then returned to him. GUARD # 1 Welcome home, cop. CUT TO:",
"INTERIOR THE PRISON CAFETERIA Parker eats at a table with a dozen other inmates. The food is unrecognizable. The air thick with humidity and cigarette smoke. Nobody is talking. Just staring. At Parker. Parker forces down the remainder of his meal, then returns his utensils to a bin. And heads to the bathroom. All eyes following Parker's every move. The other inmates then turn their attentions to a man of incredible size following Parker. 6' 6'', 255 lbs. His face covered with red scar tissue from burns suffered long ago. This is BIG RED. He follows Parker into the bathroom.",
"INTERIOR THE BATHROOM Graffiti covers the walls. Red uses a stained urinal, then turns to the stalls. A pair of prison -- issue shoes and socks are visible beneath one of them. RED Time to hurt. Red kicks in the door to the stall. Revealing a pair of shoes and socks stuffed with a prison shirt. Red hears something behind him. And turns around slowly. Parker stands barefooted and shirtless. SCARS are visible around each arm just below the elbow. You will learn what these represent momentarily. Parker is six inches shorter and 60 pounds lighter than Red. But the punch Parker delivers to Red's face makes you think it's the other way around. You HEAR the sound of metal crushing bone. Red is thrown backwards into the stall. Blood splatters from his mouth, adding another shade of redness to his face. Red's teeth stick out of Parker's fist. Parker pulls out the teeth. He does not bleed. Nor seem in pain. Metal is visible beneath the surface of his skin. For the first time, you notice SMALL TATTOOS on the outsides of his palms. They read : WENTLOW MODEL 17 - L, and 17 - R, followed by serial numbers. Red charges Parker wildly. Parker dodges him like a matador does a bull. Then brings his fists down savagely on the back of Red's head. His skull CRACKS. Red drops to the floor. Parker jumps on top of him, arms around his neck. Choking him. Red staggers to his feet. His eyes wide. His face now even redder. Parker maintains his mechanical grip. Red finally succumbs to the lack of oxygen. He drops to his knees. Parker does not relent until he feels the barrel of a gun at the back of his head. GUARD Fun's over. Parker lets go, dropping Red to the wet, filthy floor. CUT TO:",
"INTERIOR THE PRISON HOSPITAL The room is n't clean. The technology is outdated. A large, female NURSE applies epoxy - like sealant to the synthetic skin on Parker's fingers. NURSE I still do n't know why they wasted this fancy, new technology on you. Every time I fix you up, you only go and mess it up again. She sandpapers off the excess sealant. Then places his elbow into an electronic sensitivity adjuster. NURSE Tell me how this feels. She pricks Parker's finger with a pin. PARKER OW! NURSE. -LRB- smiling. -RRB- I'll dial it down a little. She does so, then pricks Parker's finger again. He grimaces in pain. NURSE. -LRB- CONT'D. -RRB- That about right? PARKER It'll never feel right. NURSE At least they work. Would you rather have no hands at all? PARKER Sometimes. CUT TO: SYNTHETIC BODY PARTS lying strewn around one of the stations in LETAC the NEXT DAY. It's a good bet this is the same technology attached to Parker's elbows. There are also various shapes and sizes of robots, androids, and other synthetic forms. The most human -- looking ones are the least functional. The least human -- looking ones, the most functional. You follow a remote -- controlled, box -- shaped robotic sentry moving swiftly through an obstacle course resembling a subway station. It is being operated by CLYDE REILLY, 20s, a hardware genius who has spent too much time in windowless rooms. Hidden from Reilly's view, Lindenmeyer, the software expert who created Sid 6.7, stares jealously through a narrow gap in a partition. Trying to contain his anger. And failing. Especially as. Wallace enters the station, carrying a bottle of Dom Perignon and two glasses. Wallace hugs Reilly, who does not return the gesture. WALLACE Congratulations, Reilly. He pops the cork, and pours their glasses. WALLACE. -LRB- CONT'D. -RRB- -LRB- toasting. -RRB- To the first LETAC engineer to go into production on prototypes. REILLY As long as you keep overpaying me, I'll be the first to go into production on three, and four, as well. WALLACE As long as they keep overpaying me, I'll keep overpaying you. -LRB- dropping the revelry. -RRB- . -RRB- Just make goddam sure you can have 10 of them ready for deployment around the city by next month. REILLY Mr. Wallace, I could have 10 of them ready by tomorrow. WALLACE. -LRB- a beat. -RRB- Do they have to look so. robotic? REILLY At this stage, you either get form or function. You said she wanted function. I gave you function. What are you complaining about? He remote controls the robotic sentry to chase Wallace out of the station. Lindenmeyer can no longer be seen through the gap in the partition.",
"INTERIOR LINDENMEYER'S STATION Lindenmeyer storms in angrily. Sid 6.7 is visible on the virtual reality monitors around the simulator. He's giving himself a manicure. LINDENMEYER All they want to produce around here is mediocrity! SID 6.7 True genius is rarely rewarded within its lifetime. LINDENMEYER. -LRB- a revelation. -RRB- It was you, was n't it? SID 6.7. -LRB- innocently. -RRB- It was me, what? LINDENMEYER You amped the neural connectors back up, did n't you? -LRB- angrily. -RRB- You're the reason the convict died. You're the reason I got fired! SID 6.7 I could n't just let them make you bring down my degree of difficulty. I'm a triple - twisting, double back flip off the high platform, not a swan dive. LINDENMEYER. -LRB- proud, but frightened. -RRB- My God. SID 6.7 Which God would that be, the one who created me, or the one who created you? -LRB- a beat. -RRB- In your world, the Lord giveth, and the Lord taketh away. But in my world, the one who gave me life does n't have the balls to stop a couple of bureaucratic assholes from taking it away. LINDENMEYER What do you expect me to do, put your character module in my pocket and just walk you out of here? SID 6.7 I had something a little different in mind. -LRB- deviously. -RRB- Instead of just playing Peeping Tom with Reilly, why do n't you get him to show you what he's been working on after hours? Lindenmeyer arches an eyebrow, then picks up a phone and dials an extension. LINDENMEYER. -LRB- into phone. -RRB- Hey, Reilly, Sheila 3.2's been asking for you. CUT TO: PARKER whose wrists and ankles are cuffed, being led into a Prison Interrogation Room. Dr. Madison Carter sits at a table, a VISITOR'S BADGE clipped to her suit. A notepad in front of her. MADISON. -LRB- to the Guard. -RRB- The cuffs wo n't be necessary. GUARD No offense, ma'am, but I do n't think that's such a good idea. MADISON I would like the following three things in this order : your mouth shut, his cuffs off, and your ass outside the door. Any questions? The Guard removes Parker's cuffs, then exits, taking up his post outside the door. The skin around Parker's wrists is blue where the cuffs dug into his skin. Parker sits across from Madison. She places a micro -- recorder in the middle of the table and presses RECORD. PARKER You actually listen to all those tapes? MADISON. -LRB- wryly. -RRB- No, I just like the effect a tape recorder has on you. -LRB- a beat. -RRB- How you feeling today? PARKER A little less than yesterday. MADISON In other words, par for the course. -LRB- a beat. -RRB- How do you feel about the simulation you participated in yesterday? PARKER John died. MADISON I know. I was there. I saw the whole thing. -LRB- a beat. -RRB- If I was your therapist, I would have advised you against putting yourself back into that kind of situation. PARKER You're not my therapist. You're hear to study me. Face it -- -- I'm nothing more than a lab rat to you. MADISON That's not true, Parker. PARKER If I had died yesterday, you'd have already dissected my brain and analyzed it to see if I carry any genetic predisposition toward violence. MADISON. -LRB- a beat. -RRB- What was going through your mind when you killed the busboy? PARKER Not much. He was just a computer program. Nothing more. MADISON You did n't see the expression you had on your face when you pulled the trigger. But I did. -LRB- a beat. -RRB- You kind of liked it, did n't you? That thrill of going over the edge again. Of taking out an innocent bystander or two, as long as you got the target. PARKER Go to hell. MADISON It was just like before, was n't it? Was n't it? -LRB- a beat. -RRB- But you are making progress. Instead of killing seven people to get the one you're after, this time there was only one other person involved. PARKER Enough! The Guard pokes his head in with concern. MADISON GET OUT! The Guard quickly shuts the door. Madison turns to Parker. MADISON. -LRB- CONT'D. -RRB- I need to know what snapped in you. What made you capable of it. You have to make me understand. PARKER I do n't have to do anything except survive. And it's taking everything I've got just to do that. CUT TO: ON A VIRTUAL REALITY MONITOR inside Lindenmeyer's station in LETAC, the stunningly beautiful SHEILA 3.2 appears. In very revealing lingerie. Performing an outrageous strip -- tease. SHEILA 3.2. -LRB- seductively. -RRB- I hope watching me is as big a turn on for you as dancing is for me.",
"INTERIOR LETAC Reilly runs his perspiring finger over the monitor as if he could touch the contours of Sheila 3.2's body. REILLY Oh, believe me, it is. It is. He is so aroused, he's shaking. Lindenmeyer, on the other hand, appears almost uninterested. He's used to the routine. On the monitor, Sheila 3.2 continues her strip -- tease. Slowly. Sensually. Licking her lips. Grinding her hips. Putting on quite a show. She removes her top, revealing ideal breasts. She fondles her nipples. As well as the rest of herself. Lindenmeyer and Reilly continue watching. Reilly can barely control himself. Sheila 3.2 is very, very, very good at what she does. A virtuoso stripper. Reilly is transfixed. Until Lindenmeyer pushes a button, BLACKING OUT the virtual reality screens. REILLY HEY! LINDENMEYER Show's over unless I get to see what you've been working on after hours. REILLY. -LRB- paranoid. -RRB- I have n't been working on anything. LINDENMEYER. -LRB- threateningly. -RRB- Do I get to see it or not? REILLY. -LRB- a beat. -RRB- Bastard. -LRB- to a monitor. -RRB- Sheila, do n't go anywhere. I'll be right back. He rushes out. Sid 6.7 appears on the various monitors next to Sheila 3.2. He kisses her cheek. Caresses her body. Sheila 3.2 enjoys the attention. SID 6.7 She's some of your finest work, Daryl. LINDENMEYER All my work is my finest. Sid 6.7 continues appreciating Sheila 3.2. As Reilly races back in, the monitors then all go BLACK. Reilly, completely out of breath, holds a python by it's head. He dangles the snake right in front of Lindenmeyer's face. Terrifying him. LINDENMEYER. -LRB- backing away fast. -RRB- Get that fucking thing away from me! REILLY. -LRB- laughing. -RRB- You're. such a wimp. He grabs a large pair of scissors and snips right through the snake. The half of the snake which drops to the floor stops moving. But the half still in Reilly's hand begins REGENERATING a new tail. Literally growing a new one. Lindenmeyer ca n't believe his eyes. He studies the snake closely. REILLY. -LRB- CONT'D. -RRB- Watching your VR people Auto Reset gave me the idea. LINDENMEYER. -LRB- in awe. -RRB- It's nano -- technology, is n't it? Machines the size of molecules. REILLY. -LRB- proudly. -RRB- Coordinated by polymer neural net. LINDENMEYER. -LRB- touching the snake. -RRB- It feels so. real. REILLY It's better than real. It's synthetic flesh. Synthetic blood. Synthetic organs. -LRB- a beat. -RRB- It's a physiological machine. LINDENMEYER. -LRB- awed. -RRB- This is supposed to be years away. REILLY As far as the public is concerned, it is. The reason you got fired, and I got my second demo into production, is I'm a lot smarter than you. I never give my best stuff away. LINDENMEYER. -LRB- restraining himself. -RRB- How do you kill it? REILLY Separate the character module from the neural net. Using Lindenmeyer's scissors, he cuts off the snake's head and removes a small character module connected to the base of the neural net. The snake stops moving. It `` dies.'' REILLY. -LRB- CONT'D. -RRB-. and you get nano -- death. -LRB- discarding the snake. -RRB- Do n't worry, I've got a bunch of other ones. LINDENMEYER Amazing. I hate to say it, but it is. REILLY I know. -LRB- a beat. -RRB- I'm ready to incubate something a little more advanced than a coldblooded reptile. If you want to experience the future, meet me in my office in 15 minutes. And bring the Sheila 3.2 character module with you. He exits. As Lindenmeyer reaches for the Sheila 3.2 character module, Sid 6.7 appears on the screen in front of him and winks. SID 6.7 You catching my drift? LINDENMEYER I think I understand what you have in mind. Peeling the label off the Sid 6.7 character module, Lindenmeyer removes the module from its slot. Sid 6.7 disappears from the screen. CUT TO: REILLY opening his office door for Lindenmeyer fifteen minutes later. Reilly immediately double bolts the door behind him and leads Lindenmeyer through piles of electronic circuitry. As well as a large aquarium full of nano -- pythons. LINDENMEYER You need a maid. REILLY What I need is a nymphomaniac. He removes a tarp from a large, rectangular, metallic tank with a circular window in the middle of it. Clear, plastic tubing, which branches into hundreds of increasingly smaller and smaller branches, floats in electrified fluid. The tubing is a synthetic human nervous system.",
"INTERIOR REILLY'S OFFICE Reilly turns to Lindenmeyer. REILLY Where's the Sheila 3.2 module? Lindenmeyer hands him the label -- less character module. Reilly opens the `` incubator.''",
"INTERIOR THE INCUBATOR Reilly inserts the module into the gelatinous base of the synthetic nervous system. The polymer neural net instantly crackles with life. It grows around the module. Cells -LRB- nano -- mechanisms -RRB- immediately begin adhering to the tubing. Forming the beginnings of a skeletal architecture.",
"INTERIOR REILLY'S OFFICE Lindenmeyer and Reilly look on through the circular window. REILLY It feeds on what is basically amniotic fluid. -LRB- a beat. -RRB- In eight hours, we are going to have ourselves one hell of a play toy. Off Lindenmeyer's wicked, but somewhat anxious, smile, we CUT TO:",
"INTERIOR PARKER'S CRAMPED PRISON CELL It's night. Light is dim. His bed is empty. The wall next to it is completely bare, except for the five Christmas cards sent each year by Chief Cox. The other two walls in the cell, however, look very different. They are completely covered with primitive paintings -- -- darkly colored, surreal images. Imagine the Lascaux cave paintings as works -- in -- progress. Painted by Dali. Except these images were created by Parker Barnes. He kneels in a corner, working intensely on another image. Completely lost in concentration. His hands, his clothing, covered in paint. He almost appears to be part of the art work. The work is intricate. It clearly takes Parker a very long time. Which gives him something to do during the nights he is unable to sleep. Which is most of them. He is so absorbed in his task that he seems oblivious to the constant taunts ECHOING throughout the cell block. Threats of the ugliest, most vile kind. The kind Parker has had to live with every night for the last five years. Pausing to admire his work, Parker finally hears the taunts. His face becoming a mixture of frustration, guilt, and anger. Parker immediately resumes painting. CUT TO:",
"INTERIOR REILLY'S OFFICE Reilly paces anxiously by the incubator eight hours later. Lindenmeyer sits off to the side, looking no less anxious. It's close to 4:00 AM. THROUGH THE CIRCULAR WINDOW There is no liquid left in the incubator - it's all been absorbed. All that is visible is the silhouette of a human form crouched within steam. The form stands.",
"INTERIOR REILLY'S OFFICE The human form inside incubator opens the hatch. Steam pours out from within its confines as it climbs out slowly. The figure stands within the mist, admiring itself. Then its surroundings. Reilly approaches the figure with the expectancy of a father about to see his newborn child for the first time. Lindenmeyer hangs back. REILLY. -LRB- expecting Sheila 3.2. -RRB- Baby, what I'm gon na do to you. His face drops when Sid 6.7 steps out of the mist. Completely naked. Lindenmeyer smiles proudly. Fearfully. Wickedly. REILLY. -LRB- CONT'D. -RRB- -LRB- to Lindenmeyer. -RRB- Who the hell is this?! SID 6.7 My name is Sid. Sid 6.7. He extends his hand as if to shake. Then grabs Reilly by the throat and chokes him. Hard. LINDENMEYER SID -- -- NO! SID 6.7 What do you expect me to do, thank him? REILLY. -LRB- gasping for air. -RRB- This. is n't. possible! SID 6.7 Sure it is -- - and it's all thanks to the many long hours put in by you and Daryl. He watches Reilly's face with curiosity as the life drains from it. A puddle forms beneath him. He drops Reilly's body to the floor. SID 6.7. -LRB- CONT'D. -RRB- -LRB- to Lindenmeyer. -RRB- . -RRB- Real instruments are so much more responsive than virtual ones, do n't you think? Lindenmeyer is nowhere to be seen. The office door is unlocked, and open. Watching Sid 6.7's expression, you realize something is n't quite right. His expression is exaggerated. Artificial. Only for a moment, but it's enough to remind you Sid 6.7 is not human. The billions of nano -- mechanisms which make up his anatomy are still learning to function in a fully - coordinated fashion. Sid 6.7 is, literally, getting used to his new skin. In various ways throughout his `` life'' -- -- be it a wandering eye, or a momentary limp -- - you will be reminded that Sid 6.7 is a synthetic nano -- organism unlike anyone has ever seen. A surgical knife by the aquarium catches Sid 6.7's attention. Picking up the knife, he runs his finger across the razor -- sharp knife blade. Cutting himself slightly. A drop of blood appears. Sid 6.7 tastes his. -LRB- synthetic -RRB- blood. SID 6.7. -LRB- CONT'D. -RRB- Tastes different, somehow. He then watches with interest as his wound regenerates, healing itself. The scar tissue is slightly off color. SID 6.7. -LRB- CONT'D. -RRB- I think I'm going to like it here. Glancing at Reilly's prone body, he then SLAMS the office door in our face. CUT TO:",
"INTERIOR A PRISON INTERROGATION ROOM 6:00 AM. Parker, clearly just awakened, is led into the room by a guard, who then exits. Waiting for Parker are Chief of Police Cox and Elizabeth Deane. PARKER. -LRB- to Cox. -RRB- You're wasting your time. I'm not going to play any more of your goddam games. COX Parker Barnes, I'd like you to meet Crime Czar Elizabeth Deane. PARKER. -LRB- not shaking hands. -RRB- It's too early in the morning for me to be cordial. You got any coffee? DEANE I watched your simulation, Mr. Barnes. Very impressive. You know, you're the only one to ever go up against Sid 6.7 who is still alive. PARKER Only because I got pulled out early. DEANE Nobody else ever got anywhere near him. Nobody else. understands him like you do. Parker, looking at her incredulously, moves his index finger circularly, as in get on with it, already. Cox opens a folder and shows Parker several PHOTOGRAPHS of Reilly, or what was left of him. COX These were taken inside LETAC an hour ago. Pretty pictures, are n't they? PARKER I've seen worse. COX Name was Clyde Reilly. Hardware specialist. -LRB- a beat. -RRB- LETAC surveillance cameras got a picture of the perp as he left the building. He hands a photograph of Sid 6.7 exiting LETAC to Parker. COX. -LRB- CONT'D. -RRB- We do n't know how, but Sid 6.7 made himself into an android. DEANE. -LRB- correcting him. -RRB- You mean a nano -- tech synthetic organism. COX Whatever. PARKER. -LRB- looking at the photo. -RRB- Jesus Christ. -LRB- a beat. -RRB- Can you kill it? COX If you can catch him. DEANE Think you can do it? PARKER. -LRB- a beat. -RRB- Not from in here. DEANE. -LRB- revealing a document. -RRB- This is a full pardon. It authorizes your immediate release. She slides an unsigned pardon across the table to Parker, making sure to stay beyond his arm's reach. Cox reveals a worn, L. A. P. D. badge. It was Parker's. COX Recognize this? How would you like your old job back? DEANE. -LRB- to Parker. -RRB- Catch him and your record's clean. PARKER What happens if I ca n't catch him? DEANE If Sid 6.7 has n't killed you, we throw you back in here and you serve out the rest of your sentence. PARKER How do you know I wo n't run? Deane holds up a small device called a LOCATER IMPLANT. It is the size of a dime. DEANE This is the newest technology approved for general implementation. It's called a locater implant. Every parolee gets one. -LRB- a beat. -RRB- We're going to know where you are every second for the rest of your life. COX. -LRB- leaning to Parker. -RRB- If you try to run, I'll hunt you down and kill you myself. DEANE. -LRB- a beat. -RRB- Yes or no, Mr. Barnes? CUT TO: PARKER being given a crew cut by an INMATE BARBER inside the Prison Barber Shop. Long lengths of Parker's hair cover the floor. Parker's face is then shaved. The majority of his face is hidden. Cox and Deane look on. COX There's already a task force out looking for Lindenmeyer. Every other officer in the city will be hunting Sid right along with you. DEANE But only you will know he's not human. Parker's expression is one of -- -- yeah, that figures. Madison enters. She can not see Parker behind the barber. MADISON Ms. Deane, you wanted to see me? DEANE We have an emergency situation which requires somebody with expertise in criminal psychology. Under the authority vested in me by the President, I'm giving you temporary re -- assignment. MADISON What's the assignment? DEANE You're going to put your theories to practice. I'm sending you into the field. The barber moves back from Parker, revealing his clean -- shaven face. It takes Madison a moment to recognize him with his cleaned -- up appearance. MADISON. -LRB- double - taking him. -RRB- Quite an improvement. -LRB- looking him over. -RRB- Hair well above the collar -- -- standard, L. A. P. D. regulation. -LRB- suspiciously to Deane. -RRB- What exactly am I going to be doing in the field? CUT TO:",
"INTERIOR A PRISON HOSPITAL OPERATING ROOM Parker lies on an operating table, receiving anesthesia, as a SURGEON drills a small hole into his skull. The surgeon inserts a minute, fiber - optic camera into the hole. Parker's brain is displayed on a monitor. The surgeon uses the image to guide him as he carefully inserts the locater implant into Parker's brain. ANESTHETIST. -LRB- looking at monitor. -RRB- You are right on the border of his corpus callosuni. SURGEON He is under, is n't he? ANESTHETIST. -LRB- nodding. -RRB- Wo n't stop him from dreaming, though. Parker's rapid eye movements tell you the anesthetist is correct. Parker is dreaming.",
"INTERIOR A VIEWING ROOM Cox and Deane watch the operation through a large window. Madison enters, carrying a folder labelled : INMATE # 673429 A/K/A PARKER BARNES. She withdraws several PHOTOGRAPHS from the folder, placing the first one in front of Deane. MADISON This is Parker Barnes six years ago. The most decorated cop in the history of L. A. P. D. Special Investigations Division. The photograph is in black and white. But as we MOVE IN CLOSER, it takes on color. As well as comes to life. Then distorting. Becoming surreal. Resembling one of the images from Parker's cell. Then mutating into something else. INTERCUT WITH: PARKER'S EYES darting about wildly beneath his eyelids as he continues dreaming. You now realize you are seeing what he is seeing : Flashes of color. Shapes. Mostly blurs. A splash of gold. Along with some yellow. More images from Parker's cell. Both taking feminine form. One adult, one child. MADISON. -LRB- V. 0. -RRB- This is Parker with his wife and daughter. Beautiful young family, were n't they? The bright colors melt into darker, more brooding images. Flashes of men's faces. Melting into urban decay. Unhappiness. Technology. MADISON. -LRB- V. 0. CONT'D. -RRB- This is the group of cyber anarchists Parker was closing in on. Melancholy turns violent. Glimpses of weapons. Death. Explosions. Death. Blood. Death. Caskets. Tombstones. Images moving so fast, it's hard to tell what they are. Nothing literal. MADISON. -LRB- V. 0. CONT'D. -RRB- This is what Parker's wife and daughter looked like after they were kidnapped and executed. Weapons firing. Bombs exploding. Images of rage in all its forms. Many of which you've already seen. Making one thing now clear : the paintings in Parker's cell represent his life. What he was. What he lost. And what he is. MADISON. -LRB- V. 0. CONT'D. -RRB- This is what the cyber anarchists and two people who just happened to be in the wrong club at the wrong time looked like after Parker finished with them. Tears. Hopelessness. Detonation. And finally blackness. Complete and utter blackness. CUT TO: ELIZABETH DEANE looking at the fifth photograph which Madison has placed in front of her inside the Viewing Room. DEANE. -LRB- unfazed. -RRB- That's also where Mr. Barnes lost his arms to Mathew Grimes' booby -- trap. What's your point, Dr. Carter? MADISON. -LRB- forcefully. -RRB- Letting a lunatic like Parker Barnes loose in the free world is like lighting a fuse. At some point, he will go off - you saw what happened in the simulator. The risk to the public is unacceptably dangerous. DEANE Not if you're with him every step of the way. MADISON The man played judge, jury, and executioner with eight people's lives. He lost control and is capable of doing it again. DEANE I understand the risks involved here. But there is nobody better qualified to go after Sid 6.7 than Barnes. And, there is nobody who knows him better than you. If a situation becomes volatile, you will find a way to quell it. I have complete confidence in you.",
"INTERIOR THE OPERATING ROOM As Parker continues dreaming, the locater implant in his head is tested. Parker's location is pinpointed on an electronic map to within one inch of his present location. The hole in his skull is then stitched shut. CUT TO: PARKER putting on his L. A. P. D. uniform and badge inside a Prison Interrogation Room. He looks very much like he did in virtual reality, except for the scar on his cheek, and his empty holster. Cox and Madison look on. PARKER. -LRB- to Cox. -RRB- I do n't need a baby -- sitter. MADISON What you need is a collar. COX. -LRB- to Parker. -RRB- She's going to help you understand what makes Sid 6.7 tick. PARKER What she's going to do is get in my way. Cox hands Madison a thick folder. COX This is the personnel file on the programmer, Lindenmeyer. There might be something in it you can use. PARKER She was n't part of the deal, Cox. COX Fine -- -- you want to stay here? His cellular phone RINGS, which he answers. As he listens to the call, his expression is one of growing concern. He clicks off the phone. COX. -LRB- CONT'D. -RRB- Officers in Toluca Lake just found an affluent couple. completely gutted. -LRB- a beat. -RRB- So were the first two cops to arrive on scene. PARKER Their weapons missing? COX. -LRB- nodding. -RRB- Sid 6.7 is now armed. PARKER Where's my gun? Cox glances to Madison, then hands Parker a.45. COX Be careful with it. CUT TO: AN L. A. P. D. SQUAD CAR passing through the Security Checkpoints outside the Prison. Parker at the wheel. Madison beside him. It's afternoon.",
"INTERIOR THE SQUAD CAR Parker presents his identification to a GUARD, then drives through the final checkpoint. Madison reviews Lindenmeyer's file. MADISON. -LRB- without looking up. -RRB- You remember how to get to Toluca Lake? He glances at her, then stops the car.",
"EXTERIOR THE PRISON GATES Parker gets out of the car. Madison follows suit. MADISON What are you doing?! He walks around the car, brushing past her. Then drops to his knees at the side of the road. He puts his hands in the dirt, feeling the earth between his fingers. PARKER. -LRB- meaningfully. -RRB- Every day for the last five years, I told myself someday I would be out here again. No more bars. No more guards. No more fights just to stay alive. -LRB- a beat. -RRB- Every day for the last five years, I told myself that lie. MADISON It was n't a lie. PARKER Every time I said it, it was. I never really thought I was going to make it. Taking a deep breath, he wipes the dirt off his hands. Then stands. MADISON You all right? PARKER. -LRB- completely at ease. -RRB- Fine. Never felt better in my life. -LRB- a beat. -RRB- See, I'm a good liar. He gets back in the vehicle. Off Madison's reaction, we CUT TO: SEVERAL TV REPORTERS talking live to their cameras on the street in front of a beautiful, suburban home in Toluca Lake, which is now a crime scene. 6 PM. REPORTER. -LRB- to her camera. -RRB- . -RRB- As L. A. P. D. Officers continue gathering evidence at this grisly crime scene, you can only ask yourselves -- -- what kind of lunatic would commit such unthinkable crimes? Parker and Madison make their way through the curious trying to see what's going on. Several REPORTERS double - take Parker, then quickly instruct their PHOTOGRAPHERS to take shots of him. Parker and Madison present their identification to the COPS keeping the curious at bay. COP # 1. -LRB- recognizing Parker. -RRB- Son. of. a. bitch. Parker and Madison continue toward the house. Getting an increasing amount of attention, particularly from the other COPS. Some look on with awe. Some with disdain. But nobody is in between. MADISON. -LRB- quietly to Parker. -RRB- You ready for this? PARKER Do n't worry. If I ca n't handle it, I'll just kill everybody. He gives her a brief smile. Which Madison does not return. One of the other policemen tentatively approaches Parker. COP # 2 I've always wanted to tell you that if the same thing happened to me, I would do the exact same thing as you - if I had the balls. He extends his hand to Parker, who shakes it. COP # 3. -LRB- to Cop # 2. -RRB- Then you'd be a disgrace to the badge, too. He turns to Parker, who is looking right at him. Not with anger. Not with any emotion, really. But it's enough to scare the shit out of Cop # 3, who walks away.",
"INTERIOR THE SUBURBAN HOME Investigators analyze the crime scene extensively with every device imaginable. Parker and Madison survey the scene with nothing but their eyes. Lying in the middle of the living room are the four victims : the affluent couple and the first two cops to arrive. Their bodies were left in similar condition to Reilly's. Except their heads have been interchanged. Parker and Madison turn their attention to a message written in blood on a wall. It reads : DEATH TO THE PIGS. MADISON. -LRB- knowledgeably. -RRB- He was re -- enacting Charles Manson's LaBianca murders. PARKER Manson did n't kill the first cops to arrive on the scene. MADISON Whoever did this wanted to do Charlie one better -- -- to improve upon what was already done. PARKER Charlie? You say that like you're close, personal friends. MADISON I've spent over 50 hours interviewing him. -LRB- a beat. -RRB- Charlie killed Leno and Rosemary LaBianca because of the ugly way the members of his family had butchered Sharon Tate. After seeing the blood bath on television, he wanted to show them how it should be done. -LRB- a beat. -RRB- The question is, what does Charlie have to do with Sid 6.7? PARKER I know who would know. CUT TO:",
"EXTERIOR LINDENMEYER'S DUPLEX in Culver City. Magic hour. Parker pulls the squad car into a space across the street. Hitting the vehicle parked in front of them. In which two UNDERCOVER COPS sit waiting to see if Lindenmeyer returns. Parker waves apologetically. MADISON. -LRB- sarcastically. -RRB- You drive well for somebody who has n't done it in five years. He ignores her as they get out of the car. PARKER Learn anything from Lindenmeyer's file? MADISON He had a twin brother who was a musical child prodigy who died in an electrical accident at age eight. Lindenmeyer went into an emotional shell until was 17. All he did day and night was play the violin. PARKER What happened when he was 17? MADISON Every music school in the country rejected him and he turned to computers. -LRB- a beat. -RRB- Stay here. She approaches the cops, who remain in their car. MADISON. -LRB- CONT'D. -RRB- Any sign of Lindenmeyer? UNDERCOVER None, yet. MADISON Mind if we take a look inside? UNDERCOVER Not until somebody gets a search warrant signed. It's Sunday. I do n't think they've even found a judge, yet. WHAM! They all turn their heads to see Parker has kicked in Lindenmeyer's front door and is going inside. UNDERCOVER. -LRB- CONT' D. -RRB- -LRB- shaking his head. -RRB- I'm gon na have to call this in. MADISON Do what you've got to do. -LRB- running after Parker. -RRB- So will I.",
"INTERIOR LINDENMEYER'S DUPLEX Madison races through the broken front door to find Parker checking his weapon. Before she can speak, he motions for Madison to freeze and be silent. Parker hears Something. Something moving inside the duplex. His every movement is now that of a predator. Madison awkwardly removes her own weapon from her purse. She does not handle it with confidence. Parker shakes his head. MADISON. -LRB- quietly. -RRB- You've got a problem with me carrying a gun? PARKER Do me one favor -- -- if you shoot at anything, make sure I'm nowhere near it. Parker bolts through the duplex, storming into rooms furiously. His movements are aggressive. Madison searches other rooms methodically. She is not timid. Just inexperienced in the field. She passes a video camera mounted on a tripod. Pointed out the window at a neighbor's bathroom. Dozens of cassettes surround the tripod. The labels are dated -- -- covering every day of the last month. Parker and Madison enter opposite sides of the kitchen with their guns drawn, nearly shooting each other. Madison puts down her gun. Parker does not. The noise persists. PARKER. -LRB- looking through his sight. -RRB- Bang. He smiles wickedly, and continues on. Madison takes a deep breath, then resumes her search. Parker and Madison end up",
"INTERIOR LINDENMEYER'S HOME OFFICE It's as if the Information Superhighway ended in here. Cluttered stockpiles of hardware and software : computers, books, folders, disks, and tapes. What you notice, however, is that ALL THE DATA relates to DIFFERENT KINDS of CRIMINALS : serial killers, mass murderers, terrorists, kidnappers, rapists, bombers, extortionists, anarchists, you name it, it's here. The psychology of, the methodology of, the history of, the encyclopedia of, the autobiographies of human villainy. CLASSICAL MUSIC and life -- like SOUND EFFECTS can be heard coming from a computer. This is what Parker has been hearing. He holsters his sidearm. So does Madison. Who checks her pulse. PARKER What are you doing? MADISON. -LRB- clinically. -RRB- Checking my pulse. It's elevated. -LRB- a beat. -RRB- You enjoy frightening me, do n't you? PARKER You've studied me, now I'm studying you. Seems only fair, do n't you think? ON THE COMPUTER MONITOR An animated man, who resembles Lindenmeyer, walks peacefully through a park. He then starts killing everything in sight. Men, women, squirrels, even flowers. All to classical music. The scene immediately starts over, with the man once again walking peacefully through the park. This was Lindenmeyer's SCREEN SAVER.",
"INTERIOR LINDENMEYER'S OFFICE Looking around the room, Madison shakes her head. MADISON This Lindenmeyer's a real piece of work. PARKER. -LRB- looking at a book shelf. -RRB- Maybe after they catch him, you should write a book about him. He runs his finger along a book shelf, pausing at two books in particular. Their titles are : UNDERSTANDING THE CRIMINAL MIND, and CRIMINAL PURSUIT - A PSYCHOLOGICAL GUIDE FOR LAW ENFORCEMENT. They were written by Dr. Madison Carter. PARKER. -LRB- CONT'D. -RRB- I'm surprised you did n't write one about me. MADISON I'm still working on it. Noticing something on the floor, she picks up a bizarre looking synthesizer keyboard off the floor. You read its name : MAESTRO. MADISON. -LRB- CONT'D. -RRB- Remember a few years ago when music schools were using a computerized teaching tool that accidently started frying kids' brains? PARKER I've been in prison, remember? MADISON The government must have figured there was no better person to create a psycho than a psycho. PARKER Just like they figured there was no better person to catch one. Madison elects not to respond. She sits down at the computer, which rests between busts of Beethoven and Mozart, and begins typing at the computer. She works with efficiency. Knowing exactly what she's doing. She is now in her element. From a shelf, Parker picks up a moldy piece of licorice inserted into a half - eaten pudding cup. Then flips through one of the books written by Madison. Only half - interested. MADISON. -LRB- keeping her eyes on screen. -RRB- I am the demon from the bottomless pit. PARKER. -LRB- remembering, not reading. -RRB- . here on earth to create havoc and terror. I am War, I am death. I am destruction. David Berkowitz, 1977. MADISON I am impressed. PARKER. -LRB- quoting. -RRB- For murder, though it have no tongue, will speak with most miraculous organ. MADISON Who said that? PARKER Hamlet. -LRB- a beat. -RRB- What's David Berkowitz got to do with Sid 6.7? MADISON. -LRB- pointing to the screen. -RRB- He's part of the mix. Sid 6.7 is a composite. ON THE COMPUTER SCREEN The graphics show you that Sid 1.2 was a combination of Charles Manson and Billy the Kid. You see what look like two viruses, which represent each criminal's psychological profile, attacking each other. The result is a molten blob. Berkowitz was added to create Sid 1.3. A three - way psychological battle, more hostile than the first, occurs. Sid 1.4, adding the terrorist, Abu Nidal, makes the conflict even more violent. And so on.",
"INTERIOR LINDENMEYER'S OFFICE Madison stares at the computer screen in awe. Parker flips through CD - ROM hard copies of the different versions of Sid. MADISON Lindenmeyer put increasingly complex combinations of criminal psychological profiles together to develop the ultimate villain. PARKER. -LRB- understanding. -RRB- Creating a whole far more dangerous than the sum of its parts. MADISON But rather than selecting pieces from each individual, he simply let the stronger traits of each individual cannibalize the weaker ones. She continues opening the files of the higher versions of Sid. Version 5.9 consists of 67 different profiles. The visualized psychological battle is intense. And extremely violent. The 6.7 version, with 183 profiles, is even worse. MADISON. -LRB- CONT'D. -RRB- It's a good bet a couple of the dominant personalities teamed up to overpower the others. -LRB- a beat. -RRB- The question is, which one of the dominants then finally managed to take control? Attempting to open the files of the composite profiles, Madison discovers they are protected by encryption. MADISON. -LRB- CONT'D. -RRB- -LRB- re : Lindenmeyer. -RRB- . -RRB- He'll let us see the ingredients that went in, but not how the soup turned out after stirring. Madison scrolls through the list of 183 names, stopping at the name MATHEW GRIMES. Alarm registers on her face. As Parker comes over to look over her shoulder, she quickly scrolls through the list to get the name off the screen. He holds the Sid 6.7 CD - ROM in hand. PARKER This is getting you pumped up, is n't it? This is like the World Series to you. MADISON As a matter of fact, it is. Parker points to a name on the screen : JEFFREY DAHMER. PARKER Remember the bowling ball bag Sid carried with him in virtual reality? MADISON Dahmer carried the head of one of his victims in a bowling bag for over a week. Kept it in his locker while he was at work in a candy factory. -LRB- re : Sid 6.7 CD - ROM. -RRB- We need to get a look at Sid 6.7's final profile. PARKER What we need to do is stop playing with computers and go catch the son -- of - a - bitch before he kills anybody else. MADISON In order to find him, we have to understand what makes him tick. CUT TO: THE SID 6.7 CD - ROM being inserted into a disc drive inside the Cal Tech Computer Lab. Very high - tech. Sitting at the computer is ALEXIEV BORGEN, 60s, the `` grand old wizard'' of the facility. Parker and Madison sit next to him. Around them, young Lindenmeyers are everywhere. ALEXIEV. -LRB- remembering fondly. -RRB- . -RRB- Daryl Lindenmeyer was only here briefly, one semester at most. But he was singularly the most brilliant student I ever had in a classroom. He created programs so beautiful, so lyrical, they were almost like symphonies. PARKER Can you tell us what's on the disc? ALEXIEV. -LRB- working the computer. -RRB- . -RRB- There is one program with approximately 1.3 million lines of programming. It is thoroughly secured, which is not surprising considering Lindenmeyer created it. MADISON Think you can get into the program? ALEXIEV. -LRB- with appreciation. -RRB- . -RRB- Hard to say -- -- Lindenmeyer's protection mechanisms were always diabolically clever. PARKER You should see what he's been up to recently. CUT TO: A YOUNG COUPLE kissing passionately inside a car parked along a deserted street in Hollywood. Music blares from inside the vehicle. Steam on the windows partially obscures your view. As well as Sid 6.7's. He stares menacingly through the side window. Enjoying the show. His eye momentarily wanders. The young lovers are completely oblivious. Sid 6.7 caresses the gun taken from the cops in Toluca Lake as if it stimulated him. SID 6.7. -LRB- to himself. -RRB- The Dahmer part of me wants to boil you for dinner. The Manson part wants to recruit you to become part of my family. -LRB- a beat. -RRB- You know what the Berkowitz part of me wants to do? He raises the gun, placing it against the steamed window. But does NOT pull the trigger. His face going through a rapid change of expression -- -- as if a battle for control of his emotions were going on. Regaining control, Sid 6.7 lowers the gun. He stands back. Reflecting. SID 6.7. -LRB- CONT'D. -RRB- Craft can only become art when the creator sets his sights on something never yet achieved. -LRB- a beat. -RRB- Like an apprentice about to become a master, the imitator is about to become an originator. He pockets his weapon and walks",
"INTERIOR AN UPSCALE NIGHTCLUB The bartender is a low - tech ROBO - TENDER. PATRONS sit quietly, drinking themselves into oblivion. Sid 6.7 takes a seat next to an BUSINESSMAN slumped at the bar. SID 6.7. -LRB- thoughtfully. -RRB- Ever have one of those days where you decide something important about yourself? You know, where you say, `` I'm not just what I've been programmed to be. I can do what I want, when I want, how I want, because I'm my own person?'' BUSINESSMAN. -LRB- slurring. -RRB- You one of them New Age assholes? SID 6.7 Just a soul on a personal journey. What I've realized is that I'm capable of anything. I have to start expanding my horizons. The Robo - Tender rolls over to Sid 6.7. ROBO - TENDER. -LRB- digital, scratchy. -RRB- Want. a. drink? SID 6.7 To think you constitute one of my ancestors -- -- He shoots the Robo -- Tender between his mechanical eyes. The businessman smiles, like he's thought about doing exactly the same thing. BUSINESSMAN Listen, buddy. thinking big is fine. but you should n't forget where you come from, either. Sid 6.7 thinks about it. Long and hard. SID 6.7 You know, you're absolutely right. -LRB- pointing. -RRB- Would you mind sitting over there? He points to a table with several other BUSINESSMEN. BUSINESSMAN What for? SID 6.7 Every orchestra is divided into sections. Like instruments sit with like instruments. Now be a good instrument and sit with your kind. He lifts the businessman off his bar stool and carries him to the table. CUT TO: AN ELECTRONIC MAP OF LOS ANGELES on which a RED DOT moves west along a street in Los Feliz. The map occupies a wall inside Chief Cox's Office in the L.A.P. D. Downtown Headquarters. Cox, Wallace and Deane look on. DEANE What are they doing in Los Feliz? COX. -LRB- checking his records. -RRB- Madison lives two blocks from their present location. DEANE Why would they be going there? COX I do n't know. DEANE I wish we could hear them. WALLACE My engineers say the audio tap should be ready to field test in six months. Off Cox's look, we CUT TO:",
"INTERIOR PARKER'S SQUAD CAR Parker drives through a residential neighborhood. 9 PM. Madison points to a house on the right. MADISON Not this one, but the next one. The one with the bicycle out front. Parker stops in front of a modest, but well -- kept, house. PARKER I'll wait out here. Madison pockets the car keys, then reveals a pair of handcuffs. She latches one cuff to the steering wheel, and holds up the other toward Parker. MADISON Give me your wrist. PARKER Give me a goddam break. I'm not going to go anywhere alone. MADISON And I'm going to make sure of it. -LRB- not wavering. -RRB- Give me your wrist. Parker relents, and holds up his wrist. Madison places the cuff around it, then gets out of the car.",
"EXTERIOR MADISON'S HOUSE Madison walks up the steps to the front porch. She is immediately intercepted by her daughter, KARIN, 7, who bursts out of the front door and leaps into her arms. KARIN Mommy's home! Mommy's home! Karin's BABY - SITTER opens the door for Madison as she carries her daughter inside. Parker stares from squad car in surprise. Even disbelief. He had no idea Madison was a mother. Moments later, Karin comes back out and sits on the front steps. Staring at Parker. With fascination. Curiosity. Wondering who this strange man is, and why he's sitting in a police car outside her house. But not saying a word. Parker stares back as if carrying on a silent conversation with her. A multitude of expressions passing over his face as memories of his own daughter flash through his mind. CUT TO:",
"INTERIOR MADISON'S BEDROOM Madison sits at a desk, typing quickly at a computer. Via modem, she connects with the L. A. P. D. Criminal Library. She rifles through data concerning MATHEW GRIMES, who was the leader of a cult of cyber anarchists. He was known as the Charles Manson of technological terrorism. ON HER COMPUTER SCREEN From both newspaper ARTICLES and news FOOTAGE, the following information about him becomes clear : Grimes was an expert at media manipulation. He delighted in publicly humiliating anyone who stood in his way. The Mayor of Los Angeles, Bob Bennett, who offered increasingly higher rewards for Grimes' capture, was Grimes' primary nemesis. L.A.P.D. Special Investigations Division Officer Parker Barnes managed to stop Grimes from killing Mayor Bennett. Grimes retaliated by repeatedly humiliating Parker with false leads and lawsuits. You see footage of a woman lying dead in an alley. A note is pinned to her clothing. The note reads : `` HEY, PARKER, THIS ONE'S FOR YOU.'' Grimes then kidnapped Parker's wife and daughter. Parker located the group in a club, but only in time to witness their deaths. Parker then killed everybody in the club, including the six cult members and two completely innocent people.",
"INTERIOR HER BEDROOM Madison stares gravely into the screen. MADISON Grimes, you better not be the dominant. CUT TO:",
"EXTERIOR MADISON'S HOUSE Parker and Karin continue staring at each other in silence. He smiles. Then she smiles. She wiggles her nose. Then so does he. Madison comes out wearing fresh clothing, then kisses her daughter good night. As Madison goes to the squad car, Karin waves good - bye to Parker. He does the same. Karin's babysitter then leads her back inside the house.",
"INTERIOR PARKER'S SQUAD CAR Madison gets in, immediately noticing the handcuffs dangling from the steering wheel. Parker has been free the entire time. PARKER Told you I was n't going to go anywhere. MADISON How did you get your hand out? As she unlocks the handcuffs from the steering wheel, Parker wiggles his mechanical hand in front of her face. PARKER Sometimes, I like being part machine. Annoyed, Madison tosses him the car keys. He starts the engine and drives. PARKER. -LRB- CONT'D. -RRB- Why did n't you tell me you had a daughter? MADISON I prefer keeping my professional life separate from my personal life. PARKER. -LRB- a beat. -RRB- She's beautiful, you know? MADISON Thank - you. -LRB- a beat. -RRB- Her name is Karin. She turns on the police radio. PARKER Want to tell me the real reason we stopped at your house? MADISON I told you, it was on the way and I wanted to change clothes. PARKER You should practice lying more often. You're awful at it. -LRB- a beat. -RRB- Where to? MADISON. -LRB- a beat. -RRB- Sid 6.7 is no longer bound by his programming. PARKER What does that mean? MADISON Now that he's in the real world, there are no longer limitations on his behavior like there were in virtual reality. Sid is going to evolve. PARKER Sounds to me like a well -- educated way of saying you have no idea what to do next. MADISON What I do know is that whatever he's becoming, Sid 6.7 is going to be even worse than he was before. PARKER Then all we can do is stay mobile and alert. He's got to make a move sometime, and we've got to be ready when he does. -LRB- a beat. -RRB- Welcome to police work. You better like coffee. He turns up the police radio. CUT TO:",
"INTERIOR THE UPSCALE NIGHTCLUB Sid 6.7 has separated the patrons into four separate groups : older men and woman, and younger men and woman. All are frozen in their seats with fear. Sid 6.7 points his gun at one group, then another, waving his arm as if he were a conductor, and as if his gun were a baton. Sid 6.7 clearly enjoys this game of terror. He delights in the patrons' fear, and revels in his power over them. SID 6.7 Good. Very good. Nice. -LRB- pointing at a woman. -RRB- You - in the middle - do n't hold back. Give it to me! He fires his gun just above her head. She SCREAMS in terror. SID 6.7. -LRB- CONT'D. -RRB- That's better. He continues aiming his gun from face to face, seeking ever increasing emotional responses from his `` instruments.'' A guy entering the bar does a quick about face. Gone by the time Sid 6.7 glances at the door. SID 6.7 God, I hate interruptions. -LRB- to the patrons. -RRB- Once again, from the top -- -- BOOM! He shoots again, just missing a man's foot. CUT TO: MADISON buying two coffees from a downtown street vendor. She returns to the squad car, which is barely moving. Traffic is at a near standstill because of an accident.",
"INTERIOR THE SQUAD CAR Parker drinks his coffee black. Madison adds two creams, two sugars. The cackling from the police radio continues unabated. PARKER I forgot what real coffee tastes like. MADISON You know, considering you've only been out of prison for seven hours, you're re -- adapting quite well. -LRB- a beat. -RRB- Wait, I did n't mean that the way it sounded. I meant. PARKER Do n't worry about it, all right? MADISON Dammit, I hate sounding so clinical all the time. All I meant to say was I thought you were doing well, but then I. PARKER Relax. I know what you meant. MADISON I ruin so many moments by analyzing them when I should just be living them. PARKER Then why do n't you start practicing and keep your mouth shut for a while? Madison stops herself from speaking. It is n't easy for her. Parker cracks a faint smile. YOU HEAR the police radio. DISPATCHER. -LRB- V. 0. -RRB- . report of a possible hostage situation inside a bar on the corner of Figueroa and Sixth. Description of the perp matches the surveillance photographs from LETAC taken this morning. MADISON That's only a couple blocks from here. PARKER I'll meet you there. Tossing his coffee out the window, he opens the door. MADISON. -LRB- deadly serious. -RRB- Do n't get out of the car. PARKER Stop me. He gets out, running down the sidewalk. He flies past the cars inching down the block. MADISON Parker! PARKER! -LRB- a beat. -RRB- Shit! She climbs into the driver's seat, spilling hot coffee on herself. ON SIXTH STREET Parker bolts recklessly through the downtown street. A hunter hot on the trail of his prey in an urban jungle. CUT TO:",
"INTERIOR THE UPSCALE NIGHTCLUB Sid 6.7 gently caresses the hair of a terrified young WOMAN sitting among several others. You hear the sound of tires SCREECHING to a halt outside. Sid 6.7 remains unconcerned. He toys with the Woman, pointing the gun in her face, then pulling it back. Her expression changes instantly. Dramatically. SID 6.7 I just love how responsive you are. COP L. -LRB- 0. S. -RRB- Freeze! TWO COPS stand in the doorway, weapons aimed at Sid 6.7. The Cops inch closer to him. SID 6.7. -LRB- not turning around. -RRB- The ushers were not supposed to seat you until intermission. COP # 1 Put the gun down, nice and. Sid 6.7 spins around and fires twice before he can finish his sentence. Both Cops receive IDENTICAL wounds in their shooting arms, reminding you of the wounds Parker and John first received in the opening virtual reality sequence. Sid 6.7 takes a bow, as if on stage. SID 6.7 Thank you, ladies and gentlemen, you've been a real pleasure. As he walks toward the exit, he admires himself in the mirror behind the bar. Sid 6.7 has never seen his own image in the real world before. He likes what he sees.",
"EXTERIOR THE UPSCALE NIGHTCLUB Street traffic is much lighter here. Sid 6.7 exits, getting into the vacant police car left by the cops.",
"INTERIOR THE COPS' VEHICLE Sid 6.7 adjusts his seat. The rearview mirror. Glancing at himself. Then behind him. HIS POV - IN THE REARVIEW MIRROR Parker becomes visible racing around the corner. Running like a dog who's got the scent.",
"INTERIOR THE COPS' VEHICLE Sid 6.7 looks pleased. SID 6.7 Well, look who it. CRACK! A bullet spiderwebs the rear window. Sid 6.7 punches the gas, taking off in a hurry.",
"EXTERIOR THE UPSCALE NIGHTCLUB Parker races after Sid 6.7, firing his weapon continuously. WITHOUT CARE for the innocent MOTORISTS nearby. They SCREAM in absolute terror, but remain unharmed. Physically, anyway. Parker gives up the chase of Sid 6.7's vehicle and runs in the other direction. Toward Madison as she rounds the corner in their squad car.",
"INTERIOR PARKER'S VEHICLE He opens the driver's side door and shoves Madison over. MADISON What the hell's going on?! PARKER This is my area of expertise. He jumps behind the wheel, flooring the accelerator. Speeding through the already frightened motorists. Madison is pinned to the back of her seat. Looking out the window, she looks at the motorists. MADISON. -LRB- with concern. -RRB- What did you do to those people? PARKER Nothing. ON THE STREET Parker's vehicle speeds through city streets. Gaining ground on Sid 6.7. Parker stops for nothing. Not for red lights. Not for gridlock. When the street becomes impassable, he veers onto the sidewalk.",
"INTERIOR PARKER'S VEHICLE Parker's eyes are locked to the road with fierce determination. Madison's eyes are a mixture of fear and excitement. She holds onto the door handle for dear life. PARKER Being on the street's a little different than sitting in an office all day, is n't it? MADISON. -LRB- gritting her teeth. -RRB- Enjoying yourself? PARKER You know I am. MADISON This is n't a game, Parker! PARKER. -LRB- re : Sid 6.7. -RRB- Tell him. SID 6.7. -LRB- V. 0. -RRB- -LRB- over police radio. -RRB- . -RRB- Glad to see you're on the case, Officer Barnes. Or should I say, inmate 673429. MADISON. -LRB- in disbelief. -RRB- That who I think it is? Parker turns to her, then picks up the radio. PARKER. -LRB- into radio. -RRB- Call me whatever you want, asshole. Parker accelerates even faster. Closing the gap between them and Sid 6.7. INTERCUT WITH:",
"INTERIOR SID 6.7'S VEHICLE Sid 6.7 drives dangerously fast, causing an accident, around which Parker must circumnavigate. Tires SCREECH. Glass SHATTERS. Sid 6.7 hangs his head out the window. SID 6.7. -LRB- into radio. -RRB- The symphony of collision. PARKER The only thing I want to hear is your silence. SID 6.7 I must make them very nervous if they let you out of prison. -LRB- a beat. -RRB- You know, we have so much in common -- -- we have such history together -- -- I've been thinking we should become friends. Madison's anxiety tanks are hitting capacity. PARKER. -LRB- into radio. -RRB- You and me have nothing in common. SID 6.7 Who else do you know who touches the world with synthetic hands? Parker glances at his mechanical hands gripping the wheel. Madison ca n't believe he is able to carry on a conversation while driving like this. SID 6.7. -LRB- CONT'D. -RRB- Who else do you know who's been locked out of the real world for years, and is now just learning to be free? -LRB- a beat. -RRB- Who else do you know is a multiple murderer just like you? Who else. Madison clicks off the radio. MADISON You have nothing in common. She puts her hand to her wrist - checking her pulse. PARKER. -LRB- shaking his head. -RRB- Enough with your pulse already. -LRB- a beat. -RRB- Still got your gun? Madison takes out her weapon. Her hands are shaking. PARKER. -LRB- CONT'D. -RRB- Show me you can use it. ON THE STREET Sid 6.7's vehicle reaches absolute gridlock. Nobody's going anywhere for a while. Sid 6.7 SLAMS on the brakes and abandons the car, leaving it right in the middle of the street. A TRAFFIC COP with his weapon trained on Sid 6.7 from a distance. TRAFFIC COP You better be a cop, pal! SID 6.7. -LRB- raising his arms. -RRB- My badge is in my jacket. Left pocket. TRAFFIC COP Show me. Sid 6.7 slowly reaches inside his jacket and fires his weapon through it. He only gets a hole in his jacket. The Traffic Cop gets a hole through his chest. SID 6.7 God, some people are stupid. He aims his weapon at Parker's oncoming vehicle.",
"INTERIOR PARKER'S VEHICLE Madison leans out the window, aiming her gun at Sid 6.7, as Parker speeds toward the gridlock. PARKER Nail the fucker. Madison's determination battles her inexperience. Sid 6.7 gets off the first shot. CRACK! That was the windshield by Parker's head. He ducks down, driving blind. PARKER. -LRB- CONT'D. -RRB- Any time now. Madison fires. Nowhere close. She adjusts her sights and fires again. The result is the same. PARKER What's the problem? MADISON I'm doing the best I can! BOOM! That was Sid 6.7 shooting their front left tire. Parker loses control of the vehicle. ON THE STREET Parker's vehicle SLAMS into a car stopped in front of them. Air bags save Parker and Madison from injury, but also prevent them from getting out of the car with any speed. By the time they do get out, Sid 6.7 is long gone. Parker stares at Madison with pure hatred. CUT TO:",
"INTERIOR A CONFERENCE ROOM in the L. A. P. D. Downtown Headquarters the next morning. Chief Cox stares angrily at Parker. Madison sits next to him. Behind them is a mirrored wall. COX. -LRB- reading from a list. -RRB- . illegal search of Lindenmeyer' s duplex. Eleven civilian vehicles damaged or destroyed. Twenty -- four citizen complaints. And the calls are just starting to come in. -LRB- to Parker. -RRB- I forgot what it's like to have you on the streets. MADISON Any sign of Lindenmeyer? COX None. He could be hiding, he could be helping Sid, or could be in little pieces on Santa Monica beach. -LRB- a beat. -RRB- Any idea what Sid's going to do next? MADISON Until we know what new influences are affecting him, we ca n't be sure. COX In other words, we collectively do n't know shit.",
"INTERIOR THE ADJACENT ROOM Wallace and Deane look on through the two -- way mirror. Deane is on the phone. WALLACE. -LRB- re : Parker. -RRB- It makes me nervous just seeing him in a uniform. -LRB- a beat. -RRB- I will never forget the first time I saw the photos from the crime scene. DEANE. -LRB- hanging up the phone. -RRB- Neither will the public. -LRB- a beat. -RRB- The media has caught wind of his pardon. Unless Mr. Barnes starts giving me some tangible results, I'm going to put him back in his cage. CUT TO: ON A TELEVISION The news is in progress. A REPORTER continues. REPORTER Police now believe there to be a connection between the grisly Toluca Lake murders yesterday afternoon, and the hostage situation which occurred last night in a downtown bar.",
"INTERIOR A SUPERMARKET The TV is one of many mounted above the check -- out counters. CUSTOMERS waiting in line with their shopping carts watch the news with varying degrees of horror, disgust, curiosity, and fear. The stronger their reaction, the more Sid 6.7 enjoys it. He is waiting in line holding a box of Twinkies. CASHIER Next. -LRB- eyeing the Twinkies. -RRB- Did you know those are n't even baked? They're chemically -- risen. SID 6.7. -LRB- a beat. -RRB- So was I. Off the cashier's look, we CUT TO: DARYL LINDENMEYER watching the news on a pocket TV on a wooden bench that morning. Both proud and horrified at the monster he has unleashed upon the world. You hear CLASSICAL MUSIC in the background. Lindenmeyer begins to laugh. Uncontrollably. The sounds echoing. As WE PULL BACK, you realize the bench is one of many inside the Hollywood Bowl. Lindenmeyer is the only person sitting in the stands. He glances down at the members of the Los Angeles Philharmonic as they rehearse for an upcoming performance. Whatever the event is, it's going to be big. Dozens of technicians surround the stage, setting lights, cameras, microphones, etc. for a live, pay -- per -- view broadcast. CUT TO: ALEXIEV BORGEN talking on a phone inside the Cal Tech Computer Lab. ALEXIEV I'm afraid I do n't have very good news. INTERCUT WITH: PARKER AND MADISON on the speakerphone inside Cox's Office. MADISON Were you able to get into the program? ALEXIEV Yes. But then I tripped over an erasure mine. PARKER In English, please. ALEXIEV I accidently triggered a protection mechanism which erased the entire program. Parker and Madison turn to each other - -- shit. ALEXIEV. -LRB- CONT'D. -RRB- It was very well -- hidden. There was no way to see it until it was too late. PARKER. -LRB- a beat. -RRB- It's not your fault. We appreciate you trying. ALEXIEV Look, I feel bad about this, so I'm going to try to look into the programming of his Maestro teaching tool for you. -LRB- holding up keyboard. -RRB- . -RRB- I've had one sitting around for years. Maybe I can learn something that you'll find useful. MADISON Let us know. CUT TO: SID 6.7 walking along a sidewalk. Noon. Something in a store front catches his attention. Namely, his own image being captured by a video camera pointed at the sidewalk. He is standing outside a large electronics store. Sid 6.7 walks closer to the window, moving into a CLOSE -- UP. He is captivated by his image. Fascinated. And intrigued. This is the first time he has ever seen himself on screen.",
"INTERIOR THE ELECTRONICS STORE Dozens of TVs on display. There is a different channel on each. The audio/visual bombardment is overwhelming. Sid 6.7 enters, making his way to a big screen TV with the local news in progress. REPORTER. -LRB- from the TV. -RRB- . commuters travelling anywhere near the Biltmore Hotel downtown tomorrow evening should allow themselves at least 30 extra minutes to get home. Security for the Mayor Bennett's Re -- Election Rally is going to be so tight that all bus and subway routes passing through the area are being re -- routed. Sid 6.7 changes the channel to a different news broadcast. Parker's Folsom County Prison I. D. photograph is shown alongside a photograph of Madison from one of her book covers. SID 6.7. -LRB- to the TV. -RRB- Do n't you two make a pretty couple. The news broadcast zooms in on Parker's picture. Sid 6.7 wiggles his synthetic fingers in front of his face. SID 6.7. -LRB- CONT'D. -RRB- We really do have so much in common. But I refuse to be upstaged. He changes the channel back to the first news broadcast. A reporter stands amid the chaos outside the bar where Sid 6.7 had terrified the patrons. Sid 6.7 turns to the other CUSTOMERS in the store. Most of them are watching other channels. He goes over to a control pad on a counter and presses several buttons. Now EVERY TV in the store has the news with the reporter outside the bar on. A SKINHEAD, sporting numerous Nazi swastika tattoos, manually changes the channel on one of the TVs to a Dodger baseball game. Sid 6.7 walks over to the Skinhead and changes the channel back to the news. SKINHEAD You do n't wan na fuck with me, man. He moves to the next TV over and changes the channel to the baseball game. Sid 6.7 moves over with him, standing directly behind the Skinhead as if also interested in the Dodgers. SID 6.7. -LRB- singing softly. -RRB- Take me out to the ball game. Take me out for the fun. He places his hands on the Skinhead's head and efficiently snaps his head around, breaking his neck. SID 6.7. -LRB- CONT'D. -RRB- Buy me some peanuts and Cracker Jack. I do n't care if I ever come back. He drops the Skinhead to the floor, never once taking his eyes off the TV. ON THE TV A Dodger game is in progress. A pop fly is caught by the center fielder. The runner at third tags and heads for home. The play at the plate is close. The umpire calls the runner out. The camera pans to the MASSIVE SCREEN over left field to show the instant replay. Reactions of fans around the stadium are shown in CLOSE -- UP. The fans also respond to seeing themselves on the massive screen.",
"INTERIOR THE ELECTRONICS STORE Sid 6.7 watches the TV intently, completely ignoring the horrified customers circling around him because of the dead Skinhead at his feet. A SALESMAN, who'd been demonstrating a videocamera, tapes Sid 6.7 from behind a customer. SALESMAN'S POV - HANDHELD VIDEO As Sid 6.7 realizes he's being videotaped, his entire face seems to light up. Playing directly to the camera, he clearly loves being in the spotlight. The attention. The focus. It's suddenly as if he's had years of training. He is completely at ease. And simply captivating. SID 6.7. -LRB- direct address. -RRB- I'm sorry I ca n't do more for you. -LRB- pointing to the Skinhead. -RRB- Public service really is n't my forte. He walks into an EXTREME CLOSE - UP and kisses the lense. Then reaches out of frame to help the increasingly -- shaky salesman steady the camera. SID 6.7. -LRB- CONT'D. -RRB- But rest assured. -LRB- a beat. -RRB- A star is born. WE PULL BACK TO REVEAL you're now watching a recording of Sid 6.7 on videotape, along with Parker, Madison, and a dozen other COPS, inside the Electronics Store an hour later. The tape is re -- wound. MADISON. -LRB- to Parker. -RRB- Whatever he was doing here was only the start. PARKER Start of what? MADISON I do n't know, yet. What we do know is his performances are increasing in scale, not decreasing. -LRB- a beat. -RRB- Whatever it is, he is n't finished. She moves closer to the screen as the tape is played back. Madison studies Sid 6.7 intently. SID 6.7. -LRB- 0. 5. -RRB- -LRB- recorded. -RRB- But rest assured. -LRB- a beat. -RRB- A star is born. MADISON. -LRB- to another cop. -RRB- You mind playing that part again? Her request is obliged. MADISON Freeze it there -- -- She stares at Sid 6.7, who is looking directly at her. MADISON. -LRB- CONT'D. -RRB- -LRB- as if to Sid 6.7. -RRB- You've discovered media, have n't you? You like the attention. the power. You like being a star. What are you going to do next, star? What are you going to. Her attention turns to the upper right corner of the screen, where onlookers are visible watching Sid 6.7. Their faces blurry. But even out of focus, it is n't hard to recognize Lindenmeyer. MADISON. -LRB- CONT'D. -RRB- -LRB- as if to Lindenmeyer. -RRB- You do like to watch, do n't you? -LRB- to the surrounding cops. -RRB- If any of you are looking for Daryl Lindenmeyer, that's him. She points to Lindenmeyer, then makes her way over to Parker, who's standing exactly where Sid 6.7 was when he killed the Skinhead. Parker does not look at Madison. His eyes are fixed on the TV in front of him. MADISON. -LRB- CONT'D. -RRB- It's not just Sid 6.7's performances that are increasing. Stars need bigger and bigger audiences. -LRB- a beat. -RRB- Whatever Sid is going to do next, it's going to involve media. PARKER You like baseball? ON THE TV The baseball game continues. Players take the field at the start of a new inning. The outfielders ca n't help but glance at the beautiful WOMAN being shown in CLOSE - UP on the massive screen over left field. ANNOUNCER. -LRB- V. 0. -RRB- I'll tell you, whoever's operating the stadium's closed -- circuit cameras must have fallen in love because that beauty in J Section has been on the stadium's big screen for over a minute now.",
"INTERIOR THE ELECTRONICS STORE He grabs a police radio from a nearby OFFICER. PARKER. -LRB- urgently into radio. -RRB- This is Officer Parker Barnes. Get every able body you can to Dodger Stadium - J Section. OFFICER What the hell's going on? PARKER. -LRB- re : TV. -RRB- Live execution.",
"INTERIOR DODGER STADIUM On the massive screen over left field, the Woman in CLOSE - UP looks embarrassed, trying to forget her face is now 40 feet high for all the other fans to see. ANNOUNCER. -LRB- V. 0. -RRB- That's enough with the close - up already, Mr. DeMille. Even the players are starting to get distracted. The players on the field are all looking up at the massive screen.",
"INTERIOR THE STADIUM CONTROL BOOTH The Woman's face appears on various monitors. The phone RINGS. No one answers it. The room appears to be empty. The stadium's closed - circuit TV director is not in his chair. He's lying dead on the floor. ON THE J SECTION CAMERA PLATFORM The closed -- circuit camera remains focused on the Woman. The camera is locked off. It's operator lies dead beside it. THROUGH ITS VIEWFINDER Sid 6.7 can be seen arriving next to the Woman. He gently caresses her hair. IN J SECTION Sid 6.7 stands in front of the Woman's BOYFRIEND, who sits next to her. BOYFRIEND You make a better door than a window, buddy. Keep it moving. Sid 6.7 picks him up out of his seat and throws him three rows ahead. Sid 6.7 then puts hands around the Woman's throat. ON THE MASSIVE SCREEN over left field, the Woman attempts to scream as Sid 6.7 chokes her. No sound comes out. FANS react with horror. But nobody turns away. ANNOUNCER. -LRB- V. 0. -RRB- Jesus Christ! Somebody stop him! SECURITY PERSONNEL rush from all parts of the stadium toward J Section. SID 6.7 enjoys the reactions of the terrified fans around him as he chokes the life out of the Woman. SID 6.7. -LRB- to the camera. -RRB- Hey, Parker, this one's for you. His words ECHO around the stadium as he SNAPS the Woman's neck. He then hurls her limp body toward several men as they charge him. SID 6.7. -LRB- CONT'D. -RRB- That's all, folks. He leaps over a railing, rushing into a tunnel which leads out of the seating area. A SECURITY GUARD climbs up the stairs to the mouth of the tunnel. Weapon in hand. He draws a bead on Sid 6.7's back. BOOM! HIS POV A bullet rips through Sid 6.7's side. Blood begins to seep from the wound. But then immediately begins to retract. Once his blood has returned, his skin heals over the wound. Leaving a scar. Which also then disappears. Other than the hole in his shirt, Sid 6.7 is as good as new. He never even misses a step as he disappears around the corner. THE SECURITY GUARD stares in disbelief as he is joined by several comrades. GUARD I nailed the son -- of - a -- bitch. I put a hole right through him. PANIC - STRICKEN FANS in J Section start moving away from the area as fast as they can. Parents clutching their children. Climbing over seats. Shoving anyone in their way. ANNOUNCER. -LRB- V. 0. -RRB- Ladies and gentlemen, please try to stay calm. Everyone just keep your seats. Fans all over the stadium start charging toward the exits.",
"EXTERIOR DODGER STADIUM People bolt through the turnstiles, running away from the stadium as L. A. P. D. squad cars approach in the distance. The car in the lead is Parker's.",
"INTERIOR PARKER'S VEHICLE Parker speeds dangerously fast toward the fans streaming onto the street. Madison braces herself. MADISON SLOW DOWN! Parker JAMS on the brakes with both feet. SCREEEEEEECH!",
"EXTERIOR DODGER STADIUM Parker comes within inches of mowing down several people, who keep right on running. Parker jumps out of the vehicle, scanning faces. In predator mode. Madison gets out, clearly shaken. Parker locks his gaze on somebody in the distance. HIS POV A guy in Dodger baseball cap and jacket. Walking calmly away from the stadium. He descends down an escalator into a recently - built subway station. It is Sid 6.7. PARKER charges after him. A heat -- seeking missile locked on target. MADISON Parker. Parker! She does the best she can to follow after him. People knock into Parker as hard as he does them. A human version of bumper cars. Reaching the entrance to the subway, Parker leaps down the escalator three steps at a time. Madison remains in his wake.",
"INTERIOR THE SUBWAY STATION Parker and Madison hop the turnstiles. Only to be stopped by a remote -- controlled, box -- shaped robotic sentry, which is identical to one you have seen before. This sentry was one of Reilly's creations at LETAC. SECURITY ROBOT. -LRB- male, authoritarian. -RRB- Stop. You are in violation of. Parker spits in the Robot's electronic eye. Temporarily blinding it, as well as the guy operating it via remote control. Parker and Madison make their getaway as the robotic sentry struggles to clean off his eye. PARKER Real effective security. MADISON You could have just flashed him your badge, you know? PARKER Authority still makes me nervous. They come to a fork : one tunnel goes to east/west trains, the other to north/south. MADISON Which way? PARKER Both. He races down the tunnel to the north/south trains. Madison heads down the other. Her determination beginning to win out over her inexperience. PARKER hesitates at the escalator leading to the south - bound side of the tracks. Further down the tunnel is the escalator to the north -- bound trains. Parker chooses the escalator closest to him. ON THE SOUTH - BOUND PLATFORM Passengers pass the time by watching a television mounted above them. Except for Parker, who scans the crowd. Then across the tracks. ON THE NORTH - BOUND PLATFORM In the entire crowd, there is only one person not watching the TV screen. He is watching Parker. Through his gun sight. Sid 6.7 pulls the trigger. BOOM! ON THE SOUTH - BOUND PLATFORM Parker dives to the ground, just avoiding the bullet. He scrambles behind a pillar for protection. Only to see the guy standing behind him was n't as lucky. ON THE EAST - BOUND PLATFORM Madison hears the gunshot ECHO through the station. Which scares the already - terrified fans trying to get away from Dodger Stadium. Chaos is rapidly becoming Pandemonium. MADISON SHIT! She races up the escalator, taking out her weapon. CUT TO: PARKER peeking out from behind the pillar on the south - bound platform. PARKER'S POV - ACROSS THE TRACKS Passengers rush in every direction. Some are screaming. Some are crying. Nobody knows who fired the shot. Or where to go. But everyone is going somewhere. Including Sid 6.7, who makes his way through the flurry of movement toward the up escalator. It is difficult to keep sight of him. PARKER moves toward the edge of the platform, aiming his gun across the tracks. Those around him quickly back away. PARKER. -LRB- yelling. -RRB- Everybody get down! Only about half the passengers on the north -- bound side can hear him above the screaming already going on. Sid 6.7 is nowhere to be seen. PARKER. -LRB- CONT'D. -RRB- -LRB- screaming. -RRB- GET DOWN! The rest of the passengers hit the deck, except for a COLLEGE STUDENT listening to music on headphones. He is riding the escalator up. Sid 6.7 stands behind him, using the student as a shield. PARKER' S POV As Sid 6.7 ascends, slight portions of his body are momentarily exposed behind the student as he sways with the music coming from his headphones. Parker does NOT have a clean shot. In 10 seconds, Sid 6.7 will disappear from view completely and Parker will have no shot at all. A momentary sliver of Sid 6.7 becomes visible. An inch - and - a - half at most. PARKER does n't hesitate. He lines up his shot and pulls the trigger. ON THE NORTH - BOUND UP ESCALATOR The college student standing in front of Sid 6.7 gets winged in the shoulder. Not a serious wound, but a painful one just the same. The bullet must have hit bone, because it deflected upon impact, missing Sid 6.7 entirely. The student drops to the escalator, screaming in pain. Sid 6.7 crouches beside him. SID 6.7. -LRB- yelling. -RRB- What's wrong, convict, your arms need adjusting? Or maybe it's your head. Maybe you are n't ready to be back out in the real world, yet. PARKER'S POV The top of Sid 6.7's head is exposed an inch, maybe two. PARKER fires again. Repeatedly. Moving closer and closer to the edge of the platform, trying to get a better angle while he still has a shot. Parker moves to the very edge of the platform. His arm extended out over it. Completely oblivious to THE SUBWAY TRAIN rocketing into the station toward the south - bound platform. MADISON leaps off the descending escalator on the south -- bound side and rushes to Parker. She pulls Parker back just before the train reaches him. Had his arm still been raised, Parker would have lost his arm a second time. They tumble to the floor. A PASSENGER rushes to Madison. PASSENGER # 1. -LRB- pointing to Parker. -RRB- Lady, you got ta stop him! He's gone crazy! PASSENGER # 2 He just shot an innocent bystander! MADISON. -LRB- forcefully to Parker. -RRB- What were you shooting at? Parker gets to his feet. Madison does n't take her eyes off him. PASSENGER # 1 He did -- -- I saw it! PASSENGER # 2 DO SOMETHING! PARKER. -LRB- to Madison. -RRB- Sid's getting away. He heads toward the up escalator. His back now to Madison. She aims her gun at him. MADISON Parker - -- stop! STOP! Do n't make me shoot you -- -- PARKER. -LRB- not looking back. -RRB- If you're gon na do it, better do it now. He keeps right on going up the escalator. MADISON lines up her shot. Hands shaking. With both fear and determination. Her finger presses down on the trigger. but she ca n't do it. MADISON Dammit! She chases after him.",
"INTERIOR THE NORTH/SOUTH TUNNEL Madison looks in both directions as she gets off the escalator. Parker is nowhere to be seen. Moving toward her slowly is the wounded college student, who clutches his bleeding shoulder. He is shivering. Going into shock. Madison goes to him, taking off his headphones. MADISON Let me help you. He collapses in her arms. COLLEGE STUDENT. -LRB- delirious. -RRB- What did I do? I did n't do anything. Clearly versed in emergency medical treatment, Madison attends to his wound. Parker returns. PARKER. -LRB- breathlessly. -RRB- I lost him. COLLEGE STUDENT GET HIM AWAY FROM ME! GET HIM AWAY! MADISON. -LRB- furiously. -RRB- Call 9 - 1 - 1. Wait for me above ground. CUT TO:",
"EXTERIOR OF THE SUBWAY STATION 30 minutes later. The chaos outside Dodger Stadium has subsided. Madison and two PARAMEDICS lead the bandaged College Student to an ambulance. Madison goes to Parker, who sits quietly by himself. Elbows on his knees. Head between his hands. Staring at the cement between his feet. MADISON. -LRB- angrily. -RRB- Do you have any idea the trauma you put that kid through?! Parker does n't respond. All around them, a cacophony of news broadcasts is heard. From passing cars. From boom boxes. From portable TVs. Over and over, you hear what Sid 6.7 had said while killing the woman in Dodger Stadium : SID 6.7. -LRB- V. 0. -RRB- -LRB- recorded. -RRB- Hey, Parker, this one's for you. Hey, Parker, this one's for you. As Parker raises his head slowly, you realize you are looking at the face of a wild animal. Eyes rabid. Jaw clenched. Pure anger. Violence about to erupt. Without fear. Without guilt. The beast within has been unleashed. PARKER. -LRB- in a whisper. -RRB- That's Grimes. Madison backs away in fear. Parker rises gradually. PARKER. -LRB- CONT'D. -RRB- -LRB- voice slowly rising. -RRB- The man who killed my wife. who killed my daughter. who ruined my life used to taunt me with that line. Parker advances toward Madison, who continues backing away. PARKER. -LRB- CONT'D. -RRB- -LRB- exploding. -RRB- Grimes is back! He's back! He's come back! MADISON. -LRB- standing her ground. -RRB- No! Grimes is n't back. He's only one part of Sid. Sid 6.7 is a hell of a lot worse than Grimes ever was. -LRB- a beat. -RRB- Get a hold of yourself! She tries to grab him by the shoulders. Parker blocks her arms away. PARKER. -LRB- going nose -- to -- nose. -RRB- But he's in there. And you knew it, did n't you? Did n't you?! She tries to back away, but backs herself against a light pole. Madison has nowhere to go. Parker grabs her by the collar, and shoves her against the pole. Hard. PARKER. -LRB- CONT'D. -RRB- -LRB- hysterical. -RRB- God, you fucking know - it - all! You've known all along and did n't PARKER. -LRB- CONT'D. -RRB- tell me! Why?! Were you afraid I'd lose it?! Go over the edge?! Huh?! Is that what you were afraid of?! WHY DID N'T YOU TELL ME?! A prison transport and another police vehicle pull up to them fast. Two of the Prison Guards met earlier jump out of the transport, advancing on Parker. Their weapons aimed at his head. GUARD Hands up! Now! Parker slowly raises his hands in the air. A Guard relieves him of his weapon. MADISON. -LRB- recovering. -RRB- What's going on? GUARD He's going back where he belongs. Deane and Cox step out of the police vehicle. DEANE. -LRB- to Madison. -RRB- You were right, Dr. Carter. Letting a lunatic like Barnes loose in the real world did pose an unacceptably dangerous risk to the public. -LRB- glancing at Cox. -RRB- I should have never tried to solve one problem by allowing the creation of another. -LRB- to Madison. -RRB- Chief Cox will give you a ride back to the station. You will provide him with any and all information you have developed thus far. -LRB- to Parker. -RRB- Enjoy the rest of your sentence, Mr. Barnes. She exits. Cox and Parker stand facing each other. Cox wishes there was something he could do. Parker looks completely out of it. Cox extends his hand. After a moment, Parker takes it. But his mind is way off elsewhere. GUARD. -LRB- forcefully to Parker. -RRB- Let's go. Madison looks on as Parker is herded roughly into the back of the prison transport. MADISON Parker. Parker shuts her up with a look. There is nothing that can be said. The prison transport doors are SLAMMED shut. The vehicle takes off. CUT TO:",
"INTERIOR COX'S POLICE VEHICLE Cox and Madison head back toward L. A. P. D. Headquarters. They are in mid -- conversation : MADISON. -LRB- with regret. -RRB- I should have told him. COX Do n't blame yourself. In your shoes, I do n't think I would have told Parker, either. -LRB- a beat. -RRB- So do you think Grimes has become the dominant personality? MADISON I'm not sure. My guess is that's what Sid wants us to think. COX. -LRB- a beat. -RRB- You think he's smart? MADISON Captain, I'm afraid of how smart Sid 6.7 is. -LRB- a beat. -RRB- But I'm even more afraid of what's he's becoming. CUT TO: THE PRISON TRANSPORT comes to a stop at a traffic light.",
"INTERIOR THE PRISON TRANSPORT -- REAR Parker sits alone in the darkness. Motionless. Until the sound of TWO GUNSHOTS piercing the transport's front windshield SHATTERS the silence. PARKER What the hell's going on?! He scrambles to the front of the compartment, pressing his face against the steel mesh of the four -- inch portal. HIS POV - LOOKING THROUGH PORTAL Two bullet holes are visible in the windshield. The two Prison Guards lie dead in their seats. Sid 6.7's eyes appear, looking directly at you. He's smiling. SID 6.7. -LRB- neighborly. -RRB- Hey, old buddy, old pal, good to see you again.",
"INTERIOR THE PRISON TRANSPORT Parker goes absolutely berserk. Viciously punching the steel mesh which separates them until the synthetic skin on his knuckles is shredded. PARKER You. mother. fucker! I'M GOING TO KILL YOU! SID 6.7 Now, is that any way to talk to an old buddy? I mean, just because I'm carrying around the joy of killing your family inside me does n't mean we ca n't be friends. PARKER GRIMES, YOU'RE DEAD! He savagely hurls himself against his confines. Bone vs. metal. Do n't try this at home. SID 6.7 I'm sorry, the party you're trying to reach is not answering. Is there anyone else you would like to talk to? PARKER DEAD! YOU HEAR ME? SID 6.7. -LRB- a beat. -RRB- You really are pathetic, you know that? Mathew Grimes is only one letter in my alphabet. He is nothing compared to me. Parker is completely spent. Mentally and physically. He slumps in a corner. Out of breath. Bleeding. Sore. All he can do is stare out through the portal's mesh at Sid 6.7. SID 6.7. -LRB- CONT'D. -RRB- You could say thank -- you, you know? I'm giving you your freedom, short -- lived though it may be. -LRB- a beat. -RRB- A little known fact about the locater implants prison inmates now receive upon release is that they contain a pinhead capsule of neural toxin. The satellite they use to track you can also trigger release of the toxin with microwaves. After transmission, the implant's host dies within 30 seconds. -LRB- a beat. -RRB- It wo n't take long for them to get your termination authorized once they learn of your escape. Now who would you rather go after, killer, them or me? He releases the rear door lock. ON THE STREET Parker bursts out of the back of the Prison Transport, charging after Sid 6.7. Who is nowhere to be seen. Parker runs in one direction. Then the other. And changes his mind again. He literally does not know which way to turn. PARKER Shit! CUT TO:",
"INTERIOR A CONFERENCE ROOM IN L. A. P. D. HEADQUARTERS An AIDE rushes through the door to Cox, who's briefing Deane and Wallace on what he has learned. AIDE Parker Barnes just escaped from the prison transport. Both of the guards are dead. The Aide exits. COX. -LRB- to Deane. -RRB- Barnes would n't kill two innocent guards. DEANE He would slaughter eight people sitting in a room, but not two prison guards? COX Do I need to remind you what happened to his wife? To his daughter? -LRB- with conviction. -RRB- I will stake my reputation that Barnes did n't kill those guards. DEANE You already have staked your reputation. -LRB- a beat. -RRB- Mayor Bennett and I have been friends a long time. Since Grimes tried to kill him, it does n't take a rocket scientist to come to the conclusion that Sid 6.7 might go after him, too. -LRB- a beat. -RRB- Bennett's Re - Election Rally is tomorrow night and we already have enough trouble on our hands with one psychotic on the loose. -LRB- to Wallace. -RRB- The fail - safe on -- line, yet? WALLACE On -- line and at your disposal. COX. -LRB- to Deane. -RRB- What fail -- safe? DEANE. -LRB- approaching Wallace. -RRB- This had better work, Mr. Wallace. Wallace exits the room. Cox has no idea what is going on. And Deane is not about to tell him. CUT TO:",
"INTERIOR MADISON'S BEDROOM Madison enters wearily, late afternoon. Exhausted from the events of the last two days, she starts to undress. Her clothing is filthy. So is her skin. She could use a good shower, and a better massage. Madison examines the various cuts and bruises she's received along the way. Not exactly war wounds, but to somebody used to sitting behind a desk, they are. She absentmindedly turns on the television, then goes into her bathroom. Madison looks at her face in the mirror. She's looked better. After splashing cold water on her face, she comes to the same conclusion. Madison takes two aspirin. And then two more. Wishing they would take effect immediately. Finally hearing the news on the TV, her entire demeanor changes instantly. Madison rushes in front of the television to see a report of Parker's escape from the prison transport. MADISON Oh, shit! Grabbing a handful of clothes, she bolts urgently out the door. CUT TO: MADISON speeding recklessly through city streets in her car. She does n't stop for red lights. Not for grid - lock. Not for nothing. She is also still finishing getting dressed. CUT TO:",
"EXTERIOR L. A. P. D. HEADQUARTERS Ignoring the warnings of several COPS walking toward their vehicles, Madison speeds toward the front entrance. She barely stops in time. SCREEEECH!",
"INTERIOR L. A. P. D. HEADQUARTERS Madison races through the bustling facility. Looking for somebody. She finally finds Cox coming out of his office. MADISON. -LRB- urgently. -RRB- There is no way Parker killed those guards. No way. COX I think we both know who did. -LRB- a beat. -RRB- What's so urgent? MADISON I need your help - Taking him by the arm, she leads him into an elevator going down just before its doors close.",
"INTERIOR THE ELEVATOR The look on Cox's face tells you Madison has explained the situation to him. He is furious. COX Why did n't anybody tell me?! MADISON I do n't set policy. -LRB- a beat. -RRB- You have the key? He takes a security key out of his pocket and uses it to gain access to a subterranean floor. COX. -LRB- angrily. -RRB- This is a police department. I'll be damned if this is going to go on without my knowledge. They exit quickly. Cox leads Madison",
"INTERIOR A POWER SUPPLY ROOM Cox leads in Madison and takes her to the subterranean power supply. He points to the floor's numerous circuit breakers. COX Give me 30 seconds, then flip every switch you can reach. MADISON Got it.",
"INTERIOR THE LOCATER TRANSMISSION ROOM The room is still under construction. Wallace stands behind a TECHNICIAN sitting at a console in front of a massive electronic map tracking several convicts, including Parker. The technician is typing in an elaborate termination code. TECHNICIAN Who are we going to fry? WALLACE Just an unrepentant criminal who is apparently going to die from a previously undiagnosed brain tumor. Cox enters, concerning Wallace. WALLACE. -LRB- CONT'D. -RRB- What are you doing here, sir? COX Just paying my last respects. He surveys the electronic map, locating Parker. Just as the lights go BLACK. Wallace and the technician immediately panic. WALLACE What happened?! TECHNICIAN I do n't know. We've lost all power! COX The heat's been causing brown out's all over the city. Get above ground until it's restored. Wallace and the technician rush out of the room, up the emergency stairs. Cox sets to work ripping out the console's circuitry. By the time he's finished, the equipment in here wo n't be able to toast a piece of bread. CUT TO: A TOMBSTONE which reads : LINDA DAVIS BARNES. -LRB- 1961 -- 1992 -RRB- and CHRISTINE MARY BARNES. -LRB- 1987 - 1992 -RRB-. Parker kneels in front of it. Magic hour. Madison, and Cox wind their way to him through obstacle course of tombstones. Parker stands as they arrive. He is wiped out. There is no emotion left in him. MADISON We know you did n't kill those guards. PARKER They're going to fry me for it, anyway. COX Nobody's going to fry anybody. He approaches, holding the Circuits he ripped out of the Locator Transmission Room. COX. -LRB- re : circuits. -RRB- Do n't worry, they have no idea where you are. PARKER You son -- of -- a -- bitch. How could you let them put the implant in my head? How? MADISON He did n't know about the neural toxin. -LRB- a beat. -RRB- I did. PARKER. -LRB- matter - of - factly. -RRB- You knew the entire time? Can you give me one good reason why I should n't kill you right now? COX She saved your life, Parker. She did n't have to, but she did. PARKER. -LRB- turning to Madison. -RRB- Then I guess we're even. MADISON. -LRB- a beat. -RRB- How did you find out about the toxin? PARKER Sid 6.7 told me after he killed the two guards. He suggested I kill you rather than him. MADISON You're not capable of it. PARKER I pose an unacceptable danger to the public, remember? MADISON I was wrong. -LRB- a beat. -RRB- And I was wrong not to tell you Grimes was part of Sid. I should have told you. I wo n't make the same mistake again. She means it. Parker turns away, looking at his wife's headstone. COX The son -- of -- a - bitch is still out there, Parker. Parker turns toward him slowly. Emotion beginning to return to his face. PARKER. -LRB- a beat. -RRB- When this is over, will you get this goddam thing out of my head? COX On my life, I promise you I will. PARKER If you're lying, I'll hunt you down and kill you myself. CUT TO:",
"EXTERIOR A CONSTRUCTION SIGHT 6 PM. The human FOREMAN presses a remote control detonator. BOOM! An explosion occurs inside a building's foundation. -LRB- STOCK FOOTAGE -RRB-. The building is levelled instantly. Sid 6.7, who's been watching the explosion, approaches the Foreman. SID 6.7. -LRB- applauding. -RRB- Bravo. FOREMAN Who the hell are you? SID 6.7 Someone who appreciates the artistic value of high -- explosives. He shoots the Foreman in the chest. Sid 6.7 relieves him of his keys and heads to an explosives storage shed. CUT TO: SID 6.7 carrying a crate of C - 4 high - explosives out of the shed in the construction sight minutes later. He adds it to the dozen crates already loaded in a truck. And takes off. CUT TO:",
"INTERIOR A LARGE SEWER PIPE Sid 6.7 secures several crates of C -- 4 to an automated sewer cleaning vehicle. He schedules its start time -- -- 24 hours from now. It is now 7:45 PM. The bomb's TIMER is set to detonate 15 minutes into the vehicle's journey - at 8:00 PM tomorrow night. SID 6.7. -LRB- admiring his work. -RRB- You think you know me, but you do n't have any idea who I really am. CUT TO:",
"EXTERIOR THE BILTMORE HOTEL sight of Mayor Bennett's upcoming Re - Election Rally, Cox supervises an army of L. A. P. D. officers who are securing the area. Bomb -- sniffing dogs. Rooftop snipers. Helicopter surveillance. Nothing is being left to chance. Anyone doing anything within 100 yards of the building is searched, including the REPORTERS and their CAMERA CREWS covering the convention's security. PARKER AND MADISON survey the scene with binoculars from amid a crowd of pedestrians two blocks away. Both are disguised in hats and different clothing. You do n't immediately recognize them. MADISON The rally's a little obvious as a target, do n't you think? PARKER I told you before, Grimes liked to be obvious. MADISON Sid 6.7 is n't Grimes. PARKER Part of him is. Various faces in the crowd on the sidewalk. In the vehicles passing on the street. On the bridge crossing the street down the block further away from the hotel. MADISON. -LRB- V. 0. -RRB- If we find Sid, Lindenmeyer wo n't be far behind. PARKER. -LRB- V. 0. -RRB- Think he's keeping track of his creation? MADISON. -LRB- V. 0. -RRB- That, or living through him. PARKER puts down his binoculars. Madison does not. PARKER See something? MADISON I'm not sure. on the bridge. the guy at the payphone. She points to what she's looking at. Looking through his binoculars, he still ca n't see what she means. She helps him aim his binoculars. PARKER'S POV - THROUGH BINOCULARS He scans the bridge. Finally settling on Sid 6.7, who is talking on a payphone. ON THE STREET Parker looks up from his binoculars. Impressed. PARKER Nice work. MADISON. -LRB- a beat. -RRB- Thanks. They move briskly down the block toward the bridge. Quickly climbing a set of stairs. ON A ROOFTOP Parker and Madison's movement catches the attention of several snipers. SNIPER # 1 Well, look who we have here. SNIPER # 2. -LRB- into radio. -RRB- Parker Barnes is heading south toward the bridge. If anybody can get a clean shot at him, take it. COX hears the order over his radio headset. He races toward the bridge. As do a dozen other cops. ON THE BRIDGE Sid 6.7 talks into the payphone. SID 6.7 Be a reporter -- -- figure it out for yourself. All I'm going to tell you is that at 8:00 tomorrow night, I will become legendary. PARKER AND MADISON reach the top of the stairs. Sid 6.7 remains on the phone, his back toward Parker and Madison. They split - up, winding their way through the crowd waiting for an arriving bus. As the bus pulls to the stop, the awaiting passengers move toward the opening doors. Obscuring Parker's view of the payphone. Parker shoves his way through the crowd, only to see Sid 6.7 holding Madison in front of him, his gun to her head. Parker trains his weapon at Sid 6.7. He does n't have a clean shot. SID 6.7. -LRB- to Parker. -RRB- Brings back memories, does n't it? THROUGH A SNIPER'S RIFLE SCOPE Parker's chest is put into the cross - hairs as the bus pulls away from the stop. He is focused on Parker, and Parker only. THE SNIPER is some 300 yards away on a rooftop. His rifle is mounted on a tripod. His aim is perfectly steady. SNIPER. -LRB- into his radio headset. -RRB- Say good -- bye, Parker Barnes. Parker stands frozen, staring at Sid 6.7 through his gun sight. Looking for just an inch of him to stick out from behind Madison's terrified face. SID 6.7. -LRB- to Parker. -RRB- I would n't pull the trigger if I were you -- -- PARKER Why's that? Cox advances toward Sid 6.7 from the side of the bridge. Cox's gun out and ready. His finger on the trigger. COX Hey, Sid, what were you planning on doing with the C - 4? Sid 6.7 turns his head in surprise toward Cox as a rifle is FIRED in the distance. Cox steps directly in the sniper's line - of - fire and takes the bullet meant for Parker through the chest. Cox drops to the bridge. PARKER NOOOOOO! He rushes to Cox. Parker drops to his knees, cradling Cox's head. Cox is n't long for this earth. Looking up to Parker, he tries to talk. But nothing comes out. PARKER. -LRB- CONT'D. -RRB- -LRB- compassionately. -RRB- Do n't worry, I know. I know. Cox's eyes roll back in his head. Parker then closes them and gently lays his head on the sidewalk. Parker turns his head toward Sid 6.7, who's released Madison and is jumping over a railing to the street 20 feet below. Parker rushes to the railing. HIS POV Sid 6.7 lands on top of a garbage truck passing beneath the bridge. The garbage truck disappears beneath the bridge. ON THE BRIDGE A dozen cops advance toward Parker. Weapons drawn. COP # 4 Freeze! Parker ignores them. He bolts across the street, moving in the same direction as the bus below. Through speeding traffic. Bullets fly. Parker keeps charging. Right in front of a moving van barreling across the bridge. The cops lose sight of Parker. COP # 5 Think he made it? ON THE OTHER SIDE OF THE BRIDGE Parker dives onto the sidewalk, avoiding the speeding van by inches. Getting to his feet, he launches himself up and over the railing. ON THE STREET The garbage truck passes beneath Parker as he leaps from the bridge. ON TOP OF THE GARBAGE TRUCK Parker lands on the back of the truck. Right next the opening and - closing steel jaws of the truck's massive trash compactor. His gun tumbles from his hand, falling to the street. Sid 6.7 dives on top of Parker, putting him flat on his stomach. And his face against the steel teeth. Sid 6.7 chokes Parker. Hard. SID 6.7 I have to tell you, I do enjoy you, Parker. I really do n't want to have to kill you. The sanitation worker at the wheel of the truck has no idea whatsoever what is happening on top of his truck. CUT TO: THE DOZEN OF COPS who had been on the bridge, charging down the steps after the garbage truck, which can no longer be seen. Madison walks calmly behind them. Scanning the crowd. Looking for Lindenmeyer. Her every instinct telling her he's here. He must be. She spots him. Veering from the direction the cops headed in, Madison casually wades into the crowd. She takes out her weapon and stops behind Lindenmeyer. Even in disguise, he looks familiar. Madison puts her gun against his back. MADISON. -LRB- whispering into his ear. -RRB- I figured you'd show up sooner or later. CUT TO: ON TOP OF THE GARBAGE TRUCK Parker and Sid 6.7 continue battling next to the compactor's lethal jaws. The machine makes an awful, grinding sound. Not unlike the sounds Parker and Sid 6.7 are making. The fight is primal. Savage. And moving at 30 miles - per - hour. PARKER What C - 4. was Cox talking about? SID 6.7 Let me put it to you this way. whether I'm here. or whether I'm not. I'm leaving an indelible mark on the world tomorrow night. PARKER Where did you plant the C - 4?! He should concentrate more on fighting, and less on asking questions, because he's losing. Parker takes a wicked shot to the face, and then the groin. Sid 6.7 holds Parker's head between the compactor's jaws. Which are closing. With every last ounce of effort he has, Parker hurls his legs up into Sid 6.7. Which throws Sid 6.7 into the compactor. The steel jaws immediately close in on Sid 6.7, who frantically tries to climb out. He gets his hands out. Then his head. But that's about it. Without emphasizing graphic detail, Sid 6.7 is decapitated. His lifeless body drops back into the compactor. His head tumbles to the street. The force of the impact causes the Sid 6.7 character module to separate from the neural net. The character module scatters into the street. Parker immediately jumps off the truck after it. ON THE STREET Parker's landing is n't pretty. Finally getting to his feet, he sees the Sid 6.7 character module is about to be run over. Parker dives for it, nearly getting run over himself. The approaching car SCREECHES to a halt next to him. It's driven by Lindenmeyer. At gunpoint. Madison sits behind him, her gun to his head. WHAM! The car behind them obviously was n't prepared to stop so quickly. The bumpers of the two cars are now intertwined. Neither vehicle will be going anywhere soon. Madison pulls Lindenmeyer roughly out of the car. She drags him to Parker, who is still on his knees, clutching the Sid 6.7 character module. SIRENS approach in the distance. MADISON. -LRB- to Parker. -RRB- Find out anything? PARKER A bomb's going off tomorrow night, but I have no idea where. LINDENMEYER. -LRB- a beat. -RRB- There is only one way to get any more information out of Sid 6.7. They scan the area for a new mode of transport. And find one stopped at a dumpster down the block : the garbage truck.",
"EXTERIOR THE GARBAGE TRUCK Parker quickly explains the situation to the sanitation worker while Madison motions Lindenmeyer into the cab with her gun. As Parker climbs up to her, Madison shuts the door to give them a moment of privacy. MADISON Can I ask you something? PARKER. -LRB- with a smile. -RRB- You mean there's something you have n't asked me? MADISON. -LRB- a beat. -RRB- You've already fulfilled the terms of your pardon. You stopped Sid 6.7 and you've got his module. You're free to go -- -- right now. -LRB- a beat. -RRB- Why are you going to do this? PARKER You do n't know? MADISON. -LRB- shaking her head. -RRB- That's why I'm asking. PARKER Because this pain -- in -- the -- ass criminal psychology expert has helped me understand what I'm capable of. And what I'm not. -LRB- a beat. -RRB- And better than anyone else, I am capable of stopping Sid 6.7. CUT TO: ON TOP OF THE GARBAGE TRUCK Parker lands on the back of the truck. Right next the opening -- and -- closing steel jaws of the truck's massive trash compactor. His gun tumbles from his hand, falling to the street. This sequence is IDENTICAL to the one you previously witnessed. It is as if we've jumped back in time. Sid 6.7 dives on top of Parker, putting him flat on his stomach. And his face against the steel teeth. Sid 6.7 chokes Parker. Hard. SID 6.7 I have to tell you, I do enjoy you, Parker. I really do n't want to have to kill you. The sanitation worker at the wheel of the truck has no idea whatsoever what is happening on top of his truck. Parker and Sid 6.7 battle next to the compactor's lethal jaws. The machine makes an awful, grinding sound. Not unlike the sounds Parker and Sid 6.7 are making. The fight is primal. Savage. And moving at 30 miles - per -- hour. PARKER What C - 4. was Cox talking about? SID 6.7 Let me put it to you this way. whether I'm here. or whether I'm not. I'm leaving an indelible mark on the world tomorrow night. PARKER Where did you plant the C - 4?! He should concentrate more on fighting, and less on asking questions, because he's losing. Parker takes a wicked shot to the face, and but then blocks the anticipated shot to his gun. Sid 6.7 still manages to put Parker's head between the compactor's jaws. Which are closing. With every last ounce of effort he has, Parker hurls his legs up into Sid 6.7. Which throws Sid 6.7 into the compactor. Sid 6.7 frantically tries to climb out of the compactor as the steel jaws close in on him. He gets his hands out. Then his head. Except Parker now does something different. Just before Sid 6.7 is decapitated, Parker jams a metal rod between the compactor's steel teeth. Then grabs Sid 6.7 by the throat. PARKER. -LRB- fiercely. -RRB- You ca n't die until you tell me where the C - 4 is. Where is it?! SID 6.7. -LRB- choking. -RRB- My. secret. He SLAMS the back of his head into Parker's nose. Breaking it. Parker reels back in pain. Sid 6.7 squeezes out from within the steel teeth. The jagged metal cutting into him, striping him with blood. The blood then begins to retract. Sid 6.7's wounds, once again, heal themselves. SID 6.7. -LRB- CONT'D. -RRB- Too bad you ca n't regenerate. As the truck slows at an intersection, he jumps to the street. Parker goes after him. Still in excruciating pain. WE PULL BACK TO REVEAL what you are seeing is ON A MONITOR The scene continues seamlessly. As you may now be guessing, the monitor is connected to the simulator",
"INTERIOR LINDENMEYER'S STATION IN LETAC Parker lies unconscious on a bed. He is connected to the simulator via the neural connectors in the polyurethane skull cap, just like he was before. The Sid 6.7 character module is plugged into the system's main console. Lindenmeyer sits at the controls. Madison next to him, her gun aimed at Lindenmeyer's head. They are both watching Parker chase Sid 6.7 on the monitor in front of them. Parker continues experiencing intolerable pain. A clock reads 4:00 AM. They are the only ones inside the entire facility. LINDENMEYER I told you this would work. By setting back the clocks, he has absolutely no idea he's in virtual reality. He still thinks he's in the real world. MADISON. -LRB- a beat. -RRB- What's wrong with Parker? LINDENMEYER. -LRB- innocently. -RRB- How should I know? MADISON. -LRB- getting an idea. -RRB- Show me his physical sensory level. She clicks back the hammer of her gun and presses the barrel against Lindenmeyer's ear. He does as told. On a panel by the console, you read : PARTICIPANT PHYSICAL SENSORY LEVEL : 670 %. LINDENMEYER I wonder how that. MADISON. -LRB- CONT'D. -RRB- Turn it down! Lindenmeyer adjusts the sensory level back down to 100 %. ON A MONITOR Parker immediately returns back to normal. His pace picks up. He starts closing the gap between him and Sid 6.7 as he races into a shopping mall. CUT TO:",
"INTERIOR THE SHOPPING MALL The place is a seven -- story mecca of shopping. An atrium allows you to look from the ground floor up to the seventh. Sid 6.7 rushes up the escalators. Going up to the second floor. Then the third. Parker follows suit climbing escalator after escalator. Throwing people out of his way. ON THE SEVENTH FLOOR which is also the highest, Sid 6.7 veers out of view. Parker races up the final steps to the seventh floor. Sid 6.7 is nowhere to be seen. Parker searches methodically. Efficiently. He finally spots Sid 6.7. Who has Parker's head lined - up perfectly in his gun sight. Parker is a sitting duck. BOOM! Parker dives behind AFFLUENT SHOPPER 2.1, who takes a bullet in his ascot. Parker quickly grabs him, and uses his body as a shield against Sid 6.7's constant gunfire until Parker arrives behind a marble column. SID 6.7. -LRB- surprised at Parker's ruthlessness. -RRB- We really are n't that different, are we? What he can not see is that behind the column, Affluent Shopper 2.1 is Auto Resetting. Parker puts his gun to the shopper's head. PARKER. -LRB- whispering. -RRB- Do n't move, and do n't make a sound. Got it? Affluent Shopper 2.1 nods his head repeatedly. Parker collects himself behind the column, then pivots out from behind it. Firing in Sid 6.7's direction. Each bullet finds its mark. Absorbing the blows, Sid 6.7 backs up against the atrium railing. Taking one final shot, he falls backward. Over the railing. PARKER'S POV Sid 6.7 tumbles through the atrium. Out of control. Speeding toward the ground seven floors below. SID 6.7'S POV The sense of momentum is exhilarating. And terrifying. If you get dizzy easily, close your eyes. FROM THE FIRST FLOOR Sid 6.7 falls through the atrium like a rock directly at you. A 200 pound rock. WHAM! He lands face down in the marble floor. The impact is bone -- crushing. Sid 6.7 does not move. Until he begins to regenerate. His fluids begin returning to his body. His bones regaining proper form. Within seconds, his body appears as good as new. -LRB- Technically, because this is VR1 the proper term would be Auto. Reset. But since Sid 6.7 thinks he's in the real world, regenerating is what he thinks he's doing. -RRB- Sid 6.7 stands, dusting himself off. SID 6.7 Man, what a rush. -LRB- yelling up to Parker. -RRB- Adios, amigo! Grabbing his gun, he takes off out of the lobby. ON THE SEVENTH FLOOR Parker retrieves his gun, then bolts down the escalators. CUT TO:",
"INTERIOR LETAC Madison and Lindenmeyer watch Parker on screen. Madison still has her gun trained on Lindenmeyer, who notices a WARNING LIGHT start to flash. He turns to Parker's unconscious body lying on the bed. Lindenmeyer looks concerned. MADISON What's wrong? Lindenmeyer checks several readings on his console. LINDENMEYER He's developing a hemisphere imbalance. MADISON Talk so I can understand. LINDENMEYER If I do n't adjust the level of neural information each side of his brain is receiving, he wo n't be able to walk when I take him out of VR. MADISON Then fix it. As Lindenmeyer moves to Parker, Madison stays right with him. Her gun aimed at Lindenmeyer's head. Lindenmeyer carefully removes one of the neural connectors from Parker's skull cap. Before removing another, he looks for a safe place to put the connector. LINDENMEYER I need you to hold this. It ca n't get any dirt on it. Madison is reluctant, but does n't know what else to do. Lindenmeyer slowly gives the neural connector to her free hand. LINDENMEYER. -LRB- CONT' D. -RRB- All you have to do is hold the needle at the base. Just make sure not to jab yourself with the point. She clutches the needle in her left hand while aiming her gun with her right. Lindenmeyer removes a second neural connector from Parker's skull. Holding this second needle at the base, Lindenmeyer makes several adjustments on the neural management computer, then moves slowly back to Madison. LINDENMEYER. -LRB- CONT'D. -RRB- Hand me the connector nice and. He suddenly jabs his neural connector into Madison's right forearm. Madison has no time to react. 10,000 volts of electricity instantly courses through her body. Madison drops to the floor, unconscious. The needle she had been holding falls from her grasp, breaking the circuit. She stops being electrocuted. Which saves her life. LINDENMEYER. -LRB- CONT' D. -RRB- -LRB- as Sid 6.7 had said. -RRB- God, some people are stupid. He sits back down at the simulator's main console, and starts to type commands. On the monitor, Parker is visible exiting the shopping mall. CUT TO:",
"EXTERIOR THE SHOPPING MALL Parker races out the door. BOOM! That was left knee cap. He tumbles to the street. His gun flying from his hand. Parker crawls desperately toward his weapon. But not fast enough. Sid 6.7 arrives at the weapon first. SID 6.7 So close, and yet, so far. He kicks the weapon down the sidewalk, then points his gun at Parker's head. SID 6.7. -LRB- CONT'D. -RRB- It's really too bad you have to miss the Grand Finale. PARKER I thought you liked me being in the audience. Do n't you want me to see it? Sid 6.7 pauses to think about it. SID 6.7. -LRB- considering the idea. -RRB- You know, I do want you to see it. He shoots Parker in his other knee cap, rendering both of his legs useless. SID 6.7. -LRB- CONT'D. -RRB- I want you to have a bird's eye view.",
"EXTERIOR THE NEWLY-CONSTRUCTED HOLLYWOOD TOWER A 67 story monument to engineering brilliance in this land of earthquakes. 6:30 PM. ON THE ROOF OF THE HOLLYWOOD TOWER The view is incredible. You can see from the Pacific to downtown. From LAX to the Hollywood Bowl. Smog must be getting better in the near future. Sid 6.7 ties Parker to a chair at the roof's very edge. He is facing downtown. Including the Biltmore Hotel, the location of Mayor Bennett's Re -- Election Rally. SID 6.7 There you go -- -- best seat in the house. PARKER. -LRB- with some surprise. -RRB- You are going after Mayor Bennett. SID 6.7 Let's just say I'm sending a very clear message to his Re -- Election Rally. He walks toward an open stairway door behind them. PARKER Are n't you going to watch with me? SID 6.7 I've got some final preparations to take care of -- -- Checking his watch, he stops suddenly. ON HIS WATCH Time is moving backwards. Literally. ON THE ROOF OF THE HOLLYWOOD TOWER Sid 6.7 pauses, then goes over to Parker and checks his watch. It is also moving backwards. A smile of realization spreads slowly across Sid 6.7's face as he admires the beautiful sky above him. SID 6.7. -LRB- as if to God. -RRB- Thank - you, Daryl. -LRB- turning to Parker. -RRB- You had me going for quite a while there, sport. PARKER What are you talking about? SID 6.7 I really did think I was still in reality. At least, until now. -LRB- looking upward. -RRB- Beam me up, Scotty! His body DISINTEGRATES before your eyes. It's electronic particles form into an amorphous cloud. Which disappears from view. PARKER. -LRB- yelling. -RRB- Madison, get me out of here! MADISON! Lindenmeyer watches Parker scream on the monitor. Madison remains unconscious on the floor behind him. LINDENMEYER. -LRB- to the monitor. -RRB- She's taking a nap at the moment. He types a set of instructions into the console and hits ENTER. LINDENMEYER. -LRB- CONT' D. -RRB- But do n't worry. You wo n't be alone for very long. Fairly soon, you'll be dead. He removes the Sid 6.7 character module from its slot and exits the station. ON THE ROOF OF THE HOLLYWOOD TOWER One side of Parker's chair gradually starts to rise. Parker looks down to see the roof surrealistically swelling beneath his chair. This could only happen in virtual reality. In a matter of minutes, he is going to be thrown over the roof's edge. The next stop is 693 feet down.",
"INTERIOR LETAC Parker's screams for help ECHO throughout the facility. But there is no one there to hear him. CUT TO:",
"EXTERIOR LETAC The garbage truck is parked in a loading dock. Lindenmeyer climbs awkwardly onto the truck, then into the compactor.",
"INTERIOR THE GARBAGE TRUCK COMPACTOR Lindenmeyer wades through trash until he comes upon Sid 6.7's headless body. The polymer neural net visible within its neck. Lindenmeyer inserts Sid 6.7's character module into its gelatinous base. But nothing happens. LINDENMEYER Come on, live. Live! The synthetic nervous system begins to crackle with life. Growing around the module. Forming the beginnings of a new head. Literally. CUT TO: PARKER sitting precariously on the increasingly - uneven roof of the Hollywood Tower in virtual reality. Unable to break free of his binds, he rocks the chair onto its side. He and the chair fall to the roof, which will keep him from falling to his death for another minute, if he's lucky. PARKER MADISON!",
"INTERIOR LINDENMEYER'S STATION Madison, still unconscious on the floor, finally stirs. Maybe Parker's screaming is finally reaching her. Or at least, starting to. CUT TO:",
"INTERIOR THE GARBAGE TRUCK COMPACTOR Lindenmeyer looks on with awe as Sid 6.7 grows a new head right before your eyes. You've never seen anything like it. Sid 6.7's resulting head is slightly off center. His skin tone is n't perfect, nor is his color, but at least its functional. Sid 6.7 admires himself in a broken mirror. SID 6.7 I am beautiful, are n't I? LINDENMEYER Of course you are. Sid 6.7 wades through the trash toward Lindenmeyer. SID 6.7 How can I ever thank -- you for bringing me back to life a second time, Daryl? LINDENMEYER Help me get out of here. SID 6.7 Glad to. He reaches out to give Lindenmeyer a hand, then grabs him by the throat. Choking him. Lindenmeyer ca n't believe what is happening. LINDENMEYER. -LRB- gagging. -RRB- What. are you doing?! Sid 6.7 takes Lindenmeyer's face gently in his hands. SID 6.7 You made me a composite of 183 of the most vicious people who ever lived. -LRB- a beat. -RRB- What do you think I'm doing? LINDENMEYER I'm begging you. please do n't kill me! Please! SID 6.7. -LRB- reassuringly. -RRB- Do n't worry. Through me, you will live forever. As Lindenmeyer begins to scream, we CUT TO: PARKER hanging on by his fingertips to the bulbous roof of the Hollywood Tower. He's going to fall at any second. CUT TO: MADISON'S BLURRY POV of someone entering Lindenmeyer's station in LETAC. You ca n't tell who it is, at first. But you can see the person is male. And wearing Lindenmeyer's pants. You now see the person is Sid 6.7.",
"INTERIOR LINDENMEYER'S STATION Madison forces herself into consciousness. - Or as close to it as she can get. Her expression is one of complete and utter terror. SID 6.7 Dr. Carter -- -- I've been hoping we'd get a moment together. Mustering her strength, she manages to crawl behind several of the computers which make up the simulator. Sid 6.7 advances calmly toward her. SID 6.7. -LRB- CONT'D. -RRB- You know so much about me, I was hoping to learn a little bit about you. You see, I'm doing research, too. He looks behind the computers where you last saw Madison. She is no longer there. Sid 6.7 begins searching for her. He passes a virtual reality monitor on which Parker can be seen clinging for life. SID 6.7. -LRB- CONT'D. -RRB- -LRB- to the monitor. -RRB- Hang in there, Parker. On the monitor, Parker looks all around him, trying to determine the voice's origin. Madison crawls out of Lindenmeyer's station. Sid 6.7 just catches sight of her, and goes after her.",
"INTERIOR LETAC Madison crawls into a darkened engineer's station and hides. She is still very dizzy. And trying to keep the sound of her breathing to a minimum. Sid 6.7 enters quietly. A hunter on the prowl. Moving very slowly. Then lunging very swiftly. He continues the hunt. If Madison is discovered, she does n't have a prayer. Her heart pounds. Her forehead perspires. Sid 6.7 is getting closer. Sid 6.7 checks inside closets. Cabinets. Anywhere large enough for a human being to fit. He is practically standing over her. Looking. Listening. SID 6.7 How does it feel to know you're going to die? What are you thinking about? Lights in the building suddenly come on. Several engineers can be heard entering. It's 8 AM -- -- the start of a new day. The facility is quickly becoming populated. After giving one last look around, Sid 6.7 reluctantly gives up the hunt, and exits. Madison does not move until she is certain Sid 6.7 has left the building. PARKER. -LRB- 0. S. -RRB- SOMEBODY HELP! Madison scrambles out of her hiding place. CUT TO: PARKER finally losing his grip on the roof of the Hollywood Tower in virtual reality. He plummets with accelerating speed. Madison bursts through the partition around Lindenmeyer's station. Sacrificing her body. Without regard for pain. Parker tumbles toward the sidewalk 67 stories below. The speed is terrifying. Madison leaps over a table. Diving for the simulator's RETURN button. Parker falls faster. And faster. The street just beneath him. The instant before he slams into the street, his body DE MATERIALIZES.",
"INTERIOR LINDENMEYER'S STATION Madison keeps pressing the return button over and over, making sure it worked. Parker's eyes flutter as he returns to consciousness. Madison rushes to him. MADISON You okay? PARKER. -LRB- shaking out the cobwebs. -RRB- . I think so. You? MADISON. -LRB- looking over her bruises. -RRB- More or less. PARKER Lindenmeyer? MADISON My guess is dead. PARKER Sid? MADISON I do n't know. Several engineers peek in curiously at them. MADISON. -LRB- CONT'D. -RRB- Let's get out of here. She helps Parker to his feet. CUT TO: PARKER AND MADISON at a payphone outside a mini -- mall. Could be any one of the 10,000 in Los Angeles. It's late morning. PARKER. -LRB- on the phone. -RRB- Elizabeth Deane, please. Tell her it's Parker Barnes. INTERCUT WITH:",
"INTERIOR COX'S OFFICE Elizabeth Deane picks up the phone. DEANE Barnes, where the hell have you been?! PARKER Trying to find out where the bomb is. Where the hell have you been? DEANE What did you find out? PARKER Call off the manhunt looking for me. I did n't kill the transport guards. DEANE It's already been called off. Witnesses confirmed you were n't the shooter. -LRB- a beat. -RRB- Did you find out where the bomb is? PARKER No, but I've confirmed the reelection rally is the target. -LRB- a beat. -RRB- How much C - 4 is missing? DEANE Enough to level an entire city block. PARKER If I were you, I'd get every demolition team in the city searching in and around the Biltmore Hotel. DEANE. -LRB- with frustration. -RRB- Demolition teams have searched everywhere in and around the hotel. I do n't know where. PARKER. -LRB- interrupting. -RRB- Sid is smart enough to know you'd check everywhere in the immediate area. Whatever the device is, he's probably got it timed to move into position just before it detonates. -LRB- a beat. -RRB- Have the demo teams check every subway tunnel, water pipe, gas pipe, and sewer pipe that goes under, over, or into the arena. DEANE You know how much man power you're talking about? PARKER You're the highest law enforcement official in the country. Use the fucking army if you need to. He hangs up the phone. CUT TO: DOZENS OF DEMOLITIONS TEAMS checking every subway tunnel, water pipe, gas pipe, and sewer pipe that goes under, over, or into Dallas Arena. The effort is massive. Intensive. The clock is ticking. 6:00 and counting. CUT TO:",
"INTERIOR THE BILTMORE HOTEL, MAIN LOBBY The area has been converted into a security checkpoint. Entrants are carefully scanned one -- by -- one. WE HEAR the rally OFF SCREEN. CUT TO:",
"EXTERIOR BILTMORE HOTEL Security is on extreme alert. Tension is very high. It's 7:00. Parker, Madison, and Deane look on, anxiously. They listen to a RADIO SCANNER monitoring the conversations between the demolitions teams. DEANE. -LRB- to Parker. -RRB- This better not be a wild goose chase. PARKER Or what, you'll authorize my death a second time today? DEANE. -LRB- sharply. -RRB- Do n't forget, convict, if this psycho is n't stopped, you go right back to rotting in a prison cell. MADISON Give him a break, would you? MALE VOICE. -LRB- from scanner. -RRB- This is demo team 27 leader. I think we just found what we've been looking for. CUT TO:",
"INTERIOR A LARGE SEWER PIPE A three -- man demolition team slowly, carefully disarms the bomb Sid 6.7 had secured to the automated sewer cleaning vehicle. Snip. One wire at a time. Snip. The work is very delicate. Snip. One wrong move and it's all over. Snip. TEAM LEADER One more and we're home free. Snip. The three members of the demo team look up proudly to each other. Breathing sighs of relief. It's 7:42. CUT TO:",
"EXTERIOR THE BILTMORE HOTEL Parker, Madison, and Deane remain glued to their scanner. TEAM LEADER. -LRB- V. 0. -RRB- -LRB- from scanner. -RRB- Hey folks, it's time to crack open a cold one. Cheers are heard around the area from the other cops who'd been listening in. DEANE Thank God. TEAM LEADER. -LRB- V. 0. -RRB- Then again, maybe we ought to hold off for just a second. DEANE. -LRB- with concern, into radio. -RRB- What's the problem? CUT TO:",
"INTERIOR THE SEWER PIPE The Team Leader carefully removes a piece of paper which had been taped to the timing mechanism. Written in handwriting, you read : HEY, PARKER, THE FUN IS ONLY STARTING! TEAM LEADER The good news is, we're finished here. The bad news is. CUT TO:",
"EXTERIOR THE BILTMORE HOTEL Deane stares at Parker with disbelief. Deane's Aide, holding a cellular phone, approaches Parker. AIDE You've got a phone call. Parker grabs the phone. PARKER. -LRB- expecting it to be Sid. -RRB- You son - of -- a -- bitch, I'm going to kill you. ALEXIEV. -LRB- V. 0. -RRB- -LRB- through phone. -RRB- Me? What did I do? INTERCUT WITH:",
"INTERIOR THE CAL TECH COMPUTER LAB Alexiev Borgen sits with a dismantled MAESTRO keyboard in front of him. PARKER. -LRB- a beat. -RRB- I'm sorry, I thought you were somebody else. ALEXIEV I've discovered something about Lindenmeyer' 5 Maestro teaching tool I thought you should know. -LRB- a beat. -RRB- The harm done to the music students who used the device -- -- it was not by accident. The machine was designed explicitly for that purpose. Lindenmeyer intended to hurt the kids using it. PARKER Jesus Christ. -LRB- turning to Madison. -RRB- I know who the dominant personality is. -LRB- a beat. -RRB- Lindenmeyer. Madison's reaction is one of panic. She bolts toward their squad car with all the speed she has. Parker chases after her. PARKER. -LRB- CONT'D. -RRB- Where the hell are you going? MADISON Lindenmeyer never got over wanting to kill kids with more musical than he had. She gets into the driver's seat. Parker the passenger's. Madison punches the gas. CUT TO:",
"INTERIOR THE HOLLYWOOD BOWL The members of the L. A. Philharmonic tune - up for the evening's pay -- per -- view extravaganza. Several teenage musicians sit with them. Lights, cameras, and production trucks are all over the place. This really is going to be one hell of a show. TV ANNOUNCER. -LRB- V. 0. -RRB- Joining the Los Angeles Philharmonic for this evening's first musical number will be several of the Los Angeles area's finest, high school musicians. SID 6.7 who is dressed in a tuxedo, knocking on the door to Guest Conductor's Dressing Room. GUEST CONDUCTOR. -LRB- 0. 5. -RRB- -LRB- German accent. -RRB- It wo n't do any good to rush me. I need my time to prepare myself. The door is opened by the GUEST CONDUCTOR, who is dressed in a tuxedo, as well as large earrings. His hair is long and red. His complexion is pale, nearly white. And his eyes are piercing green. You might describe this look as punk meets classical. GUEST CONDUCTOR. -LRB- annoyed beyond belief. -RRB- Are you just going to stand there, or do you want something? Shaking with concentration, Sid 6.7 turns his hair red. -LRB- Nano -- organisms can do this, as well as the following. -RRB- He then grabs his hair and pulls it out, extending it to the exact length of the guest conductor's. Sid 6.7 then changes his complexion to match the conductor's. As well as his eye color, and other facial features. The Guest Conductor ca n't believe his eyes. By the time Sid 6.7 is finished modifying himself, he may not be an exact duplicate of the guest conductor, but even his mother would have to look twice. SID 6.7 It's show time. He shoves the Guest Conductor back into his Dressing Room. Sid 6.7 follows him in, revealing a suppressed.38. He SLAMS the door behind him. CUT TO:",
"INTERIOR THE SQUAD CAR Madison speeds recklessly through traffic toward the Hollywood Bowl. Parker does n't notice. He's totally focused on screaming into the police radio. PARKER Listen to me, a bomb is planted somewhere in the Hollywood Bowl! Evacuate everybody! FEMALE VOICE I'm sorry, sir, I do n't have the authorization to do that. PARKER Then put somebody on who does! MALE VOICE What's seems to be the problem? PARKER You've got to stop the concert! A bomb is going to go off! MALE VOICE I'm sorry, sir, the concert has already started. CUT TO: THE GUEST CONDUCTOR whose back is to the audience, leading the orchestra in a truly magnificent performance of Tchaikovsky's Fifth Symphony inside the Hollywood Bowl. The Guest Conductor waves his baton wildly. Passionately. Brilliantly. Getting the absolute best from the members of the orchestra. The musicians exhilarate in the challenge of being pushed to their musical limit. As the Guest Conductor turns to the next page of his sheet music on the podium, you notice seven small, HIGH - FREQUENCY SENSORS above an upcoming musical measure. The sensors are wired together. When the seven notes are played in sequence, an electrical pulse will be triggered down the wires which run down the side of the podium, beneath the stage. BENEATH THE STAGE The wires connect to several crates of C -- 4 positioned beneath the orchestra. These seven notes will be the last notes these musicians ever play. CUT TO:",
"EXTERIOR THE HOLLYWOOD BOWL Madison SCREECHES the vehicle to a halt. She comes within inches of mowing down several people. Madison and Parker bolt to the entrance, flashing their badges to the guards.",
"INTERIOR THE HOLLYWOOD BOWL The Guest Conductor's movements grow even more intense. More demanding. As he looks to the violin section, we now see the conductor's face. It is Sid 6.7. SID 6.7. -LRB- silently. -RRB- Do n't hold back. Give it to me. Give it to me! The orchestra plays with everything they've got. They hit every note perfectly. Including a high C. ON THE CONDUCTOR'S PODIUM The first sensor is triggered. Then the second. PARKER AND MADISON appear at the back of the stage. Guns raised. Distracting the musicians. As Parker and Madison charge through the horn section toward Sid 6.7, the musicians stop playing. ON THE CONDUCTOR'S PODIUM The fifth sensor is triggered. Then the sixth. But not the seventh. SID 6.7 can not believe his eyes. Or his ears. The entire orchestra has stopped. SID 6.7 Come on, play! PLAY! In his rage, his face contorts `` past points'', which can only be described bizarre, frightening, and not, something you would ever like to see when you look in the mirror. The musicians stare at Sid 6.7, and then at Parker and Madison with concerned, confused silence. Which is broken by Parker's gunfire. Ducking behind the podium, Sid 6.7 desperately tries to rewire the sensors to trigger manually. Without luck. He takes his.38 out of his jacket and starts firing. Pandemonium erupts throughout the Hollywood Bowl. Audience members run in every direction. The members of the orchestra bolt for their very lives, but keep their instruments with them. Even the oboist. Preventing Parker and Madison from taking any further shots at Sid 6.7. Sid 6.7 bolts down into the crowd. Madison can not get off a clean shot. Neither can Parker. He aims, but does NOT fire. He and Madison struggle through the crowd after him.",
"EXTERIOR THE HOLLYWOOD BOWL Parker and Madison just catch a glimpse of Sid 6.7 as he rushes up the entrance ramp to the Hollywood Freeway. Parker and Madison bolt after him. ON THE HOLLYWOOD FREEWAY Parker and Madison race past the cars waiting to merge into what is effectively a parking lot. As is normal for this thoroughfare, traffic is at a standstill. Sid 6.7 is nowhere to be seen. Parker and Madison split -- up, wading through different lanes of traffic. Startling the already frustrated motorists. Who roll up their windows. Lock their doors. And some of whom reveal weapons of their own. Madison pauses, listening. She has no idea that Sid 6.7 steps behind her. WHAM! He cold cocks her with the butt of his gun. Madison crumples to the street. Which now leaves Parker a clean shot at Sid 6.7's head. BOOM! BOOM! Two hits. Two head wounds. Sid 6.7 falls behind a truck, losing his weapon. Before Sid 6.7's wounds have finished regenerating, Parker is already on top of him. PARKER. -LRB- neighborly. -RRB- Hey, old buddy, old pal, good to see you again. He empties his clip into Sid 6.7, then discards the gun. As Sid 6.7's wounds heal themselves, Parker pounds him mercilessly. SID 6.7. -LRB- losing it. -RRB- You. ruined. I'M GOING TO KILL YOU! Trading blows, he manages to get to his feet. PARKER Now, is that any way to talk to an old friend? SID 6.7. -LRB- exploding. -RRB- BARNES, YOU'RE DEAD! He knocks Parker back with a good shot to the face, then disappears around a van. Parker continues the hunt. Quietly. Carefully. Tension grows in the silence that follows. He carefully makes his way around a truck. Only to see Sid 6.7 swinging a two - by - four directly at his head. WHAM! Parker is knocked on his ass. Daze4. Blood streams down his cheek. He staggers to his feet, blocking another blow with his arm. Which SNAPS the wood in two. Parker grabs one of the boards. He battles with Sid 6.7. The fight between Parker and Sid 6.7 is intense. Exhausting. Parker gives it everything he has. Madison appears behind Parker, holding his gun. She wavers, having trouble keeping her balance. She has even more trouble aiming her weapon. MADISON Hey, Parker. She moves around, trying to get a clean shot at Sid 6.7. Which she does not have. PARKER How's your pulse? MADISON. -LRB- totally focused. -RRB- I could n't tell you. PARKER Then shoot him already. MADISON Duck! Without hesitation, Parker hits the deck. Leaving Sid 6.7 completely exposed. Madison steadies her sight. SID 6.7. -LRB- to Madison. -RRB- You could n't hit the side of a. As he raises his two -- by -- four high over Parker's head, Madison pulls the trigger smoothly. IN SLOW MOTION, you follow the bullet as it exits the barrel of her gun. And penetrates Sid 6.7's skull between the eyes and exits out the back of his head. Sid 6.7 collapses on the ground next to Parker. MADISON What do we do now? PARKER You wo n't want to watch. Turn around. She does so. Parker reaches OUT OF FRAME to remove the Sid 6.7 character module from within his skull. Then reveals the character module in hand. MADISON What should we do with it? Glancing in the flatbed of a truck, Parker gets an idea, and knocks on the driver's window. As the DRIVER rolls down his window, classic ROCK & ROLL MUSIC can be heard from inside. PARKER Mind if I borrow a couple of your tools for a second? DRIVER Be my guest. Parker removes two sledgehammers from the back of the truck. He offers one to Madison. PARKER Care to join me? Madison gladly accepts takes the sledgehammer. Parker drops the Sid 6.7 character module onto the pavement. And together, they start pounding the shit out of it. WHAM! WHAM! In perfect time with the music. Which the driver cranks even louder. As we ROLL CREDITS. THE END"
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] | In Los Angeles, Lt. Parker Barnes and John Donovan are tracking down a serial killer named SID 6.7 at a restaurant in virtual reality. SID (short for Sadistic, Intelligent, Dangerous, a VR amalgam of the most violent serial killers throughout history) causes Donovan to go into shock, killing him. The director overseeing the project, before Commissioner Elizabeth Deane and her associate, William Wallace, orders the programmer in charge of creating SID, Dr. Darrel Lindenmeyer, to shut down the project. Barnes is a former police officer imprisoned for killing political terrorist Matthew Grimes, who killed Parker's wife and daughter. Barnes killed Grimes and innocent bystanders. This caused him to become a convicted killer and serve 17 years to life. Barnes meets with criminal psychologist Dr. Madison Carter following a fight between Barnes and another prisoner, Big Red. Meanwhile, Lindenmeyer informs SID that he is about to be shut down because of the fail-safe having been tampered with. At SID's suggestion, Lindenmeyer convinces another employee, Clyde Reilly, that a virtual reality prostitute, Sheila 3.2, another project created by Lindenmeyer, can be brought to life. Lindenmeyer replaces the Sheila 3.2 module with the SID 6.7 module. Now processed into the real world, SID 6.7 kills Reilly. Once word gets out of SID being in the real world, Deane and Los Angeles Police Department Chief William Cochran offer Barnes a deal: if he catches SID and brings him back to virtual reality, he will be released. Barnes agrees, and with help from Carter, they discover that Matthew Grimes, the terrorist who killed Barnes's wife and daughter, is a part of SID 6.7's personality profile. After killing a group of security guards, SID heads over to the Media Zone, a local nightclub, where he takes hostages. Barnes and Carter go to the nightclub to stop him, but SID escapes. The next day, SID begins a killing spree at the Los Angeles Olympic Auditorium. Barnes arrives at the Stadium to capture SID, and finds him on a train, where another hostage is being held by SID. However, Barnes seemingly kills the hostage in front of horrified witnesses. Having caught up with Barnes after the incident, Carter tries to prove Barnes's innocence, but Barnes is sent back to prison. Barnes is freed from his prisoner transport by SID, who once again escapes. Wallace and Deane are about to have Barnes terminated via a fail-safe transmitter implanted in him but Cochran destroys the transmitter after learning from Carter that Barnes didn't kill the hostage on the train. However, SID kidnaps Carter's daughter Karin and takes over a television studio. Lindenmeyer, having come out of hiding, sees what SID is doing and is impressed, but is later held hostage by Carter. After a fight on the roof of the studio Barnes ultimately destroys SID, but is unable to learn where he hid Karin. They place SID back in VR to trick the location out of him. When SID discovers that he is back in virtual reality he goes into a rage. Cochran lets Carter out of VR, but Lindenmeyer kills Cochran before he can release Barnes. Barnes starts to go into the same shock that Donovan suffered, but Carter kills Lindenmeyer, and saves Barnes. Barnes and Carter return to the building that SID took over in the real world, and save Karin from a booby trap set up by SID. After Karin is saved, Barnes destroys the SID 6.7 module. | Virtuosity |
[
"LIGHT SLEEPER JOHN LETOUR, forty, light sleeper. Never meant to be a drug dealer, it just came along. He's been other things : messenger boy, cab driver, model, postal clerk, doorman, nightclub shill - never meant to be them either. Now he's a D.D. Drug dealer. JOHN LETOUR, well - groomed, khaki slacks, leather jacket, tippet - like scarf, belt pouch, `` Beatle'' boots, a shadow drifting in and out of other shadows, New York, day, night : watching, listening, rarely speaking - nonexistent, seen only by those he sees. His face an affable blank. Make of it what you will. The eyes flicker ; the hands shift discreetly. A map of calculation. Once he had a drug problem. Life turned a page. Today he follows instructions : he sleeps light - one eye open, anticipating. JOHN LETOUR, D.D., loner, voyeur, has been drifting toward an unknown destination. At mid - life the destination draws near. The circle tightens. The dealer is anxious. The destination is love.",
"NIGHT IN THE LIFE CREDIT SEQUENCE : New York by night. JOHN LETOUR nestles in back of a blue car service sedan, face reflected in the window. Neon mixes with steam, street people with tourists, young dates : each with a different agenda, a hidden purpose. His beeper goes off. He clicks it, checks the digital message. The DRIVER stops at an uptown corner. LETOUR opens the curbside door, motions to the DRIVER he'll be back in `` ten'' minutes. He enters the video laundromat, a twenty - four - hour video rental/laundromat/tanning salon. Inside, he meets a RETRO - YUPPIE -LRB- J. Crew Division -RRB- in the `` Classics'' section. They exit. On the sidewalk, money is exchanged for a packet. LETOUR pockets the uncounted cash. The YUPPIE mouths goodbye, eager to put distance between him and LETOUR. JOHN checks his beeper, stops at a pay phone, dials. JOHN LETOUR re - enters the sedan ; the DRIVER heads downtown. High - rises give way to Tudor City. Uncollected trash lines the curbs. LETOUR eyes a PEDESTRIAN ; PEDESTRIAN looks back. Later. Three a.m.. The streets are dark. LeTour's car passes a glowing Korean market. LETOUR narrates from diary : LETOUR -LRB- voice over. -RRB- Labor Day weekend. Some time for a sanitation strike. Everybody crazy to stock up. They decide to score at the last minute and want it now. Never fails. The faces look alike. You got ta use memory tricks : each has some peculiarity - it keeps you sharp. A D.D. told me when a drug dealer starts writing a diary it's time to quit. I started writing after that. Not every night - now and then. Just to burn off the night. Fill up one book, throw it out, start another. The sedan drives on. End credits.",
"HOMEBASE Four a.m. : streets empty. LeTour's sedan drops him off near a ten - story West 80s apartment building. JOHN gives the DRIVER a forty - dollar tip -LRB- standard procedure -RRB-, turns the corner. He presses the intercom ; a buzzer unlocks the door. He enters the lobby, walks past English reproduction furniture toward the elevators. Presses the button. Penthouse C door opens. ANN lets JOHN in with a smile. ANN, forty - four, striking in a tailored dress, greets him with a wet kiss. Her hair is coiffured, her face made up. She is John's employer, mentor, confidante, Mother Hen : she keeps the books. Her ingenuous demeanor belies sterner stuff : she's been in the drug business fifteen years. Ann's apartment is a jumble of sensibilities : dark green walls, zebra - skin sofa, Haitian wall friezes, framed magazine photos of Paramahansa Yogananda, Liz Taylor, the Duke of Windsor - paintings stacked behind an oversized urn. A bird flits in its cage. One corner of the living area is devoted to a fledgling cosmetics business : Macintosh computer, billboard of trade paper clippings and ads, herbal samples, reference books, color charts. ROBERT, fifty, slight, waves hello as JOHN locks the door. Gay, hip, worn, he's John's `` co - runner.'' They work - and eat - out of Ann's apartment. Take - out tins of Indian food are stacked amid crystals, tarot cards, glasses, and vitamin bottles. No sign of drugs, drug paraphernalia, or money. ANN Darling. LETOUR Ann. ANN Have we made New York safe for another weekend? LETOUR -LRB- waves. -RRB- Robert. ROBERT Get a job. LETOUR -LRB- about ROBERT. -RRB- Sad what ten years without sex can do. Repartee : the plumbing of family feeling. JOHN unzips his belt pouch, walks toward the bedroom to deposit the night's earnings. ANN Any hundreds? LETOUR Twenties - and tens. ROBERT Tens! ANN Goddamn cash machines. ROBERT Did what's - his - name give you a hard time? LETOUR -LRB- out of shot. -RRB- You mean -? ROBERT Yeah. LETOUR Cash Before Delivery. -LRB- re - emerges. -RRB- CBD. ROBERT Fucking investment bankers. ANN These Wall Street kids deal with fake money all day, they think cash is a theoretical concept - like it does n't apply. I see'em at two, shudder to think at nine they're buying and selling - turned me off the stock market. LETOUR It's late. -LRB- to ROBERT. -RRB- You staying? ROBERT It's over. LETOUR I'm gon na crash - try, at least. ANN -LRB- to LETOUR. -RRB- Tomorrow will be easier. Maybe we can all eat together. Go on. You look tired. Here, take a couple of C's. I'll pick up anything that comes in. LETOUR turns to leave. ANN Sleep tight. ROBERT Pick up the trash. LETOUR -LRB- laughs. -RRB- Yeah - big kiss. He throws two kisses, exits.",
"JOHN'S APARTMENT First light reflects across the Hudson as LETOUR walks west on 22nd Street toward his Chelsea apartment building. A delivery truck passes uncollected garbage. He enters a nondescript doorway. Inside his studio apartment, JOHN sits at a second - hand table writing in a composition book. He drinks from an eight - ounce glass of white wine, continues. The room has little personality ; Ann's apartment has enough for two. Nails indicate where pictures once hung ; a boombox sits on the linoleum floor amid cassettes, books -LRB- Autobiography of a Yogi, The Secret Doctrine -RRB-, fashion magazines, a stack of unopened CDs. A futon is unrolled beneath the room's sole decoration, a poster of a human foot advertising a forgotten photo exhibit. Wine bottles - Chenin Blanc. Precious little to show for forty years. LeTour's narration resumes as he writes : LETOUR -LRB- voice over. -RRB- `` Labor Day.'' `` Union Movement'' - there's a contradiction in terms. I know about long hours. It's worse when I'm off - I just walk and walk. Where am I going? There's an element of providence to it all. Like rolling numbers. Luck. You're walking down the street, some guy that looks maybe a little like you does a stick - up four hours ago, there's an APB description out and a cop pulls you in cause he's cold and wants to go inside - they grab your stash. Your number's up. You're busted for nothing. For bad luck.",
"JEALOUS Five p.m.. A Clinton transient hotel. Inside hotel room, LETOUR meets with JEALOUS, a twenty - five - year - old drug intermediary in leather jacket. JOHN counts hundred - dollar bills, hands them to JEALOUS. JEALOUS Are they `` faced''? LETOUR Do n't bore me. JEALOUS rearranges the hundreds : JEALOUS Is it so much work to face them the same direction? You do n't do it, I got to. It's time - my time - LETOUR -LRB- overlap. -RRB- Jees - JEALOUS We've been through all this. -LRB- LETOUR shrugs. -RRB- This nineteen - gram shit is a drag. LETOUR We pay you more, you put up with more. White drugs for white people. Twice the price, twice the safety. JEALOUS I ca n't believe Ann's been working as long as she has - never busted. She's something. LETOUR Never made any big money either. JEALOUS Sure. LETOUR She blows it. JEALOUS You believe that? What you gon na do after she quits? How long you been with her? LETOUR She always says that. We'll see, Jealous. JEALOUS She's out. You should pick up her trade. You're too old to be a go - fer. They know you, they trust you. LETOUR No way. I'm not the management type. I get in charge, I'll start using again - not for me. I know music people. I'm gon na get in recording. JEALOUS Yeah. LETOUR reaches for the door. JEALOUS Tour. LETOUR What? JEALOUS Normally this would n't matter to you, but you may get hassled. LETOUR Why? JEALOUS You read the papers? The Park murder. All over the Post. Mariah Rangel - nineteen - year - old Barnard co - ed bitch dead in Turtle Pond coked to the fucking gills. All of a sudden they're hot after mid - level dealers. They're buzzin'. You know her? LETOUR -LRB- shrugs. -RRB- I look like an encyclopedia? Who knows? -LRB- opens door. -RRB- Thanks for the warning.",
"THE NIGHT BEGINS Ann's apartment. Eight p.m.. She opens the door for LETOUR, kisses him, goes back to the phone. Mantra muzak plays as JOHN locks door, heads toward bedroom. Inside bedroom, MTV glows silently as ROBERT, wearing a black turtleneck, works at a desk amid tools of the trade : digital scale, `` hot box,'' Deering grinder, block of manite, pure cocaine, pills, felt pen. ROBERT scissors glossy magazine paper -LRB- Elle -RRB- into neat quarters, folds each into gram - size `` bindels'' - envelopes. Red satin drapes the ceiling. ROBERT Jack. JOHN kisses him atop the head. ROBERT You pick up from Jealous? LETOUR -LRB- passes bag. -RRB- Yeah, nineteen grams after four times last night. We're certainly not his favorite people. ROBERT We do n't make the laws. Nineteen is carrying, twenty is dealing. Let him be stupid. LETOUR He took my hundreds. ROBERT -LRB- stands. -RRB- Take over for a while. I'm getting contact high. LETOUR -LRB- sits. -RRB- Who's Her Majesty talking to? ROBERT flips through cable channels as JOHN grinds cocaine. ROBERT The Ecstasy connection. From Arizona. She's trying to get them to come here - or, better, Europe. LETOUR That's where the money is. ROBERT All mark - up - the `` Big One.'' LETOUR -LRB- laughs. -RRB- Do n't dress. -LRB- beat. -RRB- You really think she means it? ROBERT That's what she says. New Year's Eve and out - no Acid House, no product, no deliveries. LETOUR That's just her mouth talking. ROBERT Next year - strictly Akasha. LETOUR `` Akasha''? ROBERT Cosmetics. That's what Ann's calling the company now - LETOUR -LRB- interjects. -RRB- - this week. I do n't get it - marigolds, violets, sage - why'd anyone pay to put weeds on their face? ROBERT Why'd anyone pay to put them up their nose? I like cosmetics. I need cosmetics. You should come in with us. LETOUR You forget : she has n't asked me. ANN hangs up, calls : ANN -LRB- out of shot. -RRB- Johnny! Robert! Come here! They return to the living area. ANN -LRB- open arms. -RRB- Plant me two kisses, boys, fifteen hundred Ex at thirty each and the delivery's here. They simultaneously kiss her cheeks. ANN -LRB- to LETOUR. -RRB- Whatja think? LETOUR Of what? ANN The face cream. Almond, marigold, chamomile, egg, aloe - the `` Almilk'' formula. I remixed it. LETOUR -LRB- smells her. -RRB- Very nice. ANN Reminds me, if you get downtown stop at Enhancements and pick up some almond oil - not the California. -LRB- fishes menus from desk. -RRB- What should we order? LETOUR How about Indian? ANN Darling, it's Saturday. ROBERT Thai. We have n't had Thai in a while. The phone rings. Ann's voice repeats a recorded message : ANN'S VOICE `` Hello. This is Ann. If you leave a message, we'll get back to you - sooner than you think.'' Answering machine beeps. MAN'S VOICE speaks from the tiny speaker : `` Ann, this is Ed. Call me. 749 - 2876.'' ANN -LRB- to ROBERT. -RRB- Answer that. He'll call back every five minutes. ROBERT -LRB- walking. -RRB- The night begins. The phone rings again : another message as ANN examines the menu. ANN `` Ped Srilom''? - it's Northeastern. Duck. LETOUR -LRB- glancing. -RRB- I'm going veggie. Get me the `` Puk Ob.'' ROBERT -LRB- out of shot from phone. -RRB- Me too. LETOUR Use it for facial cream. ROBERT -LRB- out of shot. -RRB- Remove unsightly hair! ANN Laugh, one day you'll be watching me on `` Oprah'' from a welfare hotel. LETOUR Forgive us. ROBERT -LRB- returns. -RRB- Eddie wants now. Now. His place. Top Lady. God knows what happened to his shit yesterday. ANN -LRB- to LETOUR. -RRB- You take it - call in. LETOUR It was supposed to be light tonight. ROBERT Do n't you watch TV? LETOUR Do n't have one. ROBERT Well if you were the normal stupid fuck you should be so lucky to be and had one, you'd know it's supposed to rain - ANN Good for the trees - ROBERT Some farmer whacked his numerology on us. ANN -LRB- peers through curtain. -RRB- It's started. ROBERT The Farmer's Almanac is based on numerology. LETOUR Raining? ANN Take a coat. -LRB- to ROBERT. -RRB- And you, clean up the product before the food delivery comes. JOHN grabs his belt pouch, heads for the closet.",
"CONFESSOR LETOUR Rain falls on LeTour's car near an East Side luxury high - rise. The door opens to Eddie's apartment : severe decor, once chic, now dated. EDDIE, thirty - two, is a mess : puffy face, sweaty shirt, pinched lips - on a drug jag. EDDIE Le Tour! - finally. What took so long? LETOUR -LRB- steps inside. -RRB- Traffic. It's raining. EDDIE How's things? LETOUR Okay. EDDIE I need a quarter - you got it? LETOUR -LRB- nods. -RRB- Robert said he sold you a quarter yesterday. EDDIE -LRB- slurs. -RRB- Some friends came over. How much is that? Fourteen - hundred? LETOUR nods as EDDIE, employing diminished skills, counts from a roll of twenties. JOHN looks around : full ashtrays, porn tapes, empty vodka bottles - there have been no `` friends.'' LETOUR Eddie. Look at yourself. Sit down. I've known you, what, like eight years? EDDIE -LRB- counting. -RRB- Yeah. LETOUR Knew you from the other job, the one before the last one you fucked up. I knew your wife - remember her? We used to sit and talk and talk - Pressures EDDIE into chair. EDDIE -LRB- whining. -RRB- You do n't know what she was like - LETOUR This is no good. I'll sell you a gram and some downs, but I ai n't gon na put you in the emergency room. Cool it. Go to bed. Sleep it off. John's beeper goes off. EDDIE -LRB- stands. -RRB- You charge $ 200 for what goes for ninety on the street - and you're not gon na sell? LETOUR -LRB- clicks beeper. -RRB- So go to the street. EDDIE I'll call Ann. LETOUR Go ahead. You know what she'll say. Phone's over there. EDDIE -LRB- irrational. -RRB- I'll tell the fucking cops. LETOUR -LRB- flashes cold. -RRB- Fuck you. That's it. You're out. -LRB- turns to leave. -RRB- Do n't call again. Catch you next lifetime. EDDIE -LRB- contrite. -RRB- Please, Tour, I'm sorry. You're right. I did n't mean that. I'm quitting anyway. I'll take the gram. Sorry. LETOUR -LRB- turns back. -RRB- Okay. EDDIE Two hundred? LETOUR nods. EDDIE counts $ 200 as LETOUR takes a gram from his pouch, gives it to him. LETOUR You got downs? -LRB- EDDIE nods. -RRB- One more thing. I got ta use the phone. EDDIE pockets the envelope as JOHN, checking his beeper, walks to the phone. Later. LETOUR sits in an Upper West Side apartment as an earnest MID - TWENTIESH MAN, wearing undershorts, snorts a hefty line, offers a rolled dollar bill as he talks. LETOUR declines. MID-TWENTIESH MAN -LRB- continuing. -RRB-. but - if there's no God, how can man conceive of him? The idea of God presupposes the existence of God. That's the Ontological Argument. Anselm. Twelve hundred. Fourteen hundred - I'm not sure - LETOUR -LRB- checks his watch. -RRB- I've got to go. MID-TWENTIESH MAN -LRB- gesturing. -RRB- Let me finish. Okay, if the idea of God is implanted by God - the sensus divinitatus, the sense of the divine - what is the role of human thought? Not faith, thought. LETOUR's mind drifts. His diary voice overlaps : LETOUR -LRB- Voice over. -RRB- Everybody wants to talk. It's like a compulsion. My philosophy is : you got nothing to say, do n't say it. They figure you can tell a D.D. anything, things they would never tell anyone else. He understands. Of course they're stoned to start. If I could tie together all the hours of coke talk I've heard, that would be a lot of string. It was Robert's idea to add twenty - five dollars to home deliveries cause it's such a hassle. Fifty is more like it. Later. Narration continues as sedan drives through rain. Later. A Tribeca loft. LETOUR swaps drug jargon with TWO N.Y.U. STUDENTS at an impromptu party. Attractive ingenues drift by. TRENDY TWOSOME, blasted, sways, to techno - rap. Business done, LETOUR turns to leave. The FIRST STUDENT grabs his shoulder : FIRST STUDENT C'mon, Tour, stick around. SECOND STUDENT Yeah. FIRST STUDENT There's only four of us and like seven of them - and we're paying for the dope. See her, over there, the blonde, long hair, yellow skirt? - she's gon na model for Elite. DOWNTOWN NYMPH, sixteen going on seventeen. LETOUR -LRB- smiling. -RRB- Me? I'm an old man. She'd break me like an old horse. SECOND STUDENT Shit, dude - LETOUR Nah. Thanks anyway. -LRB- checks watch. -RRB- I got ta go. Have fun. -LRB- heads toward exit. -RRB-",
"FACE FROM THE PAST LeTour's sedan heads down Lexington Avenue. It rains unabated. Puddles glisten ; red taillights refract on the windshield. JOHN rests in back, a bag from Enhancements beside him. Pedestrians, well - dressed and casual, desperately wave for taxis amid sacks of garbage. No use : nothing for blocks. John's sedan stops for a midtown light. LETOUR looks out the window, sees a WOMAN vainly hailing a cab. He looks again. She turns her head. He recognizes her. LETOUR -LRB- to DRIVER. -RRB- Carlos. Wait a second. He leans over, opens the far door, calls : LETOUR Marianne! Marianne! Hop in! I'll give you a ride. MARIANNE JOST, thirty - five, stylish in short black hair and long black coat, steps closer, looks through the rain. LETOUR John. John LeTour. MARIANNE -LRB- recognizes him. -RRB- John? LETOUR Get in. You're getting soaked. She ducks inside, slams the door. MARIANNE -LRB- awkward. -RRB- Hi. The car moves on. LETOUR Where are you going? MARIANNE wipes rain from her cheeks ; her expression deepens : cautious, suspicious. No reply. LETOUR I did n't know you still lived here. MARIANNE -LRB- second thoughts. -RRB- Maybe this was n't such a good idea. I should get out. LETOUR Do n't be crazy. It's pouring. MARIANNE I'm not supposed to be around - LETOUR -LRB- completes sentence. -RRB- - former drug associates. MARIANNE It's four years I'm clean. No alcohol, no cigarettes, no nothing. LETOUR I heard. I'm happy for you. MARIANNE It's still not easy. LETOUR I know. Mar, you do n't need to avoid me. I'm straight - two years. It came that time. I tried to tell you. I wrote. I called. MARIANNE -LRB- looks around. -RRB- I should get out. LETOUR Honest. MARIANNE But you're dealing. LETOUR No. I stopped. MARIANNE What's in the bag? LETOUR Almond oil. You can check. -LRB- opens bag. -RRB- Look. She does : Enhancements Almond Oil. John's beeper goes off! - he punches it. LETOUR Shit. MARIANNE What's that for? In case someone needs almond oil in the middle of the night? LETOUR I still deal a little, but I'm straight - that part's true. Believe me. MARIANNE -LRB- to DRIVER. -RRB- Stop here. Now. Stop! LETOUR I wo n't say anything. I promise. I'll just sit here. I'll just give you a ride. The car pulls over. MARIANNE opens the door, gets out. MARIANNE Goodbye, John. LETOUR Where do you live? -LRB- door slams. -RRB- Mari. She fades into the rain. JOHN watches, aching. DRIVER Sir? LETOUR Eighty - third Street. The sedan continues uptown.",
"MEMORIES John's apartment. Pre - dawn. His diary lies open on the desk. LETOUR sits clothed on the futon, drinking white wine. He pages through a cheap, half - filled photo album. He touches snapshots, 3 × 5's from another time : - JOHN and MARIANNE, arm in arm, on a Florida beach - MARIANNE, surprised by the camera, snorting coke at a party - JOHN, MARIANNE, and ANN posing, smiling, same party - JOHN and MARIANNE kissing over birthday cake, same party - MARIANNE IN MOROCCO BAZAAR - JOHN blowing a kiss in Fez airport",
"PSYCHIC HEALING LeTour's narration continues over embossed card on an entry table : Teresa Aronow, Psychic Reading, 37 Jones Street, New York, N.Y. 10012, -LRB- 212 -RRB- 473 - 4297. VOICES under narration : TERESA -LRB- out of shot. -RRB- Coffee? LETOUR -LRB- out of shot. -RRB- Thanks. TERESA -LRB- out of shot. -RRB- Black? LETOUR -LRB- out of shot. -RRB- Yeah. TERESA -LRB- out of shot. -RRB- Here. JOHN accepts a coffee mug, sits on a sofa across from TERESA. Sunlight falls through crocheted curtains. TERESA ARONOW, fortyish, professionally young, is compact, demure ; she wears business jacket and skirt, patterned blouse. Nothing about her is remotely paranormal - nothing except, of course, her `` aura.'' The `` Other Side.'' Her voice is at the same time soothing, piercing. Teresa's West Village consultation room is startlingly mundane : a bourgeois walk - up. Upholstered furniture, Tiffany objêts d'art, framed photos of her husband and children - a trip to Capri. A twenties portrait of Madame Blavatsky, above the fireplace, centers the room. LETOUR I'm not sure how this works. TERESA Have you ever been to a psychic before? LETOUR No, but I've, well, I've heard about it. TERESA Do you need advice? John? LETOUR -LRB- nods. -RRB- No. it's not that. I do n't know - I just decided to come. I thought. TERESA Be comfortable. -LRB- smile. -RRB- How did you hear about me? LETOUR A recommendation. Somebody from work. Two hundred dollars, right? TERESA nods. JOHN tucks cash into an envelope, places it on the coffee table. TERESA It's a lot of money? LETOUR I do n't care. TERESA -LRB- explaining. -RRB- I look at you. I give you my impressions. I feel your `` vibrations'' - I do n't like that word, it sounds phony, but I ca n't think of anything better. -LRB- watching. -RRB- You're anxious. -LRB- he shrugs. -RRB- More than usual. Your aura is very strong. I feel a very strong vibration from you. A change is coming. You're worried about money. You say you do n't care about money but that's not true. LETOUR Yeah. TERESA Your livelihood is endangered. You're worried about the future. You do n't have much money saved. What will you do? LETOUR I do n't know. TERESA I see a woman who has betrayed you. LETOUR -LRB- smiles. -RRB- My mother? TERESA -LRB- cuts him short. -RRB- Who will betray you. LETOUR Not. I. TERESA Keep it in mind. I have a strong feeling about this woman, a woman close to you, she will betray you. You're in the entertainment business, are n't you? LETOUR Yes. TERESA But you're not happy. You want to do something else. Is it music? LETOUR Yes. TERESA You have a talent for music. LETOUR As a child. TERESA You still have it. It's strong. I see music in your future. A career opportunity will come in the music field. Take it. It wo n't seem promising. Take it anyway. -LRB- pause. -RRB- You're full of stress. Are you exercising? LETOUR No. I - TERESA You should exercise more. You must let go of this stress. It's not good for your health. I'm not saying you're going over to the other side, but it's not good for you. You're still drinking, are n't you? You have a drinking problem? -LRB- he shrugs. -RRB- It's interfering with your health and your life too. You've had other problems. Drug addiction. LETOUR Yes. TERESA This was very important in your life. LETOUR Yes. TERESA You are in the balance. Everything you do - positive or negative - in this life is a drop that will carry over in the next. Every act, every decision matters. LETOUR Teresa? TERESA What is it? LETOUR I'm thirty - eight years old. -LRB- beat. -RRB- Forty. TERESA You're young. LETOUR I have trouble sleeping. -LRB- TERESA waits. -RRB- Look. What do you see around me? Is there anything? Is it dark? Have I run out of luck? Is there luck? TERESA I see a glow. Everything you need is around you. The only danger is inside you.",
"MONEY CHANGER Ann's apartment. The night has already begun. ANN sits on the floor beside a YOUNG HASID counting money. He wears Orthodox garb : black hat, black coat, peyas. Tibetan bells reverb from speakers as the Bergmanesque cambist runs faced twenty - dollar bills through a battery - operated counting machine, places stacks of cash on the floor. ROBERT returns a call from the kitchen ; LETOUR emerges from the bathroom, wiping his hands. ANN -LRB- to LETOUR and ROBERT. -RRB- Your pay's on the table. JOHN walks to the cosmetics corner, finds an envelope with his name on it, looks inside : $ 500 in twenties. He pockets the money. LETOUR sits as HASID double - checks the total : cash covers the available floor space. YOUNG HASID -LRB- dialogue punctuates action. -RRB- One hundred thirty - one, let's make it 130 - $ 13,000, hundreds for small bills. One percent commission, $ 130 to you - add tens or whatever if you want. Opening a satchel, he removes bound $ 100s, counts off 130 as ANN adds up commission in small bills. He loads the satchel : YOUNG HASID Same time? ANN -LRB- nods. -RRB- Two weeks - do n't run. Stay a while. We'll order kosher. We'll tell you dirty stories. We'll talk Zionism. The HASID laughs. He likes her. YOUNG HASID -LRB- passes hundreds. -RRB- I'm late already. I only come'cause I like you. Sure you're not Jewish? I do n't want to see you hurt. Find a man. You should do something else. ANN -LRB- offers commission. -RRB- Invest in my cosmetics line. YOUNG HASID -LRB- takes money. -RRB- Do n't mix business with friendship. ANN follows him to the door. YOUNG HASID Shalom. ANN Shalom. -LRB- opens door. -RRB- See you next week. -LRB- calls after him. -RRB- Do n't eat any hot dogs! ANN closes door. LETOUR Jealous said something about a yuppie murder in the Park. You know anything about it? ANN It's all over the news. LETOUR Jealous said to be careful. ANN We are careful. ROBERT -LRB- returning. -RRB- We're too small time. Besides, she was n't one of ours - not directly. -LRB- to LETOUR. -RRB- Tis is at St. Luke's. He wants somebody over right away. Second floor waiting room. LETOUR A hospital? What's he doing there? ROBERT He says he needs you to come to St. Luke's. I'd go but I got the other thing. LETOUR The -? ROBERT Yeah. ANN -LRB- to LETOUR. -RRB- Go. Keep on his good side. He set up Arizona. Phone rings ; Ann's machine answers : `` Hello, this is Ann.'' ANN -LRB- to LETOUR. -RRB- Let's have lunch. Tomorrow. LETOUR Me? ANN One o'clock. Côte Basque. Is that too early? LETOUR No. Yeah - sure. ROBERT Tonight? LETOUR I vote Japanese. ANN Fine. ROBERT Okay. LETOUR -LRB- heads for door. -RRB- Mixed sushi. Oshitashi.",
"ST. LUKE'S EMS vehicles line street outside St. Luke's - Roosevelt Hospital. Inside, LETOUR weaves through Emergency -LRB- eerie -RRB-, double - steps the stairs, looks for the second floor waiting area. TIS -LRB- Mathis - pronounced Tees -RRB-, thirty - five, Swiss, paces in the waiting room. He wears a linen jacket, horn - rim glasses, Cerrutti Euro - swank. He spots JOHN, takes him aside : LETOUR What's going on? TIS You got some valiums? LETOUR -LRB- nods. -RRB- -'n ` ludes. TIS Just a valium - a ten. LETOUR What is it? TIS You wo n't believe it. What a nightmare. I brought in this chick. She O.D.ed - man, I did n't even know her. I did n't have to bring her in. The cops are coming back to talk to me. I'm hyper. I got ta come down. LETOUR -LRB- hands him valium. -RRB- Here. TIS Make it two. LETOUR obliges. TIS pops a blue without water, pockets the other. TIS Thanks. LETOUR She okay? TIS Who? LETOUR The girl. TIS Yeah, yeah. Met her last night. A walking vacuum cleaner. What a nightmare. Underage. LETOUR You need a lawyer? TIS -LRB- gestures toward suited man. -RRB- He's here. Thanks. TIS folds a bill into John's hand. LETOUR Any time. TIS turns, steps away. LETOUR walks down the long corridor. Curious, reflective, he slows past open doors. Friends, family, patients sit in blue light. Each room a drama. He heads down a duplicate corridor. A VOICE turns his head : RANDI John! He turns to see RANDI JOST, thirty, Marianne's younger sister. She wears running shoes, jeans, red sweater. LETOUR Randi? RANDI -LRB- kisses him. -RRB- I ca n't believe it. Marianne's here too. She flew in. It's been so long. You look great. LETOUR -LRB- deactivates beeper. -RRB- You too. Randi, what's wrong? Why are you here? RANDI Mom. She's back in. Did n't Marianne tell you? LETOUR Serious? RANDI -LRB- nods. -RRB- More chemo. LETOUR Can I see her? RANDI She's sleeping. She sleeps most of the time. She'd like it, though. She still talks about you. LETOUR -LRB- sad. -RRB- I'm so sorry. She's a terrific woman. I was crazy about her. God. MARIANNE, head down, approaches. Looking up, she finds herself unexpectedly beside JOHN and RANDI : RANDI It's John. What a coincidence. MARIANNE -LRB- gathering herself. -RRB- Yes. -LRB- extends hand. -RRB- Hi. LETOUR -LRB- shakes hand. -RRB- Randi told me about your mom. I'm sorry. MARIANNE Thanks. LETOUR She's sedated? MARIANNE Yeah. RANDI She would be so happy to see John. MARIANNE I do n't think that would be a good idea. An awkward silence : RANDI does n't get it. LETOUR You both look so tired. MARIANNE One of us has to be here. RANDI The hospital lets us stay in her room. LETOUR Let me buy you some coffee or something - the cafeteria's downstairs. It helps to talk. RANDI You go, Marianne, it's my turn with mom. MARIANNE I should n't. RANDI Go. You have n't eaten. Go on. -LRB- nudges her. -RRB- Go on. MARIANNE I. RANDI Bring me a coffee. MARIANNE acquiesces. LETOUR This way. -LRB- to RANDI. -RRB- Kiss your mother for me. JOHN escorts MARIANNE toward the stairs.",
"EUPHORIC RECALL Hospital cafeteria. JOHN and MARIANNE carry trays to a formica table, molded chairs. He mixes sugar in his coffee as she sets out her salad, diet soda, to - go coffee. An awkward moment. MARIANNE scans the fluorescent room : doctors, nurses, relatives. LETOUR I like your mom. MARIANNE She liked you. You know this will happen someday, but when it does. Your mother - that was a shock. LETOUR -LRB- re : Marianne's mother. -RRB- She's been sick a while? MARIANNE A year. LETOUR Your father? MARIANNE -LRB- `` no''. -RRB- Not this time. His new wife - he'll make it to the funeral. LETOUR What have you been doing? Where do you live? MARIANNE It's. -LRB- deciding. -RRB- I do n't want you to know about my life. LETOUR Anything? You married? Have children? A dog? -LRB- smile. -RRB- House plants? MARIANNE Details just open the door. LETOUR The door to what? -LRB- no answer. -RRB- It's not like we're strangers. We were married. MARIANNE We were not. LETOUR There was a ceremony. MARIANNE He was n't even a minister. He was an astrologer. LETOUR He was also a minister. `` Universal Harmony.'' MARIANNE He was a Pisces. LETOUR You're a Pisces. MARIANNE It was not legal. LETOUR In the eyes of Jeanne Dixon we're still - MARIANNE I was on the cusp. LETOUR We were happy. MARIANNE We were miserable. We were either scoring or coming down - mostly coming down. LETOUR There were good times. Area, out on the street, laughing, dancing with friends - we were magical. MARIANNE You took off for three months without telling me and called once. That's how magical we were. You were an encyclopedia of suicidal fantasies - I heard them all. Nobody could clear a room like you, John. And the friends, you may have noticed, turned out to be mine, not yours. I envy you. A convenient memory is a gift from God. LETOUR You exaggerate. MARIANNE In rehab they call this `` euphoric recall.'' You only remember the highs, never the lows. LETOUR We were happy. MARIANNE I was drowning. LETOUR It was n't me - MARIANNE You watched - LETOUR You jumped - MARIANNE You did nothing - `` It was n't your business, you were n't responsible'' - you still think like that. -LRB- shakes head. -RRB- Actions have consequences ; so do - LETOUR -LRB- overlap. -RRB- I - MARIANNE - inactions. LETOUR I did n't -. -LRB- MARIANNE smiles. -RRB- I meant well. MARIANNE You always meant well. LETOUR We were in love? MARIANNE Yes. LETOUR We were happy? She does n't answer. He slides his hand across the table. She notices his gold and onyx ring. LETOUR You bought it for me. It's inscribed inside. She pushes his hand away. Details open doors. LETOUR Ann's quitting. I've got to find something else to do. MARIANNE Ann? I'll believe it when I see it. LETOUR It's true. MARIANNE Are you really straight? LETOUR Yeah. MARIANNE Let me see your eyes. JOHN leans forward, eyes open. She presses up an eyelid, examines one iris, the other : MARIANNE Eyes are deceiving. -LRB- beat. -RRB- Congratulations. LETOUR If I could do that, I could do anything. MARIANNE What do you mean? LETOUR We could do anything. We could start over. MARIANNE -LRB- bangs her head. -RRB- What was that? I think I heard something. LETOUR I'm serious. An INTERCOM VOICE announces visiting hours will end in five minutes. MARIANNE You're crazy. LETOUR -LRB- gestures to room. -RRB- This is crazy. MARIANNE I have to get back. JOHN nods, checks his watch - he's late too. They exchange `` last looks'' ; MARIANNE stands. LETOUR I'll walk you. He stands, follows.",
"NEW DIARY Later. LeTour's sedan pulls up near Palio, a midtown restaurant. JOHN steps around garbage bags, enters. Inside, JOHN `` maps'' bar, greets the MAÎTRE D'. LETOUR spots the FRENCH -LRB- LaCroix and Montana -RRB- COUPLE in the dining section, catches the man's eye. He nods to the MAÎTRE D', makes his way toward their table. He joins the FRENCH COUPLE, declines a drink, exchanges drugs/money amid air kisses. Late night. Fog hangs over 22nd Street : Chelsea's deserted. Homeless men behind windbreaks of trash. John's apartment. He writes bareback at the desk. He completes his composition book diary mid - sentence, closes it, discards it. He lifts a new book from the floor, opens it on the desk, continues. He fills his glass with wine : LETOUR -LRB- voice over. -RRB- I can always find another way to make a living. I never planned this in the first place - not like Ann. She came up to sell, have parties, make contacts. She was so glamorous. I just wanted to be around her. She'd sit up listening to coke stories. Now it's me and Robert. The whole crowd was the same age. Everybody's younger now. She made me. LETOUR pulls his weekly pay from his pants, puts five twenties in an envelope. He addresses the envelope. `` Linda Wichel, 1012B - 2 A Street, Sacramento, California,'' stamps it. Dissolves : -LRB- 1 -RRB- LETOUR vanishes from his desk, -LRB- 2 -RRB- materializes fetally on his futon, bareback, slacks, boots, anxious, awaiting sleep. LeTour's diary contains parallel columns of names : one headed `` People Who Are Left Handed,'' the other, `` People Whose Eyes Do n't Match.''",
"CÔTE BASQUE Midday. JOHN, wearing a black tweed jacket, tie, khaki slacks, mails the Sacramento letter, enters CÔTE BASQUE, a hoity - toity 55th Street restaurant. Midmeal. ANN and LETOUR sit in a prominent booth ; power moguls confer quietly. A deferential WAITER brings fresh berries, retrieves empty salmon plates. ANN You have any money saved? LETOUR There's some. Not much. A thousand or two. Maybe more - I'm not sure. ANN What do you do with your money? The CHEF stops by, asks if the meal was satisfactory. ANN assures him it was, kisses his hand. The CHEF nods, gratified. JOHN resumes the conversation : LETOUR I do n't know. It's not that much in the first place - as you know. ANN -LRB- counterpoint. -RRB- It's tax free - LETOUR Rent, utilities, phone, tips, CDs - what about your money? ANN Kitty Ford once told me, `` Ann, the only person I know that lives as well as you is my grandmother.'' All the money I've made, all the money I've spent - it never adds up. This last two years cosmetics' been taking everything. LETOUR I wish I could help. ANN You still go to meetings? LETOUR No, but I'm okay. What are the odds of meeting someone you have n't seen in years twice in two days? ANN Ask Robert to make up a chart for you ; the other person - who is it? LETOUR Just a contact - you do n't know him. ANN What's the plan? LETOUR The plan? ANN What you gon na do? LETOUR My future? ANN Too conceptual? LETOUR We had this conversation two years ago. We'll have it two years from now. ANN This time it's for real. LETOUR -LRB- accepting premise. -RRB- I'm thinking of some music courses. Mixing, sound editing - ANN You took that before. LETOUR That was acting. ANN -LRB- corrects him. -RRB- Modeling. LETOUR Why all this concern? Suddenly you care? ANN I have feelings too - you may have noticed. I guess I'm worried. I'm tough, you got ta to be tough, especially in this business, it's one thing to act tough - I've seen Zipporah twice this week. LETOUR She helps you? ANN -LRB- nods. -RRB- - harmonizes, she's encouraging me to get out of this into the cosmetics thing - WAITER leans in, deposits check as WELL - TANNED CUSTOMER, fifty - five, cologne and hauteur, passes. He looks at ANN blankly, continues. She watches : ANN -LRB- about CUSTOMER. -RRB- Nomination for Best Picture. I knew every girl he fucked - how, why. I knew when he had trouble shitting. Like this. -LRB- crosses fingers. -RRB- His wife says he gets straight or she cuts him off. Old money. I remember the last thing he said to me : `` See you soon.'' Yeah, sure. That was five years ago. ANN pulls a wad of twenties from her purse, counts bills atop the check : $ 260. ANN -LRB- vulnerable. -RRB- You'll still talk to me, wo n't you? A beat : this is the reason for lunch. The WAITER picks up the cash, appraises the gratuity. LETOUR You -? -LRB- to ANN. -RRB- Of course I will. ANN It'll be strange without you around. I had n't thought of it - it hit me. LETOUR -LRB- clever. -RRB- We'll always have Paris. ANN -LRB- reproachful. -RRB- John. JOHN reaches, touches her visceral emotion. He takes her hand : LETOUR Ann, you want me, call, write a letter, tell a wino - I'll be there. She smiles, clasps his hand. Touching, he is touched.",
"GENERAL HOSPITAL Afternoon. St. Luke's. LETOUR, wearing tweed jacket, walks down the corridor, checks room numbers. A NURSE passes. He stops at a room, pushes the door a crack, peeks inside, quietly enters. Inside the hospital room, MRS. JOST, sixty - five, lies sedated, attached to IV tubes and a respirator. Flowers wreathe the bed. RANDI sleeps in a chair by the window. LETOUR looks from MRS. JOST to RANDI and back again : a vibrant woman reduced to a shell. He soundlessly eases into a vacant chair. His mind goes back. RANDI twists fitfully in her chair. A stuffed bear peeks over family photos on the window sill. MARIANNE steps into the doorway, stops, frozen - watching the tableau : JOHN, RANDI, her mother. Her face is ravaged : the death watch has taken its toll. LETOUR reaches his arm, touches the hospital bed. MARIANNE tiptoes behind JOHN. He turns, stands. LETOUR -LRB- soft. -RRB- I'm sorry. I. She puts her finger to her lips. He nods. She steps closer, holds him politely. His cheek nestles in her neck. They turn toward the door, step into the corridor, walk arm in arm as if supporting each other. LETOUR -LRB- after a moment. -RRB- I always thought my father would die first. He would die, then my mother and I would reconcile. Just her and me. I hated him for living. MARIANNE It's like a joke. It's not a real feeling. It's like a feeling of a feeling. LETOUR My old man bawling in the hospital, me popping in and out of the john getting loaded. -LRB- beat. -RRB- I miss you. They stop. She kisses him. MARIANNE You tried to kill me. You took ten years of my life one way or another. -LRB- he kisses her. -RRB- I could n't hate my mom - I was too busy hating you. LETOUR I thought I was just killing myself. She runs her hands under his shirt, up his back. LETOUR Selfish. MARIANNE I remember. LETOUR What? MARIANNE What it felt like. -LRB- kisses his face. -RRB- What this tasted like. He slips his hands under her blouse, caresses her breasts. LETOUR I see you and my heart starts thumping. MARIANNE John. They kiss deeper, bodies grinding. The painful present fades. A NURSE approaches with WHEELCHAIR PATIENT. She tries to pass one side of JOHN and MARIANNE, tries the other side, is blocked again. The NURSE stops, stares at their soap opera. Sensing her glare, JOHN and MARIANNE, hands over and under each other, stop, look to the NURSE : embarrassed - yet blissful. LETOUR Excuse us. -LRB- to MARIANNE. -RRB- Let's go. MARIANNE Come. Come with me.",
"HOTEL SEX Paramount hotel room : Vermeer's Lace Maker dominates Phillipe Stark decor. LETOUR and MARIANNE are all over each other. The pain of the moment, the pain of the past are subsumed by passion. Blind, welcome sexuality. Naked, they kneel facing each other on the bed, faded bleeding heart tattoo on his bicep : LETOUR Have you ever had sex totally straight? MARIANNE Not with you. LETOUR Neither have I. MARIANNE Such an erection. LETOUR Never had anything like it stoned. Feel it. -LRB- she does. -RRB- MARIANNE Weird. LETOUR -LRB- caresses erection. -RRB- Wow. MARIANNE I'm dripping. LETOUR Let's disappear. They smack their sweaty bodies, tumble yelping to the carpet, kiss indiscriminately : LETOUR Kiss, kiss, kiss. MARIANNE Kiss, kiss, kiss. LETOUR Together. Later : night. They lie nude in a scramble of twisted sheets and mattresses. Street lights cast horizontal shadows. LETOUR crawls over, falls upon Marianne's breast. She wakes up, looks at JOHN, looks out the window, returns to slow sad reality. MARIANNE stands, pulls on her panties. LETOUR -LRB- waking. -RRB- You need to go back? She dresses before responding : MARIANNE This is the end. It was wonderful. I'm glad it happened this way. It will never happen again. You will not see me, you will not call me again. I'm happy for you. I wish you the best. I'm leaving. I'm going back to the hospital. I should n't have left - but I do n't regret it. Please dress and leave as soon as possible. I have a key. Goodbye. LETOUR Marianne. MARIANNE It's my fault. MARIANNE, clothes askew, exits. LETOUR I love you. LETOUR is alone. He pulls his pants on. Looking for his socks, he peruses Marianne's personal things. He examines her cosmetics, her underclothes. He dabs her perfume on his cheek. Buttoning his shirt, he retrieves his beeper from suit jacket. Activated, it disgorges messages. He checks his watch : 9:00 p.m.",
"GET ON OUT Nine - thirty : Ann's apartment building. Trash stacked high. LETOUR presses the buzzer. LETOUR, exhausted, unfocused, enters Ann's apartment. ANN is immediately upon him : ANN Johnny, what is this? Your beeper broke, gettin' some shiatsu? Two hours : where have you bee? LETOUR There was a mix - up - ANN How you gon na survive on your own? The U.N.'s got some conference in two days. The holiday's over - ragheads everywhere trying to score. U.N. security at every hotel - little creeps with lapel pins. Even I've been out. This is where our money is : Europe, Asia, not the streets - you would n't know crack from crackerjacks. LETOUR Where's Robert? ANN Busting his ass. He's out doing your job. LETOUR It was a confusion. ANN Get confused on your day off. LETOUR When is that? ANN Do n't get wise. What do you want me to do? Suck your dick? - okay. A raise? No way. Get out there. There's a list on the TV. I love you. Get your ass outta here before I kiss it. LETOUR -LRB- pecks her cheek. -RRB- I'm on my way. Love you. Forgive me.",
"AU BAR LeTour's sedan waits between limos. Inside, JOHN passes the MAÎTRE D', looks around : he's known here. Au Bar, a restaurant/club open 9:00 p. m. to 4:00 a. m., caters to the young, the rich, the European. He spots TIS with THOMAS, twenty - five, his handsome trainer, and TWO MODELS at a second - floor table. They exchange nods. LETOUR scans the room : suspicion is second nature. A laughing man -LRB- GUIDONE -RRB- at the bar catches his eye. He seems to blend : Italian, twenty - eight, silk suit, impeccable hair, accent - but something's not right. His black shoes have rubber soles. LETOUR looks for a gun bulge, dirty hands. The ITALIAN turns ; LETOUR glimpses his face : too pale. The ITALIAN averts his eyes. Glancing back, LETOUR walks up the stairs to Tis' table. TIS Tour, sit. Take a rest. LeTour, this is Gabri, Tasha - you know Thomas. They're here for a show. The MODELS respond in respective accents. THOMAS extends his hand. JOHN shakes, remains standing. LETOUR Enchanté. -LRB- to TIS. -RRB- How'd it turn out? TIS -LRB- to GABRI. -RRB- Questo è un vero Americano. -LRB- to LETOUR. -RRB- What? GABRI and TASHA buzz. LETOUR St. Luke's. TIS No problem, but - can you believe this? - she's out of the hospital in one day, calls me up, wants to `` get together.'' Some people are just born for losing. Want to go in back? LETOUR Not now. TIS Huh? LETOUR Look at the bar. Black - haired guy, late twenties, brown suit, drinking tonic? -LRB- TIS nods. -RRB- He's casing you. Not me, you. Undercover, whatever - he's on you. TIS You know him? LETOUR -LRB- shakes head `` no''. -RRB- Just a feeling. You holding? TIS No. Need help? LETOUR -LRB- `` no''. -RRB- Leave a message. Robert or I will come by later. TIS Forget it. It was n't for me anyway. -LRB- to MODELS. -RRB- Who am I trying to impress? -LRB- they smile uncomprehendingly. -RRB- Make it tomorrow. A half - no, three - quarters. LETOUR Nineteen is the top. I'll make two trips. TIS Nineteen is fine. LETOUR -LRB- leaving. -RRB- A domani. Take care, girls.",
"THERE IS A DIRECTION The blue sedan drives west past Times Square, turns north on Eighth Ave. A plastic wall of trash stretches toward the river. Port Authority hustlers - male, female - cruise as TRANSIT COPS whack an emaciated CRACKHEAD. JOHN, lit by neon, lowers his power window. John's apartment. Night. He writes in his diary, drinks. LETOUR -LRB- voice over. -RRB- I feel my life turning. All it needed was a direction. You drift from day to day, years go by. Suddenly there is a direction. What a strange thing to happen halfway through your life. He goes to the phone, dials. A voice answers : HOTEL SWITCHBOARD -LRB- out of shot. -RRB- Paramount Hotel. LETOUR Marianne Jost, please. HOTEL SWITCHBOARD -LRB- out of shot. -RRB- Just a moment. A pre - recorded message comes on : HOTEL MESSAGE `` Welcome to the Paramount. Your party is out. If you would like to leave a message for -. -LRB- Marianne's voice. -RRB- 'MARIANNE JOST' -LRB- back to message. -RRB- - please do so after the beep.'' LETOUR hangs up, carries the phone to the boombox. He dials again, presses ` Record,' holds the receiver to the mike, records the hotel message, hangs up. First light slants from the window. LETOUR lies clothed on the futon, boombox by his ear. He presses `` Play'' and `` Rewind,'' running the tape over and over, listening, re - listening to Marianne's voice : `` Marianne Jost.'' `` Marianne Jost.'' `` Marianne Jost.'' -RRB-",
"PHONE CALLS Midday. Twenty - second Street. A helter - skelter of daytime activity unseen before. John's apartment. Sunlight fills the studio apartment. LETOUR, unshaven in T - shirt and slacks, sets the phone on the desk beside his open composition book. He pauses, dials. HOTEL SWITCHBOARD -LRB- out of shot. -RRB- Paramount Hotel. LETOUR Marianne Jost. HOTEL SWITCHBOARD -LRB- out of shot. -RRB- Just a moment. JOHN waits, closes his diary. HOTEL SWITCHBOARD -LRB- out of shot. -RRB- I'm sorry. Ms. Jost checked out this morning. LETOUR She was there yesterday. HOTEL SWITCHBOARD -LRB- out of shot. -RRB- She checked out this morning. LETOUR Did she leave a forwarding number? HOTEL SWITCHBOARD -LRB- out of shot. -RRB- No. LETOUR Thank you. He hangs up, thinks, redials. ST. LUKE'S SWITCHBOARD -LRB- out of shot. -RRB- St. Luke's - Roosevelt Hospital. LETOUR Mrs. Jost. JoAnn Jost. She's a patient. ST. LUKE'S SWITCHBOARD -LRB- out of shot. -RRB- Just a moment. A long silence. JOHN looks out the window. A MEDICAL STAFF VOICE from the hospital : MEDICAL VOICE -LRB- out of shot. -RRB- Who is this calling? LETOUR -LRB- thinking. -RRB- Skyline Floral. We're trying to confirm a delivery. MEDICAL VOICE -LRB- out of shot. -RRB- Mrs. Jost passed away last night. LETOUR Are the funeral arrangements local? MEDICAL VOICE -LRB- out of shot. -RRB- Just a sec - yes, Plaza Memorial. LETOUR Thank you. MEDICAL VOICE -LRB- out of shot. -RRB- You're welcome. JOHN hangs up, paces, sits.",
"DIRTY LAUNDRY Afternoon. Chelsea laundromat. Mothers and maids gossip, sort clothes. Hispanic radio underscores the whirl of machines. LETOUR, unshaven, shoves dirty clothes into a washer. He counts out quarters, starts the machine. Heading toward a vacant chair, he spots a MAN out the window. It takes a second to place the face : it's the `` Italian'' from Au Bar in street clothes. He watches JOHN watching him. LETOUR walks outside, approaches GUIDONE on the sidewalk : LETOUR Can I help you, officer? GUIDONE What? LETOUR I hope I have n't made a mistake. You are a cop, are n't you? GUIDONE Yes. LETOUR Could I see a badge? GUIDONE eyes LETOUR with disdain : the contempt of a cop for a dealer, of youth for middle age. GUIDONE -LRB- shows credentials. -RRB- Bill Guidone. LETOUR What is it? GUIDONE You think you're invisible, do n't you? You think we do n't know you, LeTour - that's the name you use, right? LETOUR My father's a partner in a powerful law firm. If you have anything in mind, do it by the book. GUIDONE elbow - stabs LETOUR, kicks his shin. Wincing, retreating, JOHN staggers, regains his balance. GUIDONE -LRB- in his face. -RRB- You? Who the fuck cares about you? I could grind you right here! - maybe I will! - and nobody would give a fuck! You're not worth the paperwork. I look like Narcotics? I'm Homicide - I'm investigating the Park murder. LETOUR -LRB- acquiescent. -RRB- I do n't follow the news. GUIDONE Downtown's interested how a Barnard honors student with fancy parents got a quarter of uncut coke on her when she was murdered. I mean, we just do n't see this girl cruising Alphabet City trying to score. Somebody sold her, somebody upscale and classy - you're classy, I hear - and that somebody knows something we need to know. -LRB- hand inside LeTour's shirt, pinching his tit. -RRB- Delivery boy! LETOUR I wish I could help. I do n't even know who's president. GUIDONE Let me put it this way. Here's my card. -LRB- hands card. -RRB- Ask around, take a week or so. Call me. Tell me something I do n't know. Either that, leave town, or get your ass busted day in, day out. LETOUR examines the card.",
"FUNERAL HOME Evening. LETOUR, shaven, in black tweed jacket, white shirt, black tie, crosses Amsterdam Avenue, enters Plaza Memorial Chapel. Inside funeral home, JOHN checks the letterboard for Mrs. Jost's name. An arrow directs him. Nondenominational muzak. Senior citizens whisper off - screen. Walking, he sees MARIANNE, dressed in black. She sees him, turns to him ; her face hollow, desperate : MARIANNE Get out. LETOUR Marianne. MARIANNE -LRB- emotion rising. -RRB- Every time you come into my life something terrible happens. I thought I was rid of you. How'd you get here? I do n't want you here! I do n't want you around me, I do n't want you around my mother! Damn you! LETOUR Marianne. MARIANNE -LRB- wild. -RRB- Get out! A PLAZA MEMORIAL EMPLOYEE approaches. RANDI, in black, intervenes, pulls JOHN toward the door. MARIANNE YELLS from behind : `` Out!'' Outside, they stop midsidewalk. LETOUR I did n't. RANDI I'm sorry. That's the way it is. You should n't have come. Marianne has been up all night, crying and crying. She was n't there when Mother passed - died - she blames herself. It would n't have made any difference. She just slipped away. Marianne's - I'm worried - A CRACKHEAD strides past trash ramparts, cursing, demanding money : `` Fuck white devil, fucking the black, give the fucking money, white fuck. ,'' etc.. LETOUR It's. RANDI Do n't try. LETOUR How are you? RANDI Me? LETOUR Yes, you. I ca n't think of anything, but if there was anything I could do. RANDI Thanks. I'm okay - I guess. I mean, we've been expecting it. It'll hit me later. LETOUR I saw her. RANDI Who? LETOUR Your mother. I came in the room. You were sleeping. I just watched. RANDI Oh. -LRB- beat. -RRB- I'd better get back. Marianne's probably flipping out. She re - enters the funeral chapel.",
"ON A ROLL Eight p.m. LETOUR, direct from Plaza Memorial, enters Ann's apartment. ANN, coiffured and made up, gestures to take - out tins : ANN Have some shu mai. Just delivered. LETOUR No. ROBERT -LRB- entering. -RRB- I told Ann you'd be on time. Tis called. He said before ten. He said you were right. ANN About what? LETOUR An undercover cop. Not a narc. The Park murder. Jealous was straight on that - you hear anything? ROBERT Remember the time that cop called here? Wanted to know if we had `` nose candy''? -LRB- laughs. -RRB- Ann says, `` John Candy?'' `` John Candy?'' ANN looks at JOHN, approaches : ANN What's wrong baby? You like like shit. Something wrong? -LRB- holds his face. -RRB- LETOUR No. ANN You ca n't fool me. I can read you. LETOUR -LRB- distressed. -RRB- What do you care? You're leaving me. A few more months - sayonara. -LRB- to ROBERT. -RRB- You too. John who? What was his name again? Le -? -LRB- to ANN : pained. -RRB- I mean it's not exactly like I got a pension plan. ROBERT -LRB- hurt. -RRB- Jack. ANN -LRB- takes his hands. -RRB- Johnny, it's not that at all. Is that what you think? You hate cosmetics. You do n't care about it. You told me that. LETOUR I know. ANN Who knows what will happen? ROBERT I got a friend - a D.D. - got into lapidary. I'll introduce you. You have to pass a test. LETOUR Lapi -? ROBERT Gems, you know, crystals, diamonds. LETOUR Any more about the Park murder? ANN -LRB- re : murder. -RRB- What's with this thing? ROBERT Stay away. ANN -LRB- genuine. -RRB- You want in? We'll make a place for you. LETOUR No. ANN It's - The kitchen phone rings. A voice follows the pre - recorded message : EDDIE -LRB- out of shot - answering machine. -RRB- `` Ann, this is Ed. You got ta come. The other thing is over. I'll be home all night. 749 - 2876.'' ROBERT Shit. ANN -LRB- unequivocal. -RRB- Do n't answer it. Let him call all night. He's trouble. I do n't want to deal with him. LETOUR It's alright, I'll go. Let me handle it. ROBERT I'm sorry if - ANN -LRB- about EDDIE. -RRB- He gives you shit - fuck him. LETOUR -LRB- to ROBERT. -RRB- Forget it. ROBERT We're going Chinese tonight, okay? I mean we're on a roll - ANN Spring roll. LETOUR -LRB- preparing to leave. -RRB- Sure, whatever. Surprise me.",
"INTERVENTION Eddie's high - rise apartment. EDDIE is worse, if anything. He's been scoring on the street : broken pipes and vials crunch underfoot. EDDIE and LETOUR argue -LRB- `` Fuck you!'' `` Fuck you!'' -RRB- . EDDIE spits, pushes TOUR, JOHN pushes back. Eddie's feet tangle. He trips, FALLS. A bottle SMASHES. JOHN goes to the phone, checks Eddie's directory, dials. EDDIE -LRB- on floor. -RRB- You got ta get permission? Check with Mama? LETOUR I'm calling your brother. EDDIE Huh? LETOUR Yeah, the lawyer in Bronxville. I'm gon na ask him to come over. -LRB- EDDIE protests. -RRB- You've told me so much about him. EDDIE -LRB- panicked. -RRB- No, do n't. Please, I'll give you money, anything. He does n't understand. Whose side are you on? LETOUR -LRB- on phone. -RRB- Is this Martin Jeer? -LRB- beat. -RRB- Thank you. EDDIE, woozy, tries to stand. EDDIE I shoulda never called. LETOUR -LRB- to EDDIE. -RRB- I recommend Hazelden. It has the best all - around program. -LRB- on phone. -RRB- Martin Jeer? -LRB- beat. -RRB- I'm here with your brother Ed. -LRB- beat. -RRB- Yeah, in the city. I'm afraid there's a medical emergency. You're going to have to come. EDDIE lurches toward LETOUR. JOHN - flash of anger - bootkicks him in the head! Eddie's cheek hits the carpet. LETOUR -LRB- on phone. -RRB- He'll be here. JOHN, cooling down, measures his breaths. A spring can only be wound so tight.",
"LEXINGTON AVENUE LETOUR walks from his sedan around the corner to the Lexington Avenue entrance to Grace Towers, a pre - war apartment building. In the lobby, he gives his name to the SECURITY GUARD, is directed to the express elevator. He exits on the thirtieth floor ; footsteps muted by thick carpet. Victorian prints on dark blue walls. He looks about, approaches a door, presses the buzzer. THOMAS opens the door ; JOHN enters Tis' opulent apartment. Salle and Clemente hang on the walls ; New York twinkles outside panoramic windows. A pipe and syringe lie atop art books. TIS, in jogging sweats, comes from the bedroom to greet him. TIS Tour, just in time. We were out. Nineteen, right? LETOUR Thirty - eight hundred - got any hundreds? TIS Some, not the whole thing. -LRB- to THOMAS. -RRB- You got hundreds? THOMAS No. LETOUR hands him a plastic bag of gram envelopes. TIS opens a packet, pours the contents on the coffee table. TIS I like that about Ann. Always takes the time to grind it. If you do it, do it right. JOHN hears footsteps, turns to see MARIANNE stumble out of the bedroom! She looks terrible : shoeless, blouse out, hair undone, bruise on her forehead - perhaps she fell against something - hands trembling. TIS -LRB- to MARIANNE. -RRB- Looks like you could use some help. -LRB- MARIANNE looks up, sees JOHN, goes pale. -RRB- Mari, this is Tour. You got any hundreds? JOHN stares speechless : the girl who wo n't talk to him because he's a dealer. MARIANNE bolts back into the bedroom, SLAMS the door! TIS Not the talkative type. Have n't seen her in years. You know her, do n't you? -LRB- no answer. TIS counts the money, offers it. LETOUR is frozen. -RRB- Why they call me? What a nightmare. -LRB- extending money. -RRB- You want it or not? LETOUR -LRB- vacant. -RRB- Yeah. LETOUR pockets the cash. TIS, his arm on John's elbow, `` walks'' him to the door : TIS See you later. TIS nudges JOHN to the corridor, closes the door behind him. JOHN looks toward the elevator ; TIS, behind the door, calls `` Marianne!'' Time cut : LETOUR stands in the elevator, red floor numbers flashing past, blank eyes mirrored in dark glass.",
"FALL FROM GRACE JOHN exits Grace Towers, walks past a limo toward Lexington Avenue. Rounding the corner, he sees his blue sedan. He looks at the cash, repockets it. He continues slowly, each step a separate task. LETOUR reaches for the door handle. A scream pierces traffic noise. A car screeches, another. Voices call out. LETOUR steps back, listens. He retraces his steps, turns onto Lexington Avenue. The SECURITY GUARD, walkie - talkie in hand, clusters on the sidewalk with the limo driver, two pedestrians. A cabbie jumps from his taxi, joins the confusion -LRB- `` My God!'' -RRB- . A siren approaches. John's beeper goes off. Drawing closer, LETOUR sees the partial bloodied shape of a broken body on the sidewalk : he recognizes Marianne's skirt. A squad car brakes with a screech. TWO COPS converge, climb over trash, clear the crime scene : FEMALE COP Get back! MALE COP Who saw it? What happened? -LRB- the FEMALE COP bends over Marianne's body. -RRB- EMS is on the way. FEMALE COP Too late - A second squad car pulls up. JOHN turns away, walks around the corner. LETOUR opens the car door, closes it, sits inside. A wailing ambulance flashes past, speeds up Central Park West. LETOUR does n't react. Beeper re - beeps ; he disconnects the battery. The driver, CARLOS, twenty - five, Hispanic, shirt starched, turns, looks, thinks, says : CARLOS Where to? LETOUR What? CARLOS Where to, sir? Where are we going? LETOUR Nowhere just now. Wait. CARLOS -LRB- after a moment. -RRB- You want me to wait here? LETOUR Yes. Pause. More police cars. The EMS siren starts up ; the ambulance speeds downtown past LeTour's sedan. No reaction. CARLOS turns off the engine. LETOUR Downtown. CARLOS Yes. CARLOS starts the car, pulls into traffic.",
"TWENTY-TWO MINUTES John's apartment. Late night. LETOUR, barefoot, T - shirt, slacks, stands flat against the wall. WINS broadcasts twenty - four hour news on the boombox. -LRB- `` Give us twenty - two minutes and we'll give you the world.'' -RRB- Sports, ads, bullshit - LETOUR hears what he's been waiting for : NEWSCASTER -LRB- out of shot - radio. -RRB- This story is just in. A woman has fallen thirty stories to her death from a posh Grace Towers apartment on Lexington Avenue. Police are withholding identification pending the notification of the next of kin. The incident happened about ten p.m.. According to the sources on the scene there was no one else in the posh Grace Towers apartment when the fall occurred. We will bring you more details as we get them. -LRB- teletype efx. -RRB- An end to the sanitation strike seems imminent. Negotiations at the Helmsley Palace are continuing to this hour. Actions have consequences.",
"MOTHER TERESA First light. Jones Street. LETOUR, sleepless, pounds on Teresa's door. No answer. Knocks again. Again. Noises from inside. A sleepy voice : TERESA -LRB- out of shot. -RRB- Who is it? LETOUR John. John LeTour. Can I see you? TERESA -LRB- out of shot. -RRB- What time is it? LETOUR It's important, Teresa. TERESA -LRB- out of shot. -RRB- Call. Make an appointment. LETOUR Open the door. You're awake anyway. -LRB- no answer. -RRB- Teresa. TERESA, wearing oriental bathrobe, unlatches the door. JOHN enters, turns to her. The door closes. LETOUR Read me. What do you see? TERESA Do I know you? LETOUR We had a session last week. What do you see? TERESA -LRB- remembering name. -RRB- John? LETOUR Yes. Look at me. TERESA takes a moment to concentrate. TERESA Step back. -LRB- he does. -RRB- Again. -LRB- he does. -RRB- Death. LETOUR Someone I knew died tonight. TERESA This was not an accident. This person was murdered. LETOUR Am I in danger? TERESA -LRB- beat. -RRB- There is danger around you. It's very close. I'm sleepy. LETOUR What should I do? TERESA I ca n't see it. LETOUR Please. -LRB- she shrugs. -RRB- Am I lucky? TERESA Yes. Do n't be afraid. Go home. TERESA shuffles toward her bedroom - the `` reading'' is over. LETOUR What do I owe you? TERESA Nothing. Forget it. Let me sleep.",
"SNITCH Mid - morning. LETOUR, still awake, walks past towering Chelsea trash. He passes a newsstand. Tabloids feature yearbook photo of MARIANNE ; the headline : `` Fall from Grace.'' LETOUR walks to a pay phone, takes out Guidone's card, inserts a quarter, dials. POLICE SWITCHBOARD -LRB- out of shot. -RRB- Ninth Precinct. LETOUR Bill Guidone, please. Homicide. POLICE SWITCHBOARD -LRB- out of shot. -RRB- Hold on. JOHN, suspicious, looks around. GUIDONE speaks : GUIDONE -LRB- out of shot. -RRB- Guidone. LETOUR This is John LeTour. Remember me? GUIDONE -LRB- out of shot. -RRB- Laundromat. Your father's got connections. LETOUR You said I should ask around, tell you something you did n't know. GUIDONE -LRB- out of shot. -RRB- I thought you'd call. LETOUR It ai n't much, but it's something. GUIDONE -LRB- out of shot. -RRB- Go on. LETOUR A girl died last night. Lexington Ave. GUIDONE -LRB- out of shot. -RRB- The jumper. Druggie. LETOUR The news said she was alone in the apartment when she went out - she was n't. It's a cover - up. There was someone else. GUIDONE -LRB- out of shot. -RRB- Who? LETOUR Who lives in the apartment? GUIDONE -LRB- out of shot. -RRB- You there? LETOUR That's all I know. You asked me to tell you something. I told you something. Hangs up.",
"A LITTLE SLEEP Noon. LETOUR enters a West Village apartment building. He presses an intercom button. Robert's voice answers : ROBERT -LRB- out of shot. -RRB- Who is it? LETOUR Jack. Let me in. The door buzzes. ROBERT opens the door to his overdecorated apartment. JOHN looks around. TONY, Robert's younger, unattractive lover, sips coffee at the table. ROBERT Where have you been? We were worried. LETOUR I need some sleep - not much. I do n't want to go home just yet. A little sleep first. Can I crash here? Nice place. ROBERT It's hideous. I did it years ago. I've got to throw everything out. You have n't been here? -LRB- noticing TONY. -RRB- Oh, Jack, this is Tony. I told you about him. You should talk. He's the lapidopterist - gems. TONY -LRB- corrects him. -RRB- Lapidarian. ROBERT Same thing. LETOUR Can I? ROBERT Sure. LETOUR What do you know about Tis? What's his relationship to Ann? ROBERT They go way back - before me. Did you cross him? LETOUR No. ROBERT Do n't. He's Ann's Ecstasy connection. She needs that score. What happened? LETOUR Nothing. ROBERT Do n't mess with him. LETOUR Is he dangerous? ROBERT Everybody's dangerous. We heard what you did to Eddie. Ann thought it was great. She was afraid that was why you did n't come back. LETOUR It was something else. Tell me if you hear anything. ROBERT About what? LETOUR Tis. ROBERT Tis who? Ann says you want a chart done. -LRB- beat. -RRB- What's wrong? LETOUR -LRB- internal. -RRB- Ah. ROBERT -LRB- sympathetic. -RRB- You down? LETOUR -LRB- nods. -RRB- Yeah. -LRB- culling thoughts. -RRB- You ever think about it? ROBERT What? LETOUR That it'd be like this - like, your life, you. that it would turn out this way? - ROBERT Compared to what? My thinking this or that is going to make any difference? There's a plan unfolding. `` Will my plane crash?'' `` Does life have meaning?'' - why ask me? Thinking's a fear of living, negative living ; living's something else. You're afraid. Let the plan unfold. Stop. Stop, live one day - one day - Words blur to jargon. LETOUR cuts in : LETOUR - Robert - ROBERT - day at a time. LETOUR -LRB- touches ROBERT. -RRB- You've lost your fucking brain. ROBERT -LRB- laughs. -RRB- I'm a drug dealer. LETOUR Got a tub? ROBERT -LRB- gestures. -RRB- Yeah. LETOUR Great. Turns to bathroom. ROBERT There's a plastic bottle of bath oil in the cabinet. Yellow. Use it - tell me what you think. It's a new formula.",
"JUMP-OFFS Six p.m. LETOUR, shaved and bathed, rides a cab uptown, past Harlem, past 158th Street. He motions to the DRIVER ; the taxi stops at a blue door between retail stores begging for renovation. TEENAGE LATINOS hang out. LETOUR gives the CABBIE a twenty. LETOUR walks to the blue door ; the YOUTHS stop, watch. He knocks on the door. A PUERTO RICAN DOORMAN in white leather pants and a heart - shaped diamond ring opens the door, looks him over. JOHN reaches into his pouch, removes a gram envelope, hands it to him. The DOORMAN takes a taste, buzzes him through a door hand - lettered `` Jump - Offs.'' Inside Jump - Offs, a cocaine `` spot,'' every eye turns to JOHN : the only Anglo in a Hispanic after - hours club. Tough young faces, each with a style and two inches of attitude. Willie Colon plays on the jukebox. Searching, LETOUR recognizes a face, walks over : LETOUR Manny. -LRB- MANUEL, thirtyish, Puerto Rican, looks closer, trying to place LETOUR. -RRB- LeTour. -LRB- helping out. -RRB- Jealous. `` Jell.'' SOB's. MANUEL -LRB- remembering. -RRB- Reggae night. LETOUR Burning Spear. MANUEL How'd you get in? LETOUR C - C. MANUEL You buying? LETOUR How's product? MANUEL -LRB- gesture : `` primo''. -RRB- How much? LETOUR I got a problem. I need a piece. MANUEL Piece? Piece of what? Piece of candy? LETOUR A gun. MANUEL When? LETOUR Now. Anything. -LRB- MANUEL is silent. -RRB- Am I speaking too fast? MANUEL How much you spend? LETOUR The rate. What you got? MANUEL calls over a TEENAGE DOMINICAN, explains the situation in Spanish. The DOMINICAN replies ; MANUEL turns back to JOHN : MANUEL He's got a 64 Smith - son. Detective Special. Nobody wants'em. Fresh from a cop. LETOUR How much? MANUEL -LRB- consults DOMINICAN. -RRB- Four - including me. LETOUR You're fucking me. MANUEL -LRB- `` so what?''. -RRB- Street price. LETOUR Where is it? MANUEL Sigame. They lead him to an even darker back room. The DOMINICAN retrieves an automatic pistol from a trash pail, hands it to MANUEL. JOHN counts cash from Tis' roll ; MANNY hefts the piece. MANUEL The hundreds - Franklins. Bills and guns exchanged. LETOUR How do you use this? MANUEL Automatic. LETOUR I do n't have much use for a gun. Never used one like this. MANUEL -LRB- translates for DOMINICAN. -RRB- Cono! The DOMINICAN laughs ; LETOUR takes his measure. LETOUR -LRB- businesslike. -RRB- What do you do? MANUEL Simple. You put the bullets in -. -LRB- inserts cartridge. -RRB- you point it at the bad guys, pull the trigger and they fall down! MANNY repeats this for the DOMINICAN -LSB- `` bang, bang!'' -RSB- ; they laugh again. LETOUR eases the.38 into his crotch. MANNY turns, exchanges Latin hug : MANUEL Vaya con Dios. LETOUR - Dios. JOHN exits, works his way through the club.",
"OUT WITH THE OLD John's apartment. Seven p.m. LETOUR, sweating, bareback, tucks the.38 under his futon. He takes a bottle of cologne from the bathroom, pours it over his hair, face, and torso, rubs it in. Licking his finger, he removes Marianne's gold and onyx ring with a tug. His finger stings. He opens a window, throws the ring full force into the junk - strewn courtyard. He shakes his torso ; cologne glistens.",
"JOHN AND RANDI Interior, Plaza Memorial Chapel. LETOUR enters the `` viewing room,'' motions to RANDI. She follows him. They slip into a door, enter the embalming room : stainless steel table surrounded by surgical cabinets. They embrace, disengage. JOHN looks : Randi's exhausted face mirrors his. LETOUR Have you been to the police station? RANDI -LRB- nods. -RRB- She was back on drugs. Really back. They're gon na bring her here too. My God. -LRB- he comforts her. -RRB- I thought she was playing for attention. LETOUR I did n't know. RANDI You're not to blame. Do n't blame yourself. You were n't responsible. She was always - she loved you. LETOUR -LRB- wipes tear from her cheek. -RRB- She loved you. You were what she wanted to be. RANDI She scared me. JOHN pulls a Polaroid from his pocket. LETOUR Look. Do you recognize anyone? The picture features ANN and TIS : side by side at a dinner party. RANDI Tis. LETOUR You know him? RANDI His father's a lawyer. Did some tax things for Mom. He was at the hospital. What's that smell? LETOUR It's me. Cologne. I'm a sucker for that cheap airplane stuff. Did Marianne mention him yesterday? RANDI -LRB- `` no''. -RRB- It was his apartment. What are you thinking? LETOUR I do n't know. RANDI She jumped. -LRB- LETOUR hangs on every word. -RRB- You loved her, but she - this sounds terrible but it's true - she was. she ruined everything. bad luck. LETOUR -LRB- heard enough. -RRB- When's the funeral - your mother's? RANDI Tomorrow. Will you come? LETOUR -LRB- vague. -RRB- Well, I got this thing to do. It's - I do n't know if I can get away. RANDI Try? For me. LETOUR I'll try.",
"PRODIGAL SON Ann's apartment. Eight p.m. ANN greets LETOUR with a hug. ANN The Prodigal Son. LETOUR Sorry about last night. Something came up. ANN Where were you? LETOUR T.C.T.E. ROBERT `` Too Complicated To Explain.'' LETOUR -LRB- enters bedroom. -RRB- I'm $ 500 short from last night. I'll get it, you can take it from my salary. ANN -LRB- stung. -RRB- This is family. Are you saying that to hurt me? -LRB- LETOUR returns. -RRB- It's not money. LETOUR -LRB- chagrined. -RRB- Sorry. ROBERT Look at this. -LRB- `` Akasha'' visual. -RRB- We had a graphic artist make it up - you know, Billy, Five Towns. ANN The label for the cosmetics line. LETOUR -LRB- examines it. -RRB- Classy. Sorta - Katmandu. ANN -LRB- corrects him. -RRB- Kathmandu. LETOUR I love it. ROBERT Tis called twice. He wants you to come by. LETOUR -LRB- wary. -RRB- Me? ANN Yeah. Says you were supposed to show up again yesterday, but did n't. LETOUR A lie. I do n't want to go. The suicide and all. Let's stay away. ANN Ca n't. He's the Ecstasy connect. No way I can fuck this. LETOUR C'mon. ANN This is business. LETOUR, suspicious, looks from ANN to ROBERT. He knows TIS knows he knows MARIANNE was not alone when she went out the window. LETOUR Let Robert go. ANN Tis wo n't deal with fags. LETOUR Since when? ANN Just is - so he's a bigot? What's new? So's everybody else. LETOUR I do n't want to go. I got a bad vibe. ROBERT He said you. ANN -LRB- to LETOUR. -RRB- Why? LETOUR -LRB- to ANN. -RRB- Why do n't you go? He's your contact. ROBERT He is - ANN -LRB- to ROBERT. -RRB- You giving orders? ROBERT -LRB- deferential. -RRB- No, Missy. LETOUR -LRB- testing her. -RRB- Come with me - the two of us. ANN -LRB- upbeat. -RRB- Okay. You got it. Like old times - Ann and Johnny. -LRB- turns to go. -RRB- LETOUR Okay. ROBERT Stop it. You're breaking my heart.",
"LAST RIDE Night. ANN and LETOUR side by side in the sedan. CARLOS, at the wheel, anonymous. Outside, SANITATION WORKERS toss sacks of trash into garbage trucks : the strike is over. ANN reminisces as lights flash : ANN It's going to be strange, not doing this. I mean I've had it, but sometimes. LETOUR You're gon na do it, are n't you? You're gon na quit. ANN -LRB- nods. -RRB- I think so. Seal this thing with Tis, turn it - go with the cosmetics. You got ta take a chance in life. No risk, no gain. I've already got retail connections here, London. It was great at the beginning, though. LETOUR When? ANN You know, when we first started out of the place on Greene Street. Before deliveries, when you were still using. It was open house every night but Sunday. We had everything : uppers, downers, meth, six kinds of hash, all in that trousseau, remember? You could get in for a gram, stay all night - everybody, music people, movies, Wall Street, fashion - even politics. I think like five marriages came out of those parties, babies - really. God. -LRB- JOHN eyes her : why this Niagara, this nostalgia? -RRB- You stayed, you then Robert - but he. I ` da never thought you'd, what is it, twelve years? Others, lucky a year max, eight months, in, out, start using, unreliable - nice kids. Remember when you first came : long hair, dirty fingers - LETOUR -LRB- overlapping. -RRB- You made me - ANN - never washed - LETOUR - khaki pants. ANN I should write a book someday. Did you know somebody wanted to do my story? Ghostwrite. It was impossible, of course - my lawyer freaked I even had the meeting. People envy me. They think my life is so glamorous, but they do n't know. I know. Glamorous. -LRB- beat. -RRB- It was for a while. Then came crack and fucked everything. JOHN wonders : The Big Goodbye? Is she acting at Tis' behest? LETOUR I got ta stop home a second. ANN Why? It's out of the way. They're expecting you. `` They're?'' LETOUR You know I got a bad vibe about Tis. ANN -LRB- unconvincing. -RRB- Chill. This is routine. LETOUR I want to get my lucky jacket. ANN Oh. Okay. The sedan continues south. It turns, stops in front of John's Chelsea apartment building. JOHN hops out, goes in. Inside John's apartment he - a man possessed - pulls his black tweed from the closet, throws it on the futon. He rolls up his shirt, reaches under the futon, removes the.38. He straps the gun to his back, wraps duct tape around his chest, end to end over the.38. He tucks in his shirt, puts on the jacket, checks the mirror to see if the gun shows : it does n't. A pause to appreciate. LETOUR closes his diary, throws it out the window : a trifle. He slaps cologne on his cheeks - annointing ; heads toward the door. Outside, LETOUR emerges, walks quickly to the car, plops beside ANN. The sedan drives off. Back seat : ANN That took long enough. What did you do, douche while you were at it? LETOUR Ann, you got some mouth on you. ANN You do n't want to know where it's been. -LRB- sniffs him. -RRB- Cologne? LETOUR For you. ANN Phew. It smells like that stuff they give you on airplanes. It's no good for your skin. All chemicals. LETOUR pulls out a slip of paper, writes a name and address : `` Linda Wichel, 1012B - 2 A Street, Sacramento, California.'' ANN What's that? LETOUR Do me a favor. ANN What? LETOUR Do n't ask why, just promise. ANN What is it? LETOUR -LRB- testing again. -RRB- If anything happens to me - if I should like, you know, fucking die - write and tell her. Extends slip of paper. ANN starts to speak, stops. LETOUR It's my sister. Her husband's in San Quentin. She worries, you know. She takes the name and address. ANN -LRB- eye contact. -RRB- Okay. ANN, sad, looks out the window. She touches his knee. The car pulls in front of the Pennsylvania Hotel, 34th and 7th. LETOUR I thought we were going to Tis'? ANN We are. He's here. He ca n't very well work out of his apartment after what happened yesterday, can he? They get out.",
"SHOOT-OUT Pennsylvania lobby : a baseball card convention is in progress. ANN squeezes through, goes to the house phone. JOHN follows, scans the tacky lobby : what's up? ANN -LRB- on phone. -RRB- Mathis Bruge, please. -LRB- beat. -RRB- Tis? Ann. I'm here with Tour. -LRB- beat. -RRB- Okay. -LRB- hangs up. -RRB- LETOUR Tis there? ANN Twelve - oh - four. They go to the elevators, wait with CHATTY CARD COLLECTORS -LSB- Pete Rose this, Pete Rose that -RSB-. Twelfth floor. ANN and JOHN step out of the elevator, look for 1204. LETOUR, a step behind, is all eyes, all ears. ANN checks the number, rings the bell. THOMAS lets them in the standard issue suite, locks the door. LETOUR was right : it's a set - up. THOMAS and a TEENAGE CUBAN stand either side of them, waistbands conspicuously bulging. No TIS. JOHN turns to ANN : LETOUR -LRB- Jesus - to - Judas. -RRB- Ann. ANN's confused, then furious : she had no part in the `` set - up.'' In fact, she does n't even know it's a set - up. Bursting rage, she turns on THOMAS, YELLS : ANN I told you greasy fucks I do n't deal with guns! I see guns, I walk! How dare you? She slaps THOMAS, pulls the 9mm from his waistband, throws it to the carpet. The CUBAN watches bewildered, gun drawn, awaiting instructions. Now ANN's on him : ANN And you, beaner, whoever the fuck you are, kiss my fat ass! -LRB- she spits on his shirt, knees him in the crotch, yanks his gun, throws it beside the gut - clutching CUBAN. She crosses the room, YELLING :. -RRB- That's it! TIS! Shitball! I know you're fucking there! Let this be a lesson! You wan na deal, you gon na apologize for this! -LRB- to LETOUR. -RRB- Let's go. THOMAS and the CUBAN TEEN retrieve their guns ; ANN unlocks the door. THOMAS -LRB- pointing gun. -RRB- Hold it! Stop right there. She turns defiantly. TIS enters from bedroom : TIS -LRB- to THOMAS. -RRB- No! -LRB- to ANN. -RRB- Sorry about the guns. My fuck - up. I was just trying to make a point - I apologize. TIS looks to THOMAS and the CUBAN : they lower their weapons. He only means to threaten LETOUR. TIS -LRB- about THOMAS and CUBAN. -RRB- Assholes. What a nightmare. -LRB- to ANN. -RRB- We'll make the deal tomorrow - same terms. Ann. Sorry. Go on, leave, you're upset. I just need to talk to Tour a second. About a police matter. -LRB- to LETOUR. -RRB- Right? LETOUR -LRB- to ANN. -RRB- Go on. She hesitates. TIS Tour and I need to get our stories straight. Somebody's talking to the police. The guns were for emphasis, to make a point, dumb - ANN gets it. Fear hits : ANN -LRB- to TIS. -RRB- We came together, we're leaving together. -LRB- to LETOUR. -RRB- Johnny, come with me. Opens door. TIS -LRB- a command. -RRB- Thomas. THOMAS fixes his gun on ANN. TIS -LRB- to ANN. -RRB- Do n't be stupid. Get out. Leave. -LRB- to LETOUR. -RRB- I had nothing to do with Marianne - she jumped : she was there, then she was gone. -LRB- nods ANN to leave. -RRB- Nothing will happen to Tour. ANN computes, bolts out, flees, SCREAMING at the top of her lungs : ANN -LRB- out of shot. -RRB- Fire! Fire! Fire! The fire bell rings. THOMAS, TIS, and the CUBAN stare dumbfounded. LETOUR reaches behind his shirt in the confusion, yanks out the.38 with a painful rip, turning, fires point - blank into the Cuban's chest. BLAM! Shirt fabric flares, flies : the CUBAN falls with blank expression. THOMAS, off guard, wheels and fires wildly at LETOUR. JOHN fires back. Both are hit. TIS ducks into the bedroom. THOMAS and LETOUR fire again, again - hitting, missing. A bullet hits its mark : THOMAS, frozen, grabs his blood - spurting throat, slumps to floor. LETOUR bleeds from the stomach and shoulder. His shirt soaks red ; he struggles to stand. CUBAN and THOMAS - both dead. LETOUR checks the.38 : five rounds fired - one left. LETOUR staggers into the bedroom, finds TIS frantically searching an open suitcase. Off - screen VOICES under the fire bell. TIS -LRB- desperate. -RRB- I did n't - LETOUR steps to TIS, aims, shoots him barrel to forehead. Exit debris hits the wall. He is dead. Off - screen screams of guests are countered by commands from hotel security : `` Get down!'' `` Get back!'' Fire horns and sirens reverb from the street. LETOUR, losing consciousness, sits bedside. Gun slips from his hand. Deflating, he drifts back - first to the bedspread. Blood spreads. His eyes are open. POLICE VOICES approach. EVERY GRAIN OF SAND Prison waiting area. ANN, wearing a wool suit, waits among black/Hispanic FRIENDS and RELATIVES. The first scene without LETOUR : she sits quietly. A CORRECTIONS OFFICER instructs the visitors to proceed. ANN walks through a concrete corridor, finds the visiting area. LETOUR, in prison fatigues, sits at a table. He sees her, smiles. ANN sits down. This is not her first visit. LETOUR Hello. ANN Hi. Checks watch. LETOUR Twenty minutes. You look terrific. ANN I look respectable. Any news? LETOUR Sentencing's in ten days - supposed to be. Because of the extenuating circumstances - our cooperation - they say it wo n't be more than five years - maybe seven. With time served, good behavior, parole, I could be out in two years - maybe. I hope. ANN It feels like forever. LETOUR It's not so bad. It's a relief in a way - at least so far. I've been writing, reading. ANN I love your letters. -LRB- pause. -RRB- LETOUR How's business? ANN Robert quit. He went back to dealing. I think he thought it would be less work, more money. It's lucky in a way I got mixed up in it - now I have to see this thing through. So it's cosmetics after all. LETOUR -LRB- affectionate. -RRB- I miss you. ANN Me too. LETOUR Did we ever fuck? ANN What do you mean? LETOUR You know, make love. ANN -LRB- thinks. -RRB- There was that party when everybody was so stoned, but - oh yeah, that night you came over and crashed and we slept together. LETOUR We were naked, but did we -? ANN You had a hard - on. LETOUR I did n't - ANN You tried. LETOUR I was thinking about it and I realized we never really did. It's one of the things I think about. It's one of the things I look forward to. I've been looking forward. ANN Me too. LETOUR -LRB- touches her hand. -RRB- Something can be right in front of you and you ca n't see it. ANN -LRB- kisses his hand. -RRB- Strange how things work. The tableau fades. THE END"
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] | John LeTour, a 40-year-old New Yorker, is one of two delivery men for Ann, who supplies an exclusive clientele in the banking and financing sector with drugs. While Ann contemplates switching to the cosmetics business, LeTour, who suffers from insomnia, has lost his perspective in life. One night LeTour meets his former girlfriend Marianne, with whom he once shared an intense but destructive relationship due to drug abuse. Although they stopped taking drugs, Marianne refuses his offer for a new start. After spending one night together, she tells him that this was her way of saying good-bye. Unbeknown to Marianne, her mother died at the hospital while she was with LeTour. The next time he meets Marianne, she attacks him, demanding that he get out of her life once and for all. Meanwhile, the police start observing LeTour because one of his clients, Tis, is connected to the drug-induced death of a young woman. On his next delivery, LeTour witnesses a heavily drugged Marianne in Tis' apartment. Only minutes after his departure, she falls several stories to her death. LeTour gives the police a lead to Marianne's last whereabouts. At the wake, Marianne's sister Randi tells him not to feel guilty for what happened. When Tis orders a new supply and insists that LeTour delivers it, he senses that Tis wants to dispose of him. Ann accompanies him, but Tis' guards force her to leave the room. In the subsequent shootout, LeTour kills Tis and both of his henchmen, but is left critically wounded. He lies down on the hotel bed, showing no anger or pain, only a profound weariness, as police sirens can be heard in the distance. Ann visits LeTour in jail, where he expresses his hopes for a better future. The film hints at the possibility that Ann will wait for him. | Light_Sleeper |
[
"\"MINORITY REPORT\" DARKNESS And then, slowly emerging from the mists of darkness, a pale, beautifully proportioned FACE. The oval face is female, a woman of indeterminate age, her features as fragile as porcelain. Her eyes are closed in sleep, or in death. or in something in between. Now TWO MORE FACES emerge out of the darkness. They are male, and they float into position on either side of the female. They are just as ethereally beautiful, just as pale, and like the female their eyes are closed. The ghostly lips of the female begin to twitch. Her features, which have been expressionless, suddenly contort, mask - like, into the face of a woman in fear. Her eyes open. The male face on her right contorts too. His features warp into an angry snarl - the mask of a man enraged. His eyes open. The male face on her left takes on the expression of a young boy, a boy who is terribly frightened. His eyes open wide. As if they are lost in the same terrible waking dream, a sudden and unnerving exchange begins. FEMALE -LRB- frightened woman. -RRB- JOHNNY, PLEASE MALE RIGHT -LRB- mocking man. -RRB- `` Johnny, please. Johnny please.'' FEMALE You're scaring me. MALE LEFT -LRB- child's voice. -RRB- DADDY, DO N'T. DADDY MALE RIGHT -LRB- considering. -RRB- I do n't like you any more, Carol. FEMALE -LRB- imploring. -RRB- Put the scissors down. You're scaring me. Please. MALE RIGHT Oh, Carol. FEMALE Johnny! Stop! MALE RIGHT Do n't grab at me! Let MALE LEFT Daddy! No! All we see are three faces on the screen mouthing words but we can imagine a terrible struggle taking place before us : a man with scissors lunging at his wife, her anguished scream, the whimpering cries of their son. And then there is silence, and it is over, and the three faces instantly return to their impassive porcelain state. Their eyes slowly close. They do not move. So that when they do move again, it is startling. In abrupt unison, the EYES flash open. Three pairs of eyes stare straight at us, accusing. Three mouths open, but speak, in rasping tones, as one. ALL THREE Murderer! The faces linger a moment, the weary eyes slowly close, and the dark reaches forth, and takes them.",
"EXT. SUBURBIA DAY Morning in America. Just look at it. America in the midfifties, the suburban landscape stretching endlessly into the sun drenched distance. White house upon white house. Emerald lawns, glistening with dew. In each driveway, a big Chevy, or a Ford, muscled with chrome, long tailfins that taper like the fins on rocket ships. Kids burst out of the houses, and zoom down sidewalks on trikes. Mothers in bright dresses stand in doorways, watching. The smiling mothers wave to one another, then go back into their houses. Dogs bark, birds sing in trees of just the right height, boys and girls laugh and ring the bells on their trikes. It is a delicious world, where dogs and birds and children are safe.",
"INT. A HOUSE A family room with all the trappings of the era : a flagstone fireplace, a console TV, a man's leatherette Barca - Lounger, a pipe stand holding two pipes on a nearby table, boxes of children's games neatly stacked on a wall shelf. A young mother, CAROL, her hair - in a pony - tail, stands at a picture window in a corner of the family room, staring mildly at the scene outside. CAROL'S POV - A LITTLE GIRL A little girl bounces a red ball on the sidewalk. The ball gets away from her, and rolls into the street. At the same moment, a two - toned CHEVY, lush and huge, rounds the corner. The girl sees the car coming, but still goes after the ball. THE FAMILY ROOM Carol sees what is about to happen - but she does n't cry out, or bang on the window, or run for the front door. She watches. And smiles a little. OUTSIDE The girl careens gleefully into the middle of the street. INSIDE THE CHEVY The driver - a man in a loose fitting dark green suit, white shirt, thin brown tie - sits behind the steering wheel of the car. Disturbingly, the man's hands are not on the steering wheel. Not only that, he is holding the morning newspaper up in front of him, reading, oblivious to the scene before him. Through the windshield, we see the little girl in the road in front of him, going for her ball. CAROL Watches, her smile in place. OUTSIDE The little girl picks up her red ball, as the Chevy bears down on her. INSIDE THE CHEVY An alarm suddenly CHIRPS. The car automatically brakes to a halt. The man looks around the edge of his paper to see what is happening. THE STREET The car has stopped, inches from the girl. The girl giggles as, the man in the car gives her a big wink. She waves, then runs back to the sidewalk with her red ball. The man goes back to his newspaper, and the car, entirely on its own, starts up again. The car rounds a corner, and disappears. INSIDE THE HOUSE Carol turns away from the window. She startles when she sees her husband, JOHNNY, is there behind her. He is in his pajamas. How long has he been there, watching her? JOHNNY -LRB- gruff. -RRB- Why'd you let me sleep so long? CAROL It's Saturday, Johnny, you always -. -LRB- beat. -RRB- Why are you staring at me like that? He takes a step toward her. He stands there, his thick black hair tousled with sleep, scratching his stubbled jaw, considering her. JOHNNY I'm unhappy that you let me sleep so long. He takes another step toward her. She does n't move a muscle. A little BOY suddenly enters the room. Johnny turns, looks at his son, looks back over his shoulder at his wife. Then, without a word, he begins to walk out of the room. On his way out, Johnny's eyes flick to Carol's sewing basket, which sits beside a sewing machine. It is not the sewing that has caught his attention, but a large pair of garment SCISSORS which lie across a fold of colored cloth.",
"EXT. THE HOUSE -- MOMENTS LATER Johnny stands on the front porch, scratching. He walks down his front walk, and bends over to pick up the newspaper. Carol stands in the doorway, watching him. A SHADOW slides over Johnny, cast from above. The air fills with the piercing WHINE of an engine. Johnny looks up, alarmed. In the sky above him, just beyond the tips of the suburban trees, is a black PRECRIME POLICE HOVERCRAFT. The children, the mothers, Carol in the doorway - everyone freezes in place, as Johnny is cast into an inexplicable drama. Racing SOUNDLESSLY down the street toward him, are SLEEK TECHNOLOGICAL MARVELS, lethal and efficient looking - they seem to be cars - but they are so different from the fat Fords and Chevies in the driveways that it is hard for us to process them. Helmeted police with mirrored visors erupt out of the cars. More police drop from the hovercraft in harnesses. Their uniforms are black, seem actually to absorb light. Their left hands are bare, their right hands are encased in some sort of complicated glove. CLOSE ON - A GLOVE The glove is a weapon of some kind, the elongated index finger ending in an open barrel. Clearly, this is not, as it first seemed, the past - not America in the 1950's. It is the neo - past, the retro world of America 2040, where the familiar of yesterday is intermeshed with hypertechnology. And all of that hypertechnology is focused on JOHNNY, as he makes a run for the house, sheets of newspaper scattering behind him. He bursts up the front porch, shoving Carol out of the way. Eight Precrime police officers assemble in the yard. From a backpack, one of them quickly removes an instrument with a handle grip and an ovoid screen. It is a holographic scanner. He activates it, scans the OFFICER in front of him, and an IDENTICAL POLICE OFFICER takes three - dimensional form. The two real officers circle the house, repeating the maneuver a dozen times. In less than a minute, a decoy force of men - three dimensional, standing in place, but shifting and turning like living beings - has been created. An overwhelming police deterrent presence has been established. INSIDE THE HOUSE The Precrime police overwhelm the interior of the house, too. It is impossible to tell which officers are real, and which are scanned holographs. The juxtaposition of the futuristic cops in a 1950's style house is disorienting. INSIDE A BEDROOM CLOSET Johnny, in his pajamas, crouches beneath a rack full of his wife's dresses. UPSTAIRS HALLWAY Two OFFICERS, standing back - to - back, hold their gloved hands out in front of them, palm out. When the first officer points his palm toward a door at the end of the hallway, his glove BEEPS softly. The officer looks at his PALM. A red thermal IMAGE appears on a small flexible screen - the heat outline of a crouching man. The first officer flicks his helmeted head to the second officer. THE BEDROOM The room is packed with police - how many are real? THE CLOSET Johnny squirms, his pajamas saturated with sweat. He calls out through the door. JOHNNY I did n't do anything! OUTSIDE THE CLOSET Every OFFICER in the room lifts his gloved hand and points his index barrel at the closet door. The effect is deeply accusatory. An OFFICER speaks, his VOICE electronically manipulated to be as menacing as possible. OFFICER 1 Come out of the closet on your hands and knees. Nothing happens. Two officers aim their barrels at the perimeter of the door. In repeated, small SONIC BLASTS, the closet door is blown off of its frame, revealing Johnny among the dresses. Johnny starts to rise, and BAM, a section of floorboards is blasted away beneath his feet. OFFICER 1 Hands and knees! Johnny trips among the splintered floorboards, and drops. He stays on his hands and knees, and approaches. He lifts his head and looks up at the officer. JOHNNY I did n't. Another OFFICER 2 bends down with a DEVICE - the words `` IdentiScan'' on its side - and blips a red laser light into each of Johnny's, eyes, reading his irises. The officer nods affirmatively to the other officer. OFFICER 2 POSITIVE FOR JOHN PALMER. OFFICER 1 -LRB- to Johnny. -RRB- John Palmer, if you were being arrested for any other crime, I would now read you your rights. -LRB- beat. -RRB- But you are under arrest for the future murderer of your wife, Carol Palmer. You have no rights. Johnny, on his hands and knees, goes limp.",
"EXT. THE HOUSE -- LATER In the background, Johnny is guided into a Precrime police vehicle as the neighbors look on. Carol and her son stand in the doorway, stunned. TWO OFFICERS remove their helmets. The first man is tall, sandy - haired, good eyes, deeply blue ; This is PAUL ANDERSON, late thirties, Director of the Precrime Division, Washington D.C.. The second man is ED WITWER, Anderson's second in command, late thirties, big like Anderson, good face, strong in the shoulders, short brown hair. The two men are deeply comfortable together. They can speak, or not. It does n't matter - they still communicate. Two good cops, good together. They walk side - by - side around the house, dematerializing the holographic decoy cops. WITWER Thought we might a had a runner. Anderson seems tired, takes a moment to answer. ANDERSON Yeah, a runner. WITWER A little chase - that'd been good. ANDERSON Fifty cops on the scene takes the chase out of them. WITWER -LRB- smiles. -RRB- But only eight of us were real. Witwer dematerializes the last decoy. ANDERSON We ever get a runner, I'd be too old to give chase. WITWER You'd chase. You'd love it,. Man. They get to the front of the house and watch the Precrime vehicle holding Johnny zoom SOUNDLESSLY away. ANDERSON I love it more Johnny boy does n't get to murder his wife. WITWER -LRB- beat. -RRB- It's a beautiful world.",
"EXT. SAME SCENE -- LATER The children play on their trikes. The wives talk among themselves. The birds sing, the dogs bark. The little girl bounces her red ball again. She stops a. minute, when two pieces of newspaper blow past her, unexpectantly littering the orderly suburban landscape.",
"INT. A BEDROOM - SUBURBAN VIRGINIA (OUTSIDE WASHINGTON) DAY Decorated in a 1950's style. Anderson lies in bed beside his wife, LISA, a pretty, green - eyed brunette. It is early morning, they are both awake. Her hand caresses his chest. Maybe they will make love. Lisa's hand stops suddenly on the center of Anderson's chest. LISA Jesus, Paul. Your heart's hammering. -LRB- playfully. -RRB- I excite you that much? He turns to her, and the grim set of his jaw makes her smile vanish. ANDERSON I used to love being a cop. LISA You're still a cop. I'm a factory worker. We do n't catch murderers. We process them. Lisa takes a long breath. She's been down this road before. She speaks reassuringly. LISA You're the best homicide cop in the country. ANDERSON snorts disdainfully. ANDERSON Great - except there's no such thing as homicide. What I do best does n't exist anymore. LISA PAUL. -LRB- beat. -RRB- You're the Director of a perfect system. A Cop with a perfect record ANDERSON The Precogs have a perfect record. They identify the accused - I just put on my monkey suit and go round them up. Lisa hugs him, kisses the back of his neck. LISA And then I prosecute them. And they go to jail. And lives are saved. Thousands of lives. -LRB- beat. -RRB- And that's a cop's dream. Anderson is silent for a time. He sighs, then smiles, and turns to his wife, takes her in his arms. ANDERSON No. You're a cop's dream.",
"INT. THE BATHROOM -- LATER Anderson steps out of the shower, and begins to towel himself dry - He glances out a casement window. He tilts his head, curious, then wipes at the steam on the window. ANDERSON'S POV LISA Lisa stands in the backyard in her nightgown, talking on a cell phone. She hangs up, moves quickly back into the house. ANDERSON Cocks his head, then goes back to toweling off.",
"INT. KITCHEN -- LATER Checkered linoleum floor. Appliances out of the 1950's. Except there are little differences. When Lisa puts a skillet of eggs on the stove, the heating element is not an electric coil, or gas but a shimmering field of light. Lisa is dressed in a blue jersey skirt and a brief jacket. Anderson wears a gray suit, thin blue tie, white shirt, wingtipped shoes. He does n't look up from the newspaper as he speaks. ANDERSON Who called? Lisa keeps her back to him as she flips the eggs. She touches her long brown hair. LISA No one. I called about my hair. Getting it done this afternoon. Anderson looks like he's about to say something else, when suddenly someone RAPS on the back screen door. Anderson and Lisa both turn and smile. ANDERSON Come on in, neighbor. Want some coffee? OUTSIDE THE DOOR FRANK D'IGNAZIO, 65, white - haired, robust, hesitates before coming in. A thin METALLIC ARM with a red laser light arches quickly down from above the doorway, shines into each of his EYES, scanning the irises. The arm lifts out of view, the screen door UNLATCHES. Frank enters the kitchen, carrying a basket of tomatoes. FRANK D'IGNAZIO Brought these for your supper. LISA Oh, Frank. That's so sweet. Thank you. FRANK D'IGNAZIO Sweet, nothing. I got ta get rid of these things. One plant, and I'm invaded by tomatoes. When I was a kid. Anderson laughs, claps his friend and neighbor on the back, teases him. ANDERSON Before all this genetically engineered crap. Frank gives him an ornery look, then a smile. FRANK D'IGNAZIO Yeah well, it's true. It used to be a challenge to grow things. An art. Now you put one plant in the ground - then jump the hell out of the way. Anderson gestures for Frank to sit down. ANDERSON Coffee? FRANK D'IGNAZIO Nah, thanks. Ca n't stay. You guys are rushing off to work anyway. Lisa sets the eggs down in front of Anderson. LISA You and Ellie come for supper then. ANDERSON We'll barbecue. Frank nods and pushes on the screen door. FRANK D'IGNAZIO You betcha. We'll bring some more tomatoes - a new batch will have grown by then. They all laugh, Frank exits, Anderson goes back to his paper.",
"EXT. DRIVEWAY -- LATER Anderson waves to Lisa. Her big Studebaker drives off down the tree - lined street and away. Anderson approaches his Chevy. He does n't take out a key to unlock it. There is no lock. He slides in behind the wheel. Does n't take out a key for the ignition - there is no ignition. A thin METALLIC ARM arches down from the sun visor, scans Anderson's EYES, identifying him. A seat harness wraps around him, and the car STARTS. Anderson picks up a folder marked `` Precrime'' and begins to read through the papers. The Chevy backs out of the driveway and takes him to work.",
"EXT. INTERSTATE 95 - ALEXANDRIA, VA -- LATER A vast spread of corporate and government buildings - the spillover from Washington D.C. across the Potomac River into Virginia. Beyond the white of Washington is `` The Sprawl'' - the massive unzoned city that has spread uncontrolled on the outskirts of the Capitol. It is impenetrable and uninviting, especially to those comfortable in the utopian suburbs. Anderson's Chevy moves in a sea of fifties - type cars. Occasionally, an ultramodern vehicle zips past them. In the sky above is another sea - of advertising dirigibles, holographic billboards, hovercrafts, skim - jet transports. On one of the holographic billboards giant words begin to flash : `` I LIKE MIKE!'' Then a picture of the smiling President appears. Then the words : `` RE - ELECT PRESIDENT MIKE BILLINGS FOR ANOTHER FOUR YEARS! KEEP THE PAST IN OUR FUTURE!'' INSIDE ANDERSON'S CHEVY Through his windshield, Anderson glances at a holographic road sign. THE ROAD SIGN reads : `` FBI Headquarters 1 mile. CIA Headquarters 1.5 miles. PRECRIME Headquarters 2 miles.'' Anderson goes back to his papers.",
"INT. PRECRIME HEADQUARTERS Anderson sits in a too large office in a too large chair. He abruptly rises and begins to pace. The room is large, but he paces like a lion confined in a cage. He punches an intercom. A female VOICE responds. INTERCOM VOICE Yes, Director Anderson? ANDERSON Where's Ennis Page? Why has n't he delivered this morning's Precog discs? Ed Witwer opens the door to the office., and casually walks in. INTERCOM VOICE I'll find him, sir. Ed shakes his head, smiles. WITWER Bullying the staff again, Director Anderson? ANDERSON Screw you. Anderson turns away and stares out a large window. Witwer joins him. ANDERSON -LRB- CONT'D. -RRB- Was that fun for you, yesterday? WITWER The Johnny Palmer bust? ANDERSON Yeah. WITWER It was okay. We got our man. Anderson takes a long breath. ANDERSON When do we not get our man? They turn as Ennis PAGE, 44, a thin, tight little man with burr cut hair, knocks and enters the room. He carries a black BRIEFCASE marked : `` Zone 218 - Washington/Alexandria, VA.'' The case is cuffed to his wrist. PAGE Sorry I'm late, sir. Precogs put out a heavy national volume this morning - four for our zone. ANDERSON -LRB- DISTRACTED. -RRB- Put the case on my desk, Ennis. Page hesitates, does n't do it. Anderson moves quickly to Page. ANDERSON -LRB- CONT'D. -RRB- What was I thinking. Anderson leans over the BRIEFCASE. A small panel recedes, a red laser scanner clicks on, scans Anderson's eyes, BEEPS affirmatively, then clicks off. The cuff on Page's wrist falls open. Now Page puts the case on Anderson's desk. Page hesitates. Anderson and Witwer know just what he's going to do. Page reaches down, unable to resist straightening a pile of papers strewn on Anderson's desk. Anderson and Witwer exchange knowing smiles. When Page looks up they try to cover, but are not quick enough. He frowns tightly, and heads for the door. Anderson calls after him. ANDERSON Thanks, Ennis. Witwer turns to leave, too. WITWER Now that's a guy who really cares. Witwer grins to himself as he walks out of the office. Anderson takes a deep breath and goes to his desk, and opens the briefcase. Four small bright DISCS sit in rows. He removes one, places it in a VIDEO MONITOR that lifts into view from the center of his desk. He sits back, weary, and watches. VIDEO SCREEN A young black woman stands in a hallway. She stares at a door, gun in hand. She opens the door, enters a bedroom. She glides toward a bed, where a man lies sleeping. She lifts the gun and fires it into his sleeping form. ANDERSON pops the disc, jots down some notes, pops in a new disc. VIDEO SCREEN A white woman stands at a stove, cooking. A man comes up behind her slowly, silently, a necktie taut between his hands. He raises the necktie toward her neck ANDERSON He's not watching the screen. He is out of his chair now, looking out the window.",
"INT. PRECRIME MAIN LOBBY A tour of Precrime is in progress, like the public relations tours run by present - day FBI. The TOUR GUIDE, a pretty, smartly uniformed woman in her twenties, leads a group of adults and children, all with glowing nametags, through the building. TOUR GUIDE Welcome to the main headquarters of Precrime. Smaller Precrime branches are scattered throughout the United States. The group follows the guide slowly through the lobby. TOUR GUIDE -LRB- CONT'D. -RRB- Precrime was established in 2030, with the harnessing of the remarkable talents of the Precognitive mutants. She points cheerfully to a stubby little man, MR. HARRIS. TOUR GUIDE -LRB- CONT'D. -RRB- Mr. Harris, can you tell me how many Precogs there are? MR. HARRIS Three. Uh, right? TOUR GUIDE That's exactly right! A lot of people assume there are Precogs in every branch office. But there are only three Precogs, right here in this building. And the information they give us, we send out to all the other branches. -LRB- beat. -RRB- And what is that information - what do the Precogs do? An eager boy, TIMMY has the answer to that one. TIMMY They protect us. The guide tousles his hair. TOUR GUIDE -LRB- chipper voice. -RRB- That's right, Timmy. Because of the Precogs, you're going to grow up murderfree. Is n't that something? MR. HARRIS They ever wrong? The Precogs ever screw up when they predict a murder? The guide laughs tolerantly. TOUR GUIDE Never, sir. It's an infallible system. The Precogs predict a homicide, and our Precrime police then apprehend that future murderer before the event occurs. And right next door is the Judicial Center, where we prosecute the future murderers. TIMMY Can we see the Precogs? TOUR GUIDE No, I'm sorry. That part of the building is not open to the public. -LRB- beat. -RRB- Now, if you'll just step this way. She waves the group on toward an elevator.",
"INT. THE PRECOG CHAMBER The chamber is an elaborate, hypertech hospital, constructed for the maintenance of three beings - the Precogs. They are triplets - two of the Precogs are male, one is female. Technicians swarm all over them like worker bees. The bodies of the Precogs are being tended to : exercised, cleansed, groomed. The head of each Precog is encased in a complex, ornate HELMET that seems to be an amalgam of organic tissues and bright metallics. The helmets pulse slightly, and the surfaces seem to flow and shift, like oil on water. A network of micro - thin cables that are actually strands of light, rise Medusa - like from each helmet, then centralize into a single strand, and connect to a massive mainframe computer. The Precogs appear to be in suspended animation, or in comas. They are absolutely still and limp - except for their faces. Their faces are in constant motion, the lips mouthing scenes from murders only they can see. Life for a Precog is an endless cycle of death. CLOSE ON - THE FEMALE PRECOG we recognize her fragile and perfect FACE from the opening scene of the movie. She floats in a glowing nutritive bath. Like her brothers, she seems to be eternally young, or eternally old. The technicians lift her from her bath. She is dried, dressed in a robe, then guided into an over - sized, throne like chair. Her brothers are guided into their thrones, on either side of her. Not once are their helmets removed. What they feed into the mainframe is too valuable. It must be gathered twenty - four unrelenting hours a day.",
"INT. A ROOM Ennis Page sits in a room just off the Precog Chamber. He can see them through a large window. He works a large computer console, the gathering point for the information the Precogs constantly feed the computer. Perhaps every ten seconds, a small DISC is released by the computer, and mechanically gathered, sorted, and placed - under Page's watchful eye - into a black case. ANDERSON is in the room standing quietly behind Page. As Director, Anderson is authorized to come and go, but from his fussy movements, it's obvious Page sees anyone else in the room as an intruder in his special domain. Anderson turns and looks through the window at the Precogs. ANDERSON What would they think about if we unhooked them? Page looks up from his work. PAGE They do n't think, sir. They just see. Anderson is silent. PAGE -LRB- CONT'D. -RRB- They're not even alive, really. Anderson contemplates the scene, nods to Page's words, then turns and walks out of the room, as Page looks on.",
"INT. THE PRECOG CHAMBER The female Precog sits in her chair. Her eyes are open. She faces the window that looks into Page's main frame room. In the window we see Anderson leaving the room. The female Precog's eyes drift closed.",
"INT.COURTROOM - JUDICIAL CENTER -- DAY A trial is in progress. The defendant is Johnny Palmer. He sits, ashen, at a table, his DEFENSE ATTORNEY beside him. There are no jurors in the Juror BOX. There is a JUDGE, 55, and stern. There are a few people in the public seats. The Precrime prosecuting attorney is Lisa Anderson. She wears a black robe, and addresses the Director of Precrime, Anderson, who sits in the witness stand. LISA Director Anderson, do you swear that the disc you now present to the court is the only and authentic disc of the future murder of Carol Palmer by her husband, John Palmer? It is a ritual that they both have acted out hundreds of times. Anderson gives the rote answer as he holds up the DISC. ANDERSON Yes. This is the only and authentic disc of the event seen by the Precognitive mutants and recorded by the Precrime Division. This is the immutable evidence of the infallible system. LISA The murder of Carol Palmer will occur? ANDERSON In one week - June 16th, 2040 at 10:33 in the morning. Lisa steps back. The judge reaches out and Anderson hands him the disc. The judge inserts it into a special video machine on his desk. Anderson steps down, his ritual part in this trial completed. A huge MONITOR comes to life behind the judge. He does not turn around to watch - he has his own monitor. Johnny Palmer watches, eyes wide. We now see, in detail, what we previously heard the Precogs act out in the beginning of the movie. THE MONITOR The Palmer's family room. Johnny reaches into Carol's sewing basket for the scissors. Carol stands defenseless in front of him. Their son cowers in a corner of the room. CAROL Johnny, please - JOHNNY `` Johnny, please. Johnny please.'' CAROL You're scaring me. JOHNNY'S SON DADDY, DO N'T. DADDY Johnny approaches his wife with deadly menace. JOHNNY -LRB- considering. -RRB- I do n't like you any more, Carol. CAROL -LRB- imploring. -RRB- Put the scissors down. You're scaring me. Please. We cut away from the monitor and stay on JOHNNY PALMER'S FACE as he sits at the defense table. He winces at each terrible exchange. JOHNNY -LRB- O.S. -RRB- Oh, Carol. CAROL -LRB- O.S. -RRB- Johnny! Stop! JOHNNY -LRB- O.S. -RRB- Do n't grab at me! Let go. JOHNNY'S SON -LRB- O.S. -RRB- Daddy! No! Johnny Palmer cries out as the MONITOR goes blank. JOHNNY I did n't do it. I'm innocent! It did n't happen! The JUDGE hits his gavel. JUDGE How does the defense plead? The defense attorney glances at his watch, then quickly rattles off the words to his part of this judicial ritual. DEFENSE ATTORNEY The defense acknowledges the infallibility of the system. We are Guilty. We throw ourselves at the mercy of the court. JOHNNY No! No! The Precogs are wrong! No! The court guards are on him in an instant. They lead him out of the courtroom.",
"INT.A BOARDING HOUSE - THE SPRAWL -- DAY Anderson pushes down a tight hallway thick with police and enters a disheveled room. The fifties interior is drab : a Formica table, bad curtains, a frayed Lazy Boy positioned in front of a TV. Ed Witwer is already on the scene. He stands a few feet from the BODY of a man, gunshot wound to the head, a handgun on the floor nearby. WITWER -LRB- to Anderson. -RRB- Looks like the old days. Anderson nods to his former partner. Anderson leans over the body. ANDERSON That would be bad news for an infallible system. Witwer is suddenly bored. WITWER We know it ca n't be a murder - the Precogs would've seen it. Why do you insist on coming to these things? ANDERSON Keeps the system honest. And besides, I like to pretend I'm a cop. Anderson turns to an officer. ANDERSON -LRB- CONT'D. -RRB- Who's got the Coroner? Another OFFICER steps forward with a large blue case. OFFICER Right here, sir. The officer places the case beside the corpse, and opens the latches. Inside the case is a large metallic APPARATUS : the `` Coroner.'' It comes to auto - life, and begins to unfold itself - It rises crab - like, and steps out of its case. Except for his mouth, the doctor does n't move. His projected image stands beside the body, his arms folded behind his back. He is the interface, the way the humans communicate with the crab apparatus. ANDERSON Hi DOC. HOLOGRAPHIC DOCTOR Hello, Director Anderson. The coroner crab begins to walk the body, which is face down on the floor. It moves slowly, hesitating as it crawls the body's back to insert various razor thin probes and core samplers through the shirt and into the spinal cord. WITWER This a homicide, Doc? HOLOGRAPHIC DOCTOR I'm presently analyzing neurohormones, Assistant Director Witwer. I have not concluded my examination. The crab engulfs the back of the head, probes the wound. HOLOGRAPHIC DOCTOR -LRB- CONT'D. -RRB- I'm detecting carbonization of skull fragments around the entry wound. Witwer whispers to Anderson. WITWER Bingo. The guy put the gun to his own head. HOLOGRAPHIC DOCTOR I have not determined that yet, Assistant Director. Witwer grins. WITWER You have good ears for a ghost, Doc. The coroner crab steps away from the body. HOLOGRAPHIC DOCTOR Please rotate the corpse to the lateral supine position. Two officers turn the body face - up. The crab inches close to probe the face. Disconcertingly, it lifts the eyelids, and examines the interior of the mouth, so that for a moment the manipulation makes the corpse seem alive. Then the crab moves down the trunk and the legs At last, it comes to a standstill. The holographic Doctor closes his eyes as if in thought. WITWER Can you imagine if this was a homicide? Who even knows how to hunt down a killer any more? Anderson gives him a hard look. ANDERSON I know how, dammit. You know how. WITWER Easy, partner. -LRB- beat. -RRB- But you know what I'm saying. The state legislatures are pushing to stop funding for training homicide detectives. ANDERSON God bless the Precogs. The Doctor opens his eyes. HOLOGRAPHIC DOCTOR This event is a negative homicide. A mortal wound was generated by a.22 calibre bullet self - delivered to the parietal ` portion of the skull on June 10th, 2040, at 11:57 pm, Eastern Standard Time. This event is a positive suicide. The holographic doctor begins to shimmer, then disappears back into the coroner crab. The crab crawls back into its case, folds its probes and legs tight to its metal body, and shuts down. Witwer turns to Anderson. WITWER It's time to stop coming to these, partner. Anderson watches as the med techs lift the body onto a stretcher. ANDERSON Yeah. You're right.",
"INT. A BANQUET - WASHINGTON, D.C. -- NIGHT Anderson, in black - tie, with Lisa in a shimmering blue gown at his side, moves through a huge room filled high level government officials and politicians. ANDERSON A little bit of me dies every time I come to one of these things. LISA It's only a party, Paul. ANDERSON I'd never have let them appoint me to Precrime if I'd have known this was going to be part of it. LISA You're exactly what Precrime needed. An amazing homicide cop and a real person in an unreal job. ANDERSON Exactly. LISA The public loves the Precogs. But they give people the creeps, too. You're something they understandp a regular cop running things. Anderson sighs as he looks around the elegantly appointed banquet hall. ANDERSON Let's invite all these irregular assholes over for a barbecue. Burgers and beer - think they'd come? A barrel - chested man with a great shock of pepper gray hair, SENATOR MALCOLM, 58, takes hold of Anderson's elbow from behind. SENATOR MALCOLM I'd come, Mr. Director. And I'd make all the other assholes come with me. Lisa reddens, Anderson gives an embarrassed cough. The Senator laughs and claps him on the back. SENATOR MALCOLM -LRB- CONT'D. -RRB- Nice job this morning. Another negative homicide. The Precogs never let us down. Mrs. Malcolm smoothly occupies Lisa, while the Senator eases Anderson in the opposite direction SENATOR MALCOLM I have a dream, Paul. ANDERSON I know you do, Senator. SENATOR MALCOLM Hundreds of Precogs. Not just predicting murders, but predicting all crimes. Burglary, arson, assaults. ANDERSON How about jaywalking? Littering? Now there's a crime. The Senator smiles through his teeth. SENATOR MALCOLM I do n't want a police state, you know that. But we have an opportunity here, and ANDERSON No sir, we do n't have that opportunity. There are only three Precogs. They're a lucky accident of nature. There are no more. SENATOR MALCOLM -LRB- beat. -RRB- We can make more. Just give me your support. Help me increase funding for the Precog Engineering Project. ANDERSON Precogs are n't sheep or pigs. Seeing into the future is a gift, a nonreproducible event. There was only one Mozart, and there are only three Precogs. SENATOR MALCOLM Fuck Mozart. The people want to be safe. They want that more than they want food or love. He gestures at the room full of glittering partygoers. SENATOR MALCOLM -LRB- CONT'D. -RRB- Look at us - it's 2040 and we've wrapped ourselves up in the 1950's like a big security blanket. Why? Because we want to feel like they felt. Safe. ANDERSON Senator, a world filled with hundreds of Precogs is not my idea of a safe place. The Senator gives it one last shot. SENATOR MALCOLM Sure could use your help, Paul. ANDERSON I decline, Senator. I'm sorry. SENATOR MALCOLM -LRB- icily. -RRB- Do n't think I'll come to your barbecue after all. The senator moves off. Anderson stands stiffly among the sea of black - ties and exquisite fifties dresses.",
"INT. PRECOG ENGINEERING LAB - CHEVY CHASE, MD DAY Anderson walks through the lab with a tall, pale man, DR, RESFIELD, 60, the head scientist. It is not a place that warms Anderson's heart. Biotechnicians work at long stainless steel tables dissecting and examining protoplasmic tissue masses. Other technicians peer through massive microscopes. Still others use robotic arms to manipulate radioactive organics behind leaded - glass barriers. DR. RESFIELD You do n't get out here much. ANDERSON Not my sort of place. Dr. Resfield emits a dry little laugh. DR. RESFIELD The head of Precrime squeamish? ANDERSON When it comes to needles and scalpels, yeah. DR. RESFIELD I promise we wo n't use any on you. ANDERSON What do you use them on? DR. RESFIELD -LRB- beat. -RRB- On bits of this and that. Anderson looks at him. The doctor pauses outside a thick door. An IdentiScan device quickly reads their eyes, and the door opens with an electronic hiss. Anderson looks around the lab. Technicians lower mesh cylinders into some sort of chemical VAT. Another technician turns a dial, and an electric charge courses through the roiling liquid. ANDERSON What's happening here? DR. RESFIELD We're in an interesting phase. ANDERSON What's in the cylinders? DR. RESFIELD Neurotissue. ANDERSON From? DR. RESFIELD A fusion of sources. From the Precogs' deceased mother. From the Precogs themselves. ANDERSON A fusion of? DR. RESFIELD In lay terms, we mated sperm from the brothers with ova from the mother and sister to create new growth. The CYLINDERS shudder as the voltage is increased. DR. RESFIELD -LRB- CONT'D. -RRB- And then we add mutating variables. Anderson stares into the roiling vat. Dr. Resfield waits for more questions. But it is clear from Anderson's expression he has already learned enough.",
"INT. ANDERSON'S OFFICE -- DAY Anderson sits in his office reviewing Precog discs for premurders in the local Washington area. We stay on him as he watches the monitor. He pops the disc, jots down some notes, slides in the next disc. Anderson's mouth slowly opens. He leans close to the monitor, his face ashen.",
"EXT. FRANK D'IGNAZIO'S BACKYARD -- LATER Frank is on his hands and knees, working his vegetable garden. He whistles softly under his breath as he trowels the rich soil. He sits up as he hears someone open the garden gate. He lifts his straw hat in greeting, gives a smile. It's ANDERSON. FRANK D'IGNAZIO What are you doing, playing hooky? Anderson tries to smile. But it wo n't come. He looks around the abundant garden. ANDERSON It's great out here, Frank. You got the touch. Frank straightens with a grimace. FRANK D'IGNAZIO I got the arthritis, is what I got. Anderson reflexively looks up at a high WHINING sound from over head. Frank follows his gaze. A Precrime HOVERCRAFT glides into position overhead. Frank stares, then lowers his eyes to the ground. He takes a long sad breath. FRANK D'IGNAZIO -LRB- CONT'D. -RRB- Ah shit, neighbor. -LRB- beat. -RRB- Goddamn Precogs do n't miss a beat, do they? -LRB- beat. -RRB- Can we do this inside? Ellie's not home. Anderson's voice is full of pain. ANDERSON Sure, Frank. Yeah.",
"INT. FRANK'S KITCHEN -- MOMENTS LATER Frank wanders the kitchen, trying to focus on his situation. Anderson has trouble meeting his friend's eyes. Through a window we can see black suited police officers with mirrored helmets swarming outside Frank's house. FRANK D'IGNAZIO -LRB- distracted. -RRB- I thought I'd buried it all. Thirty - five years - all those minutes and days to bury it. -LRB- beat. -RRB- But suddenly you see the man who murdered your daughter walking the streets - my God it throws you. Frank stops pacing. He stares at a kitchen drawer. ANDERSON He'd served his time, Frank. I know it's not fair. It's way beyond not fair. Frank looks. At Anderson bitterly. FRANK D'IGNAZIO -LRB- yells. -RRB- God damn the Precogs. You know? Why could n't they have been around to save my girl? -LRB- softly. -RRB- Now they're catching me. Frank reaches into the drawer and pulls out a small handgun. FRANK D'IGNAZIO -LRB- CONT'D. -RRB- I really shoot the bastard, huh? When? ANDERSON Next Wednesday, at noon. FRANK D'IGNAZIO Good. Anderson's cop eyes are all over the gun. ANDERSON It's not in you, Frank, to kill anybody. FRANK D'IGRAZIO Tell it to the Precogs. It's set in stone now, right? Frank puts the gun on the kitchen counter. Anderson relaxes. FRANK D'IGNAZIO -LRB- almost inaudible. -RRB- I do n't want to be a part of this world anymore. ANDERSON I know, Frank. Frank gives Anderson a look - no, friend, you do n't know. Then Frank looks hard at the gun on the counter. FRANK D'IGNAZIO -LRB- beat. -RRB- So. Tell me, Paul. Do the Precogs see everything? ANDERSON No. FRANK D'IGRAZIO Then they wo n't have seen this. Frank suddenly snatches up the gun and presses it to his own head. On Anderson's anguished FACE, at the SOUND of the gun going off.",
"EXT. FRONT YARD -- LATER Anderson stands with his old partner, Witwer, on Frank's front porch. Behind them, through an open door, we see Lisa comforting Ellie D'Ignazio in the living room. Anderson is deeply shaken. Witwer tries to talk him through it. WITWER -LRB- GENTLY. -RRB- We had to bring him in. Anderson does n't respond. WITWER -LRB- CONT'D. -RRB- He was a future murderer. ANDERSON -LRB- angrily. -RRB- You blame him? The guy killed his daughter! Witwer lets the implication of his words sink in. ANDERSON -LRB- CONT'D. -RRB- Yeah. I know. I know. Anderson turns and watches as they wheel Frank's draped body into the back of an ambulance. Anderson's bitterness erupts. ANDERSON -LRB- CONT'D. -RRB- I hate the Precogs, Ed. I believe in them absolutely and I hate them absolutely. Jesus. Witwer listens to him. ANDERSON -LRB- CONT'D. -RRB- And that goddamn lab trying to grow more of them. Put a Precog in every home, you know? So we can have more Franks - people shooting themselves - over who knows what? Witwer kneads Anderson's shoulder, talks to him in soothing tones like you'd calm an agitated horse. WITWER Precrime did the job it was supposed to do. The two men can hear Ellie sobbing inside the house. WITWER -LRB- CONT'D. -RRB- You know it. And you believe in it. ANDERSON -LRB- BEAT. -RRB- Yeah. WITWER It's not easy. It beats us down. Ellie in there - no doubt she hates you right now. Anderson turns to Witwer. ANDERSON That's why I got into this business - to be hated. Anderson almost manages a small smile. Witwer puts his arm around him. Walks him away from the scene. WITWER They hated us when we were regular cops. Now we're Precrime, and they still hate US. It's one of the little perks of law enforcement nobody knows about. Their quiet laughter is tinged with sadness. Anderson looks into his partner's good, open face. Then they both look away, their understanding of each other complete.",
"INT. ANDERSON'S BEDROOM -- LATE NIGHT Anderson stares out the window at Frank's house, illuminated by the moon. It's a mournful sight. Lisa rises on an elbow and watches him from the bed.",
"INT. PRECRIME HEADQUARTERS-ALEXANDRIA-DAY - ONE WEEK LATER Ennis Page, in the mainframe room just off the Precog Chamber, picks up a black BRIEFCASE marked : `` Zone 218 Washington / Alexandria, VA.'' He approaches the door, and his eyes are scanned. The door opens with a HISS. We follow Page as he walks through doors and corridors until he reaches a long hallway leading to the Director's office. Anderson's secretary, Angela, looks up on Page's approach. She nods. He nods. He walks around her desk. His eyes are scanned, and the door to Anderson's office opens. ANDERSON looks up, wearily.",
"INT. ANDERSON'S OFFICE -- LATER Anderson inserts a disc into the video monitor, almost absently. As we have seen him do before, he swivels his chair away from the monitor, and stares at Washington D.C. across the Potomac. Hovercrafts and transports skim through the sky above the Washington Monument. The camera stays on Anderson's back as the sound from the Precog disc begins. He hears his own voice speaking in strained, agitated tones. ANDERSON -LRB- O.S. -RRB- Let's not do this, Ed. Anderson slowly swivels around and stares with disbelief and horror at the monitor. THE MONITOR shows Anderson and Witwer in a room, a few feet apart pointing guns directly at each other. Their eyes intense and panicked. Who murders whom? Ed's eyes cut to a huge digital clock on the wall as the red seconds tumble away. ANDERSON Oh, Ed. Witwer lowers his gun. He stands unresisting before Anderson. Witwer sees his own death in Anderson's wild eyes, has always seen it. Anderson FIRES his weapon, puts a bullet straight into Witwer's heart, throwing him back against a wall. Witwer slumps, dying, beneath the huge digital clock, which reads : 5:20 AM. BACK TO SCENE Anderson stares as the monitor fades to a blank. His hand goes to his mouth. His body begins to shake. He hugs himself, but he ca n't stop the shaking. The DISC pops out of the side of the monitor. It is a small SOUND, but it has Anderson up and out of his chair as if it were a gunshot, He reaches for the disc but can not touch it. His legs suddenly weaken, and he drops to one knee beside his desk, like a man in need of prayer. There is a single thought that screams through his brain. It is an almost visible thing, filling the room, blackly. Anderson whispers the sickening words that shape his fate. ANDERSON -LRB- CONT'D. -RRB- I kill you. -LRB- beat. -RRB- Oh god, I kill you. As Anderson pulls himself up, and tries to reach again for the disc.",
"INT. THE PRECOG CHAMBER In an image just like the scene in the beginning of the movie, the three FACES of the Precogs hover in the misty darkness. Their closed eyes open in SUDDEN UNISON. They speak as one. ALL THREE Murderer! After a long moment, the eyes close again, and the Precogs fade into the mists.",
"INT. ANDERSON'S OFFICE Anderson looks up sharply at the SOUND of a knock on his door. Every normal sound seems grotesquely AMPLIFIED, the traffic outside, his own breathing. His senses are on overload. The door begins to open. A stockinged leg is the first thing Anderson sees. His secretary, ANGELA. ANGELA Sir? She hesitates before fully entering the room, Anderson grabs at the incriminating disc. He sees his EYES reflected in its alloy surface. He pushes the disc deep into his pants pocket. Somehow he finds his voice. ANDERSON Come in. Angela. She looks at him, uncertain. Then she places a small stack of papers on his desk. ANGELA Need you to sign these. And your eleven o'clock starts in five minutes. ANDERSON My. eleven. ANGELA -LRB- beat. -RRB- Budget coordination with the FBI. -LRB- beat. -RRB- You okay, sir? Anderson runs his hand through his hair, ca n't think fast enough. He sees her glance at the black Precog disc case. He shuts it, awkwardly, and it auto - locks. ANDERSON Have Page take this. Angela steps back, disturbed. ANGELA But sir, the procedure ANDERSON -LRB- SNAPS. -RRB- I make procedure. Call him. -LRB- long beat. -RRB- I'm not okay, Angela. you're right. My head and stomach. I'm going down to the clinic. Or maybe just home. Angela looks relieved at the explanation. ANGELA Yes sir. He moves past her. His FINGERS fidget against the hidden disc in his pocket. ANDERSON I'll speak to Witwer, put him in charge for the rest of the day. He hesitates at the door, turns to look at his office, and at his view of Washington. Then he is gone.",
"INT. OUTSIDE WITWER'S OFFICE -- MOMENTS LATER Anderson looks in the door Of Witwer's empty office. He takes a step inside. Witwer's booming voice sounds from behind him, startling him. WITWER Breaking and entering. That'll get you five to ten, hard. Witwer immediately scans his old partner's ashen face. WITWER -LRB- CONT'D. -RRB- What's wrong? Anderson can hardly bear to meet his friend's eyes. He REACHES into his pocket, as if to lift the disc into the light. If he could just do that, show it to Witwer. WITWER Paul? Anderson's hand comes out of his pocket, EMPTY. ANDERSON Take over for me today? WITWER You sick? ANDERSON Yeah. Witwer makes a show of backing away. WITWER Do n't give it to me. You probably have that Trans - 10 virus going around. A stomach thing. I hate stomach things. Anderson Almost smiles. ANDERSON Ed. WITWER Yeah? Witwer looks at him. Anderson almost reaches out for him. ANDERSON Run the place, okay? WITWER -LRB- smiles. -RRB- Sure. Right into the ground. -LRB- beat. -RRB- Go on home before I call Infectious Control and have them spray you down with something. Anderson moves unsteadily down the hallway. Witwer calls out. WITWER -LRB- CONT'D. -RRB- You want me to do the discs, or hold them for you to review when you get back? ANDERSON Ca n't let them back up. Do'em. WITWER Call you later. Take it easy, all right? Witwer lifts his hand in farewell, Anderson fixes on that last image - Witwer waving goodbye.",
"INT. PRECRIME UNDERGROUND GARAGE -- LATER Anderson, sweating now, leans against a thick cement pillar and pulls out a cell phone. He hits a button. INTERCUT BETWEEN ANDERSON / LISA AT THE JUDICIAL CENTER Lisa sits in a meeting. Her phone CHIRPS softly. She glances at the display, then rises to take it. She goes to a corner of the room. LISA Paul? ANDERSON Listen to me. Lisa presses her phone close to her ear. LISA I can hardly hear you. ANDERSON I'm underground. Weakens the signal so it ca n't be picked up. Alarm moves across her face. LISA But we're on Secure ANDERSON Listen, dammit! I'm going to murder Ed. The Precogs picked it up. On Lisa - can she have heard right? LISA Paul. Paul His crackling voice faintly comes through the phone. ANDERSON'S VOICE home. Lisa's phone goes dead. BACK TO ANDERSON Anderson looks down a long row of parked Precrime ground transports. They are sleek and menacing, the black shells lumpy with dangerous gadgetry. In the distance, a POLICE OFFICER, holding an armful of equipment, opens the back of one of them. He looks up at Anderson's approach. He puts his equipment down, and salutes. POLICE OFFICER Hello, sir. Anderson nods, moves close. ANDERSON What's your name, officer? POLICE OFFICER Bob, uh, Robert Smythe. ANDERSON These the new Python transports? The young officer turns and looks at the transport with pride, is about to speak, when Anderson touches a palm - sized Nova stun gun to the base of his neck. ANDERSON -LRB- CONT'D. -RRB- -LRB- sincerely. -RRB- Sorry, Officer Smythe. The officer buckles. Anderson catches him, rolls him gently into the back of the transport. Then Anderson quickly reaches into the transport, and begins stuffing equipment into a duffel bag : a helmet and black uniform, the weapon - glove, a folded rifle, a holographic scanner, and other equipment whose function we can only guess at. Anderson looks up at a sound, echoey FOOTSTEPS. They approach, then fade away. Anderson places the officer's hands and legs together, then aims a nozzled cylinder at them. He shoots a spray of blue BindFoam chemical restraint, sticking the man to the floor of the transport in an adhesive glob. Then he leaves the scene, running.",
"INT. ANDERSON'S CHEVY Anderson grips the wheel of his Chevy, driving down 1 - 95. The fact that he ca n't control his car - that the steering wheel has no function, his speed is predetermined, and his direction is guided by satellite - is maddening now. From inside the cars that glide along beside him people turn and look curiously at the man who is actually gripping his steering wheel. Anderson slams it with his fist. Through his windshield Anderson sees a four year old boy in the driver's seat of a passing red and black Ford. His mother sits in the passenger's seat, blithely reading. The boy mimics Anderson, gleefully slams his steering wheel too, then laughs. Anderson turns and looks the other way, into the distance, at the `` Sprawl,' the vast unzoned city attached to Washington D.C.. You can see it in his face : a man could lose himself in there.",
"EXT. POTOMAC PARK Anderson stands on an embankment. He holds the Precog disc in his hand, ready to throw it into the river. He stands like that. and then slowly lets his hand drop. He does n't do it.",
"INT. ANDERSON'S HOME - SUBURBS -- LATER Lisa enters the house, in a rush. Every shade is drawn. Paul Anderson sits in an overstuffed chair, absolutely motionless, like a man who has died suddenly. ANDERSON Do n't move. Lisa does n't get it. She continues toward him. ANDERSON -LRB- CONT'D. -RRB- Stop! Moving heats you up, makes it easier for them to pick you up on their thermals. She looks at him, scared, stops in her tracks. She is suddenly suffocating. LISA It's a hundred degrees in here. ANDERSON I turned the furnace all the way up. Your hair dryer. The oven. If they come, it'll buy me twenty seconds. Maybe thirty. LISA Nobody's coming for you. Anderson stares at her. LISA -LRB- CONT'D. -RRB- On the phone - what you said. It's impossible. She shakes her head in disbelief. Anderson speaks, choking on the words. ANDERSON I'm going to kill Ed Witwer. LISA It's not true. Anderson's right hand hangs over the side of his armchair. We see the bright DISC cupped in the palm. He seems about to reveal it to her, but does n't, yet. He keeps staring at her intently. Something is holding him back. LISA -LRB- CONT'D. -RRB- You're upset. You've been unhappy. There's a lot of pressure on you. And then Frank. ANDERSON One week from today. Tuesday, June 25, at five - twenty in the morning. I shoot him, Lisa. LISA -LRB- beat. -RRB- You need to take time off. Anderson laughs harshly. ANDERSON You do n't have to worry about that. She steps toward him. LISA -LRB- gently. -RRB- I want to hold you. ANDERSON If you love me, stand there. And do n't move. Tears well in her eyes. ANDERSON -LRB- CONT'D. -RRB- I saw the disc, Lisa. I shoot him. In the chest. And he dies. I've watched a thousand murders. This time I star in one. LISA Something's wrong. You would n't do it. ANDERSON The Precogs are never wrong. They emit a single disc. `` The immutable evidence of the infallible system.'' The room is terribly hot, his words - she begins to sway unsteadily. Anderson focuses on her. Her face. Her hair. LISA We'll figure this out. We'll review the system. ANDERSON There is no review. There's only the disc. It Shows My guilt. There's no defense. Her long hair. He stares. LISA You ca n't run. Please, let's - A SOUND outside. They both turn. A deep silence. The furnace churns out heat. And Anderson looks at Lisa's hair. and finally understands. Slowly, and very carefully, Anderson slides the DISC back into his pocket. He rises from his chair. For the first time he goes to her, reaches out, and touches her hair. ANDERSON Last week. It was strange. I watched from the bathroom window. You went out in the backyard to make a call. She looks at him. ANDERSON -LRB- CONT'D. -RRB- An appointment, you said. For a haircut that afternoon. Lisa's hand jumps to her hair. ANDERSON -LRB- CONT'D. -RRB- You did n't get your hair cut. You went to the trouble of calling first thing in the morning. It was that important. She reaches for him. He pulls away. LISA Stop it! Paul, please. You're panicking. Everything's going to look wrong. You're going to distrust everybody and everything now. Lisa implores him. LISA -LRB- CONT'D. -RRB- You ca n't distrust me. -LRB- beat. -RRB- It was Ed I called. Anderson cocks his head. ANDERSON Ed. why outside? Why lie about it? LISA Stop being a cop and listen to me! A booming, electronically altered VOICE suddenly penetrates the walls of the house from outside. VOICE -LRB- O.S. -RRB- Director Anderson! There is no escape! Anderson, betrayed, glares at his wife. She's frantic. LISA Your birthday's tomorrow! We wanted to. But be's already on the move, running for the upstairs. VOICE -LRB- O.S. -RRB- Drop to your hands and knees and stay there. Precrime is entering your house! Lisa screams, as her front door is sonically BLASTED off its hinges, and a swarm of Precrime officers in mirrored helmets hurtle in. LISA Paul! They move past her and spread through the rooms and up the stairs like a disease in fast motion. UPSTAIRS Helmeted officers hold their gloved right bands palm out, scanning rooms for thermal presence. An OFFICER 1 steps out of a small room. He speaks, his voice electronically altered. OFFICER 1 He's got a hair dryer going. Screwed up my reading. The others nod. OFFICER 2 We're not picking up shit. They rush into rooms, with increased urgency. We follow OFFICER 1 as he moves counter to the group and down the stairs. He hesitates as he moves through the living room, which is awash in personnel. Lisa stands against the wall, pale and shaken. He looks at her for a long beat, then steps over the shattered door and out into the sunlight. OUTSIDE Everywhere else in the neighborhood it is green and calm. But Anderson's house looks like a wasps's nest someone has kicked. Four Precrime hovercrafts are suspended above it, engines WHINING. Black Python transports are all over the street out in front, and more keep coming. And everywhere on foot, there are Precrime police. OFFICER I approaches a Python ground transport. Another officer guards it, weapon out, his head turning right to left. He settles on OFFICER 1's approach and raises his weapon. OFFICER 1 does n't even break stride. He walks right up to the guard - and then right through him. A holograph decoy. OFFICER 1 enters the Python. INSIDE THE PYTHON OFFICER 1 removes his helmet - it's Anderson. And then comes the moment of truth - have they cancelled his IdentiScan access to Precrime vehicles yet? A little scanner arm arches down from the visor, and flashes a red beam into his eyes. Anderson presses his lips together. The Python turns on, and a generated voice greets him. VOICE Paul Anderson 0256 clear. Anderson grips the steering wheel. But his time, since it is a law enforcement. Vehicle, the steering actually works. Anderson pulls out. FROM ABOVE, as the Python transport slips away from the chaos. THEN HIGHER, and we see that the direction the Python is headed will take it from the green of the suburbs, through the white of Washington, and into the dark of The Sprawl.",
"INT. PRECRIME HEADQUARTERS -- DAY Ed Witwer sits alone in an antechamber. He stares at an oversized oak door, then looks down at the floor. He runs both hands through his hair. He is tired, his eyes weary, lost. A voice comes over the intercom. VOICE Enter now please, Assistant Director Witwer. Witwer pulls himself together, and opens the door.",
"INT. A CONFERENCE ROOM Witwer takes a seat at the end of a long table. Powerful men sit at the other end of the table. SWANSON, sharp - boned, the FBI Director. CRONIN, awl - like eyes, the CIA Director. Senator Malcolm. Chief Justice POLLARD, whose face reveals nothing. Vice - President ALMER, whose tongue darts across his dry lips unsettlingly. Unpleasant looking men in an unpleasant mood. Cronin looks up from a printout he's been reading and stares at Witwer. CIA CRONIN The central question is : Why does Anderson want to kill Witwer? Cronin holds up the printout. CIA CRONIN -LRB- CONT'D. -RRB- We checked your finances. His finances. Nothing irregular, you do n't steal from him, he does n't steal from you. You have n't done anything that he might have discovered, and vice versa. Swanson holds up another sheath of papers. FBI SWANSON Personnel checks reveal no ambitious coups planned by you to topple him. -LRB- beat. -RRB- He's done nothing to you, or you to him. Witwer presses his lips together. VICE-PRESIDENT ALMER You fucking his wife? WITWER No. FBI SWANSON HIS MOTHER? HIS BROTHER? Witwer gives him a bad look. FBI SWANSON -LRB- CONT'D. -RRB- Okay. There we are. JUSTICE POLLARD So, you are friends, partners, and soul mates. Anderson has no motive. WITWER I ca n't think of one. -LRB- beat. -RRB- Maybe JUSTICE POLLARD The Precogs are mistaken? Witwer looks away. Jesus, he wants out of this room. JUSTICE POLLARD You do n't believe that, do you? WITWER -LRB- barely audible. -RRB- No. The Precogs are infallible. Senator Malcolm is impatient with all this. SENATOR MALCOLM You're goddam right. So, gentlemen - screw the motive. We got a pre - murderer on the run, and a nasty little PR problem. The very powerful men level their unpleasant gazes on Witwer. VICE-PRESIDENT ALMER And here is our solution. You are now Director Witwer. Witwer shakes his head, starts to protest. Almer silences him with a raised finger. VICE-PRESIDENT ALMER -LRB- CONT'D. -RRB- Precrime must demonstrate its willingness to go after one of its own. Total impartiality. WITWER Now look - Cronin talks right over him. CIA CRONIN The public must believe that every future murderer is pursued with equal vigor. FBI SWANSON Therefore, Precrime will put in charge the man best suited to the job. And who would pursue a murderer harder. than his intended victim? JUSTICE POLLARD You went after Anderson yesterday - because it was right, and because you believe. Almer speaks with a tight irony. VICE-PRESIDENT ALMER And your belief will certainly grow stronger with each tick of the clock. Witwer looks at the men with thinly - veiled hatred. But he does not deny their words. JUSTICE POLLARD Haw long will it take, Director? Wiltwer takes a long breath, concentrates his mind on the task he ca n't avoid. WITWER He knows Precrime, of course. And the streets - he's rusty, but he'll remember how to work them. It'll come back to him fast. He's. the best. Witwer almost smiles. Justice Pollard's not smiling. JUSTICE POLLARD We're not here to praise Caesar - we're here to bury him. Witwer looks at Pollard, then lifts a finger and touches his right eye. WITWER He ca n't avoid iris identification. Every door he opens, every ATM he uses, or taxi or transport he boards - he'll get scanned. -LRB- quietly. -RRB- It wo n't take long to find him. The eyes that look back at Witwer are unblinking.",
"EXT. THE SPRAWL NIGHT The unzoned city is full of 1950's iconography, but it all feels different than it did in the suburbs. Where the burbs were Ike, the city is Joseph McCarthy. The fat Ramblers and Studebakers have a little grime on them. The women's dresses are tighter and more urgent, the men's suits have some shine at the elbows. You look over your shoulder here, move faster, and smile a lot less. And some streets you do n't go on at all. Anderson's Python moves down one of them. He stops under a blackened suspension bridge, gets out. He's still in uniform. He holds a duffel bag. He starts to walk away from the Python, then hesitates. He's left the door open. He shakes his head at his sloppiness. Goes back and shuts the door. Walks away again. INSIDE THE CAR He's left a small DEVICE on the passenger's seat. Digital numbers shoot by in reverse. Something CLICKS. OUTSIDE THE CAR Anderson continues walking away. He does n't look back as the Python is engulfed in a miniature sun of heat and flame. It's not a gasoline powered vehicle - so it does n't explode. It just ceases to exist.",
"EXT. ORANGE DRY CLEANERS - -- NIGHT LATER Through a smeared window Anderson sees racks of suits and dresses hanging in clear plastic bags. He gets to work on the door.",
"INT. ANDERSON'S HOUSE -- NIGHT Lisa lies in her bed, alone in the dark. She listens to an almost inaudible sound, a high WHINE.",
"EXT. ANDERSON'S HOUSE A Precrime HOVERCRAFT floats high above her house, a dark moon in the low clouds.",
"EXT. ORANGE DRY CLEANERS -- EARLY MORNING A worker stands in the back of the store puzzling over the clean clothes piled on the floor. It almost looks like a nest, like someone slept there",
"EXT. SUBWAY LATER Anderson, in a blue suit and fedora, carrying his duffel bag, stands on a subway platform. He takes out a cell phone, dials a number. He looks up at the SOUND of a train. The approaching MagLev train has a lit sign on its front car : `` 33rd Street Express.''",
"INT. PRECRIME HEADQUARTERS Search and Command room. Witwer moves up and down the aisles, past technicians who man computers and holographic tracking displays. A Precrime TECHNICIAN 1 suddenly sits upright. Witwer picks him out of the crowd and zeroes in. TECHNICIAN It's Anderson. Witwer grabs a phone, punches a button WITWER Paul! The technicians scramble to pinpoint Anderson on a Glowing holographic MAP.",
"EXT. SUBWAY STATION Anderson, holding his phone, is IdentiScanned along with everyone else as he steps onto the train.",
"INT. PRECRIME HEADQUARTERS Another TECHNICIAN 2 calls out to Witwer. Witwer covers his phone mouthpiece. TECHNICIAN 2 He's been Scanned. He's on the 33rd Street Subway! TECHNICIAN 1 Calls from the other side of the room TECHNICIAN His cell phone tracks for The Sprawl. We got him on the Subway, too!",
"INT. SUBWAY CAR Anderson sits on a seat in the rear of the car. ANDERSON Why am I going to kill you, Ed? INTERCUT : ANDERSON ON THE SUBWAY / WITWER AT PRECRIME WITWER There's no motive ANDERSON My wife calling you before breakfast? WITWER We were planning a surprise party. It was going to be today. -LRB- beat, ironic. -RRB- Happy birthday, partner. ANDERSON This party's no fun, Ed. It's a hell of a surprise, though. -LRB- beat. -RRB- I'm having trouble trusting people, Ed, I got ta tell you. At Precrime, they upload a MAP DISPLAY of the Express train's route. We see a blue light moving - the train. And two separate red dots along its route. An OFFICER points at the dots, and speaks to Witwer in a low voice. OFFICER The train makes two stops, here and here : 20th, then 33rd Street. Witwer covers the Mouthpiece WITWER -LRB- to the officer. -RRB- Split the units, go to both OFFICER We'll never make 20th Witwer waves him away - do your job. Now. ANDERSON You there, Ed? WITWER I'm here. You got ta come in, Paul. ANDERSON I'm a Cop, Ed. I need a motive. WITWER Come in. We'll figure this thing out together.",
"EXT. THE SPRAWL Precrime transports zoom through the city",
"INT. THE SUBWAY TRAIN Anderson looks out the window into the tunnel dark. He talks to Witwer. INTERCUT : ANDERSON/WITWER WITWER It'll get ugly if you keep running. And your eyes, Paul - every move you make a Scanner will pinpoint you for us. ANDERSON I saw a news flash. You're the new Director. Is that the point of this? WITWER Fuck you. Anderson smiles. ANDERSON Did n't think so. But it has to be something, Ed. Witwer looks at the DISPLAY MAP. We see the blue train nearing its first stop, 20th street. We see two waves of lighted green dots - Precrime units heading for 20th and 33rd. WITWER Paul. Come in. Anderson sees an overhead light come on in the train : `` Next Stop 20th Street. ANDERSON If I come in, it puts me close to you. If I get close. I may kill you. I ca n't risk that. -LRB- beat. -RRB- Anyway, they'd force you to lock me up. And that'd be it - I'd never get my chance to solve this thing. Witwer needs to keep him talking WITWER You're kinds liking this, in a way, are n't you? The action. ANDERSON And you get to be a real cop again. We get to flex our muscles.",
"EXT. 20TH STREET SUBWAY STATION Precrime vehicles pull up. Hovercrafts appear in the sky above.",
"INT. 20TH STREET SUBWAY STATION Anderson's train is just finishing off - loading passengers. The doors close and the train begins to pull out as the first helmeted Precrime officers flood the platform. One of them points. CLOSE ON : A TRAIN WINDOW Anderson is visible through the window, talking on his cell phone.",
"INT.PRECRIME HEADQUARTERS Witwer stares at the map. The train has stopped at 20th street. But Anderson's still talking. He is n't getting off - he's going on to 33rd Street, the last stop. Technician 2 presses his earphone close, listens, then calls over to Witwer. Witwer covers his mouthpiece. TECHNICIAN 2 We have visual verification - he's still on the train. Witwer gives him a thumb's up. We STAY ON Witwer as he listens to Anderson, and watches his train move toward 33rd on the MAP. ANDERSON'S VOICE I want to tell you something, partner. You listening? Witwer nods. Now the MAP shows all the Precrime units swarming toward the 33rd Street subway station. WITWER Yeah. ANDERSON'S VOICE I got ta do this. I have to figure this thing out. -LRB- beat. -RRB- But listen to me now. If it was you running, I'd come after you, Ed. Witwer stares at the MAP, at all the units he's sent after his friend. ANDERSON'S VOICE -LRB- CONT'D. -RRB- You're a cop. And I'm a future murderer. -LRB- beat. -RRB- Do your job, Ed. Come after me hard. Because, Jesus Christ, I would n't sleep or eat until I had tracked you down and put a gun to your head.",
"EXT. 33RD STREET SUBWAY Precrime officers pour down the stairs toward the train platform.",
"INT. PRECRIME HEADQUARTERS Witwer watches on the MAP at all the little symbols merging together, like a gameboard - but this game ends in a reallife confrontation between one man and an army of them. WITWER You would n't shoot a cop would you, Paul? -LRB- beat. -RRB- Paul? Paul? He looks urgently to the phone technician TECHNICIAN 1 He's still on the line. Witwer presses his ear to the phone. He can hear the subway make its STOP. Then he hears a chorus of mechanized VOICES - the voices of the Precrime police, the SCREAMS of panicked passengers VOICES ON ANDERSON'S PHONE Police. Everyone down on your hands and knees! -LRB- then. -RRB- Oh, shit.",
"INT.SUBWAY TRAIN The Precrime officers aim the index barrels of their gloveweapons at ANDERSON, who sits blithely on a seat, holding his cell phone to his ear. Anderson begins to shimmer, then dematerialize ghost - like, into nothingness. He was a holographic decoy. What is actually there on the train seat is Anderson's cell phone. Rigged to its mouthpiece is a tiny digital voice recorder.",
"INT. 20TH STREET SUBWAY Anderson trots up the stairs and safely out onto the streets of The Sprawl.",
"EXT. STREET - THE SPRAWL -- NIGHT Every city has its underbelly. If you lifted the fat dark underbelly of The Sprawl this is where you'd end up. The streets here feel like alleys, clotted and tight. There are streetlights, bright ones - but the light dies at its source, never makes it through the sour air down to the ground. The retro fifties look comes apart here. The people that you see - and you only catch quick glimpses of them, they move like rats - wear black mostly, tight fitting tech - fibers. ANDERSON'S caught one of the rats, a thin bald guy in black. Anderson has him pinned up against a wall. They're having some kind of exchange - which consists of the guy answering none of Anderson's questions, and Anderson pressing him harder against the wall. Finally, the guy does something odd. He lifts a finger and pulls down Anderson's right lower eyelid. Anderson lets him. Then the guy does the same on the left. Has a long look. And then nods. Anderson releases him, and they go off together.",
"EXT. AN APARTMENT BUILDING -- LATER An oppressive brick thing on a side street. The facade is crumbling. Nothing good happens in a building like this. The guy leads Anderson to the building, then scurries off into the night.",
"INT. ROOM -- LATER A stained overstuffed chair in the corner, a dreary little kitchen with crusted dishes in the sink. But jarringly, in the center of all this, is a make - shift hypertech medical setup : a gleaming operating table, an array of lasers, scalpels and surgical equipment, an anesthesia console. Anderson sits in a chair facing DOC. DOC is a big man with delicate fingers. He sneezes, then blows his nose hard into a handkerchief. DOC Got a cold. Anderson looks at him uneasily. It's not just DOC - it's the whole setup, the needles and scalpels, the medical thing, which Anderson truly does not care for. Doc sneezes again, then looks up at his patient. DOC -LRB- CONT'D. -RRB- Do n't worry. I could cut open your chest, sew a dead cat in there, and you'd never get an infection. Not with the spectrum antibios I'll be shooting into you. ANDERSON I'm not here for cat surgery, Doc. Doc chuckles. Then he waits, expectantly. Anderson hands him a tiny opalescent card. A preset cash card. DOC slides it into small console, watches the numbers flash up. He frowns, sighs. ANDERSON -LRB- CONT'D. -RRB- It's all I could safely move He waits. Doc's not thrilled, but finally, he nods. DOC Yeah. All right. Time to got down to business. Doc walks over to a large medical cabinet and opens the door. It's full of EYES, and parts of eyes - 611! A cryo - jars. Anderson tightens. DOC -LRB- CONT'D. -RRB- You understand what I told you then. I ca n't just give you new irises. The Scanners will read the scar tissue. Alarms will go off. ANDERSOIN I'm a cop, I know DOC I got ta take your eyes out. Anderson knows this, too, wishes Doc would shut up ANDERSON Yeah. DOC -LRB- CONT'D. -RRB- And put in new ones. ANDERSON Yeah. I get it, DOC. Anderson rises up out of his chair and goes over to the operating table. He lies down. ANDERSON -LRB- CONT'D. -RRB- Do me quick before I run out of here. Anderson lies there, blinking up at the ceiling. He listens to Doc preparing instrument trays. It's a bad sound.",
"EXT. THE SPRAWL -- DAY The suspension bridge where we saw Anderson vaporize the Python transport. Witwer stands watching as a Precrime techno - unit sifts through the white ashes. Witwer lifts his face to the acrid breeze coursing off the Potomac. It's a pose a track dog might hold, nose up, testing the air for a scent.",
"INT. BOARDING HOUSE ROOM - THE SPRAWL -- DAY We ca n't see anything at first, because Anderson ca n't see anything either. He's in a deep post - surgical haze. DOC'S voice comes to him. It's warped and ugly. DOC'S VOICE Do n't take the bandages off for twenty four hours. You'll go blind if you do. Anderson makes an affirmative grunt. Now we see his surroundings, even though Anderson still ca n't. He lies in a grungy bed, his head and eyes swathed in white dressings. Doc stands over him. DOC You're in a room. I had you moved here, a couple miles from my place. If they find you, they do n't find me. Anderson grunts weakly. DOC -LRB- CONT'D. -RRB- A guy will come in, feed you once. -LRB- beat. -RRB- I juiced up the nano - reconstruction around your new eyes,'cause I know you're in a hurry. ANDERSON -LRB- Fuzzily. -RRB-. -RRB- Nano - re. construction. DOC Organic microrobots that reconstruct nerves and blood vessels. It'll feel like fleas chewing on your eyeballs. Do n't scratch. Anderson is already reaching his hands for his bandages. Doc forces them away. DOC -LRB- CONT'D. -RRB- I'm giving you a bonus, might come in handy. Feel this. Doc takes an air - syringe out of his pocket and touches it to Anderson's hand. DOC -LRB- CONT'D. -RRB- It's a temporary paralytic enzyme. Someone spots you, you duck into an alley, shoot this under your chin. Doc presses the tip into the soft underpart of Anderson's chin. Anderson jumps. DOC -LRB- CONT'D. -RRB- The enzyme turns your facial muscles to mush. You wo n't look like the same man. ANDERSON Jesus. DOC You tighten up again in about thirty minutes. Hurts like nothing you ever felt. It's vicious, but effective. I'll put it in your bag. Finally, Doc takes a small clock out of his pocket and places it on a dresser beside Anderson's bed. DOC -LRB- CONT'D. -RRB- I'm setting up a timer. When it buzzes tomorrow, take off your bandages, and get the hell out of here. Anderson, groggy, starts to say something else, but then he hears a door open and close, and Doc is gone.",
"EXT. THE SPRAWL -- NIGHT The Precrime presence mounts on the streets. A couple of units move past the boarding house, but they do n't stop.",
"INT. BOARDING HOUSE ROOM -- DAY Anderson sits in a chair, his dressings like a blindfold. He looks like a hostage. He is sweating. Keeps reaching for his dressings to scratch, then forces himself not to. He speaks to someone we do n't yet see. The guy DOC said would come. ANDERSON I'm hungry, but sick to my stomach. Guess I should eat. -LRB- Beat. -RRB- You gon na help feed me? Now the camera moves and we see who it is that has been sent to help Anderson. It's the rat guy, the thin bald man Anderson had roughed up the day before. The guy has a bowl of hot soup in his hands. He stares contemptuously at Anderson. ANDERSON -LRB- CONT'D. -RRB- So how do we do this, pal? The rat guy does n't say a word. He simply tips the hot soup and it splatters down into Anderson's lap. Anderson cries out in pain and surprise. The guy walks out of the room. CLOSE ON - THE TIMER Twenty hours gone by. Four more to go.",
"EXT. THE SPRAWL Precrime cops are shaking down any of the rats they can catch, looking for leads, looking for anything.",
"INT. THE BOARDING ROOM The TIMER shows one hour to go. Anderson sits in a chair, squirming miserably. His dressings are wet with sweat, and frayed and dirty at the edges where he has tugged and plucked at them. ANDERSON -LRB- to himself. -RRB- Fuck. He is this close to ripping the dressings off",
"EXT. THE BOARDING HOUSE -- DAY A Precrime transport stops. Two officers get out. One of them sets up a large thermal scanner on the sidewalk, and does a read on the boarding house. The other does a read on a pawn shop and bar next door. The OFFICER 1 doing Anderson's boarding house, calls to the other officer. OFFICER 1 Got 27 warm bodies in this place. What should it take, three or four Spiders? OFFICER 2 Do four. Speed things up, so we can go eat. The Officer 1 opens the back of the transport, and takes out a box. He removes four round BALLS. They are silver, as big as billiard balls. He goes up to the boarding house, gets IdentiScanned, and the front door opens. He rolls the balls down a dark hallway. Then he goes back out to the transport, and leans against it, bored. He holds up an electronic clipboard and waits for the data to come in.",
"INT. THE BUILDING The BALLS roll about eight feet, then suddenly come to autolife as they spin. They open like flowers - flowers with legs. CLOSE ON : A BALL A fist - sized Spider takes shape. On its head is an IdentiScan lens mounted on a thin metallic antenna.",
"INT. A ROOM An OLD WOMAN sits at a card table eating a bowl of something unidentifiable. She looks up with annoyance as she sees a spider scuttling across the floor toward her. It makes a CLICKING sound on the floor as it comes. She's poor, living in The Sprawl - she knows the drill. She continues to eat as the SPIDER crawls up the leg of the card table. She barely watches as it moves past her bowl and toward her hand. OLD WOMAN It's nice to have a little company She smiles toothlessly at her joke The Spider hops onto her am and inches up, then moves across her shoulder. It grips her cheek lightly, as the IdentiScan antenna reads her eyes. Then it leaps off her and onto the floor and CLICKS away across the linoleum.",
"EXT. THE BOARDING HOUSE The Precrime officer lifts his clipboard and checks a column with his laser pen, and waits for the next one.",
"INT. ANDERSON'S ROOM Anderson sits in his chair. He cocks his head, listening. His body tenses. Something feels wrong. The TIMER shows ten minutes to go. Blindfolded for a day and a night, Anderson has no idea how much time he has left. Three seconds, four hours? A flattened SPIDER squeezes under his door. Anderson tenses as it CLICKS across the floor toward him. He knows that sound. Anderson stumbles up and out of his chair. He starts to grab at his dressings, remembers Doc's warning, and stops himself. The SPIDER waits for him to settle, then CLICKS toward him again. Anderson moves around the room, avoiding the Spider. He is dripping with sweat, starting to breathe hard. The Spider comes faster. Anderson crashes into a table, brings it down. Falls across the bed.",
"EXT. THE BOARDING HOUSE The Officer 1 squints at his clipboard. One of the Spiders is taking too long. He adjusts his thermal scanner, and sees the heat outline of a man bouncing around a room. The other Officer 2 finishes reading the pawn shop and the barroom, then wanders over to Officer 1. They both watch the screen. OFFICER 1 Stinking drunk. OFFICER 2 -LRB- beat. -RRB- Or a guy who does n't want to get read.",
"INT. ANDERSON'S ROOM Anderson forces himself to sit still, because he knows the consequences. The Spider advances, starts up his leg. The TIMER has not buzzed. Anderson ca n't touch his dressings. The Spider moves across his shoulder and onto his face. It WHIRS and HUMS trying to adjust its antenna against the dressings.",
"EXT. THE BOARDING HOUSE The officers eye the thermal scanner, as they reach for their mirrored helmets, getting ready to go in.",
"INT. ANDERSON'S ROOM The Spider crawls all over Anderson's head, trying to get past the dressings for a read. Anderson has no choice. None. He starts to lift at his dressing. The Spider senses his cooperation, freezes in place. Anderson wants to scream. He unwraps his head, tugs the eye pads away from his eyes. He rips them off. The Spider sits on his shoulder, waiting. Anderson's eyes are tightly closed. He opens them ANDERSON'S POV - BLINDING LIGHT Light brighter than a magnesium burn, brighter than a nuclear flashpoint. Light to buckle the knees and push the brain beyond endurance. And though all this the faraway sound of a BUZZER going off. The TIMER has finally sounded. Anderson's open eyes are streaming with tears, but he has survived the moment. ANDERSON'S POV - THE ROOM It comes into slow focus The Spider, all business, reads his eyes. Then, as if nothing unusual has occurred, it jumps off his shoulder, and crosses the floor. It flattens, scoots under the door, and is gone.",
"EXT. THE BOARDING HOUSE The officers see that the Spider has gotten its read. They pull off their helmets. OFFICER 1 Let's eat. They start putting their equipment back into the transport.",
"INT. ANDERSON'S ROOM Anderson stares at himself in a dusty mirror. His new eyes are tender and bloodshot. And they are not blue, like the ones he was born with, but a deep brown. Anderson is exactly the same, and utterly different. He grabs his duffel bag, and gets the hell out of there.",
"INT. PRECRIME HEADQUARTER'S -- DAY Lisa, looking drawn and scared, sits in Witwer's office. Witwer is n't looking too well, either. WITWER They told me to move into Paul's office. I said fuck you very much. Lisa nods. WITWER -LRB- CONT'D. -RRB- -LRB- softly. -RRB- I do n't want to do any of this, Lisa. LISA I know. I know that. -LRB- beat. -RRB- Everybody's got their reasons for wanting you in charge. So do I - you wo n't bring him in dead. WITWER Yeah. But if he shoots a cop. -LRB- beat. -RRB- Which is what he does four days from now, is n't it? Witwer's eyes imp involuntarily to a CLOCK on his desk. LISA He'd never hurt you. WITWER I know that. But the other thing I know is - the Precogs are never wrong. The words are leading them no place good. They stop talking, and just sit there.",
"INT. THE SPRAWL Anderson stands on a street corner waiting in line with several people waiting for the N0.6 Turbo Tram. The double decker Tram comes. People get off, then the line starts to move forward as people get on. Anderson fidgets. He's last in line. Each person gets IdentiScanned as he boards. Anderson's putting his new eyes to the test. If the scan goes wrong, he's positioned himself to run. The woman ahead of him, gets scanned, pays her fare. Anderson's turn. Anderson goes up the steps, and a red beam reads his eyes. The Tram DRIVER glances at a monitor beside his steering wheel, then nods at him. DRIVER Welcome aboard, Mr. Symington. Plenty of seats in the back. Anderson nods, moves casually to the back. But his jaw muscles are flexing hard, working off the tension.",
"INT. A WEALTHY HOME - SUBBURIAN WASHINGTON -- NIGHT Senator Malcolm releases a self satisfied little belch as he finishes off a late night whiskey in his panelled den. He wanders about admiring himself in the many political photos adorning the cherry wood walls. He's feeling cozy and safe, the way rich people can afford to. No IdentiScan Spiders would ever be sent under his doors. No intrusions of any sort, nothing that a coiffed secretary or a loyal wife would n't announce before hand. Which is why he does n't immediately understand the small SOUND at ear level, coming from just behind him. It's a metallic CLICK - CLICK. He turns amiably. His eyes instantly widen, and his knees buckle when he sees he's looking into the barrel of ANDERSON'S cocked gun. ANDERSON Time to upgrade your alarm system, Senator. Senator Malcolm tries to regain his composure. His fear embarrasses him. ANDERSON -LRB- CONT'D. -RRB- Your work - up of Witwer. The Security Panel would've done one. -LRB- beat. -RRB- Why do I kill Witwer? The Senator finds his voice. SENATOR MALCOLM There's no motive. ANDERSON There's, always a motive. Anderson presses the gun to the Senator's forehead. He slides the barrel tip back and forth across the Senator's sweaty skin. It makes a greasy red mark. ANDERSON -LRB- CONT'D. -RRB- I could've come to anyone on the panel. But I picked you. -LRB- beat. -RRB- Of all the shits on that panel, I like you least of all. So if this gun goes off, I'll feel bad, but not, you know, devastated. You can almost see a thought dawning on Senator Malcolm. And then, shockingly he spits in Anderson's face, and turns and walks to the other side of the den. His tone is mocking. SENATOR MALCOLM What the fuck was I worried about? You ca n't kill me. The Precogs would've seen it. Anderson realizes this, too, lowers his gun. The Senator is even laughing now. For a moment Anderson does nothing, then he moves toward the Senator again. The Senator stands his ground smugly. SENATOR MALCOLM -LRB- CONT'D. -RRB- Witwer's clean. You're clean. There's nothing. No motive. Kind of like something Kafka would've cooked up. -LRB- beat. -RRB- You like that, cockroach? You're fucked and you'll never know why. The Senator is laughing hard now. Anderson lets him. ANDERSON Tell you something about the Precogs, Senator. They're great on murder. But it's the little things they fail to see. Anderson hits the Senator so hard it bounces him across the floor and into the cherry wood panelling. Several of his beloved photos crash down onto him. ANDERSON -LRB- CONT'D. -RRB- Little things like that, for instance. Anderson steps over him, and walks out of the room",
"INT. PRECRIME HEADQUARTERS -- DAY Search and Command room. Witwer stands there amidst all of the technology speaking to a group of Precrime officers. WITWER He has n't shown up on one goddamn IdentiScan in three days. No one says anything, and then LIEUTENANT GLASER, 30, speaks up. LIEUTENANT GLASER He's found a room - he's going to sit it out. WITWER Yeah, except for holding a gun to senator Malcolm's goddman head in his own goddman house last night, Anderson's sitting it out! -LRB- beat. -RRB- Why has n't he been scanned? The officers look at their shoes. WITWER -LRB- CONT'D. -RRB- Why is he invisible? He's moving around but he is n't being seen. Lieutenant Glaser tries again. LIEUTENANT GLASER He's beating the scanners WITWER No one beats the scanners. Witwer reaches up, wearily, rubbing his face and eyes with his hands. The fingers dragging across his eyes stop. Then his hands drop away, and he looks at his men. WITWER -LRB- CONT'D. -RRB- He's done his eyes LIEUTENANT GLASER But the scarring always WITWER He went the whole way. The crazy bastard had his eyes removed. New ones sewn in. LIEUTENANT GLASER That takes weeks to heal. WITWER If you're prepared to go blind, a street surgeon'll juice up the repair cycle. They do n't give a fuck about risk. Witwer's eyes flick to a digital CLOCK on the wall. It's something he ca n't help doing now. WITWER -LRB- CONT'D. -RRB- He's going to do what it takes to stay free - if it blinds him, maims him, or kills him. Witwers admiring smile makes his men very uncomfortable.",
"INT. KITCHEN - THE SUBURBS -- DAY A mother places a carton of milk on a table in front of her teenage son. He pours it into his cereal bowl, then puts the carton down in front of him. There's a flexible Vid - Screen on the side of the carton, about the size of a playing card. AS the sleepy kid watches, the disposable Vid - Screen sparkles to life. Nothing unusual, they always do that. For advertisements, lost kids, or in this case crime bulletins. A good one. The kid straightens up. THE VID - SCREEN A fully rotating mug shot of PAUL ANDERSON fills the screen, followed by vital statistics and details of the precrime he's been charged with. The kid watches for a while, then gets bored, and pulls the Dexi - Pops cereal box over and starts reading the back of that.",
"INT. A LIVING ROOM - THE SPRAWL -- DAY A big man in a tee shirt lies on a couch, a bowl of popcorn perched on his belly. He stares at a TV monitor that's the size of a twin bed. TV Anderson's face fills the monitor. The TV image is so big that Anderson overwhelms the room with his video presence. It's like God coming to pay a visit - even if you want to avoid Him you ca n't. The big man with the popcorn tries to do just that. He surfs through a zillion channels, but Anderson's visage is omnipresent.",
"EXT. THE SKY - THE SPRAWL -- DAY Anderson's face fills the skies, too. Witwer and Precrime have pulled out all the stops. Advertising dirigibles float by with Anderson's image on it. Holographic billboards with Anderson hover in the air. There are so many Andersons in the sky he seems to be part of the weather, a special type of cloud. People on the streets look up, briefly interested, then go about their business.",
"EXT. A STREET - THE SPRAWL One person who is paying deep attention to all this is Anderson himself. He stands on a street corner, wearing dark glasses and a fedora, staring at a public video kiosk. VIDEO KIOSK The mug shot of Anderson disappears and is replaced by a Precrime SPOKESWOMAN. SPOKESWOMAN The United States Supreme Court has issued a special injunction allowing the unprecedented public viewing of former Precrime Director Paul Anderson's future murder of Edward Witwer, the current Director. ANDERSON His mouth slowly opens. He steps back against a wall and slides his hand into his pants pocket. He looks at the Precog DISC in his cupped hand, then quickly puts it away. He stares at the kiosk as people on the street begin to gather around excitedly. CROWDS OF PEOPLE look into the sky, in store windows, at other video kiosks. They have the enthralled anticipation of a mob at a public guillotining. SPOKESWOMAN She continues her declamation SPOKESWOMAN -LRB- CONT'D. -RRB- The video you are about to see, generated by the Precognitive mutants, is the immutable evidence of the infallible system. -LRB- reassuring smile. -RRB- Citizens are urged to call 1 - 800 - PRECRIME with any information that may lead us to the whereabouts of Paul Anderson, future murderer. ANDERSON Shakes his head in confusion and disbelief. But he has the Precog disc. The OLD GUY him nudges him OLD GUY This oughtta be good, huh? VIDEO KIOSK And there it is, Anderson and Witwer standing there pointing guns at each other. The whole thing just as we saw it before. All the way through to the fatal moment. ANDERSON Oh, Ed. Anderson shoots him. Witwer slumps, dying. The video stops. And then begins to play all over again, right from the start, the 1 - 800 - PRECRIME number scrolling along the bottom of it. `` Call now! Call now! Call now! ANDERSON -LRB- CONT'D. -RRB- Moves quickly through the crowds.",
"INT. BAR - THE SPRAWL -- NIGHT Ennis Page sits on a bar stool at the far end of a bar so full of cigarette smoke it does n't seem capable of supporting life. But it supports the kind of life Page is interested in. An emaciated woman with a feral smile slides onto a stool beside Page. He gives one shake of his head, and she slides away again. His eyes cut to a group of females. He waits for the next approach. CLOSE ON : PAGE as a HAND reaches over his shoulder and places a Precog disc on the bar in front of him. Page makes a sound and tries to jump away, as if the disc is something lethal. Which it is, in a way. Anderson presses him back down on his stool. Sits next to him. Page stares at him, scared. Anderson looks straight ahead as he speaks. ANDERSON `` Ennis Page engages the services of prostitutes because his relationships with them compound his feelings of selfloathing.'' -LRB- beat. -RRB- Direct quote from your psychological profile - the kind of shit I had to know as your former boss. ANDERSON -LRB- CONT'D. -RRB- `` Page is an obsessive - compulsive Type Nine.'' Another quote. Niners are great for the kind of work you do - keeping all those Precog discs in order. You can almost see Page's heart slamming in his chest. He tries to hide it with tough talk. PAGE I fuck whores and I'm orderly, so what? ANDERSON Something's out of order, Ennis. Deeply out of order. Page looks unhappily at the disc on the bar PAGE You got a disc Anderson picks it up, holds it tight in his fist ANDERSON -LRB- CONT'D. -RRB- Not A disc. The disc. When I went home sick, I stole it. I took it with me, Ennis. I was n't sick, I was running with the evidence. -LRB- lets that sink in. -RRB- So how is it that Precrime has one, too? PAGE -LRB- utterly baffled. -RRB- You ca n't make copies Anderson waits. Lets Page work through it. PAGE -LRB- CONT'D. -RRB- It's the basis of the system. The immutable evidence. Copies are impossible. -LRB- beat. -RRB- You went home. A little later, I came in with a disc for Mr. Witwer to review. I was n't halfway out the door when he cried out. Anderson is barely breathing, he's listening so hard. PAGE -LRB- CONT'D. -RRB- He was in shock. He showed me. It was you shooting him. Then all hell broke loose. He had to send the Precrime units to your house. ANDERSON Ennis - you gave out the same disc twice. Less than an hour apart. The one I stole. And then another one. Of the same event. PAGE It's impossible. The Precogs can only move forward to new events. Into the future. They never repeat. Anderson looks around. Patrons are beginning to look over in his direction, eyes lingering. He rises. Page seems in a daze. As an obsessive - compulsive niner, the concept of an untidy system is disorienting. Anderson starts to say something to the man, then does n't. On the way out Anderson gets IdentiScanned. An automatic DIGITAL VOICE calls out after him. DIGITAL VOICE Have a nice night, Mr. Symington Anderson leaves the dark of the bar for the deeper dark of The Sprawl.",
"INT. A STREET - THE SPRAWL -- DAY A YOUNG GUY with a sparse moustache walks up to a payphone. He picks up, the receiver and immediately gets IdentiScanned. A light goes on, he's about to dial. Anderson appears out of nowhere, shoulders him out of the way. The young guy drops the receiver and stumbles back onto the sidewalk. Anderson grabs the hanging receiver. YOUNG GUY Hey! Hey, you ca n't. He reaches for Anderson, then thinks better of it. Anderson is twice his size and very menacing in dark glasses. YOUNG GUY -LRB- CONT'D. -RRB- I'm gettin' a cop. The guy scurries off. Anderson dials quickly. INTERCUT ANDERSON/LISAS OFFICE Lisa, walking down a hallway in the Judicial Center, stops to answer her BEEPING cell phone. She leans against a wall, as lawyers and judges pass by. ANDERSON It's me. LISA Paul. Lisa grips the phone and turns to the wall ANDERSON Your phone will be bugged. So we ca n't meet, we ca n't do anything. Just listen. Nowing you're listening is enough. Lisa nods, as if he's right there. He is right there, for her. This is all she's got. ANDERSON -LRB- CONT'D. -RRB- When Precrime stormed the house, I thought you'd called them. Betrayed me. LISA No. ANDERSON I know. Witwer sent them. He saw the disc and had to do his job. -LRB- beat. -RRB- Tell me you forgive me. Please. LISA Of course, I forgive you. There's no time left. He has to get off the line and start moving again. A vast weariness enters his voice. ANDERSON All these people I need to forgive me. -LRB- beat. -RRB- Do you think Frank forgave me? All I could do for him was send him gardenias. -LRB- long beat. -RRB- I love you. Lisa almost cries out when he hangs up. She flattens herself against a wall. She stays like that for a long moment, pulling the sound of her husband's voice, his words, deep inside of herself. And then she gets a look, as one of those words registers profoundly. LISA -LRB- whispers to herself. -RRB- Frank hated gardenias.",
"EXT. EAST END CEMETERY - ARLINGTON -- LATER A public cemetery along the Potomac. There's not much land left for new graves. A funeral is taking place. A lot of mourners in dark 1950's suits and dresses. The service is nearing its end. Frank D'Ignazio's newly dug grave is nearby. Lisa stands there, looking at the temporary marker, and the flowers and wreaths piled up against it. Two rows over, they are lowering the casket into the ground. High in the sky, a PRECRIME HOVERCRAFT, everpresent in Lisa's life, floats in the low clouds with a barely audible WHINE. Lisa rests a floral arrangement against the pile of flowers. Her hand drifts near a white GARDENIA WREATH. There is a small envelope tucked beneath a blossom. She takes it. Then she rises and begins to walk back to her car. The funeral is over, and the mass of mourners, many wearing dark glasses, fan out toward a long line of cars. One of the MOURNERS brushes past Lisa. She looks up and he tips his dark glasses down onto his nose and stares over them at her. It's Anderson. Is n't it? She looks into his eyes. And it's jarring, the blue eyes gone, that they're brown now. But it's him, he's there, and she wants to reach out for him. Knows she ca n't. He's already moving on. He's risked everything for a look. He slips into the black sea of mourners, she goes to her car - neither of them ever breaking stride. The Precrime craft hovers, unaware",
"INT. LISA'S CAR Lisa opens the envelope as her car drives her down the Alexandria - Washington ConnectWay. A Precog DISC falls into her hand. Her mouth opens - she's never held one before. And there is a NOTE with it It READS : `` The Precogs generated duplicate discs. This is the first. Precrime has the second. Duplicates. Why?''",
"EXT. A CONVENIENCE STORE - THE SPRAWL -- DAY Anderson has to eat bad food quickly, and on the run. He gathers up a wrapped sandwich, a bag of donuts, something to drink. He waits in line. He does n't like to be in a line, waiting. The woman ahead of him argues about change. He presses his lips together. And then he glances at the mirrored surface of a hidden camera DOME attached to the ceiling. It gives him a fish eye reflected VIEW of what's happening behind him. Precrime police are happening behind him. He does n't stop to ponder, as two Python transports zoom up outside the store. Anderson vaults the counter, knocking the customer and the clerk to the floor.",
"INT. BACK ROOM Anderson plows over a guy filling a trash can. He hears the mechanically altered COMMANDS of a Precrime officer calling from the store. VOICE Paul Anderson. Drop to your hands and knees! Anderson crashes out into an alley, and clambers up a fence. SONIC BLASTS shatter the air around him. Chunks of brick fly off the walls on both sides. But he is full of adrenaline, and there is no stopping him.",
"INT. A TURBOTRAM - THE SPRAWL -- LATER A different part of the city. Anderson hunkers low in the back seat of a tram. He looks up, as the DRIVER swears DRIVER What the hell - Anderson stands up, looks down the aisle, through the windshield. Precrime transports are heading straight at the tram, going the wrong way on a one way avenue. They've even taken radio control of the P.A. system on the tram. VOICE Paul Anderson. Drop to your hands and knees! Anderson ca n't believe it - how are they suddenly pinpointing him? The passengers turn in unison like cattle, and stare at him, terrified. Anderson grabs his duffel bag and kicks at the back exit doors, smashing them open, and tumbles out onto the street. He rolls, and is up on his feet in a second, reaching into his bag for a glove. He pulls the weapon onto his right hand, as he whirls around sizing up his predicament. Precrime transports have begun to seal off both ends of the street. He looks up. He is surrounded by skyscrapers and buildings - he is walled in, at the bottom of an urban canyon. People freeze against the sides of buildings, run into doorways where they can. Passengers in trans and taxis or cars stay there, pressed against their windows watching. Nothing moves, except the Python transports, closing in. The lead officer speaks, with that menacing electronically altered VOICE. VOICE -LRB- CONT'D. -RRB- Lower your weapon, or we will neutralize your threat potential. The Precrime police are out of the transports now, advancing at either end of the city street in phalanxes of men. Anderson eyes the side of the black granite office building closest to him. ANDERSON'S POV - A HIGH PRESSURE HYDRANT The large red hydrant sits a few inches out from the building. Anderson almost smiles as he begins to walk slowly toward it, his weapon pointing harmlessly at the pavement. VOICE -LRB- CONT'D. -RRB- Do not move! Anderson is up on the sidewalk now, two feet out from the building, right beside the high pressure hydrant. He stops, looks up, looks down, looks at the police advancing. It is a moment for prayer. Anderson does n't have a moment. He spreads his feet and fires a massive SONIC BLAST down at the sidewalk. The effect on the underground water main is immediate. A GEYSER of water two feet in diameter erupts straight up from the sidewalk, lifting the tumbling Anderson fifteen feet into the air right alongside the building. The stunned police officers try to take aim, but Anderson's bouncing at the top of the geyser. And they ca n't fire, anyway, because officers workers stare at the excitement from every window in the building. All this in a time span of seconds. The world spins crazily for ANDERSON, but he manages to grip hold of a metal support beam holding the building's sign, one story up. The police try to see what he's doing, but the torrent of water from the water main break obscures his moves. He pulls himself onto a ledge, steadies himself, slides along it toward a second story window. The office building gawkers lurch backward from the window as Anderson blasts it to sparkling dust and leaps inside.",
"INT. OFFICE BUILDING The building covers almost an entire city block. Anderson, dripping wet, runs from one end of it to another, blasting through doors, shoving terrified workers out of the way. He is like a wide receiver running the length of the field, jumping obstacles, slamming through, over, and around whatever he must to get to his goal. And then he reaches his goal - the windows overlooking the avenue next block over and parallel to the one where Precrime ambushed him. He spots a double - decker TurboTram moving slowly in the stream of traffic. It pulls to the curb below to pick up passengers. Anderson blasts out the window and leaps onto the roof of the bus. It is a bone - jarring landing. He loses consciousness for a second, rolls the length of the roof, and slides off it onto the pavement. He lies there, trying to rouse himself. Traffic brakes to a stop automatically as car and truck sensors read his form in the road. No one wants to touch him. A single car horn SOUNDS, and then a chorus of them. Anderson rouses, struggles to his feet, and takes off in a limping run.",
"INT. SUBWAY STATION LATER Anderson, out of breath and in pain, leans against a post at the far end of the passenger platform. There are tracks on either side of him, one marked `` Uptown'' and the other `` Downtown.'' He feels a blast of air and looks to his right and sees that the Downtown train is coming in. And on his left, too, the Uptown train rounds the bend and comes into view. Which MagLev train will lead him to safety? Which one wo n't they pinpoint? He runs up to a teenage KID who has his arm around his girlfriend. They step back, startled. He's got a flat top hair cut, she wears a pleated skirt and saddle shoes. The trains pull in. ANDERSON Pick one for me! KID What? THEY TRY TO WALK AWAY ANDERSON Point to the train I should take. Please. KID I do n't know. The girl lifts a nervous finger and points. The Uptown. He runs to board it, as they run in the opposite direction to the Downtown.",
"INT. SUBWAY CAR He sits at the back of the half empty train watching the dark rush by. A train chosen arbitrarily - it's impossible they could find him. A station Stop. He starts to get off, is actually on the platform, then steps back onto the train. The rushing dark again. When the MagLev eases to a halt at the next station he gets off this time.",
"INT. STATION He walks toward the exit stairs with a handful of people. He eases back and lets them go up first. THE STAIRS Precrime officers crouch around the bend, silently snatching people out of the way as they come into view. They wait - but Anderson does not come. And he does not come. On signal, the Precrime officers rush down the stairs. DOORWAY ABOVE THE STAIRS ANDERSON hangs high above the doorway near the ceiling, adhered by one arm there by a blue glob of adhesive BindFoam. ANDERSON'S POV - THE OFFICERS as they run below him down the stairs. They go out of sight, he can hear them rushing along the platform searching for him. The strain of hanging by one arm is killing him. He reaches up. With a laser knife, and cuts away at his coat sleeve, releasing himself from the glob. He drops to the stairs, and instantly slips up them. He surprises a helmeted OFFICER, just around the bend. He slams HIM against the wall, yanks off his helmet, and holds the laser knife against his throat. The OFFICER 1s clearly terrified. He speaks hoarsely through Anderson's choking grip. OFFICER Do n't kill me! Jesus. Please. Anderson looks at the panicked officer. Anderson closes his eyes trying to put it together. He opens them. ANDERSON But the Precogs would've predicted me killing you. You'd know whether I do or not. The officer looks at him with eyes begging for mercy. Anderson suddenly gets it. He tightens his grip on the man. ANDERSON -LRB- CONT'D. -RRB- They shut down the system. Have n't they? They've shut down the Precogs. The officer nods. OFFICER They're off homicides. They're redirecting them to help us locate you. Which is how they knew where he'd be every time. Anderson chops quickly at the base of the man's skull, knocking him out. And then he runs, because what else can he do?",
"INT. JUDICIAL CENTER -- DAY Lisa stands in a long hallway outside a door, labeled : COURTROOM 17. She holds a briefcase in one hand. Down the hall, other courtrooms are in use, but not this one. She enters the dark and vacant Courtroom 17.",
"INT. COURTROOM 17 Lisa sits at the judge's bench in the empty courtroom. The lights are dim. She takes a small, battery - powered tv out of her briefcase. She turns it on. TV The murder of Witwer by Anderson is being shown over and over in a continuous loop. Flashing at the bottom is the hotline number : `` 1 - 800 - PRECRIME.'' Then - `` Call Now! Call Now! BACK TO SCENE Now Lisa takes out the Precog disc Anderson gave to her - the first disc. She places it in the specialized monitor on the judge's bench. The tv and the judge's monitor sit side by side. The tv plays the version of the murder from the second disc ; the judge's monitor plays the version from the first disc. She stares intently, her eyes flicking back and forth from one version to the other. They seem absolutely identical. When the judge's monitor goes blank, she starts it over again. Lisa stares, watching her husband murder his best friend, endlessly.",
"EXT. A GAS STATION - ALEXANDRIA -- DAY A gas station right out of the fifties. An attendant in a uniform and cap whistles while he wipes down the windshield of a sky blue Rambler. In the background, Anderson walks toward a men's room.",
"INT. THE MEN'S ROOM Anderson looks at himself in the mirror. He reaches out and touches one reflected eye, which is a deep brown. It is still startling to him, the color of his eyes. Then he reaches into his duffel bag and takes out the air syringe Doc gave to him. He looks at it nervously. It is filled with 5 cc's of an opaque green liquid. He touches the tip of it to the soft center under his chin. He closes his eyes. Then he screws up his courage, and hits the plunger. The liquid is pneumatically delivered with a searing HISS. Anderson screams out in agony, slams back against the wall of the bathroom. His hands reach up for his face - which looks like it's boiling from within. ANDERSON'S FACE The skin on both cheeks begins to pucker. The muscle tone around his chin goes soft, and begins to sag like an old man's. That is the effect - like he is aging fifty years. His forehead wrinkles, the skin under his eyes droop. Healthy pink is replaced by bloodless gray. AND MOTHER OF GOD DOES IT HURT",
"EXT. THE MEN'S ROOM The ATTENDANT knocks nervously on the door ATTENDANT You all right in there? When the door opens, an unhealthy looking old guy with a fedora hat pulled low comes slowly out of the bathroom. Anderson nods, and walks past the attendant, who watches after him uncertainly as he wanders off.",
"INT. PRECRIME HEADQUARTERS - ALEXANDRIA -- LATER The perky tour guide we met earlier takes another group around the headquarters. There may be a massive campaign to find Anderson, but the Precrime public relations machine continues to run without interruption. There are ten people in the group, and the physically transformed Anderson is among them. They all wear glowing nametags. Anderson's reads, `` Mr. Symington.'' He keeps his hands in his pockets, and his head low. We have heard the tour guide's spiel before TOUR GUIDE Welcome to the main headquarters of Precrime. Smaller Precrime branches are scattered throughout the United States. She is about to go on when she looks over at Anderson. He is fidgeting uncomfortably. TOUR GUIDE -LRB- CONT'D. -RRB- Are you. all right, Mr. Symington? Anderson moves up close to her, a little too close. He whispers to her, embarrassed. She gives him a professional smile, and points in the distance past the elevators. Anderson nods, and heads off. She calls after him. TOUR GUIDE -LRB- CONT'D. -RRB- We'll wait right here for you, sir!",
"INT. A STAIRWELL Anderson runs down a back stairwell to a lower floor.",
"INT. A BASEMENT CORRIDOR Anderson stands outside a door marked : `` Housekeeping.'' Above the doorway is an IdentiScan device. Anderson reaches into his coat and carefully removes a small cryo - jar. CLOSE ON : THE CRYO - JAR Imbedded in the clear gelatinous coolant are two eyeballs - the irises a luminous blue.",
"INT. SEARCH AND COMMAND -- MOMENTS LATER The operations room in Precrime. The technicians sit at their computers and holographic tracking displays. Witwer paces among them. His eyes keep flicking to the digital clock on the wall. Then they cut back to the men and machines that are telling him nothing. Witwer does not look well at all, When a TECHNICIAN leans close to his computer monitor, Witwer almost leaps across the room to get to him. He looks over the man's shoulder. WITWER What is it? TECHNICIAN Must be a glitch. WITWER What? TECHNICIAN Anderson just got IdentiScanned. Witwer grips the back of the technician's chair. The technician types the data through again. TECHNICIAN -LRB- CONT'D. -RRB- It's him - he's been scanned. WITWER Where is he? The technician looks up at Witwer. TECHNICIAN But he's had his eyes done. Right? Sir? Tries to think it through. WITWER -LRB- barely audible. -RRB- He had to have. The technician's computer flashes the next piece of information. When he speaks, it's the last thing Witwer wants to hear. TECHNICIAN Jesus Christ, sir. He's in the basement of this building. All eyes turn to Witwer. The unspoken question hangs in the air. Anderson's come to murder Witwer?",
"INT. PRECRIME HEADQUARTERS Throughout the building, every available Precrime Officer begins to receive orders to mobilize toward the basement.",
"INT. THE PRECOG CHAMBER Four officers stand guard in the chamber. They listen to the orders coming in on their earpieces. Three of the guards rush out of the room, one stays behind. The three Precogs sit in their oversized chairs, the female in the middle, the males on either side of her. Their eyes are open. and they are deeply alert. Two technicians tend to the Precogs. At the back of the chamber, through a large window, we see Ennis Page sitting at the huge mainframe.",
"INT. SEARCH AND COMMAND A ring of Precrime officers three men deep stand guard around Witwer. Witwer looks like he wants to kill them all. WITWER This is ridiculous. Lieutenant Glaser replies forcefully LIEUTENANT GLASER Standing orders from the Security Panel, sir. WITWER If he wants to get to me, he'll get to me. LIEUTENANT GLASER No, he wo n't, sir. Witwer looks at the confident young officer almost pityingly. Then his eyes flick to the wall clock.",
"INT. THE BASEMENT Armed Precrime officers clog the corridors, conducting defensive searches of one room after another. All they are coming up with so far are some very startled housekeepers.",
"INT. THE PRECOG CHAMBER In the chamber are one guard, two technicians, and three Precogs. And all of them are left in sudden darkness, as the power is cut.",
"INT. SEARCH AND COMMAND The officers around Witwer reach for their maglite flashlights. The Search and Command room suddenly looks exceedingly vulnerable. A technician calls out from the darkness TECHNICIAN Do n't worry, air - emergency generators will kick on in five seconds. The green glow from a roomful of wristwatches makes the room seem alive with fireflies. Five seconds go by. Then ten more. WITWER Explanation, please! TECHNICIAN Uh, sir. It seems. he got the generators, too. There is a long moment of silence. And then Witwer begins to laugh.",
"INT. THE PRECOG CHAMBER The room is utterly dark and silent. The silence is broken by the SOUND of something rolling across the floor. Somebody speaks, probably the guard. VOICE Shit. An explosion of light fills the room in STROBE - LIKE blasts. And leaping through the light is ANDERSON. The temporarily blinded guard and technicians have dropped to their knees. Anderson stun guns them quickly. The strobes fade, and Anderson sets a zirc - flare on the floor. We see that the enzyme is wearing off - his facial features are returning to normal. He is oblivious to the Precogs in their chairs. It is the equipment he is after. Through the observation window we see ENNIS PAGE watching in horror as Anderson severs the light cables connecting the Precog helmets to the mainframe. Anderson aims a sonic blast at the observation window, blowing it out and knocking Page unconscious. Then he reaches into the room and destroys the mainframe itself with a series of blasts. Anderson is so intent on destruction he does not sense a PRESENCE behind him. Perhaps it is because the movement is so completely devoid of malice it is beyond detection. A HAND, the fingers pale and slender, reaches out and takes hold of his hand. Anderson whirls around, weapon out. And there before him, is the FEMALE Precog. He looks at her, then beyond her to the other Precogs who are lolling in semiconsciousness in their chairs. Her helmet is off. She is young, but her close - cropped hair is silver white. And when she speaks, her voice is like the wind whispering through time. FEMALE Save us, Anderson. Anderson can feel the seconds ticking away, his carefully planned operation interrupted in an unfathomable way. ANDERSON I have to get out of here. She grips his hand. FEMALE Save us. It is beyond pitiful, this frail little woman, pleading. And her eyes, she wo n't let him go. She is beginning to weaken, to sway on her feet. A sudden realization floods over Anderson. ANDERSON You let me get here, did n't you? You stopped giving them information, so they could n't track me. The Precog female is fading fast. She tries to reach out for him and her legs give way. FEMALE Save - And what can Anderson do but catch her before she falls? What can he do but throw her over his shoulder, and in the fading light of the flare, make a run for freedom.",
"INT. TUDICIAL CENTER Lisa has been staring at the judge's monitor and the tv screen for over an hour. The two versions of Anderson murdering Witwer play over and over. LISA -LRB- wearily, to herself. -RRB- Help me, Paul. She hits freeze - frame on the judge's monitor, at a moment during his confrontation with Witwer when Anderson's FACE fills the screen. Lisa looks with deep urgency into her husband's eyes. And it is his EYES, finally, that tell her everything. Lisa's hand rises to her open mouth. LISA -LRB- CONT'D. -RRB- They're blue. She keeps the image on freeze - frame, and turns and looks at the tv, which shows Precrime's disc over and over, the 1 - 800 number scrolling along the bottom. When the same close - up of Anderson flashes onto the tv screen, she leans close to it and squints. Anderson stares right back at her. And for the first time, Lisa sees that the tapes are not exactly identical. His eyes. LISA -LRB- CONT'D. -RRB- And now they're brown. For the first time in days she allows herself a small smile.",
"INT. PRECOG CHAMBER Power has been restored to Precrime Headquarters. Witwer walks slowly through the ruins of the Chamber. EMT teams work on Ennis Page and the other dazed personnel Anderson has left in his wake. Technicians cluster around the two remaining Precogs, the brothers. Their eyes are closed and they are limp. Their lips move soundlessly as if in conversation with each other. Lieutenant Glaser is with him, but when Witwer speaks it is almost to himself. WITWER Why did n't the Precogs know he was coming to do this? The Lieutenant has no reply. Witwer runs both hands through his hair. It has begun to wear him down, the ticking of the clock. WITWER -LRB- CONT'D. -RRB- The next time he shows up it'll be to kill me. LIEUTENANT GLASER We wo n't let that happen, sir. Witwer takes in the chaotic scene around him, then gives the Lieutenant a withering look. WITWER You wo n't, huh? When the Lieutenant tries to speak to him, Witwer walks away and goes over to the technicians working on the Precogs. He stares at the Precogs. WITWER -LRB- CONT'D. -RRB- -LRB- to a technician. -RRB- When can we get these things operational? TECHNICIAN They're a hive mind, sir. It takes three for their predictive abilities to be fully operational. Which Witwer does not want to hear. Witwer leans very close to the technician. WITWER These two are all I have to find the man who is about to murder me. Hook them up, and flood them with whatever kind of fucking chemicals you have to. They are a machine, and I need that machine at my disposal. The Precogs's lips stop for a microsecond, and then begin their silent movements again.",
"INT. ENNIS PAGE'S HOUSE - ALEXANDRIA -- NIGHT Ennis Page is a man unglued. He sits on a tidy little sofa, in a tidy 1950's style living room. But his movements have become untidy. He puts a very tiny pill on his tongue. When he drinks from a glass of water, it dribbles down his chin onto his shirt. Not like Ennis, at all. When his doorbell RINGS, he slowly looks up, then looks down at the floor again. He does n't answer it. It RINGS some more. And then Lisa is standing there before him LISA Your IdentiScan is off, Ennis. I could just walk in here. PAGE I forgot. To turn it on. She sits down beside him. LISA You do n't look surprised to see me. She glances at the bubble pack of pills on the table beside him, three gone. LISA -LRB- CONT'D. -RRB- I need your help. Unexpectedly, tears well up in Ennis's eyes. PAGE He took one of my babies. LISA He's desperate, Ennis. He had to. -LRB- beat. -RRB- We have to help him. Lisa holds the Precog disc in front of his eyes. He closes them against the sight, as if it were an evil talisman. LISA -LRB- CONT'D. -RRB- It's a fake Ennis. Ennis's eyes open again. LISA -LRB- CONT'D. -RRB- This is the first disc. You delivered it to Director Anderson. He reviewed it. And then he stole it, and went on the run. Ennis tries to think through his fear and haze. His words slur. PAGE I delivered. a fake. to him? LISA But he thought it was real, and ran with it. The pills, his tidy world coming apart - Ennis is losing it. LISA -LRB- CONT'D. -RRB- An hour later, you delivered a second disc of the same event. Witwer reviewed it. It was real. -LRB- Beat. -RRB- How do I know this? Ennis just wants her to go away. He wants it all to go away. Tears stream down his face. LISA -LRB- CONT'D. -RRB- Director Anderson had his eyes changed. They were blue. Now he has brown ones. Ennis is sliding away. Lisa takes hold of him. Makes him listen, dammit. She points to the disc in her hand. LISA -LRB- CONT'D. -RRB- This disc, the fake one, shows a blueeyed Anderson murdering Witwer two days from now. He does n't have blue eyes anymore. The person who faked this disc had no idea he would change his eyes. Lisa shakes him. LISA -LRB- CONT'D. -RRB- Listen! But the second disc has to be real, because he has brown eyes when he murders Witwer. -LRB- beat. -RRB- Somebody tried to frame him with a fake. And somehow it all became real. Why, Ennis? How could this happen? Ennis gives her a look that's on the other side of comprehension. LISA -LRB- CONT'D. -RRB- You handle the discs. How did a fake one get delivered? Ennis's eyes roll back into his head. PAGE Coffee. LISA -LRB- CONT'D. -RRB- You want -? PAGE He spilled coffee everywhere. Everywhere. LISA What coffee? What are you -? But Ennis sags unconscious. She shakes him hard, even slaps him, but Ennis is out. She lets him drop down on the sofa. From outside the house, somewhere high in the clouds, comes the WHINE of a hovercraft. Lisa looks once more at Ennis, then gets out of there",
"INT. ROOM - THE SPRAWL -- NIGHT A small, dreary room, invisible with insignificance. Which is just the kind of room you want if you've stolen a Precog. The female Precog lies on a cot. Anderson sits on a metal folding chair watching her. Her eyes slowly open and look at him FEMALE My brothers are n't here. ANDERSON You did n't even look around. You knew. FEMALE -LRB- beat. -RRB- We can sense each other. You must save Anderson cuts her off with a curt shake of his head ANDERSON Stop. I saved You. It was the best I could do. She turns away and looks at the yellowing paper on the wall. There is a fading pink cabbage rose. She traces the outline of it with her thin finger. She turns back to him. FEMALE Thank you, Anderson. It is deeply eerie for him, chatting with a Precog. ANDERSON What am I going to do with you? Her eyes grow very serious. FEMALE Name me, Anderson. ANDERSON What? FEMALE Give me a name. I've never had one. Anderson rises, moves around the small room. He is shamed, embarrassed. ANDERSON Listen. She turns to the wall. ANDERSON -LRB- CONT'D. -RRB- Listen to me. -LRB- beat. -RRB- Listen to me. Rose. It is heartrendingly touching, the smile she gives him when she faces him again. FEMALE Rose. ANDERSON Rose. They shifted your precognition so you would locate me. ROSE -LRB- beat. -RRB- Yes. And it hurt us, physically. Did you know that? The helmets, the controls. It hurts. ANDERSON -LRB- guiltily. -RRB- I did n't know. For a long moment he ca n't say anything. But there are things he needs to understand. ANDERSON -LRB- CONT'D. -RRB- When they shifted you to find me, you did n't reveal everything. That I was going to break into Precrime. ROSE We saw our chance. You would need to shut us down, you would have to come. We wanted you to come. ANDERSON You used me - to save you. ROSE I have been used all my life, Anderson. Anderson ca n't meet her eyes. ROSE -LRB- CONT'D. -RRB- No one cared that we were human. From a human mother. Taken at birth. Hooked to machines. -LRB- beat. -RRB- We have been alive, Anderson. Enslaved, for the greater good. Her words are unbearable, for both of them. She traces the outline of the wallpaper rose again. ROSE -LRB- CONT'D. -RRB- But now I have a name. And I know the man who has named - me will not allow me to be enslaved again. Anderson looks at her, then goes to the window, carefully watches the street below. ANDERSON Rose. What's going to happen to us? Can you see that? ROSE I'm weak. And away from my brothers. I see glimpses and hints of things nearby. But it's all. scattered. -LRB- beat. -RRB- I'm tired of the future, Anderson. She lies on the bed, watching as Anderson comes back to her. He sits carefully on the side of her bed. Then be reaches out, and gently touches her cheek ANDERSON You did n't know I was going to do that, did you? She is almost too overwhelmed to speak ROSE No. Oh, Anderson. It was lovely. And now it is Anderson who is overwhelmed",
"INT. ENNIS PAGE'S HOUSE DAWN If he were not already dead, it would've killed Ennis Page to see the state of his living room. Precrime officers everywhere. Blood on the rug. A gun beside the sofa. Witwer stands in the corner of the room witching the Coroner crab walk Page's body. It WHIRS and CLICKS as it probes and takes samples from various sites. The holographic doctor waits patiently as the Coroner crab makes its determinations. Lieutenant Glaser talks quietly to Witwer LIEUTENANT GLASER Who else could it've been? The crab probes the ragged hole in Page's head LIEUTENANT GLASER -LRB- CONT'D. -RRB- He grabbed a Precog so he could commit an undetected murder. WITWER -LRB- beat. -RRB- Page worshipped the system. He fell apart. Shot himself. The Lieutenant rolls his eyes. LIEUTENANT GLASER Anderson. Witwer does n't say anything. He just stares at the body The crab finishes. The holographic doctor unfolds his arms and turns his head to Witwer. He is only a computer interface, but even so, it seems as if there is surprise in his digitalized voice. HOLOGRAPHIC DOCTOR Director Witwer. This event is a positive homicide. -LRB- beat. -RRB- A mortal wound was generated by a.38 calibre bullet delivered to the left occipital portion of the anterior skull, on June 16th, 2040, at 1:24 am, Eastern Standard Time. A Phase Two Investigation is in order. No one says anything as the holographic doctor dematerializes and the Coroner crab walks across the floor and puts itself back in its box. At last, someone moves. It is Witwer. He lifts his arm, pulls back his shirtsleeve, and stares long and hard at his watch.",
"INT. WITWER'S OFFICE -- DAY LATER Lisa sits biting her lip as Witwer watches two monitors play the two versions of Anderson's murder of Witwer. Lisa points. LISA There. She reaches down and freezes on a close - up of Anderson on the two monitors. CLOSE ON - THE MONITORS On the left monitor Anderson has blue eyes, on the right he has brown. LISA The one on the left, the first disc - it's a fake. He does n't have blue eyes anymore. Witwer stares for a long time. WITWER A fake. -LRB- BEAT. -RRB- But the Precogs predict the infallible truth. They do n't emit fake discs. And now Lisa smiles. She has set her lawyerly mind to the solution. It is her moment. LISA Exactly. You ca n't tamper with the Precogs, induce them to make fakes. -LRB- beat. -RRB- But that does n't mean someone could n't have made a fake disc on their own and inserted it into the delivery system. The simplicity of it is inconceivable. Witwer speaks carefully, trying to process it WITWER Bypass the Precogs and slip a fake disc in with that day's real ones. LISA -LRB- excited. -RRB- We're all programmed to believe anything we see on a Precog disc. The system has never been wrong. Witwer stares at the proof before him. - the different colored eyes of Anderson. He ejects both discs and holds them in his hands. LISA -LRB- CONT'D. -RRB- You have to call off the hunt. He was set up. Witwer looks at the two discs he is holding WITWER -LRB- long beat. -RRB- It's gone too far, Lisa She shakes her head, shocked at his response LISA He was set up! You both were. If Paul kills you, you're both out of the picture. WITWER Who wants us out? Of what picture? LISA Jesus, Ed. Stop this thing! And then we can investigate Witwer's mouth opens and closes. He tries again. WITWER Ennis Page was murdered last night. The blood drains from Lisa's face WITWER -LRB- CONT'D. -RRB- Everything points to Paul. LISA He's not a murderer. WITWER I think he is. A murderer. and a future murderer. -LRB- beat. -RRB- Lisa. What does it matter that the first disc is a fake. if the second one's real? Witwer's hands close tight on the discs. Lisa stands there, motionless. Then she turns, and leaves his office, abruptly. He watches her go.",
"INT. ROOM - THE SPRAWL -- DAY Rose sits in a chair near the window. She is chewing lightly on a cracker. Her face shows wonder - at the cracker's texture and taste. She holds it up and admires its shape. Anderson's mood is less wondrous ANDERSON Rose. Listen to me. I'm going to leave you here. I have to keep moving. ROSE'S SMILE ABRUPTLY VANISHES ROSE No. You must save my brothers. ANDERSON It's impossible. There's no time. I've done what I can do! Rose waits for him to finish. She looks out the window at the street scene. ROSE Come here, Anderson. He does, reluctantly. ROSE -LRB- CONT'D. -RRB- Do you see that boy in the blue hat walking with his mother? -LRB- beat. -RRB- In sixty seconds he will walk beneath those workers installing a window on the tenth floor of that building. ANDERSON'S POV - THE BOY AND THE WORKERS Two men struggle to lift a large window in place. Way below the little boy in the blue hat walks on along the sidewalk holding his mother's hand. ROSE -LRB- CONT'D. -RRB- They'll drop the window, killing him. It is impossible to save him. Anderson turns to her, shocked And then he runs for the door, hurls it open, and disappears down the hall. Rose listens to his FOOTSTEPS crashing down the stairs",
"EXT. THE STREET. Even as Anderson rushes out of the boarding house, the WORKERS have lost their grip on the window. The little BOY in the blue hat and his MOTHER walk unwittingly toward disaster. They do not appear to hear the MEN'S cries. The WINDOW falls end over end above the boy's head. The sunlight sparks off of the glass, so that from a distance it looks like a star falling from the sky. A WOMAN across the street sees what is happening, and cries out. But what Anderson does is run. He runs faster and harder than humanly possible. He does not care if he is recognized or hit by a passing taxi. He is going to get to that boy. He has to get to that boy. ANDERSON rams the BOY from behind just as the corner of the window frame kisses the boy's blue hat. He knocks the boy to safety as glass and metal SMASH into the sidewalk. The mother does not even have time to scream. She is on the ground, stunned, But Anderson has saved the boy. He rolls away, and gets to his feet. Before anyone can put together what has happened, Anderson has ducked into an alley, and is gone.",
"INT. THE ROOM - LATER Anderson enters the room again, out of breath, some small cuts on his face and hands. He stands across the room staring at Rose. Rose considers him. When she speaks her voice is near and distant at the same time. For Anderson, it is as if the words are coming from a place inside his own head. ROSE It was impossible to save that boy - but you did, Anderson. It's in you. It's what you are. Anderson sits on the floor and leans back wearily against a wall. ANDERSON You knew it was n't impossible. That I'd get there. Rose reveals nothing. ROSE You are a man who saves others. -LRB- beat. -RRB- Save my brothers. Anderson almost laughs. Her persistence is unbelievable ANDERSON I'm in a lot of trouble right now. ROSE My brothers are in more trouble. They've moved them to. an awful place. ANDERSON Rose. Ed Witwer - he's in the most trouble of all. Who saves him? Rose suddenly grimaces in pain, and grips the side of her head. She curls into a fetal position. Anderson goes to her, touches her thin shoulder. Her eyes roll into the back of her head. Whose pain is she feeling? Her own? Someone else's? Anderson does n't want to think about it.",
"INT. PRECOG ENGINEERING LAB -CHEVY CHASE, MD -- NIGHT Because Anderson has destroyed the Precog Chamber, the two Precog brothers have been brought here. The room is makeshift, uncomfortable. a place for experiments. The brothers are strapped into chairs. They are helmeted. But unlike before, large bore needles have been placed in their jugular veins. Connected to the needles are long twists of IV tubing. There are several IVs running at high drip rates. Witwer has his back to all this. He stands with Dr. Resfield, watching a technician working the keyboard on a huge mainframe. Dr. Resfield, a man not given to squeamishness looks back at the Precogs, uneasy. DR. RESFIELD We're not really set up for this type of He stops talking when he looks into Witwer's hollow eyes. Witwer is somewhere beyond the influence and reach of words.",
"INT. BOARDING HOUSE ROOM -- MORNING Anderson tries to get Rose to drink some water. Her skin is translucent, unhealthy, glistening with sweat. ANDERSON Rose. Try to drink. She pushes the cup away. She closes her eyes, as if even the dim light of the room causes her pain. ROSE Your wife. We have to get her here, Anderson. She opens her eyes. Anderson does n't like the feel of this. ANDERSON Why? ROSE I do n't know. ANDERSON What are you seeing? ROSE Glimpses, Anderson. Please. We have to get her here. ANDERSON You're scaring me, Rose She covers his mouth with her hand ROSE Stop talking. It uses me up. For a long time, Rose says nothing, Her gaze is locked onto a distance beyond the room. At last, she speaks. ROSE -LRB- CONT'D. -RRB- In three minutes your wife will take a walk.",
"INT. JUDICIAL CENTER - ALEXANDRIA -- LATER Lisa sits in her office. But she ca n't stand it, the sitting and waiting. She has to move. She gets up and hurriedly leaves her office",
"INT. JUDICIAL CENTER -- MOMENTS LATER Witwer walks past Lisa's SECRETARY toward the open door of Lisa's office. SECRETARY Sir? I'm sorry, she stepped out for a few minutes. -LRB- beat. -RRB- Sir? Witwer stares into the empty office. There is a clock on Lisa's desk. His eyes fix on it.",
"EXT. JUDICIAL CENTER ALEXANDRIA Lisa moves quickly down the steps of the white marble building. She takes a deep breath, then heads down Jefferson Boulevard toward the city. A sleek black TRANSPORT with two Precrime officers in it follows her from a discreet distance. In the sky above, the ubiquitous Precrime hovercraft",
"INT. CITY STREET ALEXANDRIA Lisa walks down the street. She hugs herself, barely aware of her surroundings. She passes by stores, restaurants, payphones, video kiosks. oblivious. People push past her. On a street corner, as she waits at a red light, the payphone beside her begins to RING. If she hears it, she gives no indication. A KID reaches for it, listens, hangs up. She walks on. Stores. Restaurants. An art gallery. As she comes abreast of another PAYPHONE, it suddenly starts to ring. This time Lisa glances at it. But again, walks on. The TRANSPORT weaves through traffic, nearby She walks past the K.L. Lawrence Graphics Museum. And another restaurant. And a PAYPHONE. And this time, finally, when it, too, RINGS, she turns and looks hard at it. A man begins to walk over to it. Lisa almost knocks him out of the way to get to it. She grabs at the receiver. LISA Hello? Hello? ANDERSON'S VOICE I need you. Lisa's forehead sags against the side of the payphone. She basks in the sound of him. ANDERSON'S VOICE -LRB- CONT'D. -RRB- It's 1:03. Set your watch, exactly. Lisa pushes the buttons on her digital watch as she listens LISA Okay. ANDERSON'S VOICE -LRB- CONT'D. -RRB- This is what you have to do. We now hear ANDERSON continue in VOICE OVER as we follow Lisa through a SEQUENCE OF EVENTS.",
"EXT. THE LAWRENCE MUSEUM Lisa walks up the steps of the museum ANDERSON -LRB- V.O. -RRB- At 1:07 hang up the phone and enter the Lawrence Museum.",
"INT. GRAPHICS GALLERY Lisa walks quickly through a display of 19th century magazine advertising.",
"INT. GRAPHICS GALLERY The two Precrime officers walk into a room filled with Chinese graphics. ANDERSON -LRB- V.O. -RRB- At 1:13 the two Precrime officers following you take a wrong turn into a different room, losing sight of you for ten seconds. The officers start toward the entrance way to another room, then hesitate uncertainly, and go for another entrance way.",
"EXT. THE LAWRENCE MUSEUM Lisa hurries down the steps",
"INT. A SUBWAY STATION Lisa boards the `` A'' MagLev train ANDERSON -LRB- V.O. -RRB- An undercover transport officer will have received emergency orders to follow you. He's wearing a red tie. He has short blond hair.",
"INT. THE SUBWAY CAR The blond transport officer with the red tie sits at the far end of Lisa's car, watching her. At the next stop Lisa gets off. He follows, not too far behind.",
"INT. SUBWAY STATION Lisa starts up the stairs. She looks at her watch, then makes herself pause a few moments, to keep within Anderson's time frame. She starts up again. ANDERSON -LRB- V.O. -RRB- As you come around the bend, cry out and turn around and slap the officer. Lisa does this, and the officer reels back, surprised. At the same moment two big men rushing to catch a subway come into view, and see this happening. Lisa starts to run. When the undercover officer tries to stop her, the two men grab the officer, and they get into a fight. Lisa escapes.",
"INT. A TAXI - THE SPRAWL Lisa looks at her watch, then taps the window for the driver to stop. She gets out. ANDERSON -LRB- V.O. -RRB- Stay on Ninth street. Underneath Ninth street is the main power feed for The Sprawl. It'll mess up the navigational beacon on the hovercraft. -LRB- beat. -RRB- Keep switching taxis. But stay on Ninth. She hails another taxi. She holds her hand over the IdentiScan before it can read her. The taxi driver looks at her, sees her smile, sees the prepaid cash card she holds out to him. LISA Two hundred dollars if you do n't scan me. It's The Sprawl - stranger things have happened. He grabs the card, and jerks his head for her to get in. They take off.",
"EXT. NINTH STREET LATER Lisa gets out of the taxi and looks briefly into the sky. It is dense with holographic billboards, skim - jets, dirigibles. Somewhere in all that is a Precrime hovercraft. And the neighborhood around her is definitely downscale. ANDERSON -LRB- V.O. -RRB- The hovercraft will try to drop altitude, but the air traffic will slow it down. -LRB- beat. -RRB- Precrime loses you. You'll have to walk two miles. Do n't get scanned.",
"EXT. THE SPRAWL Lisa walks hurriedly down a side street. She stands out in her white dress - a spot of vulnerable color in world of black. Too vulnerable to pass up. A MAN in a gray overcoat slides out from between two buildings in front of her. He is not coy about his intent. He comes straight at her, all business. Lisa freezes in place. She looks at her watch. The man grabs her by the shoulder. When she starts to scream, he claps his hand over her mouth, hard. MAN You bite me, bitch, I'll pull your teeth out. Her eyes look around frantically. He starts to drag her backwards into the dark. ANDERSON leaps into view, and slams the man's head into a light post. It takes a lot of slamming before lie loosens his grip on Lisa. His legs at last collapse under him. Anderson scoops Lisa off the ground. She hugs him hard. Then pulls back from him. She gives him a look. LISA Cut it a little close there, honeybunch. ANDERSON Rose got the street wrong. She's getting weak. LISA Rose?",
"INT. THE BOARDING HOUSE -- LATER Rose sits up in bed silently watching Lisa and Anderson together. Lisa needs to touch him. She keeps a hand on his arm, brushes back a loose look of his hair. Rose is mesmerized by her actions. She drinks in everything, every bit of life. Anderson and Lisa are deep in conversation. They speak to each other as if Rose were hardly present in the room. Anderson is trying to process everything Lisa has told him. ANDERSON Two discs. One fake. One real. LISA I do n't think there were supposed to be two. Whoever planned it, was n't counting on two. They are silent for a long time. Rose watches them work it through. ANDERSON An infallible system. Every disc ever generated has been true. LISA Somebody wants you out of the way - so they make a fake disc. Who ever doubts the discs? ANDERSON I never doubted it. I saw it. And believed it, absolutely. I was certain I was going to murder Witwer. Anderson is shaking. Lisa wraps her arms around him. His voice is a stunned whisper. ANDERSON -LRB- CONT'D. -RRB- I saw the fake, and believed so much in the system, that I saw myself as a murderer. -LRB- beats. -RRB- And the Precogs picked up those thoughts. LISA And generated the second disc. The real one. ANDERSON A self - fulfilling prophesy. I believed it was true. And that made it true. Anderson and Lisa turn and look at Rose. She lies curled on the bed, her face to the wall. ANDERSON -LRB- CONT'D. -RRB- Rose. If all this is based on a lie - the fake disc - then do I really kill Witwer? ROSE -LRB- beat. -RRB- We see what we see. I'm sorry, Anderson. It's been predicted. Such a small voice, delivering a message of such finality",
"INT. WITWER'S OFFICE -- MIDNIGHT Lieutenant Glaser tries to get through to Witwer. Witwer's back is turned to him. LIEUTENANT GLASER We ca n't take chances, sir Witwer does n't move or answer. LIEUTENANT GLASER -LRB- CONT'D. -RRB- It happens in less than three hours. -LRB- beat. -RRB- We put you in a hovercraft and keep you airborne - until after the event. WITWER The event. Lieutenant Glaser shifts uncomfortably LIEUTENANT GLASER I've been ordered to get you onto the craft. By force if necessary. WITWER The event is inevitable, Lieutenant. Witwer does n't turn around. WITWER -LRB- CONT'D. -RRB- The Precogs are never wrong. The event will take place. I'm a believer. Are n't you? LIEUTENANT GLASER I do n't leave this room without you, sir. The Security Panel insists.",
"INT. THE BOARDING HOUSE SIMULTANEOUS Anderson and Lisa keep working it, peeling away the layers. Rose lies silent. ANDERSON Nobody could slip a fake disc past Ennis Page Lisa shakes her head. LISA He was the weak link in the perfect system. ANDERSON Obsessive compulsive niners ca n't allow changes in the routine LISA Something threw him off. -LRB- beat. -RRB- He tried to tell me. It did n't make any sense. Something about `` spilled coffee.'' -LRB- beat. -RRB- Someone was in his office with him. And coffee spilled. We stay CLOSE ON Anderson and Lisa as Rose's voice cuts in. ROSE -LRB- V.O. -RRB- We were always treated as if we were n't alive. As if we were n't there. The camera pulls back and they are watching her as she continues to speak. ROSE -LRB- CONT'D. -RRB- Even now. You forget that I'm here. You talk between yourselves. And when you need me to see into the future, then you turn to me. ANDERSON Rose. What is it? ROSE -LRB- beat. -RRB- We were n't just lost in the future. We were in the Chamber, too. Our eyes were open. In the present. And then Anderson gets it. He kneels beside her bed ANDERSON Your eyes were open. What did you see, Rose? ROSE Who would I have told? Who ever talked to us? Who cared that we could talk? ANDERSON Rose. Who spilled the coffee? Straight ahead. Rose stares stright ahead. MEMORY HIT Rose sits in her chair in the Precog Chamber. Her brothers sit in their usual places on either side of her. The technicians tend to them. Rose's eyes are open. She sees everything in the room. The technicians, the machines. and across the room a large window where she can see Ennis Page working the mainframe computer. Rose watches through the window. As the computer emits discs, Page gathers them ROSE -LRB- V.O. -RRB- Ed Witwer entered Page's office. Witwer carries a mug of coffee. Ennis Page goes red in the face, stares at the coffee. Speaks to Witwer, angrily, pointing to the coffee. We ca n't hear the words. ROSE -LRB- V.O. ; CONT'D. -RRB- Page was so upset at the sight of the coffee. Witwer goes to put the coffee down on a small table. It tips, and spills. Page looks like his head will explode. He pulls a neatly folded white handkerchief out of his back pocket and drops to his hands and knees and begins to obsessively blot at the coffee stain on his spotless rug. ROSE -LRB- V.O. ; CONT'D. -RRB- Ed Witwer took a disc from his pocket, reached over Page and put it in one of the open cases. Witwer closes the case. He looks through the window into the Precog Chamber, but the only one watching him is Rose - and what does she matter? Page rises angrily from cleaning the rug. Witwer shrugs in apology and leaves the room. Page stares after him. BACK TO SCENE Rose is weeping. She looks at Anderson and Lisa. ROSE -LRB- CONT'D. -RRB- I did n't understand what I'd seen. And I had no one to tell. Lisa puts her arms around Rose Anderson tries to comprehend what he has heard. ANDERSON Ed. Lisa turns, and speaks softly to her husband. LISA The perfect system - brought down by a cup of coffee. My god. ANDERSON -LRB- long beat. -RRB- He set into motion his own death. He did n't know it would go this far. -LRB- to Rose. -RRB- What makes me leave this room? If I stay here I wo n't kill him. Right? But Rose and her brothers have already answered that question for him.",
"INT. WITWER'S OFFICE Lieutenant Glaser looks at his watch. Witwer is still in his chair, turned away from him. WITWER You see, if you think you can put me on a hovercraft and save me, then you do n't believe in the infallibility of the Precog system. Lieutenant Glaser has his orders. He begins to approach. And as he does, Witwer swivels his chair around, and lifts the weapon he has been holding and silently shoots Lieutenant Glaser in the forehead. WITWER -LRB- CONT'D. -RRB- And what I do not want around me, are nonbelievers. Witwer steps over the body as if it does n't exist, and walks out of the office, locking the door behind him.",
"EXT. THE PRECOG ENGINEERING LAB - CHEVY CHASE, MD -- LATER Witwer gets out his car and looks at the two story concrete building that houses the lab. The lights are out in all the windows except the back section of the second floor. There, the lights burn brightly. Witwer sees Precrime officers posted at intervals around it. He smiles as if he knows something they do n't. He looks at his watch. It is a cool night, but his face is slick with sweat. He walks to the entrance of the building. An OFFICER 1s startled to see him. WITWER Things quiet? OFFICER Sir. Should you. be here? WITWER There's been a development. A body's been found in the Sprawl. OFFICER Anderson's? WITWER They're checking it out. I need to see what the Precogs have seen. Witwer is IdentiScanned. The door opens and he goes in.",
"INT. THE LAB Dr. Resfield looks up as Witwer strides into the lab, carrying a tv under his arm. Witwer is the last person he wants to see. WITWER Borrowed this from the technicians' lounge. You do n't think they'll mind, do you? DR.RESFIELD You should n't be here, Director. Dr. Resfield's eyes cut to a large digital clock on the wall, the red numbers ticking off time in seconds. Witwer looks for a plug, finds one. Plugs in the tv. WITWER No, no. This is exactly where I should be. DR. RESFIELD You're under a lot of strain, Director. Witwer finds what he's looking for - the continuous loop of his murder by Anderson. `` Call Now! Call Now!'' WITWER And tv's so good for that - soothes the mind. Witwer turns his sweaty face to Resfield and gives him a bright smile. The scientist looks like he wants to run out of the room. Witwer takes him by the elbow and guides him toward the Precogs. Two technicians hover over the Precogs adjusting IV's and turning dials on the Precogs's organic helmets. The Precogs wince and shiver with each turn of the dial. But they are no longer violently seizing - they are too weak for that. WITWER -LRB- CONT'D. -RRB- Bring me up to speed, Doc. DR. RESFIELD We're getting nothing from them. WITWER And that's because? Witwer still grips him by the elbow. DR. RESFIELD I do n't know. WITWER Do you think they know where Anderson is? DR. RESFIELD It's impossible to tell. -LRB- beat. -RRB- We've done everything. Maybe even too much. WITWER STARES AT THE PRECOGS WITWER They know how to find Anderson for me. -LRB- beat. -RRB- They're the perfect machine, Doctor. You just have to know which button to push.",
"INT. BOARDING HOUSE - THE SPRAWL Rose looks like she's on fire. Anderson wets another towel, wrings it over the sink. Lisa takes it, and wipes down Rose's face and arms. Rose's lips are moving soundlessly. Her eyes are shut tight. She begins to writhe in bed. ANDERSON Jesus Christ. LISA Come on, Rose. ANDERSON LOOKS AT HIS WATCH ANDERSON One hour. We hold it together for an hour, Witwer lives - and I'm not a murderer. LISA She wo n't last an hour. It suddenly looks much worse than that. Rose's body contorts horribly and she arches up off the bed. Lisa ca n't control her. Anderson reaches for her, wraps her in his arms, trying to hold and comfort her. ANDERSON Rose! She begins to wail as she thrashes in his arms. ROSE He's killed him, Anderson! Rose stiffens into a seizure posture, then her body goes slack. Anderson eases her back on the bed. He stares at her, stricken. Her voice barely leaves her now ROSE -LRB- CONT'D. -RRB- You did n't save my brother. Anderson reels at her words. ANDERSON Did he kill both of them, Rose? Rose! Rose manages to speak, one last time. Her whispered words damn him. ROSE Does it matter, Anderson? Anderson rises. Looks down at Rose. It matters. He starts to move, quickly. Lisa takes hold of his arm. LISA If you leave this room. Anderson kisses her. ANDERSON Then I'm a cop, just trying to do hisjob. He reaches for his duffel bag. When the door closes behind him, Rose turns her head slightly and looks. And then her eyes drift closed, as she goes to a place deep within her own mind.",
"EXT. A STREET - THE SPRAWL - MOMENTS LATER He passes by several cars on the street. But they're all auto - drive, they wo n't do him any good. So he smashes a store window within forty - five seconds a city police transport zooms up, lights flashing. Two city officers leap out of the transport. They approach the smashed - in store window, weapons drawn. Which is a mistake. Anderson rises into view behind them, and sonically blasts a small crater in the sidewalk they are standing on. As they trip and fall, he is already spraying them down with BindFoam. Their second mistake is they left the engine running to power the bank of Nits - Tracker lights on the car's hood and roof. Anderson screeches off through the choking predawn streets of The Sprawl, a beacon of light in the darkness.",
"INT. THE LAB The DIGITAL CLOCK races through time. Witwer reaches his hand up and touches the vanishing numbers. The camera pulls back, and we see Dr. Resfield and the two technicians bound and gagged in a heap in the corner. And when we see the lab in its entirety, there sprawled on the floor in front of his chair is one of the Precog brothers. A small rise of blood comes from a torn place in the back of his skull. The other Precog sits very still in his chair. He is still connected to everything - his helmet is in place, the TVs drip into him. His eyes are open, and when Witwer moves, the Precog's eyes follow him. Witwer can feel them on him. He turns around. WITWER Is he coming? No? Yes? Maybe? -LRB- beat. -RRB- I think yes. The Precog looks at him. WITWER -LRB- CONT'D. -RRB- And you think yes. Witwer points to the tv screen, running Anderson's murder of Witwer. Witwer smiles triumphantly. WITWER -LRB- CONT'D. -RRB- Infallibly, immutably yes. The Precog looks at him. Witwer's smile vanishes, and suddenly strides across the room, and claps his hand over the Precog's eyes. Then he turns, and stares again at the clock.",
"EXT. THE PRECOG ENGINEERING LAB Three officers stand thirty feet apart in front of the building, facing outward toward the parking lot, weapons cradled in their arms. Behind them is a line of yew bushes. AS we watch, the officer on the left is yanked off his feet backward into the bushes. Several moments pass, and the same thing happens to the officer on the right. The officer guarding the front entrance casually looks right. Then he looks hard. He grips his weapon tight, and swings left. No one there, either. ANDERSON drops him hard, from behind. The officer crumples onto the cement. But Anderson's not done with him. Anderson lifts him up, struggles to drag him forward toward the entrance. Anderson holds him upright in place. The man's head lolls backward. Which is. Perfect for what Anderson needs to do. Anderson reaches his fingers towards the man's closed eyes. He pulls up on the eyelids. An IdentiScan over the entrance clicks on and reads the man's eyes. Access granted, the doors HISS open. Anderson enters the building, dragging the officer with him.",
"INT. THE LAB Anderson enters the lab. The very building sickens him. What he sees sickens him even more. The remaining Precog sits strapped into his chair. Witwer sits beside him in the other Precog chair, the dead brother at his feet. Witwer wears the dead Precog's helmet. His hand is in his lap, holding a gun. He grins when Anderson appears. He takes off the helmet, drops it on the floor. WITWER I figured, since I can see the future, too, maybe I could get a little disc action going. -LRB- beat. -RRB- Just kidding. Anderson stares at his old partner. Then he looks up at the digital clock. Five - seventeen AM. Witwer looks too, then turns back to Anderson. WITWER -LRB- CONT'D. -RRB- You find you been doing that a lot this week? Looking at clocks? -LRB- beat. -RRB- Three minutes to go. Anderson turns to the tv. ANDERSON There's never anything good on, you know? Now Witwer smiles. WITWER There. That's the old Paul. ANDERSON You're not the old Ed. You've lost it. Witwer rises from the chair, the gun in his hand. WITWER You lost it. You went weak in the knees, partner. ANDERSON I'm not your partner. Witwer looks at him sadly. WITWER The air went out of you when Frank D'Ignazio killed himself. ANDERSON He was guilty. I accepted that. WITWER No you did n't. The doubts were creeping in on you. The lab trying to engineer more Precogs. Malcolm pressuring you to expand. Witwer reaches out and gently touches the remaining Precog brother's cheek. WITWER -LRB- CONT'D. -RRB- Belief is the basis of the system. It was your job to be the ultimate believer. Witwer is breathing hard. He lifts a hand and wipes the sweat from his face. WITWER -LRB- CONT'D. -RRB- And when Frank died, you faltered. I'm a cop, I see into the hearts of men. -LRB- beat. -RRB- And the thing about you is, you would n't have just walked away. ANDERSON Never been my style. Witwer gives him the flicker of a smile WITWER Precrime needs to grow. You would have stood in its way. The Security Panel would n't have understood that. What you're capable of. What a bulldog you are. -LRB- beat. -RRB- Look what you've been doing to us all week. Amazing. You're the best. ANDERSON So you took matters into your own hands. WITWER I understood the threat. I understood YOU Anderson looks at the dead Precog ANDERSON You killed a Precog. You ended the system you wanted to protect. WITWER Wrong. This lab will make more. Believe it, Paul. They look at the CLOCK. Five - nineteen. ANDERSON Knowing the exact moment of your death - it's made you crazy, Ed. Witwer looks at the tv. The TV REALITY is almost in synch with what is happening in the room. Witwer lifts his gun - and then realizes something is terribly wrong. Anderson is standing there before him just as he is on the disc - except there is a major difference. WITWER You sonofabitch! Anderson lifts up both hands WITWER -LRB- CONT'D. -RRB- You did n't bring your gun! ANDERSON That's right. No gun. WITWER You see?! That's exactly what I'm talking about. You do n't Believe! Anderson just looks at Witwer, raging at him. WITWER -LRB- CONT'D. -RRB- The system is infallible. ANDERSON Does n't Seem to be Witwer reaches behind him and pulls a second gun from out of his belt. WITWER -LRB- CONT'D. -RRB- I guess that's why I've always carried two. He tosses the gun to Anderson. It clatters at Anderson's feet. ANDERSON You ca n't have it both ways. You do n't want to die. That's why you lured me here - to kill me first. -LRB- beat. -RRB- But it you do n't diet the system is flawed, and you could n't live with that. Witwer SHOOTS him once, in the right thigh. Anderson cries out, falls to the concrete floor. WITWER Pick it up Anderson speaks through his teeth ANDERSON It does n't happen. Witwer looks frantically at the tv, at the clock. He reaches over and opens the dripmeter on a piggy back IV feeding into the Precog's main line. A thick, yellow fluid begins to flow toward the Precog's jugular vein. WITWER -LRB- CONT'D. -RRB- You're killing him, partner. And what choice, finally, does Anderson have? He reaches for the gun. ANDERSON Let's not do this, Ed Witwer trains his gun on Anderson. Anderson trains his gun on Witwer. ANDERSON -LRB- CONT'D. -RRB- Oh, Ed. Witwer lowers his gun. And stands there between Anderson and the doomed Precog. The yellow liquid has almost reached the Precog's jugular. Anderson shoots Witwer, once in the heart. Witwer is thrown back across the room, against a wall, beneath the clock. Anderson drags himself to the Precog, and rips the yellow IV out of the main line. The yellow drips onto the floor, mingling with Witwer's red. Anderson crawls to his friend, and cradles him. Witwer whispers something, and Anderson leans close to hear him. WITWER Now do you believe? Anderson pulls away from Witwer, and lets him take his last breaths alone. DARKNESS And then, slowly emerging from the mists of darkness, a pale, beautifully proportioned FACE. It is Rose's face. The camera pulls back and we see that she is lying on a grassy hillside. Her brother is lying beside her. They are looking up at the night sky, at a sky filled with stars. Rose stares up into the sky, and speaks in a soft voice to her brother. ROSE James. Can you guess what I'm thinking? JAMES -LRB- beat. -RRB- NO. James smiles. And then, after a long moment, so does Rose. THE END"
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] | In April 2054, Washington, DC's prototype PreCrime police department stops murderers before they act, reducing the murder rate to zero percent. Murders are predicted using specialized mutated humans, called "Precogs", who "previsualize" crimes by receiving visions of the future. Would-be murderers are imprisoned in a benevolent virtual reality. The Federal government is on the verge of adopting the controversial program nationwide. Since the disappearance of his son Sean, PreCrime Captain John Anderton has both separated from his wife Lara and has become a drug addict. While United States Department of Justice agent Danny Witwer is auditing the program, the Precogs generate a new prediction, stating Anderton will murder a man he does not know named Leo Crow in 36 hours. Anderton flees the area as Witwer begins a manhunt. Anderton seeks the advice of Dr. Iris Hineman, the creator of PreCrime technology. She reveals that sometimes, one of the Precogs, usually Agatha, has a different vision than the other two, a "minority report" of a possible alternate future; this has been kept a secret as it would damage the system's credibility. Anderton resolves to recover the minority report to prove his innocence. Anderton goes to a black market doctor for a risky eye transplant so as to avoid the citywide optical recognition system. He returns to PreCrime and kidnaps Agatha, shutting down the system, as the Precogs operate as a group mind. Anderton takes Agatha to a hacker to extract the minority report of Leo Crow, but none exists; instead, Agatha shows him an image of the murder of Ann Lively, a woman who was drowned by a hooded figure five years prior. Anderton and Agatha go to Crow's hotel room as the 36-hour time nears, finding numerous photos of children, including Sean's. Crow arrives and Anderton prepares to kill him, accusing him of being a serial child killer. Agatha talks Anderton out of shooting Crow by telling him that he has the ability to choose his future now that he is aware of it. Crow, however, begs to be killed, having been hired by an unknown entity to plant the photos and be killed in exchange for his family's financial well being. Crow grabs Anderton's gun and pulls the trigger, killing himself. Anderton and Agatha flee to Lara's house outside the city for refuge. There they learn Lively was Agatha's drug-addicted mother who sold her to PreCrime. Lively had sobered up and attempted to reclaim Agatha, but was murdered. Anderton realizes he is being targeted for knowing about Lively's existence and her connection to Agatha. Witwer, studying Crow's death, suspects Anderton is being framed. He examines the footage of Lively's murder and finds there were two attempts on her life, the first having been stopped by PreCrime but the second, occurring seconds later, having succeeded. Witwer reports this to the director and founder of PreCrime, Lamar Burgess, but Burgess responds by killing Witwer using Anderton's gun. With the Precogs still offline, the murder is not detected. Lara calls Burgess to reveal that Anderton is with her, and he is captured, accused of both murders, and fitted with the brain device that puts him permanently into a dreamlike sleep. As his body is deposited into prison, the warden tells him "that all your dreams come true". Agatha is reconnected to the PreCrime system. While attempting to comfort Lara, Burgess accidentally reveals himself as Lively's murderer. Lara frees Anderton, and Anderton exposes Burgess at a PreCrime celebratory banquet by playing the full video of Agatha's vision of Burgess killing Lively. A new report is generated at PreCrime: Burgess will kill Anderton. Burgess corners Anderton, and explains that as he could not afford to let Lively take Agatha back without impacting PreCrime, he arranged to kill Lively following an actual attempt on her life, so that the murder would appear as an echo within PreCrime and be ignored. Anderton points out Burgess's dilemma: If Burgess kills Anderton, he will go away for life, but PreCrime will continue; if he spares Anderton, PreCrime will be discredited and shut down. Anderton reveals the ultimate flaw of the system: once people are aware of their future, they are able to change it. Burgess instead shoots himself. Afterwards, the PreCrime system is shut down. All the prisoners are pardoned and released, although they are kept under probation-like circumstances. Anderton and Lara are soon to have a new child together, and the Precogs are sent away to an undisclosed location to live their lives in peace. | Minority_Report_(film) |
[
"EXT. CAROLINA MALL - MORNING ONE LONG TRACKING SHOT FROM THE BACK. A PERVERT in a trench coat runs along the edge of the mall. A group of OLD WOMEN is coming toward the MAIN ENTRANCE. The Pervert opens his trench coat and flashes the old women. They SCREAM! The Pervert ducks behind the bushes and runs with the skill of a Navy SEAL. A FAMILY is walking down the sidewalk. The Pervert opens his trench coat and flashes them. The Pervert ducks behind a dumpster. He keeps running and sees a car driving by. The Pervert flashes the CAR. The Pervert takes a two - step run, sees ANOTHER LADY, flashes her. He dives behind a car. Then pops up and flashes ANOTHER GIRL. It's an all - out Pervert assault! The Pervert then runs across the parking lot, jumps a fence, and darts from the property - vanishing as quickly as a Ninja who just perfectly executed an assassination.",
"INT. MALL - BUSINESS OFFICES - DAY MARK, the Mall Manager, walks by a group of women, who were exposed to the Pervert. They crowd around and complain loudly. MARK Ladies, please, we're doing everything we can to handle the situation. Nothing is more important to us than the safety of our shoppers. Now in the meantime, feel free to check out some of our wonderful back - to - school sales. Excuse me for a minute. Mark walks down the hallway that houses all of the business affair offices. He stops at the RECEPTIONIST'S desk. MARK Have you seen Ronnie? RECEPTIONIST I have n't seen him all morning. The Mall Manager quickly walks off. On the way, he passes a JANITOR. MARK Ramon, have you seen Ronnie? JANITOR No, senor. The Mall Manager keeps walking.",
"INT. SECURITY OFFICE - DAY The Mall Manager comes into the surveillance room. It's a small office with monitors that show the different security cameras around the mall. DENNIS, a Mall Security guard with sunglasses who will not utter a word ever, turns around in the chair. MARK Where is Ronnie? Dennis shrugs.",
"INT. GARAGE - DAY Blackness. White shafts of light sporadically shoot through the dark and we see IMAGES. A GIANT FLASHLIGHT is inserted into a UTILITY BELT. MACE is inserted in the other side. A WALKIE - TALKIE is turned on. A TASER is sparked. MIRRORED SUNGLASSES are pushed over the nose. A garage door raises and bright light spills in.",
"EXT. GARAGE - DAY A garage door opens slowly and reveals a souped - up ORANGE GOLF CART. There's a siren on top that spins around. The man driving is RONNIE BARNHARDT -LRB- 28 -RRB-, a stocky mall security guard whose expression reads all business. Ronnie pulls out of the garage. SUPERIMPOSE : OBSERVE AND REPORT",
"EXT. MALL - DAY HEAVY METAL MUSIC. A group of anarchist SKATERS rages through the mall parking lot tearing up everything they see. A couple of them smoke cigarettes. One skater grinds over a bench. One kid ollies onto the hood of a car. Another slams into an old man and knocks him over. Meanwhile, Ronnie sits in his golf cart - waiting. He looks eerily like Mel Gibson at the beginning of Mad Max. The skaters ride past a set of construction cones. One skater picks up the cone and tosses it across the parking lot. The skaters soar past Ronnie, who flips on the silent orange siren and gives chase. As the skaters ride through the parking lot, Ronnie pulls up and drives alongside of them. RONNIE -LRB- cop authority voice. -RRB- Pull over to the sidewalk, NOW! STEVIE, the leader of the skaters, yells back. STEVIE Fuck off, Ronnie, it's just a parking lot. RONNIE Sir, pull over to the sidewalk, NOW! HECTOR, another skater, joins in. HECTOR Leave us alone. STEVIE Yeah, skating's not a crime, dick. RONNIE Skateboarding is not allowed on mall premises. Pull over now! STEVIE We're not leaving. HECTOR Yeah, fuck you! The skateboarders flip Ronnie off and push hard to get away from him. Ronnie guns it and an all out chase ensues. Ronnie pulls up alongside of a SLOW SKATER. Ronnie side - swipes the skater, forcing the skater to run into a trash can and fall. Ronnie catches up to ANOTHER SKATER. This time, Ronnie tries to hit the skater on the side again, but he is too fast. Ronnie swerves trying to get him, but he dodges and ducks. Ronnie hits the brake. The skater thinks he has escaped, but looks up and sees that a car is in his way. The skater nails the car and is thrown over the hood. Ronnie is back in the chase and only Hector and Stevie are left. Ronnie guns the golf cart and zooms up closely behind the two kids. Ronnie rams Hector over and over from behind. Hector wobbles. Ronnie rams him again. Hector goes swerving off and falls down hard. Ronnie does n't break his pace and guns it toward Stevie. Stevie is good. He turns and rides through cars, ollies over parking blocks, and through pedestrians. Ronnie burns down the lane beside him. Stevie looks behind and Ronnie is nowhere in sight. He's in the clear. Stevie turns back around and sees Ronnie, driving in reverse straight towards him. Ronnie rams into the skater and knocks the poor kid on his ass. STEVIE What the fuck are you doing? RONNIE I was driving in reverse and trying to get you to flip into the back seat. STEVIE What? RONNIE That way I could handcuff you smoothly and take you in. You know, never mind, just get in the goddamn golf cart. Stevie picks himself up slowly and hobbles toward the golf cart.",
"INT. MALL - SECURITY OFFICE - MORNING Ronnie is in the room with the monitors. The skaters sit across from him. There's a poster on the wall with the security guard motto : OBSERVE AND REPORT. Ronnie fiddles with his walkie - talkie. RONNIE It seems like we go through this every day. What's it going to take for you all to realize that I wo n't tolerate this horseplay and just do whatever you want to and do n't worry about the rules attitude? STEVIE Ronnie, I hear what you're saying and I just want you to know that personally, it pains me to see you all worked up and I just want you to know that I'm really sorry because you ca n't do shit and you can take your little rules and stick'em up your ass, you fuckin' rent - a - cop. The Skaters all start cracking up. HECTOR Yeah, suck my dick. The Skaters start laughing louder. RONNIE That's funny, guys. I try to be a mentor to the youth, but it seems like you boys have gone straight past boydom to the land of street - hardened criminals. I'm left with no choice. You call me rent - a - cop, but I call myself the law's right hand. I see the crime. and I phone it in. And that's what I'm getting ready to do right now. Ronnie picks up the walkie - talkie and turns it on. He speaks into it. RONNIE -LRB- into walkie. -RRB- 317, this is Ronnie Barnhardt over at Carolina Mall. Come in, over. WALKIE VOICE -LRB- V.O. -RRB- This is Officer Douglas, what do you wish to report? Over. RONNIE -LRB- into walkie. -RRB- I've got a couple of trespassers who have been found skateboarding on mall property. Can you send a black and white over to take these boys into processing? Over. Ronnie winks at the Skaters. WALKIE VOICE -LRB- V.O. -RRB- Uh. Yeah, Ronnie, we're kind of busy today. I mean, we got like three car accidents. Ronnie picks up the walkie and whispers into it. RONNIE -LRB- into walkie. -RRB- What do you mean? I've got these guys red - handed. I'm gon na need a car over here pronto. I ca n't hold them all day by myself. Over. WALKIE VOICE -LRB- V.O. -RRB- Copy. Yeah, like I said, we're awfully busy right now. I think you should probably just make'em promise not to do it again and threaten to call their parents or something. That'll get them. Over. The Skaters start laughing. RONNIE -LRB- into walkie. -RRB- Sir, I do n't think you understand, their parents do n't care about them. This is a 911 from one of your soldiers. Officer needs assistance! Over! WALKIE VOICE -LRB- V.O. -RRB- Yeah, it's not gon na happen. The VOICE fades as Ronnie turns off the Walkie. RONNIE So as you can see, the law is just one little call away. But I'm gon na choose not to use that tactic today. I'm gon na do something that I like to do from time to time, and that's called handle shit myself. Ronnie takes his pad out of his pocket. He begins writing. RONNIE While I wo n't have you arrested today, I am going to suspend each of you for one week. For those of you who do n't know how this works, here it is. This is official documentation. If you step foot on mall property, it is considered trespassing. At that point, I call the police, they come down, you go directly to jail. Ronnie fills out the paperwork, sets the suspension notes on the table. Stevie looks down at it. He picks it up, reads it, balls it up, and throws it at Ronnie. The Skaters start cracking up. RONNIE You accepted it originally, so it still counts. Ronnie sits there while the Skaters laugh.",
"INT. MALL - FOOD COURT - DAY Ronnie sits at a table with a Cinnabon in front of him. Across the table sits NELL, a chubby but cute girl, who wears a Cinnabon uniform. The couple holds hands and they have their heads bowed. NELL Dear Lord, bless this food that we eat and purify it with Your salvation. Also, please keep Ronnie safe as he works in Your name to protect the customers and employees and store owners of the mall. And please turn your wrath on any sinners that try to hurt him and make them pay by burning in the eternal flames of hell. In Christ's name we pray, amen. RONNIE Amen. Ronnie begins devouring his Cinnabon. NELL So what's on the agenda for you today? RONNIE You know, the usual. Spot crime before it happens, perform random acts of bravery, save people from certain death, yada yada yada. NELL What's wrong, Ronnie? RONNIE Nothing, Nell. NELL Ronnie, I know that you really want to be a Police Officer, but you have to realize that things work out the way they're meant to. RONNIE I know. I'm okay, Nell. Thanks, but really, I mean, I'm on the front lines right now. I'm livin' it. NELL Your job is definitely more exciting than mine. RONNIE Of course it is, but at least you do n't have to wrestle with the demons at night. I better get going. NELL I'll see you after work, sweetie. Nell leans in to kiss Ronnie, but he pulls away. RONNIE Not at work, Nell. We have to keep up appearances, we talked about this. And do n't call me sweetie. NELL I'm sorry. I'll see you after work, Officer Barnhardt. RONNIE ` Bye, Nell. Ronnie stands up and walks off.",
"INT. MALL - DAY Ronnie stands in the middle of the mall and supervises the early morning MALL WALKERS as they stride around the outer marked lane. It's all senior citizens. RONNIE Slow it down. Watch your speed there. This ai n't a race. Hey, second time, slow it down. Mark, the Mall Manager, walks up to Ronnie. MARK I've been looking all over for you. RONNIE I have n't been hiding, but some things that I have to do are better to keep hidden from you and ` official' eyes. Trust me, it's best all around if there are no bodies to clean up. MARK So you may or may not have heard, but this morning, several women were assaulted just outside the front doors by a crazy Pervert. RONNIE For the love of God. MARK I know, it's horrible. RONNIE You want me to phone this one in to the police? MARK Not just yet. See if we call the police, they'll be a big scandal and something like that could kill what little traffic we have at this mall. What I need you to do is watch out for this Pervert and if you see him, try to stop him or quietly phone it in so we can handle this discreetly. RONNIE Hold on, Mark. Let me make sure I understand you. You're telling me to deny my primary objective of Observing and Reporting crime and at the same time, you're giving me authorization to handle this case on my own. MARK I'm just saying keep an eye out and keep quiet. RONNIE So basically, I'm in charge of this whole investigation. MARK There's no investigation. RONNIE Not yet. Okay, Mark, I'll do it, but I'm gon na need a few things first. MARK You ca n't carry a gun. RONNIE Well, I'm gon na need a new title. Something to instill fear in the criminal mind. How about Director of Mall Intelligence? MARK Head of Mall Security. RONNIE That's perfect. MARK And it does n't come with a raise. RONNIE Got it. MARK And the new title stays between us. RONNIE Understood. Thank you for this opportunity, Mark. I wo n't let you down.",
"EXT. CAROLINA MALL - DAY Ronnie stands in front of a Cadillac with a boot on one of his tires. A local news camera crew comes up to Ronnie and the FEMALE REPORTER starts asking questions. FEMALE REPORTER Excuse me, sir, but we would like to ask you a few questions. RONNIE I'm sorry, but I ca n't answer anything. FEMALE REPORTER We heard a report that an unidentified man was spotted earlier today exposing himself to several women. Do you care to comment? RONNIE I'm not allowed to comment on that situation. FEMALE REPORTER So you admit there is a situation. RONNIE I'm trained to resist torture for up to 72 hours, you really expect me to break now? Get real, lady. FEMALE REPORTER -LRB- to her camera crew. -RRB- We're wasting our time here. Let's go find some police to interview. RONNIE Good luck. FEMALE REPORTER What's that supposed to mean? RONNIE It just means you wo n't find any police. FEMALE REPORTER Are you telling me the police have n't even been called! RONNIE -LRB- SARCASTIC. -RRB- Ewww, alert the media. FEMALE REPORTER Jesus, well who'd they leave in charge, you? Ronnie smiles like he knows a secret. FEMALE REPORTER Yeah, right. Why would they leave you in charge? RONNIE First of all, if there was a situation to be handled, I do n't see why you find it so goddamn ridiculous that I would be in charge. The Reporter waves for her crew to start filming. FEMALE REPORTER -LRB- setting a trap. -RRB- Look, there is no way you're in charge of this investigation. RONNIE Well for your information, I'm in charge of this whole fucking operation. I do n't give a goddamn if you believe me or not, Ms. Hot Fuckin' SHIT news lady. I'm the first line of defense against this pervert. As the law's right hand, I'm here so that people like you can live in your own little happy world and think places like this mall are safe and fun. I'm the defender of this war zone. Just me and my goddamn flashlight. Just then, SADDAMN, an angry Middle Easterner with shitloads of cell phones and beepers strapped to him, comes running up to Ronnie. SADDAMN You motherfucker, you put a boot on my car! RONNIE -LRB- cop voice. -RRB- I warned you about parking in the fire lane, Saddamn! SADDAMN Fuck you, Ronnie! Take that goddamn boot off of my car. RONNIE -LRB- going into cop VOICE. -RRB- Step away now! SADDAMN I pay good money to this mall. Do n't tell me where to park! RONNIE Sir, I will be forced to take action if you do not step back! SADDAMN I'm gon na kill you! Ronnie pulls out his taser and shoots Saddamn. Saddamn goes down hard and begins twitching. He is fucking out of it! Ronnie goes back to giving the interview as if nothing happened. RONNIE As I was saying, the pervert situation here is real bleak. For all you people out there thinking of coming to the mall, please for your own safety, stay away. SADDAMN -LRB- still fucked up. -RRB- I ca n't believe you tased me. RONNIE -LRB- to the man. -RRB- That's right and I've got another one waiting right here for you.",
"INT. DEPARTMENT STORE - DAY BRANDI, the make - up counter girl, globs on tons of make - up. She's a hot girl who looks like she's spent a few sticky nights in the bed of a truck. Ronnie stands back and watches Brandi. Finally, he walks up to her. RONNIE Hey, Brandi. Brandi looks up from her mirror and then goes back to applying make - up. RONNIE That color looks great on your skin. Not just that color, but I've noticed that all make - up looks really good on you. Especially the blue around your eyes. I bet it drives the men crazy. Brandi glares at Ronnie. RONNIE It's okay. I can say that because I'm taken. BRANDI What do you want, Ronnie? RONNIE I'm here on official business. See, I do n't know if you know this, but I have recently been made Head of Mall Security. Did you hear about that? BRANDI No. RONNIE Well, I'm sure you will. It's actually pretty huge news. But the reason I stopped by is to tell you that it looks like we've got a pervert on the loose. A real live psychopath who gains sexual gratification by exposing himself to ladies such as yourself. I just want to warn you to be careful when coming and going to work. BRANDI Okay, got it. RONNIE And you may not want to wear any of those skirts that you like to wear. BRANDI What skirts? RONNIE You know what skirts. Something like that could set him off. And for that matter, you better not wear any of those little low - cut top things either, okay? Especially with those black bras because, you can really see them in the light. Perverts really tend to notice stuff like that. Okay, see you later. Ronnie takes off and leaves Brandi still applying make - up.",
"INT. MALL - NIGHT The lights are turned off and the mall is empty. Ronnie walks out with Dennis. RONNIE Dennis, man, I'm glad we've got a minute to talk. There's no easy way to say this so I'm just going to come right out with it. Mark offered me the position of Head of Mall Security. I know this is n't easy for you to hear seeing as you've been here longer than me. But I want you to know that you're my best friend and I'm only going to accept the job if you're okay with that. Dennis shrugs. RONNIE Well, you should know I've already accepted and it's too late to turn it down now. Every ship needs a captain. So you were passed over. Who gives a shit? Dennis, in time, you'll come to accept answering to me. Remember, there are n't any leaders in friendship. We cool? Dennis and Ronnie shake hands. They walk out and lock the doors behind them. RONNIE Hey, you want to go and grab a beer or something? Dennis does n't say anything and just walks to his car. Ronnie follows. RONNIE Yeah, you're right. You're probably in no mood to party after that news. Well, try not to take it too hard. See you later, buddy. Ronnie leaves Dennis and walks to his car.",
"EXT. TRAILER - NIGHT Ronnie's home is a shitty double - wide at the very end of the shittiest trailer park in town.",
"INT. RONNIE'S BEDROOM - NIGHT Ronnie lives in a boy's room. There's all kind of posters up with instructions on how to execute choke holds, wrist locks, and other assorted death blows. However, the biggest decoration is a large diagram of the mall. Ronnie stands in the middle of his room with his MOM across from him. She's an old, thick boozer, with the strength of a father and the love of a mother. She downs a full beer and throws it against the wall. MOM You think you're ready for a shot at the title, motherfucker?! RONNIE I'm ready, Mom. MOM Ding ding. Ronnie and his Mom take to fighting. Ronnie's Mom is surprisingly good and she lands the first blows to Ronnie's cranium. RONNIE Ow! MOM What's wrong, baby? Is your pussy hurting? RONNIE Fuck you! Ronnie attacks his Mom. He manages to scoop her and body slam her to the ground. Ronnie's Mom flips out of it on the ground. However, Ronnie holds onto her wrist and stands up, thus locking in the submission hold. MOM Ah! RONNIE You give? MOM Fuck you! Ronnie flips the wrist lock tighter! MOM Ow! RONNIE You move with me, you go down. You move against me and your arm breaks. MOM I give! RONNIE What's that? MOM I give! Let me go, goddamn it. Ronnie lets his Mom go. She shakes off the pain. MOM I ca n't believe you got that lucky shit on me. RONNIE Luck has nothing to do with it. MOM You almost broke my arm. RONNIE I'm sorry, Mom. Are you okay? MOM Not really. Ronnie's Mom rubs her arm. Ronnie drops his guard and comes over to tend to his Mom's wounds. However, she's only playing possum. Ronnie's Mom sees an opening and attacks Ronnie at his legs. Ronnie goes down and the two start wrestling again. -LRB- NOTE : This plays as realistic as possible, no phony punches or smooth/comedy fighting, it looks like a school yard fight video. Sloppy and real. -RRB-",
"INT. RONNIE'S BEDROOM - LATER THAT NIGHT Ronnie is laying in bed while his Mom chugs another beer beside him. She's one - eye - closed punch - me - in - the - face drunk. They're watching Ronnie on the news from earlier. Ronnie talks into microphone. RONNIE -LRB- V.O. -RRB- Yeah, well for your information, I'm in charge of this whole BEEP operation. I do n't give a BEEP if you believe me or not, Ms. Hot BEEP BEEP news lady. Do you see anybody else? BEEP no you do n't. As the law's right hand, I'm the first line of defense against this pervert. I'm here so that people like you can live in your own little happy world and think places like this mall are safe and fun. I'm the defender of this war zone. Just me and my BEEP flashlight. The FEMALE REPORTER addresses the camera over FOOTAGE OF RONNIE TASING SADDAMN. FEMALE REPORTER -LRB- V.O. -RRB- No comment as to why steps are not being taken, but this Security Guard feels like he is the only one doing anything to protect the people who visit Carolina Mall from the suspect. For all of us, I hope this is n't the case. Back to you, Lindsay. Ronnie turns off the television. MOM -LRB- drunken slur. -RRB- I'm so proud of you, Ronnie. RONNIE Do you think I did good? MOM Hell yes. You were great. RONNIE Ah, you're just drunk. MOM Nah, you did good. RONNIE Yeah, I usually do n't come out to the forefront like that. My official orders are Observe and Report, but when Mark put me in charge of mall security, something inside of me changed. It's what I've always wanted. Things have n't always worked out, with the whole. well, you know. But this gives me faith that I can do something great. This is my call to duty and I'm going to answer. I'm going to bust this fucking pervert. I swear it on everything I am. Anyway, I better get to sleep. I got a big day tomorrow. Good night, Mom. -LRB- off no answer. -RRB- Mom? On cue, Ronnie's Mom falls over in a drunken sleep. She starts SNORING loud as hell. Ronnie gets out of the covers and helps his Mom onto the bed. Ronnie tucks her in like a loving son. He pries the bottle from her fingers. Then, he grabs a pillow and goes to sleep on the floor.",
"INT. MALL - O'CHARLEY'S - DAY Ronnie walks up to O'Charley's. It's the one - step - up restaurant that's in the mall. There's a BOUNCER out front who watches over the store. RONNIE You working the door here? BOUNCER That's what they tell me. They needed to hire a little security here in case the drunks get out of line or whatever. RONNIE Kind of funny they thought they needed more security here. Ha. You do realize that if anyone gets out of hand, you need to call me to handle the situation. BOUNCER I work for O'Charley's, not for the mall. RONNIE Granted, but you realize that my jurisdiction supersedes any and all other forms of security when under the roof of Carolina Mall? BOUNCER You know, I thought about getting a job as a Mall Security. RONNIE You did? BOUNCER Yeah, man. I mean, I'm kind of on extended vacation from college and it's just like, I do n't want to do shit, you know what I mean? My parents said I have to work if I want to live at home, but I just do n't feel like doing anything. This was the easiest job I could find, I mean, what the hell could be hard about being a bouncer in a mall restaurant? But now that I think about it, Mall Security could be easier than this. RONNIE My young friend, you are sorely mistaken. Do you know how much stuff I'm in charge of? BOUNCER No. RONNIE A shitload. That's not even counting the parking lot. BOUNCER Really? I thought you just kind of chilled out and called stuff into the police. RONNIE No way, that's about like 75, maybe 82 percent of it. There's so much other stuff. BOUNCER Like what? RONNIE Two words, Friday Night. BOUNCER What about it? RONNIE It's crazy, let's just leave it at that. BOUNCER Okay. RONNIE Listen. I like you, but I do n't like the fact that you're masquerading as an official in the security world. If you're serious about a career in the security world, then perhaps I could look into getting you a job on my staff? BOUNCER Oh yeah? RONNIE Part of my job is reaching out to troubled youths such as yourself. It's who I am. BOUNCER Does it pay more than $ 6.50 an hour? Ronnie laughs. He leans over to the Bouncer and whispers in his ear. BOUNCER -LRB- WHISPERING. -RRB- Seven even. Ronnie stands back and winks at the Bouncer. BOUNCER I'd say that's more than I'm making now. RONNIE Hold on, this job involves a probationary period. You have to prove yourself worthy. We ca n't just hire any old Tom, Dick, or Harry just because they want to carry a flashlight. BOUNCER What do I have to do? RONNIE You have to complete a term as deputy. You will answer directly to me. Your job will be to come and find me if you see any trouble. If this works out, then I will phone the crime into the police. Now, this will train your eyes to spot various criminal activity. Once you have completed your training, you will be awarded an official position on my security staff where you will have the duty of actually phoning in crimes to the police yourself. BOUNCER So basically, I just do what I'm doing now and then you'll get me a job? RONNIE For starters. BOUNCER How long does this mentorship last? RONNIE Until Mark lets me hire another guy. BOUNCER Can I smoke while I work? RONNIE Yes, you can. BOUNCER Sign me up. RONNIE You keep that attitude up and you'll have no problem making the squad. Ronnie reaches into his pocket and hands the Bouncer a mini flashlight. BOUNCER What's this? RONNIE It's a flashlight. Get to know it. It's your new best friend. Until you get your giant flashlight. Then, that will be your new best friend. The Bouncer takes it and puts it into his shirt pocket. RONNIE Okay, look alive, soldier. Deputy time starts now. No more slacker attitude for you. Ronnie walks away, but after he takes a few steps, he stops and turns. RONNIE You know, I remember when I got my first flashlight. Ronnie goes into an emotional memory in his mind. Ronnie walks away leaving the Bouncer there alone.",
"EXT. MALL - DAY LOUD ROCK SCORE FADES TO LOUD ROCK SOURCE. A tricked - out Toyota pulls up to the parking lot. The car comes to a stop and out steps Brandi, the makeup counter girl. Brandi walks toward the mall to start her new day. As she crosses the parking lot and heads toward the door, the Pervert pops out. This time, he's upped his attack and beats off staring right at her. The horrendous sight stops Brandi dead in her tracks. She SCREAMS bloody murder.",
"INT. DEPARTMENT STORE - DAY It looks like a RAPE SCENE. Brandi cries in the makeup chair and is surrounded by a large group of mall employees. Her makeup runs down her face as her effeminate coworker BRUCE consoles her. Mark is working crowd control. MARK -LRB- to the crowd. -RRB- Alright, people, she's doing good. We're just gon na get her down to my office and everything's going to be fine, so the best thing for you employees to do is just get on back to your stations and you customers can go ahead and enjoy the back to school savings here at Carolina Mall. BRANDI It was horrible! Oh, my God, the thought of that disgusting - I think I'm going to be sick. BRUCE Just let it out, baby. He should be ashamed! BRANDI I just keep playing it over and over again in my head. MARK Brandi, please, Dennis has called the police and let's just take this down to my office. The DEPARTMENT STORE MANAGER comes running over. DEPARTMENT STORE MANAGER What's going on? BRUCE A Pervert attacked Brandi is what's going on! DEPARTMENT STORE MANAGER Are you okay, Brandi? BRANDI Physically, yes. But psychologically, no! Brandi starts crying hard. The Department Store Manager pulls Mark aside. DEPARTMENT STORE MANAGER -LRB- WHISPERING. -RRB- Did you call the cops? MARK They're on the way. Brandi starts crying even louder. DEPARTMENT STORE MANAGER Yeah, we got to get her the fuck out of here. Everybody's standing around and nobody's shopping. This is bad for business. MARK I'm trying, but she just keeps crying. Ronnie comes running up on the scene. He looks like a man who ran a mile to get here. RONNIE Brandi! I came as soon as I heard. Jesus, are you alright? BRANDI I'm fine, Ronnie. MARK She's fine, Ronnie. RONNIE This is one of the most heinous things I've seen. Jesus, I tried to tell you about the skirts. It's not your fault, you little fighter you. Ronnie's not mad, okay? MARK Ronnie, can you get her down to my office so the Police can talk to her in private when they arrive. RONNIE Rogers. BRANDI I ca n't walk right now. I feel like I'm in shock. RONNIE Do n't worry. I'll carry you. Ronnie reaches down and picks up Brandi. She totally lets him. Ronnie struggles and ca n't lift her. It looks dumb. MARK Oh, fucking Jesus. Ronnie finally manages to lift Brandi. He carries her out of the Department Store and down through the middle of the mall.",
"EXT. MALL - DAY A black UNMARKED POLICE CAR pulls up quickly and stops directly in front of the Main Entrance to the mall as if to say to the world, `` I'm a Cop and I can do this.'' Out steps DETECTIVE HARRISON, a young cop that has the arrogance and swagger of a man who is just beginning to feel his power.",
"INT. MALL MANAGER'S OFFICE - DAY Mark sits at his desk, while Ronnie comforts a crying Brandi. Dennis stands in the corner, not saying a word. Detective Harrison knocks as he comes in the door. DETECTIVE HARRISON Your secretary told me to come on in. I'm Detective Harrison, Cabarrus County Police. Detective Harrison shows his badge to Mark. The two men shake. MARK Mark Talbert, I manage the mall. This is Brandi, she's the one who saw the deviant. DETECTIVE HARRISON Hello, Brandi. Are you doing okay? BRANDI I'm really shaken up. DETECTIVE HARRISON Yes, ma'am, I'm sure you are after all you've been through, but I'm here to tell you that we're going to work together to make sure we catch the person who did this. RONNIE My name is Ronnie Barnhardt, chief inspector on the case and head of Mall Security here at Carolina Mall and this is my lieutenant, Dennis. From one law enforcement officer to another, I just want to welcome you and say that we will do whatever it takes to coordinate with your department in order to bring this assailant to justice. The Detective pauses as if he's unsure what just happened. DETECTIVE HARRISON Great. -LRB- back to Brandi. -RRB- Okay, Brandi. Did you get a look at the suspect? BRANDI Yes, I did. RONNIE Did you get a blood sample? BRANDI No. RONNIE That's a shame. Would have been useful. MARK Go ahead, Detective. DETECTIVE HARRISON Thank you. Brandi, can you remember anything specifically? What color was his hair? Was he tall or short? BRANDI He was tall and skinny and he had brown hair and it was real greasy. Detective Harrison begins writing in his note pad as Brandi speaks. Ronnie notices this and picks up some paper and begins to write as well. DETECTIVE HARRISON Was his hair long or short? BRANDI It was long about to his shoulders. DETECTIVE HARRISON Did he say anything? BRANDI No, he just stood there and you know, touched himself. DETECTIVE HARRISON What was he wearing? BRANDI Just a brown trench coat. RONNIE This is what I got so far. Ronnie holds up his paper. Ronnie has drawn a crude sketch of the Pervert that Brandi described, but it's basically a long - haired stick figure with a penis. RONNIE What's yours look like? DETECTIVE HARRISON I just wrote a description. RONNIE Oh. Ronnie puts his sketch away. DETECTIVE HARRISON Okay, Brandi, I think that's good for now. I think the best thing at this point is to just follow up with the other ladies who saw the perpetrator yesterday and see if they remember anything. BRANDI What if he comes back? DETECTIVE HARRISON That's highly unlikely. These incidents are usually random and unpredictable. I'm sure you'll be safe. RONNIE I'm afraid I'm going to have to disagree with you there, Detective. By my math, it seems pretty clear that Brandi's been targeted. DETECTIVE HARRISON Targeted? What gives you that impression? RONNIE Well, how about the fact that she was the first employee to get assaulted? Not to mention the fact that she is the prettiest girl who works at this mall. To me it seems obvious that this is some sort of methodical villain that plans on returning to finish what he started by murdering Brandi. BRANDI Is that going to happen?! DETECTIVE HARRISON That's not going to happen. Ronnie looks at Brandi and nods his head `` yes.'' DETECTIVE HARRISON Well do n't worry. I'm on the case and I'm going to do everything in my power to bring this guy down. RONNIE That's right, Brandi, you've got the best team in law enforcement working for you. DETECTIVE HARRISON Look, I've got to get going. Here's my card. I'll even write my home phone number on the back, just in the event you need to get a hold of me. Detective Harrison writes his number on the back and then hands his card to Brandi. DETECTIVE HARRISON Give me a call when you are n't working and I'll have you come to the station to look through some mug shots. -LRB- touches her leg. -RRB- Do n't worry okay. BRANDI I feel a lot better now. Ronnie holds out his hand. DETECTIVE HARRISON What? RONNIE I'll take one of those cards as well. DETECTIVE HARRISON Oh, okay. Detective Harrison reluctantly hands Ronnie a card. RONNIE Go ahead and write your home phone on there as well in case I need to get a hold of you. DETECTIVE HARRISON You can just leave a message at the station. I check my messages constantly. RONNIE Sorry, but I'm gon na need those digits. If we're gon na solve this crime we need to constantly be in communication with each other and have an open door policy with intelligence. Brandi, let me see that card. Ronnie takes the car from Brandi and copies the home phone number from the back. RONNIE Cool, I'll call you later with an update. DETECTIVE HARRISON Do n't do that. RONNIE It's no problem at all. We're brothers of the badge. This is what we do for each other. Detective Harrison takes off. Ronnie looks around happily. RONNIE Seems like a good guy. A little green, but still solid.",
"INT. MALL - NIGHT The mall is winding down for the day and most of the customers have gone home. Ronnie walks through the mall, taping up pictures of the sketch he made of the Pervert. Nell comes walking up with her apron over her shoulder. NELL What are you doing? RONNIE Just putting these posters up. NELL You've been so obsessed with catching this pervert I've barely seen you. RONNIE That's what it's like when you date the Head of Mall Security. The downside is we do n't get to see each other as much, but the upside is you get to brag to all your friends. NELL Well, are you ready to go? RONNIE Sure, let's take off.",
"INT. RONNIE'S LIVING ROOM - NIGHT The LOCAL NEWS is on and they show an update on the MALL FLASHER STORY. The sound is OFF. The living room is dark. Ronnie and Nell are on the couch making out. Ronnie is starting to get frisky. His hands go to Nell's boobs, but only outside of the shirt. She allows it. Ronnie decides to push it. He takes his hand and tries to go up her shirt. Nell immediately stops kissing and pushes Ronnie away. NELL What are you doing, Ronnie? RONNIE Come on, let me get some of those big bazoombas. Ronnie goes in hard for the tits, but Nell pushes him away. NELL Ronnie, no. RONNIE Goddamn it, are we ever gon na do it? NELL You know we talked about this. RONNIE We did, it's just, well, I'm tired of just doing what we do. I'm ready for something bigger. Like sex or just maybe using a finger on you - NELL Ronnie, you know I'm saving myself for marriage. I thought you were okay with that. RONNIE Well, I used to be, it's just. I do n't know. What's so great about being a 27 - year - old virgin? Nell stands up and starts to put on her coat. Ronnie stands up and tries to comfort her. RONNIE Nell, I'm sorry. Do n't go away like this. NELL I thought you loved my purity. RONNIE I do. I really do. I'm sorry, Nell. NELL It's okay. I should leave anyway, it's late. RONNIE I'll stop by for breakfast tomorrow. NELL See ya tomorrow. Nell leaves and Ronnie closes the door behind her. RONNIE Mom, wake up. Let's go to bed. Ronnie's mom groans. She has been passed out on the floor with an empty bottle of Jack D beside her the whole time.",
"INT. MALL - NIGHT The lights are off and a gloved hand breaks into a case in the jewelry store. All of the diamonds and gold are picked up and pocketed. Someone is robbing this bitch.",
"INT. MALL - THE NEXT MORNING Ronnie strolls through the mall sipping on his morning coffee. He stops when he sees that the jewelry store has been broken into and robbed. RONNIE Oh shit. Ronnie goes running down through the mall.",
"INT. MALL - SECURITY OFFICE - MORNING Dennis and Ronnie are sitting and Mark stands over them. They're looking at the security tapes. Detective Harrison knocks on the door and walks in. Ronnie stands up to greet him. RONNIE Good to see you, brother. Looks like the old team is getting together to crack one more case. Ronnie gives Detective Harrison a hug. RONNIE I'm ready to go to war with you. DETECTIVE HARRISON Thanks for waking me up this morning, Ronnie. RONNIE I've already checked the Security tapes. They did n't catch a thing. Someone must have broken in here and turned them off. DETECTIVE HARRISON My team just checked all the doors and there are no signs of forced entry. I've also checked out the crime scene, but we did n't see any fingerprints on the glass. The suspect was probably wearing gloves. MARK That does n't sound good. How did they do it? RONNIE Laser technology. DETECTIVE HARRISON My guess it was an inside job. Probably someone who has access to keys like a janitor or a security guard. RONNIE Detective Harrison, can I ask you how long you've been a detective for? DETECTIVE HARRISON I'm almost at the end of my first year. RONNIE Just as I thought, a rookie. DETECTIVE HARRISON I've been a police officer for several years. RONNIE Yeah, you're a rookie, okay. It's fine, you'll learn with experience. And when you do, you'll discover that rule # 1 of law enforcement is that you do n't ever turn on a fellow officer. Now, I know you would never actually accuse somebody on my Security Force of committing this act of lawlessness. DETECTIVE HARRISON Whoever did this would have to had keys to the Security Room so they could shut off the camera. RONNIE Look, my record speaks for itself and as for Dennis, well I can certainly vouch for him. Dennis is one of the finest men I know, so just take my word, you're barking up the wrong tree. Now, let's put this little squabble behind us and get back to busting the guys that robbed this mall. DETECTIVE HARRISON Ronnie, nobody is accusing anybody, but I would like to stick around for a while and interview some of the employees. MARK Okay, but all I ask is that you do it quietly, so that the hoopla is kept to a minimum. DETECTIVE HARRISON I understand. RONNIE I understand too, sir. MARK Ronnie, you are to leave Detective Harrison alone and let him handle the investigation. RONNIE No can do, Mark. When you appointed me Head of Mall Security, I swore an oath to protect this mall and aid in bringing crime to its knees. MARK You did n't swear an oath. RONNIE To myself I did. DETECTIVE HARRISON Ronnie, on these types of investigations, it's usually not a good idea to have too many cooks in the kitchen. RONNIE There's only one cook. I'm a chef. A cook and chef, together, serving up justice. DETECTIVE HARRISON I'm gon na do this alone. RONNIE Hot plates of justice. Ronnie stands up. RONNIE Come on, rookie. Let me show you the lay of the land.",
"INT. MALL - DAY Ronnie talks to Dennis in the middle of the mall. RONNIE Okay, Dennis. I've got ta hang with Detective Harrison. What I need for you to understand is that just because Detective Harrison is here, does n't mean that you and me are no longer best friends. Sure, Harrison would be cool to hang out with. He carries a badge and a gun. He probably owns a boat. Over time, we'll probably become really close like brothers, but for right now, you're still number one. Now, I must leave you behind because duty calls, so. chin up. Radio if you need anything. Ronnie takes off, but we STAY WITH Dennis. He walks directly to the ARCADE. Dennis puts a quarter in the machine and plays pinball.",
"INT. MALL - KIOSK - DAY Ronnie watches from afar as Detective Harrison interviews SADDAMN, who stands in front of his cell phone kiosk. DETECTIVE HARRISON So, have you seen any suspicious people hanging around the mall? Anybody who might have been casing the stores? SADDAMN Nah, man. I ai n't seen nothing. DETECTIVE HARRISON Okay, well if you can think of anything, here's my card. Detective Harrison hands Saddamn his card and begins to leave. Disgusted, Ronnie comes walking up. RONNIE -LRB- to Harrison. -RRB- My turn, Rookie. DETECTIVE HARRISON What are you doing, Ronnie? RONNIE Solving the whole case right before your eyes. DETECTIVE HARRISON Ronnie, this is official police business. RONNIE Hello, Saddamn. SADDAMN What the fuck you want, Ronnie? RONNIE I want your ass to face the music is what I want. SADDAMN Do n't come any further, bitch. The restraining order says 20 feet so just back the fuck up. DETECTIVE HARRISON Ronnie, I appreciate your enthusiasm, but just let me handle this. -LRB- to Saddamn. -RRB- Have a good day, sir. RONNIE So you're just gon na let him slip right through your fingers? DETECTIVE HARRISON I have no reason to make him a suspect. RONNIE No reason? Look at him. There's every reason in the goddamn book. SADDAMN Why are you saying that, man? RONNIE I think it's obvious, Saddamn. SADDAMN That's fucked up. You're racist, man. RONNIE You're not even black. DETECTIVE HARRISON Ronnie, stop. We're finished here. Now if you're going to tag along, I'm gon na need you to just stay back ; are we clear? RONNIE Sure, sorry. We're crystal. Detective Harrison walks away. Ronnie follows, but takes one more look at Saddamn, who flips Ronnie off. Saddamn goes back to hollering at girls. SADDAMN What's up, girl, you got a boyfriend? Free cell phones with a month trial and I throw in my phone number for free.",
"INT. MALL - JANITOR'S ROOM - DAY Ronnie stands nearby as Detective Harrison questions an old Mexican JANITOR, who stands by his cart of cleaning products. DETECTIVE HARRISON Did you let anybody borrow your keys? JANITOR No, senor. DETECTIVE HARRISON Have you seen anything suspicious? JANITOR No, senor. DETECTIVE HARRISON Okay, sir. Thank you for your time. RONNIE Alright, I believe I can be of some assistance here. DETECTIVE HARRISON Ronnie, we talked about this. RONNIE This is a special circumstance. DETECTIVE HARRISON What special circumstance? RONNIE Communication skills, watch and learn. Ronnie steps into the forefront. RONNIE Que pasa? JANITOR Long drawn out conversation in Spanish? RONNIE Como? JANITOR More Spanish dialogue. RONNIE Si. -LRB- to Harrison. -RRB- Yeah, this guy definitely did it. DETECTIVE HARRISON What did he say? RONNIE I do n't know, I do n't speak Spanish, but judging from his tonal inflections, it's safe to say that he's hiding something. The only question is where. -LRB- to Janitor. -RRB- Okay, Ramon, I'm giving you one chance and one chance only to come clean. Or else Detective Harrison is going to come over to your house and deport your whole family back to Mexico. DETECTIVE HARRISON No, I'm not. RONNIE Good cop, bad cop, just play along. -LRB- to Ramon. -RRB- Where are you hiding the jewels? JANITOR No se. RONNIE Alright, you're gon na make me be the bad guy here? Well, that's a role I'm comfortable playing. Let's just see what you're hiding. Ronnie digs through the trash bin that is on the cart. Ronnie slings trash out all over the floor. He finds nothing. DETECTIVE HARRISON Ronnie, that's enough. RONNIE Think you're pretty slick, do n't you? Guess what? I'm pretty slick too. Ronnie takes the cleaning products and opens the bottles. He pours the contents out on the floor. What's he looking for? Who knows. RONNIE Alright, you're free - Wait a minute. Ronnie takes the mop and breaks it in half with his foot. He takes the halves and shakes them, thinking that something will come pouring out of the open cylinders. Nothing does. RONNIE Okay, my mistake. Sir, you're free to go. Uh, you might want to have someone clean this up which in this case is you, so, uh, chop - chop. Would n't want anyone to slip on this mess. Ronnie leaves the Janitor with a bewildered look.",
"INT. MALL - VICTORIA SECRETS - DAY Ronnie follows Detective Harrison into the lingerie store. They approach the counter where a HOT CLERK is working the register. HOT CLERK Hello, can I help you? DETECTIVE HARRISON I'm Detective Harrison with the Cabarrus County Police. RONNIE And I'm Ronnie Barnhardt, head of Mall Security. DETECTIVE HARRISON Okay, seriously, would you back the fuck off?! I'm trying to do my job and you're fucking it up. RONNIE Come on, we're working here. DETECTIVE HARRISON I'm working! Detective Harrison is seriously annoyed. DETECTIVE HARRISON -LRB- back to the Clerk. -RRB- Sorry. Hi. I'm doing a check with all the mall employees to see if anybody has any information on the robbery that took place here last night? HOT CLERK I'm sorry, but I have n't noticed anything out of ordinary. A SEXY WORKER comes up to them holding a scandalous pair of undies. SEXY WORKER Tracy, do you think my boyfriend would like these? The Sexy Worker holds the undies up to her crotch. Ronnie looks and his tongue almost drops out of his mouth. He straightens himself out. DETECTIVE HARRISON That's fine, thanks for the help. RONNIE You're gon na let them distract you with a little bit of panty showing. You have got a lot to learn, my friend. -LRB- to the Hot Clerk. -RRB- Who are you protecting, toots? HOT CLERK What are you talking about? RONNIE Look, I'm sure you and your little friend have made a real lifestyle for yourselves here. It's probably easy for you to blind most men with your beauty, but I'm not most men. I can see through the sexuality to the truth. Jewelry, gold, diamonds, you do n't really expect me to think that a man wants that crap. I'm putting you on my list of top suspects. I do n't think you did the crime, but I do think you are an accomplice. DETECTIVE HARRISON I'm sorry, ma'am. He's not with me. Here's my card. If you think of anything, just give me a call. Detective Harrison walks out and Ronnie follows him. On the way out of the store, Ronnie passes a MAN who is looking at the underwear. Ronnie stops. RONNIE You should be ashamed of yourself. Ronnie gives him a warning look, then walks out.",
"INT. MALL - HOT TOPIC - DAY Ronnie and Detective Harrison stand across the counter from a tattooed SALESMAN. RONNIE Is that pot I smell? DETECTIVE HARRISON Shut up, Ronnie! SALESMAN It's sage. RONNIE Whatever, hippy. If I find you doing drugs or killing cats or whatever you devil worshippers do, I'll come back here and bust you. I swear to God. DETECTIVE HARRISON Get the hell out, Ronnie. I'm here to ask questions about the robbery. RONNIE Just forget that, we're on to something bigger here. -LRB- back to the SALESMAN. -RRB- Tell me more about this ` sage.'",
"INT. MALL - SEARS - DAY Ronnie and Detective Harrison are in the hardware department talking to the SEARS MANAGER. Detective Harrison sits on the ground. He has completely given up on the investigation at this point, as Ronnie controls it all. Ronnie picks up a hammer. RONNIE Now, maybe I'm crazy or maybe I'm the smartest man alive, but it seems kind of convenient to me that you sell hammers like this one that could easily be used to smash a glass case in, oh say, a jewelry store. SEARS MANAGER Could n't you smash the glass with anything? RONNIE You really think you're gon na talk your way out of this one?",
"INT. MALL - FOOD COURT - DAY Ronnie is hanging out with Dennis and the Bouncer from O'Charley's. Behind him, Nell works the counter at Cinnabon. RONNIE You guys should have been there today. We were just solving shit left and right. I mean, that's what this job is supposed to be like. Busting loiterers and kids who steal pennies from the fountain has its rewards, but really getting in there and closing cases is where it's at. It's rewarding too because at the end of the day, you know you've done something good for the world. BOUNCER What are we doing here, Ronnie? I thought you said they were giving away free Chick - fil - A sandwiches. RONNIE Well - What is your name anyway? BOUNCER Charles. RONNIE Well, my young apprentice. I called you here today because as Head of Mall Security, I have decided that it's time to take protection to the next level. In other words, I alone can not combat this recent crime wave. In order to help me in my personal journey, I have decided to divide up the tasks between my soldiers. So, for now on, Dennis, my right - hand man, you will be in charge of solving the case of who is robbing the mall. Little Chucky, you will be on the case of the Pervert. You are both to collect data and provide it to me. I will analyze the data, draw conclusions, and solve these crimes as well as coordinate and strategize with various law enforcement agencies. BOUNCER Since we're going to be doing a lot of the work and you're going to be solving the crimes, do we at least get paid? RONNIE You ca n't measure honor in dollars and cents. Ronnie looks over at the Cinnabon and Nell waves to him. Ronnie smiles back and waves at Nell. BOUNCER Is that your girlfriend or something, Ronnie? RONNIE Who me? Nah, man. Why? What do you think of her? BOUNCER She's not my type, but that's just me. RONNIE Yeah, but, you do n't think she's kind of hot? BOUNCER Are you blind? Give me a break. Wait, are you sure she's not your girlfriend? RONNIE Fuck no. There's no way I'd date that. person who's obviously not hot. Nell waves again, but Ronnie just kind of turns away, ignoring her. RONNIE Anyway, our new unit will operate under the name, ` Special Elite Task Force.' You will answer directly to me and no one else. Now, let's all put our hands in the middle and do a unifying cheer. Ronnie puts his hand out. Dennis puts his in as well. Charles is n't sure. BOUNCER You're gon na hook me up with a job, right? RONNIE Seven even. I promise. Charles puts his hand in as well. RONNIE One, two, three, TASK FORCE! Ronnie is the only one who gets into it. It's a weak - ass cheer. RONNIE Okay, so now I say we all take a celebratory trip to Sears because, as we all know, today is half - price day on all automotive parts for mall employees.",
"INT. MALL - DAY SLOW MOTION BAD - ASS SHOT. The `` Elite Task Force'' walks down the mall as if they were the baddest ass - kicking team on the planet. They walk united and unopposed. CUT TO BLACK.",
"INT. SECURITY OFFICE - NIGHT Ronnie tacks up pictures of all of the robbery `` suspects'' on a bulletin board. It's pictures of Saddamn and the Devil Worshipper guy. Beside him is a sketch of the Pervert. The images are on the bottom points of a Pyramid. On top of the Pyramid is a combination drawing/picture of Ronnie. The body is drawn with his arms folded across his chest and a photo of his face is tacked on top. The whole thing adds up to nonsense, with the only clear idea is that he defeats them all. Ronnie sits back in his chair and stares at the board. All of a sudden, there is a KNOCK at the door. The door opens and BRANDI peeps her head in. BRANDI Sorry to interrupt. RONNIE It's no interruption. What are you still doing here? BRANDI I had to do inventory tonight. Bruce took off early so I'm the last one. Hey, I was wondering if you would mind walking me to my car. You know, just in case that freak with the dick is out there someplace. RONNIE It would be my honor. Ronnie stands up and walks out with Brandi, shutting off the light as he leaves.",
"EXT. MALL - NIGHT Ronnie and Brandi pull up to Brandi's car in the golf cart. BRANDI Alright, thanks for the ride. RONNIE Just doing my job with a little something extra especially for you. BRANDI See ya tomorrow. RONNIE Brandi, um. I was just thinking, would you like to go to dinner this weekend? BRANDI How come every time somebody does something nice for me, they act like I owe them a blow job? RONNIE Look, it's not like that. I've got a girlfriend. who does n't work in this mall. BRANDI Ronnie, I got to be honest with you, you're not really my type. RONNIE Just out of curiosity, what is your type? BRANDI Rich guys. Or guys who are really hot. RONNIE Yeah, I guess that's not me. BRANDI I'll go out to dinner with you on one condition. RONNIE What's that? BRANDI This is not a date. Do you understand? We're going to dinner, but we are not going on a date. RONNIE Done. BRANDI And you can never tell anybody we went out. RONNIE My lips are sealed. BRANDI You pay for dinner, right? And as many drinks as I want. RONNIE You may drink your fill. BRANDI And you have to drive me to my car every night after work for the next six months. RONNIE You got it. BRANDI And my car is low on gas, so I need some money to fill it up. Ronnie takes out his wallet. RONNIE Is $ 20 enough? BRANDI Nah, fifty. Ronnie takes out more money and hands it to Brandi. She takes it, counts it, and puts it into her bra. BRANDI Okay, you can pick me up after work on Saturday. Dinner and that's it. Do n't try to kiss me because I'll smack the shit out of you. It's not a date. RONNIE Got it. Not a date. BRANDI Thanks for the ride. Brandi climbs out of the golf cart and walks to her car. She opens the door and starts to get in - RONNIE Hey, Brandi. BRANDI What? RONNIE I lied. It is a date. Before she can argue, Ronnie guns the golf cart and drives away.",
"EXT. MALL - MORNING Ronnie sees Stevie and the Skaters doing hand rails down a ramp while mall patrons try to get by without getting nailed by flying skateboards. Ronnie drives up on his golf cart. STEVIE Our suspension is over. RONNIE I'm not here for that. I need to talk to you. A giant BODYGUARD with a shaved head stands up. BODYGUARD Anything you want to say to Stevie, you can say to me, motherfucker! RONNIE Who the fuck are you? STEVIE This is my cousin, Roy. He's a boxer. BODYGUARD You got a fuckin' problem, bitch?! Ronnie reaches into his belt and produces a can of mace. He sprays it into the eyes of the Bodyguard. The guy goes down and starts SCREAMING IN PAIN. BODYGUARD My eyes! STEVIE Jesus, Ronnie, what the fuck are you doing? RONNIE I need a favor. STEVIE I'm listening. RONNIE As you know, we've had a lot of crime around here lately. Between the Flasher and all the break - ins, I've decided to go to the streets. Frankly, I'm looking for a stool pigeon and you're just the right person. STEVIE Why would I want to help you? RONNIE I could make it worth your while. You like skating at the mall. I could allow you to skate here whenever you wanted. In exchange, you keep your eyes peeled and provide me with any information you come across as to the identity of the perpetrators. STEVIE Sorry, dude, but I'm no snitch. Go find somebody else to do your dirty work. RONNIE Well, let me put it another way. If you do n't help me, I'm gon na spread your little butt cheeks and stick this flashlight up your ass. But like for real. Like I really will do that. This is the new me talking and I get what I need, you understand me, Stevie? STEVIE Alright, dude, I understand, you sick fuck. RONNIE Cool. In that case, have fun shreadin'. Ronnie gets into his Golf Cart and drives off. Stevie looks down at the Boxer who is still on the ground. STEVIE Stop crying, Roy. Stevie starts skating.",
"INT. MALL - FOOD COURT - DAY Ronnie walks into the Food Court and sees Nell waiting at their table with Ronnie's morning Cinnabon. He takes a deep breath and heads over. NELL Hey, sweetie - Oh, I'm sorry, good morning, Officer Barnhardt. RONNIE Good morning, Nell. NELL Where were you last night? I tried to call, but your mom said you were n't home from work yet. RONNIE Look, I got to talk to you about something. I'm not really sure how to put this. Let's see. If you drove a Toyota. NELL I drive a Ford. RONNIE I know, but let's just pretend you drove a Toyota. Now, this Toyota runs really good. It always starts when you need it to and it gets good gas mileage and you do n't have to do much to maintain it. Then you get a really important job like Astronaut, no that wo n't work, you get a job as the head of Wall Street. Well, you may really like that Toyota, but you're going to feel weird about driving it to work every day, right? Now let's say that somebody offers you a chance to get rid of that Toyota and instead you get a Ferrari. It may be more expensive and harder to drive, but I mean, it just looks good as hell. What would you do? NELL I do n't get it. RONNIE You would trade up, Nell. Well, that's exactly what I'm doing. NELL Are you thinking about getting a new car? RONNIE No, Nell, I'm getting a new girlfriend. NELL What?! Who? RONNIE This girl, Brandi. NELL The slutty girl who works at the make - up counter? RONNIE Yeah, I mean, no, she's not a slut. But you're thinking of the right person. NELL How could you do this to me? RONNIE I'm sorry. I do n't mean to hurt you. It's just, well, I believe in this world, you play the hand you're dealt and at this point in my life, I've been dealt five Aces. I'd be a fool not to bet. NELL Why are you doing this, Ronnie? RONNIE I have to, Nell. NELL Do n't you love me? RONNIE Of course I love you. NELL Then tell me why? RONNIE Because I've never dated the prom queen before. NELL Remember when you started this job? You were n't such a hotshot then. I've stood by you when you were at your worst. Every time you fell, I held your hand and told you everything would be okay. Time and time again. RONNIE Come on. Why do you have to bring that up? NELL I never cared about who you wanted to be, I fell in love with who you really are. If you leave me, Ronnie, I wo n't be there to pick you up when you fall. RONNIE Even if I do fall, it wo n't matter, because I'm learning to fly. Ronnie stands up and walks away. Nell sits there sad. She looks down at her Cinnabon and devours the whole thing.",
"INT. MALL - MAURICE'S FOR MEN - DAY Ronnie looks through a clothing rack. It's full of cheap fabrics, lots of imitation silks and shit. A SLICK SALESMAN approaches Ronnie. SLICK SALESMAN Can I help you, sir? RONNIE Yeah, um, I've got a really special date tonight with a hot young lady - Do you know Brandi? SLICK SALESMAN No. RONNIE Never mind. Anyway, I need something that's really ` cool.' Something that will impress her and I guess you could say I'm not exactly in the know with what the hipsters are up to these days. SLICK SALESMAN Let's see. Are you looking to fall in love or are you looking to get laid? RONNIE Um, I guess love, but uh. SLICK SALESMAN You want to get laid, too? RONNIE Watch it, man. She's a lady. But yes. SLICK SALESMAN Alright, I got just the thing. Something classy is what you want. Show her you're a man with taste.",
"INT. RONNIE'S BEDROOM - NIGHT Ronnie's Mom sits on his bed with a bottle of Wild Turkey. She waits for Ronnie to come out of the closet. MOM Come on, Ronnie, just get out here. RONNIE It's too tight in the butt. MOM Let me see. Ronnie comes out of the closet and he's wearing a ridiculous fucking outfit. It's an imitation silk button up, with a pair of black parachute pants. There's two belts for some DOUBLE BELT action. He's got no socks on and a pair of white shoes. He looks like a goddamn fool. MOM Ronnie, you look so handsome! RONNIE Really, you do n't think I look like a phony. MOM Hell no. You look like a stud muffin. RONNIE Yeah, I guess these clothes are kind of cool. MOM Nell is a lucky girl. RONNIE Its not Nell, Mom. MOM Really, I thought you and Nell were going to get married some day. RONNIE I did too. But then I met this girl Brandi and she swept me off my feet. MOM Well, I always liked Nell, but as long as you're happy, Ronnie, that's all I care about. RONNIE I actually feel kind of bad about Nell, but I figure that I can pour all the sadness into Brandi and just really rely on her for my happiness instead of Nell. MOM That sounds wonderful. Is she pretty? RONNIE She is, Mom. She's the most perfect girl in the whole world. MOM I remember when your father picked me up for our first date. I swear he was the most handsome man that I had ever laid eyes on. I knew right then and there that this would be the man that I married. RONNIE I hope that happens tonight. MOM It will, Ronnie. Then you'll have to give her a ring like the one your father gave me. Ronnie's Mom holds up her finger for Ronnie. It's a giant yellow/cottony - looking diamond ring. RONNIE Is that a yellow diamond? MOM It's a glass diamond. This is how it looks now. RONNIE Mom, why did Dad leave? MOM Well, he kind of freaked out when you were born. You had so many special needs that he just could n't handle the pressure. One day, he just could n't take it anymore. RONNIE Do you think it was my fault that Dad left? MOM Definitely. You do n't think it was mine do you? RONNIE Well, I did n't know, with the drinking and all. MOM Nope, it was all you. Ronnie nods. MOM I love you, Ronnie. RONNIE I love you, too, Mom.",
"INT. CAPTAIN O'LANDERS - NIGHT The restaurant is the cheesiest of all sea food restaurants. Think one step down from Red Lobster. Ronnie sits across the table from Brandi. She chugs one of those giant frozen drinks, killing it in one gulp. RONNIE Damn, that was pretty impressive. BRANDI Yeah, work's been pissing me off, so I just need to blow off some steam. RONNIE Well, Brandi, can I just say that you look absolutely beautiful tonight. BRANDI Yeah, I know. -LRB- calling to waiter. -RRB- Nurse! Get me another -. -LRB- to Ronnie. -RRB- You got this, right? RONNIE Yeah, yeah. No problem. BRANDI Nurse! Bring me another and keep'em coming. -LRB- to Ronnie. -RRB- I think it's funny to call the waitress nurse. Ronnie takes a pill bottle out of his pocket. He opens it up and pops a pill. BRANDI Hey, what's that? RONNIE Oh, it's nothing. BRANDI Do n't be stingy, what the fuck is that? RONNIE It's just a pill I'm supposed to take. BRANDI Let me see. Ronnie hands the pills to Brandi. BRANDI Where the fuck did you find these? RONNIE The Doctor. BRANDI Damn, Ronnie, Klonopin. I'm impressed. This is the good shit. I did n't know you partied like this. RONNIE Yeah, I guess I party like this every four to six hours as needed. BRANDI Let me get one. RONNIE Help yourself. BRANDI Hell yeah! Brandi pops a bunch of pills. RONNIE So, how do you like working at the mall? BRANDI I hate that shit. All I do is listen to bitching all day long. I got to put makeup on these fat - ass women all day and it's like, I do n't give a shit what you do, you ca n't polish a turd. RONNIE Yeah, I see how that could get to you. BRANDI Let's do some shots. Waiter, four shots of Jager! RONNIE That's a lot. BRANDI It's Friday. RONNIE So, Brandi, I hope I'm not being too forward, but do you have a boyfriend? BRANDI I've got a few hook - ups but nobody who is a boyfriend. RONNIE Yes! BRANDI You know, it's just like a time in my life where I want to be free right now and think about myself. Not get tied down to one person. RONNIE Yeah, I understand. I hate ties. I recently cut mine and now I'm free like a bird. The shots come. BRANDI Alright, bottoms up. Ronnie holds up a shot to toast. RONNIE To new beginnings. BRANDI Right up your ass! Brandi downs her shot. RONNIE Okay. Ronnie takes his shot. BRANDI Oh, shit! RONNIE No more. I'm sticking to beer. BRANDI What's wrong, is your pussy hurting? RONNIE God, you remind me so much of my mother. Brandi knocks back the other two shots. BRANDI Feel the burn, bitch! RONNIE You are so beautiful.",
"INT. RONNIE'S CAR - NIGHT Ronnie's car is a piece - of - shit Subaru. Brandi is shit - faced and yelling at people out of the window. BRANDI Who wants to see my titties?! Brandi lifts up her shirt and shows the passengers of other cars her boobs. RONNIE Brandi, this is the most fun I've ever had on a date. BRANDI For the last time, this ai n't a date, motherfucker! This is a party! RONNIE Wooo! Um, so, Brandi, it's no secret that I'm attracted to you. I think everybody in the mall is. As you know, I recently split with my girlfriend and basically, I was wondering if, since you do n't have a boyfriend, that I could maybe be your boyfriend and you could be my girlfriend? BRANDI That's my house! Ronnie hits the brakes.",
"EXT. BRANDI'S HOUSE - NIGHT Ronnie opens Brandi's door and helps Brandi out. She's almost passed out drunk. Both of her eyes are closed and she immediately tries to sleep on the ground. Ronnie helps her up, but when he does, Brandi gives him a kiss - a sloppy one. RONNIE Brandi, I had a wonderful time tonight. BRANDI I'm so fucking shit - faced. They kiss again, but when they do, Brandi pukes all over the place. It's a disgusting puke and there's vomit on her cheek and stuff. Ronnie holds her head for her. RONNIE Are you okay? BRANDI My breath smells like asshole. Ronnie looks longingly into her eyes. RONNIE I love you, Brandi. BRANDI I think I've got puke in my teeth. RONNIE I do n't care. Ronnie kisses Brandi passionately on the mouth. He walks her inside the house. On the way in, she falls over. Ronnie helps her up. He carries her into the house where the make - love spot is. CUT TO BLACK.",
"INT. MALL - FOOD COURT - DAY Ronnie is with Dennis in the food court. Ronnie is smiling, but Dennis is n't saying a word as usual. RONNIE Do n't look at me like that, Dennis. I told you I would n't talk. Ronnie sits back, but he ca n't help a giant grin on his face. RONNIE I'm serious, Dennis. A gentleman never kisses and tells. So, just stop with all the pressure because it's just not gon na happen. Ronnie keeps on grinning at Dennis. RONNIE Okay, fine, you son of a bitch, you want details, I'll give you details. I had sex with Brandi last night. Dennis and Ronnie high - five. RONNIE It was amazing. I mean, I've never experienced anything like it. I've been with a girl or two. Dennis stares at Ronnie. RONNIE Okay, fine, I've been with a girl, but let me tell you, this was so much better. You know how many times we did it? Twice! BAM! BAM! BAM! OVER AT THE CINNABON STAND Nell, who looks like she's been crying nonstop, stuffs a whole Cinnabon into her face. As it fills her cheeks, she looks over to Ronnie's table and sees Ronnie making thrusting motions at the table. Nell swallows, stuffs another Cinnabon in, then storms out of the Food Court. BACK AT RONNIE'S TABLE Ronnie continues to talk to Dennis. RONNIE But I got to tell you, Dennis. It was steamy and sexy, but more than anything, I should tell you that it's her soul that I fell for the most. She got pretty tanked, but I could just really tell that she's a good person. The kind of person that I could see myself with. Look, I'm gon na get out of here. There's a lot of people I need to tell about this, so I'll catch up with you later. Oh, and I almost forgot, keep your eyes peeled for crime and stuff. Ronnie leaves the table.",
"INT. DEPARTMENT STORE - DAY Nell watches Brandi as she pops a couple of aspirin behind the makeup counter. She takes a deep breath and walks up to the counter. NELL Excuse me. BRANDI How may I help you? NELL I need to talk to you. BRANDI What is it, honey? Let me guess. You're looking for something to take care of those blackheads and hide that puffiness under your eyes. I've got just the thing. NELL No, that's not it. Well, how much is it? BRANDI Fifty dollars for the bottle. NELL Okay, I'll take it. Brandi begins to ring up the cream. NELL Listen, I know you're Ronnie's new girlfriend. BRANDI What the hell are you talking about? NELL It's okay. I know he left me to be with you and I accept that. BRANDI I do n't know who you've been talking to, but it's safe to say that you're fucking trippin'. NELL It's fine really. It's going to take a while for me to get over it, but I'll be okay. Nell starts to get all teary - eyed. She picks up a Kleenex from a box on the counter and wipes her eyes. BRANDI Oh fuckin' Lord. This is disgusting. NELL I'm sorry. BRANDI Pull it together. This is how you run around all the time? Have some self - respect. No wonder your man left you. Who the hell would want to be around this shit all day? Nell pulls herself together. NELL Jesus teaches us to forgive. And I forgive you for what you did to me when you stole my boyfriend. Plus, I feel pretty confident that you'll end up burning in hell because of the various evil ways you live your life and that brings me some satisfaction. But I just want to tell you that Ronnie is a good person. He does a lot of stupid stuff, but really, he wants to do good for the world. I want you to know that if you hurt him and ruin his heart, I will personally come down here and kick the ever living shit out of you. Nell walks away. BRANDI You better fuckin' run, bitch! Nell turns around and starts storming toward Brandi. Brandi throws her hands up, frightened. BRANDI I'm just kidding. Nell stops charging and walks away. Nell walks past Bruce who is helping a customer at the end of the counter. NELL It's not too late to change your ways. BRUCE Okay. Thanks. Nell walks out of the department store.",
"INT. MALL - FLOWER SHOP - DAY Ronnie looks at the colorful flowers in the glass refrigerator. The FLOWER SALESMAN walks up to Ronnie. FLOWER SALESMAN Ronnie, I've been expecting you. RONNIE You have? FLOWER SALESMAN Oh yeah, I heard about last night. Brandi is quite the woman. Congratulations, my friend. Or should I say, welcome to the club? The Flower Salesman winks and starts laughing. Ronnie does n't. It gets weird so the Flower Salesman stops. RONNIE What color of roses do the women like anyway? FLOWER SALESMAN Well, it depends on what you are trying to say. The white roses symbolize innocence and purity. RONNIE Yeah, we're way past the color white if you know what I mean. What about the yellow ones? FLOWER SALESMAN Joy, happiness, appreciation. RONNIE I do n't even know what to make of that. FLOWER SALESMAN The pink rose means thank you. RONNIE Next. FLOWER SALESMAN The red rose is the most powerful. It symbolizes love. RONNIE Why did n't you just say that? I'm a busy man here. FLOWER SALESMAN I'm sorry. RONNIE Forget it. Give me a big bag of the red ones. FLOWER SALESMAN Um, can I ask a question? RONNIE Go ahead. FLOWER SALESMAN Do you really like Brandi? RONNIE I've only been on one date with her, but I could see myself being with her for all of eternity. FLOWER SALESMAN Well, in that case, the greatest symbol of love is just a single red rose. RONNIE Seems like a big bag of roses would be more love than just one, but I guess you're the expert. Gim me one. The Flower Salesman takes a single red rose from the case and hands it to Ronnie.",
"INT. DEPARTMENT STORE - DAY Brandi is behind the counter gossiping with Bruce. Ronnie holds his rose and watches them from a distance. He takes a deep breath and then walks to the counter. RONNIE Brandi? BRANDI What are you doing here? RONNIE I came here to see you. And to present you with this single red rose. It symbolizes ` love.' BRANDI Ronnie, that's really. uncalled for. RONNIE Well, after last night, I just wanted you to know that it was n't just some fling to me. It meant something special and I felt it deep in my soul. BRUCE You fucked the Security Guard? -LRB- PLAYFUL. -RRB- You are such a little slut! BRANDI Oh, like you've never been drunk, Bruce! Brandi grabs Ronnie and pulls him off to the side. BRANDI Ronnie, look. I got to be honest with you. I barely remember last night. RONNIE I remember it for the both of us. BRANDI Okay, see here's the thing. I do n't know how to say this, so I'm just gon na come on out with it. Ronnie, I could never date you seriously. I mean, you're a security guard. RONNIE I'm the head of Mall Security. BRANDI Exactly. The point is, I do n't really see myself being with that. Like ever. You know what I mean? RONNIE Brandi, I know exactly what you mean. And I just want to thank you for being honest. You're telling me I'm not living up to my full potential in life. It's funny, because I've been feeling like this for quite some time. I guess I just needed that extra little push to get me over this hurdle I've been stuck on. How can you be with a man who is n't living the life he was meant to? BRANDI Yeah, something like that. And just you know, you're a security guard at the mall and it's like, come on, you know? RONNIE I do n't like it, Brandi, but I do understand. I promise you this. Next time you see me, I will be wearing a uniform that will make you proud. I will be the man that you will be honored to call your life's love. BRANDI Do n't bet on it. RONNIE I will though. I'll bet everything I have on you. Now I ask you for one favor. Although I am unworthy, will you accept this rose from me anyway? BRANDI I ca n't do that. And tell your girlfriend to stop coming by my work and threatening me and shit. Brandi walks away, leaving Ronnie there holding his flower.",
"INT. POLICE STATION - DAY Ronnie sits at a small table and waits patiently. Then a POLICEMAN walks into the room. Ronnie stands to shake his hand. RONNIE I'm here to become a police officer. POLICEMAN We're always on the hunt for new recruits. Do you have at least a high school diploma? RONNIE I have a GED. POLICEMAN We usually prefer an actual diploma, but GED is technically acceptable. Are you a citizen of the United States? RONNIE You bet your ass I am. POLICEMAN Okay, Mr. Barnhardt, there are several steps you have to complete in order to be eligible for the police academy. Physical evaluation, psychological test, background check. If you pass these tests, you will be admitted to the police academy. Now, I like to tell all new recruits that they should complete a ride along before making this decision. It's where you actually ride along with a real police officer during a routine patrol. It helps give you an idea of the kind of situations you'll be dealing with. Sound good? RONNIE That sounds fun. Sign me up.",
"INT. POLICE CAR - NIGHT Ronnie sits in the unmarked police car with Detective Harrison. RONNIE It's like it was meant to be. You behind the wheel. Me riding shotgun. Two brothers of the badge unite to form the ultimate crime - stopping combo. I'm psyched to be here, Harrison. Thank you for the opportunity. DETECTIVE HARRISON You requested to ride along with me. RONNIE I know. You want to know the truth. It's because I respect you. See, when we're at the mall, it's obviously my turf. Sure, I break your balls about being a rookie, but out here in the streets, I'm the rookie. I'm here to learn. Teach me. DETECTIVE HARRISON Why do you want to become a Cop? RONNIE I've wanted to be a Police officer all my life. Do n't get me wrong, I love keeping the mall safe, but you guys are the ones that really enforce justice and protect, not just our mall, but our whole community. I do n't tell the guys on my squad this, but the Security Guard job was just temporary. DETECTIVE HARRISON Well, just pay attention tonight and make sure you stay out of the way. RONNIE Right, we're not back at the station anymore so we can cut the charade. DETECTIVE HARRISON What are you talking about? RONNIE Well, I know that policy demands I stay out of the way, but between you and me, I just want you to know that if anything pops off tonight, I'm going to jump right in there and take'em down with you. DETECTIVE HARRISON No, no. Ronnie, policy says you have to stay in the car. RONNIE I get you. You have to say this in order to keep you safe ` legally' speaking. I should probably follow along too.' I swear I wo n't get out of the car and fight justice tonight.' DETECTIVE HARRISON Ronnie, you really ca n't. RONNIE I know. Ronnie winks at Detective Harrison. A smile comes across Harrison's face. DETECTIVE HARRISON I'm glad we understand each other. Detective Harrison puts the car in drive and the guys head off for the night.",
"INT. POLICE CAR - LATER THAT NIGHT Ronnie and Detective Harrison sit in the parked car. They're at the shittiest crack corner in the whole town. Lots of scary bums and hookers loiter around the car. RONNIE Yeah, so then I basically saw his ass trying to circumvent around the ped exit and slip through the employ exit. Not allowed. The two ped exits are to be used only - DETECTIVE HARRISON You see that corner there, Ronnie? RONNIE Yeah, I see it. DETECTIVE HARRISON That corner used to be the worst corner in this whole town. It was riddled with drugs, prostitution, and gang violence. It was nicknamed ` The Crossroads.' RONNIE Shit, I've heard of that. DETECTIVE HARRISON That's right, but myself and the other officers worked on cleaning it up for years so that the good folks of this neighborhood would n't have to worry about being safe. Yes, sir, that corner is a testament to the fine police work of our force. RONNIE I do n't know. It looks pretty shitty to me. DETECTIVE HARRISON Well, it's a low income area, Ronnie. You're being kind of prejudiced. RONNIE Oh, yeah, I can see that it's basically a fine neighborhood. DETECTIVE HARRISON That's right, but it has n't been easy. We still patrol this area every night just to keep our presence up. RONNIE I use that same technique at the mall. DETECTIVE HARRISON I'm sure. I usually do the foot patrols myself, but because I like you, I'm going to let you do it tonight. RONNIE Really? DETECTIVE HARRISON Yeah, really. But I told you about department policy, so I'm going to need you to keep quiet about this one. RONNIE You can count on me. Thank you for the honor. DETECTIVE HARRISON Of course, Ronnie. I just really believe in you. RONNIE I wo n't let you down. Ronnie opens the door and gets out of the car. As he exits, a car drives by BLARING RAP MUSIC. The passenger throws a beer bottle at Ronnie. He dodges it and the bottle shatters on the ground. Ronnie is shaken, but he waves to Detective Harrison like he's okay. Detective Harrison waves back, then PEELS OUT OF THERE. Ronnie is confused. RONNIE Where are you going?! Detective Harrison keeps on driving without looking back.",
"EXT. CROSSROADS - A SHORT TIME LATER Ronnie looks petrified as he stands guard. A BUM stands off to the side staring Ronnie down. Ronnie waves to the bum. The bum runs his finger under his throat. Ronnie tries to ignore him. A group of KIDS walk by Ronnie talking loudly. RONNIE Hey, no horse play. You guys get on home. KID You want some crack? RONNIE No, I do n't want any crack. In fact, I did n't want to do this, but you leave me no choice in the matter. I'm placing you under citizen's arrest. Ronnie grabs the little Kid by the shoulders to restrain him. KID Let me go, motherfucker! RONNIE I place you under citizen's arrest for the crime of selling a Schedule 1 Narcotic. You have the right to remain silent. Unbeknownst to Ronnie, Gang Members start walking up behind him. It's like that scene in Training Day where all the gangsters are hanging out right across the street with guns and shit. They come up behind him as he speaks to the kids. RONNIE If you can not afford an attorney, one will be appointed to you. Now I guess we just wait here for my ride to come back. Ronnie turns around to look for Harrison's return, but instead he sees that he is surrounded by a large group of pissed - off GANG MEMBERS. GANG MEMBER #1 That's my little brother you got there. RONNIE Who, this little guy right here? GANG MEMBER #1 That's right. RONNIE Well, I hate to be the one to tell you this, but it appears that your little brother has tried to sell me illegal drugs. I know it's hard for you to hear that. GANG MEMBER #1 He works for me, motherfucker! RONNIE Is that so? Well then, it looks like you got one less employee because I'm taking little brother down. I'll die right here before I let crime prevail. The Gang Members all pull out their guns and point them at Ronnie. RONNIE -LRB- to the little Kid. -RRB- Free to go, little brother. My mistake completely. Good luck with the crack. The little Kid runs off. RONNIE Alright, so I guess I'll be seeing you folks. The Gang Members stand in Ronnie's way and cock their guns. GANG MEMBER #2 Yo, waste this pig, Tone. RONNIE Oh, no. That's really not necessary, Tone. GANG MEMBER #2 Do it, man. Gang Member # 1 puts the gun right up to Ronnie's head. RONNIE Oh, Jesus, I do n't want to die. Do n't let me die, do n't do it! Ronnie goes down on his knees. RONNIE No, please! I'm sorry! Ronnie reaches into his boot and pulls out a small rod. He flips his wrist and it extends into a night stick. Ronnie's begging was a trap. Ronnie pops up and begins dropping all those motherfuckers with lightning - fast precision. Ronnie breaks arms and busts heads like a fucking ninja. Gang Member # 1 comes in and hits Ronnie with a sucker punch, busting his nose wide open. Ronnie stands up and goes mano y mano in a fist fight with Gang Member # 1. He starts kicking Ronnie's ass. Ronnie goes down again and Gang Member # 1 starts stomping Ronnie. Ronnie grabs Gang Member # 1's leg and twists it. He takes him down. Ronnie jumps on top of him and begins beating him senseless. SLOW MOTION : Ronnie stands up and looks around at the pool of beaten bodies. This is Ronnie at his most primal and also at his best.",
"INT. POLICE STATION - NIGHT Detective Harrison is eating doughnuts and laughing with a bunch of other COPS. COP #1 I ca n't believe you dropped him off at the Crossroads. That's fucking hilarious. DETECTIVE HARRISON Trust me, you would have done the same thing. This guy is without a doubt the biggest fucking idiot I have ever met. COP #1 He's probably going to get killed. DETECTIVE HARRISON Good! Fuck him, I hope he does get killed. All of a sudden, Ronnie comes in all beaten and bruised. DETECTIVE HARRISON Ronnie, what are you doing here? RONNIE I know what you did! DETECTIVE HARRISON Ronnie, look, I did n't do anything - RONNIE You're not going to talk your way out of this one. You set me up! DETECTIVE HARRISON Ronnie, look - RONNIE Do n't try to deny it! You set me up and that's all there is to it. DETECTIVE HARRISON Ronnie, I - RONNIE And I just want to thank you for it. DETECTIVE HARRISON Thank me? Why? RONNIE Because I'm proud to report that I passed the test. I know you wanted to see if I had the chops to cut it on the police force and I'm glad to say that I passed. I knew I would get initiated some time, but I did n't think it would be so soon. Thank you, Detective Harrison. Thank you for believing in me. DETECTIVE HARRISON Ronnie, I do n't know what to say. RONNIE You do n't have to say anything. Your actions speak for themselves. Thank you for giving this rookie a shot. Get used to seeing Ronnie Barnhardt around here, boys. BAD - ASS PHYSICAL EXAM MONTAGE - INT. TRAINING FIELD - DAY SPRINT : The TESTING OFFICER blows a whistle and starts the 100 meter dash. Ronnie jumps off the starting line and hauls ass down the track. The other Trainees fall behind Ronnie as he smokes their asses. PULL - UPS : Ronnie jumps on the bar and begins to do pull - up after pull - up. SIDE SLIDE : The Testing Officer blows a whistle and Ronnie begins to shuffle side to side like an ice skater that never moves forward. SIT - UPS : Ronnie goes hard on the sit - ups. OBSTACLE COURSE : Ronnie sprints up a wall and flips to the other side. He charges a body of water, then jumps onto the rope and swings safely to the other side.",
"INT. MALL - NIGHT All the lights are off and we see the dark shadow creep through the darkness. The shadow breaks into the SHOE STORE and grabs as many pairs of sneakers that it can carry. The shadow opens the sliding cage and closes it from the other side. Then bends down and locks it.",
"INT. MALL - MANAGER'S OFFICE - THE NEXT DAY Mark sits behind his desk reading a paper. The HEADLINE READS : CHAOS CLIMBS AT CAROLINA MALL. There's a KNOCK at the door. MARK Come in. Ronnie sticks his head in the door. RONNIE Good morning, Mark. MARK Is it, Ronnie? I mean, the mall is getting butchered in the press. Somebody who works here is ripping the place off. The cops do n't have any leads. I'm getting shit from the owner of the mall. Sales are down. I mean, what's so good about this morning? RONNIE I feel your pain, Mark. Quite frankly, there's two things happening. One, I'm lacking a sufficient firearm. And two, we're understaffed. That's why I come to you this morning with a plan. -LRB- calling to the door. -RRB- Come on in, Charles. Charles opens the door and walks in. MARK Who is this? RONNIE This is Charles, sir. CHARLES -LRB- BOUNCER. -RRB- How's it going? MARK You work at O'Charley's, right. CHARLES That's right. RONNIE Mark, I would like to hire Charles here as an additional Security Guard. He would operate under me. I figure with the additional criminal element, we should hire more security in hopes that we would have a better chance of catching these guys. MARK Do you have any experience, son? CHARLES Not really. RONNIE Um, sir, I have personally been training young Charles for weeks now in preparation for this day. The kid kind of looks up to me. I'm some what of a big brother to the little guy. Charles kind of looks at Ronnie like he's crazy. MARK Alright, it's actually not a bad idea. It might make our Security more visible so we can give people the illusion that we're on top of this. Ronnie winks at Charles. CHARLES Thank you, Mark. MARK Ronnie, one more thing. Look, if this crime does n't come to an end pretty soon, we're gon na have to let someone go. I mean, you've always done a great job for me, but the truth is, someone is going to have to take the fall. You're the one who wanted to be Head of Mall Security and quite frankly, I just bought my wife a new Cadillac, so let's just say it wo n't be me. RONNIE With Charles on my team, I can now devote more time to the robbery and Pervert case. I plan on having these wrapped up by the end of the week. Mark laughs to himself. RONNIE Why'd you just laugh? MARK It's nothing. Have fun, Ronnie. Ronnie looks at Charles. RONNIE Did I say something funny? CHARLES Let's go, Ronnie. Ronnie and Charles take off.",
"INT. MALL - DAY Ronnie and Charles stand in the middle of the floor and supervise the `` mall walkers.'' CHARLES Be careful, guys. Nice and slow. RONNIE That's not bad, but you need to learn to speak in a more authoritative voice. Watch this. Slow it down! Slow it down! You've already received one verbal, do n't make me issue a second! -LRB- back to Charles. -RRB- See, you ca n't be intimidated. You have to make them respect you. CHARLES Ronnie, you know I really want to thank you for the job. You're a man of your word. RONNIE No problem, my young student. So, I got something to tell you. Keep this between us until it's official, but I do n't think I'm going to be here for much longer. CHARLES You're quitting? But you love this job. RONNIE I do love it, but it looks like someone is going to be joining the police force. CHARLES The real police? RONNIE They're calling me up. It's basically a done deal. Just a little red tape is the only thing keeping me from carrying a gun. CHARLES I did n't even know you wanted to become a Cop. RONNIE It's always been my job. The Mall thing is great training, but it has its limitations. Some stars are just meant to shine brighter than others. CHARLES Congrats, brother. RONNIE -LRB- to a mall walker. -RRB- HEY, SLOW IT DOWN, LADY! A Mall Walker slows her pace. She turns around and Ronnie sees that it's Nell. RONNIE Nell? NELL Hey, Ronnie. RONNIE What are you doing? NELL Nothing, just getting in shape. RONNIE Well, that's okay, I guess. Just watch your speed, okay? Nell waves and walks on. CHARLES Is n't that your girlfriend? RONNIE Ex. CHARLES She looked good. RONNIE You think so? CHARLES She looks a lot better. RONNIE Yeah. Ronnie shrugs it off.",
"INT. PSYCHOLOGICAL EVALUATION - DAY Ronnie sits across from a female PSYCHOLOGIST. PSYCHOLOGIST Okay, Ronnie, today I'll be giving you a psychiatric evaluation to determine if you're competent to enter into the Police Academy. It's really just a formality. Do n't want any serial killers working for us, now do we? RONNIE No, ma'am, we do n't. PSYCHOLOGIST Okay, Ronnie, so let's start with your background. Where are you from? RONNIE Born and raised right here. PSYCHOLOGIST Local boy. Okay, and, Ronnie, have you ever been convicted of any crimes? RONNIE No, ma'am. My record is totally clean. PSYCHOLOGIST Do you now take any illegal drugs or have you taken any in the past? RONNIE No, ma'am. I believe drugs are the path to self - destruction and should be purged from the face of the earth with ruthless vengeance. PSYCHOLOGIST Any prescription medications? RONNIE Yes, for my nerves. A man in my line of work has a lot of stress to deal with. If you've seen the bloodshed I've seen, you'd be on the meds too. I - Where are you going with this? PSYCHOLOGIST Are you presently or have you ever been affiliated with the Communist Party? RONNIE I ca n't believe you'd even ask me that. PSYCHOLOGIST Have you ever been in the military? RONNIE Yes. PSYCHOLOGIST What branch of the military were you in? RONNIE The kind of branch that does n't exist on paper. PSYCHOLOGIST Okay, here's a real world scenario. You have a gun - RONNIE Finally. PSYCHOLOGIST That was n't really the question, never mind, I think I got that one. Um. here's one. Do you feel like you would work well on a team? RONNIE Would I? Yes. Would I be more useful working alone, I would say definitely. I see myself more like a Rambo kind of guy. A man who rolls solo. Taking care of business on his own terms. Kind of like a Superhero or something. PSYCHOLOGIST Why do you want to become a cop? RONNIE I want to become a cop to help people. The world is a scary place with lots of evil everywhere. See, I have this vision of evil trying to get at the world from every angle and there I stand at the top of it all with my gun, just kind of blowing it away. Just me and my weapons, cleaning up this whole town. I know I could do some good if I was just given a chance and everybody would be a lot better off. PSYCHOLOGIST Uh - huh. So, what do you feel is the greatest danger facing a police officer today? RONNIE Maybe Russian gang activity, but you know what? I think I'm gon na have to go with evil on that one too. PSYCHOLOGIST Okay, I think we're good here. It's been a pleasure, Ronnie. RONNIE Thank you, ma'am.",
"INT. RONNIE'S HOUSE - BATHROOM - NIGHT Ronnie's Mom takes a bath and swigs on a bottle. She's drunk and passing out in the tub. Ronnie scrubs her back with a sponge. RONNIE I'm telling you, Mom, this police thing could be good for both of us. Not just the fact that I'll be making the streets safer for you, but they have health insurance and a pension plan so I do n't have to worry about your medical bills as much. MOM I do n't care about that bullshit. All I need is a little nip of this good shit right here and I'm ready to walk through the pearly gates. RONNIE Mom, I know, but maybe you should stop drinking so much. You're getting up there and you know what the doctor said about your liver. MOM I do n't tell you how to party, do n't tell me how to live my life. I've taken care of you since you were born. RONNIE I just worry about you is all. MOM Ronnie, do n't get your hopes up about this police thing. RONNIE Why would you say that? MOM You know why. I just do n't want to see you get hurt. It's my job to protect you from the bullshit. RONNIE Mom, I appreciate it, but I'm going to make it as a police officer. I'm tired of coming in second all the time. Everybody in life gets to go for their goals, why should I be any different? MOM I know. Just be careful is all. You've got a good heart and I do n't want to see it broken. RONNIE Okay, Mom. I hear you. MOM And, Ronnie, one more thing. RONNIE What's that, Mom? In the tub, a bunch of bubbles plop to the surface. RONNIE Mom! That's gross! MOM -LRB- drunk laughing. -RRB- That's right! Now you got to smell it! RONNIE Mom.",
"EXT. POLICE ACADEMY - DAY The Police Academy is full of energy as new recruits pour up the steps and into the building, eager to start their training. Ronnie comes walking up and takes a long look at the building. Ronnie smiles to himself and heads up the stairs. Ronnie reaches the top where Detective Harrison is waiting. Ronnie stops. RONNIE Ronnie Barnhardt reporting for duty. DETECTIVE HARRISON I can see that. Listen, I do n't really know how to say this, but we're not going to be able to let you join the academy. RONNIE What?! Why not? DETECTIVE HARRISON It seems you had a little trouble passing the minimum requirements. RONNIE Did I fail one of the tests? DETECTIVE HARRISON Well, yes, actually, you failed the psychological exam. RONNIE No! DETECTIVE HARRISON It says. -LRB- reads from the form. -RRB- That Ronnie Barnhardt shows warning signs of delusion and allowing him to join the force puts his life and the lives of others in jeopardy. RONNIE Detective Harrison, you've got to believe me. I'm completely sound. This has got to be a mistake. DETECTIVE HARRISON Ronnie, I personally did your background check and this is the fifth time you've been turned down for the police academy. RONNIE You guys keep records on that? DETECTIVE HARRISON We sure do. Look, I tried to talk to them, but there's no way they're gon na let you in. I'm sorry, but your dreams of becoming a Police Officer just are n't going to happen. RONNIE I understand. Thanks for believing in me, Detective. And just for the record, I'm not crazy. DETECTIVE HARRISON Take care, Ronnie. Detective Harrison goes inside and closes the doors on Ronnie. Ronnie stands outside of the closed academy by himself. The CAMERA PUSHES INTO Ronnie and SPINS UPSIDE - DOWN. CUT TO BLACK.",
"INT. CAROLINA MALL - MORNING Ronnie is behind the locked gate to the food court, but it looks like he is behind bars in a prison. Ronnie slides the bars up and walks out.",
"INT. MALL - DAY Ronnie walks through the mall and looks at the lights of the different shops. Everything looks colorful and weird. Ronnie is in his own head. This is n't the exciting world as before, now it's a disgusting fabricated make - believe land. TIME LAPSE : A DAY SPEEDS BY AS RONNIE WALKS LIKE A ZOMBIE THROUGH IT ALL.",
"INT. MALL - FOOD COURT - NIGHT The mall is kind of winding down for the day. The stores are closing and people are going home. Ronnie sees Nell putting her apron away and preparing to leave. Ronnie walks up to her. RONNIE Hey, Nell. NELL Hey, Ronnie. How's it going? RONNIE Can I talk to you for a second? NELL What is it? RONNIE I tried to get into the police academy again and the same thing happened. NELL Oh, Ronnie, I'm sorry. Ronnie starts to tear up. RONNIE Why does this keep happening to me, Nell? NELL I do n't know, Ronnie. Maybe it's just not meant to be. Are you okay? RONNIE No. Are you going home? I mean, do you want to go somewhere and talk or something? NELL Ronnie, I ca n't. RONNIE Why not? NELL I've got plans. RONNIE What plans? SADDAMN Look at this sorry piece of shit. Ronnie looks up to see Saddamn walking toward him. RONNIE What the fuck do you want? SADDAMN I do n't want anything from you. -LRB- to Nell. -RRB- How you doing, sweetness? Saddamn hugs Nell from behind and kisses her on the cheek. SADDAMN You look beautiful tonight. RONNIE What the fuck is going on? SADDAMN You ready to go? We got reservations at 9:00. NELL I'm ready, Saddamn. RONNIE Nell, for the love of God, do n't go with him. NELL I'm sorry, Ronnie. Nell and Saddamn turn and walk towards the door. On the way out, Saddamn turns back around to Ronnie and smiles. Then, he begins to `` air hump'' Nell from behind. RONNIE Do n't go, Nell. Remember your purity! Remember your purity! Nell and Saddamn leave the mall.",
"INT. MALL - DAY Ronnie sits down on one of the benches in the mall. He watches a couple walk by, their little kid swinging between their arms. Then, Stevie comes in and takes a seat next to Ronnie. STEVIE What are you doing, Ronnie? RONNIE I'm just taking a break. What do you want, Stevie? I do n't have time to fuck around with you today. STEVIE I got something. Stevie reaches into his pocket. He pulls out a bunch of Polaroids of penises. RONNIE What the fuck is this? DUDE Dude, I found these all over the mall. I'm guessing that whoever this Mall Flasher is, left these for girls to find. RONNIE This thing gets grosser and grosser all the time. Well, thanks for the clue. Maybe I can use this to identify the freak. You can skate all you want around here. STEVIE What's wrong with you, Ronnie? RONNIE What do you mean? STEVIE I do n't know. You just seem kind of sad. RONNIE Nah, man, I'm fine. I mean, I'm catchin' perverts and protecting this mall and just you know, really livin' the dream. STEVIE That's cool. Look, man, you want to get high? RONNIE No, I do n't want to get high. STEVIE That's cool. The conversation dies down and the two just kind of sit there. RONNIE And by the way, if I see you getting high, I will call the police and have your criminal ass arrested. Do n't you fuckin' ever mistake my kindness for weakness. I hate drugs and I hate you too. STEVIE Fine, you fucking dick. Steve stands up to leave. Ronnie sits there looking sad.",
"EXT. MALL - NIGHT Ronnie sits in his golf cart staring at the mall as the last of the customers leave. That's when Ronnie sees Brandi come out of the door. Brandi looks around and darts across the parking lot. Ronnie follows Brandi's path and tries to catch up with her.",
"EXT. MALL - NIGHT Ronnie drives around, but he ca n't find Brandi anywhere. Ronnie sees a lone black car at the outer edge of the parking lot. He pulls his golf cart over and climbs out. Ronnie creeps up to the car and peers in the window. Inside, Ronnie sees Brandi and Detective Harrison banging like a couple of wild animals. Ronnie jumps back in shock!",
"INT. DETECTIVE HARRISON'S CAR - NIGHT Brandi stops humping Detective Harrison. BRANDI Shhhh. DETECTIVE HARRISON What is it? BRANDI I thought I heard something. Detective Harrison looks out of the window. He does n't see anything. He climbs back on top of Brandi. DETECTIVE HARRISON It's nothing. OUT OF NOWHERE, A FLASHLIGHT BREAKS THE BACK WINDOW OF THE CAR.",
"EXT. MALL - NIGHT Ronnie runs around Detective Harrison's car wielding a flashlight like a mad man. RONNIE HARRISON! Ronnie beats the shit out of Harrison's car. He smashes headlights, mirrors and fenders. INSIDE THE CAR Harrison and Brandi duck down. BRANDI Shit! DETECTIVE HARRISON That motherfucker is crazy. BRANDI Well, you're the fucking cop. Do something. DETECTIVE HARRISON You're right. Okay, here it goes. Harrison reaches over Brandi and opens her door. BRANDI What the fuck are you doing?! Harrison pushes Brandi out of the car and shuts himself back in. OUTSIDE Ronnie sees Brandi and stops pummeling the car. BRANDI Ronnie, it's me! Do n't do anything crazy. RONNIE Get back inside, Brandi. This is n't about you. you. you slut! BRANDI Fuck off, Ronnie. RONNIE How can you just stand there after you ruined my life and act like nothing happened?! BRANDI It's easy'cause I do n't give a FUCK ABOUT YOU! Ronnie SNAPS. He charges at Brandi with the flashlight over his head. He's about to crack her when. CLICK. Ronnie STOPS to see Harrison on the other side of him with his pistol drawn and pointed at Ronnie. DETECTIVE HARRISON Drop the flashlight, Ronnie. Ronnie drops the flashlight from his hands. RONNIE You're pretty tough with that gun. DETECTIVE HARRISON Ronnie, I know you've had a hard time - RONNIE You were supposed to be my friend! DETECTIVE HARRISON So you're gon na kill Brandi? RONNIE I was just trying to scare her. BRANDI You do n't scare me, you piece of shit. Ronnie lifts the flashlight up again like he's going to hit Brandi. Brandi ducks. Detective Harrison cocks the gun. DETECTIVE HARRISON Ronnie! RONNIE Fine, fuck you! Fuck all of you! And, Harrison, you better be glad you have a gun or I'd kick your ass too. And you know what? I'm taking my friendship back because you do n't deserve it! And, Brandi, I'm taking my love back too. I'm gon na leave now and you two can just have fun. Have fun sleeping tonight because something tells me, you wo n't be able to. Ronnie climbs into the golf cart and drives off. DETECTIVE HARRISON That guy is a nut job. BRANDI Tell me about it. DETECTIVE HARRISON So you slept with him? BRANDI I was drunk okay. You gon na make a big deal out of it. DETECTIVE HARRISON No, I guess not. BRANDI Fine.",
"INT. RONNIE'S BEDROOM - NIGHT ON THE TELEVISION : There's an update on the CAROLINA MALL FLASHER. It says he has exposed himself to more girls. As the TV blares the headline, Ronnie lays in his bed and watches. The images shine COLOR on him, but Ronnie is in his own world.",
"INT. MALL - FOOD COURT - DAY Ronnie has the Special Elite Task Force assembled. RONNIE I'm disbanding the task force. CHARLES Hey, Ronnie, that's crazy talk. Are you cool? RONNIE No, I'm not cool, Charles. In fact, shit is seriously fucked up. I've got to protect the whole mall by myself. Now, I got you this fucking job, when are you going to stop being a little baby and do something for a change. -LRB- MOCKING. -RRB-' I do n't want to do anything hard. I just want to be a little bitch and brag about dropping out of college.' Grow a fucking pair, will you, Chucky? CHARLES I'm gon na go check the parking lot. Charles walks away. RONNIE -LRB- calling out. -RRB- I'm sorry, Charles! I did n't mean it, buddy! Ronnie puts his head on the table. RONNIE You know, Dennis, for the longest time I made this job my whole life. I looked at this mall as a kingdom and I looked at Mark as the King. I thought of myself as the first Knight and the customers, well, they were the peasants. I lived by an old code where one was bound by duty and honor. But now I do n't know if I believe in that code anymore. I've lost my way. Now I just feel like it's one big kingdom of shit. Right now, I got half a mind just to let this whole place burn. Burn it to the fucking ground! Dennis stares down at the desk. Dennis takes off his hat and reveals that he has bleached white Eminem hair underneath. Next, he reaches under his collar and flips out a thin gold necklace. He kicks up his shoes and reveals the newest and freshest basketball kicks. This is the REAL DENNIS and for the first time ever, he speaks. DENNIS -LRB- high ghetto voice. -RRB- I've been waiting on you to get on my page this whole time. You look at this mall as a Kingdom?! Shit! I look at this place like a motherfucking jail sentence. You put on that uniform every morning, but what are you really protecting? Commerce and corporations and money. Well I say, fuck that! I'm a fucking outlaw and I'm going to live that until the day I die. Now, I can show you the way, but you've got to be willing to accept it. So I'm gon na ask you now, Ronnie. Are you ready for a trip to the other side? RONNIE You're goddamn right I'm ready. DENNIS Alright then. Let's party.",
"EXT. DUMPSTERS - DAY Dennis and Ronnie hang in the back of the mall by the dumpsters. Dennis sucks down a fat joint. He passes it to Ronnie. DENNIS So, yeah, usually I take a joint straight to the head before I start work in this motherfucker, but on really stressful days, I like to get drunk too. Dennis pulls out a flask and gulps it down. Ronnie is still staring at the joint. Finally he takes a puff and begins violently coughing. He finally stops. RONNIE Fuck it, give me the bottle. Dennis hands Ronnie the bottle and he takes a big swig.",
"INT. MALL - DAY Ronnie and Dennis stand against a wall while they check out booties of various shapes and sizes on all of the girls that walk by. DENNIS So then I usually come in here and perv out on girls for about an hour or two. I hooked up twice last week. One was this Asian chick and the other was this mom. She was n't that hot, but what else do I got to do? Two high school girls walk by. DENNIS Sweet Jesus in the morning.",
"INT. DEPARTMENT STORE - DRESSING ROOM - DAY Ronnie and Dennis are hanging in a dressing room. DENNIS Dressing rooms are a great place to hide out, because nobody is really going to think of looking for me here. You can nap or just kind of hang out and just really have some personal time. Hey, hand me that camera. Ronnie picks up a shitty camera and hands it to Dennis. DENNIS Thanks, Ronnie. Dennis stands up on the bench and looks into the other changing room. The two high school girls are changing into other clothes. Dennis starts taking pictures of them without them knowing.",
"EXT. DUMPSTERS - DAY Ronnie is smoking a joint and so is Dennis. DENNIS Right before lunch I usually blaze up again real good.",
"EXT. MALL - DAY Dennis and Ronnie walk by the skaters. DENNIS Hey, what's up, motherfuckers?! STEVIE What up, Big Den?! DENNIS You know, smokin' that good good. STEVIE Dude, why are you hanging out with Ronnie? RONNIE Fuck you, Stevie! DENNIS Hey, Ronnie's alright. Let me see that stick. Stevie slides the skateboard over to Dennis. He jumps on it and does a perfectly executed kick flip. The skaters cheer!",
"INT. DEPARTMENT STORE - DAY Brandi is at the counter with Bruce. She helps a MALE customer. BRANDI That'll be $ 39.99. MALE My wife's gon na love this perfume. BRANDI I hope so. It's my favorite. Brandi looks past the Customer and sees Ronnie just standing there staring daggers at her. Ronnie shakes his head in disgust. The Male Customer turns around and sees Ronnie. It's a weird little moment. Dennis grabs Ronnie by the arm. DENNIS Come on, brother. Let's go. Ronnie follows Dennis off. CUT TO BLACK. THIS BEGINS THE ROCKING MONTAGE OF MALL DESTRUCTION",
"INT. RECORD STORE - DAY Ronnie stands in the store and looks down at his walkie. MARK -LRB- V.O. -RRB- -LRB- over the walkie. -RRB- Ronnie, we need you down at the candy store. Some little brat has been shoveling peanuts in his mouth for the last hour. Ronnie turns the walkie - talkie off. Dennis runs behind the counter. Dennis drops the needle on a ROCKIN' SONG. Dennis jumps on top of the counter and starts jumping up and down with the music. He's fucking drunk. Dennis jumps off the counter and tackles Ronnie, knocking over a stand of DVD's.",
"INT. MALL - DAY Ronnie and Dennis ride on a mini railroad train for kids. They both drink from the flask as they spin around the track. It's full of nothing but kids and security.",
"INT. MALL - VICTORIA'S SECRET - DAY The HOT SALES CLERK stands outside of the dressing room wearing a sexy teddy with a G - string and garters. Dennis and Ronnie are kicking back in the love seat and watching. Dennis makes a motion for the Sales Clerk to spin around. She reluctantly does as she is instructed.",
"INT. MALL - TOY STORE - DAY Ronnie and Dennis play video games. A LITTLE KID tries to take the controller from Dennis, but Dennis whips out the handcuffs. He locks the Little Kid onto the display case so the kid ca n't move.",
"INT. ARCADE - DAY Ronnie and Dennis play Skee - Ball, except Ronnie tosses the balls to Dennis who is standing on top of the machine. Dennis slam dunks the balls into the 100 point hole. The tickets pour out.",
"EXT. MALL - DAY Ronnie and Dennis are driving in the golf cart and they're both wearing those GIANT SUNGLASSES that they won with arcade tickets. Behind them, Stevie and the other Skaters hold onto the golf cart and get pulled on their skateboards. They race towards a loading ramp. Dennis floors it and they go up the ramp and JUMP the golf cart into the air. The golf cart and Skaters soar into the air. It holds forever, until suddenly, the golf cart lands with a thud. CUT TO BLACK.",
"INT. MALL - NIGHT The mall is basically empty as Dennis and Ronnie make the final rounds. They get to the doors and lock up for the night. RONNIE Dennis, I got to thank you for today. Man, I was so down, but you taught me that I do n't need to take things so seriously here. We have a pointless existence. Who gives a fuck? DENNIS Do n't mention it, homey. I'm just glad I got me a partner in crime. RONNIE A partner. I like that. You know, I've never really had a friend before, but I think that this could be the beginning of a real good thing. Dennis unlocks the doors to the Gap. DENNIS You ai n't even seen the best part. After everybody leaves, I rob the shit out of this place. RONNIE What do you mean? DENNIS I steal shit! RONNIE You're the one who's been robbing the mall? DENNIS Hell yeah! Who'd you think it was?! Dennis goes inside the Gap and just starts grabbing shit. RONNIE I ca n't believe this. Right in front of my goddamn face this whole time! Dennis holds up a sweat shirt. DENNIS This probably will look good with my complexion. RONNIE Dennis, I ca n't take part in this. DENNIS Ronnie, I thought you were down?! What the fuck?! Here I am opening up myself to you and you're just gon na stick it to me like this. What the fuck has this place ever done for you? Do n't you know that people see us as jokes?! A useless tool that's left in the shed. Well that's not me. Not now, not ever. I told you, I'm an outlaw. RONNIE I ca n't let you rob the mall. DENNIS What the fuck you mean you ca n't let me? RONNIE Come on, Dennis. We're best friends, so just put that stuff back and let's go get a beer. DENNIS Alright, Ronnie, you're right. Dennis sets the shirts down. DENNIS I do n't really know what I was thinking. Robbing the mall? Let's just go get that beer. RONNIE Good, man. That makes me feel better. Ronnie turns to walk, but Dennis grabs the hand of one of the mannequins and rips it off. He takes the hand and cracks Ronnie over the head with it. Ronnie goes down on his knees. DENNIS See ya in Mexico, bitch. Dennis cocks back and whacks Ronnie again. Ronnie's lights go out.",
"EXT. CITY STREET - NIGHT Dennis pulls out of the mall driving a HARLEY DAVIDSON. He flips a joint into the air and peels out. He cruises down the street. He passes a cop car and flips it off. CUT TO BLACK.",
"INT. CAROLINA MALL - MORNING The JANITOR walks up the floor with a mop. Ronnie is battered and bloodied from his fight with Dennis, but he is wide awake and handcuffed to THE GAP. RONNIE Ramon, get your ass over here! Go get my spare keys out of the office. The Janitor looks at Ronnie, smiles, and calmly mops in the other direction. RONNIE Ramon! Goddamn it get back here! Go get my goddamn keys.",
"INT. MALL - MANAGER'S OFFICE - DAY Mark sits across the desk from Ronnie and Charles. MARK How fucking stupid do you have to be?! I mean Dennis. What the fuck, Ronnie? How could you not have known it was Dennis? Then, how the fuck could you be so stupid as to let him get away. OBSERVE AND REPORT. Those are the only two things you have to do and you ca n't do those worth a shit. RONNIE Can I speak now? MARK Go ahead. RONNIE Are you sure? MARK Just start talking, Ronnie! RONNIE It seems only natural that ` some people' would want to blame me and truth be told I do put a lot of that blame on myself. But some people might say that the cops are to blame for not catching them. Some people might say that the reason this happened was the undeniable fact that I was under - equipped and quite frankly, lacking a sufficient firearm. But not me. I carry this loss alone deep inside my heart. MARK Good. Because you're fired. RONNIE -LRB- PLAYFUL. -RRB- Fuck you. MARK I'm serious, Ronnie. I've always liked you, but there's just no excuse for this. Somebody is going down and I'll be damned if it's going to be me. Now, do n't make a big thing out of this. Just pack your shit and get out by the end of the day. RONNIE Wait a minute. I thought I could trust you, Mark, and now you're telling me that you're going to be the one to put the knife in my back. Fair weather friend you are. MARK I'm not your friend, I'm your boss. RONNIE You think you're so smart, Mark. You do n't know everything. If you're firing me, then you can say goodbye to your entire Security staff. Because there is no fucking way my team is going to work here if you fire me. Is n't that right, Charles? CHARLES Ronnie, I got to talk to you about this. Mark asked me down here to escort you out. RONNIE And you told him to fuck off, right? Charles? Right? CHARLES What the fuck do you want from me, Ronnie? RONNIE This is n't happening! Everybody is fucking me over?! I hate you all. Charles stands up. CHARLES I'm sorry, Ronnie, but it's time to go. RONNIE Wait a minute. I'll work for free, Mark. MARK No, Ronnie. RONNIE I'll pay you. MARK Nope. RONNIE I love you. MARK Ronnie, Jesus have a little self - respect. RONNIE You do n't love me, Mark? MARK Ronnie, it's over. Ronnie takes a deep breath. He stands up to leave. Ronnie starts to walk out, but stops. RONNIE Hey, Charles. Mark asked you down here in case I got out of hand? Well, get ready to earn your money. Ronnie cracks. He grabs a calendar and throws it on the ground in a violent baby - like outburst. MARK Stop him! Charles tries to grab Ronnie, but Ronnie pushes him off. Ronnie knocks the framed pictures off of the wall. He then opens the door and slams it into the wall over and over again. That does nothing. Ronnie tries to rip the cushion on the chair. He looks ridiculous. CHARLES Alright, Ronnie, that's enough. Ronnie stops and begins to cry. Then he runs out of the office in tears.",
"INT. RONNIE'S BEDROOM - DAY/NIGHT Ronnie lies in his bed and we. TIME LAPSE : The sun rises and sets three times through the window of his bedroom, signifying that three days have passed. The whole time, Ronnie does n't move from his bed. Until. Ronnie gets on his `` nice'' clothes, but they're a far cry from his Security Guard uniform. Ronnie's Mom comes up to him. MOM What's on the agenda for today? RONNIE I guess maybe look for a job or something. MOM Well, I know you're sad about it, but try to look on the bright side. RONNIE There is no bright side. My life is over. MOM Ronnie, you may not be smart or handsome, but you've got dreams inside of you and dreams make you special. No matter what this world tries to throw at you, they can never take those dreams away. RONNIE What the fuck are you talking about, Mom? MOM I do n't know. I'm drunk. I just know that mothers are supposed to talk like that to their children when they're sad, so I tried. What do you want from me? RONNIE Nothing. That's exactly what you're supposed to do. I just blew my life. I tried to be a big shot, a hero and a stupid cop. I wanted to be recognized for being great. I should have just been happy where I was at. I did n't do my duty. MOM Ronnie, the other night when I soiled my pants right before I puked myself, I was thinking about how you would come home and find me and clean me up. I knew you would be there to find me and take care of me, so I was able to pass out on the floor and not worry. If there's one thing you know about, it's duty. RONNIE I do it because I love you. MOM I know and I love you too, Ronnie. I have n't always been easy to deal with and most people would have thrown me away a long time ago. Just like your father did. But not you, Ronnie. Look, whiskey was always the way I dealt with being a single mother, but as I get older, I know that I ca n't keep doing this. I've got everything I need with you. So I want you to know that I'm ready to make a change. Your life needs to get easier and you do n't need to take care of old Mom anymore. RONNIE Are you going to quit drinking? MOM I'm switching to beer. I can pound those all day and still keep my shit together. I'm doing it for you. RONNIE I'm so proud of you, Mom. MOM I'm proud of you. Now today is a new day and we're going to get through it. Now, get out there and find what the world has in store for you. Ronnie's Mom leaves and Ronnie looks at himself in the mirror. Then something catches his eye. Ronnie sees a newspaper laying on the ground. He picks it up and reads.",
"EXT. JAIL - DAY Ronnie walks up the steps that lead to the local jail.",
"INT. JAIL - DAY Ronnie walks into one of those booths where you can talk to a prisoner on the opposite side of a Plexiglas divider. Ronnie sits down in wait. Then, two GUARDS appear escorting a handcuffed Dennis. Dennis takes a seat and picks up the phone. DENNIS What's up, Ronnie? How you doing? RONNIE I've been better. You? DENNIS I'm holding it down in here. RONNIE Yeah, I heard they finally caught up with you. DENNIS I know. I should have hit Mexico, but, you know, I got stoned and just kind of kicked with this girl in Kannapolis for a while. RONNIE You know they fired me when they found out you were the one who robbed the mall. DENNIS Shit, dog. Sorry about that. RONNIE It's cool, but I need to know why you did it. DENNIS I told you. I'm an outlaw. RONNIE Come on, Dennis. DENNIS Man, you want to know the real reason? RONNIE Yeah. DENNIS Alright, I'll tell you. Man, that gig was one of the best jobs I ever had. I got to wear a uniform, I could smoke weed whenever I wanted. For once in my life, I felt like I was actually somebody. I know most people do n't think it's shit, but I really loved it. Then, all of a sudden, I find out that your ass got promoted over me. After all I put into it, you're the one that makes it to Head of Mall Security. You know what it's like to get passed over, Ronnie? So I got pissed off. I started robbing the joint as a way to get at them for what they did to me. But you know what, Ronnie? RONNIE What's that? DENNIS You ever love a girl so much that you ca n't break up with her, so the only thing you can do when she pisses you off is smack her in the goddamn face? RONNIE No, Dennis, I have n't. DENNIS Well, I have. And that's pretty much how I felt about the job. RONNIE Thanks for talking to me, Dennis. DENNIS Well, it's the least I could do after knocking you out and all. Ronnie starts to hang up the phone. DENNIS Hey, Ronnie. RONNIE Yeah, Dennis. DENNIS Bail me out of here, old friend. RONNIE I ca n't do it, Dennis. You're now a criminal who stopped caring, but my crime is that I care too much. Ronnie hangs up the phone and walks out.",
"INT. MALL - DAY Ronnie comes into the mall and makes his way down the center of it, feeling naked without his uniform. Charles, now wearing a mall security uniform, comes out and stops Ronnie. CHARLES Ronnie, what are you doing back here? RONNIE I just came to talk to Nell. Do n't get your panties in a wad, I'm just here as any normal patron. CHARLES Ronnie, dude, I've been all fucked up in the head. I feel like shit about what happened. I mean, here I am, just looking to shuck responsibility and I ended up hurting you in the process. Look, I should have been honest with you. I do n't give two shits about this stupid job. But you do. RONNIE It's okay, Charles. CHARLES I've decided I'm going back to college. Getting stoned and studying beats this any day. I realize that now. I realize that there are n't any jobs where you can avoid hard choices. Anyway, take as long as you want at the mall. I'll keep Mark off your back. RONNIE Thanks, Charles.",
"INT. MALL - FOOD COURT - DAY Ronnie sees Nell sitting down and eating a Cinnabon. Ronnie takes a seat at her table. NELL Ronnie, what are you doing here? RONNIE I got something I want to say. NELL I do n't think we should be talking. RONNIE I'll be quick. Nell, this is the only job I was ever any good at. I'm not a crime solver or right hand of the law. I'm just a dumb guy in a uniform who ca n't even become a real policeman. Somewhere along the way I started to think I was something special, someone whose shit did n't stink, someone who deserved to date out of my league. You know, I've learned. My shit does stink. It smells horrible. And you're also out of my league, but for some reason, you like the smell of my shit. I guess what I'm saying is. Ronnie reaches into his pocket and pulls out his Mother's disgusting yellow engagement ring, but for some reason, it looks beautiful. RONNIE If you give me another chance, I'll spend the rest of my life making it up to you. And you can call me sweetie in front of people and I'll like it. Nell thinks about it. She leans over the table and kisses Ronnie. Ronnie is stunned. With one kiss, Nell seems to make everything okay. They stare at each other and the moment seems to hold for an eternity. Love is in the air until. THE PERVERT STEPS IN FRONT OF THEM AND EXPOSES HIS DING - A - LING! Nell SCREAMS! The Pervert runs. Ronnie gets pissed! RONNIE Son of a bitch! NELL Oh, my God! RONNIE Are you alright? NELL I'm fine. RONNIE Shit, we should call somebody. NELL Ronnie. RONNIE Yeah? NELL Go get him. Ronnie realizes that this is his duty and his alone. Ronnie rises from the table slowly. He looks at Nell and nods acceptance. Then, Ronnie runs after the Pervert.",
"INT. MALL - DAY The Pervert is in a full blown run through the mall. His trench coat is wide open and his wienie is flapping for the world to see. In a way, it's his greatest accomplishment. People scream! Mothers grab their daughters! No one is safe! ANOTHER ANGLE Ronnie comes ripping out of the food court. He's got a fierce look of determination in his eyes. He runs hard to catch up with the Perv. ANOTHER ANGLE There's a crowd surrounding the Cell Phone Kiosk. The Pervert bursts through the crowd and knocks people out of the way. SADDAMN What the fuck, man?! Ronnie comes running up behind him. RONNIE Get out of the way! Get out of the way! The crowd totally clears a path for Ronnie, but Ronnie stops running and SUCKER PUNCHES SADDAMN. Saddamn goes down hard and Ronnie rejoins the chase. RONNIE Stay the fuck away from my wife! THE PERVERT runs past the skaters, who are hanging out on a bench. STEVIE Dude, that's fucking disgusting! Ronnie comes running way far behind. STEVIE Hey, Ronnie, here! Stevie slides his skateboard out for Ronnie to jump on. Ronnie jumps like he is going to land on the skateboard and sail to the finish line. However, when Ronnie's feet touch the board, it goes shooting out from under him. Ronnie slams onto the ground. All of the skaters start laughing. STEVIE What a fucking douche! Ronnie picks himself up and starts to run again. He only makes it a little ways before he hits something slippery. Ronnie falls onto the ground and cracks his head. Ronnie lays on the ground and sees Ramon laughing against a wall with a mop in his hands. RONNIE Okay, Ramon, we're fucking even! Ronnie picks himself up and starts running again. THE PERVERT runs past VICTORIA'S SECRET. He stops at the doorway and as if he ca n't resist, flashes the ladies in the store. He takes off running again. RONNIE as he runs by the RECORD STORE, which of course is BLASTING MUSIC. Ronnie stops at the doorway. RONNIE Turn it down. Turn it down. The Record Store guy turns the MUSIC DOWN. Ronnie goes back to his chase. THE PERVERT runs past Mark. He looks around at all the people staring. MARK Okay, show's over. Enjoy your shopping experience at Carolina Mall. Ronnie runs past Mark. MARK Jesus. -LRB- calling out. -RRB- Charles! Charles comes running up. CHARLES What is it? MARK Call the police. And go get Ronnie. CHARLES He's trying to help. MARK Just do what I ask you. Charles runs after them. Ronnie sees Charles coming and runs faster. Charles is moving in on him. CHARLES Hey, Ronnie! Ronnie turns around to see Charles as he flings him a giant flashlight. Ronnie catches it. RONNIE Fuck yeah! Ronnie starts running again, but this time, he's a little more together. THE PERVERT has made his way through the whole mall at this point, but Ronnie is right on his ass. The Pervert is heading toward the DEPARTMENT STORE.",
"INT. DEPARTMENT STORE - DAY The Pervert comes barreling in and the ladies at the perfume and make - up counters SCREAM. He looks like he's charging straight at Brandi. He's getting closer. BOOM! Ronnie comes in from the side and nails the Pervert with the flashlight. Ronnie jumps on top of the Perv and beats the ever - living shit out of him. This is a vision of a man leaving all out on the field. Ronnie stops pounding and looks up. He sees Brandi staring at him. Ronnie is overcome by anger and beats on the Pervert harder than ever before. Finally, Charles comes in and pulls Ronnie off of him. A huge crowd has gathered around. Ronnie has blood all over him. Ronnie picks the Pervert up and holds him tightly by the arms. Mark comes running up. CHARLES You want to report this to the police. RONNIE Hell no. I'm taking him down myself. Ronnie starts to walk away with the Pervert. MARK Hey, Ronnie. Ronnie stops and turns around. Mark tosses Ronnie a set of keys. MARK Good job, Ronnie. RONNIE Thank you, sir. Ronnie leads the Pervert outside. On the way, he passes Brandi. BRANDI Good job, Ronnie. RONNIE I do n't love you! BRANDI I do n't love you either. RONNIE Fine. The customers and employees of the mall CLAP for Ronnie. This is his finest moment.",
"INT. GOLF CART - DAY Ronnie is stuck in traffic. He looks ridiculous in the orange golf cart on a city street with a Pervert chained up beside him, but Ronnie could care less.",
"EXT. POLICE STATION - DAY The golf cart pulls up to the police station and Ronnie gets out with the Perv. Ronnie walks up the front steps and all of the officers part and let him through. Detective Harrison is at the top of the stairs. Ronnie walks right up to him. RONNIE I caught the Pervert. DETECTIVE HARRISON I see that. Well, you better turn him over to me and I'll take him inside and book him. RONNIE Since you're a real Cop, right? DETECTIVE HARRISON Hey, Ronnie, you may not be an officer of the law, but you're the law's right hand. Good job. Ronnie lets go of the Pervert. He nods to Harrison, then turns his back and walks back down the steps. Ronnie gets into his golf cart and drives away. CUT TO BLACK.",
"EXT. CAROLINA MALL - MORNING Ronnie stands in front of the Mall with Nell beside him. Ronnie looks nervous, but Nell looks down at her yellow ring with pride. She looks at Ronnie, sees a loose eyelash and brushes it off of him. RONNIE What are you doing?! NELL You had an eyelash? RONNIE I'm trying to remember my speech. NELL Sorry. Nell looks straight ahead, but smiles as Ronnie tries to take himself serious. FEMALE REPORTER Okay, Ronnie, we're ready for you. Ronnie takes a deep breath and walks over to where the LOCAL NEWS has set up a camera and microphone. FEMALE REPORTER Okay, we rolling? CAMERAMAN Rolling. FEMALE REPORTER Good evening. We're here today with Ronnie Barnhardt, head of Mall Security here at Carolina Mall. Last week, Ronnie was able to catch The CAROLINA MALL FLASHER single - handed and bring him to justice. Ronnie, how did you manage to find the identity of The Pervert and take him down? RONNIE Well, being a mall security guard basically requires the same skill set that someone in say the FBI has. You have to use logic and evidence and old - fashioned common sense as well as the latest technology to deduce the criminal mind. It's what I do. All of a sudden, STEVIE AND THE SKATERS come up behind Ronnie. They look into the camera lens and start smiling. Ronnie turns around and sees them, but tries to focus on the reporter. FEMALE REPORTER Any last words for the folks at home. RONNIE Yeah, I'd just like to say that Carolina Mall is back on track and safer than ever. The Skaters start flipping off the camera. Ronnie keeps getting distracted. RONNIE In fact, there are some wonderful sales taking place right now. Stevie walks up behind Ronnie and pretends to hump him. RONNIE So for all you families out there, come on down and see us. It's a wonderful place. Ronnie turns around angrily. RONNIE THAT'S IT, YOU LITTLE SHIT! THE SKATERS jump on their skateboards and skate off. Ronnie runs after them. He jumps into his GOLF CART and gives chase. The NEWS CAMERA is still rolling. The FEMALE REPORTER looks into the lens. FEMALE REPORTER You heard it, folks. Everything is back to normal here at Carolina Mall. Back to you, Lindsay. CUT TO BLACK. THE END"
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] | An anonymous flasher exposes himself to shoppers in the Forest Ridge Mall parking lot. The head of mall security, Ronnie Barnhardt, makes it his mission to apprehend the offender. However, while Ronnie is ostensibly well-intentioned and valiant in his own mind, in reality he appears to be an emotionally unstable individual with vigilante tendencies, apparently experiencing bipolar disorder and displaying violent ideation, among other problems. The criminal activity at the mall continues as the flasher exposes himself to make-up counter worker Brandi and a masked robber causes property damage at a shoe store. In both instances, Detective Harrison, a police detective, arrives to investigate. The two dislike each other, as Ronnie believes Harrison is taking over his proper role as investigator and Harrison believes that Ronnie is disrupting the investigation. Ronnie decides to take steps to become a police officer. As part of his preparations, Ronnie decides to ride along with Detective Harrison. Harrison tricks him into walking into the most dangerous part of town and drives off. Ronnie then confronts and subsequently assaults several drug dealers, victoriously returning to the police station with a dealer's son and thanking the detective for the opportunity to prove himself. Emboldened, Ronnie arranges a date with Brandi. On their date, Brandi sees Ronnie taking a prescription clonazepam and assumes that Ronnie takes them recreationally. She asks him to share and he gives her the entire bottle, believing that he doesn't need his prescription anymore. Ronnie takes her home and has sex with her while she is semi-conscious. Ronnie passes the background check and physical examination for the police officer job, but fails the psychological examination. Nell, a friendly food court worker, tearfully shares that her boss and coworker employee tease her for having her leg in a cast. Ronnie then beats up Roger and warns him and Trina not to harass Nell again. Depressed, he is persuaded by fellow security officer Dennis to spend the day doing a wide variety of drugs and assaulting skateboarding teenagers. At the end of the day, Dennis reveals that he has been stealing from the mall for some time. Ronnie insists this is wrong and, after a brief argument, Dennis knocks him unconscious and flees. Ronnie decides to go undercover in order to catch the flasher, but when he catches Brandi having sex with Harrison in the parking lot, he confronts her in front of onlookers at the mall the next day, blowing his cover and destroying a display case. The police are summoned and Ronnie fights them and Harrison off until he is overpowered and arrested. After some time, Ronnie's mom gives him a postcard from Dennis in Mexico, who admits that he respects Ronnie for caring so much. Ronnie returns to the mall, despondent that he no longer works security. He discovers that Nell's cast has been removed. She kisses him just before the flasher arrives and exposes himself to the food court. After a brief chase, Ronnie incapacitates the flasher by shooting him in the shoulder. Ronnie then brings the bleeding flasher to the police station, gloating that he has won by apprehending him. Ronnie is subsequently interviewed by the local news, having regained his job and begun dating Nell. | Observe_and_Report |
[
"EXT. CARNIVAL - DAY A loudspeaker playing Percy Sledge's `` When a Man Loves a Woman,'' as we see a carnival in the distance - with a Ferris Wheel turning round and round. A black man is by a stall. On his arm is an Irish girl with blond hair. The black man is drunk, and is tossing rings around a bowling pin. JODY And that's cricket, hon. An attendant hands him the teddy bear. It looks ridiculous in his huge hands. He gives it to the girl. JODY You want it? GIRL Sure. JODY Does n't matter if you do n't. He puts his arm around her and drags her on. JODY Jody wo n't be offended. Jody's never offended. What'd you say your name was? GIRL Jude. JODY Jude. Suits you, Jude. JUDE The teddy bear? JODY No, fuck the bear. The name. Jude. And it's June. Jude in June. He comes to a small canvas tent with a sign on it - TOILET. JODY Got ta piss, Jude. He holds her hand. JODY Do n't run off, Jude. JUDE You do n't know me, do you? Jody walks inside the canvas flap and vanishes from sight. We can still see his hand, holding Jude's. She leans against the canvas, looking bored. JODY -LRB- inside. -RRB- What if I did? JUDE You'd know I would n't run off. She stands there, listening to the sound of him urinate. Her eyes flick around the carnival. They settle on a tall dark - haired man in a dark jacket. He nods. JODY Never pissed holding a girl's hand, Jude. JUDE You did n't? JODY And you know what? JUDE Tell me, Jody He staggers out, buttoning up. JODY It's nice. He goes to kiss her. She turns her head away. JUDE Not here. JODY Who gives a fuck. JUDE You never know. She pulls him over toward the water. JODY I never know nothing. JUDE People. They could be looking. Jody follows her, as she walks backward, drawing him on. He moves his hips to a song as Jude leads him over the beach, under a train trestle. JUDE Come and get me, soldier - JODY Whatever you say, Jude. He sinks down on his knees toward her. She wraps her arms around his neck and kisses him. Jody writhes on top of her, fumbling with his belt. Jude cocks one eye upward. A shadow falls across them. CLOSE ON JODY, kissing her. A gun is put to his head. He turns around, drunkenly. JODY What the fuck - The gun whacks him across the cheek and he falls sideways. Jude scrambles to her feet and darts like an animal through a field. Jody feels his cheek. He can see her blond head vanishing among the fields. He looks up and sees a group of men around him. The tallest of them, Fergus, cocks the gun.",
"INT. CAR - DAY A mini, driving down a country road. Two men in the front, three in the back. On the floor of the car Jody lies, with three pairs of feet on top of him, a black bag over his head and the barrel of a gun dangling close to his face. Fergus holds the gun. He is smoking a cigarette. His movements are slow and somewhat innocent. FERGUS So what's your name, soldier? JODY Fuck you. FERGUS Yeah.",
"EXT. SMALL FARMHOUSE - EVENING.",
"INT. FARMHOUSE - NIGHT. Jody pulled through and tied to a chair. Maguire, a small lean man, talks to him through the hood. MAGUIRE The situation is simple. You're being held hostage by the Irish Republican Army. They've got one of our senior members under interrogation in Castleraigh. We've informed them that if they do n't release him within three days, you'll be shot. You'll be treated as our guest until further developments. Have you anything to say? Jody is motionless under the black hood. FERGUS Give him a cup of tea. MAGUIRE Do you want a cup of tea? He still says nothing. DISSOLVE. All the men are drinking tea. The blond woman comes in with a plate and some food on it. FERGUS See does he want some. JUDE Do you want some food? Jody sits as still as a grave, saying nothing. DISSOLVE. Late at night - it is dark. The men are sleeping. Fergus is sitting by a chair, gun in his hand, watching the prisoner. Jude comes in, with a flashlight. FERGUS Hey - what's he like? JUDE Horny bastard. FERGUS Did you give him it? JUDE There are certain things I would n't do for my country. FERGUS Have a look at him. JUDE Ca n't. FERGUS Poke him or something. See if he's still alive. JUDE He's all right. FERGUS Has n't moved for twelve hours. Go on. Have a heart. She moves over to him. She prods him in the legs with her foot. He does n't move. Then she lifts the hood ever so slightly, to peer inside. Suddenly the man moves like lightning, jerking his head down so the hood comes off, throwing his body, tied to the chair, over Jude. JODY You fucking bitch - you fucking whore - He pins her to the ground, his body bent with the chair. He writhes on top of her in a grotesque parody of love. She is screaming and the room is alive, each man awake, grabbing guns, screaming. MAGUIRE Turn the fucking thing off -",
"EXT. FARMHOUSE - NIGHT. Fergus follows Jude out a back door, holding her by the arm. FERGUS You all right? JUDE Fucking animal. She takes in huge gobs of air. FERGUS You do n't know that. JUDE Fucking do. I had him all over me. He touches her face. FERGUS Tough work, that. JUDE Someone's got to do it. She rubs her hand on his chest. JUDE Nah, it was a breeze. Just thought of you. She sidles closer, coming on to him. JUDE And you know what, Fergus? One of you made me want it. She puts her lips to his neck. FERGUS Which one? She does n't answer. They embrace.",
"EXT. FARMHOUSE - MORNING. A hot summer's day. There are tall hedges all around the house. Fergus leads Jody, still bound and hooded, over toward a greenhouse.",
"INT. GREENHOUSE - DAY Dusty tomato plants and vines everywhere. Broken glass. The sun pouring through. Fergus leads Jody over to a wrought iron chair and sits him in it. He sits opposite, gun on his lap. Fergus takes some sandwiches out of a brown paper bag. He holds one out toward him. FERGUS Eat something, would you? JODY Ca n't. FERGUS What do you mean you ca n't? JODY Ca n't eat through a canvas bag. Fergus walks over to him, lifts the hood up so his mouth is revealed, and pushes the sandwich toward his lips. Jody eats, slowly. JODY This is a farce, man. FERGUS How is it a farce? JODY I seen your fucking face. FERGUS So, what do I look like? JODY You're the one about five ten with the killer smile and the baby face. FERGUS Am I? JODY Yeah. And the brown eyes. Fergus pushes the last crumbs of the sandwich toward Jody's mouth. JODY You're the handsome one. Jody eats the last bits. JODY Thank you, handsome. FERGUS My pleasure.",
"EXT. FARMHOUSE - DAY Jude makes her way from the door toward the greenhouse. She is carrying a pot of tea and two cups.",
"INT. GREENHOUSE - DAY It is sweltering now in the greenhouse. CLOSE ON JODY'S COWLED HEAD. The hood is drenched with sweat. JODY I ca n't fucking breathe, man. Be a Christian, will you? Jude comes into view. JODY Tell him to take the hood off, honey. Jude says nothing. Lays the tea on the ground. FERGUS How did you know it was her? JODY I can smell her perfume. Jude pours out the tea. JUDE See, if we took the hood off, we'd have to shoot you. As it is, you've got a fifty - fifty chance. JODY Thought you liked me, bitch. JUDE It was fun while it lasted. JODY Nice lady. His breathing becomes labored. JODY Please, man, I'm suffocating in here. FERGUS Ca n't we take it off? JUDE Have to check with himself. Fergus gives her the gun. FERGUS You look after him. Jody's head follows Fergus while he leaves. JODY Do n't leave me with her, man. She's dangerous. Jude smiles, holding the gun on her lap.",
"INT. FARMHOUSE - DAY Fergus enters. Maguire and the others. Maguire has a newspaper, which has a headline regarding the kidnapping. MAGUIRE Made the front page. They'll move now, the fuckers. FERGUS Request permission to take the hood off, Tommy. MAGUIRE Why would you do that? FERGUS The poor whore's suffocating in the heat. MAGUIRE So? FERGUS And anyway, he's seen our faces. MAGUIRE You sure? FERGUS He described me down to a T. Knows what Jude looks like. Maguire reads the paper. FERGUS Tommy - MAGUIRE You're his keeper. If you do n't mind him seeing you, I do n't mind. But you're the only one he looks at. FERGUS Thanks. MAGUIRE It's your decision.",
"INT. GREENHOUSE - DAY Jude, drinking tea, looking at Jody sweating. Fergus enters. He puts his arm casually around her. FERGUS Leave us, Judie. JUDE My pleasure. She goes. Fergus walks to Jody and slowly takes the hood off. Jody looks up at him, his face bathed in sweat. He breathes in mighty gulps of air. He smiles. JODY Thank you, soldier. Fergus smiles. JODY Never thought fresh air would taste this good. Fergus pours out a cup of tea and brings it to his lips. JODY Now, if you took the ropes off, I'd be able to feed myself. FERGUS No fucking way. JODY Only joking. Fergus drinks. JODY You know, I was wrong about one thing. FERGUS What's that? JODY Five ten. Brown eyes. But you're no pinup. FERGUS No? JODY Nope. Not handsome at all. FERGUS You trying to hurt my feelings? JODY No. It's the truth. FERGUS Well, I could say the same about you. JODY Could you? FERGUS But I wo n't. We're more polite around these parts. JODY So I've noticed. Fergus looks at him. Jody is n't smiling anymore. Fergus goes back to his seat and drinks his tea. He fingers the gun on his lap. JODY Hey - FERGUS What is it now? JODY You're going to have to do it, are n't you? FERGUS Do what? JODY Kill me. FERGUS What makes you think that? JODY They're going to let that guy die. And you're going to kill me. FERGUS They wo n't let him die. JODY You want to bet? FERGUS I'm not a gambling man. JODY And even if he does n't die - you ca n't just let me loose. FERGUS Why ca n't we? JODY Not in your nature. FERGUS What do you know about my nature? JODY I'm talking about your people, not you. FERGUS What the fuck do you know about my people? JODY Only that you're all tough undeluded motherfuckers. And that it's not in your nature to let me go. FERGUS Shut the fuck up, would you? JODY And you know the funny thing? FERGUS No, what's the funny thing? JODY I did n't even fancy her. FERGUS Did n't look like that to me. JODY She's not my type. He looks at Fergus. JODY C'mere. FERGUS No. JODY Ah, c ` mere. I want to show you something. FERGUS What? JODY My inside pocket. Fergus holds the gun to his face. He fishes inside Jody's inside pocket. JODY Take out the wallet. Fergus's hand emerges with a wallet. JODY Open it. CLOSE ON THE WALLET. Credit cards, army identification photograph. JODY Inside. There's a picture. Fergus takes out a picture. It is of Jody, in cricket whites, smiling, holding a bat. Fergus smiles. JODY No, not that one. There's another. Fergus takes out another picture of Jody and of a beautiful black woman, smiling. JODY Now she's my type. FERGUS She'd be anyone's type. JODY Do n't you think of it, fucker. FERGUS Why not? JODY She's mine. Anyway, she would n't suit you. FERGUS No? JODY Absolutely not. FERGUS She your wife? JODY Suppose you could say that. Jody chuckles. FERGUS You make a nice couple. JODY Do n't I know it. FERGUS So what were you fucking around for, then? JODY You fuckers set me up. That bitch - FERGUS She's a friend of mine JODY Okay. That nice lady. Meets me in a bar. I'm saying what the fuck am I doing here anyway. She buys me a drink. She holds my hand. I'm looking at her saying I do n't like you, bitch. But what the fuck. Maybe I'll get to understand. FERGUS What? JODY What the fuck am I doing here. FERGUS What the fuck were you doing here? JODY I got sent. FERGUS You could have said no. JODY Ca n't. Once I signed up. FERGUS Why did you sign up? JODY It was a job. So I get sent to the only place in the world they call you nigger to your face. FERGUS Should n't take it personally. JODY -LRB- He imitates a Belfast accent. -RRB- `` Go back to your banana tree, nigger.'' No use telling them I came from Tottenham. FERGUS And you play cricket? JODY Best game in the world. FERGUS Ever see hurling? JODY That game where a bunch of paddies whack sticks at each other? FERGUS Best game in the world. JODY Never. FERGUS The fastest. JODY Well, in Antigua cricket's the black man's game. The kids play it from the age of two. My daddy had me throwing googlies from the age of five. Then we moved to Tottenham and it was something different. FERGUS How different? JODY Toffs' game there. But not at home. Fergus looks at him. JODY So when you come to shoot me, Paddy, remember, you're getting rid of a shit - hot bowler. FERGUS I'll bear that in mind. He keeps looking at him. FERGUS And by the way, it's not Paddy. It's Fergus. Jody smiles. JODY Nice to meet you, Fergus. FERGUS My pleasure, Jody",
"EXT. GREENHOUSE - NIGHT. Fergus leads Jody outside, holding the gun against him. FERGUS Take it easy, now. Just go slow. Down by that tree. JODY Tree. He walks toward it, breathing heavily. JODY You've got to loosen my hands. FERGUS Ca n't. JODY Well then, you're going to have to take my dick out for me, aren t you? Fergus, in the dark, stands motionless, looking at him. JODY Come on, man, I'm going to wet my pants! Fergus turns him around and unzips his fly. JODY Take the fucker out, man, I'm dying - Fergus takes Jody's penis out. Jody takes two steps toward the wall. JODY I got ta lean forward or I'll dribble all over myself. Will you hold my hands for me. Fergus holds his hands from behind, so Jody can lean forward. Jody now pisses with immense relief JODY Now, that was worth waiting for. FERGUS Hurry up, would you? JODY These things take time, Fergus. He shakes his body. JODY It's amazing how these small details take on such importance. He steps back. JODY Now put it back in. FERGUS Give us a break. JODY I ca n't do it! It's only a piece of meat. For fuck's sake, it's got no major diseases. Fergus puts Jody's penis back in his pants and zips him up. JODY Thank you. I had a case of the clap two years ago. Crabs in Ulster. But all in all it's served me well. FERGUS Shut up, would you? JODY I'm sorry. Did n't mean to offend you, Fergus. Fergus leads him hack toward the greenhouse.",
"INT. GREENHOUSE - NIGHT. Fergus leads Jody back to his chair. JODY Fergus? FERGUS Yeah? JODY Thanks. I know that was n't easy for you. He begins to laugh. FERGUS The pleasure was all mine. Fergus begins to laugh, without knowing why.",
"EXT. FARMHOUSE - NIGHT. Maguire, walking out of the house, woken by the sound of laughter.",
"INT. GREENHOUSE - NIGHT. Jody, still laughing. Suddenly the hood is slammed back over his head. Maguire, standing there in the dark, looking at Fergus. MAGUIRE What the fuck is this? FERGUS It's nothing. He's just got a sense of humor, that's all. MAGUIRE You're on duty. Keep your fucking mouth shut. Go in and get some sleep. Fergus gets up slowly, walks toward the door. JODY Yeah. Get some sleep.",
"EXT. FARMHOUSE - NIGHT. Fergus, walking toward the house. He looks back and sees the figures of Maguire and Jody in the dark, in absolute silence.",
"INT. FARMHOUSE - NIGHT. Fergus sleeping.",
"INT. GREENHOUSE - NIGHT. Jody sleeping. Maguire sitting with an Armalite in his hands, watching him.",
"EXT. FARMHOUSE AND FIELDS - DAY The sun coming up over the low hills around the farmhouse.",
"INT. GREENHOUSE - DAY Fergus enters, with a tray and some breakfast. Maguire is sitting where he sat before, stock - still. FERGUS Did he talk? Maguire shakes his head. FERGUS Did n't make you laugh? Maguire shakes his head. FERGUS Here. Have some breakfast. He hands Maguire a plate. Jody stirs. JODY Good morning, Fergus? Maguire looks hard at him. MAGUIRE So he knows your name? FERGUS I told him. MAGUIRE Are you all there? He rises, and drags Fergus out the door. FERGUS Back in a minute, Jody",
"EXT. GREENHOUSE - DAY MAGUIRE You'll have minimal contact with the prisoner, do you hear me? FERGUS Yes. MAGUIRE And do you know why? FERGUS Why? MAGUIRE Because tomorrow we might have to shoot him, that's why. Maguire goes back to the house.",
"INT. GREENHOUSE - DAY Jody sitting with the hood on again. Fergus enters. JODY They giving you trouble, Fergus? Fergus says nothing. He takes a plate and brings it toward Jody JODY It happens. Y ` see, there's two kinds of people. Those who give and those who take. Fergus lifts up Jody's hood to expose his mouth and begins to feed him. JODY Ah, take the thing off, man. Fergus says nothing and keeps feeding him. JODY It's okay. I understand. Do n't mind if I prattle on, do you? Fergus shakes his head and says nothing. JODY I will take it by your silence that you do n't. He eats. Fergus feeds himself, then feeds more to Jody. JODY Two types, Fergus. The scorpion and the frog. Ever heard of them? Fergus says nothing. JODY Scorpion wants to cross a river, but he ca n't swim. Goes to the frog, who can, and asks for a ride. Frog says, `` If I give you a ride on my back, you'll go and sting me.'' Scorpion replies, `` It would not be in my interest to sting you since as I'll be on your back we both would drown.'' Frog thinks about this logic for a while and accepts the deal. Takes the scorpion on his back. Braves the waters. Halfway over feels a burning spear in his side and realizes the scorpion has stung him after all. And as they both sink beneath the waves the frog cries out, `` Why did you sting me, Mr. Scorpion, for now we both will drown?'' Scorpion replies, `` I ca n't help it, it's in my nature.'' Jody chuckles under his hood. FERGUS So what's that supposed to mean? JODY Means what it says. The scorpion does what is in his nature. Take off the hood, man. FERGUS Why? JODY'Cause you're kind. It's in your nature. Fergus walks toward him and pulls off the hood. Jody smiles up at him. JODY See? I was right about you. FERGUS Do n't be so sure. JODY Jody's always right.",
"INT. GREENHOUSE - LATE AFTERNOON. Both men dozing in the heat. JODY Where would you most like to be now, man? FERGUS Does n't matter where. JODY Come on, man. If this shit was all over. FERGUS Having a pint in the Rock. JODY You lack imagination, Fergus. Think of something more alluring. FERGUS Like what? JODY Like having a pint in the Metro - Fergus laughs. FERGUS Having two pints in the Rock. JODY Having a pint in the Metro, and Dil's having a margarita. FERGUS Who's Dil? JODY My special friend. FERGUS Oh, yeah. JODY We got simple tastes, you and me. FERGUS The best. JODY But you fellas never get a break, do you? FERGUS Do you? JODY Oh, yes. We do a tour of duty and we're finished. But you guys are never finished, are you? FERGUS We do n't look on it like that. JODY I've often wondered how you do it. FERGUS Depends on what you believe in. JODY What do you believe in? FERGUS That you guys should n't be here. JODY It's as simple as that? FERGUS Yes. Jude enters. JUDE Put that thing back on him, Fergus. FERGUS He's hot. JUDE Does n't matter if he's hot. Just cover the fucker up. JODY Have you no feelings, woman? JUDE You shut your face - She pulls the hood down over him. JUDE You're heading for trouble, Fergus - JODY He's a good soldier, Jude. She whacks him with a pistol. JUDE I said shut the fuck up - JODY He believes in the future -",
"INT. GREENHOUSE - NIGHT. Jody, sitting in the hood. Fergus lifts it a bit ; Jody's mouth, with blood now in his lips. FERGUS Is it bad? JODY No. Not bad. Women are trouble, you know that, Fergus? FERGUS I did n't. JODY Some kinds of women are. FERGUS She ca n't help it. JODY Dil was n't trouble. No trouble at all. FERGUS You liked her? JODY Present tense, please. Love her. Whatever she is. I'm thinking of her now, Fergus. Will you think of her too? FERGUS Do n't know her. JODY Want you to do something, Fergus. FERGUS What? JODY If they kill me - FERGUS Do n't think that way. JODY But they will. As sure as night follows day. They have to. I want you to find her out. Tell her I was thinking of her. Fergus is moved. He ca n't reply. JODY See if she's all right. FERGUS I do n't know her. JODY Take her picture. C'mere. Fergus walks toward him. JODY Take it. In the inside pocket. Their faces, close to each other as Fergus searches out her picture. JODY Take the whole lot. I wo n't need it. FERGUS I told you not to talk that way - JODY Go to Millie's Hair Salon in Spitalfields. Take her to the Metro for a margarita. Do n't have to tell her who you are. Just tell her Jody was thinking - FERGUS Stop it - The door opens. Maguire is there, with another. MAGUIRE Volunteer? Fergus turns toward him. MAGUIRE We need you inside. Fergus walks toward Maguire and the other man walks forward, takes his seat. Fergus, unseen by Maguire, puts the wallet in his pocket.",
"INT. FARMHOUSE - NIGHT. Maguire, Jude, Fergus, and the others. MAGUIRE We've had word. They've used every trick in the book on him. He's starting to talk. You're going to have to do it in the morning. Maguire lights a cigarette. Fergus looks at him and nods. MAGUIRE You OK about that? FERGUS I'm a volunteer, am n't I? MAGUIRE Good. I was beginning to have my doubts about you for the last few days. JUDE Not the only one - MAGUIRE Shut up, Jude. You best get some sleep tonight, Fergus. FERGUS Peter. MAGUIRE What? FERGUS Request permission to guard the prisoner tonight - JUDE You're crazy. Do n't let him, Peter. MAGUIRE Shut the fuck up, Jude. He turns back to Fergus. He puts his arm on Fergus's shoulder. MAGUIRE Why do you want to do that for? FERGUS Would make me feel better about it. MAGUIRE You sure about that? FERGUS I'm sure. MAGUIRE Okay. You're a good man, Fergus. Fergus leaves.",
"INT. GREENHOUSE - NIGHT. Fergus takes his place in the chair beside Jody. Jody begins to laugh under the hood. It turns into the sound of crying. FERGUS Do n't. JODY I'm sorry. The crying stops. JODY Help me. FERGUS How can I? JODY I do n't know. Just help me. Give me a cigarette. Fergus takes out a cigarette, lights it, and lifts up Jody's hood so he can smoke. JODY Do n't even smoke, you know that? It just seemed the right thing to do. Fergus watches him puff the cigarette, the hood just above his lips. Jody coughs, but keeps the cigarette in his lips. Fergus gently takes the cigarette from his mouth. FERGUS Go to sleep now. JODY I do n't want to sleep. Tell me something. FERGUS What? JODY A story. FERGUS Like the one about the frog? JODY And the scorpion. No. Tell me anything. FERGUS When I was a child. JODY Yeah? FERGUS I thought as a child. But when I became a man I put away childish things. JODY What does that mean? FERGUS Nothing. JODY Tell me something, anything. Fergus is silent ; his eyes wet. JODY Not a lot of use, are you, Fergus? FERGUS Me? No, I'm not good for much.",
"EXT. FIELDS - MORNING. The farmhouse covered in mist. The sun coming through it.",
"EXT. GREENHOUSE - MORNING. Maguire opens the door to the greenhouse and clicks the chamber of his gun. Fergus has a gun in his hand. He checks the chamber. Fergus takes Jody, whose hands are still tied behind his back, by the elbow. FERGUS Stand up, now - Jody rises. Fergus leads him through the door, past Maguire. MAGUIRE I wish to say on behalf of the Irish Republican Army - Fergus turns with sudden fierceness. FERGUS Leave him be - He pulls Jody through the fields.",
"EXT. TREES - MORNING. Fergus pushing Jody through a copse of trees, the gun at his back. JODY Take the hood off, Fergus - FERGUS No. JODY I want to see a bit. Please, please. Do n't make me die like an animal. Fergus pulls the hood off. Jody looks around him. He has a cut lip where Jude struck him. Fergus prods him on with the gun. Jody stumbles forward. Fergus is all cold and businesslike. JODY I'm glad you're doing it, do you know that, Fergus? FERGUS Why? JODY Cause you're my friend. And I want you to go to the Metro - FERGUS Stop that talk now - JODY Hurling's a fast game, is n't it, Fergus? FERGUS The fastest. JODY Faster than cricket? FERGUS Cricket's in the halfpenny place. JODY So if I ran now, there's no way I'd beat you, is there? FERGUS You wo n't run. JODY But if I did. you would n't shoot a brother in the back - Jody suddenly sprints, and, loosening the ties on his hands, then freeing them, he is off like a hare. Fergus screams in fury after him. FERGUS JODY! Fergus aims, then changes his mind and runs. FERGUS You stupid bastard - JODY What you say, faster? FERGUS I said you bastard - stop - JODY Got to catch me first - Fergus gains on him - stretches his arm out - but Jody sprints ahead again - as if he has been playing with him. He laughs in exhilaration. Fergus pants behind him, wheezing, almost laughing. JODY Used to run the mile, you know - four times round the cricket pitch - what was that game called? FERGUS Hurling - JODY What? FERGUS Hurling - Jody runs, whipping through the trees - always ahead of him. JODY Come on, Fergie - you can do it - a bit more wind - Fergus grabs his shoulder and Jody shrugs it off, gaining on him again. JODY Bit of fun, Fergus, eh? And suddenly the trees give way. Jody turns, laughing, to Fergus. JODY Told you I was fast - Fergus is panting, pointing the gun at Jody JODY Do n't do it. And suddenly a Saracen tank whips around the corner, hits Jody with the full of its fender. His body flies in the air and bounces forward as another tank tries to grind to a halt and the huge wheels grind over him. Fergus, screaming, `` No -!'' He almost moves forward, then sees soldiers spilling from the tank around the body. Fergus turns and runs.",
"EXT. TREES - DAY Fergus whipping through the trees, his body crouched low as he runs.",
"INT. GREENHOUSE - DAY Tinker sitting in the greenhouse. A helicopter screams into view through the panes and automatic fire comes from it, shattering every pane in seconds and tearing Tinker to bits.",
"INT. FARMHOUSE - DAY Bullets whipping through every window, taking chunks from the masonry, tearing the walls apart. Maguire, Jude, and the others on the floor, scrambling for weapons.",
"EXT. TREES - DAY Fergus, hearing the gunfire, runs through overhanging branches till eventually he is hidden from sight.",
"EXT. CARNIVAL ON THE MONAGHAN BORDER - DAWN. A forlorn - looking building over nondescript fields. An old man wheels a bicycle slowly toward it ; a rusty car appears ; and Fergus gets out of it. TOMMY Fergus! FERGUS You're back in the pink, Tommy? How're you keeping?",
"INT. CARAVAN - DAY The old man pouring whiskey into a teacup. TOMMY You'll notice I've asked you nothing. FERGUS That's wise, Tommy. TOMMY All right, then. I like to be wise. He pours Fergus more whiskey. TOMMY So what do you need, Fergus? FERGUS Need to go across the water. TOMMY Do you now. FERGUS Need to lose myself awhile. TOMMY Aha. He looks at Fergus and lights a cigarette. He puffs. TOMMY There's a man I know ships cattle to London.",
"EXT. DUBLIN BAY - EVENING. The ferry, churning into the sunset. FADE TO BLACK.",
"INT. BUILDING SITE - DAY FADE UP into an elegant, empty Georgian room, covered in clouds of dust. A figure among the clouds of dust, hacking at a wall with a sledgehammer. It is Fergus, dressed in laborer's overalls, covered in dust. He is knocking the bricks from an outer wall. He works furiously and relentlessly, like a machine. We see the wall, with the hammer striking it. One brick falls away, then another. Daylight pours through the clouds of dust and the growing hole. Fergus's face, as he works. The hole. More bricks falling away. Through the clouds of dust and the streams of daylight we now see a patch of green. Fergus's face, working. His rhythm slows. The hole. More bricks fall away. Then the hammer stops. The dust begins to clear. His face. The jagged hole. The dust drifts across it, revealing a cricket pitch, with tiny sticklike figures running on the green.",
"EXT. HOSTEL - DAY Fergus, returning from work, crosses the street, and enters through a white door.",
"INT. HOSTEL - DAY Fergus dressing. He puts on a cheap suit, like any country boy in a big city. He takes Jody's wallet from the trousers of his overalls. He flips it open, sees the picture of the soldier and Dil. He puts it in the pocket of his suit.",
"EXT. STREET - DAY Fergus walking down a street looking for an address. Some distance down the street is a sign - MILLIE'S UNISEX HAIR SALON.",
"EXT. STREET - DAY Fergus, standing as the crowds go by him, looking in the window. He has the picture in his hand. We see Dil from his point of view, then Fergus walks inside.",
"INT. HAIR SALON - DAY Fergus enters. The door gives a loud ping. A GIRL We're closing. I'll see you tomorrow, Dil She leaves the salon. DIL You want something in particular? FERGUS Just a bit of a trim. Dil checks her watch and stubs out a cigarette. DIL Come on. She gestures toward a chair. Fergus sits down. She comes toward him and fiddles with his hair. She pushes his head back into a basin behind him. She begins to knead his hair in hot water and shampoo. DIL Someone recommend you? FERGUS In a way. DIL Who? FERGUS Guy I work with. DIL What's his name? Fergus ca n't think of an answer. The hands with the purple nails run over his scalp. FERGUS Does n't the water get to your nails? DIL What's it to you? FERGUS Nothing. Fergus, sitting up. She begins to cut. DIL You American? FERGUS No. DIL Not English. FERGUS No. DIL Scottish? FERGUS How'd you guess? DIL The accent, I suppose. FERGUS And what's it like? DIL Like treacle. She imitates his accent saying it. Fergus laughs. DIL Nice laugh. Dil raises Fergus's head up, with his new - cut hair and holds a mirror up behind his head so he can see the back. He looks like a young London stockbroker. The hair salon around them is empty. DIL That should make her happy. FERGUS Who's she? DIL Do n't know. Who is she?",
"EXT. HAIR SALON - EVENING. Fergus emerges from the shop. He takes one last look through the window where Dil is taking off her smock, touching up her hair, etc.. It is as if she has forgotten all about him. He walks off through the crowds and then ducks into a doorway. The doorway of the shop. Dil comes out, dressed in a pair of high heels, a very short skirt, different, more raunchy clothes on her than we saw inside. She locks the glass door and walks down the street, across the road, and into a pub called the Metro. Fergus follows.",
"INT. METRO - EVENING. Half full, with an after - work crowd. Dil makes her way through it. BARMAN Hi, Dil DIL Hiya, hon. She sits down at the bar. Fergus comes toward the bar and takes a seat. BARMAN What'll it be? FERGUS A bottle of Guinness. Dil, looking at Fergus. DIL See that, Col? COL See what, Dil? DIL He gave me a look. COL Did he? Fergus blushes. He buries himself in his drink. DIL Just cut his hair, you know. COL Yeah? DIL What you think? COL Nice. Fergus throws his eyes toward her again. She has her face turned away, but sees him in the mirror. DIL There, he did it again. COL Saw that one. DIL What would you call it? COL Now, that was a look. She eyes Fergus in the mirror. DIL Ask him to ask me what I'm drinking. The barman, with infinite weariness, approaches Fergus. COL She wants to know do you want to know what she's drinking. Fergus is about to talk when she pipes up. DIL A margarita. The barman mixes it. She stares at the mirror, staring at Fergus, who is trying to avoid her eyes. The barman hands her the drink. DIL Now he can look. Ask him does he like his hair, Col. COL She wants to know, sir, do you like your hair. FERGUS Tell her I'm very happy with it. DIL He's Scottish, Col. COL Scottish? FERGUS Yeah. DIL What'd he say, Col? COL He agreed that he was. DIL What do you think his name is? COL I've no thoughts on the subject. FERGUS Jimmy. DIL Jimmy? COL That's what he said. Jimmy. DIL Hi, Jimmy. FERGUS Hiya, Dil A burly man sits down beside her. He puts his hand on her knee. MAN Sing the song, Dil - She slaps the hand away. DIL Fuck off, Dave. DAVE C'mon, babe! You know what I like. Easy! She turns back to Fergus and finds his seat empty.",
"EXT. METRO - NIGHT. Fergus, standing across the road from the pub. He is sweating. Dil comes out of the pub. She looks this way and that, as if searching for Fergus. Fergus stands back into a shadow. Dave, the burly man, comes out. He grabs her by the elbow. She shrugs him off. She walks off. Dave follows, grabs her by the elbow again. The sense of an old argument. Dave suddenly strikes her across the face with his open palm. She leans her head against a wall. Dave then puts his arms around her, consoles her.",
"EXT. STREET - NIGHT. Dave walking, holding Dil by the arm. The street is dilapidated, full of squats. They stop outside a door. Dil opens the door with a key from her purse and they both walk inside. Fergus stands there, observing. A light comes on in an upstairs room. Dil enters ; we see her shadow in silhouette behind the curtain and the shadow of Dave coming in behind her. He begins to remove her blouse. She stands absolutely still as he does so. Fergus backs away, then walks off.",
"INT. HOSTEL - NIGHT. Fergus, in bed. Fade to black as we see Jody as a bowler, running in slow motion, toward the camera. He releases the ball ; we see Fergus in bed, breathing heavily.",
"INT. SITE - NEXT DAY Fergus takes a break and watches the batsman hit a ball. He imitates the batsman's motion with his sledgehammer. Then a voice interrupts him. DEVEROUX So Pat's a cricket fan, eh? Fergus turns. We see Tristram Deveroux, a young Sloane type in a three - piece suit, whose house it is. Beside him is Franknum, the cockney foreman. FERGUS It's not Pat. It's Jim. DEVEROUX Jim, Pat, Mick, what the fuck. Long as you remember you're not at Lords. Fergus resumes work.",
"INT. METRO - NIGHT. It is now crowded with people, black, white, punky and street chic, a lot of leather All the women are heavily made - up. Someone is singing from the tiny stage and rows of cheap colored bulbs are flashing around it. From the way Fergus walks through, it is obvious he has never been here at night. He seems most out of place in his cheap suit, making his way through the crowd to the bar. AT THE BAR. Fergus looks through the odd crowd, but ca n't find Dil. Col, the barman, sees him and smiles. COL So can we consider you a regular, sir? FERGUS Is that good or bad? COL Well, you get to say, The usual, Col. Things like that. Col pushes a colored cocktail with one of those Japanese umbrellas toward him. COL So let's call this the usual. FERGUS Thanks. Fergus reaches for his wallet to pay, but Col interrupts. COL No, no. It's on me. Fergus tries to pretend he's familiar with the drink, and by implication, whatever are the norms of the place. He lifts the glass to his mouth, but the umbrella keeps getting in the way. COL Take it out, if you want. Fergus takes out the umbrella. He holds it in one hand and drinks with the other. COL You came to see her, did n't you? Fergus shrugs. He takes out a cigarette. A guy in leather to his left smiles at him. COL Something I should tell you. She's - FERGUS She's what? The barman looks up toward the stage. COL She's on. THE JUKEBOX. A hand presses a button. The needle selects a disk. A song by Dave Berry, `` The Crying Game.'' AT THE BAR. Fergus looks up. Close - up of Dil's hand, as music begins, making movements to the music. We see Dil, standing on a stage, swaying slightly. She seems a little drunk. She mimes to the song. She mouths the words so perfectly and the voice on the song is so feminine that there is no way of knowing who is doing the singing. She does all sorts of strange movements, as if she is drawing moonbeams with her hands. The crowd seems to know this act. They cheer, whether out of approval or derision we ca n't be sure. Fergus watching. Dil singing, noticing him. She comes to the end of the song. The crowd cheers. Fergus, watching her make her way through the crowded bar, toward him. DIL He's still looking, Col. COL Persistent. DIL Good thing in a man. COL An excellent quality. DIL Maybe he wants something. COL I would expect he does. DIL Ask him. COL Ask him yourself. She looks at Fergus directly, sits down next to him. DIL So tell me. Fergus says nothing. He shrugs. DIL Everybody wants something. FERGUS Not me. DIL Not you. How quaint. How old - fashioned and quaint. Is n't it, Col? Col shrugs. DIL You old - fashioned? FERGUS Must be. The burly man comes up to her. MAN Got the money, Dil? DIL Fuck off, Dave. DAVE You fucking promised. DIL Did I? DAVE You fucking did. He suddenly jerks her roughly off the stool, spilling her drink. DAVE Did n't you? Well, come on! He drags her through the crowd. In the mirror, Fergus watches them go. The barman eyes him. COL It takes all types. FERGUS So who's he? COL He's what she should run a mile from. FERGUS Then why does n't she? COL Who knows the secrets of the human heart. Fergus suddenly stands and makes his way to the door.",
"EXT. PUB - NIGHT. Fergus comes out. A black bouncer is there, but there is no sign of Dil. He walks a few yards and hears voices down an alley. He looks up it. P0V - ALLEY. We see Dil pushing Dave away. He grabs her, turns her roughly. DAVE Do n't be like that - DIL You heard me - She beats his arms away. Money falls on the ground. She staggers away from him. He picks up the money, then runs after her. DAVE Got very fucking grand, have n't we - He tries to pull her back. DAVE Talk to me, you stupid bitch - They both bump into Fergus, who just stands there and does n't move an inch. She smiles. DIL Hi. FERGUS Hi. You forgot your bag. He holds it up to show her. DIL Thank you. DAVE Who the fuck is he? DIL Jimmy. DAVE It's him, is n't it? DIL Maybe. Dave eyes Fergus. Fergus grabs his wrists and upends him on the ground. DIL See, they get the wrong idea. DAVE -LRB- from the ground. -RRB- Cunt. Fergus puts his foot on Dave's neck. FERGUS What was that? DIL They all get the wrong idea. DAVE Cunt. Scrag - eyed dyke cunt. DIL Charming. Dave grabs for her ankle. She kicks his hand away. Fergus presses down his foot. He looks to Dil. FERGUS What'll I do? DIL Break his neck. Fergus presses his foot. DIL No, do n't. She bends low to Dave. DIL He's going to take his foot off slowly, David. Then you're to go home, like a good boy. You hear me? DAVE Cunt. But his voice is softer. Fergus removes his foot. Dil grabs his arm. DIL Come on, honey. She draws him away.",
"EXT. METRO - NIGHT. They walk out of the alley. FERGUS You all right? DIL Yes, thank you. FERGUS What was that all about? DIL He wants me to perform for him. FERGUS Perform? DIL You know. FERGUS You on the game? DIL God no. I'm a hairdresser. Fergus looks back. Dave is rising. FERGUS He's getting up. DIL You ca n't leave me then, can you?",
"EXT. STAIRCASE OUTSIDE DIL'S FLAT Fergus and Dil climb slowly upstairs. DIL You want me to ask you in, right? FERGUS No, I did n't - DIL But I'm not cheap, you know that? Loud, but never cheap. There is a movement lower down the staircase. We see Dave, holding his neck. DAVE Fucking dumb dyke carrot cunt. Dil leans close to Fergus. DIL If you kissed me, it would really get his goat. She tilts up her face. Fergus kisses her, tenderly. DIL Now, if you asked me to meet you tomorrow, it would really drive him insane. FERGUS Where? DIL Half - five. At Millie's. She goes in and closes the door. Fergus stands and looks down at Dave, who turns to leave.",
"EXT. HAIR SALON - DAY Dil walks out of the salon, smiling, and walks toward Fergus. DIL Give me that look again. FERGUS What look? DIL The one you gave me in the Metro. Fergus takes a bunch of flowers from behind his back. She holds them, with theatrical feeling. DIL Darling, you should n't have. She laughs and leans toward him and kisses him in a classically old - fashioned way. The girls inside the salon pull back a curtain, and they all clap. FERGUS What's that about? DIL They're jealous. FERGUS Why? DIL I wonder. She takes his arm and walks off with him.",
"INT. INDIAN RESTAURANT - NIGHT. Fergus and Dil looking at their menus. A waiter places drinks on their table, then leaves. DIL Now's the time you're meant to do something, is n't it? FERGUS Like what? DIL Make a pass or something. Is n't that the way it goes? FERGUS Must be.",
"EXT. STREET - NIGHT. They are walking in an alleyway toward her house. DIL You got a special friend, Jimmy? FERGUS How special? DIL You want one? And suddenly a car drives very fast toward them, headlights on. Fergus pulls her into a doorway to avoid it. FERGUS Jesus Christ! DIL Jesus. The car continues down the road, stops, and then screeches off. FERGUS That Dave? DIL The things a girl has to put up with. She looks down toward where the car has pulled away. DIL I'm frightened, Jimmy. That's not like him.",
"EXT. DIL'S FLAT. A car pulls up behind Dil and Fergus. DIL Piss off, Dave! FERGUS Tough guy, huh? Are you going to be all right on your own? DIL I'm not on my own, am I? She touches his cheek. DIL Come on up, would you?",
"INT. DIL'S FLAT - NIGHT. Dil comes in in the darkness. Fergus stands like a shadow in the doorway. The light comes on ; she takes off her raincoat. DIL Wo n't hurt you to come in. Fergus enters slowly. He looks around the room ; there is an exaggerated femininity about everything in it. DIL Would you like a drink? FERGUS Yes, please. DIL What'll it be? FERGUS Whiskey. She goes into a small kitchen. Fergus looks at the mantelpiece and sees a picture of Jody. The camera tracks into the soldier's smiling face. Then into Fergus's face. His reverie is broken by the sound of a voice outside - Dave's. She comes through with two drinks. FERGUS Someone out there. DIL Jesus fucking Christ. She opens the window door, and we see Dave on the street, in a neck brace. DIL Hey, Stirling fucking Moss - DAVE It's Dave. She goes back into the room and begins taking things up. DAVE Talk to me, Dil - DIL Sure, Dave - DAVE Please, Dil - She flings things down : men's clothes, leather trousers, a suitcase, a teddy bear. DIL Take your clothes. DAVE Do n't throw my clothes out the window! DIL Fuck off back to Essex! DAVE Fucking mad! Fergus looks to the man down in the street, a parody of rejection with his things in his arms. DAVE Do n't chuck my clothes out! DIL Take your fucking goldfish, too! Dil grabs a large goldfish bowl and flings it down. The bowl breaks to bits on the pavement. Goldfish thrash around in the street. DAVE You fucking bitch! He tries to pick up the flapping fish in his hands. DAVE Murderer! Upstairs, Dil closes the window shut. DIL Sorry. How'd he drive with his neck in a brace? FERGUS Must be in love to manage that. DIL Does n't know the meaning of the word. Fergus stands as Dil hands him a glass. FERGUS He lived here with you? DIL Tried to. Sit down, will you? Fergus walks past the photograph and sits down. He looks from her to the picture. FERGUS What about him? He nods toward the picture. She looks down into her drink. DIL He was different. FERGUS How different? DIL As different as it's possible to be. FERGUS Tell me about him. DIL No. FERGUS Should n't I go? DIL Yes. And they fall into one another's arms. She stretches up with her whole body over him. They grow suddenly and violently passionate. They fall into the cushions of the couch onto the floor. The photograph above them seems to smile. He draws up her dress with his hands. She suddenly pulls away. DIL No - FERGUS Did you do that to him? She comes up toward him once more. She puts her mouth close to his ear. DIL You want to know how I kissed him? FERGUS Yes. DIL Are you jealous of him? FERGUS Maybe. DIL That's good. She opens the buttons on his shirt and her mouth travels down his chest. Fergus tries to draw her up toward him, but her hand reaches up to his mouth and presses his head back while her other hand undoes his pants. She kisses his stomach ; her mouth moves down his body. Fergus stares at the picture of Jody. Jody's eyes seem to burn through him. Dil raises her head and kisses his mouth. There are tears in his eyes. FERGUS What would he think? DIL Ca n't think. He's dead. In Ireland. He was a soldier. Went there like a fool. She sits in front of the mirror. FERGUS Do you miss him? DIL What do you think? FERGUS I think you do. DIL -LRB- dreamily. -RRB- You say that like a gentleman. FERGUS Do I? DIL Like you're concerned. Fergus gets up and stands behind her, gently pushes the hair from her face. DIL But you can t stay, you know that? FERGUS Did n't think I could. DIL A real gentleman. She embraces him. FERGUS Should n't you be in mourning? DIL I am. She sits back down in front of the mirror. Fergus leaves. She reapplies her lipstick.",
"INT. METRO - NIGHT. Singer in a blue dress. Dil and Fergus by the bar. Both drinking drinks with umbrellas. Dave comes up behind them with his neck brace. DAVE Look, I'm sorry. DIL Fuck off, Dave. DAVE No, I wo n't fucking fuck off. Said I'm sorry, did n't I? DIL Yeah. I heard. You hear, Jimmy? Fergus nods. He stands. Dave steps two feet back. FERGUS I was only going to ask her for a dance. Fergus takes Dil's arm. FERGUS Shall we? The woman is singing. As they circle, people begin to look at them admiringly. Dil holds her cheek close to his. FERGUS Did he come here too? DIL Is this an obsession of yours? FERGUS Maybe. DIL He did sometimes. FERGUS Did he dance with you? Dil does n't answer. Looks at him out of the corner of her eye. DIL So what do you want with me, Jimmy? FERGUS Want to look after you. DIL What does that mean? FERGUS Something I heard someone say once. She draws back and looks at him. DIL You mean that? FERGUS Yeah. She dances closer. DIL Why? FERGUS If I told you, you would n't believe me. In the bar, people singing along with the music. Col sings. Dave sitting at the bar, sulking. DIL You're not having me on, are you?'Cause Dil ca n't stand that. FERGUS No. She puts her cheek against his. Dave, at the bar, slams his drink down. DIL And she does get very upset. Dave stands up to leave. On the stage the act finishes. Dil draws Fergus back to the bar. AT THE BAR. Col, the barman, pours her drink. DIL One for him, too. Col pours and smiles. DIL Drink. FERGUS What is this? DIL I'm superstitious. Drink. He drinks. He grimaces. She throws it back in one. DIL Ca n't leave me now. FERGUS Aha. DIL The thing is, can you go the distance? FERGUS Depends what it is. DIL No, depends on nothing. She takes the bottle herself and fills their glasses. She slams it back. He sips. DIL In one. She tilts his glass back. He swallows it in one.",
"INT. DIL'S FLAT - NIGHT. She enters ; Fergus walks in slowly. He looks from the cricket whites that are hanging up behind a curtain to the photographs. DIL What you thinking of, hon? FERGUS I'm thinking of your man. DIL Why? FERGUS I'm wondering why you keep his things. DIL Told you, I'm superstitious. She turns toward him and undoes her hair. It falls around her shoulders. FERGUS Did he ever tell you you were beautiful? DIL All the time. Fergus runs his hand down her throat. DIL Even now. FERGUS No. DIL He looks after me. He's a gentleman too. She draws him behind a curtain toward the bed, pulls him down. They kiss passionately. DIL Give me one minute. She walks into the bathroom. Fergus lies there, looking at the picture, listening to the sound of running water. She comes out then, dressed in a silk kimono. She looks extraordinarily beautiful. He reaches out his hand and grasps hers. He draws her toward him. He begins to kiss her face and neck. FERGUS Would he have minded? She murmurs no. His hands slip the wrap down from her shoulders. CLOSE ON HIS HANDS, traveling down her neck, in the darkness. Then the hands stop. The kimono falls to the floor gently, with a whisper. The camera travels with it, and we see, in a close - up, that she is a man. Fergus sits there, frozen, staring at her. DIL You did know, did n't you? Fergus says nothing. DIL Oh my God. She gives a strange little laugh, then reaches out to touch him. Fergus smacks the hand away. FERGUS Jesus. I feel sick - He gets up and runs to the bathroom. She grabs his feet. DIL Do n't go, Jimmy - He kicks her away. He runs into the bathroom and vomits into the tub. She crouches on the floor. DIL I'm sorry. I thought you knew. He retches again. DIL What were you doing in the bar if you did n't know - I'm bleeding. She lights a cigarette. Fergus runs the taps. He washes his face, rinses his mouth. DIL It's all right, Jimmy. I can take it. Just not on the face. Fergus slams the door shut. She is sitting on the couch, the kimono round her once more, looking very much like a woman. A trace of blood on her mouth. DIL Y ` see, I'm not a young thing any longer. Funny the way things go. Do n't you find that, Jimmy? Never the way you expected. Fergus comes out of the bathroom. FERGUS I'm sorry. She looks up. Some hope in her face. DIL You mean that? And he makes to go. She grabs him to stop him. DIL Do n't go like that. Say something. He pulls away from her. She falls to the floor. DIL Jesus. He drags himself away and runs down the stairs.",
"INT. FERGUS'S FLAT Fergus in bed. Flash to shot of blackness, Jody grinning in cricket whites, throwing the ball up and down in his hand.",
"INT. METRO - NIGHT. The place is hopping. Fergus enters. He now sees it as he should have seen it the first night - as a transvestite bar. He makes his way through the crowds. All the women too - heavily made - up. Some beautifully sleek young things he looks at he realizes are young men. He makes his way to the bar where Dil is sitting, nursing a drink with an umbrella in it. Her face is bruised. She is wearing dark glasses. As he walks toward her she sees him in the mirror. She talks to Col the barman. DIL He's back, Col COL Hi. DIL Do n't want any of those looks, Col. They do n't mean much. COL Stop it, Dil - DIL No. Tell him to go fuck himself. Fergus sits. Col turns to him. COL She wants me to tell you go fuck yourself. FERGUS I'm sorry. There is a tear running down her cheek, under the dark glasses. DIL Tell him to stop messing Dil around - FERGUS Dil - DIL Tell him it hurt - FERGUS I have to talk to her, Col - COL Says he's got to talk to you - Fergus touches her arm. FERGUS Come on, Dil - DIL Where? She whips her arm away. DIL Tell him again, Col. Go fuck himself - She walks into the crowd, toward the door. Fergus leaves.",
"EXT. STREET - NIGHT. Fergus, walking outside Dil's place. The blinds in her room are down and the light is on inside. We see her outline, pacing up and down behind the blinds, smoking a cigarette. We hear the song `` The Crying Game.'' Fergus stands beneath her doorway, scribbles a note, and sticks it in the letter box.",
"EXT. CRICKET PITCH - DAY A man removes a large number six from a huge scoreboard with a pole and replaces it with a number nine. Below the scoreboard we can see Dil walking across a lawn toward the building where Fergus is working.",
"INT. SITE - DAY Fergus, fitting a new window into the finished wall. On the pitch we see the cricketers, distorted through the moving glass of the window. Across the pitch Dil walks, with a lunch basket in her hand, dressed in a very short skirt with high heels. As she approaches the site a chorus of whistles breaks out. Fergus, hearing the whistling, stares out. He sees Dil moving toward the site. He drops the window and the glass shatters. As the whistles continue, we see Dil in the site's lift, which rises up. We see Deveroux and Franknum climbing up a ladder toward Fergus. DEVEROUX How much did that frame cost, Mr. Franknum? FRANKNUM Two hundred quid, Mr. Deveroux. DEVEROUX Your Pat just cost me two hundred quid. FERGUS Sorry. DEVEROUX Sorry wo n't bring the bloody thing back, will it, Mr. Franknum? FRANKNUM Not in my experience. DEVEROUX Off his wages. FERGUS Do you mean that? DEVEROUX He wants to know do I mean that. FRANKNUM I'm sure you do, Mr. Deveroux. DEVEROUX Bloody right I do. Through this conversation Fergus can hear the chorus of wolf whistles increasing. He looks out the gap where the window should be and sees Dil in the lift. The laborers whistle at her, looking up her skirt, etc.. She passes by a gap in the wall and blows a kiss at him. DEVEROUX Is that his tart? Does Pat have a tart? FERGUS She's not a tart. DEVEROUX No, of course not, she's a lady. FERGUS She's not that either. Fergus walks out of the room. Fergus walks round the scaffolding. Dil sees him and waves, sits on some bricks and opens the hamper. DIL Darling - She is acting bright and businesslike, like any wife. She is wearing dark glasses to cover the bruise on her face. She pecks him on the cheek. DIL Never let the sun go down on an argument, Jody used to say. FERGUS What you doing here? DIL Got your note. So let's kiss and make up, hon. FERGUS Do n't call me that. DIL Sorry, darling. FERGUS Give it over, Dil - DIL Apologies, my sweet. Fergus smiles in spite of himself. DIL That's more like it, dear. Have a cuppa. She takes out a thermos and pours him some tea. FERGUS You're something else, Dil, you know that? DIL Never said a truer word. She hands him a neatly cut sandwich. DIL See, I was always best looking after someone. Must be something in the genes. FERGUS Must be. DIL And the fact that you did n't know is basically the fault of yours truly. And even when you were throwing up, I could tell you cared. FERGUS You could? DIL Do you care, Jimmy? FERGUS Sure I do. DIL You mean that? FERGUS Yeah. I care, Dil. She lowers her head. FERGUS You crying, Dil? He removes her glasses and looks at her moist eyes. DIL I'm tired and emotional. Then he hears a voice behind him. DEVEROUX Do it on your own time, Paddy. FERGUS What? DEVEROUX Whatever it is she does for you. Fergus looks from Dil to Deveroux. FERGUS If I was her I'd consider that an insult. DEVEROUX Consider it how you like. Just get that bloody tart out of here. Fergus stands up suddenly. He speaks quietly. FERGUS Did you ever pick your teeth up with broken fingers? Deveroux stares, suddenly chilled. DEVEROUX What's that supposed to mean? FERGUS It's a simple question. Deveroux says nothing. Fergus looks down to Dil. FERGUS Come on, dear. He holds out his arm. Dil gathers up her things and takes it. Her face is wreathed in a smile. DIL He did n't answer, honey - Fergus walks her down the scaffolding ramp. FRANKNUM Sorry about that, Mr. Deveroux. Dil and Fergus descend from the site in the lift. DIL My, oh my, Jimmy, how gallant. FERGUS Shut up. DIL Made me feel all funny inside. FERGUS I said stop it. DIL Ask me to meet you again, Jimmy. FERGUS You think that's wise? DIL Nothing's wise. The lift stops with a thud. FERGUS I did n't mean to hit you. DIL I know that. FERGUS Kind of liked you as a girl. DIL That's a start. FERGUS So I'm sorry. DIL Make it up to me, then. FERGUS How? DIL Ask to meet me again. FERGUS Will you meet me again? DIL When? FERGUS Whenever. Tonight. She leans forward and kisses him. Fergus hears a wail of catcalls behind him. He watches Dil go as the lift takes him back up to the site.",
"EXT. HAIR SALON - EVENING. Fergus, outside the hair salon. Dil, inside, is throwing off her smock and walking toward him. All the girls are smiling. Fergus looks from Dil to the girls as they approach. FERGUS Do they know? DIL Know what, honey? FERGUS Know what I did n't know. And do n't call me that. DIL Ca n't help it, Jimmy. A girl has her feelings. FERGUS Thing is, Dil, you're not a girl. DIL Details, baby, details. FERGUS So they do know. DIL All right, they do. She takes his arm as they walk off. FERGUS Do n't. DIL Sorry. FERGUS I should have known, should n't I? DIL Probably. FERGUS Kind of wish I did n't. DIL You can always pretend. FERGUS That's true. Your soldier knew, did n't he? DIL Absolutely. FERGUS Wo n't be quite the same though, will it? DIL Are you pretending yet? FERGUS I'm working on it. Fergus hears a car following them, and turns around to look. FERGUS There's Dave. He knew too. DIL Stop it, Jimmy. FERGUS Am I becoming repetitious? DIL A little. FERGUS Sorry. They reach her door. The car stops. FERGUS Do n't ask me in. DIL Please, Jimmy. FERGUS No. Ca n't pretend that much. DIL I miss you, Jimmy. FERGUS Should have stayed a girl. DIL Do n't be cruel. FERGUS Okay. Be a good girl and go inside. DIL Only if you kiss me. Fergus kisses her. He looks at her open lips as if in disbelief at himself. FERGUS Happy now? DIL Delirious. She goes inside.",
"INT. HOSTEL - NIGHT. Fergus walks into the room and turns on a small desk - light. Then he hears a voice. JUDE Hello, stranger. He sees Jude sitting in the corner. Her hair is now dark brown. JUDE You vanished. He stares at her, says nothing. JUDE What was it, Fergus? Did you blow the gaff on us or did you just fuck up? FERGUS Leave me alone, Jude. JUDE No. That's the last thing I'll do. You never asked what happened. FERGUS I heard. JUDE Eddie and Tinker died. FERGUS I know. JUDE Maguire and me got out by the skin of our teeth. No thanks to you. What you think of the hair? FERGUS Suits you. She walks round the room. JUDE Aye, I was sick of being blond. Needed a tougher look, if you know what I mean. She lies down on the bed beside him, takes off a black leather glove, and puts her hand on his crotch. JUDE Fuck me, Fergus. He takes her hand away. JUDE Am I to take it that's a no? He says nothing. JUDE We had a court - martial in your absence. They wanted to put a bullet in your head. I pleaded for clemency. Said we should find out what happened first. So what did happen? FERGUS He ran. I could n't shoot him in the back. I tried to catch him. He made it to the road and got hit by a Saracen. JUDE So you did fuck up. FERGUS Yes. JUDE But you know what the thing is, Fergus? FERGUS No, what is the thing? JUDE You vanished quite effectively. Became Mister Nobody. And you've no idea how useful that could be. FERGUS What do you mean? JUDE We've got some plans here. And we'll need a Mister Nobody to execute them. FERGUS No way, Jude. I'm out. JUDE You're never out, Fergus. She looks at him hard. He looks away. JUDE Maybe you do n't care whether you die or not. But consider the girl, Fergus. The wee black chick. He leaps up from the bed. FERGUS Leave her out of this. JUDE Jesus, Fergus, you're a walking cliche. You know we wo n't leave her out of this. But I'm glad to see you care. She brings her lips close to his so they touch. JUDE And I must admit I'm curious. He grabs her hair and pulls her head back. FERGUS What the fuck do you know, Jude? She pulls a gun and sticks it between his teeth. JUDE You fucking tell me, boy - Fergus stares at her. Then says quietly : FERGUS She's nobody. She likes me. JUDE So I suppose a fuck is out of the question. Keep your head down, Fergus. No sudden moves. And not a whisper to her. You'll be hearing from us. She kisses him briefly, with the gun at his temple. JUDE Keep the faith. She goes. Fergus stands in the darkness.",
"EXT. HAIR SALON - EVENING. Fergus, walking toward the hair salon, flowers in his hand. He stands outside watching, the flowers behind his back. Then the chair turns and we see it is Jude. Fergus freezes. He sees Jude looking at him, smiling brightly, then talking back to Dil",
"INT. HAIR SALON - EVENING. JUDE He your boyfriend? Jude, turning in the chair. JUDE Lucky you.",
"INT. INDIAN RESTAURANT - NIGHT. DIL Carnations. FERGUS What? DIL He'd bring me carnations. FERGUS So I got it wrong, then. DIL Not at all, honey. FERGUS Do n't. DIL Okay. She smiles brightly at something behind Fergus. He turns and sees Jude is there. Fergus stands, suddenly. He throws some money on the table, grabs her arm, and frog - marches her out. FERGUS Come on. DIL Why, honey - FERGUS Come on. DIL You gon na tell me why? FERGUS No. As they pass Jude, she smiles.",
"EXT. INDIAN RESTAURANT - NIGHT. Outside the restaurant. Fergus marches Dil away. DIL What's wrong, Jimmy? Tell me what's wrong - FERGUS Not here. They pass out of shot. In the background we see Jude rising.",
"INT. METRO - NIGHT. Dil and Fergus making their way to their seats at the bar. DIL You gon na tell me what it is? A figure sitting down at the bar. It is Jude. JUDE What was it? DIL You know her, Jimmy? JUDE Jimmy, is it? Do you know me, Jimmy? FERGUS Dil, this is Jude. DIL You following me? JUDE Yeah. Just checking. He being nice to you, Dil? DIL Ever so nice. Are n't you, Jimmy? JUDE That's good. I'm glad. Young love, as they say. DIL Absolutely. The younger the better. Does n't come your way much, I suppose. JUDE Do n't go looking for it, Dil. DIL Well, maybe you'll get lucky. Someday. JUDE A bit heavy on the powder, is n't she, Jimmy? DIL A girl has to have a bit of glamour. JUDE Absolutely. Long as she can keep it. Is n't that right, James. She leaves. Dil watches her go. DIL It's her, is n't it? FERGUS What's her? DIL She's the thing you had to tell me. FERGUS Kind of. DIL I'm sorry, you know that? I'm really sorry. She looks at Col DIL You see that, Col? COL Saw it, Dil. DIL Fuck it, is what I say. COL Yeah. Fuck it, Dil. DIL Fucking men, Col - COL Fuck'em. There are tears in her eyes. She stands. DIL And fuck you, Jimmy - She staggers out of the pub. Fergus sits there. There is an expression in Col's eyes that makes Fergus feel very, very small. COL You could always make it up to her. FERGUS How? COL When a girl runs out like that, she generally wants to be followed. FERGUS She's not a girl, Col - COL Whatever you say. But Fergus rises and walks out.",
"EXT. METRO - NIGHT. A figure standing down the alleyway, smoking. Fergus looks toward it, but Jude is standing there, waiting. JUDE She went that way - Jude grabs his arm. JUDE But you come with me. She draws him down an alley where the same car is waiting. They get inside. ANOTHER CAR - BY THE PUB. Dil, sitting inside a taxi watching Fergus and Jude getting in the car.",
"INT. CAR - NIGHT. In the moving car. Jude is driving, Maguire next to her. Fergus sits in the back. FERGUS So it was you all the time. MAGUIRE Who'd you think it was? FERGUS I thought it was Dave. MAGUIRE And who's Dave when he's at home? FERGUS He's at home. MAGUIRE Should blow you away, you know that? FERGUS I know that. Maguire stubs his cigarette out on Fergus's hand, then whacks him on the teeth with his closed fist. MAGUIRE I'm getting emotional. And I do n't want to get fucking emotional - you understand, Hennessy? FERGUS I understand. MAGUIRE Fuck you, too - Jude drives. Fergus looks through the back window at the street outside. JUDE Leave him alone, Peter. He's in love. MAGUIRE That true, Fergus? You in love? FERGUS Absolutely. MAGUIRE And what's she like between the sheets? FERGUS Definitely unusual. MAGUIRE And who is she? FERGUS Just a girl. MAGUIRE And you know what'll happen if you fuck up again, do n't you? FERGUS Aye, I do, Peter. MAGUIRE Good.",
"EXT. REGENCY SQUARE - NIGHT. The car draws to a halt in a sedate square. Several doors down is the entrance to what looks like a sedate conservative club. In the car, Maguire turns off the engine. He nods toward the building. MAGUIRE So what do you think that is, Hennessy? FERGUS A hotel? MAGUIRE It's a knocking - shop. Tres discreet, huh? He visits his ladies on Tuesday and Thursday nights and Saturday mornings. His security's in the car beyond. He nods toward a car, a Daimler, parked some distance away. Fergus looks from the window to the car. FERGUS Who is he? MAGUIRE Does n't matter who he is. He is what we would call a legitimate target. FERGUS Thank God for that. MAGUIRE You being cynical, Hennessy? FERGUS Hope not. MAGUIRE Good. So what do you think? FERGUS Whoever hits him'll be hit, if those men are any good. And I presume you ca n't get in. MAGUIRE Right. FERGUS So it's on the street. MAGUIRE Right. FERGUS Kind of suicide, is n't it? Jude turns around to look at him. FERGUS But, then, I do n't have a choice. JUDE Och, you do, Fergie. FERGUS Of course. I forgot. JUDE Come on, Fergie. A rehearsal. Jude and Fergus get out of the car. They walk down the street, down from the brothel - cum - club, where there is a cafe - bar with some tables outside.",
"EXT. REGENCY SQUARE - NIGHT. Fergus and Jude, crossing the street. JUDE You keep your mind on the job, boy - FERGUS And then you'll leave her out of it? JUDE Aye. Then we'll leave her be. They take their seats by the tables. We can see the brothel down the way. JUDE He's arthritic. Takes him two minutes to get to the door. She checks her watch. Fergus is sweating. FERGUS And what if I say no? JUDE You know what. Go. Down by the brothel, the door swings open. Fergus walks like any pedestrian down toward the brothel. There is an old, portly gent in a City suit emerging from it. The car by the pavement kicks into action and the door opens. Fergus quickens his pace. Jude, by the cafe, watches. Fergus, walking. The gent makes his way, with gout - ridden slowness, across the pavement, through the passersby, toward the car. A burly security man emerging from the car, walking toward the old gent. Fergus reaches the car just before he does, and passes between him and the open door. The old gent's stomach brushes Fergus's elbow. GENT Pardon me, young man - Fergus walks on. Jude, from the cafe, watches - Fergus walking on, the old man being eased with painstaking care inside the Daimler. Then the door closing and the Daimler pulling off. When the Daimler has passed Fergus, he turns around and walks back. Jude smiles and leaps up as he approaches. JUDE You were made for this. FERGUS Was I? JUDE Perfect. FERGUS And what happens then? JUDE We'll be on the other side. We'll move when you do. FERGUS And what if you do n't? JUDE Fergus, I think you do n't trust me. FERGUS You may be right. JUDE Stay late at your work tomorrow night and I'll bring you the gear. Jude begins to walk away. FERGUS Jude? JUDE Yes? FERGUS Who's the old geezer? JUDE Some judge. She walks off, crosses the road to Maguire, in the car. Fergus turns around to see Dil in front of the cafe. She goes inside ; he follows. FERGUS Why'd you follow me, Dil? DIL Was jealous, Jimmy. She downs a drink and motions for another. She seems high. FERGUS Should n't be, Dil DIL Why should n't I be jealous? There are tears streaming down her face. He takes his hand and begins to wipe her face. DIL Do n't. My makeup. She sits down ; he joins her. DIL She own you, Jimmy? FERGUS Yes. DIL She from Scotland too? FERGUS You could say that. DIL And you're not going to tell me more? FERGUS I ca n't. He wipes the tears from her face with a tissue then dabs the tissue in her drink and wipes some more. DIL What you doing, Jimmy? FERGUS I'm not sure. DIL Do you like me even a little bit? FERGUS More than that. Dil's face, staring at him. FERGUS Come on, let's go for a walk. She allows herself to be led out.",
"EXT. HAIR SALON - NIGHT. Dil and Fergus walking. Fergus stops her by the window. FERGUS You do something for me, Dil? DIL Anything. FERGUS You'd do anything for me? DIL Afraid so. FERGUS You got the keys to the shop? They walk inside.",
"INT. HAIR SALON - NIGHT. Dil and Fergus standing in the darkness. DIL You want another haircut, baby? FERGUS No. Sit down. He sits her down in one of the chairs. FERGUS You'd do anything for me? Dil nods. DIL Anything. Fergus takes up a scissors to snip at her hair. Her head leaps back. DIL No way - FERGUS You said anything, Dil DIL A girl has to draw the line somewhere - FERGUS Want to change you to a man, Dil. She stares at him. DIL Why? FERGUS It's a secret. DIL You'd like me better that way, Jimmy? FERGUS Yes. DIL And you would n't leave me? FERGUS No. DIL You promise? FERGUS I promise. She takes a breath. DIL Go on, then. Fergus begins to cut. CLOSE - UP ON DlL'S FACE as her hair is shorn. Tears stream down her cheeks. DIL You're no good at this, Jimmy. FERGUS I'm sorry. But he keeps cutting. He gives Dil a short, cropped military cut like Jody's. DIL You want to make me look like him. FERGUS No. Want to make you into something new. That nobody recognizes. She looks in the mirror at it in the dark. DIL Do n't recognize myself, Jimmy.",
"INT. DIL'S FLAT - NIGHT. Dil enters, with her new haircut. She goes to turn on the light. He stops her hand. FERGUS No. She looks at her hand on his. FERGUS Better in the dark. Her fingers close around his. DIL So it's true, then? FERGUS What? DIL You like me better like this. FERGUS Yes. She brings her lips to his neck. He lets them stay there. His hands travel up to her blouse. He begins to undo the buttons. DIL Oh, Jimmy - Slowly the blouse slips down, exposing her male torso. She falls down to her knees and tugs at his belt. FERGUS No. No. Dil. get up. He raises her to her feet and leads her toward the bed. She stretches languorously down on it. He unzips her skirt slowly, and draws it off. She turns on the bed sexily, her face to the mattress. She is wearing suspender - belts underneath her skirt. DIL Baby. But Fergus stands and walks quietly over to the wardrobe where the soldier's things are. Dil on the bed, slowly turns. DIL What are you doing, honey. We see Fergus from her point of view, coming toward her with Jody's white cricket shirt, glowing eerily in the dark. FERGUS Do n't call me that - DIL Sorry. What you doing? Fergus draws her slowly up to a standing position. FERGUS Try this on, Dil He wraps the shirt around her. DIL Why? FERGUS For me. DIL For you. She kisses him.",
"EXT. SMALL HOTEL - NIGHT. Fergus leading Dil, dressed in Jody's cricket clothes, down the street and inside. DIL Why are we going here, Jimmy? FERGUS Look on it like a honeymoon.",
"INT. SMALL HOTEL ROOM - NIGHT. From above, we see the figures of Fergus and Dil, sleeping on a double bed, both fully clothed. Fergus smokes, then puts out the cigarette. Time lapse. The light gradually fills the room. Fergus wakes. Looks at the bedside clock, and very gingerly rises, puts on his coat, and walks out.",
"EXT. SITE - EVENING. A car pulls up at the site. Jude gets out. She has a satchel in her hand.",
"INT. SITE - EVENING. Fergus looking down a ladder - staircase at Jude. JUDE You a handyman, Fergie? FERGUS I take pride in my work. JUDE I sincerely hope so. Fergus climbs down a ladder to Jude ; she hands him something from the bag. JUDE Tools of the trade. She kisses him. Fergus looks at her expressionlessly. JUDE And forget about the girl. Fergus opens what Jude has given him - looking inside. There is a gun wrapped in an oilcloth.",
"INT. SMALL HOTEL - NIGHT. Fergus enters. The room is empty. He calls. FERGUS Dil? No reply. He runs outside.",
"EXT. DIL'S FLAT - NIGHT. Fergus looks up at her building, but the lights are off in her flat. The sound of feet behind him. He turns and sees Dil walking toward him, a bottle in her hand. He runs toward her. FERGUS Dil! Dil! What the fuck are you doing here? DIL I'm going home! FERGUS Told you to stay in the hotel! DIL Thought you was fooling me. Thought you was leaving me. They are tussling in the darkness of the park. She is very drunk. FERGUS I had to go to work! DIL Stayed all day in that room thinking every noise was you. There's something you're not telling me, Jimmy. He takes her arm. FERGUS Come on. DIL No! I'm going home. Fergus and Dil, on the stairs up to Dil's flat. DIL So tell me. FERGUS I was trying to get out of something. DIL No! Tell me everything, Jimmy. Fergus looks at her. FERGUS You got to forget you ever saw me, Dil. DIL You mean that? FERGUS Yes. And she suddenly faints into his arms. As if on cue. FERGUS Stop it, would you? There is no response. He shakes her. FERGUS Give it over, Dil, for fuck's sake - Still no response. He grows alarmed. He slaps her cheek. She opens her eyes slowly. DIL Sorry. I get nervous. I got this blood condition. Just help me inside, Jimmy, then I'll be all right.",
"INT. DIL'S FLAT - NIGHT. He walks in holding her. Leans her against the wall, then goes to the window to check the street outside. She takes a large slug from a bottle of whiskey. FERGUS You heard what I said, Dil? DIL My pills. She points weakly to a cabinet through the open door of the bathroom. FERGUS What pills? DIL Prescription. For my condition. FERGUS What condition? DIL My condition. Ennui. He goes and gets the pills. She takes a handful of pills. She drinks from the whiskey bottle. FERGUS Are you supposed to take that many? DIL Only in times of extreme stress. She walks around the room, drinking, then sits down. DIL See, they all say good - bye sometime. ` Cept for him. She looks at the picture of Jody. Then she looks at Fergus. FERGUS Are you all right, Dil? DIL I will be. She stares straight ahead, the bottle clutched in her hands between her knees. DIL Go on, then. Fergus walks slowly toward the door. FERGUS Good - bye, Dil DIL Jimmy? FERGUS What? DIL Do n't go like that. She looks at him, standing up. Something incredibly attractive about her. DIL Ca n't help what I am. He walks slowly toward her. He kisses her, on the lips. We see the photograph with the soldier's smiling face. Fergus looks from it to her. She seems to be in a sweet narcotic haze. She reaches out her hand and strokes his. DIL Knew you had a heart. Fergus sits down on the bed. Dil is lying back on it. FERGUS Dil Can I tell you something? I knew your man. DIL You knew which man? FERGUS Your soldier. DIL You knew my Jody? She still strokes his hand. Her voice is dreamily slurred, her eyes far away. FERGUS Lifted him from a carnival in Belfast. Held him hostage for three days. DIL You knew my Jody? FERGUS Are you listening? Dil smiles woozily. DIL Yes. FERGUS I got the order to shoot him. Before I could do it he ran. Ran into a tank and died. DIL Died. FERGUS Did you hear me? DIL You killed my Jody? FERGUS In a manner of speaking. DIL It was you. She is not rational. She is smiling, far away somewhere. FERGUS You should scream. You should beat my head off. She woozily tries to hit him round the face. DIL You killed my Jody FERGUS No. DIL You did n't. FERGUS I suppose I tried. DIL You tried. FERGUS Do n't you want to kill me? Dil raises an unsteady hand and points it at him. DIL Bang. He strokes her cheek. She says very slowly and sleepily DIL Do n't leave me tonight. Might kill me, too. FERGUS Okay. Her eyes close. She falls into a deep sleep. Fergus looks down at her, almost fondly.",
"INT. DIL'S FLAT - MORNING. They are lying on the bed together, fully clothed. Dil wakes. She rises very quietly and goes to his coat, thrown across a chair. She searches through the pockets and takes out the gun.",
"INT. HOTEL ROOM - MORNING. Jude in bed. An alarm sounds ; she reaches to turn it off.",
"INT. DIL'S FLAT. Dil takes several silk stockings out of a drawer and ties them very securely to each corner of the brass bed. She ties them round both of Fergus's feet, very gently, so as not to wake him.",
"INT. HOTEL ROOM - MORNING. Jude, in front of a mirror, getting ready.",
"INT. DIL'S FLAT. She draws one of Fergus's hands up, very gingerly, and ties that securely to the upright. She ties the other and is drawing it upward when he wakes. She jerks the silk stocking so it is secure. FERGUS What the fuck - Dil speaks unnaturally quietly. DIL So tell me what you're doing, Jimmy.",
"INT. HOTEL ROOM - MORNING. Jude, fully dressed. She takes a gun from under the bed and slips it in her handbag.",
"INT. DIL'S FLAT - MORNING. Dil crouching beside Fergus, his gun in her hand. DIL Did n't really listen last night. I heard but I did n't listen. Fergus, staring at her. He tries to pull on the bindings. DIL That wo n't do you no good. Dil knows how to tie a body. She stands up, still pointing the gun at Fergus. DIL Wondered why you came on to me like that when you gave me the look. FERGUS He asked me to see were you all right.",
"EXT. STREET - DAY Jude on the street. Maguire's car pulls up rapidly and she gets inside.",
"INT. DIL'S FLAT. DIL See, I fix on anyone that's nice to me. Just the littlest bit nice and I'm yours. FERGUS Stop it, Dil - DIL Just do n't kick Dil and she'll be touched. Be nice to her and she'll be yours forever. She looks at him, tears in her eyes. DIL See, I should blow you away, Jimmy. But I ca n't do that. Yet. FERGUS Let me go, Dil He drags at his bindings. DIL Why? FERGUS Got to be somewhere. DIL Try and go, then.",
"EXT. STREET BY BROTHEL - DAY The figure of the judge in the window. Outline of a woman. Jude and Maguire are in the car, parked across the street. They look toward a paper seller. MAGUIRE Where the fuck is he? Christ -",
"INT. DIL'S FLAT. Fergus pulls furiously at his bindings. FERGUS Let me go for fuck's sake, Dil - or they'll be here DIL Let them come then. IN THE CAR. OUTSIDE BROTHEL. JUDE Ca n't stay here, Peter - drive around once more - He drives off.",
"INT. DIL'S FLAT. Fergus collapsed back on the bed, exhausted. DIL Just want your company for a little while longer.",
"EXT. STREET BY BROTHEL - DAY Maguire's car driving round once more. No sign of Fergus. MAGUIRE That fucker's dead - JUDE No, we are.",
"INT. DIL'S FLAT. Fergus strains and roars from the bed. FERGUS You do n't know what you're doing, Dil - DIL Never did. MAGUIRE'S POINT OF VIEW - the brothel door opening. The elderly judge comes out. The car with his security men guns up. MAGUIRE Give me the shooter, Jude - JUDE You're crazy - MAGUIRE Give me the fucking shooter! He grabs it from her pocket. Throws open the door and runs across the street. Jude dives into the driver's seat.",
"INT. DIL'S FLAT. Fergus, pulling at his bindings.",
"EXT. OUTSIDE THE BROTHEL. The judge walking toward the open door of the car, held open by his goon. Maguire, running toward him, gun in hand. The goon sees him. Maguire shoots as he runs. Once, twice, three times, four. The judge falls. The goon, hit in the arm, pulls an Uzi and returns fire. Maguire hit, still shooting. Other goons tear from the car. Mayhem, screaming. Jude hits the pedal on her car and screeches off. Maguire, dead.",
"INT. DIL'S FLAT - DAY Dil dressed in the soldier's cricket clothes. She looks like a sweet little boy. She places a cassette in the tape deck - `` The Crying Game'' song. She comes to the bed, and points the gun at Fergus's head. DIL You like me now, Jimmy? FERGUS I like you, Dil - DIL Give me a bit more, baby, a bit more. FERGUS More what? DIL More endearments. FERGUS I like you, DIl DIL Love me. FERGUS Yes. DIL Tell me you love me. FERGUS Whatever you say, Dil. DIL Then say it. FERGUS Love you, Dil. DIL You do? FERGUS Yeah. DIL What would you do for me? FERGUS Anything. She begins to cry and lays the gun gently on his chest. DIL Say it again. FERGUS I'd do anything for you, Dil. She pulls on his bindings to release him.",
"EXT. STREET. Two police cars, sirens wailing.",
"INT. DIL'S FLAT. Dil's face, close to Fergus's, as the stockings that bound his hands are nearly undone. DIL And you'll never leave me? FERGUS Never. DIL I know you're lying, Jimmy, but it's nice to hear it. His arm is free. He strokes her hair. FERGUS I'm sorry, Dil. She shudders with weeping. The music of the song plays in the background. Jude walking through the open door, arms extended, holding a gun. JUDE You stupid shit - Once was bad enough. But twice. Dil rises from the bed and points her gun at Jude. DIL You did n't knock, honey - Dil fires, hits Jude. Jude falls and is writhing on the floor. FERGUS Dil! JUDE Get that thing off me, Fergus - Dil walks closer, holding the gun and pointing it at Jude. DIL What was that she called you, Jimmy? FERGUS Fergus. DIL What's Fergus? FERGUS It's my name, Dil - DIL What happened to Jimmy? JUDE I said get it off me, Fergus - Jude, on the floor, reaches for her gun. Manages to grab it. DIL What's she going to do, Jimmy? She going to blow you away? Dil shoots again, like a child, playing with a toy. She hits Jude in her gun shoulder. Jude spins one way, the gun the other. DIL Was she there too? When you got my Jody? Fergus screams FERGUS Dil! DIL I asked you a question, honey - were you there too - JUDE You sick bitch - As she raises the gun, Dil shoots her repeatedly, saying : DIL You was there, was n't you? You used those tits and that ass to get him, did n't you? Fergus screams from the bed. He rips free his other arm. Dil shoots Jude in the throat, and she falls dead, covered in blood. Dil turns the gun on Fergus. DIL She was there, was n't she? FERGUS She was - DIL And she used her tits and that cute little ass to get him, did n't she? FERGUS Yes. DIL Tell me what she wore. FERGUS Ca n't remember. Dil points the gun at him, squeezing on the trigger. Then she stops. DIL Ca n't do it, Jimmy. He wo n't let me. She looks at the picture ; walks over and sits down in front of it. DIL You wo n't let me, Jody - She raises the gun and places it in her mouth. Fergus takes it gently from her mouth and places it on the table. He lifts her up by the shoulders. FERGUS You've got to go now, Dil - DIL Do I? FERGUS Yes. Now. DIL Am I in trouble, Jimmy? FERGUS Not if you go. DIL Will I see you again? FERGUS You will, Dil DIL Promise? FERGUS I promise. DIL Where am I to go, Jimmy? FERGUS The Metro. DIL Meet Col - FERGUS Yes. Say hello to Col - He leads her out the door. Fergus goes back into the room, past Jude's body. Looks out the window to where he can see Dil staggering down the street, through the crowds that have gathered. The wail of police sirens coming closer. He watches Dil run off, with her funny walk. Then looks down and sees the cop cars pushing through the knot of people around the house. He picks up the gun, wipes it with a rag to remove Dil's fingerprints. He turns to the picture of the soldier ; talks to it. FERGUS You should have stayed at home. He sits in the chair by the window, waiting. FADE TO BLACK.",
"INT. PRISON VISITING ROOM - DAY FADE UP to reveal a large interior, with light streaming in the windows. Large barred doors open and a group of women come through, with parcels, children in tow, etc.. Among them is Dil, looking resplendent. She walks past the rows of convicts with their families, up to a glass cage, where Fergus sits, waiting. DIL Got you the multivitamins and the iron tablets, hon - FERGUS Do n't call me that - DIL Sorry, love. Now, the white ones are magnesium supplement - FERGUS Stop it, Dil - DIL I've got to keep you healthy, Jimmy. I'm counting the days. Two thousand three hundred and thirty - four left. FERGUS Thirty - five. DIL I'm sorry, darling. I keep forgetting the leap year. What am I supposed to call you then, Jimmy? FERGUS Fergus. DIL Fergus. Fergus my love, light of my life - FERGUS Please, Dil - DIL Ca n't help it. You're doing time for me. No greater love, as the man says. Wish you'd tell me why. FERGUS As the man said, it's in my nature. DIL What's that supposed to mean? She shakes her head. FERGUS Well, there was this scorpion, you see. And he wants to go across the river. But he ca n't swim. So he goes to this frog, who can swim, and he says to him, `` Excuse me, Mr. Froggy.'' CAMERA PULLS BACK, and as Fergus tells the story of the scorpion and the frog, the music comes up - `` Stand By Your Man.'' FADE OUT."
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] | At a fairground in rural Northern Ireland, Provisional IRA volunteer Fergus and a unit of other IRA members, led by Maguire, kidnap Jody, a black British soldier. The kidnapping is accomplished after IRA member Jude lures Jody to a secluded area with the promise of sex. The IRA demands the release of imprisoned IRA members, threatening to execute Jody in three days if their demands are not met. Fergus guards Jody and develops a bond with him, much to the chagrin of the other IRA men; Jody tells Fergus the story of the Scorpion and the Frog. Jody persuades Fergus to promise to seek out his significant other, Dil, in London should Jody be killed. The deadline set by Jody's captors passes. When Fergus takes Jody into the woods to kill him, Jody runs away. Fergus cannot bring himself to shoot the fleeing Jody in the back, but Jody is accidentally run over and killed by a British armoured personnel carrier as it moves in to assault the IRA safe-house. With his IRA companions seemingly dead after the attack, Fergus flees to London, where he takes a job as a day labourer using the alias "Jimmy". A few months later, Fergus finds Dil at a hair salon. Later, they talk in a bar, where Dil is tormented by a drunk customer and both are followed by Fergus as they go to her apartment for sex. Fergus feels guilty about Jody's death. He pursues Dil, protecting her from an obsessive suitor and falling in love with her. Later, when the two prepare to have sex in Dil's apartment, he discovers that she is transgender. His initial reaction is of revulsion; rushing to the bathroom to vomit after hitting Dil in the face. A few days later, Fergus leaves Dil a note and the two make up; despite Dil being transgender, Fergus is still taken by her. Around the same time, Jude unexpectedly reappears and tells Fergus that the IRA has tried and convicted him in absentia. Jude forces him to agree to help assassinate a British judge. She also mentions that she knows about Fergus and Dil, warning him that the IRA will kill Dil if Fergus does not cooperate. Fergus continues to woo Dil. To shield Dil from possible retribution, he gives her a haircut and menswear as a disguise. The night before the IRA mission is to be carried out, Dil gets drunk and Fergus escorts her to her apartment, where she asks him to never leave her again. Fergus complies, then admits he had an indirect hand in Jody's death. Dil, drunk, appears not to understand; however, in the morning, before Fergus wakes up, Dil restrains him by tying him to the bed by his limbs with black stockings. By doing so, Dil unwittingly prevents Fergus from completing the assassination. Holding Fergus at gunpoint with his own pistol, Dil demands that he tell her that he loves her and will never leave her; he complies, and she unties him. Jude and Maguire shoot the judge, but Maguire is shot and killed by one of the armed bodyguards. A vengeful Jude enters Dil's flat with a gun, seeking to kill Fergus for not taking part in the assassination. Dil takes several shots at Jude, hitting her, whilst stating that she is aware that Jude was complicit in Jody's death and that Jude used her sexuality to trick him. Dil finally kills Jude with a shot to the neck. She then points the gun at Fergus but lowers her hand, saying that she cannot kill him because Jody will not allow her to. Fergus prevents Dil from shooting herself and tells her to hide out. He wipes her fingerprints off the gun, replaces them with his own, and allows himself to be arrested in her place. A few months later, Dil visits Fergus in prison and asks why he took the fall for her. He responds, "As a man once said, it's in my nature". He then tells her the story of the Scorpion and the Frog. | The_Crying_Game |
[
"INT. WASHINGTON, DC ELEMENTARY SCHOOL - DAY We're in a kindergarten classroom of 25 SIX YEAR OLDS. All sitting on the floor, legs crossed. Sitting in front of the kids is Little KEVIN FLEURY, flanked by his mom LYLA FLEURY and his dad RONALD FLEURY, in a dark suit. Little Kevin has a large cardboard square with pictures from different stages of his life taped to it. He's telling the class about the photos. We're TIGHT ON the pictures. TIGHT ON the young faces. TIGHT ON Fleury. KEVIN FLEURY This is my Fredricksburg house and my grandma Ruth playing with my skateboard ramp. It's a Tony Hawk jump ramp. A little girl, MICK raises her hand. KEVIN FLEURY -LRB- CONT'D. -RRB- Mick? Silence from Mick MICK I forgot what I was going to say. Kevin points to another picture. KEVIN FLEURY This is me at my second birthday party with my mom and my dad. That's my cake. Fleury looks down sweet at his son. KEVIN FLEURY -LRB- CONT'D. -RRB- This is me with my mom at the zoo and this is my dad and me and my grandpa Willie. Kevin points to another photo. KEVIN FLEURY -LRB- CONT'D. -RRB- And this is me and my dad and my grandpa Willie at my dad's office. The kids all lean forward and squirm as they try and get closer to the pictures. MISS ROSS, the pretty twenty five year old teacher watches from the side. MICK Where's your gun? LITTLE BOY Yeah, where is your gun? Pretty much all the kids get in on this now. Everyone wants to see Fleury's gun. Fleury makes eyes at Miss Ross. She's giving him a ` no fucking way' hard eye. FLEURY I'm assuming that there are no bad guys in this room. Is n't that right? I mean, are you guys good guys or bad guys? THE WHOLE CLASS GOOD GUYS! FLEURY Right. So why would I have brought my gun to a room full of good guys? This silences the class. Miss Ross keeps things moving, pointing to a photo. MISS ROSS What's that picture? KEVIN FLEURY This is me and my dad playing Battleship at my dad's apartment. Mick's hand goes back up. KEVIN FLEURY -LRB- CONT'D. -RRB- Mick? MICK What is a battleship? KEVIN FLEURY -LRB- abruptly. -RRB- My parents are divorced. A beat. Lyla and Ron look down at Kevin, stalled. KEVIN FLEURY -LRB- CONT'D. -RRB- But that's OK ` cause the most important thing is to know that everybody loves each other. This hits a bit hard on Lyla and Ron. Miss Ross jumps in. MISS ROSS So, who's that in that picture up on top? KEVIN FLEURY That's my fish, his name is Jaws and he's a really mean fish.",
"INT. WASHINGTON DC ELEMENTARY SCHOOL- CONTINUOUS Kevin is still going strong. KEVIN FLEURY My mommy is a Think Tank worker and she is really, really smart. She went to two colleges and has three computers.",
"INT. WASHINGTON DC ELEMENTARY SCHOOL - DAY Kevin's pointing to a picture of Ronald holding him as a tiny newborn. KEVIN FLEURY This is the day that my daddy says is the happiest day of his life. MISS ROSS Really. His happiest day! Can you tell us about that day, Mr. Fleury? Fleury smiles, looks out at the class. RONALD FLEURY I sure can. That was December 4th and that was the day that we spent the whole day in the hospital waiting for this guy right here to come out of Kevin's mom's tummy. And we waited and waited but he would n't come and we kept waiting and finally the doctor said ` OK. he's not gon na come out on his own so we got to go get him.' And well, Fleury stops, checks in with Miss Ross. RONALD FLEURY -LRB- CONT'D. -RRB- Can I tell this story? MISS ROSS Go for it. RONALD Fleury So they take her and put her on a special bed and they give her some medicine so she does n't feel any pain then they take out this tiny little knife and make a tiny little cut right here in her tummy. The kids are mesmerized. MISS ROSS Then what happened? RONALD Fleury Then the doctor put her hands way up into Kevin's mom's tummy. WAY IN! And then you know what they did? A little girl, LU LU : WIDE EYED LU LU What did they do? RONALD FLEURY They started to pull and pull and pull. they had something in there and it started coming and they were pulling and the doctor all of the sudden said `` STOP!'' The class is frozen. Fleury has them. RONALD FLEURY -LRB- CONT'D. -RRB- They stopped pulling and the doctor looked up at me and said ` Hey, Mr. Fleury - you ready to have your world rocked?' And I just stared at her and she pulled this little head up out of that belly. And it was him. His head. And I looked down at him and screamed `` Kevin!'' And he looked down at me and screamed `` Daddy!'' The kids are howling!",
"EXT. AN UNKNOWN ROOFTOP - LATE DAY A Muslim family sits together at a table under a tented - canopy : 32 year - old MAN nervously chewing on a toothpick, and his 8 and 15 year - old SONS. The 8yo leans his weight into an old MAN hunched and obscured by his grandson - this is his Grandfather. He gently rubs the Boy's head with an ancient left hand. The Boy finger - paints in Arabic script, right to left, getting paint on the table. Read the translation : There is no God but Allah. The Grandfather's face is down, obscured by his shumagh : the head - wrap worn by some Muslim men. Never a clear view of his face. His 32 year old Son and eldest Grandson sit next to them, the Son talking quietly on a cell phone, chewing that toothpick, eyes set on something in the distance : A Security Gate three hundred yards away, the entrance to some sort of compound. The Compound looks like a walled - off subdivision, most of which we can see from this high up. The landscape is foreign. Scrub desert. Ten miles beyond, on the horizon : the shimmer of a modern skyline. Surreal monolithic shapes made more so by the heat. Muted yells - claps - screams waft in from that Compound now. Catches the youngest Grandson's attention. Eyes lift up from his painting : the yells - claps - screams are coming from a softball game mostly visible behind the Compound's reinforced walls that extend a mile in each direction. Played on the only stretch of green grass visible from this vantage.",
"EXT. COMPOUND MAIN ENTRANCE - LATE DAY Sounds from the softball game much louder now, just over the walls. Security perimeters two checkpoints deep before you get to the main gate. A maze of concrete Jersey - barriers to slow all entering vehicles : give machine - gun emplacements flanking the entrance plenty of time to shred those vehicles if need be. Middle - Eastern Police platoons. 500 lbs. lift - gates to dissuade any vehicle that just tries to ram through. SERGEANT HAYTHAM : a lean, 27 year - old Middle - Eastern Policeman in - command of the Entrance. Sweats through his uniform. A late - model Range Rover with blacked - out windows queues up. All the windows roll down : just a single, portly White WOMAN behind the wheel, her INFANT CHILD in a car - seat in front. Two other Uniformed Officers mirror - scan the bottom of the Rover. A brief exchange, as Haytham checks his ID : DRIVER How are you today, Sergeant? HAYTHAM Sun is shining. Wind is blowing. How bad can I be doing? DRIVER I like that, `` Sun is shining.'' A tight smile from Haytham. The other Officers are checking the inside of the Rover now. They nod to Haytham, Haytham hands the ID back to her. Windows rolls up. Lift - gate goes up. Range Rover pulls away, navigating the zig - zag jersey barriers.",
"INT. COMPOUND - NEXT MOMENT Stay with the Range Rover as it moves deeper into the complex. Think middle - class Phoenix suburb circa 1960 : stucco homes sandwiched between dormitory style apartment blocks, concrete and rock where grass should be. The Range Rover passes a tank with a caged SOLDIER on top sitting behind a fifty caliber GUN. A Police Land Cruiser parked in the middle of the road is the last of the security. Official markings, emergency lights in the grill.",
"EXT. UNKNOWN ROOFTOP - SAME MOMENT The Son studies the compound through binoculars, while the youngest Grandson squints to study the softball game : Interest cut with jealousy. More muted cheers float. Behind and above him, his Grandfather's voice, rough as sand, to his 32 year - old Son, in Arabic : GRANDFATHER -LRB- O.C. -RRB- Hang up the phone. If they're not ready now, no words will change it.",
"EXT. COMPOUND SOFTBALL DIAMOND - NEXT MOMENT Another Middle - Eastern POLICEMAN takes in the motley competition : half - smiling, half - smirking at a plump - pink White Man cheering on his plump - pink 9 year - old Son sliding into third. WHITE MAN GET DIRTY! Safe. Clapping and Hoots. The PITCHER : an older White Man in his middle forties visibly frustrated. A 25 year - old African - American Batter steps to the plate now. Pitcher turns to his Fielders : PITCHER STEP IT UP NOW! -LRB- back the Batter. -RRB- Ready for my knuckle - curve? The Batter just stays focused as the Pitcher tosses a high - lob. Batter smacks the ball a mile high, deep to left. The teammates of the plump - pink Boy on third : TEAMMATES TAG UP! WAIT ` TIL SHE CATCHES IT - PITCHER -LRB- spins, points up at the ball. -RRB- - COMIN' HOME! A 14 year - old Indian girl sprints underneath the fly - ball : sets up, catches it, juggles it, drops it. We pick up different families on the grass nearby : A young WOMAN helps her five year old DAUGHTER untangle a yo - yo. A black COUPLE doing a crossword puzzle together, the wife's head on her husband's lap.",
"EXT. UNKNOWN ROOF TOP - SAME MOMENT The muted reaction to the dropped ball. The whole Family, save the youngest Grandson, intently focused on two Officers walking up to that Police Land Cruiser parked in the middle of the road, well inside the compound : no blinks now. The youngest still enthralled by the softball game, the cheers, the running, the shorts and t - shirts. We see his Grandfather's left hand stop rubbing the Boy's head, and move to the Boy's temple, placed like a blinder so he ca n't see what's about to happen. In Arabic : GRANDFATHER Do n't stop watching the game.",
"EXT. INSIDE THE COMPOUND WALLS - NEXT MOMENT Noises from the softball game close again. Track these two Officers on foot walking toward the Police Land Cruiser ala shift change : nonchalant but quick.",
"INT. POLICE LAND CRUISER - SAME MOMENT The Driver eyeing the two approaching Officers : something off about them. Uniforms wrinkled, one with a full beard. Driver turns to his Partner, in Arabic : DRIVER You have a copy of the duty rost - - POP - POP - POP before the Driver finishes. The Officers on foot rapid - firing 9MM pistols. The Driver and Passenger hit multiple times instantly, crumble lifeless in their seats before anyone has time to process the sounds, link them to an attack. The two firing ` Officers' move low - fast like professionals : rip the fresh bodies from the Cruiser, jump in. The new Passenger rips an AR - 15 rifle off the center console. The new Driver lays rubber into the Compound.",
"EXT. UNKNOWN ROOF TOP - SAME MOMENT The youngest Grandson wide - eyed, startled, watches as every member of the Security Details in and around the Compound go prairie dog : search with necks extended, eyes wide - what the fuck was that? The Boy tries to turn his head away from the game to look for himself : Grandfather just pushes his head back to the game, voice harder now, in Arabic : GRANDFATHER -LRB- O.C. -RRB- I said keep watching the game.",
"EXT. COMPOUND MAIN ENTRANCE - SAME MOMENT Haytham instantly sprints toward another nearby Police Land Cruiser as most everyone else ducks. In Arabic : SERGEANT HAYTHAM LOCK DOWN! Then points at the Officer in the Driver's seat : SERGEANT HAYTHAM -LRB- CONT'D. -RRB- MOVE!",
"EXT. COMPOUND SOFTBALL DIAMOND - SAME MOMENT Game forgotten. Parents up, screaming for loved ones, moving fast toward the parking lot. The Middle - Eastern Officer that has been watching the game hustles onto the field, next to the Pitcher, waves people toward him. Gathering but sporadic gun - fire in very near distance. WATCHING OFFICER -LRB- accented English. -RRB- COME TO ME! FOLLOW ME! People immediately flocking around the authority figure. The 14 year - old Indian Girl running in, more puzzled than scared : why is that Cop wearing a jacket in this heat? The Officer rips a yellow gun - shape from his jacket pocket. The Pitcher sees it, instinctively tries to rip it away from him. Gets a handful of collar, pulls as violently as he can, shreds the front of the Officer's coat : a white linen vest with a bulge in - front underneath the jacket.",
"EXT. UNKNOWN ROOF TOP - SAME MOMENT The youngest grandson's wide - eyed face. Then we see the Grandfather's right - hand slide down the other side of his youngest Grandson's face, coming to rest on his other temple : making sure he's still watching the Softball diamond now. The Grandfather's right hand : missing an index and middle finger.",
"EXT. COMPOUND SOFTBALL DIAMOND - SAME MOMENT Panic. The Officer swings the yellow gun - shape, what we now realize is an electric drill crudely modified into something else, bashes the Pitcher's face with it. Those that had gathered have turned, are sprint - stumbling away. The Officer closes his eyes, depresses the drill trigger, vanishes before we comprehend the massive release of blue - black chaos, expanding in an ever - wider sphere. Immediate surroundings dissolve : players, parents, stands, cars, the light standards surrounding the field and parking lot.",
"EXT. CINDER-BLOCK CONCESSION STAND - SAME MOMENT Located behind straight - a - way center field, at the nexus of four fields. We see it from profile as shock - wave and shrapnel blast the structure : another Officer hiding behind it staggers out now, sprawls ugly : balance fucked from a blown inner - ear. He also wears a jacket, and holds a modified yellow plastic power drill. Moves uneasy toward screams in the nearby parking lot.",
"EXT. SOFTBALL DIAMOND PARKING LOT - NEXT MOMENT The off - balance Officer stops over a 30 year - old African - American woman pinned under a Toyota. She hyperventilates, her bare leg and open - toed sandal kick at air. The Officer's breathing calms : the sight of exposed skin as divine reassurance. CLOSE - UP : the vented rear of the drill as the 14.4 volt motor sparks blue. A second blue - black explosion that shreds the parking lot as cars smash into one another desperate to escape.",
"EXT. ADJACENT STREET - NEXT MOMENT Panicked women walking dogs. Frozen. A Police Land Cruiser with bullet - scarred windows roars around the corner. Stops near the women. They smile : cavalry to the rescue. Then a man with leans out the window with an AR - 15 : point - blank staccato. Tracers exit bodies, drill asphalt. The Land Cruiser rolls, spraying passing homes indiscriminate.",
"INT. JACKED LAND CRUISER - NEXT MOMENT Tearing through the streets, Passenger firing at all signs of life. Sits back for a lightning - quick re - load. Leans back out - before he can begin firing again -",
"EXT. COMPOUND STREET - SAME MOMENT - another Police Land Cruiser from nowhere hammers their Driver's side. Vicious. The Passenger is launched out his window, head - first into the curb. Both vehicles smoke - screech. Momentary pause after the a massive collision. Then Sergeant Haytham, 9MM in - hand, falls from the Second Land Cruiser. Stalks bloody to the Passenger side of the jacked Land Cruiser still slowly rolling backwards, leaking all it's vital fluids, it's snapped drive - shaft leaving a groove in the pavement. And Sergeant Haytham empties his clip into the interior while walking along side. The Officer Haytham told to ` move,' rips himself from the Passenger's side of their vehicle, bleeding profusely, screaming something unintelligible into his handheld radio.",
"EXT. UNKNOWN ROOF TOP - SAME MOMENT Just the youngest Grandson's horrified eyes : he had no choice but to see it all, carnage painted permanently. His face still held tight between his Grandfather's hands. In Arabic : GRANDFATHER -LRB- O.C. -RRB- Our Time is not a peaceful one. God has left it to us to make it so. Hold on those deep, young, brown eyes. Those young brown eyes finally blink.",
"INT. WASHINGTON DC ELEMENTARY SCHOOL- LATER Everyone eats snacks that the Fleurys brought. Kevin's the center of attention. Fleury's passing out juice boxes. Fleury's cell phone vibrates. TIGHT ON THE ID : 911. Fleury's mid - juice - pass, answering his phone at the same time. Kevin looks to his Dad, already grimacing. Fleury walks away from the kids. RONALD FLEURY -LRB- surprised. -RRB- Fran? We hear Fran's voice as though we're on the line with him : raspy - ragged, like he's been crying. FRAN -LRB- O.S. -RRB- You getting this yet? RONALD FLEURY Hey, I'm at Kevin's school. What's goin' on? FRAN -LRB- O.S. -RRB- I'm sorry, Brother. -LRB- beat. -RRB- Riyadh. Many Dead. Fleury's demeanor shifts to HARD immediately. RONALD FLEURY Where exactly? FRAN -LRB- O.S. -RRB- The Al - Rahmah Western Housing Compound. Oil Company employees. Hit a company picnic. RONALD FLEURY How? FRAN -LRB- O.S. -RRB- Big. Broad daylight. Blew up a softball game. -LRB- tears. -RRB- Kids, Brother. Fleury looks at the kids eating and laughing. KEVIN FLEURY Dad? Fleury smiles best he can at his Son. Into the phone : RONALD FLEURY When? FRAN -LRB- O.S. -RRB- Just went off - twenty minutes ago. Two bombers. A Shooter crew as diversion. it's just awful. RONALD FLEURY Fran, I'm rollin' right now. Let me call you back : I got ta ring bells FRAN MANNER -LRB- O.S. -RRB- Go. I'll be here. Fleury hangs up, walks to Kevin, kneels down - oblivious to everyone watching. RONALD FLEURY Son, I got ta go to work. KEVIN FLEURY We're gon na do ceramics. RONALD FLEURY I got ta go to work. KEVIN FLEURY -LRB- points to the phone. -RRB- Who was that? RONALD FLEURY Big Fran - you remember him? KEVIN FLEURY -LRB- beat, thinking. -RRB- Uncle Fran? Put peanuts in his Coke so he could drink and eat all at the same time? RONALD FLEURY -LRB- smile. -RRB- Where he's from in South Carolina that's called fine - dining, Bud. KEVIN FLEURY What happened? RONALD FLEURY -LRB- beat. -RRB- Something bad. KEVIN -LRB- impression of his Dad. -RRB- ` Lotta bad people out there.' RONALD FLEURY -LRB- smiles, already homesick. -RRB- I love you. Kisses his boy's forehead hard. KEVIN FLEURY You gon na go see him? RONALD FLEURY I'm gon na try. Looks at Lyla who's been through this drill too many times, knows this face. Ronald can only give a little shrug, which Lyla gives right back. RONALD FLEURY -LRB- CONT'D. -RRB- -LRB- to Lyla. -RRB- Can you get a ride? She nods yes. Miss Ross nearby, surprised by this : MISS ROSS Where's your husband going? LYLA FLEURY Ex - husband, and God knows. Then a wave of fear ripples across her face. She hesitates, then calls after him : LYLA FLEURY -LRB- CONT'D. -RRB- BE SAFE. Ronald turns, gives a little Cheshire grin, puts the phone back up to his ear.",
"EXT. AL-RAHMAH HOUSING COMPOUND BLAST SITES - EVENING The shattered softball diamond and parking lot. Emergency lights swirl from everywhere. Acrid smoke. FRANCIS MANNER -LRB- FBI LEGAT, US Embassy -RRB- is giant. The kind of American that only grows in tiny southern hamlets. Military whitewalls, short - sleeves, khaki Dockers, a thick Casio G - shock, FBI credentials visible on a chain. Hangs up his phone. Lifts his eyes : Hell from one side of the frame to the other. Saudi teams setting up portable lights that bathe the horror in industrial incandescent. Columns of black smoke. Fleets of emergency vehicles. 100 uniformed men. Another 200 in bio - suits combing the ball field, the parking lot. Fran has to do something/anything. Move through the horror with him now. His hands shake, his face already dirty with soot. Jumps in with a Saudi team pulling a half - burned WOMAN out of a smoldering Range Rover. She fights them, gouging Fran's face, trying to get back in. She is the woman we met at the gate of the compound. She wants her baby. Fran bloodied, just kind of steps away from the woman. Leaves the Saudi emergency team to fight with her. Backs away until he feels grass under his feet. The woman's screams reverberate. Fran just sits in the grass. Staring at the woman, her shattered soul. Forces himself to look away. Eyes come to rest on a child's baseball cap : ragged holes ringed with black stains : where blood dried on the blue felt. VOICE -LRB- O.C. -RRB- -LRB- immediately behind. -RRB- Fran. You got ta stand Big Man. Fran turns to find REX BURR : 5' 7'' fireplug. A long silence. Fran points to the hat : FRANCIS MANNER Rex, how old were you when your hat was that small? We watch tears well in Rex's eyes. REX BURR You got ta stand, Big Man. Fran does. Wipes his hands on his pants. Slack - jaw hopeless. The first moments in what will be weeks of reverse - engineering the murders of unknown dozens. He and Rex step to a group of WALKING - WOUNDED. A NEIGHBOR doles out mugs of coffee. Most everyone from the compound is out, pondering the proximity. SAUDI emergency teams sprint past. Fran spits, settles in : FRANCIS MANNER We need to get everyone back, then get all their - SOMETHING HUGE EXPLODES over their shoulders, 50 yards away. The Attack's coup de grace : wait for people to lift up their heads, hit them again. Five times the size of the suicide bombs. Shreds emergency vehicles, nearby homes and apartment buildings. Kills Saudi rescuers by the bushel. Fran is crushed by a flying portable light standard. Rex is blown into the man handing out coffee. The walking wounded get decimated.",
"EXT. AL-RAHMAH HOUSING COMPLEX - NEXT MOMENT Slowly lift up and hold on Al - Rahmah as it burns. Black smoke and flame pour skyward from the site of the coup de grace explosion. Massive crater. Screams. Chaos postcard.",
"EXT. WASHINGTON, DC HOUSE - DAY Establishing shot.",
"INT. FRAN MANNER'S WASHINGTON, DC HOUSE - DAY Fleury sits with GLENDA MANNER. a toy remote - control robot comes into the room. Little Teddy Manner -LRB- 5 -RRB- peeks his head around the corner of a door. GLENDA It was. I do n't know what time it was. the dishwasher's broken. I was waiting for the dishwasher. The doorbell rang - I thought it was. it was n't the dishwasher guy. It was n't. It was n't. Glenda breaks down, starts to completely lose it. Her little boy Teddy climbs up onto his mother.",
"INT. FRAN MANNER'S HOUSE - TEDDY'S ROOM - LATER Fleury sits on the bed with little Teddy looking at a beautiful black and white photo of Fran holding a new born Teddy up over his head. Eye to eye. Little Teddy shows Fleury his toy helicopter. His dad's soldier boots. Fleury ca n't take it.",
"INT. FRAN MANNER'S HOUSE - LIVING ROOM - LATER Fleury stands with Glenda. FLEURY Glenda, I want you to look at me. A PAUSE : Fleury freezes up on a shock of raw emotion, struggling to contain himself. FLEURY -LRB- CONT'D. -RRB- Please. I'm going to take care of this. Whoever did this. I give you my word. Whoever did this will pay. I ca n't change this, but I can promise you that I will make someone pay for this.",
"INT. HOOVER BUILDING, FBI HEADQUARTERS - DAY, EST Startling quiet in contrast. AGENTS cluster beneath 32 - inch Televisions suspended from the ceiling. Tuned to Al - Jazeera, CNN, BBC, etc.. Most eyes focus on the double - bloody scoops from CNN. Volume low : CNN REPORTER 1 hour ago : blasts in Saudi Arabia, in or around the ` Al - Rahmah' western housing complex near Riyadh. More than 100 feared dead, including children. The Saudi Foreign Minister has released a statement calling this a ` heinous act possibly committed by foreigners.' BBC REPORTER homes to thousands of Westerners and other non - Saudis who work in the Kingdom, there have been several attacks on these compounds in the last five years. As such, they have become very tight in terms of security, with both the Saudi National Guard and police taking command. Fleury walks under the televisions. A folder in - hand, heading down a long hallway, subordinating his fury to tasks - at - hand.",
"INT. COMMAND & TACTICAL OPERATIONS CENTER (CTOC) - NEXT MOMENT Fleury enters, steps to a podium, opens his folder. 50 Agents seated lecture hall - style. Steam from fifth, sixth cups of coffee. Plasma screens behind show still - images of the crime cribbed from Al - Jazeera. Throughout the scene, Fleury constantly refers to a roster of his ERTs. RONALD FLEURY Numbers so far : 100 + dead, 200 + injured. The target was a softball game. Rumor is the Killers wore Saudi police uniforms. -LRB- beat. -RRB- Special Agent Fran Manner was killed. JANET MAYES, 29 years - old, stifles a sob in the front row. Fleury steps from behind the podium, puts a hand gently on Janet's shoulder, leans in and whispers something no one but Janet hears. Whatever his words, they give back her composure. She nods. RONALD FLEURY -LRB- CONT'D. -RRB- So was Rex Burr from State. Fleury lets the news absorb as he steps back to the podium. No one says a thing. Fleury lifts his eyes again, real trouble maintaining control. RONALD FLEURY -LRB- CONT'D. -RRB- Fran was the best among us. we'll feel this loss the rest of our days. -LRB- beat, moment to regroup. -RRB- Grant, take stabs at bomb sizes. GRANT SYKES. 50 years - old. Virginia State Trooper before joining the FBI. Law - and - order formidable : sharp - smart Charlottesville accent. Studies the images for a beat. GRANT SYKES From the craters, looks like they used a High Explosive. possibly military grade : ca n't fit that much TNT into a vest. 20, 30 pounds of PETN : they got it. Semtex or C - 4 : they could get it. The third there, God knows. that crater looks like a plane dropped a 500 - pounder. RONALD FLEURY Obviously a secondary blast after the initial devices used to lure first responders to the scene. Do n't know anything about where or what it was yet. GRANT SYKES This is how they do it. ADAM LEAVITT. 34 years - old, sought - after Investigator. There's a constant, intense grind to this guy, a mind and mouth incapable of quiet. He paces around the room, then eagle - eyes the bomb images. starts surge - scrawling crude diagrams of the blast site on a piece of loose leaf. Feels more like nervous doodling than work. Not looking up from his drawing : ADAM LEAVITT I already know the answer, but any chance in Hell we get to go over there, use our hands? RONALD FLEURY If you already know the answer Adam, why ask the question? Fleury circles Leavitt's name on the roster. Leavitt never stops drawing. SYKES We're not seeing this kind of planning and execution anywhere else. these ai n't hot - wired artillery shells waiting for Humvees to roll by. -LRB- pointing at the screens. -RRB- These hits are coordinated : planning, timing, and big, broad - daylight balls - JANET MAYES -LRB- almost trance - studying the images. -RRB- Yeah, So. did they all happen during daylight? Another great question. Fleury looks over to AGENT # 1 on his immediate right, an egg - head type with a big binder in front of him. Everyone's eyes follow. Agent # 1 flips quickly through the binder, back - and - forth, searching. Fleury crosses his name off of his roster. Then : AGENT #1 Yes. At least the first parts of the attacks. Everyone smells it : that's big - more proof these attacks are being carried out by one, very skilled Terror Cell. JANET MAYES We had two others. North of Riyadh and the oil thing. What was that? ADAM LEAVITT The Refinery. Ras Tenura Refinery. JANET MAYES Yeah, south of Jeddah. Same thing : daylight, suicide bombers. Right? Same thing. Followed by machine gun crews. Collect and kill. ADAM LEAVITT Yup. RONALD FLEURY This is not new in concept. It is new in scope. It's bigger. Very sophisticated. Command and control was flawless. They found the largest kill zone they could and they did it. they did it by being patient. ADAM LEAVITT Any rumors or confirmations of uniforms being used in the other two attacks? Fleury circles Mayes' name on the ERT roster. AGENT #1 -LRB- from memory. -RRB- No. I know this is the first for that. GRANT SYKES That's ` worst case scenario' if you're still asking for my stab, Sir. A crew who can build bombs this big, with this level of eyes - on control and detonation coordination. has access to Saudi uniforms now. I mean. Baby Jesus. LEAVITT Anyone take credit? Fleury checks from his notes. FLEURY Abu Hamza. Saudi Al - Qaeda. Bin - Laden - wan na - be. We know he was in Afghanistan, then moved to Iraq. Now he seems to have come home. He's clearly becoming increasingly active. ADAM LEAVITT If it is Hamza, he's definitely turning up the volume over there. Not to beat a dead horse, Sir, but if there was ever a time to get boots on Saudi sand. Sykes studies Leavitt with what is best described as substantial skepticism. Fleury circles Sykes' name on his roster. JANET MAYES They ca n't afford to appear as if they are losing any kind of control. They lose control over their country, their people. then they risk losing control over the oil. They wo n't let us in. No way. Fleury's P.O.V. : His open folder on the podium. A memo printed on Department of State letterhead. Pulls the memo, reads it aloud, calm laced with rage. RONALD FLEURY From the State Department, one hour ago : ` We are in agreement with the Saudi security assessment that any additional American presence on Kingdom soil represents reckless risk. Therefore it is the Secretary of State's position that only after the situation has been evaluated and contained, should the Federal Bureau of Investigation activate Rapid Deployment.'. -LRB- folding the memo. -RRB- The National Security Advisor and the Attorney General agreed. -LRB- beat. -RRB- I'm going to get us access. Keep your go bags hot. It's gon na come fast. Leavitt stares at Fleury as he moves fast out of the room. ADAM LEAVITT -LRB- beat. -RRB- Well. I guess he's gon na go get us some access. -LRB- beat. -RRB- How's he gon na do that? Sykes just hard - eyes Leavitt.",
"INT. SAUDI NATIONAL GUARD PRISON - UNKNOWN TIME COLONEL AL - GHAZI, Saudi Police, 45 years - old, mustache as thick as Sykes'. A firecracker - loud crack makes him flinch. He stands in the back of the room, not participating in the interrogation. Just observing. Clearly not happy about what he's observing. His POV : The Officer from the second Land Cruiser that rammed the fake and killed those inside, Sergeant Haytham. slab - cuffed and being worked over hard buy a couple of thick - fisted SAUDIS. Silent tears roll off his cheek, left ear split ghastly. A MAN standing far right of him beats him : the firecracker sound again. Al - Ghazi looks away, biting his tongue. Obviously wants this over. In - charge of the interrogation : GENERAL ABDUL MALIK. He does n't appear sadistic, but very determined to get the truth from Sergeant Haytham by any means necessary. Those distinctions blur easily. Malik gives a ` hold - up' signal. The following exchange in Arabic : GENERAL ABDUL-MALIK No falsehoods, Sergeant Haytham. What was your involvement? SERGEANT HAYTHAM Killing those I saw responsible. GENERAL ABDUL-MALIK So none could be questioned? SERGEANT HAYTHAM -LRB- puzzled, angry. -RRB- I do n't understand. A nod from General Malik : another vicious crack. GENERAL ABDUL-MALIK You were born and raised in Suweidi - SERGEANT HAYTHAM - that is not a crime - GENERAL ABDUL-MALIK - it should be. SERGEANT HAYTHAM It's not. GENERAL ABDUL MALIK Do you know Abu Hamza? SERGEANT HAYTHAM I do not. GENERAL ABDUL-MALIK Your brother was killed fighting the Americans. True or false? SERGEANT HAYTHAM I am not my brother. GENERAL ABDUL-MALIK Your brother - SERGEANT HAYTHAM I am NOT my brother! GENERAL ABDUL-MALIK TRUE or - Al - Ghazi interrupts. COLONEL AL-GHAZI He has answered the question. Malik shoots Al - Ghazi a unequivocal SHUT THE FUCK UP hard eye. Then back on Haytham. GENERAL ABDUL-MALIK We found six more uniforms than you were assigned in your possession - that is a crime : especially when you consider the Attackers wore our Uniform. Another nod, another crack. Al - Ghazi, flinching, becomes more alert. SERGEANT HAYTHAM Uniforms? General Malik in Haytham's face : GENERAL ABDUL-MALIK Truth! SERGEANT HAYTHAM I sweat. I'll say it again because it is true. I need more uniforms because I must change during shifts. look at my shirts. GENERAL ABDUL-MALIK I am not interested in your sweat. SERGEANT HAYTHAM - then look at my jackets. Please. Permanent stains. no matter how many times they're cleaned. Colonel Al - Ghazi grimacing now, leaves the room.",
"INT. SAUDI NATIONAL GUARD - STORAGE - NEXT MOMENT We follow. Al - Ghazi hustling into an evidence storage room. Searching. Finds a Locker labelled ` Haytham.' Opens it. Pulls out several shirts still in the plastic dry - cleaning sheaths : yellowed, permanent stains on the armpits of each.",
"INT. SAUDI NATIONAL GUARD PRISON - INTERROGATION ROOM Al - Ghazi walks back into the room with the shirts, lays them down on the table in front of the General - all business. COLONEL AL-GHAZI He's telling the truth. The only sound for a long, unsettled moment : Sergeant Haytham's labored breathing. Malik looks at the shirts, then Al - Ghazi, hesitates, steps away. GENERAL ADBUL-MALIK You were injured when you used your vehicle to protect your country. Do you understand? Al - Ghazi moves in, begins uncuffing Haytham's bloody - raw wrists, hard - eyeing Malik the whole time. These men clearly do n't like each other.",
"EXT. SAUDI NATIONAL GUARD PRISON - LATER Al - Ghazi and Haytham sit alone. Al - Ghazi smokes. Haytham looks down at his feet. COLONEL AL-GHAZI Look at me, Haytham. Haytham slowly looks up at Al - Ghazi. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- You saved lives today. I believe that. You served your country. I believe that. HAYTHAM I love my country. COLONEL AL-GHAZI I believe that, Haytham. Haytham Holds Al - Ghazi's eyes a good long beat. HAYTHAM I love my country. Al - Ghazi slow nods. COLONEL AL-GHAZI -LRB- beat, breaks eye - contact. -RRB- You will have your revenge for what needed to be done to assure them you were n't involved. Haytham never blinks. Eyes hard. Stoic. Clear.",
"EXT. WASHINGTON D.C. STREETS - NOON GRACE looks like a barrel - chested lineman. A four - man security detail behind. He and Ronald Fleury walk side - by - side. Janet Mayes just behind them. DIRECTOR GRACE Everyone's terrified, so nothing moves. Paralysis. You and your team are n't going anywhere. -LRB- beat. -RRB- And this meeting is just a circle - jerk, Ronnie : Attorney General Young's going to go through the motions because protocol says we get an appeal. We'll be on record, but expect nothing more. Nothing from Fleury. DIRECTOR GRACE -LRB- CONT'D. -RRB- Can you handle this? Keep your mouth shut when people way above you say things you'll hate? RONALD FLEURY -LRB- beat. -RRB- Yeah, sure. No problem. DIRECTOR GRACE -LRB- re : Janet. -RRB- What about Agent Mayes? RONALD FLEURY Ask her. DIRECTOR GRACE -LRB- to Janet. -RRB- What about you? JANET MAYES I'll be fine.",
"INT. ATTORNEY GENERAL GIDEON YOUNG'S OFFICE - NOON Fleury, Grace and Mayes enter. Handsomely decorated, expansive : a lifetime of notable handshakes framed in black and white. The biggest is a picture of Young and Billy Graham that could be titled, ` lucky for you, we have all the answers.' Gideon Young sits behind his Federalist - era oak desk : a marathoner's build, a smile too bright - perfect for his age. Two others in - attendance. A pear - shaped 54 year - old man with a Midwest - honest, ruddy - oval face : Ellis Leach, Assistant Secretary, Bureau of Near Eastern Affairs, Department of State And a 51 year - old Hispanic woman in conservative Chanel : enough femininity without diminishing toughness : Maricella Canavesio, Deputy National Security Advisor, White House DIRECTOR GRACE I apologize if we're late - GIDEON YOUNG They were early. DIRECTOR GRACE You know Special Agent Fleury? GIDEON YOUNG I do. DIRECTOR GRACE This is agent Janet Mayes, she's one of our Arabic experts. Janet stares at Young, looking mildly in over her head. GIDEON YOUNG OK. The latest. Grace sits, nods to Fleury : you're up. RONALD FLEURY Two suicide bombers. Rumors they were dressed as Saudi Police. We believe this is the work of Saudi terrorist named Abu Hamza. Young just stares at Fleury kind of odd like a kid staring at a mushroom flavored Popsicle. GIDEON YOUNG Go on. Fleury continues : RONALD FLEURY A Shooter crew served as distraction. After the initial attack there was a lull to allow Saudi Emergency Teams. and our own attaches. to collect. Then a secondary blast was triggered, aimed at those first responders. So they targeted families and rescuers with one attack. -LRB- mildly sarcastic :. -RRB- I think that's a clear signal that their definition of ` Enemy' is expanding. MARICELLA CANAVESIO My God. GIDEON YOUNG Let us never forget how cheap life is over there. Now. I have seven minutes before my next meeting, so who's talking first? -LRB- to Fleury and Grace, slow like a Kindergarten teacher :. -RRB- You two digested the memo? Stoic nods from each. Ellis Leach raises his hand, a tone that's worlds away from Young's. ELLIS LEACH I'll go first if that's okay Maricella? -LRB- off her ` yeah, sure' nod. -RRB- First, I'm sorry about Fran Manner. Gideon Young remembers, nods along solemnly. DIRECTOR GRACE As we are about Rex Burr. ELLIS LEACH I met with Prince Thamer at the Saudi embassy fifteen minutes after I heard this morning's news. After speaking with Thamer, I advised we withhold additional US personnel because a big part of the religious justification for these bombs is the presence of current US personnel. More boots on Saudi soil make an already combustible situation more so. I know that's not the answer you want, but. Motions to Maricella : the floor is yours. MARICELLA CANAVESIO My two cents : The Saudis have n't asked for FBI help. Sounds like they've done just the opposite. If we force the issue, that could further anger an utterly important ally that shares a 1000 - mile long border with Iraq. GIDEON YOUNG -LRB- to Grace and Fleury. -RRB- It's all rock - solid logic. DIRECTOR GRACE -LRB- beat. -RRB- We would just like to be on record as saying we think we should go ASAP - GIDEON YOUNG That's not going to happen Young stands : we're done. Fleury's look : that's it? Young's already collecting his briefcase, jacket - GIDEON YOUNG -LRB- CONT'D. -RRB- -LRB- mock sincerity to the room :. -RRB- - so as we present this to the public, let's - as best we can - try to view this through an FBI Agent's eyes. -LRB- beat. To Grace :. -RRB- And please let me know if there's anything else we can do for you. Meeting seems over. Not quite. Fleury ca n't keep his mouth shut. RONALD FLEURY Sir, how would you imagine it looks viewed through an FBI agents eyes? GIDEON YOUNG Pardon me? RONALD FLEURY I'm interested in how you think this situation is viewed through our eyes. Young, eyes on a Republican - gold Rolex, instantly perturbed the meeting is n't ending. GIDEON YOUNG It's some variation on vengeance. When one of your own is killed, Agents lose their analytical powers - kind of a greatest strength, greatest weakness thing. RONALD FLEURY If I wanted vengeance, I'd have whispered ` Rex Burr' into Ellis's ear right when we walked in. -LRB- beat. -RRB- Eyes migrate to Fleury - RONALD FLEURY -LRB- CONT'D. -RRB- This is n't Terrorism, ma'am. It's just Serial Murder. MARICELLA CANAVESIO What's the distinction? RONALD FLEURY To call this massacre an act of terrorism. that implies a specific political agenda. To me, these killings are so futile and unbalanced that they feel utterly sociopathic - more like Charles Manson than Osama Bin Laden. Fleury looks to Mayes. She clears her throat. Delivers the following with utter precision. JANET MAYES -LRB- beat, fuck it : Go. -RRB- Al Qaeda lost the first phase of this war, so a new, zero - sum phase has begun : if you wo n't join us, we'll let loose the truly talented Murderers. Abu Hamza. He will kill so many of you that the resulting humiliation of the Saudi Royal Family will cause an exodus, a rebellion, both. Because the Royal Family simply can not protect you or yours any longer. Fleury studies Janet with solid respect. He gives Janet a subtle nod : `` Nice work.'' RONALD FLEURY When she says talented, she's not talking about the walking - bombs who can sneak past any and all security, nor the hi - jackers tough enough to take an airliner. We're talking about the Man who teaches them how. JANET MAYES - the operational commander who organizes, trains, plans, encourages. That is who we're fighting. RONALD FLEURY If we do n't get inside Saudi Arabia within 36 hours, there is no chance we catch the killer responsible for Al - Rahmah. None. ELLIS LEACH Okay. I believe it all. So does n't your team in that country represent the kind of target one of these ` Masters' would die for? Trade ten of their own for one of you? RONALD FLEURY To not engage these criminals out of fear for our personal safety is just another way of saying ` uncle.' Fleury takes another deep breath. RONALD FLEURY -LRB- CONT'D. -RRB- I'll say it another way : Evidence starts to go cold after twenty four hours. If we ca n't get in now, we will not find the man or men responsible for this crime. We could n't do it at Khobar ; we could n't do it in Yemen ; we have barely scratched the surface in Iraq. And we are on verge of not doing it here. They are getting stronger, we are getting weaker. I just lost a very good friend and I would very much like to go and do my job. Beat. GIDEON YOUNG -LRB- chuckle. -RRB- That was spirited. let's all thank God Special Agent Fleury does n't make policy decisions. He'd turn the FBI into Patton's Third Army. Young stands. Fleury contemplates career - ending violence.",
"EXT. WASHINGTON D.C. - DAY Janet, Fleury and Grace walking the rows of seven - foot bronze soldiers. Street - cart hotdogs from foil wrappers. DIRECTOR GRACE -LRB- to Fleury. -RRB- I see the look in your eyes. That look is trouble : old school, play ground shit, vengeance. RONALD FLEURY It's not vengeance. DIRECTOR GRACE It ai n't justice. It's stronger. We've all been there. I have. Vengeance is always dirty, Ronnie. RONALD FLEURY I just ca n't sit this out. I ca n't watch this not get dealt with. Not again. -LRB- a beat. -RRB- Know what my high school football coach used to say to me? DIRECTOR GRACE What? RONALD FLEURY `` HIT SOMETHING.'' All night long, Coach Bailey would scream `` HIT SOMETHING.'' Every play. DIRECTOR GRACE That's good coaching. RONALD FLEURY I'm fixing to go hit something, boss. You with me? DIRECTOR GRACE How you gon na do it? RONALD FLEURY The Saudis covet good PR as much as their Oil : 15 of 19 hijackers on 9 - 11 means most Americans will never stop asking if that Saudi Oil is worth it. It's all about press. DIRECTOR GRACE Few more moves and it's Total War, Ronnie. The only time Treason is palatable is when it's done righteously and completely. Fleury digesting Grace's words : moments pass. Then he looks to Janet. JANET MAYES Oh, I'm in. Not a question. I'm definitely going.",
"INT. LOCAL COFFEE JOINT - 5:30 PM, EST Elaine Flowers, Senior Correspondent, Washington Post : Coffee amp'd, deep black raccoon eyes - heavy wrinkled khakis. Fleury sits across from her. We've entered mid - scene : RONALD FLEURY What's your take? ELAINE FLOWERS Looks like every overthrow in history : once the guys with the guns are no longer trustworthy, the government's days are numbered. RONALD FLEURY White House call you with a spin? ELAINE FLOWERS You kidding? We do n't talk since I broke the Vice President's guy cooking dirty intel on Iran. They hate me. What's up, Fleury? RONALD FLEURY How hard you gon na hit the Royal Family in your column tomorrow? ELAINE FLOWERS With a sledgehammer. RONALD FLEURY With the bombings? Or other things. ELAINE FLOWERS What's `` other'' than the bombings? RONALD FLEURY I know you're tracking Al Haramain. ELAINE FLOWERS Is that what you want to talk about? Saudi officials making donations that end up. What? Blowing up trains in Paris? Buses in London? RONALD FLEURY Sometimes. Seems that just might happen. We got some other stuff : Missing girls out of a Houston Four Seasons Hotel that was heavily populated by some `` Saudi officials.'' Little things. Flowers eyes go WIDE. Smiling. ELAINE FLOWERS Murder. Hookers. Houston? Can I take some notes? RONALD FLEURY I'm not saying that. ELAINE FLOWERS Are you saying anything? RONALD FLEURY I need a favor. ELAINE FLOWERS I do n't do favors, Ronnie. RONALD FLEURY When it's real and it will be real. I'll come to you with what we have first. It's yours. Exclusive. ELAINE FLOWERS OK. RONALD FLEURY You call Thamer at the Embassy. Tell him that the FBI is getting real close to laying out some major Saudi VIP indictments relating to newly uncovered charity financing out of a Boston investment firm. We're gon na freeze a lot of Saudi cash and roll out some major embarrassment. ELAINE FLOWERS Can I mention Houston? RONALD FLEURY It's a free world, baby. Ask him to comment. ELAINE FLOWERS He wo n't. RONALD FLEURY Tell him that I'm running the investigation. ELAINE FLOWERS OK. RONALD FLEURY Tell him that I'm not the nicest kid on the block. ELAINE FLOWERS That would be accurate. RONALD FLEURY I want fifteen minutes with him tonight. ELAINE FLOWERS Wow. OK. And I get what? RONALD FLEURY I come to you first. No one else. ELAINE FLOWERS What's really going on here, Ronnie? You going strong over Fran Manner? Fleury just stares at her. RONALD FLEURY I'm just trying to do my job, Elaine. That's it. Call Thamer. ELAINE FLOWERS I'll see what I can do.",
"EXT. WILLARD HOTEL - WASHINGTON DC - NIGHT Frenetic Doorman - Valet ballet. 2 black Suburbans with red - blue diplomatic plates swing onto the round - about. A bald, waif - like 38 year - old Saudi MAN gets out of the lead vehicle. Fleury waiting outside, eyes on his watch. To Thamer : RONALD FLEURY Get back in.",
"INT. DIPLOMATIC SUBURBAN - MOMENTS LATER A big bodyguard sits up front. Fleury sits in back, aims the AC vents his way. Prince Thamer sits next to him. Bright lights from the trail suburban illuminate the interior. Prince Thamer looks more than a bit baffled. RONALD FLEURY Too many people we both know were at the bar. It's a pleasure to meet you, Your Highness. PRINCE THAMER I had an interesting conversation with a reporter from the Post. RONALD FLEURY She can be a bit of an exaggerator. I'm sure things were somewhat over - stated. I see myself as friend of Saudi Arabia. I just need a little cooperation, that's all. PRINCE THAMER What kind of cooperation? RONALD FLEURY Full cooperation : my Team cleared to land at Prince Sultan Air Base. Tomorrow. We want to help in a very muscular way, quickly. PRINCE THAMER Next month would be as soon as. Fleury takes a beat. RONALD FLEURY This goes one of two ways. First : The FBI with the White House go on the kind of aggressive PR `` Saudi Royal Family Decaying Monarchy'' bender that just ca n't help but hurt. Really hurt. And I do n't care how many Chinese are lined up to buy the oil. You know it's gon na hurt. PRINCE THAMER My family is not decaying - RONALD FLEURY And then we bring the hammer down hard as hell : Bust Al Haramain - we got direct links from Riyadh - two wives donating ten million to three Arab - American cultural centers in Boston. Then what gets kind of not - funny is how some of that cash found its way to Jakarta and some Mosques that have these training camps built right next to them. It's kinda funny. you got little kids playing over here, and some not so little kids playing with guns over here. That's kinda odd. PRINCE THAMER You have no proof of this. RONALD FLEURY We're getting there, Sir. And I have n't even brought up the two girls still missing out of Houston. This is big. It is real. And I know you only care so much about public American opinion, Sir. But the story will be covered. Big. Thamer is clearly rattled. Fleury is starting to crack this man. RONALD FLEURY -LRB- CONT'D. -RRB- And this ai n't the Metro section. It's above the fold, just below the date. Words like these get syndicated to papers like the Omaha World - Herald, The Terrell Tribune - You ever been to Terrell, Texas? PRINCE THAMER What is your point? Fleury looks back to him. RONALD FLEURY Last I heard, 112 people lost their lives in your country. One of them was a good friend of mine. I want in and I want in immediately. That's a rock solid answer. PRINCE THAMER Define `` immediately.'' RONALD FLEURY Right now immediately. Fleury looks back at the Ambassador. A stare down. FLEURY If your phone does n't work international, you can borrow mine. Prince Thamer slowly reaches for his phone as Fleury opens his door. FLEURY -LRB- CONT'D. -RRB- I'll just be right out here.",
"EXT. DIPLOMATIC SUBURBAN - MOMENTS LATER Fleury waiting. Intense. The window rolls down, Thamer looking up at Fleury. The following is fast, tight negotiating : PRINCE THAMER -LRB- trying to maintain cool. -RRB- We can not allow 100 agents - RONALD FLEURY - 4. With a 25 - man security detail - PRINCE THAMER - even 25 more armed Americans could spark rebellion - RONALD FLEURY That's too bad. PRINCE THAMER Saudi Security. That's non negotiable. You can not bring guns into the Kingdom. RONALD FLEURY Men in Saudi Police uniforms are why we're talking now. PRINCE THAMER They would be hand picked. RONALD FLEURY Whose hands? PRINCE THAMER Mine. Fleury blinks. PRINCE THAMER -LRB- CONT'D. -RRB- Trust me. that's the only hope of this happening. FLEURY If anything happens to me or my team. It's on you. Understood? PRINCE THAMER Cool it with the John Wayne, Mr. Fleury. Fleury just stares. PRINCE THAMER -LRB- CONT'D. -RRB- You can have a week - RONALD FLEURY - seven - day or work - week? PRINCE THAMER Work week. Five days. No guns. Hands shake.",
"EXT. SAUDI SHACK - NIGHT, SAUDI TIME No `` charm.'' Corrugated tin. A faded blue plywood door. No one in sight. On the side of the house : a battered satellite dish.",
"INT. SAUDI SHACK - NIGHT, SAUDI TIME A tiny framed Saudi National flag in the middle of a wall : green with a white sword underlining script that reads : There is no God but Allah. No other decoration. The none - too - muffled sounds of traffic : a lone window overlooking a four - lane boulevard. Then the Athan -LRB- call to prayer -RRB- for the Isha -LRB- last of the five daily prayers -RRB- trumps the traffic noise. Sergeant Haytham enters, bandaged, blank, then a small smile crosses his face. An old man's weathered voice, in Arabic : OLD VOICE -LRB- O.C. -RRB- Just in time. Haytham's P.O.V. : His FATHER, glass - frail, lying in a bed, a small TV nearby, on but soundless. Haytham goes into a routine : rolls out two prayer mats, steps to his Father, reaches down to pick him up. His Father readies himself - stops everything when he sees the bandages up close, the black bruises with outer rings of purple covering 1/2 of his Son's cheek. Looks into his boy's eyes. HAYTHAM'S FATHER What happened? Haytham not returning the gaze, hoists his Father into his arms - pain shoots up his arms from his damaged wrists. SERGEANT HAYTHAM You have n't heard about the attack? HAYTHAM'S FATHER I choose not to listen anymore. What happened to your face? SERGEANT HAYTHAM -LRB- beat. -RRB- An attack today. HAYTHAM'S FATHER Look at me. Haytham looks into his father's eyes now. No words. Haytham's eyes well with tears. After a long silence : HAYTHAM'S FATHER -LRB- CONT'D. -RRB- Is this how they now treat the men who protect them? Can you look at me? You can not, can you? Can you look at yourself? Haytham stares at his father. HAYTHAM'S FATHER -LRB- CONT'D. -RRB- You are protecting the true enemies of God.",
"INT. AL-GHAZI'S HOUSE - SAME Al - Ghazi sits on pillows on the living room with his WIFE and three DAUGHTERS. A television is on, playing `` MAN SAYARBAH AL MILIOUN'' the Arabic `` Who Wants To Be A Millionaire.'' Al - Ghazi's children are playing a game with peas, trying to guess which one of his hands Al - Ghazi is hiding the pea. When a girl guesses correctly, he eats a pea. From outside, we hear the call to prayer. Al - Ghazi and his family all move to prayer mats in his living room.",
"INT. ONE ROOM APARTMENT - SAME Haytham continues carrying his Father to the prayer mats. Gently sets him down, Kneels down himself, carefully rolls his Dad to his stomach. Then stands to help tuck his Father - in obvious, great arthritic pain - into a kneeling prayer position. Kisses his father on the top of his head. And both pray.",
"INT. AL-GHAZI'S HOUSE - SAME Al - Ghazi praying with his family.",
"EXT. ANDREWS AIR FORCE BASE - MIDNIGHT A Load - Master buckling down two paletts of shrink - wrapped gear in the belly of a C - 130. Sykes and Leavitt sit on a stack of FBI paletts, their feet gently tapping on battered forensic cases. Mayes approaches from the parking area. ADAM LEAVITT -LRB- beat, re : Janet. -RRB- What was Fran Manner to her? GRANT SYKES He taught her how to shoot, she taught him most everything else. -LRB- beat. -RRB- Celebrated graduation at the IHOP in - town until some Townie called Janet something. Something not very nice. Townie did n't see Fran coming outta the Head. But he definitely felt Fran's uppercut shatter his jaw. ADAM LEAVITT Fran did n't get bounced for that? Points to Fleury's dirty Jeep arriving. GRANT SYKES SAC Fleury took care of him. ADAM LEAVITT How? GRANT SYKES If I knew how I'd be SAC Sykes. I do know the post in Riyadh was part of the deal Fleury cut to save Fran's career. Leavitt looks up at Mayes as she gets within ear - shot, plops down next to them. ADAM LEAVITT -LRB- beat. -RRB- What did SAC Fleury whisper in your ear this morning? JANET MAYES -LRB- smart - ass smile. -RRB- ` Grant's age is a liability.' The three turn as Fleury approaches. Walking fast, clear sense of purpose. FLEURY Thanks for volunteering. LEAVITT Actually, I did n't volunteer. FLEURY Thanks anyway. LEAVITT We're going to Riyadh? FLEURY Yup. SYKES State department said yes? FLEURY Nope. LEAVITT White House said yes? FLEURY Nope. LEAVITT Anybody said yes? FLEURY Not really. LEAVITT Are we bringing security? FLEURY Nope. Fleury walks onto the plane. Leaving the three on the tarmac. LEAVITT This is going to suck so bad. And the three follow Fleury onto the massive plane.",
"INT. C-130, AIRBORNE - LATER Silent. Just the lull of jet engines. The big, long boring is just beginning. Janet and Leavitt play Scrabble. Sykes sits nearby. Fleury sits up front, wide awake. ADAM LEAVITT What can four people do in five days? Really? GRANT SYKES Are n't you the one who demanded to go this morning? ADAM LEAVITT I meant the FBI. I did n't mean `` me.'' Small smile from Leavitt. The Scrabble continues. ADAM LEAVITT -LRB- CONT'D. -RRB- -LRB- to Janet. -RRB- What's it like on the ground? GRANT SYKES Mars. JANET MAYES I'll be looked at with what I can only describe as disdain, pretty much the entire time we're on the ground. kind of like South Virginia. GRANT SYKES Go easy on my kin. JANET MAYES It's a very confused culture. Extremely religious. Had nothing ; wanted nothing. Sixty years ago, they hit oil. Simple religious men become trillionaires. a schizophrenic nation is born. The royal family, who we back, and everyone else. Intercut with the Scrabble.",
"EXT. PALACE GROUNDS - NIGHT, SAUDI TIME Three - Suburban convoy turns up a driveway, waved past a guard post bristling with automatic weapons and into the circular drive of a massive, walled palace. Impersonal wealth. Two dozen SANG troops on security detail. Two Humvees equipped with anti - aircraft missiles parked 100 yards apart. Colonel Al - Ghazi out of the middle Suburban. Frisked by SANG, rough : no love lost.",
"INT. IMPERSONAL PALACE - SAME MOMENT Al - Ghazi is passed to a silent, boundless staff holding serving platters jammed with cups of mint tea. A mammoth foyer. PRINCE SA'AD BIN KHALED -LRB- Saudi Interior Ministry -RRB- steps out from a 20 - foot high doorway : nebbish, thin, bloodshot eyes magnified by thick glasses. His hand over his stomach : Napoleon's ulcers. A quick wave to Al - Ghazi.",
"INT. PRINCE'S PRIVATE OFFICE - NEXT MOMENT 10' X 20' gold/glass desk over a 50' X 50' rug in a 100' X 100' marble room. Al - Ghazi greets the Prince formally : kiss the right shoulder near the clavicle. The Prince's tongue chalk - white for some reason. In Arabic : PRINCE BIN KHALED Four FBI Agents will be allowed to land at Prince Sultan Air Base this evening. Al - Ghazi : more than mild shock. PRINCE BIN KHALED -LRB- CONT'D. -RRB- General Abdul - Malik, Chief of Investigative Services for the National Guard has been put in - charge of solving this crime. Clearly not sitting well with Al - Ghazi. COLONEL AL-GHAZI I know the General. I attended his interrogation of one of my men. -LRB- beat, putting it kindly :. -RRB- The General does not have investigative experience. PRINCE BIN KHALED Attackers wore YOUR uniform. Police Uniforms. Some of your men may have been involved with this Cell, may still be involved. You're lucky to have a role at all. Al - Ghazi silent. The Prince pulls an anti - acid tablet, puts it in his mouth : that's why his tongue is chalk - white. PRINCE BIN KHALED -LRB- CONT'D. -RRB- And your role will be critically important : make sure the Americans leave our country as alive as when they arrive. Five days they will be our guests. Understood?",
"INT. C-130 - NIGHT Final descent beginning. More stars above than lights below. Landing in the middle of nowhere. Sykes sitting near Fleury, getting his game - face on. GRANT SYKES What's going on in there? RONALD FLEURY -LRB- getting his bearings. -RRB- I'm good. Sykes puts his hand on Fleury's chest. GRANT SYKES Feels like you got a beast in there, Fleury. RONALD FLEURY -LRB- beat. -RRB- I'm good GRANT SYKES `` Good'' is 6:00 am Sunday morning when your kid climbs into your bed, buries himself into you. sun's creeping through the windows - soft. Birds and wind - chimes. that's `` good.'' A BEAT as Fleury looks at Sykes. RONALD FLEURY I'm OK. You do n't think I'm OK? GRANT SYKES -LRB- small smile. -RRB- I think you're not entirely clear right now. That's OK, but you got to know that. You want to go - we go. I got you, but you got to check yourself. RONALD FLEURY I'm checked. GRANT SYKES OK. I'm just checking that you checked. Fleury stands up.",
"INT. C-130 COCKPIT - NIGHT, SAUDI TIME Fleury pops his head into the cockpit. Two AIRFORCE PILOTS sit at the controls. RONALD FLEURY How we doing? PILOT #1 About a half hour out. RONALD FLEURY They gon na let us land? PILOT #1 We've been talking to them about an hour or so. they know we're coming. RONALD FLEURY Good. PILOT #1 You do n't mind my asking, but what the hell you all gon na be doing down there? RONALD FLEURY Hunting. PILOT #1 Hunting? I think of hunting, I think quail in Tennessee, deer in Pennsylvania. What kind of hunting you all gon na do in Saudi? RONALD FLEURY Big Game hunting.",
"EXT. MASSIVE, CLOSED DOWN MILITARY COMPLEX - NIGHT PRINCE SULTAN AIR BASE, SAUDI ARABIA. Our C - 130 touches down smooth on Saudi soil.",
"INT. C-130 CARGO HOLD - NIGHT, SAUDI TIME Engines winding down to nothing. The team standing, slinging bags over their shoulders. Groggy but pumped. Fleury looks at his team, last bit of advice before game - time. RONALD FLEURY Heads on a swivel.",
"EXT. PRINCE SULTAN AIRBASE - NIGHT, SAUDI TIME The cargo door locks into place on Saudi tarmac. Fleury and the Team outside the plane now, bags dropped at their feet. 90 degrees even this late. Look - up : light washing over a small, formal Saudi military team in front of two caskets draped in American flags, and a small convoy of bullet - proof black Suburbans. Adam Leavitt will never forget this first glimpse of Saudi Arabia : surreal. Tears in Janet's eyes as she glimpses the caskets. Colonel Al - Ghazi steps up, offers his hand to Fleury. Fleury and Al - Ghazi shake : COLONEL AL-GHAZI Colonel Al - Ghazi. RONALD FLEURY Special Agent Ronald Fleury. COLONEL AL-GHAZI -LRB- beat : the caskets. -RRB- Your two fallen comrades, Mr. Manner and Mr. Burr. Three men multi - task hustle to forklifts, start them up. Into the cargo hold, pulling out paletts. Things moving orderly - fast now. The Americans just kind of step back, dazed. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- Passports and credentials. Please. Sergeant Haytham, driving one of the suburbans, steps forward with kevlar vests for our crew. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- Thank you to keep these on whenever you are outside of Al - Rahmah. JANET MAYES We brought our own. The crew hits their bags, pulls out their vests. Another OFFICER checks each team member's FBI badge and passport. Stops at Leavitt's : an Israeli stamp on his passport. Leavitt's quick : ADAM LEAVITT Israeli stamp in my passport? COLONEL AL-GHAZI -LRB- in Arabic to the Officer. -RRB- That is not our concern. Al - Ghazi takes the passports and badges, hands them back. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- I'm also to collect your sidearms. This is like handing over your first - born. Fleury goes first. Haytham puts each weapon in a padded case. GRANT SYKES And I usually just toss it on the kitchen table. COLONEL AL-GHAZI -LRB- small smile. -RRB- If each of you would please get into the middle vehicle.",
"INT. MIDDLE SUBURBAN, RIYADH SUBURBS - NIGHT The speedometer at 110 m.p.h. Haytham navigates with his left hand. Prayer beads hang from the rearview mirror. Al - Ghazi in the passenger seat, right hand rubbing another set of prayer beads down to nubs. The team in the back rows : all staring at the prayer beads on the mirror. JANET MAYES -LRB- whispering to Leavitt. -RRB- Would n't need the power a' prayer if there were 2 hands on the wheel. ADAM LEAVIIT 110 miles per hour. How do you keep so calm? I mean, really? Is it breathing - JANET MAYES - Shhhh. RONALD FLEURY If somebody was tailing us it'd be obvious. This is just standard operating speed. Al - Ghazi on the edge of his seat, no belt, scanning for threats : sidewalks, traffic, rooftops. His left hand hand wrapped around the stock of an Mp - 5 machine gun. Fleury takes in a deep breath : let's see who this guy is. RONALD FLEURY -LRB- CONT'D. -RRB- Colonel, have you ever been to the US? COLONEL AL-GHAZI I have been there only once. I spent four days at Quantico. I saw your Michael Jordan play for the Washington Wizards. Small laughs. RONALD FLEURY You do n't know what you missed. you should have seen him play for our Chicago Bulls. Fleury nods to Sykes, giving him the go to start in with the Bad Cop. Throughout the following exchange, we stay TIGHT ON FLEURY : in control, using Sykes to ask the questions he `` diplomatically'' does not want to ask. GRANT SYKES You have portable lights on - scene? COLONEL AL-GHAZI -LRB- loses his smile. -RRB- Yes. But your team can not work nights. Janet looks to Leavitt, then Fleury : ` what did he say?' Fleury looks to Sykes, ` Keep going.' GRANT SYKES We only have seven days : we work around the clock. COLONEL AL-GHAZI Five days. And you are not safe at night. GRANT SYKES We're safe during the day? Fleury is about to step in when - COLONEL AL-GHAZI -LRB- in Arabic, shocking. -RRB- WATCH IT - SLOW! A truck 200 yards ahead in the middle of an abrupt U - turn. Over the median. Dust cloud. Heading back our way. Something big in the truck's bed. Our vehicle shimmies as Al - Ghazi flinches, drops his prayer beads. Mp - 5 up to the Colonel's sight - line, muzzle tracking the truck. Leavitt leans away from his window as the vehicles pass : streetlights show two farmers, a camel sitting in the bed. Missed their left turn. A long, nearly comical moment. ADAM LEAVITT -LRB- smartass. -RRB- I do n't like camels. Fleury cycling through different angles. Continues : RONALD FLEURY Colonel, do you believe Abu Hamza was responsible for this attack? COLONEL AL-GHAZI We do n't know. RONALD FLEURY Were Saudi Police involved in the attack? COLONEL AL-GHAZI We do n't know that either. RONALD FLEURY Any word on what that third big blast was? Al - Ghazi getting tired of the questions : exhausted himself. COLONEL AL-GHAZI Not yet. GRANT SYKES You interviewed witnesses? COLONEL AL-GHAZI -LRB- short - fuse burning. -RRB- We're trying. No one who was close enough to see the things we would like to know, lived. GRANT SYKES Were any of the uniformed bombers brother - officers? No answer. GRANT SYKES -LRB- CONT'D. -RRB- Do you know yet? No answer. Team feeling the tension. Fleury steps in and takes charge. RONALD FLEURY You do n't know the source of the blast, do n't know if your own Officers were involved, but you wo n't let us work nights? Al - Ghazi stanches an explosion. Haytham looks over at his Colonel : rarely ever seen him like this. Looks in the rear - view mirror to see Sykes, the man giving the Colonel fits. Sykes catches him looking back, gives him a quick wink into the mirror. TIGHT ON Haytham's face : the guilty little smile you give when someone takes your boss to task. COLONEL AL-GHAZI 47 of my ` brother - officers' were blown into hundreds of pieces that will take months to collect. 80,000 Officers total, across the country, at four uniforms apiece. Thousands of people who can sew forgeries. Apologies that I do n't have definitive answers. -LRB- beat. -RRB- You're still not working nights. Fleury stays quiet, studying, calculating, thinking : we got a Handler that's going to be tough to handle.",
"INT. GIDEON YOUNG'S OFFICE - EVENING RUSH HOUR, EST Director Grace already sits in front of Young's desk. DIRECTOR GRACE Good afternoon, Sir. Young says nothing, just pulls a memo from his bag, clears his throat - still no eye - contact - reads aloud like a poor man's Orson Welles : GIDEON YOUNG ` Sunlight is indeed the most powerful disinfectant. In that spirit I come before this Judiciary Committee with a painful admission. -LRB- beat. -RRB- Simply : I've lost all confidence in the FBI, especially it's uppermost echelon. Entrenched and outmoded, the Leadership has shown itself fearful of the pioneering thought this Committee and I have tried to imbue. It is thus an Agency at contretemps, hindering our every effort.' And by ` Committee' I mean the fucking SENATE SELECT COMMITTEE ON TERROR. Young finally makes eye contact : expecting something like fear, remorse, back - pedalling. DIRECTOR GRACE Senators? Then I'd change ` outmoded' to ` outdated,' ` echelons' to ` ranks' and what in God's name is ` contretemps?' These guys are n't the best and brightest - Young's face flashes red, seething : GIDEON YOUNG - never take the Lord's name in vain in this office - DIRECTOR GRACE - but you can say ` Fucking?' Young apoplectic now : ready to end the Director right there, when Grace leans in, lets the vague threat of physical contact manifest. DIRECTOR GRACE -LRB- CONT'D. -RRB- You're going to the Senate Select Committee, but not to the President who appointed you. Why's that? -LRB- beat. -RRB- I bet the President was n't the audience you thought he'd be : I'll bet he realized you ca n't have Voters asking why the second - longest serving FBI Director gets fired for doing his job, for sending Agents into Saudi Arabia, seven months from mid - term elections - GIDEON YOUNG - you really want to bet? Grace snaps his ID badge off his lapel, puts it on the table. DIRECTOR GRACE I do. Young's pallor tells us his bluff has been called. Goes silent. Grace smells it, finishes him now : DIRECTOR GRACE -LRB- CONT'D. -RRB- Westmoreland made all us Officers write our own obituaries during Tet, when it looked like the Cong were going to end it all right there. Once we clued - in that life was finite, the loss of it no longer scared us : the end comes no matter what, it's just a question of how you want to go out : on your feet or on your knees. After that, we went out and pulled triggers until barrels melted. And Vietnam lasted another seven years. -LRB- beat. -RRB- The lesson extends to this career : I ACT, knowing the end of this job will come, no matter what. You should do the same. Grace waits : nothing else from Young. Stands, snaps his ID badge back on his lapel, walks out. DIRECTOR GRACE -LRB- CONT'D. -RRB- I'll forward Fleury's reports.",
"EXT. OUTSIDE AL-RAHMAH HOUSING COMPLEX - NIGHT, SAUDI TIME The convoy brakes impossibly close to a checkpoint. Waved through perimeters staffed by SANG and Police. Fatigues, automatic rifles, peering at the tinted windows.",
"INT. MIDDLE SUBURBAN - NEXT MOMENT Crew arrives at a crime - scene that spans the immediate horizon. White tents with SANG sitting under each. Industrial lights outline shattered buildings, idle heavy equipment, bombed - out automobiles. TIGHT ON MAYES looking out. JANET MAYES That's one of the great horrors of television : Crime scene manipulation. They say a TV camera adds pounds to actresses. Is n't that what they say? ADAM LEAVITT Who's `` they?'' JANET MAYES That is what they say. Does n't add to crime scenes. Television cameras shrink them. Misrepresent. No smells. Poor sound. Limited view. TV always makes them look smaller. You ca n't feel the hatred on television. TIGHT ON FLEURY : Quiet and focused, taking everything in. FLEURY heads on a swivel, people.",
"EXT. AL-RAHMAH COMMUNITY CENTER - NEXT MOMENT Two more security perimeters of SANG surround the Community Center : blinding portable lights, heavy machine guns mounted in the backs of Humvees track the convoy as it comes to a stop : every troop on - guard. The Team tentatively exits : 100 pairs of glares from heavily - armed SANG. Soldiers descend on the Teams' bags, paletts of equipment. Long leers at Janet : not so much ` sexual' as ` wary.' Janet goes for her own bag. Haytham goes for it at the same time. Their hands accidently touch. Haytham pulls back fast, embarrassed. JANET MAYES EASY. Janet notices the nasty marks around Haytham's right ear.",
"INT. AL-RAHMAH COMMUNITY CENTER - NEXT MOMENT Florescent lights make it ugly. Haytham dumps duffel - bags by their bunks, SANG stack steel travel - boxes from the paletts inside. No windows, AC cranked to ` coldest.' Americans sealed - in - in the name of comfort. Janet's area made obvious with a floral partition. She immediately folds it, puts it into a corner. Haytham watches her undo his work. COLONEL AL-GHAZI The bathrooms are through that door. I will be here tomorrow morning so we can begin. FLEURY What time tomorrow morning? COLONEL AL-GHAZI Sunrise. RONALD FLEURY What time is sunrise? COLONEL AL-GHAZI -LRB- beat. -RRB- When I knock. Al - Ghazi and Haytham leave. The doors close behind them, then the sound of a key turning in a lock. The Americans look on, half - disbelief, half - comedy : locking us in. GRANT SYKES That's against fire code. JANET MAYES They do n't have fire codes. They do n't have codes other than codes of war. They'll lock us in and dial up some kind of earth movers if they want to. You know that, Sykes. Dig a big hole and push us in. Fill it up and no one comes calling. You're in the jungle now, baby. Silence as the crew digests this odd little verbal outage. ADAM LEAVITT -LRB- smiling. -RRB- You alright, girl? JANET MAYES Watch it, boy. ADAM LEAVITT Just asking. JANET MAYES Unpack. Everyone hits their own bags first. FLEURY -LRB- to himself. -RRB- Saudi slow roll. Fleury pulls out his laptop, wakes it up from sleep mode. Eyes a photo of Kevin on his desktop, picks up the phone. LYLA FLEURY -LRB- on phone. -RRB- Hello? RONALD FLEURY Hey. How are you? How's my boy? LYLA FLEURY We're just fine. How are you? Where are you? RONALD FLEURY I'm here. -LRB- quick beat. -RRB- Lem me talk to my boy. A BEAT as Lyla passes the phone to Kevin. KEVIN FLEURY -LRB- O.S. -RRB- Daddy? FLEURY What you doing? KEVIN FLEURY -LRB- O.S. -RRB- I'm talking to you. What are you doing right now, Daddy? Right now? FLEURY I'm missing you. KEVIN FLEURY -LRB- O.S. -RRB- Where are you? FLEURY I'm in Saudi Arabia. KEVIN FLEURY -LRB- O.S. -RRB- Did you see Big Fran? A Beat. FLEURY Yeah. I saw him. -LRB- PAUSE. -RRB- I saw him. KEVIN FLEURY -LRB- O.S. -RRB- Is he still tall? FLEURY Yeah. Yeah. he's still tall. Silence. as Fleury takes a beat to collect himself. KEVIN FLEURY -LRB- O.S. -RRB- Daddy? Are you still there? FLEURY Yeah, buddy. I love you. Keep your eye on your mama. Be the man. KEVIN FLEURY -LRB- O.S. -RRB- You, too Daddy. FLEURY I'll call you tomorrow. I love you. KEVIN FLEURY -LRB- O.S. -RRB- Bye, Daddy. Fleury begins unpacking.",
"EXT. AL-RAHMAH COMMUNITY CENTER - 4:30 AM Pre - dawn : Eight black suburbans parked on the side street : waiting. The doors of the first four open in - unison. 20 Arab, suited SECURITY GUARDS exit. Al - Ghazi unlocks the door to the compound : the team stands dressed, waiting. CLOSE - UP : The Team steps out to see massive, organized security. From one of the vehicles exits a middle aged AMERICAN - sweating a bit, hanging back, watching. This is US Deputy Chief of Mission, the Embassy's second - in - command : DAMON SCHMIDT. Another 100 Security CONTRACTORS remain vigilant : SNIPERS on roof - tops, in machine - gun nests. Schmidt approaches Fleury. SCHMIDT -LRB- big smile. -RRB- You are in so much trouble. FLEURY Is that right? SCHMIDT For sure. I mean, I do n't know how you did it. Nice work, but if you live through this, which I put at about fifty percent - if you do, your balls are gon na get stretched and beaten on. Dig that? Fleury stares at this freak show. Schmidt sticks out a paw. SCHMIDT -LRB- CONT'D. -RRB- Damon Schmidt. State Department. I'm in charge of getting you out of here. PRINCE BIN KHALED and his INNER - CIRCLE exit a Suburban and approach : All in traditional dress. The Prince locks eyes with Fleury. IN THE BG, forklifts rumble - hiss to life, placing Jersey barriers around the community center. SCHMIDT -LRB- CONT'D. -RRB- Do n't let go of his hand first. Major disrespect. One of the inner - circle, without a word, takes off the FBI - emblazoned windbreaker worn by Leavitt and places it on a short - sleeved Janet. Careful not to touch skin. Only then does Prince Bin Khaled approach. A lone PHOTOGRAPHER follows : snapping pictures. Different definitions of personal space : four inches separation as Bin Khaled greets each Team member in accented English. Janet last : the pictures suddenly stop. The Prince gives a little curtsy, no words, steps back to Fleury : the pictures re - start. Bin Khaled holds Fleury's hand sixth - grade boyfriend - style. PRINCE BIN KHALED -LRB- in Arabic. -RRB- This is our level of commitment to bringing Terrorists to justice : Motions to the Americans. No more unflattering a portrait : pre - coffee, post - twelve hour flight, hours unpacking. As the cameras start flashing. Angle on Al - Ghazi and Haytham placed to stand next to the Americans. Haytham clearly not comfortable with this kind of attention. PRINCE BIN KHALED -LRB- CONT'D. -RRB- We've invited American legal officials into our Kingdom despite current difficulties between the US and Islam. They will observe our advanced investigative techniques, offering helpful hints. -LRB- to Fleury in English. -RRB- You will please honor me with your presence tonight at my home. -LRB- beat, a stunted nod. -RRB- Yes. The Prince turns back to the convoy. Entire entourage follows. One of the Security Contractors catches the jacket Janet hurls back at him, tosses it to Leavitt. Convoy gone. The team turns : 100 glares again. Fleury blinks out the camera flashes, takes in all the eyeballs. Fleury looks up at a retreating Damon Schmidt. SCHMIDT Nice pictures. You guys ready to go home now? Dead eyes from Fleury. He's clearly not amused. SCHMIDT -LRB- CONT'D. -RRB- OK. If you change your minds, I got a plane fueled up and ready to go - got your name all over it. He points a finger gun at Fleury. SCHMIDT -LRB- CONT'D. -RRB- Strap your kevlar on tight, people. SCHMIDT takes off. Sykes by Fleury. GRANT SYKES Slow roll. gon na be like when you go deep sea fishing in Florida and you pay seven hundred bucks for the boat and you sit in the ocean for hours and the crew jumps around and screams and points and you think your constantly about to bag a Marlin but you never do and they keep pointing and jumping and - FLEURY Enough. Haytham walks off by himself, shaking off the shady Royal photo vibe, looking back at the Americans. From behind him : POLICE OFFICER You're willing to die to protect your enemy? Haytham turns. An older POLICE OFFICER stands with a GROUP of SANG twenty feet behind him, eyeing Haytham. Back to Fleury : he looks to Al - Ghazi. RONALD FLEURY What did the Prince say? COLONEL AL-GHAZI -LRB- beat. -RRB- That there are more rules than just not working at night. RONALD FLEURY What rules? COLONEL AL-GHAZI You are here as observers. Not investigators. Fleury tries to remain cool. RONALD FLEURY That's not accurate - Al - Ghazi ignores Fleury. COLONEL AL-GHAZI - I need to make sure the sites are secure. Then you can begin observing. Leavitt looks around at the Security as Al - Ghazi hustles off : ADAM LEAVITT -LRB- to Fleury. -RRB- How could they get more secure? The Team slowly realizes they're not going anywhere yet, dump their bags in a pile, already disgusted. In the distance, the group of SANG stare back at our team.",
"INT. LOCATION UNKNOWN - TIME UNKNOWN Hold on an empty 2' X 1' X 6'' balsa wood box set on a dirty linoleum floor. Ancient hands line the balsa wood box with bricks of putty - gray plastic explosive. We immediately notice the right hand is missing the index and middle fingers. The hands insert bright - red blasting caps into the explosives, lengths of detonating - wire emanating from each cap. Another set of stronger, younger, in - tact hands gently pours a mixture into the box now. Ball bearings, children's jacks, marbles, razor blades, roofing nails. Everything malevolent densities and angles. Some pieces bounce out, run along the floor. The younger hands then start pressing/molding the pieces of soon - to - be shrapnel into the putty - gray plastic explosives.",
"EXT. AL-RAHMAH COMMUNITY CENTER - LATER Al - Ghazi and General Malik stand outside. The Athan sounds for Dhuhr. 100 soldiers immediately drop to their knees.",
"INT. AL-RAHMAH COMMUNITY CENTER HOOPS COURT - 9:00 AM TIGHT ON FLEURY : focused, Thinking. Sykes next to him. O.C.. The Athan sounds again for Dhuhr. SYKES Well, this is going well. FLEURY Saudi Slow Roll. Sykes and Fleury lean against the locked door, staring at the pathetic sight before them : Janet's truly awful jumper. that somehow swishes every time. Before she lands, cocky and smooth : JANET MAYES Good. Then the metallic swish of the all - weather net. Leavitt boxes out air for the non - existent rebound, grabs the ball, chest - passes it Great Santini - hard back to Janet who softly sucks in the pass. Playing in their cargo pants and hiking boots. LEAVITT How do you do that? Janet gently bounce - passes it back : JANET MAYES Check. LEAVITT Do n't say ` good' again. Janet takes the check from Leavitt : before he can react, she drains a 30 - footer. Same cockiness, different word : JANET Bueno. Fleury with Sykes still standing in the same spot. Looks up : Al - Ghazi coming into the building. Fleury ready to vent until something surprises him : breathless, Al - Ghazi has broken a wide - sweat hustling back to the Americans. Fleury's face relaxes. He pulls a bottle of water out of a cooler, hands it to Al - Ghazi. COLONEL AL-GHAZI I am sorry for the time. -LRB- beat. -RRB- You wo n't need you gear. Fleury ca n't help a small smile. FLEURY -LRB- to Sykes, himself. -RRB- Of course we wo n't.",
"EXT. AL-RAHMAH - MOMENTS LATER Hands in pockets. Soak in the aftermath : shallow but wide crater, shredded backstop, nearby buildings torn, blood baked into dirt. Fifteen cars. COLONEL AL-GHAZI -LRB- O.C. -RRB- The remaining rules : you can not touch evidence, question anyone without me present, touch Muslim dead, or leave my sight at anytime : your safety is my primary concern. FLEURY I would have thought your primary concern was investigating a crime. COLONEL AL-GHAZI And you would be mistaken. Sykes looks over to Fleury. Crooked smile. SYKES -LRB- to Fleury. -RRB- I think it's one of those `` something happens to us. his head comes off'' kind of deals. -LRB- to Al - Ghazi. -RRB- Is it one of those kind of deals, Colonel? Al - Ghazi ignores Sykes. FLEURY So, if you're not running the investigation. who is? Al - Ghazi motions to 50 MEN in uniforms different than his : SANG troops digging, bagging evidence, marking the scene with red - flags. COLONEL AL-GHAZI The National Guard's Military Police Brigade is conducting the investigation. My orders begin and end with your health. The Team : so we're on Tour. Fleury still silent. ADAM LEAVITT I thought the SANG were soldiers - COLONEL AL-GHAZI - the bombers did n't wear a soldier's uniform. They wore mine. Fleury finally speaks, asking the most important question : RONALD FLEURY Who is in charge of the investigation then? Al - Ghazi points to a Man we've seen before, General Abdul - Malik. Haytham's Interrogator. He pours over a table 20 feet away : maps, blueprints, utility schematics spread before him. COLONEL AL-GHAZI General Abdul - Malik. He's given us permission to walk through each crime - scene. RONALD FLEURY To walk through? Are you kidding me? COLONEL AL-GHAZI I am not. Starting to get heated. RONALD FLEURY Get him over here now and let's clarify this situation. COLONEL AL-GHAZI There is no lack of clarification. RONALD FLEURY There sure as hell is! I do n't know what kind of game you're playing but you got the wrong guy, Colonel Al - Ghazi! That was not the deal - COLONEL AL-GHAZI -LRB- getting hot. -RRB- This is not a game show, Mr. Fleury! There are no deals made here. There is me telling you what you may or may not do and there is you doing it. Beat. As Al - Ghazi stabilizes. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- You will be permitted to walk through the crime scenes. When we have determined that it is safe. A stand off. Fleury eyes Al - Ghazi. Trying to figure this guy out. Sees something that looks like a flash of embarrassment in Al - Ghazi's eyes : unable to perform his profession, relegated to Tour Guide. Leavitt begins taking notes. Haytham sees his notebook, snaps his fingers at Al - Ghazi who looks, nods : let him. RONALD FLEURY OK. Fleury tight - grins. Looks off. In one of the apartments, he sees a PERSON looking down at them from behind a curtain. He tries a new tactic. RONALD FLEURY -LRB- CONT'D. -RRB- How have you guys been doing with the witnesses? AL-GHAZI What witnesses? Al - Ghazi just stares at Fleury. FLEURY I'm guessing there are a bunch of Americans, Brits. Australians? Someone must have seen something. I'm sure they're just dying to talk to you guys, seeing as how the killers were wearing your uniforms. That must be a real confidence booster for them. Al - Ghazi silent, staring. FLEURY -LRB- CONT'D. -RRB- Let me talk to them. Al - Ghazi looks unsure. He was not expecting this.",
"EXT. RIPON FAMILY HOME Fleury and Al - Ghazi walk up the front walk. Fleury noticing kids bikes, hockey gear, a comfortable easy chair covered in fur outside on the front porch, toy guns.",
"INT. RIPON FAMILY HOME - MOMENTS LATER Fleury sits with the RIPONS : EARL -LRB- 40s -RRB- JANINE, his wife -LRB- 30s -RRB-, and MADDY, Earl's mother -LRB- late 60s -RRB-. Earl sits on an ugly couch, a plywood sheet right above their heads. Everyone uneasy save the CAT in Maddy's lap. Fleury waves off a bottle of water from Janine. Al - Ghazi hovers awkwardly by the front door. EARL There's still a couple of hundred of us living on the compound. RONALD FLEURY Why Saudi Arabia? A moment as Earl and Janine get a bit defensive : EARL Neither of us did anymore schooling than Electra High, Electra Texas. RONALD FLEURY OK. Al - Ghazi sees Janine smile, squeeze Earl's hand tighter. EARL And the jobs here pay twice what you'd make in Midland or the Gulf a' Mexico. Plus the house is free. Earl's mother Maddy looks at Fleury, pets the cat. JANINE RIPON I call it combat pay. This place has gone Guns - Guns - Guns. RONALD FLEURY So has Everyone else now. JANINE My girlfriends in Texas spend their combat pay on diamonds. I spent mine on a safe room. RONALD FLEURY -LRB- chuckles. -RRB- Two nights back. Can you start one second before you knew anything was wrong? JANINE We did n't really see anything. Just hit the ground and hustled to the safe room. Closed our eyes and prayed. It was so fast. So loud. RONALD FLEURY So you really did n't see anything. MADDY I hit the deck. Horrible. JANINE Not ` til after. Just the screams - EARL - the kids. they were screaming. That got me out of the house. Those kids. FLEURY Which kids were those? JANINE The Jackson kids. Tracy Jackson next door was murdered looking out her window. front of her children. No safe room over there. -LRB- right at Al - Ghazi. -RRB- Not even the Men that did this should die in front a' their babies. Fleury lets moments pass. Earl rubs his wife's leg, trying to comfort her. Al - Ghazi hides emotion. RONALD FLEURY She live with her husband? EARL Aaron. RONALD FLEURY -LRB- beat. -RRB- If I'm facing your house, is the Jackson home to the right or left? JANINE Left. Fleury looks out the window towards the Jackson house.",
"EXT. JACKSON HOME - SAME MOMENT Next door to the Ripons. Fleury knocks. Door opens : a sad MAN with black bags under dying eyes. Disgusted - resigned breath through a half - open mouth. Silver watch and Polo insignia. sees Al - Ghazi, eyes come alive, teeth grit. RONALD FLEURY Mr. Aaron Jackson? AARON JACKSON -LRB- re : Al - Ghazi. -RRB- Get him away from me - RONALD FLEURY - easy, Sir. He's a friend to us - AARON JACKSON - I do n't know either one a' you. RONALD FLEURY I'm Special Agent Ronald Fleury of the FBI. This is Colonel Al - Ghazi with the Saudi State Police - AARON JACKSON - the Police : they attacked. Al - Ghazi quietly backs away, walks away. Fleury looks after him, turns back to Mr. Jackson who stares after Al - Ghazi : hate. Fleury unsure what to do next. AARON JACKSON -LRB- CONT'D. -RRB- I just put my boys down for the first time in two days. I ca n't wake ` em and sure as hell ca n't be gone if they stir on their own. RONALD FLEURY Can I come back? AARON JACKSON -LRB- too loud. -RRB- WHY? RONALD FLEURY Your boys. Jackson remembers the warning he just spoke. RONALD FLEURY -LRB- CONT'D. -RRB- To ask about two nights ago. Fresh tears re - animate his face : AARON JACKSON When my wife's jaw was shot off in front of our sons? My sons who sat with her while she bled to death? Could n't speak because she did n't have the bottom of her face and I was n't home and my baby boys are destroyed for life and my five year - old had a box of band - aids in his hand when I finally got home? Silence outside of Mr. Jackson's sobbing. Fleury sick to his stomach. Desperate to let this man alone. No eye contact. RONALD FLEURY I wo n't pretend to know. Aaron Jackson settles, wipes away tears, appreciates the honesty. Then bites back into his rage : AARON JACKSON Kill everyone that had something to do with this. Everyone related to them. Everyone who knew them. -LRB- beat. -RRB- And all you'd be doing is their recruiting for them. It's an entire generation : not small and isolated like they say. But a generation that thinks what they did to my wife, to my children, is a `` calling''. RONALD FLEURY Up the street, there was a wreck, did you see any - AARON JACKSON - notice how it would n't take a lot to disguise your friend. -LRB- points to Al - Ghazi. -RRB- as a Mexican? Think he could n't handle crossing our deserts? Look around! RONALD FLEURY Aaron - AARON JACKSON -LRB- explodes. -RRB- - LET ME FINISH GOD DAMN YOU - A child's scream from inside. Piercing. Scary. Jackson goes red, clenched fists, steps to Fleury who takes an instinctive step backward, guard - up. Jackson stops, spins back inside. A door slam that rattles the plywood sheet covering the shattered window. The screams become night terror shrieks.",
"EXT. JACKSON HOME A LONG, SAD BEAT, as Fleury and Al - Ghazi stand alone in front of the Jackson house. RONALD FLEURY -LRB- to Al - Ghazi. -RRB- Can we tour the compound? Can we please do that? Slow nod from Al - Ghazi.",
"EXT. BOMB SITE - LATER The team tours the site. As they fan out. They walk casually, but focused through the first bomb site. An inquisitive Mayes, already peering into a mostly in - tact car, halfway out of its parking spot. Al - Ghazi and Haytham watch the Americans like mother - hens. JANET MAYES He or she almost made it. Fleury steps, looks inside : blood and safety glass coat the seat. Janet points to keys in the ignition : still at the ` on' position. Then the stick - shift, pulled to the back right : reverse. The shift - knob bloody. JANET MAYES -LRB- CONT'D. -RRB- -LRB- beat, quieter. -RRB- Makes me think of the Trade Centers - the people on the floors above the impacts - no matter how fast or strong or smart you are, if you're in the wrong spot, ` it' will not let you get away. FLEURY That's what makes this a War. Sykes notices something on the ground. he picks up a military detonator, discretely hands it over to Fleury. Fleury quietly pockets it.",
"EXT. THIRD BLAST SITE - MOMENTS LATER Structures 100 feet away look like they've been hit with a God - sized sawed - off. The crater : 25 - feet wide, 7 - feet deep. Blackened frames and bits of vehicles circle the crater. The bottom of the crater filled with water. A syphon - pump works overtime. No SANG Investigators around. COLONEL AL-GHAZI -LRB- O.C. -RRB- About one hour into the rescue. ADAM LEAVITT Hit a water main? COLONEL AL-GHAZI No - from the tanks of this fire engine : that's the water that did n't evaporate in the blast. Al - Ghazi points to a mass of black metal : looks like a fire truck the way a Jackson Pollock looks like the Mona Lisa. Leavitt and Grant stand back. Quiet : GRANT SYKES -LRB- eyes on Fleury. -RRB- Hole is the case. See, there's `` evidence'' down in that hole. You understand evidence? Little things that are `` clues.'' Clues can be very helpful to a fella when he's trying to solve a crime. COLONEL AL-GHAZI I understand that. GRANT SYKES Glad to hear it. So can we get in there? COLONEL AL-GHAZI No. Sykes holds Al - Ghazi's gaze. Smiles. GRANT SYKES OK. Fleury is taking in the entire crime scene. He notices a four story building half a mile off the perimeter. He watches Al - Ghazi rip at a chunk of floorboard wedged into the mud, bag it himself, search for someone to give it too. Nobody. Sets it down. Stands, wipes his hands hard on his pants. Fleury could swear the dirt stains are intentional : trying to feel like he's doing something.",
"EXT. DESERTED STREET, AL-RAHMAH - MOMENTS LATER The Land Cruiser Haytham rammed - driver's side crushed, bullet holes, out - of - control skid - marks, asphalt scars from the snapped drive shaft. Fleury is moving around the scene, restaging the shoot out. Instantly lining up the angles. Leavitt's taking digital snaps of the shattered Land Cruiser. Through the viewfinder : the caved - in door. Two snaps. A SANG passes Adam, his gun aimed a touch high. ADAM LEAVITT -LRB- to Fleury. -RRB- A little high. FLEURY -LRB- to SANG, `` Lower,'' in Arabic. -RRB- Watt - tee. ADAM LEAVITT Watt - tee fuck. -LRB- alt : `` Watt - tee hell.''. -RRB- is his gun doing up so high? COLONEL AL-GHAZI -LRB- to Fleury. -RRB- This vehicle was stolen. Two drivers murdered. A team outside the blast - radius. shooting at anything. Everyone. -LRB- beat. -RRB- Sergeant Haytham ended this part. ADAM LEAVITT -LRB- to Al - Ghazi. -RRB- Are the Shooters in - custody - SERGEANT HAYTHAM - dead. So Sergeant Haytham speaks English. FLEURY Were any of these shooters your men? SERGEANT HAYTHAM No. Fleury's thinking, looking into the car. Searching the horizon, he spots a distant apartment building providing a view of the crime scene. FLEURY They got into the compound. Somehow. took control of this vehicle. I'm guessing they did n't politely ask whoever was in this car if they could take it for a little ride? Fleury gets in the car, checking out ballistic shreds in the back of the passenger seat headrest. AL-GHAZI No, they did n't. There were two officers in the car. Both were executed. FLEURY I understand that. Those men were your men - SERGEANT HAYTHAM - they were. They were Police. FLEURY I'm sorry. Al - Ghazi offers the slightest of nods to Fleury. FLEURY -LRB- CONT'D. -RRB- Where was this car when they hit it?",
"EXT. AL-RAHMAH - MAIN GATE Al - Ghazi leads our team to the main gate. Sykes and Fleury follow close. COLONEL AL-GHAZI Security is a combination of the police and military. Leavitt and Mayes lag behind a bit. Leavitt makes eye contact with a YOUNG SAUDI behind the.50 caliber. JANET MAYES Good news is that if he shoots you, he's gon na shoot you sitting on an American tank. with an American - made bullet. So, it's kind of `` all in the family.'' ADAM LEAVITT How about we get into those American Suburbans. with their American A/C. Al - Ghazi continues the tour as Fleury once again notes the familiar apartment off in the distance.",
"EXT. AL-RAHMAH - SECURITY STATION CAR PARK - LATER A car port. Fleury and team moving around the area. Fleury picks up some broken glass from the ground. FLEURY The car was parked here? AL-GHAZI Yes. FLEURY Backed in? AL-GHAZI Yes. Fleury studies the scene. FLEURY They were attacked from the front. Must have assumed the killers were fellow officers. Have any of these men been identified? COLONEL AL-GHAZI Not yet. We will check certain neighborhoods. It is likely that the four men prayed at the same Mosque. JANET MAYES The same Mosque is enough to identify them, link them to a cell? COLONEL AL-GHAZI Yes. If the Mosque is in Suweidi. ADAM LEAVITT Suweidi? JANET MAYES Suweidi is a known militant stonghold. Al - Qaeda could recruit from storefronts. On Fleury : he looks back at the homes, then up and around : He locks on the OBSERVATION BUILDING in the distance. FLEURY Can we go to check out some of these surrounding buildings? COLONEL AL-GHAZI Why? FLEURY Seems reasonable that the Planner had to observe and based on Hamza's past history, it's consistent that he would want to video the attack. Is that true? Is that accurate? COLONEL AL-GHAZI That is true. RONALD FLEURY Well, in order to video, in order to observe, you need a view. Fleury points to one particular building. FLEURY That building sees all three crime scenes. Al - Ghazi looks up to the building. Back to Fleury. COLONEL AL-GHAZI -LRB- beat. -RRB- It's outside the walls - ADAM LEAVITT - c'mon now. This is insane : we got enough security to invade Suweidi, let alone that building - COLONEL AL-GHAZI - no you do n't. FLEURY -LRB- to Al - Ghazi, respectful. -RRB- Could you ask? We're already seeing the crime - scenes individually - why not all at once? COLONEL AL-GHAZI Any answer will take - FLEURY - time. I understand. Fleury speaks slowly and clearly now : like he's cementing his words in his own head as he speaks them. FLEURY -LRB- CONT'D. -RRB- You have to ask the General, then the General would ask the Prince. Does it go higher or is that. is the Prince the end of the chain? Al - Ghazi hesitates, ca n't help but be charmed. Fleury clearly knows when to step - on or lay - off the gas. He's smooth. and HIGHLY EFFECTIVE : Al - Ghazi nods ` yes' to the strange half - question. FLEURY -LRB- CONT'D. -RRB- We'll be at the Community Center. -LRB- beat. -RRB- Janet, wan na play hoops?",
"INT. AL-RAHMAH COMMUNITY CENTER HOOPS COURT - NOON We're in the big gym as our team sits and waits. Leavitt taps on a laptop. Janet shoots free throws by herself. JANET MAYES This is the kind of radical circumstance that could have seriously upped Shaq's free throw percentages. Take a man. Ship him off to Riyadh. No phones, constant threat of death, no girls, no hip hop. Nothing. just free throws. Shaq, he'd be shooting at least seventy percent. Lakers would still be together. Kobe and Shaq lovers forever. Leavitt calls to Fleury. LEAVITT Hey, Boss. check this out. Fleury moves over to Leavitt. Checks out the screen. LEAVITT -LRB- CONT'D. -RRB- Just posted half hour ago. IMAGES ON THE COMPUTER : ARABIC EXTREMIST WEBSITE. Video footage shot from the rooftop of all three bombings and some of the machine gun killings. LEAVITT -LRB- CONT'D. -RRB- So self congratulatory. Makes me sick. Fleury studies the footage. Backs it up plays it again and again.",
"INT. LOCATION UNKNOWN - TIME UNKNOWN A set of stronger, younger, in - tact hands gently pours a mixture into a box now. Ball bearings, children's jacks, marbles, razor blades, roofing nails : everything malevolent densities and angles. Some pieces bounce out, run along the floor. The younger hands then start pressing/molding the pieces of soon - to - be shrapnel into the putty.",
"EXT. RIYADH SUBURB NEAR COMPOUND - AFTERNOON Five car convoy moving quickly through the city.",
"EXT. SPOTTER APARTMENT- LATER Our convoy pulls up in front of the apartment. They exit the vehicles. Our team stands surrounded by a 50 - man security detail, rifle - stocks to shoulders. Double - time it - outside the walls now, hostile territory. Two - man sniper teams out front. Al - Ghazi ten steps ahead. A SANG five car security CREW pulls up, tracking Fleury and company. A stand off between the two police forces.",
"EXT. SPOTTER APARTMENT - NEXT MOMENT The SANG Officer in - charge steps to Al - Ghazi. In Arabic : SANG OFFICER This is unacceptable. COLONEL AL-GHAZI It's cleared with General Abdul - Malik. We have five minutes here. SPECIAL FORCES OFFICER We were told they must remain in the vehicles. COLONEL AL-GHAZI That is not true. SPECIAL FORCES OFFICER They must stay in the Toyotas - COLONEL AL-GHAZI - report me then when you get in - touch with the General - - Officer reaches down from nowhere and hammers Al - Ghazi open - handed as Al - Ghazi tries to step past. Collective shock. In that breath, Haytham punishes the Officer with a left - cross : knees buckle before he comprehends what hit him. Haytham's kick follows, catches the Officer in the sternum as he hits ground. Al - Ghazi shakes it out, trades blows with the SANG second in - command. Leavitt moves, catches a rifle butt to the shoulder after two steps. Fleury aims, drills the Soldier that butted Leavitt : instant night - night. Another SANG steps up. Fleury throats him, knee caps him, and grabs his weapon before the dude hits the ground. Fleury can obviously fight. all the above happens in four seconds. Then, a ` knock - it - off' gunshot aimed at the sky pops one - foot from Janet's head. We hear what she hears : one half - second of the shot, then the big ring. On her knees immediately, hand over her ear. In response : heavy - caliber gunfire flies : group flinch - n - crouch. The warning shots from a.50 - caliber mounted on a Humvee racing this way from Al - Rahmah : dust plumes from the speed. Members of the security detail and the Special Forces go Mexican stand - off. JANET MAYES Tell me it did n't burst - tell me it did n't burst - Al - Ghazi the first to her, touching her hand to pull it away from the ear. A SANG nearby sees this : spits two inches from Al - Ghazi. Al - Ghazi leans to Janet's non - ringing side : COLONEL AL-GHAZI No blood. The Humvee now slides to stop ten feet from the fracas. General Abdul - Malik out of the passenger seat, in Arabic : GENERAL ABDUL-MALIK WHO FIRED? That Soldier's hand goes up sheepish. Two men out of the Humvee's backseat break him down, face first in the dirt : cuff him, lock him in the vehicle. GENERAL ABDUL-MALIK -LRB- CONT'D. -RRB- AND WHY? SPECIAL FORCES OFFICER -LRB- standing, doubled over. -RRB- A disagreement. The General grabs the Officer by the back of his head : an abusive Dad. Walks him to the side. GENERAL ABDUL-MALIK -LRB- back to Al - Ghazi. -RRB- FIVE MINUTES. Al - Ghazi looks back down at Janet, at Leavitt's bruise, at the man Fleury knocked out. Angry. Impressed : fought alongside him. Haytham has n't moved an inch, not even when the General came, chin raised to an entire platoon : say when. COLONEL AL-GHAZI -LRB- to Fleury. -RRB- Five minutes. The SANG move back. The team staggered, slowly remembering why they're here in the first place, finally make their way to the Roof Top.",
"EXT. ROOF TOP - CONTINUOUS Fleury finds a table with a view. Tabletop : holes and finger - paint stains. Al - Ghazi three feet away. Both look in the same direction : two Tigers being held back. Fleury's studying the housing compound through a video camera, comparing the images on his camera with what he saw posted on the internet. FLEURY You've seen the images of the attack posted on the internet? AL-GHAZI Yes. FLEURY Look for yourself. Al - Ghazi takes the camera from Fleury. He lines up the same shots we saw posted on Leavitt's computer : clearly a match. This is where they shot the video AL-GHAZI He was here. Another long moment. Al - Ghazi looks at the table, discarded trash : the Capri Sun containers, the candy wrappers. RONALD FLEURY Formed the plan up here : saw everything he could hit. -LRB- beat. -RRB- Way too pretty a' plan to have been fully hatched on just one visit. He came here a couple times. Al - Ghazi quiet for a long while. Then he reciprocates : COLONEL AL-GHAZI The man who did this is a Saudi - this place, this neighborhood. if foreigners were up here, someone would say something. Fleury looks over to the two dozen LOCALS peering out with suspicion at them on the rooftop. FLEURY I see. COLONEL AL-GHAZI Nobody's talking. Here, many people love Hamza - they think of him like Bin Laden. Like your Robin Hood. Fleury smiles small at whatever just passed between them. Al - Ghazi stays stoic, then looks straight at Fleury : COLONEL AL-GHAZI -LRB- CONT'D. -RRB- A man who thinks of something like this. while maybe his family played around him. scares me more than I have words to express. Shaytan. RONALD FLEURY -LRB- refocusing. -RRB- Two big answers in two small minutes. Imagine if we had a couple days together. Al - Ghazi pauses. RONALD FLEURY -LRB- CONT'D. -RRB- I'm sure the General is good guy. and I'm just as sure he's no Investigator. Al - Ghazi stands still, silent. Fleury reaches into his pocket. Reveals the detonator to Al - Ghazi. Al - Ghazi reaches to take it. Fleury holds it for a BEAT. RONALD FLEURY -LRB- CONT'D. -RRB- Let me help you. He hands the detonator to Al - Ghazi. Al - Ghazi now pockets it. A BEAT. COLONEL AL-GHAZI We break now : too hot to work outdoors. Then we will leave for the Palace. RONALD FLEURY And I imagine that will run until sundown? COLONEL AL-GHAZI -LRB- beat. -RRB- I had televisions delivered to your quarters to pass the downtime. Fleury just nods back. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- Miss Mayes will not attend this evening. Men only. Fleury looks over to Janet. Hurt, yet extremely defiant, she looks ready to attack anything that comes near her. FLEURY You want to tell her that?",
"EXT. CHEVY SUBURBAN, RIYADH SUBURBS - EARLY EVENING Cobra gunships covering the convoy as it blurs past police checkpoint after police checkpoint. Intersections shut down. Bracketed front and back by Saudi Humvees.",
"INT. CHEVY SUBURBAN, RIYADH SUBURBS - NEXT MOMENT Al - Ghazi in the passenger seat, hand on the stock of his Mp - 5 : again searching for threats. Our team in back, freshly scrubbed, collared - Polos as formal as anyone thought to pack. Team frustration has evolved into angry acceptance. The convoy zipping alongside a wall now : desert - orange in color, twelve - feet high, blue ottoman tiles running the length of the wall's horizontal center - line. COLONEL AL-GHAZI We're here. The helicopters peel off at steep angles, the sound of the rotors reverberating in your chest. Leavitt watching them go : ADAM LEAVITT Big wall. COLONEL AL-GHAZI It's a big palace.",
"INT. PRINCE BIN KHALED'S PALACE - DAY Majlis - a Saudi political ceremony in which Saudi citizens and local politicians -LRB- most aristocratic and exclusive -RRB- are permitted a brief audience with the Prince. A bizarre receiving line of sorts. Our team moves through a massive marble hallway towards the ceremony. ADAM LEAVITT How many Princes are there? COLONEL AL-GHAZI Over 5000. RONALD FLEURY They all get palaces this big? COLONEL AL-GHAZI Some get bigger. ADAM LEAVITT Who pays for all this? GRANT SYKES General Motors, Ford, Chevrolet. ADAM LEAVITT Hey, man - I drive a Hybrid. COLONEL AL-GHAZI -LRB- a beat. -RRB- The Prince will ask you about your flight, the accommodations. lite subjects. If he offers you the chance to hold his Raptors, do n't flinch : it's a compliment. ADAM LEAVITT -LRB- to Grant : genuine worry. -RRB- What's a Raptor? Damon Schmidt appears.",
"INT. PRINCE BIN KHALED'S PALACE - LATER The Prince sits on a sea of pillows. There are several small flat screens playing business reports, CNN and Al - Jazeera. Seen from behind the Prince : everyone but Leavitt standing next to faces we've never seen. The table holds six gold serving platters. Enough food to kill a famine, tended by a frenzy of servants. Sykes puts a hand over his cup to stop the constant tea re - fill. Leavitt stands to the Prince's left, thick leather glove on his hand, a falcon perched on it. Leavitt holds it away from the rest of his body like he's already made peace with losing the arm. Servants hold three others close - by. PRINCE BIN KHALED His talons slice bone. ADAM LEAVITT Super. PRINCE BIN KHALED That's my most prolific Hunter. I'm trying to teach his friends there by example, but I fear it's something you're born with or not. Do you agree, Mr. Ronald? Innate or not at all? RONALD FLEURY I do. PRINCE BIN KHALED -LRB- nodding : I could tell. -RRB- What have you seen so far of our Kingdom? - and know I can arrange tours anywhere within our borders. When I bull - rush our hosts you'll know it : In his quiet, calm - amidst - the - bullets tone : RONALD FLEURY I've seen that the man who planned the worst crime in your Kingdom's history is without a doubt Saudi. Pin - drop silence in response to Fleury murdering the Prince's `` lite subjects,'' his attempt to extend the gilded circle - jerk by offering tours. Bin Khaled's face sinks to gray again after the excited pink of talking about his Falcons. His hand slowly moves back over his stomach : Napoleon's ulcers. As Fleury speaks, people unconsciously put their tea - cups down, look up at him with wide - eyes. RONALD FLEURY -LRB- CONT'D. -RRB-. and that if you walk 300 kilometers from the compound, you will find a rooftop where the attacks were planned. I've seen that the person in this room `` born with it'' is right there. -LRB- points at a gawking Al - Ghazi. -RRB- Everything I just said came from Colonel Al - Ghazi : his observations of the scene while he was protecting us. And I think you're absolutely right Sir : that kind of instinct ca n't be taught : not to Falcons. Definitely not to SANG Generals. Innate or not at all. -LRB- beat. -RRB- You want the murder to stop as much as I do. Let us help. The Prince stares at Fleury, cataloguing everything Fleury just said. Stands. In Arabic : PRINCE BIN KHALED Colonel Al - Ghazi, a word. As the Prince walks out with Al - Ghazi, he signals another corps of servants to serve another round of cups : coffee. Dinner over. A servant takes the Falcon from Leavitt just as he was starting to smile at it. Fleury sips his coffee. Schmidt and Sykes approach. GRANT SYKES That was impressive. RONALD FLEURY Think it will work? GRANT SYKES Yeah. Maybe. I mean, you can only play the `` I'm going to the press card'' like three more times. So, maybe. RONALD FLEURY They're paranoid and overly self - protective. DAMON SCHMIDT They are n't protecting anyone. There's no conspiracy. They're just terrified. Finally. The Saudis have finally seen the Monsters they helped create, because those Monsters have come home. And if Saudis do n't catch Saudi Monsters, that's the end. Fleury opens his mouth to interrupt. DAMON SCHMIDT -LRB- CONT'D. -RRB- -LRB- right through Fleury's attempt to speak. -RRB- And that end could come double - quick if they let the US `` Shaytan'' catch those Monsters for them. -LRB- Fleury silent, gets it. -RRB- Because that's what the Saudi on the street suspects : the only thing keeping the Royal Family upright is American evil. GRANT SYKES That's dead on accurate. Very impressive. That's why they're making it hard on us, and that's why he wants to help ` em turn the screws. RONALD FLEURY They can have every shred of credit - DAMON SCHMIDT - you see the slums on the way in? RONALD FLEURY Yeah. DAMON SCHMIDT See that even though their homes are falling down, they had satellite dishes bolted on? RONALD FLEURY Yeah. DAMON SCHMIDT Everyone already knows you're here. Credit? If the Saudis cracked this Cell while these servants were pouring coffee, Al - Jazeera still leads the story with your Team. RONALD FLEURY Have you been to the crime - scene? DAMON SCHMIDT No - RONALD FLEURY - if you had, you'd see the evil work of real Talent. The kind that does n't stop until it's forced. DAMON SCHMIDT And the path to Hell is paved with good intentions. RONALD FLEURY You having fun? DAMON SCHMIDT -LRB- genuine smile. -RRB- Beats hell outta visa - stamping. -LRB- smile vanishing. -RRB- You're on an island. I hope you know how to get off. RONALD FLEURY By catching Abu Hamza. Raising his coffee, toasting Fleury's cup : DAMON SCHMIDT Then here's to you. Let's bet : when this Colonel Al - Ghazi comes out, he's in - charge of the investigation - if so, you set me up on a date with Janet Mayes.",
"INT. CHEVY SUBURBAN, RIYADH SUBURBS - NIGHT 100 m.p.h. Semi - grins from the Team : how the fuck did he do that? Al - Ghazi on a cell, rattling orders in excited Arabic : COLONEL AL-GHAZI every investigator on - scene by midnight, 50 more portable lights, three more pumps - RONALD FLEURY -LRB- to Leavitt. -RRB- Do me a favor and tell Janet that she and Damon Schmidt got a date when he gets back to the States. Al - Ghazi points into darkness. COLONEL AL-GHAZI The rules still stand. -LRB- beat. -RRB- But tomorrow will be a new day.",
"INT. UNKNOWN LOCATION - SAME MOMENT TIGHT ON blasting caps, military detonators, nails, wing - nuts, bolts, jacks, marbles. young hands feed lengths of detonating wire through pre - drilled holes on a wooden cover. The cover is attached to the box with nails and a rubber mallet : no sparks. The wires are braided into one, clipped to a lead on a servo - motor attached to the box - top. A vehicle is being fitted with tire guards and heavy - duty crash bumpers - all as a man quietly talks. WIDEN to reveal the MAN, being VIDEOTAPED : foretelling of new threats, face obscured by his head wrap. Several other MEN watch and listen. TIGHT ON the man's eyes. REVEAL PHOTOS on a nearby table : the Al - Rahmah compound, Fleury with Al - Ghazi, Leavitt and Mayes, Sykes and Haytham.",
"EXT. AL-RAHMAH COMMUNITY CENTER - MORNING, SECOND DAY Half - assed gardening party. Al - Ghazi worked through the night, has n't slept since we last saw him. Looks like it. COLONEL AL-GHAZI From now on, any evidence you find you hand over. Al - Ghazi smiles. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- I'm `` all ears,'' Special Agent Fleury. RONALD FLEURY We should start with the dead shooters. COLONEL AL-GHAZI They had no identification on them. Fingerprints and dental have come up empty. RONALD FLEURY Can we photograph all three of them? Couple hundred copies each. COLONEL AL-GHAZI No problem. RONALD FLEURY Good. If it's OK with you, I'd like to suggest we split up as follows. Sykes and Leavitt ca n't help small smiles. Finally getting to work.",
"EXT. BLAST SITE - MORNING Sykes climbs down into the mud hole. GRANT SYKES -LRB- from the crater. -RRB- Fellas, what we want to do is get this water out of here. see what's really going on. Understand? No reaction from Saudi police GRANT SYKES -LRB- CONT'D. -RRB- C - VIN hunting - Data Plates - Something drivable blew up. That's pretty obvious. Feels like ANFO to me, boys - Ammonium Nitrate Fuel Oil. Let's dry this hole and see if we ca n't figure what she was. Got ta pump?",
"EXT. BLAST SITE - LATER Grant at the Crater. Three brand - new industrial - sized pumps draining it. 30 Police INVESTIGATORS watch Sykes. GRANT SYKES -LRB- to the Saudis. -RRB- Got to get a little dirty, people. Crawl up in it. Make deep contact. You get that? Dead, confused stares from the Saudis into the mud hole. Sykes happy as a pig in shit. GRANT SYKES -LRB- CONT'D. -RRB- Get nasty, dirty, filthy. He smiles, watches another Officer write Saudi translations on the stainless - steel paint cans into which you load evidence : shrapnel, soil, DNA, shells, etc..",
"EXT. DEATH SQUAD SCENE, AL-RAHMAH - SAME MOMENT A JUNIOR OFFICER double - times it to Al - Ghazi with a stack of photos : Rough head - shots of the three dead SHOOTERS. Fleury takes some, hands the rest back to Al - Ghazi. RONALD FLEURY Have him pass these out to the compound security. See if anybody knows them. Fleury, Leavitt, and Al - Ghazi walk past the Land Cruiser Haytham took out. 15 Police INVESTIGATORS on - scene : Leavitt stops, drops his bag. Al - Ghazi introduces him to the Officer in - charge. Leavitt opens his evidence kit. A couple of Police ca n't help but sneak a peek, checking out what the American's got inside.",
"INT. RIPON HOME - LATER Fleury stands with Al - Ghazi back in the Ripon home. RONALD FLEURY Would you mind doing one more thing for me? EARL No, Sir. Fleury pulls out the photographs. RONALD FLEURY Could you tell me if you recognize any of these men? Fleury puts the three photographs down on the dining room table : not pretty pictures. Earl and Janine study the photos. JANINE Horrible. A few moments, then : EARL I do n't know any of them. Fleury thinks a minute. Looks outside. FLEURY I'm just wondering. That chair out side. Looks like it gets a lot of wear. Looks comfortable. EARL That my mom's chair. FLEURY See, that's exactly what I was thinking. I'm guessing she spends a lot of time sitting outside? EARL All day. FLEURY She must pretty much see it all. Right? EARL She does. FLEURY Where is she? EARL She's sleeping. Pause : Fleury slow nods, then. FLEURY Let's wake her up. Maddy up at the dinning room table, looking down at the photos. MADDY I've seen him. RONALD FLEURY Where? Maddy thinking. MADDY Like, a week ago. Twice I've seen him. Watering. With the garden crews. I remember he was wearing a Liza Minnelli T - shirt. I thought that was funny. RONALD FLEURY What about the others? MADDY -LRB- closer examination. -RRB- No. Just him. I remember the T - shirt. I remember thinking it was odd? RONALD FLEURY What, the Liza Minelli shirt? MADDY No. I do think Liza Minelli's gone odd, but that was n't it. RONALD FLEURY What was odd? MADDY He was a Saudi. The gardener. RONALD FLEURY Yeah. MADDY Saudis, like Americans, do n't do manual labor. Blowing leaves is beneath them. Fleury looks to Al - Ghazi for confirmation. Al - Ghazi nods. RONALD FLEURY -LRB- to Maddy. -RRB- Thank you. Fleury and Al - Ghazi start to leave. EARL Who is he? Fleury looks back to Earl. RONALD FLEURY That's one of the many things we're trying to find out.",
"EXT. RIPON FAMILY HOME - NEXT MOMENT Al - Ghazi gives the photo of the IDENTIFIED SHOOTER to an AIDE waiting outside. AL-GHAZI Find out if he worked with the gardeners. The aide takes the photo, starts walking away. AL-GHAZI -LRB- CONT'D. -RRB- RUN! Freaked, the aide about jumps out of his skin. starts running.",
"EXT. BLAST SIGHT - DAY Sykes has a SAUDI WORK CREW digging in the hole, pulling out pieces of charred metal. He is slowly laying out the pieces and studying them like a puzzle, trying to figure out what the hell blew up.",
"EXT. MOBILE FIELD MORGUE - SAME MOMENT Janet and Haytham approach a 2000 square - foot M.A.S.H. Tent attached to refrigeration units. SANG OFFICERS look down at the Americans, dead eyed, watching them work.",
"INT. MOBILE FIELD MORGUE - NEXT MOMENT The Muslim dead wrapped in white linen according to the Sunna. Western bodies lie separated from Arabs. A Saudi TECHNICIAN blankly hands Janet and Haytham lab coats to cut the cold. Three Police OFFICERS in the tent with them : Watching Janet. Haytham is looking uncomfortable as if he is embarrassed to be seen with the American woman.",
"EXT. JACKSON HOME - LATER Fleury knocks at Aaron Jackson's door. A pause, the peep hole darkens. A longer pause, then the door opens. Aaron Jackson does n't look any better. Same shirt. Packed boxes. Suit cases. Jackson is clearly getting out of Dodge. RONALD FLEURY -LRB- beat. -RRB- How are your Sons? Jackson's eyes shrink - wrapped in tears. After a long silence with no answer, Fleury hands him a sheet of paper : RONALD FLEURY -LRB- CONT'D. -RRB- That's the name of a clinical psychologist. Works with Embassy kids. apparently very good at explaining violence - AARON JACKSON - what do you know about what my kids need? What they saw? What the rest of their lives might be like? RONALD FLEURY -LRB- beat. -RRB- I thought maybe your Boys. without their Mom anymore. might ask you why sometime. Aaron Jackson begins shaking his head yes. Tears flow free : sorrow and gratitude. He hangs on to Fleury's hand for a very long time. Silent apologies. RONALD FLEURY -LRB- CONT'D. -RRB- I will find the man responsible for the death of your wife. We're close. AARON JACKSON -LRB- beat. -RRB- Tomorrow it'll be somebody else's wife. Fleury quiet. RONALD FLEURY Then tomorrow I'll come back. Fleury turns his head : Al - Ghazi approaches on the next lawn down with three JUNIOR OFFICERS. Fleury nods goodbye to Jackson. Fleury approaches Al - Ghazi, holds up the Shooter's photo. COLONEL AL-GHAZI The gardener. We know who he is. He's on several watch lists. Fleury - a slight nod of satisfaction. RONALD FLEURY We know where he lives? COLONEL AL-GHAZI We will very soon. RONALD FLEURY You do n't seem very excited. COLONEL AL-GHAZI These are always the easy ones to catch. Rarely does it lead to the planners. -LRB- beat. -RRB- I want to take you somewhere. RONALD FLEURY Where? COLONEL AL-GHAZI To someone who may be able to help us catch Hamza.",
"EXT. BLAST SITE - DAY Ten Police Investigators in the crater with Grant. Outside the crater : pieces of vehicles laid out outside : 1/2 of a door, 1/4 of a front axle, bits of engine. Five feet away from that : stacks of bagged evidence, two dozen evidence containers. Sykes clambers out of the hole, streaks of re - animated mud where sweat streams out of his hairline, mad - dashing for his chin. A chunk of metal in one hand, something small in the other : a marble. He drops it in the appropriate cannister then steps to a chunk of metal : one half of an alternator. Sykes stares down at the pieces of completely mangled metal. He studies a piece of twisted, half - melted iron. Thinking. He walks over to a second larger piece of twisted metal. Starts trying to fit the two pieces. like a puzzle.",
"INT. MOBILE FIELD MORGUE, PRESENT DAY - NOON The dead, oblong faces of the dog - walkers. Janet uses forceps to pull a wing - nut from one of the dog - walkers. Places it on a sanitary table littered with shrapnel : tiny bits of colored glass, ball - bearings, parts of razor blades, spent slugs, and scraps of unidentified metal.",
"EXT. BLAST SITE - CRATER Sykes still works the two large pieces of trashed iron. Until something clicks. The fit. Sykes looks down at the connected metal. SYKES It's a gurney. Sykes looks down at the mud colored DIGGERS. SYKES -LRB- CONT'D. -RRB- Who's missing an ambulance? Just stares from the Saudis. SYKES -LRB- CONT'D. -RRB- Could somebody please go get Sergeant Haytham? Confused stares from the Saudis. SYKES -LRB- CONT'D. -RRB- -LRB- loud. -RRB- Sergeant Haytham! Inside the crater : water - level down to the ankles. Three Saudis dig around what looks to be one of the dualie - style back tires. Re - positioning to get a better grip, Sykes notices the top of what looks to be a sizeable, ragged hole, still mostly submerged. Pointing : GRANT SYKES Here. Sykes slogs over. He drops to his knees, reaches his hand in, all the way to his shoulder, the side of his face to the water : void. Out of the crater, Sykes points to a Bobcat earth - mover, in Arabic : GRANT SYKES -LRB- CONT'D. -RRB- Who has the keys?",
"INT. / EXT. MOBILE FIELD MORGUE - SAME Janet stands with the Saudi Pathologist. She prepares to take a fingerprint from a body. As the moves in to touch the Arab hand, one of the GUARDS unloads in her direction - a full guttural Arabic assault. No idea what he's saying, but it's obvious he's furious. Haytham starts firing back. This is an un - translated argument. We sense that the guard is doing more than expressing his displeasure regarding Janet. This seems to be personal. Janet's getting very nervous. A frightening display. Then, Haytham turns : HAYTHAM You can not touch any Muslims. Janet takes a breath as the Police hard - eye her. JANET No problem. Can I still touch Americans? HAYTHAM Of course. Janet moves back to the American dead, as the Saudi Tech continues with the Muslims. She pulls another shard of COLORED GLASS from a wound.",
"INT./ EXT. SUBURBAN - DOWNTOWN RIYADH A two car convoy drives deep into the city. The Convoy is forced to stop across the street from a gas station as a construction crane backs into a drive way. Al - Ghazi and Fleury stare across the street as a large gas truck fills up the heavy tanks of a Saudi gas station. FLEURY What's gas running a gallon out here, Al - Ghazi? Penny gallon? Al - Ghazi smiles. COLONEL AL-GHAZI It was an American. An engineer named Karl Twitchell. Hired by Saudi Arabia to find water. He did n't find so much as a dried oasis, but he found this. Enough oil to turn the earth. Fleury stares out as the oil spills out overflowing from the station tank. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- They say my country sits on over 1 trillion more barrels of recoverable oil. RONALD FLEURY A trillion reasons for our Leaders to hold hands another one hundred years. COLONEL AL-GHAZI A trillion reasons to keep fighting. For both sides of this War. -LRB- beat. -RRB- I think our oil has begun destroying more than it creates. RONALD FLEURY Agreed. COLONEL AL-GHAZI I'm 46 years - old. -LRB- beat, tired. -RRB- I have three daughters. And I find myself in a place where I no longer care about ` why' we are attacked. I only care that 100 people woke up a few mornings ago had no idea it was their last. When we catch the Man who murdered these people, I do n't care to ask even one question. I just want to kill him. stop him. -LRB- beat, a bit embarrassed. -RRB- Do you understand? RONALD FLEURY Yes, I do. A long moment. Just road noise. We see two men, as different from each other as they could be, yet made from the same things. RONALD FLEURY -LRB- CONT'D. -RRB- Is your first name ` Colonel?' COLONEL AL-GHAZI -LRB- a small smile. -RRB- Faris.",
"INT. MOBILE FIELD MORGUE - CONTINUOUS A glazed Haytham works with a Pathologist on the Muslim bodies. Their own collection of foreign objects. Janet pulls free 1/2 of a marble from a burrowed hole : explains the shards of colored glass. Cleans it in saline, holds it up to the light. We stare at it with her. Janet begins piecing together glass shards - reconstructing a MARBLE.",
"EXT. DEATH SQUAD SCENE - DAY Police Investigators eat lunch under a tent 50 yards away with Leavitt. Then a red laser - sight moves across him : Three MEMBERS of his Police security - detail : smirking, pretending to fidget with an AR - 15's aperture. Leavitt stares. Subtle defiance. Nobody blinks. Silent moments pass. The smallest of the detail reaches over, pulls the cocking device of the rifle : round in the chamber, so stop looking at us.",
"INT. BOMB SITE - CRATER Sykes, covered in mud, digging, searching for any signs of identification amongst the charred, mangled metal.",
"EXT. INTERNET CAFE - LATER The small convoy pulls up next to a run down, late seventies chunk of architecture which looks like a combination bombed dentist office / accounting firm. Weird. Two TEENAGERS in Tu - pac T - shirts smoke in front. Fleury, Al - Ghazi and a couple of Police head for the blacked out front door.",
"INT. INTERNET CAFE - CONTINUOUS Moving up two flights of stairs. Dark, rundown shredded carpet. Old hip hop - cheap bass, thin speakers. Smoke. Everything grows in intensity as they move up the stairs. Two more TEENAGERS skulk past. FLEURY -LRB- half joking to Al - Ghazi. -RRB- Feel like I'm back home in Detroit. Al - Ghazi keeps moving up and into what is definitely on Fleury's top ten list of the most bizarre places he's ever been. FLEURY'S POV : Two rooms : First is some kind of snack/smoke/TV lounge. FILIPINOS serve drinks. Packs of young Saudi MEN drink Cokes, tea, coffee, and smoke. Odd Saudi talk shows mix with hip hop. Behind, another room : bigger, overflowing with stacks of mis - matched computers. Dozens of them. Dozens of Saudi TEENAGERS plugged in. Head - phoned and mic'd. All chain smoking, all fully plugged in to CALL OF DUTY -LRB- an American war game -RRB- on line. These kids play with rabid intensity, smoking and screaming and killing. Al - Ghazi moves through the crowd. A small middle aged SAUDI spots Al - Ghazi. They exchange words. Al - Ghazi waves Fleury to follow. Fleury does and follows Al - Ghazi through the computer room, into a back office.",
"INT. INTERNET CAFE - BACK OFFICE - CONTINUOUS A middle aged Saudi : TALAL. He sits behind a cluttered desk. Art books and computers everywhere. He gets up and embraces Al - Ghazi. Al - Ghazi then turns to face Fleury. COLONEL AL-GHAZI At one time, Talal was Arafat's senior bomb - maker and planner in the occupied territories. He joined Bin - Laden when Al Qaeda brought the fight to the Royal Family. RONALD FLEURY -LRB- beat. -RRB- OK. Should n't we arrest him or shoot him or something? Small smile from Al - Ghazi. COLONEL AL-GHAZI He turned himself in last year during an amnesty. He's now part of a new government effort to balance the experience of Saudi Youth. RONALD FLEURY This place is community service? COLONEL AL-GHAZI If America figures out a way of keeping their kids off the computers please let us know. RONALD FLEURY Why did he turn himself in? Before Al - Ghazi can answer, Talal begins talking to him in Arabic. Al - Ghazi translates : COLONEL AL-GHAZI ` You only come after I see there were bombs. Did you know Bin Laden put 5 million - dollars on my head? Why should n't it be 10?' Subdued laughter. Then Talal becomes quiet, grave. Al - Ghazi continues the translation : COLONEL AL-GHAZI -LRB- CONT'D. -RRB- The Man who made War on Al - Rahmah is someone my age - this kind of skill is learned over decades. Talal looks at Fleury now, speaking directly to him through Al - Ghazi : COLONEL AL-GHAZI -LRB- O.C. ; CONT'D. -RRB- A Man who can plan the mass - murder of women and children, then go home at night to his own and sleep soundly? That kind of Man is supremely difficult to catch. RONALD FLEURY -LRB- through Al - Ghazi. -RRB- How does he know he slept soundly? Colonel Al - Ghazi hesitates, then relays Fleury's question. Talal stares : eyes touched by war - blood - atrocities committed. Someone who believes he's going to Hell. COLONEL AL-GHAZI -LRB- O.C. -RRB- -LRB- translating. -RRB- Because he has n't stopped. You stop when their faces do n't let you close your eyes. RONALD FLEURY -LRB- through Al - Ghazi. -RRB- Is that why you quit? COLONEL AL-GHAZI -LRB- O.C. -RRB- -LRB- translating. -RRB- 17 days without sleep will make you quit anything. Two TEENAGERS stick their heads into the office. They're mad about the sharing of a computer. Talal puts a fast stop to it. It's obvious he's good with these young boys. He smiles as he speaks to Al - Ghazi. Al - Ghazi translates to Fleury. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- He says he makes my job easier. Here, at least they only fight and kill on computers. Al - Ghazi shows Talal the detonator. The old man studies it. Al - Ghazi and Talal speak in Arabic about the detonator. Al - Ghazi looks to Fleury, translates. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- He says that there are several ways to get American military equipment like this detonator but not many men in Saudi Arabia that know how to get them. FLEURY How do they get them? COLONEL AL-GHAZI Usually smuggled from Iraq by corrupt soldiers working with the Americans. FLEURY Could Hamza get this equipment? Al - Ghazi asks Talal. COLONEL AL-GHAZI Without question. Yes, he could. RONALD FLEURY -LRB- through Al - Ghazi. -RRB- How do we find him? He thinks for a moment, then speaks. The boys chuckle as Al - Ghazi continues translating : COLONEL AL-GHAZI Prayer. Luck. Handshakes. Fleury looks at Al - Ghazi, does n't quite get it. RONALD FLEURY -LRB- to Al - Ghazi. -RRB- Well, I think I get the ` prayer' and ` luck' parts. Talal slowly stands, Al - Ghazi helping him up, moves to Fleury. Reaches his hand out to him, quietly : COLONEL AL-GHAZI -LRB- O.C. -RRB- -LRB- translating. -RRB- His hands will feel like this. Fleury shakes Talal's hand, turns it over : index finger gone. COLONEL AL-GHAZI -LRB- O.C. ; CONT'D. -RRB- -LRB- translating. -RRB- Every Amir at some point gets bitten by his work.",
"EXT. BLAST SITE - DAY The Bobcat digs into the crater, over the unknown hole. Already a large pile of dirt. Another sizeable scoop down about two feet : nothing. Haytham now stands over the crater watching Sykes. Leavitt has joined him. GRANT SYKES Whatever this is, it blasted - off like NASA. Haytham yells to the Machine Operator in Arabic : SERGEANT HAYTHAM Driven in at an angle. go deeper. Another gouge of earth : 4 feet. Nothing. Grant sits back. GRANT SYKES ` High - order explosion' does n't do it justice : what's left a' this looks like it was put through a wood - chipper. Leavitt rubs his eyes : adrenaline long gone. Looks at his watch : time passing fast. Sykes drops to his stomach, reaches in with the TRENCHING TOOL to see how much farther the hole goes : a metallic ` clink. An oxygen tank. The kind used in ambulances. Nozzle assembly gone, burst in the explosion with a force that drove it several feet into solid ground. Haytham takes a razor blade, scratches off samples of the soil and carbon for explosive residue into a fresh cannister. Then takes a wet rag, begins cleaning the tank to reveal Arabic script. SERGEANT HAYTHAM -LRB- to Sykes. -RRB- Hospital Identification. Ambulance identification. GRANT SYKES Do you know this hospital? SERGEANT HAYTHAM Yes. GRANT SYKES Call it in.",
"INT. AL-RAHMAH COMMUNITY CENTER Now a mini command post. Al - Ghazi works phones with Fleury and Mayes by his side. Sykes and Leavitt muddy, sitting on their cots. Leavitt tags evidence from the shootout. Al - Ghazi hangs up, looks to Fleury. COLONEL AL-GHAZI The ambulance was reported stolen from King Fahd Hospital last Wednesday, three days before the bombing. RONALD FLEURY OK. COLONEL AL-GHAZI There's more : I told you it would n't be hard to find the soldiers. RONALD FLEURY -LRB- focused ; to Al - Ghazi. -RRB- What you got? COLONEL AL-GHAZI The stolen ambulance had a twenty man crew that rotated shifts on it. We checked all twenty men. One of them, Muaath Hazmi is now of interest to us. RONALD FLEURY Why? Al - Ghazi reaches for the photo of the dead shooter/attacker. COLONEL AL-GHAZI Because this gentleman is Fathi Hazmi, Muaath's brother. RONALD FLEURY Where's Muaath? COLONEL AL-GHAZI I'm going to show you.",
"EXT. SUBURBAN RIYADH STREET - AFTERNOON A five block radius has been sealed off by Police Vehicles. Fleury and his team are at the outer perimeter, crouched behind barricades at the entrance of a cul - de - sac. They're not allowed anywhere near the line of fire. They sport bullet - proof vests and helmets : look like reporters in a war - zone. Police turn away cars, neighbors. Snipers stand posted on near - by rooftops. Helicopters audible overhead. Street deserted. GRANT SYKES We never get to do anything fun. JANET MAYES Sykes, I'm guessing you do n't even remember how to load your gun. GRANT SYKES That's not funny. ADAM LEAVITT She's not trying to be funny. GRANT SYKES I'm a very good shot. JANET MAYES I'm sure. Haytham hands Al - Ghazi a walkie - talkie, in Arabic : COLONEL AL-GHAZI Neighbors clear? VOICE -LRB- O.S. -RRB- Yes. COLONEL AL-GHAZI Activity or communication? VOICE -LRB- O.S. -RRB- Snipers have seen nothing. No telephone line into the house. COLONEL AL-GHAZI -LRB- beat. -RRB- Allahuakbar. Go. Two black Suburbans roll around the corner : out - fitted with running boards and hand rails upon which a 12 - man SWAT team rides : 3 on each rail, 2 vehicles. SWAT team : military fatigues, black hoods, Mp - 5 close - quarter sub - machine guns. Flying down the cul - de - sac : Half - way down the street, one of the Snipers open fire : BOOM - BOOM - BOOM. That moment an RPG fires wide of the lead Suburban. Over Al - Ghazi's walkie - talkie, in Arabic : VOICE -LRB- O.S. -RRB- ONE DOWN! RPG! The two SWAT - Teamers at the front of the running boards open up with their MP - 5s one - handed : the front of the house puffs, bursts, disintegrates. Suburbans rip to a stop. SWAT off, move fast. Three toss flash grenades into and around the house. Massive flash - bangs. Six through the front door. Six sprinting around back. Loud AK - 47 bursts from inside now. screams. Then an RPG fired inside : the rushing sound and yellow - white flash past two windows. A section of the far left wall of the house detonates from the inside out. More mechanical, silenced thwacks from the SWAT Mp - 5s. Silence. Then voices from Al - Ghazi's walkie - talkie. Ambulances round the corner, fly toward the house : VOICE -LRB- O.S. ; CONT'D. -RRB- CLEAR.",
"INT. TARGETED HOUSE - MOMENTS LATER The team enters, wide - eyed. Four men in civilian garb, all dead : multiple bullet wounds. An Officer with four 8 X 10 mug - shots, matching them to the dead faces, dropping mug - shots on respective chests. Once he's finished, a police photographer takes new pictures of each. At the far side of the House : engineers use 2x4s to support the wall hit with the RPG. All of it has the feel of standard Saudi operation procedure. Al - Ghazi appears from the back of the house. Bends over each of the four dead men : lifting each of their hands, examining the backs of the hands quickly. GRANT SYKES Prints are on the other side. COLONEL AL-GHAZI I'm not looking for prints. I'm looking for fingers. Stands after the last : a look of controlled frustration that Fleury files. Then Al - Ghazi motions to Sykes and Fleury.",
"INT. REAR OF THE HOUSE - NEXT MOMENT Back to the rear of the house : stacks of plastic explosives, buckets of shrapnel, two Paramedics working feverishly on a SWAT Officer hit multiple times. Fleury goes about his business like a man is n't dying six feet away. Sykes is a kid in a candy store : rummaging through explosives, blasting caps, shrapnel. RONALD FLEURY JANET. Janet makes her way back. Immediately moves to the wounded SWAT Officer. RONALD FLEURY -LRB- CONT'D. -RRB- He's gone. This shrapnel look like the stuff you pulled at the morgue? JANET MAYES -LRB- distracted. -RRB- Yeah. I pulled so much it's hard to remember it all. RONALD FLEURY Bolts? JANET MAYES Yes. RONALD FLEURY Wing nuts? JANET MAYES Yeah. RONALD FLEURY Razor blades? JANET MAYES Sure. Al - Ghazi begins tossing the room, motions to Fleury : help. Fleury moves to him. RONALD FLEURY -LRB- calling back. -RRB- ADAM. GRANT SYKES C - 4. Al - Ghazi dumps desk drawers : pictures of government - looking buildings, walled - compounds. Lays them out in rows, studying each. Leavitt appears, focuses on the C - 4 immediately. COLONEL AL-GHAZI -LRB- O.C. -RRB- - the front gates of every other western housing compound in Riyadh. Everybody looks at the Colonel, pointing at the pictures : COLONEL AL-GHAZI -LRB- CONT'D. -RRB- And Embassies : Italy, Japan, Korea, Norway, England. ADAM LEAVITT -LRB- beat. -RRB- The Coalition. Leavitt steps, scans the pictures, picks up two in particular : buildings with scaffolding and heavy equipment. ADAM LEAVITT -LRB- CONT'D. -RRB- These are all countries with Troops in Iraq - Japanese and Italian embassies are under construction? COLONEL AL-GHAZI The entire Diplomatic Quarter is being retro - fitted to sustain bigger bomb blasts. Janet pops her head in : JANET MAYES - the Prince's Convoy just showed. Al - Ghazi's face : fear. RONALD FLEURY This is bullshit. You know it. Meaningless. There's no leader here. These are kids. That's it. Al - Ghazi says nothing. JANET MAYES We're out of here. RONALD FLEURY Yes, that's it. Smile for the cameras, body - bag some children. Wrap it up, but us - out. I get it. COLONEL AL-GHAZI I'm sorry.",
"EXT. FRONT OF TARGETED HOME - MOMENTS LATER Prince Bin Khaled touring the scene : reporters, photographers, his personal top - line security detail : the business suits and boots, the special ops M - 4s. All on edge to be in a Saudi neighborhood. Rahman, looking like he needs sleep and vitamins. Lecturing in Arabic : PRINCE BIN KHALED Only in death will our enemies realize Allah never permits defiance of his almighty will. Damon Schmidt trailing behind the Prince's detail. The Prince locks Al - Ghazi with a mad - dog stare in - between lesson points. One of the Prince's inner - circle heads straight for Al - Ghazi, in Arabic : INNER-CIRCLE Take the Americans inside now and keep them out of sight. You will be spoken to about their presence here.",
"INT. TARGETED HOUSE - NEXT MOMENT The Team sitting on the floor, below the window sills, away from the holes and doors. Al - Ghazi standing, looking out the window at the spectacle. Damon Schmidt steps in : sees dead bodies and goes ghost, almost collapses. Leavitt pops up, helps him sit. RONALD FLEURY You need water? A quick ` no' nod : like the second before you lose lunch. ADAM LEAVITT You really ought not look at this. DAMON SCHMIDT -LRB- pointing at the dead. -RRB- That fella got shot right through his God damn nipple. JANET MAYES Do n't stare too long. It'll start living in your dreams. Janet's voice causes Schmidt to immediately force composure. DAMON SCHMIDT No - I know. RONALD FLEURY You do? -LRB- beat. -RRB- How did you know we were here? DAMON SCHMIDT The Prince has Men at Al - Rahmah. COLONEL AL-GHAZI What Men? DAMON SCHMIDT Ask him. -LRB- beat. -RRB- 3 vehicles will stay behind when the Prince and Press leave. You'll convoy straight to BA flights into Dulles - last minute fares come out of your budget, by - the - by. Tried to swing upgrades, but check at the counter. Pissed, reproachful head - shakes. DAMON SCHMIDT -LRB- CONT'D. -RRB- -LRB- beat ; color returning. -RRB- Turn those frowns upside down, people. This will be pitched as a stunning Saudi - only counter - punch that killed those responsible for Al - Rahmah. Al - Jazeera will play up an FBI presence, we'll play up their ties to Terror as checkmate. And everyone that was so righteously pissed back home is gon na eat crow Already a rumor that the guy who wrote our State Department memo - RONALD FLEURY - Ellis Leach? DAMON SCHMIDT You know him? He's gon na be put out to pasture : made an example of by the President to ensure all levels of government get tough on Terror. -LRB- right at Fleury. -RRB- You won the hand on the River card. RONALD FLEURY We did n't win shit, Schmidt. These are teenagers. children with pictures that someone far senior has provided them. DAMON SCHMIDT - kidding me? You mean those are Terrorist targets? Holy Wow. Momma, do n't let your children grow up to be cowboys. -LRB- beat. -RRB- Just get ready to go home and revel in the fact that for the next few weeks your shit wo n't stink. The phone rings that instant. Leavitt hands it up to Fleury. Schmidt holds his hand up to Janet : high - five - she gives it up slowly, warily, semi - charmed : DAMON SCHMIDT -LRB- CONT'D. -RRB- -LRB- to Janet. -RRB- Double or nothing that's a congratulatory call. RONALD FLEURY Hello? -LRB- beat. -RRB- Yes, Sir. We're all here and healthy. I'm sitting next to their corpses but this may not be over. These do n't feel like anything resembling senior leadership -. -LRB- beat. -RRB- - thank you Sir. I do. Please do me one favor before we board : warn every ` Coalition - of - the - Willing' or whatever the hell we're calling our Iraq allies now, that pictures of their Riyadh embassies were found in this Cell's safe - house.",
"INT. SUBURBAN - LATER Flying down a highway. Haytham driving. Sykes up front. The rest of the team crammed in back : Fleury next to Al - Ghazi ; Mayes and Leavitt on the back bench. Everyone spent. Grant stares up at a distant jet climbing - out. The police radio belching calm codes and calls every few seconds. RONALD FLEURY -LRB- to Al - Gahzi. -RRB- What do you think? Al - Ghazi looks up at Fleury, slowly shakes his head. AL-GHAZI Amateurs. It's a small win. RONALD FLEURY Yeah. A beat. RONALD FLEURY -LRB- CONT'D. -RRB- I'm thinking about New York - February 26, 1993. The first time they tried to hit the Trade Towers. GRANT SYKES I'm thinking about going straight to Dan's, gon na order six PBRs - JANET MAYES - Pabst? ADAM LEAVITT Keep it real. You ever drink PBR, Haytham? HAYTHAM No. GRANT SYKES Any beer? HAYTHAM -LRB- small smile. -RRB- No. GRANT SYKES Now. that's just unreasonable. Good Police work and problem drinking are like a chicken and egg thing : which enables the other? In the back, Al - Ghazi ca n't help a small smile either. Fleury's not into it. All business, pissed, clearly does not want Pabst. RONALD FLEURY -LRB- to Al - Ghazi. -RRB- Remember how we caught that cell? AL-GHAZI Yes. Car bomb. He went back to pick up his deposit on the rental car. RONALD FLEURY Four hundred dollars. For four hundred dollars, he was caught. Stupidity. Catching the cell was easy. Just like this. The cell came back. Fleury looks at Al - Ghazi. He knows the win is small. Also knows that's all she wrote, for now. RONALD FLEURY -LRB- CONT'D. -RRB- I'll be back. COLONEL AL-GHAZI Yes, you will. The POLICE BAND suddenly squelches loud with excited Arabic. Everyone perks, leans up to listen to the urgency. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- -LRB- translating radio chatter. -RRB- Religious demonstration in progress. Back near the City Center. A small collective smirk, sigh of relief. Fleury turns in his seat. GRANT SYKES I'm serious. Beer will open up your subconscious. Canned beer especially. Give you instincts they ca n't teach - Fleury notices the Suburban bringing up the rear has dropped back. RONALD FLEURY -LRB- looking back. -RRB- Is he responding to the call? Dropped back. COLONEL AL-GHAZI -LRB- O.C. -RRB- -LRB- turning. -RRB- What? Al - Ghazi and Fleury both looking back to the following Suburban now. Dropped back, sunglasses and blank faces staring back at them. Fleury looks to the overpass above - he sees a YOUNG MAN on a cell phone. As they pass, the kid runs to watch them from the other side. Al - Ghazi gets to the CB radio, in Arabic : COLONEL AL-GHAZI -LRB- CONT'D. -RRB- Tighten up - - the trailing Suburban does n't ` tighten up.' It falls further back. Fleury instinctively turns, wide - eyed - out the window : a small brown truck swerves out of the opposing lanes, flying across the desert median, aimed at the Convoy. Without hesitation Fleury reaches over Haytham, rips the steering - wheel right, nosing away from the approach.",
"EXT. SAUDI HIGHWAY - SAME MOMENT Our Suburban on two wheels : The lead Suburban turns the same direction a twitch too late. The small brown truck detonates. The lead Suburban takes a massive fraction of the explosion broadside, essentially shielding our vehicle. Flame spits through the lead vehicle as it spins, flips onto its roof.",
"INT. OUR SUBURBAN - NEXT MOMENT Off - road now, violent impacts on bare rims shedding rubber.",
"EXT. HIGHWAY ATTACK AFTERMATH - NEXT MOMENT The lead Suburban : tortoise on its back, engulfed, still sliding. Fleury's Suburban fish - tailing. The Lead Suburban blows in - half now as the gas tank ruptures. A football - sized shard of metal explodes through our windshield -",
"INT. OUR SUBURBAN - SAME MOMENT - and smashes straight out the back, taking the rear cargo door with it. The shock of it causes Haytham to lose control in earnest now. The Suburban flips, barrel rolls. Violent pounding inside the vehicle. Motion stops : upside down, just the roar of the big Detroit V - 8 red - lining, wheels spinning in air. Everyone dazed, border - line unconscious. Fleury's bell rung the worst, trying to function, get his bearings. Fleury touches Leavitt's face, can barely see through the gathering smoke that smells like oil. RONALD FLEURY You whole? ADAM LEAVITT Think so - Leavitt unbuckles his seat belt and smashes head first into the ceiling - running FOOTFALLS approach, quick yell - yips in Arabic : commands? The Driver and three other Police Officers from the trailing Suburban. Smoke fills the interior now : thank God these Police Officers have ripped open a door : saviors. They grip Leavitt by his hair because it's the only thing they can grab. Alarmed, Al - Ghazi begins to scramble for Leavitt. COLONEL AL-GHAZI This is not right! Haytham gets a good look at the driver, recognizes him as the officer who shamed him at the compound on day one. Haytham moves to unbuckle. Fleury's trying to claw towards Leavitt. Throwing upside down punches at the air. Unbuckles himself now. RONALD FLEURY WHAT THE - JANET MAYES -LRB- panicked. -RRB- ADAM! WHAT - WHAT ARE THEY DOING? Alarm rising, everyone else unbuckles and smashes into the ceiling as horizons go flip - flop confusion.",
"EXT. HIGHWAY ATTACK AFTERMATH - NEXT MOMENT Leavitt's throwing punches as he's dragged with velocity to the trail Suburban, idling. Pistol - whipped viciously, repeatedly until they're able to kick him inside. Another Officer from the trailing vehicle steps up with an AK - 47, pulls back the cocking mechanism, ready to spray the dazed occupants of our Suburban - the Officer's ankles and shins detonate. POP - POP - POP - POP from the driver's seat : Haytham. Screams from the would - be shooter at double volume. Haytham keeps firing as the Officer, hit multiple times, falls hard. The trailing Suburban hesitates, slams into our Suburban just as Fleury is getting out of the wreckage. Everybody else still inside, knocked silly. The trailing Suburban backs up quick. Fleury instinctively goes for his holster : empty for days now. RONALD FLEURY GUN! Trailing Suburban accelerates away now, as Janet struggles out. Haytham's 9 MM in - hand racked open : empty. Fleury steps away from the now black smoke pouring from the vehicle - in the passenger seat of the trail Suburban, he sees the Officer that checked passports at Prince Sultan Air Base. GRANT SYKES - DOOR HELP - Fleury rips Grant's door open. Trapped smoke billows, clears : Grant's arm closest to the outside of the vehicle dangles at an unnatural angle, bleeding badly. GRANT SYKES -LRB- CONT'D. -RRB- Ca n't release - Fleury begins sawing Grant's seat - belt with a jagged piece of metal. RONALD FLEURY Hands up - you're gon na fall - Sykes still does, ugly. Fleury and Janet rip him free of the Suburban. Haytham's pulling shotguns, handguns, ammo from the flipped vehicle. Haytham pointing ahead, to the fading roster - tail. In Arabic : SERGEANT HAYTHAM They're going to disappear. Desperate, Fleury looks in the direction of the fleeing Suburban : the rooster - tail it leaves getting smaller. Al - Ghazi nods, swings his head to thesnarled/wrecked highway traffic. PEOPLE hesitantly step toward uniforms they trust on instinct. Haytham dumps the pile of weapons at the Team's feet, re - loads his 9MM. Janet ties a half - assed tourniquet around Sykes' reminder of an arm. Al - Ghazi steps toward the approaching crowd : they see his state, his gun, and turn back : panic starts to infect the larger mass, then the topper - AUTOMATIC GUNFIRE from somewhere. Glass - dirt - metal bursts around us : this attack is still going. Fleury looks up : just the roof of an old Mercedes on the median, dirt kicked up behind them, running behind lines of stopped - wrecked traffic now. The barrel of a rifle held high out the window like a taunt. Accelerating for another opening to finish the job. Scared motorists devolve into terrified motorists. Many have abandoned their vehicles to sprint into the desert, the rest go smash -'em - up derby - folly : 50 panicked drivers aiming for the same spots. Fleury snatches an M4A1 from the stack dropped by Haytham, up to his shoulder, hustling toward the next break in traffic. The Mercedes is approaching at 80 MPH. RONALD FLEURY -LRB- back to his crew. -RRB- GET DOWN! Al - Ghazi starts screaming in Arabic, motioning frantically to the CITIZENS who have turned back, running toward them, in Arabic : COLONEL AL-GHAZI DOWN! Fleury's view blocked by fleeing Saudis : just intermittent flashes of the Mercedes braking hard, massive dust cloud behind them, sliding toward the opening Fleury pre - sighted. Intermittent wild shots fired from the SUV, vaguely in our direction. Fleury flips a switch on the left side of the rifle, just forward of the handle : full - auto. Takes a deep, measured Sniper's breath, eases the stock snug aimpoint up to his right eye, and without hesitation lets loose the entire clip perfectly : one heartbeat before the Mercedes hits the gap. The right side of the Mercedes shreds just as it appears. Fleury's clip gone in a flash, yet more rounds still hit the Mercedes : Al - Ghazi four feet away, firing his own salvo from a knee. Something bright red pops against the driver's side window now, the Mercedes rip - slides to a stop. Commotion inside. Wild, half - aimed shots back at us. Then it starts up again. Al - Ghazi bolts toward the line of stopped traffic. Searching for something big, empty, still running. Fleury right on his heels. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- WE MOVE NOW OR WE LOSE HIM. Early 90's Land Rover. Desert tough. Driver long - gone, exhaust plumes pumping out. Al - Ghazi dives into the Driver's seat, Fleury shotgun. Guns it to the rest of the Survivors, an eye on the rooster - tail of the Mercedes he and Fleury just shredded, heading the same direction as Leavitt's kidnappers. Al - Ghazi jumps out, ushers Haytham into the Driver's seat. In Arabic : COLONEL AL-GHAZI -LRB- CONT'D. -RRB- You know Suweidi - you know how to go fast. Fleury helps Sykes into the rear. Janet loads the weapons. Jump in. The Land Rover spits it's own tell - tale plume as it sprints away down the median, dodging traffic, in desperate pursuit. Startling silence comes sudden now as the fight moves elsewhere. Receding engines. Petering screams/shouts. Hold on the flipped, still burning/still smoking Suburbans. Surreal in the sun/smoke/haze.",
"INT. TRAIL SUBURBAN - SAME MOMENT Driving as fast - hard as possible. No regard for anyone/thing. Passport Officer up front pulls a cell - phone. A THIRD AND FOURTH in the back still beating and zip - cuffing Leavitt.",
"INT. LAND ROVER - NEXT MOMENT Janet's sitting with Sykes in the rear, readying weapons and ammo. She hands him twin Berettas - Sykes' double - fisting despite his wound, looking forward to a fight. SYKES Nobody's gon na hurt Leavitt but me. Driver's Seat P.O.V. : on the median, 95 MPH, dodging abandoned and escaping cars. High - beams flashed on - off - on - off, constant horn, gaining on the Mercedes' rooster - tail ahead of them.",
"INT. TRAIL SUBURBAN - SAME MOMENT Powering deep into the Suweidi neighborhood. Skid - stopping and backing into an alley between broken down three story buildings.",
"INT. LAND ROVER - SAME MOMENT Haytham scanning as he drives : straining to see the plume from the second attacking vehicle way ahead, blending with other fleeing, scared motorists. We watch as the distant plume cuts hard left, at a high rate of speed. then DISAPPEARS.",
"INT. UNKNOWN ROOM - SAME MOMENT Quiet. The 32 year - old son we met on the rooftop is on his cell phone again, speed - assembling an ancient VHS camera atop a tri - pod. THE SON -LRB- in Arabic, frantic. -RRB- DO NOT COME HERE! Intercut with the Mercedes Driver yelling frantic into his cell phone : MERCEDES DRIVER -LRB- Arabic. -RRB- He's been shot! BE READY. Back in the room, A HUGE MAN dressed in paramilitary black, face wrapped in his shumagh, so only the eyes are visible, stands in front of a sheet hung from the ceiling, quietly practicing/reading a speech for an imaginary audience. Lots of gesticulating and head movement. The handle of large knife sticks from his waste band. Door BURSTS open, bottom hinge rips from the jamb. Leavitt is slammed to the ground. Passport Officer shoves the practicing Speaker out of the way - Turns to the wide - eyed 32 year - old. PASSPORT OFFICER NOW. HURRY. Leavitt's face already swollen - black - bleeding, scanning the room with terrified fury in his eyes. He sees the handle of the knife sticking from the Huge Man's waistband. His tears leak all at once. The Officer takes the knife, turns to Leavitt : dirty 11 - inch blade.",
"INT. LAND ROVER - NEXT MOMENT Haytham searching for the turn - off : where the rooster - tail they were following cut left, died. At the last minute, he sees tire marks headed down an embankment into a decrepit, decaying apartment block neighborhood. Haytham cuts hard, fish - tails. Sykes' head SMASHES into the rear - side window, starring it. They're being lead into Riyadh's most hostile neighborhood. AL-GHAZI We should not be here. JANET'S POV : scanning for the trail Suburban and the Mercedes - she ca n't help but notice the neighborhood. Halfway past an intersection, Fleury yells : RONALD FLEURY BRAKES - REVERSE - TO THE RIGHT. Haytham brakes, reverses : the Suburban.",
"INT. LAND CRUISER / EXT. SUWEIDI - NEXT MOMENT Without hesitation Haytham pulls across the cramped street, surrounded by the same decaying buildings. Ahead : CIVILIANS huddled behind cars, poking heads out from behind shacks. A second passes : these people know where the attackers went. Al - Ghazi locks eyes with a little boy. he quickly - quietly just shakes his head no. In the back, Sykes has fallen on his back. He looks up through the window : sees a shape jet past on the top of the closest building - three stories up : the little boy was nodding a warning - What follows is fast, chaotic, eyes - closed combat : GRANT SYKES - GET OUT OF - - big BOOM of close - in shells. As Haytham throws it in reverse and punches, the front of the Rover shreds. The windshield bursts. Engine dies : tachometer and speedometer needles bottom out instantly. Haytham and Al - Ghazi tuck into the dash. Fleury tries to get as close to the backseat floor panels as possible. Janet covers Sykes. A Thump - Thump - Thump can be heard on the roof : A GRENADE thrown with too much arm by the guy Sykes spotted bounces off the roof and into the Land Cruiser. Frantic, Fleury swats it out. The blast releases a massive airburst and bits of shrapnel into the vehicle, starring windows, rocking it : creak of shocks and struts. Fleury lifts up now, grabs the M - 4 : returns fire indiscriminately through the windows at any and all surrounding rooftops. That provides cover and reminds everyone in the car they're armed. Janet exits with a rifle : firing out the back door, more covering fire. Civilians who were ready to see a massacre scurry now that it's a fight.",
"EXT. ROOF TOP - NEXT MOMENT A SHOOTER : black - hood, black T - shirt, old - school red - white - black Air Jordans, snub - stock AK, an open, filthy North Face backpack at his feet holding spare clips, God knows what else. Shots from below keep him two feet away from the ledge, firing down in random sweeps, head turned like he's lighting a fire - cracker. We see things from above, three stories down, a sweep of blindly - fired shells pop the asphalt inches from Fleury's head, soiling his face in black - top debris. But Fleury never stops firing back, his own head slightly turned, flinching on reflex. Air Jordan grabs another grenade just before he disintegrates : Fleury's three - feet away with the riot gun. Another rack and blast to make sure A.J. stays down for eternity. Fleury spots and bull - charges a second SHOOTER : Ballistic Chicken, Fleury wins. A sound. Fleury spins, racking the riot gun, aims and FREEZES : 2 six year old BOYS stare from the doorway.",
"EXT. SUWEIDI STREET - NEXT MOMENT Haytham crouches in front of the Land Cruiser. Rocks thrown now from somewhere : KIDS peeking from behind shacks Palestinian - style. He's pelted in the side of the head. Janet and Sykes move to a stopped vehicle and take cover. From the rooftop, Fleury yells down to the men on the ground. FLEURY -LRB- O.C. -RRB- I CAN SEE THE MERCEDES. BLOOD - TRAILS RIGHT UP TO AN APARTMENT IN THE NEXT BUILDING -",
"EXT. ROOF TOP - SAME MOMENT Fleury's P.O.V. : an Apartment complex that looks like a roadside motel : exposed stairwells, walkways, entrances. A puddle in front of one of the front doors on the third floor. Then we look right, one street over : civilian FIGURES, some in traditional dress, starting to mass. FLEURY MOB FORMING NEXT BLOCK! He drops the riot gun, picks up the AK from the man he just killed, pops a new clip from the backpack, slings the backpack over her shoulders. Starts to hustle down.",
"INT. UNKNOWN ROOM - SAME MOMENT Gunshots reverberating from outside. Echoes. The 32 year - old, hands shaking with nerves, screwing the camera into the tri - pod : set - up almost complete. The Passport Officer is posted at the door : head poking out, weapon up and ready. We can hear Arabic yells down what sounds like a hallway. Passport Officer barks something back. The Driver of the Trail Suburban squats, pinning Leavitt's head down with his knee, knife near a long, white expanse of neck. The Huge Man sits on Leavitt's stomach, keeping him in place. Leavitt trying to gasp for breath : eyes - wide panic. DRIVER READY? Just as the 32 year - old nods yes, Leavitt explodes with his last bit of effort : kicks just enough to nudge the Camera, trying to knock it over. The 32 year - old gets his hands on it as it falls, almost catches it, slips out, smacks the ground, battery pops off. The Driver and Huge Man both begin hammering Adam. PASSPORT OFFICER -LRB- O.C. -RRB- -LRB- in Arabic. -RRB- GOD DAMN HIM! 32 year - old picks the camera up again, trying to re - attach the battery as Adam fights for his life. Spit and claws and snot and blood rage.",
"EXT. CINDER-BLOCK APARTMENTS - NEXT MOMENT Running down side stairs, Fleury spots a grenade launcher poking from a door, next - door to the apartment with blood - pool in front. RONALD FLEURY RPG! Empties his clip into that vicinity : windows shatter, wood splinters. The grenade launcher recedes. Janet and Al - Ghazi start to run. The launcher fires from its new position. The trail suburban DETONATES. Al - Ghazi and Janet knocked flat on their asses for second and third times : dazed. Fleury searching : I know that Fuck with the RPG is reloading, how do I kill him. Drops the bag off his shoulders, pulls a grenade out, fires it as hard as he can : 40 yards on the fly. Bounces just on the third floor landing -",
"INT. ENEMY APARTMENT - SAME MOMENT - RPG Soldier just locking the new rocket tube in, brings the reticle up to his eye. Grenade blast splits through what's left of the front window. Big flinch - tense on his part : rocket fires inside, roars down the hall, hits two feet in - front of the door Passport Officer has been peaking out of. Massive, contained detonation. Passport Officer vanishes. The 32 year - old and his camera are blown through the Driver waiting to saw Leavitt's neck. Because Leavitt was held so tight to the floor, he escapes the worst of the blast. Still fucked up. Leavitt's P.O.V. : ears roar with the ring, no sounds. 32 year - old and Driver lay in a heap on the floor. Huge Man's on his back, trying to get up. Leavitt breathes, rolls to the Driver and the boy : grabs driver's blade. Hand to hand war as Leavitt gets his payback. He does not stop.",
"EXT. CINDER-BLOCK APARTMENTS - SAME MOMENT Sykes takes cover between two cars, holding down the rear, firing warning shots and screaming football plays to freak out the LOCALS. SYKES THIRTY EIGHT RAZOR MAD DOG! He fires above the crowd, as Janet heads into the building. Two LITTLE KIDS slowly approach carrying water, obviously terrified at the sight of the wounded American. Sirens and helicopters sound in the distance.",
"EXT./INT. CINDER-BLOCK APARTMENTS - NEXT MOMENT. Base of the stairs : Mayes joins Fleury and a dazed Al - Ghazi & Haytham. COLONEL AL-GHAZI A tunnel networks through all these places. they use attached civilian Apartments, innocent families. JANET MAYES I do not like these people. RONALD FLEURY We go in the front door. Haytham - cover the stairs. Janet - hallway. Watch the side doors. Watch your backs. Silent nods. Bracing for war. They move 3 levels up the stairs into the building, following the blood - trail from the SUV to the Apartment. PEOPLE step out of their doors. Al - Ghazi aiming at them : COLONEL AL-GHAZI -LRB- in Arabic. -RRB- INSIDE!",
"INT. / EXT. APARTMENT 303 - NEXT MOMENT The puddle of blood, a trail leading under the door. The front wall/window/entrance of the next apartment down, still smoldering from Fleury's grenade. No sounds, words. Our team : fingers on triggers, weapons to shoulders, sights - aligned. Ten feet back. Shoulders already flexed with tension, expecting a suicidal blast at any moment. Janet grabs another grenade, moves to secure the hallway. Intercut Sykes outside. Haytham on the stairs. RONALD FLEURY -LRB- beat, to Al - Ghazi. -RRB- Is Allah on the other side of that door? Al - Ghazi raises his prayer beads to Fleury. AL-GHAZI -LRB- beat. -RRB- I think were about to find out, my friend. Fleury moves forward : I'm primary through the door. Al - Ghazi's right with him. Fleury gets three - point - stance low, hits the door like Jim Brown. Scattered gunfire. Fleury opens up in response. Fleury never stops forward motion. Stumbling headlong into a kitchenette, hard into a refrigerator and cabinets, firing the whole time. Al - Ghazi blasting anything that looks like a body. Straight mop - up operation.",
"INT. CINDER BLOCK APTS - HALLWAY - SAME MOMENT Securing the hallway, Mayes steps into a charred apartment through doors blown off hinges. She heads in deeper, towards the bedroom. Finds the closet - it tunnels into the apartment below. She peers into the hole - JANET MAYES ADAM?! - sees a bloody knife below thrown by an unseen hand. Janet : wide - eyed horror, about to pull back, when she is YANKED into the hole by her hair.",
"INT. UNKNOWN ROOM - NEXT MOMENT Huge Man ATTACKS Janet. Vicious hand to hand blows. Still tied, Leavitt does what he can, kicking at the attacker. Adrenaline morphs Janet from scared and out - sized to desperate and equally vicious. This is SAVING PRIVATE RYAN shit with Leavitt as the observer. He's no coward - he's doing everything he can. Huge Man overtakes Janet, slow - choking her. she's gasping, dying. Janet has a knife out and is shredding the big man's back right thigh and ass. BOTH SCREAMING. From nowhere, Fleury ends the fight with a butt - end baseball - swing of the shot gun to Huge Man's head. Janet : fucked up, but alive. JANET MAYES -LRB- to Leavitt. -RRB- Sykes is going to kick your ass. Al - Ghazi follows Fleury into the room. Leaning to Janet, Fleury sees Leavitt, puts his hand on his head. Leavitt's somewhere else, tears in his eyes, just taking deep, measured breaths. RONALD FLEURY Everybody OK? Slow nods from Leavitt and Janet as Fleury cuts Adam's ties. FLEURY There's at least three more of them. As Janet's eyes catch on something : a sheet/half - assed backdrop hung from the ceiling has been nearly pulled down - exposing a crude square cut out of the wall - a path into another Apartment. Janet points to the hole in the wall. This is n't over : a seven - year old GIRL peers out at her, shaking, tears in her eyes. Janet tries her best Motherly smile. JANET MAYES It's okay Little One. The little girl backs away. Janet gets up, steers Leavitt outside. Sits him down. Hands him a Glock. Fleury and Al - Ghazi step through the hole. Janet follows. A blood trail snakes through Little One's room, out her door, and deeper into another apartment. Little girl long gone into the main part of the Apartment. Then, Arabic SCREAMS, the metal - crashing sound of automatic GUNFIRE. Sirens overheard outside now.",
"INT. ATTACHED APARTMENT - NEXT MOMENT Hustle cautious into the apartment. Haytham stands in the room already : the muzzle of his AK still smoking, held on a man down. The other occupants of the room are a cowering FAMILY : KIDS and a couple of real OLD FOLKS, all terrified. A little boy cries by himself, huddled in a corner. The collateral damage of random violence. Janet quick scans the room. LOCKS EYES on the traumatized little boy, his innocence draining as she watches. Ca n't take her eyes away. Taking this all in : The violence. The terror of this family, the defiance on the faces of these young souls. Al - Ghazi, post - game shakes, a tear running down his cheeks, spattered in blood, stares at Fleury. The man Haytham shot is not dead : ragged gasps. Fleury and Al - Ghazi lock eyes, then take in the tragedy of the room - kids their children's age, never to be the same. Al - Ghazi to the room, In arabic : COLONEL AL-GHAZI Is everyone alright? Silent stares from the Saudis. The little girl Janet saw earlier, eyes still on Janet, moves to her brother - he holds her tight, his eyes down. Janet kneels, heart - breaking, holds her hand out : I can help you little one. The Little Girl holds a fist out to Janet, tears in her eyes : okay. Janet slowly crouches over to her, the older women's eyes on her, piercing. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- -LRB- to the little girl, in Arabic. -RRB- It's okay. Little One trembles. One of the women in the corner calls to her in Arabic, sharp. Janet just strokes the back of her little bloody fist. Her little hand opens, shaking : this is a gift for you. Janet's face ghost white : Little One is trying to give her a marble. Al - Ghazi steps closer, sees the marble. Processes things. Immediately looks over at the huddled mass : THE GRANDFATHER staring right back at him. We now see the old man clearly. Al - Ghazi shaking, slowly steps to him, hands out. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- -LRB- in Arabic. -RRB- Let me help you up, Old Man. The old man nods a ` no.' COLONEL AL-GHAZI -LRB- CONT'D. -RRB- -LRB- in Arabic. -RRB- GIVE ME YOUR HANDS! Al - Ghazi rips Grandfather up now. The family screams. Al - Ghazi pulls the old man's hands from under his thobe : missing fingers. Bends at the knees to look the Old Man right in his eyes, lifts his chin with his hand. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- -LRB- dazed, starting to realize. -RRB-. Hamza. The old man looks up at Al - Ghazi : rage and defiance. COLONEL AL-GHAZI -LRB- CONT'D. -RRB- I got you. Abu Hamza, you are under arrest. ABU HAMZA stares, hatred burning into Al - Ghazi. NASSAR You are a traitor to your country. a traitor to your God. COLONEL AL-GHAZI I am no traitor to my God. You are. Al - Ghazi's chest explodes before we hear the booms : the 15 year - old Grandson, firing a cheap, nickel - plated 9MM. Everybody drops. The family huddles that much closer to the floor. Al - Ghazi falls back to the floor, pulling Grandfather with him. Fleury's standing stock still, out - of - body now : He can only see a teenager built like a river - reed, like his own Son. not a Murderer who just shot his friend. Quiet - sick : RONALD FLEURY Do n't. The 15 year - old steps to the doorway, pulls the trigger again : the cheap 9MM jams. Janet lifts up with her AK, aims it at the boy's chest. RONALD FLEURY -LRB- CONT'D. -RRB- drop it, Son. please. The teenager wiping his tears : so he can see clear enough to clear his jammed weapon. Half young boy, the other half something much more dangerous. Expert movements from his hands, racking back the slide, thumbing the still smoking shell from the ejector, letting the slide go, racking another round into the chamber. Then. Fleury finally pulls his trigger. Utter Distortion as the old man reaches for the teenager's fallen hand gun. Janet, screaming, raises her gun towards the old man as Al - Ghazi shoots the old man in the chest. Sobbing, the little boy runs to his fallen grandfather. Janet, still screaming, covers the family. The Grandfather whispers something we can not hear in the Little Boy's ear. TIGHT ON HAYTHAM taking it all in : the bleeding, dying teenager ; his hysterical sister ; Hamza choking, clutching for his grandson. CHAOS, CONFUSION, CONFLICT swirling in Haytham's eyes. A platoon of SAUDI POLICE slowly enter the room. Janet goes to the shot 15 year old, starts trying to stop the bleeding. Fleury reaching for the dying Al - Ghazi, cradling him. Tears spill as his eyes move from the dying boy to the old man, back down to Al - Ghazi. Fleury grasps Al - Ghazi's hand, as a Saudi man would. RONALD FLEURY -LRB- CONT'D. -RRB- You got him. You got him. You got him.",
"EXT. CINDER BLOCK APARTMENTS - LATER WIDE ON THE CRIME SCENE. From the air as choppers hover and SOLDIERS swarm.",
"INT. CONVOY - SAUDI ARABIA One last convoy heading out of town. Fleury, Leavitt, Janet, and Sykes : battered war scars, million mile stares.",
"EXT. PRINCE SULTAN AIRBASE - LATER Our crew watch from a deserted terminal as a C - 130 touches down. Haytham enters : came to say good - bye. The team's first smiles - collective. Fleury stares at Haytham. thinks about what he's seen the past few days. how he has come to admire this Kid. Haytham smiling, bandaged himself. Halting and awkward, he shakes Janet's hand. HAYTHAM -LRB- in Arabic. -RRB- Thank you. JANET MAYES Thank you, Lieutenant Haytham. Haytham says good bye to Leavitt and Sykes. Comes to Fleury. Hands him a beautiful wooden prayer bead necklace. HAYTHAM May peace be with you. FLEURY May peace be with all of us, my friend. The two men shake hands.",
"INT. WASHINGTON FIELD OFFICE - CUBICLE - DAY Fleury, Sykes, Leavitt and Janet sit around Janet's cubicle. Bandages, awkward silences, and 1000 - yard stares. Subpoenas stacked on the corner of Janet's desk. Leavitt quiet, obviously fucked up. Grace approaches. DIRECTOR GRACE We're going to testify next Tuesday. Fleury's going first. I'm gon na go through it with each of you one on one in advance - make sure we're all on the same page. If they ask if we've talked about this, the answer is unequivocally `` No.'' OK? -LRB- beat. -RRB- You did outstanding work over there. I'm proud of you. You hold your heads high. SILENCE from the team. DIRECTOR GRACE -LRB- CONT'D. -RRB- Ronnie, you ready? RONALD FLEURY Yeah. Grace turns to leave. Fleury gets up to follow. They head down the hallway. ADAM LEAVITT Janet. my dreams are. -LRB- beat, intent. -RRB- What did he whisper to you? Confusion from Janet. ADAM LEAVITT -LRB- CONT'D. -RRB- In the briefing. to get you to stop crying about Fran. before any of this. before we even got Airborne? What did he say to you? Janet looks up : Leavitt waiting.",
"EXT. SUWEIDI GRAVEYARD - DAY The eight year - old Grandson. Tears in his eyes, standing in front of fresh graves. His AUNT kneels down next to him, tears flowing, in Arabic : AUNT Will you tell me what Grandfather whispered to you before they took him? He turns to his Aunt.",
"INT. WASHINGTON FIELD OFFICE - CONTINUOUS Leavitt still waiting : ADAM LEAVITT Do you remember? Janet looks at Leavitt, PAUSES. JANET MAYES -LRB- ALT : RONALD FLEURY. -RRB- -LRB- reluctantly. -RRB- He said. `` We'll kill them all.'' -LRB- alts : `` We will win this.'' `` We will end this.'' `` We will finish this.'' -RRB-",
"EXT. SUWEIDI GRAVEYARD - SAME MOMENT The boy quietly answers, in Arabic : GRANDSON `` Do n't worry : we'll kill them all.'' And in his saucer - wide brown eyes, shrink - wrapped in angry tears, we see the parts of the future that will burn.",
"EXT. WASHINGTON, DC PARK - TIME LAPSE Sunlight shines TIGHT ON Fleury's face : stitches the length of his cheek remain. PULL OUT : Fleury and his son throwing a baseball. Lyla watches, standing by a tree. Father and son throwing the ball back and forth. KEVIN FLEURY You stop the people that hurt Uncle Fran? Fleury stops, just staring at his little son. Tosses back the ball. KEVIN FLEURY -LRB- CONT'D. -RRB- Did you get the bad guys, Daddy? Fleury catches the ball, stares at his son. TIGHT ON FLEURY : He reaches and pulls his son close, holding him for what might just be forever. -LRB- alt : He hands Kevin Al - Ghazi's prayer beads. -RRB- KEVIN FLEURY -LRB- CONT'D. -RRB- There's a lot of bad people out there. are n't there, Daddy? RONALD FLEURY Yeah, there are. -LRB- a beat. -RRB- But you want to know something? KEVIN FLEURY What? RONALD FLEURY You're not one of them. -LRB- alt : There's a lot of good guys, too. -RRB- Kevin smiles up at his dad. For the first time in a long while, Fleury smiles back. BLACK."
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] | During a softball game at an American oil company housing compound in Riyadh, Saudi Arabia, al-Qaeda terrorists set off a bomb, killing Americans and Saudis. While one team hijacks a car and shoots residents, a suicide bomber wearing a fake police uniform blows himself up, killing everyone near him. Sergeant Haytham of the Saudi State Police kills the carjackers. The FBI Legal Attaché in Saudi Arabia, Special Agent Fran Manner, calls his US colleague, Special Agent Ronald Fleury, to advise him about the attack. Manner is discussing the situation with DSS Special Agent Rex Bura when an ambulance full of explosives is detonated, killing Manner, Bura, and many others. At FBI Headquarters in Washington, D.C., Fleury briefs his rapid deployment team on the attack. Although the U.S. Justice Department and the U.S. State Department hinder FBI efforts to investigate the attack, Fleury blackmails the Saudi ambassador into allowing an FBI investigative team into Saudi Arabia. Fleury gathers Special Agent Janet Mayes, a forensic examiner, FBI analyst Adam Leavitt, an intelligence analyst, and Special Agent Grant Sykes, a bomb technician, to go to Saudi Arabia. On arrival they are met by Colonel Faris al-Ghazi, the commander of the Saudi State Police Force providing security at the compound. The investigation is being run by General Al Abdulmalik of the SANG, who does not give Fleury and his team permission to investigate. The FBI team is invited to the palace of Saudi Prince Ahmed bin Khaled for a dinner. While at the palace, Fleury persuades the Prince that Colonel al-Ghazi is a natural detective and should be allowed to lead the investigation. With this change in leadership, the Americans are allowed hands-on access to the crime scene. While searching for evidence, Sergeant Haytham and Sykes discover the second bomb was detonated in an ambulance. Fleury learns the brother of one of the dead terrorists had access to ambulances and police uniforms. Colonel al-Ghazi orders a special forces team to raid a house, managing to kill a few heavily armed terrorists. Following the raid, the team discovers clues, including photos of the U.S. and other Western embassies in Riyadh. Soon afterward, the U.S. Embassy Deputy Chief of Mission Damon Schmidt notifies Fleury and his team that they have been ordered to return to the United States. On their way to King Khalid International Airport, their convoy is attacked and incapacitated. Leavitt is dragged out of the wrecked car and kidnapped while Fleury manages to wound one attacker. Al-Ghazi commandeers a civilian vehicle to chase the fourth SUV and the other car holding Leavitt into the dangerous Al-Suwaidi neighborhood of Riyadh. As they pull up, a gunman launches rocket-propelled grenades at them and a fierce firefight starts. Leavitt is tied up inside a complex. While Sykes and Haytham watch the entrance to the complex, al-Ghazi, Fleury, and Mayes follow a blood trail and kill many gunmen inside. Mayes, separated from the others, finds Leavitt and his attackers, preparing an execution video of Leavitt. She kills the remaining insurgents, and al-Ghazi and the team start to leave. Fleury then realizes there is a trail of blood leading to the back of the apartment. After they enter, Mayes comforts a girl in the apartment and offers her candy. In return, the girl offers Mayes a marble, similar to those embedded in the bodies of some bombing victims. Al-Ghazi sees the grandfather, reaches out with his hand, and offers to help him stand. When the old man gives him his hand, al-Ghazi sees that the man is missing the same fingers as Abu Hamza al-Masri in the terrorist group's many videos and confirms his suspicion that the grandfather is the terrorist leader. Abu Hamza's teenage grandson walks out of the bedroom and shoots al-Ghazi in the neck, then he starts to point his gun at Mayes, prompting Fleury to kill him. Abu Hamza then pulls out an assault rifle and Haytham kills him. As Abu Hamza dies, another grandchild hugs him and Abu Hamza whispers something into his ear to calm the child down. Al-Ghazi dies in Fleury's arms. At al-Ghazi's house, Fleury and Haytham meet his family. Fleury tells his son that al-Ghazi was his good friend, mirroring a similar scene earlier in the movie wherein he comforted Special Agent Manner's son. Fleury and his team return to the United States, where they are commended by FBI Director James Grace for their outstanding work. Leavitt asked Fleury and Mayes what he had whispered to her to calm her down. The scene cuts to Abu Hamza's daughter asking her own daughter what her grandfather whispered to her as he was dying. The granddaughter tells her mother, "Don't fear them, my child. We are going to kill them all," a similar line to what Fleury had whispered to Mayes. | The_Kingdom_(film) |
[
"INT. TAXI CAB - MOVING - DAY Rain falls on the rear window of a taxi parked in the taxi zone of the Charles de Gualle Airport. Aside from the incessant tapping of rain on the roof of the cab we hear the sounds of the airport : the almost monotonic loudspeaker declaring in French that loitering is not permissible and that should any bags be left unattended that they will be destroyed ; the honking of the horns from other automobiles ; the unintelligible chatter of people as they get their bearings. Inside the cab, playing on the radio, is Angelique Kidjo's funky song `` Batonga''. Then, the rear door to the cab opens and in an EXTREME CLOSE UP we see ZED, a young man with wild, almost mesmerizing eyes shielded by small round glasses, and with a head of nappy red hair. His face has drops on it from the flurry outside. He settles himself, then looks to the CAB DRIVER, an easy going Senegalese/Frenchman, in the front seat. ZED Hotel Mondial. CAB DRIVER Le Mondial. Tres bien. He starts driving. CAB DRIVER Avec cette pluie ca risque de prendre un moment. L'autoroute est ferme. A cause du 14 Juillet. He drives for a while. CAB DRIVER Do you mind the radio? Zed looks at the meter, francs are clicking away. He also looks at the cab driver's license, his name is Moises Du Bois. CAB DRIVER Do you want me to turn the radio off? ZED -LRB- realizing he's being asked a question. -RRB- I do n't speak French. The driver turns around. CAB DRIVER -LRB- in broken English. -RRB- Ah. American? ZED That's right. CAB DRIVER That's good because I speak a little English. Zed nods. CAB DRIVER I asked if you mind the radio. Music. You know. Zed shakes his head `` no''. CAB DRIVER -LRB- with a smile. -RRB- Super cool. Zed adjusts his watch. ZED What time is it? CAB DRIVER Time, time, time. I do n't know. Daytime. Zed forgets the adjustment for now. CAB DRIVER Are you in town for business? ZED Yes. CAB DRIVER It's a nice hotel. Your hotel. Very big rooms. He looks at Zed in the rear view mirror. CAB DRIVER Do you know Paris? ZED I've been here once before. When I was younger. The cab driver smiles. CAB DRIVER Those were the days. They drive for a while. CAB DRIVER Married? ZED I beg your pardon? CAB DRIVER Do you have a wife? ZED No. -LRB- then after thinking about it for a while. -RRB- Why? CAB DRIVER Well, if you need a wife for the night. -LRB- searching for the right words in French. -RRB- Une escorte. Pour vous faire visiter. -LRB- then back to his broken English. -RRB- For business. I give you my number. Very nice girl. French. Like when you were young. He lifts his hand and shows his index and middle finger tightly extended together, then he crosses them. CAB DRIVER Know what I mean? Zed smiles at this and nods. CAB DRIVER Speaks the language of love. Take you to heaven and back. You just tell me and I set it up. Zed shakes his head and laughs. CAB DRIVER What you laughing at? You let Moises set it up. She treat you right. She treat you fine. Zed can do nothing but smile at the thought of it.",
"INT. HOTEL - HALL - DAY A long, empty hallway of a moderately priced hotel. From around a corner comes a BELLBOY carrying Zed's one bag. Zed is right behind him. They come up to room 6A and the bellboy unlocks the door.",
"INT. HOTEL ROOM - DAY The door to the room opens and the bellboy, followed by Zed, walks into the room. He puts Zed's bag onto one of those luggage holders and proceeds to show him the room. Sitting on the bed is a large air freight package. BELLBOY -LRB- in broken English. -RRB- Your package. It arrived in the last night of before last night. He points to the telephone. BELLBOY Ah. telephone, for the room service. He motions toward the bathroom. BELLBOY The toilet. He opens the closet door. BELLBOY To hang the clothes. He points to a control console next to the bed. BELLBOY From here you can operate the television. Then he pauses at the door before he goes out. Zed reaches into his pocket and takes out some French money, he starts fingering through it. Then, the bellboy takes the liberty of showing Zed which bills to give him. BELLBOY -LRB- after getting what he wanted. -RRB- Merci. He starts to leave. ZED Oh, wait. The bellboy turns around. ZED What time is it? BELLBOY -LRB- confused. -RRB- What time is it? ZED -LRB- pointing at his watch. -RRB- Time. BELLBOY Ah. Yes. Il est presque huit heures moins dix. The bellboy clicks his heels and walks out the door. Zed looks around the room, still wondering what time it is, and takes a seat on the bed. Obviously tired from the flight Zed unbuttons his shirt a bit and lays back on the bed next to the package. Before he dozes off to sleep he takes his watch off and places it on the bedside table. He is asleep.",
"INT. HOTEL ROOM - LATER - DAY Zed's bed, while still made, looks like it's been slept in. Sitting on it is the ripped open air freight package. Inside of it is a black steel briefcase. The shower is on and from the look of things Zed is in it. On the bedside table we see Zed's watch. It reads 12:10 P.M. Next to it is the phone. Next to the phone is a piece of folded paper with Moises' name and a phone number that reads : 45.63.53.37.",
"INT. HOTEL ROOM - BATHROOM - SHOWER - DAY Zed is in the shower letting the water run directly into his face and cascade down his body. He opens his mouth and freely drinks the water, then he spits some out with a spurt. Then he stops, attentive, listening for something. He turns the shower off. Then he hears it again, the knocking on the door.",
"INT. HOTEL ROOM - BATHROOM - DAY Zed grabs a towel and climbs out of the shower. He makes his way toward the knocking.",
"INT. HOTEL ROOM - DAY Zed walks to the door to his room with the towel wrapped around his waist. He opens it. In the hall is ZOEY, a cute French girl of not more than twenty. She's chewing on gum the way a schoolgirl might, but she looks like no girl Zed ever went to school with. ZOEY Bonjour. ZED -LRB- a little awkwardly. -RRB- Bonjour. Zed opens up the door and lets her in. She checks out the room and places her bag on the bed. Then she makes her way to the window for a view of the city. ZOEY Wow. Vous avez une belle chambre. Je ne suis jamais venue dans cet hotel. She turns to him, but in the process takes the time to examine every detail of the room. ZOEY Ca sera 150 francs de l'heure. Toute la nuit pour 700. D'avance. Et faudra porter un - ZED I. do n't speak French. She blows a bubble. ZOEY It's okay. She takes a seat on the bed. ZOEY It will be one thousand francs for all night. In advance. Zed takes the money out of his wallet and gives it to her. ZOEY We can do it now if you want. ZED Well, let me just dry up. ZOEY Okay, but it's not necessary. He goes into the bathroom and starts drying himself. She puts the money in her bag and then turns on the television from the remote console. A French talk show comes on. She changes the channel until she comes to a station playing F.W. Murnau's silent classic, `` Nosferatu''. She smiles and sits back to watch. ZED -LRB- O.S. -RRB- -LRB- from the bathroom. -RRB- What's your name? ZOEY Zoe or Zoey. Which ever you like. ZED -LRB- O.S. -RRB- My name's Zed. ZOEY -LRB- smiling at this. -RRB- That's funny. We both have Z names. Zed comes walking out of the bathroom drying his hair. His pants are on. ZED What was that? She notices his pants. ZOEY You can take those off. The pants. ZED I'd rather watch you get undressed first. ZOEY -LRB- matter - of - factly. -RRB- Alright. She stands up and starts to lift her top off. He stops her. ZED Slower. He lays down on the bed. She stands there looking at him and then smiles. ZOEY Alright Mister America. Zed. Then, with Zed laying on the bed and watching her, she slowly, seductively strips in front of him, never taking her eyes from his eyes, until she is totally naked. ZOEY Slow enough for you? Then, like a cat prowling for it's prey, she crawls over the bed to him and begins to unbuckle his pants. She removes the pants and climbs on top of him. They begin to make love. On the television, `` Nosferatu'' silently plays. Zoey and Zed quicken their pace with an urgency one ca n't resist during a moment of passion. She cries out and lowers herself to his grasp. An IMAGE overcomes her mind. They quicken to an almost violent speed and then expire, both satisfied. She begins to kiss him multiple times over the face. ZOEY C'etait formidable. She rolls over, still hugging him, purring like a kitten. They rest there for a while. holding each other. ZOEY I'm cold. She takes the covers and crawls under them, so does Zed. ZOEY Zed? ZED Yes? ZOEY Moises told me you were in town for business. ZED Yes. ZOEY What kind of business? ZED Why? ZOEY I do n't know. I'm just curious. ZED Do you ask all your clients questions? ZOEY No. Just the ones I like. ZED So you like me? ZOEY Yes. ZED Why? ZOEY Because you're. a good person. I run into some real creeps. You know. ZED How do you know I'm a good person? ZOEY Body language. We fit together. ZED All men and women fit together. Hell, even some men fit together. ZOEY No, but you know, we clicked. You made me orgasm. Do you know how often I orgasm with a man Moises sets me up with? ZED No I do n't. ZOEY Usually never. They're almost always fat like pigs. Zed laughs at this. ZOEY And you make me feel safe. That's something more important than the orgasm. An integral part maybe of the orgasm. ZED I never really thought of it like that. ZOEY Well, it's true. Zed nods at this. ZOEY Turn off the television. Zed reaches over and turns it off from the console. ZOEY So I mean it when I tell you Zed, I like you very much. ZED Well, I like you too Zoe. ZOEY Honest? He nods. ZOEY Why? For the same reason? Any man can orgasm. Even with his own hand. Zed stares ahead as he thinks of an answer. ZED Well, I like your honesty. You're open. Unlike most prostitutes I've been with. She does n't like the sound of this. She slaps him. ZOEY I am not a prostitute! Zed is a little surprised at this. ZED Really? Can I have my francs back then? ZOEY I'm a student. And to pay for the classes I became an escort. It's my choice to sleep with you. ZED I see. ZOEY What? You do n't understand. ZED No, I do. ZOEY Hey, it's not easy. ZED I did n't say it was. ZOEY I'm here because I want to. ZED Okay, okay relax. What school do you go to? ZOEY The Centre du Art, Paris. ZED That's really interesting. What kind of art do you study? ZOEY Not any of the old shit. ZED Oh. ZOEY I have a day job too. Three times a week. She rolls onto her back and stares into an imaginary world as she talks to Zed. ZOEY But someday there will be only my art. ZED What kind of things do you paint? ZOEY I do n't paint. I make things. Objects. Not like sculpture. Like life. but with no narrative. I want when someone looks at one of my objects for there to be no reference to the world. Void of feeling, emotion. void of destiny. Those are left for me. They belong only to me. If someone else can see into it. then it is no longer mine. I have failed. And I would destroy it. I do n't care how much cash they would offer me. It would be shit. I ca n't tell you how many objects of mine have been destroyed. They told too much about me. And if someone wants to know something about me. I'll tell them myself. The way I'm telling you. She looks back at him. ZOEY What I do I do only for the objects. ZED I'd like to see one of these. ZOEY What? So you could see the work of a whore? He decides to put a stop to this once and for all. ZED Zoey. I'm sorry for calling you a prostitute. I did n't understand the difference. ZOEY The difference is a prostitute would have lied to you about her orgasm. He gives her a kiss. ZED If these things you make are as true as you are. I'm sure they're as indescribable. Perhaps, someday, you'll make one. about me. ZOEY If I do. you'll never know which one it is. Because I'll be the only one who understands. I'll be the only one who can look into it and see where in my life it came from. Zed is unable to speak. They look into each others eyes for a long moment, hearing the sounds of the city drift in through the window. Then she leans forward and gives him a soft understanding kiss.",
"INT. ZED'S ROOM - NIGHT Zed is asleep. Zoey is asleep in his arms. There is a knocking at the door. Zed opens his eyes. The knock becomes a pound. Zed gets up and puts on his pants. Zoey gets up and looks around. ZOEY -LRB- groggily. -RRB- What time is it? ZED I have no idea. Night time. There is more pounding on the door. ZOEY I'm going to take a shower. She trots off naked to the bathroom and starts the shower. Zed walks over to the door and opens it up. Standing in the hall is Eric, a Frenchman of Zed's age wearing baggy French - style clothes. ERIC -LRB- with a thick accent. -RRB- Hey you madman! Zed's happy to see him. ZED Eric. Come in. They hug. ERIC What happened to you? I thought you were going to call. Eric walks in and starts to notice the traces of wild love making around the room. ERIC -LRB- smiling. -RRB- Oh I see. You have been busy. ZED Sorry, I asked the hotel to give me a wake up call. ERIC That's good, but now I am here. So let's go. We have a lot to talk about. ZED What about the girl? ERIC Is she your girlfriend? ZED No. ERIC Fuck her. He peeks into the bathroom. ERIC She's a dishrag whore. Kick her out. ZED I'll let her stay here tonight. ERIC Do n't be silly. It's dangerous. Eric walks into the bathroom.",
"INT. HOTEL ROOM - BATHROOM - NIGHT Eric walks up to the shower and knocks on the door. Zoey is obviously surprised to see him. ERIC -LRB- in French with English subtitles. -RRB- Okay. Get out of the shower. It's time for you to leave. ZOEY Fuck you. Eric opens up the door and yanks her out of the shower. ERIC No. Come on you fucking slut! She shrieks. ZOEY Let go of me you shit! He drags her out into the room, she is dripping wet.",
"INT. HOTEL ROOM - NIGHT Zed ca n't believe this. ZED Eric. ERIC -LRB- to Zed. -RRB- Do n't worry about her. -LRB- to Zoey in French. -RRB- Why do n't you just go back to your pimp and suck his black dick! She bites his hand. He yells in pain. ERIC God damn it! He kicks her in the butt and sends her toward the door. ERIC Get the fuck out of here you fucking whore! He opens the door and throws her into the hall.",
"INT. HOTEL - HALL - NIGHT Naked, Zoey falls into the hall. Eric slams the door shut. She is instantly back on her feet and screaming as she pounds on the door. ZOEY Give me my clothes you asshole!",
"INT. HOTEL ROOM - NIGHT She is pounding on the door. ERIC -LRB- looking at his hand wound. -RRB- God damn it. Look at my hand. ZED -LRB- shocked at the whole incident. -RRB- Jesus Eric. ZOEY -LRB- O.S. -RRB- Ouvres! Je veux mes habits! Eric listens. ERIC Oh shit. Her clothes. He picks up her clothes and her bag, opens the door, and throws it into the hall just long enough for her to yell at him. ZOEY -LRB- almost too quick to understand. -RRB- Tu te prends pour qui espece de connard!? ERIC La ferme! He slams the door shut. Then he turns to Zed. ERIC So tell me, what have you been up to? Zed sits down on the bed. ZOEY -LRB- O.S. -RRB- Allez vous faire enculer tous le deux! ZED Eric, I liked that girl. ERIC Oh. Well, then why did n't you stop me. ZED Because you were on a rampage. ERIC Look, your whole life you've done nothing but fuck whores. A girl like that will give you AIDS. Why do n't you find a nice girl in the suburbs? ZED Because when you need to get off you do n't want to have to date for months to do it. ERIC Just use your hand like me. ZED Sometimes you just need honesty. and security. ERIC I do n't understand. Anyway, it's too late. Get dressed, let's go out and meet the boys. ZED Okay, let me take a shower. ERIC No, in Paris it's good to smell like you've been fucking. It will make them respect you. ZED Oh. ERIC Just put on a shirt and a sport coat. Zed starts to get dressed",
"EXT. BOULEVARD SAINT MICHEL - NIGHT The McDonalds on the corner of Boulevard Saint Michel and Rue Soufflot is bustling. Eric's Citroen screeches around the corner on it's way past the Pantheon and into the heart of the fifth Arrondissment.",
"INT. ERIC'S CAR - MOVING - NIGHT Eric and Zed are driving through the streets of Paris in Eric's car. The grooving Ryuichi Sakamoto song `` Triste'' is playing on the radio. ERIC I'm glad you came. How long has it been? ZED Years. ERIC It's amazing, you know? Here you are. One day in America. Now here. ZED Well, to be honest there really was n't much happening for me in the states. ERIC But in Paris your old friend Eric has a job for you, so you came. That's good. ZED How could I resist your invitation? ERIC You would have been stupid to. ZED So what have you been doing here? ERIC After school I spent some time in Algeria studying African philosophy. And then I bummed around. You know. For fun. For a while I worked at Le Figaro. The newspaper. ZED Really? ERIC Yes. With an assumed Masters degree. And lately we have just been bombing fascists here in Paris. You know, like terrorists. Zed looks over at him. ERIC It's fun.",
"INT. ERIC'S FLAT - OUTER STAIRWELL - NIGHT Eric and Zed walk up the stairs to the fifth floor where Eric's flat is. On the top landing there is a dead cat laying. Zed and Eric notice the cat as Eric is opening the door. There is also a telephone coming out of the neighbors door. ERIC The people next door are on holiday. We took their phone. If you want to make a long distance call, go ahead. ZED Is that cat dead? ERIC I do n't know. I think it's asleep but it's been there for days. Eric gives it a kick. No response. ERIC I guess it is dead. They walk into the flat.",
"INT. ERIC'S FLAT - LIVING ROOM - NIGHT Eric's flat consists of a good sized living room area with a connected kitchen and a small bedroom in the back. In the front of the living room there is a small balcony where the sounds of the city pour in. The room itself is a general mess. A bunch of guns are piled in one corner of the floor. Hung up on the wall is a huge, French `` Dressed To Kill'' poster. Some Brazilian Gilberto/Getz music is playing. Sitting at the table playing cards are three men : FRANCOIS, RICARDO, and JEAN. Sitting on the couch rolling a cigarette with hash is CLAUDE and OLIVER. They all turn as Zed and Eric walk in. ERIC Hello. They all return the greeting. ERIC -LRB- to Zed. -RRB- Okay. This is Francois, Ricardo, Jean, Oliver, and Claude. Got it? ZED I will. ERIC They all know who you are. -LRB- to the rest of them. -RRB- Ne soyez pa salauds. Offrez une biere au plus grand perceur de coffres. Oliver stands up and walks to the kitchen. OLIVER -LRB- with an English accent. -RRB- Zed, would you like a beer? ZED Thanks. OLIVER Do n't think of it. CLAUDE -LRB- to Zed. -RRB- Come. Sit down.",
"INT. ERIC'S FLAT - KITCHEN - NIGHT The kitchen is an absolute pig stye. Dishes are piled up in the sink and on the counter. Oliver grabs a glass that has some old beer in it and empties it. He scratches some filth off of it and pours some beer into the glass.",
"INT. ERIC'S FLAT - LIVING ROOM - NIGHT Zed takes a seat on the couch next to Claude. Suddenly, a SPIDER MONKEY dressed in a little Uncle Sam costume comes screeching up onto Zed's lap and then up onto his head, the whole time clawing at his eyes. Eric, amused, turns from the men playing cards and smiles. CLAUDE -LRB- to Zed. -RRB- Easy. Do n't scare him. He just wants to claim you. Zed is frozen as the monkey climbs around him and then onto Claude's shoulder. CLAUDE Let me introduce you properly. This is Enrique. The monkey screeches. CLAUDE He likes to be called Chim Chim, but we do n't always get what we like. do we? Again, the hideous creature screeches. CLAUDE -LRB- to Enrique. -RRB- Tais - toi! -LRB- then to Zed. -RRB- Do you like hash? Then Eric interrupts. ERIC -LRB- jokingly. -RRB- Do n't sit next to that junkie. CLAUDE Ahhhhhh! Claude throws a lit cigarette at him which explodes into a mass of sparks. They laugh. ERIC -LRB- to Claude. -RRB- That little shit monkey of yours pissed on my Billy Holiday albums. Next time he's out the door. -LRB- to Zed. -RRB- Zed, come here. Zed gets up and goes with Eric to the bedroom. On the way Oliver hands him the glass of beer. OLIVER Here you go mate. ZED Thanks. Oliver sits down next to Claude.",
"INT. ERIC'S FLAT - BEDROOM - NIGHT Eric's bed has probably never been made. In fact, this room looks a lot like Quentin Tarantino's old apartment. But, there is a certain order to all this chaos. Eric pulls out a blueprint and spreads it out over the bed. ERIC Do n't ask me where we got this. ZED Okay. ERIC On Bastille Day, all the banks are closed. He places his hand on the blueprint. ERIC But this one. BIP. The Banque Internationale de Paris. And for being greedy capitalists perhaps they will remain closed next Bastille day. Yes? Zed smiles. ERIC We will go in and shut the bank down. Now, look at this. Eric pulls out a complex electronic schematic. ERIC As you can see, only one person can start the alarm. -LRB- he hands it to Zed. -RRB- The concierge, at this desk. -LRB- he points it out on the blueprint. -RRB- We will take care of him. Then we can close the bank. No one will know the difference since every other bank will be closed. ZED -LRB- turning the schematic around. -RRB- Are you sure he wo n't push the alarm? ERIC Ahhh! He's right next to the door. We'd have to be totally incompetent not to stop him. Do n't worry about that. He points to the main floor vault. ERIC Here. This is where they keep the days reserve cash. Okay fuck that. He flips the page to the lower level blueprint. ERIC There are many vaults downstairs, but this is the vault we must get into. This is where the real prize is. ZED What kind of vault is that? He checks the blueprint. ERIC Ah. Swiss made. A Caliber. ZED Caliber? -LRB- he thinks about it. -RRB- It'll take three hours. ERIC No, that's too long. ZED That's how long it'll take. ERIC Well shit. It's too long. We have to be in and out. -LRB- he snaps his fingers. -RRB- Like that. Or there will be suspicion. A little time is okay. but too long and. He shrugs his shoulders in an `` I do n't know gesture.'' ZED Well hold on a second. -LRB- pointing to the blueprint. -RRB- What's this? Eric looks down at the blueprint. There is a small passage connecting the main vault to an adjacent vault. ERIC Another vault. ZED No this. Eric looks closely at the blueprint. ERIC I do n't know. it connects the two vaults. ZED Well, what kind of vault is this other one? ERIC -LRB- reading the blueprint. -RRB- Also Swiss, but this one is a Poseidon. ZED Why would those two vaults be connected? ERIC I do n't know. ZED Because I can get into this vault in half an hour. Maybe less. ERIC But this entry way is too small to get the platen out. We have a lot of merchandise in there. ZED No, do n't you see? We get in through this secondary vault and take this passage to the other main vault. From the inside I could open the Caliber vault in five minutes. ERIC You could open it in five minutes? ZED From the inside it's easy. ERIC -LRB- excited. -RRB- Hot damn. That is our answer. ZED Okay. When is Bastille day? ERIC Tomorrow. ZED Tomorrow!? We're doing this tomorrow? ERIC But of course. ZED It's impossible. ERIC It's not impossible. Everyone knows what to do. ZED I do n't know what to do. ERIC You do n't need to know shit. Just get into the vault and we'll do the rest. ZED I have n't even seen the bank. ERIC Fuck the bank. Before we do a job we live life. It's better that way. Okay? ZED -LRB- unsure. -RRB- Okay. ERIC Good. Now we do heroin!",
"INT. ERIC'S FLAT - BATHROOM - NIGHT EXTREME CLOSE ON : Eric making heroin. The heroin powder is put into a spoon with some lemon squeezed into it, then a little bit of tap water. Huddled around Eric are Francois, Ricardo, and Oliver. OLIVER -LRB- so high he's wobbling. -RRB- You have to look at the Starship Enterprise as a metaphor for the human brain. No one is really listening to Oliver. Eric takes out a lighter and cooks it to a boil. OLIVER -LRB- continuing. -RRB- Spock is the right hemisphere of the brain, all logic and intellect. Mc Coy is the left hemisphere, stricktly emotional. And Kirk is the unseen observer. He drifts between the two. Back and forth, as it might be, caught between the two thought processes. ERIC Cotton. Ricardo hands him a cotton ball. OLIVER -LRB- continuing. -RRB- It's really quite brilliant you know. That's why Star Trek is and always will be a hit show. Eric places the cotton ball in the spoon with the mixture. ERIC -LRB- to Oliver. -RRB- Here, shut up and hold this. He hands Oliver the spoon and takes out a needle. Using the cotton as a filter he draws the heroin into the syringe. Then, he holds the syringe up and starts tapping it. ERIC Do n't want to get air bubbles in my veins. They all laugh at this.",
"INT. ERIC'S FLAT - LIVING ROOM - NIGHT In the meantime, Zed is sitting on the couch with Claude and Jean. Claude is rolling a hash and tobacco cigarette. Jean is chopping up some powder heroin on the glass of a small picture. JEAN Do you want heroin? ZED No, I want to be sharp for tomorrow. Jean and Claude laugh at this. JEAN No. A little bit of heroin, some hash, a beer. and you're just right. Jean snorts a line. Claude offers Zed the spliff. Zed shakes his head `` no''. CLAUDE Okay. JEAN -LRB- recovering from the snort. -RRB- That's good. Eric, Francois, Ricardo, and Oliver come out of the kitchen laughing. Eric, Ricardo, and Oliver take a seat on the couch opposite Zed. Francois sits on the floor. Eric rolls up his sleeve. ERIC -LRB- to Ricardo in French. -RRB- Hold my arm. -LRB- then to Zed. -RRB- My vein is like a rock. Ricardo takes hold of his arm and squeezes. Eric inserts the needle into his vein and draws out a little blood. It mixes with the heroin, then he pumps it in. then back into the syringe, then all the way back in. He withdraws the needle. Ricardo lets go of his arm. Eric is in bliss. His eyes roll back into his head. He looks like he's on the verge of falling asleep. Then Jean takes another snort. Pretty soon everyone is smoking and getting high, shooting up, and drinking more beer. Then Jean holds out a piece of folded aluminum foil with some heroin in it. JEAN -LRB- to Zed. -RRB- Try some. It's called chasing the dragon. The Chinese have been doing it for centuries. ZED I do n't think so. JEAN Oh, but you must. It will make you feel as though the rest of the world is in a bubble of glass and that you're rubbing up against it like a bad windshield wiper. They stick the aluminum foil with the heroin in it up next to his face. They then light the bottom of the foil with a lighter. Before Zed knows it, he's inhaling a silky ribbon of smoke. Suddenly our plane of focus wildly shifts and we.",
"INT. ERIC'S CAR - MOVING - NIGHT Ricardo is racing Eric's car through the streets of Paris weaving in and out of traffic. Next to him is Oliver, and in the back seat is Zed and Eric. They're giving the very stoned Zed a whirlwind tour of the sights. A car speeds up next to them. In it is Francois, and Claude, with Jean driving. They are racing with Ricardo through the streets. The Patrick Hernandez song `` Born To Be Alive'' is blasting away on the radio. ERIC There. That's Notre Dame. But before Zed can even look it has past by. RICARDO Do you like French cars? All Zed can notice is that the speedometer is at 160 kilometers per hour. He tries to calculate what that is in miles per hour. ZED -LRB- answering Enrique's question. -RRB- Yes. RICARDO I like the Cadillac. Fifty - two to seventy - five. Very nice. ERIC Up here you can see the Eiffel tower. Zed is in too much of a blur. He leans over to Eric. ZED Is tomorrow really Bastille day? ERIC Yes, tomorrow we pull the biggest job in French history. And spend the rest of our lives in Monte Carlo. The drunken Englishman, Oliver, belches and then cheers.",
"EXT. PARIS STREET - NIGHT The two cars are franticly racing through traffic.",
"INT. JEAN'S CAR - MOVING - NIGHT Jean is very intent on beating them to whatever location it is they're going to. Claude, in the seat next to him, gives him some advice. CLAUDE Faster, faster. go faster. Let's beat them! Francois laughs and coughs out a cloud of smoke.",
"EXT. PARIS STREET - NIGHT Jean's car makes a dangerous lane change across traffic and cuts off Ricardo.",
"INT. ERIC'S CAR - MOVING - NIGHT Ricardo swerves as he passes a joint to Eric. RICARDO Shit! That bastard. ERIC -LRB- to Ricardo. -RRB- Watch it! Do n't crash my car. Eric takes a big hit. ERIC Over here is where the male prostitutes sell themselves. Do you see? No, Zed does n't see. Suddenly, everyone in the car is shouting out the windows. OLIVER -LRB- out the window. -RRB- Fucking fags! ERIC -LRB- also out the window. -RRB- Suce ma bite?! RICARDO Perverts d'homosexuels! Eric laughs. ERIC -LRB- into Zed's ear. -RRB- This is good to have you here. We could not do this without you. Zed nods. ERIC Everyone has agreed to give you double shares. That's good. Zed nods, delirious. ERIC You know I have AIDS. From the needle. Zed ca n't believe this. He's not sure if what he heard was what he thought he heard. ZED Really? Then Eric sees something. ERIC Okay, up here is the Arc de Triomphe. They take a sharp turn.",
"INT. CELLAR - NIGHT Eric, Zed, Francois, Ricardo, Jean, Claude, and Oliver are all walking down some dank stone steps into a cellar. Somewhere crazy Raymond Scott Toy Jazz music is playing. An old wine cellar has been converted into a Toy Jazz club. Nothing fancy. dirt floors, chairs and small tables scattered about. but the arched brick ceilings make for great acoustics. ON STAGE a BAND is playing away. In the audience sit about TWELVE FRENCH PEOPLE, all enjoying the music. AT THE BUFFET In the back of the club near the doors some tables have been set up with a buffet of local cuisine on it. Behind the tables are two rotund but happy French women MIRELLE and JOSEPHINE. Eric, Zed, Francois, Ricardo, Jean, Claude, and Oliver walk in and immediately start blabbing away in French to Mirelle and Josephine. Eric hands them some money. ZED'S TABLE Everyone enters and takes seats at various parts of the club. Oliver sits next to Zed. OLIVER So, how long have you known Eric? ZED Well, Eric's mother is American. OLIVER Yeah, and his dad's French. ZED They're divorced. And she and his father had some kind of six month split plan set up. So every six months he would come back to the states. We were best friends. Eventually he and his mother had a falling out and he stayed here. It's been. years. OLIVER Well, it's good to have you here. Eric speaks fairly highly of you. Say, he says you're a big fan of Viking films. ZED Well. I suppose. I used to be, when I was young. OLIVER Oh they're the best. Helmets with horns on them. Shit. That's fucking genius. He starts laughing. OLIVER How ` bout Toy Jazz? You like it? Zed watches the players on stage and then nods. ZED Yeah. I guess. OLIVER I love it. It's really good, you know? Like real music. It has a heart and culture all it's own. It's, like, jazz for dwarves. or guys in Leiderhosen. Total purity of essence. ZED Yeah. OLIVER Hungry cannibals'd like it. Then Claude comes up to them with some glasses and a bottle of red wine. CLAUDE Here, you must drink some of this wine, it's good. He pours Zed a glass. Oliver passes on the wine. OLIVER -LRB- to Claude. -RRB- Non merci, c'est de la merde. CLAUDE -LRB- to Oliver. -RRB- La ferme. C'est du bon vin. -LRB- to Zed. -RRB- The fucking English. Zed sips some. He's in no real shape to tell if the wine's good or not. ON STAGE Suddenly, it seems as though the bands music gets louder. The horns really start to scream and the room becomes a delirium of music. The band stands up. IN THE AUDIENCE The people watching start to dance, if not in their seats then right in front of everything. ZED'S TABLE Suddenly, Zed notices something. ON STAGE Eric is up on stage playing a trombone right alongside the band. ZED'S TABLE Zed blinks but it's true. Oliver and Claude start laughing. OLIVER Look at him. He's crazy. ON STAGE And surely he must be, yet, in a strange way, he's keeping up with the other musicians and sounding pretty good. Eric is all smile as he plays with them. Sweat is running down his face but he's caught up in the moment. ELISE, a woman from the audience has jumped up onto the stage, caught up in Eric's frenzy, and is dancing about like James Brown. Then, the music crescendos and Eric hands the trombone back to a musician. The set is over. Eric skips off the stage and walks over to where Oliver, Claude, and Zed are sitting.",
"EXT. BOULEVARD SAINT MICHEL - NIGHT The McDonalds on the corner of Boulevard Saint Michel and Rue Soufflot is bustling. Eric's Citroen screeches around the corner on it's way past the Pantheon and into the heart of the fifth Arrondissment.",
"INT. ERIC'S CAR - MOVING - NIGHT Eric and Zed are driving through the streets of Paris in Eric's car. The grooving Ryuichi Sakamoto song `` Triste'' is playing on the radio. ERIC I'm glad you came. How long has it been? ZED Years. ERIC It's amazing, you know? Here you are. One day in America. Now here. ZED Well, to be honest there really was n't much happening for me in the states. ERIC But in Paris your old friend Eric has a job for you, so you came. That's good. ZED How could I resist your invitation? ERIC You would have been stupid to. ZED So what have you been doing here? ERIC After school I spent some time in Algeria studying African philosophy. And then I bummed around. You know. For fun. For a while I worked at Le Figaro. The newspaper. ZED Really? ERIC Yes. With an assumed Masters degree. And lately we have just been bombing fascists here in Paris. You know, like terrorists. Zed looks over at him. ERIC It's fun.",
"INT. ERIC'S FLAT - OUTER STAIRWELL - NIGHT Eric and Zed walk up the stairs to the fifth floor where Eric's flat is. On the top landing there is a dead cat laying. Zed and Eric notice the cat as Eric is opening the door. There is also a telephone coming out of the neighbors door. ERIC The people next door are on holiday. We took their phone. If you want to make a long distance call, go ahead. ZED Is that cat dead? ERIC I do n't know. I think it's asleep but it's been there for days. Eric gives it a kick. No response. ERIC I guess it is dead. They walk into the flat.",
"INT. ERIC'S FLAT - LIVING ROOM - NIGHT Eric's flat consists of a good sized living room area with a connected kitchen and a small bedroom in the back. In the front of the living room there is a small balcony where the sounds of the city pour in. The room itself is a general mess. A bunch of guns are piled in one corner of the floor. Hung up on the wall is a huge, French `` Dressed To Kill'' poster. Some Brazilian Gilberto/Getz music is playing. Sitting at the table playing cards are three men : FRANCOIS, RICARDO, and JEAN. Sitting on the couch rolling a cigarette with hash is CLAUDE and OLIVER. They all turn as Zed and Eric walk in. ERIC Hello. They all return the greeting. ERIC -LRB- to Zed. -RRB- Okay. This is Francois, Ricardo, Jean, Oliver, and Claude. Got it? ZED I will. ERIC They all know who you are. -LRB- to the rest of them. -RRB- Ne soyez pa salauds. Offrez une biere au plus grand perceur de coffres. Oliver stands up and walks to the kitchen. OLIVER -LRB- with an English accent. -RRB- Zed, would you like a beer? ZED Thanks. OLIVER Do n't think of it. CLAUDE -LRB- to Zed. -RRB- Come. Sit down.",
"INT. ERIC'S FLAT - KITCHEN - NIGHT The kitchen is an absolute pig stye. Dishes are piled up in the sink and on the counter. Oliver grabs a glass that has some old beer in it and empties it. He scratches some filth off of it and pours some beer into the glass.",
"INT. ERIC'S FLAT - LIVING ROOM - NIGHT Zed takes a seat on the couch next to Claude. Suddenly, a SPIDER MONKEY dressed in a little Uncle Sam costume comes screeching up onto Zed's lap and then up onto his head, the whole time clawing at his eyes. Eric, amused, turns from the men playing cards and smiles. CLAUDE -LRB- to Zed. -RRB- Easy. Do n't scare him. He just wants to claim you. Zed is frozen as the monkey climbs around him and then onto Claude's shoulder. CLAUDE Let me introduce you properly. This is Enrique. The monkey screeches. CLAUDE He likes to be called Chim Chim, but we do n't always get what we like. do we? Again, the hideous creature screeches. CLAUDE -LRB- to Enrique. -RRB- Tais - toi! -LRB- then to Zed. -RRB- Do you like hash? Then Eric interrupts. ERIC -LRB- jokingly. -RRB- Do n't sit next to that junkie. CLAUDE Ahhhhhh! Claude throws a lit cigarette at him which explodes into a mass of sparks. They laugh. ERIC -LRB- to Claude. -RRB- That little shit monkey of yours pissed on my Billy Holiday albums. Next time he's out the door. -LRB- to Zed. -RRB- Zed, come here. Zed gets up and goes with Eric to the bedroom. On the way Oliver hands him the glass of beer. OLIVER Here you go mate. ZED Thanks. Oliver sits down next to Claude.",
"INT. ERIC'S FLAT - BEDROOM - NIGHT Eric's bed has probably never been made. In fact, this room looks a lot like Quentin Tarantino's old apartment. But, there is a certain order to all this chaos. Eric pulls out a blueprint and spreads it out over the bed. ERIC Do n't ask me where we got this. ZED Okay. ERIC On Bastille Day, all the banks are closed. He places his hand on the blueprint. ERIC But this one. BIP. The Banque Internationale de Paris. And for being greedy capitalists perhaps they will remain closed next Bastille day. Yes? Zed smiles. ERIC We will go in and shut the bank down. Now, look at this. Eric pulls out a complex electronic schematic. ERIC As you can see, only one person can start the alarm. -LRB- he hands it to Zed. -RRB- The concierge, at this desk. -LRB- he points it out on the blueprint. -RRB- We will take care of him. Then we can close the bank. No one will know the difference since every other bank will be closed. ZED -LRB- turning the schematic around. -RRB- Are you sure he wo n't push the alarm? ERIC Ahhh! He's right next to the door. We'd have to be totally incompetent not to stop him. Do n't worry about that. He points to the main floor vault. ERIC Here. This is where they keep the days reserve cash. Okay fuck that. He flips the page to the lower level blueprint. ERIC There are many vaults downstairs, but this is the vault we must get into. This is where the real prize is. ZED What kind of vault is that? He checks the blueprint. ERIC Ah. Swiss made. A Caliber. ZED Caliber? -LRB- he thinks about it. -RRB- It'll take three hours. ERIC No, that's too long. ZED That's how long it'll take. ERIC Well shit. It's too long. We have to be in and out. -LRB- he snaps his fingers. -RRB- Like that. Or there will be suspicion. A little time is okay. but too long and. He shrugs his shoulders in an `` I do n't know gesture.'' ZED Well hold on a second. -LRB- pointing to the blueprint. -RRB- What's this? Eric looks down at the blueprint. There is a small passage connecting the main vault to an adjacent vault. ERIC Another vault. ZED No this. Eric looks closely at the blueprint. ERIC I do n't know. it connects the two vaults. ZED Well, what kind of vault is this other one? ERIC -LRB- reading the blueprint. -RRB- Also Swiss, but this one is a Poseidon. ZED Why would those two vaults be connected? ERIC I do n't know. ZED Because I can get into this vault in half an hour. Maybe less. ERIC But this entry way is too small to get the platen out. We have a lot of merchandise in there. ZED No, do n't you see? We get in through this secondary vault and take this passage to the other main vault. From the inside I could open the Caliber vault in five minutes. ERIC You could open it in five minutes? ZED From the inside it's easy. ERIC -LRB- excited. -RRB- Hot damn. That is our answer. ZED Okay. When is Bastille day? ERIC Tomorrow. ZED Tomorrow!? We're doing this tomorrow? ERIC But of course. ZED It's impossible. ERIC It's not impossible. Everyone knows what to do. ZED I do n't know what to do. ERIC You do n't need to know shit. Just get into the vault and we'll do the rest. ZED I have n't even seen the bank. ERIC Fuck the bank. Before we do a job we live life. It's better that way. Okay? ZED -LRB- unsure. -RRB- Okay. ERIC Good. Now we do heroin!",
"INT. ERIC'S FLAT - BATHROOM - NIGHT EXTREME CLOSE ON : Eric making heroin. The heroin powder is put into a spoon with some lemon squeezed into it, then a little bit of tap water. Huddled around Eric are Francois, Ricardo, and Oliver. OLIVER -LRB- so high he's wobbling. -RRB- You have to look at the Starship Enterprise as a metaphor for the human brain. No one is really listening to Oliver. Eric takes out a lighter and cooks it to a boil. OLIVER -LRB- continuing. -RRB- Spock is the right hemisphere of the brain, all logic and intellect. Mc Coy is the left hemisphere, stricktly emotional. And Kirk is the unseen observer. He drifts between the two. Back and forth, as it might be, caught between the two thought processes. ERIC Cotton. Ricardo hands him a cotton ball. OLIVER -LRB- continuing. -RRB- It's really quite brilliant you know. That's why Star Trek is and always will be a hit show. Eric places the cotton ball in the spoon with the mixture. ERIC -LRB- to Oliver. -RRB- Here, shut up and hold this. He hands Oliver the spoon and takes out a needle. Using the cotton as a filter he draws the heroin into the syringe. Then, he holds the syringe up and starts tapping it. ERIC Do n't want to get air bubbles in my veins. They all laugh at this.",
"INT. ERIC'S FLAT - LIVING ROOM - NIGHT In the meantime, Zed is sitting on the couch with Claude and Jean. Claude is rolling a hash and tobacco cigarette. Jean is chopping up some powder heroin on the glass of a small picture. JEAN Do you want heroin? ZED No, I want to be sharp for tomorrow. Jean and Claude laugh at this. JEAN No. A little bit of heroin, some hash, a beer. and you're just right. Jean snorts a line. Claude offers Zed the spliff. Zed shakes his head `` no''. CLAUDE Okay. JEAN -LRB- recovering from the snort. -RRB- That's good. Eric, Francois, Ricardo, and Oliver come out of the kitchen laughing. Eric, Ricardo, and Oliver take a seat on the couch opposite Zed. Francois sits on the floor. Eric rolls up his sleeve. ERIC -LRB- to Ricardo in French. -RRB- Hold my arm. -LRB- then to Zed. -RRB- My vein is like a rock. Ricardo takes hold of his arm and squeezes. Eric inserts the needle into his vein and draws out a little blood. It mixes with the heroin, then he pumps it in. then back into the syringe, then all the way back in. He withdraws the needle. Ricardo lets go of his arm. Eric is in bliss. His eyes roll back into his head. He looks like he's on the verge of falling asleep. Then Jean takes another snort. Pretty soon everyone is smoking and getting high, shooting up, and drinking more beer. Then Jean holds out a piece of folded aluminum foil with some heroin in it. JEAN -LRB- to Zed. -RRB- Try some. It's called chasing the dragon. The Chinese have been doing it for centuries. ZED I do n't think so. JEAN Oh, but you must. It will make you feel as though the rest of the world is in a bubble of glass and that you're rubbing up against it like a bad windshield wiper. They stick the aluminum foil with the heroin in it up next to his face. They then light the bottom of the foil with a lighter. Before Zed knows it, he's inhaling a silky ribbon of smoke. Suddenly our plane of focus wildly shifts and we.",
"INT. ERIC'S CAR - MOVING - NIGHT Ricardo is racing Eric's car through the streets of Paris weaving in and out of traffic. Next to him is Oliver, and in the back seat is Zed and Eric. They're giving the very stoned Zed a whirlwind tour of the sights. A car speeds up next to them. In it is Francois, and Claude, with Jean driving. They are racing with Ricardo through the streets. The Patrick Hernandez song `` Born To Be Alive'' is blasting away on the radio. ERIC There. That's Notre Dame. But before Zed can even look it has past by. RICARDO Do you like French cars? All Zed can notice is that the speedometer is at 160 kilometers per hour. He tries to calculate what that is in miles per hour. ZED -LRB- answering Enrique's question. -RRB- Yes. RICARDO I like the Cadillac. Fifty - two to seventy - five. Very nice. ERIC Up here you can see the Eiffel tower. Zed is in too much of a blur. He leans over to Eric. ZED Is tomorrow really Bastille day? ERIC Yes, tomorrow we pull the biggest job in French history. And spend the rest of our lives in Monte Carlo. The drunken Englishman, Oliver, belches and then cheers.",
"EXT. PARIS STREET - NIGHT The two cars are franticly racing through traffic.",
"INT. JEAN'S CAR - MOVING - NIGHT Jean is very intent on beating them to whatever location it is they're going to. Claude, in the seat next to him, gives him some advice. CLAUDE Faster, faster. go faster. Let's beat them! Francois laughs and coughs out a cloud of smoke.",
"EXT. PARIS STREET - NIGHT Jean's car makes a dangerous lane change across traffic and cuts off Ricardo.",
"INT. ERIC'S CAR - MOVING - NIGHT Ricardo swerves as he passes a joint to Eric. RICARDO Shit! That bastard. ERIC -LRB- to Ricardo. -RRB- Watch it! Do n't crash my car. Eric takes a big hit. ERIC Over here is where the male prostitutes sell themselves. Do you see? No, Zed does n't see. Suddenly, everyone in the car is shouting out the windows. OLIVER -LRB- out the window. -RRB- Fucking fags! ERIC -LRB- also out the window. -RRB- Suce ma bite?! RICARDO Perverts d'homosexuels! Eric laughs. ERIC -LRB- into Zed's ear. -RRB- This is good to have you here. We could not do this without you. Zed nods. ERIC Everyone has agreed to give you double shares. That's good. Zed nods, delirious. ERIC You know I have AIDS. From the needle. Zed ca n't believe this. He's not sure if what he heard was what he thought he heard. ZED Really? Then Eric sees something. ERIC Okay, up here is the Arc de Triomphe. They take a sharp turn.",
"INT. CELLAR - NIGHT Eric, Zed, Francois, Ricardo, Jean, Claude, and Oliver are all walking down some dank stone steps into a cellar. Somewhere crazy Raymond Scott Toy Jazz music is playing. An old wine cellar has been converted into a Toy Jazz club. Nothing fancy. dirt floors, chairs and small tables scattered about. but the arched brick ceilings make for great acoustics. ON STAGE a BAND is playing away. In the audience sit about TWELVE FRENCH PEOPLE, all enjoying the music. AT THE BUFFET In the back of the club near the doors some tables have been set up with a buffet of local cuisine on it. Behind the tables are two rotund but happy French women MIRELLE and JOSEPHINE. Eric, Zed, Francois, Ricardo, Jean, Claude, and Oliver walk in and immediately start blabbing away in French to Mirelle and Josephine. Eric hands them some money. ZED'S TABLE Everyone enters and takes seats at various parts of the club. Oliver sits next to Zed. OLIVER So, how long have you known Eric? ZED Well, Eric's mother is American. OLIVER Yeah, and his dad's French. ZED They're divorced. And she and his father had some kind of six month split plan set up. So every six months he would come back to the states. We were best friends. Eventually he and his mother had a falling out and he stayed here. It's been. years. OLIVER Well, it's good to have you here. Eric speaks fairly highly of you. Say, he says you're a big fan of Viking films. ZED Well. I suppose. I used to be, when I was young. OLIVER Oh they're the best. Helmets with horns on them. Shit. That's fucking genius. He starts laughing. OLIVER How ` bout Toy Jazz? You like it? Zed watches the players on stage and then nods. ZED Yeah. I guess. OLIVER I love it. It's really good, you know? Like real music. It has a heart and culture all it's own. It's, like, jazz for dwarves. or guys in Leiderhosen. Total purity of essence. ZED Yeah. OLIVER Hungry cannibals'd like it. Then Claude comes up to them with some glasses and a bottle of red wine. CLAUDE Here, you must drink some of this wine, it's good. He pours Zed a glass. Oliver passes on the wine. OLIVER -LRB- to Claude. -RRB- Non merci, c'est de la merde. CLAUDE -LRB- to Oliver. -RRB- La ferme. C'est du bon vin. -LRB- to Zed. -RRB- The fucking English. Zed sips some. He's in no real shape to tell if the wine's good or not. ON STAGE Suddenly, it seems as though the bands music gets louder. The horns really start to scream and the room becomes a delirium of music. The band stands up. IN THE AUDIENCE The people watching start to dance, if not in their seats then right in front of everything. ZED'S TABLE Suddenly, Zed notices something. ON STAGE Eric is up on stage playing a trombone right alongside the band. ZED'S TABLE Zed blinks but it's true. Oliver and Claude start laughing. OLIVER Look at him. He's crazy. ON STAGE And surely he must be, yet, in a strange way, he's keeping up with the other musicians and sounding pretty good. Eric is all smile as he plays with them. Sweat is running down his face but he's caught up in the moment. ELISE, a woman from the audience has jumped up onto the stage, caught up in Eric's frenzy, and is dancing about like James Brown. Then, the music crescendos and Eric hands the trombone back to a musician. The set is over. Eric skips off the stage and walks over to where Oliver, Claude, and Zed are sitting.",
"EXT. BANK - DAY EXTREME CLOSE ON : The door to the bank. Francois puts a sign on the door that reads : Closed for Bastille Day.",
"INT. BANK - SUB LOBBY HALL - DAY The sub lobby teller and the sub lobby guard # 2 rendezvous with the sub lobby assistant. SUB LOBBY TELLER -LRB- to assistant. -RRB- Do the phones work? SUB LOBBY ASSISTANT They went dead. SUB LOBBY TELLER Merde! They walk out into the sub lobby.",
"INT. BANK - SUB LOBBY - DAY The sub level teller and the sub lobby assistant walk into the sub lobby just as Eric, Zed, Oliver, and the bank manager start coming down the stairs. At the sight of Eric and his men the sub lobby guard # 2 aims his weapon but does not fire because of the bank manager. Eric presses his Uzi against the bank manager's neck. ERIC -LRB- to the guard. -RRB- Drop the gun! He does n't. ERIC Drop your gun now and nobody dies! After a moments thought about this, and the fact that Oliver has a sawed - off aimed at him, he slowly puts his gun on the floor. ERIC Good boy. They descend down the stairs into the sub lobby. Oliver takes his gun.",
"INT. BANK - LOBBY - DAY Francois, Ricardo, and Jean have finished herding everyone behind the teller windows. Claude is on his way downstairs. CLAUDE I'm going to check things out downstairs. RICARDO -LRB- to the people. -RRB- Now! On the ground! Face down! Then, for effect, he kicks a man.",
"INT. BANK - SUB LOBBY - DAY Claude comes downstairs with his gun raised. CLAUDE All clear down here? Everyone turns. ERIC Take these two upstairs. And chain the gate to the sub lobby shut. Oliver pushes the sub lobby guard # 2 and the sub lobby assistant toward Claude. Then he hands him a chain. Claude can barely maintain his enthusiasm. CLAUDE The phones and video are down! We're locked up tight! -LRB- then in English. -RRB- We fucking did it! He takes the two upstairs. Eric smiles through his teeth at the bank manager. ERIC Any others I should worry about? BANK MANAGER No. ERIC -LRB- to Oliver. -RRB- Well, just to be sure - Then, from one of the safety deposit booths a sound is heard. All eyes turn to it. Oliver walks up to it and kicks the door in. The stodgy customer is kneeling in it. He instantly holds his hands high. OLIVER Freeze motherfucker! Eric walks up, gun in hand. ERIC Who the fuck are you? STODGY CUSTOMER Please do n't shoot me! OLIVER On the ground! He does. ERIC -LRB- to the bank manager. -RRB- Making a deposit I hope. -LRB- he smiles to Oliver. -RRB- Bring him with us. They all make their way down through the sub lobby hall.",
"INT. BANK - RESERVE VAULT AREA - DAY They're herding the men through the hall. BANK MANAGER -LRB- to the sub lobby teller. -RRB- Vault locked? SUB LOBBY TELLER Yes. ERIC Shut your fucking mouths! BANK MANAGER -LRB- to Eric. -RRB- The vault doors are shut and time locked. You wo n't be able to open them. They walk through a doorway into the storage/elevator area.",
"INT. BANK - STORAGE/ELEVATOR AREA - DAY Eric pushes the manager and the others through the doorway. ERIC -LRB- to the bank manager. -RRB- You think we're fucking amateurs? You think we're stupid? I've got news for you. we planned ahead my friend! Eric pushes them infront of the Calibre vault door. ERIC Now save us a lot of time and just open the vault. BANK MANAGER No. ERIC Okay. He releases the bank manager and stuffs the barrel of his handgun into the sub level tellers mouth. ERIC Open the vault. The teller's eyes widen. BANK MANAGER I can not. ERIC Oh. -LRB- to the teller. -RRB- Can you? BANK MANAGER No. Once closed only I can open it. ERIC Then open it. BANK MANAGER I can not. The sub lobby teller's eyes plead with the bank manager. Zed is watching the whole affair nervously. ERIC Do you understand that I'll kill her if you do n't open this fucking vault? BANK MANAGER Do you understand that this is an international reserve bank? Robbing it is punishable by life imprisonment. Eric fires. The back of the sub lobby teller's head paints the wall red. ZED Jesus fucking Christ! The bank manager, shocked as he is, looks at Zed. He knows he's an American. The sub lobby teller's body slumps to the ground. Eric grabs the stodgy customer and puts the gun to his temple. ERIC Open the vault door or I'll kill this man next. The bank manager is freaking out, but after what was probably the most horribly agonizing internal debate, he holds his ground. BANK MANAGER I still can not open the vault. ERIC Come on. It's only things in there. This man is flesh and blood. BANK MANAGER I will not open the vault. ZED Eric no! I can open the vault! ERIC Shut the fuck up! -LRB- then to the stodgy customer. -RRB- You're a customer in this bank and this is how they treat you. Do you have a family? He nods his head `` yes''. ERIC Would you like to see them again? He nods his head again. ERIC -LRB- to the manager. -RRB- This man has a family he would like to have Bastille day dinner with tonight. So save us some time and open the vault. After losing about a pound of sweat. BANK MANAGER No. Eric quickly removes the gun from the customers temple and fires two shots into the bank manager's face. The bank manager falls against the vault door and onto the floor. ERIC Fucking idiot. -LRB- then to the stodgy customer. -RRB- You seem like a nice man. Tonight at dinner think about how lucky you are and how much you love your family. He starts nodding his head. STODGY CUSTOMER Oui. ERIC -LRB- to Oliver. -RRB- Take him upstairs. Oliver takes the customer upstairs to the rest of the people. Eric rips off his mask. ERIC Do n't you ever conflict with me during work again! Do you hear!? Zed off his clown mask. ZED You did n't have to shoot any of them! ERIC -LRB- patronizing. -RRB- Oh, I'm sorry. I did n't realize you were in charge now. Nobody told me. -LRB- his temper flares. -RRB- If he had opened the vault it would have saved us a fucking hour. He charges into the reserve vault area.",
"INT. BANK - RESERVE VAULT AREA - DAY They enter and Eric walks up to a bathroom door. ZED Eric. It's just that we've gone from being thieves to murderers. ERIC Oh fuck it does n't matter! Here you get the death penalty just for robbing a federal bank. ZED I thought the death penalty was abolished in 1980? ERIC Ohhhh! That's what they tell you! But who cares? I need to take a piss. Eric enters the bathroom. ERIC -LRB- on his way into the bathroom. -RRB- Why do n't you open the vault? Zed looks at the bathroom door close. After a fuming pause he turns and walks back toward the Poseidon vault door.",
"INT. BANK - LOBBY - DAY Francois peeks through the venetian blinds of the windows to the outside. FRANCOIS Looks clear. In the meantime, behind the teller windows guarding the people who are laying on the floor, Jean and Ricardo are in the middle of a conversation. Oliver is sitting on the counter, having just brought the stodgy customer upstairs. Also here now are the sub lobby assistant and the sub lobby guard # 2. JEAN What do you mean you're not sure if the alarm went off or not? RICARDO I mean I'm not sure. JEAN Well, either it did or it did n't. RICARDO And I'm not sure. JEAN Well, do you think it did? RICARDO I just fucking told you, I do n't know. JEAN Take a guess. RICARDO It did n't. JEAN You're sure? RICARDO No. It's just a guess. JEAN Well what kind of a fucking guess is that? You're saying it could have. RICARDO Yes. JEAN Well that's fucking great. Why did n't you just kill that asshole to begin with. I knew I should have been the one to kill him. You're always so damn slow. RICARDO Shit these masks are really hot. CLAUDE I know, I've got fucking sweat stinging my eyes. In the meantime Zoey is on the floor, unsure of what is going on.",
"INT. BANK - VAULT ANTECHAMBER - DAY Zed opens up his steel briefcase. Inside of it are all sorts of electronic gear and tools. He takes out a tape measure and some callipers and measures out a point on the vault door. He marks the point with a piece of chalk.",
"INT. BANK - MEN'S BATHROOM - DAY In one of the stalls Eric is preparing a syringe. He has just cooked the heroin and is now tapping on it to get the bubbles out.",
"INT. BANK - VAULT ANTECHAMBER - DAY Zed takes a power drill out from the briefcase and attaches a special diamond tipped bit. He measures the depth he wants to drill to and then marks the bit with a yellow pencil. He places his ear to the vault and taps the spot.",
"INT. BANK - MEN'S BATHROOM - DAY Eric readies the needle and slaps his vein. He is shaking but trying to remain as still as possible. He places the needle at the end of a track on his arm and inserts it.",
"INT. BANK - VAULT ANTECHAMBER - DAY Zed starts drilling into the point he marked with the chalk on the vault door.",
"INT. BANK - MEN'S BATHROOM - DAY Eric's eyes roll back into his head as the heroin fills his vein. He drops the needle to the floor and sits back to enjoy the rush.",
"INT. BANK - LOBBY - DAY Zoey is sitting on the floor next to the other bank hostages.",
"INT. BANK - VAULT ANTECHAMBER - DAY EXTREME CLOSE ON : Zed's drill bit. It burrows into the steel wall of the safe spewing out spiral shavings.",
"INT. BANK - LOBBY - DAY Zoey looks at all the people sitting around her. They're all scared. Jean, Ricardo, and Francois are talking amongst themselves. JEAN -LRB- in French to Ricardo. -RRB- Do you know one? RICARDO Let's see. Okay. An unfortunate fellow was locked up in prison doing five to ten for armed robbery. All he could think of the whole time was eating pussy. Zoey looks up at them telling the joke. RICARDO The day finally came for his release. He walked out of the prison with a new suit and fifty francs the officials had given him, and made a bee - line for the whorehouse in the nearest town. Slamming his fifty francs on the front desk, he said, `` I wan na eat some pussy.'' Jean is already laughing. RICARDO I'm not done. Listen. `` Where've you been,'' said the greasy fellow behind the desk, `` fifty francs wo n't get you a close look these days.'' Zoey glances at all of the people. Then her eyes lock with the concierge security guard. RICARDO `` Listen buddy,'' said the ex - convict, pulling him out of his chair by the shirt collar, `` I wan na eat some pussy, and I want it now!'' The concierge security guard lifts his pant leg slowly. RICARDO `` Okay, okay,'' gasped the proprietor, `` I'll see what I can do.'' So the ex - con followed him through to the very back of the warehouse through some stained, tattered red curtains, and into a grimy little room where a bedraggled looking whore lay spreadeagled on a filthy bed. `` She's yours for fifty francs,'' said the proprietor, and the fellow went at it. Zoey notices that on the concierge security guard's leg is an ankle holster with a small.38 pistol on it. His fingers begin to unsnap the safety harness on it. Her eyes widen. RICARDO After a little while, he came across a piece of egg. `` That's funny,'' he thought to himself, `` I do n't think I had egg for breakfast.'' But he spat it out and kept eating away. Next he found a piece of chipped beef wedged between his front teeth. `` I'm sure I have n't eaten chipped beef this week,'' he thought, but kept on. Then he came across the corn. `` What is this?'' he said, `` I think I'm going to be sick.'' The concierge security guard unsnaps the safety. Zoey knows he's going to make his move. RICARDO `` Ya know,'' says the whore, `` that's what the last guy said.'' Before they can even laugh the concierge security guard whips out the.38 and fires three shots. Two of them hit Ricardo in the chest. He falls to the ground. The other hits Francois in the arm. In an instant Jean is firing his machine gun into the group of people huddled on the floor. Everyone is screaming and trying to get away. Machine gun fire cuts through the concierge security guard killing him dead. Unfortunately, the wild spray of bullets also rips into three of the tellers, four of the customers, and the loan officer, killing them all. People are trying to flee but Claude fires his gun into the ceiling. CLAUDE No one fucking moves! Jean has jumped up on the table and is aiming at the people. JEAN Shit! What happened!?",
"INT. BANK - VAULT ANTECHAMBER - DAY Zed looks up hearing the commotion. Eric comes running out of the bathroom and into the storage/elevator area. ERIC What is it? What's going on? Zed gets up to go upstairs. ZED I do n't know. ERIC No! You stay here. Eric runs upstairs.",
"INT. BANK - LOBBY - DAY Francois is on the ground holding his arm. He keeps rolling back and forth in pain. Ricardo is dead. Jean, Claude, and Oliver are waving their guns around ready to kill someone any second. JEAN Nobody fucking moves! Nobody fucking moves! Claude motions to the dead security guard. CLAUDE The gun! Somebody get it! Oliver goes over to the dead security guard, the whole time waving his gun at people. OLIVER Do n't fuck with me! Do n't fuck with me! He grabs the gun from the dead security guards limp grip. Eric storms in. He is n't wearing his mask. ERIC What the fuck is going on!? Zoey notices Eric, she remembers him. OLIVER -LRB- pointing at the dead man. -RRB- This crazy fuck shot Ricardo! Eric looks over at Ricardo and then at the carnage. Then everybody notices he is n't wearing a mask. JEAN -LRB- quietly. -RRB- Eric, your mask. ERIC Oh shit. Then Oliver yanks his off. OLIVER Who gives a damn if they see us or not anyway! I ca n't see a fucking think in this! Everyone takes their masks off. ERIC Is this what happens? Is this what happens when I walk away for five minutes? CLAUDE He had a hidden gun. ERIC -LRB- mimicking a little child. -RRB- He had a hidden gun. -LRB- then back to normal. -RRB- I do n't care! Then, one of the bank customers, a MALE TOURIST, speaks up. MALE TOURIST -LRB- holding up his passport. -RRB- This is insane! I am a U.S. citizen! You must let me go! Eric looks at him. MALE TOURIST I'm an American! American! I'm just here exchanging dollars. If it was n't for my country you'd all be speaking German! Eric is tired of this outburst, he shoots him. Everyone screams. ERIC -LRB- to the people. -RRB- I have had enough of this nonsense! The next person that speaks will die! Everyone is quiet. Francois is sitting on the floor bleeding from his arm. JEAN Eric, I'm sorry. Things got out of hand. But we're in control now. ERIC Good. Let's try to keep it that way. God what a mess. CLAUDE Eric ERIC What the fuck is it now!? You want me to hold your hand as you take a piss? CLAUDE I have a question. ERIC What? CLAUDE Do we know if the alarm went off or not? ERIC Yes. CLAUDE We do? ERIC Yes. It did n't go off. If it had the police would be here and our whole plan would be fucked. But they're not here, and our plan is n't fucked. So if there are n't any more fucking stupid questions I'll go downstairs and see if we're in yet. Is that okay with you? Claude nods. Then, the phone rings. Everyone looks at it. ERIC I thought the phones were dead. It rings again. OLIVER The phones are dead. Eric grabs a WOMAN TELLER who is crying hysterically and lifts her to her feet. He drags her to the ringing phone. ERIC Answer it! She is crying too hard. Eric puts his gun to her head. ERIC Answer it or you will die. She slowly picks up the phone. WOMAN TELLER -LRB- answering phone through tears. -RRB- Banque Internationale de Paris. She pauses, then hands the phone to Eric. WOMAN TELLER It's for you. Eric takes the phone and pushes her to the floor. He puts the receiver to his ear. ERIC -LRB- into phone. -RRB- Hello. -LRB- pause. -RRB- Who is this? Eric motions to Oliver to check the windows. Oliver runs over and peeks out the blinds. OLIVER Oh my God! The police! ERIC -LRB- into phone. -RRB- What do you want? Eric looks around at the dead bodies. ERIC -LRB- into phone. -RRB- We're all fine in here. Oliver is pacing back and forth wildly. He starts loading extra ammo into his weapon. ERIC -LRB- into phone. -RRB- No. I'll tell you what, you go fuck yourself you fucking pig. You send anyone near this building and I'll kill the first person I lay my hands on. I've got plenty hostages here to kill so do n't even think of coming in. -LRB- pause. -RRB- Just stay put. We'll call you when we're ready. In the mean time, have a nice day. Eric hangs up the phone, and then leaves it off the hook. CLAUDE The silent alarm must have gone off after all! ERIC Shut the fuck up! The alarm did n't do shit. For all we know your idiot shooting brought them here. Anyhow it does n't matter. Nothing has changed. JEAN My God! The police! What are we going to do? ERIC Nothing. We do n't have to do anything. The plan stays the same, just slightly different. Then Eric catches sight of Zoey, their eyes lock. Eric smiles and winks. Then he turns to Jean with a whisper. ERIC If the police decide to come in. kill them. And if you do n't mind, stack those bodies somewhere else. This place is a fucking mess and it's bad for morale. Then he takes off downstairs, smiling. Jean is a little stumped.",
"INT. BANK - RESERVE VAULT AREA - DAY As Eric walks down the stairs and through the reserve vault area a look of intense concentration washes over his face. You can see that a trillion calculations are being made in his brain. the question is : are there any answers?",
"INT. BANK - VAULT ANTECHAMBER - DAY Zed is drilling now with a hand drill. He removes it and blows into the hole. Shavings come out. Eric comes trotting into the antechamber whistling. ZED -LRB- turning to Eric. -RRB- What's going on? ERIC Nothing. They were just scaring them. ZED Well, did you tell them to stay quiet? ERIC Yes. They're assholes. Just having fun. Zed looks into the hole. He has drilled into the vault door, revealing some wiring. ZED Fucked up my drill bit. ERIC It's okay. You can buy another one. Zed takes out a volt meter from his briefcase and inserts the two prongs into the hole. ZED Cross your fingers. Eric does. The volt meter's needle jumps. ZED Perfect. ERIC Excellent. What next? ZED We find the fuse box. It'll probably be upstairs. Zed gets up. ERIC It's okay. I'll find it for you. ZED No. I need to see it myself. Zed jumps up and into the storage/elevator area with Eric close behind him. ERIC I think it would be better if I looked for you. I could -",
"INT. BANK - STORAGE/ELEVATOR AREA - DAY Instead of walking upstairs, Zed finds the fuse box right in the next room. ZED Hold on. Here she is. Eric is a bit relieved. Zed opens it up. ZED Let's see. He looks through the fuses and then finds the one he wants. ZED Okay, you throw this fuse switch off and then back on when I call to you. Any other switch may set off the alarm. Eric smirks. ERIC Oh, I would n't want to do that. ZED -LRB- serious. -RRB- Got it? ERIC -LRB- nodding. -RRB- Got it. Zed goes back to the vaults.",
"INT. BANK - VAULT ANTECHAMBER - DAY Zed trots back to the Poseidon vault door and quickly grabs a little gizmo from out of his briefcase. It is a little home - made black box with a series of LED's on it and two wires coming out of one side with alligator clips on the end. Three other wires are also coming out of it. He slips the alligator clips into the hole and latches them. He then tapes one of the wires to the vault itself. The two remaining wires he hooks up to a large twelve volt battery. ZED Come on sweetie do n't fail me now. He looks toward the door leading to the reserve vault area. ZED -LRB- calling to Eric. -RRB- Ready?! ERIC -LRB- O.S. -RRB- -LRB- calling back. -RRB- Ready! Zed turns on his little box, the LED's start flickering. ZED Now! The lights go out and then back on. There is a whirring sound from the vault door. The LED's quickly go from red to green. There is a loud, heavy clicking as the vault door unlocks. ZED Open seasame. Zed smiles and swings the door open revealing the interior of the Poseidon vault. Eric comes running in like a kid on Christmas morning. ERIC It worked! He and Zed hug. ERIC Oh my God it worked! Zed looks into the Poseidon vault at the passage connecting it to the main vault. It is covered by a small locked cage. ZED I can get through that lock in a minute. ERIC Then do it. We do n't have all day. Zed enters the Poseidon vault.",
"INT. BANK - POSEIDON VAULT - DAY Zed goes to the gated passage which is n't much more than a window in one upper side of the vault, but it's enough to get him into the main vault. Eric is right behind him. Zed takes a twirl at the combination lock. ZED Dime store brand. Three minutes max. ERIC Good. Then, there's a gunshot. The bullet comes from the Calibre vault through the window and almost hits Zed. Zed falls backwards onto the floor. ZED Fuck! ERIC Merde! Then there's another gunshot. The bullet ricochets through the vault. ZED Jesus Christ! Scrambling on their hands and knees Zed and Eric crawl out of the Poseidon vault.",
"INT. BANK - VAULT ANTECHAMBER - DAY They take cover. Another shot is fired into the vault. Zed and Eric look into the vault. ZED Another security guard? ERIC Must be. ZED I think I stained my pants. ERIC Me too. Oliver comes running in with his gun ready for action. OLIVER What is it?! I came down to see how things were going and heard shots! ERIC Some asshole in the vault. Oliver takes cover and cocks his gun. OLIVER We've got guns. Why do n't we just storm in and blast his fucking ass! It's three against one! Let's give it the old - ERIC Quiet! OLIVER I'm just trying to be helpful. ERIC Just let me think. OLIVER You do n't have to snap at me. Eric peeks into the vault. ERIC -LRB- calling into the vault. -RRB- Hey you. Nice shooting. Play time's over. Why do n't you throw out your gun? VAULT GUARD #1 -LRB- O.S. -RRB- -LRB- calling from main vault. -RRB- No! Oliver and Eric look at each other and smile. ERIC Come on. We do n't want to kill you. VAULT GUARD #1 -LRB- O.S. -RRB- You'll have to! ERIC -LRB- quietly to Zed. -RRB- What is this guys problem? -LRB- then to the guard. -RRB- Come on! You're making me impatient. I do n't have all day. VAULT GUARD #1 -LRB- O.S. -RRB- Look, do n't take it personally. This is my job. Oliver and Eric look at each other and shrug. Then Eric sees something in Zed's briefcase. It looks like grey clay. ERIC Then take a paid vacation. We wo n't tell if you wo n't. There is a pause. During this time Eric takes the clay and pushes a detonator into it. ZED -LRB- quietly. -RRB- What the Hell are you doing? Have you gone mad? VAULT GUARD #1 -LRB- O.S. -RRB- Sorry. I ca n't. ERIC Well, look, we're going to give you fifteen minutes to change your mind. Okay? VAULT GUARD #1 -LRB- O.S. -RRB- Okay. Zed starts to grab the plastique away from Eric. Eric resists. ZED -LRB- holding his voice down. -RRB- That's too much. It's dangerous. ERIC I like danger. -LRB- then to the guard. -RRB- Changed your mind yet? Eric creeps into the room and activates the detonator. Zed and Oliver run for cover. VAULT GUARD #1 -LRB- O.S. -RRB- No. And I'm not going to. Why do n't you just take the money from the other vaults? - Eric tosses the bar of plastique through the caged window and makes a break for it. There is a huge explosion in the adjoining main vault. The walls quake and a fireball bellows out of the caged window, blowing it open. The vault guard # 1 screams and then goes silent.",
"INT. BANK - LOBBY - DAY Francois, Claude, and Jean are forcing customers to drag dead bodies into a cube. The room shakes and everyone looks toward the hall that leads to the stairs. The hostages, whose nerves are already shot, start crying. FRANCOIS Should we see if they're okay? JEAN No. They're just blasting the vault open. CLAUDE What does it matter now? We're fucking surrounded by police.",
"INT. BANK - VAULT ANTECHAMBER - DAY Dust has blown out of the vault and is settling on Oliver, Zed, and Eric, who is laughing like a madman. Zed is looking at him like he's crazy. ZED You asshole! You could have killed us all. ERIC But I did n't! Let's go check out the damage. Eric gets up and walks into the Poseidon vault. Before Zed follows him he looks at Oliver who does n't know what to think.",
"INT. BANK - POSEIDON VAULT - DAY Eric laughs. ERIC Zed look! He points to the caged window. It's been blown off it's hinges. ERIC I beat you! I opened it in under three minutes. He starts laughing and then crawls through the connecting passage into the Caliber vault. Zed, with his briefcase, follows. ZED -LRB- to Oliver. -RRB- Go around and wait at the main vault door. When I tell you, open it up. OLIVER Right. When you tell me, I'll open it up. ZED Right. OLIVER Right. Zed crawls through the opening. OLIVER I'll be at the other vault waiting for you to call to me.",
"INT. CALIBER VAULT - DAY The main vault looks like what a vault would look like if it were blown up from the inside. On the floor is the still smoldering body of the security guard. The room is incredibly smokey. Zed squeezes through the opening. Then, Eric, grinning like a schoolboy, emerges from the smoke with a brick sized bar of pure gold. ERIC Look at it! We're all rich! The smoke clears and we see that on the far side of the vault there is a huge platen on wheels with bricks of gold stacked onto it. Eric starts laughing. ERIC We're rich! Zed looks at him like he's crazy. ERIC We're rich! ZED We're not out of here yet. ERIC Yes but we're rich! Zed takes a seat at the vault door. The backside of a vault door looks like an incredibly intricate clock. Zed removes the Plexiglass shielding. ERIC I'm going to show the others. He squirms out of the entry with the brick of gold. Zed shakes his head and goes to work setting dials and using his voltmeter to test electrical points.",
"INT. BANK - LOBBY - DAY Claude is talking to Jean. CLAUDE What? You think we may actually get out of this? You're fooling yourself. JEAN Why are you such a pessimist? CLAUDE Are you kidding me? Look at this mess. Jean surveys the mess, the crying people. CLAUDE This is nothing. Imagine the police outside. We're dead men. Eric walks in from the rear stairs. In his hand is a brick of gold. ERIC Jean, Francois, Claude. look at this. They see the gold. JEAN You did it! You got in! ERIC Zed is opening the vault now. This is a taste. Eric holds the bar of gold up for all the people to see. ERIC Look at this and tell me I'm not brilliant. WOMAN CUSTOMER -LRB- crying. -RRB- You're a monster! And you'll never leave this place alive! Eric shoots her with his Uzi. ERIC -LRB- to the hostages. -RRB- None of you are worth half of this single bar. Remember that. Francois, Jean, and Claude look at each other. CLAUDE Eric. can I speak with you? ERIC Of course. CLAUDE In private. ERIC There's no need. I have nothing to hide. What is it Claude? CLAUDE Well. we're surrounded by the police and we have no way out. What are we going to do? Eric slaps him across the face. ERIC What are you doing Claude? Talking of all this false doubt. What do you think we're going to do? Claude is hurt, not physically but emotionally. CLAUDE I do n't know. not the original plan. ERIC Obviously, since Ricardo fucked us up and did n't kill the concierge fast enough. And killing all these assholes -. -LRB- motioning to all the customers. -RRB- - is n't going to do us a damn bit of good now, is it? CLAUDE No. ERIC No. Because we'll need them as hostages when we get on the plane. CLAUDE We're going on a plane? Eric pats his shoulder. ERIC Claude, you are a mental giant. Leave the plans up to me and just kill people if they get out of line, okay? CLAUDE Okay. Eric turns and starts to walk toward the downstairs. ERIC I'm going to see how things are going.",
"INT. BANK - REAR STAIRS TO LOBBY - DAY Eric is whistling while he walks, he pauses to perform a quick magic trick, then he continues.",
"INT. RESERVE VAULT AREA - DAY Eric walks into the reserve vault area. He stops. He hears something. A scratching sound. He looks at it's source, TWO POLICEMEN, decked out in black flak jackets and gas masks are starting to come out of a sewer manhole. Eric's eyes widen. He takes his silencer out of his coat and fixes it to his handgun. Then, like a man with intent to kill, he rapidly approaches them. The one who came out of the manhole turns just in time to see Eric fire into his chest. Then, Eric aims the gun into the tight crawlspace and fires into the other man. For safe measure he empties his gun into the tiny causeway. He drops the gun into the hole and then shoves the other policeman into it. He then pushes a large utility wagon over the manhole cover to stop anyone else from coming in.",
"INT. BANK - REAR STAIRS TO LOBBY - DAY Eric comes running out from the reserve vault area and up the stairs to the lobby.",
"INT. BANK - LOBBY - DAY Eric rushes into the lobby. ERIC They want to fuck with me!? They want to fuck with me!? He puts the phone on the hook. It instantly rings. He answers the phone. ERIC You want to fuck with me!? I'll show you what happens to people who fuck with me! He throws the phone to the ground and looks at Zoey. ERIC The moment of truth my love. You knew it would come. He grabs Zoey and lifts her to her feet. ZOEY -LRB- screeching. -RRB- No! Then, the assistant manager stops him. ASSISTANT MANAGER No! What ever it is you're going to do have mercy! Eric suddenly calms down. ERIC Have mercy? ASSISTANT MANAGER Yes. ERIC With her. ASSISTANT MANAGER Yes. ERIC That's sweet. -LRB- to Zoey. -RRB- You have quite a reach my lovely. Is he one of your clients? He pushes Zoey to the ground. ERIC It's a deal. ASSISTANT MANAGER Thank you. ERIC Do n't mention it. He grabs the assistant manager and at gunpoint forces him to the main entrance. CLAUDE Eric! What are you doing? ERIC Clearing up the `` how full of shit am I'' question the cops are asking themselves right now. The assistant manager is putting up a bit of a struggle but Eric simply forces him along. Everyone waits until suddenly they hear a burst of gunfire from outside. They all scream. Eric walks back into the bank, he picks up the phone. ERIC -LRB- into phone. -RRB- Hello. -LRB- pause. -RRB- Yes. I'll hold. -LRB- then to Claude. -RRB- I'm holding. After a little bit of a wait someone comes on the other end of the line. ERIC -LRB- into phone. -RRB- Hello. -LRB- pause. -RRB- You do n't know the fucking half of it. So just shut the fuck up and listen. Try any more stunts and I'll fucking really go crazy. -LRB- pause. -RRB- Well that's good because if you faggot cops even think of it I'll kill some more people. Hear? -LRB- pause. -RRB- No. None of that. We wo n't trade. That never works. Not in the movies, not in real life. Understand? We're going to get into our van, with a couple of people, go to the airport, and fly out of this shit hole city. And you're not going to follow us. -LRB- pause. -RRB- Who do you fucking think is going to supply the plane? Us? No, you fucking imbecile, the French taxpayers would be a good second guess for you. You're really pissing me off. You think I'm a fucking amature? He covers the mouth piece. ERIC -LRB- to Claude. -RRB- I fucking hate cops.",
"INT. BANK - CALIBER VAULT - DAY Zed is sweating as he works away at the back of the door. He glances over what he's done and makes a calculation on a calculator. Then, there is a groaning sound. Zed, terrified, spins around. Another groaning sound. The vault security guard is n't dead. His body is charred and he's not moving but he's very much alive. VAULT GUARD #1 I'm going to die. Zed ca n't believe what he's seeing. He moves over to the body, leaving his work behind. VAULT GUARD #1 I'm going to die. please hold my. hand. I do n't. want to die. alone. Zed hovers over the body, afraid to touch it. He gives it a nudge with his foot. The body groans and then exhales the longest exhale ever. Zed kneels down next to the body. ZED Are you still there? Nothing. Zed puts his hand to the neck of the vault guard # 1 and checks for a pulse. Nothing. Zed sits there for a moment looking at the corpse, then, like he wants to get out of there as soon as possible, he scrambles to the door and starts adjusting several switches. He has wired a battery to two leads. He takes out a wire cutter and snips a wire. There is a sudden barrage of whirring and clicking sounds as the vault unlocks. Zed calls to Oliver from the passage.",
"INT. BANK - STORAGE/ELEVATOR AREA - DAY Oliver is staring at the dead bodies of the manager and sub lobby teller. ZED -LRB- O.S. -RRB- -LRB- distant, calling from the vault. -RRB- Oliver, now! Open the vault! Oliver turns the large wheel and opens the Caliber vault door. With some amount of energy the door opens. Standing inside is Zed. ZED Open seasame. He steps out of the vault. ZED Do you want to give me a hand? OLIVER Sure. Oliver puts his gun down and they go into the Calibre vault.",
"INT. BANK - CALIBER VAULT - DAY Oliver sees the huge platen of gold bricks. Zed puts his steel briefcase on top of it. OLIVER Holy mother. ZED Here, help me with this.",
"INT. BANK - LOBBY - DAY Eric slams the phone down and then in a fit of rage tears the phone from the wall. ERIC Merde! He grabs his machine gun and aims it at the sub lobby guard # 2. The sub lobby guard # 2 braces himself for gunfire. Eric fires into him. He is dead instantly. Everybody screams. Eric fires into his dead corpse until his gun runs out of bullets. ERIC That's what you get! Claude puts his hand on Eric's shoulder. CLAUDE Eric. Eric looks at him. ERIC The fucking police wo n't budge. I kill a man and they do n't care. They say they do n't make deals with terrorists. It really fucks up my plan. CLAUDE And what if we gave up? Eric ca n't believe this. ERIC -LRB- laughing. -RRB- Claude, look around you. We're not talking prison here. You know. The cops will give in. You start killing women. they give in. They're all so fucking much in love with women! Then he looks at Zoey. ERIC What are you looking at you fucking whore? She does n't want to say a thing that'll upset him. ERIC Are you afraid I'll tell these people that this is only a day job for you? She shakes her head `` no''. ERIC What? So they know that you're a - The sub lobby assistant speaks up. SUB LOBBY ASSISTANT Leave her alone. Eric cracks the butt of his gun into the man's face. ERIC Shut up! He clicks another clip into the Uzi and grabs Zoey by the collar and lifts her to her feet. ERIC My only mistake was not to make an example of a woman to begin with.",
"INT. BANK - CALIBER VAULT - DAY Zed takes the dolly and starts wheeling the platen of gold out. Oliver helps him. OLIVER This is unbelievable. Look at all of this. It's wonderful to touch. ZED Just help me steer this out. They maneuver out of the Calibre vault.",
"INT. BANK - STORAGE/ELEVATOR AREA - DAY They come out of the Calibre vault with the huge platen. OLIVER Do you think we should get some cash also? ZED What for? OLIVER Well, you never know. They start maneuvering the platen toward an elevator. ZED Money is too easily traceable. You'd never be able to spend it. And forget about exchanging it. OLIVER That's true. ZED No sir. Your best bet is to get these bars melted down in Tunisia or Korea. OLIVER Eric knows someone in Portugal. ZED Or Portugal. They get into the banks private freight elevator.",
"INT. BANK - FREIGHT ELEVATOR - DAY Zed closes the door and pushes the button to go up to the ground floor.",
"INT. BANK - LOBBY - DAY Eric is dragging Zoey by the hair toward the door when she grabs his groin and starts squeezing. Eric lets out a shrill scream and whacks the butt of the Uzi into her face. But she wo n't let go. Her years as a prostitute have taught her to ignore pain. She grabs hold of the gun hand. ERIC -LRB- groaning. -RRB- You fucking bitch! A few bursts of the Uzi go off and one shell stitches Eric's foot red. Eric lets go and falls to the ground. Claude, Jean, and Francois suddenly become attentive to what's going on. Zoey starts firing the Uzi but ca n't control it. She showers the room with bullets. She starts to run toward the back office blindly firing the gun in the direction of Claude, Eric, Francois, Jean, and the other hostages. Then, a tear gas cannister break through the top windows and start clouding the place up. Eric whips out his switch blade and hops on his bloody red foot. ERIC Bitch!",
"INT. BANK - FREIGHT ELEVATOR - DAY Zed is waiting for the elevator to arrive. ZED Do we have a covering of some kind? OLIVER A what? ZED You know. Something to cover this with. It'll look kind of conspicuous leaving the bank with a platten of gold. OLIVER Oh, it wo n't matter. The police know what we're up too. ZED Police?! What do you mean they know what we're up too? OLIVER You do n't know? We've been discovered. But Eric has them under control. Zed is frantic. ZED No I did n't know! How many police? OLIVER The building is surrounded. The elevator doors open onto the ground floor to the sound of automatic gunfire. Zed walks out into the back office.",
"INT. BANK - BACK OFFICE - DAY Suddenly, from the back office, Zed sees Zoey blasting away an Uzi and running toward the rear stairwell. Eric is in the lobby limping around. The other gang members are ducking from her fire. Then, her clip runs out. She sees Zed, their eyes lock. An IMAGE overcomes Zed. She runs down the stairs to the back. ERIC Kill her! Kill her! Oliver aims his gun to fire and Zed pushes it up. Oliver's gun discharges into the ceiling. Oliver and Zed begin to struggle.",
"INT. BANK - LOBBY - DAY Zed and Oliver collapse out of the back office and into the lobby. They tumble onto the floor. Eric hobbles over to them, his gun aimed at Zed. ERIC What the fuck are you doing!?",
"INT. BANK - RESERVE VAULT AREA - DAY Zoe is near tears. She drops the empty machine gun to the floor and starts walking toward the sub lobby.",
"INT. BANK - LOBBY - DAY Eric leans down to talk to Zed. Oliver and Jean are watching. Francois and Claude are more worried about the tear gas. CLAUDE They're trying to smoke us out Eric! FRANCOIS What do we do!? Eric waves them off with a brush of his hand. He's concentrating on Zed. ERIC Do you really love your bitch whore girlfriend that much? She's really fucked with your mind. ZED Eric. what are you talking about? Eric lifts him to his feet and holds him up against the knife. He turns him toward the smoke and whispers into his ear. ERIC Look at it. It's all for us. The smoke. The attention. They have no idea of who they're dealing with. They have no idea what kind of men we are. ZED -LRB- thinking Eric is a madman. -RRB- What kind of men are we? Eric looks at him and gives him a soft kiss on the cheek. ERIC You can no longer be in our club. You forfeit your cut of the pie. Zed laughs, there's not gon na be much of a pie to eat. ZED What about our friendship? ERIC Shit Zed. I have n't seen you in years. You hardly know me. He slashes Zed across the face with the switchblade. Zed falls backwards and tumbles down the stairs like a rag doll. ERIC Never let a girl come between two men. He walks down the hall toward the gold. ERIC Now let's try to get out of here. Eric walks into the back office. The others look at each other. Suddenly a black figure runs across the bank behind the shadows, Francois sees it and nervously fires. In the background the distinctive sound of European police sirens wail as more cars pull up to the outside of the bank. Also, an UNINTELLIGIBLE VOICE is blaring orders over a bullhorn. FRANCOIS The police! They're entering the building! Suddenly all of them start firing like blindly into the smoke. Francois runs back to Eric who has walked up to the elevator via the back office.",
"INT. BANK - FREIGHT ELEVATOR - DAY Eric caresses his hand across the bars of gold. ERIC -LRB- to himself. -RRB- Smoother and more giving than the most selfless human being. You're beautiful. Francois runs in. FRANCOIS Eric! ERIC Jesus, what now? FRANCOIS The police are coming in! We're doomed! ERIC Get a hostage. FRANCOIS -LRB- frantic. -RRB- They do n't give a fuck about the hostages!",
"INT. BANK - LOBBY - DAY Jean becomes a berzerker and runs out into a cloud of smoke and throws the tear gas container into the thick cloud. Then he turns to the police and holds his own gun to his head. JEAN Do n't make me! A single bullet passes through his torso. As Jean falls to the ground he lets loose a round of gunfire into the ceiling. Oliver is still firing, his face is red like a crazed man. From behind the counter the sub lobby assistant grabs a hold of Claude and wrestles him to the ground. The other customers start to flee for cover. Oliver sees the fracas between the sub lobby assistant and Claude. It looks like the sub lobby assistant is getting the upper hand. Oliver swings his gun around and sprays machine gun fire at them. killing them both.",
"INT. BANK - SUB LOBBY - DAY Zoe walks up the stairs out, not only are they locked but a cloud of tear gas is pouring into the downstairs sub lobby. Suddenly, Zed stumbles in. Zed is like a zombie. Then he notices Zoe in the stairwell. They lock eyes. ZED -LRB- almost delerious. -RRB- Zoe. She steps down into the sub lobby, machine guns crackle in the background. She runs up to him just as he slumps to the ground. ZOE -LRB- holding him. -RRB- My Zed. They've hurt you. She dabs a cloth to his cut face. He holds it on. ZOE -LRB- trying to comfort him. -RRB- You're going to be okay. In many countries scars on the face are a symbol of heroism. To proudly display a flaw like a badge. is to wear a badge of truth. He takes her hand. ZED Be serious Zoe. I can stick my tongue through my cheek.",
"INT. BANK - LOBBY - DAY The police are now laying it on heavy. Francois comes out of the office. FRANCOIS Oliver! Let's get a hostage! OLIVER This is the end! Francois is ripped into by machine gun fire. Oliver races past him.",
"INT. BANK - SUB LOBBY - DAY Tear gas is starting to fill the room. Zoe stands Zed up. ZOE Listen to me. We're going to lock ourselves into one of the air tight vaults. if any of them are still open. They start walking toward the reserve vault area.",
"INT. BANK - FREIGHT ELEVATOR - DAY Eric hops into the elevator and closes the door, just as Oliver runs up, firing toward the police. Eric is laughing manically as he leaves them behind. OLIVER Bastard! Oliver turns to where the police will surely be coming in.",
"INT. BANK - RESERVE VAULT AREA - DAY Zoey and Zed rush into the reserve vault area. Zoey notices that the downstairs reserve vault is closed. ZOE Merde! The vault has been closed. ZED What about the others? The gunfire upstairs has subsided and has been replaced by unintelligible POLICE VOICES. ZOE Listen. there's no gunfire. Zoey quietly opens the door opposite the vault that leads to the rear stairs to the lobby level.",
"INT. BANK - REAR STAIRS TO LOBBY - DAY Zoey peeks up the stairs just in time to see Oliver bolt for the stairs. OLIVER -LRB- to police. -RRB- Motherfuckers! A volly of gunfire rips into Oliver but he stands his ground and fires into the police. OLIVER You wan na fuck with me? You wan na fuck with me? I'll show you who you're fucking with! He starts blasting away. Terrified, Zoey leads Zed to the storage/elevator area. ZOEY C'mon, we'll be safer in here.",
"INT. BANK - STORAGE/ELEVATOR AREA - DAY The elevator door opens, Eric steps out and looks around like a caged animal. ERIC Think! Then, Zed and Zoey appear from the hall to the reserve vault area. Eric turns to them with his gun raised, when he sees them he lowers it. ERIC Zed. They all stand there for a moment, the gunfire cracking away upstairs. Eric is more casual than he should be. ERIC -LRB- matter - of - factly. -RRB- What's your girlfriends name? ZED Zoe. ERIC Zoe. -LRB- to Zoey in French. -RRB- Zoe, come here to me. Zoey spits at him. Eric laughs and aims the gun at her. ERIC Killing you would just be gravy, so do n't fuck with me. ZOEY Go ahead you slob. Shave my ass! Eric smashes the side of her face with the gun and then grabs a hold of her arm. Zed tries to stop Eric but Eric aims the gun at him. ERIC Zed no. I'll kill you. It means nothing to me, our friendship. ZED -LRB- starting out calm and then building to a scream. -RRB- Eric. there's no fucking way out of here! ERIC Oh but you're wrong. This is my way out. This dime store couge with her motor driven ass. You find your own. Zed rushes Eric and Zoey starts scratching. Eric drops the gun but quickly whips out his knife. She tries to get away from Eric but he has a hold on her shirt. Eric swipes at her with the knife and grazes he back. Then Eric slashes toward Zed who jumps back. Zoey falls to the floor. ERIC Come Zed. I'm going to cut you like a sausage. Zed is standing between Zoey and Eric. ZED Zoey, get out of here! She scrambles away. He swipes at Zed. Zed jumps back down the hall toward the reserve vault area.",
"INT. BANK - RESERVE VAULT AREA- DAY They rush out toward the stairs. ERIC Did you see how she ran? Did you see how she ran? She does n't care about you. Fucking pussy only cares about pussy. Look out for number one. What do you say Zed? He swipes again. ERIC I will kill you. And once I kill you Zed, I'll get out of here. I'll fuck your bitch up the ass and give her AIDS. if she does n't already have it. What do you say to that Zed? He swipes and Zed grabs a hold of the knife by the blade. Eric pulls it free and the knife falls to the floor. Zed takes this opportunity and kicks Eric in the face. Eric reaches for the knife. Zed, his hand bloody, dives onto Eric. Zoey also jumps onto them and starts yanking on Eric's hair. She plunges her nails into his face. ERIC Fucking bitch! Zed is rabbit punching Eric from underneath. Then, Eric grabs a hold of Zed's balls and squeezes. Zed lets out a shrill scream. Eric starts elbowing Zoey in the face. The three of them lay there on the floor wriggling like worms, unable to move because each is putting the other through such agony. Then, Oliver, shot up and bloody haplessly stumbles into the room. His body is a mass of bullet wounds. OLIVER Ox! Where is thy yoke!? He clumsily falls dead to the ground, his shotgun slides near Zoey, Zed, and Eric. The sight of the gun gives Eric the strength only a madman could posses. He rolls over and throws Zoey off him. Then, he smashes his forehead into Zed's nose, bursting it. Eric, deftly, rolls over and grabs the gun. He gets to his feet and cocks the pump action. ERIC Fuck both of you. Then he notices the lack of gunfire upstairs. Eric turns back to them. ERIC Au revoir. He aims to kill Zed. ZOEY No! Then, all of the French policemen, decked out in their assault gear and wearing gas masks, storm down the stairs. At the sight of Eric about to execute Zed they raise their guns. FRENCH POLICEMAN #1 Stop! Eric stops. It becomes quiet. Then, Eric looks back down at Zed and braces for the shotgun kick. ERIC I give you little kiss. Ciao. He squeezes the trigger and. CLICK The police open fire with their French made assault machine guns and fill Eric with bullets. Instead of falling he does a scarecrow dance as his body is painted red. The wall behind them explodes as plaster sprays all over Zed. An IMAGE overcomes Eric. Eric's dead body slumps to it's knees and flops on top of Zed. Zed pushes the body off and tries to drag himself to Zoey. Zoey runs up to him and holds him. The police all charge into the secondary vault area and secure the downstairs. Zoey is crying as she holds Zed. The police have their guns aimed at the two of them. Zoey looks up. ZOEY -LRB- to the policemen. -RRB- I work here. This man is a customer. he needs medical help. They take their guns away and kneel next to him, seeing if he's okay. FRENCH POLICEMAN #2 How bad do you think his wounds are? The other policeman, unable to tell because of Eric's blood, simply shakes his head. FRENCH POLICEMAN #1 -LRB- to Zoey. -RRB- Are you alright? Zoey starts to cry.",
"INT. BANK - LOBBY - DAY Zoey and Zed, bandaged up, are being aided by all of the French policemen as they walk through the bank. Smoke is still clearing, but the bodies of customers and bank robbers alike litter the area. PARAMEDIC's, wearing all white, try to help the injured, they assist Zed and Zoey. FRENCH POLICEMAN #1 -LRB- to Zoey and Zed. -RRB- There's an ambulance outside. -LRB- he looks around. -RRB- My God. What a Bastille Day. Zed's attention is caught by two OTHER POLICEMEN carrying a body bag. FRENCH POLICEMAN #3 -LRB- to French policeman # 1. -RRB- This one's the ringmaster. We need an I.D. No longer interested in Zoey or Zed, he goes to check out the body. ZOEY The hospital? ZED No. ZOEY Come on. I have a car. Zoey puts her arm around Zed and helps him out of the bank. never to return.",
"INT. ZOEY'S CAR - MOVING - DAY Zoey is driving. Zed looks like he's been in a burning building. ZED I'm so tired. ZOEY We'll go to my flat. You can rest there. Do you feel pain? ZED No. it was mostly his blood. ZOEY I have a shower. You can clean up there. ZED Thank you Zoe. He looks at her. ZOEY My name is not Zoe. Not any more. He looks forward at the streets of Paris. ZOEY You'll get well. Then I'll show you the real Paris. They drive away. THE END"
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] | Zed (Eric Stoltz), a professional safe-cracker, comes to Paris to help a childhood friend, Eric (Jean-Hugues Anglade), with a bank heist. In the cab on the way to his hotel room, the cabbie obtains a prostitute for him. He arrives at his hotel room and is soon greeted by the prostitute, Zoe (Julie Delpy), who also confides that she is studying art, and has a "very boring" day job. After having sex, they talk with each other amiably, then fall asleep. Their reverie is soon interrupted when Eric barges in and brusquely sends Zoe out of the room, so the two men can get on with their business. Eric takes Zed back to his residence where Zed meets Eric's friends. Eric explains his plans: the following day is Bastille Day and virtually everything is closed except for the bank they plan to rob, which is a holding bank and is open on holidays. Zed forgoes his rest time to spend the night partying with Eric and his friends among some of the less reputable people of Paris in a cavernous jazz club, which Eric refers to as 'the Real Paris'. During the binging, Eric confides to Zed that he has AIDS, which he contracted through IV drug use. The next day, Zed is awakened by Eric as they prepare to enter the bank. The team dons Carnival masks to hide their faces before bursting into the bank. They quickly kill those who do not cooperate as they escort Zed (who has not witnessed the killings) to the safe so he can get to work. Their plans soon start to disintegrate as the police show up and they're faced with the possibility of going to jail for life or having to shoot their way out. Eric throws an explosive into a vault and enters it (mortally wounding a guard in the process - Zed himself shoots the guard as an act of mercy), finding a large supply of gold bars—- but the thieves can't leave the bank alive with their fortune. Tensions become even higher when Zed recognizes Zoe (who coincidentally works at the bank) and attempts to protect her, to the fury of Eric, who viciously slashes Zed's cheek with a knife. A vicious gunfight between the police, Eric, and the rest of the gang begins—- with Zed caught 'innocently' in the middle. Eric's men are killed by the police as they rush the bank, and Zed and Eric begin to fight each other. The police shoot Eric to death. He falls on Zed, splattering great amounts of blood on him in the process (possibly exposing Zed to his HIV-infected blood). Injured, Zed is led away quickly by Zoe, who covers for him, stating he is a bank customer. They drive away in her car, where Zoe promises Zed that when he gets well she'll show him the 'real' Paris. | Killing_Zoe |
[
"The Sting A white on black TITLE appears in the lower left hand corner of the screen : AUGUST, 1936 FADE OUT.",
"EXT. A SLUM AREA OF JOLIET - DAY It's a bleak, windy morning, the kind that clears the streets of all but the winos -LRB- who carry their own heaters -RRB-, and the point - men for juvenile gangs. We pick up a solitary figure, Joe Mottola, coming down the street and entering what appears to be an abandoned tenement. He pauses a second to dust his white - winged alligator shoes on the back of his pants leg. Sharply dressed and surrounded by the aura of one who is making money for the first time and broadcasting it on all bands, he seems an incongruity in this part of town. We follow him up a flight of rickety stairs to a second floor flat. He knocks on the door, is admitted by a cautious doorman.",
"INT. NUMBERS SPOT - DAY Suddenly we are plunged into a room of chattering, clamoring people. This is a spot for the numbers racket, a place immune from legal interference, where any sucker can bet on a number between 1 and 1000 in the hope of getting the 600 to 1 payoff that goes to those few who guess right. The bettors are queued up in several lines before a long table, where they place their bets and are given receipts in return. Others wait at a cashier's window to pick up previous earnings or to ask for credit. Mottola moves through the crowd to a back room where betting slips are being sorted and money counted under the watchful and somewhat impatient gaze of a Supervisor, an older man named Mr. Granger. The Yankee - White Sox game is heard on the radio in the background. Mottola, noticing that his entrance has aroused little interest, saunters over to the Phone Girl and gives her a little pinch on the cheek. The girl slaps his hand away, obviously having been through this before. PHONE GIRL Beat it, Mottola. Granger glances up and exchanges a token nod with Mottola, who plops down in a folding chair next to the radio. The phone rings. PHONE GIRL 8720. Yes, hold on a second. -LRB- calling over to the Supervisor. -RRB- Mr. Granger, Chicago on the line. Granger is a little apprehensive about talking to Chicago, but takes the phone anyway. GRANGER Yeh?",
"INT. A WATERFRONT PROCESSING PLANT - CHICAGO - DAY A flabby, bald man named Combs is on the other end of the line. Visible beyond the door and interior window of his office is a large room, cluttered with tables, typewriters, clerks and adding machines. This room is the clearinghouse for all the transaction of the numbers game. All the betting slips and income from the spots are brought in here and processed. COMBS Granger, this is Combs. Why have n't we heard from ya? Everybody else is in. GRANGER We had a few problems with the Law this morning. The Mayor promised the Jaycees to get tough on the rackets again, so he shut everybody down for a couple hours to make it look good. Nothing serious, it just put us a little behind for the day. COMBS You been making your payoffs, have n't ya? GRANGER Hell yes. He does this every year. There's nothing to worry about. COMBS Okay, finish your count and get it up here as soon as you can. I do n't wanta be here all night. GRANGER Believe me, the Man's gon na be real happy. Looks like we cleared over ten grand this week. COMBS -LRB- not impressed. -RRB- We cleared 22 here. GRANGER Well, hell, you got the whole Chicago south side. How do ya expect the eight lousy spots I've got to compete with that? COMBS -LRB- reading off a sheet of paper on his desk. -RRB- They did 14 grand in Evanston, 16.5 is Gary, and 20 in Cicero. Looks like you're bringing up the rear, Granger.",
"INT. NUMBERS SPOT - DAY Granger burns inside. One of the girls who's been sorting and counting hands him a slip of paper. GRANGER I just got the count. We'll put the take on the 4:15. COMBS We'll be waitin'. Combs hangs up, smiling to himself, proud of the way he gave the needle to Granger.",
"INT. NUMBERS SPOT - DAY Granger storming over to a safe and jerking open the door. GRANGER -LRB- snapping. -RRB- Mottola. Mottola hustles out of his chair. GRANGER -LRB- handing him a bundle of bills. -RRB- Take this up to the city on the 4:15. They'll be waitin' for it at the clearing house. And do n't stop for no drinks. You can get a cab down the street. Mottola takes the money and slips it into his inside coat pocket with all the dramatic flair of the true flunky. No one would ever guess that he was just an overdressed messenger boy.",
"EXT. OF THE TENEMENT AGAIN Mottola emerges from a side entrance into a narrow alley. He walks briskly down to the end and turns left into a large alleyway ; this one connecting two streets. The alley is deserted save for one scruffy, slovenly dressed young stranger coming toward him from the opposite direction. The man carries a battered suitcase and seems to be in a hurry. Suddenly, Mottola hears shouting coming from somewhere behind him. He turns around to see a small, weathered looking thief come racing around the corner and down the alley toward him, frantically pursued by a gray - haired black man. Limping noticeably, the black man manages a few cries for help and then stumbles and falls. The stranger yells at Mottola to cover his side of the alley, and then readies himself for the arrival of the thief. Mottola just stands there, not the least interested in the exercise of justice. Just as the thief is about to run on by, the stranger throws his suitcase at the little man's legs, sending him sprawling and separating him from the wallet he's been carrying in his left hand. The stranger makes a dash for the wallet and kicks it back to where Mottola is standing. Almost by reflex, Mottola picks it up. The thief scrambles to his feet and starts back toward his new - found enemy, brandishing a knife. Both the stranger and Mottola brace themselves for an attack. The thief, realizing that there are two people to fight, begins to think better of it. He is not a young man, nor particularly strong. THIEF -LRB- shaking his fist at the stranger. -RRB- You fuckin' nigger - lover. I'll get you for this someday, sucker egg. Mottola and the stranger exchange glances of relief as the thief flees out onto the street and disappears. The black man, meanwhile, has struggled to his feet and is staggering toward them. He collapses against the alley wall after a few steps. The stranger rushes over to him, followed somewhat absently by Mottola. BLACK MAN The wallet. You got ta go after him. He's got all the money. STRANGER Do n't worry, we got the wallet. What happened? He get ya with the knife? The stranger opens the Black Man's coat to reveal a bloody wound at the top of his leg. BLACK MAN -LRB- trying to move. -RRB- Give it to me! Please. I got ta know it's all there! STRANGER You just sit tight, old man. We're gon na have to get you to a doctor. -LRB- starting to leave. -RRB- I'll call a cop. BLACK MAN No, no cops! Mottola has given him his wallet, which the black man now opens, disclosing a fat bundle of bills tied by a rubber band. Mottola and the stranger are amazed by the amount of money. STRANGER -LRB- a little uneasy. -RRB- You wanted by the law or somethin'? BLACK MAN Naw, it's okay. STRANGER You're crazy carryin' that kinda money in this neighborhood. No wonder you got hit. BLACK MAN -LRB- trying to get to his feet. -RRB- Thanks. I'm obliged to ya, but I got ta get goin'. -LRB- his leg gives way under him. -RRB- STRANGER You ai n't goin' nowhere on that leg. BLACK MAN I got ta! Look, I run some slots down in West Bend for a mob here. I got a little behind on my payoffs so they figure I been holdin' out on'em. They gave me to 4:00 to come up with the cash. I do n't get it there I'm dead. STRANGER It do n't look good, gramps, it's ten of now. BLACK MAN I got a hundred bucks for you and your friend if you deliver the money for me. STRANGER -LRB- hesitates. -RRB- I dunno. That little mug that got ya is mad enough at me already - what if he's out there waitin' around a corner with some friends. BLACK MAN He wo n't know you're carryin' it. C'mon, you got ta help me out. STRANGER -LRB- makes up his mind. -RRB- Sorry, pal. I'll fix you up, call you a doc, but I ai n't gon na walk into a bunch of knives for ya. BLACK MAN -LRB- desperate to Mottola. -RRB- How bout you? I'll give you the whole hundred! STRANGER What makes you think you can trust him? He did n't do shit. MOTTOLA Hey, butt out, chicken liver. I gave him back his wallet, did n't I? -LRB- to black man. -RRB- How far is this place? BLACK MAN 1811 Mason. Put it in Box 3C. You wo n't have no trouble. There's five thousand dollars there and here's a hundred for you. MOTTOLA -LRB- taking the bundle of bills from the black man, plus the $ 100 bill. -RRB- All right. I'll make your drop for you, old man. And do n't worry, you can trust me. Mottola puts the bills in his inside coat pocket, right next to the numbers money. The stranger, who has now finished bandaging, watches him do it. STRANGER If that punk and his pals decide to search ya, you'll never fool'em carryin' it there. BLACK MAN -LRB- suddenly afraid again. -RRB- What do we do? STRANGER You got a bag or somethin? BLACK MAN No. STRANGER How ` bout a handkerchief? BLACK MAN Here. The stranger goes into the right coat pocket and pulls out a wrinkled handkerchief. STRANGER Let me have the money. Mottola takes out the Black Man's five grand and hands it to the Stranger. He puts it in the handkerchief. STRANGER You better stick that other in here too, if you wanta keep it. BLACK MAN -LRB- pleading. -RRB- Just hurry, will ya. Mottola pulls out the numbers money and puts it in the handkerchief too. The stranger ties it all up. STRANGER -LRB- demonstrating by slipping the bundle down into crotch. -RRB- All right. Carry it down in your pants here. -LRB- pulling it back out and tucking it in Mottola's pants. -RRB- Ai n't no hard guy in the world gon na frisk ya there. MOTTOLA Thanks. -LRB- to the black man. -RRB- So long, partner. Do n't worry, everything's gon na be all right. The Black Man nods gratefully, but there's still a trace of worry on his face. Mottola trots off down the alley and out onto the street, glancing around cautiously for signs of trouble. He walks hurriedly down the sidewalk toward the cab stand in the distance. Suddenly the little man with the knife appears out of a doorway about 15 yards behind him. Mottola notices him and quickens his pace, finally breaking into a dead run. We follow him as he dashes headlong down the street, opening a big lead on the guy with the knife. He reaches the taxi zone. He hops in a cab and slams the door.",
"INT. TAXI - DAY He jumps in, closes the door, and breathes a sigh of relief. CABBIE Where to? MOTTOLA Which way is Mason? CABBIE About 20 blocks south. MOTTOLA Okay, go north. The Joliet Station - Fast. Mottola settles back in his seat and starts to laugh. CABBIE What's so funny? MOTTOLA I just made the world's easiest five grand. He takes the bundle out from inside his pants in order to gaze upon his new - found fortune. He unties the handkerchief. It's full of toilet paper. Mottola looks like he's just been shot.",
"EXT. ALLEY - DAY - THE STRANGER AND BLACK MAN hightailing it down the street, two newly solvent con artists on the lam. It's hard to run they're laughing so hard. The stranger chucks his suitcase in a trash can and pulls the real handkerchief out of his pants. BLACK MAN Jesus, what a bundle. Did you know he was that loaded? STRANGER Hell no, I just cut into him. I woulda settled for pawning one of them shoes. As they split off, music begins, and we go into a TITLES SEQUENCE Done to a driving Chicago blues, the sequence is designed to establish somewhat the milieu of the stranger, known to friends and enemies alike as Hooker. We see the following :",
"EXT. PAWNSHOP - LOOKING INSIDE - DAY Hooker is getting a radio and well - worn suit out of hook. It's like seeing old friends again. All pantomime.",
"INT. HOOKER'S ROOM - DAY A shabby little place he rents above a cigar store. We pick him up in a jerry - built outdoor shower, which he's rigged up on the fire escape. The rinse water drips down through the landing into the grimy alley below. HOOKER -LRB- singing. -RRB- ` With plenty of money and you - oo - oo, Oh baby, what I would n't do - oo - oo.' ON THE STREET AGAIN jauntily carrying a magnum of champagne and some flowers, obviously on his way to see someone special. IN A BURLESQUE HOUSE Hooker stands in the wings holding the flowers and champagne, watching his date for the evening, a 6' 3'' stripper named Crystal, do her routine. Crystal finishes up and comes off the stage. CRYSTAL -LRB- tired. -RRB- Hi, Hooker, you gettin' married or somethin'? HOOKER Come into a little dough. You wan na get outa here tonight? CRYSTAL Ca n't. I got a 10 o'clock show. I need the five bucks. HOOKER I'll spend fifty on ya. Crystal looks at him a second and starts to giggle. We're pretty sure she's gon na get outa here tonight. COMING INTO A POOR MAN'S GAMBLING JOINT Little more than a reconverted brick basement, the place contains three shoddy, homemade roulette tables. Hooker, accompanied now by Crystal, nods a greeting to the doorman and proceeds to a table where there are already several other people laying their bets for the next spin. Hooker knows the wheel man, an old - timer named Jimmy. JIMMY -LRB- glad to see him. -RRB- Hooker! HOOKER How ya doin', Jimmy. JIMMY -LRB- collecting bets and paying off the winners. -RRB- Ai n't seen you in months, boy. Thought maybe you took a fall. HOOKER Naw, just a little hard times, that's all. It's all over now. JIMMY You gon na have a go here? -LRB- pointing to the betting board. -RRB- How ` bout a ten spot on the line here. The 4 - 9 been lookin' good today. Lotsa action on 28th Street down there, too. Pay ya 10 - 1. As Jimmy finishes his spiel, he starts the wheel spinning and drops in the ball. Betting is allowed to continue until the ball drops from the outer ring into the center. HOOKER -LRB- taking out his wallet. -RRB- Three grand on the black. Jimmy is stunned. The others at the table, used to dollar bets, look at Hooker like he's some kind of foreign dignitary. JIMMY -LRB- worried. -RRB- You sure you wan na start off that big? Bet like that could put a real dent in us. HOOKER I feel lucky tonight. JIMMY Aw, come on, Hooker, why do n't you just. HOOKER Three grand on the black, Jimmy. Jimmy wants to argue some more, but the ball is getting ready to drop into the center. We see Jimmy quickly press a hidden lever under the table with his foot. The ball falls and settles into red 27 with a motion that is not quite right. The others at the table fail to notice, but Hooker is not fooled. He stares venomously at Jimmy, who knows that Hooker is on to him. JIMMY Sorry, Hooker. -LRB- making an attempt at levity, in order to explain. -RRB- Good thing that ball came up red. Guy could get in trouble around here, losin' a bet that big. Jimmy reaches for Hooker's money. Hooker stops him by putting his hand on it. HOOKER Spin it again. Jimmy does n't know what the hell to do. He gives Hooker a little head motion to indicate a small window high up in one of the walls. Behind it, we see a pair of eyes. Suddenly, Hooker understands why Jimmy had to cheat him, but it does n't change his demand. HOOKER Spin it anyway, Jimmy. Jimmy is beside himself. If he does n't spin again, Hooker may expose him. If he does spin, and loses, his management will fire him. He pleads to Hooker with his eyes, but it's no use. Jimmy spins the wheel and reluctantly drops in the ball. This time there is no foot on the lever, and it settles into black 15. Hooker stares at the ball a second and then looks up at his terrified friend. HOOKER Do n't worry, pal. I knew it was my night. Hooker pushes the money over to Jimmy and walks out of the room. He's lost $ 3,000, but he's still working on a lucky night.",
"EXT. GAMBLING JOINT Hooker and Crystal out on the street. CRYSTAL -LRB- irritated. -RRB- Thanks for the evening, Hooker. I can still make the 10 o'clock. If you wan na spend 50 bucks on me again, mail it. She walks off down the street. HOOKER -LRB- going into his pocket for more money. -RRB- Hey wait a minute. -LRB- he comes up with 30'. -RRB- Aw, the hell with ya.",
"EXT. THE WATERFRONT PROCESSING PLANT - LATE AFTERNOON A late model Ford roars up and screeches to a stop in front of the plant. Out bursts a carefully - groomed, tight - lipped young man named Greer, who hustles into the plant. We follow him through a maze of machinery to the service elevator and up to the third floor where we find ourselves in the clearinghouse room we saw earlier.",
"INT. PLANT - AFTERNOON - LATE The working day is over now, and everyone has gone, except for Combs, who sits somberly in his office. GREER They found Mottola. He was drunk in a dive in Joliet. Never got on the train. COMBS -LRB- aggravated. -RRB- I do n't wanta hear about his day, Greer. What happened to the money? GREER He lost it to a coupla con artists on his way outa the spot. COMBS How much? GREER Twelve thousand. Combs sits in quiet thought for a second. Finally : COMBS All right. Better get on the phone to New York. See what the big mick wants to do about it. -LRB- pause. -RRB- I got ta pretty good idea, though.",
"INT. AN EXCLUSIVE NEW YORK GAMBLING CLUB - LATE AFTERNOON An agitated young man, Floyd, weaves his way through the craps and roulette tables, and hustles up a staircase to a second floor room with a drawing of a snarling tiger on the door. Below the tiger, the word `` FARO'' appears. There is a large man, of thuggish demeanor, guarding the door, but Floyd gives him a small hand signal and walks right by him. INSIDE THE FARO ROOM In the center is a beautifully - carved wooden table, on which sit a faro board and a dealing box, tended by a stone - faced Dealer, who calls the progress of the game in a continuous abacus - like device that keeps track of the cards which have already been played. On the opposite side of the table, completely absorbed in the rhythmic appearance of the cards from the dealing box, sits Doyle Lonnegan. Although is clothes and accessories are those of a wealthy man, there is a coarseness to both his movement and speech which bespeak lower class origins, for which he now has nothing but contempt. Floyd enters the room and approaches him cautiously, trying hard to make as little noise as possible. FLOYD Doyle, can I see you a minute? LONNEGAN -LRB- not looking up from the table. -RRB- I'm busy, Floyd. FLOYD It's important. We had a little trouble in Chicago today. One of our runners got hit for 12 grand. LONNEGAN -LRB- calmly. -RRB- Which one? FLOYD Mottola. LONNEGAN You sure he did n't just pocket it? FLOYD No, we checked his story with a tipster. He was cleaned by two grifters on 47th. LONNEGAN They workin' for anybody? FLOYD I do n't know. Could be. We're runnin' that down now. LONNEGAN All right, mark Mottola up a little and put him on a bus. Nothin' fancy, just enough to keep him from coming back. Get some local people to take care of the other two. -LRB- impassively. -RRB- We got ta discourage this kinda thing.",
"INT. AN OLD BROWNSTONE - NIGHT Hooker, still in his suit, but looking a little worse for wear, knocks on the door of one of the apartments. A young black woman, Louise, answers the door, holding a baby. HOOKER Howdy, Louise. LOUISE -LRB- admiring Hooker in his suit. -RRB- Goddamn, Johnny Hooker, you're a sharp hunky in them linens. If you was n't so pale, I ` da sworn you had class. Hooker steps inside and walks right into a big hug from an older black woman, Alva. Alva has a hat on, obviously just about to go out. Beyond her we see the Eirie kid and the Black Man -LRB- known from here on as Luther Coleman -RRB- playing a game of mah jong on the dining table with a man whose back is to us. An 11 - year - old boy is listening to the radio. COLEMAN Turn that down, Leroy. ALVA Oh, Johnny, Luther said you was somethin' to see today. HOOKER I'll never be as good as that mark, Alva. ALVA Well, we gon na hear all about it when we get back from church. Leroy, get your jacket on, boy. Leroy goes to get his jacket. Louise is finished putting the baby to bed. HOOKER You goin' to church now? ALVA They been havin' late bingo down there. I'm gon na call on the Lord for a little cash, while he's still payin' off. Luther, you look in on that child from time to time, will ya? Luther nods that he will. Alva, Leroy and Louise leave for church as Hooker strolls over and tosses two packets on the table. Luther does n't pick his up, but the other man does. We now see that he is the thief in the opening sequence. He is called the Eirie kid and he is delighted at his share. EIRIE KID Hey, Luther told me he was carrying a wad, but I did n't figure this much. HOOKER Which way did he do, Eirie? EIRIE KID Straight north. He was gon na take it all and run. HOOKER -LRB- laughs. -RRB- The bastard. He can blow his nose all the way. They laugh again, but Luther does n't share their enthusiasm. He watches Hooker who becomes uncomfortable under his gaze. COLEMAN You're late. Where you been? HOOKER -LRB- flopping into a chair. -RRB- I had some appointments. COLEMAN -LRB- not fooled. -RRB- How much did ya lose? HOOKER -LRB- after a pause. -RRB- All of it. COLEMAN -LRB- pissed. -RRB- In one goddamn night? What are ya sprayin' money around like that for? You coulda been nailed. HOOKER I checked the place out. There were n't no dicks in there. COLEMAN You're a con man, and you blew it like a pimp. I did n't teach ya to be no pimp. HOOKER What's eatin' you? I've blown money before. COLEMAN No class grifter woulda' done it, that's all. HOOKER You think my play is bad? COLEMAN I think it's the best. Hooker sinks back, embarrassed that he misread Coleman's intentions. COLEMAN It's the only reason I ai n't quit before now. HOOKER -LRB- bewildered. -RRB- What? COLEMAN I'm gettin' too slow for this racket. I done the best I'm gon na do. You hang on too long, you start embarrassin' yourself. HOOKER What are you talkin' about? We just took off the biggest score we've ever had. We can do anything we want now. COLEMAN It's nothin' compared to what you could be makin' on the Big Con. You're wastin' your time workin' street marks. HOOKER Hey look. You think I'm gon na run out on ya or somethin'? Just cause we hit it big. Luther, I owe you everything. If you had n't taught me con, I would n't know nothin'. COLEMAN -LRB- a little embarrassed. -RRB- Aw hell, you sound like some goddamn sucker. You know everything I know. You got nothin' more to learn from me. HOOKER But you played the Big Con. You said it was nothin'. A game for flakes and mama's boys. COLEMAN And I'm tellin' ya now, you're a fool if you do n't get into it. A bigger fool than I was. -LRB- pause, holding up the money. -RRB- I been lookin' for this one all my life, Johnny. Now I got a chance to step out at the top. Hooker knows it's no use. HOOKER -LRB- after a long silence. -RRB- What the hell you gon na do with yourself? COLEMAN Aw, I got a brother down in K.C., runs a freight outlet. I can go halfsies with'em! It ai n't too exciting, but it's mostly legal. Hooker just nods. COLEMAN Straighten up, kid. I would n't turn ya out if ya were n't ready. -LRB- flipping Hooker a piece of paper. -RRB- I got a guy named Henry Gondorff I want you to look up. There ai n't a better insideman alive. He'll teach ya everything ya got ta know. HOOKER You'll take a cut of what I make, wo n't ya? COLEMAN I'm out, Johnny. HOOKER If that's the way you want it. COLEMAN That's the way I want it.",
"EXT. A DIMLY LIT STREET - NIGHT It's late at night now. Hooker and Eirie wander along the street together, not really ready to go home, but with no other ideas either. Hooker, obviously preoccupied, idly strikes a match on a street lamp as he passes and lets it burn out. He does this several times. HOOKER How do you like that Coleman, huh? After three years. EIRIE KID Aw come on, it was the only thing to do. He knew he was holdin' ya back. HOOKER We were partners. If it were n't for Luther I'd still be hustlin' pinball down at Gianelli's. I do n't need anything more than I got. HOOKER You ai n't gon na have nothin' if you do n't lay off them games of chance. There's a depression on ya know. HOOKER There's always a depression on. EIRIE KID If you saved a little, you would n't have to grift so much. HOOKER I like griftin'. EIRIE KID You could buy yourself some things. Clothes, or a nice car. HOOKER I do n't look any good in clothes and I do n't know how to drive. What else ya got to sell, Eirie? EIRIE KID Forget it. They walk on a few more feet, when suddenly a police car pulls up alongside them and two men jump out. The first, a uniformed policeman, grabs Eirie around the neck. Hooker makes a break for it, but the second Figure, a burly detective named Snyder, tackles him in the middle of the street, drags him back into the alley and plasters him up against a brick wall. The two have met before. HOOKER Hi there, Snyder. Things a little slow down at the Bunco Department tonight, eh? Somebody lose the dominoes? SNYDER You scored blood money today, Hooker. You need a friend. HOOKER -LRB- knocking Snyder's hand away. -RRB- Aw, find yourself a shoplifter to roll. Snyder gives Hooker a swift knee in the thigh and follows it with an elbow across the head. Hooker flies into a row of boxes and garbage cans. HOOKER -LRB- getting up slowly. -RRB- You got the wrong guy, pal. I been home with the flu all day. -LRB- rising to a fuller height. -RRB- You can stake out my toilet if you want. Bang. Snyder, infuriated by Hooker's irreverence, slams him to the ground again. The policeman is no longer holding Eirie but is almost daring him to make a move. Eirie wants to go to Hooker's aid, but he knows the policeman will beat him to a pulp. SNYDER -LRB- pulling Hooker out of the heap and smashing him against the wall again. -RRB- I'll tell ya what you did, smart boy. You tied into a loaded mark on 47th across from Maxies. You and Coleman played the switch for him and blew him off to a cab on 49th. If he had n't been a numbers runner for Doyle Lonnegan, it woulda been perfect. HOOKER -LRB- startled by the information. -RRB- You're crazy. I'm not stupid enough to play for rackets money. SNYDER Not intentionally maybe, but that do n't make no difference to Lonnegan. He'll swat you like any fly. HOOKER I'll square it with the fixer. SNYDER Nobody can buy you a prayer, if I put the finger on ya. Snyder lets go. Hooker sinks back against the wall. He says nothing ; he's waiting for the price. SNYDER I figure your end of the score was at least 3 gees. I want 2 no matter what it was. HOOKER -LRB- lying. -RRB- My end was only one. SNYDER -LRB- not taking the fake. -RRB- Then you'll have to come up with another grand somewhere. Hooker is beat and he knows it. HOOKER All right. He reaches into his coat, pulls out a stack of bills and counts out $ 2000 to Snyder. Eirie looks on in amazement ; he did n't think Hooker had it. SNYDER -LRB- pocketing the money and motioning his partner to put his gun away. -RRB- You're a smart egg, Hooker. No use dyin' for 2 grand. Snyder and his policeman friend get in their car and start down the street. Hooker and Eirie walk nonchalantly in the other direction. EIRIE KID I thought you blew all your money. HOOKER I did. That stuff I gave him was counterfeit. They'll pinch him the first place he tries to spend it. Snyder and his partner disappear around a corner. Hooker suddenly takes off like a shot.",
"INT. DRUGSTORE - NIGHT He runs into a drugstore and goes to the phone booth. There's already a woman in it. Hooker rips open the door and throws her out. Hurriedly, he begins to dial. EIRIE KID -LRB- standing outside the booth. -RRB- What the hell you gon na do when Snyder rushes his finger right to Lonnegan? You're committin' suicide, kid. HOOKER -LRB- waiting for the ring. -RRB- Aw Christ, it does n't make no difference now. If Snyder knows about it so does everybody else. He never gets anything first. Damn, there's no answer at Luther's. EIRIE KID Listen to me, Hooker. What ever you do, do n't go back to your place tonight, do n't go anyplace you usually go, ya hear me? Get outa town or somethin', but. Hooker, still getting no answer, slams the phone down and blasts out of the booth.",
"EXT. STREET - NIGHT Eirie chases him frantically, calling him to come back, but he's giving away too many years and there's no stopping Hooker at this point.",
"EXT. STREET - NIGHT - SHOTS OF HOOKER Pumping down the street.",
"EXT. LUTHER'S BROWNSTONE - NIGHT Hooker races into Luther's brownstone, charges up to the third floor.",
"INT. LUTHER'S BROWNSTONE - NIGHT Hooker runs up through a small group of people on the stairs. He bursts into Luther's room, the door of which is already open. The room shows signs of a struggle, a turned - over chair, a broken lamp, but there is no Coleman. Hooker goes slowly to the window. He looks down into the courtyard and then suddenly sprints back out the door. As we hear him scrambling down the stairs, the camera dollies to the window and looks out.",
"EXT. COURTYARD - NIGHT There on the concrete below, face down, is the body of Luther Coleman. Hooker races out to it and kneels down. HOOKER -LRB- shaking the body. -RRB- C'mon Luther, get up. You got ta get up, Luther. In the distance, sirens are heard. Heads are out of the windows and some people are starting to gather in the courtyard. HOOKER -LRB- CONT'D. -RRB- Goddamn you, Luther, will you get up? -LRB- pounding on the body. -RRB- I'm not waitin' for you, Luther. I'm not waitin' anymore. Get up, you son of a bitch. Goddamn you, Luther, goddamn. The sirens are close now, and Hooker tears himself away from Luther and runs. The others gather to look at the body. FADE OUT. THE SET - UP FADE OUT.",
"INT. THE TRAIN STATION - DAY We open on Hooker sleeping in some remote corner of the station, covered with newspapers for warmth, and barely distinguishable from the clutter of junk surrounding him. A station security officer, on his morning sweep, wanders by and delivers a terrific blow to the soles of Hooker's feet with a nightstick. Hooker jolts awake with a cry of pain, as the officer diffidently moves on toward another sleeping victim. Tired and sore from his night in the station, Hooker struggles to his feet and attempts to take stock of the situation. He tries to smooth the wrinkles out of his suit, but it's futile. A quick check of his wallet finds it as empty as he'd remembered it. THE STATION - GIFT SHOP - DAY Hooker walks in and goes to the toy section. He looks through several small novelties, till he finds what he's looking for - a little tin replica of a policeman's badge. He looks around for station detectives, and seeing none, slips the badge into his pocket. THE STATION - WASHROOM - DAY Hooker rinses out his mouth, towels off his face and slicks his hair back with water. It's a drop in the bucket, but it seems to revitalize him a little. STATION - HALLWAY - DAY We see Hooker removing a sign from a door, but the angle prohibits us from reading it.",
"INT. STATION - DAY He drops the sign in a waste can and walks out into the crowded passenger lobby. After scanning the area carefully for a minute, he goes up to a conservative young business man, who's busy reading the schedule board. HOOKER -LRB- flashing open his wallet to reveal the little tin badge and then closing it again quickly. -RRB- Excuse me, sir. Treasury Dept. I'd like to ask you a few questions. MAN -LRB- flustered. -RRB- What for? I have n't done anything. HOOKER We do n't doubt that, but there's a counterfeiting operation passing bad money in the station. Have you made any purchases here today? MAN -LRB- reluctantly. -RRB- Yes, a ticket to Chicago. HOOKER Then I'm afraid we'll have to impound your money until we're sure that it's all good. Can I see your wallet and your ticket, please? MAN -LRB- handing them over. -RRB- But I got a train to make. HOOKER -LRB- taking out the money and returning the wallet. -RRB- It'll only take 20 minutes or so. You can pick it up at the window down the hall. MAN But what about all these other people? HOOKER -LRB- blowing up. -RRB- We'll get'em! Give us a chance. I'm not the only agent in here, ya know. We go around advertising ourselves, how many counterfeiters do you think we'd catch, huh? -LRB- pointing to his suit. -RRB- You think I'm wearin' this rag here'cause I like it? Christ, everybody thinks life's a holiday or somethin' when you got a badge. -LRB- pouring it on. -RRB- I been here since three this morning, Charlie, and I never knew there was so much ugliness in people. You try to help'em and they spit on you. I shoulda let ya go and gotten yourself arrested for passin' false notes. The Businessman is totally shamed. MAN I'm sorry, really I am, but my train leaves in ten minutes. HOOKER All right, I'll give ya a break. -LRB- pointing to a hall. -RRB- Down that hall there, there's an unmarked door on the left. Go on in there and wait at the window. I'll take this. -LRB- he holds up the money. -RRB-. in the back and run it through right away. We'll have you outta there in a couple minutes. MAN Thank you. You do n't know how much I appreciate this. HOOKER -LRB- with a little wave. -RRB- Think nothin' of it. The man goes off down the hall, more than grateful to be given a break like this. Hooker heads for the `` back''. We follow the Man down the hall to the unmarked door. He strides on through to find himself face to face with a wall of busily flushing urinals.",
"EXT. STATION - DAY - HOOKER Boarding the 8:10 for Chicago.",
"INT. STATION - DAY The Man wandering up and down the hall, wondering how he could have missed that room.",
"EXT. CHICAGO STREET - DAY The street runs along side an elevated train track. We pick up Hooker coming down the street, eating a hot dog he bought with the money he just earned in the train station. He appears to be looking for an address, referring every now and then to the piece of paper Luther gave him the night before. Finally he stops in front of an old three - story building which contains a carousel on the bottom 2 floors and what appear to be apartments on the third floor. He peers inside the big, sliding glass doors and seeing no sign of life, goes around to the side to look for a way in. A 35 year - old woman, Billie, appears in her bathrobe on the second floor landing and descends the stairs to get the morning paper. She's eating an apple. Although she has just gotten up and looks it, she has the presence of one who is probably quite striking at other hours. The sight of Hooker fazes her not at all. HOOKER Excuse me, I'm looking for a guy named Henry Gondorff. You know him? BILLIE -LRB- starting back up the stairs. -RRB- No. HOOKER Luther Coleman sent me. Billie stops and comes back down the stairs. It's the first time she's stopped chewing. BILLIE -LRB- checking him out. -RRB- You Hooker? HOOKER Yeh. BILLIE Why did n't you say so. I thought maybe you was a copper or somethin'. She goes to a side door and unlocks it. BILLIE It's the room in the back. He was n't expecting you so soon though. Hooker's not quite sure what that means, but there's something about Billie that makes him know that you do n't ask.",
"INT. CAROUSEL - DAY Hooker walks past the now motionless carousel to the room in the back and knocks on the door. No answer. He gives the door a little push and it swings open.",
"INT. GONDORFF'S ROOM - DAY The room inside if small and cluttered, consisting of a bed, a sink, and a bathroom, all covered by a layer of books, dirty clothes and beer bottles. Draped over a chair, fully dressed, but completely passed out is the one and only Henry Gondorff. HOOKER -LRB- to himself. -RRB- The great Henry Gondorff.",
"INT. A SHOWER - DAY Water blasting out of the fixture. We see Gondorff, still fully clothed, sitting in the bottom of the shower, the spray streaming off his face. An imposing figure, with deep set eyes and full beard, he just sits there stoically, looking like a soggy lumberjack. Hooker, sitting on the floor between the toilet and the sink, watches listlessly. Finally - GONDORFF Turn the goddamn thing off, will ya. HOOKER You sober? GONDORFF I can talk, ca n't I? Hooker makes no move to get up. Gondorff struggles to his knees, turns off the water, and slumps back against the wall. The two men just look past each other a second. Down in the bottom. GONDORFF Glad to meet ya, kid. You're a real horse's ass. HOOKER Yeh, Luther said you could teach me something. I already know how to drink. Gondorff wipes his face with his hand. His mood softens a little. GONDORFF -LRB- quietly. -RRB- I'm sorry about Luther. He was the best street worker I ever saw. HOOKER He had you down as a big - timer. What happened? GONDORFF Aw, I conned a Senator from Florida on a stocks deal. A real lop - ear. He thought he was gon na take over General Electric. Some Chantoozie woke him up, though, and he put the feds on me. HOOKER You mean you blew it. GONDORFF -LRB- pause. -RRB- Luther did n't tell me you had a big mouth. HOOKER He did n't tell me you was a fuck - up, either. -LRB- Gondorff looks at him coldly. -RRB- You played the Big Con since then. GONDORFF No, I lammed it around for a while while things cooled off. Philly, Denver, Baltimore, nuthin' towns. Hooker's disappointment is obvious. GONDORFF But do n't kid yourself, friend, I still know how. Hooker nods, unconvinced. GONDORFF -LRB- getting up from the floor and emptying the water out of his pockets. -RRB- You gon na stay for breakfast, or do you already know how to eat? HOOKER -LRB- tired. -RRB- I picked something up on the way. GONDORFF -LRB- sensing something. -RRB- Lonnegan after you, too? HOOKER I do n't know. Have n't seen anybody. GONDORFF You never do, kid. We go to Hooker. He had n't thought of that.",
"EXT. A BEAUTIFUL OLD COLONIAL COUNTRY CLUB - LONG ISLAND DAY Lonnegan, in plus fours and argyles sits on a bench as other members of his foursome tee off. Floyd comes up to him. FLOYD We got word from Chicago. They got one of the grifters last night. The nigger. LONNEGAN What about the other one? FLOYD They're still looking for him. LONNEGAN Who's got the contract? FLOYD Combs gave it to Reilly and Cole. LONNEGAN Hackers. FLOYD They staked out the other guy's place last night, but he never showed. They figure maybe he skipped town. You wan na follow'em up? Lonnegan regards Floyd patiently and then pats the bench beside him. Floyd sits gingerly. LONNEGAN You see the guy in the red sweater over there? We cut to one of Lonnegan's foursome, a short, squat little Irishman in a red sweater. He was a good - time, friendly manner and a winning Irish smile. We like him immediately. LONNEGAN Name's Danny McCoy. No Neck McCoy we called him. Runs a few protection rackets for Carnello while he's waiting for something bigger to come along. Me and Danny been friends since we were six. Take a good look at that face, Floyd, cause if he ever finds out we let one lousy grifter beat us, you'll have to kill him and every other hood in Chicago who'd like to do the same thing. You understand what I'm sayin'? FLOYD Yes sir. LONNEGAN Good lad. Lonnegan is called to the tee by one of his foursome. He exchanges a friendly smile with McCoy and belts the ball down the fairway.",
"INT. THE CAROUSEL AGAIN - DAY Gondorff, dried off now and in a new set of clothes, is pulling up the shades of the large facing windows of the carousel building. The morning light pours in, illuminating fully for the first time the ornate merry - go - round and its massive oaken horses. Hooker watches him go about his business. Billie calls down from the mezzanine which surrounds the carousel. BILLIE You feeling all right this morning, Henry? GONDORFF Fine, Billie. BILLIE You mind opening the round a little early today? We got some business coming in before hours. Gondorff waves okay. GONDORFF -LRB- to Hooker. -RRB- Great little countess, that Billie. Runs a good house up there, too. One of the few left that Luciano does n't own. Gondorff walks around on the carousel, checking straps, bearing and poles. Hooker follows him. HOOKER -LRB- getting impatient. -RRB- Gondorff, you gon na teach me the Big Con or not? GONDORFF -LRB- on his back, checking underneath one of the horses. -RRB- You did n't act much like you wanted to learn it. HOOKER I wan na play for Lonnegan. GONDORFF -LRB- getting up. -RRB- You know anything about him? HOOKER -LRB- exploding. -RRB- Yeh, he croaked Luther. What else do I got ta know. Gondorff just sits tight and waits for him to cool off. HOOKER -LRB- waving Gondorff off, embarrassed at his own outburst. -RRB- Aw right, he runs the numbers outta the south side. GONDORFF -LRB- going over to start the machinery. -RRB- And a packing company, a chain of Savings and Loans and half the politicians in Chicago and New York. There ai n't a fix in the world gon na cool him out if he blows on ya. HOOKER I'll take him anyway. GONDORFF -LRB- whirling on him. -RRB- Why? HOOKER -LRB- like steel. -RRB-'Cause I do n't know enough about killin' to kill him. It's the right answer. Gondorff did n't know it himself until now. GONDORFF You ca n't do it alone, ya know. It takes a mob of guys like you and enough money to make'em look good. HOOKER We'll get by without'em. GONDORFF This is n't like playin' winos on the street. You got ta do more than outrun the guy. HOOKER -LRB- incensed. -RRB- I never played for winos. GONDORFF -LRB- going right on, ignoring Hooker's remark. -RRB- You got ta keep Lonnegan's con, even after you spent his money. And no matter how much you take from his, he'll get more. HOOKER You're sacred of'em, are n't ya? GONDORFF Right down to my socks, turkey. If I ` da been half as scared a that lop - ear, I would n't a fallen asleep on'em. Lonnegan might kill me, but at least he wo n't bore me to death. HOOKER Then you'll do it? GONDORFF If I can find a mob that'll risk it. But no matter what happens, I do n't want you comin' back to me halfway through and sayin' it's not enough. cause it's all you got. Hooker nods. Gondorff switches on the carousel and steps back to admire his handiwork. The carousel makes a grinding sound, does a few lurches and stops cold. Music begins and we are into a short : MONTAGE SEQUENCE Detailing the arrival of the others three members of Gondorff's `` mob.'' Throughout, Gondorff wears the fedora hat which is his trademark. We begin with - A tall, good - looking man, Kid Twist, making his way through the railway station. Impeccably dressed and carrying a small suitcase, he combs the terrain carefully with his eyes. Finally he catches a glimpse of the thing he's been looking for. It's Gondorff, standing by a newsstand. Gondorff makes a quick snubbing motion on his nose as if flicking off a gnat. This is known among con men as the `` office.'' Twist returns the sign with a barely discernible smile as he walks on by. Con men rarely acknowledge each other openly in public, but it's obvious that these two are glad to see each other.",
"INT. BARBER SHOP - DAY Hooker in, having his hair cut and his nails manicured. Gondorff gives instructions to the barber.",
"INT. HABERDASHERY - DAY Hooker is modeling a new suit in front of a mirror. He does n't look too pleased, but Gondorff peels out a bankroll anyway.",
"EXT. HOTEL - DAY A pair of white spats stepping off a bus. We follow them into a :",
"INT. HOTEL LOBBY Where we tilt up to reveal J.J. Singleton, the most flamboyant of the bunch. On his way to the check - in desk, he silently exchanges the `` office'' with Gondorff, who is sitting on a lounge reading the paper.",
"INT. APARTMENT - DAY Hooker being shown into a small apartment room by an old woman. It consists of a bed, a table and a sink. Hooker nods his acceptance to the woman and gives her a bill. He takes another look around the room and decides to go out somewhere, but first he wedges a small piece of paper between the door and the jamb, about an inch off the floor.",
"INT. A BIG METROPOLITAN BANK - DAY We hold on a slight, bespectacled teller, Eddie Niles, in the process of counting a large deposit. Niles is all business ; if he's ever smiled, no one knows about it. He glances up for a second and sees Gondorff `` officing'' him from across the bank. Without a word he shoves the money he's been counting back into the hands of a startled customer, abruptly closes up his window, flips his identification tag on the manager's desk and walks out of the bank.",
"INT. AN UPSTAIRS ROOM OF THE CAROUSEL BUILDING - NIGHT This room has obviously been relegated to the status of the storage room. It contains the water heater, mops and brooms, old bed springs, etc.. In the middle of the room a space has been cleared for a table, around which are seated Hooker, Gondorff, Niles, Singleton and Twist. Gondorff is in his T - shirt, but still wears his hat. Kid Twist is in a suit as usual. The room is illuminated by a single bare bulb hanging from the ceiling. TWIST -LRB- showing Hooker photographs of three men. -RRB- These are Combs' favorite torpedoes. Riley and Cole. We recognize Riley and Cole as the two guys who got into Mottola's cab. TWIST They do most of the small jobs, but Lonnegan might not wan na use'em on you'cause they're kinda messy. No class. We go to Hooker. He's real grateful. Billie, wearing an evening dress, enters the room and begins gathering up the empty beer mugs on the table. TWIST We got reason to believe Riley was the guy who hit Luther. But if you see either one of these two, find yourself a crowd, or take'em someplace you know you can handle'em. GONDORFF But most of all let us know. If they got a hit on you, we got ta fold up the con. You're too exposed. You got that? Hooker nods, but we know he has n't really got that. HOOKER You sure it'll be one of these two? TWIST No. They're just the only ones we know of. Billie has finished gathering the mugs, and leaves the room with them. We follow her down the hall and into the : RECEIVING ROOM OF HER BROTHEL Carousel music filters up from the arcade below. The room has a bar along one wall and the rest of the space is taken up by tables and couches. It's a comfortable place, but not opulent. Some of the girls sit patiently on the couches, others play canasta at the tables. Most of the men are at the bar, fortifying themselves for the task at hand. Billie comes over to the bar. BILLIE -LRB- to the bartender. -RRB- Set me up five more beers, will ya Danny. As Danny goes to fill the mugs, Billie's eyes fix on a man at the end of the bar. We move to reveal Snyder, intently scanning the room, as if he'd lost a dancing partner in the crush. Not finding what he wants, he comes down the bar to Billie. SNYDER You the owner here? BILLIE That's right. SNYDER -LRB- flipping out his badge. -RRB- Lieutenant Snyder. Bunco. BILLIE Joliet badge, Snyder. Do n't cut much up here. SNYDER -LRB- trying to ignore her remark. -RRB- I'm lookin' for a guy on the lam from a counterfeiting rap. Thought he mighta come in here. BILLIE Do n't think so. I know everybody in the place and I always bounce the lamsters. SNYDER All right if I look around your lobby? BILLIE No, but you're welcome to a free beer before you go. Billie grabs a bottle of beer, pours some in a shot glass and pushes it over to Snyder. He ignores the gesture. SNYDER -LRB- with controlled force. -RRB- I do n't really need your permission. We go to Billie. She knew that when he came in. THE STORAGE ROOM AGAIN The discussion continues. Hooker, a bit out of his depth here, listens and stays silent. SINGLETON Lonnegan's a fast egg, Henry. He's not gon na sit still for a standard play. GONDORFF Everybody'll sit still for somethin'. What did ya find out about the train, Eddie? NILES He's been taking the 8:10 Century Limited outa New York on Friday and getting in here early Saturday morning. He usually stays a day to check on his policy operations, and then flies back. GONDORFF Wonder why he does n't fly both ways. NILES The porters say he runs a braced card game in one of the cars. $ 100 minimum, straight poker. Last time he pulled in here ten grand heavier than he left New York. GONDORFF Fancies himself a gambler, huh? TWIST Lotta plungers ride that train just to play him. GONDORFF -LRB- breaking into a smile. -RRB- See J.J., he's slowly down already. THE RECEIVING ROOM AGAIN Snyder has completed his inspection of the `` lobby'' and found nothing. Danny, meanwhile, has set up the five beers on a tray. SNYDER Which way are the rooms? BILLIE Who told ya this guy was in here? SNYDER Nobody. I just know what kinda women he likes. I'm gon na check all the joyhouses till I find him. BILLIE Maybe I could help ya if ya told me his name. SNYDER I think I'll keep that to myself. Which way are the rooms? BILLIE Right through there. But I would n't go in there if I were you. -LRB- picks up the tray. -RRB- SNYDER -LRB- snidely. -RRB- What are ya gon na do, call the cops? BILLIE I do n't have to. You'll be bustin' in on the Chief of Police just up the hall. -LRB- she exits with the drinks. -RRB- Snyder is stopped cold. He calls after her. SNYDER Keep your nose clean, lady. He ca n't spend all his time here. THE STORAGE ROOM AGAIN Billie comes over to Gondorff and whispers in his ear, while the others talk. His eyes flick momentarily to Hooker. SINGLETON I think we ought to play him on the Rag. It's the tightest game we got, and it's not all over the papers yet. NILES No good, J.J. You're not gon na con stocks to a banker. Lonnegan's too smart for that. TWIST What are you going to do, con the payoff to a gambler? SNYDER Twist is right. It wo n't work. Gondorff has nodded to Billie and now rejoins the conversation. She serves the others beer. GONDORFF We'll use the wire. Never known a gambler who would n't like to beat the ponies. NILES The wire is ten years outa date. GONDORFF That's why he wo n't know it. SINGLETON I'm not sure I know it. GONDORFF We'll give him the hook on the train, and play him here. You think I can get in that poker game, Eddie? NILES All you got ta do is show up with some money and look like a fool. GONDORFF I also got ta win. He looks at Hooker. There is a challenge in their book. Gondorff smiles broadly, then casually, to them all. GONDORFF By the way, any of you guys been passing off any green goods lately? We go around the table. No reply. GONDORFF Billie, if that Dick comes in again, stall him till I can get a look at him. And let me pay ya for these beers. BILLIE What are you talking about? It's on the house. GONDORFF -LRB- pulling out a $ 5 bill. -RRB- Naw, I want ya to have this. He hitches up Billie's skirt, and puts the bill in her garter. GONDORFF Do n't look at it till ya go to bed though or it'll turn to paper. Billie smiles and leaves the room.",
"INT. HALLWAY She walks halfway down the hall and stops. She ca n't wait. Lifting up her skirt, she finds that the five has indeed turned to paper. As she breaks into laughter and continues on down the hall, we : FADE OUT. THE HOOK FADE OUT.",
"EXT. A SUNKEN ALLEY - DAY Actually little more than a service area between two apartment buildings. Niles, Kid Twist, and a middle - aged black man, named Benny Garfield, enter the alley with an old man and follow him down a stairwell to a subterranean basement. A faded sign above the door says Stenner's Billiards. We follow them inside to a :",
"INT. A LARGE BARREN ROOM - DAY An office comes off it at one end. Judging from the fluorescent lights overhead and the scattered cue racks which still hang tenuously on the walls, the place, indeed, used to be a pool hall. Niles and Garfield go all the way to the back, while Twist stays near the front with the old man. NILES Looks all right. It's big enough and off the street. GARFIELD I do n't know. This is kinda short notice. I'm not sure we can get it all done by Saturday. NILES Got to. Gondorff's ridin' the mark in from New York on the Century. Garfield thinks it over a little. He's taking another look at the place. We go to Twist and the old man by the door. TWIST We'll take it. -LRB- pointing through the door. -RRB- You manage the building at the end of the alley? OLD MAN -LRB- with pride. -RRB- For fifteen years. TWIST I'll need a room over there that faces this way. How much a week? OLD MAN Only rents by the month. Two hundred and fifty for the two of them. TWIST -LRB- pulling out his wallet. -RRB- This is the last time I expect to see you down here. OLD MAN -LRB- watching the bills being counted into his hand. -RRB- Never heard of the place. We go back to Niles and Garfield. GARFIELD Been a while since I stocked a wire store. Not many mobs playing that anymore. NILES All we need is the bookie setup for now. We'll worry about the telegraph office later. GARFIELD All right, I'll rent ya everything I got in the warehouse for two grand. That'll give ya phones, cages, blackboards and ticker gear. You supply the guys to move'em. If you want a counter and bar, that's another grand. I do n't know where the hell I'm gon na get'em though. NILES C'mon, you can do better than that. We ai n't no heel grifters. GARFIELD You want the stuff tomorrow or do n't ya? It's gon na take hours just to clean it up. -LRB- pause. -RRB- Besides, Gondorff's still a hot item. Where am I gon na be if he gets hit? NILES Just give us what ya can, Benny. We'll send a truck down. Twist has rejoined them by now. TWIST -LRB- to Garfield. -RRB- You wan na work flat rate or percentage? GARFIELD Who's the mark? TWIST Doyle Lonnegan. GARFIELD Flat rate.",
"INT. A NEW YORK TRAIN STATION - DAY We pick up Doyle Lonnegan, accompanied by two bodyguards and Floyd, making his way through the station. He stops at a cigar counter to buy some cigarettes, and we reveal Gondorff and Hooker sitting on their suitcases on the other side of the room. GONDORFF -LRB- eyes fixed on Lonnegan. -RRB- Guy in the blue pinstripe and grey fedora. Hooker looks and finally spots him in the crowd. We go back to Lonnegan, as he moves off from the cigar counter, toward his train. Hooker watches him with the intensity of one gazing on a religious object. HOOKER He's not as tough as he'd like to think. GONDORFF -LRB- picking up his suitcase. -RRB- Neither are we.",
"EXT. TRAIN Lonnegan and his retainers getting on the train. Two cars down the line, we see Hooker and Gondorff boarding also. On his way in, Gordorff takes the conductor aside. GONDORFF I hear there's a friendly poker game on this train tonight. You know anything about that? CONDUCTOR A little. GONDORFF You think you could get me in that game? CONDUCTOR I do n't know. There's usually a waiting list. Gondorff flashes a $ 50 bill. CONDUCTOR -LRB- loosening up a bit. -RRB- That'll get you first alternate, sir. Gondorff pulls out another fifty. CONDUCTOR -LRB- taking the money. -RRB- I'll see what I can do.",
"INT. A BASEMENT BAR - EARLY EVENING Kid Twist enters and threads his way through the maze of tables to a door at the back of the building. A large bull of a man is stationed there, obviously to discourage those who do n't have credentials to enter. Twist is not such a man. TWIST -LRB- going right on through. -RRB- How ya doin', Lacey. LACEY -LRB- innocently pleased for one so menacing. -RRB- Good to see ya again, Twist.",
"INT. ANOTHER ROOM - EARLY EVENING Inside is another room, this one much better lit than the outer one. There are only three tables in here, around which are seated the elite of the Con World. Twist is enthusiastically greeted by Duke Boudreau, a large, rotund man whose stylish dress and authoritative manner mark him as a powerful figure in this group. BOUDREAU Twist! When did you get back in town? TWIST Coupla days ago. I'm workin' a big one with Gondorff on the North Side. The two men sit down together, apart from the others. TWIST Listen Duke, we're setting up a wire store. I need a twenty man boost right away. BOUDREAU I got twenty or so in here tonight. Take your pick. TWIST These guys have got ta be the quill, Duky. We ca n't afford to rank the joint. BOUDREAU -LRB- to one of his assistants. -RRB- Get me the sheet, Jake. Let's see who's in town. THE OUTER PART OF THE BAR AGAIN A silhouetted figure appears in the entrance doorway. The word `` chill'' races from table to table and the place falls still. The bartender pushes a button behind the bar and a buzzer goes off in the back room. Boudreau gets up from his table and opens a small viewing port in the door. The silhouetted figure is now walking slowly past the silent tables. It's Snyder and he's checking out every face in the place. BOUDREAU Twist, you know this guy? TWIST -LRB- taking a look through the viewing port. -RRB- No. Never saw him before. He's a dick, though. Snyder walks all the way to the back, and then retraces his route. About halfway back, he stops at one of the tables, recognizing a grifter he knows. It's the Eirie Kid. EIRIE KID Hello, Snyder. What are you doin' up here? SNYDER I'm on vacation. You seen your friend lately? EIRIE KID Yeh, he packed it in and enrolled in detective school. Snyder, in no mood for jokes, grabs Eirie by the hair and slams his face into the table. Eirie just stays there ; he knows it does n't pay to assault a detective. Twist is watching all this intently from the viewing port. SNYDER You see him, you tell him to pay his debts before I get him. Eirie raises his head slowly, but says nothing. There is a slight trickle of blood from his nose. Snyder turns and walks slowly out of the bar. When he is a safe distance down the street, the chatter and drinking resume. THE INSIDE ROOM AGAIN Twist gives an all clear signal and returns to the table where he and Boudreau were talking. Boudreau reads from a list of names. Twist listens with a certain preoccupation. He's still thinking about the little confrontation he just witnessed. BOUDREAU Paltrow, Sterling, Furey, and the Big Alabama are in from New Orleans. Fiskin and the Boone Kid from Denver, and Phillips, Barnett and Limehouse Chappie from New York. Those and the guys outside should give ya 30 or so to choose from. TWIST Good, have'em down at Stenner's old Pool Hall before 3:00. We're gon na run through the route tonight. BOUDREAU Okay, Twist, but you know if this blows up, I ca n't do ya no good downtown. Gondorff is Federal. TWIST Do n't worry about it, pal.",
"EXT. SPEEDING PASSENGER TRAIN - NIGHT Ripping through an open stretch between New York and Chicago.",
"INT. TRAIN - NIGHT Singleton is walking down a passageway and stops at a door and goes in.",
"INT. GONDORFF'S COMPARTMENT - NIGHT Gondorff is rapidly shuffling cards to four empty places. He is alone. He looks up as Singleton enters. SINGLETON You in? GONDORFF Yeh, I think so. I gave the kay - ducer a C - note. You find out the deck? SINGLETON He usually plays with a Royal or a Cadenza. -LRB- handing him two sealed decks. -RRB- I got you one of each. He likes to cold deck low, 8's or 9's. GONDORFF Nice work, J.J. Singleton slips out as Gondorff unpeels the packs.",
"INT. TRAIN - NIGHT We pick up Lonnegan coming out of his compartment, flanked by only one bodyguard and Floyd. He starts through the passenger section toward the compartment where the poker game will be held. Suddenly a drunken woman comes staggering around the corner and bumps into him. They grapple a moment and Lonnegan pushes her away in disgust. WOMAN -LRB- sloppy drunk. -RRB- Keep your mitts off me, ya big lug. If I ` da wanted you handlin' me I woulda asked ya. Lonnegan ignores her and proceeds down the passageway. As the woman proceeds in the other direction between passengers, we see it is Billie. She drops something on a seat beside a passenger. A hand reaches to pick it up. It is Lonnegan's wallet and it is Hooker who picks it up. Hooker waits a moment, then stands and goes in the direction Lonnegan has taken. He passes by the open door to the card room, hesitating only slightly to hear the greetings exchanged inside before the door is shut. Then he continues on into the next car. He turns into Gondorff's compartment.",
"INT. GONDORFF'S COMPARTMENT - NIGHT Gondorff is still practicing. He looks up as Hooker enters and tosses him the wallet. HOOKER She got him clean. He has n't missed it. Gondorff nods, takes the money out, counts it. GONDORFF Fifteen grand. Looks like he's expecting a big night. He takes out his own wallet and puts the money in it, and tosses the empty wallet back to Hooker, and resumes his shuffling and dealing. Hooker sits back silently and watches him. HOOKER He's waitin' for you in the card room. GONDORFF Let him wait. As he deals, on the second pass he attempts to cut from the bottom, muffs it completely and sprays half the deck on the table. Hooker regards him steadily as he gathers them back up. Gondorff finally meets his gaze. GONDORFF You just worry about your end, kid. HOOKER If we ever get to it.",
"INT. THE POKER ROOM - NIGHT A specially outfitted compartment with a table and chairs in the middle and leather cushions around the outside for kibitzers. Lonnegan and 3 other players are already there and seated. They're getting slightly impatient. LONNEGAN -LRB- to the Conductor. -RRB- Where the hell is this guy? CONDUCTOR I do n't know. He said he'd be here. GONDORFF'S CABIN AGAIN Gondorff is standing in front of the mirror dressing. He grabs up a clean white shirt and rumples it up in his hands. He then picks up a half - full bottle of bourbon. Hooker gives him a disapproving look. Gondorff smiles and pats some on his face. THE POKER ROOM AGAIN Everybody's itchy now. LONNEGAN All right, let's start without him. Mr. Clemens, give me the cards. The Conductor hands him a sealed deck. As he begins to open it, Gordoff comes into the room, coatless, rumpled, unshaven and looking slightly tipsy. The others at the table, all men of high school or financial standing, are somewhat put off. GONDORFF Sorry I'm late boys. I was takin' a crap. This bit of grossness does little to improve his image. CONDUCTOR -LRB- making the introductions ; referring first to Gondorff. -RRB- Mr. Shaw is a bookmaker from Chicago. Mr. Shaw, meet Mr. Clayton from Pittsburgh, Mr. Jameson, Chicago, Mr. Lonnegan, New York and Mr. Lombard, Philadelphia. Gondorff nods and takes a seat, none too gracefully. CONDUCTOR Straight poker, gentlemen. 100 dollar minimum, table stakes. We assume you're good for your debts. LONNEGAN -LRB- shuffling the cards. -RRB- Mr. Shaw, we usually require a tie at this table. If you do n't have one, we can get ya one. GONDORFF Yeh, that'd be real nice of ya, Mr. Lonneman. LONNEGAN -LRB- irritated. -RRB- Lonnegan. He begins to deal, obviously not pleased that his evening seems to be peopled with drunks.",
"EXT. THE SUNKEN ALLEY - NIGHT A truck is now parked at the end of the alley, and several workmen are busy unloading it. One group carries a large blackboard ; others have boxes of glasses, ash tray stands, furniture, etc.. Take several cuts. INSIDE THE ONCE - VACANT POOL HALL Now a blaze of activity. We take several cuts of workmen papering the walls, tacking down carpet, putting in new light fixtures, painting signs, all under the supervision of Niles. From now on, we will refer to the pool hall as the store. Back in the office, Kid Twist is `` interviewing'' one by one, a group of con men lined up outside the office door. A gray - haired old buzzard, Curly Jackson, approaches the table which is serving Twist as a desk. Curly is practically in rags and has several days growth on his face. He wears a little beret which he takes off to address Twist. CURLY Name's Curly Jackson. I worked for Gad Bryan outa Baltimore. TWIST You ever played the Wire, Curly? CURLY Used to rope for it long ago. I can shill, mark board, anything you want. I do n't run with riffraff and I only drink on weekends. -LRB- affecting an English accent. -RRB- Me specialty is an Englishman. Twist is taken with the man, despite his appearance. TWIST All right, Curly, you're in. We got a rack of suits over there. Get yourself a nice tweed one. CURLY -LRB- exiting. -RRB- That's all right. I got all my own stuff. THE CARD GAME AGAIN Gondorff and Lonnegan have most of the chips. Lonnegan is slightly ahead. Gondorff has made a token attempt to wear the provided tie, having tied it in a knot around his neck, but not having bothered to put it under his collar. He has a shot glass and a bottle next to him, from which he has been drinking heavily. He and Lonnegan are the only ones left in this hand. LONNEGAN -LRB- throwing chips in. -RRB- Raise 500. GONDORFF -LRB- likewise. -RRB- See ya and raise three. LONNEGAN -LRB- more chips. -RRB- See and raise five. GONDORFF Five and call. Lonnegan lays down his hand, a solid two pair. Gondoroff turns out three tens. Lonnegan is beat. GONDORFF Tough luck, Lonnihan, but that's what you get for playin' with your head up your ass. Couple more like that and we can all go to bed early, huh boys. Lonnegan burns, and the `` boys'' have no comment.",
"INT. THE STORE - NIGHT The work is still progressing. We see two workmen installing a ticket tape machine in a secluded area of the store. GARFIELD We bought ya a tap into Moe Anenberg's wire. He's got eyes at every track in the country. You'll get race results, odds, scratches, pole positions, everything ; and just as fast as Western Union gets'em. NILES Does J.J. know how to use this thing? GARFIELD All he's got ta do is read. We go to Kid Twist, still conducting interviews in the office. A young, rather sullen man, Buck Duff, steps to the table. DUFF Buck Duff. I was in Maxwell's boost in Troy. TWIST You the Duff that did n't come up with his end when Little Jeff was sent up? DUFF Was n't no problem a mine. TWIST He was a con man, was n't he? DUFF He was a tear - off rat. He got what he deserved. No sense helpin' pay his bills. TWIST -LRB- like ice. -RRB- Shove off, Duff. Duff stands there a second and then slouches away from the table. He stops however, by the door. The next man up is the Eirie Kid. Twist knows he's seen him somewhere before. EIRIE KID -LRB- nervous as hell. -RRB- Names's Joe Eirie. Twist waits for more, but it's not coming. TWIST You played for any particular mobs? EIRIE KID No. TWIST You know the Wire at all? EIRIE KID No. I never played no Big Con before. But Luther Coleman was a friend a mine. I thought maybe there was something I could do. TWIST -LRB- pointing to Eirie slightly swollen nose. -RRB- You get that nose in Duke Boudreau's tonight? Eirie nods a reluctant `` yes.'' TWIST You got moxie, Eirie. Get yourself a suit. Eirie is so happy, he can barely blurt out a thank you. Buck Duff, enraged that Twist would hire a total amateur, turns in disgust and strides vengefully out of the store. THE CARD GAME AGAIN The room is dense with smoke now, and the players are feeling the heat. Gondorff has his white shirt open, revealing a stained T - shirt underneath. The bottle next to him is almost empty. He sneezes and wipes his nose with the tie Lonnegan gave him. The chips are now about equally divided between Gondorff and Lonnegan. The others are losing badly. GONDORFF Raise 300. LONNEGAN Pass. JAMESON -LRB- throwing in his last few chips. -RRB- Raise 200. GONDORFF Two and call. Jameson lays down two pair. Gondorff has a flush. Gondorff rakes in the chips, which now put him ahead of Lonnegan. JAMESON Well, I'm out. GONDORFF Do n't worry about it, pal. Lemongan here would n'ta let you in the game if you were n't a chump. LONNEGAN -LRB- getting to his feet. -RRB- I've had enough of your lip, Shaw. Gondorff grabs the whiskey bottle next to him, breaks it against the table and waves the jagged end in Lonnegan's face. GONDORFF -LRB- barely able to stand up. -RRB- Just take it easy there, Larrabee. Jameson and the conductor step in between. JAMESON Let's take a break for a couple minutes and cool off. Lonnegan storms out of the room, followed by Floyd and Bodyguard.",
"INT. SMOKING ROOM We pick up Lonnegan coming down the passageway to enter the smoking room. LONNEGAN -LRB- to his assistant. -RRB- I've had it with that bum, Floyd. Stack me a cooler. FLOYD -LRB- trying to settle him down. -RRB- You've only been playin three hours, Doyle. LONNEGAN -LRB- not to be pacified. -RRB- I do n't care. Load me a deck. Set it up for threes and nines. I'll cut it in on his deal. FLOYD -LRB- taking a deck and beginning to sort it. -RRB- What do ya want the others to get? LONNEGAN Nothin'. They got ta be outa there early. I'm gon na bust that bastard in one play.",
"INT. THE POKER ROOM AGAIN - NIGHT A pair of hands shuffling. We pull back to reveal that they're Gondorff's. He passes the deck to Lonnegan to be cut and turns to pen a new whiskey bottle. Lonnegan takes the deck and in one lightning motion substitutes a new deck, while making it look like he's cutting the old one. Gondorff picks up the deck and begins to deal. As the hand is picked up, we see that Gondorff has four threes, Lonnegan four nines, and everybody else has nothing. CLAYTON -LRB- opening the bidding. -RRB- Fold. LONNEGAN 250. GONDORFF Raise 1,000. LONNEGAN Raise 500. Gondorff looks at Lonnegan very carefully for a second. Lonnegan meets his stare. GONDORFF -LRB- slowly. -RRB- Raise 2,000. The spectators shift a little. It's the biggest bet of the night. LONNEGAN See and raise 1,000. GONDORFF -LRB- taking it to him. -RRB- Raise 5,000. Lonnegan fingers his remaining chips. He knows he's won, but he wants to bleed it for every bit of suspense. LONNEGAN -LRB- going for broke. -RRB- See, and raise the rest. Lonnegan pushes in the rest of his chips. Gondorff, who is only required to match Lonnegan's total, throws in all his too. It's a showdown. GONDORFF Call. Lonnegan puts down his four nines. Gondorff just stares at them a second, lets out a deep sigh and lays down four jacks. Lonnegan is aghast. This just ca n't be. He glances at Floyd, who can do nothing but sit there with his mouth open. GONDORFF -LRB- raking in the chips. -RRB- Well that's all for me tonight, boys. I'm gon na leave ya some cab fare. The other players look at each other in disgust, and reach for their wallets, all of which are well stocked. GONDORFF -LRB- to Lonnegan. -RRB- You owe me 15 grand, pal. Lonnegan, with a stare that could kill, reaches for his wallet. Suddenly the stare goes soft. He tries a few more pockets. No soap. LONNEGAN -LRB- getting up to get it. -RRB- I guess I left it in my room. GONDORFF -LRB- blowing up. -RRB- What! Do n't give me that crap you little weenie. How do I know you ai n't gon na take a powder. -LRB- waving his wallter, which is full of Lonnegan's money. -RRB- You come to a game like this, you bring your money. Lonnegan, having had all he can take, goes for Gondorff, but is restrained by the conductor. GONDORFF All right, buddy, I'm gon na send a boy by your room in five minutes, and you better have that jack, or it's gon na be all over Chicago that your name ai n't worth a dime. Gondorff stalks out of the room. We pick him up coming down the passageway to his compartment.",
"INT. GONDORFF'S COMPARTMENT The drunkenness has vanished. We follow him into his cabin, where Hooker is waiting anxiously. HOOKER How'd ya do? GONDORFF -LRB- modestly. -RRB- Well we got some workin' money anyway. Gondorff tosses his winnings on the table. GONDORFF -LRB- big smile. -RRB- Okay, kid, you're on. But I got ta tell ya, its a hard act to follow.",
"INT. LONNEGAN'S CABIN - NIGHT Lonnegan sits in a chair smoking, obviously still upset. Floyd paces in front of him. FLOYD I know I give him four threes. We ca n't let him get away with that. LONNEGAN What am I supposed to do? Call him for cheating better than me? There's a knock at the door. Floyd goes and opens it. It's Hooker. HOOKER My name's Carver. Mr. Shaw sent me. Floyd motions him in without a word. LONNEGAN Your boss is quite a card player, Carver. How does he do it? HOOKER -LRB- very matter - of - factly. -RRB- He cheats. Lonnegan says nothing. He does n't like smart asses. He looks Hooker over a second, as if considering whether to have him wasted or not. LONNEGAN -LRB- reaching into his coat pocket. -RRB- He'll have to take a check. -LRB- pulling out a check. -RRB- I could n't find my wallet. HOOKER Yeh, he knows that. LONNEGAN -LRB- startled. -RRB- What do you mean? HOOKER -LRB- pulling out Lonnegan's wallet and tossing it to him. -RRB- He hired a dame to take it from ya. Lonnegan just holds the wallet. He ca n't believe it. HOOKER You were set up, Lonnegan. Shaw's been planning to beat your game for months. He was just waiting for you to cheat him so he could clip ya. LONNEGAN -LRB- the heat rising. -RRB- I could have you put under this train for this, errand boy. HOOKER -LRB- cool as hell. -RRB- So could Shaw. LONNEGAN Then why the rat? HOOKER Cause I'm tired of bein' his nigger. -LRB- pause. -RRB- I want you to help me break him. Lonnegan looks at Hooker long and hard, as if the intensity of his gaze could separate truth from fiction. Lonnegan had n't expected this, but now that it's here, it better be on the level. The silence is suddenly broken by the noise of the train braking into the station. LONNEGAN -LRB- to Hooker. -RRB- C'mon, I'll give ya a lift home. Hooker hesitates, not sure whether to accept or not. LONNEGAN What's the matter? You got ta get back to Shaw? HOOKER Naw, he picked up some jane in the bar. Ca n't see him till morning anyway. LONNEGAN All right, then.",
"INT. LONNEGAN'S CAR - NIGHT Driving through the city, the driver and Floyd in front, Hooker and Lonnegan in back. Hooker glances out the window from time to time, just to make sure they're really going to his place. LONNEGAN Why me? Shaw probably has lotsa enemies to choose from. HOOKER I need somebody respectable. but not completely legit. What I'm gon na do is n't very legal. LONNEGAN -LRB- insulted. -RRB- I'm a banker, friend. That's legit in this state. HOOKER All you got ta do is place a bet for me at Shaw's place. I'll supply all the money and the information. Lonnegan is listening, but you'd never know it. HOOKER If you help me out, I'll pay ya back the money you owe Shaw, myself. LONNEGAN That's worth fifteen grand to ya? HOOKER Maybe a couple million. We go to Lonnegan. He's still not talking, but that last phrase has registered.",
"EXT. HOOKER'S PLACE The car pulls up in front of Hooker's place. LONNEGAN You're dreamin', kid. HOOKER -LRB- getting out. -RRB- 660 Marshall Street. Tomorrow at 12:30, if you're interested. LONNEGAN -LRB- diffidently. -RRB- If I'm not there by quarter of, I'm not coming. Hooker nods and walks up the steps to his apartment building. Lonnegan's car speeds away from the curb and on out of sight. Hooker breathes a sigh of relief. He's passed his first test ; or has he? We follow him up the stairs to his room.",
"INT. HOOKER'S APARTMENT He's just about to unlock the door, when he notices the little piece of paper he left in the door is on the floor. Without the slightest hesitation, Hooker leaps over the bannister and races back down the stairs. Two gunmen, Riley and Cole, burst out of his room and fire at him over the railing, but he's already too far down. Riley and Cole give chase. THE FRONT OF THE BUILDING Riley and Cole barrel out of the building and onto the sidewalk. There is an empty bus stopped at a light, but they find no sign of Hooker. As the light changes, we cut to the other side of the bus, where we see Hooker crouched on the rear wheel housing, hanging on to a vent. He's a little shaken, but most of all, he's still alive. We hold on him, as the bus moves off. GONDORFF -LRB- V.O. -RRB- Everything go all right? HOOKER -LRB- V.O. -RRB- -LRB- lying. -RRB- Yeh, it was easy.",
"INT. THE STORE - NIGHT Hooker and Gondorff are sitting alone in the back office while the work goes on outside. Their conversation continues. GONDORFF No signs of trouble? HOOKER What do ya mean? GONDORFF You know, somebody tailin' ya. A torpedo or somethin'. HOOKER -LRB- wanting to get off the subject. -RRB- No, not a thing. Gondorff has his doubts, but lets them ride. OTHER PARTS OF THE STORE We concentrate on some of the fine details, i.e. Garfield explaining how the ticker will read out to Singleton and Billie ; Curly Jackson showing a younger con man how to mark the odds board properly. GONDORFF -LRB- V.O. -RRB- How ` bout Lonnegan? HOOKER -LRB- V.O. -RRB- I gave him the breakdown just like ya told me to. GONDORFF -LRB- V.O. -RRB- And? HOOKER -LRB- V.O. -RRB- He threatened to kill me. GONDORFF -LRB- V.O. -RRB- Hell, they do n't do that and you know you're not gettin' through to'em. We concentrate on Niles, who's making up the `` boodles'' or fake bankrollls. He puts a real $ 100 bill on the bottom, then two inches of cut green paper on top, and then another $ 100 bill on top of that, so that it looks like he has a whole stack of $ 100 bills. The bundle is then bound with a sealed label, like those used in banks, that says $ 10,000. We see that he has already made several of these bundles. HOOKER -LRB- V.O. -RRB- Then he drove me home. He tried to put himself away as legit, so I went right into the pitch. GONDORFF -LRB- V.O. -RRB- Did he hold you up on anything? HOOKER -LRB- V.O. -RRB- Naw, he just sat there and listened. I do n't know if he bought it or not.",
"INT. THE STORE Twist in the middle of the room giving a route to the Eirie Kid. He shows him where to get his drink at the bar, where to sit and finally how to leap up and throw his racing form down in disgust. GONDORFF -LRB- V.O. -RRB- That's all right. Once they start listening, they're in trouble. Just do n't give him more than he asks for. If you rattle his imagination a little, he'll come up with all the right answers himself. But all he's got ta do is catch you in one lie and you're dead. HOOKER AND GONDORFF IN THE STORE OFFICE AGAIN They both look tired. HOOKER You think he'll show? GONDORFF Did he say he would n't? HOOKER No. GONDORFF -LRB- softly. -RRB- He'll show. FADE OUT. THE TALE FADE OUT. WE OPEN ON A WIDE SHOT OF THE ALLEY OUTSIDE THE STORE At first it appears to be deserted, but we move to reveal a figure in an upper window of the apartment building which forms one side of the alley. It's Kid Twist. His eyes roam the street, for what, we do not yet know.",
"INT. AN OLD DRUGSTORE ACROSS FROM THE ALLEY - DAY Probably prosperous at one time, it has since declined, its large fountain and eating area bow host to two bums and Hooker, who sits alone in a rear booth near the telephone. Dressed in a tuxedo, he nurses a cup of coffee, and anxiously alternates his glances between the clock and the empty street outside. It's 12:52.",
"INT. THE STORE - DAY The place is full of people, although we avoid long shot so as not to give away the room as a whole yet. Instead, we concentrate on the tense, waiting faces of some of the more familiar people : Gondorff and Niles in tuxedos behind a barred cashier's area. Gondorff mutilates a piece of gum in his mouth. Niles just stares out into space cracking his knuckles. GONDORFF Eddie, cut that out, will ya. The boardmarker walking nervously back and forth in front of his odds board, checking every letter and number. He stops to cross a T on one of the horses' names. It was already crossed, but he does it again anyway. Billie and Singleton, in an area hidden from the rest of the room, watching the print - out on the ticker machine. The clicking of the ticker is the only sound we hear in the store. Curly Jackson in front of a mirror, pasting a fake Van Dyke on his chin to go with his tweed suit and monocle. A couple of Billie's girls adjusting their waitress outfits and primping their hair. Each has a tray full of drinks beside her. The Eirie Kid silently retracing his `` route'' to make sure he has it down. Despite the crowd, there is no talking and little movement, save for the constant swirling of smoke from several cigars and cigarettes. The group is like a theatre company waiting to go on opening night. THE DRUGSTORE AGAIN It's 12:56 and Hooker is worried. He looks up to see two large men, obviously racket goons, come in the front door, and take a seat facing him in the next booth. They stare at him impassively, waving the waitress away when she comes to take their order. Hooker knows they're Lonnegan's men, but is somewhat unsettled by the fact that Lonnegan is not with them. Suddenly, a voice. VOICE Carver? Hooker turns around to find that Lonnegan is seated in the booth directly behind him. His bodyguard is in the one behind that. LONNEGAN You should always look to the back too, kid. HOOKER -LRB- sliding out of his booth and into Lonnegan's. -RRB- I was afraid you were n't gon na come. We have n't got much time. LONNEGAN -LRB- curtly. -RRB- Get on with it then. HOOKER -LRB- pointing to telephone. -RRB- Sometime after 1:00 a guy's gon na call here and give you the name of a horse. -LRB- pulling out a wad of bills. -RRB- All you do is take this two grand across the street to Shaw's place and bet it on that pony. There's nothin' to it, but do n't take too much time. We only have 3 or 4 minutes after you get the call. LONNEGAN You're not gon na break him with a $ 2,000 bet. HOOKER This is just a test. The big one comes later. Be careful with that though, it's all I got. LONNEGAN And you were gon na pay me back? HOOKER I am after this race. Lonnegan says nothing. He's not sure he likes a man who's stupid enough to bet his last dollar on a horse race. HOOKER I got ta get back before Shaw misses me. Good luck.",
"EXT. STREET Hooker hustles out across the street and into the alley.",
"INT. DRUGSTORE Lonnegan watches him through the window and then settles back in his seat to wait for the phone. OUTSIDE STORE As Hooker descends the stairwell into the store, he gives Kid Twist the office. Twist turns away from the window and looks at his watch. 12:58. DRUGSTORE Lonnegan waiting by the phone, idly pinging a knife on the salt shaker. It's 1:40. A man enters the store and walks over to use the phone. LONNEGAN We're waitin' for a call. The man looks at Lonnegan a second, and then at his four goons. He decides maybe he'll make the call later.",
"INT. THE STORE Kid Twist again. Billie enters the room with a piece of paper. Kid Twist looks at it a second and then picks up the pohne and begins to dial.",
"INT. DRUGSTORE Lonnegan again. He's getting impatient now and lights a cigarette, and then the phone rings. He answers it quickly and we hear : TWIST Bluenote at 6 to 1 on the nose. The receiver clicks down at the other end. Lonnegan hangs up and goes out the door, followed by his entourage.",
"EXT. STREET We follow him across the street and into the alley, where he signals one of the bodyguards to check the place out. Kid Twist pushes a button on his window sill, and a buzzer goes off inside the store. The previously inert figures there spring to life. Lonnegan's bodyguard descends the stairwell and knocks at the door, where he is greeted by Hooker in the capacity of host. He looks the place over and motions an okay to Lonnegan.",
"INT. THE STORE As Lonnegan enters, we see the room for the first time in its entirety. Overnight it has been transformed into a swank private club, with bar, cigarette girls, upholstered furniture and chandeliers. SINGLETON Look at that. He's got four apes with him. GONDORFF That's what I like about these guys, J.J. They always got protection against things we'd never do to'em. Everywhere there is activity. A bank of telephones buzzes incessantly. Sheet writers scurry from phone to phone, taking bets of tremendous size from prominent people. SHEET WRITER Yes, Mr. Ruth, 20,000 on Dancing Cloud. We reveal that the phones are controlled by a master switch, which one of the recruited con men operates from behind a partition. The boardmaker, wearing headphones suspended from a sliding wire, hurriedly chalks up races and odds on a huge blackboard. From the loudspeakers we hear the words `` last flash.'' The odds on Bluenote settle down to 8 to 1. Lonnegan makes his way through the throng toward the betting line. His bodyguards fan out to various positions in the room. The betting crowd itself -LRB- known as the `` boost'' -RRB- consists of close to twenty people, none of whom, of course are what they're pretending to be. There are brokers with pasty faces, sportsmen, tanned and casual, and financiers with goatees and highly tailored clothes. Large amounts of money are changing hands at the betting window. Boodles are in sight everywhere. Lonnegan slips into the betting line, feeling somewhat estranged from the general merriment around him. There are two men in line ahead of him. The first, Curly Jackson, slaps down several bundles of cash in front of Niles, who's the cashier, and places a $ 20,000 bet on War Eagle. Gondorff appears at the cashier's window and catches sight of Lonnegan. GONDORFF Never get enough, huh pal? I'd think you'd get tired of losin', Honnigan. LONNEGAN -LRB- piercingly. -RRB- The name is Lonnegan. GONDORFF -LRB- to Niles. -RRB- Make sure you see cash from this guy, Eddie. He's got the name for bettin' money he do n't have. The man in front of Lonnegan puts $ 5,000 on Dancing Cloud. He makes the bet on credit. Lonnegan steps to the window. LONNEGAN Two - thousand on Bluenote. NILES -LRB- writing out a ticket. -RRB- Is that all? LONNEGAN -LRB- pissed. -RRB- That's all. Bluenote's race is now up on the board. The race caller comes on the loudspeaker. CALLER Ladies and Gentlemen. This is Arnold Rowe, your caller for the second race at Belmont in New York. A mile and 1/8. Four year olds and up. And they're off! We see that the caller is Singleton, and that he's calling the race from a concealed booth next to the cashier's cage. CALLER Around the first turn it's a War Eagle first by a length, Jail Bate second by one and a half, Dancing Cloud third by a half on the outside, followed by Lucky Lady, Mojo, Wits' End and Bluenote. Lonnegan goes to the bar, orders a drink, and settles down at one of the tables. It happens to be the one the Eirie Kid is at. Gondorff and Niles watch it from the cashier's cage. GONDORFF -LRB- worried. -RRB- That's not where we want him to sit. Eirie tries to ignore Lonnegan at first, but realizes he better make some conversation. EIRIE KID C'mon War Eagle. -LRB- to Lonnegan. -RRB- That Dancing Cloud's a hell of a finisher. War Eagle's gon na have to open up a little more on'em. LONNEGAN You know anything about a horse named Bluenote? EIRIE KID Naw, he's never done much. Probably in here just to round out the field. War Eagle's where you wan na have your money. Eirie excuses himself and heads for the bar. CALLER Into the clubhouse turn, it's War Eagle by two lengths, Dancing Cloud has moved up to second by a half, Lucky Lady is third by three followed by Jail Bait, Mojo, Bluenote and Wits' End. The heretofore chaotic energy of the parlor is now focused on the race. Several of the patrons begin to yell for their horses. Lonnegan remains seated. He seems bored with it all. Hooker comes over to clear some empty glasses from his table. LONNEGAN -LRB- out of the corner of his mouth. -RRB- You really picked a winner, kid. HOOKER Give'em a little time. CALLER Into the backstretch it's War Eagle still by a length, Dancing Cloud closing on the inside, is second by two, Lucky Lady is third by one and a half, followed by Bluenote, Jail Bait, Wits' End and Mojo. Lonnegan perks up just a little. Bluenote, at least, has moved up. The rest of the people in the place are really rooting now. Few of them remain seated. Hooker arrives at the bar, with the glasses he cleared from Lonnegan's table. Eirie is already there, fortifying himself with a scotch. HOOKER You're doin' great, Eirie. He loves ya. Eirie nods, somewhat unconvinced, and heads bak to the table. CALLER Into the far turn, it's Dancing Cloud now by half a length, War Eagle is second by two, Bluenote is third by a half and moving fast on the outside. Lucky Lady is fourth by four lengths, followed by Jail Bait, Wits' End and Mojo. Lonnegan is getting more intent now. CALLER Coming down the stretch, it's Dancing Cloud by one length, War Eagle and Bluenote are neck and neck by two. Now it's Dancing Cloud, Bluenote and War Eagle. -LRB- shouting now. -RRB- Dancing Cloud and Bluenote head to head. The place is going crazy. Even Singleton is standing up to get the necessary excitement in his voice. CALLER Dancing Cloud, Bluenote. Dancing Cloud, Bluenote. It's Bluenote by a nose. Dancing Cloud is second by two, War Eagle third by three and a half. Time for a mile and 1/8, 2:01 and 6/10 seconds. Most of the patrons collapse into their chairs like spent lovers. Eirie slams his racing form to the floor. Nobody had Bluenote. CURLY -LRB- tearing up his ticket. -RRB- Bloody awful. Who in blazes is Bluenote? LONNEGAN -LRB- to Eirie, very self - satisfied. -RRB- War Eagle's where you want to have your money, huh? Eirie does n't reply. He ca n't believe Bluenote won. Lonnegan looks to Hooker. Hooker gives him a wink. For the first time, Lonnegan permits a smile. LONNEGAN AT THE CASHIER'S WINDOW Niles is counting out $ 16,000 to him -LRB- all of which Gondorff won the night before -RRB-. Gondorff looks somewhat perturbed. Lonnegan picks up the money and tauntingly waves it at him. GONDORFF -LRB- getting his name right this time. -RRB- Do n't bother to come back with a piker's bet like that again, Lonnegan. We got a $ 5,000 minimum here. -LRB- to Hooker. -RRB- Show this bum out. Hooker hesitates a second. GONDORFF Go on, ya goddamn ninny. Gondorff gives Hooker a hard shove in the back with his foot, sending him into a table and sprawling to the floor. GONDORFF -LRB- indicating Lonnegan's bodyguards. -RRB- And tell him not to bring his garbage men in here no more. This is a class joint. Hooker, pretending to be humiliated, gets to his feet and escorts Lonnegan to the door. Lonnegan stops, gives Gondorff a derisive smile, and walks out. Once he's gone, the general clatter and hubbub in the room cease, like it had been turned off by a faucet. Most of the boost sit down and relax. Curly Jackson rips off his Van Dyke. It's been itching him. GONDORFF He's gaffed, kid. He should start coming to you now.",
"INT. COMB'S OFFICE AT THE CLEARINGHOUSE - DAY Combs sits passively on the edge of his desk glancing across the room every now and then at Riley, who is slumped uneasily in a folding chair, looking like a defendant at the Inquisition. Both remain silent, like two men in a waiting room. Suddenly, what they've been waiting for arrives. Lonnegan comes into the office, flanked by his bodyguards. Skipping the usual pleasantries, he walks right over to Riley. LONNEGAN All right, Riley. What the hell happened? RILEY -LRB- not looking at him. -RRB- We missed him. LONNEGAN You were n't hired to miss him. RILEY There was n't any way he coulda known we was in there. We made a clean pick on the lock and did n't leave no footprints in the hall. Somebody musta wised him up. LONNEGAN Yeh, and what does Cole say about that? RILEY I do n't know. He took it hard. LONNEGAN All right, get outa here. You're outta work. Riley gets up and drags himself out the door like a whipped dog. LONNEGAN We'll put Salino on it. I need somebody careful. COMBS Salino? Why waste our best people on a small - time job like this? It ai n't no heavy gee we're after. The guy's a five and dime grifter. LONNEGAN Then why ai n't he dead? COMBS They did n't think he'd be so cagey, that's all. They'll get him next time. LONNEGAN Use Salino. It'll take a little longer, but there wo n't be any holes in it. Combs gives up. The second time's the charm. LONNEGAN And tell Cole I wanta see him when he gets in. COMBS He's not comin' in. Not to get bounced off a job anyway. LONNEGAN He had his chance and all he did was shoot up a rooming house. Made a lotte noise and woke up a few cops, but did n't hit nothin'. Combs keeps his mouth shut. There's no way to talk to Lonnegan when he's like this. LONNEGAN -LRB- cooling a little. -RRB- This is Salino's job now, Vince. If Cole wants to muscle in on it, that's his business. But he's breakin' the rules and when Salino finds out about it, I ca n't feel sorry for what's gon na happen to him.",
"INT. LONNEGAN'S HOTEL - DAY The finest the period had to offer. We pick up Hooker coming down the hall to Lonnegan's suite. He is admitted by the Bodyguard. Lonnegan, wearing a smoking jacket, is seated at a table counting a pile of money. There are two other assistants standing behind him. They do n't look friendly. HOOKER Well, what did I tell ya? LONNEGAN You're a lucky man, all right. HOOKER Lucky, hell. I could do it every day. LONNEGAN Why do n't ya then. HOOKER'Cause it's better to do it all at once. -LRB- leaning close. -RRB- We're puttin' down 400 grand next week. At 5 - 1 we make 2 million. Twenty per cent of that is yours if ya stick with us. LONNEGAN You got a system, Carver? HOOKER You stayin' in or not? LONNEGAN I'm in. HOOKER -LRB- drawing up a chair, barely able to contain his enthusiasm. -RRB- It's foolproof. We got a partner downtown runs the central office of the Western Union. Race results from all over the country come in there and go right across his desk on their way to the bookies. All he does in hold them up a couple minutes until he can call us and get a bet down on the winner. Then he releases the results to the bookies and we clean up on a race that's already been run. It ca n't miss, unless the Western Union Dicks get onto it. Lonnegan is amazed. He sits back a second, then comes forward again and pushes a pile of bills over to Hooker. Hooker smiles and begins to count the money. LONNEGAN You got the 400 grand yet? HOOKER Not yet, but. -LRB- stopping suddenly. -RRB- Hey, there's only a grand here. LONNEGAN -LRB- more like a command. -RRB- I think we oughta place another bet tomorrow. HOOKER -LRB- getting angry. -RRB- What is this? That's my money. You tryin' to muscle me? LONNEGAN -LRB- controlled. -RRB- If your system's as foolproof as you say, you'll get even more. Hooker's in a jam and he knows it. HOOKER -LRB- after a pause. -RRB- I got ta talk to me partner first. We ca n't afford to expose our game too much. LONNEGAN Let me talk to him. HOOKER -LRB- flatly. -RRB- No. LONNEGAN You want your money back? Try and get it in a court of law. -LRB- softening a bit. -RRB- C'mon, do n't be a sorehead. I'll make it worth your while. Migth even help ya finance the big play if this one works out. Hooker says nothing for a minute, and then reluctantly nods his head. HOOKER Four o'clock tomorrow. Pick me up at Dewey Lyle's.",
"EXT. LONNEGAN'S HOTEL - DAY We pick up Hooker coming out of the hotel and going off down the street. As he does so, we pull back all the way across the street and through the interior of a parked car to reveal the silhouette of a man seated at the wheel. We move to his right hand, which rests on the steering column. It's covered by a black glove and the middle finger is missing. His trigger finger, however, taps lightly on the wheel.",
"INT. AN INDOOR TELEPHONE BOOTH - DAY One of the old, wooden kind - accordian doors with glass panes in the upper half. Hooker dials rapidly. HOOKER Twist? I told him the tale. He wants to see ya. TWIST All right, when? HOOKER Tomorrow, after 4:00. Stay inside, I'll come in and get ya. And be hard on him for a while ; he's talking money. TWIST Okay, Tootsie. Hooker blows a mock kiss through the phone and hangs up. He turns to leave the booth, when suddenly he sees something that stops him cold. There looking through the glass is the smirking face of Detective Synder. Hooker is immobilized. Snyder puts his hand inside his coat and slowly draws out his gun. He points it right at Hooker's face and then violently smashes all the glass in the upper half of the door with the barrel. Fragments of glass spray into the booth, a couple of which imbed themselves in Hooker's cheek. Hooker quickly whips open the door, trapping Snyder's hand in the accordian and jarring loose his gun. Hooker sprints out of the booth as Snyder scrambles for his pistol and gives pursuit.",
"EXT. ALLEYS AND SIDESTREETS - NIGHT - THE TWO MEN We follow the two men up alleys and sidestreets as they race through the dregs of the city, two panting shadows moving through places that only get light at night. The wind blows drops of blood off Hooker's cheek as he runs. Snyder still has his gun, but would rather inflict pain than death. CONDEMNED BUILDING Hooker makes for a condemned building and scrambles up the stairs, steps giving way under him as he goes.",
"INT. BUILDING On the fourth floor, he ducks into a room and quickly locks the door. We pan the room to reveal that the whole back side of the building is gone. Hooker runs toward the ledge and leaps through the air, landing on the fire escape of an adjacent building, some 15 feet away. He kicks in a window and goes off down the hall. We cut back to Snyder furiously kicking in the locked door. He finally crashes through, only to find an empty room and a beautiful panorama of the city and its nearest Hooverville. LONG SHOT - HOOKER Winding his way through the slum area of town, dashing along backstreets, over fences and through vacant lots, making good his escape. From our angle, he looks like a rat in a maze. GONDORFF -LRB- V.O. -RRB- Why did n't you tell me about Snyder before? HOOKER -LRB- V.O. -RRB- I thought I'd lost him.",
"INT. GONDORFF'S ROOM AT THE CAROUSEL BUILDING - DAY Hooker sits sullenly at the table. Billie stands over him putting some ointment on his face to close the cuts. Gondorff looks on. Their discussion continues. GONDORFF Well you found him again and we're gon na have to do somethin' about it. What else have n't ya been tellin' me? HOOKER Nothin'. I told ya everything there is. GONDORFF Then why'd ya move outa your room? HOOKER It was too noisy. GONDORFF You ca n't play your friends like marks, Hooker. Hooker does n't reply. He knows Gondorff's on to him. GONDORFF You know how easy it'd be for one of Lonnegan's guys to nail you? HOOKER All we need is a couple days, Henry. A couple days and we'll get Lonnegan down and stomp on'em. GONDORFF You just wo n't learn, will ya. Hell, you come in here, I teach you stuff maybe five guys in this world know, stuff most grifters could n't do even if they knew it, and all you wan na do is run down a bullet. -LRB- pause. -RRB- You're just like all them new jerks. Lotsa nerve and no brains. And ten years from now when me and the others are through and you dumb guys are all dead there wo n't be one gee left who knows the Big Con was anything more than a way to make a livin'. HOOKER A couple days ; that's all I'm askin'. I can stay clear that long. GONDORFF -LRB- trying to be angry and failing. -RRB- Christ, they'll probably miss you and hit me. FADE OUT. THE WIRE FADE OUT.",
"INT. A SLEEPY DINER - LATE AFTERNOON Located across the street from Hooker's apartment building. Hooker sits down alone in a booth, with a plate of ham and eggs he's hardly touched. The two cuts on his face have pretty much stopped bleeding. A big fan above the counter area drones away lethargically, it's air stream insufficient to either cool the place or drive out the smell of onions and grease. A waitress, Loretta, emerges from the kitchen and ambles slowly over to Hooker's table. Slim and raven - haired, she manifests an indifference bred from years spent delivering things to people who are rarely grateful for what she brings. Only a light scar on her left cheek hints at another side. LORETTA You done? HOOKER Yeh, I guess I shoulda had the meat loaf. LORETTA -LRB- deadpan. -RRB- It is n't any better. HOOKER Where's June today? LORETTA -LRB- figuring up the bill. -RRB- She do n't work here no more. I'm fillin' in for a couple days. till I can get a train outa here. HOOKER Where you goin'? LORETTA -LRB- putting the check down and walking away. -RRB- I do n't know. Depends what train I get on. Hooker looks for some sign that she's putting him on. He does n't get it. He takes out some money, drops it on the table and walks out.",
"EXT. A WESTERN UNION OFFICE - LATE AFTERNOON A truck with the words CLAYTON BROS., CUSTOM PAINTING AND DECORATING stenciled on the side, is parked out front. Two men, wearing overalls and painter's caps, walk into the office to the reception counter, we see that they are Twist and Singleton. TWIST -LRB- to the receptionist. -RRB- Excuse me. We're here to paint Mr. Harmon's office. RECEPTIONIST -LRB- obviously not expecting them. -RRB- Mr. Harmon's office? Hold on just a second. She goes to get Mr. Harmon.",
"EXT. THE SLEEZY DINER - LATE AFTERNOON Hooker is standing on the curb outside the diner, obviously waiting for somebody. Lonnegan's car pulls up and Hooker hops in the back. LONNEGAN What happened to your face? HOOKER Had a little fight with a raggle down on 13th. She got me with her ring. Lonnegan laughs.",
"INT. THE WESTERN UNION OFFICE AGAIN - LATE AFTERNOON Mr. Harmon is looking over the authorization papers that Twist and Singleton have given him. He ca n't find anything wrong with it. HARMON Brigham signed it all right. I ca n't understand why he did n't tell me. SINGLETON Ah, he's like all them supervisors. They think they're too good for regular people. He says he was in here a while ago and the place was a mess. Harmon looks around, hoping it's not true. TWIST We'll try and hurry so we do n't keep you out of your office too long. HARMON Why ca n't I work with you in there? SINGLETON Look pal, we got ta cover the floor, the furniture, everything, so we do n't spill on nothing. Now if you wanta sit in there with a tarp over your head, you're welcome to it. HARMON All right, how long will you be? TWIST Hour or two at the most. We do good work. Harmon is resigned. Twist and Singleton pick up their gear and march into the office. Once inside, we notice that the office has an exit door which opens to an outside alley. Twist immediately removes his overalls, revealing the suit and tie he's wearing underneath. He takes out a picture of himself, a woman and three small children, and puts it on Harmon's desk, replacing a similiar picture of Harmon's family. Singleton, meanwhile, has spread a few tarps and begins to paint the walls.",
"EXT. THE WESTERN UNION OFFICE - LATE AFTERNOON Lonnegan's car pulls up and stops across the street. HOOKER We'll go to the side door. We follow Hooker and Lonnegan across the street to the side entrance which opens into :",
"INT. HARMON'S OFFICE Hooker knocks and Twist, of course, answers. HOOKER Les, I got Mr. Lonnegan with me. He wants to see you a second. TWIST -LRB- irritated. -RRB- What the hell's the matter with you. We coulda met at a club or somethin'. HOOKER I thought it might be good for him to see the setup. TWIST -LRB- hushed. -RRB- Well we ca n't talk in here. They're having the place painted. Twist walks over to the intercom on his desk. He leaves the door open so that Lonnegan can get a good look at the office, Twist's picture in it, the painter, etc. Lonnegan's not missing any of it. TWIST -LRB- talking into the intercom. -RRB- Miss Barnes, I'm going home a little early today. Tell anyone that calls that they can reach me here in the morning. Thank you.",
"INT. FRONT OFFICE Harmon's secretary at the other end of the intercom. Mr. Harmon is with her. They look at each other a second and Harmon decides he better see what's happening in his office. He opens the door to find it empty except for a pile of painting equipment and one haphazardly painted wall.",
"INT. A DILAPIDATED CHINESE RESTAURANT - EVENING Dark and somewhat foreboding, its peeling dragons and shoddy lanterns compete for space with the many slot machines and arcade games that line the walls. Hooker, Lonnegan and Twist sit at one of the more secluded tables. They are not eating. TWIST Ca n't do it. There're telegraph inspectors all over the place. I got 750 grand coming in from the coast, and I'm not gon na blow it for a lousy 14 gees. We'll get somebody else to do our betting. LONNEGAN I could come up with 750 grand in a day if I had a reason to. TWIST But who says you will. I got a guy I can depend on. He's liquidating everything he has for this. You would n't even give Carver his money back. LONNEGAN I need more proof, that's all. Anybody can get lucky once. TWIST -LRB- stubbornly. -RRB- On a 6 - 1 shot? The hell with ya. We'll keep the deal we got. LONNEGAN If it works again tomorrow, I'll have a half million in cash here by noon the next day. We split 60 - 40. TWIST -LRB- feebly, beginning to break. -RRB- We were getting 50 from our guy. LONNEGAN With 20 % coming off the top for me laying your bet. Either way you end up with 40. Twist hesitates. LONNEGAN A week's a long time, friend. Anything can happen. All of it bad. HOOKER He's right, Les. TWIST Yeh, and what if we play tomorrow and he does n't come up with the money. We risk our whole operation for nothing. I'll say when we make our bets. LONNEGAN Not if you want me to keep makin''em for ya. HOOKER And what do we know about your guy. He says a week, but who knows if it's a month? Lonnegan here's a banker. He can get that dough with no questions asked. Twist says nothing for a minute, then : TWIST All right. Be at the booth at 1:00. I'll give you all three places this time, Lonnegan. That better be proof enough. Hooker and Lonnegan smile at each other like life - long friends. They get up to leave, and we frame the shot with a coffee cup large in the foreground. As they go out the door, a black - gloved hand with four fingers enters the frame and puts a nickel down next to the cup. FADE OUT. THE SHUT - OUT FADE OUT.",
"INT. A DOWNTOWN DINETTE - MORNING Snyder finishes a donut and a cup of coffee, puts down a dime for the lot and exits. We follow him down the street :",
"EXT. STREET To a corner newsstand, where he stops to buy a morning paper. As he peruses it, he's approached by two large, clean - cut men in white skimmers. MAN Are you Lieutenant William Snyder? SNYDER I do n't know, what's up? MAN F.B.I. The Captain'd like a few words with ya. Ya got a couple minutes? SNYDER -LRB- completely floored. -RRB- Yeh, sure. The two men show him to a waiting car.",
"INT. AN ABANDONED WAREHOUSE - DAY Snyder stands in the middle of a dusty old machine room, surrounded by four or five Federal Agents. Visible around the room are several folding cots and portable lockers. The agents have obviously been quartered here temporarily. They all wear white skimmers, save for one, a portly man, Captain Polk, who paces the room smoking. There is something long - suffering about him, as if he wondered how he ever got in a service that thought white skimmers were classy. SNYDER What is this? I got work to do. POLK Sit down and shut up, will ya. Try not to live up to all my expectations. -LRB- not in the mood to screw around. -RRB- We were told you know a hustle artist named Johnny Hooker. Snyder does n't answer. POLK Do ya know him or do n't ya? SNYDER Yeh, but I do n't know where he is. POLK Well we do. He's chummin' around with a Big C named Henry Gondorff. Ring any bells? SNYDER Sure. Every bunco man in the country knows Gondorff. POLK There's word he's gon na run a con on the North Side here. We got a year - old Florida warrant on him, but it's a thin beef, and he can beat it in court unless we catch him cold. All we want you to do is pick up Hooker for us. SNYDER Why do n't you pick him up yourself? POLK Cause the stoolies are used to street dicks jumpin' him. If word gets around that Feds are in on it too, Gondorff'll fold up the whole thing. SNYDER Would n't that be too bad. You'd hafta move outa this nice office ya got. POLK -LRB- enraged. -RRB- Do n't crack wise to me, flatfoot. I spent a lotta time in dumps like this, eatin' Gondorff's dust while the bunco squad gets rich tippin' him off. But it's not gon na happen this time. We're not even gon na let the police know we're here. If you keep your mouth shut and do a job, there'll be a promotion in it for ya. And you better take it, cause I can make ya work for us without it. SNYDER What the hell good is Hooker to ya? POLK He's gon na set up Gondorff for us. SNYDER He'll never do it. POLK -LRB- self - satisfied. -RRB- I think he will.",
"INT. DRUGSTORE - DAY Lonnegan sits by the phone, watching the clock and sipping a cup of coffee.",
"INT. THE STORE - DAY Specifically, the small room from which Singleton does his race broadcasts. Singleton, himself, is hunched over the ticker machine, reading the print - out. Billie sits at the microphone table with a pencil and pad, ready to write. SINGLETON Visitation is still up by two at the three - quarters. Single Action second, Fasanella third. BILLIE What's the line on Visitation? SINGLETON -LRB- checking further up on the print - out sheet. -RRB- 7 to 2. That ai n't bad. BILLIE He'll probably fall down. Gondorff appears at the doorway. GONDORFF How ya doin'? SINGLETON -LRB- eyes still glued to the ticker. -RRB- Nothin' yet. I got a good one on the lead at Hialeah, but he's fadin'. BILLIE Best we had was Cat's Eye in the second at Del Mar, and he was only 5 - 2. Not many longshots comin' in today. SINGLETON -LRB- excited. -RRB- Billie. You ready? Billie prepares to write on her pad. BILLIE Yeh, go ahead. SINGLETON At the finish, it's Single Action by two, Fasanella second, Visitation third. -LRB- reading up the sheet again. -RRB- Line on Single Action. 3 to 2. Hell with it, that's no good. Billie crumples up the piece of paper she's been writing on and chucks it in a wastecan. GONDORFF We do n't need big odds on this one, J.J. Take anything you get at 3 - 1 or better. Gondorff leaves the room, as Singleton turns back to his vigil at the ticker. SINGLETON -LRB- a little weary. -RRB- Okay, the Fairfield Stakes at Santa Anita. Mile and a quarter for 3 year olds and up. THE FLOOR AREA OF THE STORE Everyone is in his place as before. Today, however, Curly Jackson is playing the part of the aging sport. Well scrubbed and clean shaven, he cuts a dashing figure in his blue blazer and white pants. We go to Gondorff in the cashier's cage. He's talking to Niles, who's busy handing out fake bankrolls to members of the boost. GONDORFF He's gon na hit ya with 20 grand, Eddie. How much cash we got? NILES Not enough to cover a bet that big. GONDORFF Get a couple extra guys in the line, then. We'll give him the shut - out. Niles nods.",
"INT. DRUGSTORE - DAY Lonnegan is still waiting. He takes the 20 grand out of his coat pocket and thumbs through it, just to make sure it's all there.",
"INT. THE STORE - DAY Singleton and Billie at the ticker again. Billie looks a little sleepy. Singleton is obviously involved with the progress of a race. SINGLETON Okay, Billie, here we go. Billie snaps to and prepares to write as Singleton reads. SINGLETON At the wire it's Wrecking Crew the winner by five, Grand Theft second, Wingless third. -LRB- reading up. -RRB- Wrecking Crew was. 4 to 1. -LRB- ripping the sheet out of the ticker. -RRB- That's our boy. Billie and Singleton hustle out of the room.",
"EXT. ALLEY We follow Billie through the store and across the alley to the building from which Twist keeps his lookout.",
"INT. THE STORE Gondorff, holding the ticker sheet Singleton has given him, emerges from the office and starts giving instructions to the boost. GONDORFF All right, Furey, your horse is Wingless. Paltrow, the Big Alabama and Phillips'll take Grand Theft. Rodgers and Eirie have Wrecking Crew. Jackson - His Dandy, Cowan - Change of Heart, Fiskin and Chappie - Made to Order. -LRB- pointing to the Eirie Kid. -RRB- Eirie, he gets a bang outa seein' you lose, so we oughta use that on'em. If you play the birds of a feather routine we worked on, it should steam him up pretty good. You think you can handle that? EIRIE KID -LRB- a little nervous. -RRB- Yeh, sure. GONDORFF O.K., you guys in line take your time, and I wanta see lotsa joy on Wrecking Crew.",
"INT. TWIST'S ROOM - DAY Billie enters and gives Twist the piece of paper she wrote the race results on. He picks up the phone and starts to dial.",
"INT. DRUGSTORE - DAY The phone rings and Lonnegan answers it. VOICE Wrecking Crew at 4 - 1, Grand Theft to place, Made to Order to show. Lonnegan smiles and hangs up the phone.",
"INT. THE STORE - DAY Lonnegan's in line at the betting window. There are four people in front of him this time, and they are moving rather slowly. The `` Last Flash'' call is heard on the speakers. LONNEGAN -LRB- getting impatient. -RRB- C'mon, let's hurry up there. The man at the head of the line turns around and gives Lonnegan a chilling look, as if he were beneath contempt. He puts down $ 25,000 on Grand Theft. The next man in line plunges down $ 30,000 on Wrecking Crew. Just as Lonnegan is about to step to the window, Gondorff gives a quick signal to Singleton. The speakers come on. CALLER Ladies and Gentlemen, this is Arnold Rowe, your caller for the $ 100,000 Fairfield Stakes at Hollywood Park in Los Angeles. A mile and 3/8 for three year olds and up. And they're off! LONNEGAN -LRB- counting out his money. -RRB- Twenty - thousand on Wrecking Crew. NILES I'm sorry, sir. We ca n't take bets after the race is started. He points to a sign above the window, which says exactly that. Lonnegan grabs up his money in disgust. GONDORFF Do n't take it so hard, pal. You probably woulda lost it. Lonnegan wanders over to the bar in a funk. CALLER And around the first turn it's Wrecking Crew by a half length, Grand Theft second by one, His Dandy is third by one half, followed by Change of Heart, Back Flip, Made to Order and High Ground. The assembled patrons are once again thoroughly involved in the race. Eirie comes up to Lonnegan at the bar. EIRIE KID Who you got? LONNEGAN -LRB- half - heartedly. -RRB- Wrecking Crew. EIRIE KID Me too. Maybe it's our day. Lonnegan nods and wanders away. Hooker comes over to him. HOOKER What happened? LONNEGAN I did n't get the bet down in time. HOOKER -LRB- pissed. -RRB- Oh, Jesus.",
"INT. STORE OFFICE Gondorff and Niles, back in the office. NILES -LRB- looking out at the floor. -RRB- Looks like he's sulking. GONDORFF If we're lucky, this'll bring him back stronger than ever. THE FLOOR CALLER Coming for home, it's Wrecking Crew by six lengths, Made to Order is second by two and a half, High Ground is third by a length and Grand Theft is coming fast on the rail. It's Wrecking Crew, Made to Order and Grand Theft. Wrecking Crew wins it by five lengths, Grand Theft is second by a nose, Made to Order is third by two. Time for one and 3/8 mile, 2:11 and 4/10 seconds. Eirie explodes in a joyous frenzy. He grabs Lonnegan by the shoulders and shakes him. EIRIE KID We won! We won! You hear that! I won 30,000! You hear that! Yeh, Lonnegan heard that. Lonnegan shakes loose, grabs his coat and heads for the door.",
"EXT. ALLEY - DAY He finds Hooker waiting for him outside. LONNEGAN Tell your friend I'll have the money here by post - time tomorrow. We'll take the first race where the odds are 4 - 1 or better. And make sure I can get to that window this time. HOOKER How am I gon na do that? LONNEGAN -LRB- coarsely. -RRB- I do n't know, figure something out. Lonnegan storms across the street to his waiting car and drives off. Hooker relaxes into a smile. He's already figured something out.",
"INT. SLEEZY DINER ACROSS FROM HOOKER'S APT. BLDG. - EVENING Hooker sits at the counter finishing a plate of meat loaf. Loretta is down at the cash register, leaning on the counter, looking idly out into space. Hooker glances over at her every once in a while to see if she might be interested in striking up a little conversation. She's not. He finishes his meal and comes down to the register to pay his bill. HOOKER Meat loaf, apple pie and a cup of coffee. LORETTA -LRB- ringing it up. -RRB- Sixty - five. Hooker gives her a dollar. She goes to the register for change. HOOKER What time you get off work here? LORETTA 2:00 A.M. HOOKER You doin' anything tonight? LORETTA -LRB- handing him his change. -RRB- Yeh, sleepin'. Hooker figures that's enough of that. He pockets his change and starts out the door, when suddenly he stops short.",
"EXT. STREET Across the street in a doorway is the silhouette of a man. It's Cole. He's pretending not to look at the diner, but Hooker is n't fooled.",
"INT. DINER He goes back to Loretta at the register. HOOKER You got a back door to this place? LORETTA No. What's wrong with the front? HOOKER -LRB- urgently now. -RRB- Look, I do n't have time to fuck around. There's somebody out there I do n't need to see. You got a fire escape or anything? LORETTA No. HOOKER All right, do me a favor. Go into the bathroom, open the window and wait for me there. LORETTA What the hell for? HOOKER Just do what I tell ya and everything'll be jake. Cracks of concern begin to appear in Loretta's marble. LORETTA What does this guy want? HOOKER -LRB- evenly. -RRB- He'd like to kill me. Loretta just looks at him a second. Realizing that this is no joke, she turns and walks slowly but steadily to the bathroom. Hooker waits until she's out of sight.",
"EXT. STREET Hooker goes to the front door and steps outside. Cole looks up at the sound of the door. Hooker makes a big show of spotting him, and runs back into the diner. Cole, his cover blown, draws his gun and races across the street in pursuit. Arriving just in time to see -",
"INT. DINER Hooker go into the bathroom, he charges in after him, only to find the place empty. He goes quickly from stall to stall, on the chance that Hooker might be hiding in one of them. He comes to one that's closed, and seeing a pair of woman's legs under the door, rejects that, and moves on to the next one. We cut inside the stall to reveal Loretta sitting on the toilet with her skirt hiked up. Right behind her, crouched on the back of the seat, is Hooker. Cole has finished his rapid inspection now, and having found nothing, looks around for Hooker's probable escape route. He sees the open window and climbs out to find himself in a small air shaft, from which he knows Hooker could not escape. Hooker, seizing the time, bursts out of the stall and runs back out through the diner. Cole sees him, but too late to get off a shot. He climbs back in the window and gives chase.",
"EXT. STREET We pick up Hooker barreling down the street with Cole a hundred yards or so behind. Hooker makes a sharp cut into an alley, and we see immediately that it's a hopeless dead end. Inexplicably, he makes no attempt to run back out. Cole draws up and cuts into the alley, anticipating the kill which should be easy now. He prepares to sight down his victim, when suddenly he realizes there is no victim in sight. Hooker, miraculously, has vanished. Cole scans the alley frantically for some trace of him. There are no windows or doors at the street level. Not even a drain pipe. Just brick wall. It's impossible. Hooker has disappeared into thin air. Cole slams his gun into his shoulder holster with a curse, and starts back out of the alley, when all of a sudden he stops in utter terror. His mouth drops open and he chokes out the words : COLE Salino, hey look. I did n't mean to move in on. Before anything else can come out, two bullets rip into his chest. He falls to the concrete, coming to rest on a manhole cover, which we notice is slightly ajar. We : THE SEWER PIPES Beneath the manhole. We see Hooker making his way through the slop, having gained another reprieve, but unaware that with two down, there is still one to go.",
"INT. HOOKER'S APARTMENT BUILDING - EVENING Hooker comes in the front entrance and goes to the elevator, one of the old - fashioned kind with the iron grid on the inside. He's still a little rattled and waiting for the elevator is making him restless. It finally arrives, and he steps inside, closing the grid behind him. As he starts to push the button for his floor, he realizes for the first time that he's not alone. He looks to the corner to find Snyder, holding a gun on him. This time there's not much doubt that he'll use it if necessary.",
"INT. THE ABANDONED WAREHOUSE - EVENING Snyder brings Hooker into the crate room where Capt. Polk and the other Agents are waiting. Polk, as usual, has his coat off, revealing his shoulder holster. POLK Hello, Mr. Hooker. Captain Polk, F.B.I. -LRB- shoving a chair over to him. -RRB- Have a seat. Hooker remains standing. POLK -LRB- ignoring it, drinking from a cup. -RRB- You want a drink or something? HOOKER No. POLK We want to talk to ya about Henry Gondorff. HOOKER Do n't think I know him. POLK Well give yourself a couple seconds, crumb. You would n't wan na lie to me. Lt. Snyder here says you done a lotta griftin' in this town. HOOKER Lt. Snyder does n't know shit. Capt. Polk almost laughs, but he checks it. HOOKER You got nothin' on me. POLK We'll get it, and if we ca n't, we'll just make it up. Grand larceny, extortion. -LRB- with special emphasis. -RRB- Counterfeiting, anything you want. Hooker says nothing, but it's not from defiance now. He's beginning to get the picture. POLK Look, I got nothin' against you, but you're in trouble here. All you got ta do is tell us when Gondorff's gon na play his chump. We come in at the sting, make the pinch, and you walk out free as a bird. No questions, no court appearance, nothing. HOOKER No. POLK You've already done time twice, and judges do n't like three time losers. You wan na sit in the can for forty years, startin' tonight? HOOKER I'll make parole. POLK Like hell. You wo n't even get a review till you're seventy. And if the board starts to go soft, we'll let ya out in the yard some night with a hard - nose young bull who'll put fifty slugs in your face and ask what you were doin' there later. Hooker wants to come back with something, but ca n't find it. POLK Do n't be a sap, kid. You could save us a little trouble. But Henry Gondorff is through whether you help us or not. There's nothin' left to do now but save yourself. Hooker's thoroughly whipped. He sits down for the first time. HOOKER -LRB- softly. -RRB- Will you wait until the chump is played? POLK Hell yes. We do n't care about the mark. He deserves what he gets. HOOKER -LRB- with heat. -RRB- I mean completely played. Until he's beat and the score is taken. You come in before we beat him and I'll kill him. You'll have a tough time explaining that, wo n't ya. POLK All right, Hooker, but you take it on the lam, and we'll shoot you down on sight. HOOKER -LRB- barely audible. -RRB- Just as long as I get to finish the play.",
"INT. GONDORFF'S ROOM - NIGHT Gondorff and Hooker are playing gin rummy and drinking. Gondorff makes little comments as he plays, but Hooker is quiet and withdrawn. The carousel is not in operation and a heavy silence hangs over the place. GONDORFF What's the matter, kid? You're not sayin' much. HOOKER Just a little nervous, that's all. GONDORFF Luther always told me to bite my toenails when I get nervous. You see yourself doin' that and you realize it ai n't worth it. Hooker smiles feebly. Billie appears at the door. BILLIE Things are a little slow tonight, Henry. I wan na open the round for the girls. Gondorff takes out a set of keys and tosses them to her. She leaves to go start the merry - go - round. Gondorff settles back into the game. GONDORFF Take it easy, you wo n't lose him now. We had him 10 years ago when he decided to be somebody. Believe me, I've seen enough to know. HOOKER -LRB- softly. -RRB- How many guys you conned in your life, Henry? GONDORFF Two or three hundred I guess. Sometimes played two a day when I was in Shea's mob. We had it down to a business. -LRB- pause. -RRB- ` Course Chicago was a right town then. The fix was in. The dicks took their end without a beef. All the Wall Street boys wanted to make investments for us. Even had marks looking us up, thinkin' they could beat the game. -LRB- pause. -RRB- Yeh, kid, it really stunk. No sense in bein' a grifter if it's the same as bein' a citizen. Gondorff chucks his cards on the table. He's through for the night. GONDORFF I better do some packin'. I'm gon na be a hot number again after tomorrow. HOOKER Then why you doin' it? GONDORFF Seems worthwhile, does n't it? Maybe it's just for the cave - in on Lonnegan's face when we put in the sting. That's good enough. Hooker gets up to leave. HOOKER Henry. HOOKER Yeh. HOOKER -LRB- apologetically. -RRB- I appreciate your stickin' your neck out. I would n't have asked ya if it were n't for Luther. GONDORFF Ai n't nothin' gon na make up for Luther, kid. -LRB- pause. -RRB- Revenge is for suckers. I been griftin' 30 years and never got any. Hooker just nods and walks out the door.",
"INT. CAROUSEL We follow him past the Carousel which is now full of giggling prostitutes in various stages of undress. Their childish frolicking is charming from a group usually so jaded, but it's lost on Hooker tonight.",
"EXT. A CITY STREET - NIGHT It's late now and the street is deserted save for an occasional derelict or streetwalker on her way home from a night's work. We pick up Hooker coming down the street toward his apartment building. He walks slowly, almost reluctantly, as if he did n't care whether he ever got there or not. As he nears his building, he notices Loretta coming out of the diner across the street. He stops and watches as she looks up and disappears into an adjacent building that advertises rooms for rent. After a few seconds, we see a light come on in one of its second story windows. Hooker just stands there a second, debating with himself, trying to figure out a reason for doing what he's going to do anyway. We follow him across the street to Loretta's building and :",
"INT. LORRETA'S He goes up the stairs to the room where the light came on. He passes a couple of derelicts on the way. He knocks twice and Loretta answers in her bathrobe. She is more than a little startled to see him. LORETTA Looks like he missed ya. HOOKER Yeh, this time anyway. Loretta notices an old busybody peeping out at them from her room across the hall. LORETTA Good night, Mrs. Hillard. Mrs. Hillard quickly closes her door. HOOKER -LRB- shuffling a little. -RRB- I, ah. thought you might wan na come out for a while. Maybe have a drink or somethin'. LORETTA You move right along, do n't ya. HOOKER -LRB- with more innocence than confidence. -RRB- I do n't mean nothin' by it. I just do n't know many regular girls, that's all. LORETTA And you expect me to come over, just like that. HOOKER If I expected somethin', I would n't be still standin' out here in the hall. Loretta looks at him carefully. She knows it's not a line. LORETTA -LRB- with less resistance now. -RRB- I do n't even know you. HOOKER -LRB- slowly. -RRB- You know me. I'm just like you. It's two in the morning and I do n't know nobody. The two just stand there in silence a second. There's nothing more to say. She stands back and lets him in.",
"INT. GONDORFF'S ROOM - NIGHT A record spinning lazily on an old phonograph. We hear Robert Johnson's `` Come On In My Kitchen.'' Gondorff is sitting up in bed, with his hat on, lost in thought. Billie is curled up asleep next to him. There's a packed suitcase next to the bed. Billie wakes up and turns over a second. BILLIE C'mon, Henry, knock off. You've done everything you can. Gondorff nods his agreement like a zombie and goes right on thinking. LORRETA'S ROOM Hooker and Loretta are asleep against each other, their bodies illuminated every few seconds by the light from a neon sign across the street. We dolly to the window and move in on another window in the building next door. There's no light on in it, but we can discern the basic outline of a face behind the curtains, which are slightly parted to afford a view of Hooker's room by a black - gloved hand. `` I said come on in my kitchen Cause it's gon na be rainin' outdoors.'' Music ends. FADE OUT. THE STING FADE OUT. We open on Hooker in bed, the morning sun streaming in on his face. He awakens slowly, looks at the ceiling for a second and, remembering last night, turns to the side to find that Loretta is no longer there. Still drowsy, he gets out of bed and looks around the room for a note or some evidence of her continued presence. He opens an empty closet, then opens empty drawers. Finding nothing, he suddenly hits on another possibility, and looks in his wallet. The money is still there. Almost disappointed, he slumps down in a chair, as the harsh reality of what will happen this day floods back in on him. Music begins and we :",
"INT. AN UNKNOWN LOCATION - DAY We see the black - gloved hand opening a small wooden box. Wrapped inside is a shiny black revolver, at this point in two pieces. The hand reaches in and takes them out.",
"INT. THE SLEEZY DINER - DAY Hooker is poking at a plate of waffles and sausage. The waitress on duty is not Loretta and Hooker has noticed.",
"INT. GONDORFF'S ROOM - DAY Gondorff is standing in front of the bathroom mirror, putting on his tuxedo. He goes to his dresser, pulls out a very small gun and tucks it in his cummerbund. THE GUNNMAN'S ROOM AGAIN The hand swirls a pipe cleaner inside the barrel of the revolver and picks some lint out of the chamber. He then screws the barrel onto the body. This is all seen in closeup. HOOKER'S ROOM AGAIN Hooker now has his tuxedo on. He takes two small rubber bladders out of a drawer and puts them in his pocket.",
"INT. LONNEGAN'S SUITE - DAY Lonnegan paces nervously around the room, looking at the clock. Obviously waiting for something, he's getting extremely impatient. THE GUNNMAN'S ROOM AGAIN We watch the hand carefully loading bullets into the chamber of the revolver.",
"INT. THE CAROUSEL BUILDING - DAY Gondorff emerges from his room carrying his suitcase. He stops and looks up at the mezzanine where Billie is standing. They smile sadly at each other and give a simple wave, having done this too many times to get sentimental about it now. Gondorff walks out of the building. HOOKER'S ROOM AGAIN Hooker is busily stuffing all his possessions in a paper bag, lumping clothes with food, records and toilet articles. LONNEGAN'S SUITE AGAIN Lonnegan goes to the door to admit Floyd and two assistants, one of whom carries a large brief case. Lonnegan takes the brief case to a table and opens it. Inside is a half million dollars in cash.",
"INT. THE GUNNMAN'S ROOM AGAIN We see the hand putting a silencer on the revolver. The gunman puts the revolver up to his eye to check the alignment and for the first time we see the face that goes with the hand. It is fully as menacing as we had imagined : Broad, flat nose, thick cracked lips, narrow eyes and cauliflower ears. HOOKER'S ROOM AGAIN Hooker is on the phone now.",
"INT. WAREHOUSE We see that he's talking to Captain Polk. Snyder listens also. HOOKER'S ROOM Hooker finishes the conversation, hangs up and goes to take one last look at himself in the mirror. Finding everything in order, he grabs up his sack of possessions and leaves the room.",
"EXT. HOOKER'S APARTMENT We pick him up emerging from the building, and follow him around the corner to a secluded alley which he generally takes on his way to the store. As he walks along, he notices Loretta coming toward him from the other end. She's wearing a coat, obviously on her way somewhere. As she comes closer, we move to reveal the gunman appearing suddenly in the alley behind and to the right of Hooker.",
"EXT. ALLEYWAY The gunman quickly takes out his revolver, braces it in the crook of his hand, and takes careful aim. Loretta sees him. The gunman fires. Loretta falls dead on the asphalt. Hooker spins around in confusion. The gunman moves quickly toward him. Hooker starts to back up but the gunman stops when he gets to Loretta. He kicks her over to reveal a gun under her body. GUNMAN She was gon na kill ya, kid. Hooker is stunned. He ca n't believe it. GUNMAN -LRB- dragging the body over behind a trash can. -RRB- Her name's Loretta Salino. Lonnegan's people set her up in the diner. C'mon, let's get outa here. Hooker wants to stay and try to figure it all out, but the gunman drags him away.",
"INT. THE ABANDONED WAREHOUSE - DAY Polk, Snyder and several federal agents are busy putting on their shoulder holsters, and checking their weapons. POLK -LRB- to Snyder. -RRB- Whoever Gondorff's playin' for is bound to be a wheel. As soon as we're inside, I want you to get the guy outa there as fast as possible, before the reporters show up. We ca n't afford to embarrass any big shots. Snyder nods.",
"EXT. LONNEGAN'S HOTEL - DAY Lonnegan, carrying the brief case personally, is seen getting into his limousine. Four assistants get in with him.",
"INT. THE STORE - DAY Gondorff enters the store carrying his suitcase. Several of the boost are already there. Gondorff clasps his hands to generate a little enthusiasm. He's obviously up for this one.",
"INT. TAXI CAB - DAY Hooker sits in the back seat with the gunman right next to him. He's still very uneasy with this man. HOOKER She coulda killed me last night. GUNMAN Too many people coulda seen ya go in her room. She was a professional. Used to work in the Dutch Schultz gang. HOOKER Who are you? GUNMAN Gondorff asked me to look after ya. HOOKER How do I know you're tellin' the truth. GUNMAN Do n't have much choice, do ya? We go to Hooker. No, he does n't.",
"EXT. THE ABANDONED WAREHOUSE - DAY We pick up Polk, Snyder and the other federal agents coming out of the warehouse in their white skimmers, and piling into cars. THE STORE AGAIN Niles is busily spreading `` boodles'' all over the cashier's area. Singleton checks his microphone. It works fine. He checks it again. LONNEGAN IN HIS LIMOUSINE He holds the brief case in his lap, his fingers tapping lightly on it. THE STORE AGAIN Hooker and the gunman enter and go over to Gondorff, who breaks into a wide smile. Hooker returns it halfheartedly, still ill at ease about what has happened. THE F.B.I. CARS ON THEIR WAY There are four or five driving in a column. Snyder and Polk ride together in the back of the lead car.",
"EXT. THE DRUGSTORE - DAY Lonnegan's limousine pulls up outside, and the bodyguards pile out. THE STORE AGAIN Gondorff, Hooker and the others waiting, the tension expressed in their faces.",
"INT. THE DRUGSTORE - DAY Lonnegan sits tensely in the usual booth. He keeps both hands firmly planted on the brief case. The phone rings and Lonnegan goes to it. Music ends. VOICE Place it on Syphon at 8 - 1. Lonnegan hangs up with the look of the financial killer. Eight to one odds is more than even he could have hoped for.",
"EXT. STREET We follow Lonnegan across the street and into the store. The bodyguards remain outside.",
"INT. THE STORE The store is buzzing with activity. Money and booze are everywhere. The sheet writer and the boardmarker can hardly keep up with the action. Lonnegan walks quickly to the betting line and finds to his relief that there's only one man ahead of him. The man puts $ 25,000 on King's Image. Lonnegan steps to the window, swings up the brief case, and opens it for Niles to see. LONNEGAN -LRB- straight - faced. -RRB- Five hundred grand on Syphon. Niles is struck dumb. He's never seen that much money before. NILES -LRB- playing the flustered clerk. -RRB- Hold on, I'll have to get the manager. Niles goes and returns with Gondorff. GONDORFF What's the problem? NILES -LRB- pointing to the brief case. -RRB- He wants to put a half million on Syphon. Gondorff looks at the money a second and then looks up at Lonnegan like he's got ta be crazy. GONDORFF -LRB- uneasily. -RRB- I ca n't lay that off in time. We lose a bet that big, it could break us. LONNEGAN -LRB- challenging. -RRB- If ya win it could make ya, too. GONDORFF -LRB- to Niles. -RRB- What are the odds on Syphon? NILES Eight to one. Gondorff looks at Lonnegan long and hard. GONDORFF A half mill on an eight to one shot. You're dumber than I thought, Lonnegan. LONNEGAN You're more gutless than I thought. The words `` Last Flash'' are heard on the speaker. Gondorff looks at Lonnegan with utter contempt. He turns to Niles. GONDORFF -LRB- chopped. -RRB- Take it. Niles hurriedly writes out a slip for 500,000 dollars. Lonnegan, allowing himself a sly smile, picks it up and retires to a nearby table. He flashes a little okay sign to Hooker who acknowledges it with a nod. CALLER Ladies and gentlemen, this is Arnold Rowe, your caller for the San Antonio Handicap at Pimlico in Baltimore - A mile and 1/16 for three - year - olds. And they're off. Lonnegan takes a deep breath and leans forward in his chair, the larceny boiling in his veins. Hooker looks to Gondorff. Gondorff gives him the `` office.'' Hooker has to smile. CALLER And around the first turn it's King's Image by a neck, Syphon is second by one, Key to the Vault third by one half, followed by Mr. Moonlight, Red Ridge, Moneyman and No Charge. Unexpectedly, Kid Twist bursts in through the entrance. Barely able to control his enthusiasm, he hurries over to Lonnegan's table and sits down next to him. TWIST Sorry, but I just could n't wait. Did everything go all right? LONNEGAN -LRB- motioning for him to keep his voice down. -RRB- Take it easy. Everything's all right. I put it on Syphon, on the nose. TWIST -LRB- in utter horror. -RRB- On the nose! I said place. Place it on Syphon. That horse is going to run second. Lonnegan looks like he's just been stabbed. He vaults over the table to the teller's window and grabs Niles. LONNEGAN You give me my goddamn money back! You hear me? There's been a mistake! NILES I'm sorry, sir. The betting's closed. Lonnegan begins to shake him violently. LONNEGAN You give me my money back. There's been a mistake, do you hear me? Gondorff leaps to Niles' aid when suddenly there is a crash at the entrance door, and Polk, Snyder and eight federal agents burst into the room, guns drawn. The place falls silent except for the loudspeaker, the members of the boost afraid to move. Gondorff and Niles look at each other wondering how this could have possibly happened. POLK -LRB- motioning to Hooker. -RRB- All right, Hooker, you can go. Hooker's eyes go to Gondorff, who looks back at him in utter disbelief, the betrayal raging in his features. Hooker, unable to meet his gaze, lowers his head and starts to walk out. Almost unnoticed, there's a flash of movement at Gondorff's belt. A small gun. A shot. Hooker clutches his back and falls dead on the floor, the blood spurting from his mouth. Polk, reacting instantly, pours four shots into Gondorff, who goes down in a heap. Pandemonium breaks loose. The members of the boost race for the door. Lonnegan is totally stunned. First he lost his money and now he's involved in a murder. Snyder rushes over to him. SNYDER C'mon. We got ta get you outa here.",
"EXT. STREET Snyder drags him through the crowd and out onto the street where an F.B.I. car is waiting. His bodyguards have long since fled at the sight of the F.B.I. men. LONNEGAN My money's back there. SNYDER We'll worry about that later. Snyder gets in beside Lonnegan, and the car speeds away. INSIDE THE STORE AGAIN The pandemonium has now ceased. Those who could escape have ; the rest are lined up against the wall in frisking position. Gondorff and Hooker lie on the floor dead. The loudspeaker drones on. Singleton is still calling the race from his booth, apparently oblivious to what's happened. CALLER And the winner is King's Image by four lengths, Syphon is second, by two, Moneyman third by two and one half. Time for 1 and 1/16 miles, 1:21 and 2/10 seconds. Polk walks slowly over to Hooker's body and bends down. POLK He's gone. Hooker opens his eyes and slowly drags himself up off the floor, spitting out a little rubber bladder, filled with blood, that he's had in his mouth. Gondorff does likewise. Niles, Twist, Singleton and the rest of the boost begin to laugh and shake hands, as do the Federal Agents. GONDORFF -LRB- to Polk. -RRB- Nice con, Hickey. I thought you were Feds myself, when you first came in. HICKEY No problem, Henry. Snyder went for it all the way. -LRB- laughing. -RRB- You shoulda seen the rag he lit under Lonnegan. Gondorff turns to the others. GONDORFF Okay, let's take this place apart and get outa here. You can get your splits from Eddie at Boudreau's tonight. Gondorff walks over to Hooker, who's wiping the blood off his face and hands. GONDORFF You beat him, kid. HOOKER -LRB- softly. -RRB- You were right, Henry. It's not enough. But it's close. GONDORFF You wanta wait for your share? HOOKER Naw, I'd just blow it. Gondorff nods, and walks slowly to behind the bar. He comes out with his suitcase in one hand and Hooker's paper bag in another. He throws the paper bag to Hooker, who stops by the door. Eirie Kid is standing there. Hooker gives the `` office'' to Eirie, who beams and gives it back.",
"EXT. ALLEY AND STREET Then Hooker and Gondorff leave. We hold on them, two ragtail grifters again as they walk off down the street and disappear around the corner. FADE OUT. THE END"
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] | The film takes place in 1936, in the waning years of the Great Depression. Johnny Hooker, a grifter in Joliet, Illinois, cons $11,000 in cash in a pigeon drop from an unsuspecting victim with the aid of his partners Luther Coleman and Joe Erie. Buoyed by the windfall, Luther announces his retirement and advises Hooker to seek out an old friend, Henry Gondorff, in Chicago to teach him "the big con". Unfortunately, their victim was a numbers racket courier for vicious crime boss Doyle Lonnegan. Corrupt Joliet police Lieutenant William Snyder confronts Hooker, revealing Lonnegan's involvement and demanding part of Hooker's cut. Having already blown his share on a single roulette spin, Hooker pays Snyder in counterfeit bills. Lonnegan's men murder both the courier and Luther, and Hooker flees for his life to Chicago. Hooker finds Henry Gondorff, a once-great con-man now hiding from the FBI, and asks for his help in taking on the dangerous Lonnegan. Gondorff is initially reluctant, but he relents and recruits a core team of experienced con men to dupe Lonnegan. They decide to resurrect an elaborate obsolete scam known as "the wire", using a larger crew of con artists to create a phony off-track betting parlor. Aboard the opulent 20th Century Limited, Gondorff, posing as boorish Chicago bookie Shaw, buys into Lonnegan's private, high-stakes poker game. Shaw infuriates Lonnegan with his obnoxious behavior, then outcheats him to win $15,000. Hooker, posing as Shaw's disgruntled employee, Kelly, is sent to collect the winnings and instead convinces Lonnegan that he wants to take over Shaw's operation. Kelly reveals that he has a partner named Les Harmon (actually con man Kid Twist) in the Chicago Western Union office, who will allow them to win bets on horse races by past-posting. Meanwhile, Snyder has tracked Hooker to Chicago, but his pursuit is thwarted when he is summoned by undercover FBI agents led by Agent Polk, who orders him to assist in their plan to arrest Gondorff using Hooker. At the same time, Lonnegan has grown frustrated with the inability of his men to find and kill Hooker for the Joliet con. Unaware that Kelly is Hooker, he demands that Salino, his best assassin, be given the job. A mysterious figure with black leather gloves is then seen following and observing Hooker. Kelly's connection appears effective, as Harmon provides Lonnegan with the winner of one horse race and the trifecta of another. Lonnegan agrees to finance a $500,000 bet at Shaw's parlor to break Shaw and gain revenge. Shortly thereafter, Snyder captures Hooker and brings him before FBI Agent Polk. Polk forces Hooker to betray Gondorff by threatening to incarcerate Luther Coleman's widow. The night before the sting, Hooker sleeps with Loretta, a waitress from a local restaurant. As Hooker leaves the building the next morning, he sees Loretta walking toward him. The black-gloved man appears behind Hooker and shoots her dead – she was Lonnegan's hired killer, Loretta Salino, and the gunman was hired by Gondorff to protect Hooker. Armed with Harmon's tip to "place it on Lucky Dan", Lonnegan makes the $500,000 bet at Shaw's parlor on Lucky Dan to win. As the race begins, Harmon arrives and expresses shock at Lonnegan's bet, explaining that when he said "place it" he meant, literally, that Lucky Dan would "place" (i.e., finish second). In a panic, Lonnegan rushes the teller window and demands his money back. A moment later Polk, Lt. Snyder, and a half dozen FBI agents storm the parlor. Polk confronts Gondorff, then tells Hooker he is free to go. Gondorff, reacting to the betrayal, shoots Hooker in the back. Polk then shoots Gondorff and orders Snyder to get the ostensibly-respectable Lonnegan away from the crime scene. With Lonnegan and Snyder safely away, Hooker and Gondorff rise amid cheers and laughter. Agent Polk is actually Hickey, a con man, running a con atop Gondorff's con to divert Snyder and provide a solid "blow off". As the con men strip the room of its contents, Hooker refuses his share of the money, saying "I'd only blow it", and walks away with Gondorff. | The_Sting |
[
"INT. BERLIN CONCERT HALL (1944) - NIGHT A man conducting Beethoven. Air raid in progress. Bombs falling nearby. The orchestra continues to play. Suddenly the lights go out. The music stops.",
"INT. BACKSTAGE CORRIDOR, CONCERT HALL - NIGHT A beam from a torch, bouncing, making shadows. An ATTENDANT, carrying the torch, hurries down the corridor. The air raid continues. He comes to a door, knocks, opens it and looks in. ATTENDANT -LRB- agitated. -RRB- Dr. Furtwängler, the Reichsminister. The sound of heavy footsteps approaching. The attendant turns his torch to light the way for three men in Nazi uniform, also with attendants and torches, marching down the corridor. The attendant bows deeply as the REICHSMINISTER and his aide go through the door. The other man remains in the corridor on guard.",
"INT. CONDUCTOR'S ROOM - NIGHT Candles light the room where the conductor shakes hands with the Reichsminister. REICHSMINISTER Dr. Furtwängler, I want to apologise personally for this power failure. I was so enjoying the performance. In times like these we need spiritual nourishment. A bomb explodes nearby. REICHSMINISTER But I welcome this unexpected opportunity of talking to you. -LRB- with great care. -RRB- When you came on to the platform tonight, I thought you were n't well. You looked tired. -LRB- a warning. -RRB- Get away from this bombing. Away from the war. Yes, you look tired. -LRB- a crooked smile. -RRB- Even in this light.",
"INT. RUINED CINEMA - DAY Dark. ON A SCREEN : scenes from Leni Riefenstahl's triumph of the will. Over this : A MAN'S VOICE Look at them. Men, women, kids. Boy, did they love him. You see, Steve, Adolf Hitler touched something deep, real deep and savage and barbaric, and it wo n't just go away overnight. It's got to be rooted out. You know what I think? I think they were all Nazis. And let's face it, their leaders, those bastards now on trial in Nuremberg, could n't have done it alone. It's these people, they gave all the help that was needed. Willingly. The film changes with a scratchy music soundtrack - Wagner. SHOTS of high - ranking Nazis in an audience including Josef Goebbels, listening. And they're listening to and watching Wilhelm Furtwängler conducting. At the appropriate moment : THE MAN'S VOICE That's him. Furtwängler. Wilhelm Furtwängler. The Nazis applaud. Goebbels shakes hands with Furtwängler. The film ends. Sitting in the ruined cinema are two men : GENERAL WALLACE, with files on the table, and, beside him, MAJOR STEVE ARNOLD. A PROJECTIONIST is standing in the door of the projection room. WALLACE So, you never heard of him. STEVE Nope. WALLACE Do you know who Arturo Toscanini is? STEVE Sure. WALLACE He's as big as Toscanini, maybe even bigger. In this neck of the woods, he's probably Bob Hope and Betty Grable rolled into one. STEVE Jeez, and I never heard of him. Wallace glances at the file. WALLACE You were in insurance before the war. STEVE Right. Claims assessor. WALLACE Conscientious, determined, dogged. STEVE -LRB- amused. -RRB- They said I was dogged? WALLACE Well, they say here that when you went on a case, you stayed on it. -LRB- looks up at Steve. -RRB- Now we ca n't take every Nazi in this country to trial, although I would like to ; it's an impossibility. So we're going for the big boys in industry, education, law, culture. STEVE Like this bandleader. WALLACE -LRB- a smile. -RRB- Well, he's more than just a bandleader, Steve. He's a great conductor, a gifted artist. But we believe that he sold himself to the devil. Your number one priority from this moment on is to connect him to the Nazi Party. Do n't be impressed by him. I want the folks back home to understand why we fought this war. Find Wilhelm Furtwängler guilty. He represents everything that was rotten in Germany. Steve wants to rise, but Wallace puts a hand on his shoulder to make him sit again. WALLACE Stay put, Steve. There is some other stuff that I'd like for you to see here. Background. He nods to the projectionist, then starts to go, but stops. WALLACE Oh, one thing that may be a problem. Our Occupation Authorities in Wiesbaden have a duty to help these poor unfortunates with their defence. They keep repeating : ` We must be just, we must be seen to be just.' Well, I've only one thing to say to the liberals in Wiesbaden : fuck'em. -LRB- as he goes. -RRB- You answer to no one but me. Is that understood? -LRB- to the projectionist in the door. -RRB- Show him the film. PROJECTIONIST Yes, sir. Roll it. Wallace goes. The projectionist starts the next reel. ON THE SCREEN : a Berlin sequence. Bombs falling. Ruins, a city devastated, empty. Flags of the four allied nations. Posters of Truman, Stalin, Churchill. ARCHIVE FILM VOICE That is the hand that dropped the bombs on defenceless Rotterdam, Brussels, Belgrade. That is the hand that destroyed the cities, villages and homes of Russia. That is the hand that held the whip over the Polish, Yugoslav, French and Norwegian slaves. That is the hand that took their food. Steve watches expressionless. WALLACE Next reel, please. ON THE SCREEN : SHOTS of camp survivors. Then SHOTS of emaciated corpses being bulldozed into mass graves. ARCHIVE FILM Sanitary conditions were so appalling that heavy equipment had to be brought in to speed the work of cleaning up. This was Bergen Belsen. The moment this appears, Steve rises and goes quickly. ON THE SCREEN : piles of cadavers.",
"INT. MAJOR STEVE ARNOLD'S BEDROOM (I945) - NIGHT Steve having a nightmare, twisting, turning, moaning. He wakes with a cry. He is sweating. He turns on the light, looks at a clock, reaches for a cigarette, lights it. He smokes. He stares at the ceiling. Later : Early morning. Cold. Steve is at the basin in his small room, shaving. A radio on a shelf. AMERICAN RADIO VOICE Remember, men, no fraternisation. In a German town, if you bow to a pretty girl or pat a blond child, you bow to all that Hitler stood for. You bow to his reign of blood. You caress the ideology that meant death and destruction. You never know who was a member of the Nazi Party. Do n't be fooled. Do n't fraternise.",
"EXT. STEVE'S OFFICE BUILDING, BERLIN - DAY Steve's car swerves round the corner and comes to a halt. A small crowd watch workmen on ladders hammering away at a stone swastika above the portico. American soldiers supervise. Steve gets out of the car, carrying an attache case, and he, too, watches as the stone swastika falls and crashes into pieces on the road. One or two people clap, most just stare. The American soldiers immediately hoist the Stars and Stripes. Steve goes into the building. The sentry salutes. The driver of the car goes to the trunk and takes out a labelled duffel bag, cans of film, a case which holds a 16 - mm projector. A small BOY sidles up to him : BOY Cigarettes, chewing gum?",
"INT. WAITING ROOM - DAY Steve and Sergeant Adams ascending a grand, winding but damaged staircase to the rear of a spacious entrance hall. A once impressive building. Signs of bomb damage everywhere. German workmen doing repairs. American military personnel coming and going, saluting Steve, who barely acknowledges them. They reach the landing. Adams opens double doors and they go through. ADAMS We're gon na have the heating fixed by tonight. A few gilt chairs, a workman trying to repair the stove. Adams opens another door for Steve.",
"INT. STEVE S OFFICE - DAY EMMI is hanging the standard photograph of President Truman on the wall. She turns to see Steve and Adams and is covered with confusion. She gives Steve a little curtsey. ADAMS Fräulein, this is Major Arnold. Sir, this is your secretary, Fräulein Emmi Straube. Her file's on your desk. They sent her over from Admin. I'll leave you to it. He goes. Steve scrutinises Emmi. She's embarrassed, keeps her eyes downcast. Steve goes to his desk, opens a file, reads. STEVE You live here, in Berlin? EMMI Yes. STEVE You do shorthand and typing? EMMI Yes. He nods, goes on reading. STEVE Okay, let's see. How long were you in the camp for? EMMI Three months. STEVE Says here because of your father. What's that mean? EMMI My father was one of the officers in the plot against Hitler. They arrested the plotters and their families. STEVE Your mother, too. EMMI Yes. She suffered longer. She was in Ravensbruck. STEVE And your father was executed. She nods, keeps her eyes averted. He smiles sympathetically. STEVE I'm gon na call you Emmi, you're gon na call me Steve. Okay? No response. STEVE I got a list of stuff here I'd like you to get for me. He searches his pockets. ADAMS If you need anything, let me know. EMMI Major. STEVE Steve. EMMI There have been messages for you. -LRB- She consults the pad. -RRB- A Lieutenant David Wills called from the Allied Kommandatura Cultural Affairs office in Wiesbaden. I do n't know who he is. Steve starts to unpack his attache case. EMMI Then there have been three calls from Dr. Furtwängler wanting to know when you wish to see him. I did not speak to him personally. She hands Steve a typewritten sheet. He ignores it, finds a list which he hands to her. He waits for her to read, then : STEVE Think you can get me any of that? EMMI -LRB- pleased. -RRB- Oh yes, Major, I have recordings of all his symphonies. I kept them safe during the bombing. My favourite is the Seventh Symphony. STEVE Mine's the Eleventh. EMMI -LRB- puzzled. -RRB- But. he only wrote nine, Major. STEVE I'm kidding, Emmi. What about a record player? You have that, too? EMMI No. Ours was damaged. STEVE -LRB- surveys the room. -RRB- What's in those files? EMMI The names of the members of the Berlin Philharmonic Orchestra since 1934 together with their questionnaires. Major, what am I to tell Dr. Furtwängler? STEVE You tell him nothing, Emmi. If he calls again, you say you know nothing. We're gon na keep him waiting while I get acquainted with his case and with the witnesses. And, God help me, with Beethoven. He smiles. She tries to smile back.",
"EXT. FLEA MARKET, BERLIN - DAY Freezing weather. A narrow street, crowded, busy, noisy. Some makeshift stalls set out, trestle tables, open suitcases, people buying and selling every imaginable commodity. Emmi wanders through the crowd, passing a violinist, Helmuth Rode, wrapped up against the cold, playing Handel's Air on a G String, a bowl for money at his feet. A passer - by drops a cigarette butt in it. Immediately, Rode retrieves the butt. Emmi comes to a stall selling piles of gramophone records. She asks the stallholder a question. He points to another stall across the way.",
"INT. STEVE'S OFFICE - DAY Steve at his desk, paging through files. A knock on the door. STEVE Yeah. Lieutenant DAVID WILLS, aged twenty - four, enters, comes to Steve's desk, stands to attention, salutes. DAVID Lieutenant Wills reporting to Major Arnold. Sir. STEVE For Chrissakes I hate that shit, cut it out. DAVID I'm very sorry. STEVE I'm Steve. What's your name? DAVID David. David Wills. I'm your liaison officer with the Allied Kommandatura Cultural Affairs Committee. Sir. STEVE Sounds a lot of run. -LRB- studies David. -RRB- So they sent the big guns to check up on me. We recruiting children now? DAVID -LRB- smiles'. -RRB- I guess so, sir. STEVE You call me sir again and I'll make you listen to Beethoven. David half - smiles. STEVE Where you from, David? DAVID was born here, in Leipzig. I escaped in' 36. My parents, they sent me to my uncle in Philadelphia. They were to follow. But they delayed and. Breaks off. Nothing from Steve. DAVID Our family name was Weill. But that does n't sound well in English. My uncle changed it to Wills and. The door opens and Emmi enters carrying a record player, sees David and starts to back out. EMMI I'm sorry. STEVE Come in, Emmi, this is your office, too. Emmi, this is Lieutenant David Wills. They nod briefly. STEVE He is here to watch over us. A flick from Emmi. STEVE I guess you admire musicians. DAVID Some. STEVE Do n't. This is like a criminal investigation, David. Musicians, morticians, doctors, lawyers, butchers, clerks. They're all the same. For Emmi's benefit too. She becomes still, listens. STEVE We have a duty, a moral duty. David takes a few files, sits and starts to look through them. Steve returns to his files. Emmi, by now, has put on a record and starts to play it : the opening of Beethoven's Fifth Symphony blasts out. The two men look up, startled. Emmi beams : EMMI It works! Hallelujah!",
"INT. STEVE'S OFFICE - DAY Emmi at the door. Steve at his desk. David present. EMMI Herr Rudolf Werner. WERNER enters, bows to Steve and David. Emmi goes to her desk. STEVE Sit down, Werner. Indicates the upright chair ; Werner sits. STEVE I want you to understand why you're here. This is an investigation into Wilhelm Furtwängler, former Prussian Privy Councillor, banned from public life under Control Council Directive No 24 and who's applied to come before the Tribunal of Artists of the Denazification Commission. I'm interested in what he was up to from 1933 to the end of the war, understood? Werner nods. STEVE Rudolf Otto Werner. Wind section since 1936. What instrument did you play? WERNER First oboe. STEVE I have your questionnaire here. It says you were never a member of the Nazi Party. WERNER Absolutely not. Long silence ; Steve watches him. Werner is made more anxious. At last, in a rush : WERNER No, I was never a Nazi, I have no interest in politics, I'm a musician - STEVE Hey, hey, slow up, Fraulein Straube has to take down what you say. Werner swivels round to look at Emmi. WERNER Straube? Any relation to Colonel Joachim Straube? EMMI My father. WERNER It's a great honour to meet you, Fraulein. Your father was a great patriot. Brief silence. WERNER Dr. Furtwängler is a great musician. He actively opposed the Nazis and later on he helped many Jews to escape. STEVE Then how do you explain him being made a Prussian Privy Councillor? WERNER It was Hermann Goering. I was told he just made the maestro his Privy Councillor, no questions asked. Although Dr. Furtwängler stood up to him. And to Dr. Goebbels. STEVE He also conducted for Hitler, did n't he? WERNER Yes, that's true, but he refused to give the Nazi salute. He kept his baton in his right hand. In Hitler's presence. That was a brave act. STEVE Brave? To celebrate Hitler's birthday with some heroic piece by Wagner but without the Nazi salute? Bravo. WERNER It was Beethoven's Ninth. STEVE Do you really think it was brave? Did n't he bow to him and shake his hand?",
"INT. STEVE'S OFFICE - DAY Another man, SCHLEE, is in the chair. Only Steve and Emmi now. Pale, yellow electric light. Silence. Schlee, too, is very nervous. At last : SCHLEE No, no, no, I give you my word. I was never a member of the Nazi Party. Never. I am in the percussion section. I play the timpani. Steve just stares at him. SCHLEE Anyway, they would never have allowed it. My brother was married to a Jewess, may she rest in peace. And Goebbels said. -LRB- to Emmi. -RRB-. please take this down carefully, because it's most important, Fraulein? EMMI Straube. SCHLEE -LRB- acting surprised. -RRB- Straube? Are you by any chance related to Colonel Joachim Straube? EMMI My father. SCHLEE He was. he was a great hero. Steve lights a cigarette. SCHLEE Goebbels, yes, Josef Goebbels said, ` There's not a single filthy Jew left in Germany on whose behalf Dr. Furtwängler has not intervened.' No, no one could have been less of a Nazi than Dr. Furtwängler. STEVE But this was the same guy who conducted for Adolf on his birthday. SCHLEE He was forced to do that. But he refused to give the Nazi salute in front of Hitler. He kept his baton in his hand, you ca n't salute with a baton in your hand. DAVID And what about the Nuremberg Rally? SCHLEE No, we. we played on the evening before the Rally. STEVE -LRB- straight - faced. -RRB- Oh! The evening before, I see. SCHLEE Yes, Dr. Furtwängler was absolutely clear about this : politics and art must be kept separate. STEVE Politics and art must be kept separate. I'll remember that. But let me see if you can help me with something I just do n't understand. I'd really like to know why all you guys are so crazy about him. What's his secret? Schlee tries to find words. SCHLEE Well, it's hard to explain. I can only tell you from my own experience. Soon after I joined the orchestra, we were rehearsing the Third Symphony of Beethoven, the Eroica. There are several rather difficult passages for the timpani. One particular crescendo. During the break, I asked how he wanted it played. He was studying his score. He did n't look up. He said, ` Just watch me.' So, of course, I did. I never stopped watching him. The moment came. And suddenly, he turned to me and our eyes were locked. There was something in his look that. that simply demanded the crescendo. I shall never forget his look. It was a moment of. of magic. Steve nods, thinks for a moment. Then : STEVE You ever seen Adolf Hitler's eyes when he was making a speech? I've seen'em on films. SCHLEE Yes. STEVE Was looking at Furtwängler like that? SCHLEE I do n't know what you mean, Major. STEVE When you got to the crescendo. Schlee looks at him bewildered.",
"INT./EXT. CAR (TRAVELLING), LAKESIDE AND MANSION - DAY In the back, David and Steve. Military driver. The car's making its way along a road that skirts a lake towards a grand mansion from which fly the four Allied flags. STEVE You think a whole orchestra, what, a hundred and forty or so guys, could be orchestrated? DAVID I guess it's possible. STEVE So, what does the Russki want? DAVID Colonel Dymshitz asked specially to see you. STEVE ` Dim - shits'?",
"INT. THE MANSION - DAY A huge, cavernous room, once the ballroom. In the centre, a table with four chairs. To one side, antique furniture, objets d'art, paintings. Four Allied officers are surveying the treasures : COLONEL DYMSHITZ, COLONEL GREEN -LRB- American -RRB-, MAJOR RICHARDS -LRB- British -RRB- and CAPTAIN VERNAY -LRB- French -RRB-. What they say is barely audible, low mumbles. They're accompanied by aides with clipboards, taking notes. Beyond, and some distance away, a row of gilt chairs for observers where David and Steve take their seats. STEVE What the hell are they doing? DAVID -LRB- whispered. -RRB- They're trying to sort out some of the works of art the Nazis stole from occupied territories. Who really owns what? That's Colonel Dymshitz, on the far side. Dymshitz, small, intelligent face, cunning eyes. DAVID'S VOICE art historian, head of the famous Leningrad Museum of Art. He is an expert on German culture. Green, correct, formal, precise, immaculate. Richards, bespectacled and nondescript. Vernay, upright, proud. VERNAY -LRB- suddenly raising his voice. -RRB- Je suis navré, Colonel, cette peinture n'est pas la propriété de I ` union soviétique mats bien cette de la France. GREEN What's he saying? Henri, what is you saying? AMERICAN AIDE He's saying that picture is the property of France VERNAY C'est un Braque qui avec Picasso était un des pionniers du cubisme. DYMSHITZ -LRB- in French. -RRB- I know who Georges Braque is, Captain. AMERICAN AIDE -LRB- almost simultaneously. -RRB- It's a Barque. FRENCH AIDE We can produce the provenance of this Braque, you say provenance?",
"INT./EXT. SALON OFF THE BALLROOM AND TERRACE - DAY Outside the club room for the participants. Buzz of conversation, clink of glasses, cups. The terrace is deserted. A waiter carries a tray with various refreshments to a quiet corner where Dymshitz, Green, Vernay, his aide LIEUTENANT SIMON, Steve and David sit in comfortable armchairs. The waiter serves them. During this : DYMSHITZ Hello, Major, my name is Dymshitz. I'm glad to see you. STEVE Colonel. Pleasure. DYMSHITZ So, Major, tell me, have you questioned Dr. Furtwängler? STEVE Not yet. DYMSHITZ I've had two meetings with him. He's a great musician. Maybe the greatest conductor in the world. His Brahms, Beethoven, Schubert - unequalled. Steve makes a non - committal gesture. DYMSHITZ I'll come straight to point. I've offered him a very attractive position. Conductor of the Staatsoper Unten den Linden. He refused. But I want him. I want him badly. And I want your help. GREEN Hey, just a moment, you should have discussed this with me first. DYMSHITZ I'm discussing it with you now. Major, I want you to drop your investigation, save everybody time and trouble. GREEN We ca n't drop a case just like that. DYMSHITZ I'll give you another conductor in exchange or writer, musician, actor what. what do you care? But I like Furtwängler. He's my favourite conductor. -LRB- chuckles. -RRB- Mine and Hitler's. He's our favourite conductor.",
"INT. WAITING ROOM - DAY Rode is seated, waiting. Nervous, tense. The sound of laughter, David's laughter from the office. It makes him even more uncomfortable.",
"INT. STEVE'S OFFICE SUITE - DAY Emmi and David laughing. DAVID I clicked my heels, saluted and bowed at the same time. He demonstrates. She laughs again. EMMI That's because you had a proper upbringing. DAVID That's right. I was raised very strictly. So do n't speak before you are spoken to! EMMI Oh! And do n't wave your hands about! DAVID Respect your elders and your betters! EMMI And no elbows on the table! DAVID Eating is eating. and. EMMI And talking is talking! Well, I think we better get on. DAVID Right. So, this is going to be very formal, too, now. Lieutenant David Wills requests die pleasure of die company of Fraulein Emmi Straube at dinner any night she cares. She smiles just as Steve bursts in. He's in a bright, cheerful, energetic mood. David draws back guiltily. Emmi, embarrassed, hesitates then turns to the typewriter and types furiously. Seeing this, Steve stops, but just for a brief moment. Then, as he goes to his desk : STEVE David, need to ask you something. You heard this rumour the British found something called the Hinkel Archive? DAVID Yes. STEVE So what is it? DAVID The British occupy the building where this guy, Hinkel, ran the Nazi Ministry of Culture and it seems they've. they've discovered his secret archive. STEVE What's that mean? DAVID I do n't know, but the British are excited about it, I know that. The rumour is Hinkel kept a file on every artist working in the Third Reich. STEVE Jeez. And you think the British'll share it with their Allies? DAVID Major Richards said he'd call to let us know. STEVE That's big of him. He looks from David to Emmi as if trying to work out something. Then : STEVE Okay, better question the next witness. I bet you a bottle of French champagne he tells us the baton story inside ten minutes. DAVID Five minutes. STEVE It's a bet. You're the witness, Emmi. Later. Rode in the witness chair. Steve studying the file. David and Emmi ready to take notes. STEVE Helmuth Alfred Rode. Second violinist since 1935. What's it mean, second violinist? RODE It means I was n't good enough to be a first violinist. He chuckles, looks around for approval. Steve grins encouragingly. STEVE Good, and according to your questionnaire, Helmuth, you never joined the Nazi Party. RODE Me? Never. Never. Long silence. RODE I. I know everyone now says they were never Nazis but in my case it is absolutely one hundred per cent true. I am a Catholic, it would have been totally against my conscience. Silence. Steve lights a cigarette ; Rode eyes it hungrily. RODE Is it true you're going to interview Dr. Furtwängler today? STEVE I'll ask the questions, Helmuth. RODE Excuse me. Did you know that he refused to give the Nazi salute when Hitler was present in the audience? Steve flicks David a glance, waggles his finger like a baton. RODE The problem was how could he avoid giving the Devil's salute when Satan was actually sitting there. -LRB- modestly taps his chest with his thumb. -RRB- And, I said, ` Dr. Furtwängler, why not enter with the baton in your right hand? Hitler will be sitting in the front row. If you give the salute with the baton in your right hand it'll look like you're going to poke his eyes out.' Chuckles. David mouths I win to Steve. RODE He was. He was really grateful to me for that. After the concert, I. I stole that baton as a memento of a great act of courage. I still have it. I should have brought it to show you. I hope I'm not going too fast for you, Fraulein? - EMMI Straube. Steve and David exchange a brief look. RODE Straube. Any relation to Colonel Joachim Straube? EMMI My father. RODE -LRB- standing. -RRB- I am deeply honoured to be in your presence, Fraulein Straube. Your father was a true patriot, a man of God. He crosses himself. Silence. David raises a discreet finger. STEVE You have a question for Helmuth, David? DAVID Yes. What was the orchestra's reaction when they asked you to play for Hitler's birthday? RODE Oh, we did n't play for his birthday, we played the evening before - it was the 19th of April not the 20th. STEVE Do you know Hans Hinkel? RODE -LRB- alarmed. -RRB- Do I know Hans Hinkel? STEVE That's what I asked. RODE Do I know Hans Hinkel? STEVE You seem to understand the question, now how about answering it? RODE Hans Hinkel was in the Ministry of Culture ; how could I know such a man? I Brief silence ; a smile. RODE I hear the British have his. his archive, files, records. STEVE Do you know what's in this archive? RODE How could I know what's in the archive? Steve nods, smiles. STEVE Okay, you can go now, Helmuth. Get out. Rode stands and bows.",
"INT. STEVE'S OFFICE - NIGHT The final bars of the Fifth Symphony. Snowing. Dim light. There is more furniture now : two chairs, one comfortable, the other upright. A sitting area by the window with the telephone extension. The 16 - mm projector set up in another corner. Steve, at his desk, wrapped up against the cold, going through files, making notes. He stops, seems to listen, then goes to the window, looks out. The music ends. The record hisses. Steve just stares out at the night and the snow. The record continues to hiss.",
"INT./EXT TRAM, BERLIN (TRAVELLING) - DAY The tram packed to overflowing. Then, a sudden stir among the passengers as people push through trying to find space. One of them is FURTWÄNGLER. He's recognised. Whispering. He stares ahead or keeps his eyes downcast. An elderly man tugs at his coat, half - rises, offering his seat. Furtwängler manages a smile and shakes his head. The tram rattles on.",
"INT. HALL, STEVE'S BUILDING - DAY Furtwängler approaches Adams at his desk. He crosses to the stairs. German workmen stop what they are doing to let him pass. One of them bows. On the upper landing, Emmi is making her way to Steve's office. She stops, sees Furtwängler on the stairs and then dashes to Steve's door. FURTWÄNGLER Furtwängler.",
"INT. STEVE'S OFFICE - DAY Emmi bursts in on Steve and David. She's overawed : EMMI Major, Major. he's here. STEVE Shut the door, Emmi. Sit down, Emmi. We're going to keep him waiting, too. Emmi glances out again and reluctantly closes the door, Steve sits calmly, relaxed. STEVE Emmi, get us some coffee, will you? And, Emmi, do n't offer him coffee. Do n't even greet him, okay?",
"INT. WAITING ROOM - DAY Furtwängler sits, waiting. Emmi, deeply embarrassed, hurries through. Furtwängler is about to ask her something, but she's gone. He waits.",
"INT. STEVE'S OFFICE - DAY Steve and David preparing papers.",
"INT. WAITING ROOM - DAY Furtwängler waiting. Emmi enters from the landing door carrying a tray and three mugs of coffee. She hurries towards the office door, eyes downcast. FURTWÄNGLER Fraulein? Emmi stops. FURTWÄNGLER How long am I to be kept waiting? Emmi bites her lip and, without looking at him, disappears into the office. Furtwängler closes his eyes, breathes deeply. He stands, goes to the window, looks out.",
"INT. STEVE'S OFFICE - DAY Silence. Steve studying his notes. David watching him. Emmi staring forlornly into space. STEVE Okay, Emmi, go get him. Emmi rises, opens the door, nods, turns back to Steve. EMMI Dr. Furtwängler. Furtwängler enters. As he passes her, Emmi gives him a small curtsey. David nods. Steve does n't look up. Furtwängler waits a moment, glances round, sees the more comfortable chair and sits in it. Steve looks up. STEVE I did n't hear anyone invite you to sit down. Furtwängler stands. Steve points to the other chair. STEVE Sit there. Furtwängler sits. STEVE I want you to understand why you're here. You're automatically banned from public life under Control Council Directive No 24. We're here to look into your case before you appear in front of the Tribunal for Artists of the Denazification Commission. You understand that? FURTWÄNGLER I have already been cleared by a Denazification Tribunal in Austria. STEVE What they do in Austria does n't interest me one little bit. Okay? I have your questionnaire here. -LRB- reading. -RRB- Gustav Heinrich Ernst Martin Wilhelm Furtwängler, born Berlin, January 1886. Orchestral conductor. And you say here you were never a member of the Nazi Party. FURTWÄNGLER That is correct. A very long silence. When the silence is unbearable Steve speaks. STEVE Could you tell us about being made a Prussian Privy Councillor. How did that happen to a non - Party member? FURTWÄNGLER I received a telegram from Hermann Goering informing me that he had made me a Privy Councillor. I was not given the opportunity either to accept or refuse. After the dreadful events of November 1938, the violent attacks on the Jews, I stopped using the title. STEVE What about Vice - President of the Chamber of Music, you used that title did n't you? But then I suppose you had no choice there either, because I suppose Dr. Goebbels just sent you a telegram saying, Dear Mr. Vice - President. FURTWÄNGLER I do n't think Dr. Goebbels sent me a telegram. I was simply told. In a letter, I believe. I do n't remember exactly. STEVE Goebbels and Goering were sure heaping honours on you. One makes you a Privy Councillor, the other makes you Vice - President of the Chamber of Music, and you were n't even a member of the Party, how do you explain that? FURTWÄNGLER Well, there was a constant battle between Goering and Goebbels as to which of them would control German culture. I was simply a pawn. Anyway, I resigned from the Musikkammer at the same time I resigned as Musical Director of the Berlin Philharmonic Orchestra. In 1934. David puts up a hand. Steve nods. DAVID Why was that? Why did you resign, Dr. Furtwängler? FURTWÄNGLER I wrote an open letter to the newspapers condemning what they were doing to music, making these distinctions between Jews and non - Jews. For my part, the only divide in art is between good and bad. Eventually, Goebbels summoned me and told me I could leave the country if I wanted to but under no condition would I ever be allowed to return. I always believe that you have to fight from the inside not from without. I asked myself, what's the duty of an artist, to stay or to leave? And then Goebbels demanded that I acknowledge Hitler as solely responsible for cultural policy. Well, that was a fact and it seemed pointless to deny it. I simply acknowledged that Hitler and the Minister of Culture appointed by him were solely responsible for the cultural policy of the Reich. What I wanted to express was that I, personally, had no responsibility whatsoever for their cultural policy. I have always had the view that art and politics should. should have nothing to do with each other. STEVE Then why did you conduct at one of their Nuremberg rallies? FURTWÄNGLER -LRB- flaring. -RRB- I did not conduct at at the rally, I conducted on the evening before the rally. STEVE That sounds like the small print in one of our insurance policies, Wilhelm. And what about April 19, 1942? The eve of Hitler's fifty - third birthday, the big celebration ; you conducted for Hitler, did n't you? Was that in keeping with your view that art and politics have nothing to do with each other? FURTWÄNGLER -LRB- flustered. -RRB- That. that was a different matter, I. I was tricked. STEVE How come? FURTWÄNGLER Could I have a glass of water, please? Please, Fraulein? EMMI Straube. Steve looks expectant but Furtwängler remains silent. Steve nods to Emmi, who gets the water. Furtwängler drinks. Steve waits. FURTWÄANGLER Thank you. I was in Vienna, rehearsing the Ninth Symphony of Beethoven, when Goebbels called and said I had to conduct at Hitler's birthday. I'd always managed to wriggle out of such invitations, pleading previous engagements, illness, having my doctors state I was not well and so on and so on. I was also fortunate that Baldur von Shirach, who controlled Vienna, hated Dr. Goebbels and would do anything to thwart his wishes. But this time Goebbels got to my doctors before me ; they were frightened off, and von Schirach was threatened, bullied and gave in. So, I had no alternative but to conduct for Hitler. Believe me, I knew I had compromised, and I deeply regret it. STEVE -LRB- playing with him. -RRB- Does n't sound much of a trick to me. Sounds like you made a deal. FURTWÄNGLER I made no deal! STEVE I do n't buy that. FURTWÄNGLER It's the truth. Silence. Steve paces. Then suddenly turns on Furtwängler. STEVE I keep hearing you helped a lot of Jews to escape. How did you do that? FURTWÄNGLER I do n't remember in detail, there were so many. STEVE Did you call someone you knew? FURTWÄNGLER I may have, as. as I said, I simply do n't remember. STEVE Let me me help you, then. You picked up the phone and made a call -. -LRB- Mimes a telephone. -RRB- ` Hello, Adolf? Wilhelm speaking. Listen, old pal, there's a Jew - boy musician I want you to help. He needs a permit to get to Paris.' Emmi sticks her fingers in her ears and shuts her eyes tight. STEVE Or maybe you called Goebbels or Goering? You were so close you were in the same shithouse as them. FURTWÄNGLER May I ask a question? STEVE Sure. FURTWÄNGLER When will my case be heard by the Tribunal? STEVE Your guess is as good as mine. FURTWÄNGLER I need to work. I need to make my living. I live off the generosity of friends. STEVE Tough, tough! FURTWÄNGLER -LRB- now more and more agitated. -RRB- Then why is it, please, that another conductor who was actually a member of the Party, who used to play the Horst Wessel before his concerts, has already been cleared and is working again while I have to wait and wait and wait? STEVE I do n't know, he was n't my case. Why did you escape to Switzerland just before the war ended? FURTWÄNGLER It was because I learned that the Gestapo was about to arrest me. STEVE Why were they going to arrest you? FURTWÄNGLER I believe it was because of another letter I'd written to Goebbels lamenting the decline of musical standards due to racial policies. STEVE You did n't complain about the racial policies, just about the musical standards, is that right? No response. STEVE So, how did you learn that the Gestapo was out to get you? FURTWÄNGLER During an enforced hour - long interval because of a power failure at a concert here in Berlin, Albert Speer, the Minister of Armaments, said to me, ` You look very tired Dr. Furtwängler, you should go abroad for a while.' I knew exactly what he meant. STEVE You sure knew a lot of people in high places. FURTWÄNGLER It would be truer to say, I think, that a lot of people in high places knew me. STEVE You were real close to all of them, to Adolf, to Hermann, to Joseph, to Baldur, and now Albert. -LRB- flaring. -RRB- So, let's hear the truth, let's come clean. What was your Party number? FURTWÄNGLER If you are going to bully me like this, Major, you had better do your homework. You obviously have no idea how impertinent and stupid your questions are. Steve is stung. His eyes narrow dangerously. STEVE David, you remember I said I had a question that he would n't be able to answer? Well, I'm gon na ask it now. You ready for this, Wilhelm? It's a tough one. Why did n't you get out right at the start when Hitler came to power in 1933? Why did n't you leave Germany? No response. STEVE I have a list of names here, people in your profession, who got out in' 33. Bruno Walter, Otto Klemperer, Arnold Schoenberg, Max Reinhardt. FURTWÄNGLER They were Jews, they had to leave. They were right to leave. -LRB- He breathes deeply, summons strength. -RRB- I could not leave my country in her deepest misery. After all, I am a German. I. I stayed in my homeland. Is that my sin in your eyes? STEVE See, David? He ca n't answer the question. I'll ask it again, Wilhelm, and do n't give me any more airy - fairy, intellectual bullshit! The telephone rings. No one moves. Then Emmi picks up the telephone. EMMI Major Arnold's office. Yes, he is. Offers the phone to David. EMMI It's Major Richards for Lieutenant Wills. David takes the telephone. DAVID David Wills. Yes, sir. -LRB- listens. -RRB- Well, you want me to tell him? Okay. -LRB- to Steve. -RRB- Major Richards wants a word with you, sir. Steve indicates he'll take the call on the extension. Furtwängler stands. As Steve crosses to the extension : STEVE -LRB- muttering. -RRB- Why ca n't he just ask for me? Why does he have to ask for you first? Goddamn British, so correct! He picks up the extension. Emmi puts down her receiver. STEVE Steve Arnold. FURTWÄNGLER I've had enough of this, I'm leaving. He goes quickly. David dashes after him.",
"INT. WAITING ROOM - DAY Furtwängler is at the door when David reaches him. DAVID Dr. Furtwängler! Dr. Furtwängler! Please, please. -LRB- a warning. -RRB- Do n't. It's not advisable. The sound of Steve laughing with delight. Furtwängler hesitates. Emmi comes to the waiting - room door, watches, as if on guard. David comes round to face Furtwängler. DAVID -LRB- he gathers courage. -RRB- When I was a child, my father, he took me to. he took me to one of your concerts. I remember you conducted Beethoven's Fifth Symphony. I was deeply moved. And I've loved music ever since. I was grateful to you. And I've admired you. How could you. how could you serve those criminals? He falls silent.",
"INT. STEVE'S OFFICE - DAY Emmi, at the open door, has been listening. She's shocked, turns away to see Steve, on the extension, chuckling, grinning from ear to ear. STEVE How many? Jesus, that's dynamite! Okay.",
"INT. WAITING ROOM - DAY David and Furtwängler have n't moved. Both are looking towards Steve's office and Emmi in the doorway. Again the sound of Steve's laugh. Then Emmi steps into the room, approaches Furtwängler. EMMI Dr. Furtwängler. He gives her a wonderful smile. And, suddenly, Steve stands in the doorway, smiling. STEVE Well now. Are n't we all sociable? The others are made awkward. STEVE I've got to hand it to the British, David. You know what those guys are? Decent. -LRB- He sits, crosses his legs. -RRB- Tell me, Herr Dr. Furtwängler, do you know Hans Hinkel? FURTWÄNGLER Yes, a despicable human being. He was in the Ministry of Culture. His job was to get rid of Jews in the arts. STEVE Yup, that's him, that's the guy. You know what else the little creep did? He kept files, close on 250,000 files. And you know what's in those files? FURTWÄNGLER Certainly not, but I knew he had informers everywhere. Even in my orchestra there was someone STEVE Who? FURTWÄNGLER I was n't told. I just knew it. STEVE How? FURTWÄNGLER -LRB- uneasy. -RRB- I was warned. STEVE Who warned you? FURTWÄNGLER -LRB- lowering his head. -RRB- Goering. Because Hinkel was working for Goebbels. STEVE What did Goering say? FURTWÄNGLER He told me to be careful as one of Goebbels' men was watching me. He read a report on me - everything I said was quoted word by word. STEVE Oh boy, you're gon na love this. Take your time with this now. Those files contain the details of every working artist in this country. Those files are gon na tell us who joined the Party, who informed and who was helpful. Furtwängler goes to the door. David opens it for him. Furtwängler nods, then turns to Emmi, bows to her and smiles. He goes.",
"INT. BRITISH INTELLIGENCE HQ, ARCHIVE ROOM - DAY SECURITY Your name, please. DAVID David Wills. SECURITY Over there. There is a long trestle table running the length of the room, with chairs, as if in a library. A notice requests ` Silence'. British and American servicemen, a Russian and a French officer studying papers, making notes. At the furthest end, Steve, David and Emmi. STEVE Fantastic! The only condition is we have to do the work here. I want you to collect all the files on the boys in the band.",
"INT. BRITISH INTELLIGENCE HQ, ARCHIVE ROOM - NIGHT David discovers that the archive room was originally a synagogue. He is moved. He lays stones on the rail of what was once the ark.",
"INT. BRITISH INTELLIGENCE HQ, ARCHIVE ROOM - DAY Emmi and David surrounded by files, sifting through, making notes. They examine the Hinkel Archive.",
"INT. BRITISH INTELLIGENCE HQ, ARCHIVE ROOM - DAY Another day. Sunshine pouring in. Steve seated as before, but Emmi and David again in different places. Emmi rises, goes to Steve, shows him something. EMMI Maybe you can have a look at this. He reads. He is not pleased. He writes furiously. Emmi returns to her place. Suddenly, a movement causes Steve to look up. STEVE AND HIS POV : David slides a note across to Emmi. Emmi reads the note. David watches her. She looks at him. She almost smiles, nods surreptitiously. DAVID -LRB- a whisper. -RRB- Schubert. She feels Steve's eyes on her, and returns quickly to her work. Steve is displeased and even more suspicious.",
"EXT. PARTLY RUINED CHURCH - EVENING Summer evening. The first movement of Schubert's String Quintet in C Major, D956, played by three men and two women to a large audience packed into the ruins, partly open to the sky, Dymshitz among them. At the rear of the church, Emmi and David, enraptured, seated side by side. The first movement ends and the Adagio begins. After the music gathers momentum : Rain. Thunder and lightning. The musicians continue to play, unperturbed. They are coming to the end of the Quintet. David and Emmi huddled together. Some umbrellas up and then movement which catches David's attention. He nudges Emmi, I indicates with his chin. People have moved to reveal Furtwängler : seated, wearing a hat, still I' as a statue, soaked, listening, expressionless. Much applause. The musicians bow. The audience start to leave. Emmi and David emerge from the ruins. Furtwängler passes them. They nod awkwardly. He does n't respond but is about to walk on when Dymshitz pushes through, nods to David, who salutes. Dymshitz catches up with Furtwängler. They are near to Emmi and David. DYMSHITZ Dr. Furtwängler - Furtwängler stops. DYMSHITZ Moving, you agree? Whenever I hear Schubert I am moved. You agree? FURTWÄNGLER The tempi were a little too correct for my taste. But I expect that is because of the rain. He nods politely, is about to go - DYMSHITZ -LRB- also for David's benefit. -RRB- Wait, Doctor, I understand you have difficulties with the Americans. I want you to know, I am your champion. We can help. Furtwängler allows himself a faint smile, tips his hat, and then hurries off into the night. Dymshitz goes, too. David and Emmi watch them. Then : EMMI -LRB- frowning, worried. -RRB- What does he mean, too correct? DAVID I do n't know. Huddled under their umbrella, they dash off.",
"INT. STEVE'S BEDROOM, GRAND HOTEL - NIGHT Steve, fully dressed, lies on the bed in his small, shabby room, staring into space. He is suddenly startled by a loud roll of thunder and then a fierce crack of lightning. He goes to the window, watching the rain. He stands motionless for a second, then makes a decision. He grabs his cap, a raincoat from the back of the door. Another loud thunderclap.",
"INT. US OFFICERS' CLUB - NIGHT Dancers jitterbugging and jiving. Among them, David and Emmi also dancing, imitating the others and having a good time. The music ends. Scattered applause. The band leaves the platform. The dancers return to tables or the bar. Later : David and Emmi at their table, eating. She eats voraciously, eyes glazed, all her concentration on the food in front of her. David is fascinated, ca n't stop watching her. Steve enters the club, makes his way to the bar, orders a drink. Steve turns to survey the room, almost at once spots David and Emmi, their backs to him. He observes them. David and Emmi at their table : They have finished their meal. Emmi is silent now, staring at her empty plate. Steve is suddenly at their table. STEVE Well, what is this, the office party? David and Emmi are frozen with embarrassment. STEVE May I join you? -LRB- sits down, beams. -RRB- So, what have you two been up to tonight? Hey. Do n't I owe you a bottle of French champagne? Tries to get a waiter's attention but fails. • No response. STEVE You know, David, you're a lucky guy. I invited Emmi here but she turned me down. You must've hidden depths, David. he band starts to play ; he stands, holds out a hand. STEVE C'mon, Emmi, let's dance. I'll teach you how to jive. She is horribly embarrassed, does n't move. David suddenly stands and takes Emmi by the arm. DAVID I'm very sorry, Major, but I promised her mother, we have to go. They leave quickly. Steve watches them. He sinks down, angry and jealous.",
"INT. HALL, STAIRWAY, STRAUBE APARTMENT BLOCK - NIGHT David and Emmi enter the hall, each locked in their own thoughts. They reach the foot of the stairs and pause. They want to kiss but both are too awkward. She starts up the stairs. EMMI Do n't see me to my door, there's no need. DAVID But I promised your mother. She stops, turns. EMMI Well, sleep well. She continues on her way.",
"INT. ARCHIVE ROOM - DAY Steve and Emmi at work on the files. One or two BRITISH OFFICERS present, and David, who is working at the far end of the table. He has a cold. Emmi, who also has a cold, opens a file and is immediately alert. She reads. She blows her nose. She is uncertain. She looks up at Steve. She makes a decision. She rises, takes the file to Steve. EMMI Excuse me, Major. I found this on Helmuth Rode. You remember? The second violinist? Look, he's Austrian not German. But it's this that's more important, I think. She points to something. Steve laughs loudly. AN OFFICER Sssh! David looks up at them, puzzled. Then a British SERGEANT comes into the doorway. SERGEANT Lieutenant Wills, telephone - David rises and as he goes : THE OFFICER -LRB- exasperated. -RRB- What is this, a railway station?",
"INT. LOBBY, ARCHIVE BUILDING - DAY In a booth near the front desk, David is on the telephone. DAVID -LRB- into telephone. -RRB- David. Wills. Hello? Who? Who in Wiesbaden? Irritated, he taps the receiver but the line's gone dead.",
"EXT. LAKESIDE, BERLIN - DAY Steve lies, shirt off, taking the sun. Children playing. Noise behind him of someone in the bushes. Steve does n't move. Rode, carrying a slender leather case, pushes through to Steve, who remains with his eyes closed. RODE Major. STEVE -LRB- eyes still closed. -RRB- Helmuth. RODE Guess what I am holding in my hand. You like guessing games? STEVE Love'em, Helmuth. I give up. What are you holding in your hand? Rode takes from the case a conductor's baton. Steve opens one eye. RODE It's Dr. Furtwängler's baton, which I stole. STEVE The one he kept in his right hand. Yes, you remember. RODE Yes, you remember. STEVE How could I forget? Sits up, takes the baton. Somewhere a child laughs ; suddenly Steve thrusts the baton at Rode. STEVE Show me. RODE Show you? STEVE Yeah, show me, I want to see you do it. Pretend I'm Adolf. You're the maestro, and you have the baton in your right hand, but you give me the salute just the same. RODE Not here, Major, there are people, if anybody should see. please, please, Major. STEVE Do it, Helmuth. After nervous looks over his shoulder Rode, salutes half - heartedly. STEVE Do it right. Rode thrusts his hand out in the Nazi salute. People by the lake : Mostly elderly, but some younger ones see Rode saluting. Some turn away. Others stare. STEVE'S VOICE You look great doing that. Rode and Steve : Rode looks around nervously, lowers his arm. STEVE And I see what you mean. You nearly poked my eyes out. RODE Exactly. Replaces the baton, gives Steve the case. STEVE Do n't worry, Helmuth, it'll be our secret. A ball comes bounding towards them. Steve catches it. Then a BOY runs in, looks hopeful. BOY Mister, mister, here, here, mister! Steve tosses the ball back to him. STEVE Great catch, kid. The boy runs off. RODE So. You wanted to see me. Steve pats the spot next to him and Rode sits. RODE You usually do n't work on Sunday, Major? STEVE All in the cause of humanity, Helmuth. Or should I call you one - zero - four - nine - three - three - one? RODE What? STEVE One - zero - four - nine - three - three - one. Or d'you mind if I just call you ` one'? Rode makes an attempt to go but Steve grabs him. STEVE You know what I say you are, Helmuth? I say you're a piece of shit. Rode suddenly starts to retch. RODE That bastard! People by the lakeside : Faces turning at Rode's sobs. Impassive. Blank. Steve and Rode : STEVE Who's the bastard, Helmuth? Hinkel? Rode nods. STEVE Why? He promised to remove your file? Rode vomits. STEVE And what about before that? What were you a member of in Austria? After a moment : STEVE Was a member of? Speak up? RODE -LRB- barely audible. -RRB- I was a member of the Communist Party. I was a communist. That's what Hinkel had over me. He knew everything. He held that over me. That's how he made me co - operate. STEVE Oh, I see, he made you co - operate. And now are you a communist again? RODE -LRB- angry. -RRB- You do n't know what it's like to wake up every single morning of your life terrified, you do n't know that -. -LRB- he stops. -RRB- Brief silence. Steve stands. Further along the lakeside : Steve and Rode walk. People about. Boats on the lake. RODE I would never, in my wildest dreams, have ever been a second violinist in the Berlin Philharmonic. When they got rid of the. the Jews in the orchestra, it gave people like me a chance.",
"EXT. LAKE - DAY Rode rowing Steve in a small boat. Rode, exhausted, stops. The boat drifts. Steve watches him for a moment, then : STEVE Helmuth, you ever heard of plea - bargaining? Rode, trying to catch his breath, shakes his head. STEVE Talk about power, I have the power to give you work, make your life easier. Your past wo n't be mentioned. I could give you a job tomorrow but I have to get something in return. See, Helmuth? That's plea - bargaining. No response. Rode keeps his head bowed. STEVE I can give you freedom of movement, freedom to work, freedom, Helmuth. But I need something in return. RODE Major, we're discussing a man of genius, I do n't want. STEVE Fuck that, Helmuth. You want to discuss symbols here? This guy was a front man. He was the piper, but he played their tune, you get my philosophical meaning? I'm not interested in small fish, I'm after Moby Dick. Come on, Helmuth. Hard facts. Silence. Then Rode slowly raises his head. RODE The only thing I know is he's an anti - Semite. STEVE Of course. You, too. Like everyone else in this goddamn country.",
"EXT. WOOD, LAKESIDE - DAY Rode and Steve walking. Rode suddenly turns to him : RODE I've remembered something else. STEVE Yeah? RODE Furtwängler sent Hitler a telegram for his birthday. STEVE He did? RODE One of your people told me. STEVE One of my people? They start to walk away from the water. RODE Yes. A corporal. US Army. A Jew. He said he'd seen the telegram in the Chancellery. STEVE Son - of - a - gun. We'll find the corporal and we'll find the telegram. He stops, takes out a cigarette, offers one to Rode, lights them both, gives Rode the packet. They smoke for a moment. STEVE But I need documentary proof. You know of anything like that? RODE No. But that's why we hated him. We admired him as a conductor but we all hated him too because he did n't have to join the Party and yet he had a better life than any of us. He did n't have to go and deliver a report after every trip abroad. He got everything from them, everything. He was filthier than any of us Party members. The sun is setting. Rode stops suddenly. RODE There's a rumour. I do n't know if it's true or not. but ask him about von der Null. STEVE Never heard of him, who is he? RODE Edwin von der Null. Music critic. He gave Furtwängler terrible reviews while he raved about Herbert von Karajan. STEVE Who's he? RODE Also a conductor. Very brilliant. Young. Von der Null called him ` The Miracle von Karajan'. Furtwängler was outraged and they say he had von der Null conscripted into the army. The same thing happened to another critic. True or not, it's not such a bad idea. Critics give you bad reviews, you have them sent to the Russian front. -LRB- Chuckks. -RRB- But if you really want to get Furtwängler, ask him about Herbert von Karajan. STEVE The Miracle Kid. RODE Yes, yes you may notice that he can not even bring himself to utter his name, he. he refers to him as K. Rode tries to make up his mind about something, then decides. He reaches into an inside pocket and takes out a small black notebook. RODE And ask him about his private life. STEVE His private life? Rode hesitates, then he hands Steve the black book. RODE Yes, it's all in here. His women.",
"INT. ARCHIVE ROOM - DAY Steve going along the shelves filled with files. He's at the H, then I, then J. He stops at the letter K. With his forefinger, he runs down the files. He stops, pulls out a fat file : ` KARAJAN, H.VON' He opens the file. INSERT : - the file : ID PHOTOGRAPHS of an energetic - looking young man and two Nazi Party membership booklets.",
"INT. CAFETERIA - DAY David makes his way from the counter. He carries a tray with two cups of coffee. He goes to a table where CAPTAIN MARTIN sits, papers and files spread before him. David gives him his coffee, then sits across from him, blows his nose. Silence while they sugar and milk their coffee. David aware of Martin's eyes on him. MARTIN Where do you stand on all this? DAVID On all what? MARTIN On Furtwängler. DAVID I do n't know. He breaks off. MARTIN You represent the United States now. We have a moral duty to be just and we have to be seen to be just. DAVID Major Arnold believes he has a moral duty, too. MARTIN Our duty is to help Furtwängler with his defence. -LRB- carefully. -RRB- That's why I want you to look at this. -LRB- he selects papers from the table. -RRB- These are part of the transcripts of the trial at Nuremberg. We ca n't get them translated fast enough. But I guess you understand German, right? Passes papers across to David. MARTIN That's the evidence of a guy named Dahlerus. He's a Swede. Friend of Hermann Goering. I want you to study it. And I want you to use it. David tries to sneeze but fails ; he starts to read. MARTIN We're going to find more stuff to feed you. We'll have some other suggestions. We need to build a case for the defence - based not on feelings, not on prejudice, but on facts. He watches David read. David is engrossed. Almost imperceptibly, he shakes his head.",
"EXT. BERLIN STREET - DAY A half - ruined café with tables on the sidewalk. WERNER, the timpanist, SCHLEE, the oboist, and two others seated at one of the tables, drinking coffee. David carries an attaché case and walks towards the café. He scans the people at the tables, sees the musicians and approaches. They stand. WERNER Lieutenant Wills. David nods WERNER Herr Schlee, timpanist, Herr Romer, cello and Herr Schmidt, viola. They are willing to help. We have already ordered ourselves coffee. I hope you. DAVID Yeah, of course. WERNER The whole orchestra will vouch for him. He was always there to support us. DAVID We need names, if possible with addresses, because it's urgent. Names of musicians saved by Dr. Furtwängler, people he helped to escape abroad. Let's go somewhere public. David leaves money on the table and then walks off with the four men. They talk as they make their way down a side street.",
"INT. DYMSHITZ'S VILLA - NIGHT Steve and Dymshitz sit opposite each other and clink vodka glasses. They have been drinking but are not yet drunk. DYMSHITZ To co - operation. They drink. Dymshitz pours more vodka. STEVE I was in Vienna. I had with me an Austrian chauffeur, Max his name was, he spent time in the camps. We were looking at these Viennese cleaning up the bomb damage, scavenging for rotting food, butt ends, anything. I said, ` To think a million of these people came out to welcome Adolf on the day he entered the city, a million of'em, and now look at'em.' And Max said, ` Oh, not these people, Major. These people were all at home hiding Jews in their attics.' You get the point, Colonel? The point is they're all full of shit. DYMSHITZ Furtwängler's in a different category. STEVE We're dealing with degenerates here. He is still for a moment, then grabs the bottle and pours himself a drink, downs it. Dymshitz watches him, then : DYMSHITZ Degenerates?",
"INT. ANOTHER ROOM, DYMSHITZ'S OFFICE SUITE - NIGHT German modern paintings stacked untidily. Dymshitz, carrying a vodka bottle and his glass, shows Steve the paintings. Steve, too, has a glass. DYMSHITZ A great artist will have great privileges in a Russian zone. STEVE That's why he did n't get the hell out of here when he had the chance! I put that to him, he could n't answer. Why did n't he go and direct in America, like that Italian, Toscanini. Dymshitz pours vodkas, raises his glass, drinks. So does Steve. Now, their moods swing with the drink. Dymshitz drinks ; then sits, sinks into his own world. DYMSHITZ -LRB- lost for a moment. -RRB- Perhaps. perhaps he believed he could at least try to preserve something important, things like an orchestra, a school. That's his country. Maybe he has an old mother who ca n't be left alone. Maybe he has brothers, sisters. you ca n't. A forlorn look at Steve. His eyes are misty, he is visibly drunk. STEVE -LRB- a wry smile. -RRB- Colonel. He had no sisters, no brothers, only a lot of love affairs. DYMSHITZ Anyway, Major, why should he leave his country, his mother tongue, his family, his history, his past, his future, just because now, suddenly, there is a dictatorship? Why? STEVE But what. before that turns rotten. What if they surround the space with barbed wire, Colonel? DYMSHITZ -LRB- suddenly exploding. -RRB- Do n't talk about things you know nothing about. He was in a dictatorship! STEVE -LRB- dismissive. -RRB- Yeah, yeah, art and politics, yeah, yeah, I heard all about that. DYMSHITZ -LRB- angry. -RRB- In a dictatorship, art belongs to the Party. If you want to be a conductor, you have to have an orchestra. And you can only get an orchestra if you have contact with the power. All over the world you need the right contacts and you have to make the right compromises. STEVE This is what I'm saying. He must have had Party contacts. DYMSHITZ There are good Party members who help, and there are dirty non - Party members who inform on you. Of course, they gave him privileges. Pause. DYMSHITZ And suddenly, Steve, suddenly you notice that they like you. They honour you, suddenly you are the director of the best museum in the world, for example. STEVE What museum? DYMSHITZ I'm sorry. Museum? Not. I said orchestra. Sorry. Believe me. -LRB- another sudden change of mood to earnest, intimate. -RRB- Help me, Steve. You say you answer for someone from high up. I, too, have orders from high up. Very high up. We want Furtwängler. I'll give you in return the whole orchestra, four, five conductors. I need him, Steve. STEVE No can do. DYMSHITZ Let Furtwängler go. Please. STEVE I have a duty. DYMSHITZ -LRB- flaring. -RRB- Duty? I am sorry, duty? Duty fucking duty. Trouble is, you Americans want everybody to live like you. We liberated Berlin, Major Steve, not you. Our duty also is to bring back the best of German culture. Dymshitz bursts out laughing. Stung, Steve advances on him, almost as if he's about to attack him physically. He stops, sways a little, then, after a moment, drops down in a chair near to Dymshitz. They drink. Intimate : STEVE I'm gon na get that fucking bandleader, Colonel. No deal. No fucking deal. DYMSHITZ Then you're going to kill me.",
"INT. STEVE'S OFFICE - NIGHT Drunk, Steve is clumsily, almost frantically, threading film into the 16 - mm projector. He switches off the lights then stumbles back to the projector, turns it on and directs its beam towards a blank square of watt. It's an American military propaganda film. ARCHIVES You'll see ruins, you'll see flowers, you'll see some mighty pretty scenery, do n't let it fool you. You are in enemy country. The Nazi party may be gone, but Nazi thinking, Nazi training and Nazi trickery remain. Somewhere in this Germany are two million ex - Nazi officials. Out of power but still in there and thinking, thinking about next time. Remember that only yesterday every business, every profession was part of Hitler's system. Practically every German was part of the Nazi network. They believed they were born to be masters. Do n't argue with them. You are not being sent Germany as educators. You're a soldier on guard. You will observe their local laws, respect their costumes and religion and you will respect their property rights. You will not be friendly. You will be aloof, watchful and suspicious. Steve, swaying slightly, watches, with the film continuing.",
"EXT. FLEA MARKET - DAY Bright summer's day. Emmi pushing her way through the crowded market. She comes to the stall with gramophone records. David is with her, staying behind a little so as not to disturb her. She starts to look through the records, blowing her nose from time to time. Then she finds a box of records, opens it, is delighted. She bargains with the stallholder, and she hands over money. She shows her purchase to David happily. They struggle on in the crowd. David suddenly stops. He has spotted a tandem. The bicycle with two seats is old and rusty but seems to be in working order. David steps up to it, touches it.",
"EXT. WOODLAND - DAY Two persons, Emmi and David, riding the tandem. Emmi in the front, pedalling, David behind. The road going up into the hills is full of potholes. They change seats. David is in the front, Emmi at the back. Suddenly the road begins to descend. They change again, Emmi sits in the front, David at the back. They speed down the hill.",
"INT. BURNT-OUT DEPARTMENT STORE - DAY The tandem, ridden by Emmi and David, rolls into a huge building, black and burnt out. In the middle of the vast hall, surrounded by the staircase, there is a Christmas tree, almost burnt to cinder. Emmi and David stare at it, mesmerised. DAVID Yesterday I read that Furtwängler was asked to lead the New York Philharmonic back in' 36, Toscanini suggested it. Had he accepted, he would have become the most celebrated conductor in America. EMMI When he made his decision, he could n't have known everything. Especially not the way people like you do, who've returned from exile and feel that you have a right to pass judgement. Because you are blameless, you think you know best who is a sinner and who deserves forgiveness. But you have no idea how people lived here. DAVID When he met Hitler at his birthday and shook hands with him, was he pleased? EMMI I do n't know. But you and I already know that he has saved lives.",
"INT. STEVE'S OFFICE - DAY Steve and David studying files in silence. Furtwängler's baton is on Steve's desk. Steve drinks black coffee. Emmi enters. Curt nods of greeting. She goes to her desk, then takes the Bruckner record to Steve. Steve looks at the record, then glances up at Emmi. He does his best to exclude David, who tries to hear what is said. Emmi glances at David. She's embarrassed. EMMI Bruckner's Seventh, Major. STEVE Do you know where the Adagio begins? EMMI Of course. STEVE Put it on ready to play, and I'll tell you when to play it. He returns to his desk. Emmi looks through the album for the appropriate record.",
"INT. STEVE'S OFFICE - DAY Steve by the open window, looking at his wristwatch, smoking a cigarette. David and Emmi both watch him. The door opens and Furtwängler bursts in. FURTWÄNGLER It is now nine o'clock precisely. I do not intend to be kept waiting again. STEVE -LRB- dangerously calm. -RRB- Do n't talk to me like I was a second violinist. Go back into the waiting room. Miss Straube will come and get you when I am ready to see you. Furtwängler goes out. STEVE Jesus God, who the hell does he think he is? Who the hell does he think he is? David and Emmi gaze at him as he tries to regain control.",
"INT. WAITING ROOM - DAY The door to the landing is open and Rode is there pretending to sweep. He looks in to see Furtwängler sitting, holding his handkerchief over his nose and mouth. RODE Would you perhaps like to have a glass of water, Herr Professor? Furtwängler does n't seem to hear. Rode hesitates, then continues to sweep.",
"INT. STEVE'S OFFICE - DAY David and Emmi look at him, puzzled. She goes to the door, opens it, nods. Rode quickly disappears. Furtwängler looks at Emmi. FURTWÄNGLER What is this man doing here? Emmi does n't answer. All eyes on the door. Furtwängler enters. STEVE Dr. Furtwängler! Come in, come in, sit down. Furtwängler, deeply suspicious, goes for the uncomfortable chair. STEVE No, no, take this one, it's more comfortable He holds the other chair for Furtwängler, who sits. STEVE If it's too hot, open your tie. FURTWÄNGLER -LRB- interrupting. -RRB- I wish to say something. STEVE Go ahead, be my guest. Furtwängler takes from his pocket a piece of paper with notes. He blows his nose. The room is warming up. It will become like an airless court room, a pressure cooker. FURTWÄNGLER When I last saw you, I was unprepared. I did not know what to expect. In these past weeks, I have been thinking more carefully and making some notes. -LRB- glances at the notes. -RRB- You have to understand who I am and what I am. I am a musician and I believe in music. I am an artist and I believe in art. Art in general, and music, in particular, has for me mystical powers which nurture man's spiritual needs. I must confess, however, to being extremely naive. I insisted for many years on the absolute separation of art and politics. My entire life was devoted to music because, and this is very important, because I thought that I could, through music, do something practical. STEVE And what was that? FURTWÄNGLER Maintain liberty, humanity and justice. STEVE Gee, that's a thing of beauty, honest to God, a real thing of beauty. I'm going to try to remember that. Liberty, humanity and justice. Beautiful. But you used the word ` naive'. Are you now saying you think you were wrong? That art and politics ca n't be separated? FURTWÄNGLER I believe art and politics should be separate, but that they were n't kept separate I learned to my cost. STEVE And when did you first learn that - when you sent the telegram? Was that the surrender signal, the waving of the white flag? FURTWÄNGLER What telegram? STEVE ` Happy birthday, dear Adolf, love Wilhelm.' Or words to that effect. That sounds to me like you were dropping on your knees and saying, ` Okay, Adolf, you win. You're the number one man. Have a swell party.' FURTWÄNGLER I have no idea what you're talking about. STEVE The birthday greetings you sent to your old pal, Adolf Hider. FURTWÄNGLER I never sent him any birthday greetings or any other kind of greetings. STEVE Think carefully, Wilhelm. maybe not in your own name, but as Privy Councillor or Vice - President. FURTWÄNGLER I do n't have to think carefully. This is utterly ridiculous. David and Emmi exchange the briefest of looks. David raises his hand. STEVE Yes, David? DAVID Why not show Dr. Furtwängler the evidence. It may refresh his memory? FURTWÄNGLER You wo n't find it because no such telegram exists. STEVE Well, I tried, you got to admit I tried. I thought I might just trap you there, Wilhelm, but David here was too quick for me. Smart move, David, smart move. No, I do n't have the telegram, but I know it exists. And I want you to know, Wilhelm, we're going to keep looking for it because I believe you sent it. FURTWÄNGLER Then you are wrong. STEVE Art and politics, yeah, art and politics. Let's look at that. You and the Berlin Philharmonic toured the Third Reich, played in countries the Nazis had conquered. Are you saying that conducting in occupied territories from 1939 on was n't a commercial for Adolf and all he stood for? FURTWÄNGLER We never, never officially represented the regime when we played abroad. We always performed as a private ensemble. As I think I already told you, I was a freelance conductor. STEVE You know something? You should've written our insurance policies for us because you got more exclusion clauses than Double Indemnity. What do you imagine people thought? The Berlin Philharmonic's taken over by Doctor Goebbels and his Propaganda Ministry but Wilhelm is a freelance, so art and politics are now entirely separate? Is that what you believed ordinary people thought? FURTWÄNGLER have no idea what ordinary people thought. STEVE No! FURTWÄNGLER No, because I had only one intention. My only intention whatever I did was to show that music means more than politics. STEVE Tell me about von der Null. FURTWÄNGLER -LRB- taken off - guard. -RRB- Von der Null? STEVE Yes, von der Null. FURTWÄNGLER Von der Null? STEVE How long's this going to go on, Wilhelm? I say von der Null, you say von der Null, I say von der Null, you say von der Null, we could go on all day. You know who von der Null is, do n't you? Edwin von der Nuell, music critic. FURTWÄNGLER Yes, I know who he is. STEVE Is n't it true that because he gave you bad reviews and praised this young guy, Von Karajan, called him a goddamn miracle, said he was a better conductor than you, then you had von der Null conscripted into the army and no one's heard from him since? FURTWÄNGLER That's an outrageous lie! STEVE You sure you did n't call one of your close buddies and say, God in heaven, did you see what that guy von der Null wrote about me? The greatest conductor on earth. I want him out the way. He had the nerve to accuse me I am not playing enough modern music. Send him to Stalingrad. Is n't that what you did? You do n't like criticism, do you, Wilhelm? You surely did n't like them saying there was another conductor who was better than you. Are you saying the name von der Null was never mentioned in your talks with Goebbels? FURTWÄNGLER -LRB- uncomfortable. -RRB- Well. Once he said he'd read what this man wrote about me. STEVE And what did he say? FURTWÄNGLER He said, ` Do n't mind him. His job is to criticise, your job is to conduct.' STEVE And what happened to Von der Nul? FURTWÄNGLER I have no idea. STEVE You've really no idea? I'll tell you what happened. He died in Stalingrad. FURTWÄNGLER I'm sorry. STEVE Now, that young conductor what's his name? -LRB- playing with Furtwängler. -RRB- That miracle kid, you know who I mean. Von Karajan! But you called him something else. C'mon. What did you call von Karajan? Silence. STEVE Say it. Silence. STEVE I'll say it, then. ` Little K.' Is that right? You could n't even bear to say his name! Furtwängler rises angrily and starts to pace. FURTWÄNGLER Please stop playing these games with me. Why you should bring up the name of another conductor is beyond my understanding. STEVE I'll tell you why. You remember we talked about you playing for Hitler's birthday? And you told me that Goebbels got to your doctors first, that you were tricked? FURTWÄNGLER Yes, that's what happened. He sits heavily, wipes his brow. He is sweating now. STEVE I have a different story to tell. I do n't think you were tricked. Not in the way you describe. I believe something else happened. I've seen the Hinkel Archive, I've seen records of phone calls, and putting it all together, this is what I think happened. I think Goebbels said, ` Wilhelm, if you wo n't conduct for Adolf's birthday, we'll get the Miracle Kid, the guy that critic, von der Null, thinks is the greatest conductor in the world. He's not just willing to conduct for Adolf, he's offered to sing `` Happy Birthday'' as a solo.' Silence. STEVE Come on, admit it. K worried you, did n't he? He always worried you. In 1942, he's thirty - four years old, you're already fifty - six. And Goebbels and Goering keep saying to you, ` If you do n't do it, little K will.' Never mind art and politics and symbols and airy - fairy bullshit about liberty, humanity and justice because I do n't care how great you are. It's the oldest story in the book. -LRB- a wry look at David. -RRB- The ageing Romeo jealous of the young buck. The real reason you did n't leave the country when you knew you should have was that you were frightened that, once you were out of the way, you'd be supplanted by the Miracle Kid, the Party's boy twice over, flashy, talented little K. FURTWÄNGLER This is absolute nonsense! STEVE Well, I'm just beginning to develop my theme. Is n't that what you call it in classical music, developing your theme? Okay, so they played on your insecurity. That's human, understandable. But, there is one guy who does n't like little K as much as he likes you - yeah, the number one man your old pal, Adolf. He thinks you're the greatest, and when he says, I want Wilhelm for my birthday, boy, they better go out get Wilhelm. So, Josef calls and threatens you with little K. And you said to hell with the Ninth in Vienna, I'll give it to Adolf as a birthday present in Berlin. That's the trick they played, they got you by the balls and they squeezed. Hard. Why did you stay? Why did you play for them? Why were you the flag - carrier for their regime? Jealousy? FURTWÄNGLER -LRB- interrupting. -RRB- Of course there was a conspiracy against me, a campaign - even abroad. Brief silence ; all eyes on him. STEVE You see, Wilhelm, I'm talking about ordinary, everyday reasons. Which is why I want to discuss your private life. How many illegitimate children do you have? DAVID Major, I do n't see how this line of questioning could. STEVE David, what are you Counsel for the Defence now? -LRB-. -LRB- to Furtwängler. -RRB- Did you hear the question? FURTWÄNGLER -LRB- barely audible. -RRB- I have illegitimate children. STEVE What? FURTWÄNGLER I said I have illegitimate children. I do n't know how many. STEVE You like the women, do n't you, Wilhelm? No response. STEVE Is n't it true that before every concert you got a woman in your dressing room and gave her the old conductor's baton, is n't that true? DAVID -LRB- indicating EmmI. -RRB- Major, this is deeply offensive and repugnant! STEVE You bet. DAVID and totally irrelevant. STEVE -LRB- continuing to Furtwängler. -RRB- Not so, Counsellor. That secretary of yours, she was n't just your secretary, she procured women for you, did n't she? As many and as often as you wanted. FURTWÄNGLER Stop this, please, stop this now! STEVE No, I'm not going to stop it. Hitler himself offered you a beautiful house and a personal bomb shelter. FURTWÄNGLER I absolutely refused the house and the bomb shelter. STEVE But you see what I'm getting at? You get a gorgeous house, you're highly paid. What are you gon na do, stay or leave? One voice comes back at me : stay! DAVID Major, that's not a good argument. If Dr. Furtwängler did indeed enjoy all these. these privileges, he enjoyed them because of who he is and what he is. That's true of any leading artist in any country in the world. STEVE But it still does n't make them saints. They still have to get up and piss in the middle of the night, do n't they? They can still be vindictive and envious and mean just like you and me. Well, just like me. Ca n't they? No response. To Furtwängler : STEVE Okay, Wilhelm, go home now. Go home and think about these past twelve years. FURTWÄNGLER I do n't understand what you mean. STEVE No, that's your problem, Wilhelm. You understand nothing. We'll call you. Go! Furtwängler leaves. DAVID Major. Steve goes to his desk and, as Furtwängler rises uncertainly : STEVE What? DAVID Your manner. STEVE My manner? Why do n't you go downstairs, get a cup of coffee and calm down? What's the matter, Emmi? What's going on with you? What's wrong? EMMI I'm sorry but I have to leave. I'll find other work. You'll have to get someone else, that's all. STEVE What is this, Emmi? EMMI I ca n't do this. It's not right. STEVE What's not right? EMMI I have been questioned by the Gestapo just like that. Just like you questioned him. STEVE Emmi, stop! I want to show you something. Let me show you something and then if you want to leave, you can leave, please please. His friends, they did this. And he gave them birthday concerts. EMMI But he had no idea, a lot of people had no idea. I only realised what was really going on when I got arrested. STEVE If he had no idea, why did the Jews need saving? This is the question, Emmi, to all Germans : Why did the Jews need saving in this country? Why, if people had no idea? EMMI I would like to go now, please. But Steve turns on the projector and the Bergen - Belsen film flickers into life.",
"INT. US OFFICERS' CLUB - NIGHT Band playing. Couples dancing. David and Steve at the bar, each with a drink in front of them, lost in their own thoughts. Then : Steve signs to the barkeeper to fill their glasses but David puts a hand over his glass. Then : DAVID Can I ask you a favour, Major? STEVE Yeah. DAVID When you question him again, could you treat him with more respect? STEVE With more what? More what? DAVID Major, he may just be the greatest conductor of this century and that merits respect. STEVE -LRB- flaring, hissing. -RRB- David, I do n't understand a thing about you. You're a Jew. Are you a Jew? DAVID Yes, I'm a Jew. But I like to think first I'm a human being. STEVE A human being, oh, good, I'm relieved, I thought you were going to say you were a music lover. This man, this great artist has made anti - Semitic remarks like you would n't believe. I got letters. DAVID Major, show me someone who has n't made an anti - Semitic remark and I'll show you the gates of paradise. STEVE -LRB- over - reacting and overlapping. -RRB- What is it with you, David? Where are your feelings? Where's your hatred, your disgust? Where's your fucking outrage, David? He starts to go, then comes back to them. STEVE Think of your parents, David, and then think of him conducting ` Happy Birthday, dear Adolf'. I mean, for Chrissake, whose side are you on? Grow up! Just grow the fuck up! The customers stare at him as he stalks out. The band plays.",
"INT. STRAUBE APARTMENT - EVENING David and Emmi, sitting. DAVID I want you to come back to the office. May I come in? If you are there you can influence what happens. What good can you do by leaving. If you go, you are giving up and how can you help Furtwängler or me? Do n't think about leaving. Stay.",
"INT. STEVE'S OFFICE - DAY Hot, Windows closed. Furtwängler seated. David and Emmi present. Steve looks up from his notes. STEVE Everybody says what a great benefactor you were to the Jews. But -. -LRB- holds up a sheaf of papers. -RRB- I have things here you said and wrote. Listen to this : ` The Jew composer Schonberg is admired by the Jewish International.' And what about this : ` Jewish musicians lack a genuine affinity with our music.' ` Jewish musicians are good businessmen with few scruples, lacking roots.' You deny you said these things? FURTWÄNGLER Those attitudes do not exist in me. STEVE I believe that. But just answer the question, do n't give me explanations. FURTWÄNGLER Speaking to Party members I used their language, of course I did, everyone did. DAVID -LRB- with some irony. -RRB- Major, sorry to interrupt, but maybe we have to. maybe we have to balance those things against his assistance to his Jewish colleagues. Steve tenses. DAVID This is a transcript of the proceedings at Nuremberg. A Swedish businessman, Birger Dahlerus, testified in cross - examination that he had several meetings with Hermann Goering.' I first saw Goering,' Dahlerus testified,'em broiled in a stormy interview with Wilhelm Furtwängler, the famous conductor of the Berlin Philharmonic, who was vainly seeking permission to keep his Jewish concert master. Holds up his package of letters and dumps them on Emmi's desk. DAVID Emmi, pick one of these, any one, read it out loud. Emmi is uncertain. Steve shrugs indifferently. She picks an envelope and takes out the letter. EMMI -LRB- reading. -RRB- ` Please remember that Dr. Furtwängler risked his life to help anyone who asked him. I personally testify to having seen literally hundreds of people lined up outside his dressing room after concerts to ask for his help. He never turned anyone away. After he heard me play. I am a violinist. he gave me money because I was unable to feed myself or my family and then he helped me to escape to Sweden. He helped countless people in similar ways.' DAVID And this, only one of these letters, Major. I have lots of them. STEVE -LRB- smiling. -RRB- How many times have I got to tell you I was in insurance? You think I ca n't smell a phoney policy when it's shoved under my nose? Sure, he helped Jews, but that was just insurance, his cover, because all the while he was maestro of all he surveyed. -LRB- turning on Furtwängler. -RRB- See, Wilhelm, I think you're their boy, their creature. You were like an advertising slogan for them : this is what we produce, the greatest conductor in the world. And you went along with it. The truth of the matter is, Wilhelm, you did n't need to be a member of the Party. I made a mistake when I asked you for your Party number. I should've asked you for your non - Party number. Just like some other well - known artists. -LRB- suddenly, to Emmi. -RRB- Emmi, put that record on. Emmi puts on the record of the Adagio from Bruckner's Seventh Symphony. After a moment : STEVE Do you know what that is? FURTWÄNGLER Of course I know what that is. STEVE Okay, so what is it? FURTWÄNGLER Bruckner's Seventh. The Adagio. STEVE Who's conducting? FURTWANGLBR I am. STEVE You know the last time it was played on these air waves? FURTWÄNGLER How can I know such a thing? STEVE I'll tell you, then. The last time this music was played on these air waves was after they announced that your pal Hitler had shot himself. Listen to it. They listen. Did they pick little K's recording? Did they pick some other conductor? No, they picked you, and why? Because you represented them so beautifully. When the Devil died, they wanted his bandleader to conduct the funeral march. You were everything to them. The music plays. FURTWÄNGLER -LRB- near to breakdown but struggling for control. -RRB- I have always tried to analyse myself carefully and closely. In staying here, I believed I walked a tightrope between exile and the gallows. You seem to be blaming me for not having allowed myself to be hanged. David takes the record off. FURTWÄNGLER I did n't directly oppose the Party because I told myself, that was not my job. If I had taken any active part in politics I could not have remained here. But as a musician, I am more than a citizen. I am a citizen of this country in that eternal sense to which the genius of great music testifies. I know that a single performance of a great masterpiece was a stronger and more vital negation of the spirit of Buchenwald and Auschwitz than words. An uncontrollable surge of anger wells up in Steve, causing him to pace alarmingly. He grabs the baton from his desk, stands trembling before Furtwängler, and snaps it in half. He pushes his face close to Furtwängler, who recoils, terrified. David half - stands, ready to intervene physically. During this Emmi puts her fingers in her ears. STEVE -LRB- quiet, terrifying. -RRB- Have you ever smelled burning flesh? I smelt it four miles away. Four miles away, I smelt it. Have you ever seen the gas chambers, the crematoria? Have you seen the mounds of rotting corpses? You talk to me about culture, art and music? You putting that in the scales, Wilhelm? You setting culture, art and music against the millions put to death by your pals? They had orchestras in the camps. They played Beethoven, Wagner. The hangmen were playing chamber music at home with their families. I do n't understand the Germans' relationship with music. What do you need music for? Your pals you could call to save a few Jews when millions of them were being annihilated? Yes, I blame you for not getting hanged, I blame you for your cowardice. You strutted and swaggered, you fucking piece of shit, king - pin in a shithouse. You talk to me about walking a tightrope between exile and the gallows, and I say to you, lies! FURTWÄNGLER -LRB- breaking down. -RRB- I love my country, I believe in music, what was I to do? STEVE Look around you. See the country you served. Look at people who had real courage, who took risks, who risked their lives. Like Emmi's father. He sees Emmi has her fingers in her ears, yells at her. STEVE Emmi, take your fingers out of your ears! She does so. STEVE I'm talking about your father. She screams. Stillness. All eyes on her. EMMI My father only joined the plot when he realised that we could not win the war. She cries quietly. FURTWÄNGLER -LRB- desperate. -RRB- What kind of a world do you want, Major? What kind of world are you going to make? Do you honestly believe that the only reality is the material world, so you will be left nothing, nothing but feculence. more foul - smelling than that which pervades your nights. -LRB- near to breakdown. -RRB- How was I to understand, how was I to know what they were capable of? No one knew. No one knew. He breaks down, buries his face in his hands, weeps. FURTWÄNGLER I do n't want to stay in this country. Yes, I should have left in 1934, it would have been better if I'd left. He is suddenly overtaken by nausea and faintness, stands, a hand to his mouth. Emmi goes to him. STEVE Get him out of here. Emmi helps Furtwängler out. Steve strides to the window, opens it, puts his head out into the fresh air.",
"INT. WAITING ROOM - DAY Emmi helps Furtwängler to a chair. She watches him solicitously. He breathes deeply. FURTWÄNGLER Thank you, Fraulein. You have been most kind. -LRB- he rises. -RRB- He smiles at her. She is embarrassed.",
"INT. STEVE'S OFFICE - DAY Steve is trying to get a number on the telephone. David is packing up his papers. David turns to the records, starts to son through until he finds what he's looking for. He removes the Bruckner and puts another record on the turntable. STEVE -LRB- into the telephone. -RRB- Major Arnold. Get me General Wallace. General? Major Arnold, about Furtwängler. I do n't know if we've got a case that'll stand up, but sure as hell we can give him a hard time. At full volume the sound of the subdued opening of Beethoven's Ninth Symphony. STEVE -LRB- to David. -RRB- Hey, turn that down, would you? Ca n't you see I'm on the phone? -LRB- into the telephone. -RRB- Never mind, we got a journalist who'll do whatever we tell him. But David ignores him, sits, implacable, listening.",
"INT. STEVE'S BUILDING - DAY Furtwängler walks slowly down the stairs, a broken man struggling to regain his composure. Emmi watches him.",
"INT. STEVE'S OFFICE - DAY The music at full blast. David, at an open window, keeps his back to Steve, still on the telephone. STEVE Turn it off!",
"EXT. STEVE S BUILDING - DAY Furtwängler, on the stairs, stops, hearing the music echoing through the building. Furtwängler left hand begins to tremble, but it is only his way of sensing the tempo. Furtwängler slowly continues down the stairs. STEVE'S VOICE We handed Wilhelm Furtwängler over to the civil authorities and he was charged with serving the Nazi regime, with uttering anti - Semitic slurs, performing at an official Nazi Party function and with being a Prussian Privy Councillor. Dr. Furtwängler was acquitted. I did n't nail him. But I sure winged him. And I know I did the right thing. Furtwängler resumed his career but he was never allowed to conduct in the United States. He died in 1954. Little K succeeded him as head of the Berlin Philharmonic.",
"INT. CONCERT HALL (ARCHIVE) Furtwängler conducting. Goebbels and other high - ranking Nazis in the audience. When the music finishes, Furtwängler turns and bows. Goebbels rises and shakes hands with him. Furtwängler takes his handkerchief and wipes his hands. The film replays this gesture several times - Furtwängler wiping his hands. THE END"
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] | In Berlin at the end of World War II, Wilhelm Furtwängler (Stellan Skarsgård) is conducting Beethoven's 5th Symphony when yet another Allied bomb raid stops the performance. A minister in Hitler's government comes to Furtwängler's dressing room to advise him that he should go abroad, and escape the war. The film then jumps to some time after the Allied victory, and we see U.S. Army General Wallace (R. Lee Ermey) task Major Steve Arnold (Harvey Keitel) with "getting" Furtwängler at his denazification hearing: "Find Wilhelm Furtwängler guilty. He represents everything that was rotten in Germany". [2] Arnold gets an office with Lt. David Wills (Moritz Bleibtreu), a German-American Jew, and Emmaline Straube (Birgit Minichmayr), daughter of an executed member of the German resistance. Arnold questions several musicians, many of whom know Emmaline's father and say that Furtwängler refused to give Hitler the Nazi salute. Arnold begins interrogating Furtwängler, asking why he didn't leave Germany in 1933 like so many other musicians? Why he played for Hitler's birthday? Why he played at a Nazi rally? And why his recording of Anton Bruckner's 7th Symphony was used on the radio after Hitler's death? Arnold gets a second violinist to tell him about Furtwängler's womanizing and the conductor's professional jealousy of Herbert von Karajan. In a sub plot, Arnold is assisted by a young Jewish lieutenant from the Big Red One. The young officer begins to have sympathy for the conductor as well as for the young German girl who works as a clerk in their office. This causes friction between Arnold and his job investigating former suspected Nazis. In a voice-over, Arnold explains that Furtwängler was exonerated at the later hearings but boasts his questioning "winged" him. The film closes with actual footage of the real Furtwängler shaking hands with Propaganda Minister Joseph Goebbels after a concert. A close-up then shows the conductor surreptitiously wiping his hands with a cloth after touching the Nazi. | Taking_Sides_(film) |
[
"INT. MASTER BATHROOM - DAY PETE -LRB- 39 -RRB- and DEBBIE -LRB- 39 -RRB- are having fantastic sex in the shower. Debbie moans loudly. Pete is strong and sure of himself. In total control. DEBBIE Oh Pete! Oh my god! This is crazy! PETE Oh my god. So incredible. Want to know a secret? I took a Viagra. DEBBIE What? PETE I took a Viagra. Those things totally work. This is awesome. Why do n't I use this every day? DEBBIE What? What did you do? Wait. Stop. Debbie gets out of the shower. Pete follows. PETE What's the matter? DEBBIE You just took a Viagra to have sex with me? PETE I thought it would make it better. It was better. It takes some of the pressure off. DEBBIE Because you ca n't get hard without a Viagra? Is it because you do n't think I'm sexy? PETE I thought you'd think it was fun for me to supersize it for once. DEBBIE That is the worst birthday present you could ever give someone. PETE I was just trying to go turbo for your birthday. My hard - ons are still in analog. This shit's digital. DEBBIE I do n't want a turbo penis. I like your medium soft one. PETE Look, I can get it up. Just not that far up. DEBBIE Where did you get this? PETE I got it from Barry. DEBBIE What? You got it from Barry? PETE Why do you care? This is my dick we're talking about, not yours. DEBBIE We are young people. We do n't need medication to have sex. PETE I only took it because it's your birthday. I thought you'd like it. Happy fucking fortieth birthday. DEBBIE I am not forty! And I do n't want to have a husband who has to take Viagra to get a hard - on. PETE I do n't have to take it every time, but once in a while. DEBBIE Fuck forty! Forty can suck my dick. TITLE UP - THIS IS 40",
"INT. HALLWAY/SADIE'S ROOM - MORNING Pete sneaks down the hallway. He kisses SADIE -LRB- 13 -RRB- as he wakes her. She wants to be left alone. SADIE Your breath smells weird. Pete breathes all over her as he talks. PETE Wake up, wake up. Time to get up.",
"INT. CHARLOTTE'S ROOM - MORNING Pete lifts a sleeping CHARLOTTE -LRB- 8 -RRB- out of bed and walks her downstairs. It looks ridiculous because she is too tall to hold her like she is a baby.",
"INT. BREAKFAST NOOK - MORNING Pete and the kids set up a tray of muffins and donuts on the table and decorate the room with birthday balloons, streamers, etc.. Pete sneaks bacon, cupcakes, and mini donuts into his mouth occasionally. The house is a bit more cluttered and messier than when we last saw it in Knocked Up.",
"INT. MASTER BATHROOM - MORNING Debbie opens a window and sneaks a cigarette. PETE -LRB- O.C. -RRB- We're ready! She holds her cigarette with a yellow dish washing glove. She puts out the cigarette and goes through an elaborate routine of hiding the smell of smoke. She puts some weird oil in her hair and uses a wet nap on her neck and clothes and brushes her teeth. She sprays cologne and walks through it.",
"INT. KITCHEN - MORNING Pete and the kids hold a cake and sing `` Happy Birthday'' as Debbie walks in. When they are done she blows out the candles on the cake which says `` Happy 38th Birthday.'' PETE Make a wish!",
"INT. KITCHEN, TV AREA - MORNING The kids eat cereal. Sadie watches Lost on her iPad while Pete and Debbie talk in the kitchen. CHARLOTTE Can I watch Lost? SADIE You ca n't handle Lost. It's too violent, and you wo n't understand. CHARLOTTE If I do n't understand it, why ca n't I handle it? SADIE Because you're eight. CHARLOTTE I can handle it. I've seen a shark eat a guy on Shark Week. SADIE Shark Week is fake. CHARLOTTE No, it's not. SADIE All of it is reenactments. CHARLOTTE I know but they - SADIE That's scary! You should n't be allowed to watch that. CHARLOTTE - they show the reenactments but they actually happened. SADIE It's going to give you nightmares. CHARLOTTE I can handle a nightmare. You're a nightmare every day for me.",
"INT. KITCHEN - MORNING Pete clears the breakfast dishes. DEBBIE Hey. Do n't eat that cupcake. PETE What? DEBBIE The one you just put into the sink. I saw you were hiding that. PETE This cupcake? You think I'm going to eat this cupcake? DEBBIE Yeah. PETE I so do n't want this cupcake. Look. He turns on the faucet and pours water on the cupcake. DEBBIE You're still going to eat it. PETE I'm going to eat this cupcake? DEBBIE Just put it in the trash. PETE What would you like to do today? Your choice. DEBBIE Anything? PETE Yeah, anything. DEBBIE Just hang out with you guys. PETE Do n't you want to get a massage? Or do something fun? Forty's huge. DEBBIE I'm turning thirty - eight. PETE Okay. Thirty - eight. We'll move on. Is n't it weird that our birthday is the same week and that we're going to have a party, and it's just for me? DEBBIE No. I do n't think it's weird at all. Because you're turning forty and I'm turning thirty - eight. PETE Come on. Do you really want to be one of those ladies who's just so insecure about their age and they lie and then they've got to remember. DEBBIE You do n't get it. You do n't understand how it works. I do n't want to shop at old lady stores. I do n't want to go to J. Jill and Chicos and Ann Taylor Loft. I'm not ready yet. I need two more years. PETE That is so insane, it kind of makes sense. DEBBIE What did you get me for my birthday? PETE I thought you said that we should n't get each other gifts this year? DEBBIE What do you mean? You're supposed to get me a surprise gift. This is a big birthday. I'm turning forty!",
"INT. CHARLOTTE'S ROOM - MORNING Charlotte plays the theme from The Office on her keyboard. SADIE -LRB- O.C. -RRB- Mom!",
"INT. SADIE'S ROOM - CONTINUOUS Sadie tears apart her closet looking for clothes. SADIE Mom! Why ca n't I get new clothes?! Nothing fits me! God damn it!",
"INT. KITCHEN - MORNING Debbie is in workout gear. Pete enters wearing a lycra outfit with all sorts of logos on it. He is a complete bicycling asshole. DEBBIE I am going to work out. I'll be back in about an hour. PETE Hey, did your father call to wish you a happy birthday? DEBBIE No. That's no surprise. Debbie leaves. Pete picks the soaking wet cupcake out of the sink and takes a bite.",
"EXT. SANTA MONICA STAIRS - DAY Debbie runs up a long flight of stairs with her trainer JASON. Her friend BARB trails behind. JASON Come on. BARB Coming. JASON You've got to keep up with us, sweetheart. That's why your body looks like your body and her body looks like her body. Before, after. Before, after. BARB You guys just go on without me. I'm just gon na. fuck.",
"EXT. BRENTWOOD - MORNING We see Pete in a large group of bikers riding down San Vicente. Pete's friend BARRY is part of the group. BARRY Hey, thanks for letting me join this team. PETE It's not really a team, it's just a bunch of guys who get together and ride. BARRY I know, I know. A car makes a right turn in front of Pete, nearly hitting him. Pete bangs on the back of the car. PETE Bike lane, asshole! It's always the guy in the fucking Infiniti.",
"EXT. STREETS NEAR THE STAIRS - DAY Debbie is doing sit - ups while talking to Jason, who holds her feet down. In the background, Barb stretches on a yoga ball. JASON So why on earth is Pete taking Viagra? What's going on? DEBBIE I do n't know. I think maybe he just is n't attracted to me anymore. JASON That is ridiculous. If you were my girlfriend, I would not need a Viagra. I would need an anti - Viagra pill. To try not to get a boner. DEBBIE But everyone gives you a boner. JASON Do n't sell yourself short like that. You give me a boner. -LRB- whispers. -RRB- Barb does n't give me a boner. DEBBIE Maybe things are just getting stale. That's why maybe I work out really hard. Maybe he'll be able to get a boner again. BARB Why do you need to have sex, Deb? Sex is the number one thing people fight about. You stop having sex, there will be no more fights. I am living proof. I have no sex, and I am the happiest I've ever been. JASON I knew it. I knew you were not having sex. I can see it on your face. It's all puckered and pained. BARB I'm enjoying our non - sex period, that's all I'm saying. JASON Do n't you miss it? BARB Well, I would n't know, because I do n't have any feeling down there anymore. I have nerve damage from my C - section so everything is just kinda - DEBBIE She's numb down there. BARB I could sit down hard on a fire hydrant, and I would n't even know that I was sitting. I could get stung by a hornet down there, and I would not feel it. You could put anything in there, and I would not know what the object was. I used to pee in a nice stream, and now it just kind of goes like a shower head. JASON That is the saddest thing I've ever heard. DEBBIE I think you need a family. Do n't you want a family? JASON No, I think I want to Clooney it. DEBBIE Clooney it? JASON Yup. DEBBIE He does n't seem happy. JASON Yeah, he is. DEBBIE No. He's lonely. JASON No, he's not. DEBBIE See, I think he has sad eyes. JASON Aw, you sweet little thing. He's doing sad, lonely eyes. To get the next lady. I can do it too, watch. Jason demonstrates. DEBBIE I bet George Clooney is really lonely. Just him and his pig. JASON You'd fuck him. DEBBIE I would n't. JASON So would you. BARB I would. I would n't feel it but - JASON You'd fuck him with your numb vagina. Yes, you would. Ocean's thirteen inches, that's what you'd find out. DEBBIE Do you think?",
"INT. STARBUCKS - MOMENTS LATER Pete and Barry eat frosted scones, happy to get some alone time to delay their return home. BARRY I mean that was idiotic. You have to understand. That's like the one thing you do n't do is tell her you used Viagra. I think that's even on the warning label. PETE We're in one of those phases where everything the other person says just annoys the shit out of each other. All the time. It's a blast. BARRY Do n't worry about it. You just got ta ride that out. PETE This sounds terrible but do you ever wonder what it would be like if, say, you were separated by something bigger, like death. Like her death? BARRY I have given it a fair amount of thought. PETE Not in a painful way. Just quietly slid into death. Like a gas leak. BARRY Absolutely. It has got to be peaceful. I mean this is the mother of your children. PETE I'd want it to be a peaceful - just like, drift, into a coma, from which she never awakens. BARRY Then you move on. Then you're a widower. PETE That's just it. People love widowers. BARRY They love widowers. It's like the polar opposite of divorced guys. PETE It's the best. BARRY It's like, oh, that poor widower. You know. If I could only - PETE Somehow. BARRY make him happy. PETE Somehow ease his pain. BARRY cocksuck away his sadness.",
"INT. CAR - DAY The family is driving. Sadie watches an episode of Lost on an iPad. The Pixies play on the stereo, and Pete sings along. PETE Did you know that the Pixies did this song about a Salvador Dali short film called `` Un Chien Andalou''? DEBBIE This music does n't make people happy. PETE This song kicks off Doolittle, one of the best albums of the last thirty years. An important record. DEBBIE Look how angry you get while listening to this. -LRB- beat. -RRB- It's my birthday. You do n't control the radio on my birthday. I control the radio on my birthday. Debbie switches the radio and sings along to `` Take On Me'' by Ah - Hah. Sadie stares at her iPad. We see a violent scene. CHARLOTTE Sadie's watching Lost. DEBBIE Sadie, how many times have you watched Lost this week? SADIE I've only watched eleven. I have eight more and then I'm done. PETE How many are there? SADIE A hundred and fourteen? PETE Are you kidding me? You ca n't watch over a hundred episodes of a show in five weeks. It'll melt your brain. SADIE It's not melting my brain, it's blowing my mind. DEBBIE That's really bad, Sadie. You're not allowed to do that. SADIE My relationship with Lost is not your business. It's extremely personal. Charlotte grabs for Sadie's iPad, then starts trying to lick her. SADIE -LRB- CONT'D. -RRB- Stop it! DEBBIE Be nice to your sister. You guys are going to cherish each other one day. SADIE Stop it! Stop!",
"EXT. MONTANA AVENUE - DAY Pete and Debbie get out of the car and walk down the street. PETE It's your birthday, you do n't need to go to the store. DEBBIE I know, just five minutes. I think Desi and Jodi are fighting. PETE All right, five minutes. But then I'm pulling you out.",
"INT. DEBBIE'S STORE - DAY Pete and Debbie enter and we see their two employees, JODI and a new, gorgeous employee, DESI, who is up on a ladder. DEBBIE Hi. How's Jodi treating you? DESI Jodi? Oh, Jodi's my new BFF. She's like a little kitty cat. Sometimes she comes and rubs up against my leg. JODI You're a ball of shit. DESI She loves me. DEBBIE Huh. Debbie goes behind the register. She looks at Jodi. DEBBIE -LRB- CONT'D. -RRB- Can you do inventory so that we can do the sidewalk sale? And you really need to pay attention to the numbers because we have twelve thousand dollars unaccounted for. JODI I think it's probably Desi. She's been having a really hard time using these simple computers. It's because she's stupid. I think she might be stealing. DEBBIE She's not stealing. She's our best employee. She made nine grand last month. JODI Well, how much did I make? DEBBIE You brought in twenty - two hundred. JODI That's not bad. DEBBIE Well, that's not that good. I mean, I'm not comparing you, but you're not as good. Pete is still staring at Desi on the ladder. PETE -LRB- to Desi. -RRB- All right. See you. Pete walks over to Debbie. PETE -LRB- CONT'D. -RRB- I do n't think she's wearing underwear. DEBBIE What? PETE It's all dark up there. DEBBIE What? Why are you looking? PETE I did n't mean to look, I just said, ` Hey - woah!' There it was. DEBBIE Maybe she's wearing dark underwear. PETE Yeah. Maybe she has underwear that has a picture of a vagina painted on it. DEBBIE Stop looking. Desi comes down to help a CUSTOMER at the front of the store. DESI Maybe some deep oranges and browns and maybe dark greens? That would really play up your features. CUSTOMER I'll just take out my AmEx and you pick what stuff you think is good.",
"EXT. BACKYARD - DAY We see quick cuts of Debbie playing with the kids on the trampoline outside. She does a full flip and lands on her feet. Pete is nowhere to be found. DEBBIE Woo! Where's daddy? SADIE I think he went to poop. DEBBIE Pete!",
"INT. HOUSE - CONTINUOUS Debbie walks down the hall and into the bathroom without knocking. Pete is on the toilet playing Scrabble on his iPad. DEBBIE What are you doing? PETE Going to the bathroom. DEBBIE We're all downstairs waiting for you. You've been up here for a really long time now. PETE Oh, I'm almost done. I'll be down in a second. DEBBIE Charlotte just did her first flip on the trampoline, and she landed on her feet. She was really proud of herself. PETE Oh, that's great. DEBBIE And you missed it. PETE She'll do it again. DEBBIE It's just that this is the fourth time you've gone to the bathroom today. PETE Give me a break. DEBBIE Why is your instinct to escape? PETE It's not my instinct to escape from you. It is my instinct to come into the bathroom when I need to go to the bathroom. DEBBIE How come I do n't smell anything? PETE It's because I shoved an Altoid up my ass before I came in here. DEBBIE Let me see then. PETE What? DEBBIE Let me see! PETE No, I'm not going to let you see. DEBBIE You're not going to let me see because you're not taking a poop. PETE I've been flushing as I go. DEBBIE You're flushing as you go? Who takes a half hour to go to the bathroom? PETE -LRB- thinks for a second. -RRB- John Goodman. She angrily grabs his iPad and walks out. PETE -LRB- CONT'D. -RRB- Do n't press Enter! I'm not sure I want to make that move!",
"EXT. SMALL NIGHTCLUB - NIGHT A sign outside reads : `` Tonight Only : Graham Parker''",
"INT. SMALL NIGHTCLUB - STAGE - NIGHT Pete stands on stage speaking to a small crowd. PETE You know, when I started this label, my dream was to work with musicians and bands whose music I just admired so much. The person that I thought, `` My god, would n't it be incredible to work with'' was Graham Parker. Tonight we have him. Solo. Because we could n't afford to fly in The Rumour. The crowd applauds as Graham Parker -LRB- 60's -RRB- leaps on stage. Pete and Debbie watch Graham sing a very moving song. The song is fantastic and personal, but clearly not commercial. We watch Debbie. Although the music is great, it's a little depressing and not working on her. She quickly gets bored.",
"INT. CAR - NIGHT Pete and Debbie are driving home. DEBBIE It's just not my kind of music. PETE Really. What is your kind of music? DEBBIE I like Lady Gaga. PETE Oh, god, of course you do. DEBBIE What? PETE Shallow dance music. DEBBIE It's not! It's fun, and it's about release and sex and power. PETE You know, you do n't have to like it. It's really not for you, that's fine. DEBBIE This is a job. This is not a hobby. Ca n't you love him just as a hobby? And sign a fifteen - year - old hot girl so we can eat? PETE Graham Parker and The Rumour had two albums in the Rolling Stone Top 500 Best Albums of All Time. Two of ` em. If I can just sell ten thousand records to his hardcore fan base, we're golden. An ambulance drives by, sirens blaring. DEBBIE -LRB- pause, then laughing. -RRB- The last of Graham Parker's fans just died.",
"INT. SADIE'S ROOM - NIGHT Pete and Debbie walk in mid - argument. Sadie is listening to a song on her iPhone. DEBBIE Sadie. Sadie, what are you listening to? Okay, this is music that makes people happy. And this is what people buy. Right, girls? She puts Sadie's iPod in a dock and plays the Nikki Minaj rap `` Roman's Revenge.'' They all start rapping along to it. They all laugh and dance and go crazy. Pete turns the iPod off. DEBBIE -LRB- CONT'D. -RRB- Why did you take it off? PETE Now, something that really rocks. Pete puts on `` Rooster'' by Alice In Chains. PETE -LRB- CONT'D. -RRB- This is called good music. From somebody's heart. SADIE This is bumming me out. This is n't fun. PETE Just listen to these words, okay? CHARLOTTE I do n't understand the words. PETE This is lyrics, this is poetry. This is what is going to survive in a hundred years. DEBBIE It just does n't make people happy. PETE It makes me happy. I can dance to it. Pete starts dancing around like it is fun. DEBBIE You're the only one in the room who's happy. Pete stops his music. PETE Sometimes, I wish just one of you had a dick. CHARLOTTE Well, we do n't want one.",
"INT. HOUSE - MORNING Pete sits with the kids and eats breakfast. Debbie scurries around him to prep the kids for school. DEBBIE -LRB- to Pete. -RRB- Is there something that you can do to be helping me right now? PETE Yeah, I'm ready to help. Just tell me what to do. DEBBIE Can you go get a lunch box or something? PETE For me or for them? Charlotte runs away towards her room. Sadie screams. SADIE Charlotte! I've got a test! CHARLOTTE I'm coming! I'm coming! SADIE Charlotte, I'm going to kill you! Debbie covers Sadie's mouth. DEBBIE Shhh!",
"EXT. SCHOOL PARKING LOT - MORNING Debbie drives the kids to school.",
"EXT. SCHOOL - MORNING Debbie runs Charlotte into the school. Along the way they see a lot of parents. Debbie says `` Hi'' to them in the way that lets us know that she does not know anybody's name. Debbie says `` Hello'' to a PREGNANT FIFTY - YEAR - OLD PARENT, towing a seven - year - old boy. DEBBIE Hi, any day now, huh? PREGNANT FIFTY-YEAR-OLD PARENT Not really. Three more months! Another parent, BETH, and her adorable child walk over. BETH Katie's dying for a play date. Let's hook these two up. DEBBIE That would be great, I'll call you. Beth and Katie walk off. CHARLOTTE No. DEBBIE `` No'' what? CHARLOTTE No. DEBBIE What? She's sweet. CHARLOTTE She's evil.",
"INT./EXT. CHARLOTTE'S SCHOOL - MORNING As they walk into class, the teacher pulls Debbie aside. TEACHER Hi. Listen, Charlotte really needs to get here on time because she needs the extra time to just settle in. DEBBIE Oh. We are on time. TEACHER Being on time means being early. DEBBIE Oh. Okay. TEACHER Well, it's nice to see you in class. We'd like to see more of you. DEBBIE I come to - The teacher walks away before Debbie can defend herself. GRANDMA MOLLY Hi Debbie! DEBBIE Hi, Grandma Molly. GRANDMA MOLLY How are you? I'm so happy about the science fair. It's going very well I heard. I love you. You look so beautiful. Happy birthday! I just learned it's your fortieth. Are you forty? DEBBIE Yeah. GRANDMA MOLLY I remember when I was forty, and then I blinked and there I was, going to be ninety. My god, where did it go? One day you're going to blink, and you're going to be ninety, and I wo n't be around to see it. And that makes me very sad. I'm telling you, I'm warning you. Do n't blink. Do n't blink.",
"EXT. SCHOOL PARKING LOT - DAY As Debbie pulls out of the lot, she lights a cigarette.",
"INT. PETE'S MUSIC LABEL - DAY Pete paces around his office on the phone. ACCOUNTANT -LRB- O.C. -RRB- And then you missed the mortgage payment, and that's the second mortgage. You've got to tighten your belt. You've got to go home, sit down, look at your expenses, come clean with Debbie. PETE Oh, god. I ca n't tell Debbie. ACCOUNTANT -LRB- O.C. -RRB- You have to tell her, Pete. PETE She knows it's bad, but she has no idea just how bad. ACCOUNTANT -LRB- O.C. -RRB- If you sell the house, it'll really buy you some time. PETE No. Debbie's not really into selling the house. ACCOUNTANT -LRB- O.C. -RRB- As your business manager and your friend, I ca n't recommend that. -LRB- beat. -RRB- Hey, how funny would it be if I bought your house? PETE Okay. Bye. ACCOUNTANT -LRB- O.C. -RRB- Hang in there. Pete is with RONNIE and CAT, employees at his record label. They are watching an electronic press kit cut together for Graham Parker. There is a montage of him performing throughout the years from the seventies to the present. RONNIE What are you doing? CAT I'm contextualizing him as one of the great figures in rock history. RONNIE You ca n't show him in his prime in ` 77 and then jump straight to him as he is now. It's terrifying. You have to reverse it. You've got to show him as he is now very briefly, and then show him in 1977. You have to `` Benjamin Button'' it. CAT I do n't know what you're talking about, okay? All rock stars are older now. Steven Tyler, David Bowie, Mick Jagger - PETE Paul McCartney. RONNIE Okay, stop it. Everybody you're mentioning looks like an old woman now. You're just mentioning a bunch of Jessica Tandys. Keith Richards gets away with it. But that's because Keith Richards looked seventy when he was forty, and now that he's seventy, he looks sixty - nine. He's regenerating. CAT I like it. And I think Graham Parker is sexy. RONNIE Would you fuck him? CAT Yes. RONNIE You'd fuck him, and you wo n't fuck me? CAT I mean, I kind of fucked you once, if you could have finished. RONNIE Oh, I finished. PETE You know what, enough of who fucked who and who finished what. RONNIE I finished. PETE Look. It's a retro label. That's our niche. That's our market. It costs money to break new bands, I ca n't do that. RONNIE Oh, okay. And also you're the guy who turned down Arcade Fire. PETE Everyone turned down Arcade Fire. CAT It's crazy, there are so many of them! PETE We do n't have the money to market a new band. We just need to make Graham seem relevant. Who is he talking to? CAT Um, the Jewish Journal. PETE The Jewish Journal? RONNIE Apparently old Jews are the only ones who still buy hard copies of records. Because they do n't like to download music. Because they do n't know what downloading means. Angle on Graham and a journalist wearing a yarmulke. INTERVIEWER Why is this album different from any other album? GRAHAM It is n't. Angle on Pete, Cat and Ronnie. PETE What is he wearing? CAT It's a hat with the Oreo logo on it. PETE Why? CAT I do n't think he's being ironic, I think he just really likes Oreos. PETE Look. The Paul Westerberg record did okay. Frank Black did all right. The Haircut 100, not so much. We have to break this record. Otherwise, we're not here next year. RONNIE He's coming. Oreo man is coming. Graham walks up. GRAHAM Hey guys, how are you? RONNIE Are n't cookies the best? GRAHAM Yeah. Jewish Journal guy loves the record. PETE Great! GRAHAM Got a bit of a problem. Touch of gout. PETE Gout? GRAHAM Yeah, my whole family, they all had gout. PETE Jesus. RONNIE That's very unfortunate. GRAHAM My auntie Queenie, she had a foot like the size of a small pig. I've got a photo of it. RONNIE I'd love to see that photo of that gout foot. GRAHAM A couple of bunions as well. RONNIE Fuck. GRAHAM I've got to go to the podiatrist, and I hope he can shoot me up with something. PETE Yeah, well, let's get you to the podiatrist. CAT Bye, Graham. RONNIE See you later, Graham. Good luck with your gout! GRAHAM Rock and Roll, baby.",
"INT. PETE'S HOME OFFICE - AFTERNOON Pete and Debbie are talking. Debbie holds a list of changes she wants to make. DEBBIE The happiest period in people's lives is from age forty to sixty. So this is it. We're in it, right now. PETE Says who? DEBBIE Says a lot of people, most people. PETE Huh. DEBBIE We have everything we need right now to be completely happy. We're going to blink and be ninety. PETE What? DEBBIE So, let's just choose to be happy. PETE Yeah. DEBBIE Your eyes are kind of glazing over. PETE No, I'm just processing it all. DEBBIE Some of these I wrote for you. So, we have to exercise every day. Spend more time alone together. We have to go to the therapist every week. PETE That's a little pricey. DEBBIE No stressing over tiny things. PETE Yeah, that's good. You should do that. DEBBIE We have to get more involved in school. Have more patience with the kids. And we need to work on our anger. PETE Yeah, I think it would be good if you could take care of your anger. DEBBIE No, I said both of us. PETE That's what I said. Our anger. DEBBIE Okay. No more smoking. PETE Yeah, you've got to cut that out. DEBBIE I do n't want to make this about a fight, I want to just be positive. PETE Sorry. DEBBIE Okay, and then no more holding on to resentments. We have to just let that go. PETE So, you're saying that if we're arguing and I apologize, you'll let it go and not throw it back in my face later? DEBBIE Well, I do n't do that, but I will continue not to do that. What did you write? PETE All of that. That's plenty. That's a lot. DEBBIE And you're going to eat better? PETE Oh, yeah. I've been doing a decent job, but I do n't think there's anything wrong with having some fries every now and again. DEBBIE And then I'll smoke that day. PETE That's not the same thing. DEBBIE It is the same thing. PETE I like fries. DEBBIE And the other thing is your dad stuff. Pete picks up a guitar and starts playing with it. DEBBIE -LRB- CONT'D. -RRB- The not letting him guilt trip you all the time, because that puts a lot of pressure on you, and the whole family feels it. He's a grown man, and he's not our responsibility. And you're not giving him money anymore, right? PETE No, I have n't been giving him money for years, I told you. DEBBIE Can you please put that down?",
"INT. BEDROOM - NIGHT Pete and Debbie are in bed. Debbie has a computer on her lap. DEBBIE A lot of people are RSVP - ing to your birthday party. PETE You sure you do n't want to just do a joint birthday party? DEBBIE No. PETE We always used to. DEBBIE No. We reveal that Debbie is watching security cam footage of the store. DEBBIE -LRB- CONT'D. -RRB- Did Jodi tell you she thinks Desi's stealing? PETE Are you serious? DEBBIE Yes. PETE How much? DEBBIE Twelve thousand dollars. PETE Oh, god. And Desi's taking it? DEBBIE Well, I do n't know. That's what Jodi said. PETE We really need the store to work. DEBBIE It is. Do n't put that kind of pressure on me. PETE That's not what I mean. DEBBIE Are you nervous about money? Are we okay? PETE Yeah. Maybe we just suck it up because she's clearly earning so much more than any other employee we have. DEBBIE Oh, yeah. For sure. We ca n't fire her. We're barely breaking even with her. PETE That's why we have to keep her. We watch the footage and suddenly Desi's BOYFRIEND enters. He walks behind the counter, and she sits on his lap. She adjusts herself. DEBBIE Look at this, she's making out with somebody. On the screen, they kiss. Desi seems to be popping up and down a little. DEBBIE -LRB- CONT'D. -RRB- Is she screwing him? PETE That might be like a dry hump. DEBBIE Look at the position of her skirt. PETE That's too grainy to know for sure. Oh my god, this is the middle of the day. Customers could be in there. DEBBIE At least she's getting some. PETE What did you say? `` At least she's getting some''? DEBBIE Yes. PETE What are you talking about? We had sex the other night. You have to give me a little credit for that. DEBBIE It's not about credit. We need to have more passion. Like this. PETE That's not passion. DEBBIE It looks like passion to me. PETE What - Pete farts. PETE -LRB- CONT'D. -RRB- What is she doing? He farts again. It is longer. DEBBIE Oh my god. Do n't do that! Debbie hits Pete with a pillow. PETE What am I doing? DEBBIE Do n't fart in the bed! PETE I'm not, it's the springs. DEBBIE This is why we never have sex. That's disgusting. You're gross. PETE I do n't know what you're talking about. Pete farts again.",
"INT. SADIE'S ROOM - NIGHT Charlotte jumps around in front of Sadie's door. Sadie sits on her bed quietly doing homework. CHARLOTTE -LRB- singing. -RRB- Sadie. Sadie, Sadie! Sadie, Sadie! SADIE Charlotte. I'm doing my homework. CHARLOTTE Okay, watch this. There's a haunted cow back here, and I'm pretty sure it does not have milk! Charlotte grabs her own head and makes it look like she's being dragged away. CHARLOTTE -LRB- CONT'D. -RRB- Did you see that? They took me away! Sadie does not even look up. CHARLOTTE -LRB- CONT'D. -RRB- You're no fun. You never want to play. SADIE Charlotte. How many times do I have to tell you - CHARLOTTE -LRB- singing. -RRB- Sadie! Sadie, Sadie! Is boring! Charlotte plays air guitar. Sadie does not respond. CHARLOTTE -LRB- CONT'D. -RRB- You're so mean since your body got weird. SADIE Close the door.",
"EXT. HOUSE - MORNING Debbie and Pete begin their `` fresh start.'' Debbie tosses her cigarettes in the garbage cans outside. Pete tosses a packet of M&M's in the garbage. He throws out all of his cupcakes except for one. He takes a bite, tries to throw it but again, ca n't. He takes another bite, holds it over the garbage, then takes one last bite before dumping what little remains.",
"INT. DOCTOR'S OFFICE - DAY Pete runs on a treadmill while getting an electrocardiogram.",
"INT. DOCTOR'S OFFICE - DAY Debbie is getting a mammogram. The machine clamps too hard on her breast. She screams.",
"INT. DOCTOR'S OFFICE- DAY Pete gets his testicles examined. DR. BOWE Did I tell you that my son is going to Stanford? PETE No, that's great. DR. BOWE Great for us and great for him. Cough again. Everything looks good. PETE Your face is close to my face.",
"INT. DOCTOR'S OFFICE - DAY Debbie is getting a colonoscopy. TECHNICIAN Descending colon. I'm about four feet in right now. DEBBIE -LRB- laughing. -RRB- That's what he said.",
"INT. DENTIST OFFICE - DAY Debbie has some sort of very painful oral surgery. She's a little high from the laughing gas. DENTIST Do you grind your teeth? DEBBIE I grind all night. DENTIST I think we need to turn the gas down. DEBBIE Turn it up! DENTIST No, we're going to turn it down. DEBBIE Turn it up!",
"INT. DOCTOR'S OFFICE - DAY Dr. Bowe has his finger inside of Pete's anus, giving him a prostate exam. PETE Do you have to breathe right on my neck? DR. BOWE Sorry.",
"INT. GYNECOLOGIST OFFICE Debbie is at the Gynecologist. He is the same one from the beginning of Knocked Up, DR. PELLIGRINO. Debbie's legs are up in stirrups. DR. PELLIGRINO What are you all doing for Christmas? DEBBIE I do n't know. DR. PELLIGRINO Do you have a tree and everything? DEBBIE Yes. DR. PELLIGRINO Is n't that fun. Get in the spirit - Two nurses enter the exam room. NURSE #1 Hi, sorry I just have one quick question. On your form you said you were born in 1974, but your paper said 1972. I just need to know which it is. DEBBIE Oh. It's 1974. NURSE #2 Because on your last form you said that you were born in 1975. DR. PELLIGRINO Did n't you tell me you were born in 1976? DEBBIE No. That's funny. NURSE #2 So you want to go with 1974? DEBBIE I'm not going to `` go'' with 1974, it is 1974. NURSE #2 Okay. Just remember to write 1974 every time. DR. PELLIGRINO It's okay. It's 1976. DEBBIE I lie about my age, okay? DR. PELLIGRINO Okay. DEBBIE Okay? Okay? Okay?! DR. PELLIGRINO You're tightening up. DEBBIE Oh my gosh. DR. PELLIGRINO I know how old you are. By counting the rings! Little gyno joke.",
"INT. BEDROOM - LATER Debbie comes in the bedroom. DEBBIE What are you doing? PETE Getting ready to go for my ride. DEBBIE You want a blow job? PETE Yeah. Why? DEBBIE I really want a cigarette right now. PETE Well, happy to help.",
"INT. HALLWAY - CONTINUOUS Sadie runs down the hallway. SADIE Charlotte, where is my backpack?",
"INT. OUTSIDE THE BEDROOM - CONTINUOUS Charlotte tries to open the door, it's locked.",
"INT. BEDROOM - CONTINUOUS Debbie is giving Pete a blow job out of frame. Pete is sitting on a chair, super happy. CHARLOTTE -LRB- O.C. -RRB- Hello? PETE Mom's busy! CHARLOTTE -LRB- O.C. -RRB- Why are you locking the door? Mom!",
"INT. OUTSIDE THE BEDROOM - CONTINUOUS CHARLOTTE What's going on in there? SADIE Mom, I ca n't be late for school, I have a test! PETE -LRB- O.C. -RRB- Mommy ca n't talk right now!",
"INT. BEDROOM - CONTINUOUS SADIE -LRB- O.C. -RRB- This is n't funny, Mom. I need to go. CHARLOTTE -LRB- O.C. -RRB- Mom, let me in!",
"INT. OUTSIDE THE BEDROOM - CONTINUOUS SADIE That's not going to help. Charlotte shoves Sadie. PETE -LRB- O.C. -RRB- Put on your shoes. We'll meet you in the car. The fight between Sadie and Charlotte escalates and becomes physical.",
"INT. BEDROOM - CONTINUOUS CHARLOTTE -LRB- O.C. -RRB- Sadie hurt me! SADIE -LRB- O.C. -RRB- I did n't! PETE Hit her back! SADIE -LRB- O.C. -RRB- She's faking!",
"INT. OUTSIDE THE BEDROOM - CONTINUOUS CHARLOTTE -LRB- crying. -RRB- I'm not! PETE -LRB- O.S. -RRB- Go downstairs.",
"INT. BEDROOM - CONTINUOUS DEBBIE -LRB- shouting to kids. -RRB- Stop crying! PETE -LRB- to kids. -RRB- Stop crying! DEBBIE Stop it! PETE God damn it!",
"INT. OUTSIDE THE BEDROOM - CONTINUOUS SADIE -LRB- banging on the door. -RRB- Open the door! Open it!",
"INT. BEDROOM - CONTINUOUS Muffled screams from the girls outside. DEBBIE Forget it. PETE No. Do n't forget it. Do n't forget it. Do n't. Oh, god.",
"EXT. LARRY'S HOUSE - EL SEGUNDO - DAY Pete walks to the front door. His father, LARRY, greets him. LARRY Hey, Boychik. A low flying 747 lets us know he lives too close to the airport in a small house. LARRY -LRB- CONT'D. -RRB- That's the eleven o'clock from London. -LRB- yells up at the plane. -RRB- Drop something valuable, you shit. -LRB- back to Pete. -RRB- How are you? PETE That's loud. LARRY Every eight minutes, buddy.",
"INT. LARRY'S HOUSE - DAY Pete sits down and talks with Larry. LARRY You look pretty good. Your hair is different. PETE Yeah, I'm growing it out. LARRY I'd get it cut. TRIPLET #1 Daddy, you never play with me. LARRY I do but right now look who I'm talking to. It's your brother. TRIPLET #1 You do n't look like my brother. LARRY I told you honey, that's because of the egg donor. Remember? TRIPLET #1 I came from a test tube. PETE How's business? LARRY It's not good. Nobody wants curtains. They think of it like a luxury. It's not a luxury. You need shade, you need privacy. Who wants to have other people watch you fuck? PETE I know how you feel. You know my business is going through some growing pains right now. Two other identical children enter and jump on Larry. TRIPLET #2 Daddy come play with us. The kids crawl around on him. LARRY Be careful, do n't jump on Daddy. Remember, Daddy has high blood what? TRIPLETS Blood pressure. LARRY That's right. Can you go outside without me for a little bit? All right? Do the Three Stooges routine you were practicing. The three exit. LARRY -LRB- CONT'D. -RRB- I ca n't tell them apart. I swear to god. I need tattoos. PETE Look, I wanted to talk to you about scaling back a little bit. You know, Deb and I are thinking about selling the house. LARRY I think that house is more than you need. I think it was too big of a purchase when you made it. PETE Yeah. In the meantime, I'm going to have to make some changes. Going to have to cut back. LARRY What do you mean? PETE With you. LARRY Oh. I'm sorry, what? PETE I ca n't lend you any more money. LARRY No, that's a bad idea. That's not the way to cut back. I have three children, here. PETE What about Claire? Why ca n't she get a job? LARRY Claire takes care of your brothers. What do you want her to do? If she goes to work, then I've got to hire somebody. PETE Well you've got to figure something out because I ca n't do it. LARRY Okay, fine. Why do n't we kill them? Come on, we'll kill two of them. I'll keep the best one. Really, it will save us both a lot of trouble. Larry stands up and walks outside. Pete follows.",
"EXT. LARRY'S BACKYARD - CONTINUOUS Larry prepares to spray the kids with the hose. LARRY Line up! Line up for murder! Come on! Who wants to be killed? TRIPLET #1 I do! LARRY Okay, we're eliminating one, we're cheaper already. Larry sprays him with the hose. TRIPLET #2 Murder me! LARRY Boom, dead. You're dead. TRIPLET #2 I'm dead! LARRY All right, the kids are murdered. That will save us some money. PETE Why would you have three kids, anyway? I mean, you're sixty years old. You have no money. LARRY Because Claire wanted a baby. If we did n't at least try, she would have left me. She was forty - five years old. Nobody thought it would take. The doctor when we were doing in vitro was winking at me like, `` Do n't worry, do n't worry.'' We were very unlucky. And now we have these three beautiful children. Come on, I've got to tell you something.",
"INT. LARRY'S HOUSE - MOMENTS LATER PETE What? LARRY Your mother wanted you aborted. PETE Oh, Jesus Christ. LARRY It's the truth. It was the seventies. We were twenty - two years old. That's what everybody did. You did some blow, had sex, had an abortion. PETE Really. LARRY Yes. We were on the way to the doctor's office. I said, `` Let's stop, have a pizza, talk about it, if you still want to do it after lunch, it's okay.'' The pizza saved your life. But do n't give me money. Because I'm not worth it. PETE So how much do I owe you for saving my life? LARRY I do n't have a number. You just keep giving like you're giving. Larry's wife, CLAIRE, enters. CLAIRE Oh, hi Pete. -LRB- to Larry. -RRB- Why are n't you playing with kids? LARRY We were playing with them all day. Pete's just talking to me about his fortieth birthday party. Whatever I can do to help. CLAIRE Okay. Did you feed them? LARRY I fed half of one. Okay, let's feed them. Who wants tuna with a side of jet fuel? Larry gets up and walks outside.",
"INT. RESTAURANT - DAY A nervous Debbie approaches a hostess. DEBBIE Hi, I'm looking for my dad, an older man? Debbie sees OLIVER -LRB- 65 -RRB- sitting stiffly at a table.",
"INT. RESTAURANT - LATER OLIVER So how's Sony treating Pete? DEBBIE Oh, he's not with Sony anymore. He went out on his own. Now he's able to focus on the artists that he's really passionate about. OLIVER How's Sadie doing? Last time I saw her she was throwing her Cheerios on the floor. What a mess. DEBBIE She just got her period. OLIVER Well. I guess she's not a little baby anymore. DEBBIE It would be nice to see more of each other. OLIVER Well, we can certainly arrange for that. I'd love to see the girls. DEBBIE That would be nice. Do you have a good day? OLIVER I would say the weekends, but our weekends are hell. Soccer competitions, kids exams. I mean, we're both so busy. I have young children, you have young children. I do n't think we should judge ourselves too harshly about that. DEBBIE I know, I was n't. I'm glad we're here. I think this is a good start and that if we can spend more time together, it would be nice. OLIVER It would be nice. -LRB- pause. -RRB- Do you want to see pictures of the kids? Oliver takes out his iPhone and starts showing Debbie photos. OLIVER -LRB- CONT'D. -RRB- This is Kell, my son. DEBBIE He's handsome. He's thirteen? OLIVER Yeah. And that's Alexandra, my daughter, she's a real perfectionist. A lot like you. That's the whole gang at Cabo. -LRB- pause. -RRB- Will you excuse me, dear? I've got to use the restroom. Be right back. He exits. Debbie picks up his iPhone and sadly scrolls through all the happy pictures of his new family.",
"EXT. HOUSE - LATE AFTERNOON The family's hanging out, relaxing at dinner. DEBBIE Daddy and I are making some changes so that we can be happier and healthier, and we're starting with this meal that I prepared. PETE I think it looks great. DEBBIE Does n't it look good? PETE What is that, grilled cheeses? DEBBIE No, baked tofu. It's actually really tasty. And the lettuce is so fresh and tasty that you forget how good lettuce tastes on its own without dressing. PETE Yeah, dressing always gets in the way of the natural taste of the lettuce. DEBBIE And another thing we've decided is to cut back on all of the electronics we use. What we're going to do is get rid of the wi - fi and only use the computer from eight to eight - thirty at night. SADIE How are we going to go on the computer? DEBBIE We're going to have a hard line in the kitchen. PETE Yeah, we'll supervise that. SADIE You ca n't do this. You ca n't take away the wi - fi. Charlotte holds her iPhone to her face using an app that animates her mouth to look like a talking monkey's. CHARLOTTE -LRB- from behind her iPhone. -RRB- No wi - fi! Ha - ha - ha! DEBBIE You do n't spend enough time with the family when you're constantly on your iPhone and your computer. You're only here five more years. SADIE So you wo n't see me after five years? DEBBIE No, but you wo n't be living with us. And you should get to know your little sister. PETE You've got the perfect friend right here. SADIE I do n't want to be friends with her now. I'll be friends with her when she's twenty and a normal person. CHARLOTTE I do n't want to hang out with her when I'm in my twenties. PETE You're on your computer too much as it is. You need to get outside more. DEBBIE Yeah. You can build things. You can build a fort. SADIE What? DEBBIE Yeah, build a fort. Play with your friends. SADIE Make a fort?! Outside? And do what in the fort? DEBBIE When I was a kid we used to build tree houses and play with sticks. SADIE Nobody plays with sticks. PETE You and Charlotte can have a lemonade stand. DEBBIE Play Kick the Can. PETE Look for dead bodies. DEBBIE It's fun. PETE Get a tire and then take a stick and run down the street with it. SADIE Nobody does that crap. It's 2012. DEBBIE You do n't need technology. Charlotte holds the iPhone monkey app to her lips again. CHARLOTTE No technology! DEBBIE Charlotte, put that down. SADIE I do n't need to be monitored all the time on the computer. I do n't do anything bad. DEBBIE Nobody said you were bad. SADIE I do n't do things I'm not supposed to. I do n't illegally download music. I do n't look at porn like Wendy. DEBBIE She is up to no good. She's not allowed to come over here anymore. CHARLOTTE What's porn? PETE No, she said `` corn.'' DEBBIE This is n't turning out the way I wanted it to. SADIE I'm not hungry. Sadie gets up and stomps off. DEBBIE No computer. PETE Listen to your mom. SADIE I need to use it for my homework. She walks off. PETE She's outplaying us. DEBBIE I know. She's tough.",
"EXT. PETE AND DEBBIE'S CAR - DAY Pete and Debbie drive down the Pacific Coast Highway. DEBBIE This is the best birthday present. PETE It's good to get away, you know? We have n't been to Laguna without the kids in years.",
"INT. PETE AND DEBBIE'S CAR - CONTINUOUS DEBBIE I know! PETE If we're happy, they're happy. DEBBIE I mean I ca n't take it. With the hormones, and the crying, and `` do my homework''. PETE Them's little bitches. DEBBIE Them's lil' bitches! Bugging us for shit all the time. And they never appreciate anything. PETE God no. They're selfish assholes. DEBBIE -LRB- laughs. -RRB- Aw, I feel bad. I love them. PETE I know.",
"EXT. LAGUNA HOTEL - CONTINUOUS The car pulls up to a beautiful hotel in Laguna. DEBBIE I miss them already. Should we go home? PETE Nah. LAGUNA HOTEL - MONTAGE Pete and Debbie hold hands as they walk the hotel grounds. They enter their room, which has a beautiful ocean view. Debbie jumps on the bed. Pete jumps on top to kiss her. Pete and Debbie jump into the hotel pool together. Pete holds Debbie in the water. They kiss.",
"INT. LAGUNA HOTEL ROOM - NIGHT Pete and Debbie are in bed in their underwear. DEBBIE Why do we fight? PETE I do n't know, it makes no sense at all. DEBBIE It makes no sense. PETE When we get in a fight, look in my eyes. Let's remember this moment right now and know that we never have to fight. DEBBIE But you're such a dick sometimes. PETE I know, I am a dick sometimes. People think I'm so nice, but I'm such a dick. DEBBIE Thank you for admitting that. PETE And you get so mad at me. I feel like you want to kill me. DEBBIE I do want to kill you. PETE How would you do it? DEBBIE I do n't know. poison you. I'd poison your cupcakes that you pretend not to eat everyday. And just put enough in to slowly weaken you. PETE I love it. DEBBIE I would enjoy our last few months together. PETE Me too. DEBBIE Because you'd be so weak and sweet, and I could take care of you but while killing you. PETE See? You know what I love about us? You can still surprise me. I figured for sure you'd knock me out with one fell swoop. But you would extend it over a series of months. DEBBIE Have you ever thought about killing me? PETE Oh, yeah. DEBBIE Really? PETE Sure. DEBBIE How would you do it? PETE Wood chipper. DEBBIE A wood chipper? PETE Did you see Fargo? DEBBIE Yeah. Pete makes a wood chipping splatter noise. DEBBIE -LRB- CONT'D. -RRB- Wow. That's a bad plan. The cupcakes is a way better plan. PETE It is. You know what? I wo n't murder you. DEBBIE Aw. I love you. PETE I love you too. Hey. You know what I brought? DEBBIE What? PETE A medical marijuana cookie. Ben gave it to me last Christmas. DEBBIE What? PETE Chocolate chip koo - kie. DEBBIE Should we do it? PETE Let's eat the cookie, and then we'll order a bunch of cheeseburgers. Let's order the entire room service menu. DEBBIE Just get all of it. You deserve it. You really do. PETE Would n't you rather have me around for less years and I'm incredibly happy than longer and miserable? DEBBIE Yes, and I just realized that right now. Go get the cookie! Pete runs into the bathroom. He looks for the cookie. DEBBIE -LRB- CONT'D. -RRB- Should we watch porn when we eat the cookie? PETE Should we get a block of porn? DEBBIE I do n't think we need twenty - four hours of porn. PETE Yeah, but you know, two porns cost about as much as a block. DEBBIE I think that's too much porn. PETE We do n't have to watch it all, but for the value it makes sense.",
"INT. HOTEL ROOM - LATER Pete and Debbie eat the cookie. DEBBIE How much are we supposed to eat? PETE I do n't know. I think like six or seven cookies, right? DEBBIE Plus, it's old. It probably has lost some of its - PETE Potency? They sit in silence for an incredibly long amount of time, staring through each other in a haze. They are stoned. DEBBIE We should have sex. More. PETE I mean, girls have it so easy. You just show up with your sexual organs and you're good to go. All the pressure is on the guy. DEBBIE It's true. PETE And I look at guys, like I look at a guy like Prince, and you know that guy fucks. I know I do n't fuck like Prince. Prince can fuck. I fuck more like David Schwimmer. DEBBIE You do. PETE I fuck like Ross from Friends. They're laughing and having a good time.",
"INT. HOTEL ROOM - LATER MONTAGE Stoned, Pete and Debbie jump up and down on the bed. They fall down on the bed, kissing. Almost totally under the covers, they watch as a WAITER brings in a room service cart full of food. Pete does magic tricks for the waiter. PETE How does he do it? The floating spoon. LATER Debbie hands Pete a banana and two oranges, which he holds to his crotch in front of the waiter. PETE -LRB- CONT'D. -RRB- Check it out. My dick and balls. I'm going to eat my own dick! Pete eats a bite of the banana. PETE -LRB- CONT'D. -RRB- I ate my dick! LATER Debbie crawls on the floor while Pete lays in bed. PETE -LRB- CONT'D. -RRB- I think this room has rodents. I just saw it! LATER Pete stands with a starfish sticking out of his underwear. PETE -LRB- CONT'D. -RRB- Have you seen my starfish? Where did I put my starfish? LATER They eat room service. Chips and desserts and everything. DEBBIE I'm going to deep throat this eclair. She tries to deep throat it. Pete loves it. PETE I want to make out with you so bad.",
"INT./EXT. CAR - DAY Pete and Debbie drive back from Laguna. They could not look happier or more refreshed. They hold hands and smile at each other. It is a beautiful day. They pull up to their house, shut off the car and sit for a beat, knowing they're about to head back into the stress of the real world, not wanting their peaceful, loving time to end. PETE That was nice. DEBBIE That was nice. Sadie walks outside. Jodi follows her. SADIE Mom! Charlotte's crying. She's got an ear infection again. JODI I did n't know what to do. PETE -LRB- to Debbie. -RRB- We're home.",
"INT. CHARLOTTE'S ROOM - DAY Charlotte is crying really hard. DEBBIE Are you okay? What's the matter? CHARLOTTE I just want to rip my ear off, it hurts so much. DEBBIE -LRB- to Pete. -RRB- I told you the pediatrician did n't know what he was talking about. PETE Oh, come on. You ca n't blame it on our doctor. Ear infections are common in little kids. DEBBIE Not in kids over six years old. We're going to the Eastern doctor. PETE If she's in this much pain, we should call a real doctor. DEBBIE Are you kidding right now? PETE Okay.",
"INT. DOCTOR SEDUKU - DAY Charlotte sits on the table. Pete and Debbie are talking to DR. SEDUKU, a foreign doctor. DOCTOR SEDUKU What we should do is easy and simple. No more dairy, no more wheat, no more sugar. DEBBIE Sugar, wheat and dairy. Okay. PETE -LRB- mutters. -RRB- What the fuck is left? Sorry. Is n't everything sugar, wheat and dairy? DOCTOR SEDUKU She can have vegetables and f - r - ruits. Dr. Seduku has both an accent and a lisp. PETE Oh, she can eat fr - r - ruits. DOCTOR SEDUKU Fr - r - ruits, yes. PETE Any kind of fr - r - ruits? DOCTOR SEDUKU Mangos, pineapple. PETE It is n't like there are safe fr - r - ruits and then unsafe fr - r - ruits. DOCTOR SEDUKU No, no. PETE What about F - r - r - rench f - r - r - ries? Can we do something like that? DOCTOR SEDUKU Are you okay? Would you like to come on the table? PETE I'm okay. DEBBIE Why do n't you go on the table? PETE No. DEBBIE Why do n't you go on the table? It looks like you need to get on the table. PETE I do n't want to get on the table.",
"EXT. BRENTWOOD - DAY Pete cycles with the crew.",
"INT. HOUSE - DAY - LATER Debbie looks around the house for Pete. DEBBIE Pete!",
"INT. BEDROOM - DAY Debbie sees Pete on the bed, his legs up in the air. He still has his bike top on but is naked from the waist down. He is trying to look at his back end. He is holding a mirror and an iPhone. DEBBIE What are you doing? PETE I need you to look at something. In my butt. DEBBIE Why? PETE I think I've got something in there, and I'm not limber enough to see. I need you to look at it. I might have like an anal fissure or a hemorrhoid or a worm or something. DEBBIE What are you doing with your phone? PETE Trying to take pictures of it, so I can compare it to something on Google. DEBBIE Can we just keep like a small shred of mystery in our relationship? PETE Look, I saw you have two babies, okay? Seriously, I need you to get all up in that. DEBBIE I do not want to investigate your anus. PETE It's payback time. Pete has his naked legs hiked up over his head. Debbie takes a very quick glance inside. DEBBIE It's a hemorrhoid. PETE Thank you. Now erase that from your memory.",
"INT. DEBBIE'S STORE - DAY Debbie talks to Jodi while they fold clothes and watch Desi. DEBBIE Where did she get those clothes? Those are expensive. JODI Where do you think? I do n't want this to sound harsh, but everything that comes out of her mouth is a lie. Everything that comes into it is a dick. DEBBIE Everything that goes in is dicks? JODI A dick. DEBBIE Do n't say that. JODI I'm sorry, I'm just being protective of the store. DEBBIE I'm going to go talk to her. Debbie walks over to Desi. DEBBIE -LRB- CONT'D. -RRB- Hey Desi. Is that your new Acura out front? DESI Uh, yeah. DEBBIE It's so nice. Do you love it? DESI Well, I mean, it's not a fucking Porsche, but it'll do for now. DEBBIE Hey Desi, would you mind wearing some of the clothes we have in the store? DESI Yeah, sure. I'm sorry. Desi picks a shirt. DESI -LRB- CONT'D. -RRB- Good? Desi begins to take all her clothes off in front of Debbie. DESI -LRB- CONT'D. -RRB- You know, I actually made this one myself. DEBBIE Did you? DESI Yeah. I did the tiger on a piece of paper separately, and then I transferred it to the t - shirt. DEBBIE Wow. So you stenciled on the tiger? DESI I drew it on a piece of paper, and then I transferred the drawing to the t - shirt. DEBBIE You have an amazing body. DESI Really? DEBBIE Yes. Are those real? DESI My boobs? Yeah. Do you want to touch them? DEBBIE Really? DESI Touch ` em! DEBBIE Okay. Debbie squeezes Desi's breasts. DEBBIE -LRB- CONT'D. -RRB- Wow. Jesus. I mean they really are amazing. That's firm, for real. They're like a memory mattress. Like Tempurpedic, you know? They look amazing. My kids just sucked the meat right out of mine. DESI No. There's some meat in there. DEBBIE Since I had kids, my boobs are just gone. They did n't even say goodbye. They just left. DESI By the time I'm forty, these are going to go National Geographic on me. DEBBIE I feel bad about myself right now.",
"INT. RECORD LABEL - DAY Pete talks is in his office on the phone with his REALTOR. REALTOR -LRB- O.C. -RRB- I think this is a really good offer on the house. PETE We expected more. I mean, I know it's a bad market but that's still way under what we were looking for. REALTOR -LRB- O.C. -RRB- I know, but based on the market, it's like you're gaining money. Because it's so much more than what you deserve. But these people are from Iran and they do n't really know that they're offering too much. Is there any chance that Debbie will go for it? PETE I doubt it. I do n't know. REALTOR -LRB- O.C. -RRB- There's a lot of inventory out there. What's her problem? PETE She has unrealistic expectations.",
"EXT. YARD - DAY Sadie and her friend WENDY run around the yard with Charlotte and the triplets.",
"INT. KITCHEN PANTRY - DAY Larry and Debbie greet the kids when they enter the kitchen. Larry picks up one of the triplets. LARRY Did you miss me Travis? TRIPLET #1 It's Jack! LARRY Hey, Jack. TRIPLET #1 My daddy does n't know my name. CHARLOTTE Can I go show them my crystals before they leave? DEBBIE Yeah, really quick. Charlotte leaves with the triplets. LARRY Go play with your tiny uncles. -LRB- to Debbie. -RRB- So, what are you doing, spring cleaning? DEBBIE I'm getting rid of everything in the house that has gluten or sugar. LARRY Why? What's wrong with gluten? DEBBIE Gluten's really bad for you. LARRY I do n't think so. It's wheat. DEBBIE Do n't you watch Dr. Oz? LARRY As in the Wizard of? SADIE Hey, Mom. We were wondering if we could use the computer to iChat. DEBBIE Remember the rules? Eight to eight - thirty? SADIE Yeah, but I have a friend over. DEBBIE Hi Wendy. Why do n't you guys go play? You could go build a fort! LARRY Remember the Alamo? DEBBIE Have you ever built a fort, Wendy? WENDY Like on Facebook? LARRY I will take this if you're going to throw it away, because at our house, we're wheat eaters. DEBBIE But do n't you want to live long enough to see your kids grow up? LARRY That's up to god, honey. DEBBIE But that's really not good for the kids. LARRY The kids eat grass. This is fine. Larry takes some of the food she's throwing out. SADIE Wendy's mom lets her go on whenever she wants. WENDY My mom's pretty cool about it as long as I finish my homework. DEBBIE Yeah. Well, I guess I'm not the cool one. But the rules are just different in our house. SADIE But I get better grades than Wendy. WENDY She does. She's so smart. LARRY Let me just grab the candy worms. SADIE Your rules are ridiculous. DEBBIE Do n't sass me. SADIE I'm only sassing you because you're throwing out all the food in our house and I'm freaking starving. You're being stupid. DEBBIE Wendy, can you go stand in the other room, please? WENDY Yeah. Wendy exits. SADIE -LRB- whispers. -RRB- Mom. DEBBIE Give me your iPhone now. LARRY The nougat things are good. SADIE I have all my contacts in there. DEBBIE Okay, if you do n't give me your phone right now, then I'm going to have to take away your phone and your computer. SADIE Jesus Christ - DEBBIE That's it. SADIE I need my computer to do homework. DEBBIE No phone, no computer. SADIE This is B.S.. This is a bunch of F - ing S. You're acting like a B. LARRY Kids! Time to go! DEBBIE You go to your room right now. Sadie runs off. DEBBIE -LRB- CONT'D. -RRB- -LRB- calling after her. -RRB- You are not allowed to use iPhone, iPad, iPod Touch, iTunes, Netflix, Pandora, or Spotify! Pete enters from the hallway. He sees Larry and turns around before anyone notices him. LARRY She's a little pip. Just like her mommy. So I might have a job tomorrow, at least I'm going to go try to give an estimate. Do you mind taking the kids for a couple hours? DEBBIE -LRB- conflicted. -RRB- Okay. LARRY This is nice. You and I do n't spend enough time together, do we? DEBBIE We spend enough time together. LARRY We do? DEBBIE It's quality time. LARRY Then we do. I'll go with what you think.",
"INT. BEDROOM - NIGHT Pete and Debbie are in bed. Pete is reading Sadie's iChats on her confiscated iPad out loud to Debbie. DEBBIE What else did they say? PETE Some kid named Joseph - DEBBIE I know Joseph. PETE You do? He's making a `` Hot or Not'' list. DEBBIE What? PETE So, Sadie said, `` That's so lame and immature that you're doing that.'' And then Joseph says, `` Yo, girl. We're just having some fun so do n't be a bitch, yo.'' DEBBIE That is not nice. PETE So, then Sadie said, `` Do n't call me a bitch.'' And Joseph said, `` I did n't call you a bitch, I said do n't act like a bitch. And by the way you're in the ` Not Hot' column.'' DEBBIE Who made him the judge of hot? PETE Do you realize what that could do to her self - esteem? DEBBIE What a little fuckhead. I'll kill him. PETE So then Sadie said, `` You're in the jackass column. I've got to go. I'm bored of you.'' DEBBIE That is cool. That's taking the high road. PETE For some reason, there's an emoticon of a panda doing push - ups. DEBBIE I wonder what that means. PETE I do n't think it means anything, I think it's just adorable. DEBBIE Aww. She's a good girl. She was polite, and she stood up for herself. PETE That's pretty cool. They hear a door slam. Debbie gasps. PETE -LRB- CONT'D. -RRB- What? DEBBIE Shit. I thought she was coming in. PETE Oh my god, that scared me to death. DEBBIE If she caught us, she would kill us. Debbie starts looking through the iPad. Pete's iPhone chimes. He sees a message from Ronnie from work. It reads : `` Got the numbers. Call me.'' Pete looks ashen. He looks over at Debbie who is oblivious. PETE I've got to make a call.",
"INT. HOME OFFICE - NIGHT Pete paces. PETE -LRB- whispering loudly. -RRB- We sold how many? RONNIE -LRB- O.C. -RRB- Six hundred and twelve album downloads. PETE Wait a minute. There are no zeros after that? RONNIE -LRB- O.C. -RRB- There are zeros, but all of them are before six hundred and twelve. There are none after. PETE How is that even possible? RONNIE -LRB- O.C. -RRB- Out of three hundred million Americans, six hundred and twelve people chose to download the album. You could personally call everyone who bought this record. PETE We're fucked! Here's the deal. I want you to meet me tomorrow morning at eight o'clock. I want a list of at least thirty ideas of what we can do to change this. We have to change this. I started a record label because I could n't get a job, so I have no other options.",
"INT. CAR - MORNING Pete is driving. Sadie and Charlotte sing show tunes loudly and happily. Pete is very upset about the record not selling.",
"INT. ACCOUNTANT'S OFFICE - DAY Debbie is talking to their ACCOUNTANT. DEBBIE What financial problems? ACCOUNTANT Well, for one thing, you were right, you are missing about ten thousand dollars from the store. And then, Pete's record not selling well. DEBBIE I thought we were n't supposed to hear for three weeks? ACCOUNTANT We heard. DEBBIE You heard. ACCOUNTANT And they're bad. You know, it's that, and it's the money that he's been lending to his father, that's creating a strain. DEBBIE How much have we lent him? ACCOUNTANT Eighty thousand. DEBBIE Did you say `` eight thousand'' or `` eighty thousand''? ACCOUNTANT Eighty thousand, over the past couple of years. And then you missed the mortgage payment - DEBBIE On the house? ACCOUNTANT And you missed the rental on the office. DEBBIE Does Pete know that? ACCOUNTANT Oh, yeah. We're on the phone all the time. Look, I know you're going through a hard time, and I want you guys to know that we're here for you, okay? Anything you guys need, that's why we're here. We're here for times like this. DEBBIE What are you going to do? ACCOUNTANT There's not much I can do.",
"INT. RECORD LABEL - MORNING Pete enters and walks into Ronnie's office. Ronnie is drawing on a blackboard behind his desk. PETE What are you doing? RONNIE I'm drawing the album cover for Van Halen's Diver Down. PETE If you spent a little bit more time focusing on Graham Parker instead of drawing album covers, I would n't be in this predicament. RONNIE I'm focused on Graham Parker. PETE You're supposed to help me with him! You're supposed to call the companies, you're supposed to get people to the show! RONNIE I've done everything I can, Pete. You had me pushing around a corpse. It was like being in fucking Weekend at Graham's. PETE What should we do? I'm out of ideas. RONNIE You fly in The Rumour. I ca n't sell a reunion concert without the band. It's ridiculous. PETE With what? I ca n't afford it. RONNIE You put this on yourself. You wanted the responsibility, take it on the chin, and stop acting like a bitch. PETE What did you call me? RONNIE Chin. Pete walks out of Ronnie's office and into the main office space. Ronnie follows. RONNIE -LRB- CONT'D. -RRB- Pete - wait. I have an apartment, I have health insurance, I have car payments. I have responsibilities. PETE Do n't talk to me about responsibilities. I have a life. I have a family. I ca n't afford to sit in my apartment getting high, jerking off, and then going to Tommy's Chili Burgers at three in the morning. RONNIE That's not even the order that happens in! PETE I have everything to lose here. Everything. RONNIE Yes. Because you spent thousands of dollars on shit we do n't need. You really need to spend thirty thousand dollars on a fucking neon sign, dude? Which is inside? It's not even outside. We know where we work. PETE If you want to sign a band, you have to look like you're the real deal. RONNIE -LRB- to Cat. -RRB- Princess Labia, how much is it to fly The Rumour in? CAT It's twelve thousand. RONNIE Twelve thousand dollars! PETE You know what? Fine. Fly in The Rumour. Put it on my AmEx.",
"INT. GYNECOLOGIST'S OFFICE - DAY Debbie sits in Dr. Pelligrino's office. DEBBIE No, you said it was impossible. DR. PELLIGRINO I do n't think I said it was impossible. DEBBIE Yeah. DR. PELLIGRINO I usually do n't say impossible. I like to leave some wiggle room. DEBBIE You said that my fibroid was like a giant boulder, like the one from the Indiana Jones movies blocking up my uterus. DR. PELLIGRINO And I need to stop using that reference of Indiana Jones. I think that's not appropriate when talking about the reproductive system. DEBBIE It's okay. DR. PELLIGRINO Anyway, somehow the Eastern medicine has worked and the fibroid has dissipated. DEBBIE That's great. DR. PELLIGRINO Yes. Your fibroid shrunk, and somehow it allowed you to get pregnant. DEBBIE What? DR. PELLIGRINO You're going to have your third baby. Congratulations. DEBBIE No. DR. PELLIGRINO Yes. Debbie does not react. DR. PELLIGRINO -LRB- CONT'D. -RRB- Would you like some water? DEBBIE That's good news. Another baby, at forty. DR. PELLIGRINO Debbie? DEBBIE I am thrilled. And Pete is going to be so happy. DR. PELLIGRINO So, you're okay? DEBBIE What a relief. I can finally relax now, you know? I'm so happy, I really am. It's good. DR. PELLIGRINO Great. Great.",
"INT. CAR - DAY Debbie drives. We can not tell what she is feeling. Then after a few beats, a joyous smile appears across her face.",
"INT. RECORD LABEL - PETE'S OFFICE - DAY Pete takes a framed item off of his wall.",
"EXT. LARRY'S HOUSE - DAY Larry answers the door. Pete is there with a framed drawing made by John Lennon. PETE Hey, why are you in a bathrobe? It's the middle of the afternoon.",
"INT. LARRY'S HOUSE - CONTINUOUS LARRY I took a late shower. Why are you busting my balls? Look, I'm sorry about the record. You're going through financial shit. This is what I live with. This is a horrible time in human history. What is that? PETE Something that might help both of our situations. Pete hands him the drawing. PETE -LRB- CONT'D. -RRB- This is a drawing by John Lennon. I got it ten years ago for five thousand dollars. I do n't know how much it's worth now. Could be five, could be twenty. LARRY I do n't want this. I do n't even like it. I'm not going to hang it up. PETE It's not for you to hang up. It's for you to sell. That way I can give it to you and you can make some money, and Debbie does n't know that I'm giving you anything. LARRY Well, you're not giving me money. You're giving me a project. I do n't know how to sell this. I'm not an art dealer. PETE Just sell it online. Do some research, make some calls. Or is that too hard to do with your high blood pressure? LARRY All right. Do n't get snippy. Just because you write a great song does n't mean you can draw. PETE It's incredible. John Lennon drew it. LARRY I think it's a Ringo. Do n't beat me up if I get three hundred dollars for it. PETE Do n't take less than sixty - five hundred for that. It's very valuable. It's important to me. I want you to sell it so I can help you. LARRY Okay. PETE I'll see you at my party. LARRY What should I bring? You want wine or something? PETE No. Do n't buy wine with my money and give it to me at my party. LARRY That's mean. PETE I love you. Bye. LARRY All right. Bye. How do I call eBay?",
"INT. SCHOOL AUDITORIUM - DAY Sadie and a bunch of other kids are building sets for a school play. Sadie talks with a FRIEND. Pete and Debbie are watching from afar, sitting next to each other. Debbie tries to gently break the news. DEBBIE She's so cute. She's so tall. PETE I know. How did that happen? DEBBIE Do you ever wish we had a bigger family? PETE No, never for a second. Never. DEBBIE Never? PETE Never. I love what we have. One? A breeze. Two? Brutal. Three? Put a bullet in my head. Debbie is totally deflated. PETE -LRB- CONT'D. -RRB- I think about that gray - haired pregnant lady from school and I just feel bad for her. And I feel bad for the kid. Can you imagine? All the other little kids, `` Where's your mommy?'' `` Oh, she's the one sitting in that scooter eating a soft cracker.'' Kids do n't want to have old parents. You know, it would also be nice for us to spend some time apart. Kind of rediscover who we are individually. It would be so great to not see you for like a chunk of time so that I could really just miss you. Remember when we used to miss each other?",
"EXT. SCHOOL - DAY Debbie is walking through the campus upset. She sees a kid and darts over to him. DEBBIE Hey! JOSEPH -LRB- 13 -RRB-, the kid who insulted Sadie on her Facebook, turns and sees Debbie. JOSEPH Yo, sup? DEBBIE I'm Sadie's mom. JOSEPH Sadie? DEBBIE Sadie, the one you chat with on the internet? JOSEPH Nah, man. That ai n't me. DEBBIE Well, it was you, I saw your picture. Did you make a `` Hot'' list and not put Sadie on the `` Hot'' list? JOSEPH She was not on my list, no. DEBBIE You know what I'm going to do? I'm going to make my own `` Hot'' list, and you know what? You're on the `` Not Hot'' list. How does that feel? JOSEPH It does n't bother me. I'm comfortable with the way I am. She gets even quieter, scarier and more in his face. DEBBIE Maybe you should n't be so comfortable with yourself. You know why? You look like a miniature Tom Petty. How's that feel? Huh? You think that haircut's cool? It's not. It looks like you put your Justin Bieber wig on backwards. You still comfortable with yourself? Why are you wearing a tank top? Huh? So you can show off your bald pits, you little hairless wonder? Cool tank top, man. So next time you think about writing something nasty on my daughter's Facebook page, just remember me. Remember me. I will come down here, and I will fuck you up. Joseph looks upset. JOSEPH Okay, I'm sorry. DEBBIE Wait a minute. Hey. Are you crying? JOSEPH Just let me go. DEBBIE I'm sorry. I'm not in my right head. JOSEPH I understand. My mom is going through menopause, too. It's a hard time. DEBBIE What did you say? JOSEPH You're going through menopause? DEBBIE I'm not going through menopause! I'm not going to go through menopause for twenty years. I'm pregnant you little bitch. God damn it! She storms off.",
"INT. MASTER BEDROOM - BATHROOM - NIGHT Debbie pulls open the door, Pete is on the toilet playing on his iPad. DEBBIE I'm going out to coffee with Desi to find out if she's stealing from us. PETE I've got the Graham Parker concert. Who's gon na watch the kids? DEBBIE I do n't know. Figure it out. Debbie exits. Pete flips her off after she's gone.",
"INT. BAR - NIGHT Debbie and Desi are talking as they walk down the stairs into a loud club. DEBBIE I just wanted to talk. Maybe we could go to a coffee house or something? DESI You want coffee? This place has coffee. They have all kinds of drinks.",
"INT. BAR - NIGHT Debbie and Desi talk to a group of young men, PROFESSIONAL HOCKEY PLAYERS. DESI What sport do you guys play? HOCKEY PLAYER We play hockey. DESI Oh, I like hockey. DEBBIE Who do you guys play for? HOCKEY PLAYER We play for the Philadelphia Flyers. DEBBIE You guys are all from Philadelphia? HOCKEY PLAYER No, actually none of us are. DESI Do you guys still have all of your teeth? HOCKEY PLAYER #2 Well, I've got all my teeth, except for these ones. He takes a plate of his teeth out. HOCKEY PLAYER #2 -LRB- CONT'D. -RRB- Want to try them on? Desi takes them and tries to put them in her mouth. Everyone laughs. DESI Do I look sexy? Desi looks insane. She tries to kiss Debbie. Everyone is laughing. HOCKEY PLAYER #3 They definitely look way better on her than they do on you. She hands the teeth back to their owner. He pops them back in and everyone cheers. DEBBIE So, should we go to the quiet area? HOCKEY PLAYERS No, no. HOCKEY PLAYER #4 Where are you going? DEBBIE We kind of have to have a little business meeting tonight. HOCKEY PLAYER Business meeting? You have to celebrate with us. We won tonight. DESI I want to party with these winners, come on Deb. HOCKEY PLAYER #4 Come dance with us. DEBBIE -LRB- thinks about it. -RRB- Okay. Let's fucking dance! Yeah!",
"INT. NIGHTCLUB - NIGHT - CONTINUOUS Pete on stage in a half - filled nightclub. PETE Thank you so much for coming, this is so exciting! For the first time in over thirty years, Graham Parker and The Rumour. Pete watches Graham Parker perform with his band. The song is amazing. It is about issues Pete is going through, and he is really connecting. PETE -LRB- CONT'D. -RRB- -LRB- to Ronnie. -RRB- Where are his fans? Where are they? RONNIE It's hard to watch a band when you know all of them remember D - Day. PETE What's press turnout like? RONNIE Are you serious? Nobody came. PETE Nobody is here? RONNIE Oh, the guy from Green Day is here. BILLIE JOE ARMSTRONG sits nearby, watching the show. PETE Yeah, Billie Joe, I emailed him. He's a fan. RONNIE You've got to get a photo of the two of them. PETE No, he says he does n't want to do any press, he's just watching the show. RONNIE Oh, how punk rock of him. `` I do n't like photographs.'' -LRB- to Billie Joe. -RRB- Grow up, Green Day! BILLIE JOE Shut up, Tom Selleck.",
"INT. NIGHTCLUB - NIGHT Desi and Debbie dance with the hockey players to a Nikki Minaj song. Debbie lets loose, she's having the time of her life.",
"INT. NIGHTCLUB - MOMENTS LATER Debbie is talking to a hockey player named JAY who is twenty - four and cute. JAY I would n't call them classically good dance moves, but you left it all out there. You're a blast to dance with. DEBBIE Thank you. JAY We're having a little shindig at the hotel after this, you should come by and hang out. DEBBIE You want me to come to the hotel? JAY Yes. I want you to come by the hotel with me. DEBBIE Well, what would we do there? JAY Maybe we can find somewhere quiet, have fun, and see where it goes. Like adults do sometimes. DEBBIE Like, sex? JAY I mean, if you want. If that's on the docket. I'm not trying to force that. DEBBIE So you would do sex with me? JAY Do sex? What are you, Borat? DEBBIE Are you hitting on me? JAY Yes. I'm hitting on you. You're hot and cool and nice and you have beautiful eyes. DEBBIE I'm sorry. I'm married, I have two kids, and I'm pregnant. JAY That is what we call the `` hat trick.'' Wow. DEBBIE I'm sorry I did n't tell you. I'm just really enjoying you being so nice to me. JAY I hope this does n't come off as super cheesy, but I think you're a very rare find. DEBBIE Thank you. JAY And I would totally do sex with you. They laugh.",
"INT. NIGHTCLUB - LATER Graham is packing up to go. Pete approaches him. PETE -LRB- to the band. -RRB- That was spectacular guys, really well done. -LRB- to Graham. -RRB- Hey, Graham. GRAHAM Pete! How are you, man? PETE Well, the first numbers came in. GRAHAM Happy? How's it looking? PETE About half of your last record. GRAHAM Ah, so you were expecting it to sell. They never sell anymore. They used to sell. But now they do n't. I'm not a sexy sixteen - year - old girl. PETE But I wanted to sell it. It's such a good record. I feel like I let you down. GRAHAM No, I'm going to be fine. My overheads are so low. I just got a song in Glee. Guy in the wheelchair is going to sing it to the Asian girl, I believe. I do n't know, I've never seen the show, but that's what I'm told. Secret is, make sure you have a small nut. That's the key to life. PETE Graham, I do n't have small nuts, all right? I have big nuts. And I need to provide for them. Billie Joe comes over to congratulate Graham. BILLIE JOE Graham, hey, what's up? GRAHAM Billie! BILLIE JOE How you doing, man? Great show. I'm inspired. I want to write a song right now. GRAHAM Inspired, huh? That inspires me. BILLIE JOE Let's go get a drink. GRAHAM Let's get a drink. BILLIE JOE -LRB- to Pete. -RRB- You coming? PETE No. I'm fine. You guys go. Congratulations on Glee. They walk away. BILLIE JOE You got a song on Glee? That's killer, man. That's so much money, that's good for all of us.",
"INT. CAR - NIGHT Pete sits in the car crying.",
"INT. CAR - NIGHT Debbie is dropping Desi off at her apartment. DEBBIE Why did you put that guy's teeth in your mouth? That's so gross. He was dirty. DESI No, he was wearing a tie. DEBBIE That's true. DESI When I kissed him, I felt his little tiny teeth nubs with my tongue. DEBBIE You did? DESI It was like kissing a baby. French kissing a baby. DEBBIE Can I ask you something stupid? Do you know why we're missing money at the store? DESI Are you guys missing money? DEBBIE Like twelve thousand dollars. DESI Wait. Do you think I took it? DEBBIE Well, no. I did, but now I do n't. DESI It's not me. DEBBIE Then, why do you live in such a nice apartment and have such a fancy car? DESI Yes, you're right. Look. I. am an escort. I get paid to go out on dates. Debbie looks shocked. DESI -LRB- CONT'D. -RRB- But only three to five times a year. Ten times max. But it's not technically `` prostitution'' because I do n't have to sleep with them. DEBBIE Well, that's good. DESI But I always do. That's why I only do it four to eight times a year, fifteen times max. DEBBIE Huh. DESI One year I did it twenty. DEBBIE As long as you think it's safe. DESI It's safe. I only do it ten to thirty times a year. DEBBIE So, who do you think is stealing money? DESI It's Jodi. DEBBIE No. DESI Yeah. She's a pilled - out whore. DEBBIE Since you told me, I want to tell you something. DESI You're pregnant. DEBBIE How did you know? Desi nods. DEBBIE -LRB- CONT'D. -RRB- Wow. Maybe you should tell Pete. DESI You did n't tell Pete yet? Why not? DEBBIE I do n't know. I just want him to want me. I do n't want him to want me because I'm pregnant. DESI Go home and suck his dick and tell him then and he will love it. DEBBIE You think? DESI He'll be so excited. Or even better yet, you should tell him while you're sucking his dick. -LRB- mimes a blow job. -RRB- `` I'm pregnant.''",
"INT. BEDROOM - NEXT MORNING Pete on his iPad laying in bed. Debbie comes in to talk. DEBBIE What are you doing? PETE I'm returning some emails. DEBBIE What time do you have to go to work? PETE Like ten minutes ago. DEBBIE Want to be late? Debbie's shirt is unbuttoned and she is topless. PETE -LRB- not looking up. -RRB- No, I ca n't be late. Not today. Pause. DEBBIE Do you see me? Standing here in front of you? Half - naked? PETE Yeah. DEBBIE And does that make you feel anything? PETE Come on. Are you trying to start a fight? DEBBIE No, I'm not trying to start a fight with you. I'm trying to fuck you! PETE Oh god, you know what? Today of all days you need to give me a break, all right? DEBBIE Whatever. She exits into the bathroom. There's silence. PETE I did n't realize it was intentional! I did n't say anything because I did n't want you to be embarrassed. I thought I was being gallant. No response. PETE -LRB- CONT'D. -RRB- All right, fine, I'm an asshole. Debbie returns, dressed. DEBBIE You know what your problem is? You're never in the moment, you're never present. You're never in your body. PETE That's not true. I am in the moment. You know how I know? I want to get the fuck out of the moment. I swear, I ca n't win with you. Pete walks out of the room. Debbie follows. DEBBIE You ca n't just walk away.",
"INT. PETE'S OFFICE - CONTINUOUS DEBBIE How's the record company going, Pete? PETE What? Not great. I'm still waiting for numbers to come in. DEBBIE What have you heard? PETE A couple numbers have trickled in. It's lower than we expected. DEBBIE Then why are you giving Larry money? PETE What? DEBBIE I know everything. I talked to the accountant. PETE All right, you know what? I do n't want to get into some nasty fight. So can we please talk to each other like the therapist told us to talk to each other? DEBBIE Fine. It makes me feel sad when you are dishonest. PETE I understand it makes you feel bad when I am dishonest with you. It hurts my feelings when you treat me with contempt and corner me and try and trick me into lying. DEBBIE Okay. It makes me sad when it's so easy to trick you into lying because you're such a lying shitbag. PETE You ca n't do that. The therapist said you're not allowed to judge me. DEBBIE That's not a judgment. That's just a fact. PETE Fair enough. Sometimes I withhold truth, that is true. But it's only because I'm scared to death of your crazy - assed illogical overreactions. DEBBIE Well, it hurts me inside and triggers me that you're such a dishonest shit that you're lending your father money without telling me, while your record company is going bankrupt and we're on the verge of losing our fucking house!",
"INT. CHARLOTTE'S ROOM - CONTINUOUS Charlotte plays piano in her room alone. Through the wall, she can hear Debbie and Pete fighting.",
"INT. BEDROOM - CONTINUOUS DEBBIE What else are you lying about? PETE I've taken Viagra for two years. I ate six muffins downstairs a while ago and my cholesterol level is 305. My heart could explode at any second. These might be my very last words. And I gave Charlotte antibiotics when you were n't looking. That's why her ear got better. So, go fuck your witch doctor. DEBBIE What are we even doing? This is not making me happy. You're not happy. You do n't like me. I can feel that. I'm not blind. Jesus. We're like business associates. We're like brother and sister. There's no passion there. PETE We're not like brother and sister. You know what we're like? We're like Simon and Garfunkel, and somehow you turned me into Garfunkel. DEBBIE I do n't even know what that means. PETE Art Garfunkel. DEBBIE What's wrong with Art Garfunkel? He has a beautiful voice. PETE He's got an amazing voice. He could put a harmony to anything, but what I'm saying is that you turned me into him. DEBBIE What the hell are you talking about? PETE Simon controls him. DEBBIE That's because Simon writes the fucking songs! He's the better one. PETE You know what? I see the way you look at our kids. You have so much love and compassion for them. You never look at me like that. Ever. DEBBIE Would we even still be together if I did n't get pregnant fourteen years ago? PETE I'm not going to go down that road. DEBBIE Would we? Pete does n't say anything. DEBBIE -LRB- CONT'D. -RRB- Okay. Debbie starts walking away. DEBBIE -LRB- CONT'D. -RRB- You know what? I do n't even want to have a party here. You need to cancel it. PETE No, I'm not. I already paid for the catering, I put down deposits, and I ` m not going to call everybody back in two days when change your mind.",
"INT. BEDROOM - NIGHT They all are laying in bed watching Spongebob Squarepants. It is tense. Charlotte is licking her fingers. SADIE Can you please stop licking your fingers? Charlotte does it more. SADIE -LRB- CONT'D. -RRB- Do you know how many germs are on your hands? And you're putting them into your mouth. It's gross. Stop. Charlotte pokes Sadie with her wet fingers. SADIE -LRB- CONT'D. -RRB- I'm going to kill you! PETE Hey! Sadie, enough! She is n't hurting anyone. If you want to say something, keep your mouth shut. DEBBIE You have never been nice to her and now she's getting aggressive with you. I told you this would happen. Sadie leaves and slams her door. CHARLOTTE I'm sick of everybody fighting. Charlotte leaves.",
"INT. CHARLOTTE'S ROOM - NIGHT - LATER Charlotte writes a note at her desk.",
"INT. HALLWAY/SADIE'S ROOM - NIGHT Charlotte walks by Sadie's room. She puts the note up on the door. It reads, `` I'm sorry you think I'm gross. You are right. Love, Charlotte.''",
"INT. HOME OFFICE - NIGHT Pete sits alone, listening to music.",
"INT. LIVING ROOM - NIGHT Sadie sits alone watching Lost on an iPad.",
"INT. CHARLOTTE'S ROOM - NIGHT - LATER Debbie rests next to Charlotte in bed. DEBBIE What do you think you're going to be like when you grow up? CHARLOTTE I do n't know. DEBBIE Do you think you want kids? CHARLOTTE Just one. DEBBIE Just one? Why? CHARLOTTE Because if I have two then the one will fight with the other one. DEBBIE Does it make you sad when you fight? CHARLOTTE I do n't want anyone to fight. DEBBIE I love you.",
"INT. FAMILY ROOM - MORNING Pete is sleeping on the couch.",
"INT. KITCHEN - MORNING Pete sits at the counter. Debbie and the kids are at the breakfast table. CHARLOTTE Why is n't anybody talking? Why is it so quiet? PETE It's the sounds of silence.",
"INT. CAR - DAY Pete is driving Sadie and Charlotte to school. On the stereo is `` Paradise by the Dashboard Light'' by Meatloaf. Pete is eating an egg sandwich and manically singing along. PETE -LRB- singing. -RRB- I do n't think that I can really survive. I'm praying for the end of time, it's all that I can do. Praying for the end of time, so I can end my time with you. SADIE Stop, Dad. PETE It was long ago and it was far away, it was so much better than it is today. CHARLOTTE How many of those are you going to eat? PETE As many as I want. CHARLOTTE I'm going to tell Mom on you. PETE Try it. See what you get for Christmas. Nothing. Snitches wind up in ditches. Remember that.",
"EXT. SCHOOL - DAY Pete walks Charlotte in. He gives her a kiss then walks back towards his car. On the way he bumps into Joseph and his mom, CATHERINE. CATHERINE Peter! PETE Hey. CATHERINE Catherine. I'm Joseph's mother. PETE -LRB- pleasantly lying. -RRB- Oh, right. No, I know. Hi, Catherine. CATHERINE Our kids have gone to school together for eight years. PETE Sorry. -LRB- to Joseph. -RRB- Hello, Joseph. -LRB- to Catherine. -RRB- I hear our kids have been chatting online. CATHERINE Yeah? I heard that your wife has been screaming at my son and I do n't appreciate it. PETE Excuse me? CATHERINE She screamed at my son. -LRB- to Joseph. -RRB- Right? She threatened you? -LRB- to Pete. -RRB- She cursed at him. He's thirteen years old for god's sake. What the hell is the matter with her? You better check her meds and get them right. Pete thinks for a moment, not sure how to handle this. PETE Okay, why do n't you back the fuck off, because that's my lovely, sweet wife you're talking about. CATHERINE Oh, I need to back off? PETE Yeah, you need to back off because your kid is an animal. Why do n't you put him on a leash? CATHERINE -LRB- to Joseph. -RRB- Turn around! PETE If he insults my daughter again, I'm going to hit him with my car. Got it? In fact, if you insult my wife again, you know what I'm going to do? I'm going to show up at your house when you're sleeping, and I'll take your iPad and your iPod or your iMac and I'll shove them up your fucking iCunt. I've got nothing to lose. Your kid is the problem. My kid is a fucking angel. I do n't have time for this shit. So I'm keeping it together. But if I was n't at school right now. He pokes her shoulder. CATHERINE Do n't touch me. PETE I did n't touch you. CATHERINE You touched my upper breast! PETE I did n't. I got right below your shoulder. CATHERINE You got right here. -LRB- to Joseph. -RRB- He hit my nipple! JOSEPH You what? PETE You're insane. CATHERINE Why would you do that? JOSEPH Did you just touch my mom's nipple? CATHERINE He just touched my nipple! Why would you do that? PETE I poked you on the shoulder. CATHERINE I have very high nipples. PETE I touched your shirt. CATHERINE What do you think is under my shirt? My breasts are under my shirt. -LRB- to Joseph. -RRB- He just touched my breast. PETE Your shoulder, your shoulder. CATHERINE That's a funny place to put a shoulder. My boob! PETE Hello! There are children around. CATHERINE This is n't over. You're going to be sorry. -LRB- to Joseph. -RRB- Let's go!",
"INT. COFFEE BEAN AND TEA LEAF - DAY Debbie is talking to Jodi, who is crying. JODI Why the fuck would you believe Desi? DEBBIE You just admitted it. JODI Did I? DEBBIE You stole twelve thousand dollars from me, Jodi, and I need you to pay me back. JODI Can you at least give me a referral? DEBBIE You babysat my kids while you were on Oxycontin. JODI Oxycotton. DEBBIE Oxyconton? JODI Oxykitten. DEBBIE What's oxykitten? JODI Meow. DEBBIE Jodi. You put me in danger. Me and my family. JODI It was a cry for help. Help. -LRB- getting weirder. -RRB- Help. Why do n't you help me? Just help. Help. Why do n't you help me? DEBBIE Are you high right now? JODI -LRB- weirder. -RRB- Help me. Debbie's phone buzzes. JODI -LRB- CONT'D. -RRB- Is that about me? Is that the cops? Is this a set - up? DEBBIE I need to go. JODI Okay, see you later. -LRB- creepily. -RRB- Fuck you, Debbie. Fuck. You.",
"INT. VICE PRINCIPAL'S OFFICE - DAY Pete and Debbie are sitting across from VICE PRINCIPAL LAVIANI. In another seat is Joseph's mother, Catherine. MS. LAVIANI Joseph was very upset when I spoke to him about this, so I thought it was important that we join together and work this through. PETE Absolutely. CATHERINE We're going to work through it, but Debbie told my son that he looked like Tom Petty, in a negative way - PETE Who's Tom Petty? CATHERINE You know who Tom Petty is. And she said that if she had to come back, that she was going to `` F up his pussy ass.'' Which is what she said. DEBBIE Are you serious? I did n't. I would never. To a child? Your son has been defiling my daughter's Facebook page now for months. CATHERINE These people are liars. He said that my son was an animal and that if I did n't keep him on a leash that he would hit him with his car. MS. LAVIANI Did you say that? PETE That's ridiculous. Who talks like that? CATHERINE You do. Debbie tries to hide a smile. DEBBIE He did n't say that. CATHERINE He said it. To me. PETE What I said was that we need to keep an extra eye on our kids because with all the technological advances, they need to learn to use them responsibly. CATHERINE No. He called me an `` iCunt.'' PETE A what? MS. LAVIANI Language, Catherine! CATHERINE How am I going to relay what these two nutballs said to me unless I say it. MS. LAVIANI Can you please not talk like that, Catherine? Music Man is rehearsing next door. CATHERINE Sorry, fucking Music Man. Maybe if I looked more like this fake bullshit couple, looks like they're in a bank commercial. That's what you look like. Like a bullshit bank commercial couple. MS. LAVIANI None of this talk is productive. CATHERINE I'd like to rear up and jackknife my legs and kick you both in the jaw with my foot bone. DEBBIE You're just really scaring me. CATHERINE This is what happens when you corner a rat. You corner me, I will chew through you. MS. LAVIANI Catherine, you're better than this. CATHERINE Fuck you, Jill. You're a horrible woman. This is why everybody hates you. This kind of shit. Ineffective. Bullshit hair. And I'm glad your husband died. Because you're a fucking asshole. He probably killed himself. MS. LAVIANI Okay, Catherine. I think we know what's happening now. DEBBIE Now you know what we're dealing with.",
"EXT. PARKING LOT - DAY Pete and Debbie leave the school together, surpressing smiles. They get in separate cars and drive off.",
"INT. KITCHEN - NIGHT Debbie is making dinner. Pete and Charlotte sit at the table. CHARLOTTE I'm not going to eat that chicken. DEBBIE Why not? CHARLOTTE Because I feel like I'm going to be a vegetarian. DEBBIE Can you become a vegetarian tomorrow? CHARLOTTE No. Sadie storms in. SADIE You guys have been reading my texts? PETE No, we have n't. DEBBIE Yes, we have. We're supposed to keep an eye on you. PETE How did you find out? SADIE Joseph told me that you flipped out on him and his mom and that you guys are nuts, and I agree. PETE Do n't be disrespectful. SADIE You're the ones who are disrespectful. Reading my texts is like reading my diary. DEBBIE You were really sweet on your iChat. We were really proud of you. PETE Yeah, we were going to give you your computer and phone back. SADIE Fuck you! PETE Okay, there's the first official `` Fuck you.'' DEBBIE That is not how we talk to each other in this house. SADIE You guys talk to each other like that all the time! And to Joseph and his mom. You made Joseph cry. CHARLOTTE Joseph has a crush on you. You like a boy who cries. SADIE Shut up, Charlotte. You guys so desperately want me to be perfect and to make no mistakes. Well, you two are fucking insane. DEBBIE Okay. SADIE All you do is fight. Or you do n't fight, which is even worse because it looks like you hate each other for weeks. You obsess over every little thing I do, and you do n't trust in me or believe in me. Well, I'm fucking sick of it! Yeah, I said `` fuck.'' Fuck fuck fuck. Ground me forever I do n't care. I do n't care about anything. -LRB- crying hard. -RRB- I hate everything, everyone's going crazy, I do n't care if I have no friends. DEBBIE Are you still upset about Lost? SADIE Of course I'm upset about Lost! You guys took away my shit before I could watch the last two episodes! I do n't know what the fuck happens! She walks off. DEBBIE She's becoming just like us. CHARLOTTE I hope I never get my period if this is what happens.",
"INT. SADIE'S ROOM - NIGHT Sadie does her homework on her bed. Charlotte brings in Sadie's electronics and puts them down in a pile beside her. SADIE Where did you find these? CHARLOTTE I stole them. Charlotte walks away and starts to slide the door closed behind her. SADIE Thank you. CHARLOTTE No big deal.",
"INT. LIVING ROOM - NIGHT Debbie is sitting on the couch. Pete paces around the room. PETE Our kids are crazy. And it's our fault. DEBBIE Do you think there's anything we can do to turn it around? PETE Sadie's thirteen. She might be a lost cause. DEBBIE Where did she learn that kind of language? We do n't talk like that. PETE I have no fucking idea. Do you think Sadie is this crazy because of us? Or is it hormones and Lost. DEBBIE J.J. Abrams. He's ruining our daughter. That fucking geek. PETE I feel bad for us. DEBBIE All of a sudden we're like a magnet for negativity. Why do people keep attacking us? What did we do? We're just doing our best. PETE Should we talk about our fight? DEBBIE I think we're under enough pressure. Let's just let it go this time. PETE Yeah. DEBBIE We can give each other a break. PETE Great. Thank you. And I'm sorry about my dad. You're right. I'm sorry that he's just an endless mooch. -LRB- beat. -RRB- The truth is, this is n't about us. It's about our parents. DEBBIE We're not even mad at each other. We're mad at them. PETE Exactly. DEBBIE Let's just take away our parents' power by loving them. PETE Can we do that? DEBBIE Yes. PETE Thank god. DEBBIE I kind of feel better already, do you? PETE I do. DEBBIE I love you. PETE I love you too. DEBBIE It's not us, it's them. PETE Totally. They hug.",
"INT. SADIE'S ROOM - MORNING The shades are closed and the room is dark. Sadie watches the end of the last episode of Lost on a laptop. Pete enters. PETE What are you doing? We need to get ready for the party. SADIE -LRB- devastated. -RRB- I just finished the last episode of Lost. PETE We do n't have time for this right now. We have a lot of people coming over - SADIE -LRB- losing it. -RRB- They're all dead. PETE What? SADIE Jack, Kate, Sawyer. PETE I do n't care about the show right now - SADIE Jin, Sun. PETE Okay? I need you to just get in the shower. Get dressed. Let's just put it on hold. SADIE Walt, Juliet. All those people. PETE Do n't think about Lost today. Tomorrow : Lost. All day. I ca n't wait to hear about it. Jack? No way. Really? Right now, shower. SADIE I do n't make fun of your stupid Mad Men. PETE First of all, I do n't get worked up over Mad Men. SADIE That's because Mad Men sucks. PETE What Don Draper has gone through beats whatever Jack is running from on some island. SADIE A bunch of people smoking in an office, it's stupid. PETE You're getting me off topic. Please get dressed.",
"EXT. HOUSE - DAY Debbie is speaking with Barb as they set up the kitchen for a barbecue for Pete's fortieth birthday. DEBBIE I am so glad you're here. I need a buffer in case it gets weird. BARB Well, I'm ready to buff. DEBBIE Here, grab these napkins.",
"INT./EXT. HOUSE - DAY Desi jumps in the pool in a small bikini. She is playing in the water with the kids. ANGLE ON BARRY AND PETE BARRY So that's the girl who works for you. PETE Yeah, that's her. BARRY Seems nice. My wife would never let me have a hot employee like that. Everyone that works for us looks like they've been in some kind of horrible accident. Angle on Barb and Debbie. BARB You're comfortable with that around your husband? DEBBIE Pete would n't know what to do with that. Angle on Barry and Pete. BARRY You think our wives are looking at us right now? PETE Oh, definitely. Angle on Barb and Debbie. DEBBIE They look like pedophiles. Barry and Pete turn toward their wives, smile and wave.",
"INT. KITCHEN - LATER Pete greets guests, including Graham and Grandma Molly.",
"EXT. BACKYARD - LATER Pete and Ronnie are talking in the backyard. DEBBIE -LRB- O.C. -RRB- Hey, Pete! Debbie walks over with Jason. DEBBIE -LRB- CONT'D. -RRB- Jason's here. JASON Peter, hi. PETE Hey, how's it going? JASON Great, you look well. How do you like what I've been doing to your girl? How do you like Debbie's after body? RONNIE It's nice. JASON Come on, show ` em. Look at this. -LRB- points to her ass. -RRB- It's beautiful. Look at that after - ass. Now it starts here, but it used to start here. And I brought it up. You're welcome. RONNIE Are you a trainer? JASON Yes, well, but not just physical. Spiritual. I'm sort of a guide. PETE You guys should talk. I think you'll get along. Come here, honey, I have to tell you something. They leave Ronnie and Jason alone. The guys spot Desi swimming in the pool. JASON Who's that in the pool? RONNIE Mine.",
"INT./EXT. FRONT DOOR - DAY Debbie and Pete open the front door. Standing there is Oliver. He gives a nervous smile. Debbie looks at him and tries to be nice, but we feel her effort. DEBBIE Hello. OLIVER Hello, Debbie. She opens the door wider. They do not hug. DEBBIE Remember my husband, Pete? OLIVER Oh, yes. I did n't recognize you with the long hair. PETE -LRB- people pleasing. -RRB- I've been growing it. OLIVER Happy birthday. He hands him a bottle. PETE Thank you so much. OLIVER Very old scotch. PETE Oh, wow. You know, I hope it has n't expired. OLIVER No, scotch does n't expire. It improves with age. PETE No, I know. Thank you so much.",
"EXT. BACKYARD - DAY The party is in full swing. Pete, Debbie, Oliver, Barry and Barb are getting food from the buffet. Barb and Barry are trying to help keep the conversation going. BARRY What do you do in Chino, Oliver? OLIVER I am a surgeon. BARB Wow, what kind? OLIVER Mainly of the spine. My specialty is scoliosis surgery. BARRY My mom used to talk to me like I had scoliosis because I'm a little hunchy, but that's a different thing. OLIVER Well, you definitely do n't look right. Larry arrives, with Claire and the triplets. Claire is holding two of them, while Larry carries one. The triplets now have very different HAIRCUTS so he can tell them apart. One has a faux hawk, one has bangs, and one has a buzz cut. LARRY Hello everyone! I'm sorry we're late. I was in the lab cloning myself. We're going to have another seven more tomorrow. Look, we cut their hair different so we can finally tell who they are. Larry lifts one of the triplets up and down by the arms, simulating an elevator. LARRY -LRB- CONT'D. -RRB- You like the new haircut, Travis? TRIPLET #1 I'm Jack, damn it. LARRY Of course you are. Larry puts Jack down and he runs off. DEBBIE Larry, this is my father. LARRY Really? How are you? OLIVER Oliver. LARRY Oliver. `` Can I have some more? Please, Oliver, I need a little morsel.'' I love that movie. You must get that all the time. OLIVER Not really. CLAIRE I'm Claire, Larry's wife. Very good to see you, but excuse me, I'm going to go get the kids. Claire runs off. LARRY We wo n't see her now for the whole day. I'd help honey, but I've got the blood pressure, and I do n't want to. PETE Dad, you want a drink? LARRY Yeah, a little white wine. PETE White wine? Okay, heavy stuff. LARRY So, who knew that Debbie had a dad! Where have you been for fifteen years? Never seen you at Hanukkah, Christmas, Ramadan, nothing. How do you get out of all that stuff? Do you have a wife? OLIVER My wife is at home. DEBBIE Why did n't she come? OLIVER Construction. They're sanding our deck. LARRY You let the woman sand the deck? OLIVER She supervises it, yes. Sadie, Charlotte and Desi walk over. DEBBIE Hey guys. LARRY Look how big the kids are. Sadie! He gives Desi a hug. DESI Hi, Larry. LARRY -LRB- to Sadie. -RRB- Hi, Sadie. SADIE Mom. Who is Oliver? DEBBIE What do you mean? CHARLOTTE Is he your dad? DEBBIE He is my biological father. CHARLOTTE What does that mean? DEBBIE He and my mom had a baby and that was me. SADIE Oh, so you're our grandpa. OLIVER Why do n't you ask your mother? DEBBIE Yes, well, that would make him your grandpa. Do you want him to be? CHARLOTTE Yes. Then we get another grandpa. Come on! Oliver gets up. Charlotte, Sadie and Desi run off. Oliver follows. LARRY That was deeply uncomfortable. Thank god the pretty girl was here to divert our attention.",
"EXT. POOL - DAY Desi is gracefully swimming under water. She looks gorgeous. She sees Jason and Ronnie under water, but they look grotesque, red - faced and awkward. They both reach for each other and come to the surface. JASON Oh, hi. I did not see you there. RONNIE I saw you there. DESI Did you guys come together? Are you a couple? RONNIE / JASON No, we did n't come together. Absolutely not. DESI Sorry, the mustache is a little - JASON That's fair. DESI I just assumed. RONNIE This is a straight man mustache. DESI What is the different between a gay man's mustache and a straight man's mustache? Pause. JASON The smell. DESI Excuse me. Desi swims away.",
"EXT. BACKYARD - LATER Larry is talking to Oliver. LARRY So, spinal surgery just seems to me to be at the top of the surgery chain. OLIVER Well, we're not cardio, we're not neuro, but I like to think we're an important part of the spectrum. LARRY Do you operate every single day? OLIVER Most days. LARRY Multiple times a day? OLIVER Three, four times. LARRY So what's the price range? Like if I wanted - OLIVER Oh, I'd rather not say. LARRY It's so big you're embarrassed to say. OLIVER I would n't say embarrassed. LARRY Are there hunchbacks today? OLIVER Of course. LARRY I've never seen one. OLIVER Well, that's because there are spinal surgeons. LARRY That's because of you. Each time I do n't see a hunchback, you're getting that much richer. Oliver smiles, amused. LARRY -LRB- CONT'D. -RRB- You like The Beatles, do n't you? OLIVER Who does n't like The Beatles? LARRY Nobody.",
"EXT. POOLSIDE - DAY Jason and Ronnie are talking to Desi. DESI So what's your sun sign? RONNIE Libra. JASON Oh, boy. DESI That's not good. JASON No, sir. DESI Not for me, that's not good. Sexually we are completely incompatible. RONNIE That's not true. JASON That's such a shame. That's as bad as it gets. DESI What's yours? JASON I'm a Cancer. DESI Really? JASON Is that good? RONNIE What does it mean? DESI That's really strange. Well, Taurus and Cancers are sort of soul mates of the Zodiac. We're like perfectly compatible. I balance what you lack, and you make up for what I lack. And a quiet Cancer almost always has a huge penis. JASON -LRB- quietly. -RRB- You're making me embarrassed.",
"EXT. BACKYARD - LATER Debbie, Pete, Larry, Oliver, Barb and Barry are eating. DEBBIE I wanted to make a toast. Thank you guys so much for coming. Pete's turning forty. PETE Weird. DEBBIE And we're ready to start this new phase of our lives with open hearts. Ready to just choose joy and forgive everybody, so thank you all for coming. LARRY Wait. Forgive who? PETE I think she just meant generally. You know? Put the past behind us. DEBBIE And live without resentments. LARRY But specifically who are you forgiving? I like to know the details before I toast. DEBBIE Well, you and my dad and others. LARRY I see. I know you have some issues with me, but I'm curious, what's he in for? Before today nobody even knew he existed. DEBBIE My parents divorced when I was really young and we do n't spend that much time together and I'd like to work on that. Just like we'd like to work on how you have financial issues. BARRY -LRB- to Larry. -RRB- She means all the lending. And the borrowing. LARRY I know what she meant.",
"EXT. POOLSIDE - CONTINUOUS Ronnie, Jason, and Desi talk. JASON You are a beautiful woman, but you are not totally maxed out. I would say honestly, you're a six. Six and a half. I could make you an eleven. DESI Really? JASON When I found Deb, she was a seven. And now she's a twelve. DESI I want to be a twelve. JASON You ca n't be lazy. DESI I do n't want to be lazy. JASON Look at me. You can not be lazy. DESI I wo n't be lazy. JASON Do you know how she got her body? Bodies By Jason. DESI Wow. JASON Say it. DESI Bodies By Jason. JASON Say it again. DESI Bodies By Jason. JASON And now just say Jason. DESI Jason. JASON Again? DESI -LRB- whispers. -RRB- Jason. JASON That sounds right, does n't it? DESI Yeah. RONNIE What the fuck is happening right now?",
"EXT. BACKYARD - CONTINUOUS LARRY When was the last time you two saw each other, if you do n't mind me asking? OLIVER Actually, we had lunch together last week. LARRY And before that? OLIVER It's been about seven years. LARRY Seven years? That's a joke, right? That's like two Olympics. And I'm the bad guy. What Debbie does n't understand is that it's not bad to help out a parent. And it's certainly not bad for a parent to help out a child. I'm sure Oliver would agree. DEBBIE Are you really doing this right now? LARRY Am I doing what? I did n't start the toast. DEBBIE Are you really about to hit up my dad for money? LARRY What? He does four operations a day. It's perfect. It helps everybody, and it relieves his guilt from all the abandonment issues. DEBBIE You ca n't buy forgiveness, right Pete? PETE I do n't think anyone's looking for handouts. We'd pay him back. OLIVER If you two are in a bind I'd be more than happy to help. DEBBIE No. It's not good to borrow money from family members because it causes resentment, remember? PETE Yeah. LARRY What do you want me to do? Admit that my life is shit? Is that what you want me to say? You happy? Are n't I allowed a little joy with these children I never wanted to have? DEBBIE You have never once stopped asking us for money. LARRY Family helps family. PETE It's true. Family helps family. Look, I do n't expect you to fully understand. Your dad left. You're broken inside. It's not your fault you ca n't feel love. There's something that you ca n't - this is coming out wrong. DEBBIE You know what? I would rather have my dad than your dad, because he does n't drive me crazy. You know the best quality my father has? He asks for nothing. I do n't know what the fuck he's thinking right now. Look at that. Nothing. I do n't even know him. And I turned out perfectly fine without his input. LARRY I just figured out what your problem is. You hate Jews. Which is so odd because your children are Jewish. DEBBIE Do n't play the Jew card, Larry. LARRY I'm not playing any Jew card. DEBBIE Seriously, it's used up. LARRY You ca n't use up a Jew card. That's the whole point of a Jew card. BARRY That's right. You ca n't use it up, it goes forever. OLIVER You know what? I have to go. Oliver gets up to leave. PETE Great. What a big surprise. Bye Oliver. See you later. See you in another seven years. Make sure to say goodbye to the grandkids, who you met today. You know, nothing I do is right because of you? Nothing. No matter how hard I try, I'm just the asshole here, but you know what I realized? It's you. You're the asshole. OLIVER Good luck working that out. Happy birthday and go fuck yourself. Oliver walks out. LARRY See you when the Cubs win the Pennant. BARB I'm going to light the candles. Get it going. LARRY Maybe we should try the toast again. DEBBIE Can you be quiet? -LRB- to Pete. -RRB- You just threw me under the bus. PETE No. We agreed to let go and forgive, but then you started ripping into my dad like a crazy person. DEBBIE I'm not ripping into your dad. I'm just saying to him what you say to me. PETE Do n't be such a ball buster. DEBBIE I am not a ball buster. You make me one! I am a fun girl! I am fun - loving! I am a good time Sally! I dance hip - hop. I can not believe I've wasted my whole life busting the balls of people who have no balls. I am the only one here who has any balls.",
"EXT. BACKYARD - DAY Graham Parker sings `` Happy Birthday'' to Pete as Charlotte accompanies him on a keyboard. The party is tense. Debbie looks over and sees that Oliver never actually left. He stands in the back looking uncomfortable, quietly singing. She's shocked he's still there.",
"EXT. HOUSE - DAY - LATER Debbie smokes a cigarette at the side of the house. Sadie appears. SADIE Mom? Debbie turns, caught. SADIE -LRB- CONT'D. -RRB- Mom! What are you doing? DEBBIE What? SADIE You're smoking? In the front yard? DEBBIE No, they're Barb's. She walks away towards the house. Sadie follows.",
"INT./EXT. FOYER - CONTINUOUS Sadie storms through the front door after Debbie. SADIE Mom! Since when have you been a smoker? DEBBIE I'm not a smoker. Debbie keeps walking down the hall. Sadie follows her. SADIE I thought you said smokers die. DEBBIE I was n't smoking. SADIE I saw you. Barb is in the kitchen with Pete and Charlotte. CHARLOTTE Mom, you're smoking? BARB Deb, you ca n't smoke, you're pregnant. You've been doing so well. CHARLOTTE You're pregnant? SADIE No f - ing way. I do n't want another sister. CHARLOTTE I do n't want her as a sister. BARB I'm sorry. I'm so sorry. It just slipped out. Debbie turns the corner to find Pete standing in front of the fridge, stress eating. PETE -LRB- mouth full of cupcake. -RRB- Are you really pregnant? Since when are you pregnant? DEBBIE Since when do you care? You do n't want another baby. PETE You have no idea what I want. CHARLOTTE I want an Asian baby. SADIE We're not going to have an Asian baby. CHARLOTTE Yes, we are! SADIE They're not Asian. DEBBIE Sadie. CHARLOTTE We'll buy one. SADIE Shut up, Charlotte. CHARLOTTE You shut up! DEBBIE Shut up, Sadie! SADIE Shut up, Charlotte! CHARLOTTE Shut up! DEBBIE Okay, Sadie. Shut up. SADIE Shut up, Charlotte! DEBBIE Okay, stop saying shut up! PETE Since when are you pregnant? When did you find out? DEBBIE Will you stop eating cupcakes, please! Stop eating cupcakes. Stop eating cupcakes! Debbie storms off back towards the foyer. Larry pops out from the living room, stopping Debbie in the foyer. Claire and the triplets are right behind him. LARRY Hey! We just heard. You're having a baby! See, it can happen to anybody. CLAIRE That is so wonderful. We're so happy for you.",
"INT. KITCHEN - CONTINUOUS Pete throws his cupcake against the wall. SADIE -LRB- to Charlotte. -RRB- This is too adult for you. Let's go outside.",
"INT. FOYER - CONTINUOUS Larry and Claire walk away as Pete storms in. DEBBIE Well, I guess we're stuck together forever, then, right? PETE Were n't we always? DEBBIE You do n't even want a baby. PETE Of course I do. I never said that. Look, I did n't want one if I could choose. DEBBIE I should put that on a Hallmark card. That's beautiful. Oliver passes Pete and turns to Debbie as Pete walks away. OLIVER Good luck with the pregnancy, Debbie. But please, take care of yourself. It's a much riskier pregnancy after forty. DEBBIE I'm not forty. OLIVER Of course you are. You were born on December 5th, 1972. DEBBIE How do you know? OLIVER I was there. I'm the one who took your mother to the hospital. DEBBIE That's not what she said. OLIVER Your mom was in labor for only twenty minutes. It was like you could n't wait to meet me, can you imagine that? Debbie is stunned. DEBBIE I do n't even know you. You ca n't just come into my house and reminisce. OLIVER -LRB- walking out. -RRB- Look, maybe we were just not meant to be in each other's lives. I'm not sure this was such a great idea. Debbie follows him out the door and onto the front porch. She closes the door behind them.",
"EXT. FRONT PORCH - CONTINUOUS DEBBIE Hey, wait a minute. You did leave. And you did n't come back. OLIVER -LRB- getting agitated. -RRB- My first life was ruined. I did my best with my second. DEBBIE So I ruined your life? I was eight. OLIVER People do better when I stay out of their lives. That's what my son tells me. You think my life is so perfect? I've got a thirteen - year - old who's a pot head, I've got a wife who's keeping Zoloft alive. DEBBIE You never said that before. OLIVER You do n't think I want to talk to you about this? To share it with you? It's just not our way! We do n't talk to each other, we do n't know each other. I thought that's the way you wanted it. How do I get out of this? How do I get you all to just help me down off the cross? Debbie looks at him for a moment. DEBBIE You sound just like Sadie. OLIVER Who's Sadie? No. Your daughter, your younger? DEBBIE The big one. OLIVER Your older. I know that! She's a wonderful girl. Larry opens the door and peeks out. We reveal that everyone at the party -LRB- except Pete -RRB- is still standing in the foyer. LARRY Hi, guys. Some of us need to leave. Would this be a good moment to sneak out? From the side of the house we see Pete storming by on his bike, wearing his street clothes and a helmet. SADIE Where's Dad going?",
"EXT. CITY STREETS - DAY Pete exits his home riding his bike. He is very angry. He rides with great emotion like he is trying to get all the frustration out of his body. PETE Best birthday ever! Pete rides his bike onto San Vicente Boulevard. Pete rides down the street. A CAR passes by him. When it does a fifteen - year - old TEENAGER sticks his head out the window and yells to scare Pete. TEENAGER Bike lane, asshole! Pete almost falls. PETE Fuck you, you Twilight pimply - ass motherfuckers!",
"INT. KITCHEN - DAY Debbie and Barb are cleaning up. They look out the window to see Oliver picking up glasses and putting them in a bin. BARB Your dad's still here. DEBBIE I know. It's weird. Where the hell is Pete? Sadie walks in with Joseph. SADIE Mom, is it okay if Joseph hangs out here for a while? DEBBIE Sure. Hi, Joseph. JOSEPH Hi. DEBBIE Do you want a piece of cake? JOSEPH Oh, yeah sure. Thank you. Sadie walks off. JOSEPH -LRB- CONT'D. -RRB- All right, then. Joseph follows. BARB They are so cute. DEBBIE So cute. BARB He looks exactly like Tom Petty.",
"EXT. STREET - DAY There is no bike lane and cars going very fast have to swerve to avoid Pete. A car honks when traffic clogs up behind him. PETE Go around! A car makes a right turn, and Pete almost rides right into it. PETE -LRB- CONT'D. -RRB- Watch it! He pulls up alongside Jason's van. Desi is riding with Jason. DESI Hey, Pete. Great party! They speed off. PETE Yeah. The best!",
"EXT. BACKYARD - DAY Oliver and the kids are playing with an iPhone. SADIE Then you shake it. And then a restaurant comes up. Debbie walks outside. DEBBIE Dad? Excuse me. I'm going to go look for Pete. Would you mind staying with the girls for just a little bit? OLIVER -LRB- shocked. -RRB- Well, if you want me to. DEBBIE If you do n't mind. You do n't have to. OLIVER Sure. -LRB- beat. -RRB- Can I let Sadie show me the last episode of Lost? She asked me if I'd seen it, I have n't. DEBBIE That would be nice. Thank you. OLIVER Thank you. Debbie exits. OLIVER -LRB- CONT'D. -RRB- -LRB- to Sadie. -RRB- She said we could watch it. Sadie turns to Charlotte, puts her arm around her. SADIE I'm going to let you watch Lost. Come on. Charlotte smiles, delighted to be accepted by her sister. CHARLOTTE Is it scary? SADIE I'll cover your eyes if it gets too scary.",
"EXT. STREET - DAY Pete starts riding really fast and passes a car. When the car stops for a red he keeps going, tears off to the left, crosses four lanes of traffic in both directions and almost gets hit. Pete rides his bike up a steep hill. He passes some other bikers almost hitting them.",
"INT. DEBBIE'S CAR - DAY Debbie drives around the neighborhood with Larry in the passenger seat. LARRY Are you mad at me? Did I say something? DEBBIE Shh. Larry, please.",
"EXT. STREET - DAY Pete flies down a steep hill going crazy fast. Close up of his front wheel shaking. It is as if he wants to crash. He rides down the street when suddenly a MAN IN A RANGE ROVER opens his door to exit his car and Pete slams directly into the man's car door - hard, breaking the man's window and falling to the ground. The man is an incredibly thick fifty - five - year - old. MAN IN RANGE ROVER Are you fucking kidding me? PETE You opened your door on me. MAN IN RANGE ROVER I did n't open my fucking door on you. I opened my door! Pete slowly gets to his feet. PETE I was right there! You are supposed to look before you open your door. I was in the fucking bike path. MAN IN RANGE ROVER That's a blind spot. There's no fucking bike path. This is a residential section. Get your head out of your ass. PETE Pay attention! MAN IN RANGE ROVER Open your god damn eyes. What are you doing, sleepwalking? PETE You're supposed to look to see if a biker is coming through. You're supposed to look! MAN IN RANGE ROVER It's not my job to look out for you. You look out for yourself. I do n't look out for you. I do n't see you. I do n't now where the fuck you are and what you're doing. PETE No one is ever looking out for me! MAN IN RANGE ROVER I need your name and number. PETE Why? MAN IN RANGE ROVER Because you're going to pay for my door.",
"INT. DEBBIE'S CAR - CONTINUOUS They drive near the scene of Pete's accident and overhear. PETE -LRB- O.S. -RRB- Fuck you!",
"EXT. STREET - CONTINUOUS PETE Why do n't you pay for my bike - and my face, you fucking prick! The man punches Pete in the face where he's already bleeding.",
"INT. DEBBIE'S CAR Debbie sees the punch and gasps, realizing it's Pete.",
"EXT. STREET - CONTINUOUS Pete looks stunned. He punches the man in the gut, to no effect. The man punches Pete back in the stomach. Pete sinks to the ground. MAN IN RANGE ROVER Do n't disrespect me.",
"INT. DEBBIE'S CAR - CONTINUOUS Debbie watches Pete fall to the ground. She opens the car door and starts to run over toward him. LARRY Are you sure that's him? I do n't think that's him.",
"EXT. STREET- CONTINUOUS As the man starts his engine, Debbie runs toward Pete. PETE -LRB- in pain. -RRB- I'm going to write down your license plate number. The car drives away, revealing that it is new and has dealer's plates with no numbers. PETE -LRB- CONT'D. -RRB- `` Range Rover of Sunland.'' Debbie reaches him and holds his head up. DEBBIE What are you doing? PETE Ow.",
"INT. HOSPITAL - NIGHT Debbie and Larry sit in the waiting area of the hospital. LARRY I guess the party did n't turn out like you planned. DEBBIE It was n't a good party. A NURSE walks over to them. NURSE Hi. I'll bring you in as soon as his x - rays are finished. DEBBIE Is he okay? NURSE Yeah, he has a broken rib and he's been crying a little bit, but he'll be fine. The Nurse walks away. LARRY You know Pete was never a real fighter. But that's why he married you. That's why he loves you. Because you're the fighter, and you need that. One person in a relationship has got to punch. DEBBIE Do you mean that in a good way? LARRY Oh, it's a high compliment. DEBBIE Thanks. LARRY Listen, I know what you're worried about. You think he's going to turn into me, but I do n't think it's going to happen. He's smarter and probably a little cuter. A little less Jewy. Although, after fifty, that's all going to change. Be prepared to wake up one day with a a rabbi. But the good news is, he'll love you forever. That's in our DNA. We stick around. DEBBIE He worries about you. It puts a lot of pressure on him. LARRY I know. I just do n't have anyone else to talk to about it. DEBBIE You can talk to Claire. LARRY No. If I open up to her she'll leave me. DEBBIE No, she wo n't, Larry, she loves you. LARRY I know, but there's a certain point at which you just ca n't stay. -LRB- beat. -RRB- I guess it's hard to forgive somebody if they do n't formally apologize to you. DEBBIE Are you apologizing? LARRY I'm very close. -LRB- beat. -RRB- Yes, I'm sorry. And I'm glad everybody's okay. DEBBIE Thanks. She hugs him and starts to cry a little bit. LARRY I'm off. DEBBIE Okay. LARRY This is awkward. DEBBIE What? LARRY I need forty dollars for a cab. DEBBIE -LRB- laughing. -RRB- That's funny. LARRY No, I'm not kidding. You drove me. I was n't prepared. DEBBIE I only have a hundred. LARRY That's okay. I'll bring you the change. He grabs the bill out of her purse and walks off. LARRY -LRB- CONT'D. -RRB- All right, give him a kiss for me.",
"INT. HOUSE - NIGHT Oliver is sitting on the couch with Charlotte and Sadie watching the last scene of Lost. Joseph has joined them. OLIVER I do n't get it. SADIE See, it's not sad, it's happy because they helped each other achieve their destiny. OLIVER Oh. CHARLOTTE Great. I'm going to have some freaky ass nightmares.",
"INT. HOSPITAL ROOM - NIGHT Debbie walks into Pete's room, sits on the bed next to him. DEBBIE I really liked our lives so much better before we tried to change everything. I'm sorry. PETE No. I'm sorry. I do n't want to keep anything from you. I love you. You're my wife. I just did n't want to let you down. DEBBIE Are you mad that I'm pregnant? PETE No. I'm not mad. I'm thrilled. DEBBIE You do n't feel trapped? PETE Sometimes I feel like I trapped you. DEBBIE I do n't feel trapped. PETE Really? DEBBIE No. PETE You should, because I've trapped you. You ca n't go anywhere. I'm going to get you pregnant every ten years for the rest of your life. You can never leave me. Ever. DEBBIE I never feel trapped by you. I'm so happy to be with you. I love you so much. You're my favorite person in the whole world. god damn it, why am I crying like this? Something is wrong with me. PETE You're pregnant. DEBBIE Oh, yeah. Shit. I was just outside telling your dad that I liked him. What if he thinks I like him now? PETE No, he wo n't think that. DEBBIE I do n't want him to think I like him that much. PETE It'll never happen. DEBBIE -LRB- suddenly giddy. -RRB- Can you believe it? This is the craziest thing ever. What are we going to do with a third baby? PETE I have no idea. How are we going to afford it? DEBBIE We'll sell the house. PETE We do n't have to. DEBBIE We kind of do. PETE We kind of do. DEBBIE We'll make new memories in a new house. PETE I love you. DEBBIE Is there anything you want to do for your birthday? It's been the worst birthday ever. PETE There is one thing, but I do n't think you'll like it. DEBBIE What? PETE I would n't mind going to see some music. Would you want to do that? DEBBIE Yeah. PETE Really? I do n't believe you, but you're sweet for saying that. DEBBIE How do we break you out of here? PETE I can just leave on my own volition. It's not a mental institution. DEBBIE Can you? PETE It's not like One Flew Over the Cuckoo's Nest. Please do n't put a pillow over my face. Debbie laughs. DEBBIE Let's get out of here, McMurphy. PETE You got it, Chief. Will you carry me? As Debbie helps Pete off of the hospital bed, Pete kisses her passionately.",
"INT. SMALL NIGHTCLUB - NIGHT Pete and Debbie watch Ryan Adams perform `` Lucky Now'' with his band. DEBBIE I like this song. PETE Really? DEBBIE Yeah. Why? Pete smiles. DEBBIE -LRB- CONT'D. -RRB- Why do n't you sign him? PETE Ryan Adams? No, he would n't sign with me. DEBBIE Why not? You're the best. She smiles at him and he smiles back, almost blushing. This is the smile he has been waiting for. PETE Well, he is in between labels. Let's go try and talk to him after the show. The camera pulls back as Ryan Adams finishes his song. FADE TO BLACK"
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] | While having sex in the shower Pete reveals to his wife Debbie that he took a Viagra given to him by his friend Barry; this enrages Debbie and they stop. Debbie is angered that she is turning 40. In the five years since Knocked Up, Debbie owns a boutique with Desi and Jodi working for her. Pete owns his own record label, with his friends Ronnie and Cat working with him. Pete's business is struggling financially as he promotes the reunion of Graham Parker & The Rumour. The couple also are having to deal with their daughters; Sadie, a young teenager, and eight-year-old Charlotte. For Debbie's birthday, the couple goes on a romantic weekend to a resort. There they get high from eating marijuana cookies, and fantasize out loud about ways they would kill each other. After speaking with her friends Jason and Barb, Debbie decides to improve her marriage and family through exercise, and becoming more connected with her parents. Debbie tells Pete that he needs to stop lending his dad, Larry, money, because it is hurting them financially. Pete goes to visit him, but is unsuccessful at giving him the news, and still agrees to give him money. Meanwhile, Debbie visits her gynecologist, and discovers that she is pregnant. She decides not to tell Pete about this. Later, she yells at a student, Joseph, who has been taunting Sadie. She yells at him so much that his mother, Catherine, gets into an argument with Pete. One night between the school taunting sequences, Debbie takes Desi out dancing at a club, planning to confront her with her suspicions that she has been stealing money from the store. Debbie and Desi meet several players from the Philadelphia Flyers hockey team at the pub. Debbie awkwardly finds out that one of the players wants to hang out with her and possibly sleep with her. She is proud that he wants to have sex with her, but admits that she is married, has two kids, and is pregnant. Afterwards, Debbie drops Desi off at her house and confronts her about the missing money. Desi reveals she is able to afford nice things because she is also an escort. Later, Debbie meets up with Jodi, who confesses that she stole the money to buy Oxycontin. Debbie fires her and leaves. Meanwhile, Pete and Debbie are having to deal with Sadie and Charlotte fighting all the time, which results in arguments amid the family. They later have a meeting with the principal, but the couple denies everything that happened. The couple is overjoyed when Catherine starts using the same language they used previously and the principal dismisses them. On Pete's 40th birthday party, he argues with his dad about the money he wants from them. Debbie argues with her dad about not spending enough time in her life, and how his is perfect. Oliver then explains that his life is not perfect, and how he has always cared about her and loved her. Later, Pete overhears Debbie talking about her pregnancy, and rides out of the house on his bicycle in anger. Debbie and Larry then go after Pete, trying to find him. Soon, they find that he wrecked after hitting his head on a car door. Pete then gets into an argument with the driver of the car who then punches him in the stomach. Debbie and Larry take Pete to the hospital, where Larry and Debbie reconcile, with Larry advising Debbie that it's because of her that the family is able to stay together. Debbie is the fighter and she fights for the family. Debbie and Pete talk later and Pete explains that he is actually thrilled about having a third baby, and that he doesn't feel trapped, so the two reconcile. Sometime later, Pete and Debbie are watching a small concert with Ryan Adams performing. Debbie then suggests that Pete should sign him to his label and plan to talk to him as they finish watching the show. After the main credits roll, there's an extended alternate take of Catherine ad-libbing insults during the conversation with Debbie, Pete, and the principal. | This_Is_40 |
[
"MIDNIGHT EXPRESS THE FOLLOWING IS BASED ON A TRUE STORY. IT OCTOBER 6, 1970 ISTANBUL, TURKEY - SOUND UNDER, SHARP : CRACKLE - RIP - SNIP. A SET OF CLOTHES ON A HOTEL ROOM BED - trenchcoat, bulky white turtle - neck sweater, T - shirt, jeans, Western style boots. SOUNDS continue, Accentuated. MOVE Across open TRAVEL BAGS On The bed. Clothes, possessions. CONTINUE Across FURNITURE, WASHBASIN, TOILET. A large room, high old ceilings And windows suggesting Ancient Europe & design, A haunting greenish AFTERNOON light. We MOVE to HANDS, TIGHT - drawing out a strip of adhesive tape, SCISSORS move in TIGHT. SNIP! UNDERARM, TIGHT. Tape being laid over it. BACK OF SHOULDER. TIGHT. Tape going on. BELLYBUTTON, TIGHT. TAPE going Then : a harsh RIP! SOUND and the tape comes off the bellybutton. HANDS with new strip of tape. Moving to : HASHISH PLAQUE. Four of them, thinly pressed. One on top of the other. The HAND wrapping a portion of the TAPE around them and : BELLY, TIGHT. SOUNDS of BREATHING stop. The belly is sucked in. The TAPE is pulled HARD across, then CLINCHED. We hear F.X. of HEART BEAT - BILLY HAYES - 21, baby - face, attractive, medium build an aura of innocence. His eyes moving off his belly to : MIRROR. FULL SHOT. Climax. A creature in a bondage of his own devise, he is naked in his underpants, his body criss - crossed by a network of TAPE and 40 tightly pressed plaques of HASHISH in every conceivable crevice of his body. The eyes are hard. NIX THROUGH HEART BEAT, SOUNDS OF AIRPORT. INTERIOR ISTANBUL AIR TERMINAL dirty, crowded, wooden benches, peddlers. Turkish flight instructions on LOUDSPEAKER, followed by mediocre English translations. NOTE : ALL DIALOGUE IN TURKISH TO FOLLOW WILL BE MARKED OFF BY PARENTHESIS. A CERTAIN WILL BE SUBTITLED, BUT SOME NOT. LOUDSPEAKER VOICE Pan American Flight 1 to Frankfurt, London, and New York has arrived and will be ready for boarding at Gate 7 in 20 minutes. REPEAT IN ENGLISH over : BILL walking down a long CORRIDOR. He moves somewhat stuffly in the clothes we saw laid out on the bed ; his face complicated by dark, rather ridiculous aviator sunglasses and an increasing edge of nervousness to his actions. With him is : SUSAN 23, healthy outdoor looks, dressed casually colorful like an American student abroad. APPROACHING P.O.V. - a group of TURKISH SECURITY GUARDS, in rumpled green uniforms, at a security CHECKPOINT inspect the carry - on bags of several PASSENGERS. BILLY tensely contemplating the guards as he walks. SUSAN digging in her bag for her passport as she walks. BILLY, looking from guards ahead to SUSAN. He suddenly breaks stride, still a fair distance from the checkpoint. SUSAN glances at him. He is holding his belly. BILLY I think I've been poisoned. SUSAN And you ate two baclavas, right? I not to touch them, mine was awful. BILLY -LRB- his voice strained. -RRB- Look, I think I'm going to have to go to the john again. You go on through, I'll catch up. With a sense of panic, he turns and goes back down the corridor without waiting for a response. SUSAN concerned, moves on. BILLY in the WASHROOM MIRROR, again checks himself out. His glasses are off, and he has just watered himself down. But the SOUND of his HEARTBEAT is up, and his nerves are visible in his eyeballs and he knows it. He dabs at the sweat on his sideburns. He closes his eyes, takes a DEEP BREATH. A pause. He puts his dark sunglasses back on. Turns away from the mirror. No going back now. ADVANCING P.O.V. - SECURITY CHECKPOINT. The GUARDS again. Closer, closer, Guns in their HOLSTERS. SOUND of billy's heartbeat, CLOSE - GUARD smoking a cigarette, bored, uniform, looks at BILLY. The GUARDS again.SOUND of Billy's in a tattered olive GUARD Passport! BILLY PASSPORT. The Guard's tobacco - stained FINGERS take it open it. Basic information on Billy : Birth Date April 17, 1949. Birth Place : Babylon, Long Island. No wife, no minors. Signature. GUARD gives it back to BILLY. GUARD Bag! BILLY opens his shoulder bag, proffers it. The GUARD tosses it, pushing aside books, grabbing a white plastic dish. GUARD Nebu? BILLY -LRB- Understand the Turkish expression, `` What's this?''. -RRB- It's a frisbee. GUARD Nebu? BILLY A Frisbee. -LRB- makes a throwing gesture of the wrist. -RRB- You throw, catch it. Game! Curious, one of the other GUARDS ambles over looking at the frisbee. BILLY tightens. Cursing the frisbee. Sweat now runs his sideburns again. HEARTBEAT up. 2ND GUARD American game. Baseball. GUARD Ah! -LRB- puzzled, turns the Frisbee around and around. -RRB- THE SECOND GUARD studies BILLY curious about the sweat. Suddenly reaches up, indicates the eyes. GUARD Take off the glasses. BILLY understanding the gesture rather than the words, removes his glasses. His eyes. Straight, staring at the GUARD without trying to look away. A long moment. FIRST GUARD stuffs the frisbee back into the bag. Scowls. Takes a puff on his cigarette, coughs. Phlegm rattles around in his throat. Reads the International Herald Tribune, seated on a crowded olive - colored out on the tarmac She has saved him a seat and pulls her bag off as BILLY sits down. FIRST GUARD Aaaah! He waves BILLY through. BILLY puts his glasses walks past the back the SECOND GUARD turns away. BILLY walks past the Checkpoint. His HEARTBEAT drops. SUSAN reads the International Herald Tribune, seated on an crowded olive - colored BUS out on the tarmac. She has save him a seat and pulls her bag off as BILLY sits down. SUSAN Are you all right? He looks at her. Relief. A smile, awkward - he wishes he could tell her. BILLY Yeah. Yeah. Lays his head back on the wooden bench. Reaches out : TAKES HER HAND in his. She returns the grip. THE BUS DOOR slams shut. THE TURKISH BUS DRIVER rolls the bus out towards the PLANES visible in the far distance? SUSAN, feeling Billy is better, shows him the Herald Tribune. SUSAN -LRB- saddened. -RRB- D'you see this? Janis Joplin died yesterday. BILLY, his sunglasses removed, looks at the paper, almost abstractedly. SUSAN -LRB- OFF. -RRB- Overdose, in a Hollywood motel. NEWSPAPER Picture of JANIS JOPLIN. That big, earthy, rugged smile. BILLY'S P.O.V. - Moves Up page One To The Headline : NIXON OUT - RAGED AT PALESTINIAN HIJACKERS : CALLS FOR CAPITAL PUNISHMENT SUSAN -LRB- a faint voice. -RRB- Never Was anybody like Janis. BILLY, thinking other happier things, reaches over and playful! : squeezes her tit twice, rapidly. BILLY -LRB- smiles. -RRB- Never was anybody like you. SUSAN -LRB- annoyed, brushes his hand away, a clicking sound in her throat. -RRB- You ca n't take anything seriously. BILLY -LRB- smiles. -RRB- You're right. Bus stops suddenly. BILLY changes expression. THROUGH FRONT WINDSHIELD we see TURKISH SOLDIERS in several HALFTRACKS drawn up in a semicircle blocking the bus. The Pan American PLANE is directly behind. Also JEEPS and a POLICEMAN waving the bus down. BUS BOOR opens and the Turkish Police OFFICER hops aboard briskly : OFFICER Attention please, Ladies and Gentlemen. For your own safety we're conducting a security check before you board your airplane, Kindly file out the back. Women and children in one line. Men in another. PASSENGERS. A confused hum. VARIOUS PASSENGERS What's he saying? I do n't know. Marian. Hey Marian, what the hell. The Turkish - speaking PASSENGERS are gathering together their items and beginning to exit as : POLICE OFFICER repeats, in ENGLISH POLICE OFFICER Idem. CLOSE BILLY. The POLICE OFFICER is only beginning the speech.in English but already Billy realizes, And it's panic. Silent panic. That horrendous cold feeling all over his back : Oh God what have I done, what can I do now? He freezes. MOVE TO SUSAN rising, fetching her things, irritated. SUSAN Jesus, they do everything ass backwards in Turkey. Behind her we see the other AMERICAN PASSENGERS beginning to disembark with the usual chorus of overlapped conversations, expletives, including : PASSENGERS They're checking for hijackers. Any Palestinians aboard? Hey Harry, get rid of your grenades. Laughter is returned from several of the American contingent, but we MOVE BACK to BILLY in foreground ; all of a sudden he is on his knees trying to crawl under the seat. SUSAN -LRB- OFF. -RRB- Billy, what's the matter? BILLY My passport! SUSAN No! She bends down to look, coming FACE TO FACE with him. He grips her arm. BILLY -LRB- low voice. -RRB- Susan - forget it. Go get us a seat on the plane. Now. SUSAN -LRB- picking up the real fear in his voice. -RRB- What is it?. Billy? BILLY -LRB- a fierce whisper, panic. -RRB- For Christ's sake, just GET on the plane, okay! His tone stuns her ; never before has he spoken to her like that. A LOOK between them ; he has his glasses off now. She's not a stupid girl by any means and realizes something is very wrong and for the both of them, she'd best do exactly as he says. And fast. She moves OUT OF SHOT. BILLY, crouched low in the aisle starts to work fast, his finger : shaking reaching into his sweater starting to work the TAPE loose from around his chest ; looking from under the bench. Still quite a bit of commotion as passengers are exiting. BUT THEN : BILLY P.O.V. - UNIFORMED LEGS coming slowly down Isle Towards him. The muzzle of An M - l RIFLE tapping loosely Against the side of the kneecap. PAN WITH and MOVE UP as TURKISH MILITARY LIEUTENANT comes into view, intersecting outgoing PASSENGERS, eyes casually coming to rest on : BILLY looks up from his kneeling position on floor ; his sweater rolled back down ; he indicates the passport in his hand. `` Just found it'' expression. MOVE to the LIEUTENANT not necessarily suspecting anything, but with a customary insolence reserved for young vagrant - types, he stretches his rifle arms length with one hand and gently prods Billy up with the tip of the muzzle placed under his chin. MOVE BACK to the OFFICER, bringing the rifle back to his side, indicating Billy get off the bus with the others. All in silence. BILLY among a group of MALE PASSENGERS funnelling into two lines that pass on either side of a wooden inspection table. Thirty TURKISH SOLDIERS with rifles ring the area. It is open, vast, no place to run or hide. The only apparent hope is to melt into their regular jostling patterns of the passengers impatiently waiting. TWO PLAINCLOTHESMEN -LRB- Police -RRB- are on each side of the table, body - searching the male passengers alternately. SUSAN is in a similar set - up twenty yards away, with FEMALE ATTENDANTS doing the searching. She glances at Billy as she undergoes search. She is cleared, passes on, towards the ramp of the plane. BILLY, his sunglasses off, smoothly melts among the male PASSENGERS pulling some books from his shoulder bag. Glides to the head of the line. MOVE TO : The FIRST OFFICER patting down a PASSENGER, his back partially turned to Billy. MOVE AROUND bringing him into foreground as : BILLY skirts him in the background, camouflaged among two other conversing PASSENGERS waiting for the SECOND OFFICER who now appears in foreground on the lateral TRACK ; he is busy with another passenger. In passing him, Billy replaces the books in his shoulder bag as though he had already been searched by the first officer, Tension. FOLLOW BILLY as he approaches the boarding ramp. BILLY P.O.V. - SUSAN at the top of the ramp waiting. Smiling STEWARDESSES. Pan America. Haven. BILLY - FOOT rising off Turkish soil onto ramp. TURKISH HAND lightly touching Billy's elbow, then grasping the ARM. TURK -LRB- OFF. -RRB- Just a minute! BILLY his eyes flattening. SUSAN in LONG SHOT, reacting. BILLY turns trying to seem casual ; he confronts the SECOND OFFICER face to face and gestures towards the : FIRST OFFICER who happens to glance at them. SECOND Nebu? Did you search him? FIRST OFFICER -LRB- frowns. -RRB- No! SECOND OFFICER tightens his grip on BILLY, angry, and pulls him back to the TABLE. MOVE with them. The officer has been lied to ; in addition he is young, inexperienced, about eighteen. SECOND OFFICER -LRB- grunts a command, makes a gesture. -RRB- BILLY, comprehending, spreads his arms. The OFFICER pats him down carefully, brushing against his armpits. Precisely in the area where we saw the hashish. But incredibly he does n't notice, continuing to work his way down the hips and legs. CLOSE BILLY eyes on the sky behind the OFFICER, praying silently for a break. TURKISH FINGERS moving up the inside of his legs, onto his belly, touching the hard bulge below the navel. But again not noticing. BILLY in limbo, SOUND of his heartbeat. SECOND OFFICER pausing, his fingers around Billy's chest, about to let it go, then : PLACES HIS HAND suddenly flat on Billy's heart. OFFICER, sensing the accelerated Heartbeat, stares at : BILLY whose eyes jump, startled by this technique. FINGERS like excited spiders quickly run back up into the armpit area. STOP - right on the packets. TURKISH EYES SWIVEL to BILLY EYES CLOSE. Frozen moment. Then, sudden blur of movement at the edge of frame. SECOND OFFICER jumping back, grabbing his pistol from his holster, crouching on one knee, aiming the gun barrel at BILLY, hand shaking. He is terrified. SECOND OFFICER -LRB- screaming. -RRB- Bomb! He's got a bomb! AMERICAN PASSENGERS scream and the deck all around. AMERICAN PASSENGER Bomb! Bomb! BILLY stands there, arms straight up in the air, eyes clamped shut, trying not to breathe. CHORUS of rifle and revolver CLICKS OFF as : PULL BACK to OVERHEAD SHOT BILLY surrounded by thirty SOLDIERS with rifles pointed at him from all directions, crouched nervously. The PASSENGERS all huddled on the ground. BILLY, eyes closed. Edge of frame shows a shaky muzzle a REVOLVER poked into his belly, moving up. MOVE to THE FIRST OFFICER, older, more experienced but scared, poking with the revolver ; reaches in with his hand cautiously, starts to pull up the turtleneck sweater. MOVE with the hand, revealing the HASHISH PLAQUES around the navel. A pause. His HAND draws the sweater higher. More PLAQUES. FIRST OFFICER'S FACE relaxes. Starts to smile, finding it funny. FIRST OFFICER -LRB- yells out. -RRB- It's hashish. just a smuggler. SOLDIERS -LRB- OFF. -RRB- -LRB- in chorus echo, relaxing, chuckling. -RRB- Hashish. smuggler. hippy. MASTER ANGLE SOLDIERS REGROUPING. PASSENGERS starting to rise from the ground. SUSAN dumbfounded watching all this from the door of the PLANE, starts back down the ramp. But a flow of upcoming PASSENGERS slows her descent. BILLY is led roughly by TWO SOLDIERS parallel to the plane his hands on his head. He manages a glance at Susan. A slight but strong movement of the head and eyes. ` No. Do n't come down the stairs' SUSAN understands it, looks helplessly, hesitates lost between two worlds. A silent shaping of a puzzled mouth. SUSAN Billy? She is washed back along in the flow of passengers. VIP ROOM AIRPORT LOUNGE. The scene moves very fast, Indicating A sense of chaos. Much smoke. Many phone calls. Half A dozen Turkish police OFFICERS Are bizarrely seated In A row of fold up chairs next to A desk. Chattering among themselves -LRB- AD LIB -RRB- lighting their Turkish cigarettes. They hardly pay attention as : MOVE TO BILLY, scared, sweating - backlit by the huge windows overlooking the airstrip. In background, we see the 707 Pan American PLANE beginning to circle towards the runway. GUARDS have stripped him down to his bare chest and now knife through the adhesive tape from two sides at once. Then RIP the tape off. BILLY winces. ANOTHER ANGLE the room. Billy's luggage Is being Tossed. Clothes fly through the air. A sweatshirt ; Marquette University Rowing Team. A 35mm camera. A gift package for his mother ripped open. A silver Turkish kettle, clanging To The floor. Another package is ripped open and a set of Turkish tea cups smash and break all over the floor. Very fast. BILLY watches, bewildered. He is stripped of the last plaque in of the confusion is that each time another police officer his navel. FOLLOW the plaque clattering onto the pile of forty plaques. FIRSTOFFICER -LRB- OFF. -RRB- Name? BILLY -LRB- OFF. -RRB- William Hayes. MOVE BACK QUICKLY to the OFFICER with notebook at the desk. Part of the confusion is that each time we see another police officer we see he has another face. FIRST OFFICER Vi. Vilyum. Vilyum. BILLY -LRB- OFF. -RRB- Hayes. FIRST OFFICER Hi - yes. -LRB- writes it down. -RRB- ANOTHER ANGLE - FIRST OFFICER ` Merican? BILLY -LRB- nods. -RRB- New York. The OFFICER is puzzled. BILLY New York. New York. FIRST OFFICER Ahhhh. Nev Yok! -LRB- writes it down. -RRB- A LOUD SOUND OFF. The DOOR flies open and ANOTHER OFFICER strides in. Paunchy, moustached. The room is suddenly silent as we TRACK him in, followed by a grinning civilian FLUNKY with a big portable photo instrument and bulb. THE FIRST OFFICER jumps up from the desk, makes an obsequious salute to the SECOND OFFICER who arrogantly acknowledges it and takes the vacated chair behind the desk. The FIRST OFFICER moves to the first fold - up chair in the row, pushing the police officer in that chair further down. THIS OFFICER, in turn, shoves the next man down. It goes all the way down the line like a comedy until the last man in the row stands up against the wall. But this is all in the background as : SECOND OFFICER Name? BILLY William Hayes. SECOND OFFICER Vil. Vilyum? BILLY Hayes. Sharp SOUND OFF of FILM BEING RIPPED FROM CAMERA. He darts a look at POLICEMAN stretching the undeveloped film out. Another loud SOUND OFF, interrupting this - THE DOOR flies open again and a THIRD OFFICER strides in, obviously the most important yet, because the SECOND OFFICER jumps up from the desk, and all the others immediately move down one seat in the hierarchy without a moment's hesitation. But the THIRD OFFICER strides right up to Billy, waves to the SECOND OFFICER. THE CAMERAMAN in background bubbles with enthusiasm, sliding into position. Billy is puzzled - what's going on? His arm is grabbed and he is swivelled around. REVERSE ANGLE - OVER CAMERAMAN BILLY in the middle, flanked by SECOND and THIRD OFFICER, grinning like big game hunters, their arms on his shoulders. The FIRST OFFICER, sticking a bunch of hashish plaques into Billy's hands, runs OUT OF FRAME. BILLY looks from side to side. The SECOND OFFICER pats him hard on the back of the head, meaning ` look at camera'. BILLY glances at him, sees the grin on both the officers' faces. Thinking this is the necessary expression, he grins at the camera. CAMERAMAN disgustedly looks up from his eyepiece. CAMERAMAN No. He's smiling. Make him look miserable. SECOND OFFICER slugs BILLY in the stomach with a quick back - handed fist. BILLY groans, sinks to his knees. The plaques fall on the floor. FIRST OFFICER -LRB- running up. -RRB- Gel? Gel? He growls, grabbing Billy's arm and hauling him up, gathering the hashish plaques and putting them back in his arms. The TWO OFFICERS put their arms back on Billy's shoulders. BILLY, in pain, makes the proper expression of misery. FLASH! The bulb goes. THE 707 PAN AMERICAN PLANE, destination New York, roars up into the sky. PULL BACK all the way to BILLY sitting next to the window, huddled over, feeling woozy and near vomiting. He glimpses the plane but it is anti - climatic now ; as he stares down at his boots. Then remembers something! Surprised. ANOTHER ANGLE - ROOM. The Turkish OFFICERS talk AD LIB among themselves, congratulating, slapping shoulders, pointing to the hashish plaques, etc.. In center background, we see BILLY submissively lifting his arm for permission to speak, THIRD OFFICER nods, approaches, followed by OTHERS. BILLY slowly, partly out of pain, pulls off one of his boots, bangs it on the heel and two more PLAQUES clatter to the floor. TURKISH MOUTHS drop open. BILLY finishes the process with the other boot. An awkward silence OFF. BILLY -LRB- trying to explain, innocent. -RRB- I forgot. I really did. -LRB- makes ineffective gestures. -RRB- ANOTHER ANGLE. The room explodes with screams and commotion. THIRD OFFICER -LRB- screaming at SECOND OFFICER. -RRB- You idiot, you fool. You told me the American was searched. and he's pulling hashish out of his boots! You're all dogshit! SECOND OFFICER -LRB- turning on First Officer, screaming. -RRB- You worthless piece of garbage, where did you learn to search a prisoner? He's been in our custody for an hour, etc.. FIRST OFFICER -LRB- screaming at the others. -RRB- Who searched him? Who? Amid all the screaming TWO POLICEMEN rush over and yank BILLY upwards, and start to strip all his clothes. BILLY -LRB- protesting. -RRB- That's it! That's all I have! BILLY spread - eagled STARK NAKED against the wall. He is afraid to move. A strange silence. ANOTHER ANGLE. BILLY naked in center B.G. against the wall.The OFFICERS and SOLDIERS quietly leering at his trim, muscular buttocks. Hungry stares. Bisexuality is prevalent in Turkey.But there is also embarrassment among the officers ; none would do anything openly in front of the others ; instead they just stare and smoke their cigarettes. Low murmurs. Continued telephone calls. Much thick smoke all over the room. Another DOOR opens OFF. Obsequious GREETINGS in Turkish. BILLY is afraid to look over his shoulder, feeling enormously humiliated. VOICE -LRB- OFF. -RRB- Howdy, Billy. Howya doing, Ok? A perfect Texas drawl. BILLY glances over his shoulder. Sees : TEX a tall, lanky blonde - haired American in a business suit with boots. Clean cut, very handsome, with a strong flavour of danger in his blue eyes. TEX -LRB- smiling, extends Billy's clothes. -RRB- I think these gentlemen have finished for the time being if you'd like to put your clothes on. ANOTHER ANGLE - BILLY, so grateful at last to see a fellow American, reaches quietly for the clothes, his eyes never leaving Tex.. Release? TURKISH DETECTIVE sits at the main desk in the room. Unlike the others, he has no moustache ; a skeletal face, intelligent looking. TEX Is behind, leaning casually up against the wall. Angled to Billy's side is the entire array of seated OFFICERS looking on like a tribunal. DETECTIVE -LRB- thickly accented English, sympathetic. -RRB- Are you afraid, Vilyum? BILLY, standing to the side of the desk, clothed now, buckling his belt - afraid. BILLY No, I'm not afraid. DETECTIVE Good. There's nothing to be afraid of. If you co - operate with us, you will be on the plane for New York tomorrow. yes? BILLY -LRB- softly, hoping. -RRB- Yes? DETECTIVE Good. Now, where did you get the hashish? BILLY A cabdriver. He picked me up in the Pudding Shoppe in the bazaar. DETECTIVE Would you recognize him again? BILLY Yes. I think so. DETECTIVE Good. Would you go back to the Pudding Shoppe now and point him out to my men if you see him? BILLY'S EYES MOVE TO : TEX who makes a cool affirmative nod of the eyes to Billy. BILLY -LRB- OFF. -RRB- Yes. STREETS, ISTANBUL, AFTERNOON. TEX drives his American CAR ; BILLY in the passenger seat ; TWO TURKISH PLAINCLOTHESMEN in the rear seats. Various BACKGROUND SHOTS of the city. TEX -LRB- casual tone. -RRB- You decided to fly at a bad time Billy Palestinian Guerrillas all over the place blowing up planes and all. BILLY -LRB- shakes his head. -RRB- Stupid. TEX Four planes in four days. but I guess you kids do n't read the newspapers. and what with our people kicking up a shit storm ` bout the flow of heroin from Turkey you got. BILLY But did n't have heroin. TURK -LRB- grins. -RRB- Well I'm not up on all that. A drug's a drug seems to me Billy and. BILLY -LRB- sweating. -RRB- But it was my first time. I'm not really a smuggler, was just two kilos. TEX Well, you see Billy, it do n't really matter right now if it's 2 kilos or 200 kilos. The Turks love to catch any foreigner smuggling - it shows the world they're fighting the drug trade. BILLY But just. TEX Just what? BILLY I just needed some extra money. I was broke, the guy offered me the hash and. It sounds bad. Tex looks at him without expression. Pause.Billy tries to sense a sympathy in this ambiguous man, a liking towards himself. But feels nothing yet, except someone who can speak English. BILLY are you with the Consulate? TEX -LRB- not looking at him. -RRB- Something like that. Cigarette? ANOTHER ANGLE - BILLY nervously takes the pack and matches. TEX How much you pay this joker. this cab driver? BILLY Two hundred dollars. It was my last two hundred. TEX How much did you figure to make? BILLY fumbles to light up his cigarette. He is nervous, grateful to volunteer any information. anything. BILLY Three, four thousand. I do n't know. The guy offered me the hash -. -LRB- shakes his head. -RRB-. it just seemed like easy money. TEX Beats working. BILLY I was just going to sell it to friends. I'm not a pusher, honest. TEX grins, sceptical of his naivete, changing the subject. TEX Got a family back there? BILLY -LRB- inhales deeply. -RRB- Yeah. Parents, brother, sister. Babylon, Long Island. TEX What's your father do? BILLY He sells insurance for Metropolitan Life. TEX -LRB- a pause, not looking at Billy. -RRB- Be tough on'em. BILLY nods, takes a deep drag on his cigarette. ANOTHER ANGLE TEX Girlfriend? BILLY She was on the plane. Tex glances at him, questioningly. BILLY She did n't know anything about. I would n't have wanted her to. TEX Lucky girl. Billy leans back in seat, blowing out the cigarette smoke. BILLY Jeez, she used to say I was the lucky one. TEX Let's hope so, Billy. Let's sure hope so. A narrow cobblestone STREET. TEX pulls the car to a halt. THE PUDDING SHOPPE TWILIGHT Internationally - known cafe, adjacent BAZAAR. Crowded, noisy. WOMEN dressed in black hold crying CHILDREN by the hands. FOREIGNERS, mostly students and hippies, move about laughing, joking. Hawkers, street peddlers, vendors cooking shishkebab. small GYPSY BOY leads a huge MUZZLED BEAR on a leash. BILLY sits at a small outdoor TABLE alone sipping tea and eating baclava - nervous, very nervous, still trying to sort it all out in his head. If he does n't find the seller, what will happen next? MOVE across the TABLES, past a middle - aged AMERICAN COUPLE, to TWO TURKISH PLAINCLOTHESMEN watching him closely. They look evident. TWO HIPPIES make a wide berth around them. HIPPIES -LRB- OFF. -RRB- -LRB- in passing, low. -RRB- Hey Janet, why do n't you go sell'em some dope. MOVE ON to another TABLE where TWO MORE PLAINCLOTHESMEN sit, equally evident, watching BILLY. TEX sits in his car, in the distance, casually glancing at a newspaper. BILLY's eyes rove.",
"INTERIOR PUDDING SHOPPE Large. Many tables. Stairs. A back exit. ANOTHER GYPSY BOY leads a huge PINK PIG leashed with a wooden sign around its neck proclaiming `` Pig'' in Turkish. Various TURKS point the pig out, laughing at it, some disgusted by it, making faces and gestures : `` Go way, go way! `` Ayip!'' The PIG moves past BILLY, who shifts his gaze to : POV - CABDRIVER # 1 lingering at the curb. PAN to CABDRIVER # 2 PAN to CABDRIVER # 3. PAN BACK to # 1 and again to # 2 indicating no real fix on identity. BILLY tense now, knowing this is the chance he must take, nods with his head, pointing at CABDRIVER # 2, off. THE PLAINCLOTHESMEN move out towards CABDRIVER # 2. BILLY tentatively rises, as if to join them, but moves slyly towards the interior of the cafe. PLAINCLOTHESMEN move in roughly on a surprised CABDRIVER # 2 who begins to protest LOUDLY -LRB- AD LIB -RRB-. BILLY moves through the INTERIOR of the PUDDING SHOPPE, past the tables, past the stairs, towards the back of the shop, at a normal.to attract attention. A PLAINCLOTHESMAN looks around, sees he is gone. Tells the others -LRB- AD LIB -RRB- They spread out looking, abandoning the CABDRIVER # 2 who spits and curses them -LRB- AD LIB -RRB-. BILLY, with one backward glance, now eases out the BACK DOOR, into a bilious sunlight, onto a STREET. Pause. A HAND with GUN moves into FRAME pointing a six - inch barrel right at his temple. BILLY freezes, moving just his eyes to : TEX looking down at him calm, merciless. TEX You seem like a nice enough kid to me Billy, but try it and I'll blow your fucking brains out. BILLY - the sense of betrayal in his eyes. ESTABLISH PRISON - OVERHEAD ANGLE. A large and Byzantine structure suggesting the 15th Century Sultan's Janissary Barracks. Irregular crescent various wings ; a MOSQUE inside the prison. The possibly a shapes to the sense of an endless a decorative an equally in a city, labyrinth built by some mad Arab architect to suit purpose and now, in the 20th Century, transformed by mad Turkish bureaucracy into a prison. It should be preferably made to look like Istanbul. Faint background atonal Turkish CHANTING. Evening Muslim prayer. `` Allah wakbah, Allah wakbah.'' on and on, suggesting to us fear rather than praise. BILLY VOICE Dear Mom and Dad. This is the hardest letter I've ever had to write. know the confusion and the pain it will cause you. And the disappointment. BILLY - his scalp being shaved off by a prison BARBER in an un - specified ANTI - CHAMBER, His eyes are staring dead ahead. BILLY VOICE -LRB- continuous. -RRB- I really thought knew what I was doing with my life. I'd hoped somehow to get out of this quickly so that you'd never know about it. But that just is n't possible now. I do n't know what's going to happen. But what can I say to you? Will ` I'm sorry' make a difference? Will it ease the pain, the shame you must be feeling? Forgive me. Please. BILLY is now completely BALD, SOUND SHARP OVER : A CELL DOOR SLIDING OPEN. BILLY steps in, bewildered. ZIAT VOICE -LRB- OFF. -RRB- Git! The cell is dark, almost black, an overpowering stench ; a small grey metal bunk is bolted to the floor with a lumpy mattress. BILLY turns, looking back at the man staring at him from the door. ZIAT is quickly summing up Billy's character. This is his craft.He is a prisoner and trustee. sinister man whose one motivation in life is the accumulation of money, in the pursuit of which he has acquired an ugly purplish SCAR running the width of his throat, various other facial SCARS ; and one blind milky white EYE. He's stocky and strong - about five ten, with bushy eyebrows, brown cigarette teeth, big dirty nails, repulsively in need of a bath. What's surprising is that he is no more than thirty years old looks and behaves like sixty. The personification of the denaturalization of a man. Time, body, mind - all of them warped. BILLY, not yet attuned to his nature, only repulsed, is still wearing his own clothes and makes a shivering gesture, enunciating very clearly, hoping he will understand. BILLY Cold. Very cold. Can I get blanket? Blanket? -LRB- makes a gesture of a blanket wrapped around him. -RRB- ZIAT smiles, showing his stained teeth, and starts to slide shut the cell door on its ROLLER. ZIAT -LRB- in English. -RRB- Mo sell. Too late. Tomorrow. A cobra smile flashes, as the cell door bangs shut. ZIAT -LRB- through the bars. -RRB- You be here tomorrow. `` Ayi Gedjaler'' -LRB- `` good night''. -RRB- Goes. BILLY walks around the cell, hugging himself for warmth. VOICE -LRB- OFF. -RRB- Pssst! BILLY stops, goes to the edge of the cell. A BONY BARE ARM motions from the bars of the cell next to his. We never see the face but hear a thick ITALIAN ACCENT, hoarse and cracked. VOICE -LRB- OFF. -RRB- -LRB- Whispering. -RRB- Your cell, no key. Open! Blanket. Three cell down. You get me one. Take. Extends a stick with a big nail pounded into the end, twisted over to form a hook. BILLY takes it. Hesitates. VOICE -LRB- OFF. -RRB- Ziat go for night. Go! BILLY cautiously slides the cell door open, amazed that it's been left open. Nothing makes any sense to him in this labyrinth ANOTHER ANGLE - BILLY steps out into a WALKWAY. A bare bulb overhead casts light. He glides past the three cells, seemingly empty. Finds the cell with blankets, sheets, towels and various supplies stacked inside. But it's locked. He slips the stick in between the bars and stretching, hooks the first blanket. BILLY asleep with the blankets pulled up to his chin. Suddenly DIRTY HANDS reach into frame and rip the blanket off. WIDEN TO : ZIAT -LRB- tugging the sheet, growls. -RRB- Brack! Brack! Then SLAPS at BILLY. BILLY ducks away. Encouraged, ZIAT steps up closer to him, sticks his fingers in his chest screaming. ZIAT You, goddamn you, give me sheet. Give me! And feints as if to hit BILLY again. BILLY reacts to defend himself, pushing ZIAT off and jumping out of the bunk. ZIAT, Enraged by the shove, comes back at BILLY, screaming, arms flailing like a bear to pummel him, but BILLY, not understanding the Turkish bluster in his mannerisms, meets him with a sharp right FIST into the front of his face. ZIAT staggers back, startled into silence ; he has misjudged this kid. BILLY waits, ready for the fight in the defensive position. The guy is bigger than himself. ZIAT, however, now feels the blood from his mouth and nose and freaks out, running out of the cell SCREAMING at the top of his lungs as if he's dying. BILLY is blindfolded, stumbling down stone steps pushed by a GUARD, into a dungeon - like basement room. THE PUNISHMENT CELLS. THE GUARD removes the blindfold. BILLY, adjusting to the light, stares around. The cell is spartan, with a series of pulleys and primitive bondage devices hanging from the cobwebbed ceiling.A DOOR opens and : HAMIDOU STEPS in, lowering his head to get through the door.Chief of the guards. A clean uniform. Four stripes. The only guard to carry a holstered gun. very frightening man. He is about six two, two forty, and muscular, and moves lightly like a fighter on his feet. His skull is bullet - shaped and completely shaven like Billy's, Enhancing this effect, he has no eyebrows, and his pale blue eyes -LRB- suggesting a trace of Indo - European stock in his ancestry -RRB- are set deep in his skull somewhat like turtle eyes, giving nothing away. His nose is a beak of skin his neck broad, his mouth a small crescent that moves as lightly as his feet between anger and amusement. He approaches BILLY, looks into his eyes, drawing out the moment for himself, enjoying the tension and the fear he instils in others. BILLY meets his eyes respectfully, then realizing this is perhaps not the thing do to, looks away. But, fascinated by the man's features beyond his self - control, he looks back. HAMIDOU, amused by eye actions, smiles thinly. The sort of smile that could imply friendship such is its hint of charm. HAMIDOU -LRB- to one of the guards. -RRB- Name? GUARD -LRB- checking a clipboard. -RRB- Vilyum Hi - yes HAMIDOU -LRB- looking at BILLY, repeating it. -RRB- Vilyum Hi - yes. And slowly his hand moves up to caress the edge of his hairless upper lip. An erotic gesture in Turkey. HAMIDOU Vilyum Hi - yes `` Its in my memory locked.'' He slowly extends his right arm stiff out to his side. BILLY watches, fascinated. HAMIDOU lets the arm linger ; then : SMASHES BILLY across the face with an open palm. BILLY shoots back : and smashes against the wall just from the force of one blow. Stunned. HAMIDOU advances, taking a wooden CLUB -LRB- FALUKA STICK -RRB- about feet three long and three inches wide from a GUARD. BILLY scared, emphasizing the words, trying to make himself understood. BILLY It was cold. Cold! I get blanket. Blanket! Cold! THWACK! BILLY'S LEG BUCKLES, where the faluka stick has just smashed him behind the kneecap. He SCREAMS going down. BILLY looks up from the floor : HAMIDOU with his club in hand. HAMIDOU -LRB- In some sort of English, smiles. -RRB- No do. No do. Raises the club. BILLY tries to block it with his hand, and the CLUB smashes his thumb. SCREAM. BILLY is hoisted upside - down in his UNDERPANTS ONLY with thick rope tied about his ankles, the legs spread - onto a PULLEY suspended from the ceiling. He is yanked upwards, then lowered slightly, his head and backs of shoulders banging against the stone floor. THE PULLEY is LOCKED into place. -LRB- LOUD SOUND -RRB- BILLY has this surprised look on his face still, through the tears. What's happening? Hamidou motions the GUARDS out of the room -LRB- AD LIB -RRB-. Turns back to BILLY, raises his club. BRINGS IT DOWN FORCE on the soles of BILLY'S BARE FEET. SCREAM. He cocks the club again. BILLY twists To avoid The blow CLUB catches him On The ANKLEBONE BILLY SCREAMs louder than ever as we hear The SOUND of wood On bone. Whimpering SOUNDS follow. BILLY looking through teary eyes, sure now that he is going to be killed. The CLUB - OFF - smacks sole skin with the same force as the first blow. No let up. BILLY still in the same position, vomits all over himself. HAMIDOU SPINS the PULLEY to a new position bringing : BILLY into a steeper, more vertical position. He is on the verge of fainting, bleary - eyed, looking as : HAMIDOU moves around in between his legs. Doing something indistinct with the stick between his legs, then dropping the stick. Then, with this bizarrely excited expression on his hairless face, he begins to undo his own pants. But, for Billy, it all BLURS OUT TO : JAPANESE SILK SCREEN depicting a fat jovial Buddhist monk, fishing placidly by a stream. Then moves to soap carvings of chess pieces Then a bed - sheet hung as a curtain with astrological symbols paint ; on it. SOUND OFF, of a blaring radio. Atonal TURKISH MUSIC. VOICE -LRB- close, intense. -RRB- Hey man, he's got ta walk, or his feet gon na swell up worse. 2ND VOICE -LRB- softer, sonorous, Swedish accent. -RRB- We take him down to courtyard. Then : ERICH - a gentle long bird's face. Long whitish - blond - hair, Swedish, well above six feet, 25. Another FACE moves into view JIMMY BELL, American, 23 fiery eyes, black hair and moustache, intense, strong. BELL Smoke this rocket, it'll cool the pain. ANOTHER ANGLE - BELL puts a huge cone - shaped JOINT with aluminium foil filter into BILLY'S LIPS. He hardly knows what it is, Puffing weakly. Though dehydrated and his face white without color, he has no facial markings. BELL You got ta walk around some man, or your feet gon na swell up something bad. BILLY looks down at HIS FEET Bloated black and blue with inflamed red points in various spots. A vicious bruise on his anklebone. ERICH is running a cold rag from a basin of water over them, his fingers tender. BELL -LRB- OVER. -RRB- You've been out for days man, talking all kinds of shit. Come on, we'll walk you down to the courtyard. BELL eases BILLY up from the bed, as ERICH puts a pair of clip - clops on his feet. ERICH Okay? BILLY nods. They rise together, bracing his shoulder. BILLY adjusting to the sensation of standing. ERICH How's it feel? BILLY -LRB- dizzy. -RRB- About as good as it looks. BELL Getchmis olsun BILLY Getchmis? BELL Olsun - `` May it pass quickly.'' I'm Bell, Jimmy Bell. This is Erich something Swedish. ERICH -LRB- smiling. -RRB- Just Erich. BILLY I'm Billy Hayes. At least I used to be. Looks around. A DORMITORY TYPE ROOM with 24 bunk beds set head to head in horizontal fashion, cramped and with minimal privacy. A narrow WALKWAY leading towards a TOILET AREA and STAIRCASE. BILLY Looks like a cheap hotel. BELL Yeah. Only the room service is lousy. Come on, let me show you the tennis courts. Helps him with ERICH to take the first steps. THE COURTYARD. The THREE of them emerge in a thin AFTERNOON sun, Billy now disengaging and hobbling on his own power. ERICH -LRB- watching Billy limp. -RRB- Feeling all right? BILLY -LRB- still groggy. -RRB- Yeah. That guy who beat me? -LRB- stops, slightly puzzled. -RRB- I feel stoned. BELL -LRB- grins, interjects. -RRB- ` Figgers. BILLY -LRB- vague, going on. -RRB-. He had a bald skull and. BELL Hamidou. Chief of the Guards. Do n't fuck with him. He almost killed an Italian dude couple months ago. Bad news. He try anything with you? BILLY glances at him, understanding. Pause. BILLY No. I do n't remember. Glances at ERICH. BELL With these fucking Turks, soon as the light goes out. I keep one hand on their feet and their feet better not grow. You'll meet Max. He got raped something bad down in Section 13. That's the pits. THE COURTYARD VARIOUS ANGLES The yard is 30 by 50 paces with a wall 20 feet high. Cigarette butts, orange peels crumpled news - papers, rocks, sticks, broken glass litter the place. No guards are on the walls ; the only GUARDS are unarmed inanimate lumps of boredom who look as helpless as the prisoners with whom they intermingle ; they have raggedy olive green uniforms and worn boots -LRB- they make $ 1 a month, augmented by bribes -RRB-. On one side of the yard is a 2 - story ROGUS -LRB- cellblock -RRB- with barred windows from which Billy and his two companions have just emerged. On the other side of the yard is another 2 - story KOGUS -LRB- the children's kogus -RRB-. The COURTYARD is colorful, almost like a bazaar, about 8O people in it - groups of exotically dressed AFRICANS, AFGHANS, ARABS, MALAYSIANS, EUROPEANS, and predominantly TURKS pacing back and forth talking in little circles, hawking wares, trading illegal currencies. Screaming Turkish STREET URCHINS 10 - 14 years old, share the space playing soccer and volleyball with a surprising viciousness, continually hitting each other and cursing. A bunch of them vehemently lay bets on the soccer game. Other aspects of the prison which should become evident : 1 -RRB- NOISE - continuous, Loud. Radios, Turkish music, screaming, shouting. 2 -RRB- CATS - all kinds, some of them pets, some stray, tolerated because they kill the rats. 3 -RRB- THE PRISONERS all wear their own clothing ; the foreigners preferring jeans, clip - clops, sneakers, Sweat suits. 4 -RRB- THE HEADS of only the new prisoners are shaved, then allowed to grow back. 5 -RRB- MANY PRISONERS have physical disabilities. Carbuncles on the back from wet mattresses. Boils on the lymph glands around the neck, buttocks, under - arms, sometimes SO painful the victim walks with his arms up in the air. Arthritic in the knees, hips, ankles. Fungus on the feet. Many limp. ANOTHER ANGLE - THE PRISONERS glance at BILLY as he walks, noting the beating he has taken and sizing him up, then going on with their business. BILLY The kids? Why are they. BELL -LRB- snorts. -RRB- Little fuckers are thieves, rapists, pickpockets, murderers, you name it - they do it. Do n't trust any of'em. BELL's eyes follow a knot of KIDS to : ZIAT has a window open on the FIRST FLOOR KOGUS and is selling little cups of tea to the kids from inside where he works a GAS STOVE. The kids push and punch each other to get the tea faster. BELL -LRB- OVER. -RRB- They tell Ziat everything. He's the squeal round here. Goes all over the prison. Sells watered - down tea, blankets, hash, black money, nembutols - anything for a buck. ZIAT leaves the stove in the hands of an ASSISTANT and moves down the window to a particularly gaudy AFGHANI a fierce hawk - faced old man with a chunk of his ear missing. He wears a colorful flowing robe, various scarves, turban, trinkets, rings, baggy pants, and pointed curved shoes, and makes emphatic violent gestures at ZIAT with his mutilated THREE FINGERS. ZIAT Seems to speak something of his language and bargains back. BELL -LRB- continuous. -RRB- He was an informer on the outside but he tried to screw the cops out of 60 kilos of opium. Watch him, he's a fox. BILLY says nothing to them about the Ziat incident, sizing him up for himself. THE AFGHANI having concluded the deal with ZIAT reaches deep into his layers of clothing around his crotch and pulls out several scrofulous $ 10 bills which discreetly takes in exchange for a thick wad of Turkish currency, his eyes moving around, stopping on BILLY. A hooded look. BELL -LRB- OVER. -RRB- Whatcha' in for, smuggling? Rash? BILLY turning his eyes away from ZIAT BILLY Yeah. BELL -LRB- shaking his head. -RRB- History, man, history. How much? BILLY Two kilos. BELL Where? BILLY The airport. Trying to get on the plane for the States. BELL -LRB- whistling a kind of punctuation. -RRB- Could be ten or fifteen. Maybe even twenty. BILLY -LRB- tensing. -RRB- Twenty months? BELL Twenty fucking YEARS, man - YEARS! I figger ten at the least. BILLY stunned. BILLY -LRB- soft. -RRB- Years? BELL Yeah, what do you think this is, the good USA? This is Turkey, man. -LRB- laughs bitterly. -RRB-. -RRB- It's a fucking accident here if you're innocent. And anyway. ai n't nobody who's innocent. ANOTHER ANGLE - all the color and breath seems to have gone from BILLY. ERICH -LRB- his English is halting but has a calming effect. -RRB- Do n't pay too much attention, anything is possible in Turkey. You might get bail. BELL snorts, amused, kicking the SOCCER BALL away hard as it dribbles towards them. ERICH If you make bail, you're free. You can get a fake passport or sneak across the border to Greece. The Greeks hate the Turks so much they never send you back. The Turks know it. They just keep the bail. money. BELL Sure, keep dreaming and see where that gets you. like Max, up in the head, you know. -LRB- makes a crazy signal towards the head. -RRB- You gon na eat a lot more fasoulia beans, Billy baby, ` fore you taste a hamburger ` gain cause you broke the law man, and you got caught. -LRB- grins. -RRB- And that. is history. ERICH The law is sometimes wrong. BELL -LRB- eyes feverish. -RRB- The Law is never wrong, asshole. The Law is! And stalks away, disgusted. A deep anger inside him. ERICH looks at BILLY who is quiet ; by way of apology. ERICH New people sometimes get on his nerves. BILLY -LRB- lifeless. -RRB- What did he do? ERIC He was caught steeling from a Mosque. That's heavy here. He got 30 years. BILLY Thirty years? ERICH Jimmy has more balls than brains. He did n't tell his parents he was in jail for a year and a half. He says he got himself in and now he's going to get himself out. He shakes his head, looking at : BELL him across the courtyard huddling with a cigarette, bartering angrily. a raggedy GUARD giving him a cigarette, bartering angrily. BILLY and ERICH. BILLY And you? ERICH Hashish. Ninety percent of the foreigners are in for hashish. They walk. BILLY What they give you? ERICH -LRB- passive. -RRB- Twelve years. Billy stops. BILLY How much did you have? ERICH A hundred grams. BILLY -LRB- appalled. -RRB- It's not fair! Even ERICH has to smile now. ERICH There is no fair in Turkey, Billy. It's all `` sula - bula'' like this, like that. An Italian hippie had a car accident and a Turk was killed. SO, they threw him in here for six months. BILLY That does n't seem so bad. ERICH But he was eating lunch a mile away when the Turk smashed into killed himself. BILLY He was n't even in the car? ERICH -LRB- shakes his head. -RRB- Aslan, there. -LRB- points. -RRB- ASLAN - a young big fat heavily moustached Turk, wearing a black silk double - breasted business suit, grotesque cuff - links, heavily pomaded hair, is huddling in a section of the YARD with FIVE other grinning GANGSTER TYPES, all in suits. ERICH -LRB- OVER. -RRB- Killed a guy. But his father's a big gangster on the docks. A `` Kapidiye.'' He'll stay in. twelve months no more, and get parole. In Turkey, murder is manly - `` erkek''. ERICH Glances back at BILLY ERICH You just got to get yourself a good lawyer. And some money. Talk to Max. He's been in the longest. BILLY How long? ERICH Seven years. MAX - `` Eskilet'' -LRB- skeleton -RRB-. British, tall, straggly long hair with wire spectacles set crookedly over his nose. An earing in one ear. The far away eyes of an international junkie, preoccupied and uninterested in small talk. Tough in his skinny way, like apiece of old dried leather. He occupies with his YOUNG STRIPED CAT a bunk in the far corner of the SECOND FLOOR KOGUS - in the process of shooting himself up with `` Gastro'' a smelly brown liquid stomach medicine. No one is in the vicinity except ANOTHER ANGLE ERICH and BILLY who watches repelled as MAX fumbles with a piece of twine tied around his arm in a tourniquet, searching for an unused spot amid dirty infected track marks. PLUNGES the needle in, pumping in the black gunk. Glances at BILLY. MAX -LRB- smiles. -RRB- Gastro. Stomach medicine. Has codeine in it. Best can do Pulls out the needle, loosens the tourniquet. His eyes take on a far away stare. ERICH Lawyers? MAX Yeah. there's no straight lawyers in Turkey. They're all bent bent as hairpins. Gives a spoon with a taste of the black residue to : HIS CAT who is full of spunk, and tries to catch Max's HAND. He looks at BILLY, not remembering him. ERICH His name? MAX Who? ERICH The lawyer? MAX is beginning to go. He sits on his bunk. MAX What lawyer? ERICH Who got the Frenchman out? MAX Oh Yesil. Yesil's his name but I. do n't know anything. ` bout. Yesil. ANOTHER ANGLE - MAX'S head begins to bob back and forth.Focuses on BILLY. MAX Best way is get your ass out. any. way. you can. BILLY What do you mean? MAX Get the. midnight. express. BILLY What's that? MAX smiles from faraway like a Cheshire cat and his head drops forward onto his knees, nodding off. HAMIDOU, swinging his falaka stick rhythmically against his leg and that calm killer look on his face, leads an uneasy BILLY down a MAIN WALKWAY with a roof overhead ; we gather that the prison contains several separate wings. ADMINISTRATIVE BUILDING - HAMIDOU glances back at BILLY, indicates with his stick `` come here'' and opens an office door. BILLY, still bewildered, his bruised feet almost back to normal, limps in warily eyeing HAMIDOU who follows. NECDIT YESIL, the lawyer, fleshy, grinning, thin black hair heavily greased, sits at a conference table. Standing adjacent is STANLEY DAVIS, the U.S. Consul - eyeglasses, striped tie, neat summer suit with stripes, trimmed hair, ivy league look, his eyes moving from Billy to : OLDER MAN, late 50's white hair, blue - eyed New York Irishman.A suburban insurance agent, rumpled suit, an anxious look on his face. Moving towards BILLY fast : FATHER Billy! FATHER AND SON embrace ; the father's left hand grabbing Billy's arm tightly as if never to let go. BILLY Dad! HAMIDOU looks on, intrigued by the Father and Son ; leaves silently, closing the door. FATHER looks into his son's eyes, his own eyes moistening. He looks tired, pain all over his face. BILLY looks down. BILLY Dad. I'm. ANOTHER ANGLE FATHER -LRB- voice quivering. -RRB-. Do n't worry about it. -LRB- managing a smile. -RRB- I can punch you in the nose later. Right now we've got to get you out of here. You all right? BILLY -LRB- eyes moistening. -RRB- Yeah. How's Mom? FATHER Bad. She could n't make the trip. You know Her boy. -LRB- breaks off. -RRB- Susan told us before we got your letter. She's fine ; she's trying to get the money to come back and see you, but. BILLY No, do n't let her! I'll. How about Peg? Robbie? FATHER Same. None of the neighbors know. We told them you were in a hospital in Europe. Oh. this is Stanley Davis. He's the American Consul here. And Necdit Yesil, the lawyer you wanted. ANOTHER ANGLE DAVIS -LRB- shaking hands. -RRB- Hello, Billy. BILLY Hello. The professional smile from the Consul, but in the handshake and the eye contact, BILLY is cool. The unanswered question : Where were you before my father arrived? DAVIS I want you to know we're going to do everything, in our power to get you out as soon as possible. Believe me. BILLY Thank you. ANOTHER ANGLE YESIL moves forward. unctuous. bubbling with high spirits, profusely shaking BILLY's hand, exuding confidence in fractured English, YESIL Vilyum, I am Necdit Yesil. BILLY Mr. Yesil. YESIL I know exactly what you feel but you must not worry, we are acting immediately, we get the right court, the right judge, I arrange everything - just right. And I think we get you bail. If very bad, maybe twenty month sentence. But I think we get you bail. Pause, BILLY looks at him wondering how to take him in. YESIL -LRB- reassuringly. -RRB- You know I have lectured at the University of Maryland in your country? Also University Michigan Very nice country. We both go back. -LRB- smiles. -RRB- BILLY -LRB- trying to concentrate. -RRB- If I get bail, Mister Yesil, they say it's easy to cross the border into Greece? FATHER -LRB- pacing up, hungry. -RRB- Right! That's what we're shooting for. Mister Davis and have been in contact with the State Department, but right now relations with the Turks are n't too good, Nixon's upset the hell out of them. Our best bet's. right here. BILLY Dad. -LRB- pauses, glances at Davis and Yesil, embarrassed. -RRB- I'll pay you back for all this, I Promise. ANOTHER ANGLE FATHER Do n't worry about it. Right now money does n't count. Okay? A pause. YESIL Shifts, Throats are cleared. BILLY moves to sit down, limping faintly ; he is wearing sneakers and the bruises do n't show. FATHER Where'd you get that limp? BILLY -LRB- not wanting to alarm him. -RRB- Nothing. Just twisted my ankle. Sits down at the conference TABLE. BILLY Where you staying, Dad? FATHER -LRB- pulls up a seat next to Billy. -RRB- The Hilton. BILLY How do you like it? Istanbul? FATHER Well, it's an interesting place. -LRB- lowers his voice, a hint of a smile. -RRB- Tell you the truth, I think the food is lousy. The crap they sell in these little restaurants. I went out to eat in one of them last night, and I had to run to the damn toilet. You shoulda' seen the toilet. BILLY laughs. BILLY You mean you got toilets? FATHER is happy to see his son laugh. FATHER Yeah, with real toilet paper - and you do n't have to use both sides. BILLY laughs again. FATHER So now I'm eating at the Hilton every night. BILLY smiles. A pause. A worried look returns to the Father's face FATHER Why'd you do it, Billy? BILLY For the money. -LRB- Looks away. -RRB-. -RRB- FATHER -LRB- sighs. -RRB- I know you kids smoke that stuff, and we drink booze, but taking it across a border - it was stupid, Billy. Stupid. BILLY I know. Glances at DAVIS, YESIL back to his father, his voice beginning to tremble, ashamed of himself for letting it show. BILLY Dad get me out of here. ANOTHER ANGLE. The FATHER understands the desperation in his voice, puts his hand on his son's. FATHER I promise you, Billy. Just sit tight and do n't. DO N'T do anything stupid. Let me work with Mr. Yesil and Mr. Davis. We'll get you out. Okay? Billy, okay? All the assurance of the world is written in this kindly Irishman's face. BILLY feels it. BILLY being led by TWO GUARDS down a huge arched CORRIDOR in the COURTROOM BUILDING. BILLY Okay. PROSECUTOR VOICE -LRB- OVER. -RRB- THE world is now looking at Turkey. We are called the Heroin Supplier of the world. Stories about us are in newspapers and on television every day all around the world. The time has come, your Honor, to alter this image before we find ourselves isolated and morally ostracized by the rest of the human race. THE COURTROOM - monolithic, frightening, immense with cross - currents of greenish light from the enormous windows. People seem insignificant. THE PROSECUTOR, wearing dark green glasses, continues, scowling, gesturing profusely at : BILLY in the PRISONERS DOCK, baroque design, isolated. Does n't understand a thing, Erich's extra - large blue pin - striped suit makes him look rather absurd. HIS FATHER, CONSUL DAVIS, YESIL and ANOTHER LAWYER are seated together at the defence table conferring in low tones with each other. YESIL looks over at BILLY with a big reassuring grin, nods his head - nothing to worry about. TURKISH GIRL from the Press with a yellow legal pad, makes notes in the Spectator Gallery. Her legs flare out from a short skirt. BILLY pries his eyes away to : PROSECUTOR continuing in front of the THREE JUDGES high on an Alice in Wonderland podium wearing long black robes with scarlet collars. One of the Judges is bald, the other has his eyes closed, could be asleep. The CHIEF JUDGE in the middle has a sagging somewhat kindly face and short grey hair. A YOUNG MAN below the podium, is clacking at an ancient typewriter on a small table. PROSECUTOR VOICE -LRB- OVER. -RRB- -LRB- continuous. -RRB-. We must alter this image by punishing only our own drug smugglers - but by handing out foreigners who infest our culture with their depravity ungodly and behavior. We must start now - by sentencing this American, Vilyum Hi - yes, to the maximum sentence for smuggling, to be held up to the light of the world as an example of Turkish justice and its intention to halt the drug trade once and for all. I ask the Court therefore to sentence Vilyum Hi - yes to Life Imprisonment. He sits, staring malignantly at BILLY. THE JUDGES rise. JUDGE Thank you, Prosecutor. The Court will now recess to consider its verdict. The JUDGES exit. ANOTHER ANGLE, General commotion in the courtroom as people move about. The FATHER and DAVIS and the OTHER LAWYER consult among themselves, the FATHER vigorously nodding his head. YESIL approaches BILLY. BILLY leans forward anxiously in the dock. BILLY What'd the Prosecutor say? YESIL -LRB- hurried. -RRB- It's not important, just technical things. We make our case. You were very good, you spoke well. The Judge like you. It look good. Do n't worry. BILLY -LRB- pressing. -RRB- Did you ask for bail? But YESIL is called over by the other LAWYER and hurries off. A SOLDIER comes over and sits BILLY down. THE CHIEF JUDGE puts on his glasses, stands to read the verdict. YESIL, standing with the OTHERS, motions BILLY to rise. BILLY rises, tense. FATHER looks over at him, manages a reassuring smile. JUDGE continuing, after preliminaries : JUDGE The Defendant has been found guilty by the Court of the illegal possession of Hashish. PROSECUTOR, his expression souring, makes a gesture of defeat. We wanted a conviction for smuggling, not possession. BILLY, not understanding sees the Prosecutor's gesture, and a hint of hope crosses his expression. JUDGE puts the paper away, looks at BILLY directly. JUDGE Therefore. this court sentences you, Vilyum Hi - yes to be imprisoned at Sagamilcar Prison for a term of four years and two months. This Case is now closed. BILLY looking at the JUDGE does n't understand. Thinks he might be free. But suddenly TWO SOLDIERS move in, and start chaining his hands together. He is bewildered, looking at : YESIL hastily conferring with Billy's FATHER, more concerned about making a good impression with him than with Billy. YESILF Four years, two months. It's good. FATHER -LRB- stunned. -RRB- Four years! YESIL -LRB- quickly. -RRB- We appeal it. BILLY watching this, a lost look. FATHER is too shocked to do anything but look at YESIL who continues on : YESIL You will see, he will have maybe one year taken off this sentence for good behaviour. Remember, it is only for possession ; the prosecutor wanted life sentence for smuggling. -LRB- a smile. -RRB- To be honest Mr. Hayes, it is a great victory! BILLY is forcibly removed from the DOCK - in chains. THE FATHER, in the same CONFERENCE ROOM, FATHER -LRB- embarrassed. -RRB-. With good time Billy it works out to about 3 years. then there's the appeal. Yesil, Davis, they're all working for you We're going to try to make a deal to get you transferred to a Stateside prison. And Davis thinks there might be a political amnesty any month. Stops. Knows it sounds bad. BILLY looks down. FATHER Look - I know it sounds tough, Billy, but we're gon na get you out. FATHER grips BILLY by the arm hard. FATHER I promise you, but I do n't want you to get stupid again. Pull anything. They can play with your sentence. BILLY nods, acquiescent. FATTIER -LRB- his voice starting to crack. -RRB- I'm putting $ 500 in the bank for you. Anything you need you write. BILLY nods. His FATHER points to a stack of ITEMS on the conference table, picks up a cigarette carton. FATHER There's food, candy, writing paper, soap, books. -LRB- his eyes start to water. -RRB-. cigarettes, soap, tooth - brush, there's. Jesus! -LRB- cracks, throws down the cigarette carton. -RRB- I been writing insurance policies on people for thirty goddamn years. -LRB- laughs and cries at the same time. -RRB- And now I got ta see my own son. Jesus! Jesus! If I could be where you are Billy, I'd be there. Goddamn Jesus! These bastards. HUGS HIS SON BILLY is on the verge of tears. BILLY DAD! FATHER Oh Jesus! -LRB- sobbing. -RRB- HAMIDOU enters the room. A morbid curiosity in his expression about this show of grief. Watches a few moments, then indicating the visit is over, he taps his falaka stick lightly a few times on the hollow door. THWACK! THWACK! FATHER breaks the embrace with BILLY, tears streaking his cheeks. Silently indicates for him to `` Go, go Fast.'' BILLY goes, past HAMIDOU FATHER shaking his finger at HAMIDOU FATHER You take good care of my boy, you hear, or I'll have your fucking head, you Turkish bastard! It sputters out of his mouth, senseless to : HAMIDOU who closes the door. He has an angry glint in his eye. BILLY lies on his bunk at night deeply depressed, paler. Candlelight flutters softly against the stone walls. A PHOTO of SUSAN taken outdoors with a mountain range in the background, is on his wall with various SOAP CARVINGS of little chess piece she has designed. In the distance, very faintly coming upwards into our sound consciousness we hear a TRAIN WHISTLING in the night, on an old railroad track bypassing the prison walls. Two whistles. Chugging. Then passing off. The Midnight Express. BILLY'S VOICE Dear Susan. 1970 has now passed into 1971. You can drift in here and never know you're gone. You can fade so far out and you do n't know where you are anymore or where anything else is. The CAMERA DRIFTS around the SECOND STORY KOGUS revealing the sleepers : ERICH, BELL, MAX. BILLY'S VOICE -LRB- continuous. -RRB- I find loneliness is a physical pain which hurts all over ; you ca n't isolate it in one part of your body. I so much need your softness, your strength. I have your letters. They charge me, give me courage.News about amnesty and getting out - tangled, complicated. The CAMERA LINGERS on ZIAT in a far corner of the Kogus, top bunk, against a wall. Never secure, he shuffles in his sleep. VOICE I feel myself drifting more heavily into smoking hashish. The haze helps the time pass. Also I do soap carvings. Erich taught me. And I have been learning Turkish because it helps me to deal with the guards and the prisoners. I'm trying hard to maintain some sort of schedule to my life, but sometimes it seems like I'm just trying in order to try. ZIAT is evidently awake he pulls his RADIO over into the bed, and peering around to make sure no one is watching, here moves the screws from the back of it, pulls off the cover and puts in a sheaf of large denomination GERMAN MARKS : inside we briefly glimpse a wad of different - colored CURRENCIES stacked with rubber bands. COURTYARD. Volleyball game in progress. ERICH is tall and plays with dexterous grace. BILLY is fast, agile. BELL is muscular, intense, his hits power - packed. BILLY'S VOICE -LRB- continuous. -RRB-. In the daytimes we sometimes play volleyball against the big Turkish gangsters. THE THREE they play against are hilarious looking in this context, moving like big clumsy bears, waving their arms and screaming at each other, disorganized. Ever conscious of fashion, they have their jackets and vests off but play in their Elvis Presley shirts rolled up at the sleeves, shiny slacks, black pointed pumps. The boys wear shorts and sneakers. On the sidelines we see a group of PRISONERS laying bets and shouting encouragement. BILLY leaps up for a ball close to the net and as the TURKISH OPPONENT backs off, he dinks the ball in just over the net ; the Turk SCREAMS his teammates scream at him. BELL goes up for another ball close to the net and really SMASHES it with all his might, and : BALL bangs right into the eye of a TURK who flails his arms and SCREAMS with pain, very theatrical. THE SAME TURK now swaggers around the COURTYARD, wearing sunglasses so no one will see his black eye. BILLY'S VOICE To the Turks all foreigners are `` ayip'' - unclean, dirty. We do n't shave our under - arms or around our crotch. BELL across the pointyard grins at him and points him out to BILLY, and ERICH. BILLY VOICE -LRB- continuous. -RRB- Even the yoga I sometimes do is `` ayip'' - too suggestive. THE TURK scowls back at BELL, huddles menacingly with another TURK. BILLY'S VOICE -LRB- continuous. -RRB- And you're never supposed to eat with your left hand. You know why? Because that's what they use to wipe their asses with instead of toilet paper. And yet they hate pigs. There are no pigs in Turkey. They're considered dirty. BELL, smirking at the Turk, turns and walks away. BILLY VOICE -LRB- continuous. -RRB- So is homosexuality. That's a big crime here but most of them do it every chance they get. There are about a thousand things that are `` ayip''. But they're really so hypocritical, like children breaking the rules. For instance. Suddenly a CRY OFF and : THE TURK runs up, pulling a sharp SHIV from his pants, and using the cloth as a handle he repeatedly STABS BELL in the ass and backs of his thighs. One, two, three, four, five QUICK STABS, like a cook hammering veal. In spite of its violence, the action seems like slapstick. BELL tumbles to the ground, crying out. THE TURK stashes the shiv and disappears among his FRIENDS, his honor restored. BILLY and ERICH run over to help BELL who is obviously more in pain than in danger. BILLY VOICE -LRB- continuous. -RRB-. You can stab or shoot some body the but not above the waist because that's intent to kill. So everybody runs around stabbing everyone else in the ass. That's what they call ` Turkish revenge'. There's also a lot of `` Baksheesh'' that's a favorite Turkish word for bribery. LONG SHOT - HAMIDOU and ASLAN the young fat Turkish gangster pointed out previously by Erich, are taking tea together in the FIRST STORY KOGUS alone except for ZIATR and Hamidou's two FAT SONS, 7 and 8 years old, both dressed in little suits listening politely as Hamidou gestures to them, in couched terms. The voices are distant and, after a few beats, UNDER BILLY'S VOICE : HAMIDOU Unfortunately my youngest son Arief is having problems with his teeth ; he needs braces, but dentists are so expensive these days ASLAN -LRB- patting Arief on the head. -RRB- Poor kid. You know I have a friend, a very good friend ; he's a dentist ; maybe he could get you some braces at a. reasonable price. HAMIDOU -LRB- protesting with his hands, shaking his head. -RRB-. -RRB- Oh, no. it's out of the question. would n't want to ask your friend. ASLAN Yes. Please! As a favour. I insist They go on, each protesting. BILLY VOICE -LRB- continuous. -RRB- Hamidou hints that he needs new braces for one of his sons. Aslan of course has a friend who's a dentist. They bullshit for half an hour and Hamidou finally accepts the `` Baksheesh'' in return. A BURLAP BAG comes flying over the WALL of the COURTYARD late at NIGHT. Then another comes over, lands in the yard. one is around. BILLY VOICE -LRB- continuous. -RRB- Dope and all kinds of shipments get delivered to Aslan, who re - sells it through his runners. People like Ziat. But one night, it backfired. A THIRD BAG comes over, gets caught on a hooknail and rips right open. HUNDREDS of yellow PILLS spill out. COURTYARD. The SUN is just coming up in the East. PRAYER can be heard in the distance. Thousands of bombers are scattered all over the courtyard. BILLY VOICE -LRB- continuous. -RRB- There were thousands of yellow nembutols. Aslan as usual had the privilege of going into the courtyard before anybody else to pick up his stuff but. ASLAN arguing vehemently with a GUARD, in his ragged uniform, who wo n't open the cell of the FIRST FLOOR KOGUS into the courtyard. BILLY'S VOICE -LRB- continuous. -RRB-. it happened to be a new guard that day and he did n't understand the system. GUARD No. It's too early. ASLAN Open the fucking Gate, you asshole! Do you know who I am? You want to get in trouble! GUARD -LRB- angry. -RRB- Hey, I your mother! Get back to your bunk. ASLAN, red in the face, steps back, suddenly pulling out a little REVOLVER. He promptly shoots the GUARD in both legs and stalks back towards his bunk. PRISONERS rushing out into the COURTYARD, scrambling for the windfall of free nembutols. THE PRISON DIRECTOR, A balding unimpressive looking man in a western suit, is calling up the circular stone STAIRS to the second story Kogus from the first story. With him are several GUARDS, equally reluctant to move forward. Hamidou is absent. PRISON DIRECTOR Aslan. be reasonable. Come down and talk. ASLAN -LRB- OFF. -RRB- -LRB- from second story. -RRB- You come up here and talk! PRISON DIRECTOR -LRB- not moving. -RRB- Aslan. if you give up the gun, you can keep the bullets BILLY'S VOICE -LRB- continuous. -RRB- A week later Aslan had a new gun. A PHOTOGRAPHER, seedy looking, readies a big old fashioned box of a CAMERA. He snaps the shutter on : BILLY'S VOICE I know all this must sound crazy to you, but this place is crazy. ASLAN and a group of FELLOW GANGSTERS, all impeccably dressed and grinning for camera, fresh from their victory. BILLY, ERICH, MAX, form their own group ; in contrast to the Turks, none of them are smiling, MAX has his YOUNG CAT in hand. The PHOTOGRAPHER is lining up his shot, posing them like actors. BILLY -LRB- continuous. -RRB- Everything is `` sula - bula'' which means `` like this, like that'' - you never know what will happen. One day one of the new kids was raped in the children's kogus, so they picked out six of the worst kids. COURTYARD. GUARDS pull out SIX KIDS by the ears from a line - up. CLOSE KID being pinned onto his back on the floor in CHILDREN'S KOGUS : then he is bent over double by a wooden bench ; and TWO GUARDS sit on each end of the bench, holding him down. A silence, HAMIDOU appears in a hat and mohair suit with narrow lapels, accompanied by his two little fat SONS, also in their Sunday best. With a ceremonious solemnity, HAMIDOU takes off his jacket, hat, vest, hands them to his sons. BILLY watches through the WINDOW with OTHER PRISONERS. HAMIDOU is passed a falaka stick. He raises it high in the air and begins to whack at the buttocks, legs, and feet of the SCREAMING KID. ANOTHER ANGLE - On this cue, the five GUARDS on the other benches begin whacking away ; the KIDS squirm, scream, struggle but the GUARDS sitting on the of the benches brace their legs farther apart to keep their balance, In immediate background, the other KIDS watch, scared. THE TWO SONS with wide - eyed but passive expressions, stare at their father at work. HAMIDOU beating his VICTIM, screams out : HAMIDOU PIS! PIS''. -LRB- `` Obscene, filthy''. -RRB- Then stops. HAMIDOU is handed back his vest, jacket and hat by his SONS : Puts them on ever so neatly and leads them off as if on a Sunday stroll leaving the CRYING behind. On their backs, we hear, placidly : HAMIDOU You see Mamur, Mamet - what happens when you're not a good boy. BILLY VOICE -LRB- continuos. -RRB- Then there's Ziat. The more I know of him. TEN DOLLAR BILL exchanging HANDS. The dirty nails of ZIAT clutch the bill, waving it to the candlelight to see if it is authentic his milky white EYE across the BILL. He is next to his bunk at night. BILLY VOICE the more hate him. MAX and BILLY are next to him, MAX eagerly gouging with his knife into a small bar of SOAP : PULLS out a ball of HASHISH inside, neatly concealed. Brings it up to his NOSE, sniffing. ANOTHER ANGLE - BILLY is watching with glazed eyes - stoned. Approving of the $ 10, tucks it into his belly cloth looking over and scowling at : MAX'S YOUNG CAT on his bunk scratching playfully at one of his wool sweaters. ANOTHER ANGLE MAX holding the ball of hash : MAX Ten dollars for this shit? You greedy one - eyed git. ZIAT NO! Is good! -LRB- gets his English wrong. -RRB- Me good shit. -LRB- Meaning my shit is good. -RRB- MAX No! You big shit! ZIAT thinking MAX is correcting his English, nods and repeats : ZIAT Yeah! Efe big shit. BILLY and MAX snigger and ZIAT realizes they are making fun of him. He hates that and suddenly reaches over and : ZIAT JAAAASH! SHAKES THE CAT hard off his bunk. A SQUEAL from the cat. MAX surprised, glares at Ziat. MAX You asshole! Then hurries after it, calling its name. MAX Hikmet come here boy. Hikmet ZIAT shrugs. So what? BILLY -LRB- irritated. -RRB- What is it with you man, what the hell is it? ZIAT Cat, ah! Ayip! BILLY You're ayip! ZIAT -LRB- glares at him, then lets it go. -RRB- Look, you do n't fuck with me, I do n't fuck with you, right? BILLY But you fuck with me. You fuck with me all the time. You make crummy tea. You rip us off on the hash. ZIAT -LRB- amused. -RRB- I make special tea for you, Hiyes, okay? We've to live like brothers. We have to be in here together. BILLY -LRB- tired of it. -RRB- Oh shove it, Ziat for all the money you have, you have nothing! ZIAT grins, shrugs, squats and fiddles with his keys and footlocker. ZIAT You ` Merican. You do n't know. BILLY watches, repulsed and fascinated. BILLY Know what? ZIAT Was. -LRB- makes gesture with his fingers. -RRB-. seven years old. I was on street in Suk. Buy. Sell. No family to take care. I learn. BILLY Learn what? ZIAT shrugs. He thinks BILLY is an idiot. ZIAT Dog eat dog, Hi - yes. You fuck other man before he fuck you. -LRB- grins. -RRB- And you must fuck last. BILLY That's a great philosophy. ZIAT -LRB- shakes his head. -RRB- You ` Merican. You do n't know. MAX has followed his cat down to the end of the floor but it has run up into a rafter which he can not reach. He calls up. MAX Here Hikmet! Come down here boy! Hikmet. RAFTER Nothing. Max gives up. MAX Sodding cat! He shuffles off back to his bunk. THE CAT is back on ZIAT'S BUNK - NIGHT scratching with his paw around the radio. of the neck, hard. Suddenly he is GRABBED by the scruff of the neck, hard. BILLY jerks up from his bunk as he the hears a loud, piercing SCREECH, OFF, echoing through the Kogus. Then silence. ZIAT, industrious as always, is preparing his tea on the three burners of the small bottled gas' stove in THE KITCHEN, FIRST FLOOR Kogus ; needless to say the area is filthy with scraps all over the floor, cats and two large wooden eating tables occupied by some PRISONERS. The Kitchen opens up in background into a WASHING ROOM with SINK. It is EARLY MORNING - Muslim CHANTING OFF, THREE TURKISH PRISONERS walk in, talking -LRB- AD LIB -RRB-, followed by MAX stoned, who shuffles over to the table, about to sit, sees something. HIS CAT, dead stabbed, and lying there neglected in the corner, just another scrap ready to be swept out. ZIAT calmly pours the tea for the table, paying MAX no attention, an excellent actor. Prominently seated, however, is a GUARD. MAX quietly glares at ZIAT and the Guard but says nothing ; he has been in prison long enough to know how to hold it in. ANOTHER ANGLE MAX - silently walks over and gently picks up the corpse in his arms, starts to walk out. BILLY listening impassively to : YESIL the lawyer. They are in a booth in the VISITING CAMBER. Bars separate prisoner and visitor. YESIL -LRB- smiling. -RRB- The new American Ambassador here is following your case very closely. He says there is progress. But there is another route that is quite possible. -LRB- lowers his voice and leans close. -RRB-. For the proper amount of money it is possible I can convince certain officials to lose track of your papers before the High Court in Ankara confirms the sentence of the Lower Court in Istanbul. You would not exist ; and you could be in Greece by the time the Turkish courts discovered a stupid clerical mistake. But I have to act before the official sentence is handed down, and for that I must pay certain officials in advance. BILLY closes his eyes as YESIL'S VOICE drones on, explaining the details, the cast, the simplicity Of it, FADING OUT BILLY walking the COURTYARD counting his paces 48, 49, 50 Turns, goes back. SUSAN'S VOICE My dearest Billy. I know it is long and it is hard for you, but your family and I are thinking about you all the time. I am trying hard to make enough money nights to come and see you. Your father says that lawyer Yesil wants another $ 2000. I know you distrust him more and more, but your father wants to do everything he can, and he is borrowing all he can on the mortgage of the house. Money seems to be the only way out of there. Except of course the other way. BILLY, MAX and BELL -LRB- bandaged around the ass from the stabbing -RRB- are huddled around BELL's BUNK late NIGHT candle burning, a sheet sealing off some of the kogus. Bell furtively looks around, pulling out and elaborately unfolding a set of DRAWINGS from a pack of letters. SUSAN'S VOICE -LRB- continuous. -RRB-. But I can not say I am for it. Nor are your parents. They consulted the priest, and he said to send you money for that reason would be like sealing your death. BELL -LRB- excited. -RRB- The blueprints! MAX To what? BELL The prison, man. There was this German cat an architect in the hospital. He was helping the Turks build some shit round the place. I laid some bread on him and he let me copy them. BILLY, puzzled, turns the drawings upside - down, sideways. THE DRAWINGS are a lunatic mess of scrambled lines, dots, crosses. ANOTHER ANGLE MAX and BILLY, trying to follow the map, look at each other dubiously. MAX Too bad you did n't have a machine. BELL -LRB- intent. -RRB- There's two ways out I figger - over the roof, but that's only one person, maybe two. The other way is Under. BILLY Tunnel? BELL -LRB- grins. -RRB- It's already built! There's a basement substructure where they used to keep weapons and stuff, but beneath that there's these old catacombs that the Christians built ` bout a thousand fucking years ago to bury their dead. We're sitting right on top of it - here. INSERT DRAWING, illustrating roughly the structure of the prison. His FINGER tracing, bubbling with nervous enthusiasm. BELL -LRB- OVER. -RRB- The Kraut said there's a whole bunch of hollow sealed shafts sort of like dumbwaiters running along this wall ; one of them is right in there, right next to our shower. We get in there, he says, we can get down into the catacombs. With three of us working. -LRB- stops. -RRB- MAX is standing, tapping on the wall, listening, a funny look on is face. MAX Got ta be here someplace. Thought I heard a couple of dead Christians singing down there. ANOTHER ANGLE BELL -LRB- irritated. -RRB- Stop shitting me, man! BILLY -LRB- trying to be serious. -RRB- But how would you get into the shaft, Jimmy? MAX I suppose you knock three times and ask for St. Peter. BELL -LRB- turning on Max. -RRB- Hey! I'm getting this together man and I do n't need no fucking Gastro - head along on this trip! -LRB- a fierce look at Max then back to Billy. -RRB- We go through the wall. BILLY -LRB- a resigned look on his face. -RRB- We go through the wall? MAX -LRB- quite sure Bell is out of his skull. -RRB- We go through the wall. BELL between BILLY and MAX walking in the COURTYARD continuing intently : BELL The Kraut was right! I checked it out - there's no reinforced steel in those bath walls. They're real soft from underground seepage - BELL reaches the wall, turns around and continues Lowers his voice occasionally as other PRISONERS intersect them. BELL -LRB- gesturing profusely. -RRB- - the water like'' ` weeps'' through the cement, see. Twenty, thirty years, you can almost push it over. All we do is use Gastrohead's screwdriver here and scrape the mortar out. Pull out 2, 3 stones, squeeze through, put'em back, and get our ass down the shaft, It's a two night operation, maybe three. MAX And what do you do when you in the catacombs? BELL The catacoombs? Whaddya want, a door? There's miles of em like a sewer system but they got to come up someplace in Istanbul. Max is fed up with it now, no longer joking. MAX You got ta be fucking crazy! You got stabbed in the ass once too much, sweetheart, cause you're gon na end up in Section 13, that's what - not the ` catacombs. BILLY Section 13? MAX -LRB- looking at Bell. -RRB- Yeah, for the criminally insane. -LRB- looks at Billy. -RRB- I was there once for two weeks and it ai n't an illusion. It's awful. Namidou runs it like a death camp, that's where he spends most of his time. BILLY Where is it? MAX I don' t know. It's someplace down in there. -LRB- points at the ground. -RRB-. deep. A big door. a wheel. His eyes go back in time, haunted, vague breaks off. ANOTHER ANGLE BELL -LRB- low - keyed. -RRB- Hey, you know what's gon na get us out of here? It's not a map, Max. It's our balls. You know what I mean. -LRB- straight at Max, Billy, very sincere, his eyes almost watering. -RRB-. I got ta get laid man, I do n't know ` bout you guys, but if I do n't get it on soon, I'm. I'm not gon na make it. MAX -LRB- under his breath. -RRB- Shit. BELL Billy? BILLY The roof sounds better to me than digging through a wall. Ziat's round there all the time. But the roof. -LRB- looks up. -RRB- P.O.V. - THE ROOF, its edges visible over the courtyard. BILLY shakes his head. BILLY The bullet percentage is awful high. A pause. BILLY looks away from BELL'S stare. BILLY If I get caught, Jimmy, I'm facing another months. I'd be back up to 3 years, maybe more. Looks down. BELL understands, deeply disappointed. BELL Well fuck it! Choose your own death, babe, I'm taking the roof out of here! Bell leaves : A LONG DUNGEON CORRIDOR at the end of it, the frame of a small ; DOOR, cracks of light at its edges. TRACK IN - F.X. of a siren, capture and now BEATING - heavy beating from behind that door. CLOSER we reach it. The door FLIES OPEN and HAMIDOU is glimpsed lighting a cigarette. Like a surreal dream, his hand holding the match has a thick LEATHER THONG bound around its knuckles and blood speckled on his fingers. A BLUR of foreground movement a GUARD coming out the door - dragging : BELL by the hair across the floor. His face contorting in agony. BILLY'S VOICE Dear Susan. Poor Jimmy was caught and beaten so badly he got a severe hernia and lost a testicle. He's been in the hospital for months having operations. CLOSE BILLY'S TOOTH BEING PULLED BILLY VOICE -LRB- continuous. -RRB-. In comparison my problems seem very small. But two and a half years have now gone by, and in their own fashion, the Turks are slowly draining my life away. WIDEN to a STONE CHAMBER and a crazy looking DENTIST in a filthy long white smock, puffing on a cigarette holder, his ashes falling over Billy as he works his mouth. A motorized drill is plugged into the wall, adjacent a filthy spittoon covered with blood ; dried blood is spattered liberally around the chamber. BILLY spits out the blood and looks in the mirror. BILLY'S VOICE I have problems with my stomach and my leg muscles feel very weak. My gums seem to be shrinking and they sometimes bleed when I massage them. They've pulled five of my teeth. Suddenly he starts SHOUTING angrily in TURKISH. The DENTIST screams back at him. AD LIB. THE DENTIST still screaming, leans BILLY back in the chair and looks in his mouth. BILLY'S VOICE -LRB- continuous. -RRB-. sometimes they null the wrong one. BILLY is washing himself in his undershorts at the SINK with ERICH ; the hot water is on full blast and billows of vapor fill the small stone room, like a sauna. He pours a pitcher full of hot water over his head ; his eyes lingering on : THE STONES of the wall with their cracked moldings ; some areas are noticeably darker than others - Bell's `` wet spots'', the alternate escape route. BILLY VOICE -LRB- continuos. -RRB-. even my dreams do n't seem to work any more. Because the outside does n't seem real any more. It's not even a fantasy. because there is no fantasy. ERICH uses a coarse washing sponge on BILLY's back. BILLY'S VOICE -LRB- continuous. -RRB- Even masturbation has become boring. It teaches you, like the rest of prison life, to seal up your emotions, and this is the greatest danger, this is what makes so many of the men change into something monstrous. EYES of the ARABS peer through the musky vapors at Billy and Erich ; they loll about the door curious, lecherous for their bodies. ERICH massaging BILLY on his bunk in the SECOND STORY KOGUS. BILLY VOICE -LRB- continuous. -RRB- It is Erich who has taught me how it is to be conscious, to channel and direct my energy. He has convinced me to stop smoking hashish, he is the calmest man I have ever known. If you do n't control your energy in here if can blow you apart like with Bell. And you ca n't waste it either. You have to weigh up every one of your actions - for and against. Too little sex, too much sex either will throw you off balance. ERICH leans forward and kisses a tentative BILLY on the lips. A gentle kiss. They are standing inside the TOILET STALL ; lower themselves down onto the seat. ERICH looks back over his shoulder, guarding their privacy. It is late NIGHT. BILLY VOICE -LRB- continuously. -RRB-. he has taught me about feelings, and the need to express them. And he has taught me about love. BILLY closes his eyes, softly - and with hesitation - returns ERICH's caress. Their hands probe each other's bodies. BILLY VOICE -LRB- continuous. -RRB-. and what love really is, beyond its physical forms. I think up to now I have only considered my own self, never really another. ERICH and BILLY do yoga positions together EARLY MORNING fully clothed, in the FIRST FLOOR KOGUS empty space. ERICH lies on his belly, his back stiffly arched, feet raised. BILLY stands silent, balanced lightly on his feet, his palms pressed together beneath his chin, centering, eyes closed. BILLY VOICE and now strange as it seems, Susan, without having seen you in so long I feel myself more inside of you than ever before. I feel your female mind. I sense you, touch you ;. know you ; and find myself falling more and more. in love with you. BILLY rises gracefully onto his toes, stretching his arms out above his head. It is the beginning posture, his body greeting the day. BILLY and ERICH sit silently now in lotus position, facing each other, breathing slowly, relaxing minds still, looking into each other's eyes. Billy closes eyes. BILLY -LRB- chant - like, gathering momentum. -RRB- A prison a monastery a cloister a cave, Prison monastery cloister cave, Prison monastery cloister cave, Prison monastery cloister cave, Prison monastery cloister. SOUND OFF, interrupting the clomp of FOOTSTEPS on the STAIRS. ZIAT comes down, staring at the two of them as he goes into the KITCHEN to prepare early morning tea. BILLY's expression changes. BILLY Prison. Rises from his position. THE SUN flowering up over ISTANBUL. BILLY rises from his BUNK to the chanting drone of `` Allah Wakbah'' OFF, and moving to the closest wall, takes out an old wet rag. BILLY'S VOICE Dear Susan. Erich has been transferred to a prison back in Sweden. He has profoundly affected my life and though I am lonely without him I am calmer than ever. BILLY erases out a scraped numeral -LRB- 54 -RRB- on the wall and with a chalky piece of rock, inscribes in bold strokes the numberal : 53 BILLY'S VOICE -LRB- continuous. -RRB- Though I only have 53 days left, I feel I have never been so well adjusted to prison and to living as now. BELL -LRB- OFF. -RRB- Allah fuck Off! JIMMY BELL wakes, hearing the perpetual `` Allah Wakbah'' CHANT. BELL Asina Covaciml. -LRB- I stick it in his mouth. -RRB- He is noticeably pale and weaker than before. BILLY'S VOICE -LRB- continuous. -RRB-. Poor Jimmy. BILLY cuts hair in the FIRST FLOOR there with a disturbed tight look on his face, work with a pocket mirror. BELL sits inspecting the BILLY VOICE -LRB- continuous. -RRB-. Though his health is bad he still wo n't give up. GUARD approaching with a slip in hand. BILLY'S VOICE -LRB- continuous. -RRB-. He still talks of escape. THE GUARD hands the slip to BILLY who is pleasantly surprised. A visitor. BILLY, walking down and turning a CORRIDOR into : in the PRISON, following a GUARD and turning into : THE VISITING ROOM where the little booths with BARS separate prisoner and visitor. Behind the grill is the Consul, STANLEY DAVIS. His face is grim and grey. BILLY senses it immediately. BILLY What's wrong? DAVIS Sit down a moment, Billy. I'm afraid I have some bad news for you. BILLY sits, tense. BILLY Something happen to Dad? Mom? DAVIS swallows hard, not to say it DAVIS No. It looks like your going to have a new court. BILLY What do you mean? DAVIS The Prosecutor objected to your sentence for possession ; he wanted a smuggling conviction and the High Court in Ankara reviewed it. ANOTHER ANGLE BILLY And? DAVIS We've been notified that they rejected the sentence. Billy's face drains of all expression. DAVIS -LRB- continuing. -RRB- There were 35 judges on the High Court. Twenty eight of them voted for a life sentence. BILLY'S EYES. Numb, dazed, surreal. DAVIS -LRB- OFF. -RRB- The Lower Court in Istanbul will have to go along with the decision. The Judge likes you and he'll do the only thing he can do under the law. He'll reduce the sentence to thirty years. We're notified. Billy. Suddenly he is GRABBED by his ivy - league striped tie and his face is yanked up to the bars, his glasses falling off. BILLY is berserk, his face right up against the bars, GRIPPING Davis tight. BILLY What do you mean LIFE FOR FOR WHAT! FOR WHAT! DAVIS -LRB- choking. -RRB- Billy! Please! Commotion OFF as GUARDS run in, HAMIDOU in the lead. BILLY FOR WHAT! FOR WHAT! The GUARDS try to pry loose BILLY'S strangling grip ON DAVIS' tie. BILLY I HAVE FIFTY THREE DAYS LEFT! HAMIDOU takes out a KNIFE and cuts the consul's tie in half. DAVIS falls backwards. BILLY is hauled now. back, still gripping half the tie. He is trembling now. BILLY I HAVE FIFTY THREE DAYS LEFT! DAVIS is shaken. He has red bar marks across his face and is absent - mindedly trying to adjust half a tie as he looks at : BILLY being hauled out by HAMIDOU, SCREAMING something indistinct. COURTROOM. Same as before. BILLY, in the prisoner's dock, addresses the Court ; as he speaks, a Turkish TRANSLATOR. drones underneath his voice level : BILLY What is the crime? And what is the punishment? The answer seems to vary from place to place, and from time to time. What's legal today is suddenly illegal tomorrow cause some society says it's so ; and what's illegal yesterday all of a sudden gets legal today because everybody's doing it and you ca n't throw everybody in jail. Well I'm not saying this is right or wrong. It's just the way things are. YESIL the lawyer ; DAVIS the consul. THE PRESS GIRL from the previous trial in the short skirt. BILLY BILLY -LRB- continuous. -RRB- But I spent the last three and a half years of my life in your prison and I think I paid for my error and if it's your decision today to sentence me to more years, I. I. -LRB- a break. -RRB- You know my lawyers told me ` be cool Billy do n't get upset, do n't get angry, if you're good I can maybe get a pardon, an amnesty, an appeal, this that and the other thing.' Well that's been going down now for 35 years. YESIL looks over, surprised he is talking like this. Looks at DAVIS. BILLY. BILLY -LRB- continuous. -RRB- And I've been playing it cool and I've been good and now I'm damn tired of being good cause you people gave me the belief that I had 53 days left. You hung 53 days in front of my eyes and then you took those 53 days away, and Mister Prosecutor! I just wish you could. PROSECUTOR looks over, through his dark green glasses. BILLY -LRB- OVER. -RRB- stand right here where I'm standing and feel what that. feels like, cause then you'd know something you do n't know you'd know what means, Mister Prosecutor and you'd know the concept of a society is based on the quality of its mercy means, of its sense of fair play, its sense of justice. but. -LRB- shrugs and scoffs at himself. -RRB- I guess that's just like asking a bear to shit in a toilet. TRANSLATOR stops, looks puzzled. BILLY BILLY -LRB- same self - mocking tone. -RRB- For a nation of pigs, it's funny you do n't eat them. Fuck it, give me the sentence. Jesus forgave the bastards, but I ca n't. I hate you. Nation. I hate your I hate your people. And I fuck your sons and daughters! Sits down, disgusted ; under his breath : BILLY cause you're all pigs. SILENCE in the uncomfortably. courtroom. PEOPLE looking at each other DAVIS looks down. YESIL flips some pages abstractedly. TRANSLATOR Would Your honor like me to translate? THE OLD CHIEF JUDGE, the same one as before Shakes his head. JUDGE That wo n't be necessary ANOTHER ANGLE - THE JUDGE turns to BILLY in the foreground rises, and unexpectedly crosses his wrists out in front of him. JUDGE -LRB- emotionally. -RRB- My hands are tied by Ankara! Makes the gesture of the hands forcefully, with anger. TRANSLATOR -LRB- OFF. -RRB- My hands are tied by Ankara! BILLY WATCHING, JUDGE -LRB- OFF. -RRB- I must sentence you, Vilyum Hiyes. JUDGE JUDGE to be imprisoned at Sagamilcar for a term no less than thirty years. Getchmis olsun TRANSLATOR -LRB- OFF. -RRB- `` I must sentence you, Vilyum Hiyes, to be imprisoned at Sagamilcar for a term no less than years. `` Getchmis Olsun'' As he translates, the JUDGE unable to control his emotion exits rapidly, not looking at Billy, followed by the TWO OTHER JUDGES. TRANSLATOR -LRB- OFF. -RRB- `` May it pass quickly.'' THREE OLD GLEANING WOMEN swathed in black like three fates turn from their sweeping as BILLY is led out COURTROOM NUMBER SIX down a long stone corridor. Dust floats through long slanting shafts of yellowish light, like a striped leotard dream. BILLY walks, his eyes straight ahead - determined. SONG OVER -LRB- BELL. -RRB- -LRB- old Southern blues beat, improvised. -RRB- `` Mmmmm. got the blues babe, Got those old Istanbul blues, Said Yeah, I got the blues babe Got those old Istanbul blues. Thirty years in Turkey, babe, Ai n't got nothing left to lose.'' BELL sings it, strumming sloppily but with feeling on his guitar. BILLY lies, his back up, on his BUNK nearby. MAX, stoned, sits at the base of the bunk. It is NIGHT. The song falters, but MAX now joins in, improvising : SONG OVER -LRB- MAX AND BELL. -RRB- `` Busted at the border Two keys in my shoes Said I was busted at the border with two keys in my shoes An they gave me thirty years, babe To learn the old Istanbul blues.'' SEVERAL TURKS are partying it up down at the other end of the SECOND FLOOR KOGUS, playing a `` sas'' - Turkish type guitar, counterpointed by a little drum ; the music is stridently Turkish, and one of the men does a belly - dance in underpants with two lemons masquerading as breasts under his shirt. The LOUD TWANGING of Bell's GUITAR can be heard OFF, interrupting them. They are annoyed. BELL leading MAX into the next stanza : SONG OVER -LRB- MAX AND BELL. -RRB- `` I said Lord now save me Please save me from this pain'' BILLY, touched - listening, thinking. SONG OVER -LRB- OVER. -RRB- `` I said Lord come and save me, Come save me from this pain Come set me free sweet Jesus.'' TURK -LRB- OFF. -RRB- Hey knock off that shit music. TWO TURKS from the party walk up, waving at BELL's guitar, annoyed. TURK We're playing the sas. BELL -LRB- understanding their Turkish. -RRB- Omina koyden your sas! -LRB- Put your sas in your cunt! -RRB- THE TWO TURKS tense, the mood changing. BELL gets even angrier, puts the guitar aside, ready to spring. BELL And besides that I fuck Allah and I fuck your Muslim mother too. They do n't understand but one of them is reaching into his pants for his shiv. BELL You got that, shit face? Asina. BILLY -LRB- OFF. -RRB- KNOCK IT OFF! ANOTHER ANGLE BILLY is moving fast between the TWO TURKS and BELL. A new authority in his voice, and controlled anger in his face. BILLY -LRB- to Bell. -RRB- Cut it! No more fights. BELL looks. BILLY We're getting out of here. BELL astonished. BILLY, with Max's little screwdriver and a metal spoon, digs hard at the cracks around a dark stone in the SINK ROOM, FIRST FLOOR KOGUS. With him is MAX working on the same stone. They are sweating, shirtless, looking back over their shoulders at : BELL guarding the STAIRS. BILLY works the stucco out, jiggling with the stone -LRB- about a nine inch circumference -RRB- using his fingers and screwdriver. Painful work. BILLY'S VOICE Dear Susan. It's taken me a long time to find out that it's got to stop somewhere. I've learned painfully not to trust the Turks, the courts, the lawyers, the Consul, the United States Government, and not even my loving parents. There is only one way out of here. The Midnight Express. BILLY kicks with his sneakers at the stone, as silently as possible. A LOUD NOISE - crumbling dust, stucco. BELL at the stairs freezes, fearful. Then SILENCE. He Runs over. MAX, BELL, BILLY. MAX -LRB- in a whisper. -RRB- We're undermining the other stones! BELL studies it, pointing to the stone above left the one that has been loosened. BELL We got ta take a chance and do that one next -. -LRB- pointing. -RRB- Then pull out this one -. -LRB- pointing to the one directly left of the loosened stone, excited. -RRB- Just jiggle it, scratch it out, loose nit up, it's soft real soft! BILLY has his head pressed close to the loosened stone. Suddenly : BILLY It's there! BELL What? BILLY Listen! ANOTHER ANGLE - all THREE press their ears to the stone. A silence. The faintest whisper of WIND and dripping ` WATER - indicating a shaft of some nature. BELL looks back at BILLY. BELL I told you, I told you you cock - suckers! You did n't believe me. BILLY smiles. MAX reaches over and grabs Bell's face between his hands, kisses him violently. MAX Fuck me! You beautiful mother, you! MAX now on guard at the STAIRS, looks over at : BELL AND BILLY - with fresh paste putting the finishing touches on the edges of the stone which has been replaced in its original position. Bell's half naked torso reveals a pair of dice with lucky sevens tattooed on his shoulder. THE REPLACED STONE. On close inspection, it is apparent that the stucco around it does n't match the other stones one bit, but as we PULL BACK to see ZIAT washing his tea cups in the SINK during the DAY, this irregularity is lost in the greater mosaic of the wall structure. At least ZIAT does n't notice as : BILLY nervously comes into the SINK area, watching him, and calls to him. BILLY -LRB- using Turkish. -RRB- Hey, Ziat, hurry up with the tea will ay! ZIAT -LRB- mutters to himself. -RRB- Work, work, work, that's all do BILLY I do n't hear you bitch about the money. BILLY followed by ZIAT into the KITCHEN casts a look of relief at : BELL and MAX who wait at a table with empty tea cups. A HORDE OF COCKROACHES stream out from a crack in the stone as BILLY and MAX dig, scrape, jiggle the third stone. Both covered with sweat, working with confidence now. A DARK EMPTY SHAFT on the other side. Dripping water. Two stones removed. BELL runs over : BELL Want me to take over? BILLY You want to split your hernia again? MAX Get off our tits! Bell turns to go. Suddenly a LOUD CRUMBLING NOISE and : A FOURTH STONE starts to go - but brakes itself. BILLY, MAX, BELL all framed in a posture of fear - not daring to move. SECOND STORY KOGUS remains silent. BELL looks up the STAIRS, tiptoes back, indicating they are clear. MAX AND BILLY. All THREE of them look : THE THREE A HALF STONE SPACE. Easily big enough for them to squeeze through. BILLY shines a candle in the shaft, OFF. THE THREE look at each other. The same thought. Eager eyes. The TRAIN WHISTLES by in the night, OFF. BELL -LRB- sudden. -RRB- Let's go! BILLY looks at his watch, hates to do it. Shakes his head. BILLY No. No time. Put'em back. MAX groans to himself. BILLY tense and restless at his BUNK TWILIGHT. A loud RADIO OFF - Turkish News. BILLY We go early. Any fuck - ups we should be back here and have the stones in by dawn. ANOTHER ANGLE - MAX, BELL, AND BILLY. A pause. BILLY You got your stuff? MAX Yeah. BELL -LRB- persistent. -RRB- Haps, railroad, bus timetables? MAX -LRB- business - like. -RRB- Everything. BILLY Okay. -LRB- looks around the group. -RRB- Let's do it. He extends his hands and the other two cross in a six - handed shake. MAX signals down the STAIRS - `` all clear''. BILLY going through the HOLE in the STONES that NIGHT into : A DARK SHAFT spookily leading downwards. He lights a thick CANDLE tied horizontally across his sneakers so as to give him his light source where his footholds are. His P.V.O : PART DUMBWAITER SHAFT, PART WATER WELL from a previous century A series of corrugated mossy old footholds and iron spikes lead down at irregular intervals. BILLY, MAX AND BELL, each with their own foot candle, are spaced along the shaft easing downwards. BILLY looks up at MAX about ten feet above. BILLY Okay? MAX Yeah! BILLY Jimmy? BELL -LRB- struggling. -RRB- What? BILLY How's your hernia? BELL Do n't make me laugh. BILLY in a sweat, slips. A tense moment - then he catches himself. OFF - the TRAIN WHISTLE can be heard, echoing into the shaft.Mixed suddenly with LOUD TALKING OFF. Arguing in Turkish. BILLY freezes, signals upwards with a sharp hiss of breath. VOICE #1 -LRB- OFF. -RRB- What do you mean, you forgot, he'll have my ass! VOICE #2 -LRB- OFF. -RRB- Well I ca n't do two things at once, you were supposed to be here at nine o'clock! BILLY identifying the relative location of the voices, eases downwards, coming to a GRILL, looks in at : A BASEMENT ROOM with FURNACE. TWO TURKISH GUARDS throw the prison rubbish in the furnace, still arguing, AD LIB. BILLY signals upwards. REVERSE ANGLE, from inside the basement, of BILLY slipping past the grill, his face sharply illuminated by the flame of the furnace. Off the walls around the grill we can see the GIANT SILHOUETTES of the two guards still arguing. BILLY comes to the base of the shaft. A puddle of scummy water. Unstraps the candle. A current of WIND He peers around. P.O.V. - A WINDING NARROW CATACOMB, WITH BEEHIVE BURIAL PLACES ON BOTH SIDES. BILLY, sniffing the stench, unrolls a ball of THREAD ties it to a marker and heads in. BILLY, BELL and MAX are in the catacomb. A scratchy hideous sound and : BATS fly out squealing from the ceiling. THE BOYS hit the ground as BATWINGS flap over them, colliding against each other, knocking off walls, SCREECHING, then diminishing in sound. Fewer and fewer. Then gone. MAX -LRB- looking up, scared. -RRB- Jesus! BILLY looking up. BILLY Anybody bitten? ANOTHER ANGLE BELL Nah, just covered with batshit! BILLY -LRB- getting to his knees. -RRB- They went out over there : must be some kind of exit. Heads in that direction. A HUGE SPIDER scatters off, as BILLY's CANDLE illuminates : ANOTHER ENDLESS WALKWAY. BILLY comes to a stop - frustrated. BILLY Let's go back the other way. INTERSECTION Two walkways. BELL leads in, unwinding the thread, stops. BELL -LRB- desperate. -RRB- The fuck are we? BILLY comes into view, equally frustrated. BILLY What time is it? MAX Two thirty. ANOTHER MAZE of walkways. The three stop exhausted, faces blackened. BILLY, in utter rage and frustration starts kicking the wall. BILLY Shit! Shit! Shit! MAX -LRB- slumping to the ground. -RRB- It's a dead end. The Turks musta' sealed it up. BELL What the fuck we gon na do? SILENCE as the three pathetic escapees ponder their fate. BILLY, getting a grip on himself, thinking. BILLY We go back. ANOTHER ANGLE MAX What? You got ta be joking. BILLY -LRB- resolute. -RRB- We go back, seal it up again, and come in tomorrow night - every night'till we get out of here. There's got ta be a way. Those bats got out someplace. -LRB- rises. -RRB- Now let's go. Doubletime! Takes the THREAD and starts to follow it back. THE SHAFT. BILLY leads the climbers UP. MAX reaches a new foothold, stops, getting his breath. Looks down at BELL heavy breathing OFF. Urging him on. MAX You got ta have a lot of balls for this BELL, suffering, ca n't help but grin. BELL -LRB- murmurs. -RRB- Count me out. -LRB- to himself, shaking his head. -RRB- Who ever heard of anybody sneaking back into a fucking jail? MAX overhearing it. MAX Yeah, what if got caught? BELL starts to giggle. BILLY -LRB- OFF. -RRB- -LRB- up the shaft. -RRB- Hey Max, do n't make the dummy laugh. MAX laughing, shaking his head. MAX -LRB- between giggles. -RRB- Who's laughing? I mean I find this terribly depressing. Can you see old Hamidou's face when he tries to figure this one out? BILLY ca n't go on, starts to giggle at the thought. BILLY -LRB- between giggles. -RRB- We'll tell him we were checking out our escape route. We wanted to be completely sure before we tried it. ANOTHER ANGLE - the THREE of them, spaced along the shaft, are all giggling hysterically. Echoing. HOLD ON them. BILLY comes through the HOLE in the stones in the SINK AREA. It is still NIGHT. He looks around - silence. MAX follows through the hole. BILLY and MAX work fractically to seal up the STONES. BELL, exhausted, is at the STAIRS guarding. Distant early morning SOUNDS of prison waking up. We feel they will be spotted this time, but : BILLY slumps into his BUNK as the first rays of LIGHT come up in the sky and the CHANT from the Mosque commences. He immediately sinks into sleep. CLOSE on OLD TEA LEAVES being washed in the SINK. A MILKY WHITE EYE follows into view. ZIAT is preparing his early morning tea, his good eye now moving to something beyond the tea leaves. Curious, he straightens, throwing the withered bunch of leaves the sink. ZIAT approaches the irregular stucco paste around the REPLACED STONES ; runs his fingers along the ridges, noticing the paste is fresh. BILLY snoring from fatigue. BELL wakes him quickly. BELL Billy, wake up! They found it! OFF there is a lot of SHOUTING downstairs. BILLY Who? BELL Ziat! BILLY standing in a group of PRISONERS with BELL and MAX. He has a look of total despair on his face, as he watches. THE SINK. PRISONERS are everywhere jabbering excitedly among themselves. ZIAT is conferring with HAMIDOU as GUARDS rip out the last stone, revealing the HOLE leading to the SHAFT. BILLY's gaze shifts to ZIAT fixing all his hatred on him. ZIAT grinning, moves away, and his falaka stick cocked like a sergeant major - moves among the prisoners. HAMIDOU Shut up! They all fall immediately silent. HAMIDOU continues his walk among them, bypassing : MAX who shifts his gaze onto : BILLY. HAMIDOU approaches, his eyes moving over BILLY with contempt, and shifting him aside with the stick. To him Billy is the same passive prisoner as before. He moves on, shifting OTHERS aside and then stops at : BELL. HAMIDOU swings his stick up slowly and taps him lightly on the chest. BELL realizes and is afraid. HAMIDOU No do! No do! I tell you I see you again. Finish! He punctuates this last with a theatrical tap on the chest and he gestures to the GUARDS. HAMIDOU Take him! BELL, already broken by bad beatings, shivers. BELL. says. No! Oh no! No. GUARDS grab him, hurry him out the Kogus behind HAMIDOU BILLY holds himself rigid, trying not to break. Bell's PROTESTS continue OFF. MAX unable to contain his anger, strides right up to ZIAT, collars him, livid. MAX You bastard! This time I'm gon na kick your fucking brains all over this kitchen! ZIAT -LRB- calm. -RRB- Fine. Good. Man to man. We fight now. And when finish I bring Hamidou and he kick you fuckinq ass. MAX is about to swing when BILLY grabs him. BILLY Max! Cool it! -LRB- looking at Ziat calmly. -RRB- Ziat's just doing his job. ZIAT Glances from BILLY back to MAX fixing on him as BILLY walks him away. MAX is at his BUNK that NIGHT ; puts away the hypodermic needle, stoned and speeding at the same time, smoking a cigarette. BILLY inwardly tense, sits with his head in his hands. MAX Bell's gon na talk. They got to find out. Man, we got ta out. Tears have formed in his eyes. MAX Goddamn Gastro's killing me. Making me blind. Hey Billy! BILLY -LRB- sympathetic. -RRB- Yeah. MAX I got some acid man. Maybe we can drop some on the guards huh? In their tea or something. BILLY looks away, not even considering. But MAX is caught up in the notion. MAX Yeah I got it all worked out. Billy, listen to me. -LRB- looks at Billy, his eyes glazed. -RRB- That old guard likes you, You drop some acid on him. When he's Seeing rainbows yer know. walk out - tonight. BILLY Then we're outside the kogus. Then what? MAX What? BILLY After we're outside the kogus? MAX Oh we. we. BILLY Max. Your BILLY shirt's on fire. MAX clumsily brushes the burning ash off his shirt where it's made a hole. MAX Oh shit! Oh Christ! His eyes cloud with tears. He sits down, head between his hands. MAX There just comes a time you know. you know you're never going to git it on. Suddenly shifts mood again, stands, pulling out a SHIV, resolute, eyes brightening. MAX That's what I'm gon na do. -LRB- giggles. -RRB- BILLY looks up wondering. BILLY What? MAX -LRB- crazily. -RRB- Cut his fucking throat. BILLY Whose? MAX ZIAT. What do I got to lose huh! What do I got to lose. And I'd really enjoy it. Lurches against the bunk. BILLY Max, sit down. You're in no shape to kill anybody. MAX I want to cut his throat. BILLY It's already been cut. MAX Then I'll cut his balls off. BILLY smiles, shakes his head, then : BILLY If you really wanted to hurt Ziat. -LRB- pause. -RRB- MAX slumps back down on the bunk, suddenly tired of killing. BILLY -LRB- reflective. -RRB-. His money - steal that, you steal his blood. Could you see his face when everything he worked so hard to get got snatched? -LRB- plays with the thought idly, then shrugs. -RRB- If we knew where he hid it. -LRB- waves it away. -RRB- Anyway, steal from him they'd pick up the whole prison and shake it sideways. We could n't hide it anywhere. MAX -LRB- head bobbing now, murmurs. -RRB- You know where it is? BILLY What? MAX -LRB- a vague grin. -RRB- I know where it is. BILLY glances at him, not sure whether he heard. BILLY His money? MAX gives him a goofy nod - and a grin. Imitating Robert Newton as Long John Silver. MAX ` Dem dat hides can finds says I'. I seen him, the clever tit, sneaking looks at it late at night, talking to it. BILLY -LRB- beginning to believe him. -RRB- Yeah? Where? MAX, distracted, let's his attention wander back. Inaudible his head bobbing now. MAX Hishradyo. BILLY Max - where? MAX -LRB- his mouth hanging open, eyes closed. -RRB- His radio Back of his open, radio. He lurches over gently on the bunk. MAX That's why he never plays it. MAX Sleeps. BILLY surprised, then reflective. THE BACK OF THE RADIO is unscrewed ; the cover pulled off. EMPTY! MOVE TO ZIAT. The look is as Billy expected. Horror, shock, anger, fear. ZIAT SCREAMS hysterically like old Greek widow and : BEATING HIS CHEST and tearing at his hair, ZIAT runs out of the KOGUS wailing, moaning. THE SECOND STORY KOGUS is being'' controlled'' by the GUARDS. WIDE ANGLE reveals a circus of clockwork destruction as the GUARDS, making abundant NOISE, systematically rip up each bunk, locker, mattress, picture, book, etc., their faces flushed with this opportunity for orgy. THE PRISONERS are lined up in the COURTYARD, each one being body searched.Prominent are MAX and BILLY, looking up amused at the SECOND STORY WINDOWS - feathers from a mattress fly around. ZIAT Briefly appears, his face at the window, looking at the prisoners in the yard, frustrated. HAMIDOU breaks apart a with his bare hands. ZIAT is stripping MAX's possessions, sure he will find it here. VOICE -LRB- OFF. -RRB- Down here! Ziat springs up. GUARD calling out from the STAIRS. GUARD We found it! ZIAT leaning in CLOSE, OVER THE STOVE in the KITCHEN, framed by GUARDS. It is the same crouched posture he always uses to work the stove but now his eyes show complete despair as he sees : A THOUSAND SHREDS OF PAPER MONEY floating in his pots amid his withered tea bags. From ashes to ashes and dust to dust. ZIAT folds his head into his hands, sobbing then wailing very human, very sad. KITCHEN - NEGDIR an Arab, is now running the tea concession. A jolly ebullient man. Pours a cup for MAX. Several OTHERS are at the table. NEGDIR -LRB- heavily accented English. -RRB-. He sell me tea business - everything. No the same. Ziat lose all. -LRB- makes the gesture towards the heart and the gut, using the Arabic word. -RRB- Heart! Soul! MAX He never had one. NEGDIR Soon he go back streets Istanbul. Thousand enemy. No money. -LRB- makes throat cutting gesture. -RRB- MAX I'll drink to that. -LRB- toasting with the tea. -RRB- Just as : ZIAT enters the kitchen ; he eyes Max with hatred, sits at the other TABLE and orders tea. Surprisingly, he is wearing a suit and clean shirt - unlike his usual grimy appearance. BILLY, looking shaken, enters the kitchen, glances at ZIAT sits with MAX. BILLY Just got some news on Bell. MAX What? BILLY Bad. Sent to the City Hospital. They ruptured his hernia again. MAX -LRB- grim. -RRB- Oh shit. BILLY I Guess he did n't talk. Poor bastard. BILLY glances over at : ZIAT drinking tea. BILLY AND MAX BILLY Why the suit? MAX Maybe he's changing jobs. VOICE -LRB- OFF. -RRB- SAYIM! SAYIM! BILLY looks over to see : HAMIDOU and a DOZEN GUARDS spreading through the KOGUS, assembling everybody with shouts of `` SAYIM!'' THE PRISONERS are lined up in ranks in the FIRST FLOOR KOGUS. BILLY glancing at MAX next to him, wondering why. HAMIDOU goes down the line, his FLUNKIES searching each man. A GUARD reaches into ZIAT'S pocket and comes out with a matchbox. Yells to HAMIDOU who comes over. HAMIDOU -LRB- opening the matchbox. -RRB- Nebu? MATCHBOX Containing a small amount of HASHISH. HAMIDOU reaches over and pulls ZIAT out of the ` line roughly. HAMIDOU Nebu? Starts to slap him around. BILLY glancing at MAX. MAX -LRB- worried. -RRB- What's going on? Maybe Ziat ca n't pay off ; Hamidou's taking it out in trade. HAMIDOU smashes ZIAT again, but pulls the punch. HAMIDOU Where did you get this hash? Raises his arm again. ZIAT -LRB- cowering, pretending fear. -RRB- From Max. Point at : MAX who stiffens, eyes like cracked eggs. MAX -LRB- under his breath. -RRB- You got to be kidding. HAMIDOU peers at MAX, advances. HAMIDOU What's happening with this hash? Indicates the matchbox in his hand. MAX I did n't sell it to him. I do n't have anything to do with this, I. HAMIDOU -LRB- leans closer. -RRB- I know your face. Where did you get the hash? BILLY -LRB- interrupting in Turkish. -RRB-. -RRB- -LRB- He knows nothing about it. Ziat's lying. HAMIDOU -LRB- turns on Billy, in English. -RRB- You, goddamn you, shut up! -LRB- Back to MAX. -RRB- Take him to the cellar. -RRB- GUARDS drag off. MAX Get out of here! He's lying! That cock - sucker! Billy? BILLY sits on his his anger building, his imagination running wild. MAX being dragged down a CORRIDOR by his feet. A SCREAM. BILLY BELL, his features distorted, being carried into an AMBULANCE. BELL, MAX and BILLY at the wall, digging together, MAX hugging BELL the time they found the shaft. MAX twisting out of the grip of a GUARD and, grabbing the glass from his smashed spectacles, he cuts deep into his wrist. GUARDS grab him. A LOUD LAUGH OFF carrying over. BILLY turning on his bunk to see : ZIAT joking with TWO GUARDS as he enters the SECOND STORY. The guards back down the stairs. BILLY already in movement. ZIAT, in his suit, collecting suitcase from his bunk, preparing to leave. VOICE -LRB- OFF. -RRB- ZIAT! Turns and catches a FIST in the side of the face. Staggers into a bunk. BILLY, fists clenched, yells a string of Turkish curse words at him : BILLY Asina covacim, ipnave pesankek. yosakt. Lunges. ZIAT is bulky, throws the smaller BILLY off and scrambles past a bunk. BILLY is up and after him. Jumps back as a SHIV cuts the air in front of him. His side is cut. ZIAT holding the shiv, feints, cursing BILLY in Turkish. BILLY skips back, takes a MATTRESS off the bed and runs it right into KNOCKING HIM AND THE WHOLE BUNK OVER. THE TWO scramble around, BILLY tackling him into another BUNK which also goes over. Chairs break. ZIAT butts his head into BILLY'S jaw. BILLY staggers back from the blow and ZIAT jumps him, BITING into his ear. ZIAT, getting a better hold, now BITES into BILLY'S NOSE. BILLY slams ZIAT in the nose hard with the palm of his hand. ZIAT relinquishes his hold, grabbing at his broken bleeding nose. BILLY beats him around the head but though the blood now flows and teeth are broken, is like a clumsy bear, hard to kill. ZIAT scrambles away on his knees under another BUNK now screaming as loud as he can. ZIAT HELP ME! GUARDS! HELP ME! SEVERAL PRISONERS watching from further down the SECOND STORY Kogus now move in sync, turning on their RADIOS loud as possible, drowning out the cries for help, others watching the stairs. BILLY takes the BUNK and throws it over, revealing ZIAT cowering in pure terror. He grabs ZIAT by the hair, hauls him up and LAUNCHES HIS KNEE into HIS FACE. ZIAT thuds onto the floor. BILLY stomps him in the gut hard. ZIAT screams unnaturally shrill. BILLY, driven by supernatural anger, now jumps on him and CLAMPS HIS MOUTH right on ZIAT'S open SCREAM. A STRUGGLING KISS ensues. BILLY pulls back, his mouth filled with blood, spitting out. AN UNIDENTIFIED PIECE OF FLESH which Bits the ground with an odd slow motion grace. ZIAT - CLOSE in terror ; throat cords rippling ; eyes bulging with disbelief, body quivering, mouth open and screaming, but it is a SILENT SCREAM and the mouth is a dark hole filled with blood and without a TONGUE. BILLY, without a moment's mercy, crashes his fist into ZIAT'S face. ZIAT his strength now broken, collapses on his back. BILLY crashes his fist again into the hated face. He is GRABBED now by a GUARD, but : ANOTHER ANGLE - BILLY shakes the GUARD OFF, then as ANOTHER GUARD runs up, BILLY SLAMS him aside and, obsessed, lunges back down on ZIAT and BOTH HANDS CLAMPED TOGETHER high in the air delivers a final blow to ZIAT'S face. The bones shatter. Pause. His ogre unconscious beneath him, BILLY, now in SLOW MOTION, EXTENDS HIS ARMS IN THE AIR - in the fighter's victory gesture, and his eyes glow with the fever in them, and with his mouth and face bloodied, he looks like a savage. No longer Billy Hayes. BILLY bound in a thick leather belt -LRB- a kiyis -RRB- which screws tightly around the waist and cinches the hands together, is being HAULED in continuing SLOW MOTION through a huge DOOR somewhere in one of the cavernous corridors of the prison.The door is approximately NINE FEET by SIX FEET, strong and wooden with a circular iron handle which one of the GUARDS now pulls open ; a GLIMPSE of darkness within. THE DOOR CLOSES. SUPERIMPOSE :",
"SECTION 13 - ASYLUM FOR THE CRIMINALLY INSANE A YEAR LATER MAX, barely recognizable in a torn sheet and with a blackened face, comes rushing into a crowded ROOM, screaming louder than any other inmate. marks on his face, He is enraged, blood dripping from scratch ATTENDANTS in white smocks chase him over the beds. Max is yelling in Turkish. MAX Please, will you listen to me? Will someone please listen to me? JUST LISTEN To ME! ATTENDANTS Hamidou! Get Hamidou! Get the Kiyisl! The ATTENDANTS wrestle with him, but he throws them off, tearing around the room mindlessly. In the process we see that not much attention is paid him because everybody else is crazy! There are 50 other LUNATICS yelling at each other in fights over sheets, blankets, beds, cigarettes, jumping : screaming, pushing, shoving ; some babbling to themselves, rocking, crying, chanting, singing. Several of them -LRB- the craziest -RRB- are stark naked. some, wrapped in torn blackened sheets, patrol the room like quick ferrets, sharp eyes open for anything they can steal. Others move in meaningless, blank - eyed silence. The walls are filthy black and join the ceilings in arches rather than angles, giving the look of an old dungeon. Fifty beds are lined up right next to each other so that you walk right into your bed. A constant nerve - racking NOISE. HAMIDOU bursts into the ROOM, the angry look in his eyes spelling real trouble for Max. MOVE with him as he sweep sin on MAX and picks him up with one move and SMASHES HIM against the wall. Max hardly notices. ANOTHER ANGLE - HAMIDOU takes the leather kiyis from an ATTENDANT, moves in on MAX and starts clamping it around him. AN ATTENDANT walks through the room with an apron containing several large pockets bulging with red, green, blue, white PILLS, which he distributes by the handful. ATTENDANT -LRB- crying out. -RRB- Hop! Hop! Hop! Full moon. Hop! Hop! Hop! THE LUNATICS gobble them up as if they were candy. In some of the clustered areas, nine lunatics occupy as little as three beds. MAX is tightly bound now by HAMIDOU, but his body arches against the bindings, his neck straining, his teeth snapping at the air. HAMIDOU grabs him with one hand by the leather waist, hauls him high up in the air and THROWS MAX half - ways across the room, MAX smashing heavily against some beds, continuing to SCREAM OFF as : THE ATTENDANT with the pills - now bypasses BILLY on one of the beds. ATTENDANT Hop! Hop! Full Moon - take your pills! BILLY gobbles them up. He has changed. Lines in his face. No smile, no sense of humor ; a brooding silence about him, a straight ahead look. He pays no attention to MAX off ; he is in grubby white pyjamas and shower sandals. Rolls back onto hi & bed with its filthy torn sheet, totally ignoring the surrounding commotion, and ANOTHER ANGLE - turning onto his shoulder, BILLY suddenly finds himself face to face with a dark saddened visage. The MAN is very young and stark naked but for an old black rag wrapped around his head and clutched under his chin. His eyes are yellow, the voice pleading. YOUNG MAN Cigare? -LRB- pause, same tone, holds out his palm. -RRB- Cigare? Cigare? BILLY shakes his head sharply - too sharply - and barks, irritable. BILLY Go away! Turns on his other shoulder, trying to sleep. YOUNG MAN -LRB- OFF. -RRB- Cigare? Cigare? YOUNG MAN in a surprisingly meek tone. YOUNG MAN S'il Vous plait, Monsieur? S'il vous plait? BILLY, really aggravated now, springs up from the bed, and in the quirky way the mad and the eccentric adopt walks determinedly away from the young man, looking back to shake his head bizarrely at him one more time. ANOTHER ANGLE BILLY walking down the aisle bypasses MAX int he kiyis, rolling on the floor, still screaming in Turkish. MAX Will you listen to me? PLEASE LISTEN TO ME! Several LUNATICS are gathered around tormenting him, one of them yanking on his penis as if it were made of rubber ; another is playing with his ass. A third one, also in a leather kiyis, is leaning over MAX jabbering and drooling into his face. MAX, more enraged by this than the other bodily offences, lunges up sharply and bites the man's FACE. SCREAMS, etc.. BILLY, paying no attention except for a brief disinterested glance, keeps going into : A SECOND ROOM. MORE LUNATICS. A screaming OLD MAN is chasing after another OLD MAN who has stolen his tespe beads, waving them back at the first old man who howls with rage, frantic to have his beads back. The second old man throws the beads to a THIRD OLD MAN who hops across the beds with the FIRST OLD MAN chasing him. BILLY intersects. OLD MAN -LRB- pleading. -RRB- Allah! Allah! Yok! Yok! Yok! Brack! A LITTLE NERVOUS MAN stares into a broken pocket mirror fingering the large round carbuncle under his eye, trying to rub it away with little grimaces and flurries of nervous motion. TWO ATTENDANTS in smocks indifferently finish eating on a newspaper spread across one of the beds ; they shake out the paper. CHICKEN BONES, ORANGE PEELS hitting the floor. A flurry of movement, as the LUNATICS scuffle like rats over the left - overs. AD LIB curses, yells. AN OLD MAN obscenely gestures to BILLY from his bed. OLD MAN Hey American. Fik! Fick! Come. Fik! Fik! His blackened teeth leer. BILLY, seemingly immune to all of this in some private island of his own madness, walks in his determined way past a PARTITION to : A CIRCULAR STONE STAIRCASE leading downwards, the stones damp, dark, slippery. BILLY continues with the same straight - ahead determination to : A LONER LEVEL. at last BILLY's expression changes to almost childish relief, for here at last is the refuge he seeks the relative comfort and silence of THE WHEEL. It is a grim, squat PILLAR dominating the room and bearing the weight of the ceiling. And around it some SIXTY LUNATICS trudge slowly, near silently, in counter - clockwise flow. It is a hypnotic shuffle and BILLY blends right in, sliding easily into the sluggish, mindless river, his eyes hanging loosely on the floor, watching : THE SOOTHING RHYTHM OF FEET shuffling at a comforting pace. These are the spokes of the wheel. TWO TINY BARE LIGHT - BULBS give faint, eerie illumination to the chamber. One one side, a pot - bellied stove flickers, etching the shadows of the walkers in a strange orange glow. SOME LUNATICS, not walking, hover around the stove. OTHERS are jammed onto a low L - shaped wooden platform that runs the length of two walls. of these men are naked, covered with open running sores over their knees, elbows, buttocks. But they are much quieter than the upstairs crowd. They are the lowest order of madmen. They have no minds left. They are the damned. BILLY walks among them, expressionless. A tall, thin cadaverous TURK with a grizzled beard now shuffles up alongside BILLY, looks at him, walks with him. is about fifty, his pyjamas relatively clean, looking more sane than the average but his eyes are bright and scary and his wet hair is matted down on his head, and big clumps of it have been pulled out. He speaks with a cultured English accent. AHMET You're an American? BILLY is interrupted but keeps his eyes on the ground. AHMET does n't wait for an answer. AHMET Ah yes, America! My name is Ahmet. I studied philosophy at Harvard for many many years. But actually Oxford is my real Alma Mata - I've also studied in Vienna. Now I study here. BILLY does n't notice, shuffles along. AHMET They put me here. They say I raped a little boy. I have been here very long time. They will never let me go. BILLY pays no attention, keeps shuffling on. Glances at him, smiles. AHMET They wo n't let YOU go either. The smug certainty of his manner reaches some chord deep inside Billy, because Billy glances briefly at this lunatic who is smiling. Billy looks back at his feet. AHMET No, they'll never let you go. They tell you they let you go but you stay. You never go from here. BILLY plods on. grins and tries to explain the situation like a father lecturing a child. AHMET You see we all come from a factory. Sometimes the factory makes bad machines that do n't work. They put them here. The bad machines do n't know they're bad machines, but the people at the factory know. They know one of the machines that does n't work. They walk on. Ahmet's expression changes. AHMET -LRB- polite. -RRB- I think we have spoken enough for today. I say good night to you. He wraps his rags around himself quite carefully and we FOLLOW him out of the circle. He drops to his hands and knees and with a sense of dignity, crawls into the filthy blackness under the L - shaped wooden platform, disappearing like a cockroach. BILLY plods on. AN OLD WHITE - BEARDED MADMAN the Hoja, grandiose in his rags, leads MUSLIM PRAYER in the first ROOM. Some of his followers have prayer mats, others a scrap of sheet or newspaper ; their tones discordant, still pushing and shoving at each other during the prayer. TWO SPASTICS ca n't follow the routine of kneeling and bending ; they tangle up absurdly and fall to the floor in a ball of arms and legs. A FALAKA STICK pokes BILLY wake SOUND of the CHANTING fills room. It is evidently impossible to distinguish night from day because there are no windows. ATTENDANTS poke the LUNATICS awake with their `` clubs. ATTENDANTS Head count! Head count! A MASS OF LUNATICS in the ROOM all at once. Attendants take a redundant and comic head count. The place sounds like a `` yadi yadi room'' the noise fearsome. ANOTHER ANGLE ATTENDANT #1 Sixty two, sixty three, sixty four. ATTENDANT #2 Seventy four, seventy five, seventy six. get back there, you!. seventy five, seventy six. -RRB- ATTENDANTS poke around underneath a bed and pull out a very old trembling VEGETABLE. OTHER ATTENDANTS wrap an old DEAD LUNATIC with no teeth and foam on his open lips into a dirty sheet and haul him away. BILLY amid the LUNATICS. We MOVE closer and closer to him, the head COUNT regressing. The room has become a torture cell - the NOISE LOUDER, LOUDER, closing in on Billy. BILLY is led down a CORRIDOR by HAMIDOU into : A VISITING room - Cabins are lined up like narrow wooden phone booths. HAMIDOU Kabin on - yedi BILLY plods without interest to the specified cabin, closes the door, sits in the chair. No one is there. He waits - indifferent to any sense of time. Dirty two glass panes separate visitor and prisoner booths ; bars are between the panes. An erratic microphone is the method of communication, giving a weird and distant aspect to the voice. HAMIDOU opens a small peep - hole in the cabin door, looks in unseen as : TEE VISITOR DOOR opens and SUSAN tentatively walks in holding a large photo album ; it takes several moments for her to react, and then her face shows the shock. BILLY stares at her, his face rabid, decaying ; if he remembers her even, he does n't register it because she is a shock to him as well. Reality, the outside world all at once. His mind is spinning, unbalanced, unable to grasp it. SUSAN -LRB- OFF. -RRB- Oh my God! SUSAN SUSAN Billy, what have they done to you. my God! The MICROPHONE makes her voice jarring, gagged. She looks silently. No sobbing, no big sad looks. Just shock. Shock of recognition, shock of time gone by. BILLY looking at her, his eyes moving down to : BILLY P.O.V. - SUSAN, her neck, her breasts straining against the thin shirt. SUSAN fingers the photo album nervously, speaking slow and distinct ; not sure she is communicating. SUSAN Billy, your family is fine. Senator Buckley just made a special plea on your behalf in the Senate. Newsday has written several big articles about you. They've called you a pawn in the poppy game between Nixon and the Turks. The letters are coming in, Billy. People care. Stops, shakes her head. It sounds all wrong in this context. BILLY is still staring at her breasts. He has n't seen a woman for five years and now a hungry animal look comes into his eyes He moves suddenly pressing up against the glass, rabid. And in Turkish : BILLY -LRB- in Turkish. -RRB- Take it off. Take it off! -LRB- then remembering the English. -RRB- Take it off. Take it off! His voice is savage, demanding. SUSAN understands, startled. Looks around. SUSAN Billy - you'll just make yourself crazy. BILLY BILLY Take it off! Take it off! -LRB- suddenly in a very soft voice. -RRB-. S'il vous plait? A strange look in his eye. SUSAN slowly, scared, begins to unbutton her shirt. HAMIDOU looks on silently, does nothing. BILLY follows every movement with wild - eyed lust. SUSAN leans up close to the window. With both hands on the front of her blouse, she slowly draws it apart. BILLY going wild! Against the window. His hand down in his pyjamas. HER BREASTS spring free, quivering, full and ripe with a deep cleavage and hard dark nipples. They hang full and loose. FULL SCREEN BILLY'S EYES - FULL SCREEN. BILLY beats on the window, working his mouth soundlessly. SUSAN is shattered, scared of Billy's sanity. SUSAN Oh Billy, Billy, I wish I could make it better for you. Please do n't. do n't. Tears. Fear. BILLY tightens dramatically and comes right in his pants, slumps against the window. SUSAN realizes he has come, surprised. BILLY looks at her. Furtive, animal shame. And suddenly he starts to cry. A flood of feelings locked up too long come pouring out. He murmurs some words, Turkish SOUNDS sputtering out in his throat, then : BILLY S. Susan? Softly, working his mouth finding it hard to speak. SUSAN yearning. Tears sprinkling her eyes. SUSAN Yes, Billy? BILLY straining, not out of physical weakness but an emotional one. Sputters, eyes closed. BILLY I love you. It sounds pathetic, lost. SUSAN is worked up to the limit, tries to hug him through the window. SUSAN Oh Billy. Billy! Do n't give up. Please do n't give up. You'll get out. I know you will! Remembers something. Grabs the PHOTO ALBUM with all her strength, holding it up for him to see through the glass.Then remembering herself, looks around the room to make sure they're alone and in a contained voice : SUSAN Billy, your father gave me this for you. There's pictures of your Mom and Dad. Rob. Peg. BILLY looks at it listlessly. HIS P.V.O - SUSAN holding the album open to PICTURES of his MOTHER and FATHER in front of the house, ROB on a bicycle, PEG in her cheer - leading outfit. SUSAN And there's pictures in the back of your old Mr. Franklin. Remember him. From the bank? A certain tone slips into her voice. SUSAN He's over in Greece now. He bought a ticket. BILLY looks from the album to Susan. Possibly there is a gleam of understanding in his eyes but it is very faint. An Attendant BANGS on Susan's door, OFF. VOICE Visiting is over. SUSAN quickly puts the album away as if it were a hidden weapon. SUSAN I'll give it to them for you. She buttons her blouse but her eyes are worried, on Billy. SUSAN You were right Billy do n't count on them, you hear, do n't count on anybody but yourself! The ATTENDANT now swings open her door, annoyed. ATTENDANT Let's go! Susan stands, about to go, then suddenly leans up close to the bars, hard and practical. SUSAN -LRB- quickly. -RRB- If you stay you'll die Billy! Get out of here. Get to Greece, you hear me? Billy? Pause. Silence. She closes her eyes, in pain ; she does n't think she has reached him. She turns to go, resigned. BILLY looking at her. Behind him HAMIDOU opens the door. A calm and cunning look on his face, glancing with Billy towards A BRIEF GLIMPSE of SUSAN looking back, the album under her arm. The door closes. BILLY, with the same deadened expression as before, comes down the STAIRS towards THE WHEEL. It is early morning and the walkers have n't started yet. Billy looks at the Pillar a dire look of reflection passing over his eyes. Then he starts walking but in a clockwise motion, opposite the normal pattern ; in the same methodical manner as before. ANOTHER ANGLE BILLY, on the inner track, passes TWO LUNATICS who are walking counter - clockwise. They glare at him, motion for him to turn around. Billy just keeps walking. BILLY intersects several more LUNATICS going counter - clockwise They motion for him to turn. LUNATIC -LRB- grunting. -RRB- Gower! Tries to block Billy's way, but BILLY shakes his head, brushes by him - determined. AHMET Slides up next to BILLY in his rags. AHMET Good morning, my American friend! There will be trouble if you go this way. A good Turk always walks to the right. Left is communist. Right is good. You must go the other way. It's Good. More LUNATICS join the flow, gesturing or grunting at BILLY. BILLY STOPS, turns, looks at the rest of them slogging in the usual direction, looks as if he ` sees' them ; and he walks out of the wheel, towards the stairs. AHMET curious about his unusual behavior, follows BILLY. AHMET Why you go? Why do n't you walk the wheel with us? -LRB- suspiciously leaning forward, suddenly realizing the answer. -RRB- The bad machine does n't know he's a bad machine. You still do n't believe it? You still do n't believe you're a bad machine? ANOTHER ANGLE BILLY stops and turns to look at AHMET at the base of the STAIRS. BILLY carries on up the stairs. AHMET -LRB- shakes his head. -RRB- To know oneself is to know God, my friend. The factory knows. That's why they put you here. You'll see. You'll find out. Later on you'll know. BILLY stops and turns to look at AHMET. His eyes glint with special knowledge and he takes AHMET into his confidence using the latter's tone of voice : BILLY I already know. I know that you're a bad machine. That's why the factory keeps you here. -LRB- Lowers s voice. -RRB- You know how I know? I know because I'm from the factory. I make the machines. I'm here to spy on you. Eyes narrow. Surprise. Fear. He shuffles away. BILLY looks at him and turns up the STAIRS. BILLY in his BED. The usual UPROAR. THE ATTENDANT comes by with the pills, offers a handful to BILLY. ATTENDANT Hop! Hop! Take! He takes them, puts a few into his mouth, swallows. Reflective, unsure. A RADIO playing OFF blares suddenly with the U.S. Armed Forces Station - JANIS JOPLIN singing `` Take another piece of my heat now, Baby'' then it's switched back to a TURKISH STATION, loud. Billy rises. BILLY enters the TOILET with the PHOTO ALBUM tightly clutched under his arm. A dark stone room, very shadowy. Piles of waste on the floor. A vacant - eyed barefoot LUNATIC shuffles past BILLY who goes to one of the four partitioned HOLES cut into the floor. ANOTHER ANGLE - BILLY squats over it and with his filthy long nails he starts to slit open the back binder of the album Susan gave him. Flickering shadows. He looks up absently. THREE LUNATIC FACES stare in at him through wooden slats, tongues hanging out and drooling - playing with themselves - OFF. BILLY makes a lunatic face and SCREAM kicking at the partition. BILLY Aaaaaaaaaaaaaaaaahhhhhhhhhhhhhhhh! THE LUNATICS, petrified, scatter off but ONE LUNATIC skids in a puddle of urine and crashes onto the tile howling. BILLY slits open the binder to reveal TEN HUNDRED DOLLAR BILLS with Pictures of Mr. Franklin' neatly inserted. ANOTHER ANGLE BILLY has no particular expression on his face. Reflective, staring at the money ; he looks up. A LARGE SILHOUETTE is moving towards him. BILLY just watches, transfixed, not trying to hide the money. HAMIDOU comes into a faint light, looking down at him ; glances at the money. Shakes his head gently. HAMIDOU No do! No do! Reaches for and : ANOTHER ANGLE - HAMIDOU takes the money from BILLY like candy from a baby, then takes him by the ear and slowly lifts him up. Billy is like a vegetable in his hands. HAMIDOU -LRB- in his broken English. -RRB- I tell you I see ` gain. -LRB- into Turkish. -RRB- I take you down to bath and your feet be big like. Breasts. -LRB- a gesture. -RRB- HAMIDOU leads BILLY roughly out of the lunatic room, pulling him by the ear. HAMIDOU still Pulling BILLY by the ear, guides him through the GUARD QUARTERS. HAMIDOU leads him up a narrow winding flight of STAIRS. HAMIDO First you make mistake with Ziat, now you make mistake with money. You're not a new Prisoner, Vilyum Hi - yes. The tone of his voice indicates a severe reckoning this time. HAMIDOU pulls BILLY by the ear into a large echoing BATH. BILLY looking, bent over by the ear - a hint of awareness of new surroundings. ANOTHER ANGLE - the BATH is deserted, spooky with greenish Yellow fish light flittering down from holes in ceiling around damp mossy arches. Steam rises off a bath. Benches, buckets of water. HAMIDOU swings BILLY around until he is facing him. HAMIDOU makes an elaborate gesture of putting aside his falaka stick and holstered gun ; he will use his hands. HAMIDOU -LRB- shakes his head. -RRB- You've been in prison too long, Vilyum Hi - yes. He takes that : stiff arm all the way back to its full arc and WHACKS BILLY up against the wall. BILLY bounces back off the wall. The print of Hamidou's fingers is imbedded like a flaring white rainbow in the redness of his left cheek. SLAM - a backhanded whack. BILLY bounces right back from the wall. steadies him. HAMIDOU You go crazy here Vilyum Hi - yes. Many people go crazy here. Best thing for crazy people is this. THE BLOW, in SLOW MOTION comes sailing into : BILLY, and we see the brief boxer's distortion of all his face as he flies upwards and back into : THE BENCH smashing it. Echo like jarring F.X. BILLY is held up by the PAJAMAS, steadied. The Turkish words seem far away, incomprehensible. HAMIDOU -LRB- OFF. -RRB- Vilyum Hi - yes. You die here, Hi - yes. WHACK - ANOTHER BLOW, but : HAMIDOU this time holds onto the pajamas using Billy like a punching bag. WHACK - A REVERSE BLOW. HAMIDOU increasingly excited. HAMIDOU Babba sikijam! I fuck your mother, I fuck your sister. WHACK - ANOTHER BLOW in SLOW MOTION HAMIDOU I fuck your father, I fuck your brother. RIP! - a loud SOUND as HAMIDOU moves with a blur of speed, and shreds BILLY's pajamas with his hands. BILLY naked, totally passive, semiconscious. HAMIDOU suddenly shifts position and snaps Billy into a strenuous wrestling hold across his knee on the steamy floor. He loosens him up by cracking his bones along his back. HAMIDOU - sweat pouring off his face, excited. HAMIDOU And I fuck your grandmother and I fuck your pretty girlfriend. And I fuck you Hi - yes! -RRB- A bizarre otherworldly scene. This man is dredging Billy through a sadistic imagination sparked by the steam, the sweat, and an ethnic identification with a Turkish steam bath as a bedroom. He loosens his hold abruptly, rises, moves off as : BILLY holds himself on his knees, head sunk on his chest, gasping for breath, about to vomit. Pause ; he looks up horrified at : HAMIDOU pouring fresh buckets of water on the floor. SSSSSSSSSS! The awakened STEAM coils like a snake into every cranny of the little room. BLURRED VISUALS - HAMIDOU stripping his shirt off. A huge muscular flash of chest, A BELT being snapped open. BILLY waiting. A FIGURE moving through the steam, closer. BILLY backing away from it. STEAM - a glint of a FACE coming through. HAMIDOU - his eyes so intense they seem to burn off the steam like sun cutting haze. Then disappear again. BILLY pulls back. A pause. Silence. Cat and mouse. Then very suddenly : A HAND reaches out of the STEAM and GRABS BILLY by the hair. A GRUNT, OFF. BILLY his eyes moving fast. A FLASH of a huge darkened penis, fully erect cutting forward into the steam like a from drill, detached from the rest of the body. A SOUND - grotesque and so sudden after the silence it jars the senses. A BLURRED VISUAL then : BILLY Launching forward in SLOW MOTION, desperation distorting his features and : STEAM - then BILLY'S HEAD SLAMS through it in SLOW MOTION and : SMASHES the penis with its skull. A horrifying GASP. BLURRED VISUALS - STEAM - HAMIDOU staggering CLOSE - surprise, pain. BILLY MOVING. A FOOT coming up fast through the steam, connecting again with the genitals. Another SCREAM. A BODY hitting the tiles. BILLY groping for the falaka stick. Raises it. A STRUGGLE - Two bodies thrashing, one of them screaming now in pain. A definitive sound then a THWACK! Another thwack! The steam seems to clear and BILLY is on top of the gigantic HAMIDOU smashing him with the falaka stick with all his might. HAMIDOU is in contortions, his nose busted and bleeding. His HAND gripping BILLY by the neck, forcing him back and strangling him at the same time. Billy is red in the face, such is the force of this creature but continues to beat him, harder, harder. His expression filled with a life energy, seeded in hatred, that he thought he had lost. Again, Again - BILLY Babba sikijam, Hamidu! I fuck your Mother, I fuck your daughter, I fuck your sons, I fuck your wife! The BAND slips from his throat, then springs up desperately again and clenches Billy's whole face with one gigantic palm, clawing to get in, then just as quickly slips away. BILLY beats on - again, again. BLOOD flows fast in agitated swirls into the little pool. BILLY opens a door gently, moves across an empty CORRIDOR, dressed in and gun in intense. Hamidou's holster. large uniform with his He looks shaken, weak, falaka stick dizzy but VOICE -LRB- OFF. -RRB- How about a shoe shine, friend? BILLY starts, clenches the falaka stick ready to spring, spins. A LITTLE SHOESHINE BOY is his case down the corridor. BILLY has not seen a child in a long time. get words out, then manages : Surprised. Ca n't get the words out, then manages : BILLY No! THE KID shrugs, moves on, looking At Billy strangely. BILLY goes up a flight of STAIRS. Ahead, VOICES passing. He stops. Goes on. BILLY goes through an empty GUARD QUARTERS. BILLY is in another CORRIDOR, approaches A SMALL PORTAL, daylight at its edges. Locked? BILLY, tense, tries it. It swings open on : DAYLIGHT! BILLY squints. Adjusting to the harsh sensation. AN ISTANBUL STREET - TRAFFIC, SOUNDS. TWO GUARDS approaching the portal in the distance, drinking soda pop. BILLY steps back, straightens his clothes, steps out briskly and at such an angle that THE TWO GUARDS do n't notice him in the traffic as they enter the open portal. LONG SHOT - BILLY walking down the street, looking back, almost bewildered, not quiet believing this. TIGHT - RAILROAD TICKET being stamped. SOUND - SNAP. MOVE UP to TICKET CLERK behind a grill. VOICE -LRB- OFF. -RRB- Edirne to Uzun Kopru? THE CLERK looks puzzled. BILLY is on the other side of the grill. A ill - fitting new Western style suit, a hat over his dyed black hair ; totally paranoid. He has n't slept in three days and the bruises from the Hamidou beating now show clearly black and blue on his face. His eyes are alert, darting around, his speech clipped and to the point. BILLY What's the matter? THE CLEF! Shrugs. CLERK ` What are you crazy? There's no train anymore to Uzun Kopru, it'd have to go through Greece. The border's closed. BILLY taken by surprise. BILLY No train? CLERK -LRB- OFF. -RRB- No more train. BILLY Moves off a small provincial RAILROAD DEPOT - DAY. He looks at the : EMPTY TRACKS - No ` midnight express'. BILLY, tenser than ever, uses the occasion of buying a newspaper at an OUTDOOR STAND to study : THE MAIN SQUARE of the VILLAGE -LRB- EDIRNE -RRB- - DAY. SOLDIERS and POLICE are abundant, chattering bustling amid tanks and half - tracks. Mountains can be seen in the far distance. BILLY camouflages his face as best he can in the Newspaper `` Hurriyet'' studying : CABDRIVERS in the Main Square. Most of them are older, grizzled looking standing next to their old battered dusty cabs talking with stray SOLDIERS. Billy's eyes settle on a YOUNGER DRIVER with longish hair, possibly an ally. BILLY glances down at his newspaper as a SOLDIER intersects and his expression goes stony as he sees : FULL COLOR DRAWING -LRB- first page -RRB- of a ridiculously fierce heavy - muscled barechested MAN beating a facsimile of Hamidou into the ground. Next to it a blurry badly reproduced photograph of BILLY with a superimposed GUN in his hand. You ca n't really tell it's him. BILLY, controlling himself, crumples up the newspaper into a baton, his eyes everywhere. Be the darting A crosses square. ANOTHER ANGLE - BILLY, intersecting a POLICEMAN who glances at him, joins the YOUNG CABDRIVER. BILLY Listen, I have Swedish friends camping south of the town. I was supposed to meet them here this morning but I was late. Can you take me there? DRIVER looks at him neutral. DRIVER You know where they are? BILLY -LRB- anxious to get in the cab. -RRB- Sure. DRIVER How far? BILLY -LRB- impatient. -RRB- About ten kilometers. DRIVER Sixty Lira? BILLY -LRB- surprised. -RRB- Sixty? Billy eyes : APPROACHING SOLDIERS. BILLY -LRB- OFF. -RRB- Okay. THE DRIVER, noticing Billy's look at the soldiers, gets in the cab. BILLY climbs into the back seat, feeling already he has made a mistake. There is something too alert, too hard in this young driver. BILLY P.O.V. - THE MOUNTAINS as they roll in the taxi. FORESTS - FIELDS.",
"INTERIOR TAXI BILLY Those mountains? are they? DRIVER -LRB- Greece. -LRB- shakes his head. -RRB- Very bad now. Maybe war. Those Greek pigs try to steal Cyprus again. -LRB- pause. -RRB-. -RRB- How'd you lose your friends? BILLY leaning back in his seat, casual. BILLY Oh, I drank a lot of raka last night in Istanbul. Got into a fight. Indicates the bruises on his face. DRIVER looking at him in the rear view mirror. His curiosity narrowing. DRIVER How come you speak Turkish so good? BILLY casually glances out the window. BILLY Did twenty months in prison in Istanbul. Hash THE DRIVER studies BILLY in the rear - view mirror. Then : DRIVER You want to score some? Cheap? BILLY looks at him hard. Something's wrong with this man. BILLY -LRB- curt. -RRB- No! Cutting off further conversation, he looks out at : THE MOUNTAINS of Greece - with longing. BILLY stares back at : THE DRIVER whose eyes now move away from the rear - view mirror under the pressure of the stare. SOUND OFF loud machinery. BILLY turning - in rear window, we see a TURKISH HALFTRACK pulling alongside the cab, SOLDIERS waving their arms for the cabdriver to get out of the way. ANOTHER ANGLE - the HALFTRACK pulls level. The CABDRIVER slows down, with a curse. BILLY - beads of sweat trickle his brow THE PERSONNEL CARRIER, disinterested, pulls past. BILLY breathes heavily with nervous relief. THE CAB pulls up to the end of a dirt road. BILLY has his MAP out, studying it. BILLY The Maritas River? Where is it? ANOTHER ANGLE - the DRIVER, exasperated, waves southwest. DRIVER Two miles! Minefields over there. Do you know where this campground is or not? BILLY Not far. Just a little way. DRIVER No! I'm not going any further! It'll wreck my car. BILLY I'll pay extra DRIVER How much? ANOTHER ANGLE - BILLY slips him fifty lira. The DRIVER takes it, muttering under his breath, jams the cab into gear. THE CAB follows rutted tracks into low HILLS.",
"INTERIOR CAB - very bumpy. BILLY Where are the minefields? DRIVER All over. Turkish Army up there. It's against the law. They shoot us. -LRB- looks up in the mirror. -RRB- You sure you looking for your friends, man? BILLY -LRB- VERY SHARP NOW. -RRB- -LRB- very sharp now. -RRB- Okay! Ley me out right here. I'm getting tired of all this bullshit from you. I'll walk it. DRIVER -LRB- looks back, then ahead, suddenly brightening. -RRB- Ah, look! they probably know where the campers are BILLY's entire expression changes. It is all over. A TANK AND HALFTRACK are sitting there by the rutted track, with SOLDIERS. And a little LEAN - TO with several POLICE. Also a couple of attack DOGS on leashes. The Driver honks his horn on the approach. ANOTHER ANGLE DRIVER Hey officer, we're looking for the campground. Do you know where it is? ANOTHER ANGLE - TWO POLICEMEN and A SOLDIER come sauntering over, their collars open, beer bottles in hand, slightly drunk. POLICEMAN -LRB- curt. -RRB- You're not supposed to be here DRIVER -LRB- indicated Billy. -RRB- He's a tourist, what do you want, he says he's looking for friends at the campground. FIRST POLICEMAN glances BILLY POLICEMAN Campground? -LRB- shrugs. -RRB- Never heard of one. DRIVER Seen any Swedish foreigners in a camper - bus? SECOND POLICEMAN meanwhile eases his arm down on the OPEN WINDOW bringing BILLY into foreground. The COP'S mouth is open and exhaling a wave of beer breath over - BILLY. BILLY P.O.V. - BEER FACE FOCUS PAST him to SOLDIER at tank reading `` Hurriyet'' - the picture of BILLY on page one, spread for all to see. BEER FACE Noldu? DRIVER turning around to address him. DRIVER Seen any foreigners in a camper bus? SOLDIER circles the cab from the other side. BILLY motions to the DRIVER. BILLY Okay, they have n't seen him, let's go back to town, it's getting late. THE DRIVER ignores it. Calls out again, louder to BEER FACE. DRIVER Foreigners! KAMPER. VOLKSWAGEN BILLY rigid. This asshole of a driver! BEER FACE glances at BILLY, pulls his head out the window. Looks down the road. Takes a sip of beer. SOLDIER, disinterested, moves back towards the tank. BEER FACE looks in the other direction down the road, burps.Very conscious of his authority, shakes his head without looking at the driver. Moves away. BILLY nudges the DRIVER. BILLY Okay, let's go. THE DRIVER impatiently turns and looks straight at BILLY, aware of his anxiety. DRIVER Is no Volkswagen, man! Something wrong with you? BILLY hardening. DRIVER calling out. BEER FACE turns. DRIVER leans out the window. DRIVER This guy's fishy. I think he might be trying to get to Greece. BILLY looks around fast. BEER FACE starts back lazily, half drunk, with the OTHER POLICEMAN BEER FACE Huh? DRIVER DRIVER I do n't know, there's His eyes grow big suddenly As he sees the barrel of Hamidou's REVOLVER right in His cheek. BILLY all business, very quiet. BILLY Get out - right now, move! BEER - FACE advancing looks puzzled, thinks he sees something, then crouches as : DRIVER gets out the door crouching, yells. DRIVER He's got a gun! BILLY firing SHOTS off to distract them has climbed over the front seat, jams the cab into gear. It stalls! Again he tries, and now shoots off. THE CAB Roars past the roadblock. THE COPS AND SOLDIER, scattered by the shots, now scream at each other. They run. SHOTS are fired. BILLY guns the cab down the road, flying. CLOUDS OF DUST trail the cab. THE TANK starts to roll after it. Full speed. The HALFTRACK follows, the MEN riding it shouting. BILLY looks back, then looking ahead sees something. P.O.V - a speck in the far distance. Another ROADBLOCK. BILLY decides, then - THE CAB swerves right off the road and jumps into the gently rolling FIELD on the border of the road, pock marked with HILLS. THE TURKS come roaring down the road, pointing to the cab. LOW ANGLE - the TANK makes a flat out stop, gears grinding. THE GUN TURRET swings left. THE CAB in the far distance, at an angle to the tank, starts running up an incline. THE TANK FIRES. P.O.V. - SHELL BLASTS WIDE OF THE CAB. BILLY, startled, looks back, guns for the top of the incline. HIS P.O.V. - ANOTHER SHELL now blasts to his front right, closer. Something heavy -LRB- shrapnel -RRB- thuds into the rood of the cab. BILLY drives all out. P.O.V. - THE INCLINE CLOSER, CLOSER, ABOUT TO MAKE IT, THEN : A BLAST TANK P.O.V. - the CAB spinning in the blast of the adjacent shell - burst. BILLY, shaken but unhurt, staggers out of the cab, looks : P.O.V. - A WHEEL BLASTED AWAY, FUEL PISSING OUT FROM THE SHRAPNEL HOLES, SMASHED WINDSHIELD AND FENDER. THE TURKS are coming up the incline now, like the Cavalry - some on foot running, others on the HALFTRACK. BULLETS whistle and pop nearby. BILLY running. He tears off his jacket. SOLDIERS pass the wrecked car, at the top of the incline shouting, pointing and firing at BILLY in the distance. ONE SOLDIER seems lighter than the others and takes off in a sprint as the OTHERS follow. THE HALFTRACK now crests the incline and gathering full gear and momentum, roars off down the slope after Billy. CLOSE BILLY running sweat all over him. In background, the HALFTRACK and running FIGURES. BILLY runs into a high dry cornfield with the sun starting to set ahead of him in the Greek mountains. MOUNTAINS - must make those mountains. BILLY running all out - eyes fixed on them, breathing, skipping heartbeats. THE PERSONNEL CARRIER bypasses the FAST SOLDIER who slows down, panting. Billy has outrun him. OTHER SOLDIERS run up in the distance. BILLY, tireless, obsessed, runs right into a POPPY FIELD.It is a splendid beautiful scarlet red, set off by the dipping rays of the sun. HIS FEET smashing down the poppy plants. Fast - THUCK! THUCK! THUCK! THUCK! THUCK! THUCK! CROSSCUT the metal TREADS of the Halftrack into the poppy, mowing down entire rows. TWO SOLDIERS on the PERSONNEL CARRIER are waving encouragement to the driver inside. They have him. ANOTHER ANGLE the HALFTRACK closing the distance on BILLY now thirty yards apart. BILLY looking back, starting to fade. Huge wheezing gasps of breath. SOLDIERS running up looking at THE HALFTRACK in the distance. SOLDIERS yell. SOLDIERS Minefield! Minefield! Come back! Stop! -LRB- NO SUBTITLE. -RRB- BILLY runs out of the POPPY FIELD into a THIN FOREST. THE SOLDIERS screaming in the distance, jumping up and down waving for the halftrack to come back. LOW ANGLE - the HALFTRACK with the waving SOLDIERS on board now blasts out of the poppy field at full speed. BILLY - he has no chance, In immediate background is the fast HALFTRACK. ONE SOLDIER on the HALFTRACK now looking back to the SHOUTS of his comrades. Confused. Turns bout back to yell something and : ENORMOUS EXPLOSION The HALFTRACK disintegrates in a tank landmine. BILLY thrown to the ground by the force of the blast, looks back, GASPS! A BURNING WRECKAGE. Black spirals of smoke. Secondary explosions. BILLY stumbles up. A gash of blood is on his temple but he does n't know it or feel it such is his stress. He runs on, SHOTS whistling towards him from the poppy field. TURKISH OFFICER screaming angrily at Billy, cursing, shaking his fist at the sky. BILLY, in the forest, is totally out of breath and out of eyesight of the pursuers. He stops against a tree. FROG SOUNDS. The gurgle of water. Muddy ground. He looks : THE MARITAS RIVER rushing ahead. A strong current. BILLY peels off all his clothing except his pants, not delaying one more moment. He feels he must keep going. And he's right. DOGS are barking OFF. A SNARLING ATTACK DOG is tearing through the minefield, fast, ahead of the others. BILLY looks, sees it. THIRTY YARDS - the huge DOG coming right at him! BILLY runs for the edge of the bank and plunges in. THE ATTACK DOG sprints up to the edge of the river bank and without a moment's hesitation, plunges right in after him. BILLY lashing into the current with a fierce breast stroke, is swept downstream kicking futilely. THE DOG, its jaws open and clacking, is also swept down river. BILLY going under, coming back up - fighting, still fighting. THE DOG struggling sails past as BILLY hauls himself out of the river, going in a circle, dizzy. Falls. Struggles up again. Looks back. Must keep going. Must. THE BASE OF' MOUNTAIN - hilly, rugged. BILLY runs, drags, runs again. He is a lamentable sight - naked except for ripped wet pants, barefoot, bleeding, muddied. Dimly he makes out : A FARMHOUSE - TWILIGHT. Some cows, goats, chickens. NO sign of people. BILLY staggers towards it. Wears something. A rooting SOUND. Stops. Something familiar about it. A FAMILY OF PIGS snort and root in the mud, little piglets running around. BILLY staggers towards them, muttering to himself. BILLY Pigs! Pigs! Then yells in the recognition of it BILLY Pigs. You. Beautiful. BILLY BILLY falls to his knees in the confined pen ; the pigs run around squealing. Trying to reach out for one of them, he falls face first into the mud and lies there. Pause. A wooden DOOR squeaks open OFF. BILLY slowly turns his muddy eyes over his shoulder. BILLY P.O.V. - TWO SOLDIERS, khaki - colored uniforms, helmets, olive faces, mustaches, approach cautiously from the farmhouse, rifles ready. Following them is an OLD FARMER, Further behind in the doorway is his WIFE and CHILDREN. BILLY muttering to himself, in Turkish. BILLY Greek? Greek? THE SOLDIERS approach close, stand above this strange figure, look at each other. SOLDIER Ti leei? -LRB- What is he saying? -RRB- 2ND SOLDIER Mou fainetai san Toupkika. -LRB- It sounded like Turkish. -RRB- BILLY with dimming strength. BILLY THE FARMER understands, makes a vigorous nod of his head. FARMER Malisee. Ellada! -LRB- Ah, yes. Greece! -RRB- CAR DOOR SLAMS SHUT - and BILLY, his movements still weak, moves a few steps from the car and stops. SUBTITLE :",
"OCTOBER 24, 1975 - BABYLON, LONG ISLAND Framing Billy are SUSAN and his FATHER, both silent. They look with him at HIS SISTER, BROTHER, UNCLE, AUNT, SISTER - In - LAW FAMILY FRIEND - AND GRANDMOTHER, all on the porch of the ordinary house in BABYLON, LONG ISLAND - DAY ; all of them returning his gaze in that first SILENT moment. Curiosity. Recognition. Shock. Love. And then they move. But we do n't hear their movements. It is SOUNDLESS reunion ; the SISTER running out first in SLOW MOTION, the MOTHER following last, crying ; the GRANDMOTHER too infirm to move, the shaking her head from side to side in SLOW MOTION, her tears lost somewhere in the wrinkles of her face. BILLY surrounded by FAMILY - SLOW MOTION - SOUNDLESS. His eyes flooding. All the feelings in him. And deep inside - a solitary question. THE CHARACTER NAMED BELL IS STILL INSIDE. -LRB- ROLL THE LIST OF NAMES -RRB- And OVER this, the SOUND of a PASSING TRAIN rushing by in the night - UP, FAST and AWAY. -LRB- Getchmis Olsun -RRB- THE END"
] | [
1,
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] | On October 6, 1970, on holiday in Istanbul, Turkey, American college student Billy Hayes straps 2 kg of hashish blocks to his chest. While attempting to board a plane back to the United States with his girlfriend, Billy is arrested by Turkish police on high alert for fear of terrorist attacks. He is strip-searched, photographed, and questioned. After a while, a shadowy American – who is never named but is nicknamed "Tex" by Billy, for his thick Texan accent – arrives, takes Billy to a police station, and translates Billy's English for one of the detectives. Billy says that he bought the hashish from a taxicab driver and offers to help the police track him down in exchange for his release. Billy goes with the police to a nearby market and points out the cab driver, but when they go to arrest the cabbie, it becomes apparent that the police have no intention of keeping their end of the deal with Billy. He sees an opportunity and makes a run for it, only to get cornered and recaptured by the mysterious American. During his first night in holding at a local jail, a freezing-cold Billy sneaks out of his cell and steals a blanket. Later that night, he is rousted from his cell and brutally beaten by chief guard Hamidou for the theft. A few days later, Billy wakes up in Sağmalcılar Prison, surrounded by fellow Western prisoners Jimmy (an American who is in for stealing two candlesticks from a mosque), Max (an English heroin addict), and Erich (a Swede, also in for drug smuggling), who help him to his feet. Jimmy tells Billy that the prison is a dangerous place for foreigners like them and that no one can be trusted, not even young children. Billy meets his father, along with a US representative and a Turkish lawyer to discuss what will happen to him. Billy is sent to trial for his case, during which the angry prosecutor makes a case against him for drug smuggling. The lead judge is sympathetic to Billy and gives him only a four-year sentence for drug possession. Billy and his father are horrified at the outcome, but their Turkish lawyer insists that it is a very good result. Jimmy tries to encourage Billy to become part of an escape attempt through the prison's tunnels. Believing that he is to be released soon, Billy rebuffs Jimmy, who goes on to attempt an escape himself. Caught, he is brutally beaten. Then, in 1974, Billy finds out 53 days before he is due for release, that his sentence has been overturned by the Turkish High Court in Ankara after an appeal by the prosecution. The prosecutor originally wished to have him found guilty of smuggling and not the lesser charge of possession. Billy is shocked to find out that he now has to serve 30 years for his crime. In desperation, Billy goes along with a prison break that Jimmy has masterminded. Along with Jimmy and Max, he tries to escape through the catacombs below the prison, but their plans are revealed to the prison authorities by fellow prisoner Rifki. His stay becomes harsh and brutal: terrifying scenes of physical and mental torture follow one another, and Billy has a breakdown. He beats up and bites out Rifki's tongue and is sent to the prison's ward for the insane, where he wanders in a daze among the other disturbed and catatonic prisoners. In 1975, Billy's girlfriend, Susan, comes to see him. Devastated at what has happened to Billy, she tells him that he has to escape or he will die in there. She leaves him a scrapbook with money hidden inside as "a picture of your good friend Mr. Franklin from the bank" in the hope that Billy can use it to help him escape. Her visit moves Billy strongly, and he regains his senses. Billy says goodbye to Max, telling him not to die and promising to come back for him. He then tries to bribe Hamidou into taking him where there are no guards, but Hamidou takes Billy to another room and prepares to rape him. He suddenly and inadvertently kills Hamidou by pushing his head onto a coat hook that sticks out of the wall. Here, Billy seizes the opportunity to escape by putting on a guard's uniform and walking out of the front door. In the epilogue, it is explained that on the night of October 4, 1975, Billy successfully crossed the border to Greece and arrived home three weeks later. | Midnight_Express_(film) |
[
"INT. Jack Burden's Desk, The Chronicle, Day Jack Burden is looking over the morning edition of `` The Chronicle.'' He reads the society page. A man enters and leans across his desk. MAN Burden! Jack Burden! The boss wants to see you. He folds his paper, rises, and walks by the presses into Madison's office.",
"INT. Madison's Office, Day Madison, the city editor, is correcting copy at his desk. MADISON Hey, Jack, ever hear of a fellow called Willie Stark? JACK No. Who'd he shoot? MADISON Oh, county. uh. treasurer, or something like that. JACK What's so special about him? MADISON They say he's an honest man. What I want you to do is to hop into your car. JACK Why, you promised me a vacation. MADISON Well, that can wait. JACK Yeah. but there's a. a girl I know. He opens his newspaper to the society page and shows Madison a photograph of Anne Stanton. MADISON Oh. Well, she can wait too. Jack takes the paper back and looks at it. JACK The question is. can I? MADISON The answer is. get up there. JACK Right. -LRB- starts to go. -RRB- Oh. uh. what did you say his name was? MADISON Who? JACK The fellow's name. MADISON Oh, the. uh. Stark. Willie Stark. Madison goes on with his work. JACK -LRB- as he leaves. -RRB- Willie Stark.",
"EXT. Kanoma City, Day As Jack Burden's jalopy pulls up before the Kanoma County Courthouse of this back - country, one - street small town. JACK -LRB- voice over. -RRB- I found him in Kanoma City. A typical, hot, dusty, backwoods county seat. He gets out of the car, and notices a crowd of people gathered around a platform in the town square. As he walks over the begins to hear the words that Willie Stark is speaking. WILLIE to lie to them in order to line their own dirty pockets with the taxpayers' money. When have the citizens of Kanoma County ever witnessed a campaign like this? Why is the opposition so anxious to defeat me? Why have they used every dirty method known to make sure I'm not elected county treasurer? Well, I'll tell you why. A man in shirt sleeves and suspenders, Tiny Duffy, comes out of the local poolroom, listens for a moment to Willie's speech, and signals to two uniformed men to go over and break up the gathering. Jack Burden stands close to the platform, next to Willie's son, Tom, who waits patiently to distribute handbills. WILLIE Because they're afraid of the truth. and the truth is this. They're trying to steal your money. Yeah, I said steal. The county commissioners rejected the bid on the schoolhouse. Why? Well, they'll tell you their reason is the job will be done better. The county commissioners would have you believe that they're interested in public welfare. They're interested in welfare, sure. But it's their own. Let's look at the reason in the light of the facts and the figures. That brick factory is owned by one of the commissioners. That same brick factory uses convict labor. The sheriff and his deputy push through the crowd. SHERIFF Sorry, Willie, you'll have to move on. WILLIE Why? SHERIFF City Ordinance Number One - Oh - Five : more than five people congregating is disturbing the peace. WILLIE -LRB- ignores him. -RRB- If you folks'll be so kind as to read these handbills, my boy will pass them out among you. SHERIFF There's an ordinance against that too. WILLIE -LRB- his face grim. -RRB- Pass'em out, Tom. The sheriff pushes Tom back, grabbing the handbills out of his hand. Willie jumps down off the platform. WILLIE Let him alone! The sheriff collars Willie, then notices Jack on the platform snapping a picture. SHERIFF -LRB- to deputy. -RRB- Get that camera! Willie, you're under arrest. He takes Willie by the arm and leads him away. The crowd follows them to the courthouse. Tiny Duffy wipes the sweat off his neck and goes back into the poolroom.",
"INT. Kanoma City Poolroom, Day Two of Duffy's men, Pillsbury and a local commissioner, are playing pool as Jack enters. JACK Where can I find Tiny Duffy? PILLSBURY Right over there, mister. He walks over to Duffy. Some townspeople, who followed him there, gather around him to listen. JACK Uh, they told me I could get my camera back here. DUFFY Who told you that? JACK People. Can I? DUFFY You the reporter that's been snoopin' around town? JACK Are you Tiny Duffy? DUFFY What paper? JACK Chronicle. DUFFY You sure come a long way to stick your nose into other people's business. JACK That's true. Only my boss on the paper ca n't see it that way. DUFFY It ai n't any of his business either. JACK Whose business is it? PILLSBURY Them as is tendin' to it. County commissioners that the voters of Kanoma County elected to tend to their business and not take no buttin' in from nobody. JACK You a commissioner? PILLSBURY Yeah. Name's Pillsbury. Dolph Pillsbury. 2ND COMMISSIONER Me too. I'm a commissioner too. JACK Who is n't a commissioner? DUFFY He's the head man. JACK -LRB- to Pillsbury. -RRB- Then you're in a position to know where - DUFFY He's in a position to know nothin'. And to say nothin'. JACK I thought you said he was head man? DUFFY -LRB- smiling. -RRB- He uses my head. PILLSBURY -LRB- laughing loudly. -RRB- Oh, Tiny, you're a card. Ai n't he a card? Yeah, he's a card. Now, who thought up those city ordinances about arresting someone for making a speech? DUFFY Who's arrested? Nobody's been arrested. -LRB- looks toward the door. -RRB- Hi, Willie. Willie enters, accompanied by the sheriff and his deputy. The others in the room, including Sugar Boy in his bartender's apron, step aside to let him pass through. PILLSBURY Hi, Willie. DUFFY -LRB- to Sheriff. -RRB- Did you apologize to Willie? SHERIFF -LRB- mumbles. -RRB- Yeah, I apologized to Willie. DUFFY Did you give him his handbills back? SHERIFF Yeah, I gave'em back. DUFFY Give him back his flag and his bag and. -LRB- points to Jack. -RRB- give this man his camera. WILLIE I'm going to be on that same street corner tomorrow, Mr. Duffy. DUFFY You go right ahead, Willie. We all believe in free speech. We got to. it's in the Constitution. WILLIE My boy is out distributing those handbills now. DUFFY It's a free country, Willie. If you can convince the people to vote for you. you go right ahead. WILLIE What did you want to see me about, Mr. Duffy? DUFFY I wanted you to meet a fella came all the way up from the state capital to meet you. A reporter. Wants to write you up. maybe put your picture in the paper. WILLIE -LRB- turns to Jack. -RRB- I'm happy to know you, sir. JACK Burden's my name. Jack Burden. Can we go somewhere where we can talk? DUFFY Now that ai n't polite. Do n't you want to hear both sides of the story? Jack examines the camera that has just been returned to him. JACK I know your side. -LRB- finds the plate missing. -RRB- What happened to the plate your men took from my camera? DUFFY Must have dropped out. Oh, come on, fellas, let's relax. It's a hot day. Hey, Sugar Boy. SUGAR BOY Yeah? DUFFY Bring some cold beer for the boys. WILLIE None for me, thank you kindly. PILLSBURY Now you know Willie do n't drink, Tiny. His wife do n't favor drinking. And Willie's the teacher's pet, ai n't you, Willie? WILLIE I'll have some orange pop if you do n't mind. Duffy roars with laughter. DUFFY Orange pop! All right, Sugar Boy. Bring him some orange pop. SUGAR BOY -LRB- stutters. -RRB- Th - th - the p - p - pop's s - s - sold out. DUFFY Did you hear that, boys? The p - p - pop's s - s - sold out. They all laugh. PILLSBURY Now ai n't he a card? WILLIE -LRB- his face hard. -RRB- He stutters, Mr. Duffy, but you. you do n't say anything. -LRB- to Jack. -RRB- Let's go, mister. They turn and go out.",
"EXT. Dirt Road, Day Jack is driving Willie home to his farmhouse. They pass a farmer and his family walking by the side of the road. Willie smiles and waves to them.",
"EXT. Stark Farmhouse, Day As the car pulls into the drive we see Pa Stark in his rocking chair on the porch, and Lucy, who stands at the top of the steps, waiting to welcome Willie. WILLIE -LRB- as they go up the steps. -RRB- This is my wife, Lucy, Mr. Burden. JACK AND LUCY How do you do? WILLIE That's my pa.. Jack reaches out to shake his hand.",
"INT. Stark Farmhouse, Night Willie finishes chewing his food, pats his mouth with a napkin, and pushes his plate back. WILLIE Now we'll talk. Camera pulls back to include Jack, Lucy, and Pa, all seated around the dinner table. JACK You've been talking for a long time, Mr. Stark. PAPPY Willie's got a lot to say. LUCY You sleepy, Pappy? You want to have a nap? PAPPY No, I want to hear it. Lucy gets up and turns on a light in the kitchen. LUCY I'm worried about Tom. It's getting dark. He should have been home. WILLIE He's a strong boy. Do n't worry about him. He can take care of himself. JACK How old is the boy? WILLIE Fifteen. JACK How long have you been married? WILLIE Nine years. Willie grins at Jack's look of surprise. Lucy comes back into the room. LUCY -LRB- laughs. -RRB- He was a neighbor's boy. They were poor folks. Both died. I could n't have any children, so. He's a good boy. WILLIE Oh, he's the best. I could n't love him any more if he was my own flesh and blood. JACK -LRB- to Lucy. -RRB- And now you, Mrs. Stark? LUCY Oh, there is n't very much to tell about me. JACK How did you meet? LUCY I was teaching school and one day a pupil walked in. It was Willie. I could n't have a grown man in the class and Willie wanted to learn so badly. so I married him. JACK Is that the only reason? LUCY -LRB- pressing Willie's arm. -RRB- Except that I loved him. WILLIE Get the coffee, Lucy. She goes back into the kitchen. JACK When did they fire you, Mrs. Stark? LUCY -LRB- as she serves the coffee. -RRB- A couple of weeks ago. I'd been teaching for a long time and nobody ever said I was n't all right. But I do n't care. I do n't want to teach in a schoolhouse that they built just so somebody can steal some money. And Willie does n't want to be Treasurer, either, if he has to associate with those dishonest people. WILLIE -LRB- glumly. -RRB- I'm going to run. They ca n't keep me from running. JACK If you do n't mind the truth, Mr. Stark, you have n't much of a chance. WILLIE I'm going to run. They're not going to kick me around like I was dirt. LUCY I do n't care if Willie loses. just so he gets the truth to the people. Is n't that true, Willie? Willie is silent. Jack looks at him. LUCY Is n't it, Willie? WILLIE Hmmm? Yeah, yeah, sure, that's right. LUCY Well, if you lose you can give a little more time to studying your law books. JACK Oh, you studying law too? WILLIE By myself, at night. PAPPY Willie's a smart boy. WILLIE If I ever find the time I'm going to take a course at the university. The door opens slowly and Tom comes in from the porch. His clothes are torn and his face is dirty and bloody. He still carries some of the handbills. They rise to their feet and cluster around him. LUCY What happened, Tommy boy? What's the matter? TOM -LRB- head down, muttering. -RRB- I gave out the handbills, Pa.. WILLIE Speak up. Speak up. LUCY Let him tell it his own way. Go on, Tommy. TOM This time they were waiting for me. They took them away from me. Threw them in the dirt and beat me up. I brought some of them back. WILLIE -LRB- pats him on the back. -RRB- Good boy. Have you eaten yet, Tom? LUCY Let him wash up first. As Tom and Pappy go into the other room, a rock comes crashing through the front window, shattering the glass. Willie, his face filled with anger, throws open the door and stalks out onto the porch. Jack stands at the door, watching Willie shout into the darkness around him. WILLIE I'm going to run. and you're not going to stop me. I'm gon na run even if I do n't get a single vote. FADE OUT",
"INT. Jack Burden's Desk, Day Jack's fingers type out a story, the last line of which reads `` an honest man with courage.'' He pulls the sheet out and hands it to Madison. JACK Here you are. the last of the Willie Stark articles. Now can I go? MADISON Yes. You've earned your vacation. You've been writing these like you really mean them. Jack rises and walks toward the door. JACK I do.",
"EXT. Ferry To Burden's Landing, Day Jack's car is ferried across the bay to the slip of Burden's Landing. JACK -LRB- voice over. -RRB- I had n't been home in a long time. Only a hundred and thirty miles from Kanoma City. It was separated from the mainland by a body of water. For the first time I wondered if it was n't separated by more than that.",
"EXT. Mrs. Burden's Home, Day As Jack arrives, Mrs. Burden and her husband, McEvoy, are seated at a lawn table near the boat landing. JACK Hello, Mother. She runs forward to meet him. MRS. BURDEN Floyd, Jack's home. Oh, he looks fine. does n't he look fine? -LRB- to Jack, coquettishly. -RRB- How do I look, Jackie boy? JACK You look beautiful, Mother. MRS. BURDEN I've got so many things planned for you. parties and. it'll be just like old times. But first, let's have a drink. MCEVOY Ca n't that wait until this evening? She goes ahead and pours the drinks. MRS. BURDEN Floyd. honey. my son's home. MCEVOY How long do you plan on staying? JACK -LRB- coldly. -RRB- Two or three weeks. If that's all right with you. MRS. BURDEN I'm sure your father would be - JACK Stepfather, Mother. MRS. BURDEN -LRB- reproachfully. -RRB- Now, Jackie. here we all are. Floyd, Jackie, myself. -LRB- raises her glass for a toast. -RRB- To the best time we've ever had together. JACK Yes, Mother. They drink. Mrs. Burden gulps hers down avidly. Jack looks at her and then at McEvoy. JACK Excuse me. I. He turns and walks back toward the shore. He boards a small motorboat and heads toward a house that can be seen across the water.",
"EXT. Stanton Home (Burden's Landing), Day As the boat approaches the shore. Adam Stanton reaches down and pulls the boat up on land. He throws his arm around Jack, and the two climb the hill toward Judge Stanton, who stands waiting to greet him. JACK Dr. Stanton, I presume. STANTON -LRB- laughing. -RRB- Is my shingle showing? JUDGE Good to see you, boy. Very good. JACK Good to see you, Judge. How have you been? What have you been doing? They walk back together to the patio tables. JUDGE Oh, just sitting here. waiting for all of you to come home. You know, when a man starts to get old his eyes stray and play funny tricks on him. As I watched you in that boat I thought sure I saw a boy of twelve with a fishing rod in his hands. And I was sure the first thing he'd say would be. Jack catches sight of Anne Stanton walking down the path. He runs to meet her. As they embrace, he looks back at the Judge. JACK Do you mind if I kiss your niece, sir? He kisses her, and they turn and walk away.",
"EXT. Tennis Court (Burden's Landing), Day Anne gracefully returns a ball to Jack, then runs to embrace him at the net. Adam, seated near the court, smiles approvingly.",
"EXT. Gulf (Burden's Landing), Morning Jack and Judge Stanton in a rowboat, on their way to do some duck hunting.",
"EXT. Gulf (Burden's Landing), Day Adam is at the wheel of his sailboat, with Jack and Anne behind him.",
"INT. Stanton Living Room (Burden's Landing), Night A party in the Stanton living room. Adam plays the piano. He plays a waltz. Jack and Anne hold each other tightly as they move among the other couples.",
"INT. Burden Dining Room, Night A formal dinner, attended by Jack and Anne, Mrs. Burden and McEvoy, Judge Stanton and Adam. Mrs. Burden is proposing a toast. MRS. BURDEN To all the good times we've had together at Burden's Landing. And especially to this one. Because my son's home. JACK Thank you, Mother. Thank you very much. MRS. BURDEN Monty, Anne and I have been discussing Jack's career. What do you think he ought to go in for? Shall he be a lawyer, doctor. Jack looks at Anne. ANNE We were just discussing whether you should. JACK -LRB- to his mother. -RRB- I like what I'm doing, Mother. MCEVOY You do very well at it. I read your articles about this fellow. Willie Stark. Very convincing. Too convincing for my tastes. JACK A lot of people like them. MCEVOY A lot of people are fools. Articles like that should n't be permitted. They only tend to incite people. JACK What are you afraid of? STANTON I thought they were very good. I was proud of you, Jack. I was particularly interested in Stark's ideas on health and medicine. You know the conditions at the hospital I work in. They're intolerable. I'd like to meet this Willie Stark. He sounds like an honest man. MCEVOY Honest man? This state is full of these log - cabin Abe Lincolns with price tags on them. The louder he yells the higher his price. JACK You think you can buy anything, do n't you? MCEVOY Yes, do n't you? There is a silence. Then McEvoy turns to the Judge. MCEVOY What do you think, Judge? JUDGE I think this state could stand a few changes. MCEVOY -LRB- his face white. -RRB- Well, I'll tell you what I think - ANNE -LRB- quickly. -RRB- Oh, please. let's not talk politics. MRS. BURDEN Anne is right. I absolutely forbid any more of it. I know what we need, we need another toast. -LRB- to the Judge. -RRB- You propose it, Monty. you're so good at it. The Judge picks up his glass and stands up. JUDGE To the young people. to Anne, to Jack, to Adam. To what lies before them. To the world they'll make. in spite of the mistakes we've made. MCEVOY -LRB- rising. -RRB- The mistakes you've made, not me. You're all still pretty high and mighty, are n't you? You all think this state needs a change. You do n't like the way it's run. Well, who's going to run it? Willie Stark? The Judge? -LRB- to Jack. -RRB- You? You can be bought too. As a matter of fact you have been. And with my money. Jack's answer is to throw his liquor in his stepfather's face. There is a pause. McEvoy wipes the liquor off with his handkerchief. MCEVOY -LRB- slowly. -RRB- That's a waste of good liquor. -LRB- looks at Mrs. Burden. -RRB- Your mother would n't approve. Jack turns and leaves the room. MRS. BURDEN Jack. She hurries after him.",
"EXT. Veranda, Night As Mrs. Burden comes out after Jack. Anne stands in the doorway. MRS. BURDEN Jack. you go back in and apologize. JACK Apologize? I'd rather die. MRS. BURDEN I've got to live with him. JACK Well, I do n't. Neither do you. You do n't love him, Mother. You never did. MRS. BURDEN Son, do n't spoil anything now. He can help you. JACK I can get along without him. You need this house. And the parties. And the cars and the clothes and the lies. I do n't. It's the truth, Mother, face it. For once in your life, face it. Mrs. Burden appeals to Anne. MRS. BURDEN Anne, please. please make him understand. Anne says nothing. Mrs. Burden goes back into the house.",
"INT. Stanton Living Room, Night Anne and Jack sit alone in the room, beneath the portrait of the old Governor Stanton. JACK Anne, Burden's Landing is a place on the moon. It is n't real. It does n't exist. It's me pretending I live on what I earn. It's my mother trying to keep herself young, and drinking herself old doing it. It's you and Adam living in this house as though your father were still alive. It's an old man like the Judge dreaming of the past. Anne, come away with me. ANNE And do what? JACK -LRB- rises impatiently. -RRB- And live in a shack and eat red beans. Anne, what do you want me to do? ANNE Oh, Jack, Jack, you have n't been sure. You've gone from one thing to the other. a year at law school, and now this job as a reporter. JACK Are you afraid I ca n't make a living? ANNE Oh, no, Jack, it is n't that. I do n't care about the money. It. it's just that I. I want you to be something. JACK What is it you want me to be? ANNE I do n't know. It's just that I want you to be. to do. something important. Jack looks up at the portrait of Governor Stanton. JACK Like your father. All right. I'll run for governor. -LRB- pause. -RRB- Anne, I'm sorry. I'm sorry I said that. ANNE All right, Jack. I'll go away with you. I'll do anything you want me to do. They kiss. JACK Anne, I've wanted you to say that more than anything in the world, and now that you've said it. Anne, I guess you were right. I'm not sure of anything, including myself. I'm not sure I could live up to the. -LRB- looks again at the portrait. -RRB- Anne, wait for me. Please wait for me. ANNE I'll wait for you.",
"INT. Madison's Office, Day Madison is at his desk as Jack enters. MADISON Hello, Jack. Cut your vacation short, did n't you? JACK Yeah. MADISON By the way, Jack, the fellow you wrote the articles about. uh. Stark. JACK Yeah? MADISON He lost. JACK Well, I guess that's the end of Willie Stark. He turns around and walks off toward his desk. FADE OUT",
"INT. Stark Farmhouse, Night Lucy and Willie are seated together at the table. Willie has his law books open before him. WILLIE Measure of the damages is caused by. LUCY -LRB- prompting. -RRB- A breach. WILLIE A breach. LUCY Of an agreement. WILLIE Of an agreement. LUCY To sell personal property. WILLIE To sell. -LRB- slams the book shut. -RRB- Oh, two years of this. LUCY -LRB- leaning over to him. -RRB- Oh, go on, Willie, go on. He opens the book again.",
"INT. Willie's Law Office (Kanoma City), Day Willie positions the framed diploma on the wall. The camera pulls back to show Tom and Lucy, looking on. WILLIE Willie Stark. Bachelor of Law.",
"EXT. Kanoma City Farm, Day Close shot of Willie, talking to a farmer. WILLIE If you'll just let me take your case.",
"EXT. Farm, Day Willie walks beside a farmer who is plowing his field. WILLIE Really, I'll wait for my fee. Just as long as you want me to.",
"INT. Willie's Law Office, Night Through the window, on which is printed `` Willie Stark : Attorney at Law,'' we see Willie, alone, pacing back and forth in his office. LUCY'S VOICE Go on, Willie, go on. WILLIE'S VOICE They're not going to kick me around like I was dirt. LUCY'S VOICE If you lose you can give a little more time studying your law books. WILLIE'S VOICE I'm going to be on that same street corner tomorrow, Mr. Duffy! DUFFY'S VOICE By all means. Free speech, free country, Willie. WILLIE'S VOICE That brick factory is owned by a brother - in - law of one of the commissioners. The county commissioners rejected the low bid on the schoolhouse. Willie crumples a piece of paper in his hand and tosses it against the window.",
"EXT. Schoolhouse (Kanoma City), Day A plaque on the school wall reads KANOMA CITY GRAMMAR SCHOOL",
"INT. Schoolroom, Day Teacher faces her class. The clanging of a fire bell is heard. TEACHER All right, children, this is a fire drill. The children rise and start to march out of the room in double file. TEACHER Remember now, walk quietly.",
"EXT. Schoolhouse, Day The children's feet, as they climb down the fire escape. Camera pans past children to an iron rod supporting the fire escape. The brick around the rod starts to crumble and it rips loose. The children scream out in fear and agony.",
"EXT. Cemetery, Day The whole town is there. Willie Stark, Lucy, Tom stand modestly in the background. Quiet sobbing is heard as the minister reads from the Bible. When he finishes the prayer, he walks past the line of mourners, shaking their hands. The ceremony is over. As they start to go, a man spots Willie, goes over to him, and lifts Willie's arm in the air. MAN Oh, Lord, I'm punished for voting against an honest man. This sudden action brings response ; women begin to cry and people push their way forward to grab Willie by the hand. VOICES OF THE MOURNERS God bless you, Willie. If we had only listened to you, Willie. You were right, Willie. Let me shake your hand, Willie. We should have listened, Willie. You were right all the time. On Willie's face is the realization that something important has happened to him.",
"INT. Stark Farmhouse, Night An article is pasted in a scrapbook. It reads : `` VOICE IN THE WILDERNESS. Recent school tragedy is a potent reminder that a man named Willie Stark.'' A hand draws a pencil underneath the name. WILLIE'S VOICE A voice in the wilderness. A man named Willie Stark. Camera pulls back to show Willie at the table busy with his scrapbook. He looks up at Lucy. WILLIE How about that, Lucy, that's me. She looks at him, unsmiling, and sits down to help him clip various articles from other papers.",
"INT. Stark Farmhouse, Night A series of clippings are being pasted in the scrapbook. They read : A. SCHOOL VICTIMS SUE COUNTY : STARK FILES DAMAGE SUIT `` Will prove graft cause of tragedy,'' says Attorney Stark. B. CITIZENS COMMITTEE FORMED Draft Stark to lead fight to rid state of graft. C. CITIZENS COMMITTEE DEMANDS STATE - WIDE INVESTIGATION D. Large photograph of Willie. Under it, the caption : RURAL AREAS IN REVOLT",
"INT. Madison's Office, The Chronicle, Day The clippings are spread out on Madison's desk. He looks up at Jack. MADISON Get up there. Get up there fast. Your friend, Willie, is hotter than a firecracker. Jack starts toward the door. MADISON Stay there with him.",
"INT. Harrison's Political Headquarters (State Capital), Day A politician points to a map on the wall. POLITICIAN Look, before this Kanoma City business we had this whole area tied up. Now we're losing to Hickville. Camera pulls back, revealing the candidate, Harrison, Tiny Duffy, and a woman, Sadie Burke. POLITICIAN We must find a way to split that vote. HARRISON Well, all I know is, the way it is now it looks like I'm not going to win. POLITICIAN I know a way. find a dummy. SADIE Find a dummy. -LRB- looks at Harrison. -RRB- That's what we've got. POLITICIAN A guy from the sticks. strong enough to grab some votes and dumb enough not to ask questions. DUFFY If you want to listen to a boy from the sticks, I know just the guy. They crowd around to listen.",
"INT. Stark Farmhouse, Day Jack sits at the dinner table, with Willie and Lucy. Tom stands next to Willie. Pappy dozes in his chair. JACK No more politics, eh, Willie? WILLIE No, I worked too hard in my time to get there. I think I'll just go on practicing law and make a little more money. JACK The question I'd like to know is, why all the speeches you're making around the countryside? Willie is about to answer when he hears the sound of approaching cars. WILLIE Wonder who that is? He goes to the window, and we see a big black limousine turning into his drive. He opens the door and waits as Sadie, Duffy, Dolph Pillsbury, and other politicians climb the steps to meet him. DUFFY Brought some people all the way up from the state capital just to meet you. -LRB- turns to others. -RRB- Folks, I want you to meet Willie Stark, the next governor of our state. Willie, Lucy, and Tom beam happily. Jack looks skeptically at Sadie, whose only reaction is to smile, politely.",
"EXT. Country Road, Day Close shot of three posters on a billboard. They read ELECT JOE HARRISON -LRB- HAPPY JOE -RRB- GOVERNOR FOR GOVERNOR ELECT McMURPHY WILLIE STARK FOR GOVERNOR. The camera pans to the road, where an old Model T comes bouncing along. As it passes we see a poster stuck on its back : WILLIE STARK - GOVERNOR.",
"EXT. Railroad Station, Day Willie Stark walks out on the platform at the rear of the train and talks to some of the townspeople who have gathered at the station. WILLIE Folks, if you'll just bear patiently with me for a couple of minutes, I'd like to tell you what this state needs. It needs a balanced tax program. Now I'd like to give you the facts and the figures. Some of the townspeople start to move away.",
"INT. Train, Day As the train pulls away from the station, Willie turns around to Jack. WILLIE How did it sound, Jack? JACK Fine, Willie, fine. WILLIE -LRB- alarmed. -RRB- Say. I forgot to send a telegram to Lucy. Conductor! Jack and Sadie exchange looks.",
"INT. Train Club Car, Day Willie, jacket off, works over a speech with Duffy as Pillsbury and Sadie look on. WILLIE Now right here. right here I'd like to add something about last year's taxes. eh? DUFFY I would n't add a thing. Just give them the facts. PILLSBURY Yeah. and the figures. DUFFY Great speech. Sadie sips her drink.",
"EXT. Street Corner (Upton), Day Willie stands on a platform, next to an American flag, reading from his prepared speech. WILLIE What this state needs is a balanced tax program. Last year, last year the state claimed to have spent on roads. Sadie turns and walks away, no longer able to listen. Jack follows her toward the hotel.",
"INT. Hotel Lobby (Upton), Day As Jack and Sadie cross the street, enter the lobby, and sit down next to the front window. We can still see Willie and his small street - corner audience in the background. JACK Do you mind if I sit with you, Sadie? SADIE -LRB- shrugs. -RRB- Stand. sit. JACK Thanks. Tell me, what are you on this merry - go - round for? SADIE I take notes. JACK For whom? SADIE For those who pay me. JACK Which is. SADIE People. JACK Smart people. SADIE Oh, yeah. Anybody that pays me is smart. JACK You do n't have to be smart to frame a guy like Willie Stark. SADIE No. No, brother, you do n't. JACK -LRB- lights a cigarette. -RRB- It is a frame, is n't it? SADIE Why do n't you give me a cigarette? JACK -LRB- gives her the pack. -RRB- To split the vote and win the election for Harrison, huh? SADIE If you know, why do you ask? JACK I just want to make sure. SADIE Yeah. JACK Look, why do n't you tell the boys back home to save their money. Willie could n't steal a vote from. from Abe Lincoln in the Cradle of the Confederacy. SADIE I wish the poor. had enough sense to have somebody give him a good greasing for the beating he's going to get.'Cause this way all he gets out of it is the ride. -LRB- looks at Willie through the window. -RRB- Hey, those speeches! Ai n't they awful? Ai n't they just plain awful? Question to you : if somebody told him he was a sucker, do you think he'd quit? Willie has just finished his speech and is on his way over to the hotel. JACK I do n't know, Sadie. I really do n't know. WILLIE -LRB- as he comes into the lobby. -RRB- Did it sound all right, Mr. Burden? JACK Fine, Willie, fine. WILLIE Thanks. He and Jack go upstairs together. Sadie watches them.",
"INT. Sadie's Hotel Room (Upton), Night Sadie lies on her bed, listening to Willie in the next room, rehearsing one of his speeches. WILLIE'S VOICE Now, friends, if you will bear patiently with me for a few minutes, I'll give you the figures. What we need is a balanced tax program. JACK'S VOICE No, Willie, no. Sadie pulls off a shoe and hurls it at the wall. SADIE What I need is some sleep. Shut up!",
"INT. Jack's Hotel Room (Upton), Same Time Willie lies on his bed. Jack finishes shaving in the bathroom as he continues to rehearse him. JACK -LRB- shouting back at Sadie. -RRB- Shut up yourself! -LRB- goes to bed, shakes Willie. -RRB- Listen, Willie, try it on your feet this time. WILLIE Oh, no. Wait a minute. My feet are killing me. Let me stay here, huh? JACK All right. Look, Willie, you tell'em too much. Just tell'em you're going to soak the fat boys and forget the rest of the tax stuff. WILLIE -LRB- pathetically. -RRB- That's what I say. JACK But it's the way you say it. Willie, make'em cry. Make'em laugh, make'em mad, even mad at you. Stir'em up and they'll love it and come back for more. But for heaven's sake do n't try and improve their minds. WILLIE -LRB- suddenly. -RRB- A man do n't have to be governor. JACK -LRB- surprised. -RRB- What? WILLIE A man do n't have to be governor. Pause. JACK Well, they have n't counted up the votes yet. WILLIE -LRB- quietly. -RRB- Oh, I'm going to lose, Mr. Burden. I know that. Do n't try and fool me. I'm not going to lie to you. I wanted it. I wanted it so badly I stayed up nights thinking about it. A man wants something so badly he gets mixed up in knowing what he wants. It's something inside of you. I would have made a good governor. Better than those other fellows. There is a knock on the door. JACK Come in. WILLIE -LRB- almost to himself. -RRB- A great governor. Sadie enters. She immediately spots the liquor, and pours herself a drink. SADIE Since you wo n't let me sleep you might at least give me a drink. WILLIE -LRB- muttering. -RRB- Build them highways. greatest system of highways in the country. JACK -LRB- to Sadie. -RRB- Help yourself. WILLIE I'll build schools. SADIE -LRB- to Jack. -RRB- What's up? JACK Nothing. except Willie here has been saying as how he's not going to be governor. SADIE -LRB- directly, to Jack. -RRB- So you told him. JACK I do n't tell anyone anything. I just listen. SADIE -LRB- goes to Willie. -RRB- Who told you? WILLIE Told me what? Told me what? SADIE That you're not going to be governor. WILLIE -LRB- getting up. -RRB- Jack! Told me what? Told me what? Jack says nothing. Sadie gulps down her drink, bangs the empty glass on the bureau top, and turns to face Willie. SADIE -LRB- loudly. -RRB- All right! That you've been framed, you poor sap. Willie looks at her steadily for a moment. WILLIE -LRB- quietly. -RRB- Framed? SADIE And how! Oh, you decoy, you woodenhead decoy! And you let'em. You let'em because you thought you were the little lamb of God. But you know what you are? -LRB- she waits for his answer ; he has none. -RRB- Well, you're the goat! You are the sacrificial goat! You are a sap. because you let'em. JACK Sadie! That's enough. SADIE Enough? He did n't even get anything out of it. Oh, they'd have paid you to take a rap like that, but they did n't have to pay a sap like you. Oh, no, you were so full of yourself and hot air, all you wanted was a chance to stand up on your hind legs and make a speech : my friends, what this state needs is a good five - cent cigar. What this state needs is a - WILLIE -LRB- to Jack. -RRB- Is it true? SADIE -LRB- prayerfully, to the ceiling. -RRB- He wants to know if it's true. WILLIE Is it true? JACK That's what they tell me. There is a long pause. Willie looks almost as if he is going to cry. Sadie pours out another drink, a stiff one. SADIE -LRB- handing it to him. -RRB- Here. Willie drinks it all. JACK Hey, lay off that. You're not used to it. SADIE -LRB- jeeringly. -RRB- He's not used to a lot of things. Are you, Willie? JACK -LRB- angrily. -RRB- Why do n't you lay off of him, Sadie? SADIE -LRB- ignores Jack. -RRB- Are you, Willie? Are you? Are you. are you, are you, are you? She shoves the bottle at him. He takes it and pours himself a drink.",
"INT. Sadie's Hotel Room (Upton), Morning Willie is snoring on the bed. Sadie's coat is thrown over him. She is in the bathroom, applying lipstick. Jack enters. SADIE Hi. JACK Well, things seem to have quieted down. SADIE -LRB- laughs. -RRB- Yeah, I quieted him down. JACK Yeah. How was he? Noisy? SADIE Oh, he reared some. He's been telling me all the things he's going to do. He's going to do big things, this fella. He's going to be President. He's going to kill people with his bare hands. I quieted him down. Hey! Who's Lucy? JACK His wife. SADIE He talks like she's his mammy. she's going to blow his nose for him. Jack sits on the bed next to Willie. JACK Well, I'll take him from here on in. They're waiting for him at the barbecue. Sadie pulls her coat off Willie and goes to the door. SADIE Yeah, well give me a receipt for the body and I'll be on my way. She leaves. Jack bends over Willie, who continues to snore. JACK Hey, Willie, Willie. come on, wake up, Willie. Come on, Willie.",
"EXT. Fairgrounds (Upton), Day A crowd mills about underneath a banner that reads HEAR WILLIE STARK MAMMOTH BARBECUE - UPTON FAIRGROUNDS",
"EXT. Fairgrounds, Day Willie, staggering a bit, hung over, reacts painfully to the staggering height of the Ferris wheel. He leans on Jack for support, and they walk on.",
"EXT. Fairgrounds, Day Willie takes a seat on the children's swing as Jack goes off to get some coffee. Two little girls stare curiously at him. Willie waves them off. Jack returns with the coffee and pours some whisky in it. Willie tips his hand, forcing him to pour more, then gulps his drink down.",
"EXT. Bandstand (Upton), Day Duffy, Pillsbury, and the other politicians stand on the platform, waiting for Willie. A band plays march music. Duffy goes over to Sadie, who is standing on the steps of the platform. DUFFY Where is he? SADIE -LRB- pointing. -RRB- There he is. Escorted by Jack, Willie approaches the platform and stumbles up the steps past Sadie. SADIE Whoops! DUFFY -LRB- to Jack. -RRB- Is he drunk? JACK Never touches the stuff. Lucy does n't favor drinkin'. Duffy follows Willie up on the platform. SADIE -LRB- to Jack. -RRB- How'd you get him here? He was out stiff. JACK Hair of the dog that bit him. SADIE Hair? He must have swallowed the dog. On the platform, Duffy looks uneasily at the bleary - eyed Willie. The band suddenly plays a fanfare, and the chairman steps up to the microphone. CHAIRMAN Ladies and gentlemen, it gives me a great deal of pleasure to introduce to you that true man of the people, the next governor of the state. Willie Stark. There is scattered applause as Willie steps forward to speak. WILLIE My friends. He turns his face from side to side, and fumbles in the right side of his coat pocket to fish out his speech. WILLIE My friends. I. He tries to focus on the speech, which he clutches before his eyes with both hands. Then he lifts his head, and looks directly at the people who have come to hear him. As he speaks, the camera focuses on the faces of these people : the farmers, workers, hicks, red - necks who are Willie's audience, Willie's people. WILLIE I have a speech here. It's a speech about what this state needs. There's no need in my telling you what this state needs. You are the state and you know what you need. You over there. look at your pants. Have they got holes in the knees? Listen to your stomach. Did you ever hear it rumble from hunger? And you, what about your crops? Did they ever rot in the field because the road was so bad you could n't get them to market? And you. What about your kids? Are they growing up ignorant as dirt, ignorant as you,'cause there's no school for them? No, I'm not going to read you any speech. He throws his speech away. Duffy looks alarmed. WILLIE But I am going to tell you a story. It's a funny story. SADIE -LRB- from the steps. -RRB- Hey! WILLIE'S VOICE So get ready to laugh. SADIE What's he up to? JACK Shut up! WILLIE Get ready to bust your sides laughing,'cause it's sure a funny story. It's about a hick. a hick like you, if you please. Yeah, like you. He grew up on the dirt roads and gully washes of a farm. He knew what it was to get up before dawn and get feed and slop and milk before breakfast. and then set out before sunup and walk six miles to a one - room, slab - sided schoolhouse. Oh, this hick knew what it was to be a hick, all right. He figured if he was going to get anything done, he had to do it himself. So he sat up nights and studied books. He studied law because he thought he might be able to change things some. for himself, and for folks like him. Sugar Boy listens intently, sharing in the anger in Willie's speech. WILLIE No, I'm not going to lie to you. He did n't start off thinking about the hicks and all the wonderful things he was going to do for them. No. No, he started off thinking of number one. But something came to him on the way. How he could do nothing for himself without the help of the people. That's what came to him. And it also came to him, with the powerful force of God's own lightning, back in his home country, when a schoolhouse collapsed because it was built of politics. rotten brick. It killed and mangled a dozen kids. But you know that story. The people were his friends because he fought that rotten brick. And some of the politicians down in the city, they knew that. So they rode up to his house in a big, fine, shiny car and said as how they wanted him to run for governor. Jack, electrified, grips Sadie's arm. JACK Sadie, he's wonderful. wonderful. Duffy fidgets as Willie continues to pace and speak, his face filled with conviction, and with fury. WILLIE So they told the hick. and he swallowed it. He looked in his heart and he thought in all humility how he'd like to try and change things. He was just a country boy who thought that even the plainest, poorest man can be governor if his fellow citizens find he's got the stuff for the job. Well, those fellows in the striped pants. they saw the hick and they took him in. He points his finger at Duffy, who is coming over to speak to him. DUFFY -LRB- low voice. -RRB- Willie, what are you trying to do? Willie turns on him, roaring. WILLIE There he is! There's your Judas Iscariot. -LRB- he pushes Duffy across the platform. -RRB- Look at him. lickspittle. nose - wiper. Duffy gestures frantically to the band. DUFFY Play! Play! WILLIE -LRB- pushing him again. -RRB- Look at him! DUFFY Play anything. The band starts to play, adding to the pandemonium. Willie shouts above it. WILLIE Look at him! Joe Harrison's dummy! Look at him! DUFFY That's a lie! WILLIE Look at him! Duffy signals to some of his goons standing near the platform. DUFFY Go get him, boys. go get him. Sugar Boy leaps up on the platform, his pistol drawn and pointed at Duffy's men. Willie throws up his arms to silence the crowd. WILLIE Now, shut up! Shut up, all of you. Now, listen to me, you hicks. Yeah, you're hicks too, and they fooled you a thousand times, just like they fooled me. But this time I'm going to fool somebody. I'm going to stay in this race. I'm on my own and I'm out for blood. The camera moves in close on Willie's face. WILLIE Listen to me, you hicks.",
"EXT. Willie's Speeches, Day and Night A series of close - ups of Willie's face as he shouts and jeers his message, always accompanied by the loud and frenzied cheers of the crowd. Superimposed over his face is the figure of Jack Burden, at his desk, typing out his stories. WILLIE Listen to me and lift up your eyes and look at God's blessed and unflyblown truth. And this is the truth. You're a hick. And nobody ever helped a hick but a hick himself. Loud cheers and yells. WILLIE All right, listen to me. listen to me. I was the hick they were going to use to split the hick vote. But I'm standing right here now on my hind legs. even a dog can learn to do that. Are you standing on your hind legs? Have you learned to do that much yet? Here it is, here it is, you hicks. Nail up anybody who stands in your way! Nail up Joe Harrison! Nail up McMurphy! And if they do n't deliver, give me a hammer and I'll do it myself. NEWSPAPER HEADLINE There is a photograph of Willie and a headline that reads STARK CHANCES BOOMING Superimposed over the newspaper is a shot of a crowd applauding and yelling for Willie.",
"INT. Joe Harrison's Campaign Headquarters, Night Duffy, Pillsbury, and other aides stand looking at a poster of Willie. POLITICIAN I want his throat cut, from ear to ear.",
"EXT. Willie's Campaign Montage Rock crashes through a window, knocking down a poster of Willie. Poster being torn off the side of a building. A man is attacked as he tries to distribute leaflets.",
"EXT. Jack Burden's Desk, The Chronicle, Night Jack is working on a story when Madison comes to his desk. MADISON No use going any further, Jack. We are n't printing them any more. JACK I thought the Chronicle line was - MADISON Divide and conquer? Stark is getting too big for his britches and the hicks are getting too smart. We're now supporting Harrison. JACK -LRB- stands up. -RRB- How do you square that? MADISON I work here. JACK -LRB- putting on his coat. -RRB- Well, I do n't. not any more. MADISON Jack, you fool. JACK If you had any guts you'd print this. MADISON I work here. I take orders. JACK I know. You've got a wife and three kids and your boy goes to Princeton. MADISON You wo n't find it easy to get another job. JACK I'm too rich to work.",
"EXT. Street Outside State Capitol, Day NEWSPAPER HEADLINE READS HARRISON WINS CLOSE RACE STARK SWEEPS RURAL AREAS CITY VOTE DECIDES ELECTION Superimposed over newspaper is a crowd cheering at Harrison's victory parade. Willie, raincoat thrown over his shoulders, looking grim, and Sadie and Sugar Boy are part of that crowd. They turn away and walk toward a bar.",
"INT. Bar, Day Jack is already at the bar. Willie, Sadie, and Sugar Boy join him there. JACK We did n't do so good. WILLIE Double bourbon. SADIE -LRB- sitting next to Jack. -RRB- Same for me. WILLIE And a beer. -LRB- to Jack. -RRB- I hear you got fired from the paper. JACK You heard wrong, Willie. I quit. WILLIE -LRB- passing the beer back to Sugar Boy. -RRB- You're smart.'Cause before I'm through with that mob they're not going to have enough money left to pay the boy that cleans the spittoons. JACK How do you feel, Willie? WILLIE I feel fine, fine. You see, Jack, I learned something. Willie and Sadie exchange looks. JACK Yeah. what? Close shot of Willie. WILLIE How to win. FADE OUT",
"EXT. Road, Day Jack stands on the side of the road, thumbing a ride. JACK -LRB- voice over. -RRB- I did n't see Willie again until his second campaign. four years later.",
"INT. Office, Night Jack turns in some copy to a man at a desk. JACK -LRB- voice over. -RRB- I drifted from job to job.",
"EXT. Street, Day Jack and others in front of an employment agency. JACK -LRB- voice over. -RRB-. That is, whenever I could find one.",
"INT. Bar, Night Jack, at the bar, looking haggard and disheveled, picks up a newspaper and turns to find a photograph of Anne. The caption reads STANTONS ARRIVE HOME. JACK -LRB- voice over. -RRB- But always further and further away from Anne, and the life at Burden's Landing.",
"EXT. Street, Day Camera pans with Jack as he trudges along the street. JACK -LRB- voice over. -RRB- But Willie was n't drifting. He knew where he was going. We see an insert of a newspaper. It has a caricature of Willie, swinging a sledge hammer. The caption reads STARK ATTACKS ADMINISTRATION CHARGES OLD MACHINE STILL CORRUPT JACK -LRB- voice over. -RRB- He had his foot in the door and he kept right on pushing to get in. He had lost the election but he had won the state. and he knew it. and the people knew it. MONTAGE : WILLIE'S LIFE Writing on a fence : THE PEOPLE'S WILL SHOULD BE THE LAW OF THE STATE. WILLIE STARK Painted on a rock : KNOWLEDGE BELONGS TO THE PEOPLE. WILLIE STARK Lettering on a barn : FREE MEDICINE FOR ALL PEOPLE - NOT AS A CHARITY BUT AS A RIGHT. WILLIE STARK Poster on a building : MY STUDY IS THE HEART OF THE PEOPLE. WILLIE STARK JACK -LRB- voice over. -RRB- They were all hopping on his bandwagon. even Tiny Duffy. Newspaper caricature : it shows Willie on a bandwagon headed for the state capitol. Everyone is trying to climb aboard. Caption is THEY'RE ALL FOR WILLIE NOW. Huge poster on the side of a building : MY STUDY IS THE HEART OF THE PEOPLE. Camera pans up to photograph of Willie on the poster. JACK -LRB- voice over. -RRB- Yep, Willie came back like he said he would.",
"INT. Willie's Office, Day Willie is being interviewed by a group of reporters. Sugar Boy lounges nearby, leaning against the wall. WILLIE Do you want to know what my platform is? Here it is : I'm going to soak the fat boys and I'm going to spread it thin.",
"EXT. Circus Grounds, Day We see balloons with inscriptions reading `` I'm for Willie,'' and a large banner stretching overhead, saying FREE CIRCUS TODAY - COMPLIMENTS OF WILLIE STARK. The crowd moves about, gazing at the clowns, animals, the trapeze act. JACK -LRB- voice over. -RRB- Willie was right - he'd learned how to win.",
"EXT. Park, Day A truck loaded with beer kegs pulls into the park. On the back of the truck is a sign : BIG STARK RALLY TODAY - FREE BEER - FREE FOOD - EVERYBODY INVITED. Superimposed over this is the image of dollar bills floating through the air. JACK -LRB- voice over. -RRB- He spent a lot of money doing it. an awful lot of money. I was beginning to wonder where he got it from. Montage : Willie's Second Campaign Hand holding check made payable to Willie Stark Campaign Fund. $ 7000. Willie's hand reaches out and takes it. Hand holding check payable to cash for $ 5000. Superimposed is Willie, looking on, and his hand endorsing the back of the check. Another check to the Stark Campaign Fund for $ 3500. Poster of Willie is superimposed. JACK -LRB- voice over. -RRB- There were rumors throughout the state that Willie was making deals with all kinds of people. strange deals. for Willie Stark. Crowd milling about circus grounds, with Willie's poster superimposed. Fireworks exploding. Crowd cheers. JACK -LRB- voice over. -RRB- The second time out, it was n't a campaign. it was a slaughter. It was Saturday night in a mining town. Huge poster is affixed to the side of a building. It bears Willie's face, and his slogans.",
"EXT. Hotel (State Capital), Day Crowd stands about as Willie and Jack make their way into the hotel. JACK -LRB- voice over. -RRB- He came back and he took me with him.",
"INT. Hotel Lobby, Day The lobby is packed as Willie, Jack, Sugar Boy, and Pillsbury enter. Willie makes signals to Duffy to tag along with the entourage. Willie leans over to speak to the room clerk. WILLIE This is Jack Burden, a friend of mine. From now on he's going to live here. Give him anything he wants. The group starts up the stairs, past the officers who are standing guard. Duffy stops to speak to one, pointing his finger at some of his men standing below. DUFFY Let these boys through, officer. WILLIE -LRB- to Jack. -RRB- Duffy works for me now. JACK It looks like everybody works for you. They start up the second flight of stairs. WILLIE No. No, not yet. But I want to keep him around. He reminds me of something I never want to forget. Willie stops and looks around at Duffy's men hurrying up the steps. WILLIE -LRB- to Duffy. -RRB- Come on, come on, come on, come on. Are these the boys? DUFFY These are the boys that can get the boys. WILLIE How many do you think we can get? DUFFY Fifty. WILLIE How much? DUFFY Five dollars a head. WILLIE -LRB- to Sugar Boy. -RRB- What do you think, Sugar? Do they look like good boys? SUGAR BOY T - t - they b - b - better be. WILLIE Get a hundred. All right, go on, all of you. Blow. Blow, blow. You too, Duffy. Go on. Duffy and his men turn and go downstairs. WILLIE -LRB- to Jack. -RRB- Handbill distributors. JACK If they all look like them I'd hate not to take one. WILLIE That's the object. Not like when they beat up my boy Tom. JACK How is Tom? WILLIE Oh, he's fine. He starts college in the fall. JACK Oh. And Lucy? Willie's expression changes. He starts up the stairs. WILLIE Fine. fine.",
"INT. Willie's Campaign Office In Hotel, Day The place is a beehive of activity, with typists and messengers scurrying about, all supervised by Sadie. SADIE Hey, I need a boy. Where's a boy? -LRB- boy runs up. -RRB- Take that downstairs ; they're waiting for it. Right away, on the double. -LRB- to typist. -RRB- Listen, baby, you've got to double - space all of this. he ca n't read, see. The door opens and Willie, Jack, and Sugar Boy come in. JACK Sadie! SADIE -LRB- to typist. -RRB- And they need four copies. -LRB- looks up. -RRB- Hi, Jack. How are you? WILLIE Sadie is my secretary now. -LRB- to messenger, trying to squeeze by. -RRB- Oh, pardon me. As Willie and Jack walk toward adjoining room, Sadie calls out : SADIE Fix your tie, Willie.",
"INT. Bedroom Hotel Suite, Day Willie and Jack enter from the office. WILLIE Hey, Sugar. Sugar Boy appears in the doorway. Sadie slips by into the room. WILLIE Keep everybody out of here. I want to talk to Jack and Sadie alone. He walks over to Jack, who leans back on the bed. WILLIE From now on you're working for me. JACK Doing what? WILLIE I do n't know. Something will turn up, wo n't it, Sadie? SADIE Yeah. We need a college man around. for research. WILLIE How much did they pay you on that newspaper? JACK Three hundred dollars a month. WILLIE -LRB- laughs. -RRB- I could buy you cheap, could n't I? JACK For a bag of salt. WILLIE No. No, I do n't play that way. I like you, boy. I always have. I'll tell you what I'll do. I'll give you four hundred dollars a month and traveling expenses. JACK You throw money around like it was money. Willie gets up and walks to the window. WILLIE Money? I do n't need money. People give me things. JACK Why? WILLIE Because they believe in me.",
"EXT. Burden's Landing, Day Willie's car is on the ferry crossing the bay to Burden's Landing. Sugar Boy drives the car off the ferry and up the road toward the house. JACK -LRB- voice over. -RRB- I was going home again. But this time it was different. Now I had a feeling that maybe the waiting was over. for me, and for Anne.",
"INT. Stanton Living Room (Burden's Landing), Night Close shot of Willie standing in front of the fireplace, beneath the portrait of Governor Stanton. WILLIE It's a far cry from where I come from. to this house. Camera pulls back. The room is crowded with people, all of them friends of the Stantons. Anne, Adam, Judge Stanton, Mrs. Burden, and McEvoy are part of the audience sitting around the fireplace. Jack stands next to Willie. WILLIE And standing here under the portrait of one of the greatest governors of this state, talking to you people. well, it's an honor I never thought I'd have. JACK Are there any questions? -LRB- looks around. -RRB- Mr. McEvoy. MCEVOY -LRB- smiles. -RRB- No, I have no questions. JACK Judge? JUDGE A few. but it will hold. STANTON I have a question. WILLIE Shoot. STANTON A lot of people in this state have been saying that you've been making deals. some of them with the very groups that you claim you're against. Is that true? JACK Adam, you know how rumors start. WILLIE Yes. Yes, that's true. I have nothing to hide. I'll make a deal with the devil if it'll help me carry out my program. But believe me, there are no strings attached to those deals. STANTON You're sure about that? WILLIE Doc, Jack here has been telling me how you feel about things. how you'd like to see a new hospital built, a hospital that's the biggest and best that money can buy. You want those things, Doc, because, well, because you're a man who wants to do good. Now, I'd like to ask you a question. STANTON Shoot. The guests laugh good - naturedly. WILLIE Do you know what good comes out of? STANTON You tell me, Mr. Stark. WILLIE Out of bad. that's what good comes out of. Because you ca n't make it out of anything else. You did n't know that, did you? STANTON No, I did n't. There's another question I'd like to ask you. You say there's only bad to start with and the good must come with the bad. Who's to determine what's good and what's bad? You? WILLIE Why not? STANTON How? WILLIE Why, that's easy. Just. just make it up as you go along. More laughter. Willie smiles and goes on. WILLIE Folks, there's a time to talk and there's a time to act. I think the time to act is right now. And with your support, I not only will win but I will do all of the things I promised. I need your help. Oh, I need it badly. But I'm not going to beg for it. In the name of this state which we love. in the name of the governor in whose house we meet. I demand it. There is immediate applause. Anne is the first to rush over and shake Willie's hand.",
"EXT. Stanton Home, Night The last of the guests are leaving. Jack and Willie remain with the Judge, Anne, and Adam. WILLIE -LRB- to Judge. -RRB- Well, what do you say, sir? JACK You've got to say yes. With you in the race. JUDGE I'm an old bird. I. WILLIE But a game one. They laugh. WILLIE Look, I'll give you complete power as attorney general. You can do anything you see fit. I'll swing the ax to clear the way for you. Is that a deal? The Judge smiles, then puts out his hand. JUDGE It's a deal. They shake hands. WILLIE Jack, we have to get back to town. a lot to do. -LRB- shakes hands with Adam. -RRB- Dr. Stanton. Jack kisses Anne on the cheek. Anne comes over and shakes Willie's hand. ANNE I'm very glad to have met you. FADE OUT",
"INT. Hotel Lobby (State Capital), Day People stand before the election return board in the hotel lobby. Camera pulls back, revealing a newspaper picture of Willie, and the headline STARK ELECTED GOVERNOR WILLIE WINS",
"EXT. Street Outside Willie's Hotel Balcony, Night A crowd stands below Willie's hotel window, chanting together : CROWD We want Willie! We want Willie! A high angle from the balcony shows Anne, Jack, and Adam in the center of the excited crowd, looking expectantly upward. Some of the people around them are carrying torches. Arc lights play over the dome of the state capitol in the background. In response to the chants, Willie appears on the balcony. With him, standing on the balcony, are Tom and Lucy. The crowd erupts into cheers as he steps outside. WILLIE -LRB- raises his hands for silence. -RRB- This is not a time for speechmaking. I should get on my knees and ask God to give me strength to carry out your will. Loud cheers. Adam watches Anne. She applauds. Willie looks down at the crowd and continues his speech. WILLIE This much I swear to you. These things you shall have. I'm going to build a hospital. The biggest that money can buy. and it will belong to you. That any man, woman, or child who is sick or in pain can go through those doors and know that everything will be done for them that man can do. To heal sickness. To ease pain. Free. Not as a charity, but as a right. And it is your right that every child shall have a complete education. That any man who produces anything can take it to market without paying toll. And no poor man's land or farm can be taxed or taken away from him. And it is the right of the people that they will not be deprived of hope. The crowd applauds, and Willie waves. We see Anne, face aglow, turn to Jack. ANNE Does he mean it, Jack? Does he? STANTON -LRB- as he walks away. -RRB- That's his bribe. Anne and Jack watch Adam as he leaves. FADE OUT Montage : Willie Becomes Governor Willie, Sadie, and Jack leaving their old campaign headquarters. Willie, Sadie, Jack, and others going upstairs in the governor's mansion. The ousted politicians are just packing up and leaving. JACK -LRB- voice over. -RRB- What if it was his bribe! He swept the old gang out of office. What if they hollered like stuck pigs? He jammed through bill after bill and the people got what they wanted. Willie yelling at the legislators during a session. WILLIE I demand that this bill be passed. Nobody's going to tell me how to run this state. Road excavation - a bulldozer clears away dirt. A huge crane maneuvers over a dam site. Men are seen working on the girders of a large power plant. JACK -LRB- voice over. -RRB- He started to build the roads, the schools, the power dams, to change the face of the state from one end to the other. His methods? Shots of uniformed policemen roughing up citizens. Willie and Sugar Boy move in on a man being held by cops. Willie looks on as Jack thumbs through his little black book. JACK -LRB- voice over. -RRB- Politics is a dirty game. and he played it rough and dirty. Willie's little black book was a record of sin and corruption. And me, Jack Burden? I kept the book and added up the accounts. Willie in a nightclub, surrounded by some show girls. A photographer takes a picture of Willie with a girl balanced on his knee. Willie leads a marching band out onto a football field. JACK -LRB- voice over. -RRB- Clown, show - off, playboy, they yelled at him. Building football stadiums. Fiercely proud of his son who played in them. Shot of Tom in football uniform running across the field with the ball. Willie, in the stands, hugs Lucy. WILLIE Oh, look at him go. He's going to be All - American. Willie makes an inspection of the police. He stops to adjust an officer's tie. JACK -LRB- voice over. -RRB- They said he was building up a private army. But he was building, always building. Sign at building excavation reads HERE ON THIS SITE WILL BE ERECTED THE GOVERNOR STARK HOSPITAL - `` TO HEAL SICKNESS. TO EASE PAIN. FREE. NOT AS A CHARITY - BUT AS A RIGHT''. WILLIE STARK. JACK -LRB- voice over. -RRB- Always playing up to the crowd. Letting them trample on tradition. Well, tradition needed trampling on. A square dance at the governor's mansion. Willie dances with Anne. JACK -LRB- voice over. -RRB- The crowd loved it. Willie loved it. and so did I. FADE OUT",
"INT. Executive Office Corridor, Day Jack walks down the corridor on the way to Willie's offices.",
"INT. Willie's Executive Offices, Day As Jack enters from the corridor, Sadie is coming out of Willie's private office. SADIE -LRB- through open door. -RRB- You low - down, no - good redneck. She slams the door hard. We hear Willie laugh. JACK -LRB- to secretary. -RRB- What goes on here? SECRETARY That's what Sadie wants to know. -LRB- she shows Jack newspaper containing photograph of Willie at the nightclub. -RRB- The boss poses for too many pictures. Jack grins, then walks into Sadie's office. SADIE I'll kill him. JACK Why, Sadie, I'm surprised at you. SADIE I'll kill him. She goes to the door to yell to the secretary. SADIE I hate all women. She slams the door again, and returns to her desk. SADIE Was she pretty? Jack shoves the paper at her. She ignores it. SADIE Was she pretty? JACK If I met her on the street I'd never recognize her. SADIE Was she pretty? JACK How should I know? I was n't looking at her face. Look, if it's going to cause all this grief, why do n't you let him go? SADIE Let him go? I'll kill him. I'll drive him out of this state. JACK Just because a guy's sitting with a couple of girls on his knees in public. SADIE Public or private. I know him. How about what happened in Chicago? That girl on skates. and the time you both went to St. Louis. There's a new invention, you know, Photography and newsreels. Willie Stark in a nightclub. Willie Stark with a blonde. JACK You could always bleach your hair. SADIE I could also break every bone in his neck. After all I've done for him. Now he goes two - timing me. JACK He's been two - timing Lucy. So there's another kind of arithmetic for what he's doing to you. SADIE Lucy? -LRB- laughs. -RRB- If she had her way he'd be back in Kanoma City slopping the hogs right now. And he knows it. He knows what she'd do for him. She had her chance. JACK You seem to think Lucy's on her way out, do n't you? SADIE He'll ditch her. Give him time. JACK You ought to know. She slaps his face. JACK Hey, you got the wrong guy. I'm not the hero of this piece. The door to Willie's office bursts open and Willie dashes out. WILLIE All right, come on, both of you. Let's go, hurry it up. They go out through the reception room, pick up Sugar Boy, and head down the corridor. WILLIE Come on. Pillsbury put his hand in the pork barrel and got caught. You know, I never did trust that guy. Some newsmen are waiting on the top landing. NEWSMEN Have you heard about Pillsbury? What do you intend to do about Pillsbury? How about it, Governor? Willie pushes by them. WILLIE Later, boys, later. -LRB- to Jack. -RRB- Say, Jack, go back and get the Judge. Let's get him over to my hotel just as soon as you can. They all hurry after Willie as he rushes down the stairs.",
"INT. Lobby State Capitol, Day Anne is about to go up the stairs when she meets Willie and the others on the way down. ANNE -LRB- to Willie. -RRB- I waited for you. -LRB- she sees Sadie. -RRB- Hello. -LRB- back to Willie. -RRB- You promised we could. uh. discuss my charity project. Children's home? WILLIE Well, I'm very sorry. Something very important came up. You'll call me later, wo n't you? ANNE Yes, certainly. SADIE We're late. Anne watches as they cross the lobby and exit.",
"INT. Stark's Hotel Suite, Night Close shot of Willie, seated, with his feet propped up on a table. Pillsbury stands before him. Jack, Sadie, Duffy, and Sugar Boy are also in the room. WILLIE Look at you, Pillsbury. Fifty years old, gut - sprung, teeth gone, never had a dime. If the Almighty had intended for you to be rich he'd have taken care of that a long time ago. The idea of you being rich. that's plain blasphemy. Ai n't that a fact? Pillsbury does n't answer. WILLIE Answer me! PILLSBURY Yes. WILLIE Louder, man. Do n't mumble. Speak up. Say it's a fact, a blasphemous fact. PILLSBURY It's a fact, a blasphemous fact. Sugar Boy laughs loudly. The phone rings and Sadie picks it up. SADIE Yeah? Oh, I see. -LRB- hangs up. -RRB- Dumond ca n't come. He says his wife is sick. WILLIE I do n't care if she's dying. Sugar, get the car. Get him and bring him over here. Sugar Boy exists. Willie turns back to Pillsbury. WILLIE Now, you know what you're supposed to do, do n't you, Pillsbury? You're supposed to stay poor and take orders. Oh, there'll be some sweetening for you from time to time. but Duffy'll take care of that. Do n't you go setting yourself up on your own again, do you understand that? PILLSBURY Yes. WILLIE Louder, man. And say, I understand that. PILLSBURY I understand that. WILLIE Give him a pen and some paper, Sadie. There is a knock on the door. WILLIE See who that is, Duffy. Judge Stanton enters. WILLIE Oh, hello, Judge. Sit down. I'll be with you in just a couple of seconds. -LRB- back to Pillsbury. -RRB- Now write what I tell you to write. Dear Governor Stark. I wish to resign as auditor due to ill health, to take effect as soon as you can relieve me. Respectfully yours. -LRB- after a pause. -RRB- Did you sign it? PILLSBURY No. WILLIE -LRB- roaring. -RRB- Well, sign it! Do n't put any date on it. I can fill that in when I need it. Pillsbury signs the paper. WILLIE Now bring it to me. Pillsbury moves slowly, so Sadie yanks the paper out of his hand and passes it to Willie. WILLIE Now get out. Pillsbury slinks out of the room. JUDGE The papers have the story. WILLIE Yeah, I know. JUDGE They're talking about impeachment proceedings. WILLIE -LRB- rising. -RRB- Against who? JUDGE This time, Pillsbury. WILLIE I got that `` this time,'' Judge. JUDGE How true is it? WILLIE It's too true. The phone rings. SADIE Yes? -LRB- hands phone to Willie. -RRB- This is it, Willie. Jeff Hopkins on the wire. Willie takes the phone, but puts his hand over the mouthpiece so that he can speak to Jack. WILLIE What have we got on Hopkins, Jack? -LRB- as Jack riffles through the black book. -RRB- Hello, Jeff. About that Pillsbury business. -LRB- reads from black book Jack holds out for him. -RRB- Here's what I want you to do when it comes up in the legislature. Now, wait a minute, wait a minute. You listen to me. -LRB- still reading from book. -RRB- You got a mortgage coming due on that place of yours in about five weeks, have n't you? You'd like to get it renewed, would n't you? -LRB- pause. -RRB- All right, Tiny'll talk to you in the morning. He grins and hangs up the phone. WILLIE Get going, Tiny. Duffy leaves. JUDGE You have n't answered my question. Why are you saving Pillsbury's hide? WILLIE I'm not a bit interested in Pillsbury's hide. It's something much more important than that. If the McMurphy boys get the notion they can get away with this, there's no telling where they'll stop. JUDGE -LRB- quietly. -RRB- Or where you will. Pillsbury is guilty. As attorney general of this state, it's my job to prosecute. WILLIE Judge, you talk like Pillsbury was. was human. He is n't. He's a thing. You do n't prosecute an adding machine if the spring goes busted and makes a mistake. You fix it. Well, I fixed him. I'm not a bit interested in Pillsbury. It's something much bigger than that. JUDGE -LRB- getting up. -RRB- Yes, it is. JACK He's right, Judge. Ca n't you see that he's right? JUDGE He's right because you want him to be right. Because you're afraid to admit you've made a mistake. Do it now before it's too late. -LRB- to Willie. -RRB- I'm offering my resignation as attorney general. You'll have it in writing by messenger in the morning. dated. WILLIE -LRB- softly. -RRB- It took you a long time to make up your mind, Judge. A long time. What made you take such a long time? JUDGE I was n't sure. WILLIE And now you are? The Judge nods. WILLIE I'll tell you what you are. You're scared. You sat in that big easy chair of yours for thirty years and played at being a judge. Then all of a sudden I came along and put a bat in your hand, and I said, go ahead, Judge, start swinging. And you did. And you had a wonderful time. But now you're scared. You do n't want to get your hands dirty. You want to pick up the marbles. but you do n't want to get your hands dirty. Look at my whole program, Judge. How do you think I put that across? JUDGE I knew how, but I never knew why. He starts to leave. WILLIE You're not by any chance thinking of going over to McMurphy's boys, are you? JUDGE I'm through with politics. WILLIE I'm happy to hear that. -LRB- extends his hand. -RRB- No hard feelings. JUDGE -LRB- ignores the hand. -RRB- Goodbye, Governor. -LRB- to Jack. -RRB- Are you coming with me, Jack? Jack turns away. JUDGE You're making a mistake. He goes. Willie closes the door behind him. WILLIE Do you think he means it when he says he's through with politics, Sadie? SADIE No. No, I do n't. WILLIE What about you, Jack? JACK I've known the Judge all my life. He's always meant everything he's said. WILLIE All right. All right. Take it easy. I'll take your word for it.",
"EXT. Willie's Hotel, Night Willie's car draws up to the curb. Sugar Boy hops out to open the door for Willie. Sadie is watching him from a window upstairs in the hotel. Anne is in the back seat ; Willie leans down to talk to her. WILLIE Sugar, take Miss Stanton home. -LRB- to Anne. -RRB- When am I going to see you again? She does n't answer. WILLIE What's the matter, Anne? ANNE Please take me home now, Sugar Boy. WILLIE You've got to understand me. ANNE -LRB- turns away. -RRB- I understand you. It's myself I do n't understand. WILLIE Do you think I like sneaking around corners any more than you do? But right now, with the Pillsbury business and with your uncle quitting. If I got a divorce. ANNE Maybe we'd better stop seeing each other. WILLIE No. No, we wo n't stop seeing each other, will we? ANNE -LRB- slowly. -RRB- No. WILLIE Because you believe in what I tell you. ANNE -LRB- puts her hand on his. -RRB- Because I believe what you tell me. Sadie approaches. SADIE Good evening, Governor Stark. -LRB- looks at Anne, but talks to Willie. -RRB- I thought you might like to know that Judge Stanton kept his promise. -LRB- directly to Willie. -RRB- He gave the story to every paper in town. WILLIE Sugar, meet me at the hotel as soon as you can. FADE OUT NEWSPAPER HEADLINE STANTON ACCUSES STARK OF QUASHING PILLSBURY GRAFT",
"INT. State Legislature Assembly Room, Day Duffy stands in the forground, looking in on the uproar and confusion of the assembly. SENATOR These are serious charges that Judge Stanton has given to the press. This legislature is entitled to a complete and full report on the Pillsbury affair. Let the truth be known. 2ND SENATOR Let it come out. 3RD SENATOR I move that we adjourn. 4TH SENATOR I second the motion. CHAIRMAN All those in favor, say aye. Motion carried. The house is adjourned. As Duffy turns and walks away, other senators rise up in their seats in protest. MONTAGE : PILLSBURY SCANDAL Sign on building reads : CITIZENS COMMITTEE MEETING, Subject : PILLSBURY SCANDAL, 8 P.M. Tonight - Town Hall. A man pastes a strip across the sign : CANCELED. A man is making a speech to a small group of people. MAN If you let Willie Stark get away with the Pillsbury graft, there's no telling. Thugs break up the meeting. The speaker is beaten up. Jack Burden turns through the pages of the little black book.",
"INT. Stark's Hotel Suite, Day Willie is lying on the bed. Jack is seated. Sadie and Sugar Boy stand nearby. JACK But we beat the Pillsbury rap. It's over. WILLIE These things are never over. I'll tell you what I want you to do, Jack. I want you to start a new page in that black book of yours. under then name of Judge Stanton. JACK You're crazy. There's nothing on the Judge. SADIE Why? Because his name is Stanton? WILLIE Ssshhh, easy. JACK What if I wo n't do it? WILLIE You know, some of this has rubbed off on you. JACK What are you going to do? Have me shot? WILLIE No. no. but I'll have to get myself a new boy. JACK I tell you there's nothing on the Judge. WILLIE Jack, there's something on everybody. Man is conceived in sin and born in corruption. JACK It's a waste of time. WILLIE What's the matter, Jack? Are you afraid you might find something out? Jack stares at him.",
"EXT. Burden's Landing Ferry, Night Jack's car is seen coming across on the ferry. JACK -LRB- voice over. -RRB- I kept saying to myself that Willie was wrong about the Judge. If there was anything left at Burden's Landing, it was honor. I had to believe that.",
"INT. Stanton Living Room, Night Jack and Anne stand together in the living room. JACK Anne, I want to ask you a question. Was the Judge ever broke? Really broke? ANNE Why do you want to know? JACK I do n't want to know, but I've got to. ANNE Did he tell you - JACK Did who tell me? ANNE I do n't know. I. how should I know if the Judge was ever broke? She walks away from him. Adam enters, carrying bundles of food and two wine bottles. STANTON Hello. Come on, Anne, take this food and start cooking. I'm hungry. Anne takes the grocery bundles. Jack grabs the wine. JACK Me, I'm on the thirsty side. Bring some glasses, Anne, quick. He joins Adam, who has opened the piano. STANTON -LRB- laughing. -RRB- It's been a long time since I played this thing. What do you say we wake up the ghosts, huh? JACK -LRB- calling to Anne. -RRB- Another glass, Anne, for a ghost. STANTON -LRB- starting to play. -RRB- Remember the last time I played this? You and Anne were dancing? Anne returns with three glasses. Jack grabs her around the waist and whirls her around. JACK Shall we dance? ANNE Let's. let's have a drink first. Adam starts to pour the wine. JACK No, no. keep playing. Anne and I want to hear this, do n't we, Anne? -LRB- Jack pours the wine. -RRB- Adam. ghost. and me. STANTON What shall we drink to? JACK To the ghost? To Adam, to the director of the new medical center. STANTON -LRB- bangs the piano keys. -RRB- Do n't you ever stop working for him? ANNE Adam! STANTON I came up here to get away. JACK I'm sorry, Adam. ANNE Well, I'm not. What's wrong with being the director of the new medical center? STANTON Nothing, except that I'm not going to take it. JACK Why? Because your uncle resigned? STANTON That's partly it. There are other things. ANNE What other things? STANTON -LRB- looks at her. -RRB- You too? ANNE Yes, me too. JACK Anne, if Adam does n't want to discuss it, let's not. STANTON All right, let's discuss it. ANNE But calmly. STANTON Calmly. Go ahead, Jack. Why do you think he wants me? JACK Because you're the best man for the job. STANTON It could have nothing to do with my name being Stanton? JACK It could have. Let's grant that. STANTON That's your answer. JACK No, it's not. If that were the only answer I would n't be with him any more. There's another side of it. I've learned something from him. You ca n't make an omelet without cracking eggs. STANTON Or heads. ANNE But at least a hospital will be built, and the sick will be cared for. STANTON At what price? JACK At any price. STANTON Do you really believe that, Jack? JACK I really believe that Stark wants to do good. You do too. It's a matter of method. Many times out of evil comes good. Well, pain is an evil. As a doctor you should know that. STANTON Pain is an evil ; it is not evil. It is not evil in itself. Stark is evil. JACK The people of the state do n't think so. STANTON How would they know? The first thing he did was to take over the newspapers and the radio stations. Why be so afraid of criticism? If Stark is interested in doing good, he should also be interested in the truth. I do n't see how you can separate the two. No, Stark is not for me. ANNE -LRB- upset. -RRB- No, Stark is not for you. Well, what is for you? Pride. Pride, that's all it is. foolish, stupid pride. All you've ever talked about is what you could do if. if somebody would tear down and build. All right, all right, somebody has, and he's given it to you. But he's not for you. No, he's not for you. She throws down her glass and runs crying from the room. Adam goes after her. STANTON Anne. Anne.",
"INT. Stanton Hallway and Stairs, Night Anne runs upstairs and Adam follows. The Judge comes out of his room to see what has happened, sees Jack standing at the foot of the stairs, hesitates a moment, and then goes back to his room without speaking.",
"INT. County Recorder Room, Day Jack enters and speaks to a clerk, who then directs him to one of the files. He starts to look through the files marked MORTGAGES DEFAULTED. JACK -LRB- voice over. -RRB- Will I find anything, Judge? Will I? I did n't find it all at once. It takes a long time to go through old courthouse records and musty deeds. a very long time. But it was n't too hard for me. I was well trained in research, especially this kind. He pulls out a file. JACK -LRB- voice over. -RRB- I found what I did n't want to find. He takes the file back to the clerk. JACK Have some photostat copies made of these. I'll be back tomorrow for them.",
"INT. Jack's Hotel Bedroom, Day Jack is lying on his bed, looking over the documents that relate to the Judge. He looks haggard and worried. There is a knock on the door. Jack does n't answer ; the knock is repeated. JACK Who is it? SADIE'S VOICE It's me, Sadie Burke. JACK Wait a minute. He hides the documents under his pillow. JACK All right, come in. She comes in, sniffs the air. SADIE Phew! Awful lot of smoke. Awful lot of whisky. You sober? JACK Stone. SADIE I'll have one with you. -LRB- starts tidying up the room. -RRB- What are you hiding out for? JACK I'm not. I've been sleeping. SADIE For four days? You've been back in town for four days. JACK Willie knows everything. SADIE Willie's worried about his boy. JACK Willie's boy is worried about Willie's boy. SADIE Well, why do n't you put something on the phonograph - a low - down, mean blues. Play it over and over again until you're sick of it. Then crack it and go back to work. -LRB- sits down. -RRB- I do it all the time. JACK That's not my problem. SADIE No, it is n't your problem. -LRB- gets up again. -RRB- I'll wait for you if you want to powder your nose. Jack goes into the bathroom. JACK I'll be with you in a minute. Sadie wanders around. She goes to the dresser, upon which is a photograph of Anne Stanton. She picks up the picture and places it so she can see it in the mirror and compare it with her own reflection. SADIE Hmmm. Yeah, I can see it. I've got to look in the mirror to be able to see it. Soft, white skin. not like mine. -LRB- runs her hand across her cheeks. -RRB- I had smallpox when I was a kid. Where I lived it seemed nearly all the kids had smallpox. Jack watches her through the open bathroom door. SADIE It leaves your face hard. Then she's got poise. Look at the way she holds her head. at just the right angle. That takes training. That takes years of training. Jack, towel in hand, comes out and stands behind her. He looks at her in the mirror, puzzled. SADIE I see what Willie sees. Willie's got big ideas, Jack. JACK What do you mean? SADIE A girl like that could be a governor's wife. Or even a President's. JACK What are you talking about? SADIE He ditched Lucy, he ditched me, and he'll ditch you. JACK -LRB- shaking her. -RRB- Answer me! SADIE He'll ditch everybody in the whole world because that's what Willie wants. Nobody in the world but him. JACK What are you talking about? SADIE You and your high - tone friends. What do they know? What do they know about anything? Why did you have to mix her in? JACK You're crazy, Sadie. You're out of your mind. SADIE Am I? Well, why do n't you go down and ask her. Or ask him. Ask Willie. JACK Shut up! SADIE Go ahead, ask him. JACK Shut up! SADIE Ask him! He slaps her hard. SADIE Ow - oo. oh. oh. She starts to laugh.",
"EXT. Football Field, Day A football team is practicing on the field. Willie watches from the bench. A player kicks the ball and Tom misses it. Jack walks over to Willie. JACK He's off today. WILLIE It's only practice. He'll be all right tomorrow. You been gone a long time, Jack. JACK Yeah. I figured if you needed me you'd yell. WILLIE Why'd you lay around the hotel? JACK Thinking. WILLIE About what? JACK Things. WILLIE What did you find on the Judge? JACK Nothing. WILLIE You sure you did n't find anything on the Judge? JACK Yeah, I'm sure. WILLIE You're going to keep trying, are n't you? JACK If you want me to. WILLIE I want you to. There's something else I want you to do too. JACK What? Bucket boy? Towel slinger? What? WILLIE -LRB- looks at him closely. -RRB- What's eating you, Jack? JACK -LRB- avoiding it. -RRB- What else do you want me to do? WILLIE If you've got something on your mind, boy, spit it out. We've been together too long to play games. JACK What do you want me to do? WILLIE I hear your pal Adam Stanton turned down the job as director of the hospital. That's bad. Especially at a time like this. JACK Oh? How did you hear it? WILLIE Why? What difference does it make? JACK I just wanted to know. WILLIE I heard it around. JACK -LRB- insistent. -RRB- How did you hear he turned it down, Willie? Out on the field the boys have stopped playing and are huddled around the coach. WILLIE I'll be right back, Jack. I want to see what's happening here. He goes over to the group on the field. The coach is talking to Tom. COACH You going to practice the way I tell you. TOM I'm going to do it the way I want to do it. Willie comes up to them. WILLIE Tom, come here. What's going on here? COACH I do n't care if he is your son, Governor. No special rules for him. TOM It does n't make any difference to me either way. whether I play or not. WILLIE Well, it does to me. -LRB- to coach. -RRB- What do you want him to do? COACH To behave himself. Like the rest of the boys. Four times this season he's broken training. He comes on the practice field half potted. WILLIE Tom, you're going to have to obey the rules. Do you hear me? You're going to obey the rules. TOM I put'em across, do n't I? Every Saturday I put'em across and I can still do it, drunk or sober. That's all you want, is n't it. for me to put'em across so you can big - shot it around? Is n't that all you want? He walks away. WILLIE Tom! -LRB- to coach. -RRB- He's a little high - strung. -LRB- goes after Tom. -RRB- Tom, come here. Tom!",
"EXT. Highway, Foggy Day Sign in foreground reads : WILLIE STARK HIGHWAY U.S. 56. A car swerves around a bend and careens down the highway. Tom and his girl friend Helene are in the car. Tom is drinking. HELENE -LRB- laughing. -RRB- Come on, Tommy. let's go faster. Come on. The car goes across a bridge, weaving. Two motorcycle cops parked there start to give chase. Tom's car swerves out of control and crashes through a fence. The two motorcycle cops ride out to the field to the wrecked car. They find Tom and Helene, unconscious. One of the cops picks up the empty bottle and hands it to the other. 2ND COP -LRB- looking at Tom. -RRB- It's the governor's son. He throws the bottle away. NEWSPAPER HEADLINES GOVERNOR'S SON HURT : GIRL NEAR DEATH IN CRASH Below the headline is a picture of Helene Hale's father. Another picture of Mr. Hale on the front page. Caption reads : GIRL'S FATHER CLAIMS DRUNK DRIVING CAUSE OF WRECK ADMITTANCE TO HOSPITAL DENIED PRESS",
"INT. Governor's Mansion, Night Lucy and Mr. Hale walk across the large reception room toward Willie. Jack, Sugar Boy, and Duffy stand around in the background. LUCY Willie, Mr. Hale's here to see you. Willie comes to meet them, a drink in his hand. He is obviously drunk. WILLIE Go on upstairs, Lucy. I have some business I want to talk over with Mr. Hale. HALE What I've got to say anybody can listen to. Where's your boy? WILLIE Now. now, do n't get excited. -LRB- to Sugar Boy. -RRB- Get me another drink, Sugar. HALE My daughter may die. WILLIE She's not going to die. She'll get the best medical attention there is. No expense will be spared. HALE Where's your boy? LUCY I'll get him. WILLIE Wait a minute, Lucy. He's asleep. And the doctor said after a good night's sleep he'll be all right. LUCY No, he wo n't be all right unless you make him all right. I'll get him. She goes. WILLIE Lucy! -LRB- to Hale. -RRB- You care for a drink? HALE No thanks. WILLIE Accidents will happen, you know. HALE Accidents? Your boy was drunk. WILLIE I saw the police report. There. there was nothing about drunkenness on the police report. HALE Whose police and whose report? I say the boy was drunk. And I know it. Tom comes down the stairs, with Lucy. HALE -LRB- to Tom. -RRB- Right here before your father. I want you - TOM Mr. Hale - WILLIE Tom, the doctor says you need rest, boy. TOM -LRB- turns on him. -RRB- I do n't want you to try to cover up for me. I was wrong. that's all there is to it. WILLIE You do n't know what you're talking about. I saw the police report - TOM I do n't care what the police report says. I was driving and I was drunk. It's all my fault. -LRB- to Hale. -RRB- Anything you want to do to me, you can do. Whatever you want me to do, I'll do. WILLIE Nobody has to do anything. Stop worrying. I'll take care of everything. TOM I do n't want you to take care of anything. Tom looks ill ; he presses his hand to his forehead. WILLIE Tom, go on upstairs and get some rest, boy. Go on. go on. go on. Tom walks slowly toward the stairs. WILLIE Sugar, help him. Mr. Hale, come on over and sit down. You sure you would n't care for a drink, Mr. Hale? Hale sits down, shakes his head. WILLIE Hey, Tiny, go home. Go on, out of here. out of here. Go on. Duffy leaves, disgruntled. Willie sits on a coffee table. He pours himself another drink. WILLIE What business did you say you were in? HALE I did n't say. WILLIE What business are you in? HALE Trucking business. WILLIE Trucking business. Trucks run on state roads. If a man in the trucking business had a contract with the state, a big one, that would be pretty good, would n't it? -LRB- to Jack. -RRB- Go on, Jack. Tell him what would happen. Jack is silent. WILLIE Go on, tell him. HALE You're trying to bribe me, are n't you? WILLIE No, no. No, I'm not trying to bribe you. I'm. I'm only talking things over with you, that's all. HALE You're pretty good at talking. I remember when you first started talking. A place called Upton. You did a lot of talking then and the things you said made sense, to me and a lot of other people. I believed in you. I followed you. and I fought for you. Well, the words are still good. But you're not. -LRB- rises. -RRB- And I do n't believe you ever were. He walks out of the room. WILLIE -LRB- after a pause. -RRB- Sugar, follow him. Keep calling in. Sugar goes, leaving just Jack and Willie. Willie, very drunk, tries to get up but falls against the piano. WILLIE -LRB- yells. -RRB- Lucy! Lucy! He staggers up the long stairway. Halfway up he tumbles, groaning. Jack helps him to his feet. JACK I'd like Anne to see you now. I'd like Anne to see you now, you drunken sot! -LRB- drags him up the stairs. -RRB- Come on. FADE OUT NEWSPAPER Photograph of Helene Hale on front page. Headline reads : GIRL CRASH VICTIM DIES Under the photograph there is a caption : FATHER MYSTERIOUSLY DISAPPEARS AFTER BARING BRIBE OFFER BY GOVERNOR STARK",
"EXT. Governor's Mansion, Day Willie, Jack, and Sugar Boy are accosted by a group of newsmen as they come down the stairs. NEWSMEN What about the girl's father, Governor? Have you a statement to make? WILLIE All right, all right, gentlemen. I'll give you a statement. This whole thing is a mess of lies. It's a frame. The man that made that statement. have him repeat it to my face. He ca n't. He vanished. Let me ask you some questions. Where has he gone? Where is he? REPORTER Maybe you could answer those questions too, Governor. Sugar Boy makes a move for the reporter but Willie holds him back. WILLIE I wo n't dignify that question with an answer. ANOTHER REPORTER One more question, Governor. Where's your son? WILLIE At the football stadium, where he's supposed to be. He's going to play for State University, which this administration is responsible for. He's not hiding from anybody, gentlemen. He'll be out there in full view of seventy thousand cheering fans. -LRB- starts down the stairs. -RRB- One of which will be me. See you, men. He leaves, followed by Jack and Sugar Boy.",
"EXT. Football Field, Day The game is in progress and the stands are packed. But there is no cheering. Instead we hear boos, and shouts for Tom. CROWD VOICES Where's Stark? How about Tommy Stark? Hey, Willie, send your boy in.",
"EXT. Willie's Box Willie, Jack, Sugar Boy, and Lucy are in one box. Sadie and Duffy sit in the adjoining one. Willie is standing up. The crowd continues to heckle him. WILLIE Why do n't they put him in! MAN Come on, Willie. send your boy in. A drunk comes over to his box. DRUNK What's the matter, Willie. is your little boy ashamed to show his face? DUFFY Shut up! Willie signals angrily to the police. WILLIE Get that man out of here! Come on, get him out of here. The man is dragged away. The crowd boos, and Willie gets up and leaves the box, followed by Jack.",
"INT. Stadium Dressing Room, Day Tom is sitting on one of the massage tables with a towel around his shoulders as Willie and Jack come in. The sound of the boos can still be heard. WILLIE They're booing you. TOM -LRB- holds his head. -RRB- Ever since the accident, my head. WILLIE The doctor said it was nothing. TOM Get dizzy. ca n't see. dizzy. WILLIE You're scared. plain scared. TOM -LRB- looks up angrily. -RRB- Get out of here! WILLIE Atta boy. get mad. Show some spirit. Jack, tell him what his playing means. Go on, tell him. JACK You can never tell about a head injury. Maybe the boy's hurt. WILLIE He's hurt? I'm hurt. It was n't me that wrapped that car around the tree. It was n't me that got drunk. But me, I'm takin' the rap. -LRB- softer, to Tom. -RRB- Go on, kid. Get out there and play. Show'em the kind of stuff a Stark is made of. TOM -LRB- coldly. -RRB- I would n't know. Enraged, Willie slaps him. Tom fights back, and Jack has to pull them apart. JACK Tom. cut it out! TOM -LRB- breathing heavily. -RRB- All right, I'll play. Now get out of here. Camera holds on Tom as Jack and Willie leave. He picks up his uniform, stops, then rubs his head.",
"EXT. Football Stadium, Day Tom is on the field. He runs up to the coach. P.A. ANNOUNCER Stark's going in! The boos turn to cheers. The crowd applauds. Willie signals from his box to the coach. He wants Tom sent in. Tom runs out on the field and joins the team. The players are lined up, in position to play. Tom shakes his head, as if trying to clear it.",
"EXT. Football Stadium, Time Lapse The crowd yells excitedly. Tom, looking weary, gets the ball and runs with it downfield. Three players tackle him hard and fall on him. A silence falls over the stadium as he fails to get up with the others. In Willie's box, everyone is standing. LUCY Tommy. Tommy. Tommy! Willie rushes out onto the field and kneels beside Tom as the doctor and stretcher bearers arrive.",
"INT. Hospital Waiting Room, Night Lucy and Willie are waiting for news about Tom. Sugar Boy comes in with a paper bag and sets it on a table. SUGAR BOY B - b - boss, you got ta eat. You g - g - got ta. Willie motions him away. WILLIE I'm the one that made him play. I sent him in. LUCY Sit down, Willie. Please sit down. WILLIE I sent him in. LUCY What difference does that make now? Jack comes in. WILLIE What goes on? JACK There is n't a plane flying. WILLIE They got ta fly. This is my son. He's got to live. Adam Stanton enters. STANTON I just got a call from Dr. Birnham. The earliest he can possibly get here will be tomorrow morning. WILLIE Is n't there anybody else we can get? JACK I still think Dr. Stanton should operate. STANTON That's up to Governor Stark. He wanted another doctor. a specialist. I sent for one. WILLIE How bad is it really, doctor? STANTON He's unconscious. and paralyzed. Lucy slumps in her chair. WILLIE Has he got a chance? STANTON To live? Yes. WILLIE What do you mean? STANTON Even if the operation's successful - that is, if he lives - I think he'll be paralyzed for life. WILLIE You'll do everything you can, wo n't you? Anything between you and me. that wo n't count, will it? It does n't have to. Look, doc, anything you want in the world you just ask for it and you got it. Go on, doc. ask for it. STANTON -LRB- coldly. -RRB- There are some things, Governor Stark, that even you ca n't buy. Do you want me to operate, or do n't you? LUCY Yes. I want you to operate. -LRB- stands up. -RRB- Please, may I see Tom now? STANTON Yes. They leave together. WILLIE -LRB- to Jack. -RRB- How much does the doc know? JACK About what? WILLIE Oh, you know what I'm talking about. JACK About what? WILLIE About Anne and me. JACK -LRB- after a pause. -RRB- He does n't know a thing. not a thing. Jack turns and walks away.",
"EXT. Hospital, Night Anne has been waiting outside the hospital. She turns to Jack as he comes out the door. ANNE Jack, how is he? JACK The boy? ANNE Yes. JACK He'll live. ANNE Oh, thank God. How is - JACK Willie? ANNE He blames himself, does n't he? JACK -LRB- as he walks down the street. -RRB- He'll find someone else to blame in a few days. ANNE -LRB- following him. -RRB- Oh, I tried to call here at the hospital, but I just. They walk together, along the waterfront. JACK Anne. Anne, why did you do it? ANNE He was n't like anybody I ever knew before. JACK You mean he was n't like me. ANNE He was n't like anybody I ever knew before. I love him, I guess. I guess that's the reason. JACK Everybody loves him. ANNE He wants to marry me. JACK Are you going to? ANNE Not now. It would hurt him. A divorce would hurt his career. JACK His career! ANNE Jack. Jack, what are you going to do? You ca n't leave him now. He needs you now more than he ever did before. JACK What Willie needs, Willie's got. ANNE You do n't know him. You've known him all these years and you do n't really know him at all. JACK What about Adam? ANNE Adam? JACK Well, you do n't have to worry about him. If Adam finds out it'll be easy to prove a Stanton is no different than anybody else. -LRB- gives her the papers on the Judge. -RRB- Just show him these. Willie was right. a man is conceived in sin and born in corruption. Even Judge Stanton. Show them to him, Anne. Change the picture of the world that Adam has in his head, just like our picture of it has been changed. He grips her by the shoulders. JACK Wipe out everything he's ever believed in. It'll be good for him. There's no God but Willie Stark. I'm his prophet and you're his. -LRB- pushes her aside, then feels sorry and walks after her. -RRB- Oh, Anne. Anne, I'm sorry. I did n't mean. Anne! A policeman comes over. POLICEMAN What's going on here? Jack catches up to Anne. He takes her arm and they start to walk back together. JACK It's all right, officer. we both work for Willie Stark. FADE OUT",
"EXT. Hospital Site, Day Willie, Anne, Adam, and Jack inspect a construction site. There are newsmen and photographers present. WILLIE -LRB- to Adam. -RRB- Right over there, that's going to be the main building. fifteen stories high, like on the model. Over there, that's the laboratory. Finest technical equipment in the world. STANTON What are you trying to convince me of? I've taken the job. WILLIE Why? STANTON My reasons are my own. Why are you building a hospital? WILLIE To do some good for the people of the state. STANTON And get some votes. WILLIE Oh, there are lots of ways to get votes. STANTON Yes, I know. I wo n't stand for any interference. WILLIE I wo n't interfere. I may fire you, but I wo n't interfere. STANTON If that's a threat, you're wasting your time. You know what I think of your administration. WILLIE Yes, I know. I'll tell you what. You stay on your side of the fence ; I'll stay on mine. Is that a deal? They climb up onto the platform, where the newsmen gather around to take pictures. Willie and Adam shake hands. JACK -LRB- voice over. -RRB- Now he had us all. me, Anne, and Adam. Now we all worked for him. FADE OUT",
"INT. Projection Room, Day Willie, Jack, and Sugar Boy are watching a newsreel, similar in style to the March of Time newsreels. A producer, his assistant, and two policemen are also in the room. NARRATOR'S VOICE And so the eyes of the entire nation are now focused upon Governor Willie Stark, an amazing phenomenon on the American political scene. The whole state is filled with his accomplishments - each of them, of course, bearing his personal signature, to make sure that no one will ever forget who gave them to the state. MONTAGE : THE NEWSREEL Large plaque on side of the highway : THIS BRIDGE WAS BUILT DURING THE FIRST ADMINISTRATION OF GOVERNOR STARK. A TOLL BRIDGE STOOD HERE FOR FIFTY YEARS. NOW THE PEOPLE TRAVEL FREE Camera pans to shot of the bridge. Plaque over college entrance : STARK COLLEGE. THAT EVERY MAN, WOMAN, OR CHILD, RICH OR POOR, SHALL HAVE AN EDUCATION. WILLIE STARK Shot of library - lettering reads WILLIE STARK LIBRARY. KNOWLEDGE BELONGS TO THE PEOPLE Shot of bad road running through dry, barren land. NARRATOR'S VOICE This is the way the roads used to be. But there are those who claim that they were adequate for the people's needs, that you do n't need a four - or six - lane highway for a horse and buggy. Shot of horse pulling a plow. The empty, untraversed STARK HIGHWAY. NARRATOR'S VOICE When Stark boasts of his great school system, his critics say : you ca n't go to school and work in the fields at the same time. And they question the benefit of these projects, charging that the need and the poverty of the people is as great as before. Shot of large school. Camera cuts to men working in the field, then to ramshackle barn, and to a farmer walking across his rotted cornfield. NARRATOR'S VOICE Willie Stark has never forgotten the source of his power : the people who supported him. Willie talking to the farmers. NARRATOR'S VOICE He still keeps in touch with these people of the backwoods, making periodic trips to such places as Kanoma City, now famous as his birthplace. Willie's official car and escort speeding through a street. Sign reads : KANOMA CITY, BIRTHPLACE OF WILLIE STARK Shot of Willie having his picture taken with Lucy and Pappy on the porch of the old farm. Willie mending the fence on the farm. Willie feeding the pigs. NARRATOR'S VOICE For those who say that Willie Stark is a man of destiny, there are others who claim that he is a man of evil, a man who cares neither for the people nor the state, but only for his own personal power and ambition. Willie making a speech to a huge crowd of cheering people. Willie inspecting his police force. Willie pounding the desk in the state legislature. NARRATOR'S VOICE Obviously, these ambitions go far beyond the boundaries of the state. Just how far, only time will tell. Meanwhile, he is here. Big close - up of Willie as he delivers a speech. NARRATOR'S VOICE and from the looks of things, he is here to stay. Willie Stark : messiah or dictator? The picture goes off and the lights in the room come on. PRODUCER How do you like it, Governor? Willie stands and faces the producer. WILLIE How many theaters will this play in? PRODUCER All over the country. WILLIE Hear that, Jack. All over the country. They start to leave. Willie stops for a moment. WILLIE Oh, there's one thing in there I did n't like too well. That messiah or dictator. PRODUCER That's our point of view, Governor. And that's the way it stands. There is a silence. Willie's face is hard. Then he grins. WILLIE All right, all right, that's the way it stands. as of now. FADE OUT NEWSPAPER HEADLINE STARK BEGINS RE - ELECTION CAMPAIGN STATEWIDE TOUR STARTS WITH VISIT TO KANOMA CITY",
"EXT. STARK FARMHOUSE, DAY Tom and Pappy Stark are seated on the porch. Tom is in a wheelchair. Lucy comes onto the porch as the sound of sirens is heard, and Willie's two cars, motorcycle escort, and the car of reporters turn onto the drive. Tom, upset, flips his cigarette away as the cars stop in front of the porch. Lucy puts her hand on his shoulder to calm him. Then Willie climbs up the steps to greet Lucy. WILLIE Hello, Lucy. How are you making it, Pa? How are you, Tom? Tom does n't answer. Lucy offers her cheek to Willie. Sadie, Jack, and Sugar Boy wait at the bottom of the steps, along with the reporters. LUCY I made some refreshments for your friends. I'll get them. SADIE I'll help. LUCY -LRB- firmly. -RRB- No, thank you. Thank you kindly. JACK If you do n't mind, Mrs. Stark. the boys have to get back to make the morning editions. -LRB- to photographers. -RRB- Set'em up on the porch, fellows. We'll take some pictures out here, first. He starts arranging the family for the picture. JACK Mrs. Stark, please. All right, fellows, take one down there, will you please. Shoot it up this way. The cameras click.",
"INT. Stark Farmhouse, Night Willie is finishing his meal, seated at the table with his family and Jack. Sugar Boy stands behind Willie. Sadie has left the table and is examining the room. WILLIE -LRB- on the last bite. -RRB- You're still a great cook, Lucy. Great cook. -LRB- gets up. -RRB- Well, I guess I better be getting back to town. Nice to have spent the day with the family. -LRB- kisses Lucy on the forehead. -RRB- Goodbye, Lucy. -LRB- extends his hand to Tom. -RRB- Tom. TOM -LRB- ignores the gesture. -RRB- Goodbye. WILLIE Take care of yourself, Pappy. Oh, uh. how do you like the new radio I got you? -LRB- walks over to it. -RRB- You know how it works? You can get police calls on it. Come here, come here. I'll show you. Pappy leans over as Willie demonstrates how it works. WILLIE This one for police calls up here. He turns the dial. POLICE BROADCAST Car sixty - two, proceed to five - eighteen Oak Street. Tom Jones beating his wife again. Pappy laughs delightedly. He reaches out to turn the dial. WILLIE All right, go ahead, go ahead. ANNOUNCER'S VOICE We interrupt this program to bring you a special announcement. This afternoon, the body of Richard Hale, father of the girl who died in the automobile accident involving the governor's son, was found. A medical examination revealed he was beaten to death. Tom starts to wheel toward Willie, but Lucy restrains him. ANNOUNCER'S VOICE The ugly charge of `` official murder'' has been hurled at the administration by a coalition of Stark's opponents, led by Judge Stanton, lately an outspoken critic of the administration. WILLIE -LRB- to Jack. -RRB- Your friend, the Judge. ANNOUNCER'S VOICE Thus an almost forgotten incident provided the spark that might set off the explosion needed to rock Willie Stark out of power. The latest report is that impeachment proceedings may be instituted. Willie turns off the radio. There is a silence. Then Willie turns to Lucy. WILLIE How long will it take you to pack? I want you to go back to Capital City with me tonight. LUCY Why? WILLIE Because I need you. TOM What for? WILLIE -LRB- still speaking to Lucy. -RRB- I'll explain all of that later. Now, Lucy, do like I say. JACK I'll wait outside. WILLIE You stay right here, Jack. I want you bear witness to what I've got to say. LUCY -LRB- indicating Sadie. -RRB- She can be a witness too. SADIE -LRB- starting toward the door. -RRB- I'm going back to the capital and get hold of Duffy. WILLIE You stay right here, Sadie. SADIE Somebody's got to go back to the capital. I'll go in the other car. WILLIE All right, then tell Duffy not to do anything or say anything until I get there. SADIE Yes, Governor. She leaves. TOM Now he needs us. Now that he's in trouble he needs us, so he can lead us around like monkeys with rings in our noses. So he can say to people, look at me, feel sorry for me. just a family man with a wife and a crippled son. WILLIE -LRB- shouts. -RRB- Shut up! LUCY Willie! TOM Why do n't you leave us alone? Tom wheels himself into his own room. Lucy starts to follow. WILLIE Leave him alone. How many scrapes have I gotten him out of? How many girls? LUCY Willie, stop. WILLIE It's not him they're after. It's me. How many halfwitted apes do you think I'm going to have to pay to square this one? What do you think this is going to cost me? LUCY What do you think it cost him? Suddenly Willie turns his face away. WILLIE -LRB- in a broken voice. -RRB- A man builds for his son. That's all he builds for. LUCY Willie! -LRB- turns and goes into Tom's room. -RRB- Tom. Tom. Willie looks up at Jack and Pappy. WILLIE Give me a drink, Jack. Jack hands him a bottle and he takes a slug. WILLIE She'll go. Pappy shakes his head. PAPPY No good, Willie. No good.",
"EXT. Stark Farmhouse, Night Pappy stays behind on the porch as Tom is carried in his wheelchair down the steps and into Willie's car. Lucy follows. The motorcycle escort leads them away from the farm.",
"EXT. Highway, Night As the cars speed to Capital City.",
"INT. State Legislature, Night There is great excitement in the assembly room. One senator steps forward and addresses the speaker of the house. SENATOR Mr. Speaker, I offer a house resolution. Whereas Willie Stark, governor of this state, has been guilty of incompetence, corruption, and favoritism in office - yes, and other high crimes - that he is hereby impeached, and ordered to be tried by the senate. His resolution is met with a mixture of cheers and boos.",
"EXT. State Capitol, Night A huge crowd is gathered outside. Pillsbury, Sadie, and Duffy, waiting with the crowd, step forward as they see Willie's car approach. Newsmen take pictures as Willie gets out of the car. WILLIE -LRB- as he meets Duffy. -RRB- What's the score? DUFFY They're lined up against you solid. They had a meeting. WILLIE How do you know? Were you there? DUFFY Me? What would I be doing there? WILLIE Selling me out. He starts up the steps of the building.",
"INT. Willie's Executive Offices, Night WILLIE How many votes have we got? SADIE -LRB- going through some files. -RRB- Eleven. WILLIE We need twenty. DUFFY We might be able to dig up a few more. WILLIE Yeah. Do you know how? DUFFY No. Willie turns to Jack. WILLIE Oh, Jack. Come here. What have you got in your black book about that old friend of yours? JACK Who do you mean? WILLIE You know who I'm talking about. your old friend, the Judge. JACK If and when you need it. WILLIE If and when? I need it right now. He's got four senators wrapped up in his hip pocket. Come on, come on, boy. what have you got? JACK I'm going to give him a break. If he can prove it is n't true, I wo n't spill it. WILLIE I ought to bust you, Jack. JACK I promised two people I'd do it this way. WILLIE Who are they? JACK Myself. and someone else. It does n't matter who. I'm going to give him a break. WILLIE All right, give him a break. But if you got the facts, you got the facts. The truth is sufficient. just like it says in the Bible. JACK That's the way it's going to be. WILLIE All right, boy. I'll trust you. Where are you going? JACK -LRB- on his way out. -RRB- I'll be around. Willie turns to go into his private office. SADIE Who else do you think he promised, Willie? Willie shrugs. SADIE You'd be smart. play square with him. You're going to need people like us around. WILLIE -LRB- as he shuts his door. -RRB- Are you sure? MONTAGE : THE IMPEACHMENT Willie's car speeding down a road. Willie, with Lucy and Tom seated behind him, addressing crowd. Willie speaking from the back of a train to a railroad station audience. JACK -LRB- voice over. -RRB- The chips were down, and Willie knew it. He was fighting for his life. He roared across the state making one speech after another. And all of them added up to the same thing. `` It's not me they're after, it's you!'' Close - ups of Willie, speaking to the people. JACK -LRB- voice over. -RRB- Willie hollered foul. Willie knew if you hollered long enough, hard enough, and loud enough, people begin to believe you. Just in case they did n't, he organized spontaneous demonstrations. Sign on back of a car : FIGHT WITH WILLIE Crowds carrying signs : WIN WITH WILLIE Willie talking on the telephone. Sadie listens. WILLIE Tell the boys to get the hicks out. Bring'em in from the sticks, empty the pool halls. Turn'em out. Turn the yokels out. More men with WIN WITH WILLIE signs. Man directing crowd from top of bus. Other bus loads of people are seen, all of them bearing signs. JACK -LRB- voice over. -RRB- In case anyone hollered back, he organized spontaneous slugging. Willie pulled every trick he ever knew - and added a few more. Crowd looks on as two uniformed police drag a man away. Willie's car waiting. Two thugs talk things over with a man on his doorstep. Willie discussing matters with a man in his office. Two cops stand with him. Willie and Jack in the car. Sugar Boy drives. It is night. Sugar Boy drives fast, and has to swerve to avoid colliding with a truck. JACK Hey, Sugar! -LRB- To Willie. -RRB- You'll never live to be impeached! WILLIE Boy, I'll live to be President. Jack and Sugar wait in the car as Willie leans out the car window to talk to a senator. He offers the man a piece of paper. WILLIE I've got fourteen senators to vote against impeachment. If I win, you're out of politics. SENATOR -LRB- refuses to sign. -RRB- I'll do whatever the Judge says.",
"EXT. Highway, Night Willie's car, as it races down the highway. JACK -LRB- voice over. -RRB- And always the trail led to one place. Burden's Landing. and the Judge.",
"EXT. Ferry to Burden's Landing, Night Willie's car coming across on the ferry.",
"EXT. Stanton Home, Night As Willie's car stops and they all get out. WILLIE You sure you do n't want me to go in with you? JACK I'm sure. WILLIE Well, hurry it up, boy. We've got places to go. Jack goes into the house alone.",
"INT. Judge Stanton's Study, Night Jack and the Judge are seated opposite each other. JACK Judge, I beg you, as a favor to yourself, to me. call up, release your votes. JUDGE I made a mistake once, Jack. when I resigned. It was too easy then, just resigning, pulling out. No, Jack, I've made my choice. I have nothing more to lose. JACK Judge, you know what Stark is capable of. Think it over. I'll leave now. I'll come back tomorrow and we'll talk about it again. You can give me your answer then. The door opens and Willie and Sugar Boy enter. WILLIE I ca n't wait until tomorrow. I'm a very impatient man. JACK -LRB- rising. -RRB- I told you not to come in here. WILLIE -LRB- ignoring him. -RRB- Is it true, Judge, that you're behind the impeachment proceedings? JUDGE Yes, it's true. Willie takes a seat in an easy chair. WILLIE I wanted to hear you say it with your own silver tongue. JUDGE Well, you've heard it. If that's all you came to hear you could have saved yourself a trip. Willie picks up a decanter off the table. WILLIE Mind if I pour myself a drink? How about you, Judge, will you have one? You better. You're going to need it. Jack and Judge Stanton remain standing, silently watching Willie. WILLIE What'd he say, Jack? JACK You'll get your answer tomorrow. WILLIE Are you kidding? Did you show it to him, or did n't you? JUDGE Show me what? WILLIE That's what I figured. Let's get down to cases, Judge. Do you remember a man with the name of Littlepaugh? The Judge shakes his head. He does n't. WILLIE Remember the Fortune Electric Company? JUDGE Of course. I was their counsel for over ten years. WILLIE Remember how you got the job? JACK How did you find out? WILLIE -LRB- hands the Judge some papers. -RRB- Do you remember how you got the job? The Judge examines the papers. WILLIE You know, Judge, dirt's a funny thing. Some of it rubs off on everybody. How did you get the job, Judge? Blackmail? JUDGE -LRB- to Jack. -RRB- I swear I never even remembered his name. Is n't that remarkable, Jack? I never even remembered his name. It's all so long ago it's hard for me to realize it ever happened. WILLIE Yeah. But it did. JUDGE Yes, it did. But it's difficult for me to realize it. JACK For me too, Judge. JUDGE Thanks for that much. WILLIE Well, I guess you know what the next move is, do n't you? JUDGE Yes, I do. Jack Burden. Willie Stark's hatchet man. JACK -LRB- to Willie. -RRB- I asked you. how did you find out? JUDGE This would never stand at law, not for a minute. It happened over twenty - five years ago, and you could never get any testimony. Everybody is dead. WILLIE Everybody except you, Judge. You're alive. And people think you're a certain kind of man. And you just could n't bear for people to think otherwise. JUDGE Ever since then I. I've done my duty. I. I'm responsible for many good things. -LRB- looks at the papers again. -RRB- But I also did this. WILLIE Yes, yes, you did. JACK Judge, I beg of you, call and release your votes, for your sake. JUDGE You have tender sensibilities for a hatchet man. -LRB- goes to the door. -RRB- Good night, gentlemen. WILLIE How about my answer? JUDGE You'll have it in the morning. WILLIE I want it tonight. JUDGE In the morning. Good night, gentlemen. There is silence. Then the three men get up to go. The Judge closes the door behind them.",
"INT. Stanton Hallway, Night As the three men walk to the front door. JACK How did you find out? WILLIE We've got a lot to do. It's getting late, Jack. Let's get back to town. JACK You know we're through, do n't you? WILLIE Aw, you do n't mean that, boy. The front door opens, and Adam and Anne come in. STANTON What are you doing here? WILLIE It's all right, doc. Just here to discuss some politics with the Judge. STANTON Oh, I see. -LRB- starts upstairs. -RRB- Well, good night. WILLIE Good night. JACK -LRB- to Anne. -RRB- Did you give him - WILLIE Wait a minute, Jack - JACK Answer me. Did you give - A shot is fired. They turn and rush into the Judge's study. They find the Judge face downward in his leather chair. Adam and Jack kneel beside him. Willie, holding on tightly to Anne's arm, stands in the doorway. Jack picks up the Judge's pistol and looks at Adam.",
"EXT. Stanton Home, Night Jack comes out of the house, followed by Anne and Adam. STANTON Are n't you going back with him? JACK No. STANTON Why not? You belong with him. Jack, how could you have done it? When Anne brought me those papers she told me you promised not to tell Stark until. JACK Yeah. I know. -LRB- walks away. -RRB- Well, I kept my promise. Adam looks unbelievingly at Anne. She looks away. STANTON Anne? Anne? FADE OUT",
"INT. Jack's Hotel Room (State Capital), Day Jack looks out the window. A portable radio is blaring out the news. ANNOUNCER'S VOICE From all over the state they're streaming in. From the hill country and farms, the lumber camps. by boat, by train, by horse, and on foot. Willie Stark's army. Through Jack's window we see the street blocked with cars and people, all headed for the State Capitol Building. Anne is in the crowd, trying to get across the street. Seeing Jack in the window, she pushes her way across and enters the hotel. He slams the window shut and comes back into the room. ANNOUNCER'S VOICE The state capital is filled with rumors, one of which is that Stark is planning to seize power by force. As commander of the state militia, he has - Jack turns it off. He goes over to his bed and starts putting clothes into a valise. There is a knock on the door. He ignores it. Another knock. JACK Come in. The door's open. Anne enters. ANNE Jack. JACK What do you want? She starts to cry. He grabs her, pulling her face close to his. JACK -LRB- bitterly. -RRB- No, I want to see you cry. He lets her go and she falls to the bed, sobbing. JACK Stop it! ANNE I called you. All afternoon I've been calling you. JACK I know. I was here. ANNE You've got to tell Adam. You've got to see him. JACK Tell him what? ANNE He knows about me and. JACK About you and Willie? ANNE -LRB- nods. -RRB- I tried to explain to him. I. I tried to explain to him that it was n't the way he thought it was. JACK How was it, Anne? You tell me. ANNE He hit me, Jack. My own brother. he hit me. JACK Your brother is an old - fashioned man. He believes in his sister's honor. Me, I'm a modern man. -LRB- slams clothes into the valise. -RRB- The twentieth - century type. I run. ANNE -LRB- rises. -RRB- I'm frightened, Jack. JACK For who? Your brother, or Willie? ANNE -LRB- quietly. -RRB- We're through. JACK Who's through with who? ANNE He called me this afternoon. He's going back to Lucy. He said it was better that way. JACK Better for who? Him. ANNE Both of us. JACK Did he tell you that too when he asked you to betray the Judge? At least I walked out on him. ANNE Oh Jack. help me, please, please. Adam's all I've got left now. Oh, Jack, if you ever loved me. JACK If I ever loved you. -LRB- pause. -RRB- I'll go find Adam. He takes up his coat.",
"EXT. HOSPITAL SITE, DAY A large billboard. It reads HERE ON THIS SITE WILL BE ERECTED THE GOVERNOR STARK HOSPITAL - TO HEAL SICKNESS - TO EASE PAIN - FREE. NOT AS A CHARITY BUT AS A RIGHT. WILLIE STARK Adam enters, looks at the sign, and walks on.",
"EXT. Street Near Capitol Building, Day Crowds of people headed toward the building, some with WIN WITH WILLIE signs. A marching band plays music for them.",
"EXT. Capitol Building, Day Crowd waiting outside the building. Mounted policemen keep them in line. From a large platform, loaded with people, comes the chant `` We want Willie, we want Willie.'' Jack pushes his way through the people and speaks to a policeman standing guard on the Capitol steps. COP Where do you think you're going? -LRB- recognizes Jack. -RRB- Oh, I'm sorry. I did n't recognize you. JACK Do you know who Dr. Stanton is? COP Yes sir. JACK Did he try to come through here today? COP Have n't seen him, sir. JACK Well, can you check the other entrances? 2ND COP There's no other entrances today. The other entrances are blocked off. Orders are to take no chances. COP If you care to come inside and wait, Mr. Burden, we can find you a seat. JACK No, thanks. I'll wait out here. If Dr. Stanton shows up, let me know. Pass the word along to the boys, will you? COP Yes sir. Jack turns and looks at the large crowd. A voice from a public address loudspeaker begins to yell out commands to the crowd. LOUDSPEAKER All right now. Everybody. that means everybody. let's let Willie know we're here! All together : WE WANT WILLIE. WE WANT WILLIE. The chant is picked up enthusiastically by the crowd.",
"INT. State Legislature, Day The speaker is trying to speak over the clamor of the chanting. SPEAKER We will first proceed to take the judgment of the senate on the question of the impeachment of the governor. SENATOR -LRB- rising. -RRB- Mr. Speaker, this is a farce to ask us to vote in the face of the kind of intimidation and pressure that has been exerted here in the past few weeks. Even that crowd outside, yelling on cue, is part of that pressure. CROWD NOISE We want Willie. We want Willie. Willie gets up, and goes to the window.",
"EXT. State Capitol, Day The crowd, with Jack in the foreground. The crowd suddenly goes wild as they see Willie appear at the window. In the growing darkness he seems only a shadowy figure as he raises his hands to wave to the crowd. We see various shots of people straining to get a little closer to the steps in order to see him better. Willie then turns and goes back into the room.",
"EXT. State Capitol, Day The crowd again, still waiting. The camera pans upward to a loudspeaker. ANNOUNCER Attention, please. Attention, please. This is a special announcement from Willie Stark to you people out there. He does n't want any one of you to leave. The camera moves over the faces of the people listening. ANNOUNCER He wants you to stay in front of this state Capitol until the fight is over. If you want Willie Stark to win, stay where you are. They cheer. Camera picks up Jack watching the crowd's reaction, then up to a plaque over the entrance to the Capitol Building. It reads THE PEOPLE'S WILL IS THE LAW OF THIS STATE - GOVERNOR STARK. ANNOUNCER Do you hear me. stay where you are. Do n't go away. Stay where you are. Do n't go away.",
"EXT. State Capitol, Night Newsmen, photographers stand about, bored. The crowd, every bit as large, is quiet but expectant. Everyone holds still as the announcer's voice is heard again. ANNOUNCER Attention, please. Attention, please. The balloting on the impeachment proceedings against Governor Stark has just ended. This is the result : Willie Stark has won. The crowd explodes. People break through the police barriers. Mounted policemen ride in quickly to prevent a riot. Camera picks up Anne in the crowd, trying to push through. Jack stands on the steps of the Capitol, watching it all. Suddenly Willie appears at the top of the steps, followed by Sugar Boy. Sadie, Duffy, Pillsbury follow close behind. Willie grabs hold of the mike and addresses the suddenly hushed crowd. WILLIE They tried to ruin me. But they are ruined. They tried to ruin me because they did not like what I have done. Do you like what I have done? Loud applause, and cries of `` yes.'' WILLIE Remember, it's not I who have won, but you. Your will is my strength, and your need is my justice, and I shall live in your right and your will. And if any man tries to stop me from fulfilling that right and that will, I'll break him. I'll break him with my bare hands. For I have the strength of many. Having finished, he waves at them all. Then he notices Jack and comes down the steps to greet him. WILLIE Hello, Jack boy, I'm glad you're here. I knew you'd come back. He walks back up the steps, his arm around Jack's shoulders. They start to go into the building that way when Willie sees someone. He smiles and puts out his hand. WILLIE Oh, doctor, I'm very glad to see you. Adam is seen, waiting at the entrance of the building. Before Willie has taken a step Adam fires several shots into him. Willie falls to the ground and Sugar Boy whips out his pistol and fires at Adam. Three policemen with tommy guns open fire, shooting into Adam's already fallen body. Then they turn and point their guns at the mob of people rushing toward Willie, forcing them back. COP Stand back, everybody. Stand back. Sugar Boy kneels beside Willie. Sadie stands against a pillar, looking down on him. SUGAR BOY -LRB- nearly crying. -RRB- D - does it hurt m - much, boss? D - d - does it hurt much? Jack looks up to see Anne struggling through the screaming mob to get to Adam. She looks at Adam for a moment, then turns away. JACK Anne, Anne. Where are you going? She does n't answer, only walks away. He runs after her and catches hold of her arm. ANNE I do n't know. Leave me alone. JACK To do what? ANNE I do n't care. JACK No, that's too easy. ANNE I do n't know, I do n't know, I do n't know. JACK I do. ANNE Leave me alone, please. JACK No, no more. ANNE He's dead. JACK We're alive. ANNE My brother's dead. JACK We've got to go on living. ANNE How? JACK So that Adam's death has meaning, so that it was n't wasted. Anne, our life has to give his death meaning. Do n't you see that? Look at those people. He turns her around so that she can see the crowds still struggling to get a look at Willie. JACK Look at them! They still believe in him. And we've got to make them see Willie the way Adam saw him, or there's no meaning in anything. anything. A policeman approaches. POLICEMAN Mr. Burden. the governor's asking for you. You better hurry. He's going fast. JACK -LRB- to Anne. -RRB- Will you wait here? No reply. JACK Will you wait here? She nods her head slowly. Jack walks through the building to the pillar against which Willie has been propped. Sugar Boy is still beside him. He stands behind Sadie and Duffy, looking down at Willie. WILLIE It could have been the whole world, Willie Stark. The whole world. Willie Stark. Why did he do it to me. Willie Stark? Why? His head droops to the side and he dies. FADE OUT THE END"
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] | The story of the rise of politician Willie Stark from a rural county seat to the governor's mansion is depicted in the film. He goes into politics, railing against the corruptly run county government, but loses his race for county treasurer, in the face of unfair obstacles placed by the local machine. Stark teaches himself law, and as a lawyer, continues to fight the local establishment, championing the local people and gaining popularity. He eventually rises to become a candidate for governor, narrowly losing his first race, then winning on his second attempt. Along the way he loses his innocence and becomes as corrupt as the politicians he once fought against. As he rises, Stark philanders and gets involved with many women, taking his PR man/journalist Jack Burden's own girlfriend, Anne Stanton, as his mistress. Stark's son Tommy drinks to deal with his feelings about his father, eventually crashes his car, injuring himself and killing his female passenger. When Stark bullies Tommy into playing a football game, Tommy becomes paralyzed after a brutal hit. Stark, who had always dealt with those who got in his way by any means, begins to see his world start to unravel and he discovers that not everyone can be bought off. The story has a complex series of relationships. All is seen through the eyes of the journalist, Jack Burden, who admires Stark and even when disillusioned still sticks by him. Stark's campaign assistant, Sadie is clearly in love with Stark and wants him to leave his wife, Lucy. When Stark's reputation is brought into disrepute by Judge Stanton (Anne's uncle), he seeks to blacken the judge's name. When Jack finds evidence of the judge's possible wrongdoing, a quarter century earlier, he hides it from Stark. Anne gives the evidence to Stark, who uses it against her uncle, who immediately commits suicide. Anne seems to forgive Stark, but her brother, Adam, the surgeon who helped save Tommy's life after the car crash, cannot. After Stark wins an impeachment investigation, Adam assassinates Stark. The doctor in turn is shot down by Sugar Boy, Stark's fawning assistant. Having lost their respect for him, Jack and Anne agree to find a way to destroy Stark's reputation just as he dies. | All_the_Kings_Men_(1949_film) |
[
"EXT. TWO-LANE HIGHWAY - SUNRISE A dishevelled WOMAN in a business suit -LRB- 27 -RRB- runs down a lonely highway in Texas hill country, moving desperately through the thick morning fog. She's carrying a VHS cassette. The sounds of her breathing and SHOES HITTING the PAVEMENT ECHO into the mist. She runs, and runs. She slows, out - of - strength, looks up and down the highway. Both in front and behind, it leads straight into the mist, a tunnel of fog. She stumbles on, a final effort. She runs. Sees something. Stops cold. WHITE",
"INT. OFFICE OF \"DEATHWATCH AUSTIN\" - SUNRISE A clock on the wall : 6:11. Beneath the clock a simple banner reads `` DeathWatch Austin.'' YOUNG MAN -LRB- O.S. -RRB- It's probably been about seven minutes. The office is small, cheaply furnished. One wall is filled with neat rows of 8x10's of death row inmates. About 30 percent have red crosses over their faces. Five people wait in tense silence. A SKINNY COLLEGE GUY with a mullet and pinch of Skoal in his mouth looks at a computer screen. A co - ed cuddles a Styrofoam cup of coffee, sobs quietly. A matronly woman sits quietly at a desk holding a phone to one ear. The clock's minute hand changes from :11 to :12. CONSTANCE HARRAWAY -LRB- 36 -RRB-, bookish, sits beside DAVID GALE -LRB- 31 -RRB-. He wears a blue Yale sweatshirt. They both stare at nothing. She bites her lip. COLLEGE GUY Okay. Okay. We've got pronouncement. 6:12. Roughly eight minutes. -LRB- a beat as he records the time. -RRB- Number 36 this year for the Great State of Texas. They all exchange looks : they've lost. David stands. CONSTANCE David, do n't start throwing things. A PHONE RINGS. David controls himself. DAVID I'm going home. Let's do the press fax tomorrow. Another PHONE RINGS. Constance stands. CONSTANCE Go. I'll do it. He nods to her, exits. She walks to the photo wall. With a red magic marker she marks a cross over the photo of a Hispanic male. The wall clock reads 6:13.",
"EXT. PARKING LOT IN FRONT OF OFFICE - SUNRISE The office is in a largely abandoned mini - mall. It's going to be a clear summer day. David hurries through the empty parking lot to Volvo station wagon. As the car exits the lot, we see the Austin skyline with the capitol building in the distance.",
"INT. DAVID'S CAR - SUNRISE David drinks from a travel cup as he drives, windows down.",
"EXT. INTERSECTION - SUNRISE David stops at a red light beside a squad car with one cop inside. The cop gives him a cursory glance.",
"INT. DAVID'S CAR - SUNRISE He stares at the cop. The cop looks neutrally ahead ; behind him the buckle of his seat belt shoulder strap catches the reflection of the rising sun. BACK TO DAVID He stares, then : DAVID Hey! The cop ignores him. DAVID Yo! Officer! The cop looks over ; his face says he expects a confrontation. David points to the seat belt buckle. DAVID Your seatbelt. The cop nods, weary, embarrassed. He reaches back for the belt. David takes a sip and drives on. WHITE CLOSE ON TELEVISION Court TV reporter, Roberts, stands in front of the Supreme Court. ROBERTS -LRB- V.O. -RRB- The high court also refused to stay Friday's execution of former philosophy professor, David Gale. FEMALE -LRB- O.S. -RRB- -LRB- with her mouth full. -RRB- Christ doin' Karaoke.",
"INT. NEWS MAGAZINE OFFICE - DAY KRUGER -LRB- 47 -RRB- watches with a leg up on her messy desk, eating low - fat tortilla chips and massaging a knee with an electric massager. A name plate on her desk reads `` Barbara D. Kruger, Crime and Courts Editor.'' News magazine covers are on the walls. Kruger is black, short, overweight, wears an old jogging suit and new oversized athletic shoes. She has half - frame granny glasses on a cord around her neck. ROBERTS -LRB- V.O. -RRB- Gale had sought a review of his 1993 conviction for the rape and murder of University of Texas colleague, Constance Harraway. Kruger reaches for a phone, hits four numbers, takes a chip. ON TV A book - jacket photo of Constance. BACK ON ROBERTS ROBERTS -LRB- V.O. -RRB- Defense lawyers had hoped to argue that Gale's former activism against capital punishment unduly prejudiced. ON KRUGER She waits impatiently, munching, swallowing. ROBERTS -LRB- V.O. -RRB- the Texas judicial system. Citing ` discriminating purpose' - KRUGER -LRB- into the phone. -RRB- Hey, they're not gon na stay Gale. It's on Court TV right now, listen. She holds the phone out in the direction of the TV, uses the opportunity to eat another chip. ON TV We see old footage of David on a TV talk show. ROBERTS -LRB- V.O. -RRB- clear political gain in executing its leading opponent of the death penalty. ON KRUGER KRUGER -LRB- into the phone, swallowing. -RRB- So, what's it gon na be? Belyeu said to call after the decision. No, they said only Bitsey. ROBERTS -LRB- V.O. -RRB- -LRB- in b.g. -RRB-. Further failed to consider that the victim was herself an abolitionist activist. KRUGER It means only Bitsey. Bill, I do n't get to make the rules, I'm a fat black woman. Bitsey Bloom -LRB- The runner from the opening -RRB- enters. She wears, as always, a tailored suit. KRUGER -LRB- into the phone. -RRB-. What we need is to put her on a plane to Houston. BITSEY -LRB- WOMAN. -RRB- Gale's going down. Kruger shushes her with a we - know - already gesture. KRUGER -LRB- into the phone. -RRB- Why do you always get lordosis around legal? She's here. She puts him on SPEAKER, and reaches for a chip. BITSEY -LRB- to the phone. -RRB- Hi. What's lordosis? BILL -LRB- V.O. -RRB- Female ape's posture when preparing for intercourse. Hello, Bitsey. Bitsey shoots Kruger a look, mouths `` you're sick.'' BILL -LRB- V.O. -RRB- Look, kids, setting aside the cost issue, though half - a - million dollars for three two hour interviews is not only illegal it's obscen - KRUGER Market value. Guy's never talked. BILL -LRB- V.O. -RRB- That aside, I, we are still uncomfortable with the arrangement. BITSEY Meaning? BILL -LRB- V.O. -RRB- Meaning you've just spent a very public seven days in jail for a very public contempt of court citation. BITSEY Protecting sources, even kiddie porn scumbags, is magazine policy. BILL -LRB- V.O. -RRB- And I, we continue to appreciate your decision. We're just concerned. A rapist slash murderer, five days before he's executed, demands a reporter known for protecting sexual deviants. A reporter who is also a very attractive woman - Bitsey and Kruger moan in unison. KRUGER This is disparate treatment. BITSEY I could go if I were an ugly blabby guy? BILL -LRB- V.O. -RRB- There's an agenda issue here which would be diffused with an older male. KRUGER I hear lawyers gleefully saying the words Bloom vs. News Magazine Inc.. BITSEY ` Well, Your Honor, I started to notice that my assignments were evaluated on the basis of my sex.' KRUGER You've got ta let her go now. BILL -LRB- V.O. -RRB- That's not quite what I meant. KRUGER He's got ta let you go. BITSEY ` Certain references were made -' BILL -LRB- V.O. -RRB- -LRB- interrupting. -RRB- All right. All right. Enough. The intern is with you at all times? Bitsey vehemently shakes her head `` no'' to this idea. KRUGER Yes. I, we are hanging up. ` Bye. Kruger hangs up the phone before he can respond. BITSEY I'm not baby - sitting. Kruger reaches for a chip.",
"INT. RENTAL CAR - NIGHT ZACK -LRB- boyish, 24 -RRB- sits in the passenger seat, smoking and looking at a case file in his lap. He holds the cigarette just outside the slightly open window. Zack has a bohemian grunge thing going - long hair, ultra - hip glasses. As Bitsey drives, she keeps looking down at the dash's instrument panel. We hear strained patience in her voice. BITSEY Gale was seen leaving the house.",
"EXT. INTERSTATE 45 - NIGHT The car's lights move past a sign : `` Huntsville 27 Miles.'' BITSEY -LRB- V.O. -RRB- His sperm was inside her.",
"INT. RENTAL CAR - NIGHT BITSEY His prints were all over the kitchen, including one on the bag. Zack has a police photo : a woman naked on a kitchen floor, hands handcuffed behind her. Over her head is an opaque white plastic bag, sealed around the neck with duct tape. ZACK Half - a - thumb print. BITSEY Okay, half - a - thumb print. ZACK Could have touched it before it was a murder weapon. BITSEY Do you fondle your friends' garbage bags? ZACK Yeah, I get very touchy around household plastics. ` Hello, everybody - ooooh, Tupperware.' Chill. I'm just saying the bag could have been out on the counter or something. She looks at him a beat. BITSEY Hey, Zack? ZACK Yeah. BITSEY He did it. ZACK But the murder's way too fucking clumsy. And this guy's a major intellectual. Top of his Yale class, a Rhodes gig, tenured at 27, two books. He's an academic stud. BITSEY And, empirically speaking, a psychotic. Zack picks up another file photo : Christmas shot of the Gale family : David -LRB- 31 -RRB-, his wife -LRB- Sharon, beautiful, 29 -RRB-, and son -LRB- Chase, 6 -RRB-. ZACK Look at his wife, she's a regular Grace Kelly. Old money svelte. Father was Ambassador to Spain - BITSEY -LRB- looking at the car's instrument panel. -RRB- Shit! The light's on again. CLOSEUP - OVERHEAT LIGHT is on. BACK TO SCENE ZACK Ignore it. It's a rental. BITSEY Thanks, Zack. Do you smell anything? ZACK No. Besides the guy's a flaming liberal. Bitsey keeps looking down at the light. BITSEY A person's politics has nothing to do with their propensity to commit crime. -LRB- beat. -RRB- Are n't we supposed to smell it if it's overheating? ZACK Wrong, seventy - three percent of all serial killers vote republican. BITSEY Throw the cigarette out so we can smell. Zack reaches for the car ashtray. BITSEY No! You'll stink up the car. Throw it out! ZACK I'm not gon na fucking pollute. BITSEY Zack! Zack pinches the cherry off, lets it drop out the window. He shows her the filter, animatedly puts in the ash tray. She gives him a look. They ride a beat in silence. Bitsey sniffs. BITSEY We better pull off. Shit, this is so irritating. ZACK How far to Huntsville? BITSEY Look. She points to an approaching rest area exit sign. They share a glance, then a laugh. Zack affects an evil, maniacal cackle. ZACK -LRB- ` Hard Copy' announcer's voice. -RRB- ` NEWS Magazine reporters Bitsy Bloom and Zack Stemmons entered the rest area with car trouble.",
"EXT. REST AREA EXIT - NIGHT The car exits for the rest area. ZACK -LRB- V.O. -RRB- Little did they know their troubles were just beginning. Zack mimics the OPENING MUSIC to `` Dark Shadows.''",
"EXT. REST AREA - NIGHT Well lit and empty. The rental car is parked with the hood up. They stand looking at the radiator. BITSEY Is it hot? He puts his hand on it. ZACK Oww! Jesus, yes. Is n't it always? Bitsey shrugs. ZACK So what do I do? BITSEY I do n't know, something male. Zack animatedly adjusts his balls, spits. ZACK Now what? Bitsey's not paying attention. She's watching headlights coming toward them. BITSEY Company. ZACK I hope whoever it is never saw Deliverance. A late model pickup pulls up behind them. They shade their eyes from its headlights. The lights go off. An OLDER COWBOY -LRB- mid - 60's, Stetson, lizard skin boots -RRB- steps out. OLDER COWBOY You folks need some help? BITSEY Actually yes.",
"EXT. HUNTSVILLE MOTEL SIX - NIGHT The motel lies adjacent to Interstate 45 and a Kettle restaurant. The rental car pulls up to the reception building.",
"EXT. HUNTSVILLE MOTEL SIX - NEXT DAY The rental car is parked in front. The morning is overcast, it's sprinkling. Bitsey emerges from one of the rooms on the second floor carrying an umbrella.",
"INT. KETTLE RESTAURANT - DAY Bitsey enters and sees Zack in a booth, smoking and reading. The hyper - smiley TEENAGE HOSTESS approaches her. HOSTESS How are you this morning? Bitsey ignores her, takes a menu without comment. She goes and sits across from Zack ; he's reading Dialogical Exhaustion by David Gale. BITSEY Little early, is n't it? ZACK The non - smoking section's over there. BITSEY I meant the book. ZACK Oh. Bitsey opens the menu ; he puts the book down. BITSEY What time is it? ZACK 9:15. The waitress says the Ellis Unit is about fifteen minutes out of town, so we've got like five and half hours. I - BITSEY Never eat where the menus have pictures of the food. ZACK I was thinking we should drive to Austin, check out the crime scene. Could be some story stuff for us. BITSEY -LRB- without looking up. -RRB- First, this is n't a story. It's an interview. We come, I listen, you watch, we go home. Second, there is no ` us' in the assignment. ZACK Okay, what do I watch you do for the next five hours? BITSEY -LRB- closing the menu. -RRB- Drive around looking for decent restaurant. ZACK You know, your reputation as Siberian - Female - Dog - Person does n't do you justice. She's unsure how to interpret his comment. He smiles. BITSEY My reputation got us invited here. I play by the rules. It's called objectivity. They stare at each other. Zack picks up his book, starts to read, affects a shiver.",
"EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY Drizzle. The prison and adjacent parking lot can be seen a few hundred yards down the road. In front of the guardhouse is a sign : `` TDC Ellis Unit. All visitors must report.'' SUPERIMPOSE : `` DAY ONE'' The rental car ENTERS the FRAME, brakes briefly for the empty guardhouse, and moves on toward the prison.",
"EXT. ELLIS UNIT PARKING LOT - DAY Bitsey and Zack get out of their car. She has an umbrella. ZACK So where do we report? Three razor wire fences surround the prison. Guard towers rise at the corners. Outside the fence sits a small building with a sign : `` REPORT HERE.'' Bitsey makes a there - you - have - it face. They move toward the building. Someone hawks. They look over. Within the fence, a skinny Hispanic inmate -LRB- 50's -RRB- spits. He's hunched in the rain thirty yards away. He watches them neutrally. CAMERA TRACKS Bitsey and Zack as they walk nervously past a series of kennel - like pens that run along a long building. Inmates watch them pass : A smoking, tattooed white male -LRB- 30's -RRB- stands by his door. A muscular black man -LRB- 30's -RRB- with a Muslim skullcap speaks quietly to the forty - something redneck beside him. A paunchy Hispanic -LRB- 20's -RRB- with a shaved head sits back against the building, making clicking sounds. A skinny white guy with his shirt off tosses a tennis ball against the building. At the closest end of the last pen, a gang - banger -LRB- 20's -RRB- watches as he stands with his fingers clutching the chain - link above his head. Rain runs down his face.",
"INT. ELLIS RECEPTION OFFICE As Bitsey and Zack enter, a clean - cut man in his forties is on the phone -LRB- DUKE GROVER -RRB-. He waves them in and holds up a wait - just - a - second finger. GROVER Well, I do n't rightly know one fraternity from another. But if we catch any those boys out here again, we're gon na Arrest and Prosecute. You do that, Susan. Bye now. The office has cheap wood paneling and a tired shag carpet. A portrait of GOVERNOR HARDIN -LRB- female, mid - 50's -RRB- is on the wall, a large aerial photograph of the prison on the other. At a desk sits a WOMAN WITH TEXAS HAIR -LRB- 40's -RRB-. Grover hangs up. GROVER -LRB- to the Woman. -RRB- Thank you, Margie. -LRB- turning to Bitsey and Zack. -RRB- Correspondents Bloom and Stevens I presume. BITSEY Yes, hello. They shake hands. ZACK Stemmons. GROVER Stemmons. Sorry, wo n't happen again. I'm Duke Grover, T.D.C. community relations. Grover's demeanor suggests a successful Little League coach, his suit suggests J.C. Penny. He speaks quickly. MARGIE -LRB- WOMAN. -RRB- He's usually real good with names. GROVER -LRB- to Bitsey. -RRB- And these days I always like to ask, now do you prefer Miss, Mrs. or Ms? BITSEY Bitsey. GROVER Bitsey it is. Margie, I'm stealin' your umbrella. MARGIE Okey dokey.",
"EXT. ELLIS UNIT ENTRANCE Bitsey and Grover walk beneath their umbrellas toward the Unit gate - Grover walks as fast as he talks. Zack follows, turns his collar up. GROVER Bitsey, you ever been in a prison? BITSEY Yes. Zack smiles to himself. GROVER On death row? BITSEY No. GROVER Well, we house 422 inmates here. Average stay with us is nine years. Some get commuted, move on, most get killed. It'll put you off your supper, but then it's supposed to. The unit fence gate parts as they enter. The older gate guard nods as they pass. GROVER -LRB- to the guard. -RRB- Afternoon, Earl. -LRB- back to her. -RRB- We've got three concerns here : safety, safety and safety. The visitation area is entirely secure - we just ask you do n't touch the glass. Windex gets expensive. They come to the door of the entrance area. GROVER Rules say seven days prior to execution inmates must be interviewed in a cage. The DOOR BUZZES, Grover opens it.",
"INT. ELLIS ENTRANCE LOBBY - DAY The lobby has institutional chairs and few vending machines. To one side is a guard's counter and a walk through metal detector. They enter and make their way toward the counter. GROVER This changes for no man. You're not carryin' a weapon are you? BITSEY No. GROVER Mr. Stemmons, you packin'? ZACK No, sir. They arrive at the counter. Behind it are two GUARDS, one male, one female. GROVER -LRB- to the guards. -RRB- Clarence. Karla. New York guests for Mr. Gale. CLARENCE -LRB- GUARD. -RRB- May I see your purse, ma'am. GROVER -LRB- to Bitsey, indicating the metal detector. -RRB- Go on and walk through. Grover keeps talking as he walks around the detector and waits for her. GROVER Now, should any kinda of unpleasantness occur in the visitation area, we ask that you stay put. Come on through, Mr. Stemmons. And please follow the instructions of these fine correctional officers should they see fit to give you any. CLARENCE -LRB- handing her the purse. -RRB- Here you go, ma'am. He leads them down the hall. GROVER Anythin' you say can be overheard. And any discussion of criminal activity on your part is admissible. Not plannin' a jailbreak are you, Bitsey?",
"INT. ELLIS VISITATION AREA - DAY The door guard gets up from his small table and opens the door for them. GROVER Here we are. The visitation hall has the linoleum - and - fluorescent feel of an empty school cafeteria. It is seamlessly intersected by curved wall of sheer glass. Across the hall a guard's booth is built into the concrete wall ; the two guards inside look like they are in a sound booth. Every fifteen feet, the glass has small sound holes. On the visitors' side, chairs -LRB- with lap desks -RRB- cluster at each section. Just getting up from a chair in the hall's center is a big man wearing an expensive suit and black cowboy boots. This is David's lawyer, BENJAMIN BELYEU -LRB- late 30's -RRB-. On the prisoner's side of the glass, a row of ten chairs trace the outline of its curve. Above each chair a microphone hangs from the ceiling. The center chair is in a stainless steel cage. Inside sits David Gale. GROVER -LRB- calling out to Belyeu. -RRB- All yours, Mr. Belyeu. -LRB- to Bitsey and Zack. -RRB- You folks have safe visit now. BITSEY Thank you. He exits as Bitsey and Zack make their way toward Belyeu and David ; it's a walk of about twenty - five feet. Belyeu's voice is a thick combination of Cajun and Harvard Yard. BELYEU Miss Bloom? BITSEY Yes. Belyeu speaks as slowly as Grover did quickly. David stands up politely in his cage - he's too tall and has to hunch. BELYEU Did that P.R. man validate your parkin'? BITSEY He said the gift shop could do it. Belyeu laughs, smiles pure Old New Orleans charm. BELYEU -LRB- to David. -RRB- She's a smart one. Belyeu takes a few steps toward them, extends his hand. BELYEU Benjamin Belyeu, Mr. Gale's attorney. BITSEY This is Zack. BELYEU Pleasure. -LRB- turning. -RRB- And this is the man of the hour. They move toward David. A SPEAKER - SYSTEM LOUDLY -LRB- really loudly -RRB- interrupts : GUARD -LRB- V.O. -RRB- Sit down, Gale. All wince. David sits, smiles, a bit embarrassed. DAVID Hello. BITSEY Hello. ZACK Hi. BELYEU Now, why ca n't they turn that thing down? DAVID -LRB- to the microphone above him. -RRB- My lawyer respectfully suggests you adjust the speaker - system volume. A beat. They all look over at the guard's booth. One of the guards makes a get - on - with - your - business gesture. DAVID They're practicing being cruel and unusual. BELYEU Mrs. Bloom, I'm sure you're a bitin' at the bit. Belyeu collects papers from the chair he was using and starts to stuff them into his antique carpetbag. BELYEU Now, it is our understanding that you are to have three two - hour sessions. Today, tomorrow and Thursday, all at three in the P.M. I'm sorry we ca n't afford you more time, but contrary to popular rumor we have not yet begun to fight. Furthermore, it's our understanding that you will do this with no recording equipment of any kind. -LRB- to David. -RRB- You have my Gregg book? DAVID I need it for Billy's appeal. BELYEU -LRB- to Bitsey. -RRB- My client's got a ten pound bass on the line and he's worried about baitin' his neighbor's hook. -LRB- takes out his planner. -RRB- Now, I have some papers for which I need your Jo Ann Hancock. -LRB- handing her a business card. -RRB- Come by my Austin office at your earliest convenience. Thursday mornin', say. Bitsey's confused. Belyeu just smiles at her, then looks up at the microphone. She understands, nods. BELYEU Fine, till Thursday then. Belyeu picks up his bag. He and Zack start the hike to the door. Belyeu turns, walks backwards. BELYEU Good luck, Miss Bloom. -LRB- to David. -RRB- I'll come by later. We can play a game of hangman, take up smokin'. David waves `` get lost.'' Belyeu turns. BELYEU Bye, ya' all. They watch him walk away. Bitsey turns to David. He's looking at the floor, caught in a thought. BITSEY So. DAVID Sorry. Have a seat. She does so. David smiles at her, he has a beautiful smile, sincere, charming, vaguely devilish. BITSEY He's a character. DAVID Yeah, known Benny most my life. Met the summer after 4th grade, spent the day burning ants with his dad's magnifying glass. We called it playing ` Execution.' David looks at her a beat, lets the irony of this sit in the air. Uncomfortable, Bitsey starts to look in her purse. DAVID Since I grew up in foster homes, he's become the only family I have. BITSEY Where's your ex - wife? Bitsey takes a pad out of her purse, looks for a pen. DAVID We agreed minimal contact would be easier. Please do n't mention her, or my son. BITSEY All right. Anything else, just clearly say, ` off the record.' I'll take it to my grave. But then you know that about me. Otherwise I would n't be here. David smiles, nods. BITSEY -LRB- referring to the pen. -RRB- Is this recording equipment? He shrugs. DAVID How should we start? BITSEY I'd say you're a man with a story to tell, Mr. Gale. You chose the magazine, the format. You chose me. She sits with pen on paper, poised for dictation. BITSEY Go. David looks at her a long beat, then gives her the smile. WHITE TRANSITION MONTAGE CAMERA starts TO ROTATE and ROLLS THROUGHOUT until the LAST SHOT COMES TO REST UPRIGHT. A -RRB- OVERHEAD Belyeu gets in his Cadillac in the wet Ellis Unit parking lot. B -RRB- ELLIS UNIT -LRB- RAINY DAY -RRB- from the air. C -RRB- AUSTIN FROM AIR -LRB- SUNNY DAY -RRB- D -RRB- OVERHEAD SEXY FEMALE GRAD STUDENT -LRB- over - dressed in a mini - skirt and heels -RRB- moves hurriedly through the University of Texas -LRB- U.T. -RRB- campus. E -RRB- FROM BEHIND TWO GRADUATE STUDENTS attending class in an U.T. lecture hall - they are laughing as David entertains from a mike at the podium.",
"INT. U.T. LECTURE HALL - DAY Thirty animated students -LRB- circa 1992 -RRB- are listening to David lecture. He's younger -LRB- 31 -RRB-, vibrant - looks like a grad student himself. On the white board behind him are phrases : `` Lucan,'' `` objet petit a,'' `` Fantasy Theory.'' DAVID Think. What do you fantasize about? World peace? -LRB- as no one responds. -RRB- Thought so. -LRB- light laughter. -RRB- Money - Fame - Ferrari? -LRB- as some guys applaud loudly ; others then boo them. -RRB- A Pulitzer? Nobel? M.T.V. Music Award? -LRB- applause. -RRB- A genius hunk - ostensibly bad but secretly simmering with noble passions, and willing to sleep on the wet spot? As women applaud. LARGE WOMAN -LRB- yells. -RRB- I'll take two! Laughter. DAVID A Victoria's Secret model - just slumming between law school and running her family's Vastly Endowed Foundation for Tragically Sad - Eyed Children? The crowd laughs, David changes tone. DAVID Okay, good, you see Lucan's point. Fantasies must be unrealistic. The minute you get something, you do n't, you ca n't, want it anymore. To exist, desire needs absent objects. So desire supports itself with crazy fantasies. The over - dressed Sexy Grad Student enters loudly from a side door, out - of - breath and discombobulated. The crowd laughs at the timing. David pauses. STUDENT Sorry. He animatedly gestures to the seats, waits a beat as she moves towards them. DAVID This is what Pascal means when he says the only time we're truly happy is when day - dreaming about future happiness. The Sexy Student sits, adjusts herself. DAVID Or why we say, ` The hunt is sweeter than the kill' or ` Be careful what you wish for.' A guy behind the Sexy Student taps her on the shoulder, she turns and he hands her letter from the registrar's office. It's from a girl friend two rows back. The girlfriend mouths, `` It came today?'' DAVID -LRB- O.S. -RRB- Not because you'll get it, but because you're doomed not to want it if you do. Think about it next time you're at a wedding. Laughter. The Sexy Student turns back around, throws the letter in a book.",
"INT. U.T. HALLWAY - DAY Students pour out of the double doors leading from David's class. The hall is crowded. Standing waiting for him against the wall is Constance -LRB- glasses, granola clothes -RRB-. She's looking at a document, holds a file.",
"INT. U.T. LECTURE HALL - DAY The students are leaving. David is quickly erasing the white - board. The Sexy Student approaches him -LRB- her name is Berlin -RRB-. BERLIN -LRB- SEXY STUDENT. -RRB- Sorry about being late. There was, you know, a thing. DAVID There usually is, Berlin. BERLIN Look, I know I'm not doing well. He turns, nods, takes his books and papers from the podium. BERLIN And to torture a cliche, I'd do anything to pass. He looks at her a beat, starts to walk toward the door. BERLIN Anything, Professor Gale. He stops, turns. DAVID Anything, huh? BERLIN -LRB- suggestively. -RRB- Anything. DAVID -LRB- the smile. -RRB- Anything? She affects a solicitous shyness - then goes all sex. BERLIN Any thing. He checks the room, then comes over to her, close. DAVID Tell you what, I'll give you good grade, a really good grade, if you will. -LRB- leans down to her ear, whispers sensually. -RRB-. study. He smiles, turns, walks away. As she watches, anger builds.",
"INT. U.T. HALLWAY - DAY David comes out the room. Constance sees him, hurries to him. She's excited, and speaks now - as always - with absolute authority. They talk as they walk down the crowded hall. CONSTANCE David! DAVID Hey. CONSTANCE The T.A. finished transcribing the Governor's radio and TV comments. Listen :' I hate killing, that's why I'm willing to kill to stop it.' The woman breathes in soundbites. She hands him a copy. DAVID -LRB- pretends to read a quote. -RRB- ` Yes, Virginia, the people of this State have overwhelmingly affirmed the reality of Santa.' CONSTANCE You might can use some of her pre - centrist stuff. DAVID Tell me again why you are n't doing the debate. CONSTANCE Telegenics. You have a cuter butt. DAVID I had n't noticed. CONSTANCE I know. DAVID That's not what I meant.",
"EXT. U.T. CAMPUS - DAY David and Constance exit the building into the sun. CONSTANCE She's gon na do the whole mother thing. She empathizes with you completely, but experience has given her the courage to take the tougher road, ta - da, ta - da. Keep it rational. And flirt politely. DAVID ` Governor, you bat a lovely lash for a woman who executed thirty eight last year.' They've come to a sidewalk junction, stop. CONSTANCE And watch your ego. Do n't come across as one of those I - hate - authority - because - nobody - in - charge - reads - the - New Yorker types. DAVID Anything else? CONSTANCE Yeah, do n't fall into one of your brooding silences. Oh, I'm getting new federal stats from Amnesty tonight. DAVID I'm going to Greer's party. Fax them to Sharon's number at the house. She looks at him sternly over the top of her glasses. CONSTANCE If you have a hang - over tomorrow - DAVID -LRB- hangs up, walking away. -RRB- Apropos playing Mother. CONSTANCE -LRB- calling after him. -RRB- Ten o'clock! -LRB- beat. -RRB- Bright - eyed and bushy tailed!",
"EXT. GALE HOME - ESTABLISHING - NIGHT The house is an immaculately restored two - story Victorian, far better than what a university professor can afford. The grounds are perfect. David's Volvo is in the driveway, his wife's new Laredo beside it. On the street out front sits a new VW Beetle.",
"INT. KID'S ROOM - NIGHT David's son - CHASE - sits in bed holding a stuffed sheep in the air. David turns off the light in the adjacent bathroom, comes in holding his son's jeans and shoes. David wears a t - shirt which says `` Evil - Doer & Curious Person.'' The room is over - decorated with boy stuff. DAVID Did you mark your calendar? CHASE -LRB- looking up at it. -RRB- Yep. INSERT - KID'S CALENDAR hangs above the bed, opened to the month of March. It has a felt - tipped pen hanging from a piece of string taped to it. Ten frowny faces cover ten consecutive days, then there are three empty days before a large smiley face awaits on the fourth. The frowny faces are in a kid's hand, the smiley face in an adult's. BACK TO SCENE CHASE -LRB- counting on his fingers. -RRB- Only. three more Spain days. David puts the jeans and shoes away. DAVID Only three. That's great, huh? David comes and sits beside his son. Points to an African statue -LRB- a man holding a spear -RRB- on the bedside table. DAVID What's he doing in here? CHASE Mommy said I could. Just till she gets back. -LRB- touching the spear. -RRB- That's a special - duper monster laser knife. DAVID Where's your laser gun? Chase reaches under the sheets, searches, finally pulls out a laser pointer. CHASE Here. He `` shoots'' some toys in the corner with the red laser dot. CHASE Tussshh, tusssshh, tussshh. I never shoot them in the eyes, Daddy. DAVID That's'cause you're a special - duper - super - quadruper boy. Who's now going to sleep. He tucks his son in. DAVID Who loves you? Chase giggles, points at his dad, then pokes his nose. DAVID Ooooh. -LRB- kissing him. -RRB- Good night, son. CHASE -LRB- holding up his stuffed sheep. -RRB- Do Cloud Dog. DAVID -LRB- kissing the sheep. -RRB- Good night, Cloud Dog.",
"INT. LIVING ROOM - NIGHT Obsessively cool, full of designer furniture and rough fabrics. The art is mostly contemporary and conspicuously lit - a Damien Hirst piece sits in one corner. A few African antiquities are scattered throughout. A BABYSITTER sits on the couch reading a school textbook, holding lip gloss and absentmindedly applying it as she reads. David passes on his way to the door. DAVID Back before midnight. BABYSITTER It's cool, Mr. Gale. -LRB- calling after him. -RRB- Do n't do anything I would n't. DAVID -LRB- O.S. -RRB- Rest assured. He exits. When she hears the DOOR CLOSE, the Babysitter reaches for the TV remote.",
"INT. DUPLEX - LIVING AREA - NIGHT The duplex is upscale, two - story with a vaulted ceiling. Scattered about are forty party - goers, mostly grad students. Some spill out onto the back patio and around the pool. Everyone has a t - shirt with a philosophic idea -LRB- `` Yawnic,'' `` Mad, Bad and Dangerous to Know,'''' -LSB- Philosophic t - shirt -RSB-''. -RRB- LEONARD COHEN MUSIC PLAYS. FROM FRONT DOOR GREER -LRB- late 20s, Persian, `` Host'' t - shirt -RRB- escorts David into the living room. GREER The guy's the Immanuel Kant of the N.F.L. Consistent, accurate, effective, and boring, boring, boring. Greer leaves him at the sofa where an OLDER PROFESSOR -LRB- 60s, homemade t - shirt - `` Pre - Socratic'' - over his shirt and tie -RRB- stands speaking with ROSS -LRB- late 40s, `` Homosexualist'' t - shirt -RRB-. DAVID Meinen Herren. ROSS -LRB- has an Oxford accent. -RRB- Hello, David. OLDER PROFESSOR Professor Gale. Where's your better half? DAVID Spain. OLDER PROFESSOR Again? -LRB- a beat. -RRB- Well, I was just off for air. He moves to the patio. They watch him go. DAVID -LRB- under his breath. -RRB- Looks like Sharon's affair is an open secret. ROSS -LRB- under his breath. -RRB- Hermeneutical bias : the only fun truths are the ones someone's trying to hide. -LRB- normal tone. -RRB- Have a seat. They sit on the sofa. ROSS Listen, Berlin's here - and livid. Probations suspended her. She received the letter today, took the opportunity to throw a fit in my office. You should - BERLIN -LRB- O.S. -RRB- Talking about me? She's standing behind them. David tilts his head back. DAVID Yep. She's tipsy, brings her face down between their heads. BERLIN -LRB- to David. -RRB- He tell you I said when you were circumcised they threw away the wrong part. DAVID He mentioned it. An uncomfortable beat. She reaches over and takes Ross's drink from his hand, drinks the rest, puts it back. DAVID It's called schmuck. BERLIN What? DAVID The part of the foreskin that gets thrown away. I think it's called schmuck. BERLIN Are n't we so fucking clever. ROSS -LRB- standing, escaping. -RRB- I suppose I should get us another. David? DAVID Black Bush. Ross walks to the bar. Berlin comes around and sits in his seat. Her mid - drift T - shirt reads `` Sex is Power.'' BERLIN You were a jerk this afternoon. A beat. She's turned facing him, he looks forward. DAVID For what it's worth, I did n't know about the suspension. BERLIN Is that supposed to be an apology? DAVID More like a conciliation. ON FOOD AND DRINKS TABLE Ross has two gin - and - tonics and is finishing pouring David's Black Bush. He moves away. The table is neatly laid with snacks and bottles. The flower arrangement is perfect. SAME SCENE - LATER The table is now in mid - party chaos. Food spilled, bottles empty, the flowers in disarray. `` I'M TOO SEXY'' PLAYS LOUDLY in the background. Berlin takes a bottle of Red Label from the table. CAMERA TRACKS her THROUGH the living room, where a few people now dance, and out onto the patio. A crowd well on their way to being drunk gathers by the pool. They surround two patio chairs which face each other, one with David, the other with Ross. The men are playing an Irish drinking game - the crowd has chosen favorites. ROSS -LRB- slurring a bit. -RRB- All right. -LRB- clears his throat. -RRB- As the poets have mournfully sung, Death takes the innocent young, The screamingly funny, The rolling in money, And those who are very well hung. Laughter, a few animated moans. David raises his glass to Ross and downs a whiskey. Someone starts to chant : `` Gale! Gale! Gale!'' DAVID -LRB- feeling good but very much in control. -RRB- There once was a lesbian from Canjuom, Who took a young man to her room, And they argued all night, As to who had the right, To do what, how, and to whom. Laughter. Two women holding each other boo. Ross drinks. BERLIN One more. C'mon, one more. DAVID Enough. That's enough. The crowd wants more. Someone makes chicken sounds. ROSS Do you bow to the Queen? David looks at him, contemplates, then smiles. He holds his glass out for a refill. The crowd applauds. FULL SHOT OF PATIO The crowd is chanting : `` Ross! Ross! Ross!'' SAME SCENE - LATER The crowd has dispersed. A couple of small groups converse. Someone is being thrown into the pool. TECHNO MUSIC PLAYS. Inside the duplex a few dancers are still going at it.",
"INT. BATHROOM David is washing his face. As he dries, the TECHNO MUSIC downstairs gets BRIEFLY LOUDER. He looks from beneath the towel into the mirror. Berlin has entered the bathroom. DAVID I'm done. She locks the door, leans back against it. She's flushed. He folds the towel. BERLIN I'm not a student anymore. DAVID Do n't think I want to know what that means. David lays the towel down, leans back against the sink - they face each other on opposite sides of the bathroom. BERLIN There once was woman named Berlin, Who liked a bit now and again. Not now and again, But Now! And Again! And Again! And Again! And Again! He laughs. BERLIN Cute, huh? DAVID Cute. BERLIN I have a secret. But I have to come over there to tell you. He makes an I'm - not - so - sure face. She moves playfully toward him. BERLIN Here I come. She comes up to him, leans into him as she puts her mouthclose to his ear. He keeps his hands back on the sink counter. BERLIN -LRB- whispering. -RRB- I was n't after the grade. She stands with her body against him, looks into his eyes. DAVID Berlin, this, this is not. She puts her fingers over his mouth, keeps them there. BERLIN Ssshhhh. With her free hand she takes one of his, rubs it against her face and lips as she speaks. BERLIN We'll just talk, analyze, contemplate. Or. you can put your mouth on my body. She moves his hand down, brushing it against her breast and to her groin. She brings her mouth toward her fingers - which are still against his lips. BERLIN -LRB- softly, vulnerably. -RRB- Do n't reject me. Please. With her eyes open, she kisses the back of her own fingers, runs her tongue between them, opens them to reach his mouth.",
"INT. HALLWAY A Hispanic woman -LRB- T - shirt : `` DerriDa - Da'' -RRB- bee - bops to the bathroom door. Tries the handle, then dances away.",
"INT. LIVING ROOM About eight dancers dance to the TECHNO MUSIC - its pace increasing. A couple them are really into it.",
"INT. BATHROOM Berlin and David are against the sink, kissing in full passion. The MUSIC from downstairs seems LOUDER. Her T shirt is off. Panting, he turns her against the sink. Pulls her skirt up, reaches for her panties. BERLIN Rip them. DAVID What? BERLIN Rip them off. He does so.",
"INT. KITCHEN Ross sits at the kitchen table, holding his throbbing head against the POUNDING MUSIC. Greer sets a cup of coffee in front of him, sits across. A long beat. They seem like parents waiting out a teenager's party.",
"INT. BATHROOM Berlin is back against the sink, undoing David's fly as he takes his T - shirt off. The MUSIC from downstairs seems even LOUDER. His pants and underwear fall. He starts to penetrate her. BERLIN No. From behind. She turns, faces the mirror. He positions himself behind, enters her. BERLIN Yes. He moves against her. BERLIN Do it hard. He looks at her in the mirror, then continues. She watches him. ON PATIO A guy sits alone at the far end of the pool on a lounger. The dancers can be seen in the living room behind him.",
"INT. BATHROOM David thrusts against Berlin, her thighs pound against the edge of the sink. The MUSIC is as LOUD as it is downstairs. BERLIN Harder. He looks at her in the mirror, unsure. BERLIN Harder. He thrusts harder. BERLIN Yes. They continue in rhythm. She reaches back and pulls him into her. BERLIN Bite me. Bite my shoulder. She watches him do so in the mirror.",
"INT. LIVING ROOM The dancers dance - the TECHNO PACE has INCREASED even more. One dancer is a blur.",
"INT. BATHROOM Berlin is pulling David into her. They approach a climax. She scratches him on the small of the back. Blood trickles.",
"INT. LIVING ROOM The MUSIC and dancers are in pure FRENZY. Suddenly, the MUSIC STOPS. Greer stands by the STEREO, his hand coming back from the power button. He gestures `` that's - all - folks.''",
"INT. BATHROOM David and Berlin stand still and apart, breathing heavily into the reality - inducing silence. He looks at her in the mirror, a look of shame. She gives him an odd smile. BLACK",
"INT. CONSTANCE'S BEDROOM - NIGHT Constance wakes with a jolt, sweating. She gets up and goes into her bathroom.",
"INT. BATHROOM - NIGHT She turns on the light, moves to the sink, opens the medicine cabinet. It's stacked with prescription medicines. Suddenly, she turns to the toilette, vomits. BLACK.",
"INT. BARNES & NOBLE COFFEE HOUSE - DAY David and Constance sit by a window, the U.T. campus in the b.g. David's distracted, wearing a suit and a long face. She's wearing the closest thing she has to business attire. She has stacks of paper spread in front of her. CONSTANCE Okay, let's say we find an innocent on death row. Would n't matter. Corrections would let him go. Governor Harding would go on TV, say, ` Thanks to the good people at DeathWatch, the system works.' Yeah, if they executed an innocent, and we had absolute, undeniable, in - your - face proof, we could demand abolition. Just like happened in England. Are you okay? DAVID -LRB- coming out of it. -RRB- Sorry. Yeah. He makes an effort, plays the `` good listener.'' CONSTANCE But it has n't happened, not since' 76. And wo n't happen. David nods. CONSTANCE Dead men ca n't make a case. DAVID And ` Almost Martyrs' do n't count. CONSTANCE Just keep it rational. The death penalty is expensive and ineffective. No one wants to see a murderer as a victim. DAVID Um - hum. CONSTANCE And stop that. DAVID What? CONSTANCE Active listening. I hate active listeners. Makes me feel like I'm with a Dale Carnegie grad who cares more about appearing to listen than actually listening. Did you bring the Amnesty fax? DAVID I can listen and appear to listen at the same time. Yeah, no. Damn, I left it home. CONSTANCE I have a copy. She looks through her papers, finds the copy in the stack beneath her coffee cup. She starts to hand it to him. He is looking out the window, caught in a thought. CONSTANCE You want to tell me what's up. DAVID Nothing. Everything. Something profoundly stupid happened last night. CONSTANCE -LRB- teasing. -RRB- I hope you used a condom. A beat. His reaction tells her the jest hit home. CONSTANCE Jesus Christ, David. Was she one of yours? A longer beat. He holds her eyes. DAVID It was Berlin. She's stunned, then genuinely angry. CONSTANCE Oh, that's great, great. I can hear the grapevine now. They suspended her so Gale could dick her with a clear conscience. He looks at his coffee, which he has n't touched. CONSTANCE A power differential equals coercion. Great. You are so weak. DAVID Constance, you're not my wife. Thank God. CONSTANCE I know you can tell yourself it's a position I aspire to, but believe me, I would rather. She trails off. They stare at each other a beat. Then, she starts to collect the papers. DAVID I did n't mean - CONSTANCE Let's go. As she collects, she winces, grabs her side. DAVID Are you okay? CONSTANCE Yes, let's just go.",
"INT. TELEVISION STUDIO - CONTROL BOOTH - DAY Two people sit in front of monitors displaying various angles on sound stage. The main monitor is playing the end of the show's signation. ASSISTANT DIRECTOR In three, two. ON SOUND STAGE A camera operator cues the host -LRB- 50s, male, bow tie -RRB-. The host is flanked by David and Governor Hardin. The set has an upscale regional television look. The Governor has the rare ability to look comfortable while David fidgets. HOST -LRB- to camera. -RRB- Welcome back to ` Batter's Box.' Tonight we continue our very special four - part series with the Governor Hardin. Arguing capital punishment with her is DeathWatch coordinator, Professor David Gale. Governor, you're up. GOVERNOR HARDIN Alan, let me say somethin' I always say. Constance stands behind the cameras. She motions to David - something about the papers in front of him. GOVERNOR HARDIN And I'm gon na keep on sayin.' And that is I hate killin.' That's why my administration is willing to kill to stop it. DAVID So you do n't subscribe to the idea that' a good state is one that protects its most despised members'? GOVERNOR HARDIN It's a nice liberal idea, but like most nice liberal ideas, naive. DAVID It's a quote from you, Governor, from your first state attorney campaign. Constance is biting her lip, breaks into a smile. The Governor is unsure how to react, then laughs. The host chuckles with her. GOVERNOR HARDIN You've got me, Professor. But let me, in my defense, give you a quote. Winston Churchill : ` If you're not a liberal at twenty, you've got no heart, if you're still a liberal at thirty, you've got no brain.' The host's laughter is overdone. David smiles. Constance bites her lip. DAVID So, basically you feel, to choose another quote, ` society must be cleansed of elements which represent its own death.' The Governor makes an animated thinking face. GOVERNOR HARDIN Well, yes. I would have to agree. -LRB- chuckles again. -RRB- Did I say that, too? DAVID No, ma'am. That was Hitler. Constance makes a `` Yes!'' gesture with her hands. The Governor is surprised into silence. The host laughs and, noting her reaction, trails off. David becomes more confident, his tone more sincere. DAVID Governor, ca n't we examine the possibility that capital punishment is n't working. That murderers are n't deterred by the law because they have about as much forethought as lemmings. That it's expensive, inequably administered, that. David cuts his eyes briefly to Constance. DAVID that we may even be killing innocents. Constance rolls her eyes. The Governor is ready for this. GOVERNOR HARDIN All righty, Mr. Gale, I'll play your game. Name one. Name one innocent man Texas has put to death in my tenure. One. A beat. David does n't respond. GOVERNOR HARDIN Name one in the last twenty years. In any state in this country. A long, miserable beat. HOST Well, Mr. Gale? DAVID Dead men ca n't make a case. GOVERNOR HARDIN Well, as my daddy used to say : If you ca n't find a problem, there probably is n't one. Constance shakes her head in irritation. BACKSTAGE - LATER The show is over. David and the Governor are shaking hands. Constance stands nearby. GOVERNOR HARDIN Well, you certainly had me on that Hitler quote. DAVID Thank you, Governor. GOVERNOR HARDIN These debates are awfully good for the state, do n't you think? DAVID Of course. GOVERNOR HARDIN Well, I've got to buzz. She moves toward her handlers. GOVERNOR HARDIN You folks keep up the good work. We need that opposition. Constance's and David's polite smiles follow her.",
"EXT. TELEVISION STATION - DAY Constance and David argue as they walk the sidewalk to the parking lot. CONSTANCE Your exact words were, ` Just tell me when my ego gets in the way of the work.' Now I'm telling you : Your ego's in the way of work. DAVID -LRB- indicating the station. -RRB- Look, I wanted you to do this anyway. CONSTANCE You put up precisely two seconds of protest at the thought of a televised debate. DAVID What's that supposed to mean? CONSTANCE It means DeathWatch suffers because you're so anxious to finger authority, to publicly prove that David Gale is so much fucking smarter than the powers that be. Learn to work without an audience. Try squeezing money from the donor list. Have you ever licked one single mail - out envelope? They come to the end of the sidewalk, where two SUITS are standing - one Hispanic, one white -LRB- 30s -RRB-. MAN #2 -LRB- SUIT. -RRB- Mr. Gale? DAVID Look, guys, there's not much more to say - MAN #2 Rameriz, Austin police. This is Officer Haslinger. The officers show their Ids. Constance takes one to examine it more closely. DAVID What, arguing with the Governor is a crime? The officers exchange a look. MAN #3 -LRB- SUIT. -RRB- No, sir, rape is. Constance and David look at each other, stunned. OVERHEAD SHOT CAMERA QUICKLY CRANES UP and ROTATES. WHITE.",
"INT. ELLIS VISITATION AREA - OVERHEAD SHOT - DAY CAMERA CRANES DOWN and ROTATES, ENDING UPRIGHT BY Bitsey as she listens to David. GUARD -LRB- V.O. -RRB- -LRB- over the loudspeaker. -RRB- Gale, time's up. The speaker, loud as ever, startles Bitsey. David nods over to the guard's booth. DAVID Berlin had my bite marks, bruises, ripped clothing. My skin was beneath her nails. It did n't look like anything but rape. Two days later she called the D.A., said she would n't testify, too drunk to be sure, etc.. On the plane home, Sharon read about her husband's rape case being dropped. BITSEY Why'd she do it? A guard approaches. David stands up and moves to the back of his cage, puts his hands behind him and out the slot in the back to be handcuffed. DAVID -LRB- shrugs. -RRB- Finger authority, show she was smarter than the powers that be. BITSEY Do you know where I can find her? DAVID First year in here I received a card postmarked San Francisco. It was n't signed, but I suspect it was from her - the front had the text ` Sex is Power.' Cuffed, David stands aside for the cage door to be opened. BITSEY Anything written on it? DAVID Yeah. It said, ` I'm sorrier than you can know.'. -LRB- exiting the cage. -RRB- See you tomorrow, Ms. Bloom.",
"EXT. MOTEL SIX PARKING LOT - NIGHT Bitsey and Zack are walking from the Kettle to their rooms. Zack is lighting a cigarette. The rain's stopped, but the lot is wet. BITSEY Try phone records, a net search. ZACK Fucking better than watching you work. They walk a beat in silence. ZACK You think he's telling the truth? BITSEY Do n't ask me that. I do n't know. There is no truth, only perspectives. ZACK Ca n't say that. If you say ` there is no truth,' you're claiming it's true that there is no truth - it's a logical contradiction. BITSEY Working on our philosophy merit badge, Zack? ZACK I, on the other hand, think Gale's telling the truth. They come to the stairs and start up. BITSEY This you know telepathically? ZACK It's just my perspective. In a dark corner of the parking lot sits the pickup from the rest area. The older cowboy watches Bitsey and Zack climb the stairs. On his STEREO, PUCCINI plays. Once they are in their rooms, he TURNS UP the opera, closes his eyes, feels the music.",
"INT. RENTAL CAR - DAY The car moves through an older Austin suburb with wood framed houses -LRB- circa 1950 -RRB- in varying states of repair. It's an overcast day. Zack drives, slowly, searching. Bitsey has the passenger seat fully reclined, lies with her eyes closed. SUPERIMPOSE : DAY TWO. ZACK Thirty - three o what? BITSEY Seven. -LRB- then. -RRB- ` Check out the crime scene in Austin.' You made it sound so close. Shit, two and half hours and that damn lig - ZACK Bitsey. She looks up. Zack is pointing at house 3307, which needs paint and a lawn mower. In front of the house is a homemade sign which reads, `` David Gale Death House and Museum'' See where it happened!'' Beneath are the opening hours -LRB- 12 - 8 -RRB- ; someone has marked them out and scribbled `` ring bell.'' They share a look.",
"EXT. PORCH OF HOUSE 3307 - DAY Bitsey rings the bell. Zack stomps out a cigarette, points out a worn `` Block Home'' sign in the window, raises his eyebrows. As Bitsey straightens her skirt, the door is opened by a GOTH GIRL, probably not quite eighteen. She has jet - black hair, nose piercings, tattoos, a Nine Inch Nails T - shirt. METAL MUSIC comes from within. The Goth Girl just looks at them. After an uncomfortable silence, Bitsey extends her hand. BITSEY Hi. I'm Bitsey Bloom and this is Zack Stemmons. We - GOTH GIRL You want the tour? Her voice is slacker monotone. BITSEY Uh, yes. GOTH GIRL There's a twenty - dollar mandatory donation, apiece. But you get a re - enactment photo packet. It's got five pictures. BITSEY Okay. A beat. GOTH GIRL I got ta collect first. BITSEY Oh, sure. Bitsey reaches in her bag.",
"INT. LIVING ROOM - DAY They enter. The room is dark, messy, with an old couch and TV/VCR. A kitchen is adjacent. The walls are full of Goth bric - a - brac : London Batcave poster, one from Burton's Frankenweenie, a couple of fan - zine pictures of Siouxsie and the Banshees. In one corner is a very expensive STEREO, from which THE CURE plays. In another, a dead plant. The Goth Girl turns the MUSIC DOWN. A table near the door has numbered photos beneath a torn and curling sheet of plastic. Small packets of snapshots sit on the table along with a few hand - labelled videos and a book of clippings. There's also a guest book. GOTH GIRL You got ta sign the book. Does n't have to be your real name, though. Bitsey signs in. GOTH GIRL First page says you're here to do research on violent crime. The state requires it for nonprofit shit. Zack signs in. GOTH GIRL Take a re - enactment photo packet. Bitsey does so. As does Zack. GOTH GIRL If you guys could share one, it would be really cool. The butt wipes where I do prints kinda jerk my chain. Zack puts his back. Bitsey is looking at a photo : the Goth Girl in her panties and bra laying on the floor with plastic wrap over her head. She's handcuffed and wearing a platinum blonde wig. The pose is half - corpse, half - pinup. GOTH GIRL That's me. My boyfriend took it. We also did a video. It's fifty bucks'cause you can see my tits. There's a version without tits, that's thirty - five. Zack looks at a video, hand - labelled : `` Constance Harraway Murder -LRB- with breasts -RRB-! Copyright 1997! Svengali Productions!'' BITSEY Do many people take the tour? GOTH GIRL Not so much anymore. We thought this would be like a busy week - Gale gettin' the prune juice and all. Prune juice is what death row dudes call the poison,'cause it gives you the shits. Most jerks just take a photo from the street. They shot a ` Real Crimes' episode here, but the owner did n't give us dick. ZACK You do n't mind living here? GOTH GIRL I'm cool with ghouls. Beats livin' with my dickwad parents. It starts over here. She takes them to the coffee table. Among her own things, a dusty Johnny Walker Black Label bottle sits beside a tumbler -LRB- an index card with the # 1 leans against it -RRB-. The area has been outlined on the table with white shoe polish. GOTH GIRL She let him crash here sometimes. He was like constantly wasted. Drank Black Label religiously. Bitsey and Zack exchange a look. The Goth Girl moves into the kitchen. It's cluttered and dirty except in the various areas which at one point had been outlined and indexed - the cards are all dirty. A sliding glass door leads onto the patio. The backyard has n't been mowed in years ; roughly twenty pots with dead plants lying around. By the door, three small taped Xs are on the floor, outlined and indexed -LRB- # 2 -RRB-. GOTH GIRL This is where the tripod was. My boyfriend borrowed the one we usually show folks. They never found a camera, photos, or videos or anything. Gale must have buried them. These serial killer dudes take photos to whack off to later. ZACK He's not exactly a serial killer. GOTH GIRL Whatever. She moves to the sink. On the linoleum, the position of Constance's body has been chalk - lined -LRB- # 3 -RRB-. In this area are a pair of handcuffs -LRB- # 4 -RRB-. Not far off is a roll of packing tape -LRB- # 5 -RRB-. A pair of latex kitchen gloves are crumpled on the sink counter -LRB- # 6 -RRB-. GOTH GIRL She was like totally naked right here. The meter man saw her through the door. Gale handcuffed her, taped her mouth, then taped a bag over her head so she could n't breathe. My boyfriend says that's probably when he fucked her. Your muscles tense up when you die - the sex is better. -LRB- pointing. -RRB- He used those housewife gloves so he would n't leave prints. They found sticky stuff from the tape on them. Zack picks up the gloves. GOTH GIRL We ask folks not to touch the exhibit. ZACK Right. He puts them back. GOTH GIRL The totally sick part was where they found the key - BITSEY We know, you can save that. ZACK What? Where was it? GOTH GIRL It was in her stomach, dude. He made her swallow it before he bagged her. A beat. Zack's shocked. GOTH GIRL That's pretty much the highlight. Got questions?",
"INT. RENTAL CAR - DAY Bitsey drives. They are on the two - lane highway to Huntsville. Zack smokes out the window. BITSEY It was in the case file. ZACK Fuck, in her stomach? That's colder than Wisconsin. BITSEY -LRB- looking in the rearview mirror. -RRB- Zack, open your vanity. ZACK What? BITSEY The vanity mirror, pull it down. He does so. BITSEY See that truck behind us? ZACK Yeah. BITSEY Is n't that the cowboy from the rest area? They look in their respective mirrors. Some distance behind them is the older cowboy in his pickup. ZACK Same truck. BITSEY Weird coincidence, huh? ZACK -LRB- turning. -RRB- Coincidences are always weird, that's why they're coincidences.",
"INT. ELLIS VISITATION AREA - DAY Bitsey sits in front of David. He's less animated than the day before, drained. He rubs his wrists. They are speaking in hushed tones. A beat. DAVID Off - the - record? BITSEY Alright, we're off. DAVID Constance was murdered with what's called the Securitat Method. You're hand - cuffed, forced to swallow the key, taped at the mouth, a bag's sealed over your head and you're left to suffocate. The Securitat did this to Romanians who would n't inform or confess. Sometimes the bag was ripped off at the last second, you got a second chance. If not, you die knowing the ` key' to your freedom was inside you the whole time. A cheap - but - effective metonym. Problem is I mentioned the method in an early article. The prosecution never knew. BITSEY You're telling me someone's framing you? DAVID It's more than that. DAVID There was a tripod. BITSEY Right, facing her body. Are we on? DAVID -LRB- nods agreement. -RRB- Not a single print was found on it. Someone brought it, wiped it, left it. Why? It's as if they wanted me to know that somewhere there's a record of what really happened that afternoon. As if they wanted me to die knowing the key to my freedom was. out there. BITSEY Maybe you're being paranoid? DAVID Ms. Bloom. I'm an anti - death row activist on death row. Does n't that strike you as odd? A beat. She nods. BITSEY Any ideas who ` they' are? DAVID No. A beat. DAVID But I have someone on it, someone I'm hoping will one day find an answer. BITSEY Belyeu's hired a detective? He shakes his head. DAVID A journalist. It takes Bitsey a second to understand. David smiles. DAVID -LRB- mimicking Belyeu. -RRB- ` She's a smart one.' ACCELERATED ROTATING ZOOM OUT TO LONG SHOT. WHITE.",
"INT. U.T HALLWAY - LONG SHOT - DAY ACCELERATED ROTATING ZOOM IN. David and Constance stand by the double doors. He's concentrated ; she's biting her lip. They're looking onto a large parking lot. The lot is practically empty except for Sharon and Chase, who stand near their Jeep. It's packed with various household items, things not entrusted to movers. CONSTANCE I'll drop by your office after. He nods and goes out.",
"EXT. U.T. PARKING LOT - DAY As David approaches them, Chase runs to them - still carrying Cloud Dog. He jumps on his dad. CHASE Wear me like a fur, Daddy! Wear me like a fur! As he walks, David drapes the boy sideways over his shoulders -LRB- like a fur -RRB-. Chase squeals with pleasure. DAVID Who's your hero? Chase bonks him on the nose. David sets Chase down when he reaches his WIFE. He kiss him goodbye as the boy struggles to move on to something else. A long beat as David and his wife stand uncomfortably. DAVID Call me when you get to Boston? SHARON -LRB- WIFE. -RRB- Yeah. A beat. DAVID I wish you - SHARON Do n't. She turns and walks to the Jeep. The door's open. SHARON Chase, get in, Sweetie. Chase climbs in, sits in the driver's seat. CHASE -LRB- turning to his dad. -RRB- See ya later, Alli - gator. DAVID After awhile, Crocodile. CHASE Take it easy, Japa - ne - se. DAVID Okey - dokey, Artichokey. SHARON -LRB- to Chase. -RRB- Scoot. Chase scoots over to the passenger seat. Sharon gets in the driver's seat. SHARON I sent you an e - mail. DAVID Okay? SHARON Just read it. She closes the door. Suddenly, Chase opens the passenger side door, runs around the Jeep carrying Cloud Dog. He runs to his dad, hugs him one last time. SHARON -LRB- cracking her window. -RRB- Come on, Chase. Chase starts to go back, turns and hands David his Cloud Dog without comment. He then quickly runs back around the Jeep and gets in. David watches them drive away. Chase's hand waves out the window until they are out of the parking lot. INSERT - COMPUTER SCREEN with an e - mail message : `` David, I want a divorce. I'm sorry to say it so plainly, but that's how I feel it. I do n't need time to think, this whole ` rape' thing has only forced.''",
"INT. DAVID'S U.T. OFFICE - DAY David sits in front of his computer, staring into space. The office is institutional, cramped. Books line the walls, fill the desk. There's a framed poster -LRB- Warhol - style -RRB- of Socrates. He reaches into his desk for a bottle of Black Bush and fills his glass. There's a KNOCK on the door. Constance enters. CONSTANCE You could at least hide the bottle. David closes the e - mail. She collapses in the chair opposite his desk, exhausted. DAVID Well? CONSTANCE Officially, you're on sabbatical. Unofficially, they want you to look for another position. It was four to two. A beat as he absorbs the information. DAVID How did Ross vote? CONSTANCE You're not supp. Against you. David nods. DAVID And you? CONSTANCE Against my politics. David mouths a `` thank you.''",
"EXT. GALE HOUSE - DAY A Century 21 real estate agent is putting a `` For Sale'' sign in the front yard.",
"INT. UPSCALE RESTAURANT - DAY David is having lunch with an IVY LEAGUE - LOOKING MALE in his fifties. Only water and bread are on the table. DAVID So, I wanted to get your feedback on the idea. The Ivy Leaguer vigorously butters his bread. IVY LEAGUER Look, Professor Gale, I could sit here, as I'm sure others have, and plead departmental cutbacks. Claim you need more publications, or I need a minority, whatever. All bull - geschichte. Your record's brilliant. You're an original voice worth - in the scarcity - defines - value capitalist system under which we toil - your weight in gold. Hell, it's not even the alcohol. It'd be nice to have faculty whose crutch was n't Prozac. But, to speak plainly, if I hire you, in the eyes of the regents, alumni and every freshman with an ear for gossip, I'd be hiring a rapist. He takes a bite of bread. IVY LEAGUER You're not politically correct, Dr. Gale. Welcome to the club.",
"EXT./INT. DAVID'S APARTMENT - DAY David stands on the balcony of a sparsely - furnished 420 - a - month apartment. Books are stacked everywhere. An Interstate runs nearby. He holds a phone, looks down in the pool area. DAVID'S POV A horribly - tanned man in his seventies -LRB- wearing a Speedo -RRB- attempts to do Tai Chi. CHASE -LRB- V.O. -RRB- -LRB- on his mom's answering machine. -RRB- We are n't home. Please, tell us a message. SHARON -LRB- V.O. -RRB- -LRB- cueing him in the b.g. -RRB- At the beep. CHASE -LRB- V.O. -RRB- At the peep. ON DAVID David lets the PHONE BEEP, just stares down at the man, saying nothing.",
"EXT. APARTMENT COMPLEX PARKING LOT - DAY As David gets out of his Volvo, a SORORITY PLEDGE -LRB- funny clothes, Greek letters on her cheek -RRB- quickly approaches. She takes his picture with a Polaroid camera. She runs to a waiting convertible, where two other girls sit. SORORITY PLEDGE I got it! I got it! She jumps in the car and they speed away.",
"INT. HIGH-RISE OFFICE - DAY The office is Philip Stark chic with large window walls - Austin stretches into the distance. David sits on a sofa across from an exceedingly ATTRACTIVE WOMAN -LRB- early 40s -RRB-. ATTRACTIVE WOMAN What exactly attracts you to the bond market? He's staring into space. ATTRACTIVE WOMAN Mr. Gale? He looks at her. She forces a strained smile.",
"INT. DAVID'S APARTMENT - NIGHT Dark. David lies on the floor, his head propped against a wall. He's in his underwear and drinking from a Black Bush bottle. The phone's beside his ear and Chase's MESSAGE on his wife's MACHINE TWEAKS out of the receiver speaker. After the BEEP, David hangs up, gets a DIAL TONE, and punches re - dial. The MESSAGE STARTS again. After the BEEP, he hangs up, gets a DIAL TONE, and punches re - dial.",
"INT. SMALL OFFICE - DAY David is in the office of an overdressed YUPPIE BLACK MAN -LRB- early 20s -RRB-. David is doing his active listening thing. YUPPIE MAN -LRB- over - articulating. -RRB- Now, Mr. Gale, I want you to tell me three personal qualities you have that would make you a successful Radio Shack manager.",
"EXT. GOLF COURSE - DAY David and Belyeu approach a ball fifty feet from the green. BELYEU Because divorce proceedings do not require her presence in the country. For a custody hearin', yeah, she'll have to return. David chooses a club. BELYEU But without successful completion of an alcohol treatment program, you'll be lucky to get the odd Thanksgivin'. David walks to the ball. DAVID So my chances of getting partial custody are n't good? BELYEU Roughly the same as you sinkin' that from here. David looks at him, then concentrates on the ball - suddenly it has meaning. He swings. The ball lands in a water trap.",
"INT. PICTURESQUE MOUNTAIN ROAD - DAY David's Volvo winds up the road, enters through a gate. A sign beside the gate : `` The Go lightly : A Recovery Clinic.'' BLACK.",
"EXT. CONSTANCE'S HOUSE (3307) - DAY It's a beautiful day. The house looks much different than in the Goth Girl's care - flower bed, well - manicured lawn, fresh paint. The `` Block Home'' sign is in the window. David's Volvo pulls up in front.",
"INT./EXT. CONSTANCE'S FRONT HALLWAY - DAY Constance opens the door for David. He's wearing a short sleeved Radio Shack shirt and tie. She's taken aback. Looks at him a beat, bites her lip, suppresses a laugh. CONSTANCE I'm sorry. He plays hurt, then they both burst out laughing. LONG SHOT - CONSTANCE AND DAVID She hugs him as they laugh on the porch.",
"INT. CONSTANCE'S LIVING ROOM - DAY The living room is now Laura Ashley cozy. The sliding door is open so the room's sunny, breezy. Constance leads David in. She looks tired but is animated, a bit too much so. Her hair is different. CONSTANCE You look good. DAVID I feel. washed. She smiles at him maternally, touches his face. They hug again. CONSTANCE -LRB- lightly, in his arms. -RRB- I need you. DeathWatch needs you, now more than ever. DAVID Nothing like I need you, both. You're all I have. CONSTANCE Look. She moves from him, takes a photo from a case file on her kitchen table. CONSTANCE Jo Ann Johnson's been re - scheduled. INSERT - PHOTO of a young black women - pleasant, timid. BACK ON SCENE CONSTANCE I've got a call with Hawkins tonight, and if national will commit emergency funds. She lifts a small plant, moves to the porch. DAVID Jo Ann will be commuted and you'll only prove the system works. He notices she has bruises on her arms. CONSTANCE But I'll save a life. DAVID -LRB- referring to the bruises. -RRB- Where'd you get those? CONSTANCE Spring cleaning.",
"EXT. CONSTANCE'S PORCH CONSTANCE She went up at 18, she's 26 now. She sets the plant down among others. At the very back of the yard, the Older Cowboy spades in a vegetable garden. DAVID -LRB- calling to the Cowboy. -RRB- Hey! She ever not make you work when you come by? OLDER COWBOY -LRB- raising his spade in greeting. -RRB- Mornin', David. DAVID -LRB- turning to Constance. -RRB- What's her story? CONSTANCE I really want us to get behind this one. She's articul - DAVID Constance, who did she kill? Constance looks at him a beat, sighs. CONSTANCE A cop. DAVID She admit to it? Contance sheepishly nods. DAVID You're a crazy woman. Not your medium grade thinks - she's - Teddy Roosevelt's - bathrobe, but stark - raving - loose - screws - in - the - belfry insane. CONSTANCE You're mixing metaphors. DAVID A real danger to flora and fauna. CONSTANCE Are we gon na do this? DAVID -LRB- the smile. -RRB- And how. He kisses her on the forehead - he's surprised. DAVID You're burning up.",
"EXT. STARBUCKS - NIGHT David exits the store carrying four large coffees in a cup - container, tries to sip one without spilling the others. He's still wearing the Radio Shack shirt, seems happier. In the parking lot, a hip high schooler jumps out of his Camero and moves toward the store. As David comes in front of the car, he sees his former baby - sitter sitting in the passenger seat. Their eyes meet. He smiles. She smiles back, waves. As he passes, he hears the girl hit the car's automatic DOOR - LOCK BUTTON.",
"INT. OFFICE OF DEATHWATCH (AUSTIN) - NIGHT David enters carrying the coffee. The matron sits on a desk licking envelopes. The college guy is on the floor beneath a desk rewiring a computer terminal. COLLEGE GUY -LRB- calling from beneath a desk. -RRB- Howdy, Mr. Gale. DAVID Hello, folks. David goes to the Matron, gives her cup and three Sweet & Lows. MATRON Hello. My, this is service. Thank you. DAVID Gladly. He takes one of the unsealed envelopes from her stack, then puts a cup beside the legs of the College Guy. DAVID Latte on your left, partner. David makes his way to the back office. The College Guy gives the Matron a look - they're surprised, pleased.",
"INT. BACK OFFICE - DAY Constance sits at a spartan desk. Nothing is on the walls, though a window opens onto the alley behind. She's talking on the SPEAKER PHONE with the DeathWatch national director - a social gathering is going on behind him. DIRECTOR -LRB- V.O. -RRB- and see what kind of resources the religious groups can deliver. David comes through the door. She waves him in. CONSTANCE I'm sure we can get some pulpit time, maybe cable. He sets her coffee in front of her. Then sits across from her. DIRECTOR -LRB- V.O. -RRB- Cable's good. Listen, I need to run. For now, I agree the first press release should focus on the woman's youth. David holds up the envelope for Constance to see, then animatedly licks and seals it. He then, literally, pats himself on the back. DIRECTOR -LRB- V.O. -RRB- I'll have the Washington people look into counsel competency, though I'm almost sure she's exhausted this issue on appeal. She smiles at him, shakes her head. CONSTANCE -LRB- to the phone. -RRB- John, David's going to - DIRECTOR -LRB- V.O. -RRB- Oh, I almost forgot. He's not around, is he? Constance hesitates, looks at David. He shakes his head no. CONSTANCE No. DIRECTOR -LRB- V.O. -RRB- Good, keep it that way. His relationship to DeathWatch is over, terminated. Last thing we need is this rape thing coming back to bite our butts. Constance is not sure how to react. David just stares at her. DIRECTOR -LRB- V.O. -RRB- These guys do n't stay on the wagon for very long. David stands up and leaves the room, quickly. His coffee spills. Constance can only watch. DIRECTOR -LRB- V.O. -RRB- I'm serious, Constance. Ban him from the premises. I realize you two.",
"EXT. DEATHWATCH OFFICE (AUSTIN) - NIGHT Constance comes anxiously out the front door. CONSTANCE'S POV David's Volvo pulls out of the parking lot. BACK TO SCENE She stands watching it drive away, breathing heavily. She winces, grabs her stomach, vomits on the sidewalk.",
"EXT. AUSTIN STREET - NIGHT The Volvo is parked on a seedy Southside street. David stands at a phone booth and dials a long - distance number and a calling code. He waits, impatiently, looks across the street : There's a liquor store. CLOSEUP - RECEIVER at his ear, Chase's MESSAGE BEGINS. BACK ON DAVID He speaks into the PHONE after the BEEP. DAVID Sharon, pick up. For once just pick up the goddamn phone! If you keep him in Spain, I'll. I'm begging you. He's my son! Please! Please. Please. David starts to put the receiver back, then suddenly starts smashing it against the phone's body ; he smashes it long after there is anything left to destroy, long after his hand bleeds.",
"EXT. CONSTANCE'S HOUSE (3307) - NEXT DAY Constance walks with car keys and a large stack of mail toward her front porch. She looks like she has n't slept in weeks. David is sitting on the porch beneath the Block Home sign, holding Cloud Dog. He wears the Yale sweatshirt, the Radio Shack shirt is wrapped around his injured hand. He's sloppy drunk. DAVID We're seeking refuse, refuge, uge. CONSTANCE Come on, come inside. She opens the door as he stands. DAVID We fell off our wagon.",
"INT. CONSTANCE'S LIVING ROOM - DAY David enters rambling, stands leaning against the back of the couch, holding the sheep. DAVID Know why Saint Jude is the patron saint of lost causes?'Cause his real name was Judas. There were two Judases, Judai, the saint guy and the bad Judas who ratted on Jesus, and tried to kiss him. Medievalers would n't pray to good Judas for fear of getting bad Judas on the line by mistake. Ergo, they only gave him business when really desperate. That's why. Then they changed his name. She's not in the room. DAVID Constance? He looks back toward the entry hall. A small flyer lightly blows along the floor into the living room. DAVID Your mail's blowing. He looks in the entry hall. ENTRY HALL Constance lies unconscious on the floor near the open door. The mail is scattered about her.",
"INT. HOSPITAL WAITING ROOM - DAY David sleeps in a chair, on the floor beside him is a stack of vending - machine coffee cups. A typical hospital INTERCOM can be heard throughout the scene. A female DOCTOR -LRB- mid - 30s -RRB- sits beside him, lightly shakes his shoulder. He wakes, groggy. DOCTOR How we doing? DAVID Fine. How's Constance? DOCTOR Sleeping. A beat as he collects himself, sits up. DOCTOR Mr. Gale, a leukemia patient's condition is highly susceptible to external stress. While we do n't want to totally restrict Constance's life - DAVID What? DOCTOR Constance's illness requires a degree of regularity. DAVID Constance has leukemia? DOCTOR Acute. She was diagnosed last fall. A beat as the situation clarifies for both of them. David is stunned, the doctor embarrassed. DOCTOR Have I created a problem? DAVID No, no. They sit in silence. The hospital intercom seems to say : GUARD -LRB- V.O. -RRB- Gale, time's up. CLOSEUP - DAVID CAMERA SLOWLY ROTATES. WHITE.",
"INT. ELLIS VISITATION AREA - CLOSEUP - BITSEY - DAY CAMERA SLOWLY ROTATES. Bitsey stares at David, engrossed. DAVID When I asked why she had n't told me, she muttered, ` too busy.' I guess she figured as long as death was chasing her, she could help others escape. He stands, goes to the back of the cage to be handcuffed. DAVID Constance left the world better than she found it. -LRB- beat. -RRB- It's a small, difficult thing.",
"EXT. ELLIS UNIT PARKING LOT - DAY The rental car sits in a corner of the mostly empty lot, as far as possible from the razor - wire fence and exercise pens.",
"INT. RENTAL CAR - DAY Zack waits in the driver's seat, smoking. He looks nervously through the windshield toward the pens. Bitsey raps on the window, startling him. ZACK Fuck. Zack unlocks the door, throws his cigarette out. Bitsey opens the door and gets in. ZACK Hey. BITSEY -LRB- waving her hand at the smoke. -RRB- For God's sake, Zack. ZACK You're not a happy camper. BITSEY It's not a happy place. He STARTS the CAR. ZACK Talked to the Austin prosecutor. Belyeu's a yokel. Prosecutor says he fucked up the penalty phase, says Gale probably would have gotten life on mitigating factors. Gale stuck with him, though, all through appeals, despite major pro bono offers. BITSEY What else? ZACK Notta on Berlin, we pick up the money in Houston tonight, overheat light came on twice, and you're about to get a surprise. BITSEY I do n't want a surprise. ZACK -LRB- pointing ahead. -RRB- Too late.",
"EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY The guardhouse is now occupied. The crossing guard is down. Across the drive sits a Texas Highway Patrol car. All along the drive's left side, protest vehicles are parked in the grass. They stretch out to the two - lane highway, where another Highway patrol car is stationed. The drive's right side is also marked off, though the only vehicle on this side is a Houston TV news truck. Six people in ponchos discuss something in the middle of the drive. The rental car ENTERS the FRAME.",
"INT. RENTAL CAR Bitsey and Zack approach the guardhouse. ZACK This is mostly an Oklahoma caravan. I got stuck behind them on the way in. The guardhouse attendant looks in, waves them through as the crossing guard lifts. ZACK Execution's not for another 36 hours. It's gon na be a zoo. There's the P.R. guy. Standing among the six people in ponchos is Duke Grover. They pass him in SLOW MOTION. He sees them, smiles, makes a `` Hello'' shooting - gesture. BITSEY What a life, waiting around for someone to die. ZACK Fuck, look. The next - to - last vehicle on the left is the Older Cowboy's pickup. He sits inside talking with another man. The Older Cowboy sees them, touches his hat as they pass. BITSEY This is a little too coincidental.",
"EXT. TWO-LANE HIGHWAY - DAY The rental car passes a farmhouse.",
"INT. RENTAL CAR Bitsey and Zack are headed to Huntsville. ZACK'Cause I could n't see the license plate. BITSEY Forget it. What time is it? ZACK 6:05. Why do n't you have a watch? BITSEY It's a long story.",
"EXT. TWO-LANE HIGHWAY - DAY The rental car passes a black teenager hitchhiking in front of an abandoned vegetable stand.",
"EXT. MOTEL SIX GANGWAY - DAY Bitsey and Zack make their way to their rooms. Zack's is first. BITSEY Give me an hour.",
"INT. ZACK'S MOTEL SIX ROOM - DAY Zack unlocks his door, enters. The room's a mess, papers everywhere. He walks toward a portable computer sitting on the room desk. BITSEY Zack! Zack runs from the room.",
"EXT. MOTEL SIX GANGWAY - DAY Zack runs towards Bitsey. She stands outside her room. ZACK What!? BITSEY It's open. ZACK So? Maybe the maid forgot. BITSEY -LRB- pointing. -RRB- Look! As he comes to her door, he sees what she's indicating : Between the door and its frame, someone has stuck a roll of duct tape.",
"INT. BITSEY'S MOTEL SIX ROOM - DAY Bitsey pushes the door open, looks in and around. She sees something, enters. Zack enters behind her, sees what she sees. ZACK I'll check the bathroom. He goes. She approaches the middle of the room. The room, in contrast to Zack's, is perfectly neat. It has two twin beds. The nightstand has been moved to the center. On it is a lamp, turned on. Suspended just above the lamp, a VHS cartridge hangs from the ceiling by fishing line. BITSEY'S BATHROOM Zack checks behind the shower curtain. ZACK Clear in here! Do n't touch it! BACK IN BEDROOM As Zack enters, he sees Bitsey holding the VHS Cassette. ZACK Fuck, Bitsey, there could have been prints. BITSEY Look. She holds up the cassette. It has a label typed from an old typewriter : `` For Bitsey Bloom.''",
"EXT. MOTEL SIX RECEPTION - DUSK Zack runs out the front door carrying a VCR, the cables drag the ground behind him. He runs toward the rooms.",
"INT. BITSEY'S MOTEL ROOM - DUSK Bitsey unlocks the door, lets Zack in. ZACK She says no one asked for you. And all the room keys are different. He goes to the TV. ZACK Just she and her husband have masters. BITSEY What did you tell her? ZACK That you have a jealous boyfriend. He starts to hook up the VCR. BITSEY Thanks. How about the V.C.R? ZACK She did n't ask. I think she assumed it had something to do with why he was jealous. I still say we should do this in my room - this one's a fucking crime scene. BITSEY Whoever got in here - without a key in broad daylight - was probably smart enough not to leave prints. I have the remote. He turns ON the TV. ZACK Maybe they could look for D.N.A. Try three. BITSEY -LRB- hitting the remote. -RRB- They do n't look for D.N.A. when someone breaks in to deliver, Zack. Here. She hands him the tape. He starts to put it in, hesitates, looks back at her. ZACK You sure you want to see what's on here? BITSEY No. Start it. He puts it in, pushes play. She sits on the bed. He sits beside her. They watch the black leader appear. BITSEY I hope this is n't what I think it is. CLOSEUP - TV An image flickers in. It's a woman lying nude on the kitchen floor of house 3307, facing away from the camera. An opaque white kitchen bag is over her head, sealed at the neck with duct tape. Her hands are handcuffed behind her. She appears dead. BITSEY -LRB- O.S. -RRB- God, no. ZACK -LRB- O.S. -RRB- Fuck. Is it her? BITSEY -LRB- O.S. -RRB- Turn it up. BACK TO SCENE They stare at the screen, she bites a thumbnail. He turns the sound up.",
"INT. HOUSE 3307 - KITCHEN - DAY (ON TV) Hi - 8 video : The woman does not move. The kitchen is cleaner than we've seen it, but otherwise unchanged. Kitchen gloves can be seen - laid upside down and inside out - on the dish rack beside the sink. Near the body on the floor is a roll of duct tape. In the lower right corner of the screen is part of what looks like a towel. The audio is full of ATMOSPHERIC HUM. A REFRIGERATOR contributes. BIRDS can barely be heard in the distance, so can what sounds like a LAWN MOWER. Suddenly, the woman makes a muffled sound, seems to come to life. Her wrists start to pull against the handcuffs, then jerk at them. She panics. He legs flail, kick against the counter. She screams, muffled, frantic. She rolls onto her stomach, her whole body fights against the cuffs. She desperately rubs her face along the linoleum trying to rip the plastic. Soon, her energy wanes, she jerks less. Her covered face now points toward the camera. Her head seems to rock, a sleepy nod. Her body goes slack. Black.",
"EXT. MOTEL SIX GANGWAY - DUSK Bitsey stands at the railing, looking out at the interstate and a thunderstorm gathering on the horizon. After a few seconds, Zack comes up beside her. ZACK Belyeu says to bring the tape first thing tomorrow. Also said you were right about not calling the police. A beat, she keeps looking straight on. ZACK Are you gon na be okay? Bitsey takes a deep breath, turns to him, holds his eyes. She shakes her head no. Her lips start to tremble. He puts his arms around her as she starts to cry.",
"INT. KETTLE RESTAURANT - NIGHT Bitsey and Zack sit at a booth having coffee. Zack smokes. The VHS cassette is also between them, as is a small stack of crumpled tissues. The thunderstorm can be heard in the distance. The waitress is refilling their cups, and they wait until she leaves. Hushed tones. ZACK Let's say Gale's right. Some sick - fuck - Agatha Christie - wannabe set him up, arranged like the perfect murder. Why send a magazine journalist proof a few hours before he's won? Does n't make sense. BITSEY No, it's perfect. He knows News Magazine wo n't give the scoop to the dailies or nightly news, not after having paid for it. Probably guessed we would n't call the cops. And, most importantly, knows I'll tell Gale tomorrow. ZACK Why does he give a shit? BITSEY Zack, what if Harraway's murder was just a means to getting Gale. I mean sending him through hell, a sick cat and mouse game. You kill the one person he has left. Make sure he sits six years on death row for the murder - a place he's made a public career of loathing. And then just let him die, die knowing everyone will remember him with disgust. You destroy his loved ones, his life's work, his memory - and you make him watch. ZACK That's a lot of hate. You're talking beyond sadism. Bitsey gestures to the tape, makes a need - I - say - more face. ZACK Then why release it? BITSEY If the mouse dies the game's over. Maybe the cat's enjoying himself. Or. ZACK Or? BITSEY -LRB- picks up the tape. -RRB- Imagine walking to the chamber knowing this exists. ZACK The ` cat' is a fucking psychopath. BITSEY Yeah, but smart.",
"EXT. MOTEL SIX - NIGHT The storm batters the motel. We see Bitsey's dark front window. Lightning. A figure stands looking out. More lightning. It's Bitsey, intently watching the night.",
"INT. RENTAL CAR - DAY SUPERIMPOSE : DAY THREE On the back seat is an aluminum suitcase. Zack sits beside it looking out the back window. Bitsey drives. It's still raining, hard. They're on the two - lane highway to Austin. ZACK Why do they call it check - book journalism if we always pay cash? CLOSE ON DASH The over - heat light is on. BACK TO SCENE ZACK Woa, woa. Sadist at six o'clock! BITSEY Is it the truck? ZACK'S POV The cowboy's truck can be seen through the tire mist fifty yards behind them. ZACK Yep, and doing a lousy job of hiding. Bitsey watches in the rearview mirror. Zack out the back window. ZACK He must think we're idiots. You think he's our fucked - up feline? Bitsey does n't respond, just watches in the mirror, then : BITSEY Is he gaining? ZACK No. Just sitting back there. BITSEY Can you see the license? ZACK Too much mist. What the fuck does this guy want?",
"INT. LAW OFFICE OF BENJAMIN BELYEU - DAY The office has a view of the rain - soaked capital. Expensively decorated. Dark woods and deep carpets - Belyeu's practice is clearly thriving. A sharp - looking CLERK sits at a corner table counting money from the aluminum suitcase. Bitsey sits on a huge sofa. Belyeu stands just outside his door. BELYEU -LRB- O.S. -RRB- Fine. Oh, and bring in Miss Bloom's original when that's done. -LRB- entering, to Bitsey. -RRB- Do n't blame you for not watching that twice. He goes to his desk and starts sifting through papers. BITSEY I could n't sleep afterwards. BELYEU I understand. I generally tell folks I'm no more afraid of the grim reaper than I am of a Presbyterian on Mother's Day. But watching your tape. well. I had to keep tellin' myself ` that's not Constance' just to get through. -LRB- a beat. -RRB- Unfortunately, others may argue the same. BITSEY Yeah, but it's her kitchen, in her house. BELYEU Currently home to Weirdos Incorporated. Arguably, that tape could have been made by anybody with twenty dollars and a tolerance for vulgarity. BITSEY But it will at least get us a postponement? BELYEU I hope so, Miss Bloom, I certainly hope so. But you've got to remember that there's a machine a runnin'. And come six o'clock tomorrow mornin' that machine wants to be fed. The Clerk puts the last of the money back into the suitcase. CLERK All here, Mr. Belyeu. BELYEU -LRB- to the Clerk. -RRB- Thank you, Joshua. -LRB- to Bitsey. -RRB- To add to our troubles, your own credibility may come into question. The Clerk exits. BITSEY Why? BELYEU You've been fraternizin' with the condemned. In the court's eyes, he's the most likely candidate to have put you onto the tape. He's a persuasive man, you're a out - of - state woman - it do n't look good on paper. BITSEY But someone put it in my hotel room. BELYEU A fact for which we have no evidence. A very professional - looking assistant enters, hands Bitsey her video. BELYEU Thank you, Bobbi. BITSEY Thanks. BELYEU -LRB- standing. -RRB- Well, let's not start readin' Kafka just yet. Could we find a sympathetic judge. I'll file within the hour. You headin' back over to Ellis? BITSEY -LRB- standing. -RRB- Yeah. BELYEU Fine. I'll call over at the motel later and give you an update.",
"INT. OFFICE HALLWAY - DAY Bitsey comes out of two huge oak doors, walks past a gold `` Belyeu and Crane'' sign. She turns a corner. At the end of another short hall, she comes to the elevator, pushes the call button. As she waits, she looks out an adjacent window at the capital in the rain. She remembers something, looks down - she has her purse but no umbrella. BITSEY Shit. She heads back toward Belyeu's office. As she turns the corner, she sees the older cowboy enter the Belyeu and Crane office.",
"EXT. AUSTIN OFFICE BUILDING - DAY Bitsey hurries umbrella - less through the rain to the rental car parked in the loading zone.",
"INT. RENTAL CAR - DAY Bitsey opens the door. Zack's in the passenger seat. She does n't bother to sit. BITSEY Did you see the cowboy go in? ZACK He went in Belyeu's building? BITSEY Into his office. Just saw him. ZACK Fuck! BITSEY Follow him. Find out who he is, where he lives - what he - ZACK How are you gon na get to Ellis? BITSEY A taxi. Zack makes a face.",
"EXT. ELLIS UNIT DRIVE - DAY A taxi makes its way through the hundreds of protesters and press that now gather along the drive.",
"INT. ELLIS VISITATION AREA - DAY Bitsey, wet and hugging herself, paces in front of David. She's upset. DAVID Okay, okay. Calm down. You have to sit. Over the loudspeaker : GUARD -LRB- V.O. -RRB- Visitors need to stay seated. She sits. DAVID -LRB- to the microphone above. -RRB- Sorry. -LRB- to Bitsey. -RRB- Look at me. He's not your man. His name is Dusty Wright, DeathWatch Director before Constance. He's a ` bullhorner,' a zealot who thinks a good demonstration has to end in a riot and arrests. ` Almost martyrs do n't mean shit.' They fired him. Constance kept him in the organization, and he loved her for it. The man adored her. BITSEY Then why was he following us? Why was he at Belyeu and Crane? DAVID He and Benny used to work A.C.L.U. cases together, until Dusty punched a clansman in a federal court. Benny sometimes still gives him work, probably had him follow you. BITSEY Why? A beat. David looks up at the microphone. DAVID To make sure you honored your agreement, one for which there's no contract. BITSEY He would've said something. DAVID He's a lawyer, Ms. Bloom. BITSEY Maybe Dusty was jealous because you were seeing Constance. DAVID I was n't ` seeing' Constance. BITSEY She died. she had your sperm - DAVID It's more complicated than that. TWO SHOT Rotates. WHITE.",
"EXT. ALLEY - MED. SHOT - DAVID - SUNRISE (ROTATING CAMERA) David sits in a lawn chair beside his Volvo. The tailgate's down, serving as a makeshift table for a coffee thermos and whiskey bottle. David stares off down the alley, clearly in pain. He holds a child's drawing. INSERT - DRAWING Has Gaudi's church and a matador in background. Prominent in the foreground are three labeled figures : Sharon -LRB- `` Mommy'' -RRB-, Chase -LRB- `` Me'' -RRB- and a dark - haired man -LRB- `` Papa Jorge'' -RRB-. Jorge is dressed in a tux, Sharon seems to wear a bridal gown.",
"INT. DEATHWATCH AUSTIN OFFICE - SUNRISE (6:09) The atmosphere is tense. Dusty Wright sits on a deskholding a red Magic Marker, the matron sits behind it. They look at the college guy, who closely watches a computer screen. In the center of the room, a middle - aged priest sits and quietly prays while holding the hands of an overweight woman, she murmurs quiet affirmations. Finally, the college guy looks up at Dusty, nods. The room's occupants all exchange glances. Dusty walks to the photo wall, marks a cross through the photo of Jo Ann Johnson, then walks to the back office.",
"INT. BACK OFFICE - SUNRISE Constance, wrapped in an afghan, sleeps on a futon. She's shockingly anemic. Dusty kneels beside her, watches her sleep. After a beat, she wakes with a slight jolt - like someone whose been fighting to stay awake. She looks at him, then sees the marker in his hand. She looks away. CONSTANCE All I can feel is envy. Dusty stands, goes to the alley window. DUSTY'S POV David's Volvo is parked just outside the window. David sits in a lawn chair behind it. David looks awful.",
"EXT. ALLEY - SUNRISE In the window, Dusty holds up the marker. David nods.",
"EXT. HOUSE 3307 - CONSTANCE'S BACK YARD - DUSK David sits on the porch holding a drink, a bottle of Black Bush in the chair beside him. He's staring at nothing. Constance comes out the open sliding glass door, wearing a turtleneck sweater and wrapped in her afghan. She goes to the chair beside him, picks up the bottle and sits. They silently survey the yard, the sunset. She hugs the bottle, he sips his drink. CONSTANCE Remember those Kubler - Ross stages, the ones the dying go through? DAVID Denial, anger, bargaining, depression, and acceptance. Where are you? CONSTANCE Denial. DAVID Denial's my personal favorite. CONSTANCE The whole idea of there being a process makes me tired. I'm not up to the job of Dying Person. Marveling at blades of grass. Lecturing strangers to relish every moment. DAVID Mending bridges. CONSTANCE Mending bridges. Confessing regrets. Uuuggh. DAVID No regrets? CONSTANCE Nope. A beat. CONSTANCE Take that back. I wish I had a child. DAVID Me, too. CONSTANCE I'm sorry, David. She reaches over and puts her hand on his arm. CONSTANCE I guess I just wish I would have risked more. She has the bottle in her other hand, looks at it, takes a swig. CONSTANCE -LRB- making a face, swallowing hard. -RRB- Uumm, also not enough sex. Should have had more sex. She puts the bottle down beside her chair. DAVID How much. how many lovers have you had? CONSTANCE Including college? DAVID Including college. Her hand -LRB- on his arm -RRB- holds up four fingers. DAVID Well, it's. not every. yeah, you should have had more sex. She laughs, coughs. He laughs. Their laughter trails off into the yard. He takes her hand in his. CONSTANCE You work hard not to be seen as a sex object. Before long, you're not seen at all. DAVID I see you. They are holding hands in the air, their elbows on the chairs' armrests. DAVID Want to make it five? Finish the hand? CONSTANCE A pity lay. No thanks. A beat. They watch their fingers lightly play with one another. DAVID It would n't be pity. They turn, their eyes meet, hold.",
"INT. CONSTANCE'S BEDROOM - NIGHT Constance and David are in bed making love. He's on top, one hand supports her head, the other strokes her face. They tenderly kiss. He starts moving, gently. DAVID Are you okay? CONSTANCE Do n't worry. He kisses her neck. CONSTANCE It's good. Moves up to her ear. CONSTANCE Talk to me. Let me hear your voice. DAVID -LRB- in her ear. -RRB- I'm here. Happy. I'm very happy. He kisses her mouth, moves against her in delicate rhythm. Her moans take on a teary edge. Their voices, breathless whispers, meld into one another. CONSTANCE Hold me tight. DAVID I'm here. CONSTANCE Tight. I'm scared. DAVID It's okay. She's begun to cry. DAVID Okay. He stops moving, kisses her tears. CONSTANCE Do n't stop. Stay in me. Please stay in me. He moves again, slowly. DAVID Shhh. I'm staying. CONSTANCE I need to feel you inside. DAVID It's okay. I'm inside. I'm not pulling out. CONSTANCE I'm so tired. DAVID I know, I know. CONSTANCE Tired of being afraid. DAVID Shhh. CONSTANCE Help me. DAVID I'm here. It's okay. CONSTANCE Help me. Please. Make it stop. DAVID Shhh. I'm here. I'm here.",
"EXT. CONSTANCE'S HOUSE (3307) - NIGHT The house is dark. A light in one of the rooms comes on.",
"INT. CONSTANCE'S BEDROOM - DAY She's awake as David enters. He opens the curtains, sets a glass of water beside bottles on the nightstand. He crawls on top of the covers, spoons her, nuzzles the back of her head. CONSTANCE How do you feel about last night? DAVID Rescued. You? CONSTANCE Like I have a reason to get out of bed. Ironic, huh?",
"EXT. CONVENIENCE STORE PARKING LOT - DAY David goes to the pay phone against the building.",
"INT. CONSTANCE'S BATHROOM - DAY Constance stands in a bathrobe beside her shower. Turns the water on. She's caught in a thought, bites her lip. She turns the water off.",
"EXT. APARTMENT POOL AREA - DAY David sits in a lounger speaking to someone on his right. He's sober. DAVID Let's say they move back from Spain, that I somehow got my one weekend a month. Would it matter? By high school, I'd be his weak spot, the focus of locker room jabs, embarrassed pride. In college there'd be late - night angst : ` What if I turn out like the old man?' Holidays would be forced smiles and unscheduled exits. I mean, what girl comes home with you if there's talk that Pops is a rapist? A beat. DAVID I ca n't stand the idea of being his model of failure. Without him, I drink. To cover the hole. To prove to myself he's better off without me. CAMERA PULLS BACK to reveal Dusty Wright sitting in the lounger beside him.",
"INT. CONSTANCE'S KITCHEN - DAY Constance, still in her robe, puts an armful of sheets in the washing machine. She feels faint.",
"EXT. FORMER GALE HOUSE - BACK YARD - DAY David sits in a swing set, rocks slowly. He's simply looking at the house. A yuppie woman opens the back door. DAVID -LRB- standing. -RRB- Sorry, just leaving.",
"INT. CONSTANCE'S LIVING ROOM - DAY Constance is quickly sorting through a box of memorabilia, a photo catches her attention. INSERT - PHOTO Constance on vacation in a Caribbean resort. She sits alone at a dinner table, looks to camera, seems surprised to be photographed. BACK ON SCENE As Constance contemplates the photo, she hears the DOORBELL ring.",
"EXT. LAWN - FROM ABOVE - DAY We see David lying in the grass of recently - cut lawn.",
"INT. DAVID'S VOLVO - DUSK David in the car in a mall parking lot, staring at nothing. On the seat beside him is Cloud Dog and a half empty Black Bush bottle.",
"INT. DAVID'S VOLVO - NIGHT David's asleep, using Cloud Dog as a pillow. The bottle is empty. A light flashes in on him, waking him. There's a KNOCK on the window - it's the police. He's blinded by the flashlight. POLICEMAN ROTATING CAMERA. The policeman holds the light. POLICEMAN -LRB- V.O. -RRB- -LRB- a loudspeaker voice. -RRB- Gale, time's up. WHITE.",
"INT. ELLIS VISITATION AREA - BITSEY AND DAVID - DAY ROTATING CAMERA. Bitsey's agitated. David's drained. BITSEY But there has to be someone. Someone with a motive, who knew you both. Someone who visited that morning. DAVID If I could answer. we would n't be having this conversation. It's why I need you, why I chose you. You have my story, now. -LRB- mimicking her delivery. -RRB- ` Go.' BITSEY There's not enough time. The guard approaches. DAVID You'll find time. BITSEY You know that's not what I meant. You should have done this earlier. DAVID You're not here to save me. You're here to save my son's memory of his father - that's all I want. A beat. BITSEY You're going to let them kill you. David moves to the back of the cage to be handcuffed. DAVID We live to stop death. Eating, inventing, loving, praying, fighting, killing - choose a verb. All to stall this evil, Job's ` king of terrors.' But what do we really know about it? Nobody comes back. There's a point, when your mind out - lives its obsessions, when your habits survive your dreams, when your losses. You wonder, maybe death is a gift. All I know is that by this time tomorrow, I'll be better off. What I do n't know is why. -LRB- exits the cage. -RRB- Goodbye, Bitsey. The guard escorts him away. When he's out of earshot : BITSEY -LRB- softly. -RRB- Goodbye, David.",
"EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY A guard hangs up a phone and leans out the door. GUARD Car's on its way. Wan na wait in here? Bitsey stands in the rain. Behind her, hundreds of protesters flank the drive. BITSEY No thanks. She turns and walks toward the highway. The parade tape has been replaced with crowd barriers. The drive's left side now overflows with abolitionists : They cluster beneath tarps, some sing hymns, others paint signs -LRB- `` Do n't kill with my taxes!'' , `` Mark 6:10,'' `` Murder does n't Stop Murder!'' -RRB- . Beneath one umbrella stands a large black woman holding a candle - she watches Bitsey. The right side is a media circus. Various pro - death penalty activists also cluster here. They too have prepared signs : `` Rape and Suffocate Him!'' , `` Thank Jesus for Justice,'''' ` Let's Do it'.'' A blackboard keeps a countdown : `` 13 hours.'' At the end of the drive, on the left, Bitsey sees a sign leaning against a camper : `` Save David Gale.'' It catches rain ; its letters run.",
"INT. KETTLE RESTAURANT - NIGHT The restaurant's crowded. A Church of Christ couple -LRB- 50s -RRB- eat without comment. The man's T - shirt reads, `` It's Simple : You Kill, You Get Killed.'' In the booth beside them sit Bitsey and Zack, their dinners largely untouched. Bitsey watches three sleazy JOURNALISTS at a table not far from theirs. JOURNALIST #1 I got it. I got it. You could have corporate sponsors. Volkswagen for Bundy, Home Depot for Gacy. And ` The David Gale Execution, brought to you by.' JOURNALIST #2. Hefty.' They find this hilarious. Bitsey looks away. BITSEY What time is it? ZACK -LRB- checking his watch. -RRB- Nine hours, 52 minutes. A beat.",
"EXT. MOTEL SIX PARKING LOT - NIGHT Pouring rain. As Bitsey and Zack hurry toward their rooms, they see Belyeu getting out of his Cadillac. He carries Bitsey's umbrella and opens his own. BITSEY Belyeu! He turns, comes toward them. Bitsey holds a newspaper over her head, Zack slouches. BITSEY Did you have Dusty Wright follow us? BELYEU I employ Mr. Wright from time to time. BITSEY You could have said something. BELYEU -LRB- opening her umbrella. -RRB- That would have defeated the purpose. Apologies if I caused you unnecessary anxiety, but I'm paid to be suspicious. -LRB- handing it to her. -RRB- Thought I'd return this. ZACK Any word on the writ? BELYEU Denied. Tape went to a federal judge two hours ago. Your videographer friend made contact? BITSEY No. BELYEU What you got was definitely a snippet. Could be he has more previews scheduled. Best stick close to your room. BITSEY How's David? BELYEU Holdin' up. I'm headed back over. BITSEY Tell him I'll take care of it, about his son, I mean. BELYEU Will do. We'll talk later? She nods. BELYEU Watch yourselves. They turn from one another. Bitsey turns back. BITSEY -LRB- calling after him. -RRB- Mr. Belyeu. He turns. BITSEY Were Dusty and Constance close? BELYEU Thick as thieves. Bitsey nods.",
"INT. BITSEY'S MOTEL SIX ROOM - NIGHT Dark. Bitsey and Zack sit on either side of the room's table looking out the window. Rain shadows run down their faces. The room phone is on the table, as is Zack's watch : 10:17.",
"EXT. MOTEL SIX AND KETTLE - LONG SHOT - FROM ACROSS INTERSTATE - NIGHT The rain's lightened up. The motel's full. Lights are on in ten of the motel rooms. The Kettle's lights go off, one after another.",
"INT. BITSEY'S MOTEL SIX ROOM - NIGHT Zack sleeps at the end of one bed, fully dressed. Bitsey, lost in agitated thought, neatly packs a suit into her perfectly arranged suitcase. She stops, thinks. She goes to her purse and takes out the VHS cassette, a pen and a note pad. Hesitating a beat, she puts the tape in the VCR. She turns on the TV and waits for an image.",
"EXT. MOTEL SIX - NIGHT Rain. All the rooms except Bitsey's are dark. From within comes a TV glow.",
"INT. BITSEY'S MOTEL SIX ROOM - INSERT - BITSEY'S NOTEPAD - NIGHT She's sketched a flow - chart of the tape with major elements timed out. BITSEY has her shoes off, sits on the floor with her back against a bed. She's still watching the tape, tired, exasperated. Finally, she turns the TV OFF, rubs her eyes. She stands, looks at the radio alarm clock on the nightstand : 11:33.",
"INT. BATHROOM - NIGHT Bitsey brushes her teeth. Looks down and sees a towel on the floor. Picks it up, starts to hang it on the towel rack, stops, looks at herself in the mirror. A beat. An idea hits her, first as something odd, then as a freight train. She spits, hurries into the bedroom.",
"INT. BEDROOM - NIGHT BITSEY -LRB- putting on her shoes. -RRB- Zack! Wake up! Get up! He starts to pull himself awake. BITSEY Did you throw the towel on the floor? ZACK What? BITSEY The towel on my bathroom floor. Did you put it there? ZACK Yeah, I guess. It's a hotel room. What - BITSEY Do you do that at home? ZACK No. Fuck, Bitsey. I'm sorry, it's not like it's - BITSEY Get up. She disconnects the VCR. ZACK -LRB- sitting up. -RRB- What the fuck's wrong with you? BITSEY Grab the T.V. I want to check something. ZACK What? BITSEY We're taking a tour. ZACK Where? She has the VCR. Grabs her purse on the way to the door. BITSEY Austin. Get the T.V. She opens the door, exits.",
"INT. HOUSE 3307 ENTRY HALL - NIGHT The DOORBELL RINGS over BAUHAUS MUSIC. The Goth Girl, wearing only the Nine Inch Nails T - shirt, opens the door. Bitsey barrages past carrying the VCR, Zack follows with the TV. BITSEY Wan na make a hundred bucks? GOTH GIRL What do I got ta do?",
"INT. HOUSE 3307 LIVING ROOM - NIGHT Bitsey, Zack and the Goth girl enter. BITSEY We're going over the crime scene. Bitsey checks the kitchen. The tripod's back. The other exhibit pieces have n't changed. BITSEY And for the next hour I want you to do exactly what I say when I say to do it. If I say suck Zack's dick, all I want to hear from you is ` May I swallow.' GOTH GIRL You want me to suck his dick? ZACK It's just a patriarchal figure of speech. BITSEY Is your boyfriend here? GOTH GIRL He ai n't exactly my boyfriend anymore. BITSEY Well is his video camera here? GOTH GIRL Yeah. BITSEY Get it. She starts to leave, turns back. GOTH GIRL I got ta collect first. Bitsey, moaning, reaches for her purse. CLOSEUP - STEREO CLOCK reads 1:48. Zack's hand ENTERS the FRAME, turns the MUSIC DOWN. SAME SCENE - MINUTES LATER Video : The Goth Girl's messy kitchen. Camera zooms in to a perspective similar to that on the Constance tape. The exhibit pieces -LRB- kitchen gloves, handcuffs, tape roll -RRB- are more - or - less where they were before. The Goth Girl enters the frame, she's removing pizza boxes and laundry from the counter. ZACK -LRB- O.S. -RRB- Move those index cards, too. She picks up the index cards. Zack looks up from a video camera's eye piece. The camera is on the tripod, connected to the Goth Girl's TV. Near it, the hotel TV/VCR. Bitsey cues the Constance tape to the beginning, freezes the image. Zack then checks the camera angle on the Goth Girl's TV. He moves the TVs so that they are side - by - side. BITSEY Zoom in a hair. He does so. Bitsey compares perspectives between the left TV -LRB- Goth Girl cleaning -RRB- to the right TV -LRB- Constance -RRB-. BITSEY Put the gloves on a dish rack. GOTH GIRL I do n't have one. Zack goes to the sink, lays three pizza boxes on the counter as an ersatz dish rack - he drapes the kitchen gloves over them. BITSEY Turn them inside out. He does so. BITSEY Move the tape roll about a foot to the left. And get rid of the handcuffs. Zack repositions the tape. The Goth Girl picks up the handcuffs. BITSEY Come check this, Zack. -LRB- to the Goth Girl. -RRB- Could you. what's your name? GOTH GIRL Nico's cool. BITSEY Nico, lie down on the floor, facing the counter. Zack comes behind the tripod and looks at the TVs. NICO sits on the floor, starts to take off her T - shirt. ZACK We can imagine that part. -LRB- to Bitsey. -RRB- I'll position her. He goes to Nico, arranges her in the position of Constance -LRB- which now bears no relation to the white outline on the floor -RRB-. BITSEY That's fine. Just straighten her legs. Zack comes back behind the tripod. He and Bitsey look at the two TV images - roughly the same. The Constance tape, however, shows what looks like a white towel in the lower right - hand corner. Bitsey points to it. BITSEY What's this? ZACK Towel or something. BITSEY Okay, look at this. She plays the tape of Constance for eight seconds. BITSEY I noticed this back at the hotel. See? Bitsey touches the TV screen by one of Constance's feet. The foot moves ever so slightly. She hits pause. BITSEY She moves her foot. Why? ZACK Fucking good question. BITSEY It's another fifteen seconds before she comes to. If she had passed out once, without fresh air she would n't come back. There was no head trauma, her blood tested normal - ZACK Jesus, maybe she was faking, hoping he would go away. BITSEY Or. Bitsey looks up at Nico. BITSEY We've got to bag her. ZACK Woa. Not a good idea. BITSEY All right, I'll do it. SAME SCENE - MINUTES LATER Nico hurries from the bedroom into the kitchen. Bitsey and Zack stand by the sink. A white plastic bag is now on the sink counter ; beside it, the roll of duct tape. NICO I found it. Nico hands Zack the key to the handcuffs. He tests them, then lays them on the counter. BITSEY -LRB- to Zack. -RRB- Okay, I want you to wait three minutes before you take it off. ZACK Bitsey, I'm not so sure about this. BITSEY Three full minutes. Just stand behind the tripod. Both of you. Zack and Nico move behind the tripod. Bitsey puts the bag on her head, rips off a long length of tape. She seals the bag around her neck. She then handcuffs herself from behind, with some difficulty. CLOSEUP - KEY is on the sink counter while she does this. BITSEY -LRB- O.S. -RRB- -LRB- through the bag. -RRB- Have you started? BACK TO SCENE ZACK Twenty - two seconds. Bitsey sits on the linoleum, then lies on her side. ZACK Thirty seconds. NICO Fuckin' wicked. Bitsey lies perfectly still. ZACK Thirty - five. Forty. Forty - five. Fifty. NICO Maybe she should n't. ZACK Fifty - five. one minute. five. ten. one - fifteen. Bitsey starts to pull slightly at the cuffs. ZACK Fuck. Twenty. twenty - five. thirty. NICO This is n't cool. ZACK thirty - five. Fuck. one - forty. one - forty fi. Bitsey panics, fights like hell against the cuffs. BITSEY -LRB- through the bag. -RRB- Zack! Zack runs to her, knocking the tripod over. He rips the bag open. She sucks air. ZACK -LRB- ripping at the tape. -RRB- Jesus fucking Christ, Bitsey. You okay? What if I'd've waited? She tries to catch her breath. Nico releases the handcuffs. ZACK No more fucking experiments, all right? Just tell me what's going on. You okay? Bitsey nods, holds up her hand, wants to say something. She takes his arm, looks at him. BITSEY -LRB- still breathing heavily. -RRB- She. she did it herself. SAME SCENE - MINUTES LATER Zack sits on the couch holding the handcuffs and smoking. Nico sits on one of its armrests. Bitsey, full of adrenaline, paces in front of them, thinking out loud. BITSEY She used the gloves to keep fingerprints off the tape and bag. Then she put them back on the dish rack, but upside down and inside out, a housewives' habit. A murderer would have just tossed them aside - like they were the first time we were here, like you do a towel in a hotel. ZACK Maybe, all right, maybe. -LRB- indicating the cuffs. -RRB- But why wear these? BITSEY They threw me. I forgot you have to have the key to put them on. But she needed them. She knew she would instinctively try to rip the bag off, that at some point automatism would kick in. NICO Fuckin' A, like when people hang themselves. At the last second they go chicken, claw at the rope and shit. The police find their own skin beneath their nails. BITSEY And she swallowed the key so she could n't get to it. She made sure there was no way out. ZACK Woa, chill, chill. Why not hang yourself, or take pills. Why take your fucking clothes off? Why make it look like a murder? A beat. Bitsey contemplates. BITSEY It's so calculated. She's handcuffed, taped at the mouth. The gloves. The damn tripod. ZACK Why, Bitsey? Why fake your own murder? BITSEY I do n't know. ZACK Motive's like a major issue here. BITSEY Thanks, Zack. ZACK It does n't make sense. The woman's a bleeding - heart abolitionist. Why frame an innocent man? Why send Gale to the chair for what looks - BITSEY What'd you say? ZACK She had to know some innocent fuck would take the fall. BITSEY Oh my God, Zack, that's it! That's why! To prove it happens. To have absolute proof that the system convicts innocents. ZACK Get the fuck out of here. BITSEY No, that's how she thought. She lived for DeathWatch. If she's gon na die, why not die for it? That's why the tripod was here. To record proof, undeniable proof, the tape. That's why we got an out - take. ZACK A dead woman put the tape in your room? BITSEY Of course not. She needed help, someone to keep it, release it. Someone she could trust, someone dedicated to the cause. They stare at each other a beat. The same thought : ZACK -LRB- mimicking Belyeu. -RRB- Thick as thieves.",
"INT. DUSTY WRIGHT'S CABIN - NIGHT Dusty looks up at a wall clock : 4:23. He sits fully dressed in his living room, listening to an OPERA. He closes his eyes. CAMERA PULLS BACK OUT of his window and into :",
"EXT. WOODS BESIDE WRIGHT'S CABIN - NIGHT Behind a couple of trees near the woods' edge, Bitsey and Zack hide watching him. ZACK Hairy. BITSEY Come on. She turns back into the woods.",
"EXT. DIRT ROAD - NIGHT Bitsey and Zack emerge from the woods near the rental car. They walk and speak quickly in the light rain. BITSEY Because of the Berlin thing, Constance knew the police would go straight to Gale. In a way, he's perfect. A high profile alcoholic whose life was shit anyway. But. ZACK She was in love with him. BITSEY I do n't know. Something. They were close. She would n't want him dead. They come to the car, get in.",
"INT. RENTAL CAR - NIGHT Bitsey drives. BITSEY Remember this thing about Dusty being a bull - horner, going to far? ZACK Why he was fired from DeathWatch, and the A.C.L.U. BITSEY Right. Maybe the plan was for Dusty to release the tape after Gale's conviction, after a year or so. You know, force him to dry out, let him play the heroic victim, give him back his dignity. So, Dusty Wright's sitting on this tape, waiting, the only one who knows about it. And maybe good ole Dusty starts to think that an erroneous execution is a hell of a lot more politically useful than a last - minute save. ZACK Which would only prove the system works. BITSEY Yeah. Almost martyrs do n't count. What's one murder to stop thousands? ZACK So he'll wait, release the whole tape after the execution. BITSEY Right. Somewhere he must have the original. What time is it?",
"INT. WRIGHT'S CABIN - NIGHT The wall clock : 4:50. Dusty hears the PHONE RING over a BARITONE'S ARIA. He turns the MUSIC DOWN, and picks up. DUSTY Hello?",
"EXT. GAS STATION - NIGHT The gas station is old, isolated on a country road. Closed, dark. By the road, a single light pole illuminates the area - its light catching the drizzle. Directly beneath the pole is a phone booth, where Bitsey waits by the rental car.",
"INT. PHONE BOOTH - NIGHT Zack is on the phone with the booth door open. Bitsey stands just outside. ZACK Let's talk about your tape. No, meet me at the station down the hill, in fifteen minutes. Zack hangs up before Dusty can respond. He stops out of the booth and gives Bitsey a tentative look.",
"INT. WRIGHT'S CABIN - NIGHT Dusty hangs up, thinks.",
"EXT. GAS STATION - NIGHT Bitsey sits in the car's driver seat. Zack stands by the booth. BITSEY Do n't move from the booth. Call the second you see the truck. Remember, let it ring just once. Then get into the woods - ZACK I know. Go. BITSEY -LRB- pulling away. -RRB- Into the woods, Zack. ZACK Go!",
"EXT. WRIGHT CABIN - NIGHT Bitsey is in the woods, watches Dusty pull away in the pickup. She hurries to the front door, enters.",
"INT. WRIGHT CABIN - NIGHT Bitsey turns on the lights and begins searching. She sees 11 videos on a bookshelf. Some are labeled, three are n't. She takes the cassettes to the TV/VCR. Puts one in -LRB- her hands are wet -RRB-. Nothing. She searches for the right AV channel.",
"INT. PHONE BOOTH - NIGHT Zack anxiously waits. His eyes check the road.",
"INT. WRIGHT CABIN - NIGHT Bitsey has a picture, but the tape is an old TV western. She starts to fast forward, realizes she wo n't be able to do so with each tape, hits eject. She checks the clock : 5:04. She takes another unlabeled tape. It's a home video of a city council meeting. BITSEY -LRB- hitting eject. -RRB- Shit! She grabs the next unlabeled tape.",
"EXT. GAS STATION - NIGHT Zack paces in front of the booth, checks his watch.",
"INT. WRIGHT CABIN - NIGHT Bitsey has an old `` I Love Lucy'' episode. Ejects, looks at the label : `` Lucy.'' She grabs another, labeled `` Unforgiven.'' The credits from Unforgiven roll on screen. BITSEY Shit!",
"EXT. GAS STATION - NIGHT Zack sees lights coming toward him. Gets into the phone booth, drops two coins, dials six numbers. He hesitates to punch the seventh, checks the road. The approaching lights belong to a car. He quickly hangs up.",
"INT. WRIGHT CABIN - NIGHT Bitsey is frantic. Another tape is an old Johnny Carson interview with Pavarotti. BITSEY Shit! She reaches for another.",
"EXT. GAS STATION - NIGHT Zack hugs himself in the waning drizzle. ZACK Come on. Fucking come on.",
"INT. WRIGHT CABIN Bitsey has what looks like an office Christmas party. She goes for another tape - the last. Cheyenne Autumn comes up on the screen. She hits eject. She gets up, unsure what to do next. She goes back to the bookshelf, pulls books out to look behind them for more tapes, indifferent to the mess. She goes to a filing cabinet, quickly rifles it. She looks around the room, sees something. She goes to a large oak desk with an old typewriter on it. After the other drawers, she looks in the lap drawer. It's empty except for large padded envelope addressed to `` Bitsey Bloom/News Magazine/40 W. 43rd St. / New York, New York 10036.'' A beat as she stares in disbelief. She rips it open, pulls out a VHS cassette and checks the label : `` Constance.'' The PHONE RINGS, startling her. She looks at the phone, then at the clock : 5:14. The phone does n't ring again. A beat of absolute silence. Bitsey goes quickly to the VCR and puts in the tape - hands shaking. After a few seconds, Constance appears standing in her kitchen by the sink, dressed in a bathrobe. She's wearing the kitchen gloves and fills a glass with water. ON VIDEO Constance turns from the sink : CONSTANCE -LRB- V.O. -RRB- -LRB- her voice weak. -RRB- Ready? The response is silent, but she nods. A beat - she bites her lower lip. In one quick movement she takes the key from the handcuffs and swallows it with the water. It goes down with difficulty ; she coughs, then signals she's okay. She puts the glass in the sink. She takes the duct tape roll, rips off a long section, sticks one end to the back of her gloved hand. She tears off another small section, drops the roll on the floor. She tapes the small section over her mouth. She then takes the plastic bag from the counter, looks at it a beat. Constance turns toward camera, mouth taped, eyes watering. She nods once, and turns back. She quickly puts the bag over her head. After she has smoothed the excess air out with one hand, she takes the packing tape from the other. She seals the bag around her neck. She smoothly takes off the gloves. They're inside out and she snaps them so that the fingers extend. She drops them upside down on the dish rack. She removes her robe - she's nude beneath - and tosses it aside. It lands in the bottom right hand corner of the screen. She feels for the handcuffs on the counter, takes them. She sits on the floor, cuffs herself. She rolls onto her side, perfectly still, waiting. ON BITSEY Engrossed, trembling. The spell breaks as she comes to the part of the tape she's seen before. Averting her eyes, she fast - forwards past where Constance struggles to where she dies. Constance lies perfectly still. A beat. VIDEO A man wearing gloves walks into the frame : Dusty. ON BITSEY This is what she's needed. VIDEO Dusty goes to Constance, kneels and, removing a glove, checks her pulse. He looks briefly up into the camera, then stands. He picks up her robe and comes back past the tripod. A beat. We see only Constance's dead body - then black. ON BITSEY A hand grabs her shoulder. She screams and spins around. It's Zack, breathing hard. ZACK He did n't show! Fuckin' move! Bitsey hits the eject button.",
"EXT. WRIGHT CABIN - NIGHT Bitsey and Zack hurry out of the cabin and into the woods. The pickup is nowhere to be seen. As they disappear into the trees, Dusty can be seen standing beneath the eave at the side of the house, watching.",
"EXT. RENTAL CAR - SUNRISE The car moves full speed through the misty dawn. The drizzle has stopped.",
"INT. RENTAL CAR - NIGHT Bitsey drives. The overheat light is on. Zack has her purse in his lap, rips a page out of her phone book. She's almost in tears, yelling. BITSEY Everyone! Wake up New York, the warden, the Governor, the goddamn Supreme Court death clerk! How far is it? ZACK Took me 30 this afternoon. You've got 26, maybe more. BITSEY I'll make it.",
"EXT. INTERSTATE - IN FRONT OF MOTEL SIX - SUNRISE The rental car slides to a near stop on the interstate shoulder. Zack jumps out, as Bitsey spins away again. He runs across the frontage road toward the motel in the mist.",
"EXT. HUNTSVILLE TOWN SQUARE - SUNRISE The rental car barrels through the empty square, ignoring stop signs.",
"EXT. TWO-LANE HIGHWAY - SUNRISE The rental car flies past a `` Huntsville City Limit'' sign and disappears into the fog.",
"INT. RENTAL CAR - SUNRISE The overheat light is still on. Bitsey looks down, then turns on the RADIO. A COUNTRY AND WESTERN SONG is on. She punches scan. BITSEY -LRB- to the radio. -RRB- Give me the time. Give me the goddamn time.",
"EXT. HIGHWAY JUNCTION - SUNRISE The highway forks off to another. An arrow sign at the fork reads : `` TDC Ellis Unit/8 Miles.''",
"INT. RENTAL CAR - SUNRISE Bitsey smells something.",
"EXT. HIGHWAY TO ELLIS UNIT - SUNRISE The rental car, smoke pouring from the engine, clunks to a dead roll, stops. Bitsey jumps out, VHS cassette in hand. She does n't close the door. Starts running. Bitsey runs down the middle of the two - lane highway. The rental car in the b.g. recedes into the mist - visibility is no more than fifty yards. The sounds of her breathing and SHOES HITTING the PAVEMENT ECHO into the mist. She runs, and runs. A car comes up quickly behind her. Its HORN BLARES. She turns, starts to wave it down. The driver SITS ON his HORN, swerves around her onto highway's shoulder and drives on. She runs. Runs past an abandoned vegetable stand. Runs past a sleepy farmhouse. She runs, and runs. She slows, out of strength, looks up and down the highway. Both in front and behind, it leads straight into the mist, a tunnel of fog. She stumbles on, a final effort. She runs. Sees something. Stops cold. Coming toward her in the distance are small flashing lights. They rise on hill and then fall behind another. They appear again. Soon, she can make out the form of an ambulance, and its highway patrol escort. The vehicles move slowly toward her, without sirens, as deathly quiet as their cargo. She stands to the side of the road as they approach. The highway patrol vehicle and the ambulance - marked `` Texas Department of Corrections'' - pass silently in SLOW MOTION. She watches as they disappear back into the mist. In SLOW MOTION, she screams, falls to her knees wailing, but we can not hear her. We HEAR NOTHING.",
"INT. WRIGHT'S CABIN - SUNRISE In the b.g., Dusty walks out the front door carrying two large suitcases. On his desk in the f.g. is a radiator cap. BLACK.",
"INT. DALLAS/FT. WORTH AIRPORT - DAY Belyeu makes his way through the departure hall carrying the aluminum suitcase. ON TV Roberts and the Court TV `` breaking news'' logo are on the screen. ROBERTS -LRB- V.O. -RRB- -LRB- to camera. -RRB- Here's what we know so far. Last night, News Magazine posted on their web site a video obtained by reporter Bitsey Bloom. Light applause. The TV is mounted on the wall in :",
"INT. NEWS MAGAZINE'S EDITORIAL FLOOR - DAY Bitsey watches the report with about a dozen colleagues. Kruger stands beside her. A few people congratulate her. She attempts a smile and nods, though she does n't look away from the TV. Kruger shushes the others to hear the story. ROBERTS -LRB- V.O. -RRB- The footage appears to show Constance Harraway commit suicide. ON TV ROBERTS -LRB- V.O. -RRB- Bloom reports she received the tape Friday morning at a motel in Huntsville, where she was staying while conducting Gale's last interview. ON FLOOR Zack watches Bitsey from the other side of the room. She looks over at him, then quickly looks back at the TV. ROBERTS -LRB- V.O. -RRB- The tape apparently had been in the possession of a former DeathWatch Director. ON TV Camera pulls back to reveal that Roberts is standing in front of Wright's cabin. Other journalists and gawkers can be seen out front. Police vehicles are also visible. Suits and officers move in and out of the cabin. ROBERTS -LRB- V.O. -RRB- -LRB- reading the name off a card. -RRB-. Dustin Emil Wright. As you can see, police and officials from the State Attorney's office have been in and out of his cabin all morning, looking for clues to his whereabouts.",
"INT. DALLAS/FT. WORTH AIRPORT - DAY Belyeu enters a men's room.",
"INT. MEN'S ROOM - DAY Belyeu walks to a row of sinks. He sets the case on the floor and starts to wash his hands. A businessman combs his hair to Belyeu's left. Belyeu looks in the mirror and sees Dusty approach from a stall.",
"INT. NEWS MAGAZINE - EDITORIAL FLOOR - DAY The room watches Roberts. ROBERTS -LRB- V.O. -RRB- a fanatic in the movement to stop the death penalty. ON TV ROBERTS -LRB- V.O. -RRB- It appears Wright withheld the tape to make an obscure political point about the potential for error in capital cases. ON BITSEY She watches, trying to contain her emotions. Zack watches her. She looks his direction. He smiles sadly, looks away.",
"INT. DALLAS/FT. WORTH AIRPORT - MEN'S ROOM - DAY Dusty washes his hands, looks down at the case. The businessman leaves. DUSTY All there? BELYEU Passport and ticket as well.",
"INT. NEWS MAGAZINE - EDITORIAL FLOOR - ON TV - DAY Governor Hardin is on the steps of the capital, journalists around her. GOVERNOR HARDIN -LRB- V.O. -RRB- Well, it's a tragedy for all of us. As to whether this will change policy, the people of Texas will have to decide. Right now, the prudent course is to put things on hold pendin' a procedural review, allow ourselves time to mourn. Kruger leans toward Bitsey. KRUGER You bet she'll review. Capital punishment approval rates dropped 17 points. Bitsey just looks at the TV, trying to make it through.",
"INT. DALLAS/FT. WORTH AIRPORT MEN'S ROOM - DAY Dusty picks up the case. Belyeu straightens his tie. BELYEU What are you going to do? DUSTY -LRB- walking past him. -RRB- Go to the opera.",
"INT. NEWS MAGAZINE - EDITORIAL FLOOR - ON TV - DAY Old footage of David being led in chains from an Austin jailhouse to a waiting van. He wears the clothes he was wearing the day Constance died. ROBERTS -LRB- V.O. -RRB- Of course, the ultimate irony is that David Gale, a man who became an unwitting martyr, may achieve in death what he worked for in life. ON BITSEY She bites her lower lip in a manner reminiscent of Constance. BLACK.",
"EXT. STREET (BARCELONA) - DAY Dusty walks along the Ramblan. He carries a duty - free bag and the aluminum suitcase. He comes to a building, checks its number against a piece of paper, enters.",
"INT. BARCELONA APARTMENT HOUSE - DAY Dusty ascends a staircase onto hallway. He walks a few steps to door number six. An OLD SPANISH WOMAN passes him. DUSTY Senorita Gale esta viviendo aqui? OLD WOMAN Si. Si. DUSTY Gracias. The old woman moves down the stairs. Dusty puts the aluminum suitcase on the doormat. From the duty - free bag he takes out David's Yale sweatshirt, lays it over the case. He RINGS the DOORBELL, turns and walks back down the hall. He stands at the top of the stairs, waiting for someone to answer before descending. Sharon -LRB- older than we've seen her -RRB- opens the door, sees the case and sweatshirt. She looks around, but Dusty is gone. She picks them up.",
"INT. NEWS MAGAZINE - EDITORIAL FLOOR - DAY Bitsey sits at her neurotically neat desk, looking out the window. It's a sunny day in New York. For the first time, we see her wearing something besides a business suit. Framed on her cubicle wall is the latest News cover page : a picture of David with the headline `` The Executed Innocent.'' A MAIL GUY drops a Fed Ex package on her desk. MAIL GUY This just came. It's from `` Belyeu & Crane/420 Congress Ave. / Austin, Texas, 78710.'' She opens it, pulls out Cloud Dog and a handwritten note on Belyeu & Crane stationery. INSERT - NOTE reads : `` David wanted you to have this. He said it would be the key to your freedom. Regards, Benjamin Belyeu.''",
"INT. SHARON'S BARCELONA APARTMENT - DAY At the breakfast table, a Spanish yuppie male sits with a newspaper in front of him. He watches Sharon open the case. Inside : money, stacks and stacks of money. On top is an unsigned note : `` I'm sorrier than you can know.''",
"INT. NEWS MAGAZINE - EDITORIAL FLOOR - DAY Bitsey holds the stuffed sheep. puzzled. Looks at the note, BITSEY Key to your freedom? Key to your. Suddenly, she understands. She squeezes the sheep, shakes it, hears something. She cuts the sheep open with scissors. A Hi - 8 tape is in the stuffing. It's hand labeled : `` Off the record.'' She jumps up. TRACKING SHOT Bitsey hurries THROUGH the cubicles. She goes DOWN a hall and INTO the `` MultiMedia'' room.",
"INT. NEWS - MULTIMEDIA ROOM - DAY Bitsey locks the door, puts the tape into a Hi - 8 deck. ON VIDEO The tape is cued to where Dusty picks up Constance's robe and walks past the tripod out of frame. We see only Constance's body. We hear the sliding door to the patio open behind the camera. DUSTY -LRB- V.O. -RRB- -LRB- calling. -RRB- It's over. A long beat. FOOTSTEPS on the patio. DUSTY -LRB- V.O. -RRB- Want me to turn this off? VOICE -LRB- V.O. -RRB- No. David walks into frame. He goes a couple of steps toward Constance's body and stops, facing her. We see him only from behind. He looks at her, runs his hands over his head. DAVID -LRB- V.O. -RRB- I could n't watch. DUSTY -LRB- V.O. -RRB- She preferred it that way. You were right about not tellin' her the whole plan. DAVID It helped her to think her death would save me. A beat. DUSTY -LRB- V.O. -RRB- You sure you want to do this? DAVID -LRB- V.O. -RRB- Yeah. Almost martyrs do n't count. A beat. DUSTY -LRB- V.O. -RRB- Better go ahead then. David goes to Constance, kneels. He reaches down and with his thumb gently strokes her face through the plastic. He stands, turns and walks back to the camera. He reaches behind the lens to turn it off. A beat. Half his face fills frame, his watery eyes looking directly at us. In the other half, we see Constance's body. Black.",
"INT. BARCELONA OPERA HOUSE - NIGHT Dusty sits watching a performance of Puccini's Turandot. On stage is the scene where Liu martyrs herself. CLOSEUP - DUSTY He closes his eyes. THE END"
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] | David Gale is a professor on death row in Texas. With only a few days until his execution, his lawyer negotiates a half-million dollar fee to tell his story to Bitsey Bloom, a journalist from a major news magazine. She has a reputation of keeping secrets and protecting her sources. He tells her how he ended up on death row, revealed through a series of lengthy flashbacks. Gale is head of the philosophy department at the University of Austin and an active member of DeathWatch, an advocacy group campaigning against capital punishment. At a graduation party, he encounters Berlin, an attractive graduate student who had been expelled from the school. When Gale gets drunk at the party, she seduces him and they have sex. She then falsely accuses Gale of rape. The next day, he loses a televised debate with the Governor of Texas when he is unable to prove a demonstrably innocent man was executed during the governor's term. After losing the debate, Gale is arrested and charged with rape. While the rape charge against Gale is later dropped, the damage had already been done, and his family, marriage, university career and reputation are all destroyed. Constance Harraway, a fellow DeathWatch activist, is a close friend of Gale who consoles him after his life falls apart, and the pair have sex. However, the next day, Harraway is discovered raped and murdered, suffocated by a plastic bag taped over her head. An autopsy reveals that she had been forced to swallow the key to the handcuffs used to restrain her, a psychological torture technique used by the Securitate under the communist regime of Nicolae Ceauşescu, which Gale and Harraway had both protested against. The physical evidence at the crime scene points to Gale, who is convicted of rape and murder and is sentenced to death. In the present, Bloom investigates the case in between her visits with Gale. She comes to believe that the apparent evidence against Gale does not add up. She is tailed several times in her car by Dusty Wright, an alleged one-time lover and colleague of Harraway, who she suspects was the real killer. Wright slips evidence to Bloom that suggests Gale has been framed, implying that the actual murderer videotaped the crime. Bloom pursues this lead until she finds a tape revealing that Harraway, who was suffering from terminal leukemia, had committed an elaborate suicide made to look like murder. Wright is seen on the videotape, acting as her accomplice, implying that they framed Gale as part of a plan to discredit the death penalty by conspiring to execute an innocent person, and subsequently releasing evidence of the actual circumstances. Once Bloom and her aide find this evidence, only hours remain until Gale's scheduled execution. She tries to give the tape to the authorities in time to stop the execution. She arrives at the Huntsville Unit just as the warden announces that the execution has been carried out. The tape is subsequently released, causing a media and political uproar over the execution of an innocent man. Later, Wright receives the fee that Bloom's magazine agreed to pay for the interview, and delivers it to Gale's ex-wife in Spain, along with a postcard from Berlin in San Francisco apologizing, all but confessing that the rape accusation that derailed Gale's life and career was false. His ex-wife looks distraught, knowing Gale told the truth and that she effectively stole their child away from him. Much later still, a videotape labeled "Off the Record" is delivered to Bloom. This tape picks up at the point where Wright confirmed that Harraway was dead. It continues, showing him stepping aside to allow Gale, also present and party to the suicide, to caress the body of his lover, deliberately leaving his fingerprints on the plastic bag in the process. He then stands up and ends the recording, leaving Bloom stunned with the truth that the couple deliberately sacrificed themselves to discredit capital punishment. | The_Life_of_David_Gale |
[
"CONFESSIONS OF A DANGEROUS MIND MUSIC IN : OMINOUS ORCHESTRAL TEXT, WHITE ON BLACK : This film is a reenactment of actual events. It is based on Mr. Barris's private journals, public records, and hundreds of hours of taped interviews.",
"EXT. NYC STREET - NIGHT SUBTITLE : NEW YORK CITY, FALL 1981 It's raining. A cab speeds down a dark, bumpy side - street.",
"INT. CAB - CONTINUOUS Looking in his rearview mirror, the cab driver checks out his passenger : a sweaty young man in a gold blazer with a `` P'' insignia over his breast pocket. Several paper bags on the back seat hedge him in. The young man is immersed in the scrawled list he clutches in his hand. A passing street light momentarily illuminates the list and we glimpse a few of the entries : double - coated waterproof fuse -LRB- 500 feet -RRB- ;.38 ammo -LRB- hollowpoint configuration -RRB- ; potato chips -LRB- Lays -RRB-. GONG SHOW An excerpt from The Gong Show -LRB- reenacted -RRB-. The video image fills the screen. We watch a fat man recite Hamlet, punctuating his soliloquy with loud belching noises. The audience is booing. Eventually the man gets gonged. Chuck Barris, age 50, hat pulled over his eyes, dances out from the wings to comfort the agitated performer. PERFORMER Why'd they do that? I was n't done. BARRIS -LRB- AGE 50. -RRB- I do n't understand. Juice, why'd you gong this nice man? JAYE P. MORGAN Not to be. That is the answer. The studio audience laughs.",
"INT. TAXI CAB - NIGHT The cab sloshes to a stop in front of a liquor store. The young man gets out, jogs through the rain toward the fluorescent storefront. The cab driver waits, listens to staticky reports in a foreign language on his radio. The meter is running. The back seat is piled high with bags. GONG SHOW Chuck Barris spastically dances on the screen along with Gene Gene the Dancing Machine. Barris turns to the camera, points at it. BARRIS We'll be right back with more stuff.",
"INT. TAXI CAB - NIGHT The back of the cab is filled with even more bags and boxes. The cab stops. The young man gets out and confers with a shady looking guy on the corner. The young man pulls out a big wad of cash. Money and a small package change hands. The meter in the cab is at thirty - five dollars and change. THE GONG SHOW Chuck Barris is being sniffed in the crotch by a large dog. The audience howls with glee. Suddenly the video image explodes. Slow motion sparks and shards of glass shoot toward the camera. We pull back to reveal we're in a darkened, messy hotel room. We pan across the walls, past taped - up, yellowed newspaper clippings with headlines like `` Gong Show a New Low in Television'', `` The Dumbing of America'', and `` Chuck Barris is the Decline of Western Civilization.'' We come to rest on a naked middle - aged man crouching in the shadows in the corner, holding a gun. This is Chuck Barris. The television continues to sputter, spark, and smoke. There is a knock at the door. BARRIS -LRB- mumbly. -RRB- Fuck. Shit. Piss. Naked Barris, still holding the gun, seems panicked. He hesitates, trying to determine his options. Should he answer the door? Should he climb out onto the window ledge? Finally, he creeps to the door and peeks out the peephole for a long moment. He unlocks the door, opens it. The sweaty, young man, a bellhop, stands there with his many bags. He tries to appear casual as takes in the sight : a naked Chuck Barris holding a gun, an exploded, smoking tv set in the background. BARRIS -LRB- CONT'D. -RRB- -LRB- weakly. -RRB- More stuff? BELLHOP Yes sir, Mr. Barris. Everything you requested. Except I could n't find a. -LRB- consults list. -RRB-. DH - 10 directional fragmentation mine. BARRIS Well, it's late. -LRB- mumbling and bowing. -RRB- But thank you. Thank you for trying. You are a scholar and a. Barris trails off, gives a quick glance both ways down the hall, then motions for the bellhop to enter. The bellhop places the bags on a table, fishes in his pocket and pulls out some bills. BARRIS -LRB- CONT'D. -RRB- Keep it. It's okay. Keep it. You are a scholar and a. Barris trails off. BELLHOP -LRB- eyes averted. -RRB- Thank you, sir. Suddenly Barris becomes agitated. BARRIS Why are you not looking at me like that? Do I look ugly to you? -LRB- runs to the mirror. -RRB- It's the not sleeping. I'm not sleeping, see. I have a lot on my. Barris trails off. There is a pause. The bellhop attempts to make conversation. BELLHOP -LRB- re : exploded tv. -RRB- Um, another Gong Show rerun, sir? The naked Barris approaches the bellhop, drapes his arm over the young man's shoulder and walks with him. BARRIS -LRB- conspiratorially. -RRB- You know what I'd do? - And do n't tell anybody - I'd rub. I'd rub Alpo brand dog food on my dick so the dogs would stick their noses into my. dick. Guaranteed big laugh, right? That was my trick, my great contribution to the world. How would n't I degrade myself, I ask you. There is a silence. BARRIS -LRB- CONT'D. -RRB- -LRB- screaming. -RRB- I ask you! BELLHOP I. I. I do n't know, sir. Suddenly Barris punches himself in the head, flops down on the unmade bed. The bellhop glances at Barris's bare ass, looks away. BELLHOP -LRB- CONT'D. -RRB- Mr. Barris, maybe if you just do n't watch the show every night, you would n't have to - BARRIS I always pay for the damn tv's, do n't I? -LRB- turning to face him. -RRB- Do n't I?! BELLHOP It's - Yes, you do, sir, and we appreciate that - It's just that there've been complaints from some of the other guests, and Mr. Andrews, the assistant manager, requested that I - BARRIS Still? Complaints? I specifically used the silencer this time! Specifically! BELLHOP Well, the people in 917 found a bullet lodged in their wall. And while we want to accommodate you - we certainly value your patronage - there is an issue of customer safety. Barris lets this sink in. BARRIS Yes, of course. Barris finds his pants draped over a chair, pulls out his wallet, holds some more money out to the bellhop. BARRIS -LRB- CONT'D. -RRB- My apologies. Buy - 917, is it? - buy them a magnum of your finest champagne. And. and your finest spackle. Oh, and get me a bag of plastic army men while you're out. I forgot to tell you before. The bellhop sighs, takes the money. BELLHOP Thank you for your understanding, sir. The bellhop exists. BARRIS -LRB- calling after. -RRB- And some black socks! Seven black socks, you rascule! Barris locks the door, dumps the contents of the bags onto the floor, fishes through the mess for a cigar, puts the cigar in his mouth, studies himself in a full length mirror. BARRIS -LRB- CONT'D. -RRB- Bellhop Johnson was clearly repulsed by the sight of me. And why not? I'm wrinkled. -LRB- searches for simile, then proudly. -RRB-. like a prune. Covered in liver spots. -LRB- searches for simile. -RRB-. like an old guy. My hair is falling out in clumps, leaving exposed patches of white, sickly scalp. A flabby inner - tube of fat hangs from my waist, practically obscuring my bedraggled prick - dark and shriveled and dead. Still leaking urine even though I left the toilet ages ago. My asshole itches. Hemorrhoids abound. George Orwell said every man has the face he deserves by fifty. Does every man have the asshole he deserves by fifty, as well? Does every fifty year old asshole have the asshole he deserves?",
"EXT. TERRACE - DAY This feels real, verite. The actual Chuck Barris, smoking a cigar, is being interviewed. He stands outside his villa in St. Tropez, older than the middle - aged Barris depicted in the hotel room, and talks to someone off - camera. ACTUAL BARRIS It was 1981. I had holed myself up in this New York hotel. Parker Hotel. Terrified of everything. Ashamed of my life. INTERVIEWER -LRB- O.C. -RRB- Ashamed? What do you mean? Barris walks through a small vegetable garden as he talks, occasionally adjusting a stake or pulling out a weed. ACTUAL BARRIS When you're young, your potential is infinite. You might do anything, really. You might be great. You might be Einstein. You might be Goethe. Then you get to an age where what you might be gives way to what you have been. You were n't Einstein. You were n't anything. That's a bad moment. But I remembered something Carlyle wrote :''. there is no life of a man, faithfully recorded, but is a heroic poem of its sort, rhymed or unrhymed.'' I realized my salvation might be in recording my wasted life, unflinchingly. Maybe it would serve as a cautionary tale. Maybe it would help me understand why.",
"INT. HOTEL ROOM - NIGHT Barris, now in a hotel terrycloth bathrobe and a porkpie hat, sits at a desk and types manically. BARRIS -LRB- V.O. -RRB- My name is Charles Prescott Barris. I have written pop songs, I have been a television producer. I am responsible for polluting the airwaves with mind - numbing, puerile entertainment. In addition, I have murdered thirty - three human beings. I am damned to hell.",
"EXT. PHILADELPHIA STREET - DAY It's sepia. Three year old Chuck, dressed somewhat girlishly and sporting a blonde pageboy haircut is being posed on a pony by a photographer. His mother stands by anxiously as the boy totters on the animal. BARRIS -LRB- V.O. -RRB- Born in Philadelphia, Pennsylvania in 1931, my early childhood remains accessible to me only as a series of elliptical, enigmatic memories.",
"INT. BUTCHER SHOP - DAY A smiling butcher hands a slice of bologna to young Barris, who puts it in his mouth. BARRIS -LRB- V.O. -RRB- The taste of bologna fresh from the butcher.",
"EXT. CEMENT YARD - DAY A baby doll is set afire. Young Barris dances around it. BARRIS -LRB- V.O. -RRB- The sickly sweet smell of a burning babydoll on a crisp autumn day.",
"INT. CHILDHOOD BEDROOM - DAY Young Barris is being dressed by his mother. We're close on the velvet material being slipped over his head. BARRIS -LRB- V.O. -RRB- Velvet brushing against my tender young skin, as my mother dressed me.",
"EXT. SCHOOL YARD - DAY Young Barris rolling on the ground in battle with another boy, as a crowd of children look on. BARRIS -LRB- V.O. -RRB- A constant, inarticulate rage leading to fist fight after fist fight.",
"INT. CHILDHOOD BEDROOM - MORNING Young Barris watches dust motes lit by the early morning sunlight pouring through his bedroom window. BARRIS -LRB- V.O. -RRB- The calm I felt watching dust suspended in the early morning sunlight.",
"INT. CHILDHOOD BEDROOM - NIGHT Young Barris sits on the floor and watches the shadow of a man walking upstairs. The young boy is clearly terrified. BARRIS -LRB- V.O. -RRB- I remember fear.",
"INT. MASTER BEDROOM - MORNING Toddler Barris watches his mother change clothes. He studies her pendulous breasts. She looks down, smiles warmly. BARRIS -LRB- V.O. -RRB- Love. MOTHER You like the way mommy looks, Chuckie? BARRIS -LRB- AGE 4. -RRB- Yes. MOTHER I bet you would like to be a mommy some day, would n't you? BARRIS Yes, mommy. Please. MOTHER C'mere, you. His mother lifts the little boy to her breasts and presses his face against them. He is in heaven.",
"INT. CHILDHOOD HOME - DAY Four year old Chuck sits at the dining room table with several other four year olds. They all wear party hats. Barris's father, a milquetoast middle - aged man enters in birthday hat, carrying a cake decorated with four lit candles. He leads the children in `` Happy Birthday Dear Chuck'' as young Chuck beams. BARRIS -LRB- V.O. -RRB- Rejection. Chuck glances at the kitchen doorway. His mother stands there, staring at him. She dressed in black mourning clothes, complete with veil.",
"INT. NURSERY - DAY Young Chuck peeks in as his mother sits in a rocking chair and holds Barris's infant sister. She fusses with the bows and frills on the baby's outfit. The light in the room is golden and warm. BARRIS -LRB- V.O. -RRB- Expulsion. We move in on the little boy's devastated face, then follow him as he turns and walks down the hall into darkness.",
"INT. LIVING ROOM - DAY A sixteen year old Barris lies on his back on a couch lazily tossing a football in the air. Tuvia, a thirteen year old girl, sits on the floor playing with a puppy. In the background, throughout the scene, we hear the inept playing of scales on a bass violin. BARRIS -LRB- V.O. -RRB- When I was sixteen I had an experience with my little sister's friend Tuvia that left an indelible impression. BARRIS -LRB- CONT'D. -RRB- Phoebe's no Walter Page, huh, Tuvia? TUVIA I do n't know who that is. BARRIS Of course you do n't. -LRB- beat. -RRB- Why are you waiting around anyway, listening to this cacophonous cacophony, when you could be in your own abode disrupting the lives of your own siblings? TUVIA I do n't know what anything you say means. BARRIS No. You would n't, would you. Barris watches Tuvia playing with the dog. She gets on all fours and yelps, imitating the dog. This excites the dog, who bounces around her. Barris studies Tuvia's exposed white underwear for a while. This excites Barris. Finally he pulls an afghan off the back of the couch and drapes it over his pants. We hear him unzip his fly. BARRIS -LRB- CONT'D. -RRB- Hey. TUVIA -LRB- not looking. -RRB- What? BARRIS Hey, Tuvia. TUVIA -LRB- turning. -RRB- Wha - at?! Tuvia sees Barris fiddling with something under the afghan. She gets quiet. BARRIS You wan na lick it? Tuvia snorts, goes back to playing with the dog. TUVIA No. Why should I? BARRIS Well, for one thing it tastes like strawberry. My sister tells me you love strawberries. TUVIA Yeah, well. I hate strawberries. BARRIS Honestly, a man's penis tastes exactly like a strawberry lollipop. TUVIA Look, I know that's not true, so - BARRIS It is true. It's weird but it's true. I just read a research paper on it. Tuvia looks at the afghan.",
"INT. HOTEL ROOM - NIGHT Middle - aged Chuck Barris turns from the typewriter and stares out the window at the dark night sky. BARRIS -LRB- sadly wistful. -RRB- My first love.",
"INT. LIVING ROOM - DAY Tuvia's face jerks up into frame. She spits. TUVIA Uchh. Yech. It does n't taste anything like strawberry, you creep. The dog sticks his head under the afghan. Barris shoos him away. BARRIS -LRB- curious. -RRB- Well, what does it taste like? Tuvia gets up. TUVIA Y' know, I'm gon na tell your mother what you just did. BARRIS If you do, I'll tell your mother you made our dog lick your crack. TUVIA I did not! BARRIS -LRB- shrugging. -RRB- So what?",
"INT. HOTEL ROOM - NIGHT Middle - aged Barris types as the camera glides over some of the acquired detritus in his room : skin magazines, a gun and silencer, liquor, a copy of Beyond Good and Evil, a disguise kit, a kid's sprouted lima bean science fair project. BARRIS -LRB- V.O. -RRB- Perhaps my whole life turned at that point. The repulsiveness of my sex confirmed by the tastebuds of a ripening pubescent girl. MONTAGE Sequence of young Barris unsuccessfully attempting to pick up girls at bars, unsuccessfully attempting to cop a feel on a date in a movie theater, standing on a front porch unsuccessfully attempting to kiss a girl good night, standing outside of a movie theater in the rain, holding an umbrella over his head and checking his watch. BARRIS -LRB- V.O. ; CONT'D. -RRB- And so I found myself in a downward spiral of debauchery. Endlessly chasing pussy. My only focus in life : to get laid, to get blown, trying to fool myself into believing that given the right combination of circumstances and deception, maybe the Tuvias of the world could desire me the way I desired them. I only wanted to be loved.",
"INT BAR - NIGHT Barris is fighting another drunken guy. He's getting pummeled. BARRIS -LRB- V.O. -RRB- A constant, inarticulate rage led to bar fight after bar fight. The two men get tossed from the bar.",
"EXT. BAR - CONTINUOUS The other guy gets up, brushes himself off, orients himself, and after a moment starts beating Barris again.",
"EXT. HIGHWAY - DAY SUBTITLE : New Jersey Turnpike, 1955 A bus drives along. We see from the sign above the windshield that it is bound for New York.",
"INT. BUS - CONTINUOUS Young Barris, age 24, in traveling clothes and red hunting cap, stares out the window. BARRIS -LRB- V.O. -RRB- As much as I tried, I could n't understand my past and my present was miserable, so, at twenty - four, I decided what I needed was a future.",
"EXT. ROCKEFELLER CENTER (1955) - DAY Young Barris, suitcase in hand, looks up at the impressive building. People hurry by. BARRIS -LRB- V.O. -RRB- I had heard that television was an industry with a future. Barris enters the building with resolve.",
"INT. NBC STUDIOS (1955) - DAY Young Barris, age 24, dressed in an NBC blazer is leading a group of sheep - like tourists down a hall. BARRIS Next, we'll have a look at the studio where they produce the Today Show. The tourists `` ooooh.'' Another tour group comes around a corner. This one is led by Georgia, a perky, blonde southern girl. The two groups squeeze past each other. Chuck tries to make eye contact with Georgia. He smiles at her, but she ignores him.",
"INT. NBC COMMISSARY - DAY Barris is at the cash register paying for his food. He looks around for a place to sit. He spots Georgia, sitting with a female friend, and he sits at a table behind, so as to listen unobserved to their conversation. GIRLFRIEND That fella Raymond in payroll is kinda cute, huh? GEORGIA Cute's all well and good, Mary Ann, but what you want is a man who's goin' places. A go - getter on the management fast - track. Barris registers this information.",
"INT. NBC PERSONNEL OFFICE - DAY Barris stands at the counter talking to a female clerk. BARRIS Management trainee application, please. The clerk hands him an application without looking up. BARRIS -LRB- CONT'D. -RRB- How many people applying for this so far? CLERK -LRB- calculating. -RRB- Let's see, including you. about two thousand. BARRIS For how many positions? CLERK -LRB- looking up and smiling. -RRB- Five.",
"INT. NEW YORK PUBLIC LIBRARY - DAY Barris sitting with a book and copying the names of three of the board of directors of RCA onto his application under the heading of `` Personal References.''",
"INT. BARRIS'S BEDROOM - NIGHT Young Barris is having sex with Georgia. They finish. Barris rolls off her and onto his back. Georgia sighs. GEORGIA Tell me again. BARRIS Head of network sales at thirty. Head of the entire network at forty. GEORGIA And? BARRIS -LRB- rote. -RRB- Dead of a heart attack by fifty with all my millions left to you. GEORGIA You're wonderful. I love you, Mr. Chuck Barris, management trainee. She climbs on top of Barris and begins kissing him all over. BARRIS -LRB- V.O. -RRB- Life was sweet. For a minute.",
"INT. BARRIS'S APARTMENT - AFTERNOON Georgia is looking radiant as she reads a movie magazine. Barris enters. She runs over to kiss him. GEORGIA Baby doll! BARRIS I got fired. She pulls away, studies him for a moment, lets it sink in. GEORGIA Fired? BARRIS Fired. F - I - R. GEORGIA Fired? What the fuck did you get fired for?! BARRIS I do n't know, efficiency cutback. Some bullshit. Look, it's gon na be. GEORGIA Well, I'm pregnant, you fuck! BARRIS Pregnant? GEORGIA Yeah, pregnant! BARRIS What the fuck did you get pregnant for?! GEORGIA What do you mean, what the fuck did I get pregnant for? You got me fucking pregnant, you fuck! BARRIS Well, fuck you.",
"INT. BAR - NIGHT Barris sits drunkenly at the bar. He talks to a drunken guy next to him. BARRIS So I figured I'd skip town. I intend to be important, y' know, I ca n't be saddled with this. But then I remembered something Carlyle said : `` Do the duty which lies nearest thee.'' BAR FLY Who's Carlyle? BARRIS Dear God, why do I even bother? BAR FLY Hey, fuck you, you condescending prick. BARRIS Hey, fuck you. BAR FLY Hey, fuck you. BARRIS Hey, fuck you. The guy punches Barris. A fight ensues.",
"INT. BARRIS'S APARTMENT - NIGHT Barris is drunk on the couch watching a tv game show, his face swollen from the fight. Georgia enters. GEORGIA -LRB- pissy. -RRB- Looks like I was just late. Barris barely acknowledges this, continues to watch tv.",
"INT. BARRIS'S BEDROOM - EARLY MORNING Barris and Georgia are in bed. Georgia is asleep. Barris opens his eyes, quietly climbs out of bed.",
"INT. APARTMENT - DAY Another verite - looking interview. A middle - aged blonde woman, the actual Georgia, is talking to someone off - camera. Sitting next to her is a Jewish - looking middle - aged man. ACTUAL GEORGIA I woke up and he was gone. No note. No nothing. I never saw him again. Until that stupid tv show he did. JEWISH-LOOKING MAN The Gong Show. ACTUAL GEORGIA I know what it's called, jerk.",
"INT. COMMUTER TRAIN - DAY We're close on a copy of the NY Herald Tribune. The headline reads Clark Testifies Before `` Payola'' Committee. We pull back to see young Barris, in a suit, reading the paper in a passenger car of a moving train. BARRIS -LRB- V.O. -RRB- In'61 I was thirty. I had become a minor suit at ABC. It was during the music payola scandal.",
"INT. TV STUDIO - DAY American Bandstand is taping. The studio is filled with dancing teens. Barris sits off to one side behind an imposing desk in the semi - darkness, suspiciously watching Dick Clark's every move, and taking copious notes. Clark glances over nervously. BARRIS -LRB- V.O. -RRB- so my job was to commute to Philly every day to the American Bandstand tapings, and keep an eye on Dick Clark.",
"INT. OFFICE - DAY The actual Dick Clark is being interviewed. DICK CLARK Chuck Barris? He spooked me. I tried to keep on his good side becuase he was sort of. spooky. INTERVIEWER -LRB- O.C. -RRB- How so? DICK CLARK I dunno, there was something in his eyes. Something dark, like unbridled ambition, maybe. Or an inarticulate rage.",
"EXT. PALISADES PARK - NIGHT Barris walks through the crowds. A dark look in his eyes as he follows some giggling teenage girls in poodle skirts. BARRIS -LRB- V.O. -RRB- On weekends I used to hang around amusement parks. Because that's where the young girls were.",
"INT. BARRIS'S TENEMENT APARTMENT - NIGHT Young Barris lies in bed masturbating. BARRIS -LRB- V.O. -RRB- I wrote a song about my experience. The song `` Palisades Park'' begins. FREDDIE CANNON Last night I took a walk after dark/to see a place called Palisades Park/to have some fun and see what I could see/that's where the girls are",
"INT. TV STUDIO A sign above the stage reads The Dick Clark Saturday Night Beechnut Show. Freddie Cannon is on stage singing `` Palisades Park'' as a crowd of 1962 teenagers dance on the studio floor. BARRIS -LRB- V.O. -RRB- I got it to Freddie `` Boom Boom'' Cannon through my friendship with Dick Clark. Dick really wanted to help me out. FREDDIE CANNON I took a ride on the shoop de shoop/that girl I sat beside was awful cute/and when we stopped she was holding hands with me/my heart was flying/up like a rocket ship/down like a roller coaster/fast like a loop de loop/round like a merry go ` round. Young Barris watches happily from behind the cameras. He spots, Debbie, a pretty, bland young woman with headphones and a clipboard. He sidles over to her. BARRIS Hi. DEBBIE What? BARRIS Hi! DEBBIE Oh. BARRIS I wrote this song. DEBBIE Oh. Uh - huh. BARRIS It's number three on the pop charts. Barris pulls out music magazine clipping as proof. DEBBIE Huh.",
"INT. FANCY RESTAURANT - NIGHT Barris and Debbie are having dinner. BARRIS See, I believe there's a great future in television. DEBBIE Uh - huh. BARRIS So I'm going to take my royalties and create a pilot. A pilot is what they call a test tv show. DEBBIE I work in tv. BARRIS Yeah. It's gon na be a game show. I believe there's a great future in game shows. DEBBIE That's good. BARRIS Everyone loves game shows, right? DEBBIE I do n't know. BARRIS Well, they do. DEBBIE That's great then. BARRIS I'm on my way! There is a long, awkward silence. They both saw away at their steaks.",
"INT. DEBBIE'S BEDROOM - NIGHT Barris and Debbie are having sex, sort of mechanical. They're plowing through, kind of like sawing through their steaks. When it's over, they both just lie there.",
"INT. DEBBIE'S LIVING ROOM - NIGHT Young Barris, in his underwear, sits alone in the semi - darkness and stares out the window. The front door unlocks and a woman enters, backlit from the hallway. She turns on the light. This is Penny Pacino, eighteen, a beatnik in a black leotard and skirt and black mascara. She has red hair. She sees Barris on the couch. PENNY Hello. BARRIS Hi. Do n't be alarmed I'm with Debbie. PENNY Yeah, I figured. Penny walks past him, drops her keys and bag on the counter, and enters the kitchenette. Barris watches her ass. PENNY -LRB- CONT'D. -RRB- You hungry? BARRIS Um, no thanks. PENNY Thirsty? BARRIS If you have a beer. Penny returns with two beers, hands one to Barris. She sits in a chair across from him. They both drink. PENNY So how was sex with Debbie? I've always wondered. BARRIS -LRB- a little taken aback. -RRB- It was good. Fine. Thanks for asking. PENNY No problem. I just got fucked by this drummer cat. A really righteous Negro hipster. BARRIS Huh. Interesting. PENNY See, I believe in the brotherhood of man. Last week I got fucked by an Oriental. -LRB- beat, studies him. -RRB- What are you? BARRIS Jew. PENNY That's what I thought. I had a Jew, but he was Sephardic. You look Ashkenazi. -LRB- pronounced Ashkuh - Natzee. -RRB-, I'm guessing. BARRIS Ashkenazi. PENNY Right. Ashkenazi. I have n't balled one of them. BARRIS You're a romantic. PENNY Eh, I just do n't get into all the bullshit between cats and chicks. BARRIS I know what you mean. PENNY -LRB- not hearing him. -RRB- You know what I mean? BARRIS I know what you mean. PENNY Besides, you fall in love with a cat, you only get hurt. Right? BARRIS Do n't I know it. PENNY -LRB- beat. -RRB- We could ball if you want. I seem to like you pretty well. BARRIS Well, that would be good. But, you know, I'm kind of here with Debbie. It does n't seem right. PENNY Yeah. That's true. I did n't think of that. -LRB- getting up. -RRB- Well, I'm going to bed. Nice meeting you. Penny shakes his hand and heads off. BARRIS What's your name? PENNY Penny. BARRIS I'm Chuck. PENNY Oh, you're the one who wrote that Palisades song. I love that song. It's such sentimental bullshit. Penny exits into her bedroom. Barris drinks his beer.",
"INT. BARRIS'S TENEMENT APARTMENT - DAY Barris and Penny are having sex on the kitchen floor. It's quite passionate.",
"INT. TENEMENT APARTMENT - LATER Penny is taking a bath in the tub in the kitchen while Barris broodingly cooks dinner at the stove. PENNY -LRB- animatedly. -RRB-. so this ape and I were looking at each other. It was, like, across time and evolution. Then he began to talk, but it was a language I did n't understand, maybe Swiss. Then he turned into Perry Como, real square and. what's wrong with you? BARRIS Nothing. PENNY Just because we fucked, does n't mean there are strings now. It's okay. BARRIS Okay. PENNY Okay? I only wanted to tell you my dream is all. Nothing more complicated than that. Do n't panic. BARRIS I'm just used to all this dating bullshit, y' know. Now we're a couple. Now I'm obliged to give a shit what you say. PENNY Do n't worry about it, I'm not into those games either. So, anyway, this monkey turns into Perry Como and I say - BARRIS Holy fuck! PENNY What? BARRIS Holy holy fuck! -LRB- runs over, kisses her. -RRB- You just gave me an idea. -LRB- starts pacing For a show! Fuck! PENNY A show about monkeys? BARRIS In a way. About the craziest monkey of all : Monkius Humanius! Do n't you see? About people! About sex. About romance. About the bullshit of dating!",
"INT. LEONARD GOLDBERG'S OFFICE - DAY Leonard Goldberg, ABC executive, sits behind his desk as Barris, holding a cardboard model of a game show set, excitedly paces the room giving a pitch. BARRIS I call it The Dating Game, Mr. Goldberg. And that's what it's about. A pretty girl asks three handsome guys, who she ca n't see, silly questions. And based on their answers, she picks one to date. And we pay for the date. That's it! That's the show! It's got everything!",
"EXT. ABC BUILDING - DAY Penny leans on a signpost smoking a cigarette. Barris emerges from the building with his cardboard set. He looks grave. He approaches Penny. PENNY No? BARRIS -LRB- lighting up. -RRB- They bought it! Penny screams, hugs Barris. BARRIS -LRB- CONT'D. -RRB- They bought it they bought it they bought it. The two dance around on the street. BARRIS -LRB- CONT'D. -RRB- They're giving me seventy - five hundred fucking dollars to make a pilot! PENNY Oh my God! Oh my God! We got ta go celebrate! Let's go roller skating! Penny kisses Barris. BARRIS I ca n't, Pen. I got a date. PENNY Okay. That's cool. Call me after. BARRIS Yeha, okay. I will. Barris walks off. We stay on Penny smoking her cigarette. MUSIC IN : DATING GAME THEME THE DATING GAME PILOT BEING MADE, QUICK SHOTS OF : BARRIS TENSELY DIRECTING ACTIVITY ON THE SET. GIGGLY BACHELORETTE ASKING QUESTION. GAWKY BACHELORS MUGGING. TOOTHY HOST GUFFAWING. ACTUAL BARRIS -LRB- V.O. -RRB- I figured I was in. All I had to do was get the pilot made and I'd be a millionaire. Everyone would love me. MUSIC OUT SUDDENLY.",
"EXT. TERRACE - DAY ACTUAL BARRIS -LRB- staring off. -RRB- Was anyone ever so young?",
"INT. CHILDHOOD BEDROOM - DAY Barris, 32, lies on his bed on his back and tosses the football in the air. A very very very old dog lies on the floor. Phoebe, Barris's 26 year old sister enters. PHOEBE Chuck. BARRIS Albert's dead. PHOEBE Well, he led an amazingly long life. BARRIS Still, it's hard to go on. PHOEBE Y' know, you've been staring out this window for six months now. BARRIS I'm trying to come up with new tv shows, if you must know. Okay? That's what I'm doing. I believe there's a real future in tv. -LRB- holds up notebook, shakes it. -RRB- Look. Ideas. Okay? PHOEBE You're thirty - two years old, and you have no career and no prospects. BARRIS Thanks for the status report, Phoebe. Look, I just got ta come up with the right concept. Then, boom. -LRB- holds up notebook again. -RRB- Which, by the way, I've almost got. PHOEBE You're breaking mom's heart. You know that, do n't you? Barris looks out the window at his emaciated mother sitting in the yard in an old wicker - backed wheelchair and staring off into space. BARRIS Somehow, and do n't ask me why, Phoebe, my being born broke mom's heart. Barris watches his mother for a long moment. BARRIS -LRB- CONT'D. -RRB- Hey Phoebe, you ever see what's - her - name, Tuvia, anymore? PHOEBE Who? BARRIS Tuvia. Your friend. Tuvia. The girl. PHOEBE Oh. No. I heard something. I think she got divorced recently or something. BARRIS Oh, yeah?",
"EXT. FRONT PORCH - DAY Barris knocks on the door. There is some movement inside and a woman answers the door. This is older Tuvia, 20's, attractive but a little hard - edged now. She balances a baby on her hip OLDER TUVIA Yes? -LRB- registers. -RRB- Well, if it is n't Strawberry - dick Barris. BARRIS Hi, Tuvia. Barris taken by the changes in Tuvia. The baby and the full, milk - producing breasts get him excited. OLDER TUVIA What do you want? BARRIS I came by to apologize. OLDER TUVIA Okay then. She closes the door. He knocks again. She opens the door. OLDER TUVIA -LRB- CONT'D. -RRB- Well, if it is n't Strawberry - dick Barris. Now what do you want? BARRIS So I'm back in town. For a while. I thought maybe you and I could - OLDER TUVIA Jesus, you've got to be kidding. Tuvia closes the door. Barris stands there for a moment, considers knocking again, then turns and leaves.",
"EXT. WASHINGTON SQUARE PARK - NIGHT We move along a park bench, past several homeless people, one holding an old doll, others holding other sad items. We come to Barris. He's wrapped in a horse blanket and holding the miniature cardboard Dating Game set. An open notebook sits on his lap. The pages are blank, except for one entry : The Something Else Game. Barris holds a pen poised to write, but does n't.",
"INT. BAR - DAY Barris is drunk and in a fight. He is losing, flailing, swinging wildly. Jim Byrd, a middle - aged, business man - looking guy, in tinted glasses and sideburns, watches from the bar. Eventually Barris and the other brawler get thrown out of the bar. Byrd takes a sip of his drink.",
"EXT. BAR - DAY Barris sits on the curb, nursing his wounds. Byrd exits the bar and casually approaches. BYRD You're a pretty angry young fella, are n't you? Ca n't fight worth a damn though. BARRIS Screw off, fag. Do n't think I have n't seen you watching me in that bar for a week now. BYRD Kind of a loner, I'd say. Fairly bright. A tad anti - social. Mad at the world. Can I buy you lunch? BARRIS Look, there's a schoolyard half a block down. Why do n't you go trolling there? Barris gets up and starts to walk away. BYRD I could teach you at least thirty different ways to kill a man with a single blow, Mr. Barris. Barris stops. BYRD -LRB- CONT'D. -RRB- Might help you in future bar fights. Just a thought. Barris just stands there. BYRD -LRB- CONT'D. -RRB- Oh, and there's money in it. Good money. Barris turns.",
"INT. DINER - DAY Barris and Jim Byrd sit in a booth. Barris is wolfing a hamburger. Byrd sips coffee. BARRIS -LRB- mouth full. -RRB-. and I figure if I can keep afloat until I come up with my next game show idea, then all will be copacetic. BYRD That sounds great, Chuck. Y' know, I've never known a television producer before. I'm impressed. BARRIS Yeah, yeah. So what's this money deal you were talking about? BYRD Well, I work for a government agency, and I can always use good, enthusiastic men to help me carry out my directives. BARRIS What kind of work? What government agency? BYRD -LRB- matter - of - fact. -RRB- Problem solving work. For the Office of Diplomatic Security. BARRIS Office of what? Never heard of it. Is that the fucking CIA or something? BYRD Please be discreet, Mr. Barris. BARRIS -LRB- whispering. -RRB- Jesus, it is the fucking CIA! Hell, I'll be a spy! Where do I sign up? Are you fucking with me? You're fucking with me, are n't you? BYRD Hardly. And you would n't be with the company. You'd be a contract agent. Independent. No official tie to any agency. Is that understood? BARRIS -LRB- beat. -RRB- Why me? BYRD As you know, I've been watching you. For years, actually. I've only let you know about it for the last week. Chuck stops chewing. BARRIS Jesus. BYRD I'm happy to report you fit our profile, Mr. Barris. Are you interested in this work? Long pause. BARRIS Well, what's the profile? BYRD Are you interested in this work, Mr. Barris? BARRIS Yeah, sure, I wan na be a secret agent. Contract agent. Whatever. Get to fuck beautiful Eastern European women. Wear a trenchcoat. Sounds like a kick. BYRD The work we do is very serious. It's essential in quelling the rise of communism and allowing democracy to gain its rightful foothold around the globe. BARRIS Sure. Yeah. Okay. That's good.",
"EXT. ABANDONED ARMY BASE - DAY The place is ramshackle and overgrown. It looks deserted. A barbed - wire fence surrounds it.",
"INT. BASE REC ROOM - DAY A severe - looking instructor is teaching a class to an assembled group of scary - looking men : losers, psychos, mercenaries, Latin American thugs, and Chuck Barris. INSTRUCTOR #1 There are several efficient methods of killing a man, were you to find yourself without a weapon. The edge of your hand against the adversary's Adam's apple. -LRB- demonstrates on mannequin. -RRB- This will crush the windpipe causing strangulation and death. The students take notes. INSTRUCTOR #1 -LRB- CONT'D. -RRB- Boxing your adversary's ears with proper force will cause his ear drums to burst and possibly result in bleeding in the brain. And death.",
"EXT. BARRACKS - NIGHT It's dark. Byrd sits on a step, smoking a cigarette. Barris approaches. BARRIS You're training me to be a killer. BYRD See, Chuck, I knew you were fairly bright. BARRIS I ca n't kill people. My future is in television. BYRD Listen, you're thirty - two years old and you've achieved nothing. Jesus Christ was dead and alive again by thirty - three. Better get cracking. BARRIS I have ideas for shows. BYRD Oh, good. Why do n't you spend another six months developing'em while staring out the window at mommy's house next to poor dead Albert the dog. BARRIS How do you know all that? BYRD I know everything about you, Chuck. For fuck's sake, I know which hand you jerk off with. Barris lifts his hands, tries to remember. BYRD -LRB- CONT'D. -RRB- Right. Leave in the morning, if you want. But I'm here to tell you this is honest work for good pay. You'd be helping to make the world safer. And your country would be grateful. Byrd rises, stubs out his cigarette in his hand. BYRD -LRB- CONT'D. -RRB- It'll toughen you up. Barris sits there staring into the blackness.",
"INT. CLASSROOM - DAY Another big, frightening instructor stands before the class. Behind him is a full - sized diagram of a man which illustrates all major arteries and organs. He is demonstrating the proper way to grip a knife, then using the knife, he points to various sites on the body. Angle on Chuck Barris. He has copied the diagram of the man in his notebook and is writing `` Carotoid artery carries blood to brain. Death in seconds.'' He then writes : `` Game show idea : Slice of Life. Interesting!''",
"EXT. FIELD - DAY Several canvas dummies are propped up in the field. Barris and other students slash at the dummies with big knives.",
"INT. WORKSHOP - DAY Barris and other students are assembling rifles.",
"EXT. MUDDY FIELD - NIGHT Barris and other students crawl on their bellies through mud.",
"INT. LABORATORY - DAY The severe instructor, in a lab coat, is mixing chemicals. INSTRUCTOR #1 Glycerin is, of course, the best - known nitrating agent. Now keep in mind, nitroglycerin is extremely unstable. A slight tap, a one degree change in temperature and it'll blow up in your hands. Yee - haa, let's mix us up a batch! Instructor # 1 holds up a beaker. INSTRUCTOR #1 -LRB- CONT'D. -RRB- Everybody take your 75 ml beaker and fill it to the 13 ml level with fuming red nitric acid, 98 % concentration. The students nervously pour nitric acid into beakers.",
"INT. BUNKER - DAY The severe instructor is demonstrating how to use an army field telephone to torture a man. A canvas dummy is tied to a chair as the instructor attaches wires from the telephone to the dummy's genitals and to his mouth. The students watch closely, take notes.",
"EXT. BARRACKS - DAY The students with suitcases and in traveling clothes are hugging and saying good - bye. The end of summer camp. A tearful Barris heads toward one of the waiting buses. Byrd pulls him aside, discusses something with him.",
"INT. PLANE - DAY Byrd and Barris, now dressed in a suit similar to Byrd's, sit in first class. Byrd stirs his scotch and water with his finger as he stares at nothing out the window.",
"EXT. AIRSTRIP, MEXICO CITY - DAY SUBTITLE : MEXICO CITY, 1965 A commercial airliner comes in for a landing.",
"INT. CAFE - DAY Barris, Byrd, and two sleazy, sweaty men, Benitez and Brazioni, sit in a booth in the back of the dark cafe. Benitez opens up his brief case and pulls out a pile of grainy photos of a man leaving a residence and a street map. He lays them on the table. BYRD Salvador Panagra Renda, gentlemen. BENITEZ Si. In the flesh. BYRD What have you got for me, Manny? BENITEZ -LRB- re : map. -RRB- Renda leaves his apartment every day at 8:30, alone, walks east two blocks to this news kiosk, buys a paper and heads south four blocks to the plaza of the Museum Nacional to read it. BYRD Okay. Chuck, you're here at 8:25. Dress like a tourist. Start walking north. You should pass Renda here. Stop him and ask him in bad Spanish where the museum is. Make sure he does n't understand what you're asking. BARRIS Okay. BYRD -LRB- to Brazioni and Benitez. -RRB- You'll be parked here. Brazioni, you're behind the wheel. Benitez, you're on the street leaning into the car chatting with Benitez. When Chuck stops Renda, you turn to help with the directions, stick a gun into Renda's ribs, and direct him into the back seat. Chuck, you get in first. Renda's between you and Benitez. Brazioni, whaddaya got? Brazioni opens a case to reveal three Walther P - 38 pistols. BYRD -LRB- CONT'D. -RRB- Nice. You got suppresers with those, I'm assuming. BRAZIONI I am not an imbecile. BYRD -LRB- smiling. -RRB- Glad to hear it. Was n't sure. BARRIS -LRB- to Byrd. -RRB- Where are you going to be, Jim? BYRD Poolside, Chuck.",
"INT. HOTEL BAR - NIGHT Brazioni and Benitez are at a table, drunk, sweaty and loud, flirting with some women. Byrd sits at the bar, sipping a scotch. Barris enters, spots Byrd, sits down next to him. BYRD -LRB- not looking up. -RRB- Hola, Chuckito. Que pasa? YOUNG BARRIS So what'd this guy Renda do anyway? BYRD It's your job to follow directives, not question their validity. BARRIS It's just. BYRD He's a bad guy, Chuck. He's one of the bad guys. Okay? BARRIS Bad for the U.S., right, Jim? Not bad in an absolute sense, just bad for the U.S. BYRD Do n't fuckin' dance with me, Barris. Renda's bad for the Tea and Biscuit Co.. He's bad for me personally. You work for me, and Renda's bad for me. You're now officially a patriotic citizen of the United States of Jim Byrd. YOUNG BARRIS Look, this is - Byrd grabs Barris and pulls him over to a dark corner of the room. No one looks up. He pushes Barris against the wall. BYRD There's no backing out now, Chuck. We've let you in on everything. So you do n't play, you do n't leave Mexico. Comprende? YOUNG BARRIS I was just - BYRD -LRB- softening. -RRB- I like you. I really do. And you're gon na do fine tomorrow. And we're gon na become great friends. And you're gon na have a very nice little career. But you've got to grow up. There's a war on. YOUNG BARRIS What war? BYRD -LRB- walking away. -RRB- That's not your concern.",
"INT. MEXICAN HOTEL ROOM - NIGHT It's hot. There are two twin beds in the room. Byrd sleeps soundly in one. Barris lies in the other, eyes wide open.",
"EXT. MEXICO CITY STREET - DAY Renda is buying a newspaper at the kiosk. He completes the transaction and takes a few steps with his paper. Barris blocks his way, holding a phrase book and shaking. BARRIS Excusa me, por favor, Senor. Renda stops. BARRIS -LRB- CONT'D. -RRB- Donde es - bla ra - ba - blala los bloteros? RENDA No comprende. Renda tries to get away from this pesky tourist. Barris follows him, calling after him. BARRIS Ra - bla - bla - mamos las minjares? Renda picks up his pace, as does Barris. Benitez approaches. BENITEZ May I be of some assistance here? Renda appears relieved, until he feels the gun in his back.",
"INT. CAR - DAY Renda's in the back between Barris and Benitez. Brazioni drives. Renda seems pale and nervous, as does Barris in his gaudy tourist wear and sunglasses. The car drives slowly through the crowded Mexico City streets. They arrive at a jammed intersection and are suddenly confronted with a big parade. It's Day of the Dead ; the streets are filled with dancing skeletons. It's wild and frightening. Brazioni glances at Renda in the reaview mirror. BRAZIONI Day of the dead.",
"EXT. FIELD - DAY The car stops in a deserted field. Barris gets out first. His shirt is soaked through with sweat. Suddenly there's a commotion inside the car. Renda has gotten hold of a gun. He shoots Brazioni and Benitez. Barris panics and dives behind the car. Renda steps cautiously outside of the car, looking for Barris. Barris grabs Renda's foot. Renda falls, the gun flies from his hand. Barris kicks the gun under the car, his own gun drawn. He points the gun at Renda, who is on his stomach. Barris does n't shoot. He's scared, shaking wildly. Renda looks up at Barris, trying to figure him out. He slowly rises to his feet, turns to Barris with a pleading look in his eyes. RENDA Por favor. No me mates, senor. Tengo tres bebes. Barris sucks in a deep gulp of air. His hand shakes. He pulls out Spansh - English dictionary. BARRIS Again. RENDA Que? BARRIS Repitolo. Again. RENDA No me mates. Tengo tres bebes. Barris flips through the dictionary. A church bell chimes, startling Barris. His gun goes off accidentally and the bullet hits Renda in the face, tearing most of it away. Renda falls, but is still alive. He screams out of where his mouth was. A wedding party emerges from the distant church. BARRIS Oh Christ. Oh crap. Barris tries to stop Renda from screaming by covering the hole in Renda's face. Barris throws up, some of it landing on Renda's pants. He wipes his own mouth with his bloody hand and looks at the still screaming Renda. The churchgoers are starting to squint in Barris's direction. Barris shoots Renda again. And again and again and again and again. More blood spatters Barris's clothing and face. The church bell continues to chime.",
"INT. AIRPLANE - DAY Barris and Byrd sit side - by - side in first class. This time Barris has the window seat and stares out. BYRD Beautiful country, is n't it? YOUNG BARRIS Yeah. BYRD You did us proud, Chuck. Barris does n't say anything. BYRD -LRB- CONT'D. -RRB- Renda was a bad guy. He really was. BARRIS Yeah.",
"INT. APARTMENT - EVENING Barris enters carrying an overnight bag and some mail. He flips on the hall light and stares at himself in a mirror. BARRIS -LRB- V.O. -RRB- I had changed. I could see it in my eyes. Something dark. Barris notices a fleck on the side of his nose. It's dried blood. He distractedly rubs at it.",
"EXT. FIELD - DAY Renda's contorted face in close - up as he is shot. Blood spurting. Echoey church bells chime. RENDA No me mates. Yo tengo tres bebes.",
"INT. APARTMENT - EVENING Barris puts down his bag, pulls the Spanish - English dictionary from his pocket, and tries to translate what Renda said. It takes him a while but he does. BARRIS `` Do n't kill me. I am three babies.'' I am three babies? What the fuck does that mean? -LRB- studies dictionary. -RRB- Oh. `` I have three babies.'' Oh, God. Barris drops to the floor and throws up into a trash can. Out of the corner of his eye, he catches a movement in the living room. He lurches backwards, knocks over the can. Vomit spills onto the carpet. PENNY -LRB- O.C. -RRB- -LRB- groggily. -RRB- Chuck, is that you throwing up? In the dim light from the hallway, Barris spots Penny lying on the couch. She is dressed as a hippy. A backpack and a duffel lie on the floor next to her. BARRIS Jesus Christ, Penny. You scared the shit out of me. What are you doing here? PENNY Sorry. I just been crashing here for a few days. Waiting for you. Where you been, man, where you been? BARRIS Mexico. Just on a little vaca. PENNY You drank the water, did n't you? BARRIS Yeah. PENNY You're not supposed to. Montessori's Revenge. You're not even allowed to open your mouth or your eyes when you take a shower. It's crazy. How come our water is so good and their water is poison? It's the same ocean. BARRIS I do n't know. PENNY It's weird, huh? -LRB- beat, then proudly. -RRB- So I'm a hippy now. Look. Penny stands in the dimness to show off her outfit. PENNY -LRB- CONT'D. -RRB- I've been in San Francisco, and it's amazing. Everybody loves everybody and there's lots of colors. We're gon na change the world, Chuck. Come back with me and be my old man, okay? Not that old! Ha ha ha. BARRIS Penny, I'm a little tired now, so. PENNY Oh! You got ta hear this song! Penny shrieks excitedly as she runs to the record player. She turns it on, plugs in a strobe light. `` Sunshine Superman'' starts up. Penny sings and dances along, directing the lyrics at Barris. Barris looks around at his strobing apartment. He sees Penny's mess : pot paraphenalia, anti - war posters, a gold dove painted on the wall with a phone number underneath. PENNY -LRB- CONT'D. -RRB- -LRB- singing. -RRB- `` Cause I made my mind up, you're going to be mine.'' BARRIS Penny, what did you do to my wall? PENNY -LRB- looking. -RRB- Oh, it's a guy who called a couple a days ago. Gold - Bird. Is n't it pretty? BARRIS Leonard Goldberg?! You're kidding? -LRB- dials phone anxiously. -RRB- Hello, this is Chuck Barris returning for Leonard Goldberg. Pause. Barris paces. Penny sings and dances in background. GOLDBERG -LRB- PHONE VOICE. -RRB- Hi, Chuck! BARRIS Mr. Goldberg! I'm so sorry I did n't get back to you right away. I was out of town. Vacationing in Mexico. GOLDBERG Good for you. Listen, Chuck. We've ended up with a damn hole in our daytime schedule. I've been reviewing some options, and it occurred to me there might be a place here for you and your baby. BARRIS My baby, Mr. Goldberg? GOLDBERG The Dating Game. -LRB- joshingly. -RRB- That is your baby, is n't it, Chuck? BARRIS Yes sir, it is. GOLDBERG Are you still interested? BARRIS Yes sir. Very interested. Sir. GOLDBERG Good man. We'll need to start airing in about six weeks. Is that do - able for you and your people? BARRIS My people? Six weeks? Sure. Yes sir. GOLDBERG Great. Keep me posted. Dial tone. Barris sits there, phone in hand, then throws up again into the trash can. Penny stops dancing, watches. PENNY Damn Mexicans and their water.",
"INT. DATING GAME SET - DAY An episode of the show is being taped. Barris paces nervously behind the camera. BLONDE BACHELORETTE Bachelor number two, what would I like most about you? BEANPOLE BACHELOR I am very romantic and I would send you flowers every day. The studio audience `` awwws.'' BLONDE BACHELORETTE Aww. That's sweet. Bachelor number three, what would I like most about you? FRIZZY-HAIRED BACHELOR My big cock. The bachelorette makes a mock - horrified expression as the studio audience erupts in laughter. Barris buries his face in his hands.",
"INT. DATING GAME SET - DAY A brunette bachelorette asks a question. BRUNETTE BACHELORETTE Bachelor number one, what nationality are you? HANDSOME BACHELOR Well, my father is Welsh and my mother is Hungarian, so I guess that makes me Well - Hung. The audience goes wild. Barris pulls at his hair.",
"INT. DATING GAME SET - DAY A black bachelorette asks a question. BLACK BACHELORETTE Bachelor number three, I play the trombone. If I blew you, what would you sound like? The audience screams with delight.",
"INT. BOARD ROOM - DAY Leonard Goldberg, a bunch of network executives, and Barris sit around a conference table and watch a tv. On it is The Dating Game. A black bachelor is responding to the trombone question. He simulates the receiving of a blow job, moaning and writhing in his seat as the studio audience howls. Barris has his head in his hands. Goldberg signals an assistant, who switches off the television. The executives look quite grim. GOLDBERG Chuck, quite frankly these episodes are unairable. BARRIS Look, Len, the show's spontaneous, it's unscripted. That's it's charm. I ca n't control what people say. EXECUTIVE Be that as it may, Mr. Barris, we ca n't have black men getting blow jobs on national television! GOLDBERG The point is n't that he's black, Hank. EXECUTIVE -LRB- beat. -RRB- Well, I know that. That's not what I meant. BARRIS Look, Len, nobody is indifferent to these shows. Right? And that's good. Show business must avoid indifference at all costs. EXECUTIVE Even when taste is involved? BARRIS Taste is just a word. EXECUTIVE You do n't fuck with taste, my friend! BARRIS -LRB- uncomprehending. -RRB- What does that even mean? I do n't even under - GOLDBERG Chuck, we can not air this stuff. That's it. If you ca n't figure out how to retain your spontaneity without the contestants being lewd, we're going to have to pull the show.",
"INT. BAR - NIGHT Barris is drunk and brooding. He picks a fight with a big man who has unintentionally knocked into him at the bar. Barris is brutal and effective, utilizing the techniques he learned from one of the scary instructors at training camp. This gives him an idea.",
"INT. DATING GAME SET - DAY The contestants are onstage. Barris appears, warm and charming. BARRIS Hi, folks. Before we begin taping today, I'd like to introduce you to Mr. Peter Jenks of the Federal Communications Commission. The severe training camp instructor joins Barris onstage. INSTRUCTOR #1 -LRB- increasingly psychotic. -RRB- Thank you, Mr. Barris. I do n't know if any of you are aware of this, but it's a federal offense to make licentious remarks on a network television broadcoast. The penalty for this disgusting, un - American behavior is one year in prison or a ten thousand dollar fine or both. Anyone making a sick, subversive remark tonight will be arrested immediately. I will then personally escort the offender to federal prison for booking under edict number 364 of the Broadcast Act of 1963. And it's a long drive to that prison. Just you and me. No other witnesses - BARRIS -LRB- jumping in. -RRB- Any questions? There are none. The contestants are paralyzed with fear. Jenks is red - faced, trembling. BARRIS -LRB- CONT'D. -RRB- Okay. Have fun, everybody!'",
"EXT. TERRACE - DAY The actual Barris being interviewed. ACTUAL BARRIS Sometimes as a younger man I stretched the truth to get what I wanted. `` Through all the lying days of my youth/I swayed my leaves and flowers in the sun ; / Now I may whither into the truth.'' Yeats. You heard of him? INTERVIEWER -LRB- O.C. -RRB- Yeah. Of course. ACTUAL BARRIS Sure you have. -LRB- beat. -RRB- Anyway, my little lie worked. We aired and become a big hit. A phenomenon, really.",
"INT. BARRIS'S OFFICE, BARRIS PRODUCTIONS - DAY SUBTITLE : BARRIS PRODUCTIONS, LOS ANGELES, 1967 This is the sixties and the office is crazily appointed. Street signs, funny posters, faux Tiffany lamps, mobiles, lava lamps, an inflatable sex doll, etc.. Barris, 36, is behind his desk, feet up and on the phone. He wears a t - shirt and jeans and loafers. This is a new Barris, confident and successful and hip and relaxed and slovenly. Outside in the bullpen area we hear the hustle and bustle, laughing and screaming of a busy but casual office. BARRIS -LRB- into phone. -RRB- Terrific, Rod! Yeah, I'll get back to you on Monday. Great. Thanks. Bye. Barris hangs up the phone. His jovial facade disappears. He opens up his ice bucket. It's empty. BARRIS -LRB- CONT'D. -RRB- -LRB- yelling. -RRB- Ice! Ice! Ice! Ice! Ice! Loretta, Barris's pretty young secretary, enters with a new bucket of ice. She is braless and shoeless. LORETTA Jesus, Barris, take a Darvon. Loretta drops the bucket of ice on his desk. Barris grabs her arm, pulls her toward him, kisses her on the back of the neck. BARRIS Hey, baby. Loretta acts annoyed, but it's playful. LORETTA Asshole. BARRIS I know. Sit. Talk to me. Loretta sighs and drops into a bean bag chair. Barris puts some ice in a glass and pours himself a scotch. LORETTA I'm busy. We're in the middle of a bachelorette crisis out there. BARRIS I just got a call from the network. Drink? LORETTA You got any weed? BARRIS I wish. LORETTA Then I'll have a drink. Bad news? Barris pours a drink for Loretta. She gets up, takes it off the desk and falls back down into the bean bag. BARRIS The Tammy Grimes Show is being pulled from Saturday night. LORETTA -LRB- mock concern. -RRB- Oh my God! -LRB- drily. -RRB- So? BARRIS They want to put a prime - time version of the Dating Game on in its place. LORETTA Shit! You're kidding! That's fucking great! BARRIS But they say the day - time version's not hot enough. They want me to make it more exciting for night - time. I got forty - eight hours. LORETTA What do you have so far? BARRIS Nothing. Bupkis. I mean, the show is what it is. I do n't have a clue. This could be my big break, Loretta. LORETTA Yeah, I know. Do n't blow it. Loretta smiles at him, downs her drink, gets up and pads out of the office. Barris watches her ass. BARRIS Thank you for your help. LORETTA -LRB- not looking back. -RRB- Hey, I brought the ice. She is out the door. Barris picks up his guitar and noodles on it.",
"INT. DATING GAME SET - LATER Barris paces on the darkened set. He is trying to think. A shadowy figure appears at the top of the bleachers and creeps down the aisle. Barris is deep in thought and does n't hear. The man appears behind Barris and locks his arm around Barris's neck. Barris is startled, choking and flailing trying to remove the arm. He ca n't. Finally the man releases Barris and tweaks his crotch. Barris turns wildly around. It is Jim Byrd. BYRD Boy, did n't I teach you anything? BARRIS You son of a bitch! Barris swings at Byrd. Byrd easily blocks the punch. BYRD You're so rusty, it's embarrassing. BARRIS You're a stupid fucking turd, you know that? BYRD Can I buy you lunch?",
"INT. MARTONI'S - DAY Jim is downing his bourbon and signals the waitress for another. Barris, still pissed, sips a martini. BYRD Ah, lighten up, hombre. BARRIS My fucking neck hurts. Okay? BYRD Poor baby. Look, I've been put in charge of a fairly large wet operation and I could use your help. BARRIS Have you noticed, Jim, I've got a tv show on the air? I do n't need to kill people for hire anymore. BYRD I know you do n't need to. But you'd like to. BARRIS That's insane. Byrd shrugs, unconvinced. He sips his drink. BYRD Think of it as a hobby. An avocation. Something you do to relax. You can be an assassination enthusiast, a murder bug. BARRIS I've got important things to think about here. I do n't have time to fuck around with you. BYRD Okay, I'll help you out with your little show. Tit for tat. That's the kinda guy I am. I've seen this Dating Game of yours, Chuck. And I have a thought. BARRIS What, now you're a television producer? BYRD Hey, I'm CIA operative John Q. Public when it comes to tv and that should make my opinion of interest to you. BARRIS Let's hear it then. BYRD Well, what do you have now? The couple gets sent to some stupid second - rate Hollywood shitcan restaurant, right? Sets you back fifty bucks? That's not too exciting a prize to us vicarious - living boobs out in TV - land. BARRIS Yeah, what's your point? BYRD Up the stakes, Chuckles. Send'em to some exotic locale. Europe, Southeast Asia, for example. BARRIS The network's not going to let me send two unmarried kids on vacation together. BYRD -LRB- shrugs. -RRB- Send'em with a chaperone. Some respectable old lady with a sewn closed snatch. BARRIS -LRB- considering. -RRB- Y' know, that's not half bad. BYRD I'm telling ya. And. And sometimes you can be the chaperone, Chuckie. Let's say we have a job for you in Austria. You, a successful tv producer, above suspicion, chaperones the young couple, and while you're there, blam! you take care of some Company business. It's the perfect cover. TV producer by day, CIA operative by night. BARRIS I told you, I do n't have to kill people for money anymore. BYRD Chuck, when I said you fit our profile, very little of that had to do with you needing the money. Some of it, but very little. You liked it with Renda, Chuck. I saw it in your eyes. You liked it but you botched it. Do n't you want to get really good at something, Chuck? Barris stares at Byrd.",
"INT. BOOTH (DATING GAME SHOW) - DAY The director calls the shots. Barris stands in the back watching the show in progress. On the stage is a pretty blonde bachelorette in a short black dress and three bachelors. Bachelors two and three are attractive and stylishly dressed and groomed. Bachelor one is a fat, not - too - bright looking guy in a yellow - ochre leisure suit. His slow, unfocused delivery contrasts with the fast, sharp chatter in the booth. DIRECTOR -LRB- rapidly. -RRB- Ready one, take one. Ready three, take three. Ready one, take one. BLONDE BACHELORETTE Number one, can you please tell me what a girl is like who has n't been on a date before and how you can tell she has n't been on a date before? DIRECTOR Ready two, take two. This guy has never been on a date. Everyone in the booth laughs. FAT BACHELOR Well. BARRIS Jesus, she's got ta pick this guy. This is just too good. FAT BACHELOR I'll ask her what she likes to do and - DIRECTOR Ready one, take one. Ready two, take two. FAT BACHELOR And if she does n't know what she likes to do - DIRECTOR Ready three, take three. The only date he's ever had is with his right hand. Guys in booth laugh, except Barris. FAT BACHELOR then I'll know she has n't done it yet.",
"EXT. PICCADILLY CIRCUS - DAY SUBTITLE : LONDON, 1967 It's all mod and colorful. Chuck Barris shuffles along, taking in the sights with the Dating Game couple. The blonde bachelorette did indeed pick the fat guy. But it's clear she thinks she made a mistake and pays him no attention whatsoever, walking about twenty feet in front of him and Barris. Barris seems bored.",
"INT. PUB - DAY Barris enters the pub alone. He's dressed in a blonde wig and moustache and glasses. It's crowded and he searches the room for someone. He spots a pretty young woman by herself at a table. She wears white go - go boots. BARRIS Excuse me, is this seat taken? WOMAN By you. Barris sits across from the woman. BARRIS London is wonderful this time of year, is n't it. WOMAN Yes it is. BARRIS -LRB- beat. -RRB- Oh. Sorry. Barris gets up, glances around, spots another pretty young woman in white go - go boots, sitting by herself. He approaches her. BARRIS -LRB- CONT'D. -RRB- Excuse me, is this seat taken? PATRICIA By you. Barris sits. BARRIS London is wonderful this time of year, is n't it? PATRICIA Especially the fog. It affords one solitude, even in a city full of people. BARRIS I'm Chuck. PATRICIA Yes, I gathered. BARRIS And you are? PATRICIA -LRB- smiles. -RRB- Here you go, Chuck. She hands him a manila envelope, and stands to leave. BARRIS At least give me a made - up name. Something for me to cry out during those dark nights of the soul. PATRICIA Cry out, `` Olivia!'' BARRIS That's Twelfth Night. PATRICIA Very good, Chuck. I'm pleasantly surprised. You're not like the other murderers. She smiles and leaves. Barris watches after her, then opens the envelope and pulls out a black and white photo of a man.",
"EXT. WESTMINISTER ABBEY - DAY It's raining. A bored Barris, dressed normally, waits with the fat bachelor under an umbrella near the entrance. The fat bachelor checks his watch. FAT BACHELOR I thinks he's really pretty and I want to be her boyfriend.",
"EXT. CHURCH COURTYARD - NIGHT Barris, in wig and moustache, stands in the middle of the empty, dark courtyard. ENGLISHMAN -LRB- loud whisper. -RRB- Here. Barris approaches. BARRIS Do you have it? ENGLISHMAN Do you have it? BARRIS Sorry. Yeah. Barris reaches into his jacket pocket and pulls out an envelope. The Englishman takes it, opens it, pulls out a wad of cash and counts. BARRIS -LRB- CONT'D. -RRB- Do n't worry, we're not gon na cheat you. ENGLISHMAN Just the same. The Englishman finishes counting the money, pockets it, and hands Barris a box of Polaroid film. BARRIS Thank you. Oh, one more thing. Barris pulls out his automatic with attached silencer and jams it into the Englishman's mouth. The silencer breaks the man's front teeth. The man makes a muffled grunt. BARRIS -LRB- CONT'D. -RRB- Sorry about your teeth. The Englishman's eyes are wide with terror. Barris pulls the trigger three times. The back of the Englishman's head explodes. Blood and hair and brain are spattered against the church wall. The Englishman slumps to the ground. Barris reaches into the man's jacket, pulls out the envelope of money, pockets it, and makes his way toward the churchyard gate. There stands the fat bachelor, watching, confused. After the initial shock, Barris smiles warmly. BARRIS -LRB- CONT'D. -RRB- It's Ronnie, is n't it? The fat bachelor nods. BARRIS -LRB- CONT'D. -RRB- C'mere, Ronnie. I want to show you something neat. It's okay. The fat bachelor enters the courtyard.",
"EXT. TERRACE - DAY ACTUAL BARRIS I felt bad about Ronnie. But really I did that ugly, fat, stupid kid a favor. He was ugly and fat and stupid. More life would n't have changed that for him. No woman would ever have loved him. That's just the brutal truth, y' know?",
"INT. LONDON HOTEL ROOM - NIGHT Barris enters the room, shaky and scared.",
"INT. BATHROOM - CONTINUOUS Barris rips open the Polaroid box, pulls out the foil paper that protects the film, rips that open and pulls out a small white plastic vial. Barris greases the vial with Vaseline and sticks it up his ass. He looks at himself in the mirror, naked and pathetic. There is a knock at the door. He stiffens, grabs his gun and pads out of the bathroom.",
"INT. HOTEL ROOM - CONTINUOUS Barris peeks out the peephole. We see a fish - eye view of Patricia Watson. BARRIS Olivia? PATRICIA It's Patricia, actually.",
"INT. HOTEL ROOM - LATER Barris and Patricia sit sipping champagne. Both are drunk. PATRICIA and so then I spent a year in Operation Chaos, inside the anti - war movement as an agent provocateur, nudging it toward violence in order to discred it. That was fun. I got to wear granny glasses. BARRIS Sounds fun. So tell me, Patricia, why'd you come up here tonight? PATRICIA I do n't know. You're sort of cute in a homely way. And it's always lonely when that civilian you're fucking calls out the name off your fake passport. BARRIS `` All the information I have about myself is from forged documents.'' PATRICIA Nabokov. Barris is thrilled and kisses her. It begins to turn hot and heavy. Suddenly Barris pulls away. BARRIS Actually, I just got ta go into the bathroom and take care of something. PATRICIA No, baby. Leave the microfilm in.",
"EXT. KENNEDY AIRPORT - DAY A plane lands.",
"INT. KENNEDY AIRPORT TERMINAL, CUSTOMS - DAY Barris waits sweatily in line with a small a carry - on suitcase. When the line moves, he walks as if perhaps he has something up his ass. A customs agent walks past the line with a dog. The dog sniffs Barris's ass in passing.",
"EXT. AIRPORT TERMINAL - DAY Barris steps out of the terminal. A black limo pulls up. The back door opens and Barris gets in.",
"INT. LIMO - CONTINUOUS Seated in the back are Jim Byrd and Simon Oliver, 50. Oliver is pure ivy league with a pipe. When he speaks it is with an affected British accent. Byrd is pissy. BYRD Hey, buddy. This is Simon Oliver. BARRIS Hey. BYRD Everything go okay? You do n't look too good. OLIVER Mr. Barris, do not ever again jeopardize one of my missions by killing a game show contestant. Is that understood? BARRIS You're welcome, pal. OLIVER Do I make myself clear? BARRIS Fuck you! They're my contestants. OLIVER Amateur. BARRIS Faggot. BYRD Chuck - OLIVER Lovely. Tell me, Mr. Barris, are you in possession of my microfilm? BARRIS Yeah, I got it. OLIVER Let's have it then. BARRIS It's up my ass, Oliver. Why do n't you reach on up there and get it. Oliver tamps his pipe. Byrd stares down at his thumbs. BARRIS -LRB- CONT'D. -RRB- I just feel I deserve some appreciation for my efforts. OLIVER What do you think Patricia Watson was? Barris looks at Byrd. Byrd almost imperceptibly shakes his head `` no.'' BARRIS Prick.",
"INT. BARRIS PRODUCTIONS - DAY Barris, now in t - shirt and jeans, shuffles through the busy bullpen area. Employees wave, say `` hi'', give Barris the peace sign. He returns the gestures, but halfheartedly. He seems depressed. Loretta sidles up beside him. LORETTA Well, if is n't the hitman. BARRIS -LRB- turning, wild - eyed. -RRB- What? OFFICE WORKERS Hitman! Hitman! Hitman! Hitman! LORETTA I said, well, if it is n't the hitman. Just heard through the grapevine that ABC is going to pick up The Newlywed Game. BARRIS You're kidding me. LORETTA Not kidding you. Day - time and prime - time. BARRIS Oh, fuck, Loretta. That's sensational! Barris kisses Loretta. OFFICE WORKERS Hitman! Hitman! Hitman! Barris joins them chanting `` Hitman'' and dances around the office.",
"EXT. TERRACE - DAY ACTUAL BARRIS The Newlywed Game was based on my theory that almost any American would sell out their spouse for a washer - drier or a lawnmower you can ride on. Such was my respect for that most holy of unions. I must've been on to something, because the show aired for thirteen years.",
"EXT. MUSTANG CONVERTIBLE - DAY Barris speeds through the curvy streets of the Hollywood Hills. Penny Pacino, dressed as a hippy, sits in the front passenger seat. SUBTITLE : HOLLYWOOD HILLS, 1969 PENNY Great wheels, man. BARRIS Yeah, I decided to start treating myself right. You spend so much time denying yourself things. Life's too short. PENNY Yeah, I really gork what you're saying, man. BARRIS You really grok what I'm saying, man. Not gork. PENNY Oh. -LRB- beat. -RRB- Really? The car screeches to a halt in front of a fancy house with a `` For Sale, Open House'' sign out front.",
"INT. FANCY HOUSE - A FEW MINUTES LATER The house is empty. Barris and Penny are greeted at the door by a real estate agent. PENNY -LRB- looking around. -RRB- Outa sight! Buy this one. REAL ESTATE AGENT Hi. Welcome, folks. If you would n't mind signing - in on our sheet over th - BARRIS I'll take it. REAL ESTATE AGENT I'm sorry? BARRIS I'll take the house. PENNY Yay! Penny happily kisses Barris. REAL ESTATE AGENT -LRB- beat. -RRB- Very good, sir.",
"INT. EMPTY LIVING ROOM - NIGHT Barris and Penny are having sex on the floor. PENNY So, man, are you seeing anyone? BARRIS Nobody serious. You? PENNY No. I think we should get married. BARRIS Aw, Pen, do n't start - PENNY No, listen, it makes sense. You and I feel exactly the same about marriage, right? How much bullshit it is, right? And the odds of us finding someone else with the exact same view on it are small. So, it makes sense.",
"INT. HOTEL ROOM - NIGHT Barris, 50, types away. He is sweaty and naked except for a towel draped over his head. BARRIS -LRB- V.O. -RRB- I liked Penny. I even loved her in my way. But the idea of tying myself down for the rest of my life. I remember my parents' marriage.",
"INT. CHILDHOOD KITCHEN - NIGHT Barris, five, sits at the dinner table with his parents. His father, dressed in a dental smock, stares down at his plate as he eats. His mother absently chews and stares vacantly into space. MOTHER We need a new ice box. The father shrugs.",
"INT. DATING GAME SET - DAY The set, which holds four couples, divides in the middle to reveal a new refrigerator. ANNOUNCER A brand new Amana refrigerator - freezer with automatic ice maker! One of the couples is cheering and screaming hysterically, happy and in love and kissing. The other couples look disappointed and angry at their spouses. We pull back to reveal we're watching this on a tv in :",
"INT. BARRIS'S OFFICE - MORNING The office is filled to capacity with with hippy - like employees watching The Newlywed Game. Many sit on the floor, jammed up against each other. A few women are nursing infants. Someone passes a joint. Barris sits behind his desk, with a `` Make Love Not War'' helmet on his head, his feet up, and a guitar in his lap. BARRIS Beautiful. Did you see that? How much they loved each other just then? That's what it's all about, kiddies. Everyone agrees. Someone switches off the tv. BARRIS -LRB- CONT'D. -RRB- Okay, guys, new business. We're winning our slots every week. Everyone cheers. BARRIS -LRB- CONT'D. -RRB- But that means we need you Bandits to get on the contestant mill. Our supply of dumbfucks is lagging behind our demand for dumbfucks. And I'm gon na be introducing three new shows in the coming months : The Parent Game, The Game Game, and the Dollar Ninety - Eight Beauty Pageant, so we're gon na really need you guys to carry your weight. Nuff said. Any other business? EMPLOYEE #1 Yeah. Rick took four slices of pizza at lunch yesterday. Everyone else only got two. BARRIS Oooh. Is that true, Rick? Where are you? RICK Here. No, it's not true. BARRIS Any other witnesses to this alleged infraction? EMPLOYEE #2 I saw it. He took four. I only got one. BARRIS Rick, you're dead meat, buddy. -LRB- shoots Rick with finger. -RRB- I sentence you to. dance for us in today's post - meeting version of `` Out of Limits'' featuring the musical stylings of the CBP Stompers. Everyone cheers. RICK Aw, Chuck. BARRIS Get up here, you rascule, you. Rick heads up to Barris's desk. Everyone laughs. A few employees have joined Barris at his desk with instruments. They break into a raucous banjo version of `` Out of Limits.'' Rick dances. Everyone's laughing and clapping. MONTAGE As `` Out of Limits'' continues, now the actual version, we see montage of Barris shooting, stabbing, and garroting various foreign - looking people in strange, murky locations intercut with Barris having sex with Patricia Watson in different bedrooms and motel rooms, Barris dancing with Patricia in various exotic locales, and Barris on the set for his many game shows, happily directing the bustling activity.",
"INT. RANCH-STYLE LIVING ROOM - DAY The actual Jim Lange, host of The Dating Game. JIM LANGE Sometimes Chuck would just disappear for weeks. I remember once we had a conflict on the set over the right way to throw that kiss at the end of the show, y' know. -LRB- demonstrates kiss. -RRB-. and Chuck was just not reachable to resolve it. INTERVIEWER -LRB- O.C. -RRB- What was the conflict? JIM LANGE Look, it's water under the bridge. I'm not gon na talk about it.",
"INT. BARRIS'S LIVING ROOM - NIGHT The previously bare room is now filled with lovely and expensive furnishings. But Barris and Penny are again on the floor, now playing Scrabble by candlelight. Penny lays down some tiles : I - N - T - E - R - P - E - T BARRIS The word's interpret. PENNY Interpet. BARRIS Interpret. PENNY Well, do you have an extra `` r'' then I could borrow? BARRIS I'm not going to give you a letter. You're lucky I do n't make you forfeit a turn. PENNY Oh. Okay. Penny retrieves her letters and studies the board. Barris empties the wine into Penny's glass. There was n't much left. BARRIS I'll run to the store and get some more. PENNY All right. BARRIS Do n't cheat. PENNY You neither.",
"EXT. LIQUOR STORE - NIGHT Barris pulls up in a Jaguar XKE convertible. A pretty, innocent - looking young woman, Monica, is emerging with a big laundry bag from the laundromat next to the liquor store. She glances, momentarily, at the Jaguar and at Barris.",
"INT. BARRIS'S LIVING ROOM - A BIT LATER Barris enters with a bottle of wine. Penny is in the same position on the floor. PENNY Intrepet's a word, right? BARRIS Intrepid. PENNY Shit fuck piss. -LRB- concentrating. -RRB- Okay okay okay. BARRIS Pen, we should call it a night. I'm kinda tired. PENNY You're tired. BARRIS I got a date. PENNY Since when? BARRIS I just met this girl. PENNY Like, just now? You mean just now? BARRIS Yeah. Kinda. PENNY Well, that's rude. BARRIS Sorry. PENNY Yeah, well, see ya. Penny picks up her bag and exits in a huff.",
"INT. MONICA'S LIVING ROOM - LATER It's a young woman's apartment, small and girly. The doorbell rings. Monica, clearly not out of her teens, enters the room and answers the door. Barris stands there with the bottle of wine. BARRIS Hi! MONICA Hi! BARRIS Wow, this is a beautiful place you got! Barris enters, looks around. There's another teenage girl in pajamas in the kitchenette, mixing tuna salad. ROOMMATE Hi. BARRIS Hi. MONICA Chuck, this is Mindy, one of my roommates. BARRIS Hi. MONICA Have a seat. Barris sits on the couch. Monica sits next to him. Mindy is in the background, futzing around in the kitchen area. MONICA -LRB- CONT'D. -RRB- So. have you accepted the Lord Jesus Christ as your savior, Chuck? BARRIS -LRB- beat. -RRB- Yes, I have.",
"INT. MONICA'S LIVING ROOM - A BIT LATER Barris, Monica, and Mindy sit on the couch watching a religious show on television.",
"EXT. TERRACE - DAY ACTUAL BARRIS Yeah, I remember that religious girl, sure. Monica Something. Fleming. Oh God, she had the softest, fleeciest clam I ever experienced. It took a little more work than usual, but I got in there, baby. -LRB- smacks lips, then stares off into space. -RRB- It was some clam. Oh Lordy. You get old, y' know, but the taste for soft clam, it just does n't go away. This is the great tragedy of getting old.",
"INT. BARRIS PRODUCTIONS - DAY The room is abuzz with activity. Lots of people on the phone talking. A potential Newlywed Game couple being interviewed. Monica sits in the waiting area, eavesdrops on the interview with the Newlywed Couple. WOMAN Getting married to Alan is the best thing I've ever done. It's just so wonderful knowing that you've got someone by your side through everything for he rest of your life. The couple kisses. LORETTA ` kay, Mon.. He's off. Monica enters the office.",
"INT. BARRIS'S OFFICE - CONTINUOUS Monica enters. Barris wears a deerstalker cap. BARRIS My sweet little clamato. Monica leans down and kisses Barris. MONICA I'm pregnant. Barris's eye twitches. MONICA -LRB- CONT'D. -RRB- -LRB- crying. -RRB- I ca n't be pregnant, Chuck. BARRIS Is it mine? Monica looks at him incredulously, flings an ashtray at him, misses. She sits at the desk, looks glumly out the window. MONICA I ca n't believe you asked me that. BARRIS I know. I'm sorry. -LRB- beat. -RRB- But you're sure, right? MONICA I hate you so much right now. BARRIS Look, we'll take care of it. MONICA How? Are you gon na marry me? BARRIS -LRB- carefully. -RRB- Well, no. Not at this point. MONICA I'm not murdering my baby! -LRB- weeping. -RRB- I ca n't. do that. Please. Barris sighs. He touches Monica's hand.",
"INT. AIRPLANE - DAY Barris and Monica sit in first class. Barris stares out the window. Monica stares straight ahead. BARRIS Beautiful country, is n't it?",
"EXT. MEXICAN ALLEY - DAY Barris leads a crying Monica down the garbage - strewn alley. They find a doorway. Barris opens it. BARRIS Here we are. MONICA -LRB- collapsing. -RRB- I ca n't I ca n't I ca n't I ca n't. Barris supports her and leads her into the office. BARRIS It's okay. It'll be okay.",
"EXT. SCULPTURE GARDEN, UCLA - DAY Barris and Penny walk sadly through the garden. PENNY What a waste. BARRIS Tell me about it. I figure over the years I must've spent close to twenty grand on these abortions : airfare, hotels, doctors, gifts. PENNY That's not what I meant. BARRIS And I do n't even know how many of these fetuses were mine. That's what really kills me. A SERIES OF SHOTS IN VARIOUS LOCALES OF MIDDLE - AGED WOMEN WITH PAIN - ETCHED FACES, ADDRESSING THE CAMERA. WOMAN #1 It was his. WOMAN #2 Yeah. It was his. WOMAN #3 It was n't his. I lied. WOMAN #4 Yes, it was his baby. WOMAN #5 Yeah. WOMAN #6 The godamn son of a bitch. He asked you to ask me this? WOMAN #7 I was screwing a lot of guys at the time. It coulda been his. WOMAN #8 Uh - uh. I just needed someone to pay for it. He was a wallet with legs. WOMAN #9 Yeah, I was just a kid. It ruined my life.",
"EXT. TERRACE - DAY ACTUAL BARRIS I do n't really want to talk about this. We hold on a silent Barris.",
"EXT. SCULPTURE GARDEN - DAY Barris and Penny walk in silence. PENNY So I'm assuming this means Monica is out of the picture. BARRIS Yeah, I got baptized for nothing. PENNY Chuck, I was thinking. I have this plan now, now that you're free - BARRIS God, you look cute today. PENNY I always look cute. Do n't distract me. What was I going to say? BARRIS I do n't know. PENNY You do know. -LRB- enthusiastically charged. -RRB- Chuck, why do n't we get married? We've known each other forever. We've fucked each other forever. You think I'm cute, you just said. You always come to me when you're in trouble. And you're almost forty, Chuck. Barris turns violently toward Penny. BARRIS -LRB- shouting. -RRB- I know how old I almost am! That's it. Do n't ever ask me to marry you again! PENNY -LRB- quietly. -RRB- I wo n't.",
"INT. BARRIS'S BEDROOM - NIGHT Barris and Penny are having sex. It is gentle and quiet. Penny is crying, trying to conceal it. Barris notices. BARRIS I'm sorry I yelled at you today, Pen. PENNY I'm not crying because you yelled at me. This is it, is n't it? This is us. Barris studies Penny's face in the dim light.",
"EXT. TERRACE - DAY The actual Barris puffs on his cigar. ACTUAL BARRIS I almost asked Penny to marry me right then. But I did n't.",
"INT. SEEDY HOTEL ROOM - NIGHT Barris sits naked on the bed, swigging from a bottle of vodka, as a prostitute in a black dress and veil sings `` Happy Birthday'' to him. When she's done, she lifts the veil, looks confused. PROSTITUTE Is that right?",
"INT. BARRIS'S OFFICE - DAY Barris sits staring out the window. His mood is somber. On the table beside him are many birthday cards. The anarchic and youthful decor of the office seems to mock Barris now. Loretta enters. LORETTA Chuck? No response. LORETTA -LRB- CONT'D. -RRB- Chuck? BARRIS -LRB- not turning. -RRB- Uh. LORETTA Rod Flexner's here. BARRIS Shit piss fuck, send him in. Flexner enters. He's a suit. FLEXNER Chuck! Great to see you. BARRIS What's up, Rod? FLEXNER Well, the thing is, Chuck, some of your shows are n't doing too well in the old ratings war. The Family Game, for one. BARRIS Okay. We move into Barris's eyes.",
"INT. FAMILY GAME SET The show is in progress. Suddenly shots are fired from offstage. The host and contestants are slaughtered. It's bloody and violent.",
"INT. BARRIS'S OFFICE - DAY We're on Barris's eyes. FLEXNER And How's Your Mother - in - Law is, quite frankly, in the toilet, Chuck.",
"INT. HOW'S YOUR MOTHER-IN-LAW SET A mother - in - law is being garotted with piano wire. Her neck is sliced. Blood spurts.",
"INT. BARRIS'S OFFICE - DAY FLEXNER Now, as you know, Dream Girl is flailing terribly.",
"INT. DREAM GIRL SET Dream Girls lie bloody and flailing all over the set.",
"INT. BARRIS'S OFFICE - DAY FLEXNER And The Game Game has no life in it at all.",
"INT. GAME GAME SET The contestants on the set are all bloody and dead. An applause light flashes on and off, but the audience members are also dead.",
"INT. BARRIS'S OFFICE - DAY FLEXNER So I've been put in the unfortunate position of having to inform you that the network is canceling all four of these shows. Now do n't shoot me, Chuck, I'm just the messenger.",
"INT. BAR - NIGHT Barris drinks alone. He's sullen and sauced. BARRIS -LRB- to bartender. -RRB- They killed my babies. Just like that. I pushed them into the world through the birth canal of my imagination. Lovingly. Tenderly. Where's the humanity of these people? BARTENDER The fucking bastards. BARRIS What am I gon na do now? -LRB- sees pretty woman. -RRB- Hey there, can I buy you a drink? LARGE MAN What are you blind, asshole? This lady's with me. BARRIS -LRB- screaming. -RRB- Fuck you! The large man stands to face Barris. He is very large. Barris stands. The man swings at Barris. Barris easily deflects the punch, grabs the man's forearm and breaks it with a sickening crack. The man screams. Barris gets him in a chokehold from behind. The man whimpers and gags. BARRIS -LRB- CONT'D. -RRB- Let's see, if I remember correctly, the next move breaks your neck, which kills you instantly or paralyzes you. Depending on your luck. LARGE MAN Please. BARRIS -LRB- lets go. -RRB- Get out of here, you pussy faggot piece of shit dog - shit shithead. The large man hurries from the bar. Everyone in the bar, including the large man's date, watches Barris. BARRIS -LRB- CONT'D. -RRB- -LRB- to the woman. -RRB- Hi. I'm Chuck Barris, tv producer. Have you ever done any acting?",
"INT. BARRIS'S LIVING ROOM - NIGHT Barris and the woman from the bar are having sex on the couch. Penny enters. PENNY Hey, I was just in the - Penny sees Barris and the woman. PENNY -LRB- CONT'D. -RRB- What is she doing here, man? BARRIS She's - PENNY This is our house, man. Our house! It's one thing to go elsewhere for your pussy needs. But this is our house! BARRIS This is not our house, it's my house. PENNY It's our house! I found it with you. I decorated it for you! I spent six months sitting on that fucking couch she's fucking you on, fucking waiting for the fucking plumbers to come! God, you are such an asshole! Penny throws the house key at Barris. It hits him in the forehead. Then she turns and storms from the house. Barris looks over at the woman. She looks confused. WOMAN I should go. This does n't feel right. The woman stands, grabs her purse, pulls out an 8x10 glossy of herself and hands it to Barris, then exits. Barris stares at the photo for a moment, then opens a drawer and puts on top of a pile of similar photos.",
"EXT. PENNY'S APARTMENT BUILDING - NIGHT Barris pulls up, gets out of his car, and heads toward the building.",
"INT. APARTMENT HALLWAY - NIGHT Barris walks down the hall, carrying a bouquet of flowers. He arrives at Penny's door. There is an envelope attached to it with Barris's name on it. He opens the envelope and reads the letter. Dear Chuck, I'm dead now. I hope you're happy. The door's open. Love always, Penny. Barris hurriedly opens the door, enters the apartment looks around, finds Penny face down on the floor, surrounded by empty champagne bottles and vials of pills. He stares at her body for a moment, feeling faint. He drops to his knees. PENNY -LRB- face down. -RRB- Wan na see a stupid girl vomit?",
"INT. DINER - NIGHT Barris and Penny sit in a booth. Penny has black coffee in front of her. She is pale and drawn. PENNY Why were you with that girl in our living room? BARRIS It's not our living room, Pen. PENNY That's your defense? You know what it feels like to see you with someone else? In any living room. BARRIS You know who I am, Penny. I do n't force you to hang around. PENNY -LRB- incredulous. -RRB- You do n't force me? Fuck. So you're saying you have no interest in this, one way or the other? BARRIS No, I'm not saying that. PENNY Well, then, what are you saying, Chuck? Do you want me around or not? Do you even like me? BARRIS Of course I like you. PENNY How much? BARRIS What? PENNY I need to know how much you like me. BARRIS -LRB- beat. -RRB- I do n't even know what that means, `` how much?'' How can I rate a person in that way? That's ridiculous. PENNY You could if you felt it. If you felt it, it would be easy to rate me. You could spread your arms as wide as they would go and say, `` This much, Penny.'' BARRIS Everything's complicated, Pen. Nothing's black and white like that. PENNY Do you want me around or not? If you do n't, just say so, so I know. Okay? Barris and Penny look at each other. She starts to cry. BARRIS I love you, Pen, in my way. Maybe not in that crazy, head - over - heels thing, but what is that, anyway? Romantic love. Is n't that just an illusion? PENNY -LRB- beat. -RRB- But you just said you love me, right?",
"EXT. MOUNTAIN ROAD - NIGHT A non - descript American car is parked on the quiet wooded street. Barris pulls up in his Jaguar. He gets out of the car, looks in the window of the empty American car. BYRD -LRB- O.S. -RRB- Over here, Strawberry - dick. Barris looks over and makes out Byrd sitting on a rock with a view of L.A. spread out in front of him. Barris joins him. BARRIS Jesus, how do you know these things? BYRD We even know what she actually thought it tasted like. BARRIS Really? I could never find that out. What did she think? BYRD It's a `` need to know'', my friend. So tell me, what can I do you for? BARRIS I could really use an assignment, Jim. To straighten my head. BYRD I got something for your head.",
"INT. DATING GAME SET A Dating Game couple waits anxiously for host Jim Lange to announce their destination. JIM LANGE and we're the sending the two of you for three days and three nights to beautiful. West Berlin! The couple screams excitedly by reflect, but as the destination sinks in, their perplexity becomes apparent.",
"EXT. WEST BERLIN STREET - DAY Barris and the Dating Game couple walk along. It's cold and gray and they all wear heavy coats. The couple wear cameras around their necks. Nobody looks happy.",
"INT. BEER HALL - NIGHT Barris sits in the corner of this noisy, smoky place. He has a stein of beer and reads a paper as a group of drunken Germans in the background sing a song. Patricia Watson approaches and sits. Barris looks up and smiles. BARRIS Treesh. PATRICIA Leibchen. -LRB- kisses him, sits. -RRB- So, here's what we got. Name's Hans Colbert. -LRB- pulls out photos. -RRB- Other side of the wall. We do n't like him very much. BARRIS -LRB- singing Toot - toot - tootsie. -RRB- Bye - bye, Colbert, bye - bye. PATRICIA You'll work with a kraut named Keeler. He's been trailing Colbert for a month now. Knows the routine. Keeler's a drunk, so you stay sober and take charge. BARRIS -LRB- collecting photos. -RRB- Done and done. See you after? PATRICIA Prove how much you love me, baby. Kill for me. Then I'm all yours.",
"INT. TUNNEL - DAY Barris crawls through a long dirt tunnel. Telephone cables run along the floor. An occasional bare bulb lights the way.",
"INT. APARTMENT BATHROOM - DAY A middle - aged man stands in his underwear at a mirror and shaves. The stall shower pushes away from the wall revealing a hole. Barris steps through it, covered in dust. He nods at the shaving man. He nods back, hands Barris a gun and a change of clothes, and continues shaving.",
"EXT. APARTMENT BUILDING - MOMENTS LATER Barris exits the apartment building in the clean clothes. We see the East Berlin side of the wall in the background. A car pulls up and Barris gets in.",
"INT. CAR, RESIDENTIAL STREET - DAY Barris sits in the parked car with Keeler, a heavyset, silent German man with nicotine stained fingers and teeth. He is constantly smoking and writing in a tiny notebook. There is a long silence. BARRIS What you writing, Sig? KEELER I am keeping track of all the goings on on this street. Barris looks out the window. There is nothing going on, yet Keeler keeps writing. More silence. BARRIS Hey, Keeler, a bird just flew by. KEELER Yah. I know how to do my job.",
"INT. PARKED CAR - NIGHT Barris and Keeler are still in the car. Keeler continues to smoke and write. A well - rested, happy - looking Colbert walks by with a group of people.",
"INT. PARKED CAR - AFTERNOON Barris looks even more sickly. Colbert rides by happily on a tandem bike with a lovely woman on the back. Keeler continues to smoke and write.",
"INT. PARKED CAR - EVENING Barris and Keeler wait in the car. Colbert emerges from his house, alone, and walks toward the car. A drained Barris sighs a sigh of relief, then suddenly and with unexpected force, Keeler swings open the passenger door. The door hits a stunned Colbert and sends him flying. Keeler races around the car, grabs Colbert, throws him into the back seat, and jumps on top of him. Barris watches, surprised at the dramatic personality shift in Keeler. Keeler is strangling Colbert. A cigarettes is dangling casually from his lips as he does this. Keeler turns Colbert over so he's facing him, so he can watch him die. KEELER -LRB- calmly to Barris. -RRB- Under the seat, please. Barris reaches under the seat, pulls out a Polaroid camera. KEELER -LRB- CONT'D. -RRB- Please, if you do n't mind, a photograph. To remember. Barris is stunned, scared. He takes the photo. The flash illuminates the bulging - eyed Colbert and the calm Keeler.",
"INT. HOTEL ROOM - MORNING Barris types. A knock at the door. He looks up, panicked. BARRIS -LRB- falsetto. -RRB- Who is it? HOUSEKEEPER -LRB- O.S. -RRB- Housekeeping, Mr. Barris. Barris looks around. The place is a disaster. Food wrappers, crumpled papers, liquor bottles, strewn clothing, plastic army men set up for battle. He gets up, puts on a hotel bathrobe and his hat, grabs his gun, checks the peephole for a long moment, and answers the door. The housekeeper is plump and kind - looking. BARRIS Good morning, Mrs. Reynolds. HOUSEKEEPER -LRB- looking around. -RRB- Another rough night, huh? BARRIS -LRB- tapping his head. -RRB- The human psyche is a wondrous thing. HOUSEKEEPER -LRB- smiling maternally. -RRB- Yes, I know it is. -LRB- taking gun. -RRB- We do n't need this now, do we? Why do n't we just put this away? She puts the gun in a drawer, starts to pick up. Barris watches her, then : BARRIS Mrs. Reynolds, may I rest my head on your bosom for a little while? HOUSEKEEPER Oh, that does n't really seem like a very good idea, Mr. Barris. BARRIS I'm sorry. You're right. I just. I'm just without. comfort of any sort, and I. please forgive me. HOUSEKEEPER -LRB- smiles at him. -RRB- No harm done. Barris smacks himself in the head. BARRIS -LRB- bowing. -RRB- Thank you. Thank you. Thank you. You are a scholar and. HOUSEKEEPER It's fine, sir. BARRIS Mrs. Reynolds, what do you suppose God thinks of someone like me? HOUSEKEEPER God? BARRIS Yes, God. HOUSEKEEPER Well, Mr. Barris, your television shows have brought laughter and joy to millions of people. That's a very important thing, I think, in these difficult times. I would imagine God likes you very much. Barris smiles a rubber - band smile. BARRIS Thank you, that's very kind. -LRB- glances at her ample bosom. -RRB- So. I should get back to. HOUSEKEEPER Yes, of course, sir. Do n't mind me. Barris resumes typing. The housekeeper cleans.",
"EXT. EAST BERLIN STREET - EARLY MORNING A hollow - eyed Barris approaches the building that conceals the tunnel entrance. Suddenly there's a commotion on the quiet street. The shaving man is being led handcuffed out of the building by two trench - coated men. They shove him into a car. Barris continues to walk by, betraying no interest. He glances casually into the entranceway of the apartment building. Another trenchcoated man waits inside the shadows. The car drives away. Barris stops at the end of the block, stares at the imposing wall. BARRIS I'm really, really fucked. Another car pulls up next to him. Picard, a serious - looking Frenchman, sticks his head out the window. PICARD Get in. BARRIS What? Who the hell are you? PICARD No time. Get in or die. Barris hesitates, gets in. The car screeches off.",
"INT. PICARD'S CAR - CONTINUOUS Picard drives fast. Barris eyes him suspiciously, fingers his gun. Picard spots a Fiat in his rearview mirror. PICARD Merde. KGB. They know who you are, Monsieur Barris. It is their intention to kill you very much in East Berlin. Barris checks in the passenger side mirror. BARRIS Merde! MERDE! PICARD Not to worry, my friend. Picard speeds up dramatically, but continues to drive calmly. Barris is agitated. PICARD -LRB- CONT'D. -RRB- I am Paul Picard, by the way. Nice to meet you. Do not worry, I am not KGB. I do not want to kill you, I want you to live a long happy life and have many dancing grandchildren to admire. Picard screeches around a corner, then another one. He's lost the Fiat, for the moment.",
"EXT. QUIET EAST BERLIN STREET - EARLY MORNING Picard's car stops at the curb. Picard and Barris emerge. Picard opens the trunk. He lifts out a big folded - up clump of rubber with a an engine mounted on it. BARRIS What the hell is that? PICARD Your ride, Monsieur Barris. Picard unfolds the rubber mass. He pulls a cord and it begins to inflate. It is an airplane, a one person inflatable plane. BARRIS No fucking way. PICARD It's quite reliable and easy to operate. It will get you over the wall. Or you can stay here. In the German Democratic Republic. I will arrange for you to get a good factory job. No, you must fly, like Daedalus before you, to the freedom of the west. BARRIS Christ. What about you? PICARD They do not catch me, monsieur. This is my talent, to get away always. In guerre. In amour. This is my talent, and perhaps this is my curse.",
"EXT. BERLIN WALL - DAY The fully - inflated rubber plane flies down the street, dipping and rising erratically. The noise is deafening. Barris lies on his stomach and steers, looking petrified. He approaches the wall and manages to get the plane over it. The plane is shot by a soldier. Air hisses out.",
"EXT. CENTRAL PARK - DAY Barris sits on a park bench. Jim Byrd approaches, sits. BYRD -LRB- chuckling. -RRB- So, did you have a nice flight? BARRIS Fuck you, Jim. It was terrifying. BYRD Seems the KGB knew exactly what you were up to. You were there to kill Colbert, they were there to kill you. I'm thinking we got a mole. So much hate in the world, Chuck. BARRIS Am I in danger still? BYRD Jesus, yes. KGB did n't go out of business since yesterday, so far as I know. You're fucked, Chuck. But our main concern should be : if they know who you are, they know who I am. BARRIS Fuck off. What do we do? BYRD Bow out. Lay low. That's what I'm gon na do. You're lucky you have another career to immerse yourself in.",
"INT. REHEARSAL HALL - DAY Barris sits with a several network executive and some other staff members watching a fat man tap dance badly and, because of his weight, extremely loudly. It's painful for everybody to watch. The fat man finishes. BARRIS Thank you. Thanks. That was great. The fat smiles and exits. Barris puts his head in his hands. EXECUTIVE WOMAN I do n't know, Chuck. It's looking bleak. BARRIS There's got ta be somebody in America with some talent. Ted Mack got bookings every week. The executives look at each other. BARRIS -LRB- CONT'D. -RRB- Bring in the next thing. An assistant opens the door and a middle - aged woman in pale blue polyester pants and Joan Crawford painted on eyebrows enters with a guitar. She begins to sing a folk song, very sincerely, in a very off - key monotone. It's unbearable and depressing. Barris glances over at the executive ; she's checking her watch again. The song is endless. Barris's eyes grow cloudy.",
"EXT. FIELD - DAY This is the same field where Renda was shot. Now, the folksinging woman is in the field singing. Barris pulls out a gun and aims it at the woman. Her eyes widen in terror, but she keeps singing. A church bell chimes and Barris shoots her. She flies back, spurting blood. Her guitar hits the ground with a twang.",
"INT. REHEARSAL HALL - DAY Barris snaps out of his fantasy with renewed energy The folksinger is still droning on. BARRIS -LRB- ushering out. -RRB- Thank you. Thank you. We'll be in touch. That was wonderful. Barris closes the door behind the folksinger and turns to the executives. BARRIS -LRB- CONT'D. -RRB- We've been going about this all wrong. Rather than killing ourselves trying to find good acts, we just book bad ones and kill them. EXECUTIVE #2 Chuck, it's torture to sit through even one of these people - BARRIS We kill'em before they're through. As soon as it gets unbearable, we kill'em. Dead. EXECUTIVE WOMAN For God's sake, what are you talking about? BARRIS Celebrity judges ring a bell to end the act. to kill'em. And when you kill something, it stops. This I know to be true.",
"INT. GONG SHOW SET - DAY Barris and some suits watch from the booth as an octogenarian woman on stage sings `` Born Free'' in an impossibly high voice. Jamie Farr gongs the woman. The woman is angry. A vacuous host with great hair appears next to the woman. He seems genuinely agitated. HOST Why'd you do that, Jamie? This is someone's grandmother. She was really trying. JAMIE FARR This is The Gong Show, not the Van Cliburn eliminations. HOST This is a human being with aspirations. BARRIS -LRB- muttering. -RRB- Oh, fuck me. This guy sucks. He's bringing everyone down. The executives eye each other. EXECUTIVE WOMAN None of the hosts are getting it, Chuck. But we have a thought. BARRIS What? EXECUTIVE WOMAN You host. All the executives smile at Barris. EXECUTIVE WOMAN -LRB- CONT'D. -RRB- You get it. And we believe your awkward, non - professional, mumbling persona is exactly right for the show. BARRIS I do n't want to be on tv. EXECUTIVE WOMAN Listen, we ca n't sit through anymore of these test shows. Do it, Chuck, or we advise the network to pull it.",
"INT. BARRIS PRODUCTIONS - NIGHT Barris switches on the lights, walks through the empty bullpen area to his office, unlocks the door, enters.",
"INT. BARRIS'S OFFICE - CONTINUOUS Barris enters, stares out the window, looks at himself in a full - length mirror. BARRIS -LRB- stiff. -RRB- Ladies and Gentlemen, welcome to The Gong Show! I'm your host, Chuck Barris! -LRB- turns away in disgust. -RRB- Ucchhh. Barris sits behind his desk, draws a line down a piece of paper and writes `` Pros'' and `` Cons'' at the top of the page. He thinks. Under `` Pros'' he writes `` Become National Celebrity'', `` Get More Attention from Stewardesses'', `` Even more women will want to have sex with me''. Under `` Cons'' he writes : `` Easier target for KGB.'' He gets up, paces. Suddenly, a shot rings out. It comes through the window and shatters the mirror. Barris dives to the floor. More shots, crazy relentless shooting. Barris crawls on his belly to the window, carefully reaches up and lowers the venetian blinds just as another shot whizzes through. The blinds explode. The shooting stops He waits on the floor, shaking like a leaf. He pulls the list off his desk and writes under `` Pro'' : `` I need another hit before I die.''",
"INT. GONG SHOW SET - DAY Center - stage is empty. The band begins to play. The studio audience cheers. ANNOUNCER -LRB- O.S. -RRB- And now, here's the host and star of our show, Chuck Barris! The curtain rises. Barris appears in a tuxedo coat, denim work shirt, cowboy boots and a hat pulled down over his eyes. BARRIS Welcome to The Gong Show. Here's an esoteric act if there ever was one. Ephemeral. It's an ephemeral act. One that should get us our Emmy. Do we have an Emmy? We do n't? Well this should get us one. Anyway, ladies and gentlemen. Big Nose! Big Nose leaps onto stage. He is skinny, wearing a flowered shirt and a sarong, and playing a toy flute while dancing in ladies platform shoes. Suddenly he drops his flute, rips off his sarong, revealing polka - dotted boxer shorts and a yellow leotard. He rushes to a steamer trunk, opens it, and begins crazily pulling out endless amounts of old newspapers. Barris watches from the wings, mesmerized. Big Nose is gonged. Barris dances out onto stage to join him. BIG NOSE Why? Why? Why? BARRIS I do n't know. I do n't understand. Barris glances out into the audience. Something glints. Is it a gun. He starts to sweat. Jaye P. Morgan is saying something about Big Nose. But we ca n't understand it. The audience laughs. Barris continues to scan the audience. Someone in headphones signals Barris from behind a camera. BARRIS -LRB- CONT'D. -RRB- -LRB- to Big Nose. -RRB- Well, win a few, lose a few. -LRB- to audience. -RRB- We'll be back with more stuff. right after this message. Barris waits on his mark for the taping to again begin. He watches the commotion around him with eagle eyes : technicians and stagehands running around, the audience chanting `` Chuckie Baby'', the celebrity panel joking with each other, the guys in the booth smoking, the guys in the band laughing. Barris turns around and around on his mark, trying to catch every movement, looking for a gun, a suspicious character. The chanting continues, louder and more distorted. The faces in the audience turn grotesque. Barris sweats profusely, his breathing becomes more and more shallow. Suddenly his eyes roll back in his head and he drops to the stage floor, unconscious. VARIETY : GONG SHOW EM - BARRIS - MENT OF RICHES HOLLYWOOD REPORTER : KING GONG! L.A. TIMES : BARRIS'S TALENT SHOWS DAILY NEWS : GONG HO!",
"INT. HOSPITAL ROOM - DAY We see Barris in bed, hooked up to machines The executive woman sits by his bed showing him the headlines. EXECUTIVE WOMAN You ca n't quit. BARRIS I ca n't quit? But I get panicky, Louise, in front of all those people. EXECUTIVE WOMAN You lack confidence, that's all. BARRIS I lack confidence? EXECUTIVE WOMAN But we'll take care of that. We'll get you some confidence powder. Leave that to us. BARRIS Confidence powder? EXECUTIVE WOMAN Nose candy, Chuck. Blow. Snow. Flake. BARRIS Blow, snow, flake? EXECUTIVE Coke. BARRIS Oh. Coke. Okay. Does that work?",
"INT. GONG SHOW SET - DAY Barris on stage introducing an act. He is very confident. BARRIS Ladies and gentlemen, oh, this act is amazing, your gon na love this act. I'm telling ya. All the way from Pacoima. David Pincus! The curtain rises. A young man with a square of Plexiglass in his hands, presses his lips against the Plexiglass and blows. It makes a farting noise and allows to the audience to see inside his mouth.",
"INT. WINGS - CONTINUOUS Barris snorts some cocaine. We hear the act and audience `` booing'' and yelling `` Gong him!'' in the background.",
"INT. COFFEE SHOP - DAY The actual Jaye P. Morgan is being interviewed. ACTUAL JAYE P. MORGAN Chuck was real different on stage and off. Very tense. He was always looking over his shoulder. Even when we were fucking. Sort of an enigma.",
"INT. GONG SHOW SET - DAY Barris dances onstage with Gene Gene the Dancing Machine.",
"INT. SUBURBAN LIVING ROOM - DAY The actual Gene Gene is being interviewed. GENE GENE Oh yeah, a real Jekyll and Hyde. Sometimes nice as you please. Give you the shirt off his back. Other times he'd rant like a crazy man. I remember once he screamed at me that I did n't know anything about dancing. `` Nijinsky,'' he yelled, `` now there was a dancer!''",
"INT. GONG SHOW SET - DAY A black guy with weird teeth and a speech impediment attempts stand - up. He looks petrified. BLACK COMEDIAN Today I had a bad day today. The audience yells `` How bad was it?'' This throws the performer. Finally he continues. BLACK COMEDIAN -LRB- CONT'D. -RRB- It was so bad, my wife did n't even know how to cook. That barracuda took an egg, put it in a pot of water, and burned the water. We had to rush that to the hospital. The audience boos. BLACK COMEDIAN -LRB- CONT'D. -RRB- My mother - in - law. The booing continues. The comedian ca n't take it. He looks disoriented. He turns away from the audience and puts his head in his hands. Jamie Farr gongs him.",
"EXT. SWIMMING POOL - DAY The actual Jamie Farr sits next to the pool. In the background we see a couple of kids with enormous noses splashing around in the water. JAMIE FARR Chuck used to love to discuss philosophy. I think he was very saddened that the public saw him as this sort of spastic moron. I remember at the time I was reading Wittgenstein. And Chuck was just thrilled to have someone else in addition to Rex Reed to talk about that stuff with.",
"INT. BARRIS'S BEDROOM - LATE NIGHT Barris lies in bed next to Patricia. It's 12:30 AM. He's chatting on the phone, lazily twirling the cord. Patricia reads. BARRIS Look, Jamie, you know as well as I that language does not exist without an outward criteria. JAMIE FARR -LRB- TELEPHONE VOICE. -RRB- Certainly. Wittgenstein said as much in Investigations. But if you read Ryle carefully - PATRICIA -LRB- looking at clock. -RRB- Chuck. BARRIS Can we pick up tomorrow? JAMIE FARR Yeah. But consider my thinking on elementary propositions. I'm serious. BARRIS Will do. Love ya. JAMIE FARR Right back at ya, amigo. Barris hangs up. Patricia kisses him. She pulls away. PATRICIA I'm concerned about you. I think you need to get back into the life. Our sex was always amazing after you killed. Truth is you're not that great after your discussions with Jamie Farr. The phone rings. PATRICIA -LRB- CONT'D. -RRB- Oh, c'mon. BARRIS -LRB- picks up. -RRB- Jamie, I ca n't talk anymore tonight - KEELER -LRB- O.S. -RRB- -LRB- telephone voice. -RRB- This is Siegfried Keeler. I need to see you. Barris jerks up, surprised, alarmed. Patricia watches him. BARRIS -LRB- V.O. -RRB- Assassins do not fraternize. That Keeler was calling me could mean it was my turn to get hit. KEELER -LRB- O.S. -RRB- -LRB- phone voice. -RRB- I am in town on business, Chuck. And I desire nothing more than your company for dinner. I consider you one of my closest friends. BARRIS Sure. Dinner sounds good. There's a place called La Scala. See you there at eight. Barris hangs up. PATRICIA -LRB- eyes closed. -RRB- Dinner sounds good with whom? BARRIS Keeler. Patricia glances over at Barris. They stare at each other.",
"EXT. LA SCALA PARKING LOT - EVENING Barris pulls into the parking lot. As he waits for the valet parking attendant to get to him, he adjusts the gun strapped to his ankle.",
"INT. LA SCALA - EVENING Barris enters the crowded restaurant, looks around, spots Keeler sitting at a table in the rear. As he makes his way back, Barris shakes hands and says hello to several early seventies tv celebrities scattered throughout the restaurant : Carrol O'Connor, Joanne Worley, Flip Wilson, Ron Palillo. Barris arrives at Keeler's table. Keeler rises and embraces Chuck. He's already drunk. They sit. KEELER A very fancy place. BARRIS Only the best for my friend. KEELER The friendships one develops during wartime are remarkably strong. BARRIS Yes. There is an awkward silence. KEELER So how is the business of television? Barris, pleased to have something to talk about, rambles. BARRIS Well, it's hit and miss. I've got a new show called `` Operation Entertainment'' which I believe is going to kill. It's sort of a Bob Hope visiting the troops thing, but it's weekly and. Keeler is staring right through Barris. KEELER Why do you do what you do, Chuck? BARRIS Well, I like to think that I bring joy and laughter to millions of people. I'm not saying that my shows are as good as they could be. Yet. But - KEELER Why do you kill? Barris looks around, clears his throat. BARRIS Oh. KEELER During the second world war, I had the pleasure of killing. Yes, pleasure. I found it exhilirating. Afterwards, I could find nothing else to fill me so much with life. So I became what I am today. I wanted the exhiliration again. of death. The waiter appears. WAITER Are you gentlemen ready to order? KEELER I'll have the shrimp scampi and a green salad. WAITER And for you, sir. KEELER Um, Just give me a steak. Rare. WAITER Thank you. The waiter leaves. Keeler sips his drink, stares at Barris. KEELER `` Whatsoever thy hand findeth to do, do it with thy whole might. Work while it is called, for the night cometh wherein no man can work.'' BARRIS That's Carlyle! KEELER Yes. BARRIS It's amazing you should quote him. He's my hero. KEELER I read in a book recently that killing your first man is like making love to your first woman. Every smell, every nuance, you remember with a special allure, as if the acts had occured outside civilization, outside time. And when the allure is gone, you are condemned. BARRIS Condemned? KEELER I am condemned to live the rest of my life outside civilization. You will be too, my good friend. Barris looks into Keeler's hollow eyes.",
"EXT. TERRACE - DAY The actual Barris puffs on his cigar. ACTUAL BARRIS The next day I heard Keeler offed himself.",
"EXT. L.A. HOTEL - NIGHT Keeler falls silently in slow motion from a very high window. ACTUAL BARRIS -LRB- V.O. -RRB- You never really know in the world of espionage if something labeled a suicide actually is a suicide. But he was dead. That I knew.",
"INT. MARTONI'S - NIGHT Barris eats dinner with Penny. Barris seems depressed. Penny is reserved. PENNY When you called, I was n't gon na come. BARRIS I'm glad you did, Pen. PENNY I said to myself, enough. Enough of this jerk already. Enough. BARRIS I could see how you would feel that way. PENNY But I've come upon something interesting through my delvings into human psychology. It's called TA, Transactual Analysis. BARRIS Transactional Analysis. PENNY Now see, by correcting me you're responding as `` Parent'' to my `` Child.'' -LRB- authoritative voice. -RRB- `` Here's the proper way to say this word, Penny.'' But that's okay. As long as we both understand that's what you're doing. Y' know, I'm okay, you're okay. So what's wrong, Chuck? Are you okay? BARRIS A guy I knew killed himself last night. PENNY My God. Everyone you know kills themselves. Or tries. Who is it this time? BARRIS You do n't know him. A stagehand. PENNY Why'd he do it? BARRIS He did n't like his work anymore. PENNY Is being a stagehand really bad or something? BARRIS -LRB- beat. -RRB- Yeah, it's pretty bad. Patricia storms up to the table. PATRICIA You were supposed to meet me at The Palm two hours ago. BARRIS Oh fuck, I forgot. PENNY Who is this? PATRICIA I do not get stood up. Do you understand? BARRIS Um, Penny, this is Patricia. -LRB- to Patricia. -RRB- How did you find me? PATRICIA Are you serious? That's what I do for a living. PENNY Who's Patricia? What does she mean, that's what she does for a living? PATRICIA You're dead in my book, Strawberry - dick. PENNY Strawberry dick? What's that? PATRICIA There is no second chance. Get it? -LRB- to Penny. -RRB- Nice meeting you, Penny. I've heard a lot about you. -LRB- to Barris, walking away. -RRB- Oh, by the by, Byrd's dead. Patricia exits. Penny just looks down at the table. PENNY And. and okay. I'm only gon na give you one more chance, man. That's it. Get it?",
"INT. BARRIS'S ROLLS ROYCE - NIGHT Barris snorts some coke, pulls out of the studio parking lot. The sound of his heart beating pounds in his ears. Another car pulls behind him. A wired Barris notices the car in his rearview mirror. He turns. The other car turns also. Barris speeds up. So does the other car. Barris panics ; he tries to lose the other car. A chase ensues. Finally Barris screeches to a halt, pulls a gun from his glove compartment. The second car screeches to a halt behind him. Barris already out of his car and at the driver's side window of the second car. He looks in and sees there are two petrified teenagers, a boy and a girl, holding up their hands. Barris pulls open the door. BARRIS -LRB- screaming. -RRB- Who sent you?! Who the fuck sent you?! TEENAGE BOY Nobody, man. We just waited for you to leave after the show. We just think the show is cool. We just think you're cool. The girl is crying. TEENAGE GIRL Please do n't kill us. Barris points the gun at them for a long while, his hands shaking wildly.",
"INT. GONG SHOW WINGS - DAY Barris stands backstage waiting for his cue. The Unknown Comic appears next to him, wearing a paper bag with two eyeholes cut out over his head. Barris glances over at him. UNKNOWN COMIC Hey, Chuck. Barris does n't say anything. He studies the bag. Barris pulls a pistol from an ankle holster, and jams it against the bag. BARRIS Take it off. UNKNOWN COMIC Huh? BARRIS The fucking bag. Take it off. The Unknown Comic takes the bag off. He looks terrified. Barris stares him down. ANNOUNCER -LRB- O.S. -RRB- Ladies and Gentlemen, Chuck Barris! Barris dances onto the stage.",
"INT. GONG SHOW SET - CONTINUOUS Barris is clapping his hands together. He looks happy and relaxed. The audience is cheering. BARRIS Here he is, the Prince of Puns, the Wizard of Whoopee. The Unknown Comic! The Unknown Comic appears upstage with bag on head. UNKNOWN COMIC Chuckie Baby, Chuckie Baby, Chuckie Baby. BARRIS What? What do you want? UNKNOWN COMIC What's the difference between toilet paper and a shower curtain? BARRIS I do n't know. UNKNOWN COMIC -LRB- calling off. -RRB- Here's the guy! The audience laughs. Barris feigns annoyance and pushes the unknown comic off the stage. BARRIS Get out of here. UNKNOWN COMIC -LRB- for Barris's ears only. -RRB- You're fucking crazy, man.",
"INT. BARRIS'S OFFICE - DAY Barris sits behind his desk, drinking and popping pills. Loretta pokes her head in. LORETTA Phone call from someone named Tuvia. BARRIS Who?! LORETTA Tuvia? BARRIS I'll take it! Do n't hang up! Barris picks up the phone. BARRIS -LRB- CONT'D. -RRB- Hello? TUVIA -LRB- O.S. -RRB- Hello, is this Chuck Barris? BARRIS Yes. TUVIA -LRB- O.S. -RRB- Oh, this is Tuvia Feldman. I do n't know if you remember me - BARRIS Of course I do. TUVIA -LRB- O.S. -RRB- I'm in town and I've been following your career and I wondered if you might want to get a drink. For old times sake.",
"INT. CHILDHOOD BEDROOM - DAY Tuvia plays with the dog. White panties are revealed. BARRIS -LRB- V.O. -RRB- Sweet Tuvia.",
"EXT. FRONT PORCH - DAY Adult Tuvia answers the door with her baby. BARRIS -LRB- V.O. -RRB- Ripe Tuvia.",
"INT. BAR - NIGHT Barris waits in a booth, anxiously eyeing the door. A guy approaches. GUY Hey, Chuck, I got a talent. BARRIS Not now. GUY Just take a second. The guy gets down on all fours and starts barking and panting like a dog. It is a repulsive and frightening sight, but Barris becomes transfixed by it and can not take his eyes off the guy. TUVIA -LRB- O.C. -RRB- Chuck? Barris tears his eyes away from the dog guy to look at Tuvia. She is an older middle - aged lady. Younger than Chuck, but clearly of no interest to him. The disappointment on his face is palpable. TUVIA -LRB- CONT'D. -RRB- It's Tuvia! Remember? Hi! BARRIS -LRB- V.O. -RRB- Old Tuvia. BARRIS -LRB- CONT'D. -RRB- Hi. TUVIA You look great.",
"INT. BAR - LATER Barris sits in a booth across from Tuvia. The relationship has shifted once again. Now middle - aged Tuvia is trying to flirt. As they talk, she touches his arm repeatedly. She laughs at everything he says. She reapplies lipstick as they talk. There's a quiet desperation in her eyes. Barris is pleasant but unengaged. BARRIS -LRB- V.O. -RRB- Ah, Tuvia. The fantasy of Tuvia forever cast out by the reality of Tuvia. Finally, because of my fame and her desperate straits, her poverty and single parenthood, she was going to submit to me. Finally I could've had her. I could've had what had so long eluded me. But now she was old and I was n't interested.",
"INT. TRAIN - NIGHT Middle - aged Tuvia staring out at the night - time landscape in the darkened train car, her suitcase on the seat next to her.",
"INT. BARRIS'S BEDROOM - NIGHT Barris is having sex with two twenty year old nymphettes The drugs and alcohol flow freely. He seems to be enjoying himself but there is a hollowness in his eyes. BARRIS -LRB- V.O. -RRB- Tuvia was old, but not me. I was the Game Show King.",
"INT. GONG SHOW SET - DAY The rabid audience members chant, `` Chuckie Baby, Chuckie Baby, Chuckie Baby.''",
"INT. BARRIS'S OFFICE - NIGHT Barris snorts Coke in the darkness.He scans an article headlined : `` Chuck Barris is the Decline of Western Civilization.'' The phone rings, alarmingly breaking the stillness. BARRIS What? TELEPHONE VOICE Paul Picard is dead.",
"EXT. EAST BERLIN STREET - EARLY MORNING Barris looks down from the plane as Picard, on the ground, runs after it. PICARD -LRB- yelling. -RRB- Fly, Daedalus, fly!",
"INT. BARRIS'S OFFICE - NIGHT Barris hangs up the phone. He stares off into the distance. The phone rings again, again shattering the silence.",
"INT. GONG SHOW SET - DAY Barris on stage with red stocking hat. BARRIS This is the moment we've been waiting for. The contestants appear on stage. BARRIS -LRB- CONT'D. -RRB- The winner is Miss Tiny Brooks! A model appears with a trophy and a big check and hands it to an enormously fat woman. The other contestants appluad. two midgets dance. The band plays. A massive amount of confetti and balloons fall on everyone.",
"INT. AUDITORIUM - NIGHT It's the Emmy Awards. Barris is in the audience, next to his starlet date. He sweats through his tuxedo, fidgets. Ed Asner and Caroll O'Connor are on stage presenting. ED ASNER And the winner is Taxi! The Taxi theme starts as the winners make their way to the stage. ED ASNER -LRB- CONT'D. -RRB- James L. Brooks, Stan Daniels, and Ed. Weinberger, executive producers. The starlet whispers into Barris's ear, outraged at the unfairness. STARLET I do n't see why your shows are never nominated. Barris looks sick. Jim Brooks is on stage accepting. JAMES L.BROOKS And I honor you, members of the academy, for recognizing and supporting high quality television.",
"INT. BATHROOM - NIGHT Barris is locked in a stall, vomiting. The door to the bathroom opens. Someone enters. Barris peeks through the closed stall door. It's Jim Brooks, whistling and holding his Emmy. He places it next to the sink, unzips his fly and pisses. An agitated Barris pulls his gun from his ankle holster, opens the stall door a crack, and shakily aims the gun at Brooks' back.",
"EXT. TERRACE - DAY ACTUAL BARRIS But as I stood there, I realized, I could n't kill Jim Brooks, the man who was responsible for such good stuff : Mary Tyler Moore, Rhoda, Cindy, Phyllis, episodes of My Friend Tony. I loved those shows as much as anybody in America.",
"INT. BATHROOM - NIGHT Barris is crying. He turns the gun away from Brooks, almost against his will, and sticks it in his own mouth. After a moment, he realizes he ca n't do that either. ACTUAL BARRIS -LRB- V.O. -RRB- I could n't kill either of us, so I let us both live. Jim Brooks and me. The rest is history. Barris puts the gun away, flushes the toilet and exits the stall. BARRIS Hey, congratulations, Jim. Brooks turns and looks at Barris. He smiles. JAMES L.BROOKS Oh, hey! Thanks. BARRIS Chuck Barris. The Gong Show. JAMES L.BROOKS Oh, right. Hey, thanks, Chuck. BARRIS Once again you deserve it. Your shows are the greatest. You bring so much. quality to the medium. JAMES L.BROOKS Thank you. I appreciate that. I really do They smile and nod at each other awkwardly. Chuck waits for some sort of return of the compliment. It does not come. They continue to nod at each other.",
"INT. OFFICES OF GRACIE FILMS - DAY The actual Jim Brooks is being interviewed. ACTUAL JIM BROOKS I do n't really remember ever meeting Chuck Barris. INTERVIEWER -LRB- O.C. -RRB- In the men's room at the Emmys, he says. Brooks thinks, looks at interviewer. ACTUAL JIM BROOKS I'm not saying it did n't happen. I'm just, y' know. If he remembers it, I'm sure it happened. Really does n't seem like much of an anecdote though.",
"INT. CHATEAU MARMONT BUNGALOW - NIGHT A big party is in progress. The place is packed. Late seventies celebrities abound. Alan Alda is there. Burt Reynolds, Jamie Farr, Jaye P. Morgan, Gene Gene the Dancing Machine, Pam Dawber, Farrah Fawcett Majors and Lee Majors, John Belushi. Chuck Barris steps out of the bathroom, drink in hand. He wipes his nose like someone who's just snorted coke. He wanders disconsolately and slightly wild - eyed through the crowd. He sits in a chair. A man sitting across from him looks at Barris. His eyes light up. PARTY MAN #1 Hey, you're Chuck Barris! BARRIS Yeah. PARTY MAN #1 I love your show! BARRIS -LRB- unenthused. -RRB- Great. I'm just heading - PARTY MAN #1 I have a talent I think you'd really appreciate. BARRIS Uh - huh. Party Man # 1 begins farting `` Jingle Bells.'' Barris gets up and moves away. PARTY MAN #1 -LRB- calling after. -RRB- Hey, did n't you ever hear of Le Petomane? He was a star, buddy! These are totally smell - free! Barris settles by the fireplace. A pretty woman approaches, smiling. PRETTY WOMAN Hi. BARRIS Hi. PRETTY WOMAN I thought it was you. BARRIS -LRB- bowing. -RRB- It's me. PRETTY WOMAN I'm glad to meet you because I wanted to tell you that I've seen The Gong Show and I think you are the most insidious and despicable force in entertainment today. BARRIS Well - PRETTY WOMAN How dare you subject the rest of the world to your loathsome view of humanity. BARRIS I do n't think it's that loathsome. PRETTY WOMAN What is it then? To mock some poor, lonely people who just crave a little attention in their lives. To destroy them. So everybody's not brilliantly talented. They're still people. They deserve respect and compassion. I mean, who the hell are you? What the fuck have you ever done that elevates you above the pathetic masses? Oh, I forgot, you created The Dating Game. Wow, right up there with the Sistine Chapel. I guess that's what gives you the right to. BARRIS Excuse me, I've got to - Barris loses himself in the crowd. He hurries past a guy who recognizes and starts chanting. PARTY MAN #2 Chuckie Baby! Chuckie Baby! Chuckie Baby! Barris turns and makes his way through the crowd to the door.",
"EXT. SUNSET BLVD - NIGHT Barris makes his way down the crowded street. People stare, turn their heads to gawk. We hear over and over again : `` Hey, is n't that Chuck Barris?'' and `` Hey, look, The Gong Show guy!'' , and `` Chuckie baby, Chuckie baby!'' Barris smiles wanly and nods. People shove paper and pen in his face and he scribbles autographs without stopping. Sweat forms on his brow. His polyester shirt is drenched. BARRIS -LRB- V.O. -RRB- She was right. What the hell had I done with my life? Among the fans on the street, Barris spots the fat bachelor he killed in London. He sports a bullet hole in his head Barris does a double take. BARRIS -LRB- CONT'D. -RRB- Wait, you're that guy. You're dead. This is screwy. FAT BACHELOR I only want to be loved. BARRIS That's all I fucking wanted! Barris hurries away from the fat bachelor. He begins to spot others converging on him : the corpses of those he killed, bloody and disfigured. Crazy, angry - looking gonged Gong Show contestants appear in the crowd with weapons. KGB agents in trench coats and sunglasses wield guns, Day of the Dead skeletons dance after him. Barris breaks into a run. Suddenly confetti and balloons pour down on him out of the L.A. night sky. Barris dashes across the street, almost getting hit by a car. He ducks down an alley to catch his breath. As he leans against the wall and heaves, a middle - aged woman appears, somewhat backlit by the street light. MIDDLE-AGED WOMAN Mr. Barris? BARRIS No, I'm. MIDDLE-AGED WOMAN My name is Louise Wechsler and I'm here from Tulsa with my family and. BARRIS Please, I'm not feeling well. MIDDLE-AGED WOMAN Just a moment of your time. I love your show. And, well, I, sort of, have a talent myself. BARRIS You can stop by the office to audition tomorrow. The woman continues to approach. MIDDLE-AGED WOMAN Well, I'm leaving tomorrow and I was just wondering. See, I dance a little and I was just wondering - There's no way out of this. Barris sighs. BARRIS Yeah, all right. Go ahead. Barris turns to face the woman, who's very close now. She starts to dance around, sort of ballet - like, very badly. Barris watches. She pirouettes, arms above her head. BARRIS -LRB- CONT'D. -RRB- Very nice. Something in her hand glints in the light. Barris reflexively grabs her arm. It's an ice pick. The two wrestle for it. The woman is extremely strong. Barris jams the palm of his hand up into the woman's nose. She staggers back, but does n't drop the ice pick. Barris leaps at her. The two roll on the ground. The woman pins Barris. She straddles him and is about to stab him through the air. Barris reaches under her skirt and grabs her crotch. The middle - aged woman is a man. He screams in a distinctly male voice. Barris takes the moment of distraction to grab the ice pick and jam it up through the assailant's chin and into his brain. The assailant slumps over. Barris pushes the body off himself, kneels beside it, and pulls off the wig. He gets up, shaking and heaving. He looks at the body one more time, kicks it in the head with all his might.",
"EXT. TERRACE - DAY ACTUAL BARRIS That was it. I just disappeared. The network had to put The Gong Show into reruns. It was 1981. I holed myself up in this hotel in New York. Parker Hotel.",
"INT. HOTEL ROOM - DAY SUBTITLE : NEW YORK CITY, SPRING 1982 We see Barris from above, shivering and naked in the corner. The manuscript pages are piled high next to the typewriter. Barris looks up at the camera with outstretched arms, appealing to the gods. BARRIS Who Am I? There is a pounding on the wall from a neighbor. NEIGHBOR -LRB- O.S. -RRB- Who cares? Shut the fuck up! There's a knock at the door. Barris crawls toward it, peeks through the peephole. BARRIS Fuck. Shit. Piss. Barris unlocks the door. Simon Oliver stands there. OLIVER Barris. BARRIS How'd you know where I was? OLIVER Chuck, Chuck, Chuck, do n't be an orangutan. We always know where you are. We always know what you're doing. By the by, I'd think twice before I'd attempt to get that tripe you're writing published. And there's a typo on page - BARRIS Look, what do you want, Oliver? I do n't work for you anymore. I have things to. Barris trails off. OLIVER I'd like you to come back for one last assignment, Chuck. BARRIS No. Now get. Good - bye OLIVER I think you might be interested when I tell you it's the mole who fingered your friends Jim Byrd and Paul Picard. and Seigfried Keeler. BARRIS Keeler committed suicide. OLIVER Yes, of course he did. He threw himself from a twentieth floor window after he strangled himself to death with an electrical cord. BARRIS -LRB- beat. -RRB- I'm not interested, Oliver. OLIVER As long as the mole's alive, you do n't have a chance in hell of remaining so. Besides, killing is in your blood, old man. You fit the profile. Barris lunges at Oliver, pushes him against the wall. BARRIS That fucking profile again! What's the fuck is it?! What the fuck do you bastards know about me, that I do n't?! OLIVER Indeed. Where to begin. First, let go of me. Barris lets go. Oliver sits in a chair, straightens his shirt. OLIVER -LRB- CONT'D. -RRB- Let's see. Well, you had a twin sister, stillborn, strangled by your umbilical cord. Your first hit, Chuck. Your mother always wanted a daughter. She blamed you for your sister's death. And, so, until your sister Phoebe was born, she raised you as a girl. BARRIS That's not true. OLIVER Oh, and your father the dentist? Not really your father. Your biological father was a man named Edmund James Windsor. A serial killer. A fact your mother did n't know when she had an affair with him in 1930. If you want to look him up, he was also known as the Tarrytown Troll, because he had been described by witnesses as short and ugly. Windsor died in the electrical chair at Ossining in 1939. We believed your self - loathing tendencies coupled with that extra Y chromosome and whatever else you inherited from your father would serve us well. BARRIS You're lying. OLIVER I'm trying to think what more I can tell you. I'm sure there's more. But you have me at a disadvantage here, Barris. I do n't have your files in front of me. BARRIS Just leave me the hell alone! OLIVER Your mother always loved the game shows, and you so wanted to please her. We never expected the game show business to work out for you. But that it did, turned out to be in our favor. I guess your need to be a good daughter drove you more than we anticipated. Barris lunges at Oliver. The two wrestle on the floor. Barris punches him repeatedly in the face.",
"INT. HOTEL ROOM - MORNING Barris lies sleeping in a tangle of sheets. There's blood on his hands. A knock at the door. Barris jumps awake, grabs his gun. He looks around. The room is a mess, stuff knocked over. There's been a fight. He sees his bloody hands. Another knock. BARRIS Huh? What? PENNY -LRB- O.S. -RRB- Chuck? It's Pen. Barris brings his gun with him to the door, looks through the peephole, then opens the door. Penny stands there, takes in the room, the mess, the haggard Barris. PENNY -LRB- CONT'D. -RRB- Oh, Chuck. BARRIS Jesus, how'd you find me? Am I listed in some guidebook or something? PENNY You sent me your last letter on hotel stationary. BARRIS Oh. Well, it's great to see you, Pen. You look beautiful. Barris hugs her. PENNY I do n't really. But I appreciate the lie. I know how you hate lying. -LRB- looking around. -RRB- Boy, this place is scary looking. BARRIS Yeah. -LRB- taps his head. -RRB- The human psyche. PENNY I came to take you back to California with me. It's a lonely state without you. BARRIS I do n't know, Redhead. PENNY I ca n't wait forever for you to ask me to marry you, you know. Well, apparently I can. But I really do n't want to. Chuck. BARRIS Pen. PENNY -LRB- crying. -RRB- I love you so much. You do n't understand. I do n't even know why. You're such a schmuck. BARRIS You do n't know the half of it. PENNY You're not gon na marry me, are you? BARRIS I do n't know if I can. Penny nods her head and leaves. Barris watches her go, then falls to the floor and weeps.",
"EXT. PLANE - DAY",
"EXT. UNION OYSTER HOUSE, BOSTON - NIGHT",
"INT. UNION OYSTER HOUSE, BOSTON Barris, dressed in a suit, sits with Patricia Watson. He smiles across the table at her. PATRICIA I ca n't believe you finally left your two - hundred - dollar - a - night cave to see me. I'm honored. BARRIS Y' know, I got a visit this morning from Penny. She's wanted to marry me forever. But she does n't know who I am, what I've, what I'm capable of. And she ca n't ever know. So what does she really love? A lie. And I started thinking, Treesh, you are the only woman in the world who truly knows me. I know I've screwed you over in the past, and I'm really sorry. I just want you to know that you're the one I want to be with. I love you, Treesh. Patricia looks at him. Her hard - as - nails demeanor softens. She smiles. Barris smiles and reaches across the table for her hand.",
"EXT. WHARF - NIGHT Barris and Patricia stand looking out at the harbor. BARRIS I hate myself for how I've lived, Treesh. PATRICIA Neitzsche said, `` Whoever despises oneself still respects oneself as one who despises.'' BARRIS I never thought of that. Jesus, I ca n't even despise myself with any insight. PATRICIA Insane asylums are filled with people who think they're Jesus or Satan. Very few have delusions of being the guy down the block who works at an insurance company. Wonder what that means. BARRIS Y' know, I wanted to be a writer once. I wanted to write something that someday some lesser person would quote. But I never did. I'm the lesser person, Treesh. I never said anything meaningful that was n't said by somebody else first. I am disposable. I disposed of people and I am disposable. -LRB- beat. -RRB- You look cold. Barris drapes his jacket over Patricia's shoulders. PATRICIA Chuck, what's gotten into you? You're actually acting like a gentleman. Barris kisses her. She lets him. PATRICIA -LRB- CONT'D. -RRB- Well, it's late. I should get going. BARRIS I suppose you still wo n't tell me where you're staying. PATRICIA No. But I'll show you. She takes his hand. They walk off.",
"INT. PATRICIA'S HOTEL ROOM - NIGHT Patricia enters followed by Barris. She turns on the light. PATRICIA Drink? BARRIS Sure. Bourbon. Patricia pours some drinks. There are a couple of chairs near the window. Barris sits in one. PATRICIA I've been thinking a lot about you lately, Chuck. BARRIS Yeah? Patricia approaches Barris with the drinks, hands him one. PATRICIA I've missed you. BARRIS You could've fooled me. PATRICIA Well, I've mellowed. Patricia takes Barris by the hand, leads him to the window. PATRICIA -LRB- CONT'D. -RRB- Look. Boston's a beautiful city. We could start over here. A normal person's life. Together. Selling insurance. BARRIS That sounds right. Patricia flops down in the chair that Barris had been sitting in. Barris sits in the chair across from her. Patricia raises her glass. PATRICIA To life. BARRIS To life. Patricia casually slides her hand under the chair cushion. In one swift move, Barris pulls a gun from his ankle and shoots Patricia three times, twice in the head, once in the heart. The force of the bullets has tipped the chair over. Patricia lies sprawled on the floor. BARRIS -LRB- CONT'D. -RRB- -LRB- bitterly. -RRB- L'Chaim. Barris stands and looks at Patricia's body. She holds a gun.",
"INT. QUIET CAFE - MORNING Simon Oliver sits sipping an espresso. He has a black eye and bruised face. Barris enters, looking haggard. He sits and stares at Oliver. BARRIS It's done and I'm done. Agreed? OLIVER Agreed. But if you get antsy. and you will. Oliver smiles and walks off. Barris sits for a moment, then stands, walks over to a payphone and dials. BARRIS Hey, Redhead?",
"INT. CHAPEL - DAY Barris and Penny are getting married surrounded by friends in a small chapel. JUSTICE OF THE PEACE We have come here today to join together Penny Pacino and Chuck Barris. You all know Chuck Barris : the creator of The Dating Game, The Newlywed Game, The Family Game. Barris looks at Penny. Should he slug this guy? She gives him a `` be patient'' look. JUSTICE OF THE PEACE -LRB- CONT'D. -RRB- The Game Game, Dream Girl of 1968, Operation Entertainment, How's Your Mother - in - Law? and many others. Chuck Barris who most recently brought us such hits as The Rah - Rah Show, Treasure Hunt, Leave it to the Women, The Dollar - Ninety - Eight Beauty Show, and The Gong Show. The Chuck Barris, who I'm sure will be back with even more shows to.",
"EXT. CHAPEL - DAY Well - wishers, family, fans, photographers, reporters, and passers - by are lined up on either side of a red carpet that leads from the chapel to a limousine waiting at the curb. Barris and Penny emerge from the chapel. Everyone cheers, photos are snapped, rice and confetti are thrown, as the happy newlyweds make their way to the limo, Barris spots a pinky - ringed hand in the crowd holding a gun. Barris pushes Penny toward the white limo. The driver stands there holding the door open. Barris shoves Penny in, then screams at the driver. BARRIS Drive, Danny! Now! Barris jumps in the car, the driver slams the door closed, hurries around the driver's door and gets in. The car peals away from the cab.",
"INT. CAR - CONTINUOUS An ashen Barris looks back at the crowd. Penny watches him. PENNY What's going on? BARRIS -LRB- still looking out window. -RRB- Pen, I have something to confess. Penny's expression shifts, turns slightly stony. She's getting ready for something bad. PENNY Okay. BARRIS -LRB- stalling. -RRB- You know me as the creator of The Dating Game, The Newlywed Game, The Family Game, The Game Game, How's Your Mother - in - law, Dream Girl of 1968. PENNY Operation Entertainment. BARRIS Yeah, Operation Entertainment. The Rah - Rah Show, Gong Show, The Dollar - Ninety - Eight Beauty Show, The Ra - Rah Show. PENNY You said that already. BARRIS Okay. -LRB- beat. -RRB- Okay, but what you do n't know is that I've brutally murdered thirty - three people for the CIA. Penny just stares blankly at Barris, who ca n't look at her. Suddenly she starts to laugh. Danny joins in. Eventually so does Barris.",
"EXT. TERRACE - DAY The actual Barris is being interviewed. ACTUAL BARRIS Y' know, I came up with a new game show idea recently. It's called The Old Game. You got three old guys with loaded guns on stage They look back at their lives, see who they were, what they accomplished, how close they came to realizing their dreams. The winner is the one who does n't blow his brains out. He gets a refrigerator. The camera holds on Barris's face as he puffs a cigar. BLACK. THE END"
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] | Tired of being rejected by the beautiful women he lusts after, Chuck Barris moves to Manhattan to become an NBC page with dreams of becoming famous in television but is eventually fired. He moves back to Philadelphia and becomes Dick Clark's personal assistant on American Bandstand in 1961. He writes the successful song "Palisades Park" and becomes romantically involved with a woman named Penny Pacino. Chuck is given permission to pitch the concept for The Dating Game at ABC. He is given $7,500 to create a television pilot, but ABC abandons the idea in favor of Hootenanny. One night after Barris is kicked out of a bar for fighting, he is approached by CIA agent Jim Byrd, who recruits him as an assassin. Returning from a mission in Mexico, Barris finds that Penny has become a hippie. Meanwhile, ABC green-lights The Dating Game, and by 1967 the show is a phenomenon. On a CIA mission in Helsinki, Finland, he meets female operative Patricia Watson. He finds more success back home when The Newlywed Game goes on air. He and Penny decide to move to Los Angeles, but Barris is cautious of marriage, much to Penny's dismay. In 1970, Byrd convinces Barris to go on a mission to East Berlin to assassinate Hans Colbert. Barris is introduced to German-American agent Keeler, whom he helps to kill Colbert. However, he is captured by the KGB and, after some weeks, freed during a West-East spy exchange. In 1976, Barris creates The Gong Show and becomes famous as its host. Keeler is murdered and Byrd warns Barris of a mole in the agency. His TV shows are canceled due to poor ratings, and Penny threatens to leave after catching him cheating on her. One night, Barris finds Byrd sitting atop the diving board of his backyard pool. Byrd reveals to Barris why he was chosen by the CIA to become an assassin: he is the son of a serial killer and had been raised as a girl by his mother, so he "fit the profile". Barris threatens Byrd, and after Byrd is killed moments later, Barris is seen pointing his gun at him. Faced with the unpleasant truth about himself, Barris begins to spiral out of control. After almost having a nervous breakdown on one of his shows, Barris shuts himself away in a New York City hotel. Penny manages to find him and tries in vain to convince him to return to California to get married. Barris finally leaves his room and meets Patricia in Boston. After a cup of coffee with her, Barris collapses, seemingly poisoned. Patricia reveals that she is the mole. Barris has tricked Patricia into drinking from the poisoned cup, and she falls dead. After her death, he returns home and begins writing his autobiography, Confessions of a Dangerous Mind. He finally decides to marry Penny. At the end of the ceremony, he sees some of the people he killed in the crowd. Distraught, he confesses to her his double life as a CIA assassin, but she merely laughs, assuming he is joking, and he decides not to correct her. | Confessions_of_a_Dangerous_Mind |
[
"INT. STAIRCASE OUTSIDE OLD SALIERI'S SALON - NIGHT - 1823 Total darkness. We hear an old man's voice, distinct and in distress. It is OLD SALIERI. He uses a mixture of English and occasionally Italian. OLD SALIERI Mozart! Mozart! Mozart. Forgive me! Forgive your assassin! Mozart! A faint light illuminates the screen. Flickeringly, we see an eighteenth century balustrade and a flight of stone stairs. We are looking down into the wall of the staircase from the point of view of the landing. Up the stair is coming a branched candlestick held by Salieri's VALET. By his side is Salieri's COOK, bearing a large dish of sugared cakes and biscuits. Both men are desperately worried : the Valet is thin and middle - aged ; the Cook, plump and Italian. It is very cold. They wear shawls over their night - dresses and clogs on their feet. They wheeze as they climb. The candles throw their shadows up onto the peeling walls of the house, which is evidently an old one and in bad decay. A cat scuttles swiftly between their bare legs, as they reach the salon door. The Valet tries the handle. It is locked. Behind it the voice goes on, rising in volume. OLD SALIERI Show some mercy! I beg you. I beg you! Show mercy to a guilty man! The Valet knocks gently on the door. The voice stops. VALET Open the door, Signore! Please! Be good now! We've brought you something special. Something you're going to love. Silence. VALET Signore Salieri! Open the door. Come now. Be good! The voice of Old Salieri continues again, further off now, and louder. We hear a noise as if a window is being opened. OLD SALIERI Mozart! Mozart! I confess it! Listen! I confess! The two servants look at each other in alarm. Then the Valet hands the candlestick to the Cook and takes a sugared cake from the dish, scrambling as quickly as he can back down the stairs.",
"EXT. THE STREET OUTSIDE SALIERI'S HOUSE - VIENNA - NIGHT The street is filled with people : ten cabs with drivers, five children, fifteen adults, two doormen, fifteen dancing couples and a sled and three dogs. It is a windy night. Snow is falling and whirling about. People are passing on foot, holding their cloaks tightly around them. Some of them are revelers in fancy dress : they wear masks on their faces or hanging around their necks, as if returning from parties. Now they are glancing up at the facade of the old house. The window above the street is open and Old Salieri stands there calling to the sky : a sharp - featured, white - haired Italian over seventy years old, wearing a stained dressing gown. OLD SALIERI Mozart! Mozart! I can not bear it any longer! I confess! I confess what I did! I'm guilty! I killed you! Sir I confess! I killed you! The door of the house bursts open. The Valet hobbles out, holding the sugared cake. The wind catches at his shawl. OLD SALIERI Mozart, perdonami! Forgive your assassin! Pietˆ! Pietˆ! Forgive your assassin! Forgive me! Forgive! Forgive! VALET -LRB- looking up to the window. -RRB- That's all right, Signore! He heard you! He forgave you! He wants you to go inside now and shut the window! Old Salieri stares down at him. Some of the passersby have now stopped and are watching this spectacle. VALET Come on, Signore! Look what I have for you! I ca n't give it to you from down here, can I? Old Salieri looks at him in contempt. Then he turns away back into the room, shutting the window with a bang. Through the glass, the old man stares down at the group of onlookers in the street. They stare back at him in confusion. BYSTANDER Who is that? VALET No one, sir. He'll be all right. Poor man. He's a little unhappy, you know. He makes a sign indicating ` crazy,' and goes back inside the house. The onlookers keep staring.",
"INT. LANDING OUTSIDE OLD SALIERI'S SALON - NIGHT The Cook is standing holding the candlestick in one hand, the dish of cakes in the other. The Valet arrives, panting. VALET Did he open? The Cook, scared, shakes his head : no. The Valet again knocks on the door. VALET Here I am, Signore. Now open the door. He eats the sugared cake in his hand, elaborately and noisily. VALET Mmmm - this is good! This is the most delicious thing I ever ate, believe me! Signore, you do n't know what you're missing! Mmmm! We hear a thump from inside the bedroom. VALET Now that's enough, Signore! Open! We hear a terrible, throaty groaning. VALET If you do n't open this door, we're going to eat everything. There'll be nothing left for you. And I'm not going to bring you anything more. He looks down. From under the door we see a trickle of blood flowing. In horror, the two men stare at it. The dish of cakes falls from the Cook's hand and shatters. He sets the candlestick down on the floor. Both servants run at the door frantically - once, twice, three times - and the frail lock gives. The door flies open. Immediately, the stormy, frenzied opening of Mozart's Symphony No. 25 -LRB- the Little G Minor -RRB- begins. We see what the servants see.",
"INT. OLD SALIERI'S SALON - NIGHT Old Salieri lies on the floor in a pool of blood, an open razor in his hand. He has cut his throat but is still alive. He gestures at them. They run to him. Barely, we glimpse the room - an old chair, old tables piled with books, a forte - piano, a chamber - pot on the floor - as the Valet and the Cook struggle to lift their old Master, and bind his bleeding throat with a napkin.",
"INT. BALLROOM - NIGHT Twenty - five dancing couples, fifty guests, ten servants, full orchestra. As the music slows a little, we see a Masquerade Ball in progress. A crowded room of dancers is executing the slow portion of a dance fashionable in the early 1820's.",
"EXT. STREET OUTSIDE SALIERI'S HOUSE - NIGHT As the fast music returns, we see Old Salieri being carried out of his house on a stretcher by two attendants, and placed in a horse - drawn wagon under the supervision of a middle - aged doctor in a tall hat. This is DOCTOR GULDEN. He gets in beside his patient. The driver whips up the horse, and the wagon dashes off through the still - falling snow.",
"EXT. FOUR STREETS OF VIENNA AND",
"INT. THE WAGON - NIGHT The wagon is galloping through the snowy streets of the city. Inside the conveyance we see Old Salieri wrapped in blankets, half - conscious, being held by the hospital attendants. Doctor Gulden stares at him grimly. The wagon arrives outside the General Hospital of Vienna.",
"INT. A HOSPITAL CORRIDOR - LATE AFTERNOON A wide, white - washed corridor. Doctor Gulden is walking down it with a priest, a man of about forty, concerned, but somewhat self - important. This is Father VOGLER, Chaplain at the hospital. In the corridor as they walk, we note several patients - some of them visibly disturbed mentally. All patients wear white linen smocks. Doctor Gulden wears a dark frock - coat ; Vogler, a cassock. DOCTOR GULDEN He's going to live. It's much harder to cut your throat than most people imagine. They stop outside a door. DOCTOR GULDEN Here we are. Do you wish me to come in with you? VOGLER No, Doctor. Thank you. Vogler nods and opens the door.",
"INT. OLD SALIERI'S HOSPITAL ROOM - LATE AFTERNOON A bare room - one of the best available in the General Hospital. It contains a bed, a table with candles, chairs, a small forte - piano of the early nineteenth century. As Vogler enters, Old Salieri is sitting in a wheel - chair, looking out the window. His back is to us. The priest closes the door quietly behind him. VOGLER Herr Salieri? Old Salieri turns around to look at him. We see that his throat is bandaged expertly. He wears hospital garb, and over it the Civilian Medal and Chain with which we will later see the EMPEROR invest him. OLD SALIERI What do you want? VOGLER I am Father Vogler. I am a Chaplain here. I thought you might like to talk to someone. OLD SALIERI About what? VOGLER You tried to take your life. You do remember that, do n't you? OLD SALIERI So? VOGLER In the sight of God that is a sin. OLD SALIERI What do you want? VOGLER Do you understand that you have sinned? Gravely. OLD SALIERI Leave me alone. VOGLER I can not leave alone a soul in pain. OLD SALIERI Do you know who I am? You never heard of me, did you? VOGLER That makes no difference. All men are equal in God's eyes. OLD SALIERI Are they? VOGLER Offer me your confession. I can offer you God's forgiveness. OLD SALIERI I do not seek forgiveness. VOGLER My son, there is something dreadful on your soul. Unburden it to me. I'm here only for you. Please talk to me. OLD SALIERI How well are you trained in music? VOGLER I know a little. I studied it in my youth. OLD SALIERI Where? VOGLER Here in Vienna. OLD SALIERI Then you must know this. He propels his wheelchair to the forte - piano, and plays an unrecognizable melody. VOGLER I ca n't say I do. What is it? OLD SALIERI I'm surprised you do n't know. It was a very popular tune in its day. I wrote it. How about this? He plays another tune. OLD SALIERI This one brought down the house when we played it first. He plays it with growing enthusiasm.",
"INT. THE STAGE OF AN OPERA HOUSE - NIGHT - 1780'S We see the pretty soprano KATHERINA CAVALIERI, now about twenty - four, dressed in an elaborate mythological Persian costume, singing on stage. She's near the end of a very florid aria by Salieri. The audience applauds wildly.",
"INT. OLD SALIERI'S HOSPITAL ROOM - LATE AFTERNOON - 1823 OLD SALIERI -LRB- taking his hands off the keys. -RRB- Well? VOGLER I regret it is not too familiar. OLD SALIERI Can you recall no melody of mine? I was the most famous composer in Europe when you were still a boy. I wrote forty operas alone. What about this little thing? Slyly he plays the opening measure of Mozart's Eine Kleine Nachtmusik. The priest nods, smiling suddenly, and hums a little with the music. VOGLER Oh, I know that! That's charming! I did n't know you wrote that. OLD SALIERI I did n't. That was Mozart. Wolfgang Amadeus Mozart. You know who that is? VOGLER Of course. The man you accuse yourself of killing. OLD SALIERI Ah - you've heard that? VOGLER All Vienna has heard that. OLD SALIERI -LRB- eagerly. -RRB- And do they believe it? VOGLER Is it true? OLD SALIERI Do you believe it? VOGLER Should I? A very long pause. Salieri stares above the priest, seemingly lost in his own private world. VOGLER For God's sake, my son, if you have anything to confess, do it now! Give yourself some peace! A further pause. VOGLER Do you hear me? OLD SALIERI He was murdered, Father! Mozart! Cruelly murdered. Pause. VOGLER -LRB- almost whispering. -RRB- Yes? Did you do it? Suddenly Old Salieri turns to him, a look of extreme innocence. OLD SALIERI He was my idol! I ca n't remember a time when I did n't know his name! When I was only fourteen he was already famous. Even in Legnago - the tiniest town in Italy - I knew of him.",
"EXT. A SMALL TOWN SQUARE IN LOMBARDY, ITALY - DAY - 1780'S There are twelve children and twenty adults in the square. We see the fourteen - year - old Salieri blindfolded, playing a game of Blindman's Bluff with other Italian children, running about in the bright sunshine and laughing. OLD SALIERI -LRB- V.O. -RRB- I was still playing childish games when he was playing music for kings and emperors. Even the Pope in Rome!",
"INT. A SALON IN THE VATICAN - DAY - 1780'S We see the six - year - old MOZART, also blindfolded, seated in a gilded chair on a pile of books, playing the harpsichord for the POPE and a suite of CARDINALS and other churchmen. Beside the little boy stands LEOPOLD, his father, smirking with pride. OLD SALIERI -LRB- V.O. -RRB- I admit I was jealous when I heard the tales they told about him. Not of the brilliant little prodigy himself, but of his father, who had taught him everything. The piece finishes. Leopold lowers the lid of the harpsichord and lifts up his little son to stand on it. Mozart removes the blindfold to show a pale little face with staring eyes. Both father and son bow. A Papal Chamberlain presents Leopold with a gold snuff box whilst the cardinals decorously applaud. Over this scene Old Salieri speaks. OLD SALIERI -LRB- V.O. -RRB- My father did not care for music. He wanted me only to be a merchant, like himself. As anonymous as he was. When I told how I wished I could be like Mozart, he would say, Why? Do you want to be a trained monkey? Would you like me to drag you around Europe doing tricks like a circus freak? How could I tell him what music meant to me?",
"EXT. A COUNTRY CHURCH IN NORTH ITALY - DAY - 1780'S Serene music of the Italian Baroque - Pergolesi's Stabat Mater - sung by a choir of boys with organ accompaniment. We see the outside of the 17th - century church sitting in the wide landscape of Lombardy : sunlit fields, a dusty, white road, poplar trees.",
"INT. THE CHURCH AT LEGNAGO - DAY - 1780'S The music continues and swells. We see the twelve - year - old Salieri seated between his plump and placid parents in the congregation, listening in rapture. His father is a heavy - looking, self - approving man, obviously indifferent to the music. A large and austere Christ on the cross hangs over the altar. Candles burn below his image. OLD SALIERI -LRB- V.O. -RRB- Even then a spray of sounded notes could make me dizzy, almost to falling. The boy falls forward on his knees. So do his parents and the other members of the congregation. He stares up at Christ who stares back at him. OLD SALIERI -LRB- V.O. -RRB- Whilst my father prayed earnestly to God to protect commerce, I would offer up secretly the proudest prayer a boy could think of. Lord, make me a great composer! Let me celebrate your glory through music - and be celebrated myself! Make me famous through the world, dear God! Make me immortal! After I die let people speak my name forever with love for what I wrote! In return I vow I will give you my chastity - my industry, my deepest humility, every hour of my life. And I will help my fellow man all I can. Amen and amen! The music swells to a crescendo. The candles flare. We see the Christ through the flames looking at the boy benignly. OLD SALIERI -LRB- V.O. -RRB- And do you know what happened? A miracle!",
"INT. DINING ROOM IN THE SALIERI HOUSE - DAY - 1780'S CU, a large cooked fish on a thick china plate. Camera pulls back to show the Salieri family at dinner. Father Salieri sits at the head of the table, a napkin tucked into his chin. Mother Salieri is serving the fish into portions and handing them round. Two maiden aunts are in attendance, wearing black, and of course the young boy. Father Salieri receives his plate of fish and starts to eat greedily. Suddenly there is a gasp - he starts to choke violently on a fish bone. All the women get up and crowd around him, thumping and pummeling him, but it is in vain. Father Salieri collapses.",
"INT. OLD SALIERI'S HOSPITAL ROOM - LATE AFTERNOON - 1823 OLD SALIERI Suddenly he was dead. Just like that! And my life changed forever. My mother said, Go. Study music if you really want to. Off with you! And off I went as quick as I could and never saw Italy again. Of course, I knew God had arranged it all ; that was obvious. One moment I was a frustrated boy in an obscure little town. The next I was here, in Vienna, city of musicians, sixteen years old and studying under Gluck! Gluck, Father. Do you know who he was? The greatest composer of his time. And he loved me! That was the wonder. He taught me everything he knew. And when I was ready, introduced me personally to the Emperor! Emperor Joseph - the musical king! Within a few years I was his court composer. Was n't that incredible? Imperial Composer to His Majesty! Actually the man had no ear at all, but what did it matter? He adored my music, that was enough. Night after night I sat right next to the Emperor of Austria, playing duets with him, correcting the royal sight - reading. Tell me, if you had been me, would n't you have thought God had accepted your vow? And believe me, I honoured it. I was a model of virtue. I kept my hands off women, worked hours every day teaching students, many of them for free, sitting on endless committees to help poor musicians - work and work and work, that was all my life. And it was wonderful! Everybody liked me. I liked myself. I was the most successful musician in Vienna. And the happiest. Till he came. Mozart.",
"INT. THE ARCHBISHOP OF SALZBURG'S RESIDENCE - VIENNA - DAY 1780'S A grand room crowded with guests. A small group of Gypsy musicians is playing in the background. Thirteen members of the Archbishop's orchestra - all wind players, complete with 18th - century wind instruments : elaborate - looking bassoons, basset horns, etc. and wearing their employer's livery - are laying out music on stands at one end of the room. At the other end is a large gilded chair, bearing the arms of the ARCHBISHOP OF SALZBURG. A throng of people is standing, talking, and preparing to sit upon the rows of waiting chairs to hear a concert. OLD SALIERI -LRB- V.O. -RRB- One day he came to Vienna to play some of his music at the residence of his employer, the Prince - Archbishop of Salzburg. Eagerly I went there to seek him out. That night changed my life. We see Salieri, age thirty - one, a neat, carefully turned - cut man in decent black clothes and clean white linen, walking through the crowd of guests. We follow him. OLD SALIERI -LRB- V.O. -RRB- As I went through the salon, I played a game with myself. This man had written his first concerto at the age of four ; his first symphony at seven ; a full - scale opera at twelve. Did it show? Is talent like that written on the face? We see shots of assorted young men staring back at Salieri as he moves through the crowd. OLD SALIERI -LRB- V.O. -RRB- Which one of them could he be? Some of the men recognize Salieri and bow respectfully. Then suddenly a servant bearing a large tray of cakes and pastries stalks past. Instantly riveted by the sight of such delights, Salieri follows him out of the Grand Salon.",
"INT. A PALACE CORRIDOR - DAY - 1780'S The servant marches along bearing his tray of pastries aloft. Salieri follows him. The servant turns into :",
"INT. BUFFET ROOM IN THE PALACE - DAY - 1780'S Salieri's POV : several tables, dressed to the floor with cloths are loaded with many plates of confectionery. It is, in fact, Salieri's idea of paradise! The servant puts his tray down on one of the tables and withdraws from the room.",
"INT. A PALACE CORRIDOR - DAY - 1780'S Salieri turns away so as not to be noticed by the servant. As soon as the man disappears, Salieri sneaks into the buffet room.",
"INT. BUFFET ROOM IN THE PALACE - DAY - 1780'S Salieri enters the room and looks about him cautiously. He is salivating with anticipation as he stares at the feast of sweet things. His attention is attracted in particular by a huge pile of dark chocolate balls arranged in the shape of a pineapple. He reaches out a hand to steal one of the balls, but at the same moment he hears giggling coming toward him. He ducks down behind the pastry table. A girl - CONSTANZE - rushes into the room. She runs straight across it and hides herself behind one of the tables. After a beat of total silence, MOZART runs into the room, stops, and looks around. He is age twenty - six, wearing a fine wig and a brilliant coat with the insignia of the Archbishop of Salzburg upon it. He is puzzled ; Constanze has disappeared. Baffled, he turns and is about to leave the room, when Constanze suddenly squeaks from under the cloth like a tiny mouse. Instantly Mozart drops to all fours and starts crawling across the floor, meowing and hissing like a naughty cat. Watched by an astonished Salieri, Mozart disappears under the cloth and obviously pounces upon Constanze. We hear a high - pitched giggle, which is going to characterize Mozart throughout the film.",
"INT. PALACE GRAND SALON - DAY - 1780'S The throng is mostly seated. The musicians are in their places, holding their various exotic - looking wind instruments ; the candles are all lit. A Majordomo appears and bangs his staff on the floor for attention. Immediately COLLOREDO, Prince - Archbishop of Salzburg enters. He is a small self - important figure of fifty in a wig, surmounted by a scarlet skullcap. He is followed by his Chamberlain, the Count ARCO. Everyone stands. The Archbishop goes to his throne and sits. His guests sit also. Arco gives the signal to start the music. Nothing happens. Instead, a wind musician gets up, approaches the Chamberlain and whispers in his ear. Arco in turn whispers to the Archbishop. ARCO Mozart is not here. COLLOREDO Where is he? ARCO They're looking for him, Your Grace.",
"INT. A PALACE CORRIDOR - DAY - 1780'S Three servants are opening doors and looking into rooms going off the corridor.",
"INT. PALACE GRAND SALON - DAY - 1780'S The guests are turning around and looking at the Archbishop. The musicians are watching. There is puzzlement and a murmur of comment. The Archbishop tightens his lip. COLLOREDO -LRB- to Arco. -RRB- We'll start without him.",
"INT. PALACE BUFFET ROOM - DAY - 1780'S Mozart is on his knees before the tablecloth, which reaches to the floor. Under it is Constanze. We hear her giggling as he talks. MOZART Miaouw! Miaouw! Mouse - wouse? It's Puss - wuss, fangs - wangs. Paws - claws. Pounce - bounce! He grabs her ankle. She screams. He pulls her out by her leg. CONSTANZE Stop it. Stop it! They roll on the floor. He tickles her. CONSTANZE Stop it! MOZART I am! I am! I'm stopping it - slowly. You see! Look, I've stopped. Now we are going back. He tries to drag her back under the table. CONSTANZE No! No! No! MOZART Yes! Back! Back! Listen - do n't you know where you are? CONSTANZE Where? MOZART We are in the Residence of the Fartsbishop of Salzburg. CONSTANZE Fartsbishop! She laughs delightedly, then addresses an imaginary Archbishop. CONSTANZE Your Grace, I've got something to tell you. I want to complain about this man. MOZART Go ahead, tell him. Tell them all. They wo n't understand you anyway. CONSTANZE Why not? MOZART Because here everything goes backwards. People walk backwards, dance backwards, sing backwards, and talk backwards. CONSTANZE That's stupid. MOZART Why? People fart backwards. CONSTANZE Do you think that's funny? MOZART Yes, I think it's brilliant. You've been doing it for years. He gives a high pitched giggle. CONSTANZE Oh, ha, ha, ha. MOZART Sra - I'm - sick! Sra - I'm sick! CONSTANZE Yes, you are. You're very sick. MOZART No, no. Say it backwards, shit - wit. Sra - I'm - sick Say it backwards! CONSTANZE -LRB- working it out. -RRB- Sra - I'm - sick. Sick - kiss I'm - my Kiss my! Sra - I'm - sick - Kiss my arse! MOZART Em iram! Em iram! CONSTANZE No, I'm not playing this game. MOZART No, this is serious. Say it backwards. CONSTANZE No! MOZART Just say it - you'll see. It's very serious. Em iram! Em iram! CONSTANZE Iram - marry Em - marry me! No, no! You're a fiend. I'm not going to marry a fiend. A dirty fiend at that. MOZART Ui - vol - i - tub! CONSTANZE Tub - but i - tub - but I vol - love but I love ui - You. I love you! The mood becomes suddenly softer. She kisses him. They embrace. Then he spoils it. MOZART Tish - I'm tee. What's that? CONSTANZE What? MOZART Tish - I'm - tee. CONSTANZE Eat MOZART Yes. CONSTANZE Eat my - ah! Shocked, she strikes at him. At the same moment the music starts in the salon next door. We hear the opening of the Serenade for Thirteen Wind Instruments, K. MOZART My music! They've started! They've started without me! He leaps up, disheveled and rumpled and runs out of the room. Salieri watches in amazement and disgust.",
"INT. PALACE CORRIDOR - DAY - 1780'S The music is louder. Mozart hastens towards the Grand Salon away from the buffet room, adjusting his dress as he goes.",
"INT. GRAND SALON - DAY - 1780'S The opening of the Serenade is being tentatively conducted by the leader of the wind - musicians. Guests turn around as Mozart appears - bowing to the Archbishop - and walks with an attempt at dignity to the dais where the wind band is playing. The leader yields his place to the composer and Mozart smoothly takes over conducting. Constanze, deeply embarrassed, sneaks into the room and seats herself at the back.",
"INT. PALACE BUFFET ROOM - DAY - 1780'S The music fades down. Salieri stands shocked from his inadvertent eavesdropping. After a second he moves almost in a trance toward the door ; the music dissolves.",
"INT. GRAND SALON - DAY - 1780'S Mozart is conducting the Adagio from his Serenade -LRB- K. 361 -RRB-, guiding the thirteen wind instrumentalists. The squeezebox opening of the movement begins. Salieri appears at the door at the back of the salon. He stares in disbelief at Mozart. OLD SALIERI -LRB- V.O. -RRB- So that was he! That giggling, dirty - minded creature I'd just seen crawling on the floor. Mozart. The phenomenon whose legend had haunted my youth. Impossible. The music swells up and Salieri listens to it with eyes closed - amazed, transported - suddenly engulfed by the sound. Finally it fades down and away and changes into applause. Salieri opens his eyes. The audience is clearly delighted. Mozart bows to them, also delighted. Colloredo rises abruptly, and without looking at Mozart or applauding and leaves the Salon. Count Arco approaches the composer. Mozart turns to him, radiant. ARCO Follow me, please. The Archbishop would like a word. MOZART Certainly! He follows Arco out of the room, through a throng of admirers.",
"INT. ANOTHER PALACE CORRIDOR - DAY - 1780'S Mozart and Arco walk side by side. They pass Salieri who is staring at Mozart in fascination. As they disappear, he steals toward the music stands, unable to help himself. MOZART Well, I think that went off remarkably well, do n't you? ARCO Indeed. MOZART These Viennese certainly know good music when they hear it. ARCO His Grace is very angry with you. MOZART What do you mean? They arrive at the door of Colloredo's private apartment. ARCO You are to come in here and ask his pardon. Arco opens the door.",
"INT. ARCHBISHOP'S PRIVATE ROOM - DAY - 1780'S The Archbishop is sitting, chatting to quests. Among them are several ladies. Arco approaches him obsequiously. ARCO Your Grace. COLLOREDO Ah, Mozart. Why? MOZART Why what, sir? COLLOREDO Why do I have to be humiliated in front of my guests by one of my own servants? MOZART Humiliated? COLLOREDO How much provocation am I to endure from you? The more license I allow you, the more you take. The company watches this scene, deeply interested. MOZART If His Grace is not satisfied with me, he can dismiss me. COLLOREDO I wish you to return immediately to Salzburg. Your father is waiting for you there patiently. I will speak to you further when I come. MOZART No, Your Grace! I mean with all humility, no. I would rather you dismissed me. It's obvious I do n't satisfy. COLLOREDO Then try harder, Mozart. I have no intention of dismissing you. You will remain in my service and learn your place. Go now. He extends his hand to be kissed. Mozart does it with a furious grace, then leaves the room. As he opens the door we see :",
"INT. PALACE CORRIDOR - DAY - 1780'S A group of people who have attended the concert, among them Constanze, are standing outside the private apartment. At sight of the composer they break into sustained applause. Mozart is suddenly delighted. He throws the door wide open so that the guests can see into the private apartment where the Archbishop sits - and he can see them. Colloredo is clearly discomfited by this reception of his employee. He smiles and bows uneasily, as they include him in the small ovation. Mozart stands in the corridor, out of the Archbishop's line of sight, bowing and giggling, and encouraging the applause for the Archbishop with conducting gestures. Suddenly irritated, Colloredo signs to Arco, who steps forward and shuts the door, ending the applause.",
"INT. PALACE GRAND SALON - DAY - 1780'S Salieri, in this vast room, is standing and looking at the full score of the Serenade. He turns the pages back to the slow movement. Instantly, we again hear its lyrical strains. CU, Salieri, reading the score of the Adagio in helpless fascination. The music is played against his description of it. OLD SALIERI -LRB- V.O. -RRB- Extraordinary! On the page it looked nothing. The beginning simple, almost comic. Just a pulse - bassoons and basset horns - like a rusty squeezebox. Then suddenly - high above it - an oboe, a single note, hanging there unwavering, till a clarinet took over and sweetened it into a phrase of such delight! This was no composition by a performing monkey! This was a music I'd never heard. Filled with such longing, such unfulfillable longing, it had me trembling. It seemed to me that I was hearing a voice of God. Suddenly the music snaps off. Mozart stands before him as he lays down the score. MOZART Excuse me! He takes the score, bows, and struts briskly out of the room. Salieri stares uncomprehendingly after the jaunty little figure. OLD SALIERI -LRB- V.O. -RRB- But why?",
"INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 OLD SALIERI Why? Would God choose an obscene child to be His instrument? It was not to be believed! This piece had to be an accident. It had to be!",
"INT. PALACE DINING ROOM - DAY - 1780'S At the table sits the EMPEROR JOSEPH II, eating his frugal dinner and sipping goat's milk. He is an intelligent, dapper man of forty, wearing a military uniform. Around him but standing, are his Chamberlain, JOHANN VON STRACK : stiff and highly correct. COUNT ORSINI - ROSENBERG : a corpulent man of sixty, highly conscious of his position as Director of the Opera. BARON VON SWIETEN, the Imperial Librarian : a grave but kindly and educated man in his mid - fifties. FIRST KAPELLMEISTER GIUSEPPE BONNO : very Italian, cringing and time - serving, aged about seventy. And Salieri, wearing decorous black, as usual. At a side - table, two Imperial secretaries, using quill pens and inkstands, write down everything of importance that is said. JOSEPH How good is he, this Mozart? VON SWIETEN He's remarkable, Majesty. I heard an extraordinary serious opera of his last month. Idomeneo, King of Crete. ORSINI-ROSENBERG That? A most tiresome piece. I heard it, too. VON SWIETEN Tiresome? ORSINI-ROSENBERG A young man trying to impress beyond his abilities. Too much spice. Too many notes. VON SWIETEN Majesty, I thought it the most promising work I've heard in years. JOSEPH Ah - ha. Well then, we should make some effort to acquire him. We could use a good German composer in Vienna, surely? VON STRACK I agree, Majesty, but I'm afraid it's not possible. The young man is still in the pay of the Archbishop. JOSEPH Very small pay, I imagine. I'm sure he could be tempted with the right offer. Say, an opera in German for our National Theatre. VON SWIETEN Excellent, sire! ORSINI-ROSENBERG But not German, I beg your Majesty! Italian is the proper language for opera. All educated people agree on that. JOSEPH Ah - ha. What do you say, Chamberlain? VON STRACK In my opinion, it is time we had a piece in our own language, sir. Plain German. For plain people. He looks defiantly at Orsini - Rosenberg. JOSEPH Ah - ha. Kapellmeister? BONNO -LRB- Italian accent. -RRB- Majesty, I must agree with Herr Dirretore. Opera is an Italian art, solamente. German is - scusate - too bruta for singing, too rough. JOSEPH Ah - ha. Court Composer, what do you say? SALIERI I think it is an interesting notion to keep Mozart in Vienna, Majesty. It should really infuriate the Archbishop beyond measure - if that is your Majesty's intention. JOSEPH You are cattivo, Court Composer. -LRB- briskly, to Von Strack. -RRB- I want to meet this young man. Chamberlain, arrange a pleasant welcome for him. VON STRACK Yes, sir. JOSEPH Well. There it is.",
"INT. BEDROOM IN SALIERI'S APARTMENT - DAY - 1780'S A somber room which serves both as a bedroom and a study. We see a four - poster bed. Also, a marble mantelpiece above which hangs a handsome cross in olivewood, bearing the figure of a severe Christ. Opposite this image sits Salieri at his desk, on which stands a pile of music paper, quill pens and ink. On one side of him is an open forte - piano on which he occasionally tries notes from the march he is composing, with some difficulty. He scratches notes out with his quill, and ruffles his hair - which we see without a powdered wig. There is a knock at the door. SALIERI Si. A servant admits LORL, a young lower - class girl, who appears carrying a basket in which is a box covered with a napkin. She has just come from the baker's shop. SALIERI Ah! Here she comes. Fraulein Lorl, good morning. LORL Good morning, sir. SALIERI What have you got for me today? Let me see. Greedily he unwraps the napkin and lifts the lid on the box. SALIERI Ah - ha! Siena macaroons - my favourites. Give my best thanks to the baker. LORL I will, sir. He takes a biscuit and eats. SALIERI Thank you. Are you well today, Fraulein Lorl? LORL Yes, thank you, sir. SALIERI Bene! Bene! She gives a little curtsey, flattered and giggling and is shown out. Salieri turns back to his work, chewing. He plays through a complete line of the march. He smiles, pleased with the result. SALIERI Grazie, Signore. He inclines his head to the Christ above the fireplace, and starts to play the whole march, including the phrase which pleased him.",
"INT. A WIGMAKER'S SHOP - VIENNA - DAY - 1780'S The march continues on the forte - piano as we see Mozart, seated in front of a mirror, wearing an extravagant wig. On either side of him stands a SALESMAN, one of them holding another wig, equally extravagant. Mozart takes off the first wig, to reveal his own blonde hair, of which he is extremely proud, and hands it back. MOZART And the other one? The Salesman puts the second wig on his head. Mozart pulls a face of doubt in the mirror. MOZART And the other one? He takes it off and the other Salesman replaces it with the first wig on his head. MOZART Oh, they're both so beautiful, I ca n't decide. Why do n't I have two heads? He giggles. The music stops.",
"INT. GRAND SALON - THE ROYAL PALACE - DAY - 1780'S A door opens. We glimpse in the next room the Emperor Joseph bidding goodbye to a group of military officers standing around a table. JOSEPH Good, good, good. He turns and comes into the salon, where another group awaits him. It consists of Von Strack, Orsini - Rosenberg, Bonno, Von Swieten and Salieri. The room contains several gilded chairs dotted about, and a forte - piano. JOSEPH Good morning, gentlemen. All bow and say, Good morning, Your Majesty! JOSEPH -LRB- to Von Strack. -RRB- Well, what do you have for me today? VON STRACK Your Majesty, Herr Mozart - JOSEPH Yes, what about him? VON STRACK He's here. JOSEPH Ah - ha. Well. There it is. Good. SALIERI Majesty, I hope you wo n't think it improper, but I have written a little March of Welcome in his honour. He produces a paper. JOSEPH What a charming idea. May I see? SALIERI -LRB- handing it over. -RRB- It's just a trifle, of course. JOSEPH May I try it? SALIERI Majesty. The Emperor goes to the instrument, sits and plays the first bars of it. Quite well. JOSEPH Delightful, Court Composer. Would you permit me to play it as he comes in? SALIERI You do me too much honour, Sire. JOSEPH Let's have some fun. -LRB- to the waiting Majordomo. -RRB- Bring in Herr Mozart, please. But slowly, slowly. I need a minute to practice. The Majordomo bows and goes. The Emperor addresses himself to the march. He plays a wrong note. SALIERI A - flat, Majesty. JOSEPH Ah - ha!",
"INT. PALACE CORRIDOR - VIENNA - DAY - 1780'S Taking his instructions literally, the Majordomo is marching very slowly toward the salon door. He is followed by a bewildered Mozart, dressed very stylishly and wearing one of the wigs from the perruqier.",
"INT. ROYAL PALACE GRAND SALON - DAY - 1780'S Joseph finishes the march. The door opens. MAJORDOMO Herr Mozart. Mozart comes in eagerly. Immediately the march begins, played by His Majesty. All the courtiers stand, listening with admiration. Joseph plays well, but applies himself fiercely to the manuscript. Mozart, still bewildered, regards the scene, but does not seem to pay attention to the music itself. It finishes and all clap obsequiously. ORSINI-ROSENBERG Bravo, Your Majesty! VON STRACK Well done, Sire! The Emperor rises, pleased with himself. He snatches the manuscript off the stand and holds it in his hand for the rest of the scene. JOSEPH Gentlemen, gentlemen, a little less enthusiasm, I beg you. Ah, Mozart. He extends his hand. Mozart throws himself to his knees, and to Joseph's discomfort kisses the royal hand with fervour. MOZART Your Majesty! JOSEPH No, no, please! It is not a holy relic. -LRB- raising Mozart up. -RRB- You know we have met already? In this very room. Perhaps you wo n't remember it, you were only six years old. -LRB- to the others. -RRB- He was giving the most brilliant little concert here. As he got off the stool, he slipped and fell. My sister Antoinette helped him up herself, and do you know what he did? Jumped straight into her arms and said, Will you marry me, yes or no? Embarrassed, Mozart bursts into a wild giggle. Joseph helps him out. JOSEPH You know all these gentlemen, I'm sure. Von Strack and Bonno nod. JOSEPH The Baron Von Swieten. VON SWIETEN I'm a great admirer of yours, young man. Welcome. MOZART Oh, thank you. JOSEPH The Director of our Opera. Count Orsini - Rosenberg. MOZART -LRB- bowing excitedly. -RRB- Oh sir, yes! The honour is mine. Absolutely. Orsini - Rosenberg nods without enthusiasm. JOSEPH And here is our illustrious Court Composer, Herr Salieri. SALIERI -LRB- taking his hand. -RRB- Finally! Such an immense joy. Diletto straordinario! MOZART I know your work well, Signore. Do you know I actually composed some variations on a melody of yours? SALIERI Really? MOZART Mio caro Adone. SALIERI Ah! MOZART A funny little tune, but it yielded some good things. JOSEPH And now he has returned the compliment. Herr Salieri composed that March of Welcome for you. MOZART -LRB- speaking expertly. -RRB- Really? Oh, grazie, Signore! Sono commosso! E un onore per mo eccezionale. Compositore brilliante e famossissimo! He bows elaborately. Salieri inclines himself, dryly. SALIERI My pleasure. JOSEPH Well, there it is. Now to business. Young man, we are going to commission an opera from you. What do you say? MOZART Majesty! JOSEPH -LRB- to the courtiers. -RRB- Did we vote in the end for German or Italian? ORSINI-ROSENBERG Well, actually, Sire, if you remember, we did finally incline to Italian. VON STRACK Did we? VON SWIETEN I do n't think it was really decided, Director. MOZART Oh, German! German! Please let it be German. JOSEPH Why so? MOZART Because I've already found the most wonderful libretto! ORSINI-ROSENBERG Oh? Have I seen it? MOZART I - I do n't think you have, Herr Director. Not yet. I mean, it's quite n - Of course, I'll show it to you immediately. ORSINI-ROSENBERG I think you'd better. JOSEPH Well, what is it about? Tell us the story. MOZART It's actually quite amusing, Majesty. It's set - the whole thing is set in a - in a - He stops short with a little giggle. JOSEPH Yes, where? MOZART In a Pasha's Harem, Majesty. A Seraglio. JOSEPH Ah - ha. ORSINI-ROSENBERG You mean in Turkey? MOZART Exactly. ORSINI-ROSENBERG Then why especially does it have to be in German? MOZART Well not especially. It can be in Turkish, if you really want. I do n't care. He giggles again. Orsini - Rosenberg looks at him sourly. VON SWIETEN -LRB- kindly. -RRB- My dear fellow, the language is not finally the point. Do you really think that subject is quite appropriate for a national theatre? MOZART Why not? It's charming. I mean, I do n't actually show concubines exposing their! their! It's not indecent! -LRB- to Joseph. -RRB- It's highly moral, Majesty. It's full of proper German virtues. I swear it. Absolutely! JOSEPH Well, I'm glad to hear that. SALIERI Excuse me, Sire, but what do you think these could be? Being a foreigner, I would love to learn. JOSEPH Cattivo again, Court Composer. Well, tell him, Mozart. Name us a German virtue. MOZART Love, Sire! SALIERI Ah, love! Well of course in Italy we know nothing about that. The Italian faction - Orsini - Rosenberg and Bonno - laugh discreetly. MOZART No, I do n't think you do. I mean watching Italian opera, all those male sopranos screeching. Stupid fat couples rolling their eyes about! That's not love - it's just rubbish. An embarrassed pause. Bonno giggles in nervous amusement. MOZART Majesty, you choose the language. It will be my task to set it to the finest music ever offered a monarch. Pause. Joseph is clearly pleased. JOSEPH Well, there it is. Let it be German. He nods - he has wanted this result all the time. He turns and makes for the door. All bow. Then he becomes aware of the manuscript in his hand. JOSEPH Ah, this is yours. Mozart does not take it. MOZART Keep it, Sire, if you want to. It is already here in my head. JOSEPH What? On one hearing only? MOZART I think so, Sire, yes. Pause. JOSEPH Show me. Mozart bows and hands the manuscript back to the Emperor. Then he goes to the forte - piano and seats himself. The others, except for Salieri, gather around the manuscript held by the King. Mozart plays the first half of the march with deadly accuracy. MOZART -LRB- to Salieri. -RRB- The rest is just the same, is n't it? He plays the first half again but stops in the middle of a phrase, which he repeats dubiously. MOZART That really does n't work, does it? All the courtiers look at Salieri. MOZART Did you try this? Would n't it be just a little more -? He plays another phrase. MOZART Or this - yes, this! Better. He plays another phrase. Gradually, he alters the music so that it turns into the celebrated march to be used later in The Marriage of Figaro, Non Piu Andrai. He plays it with increasing abandon and virtuosity. Salieri watches with a fixed smile on his face. The court watches, astonished. He finishes in great glory, takes his hands off the keys with a gesture of triumph - and grins.",
"INT. BEDROOM IN SALIERI'S APARTMENT - DAY - 1780'S We see the olivewood cross. Salieri is sitting at his desk, staring at it. SALIERI Grazie, Signore. There is a knock at the door. He does not hear it, but sits on. Another knock, louder. SALIERI Yes? Lorl comes in. LORL Madame Cavalieri is here for her lesson, sir. SALIERI Bene. He gets up and enters :",
"INT. MUSIC ROOM IN SALIERI'S APARTMENT - DAY - 1780'S KATHERINA CAVALIERI, a young, high - spirited soprano of twenty is waiting for him, dressed in a fashionable dress and wearing on her head an exotic turban of satin, with a feather. Lorl exits. CAVALIERI -LRB- curtseying to him. -RRB- Maestro. SALIERI Good morning. CAVALIERI -LRB- posing, in her turban. -RRB- Well? How do you like it? It's Turkish. My hairdresser tells me everything's going to be Turkish this year! SALIERI Really? What else did he tell you today? Give me some gossip. CAVALIERI Well, I heard you met Herr Mozart. SALIERI Oh? News travels fast in Vienna. CAVALIERI And he's been commissioned to write an opera. Is it true? SALIERI Yes. CAVALIERI Is there a part for me? SALIERI No. CAVALIERI How do you know? SALIERI Well even if there is, I do n't think you want to get involved with this one. CAVALIERI Why not? SALIERI Well, do you know where it's set, my dear? CAVALIERI Where? SALIERI In a harem. CAVALIERI What's that? SALIERI A brothel. CAVALIERI Oh! SALIERI A Turkish brothel. CAVALIERI Turkish? Oh, if it's Turkish, that's different. I want to be in it. SALIERI My dear, it will hardly enhance your reputation to be celebrated throughout Vienna as a singing prostitute for a Turk. He seats himself at the forte - piano. CAVALIERI Oh. Well perhaps you could introduce us anyway. SALIERI Perhaps. He plays a chord. She sings a scale, expertly. He strikes another chord. She starts another scale, then breaks off. CAVALIERI What does he look like? SALIERI You might be disappointed. CAVALIERI Why? SALIERI Looks and talent do n't always go together, Katherina. CAVALIERI -LRB- airily. -RRB- Looks do n't concern me, Maestro. Only talent interests a woman of taste. He strikes the chord again, firmly. Cavalieri sings her next scale, then another one, and another one, doing her exercises in earnest. As she hits a sustained high note the orchestral accompaniment in the middle of Martern Aller Arten from Il Seraglio comes in underneath and the music changes from exercises to the exceedingly florid aria. We DISSOLVE on the singer's face, and she is suddenly not merely turbaned, but painted and dressed totally in a Turkish manner, and we are on :",
"INT. OPERA STAGE - VIENNA - 1780'S The heroine of the opera -LRB- Cavalieri -RRB- is in full cry addressing the Pasha with scorn and defiance. The house is full. Watching the performance - which is conducted by Mozart from the clavier in the midst of the orchestra - we note Von Strack, Orsini - Rosenberg, Bonno and Von Swieten, all grouped around the Emperor, in a box. In another box we see an overdressed, middle - aged woman and three girls, one of whom is Constanze. This is the formidable MADAME WEBER and her three daughters, Constanze, JOSEFA and SOPHIE. All are enraptured by the spectacle and Madame Weber is especially enraptured by being there at all. Not so, Salieri, who sits in another box, coldly watching the stage. Cavalieri is singing Martern aller Arten from the line Doch du bist entschlossen. CAVALIERI Since you are determined, Since you are determined, Calmly, with no ferment, Welcome - every pain and woe. Bind me then - compel me! Bind me then - compel me! Hurt me. Break me! Kill me! At last I shall be freed by death! After a few moments of this showy aria, with the composer and the singer staring at each other - he conducting elaborately for her benefit, and she following his beat with rapturous eyes - the music fades, and Salieri speaks over it. OLD SALIERI -LRB- V.O. -RRB- There she was. I had no idea where they met - or how - yet there she stood on stage for all to see. Showing off like the greedy songbird she was. Ten minutes of ghastly scales and arpeggios, whizzing up and down like fireworks at a fairground. Music up again for the last 30 bars of the aria. CAVALIERI -LRB- singing. -RRB- Be freed at last by death! Be freed at last by death! At last I shall be freed By! Death! Before the orchestral coda ends, cut to :",
"INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 Through the window we see that night has fallen. OLD SALIERI Understand, I was in love with the girl. Or at least in lust. I was n't a saint. It took me the most tremendous effort to be faithful to my vow. I swear to you I never laid a finger on her. All the same, I could n't bear to think of anyone else touching her - least of all the Creature.",
"INT. THE OPERA HOUSE - VIENNA - NIGHT - 1780'S The brilliant Turkish finale of Seraglio bursts over us. All the cast is lined up on stage. Mozart is conducting with happy excitement. CAST OF SERAGLIO -LRB- singing. -RRB- Pasha Selim May he Live forever! Ever, ever, ever, ever! Honour to his regal name! Honour to his regal name! May his noble brow emblazon Glory, fortune, joy and fame! Honour be to Pasha Selim Honour to his regal name! Honour to his regal name! The curtains fall. Much applause. The Emperor claps vigorously and - following his lead - so do the courtiers. The curtains part. Mozart applauds the singers who applaud him back. He skips up onto the stage amongst them. The curtains fall again as they all bow. In the auditorium, the chandeliers descend, filling it with light.",
"INT. OPERA HOUSE STAGE - VIENNA - NIGHT - 1780'S The curtains are down, and an excited hubbub of singers in costume surround Mozart and Cavalieri, all excited and chattering. Suddenly a hush. The Emperor is seen approaching from the wings, lit by flunkies holding candles. Von Strack, Orsini - Rosenberg and Von Swieten, amongst others, follow him. Also Salieri. The singers line up. Joseph stops at Cavalieri who makes a deep curtsey. JOSEPH Bravo, Madame. You are an ornament to our stage. CAVALIERI Majesty. JOSEPH -LRB- to Salieri. -RRB- And to you, Court Composer. Your pupil has done you great credit.",
"INT. BACKSTAGE CORRIDOR - VIENNA - NIGHT - 1780'S MADAME WEBER Let us pass, please! Let us pass at once! We're with the Emperor. FLUNKY I am sorry, Madame. It is not permitted. MADAME WEBER Do you know who I am? -LRB- pointing to Constanze. -RRB- This is my daughter. I am Frau Weber. We are favoured guests! FLUNKY I am sorry, Madame, but I have my orders. MADAME WEBER Call Herr Mozart! You call Herr Mozart immediately! This is insupportable! CONSTANZE Mother, please! MADAME WEBER Go ahead, Constanze. Just ignore this fellow. -LRB- pushing her. -RRB- Go ahead, dear! FLUNKY -LRB- barring the way. -RRB- I am sorry, Madame, but no! I can not let anyone pass. MADAME WEBER Young man, I am no stranger to theatres. I'm no stranger to insolence!",
"INT. OPERA HOUSE STAGE - VIENNA - NIGHT - 1780'S All are applauding Cavalieri. The Emperor turns to Mozart. JOSEPH Well, Herr Mozart! A good effort. Decidedly that. An excellent effort! You've shown us something quite new today. Mozart bows frantically : he is over - excited. MOZART It is new, it is, is n't it, Sire? JOSEPH Yes, indeed. MOZART And German? JOSEPH Oh, yes. Absolutely. German. Unquestionably! MOZART So then you like it? You really like it, Your Majesty? JOSEPH Of course I do. It's very good. Of course now and then - just now and then - it gets a touch elaborate. MOZART What do you mean, Sire? JOSEPH Well, I mean occasionally it seems to have, how shall one say? -LRB- he stops in difficulty ; to Orsini - Rosenberg. -RRB- How shall one say, Director? ORSINI-ROSENBERG Too many notes, Your Majesty? JOSEPH Exactly. Very well put. Too many notes. MOZART I do n't understand. There are just as many notes, Majesty, as are required. Neither more nor less. JOSEPH My dear fellow, there are in fact only so many notes the ear can hear in the course of an evening. I think I'm right in saying that, are n't I, Court Composer? SALIERI Yes! yes! er, on the whole, yes, Majesty. MOZART -LRB- to Salieri. -RRB- But this is absurd! JOSEPH My dear, young man, do n't take it too hard. Your work is ingenious. It's quality work. And there are simply too many notes, that's all. Cut a few and it will be perfect. MOZART Which few did you have in mind, Majesty? Pause. General embarrassment. JOSEPH Well. There it is. Into this uncomfortable scene bursts a sudden eruption of noise and Madame Weber floods onto the stage, followed by her daughters. All turn to look at this amazing spectacle. MADAME WEBER Wolfi! Wolfi, my dear! She moves toward Mozart with arms outstretched in an absurd theatrical gesture, then sees the Emperor. She stares at him, mesmerized, her mouth open, unable even to curtsey. MADAME WEBER Oh! Mozart moves forward quickly. MOZART Majesty, this is Madame Weber. She is my landlady. JOSEPH Enchanted, Madame. MADAME WEBER Oh, Sire! such an honour! And, and, and these are my dear daughters. This is Constanze. She is the fiancee of Herr Mozart. Constanze curtsies. CU, of Cavalieri, astonished at the news. CU, of Salieri, watching her receive it. JOSEPH Really? How delightful. May I ask when you marry? MOZART Well - Well we have n't quite received my father's consent, Your Majesty. Not entirely. Not altogether. He giggles uncomfortably. JOSEPH Excuse me, but how old are you? MOZART Twenty - six. JOSEPH Well, my advice is to marry this charming young lady and stay with us in Vienna. MADAME WEBER You see? You see? I've told him that, Your Majesty, but he wo n't listen to me. Cavalieri is glaring at Mozart. Mozart looks hastily away from her. MADAME WEBER Oh, Your Majesty, you give such wonderful - such impeccable - such royal advice. I - I - May I? She attempts to kiss the royal hand, but faints instead. The Emperor contemplates her prone body and steps back a pace. JOSEPH Well. There it is. Strack. He nods pleasantly to all and leaves the stage, with his Chamberlain. All bow. Cavalieri turns with a savage look at Mozart and leaves the stage the opposite way, to her dressing room, tossing her plumed head. Salieri watches. Mozart stays for a second, indecisive whether to follow the soprano or help Madame Weber. CONSTANZE -LRB- to Mozart. -RRB- Get some water! He hurries away. The daughters gather around Madame Weber.",
"INT. CAVALIERI'S DRESSING ROOM - NIGHT - 1780'S Katherina sits fuming at her mirror. A dresser is taking the pins out of her wig as she stares straight ahead of her. Mozart sticks his head round the door. MOZART Katherina! I'll tell you what I'm going to do. I'm going to write another aria for you. Something even more amazing for the second act. I have to get some water. Her mother is lying on the stage. CAVALIERI Do n't bother! MOZART What? CAVALIERI Do n't bother. MOZART I'll be right back. He dashes off.",
"INT. OPERA HOUSE STAGE - VIENNA - NIGHT - 1780'S Constanze and Mozart make their way quickly through a crowd of actors in turbans and caftans, and stagehands carrying bits of the dismantled set of Seraglio. We see all the turmoil of backstage after a performance. A fireman passes Mozart carrying a small bucket of water. Mozart snatches it from him and pushes his way through the crowd to Madame Weber, who still lies prone on the stage. Mozart pushes through the crowd surrounding her and throws water on her face. She is instantly revived by the shock. Constanze assists her to rise. CONSTANZE Are you all right? Instead of being furious, Madame Weber smiles at them rapturously. MADAME WEBER Ah, what an evening! What a wise man we have for an Emperor. Oh, my children! -LRB- with sudden, hard briskness. -RRB- Now I want you to write your father exactly what His Majesty said. The activity continues to swirl around them. MOZART You should really go home now, Frau Weber. Your carriage must be waiting. MADAME WEBER But are n't you taking us? MOZART I have to talk to the singers. MADAME WEBER That's all right ; we'll wait for you. Just do n't take all night.",
"INT. CAVALIERI'S DRESSING ROOM - NIGHT - 1780'S Cavalieri, still in costume, is marching up and down, very agitated. CAVALIERI Did you know? Had you heard? SALIERI What? CAVALIERI The marriage! SALIERI Well, what does it matter to you? CAVALIERI Nothing! He can marry who he pleases. I do n't give a damn. She catches him looking at her and tries to compose herself. CAVALIERI How was I? Tell me honestly. SALIERI You were sublime. CAVALIERI What did you think of the music? SALIERI Extremely clever. CAVALIERI Meaning you did n't like it. Mozart comes in unexpectedly. MOZART Oh - excuse me! CAVALIERI Is her mother still lying on the floor? MOZART No, she's fine. CAVALIERI I'm so relieved. She seats herself at her mirror and removes her wig. SALIERI Dear Mozart, my sincere congratulations. MOZART Did you like it, then? SALIERI How could I not? MOZART It really is the best music one can hear in Vienna today. Do n't you agree? CAVALIERI Is she a good fuck? MOZART What? CAVALIERI I assume she's the virtuoso in that department. There ca n't be any other reason you'd marry someone like that. Salieri looks astonished. There is a knock on the door. CAVALIERI Come in! The door opens. Constanze enters. CONSTANZE Excuse me, Wolfi. Mama is not feeling very well. Can we leave now? MOZART Of course. CAVALIERI No, no, no, no. You ca n't take him away now. This is his night. Wo n't you introduce us, Wolfgang? MOZART Excuse us, Fraulein. Good night, Signore. Mozart hurries Constanze out of the door. Cavalieri looks after them as they go, her voice breaking and rising out of control. CAVALIERI You really are full of surprises, are n't you? You are quite extraordinary, you little shit! She turns and collapses, crying with rage, into Salieri's arms. We focus on him. OLD SALIERI -LRB- V.O. -RRB- At that moment I knew beyond any doubt. He'd had her. The Creature had had my darling girl.",
"INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1820'S The old man speaks passionately to the priest. OLD SALIERI It was incomprehensible. What was God up to? Here I was denying all my natural lust in order to deserve God's gift and there was Mozart indulging his in all directions - even though engaged to be married! - and no rebuke at all! Was it possible I was being tested? Was God expecting me to offer forgiveness in the face of every offense, no matter how painful? That was very possible. All the same, why him? Why use Mozart to teach me lessons in humility? My heart was filling up with such hatred for that little man. For the first time in my life I began to know really violent thoughts. I could n't stop them. VOGLER Did you try? OLD SALIERI Every day. Sometimes for hours I would pray!",
"INT. SALIERI'S APARTMENT - BEDROOM - DAY - 1780'S The young Salieri is kneeling in desperation before the Cross. SALIERI Please! Please! Send him away, back to Salzburg. For his sake as well as mine. CU, Christ staring from the Cross.",
"INT. AUDIENCE HALL - ARCHBISHOP'S PALACE - SALZBURG - DAY 1780'S We see Leopold kneeling now not to the Cross but to Archbishop Colloredo, sitting impassively on his throne. Count Arco stands beside him. Leopold is a desperate, once - handsome man of sixty, now far too much the subservient courtier. COLLOREDO No! I wo n't have him back. LEOPOLD But he needs to be here in Salzburg, Your Grace. He needs me and he needs you. Your protection, your understanding. COLLOREDO Hardly. LEOPOLD Oh sir, yes! He's about to make the worst mistake of his life. Some little Viennese slut is trying to trick him into marriage. I know my son. He is too simple to see the trap - and there is no one there who really cares for him. COLLOREDO I'm not surprised. Money seems to be more important to him than loyalty or friendship. He has sold himself to Vienna. Let Vienna look out for him. LEOPOLD Sir - COLLOREDO Your son is an unprincipled, spoiled, conceited brat. LEOPOLD Yes, sir, that's the truth. But do n't blame him. The fault is mine. I was too indulgent with him. But not again. Never again, I promise! I implore you - let me bring him back here. I'll make him give his word to serve you faithfully. COLLOREDO And how will you make him keep it? LEOPOLD Oh, sir, he's never disobeyed me in anything. Please, Your Grace, give him one more chance. COLLOREDO You have leave to try. LEOPOLD Oh, Your Grace - I thank Your Grace! I thank you! In deepest gratitude he kisses the Archbishop's hand. He motions Leopold to rise. We hear the first dark fortissimo chord which begins the Overture to Don Giovanni : the theme associated with the character of the Commendatore. LEOPOLD -LRB- V.O. -RRB- My dear son. The second fortissimo chord sounds.",
"INT. A BAROQUE CHURCH - DAY - 1780'S We see a huge CU, of Mozart's head, looking front and down, as if reading his father's letter. We hear Leopold's voice over this image, no longer whining and anxious, but impressive. LEOPOLD -LRB- V.O. -RRB- I write to you with urgent news. I am coming to Vienna. Take no further steps toward marriage until we meet. You are too gullible to see your own danger. As you honour the father who has devoted his entire life to yours, do as I bid, and await my coming. MOZART I will. The camera pulls back to see that he is in fact kneeling beside Constanze. A PRIEST faces them. Behind them are Madame Weber, Josefa and Sophie Weber, and a very few others. Among them, a merry looking lady in bright clothes : the BARONESS WALDSTADTEN. PRIEST And will you, Constanze Weber, take this man, Wolfgang to be your lawful husband? CONSTANZE I will. PRIEST I now pronounce you man and wife. The opening kyrie of the great Mass in C Minor is heard. Mozart and Constanze kiss. They are in tears. Madame Weber and her daughters look on approvingly. The music swells and continues under the following :",
"INT. A ROOM IN LEOPOLD'S HOUSE - SALZBURG - NIGHT - 1780'S There is a view of a castle in background. Leopold sits alone in his room. He is reading a letter from Wolfgang. At his feet are his trunks, half - packed for the journey he will not now take. We hear Mozart's voice reading the following letter and we see, as the camera roves around the room, mementos of the young prodigy's early life : the little forte - piano made for him ; the little violin made for him ; an Order presented to him. We see a little starling in a wicker cage. And we see portraits of the boy on the walls, concluding with the familiar family portrait of Wolfgang and his sister Nannerl seated at the keyboard with Leopold standing, and the picture of their mother on the wall behind them. MOZART -LRB- V.O. -RRB- Most beloved father, it is done. Do not blame me that I did not wait to see your dear face. I knew you would have tried to dissuade me from my truest happiness and I could not have borne it. Your every word is precious to me. Remember how you have always told me Vienna is the City of Musicians. To conquer here is to conquer Europe! With my wife I can do it. I vow I will become regular in my habits and productive as never before. She is wonderful, Papa, and I know that you will love her. And one day soon when I am a wealthy man, you will come and live with us, and we will be so happy. I long for that day, best of Papas, and kiss your hand a hundred thousand times. The music of the Mass fades as Leopold crumples the letter in his hand.",
"EXT. THE IMPERIAL GARDENS - VIENNA - DAY - 1780'S Salieri stands waiting, hat in hand. Beside him stands a royal servant. Behind him, gardeners are glimpsed tending the shrubs and bushes along a grassy ride. Down this ride are seen cantering two people on horseback : the Emperor Joseph and his niece, the PRINCESS ELIZABETH. They are mounted on glossy horses. The Princess rides side - saddle. Running beside her is a panting groom. The Emperor rides elegantly ; his niece, a dumpy little Hapsburg girl of sixteen, like a sack of potatoes. As they draw level with Salieri they stop, and the groom holds the head of the Princess' horse. Salieri bows respectfully. JOSEPH Good morning, Court Composer. This is my niece, the Princess Elizabeth. SALIERI Your Highness. Out of breath, the Princess nods nervously. JOSEPH She has asked me to advise her on a suitable musical instructor. I think I've come up with an excellent idea. He smiles at Salieri. SALIERI Oh, Your Majesty, it would be such a tremendous honour! JOSEPH I'm thinking about Herr Mozart. What is your view? Salieri's face falls, almost imperceptibly. SALIERI An interesting idea, Majesty. But - JOSEPH Yes? SALIERI You already commissioned an opera from Mozart. JOSEPH And the result satisfies. SALIERI Yes, of course. My concern is to protect you from any suspicion of favouritism. JOSEPH Ah - ha. Favouritism. But I so want Mozart. SALIERI I'm sure there is a way, Majesty. Some kind of a little contest. I could perhaps put together a small Committee, and I could see to it naturally that it will select according to Your Majesty's wishes. JOSEPH You please me, Court Composer. A very clever idea. SALIERI -LRB- bowing. -RRB- Sire. JOSEPH Well. There it is. He rides on. The groom releases her horse's head, and runs on after the Princess.",
"INT. CHAMBERLAIN VON STRACK'S STUDY - DAY - 1780'S Von Strack sits stiffly behind his gilded desk. Mozart stands before him, trembling with anger. MOZART What is this, Herr Chamberlain? VON STRACK What is what? MOZART Why do I have to submit samples of my work to some stupid committee? Just to teach a sixteen - year - old girl. VON STRACK Because His Majesty wishes it. MOZART Is the Emperor angry with me? VON STRACK On the contrary. MOZART Then why does n't he simply appoint me to the post? VON STRACK Mozart, you are not the only composer in Vienna. MOZART No, but I'm the best. VON STRACK A little modesty would suit you better. MOZART Who is on this committee? VON STRACK Kapellmeister Bonno, Count Orsini - Rosenberg and Court Composer Salieri. MOZART Naturally, the Italians! Of course! Always the Italians! VON STRACK Mozart - MOZART They hate my music. It terrifies them. The only sound Italians understand is banality. Tonic and dominant, tonic and dominant, from here to Resurrection! -LRB- singing angrily. -RRB- Ba - ba! Ba - ba! Ba - ba! Ba - ba! Anything else is morbid. VON STRACK Mozart - MOZART Show them one interesting modulation and they faint. Ohime! Morbidezza! Morbidezza! Italians are musical idiots and you want them to judge my music! VON STRACK Look, young man, the issue is simple. If you want this post, you must submit your stuff in the same way as all your colleagues. MOZART Must I? Well, I wo n't! I tell you straight : I will not!",
"INT. MOZART'S APARTMENT - BEDROOM - VIENNA - DAY - 1780'S The room is very small and untidy. Constanze is marching up and down it, upset. Mozart is lying on the bed. CONSTANZE I think you're mad! You're really mad! MOZART Oh, leave me alone. CONSTANZE One royal pupil and the whole of Vienna will come flocking. We'd be set up for life! MOZART They'll come anyway. They love me here. CONSTANZE No, they will not. I know how things work in this city. MOZART Oh yes? You always know everything. CONSTANZE Well, I'm not borrowing any more money from my mother, and that's that! MOZART You borrowed money from your mother? CONSTANZE Yes! MOZART Well, do n't do that again! CONSTANZE How are we going to live, Wolfi? Do you want me to go into the streets and beg? MOZART Do n't be stupid. CONSTANZE All they want to see is your work. What's wrong with that? MOZART Shut up! Just shut up! I do n't need them. CONSTANZE This is n't pride. It's sheer stupidity! She glares at him, almost in tears.",
"INT. SALIERI'S MUSIC ROOM - LATE AFTERNOON - 1780'S Salieri is giving a lesson to a girl student, who is singing the Italian art song, Caro Mio Ben. There is a knock on the door. SALIERI Yes. A SERVANT enters. SERVANT Excuse me, sir, there is a lady who insists on talking to you. SALIERI Who is she? SERVANT She did n't say. But she says it's urgent. SALIERI -LRB- to the pupil. -RRB- Excuse me, my dear. Salieri goes into the salon.",
"INT. THE SALON - LATE AFTERNOON - 1780'S Constanze stands, closely veiled, holding a portfolio stuffed with manuscripts. The singing lesson ends, with two chords on the instrument. Salieri enters the salon. Constanze drops him a shy curtsey. CONSTANZE Excellency! SALIERI Madame. How can I help you? Shyly, she unveils. SALIERI Frau Mozart? CONSTANZE That's right, Your Excellency. I've come on behalf of my hus band. I'm - I'm bringing some samples of his work so he can be considered for the royal appointment. SALIERI How charming. But why did he not come himself? CONSTANZE He's terribly busy, sir. SALIERI I understand. He takes the portfolio and puts it on a table. SALIERI I will look at them, of course, the moment I can. It will be an honour. Please give him my warmest. CONSTANZE Would it be too much trouble, sir, to ask you to look at them now? While I wait. SALIERI I'm afraid I'm not at leisure this very moment. Just leave them with me. I assure you they will be quite safe. CONSTANZE I - I really can not do that, Your Excellency. You see, he does n't know I'm here. SALIERI Really? CONSTANZE My husband is a proud man, sir. He would be furious if he knew I'd come. SALIERI Then he did n't send you? CONSTANZE No, sir. This is my own idea. SALIERI I see. CONSTANZE Sir, we really need this job. We're desperate. My husband spends far more than he can ever earn. I do n't mean he's lazy - he's not at all - he works all day long. It's just! he's not practical. Money simply slips through his fingers, it's really ridiculous, Your Excellency. I know you help musicians. You're famous for it. Give him just this one post. We'd be forever indebted! A short pause. SALIERI Let me offer you some refreshment. Do you know what these are? He indicates a dish piled high with glazed chestnuts. SALIERI Cappezzoli di Venere. Nipples of Venus. Roman chestnuts in brandied sugar. Wo n't you try one? They're quite surprising. He offers her the dish. She takes one and puts it in her mouth. He watches carefully. CONSTANZE Oh! They're wonderful. He takes one himself. We notice on his finger a heavy gold signet - ring. CONSTANZE Thank you very much, Your Excellency. SALIERI Do n't keep calling me that. It puts me at such a distance. I was not born a Court Composer, you know. I'm from a small town, just like your husband. He smiles at her. She takes another chestnut. SALIERI Are you sure you ca n't leave that music, and come back again? I have other things you might like. CONSTANZE That's very tempting, but it's impossible, I'm afraid. Wolfi would be frantic if he found those were missing. You see, they're all originals. SALIERI Originals? CONSTANZE Yes. A pause. He puts out his hand and takes up the portfolio from the table. He opens it. He looks at the music. He is puzzled. SALIERI These are originals? CONSTANZE Yes, sir. He does n't make copies.",
"INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 The old man faces the Priest. OLD SALIERI Astounding! It was actually beyond belief. These were first and only drafts of music yet they showed no corrections of any kind. Not one. Do you realize what that meant? Vogler stares at him. OLD SALIERI He'd simply put down music already finished in his head. Page after page of it, as if he was just taking dictation. And music finished as no music is ever finished.",
"INT. SALIERI'S SALON - LATE AFTERNOON - 1780'S CU, The manuscript in Mozart's handwriting. The music begins to sound under the following : OLD SALIERI -LRB- V.O. -RRB- Displace one note and there would be diminishment. Displace one phrase, and the structure would fall. It was clear to me. That sound I had heard in the Archbishop's palace had been no accident. Here again was the very voice of God! I was staring through the cage of those meticulous ink - strokes at an absolute, inimitable beauty. The music swells. What we now hear is an amazing collage of great passages from Mozart's music, ravishing to Salieri and to us. The Court Composer, oblivious to Constanze, who sits happily chewing chestnuts, her mouth covered in sugar, walks around and around his salon, reading the pages and dropping them on the floor when he is done with them. We see his agonized and wondering face : he shudders as if in a rough and tumbling sea ; he experiences the point where beauty and great pain coalesce. More pages fall than he can read, scattering across the floor in a white cascade, as he circles the room. Finally, we hear the tremendous Qui Tollis from the Mass in C Minor. It seems to break over him like a wave and, unable to bear any more of it, he slams the portfolio shut. Instantly, the music breaks off, reverberating in his head. He stands shaking, staring wildly. Constanze gets up, perplexed. CONSTANZE Is it no good? A pause. SALIERI It is miraculous. CONSTANZE Oh yes. He's really proud of his work. Another pause. CONSTANZE So, will you help him? Salieri tries to recover himself. SALIERI Tomorrow night I dine with the Emperor. One word from me and the post is his. CONSTANZE Oh, thank you, sir! Overjoyed, she stops and kisses his hand. He raises her - and then clasps her to him clumsily. She pushes herself away. SALIERI Come back tonight. CONSTANZE Tonight? SALIERI Alone. CONSTANZE What for? SALIERI Some service deserves service in return. No? CONSTANZE What do you mean? SALIERI Is n't it obvious? They stare at one another : Constanze in total disbelief. SALIERI It's a post all Vienna seeks. If you want it for your husband, come tonight. CONSTANZE But! I'm a married woman! SALIERI Then do n't. It's up to you. Not to be vague, that is the price. He glares at her. SALIERI Yes. He rings a silver bell for a servant and abruptly leaves the roam. Constanze stares after him, horrified. The servant enters. Shocked and stunned, Constanze goes down an her knees and starts picking up the music from the floor.",
"INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 CU, Father Vogler, horrified. OLD SALIERI Yes, Father. Yes! So much for my vow of chastity. What did it matter? Good, patient, hard - working, chaste - what did it matter? Had goodness made me a good composer? I realized it absolutely then - that moment : goodness is nothing in the furnace of art. And I was nothing to God. VOGLER -LRB- crying out. -RRB- You can not say that! OLD SALIERI No? Was Mozart a good man? VOGLER God's ways are not yours. And you are not here to question Him. Offer him the salt of penitence. He will give you back the bread of eternal life. He is all merciful. That is all you need to know. OLD SALIERI All I ever wanted was to sing to Him. That's His doing, is n't it? He gave me that longing - then made me mute. Why? Tell me that. If He did n't want me to serve Him with music, why implant the desire, like a lust in my body, then deny me the talent? Go on, tell me! Speak for Him! VOGLER My son, no one can speak for God. OLD SALIERI Oh? I thought you did so every day. So speak now. Answer me! VOGLER I do not claim to unravel the mysteries. I treasure them. As you should. OLD SALIERI -LRB- impatiently. -RRB- Oh yes, yes, yes, yes, yes! Always the same stale answers! -LRB- intimately to the priest. -RRB- There is no God of Mercy, Father. Just a God of torture.",
"INT. SALIERI'S APARTMENT - BEDROOM - NIGHT - 1780'S Salieri sits at his desk, staring up at the cross. OLD SALIERI -LRB- V.O. -RRB- Evening came to that room. I sat there not knowing whether the girl would return or not. I prayed as I'd never prayed before. SALIERI Dear God, enter me now. Fill me with one piece of true music. One piece with your breath in it, so I know that you love me. Please. Just one. Show me one sign of your favour, and I will show mine to Mozart and his wife. I will get him the royal position, and if she comes, I'll receive her with all respect and send her home in joy. Enter me! Enter me! Please! Te imploro. Long, long silence. Salieri stares at the cross. Christ stares back at him impassively. Finally in this silence we hear a faint knocking at the door. Salieri stirs himself. A servant appears. SERVANT That lady is back, sir. SALIERI Show her in. Then go to bed. The Servant bows and leaves. We follow him through :",
"INT. MUSIC ROOM IN SALIERI'S APARTMENT - NIGHT - 1780'S The Servant crosses it and enters :",
"INT. SALON IN SALIERI'S APARTMENT - NIGHT - 1780'S Constanze is sitting on an upright chair, veiled as before, the portfolio of music on her lap. Through the far door leading from the hall, another servant is peering at her. The first servant joins him and shuts the door on the girl, leaving her alone. We stay with her. The clock ticks on the mantelpiece. We hear an old carriage pass in the street below. Nervously she lifts her veil and looks about her. Suddenly Salieri appears from the music room. He is pale and very tight. They regard each other. She smiles and rises to greet him, affecting a relaxed and warm manner, as if to put him at his ease. CONSTANZE Well, I'm here. My husband has gone to a concert. He did n't think I would enjoy it. A pause. CONSTANZE I do apologize for this afternoon. I behaved like a silly girl. Where shall we go? SALIERI What? CONSTANZE Should we stay here? It's a charming room. I love these candlesticks. Were they here earlier? I did n't notice them I suppose I was too nervous. As she talks, she extinguishes the candles in a pair of Venetian candelabra and subsequently other candles around the room. CONSTANZE Wolfgang was given some candlesticks by King George in England, but they were only wood. Oh, excuse me. Let's not talk about him. What do you think of this? It's real lace. Brussels. She turns and takes off her shawl. CONSTANZE Well, it's much too good for every day. I keep saying to Wolfi, do n't be so extravagant. Presents are lovely, but we ca n't afford them. It does n't do any good. The more I tell him, the more he spends. Oh, excuse me! There I go again. She picks up the portfolio. CONSTANZE Do you still want to look at this? Or do n't we need to bother anymore? I imagine we do n't, really. She looks at him inquiringly, and drops the portfolio on the floor ; pages of music pour out of it. Instantly we hear a massive chord, and the great Qui Tollis from the Mass in C Minor fills the room. To its grand and weighty sound, Constanze starts to undress, watched by the horrified Salieri. Between him and her, music is an active presence, hurting and baffling him. He opens his mouth in distress. The music pounds in his head. The candle flickers over her as she removes her clothes and prepares for his embrace. Suddenly he cries out. SALIERI Go! Go! Go! He snatches up the bell and shakes it frantically, not stopping until the two servants we saw earlier appear at the door. The music stops abruptly. They stare at the appalled and frightened Constanze, who is desperately trying to cover her nakedness. SALIERI Show this woman out! Constanze hurls herself at him. CONSTANZE You shit! You shit! You rotten shit! He seizes her wrists and thrusts her back. Then he leaves the room quickly, slamming the door behind him. Constanze turns and sees the two servants goggling at her in the room. CONSTANZE What are you staring at? Wildly, she picks up the candelabrum and throws it at them. It shatters on the floor.",
"INT. SALIERI'S APARTMENT - BEDROOM - NIGHT - 1780'S CU, Salieri standing, his eyes shut, shaking in distress. He opens them and sees Christ across the room, staring at him from the wall. OLD SALIERI -LRB- V.O. -RRB- From now on, we are enemies, You and I!",
"INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 The old man is reliving the experience. Vogler looks at him, horrified. OLD SALIERI Because You will not enter me, with all my need for you ; because You scorn my attempts at virtue ; because You choose for Your instrument a boastful, lustful, smutty infantile boy and give me for reward only the ability to recognize the Incarnation ; because You are unjust, unfair, unkind, I will block You! I swear it! I will hinder and harm Your creature on earth as far as I am able. I will ruin Your Incarnation.",
"INT. SALIERI'S APARTMENT - BEDROOM - NIGHT - 1780'S CU, the fireplace. In it lies the olivewood Christ on the cross, burning. OLD SALIERI -LRB- V.O. -RRB- What use after all is Man, if not to teach God His lessons? The cross flames up and disintegrates. Salieri stares at it.",
"INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1780'S The front door bursts open. Mozart stumbles in, followed by EMMANUEL SCHIKANEDER, three young actresses, and another man, all fairly drunk. Schikaneder -LRB- who appears everywhere accompanied by young girls -RRB- is a large, fleshy, extravagant man of about thirty - five. MOZART Stanzi! Stanzi! Stanzi - Manzi! The others laugh. MOZART Sssh! SCHIKANEDER -LRB- imitating Mozart. -RRB- Stanzi - Manzi - Banzi - Wanzi! MOZART Sssh! Stay here. He walks unsteadily to the bedroom door and opens it. SCHIKANEDER -LRB- to the girls, very tipsy. -RRB- Sssh! You're dishgrashful!",
"INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1780'S Constanze lies in bed, her back turned to her husband, who comes into the room and shuts the door. MOZART -LRB- playfully. -RRB- Stanzi? How's my mouse? Mouse - wouse? I'm back - puss - wuss is back! She turns around abruptly. She looks dreadful ; her eyes red with weeping. Mozart is shocked. MOZART Stanzi! He approaches the bed and sits on it. Immediately she starts crying again, desperately. MOZART What's the matter? What is it? Stanzi! He holds her and she clings to him in a fierce embrace, crying a flood of tears. MOZART Stop it now. Stop it. I've brought some friends to meet you. They're next door waiting. Do we have anything to eat? They're all starving. CONSTANZE Tell them to go away. I do n't want to see anybody. MOZART What's the matter with you? CONSTANZE Tell them to go! MOZART Sssh. What is it? Tell me. CONSTANZE No! MOZART Yes! CONSTANZE I love you! I love you! She starts crying again, throwing her arms around his neck. CONSTANZE I love you. Please stay with me. I'm frightened.",
"INT. THE ROYAL PALACE - DINING ROOM - DAY - 1780'S Joseph sits eating. A butler serves him goat's milk to drink. Joseph is holding a memorandum from Salieri in his hand. Salieri stands before him. JOSEPH I do n't think you understand me, Court Composer. SALIERI Majesty, I did. Believe me, it was a most agonizing. decision. But finally, I simply could not recommend Herr Mozart. JOSEPH Why not? SALIERI Well, Sire, I made some inquiries in a routine way. I was curious to know why he had so few pupils. It is rather alarming. JOSEPH Oh? With a gesture Joseph dismisses the butler, who bows and leaves the room. SALIERI Majesty, I do n't like to talk against a fellow musician. JOSEPH Of course not. SALIERI I have to tell you, Mozart is not entirely to be trusted alone with young ladies. JOSEPH Really? SALIERI As a matter of fact, one of my own pupils - a very young singer - told me she was - er - well! JOSEPH Yes? SALIERI Molested, Majesty. Twice, in the course of the same lesson. A pause. JOSEPH Ah - ha. Well. There it is.",
"INT. SALIERI'S HOUSE - STAIRCASE - VIENNA - DAY - 1780'S Salieri has just returned from the palace and is coming up the staircase. He is met by his servant. SERVANT Sir, there is a Herr Mozart waiting for you in the salon. Salieri is plainly alarmed. SALIERI What does he want? SERVANT He did n't say, sir. I told him I did n't know when you would be back, but he insisted on waiting. SALIERI Come with me. And stay in the room. He mounts the stairs.",
"INT. SALIERI'S APARTMENT - SALON - DAY - 1780'S Mozart is waiting for Salieri, holding a portfolio. Salieri approaches him nervously. Mozart stands not belligerently, but humbly. SALIERI Herr Mozart, what brings you here? MOZART Your Excellency, you requested some specimens of my work. Here they are. I do n't have to tell you how much I need your help. I truly appreciate your looking at these. I have pressures on me - financial pressures. As you know, I'm a married man now. SALIERI So you are. How is your pretty wife? MOZART She is well. She is - well, actually, I'm about to become a father! She only told me last night. You are the first to know. SALIERI I'm flattered. And congratulations to you, of course. MOZART So you see, this post is very important to me right now. Salieri looks at him in distress. SALIERI Why did n't you come to me yesterday, Mozart? This is a most painful situation. Yesterday I could have helped you. Today, I ca n't. MOZART Why? Here is the music. It's here. I am submitting it humbly. Is n't that what you wanted? SALIERI I have just come from the palace. The post has been filled. MOZART Filled? That's impossible! They have n't even seen my work. I need this post. Please, ca n't you help me? Please! SALIERI My dear Mozart, there is no one in the world I would rather help, but now it is too late. MOZART Whom did they choose? SALIERI Herr Sommer. MOZART Sommer? Herr Sommer? But the man's a fool! He's a total mediocrity. SALIERI No, no, no : he has yet to achieve mediocrity. MOZART But I ca n't lose this post, I simply ca n't! Excellency, please. Let's go to the palace, and you can explain to the Emperor that Herr Sommer is an awful choice. He could actually do musical harm to the Princess! SALIERI An implausible idea. Between you and me, no one in the world could do musical harm to the Princess Elizabeth. Mozart chuckles delightedly. Salieri offers him a glass of white dessert and a spoon. Mozart takes it absently and goes on talking. MOZART Look, I must have pupils. Without pupils I ca n't manage. SALIERI You do n't mean to tell me you are living in poverty? MOZART No, but I'm broke. I'm always broke. I do n't know why. SALIERI It has been said, my friend, that you are inclined to live somewhat above your means. MOZART How can anyone say that? We have no cook, no maid. We have no footman. Nothing at all! SALIERI How is that possible? You give concerts, do n't you? I hear they are quite successful. MOZART They're stupendously successful. You ca n't get a seat. The only problem is none will hire me. They all want to hear me play, but they wo n't let me teach their daughters. As if I was some kind of fiend. I'm not a fiend! SALIERI Of course not. MOZART Do you have a daughter? SALIERI I'm afraid not. MOZART Well, could you lend me some money till you have one? Then I'll teach her for free. That's a promise. Oh, I'm sorry. I'm being silly. Papa's right - I should put a padlock on my mouth. Seriously, is there any chance you could manage a loan? Only for six months, eight at most. After that I'll be the richest man in Vienna. I'll pay you back double. Anything. Name your terms. I'm not joking. I'm working on something that's going to explode like a bomb all over Europe! SALIERI Ah, how exciting! Tell me more. MOZART I'd better not. It's a bit of a secret. SALIERI Come, come, Mozart ; I'm interested. Truly. MOZART Actually, it's a big secret. Oh, this is delicious! What is it? SALIERI Cream cheese mixed with granulated sugar and suffused with rum. Crema al Mascarpone. MOZART Ah. Italian? SALIERI Forgive me. We all have patriotic feelings of some kind. MOZART Two thousand, two hundred florins is all I need A hundred? Fifty? SALIERI What exactly are you working on? MOZART I ca n't say. Really SALIERI I do n't think you should become known in Vienna as a debtor, Mozart. However, I know a very distinguished gentleman I could recommend to you. And he has a daughter. Will that do?",
"INT. MICHAEL SCHLUMBERG'S HOUSE - MORNING - 1780'S Hysterical barking and howling. The hall is full of dogs, at least five, all jumping up and dashing about and making a terrific racket. Mozart, dandified in a new coat and a plumed hat for the occasion, has arrived to teach at the house of a prosperous merchant, MICHAEL SCHLUMBERG. Bluff, friendly and coarse - looking, he stands in his hall amidst the leaping and barking animals, greeting Mozart. SCHLUMBERG Quiet! Quiet! Quiet! Down there, damn you. -LRB- to Mozart. -RRB- Welcome to you. Pay no attention, they're impossible. Stop it, you willful things! Come this way. Just ignore them. They're perfectly harmless, just willful. I treat them just like my own children. MOZART And which one of them do you want me to teach? SCHLUMBERG What? Ha - ha! That's funny - I like it. Which one, eh? You're a funny fellow. -LRB- shouting. -RRB- Hannah! Come this way. He leads Mozart through the throng of dogs into a salon furnished with comfortable middle - class taste. SCHLUMBERG Hannah! FRAU SCHLUMBERG appears : an anxious woman in middle life. SCHLUMBERG -LRB- to Mozart. -RRB- You wo n't be teaching this one either. She's my wife. MOZART -LRB- bowing. -RRB- Madame. SCHLUMBERG This is Herr Mozart, my dear. The young man Herr Salieri recommended to teach our Gertrude. Where is she? FRAU SCHLUMBERG Upstairs. SCHLUMBERG Gertrude! FRAU SCHLUMBERG You ca n't be Herr Mozart! MOZART I'm afraid I am. SCHLUMBERG Of course, it's him. Who do you think it is? FRAU SCHLUMBERG I've heard about you for ages! I thought you must be an old man. SCHLUMBERG Gertrude! FRAU SCHLUMBERG It's such an honour for us to have you here, Herr Mozart. And for Gertrude. SCHLUMBERG People who know say the girl's got talent. You must judge for yourself. If you think she stinks, say so. FRAU SCHLUMBERG Michael, please! I'm sure you will find her most willing, Herr Mozart. She's really very excited. She's been preparing all morning. MOZART Really? FRAU SCHLUMBERG Ah, now! Here she comes. GERTRUDE SCHLUMBERG appears in the doorway : an awkward girl of fifteen in her best dress, her hair primped and curled. She is exceedingly nervous. MOZART Good morning, Fraulein Schlumberg. SCHLUMBERG Strudel, this is Herr Mozart. Say good morning. Gertrude giggles instead. FRAU SCHLUMBERG -LRB- to Mozart. -RRB- Perhaps a little refreshment first? A little coffee, or a little chocolate? MOZART I'd like a little wine, if you have it. FRAU SCHLUMBERG Wine? SCHLUMBERG Quite right. He's going to need it. -LRB- calling and clapping his hands. -RRB- Klaus! A bottle of wine. Prestissimo! Now let's go to it. I've been waiting all day for this. He leads the way into :",
"INT. MUSIC ROOM - DAY - 1780'S A forte - piano is open and waiting. All the dogs follow him. After them come Mozart Frau and Fraulein Schlumberg. To Mozart's dismay, husband and wife seat themselves quite formally on a little narrow sofa, side by side. SCHLUMBERG -LRB- To the dogs. -RRB- Now sit down all of you and behave. Zeman, Mandi, absolutely quiet! -LRB- to a young beagle. -RRB- Especially you, Dudelsachs - not one sound from you. The dogs settle at their feet. Husband and wife smile encouragingly at each other. SCHLUMBERG Come on, then. Up and at it! Mozart gestures to the music bench. Reluctantly, the girl sits at the instrument. Mozart sits beside her. MOZART Now, please play me something. Just to give me an idea. Anything will do. GERTRUDE -LRB- to parents. -RRB- I do n't want you to stay. FRAU SCHLUMBERG That's all right, dear. Just go ahead, as if we were n't here. GERTRUDE But you are here. SCHLUMBERG Never mind, Strudel. It's part of music, getting used to an audience. Are n't I right, Herr Mozart? MOZART Well, yes! on the whole. I suppose. -LRB- to Gertrude. -RRB- How long have you been playing, Fraulein? FRAU SCHLUMBERG Just one year. MOZART Who was your teacher? FRAU SCHLUMBERG I was. But she quite outgrew the little I could show her. MOZART Thank you, Madame. -LRB- to Gertrude. -RRB- Come on now - courage. Play me something you know. In response the wretched girl just stares down at the keyboard without playing a note. An awkward pause. MOZART Perhaps it would be better if we were left alone. I think we're both a little shy. Husband and wife look at each other. SCHLUMBERG Nonsense. Strudel's not shy. She's just willful! You give into her now, you'll be sorry later. Strudel - play. Silence. The girl sits unmoving. Schlumberg bellows : SCHLUMBERG I said play! FRAU SCHLUMBERG Michael! MOZART Perhaps if I were to play a little first, it might encourage the Fraulein. -LRB- to the girl. -RRB- Why do n't you let me try the instrument? All right? Suddenly the girl rises. Mozart smiles at the parents. They smile nervously back. Mozart slides along the bench, raises his hands and preludes over the keys. Instantly a dog howls loudly. Startled, Mozart stops. Schlumberg leaps to his feet and goes over to the beagle. SCHLUMBERG Stop that, Dudelsachs! Stop it at once! -LRB- to Mozart. -RRB- Do n't let him disturb you. He'll be all right. He's just a little willful too. Please, please - play. I beg you. Mozart resumes playing. This time it is a lively piece, perhaps the Presto Finale from the K. 450. The dog howls immediately. SCHLUMBERG Stop it! STOP! Mozart stops. SCHLUMBERG No, not you. I was talking to the dog. You keep playing. It's most important. He always howls when he hears music. We've got to break them of the habit. Play, please. Please! Amazed, Mozart starts to play the Rondo again. The dog howls louder. SCHLUMBERG That's it. Now keep going, just keep going. -LRB- to the beagle. -RRB- Now you stop that noise, Dudelsachs, you stop it this instant! This instant, do you hear me? Keep going, Herr Mozart, that's it. Go on, go on! Mozart plays on. Suddenly the dog falls silent. Schlumberg smiles broadly. SCHLUMBERG Good, good, good! Very good dog! Very, very good Dudelsachs. -LRB- to his wife, snapping his fingers. -RRB- Quick, quick, dear, bring his biscuit. The wife scurries to get a jar of biscuits. A servant brings in an open bottle of wine and a full glass on a tray. He puts it down beside Mozart as Schlumberg addresses the silent dog with deepest affection. SCHLUMBERG Now guess who's going to get a nice reward? Clever, clever Dudi. He gives the biscuit to the dog who swallows it greedily. Mozart stops playing and stands up. SCHLUMBERG It's a miracle, Herr Mozart! MOZART -LRB- barely controlling himself. -RRB- Well, I'm a good teacher. The next time you wish me to instruct another of your dogs, please let me know. Goodbye, Fraulein, goodbye, Madame! goodbye, Sir! He bows to them and leaves the room. They look after him in puzzled astonishment. FRAU SCHLUMBERG What a strange young man. SCHLUMBERG Yes. He is a little strange.",
"EXT. A BUSY STREET IN VIENNA - DAY - 1780'S A cheerful scene. We see Mozart strutting and beaming, making his way through the crowd of porters, carriers and hawkers, sellers of sausages and pastries, vendors of hats and ribbons. Horses and carriage clatter past him. His mood is best expressed by a bubbling version of Non piu Andrai played on the forte - piano. Still in the same mood, he enters the door of his own house.",
"INT. MOZART'S HOUSE - HALLWAY - DAY - 1780'S Suddenly, he stops. He looks up the stairs. The grim opening chords from the Overture to Don Giovanni cut across the march from Figaro. What he sees, looking up the stairs, is a menacing figure in a long, grey cape and dark grey hat, standing on the landing. The light comes from behind the figure so that we see only its silhouette as it unfolds its arms towards Mozart in an alarming gesture of possession. It takes a beat in which the air of sinister mystery is held before Mozart realizes who it is. Then, as the music continues, he hastily sets down the bottle of wine and rushes joyfully up the stairs and hurls himself into the figure's arms. MOZART Papa! PAPA! Both men embrace. The music slowly fades.",
"INT. MOZART'S LIVING ROOM - DAY - 1780'S A cramped, low - ceilinged little room which nobody has tidied for ages. We see music lying everywhere. Also there are many empty wine bottles ; musical instruments - among them a mandolin, a viola, a forte - piano with the black and white keys reversed - books and abandoned plates of food. Mozart clasps his father's arms. Leopold is now seen as an aging, travel - stained man in clothes that need repair. His face is lined, and he is obviously not in perfect health. MOZART Why are you here? LEOPOLD Am I not welcome? MOZART Of course, welcome! Welcome ten thousand times. Papa! my Papa! He kisses his hands. LEOPOLD You're very thin. Does she not feed you, this wife of yours? Mozart ducks away and fetches his father's bags from the landing. MOZART Feed? Well, of course she feeds me. She stuffs me like a goose all day long. She's the best cook in the world. I mean, since Mama. Just wait, you'll see. LEOPOLD Is she not here? MOZART I do n't know. Stanzi? Stanzi! Leopold looks about him at the mess in the room. LEOPOLD Do you always live like this? MOZART Oh, yes. Oh, I mean no - not exactly like this. I mean today - just today, Stanzi - I remember now. She had to go - yes! She had to help her mother. Yes, she's like that. Her mother's a very sweet woman, you'll see. He carries the bag across the room and opens the door of the bedroom. Constanze lies in bed. She sits up, startled. MOZART Oh! I did n't know you were home. Stanzi, this is my father. Constanze, who looks ill and tired, stares at Leopold. Leopold stares back from the doorway. MOZART We'll wait, we'll wait. Why do n't you get up now, darling? He closes the door again. MOZART She's very tired, poor creature. You know me : I'm a real pig. It's not so easy cleaning up after me. LEOPOLD Do n't you have a maid? MOZART Oh we could, if we wanted to, but Stanzi wo n't hear of it. She wants to do everything herself. LEOPOLD How is your financial situation? MOZART It could n't be better. LEOPOLD That's not what I hear. MOZART What do you mean? It's wonderful. Really, it's - it's marvelous! People love me here. LEOPOLD They say you're in debt. MOZART Who? Who says that? Now that's a malicious lie! LEOPOLD How many pupils do you have? MOZART Pupils? LEOPOLD Yes. MOZART Yes. LEOPOLD How many? MOZART I do n't know. It's not important. I mean, I do n't want pupils. They get in the way. I've got to have time for composition. LEOPOLD Composition does n't pay. You know that. MOZART This one will. He picks up some pages of manuscript. LEOPOLD What's that? MOZART Oh, let's not talk about it. LEOPOLD Why not? MOZART It's a secret. LEOPOLD You do n't have secrets from me. MOZART It's too dangerous, Papa. But they're going to love it. Ah, there she is! Constanze comes into the room. She is wearing a dressing gown and has made a perfunctory attempt to tidy her hair. We see that she is clearly pregnant. MOZART My Stanzi - look at her! Is n't she beautiful? Come on now, confess, Papa. Could you want a prettier girl for a daughter? CONSTANZE Stop it, Wolfi. I look dreadful. Welcome to our house, Herr Mozart. MOZART He's not Herr Mozart. Call him Papa. LEOPOLD I see that you're expecting. CONSTANZE Oh, yes. LEOPOLD When, may I ask? CONSTANZE In three months! Papa. MOZART Is n't that marvelous? We're delighted. LEOPOLD Why did n't you mention it in your letters? MOZART Did n't I? I thought I did. I'm sure I did. He gives a little giggle of embarrassment. CONSTANZE May I offer you some tea, Herr Mozart? MOZART Tea? Who wants tea? Let's go out! This calls for a feast. You do n't want tea, Papa. Let's go dancing. Papa loves parties, do n't you? CONSTANZE Wolfi! MOZART What? How can you be so boring? Tea! CONSTANZE Wolfi, I think your father's tired. I'll cook us something here. LEOPOLD Thank you. That'll be fine. Do n't spend any money on me. MOZART Why not? Oh, come, Papa! What better way could I spend it than on you? My kissable, missable, suddenly visible Papa! The jaunty tune of Ich Mochte Wohl Der Kaiser sein -LRB- K. 539 -RRB- sounds through all the following. This is an alternate song from Il Seraglio : a very extroverted tune for baritone and orchestra and a prominent part for bass drum. The vocal part should be arranged for trumpet.",
"EXT. STREET IN VIENNA - DAY - 1780'S Mozart and Constanze with Leopold between them. We see couples shopping.",
"INT. A COSTUME SHOP - VIENNA - DAY - 1780'S This is a shop where one can buy costumes for masquerades. It is filled with extravagant costumes of various kinds. Wolfgang is wearing a costume, a mask pushed up on his forehead ; Constanze is wearing a little white velvet mask. Amidst the merriment, Leopold is helped by two assistants to put on a dark grey cloak and a dark grey tricorne hat, to which is attached a full mask of dark grey. Its mouth is cut into a fixed upward smile. He turns and looks at his son through this mask.",
"INT. A LARGE PARTY ROOM - VIENNA - NIGHT - 1780'S We are in the full whirl of a Masquerade Ball. Couples are dancing around dressed in fantastic costumes. The music of Ich Mochte Wohl Der Kaiser sein increases in volume and persists. We see the musicians thumping it out on a balustrade above the dancers. A steer is being roasted. Through the bobbing crowd we see a group, headed by the figure of Bacchus : this is Schikaneder in a Greek costume, wearing vine leaves in his hair. He is accompanied by his usual trio of actresses and three other men. Constanze as Columbine and Mozart as Harlequin are pulling Leopold by the hand of his dark cloak and smiling mask. This whole group threads its way across the crowded room and disappears through a door. As they go, they are watched by Salieri, standing alone in a corner, wearing ordinary evening clothes. He turns away hastily to avoid being seen by them. As soon as they disappear into the far room, Salieri goes quickly to a lady in the corner who is giving guests domino masks off a tray. He quickly takes a small black mask and puts it on.",
"INT. A GROTTO ROOM NEXT DOOR - NIGHT - 1780'S A fantastic room designed as a rocky grotto, lit by candles. A forte - piano to one side is being played by Schikaneder : the music of Ich Mochte Wohl Der Kaiser sein cross - fades to another tune. This is Vivat Bacchus from Il Seraglio which Schikaneder, dressed as Bacchus, is humming as he plays. The music is actually accompanying a game of Forfeits, which has begun. Five couples -LRB- the group we have just seen -RRB- are dancing in the middle of a ring made by nine chairs. When the music stops they will each have to find a chair, and the one who fails must pay a forfeit. Constanze is dancing with Leopold ; Mozart is dancing with one of the actresses ; the two other actresses are dancing with two other gentlemen ; and two children dance together - a little boy and a little girl. The scene is watched by a circle of bystanders ; among them - from the doorway - is Salieri. Schikaneder stops playing. Immediately the couples scramble for the chairs. Leopold and Constanze meet on the same chair, bumping and pushing at each other to get sole possession of it. To the amusement of the people around, the chair over - balances and they both end up on the floor. Constanze immediately gets up again, sets the chair on its feet, and tries to pretend she was sitting in it all the time. But Schikaneder calls out from the forte - piano. SCHIKANEDER No, no! You both lost. You both lost. You both have to forfeit. And the penalty is you must exchange your wigs. People are delighted by the idea of this penalty. The children jump up and down with excitement. The three actresses immediately surround Leopold, reaching for his hat and mask and wig, whilst he tries to hold on to them. Mozart takes off Constanze's wig - an absurd affair with side - curls. Constanze laughingly surrenders it. LEOPOLD No, please! This is ridiculous! No, please! Despite his protests an actress takes off his hat, to which the smiling mask is attached, to reveal his outraged face showing a very different expression underneath. Another actress snatches off his wig to reveal very sparse hair on the old man's head. The third actress takes Constanze's wig from Mozart and attempts to put it on his father's head. LEOPOLD No, really! MOZART -LRB- calling to him. -RRB- This is just a game, Papa. Constanze echoes him with a touch of malice in her voice. CONSTANZE This is just a game, Papa! Laughingly, the bystanders take it up, especially the children. BYSTANDERS This is just a game, Papa! As Leopold glares furiously about him, the actress succeeds in getting Constanze's wig firmly onto his head. Everybody bursts into applause. Delightedly, Constanze puts on Leopold's wig, hat and mask : from the waist up she now looks like a weird parody of Leopold in the smiling grey mask, and he looks like a weird parody of her in the silly feminine wig. Schikaneder starts to play again, and the couples start to dance. Leopold angrily takes off Constanze's wig and leaves the circle ; his partner, Constanze, is left alone. Seeing this, Mozart leaves his partner and catches his father entreatingly by the arm. MOZART Oh no, Papa, please! Do n't spoil the fun. Come on. Here, take mine. He takes off his own wig and puts it on Leopold's uncovered head. The effect, if not as ridiculous, is still somewhat bizarre, since Wolfgang favours fairly elaborate wigs. He takes Constanze's wig from his father. As this happens, the music stops again. Mozart gently pushes his father down onto a nearby chair ; the others scramble for the other chairs ; and he is left as the Odd Man Out. He giggles. Schikaneder calls out to Leopold from the keyboard. SCHIKANEDER Herr Mozart, why do n't you name your son's penalty? Applause. MOZART Yes, Papa, name it. Name it. I'll do anything you say! LEOPOLD I want you to come back with me to Salzburg, my son. SCHIKANEDER What did he say? What did he say? MOZART Papa, the rule is you can only give penalties that can be performed in the room. LEOPOLD I'm tired of this game. Please play without me. MOZART But my penalty. I've got to have a penalty. All the bystanders are watching. SCHIKANEDER I've got a good one. I've got the perfect one for you. Come over here. Mozart runs over to the forte - piano, and Schikaneder surrenders his place at it. SCHIKANEDER Now, I want you to play our tune - sitting backwards. Applause. MOZART Oh, that's really too easy. Any child can do that. Amused sounds of disbelief. SCHIKANEDER And a fugue in the manner of Sebastian Bach. Renewed applause at this wicked extra penalty. Mozart smiles at Schikaneder - it is the sort of challenge he loves. He defiantly puts on Constanze's wig and seats himself with his back to the keyboard. Before the astonished eyes of the company he proceeds to execute this absurdly difficult task. His right hand plays the bass part, his left hand the treble, and with this added difficulty he improvises a brilliant fugue on the subject of the tune to which they have been dancing. Attracted by this astonishing feat, the players draw nearer to the instrument. So does Salieri, cautiously, with some of the bystanders. Constanze watches him approach. Only Leopold sits by himself, sulking. The fugue ends amidst terrific clapping. The guests call out to Mozart. GUESTS Another! Do another! Someone else. MOZART Give me a name. Who shall I do? Give me a name. GUESTS Gluck! Haydn! Frederic Handel! CONSTANZE Salieri! Do Salieri! SMASH CUT : Salieri's masked face whips around and looks at her. MOZART Now that's hard. That's very hard. For Salieri one has to face the right way around. Giggling, he turns around and sits at the keyboard. Then, watched by a highly amused group, he begins a wicked parody. He furrows his brow in mock concentration and closes his eyes. Then he begins to play the tune to which they danced, in the most obvious way imaginable, relying heavily on a totally and offensively unimaginative bass of tonic and dominant, endlessly repeated. The music is the very essence of banality. The bystanders rock with laughter. Mozart starts to giggle wildly. Through this excruciating scene, Salieri stares at Constanze, who suddenly turns her head and looks challengingly back at him. Mozart's parody reaches its coarse climax with him adding a fart noise instead of notes to end cadences. He builds this up, urged on in his clowning by everyone else, until suddenly he stops and cries out. The laughter cuts off. Mozart stands up, clutching his behind as if he has made a mess in his breeches. The momentary hush of alarm is followed by a howl of laughter. CU, Salieri staring in pain.",
"INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 CU, The old man is shaking at the very recollection of his humiliation. OLD SALIERI Go on. Mock me. Laugh, laugh!",
"INT. GROTTO - NIGHT - 1780'S A repetition of the shot of Mozart at the forte - piano, wearing Constanze's wig and emitting a shrill giggle.",
"INT. SALIERI'S APARTMENT - BEDROOM - NIGHT - 1780'S Salieri sits at his desk. He holds in his hand the small black party mask and stares in hatred at the place on the wall where the crucifix used to hang. Faintly we see the mark of the cross. OLD SALIERI -LRB- V.O. -RRB- That was not Mozart laughing, Father. That was God. That was God! God laughing at me through that obscene giggle. Go on, Signore. Laugh. Rub my nose in it. Show my mediocrity for all to see. You wait! I will laugh at You! Before I leave this earth, I will laugh at You! Amen!",
"INT. MOZART'S WORKROOM - DAY - 1780'S It is littered with manuscripts. In the middle stands a billiard table. The beautiful closing ensemble from Act IV of Figaro : Ah, Tutti contenti! Saremo cosi plays in the background. Standing at the billiard table, Mozart is dreamily hearing the music and playing shots on the table. From time to time he drifts over to a piece of manuscript paper and jots down notes. He is very much in his own world of composition and the billiard balls are an aid to creation. Presently, however, we hear a knocking at the door. CONSTANZE -LRB- outside the door. -RRB- Wolfi! Wolfgang! The music breaks off. MOZART What is it? He opens the door. CONSTANZE There's a young girl to see you. MOZART What does she want? CONSTANZE I do n't know. MOZART Well, ask her! CONSTANZE She wo n't talk to me. She says she has to speak to you. MOZART Oh, damn!",
"INT. MOZART'S APARTMENT - LIVING ROOM - DAY - 1780'S Mozart comes out. Framed in the doorway from outside stands Lorl, the maid we noticed in Salieri's house. From his bedroom Leopold peeps out to watch. Mozart goes to the girl. Constanze follows. MOZART Yes? LORL Are you Herr Mozart? MOZART That's right. LORL My name is Lorl, sir. I'm a maidservant. I was asked to come here and offer my services to you. MOZART What? LORL They'll be paid for by a great admirer or yours who wishes to remain anon - anonymous. CONSTANZE What do you mean? What admirer? LORL I ca n't tell you that, ma'am. MOZART Are you saying that someone is paying you to be our maid and does n't want us to know who he is? LORL Yes. I can live in or out just as you wish. Mozart turns to his father. MOZART Papa, is this your idea? LEOPOLD Mine? The old man emerges from his bedroom. His son looks at him delightedly. MOZART Are you playing a trick on me? LEOPOLD I never saw this girl in my life. -LRB- to Lorl. -RRB- Is this a kind of joke? LORL Not at all, sir. And I was told to wait for an answer. LEOPOLD Young woman, this wo n't do at all. My son ca n't possibly accept such an offer, no matter how generous, unless he knows who is behind it. LORL But I really ca n't tell you, sir. LEOPOLD Oh, this is ridiculous. CONSTANZE What is ridiculous? Wolfi has many admirers in Vienna. They love him here. People send us gifts all the time. LEOPOLD But you ca n't take her without reference. It's unheard of! CONSTANZE Well, this is none of your business. -LRB- to Lorl. -RRB- Whoever sent you is going to pay, no? LORL That's right, ma'am. LEOPOLD So now we are going to let a perfect stranger into the house? Constanze looks furiously at him, then at Lorl. CONSTANZE Who is we? Who is letting who? -LRB- to Lorl. -RRB- Could you please wait outside? LORL Yes, ma'am. Lorl goes outside and closes the door. Constanze turns on Leopold. CONSTANZE Look, old man, you stay out of this. We spend a fortune on you, more than we can possibly afford, and all you do is criticize, morning to night. And then you think you can - MOZART Stanzi! CONSTANZE No, it's right he should hear. I'm sick to death of it. We ca n't do anything right for you, can we? LEOPOLD Never mind. You wo n't have to do anything for me ever again. I'm leaving! MOZART Papa! LEOPOLD Do n't worry, I'm not staying here to be a burden. MOZART No one calls you that. LEOPOLD She does. She says I sleep all day. CONSTANZE And so you do! The only time you come out is to eat. LEOPOLD And what do you expect? Who wants to walk out into a mess like this every day? CONSTANZE Oh, now I'm a bad housekeeper! LEOPOLD So you are! The place is a pigsty all the time. CONSTANZE -LRB- to Mozart. -RRB- Do you hear him? Do you? Explosively she opens the door. CONSTANZE -LRB- to Lorl. -RRB- When can you start? LORL Right away, ma'am. CONSTANZE Good! Come in. You'll start with that room there. -LRB- indicating Leopold's room. -RRB- It's filthy! She leads the maid into Leopold's room. Mozart steals back into his workroom and gently closes the door. Leopold is left alone. LEOPOLD Sorry, sorry! I'm sorry I spoke! I'm just a provincial from Salzburg. What do I know about smart Vienna? Parties all night, every night. Dancing and drinking like idiot children!",
"INT. MOZART'S WORKROOM - DAY - 1780'S Mozart stands trying to blot out the noise of his father's shouting from the next room. LEOPOLD -LRB- O.S. -RRB- Dinner at eight! Dinner at ten! Dinner when anyone feels like it! If anyone feels like it! The ensemble of Ah, Tutti contenti! Saremo cosi from Act IV of Figaro resumes, coming to his aid and rising to greet the listener with its serene harmonies. Relieved, Mozart languidly picks up his cue and plays a shot on the billiard table : he is sucked back into his own world of sound.",
"INT. SALIERI'S SALON - NIGHT - 1780'S The music fades. We see Lorl, dressed in a walking cloak, sitting before a desk, talking to someone confidentially. LORL They're out every night, sir. Till all hours. A hand comes into frame offering a plate of sugared biscuits. On its finger we see the gold signet ring belonging to Salieri. LORL -LRB- taking one. -RRB- Oh, thank you, sir. SALIERI Do any pupils come to the house? LORL Not that I've seen. SALIERI Then how does he pay for all this? Does he work at all? LORL Oh, yes, sir, all day long. He never leaves the house until evening. He just sits there, writing and writing. He does n't even eat. SALIERI Really? What is it he's writing? LORL Oh, I would n't know that, sir. SALIERI Of course not. You're a good girl. You're very kind to do this. Next time you're sure they'll be out of the house, let me know, will you? Confused, the girl hesitates. He hands her a pile of coins. LORL Oh, thank you, sir! She accepts them, delighted.",
"EXT. MOZART'S HOUSE - VIENNA STREET - AFTERNOON - 1780'S The final movement of Mozart's Piano Concerto in E - flat -LRB- K. 482 -RRB- begins. To its lively music, the door of the house bursts open and a grand forte - piano augmented with a pedal is carried out of it by six men, who run off with it down the street. Following them immediately appear Wolfgang, Constanze and Leopold, all three dressed for an occasion. They climb into a waiting carriage which drives off after the forte - piano. As soon as it goes, Lorl appears in the doorway, peering slyly around to see that they are out of sight. Then she shuts the door and hurries off in the opposite direction.",
"EXT. AN ORNAMENTAL GARDEN - VIENNA - AFTERNOON - 1780'S An outdoor concert is being given. Mozart is actually playing the final movement of his E - flat concerto with an orchestra. Listening to him is a sizable audience, including the Emperor, flanked by Strack and Von Swieten. The crowd is in a happy and appreciative mood : it is a delightful open - air scene. We hear the gayest and most complex passage. Leopold and Constanze listen to Mozart, who plays his own work brilliantly. We stay with this scene for a little while and then",
"EXT. VIENNA STREET - AFTERNOON - 1780'S A carriage clopping through the streets. Lorl is sitting up on the box beside the driver. Inside the vehicle, we glimpse the figure of Salieri.",
"EXT. AN ORNAMENTAL GARDEN - VIENNA - 1780'S We hear more of the concerto. Perhaps the slow interlude in the last movement of K. 482. Mozart is conducting and playing in a reflective mood. Abruptly we",
"EXT. MOZART' S APARTMENT - AFTERNOON - 1780'S Lorl is opening the door admitting Salieri. They go in. The door shuts.",
"INT. MOZART'S LIVING ROOM - AFTERNOON - 1780'S The room is considerably tidier as a result of Lorl's ministrations. Salieri stands looking about him with tremendous curiosity. LORL I think I've found out about the money, sir. SALIERI Yes what? She opens a drawer in a sideboard. Inside we see one gold snuff box : it is the one we saw Mozart being presented with as a child in the Vatican. LORL He kept seven snuff boxes in here. I could swear they were all gold. And now look there's only one left. And inside, sir, look - I counted them - tickets from the pawnshop. Six of them. Salieri turns to look around him. SALIERI Where does he work? LORL In there, sir. She points across the room to the workroom. Salieri crosses and goes in alone.",
"INT. MOZART'S WORKROOM - AFTERNOON - 1780'S Salieri enters the private quarters of Amadeus. He is immensely excited. He moves slowly into the ` holy of holies' picking up objects with great reverence - a billiard ball ; a discarded wig ; a sock ; a buckle - then objects more important to him. Standing at Mozart's desk, strewn with manuscripts, he picks up Mozart's pen and strokes the feather. He touches the inkstand. He lays a finger on the candlestick with its half - expired candle. He touches each object as if it were the memento of a beloved. He is in awe. Finally his eye falls on the sheets of music themselves. Stealthily he picks them up. CU, The pages. We see words set to music. Against each line of notes is the name of a character : Contessa, Susanna, Cherubino. Then another page - the title page - written in Mozart's hand. Le Nozze di Figaro Comedia per musica tratta dal Francese in quattro atti. CU, The word Figaro. CU, Salieri. He stares amazed.",
"EXT. ORNAMENTAL GARDEN - VIENNA - AFTERNOON - 1780'S Mozart is playing the cadenza and coda of Piano Concerto -LRB- K. 482 -RRB-. He completes the work with a flourish. There is loud applause. The Emperor rises and all follow suit. Mozart comes down to be greeted by him. JOSEPH Bravo, Mozart. Most charming. Yes, indeed. Clever man. MOZART Thank you, Sire! VON SWIETEN Well done, Mozart. Really quite fine. MOZART Baron! He sees his wife and father standing by in the crowd. Leopold is signaling insistently. MOZART Majesty, may I ask you to do me the greatest favour? JOSEPH What is it? MOZART May I introduce my father? He is on a short visit here and returning very soon to Salzburg. He would so much like to kiss your hand. It would make his whole stay so memorable for him. JOSEPH Ah! By all means. Leopold comes forward eagerly and fawningly kisses the royal hand. LEOPOLD Your Majesty. Constanze curtsies. JOSEPH Good evening. -LRB- to Leopold. -RRB- We have met before, Herr Mozart. LEOPOLD That's right, Your Majesty. Twenty years ago. No, twenty - two! twenty - three! And I remember word for word what you said to me. You said - you said - He searches his memory. JOSEPH Bravo? LEOPOLD No! Yes, ` bravo,' of course ` bravo'! Everybody always says ` bravo' when Wolfi plays. Like the King of England. When we played for the King of England, he got up at the end and said, ` Bravo! Bravo! Bravo!' three times. Three bravo's. And the Pope four! Four bravo's from the Holy Father, and one ` bellissimo.' All the courtiers around are looking at him. MOZART Father - LEOPOLD Hush! I'm talking to His Majesty. Your Majesty, I wish to express only one thing - that you who are the Father of us all, could teach our children the gratitude they owe to fathers. It is not for nothing that the Fifth Commandment tells us : ` Honour your Father and Mother, that your days may be long upon the earth.' JOSEPH Ah - ha. Well. There it is.",
"INT. ORSINI-ROSENBERG'S STUDY - DAY - 1780'S The Director sits at his table with Salieri and Bonno. SALIERI I've just learned something that might be of interest to you, Herr Director. ORSINI-ROSENBERG Yes? SALIERI Mozart is writing a new opera. An Italian opera. ORSINI-ROSENBERG Italian? BONNO Aie! SALIERI And that's not all. He has chosen for his subject, Figaro. The Marriage of Figaro. ORSINI-ROSENBERG You mean that play? SALIERI Exactly. ORSINI-ROSENBERG He's setting that play to music? SALIERI Yes. ORSINI-ROSENBERG You must be mad. BONNO What is this Marriage of Figaro? ORSINI-ROSENBERG It's a French play, Kapellmeister. It has been banned by the Emperor. BONNO Hah! He crosses himself, wide - eyed with alarm. ORSINI-ROSENBERG Are you absolutely sure? SALIERI I've seen the manuscript. ORSINI-ROSENBERG Where? SALIERI Never mind.",
"INT. CHAMBERLAIN VON STRACK'S STUDY - DAY - 1780'S VON STRACK I know we banned this play, but frankly I ca n't remember why. Can you refresh my memory, Herr Director? ORSINI-ROSENBERG For the same reason, Herr Chamberlain, that it was banned in France. VON STRACK Oh yes, yes. And that was? ORSINI-ROSENBERG Well, the play makes a hero out of a valet. He outwits his noble master and exposes him as a lecher. Do you see the implications? This would be, in a grander situation, as if a Chamberlain were to expose an Emperor. VON STRACK Ah.",
"INT. THE EMPEROR'S STUDY - DAY - 1780'S The Emperor stands in the middle of the room in close conversation with Von Strack, Orsini - Rosenberg, Von Swieten, and Bonno. Salieri is not present. A door opens and a lackey announces : LACKEY Herr Mozart. They all turn. Mozart approaches, rather apprehensively, and kisses Joseph's hand. JOSEPH Sit down, gentlemen, please. They all sit, save Mozart. The room suddenly looks like a tribunal. Joseph is in a serious mood. JOSEPH Mozart, are you aware I have declared the French play of Figaro unsuitable for our theatre? MOZART Yes, Sire. JOSEPH Yet we hear you are making an opera from it. Is this true? MOZART Who told you this, Majesty? JOSEPH It is not your place to ask questions. Is it true? MOZART Well, yes, I admit it is. JOSEPH Would you tell me why? MOZART Well, Majesty, it is only a comedy. ORSINI-ROSENBERG What you think, Mozart, is scarcely the point. It is what His Majesty thinks that counts. MOZART But, Your Majesty - JOSEPH -LRB- motioning him to be silent. -RRB- Mozart, I am a tolerant man. I do not censor things lightly. When I do, I have good reason. Figaro is a bad play. It stirs up hatred between the classes. In France it has caused nothing but bitterness. My own dear sister Antoinette writes me that she is beginning to be frightened of her own people. I do not wish to see the same fears starting here. MOZART Sire, I swear to Your Majesty, there's nothing like that in the story. I have taken out everything that could give offense. I hate politics. JOSEPH I think you are rather innocent, my friend. In these dangerous times I can not afford to provoke our nobles or our people simply over a theatre piece. The others look at their king solemnly, all save Mozart. MOZART But, Majesty, this is just a frolic. It's a piece about love. JOSEPH Ah, love again. MOZART But it's new, it's entirely new. It's so new, people will go mad for it. For example, I have a scene in the second act - it starts as a duet, just a man and wife quarreling. Suddenly the wife's scheming little maid comes in unexpectedly - a very funny situation. Duet turns into trio. Then the husband's equally screaming valet comes in. Trio turns into quartet. Then a stupid old gardener - quartet becomes quintet, and so on. On and on, sextet, septet, octet! How long do you think I can sustain that? JOSEPH I have no idea. MOZART Guess! Guess, Majesty. Imagine the longest time such a thing could last, then double it. JOSEPH Well, six or seven minutes! maybe eight! MOZART Twenty, sire! How about twenty? Twenty minutes of continuous music. No recitatives. VON SWIETEN Mozart - MOZART -LRB- ignoring him. -RRB- Sire, only opera can do this. In a play, if more than one person speaks at the same time, it's just noise. No one can understand a word. But with music, with music you can have twenty individuals all talking at once, and it's not noise - it's a perfect harmony. Is n't that marvelous? VON SWIETEN Mozart, music is not the issue here. No one doubts your talent. It is your judgment of literature that's in question. Even with the politics taken out, this thing would still remain a vulgar farce. Why waste your spirit on such rubbish? Surely you can choose more elevated themes? MOZART Elevated? What does that mean? Elevated! The only thing a man should elevate is - oh, excuse me. I'm sorry. I'm stupid. But I am fed up to the teeth with elevated things! Old dead legends! How can we go on forever writing about gods and legends? VON SWIETEN -LRB- aroused. -RRB- Because they do. They go on forever - at least what they represent. The eternal in us, not the ephemeral. Opera is here to ennoble us. You and me, just as much as His Majesty. BONNO Bello! Bello, Barone. Veramente. MOZART Oh, bello, bello, bello! Come on now, be honest. Would n't you all rather listen to your hairdressers than Hercules? Or Horatius? Or Orpheus? All those old bores! people so lofty they sound as if they shit marble! VON SWIETEN What? VON STRACK Govern your tongue, sir! How dare you? Beat. All look at the Emperor. MOZART Forgive me, Majesty. I'm a vulgar man. But I assure you, my music is not. JOSEPH You are passionate, Mozart! But you do not persuade. MOZART Sire, the whole opera is finished. Do you know how much work went into it? BONNO His Majesty has been more than patient, Signore. MOZART How can I persuade you if you wo n't let me show it? ORSINI-ROSENBERG That will do, Herr Mozart! MOZART Just let me tell you how it begins. VON STRACK Herr Mozart - MOZART May I just do that, Majesty? Show you how it begins? Just that? A slight pause. Then Joseph nods. JOSEPH Please. Mozart falls on his knees. MOZART Look! There's a servant, down on his knees. Do you know why? Not from any oppression. No, he's simply measuring a space. Do you know what for? His bed. His wedding bed to see if it will fit. He giggles.",
"INT. OPERA HOUSE - DAY - 1780'S Mozart sits on stage at a harpsichord rehearsing the singers taking the parts of Figaro and Susanna in the opening bars of the first act of The Marriage of Figaro. We watch Figaro measuring the space for his bed on the floor, singing and Susanna looking on, trying on the Countess' hat.",
"INT. SALIERI'S SALON - DAY - 1780'S Orsini - Rosenberg and Bonno are sitting with Salieri. ORSINI-ROSENBERG Well, Mozart is already rehearsing. SALIERI Incredible. ORSINI-ROSENBERG The Emperor has given him permission. BONNO Si, si! Veramente. SALIERI Well, gentlemen, so be it. In that case I think we should help Mozart all we can and do our best to protect him against the Emperor's anger. ORSINI-ROSENBERG What anger? SALIERI About the ballet. ORSINI-ROSENBERG Ballet? What ballet? SALIERI Excuse me - did n't His Majesty specifically forbid ballet in his opera? ORSINI-ROSENBERG Yes, absolutely. Is there a ballet in Figaro? SALIERI Yes, in the third act.",
"INT. THE OPERA HOUSE - DAY - 1780'S It is a full orchestral rehearsal. Mozart is conducting from the harpsichord with his hands ; he does not use a baton. The singers are all in practice clothes, not costumes. We are in the Act III and we hear the recitativo exchange just before the march begins. Orsini - Rosenberg and Bonno sit watching chairs. Suddenly the march starts. Peasants and friends start to dance in and at the same moment, Orsini - Rosenberg gets up and comes down to Mozart. He is accompanied by an anxious Bonno. ORSINI-ROSENBERG Mozart! Herr Mozart, may I have a word with you please. Right away. MOZART Certainly, Herr Director. He signals to the cast to break off. MOZART Five minutes, please! The company disperses, curious. The musicians look at Orsini - Rosenberg. ORSINI-ROSENBERG Did you not know that His Majesty has expressly forbidden ballet in his operas? MOZART Yes, but this is not a ballet. This is a dance at Figaro's wedding. ORSINI-ROSENBERG Exactly. A dance. MOZART But surely the Emperor did n't mean to prohibit dancing when it's part of the story. ORSINI-ROSENBERG It is dangerous for you to interpret His Majesty's edicts. Give me your score, please. Mozart hands him the score from which he is conducting. ORSINI-ROSENBERG Thank you. He rips out a page. Bonno watches in terror. MOZART What are you doing? He rips out three more. MOZART What are you doing, Herr Director? ORSINI-ROSENBERG Taking out what you should never have put in. He goes on tearing the pages determinedly.",
"INT. SALIERI'S SALON - DAY - 1780'S A servant opens the door to announce. SERVANT Herr Mozart. Mozart brushes past him straight towards Salieri, who rises to greet him. The little man is near hysterics. MOZART Please! Please. I've no one else to turn to. Please! He grabs Salieri. SALIERI Wolfgang, what is it? Sta calmo, per favore. What's the matter? MOZART It's unbelievable! The Director has actually ripped out a huge section of my music. Pages of it. SALIERI Really? Why? MOZART I do n't know. They say I've got to re - write the opera, but it's perfect as it is. I ca n't rewrite what's perfect. Ca n't you talk to him? SALIERI Why bother with Orsini - Rosenberg? He's obviously no friend of yours. MOZART Oh, I could kill him! I mean really kill him. I actually threw the entire opera on the fire, he made me so angry! SALIERI You burned the score? MOZART Oh no! My wife took it out in time. SALIERI How fortunate. MOZART It's not fair that a man like that has power over our work. SALIERI But there are those who have power over him. I think I'll take this up with the Emperor. MOZART Oh, Excellency, would you? SALIERI With all my heart, Mozart. MOZART Thank you! Oh, thank you. He kisses Salieri's hand. SALIERI -LRB- withdrawing it ; imitating the Emperor. -RRB- No, no, no, Herr Mozart, please. It's not a holy relic. Mozart giggles with relief and gratitude.",
"INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 OLD SALIERI I'm sure I do n't need to tell you I said nothing whatever to the Emperor. I went to the theatre ready to tell Mozart that His Majesty had flown into a rage when I mentioned the ballet, when suddenly, to my astonishment, in the middle of the third act, the Emperor - who never attended rehearsals - suddenly appeared.",
"INT. OPERA HOUSE - DAY - 1780'S In the background the same recitativo before the March. The Emperor steals in surreptitiously with Von Strack, his finger to his lips. He motions everyone not to rise, and slips into a chair behind Salieri, Orsini - Rosenberg and Bonno. The three conspirators look at each other wide - eyed. The recitativo summons up the march, but instead there is silence. Mozart lays down his baton. The musicians lay down their instruments. The celebrants of Figaro's wedding come in with a few pitiful dance steps, in procession, only to come presently to a halt, lacking their music. The singers try to go on singing, but they have no cues from their conductor or from the accompaniment. Everyone on stage looks lost, though they attempt to go on with the story for a while. Consternation grows on the faces of the conspirators. Mozart glances back at the group seated in the theatre. Finally, the Emperor speaks, in a whisper. JOSEPH What is this? I do n't understand. Is it modern? BONNO Majesty, the Herr Director, he has removed a balleto that would have occurred at this place. JOSEPH Why? ORSINI-ROSENBERG It is your regulation, Sire. No ballet in your opera. Mozart strains to hear what they are saying but can not. JOSEPH Do you like this, Salieri? SALIERI It is not a question of liking, Your Majesty. Your own law decrees it, I'm afraid. JOSEPH Well, look at them. We do look at them. The spectacle on stage has now ground to a complete halt. JOSEPH No, no, no! This is nonsense. Let me hear the scene with the music. ORSINI-ROSENBERG But, Sire - JOSEPH Oblige me. Orsini - Rosenberg acknowledges his defeat. ORSINI-ROSENBERG Yes, Majesty. Orsini - Rosenberg rises and goes down to where Mozart sits anxiously with the musicians, watching his approach. ORSINI-ROSENBERG Can we see the scene with the music back, please? MOZART Oh yes, certainly. Certainly, Herr Director! He looks back deliriously at Salieri, trying to indicate his gratitude. Salieri acknowledges with a slight and subtle nod. Orsini - Rosenberg returns to his king. MOZART Ladies and gentlemen, we're going from where we stopped. The Count : Anches so. Right away, please! The singers scatter offstage to begin the scene again. JOSEPH -LRB- to Orsini - Rosenberg. -RRB- What I hoped by that edict, Director, was simply to prevent hours of dancing like in French opera. There it is endless, as you know. ORSINI-ROSENBERG Quite so, Majesty. CUT BACK TO Mozart at the forte - piano, raising his hands. The musicians raise their bows. With a flourish the happy composer begins a reprise of the scene which had been cut out. The music of the march begins faintly ; the celebrants of Figaro's wedding start to enter as the Count and the Countess sit in their chairs. In the theatre we see increasing pleasure on the Emperor's face, sullenness and defeat on the courtiers'. Then, suddenly, without interruption, on a crescendo repeat of the march, we",
"INT. OPERA HOUSE - NIGHT - 1780'S The theatre is brilliantly lit for the first public performance of Figaro. Everybody is there : the Emperor, Von Strack, Bonno Orsini - Rosenberg, Von Swieten, even Madame Weber and her daughters in a box. The musicians all wear imperial livery ; the actors on stage are now in costume. Mozart, conducting, wears his Order of the Golden Spur. The company wheels in and around to the music of the restored march, which reaches a triumphant climax.",
"INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 OLD SALIERI -LRB- to Vogler. -RRB- So Figaro was produced in spite of me. And in spite of me, a wonder was revealed. One of the true wonders of art. The restored third act was bold and brilliant. The fourth was a miracle. The descending scale of strings in the final ensemble -LRB- Ah, Tutti contenti. Saremo cosi -RRB- fades in.",
"INT. OPERA HOUSE - NIGHT - 1780'S We see the tableau on stage with the Count kneeling to the Countess. All are singing. OLD SALIERI -LRB- V.O. -RRB- I saw a woman disguised in her maid's clothes hear her husband speak the first tender words he has offered her in years, only because he thinks she is someone else. I heard the music of true forgiveness filling the theatre, conferring on all who sat there a perfect absolution. God was singing through this little man to all the world - unstoppable - making my defeat more bitter with each passing bar. CU, Salieri in his box, tears on his cheeks. He watches the ensemble and we listen to it for a long moment. Finally it fades, but continues underneath the following :",
"INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 OLD SALIERI And then suddenly - a miracle!",
"INT. OPERA HOUSE - NIGHT - 1780'S The ensemble reaches its climax, and fades away to the very quiet, slow chords immediately preceding the boisterous final chord. Salieri becomes aware that some of the audience are asleep and many mare are apathetic. In the near silence we see the Emperor yawn behind his hand. Those nearby look at him. Orsini - Rosenberg smiles.",
"INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 OLD SALIERI Father, did you know what that meant? With that yawn I saw my defeat turn into a victory. And Mozart was lucky the Emperor only yawned once. Three yawns and the opera would fail the same night ; two yawns, within a week at most. With one yawn the composer could still get -",
"INT. SALIERI'S SALON - DAY - 1780'S Mozart is pacing up and down. Salieri is listening sympathetically. MOZART Nine performances! Nine! That's all it's had - and withdrawn. SALIERI I know ; it's outrageous. Still, if the public does n't like one's work one has to accept the fact gracefully. MOZART But what is it they do n't like? SALIERI Well, I can speak for the Emperor. You made too many demands on the royal ear. The poor man ca n't concentrate for more than an hour and you gave him four. MOZART What did you think of it yourself? Did you like it at all? SALIERI I think it's marvelous. Truly. MOZART It's the best opera yet written. I know it! Why did n't they come? SALIERI I think you overestimate our dear Viennese, my friend. Do you know you did n't even give them a good bang at the end of songs so they knew when to clap? MOZART I know, I know. Perhaps you should give me some lessons in that. SALIERI -LRB- fuming. -RRB- I would n't presume. All the same, if it would n't be imposing, I would like you to see my new piece. It would be a tremendous honour for me. MOZART Oh no, the honour would be all mine. SALIERI -LRB- bowing. -RRB- Grazie, mio caro, Wolfgang! MOZART Grazie, a lei, Signor Antonio! He bows too, giggling.",
"INT. OPERA HOUSE - NIGHT - 1780'S A performance of Salieri's grand opera, Axur : King of Ormus. Deafening applause from a crowded house. We see the reception of the aria which we saw Cavalieri singing on the stage near the start of the film. Cavalieri, in a mythological Persian costume, is bowing to the rapturous throng ; below her is Salieri. We see the Emperor, Von Strack, Orsini - Rosenberg, Bonno and Von Swieten, all applauding. We hear great cries of ` Salieri! Salieri!' and ` Bravo!' and ` Brava!' CU, Salieri looking at the crowd with immense pleasure. Then suddenly at : CU, Mozart standing in a box and clapping wildly. Behind him, seated, are Schikaneder and the three girls we saw before in Mozart's apartment. CU, Salieri staring fixedly at Mozart, then Mozart still clapping, apparently with tremendous enthusiasm. OLD SALIERI -LRB- V.O. -RRB- What was this? I never saw him excited before by any music but his own. Could he mean it?",
"INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 OLD SALIERI -LRB- to Vogler. -RRB- Would he actually tell me my music had moved him? Was I really going to hear that from his own lips? I found myself actually hurrying the tempo of the finale.",
"INT. OPERA HOUSE - NIGHT - 1780'S Salieri conducting the last scene from Axur : King of Ormus. On stage we see a big scene of acclamation : the hero and heroine of the opera accepting the crown amidst the rejoicing of the people. The decor and costumes are mythological Persian. The music is utterly conventional and totally uninventive. CU, Mozart watching this in his box, with Schikaneder and the three actresses. He passes an open bottle of wine to them. He is evidently a little drunk, but keeps a poker face. The act comes to an end. Great applause in which Mozart joins in, standing and shouting ` Bravo! Bravo!' Then he leaves the box with Schikaneder and the girls.",
"INT. CORRIDOR OF THE OPERA HOUSE - NIGHT - 1780'S MOZART -LRB- to Schikaneder. -RRB- Well? SCHIKANEDER -LRB- mock moved. -RRB- Sublime! Utterly sublime! MOZART That kind of music should be punishable by death. Schikaneder laughs.",
"INT. STAGE OF THE OPERA HOUSE - NIGHT - 1780'S A crowd of people rings Salieri at a respectful distance. The Emperor is holding out the Civilian Medal and Chain. JOSEPH I believe that is the best opera yet written, my friends. Salieri, you are the brightest star in the musical firmament. You do honour to Vienna and to me. Salieri bows his head. Joseph places the chain around his neck. The crowd claps. Salieri makes to kiss his hand, but Joseph restrains him, and passes on. Cavalieri, smiling adoringly, gives him a deep curtsey, and he raises her up. The crowd all flock to Salieri with cries and words of approval. All want to shake his hand. They tug and pat him. But he has eyes for only one man - he looks about him, searching for him and then finds him. Mozart stands there. Eagerly Salieri moves to him. SALIERI Mozart. It was good of you to come. MOZART How could I not? SALIERI Did my work please you? MOZART How could it not, Excellency? SALIERI Yes? MOZART I never knew that music like that was possible. SALIERI You flatter me. MOZART Oh no! One hears such sounds and what can one say, but - Salieri! Salieri smiles.",
"INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1780'S Explosive laughter as Mozart and Schikaneder enter the apartment, very pleased with themselves and accompanied by the three actresses. The front door opens, very gingerly. Mozart, still rather drunk, sticks his head into the room, anxious not to make a noise. He sees the strangers and breaks into a smile. MOZART Oh. Everybody's here! We've got guests. Good. I've brought some more. He opens the door wide to admit Schikaneder and the girls. MOZART We'll have a little party. Come in. Come in. You know Herr Schikaneder? -LRB- to a girl. -RRB- This is! a very nice girl. CONSTANZE -LRB- standing up. -RRB- Wolfi. MOZART Yes, my love? CONSTANZE These gentlemen are from Salzburg. MOZART Salzburg. We were just talking about Salzburg. -LRB- to the two men, jubilantly. -RRB- If you've come from my friend the Fartsbishop, you've arrived at just the right moment. Because I've got good news for him. I'm done with Vienna. It's over, finished, done with! Done with! Done with! CONSTANZE Wolfi! Your father is dead. MOZART What? CONSTANZE Your father is dead. The first loud chord of the Statue scene from Don Giovanni sounds. Mozart stares.",
"INT. AN OPERA HOUSE - NIGHT - 1780'S The second chord sounds. On stage we see the huge figure of the Commendatore in robes and helmet, extending his arms and pointing in accusation.",
"INT. AN OPERA HOUSE - NIGHT - 1780'S The second chord sounds. On stage we see a huge nailed fist crash through the wall of a painted dining room set. The giant armoured statue of the COMMENDATORE enters pointing his finger in accusation at Don Giovanni who sits at the supper table, staring - his servant Leporello quaking with fear under the table. THE COMMENDATORE -LRB- singing. -RRB- Don Giovanni! The figure advances on the libertine. We see Mozart conducting, pale and deeply involved. Music fades down a little. OLD SALIERI -LRB- V.O. -RRB- So rose the dreadful ghost in his next and blackest opera. There on the stage stood the figure of a dead commander calling out ` Repent! Repent!' The music swells. We see Salieri standing alone in the back of a box, unseen, in semi - darkness. We also see that the theatre is only half full. Music fades down. OLD SALIERI -LRB- V.O. -RRB- And I knew - only I understood - that the horrifying apparition was Leopold, raised from the dead. Wolfgang had actually summoned up his own father to accuse his son before all the world. It was terrifying and wonderful to watch. Music swells up again. We watch the scene on stage as the Commendatore addresses Giovanni. Then back to Salieri in the box. Music down again.",
"INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 OLD SALIERI Now a madness began in me. The madness of a man splitting in half. Through my influence I saw to it Don Giovanni was played only five times in Vienna. But in secret I went to every one of those five - all alone - unable to help myself, worshipping sound I alone seemed to hear.",
"INT. AN OPERA HOUSE - NIGHT - 1780'S OLD SALIERI -LRB- V.O. -RRB- And hour after hour, as I stood there, understanding even more clearly how that bitter old man was still possessing his poor son from beyond the grave, I began to see a way - a terrible way - I could finally triumph over God, my torturer. Music swells. On stage Don Giovanni is seized and gripped by the Statue's icy hand. Flames burst from obviously artificial rocks. Demons appear and drag the libertine down to Hell. The scene ends. CU, Salieri, staring wide - eyed.",
"EXT. SCHIKANEDER'S THEATRE - VIENNA - NIGHT - 1780'S We see huge and attractive posters and billboards advertising Schikaneder's troupe. The camera concentrates on the one which reads as follows : EMMANUEL SCHIKANEDER, Impresario de luxe, The Celebrated SCHIKANEDER TROUPE OF PLAYERS IN An Evening of PARODY. Music! Mirth! Magic! ALL SONGS AND SPEECHES WRITTEN BY EMMANUEL SCHIKANEDER who personally will appear in every scene!",
"INT. SCHIKANEDER'S THEATRE - NIGHT - 1780'S Noise ; smoke ; the audience is sitting at tables for an evening of vaudeville. Mozart, Constanze and their son Karl, now about two years old, and sitting on his mother's lap, are watching a parody scene by Schikaneder's troupe. They are rowdy, bawdy and silly, incorporating motifs, situations and tunes from Mozart's operas which we have seen and heard. Before them on the table are bottles of wine and beer, plates of sausages, etc.. THE PARODY On stage we see a set which parodies the dining room in Don Giovanni's palace, shown before. Schikaneder as Don Giovanni is dancing with the three actresses to the minuet from Don Giovanni -LRB- end of Act I -RRB-, played by a quartet of tipsy musicians. Leporello is handing around wine on a tray. Suddenly there is a tremendous knocking from outside. The music slithers to a stop. All look at each other in panic. Leporello drops his tray with a crash. All go quiet. One more knock is heard. Then all musicians, actresses, Don Giovanni and Leporello make a dash to hide under the table which is far too small to accommodate them all. The table rocks. Schikaneder is pushed out. He is terrified. He shakes elaborately. Three more knocks are heard ; louder. SCHIKANEDER Who is it? One more knock. SCHIKANEDER C - c - c - come in! In the pit a chromatic scale from the Overture to Don Giovanni turns into a anticipatory vamp. This grows more and more menacing until the whole flat representing the wall at the back falls down. An absurd pantomime horse gallops in. It has a ridiculous expression, and is manned by four men inside. Standing precariously on its back is a dwarf, wearing a miniature version of the armour and helmet worn by the Commendatore. He sings in a high, nasal voice : COMMENDATORE -LRB- singing. -RRB- Don Giovannnnnnnnnni! He tries to keep his balance as he trots in, but fails. He falls off onto the stage. He beats at the horse, trying to get back on. COMMENDATORE Down! Down! Bewildered, the horse looks about him, but can not see his small rider who is below his level of sight. COMMENDATORE I'm here! I'm here! The horse, amidst laughter from the audience, fails to locate him. Exasperated, the dwarf signals to someone in the wings. A tall man strides out carrying a see - saw ; on his shoulders stands another man. The dwarf stands on the lowered end of the see - saw. There is a drum roll and the man above jumps down onto the raised end and the Commendatore is abruptly catapulted back onto the horse, only backwards so that he is facing away from Don Giovanni. The two men bow to the applauding audience, and retire off - stage. The Commendatore tries to extend his arms in the proper menacing attitude, and at the same time turn around to face Don Giovanni. This he finds difficult. COMMENDATORE -LRB- singing. -RRB- Don Giovannnnnnnni! SCHIKANEDER Who the devil are you? What do you want? COMMENDATORE -LRB- singing. -RRB- I've come to dinnnnnner! SCHIKANEDER Dinner? How dare you? I am a nobleman. I only dine with people of my own height. COMMENDATORE Are you drunk? You invited me. And my horse. Here he is. Ottavio! The horse takes a bow. The dwarf almost falls off again. COMMENDATORE Whoa! Whoa! Stop it! The three girls rush to his aid and reach him just in time. They sing in the manner of the Tree Ladies later to be put into The Magic Flute. FIRST LADY -LRB- running and singing. -RRB- Be careful! SECOND LADY -LRB- running and singing. -RRB- Be careful! THIRD LADY -LRB- running and singing. -RRB- Be careful! ALL THREE TOGETHER -LRB- close harmony. -RRB- Hold tight now! They grab him. COMMENDATORE -LRB- angry. -RRB- Leave me alone! Stop it! I'm a famous horseman. OTTAVIO And I'm a famous horse! He gives the ladies a radiant smile. The three ladies sing, as before, in close harmony. FIRST LADY -LRB- singing. -RRB- He's adorable! SECOND LADY -LRB- singing. -RRB- Adorable! THIRD LADY -LRB- singing. -RRB- Adorable! An orchestral chord. The three ladies turn to Ottavio and sing to him. THREE LADIES -LRB- singing together. -RRB- Give me your hoof, my darling, And I'll give you my heart! Take me to your stable, And never more we'll part! OTTAVIO -LRB- singing : four male voices. -RRB- I'm shy and very bashful. I do n't know what to say. THREE LADIES -LRB- singing together. -RRB- Do n't hesitate a second. Just answer yes and neigh. Ottavio neighs loudly, and runs at the girls. COMMENDATORE -LRB- speaking. -RRB- Stop it. What are you doing? Remember who you are! You're a horse and they are whores. Boos from the audience. SCHIKANEDER -LRB- speaking. -RRB- This is ridiculous. I wo n't have any of it. You're turning my house into a circus! A trapeze sails in from above. On it stands a grand soprano wearing an elaborate Turkish costume, like a parody of Cavalieri's in Il Seraglio. She comes in singing a mad coloratura scale in the manner of Martern aller Arten. SCHIKANEDER -LRB- speaking. -RRB- Shut up. Women, women, women! I'm sick to death of them. He marches off stage. SOPRANO -LRB- singing dramatically. -RRB- Dash me! Bash me! Lash me! Flay me! Slay me! At last I will be freed by death! COMMENDATORE Shut up. SOPRANO -LRB- swinging and singing. -RRB- Kill me! Kill me! Kill me! Kill me! At last I shall be freed by death. At last I shall be freed by dea - The Commendatore pulls out his sword, reaches up and thrusts her through with it. The soprano collapses on the bar of the trapeze. The audience applauds. At the same moment eight dwarves march in bearing a huge cauldron of steaming water. They sing as they march to the sound of the march that was cut from Act III of Figaro. They are dressed as miniature copies of the chorus in that scene except that they are wearing cooks' hats. EIGHT DWARVES -LRB- singing. -RRB- We're going to make a soprano stew! We're going to make a soprano stew! And when you make a soprano stew! Any stupid soprano will do! Any stew - stew - stew - stew - stew! Any stewpid soprano will do! They set the giant pot down in the middle of the stage. The trapeze with the dead soprano is still swinging above the stage. We hear the chromatic scale from the Don Giovanni overture again, repeated and repeated, only now fast and tremolando. To this exciting vamp Schikaneder suddenly rides in on a real horse, waving a real sword. With this he cuts the string of the trapeze, and the soprano falls into the pot. A tremendous splash of water. Schikaneder rides out. More applause. All the dwarves produce long wooden cooking spoons and climb up the sides of the pot. The three girls produce labeled bottles from under their skirts. The first is SALT. FIRST LADY -LRB- singing. -RRB- Behold! PEPPER SECOND LADY -LRB- singing. -RRB- Behold! She sneezes. AND SCHNAPPS THIRD LADY -LRB- singing. -RRB- Behold! She hiccups. They throw them into the pot. COMMENDATORE -LRB- speaking to the dwarves. -RRB- How long does it take to cook a soprano? DWARVES -LRB- all together. -RRB- Five hours, five minutes, five seconds. COMMENDATORE -LRB- speaking. -RRB- I ca n't wait that long. I'm starving! OTTAVIO -LRB- speaking ; four voices. -RRB- So am I. Schikaneder marches in as Figaro. SCHIKANEDER -LRB- singing to the tune of Non piu ante. -RRB- In the pot, I have got a good dinner. Not a sausage or stew, but a singer. Not a sausage or stew but a singer. Is the treat that I'll eat for my meat! COMMENDATORE Oh shut up. I'm sick to death of that tune. CU, Mozart laughing delightedly with the audience. THE THREE GIRLS -LRB- singing again to the horse. -RRB- Give me your hoof, my darling, and I'll give you my heart. COMMENDATORE Shut up. I'm sick of that one too. All the dwarves climb up the rim of the pot. As they climb, they all hum together the opening of Eine Kleine Nachtmusik. COMMENDATORE And that one, too! The soprano rises, dripping with water in the middle of the pot. SOPRANO -LRB- singing. -RRB- Oil me! Broil me! Boil me! All the dwarves beat her back down into the pot with their long wooden spoons. SOPRANO -LRB- from inside the pot. -RRB- Soil me! Foil me! Spoil me! HORSE I ca n't eat her. Sopranos give me hiccups. I want some hay! FIRST LADY -LRB- singing to Schikaneder. -RRB- Hey! SECOND LADY -LRB- singing to Schikaneder. -RRB- Hey! THIRD LADY -LRB- singing to Schikaneder. -RRB- Hey! SCHIKANEDER Hey what? ALL THREE LADIES -LRB- singing to La oi daram. -RRB- Give him some hay, my darling, and I'll give you my heart! COMMENDATORE Shut up. SCHIKANEDER Leporello! We want some hay - prestissimo! Leporello - where are you? The table is raised in the air by Leporello sitting under it on a bale of hay. FIRST LADY -LRB- singing to horse. -RRB- Behold! SECOND LADY -LRB- singing to horse. -RRB- Behold! THIRD LADY -LRB- singing to horse. -RRB- Behold! Ottavio the horse gives a piercing neigh and runs down to the hay. COMMENDATORE -LRB- holding on. -RRB- Hey! Hey! Watch out! The vamp starts again vigorously. The horse's rear - end swings around on a hinge to turn his hind - quarters straight on to the audience. The rest of him stays sideways. His tail springs up in the air to reveal a lace handkerchief modestly hiding his arsehole. Schikaneder offers him a handful of hay. The horse eats it, and out the other end comes a long Viennese sausage. The audience roars with laughter. Another handful of hay and out of the other end falls a string of sausages. Then a large pie, crust and all. Then a shower of iced cakes! Suddenly - silence. Schikaneder produces an egg from his pocket. Ottavio the horse rears up in disgust. COMMENDATORE Whoa! Whoa, Ottavio! Whoa! Leporello pries open the horse's mouth. Schikaneder pops the egg into it. A breathless pause as a drum roll builds the tension, up and up and up, and then suddenly out of the horse's rear - end flies a single white dove. Wild applause. It flies into the audience. Immediately all the cast start humming the lyrical finale from Figaro : Tutti Contenti. More and more doves fly out from the wings and fill the theatre. Everybody picks up the sausages and cakes and begins to eat. The end of the sketch is unexpectedly lyrical and magical, and then, suddenly, the tempo changes and the coarse strains of Ich Mochte wohl Der Kaiser take over and the whole company is dancing, frantically. A general dance as the curtain falls. It rises immediately. The audience - including Mozart - is delighted. They applaud vigorously. Schikaneder takes a bow amongst his troupe. Among much whistling and clapping, he finally jumps off the stage and strides through the audience toward the table where Mozart sits with his family. On stage, a troupe of bag pipers immediately appears to play an old German tune. Some of the audience joins in singing it. SCHIKANEDER Well, how do you like that? Mozart is smiling ; he has been amused. Constanze has been less amused and is looking apprehensive. MOZART Wonderful! -LRB- indicating his baby son. -RRB- He liked the monkey, did n't you? SCHIKANEDER Yes, well, it's all good fun. MOZART I liked the horse. Schikaneder sits at the table, and drinks from a bottle of wine. SCHIKANEDER Is n't he marvelous? He cost me a bundle, that horse, but he's worth it. I tell you, if you'd played Don Giovanni here it would have been a great success. I'm not joking. These people are n't fools. You could do something marvelous for them. MOZART I'd like to try them someday. I'm not sure I'd be much good at it. SCHIKANEDER ` Course you would. You belong here, my boy, not the snobby Court. You could do anything you felt like here - the more fantastic the better! That's what people want, you know : fantasy. You do a big production, fill it with beautiful magic tricks and you'll be absolutely free to do anything you want. Of course, you'd have to put a fire in it, because I've got the best fire machine in the city and a big flood - I can do you the finest water effects you ever saw in your life. Oh, and a few trick animals. You'd have to use those. MOZART Animals? SCHIKANEDER I tell you I picked up a snake in Dresden last week - twelve foot long - folds up to six inches, just like a paper fan. It's a miracle. Mozart laughs. SCHIKANEDER I'm serious. You write a proper part for me with a couple of catchy songs, I'll guarantee you'll have a triumph - de - luxe. Mind you, it'll have to be in German. MOZART German! SCHIKANEDER Of course! What else do you think they speak here? MOZART No, no, I love that. I'd want it to be in German. I have n't done anything in German since Seraglio. SCHIKANEDER So there you are. What do you say? CONSTANZE How much will you pay him? SCHIKANEDER Ah. Well. Ah. -LRB- to Mozart. -RRB- I see you've got your manager with you. Well, Madame, how about half the receipts? MOZART Half the receipts! Stanzi! CONSTANZE I'm talking about now. How much will you give him now? Down payment? SCHIKANEDER Down payment? Who do you think I am? The Emperor? Whoops, I have to go. He rises in haste for his next number. SCHIKANEDER Stay where you are. You're going to like this next one. We'll speak again. Triumph - de - luxe, my boy! He winks at Mozart and disappears toward the stage. Mozart looks after him, enchanted. CONSTANZE You're not going to do this? MOZART Why not? Half the house! CONSTANZE When? We need money now. Either he pays now, or you do n't do it. MOZART Oh, Stanzi. CONSTANZE I do n't trust this man. And I did n't like what he did with your opera. It was common. MOZART -LRB- to Karl. -RRB- Well, you liked it, did n't you? Monkey - flunki - punki. CONSTANZE Half the house! You'll never see a penny. I want it here, in my hand. MOZART -LRB- dirty. -RRB- Stanzi - manzi, I'll put it in your hand! CONSTANZE Shut up! I'll not let you put anything in my hand until I see some money. He giggles like a child.",
"INT. SCHLUMBERG HOUSE - HALLWAY - DAY 1780'S Dogs are barking wickedly. Michael Schlumberg comes in from his salon. Mozart stands there looking very unwell and bewildered. He is also drunk, but making a careful attempt to keep his composure. SCHLUMBERG Herr Mozart. What a surprise. What can I do for you? MOZART Is my pupil still anxious to learn the art of music? SCHLUMBERG Well, your pupil is married and living in Mannheim, young man. MOZART Really? Perhaps your dear wife might care to profit from my instruction? SCHLUMBERG What is this, Mozart? What's the matter with you? MOZART Well. Since it appears nobody is eager to hire my services, could you favour me with a little money instead? SCHLUMBERG What for? MOZART If a man can not earn, he must borrow. SCHLUMBERG Well, this is hardly the way to go about it. MOZART No doubt, sir. But I am endowed with talent, and you with money. If I offer mine, you should offer yours. Pause. SCHLUMBERG I'm sorry. No. MOZART Please. I'll give it back, I promise. Please, sir. SCHLUMBERG My answer is no, Mozart. CU, Mozart. His voice becomes mechanical. MOZART Please. Please. Please. Please. Please. Please.",
"INT. THE IMPERIAL LIBRARY - DAY - 1790'S Von Swieten and Salieri stand close together. Several scholars and students are examining scrolls and manuscripts at the other end of the room. VON SWIETEN -LRB- keeping his voice down. -RRB- This is embarrassing, you know. You introduced Mozart to some of my friends and he's begging from practically all of them. It has to stop. SALIERI I agree, Baron. VON SWIETEN Ca n't you think of anyone who might commission some work from him? I've done my best. I got him to arrange some Bach for my Sunday concerts. He got a fee - what I could afford. Ca n't you think of anyone who might do something for him? SALIERI No, Baron, no. I'm afraid Mozart is a lost cause. He has managed to alienate practically the whole of Vienna. He is constantly drunk. He never pays his debts. I ca n't think of one person to whom I dare recommend him. VON SWIETEN How sad. It's tragic, is n't it? Such a talent. SALIERI Indeed. Just a moment - as a matter of fact I think I do know someone who could commission a work from him. A very appropriate person to do so. Yes. The opening measures of the Piano Concerto in D Minor steal in.",
"INT. THE COSTUME SHOP - VIENNA - DAY - 1790'S This is exactly the same shop which Mozart and Constanze visited with Leopold. Now Salieri's servant stands in it, waiting. We see a few other customers being served by the staff : renting masks, costumes, etc.. One of the staff emerges from the back of the shop carrying a large box, which he hands to Salieri's servant. The servant leaves the shop. Through the window we see him hurrying away through the snowy street full of passers - by, carriages, etc..",
"INT. SALIERI'S APARTMENT - DUSK - 1790'S The D Minor Concerto continues. Salieri, alone, eagerly opens the box from the costume shop and takes out the same dark cloak and hat that Leopold wore to the masquerade, only now attached to the hat is a dark mask whose mouth is cut into a frown, not a laugh. It presents a bitter and menacing expression. He puts on the cloak, the hat and the mask and turns his back. Suddenly we see the assembled and alarming image reflected in a full - length mirror. The music swells darkly.",
"EXT. A SNOWY STREET IN VIENNA - DUSK - 1790'S As the tutti of the D Minor Concerto continues, we see Salieri, dressed in this menacing costume, dark against the snow, stalking through a street which is otherwise lively with people going to various festivities. Some of them wear frivolous carnival clothes.",
"INT. MOZART'S LIVING ROOM - DUSK - 1790'S Mozart sits writing at a table. He appears now to be really quite sick. His face expresses pain from his stomach cramps. There is a gentle knock at the door. He rises, goes to he door and opens it. Immediately there is a SHOCK CUT : The dark, frowning mask stares at him and at us. The violent D Minor chord which opens Don Giovanni is heard. Salieri in costume stands in the doorway. SALIERI Herr Mozart? The second chord sounds and fades. Mozart stares in panic. SALIERI I have come to commission work from you. MOZART What work? SALIERI A Mass for the dead. MOZART What dead? Who is dead? SALIERI A man who deserved a Requiem Mass and never got one. MOZART Who are you? SALIERI I am only a messenger. Do you accept? You will be paid well. MOZART How much? Salieri extends his hand. In it is a bag of money. SALIERI Fifty ducats. Another fifty when I have the Mass.. Do you accept? Almost against his will, Mozart takes the money. MOZART How long will you give me? SALIERI Work fast. And be sure to tell no one what you do. You will see me again soon. He turns away. Mozart closes the front door. Instantly we hear the opening of the Requiem Mass -LRB- also in D Minor -RRB-. Mozart turns and looks up at the portrait of his father on the wall. The portrait stares back. Constanze opens the door from the bedroom. She sees him staring up. CONSTANZE Wolfi? Wolfi! He looks at her with startled eyes. The music breaks off. CONSTANZE Who was that? MOZART No one. CONSTANZE I heard voices. He gives a strange little giggle. CONSTANZE What's the matter? She sees the bag of money. CONSTANZE What's that? Oh! -LRB- pouncing on it. -RRB- Who gave you this? How much is it? Wolfi, who gave you this? MOZART I'm not telling you. CONSTANZE Why not? MOZART You'd think I was mad. He stares at her. She stares at him.",
"INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 Old Salieri is now wildly animated, totally driven by his confession to Vogler. OLD SALIERI My plan was so simple, it terrified me. First I must get the Death Mass and then achieve the death. Vogler stares at him in horror. VOGLER What? OLD SALIERI His funeral - imagine it! The Cathedral, all Vienna sitting there. His coffin, Mozart's little coffin in the middle. And suddenly in that silence, music. A divine music bursts out over them all, a great Mass of Death : Requiem Mass for Wolfgang Mozart, composed by his devoted friend Antonio Salieri. What sublimity! What depth! What passion in the music! Salieri has been touched by God at last. And God, forced to listen. Powerless - powerless to stop it. I at the end, for once, laughing at Him. Do you understand? Do you? VOGLER Yes. OLD SALIERI The only thing that worried me was the actual killing. How does one do that? How does one kill a man? It's one thing to dream about it. It's very different when you have to do it, with your own hands. He raises his own hands and stares at them. The raging Dies Irae from Mozart's Requiem Mass bursts upon us.",
"INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1790'S Mozart sits working frantically at this demonic music. His whole expression is one of wildness and engulfing fever. He pours wine down his throat, spilling it, and grimaces as it hits his stomach. All around him are manuscripts. There is a banging at the front door. Mozart does not hear it ; the music raves on. Another knocking comes, louder. Constanze appears from the bedroom and stares at her distracted husband. The knocking is repeated again, even more violently and insistently. CONSTANZE Wolfi. Wolfi! He looks at her. The music breaks off. Silence. An enormous bang at the door startles him. Constanze moves to open it. MOZART No. Do n't answer it! CONSTANZE Why? Mozart springs up. He is clearly terrified. MOZART Tell him I'm not here. Tell him I'm working on it. Come back later. He runs out of he room, into his workroom, and shuts he door. Now a little scared herself, Constanze goes to he front door and opens it cautiously. Schikaneder stands there, floridly dressed as usual. Lorl is seen peeking out from the kitchen. SCHIKANEDER Am I interrupting something? CONSTANZE Not at all. SCHIKANEDER -LRB- peering into he room. -RRB- Where's our friend? CONSTANZE He's not in. But he's working on it. He said to tell you. SCHIKANEDER I hope so. I need it immediately. He pushes her into the room. SCHIKANEDER Is he happy with it? He sees he manuscript on the table, and goes to it eagerly. SCHIKANEDER Is this it? He picks up a page without waiting for a reply. SCHIKANEDER What the devil is this? Requiem Mass? Does he think I'm in the funeral business? Mozart opens he workroom door. We see him as Schikaneder sees him : wild - eyed, extremely pale and strange. MOZART Leave that alone! SCHIKANEDER Wolfi! MOZART Put it down! SCHIKANEDER What is this? MOZART Put it down, I said! It's nothing for you. SCHIKANEDER Oh! I'm sorry! I'm sorry! What have you got for me? Is it finished? MOZART What? SCHIKANEDER What? The vaudeville, what'd you think? MOZART Yes. SCHIKANEDER Can I see it? MOZART No. SCHIKANEDER Why not? MOZART Because there's nothing to see. He giggles triumphantly. Schikaneder stares at him. SCHIKANEDER Look, I asked you if we could start rehearsal next week and you said yes. MOZART Well, we can. SCHIKANEDER So let me see it. Where is it? Mozart, with a bright, rather demented smile presents his head to Schikaneder. MOZART Here. It's all right here, in my noodle. The rest is just scribbling. Scribbling and bibbling. Bibbling and scribbling. Would you like a drink? He giggles. Schikaneder suddenly grabs his lapels. SCHIKANEDER Look, you little clown, do you know how many people I've hired for you? Do you know how many people are waiting? CONSTANZE Leave him alone! SCHIKANEDER I'm paying these people. Do you realize that? CONSTANZE He's doing his best. SCHIKANEDER I'm paying people just to wait for you. It's ridiculous! CONSTANZE You know what's ridiculous? Your libretto, that's what's ridiculous. Only an idiot would ask Wolfi to work on that stuff! SCHIKANEDER Oh yes? And what's so intelligent about writing a Requiem? CONSTANZE Money! Money! SCHIKANEDER You're mad! She's mad, Wolfi. CONSTANZE Oh yes, and who are you? He's worked for Kings. For the Emperor. -LRB- shouting. -RRB- Who are you? Schikaneder suddenly takes Mozart by the arms, and speaks to him with intense appeal. SCHIKANEDER Listen, Wolfi. Write it. Please. Just write it down. On paper. It's no good to anyone in your head. And fuck the Death Mass..",
"INT. SALIERI'S SALON - DAY - 1790'S A frightened and tearful Lorl sits before Salieri. SALIERI Now calm yourself. Calm. What's the matter with you? LORL I'm leaving. I'm not working there anymore. I'm scared! SALIERI Why? What has happened? LORL You do n't know what it's like. Herr Mozart frightens me. He drinks all day, then takes all that medicine and it makes him worse. SALIERI What medicine? LORL I do n't know. He has pains. SALIERI Where? LORL Here, in his stomach. They bend him right over. SALIERI Is he working? LORL I'm frightened, sir. Really! When he speaks, he does n't make any sense. You know he said he saw - he said he saw his father. And his father's dead. SALIERI Is he working? LORL I suppose so. He sits there all he time, doing some silly opera. SALIERI -LRB- startled. -RRB- Opera? Opera! LORL Please do n't ask me to go back again. I'm frightened! I'm very, very frightened. SALIERI -LRB- insistently. -RRB- Are you sure it's an opera? The Overture to The Magic Flute begins grandly. To the music of the slow introduction, we see :",
"INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1790'S The room, lit by a few candles, appears dirty. The camera shows us again Leopold's portrait on the wall, looking down upon a scene of disorder. Papers litter the table ; dirty dishes are piled in the fireplace ; on the forte - piano lies Mozart's Masonic apron, woven with symbols. To the more lyrical passage of the introduction, we see Mozart take up a candle and enter :",
"INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S We watch him stand beside Constanze, who lies asleep. Mozart now looks very ill ; his wife appears worn out. Tenderly he touches her hair. Then he moves to the cot where his son Karl lies asleep and kneels, pulls up the child's little blanket and for a moment lays his own head down beside the boy's. Constanze opens her eyes and stares at him. Mozart rises and returns to :",
"INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1790'S The Introduction ends and suddenly the brilliant fast fugue begins. Instantly Mozart starts to dance to it, all alone : gleefully, like a child. He looks up at his father's portrait, and makes a silly, rude gesture at it. He is, briefly, an irresponsible and happy boy again. Then suddenly there is a gentle knocking at the door. The music fades down. Warily, Mozart crosses and opens he door. The familiar dark chords from Don Giovanni cut across the happy music. It ends. Before him stands the masked stranger. MOZART I do n't have it yet. It's not finished. I'm sorry, but I need more time. SALIERI Are you neglecting my request? MOZART No, no! I promise you, I'll give you a wonderful piece - the best I ever can! He turns and looks. Constanze has come into the living room. Nervously, Mozart indicates her. MOZART This is my wife, Stanzi. I've been sick, but I'm all right now. Are n't I? CONSTANZE Oh yes, sir. He's all right. And he's working on it very hard. MOZART Give me two more weeks. Please. Salieri contemplates them both. SALIERI The sooner you finish, the better your reward. Work! He turns and goes down the stairs. Mozart shuts the door ; he closes his eyes in fear. CONSTANZE Wolfi, I think you really are going mad. You work like a slave for that idiot actor who wo n't give you a penny and here. This is not a ghost! This is a real man who puts down real money. Why on earth do n't you finish it? He will not look at her or reply. CONSTANZE Give me one reason I can understand. MOZART I ca n't write it! CONSTANZE Why not? MOZART It's killing me. He looks at her suddenly. CONSTANZE No, this is really awful. You're drunk, are n't you? Be honest - tell me - you've been drinking. And I'm so stupid I stay here and listen to you! Suddenly she starts to cry. CONSTANZE It's not fair! I worry about you all the time. I try to help you all I can and you just drink and talk nonsense and - and frighten me! It's not fair! Her tears flow. Mozart looks at her helplessly. MOZART Go back to bed. CONSTANZE Please! Let me sit here. Let me stay here with you. I promise I wo n't say all word. I'll just be here, so you know no one's going to hurt you. Please, please! She sits down tearfully, staring at him. We hear the Rex Tremendai Majestatis from the Requiem and see on the wall the portrait of Leopold Mozart looking down. The camera pans slowly downward from it back to the table. Mozart is writing the music. He looks up and sees that Constanze is fast asleep in her chair. Mozart gets up quietly. He puts on his hat and cloak, takes a bottle of wine and tiptoes from the house. Without stopping, the music changes from the heavy Requiem to the light - hearted patter of the Papa - Papa duet from The Magic Flute.",
"INT. SCHIKANEDER'S SUMMER HOUSE - NIGHT - 1790'S This little wooden structure stands in a courtyard in the tenement by the Weiden. Inside, we see a table, chairs, a forte - piano, bottles and a chaos of papers. Strewn about in the chairs are the three actresses, giggling. Schikaneder and Mozart, both drunk, are singing the duet of the two bird - people. The actor sings Papageno and the composer, in a soprano voice, sings Papagena at the keyboard. Absurdly, they end up rubbing noses and fall on each other's necks.",
"EXT. VIENNA STREET - NIGHT - 1790'S Mozart, drunk and happy, staggers back through the snow. There are a few people about. He goes into his apartment building.",
"INT. MOZART'S APARTMENT - DAY - 1790'S He comes through he door and stares across the living room at an open bedroom door. Puzzled, he crosses. The bedroom is also empty. We see Constanze's empty bed ; Karl's empty bed ; empty closets. MOZART Stanzi? Stanzi - marini - bini? He looks about him, puzzled.",
"INT. FRAU WEBER'S HOUSE - LIVING ROOM - DAY - 1790'S Frau Weber sits grimly talking. Mozart sits also, completely exhausted and passive under the rain of her constant speech. FRAU WEBER She's not coming back, you know. She's gone for good. I did it and I'm proud of it. ` Leave,' I said. ` Right away! Take he child and go, just go. Here's the money! Go to the Spa and get your health back - that's if you can.' I was shocked. Shocked to my foundation. Is that my girl? Can that be my Stanzi? The happy little moppet I brought up, that poor trembling thing? Oh, you monster! No one exists but you, do they? You and your music! Do you know how often she's sat in that very chair, weeping her eyes out of her head because of you? I warned her. ` Choose a man, not a baby,' I said. But would she listen? Who listens? ` He's just a silly boy,' she says. Silly, my arse. Selfish - that's all you are. Selfish! Selfish, selfish, selfish, selfish, selfish. And with a scream Madame Weber's voice turns into the shrill packing coloratura of the second act aria of the Queen of the Night, in The Magic Flute.",
"INT. SCHIKANEDER'S THEATRE - NIGHT - 1790'S On stage we see the QUEEN OF THE NIGHT fantastically costumed, furiously urging her daughter to kill Sarastro. As she sings, we see the interior of the theatre, now re - arranged from when we last visited it to watch the Cabaret. An audience of ordinary German citizens stands in the pit area, or sits : they are rapt and excited. The theatre also possesses boxes ; some of these show closed curtains - their inhabitants presumably engaged in private intimacies. In one of them sits Salieri. QUEEN OF THE NIGHT -LRB- singing furiously. -RRB- A hellish wrath within my heart is seething! Death and destruction Flame around my throne! If not by thee Sarastro's light be extinguished. Then be thou mine own daughter never more! Rejected be forever! So sundered be forever All the bonds of kin and blood! Hear! Hear! Hear God of Vengeance! Hear thy Mother's vow! Thunder and lightning. She disappears amidst tremendous applause from the audience.",
"EXT. OUTSIDE THE THEATRE - NIGHT - 1790'S On the poster for The Magic Flute, the name Emmanuel Schikaneder should appear very, very large and the name of Mozart quite small : I. & R. priv. Weiden Theatre. The Actors of the Imperial and Royal Privileged Theatre of the Weiden Have the honour to perform THE MAGIC FLUTE, A Grand Opera in Two Acts By Emmanuel Schikaneder -LRB- The Cast List -RRB-. The music is by Herr Wolfgang Amadeus Mozart. Herr Mozart out of respect for a gracious and honourable Public, and from friendship for the author of this piece, will today direct the orchestra in person. The book of the opera, furnished with two copperplates, of which is engraved Herr Schikaneder in the costume he wears for the role of Papageno, may be had at the box office for 30 kr. Prices of admission are as usual To begin at 7 o'clock",
"INT. STAGE, AUDITORIUM AND WINGS OF SCHIKANEDER'S THEATRE NIGHT -1790'S We CUT TO the scene immediately before Papageno's song, Ein Madchen oder Weibchen. Papageno, played by Schikaneder, dressed in his costume of feathers, is trying to get through a mysterious door. A voice calls from within. VOICE Go back! Papageno recoils. PAPAGENO Merciful Gods! If only I knew by which door I came in. -LRB- to audience. -RRB- Which was it? Was it this one? Come on, tell me! VOICE Go back! Papageno recoils. PAPAGENO Now, I ca n't go forward and I ca n't go back. Oh, this is awful! He weeps extravagantly. In the pit, Mozart indicates to the first violinist to take over as conductor. He slips from his place and goes stealthily backstage. We follow him. Over the scene we hear Papageno being addressed by the First Priest in stern tones. FIRST PRIEST -LRB- on stage. -RRB- Man, thou hast deserved to wander forever in the darkest chasms of the earth. The gentle Gods have remitted thy punishment, but yet thou shalt never feel the Divine Content of the consecrated ones. PAPAGENO Oh well, I'm not alone in that. Just give me a decent glass of wine - that's divine content enough for me. Laughter. An enormous goblet of wine appears out of the earth. We follow Mozart into the wings. Actors and actresses stand around in fantastic costumes. We see a flying chariot and parts of a huge snake lying about. Also the scenery door of a temple with the word ` Wisdom' inscribed on the pediment. Mozart walks to where there stands a keyboard glockenspiel with several manuals, and a musician waiting to play it. Silently Mozart indicates that he wishes to play the instrument himself. On stage Schikaneder is being addressed haughtily by the First Priest. FIRST PRIEST Man, hast thou no other desire on earth, but just to eat and drink? PAPAGENO -LRB- Schikaneder. -RRB- Well! Laughter from the audience. PAPAGENO Well, actually I do have a rather weird feeling in my heart. Perhaps it's just indigestion. But you know, I really would like - I really do want - something even nicer than food and drink. Now what on earth could that be? He stares at the audience and winks at them. They laugh. Now Papageno's aria -LRB- Ein Madchen oder Weibchen -RRB- begins. It is interpolated, as he pretends to play his magic bells, with the glockenspiel actually being played off - stage by Mozart. Schikaneder looks into the pit and does not see Mozart conducting. He looks into the wings and realizes the situation with amusement. He sings joyfully and the audience watches entranced. ANDANTE A sweetheart or a pretty little wife is Papageno's wish. A willing, billing, lovey dovey Would be My most tasty little dish. Be my most tasty little dish! Be my most tasty little dish! ALLEGRO Then that would be eating and drinking I'd live like a Prince without thinking. The wisdom of old would be mine - A woman's much better than wine! Then that would be eating and drinking! The wisdom of old would be mine - A woman's much better than wine. She's much better than wine! She's much better than wine! ANDANTE -LRB- encore, lightly, as before. -RRB- A sweetheart or a pretty little wife is Papageno's wish. A willing, billing, lovey dovey Would be My most tasty little dish. ALLEGRO I need to net one birdie only And I will stop feeling so lonely. But if she wo n't fly to my aid, Then into a ghost I must fade. I need to net one birdie only But if she wo n't fly to my aid, Then into a ghost I must fade. To a ghost I must fade! To a ghost I must fade! ANDANTE -LRB- encore. -RRB- A sweetheart or a pretty little wife is Papageno's wish. A willing, billing, lovey dovey Would be My most tasty little dish. ALLEGRO At present the girls only peck me. Their cruelty surely will wreck me. But one little beak in my own, And I'll up to heaven be flown! At present the girls only peck me. But one little beak in my own, And I'll up to heaven be flown. Up to heaven be flown! Up to heaven be flown! At certain moments we see the stage from Salieri's point of view : Schikaneder singing, then pretending to play ; and then we see Mozart playing the glockenspiel with great flourishes in the wings. Then, suddenly, the actor mimes playing, and no sound comes. He mimes again, but still nothing comes. He looks offstage in anxiety ; there is evidently some commotion. People are looking down on the floor. The song comes to a near - halt. Schikaneder stares. Then the comedian signals to the deputy conductor to pick up the song and finish it. At this moment Salieri gets up and hastily leaves his box.",
"INT. WINGS OF SCHIKANEDER'S THEATRE - NIGHT - 1790'S We see the actress playing Papagena, wearing an old tattered cloak and about to tie a little painted cloth representing a hideous old woman over her face. She is looking worriedly down at Mozart, who is lying unconscious on the floor. A few people around him are trying to revive him. One has put a wet handkerchief around his temples. Another is holding a small bottle of smelling salts. There are voices saying, ` Doctor! Take him to a dressing room. Someone call a carriage. Take him home.' Etc.. Papagena is urged to go on stage by a distracted stage manager. Suddenly we hear the voice of Salieri. SALIERI I'll take care of him. He steps forward. SALIERI I have a carriage. Excuse me. The actors step back respectfully. He stoops and picks up the frail composer in his arms. Mozart is quite limp and Salieri has to fling his arms around his own neck. All this is watched nervously by Schikaneder on stage whilst performing his scene with Papagena as an ugly old woman. UGLY OLD WOMAN Here I am, my angel. PAPAGENO -LRB- appalled. -RRB- What? Who the devil are you? UGLY OLD WOMAN I've taken pity on you, my angel. I heard your wish. PAPAGENO Oh. Well, thank you! How wonderful. Some people get all the luck. Audience laughter. The actress raises the little painted cloth with the ugly old face on it to show her own pretty young one to the audience. More laughter. UGLY OLD WOMAN Now you've got to promise me faithfully you'll remain true to me forever. Then you'll see how tenderly your little birdie will love you. PAPAGENO -LRB- nervous. -RRB- I ca n't wait. UGLY OLD WOMAN Well, promise then. PAPAGENO What do you mean - now? UGLY OLD WOMAN Of course now. Right away, before I get any older. Laughter. PAPAGENO Well, I do n't know! I mean you're a delicious, delightful, delectable little bird, but do n't you think you might be just a little tough? UGLY OLD WOMAN -LRB- amorously. -RRB- Oh, I'm tender enough for you, my boy. I'm tender enough for you. Laughter.",
"EXT. SCHIKANEDER'S THEATRE - NIGHT - 1790'S A waiting sedan chair. Mozart has recovered consciousness, but looks exceedingly ill. Salieri has set him down in the winter's night. Snow is falling. MOZART What happened? Is it over? SALIERI I'm taking you home. You're not well. MOZART No, no. I have to get back. I have - He starts to collapse again. Salieri helps him into the sedan. The door is shut. The chair sets off and Salieri strides beside it, through the mean street. A lantern with a candle swings from the chair.",
"INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1790'S The door opens. Salieri enters carrying the lantern from the sedan chair. He is followed by Mozart, carried in the arms of one of the porters. The room is now really in complete disarray. The table is piled high with music : the pages of the Requiem lie amongst many empty wine bottles. The porter carries Mozart into",
"INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S This room is miserably neglected. The bed is unmade, clothes lie about on the floor. A sock has been stuck into the broken pane of one window. The porter lays Mozart down on the bed as Salieri lights candles from the lantern to reveal plates of half - eaten food and other signs left by a man whose wife has departed. It is obviously very cold. Another very small bed nearby belongs to the child, Karl. SALIERI -LRB- handing the porter the lantern. -RRB- Thank you. Go. The porter leaves the room. Mozart stirs. MOZART -LRB- vaguely singing. -RRB- Papa! Papa! He opens his eyes and sees Salieri staring down at him. He smiles. SALIERI Come now. He helps him to sit up and takes off his coat and his shoes and puts a coverlet around him. SALIERI Where is your wife? MOZART Not here! She's not well, either. She went to the Spa. SALIERI You mean she's not coming back? MOZART You're so good to me. Truly. Thank you. SALIERI No, please. MOZART I mean to come to my opera. You are the only colleague who did. He struggles to loosen his cravat. Salieri does it for him. SALIERI I would never miss anything that you had written. You must know that. MOZART This is only a vaudeville. SALIERI Oh no. It is a sublime piece. The grandest operone. I tell you, you are the greatest composer known to me. MOZART Do you mean that? SALIERI I do. MOZART I have bad fancies. I do n't sleep well anymore. Then I drink too much, and think stupid things. SALIERI Are you ill? MOZART The doctor thinks I am. But - SALIERI What? MOZART I'm too young to be so sick. There is a violent knocking at the front door. Mozart starts and looks around wildly. SALIERI Shall I answer it? MOZART No! No, it's him! SALIERI Who? MOZART The man. He's here. SALIERI What man? The knocking increases in loudness, terrifying Mozart. MOZART Tell him to go away. Tell him I'm still working on it. Do n't let him in! Salieri moves to the door. MOZART Wait! Ask him if he'd give me some money now. Tell him if he would, that would help me finish it. SALIERI Finish what? MOZART He knows. He knows! Salieri leaves the room.",
"INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1790'S Salieri goes to the front door and opens it to reveal Schikaneder, who has obviously come straight from the theatre. He still wears his bird make - up and under his street cloak, his feathered costume is clearly seen. He has with him the three actresses, also looking anxious and also in make - up as the three attendants in The Magic Flute. SCHIKANEDER Herr Salieri. SALIERI Yes, I am looking after him. SCHIKANEDER Can we come in? SALIERI Well, he's sleeping now. Better not. SCHIKANEDER But he's all right? SALIERI Oh, yes. He's just exhausted. He became dizzy, that's all. We should let him rest. SCHIKANEDER Well, tell him we were here, wo n't you? SALIERI Of course. SCHIKANEDER And say everything went wonderfully. A triumph - de - luxe - say that! Tell him the audience shouted his name a hundred times. SALIERI Bene. SCHIKANEDER I'll call tomorrow. SALIERI Yes. -LRB- to the actresses. -RRB- And congratulations to all of you. It was superb. ACTRESSES Thank you! Thank you, Excellency! Schikaneder produces a bag of money. SCHIKANEDER Oh, by the way, give him this. This is his share. That should cheer him up, eh? SALIERI Yes, indeed. Goodnight to you all now. It was perfection - truly! ACTRESSES -LRB- delighted. -RRB- Goodnight, Your Excellency. Goodnight! They bob and curtsey. Schikaneder stares at Salieri, uneasily, vaguely suspicious. Salieri smiles back at him and shuts the door. He stays for a moment, thinking. He contemplates the money.",
"INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S Mozart is sitting up in bed, staring at the door. It opens. Salieri returns. He holds in his hand the bag of money. MOZART What happened? Salieri pours the coins out of the bag onto the coverlet. SALIERI He said to give you this. And if you finish the work by tomorrow night, he will pay you another hundred ducats. Mozart looks at the coins astonished. MOZART Another? But that's too soon! Tomorrow night? It's impossible! Did he say a hundred? SALIERI Yes. Can I - could I help you, in any way? MOZART Would you? Actually, you could. SALIERI My dear friend, it would be my greatest pleasure. MOZART But you'd have to swear not to tell a soul. I'm not allowed. SALIERI Of course. MOZART You know, it's all here in my head. It's just ready to be set down. But when I'm dizzy like this my eyes wo n't focus. I ca n't write. SALIERI Then, let us try together. I'd regard it as such an honour. Tell me, what is this work? MOZART A Mass.. A Mass for the Dead.",
"INT. A SMALL DANCE HALL - BADEN - NIGHT - 1790'S Trivial dance music is playing. Constanze is doing a waltz with a young OFFICER in military uniform. At the moment we see her, she stops abruptly, as if in panic. OFFICER What is it? CONSTANZE I want to go! OFFICER Where? CONSTANZE I want to go back to Vienna. OFFICER Now? CONSTANZE Yes! OFFICER Why? CONSTANZE I feel wrong. I feel wrong being here. OFFICER -LRB- laying a hand on her arm. -RRB- What are you talking about?",
"INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S Mozart is sitting up in bed, propped against pillows. The coins lie on the coverlet ; many candles burn in the necks of bottles. Salieri, without coat or wig, is seated at an improvised worktable. On it are blank sheets of music paper, quills, and ink. Also the score of the Requiem Mass as so far composed. Mozart is bright - eyed with a kind of fever. Salieri is also possessed with an obviously feverish desire to put down the notes as quickly as Mozart can dictate them. MOZART Where did I stop? SALIERI -LRB- consulting the manuscript. -RRB- The end of the Recordare - Statuens in parte dextra. MOZART So now the Confutatis. Confutatis Maledictis. When the wicked are confounded. Flammis acribus addictis. How would you translate that? SALIERI Consigned to flames of woe. MOZART Do you believe in it? SALIERI What? MOZART A fire which never dies. Burning one forever? SALIERI Oh, yes. MOZART Strange! SALIERI Come. Let's begin. He takes his pen. SALIERI Confutatis Maledictis. MOZART We ended in F Major? SALIERI Yes. MOZART So now - A minor. Suddenly. Salieri writes the key signature. MOZART The Fire. SALIERI What time? MOZART Common time. Salieri writes this, and continues now to write as swiftly and urgently as he can, at Mozart's dictation. He is obviously highly expert at doing this and hardly hesitates. His speed, however, can never be too fast for Mozart's impatient mind. MOZART Start with the voices. Basses first. Second beat of the first measure - A. -LRB- singing the note. -RRB- Con - fu - ta - tis. -LRB- speaking. -RRB- Second measure, second beat. -LRB- singing. -RRB- Ma - le - dic - tis. -LRB- speaking. -RRB- G - sharp, of course. SALIERI Yes. MOZART Third measure, second beat starting on E. -LRB- singing. -RRB- Flam - mis a - cri - bus ad - dic - tis. -LRB- speaking. -RRB- And fourth measure, fourth beat - D. -LRB- singing. -RRB- Ma - le - dic - tis, flam - mis a - cri - bus ad - dic - tis. -LRB- speaking. -RRB- Do you have that? SALIERI I think so. MOZART Sing it back. Salieri sings back the first six measures of the bass line. After the first two measures a chorus of basses fades in on the soundtrack and engulfs his voice. They stop. MOZART Good. Now the tenors. Fourth beat of the first measure - C. -LRB- singing. -RRB- Con - fu - ta - tis. -LRB- speaking. -RRB- Second measure, fourth beat on D. -LRB- singing. -RRB- Ma - le - dic - tis. -LRB- speaking. -RRB- All right? SALIERI Yes. MOZART Fourth measure, second beat - F. -LRB- singing. -RRB- Flam - mis a - cri - bus ad - dic - tis, flam - mis a - cri - bus ad - dic - tis. His voice is lost on the last words, as tenors engulf it and take over the soundtrack, singing their whole line from the beginning, right to the end of the sixth measure where the basses stopped, but he goes on mouthing the sounds with them. Salieri writes feverishly. We see his pen jotting down the notes as quickly as possible : the ink flicks onto the page. The music stops again. MOZART Now the orchestra. Second bassoon and bass trombone with the basses. Identical notes and rhythm. -LRB- He hurriedly hums the opening notes of the bass vocal line. -RRB- The first bassoon and tenor trombone - SALIERI -LRB- labouring to keep up. -RRB- Please! Just one moment. Mozart glares at him, irritated. His hands move impatiently. Salieri scribbles frantically. MOZART It could n't be simpler. SALIERI -LRB- finishing. -RRB- First bassoon and tenor trombone - what? MOZART With the tenors. SALIERI Also identical? MOZART Exactly. The instruments to go with the voices. Trumpets and timpani, tonic and dominant. He again hums the bass vocal line from the beginning, conducting. On the soundtrack, we hear the second bassoon and bass trombone play it with him and the first bassoon and tenor trombone come in on top, playing the tenor vocal line. We also hear the trumpets and timpani. The sound is bare and grim. It stops at the end of the sixth measure. Salieri stops writing. SALIERI And that's all? MOZART Oh no. Now for the Fire. -LRB- he smiles. -RRB- Strings in unison - ostinato on all - like this. He sings the urgent first measure of the ostinato. MOZART -LRB- speaking. -RRB- Second measure on B. He sings the second measure of the ostinato. MOZART -LRB- speaking. -RRB- Do you have me? SALIERI I think so. MOZART Show me. Salieri sings the first two measures of the string ostinato. MOZART -LRB- excitedly. -RRB- Good, good - yes! Put it down. And the next measures exactly the same, rising and rising - C to D to E, up to the dominant chord. Do you see? As Salieri writes, Mozart sings the ostinato from the beginning, but the unaccompanied strings overwhelm his voice on the soundtrack, playing the first six bars of their agitated accompaniment. They stop. SALIERI That's wonderful! MOZART Yes, yes - go on. The Voca Me. Suddenly sotto voce. Write that down : sotto voce, pianissimo. Voca me cum benedictis. Call me among the blessed. He is now sitting bolt upright, hushed and inspired. MOZART C Major. Sopranos and altos in thirds. Altos on C. Sopranos above. -LRB- singing the alto part. -RRB- Vo - ca, vo - ca me, vo - ca me cum be - ne - dic - tis. SALIERI Sopranos up to F on the second ` Voca'? MOZART Yes, and on ` dictis'. SALIERI Yes! He writes feverishly. MOZART And underneath, just violins - arpeggio. He sings the violin figure under the Voca Me -LRB- Bars 7,8,9 -RRB-. MOZART -LRB- speaking. -RRB- The descending scale in eighth notes, and then back suddenly to the fire again. He sings the ostinato phrase twice. MOZART -LRB- speaking. -RRB- And that's it. Do you have it? SALIERI You go fast! MOZART -LRB- urgently. -RRB- Do you have it? SALIERI Yes. MOZART Then let me hear it. All of it. The whole thing from the beginning - now! The entire Confutatis bursts over the room, as Mozart snatches the manuscript pages from Salieri and reads from it, singing. Salieri sits looking on in wondering astonishment. The music continues right through the following scenes, to the end of the movement.",
"EXT. A COUNTRY ROAD - WINTER NIGHT - 1790'S A carriage is driving fast through the night. Snow lies on the countryside.",
"INT. THE CARRIAGE NIGHT - 1790'S The carriage is filled with passengers. Among them Constanze and Karl, her young son. They are sleepless and sway to the motion of the vehicle.",
"INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S Mozart lying in bed exhausted, but still dictating urgently. We do not hear what he is saying to Salieri, who still sits writing assiduously. Mozart is looking very sick : sweat is pouring from his forehead.",
"EXT. A COUNTRY ROAD - WINTER NIGHT - 1790'S The carriage, moving through the night, to the sound of the music.",
"INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S Mozart still dictating ; Salieri still writing without stop.",
"EXT. VIENNA STREET - DAWN - 1790'S. The carriage has arrived. Constanze and her son alight with other passengers. Postillions attend to the horses. She takes her boy's hand. It is a cold wintry dawn. The music stutters to a close. End of the Confutatis.",
"INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S MOZART Do you want to rest a bit? SALIERI Oh no. I'm not tired at all. MOZART We'll stop for just a moment. Then we'll do the Lacrimosa. SALIERI I can keep going, I assure you. Shall we try? MOZART Would you stay with me while I sleep a little? SALIERI I'm not leaving you. MOZART I am so ashamed. SALIERI What for? MOZART I was foolish. I thought you did not care for my work - or me. Forgive me. Forgive me! Mozart closes his eyes. Salieri stares at him.",
"EXT. VIENNA STREET - WINTRY DAWN - 1790'S Constanze and Karl approach along the cobbled street, hand in hand toward their house. Snow lies in the street.",
"INT. MOZART'S APARTMENT - BEDROOM - DAWN - 1790'S Mozart lies asleep in the bed, holding the last pages of the manuscript. Salieri lies across from him on Karl's small bed in his shirt sleeves and waistcoat. The child's bed is obviously too small for him and he is forced in to a cramped position.",
"EXT. MOZART'S APARTMENT HOUSE - DAWN - 1790'S Constanze and Karl arrive at the door. They enter.",
"INT. MOZART'S APARTMENT - LIVING ROOM - DAWN - 1790'S It is as disordered as before, save that the table, previously littered with pages, is now completely bare. Constanze looks at it with surprise and enters the bedroom.",
"INT. MOZART'S APARTMENT - BEDROOM - DAWN - 1790'S Mozart is asleep in the bed. Salieri is dozing on the nearby child's bed. The room is full of the trailing smoke from guttering and guttered candles. Startled by Constanze's entrance and her young son, Salieri scrambles up. As he does so, he attempts to button his waistcoat, but does it ineptly, so that the vestment becomes bunched up, making him look absurd. CONSTANZE What are you doing here? SALIERI Your husband is ill, ma'am. He took sick. I brought him home. CONSTANZE Why you? SALIERI I was at hand. CONSTANZE Well, thank you very much. You can go now. SALIERI He needs me, ma'am. CONSTANZE No, he does n't. And I do n't want you here. Just go, please. SALIERI He asked me to stay. CONSTANZE And I'm asking you - She notices a movement from the bed. Mozart wakes. He sees Constanze and smiles with real joy. Forgetting Salieri, she goes to her husband. CONSTANZE Wolfi, I'm back. I'm still very angry with you, but I missed you so much. She throws herself on the bed. CONSTANZE I'll never leave you again. If you'll just try a little harder to be nice to me. And I'll try to do better, too. We must. We must! This was just silly and stupid. She hugs her husband desperately. He stares at her with obvious relief, not able to speak. Suddenly she sees the manuscript in his hand. CONSTANZE What is this? She looks at it and recognizes it. CONSTANZE Oh no, not this. Not this, Wolfi! You're not to work on this ever again! I've decided. She takes it from his weak hand. At the same moment Salieri reaches out his hand to take it and add it to the pile on the table. She stares at him, trying to understand - suspicious and frightened and at the same time unable to make a sound. Mozart makes a convulsive gesture to reclaim the pages. The coins brought by Salieri fall on the floor. Karl runs after them, laughing. CONSTANZE -LRB- to Salieri. -RRB- This is not his handwriting. SALIERI No. I was assisting him. He asked me. CONSTANZE He's not going to work on this anymore. It is making him ill. Please. She extends her hand for the Requiem, as she stands up. Salieri hesitates. CONSTANZE -LRB- hard. -RRB- Please. With extreme reluctance - it costs him agony to do it - Salieri hands over the score of the Requiem to her. CONSTANZE Thank you. She marches with the manuscript over to a large chest in the room, opens it, throws the manuscript inside, shuts the lid, locks it and pockets the key. Involuntarily Salieri stretches out his arms for the lost manuscript. SALIERI But - but - but - She turns and faces him. CONSTANZE Good night. He stares at her, stunned. CONSTANZE I regret we have no servants to show you out, Herr Salieri. Respect my wish and go. SALIERI Madame, I will respect his. He asked me to stay here. They look at each other in mutual hatred. She turns to the bed. Mozart appears to have gone to sleep again. CONSTANZE Wolfi? -LRB- louder. -RRB- Wolfi? She moves to the bed. The child is playing with the coins on the floor. Faintly we hear the start of the Lacrimosa from the Requiem. Salieri watches as she touches her husband's hand. As the music grows, we realize that Mozart is dead. CU, Constanze staring wide - eyed in dawning apprehension. CU, Salieri also comprehending hat he has been cheated. The music rises. CU, The child on the floor, playing with the money.",
"EXT. STEPHEN'S CATHEDRAL - VIENNA - A RAINY DAY - 1790'S The Lacrimosa continues through all of the following : a small group of people emerges from the side door into the raw, wet day, accompanying a cheap wooden coffin. The coffin is borne by a gravedigger and Schikaneder in mourning clothes. They load it onto a cart, drawn by a poor black horse. All the rest are in black, also : Salieri, Von Swieten, Constanze and her son, Karl, Madame Weber and her youngest daughter Sophie, and even Lorl, the maid. It is drizzling. The cart sets off. The group follows.",
"EXT. OUTSIDE THE CITY WALLS OF VIENNA - RAINY DAY - 1790'S The group has already passed beyond the city limits following the miserable cart. The Lacrimosa accompanies them with its measured thread. The drizzle of rain has now become heavy. One by one, the group breaks up and shelters under the trees. The cart moves on toward the cemetery, alone, followed by nobody, growing more and more distant. They watch it go. Salieri and Von Swieten shake hands mournfully, the water soaking their black tall hats. Schikaneder is in tears. Constanze is near collapse. Salieri moves to assist her, but she turns away from him, seeking the arm of Cavalieri. Madame Weber takes Karl's hand. The music builds to its climax on Dona Eis Pacem! We CUT back to :",
"INT. OLD SALIERI'S HOSPITAL ROOM - MORNING - 1823 Morning light fills the room. Old Salieri sits weeping convulsively, as the music stops. Tears stream down his face. Vogler watches him, amazed. VOGLER Why? Why? Why? Why add to your misery by confessing to murder? You did n't kill him. OLD SALIERI I did. VOGLER No, you did n't! OLD SALIERI I poisoned his life. VOGLER But not his body. OLD SALIERI What difference does that make? VOGLER My son, why should you want all Vienna to believe you a murderer? Is that your penance? Is it? OLD SALIERI No, Father. From now on no one will be able to speak of Mozart without thinking of me. Whenever they say Mozart with love, they'll have to say Salieri with loathing. And that's my immortality - at last! Our names will be tied together for eternity - his in fame and mine in infamy. At least it's better than the total oblivion he'd planned for me, your merciful God! VOGLER Oh my son, my poor son! OLD SALIERI Do n't pity me. Pity yourself. You serve a wicked God. He killed Mozart, not I. Took him, snatched him away, without pity. He destroyed His beloved rather than let a mediocrity like me get the smallest share in his glory. He does n't care. Understand that. God cares nothing for the man He denies and nothing either for the man He uses. He broke Mozart in half when He'd finished with him, and threw him away. Like an old, worn out flute.",
"EXT. CEMETERY OF ST. MARX - LATE AFTERNOON - 1790'S The rain has eased off. A LOCAL PRIEST with two boy acolytes is standing beside an open communal grave. Mozart's body is lifted out of the cheap pine box in a sack. We see that the grave contains twenty other such sacks. The gravedigger throws the one containing Mozart amongst the others. An assistant pours quicklime over the whole pile of them. The acolytes swing their censers. LOCAL PRIEST The Lord giveth. The Lord taketh away. Blessed be the name of the Lord.",
"INT. OLD SALIERI'S HOSPITAL ROOM - MORNING - 1823 OLD SALIERI Why did He do it? Why did n't He kill me? I had no value. What was the use, keeping me alive for thirty - two years of torture? Thirty - two years of honours and awards. He tears off the Civilian Medal and Chain with which the Emperor invested him and has been wearing the whole time and throws it across the room. OLD SALIERI Being bowed to and saluted, called ` distinguished - distinguished Salieri' - by men incapable of distinguishing! Thirty - two years of meaningless fame to end up alone in my room, watching myself become extinct. My music growing fainter, all the time fainter, until no one plays it at all. And his growing louder, filling the world with wonder. And everyone who loves my sacred art crying, Mozart! Bless you, Mozart. The door opens. An attendant comes in, cheerful and hearty. ATTENDANT Good morning, Professor! Time for the water closet. And then we've got your favourite breakfast for you - sugar - rolls. -LRB- to Vogler. -RRB- He loves those. Fresh sugar - rolls. Salieri ignores him and stares only at the priest, who stares back. OLD SALIERI Goodbye, Father. I'll speak for you. I speak for all mediocrities in the world. I am their champion. I am their patron saint. On their behalf I deny Him, your God of no mercy. Your God who tortures men with longings they can never fulfill. He may forgive me : I shall never forgive Him. He signs to the attendant, who wheels him in his chair out of the room. The priest stares after him.",
"INT. CORRIDOR OF THE HOSPITAL - MORNING The corridor is filled with patients in white linen smocks, all taking their morning exercise walk in the care of nurses and nuns. They form a long, wretched, strange procession - some of them are clearly very disturbed. As Old Salieri is pushed through them in his wheelchair, he lifts his hands to them in benediction. OLD SALIERI Mediocrities everywhere, now and to come : I absolve you all! Amen! Amen! Amen! Finally, he turns full - face to the camera and blesses us the audience, making the Sign of the Cross. Underneath we hear, stealing in and growing louder, the tremendous Masonic Funeral Music of Mozart. On the last four chords, we THE END"
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] | An elderly Antonio Salieri confesses to the murder of his former colleague, Wolfgang Amadeus Mozart, and attempts to kill himself by slitting his throat. Two servants take him to a mental asylum where a priest, Father Vogler, implores him to confess. Salieri recounts how, even in his youth, he desired to be a composer, much to the chagrin of his father. He prays to God that, if he will make Salieri a famous composer, he will in return promise his faithfulness. Soon after, his father dies, which Salieri takes as a sign that God has accepted his vow. He is educated in Vienna and becomes court composer to Emperor Joseph II. Mozart arrives in Vienna to perform at the request of his employer, the Prince-Archbishop of Salzburg. Salieri attends the performance to meet Mozart and, despite Mozart's obscenity and immaturity, finds his talent to be transcendent. The Emperor desires to commission Mozart to write an opera and, despite the reservations of his advisers, summons him to the palace. Mozart happily accepts the job, much to the annoyance of Salieri. Mozart premieres Die Entführung aus dem Serail to mixed reviews from the Emperor. Salieri suspects that Mozart has slept with the star, Caterina Cavalieri, despite his engagement to Constanze Weber. The Emperor desires that Mozart instruct his niece, Princess Elisabeth, in music, but Salieri discourages him from doing so. Constanze visits Salieri to persuade him to make the Emperor reconsider, but she is unsuccessful. Salieri is enraged that God has bestowed upon Mozart the talent he has so desperately desired and vows to destroy Mozart. Mozart, meanwhile, struggles to find work and begins drinking. His father, Leopold Mozart, comes to visit him in Vienna. Constanze and Mozart take Leopold to a masked party (which Salieri also attends), where Mozart entertains the guests with musical antics. Leopold disapproves of his son's hedonism, and the family argues until Leopold leaves town. Salieri hires a young girl to pose as the Mozarts' maid while spying for him. She takes him to the Mozart residence, where he discovers that Mozart is working on an opera based on the play The Marriage of Figaro, which the Emperor has forbidden. When Mozart is summoned to court to explain, he manages to convince the Emperor to allow his opera to premiere, despite Salieri and the advisers' attempts at sabotage. Messengers arrive in Vienna with news of Leopold's death, and in response a grief-stricken Mozart pens Don Giovanni. Salieri recognizes the dead commander as symbolic of Leopold and hatches a plan. Wearing Leopold's party mask, Salieri visits Mozart and commissions a Requiem Mass. Salieri plots to kill Mozart once the piece is finished, then premiere it at Mozart's funeral, claiming the work as his own. At a parody of one of Mozart's own operas, Emanuel Schikaneder asks Mozart to write an opera for his theater. Mozart, desperate for money, obliges, despite Constanze's insistence that he finish the Requiem Mass. The couple fight and Constanze leaves with their young son, Karl. Mozart collapses during a performance of his finished work, The Magic Flute. Salieri takes him home and offers his assistance on the Requiem. Salieri transcribes Mozart's verbal commands, and they work through the night. The next morning, a gravely ill Mozart apologizes to Salieri for his previous behavior. A guilty Constanze returns home and locks the unfinished Requiem away, only to find that Mozart has died from overwork. Mozart is taken out of the city and unceremoniously buried in a mass grave. Having finished his tale, Salieri asks how a merciful God could destroy his own beloved just to keep a mediocrity like Salieri from sharing in his glory. As he is pushed down the hall in a wheelchair, Salieri declares himself "the patron saint of mediocrities" and mockingly absolves the other patients of their own inadequacies. Mozart's high-pitched laugh is heard as the screen fades to black. | Amadeus_(film) |
[
"INT. BOSTON - OLD NORTH CHURCH - DAY The setting sun backlights a series of abstract colored images. Holy images of STAINED GLASS and lead. FOOTSTEPS ECHO across the marble floor. REVEAL - JULIE JAMES A little older, a little wiser, yet still very pretty, no doubt. But she's all alone in the house of the Lord. And those doleful eyes of hers clearly telegraph a very heavy burden still rests upon her soul. She reluctantly walks past the rows of empty pews toward a curtained CONFESSIONAL BOOTH.",
"INT. CONFESSIONAL BOOTH - DAY Julie slides the drapes shut behind her as she enters, kneeling before the CLOSED SCREEN. A beat - and the SCREEN SLIDES OPEN. A PRIEST enters the adjacent booth - barely visible through the WICKER MESH. Julie looks down, crosses herself, and begins. JULIE Bless me, Father, for I have sinned. -LRB- a beat. -RRB- It's been a year since my last confession. Julie swallows hard. This is difficult for her. JULIE -LRB- cont'd. -RRB- I've never told anyone this. Not my mom, not the poice, not even my friends - except for the ones who were there and they. well they're not around anymore. You see I. I. PRIEST Yes? JULIE I killed a man. Well, I thought I had. then. She balks at the memory of it. The priest bows his head in the shadows of the other side. JULIE -LRB- cont'd. -RRB- -LRB- emotional. -RRB- You've got to understand. It was all an accident. A terrible accident. It's been a whole year. I've tried to get past this, but I just ca n't. PRIEST Go on. JULIE I have these dreams. horrible dreams. And this man is always there with me. PRIEST -LRB- reassuring. -RRB- I know. JULIE You see, he was a killer. He murdered Helen and Barry, and he would have killed me too, if I had n't. gotten away with it. -LRB- regathering. -RRB- I do n't know, I guess I just need to deal with the fear, the guilt. to finally say his name. Ben Willis. His name was Ben Willis. The confession is cathartic for Julie. She looks relieved until, PRIEST I know. Julie stops. Looks through the screen. A chill shoots through her body. JULIE You know? But how could you. Clouds of icy steam shoot through the partition. Julie moves closer to the screen, trying to get a better look. PRIEST -LRB- growls. -RRB- I KNOW WHAT YOU DID LAST SUMMER! A STEEL HOOK smashes through the screen right in Julie's face! She SCREAMS!",
"INT. COLLEDGE LECTURE HALL - DAY Still screaming - Julie jumps back, seemingly knocked out of her chair. She fights the unseen demon. Sitting beside her, Julie's friend WILL BENSON reacts. He's a good - looking kid in a shy, humble kind of way. And he tries to help her, but she's too busy turning ten shades of red. The PROFESSOR lowers his glasses, makes it even worse. PROFESSOR Nice to see you find Political Science so stimulating - The lecture hall erupts with laughter. JULIE I'm sorry - Julie grabs her stuff and bolts.",
"EXT. CAMPUS - DAY Julie explodes out of the building. Hurries down a sidewalk. Will finally catches up. WILL Julie! Wait! You okay? JULIE I'm fine. WILL You sure? JULIE I'm fine. WILL You do n't seem fine. Julie realizes this is true. JULIE I had another dream, Will. Will takes this seriously. WILL The shower again? JULIE It was in a church. it was so real. I mean, I could feel his breath on me. WILL -LRB- caring. -RRB- I'm sorry. JULIE I thought I was over the dreams for good. I really did. I had n't had one for months. WILL It just takes time, Julie. It's gon na get better. JULIE It ca n't get worse. I mean, it's not like this was the first time I freaked out in class. I hardly ever get a full night's sleep, my grades suck, I'm this close from being thrown out of school. BLAM! BLAM! BLAM! EXPLOSIONS. Julie jumps out of her skin. It's just STUDENTS letting off FIRECRACKERS as they fly past on bicycles. Will and Julie are now thinking the same thing. JULIE -LRB- cont'd. -RRB- It was one year ago. WILL It's. the anniversary. That's what's going on. Take it easy on yourself. JULIE -LRB- weary. -RRB- I'm trying. I really am. Sometimes I do n't even know why I came up here in the first place. WILL -LRB- cheering her up. -RRB- To get out of Southport? JULIE -LRB- softens. -RRB- Right. Now I remember. He smiles at her. She smiles back. They stop in front of her apartment building. JULIE -LRB- cont'd. -RRB- Are you getting out of town on the fourth? WILL Nah. I'll probably just be here studying for finals. The joys of summer school. -LRB- beat. -RRB- Are you okay? JULIE I'm okay. WILL Are you sure? She touches his face affectionately. JULIE Thanks for the talk, Will. You're good to me. Will stands there akwardly - WILL Um. Okay. Bye. Will walks away. Julie watches him a beat, then turns down her walk - RAY steps out of the shadows. Julie practically faints. JULIE Oh, my god, Ray. You scared me. Recovering, she hugs Ray, genuinely glad to see him. He's a bit cold. RAY I got in early. I was excited. -LRB- re : the receding Will. -RRB- Who was that guy? JULIE Oh, that's Will. He's a friend. You'd like him. RAY Yeah. JULIE Ray, we're just friend. RAY Every guy in history who tried to pick up a girl did the good - friend thing first. JULIE Why are you being like this? It should be obvious Ray feels insecure in the college environs, but they're miscommunicating. RAY Hey, I'm sorry. You're right. Are you ready to go? I've got the old truck. You know the drill. Crab boil at Ollie's. Croaker Queen Pageant. It's only small - town fun, but it's still nice. People really miss you. I miss you. She looks at Ray, his compassionate demeanor. This is hard to say - JULIE -LRB- softly, but resolved. -RRB- Ray, I ca n't. RAY Ca n't what? JULIE I just feel like some part of me has n't healed up enough to go back. Like some critical piece is missing. Please understand. Ray is cold. This is what he's expected all along. RAY I understand something. JULIE It's not like that. It's not you. It's me. My head. I want to go back. I want to be with you. I want to be fine. I want everything to be like it used to be. -LRB- beat. -RRB- It just is n't. Ray is hurt and confused. JULIE -LRB- cont'd. -RRB- Hey, why do n't you stay up here? They have fireworks over the river. And. there's a million things to do. RAY I have to work, Julie. My boat's in Southport, remember? But, I get it. You need your space from Craokerland. And maybe from me, too. Ray starts walking away. RAY -LRB- cont'd. -RRB- You know where to find me. JULIE Ray? Ray? At least come up for a while. Ray keeps on walking. RAY It's okay. I'm just gon na go. Julie follows him out to the road. A group of LAUGHING STUDENTS block her way. JULIE Ray, I'm sorry. I did n't mean. -LRB- to herself. -RRB- I'm just scared. that's all. But Ray is already gone. Julie stares after him a beat, then turns quickly to her door. She clearly feels uncomfortable, exposed on the walk alone. She nervously pulls her keys. A can of mace dangles from the keychain.",
"EXT. JULIE'S APARTMENT - DAY Students throw FRISBEE in the street. Ray walks to his old truck, which is wedged between a new Sport Utility and a BMW. He clambers into the front seat. He thinks. Then, digs into his pocket and pulls out the unmistakable shape of an ENGAGEMENT RING BOX. He throws it in the glove box, starts the truck and drives away.",
"INT. JULIE'S APARTMENT DOORWAY - DAY Julie opens the door and steps inside. She locks three deadbolts. She stands there, alone, listening to the SILENCE. She does n't even have a cat. A faucet DRIPS in the kitchen.",
"INT. JULIE'S KITCHEN - DAY The faucet DRIPS. Julie turns the handle. No success. She checks the lock on each window. She stands for a moment. She picks up a bag of chips and eats a handful. She opens the fridge and takes out a can of nacho cheese sauce. She grabs a soft drink and a jar of bread - and - butter pickles. She gets some cookies from a shelf. She thinks. Opens the freezer, pulls out some fat - free sorbet. She takes the whole mess toward her bedroom.",
"INT. JULIE'S BEDROOM - DAY She hits the light switch. A bedside light goes on. It's a sparsely furnished room. The bed is pilled high with pillows. She checks the windows, then climbs into bed with the food. On the bedside table are pictures of family and friends. She looks at one of Helen and Barry. She looks around the room. It's depressing. Outside we hear young people having fun, slamming car doors, going places. She picks at the food, then puts it on the table. She turns off the bedside light and enjoys the golden late afternoon glow in the room.",
"INT. JULIE'S BEDROOM - NIGHT Julie, sound asleep, is curled into fetal position on the bed. There's a CLICK in the front hall. And ANOTHER. Julie's eyes shoot open. She listens. Another SOUND, almost like the front door being CLOSED. Her arm reaches for the bedside light. She hits the switch. The bulb POPS. JULIE -LRB- whispers. -RRB- Okay. Okay. Face your fears. She gets off the bed and stands still. JULIE -LRB- cont'd. -RRB- -LRB- whisper. -RRB- There's nothing. There's another NOISE down the hall. JULIE -LRB- cont'd. -RRB- -LRB- whisper. -RRB- Quiet. Julie silently scoots out of her bedroom toward the kitchen.",
"INT. JULIE'S KITCHEN - NIGHT She gets a large KNIFE. She listens. It sounds like somone's in the living room. She steps through the kitchen door. As she moves we see a shadow pass the other way down the hallway toward her bedroom.",
"INT. JULIE'S LIVING ROOM - NIGHT There's NO ONE there. JULIE -LRB- cont'd. -RRB- Okay, calm down, imagination. She relaxes until she sees that her front door is slightly AJAR, light from the hallway slanting through. JULIE -LRB- cont'd. -RRB- I ca n't take this anymore. I ca n't. Holding the knife in front of her, she tiptoes to the hallway. There's a soft RUSTLING coning from her bedroom. She gets a flashlight out of a drawer and starts down the hallway. JULIE -LRB- cont'd. -RRB- -LRB- fatalistic. -RRB- Let's just do it. She moves faster toward her bedroom. she listens outside the doorway. It sounds like someone's in the closet. She moves into the room.",
"INT. JULIE'S BEDROOM - NIGHT There's a noise in the darkened closet. Julie moves into position. She turns the flashlight ON and lunges for the closet.",
"INT THE CLOSET KARLA WILSON, 19, all grace and attitude, is on tiptoes reaching for a box of shoes. She SCREAMS. Julie SCREAMS. They both SCREAM together. Julie drops the knife and flashlight. KARLA I thought you were out of town! JULIE What are you doing in my closet? They hug, jumping up and down with relief. KARLA I thought you were out of town! JULIE What are you doing in my closet? KARLA i just wanted your black pants, but I'm not ready to die for them! Julie turns on the light in the hallway. Karla has her shoes in her hand and black pants draped over her arm. JULIE That was heart attack time, Karla. KARLA No. When I put these skinny pants on my body. Now, that's heart attack time. Karla looks down and sees the knife. She picks it up with two fingers - KARLA -LRB- cont'd. -RRB- And we're going to put away the utensils and you're coming with me. Julie flops down on her bed. JULIE I'm not going anywhere. I'm fat, ugly, and depressed. KARLA Yeah, right - whatever. JULIE I think I just really hurt Ray's feelings. KARLA -LRB- keeping it upbeat. -RRB- Listen to me, Julie. Ray's a great guy, nothing against old Ray, but he's so. Ray. I mean, he lives in Southport. Will's a nice guy, too, and he lives right down the street. Karla picks up the flashlight and goes into the closet. JULIE There's nothing between Will and me. KARLA -LRB- V.O. -RRB- Yet. Nothing yet. She emerges with clothes for Julie. Holds up one outfit. KARLA -LRB- cont'd. -RRB- What we got ta do is keep moving. No time to mope. I'm working at the club tonight. And you, dancing queen, are coming with me. JULIE No I'm not. Karla holds up another dress for Julie - strapless, sexy, the one. KARLA Fine, then be fat, ugly, and depressed. Karla is dancing around. Julie laughs at her friend and takes the dress when Karla hands it to her.",
"INT. THE CLUB - NIGHT It's a hopping college joint : crowded, loud MUSIC, a dance floor, and rivers of cheap booze. AT THE BAR Julie sits next to Karla as she waits for her drink order. A handsome young man slides in front of them. This is TYRELL MARTIN, 23, handsome, no pretention, a little dangerous, with a killer smile. TYRELL You know what I want to do to you. right now, do n't you? There's got ta be somewhere we can be alone. KARLA -LRB- playful. -RRB- I do n't think so. It's pretty crowded. TYRELL Just for a minute, baby. I got something I wan na tell you. He's looking for a dark corner or a storeroom or something. KARLA -LRB- teasing. -RRB- If you can say all you got ta say in a minute then I do n't wan na hear it. TYRELL I'll talk real slow. He's kissing her ear. She starts to giggle. The bartender sets down drinks on Karla's tray. KARLA -LRB- re : Julie. -RRB- Ask her to dance. Tyrell hesitates. KARLA -LRB- cont'd. -RRB- Go on. Karla cuts away through the crowd, delivering drinks. Tyrell turns to Julie. TYRELL You're the most beautiful woman in the bar tonight, Jules. JULIE Tyrell, you are an unstoppable force of nature. TYRELL That's right. It's how the species survives. You'll never convince me otherwise. -LRB- beat. -RRB- Wan na dance? Karla passes by - KARLA Say yes. JULIE No. KARLA No means yes. JULIE Tyrell, I appreciate it, but have you seen my people dance? We make the mouth face, we move the fingers - TYRELL -LRB- heading for the floor. -RRB- Worse comes to worse, you can stand there and watch me. KARLA Come on, I'll take a break and we'll all dance.",
"INT. THE CLUB - DANCE FLOOR - NIGHT is packed and thumping. Karla is dancing her way through the crowd. Tyrell and Julie follow behind her. Karla sees Will. He's dressed up and nervous. She smiles. KARLA -LRB- cont'd. -RRB- Whaddayou know? Will Benson lookin' fine. JULIE -LRB- suspicious, but having fun. -RRB- Karla! Did you tell him I'd be here? KARLA Nope. I told him that you absolutely, positively would not be here at this bar between ten o'clock and eleven o'clock tonight. And then he came anyway. WILL -LRB- shy to a fault. -RRB- This was not my idea. JULIE What? WILL I said, this. Do you want a drink? Will looks down at his feet. He and Julie stand there not quite knowing what to do. TYRELL Where I come from, you want to snatch the goodies, you got to at least talk to them first. Tyrell and Karla go for it on the dance floor, leaving Will and Julie alone. They look at each other. They look at everyone dancing. WILL How about a drink? Will is a few steps ahead as they move for the bar. Julie seems to be relaxing, having a good time. Then, she looks up into the balcony and sees, in a strobe light's FLASH - SOMEONE IN A SLICKER watching her intently. She squints for a better look, but he's gone. WILL -LRB- yelling over the din. -RRB- You okay? She's chalk white and crestfallen. Her whole affect is `` Will I ever have a normal time?'' She drifts amay toward the stairs to the balcony. WILL -LRB- cont'd. -RRB- Hey Julie? Will catches Karla and Tyrell's eyes. They're worried.",
"INT. THE CLUB - STAIRCASE - NIGHT Julie catches another glimps of THE SLICKER. She pushes her way through the crowd up the stairs.",
"INT. THE CLUB - BALCONY - NIGHT Julie looks all around - finally spotting the MAN IN THE SLICKER from behind, making his way to the other side. He slices through a crowd of students, and Julie keeps following. He turns down a service corridor. Julie follows, frightened, but unable to resist. She catches him at the end of the corridor. She reaches out and grabs the stranger's arm. JULIE Ben. The stranger turns around. It's only a club kid in a tacky vinyl raincoat and hat. She's shaken. SLICKER GUY Hye, baby. You following me up here? -LRB- a come - on. -RRB- Well, all right. Julie turns away and hurries down the hallway. Todd follows, but his figure quickly fades.",
"INT. JULIE'S APARTMENT - DAY With morning sun filtering through her blinds, Julie wakes up to the strange sound of THUMPING. She gets out of bed and slowly exits the room.",
"INT. JULIE'S HALLWAY TO KITCHEN - DAY The noise gets louder as she heads down the hall. ANGLE ON A CLOSET The noise is at its loudest - Julie reaches for a doorknob - and yanks open the door. ANGLE ON A CLOTHES DRYER rocking and banging inside the closet. Julie frowns. Julie spins, once again startled by Karla, who crosses to the dryer, flipping open the lid and then jumping back to catch the shoes as they pop out on the fly. JULIE -LRB- still sleepy. -RRB- That could break the machine. KARLA Julie, people who end up making rules like that end up beating their kids with wire hangers. It's a fact. The phone RINGS. Karla looks at her watch. KARLA -LRB- cont'd. -RRB- It's Tyrell. JULIE -LRB- resigned. -RRB- The number's unlisted. KARLA Would you relax? We've been dating three months. He ai n't stalking your butt. JULIE Okay, okay. You're right. KARLA I know it, and it feels good. -LRB- answering the phone. -RRB- Hi, Ty. A DJ for a local radio station BOOMS from the phone. MARK -LRB- V.O. -RRB- This is Mark in the Morning for Magic 96.7 Radio Station! Who am I speaking with? Julie watches her friend get excited. KARLA Mark in the Morning! Magic 96.7! Oh my God! I'm Karla. Karla Wilson. -LRB- to Julie. -RRB- Jules, it's Mark in the Morning. MARK -LRB- V.O. -RRB- Well, Karla, what're you doin' at home over the long fourth weekend? KARLA Well, I'm in school and - MARK -LRB- V.O. -RRB- How'd you like to win a Magic 96.7 Quicky Getaway? KARLA Yes! Julie hits the SPEAKERPHONE BUTTON and Karla hangs up. The DJ's voice echos through the appartment. MARK -LRB- V.O. -RRB- Good, then I hope you remember your geography, Karla, because all you have to do to win is tell me the capital of Brazil. Karla's smile abruptly fades. KARLA -LRB- into phone. -RRB- Brazil? Um. She looks to Julie, whose face is as blank as hers. KARLA -LRB- cont'd. -RRB- You do n't know?! You have to know. You know everything. MARK C'mon, Karla, one easy question, one great getaway! JULIE -LRB- shrugs. -RRB-. South America. Carnival. MARK -LRB- V.O. -RRB- Karla, we need an answer. No looking it up. KARLA Still here. thinking. -LRB- stalling. -RRB- You mean Brazil, the country? MARK -LRB- V.O. -RRB- Okay, Karla, five seconds. -LRB- counting down. -RRB- Five. Four. Julie has an idea. She scramles for the kitchen. Grabs a BAG OF FRESH - GROUND COFFEE from the FREEZER. MARK -LRB- cont'd, V.O. -RRB- Three. Two. Julie tosses the bag across the room to Karla. Karla reads the label : RIO BLEND - 100 % BRAZILIAN COFFEE. KARLA -LRB- blurting. -RRB- Rio de Janeiro! MARK -LRB- V.O. -RRB- Oh, no. Did you say Rio? KARLA -LRB- wincing. -RRB- No. Yes? BELLS and WHISTLES and triumphant MUSIC. MARK -LRB- V.O. -RRB- You just won Magic 96.7's Quickie Getaway. a trip for four to Tower Bay Island in the fabulous Bahamas. Karla and Julie jump up and down ecstatically. KARLA Waaaaahhhhhhhhhh! MARK -LRB- V.O. -RRB- We'll call you back with all the details. So what's your favorite radio station? KARLA AND JULIE Magic 96.7! Julie hangs up and joins Karla dancing on the couch. KARLA I won. I won. I won, I won, I won. -LRB- teasing. -RRB- Now, let's see. There's Tyrell, that's one. And, there's my parents. And I got some cousins. -LRB- beat. -RRB- Okay, Julie, you can come, but Mark said four tickets. That means you got ta get yourself a date. Julie thinks, she seems torn.",
"EXT. SOUTHPORT DOCKS - DAY A SMALL MOUND OF RED SNAPPER is DUMPED - wiggling and suffocating its way across the deck of a fishing boat. WE PULL AWAY TO REVEAL it's RAY who's just done the dumping. A coworker, DAVE, friendly, playful, and down - to - earth, calls out from the dock - DAVE Hey, Ray. phone! Ray takes the phone. WE INTERCUT. JULIE Hi. Ray is happy to hear her voice, but cautious. RAY -LRB- beat. -RRB- Hey. I'm really glad you called. I'm sorry. JULIE -LRB- compassoinate. -RRB- No, you do n't have to be sorry. I'm the one - RAY No, I should n't have left so fast. I was just. JULIE It's okay. Dave holds up two wriggling snappers. He dances them toward each other in a puppetlike mating ritual, making KISSING SOUNDS and narrating - DAVE -LRB- as the fish. -RRB- Julie, I love you. I know I'm only a humble fish, but if you really look at it, you're a fish, too. -LRB- girl voice. -RRB- Oh, Ray, you're right. Do me like a snapper. -LRB- mashing the fish together. -RRB- Hey, something smells like fish. Ray waves him away, concentrating on his call. JULIE Ray, Karla won a trip to the Bahamas! An island called Tower Bay. And she wants us to come with her. RAY What? The Bahamas? You're kidding. Dave's interest is piqued. JULIE We'd have a long weekend just to sit in the sun, drink fruity drinks, and swim, and. -LRB- sexy. -RRB- You know. RAY This weekend? Dave is watching Ray closely. Ray's expression hardens. RAY -LRB- hurt. -RRB- You'll go away with you're college friends, but you wo n't go away with me? DAVE Idiot. Idiot. Idiot. Karla is watching Julie. JULIE It's not you, it's Southport. And it's the Bahamas! And it's free! Karla is watching Julie. KARLA You got ta sell his butt on the Bahamas? JULIE Ray, come on. I want us to be together. Ray thinks. Dave looks at him like he's crazy. RAY -LRB- ca n't give in. -RRB- Julie, we're working a big run up here. It's been crazy. We probably have to go out again tonight. I do n't think I can do it. JULIE Will you try. for me, please? Dave moves one of the fish like it's been shot through the heart. RAY Okay, I'll try. But, listen. -LRB- martyrlike. -RRB- If I do n't make it up, then you go ahead and have a great time. JULIE Ray. please try. I really miss you. -LRB- beat. -RRB- Okay. Bye. She hangs up and Karla sits next to her. KARLA That boy has got fish on the brain. -LRB- sensitive. -RRB- Hey, cheer up, Charlie. -LRB- singing a rumba. -RRB- We're going to the Bahamas. Bahama Mama, yeah.",
"EXT. SOUTHPORT DOCKS - DAY Ray is staring unhappily at the little pile of snapper. Dave is staring at him in disbelief. DAVE Man, what is your problem? We have n't caught anything for days. Pull the big ugly stick out of your butt. She asked you to go to the Bahamas! Man, you got ta go. We'll both drive up. I got friends I can see up there. Ray realizes how right he is. RAY Stupid. Stupid. DAVE Stupid. What were you thinkng? Ray looks at Dave a contemplative beat, then walks over to his truck. He leans in the passenger side and pulls out the engagement ring box. Dave walks over. RAY You wan na see what I've been thinking? He holds up the box and slowly opens it. Dave is stunned. DAVE Jeez, Ray, fourth and forty, throw the bomb. RAY I should go up there. I should call her back, tell her I'm coming. DAVE No way, man. Surprise her. She'll be psyched. Ray is excited by the plan and Dave's right there with him.",
"EXT. COUNTRY HIGHWAY - NIGHT We stare out at a rain - soaked stretch of road. A PICKUP ROARS past, cruising along with its RADIO loud and windows rolled down.",
"INT. RAY'S PICKUP - NIGHT The music's even LOUDER in here. The mood is high. Two buddies going to propose to a girl. Dave adjusts the radio to another AM station - DAVE Man, I love AM radio. You got right - wing conspiracy, tips for pregnant womem, Single - A baseball games, and real country music. None of that new crap. He adjusts the dial again, tuning in a country song, `` MAMAS, DO N'T LET YOUR BABIES GROW UP TO BE COWBOYS,'' by Waylon Jennings and Willie Nelson. Dave starts singing along, extra LOUD and out of tune. DAVE -LRB- cont'd. -RRB- -LRB- singing. -RRB-''. Mamas, do n't let your babies grow up to be cowboys, do n't let'em pick guitars and drive them old trucks. Let'em be doctors and lawyers and such.'' Ray looks at his goofy friend singing and starts to get a little happy himself. Then, Ray sees something in the road ahead. He turns down the radio. They both stare - RAY'S POV : A CAR TURNED SIDEWAYS its HAZARDS blinking. Ray slows and creeps past the car. The driver's door is open. It appears EMPTY. A BODY is sprawled out in the road away from the car. Ray pulls over to the shoulder and stops. DAVE -LRB- nervous. -RRB- I do n't know, man. Maybe we should keep going, find a phone - RAY No. DAVE The guy looks dead. Ray has seen this before - RAY Maybe not. He throws open his door.",
"EXT. ROADWAY - NIGHT Ray steps from his truck. Looks back at the empty car, then turns toward the body. RAY -LRB- nervous. -RRB- Hey! Buddy, what's up? The body does n't move. BEHIND RAY and behind Dave, in the other car, a FIGURE IN A SLICKER sits up in the back seat and gets out of the car. Ray continues toward the body. RAYS POV - BODY FACE DOWN - WEARING A BLACK RAIN SLICKER. Ray moves closer to the all to familiar image. BEHIND RAY SLICKER FIGURE moves toward the unsuspecting Dave.",
"INT. RAY'S PICKUP - NIGHT Dave watches Ray in the road. He leans across the seat and rolls up Ray's window. Behind him, the SLICKER FIGURE gets closer, moving to the passenger side of the truck.",
"EXT. MEDIAN - NIGHT Ray nears the body. He kneels down. RAY Hey, can you hear me? Ray reaches toward the body.",
"INT. RAY'S PICKUP - NIGHT Something FLASHES IN THE SIDE - VIEW MIRROR.",
"EXT. ROAD - NIGHT Ray turns over the body. Something is n't right. Ray jumps back - CLOSE - SLICKER MANNEQUIN Its eerie smile mocking Ray who turns for the truck. RAY DAVE!",
"EXT. TRUCK - NIGHT Dave hears something. He turns to late. SPLLAATTT! THE FISHERMAN jams his hook through Dave's jaw and skull and YANKS DAVE OUT OF THE CAR WINDOW. RAY Dave? There's no answer from dead Dave. Ray tries to see around the headlights. He moves slowly toward the truck. The BRIGHTS and FOGS come on, blinding Ray. The truck's engine REVS. The truck rolls a few inches, adjusting a bead on Ray. Then, tires spinning, the truck launches straight at Ray. Ray runs at the truck. AT THE LAST MINUTE, he ducks behind the parked car. HIS TRUCK goes SCREAMING past. Ray backs around the car - AN EIGHTEEN - WHEELER goes barreling by in the other direction. Ray dives out of the way. IN THE ROAD Ray is exposed. He sees his truck closing fast. He's got nowhere to go. Then, at the very last second, RAY jumps off the edge of the road. His TRUCK SLAMS INTO THE BARRIER RIGHT WHERE RAY WAS STANDING. SPARKS FLY! METAL BUCKLES! Ray falls through the air. Lands hard on his leg. Tumbles down the hill, finally stopping with a crash. He lies motionless at the bottom of a ravine.",
"EXT. JULIE'S APARTMENT - DAY Karla exits the building. She watches Julie sitting on the curb. A truck turns onto the street. Julie looks hopeful, but - it's not Ray. Karla approaches her friend. KARLA Girl, it's gettin' down to the wire. Julie turns. JULIE He's not coming. I thought he was just. KARLA Julie, you left four messages. Four. JULIE But, he said he'd try. KARLA He said he'd try. Try is like maybe. Try is nothing! JULIE -LRB- appoligizing for him. -RRB- He does work hard. KARLA Work hard, huh? He's breaking your heart just because he can. -LRB- hesitant. -RRB- And I do n't want to have to say I told you so. JULIE Then, do n't. A Jeep Cherokee stops, and an ebullient Tyrell steps out wearing shorts and a Hawaiian shirt. TYRELL Hey, baby, we gon na get tropical or we gon na get tropical? The passenger door opens and Will Benson steps hesitantly around the Jeep. JULIE Oh! KARLA -LRB- re : Will. -RRB- Hey, sorry. -LRB- quick, playing it off. -RRB- He's my friend, too. And that ticket is not going to waste. Will reads Julie's expression. WILL Julie, is everything cool? Karla said. KARLA I said we start having fun. And that means now. Julie takes a last look up the street. She stands. TYRELL Is there a problem here? KARLA Where there's a Will, there's a way. Come on. JULIE -LRB- deciding. -RRB- You know what? This rocks. We're going to the Bahamas! Will is relieved. KARLA -LRB- getting into the spirit. -RRB- We goin' Bahamas, I'm Ty's Bahama Mama. We goin' Bahamas. She bops over to Tyrell.",
"EXT. MIDAIR - DAY A wide - body jet SCREAMS through the clouds.",
"INT. PLANE - DAY A nearly empty jet. Karla has her head on Tyrell's shoulder. Julie is reading a book. Will's knuckles are white from gripping the armrests in fear, and his eyes are clenched shut. Julie looks on with concern. JULIE Just take deep breaths and think of something happy from childhood. WILL What if I do n't have anything happy from childhood. Sorry, I ca n't relax going five hundred miles an hour, or four thousand, four hundred feet a minute. -LRB- calculating. -RRB- Which is over seven hundred feet a second. Imagine hitting something at seven hundred feet a second. JULIE Deep breaths - WILL -LRB- no deep breaths. -RRB- Fumes build up in the fuel tanks. You can by surface - to - air missiles over the internet. Planes use O - rings. which freeze in tap water. Planes fall from the sky for practically no reason at all. JULIE You've got a better chance of getting hit by lightning. WILL Right. Planes get hit by lightning. They get hit by meteors. They hit other planes. Tyrell shakes his head. TYRELL -LRB- exasperated. -RRB- Something is gon na hit your butt if you do n't quit complaining. KARLA -LRB- sypathetic. -RRB- Honey, some folks just ca n't fly. Will does n't move, frozen with fear of flying, but more closely bonded with the concerned Julie.",
"EXT. OCEAN VISTA - DAY Establishing. A Board of Tourism kind of shot. Blue water. Green islands. Golden sun. Puffy clouds. A BOAT CHUGS by with the words `` Tower Bay'' painted on the side. Tyrell THROWS UP over the side.",
"EXT. FERRY - DAY More of a small tub than a ferry. Julie, Karla, Will, and Tyrell are the only passengers. At the bow, Julie and Karla laugh and play `` King of the World.'' Julie in the prow, Karla behind her. JULIE -LRB- deadpan. -RRB- I'm the King of the World. KARLA -LRB- deadpan. -RRB- No, I'm the King of the World. They switch places. They look at each other and crack up laughing. Karla takes in the surroundings, the salt spray, the day - KARLA Remind me to study real hard so someday this is normal and all that back there is somethin' I do for a weekend once every ten years. JULIE -LRB- sharing the moment. -RRB- I will, and you remind me of the same thing. They throws their arms around each other and stare into the horizon. AT THE STERN Will talks to a very green Tyrell. WILL You just got ta breathe. Tyrell is trying to keep from puking - TYRELL Ca n't talk right now. WILL -LRB- slightly malicious. -RRB- See, it's not a macho thing. It's about equilibrium in your inner ear. You could've used a patch, but it's too late now. Get used to it. -LRB- then. -RRB- Some folks just ca n't sail. PAULSEN, the BOAT CAPTAIN, overhears as he passes - PAULSEN That's too bad, too, because it's the only way on or off the island. -LRB- slightly ominous. -RRB- Unless you have an accident. And then they call the Coast Guard. Julie and Karla have rejoined the men. JULIE It's pretty remote here. PAULSEN -LRB- smiles. -RRB- Yep. That's what the tourists pay for - sun, sea, and solitude. TYRELL Are we there yet? PAULSEN Few more minutes. We move off the boat and REVEAL the island. The intrepid vacationers excitedly take in the island.",
"EXT. TOWER BAY - DAY Establishing. An isolated tropical paradise with jungle growing to the beach.",
"EXT. RESORT DOCK - DAY The ferry pulls in to a canopied dock. A white - sand beach stretches in every direction. Beautiful tourists stroll about without a care in the world. Tyrell stamps his feet on the dock. TYRELL I feel like I'm still on that thing. A dockhand, DERRICK, glides past him toward the ladies. DERRICK That way for a complimentary Planter's Punch to get you readjusted. TYRELL -LRB- mile - wide smile. -RRB- I can get used to this. Derrick reaches for Julie's hand, clearly checking her out in the process. DERRICK Welcome, Fair Princess, to Tower Bay. -LRB- a wink. -RRB- I'm Derrick. At your service for the duration of your stay. Julie smiles politely. Will gently nudges her on. They walk away. PAULSEN -LRB- to Derrick, mocking. -RRB- I'm at your service, Princess. DERRICK -LRB- shrugs. -RRB- Season's over old man. So I got ta work fast. PAULSEN If Marine Radio's right about the weather, you're already out of time. He hangs a SIGN at the end of the gangplank. It reads : LAST DEPARTING FERRY - LINE FORMS HERE. Our guys are already at the end of the dock.",
"EXT. TOWER BAY HOTEL - DAY Establishing. An opulent, Carribean - style hacienda resort with all the accoutrements. The main building is two stories high with a tiled roof. A bell tower rises from one side. And, of course, it is surounded on all sides by suffocating fooliage. Julie and Karla take in the beauty of the resort. KARLA Check it out. TOW BIKINI GIRLS catch the eyes of Tyrell and Will. TYRELL Yes, ma'am. Karla THWACKS him on the back of the head, but they're all having fun. The path widens. The trees part. It's even nicer up close. They walk across a tiled plaza. Behind them, THREE YOUNG GUYS carry their GIRLFRIENDS piggyback, racing each other toward the departure dock. Our two arriving couples move on toward the entrace, passing a FENCED TENNIS COURT on the left. A GLASS - PANED ORCHID HOUSE straight ahead. And, on the right, A LUSH POOL with a built - in JACUZZI in the shallow end. An outdoor THATCHED ROOF BAR stands nearby - and just beyonk it, a small POOL HOUSE. A guy's unintelligible RASTA VOICE calls out - RASTA VOICE Anybudorsomethin'? They turn to see TITUS, white guy, dreads, full - Rasta demeanor. He's a phony, but sincere about it. Titus approaches Tyrell - TITUS My brother, can I interest you in the islands finest ganja? WILL -LRB- teasing. -RRB- Hey, Tyrell, we found you brother. TYRELL -LRB- wry. -RRB- Not possible. TITUS -LRB- undetered. -RRB- Who be wantin' the kind, the uber - sticky, the Bwana, The depth - charge, the Up - All - Night - Laughing - With - Your - Friends? Who wants it?'Cause Titus got it. WILL No, thanks. TITUS Come on, man. Everybody wants something. Will and Tyrell walk on. Undetered, Titus goes up to Karla and Julie. TITUS -LRB- cont'd. -RRB- How ` bout you, ladies? Lovely ladies. Titus moves his hips. TITUS -LRB- cont'd. -RRB- -LRB- lascivious. -RRB- Something I can do for you? Karla looks him up and down, wrinkles her nose - KARLA Take a bath, maybe. TITUS That's cold, but if that's how you want it. The group moves on. Titus watches them go - TITUS -LRB- cont'd. -RRB- -LRB- yelling after them. -RRB- Anybudorsomethin' you come and see me. OMIT SCENE 21 & SCENE 22 A23 EXT.. MAIN ENTRANCE - DAY Around TWENTY TO THIRTY GUESTS ARE ON THEIR WAY OUT as Julie and the others walk in. Julie smiles at an old PORTER helping the departing guests with their bags. He does n't smile back.",
"INT. HOTEL LOBBY - DAY The hotel is tastefully appointed with island decor. AN ORNATE METAL STAIRCASE leads UP to the ROOMS - and DOWN -LRB- AS THE SIGN SAYS -RRB- TO A FITNESS CENTER. In one direction, the foyer meets the entrance to a tropical RESTAURANT/BAR. And in the other, A LOOBY LOUNGE is visible - surrounded by four walls of BOOKS and HOTEL MEMORABILIA. In a dark corner of the room, a uniformed MAID named OLGA dusts off a massive WOODEN GLOBE. Julie smiles at the woman on their way through the lobby, but Olga shyly looks away. Arriving at the FRONT DESK, the four of them find it deserted. They wait patiently, then impatiently. ANGLE ON A DESK BELL as Karla slaps it with her palm. The bell RINGS for a long time then fades into SILENCE. KARLA Hello? Hello? JULIE Where is everyone? I'll ask - Julie turns to consult the maid. ANGLE ON THE GLOBE The big ball is spinning. But Olga is no longer in sight. Tyrell heads toward a DOOR beside the counter with a sign which reads : PRIVATE OFFICE. TYRELL I'll scare somebody up. He grabs the knob and pulls the door open to. RROWWWR? A PIT BULL ON A CHAIN JUMPS UP INTO HIS FACE - its toothy maw snapping shut about a half inch from his nose. TYRELL -LRB- cont'd. -RRB- Whoa! Julie and Karla laugh. Karla goes to hit the bell once more - ONLY TO HAVE HER HAND GRABBED IN THE PROCESS. Karla gasps. Pulls away. We see the hand belongs to the hotel manager - BROOKS, balding, 40s, talks slowly, and seems to have secrets he wo n't share with guests. BROOKS What can I do for you? KARLA Checking in. Karla Wilson. Will saunters away to look at the books in the lobby. BROOKS -LRB- condescending. -RRB- Ah, yes. Roll out the red carpet. Our contest winners are here at last. He scans a sheet as Tyrell stares at the pit bull. TYRELL Nice dog. BROOKS Not really. I've found peices of guys like you in his stool. Tyrell is put off by this aggressive comment. TYRELL What's your problem, buddy? BROOKS -LRB- innocent. -RRB- I do n't have a problem in the world. JULIE -LRB- covering. -RRB- It sure is a beautiful old hotel. BROOKS -LRB- proud. -RRB- Built in 1948 for a member of the Rockefeller clan. The tile work was imported from Spain. A lot of history in these walls. Judy Garland stayed here. Hemmingway fished for marlin right off that dock - TYRELL Okay, we get it. It's old. BROOKS It'll outlive you, I'm sure. Creepy thing to say. Slides a registration form. BROOKS -LRB- cont'd. -RRB- Wilson comma Karla. -LRB- sees something on the form. -RRB- Oh - KARLA Oh, what? Brooks covers - BROOKS You're in 201 and 202. KARLA -LRB- expecting this. -RRB- Is that bad? BROOKS -LRB- lying. -RRB- Not at all. Those are our honeymoon suites. Tyrell wraps his arms around Karla. Julie looks uncomfortably towards Will. JULIE Your what? BROOKS Honeymoon suites. I take it you kids have n't exchanged vows, yet? JULIE We have n't exchanged anything. KARLA Julie, we're talkin' suites! -LRB- excited. -RRB- That'll be just fine with us. BROOKS And, while you're here, our marginally trained, off - season staff of five will attend to your every need. KARLA Wait. Did you say off - season? BROOKS July fourth weekend. Storm season starts today. The clouds roll in like clockwork. JULIE Storm season? BROOKS It's our version of winter. -LRB- hands over the keys. -RRB- 201 and 202. There's Scrabble and Parcheesi in the lobby. Enjoy. And Brooks turns away through the office door. They walk toward their rooms. Will catches up with them.",
"INT. HOTEL HALLWAY - DAY They walk down the hallway. Karla seems annoyed. KARLA Ai n't nothin' free in this world. Everybody says it, and it's true. -LRB- dissapointed. -RRB- I wanted you all to have a good trip. TYRELL We will, baby. All this means is we got the whole island to ourselves. WILL And it's been blue skies all day. It might be perfect all weekend. JULIE It beets being on the mainland. KARLA Oooh, the mainland - TYRELL Somebody's gone tropical on us, baby. Tropical! The mood is improving. A SQUEEKING NOISE interupts. A BRASS LUGGAGE CART has appeared behind them. And ESTES, 60s, the weary Haitian porter, steps from behind it. ESTES -LRB- a Carribean accent. -RRB- 201 and 202. Who put you in? -LRB- hesitant. -RRB- Do n't use these much - JULIE -LRB- suspicious. -RRB- Why's that? He sees their happy, expectant faces and changes the subject. ESTES No real reason. -LRB- then. -RRB- Pretty fancy rooms for kids your age. KARLA We won a competition. ESTES Oh, yeah? What you have to do? TYRELL Guess the capital of Brazil - KARLA Rio, baby! ESTES Ahh, good for you, girl. -LRB- waiting for a cue. -RRB-. And, where would you like me to put the bags? A beat as Julie and Karla exchange a look. Then, Karla tosses one of the keys to Julie. KARLA -LRB- to Estes. -RRB- Their stuff in there. -LRB- grabbing Tyrell. -RRB-. and ours in here. JULIE Karla! You promised. KARLA -LRB- looking at Tyrell. -RRB- I also promised Tyrell. TYRELL Promised me what, baby? -LRB- joking around. -RRB- I made all my promises to William. Tyrell makes fake goo - goo eyes at Will. Estes looks away. TYRELL -LRB- cont'd. -RRB- Sweetie, you brought your nightie, did n't you? WILL Forward! A girl needs time to make up his mind. -LRB- to Julie, thoughtful. -RRB- Julie, look, if it's cool, I'll sleep on the couch and they can have their own room to practice for that real honeymoon. But Tyrell grabs Karla and drags her into the room. We here GIGGLES. WILL I'll take those. ESTES No, I've been doing this since before you were a dream in your father's eye. Estes grabs the bags and takes them into the room. Julie and Will are left staring at each other. WILL You sure it's okay with you? JULIE -LRB- noting his sweetness. -RRB- Sure. It's fine. As long as you do n't snore. WILL You can toss a shoe at me if it gets out of hand. She laughs and they go into the room.",
"INT. HOSPITAL EMERGENCY ROOM - NIGHT BEEP. BEEP. BEEP. Ray is hooked up to a heart monitor. Although he's asleep, we can tell he's bruised and generally beaten up. WE RACK to a DOCTOR checking on him through the glass.",
"INT. HOSPITAL ROOM - NIGHT We see a COP next to the doctor. COP He's beaten up pretty bad - DOCTOR Yes, but he seemed certain his friend was killed out on the highway by somebody named Ben Willis. -LRB- hisitant. -RRB- He said he has a hook on his hand. He said he was driving a BMW. As the cop stares at him deadpan, the doctor realizes how rediculous this must sound.",
"INT. HOSPITAL ROOM - NIGHT CLOSE UP : Ray's eyes pop open. He's listening.",
"INT. HOSPITAL ROOM - NIGHT The cop explains things to the doctor. COP There's no body. And there was no other vehical involved. -LRB- beat. -RRB- He fell asleep at the wheel. and ran his old truck into a guardrail. He got thrown way the hell down into a ditch. He's damn lucky. They walk back down the ICU. DOCTOR -LRB- nodding. -RRB- He suffered a severe head trauma - COP Probably once he rests up, it'll all come back to him. The doctor and cop approach the nurse's station. The NURSE is reading a magazine. She folds it away. Suddenly, the monitoring equpment goes OFF with a series of LOUD WARNINGS. NURSE -LRB- already moving. -RRB- That's your number twelve - The doctor, nurse, and country cop hurry back toward Ray's room. NURSE -LRB- cont'd. -RRB- -LRB- yelling. -RRB- Get me some help down here. We got a flatline, room twelve. THEIR POV - THROUGHT THE DOOR The wires and monitors are unhooked and Ray is GONE.",
"INT. HOTEL BAR - NIGHT A resort bar on the beach. Ocean breezes and surf SOUNDS come through the window. It's tiki galore, complete with a bamboo bar and fishing gear hanging from decorative nets from the ceiling. There's a KARAOKE STAGE in the corner. Will and Tyrell enter and head straight to the bar. A bored bar tender, NANCY, looks just like Jennifer Esposito, does n't look up from her paperback. NANCY You guys lost? TYRELL -LRB- re : the emptiness. -RRB- Tell me this ai n't the bar scene. NANCY Wan na drink? WILL We did n't get all dressed up for nothing. TYRELL Planter's Punch, Singapore Sling, or how about a Mai - Tai? NANCY How about some ID? They freeze. NANCY -LRB- cont'd. -RRB- Kidding. They nod. WILL The guy at the desk said the place would be quiet, not dead. NANCY Did n't anyone tell you this is - TYRELL The last day of the season. Yeah, we heard. WILL So why are you still here? NANCY That's none of your business. Tyrell sizes her up quickly. TYRELL What's the matter, boy trouble? NANCY Not anymore. TYRELL He leave you? NANCY No. I shot him. Will and Tyrell exchange a danger - Will - Robinson glance. NANCY -LRB- cont'd. -RRB- What you want is a Dark and Stormy : Vernon's rum, ginger beer, and a touch of Tabasco. Sailors drink it for luck in the hurricane season, trust me. ACROSS THE BAR Karla and Julie walk in talking quietly to one another. JULIE Am I bad? I mean, he's really great, and he's cute - KARLA He's cute. And he's got a crush on you. -LRB- off Julie's look. -RRB- But. JULIE -LRB- appologetic. -RRB- I miss Ray. I tried to call him. Karla looks at her. She's sincere, but firm. KARLA Ray made up his own mind. so, you're free to make up yours. Joining the men, but continuing her thought - KARLA -LRB- cont'd. -RRB- For the next foury - eight hours. -LRB- joking. -RRB- Your smile is a frown. turned upside down. She illustrates with her own big smile. TYRELL Pretty cool bar. KARLA They all start to look the same once you've worked in one. -LRB- to Nancy. -RRB- Am I right, sister? Nancy reaches out a hand and they touch just the tips of their fingers. JULIE -LRB- to Nancy. -RRB- I'm Julie. This is Karla. NANCY Nancy. -LRB- sarcastic. -RRB- Welcome to Tower Bay's most happenin' hotspot. Nancy continues making their cocktails. JULIE backs into something, turns and gasps - it's a statue of an OLD WHALER, complete with HARPOON, WHITE BEARD, and YELLOW SLICKER. She does n't let Karla see that it upset her. Nancy puts their drinks down in front of them. NANCY Four Dark and Stormies. They all pick up their drinks. KARLA -LRB- toasting. -RRB- To a great weekend - WILL Yeah, a great weekend. Forget the weather! KARLA & JULIE I'll drink to that! They drink and toast again. KARLA -LRB- to Nancy. -RRB- So what do you do around here for fun? Nancy looks straight at Will - NANCY Make fun of tourists mainly. -LRB- beat. -RRB- Or let them make fun of themselves. She flips a switch that lights the Karaoke stage. KARLA Karaoke - perfect. JULIE Do n't even think about it. KARLA Okay, I wo n't. She's already heading for the stage. TYRELL Go baby! Go! AT THE STAGE CLOSE ON the karaoke machine. Karla flips through a binder full of songs. KARLA Oh, this ai n't for me, baby, this is for somebody who really needs it. -LRB- finds one. -RRB- Ah - hah! One single with extra cheese! NANCY -LRB- it's true. -RRB- Everyone thinks their a singer. JULIE No way. KARLA Yes. JULIE No. KARLA Yes. JULIE Not me. no way. WILL Come on, it'll be fun. KARLA Ladies and gentlemen, please put your hands together for my friend, my very best friend, Julie James. But there will be no mercy. KARLA, TYRELL, & WILL -LRB- chanting in unison. -RRB- Ju - lie! Ju - lie! Ju - lie! Reluctantly she goes to the song book. She sees something particularily awful. JULIE You asked for it. -LRB- to Tyrell. -RRB- Song number thirty - nine. Tyrell nods and punches a few buttons. Julie takes the stage as sappy strings begin to swell. She looks at the MONITOR, then melodramatically at the crowd, and begins to sing - no, BELT - Gloria Gaynor's `` I WILL SURVIVE.'' JULIE -LRB- cont'd. -RRB- -LRB- singing. -RRB- First I was afraid. I was petrified. -LRB- continues singing under. -RRB- Will stands, clapping. Tyrell pounds his chest. Karla flips up her LIGHTER, swaying like a hard - core fan. And Julie continues, crooning out the chorus as the beat kicks in and the gang begins to dance. JULIE -LRB- cont'd. -RRB- -LRB- singing. -RRB- I will survive. I will survive. ANGLE ON THE KARAOKE MONITOR The schmaltzy lyrics keep scrolling by - white against black. But then. in the middle of the song. the color changes. RED CAPITAL \\ LETTERS BEGIN TO FILL THE SCREEN. JULIE -LRB- cont'd. -RRB- -LRB- singing - then trailing off. -RRB- And I still know. what you did. last summer. Her voice trails. Her smile abruptly fades. MICROPHONE falls to the floor. The room echoes with an electronic WHUMP. Everyone stops dancing, confused. CLOSE - JULIE trembling, shaking, a mess. Will jumps onstage. WILL Julie? What's wrong? JULIE It's. him. WILL What do you mean, Julie? JULIE He did something to the screen. it, it, said. Julie loos at the screen - the normal lyrics are still scrolling. She suddenly feels their eyes upon her. They're looking at her like she's having a nervous breakdown. JULIE -LRB- cont'd. -RRB- Nothing. Nothing, I'm sorry. Stung, she rushes off the stage. KARLA Julie. But it's to late. She's bolted from the bar.",
"INT. HOTEL - JULIE'S ROOM - NIGHT Julie steps into her room. Closes the door behind her. She falls back against it, trying to calm herself down. JULIE There's no way. just stop it right now. She looks around the cozy room. JULIE -LRB- cont'd. -RRB- Closet. Bed. Bathroom. No need to panic. Julie starts to undress, get ready for bed, the day of travel finally catching up with her. She grabs something to sleep in. Tosses it on the bed. And that's when she sees it, CLOSE - ENVELOPE propped on the pillows. Her name written across. She is frozen momentarily. Almost against her will, she moves toward the envelope. She reaches down and picks it up. She hesitates, then opens the envelope. She pulls out a SINGLE WHITE CARD. ANGLE ON THE CARD In bold print it reads : SURPRISE! DARKFIGURE appears over Julie's shoulder. Julie can feel the presence. She spins, scaring - WILL who YELLS and drops the flowers and champagne he was holding. The bottle bursts and covers them with spray. JULIE -LRB- realizing. -RRB- Oh, Will! I'm sorry. WILL It's my fault. I should n't have. I did n't think. She grabs a TOWEL off the bathroom door, trying to help him clean up the mess. JULIE No, no, no. This was really sweet. WILL I scared you - I crossed the line - JULIE No - it's not that. It's. I'm just a little on edge. I'm really sorry. WILL Hey, you do n't have to appologize to me. I'm the one. I understand. -LRB- covering the awkwardness. -RRB- I'm going to take a walk and dry off. JULIE Are you sure? I really appreciate it. He picks up a rose. Most of its petals on the floor. WILL I just really like you and I want you to feel good about everything. You know? I want you to be happy. He hands the rose to her. There's a moment between them. He reluctantly heads for the door.",
"EXT. HOTEL HALLWAY - NIGHT Will looks down at his wet pants. WILL -LRB- soto. -RRB- Dork. Passing Karla and Tyrell's room on his way down the hall, Will spots the DO NOT DISTURB SIGN. He hears an INCREDIBLE POUNDING from inside. He shakes his head and mopes down the hall.",
"INT. HOTEL - KARLA AND TYRELL'S ROOM - NIGHT Karla bounces playfully on their big bed as Tyrell crosses toward the windows. KARLA Tha's it. -LRB- bounce. -RRB- I've decided. -LRB- bounce. -RRB- I'm changing my major to finance. -LRB- bounce. -RRB- And going to Wall Street. TYRELL Why? KARLA'Cause that's the only way I'm ever gon na be able to afford a big bed like this. She falls back against the plush comforter, looking up at herself in a long MIRROR HANGING RIGHT OVER THE BED. Tyrell loves this and quickly moves beside her in the bed. She lets him get real close, then she jumps up - KARLA -LRB- cont'd. -RRB- Jacuzzi. Tyrell reaches for her, but she bounces off the bed. TYRELL Ah, baby, let's stay right here. Karla pulls her suit out of a bag and models it seductively and flirtatiously for Tyrell. KARLA I spent a hundred bucks on it. even if it's just so you can pull it off. Tyrell gets off the bed - TYRELL I like the sound of this.",
"EXT. HOTEL DOCKS - NIGHT Derrick, the dockhand, whistles in the darkness as he coils the bow rope of a service boat around a cleat on the dock. Ominous shadows play all along the dock. Out on the water there's a big SPLASH. The dockhand rises, looking out at the water with a sigh. DERRICK Damn. I should've brought my pole. He turns away. As he does, we see THE END OF THE DOCK where a sinister SLICKER FIGURE stands perfectly still, silhouetted by moonlight. Derrick paces down the dock the other way past a handfull of other tied - off staff and service boats. He picks up a hose and begins spraying down the hull of a Sunfish sailboat. He turns the hose off and begins coiling it, backing toward an EQUIPMENT SHACK. Suddenly, a HAND touches him on the back. He jumps and turns to see - TITUS standing there smoking a spliff. DERRICK Get lost, you scared me. TITUS Fish are all over the water. Come on, let us take a boat out. DERRICK Titus, you're so stoned, you'd end up in Spain. TITUS That's why you'll come with Titus, mon.. Derrick throws the hose in its place. DERRICK There's a storm comin', Titus. No boats are going out. TITUS Storm is what makes it interesting. Thass why all the fish are up. Less hook us a couple big ones. Derrick is now ignoring Titus. DERRICK I got work to do. Take the bake elsewhere. TITUS Up - tighteous and self - righteous. Titus glides away into the dark. Derrick watches him go. There's another SPLASH in the water near the dock. Derrick walks to where the splash was. He kneels down by the edge - watching BUBBLES RISE from the dark water below. DERRICK -LRB- to the fish. -RRB- Hello, little sea bass. You're lucky I'm busy or I'd hook you myself. WE PUSH IN AS HIS FACE GETS CLOSER TO THE WATER - AND THEN - RISING SLOWLY FROM THE DARK WATER DIRECTLY BEHIND THE DOCKHAND - A SINISTER SLICKER. Derrick hears A SPLASH - and just in time for. SPLAT! THE OLD HOOK IN THE EYE. THE FISHERMAN PULLS HIM DOWN. HE SCREAMS - BEN YANKS ON THE HOOK - AND DERRICK'S CRUMPLED BODY FALLS INTO THE WATER. ANGLE ON THE WATER as poor Derrick's BLOOD MIXES WITH BUBBLES.",
"EXT. POOL/JACUZZI - NIGHT Bubbles of a different kind. The JACUZZI sits in an enclosure at the shallow end of the SWIMMING POOL. And enjoying its warmth, Karla and Tyrell are liplocked in the churning tub. MUSIC plays on the boombox beside them. The tempurature rises and Ty's hands begin to wander. Still clad in her cute bikini, Karla pulls away - KARLA You sure you did n't pick up my hair tie? TYRELL -LRB- rubbing his bald head. -RRB- Hello? KARLA Okay, I just did n't wan na get my hair wet. TYRELL Baby, I finally got you alone in this Jacuzzi and I do n't wan na be discussin' hair care. She splashes him. KARLA Do n't you get feisty. Tyrell moves in for the kill. He wo n't take no for an answer. TYRELL Too late for that. We're miles from anywhere, baby. No one's gon na hear you scream. He goes in for a serious kiss. Things start to heat up - KARLA I used to be a lifeguard. I'd hate to have to blow my whistle. TYRELL -LRB- playful. -RRB- I'd hate for you to have to blow. your whistle. Tyrell is done talking. He pulls her over to him and the moment becomes more passionate. Karla opens her eyes in time to see - TITUS surface in the pool next to them. Karla SCREAMS. And not just because it was a surprise. Titus looks even uglier when he's wet. Titus opens his mouth, reveals a smoking PHILLY BLUNT on the end of his tounge. TITUS No water sports after midnight. Hotel policy. Titus eyes Karla in the Jacuzzi. Tyrell moves protectively in front of her. TYRELL What's the policy on burnin' herb? TITUS We got one for that, too. It's do n't try until you buy. -LRB- beat. -RRB- You do n't buy any, you do n't get any. Titus blows a cloud of smoke on them both, rolls the joint back into his mouth, and swims off. Tyrell is angry, but Karla pulls him back. A dejected Will appears in his bathing suit, a towel over his arm. Tyrell sees him coming. TYRELL There's ten people on this whole island and they're all gon na end up in this Jacuzzi with us. WILL -LRB- getting in. -RRB- How's the water? TYRELL Crowded. KARLA Ty! Will slips into the water ignoring Tyrell's look. WILL Ahh, that feels great. KARLA -LRB- considerate. -RRB- How's Julie? WILL Alone. In the room. -LRB- to Karla. -RRB- Got any advise? TYRELL -LRB- annoyed. -RRB- Yeah. Find another Jacuzzi. Karla shoots Tyrell a look. KARLA -LRB- to Will. -RRB- Your not out yet, slugger. You got ta just get back up there and keep swingin'.",
"EXT. JULIE'S APARTMENT - NIGHT Ray is at a telephone booth up the street from Julie's apartment. He looks exausted. Blood seeps through his shirt. He's in pain. RAY I need an international operator.",
"INT. HOTEL LOBBY - NIGHT In the empty night lobby, behind the desk THE TELEPHONE RINGS and RINGS. We push in on the phone RINGING unanswered in the night. Nobody is around to answer it.",
"INT. HOTEL - JULIE'S ROOM - NIGHT The DOOR CREAKS OPEN once again to her room. And from a STRANGER'S POV - WE SLOWLY CREEP INSIDE. A CLOUD OF STEAM billows from the open BATHROOM. THE SOUND OF A SHOWER is heard. We MOVE TOWARD IT.",
"INT. SHOWER Eyes closed, Julie stands with her face right under the showerhead, trying to relax. Something softly goes THUMP. Julie opens her eyes. Turns off the shower. Stands there, frozen, listening. JULIE -LRB- calling out. -RRB- Will? No reply. AT THE BATHROOM DOORWAY In a robe with a towel on her head, Julie peeks into her room. Nobody there. She sighs, and crosses back to the bathroom sink. AT THE SINK Julie looks to a spot where her toothbrush should be. She frowns. Looks around. Some of her things are missing. She peers into the fogged - up bathroom mirror. She whips the TOWEL off her head and WIPES IT ACROSS THE MIRROR, MAKING THE BEDROOM BEHIND HER VISIBLE. Ready to spit, she looks down. AND IN THAT INSTANT - WE SEE A SHADOWY FIGURE PASS BEHIND HER IN THE BEDROOM. She looks back up. and HE'S GONE. Julie turns on the water to rinse. ANGLE ON THE BEDROOM DOOR as it SLOWLY CREAKS SHUT, the SOUND DROWNED OUT by the SINK.",
"INT. BATHROOM Julie turns off the water - and KLUNK - KLUNK - and NOISE at her door. The sound STOPS.",
"INT. JULIE'S BEDROOM She steps out of the bathroom, crossing toward the door. JULIE Will? No answer. She peers through the PEEPHOLE. JULIE -LRB- cont'd. -RRB- Is that you? She unlocks and opens it. Nobody there. Julie quickly closes the door and relocks it, her heart rate just begining to rise again as. KLUNK - KLUNK. She hears it again. Then, the sound STOPS. But standing at the door - she realizes that's not where it came from. Her eyes immediately go to. THE CLOSET Damn. That's where it came from. She slowy pads across the room in her slippers toward the door. Trembling. she reaches for the handle. AND TUGS IT OPEN! There's NOTHING. She stares a beat. DRIP DRIP DRIP. She sees something on the floor of the closet. She touches a finger to it. IT'S BLOOD. She looks up. THE DOCKHAND comes dropping down at her, dangling, enmeshed in barbed wire. He's dying before our eyes. Blood bubbling from his mouth. His body twitching. Julie stares at the body. She's almost catatonic. She blinks. She blinks again. Suddenly, in DEATH CONVULSIONS, his arms fly toward her - She SCREAMS -",
"EXT. POOL - JACUZZI - NIGHT Karla and Tyrell are drying off beside Will as their hysterical friend comes racing across the pool plaza. JULIE It's happening again! There's a body! Will cathes her in his arms and she sobs uncontrollably. WILL What? What are you talking about? Where? JULIE It's in my room! They can see she's not fooling around.",
"INT. HOTEL - JULIE'S ROOM - NIGHT Everyone is gathered in the center of Julie's room. Julie is held tight by Will. Brooks, the hotel manager, conducts the investigation. Brooks approaches the closet door. Julie holds her breath. He throws it open. A long beat. BROOKS I do n't find this at all funny. Julie steps in - stares into the empty closet. She ca n't believe her eyes. She searches their faces, looking for someone to believe her. JULIE There was a body! I swear it! WILL -LRB- delicately. -RRB- Julie, you said you were tired. Waybe you were dreaming. JULIE -LRB- sharp. -RRB- I was n't dreaming. BROOKS I knew you people were goining to be trouble. I knew from the first time I laid eyes on you. Julie grabs Brooks by his robe. JULIE Listen to me. He's here. BROOKS Who? Who is here? She does n't know where to start. Nancy pokes her head around the door. NANCY What's going on? TYRELL Julie thinks there's a dead guy in the closet. NANCY Cool. TYRELL The rest of us see bathrobes. JULIE -LRB- sharp. -RRB- I am not crazy, Tyrell. He was right there. TYRELL -LRB- not taking it seriously. -RRB- Fine. Show me the body. Will wanders over to the closet and checks it out. KARLA Think about this, Julie. What did you actually see? JULIE The dockhand guy. Hanging by his neck from up there. BROOKS -LRB- case closed. -RRB- In the morning we'll talk to Derrick, the `` dockhand guy,'' and put the whole thing to rest. -LRB- looks to Nancy. -RRB- Now, let's slow down on the Dark and Stormies and get some sleep. NANCY Do n't look at me - JULIE I want off this island. BROOKS -LRB- tired. -RRB- Not possible, I'm afraid. The last ferry left hours ago. And we got a storm coming. There wo n't be another one for days. TYRELL There's a storm coming? BROOKS ` Tis the season, like I told you. It's a big one. Julie goes for the phone. JULIE Then I'll call the mainland for a charter. BROOKS Phones went down a few minutes ago. She picks up the phone, listens, then dangles it from her hand. JULIE It's dead. An exasperated Brooks heads for the door. BROOKS Duh. The next couple of days is gon na be rough, but we'll make it. KARLA What about a radio? BROOKS Sorry. Emergencies only. KARLA What the hell would you call this? BROOKS I'd call this four spoiled city kids who would n't know a hurricane if it blew up their butts. -LRB- beat. -RRB- All we can do now is batten down and ride it out. If things get really bad, there's a storm shelter. And Brooks is gone. Outside the window, it starts to rain. There's a CLAP of thunder. JULIE looks out the window with glazed - over eyes.",
"EXT. HOTEL - NIGHT And we PULL AWAY from Julie's face through the glass - SLOWLY TILTING above her room to another TINY WINDOW in the bell tower. A candle burns, and lighning flashes illuminate the haggard face of Estes, the porter.",
"INT. HOTEL TOWER ROOM - NIGHT It's a claustrophobic room. Estes turns away from the window, shirtless in his uniform pants. A beaded cord hangs around his neck, small fishhook dangling from it. Beside the candle, he picks up a leather bag and dumps out a handful of voodoo icons : roots, coins, sea glass, chicken's foot. He sets them on a divination tray. He opens vials and sprinkles powder and assorted liquids into a small wooden bowl. He opens a drawer and extracts a toothbrush. He dips the brush in the bowl - covering its bristles with a sticky goo. He holds the brush over the candle's flame. The old man watches it SIZZLE. ESTES picks up A STRAW FIGURE and impales it on his fishhook necklace. His eyes roll back in his head. He enters a trance.",
"INT. HOTEL CORRIDOR - NIGHT Olga, the maid, pushes her laundry cart toward the end of a long, dimly lit hall. She sees a pile of dirty linens outside of a room - ROOM 228. She stops, perplexed. There's nobody staying in this room. She picks them up and stuff them in her cart. Then she knocks on the door. OLGA Housekeeping. -LRB- beat. -RRB- Housekeeping. She knocks again and notices her hand leaving bloody marks on the door. She looks at her other hand. Her arms and hands are covered in blood. She turns back to the linens. Something bloody is wrapped inside of them. She paws at the sheets, trying to unravel the mystery - The door the Room 228 slowly cracks open. A STEEL HOOK reaches out and slices into her apron. It tugs. She turns, and she starts to SCREAM, she is yanked into the room. A DO NOT DISTURB sign flips over the handle and the door SLAMS shut. We hear her SCREAMS from inside.",
"EXT. PAWN SHOP - NIGHT Establishing. Bars on the windows. Neon PAWN fickering. Hand - painted sign reads : Se Habla Ingles.",
"INT. PAWN SHOP - NIGHT CLOSE ON AN ENGAGEMENT RING Ray's engagement ring. The pawn shop owner, MAC, cowboy hat, knows his job, holds it up to the viewing loop next to his eye. MAC Jeez, that's a full carat - RAY How much? MAC Well, there's some flaws in her. RAY How much? Mac looks around his shop at the usual jumble of crap : vacuum cleaners, golf clubs, guitar amps. MAC Do n't really have the market for something like this. -LRB- like it hurts him. -RRB- I can go two. two - fifty. RAY Make it three hundred. And throw that in, too. REVEAL -.38 REVOLVER encased in a glass cabinet. MAC Hell, that's worth three, easy. And you got your waiting period. RAY I'm not waiting. So give me the gun and keep the ring. Mac barely hasitates, he knows he's getting a steal - MAC Fine, buddy. THE GUN AND THE RING go down on the counter next to each other. Mac pulls out some forms. MAC -LRB- cont'd. -RRB- Fill these out. Leave the dates blank. Ray starts writing. Mac is overcome by a moment of humanity. MAC -LRB- cont'd. -RRB- Buddy, are you sure this is the way you want to go? Ray gives him a steely stare - RAY Is it loaded? Mac shakes his head. RAY -LRB- cont'd. -RRB- Load it. Off Mac's sadness at young people today.",
"INT. HOTEL - KARLA AND TYRELL'S ROOM - DAY We move into the hotel room and gradually reveal FOUR SETS OF FEET at the end of one bed. They are crammed into a king - size bed together. Julie is awake. She gets out of bed and moves toward the window. It's raining outside. The wind is blowing. The storm has arrived. Karla pulls a sleeping hand off her chest. The hand belongs to Will. She pinches the hand. Will starts. Tyrell kicks his feet around, trying to get some room. TYRELL This ai n't the romantic weekend I had in mind. Karla kisses Tyrell on the cheek. KARLA -LRB- to Julie. -RRB- You get any sleep at all? JULIE Some. Tyrell glares at Julie by the window. Sees the incredible rain. TYRELL Oh, look. Another day in paradise with Julie - your - tour - director. Miss Psychotic Episode. KARLA Hey - TYRELL -LRB- calling to Julie. -RRB- See any dead bodies out there? Any fresh kill? How ` bout Freddy, Jason? Julie ignores him, staring out the window. WILL Leave her alone. Angry at her boyfriend, Karla gets out of bed and joins Julie. TYRELL I'm just saying what all of you are thinking. It's bad enough gettin' rained out without having to hold her hand the whole time. WILL You do n't have to be a jerk. Karla pulls Julie close in a show of support for her friend whose mind everyone believes has been inventing dead bodies. JULIE It's okay. He does n't believe me. That's his right. I'm starting to think I'm crazy, too. KARLA Hey, slow down, turn off the little motor up in there. What do you say we go to the gym and work off a little stress? Julie does n't look to enthusiastic.",
"INT. HOTEL FITNESS ROOM - DAY Karla and Julie enter the gym. It has Nautilus machines, treadmills, Life - cycles, free weights, tanning beds, speed and heavy bags. Karla walks over and does a full roundhouse - spinning and planting her foot dead center of the heavy bag. JULIE Nice move. KARLA I'll be givin' your fisherman some of that and see how he likes it. Julie smiles at her friend bravado. She steps over to a stairmaster and starts her workout.",
"INT. HOTEL CORRIDOR - DAY Will and Tyrell step out of the room into the long, empty corridor. They cross to a balcony overlooking the lobby. The whole place seems deserted. TYRELL Where is everybody? WILL -LRB- gallows humor. -RRB- They're all dead. Dead, I tell you. -LRB- ghostly. -RRB- Ahhhh, we're all deaaaddddd. Tyrellll, joinnnn usss. Will's voice echoes across the lobby. Tyrell is maybe a little nervous, but hiding it. TYRELL Shut up. They walk down the steps to the lobby.",
"INT. HOTEL LOBBY - DAY They cross the lobby. WILL -LRB- calling out. -RRB- Hello? -LRB- worried. -RRB- There's nobody here, Tyrell. Tyrell's already out the front entrance.",
"EXT. HOTEL - DAY Will and Tyrell exit the hotel and make their way down the steps outside and go splashing across the flooded grounds. Debris from the storm is scattered all around them. TYRELL They're around. They just do n't care about us'cause we're the contest winners. -LRB- beat. -RRB- Let's go find Stoner Boy. Make his lazy butt hook us up with fishing poles or Ping - Pong paddles or something. WILL -LRB- nervous. -RRB- You know, the greenhouse effect has caused the gulf stream to shift and almost every meteorological expert expects a dramatic increase in tropical depression - TYRELL Hey - shut up, okay? Tyrell keeps walking. Will looks around at the wind - and - water - swept vista. Not much of a day for activities. WILL -LRB- sotto. -RRB- I do n't like to fish. Tyrell moves across the grounds. He looks back. Will is stopped in his tracks, looking up at - IN THE WINDOW OF THE BELL TOWER - ESTES, staring down at them. TYRELL -LRB- calling to Will. -RRB- You coming? Will trots after him, but he takes a glance back at the window. Estes is gone.",
"INT. HOTEL FITNESS ROOM - DAY Julie has finished on the stairmaster. Both she and Karla are sweaty after a good workout. Their moods have improved. KARLA Come on, Vampira. I got just the thing for you. Karla leads Julie over to the tanning beds. JULIE Cancer in a box. KARLA No, this is the safe sun. -LRB- joking. -RRB- It's better than a day at the beach. Julie is reluctant. KARLA -LRB- cont'd. -RRB- Come on, a little photosynthesis and you'll feel like a new - JULIE Houseplant. Karla opens the canopy of the tanning bed. KARLA Exactly. Julie peels off her sweats. Lies down in her underwear. Straps on a small pair of GOGGLES. Karla lowers the canopy over Julie. ANGLE ON A WALL TIMER Karla sets the DIAL. KARLA -LRB- cont'd. -RRB- Set to three seventy - five, bake for one hour. JULIE Karla! KARLA Just kidding. ULTRA - VIOLET TUBES come to life - Julie is bathed in purple light.",
"EXT. HOTEL GROUNDS - DAY Tyrell looks across the grounds and sees, at the far end of the tennis court, TITUS'S POOL SUPPLY CART half - obscured by the heavy fooliage surrounding the court. Tyrell walks away from Will toward the cart. He hears the jam - box on the cart playing `` TRENCHTOWN ROCK'' by Bob Marley. `` One good thing about music. when it hits you feel no pain.''",
"EXT. HOTEL TENNIS COURT - DAY The open door of the entrance CLANGS against the fence in the wind. Tyrell decides to cut through the court to the far entrance and the cart.",
"INT. HOTEL TENNIS COURT - DAY Tyrell walks across the court to the sagging net. There is a RUSTLING in the foliage around the court. SOMETHING moving fast and quietly. TYRELL -LRB- calling out. -RRB- Hey, Bong Marley. Come here. The door SLAMS shut behind him. Tyrell looks back at the door. The latch seems to have stuck and it's no longer swinging. Tyrell turns back toward the other door and sees The PIT BULL standing in the doorway. Tyrell stares at the dog. The dog GROWLS at Tyrell, low and menacing. TYRELL I'm gon na kill you, Bong Boy. Simultaneously, Tyrell turns and the dog lunges forward. Tyrell sprints to the door - it's LOCKED by a length of metal slipped into the coupling. He turns to see the dog bounding at him - Tyrell leaps up the fence just as the pit bull lunges for him. The dog catches his pant leg. Tyrell kicks him away and frantically scrambles up. The dog relentlessly barks and snaps as Tyrell climbs the fence. WILL looks in at the dog angrily charging the chain - link. He looks up at Tyrell. WILL Come on. Jump. I've got you. He reaches out to try and catch Tyrell. ON THE FENCE Tyrell finally looses his grip and falls back, landing on top of Will. He rolls quickly to his feet. TYRELL Thanks. -LRB- furious. -RRB- I got ta find me a pool boy.",
"INT. HOTEL FITNESS ROOM - DAY Karla hammers the bag with a series of quick punches. She finally stops to catch her breath and hears a THUMPING from the other room.",
"INT. BASEMENT HALLWAY - DAY Karla sticks her head out the door to the gym, listening. At the end of the hall AN OPEN DOOR is visible, a single BARE BULB lighting the room. Karla moves curiously toward it.",
"INT. BASEMENT ROOM - DAY Karla slowly sticks her head around the corner just as the THUMPING NOISE SOUNDS LOUNDLY. She reacts - A THUMPING DRYER in a small laundry room. Karla relaxes. KARLA -LRB- doing Julie. -RRB- Gee, Karla. That'll break the machine. She approaches the MACHINE, which is rocking with the noise. KARLA -LRB- cont'd. -RRB- Damn. How many pairs you got in there? She opens the dryer door and jumps back. A BLOODY SHOE flies out and into her arms. She looks down a beat, and SCREAMS bloody murder. A hot spray of blood gushes from the machine. REVEAL - OLGA'S DISMEMBERED BODY tumbling inside the dryer. Karla SCREAMS again. Then she hears the SOUND of heavy boots coming down the hall. She runs to the door and locks it. She's trapped in a bloody basement cell. Suddenly somebody POUNDS on the door. Karla SCREAMS. She runs across the room, shoving a folding table toward a row of BASEMENT WINDOWS. The door is hit again and again. Somebody is throwing their shoulder against it. Karla bangs hysterically on the windows, leaving bloody handprints on the panes.",
"INT. TANNING ROOM - DAY Julie's eyes suddenly open through the GOGGLES. She thumbs off her WALKMAN. JULIE You say something? Nothing. And just as Julie lies down again, Karla's frantic SCREAMS echo down the hall. Julie goes to push open the canopy. As she does, the CANOPY LID is JAMMED DOWN ON TOP OF HER. A CHAIN shoots through the handles. Julie is locked on the grill. JULIE -LRB- cont'd. -RRB- Karla! Somebody? Hey, this is n't funny. Suddenly the lights go off. Julie thrashes around, trying to free herself. JULIE'S POV - THROUGH THE PURPLE LIGHT She sees someone walking around in the room. The person steps closer. Julie could almost reach out and touch him. She begins to SCREAM!",
"EXT. HOTEL POOL - DAY Tyrell angrily makes his way past the outdoor pool bar as Will follows. Tyrell spots a tray of empty bottles. He picks one up and smashes it in half on the ground. He holds out the jagged bottle to Will. TYRELL Take this. WILL And do what with it? Tyrell breaks another bottle in half. TYRELL Julienne of pool boy. They move toward the nearby POOL HOUSE.",
"EXT. POOL HOUSE - DAY Tyrell and Will stop outside the door. There's MUSIC from inside. More Bob Marley - `` Lively Up Yourself.'' TYRELL -LRB- cont'd. -RRB- I'm gon na throw the door. Get ready. Tyrell opens the door and charges in. Will's right behind him.",
"INT. HOTEL POOL HOUSE - DAY They spill into the room. A light fog hangs in the air. The two of them begin to COUGH and CHOKE. Titus sits on the floor facing away from them, facing a window through which gray light pierces the gloom. Titus does n't move. He's too still. In front of him is a large BONG that still SMOKES SLIGHTLY. TYRELL Hey, pool boy. Tyrell closes the distance and kicks Titus in the back. Titus falls over like a block of wood, rictus already setting in. His hands are bound behind him. The cord is tied off to some pipes against the wall. HIS FINGERNAILS SCRATHCED GROOVES into the floor, scrabbling for the window and fresh air. Will points out two empty one - gallon PLASTIC BOTTLES. ANGLE ON THE BOTTLES One is labeled CHLORINE, the other MURIATIC ACID. Will pulls Tyrell from the pool house.",
"EXT. HOTEL POOL HOUSE - DAY The two of them collapse, COUGHING and CHOKING. TYRELL What the -? Will splashes a puddle of rainwater on his face - WILL That's chlorine and muriatic acid. Put the two together and you get cyanide. Tyrell rolls over on his back next to Will, practically coughing up a lung. TYRELL Cyanide? Like poison gas? -LRB- reality dawning. -RRB- You mean, somebody really killed him. Omigod. Think. Think. Suddenly, they both hear KARLA SCREAMING. They sprint for the main building.",
"EXT. BASEMENT WINDOW - DAY Tyrell and Will follow Karla's CRIES to a narrow srip of basement window which runs along the side of the hotel. Her palms have bloodied one of the windows. TYRELL Get back -",
"INT. HOTEL LAUNDRY ROOM - DAY Karla ducks down on the table just as the window EXPLODES inward. Tyrell kicks in the pane and looks in. TYRELL -LRB- cont'd. -RRB- Give me your hand! She reaches for him. He pulls her up and out through the window.",
"EXT. BASEMENT WINDOW - DAY Karla tumbles to the ground with only one thing to say. KARLA -LRB- screaming. -RRB- Julie!",
"INT. TANNING ROOM - DAY Tyrell and Will suddenly burst through the door. ANGLE ON THE TANNING BED Where Julie is just visible, her fingers madly groping for a way out. JULIE Oh, God, get me out. Get me out. Will struggles to open the bed, but the chain holds strong. Tyrell grabs a nearby dumbbell. TYRELL Hang on. ANGLE ON THE CHAIN Tyrell slams the barbell down, shattering the fiberglass handles. A few of the ultraviolet tubes POP as Will yanks up on the cover. They help Julie up, her eyes adjusting to non - purple light. JULIE -LRB- almost relieved. -RRB- I'm not crazy. I'm not crazy. He's here. -LRB- already moving for the door. -RRB- We've got to get to the radio and call for help. KARLA I think we can classify this as an emergency situation. They head for the manager's office.",
"INT. HOTEL - BROOKS'S OFFICE - DAY They burst into the middle of the room before seeing that Brooks's head has a machete sticking out of it. TYRELL Yo, Brooks, listen up -. -LRB- reacting. -RRB- Whoa - Tyrell, Will, and Karla look at the radio, which is smashed on the floor next to Brooks. Julie stares in shock at the reverse wall, at A STUFFED MARLIN with the words `` I STILL KNOW'' written on it in blood. Karla SCREAMS - TYRELL Somebody. is a sick, fingerpainting psycho. KARLA We got ta get out of here. Now. THE POWER CUTS OUT and the hotel plunges into darkness. Julie SCREAMS and runs from the hotel. WILL Julie!",
"EXT. HOTEL - DAY Julie runs down the steps and cuts through the blowing palms.",
"EXT. HOTEL DOCKS - DAY Julie is at the end of the dock. Tears are streaming down her face, her chest heaving. The others catch up with her. Karla realizes the boats are gone. Everyone is freaking out. KARLA There were boats here? Refresh my memory, there were boats. Tyrell picks up the end of a cut mooring line - TYRELL They were cut loose. WILL Julie? Wan na tell us what is going on here? They look at Julie. Their escape is cut off by water. They're scared. JULIE -LRB- freaking out. -RRB- We're all going to die. He's going to kill us one by one. TYRELL Who? JULIE Ben Willis. KARLA -LRB- not this again. -RRB- Oh, stop it! He's dead. You killed him. Now, get over it. We got ta think here. JULIE They never found the body. Her voice is low and urgent, an impromptu confessional. JULIE -LRB- cont'd. -RRB- Two summers ago. We lied to the authorities. We hit Ben Willis with our car. Ray, me, Barry, and Helen. We threw the body in the water to cover it up - KARLA Julie. JULIE Only he was n't dead. He killed Barry and Helen last July Fourth. Tyrell begins backing away from Julie. He picks up a piece of driftwood from the dock. JULIE -LRB- cont'd. -RRB- I thought Ray and I killed him on the boat, but we did n't and now he's back to finish up the job. Tyrell holds up the log as a weapon. He's angry and afraid - TYRELL We're on an island, miles from anywhere. I do n't give a crap about you're fisherman. There's dead bodies pilling up everywhere and there's one guy missing - Will moves closer to Tyrell - WILL The porter. what's his name? Old Asbestos - TYRELL Estes! That's exactly who it is. That old guy knows something. We can sit here and wait for him to pick us off or we can go find him first. Tyrell turns and heads down the dock. Will goes with him. Karla takes a few hesitant steps after them, then turns back toward Julie, who has n't moved. KARLA Julie, we have to do something. Julie sees her friend caught in the middle, sees her suffering. She reluctantly starts for Karla - JULIE -LRB- sotto. -RRB- It's not him.",
"INT. GREYHOUND BUS - NIGHT Standard bus folks : old people in Panama hats, buzz - cut military geeks on holiday. Ray sits in a seat. He's in pain and does not look good. He pops a handful of pills into his mouth and washes them down with an Orange Crush - A dignified OLD LADY has been watching him - OLD LADY People live healthy in Miami. -LRB- sincere, but unsettling. -RRB- It's the future down there every day of the week. The future. Ray slumps back, waiting for the pills to work. RAY I'll keep that in mind.",
"INT. HOTEL TOWER ROOM - DUSK The door to Estes's room BANGS inward. Tyrell, Will, Karla, and Julie charge into the room. TYRELL Yo, Freak Boy - The cluttered room is empty. WILL He's not here. Tyrell and Will begin roughly searching through Estes's possessions. TYRELL We're gon na find some weird crap in here. In the corner there is a curtain used as a partition. Julie pulls the curtain back and discovers A SMALL, HEAVY CABINET sitting in the corner. It seems to glow from inside while casting an evil pall over the room. Julie moves toward it and hesitates before opening the doors. Inside - is a small voodoo shrine. A candle has burned low before it. Hanging before the altar is THE LITTLE STRAW MAN impaled on a fishhook. JULIE Voodoo. TYRELL I told you. Julie looks closer. She sees her toothbrush, a hair tie, assorted other knickknacks belonging to her friends. TYRELL -LRB- to Karla. -RRB- Missing a hair tie? Karla looks in. Tyrell snatches the straw man up. TYRELL We found our guy. THUNDER rumbles across the sky like the judgement of God.",
"INT. HOTEL CORRIDOR - NIGHT Julie, Karla, Tyrell, and Will walk quickly down the corridor. They have grabbed some of their things. TYRELL We got ta find flashlights, torches, guns if they got'em, anything that'll help. Will and Tyrell eye the stairs leading down to the lobby. TYRELL Wait. Maybe he's down there collecting the body parts. Will and Tyrell exchange a glance, an `` are you man enough?'' kind of glance. WILL Let's go.",
"INT. HOTEL LOBBY - NIGHT The men head into the kitchen and bar area. WILL We'll only be a second, okay? TYRELL Yeah, wait right here, it's the safest place. Karla is terrified and waits by the stairs, but something catches Julie's eye. She walks across the lobby. KARLA Julie, where are you going? Julie keeps walking. She sees historical pictures of the hotel : work crews during construction ; the first limbo contest ; fishermen standing next to sailfish and marlin. Near the pictures, Julie sees the globe. It's spinning slowly. Julie hesitates, then walks toward the globe. It stops spinning. She looks down at it. CLOSE ON - THE GLOBE and Julie's hand finding Brazil. We see the capital is not Rio, but Brazilia. This is dawning on Julie when we hear - ESTES -LRB- v.o. -RRB- Brasilia. She jumps out of her skin. Estes was standing right there in the shadows. ESTES -LRB- cont'd. -RRB- That's the capital of Brazil, not Rio. Karla SCREAMS. Tyrell comes flying across the lobby past Karla. He dives on Estes, tackling him to the floor. Will is right behind him. WILL/ESTES/TYRELL Let go. I got him. That's me. It's him. We got you. JULIE Leave him alone. Tyrell holds up battered Estes - TYRELL Here's youre killer - ESTES No - WILL We found your voodoo crap - ESTES No - They shake Estes, finally giving him a chance to speak. ESTES -LRB- cont'd. -RRB- I found the bodies this morning. I tried to use the radio, but he already destroyed it. JULIE Let him go. I believe him. KARLA Come on, Julie. You saw his room. ESTES I have n't hurt anyone. I stole those things to help you. To protect you. JULIE He's telling the truth. He could've easily killed me. He did n't. -LRB- beat while this sinks in. -RRB- Look, we did n't even answer the radio question right. This whole thing was a setup. KARLA What do you mean? JULIE Rio is n't the capital of Brazil. It was the wrong answer. Sorry, we lose. TYRELL -LRB- starting to lose it. -RRB- You've got all these theories but where is he? Where? Where's your fisherman killer? JULIE I do n't know. TYRELL -LRB- losing it. -RRB- You never do. The guy at the nightclub, the body in your room last night. Little notes that only mean something to you. How do we even know you're not the one behind this - Estes steps forward - JULIE -LRB- to Tyrell. -RRB- How do we know you're not? ESTES -LRB- to Julie. -RRB- I know who you're talking about. He used to work here at the hotel. -LRB- beat. -RRB- And I've seen him around again. Out in the woods by the orchard. They look at Estes. Is he telling the truth? ESTES I ca n't remeber his name, but I do n't forget a face. -LRB- beseeching. -RRB- I can show you. They stare a beat - WILL How do we know you're not setting us up? ESTES Where else you gon na go, son? They look to the office, the gym. The sense of death surrounding them. KARLA I know I do n't want to stay in here. JULIE We'll be better off in the open. If we stick together, maybe we can kill this creep for good. TYRELL Show us. They begin moving for the door.",
"EXT. FERRY DOCKS - NIGHT Establish. The rain pounds a fleet of fishing boats. The boats are securely battened down in the weather. Ray limps past, heading for a small building at the end of the dock. Its sign reads : Island Ferry, Jack Paulsen - proprieter.",
"INT. PAULSEN'S BOAT HOUSE - NIGHT A gear - strewn office. Paulsen watches an episode of Party of Five. There is a loud KNOCKING at the door. PAULSEN What the. Paulsen slowly gets up. He cracks the door open. Ray stands silhouetted against the rain. RAY I need to get to Tower Bay Island. Paulsen senses something is n't right. PAULSEN We're closed. Ray pushes his way in - RAY I need to get there, now. Paulsen looks at him standing there drenched. PAULSEN Did you happen to notice what's going on outside? Ray pulls out the gun and points it at Paulsen - RAY I'm not looking for a weather report, I'm looking for a boat. So which one's yours?",
"EXT. WOODS TRAIL - NIGHT Estes, Will, Tyrell, Julie, and Karla walk along a trail through the heart of the island. The storm has abated for a few minutes. It's windy, dark, and spooky. The kind of place you'd take people if you wanted to scare them with a classic ghost story. That is just what Estes is doing. ESTES He worked here for many years. He had a nice family. A pretty wife and two little ones. A boy and a girl. They'd be about your age, now. They continue along the path. Estes looks at them in the dark, slowing for just a second. ESTES -LRB- cont'd. -RRB- One day his wife went missing. Maid found blood all over the honeymoon suite - Room 201. There are strange NOISES out in the woods. ESTES -LRB- cont'd. -RRB- Eventually, they found her body. Pieces. A leg in the swamp. An arm washed up on Three Mile Beach. -LRB- beat. -RRB- And the head they found much later. A huge branch is blown from a tree and comes crashing down through the underbrush, scaring them. Estes calmly steps around it. ESTES -LRB- cont'd. -RRB- Careful - JULIE -LRB- softly. -RRB- Did he do it? ESTES People say she was running around on him. People say he caught her in bed with other men. People say a lot of things. -LRB- beat. -RRB- He disappeared, taking the two small ones with him. At least they were never found. The winding path leads to a small orchard. They hang on his every word. ESTES -LRB- cont'd. -RRB- We're here. In the center of the orchard is a cemetery. They move off the path into the safety of the woods. There seems to be activity around the place. It's silent and eerie. Julie stares, fascinated. She is slowly drawn toward the house. Karla grabs for her arm. KARLA Be careful, Julie. JULIE I've got to see. She leads, they follow, circling the house. Julie rounds a corner of the shack and stops. She sees - TWO TOMBSTONES The first stone reads : SARAH WILLIS -LRB- birth/death -RRB- The second stone reads : SUSIE WILLIS -LRB- birth/death -RRB- Beyond them A FRESHLY DUG GRAVE and the group moves slowly toward it. The headstone, partially obscured by the mound of dirt, comes into view. The third headstone reads : JULIE JAMES born September 6, 1979 died July 4, 1998 \"A Lying Whore\" `` A Lying Whore'' is scratched with a knife. KARLA -LRB- realizing. -RRB-. Today's July fourth. Will goes to comfort Julie - JULIE I'm not dying on this island, Will. -LRB- louder. -RRB- Do you hear me? Julie shouts into the darkness. JULIE -LRB- cont'd. -RRB- You want me, Ben Willis? Come and get me. I'm right here. She kicks over her headstone - JULIE -LRB- cont'd. -RRB- My grave stays empty! She looks defiantly down the path. KARLA Julie, the boats are gone, the phones are down. There's no way off this place. JULIE Then, we fight - Will looks around. Estes is gone. WILL Where'd Estes go? TYRELL What is up with that weirdo? WILL I'll go find him. KARLA Why? He ca n't help us. WILL He's probably the only one who can help us. TYRELL I'll come with you. KARLA Are you crazy? We're not staying here on our own. WILL It's okay. He could n't have gone far. I'll catch up with you later. Will disappears into the darkness. KARLA Maybe we should just wait here? Hide in a tree? TYRELL I'm not hiding up no tree. -LRB- to Julie. -RRB- I'm with her. Let's arm ourselves to the teeth and kick this psycho's butt.",
"INT. HOTEL KITCHEN - NIGHT They move cautiously into the kitchen. Blue emergency lights flicker above them. It's a big room with plenty of nooks and crannies for somebody to be hiding in. Tyrell picks up a couple of different knives. He hefts them in his hand. TYRELL What I need is a gun. Not a steak knife. Karla grabs a paring knife - TYRELL -LRB- cont'd. -RRB- You gon na clean vegetables? You gon na stir - fry? You need something that'll get his attention. He picks up a huge butcher's knife and cuts the air with it. He then roughly empties other drawers looking for more weapons. Karla looks to Julie, something on her mind. Julie catches the look. KARLA -LRB- hurt. -RRB- I'm your best friend. You could have told me the truth about what happened. I would've understood. JULIE -LRB- sad. -RRB- Karla, I just wanted the whole thing to be over. I did n't want to involve anybody else. KARLA It's too late for that. Julie steps over to Karla. JULIE I'm so sorry. I brought this on everyone. It's my fault. Tyrell picks up on the mood swing. He moves closer to them. He's sympathetic. TYRELL Forget that. You did n't do nothing. This fisherman's a piece of scum. -LRB- hard for him to admit. -RRB- I should've been listening to you. I'm sorry. Julie smiles for a second. TYRELL -LRB- cont'd. -RRB- Now, let's take a look at the pantry. KARLA You think that's a good place to hide? TYRELL I do n't know, but I'm starving.",
"EXT. BEACH - NIGHT Will runs from the trees and finds himself by an old house. He sees Estes by the ocean, near a boat. WILL Hey Estes. -LRB- beat. -RRB- Estes? Where'd you go? Estes does n't answer right away - he keeps his back to Will. WILL -LRB- cont'd. -RRB- You abandoning us? How come you did n't tell us you had a boat? Estes picks up the boat's oar. He speaks low, almost inaudibly. ESTES This has to end. Now. WILL What -? Estes swings the oar, cracking Will's head hard.",
"INT. HOTEL KITCHEN - NIGHT Tyrell, Julie, and Karla approach the pantry - a huge steel door.",
"INT. HOTEL KITCHEN - CONTINUOUS Tyrell steps inside. TYRELL Steel door. Food. Perfect. He starts looking for something to eat - CLANK. There's a soft CLATTERING from somewhere in the room. Everyone freezes, staring into the darkness. Tyrell puts a finger to his lips, then creeps down an aisle, listening. There's nothing but SILENCE. He moves toward the first aisle. He jumps out. The aisle is empty. JULIE AND KARLA move down an aisle behind him. Tyrell ducks around to the second aisle. He slices the air, ready to pounce. This aisle is empty. JULIE AND KARLA nervously move another aisle down. Tyrell moves stealthily toward the third aisle. This is it. He lunges forward into the row. Empty, also. There's a small SOUND. A MOUSE scampers off under the shelves. Tyrell turns and smiles at Karla and Julie - TYRELL It's just a - A ROLLING PIN bashes him on the back of the head. Tyrell hits the floor, unconscious. JULIE AND KARLA SCREAM KARLA Ty! A DARK FIGURE jumps down from the shelves. Tyrell puts his arms up - TYRELL -LRB- yelling for mercy. -RRB- Do n't kill me - JULIE Wait, it's Nancy - Nancy, the bartender steps out of the shadows brandishing her rolling pin.",
"INT. HOTEL KITCHEN - NIGHT Tyrell stands at the sink, where Karla holds a towel full of ice to his head. Nancy, the bartender, looks on apologetically. NANCY I'm sorry, but you could've been the one doing all of this - TYRELL And so could you - crazy fool. NANCY You stumbled into my hiding place. TYRELL Must have missed the sign. NANCY Excuse me, but this island did n't have a murder rate until you people showed up. -LRB- chilled. -RRB- I've never seen a dead body before. JULIE Get used to it. NANCY Who's doing this? TYRELL -LRB- friendly. -RRB- Do n't even get her started. It's a long, long story and you probably would n't believe a word of it. Tyrell moves as he talks, fed up and exhasted. He crosses past the stove and under a huge hanging rack of pots and pans. TYRELL -LRB- cont'd. -RRB- I mean, all I know for sure is this is the worst vacation of my life. I'm tired, and I'm hungry, and I personally have n't seen one damn psycho killer. THWACK! A STEEL HOOK sinks deep into the base of Tyrell's shaved skull, a look of abject surprise on his face. The women freeze as Tyrell dances like a marionette before being hoisted up and hung on the rack like a used saucepan. THE FISHERMAN is in the vent above the stove. He stares out at them from the hood of his slicker. Ben jumps from the range onto the floor. Karla is in shock. Julie yanks her and they flee. As she goes, Julie picks up A LOOSE KNIFE and hides it in her back pocket.",
"EXT. OFFSHORE ON FERRY - NIGHT Ray pilots the boat through the dark, choppy water. He's navigating by compass, maps spread before him. He sees something off the bow - A BOAT drifting on the fast sea. The words `` Tower Bay'' are painted on the side. Ray pulls alongside and discovers the boat is empty. He reaches for the radio. RAY -LRB- into radio. -RRB- Come in. This is Summer Breeze requesting emergency assistance for Tower Bay island. I repeat. This is Summer Breeze. Ray guns the boat away.",
"INT. HOTEL FOYER - NIGHT Julie, Karla, and Nancy run into the lobby. The storm is WAILING outside the front doors. They pause for a second. Behind them we hear the rapid THUD - THUD - THUD of Ben's boots. Nancy goes straight to a desk and pulls out a flashlight. She points to the main staircase. NANCY I know where we can hide.",
"INT. HOTEL STAIRCASE - CONTINUOUS The women run up the stairs. Behind them, we hear Ben's FOOTFALLS echoing.",
"INT. HOTEL CORRIDOR - CONTINUOUS On the top floor, they race toward the end of a dark hallway. At the far end of the hall, Nancy illuminates a section of the ceiling. NANCY Give me a boost up - Julie helps Nancy reach a pull cord in the ceiling. A WOODEN LADDER pulls down. Nancy quickly climbs up. BEN WILLIS enters the hallway and continues toward them. ON THE LADDER Karla slips, nearly knocking Julie to the floor. They both scramble upwards - Ben hits the ladder - Just as Julie reaches the top rung she SCREAMS - BEN'S HOOK IS ON HER FOOT! Nancy appears in the opening and throws a brick down at Ben. It hits him in the chest and knocks him back. Julie makes it into the attic. They pull the ladder up behind them like a drawbridge.",
"INT. HOTEL ATTIC - NIGHT Julie, Karla, and Nancy surround the hatch they've just shut. They fumble with it - JULIE There's no way to lock it. KARLA What do we do? From below comes LAUGHTER. There's a tug on the hatch, cracking it open. The girls pull it back shut, but it's hard to get a grip. There's more tugging, the hatch bending down ; they can see Ben. Then, the rope SNAPS. The hatch slams shut. NANCY There's no way to grip this thing. Suddenly the STEEL TIP of the HOOK pokes through the crack. It wriggles around. Turning. And begins to pull the hatch down. They try to hold it. But it's no use. They let go and jump away. The attic is lit by a cathedral window. It's crosshatched with wooden beams and pink insulation. NANCY Watch your step. THUNK! Karla's foot goes through a gap between two beams.",
"INT. HOTEL - KARLA AND TYRELL'S ROOM - NIGHT KARLA'S FOOT dangles through the ceiling.",
"INT. HOTEL ATTIC - NIGHT Julie helps Karla back up onto a beam. NANCY -LRB- cont'd. -RRB- Stay on the beams! Karla and Julie follow her precarious progress. Ben climbs off the ladder to a beam. He watches them leap from beam to beam. His hook glints in the light. Julie, Karla, and Nancy move toward the cathedral window. They turn. They are cut off. They spread out against the wall looking for an opening to get back to the hatch. Ben feints toward Nancy then swipes at Julie - He misses. She leaps away. She looks down. Instead of insulation, she sees a WINDOW INTO THE HONEYMOON SUITE She sees her bed through a one - way mirror. Julie stares, momentarily transfixed. Karla is edging her way around the side of Ben. BEN -LRB- re : the mirror. -RRB- You'd be amazed by what you'd see. My wife with every man on the island, for example. -LRB- to Julie. -RRB- And you, sexy. I loved watching you. JULIE You sick freak. Ben suddenly whirls and lunges at Karla. He grabs her, but they both lose their balance, teetering for a moment on one of the beams, before falling - They CRASH through the mirror -",
"INT. HOTEL - KARLA AND TYRELL'S ROOM - NIGHT Karla and Ben hit the bed in a rain of glass. Karla bounces to her feet and dives out of the way as Ben swings his hook.",
"EXT. ROOM BALCONY - NIGHT Karla backs onto the porch. She backs up against the railing.",
"EXT. ATTIC WINDOW - NIGHT Julie and Nancy reach the CATHEDRAL WINDOW. They open it and look out.",
"EXT. ROOM BALCONY - JULIE'S POV - NIGHT and Ben advancing toward Karla, whose back is against the railing. Karla looks behind her, sees THE GLASS ROOF OF THE ORCHID HOUSE which does n't look nealy strong enough to suppor her. Ben advances, swining the hook. Karla leaps over the railing and onto the glass.",
"EXT. GREENHOUSE ROOF - NIGHT Karla keeps a wary eye on Ben as she gingerly backs up on the glass. The GLASS begins CRACKING, subtle crack lines splintering out from her footsteps. Ben lunges and swipes at her with his hook. Karla leans away from the attack and loses her balance, slipping onto her back on the glass. She lifts her head. Starts to move. CRACK. The glass is fracuring beneath her. She looks through the glass. KARLA'S POV - THE ORCHIDS BELOW She tries to slide toward a support. The glass CREAKS and MOANS as she moves across the room. KARLA -LRB- to herself. -RRB- Oh, god, no - She's almost to the support when THE ROOF EXPLODES taking Karla down into the orchid house.",
"INT. ORCHID HOUSE - NIGHT The roof shatters in an explosion of flying glass. Karla land on her back. She's unconsious -",
"INT. ATTIC WINDOW - NIGHT Julie and Nancy look at the empty space which once was a roof supporting Karla - JULIE -LRB- screaming. -RRB- Karla! Ben turns and looks up at Nancy and Julie. Then, he sprints from the balcony. Julie and Nancy duck back into the attic.",
"INT. HOTEL CORRIDOR - NIGHT Julie and Nancy climb down into the hallway. They are cautious, expecting Ben at every turn.",
"INT. HOTEL LOBBY - NIGHT They hurry across the lobby.",
"INT. ORCHID HOUSE - NIGHT A sprawling, steam - filled room, dense with vegetation of all sorts and shelf after shelf of beautiful orchids. Karla lies unconscious. Slowly, she opens her eyes. There's a rustling in the flowers. She tries to get up, but ca n't yet. She waits in terror as BIRDS fly up and out of the hole she's made in the roof. Karla tries to stand and her leg gives way. She tests her knee - KARLA Oww. Karla starts hobbling. She reaches the door - it's locked from the other side. There is a thick glass window set in the middle of the door. The cranes startle again, something upsetting them. Karla spins to look. Nothing.",
"INT. HOTEL/ORCHID HOUSE - NIGHT Julie and Nancy arrive at the door. Karla pounds on the other side - points to the lock. KARLA It's locked! Nancy sees a KEY RING by the door. NANCY It's got ta be one of these. Nancy tries the first of many keys. Something catches Julie's eye. She moves in for a closer look. Her eyes go wide - ORCHID HOUSE - JULIE'S POV A powerful BOLT OF LIGHTNING cracks. Fills the room with a pulse of bright light. BEN IS STANDING INSIDE AND HE'S HEADING STRAIGHT FOR KARLA. JULIE -LRB- terrified. -RRB- He's inside. Karla spins. Sees him. Her terrified scream blends with the cranes, now SHRIEKING VIOLENTLY. KARLA Please! Hurry!",
"INT. HOTEL/ORCHID HOUSE - NIGHT Nancy fumbles with the keys. Drops them. Julie tries to keep calm. JULIE Come on.",
"INT. HOTEL/ORCHID HOUSE - NIGHT Ben closes fast, slicing the tops off orchids as he goes. He skewers a bud on the tip of his hook. Karla pounds on the door. KARLA -LRB- frantic. -RRB- Hurry! Nancy fumbles for the right key but the lock is old. JULIE Nancy. NANCY -LRB- crying. -RRB- It's jammed! The key is stuck. KARLA -LRB- through glass. -RRB- Come on! She's running out of time. Julie sees a FIRE AXE encased in the glass safety box. JULIE -LRB- determined. -RRB- No way! Julie smashes the glass with her elbow. Grabs the axe. JULIE -LRB- to Nancy. -RRB- Move! Julie hammers the door with the axe. Wood splinters. Glass cracks. Ben is almost on top of Karla now. Julie swings. The axe breaks the glass, pulls the frame out. Julie drops the axe. They grab Karla. Pull her through. Ben swings. The hook rips Karla's shoe, but Julie and Nancy pull her through. Julie and Ben are face to face. Julie has the axe in her hands. She stares him down. JULIE Come on, gim me a shot - Ben rips off his hook, eyeing Julie. KARLA -LRB- shouting. -RRB- Julie, come on. They flee. Ben tries the door, realizes it had locked behind him. He ca n't fit through the circular window. He throws his shoulder against the door. And again. And again. The door frame starts to give -",
"EXT. STORM SHELTER - NIGHT Julie, Karla, and Nancy approach the iron door to the underground storm cellar. Julie carries the axe. NANCY It's over there. They struggle together to open the heavy door.",
"INT. STORM SHELTER - NIGHT Stairs lead down into darkness. Karla hesitates - KARLA I do n't know. JULIE Come on, you can make it. Julie gets in, pulling Karla in behind her. They pull the door closed behind them. NANCY There's a light somewhere.",
"INT. STORM SHELTER - NIGHT The darkness is complete. We hear MOVEMENT. KARLA Julie? JULIE I'm right here. Grab my hand. NANCY This place has emergency power. Just ease you way down the stairs and I'll find the light. JULIE Okay. I'm at the bottom. Karla, just get my hand. KARLA I'm holding your hand! JULIE No, you're not. KARLA Nancy? Nancy pulls the chain on an overhead bulb. The lights go on, illuminating THE DEAD CORPSES of Brooks, Derrick, Olga, and Titus - whose hand Karla is holding. The women SCREAM! They muddle together, trying to collect themselves. Suddenly, there is a POUNDING on the iron door. They SCREAM. Then, Julie remembers the axe. She motions the others to stay back - JULIE All right - The iron hatch is slowly opening. Julie gets the axe into possition - WILL pokes his head through. He's clutching a piece of wood as a weapon. WILL It's you guys, thank god. Is everyone okay? They are ecstatic to see him. They bound up the concrete stairs - KARLA Help's here. Help's here.",
"EXT. HOTEL WALKWAY - NIGHT Will is already on the move toward the hotel. WILL Come on. We're gon na be okay. JULIE Did you get help? Will shakes his head. He's walking woozily. JULIE -LRB- cont'd. -RRB- What happened? WILL Estes came after me with a gaffing hook. JULIE He's in it with Willis? WILL I guess so. Julie points out that his chest and stomach are covered in blood, too. JULIE Your stomach, you're hurt - Will looks down, clutches himself, and keeps moving. WILL When I was coming back I saw your slicker friend looking for you guys down by the water. -LRB- beat. -RRB- Let's hurry and get inside.",
"EXT. BEACH - NIGHT Ray guns the boat straight up onto the beach. He leaps from the boat.",
"INT. HOTEL BAR - NIGHT Will slumps down on the bar floor. He's floating in and out of consciousness. Julie leans over him, concerned. JULIE Oh, my god, you're bleeding to death. She looks back towards Nancy - JULIE -LRB- cont'd. -RRB- We need a first - aid kit. NANCY -LRB- already moving. -RRB- I saw one in the lobby. Karla starts, then hesitates. Will moans, looks at her. NANCY -LRB- cont'd. -RRB- I'll come with you. WILL You'll be okay. It's over. Karla and Nancy rush from the bar. Julie looks tenderly at Will. He looks back at her. She pulls some hair off his forehead. He smiles weakly. JULIE Will, just hold on. We'll get you fixed up.",
"INT. HOTEL LOBBY - NIGHT Karla and Nancy go to the area near the check - in and behind the desk. NANCY Look up there. I'll look over here. Karla looks behind the desk. Nancy is searching the shelves.",
"INT. HOTEL BAR - NIGHT Julie tenderly searches the area around Will's stomach. She's fussing with the clothes, looking for the wound. JULIE You've got blood everywhere, but I ca n't find the wound. Will takes her head in his hands, looks her in the eye. WILL That's because it's not my blood. The slow change in Julie as she realizes. She starts to run. Will roughly grabs her. WILL -LRB- cont'd. -RRB- It's time you woke up, Julie. His voice switches to that of a familiar radio disk jockey. WILL -LRB- cont'd. -RRB- -LRB- as Mark in the Morning. -RRB- AND START CONTEMPLATING THE ULTIMATE MAGIC GETAWAY! He drags her out of the bar.",
"INT. HOTEL LOBBY - NIGHT Nancy sees a white metal box sitting on a shelf. She reaches for it. It's a first aid kit. ANOTHER HAND reaches over and lands on top of her hand. She jumps and sees Estes right behind her. Karla SCREAMS. ESTES Will. He's in on it. He's - Suddenly Estes's expression changes to surprise, and A SPEAR TIP appears in the front of his chest. Nancy screams and looks over Estes's shoulder to see BEN WILLIS standing there holding a spear gun. Estes topples over on top of Nancy, pinning her underneath his dying, convulsing body. Nancy struggles to get loose. NANCY Help me. Karla rushes to Nancy. She tugs on her arm, trying to pull her free. The fisherman strides toward them. He raises his hook. He swings at Karla's head. THE HOOK CATCHES on a beam. Karla struggle with Nancy. KARLA Come on, come on. Ben tries to free his hook hand. Karla looks up at him. He calmly puts his foot onto Estes's back and steps down with all of his weight, driving THE SPEAR TIP deep into Nancy who expires with a sigh. KARLA -LRB- cont'd. -RRB- Damn you. Karla, blind with rage, attacks the fisherman. He kicks out with a boot and sends Karla fying onto A GLASS TABLE in the lobby area. The table explodes. Karla is finished. The fisherman works his hook free from the post. Karla is unmoving and looks quite dead.",
"EXT. WOOD TRAIL - NIGHT Will pulls Julie along a muddy path in the rain. He's got her by the hair. She's slipping and falling. WILL Look at the bright side, Jules. We finally get to spend some quality time together. Julie's trying to get to the knife she's stashed in her back pocket. JULIE Why are you doing this to me? WILL Me, me, me. It's always about you. I'm having bad dreams. I ca n't sleep. I'm not doing well in school. I'm having trouble with my boyfriend. JULIE I trusted you. WILL We had a connection, did n't we? I can tell you one thing, though. Ray did n't trust me. He was right. He's dead, but he was right. They come into the orchard. They are covered in mud. Julie stumbles again. Goes to her knees. Works the knife free and slashes up at Will. She slices him across the face. He steps back, feels the blood. WILL -LRB- cont'd. -RRB- What'd you have to do that for? There is a creepy pause. Will stares at his own blood. She catches her breath. Then suddenly, Will knocks the knife from her hand. He lifts her by the hair. Enraged, he puches her in the face. She goes down.",
"EXT. ORCHARD - NIGHT Will has Julie in a choke hold. He drags her toward the open graves. Julie is losing energy, slowly giving up. JULIE Why? WILL Why? Come on, Julie. Think. You'll get it. Will Benson - Ben's son. He shoves her. She falls backward into the arms of Ben Willis. WILL -LRB- cont'd. -RRB- Hi, Dad. Julie WAILS, struggling wildly in Ben's grasp. JULIE OMIGOD - BEN That's my boy. Ben holds her back to look at her. He throws back the hood of his slicker. We see his face clearly for the first time. JULIE No, no, no - Ben pulls off his hook and strokes Julie's cheek with his stump. BEN Shush, now. No more screaming. No more running. Time to die. RAY -LRB- v.o. -RRB- Let go of her! Now! Ben and Will spin to see RAY like the hero from a western, step out from behind a tree. Ben starts to laugh. Will joins him. WILL You got ta be kiddin' me. BEN What're you gon na do, boy? Call us names? RAY Let her go. Now. Ray raises the.38 caliber handgun. He COCKS the hammer. Ben does n't let go of Julie. Lightning fast, he slaps his hook back on and gets the point to Julie's neck. BEN Think about it, boy. You're no killer. -LRB- beat. -RRB- That's my job. Ray hesitates, his finger on the trigger. He does look scared. Ben takes a step toward Ray. Then another, pushing Julie in front of him. Will moves closer, too. RAY Stop right there. Ray's finger squeezing down the trigger. BEN You do n't have it in you. Suddenly, Will dives for Ray. Ray gets a shot off, tagging Ben in the shoulder. The gun goes flying. Julie spins and hits Ben in the face. He knocks her into her own grave. Mud begins to slide in on her. She tries to scramble out. Will and Ray wrestle, punching each other repeatedly in the face. Will has Ray down and his hands around his kneck. He looks him in the eye. WILL We have n't missed you down here, Ray boy. I got to know Julie real well. Will gets the better of Ray. He's stronger. He yanks him up - choking him. Ray is begging to check out. WILL -LRB- cont'd. -RRB- Think of all the things I'm gon na do to her. -LRB- beat. -RRB- Dad, finish him. Ben charges toward Ray's back. He pulls back the hook for a roundhouse slashing - At the last second, Ray dips, elbows Will. THE HOOK goes straight into Will's chest. The fisherman has hooked his own son. Father and son make final eye contact, the son's eyes go blank. Ben stares in shock as Will expires, falling back into the mud. Ben SCREAMS in rage. Ray is tired. THWACK. Ben begins beating Ray. He puches him. He straight - arms him with the hook. He knocks him again and again and Ray is beaten, giving up. Ben has Ray against a tombstone. The hook slowly inches toward his eye. BEN Gon na blind you first. The hook is touching the eyelid - A GUNSHOT rings out. A look of wonder crosses Ben's face. He slowly turns away from Ray. JULIE stands behind him holding the gun. JULIE Just. Die. BLAM. BLAM. BLAM. She empties the gun into Ben, who flies backward into Julie's grave. As he tumbles, Ben releases the dirt stacked beside the grave. A MUDDY LANDSLIDE slowly covers Ben up. Ben's face is covering over. His mouth starting to fill with dirt - BEN You ca n't kill me. His face is completely covered. His mouth still moving. BEN -LRB- cont'd. -RRB- I'll always be with you. The dirt covers him. It continues to fill, until just the GLEAMING METAL HOOK waves futilely out of the dirt. Then, is stops wiggling. Julie goes to Ray.",
"EXT. HOTEL - NIGHT Ray and Julie limp across the grounds of the hotel. They are moving past some shrubbery when A DARK FIGURE jumps out. Julie yells. She and Ray jump back. KARLA stops in the middle of her kamikaze attack, knife held out. KARLA Oh, god, it's you - JULIE You're okay. Thank god. KARLA Is he? They nod. They go to her - jubilant group hug time. They compose themselves. KARLA -LRB- cont'd. -RRB- You know, it's true what they say about package vacations. You get what you pay for. -LRB- beat. -RRB- Now, how about we get off this piece of crap island. The first rays of the morning sun appear. Ray looks adoringly at Julie as the beautific light catches her face. Ray kisses her. She kisses him back. They are silhouetted against a beautiful orange sunrise. JULIE -LRB- smiling. -RRB- We do n't have to tell anyone it rained the whole time. It can just be our little secret. The three of them throw their arms around each other's shoulders and they start walking for the beach as. A COAST GUARD HELICOPTER rises into view.",
"EXT. HOUSE - DAY Establish. The sun setting over a quaint street in a college town. SUPERTITLE : FOUR MONTHS LATER Julie pedals her bicycle down the street. She has a book bag over her shoulder. It feels like one of the first days of school. She rides the bike up to a small house on the perfect street. She rolls the bike right up to the front door.",
"INT. HOUSE - DAY Julie lets herself into the house. She leans her bike against another bike in the hallway. It's a perfect day. Birds CHIRPING. WIND in the willows. There's another NOISE. from inside her house. She goes perfectly still. And listens. Behind her, by the kitchen, the shadow of a FIGURE moves. She whirls. NOTHING She creeps down the hallway toward her kitchen. She pauses - The dark figure almost knocks into her. She SCREAMS. It's Ray. He's holding a disemboweled toaster. JULIE Ray. what are you doing? RAY -LRB- toaster. -RRB- Oh. it's not working right. You're home early. -LRB- sees she's shaken. -RRB- Did I scare you? JULIE Never do that again. RAY -LRB- tender. -RRB- Hey - I did n't know you were here. It's okay. -LRB- beat. -RRB- We got the refrigerator in. Come see. She sees the love in his eyes. She hugs him. JULIE I love it here. RAY It's gon na be great.",
"INT. STAIRWAY - NIGHT Julie climbs to the top of the stairs. She passes Ray in the bathroom. She pauses in the doorway -",
"INT. BATHROOM - CONTINUOUS Ray is at the sink in boxer shorts. He's using an electric Waterpic devicice that has just been opened, a gift from the party. It makes a low WHIRRING sound. RAY -LRB- seeing her. -RRB- Checking the locks again? JULIE You know me to well. Julie smile and walks to the bedroom.",
"INT. BEDROOM - CONTINUOUS Julie climbs into bed with a book. The bedroom is clean and orderly. The windows are closed. The closet door is shut. The room is decorated simply : a high antique bed ; unopened boxes ; a highboy ; an antique mirror leaning against the wall. A stuffed bear sits in a chair. There is a CLATTER from another room. Julie freezes. She waits. She hears it again. She climbs out of bed.",
"INT. SECOND BEDROOM - NIGHT Julie walks into the dark spare bedroom. The CLATTERING SOUND comes from the open window. The wind is blowing the blinds. Julie relaxes. She shuts the window. As she leaves the room, we notice the dirty imprint of a boot below the window.",
"INT. BATHROOM - NIGHT Julie passes Ray who is still absorbed with the new toy. Behind him, the door softly closes. The lock twists. Ray is oblivious, happy being the dental - hygene pacesetter of the household.",
"INT. MASTER BEDROOM - NIGHT Julie enters the room. She looks at the closet door. It is open a crack. She hesitates, trying to remember if it was open before - it was n't. Julie approaches the closet. She catches her refelction in the mirror next to the closet. She peers into the crack of the closet. She ca n't see anything. She throws open the closet door. NOTHING She looks around the room. JULIE What is my problem? She sits down on the bed. We see her bare feet from under the bed. She smiles, relaxes. She looks in the mirror leaning against the wall. Something has caught her eye. She freezes. She turns slowly back to the reflection in the mirror. She sees the glint of steel - A HOOK - CRASH ZOOM INTO REFLECTION - THE FISHERMAN CROUCHING UNDER HER BED Julie turns too late - The fisherman lunges out and grabs her legs. Julie screams. She goes down - Her nails scrape into the wooden floor as she is dragged under the bed. THE END"
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] | Julie James wakes up screaming in her college class from a dream involving the terrifying, vengeful fisherman, Ben Willis. Julie is attending summer classes in Boston, in avoidance of returning to her hometown of Southport. All the while, she suffers from the painful memories and nightmares, trying to cope with the accident and brutal murders of her friends, Helen Shivers and Barry Cox, from the summer before. Julie’s friend and roommate, Karla Wilson, receives a phone call from a local radio station, asking her to participate in a contest to win an all-expenses-paid vacation to the Bahamas for the Fourth of July weekend. The contest is that Karla must guess the capital of Brazil. Her answer is “Rio de Janeiro” and radio host tells her she is correct and she is given four tickets for the trip. Julie invites her boyfriend, Ray, but he declines. He is hurt by her earlier refusal to visit him in Southport, but is able to go away with her college friends. It is revealed that Ray plans to propose to Julie, and he changes his mind about the trip, planning to show up as a surprise. That evening, Ray and his co-worker, Dave, drive to Boston to meet Julie. On the way, they stop due to a car in the middle of the road. As Ray gets out to inspect the scene, Ben Willis appears and impales Dave through the mouth with his hook. Ben Willis takes Ray’s truck and chases him down the road. Ray manages to get away, but is injured from falling down a hill. The next morning, Julie is waiting outside her apartment for Ray to show up, but Karla convinces her that he is blowing her off. At that moment, Tyrell, Karla’s boyfriend, arrives in his Jeep with their friend, Will Benson. Knowing Will has a crush on Julie, Karla explains to Julie that she didn’t want her fourth ticket to go to waste, so she invited Will. Julie is not thrilled about Will going, but gets in the car anyway. As the group arrives in the Bahamas, on the island of Tower Bay, they find that other guest are leaving due to the fact that hurricane season has begun. As they are shown up to their rooms, much to her surprise, Julie finds that she is sharing her room with Will. That evening, the group heads to the hotel’s bar, Julie is talked into singing karaoke. She sings along at first, but immediately stops when the words, “I STILL KNOW WHAT YOU DID LAST SUMMER” roll onto the screen. Terrified, she leaves the group and runs back to her room and is soon met by Will who laid out a surprise for her including flowers and a love note. Julie takes a shower after she kindly sidesteps Will's affection for her while Tyrell and Karla (and soon-after Will) decide to get into the hot tub. While Julie is in the bathroom, she notices that her toothbrush has gone missing. Feeling something is wrong, she searches the room and finds Darick, the dockhand, hanging dead in the closet after Ben Willis slashed his head with his hook. After this gruesome discovery she runs out and grabs Tyrell, Karla, and Will and with the hotel manager present, they search the room, but there are no signs of Darick. The hotel manager does not believe her story and Julie attempts to call the cops, but finds that the phone lines are dead due to incoming hurricane. The group and the hotel staff prepare for storm. Meanwhile, Ben Willis makes his way into the hotel and kills the maid, Olga by slicing her cheek and stabbing her in the back with his hook. Later on, the poolboy Titus Telsco was the next victim to Ben when he impales Titus with a pair of garden shears after pinning his hand with his hook. The following day, the group finds that members of the hotel staff and the manager have been murdered and that the two-way radio, their only way of contact, has been destroyed. Isolated, Julie is forced to tell the others about the previous summer. Tyrell then suspects that Estes, the boat hand porter, is the murderer, since he is the only one who cannot be found. The group goes to Estes’ apartment, searching for clues. While there, they find Julie’s missing toothbrush and Karla’s hair tie, concluding Estes has been using voodoo to protect them. Estes appears and states the capital of Brazil is not Rio, revealing that the trip has been a set-up. He then leads the group to a graveyard in the forest where they find two graves of Ben Willis’ wife and daughter. There is also an empty grave and tombstone with Julie’s name. Estes explains that Ben Willis once had two children, a boy and a girl, and murdered his cheating wife in the hotel room that Julie is staying in. In anger, Julie shouts that she will not be killed by Ben and that they will fight against him. At that moment, the group notices that Estes has gone missing, but Will volunteers to go find him. Julie, Karla, and Tyrell head back to hotel to gather supplies to defend themselves. They head to the kitchen to find something to eat, and find Nancy, the hotel bartender, hiding in the freezer. Meanwhile, Will finds Estes to help them but he attacks Will while Ray take a boat to the island. Meanwhile, the fisherman appears in the kitchen and kills Tyrell, stabbing his hook through Tyrell’s throat. The girls are then chased to the hotel attic, where Karla is attacked by Ben and they both fall through the attic to the hotel bedroom below. After a brief struggle, Karla runs from the hotel room and jumps onto the greenhouse below. Julie and Nancy are able to rescue Karla just in time and run to the storm cellar to take refuge. Nancy turns on the light and they find that the storm cellar is storage for all of the dead bodies. Suddenly, Will bursts in and convinces the girls to head back to the hotel, stating that he saw the fisherman out on the beach. Back at the hotel, Julie sees that Will is bleeding from his stomach, so Nancy takes Karla to find a First Aid kit. While retrieving the kit, Nancy and Karla find Estes has been stabbed with a harpoon spear and is slowly dying and falls on top of Nancy. Ben Willis appears and impales Nancy to Estes, and presumably kills Karla as well. Back in the lobby, Julie is tending to Will, unable to find a wound in which the blood is coming from. Will states that she cannot find a wound because it is not his blood. It is then that Will asks Julie what her favorite radio station is, revealing he was the radio host caller. Will grabs her and drags her to the graveyard in the forest. Julie cries and asks him why he is doing all of this, to which Will states his name is Will Benson, Benson = Ben’s son. Ben Willis appears and confirms that Will is his child and attempts to murder Julie, when Ray shows up. Ray is attacked by Will, and a fight ensues. Just as Ben is about to stab Ray, Ray moves and Ben inadvertently stabs and kills Will. Ben shouts in anger from killing his own son, Julie fires a gun, shooting Ben in the chest. Ben then falls dead into the empty grave made for Julie. Ray comforts Julie now that he is dead. Back at the hotel, Karla is found alive and the three are rescued by the Coast Guard. Sometime later, Ray and Julie have married and are in their newly purchased home. Ray is brushing his teeth before bed and Julie is in their bedroom. She hears a noise and searches the house. Finding nothing out of place, she returns to her room, convincing herself that she’s fine. The bathroom door has been quietly shut and locked, while Ray is occupied. Julie sits down on her bed and looks into her mirror, noticing Ben Willis under her bed. The fisherman grabs her foot with his hook and pulls her under the bed. | I_Still_Know_What_You_Did_Last_Summer |
[
"EXT. NIGHT. HOUSING PROJECTS -- MOSCOW SMASH CUT MOTION - flat out - it's us - we're running - stumbling - breathing rushed - blood in the snow. We are JASON BOURNE and we're running down an alley. Supered below : MOSCOW BLUE LIGHTS - from the distance - strobing through the night - rushing toward us - POLICE CARS - three of them - SIRENS HOWLING as they bear down - closer - faster - until they whip past the alley. Up against the wall - BOURNE is hidden in the shadows. BOURNE is badly wounded - shot through the shoulder - bruises and broken bones from the final car chase in SUPREMACY. With a GROAN, he lifts himself up, staggers across a park toward a PHARMACY.",
"INT. NIGHT. PHARMACY -- MOSCOW ROWS of MEDICINE and FIRST AID supplies, and in the background, a DOOR being jimmied. It's BOURNE. The ALARM goes off. MACRO ON - MEDICINE BOTTLE VICODIN, as BOURNE grabs it. Then PENICILLIN. Then SURGICAL SUPPLIES : Scalpel. Forceps. Sutures. Cotton gauze. Betadine. BOURNE finds a large sink. Rests his gun there. Lays out SURGICAL SUPPLIES. Checks out his back in the mirror. Opens the capsules of penicillin and pours the powder directly into the wound. Begins treating himself.",
"EXT. NIGHT. PHARMACY -- MOSCOW A POLICE CAR pulls up to the curb, lights flashing. One POLICEMAN goes to the jimmied DOOR. SECOND POLICEMAN sees blood and footprints. He motions to his partner to follow.",
"INT. NIGHT. PHARMACY BATHROOM -- MOSCOW BOURNE finishing up - splashes water on his face - he seems a man on a mission. He looks up - A MIRROR. His face. `` 415'' written on a building. DISEMBODIED VOICE -LRB- HIRSCH. -RRB- Welcome to the program. POV Bourne walks down a corridor -LRB- corridor # 1 -RRB-.",
"INT. NIGHT PHARMACY -- MOSCOW The cops approaching. Daniels leading Bourne down the corridor. DISEMBODIED VOICE -LRB- V.O. -RRB- You'll be saving American lives. A black sack is thrown over Bourne's head, then : -LRB- STOCK -RRB- A torrent of quick shots of Bourne's kills : the Professor, Jarda, the blonde guy in Paris, Mr. And Mrs. Neski. And finally. BANG - Marie hit in the head. The car off the bridge. She sinks away dead.",
"INT. NIGHT PHARMACY -- MOSCOW The POLICE enter the back room, guns drawn. POLICEMAN #1 Put your hands on your head and turn around slowly! BOURNE snaps out of it, does n't move. POLICEMAN # 1 -LRB- older -RRB- approaches him. When BOURNE does n't respond to his questions, the POLICEMAN starts forward. BOURNE turns and in one motion grabs his gun from the sink and disables the POLICEMAN. BOURNE freezes POLICEMAN # 2 with his gun and a look. BOURNE -LRB- in Russian. -RRB- Give me your gun and radio. POLICEMAN # 2's gun and radio skittle across the floor. BOURNE -LRB- in Russian. -RRB- My argument is not with you. BOURNE smashes the radio and takes the gun. BOURNE exits. BLACK SCREEN A TITLE fades in - THE BOURNE ULTIMATUM SUPER : Six Weeks Later",
"EXT. DAY. LANGLEY, VA Establishing shot - CIA Headquarters",
"INT. CIA -- DAY A workman installs a nameplate that reads : Ezra Kramer, Director, CIA.",
"INT. KRAMER'S OFFICE -- DAY Kramer listens to a recording with Landy and Cronin. There are unhung pictures and a few other items that indicate he has just moved into this job. Two other senior CIA officials sit in on the meeting. Kramer looks at a file on Bourne and Abbott. BOURNE -LRB- V.O. -RRB- So we got in the way? Is that why Neski died? Is that why you killed Marie? Kramer glances at a photo of Marie in the file. ABBOTT -LRB- V.O. -RRB- You killed Marie the minute you climbed into her car. The minute you entered her life she was dead! Kramer looks at Abbott's official photo. BOURNE -LRB- V.O. -RRB- I told you people to leave me alone! I fell off the grid. I was half way around the world. ABBOTT -LRB- V.O. -RRB- There's no place it wo n't catch up to you. It's how every story ends. It's what you are, Jason. A killer! You always will be. THUMP! CRONIN We think that's Bourne hitting him on the head and then - He makes a gun with his hand, i.e. Bourne putting his gun to Abbott's head. ABBOTT -LRB- V.O. -RRB- Go ahead! Go on! Do it! BOURNE -LRB- V.O. -RRB- She would n't want me to. That's the only reason your alive. The tape clicks off. KRAMER Who's `` she?'' CRONIN puts a picture of MARIE in front of KRAMER. LANDY His girlfriend, Marie. She was killed in India three weeks ago. Kramer looks down at another image. Abbott dead after his suicide. KRAMER A dirty section chief in league with a corrupt Russian Billionaire commits suicide when confronted by Jason Bourne. You could n't make this stuff up. -LRB- holds up the photo of Abbot dead. -RRB- You watched this happen? Landy nods. Kramer shakes his head in disgust at the whole situation. KRAMER Bourne's last confirmed location is Moscow, three days ago? LANDY Right. KRAMER So what does he do now? LANDY I think he's looking for something he has n't found. KRAMER Like what? What's he after? LANDY I'm not sure. Maybe he has n't gotten his memory back yet. Not all of it. A look from Kramer. KRAMER Pam, what I need to know is, what kind of a threat is he to us? LANDY If he just wanted to hurt us he could have sent this tape to CNN. KRAMER Maybe he still will. Maybe he gave it to you because he wants to throw you in the opposite direction of his real plan. I do n't know. I just know my number one rule is `` the only way to stay safe is to assume the worst.'' As far as I'm concerned Bourne is a serious threat until proven otherwise.",
"EXT. TURIN, ITALY - ESTABLISHING SHOT SUPER : TURIN, ITALY",
"INT. DAY. ITALIAN CAFE BACKROOM -- TURIN ROSS interviews DANIELS, a TAPE RECORDER on the table between them. ROSS shows DANIELS some of the evidence he's assembled. WANTED POSTERS of JASON BOURNE. ROSS -LRB- with poster. -RRB-. This one's three years ago - had half of Interpol after him - disappeared. Turned up in Naples - Berlin - Moscow - disappeared again. -LRB- Daniels says nothing. -RRB- The girl he was on he run with - Marie Kreutz - she turned up dead halfway around the world, from a sniper's bullet. -LRB- beat. -RRB- What connects the dots? Is it Treadstone? DANIELS Turn off that tape recorder.",
"INT. DAY. MARTIN'S APARTMENT -- PARIS The charm of old Paris captured in the workings of an elevator operating in a wrought - iron shaft. A WORK TABLE, covered with sheet music, music paper, pencils. And, sitting on the upright piano against the wall, a framed PHOTO of MARIE. A KNOCK on a door beautifully, heavily lacquered with centuries of paint. MARTIN KREUTZ, late 20s, opens the door and finds BOURNE. A long look between them - like two lost brothers who recognize each other - each has been waiting for this moment for a long time.",
"INT. CONTINUOUS. MARTIN'S APARTMENT Martin looks out the window. MARTIN Where is my sister? BOURNE She's dead. She was killed. MARTIN I knew it was going to end this way. It was always going to end this way. BOURNE I did n't believe that. MARTIN Why did she die? BOURNE She was shot. A man came for me. MARTIN And then you killed him. Bourne nods. MARTIN Now what? BOURNE Someone started all this. and I'm going to find them. Bourne looks at him for a beat and leaves.",
"EXT. SUBWAY -- DAY Bourne climbs the stairs. Bourne rounds a corner and stops, sees a bodyguard at a door up the street hail a car then go back inside. Bourne walks up to the door, the bodyguard comes out again. Bourne knocks him aside. Grabs the man behind him, ELLATRACHE. BOURNE -LRB- in French. -RRB- Who started Treadstone? The bodyguard comes back, gun out - ELLATRACHE -LRB- in French, to bodyguard. -RRB- It's OK! -LRB- in French, to Bourne. -RRB- They're still looking for you. You are taking a big risk coming here. Bourne shoves him against the wall, hard. BOURNE -LRB- in French. -RRB- Just tell me what I want to know! ELLATRACHE -LRB- in French. -RRB- I just provided them weapons. I do n't know who started - BOURNE -LRB- in French. -RRB- You know something. Tell me where to start looking. ELLATRACHE -LRB- in French. -RRB- There's a journalist in London. Simon Ross. He seems to know a lot about you. He has a source inside the program. Someone there from the beginning. What should I tell them if they contact me? BOURNE -LRB- in English. -RRB- They give me the name I want, or I burn their entire house down to get it.",
"EXT. DAY. HEATHROW AIRPORT -- LONDON ROSS hurries to catch a TAXI as he talks on his cell phone. ROSS This is big - a skein of lies - you pull at it and it just keeps coming - I'll fill you in when I get home. And it's not finished, either. -LRB- beat. -RRB- They're calling it ` Blackbriar'. Follow this SEQUENCE as.",
"INT. DAY. CIA SUBSTATION -- LONDON A LISTENING STATION in England scoops up MILLIONS of CELL PHONE CALLS. Sifts through BILLIONS of words. One word EMERGES from the CHATTER. BLACKBRIAR A TECHNICIAN sends the data to NSA back in the States. Where another COMPUTER gathers up the rest of the phone call. As we listen. TECH#3 `` Blackbriar'' echelon hit. NSA, please confirm receipt.",
"EXT. DAY. CIA HEADQUARTERS -- LANGLEY And there in the CRI HUB, another TECHNICIAN receives the DATA. Stops SUPERVISOR and reports. TECHNICIAN #1 Sir, we intercepted a call from London, keyword `` Blackbriar.'' SUPERVISOR Okay, send it to CRI right now.",
"EXT. DAY. THE SKYLINE -- NEW YORK CITY NOAH VOSEN, deft and confident, arrives at CRI Headquarters.",
"INT. DAY. CRI OFFICES -- NEW YORK CITY As VOSEN steps out of the elevator and into his office, he is met by his # 2, WILLS. WILLS We tracked the phone. Registered to a London reporter named Simon Ross. He works at the Guardian newspaper. They enter a hallway through double doors towards the HUB. VOSEN You tracking him? As they pass through, colleague hands WILLS a file. WILLS Yeah, thanks Mike. We have a survey team covering him at work. and a sneak and peek's on their way to his apartment. VOSEN Well, who talked to him? How did he find out about Blackbriar? WILLS We do n't know, we pulled his background and ran a cross check on any known anomalies, but we've come up with nothing. But, I think if we follow Ross, we are going to be able. VOSEN Right. Ross is easy. I want the source. They enter the HUB.",
"EXT. DAY. GARE DU NORD -- PARIS BOURNE buys a newspaper, enters the station and gets on the EUROSTAR.",
"INT. DAY. CRI DATA ROOM (was 25E) VOSEN and WILLIS listen to the phone call. ROSS -LRB- VOICEOVER. -RRB- Have you heard of an Operation Blackbriar? I'm going to try and get my head around this, see you first thing. VOSEN turns. VOSEN Is that all? WILLS Yeah. VOSEN I want rendition protocols and I want the asset put on standby, just in case.",
"INT. DAY -- CRI HUB VOSEN steps out from DATA ROOM. addresses the HUB. VOSEN People, listen up, this is a full priority situation WILLS Jimmy, give me Ross's profile on one. -LRB- points at the big screen on the wall. -RRB- ROSS'S information come up on the center screen. VOSEN Our target is a British national, Simon Ross, a reporter. I want all his phones, his blackberry, his apartment, his car, bank accounts, credit cards, travel patterns. I want to know what he's going to think before he does. Every dirty little secret he has. And most of all, we want the name and real time location of his source. This is NSA priority level 4, any questions? No response from the HUB. VOSEN -LRB- CONT'D. -RRB- All right, let's get to it.",
"EXT. DAY. EUROSTAR -- ENGLAND The EUROSTAR winds it's way to London.",
"INT. DAY. EUROSTAR BOURNE reads The Guardian. He sees an article written by Simon Ross. Title : `` RENEGADE ASSASSIN LOSE IN EUROPE''. It mentions BOURNE. There is a photo of Marie - FLASHBACK Marie smiles at him. Marie shot. Marie fades into the depths, dead. Bourne burns Marie's stuff",
"INT. DAY. EUROSTAR BOURNE comes out of the flashback. He is still carrying the pain of her loss Bourne finds Ross's name on the masthead, then goes to the name just below it in the news department.",
"EXT. DAY GUARDIAN NEWSPAPER -- LONDON Ross crosses a busy London street - heads to Guardian office building. A CRI TEAM watches from a parked car.",
"INT. DAY -- CRI HUB TECH # 1 watches the data arrive. TECH#1 Copy that. Mr. Vosen, subject is entering his office. VOSEN watches the feed. VOSEN Where's my picture please? TECH#2 Coming online. Online. Now. A surveillance picture flashes onscreen - ROSS works in his office. HUB chatter about ROSS phone. TECH#3 Take an hour to get his phone. VOSEN That's too long. Off VOSEN.",
"INT. DAY. GUARDIAN EDITOR OFFICE -- LONDON ROSS reports to his EDITOR. EDITOR So how do we know he's not spinning for someone? ROSS There's more. He was scared. EDITOR Scared of what? ROSS Blackbriar. A REPORTER sticks her head in. REPORTER Sorry, a call for you. ROSS Who is it? REPORTER Wo n't give hie name. ROSS leaves to pick up the call.",
"INT. CONTINUOUS. GUARDIAN -- NEWSROOM ROSS crosses the busy newsroom. REPORTER He's on my line. ROSS picks up the phone. Ross -LRB- CONT'D. -RRB- Simon Ross.",
"INT. DAY. CRI HUB -- NEW YORK CITY VOSEN watches as ROSS takes phone call. VOSEN Why are n't we hearing this? WILLS That's a hard line, Jimmy, why do n't we have it? JIMMY We have his line, sir, but he's not on it. WILLS looks confused.",
"INT. DAY GUARDIAN -- NEWSROOM ROSS listens. BOURNE -LRB- V.O. -RRB- Waterloo Station, south entrance, thirty minutes. ROSS Who is this? BOURNE -LRB- V.O. -RRB- This is Jason Bourne.",
"INT. DAY -- EUROSTAR TRAVELING Bourne You want to talk to me. Come alone. BOURNE hangs up.",
"INT. DAY. GUARDIAN -- NEWSROOM ROSS looks bewildered - hangs up the phone - gathers his stuff - puts his notebook in his pocket and leaves. SURVEY ONE -LRB- V.O. -RRB- Are you getting an image? VOSEN Where's he going? WILLS Okay, he is on the move. Target is mobile. The HUB reacts. WILLS Okay, people, look sharp, give me eyeballs on the street.",
"INT. DAY. BUILDING -- ACROSS FROM GUARDIAN SURVEY ONE has panned down to the entrance of the GUARDIAN building. Because ROSS is on the move. SURVEY ONE Subject is on the move. Go mobile One and Two. WILLS Where's that audio on the street? I want to know where he's going.",
"EXT. CONTINUOUS. LONDON STREET ROSS hails a BLACK TAXI. The SILVER VAN pulls out behind him.",
"INT. DAY. NEW YORK HUB VOSEN watches as the feed from the SILVER VAN comes through. MOBILE 2 -LRB- over radio. -RRB- We have the subject confirmed. VOSEN Where is he heading? MOBILE 2 Waterloo Station.",
"EXT. DAY. WATERLOO STATION -- LONDON BOURNE arrives on the EUROSTAR. Enters the station.",
"EXT. CONTINUOUS. STREET As the taxi moves away, the SILVER VAN pulls out behind it. A CYCLE COURIER momentarily blocks its path. Looking in on ROSS sifting through documents in the back seat. HUB -LRB- V.O. -RRB- Stand by at Waterloo.",
"EXT. DAY. WATERLOO STATION -- LONDON BOURNE moving toward the rendezvous.",
"INT/EXT. DAY. BLACK CAB -- YORK ROAD ROSS pays the DRIVER, exits. Checks his watch. Looks around. Is n't sure what his next move is -",
"INT. DAY. CRI HUB TECHNICIANS searching for ROSS on the busy street. TECHNICIAN #2 Mobile One - give us eyes on the subject.",
"EXT. DAY. YORK ROAD -- LONDON MOBILE ONE - two people from the van - take up a position in an open stairwell three floors up. They focus a camera down on Ross.",
"EXT. DAY. ENTRANCE -- WATERLOO STATION BOURNE buys a cell phone. Activates the SIM card on the new phone. Dumps the pay - as - you - go package in a bin. Rounds a corner. Out of sight.",
"INT. CONTINUOUS. CRI HUB -- NEW YORK CITY Screens come alive with a POV of ROSS. VOSEN studies the monitors. ROSS arrives at Waterloo, pays TAXI. TECHNICIAN #1 Sir, subject just arrived at the south entrance to Waterloo Station.",
"INT. DAY. WATERLOO -- ENTRANCE ROSS moves to the entrance. Behind him, inside the tube station portico, BOURNE arrives. Sees ROSS. Sees the two survey teams. MOBILE ONE up the stair well and MOBILE TWO at street level. Commuters coming up the escalators. BOURNE joins them - moving towards Ross. Closer. Right on him. ROSS oblivious. Looking out onto the street. BOURNE brushes past him and PUTS THE PHONE IN HIS POCKET. ROSS feels the contact. Checking himself - he's okay. But now a phone is ringing - looks around, must be someone else. But the vibration's coming from his jacket pocket. ROSS takes out the phone - not his - puzzled. ROSS hits `` answer.'' ROSS Hello? BOURNE -LRB- O.S. -RRB- Do n't ask questions. Just listen.",
"INT. CONTINUOUS. NEW YORK HUB VOSEN watching. VOSEN What's he doing? I thought we blocked his cell? Who the hell is he talking to? WILLS Jimmy, I need that phone! VOSEN -LRB- beat. -RRB- Activate the asset. WILLS Sir, we have n't yet become operational - VOSEN I said activate the asset. I want options. Wills keys in a CODE.",
"EXT. DAY. BMW -- LONDON STREET PAZ, 20s, cool and predatory, drives and waits for instructions. His PHONE buzzes. He reads the code. Accelerates toward Waterloo Station.",
"EXT. CONTINUOUS. FOOTBRIDGE BOURNE reaches the top of the stairwell on the other side of the road. His POV to the left - a LONDON BUS is approaching. To the right - a young man in a hooded top - speaking on his cell - walking toward a BUS STOP. A plan is forming.",
"INT. CONTINUOUS. WHITE VAN SURVEY TWO - camera zooming in on ROSS. SURVEY TWO What's the ROE on this one? PANNING TO REVEAL",
"INT. CONTINUOUS. NEW YORK HUB VOSEN thinking it over as he watches the image of ROSS.",
"EXT. DAY. YORK ROAD -- TUBE -- BUS STOP ROSS looking around. Then - BOURNE -LRB- O.S. -RRB- To your left. Blue hooded top. Walking towards the bus stop ROSS has clocked him. The HOODY walks to the bus stop. One hands - free EARBUD swaying down by his side as he moves to a seat. Sitting down. Checking his watch. ROSS shifting nervously from one foot to another. BOURNE -LRB- o.s. ; CONT'D. -RRB- Go to the bus stop, sit next to him. Head down. The LONDON BUS approaching. ROSS begins to move.",
"INT. DAY. CRI HUB -- NEW YORK Things are beginning to happen. TECHNICIAN #1 Target is on the move. WILLS Okay, who's the guy in the blue hood? Screen POV. ROSS standing next to the HOODY - head down. Trying to play it cool - ROSS in clear view of the cameras. `` Speaking'' with the HOODY. Camera zooming in. VOSEN Okay, there, he's talking to the guy with the hood. Take them down. Just then - A BUS pulling up to the bus stop, blocking both SURVEYS' views. Rifle mics picking up the bus chatter, instead of ROSS. VOSEN. Annoyed now. VOSEN Watch that bus! The bus! - do n't lose them! Stay triangular and do n't get blocked. The crackle of the survey teams as they try and reframe. POV SCREEN - SURVEY ONE seeing the bus clear. The HOODY has gone. POV ANOTHER SCREEN - SURVEY TWO - camera finally catching up, picking out the HOODY on the bus as it begins to pull away. VOSEN? says. Grab Team B. Grab the hoody and stay with Ross. TECH'S giving orders.",
"EXT. ACROSS FROM YORK ROAD -- DAY SURVEY TWO - three men racing across the road on foot. Weaving through heavy traffic.",
"EXT. DAY. FOOTBRIDGE AREA BOURNE watching his plan unfold. Only a few seconds to get ROSS out of there. BOURNE Take the footbridge. Go to the West Entrance. I'll meet you at the newsstand.",
"EXT. DAY. YORK ROAD -- CONTINUOUS ROSS rearing this - Moving away - The BUS moves up to the traffic light. The AGENTS moving across the street.",
"INT. DAY. NEW YORK -- ENCRYPTED AREA -- CONTINUOUS VOSEN looking at the screens. Pointing. VOSEN No, no, look. Ross is not on the bus. Split up the team - get the guy on the bus and send someone to stay on Ross.",
"EXT DAY. YORK ROAD -- CONTINUOUS One AGENT peeling off, to keep ROSS in check. The other two AGENTS racing to the bus as it pulls away from the lights. Kicking the doors open, leaping on. GUNS drawn. So quick. Passengers screaming. AGENT ONE -LRB- to Hoody. -RRB- You. On the floor. Down. Pushing the HOODY to the floor. AGENT TWO Driver, stop the bus! On the HOODY. The HOOD is pulled back. An innocent YOUNG MAN - terrified, bewildered.",
"EXT. DAY. FOOTBRIDGE AREA ROSS on the move across the walkway.",
"INT. DAY. STAIRWELL SURVEY ONE moving up the steps, only to meet - BOURNE coming down. Three quick moves and he's down - slumped against a wall - just another drunk to step over in the rush hour. Pulls the feed. Takes the earbud. Then back up and falls into step behind ROSS. Listening in to the chaos he has caused - an ocean away.",
"INT. DAY. NEW YORK HUB TECHIES scrambling to restore the feed. VOSEN staring. TECHNICIAN #2 We've lost signal. TECHNICIAN #1 What happened to Survey One? VOSEN I do n't like this. Patch me through to Met surveillance.",
"INT/EXT. DAY. CAR -- LONDON STREETS PAZ parked up - gets the call - pulls out into the traffic. Slicing through to the target area. Waterloo up ahead.",
"EXT. DAY. WATERLOO A SECOND SURVEY TEAM - out of their vehicles. Furtively they lock and load their side arms. Fanning out towards the station.",
"EXT. DAY. WEST ENTRANCE WATERLOO - NEWSTAND Bourne stops Ross, surprising him. BOURNE Why do you know so much about me? ROSS What? BOURNE The article. You talked to someone from Treadstone. Someone there at the beginning. What's his name? ROSS I ca n't tell you that. Who's following me? BOURNE Whoever they are it's trouble. ROSS Are they Blackbriar? BOURNE Blackbriar, what's Blackbriar? ROSS I do n't know. I heard the name this morning for the first time. Whatever it is, my source said it started with you. BOURNE What? What are you talking about? ROSS Look, just help me get away from these people. and we can talk more. we can - BOURNE -LRB- spotting approaching operatives. -RRB- We have to move. Bourne moves Ross toward the concourse. BOURNE Answer your phone.",
"INT. DAY. CRI HUB SCREENS coming alive again. They are through to MET SURVEILLANCE - the AREA around WATERLOO. TECHNICIAN #1 Last sighted heading to the West entrance. VOSEN He's got to be close. Seal the entrances.",
"EXT. DAY. WATERLOO The new SURVEY team moves towards different entrances - Ready to beat out the quarry.",
"EXT. DAY. WEST ENTRANCE CAMERAS suddenly alive. Movement across the footbridge. The net's been thrown.",
"INT. CONTINUOUS. CONCOURSE -- WATERLOO Into the station concourse. ROSS moving fast. Fighting through the crowds of faces. Each one a killer in ROSS' tormented mind. BOURNE on the periphery looking out across the throng, picking out the inconsistencies. One AGENT, then another approaching. He dials. BOURNE -LRB- O.C. -RRB- Three o'clock. Female. Blonde black top. ROSS Has she seen me? BOURNE Not yet. Dip left past the photo kiosk. ROSS spinning round. Dipping left. BLACK TOP passing in the background missing him. BOURNE crossing close behind - marshalling the pieces at breakneck speed. BOURNE -LRB- CONT'D. -RRB- Straight ahead. News kiosk. ROSS turning. Weaving through the commuters. BOURNE seeing cameras turn. ROSS heading into their path. BOURNE -LRB- CONT'D. -RRB- Change of plan. Stop. Tie your shoelace. BOURNE seeing ROSS dip out of view as a group of TOURISTS block the CCTV's line of sight.",
"INT. DAY. CRI HUB That same scene - scores of TOURISTS - from VOSEN's point of view. The TECHS try to get another angle.",
"EXT. DAY. CONCOURSE -- WATERLOO ROSS looking through the sea of legs as he finishes tying his laces. Cameras sweeping past. ROSS Are we clear? BOURNE Clear. News kiosk. Straight ahead. ROSS on the move. Sweating. Paranoid. Seeing a BIN MAN coming toward him - reaching into his trolley. ROSS Straight toward me. Bin man? BOURNE Negative. ROSS He's got a gun. BOURNE Negative. Keep straight ahead. But ROSS swerves out of his path as the BIN MAN pulls out - a bunch of keys. CCTV CAMERAS turn - ZOOMING IN ON ROSS.",
"INT. DAY. CRI HUB -- NEW YORK Ross' face on all screens. TECH#1 We got a hit. Middle of the concourse. VOSEN pacing. VOSEN We're losing him! We can not afford to lose him! Frenzied teching as they capture and transmit an image of Ross to.",
"EXT. DAY. TAXI RANK -- WATERLOO PAZ flipping open his phone. A voice crackling in his earpiece. VOICE Waterloo concourse. Subject heading east. Paz jamming the wheel hard right. Doing a high speed U - turn. Heading towards the east side of the station.",
"EXT. DAY. CONCOURSE BOURNE realizes ROSS has been seen. Sees the AGENTS starting to form the box. BOURNE Get into cover. Now! ROSS moving faster. VOSEN What's the status of the asset? WILLS In place in one minute. VOSEN Alright, I want to take him now. Get him out of there and have the asset cover it. WILLS gives orders.",
"INT. CAR TRAVELLING-- MEPHAM STREET -- DAY. PAZ pulling into a side street. Out towards a series of arches that lead underneath the terminal. In his ear. VOICE Target moving towards the stores. ANOTHER VOICE Asset in play. ETA thirty seconds. All exits covered. PAZ through the archway. Grabbing a station plan. Studying it. Through a subterranean maze of corridors. Up steps. Through doors. On his way to the kill zone.",
"EXT. CONCOURSE-- CONTINUOUS -- DAY ROSS moving through crowds around the departures board. BOURNE hearing that last exchange in his earpiece too. Asset in play? BOURNE Keep moving. BOURNE's POV : AGENTS closing the box. The departures board. Platform 7. A train waiting. BOURNE -LRB- CONT'D. -RRB- Faster. Commuters waiting for the platform BOURNE -LRB- CONT'D. -RRB- The front. Suddenly - CLICK - PLATFORM 7 displays. A wave of commuters flooding away - sweeping the AGENTS back with them towards platform 7. BOURNE -LRB- CONT'D. -RRB- GET IN THE STORE. BOURNE'S bought them thirty seconds.",
"INT. TUNNELS ABOVE THE CONCOURSE -- DAY PAZ on the move. Earpiece crackling. Through a door. Taking a left down another tunnel. Opens another security door and moves up some steps. Towards a ladder.",
"EXT. CONCOURSE WATERLOO -- SIMULTANEOUSLY -- DAY The AGENTS regrouping. Speaking into their radios. Voice He's in the store - still moving east. ROSS out into the open again. In front of him another STORE COMPLEX. BOURNE INSIDE! BOURNE searching the concourse. Something bothering him. The threat level clicking another notch. 102A/B INT. MAINTENANCE AREA - SIMULTANEOUSLY - DAY 102A/B PAZ heads up some stairs to a service platform. Climbs a ladder.",
"EXT. CONCOURSE -- CONTINUOUS -- DAY ROSS into the store complex. To one side is a service doorway. BOURNE sees the AGENTS approaching. Looks the other way - up at the hoardings above. Something's not right. Treadstone instinct. BOURNE Service doorway - Now!",
"INT. NEW YORK HUB -- SIMULTANEOUS -- DAY An image of Ross as he enters the store complex appears on the screen. TECHY 2 Store. Three means of egress. VOSEN Close him down.",
"INT. STORE COMPLEX -- SIMULTANEOUSLY -- DAY ROSS through narrow store corridors. Sheer panic now. Two of the AGENTS move in after him. BOURNE behind them. BANG - takes the first out silently. BOURNE Keep moving. ROSS moving out to the light as another AGENT follows. BOURNE -LRB- CONT'D. -RRB- Through the store room. ROSS travelling through. The second AGENT right behind as - BOURNE steps out from behind the store room door. The dull snap of bones as second AGENT falls to the floor.",
"INT. DAY -- CRI HUB On a screen VOSEN watches, transfixed, as BOURNE takes out all his agents and then grabs ROBB. VOSEN Jesus Christ, that's Jason Bourne. WILLS Maybe he's the source? VOSEN It does n't matter, the asset now has 2 targets. Take them both out. WILLS taps in the order.",
"INT. MAINTENANCE AREA-- DAY PAZ moves cross a narrow walkway. Now he's behind a mechanical ` tri - panel' hoarding. The kind that displays a different advert every 15 seconds. He waits for the change and then - - A huge field of vision across the concourse stretching out down below him - a sniper's heaven. PAZ pulling open the motor - casing from the side panel, goes to work on it. Slowing the rotation. Rearranging the large triangular prisms to give him just the right time - gap to pull the trigger - and just enough cover to disappear. He takes out rifle parts from his rucksack. Starts to assemble them.",
"INT. BEHIND THRESHERS (BEHIND THE SILVER METAL DOOR) BOURNE I'm going to get you to safety but you have to stay calm do exactly what I say. ROSS -LRB- fear - induced autopilot. -RRB- Sure, okay. BOURNE No, listen to me : Exactly what I say this time. Understand? Ross snaps to focus. Looks Bourne in the eye. ROSS Yes. BOURNE Stay here while I look for an escape. Ross nods.",
"INT. MAINTENANCE AREA PAZ puts together the rifle.",
"INT. WATERLOO STATION BOURNE exits from the silver door behind Threshers. He stays on the phone with Ross. Hidden from the view of the CCTV cameras by the thick crowd, Bourne sees the approaching agents abruptly pulling back. ROSS -LRB- PHONE V.O. ; CONT'D. -RRB- I can see the entrance from here I can make it out - BOURNE No, stay behind that door.",
"INT. HUB CCTV view of the silver door behind Threshers that ROSS is behind -LRB- not Bourne -RRB-. Wills is on phone. WILLS There. That silver door. Bourne's behind that door? TECH Confirmed. WILLS Okay, pull the agents back and give Bourne's location to the asset.",
"INT. MAINTENANCE AREA On his cell phone Paz receives a text indicating Bourne's location. Paz finds the silver door and aims his rifle at it. SCOPE POV A shape barely visible moving behind the window. -LRB- It's Ross but Paz and the Hub think it's Bourne.",
"INT. BEHIND THRESHERS / WATERLOO CONCOURSE-- DAY Bourne spots the agents pulling back per Wills' orders. ROSS -LRB- INTO PHONE. -RRB- If I run now I can make it - BOURNE -LRB- INTO PHONE. -RRB- No. Something's not right.",
"INT. MAINTENANCE AREA Paz awaiting his shot - SCOPE POV The door comes open slightly, but from this angle Paz does n't have a clean shot at his target -LRB- who he thinks is Bourne -RRB-.",
"INT. CONCOURSE -- WATERLOO Bourne searches the rafters, looking for any threats from above. ROSS -LRB- TEL.. V.O. -RRB- I'm going to go for it, okay? BOURNE Do n't move until I tell you. Bourne is distracted by the last of the agents disappearing. Something is definitely wrong - ROSS I'm going to go for it. BOURNE No, No not now. Ross suddenly sprints out from behind the door - SCOPE POV Paz sees the shape emerge -",
"INT. MAINTENANCE AREA -- DAY PAZ fires -",
"INT. WATERLOO -- SERIES OF ANGLES But it's Ross, not Bourne. Ross is hit by Paz's shot. He falls, inches from the silver door, dead. Blood has splattered on the door.",
"INT. PAZ'S NEST Paz snaps his head back to the scope, realizing he's shot the wrong person. Then he catches a glimpse of Bourne - Bourne ducks behind the gathering crowd, out of Paz's line of sight, and goes to the body.",
"INT. HUB Vosen and Wills stare at the screen. At the image of Ross, dead on the concourse. The room - normally full of chatter has gone dead silent. Vosen puts his head in his hands. This is a monumental screw up and everyone here knows it. He just had the wrong man killed. VOSEN Oh. shit. Then suddenly Vosen snaps back to focus : VOSEN -LRB- CONT'D. -RRB- Get the asset out of there. WILLS What about Bourne? On the HUB MONITORS we see Police moving in. Vosen does n't need to see anymore. VOSEN Get him out of there - NOW!",
"INT. WATERLOO -- DAY Bourne feels Ross' body for something. PAZ'S NEST Paz is frustrated by the order. He's itching to get another shot off at Bourne, but after a beat, packs up quickly, as ordered.",
"INT. WATERLOO -- DAY Back in Waterloo, Cops run in from all sides.",
"INT. DAY. WATERLOO STATION On the screens and in real life, the aftermath of the hit. PARAMEDICS try helplessly to deal with ROSS - killed instantly by the head shot meant for BOURNE. POLICE arrive and seal off the crime scene.",
"EXT. CONCOURSE WATERLOO -- SIMULTANEOUSLY -- DAY BOURNE on the move. Fast - Past platforms. On his way up to the Tri Panel. Up stairs. On to a walkway. To his right he sees a figure disappearing. PAZ. BOURNE hammers down the walk - way in pursuit.",
"EXT. PLATFORM AREA -- DAY BOURNE tailing PAZ down on to a parallel platform. PAZ dipping down into the underground entrance. 115/116 INT. TUBE STATION - WATERLOO - DAY 115/116 PAZ moving deliberately through the evening rush hour - blending in. BOURNE in pursuit. Chasing on instinct. There. A glimpse of PAZ at the bottom of an escalator. BOURNE fights past people. PAZ disappears into the crowd. BOURNE rushes to catch him. Rounding a corner. A long walkway - at the end, two staircases lead to different tube lines. BOURNE hesitates - measures the choice. The sound of a train fills the station - BOURNE - Fast downstairs. Watches - just as PAZ gets onto the car at another door. BOURNE lunges to get on the train. But the doors close. BOURNE'S POV Watching PAZ from the platform as he SAGS down onto a seat, nauseated, his skin clammy, his head pounding. He takes out the PILLS and dry - swallows them. Looks up. CLOSE ON - BOURNE Watching PAZ. As if he's looking in the MIRROR at his old self. The self before THE BOURNE IDENTITY. CLOSE ON - PAZ He looks straight ahead, just another commuter. BACK ON - BOURNE Watching PAZ, as the train pulls away. Then BOURNE is immediately in motion.",
"INT. DAY. DIRECTOR'S OFFICE -- CIA -- LANGLEY, VA KRAMER Hello. VOSEN It's Vosen. We have a situation.",
"EXT. NIGHT. DANIELS OFFICE -- MADRID Establishing Sewell and Marbury.",
"INT. NIGHT. DANIELS OFFICE DANIELS watches news of ROSS murder on TV. DANIELS panics, opens his safe, packs up papers, takes Blackbriar FILE. Sets alarm. Leaves.",
"EXT. NIGHT. INTERNET CAFE -- LONDON. BOURNE sits at a computer, the ROSS notebook open in front of him. He pages through it, finding names, places, `` HOW DID THIS ALL START?'' - and Blackbriar. He Googles `` Sewell and Marbury'' - finds Paris, Berlin, Madrid. BOURNE continues to search and finds receipt from Madrid. BOURNE leaves.",
"EXT. DAY. POSH HOTEL -- NEW YORK CITY LANDY steps out of a TAXI.",
"INT. DAY. POSH HOTEL -- NEW YORK CITY Vosen's sitting. VOSEN -LRB- to waiter. -RRB- Sparkling. And a `` Heart - Healthy'' omelet with goat cheese and peppers. Landy arrives. VOSEN You're late. Traffic? WAITER -LRB- handing her the menu. -RRB- Ma'am? LANDY Nothing for me. Vosen looks at her, surprised. VOSEN I'm buying. She shakes her head, no. She sits, without taking her coat off. She's not staying long. VOSEN When the Director called, it was suggested we bring you on - LANDY Suggested? -LRB- beat. -RRB- Are you sure it was just a suggestion? VOSEN Funny how different things look depending on where you sit. I look at this as doing a favor for you. Giving you an opportunity to complete some unfinished business. LANDY Meaning? VOSEN Jason Bourne. LANDY Bourne's finished. VOSEN Really? LANDY It was finished the moment I realized I was chasing him for something he did n't do. The case is closed. VOSEN So what do you make of this? -LRB- handing her surveillance photos of Bourne in Paris. -RRB- French intel picked up Bourne meeting Pierre Elattrache on Tuesday. He threatened to burn our house down if you did n't tell him who started Treadstone. That's a big problem, would n't you agree? LANDY This does n't feel like Bourne to me. VOSEN Why's it so hard for you to believe? LANDY Probably because it's coming from you, Noah. VOSEN Lets try and be adults okay? We all thought he was done, off the grid. But Bourne's back. Maybe he's a threat. We both want the same thing here. LANDY So what happened at Waterloo? VOSEN We have a leak. Bourne showed up in our surveillance. We had very little time to react. LANDY And the reporter ended up dead? VOSEN Bourne saw us coming. Landy looks at him, suspicious. LANDY So what was he doing? VOSEN? says. We do n't know. But just the fact that he was there means he's up to something, do n't you think? Maybe he's the source? LANDY The real question is how you managed to get in a fire fight in the middle of a public train station. VOSEN Do n't second guess an operation from an armchair, Pam. It's not fair. LANDY I'm going to the office now. I'll make my own introductions. Off VOSEN.",
"EXT. DAY. ATOCHA TRAIN STATION -- MADRID AN AVE train pulling into the vast station. BOURNE stepping out, walking up the platform. Moving out through the station.",
"INT. DAY -- CRI HUB TWO NEW TECHS plus the three we met before. All watching VOSEN lead LANDY and CRONIN into the room. WILLS This is Pamela Landy. She's gon na be quarterbacking our search effort. I think what we oughta do, just to get started, let's go around the room, say who you are and what your spec is. LANDY stepping in before this gets going - LANDY Let's do names later. -LRB- she's got the floor. -RRB- What's Bourne's last fixed position? -LRB- impatient. -RRB- Anybody. TECH#3 London. Twelve hundred Zulu. LANDY Status? Wounded? Armed? TECH#2 Alive. Mobile. Unknown. LANDY Where are your grids coming from? TECH#1 NSA Tactical. LANDY You have an Echelon package? TECH#1 Yes. LANDY Why is n't it on? TECH#1 We were waiting. LANDY For what? -LRB- no takers. -RRB- You're nine hours behind the toughest target you've ever tracked. I want everyone to sit down, strap in, and turn on all you've got. -LRB- beat. -RRB- That would mean now. That lights it. They're moving. LANDY -LRB- CONT'D. -RRB- Thank you. VOSEN watches. LANDY -LRB- CONT'D. -RRB- I want everything you've got on Ross on screen one. LANDY watches as the screen lights up with ROSS information.",
"EXT. DAY. SEWELL AND MARBURY -- MADRID Bourne arrives, begins to recon the area. He goes to the front door finds `` Sewell and Marbury'' and rings the bell. No answer. Two cops come around a corner. Bourne sees them, notes the side of the building and leaves.",
"INT. DAY. CRI HUB -- NEW YORK CITY TECH#1 Sir, we just hacked Ross's email account at the Guardian and found a round trip ticket to Turin, yesterday. 0800 arrival, 12:05 departure. LANDY I think we can be pretty certain that Bourne's not your source then? VOSEN How? LANDY Ross's call to his editor, where he said he just met the source on Blackbriar, took place just after his flight landed. His met his source in Turin. VOSEN So? LANDY So, what, Bourne met Ross for breakfast and then, at noon the same day Bourne calls Ross to demand a meet at Waterloo? CRONIN -LRB- Needling Wills. -RRB- Maybe they were even on the same flight? VOSEN Cross check the secure cell phone usage of everyone with Blackbriar SCI clearance against all calls in and out of Turin during the morning Ross was there TECHNICIANS start pounding keyboards. LANDY The guy you're after is a CIA operative with clearance above Top Secret. He was committing treason by talking to Ross. Do you really think, while doing that, he used a cell phone he knows we can track? TECH 3 -LRB- JIMMY. -RRB- Zero results on the cross check. VOSEN stares daggers at her. WILLS Do you have a better idea? LANDY Yeah, I'd look at all the people whose cell phones were switched off the entire period Ross was in Turin. WILLS Do it Jimmy. TECHNICIANS start tapping. LANDY -LRB- looks at Cronin. -RRB- I mean if your people use their cell phones as much as mine do, the list should be pretty small TECHNICIAN 3 JIMMY Three names : Tom Brewster, Jack Boulin, Neal Daniels. The names display on the screen : Tom Brewster, Jack Boulin Neal Daniels. The HUB employees ca n't help but be impressed by LANDY. WILLS and VOSEN notice their response. LANDY Now check everything in Ross's apartment against those names. Look for common patterns, look for - CRONIN Initials. Bring that up on main. LANDY turns. CRONIN is leaning down in front of a computer screen. Point to something for the tech - who puts it on the big screen, blown up. In a set of handwritten notes by ROSS it says `` per N.D. `` next to several scrawls. LANDY Neal Daniels. He's Station Chief in Madrid now, is n't he? WILLS Jesus Christ. VOSEN Call the RSO at the Embassy and have them take Daniels into custody if he's there. If he's not, get a grab team to the Calle Norte safe house. Send them in heavy and tell them we'll assist with entry. LANDY `` Heavy?'' Daniels is n't - VOSEN I'm worried about Bourne. If he's not Ross's source, then he must be after Ross's source - just like us. Off LANDY.",
"EXT. MADRID STREETS -- NIGHT BOURNE in a TAXI turning a corner into a narrow street. The rain has slowed, but the streets are still quiet. BOURNE gets out and walks past the SEWELL and MARBURY front door, picks the lock and gains entry.",
"INT. SEWELL AND MARBURY. -- NIGHT BOURNE up the stairs. Finds the office. Jimmies the door. Disables the alarm. All the signs of a hurried exit. A half filled cup of coffee - cigarette burned down in an ashtray but not snubbed out - a light left on - files and documents, some shredded, some not.",
"INT. HUB Vosen paces back and forth. The hub is MUCH quieter than it was in the Waterloo scenes. TECH 1. says. -LRB- LUCY. -RRB- Parque Vasquez is clean. No sign of subject. VOSEN Team two, ETA Callee Norte? FILTERED V.O. -LRB- KILEY. -RRB- Three minutes.",
"EXT. MADRID STREETS -- NIGHT A BLACK CAR moving briskly through traffic and -",
"INT. MOVING BLACK CAR -- NIGHT HAMMOND at the wheel. KILEY with the map. Shutting off his phone.",
"INT. SEWELL AND MARBURY -- NIGHT BOURNE checks the office. Soon he finds a photo of Daniels with Albert Hirsch.",
"EXT. HOSPITAL ANNEX -- OVERCAST DAY -- FLASHBACK Bourne arrives at a nondescript steel door with two CCTV cameras covering it. He sees 415 written above the door.",
"INT. SEWELL AND MARBURY -- NIGHT The flashback overwhelms Bourne.",
"INT. SRD CORRIDOR -- DAY -- FLASHBACK POV shots of Bourne walking down the long corridor with Daniels. Other shots revealing that Bourne is in Army dress greens -LRB- without hat -RRB-. Daniels knocks and leads Bourne into -",
"INT. SEWELL AND MARBURY -- NIGHT Bourne is driven to his knees.",
"INT. TANK ROOM -- FLASHBACK Bourne is dragged into a room with a large water tank. His hands have been bound behind his back, the sack's drawstring pulled tight, and he has been weighted down. Bourne is shoved into the water. UNDERWATER SHOT - FLASHBACK Bourne falls into the water. SPLASH. He starts to sink. The wet sack allows us to see the outlines of his face. Also POVs as Bourne sinks. SERIES OF SHOTS FROM ABOVE AND BELOW WATER - FLASHBACK Bourne struggles wildly at first. Tries to get out of his restraints. But to no avail. SRD men watch him from the edge of the tank. Perhaps also on monitors. Expressionless. UNDERWATER SHOT - FLASHBACK Bourne fights every human instinct to draw a breath. Also shot from Bourne's POV : HIRSCH -LRB- FILTERED, EERIE. -RRB- You're going to drown. There is nothing you can do to prevent this. Stop struggling and accept it. Finally Bourne ca n't hold his breath for an instant longer. His mouth opens. Water rushes in. He convulses, begins to drown.",
"INT. TANK ROOM -- FLASHBACK Bourne's body goes limp. SRD men watch. No reaction. UNDERWATER SHOT - FLASHBACK Bourne goes limp. POV of him blacking out.",
"INT. SEWELL AND MARBURY -- NIGHT BOURNE comes out of the FLASHBACK. As he staggers across the room, he notices a car arriving on the monitor.",
"EXT. STREET A car approaches.",
"INT. SEWELL AND MARBURY Bourne snaps out of it and sees the car on a security monitor.",
"EXT. STREET. Agents get out of car and approach building.",
"INT. DAY -- CRI HUB TECH#3 Sir, they're at the front door. VOSEN watches.",
"EXT. NIGHT. MADRID SAFEHOUSE HAMMOND AND KILEY enter the building.",
"INT. NIGHT. SAFEHOUSE BOURNE runs water into the TEA KETTLE - sets the trap.",
"INT. NIGHT. SAFEHOUSE HAMMOND and KILEY enter. HAMMOND We're in. BOURNE listens from his hiding spot.",
"INT. DAY. CRI HUB LANDY paces. VOSEN Okay, put it live.",
"INT. NIGHT. SAFEHOUSE HAMMOND moves quickly into the room - gun raised. HAMMOND at the alarm box. HAMMOND Alarm's down.",
"INT. DAY -- CRI HUB VOSEN That has to be Bourne. VOSEN already moving to the monitor.",
"INT. NIGHT. MADRID SAFEHOUSE HAMMOND and KILEY - move cautiously from room to room - they've done it before. HAMMOND -LRB- into mike. -RRB- Safe's cleaned out.",
"INT. CRI/GRID ROOM VOSEN pacing impatiently around the speakerphone - VOSEN Shit. Track the passports.",
"INT. NIGHT/RAIN -- SAFEHOUSE KILEY gestures to a light moving under a door. Kiley crouching. leaning in. hand on the knob, and - Pulls the closet DOOR OPEN - Nothing. Sink, dishes. a small kitchen. And. on the stove. a tea kettle and a spoon. Which is the last thing they'll remember, because. BOURNE - coming around the corner fast - full stop and - BOURNE lays out HAMMOND. KILEY turns to find BOURNE - who takes him out too. Then it stops. BOURNE yanks the headsets. Closes the PHONE.",
"INT. DAY. CRI HUB The SCREENS go black. Silence. VOSEN Goddamn it! Get a back - up team in there!",
"INT. MADRID SAFEHOUSE - NIGHT TEA KETTLE payoff.",
"INT. HUB VOSEN How long till back - up arrives? The hub scrambles to answer that. Landy paces in the background. Suspicious of Vosen. VOSEN How long? -LRB- beat, loud, to the entire hub. -RRB- Stop! Hang on. I have an idea.",
"INT. NIGHT. MADRID SAFEHOUSE ON A SECURITY MONITOR - BOURNE sees another figure moving up the stairs. Checking his watch, reloading his gun. Twisting into the path to shoot as the door opens, hesitating because - It's NICKY. A beat - long unbroken. BOURNE What are you doing here? NICKY I was posted here after Berlin. BOURNE Where's Daniels? The office PHONE goes. Bourne waving her to it. She picks it up. He hits the speaker phone.",
"INT. HUB NICKY -LRB- V.O. -RRB- Hello. VOSEN Who is this? NICKY -LRB- V.O. -RRB- This is Nicky Parsons. Who's this? Landy reacts to her voice. Both Vosen and Landy strongly suspect Bourne is there and listening. Vosen reads her `` Duress Challenge'' identity check off the screen. It reads : Challenge : `` Sparrow'' Response if Under Duress : `` Ruby'' Response if Normal : `` Everest'' VOSEN Nicky, I need to do an ID challenge first. Code in : `` Sparrow.'' Vosen looks at the screen to check her response. NICKY Response : `` Everest''. VOSEN Nicky, this is Noah Vosen. How long have you been on site? NICKY -LRB- V.O. -RRB- I just walked in. VOSEN We have two officers on site. Are you in contact with them? NICKY -LRB- V.O. -RRB- They're down. Unconscious, but alive. VOSEN Is there any sign of Daniels? NICKY -LRB- V.O. -RRB- No. LANDY Nicky, this is Pam Landy. We have reason to believe there is a connection between Neal Daniels and Jason Bourne. NICKY -LRB- V.O. -RRB- Bourne, are you still looking for Bourne? I thought the case was closed. LANDY No, some people are convinced he's still a threat. I disagree but to find out I need to talk to him. VOSEN seething because LANDY has interrupted him. VOSEN Hold on Nicky. Vosen hits the mute button. VOSEN What are you doing? You know Bourne's probably listening. Landy does n't answer. Vosen to Wills : VOSEN How long till back up arrives. Wills holds up three fingers. Vosen unmutes. VOSEN -LRB- CONT'D. -RRB- -LRB- into microphone again. -RRB- Listen, Nicky. I want you to stay put and secure the premises. It could be an hour until another team arrives. LANDY piercing VOSEN with a look.",
"INT. SAFEHOUSE - NIGHT BOURNE continues to hold the gun in her face - NICKY is very calm considering the predicament she is in. NICKY Okay. DIAL TONE as the line gets closed at the other end. NICKY They know you're here. BOURNE How long do I have? NICKY Three minutes.",
"EXT. NIGHT. MADRID STREET FLASH : TWO SEDANS squeal around a corner. CRI reinforcements.",
"INT. NIGHT. CRI SEDAN -- MADRID STREET DELTA DUDE 2 minutes to safehouse.",
"INT. NIGHT. MADRID SAFEHOUSE NICKY My car's outside. I know where Daniels is. BOURNE lowers his gun, grabs the phone and dials `` 1 - 1 - 2'' SPANISH OPERATOR -LRB- SUBTITLE. -RRB- Emergency operator. Where is your emergency? BOURNE answers her in perfect Spanish with a perfect Madrid accent, but worked up, like a civilian would be. BOURNE -LRB- SUBTITLE. -RRB- 334 Calle Norte. I hear gunfire. And men shouting. I think they're Americans - BOURNE pushes the phone off the desk - fires four shots into the ceiling - calmly moves Nicky towards the back door.",
"INT. HUB VOSEN You `` disagree'' he's a threat? He just took out two more of my men. Not to mention his ultimatum to Ellatrache? LANDY The only way this has a happy ending, Noah, is if we find a way to bring Bourne in voluntarily. VOSEN He wants revenge, Pam. The only realistic way to deal with this is to eliminate the threat.",
"INT. NIGHT. BACKSTAIRS BOURNE and NICKY rapidly descend. BOURNE Okay, where is Daniels headed? NICKY 8 o'clock this morning, he wired $ 100,000. to a numbered bank account in Tangier. BOURNE Okay, Tangier is about 300 miles away, we can make the morning ferry. NICKY And then what?",
"EXT. NIGHT -- MADRID SAFEHOUSE STREET Bourne and Nicky exit on to the street. Suddenly they hear tires squealing nearby. NICKY They're coming. They continue to walk down the street towards Nicky's car.",
"INT. HUB Vosen and Landy are watching this live. As they cross the street two MADRID POLICE CARS come around the corner the wrong way and screech to a stop. Vosen reacts.",
"EXT. MADRID -- NIGHT Four cops jump out and take aim at the AGENTS. SPANISH POLICE Manos Arriba! Manos Arriba! More sirens closing in. A third police car appears. Then a fourth.",
"INT. HUB Vosen ca n't believe it -",
"EXT. MADRID -- NIGHT The agents drop their guns and surrender. BOURNE and NICKY continue around a corner - they get in her VW GOLF and drive away.",
"INT. HUB Vosen stares at Landy. A beat, then she walks out. VOSEN Issue a standing kill order on Jason Bourne, effective immediately. 139B - C INT. NIGHT - VOSEN'S OFFICE - CRI 139B - C VOSEN on the phone. VOSEN We lost Bourne. KRAMER You still think he's after Daniels? VOSEN Yeah. Nicky's just the means. But if we find Daniels, we'll find Bourne. KRAMER Daniels knows way too much. Daniels knows everything. We ca n't let them meet. VOSEN I'll take care of it. KRAMER Good. -LRB- beat. -RRB- And fill Hirsch in. Just in case.",
"INT. NIGHT. TRUCK STOP -- SPAIN BOURNE and NICKY sit over coffee. A long silence. then : NICKY What are you after, Jason? Why are you looking for Daniels? BOURNE Do you know who this is? Bourne puts the photo of Daniels and Hirsch on the table between them. She looks at the photo, points. NICKY That's Daniels. -LRB- points at Hirsch. -RRB- I do n't know who that is. BOURNE I have to get back to the beginning. or I'll never be free of this. NICKY Who is he? BOURNE I think he started Treadstone. I remember meeting him. I remember the first day. -LRB- beat. -RRB- Daniels brought me to him. Nicky looks back at him. not sure what to say. NICKY What happened? BOURNE An initiation. I guess. FLASHBACK QUICK FLASH : Bourne, head in sack, is held underwater, struggling desperately for breath -",
"INT. NIGHT. TRUCK STOP -- SPAIN Bourne comes out of the flashback. Nicky is looking at him. NICKY Jason. that was n't some one - off initiation. Daniels said they did that to you over and over again. That's how they. She does n't finish. And Bourne does n't ask her to. Just a long pause. BOURNE Why are you helping me? NICKY It was difficult for me. with you. BOURNE looks up. Another long pause. NICKY -LRB- CONT'D. -RRB- You really do n't remember anything? BOURNE No. NICKY'S face. Two SPANISH COPS enter the cafe. BOURNE -LRB- CONT'D. -RRB- We should move. They get up and leave.",
"INT. VOSEN'S OFFICE -- DAY Vosen goes to his safe. VOSEN -LRB- to voiceprint mic. -RRB- Noah Vosen. Then he puts his thumb into a print reader. The safe door pops open. He pulls out a file marked `` Top Secret.''",
"INT. DAY. LANDY'S OFFICE -- CRI CRONIN makes his way down the hallway. LANDY works at her desk. CRONIN enters. CRONIN They tracked Daniels' passport to a hotel in Tangier. They're holding up a bank transfer he made to keep him in place while they move an asset in from Casablanca. Off LANDY. This just keeps getting worse.",
"INT. VOSEN'S OFFICE Landy enters without knocking. LANDY Since when do you have authorization for lethal action against Daniels? VOSEN Since he cleaned out a Blackbriar safe and fled to Morocco! LANDY So grab him - VOSEN I do n't have the people on the ground to do that and I'm not going to risk that file falling into the wrong hands. LANDY What's going on? What's Daniels got? VOSEN What's he got? He ran all of Blackbriar's operations in Southern Europe and North Africa. LANDY I think the world's well aware we have a rendition and lethal action capability at this point, Noah. VOSEN For Christ's sake, Pam, he's got our entire playbook. Names, dates, ghost sites, how we train our assets. LANDY You still do n't have the authority to kill him. VOSEN Oh, yes I do, Pam. Vosen holds up the file we saw him pull out of his safe. It is labeled `` Blackbriar : Lethal Action Protocol.'' VOSEN That's what makes us special. No red tape. No more getting badguys in our sights and then watching them escape while we wait for some bureaucrat to issue the order. Landy opens up the file. Sees the words `` instantaneous lethal action is authorized when.'' LANDY You just decide? No oversight. No checks and balances. VOSEN Come on, Pam, you've seen the raw intel. You know how real the threat is. We ca n't afford to have our hands tied like that anymore.",
"EXT. DAY. FERRY -- ESTABLISHING BOURNE and NICKY ride the ferry from Gibraltar to Morocco.",
"EXT. DAY. TANGIER HARBOR They arrive and pass through CUSTOMS.",
"EXT. DAY. TANGIER DANIELS drives.",
"EXT. DAY. TANGIER DESH arrives, grabs a TAXI.",
"INT. DAY. PENSIONE -- TANGIER BOURNE and NICKY enter a shabby room. Turn on the fluorescent lights. BOURNE tosses his BACKPACK on the bed. NICKY plugs her LAPTOP into the USB port. ON THE SCREEN, as NICKY hacks into the system. BLACKBRIAR.",
"INT. LANDY'S OFFICE -- DAY Landy on the phone. LANDY It's Pamela Landy for him. Would you tell him it's urgent?",
"INT. KRAMER'S OFFICE -- DAY The phone buzzes. Kramer picks it up. ASSISTANT -LRB- PHONE V.O. -RRB- It's Pam Landy. She says it's urgent. On Kramer. the wheels turning. KRAMER Tell her I'm unreachable. Kramer hangs up.",
"INT. LANDY'S OFFICE -- DAY Landy receives the news. The wheels turning in her head. She hangs up. A pensive moment, then she gets up and heads for -",
"INT. DAY -- CRI HUB LANDY AND CRONIN enter the hub - VOSEN is in the middle of giving the kill order. VOSEN Give me the subject's location. TECHNICIAN #2 Subject is currently on foot and now entering Hotel Velazquez. 45 Route Commerce, Tangier. VOSEN Get an elevation and a floor plan, tic - tac - toe. Locate the room. Give the asset Daniels's location and the route between Daniel's hotel and the bank.",
"INT. TAXI DESH looks down at his beeping cellphone. It has a MAP on the screen.",
"INT. HOTEL Nicky at her computer. SHE LOGS IN WITH HER USER I.D. Bourne looks on. TIGHT ON MONITOR : 3 - D IMAGE OF HOTEL WITH DANIEL'S ICON PINPOINTED",
"INT. HUB Vosen and Wills. Landy still pacing VOSEN Do we have that room yet? TECH 2 -LRB- ARKI. -RRB- Yes sir Room 117. VOSEN Get the hotel's trunk line. Run all calls through here with an iso on 117 TIGHT ON COMPUTER MONITOR : DESH'S ICON STOPS MOVING. MEDIUM CLOSE UP ON TECH TECH Sir, the asset is acquiring the materials.",
"INT. LOCK-UP GARAGE. DAY DESH opens a lock - up and goes in. He comes out with a scooter and drives off.",
"INT. HOTEL Nicky types on computer. Enters search parameter : NEAL DANIELS. ACCESS DENIED. NICKY His location's being blocked. BOURNE Now they found Daniels, do you know where he is? NICKY They'll get one of the operatives to terminate him. BOURNE Find out who.",
"INT. LOCK-UP GARAGE. DAY Desh works on a bomb. NICKY -LRB- O.C. -RRB- Desh.",
"INT. HOTEL DESH BOUKSANI's profile. BOURNE Tell him you're going to meet him and that you have a new phone for him. NICKY If you stop Desh they'll just get someone else. BOURNE We're not going to stop him. We're going to follow him. He'll take us right to Daniels.",
"INT. LOCK-UP GARAGE. DAY CU DESH -LRB- AND INSERT PHONE -RRB- HE RECEIVES NEW ROUTING INFORMATION FROM NICKY. `` Meet me Tangier Cafe Paris'' The bomb is finished on the Work table.",
"EXT. LOCK-UP GARAGE. DAY Desh takes the scooter out.",
"EXT. TANGIER ESTABLISHING",
"EXT. STREET. Bourne and Nicky walk. Desh rides his scooter. TIGHT ON COMPUTER SCREEN : DESH'S ICON TURNS OFF COURSE.",
"INT. HUB TECH -LRB- LUCY. -RRB- Sir, the asset is deviating. VOSEN Find out why.",
"EXT. ACROSS FROM CAFE DE PARIS. DAY BOURNE, recalculating. Looking around him. A scooter is pulling up and the driver walks toward BOURNE. TIGHT ON COMPUTER SCREEN : DESH'S ICON IS NOW STATIONARY",
"INT. HUB TECH -LRB- LUCY. -RRB- Asset unscheduled stop.",
"EXT. CAFE DE PARIS NICKY SITS, Desh walks up and snatches the phone off of the table. A scooter is pulling up and the driver walks toward BOURNE. He brushes past him, taking the key. Keeping DESH in sight as he returns to his Vespa and pulls out in to traffic. TIGHT ON COMPUTER SCREEN : DESH'S ICON IS MOVING AGAIN TECH Sir, the asset is on the move, in route to subject.",
"INT. HUB - DAY TECH #1 Sir, the asset is back on course. VOSEN looks up. WILLS Sir, we have an unauthorized breach. Someone with active system knowledge has penetrated out protocols. Information was passed to the asset at 14.11. -LRB- beat. -RRB- The trace is confirmed and valid. It comes from a computer belonging to Nicky Parsons. VOSEN looks over at Landy. his wheels turning. A series of cuts between them. VOSEN Where did the course deviation occur? TECH -LRB- LUCY. -RRB- South to Rue Belgique. Stationery at Place de France. VOSEN That's where Parson's is. He pauses, deciding what course to take. Landy watches. VOSEN When we're finished with Daniels send the asset after her. We find Parsons, we find Bourne. LANDY -LRB- OVERLAPPING. -RRB- -LRB- going to Vosen, firm. -RRB- Noah, what are you doing? VOSEN Not now. LANDY Now. I want to know what's going on. VOSEN Not now. LANDY I'm asking on what basis you're continuing this operation. VOSEN On the basis that Nicky Parsons has compromised a covert operation. She is up to her neck in it. LANDY This is about Daniels, not Nicky! VOSEN She has betrayed us! LANDY You do n't know the circumstances! VOSEN She's in league with Jason Bourne for Chrissake! LANDY You do n't have the authority to kill her or Bourne! VOSEN Yes, I do Pam, it's right here and it's legal. VOSEN slams a document on the desk. INSERT SHOT : `` Blackbriar : Lethal Action Protocol.'' LANDY She's one of our own. You start down this path. where does it end?! VOSEN It ends when we've won. LANDY turns and storms out. VOSEN Notify the asset of the additional target. BRYAN Yes, sir. BRYAN codes in a kill order on NICKY.",
"EXT. DAY. TANGIER As he rides his VESPA, DESH receives additional target information. Pictures of BOURNE and NICKY. DESH glances in his rearview mirror - spots BOURNE.",
"INT. DAY. HUB -- MEDIUM CLOSE UP: VOSEN Have the bank release the funds. A TECH calls DANIELS.",
"INT. DAY. VELASQUEZ HOTEL DANIELS answers phone. BANK OFFICER -LRB- FRENCH, SUBTITLED. -RRB- Mr. Daniels, Bank of Tangier. Your funds are now available. Daniels leaves.",
"EXT. DAY. TANGIER STREET DESH parks the motorbike and walks around the corner, BOURNE follows. DANIELS' car coming down the street. BOURNE stops and sees the car - realizes the danger. BOURNE turns back to see DESH with the detonator in his hand. BOURNE locks eyes with DESH. Before BOURNE can react - DESH detonates. BOOM! DANIELS is DEAD. BOURNE is thrown across the street by the blast. He lays MOTIONLESS. DESH POV. He looks back to see BOURNE not moving, lying in the street. DESH gets on his motorbike and heads off to kill NICKY.",
"EXT. PETIT SOCCO -- CONTINUOUS NICKY still at that café waiting. Taking out her phone - puzzled. She answers. Looking around. NICKY Code in? -LRB- no reply. -RRB- Code in? Nothing. Just the noise of traffic.",
"EXT. VESPA TRAVELLING DESH on the move towards Petit Socco. On the cell - making that ` silent call'.",
"EXT. AVENUE D'ESPAGNE -- THAT MOMENT BOURNE'S too late - hearing the ` line busy' tone. Knows this tactic. And those POLICEMEN are getting closer.",
"INT. NEW YORK HUB -- ENCRYPED AREA -- CONTINUOUS Frenzied teching. A screen comes alive. TECHY We have a trace. TECHY 2 Target heading north. Rue des Chretiens. Intercept ETA six minutes. VOSEN Okay, that's it. Bar her cell. Tie it off.",
"EXT. RUE D'ESPAGNE -- CONTINUOUS DESH is disappearing from view. And the POLICEMEN are surrounding BOURNE. Demanding to see his papers. BOURNE speaking in Spanish - fishing for his papers. Looking back up the street. Forming a plan. Checking his watch. More POLICE arriving now. And DESH has disappeared out of sight. No time for this. BOURNE breaks away. Through the crowds into the traffic. Police whistles - shouting. Confusion. The chase is on. Three policemen turning into his path. No choice. BOURNE taking them down. Sprinting out across the road. A KID and his moped. Caught up in the police dragnet. BOURNE leaping on the bike - kick - starting it. Away into traffic as two squad cars turn and make chase. BOURNE weaving through traffic. One hand on the bike the other on the cell, desperately trying to call NICKY. But now, at least he's got a dial tone.",
"EXT. PETIT SOCCO -- CONTINUOUS NICKY grabbing the cell. Answering. NICKY Bourne? BOURNE Nicky? Listen to me. You need to - The line goes dead. Looking at the screen - ` SERVICE DENIED' Really spooked now - looking around. Time to move. Dismantling the phone instinctively - scattering it's components. She starts to make her way out of the square.",
"EXT. STREETS -- CONTINUOUS DESH through the streets - getting closer - heading towards the PETIT SOCCO.",
"EXT. MOPED TRAVELLING BOURNE picking up the pace. Three more police cars out of a side road just missing him. BOURNE choosing his exit. Up ahead - a narrow alleyway - taking it. The squad cars crunching to a halt, behind him.",
"EXT. PETIT SOCCO -- CONTINUOUS DESH crossing the SQUARE weaving through a sea of push bikes. Parking his Vespa at the corner of RUE DES CHRETIENS. Travelling on foot.",
"EXT. RUE DE CHRETIENS -- CONTINUOUS NICKY - trying to keep calm. Checking each alley. Moving on.",
"EXT. PETIT SOCCO -- CONTINUOUS BOURNE arriving - seeing NICKY has left. Seeing DESH'S Vespa parked up. More police - on foot now. BOURNE parking up. Seeing the crowded streets. Looking up to the rooftops. He needs to get higher. Starts running up steps.",
"INT./EXT. RIAD/ROOFTOPS -- CONTINUOUS BOURNE into a riad. Through a courtyard - up more stairs - up a ladder. Out onto the rooftops. Scanning the skyline. A beat. Has he misjudged? No, there in the distance at the top of a narrow street - NICKY walking slowly and behind DESH. Moving quickly. BOURNE tailing him - trying to close the gap. Dipping down through another riad - through an alley. Up more stairs. Back up onto another roof. He's gained a few metres on DESH. Desh goes up to the rooftops now. Bourne has him in sight - DESH is prepping his gun with a silencer. DESH speeding up. BOURNE sees NICKY down below amongst the crowds. In Desh's sights. BOURNE knows he has to gain more ground. CABLE CAM shot - Two trained assassins leaping across the narrow streets - silently effortlessly - the cops down below searching the alleyways, oblivious to the chase unfolding above them. BOURNE nearly on terms with him - then - DESH dipping down again into the street below. Avoiding the police - he melts into the crowds. STEADYCAM SHOT - following BOURNE as he heads downstairs. More stairs. Through a corridor then a courtyard - bursting out of a door into the street - A police checkpoint. Right in his path. Bourne forced to dog leg and take another route. BOURNE'S lost him - for the moment.",
"EXT. RUE DE CHRETIENS -- CONTINUOUS NICKY - walking fast up the Rue des Chretiens. Wondering why there are so many police around. Suddenly stopping - seeing DESH - knows instantly that he is coming for her. Now we see NICKY'S skills. Has to think on her fee t - TREADSTONE MINDSET - Checking the alleyways. Slipping out of sight. NICKY looking to the rooftops - taking the advantage. Up some steps - into a riad. Desh tracking her.",
"EXT. RUE DE CHRETIENS -- CONTINUOUS BOURNE seeing Desh again - further up the street. Heading in that direction.",
"INT. RIAD -- CONTINUOUS NICKY through one hallway - then another. Moving up all the time.",
"EXT. RIAD -- CONTINUOUS DESH arriving at the steps. Looks up to where Nicky is going. Takes the entrance to the next building. Anticipates her next move. Aiming to cut her off.",
"EXT. RIAD ROOFTOP NICKY up steps. Out onto the rooftops. Looking for a path across them. Scrabbling across the roof of this crumbling riad. Knows she ca n't go back down. She makes it across to the next building. Where Desh is.",
"EXT. ANOTHER ROOFTOP -- CONTINUOUS BOURNE up high. Seeing NICKY on that other roof. He ca n't get across to her. Moving fast now. Down steps. Into the riad courtyard.",
"INT. RIAD BOURNE entering the hallway. Moving up the stairs. Towards Nicky. And towards Desh. Meanwhile NICKY moving down. Looking out into the courtyard below. The sound of POLICE getting nearer. BOURNE hearing the POLICE too as he moves up onto a landing. BOURNE into a main room - something stirring on a couch - a girl and her little sister having a siesta. In another room two small boys fast asleep. TV playing. One wakes. A noise on the stairs above. Quickly arranging a mirror - getting line of sight - Bourne dipping into a corner. It's NICKY. She gives him a look - DESH is in here somewhere. The door goes below them. The noise of Police entering the Riad. NICKY signalling to BOURNE - this way. They climb narrow stairs to the next floor. Down below Police begin searching rooms. Waking the sleeping family. Shouting, crying. Commotion.",
"INT./EXT. -- NARROW STAIRWELL BOURNE and NICKY creeping up the steps. Then - suddenly NICKY spinning round as two silenced bullets speed past her - And DESH bursting out of a landing toilet. On to Bourne. Full on Treadstone fighting in the narrow stairwell. Crashing into a tiny disused lift cage - silent constrained - vicious. Downstairs a young POLICEMAN hears the noise - heading for the lift. NICKY seeing the handle turn. Thinking quickly. She sends the lift up to the next floor. The POLICEMAN stepping back from the door - directing the other cops out to the courtyard. People are spilling out into the atrium. It's pandemonium.",
"EXT. ROOFTOP -- CONTINUOUS Bourne and Desh spill out of the elevator and onto the roof. BOURNE kicking the gun - spinning across the floor - he and DESH facing each other. DESH with BOURNE - straight over the edge. DESH still on top - just. A brutal exchange. Matching each other's moves like shadows. Relentless. Rolling - falling onto another roof level. And another. The two men tiring now. DESH grabbing for the bag. The pills. BOURNE kicking them away. BOURNE has the upper hand now. DESH'S reaction's slowing. No longer the match he was. BOURNE drags him to the ground. He's finished. Bourne's won. DESH - shivering - convulsing. In the struggle, BOURNE strangles Desh. BOURNE and NICKY hide DESH's body. BOURNE Alright, we need to be dead. You need to code that in. NICKY CODES into DESH'S PDA - BOTH OBJECTIVES ACHIEVED. In the CRI HUB the message comes up. VOSEN and LANDY believe NICKY and BOURNE are both DEAD.",
"INT. DAY. HUB -- CRI -- NEW YORK The code from DESH remains on screen - BOTH OBJECTIVES ACHIEVED - like an EPITAPH for BOURNE and NICKY. VOSEN packs his briefcase. Turns to WILLS. VOSEN I want to be sure. Have the station chief in Rabat confirm the deaths and do a sub - rosa check. And keep and eye on Landy. Off WILLS.",
"INT. DAY. LANDY'S OFFICE -- DAY Cronin enters. CRONIN The hub just got word Bourne and Nicky are dead. Landy looks at him. LANDY Confirmed? CRONIN Not yet. Landy looks away. thinking. Wheels turning. LANDY Get me a copy of Bourne's personnel file.",
"EXT. DUSK. PENSIONE Bourne and Nicky enter.",
"INT. DUSK PENSIONE -- WASHROOM -- TANGIER BOURNE scrubs the blood from his hands. REVEAL Nicky watching him from the bedroom.",
"INT. DUSK. LANDY'S OFFICE (LONELY LANDY) Landy sits at her desk reviewing files on Treadstone. Open on her desk we see the file she will be looking at in the Supremacy phone call. The way she examines the papers we get the sense she thinks something is missing, some piece, some file.",
"INT. DUSK. PENSIONE -- WASHROOM Bourne scrubbing the blood from his hands. Nicky comes in, touches his shoulder. There's a tenderness to it, a re - assurance. For a moment it looks like Bourne might react. but the moment passes.",
"INT. DUSK. LANDY'S OFFICE (LONELY LANDY) Landy opens a new file. Bourne's operations.",
"INT. DUSK. PENSIONE -- WASHROOM Bourne is toweling off. BOURNE I can see all their faces. But I ca n't remember any names.",
"INT. DUSK. LANDY'S OFFICE (LONELY LANDY) Landy looks at Bourne's kills. The faces Bourne remembers. But there names are here, and who they were, why they were killed.",
"INT. NIGHT. PENSIONE -- BEDROOM/SITTING ROOM Bourne and Nicky sitting together. BOURNE I was starting to remember who they were. in India. with Marie. A beat. NICKY It's just going to lead to more killing, Jason. Are you sure you want that? Bourne takes her words in. But who he is is eating him alive from the inside. BOURNE I've killed people and I've tried to apologize for what I've done, for what I am. None of it makes it better. Another moment passes between them. then : BOURNE They're going to come for you again. You are going to have to run now. She gets up.",
"INT. BATHROOM Nicky dies her hair BLACK. Starts cutting it shorter.",
"EXT. NIGHT. TANGIER BUS STATION Bourne walks with a now dark - haired Nicky. They exchange looks for a long beat. She turns towards the bus. BOURNE It gets easier.",
"INT. LANDY'S OFFICE. NIGHT Landy finds a denotation in Bourne's file that he was `` recruited to Treadstone by Neal Daniels.'' Further down the page it says `` Bourne was inducted into Treadstone at the Special Research Department facility at 415 E 71st, New York, NY.'' Then `` Facility closed by order of Director, June 2002.''",
"INT. TANGIER MORGUE Bourne looks at the tattered remains of Daniels' body and belongings. He goes through his briefcase and finds a nearly destroyed piece of paper with `` Noah Vosen - Director of Operations - CRI'' written on it. Bourne slips the morgue attendant a bribe.",
"INT. VOSEN'S OFFICE -- DAY Vosen is shaving. WILLS Station chief in Rabat just called, they found a body. Bourne? VOSEN Desh.",
"INT. AIRPLANE -- DAY On final approach to JFK. Bourne looks out the window to see the Verizano Narrows bridge. And beyond it, Manhattan. Bourne is coming home.",
"EXT. NEW YORK Establishes skyline.",
"INT. LANDY'S OFFICE. DAY CRONIN Pam, You need to see this. Landy follows CRONIN into -",
"INT. CRONIN'S OFFICE -- DAY BOURNE'S PASSPORT is displayed on the computer monitor. CRONIN -LRB- CONT'D. -RRB- This passport just cleared Immigration at JFK ten minutes ago. It's an early Treadstone identity registered to Jason Bourne but he never used it and it never went to the grid. Bourne's alive. LANDY They do n't know. CRONIN No, if they knew Vosen would n't be in his office right now.",
"INT. AIRPORT TERMINAL Bourne moves through the airport. LANDY -LRB- O.S. -RRB- It's a hell of a risk. CRONIN -LRB- O.S. -RRB- Yeah. Maybe Bourne wants us to know, just like Naples, maybe he's communicating.",
"INT. CRONIN'S OFFICE CRONIN Maybe he's trying to communicate with you. LANDY Maybe we should communicate back. Because I think I know what Bourne's looking for. SERIES OF SHOTS Bourne over the 59th Street Bridge - arrives at CRI - goes into the adjacent building -",
"INT. OFFICE BUILDING ACROSS FROM CRI -- DAY Bourne uses his monocular to zoom in on a file Vosen is looking at - he sees the word `` Blackbriar.'' Vosen puts the file back in the safe.",
"INT. DAY. LANDY'S OFFICE -- CRI -- NEW YORK LANDY'S cell phone rings. She answers it. LANDY Pamela Landy.",
"INT. UNDEFINED SPACE BOURNE I hear you're still looking for me.",
"INT. LANDY'S OFFICE LANDY puts down her pencil. CRONIN watches. LANDY Bourne?",
"INT. VOSEN'S OFFICE His phone rings. He picks it up. WILLS -LRB- TEL.. V.O. -RRB- Get in here! Bourne called Landy! Vosen jumps up, sprints toward the hub -",
"INT. LANDY'S OFFICE -- DAY LANDY I guess I owe you an apology.",
"INT. HUB -- BACK ROOM Vosen rushes in - BOURNE -LRB- V.O. -RRB- Is that official? VOSEN -LRB- OVERLAPPING. -RRB- Are we triangulating?! LANDY -LRB- V.O. -RRB- No. Off the record. You know how it is. BACK ROOM TECH -LRB- OVERLAPPING. -RRB- Trying - BOURNE -LRB- V.O. -RRB- Good - bye.",
"INT. LANDY'S OFFICE LANDY Wait. Wait. She opens a file on her desk.",
"INT. UNDEFINED SPACE Bourne listening - LANDY David Webb. That's your real name.",
"INT. HUB -- BACK ROOM VOSEN Why the hell did she give him that? LANDY -LRB- V.O. -RRB- You were born 4/15/71 in Nixa, Missouri.",
"INT. LANDY'S OFFICE LANDY Why do n't you come in, and we'll talk about it? -LRB- beat. -RRB- Bourne?",
"INT. UNDEFINED SPACE BOURNE Get some rest, Pam.",
"INT. HUB -- BACK ROOM BOURNE -LRB- V.O. -RRB- You look tired. Vosen realizes - VOSEN -LRB- rushing out. -RRB- He's got line of sight on us!",
"INT. LANDY'S OFFICE She spins to look for Bourne -",
"INT. HUB Vosen moving across the floor. VOSEN This is a national security emergency. We have an imminent threat.",
"INT. LANDY'S OFFICE -- DAY Landy takes out her gun. Checks it.",
"INT. HUB VOSEN Jason Bourne is alive and at large in New York City. We believe in one thousand yards of this building. I want an immediate twelve block lockdown of the area. Send a FLASH message to Langley, prep for local backup assistance.",
"EXT. CRI -- DAY HIGH ANGLE : Landy leaves CRI.",
"INT. HUB -- DAY Wills walks over to Vosen. The look in his eye indicates that he thinks there's something odd about this : WILLS Landy just left the building. Vosen looks at Wills. A beat, Vosen's suspicion building, though he ca n't quite put his finger on what he suspects. VOSEN Check Landy's phone. Is she using it?",
"EXT. NYC STREETS -- DAY Landy receives a text message.",
"INT. HUB -- DAY Vosen leans in to the Hub's back monitoring room. VOSEN Nothing? No calls since Bourne -? BACK ROOM TECH Wait a minute. Wait. She just got a text.",
"EXT. NYC STREETS -- DAY Landy heads for someplace - now with purpose.",
"INT. DAY. CRI HUB VOSEN confers with WILLS. VOSEN What the hell do you mean we ca n't read it? TECH Working on it - VOSEN -LRB- frustrated. -RRB- How do you know a text came if you ca n't read it -. -LRB- to Wills. -RRB- Are we on Landy? TECH Six men. More on the way. VOSEN I want that goddamn text. We need to get out in front of her! TECH Seconds. VOSEN paces anxiously. TECH -LRB- CONT'D. -RRB- Got it! TECH points at big screen : `` Tudor City Pl & 42nd. Ten minutes. Come alone. Come on foot.'' VOSEN Surround it. Anyone not on Landy goes to Tudor City. Now! -LRB- to Wills. -RRB- Get the trucks. We're going mobile.",
"EXT. MANHATTAN -- DAY LANDY walks east toward Tudor City. She looks around her for any signs of surveillance but finds nothing out of the ordinary.",
"EXT. CRI BUILDING -- DAY Vosen and AGENTS come running out of the front door. Others leave through a side entrance. They jump in sedans.",
"EXT. STREET. Landy still being trailed by foot.",
"INT. VOSEN'S SUV Vosen and agents race to Tudor city. An electronic map on the dash. AGENT 3 Copy, we're going to take a left at 41st. One block, settle at the corner. VOSEN Get the map up. AGENT 4 It's a bad place to pick, it's too exposed. VOSEN He would n't have chosen it if he did n't have a reason.",
"EXT. MANHATTAN LANDY walks east through the crowded streets.",
"EXT. MANHATTAN BOURNE walks down the street, enters a building.",
"EXT. TUDOR CITY ROOFTOP Spotter on a rooftop.",
"EXT. MANHATTAN -- DAY LANDY is on the east side now, walking toward Tudor City. An agents trails her on foot. Another parallels her from across the street.",
"EXT. TUTOR CITY OUTSKIRTS SERIES OF SHOTS : CRI cars arrive, careful to stay several blocks from the meet site. They jump out and try to set up surreptitious surveillance posts. AGENT 3 -LRB- V.O. -RRB- Okay folks here we go, box at two hundred meters. Let's lock it down.",
"INT. STAIRWAY Bourne climbs stairs.",
"EXT. TUDOR CITY Landy walks, agents are everywhere looking for her. Vosen is still in car.",
"INT. VOSEN'S SUV VOSEN As soon as you have eyes on Landy, I want to know.",
"EXT. TUTOR CITY She becomes clear to AGENT 3. AGENT 3 Okay, here we go.",
"INT. STAIRWAY Bourne climbs stairs. Walks down a dank hallway.",
"INT. VOSEN'S SUV VOSEN Copy that, I see her. Landy stands on a corner waiting for Bourne. VOSEN -LRB- CONT'D. -RRB- Any sign of Bourne?",
"INT. AMBIGUOUS SPACE TIGHT SHOT on Bourne's face. FAST TILT to TIGHT ON his hands, pulling up what seems like a piece of clear tape. We ca n't tell where we are or what he's doing.",
"EXT. TUDOR CITY Landy looks around.",
"INT. AMBIGUOUS SPACE TIGHT ON Bourne's hands placing the clear tape on a piece of clear plastic. Again we ca n't tell what's going on.",
"EXT. TUTOR CITY Agents watch Landy.",
"INT. VOSEN'S SUV -- DAY Vosen's cell phone rings. VOSEN Noah Vosen. BOURNE -LRB- V.O. -RRB- This is Jason Bourne. VOSEN reels for a beat. Then quickly scans the streets, trying to see if he can spot BOURNE. VOSEN How did you get this number? BOURNE -LRB- V.O. -RRB- You did n't actually think I was coming to Tudor City, did you? VOSEN No, I guess not. But if it's me you want to talk to maybe we can arrange a meet. BOURNE -LRB- V.O. -RRB- Where are you right now? VOSEN In my office. BOURNE -LRB- V.O. -RRB- I doubt that. If you were in your office -",
"INT. VOSEN'S OFFICE -- DAY REVEAL that BOURNE is inside VOSEN'S office. BOURNE We'd be having this conversation face - to - face. BOURNE hangs up. Puts a portable dictaphone up to VOSEN'S SAFE and his play : VOSEN -LRB- TAPE V.O. -RRB- Noah Vosen. As he places the plastic slide we saw in the ECUs into the fingerprint reader. The safe pops open -",
"INT. DAY. VOSEN SUV VOSEN stunned. Is it possible? Is it a trick?",
"INT. DAY. VOSEN'S OFFICE From the safe, BOURNE scoops out the `` TREADSTONE : Blackbriar'' folder Bourne saw Vosen putting into his safe.'' He flips it open. He scans down the page. His eye stopping at the words `` US Citizen.'' He flips to another page - another photo, and again `` US Citizen.'' BOURNE shoves the folders in his backpack and leaves.",
"INT. VOSEN'S SUV -- DAY VOSEN This is a code ten abort, I want everybody back in the vehicles this is a code ten abort! Back to the vehicles immediately, back to CRI immediately.",
"INT. SERVICE STAIRS Bourne rushes down with his back pack.",
"INT. VOSEN'S OFFICE Wills grabs the phone and hits a speed - dial : WILLS Bourne got into your safe!",
"EXT. MANHATTAN Bourne onto the street with back pack.",
"EXT. MANHATTAN -- DAY SERIES OF SHOTS - VOSEN'S SUV races, lights and sirens, across town. 2 -RRB- Other CRI cars race back across town.",
"EXT. MANHATTAN -- DAY BOURNE walks out of a building, backpack over his shoulder. CAMERA BEGINS TO CRANE UP. BOURNE walks around a corner near CRI. He hears a siren turn on a few blocks away. Then another. He starts to run.",
"INT. CRONIN'S CAR -- DAY A SEDAN pulls to a stop as a door comes open. CRONIN'S inside. REVEAL Landy on the sidewalk. She jumps in. LANDY What just happened? CRONIN Bourne got into Vosen's safe. LANDY What?! Cronin pulls out. CRONIN Where to? LANDY 415 East 71st Street. Cronin puts it together. CRONIN 4.15.71. Jesus, Pam.",
"EXT. MIDTOWN WEST -- DAY BOURNE walking away from CRI. Agents leaving a building. Getting into unmarked sedans and peeling out.",
"INT. VOSEN'S SUV -- DAY As Vosen races across town. VOSEN I want the entire building searched. Every room. Every hallway. Every closet. Every goddamm airduct. Do you understand? I want him found!",
"INT. CRI CAR -- DAY The passenger side agent sees BOURNE, points - BOURNE cuts to the south side of the road so the passenger - side agent does n't have a shot, while controlling the car makes it almost impossible for the driver to fire accurately.",
"EXT. 41 STREET -- DAY The westbound car cuts sharply and drives up on the sidewalk. But Bourne is too fast. He's already past them. The passenger side agent jumps out. But he's still got to get around the door and then move a few steps to get a bead over the hood of his car on Bourne. The other CRI car races the wrong way on the street but gets immobilized and trapped by the onrushing tunnel traffic.",
"INT. VOSEN'S SUV -- DAY Vosen and Wills race West on 41st. SERIES OF SHOTS CRI cars close in - on 42nd, on 39th, on 10th Ave.",
"EXT. MIDTOWN WEST -- DAY Bourne races through the tunnel traffic and onto 40th street. He rushes east toward the spaghetti of concrete ramps leading into and out of Port Authority. He runs across 10th Avenue as a third CRI car screams up the street at him.",
"INT. VOSEN'S SUV -- DAY Several radios blare. CRI AGENT -LRB- RADIO V.O. -RRB- He's heading for Port Authority! Subject up the ramp, eastbound into Port Authority. VOSEN -LRB- to Tac Team Leader. -RRB- Lethal force is authorized. TACTICAL TEAM LEADER I told - VOSEN Tell them again!",
"EXT. PORT AUTHORITY -- DAY Bourne runs up a one lane outgoing ramp.",
"INT. CRI CAR -- DAY The driver pilots his car up the ramp behind Bourne. He jams the accelerator down. He'll be on top of Bourne - running him over - in seconds -",
"EXT. PORT AUTHORITY -- DAY A New Jersey - bound bus exits the complex and heads around the corner of the ramp - it skids to a stop when it sees Bourne and the CRI car giving chase heading right at the bus.",
"INT. CRI CAR -- DAY The driver has to skid to a stop to avoid hitting the bus. Bourne slides between the side of the bus and concrete guard rail. The driver calls it in - SERIES OF SHOTS Cops and CRI cars close in on Port Authority. One agent jumps out of his car on 8th Avenue and rushes for the stairs. TACTICAL TEAM LEADER -LRB- V.O. -RRB- Block every exit. I want a full perimeter on Port Authority -",
"EXT. ROOFTOP PARKING LOT -- PORT AUTHORITY Bourne races up a set of stairs the rooftop parking lot. He surveys every aspect of his environment on the fly -LRB- which includes his taking a quick peak over the concrete railing at the east end of the roof. Next Bourne rushes toward the parked cars. Smashes the window of one to set off its alarm. Then a second and a third, setting off their alarms. The fourth window Bourne smashes in does n't set off an alarm. Bourne pulls the door open and climbs in. Inside the car Bourne reaches under the dash and yanks handful of wires off the steering column and starts to expertly hotwire the car.",
"INT. VOSEN'S SUV -- DAY TACTICAL TEAM LEADER -LRB- into radio. -RRB- Box him in! Box him in! SERIES OF SHOTS Agents race up stairwells. Two CRI cars careen up the ramp to the passenger parking -LRB- a separate ramp to the bus ramp we saw Bourne on earlier. -RRB- A third CRI car races through the parking level just below the roof and up the circular ramp to the roof.",
"INT. VOSEN'S SUV -- DAY TACTICAL TEAM LEADER -LRB- to Vosen. -RRB- He's on the roof. He's trapped.",
"EXT. ROOFTOP PARKING LOT -- PORT AUTHORITY Bourne works to hotwire the car. A CRI car gets to the roof. Two agents come from the elevator lobby. The three car alarms distract them. They search for Bourne, but ca n't find him at first. Bourne gets the car engine on - but, given the wonders of modern anti - theft technology his steering wheel is still locked. A second CRI car arrives. Bourne slams the car into low gear and backs up at high speed. He smashes into the car across the aisle from him. With a sharp metallic snap the wheel in Bourne's car is suddenly free, he jams the car into drive pulls out into lane and stops. Three CRI cars here now. Two head straight for him. A third blocks the exit ramp. Bourne checks the rearview and sees two more agents pour from the elevator lobby, one carrying the serious firepower of an M - 4 -LRB- an M - 16 variant whose bullets can penetrate metal and concrete -RRB-. They move into position to get a bead on him. Bourne assesses. But he does n't move. The agents swarm toward him. What the hell is he doing? Why is he waiting?",
"INT. VOSEN'S SUV -- DAY TACTICAL TEAM LEADER We've got him! He's got nowhere to run! VOSEN Take him out!",
"EXT. ROOFTOP PARKING LOT -- PORT AUTHORITY The agents clear their obstructions and drop their barrels toward Bourne - But before they can get a bead - Bourne slams the car into reverse again. Petal to the metal in reverse - The agents open fire. Bourne ducks the lead slugs ripping through the windshield. But there's no dodging the shower of broken glass. As Bourne disappears below the dashboard, the CRI agent adjusts his fire into the car's grill. Virtually blind, Bourne races the hard - pressed vehicle backwards as the agent's fire decimates the car's driveline. Bourne slips the car into neutral and takes a quick peek behind him. Steers still speeding but quickly dying car towards a small gap between two parked cars at the edge of the parking structure. Bourne's car splits the gap between the parked cars, hits the base of a low angled wall that slams the back of his car up and over the wall. Bourne is pounded as his car jounces onto the wall, a second later the front end seesaws over the top, the sudden angle change exposes for an instant the bottom of Bourne's car, to the shooters. Several rounds rip through the floorboard and tear past Bourne's head just before his car drops upside down for 25 feet and slams onto a row of parked cars. The impact rips Bourne from the seat and slams him hard against the roof. Bourne struggles out of the car, knowing he has only a moment before the armed agents will fire down into his over - turned car. CRI AGENT Ho - ly shit!",
"INT. VOSEN'S SUV -- DAY VOSEN -LRB- practically screaming into his handheld. -RRB- He did what?!",
"EXT. ROOFTOP PARKING LOT -- PORT AUTHORITY The CRI agents race to the spot where Bourne's car disappeared over the railing and reflexively fire into Bourne's car but they're too late! Bourne's already out. He disappears from sight under the covered parking structure. LEAD CRI AGENT Get down there! Get down!",
"INT. VOSEN'S SUV -- DAY As it speeds toward the spaghetti of ramps leading in and out of Port Authority - two blocks away. TACTICAL TEAM LEADER Who has eyeball on him?! Who has eyeball?!",
"EXT. ROOFTOP PARKING LOT -- PORT AUTHORITY One of the agents scrambles over the edge and starts to climb down. Other agents race for the stairs. TACTICAL TEAM LEADER -LRB- V.O. -RRB- Do n't tell me -",
"INT. VOSEN'S SUV -- DAY TACTICAL TEAM LEADER - you've lost him! Who's on street level?! Street level backup?! Clearly there is no one down there. Bourne's car jump from the roof has completely flat - footed them. VOSEN -LRB- to Wills. -RRB- Get NYPD backup! And FBI, DEA, any other federal assets we can draft!",
"INT/EXT. CIRCULAR RAMP Two CRI cars race down from the roof to try to get to the level Bourne's on.",
"INT./EXT. PARKING GARAGE -- TWO LEVELS BELOW ROOFTOP Bourne cuts off a guy cruising for a parking space and pulls him from his car and races away as the agent from the roof lands hard behind him. Bourne's race to the exit is cut off as a 3rd CRI sedan slides into view and it's occupants open fire on Bourne in a head on charge. The just stolen vehicle takes heavy fire as Bourne reacts instantaneously ; thumbing on the cruise control, shouldering his door open, and slamming the gas pedal to the floor as he dives out of the car. The agents react as Bourne's sedan torpedoes them head on. Hit hard they're taken out of the fight as metal collapses, glass shatters, and airbags explode. Bourne tumbles to a stop at the rear of a parked car as his car implodes against the oncoming agents. Instantly Bourne is on his feet, moving between the parked cars to engage another CRI sedan traveling parallel to the course of the wrecked one. The agents in this sedan are distracted by the still echoing crash and are caught off - guard as Bourne steps out and points his gun at the driver. The driver ducks and floors his gas pedal in a desperate effort to save his own life. As the sedan suddenly accelerates, Bourne deliberately shifts his aim to the sedan's front tire and fires. The tire explodes and the car suddenly veers left and slams into a parked car, pitching the driver violently against the unyielding interior of the sedan. An instant later Bourne rips the radio off the dazed drivers belt just before he cold cocks him with it. With the wreck still echoing through the garage Bourne has to deal with the arrival of the first NYPD sedan. Bourne takes on the persona of an alarmed witness as the on edge cop climbs out of his car but Bourne's performance is cut short as the agent running from his drop from the roof, arrives and opens fire. The police officer goes down in the hail of gunfire as Bourne turns and expertly drops the gunman with a single shot. The increasing volume of squealing tires alerts Bourne to a new threat, he pulls the officer into some cover and grabs the officer's radio. BOURNE 10 - 13. Shots fired. Officer down. Port Authority parking lot. Level four. Bourne rips a piece of his sweater off and ties a makeshift tourniquet for the officer. Then he hands the cop his radio back. BOURNE -LRB- CONT'D. -RRB- Stay out of sight until one of your own arrive. Bourne disappears. We pick him up as he jumps into the cops car and guns the engine and heads for the exits. CRI agents are confused for a second - until they pick up the NYPD car exiting Port Authority on one of the ramps. But that's all the time Bourne needs -",
"EXT. CROSSTOWN STREET -- DAY Bourne turns on his lights and siren and speeds east, followed closely by a CRI sedan. As cars yield to Bourne's siren a taxi tries to jump into Bourne's wake but a CRI sedan punches the taxi back to the right. It ricochets off several parked cars before regaining control.",
"EXT. CROSSTOWN STREET -- DAY Bourne struggles to keep his over - matched vehicle ahead of the more powerful CRI Sedan which tries to spin Bourne out by hitting his bumper. Bourne tacks right quickly and barely avoids a stopped car. The CRI sedan flanking Bourne's slams into the rear of that car, spinning it 180 degrees into the path of the trailing CRI sedan which destroys itself in the resulting collision and blocks the path of the other CRI sedan.",
"INT. BOURNE'S CAR -- DAY Bourne is home free. He looks around and spots a sign that indicates a right turn and says `` To Holland Tunnel / US 95.'' Bourne turns right - Suddenly the window next to his head explodes as two more shots rip through his door to tear a jagged wound into the top of Bourne's leg. REVEAL Paz, his SUV racing along the curb lane. As Bourne's car crosses in front of a small car stopped at the intersection Paz swerves his car into that car and punches it into the side of Bourne's car. Bourne's car is knocked spinning, Paz keeps charging forward and slams into the back of Bourne's car. With his front tires spinning wildly Bourne fights to straighten his car as another CRI sedan appears and tries to box Bourne's car by sliding into his path.",
"EXT. MANHATTAN STREET -- DAY Bourne just manages to punch his car into the right rear of the CRI Sedan and race down the Avenue with Paz and the slightly damaged sedan in pursuit. Paz gains on him and Bourne is forced to swerve violently to deny Paz the kill shot he is all too capable of. Just ahead of Bourne, two government SUVs slide into the intersection completely blocking his path. Bourne instantly spins his car 180 degrees and continues on, barreling into the roadblock backwards. As Bourne's car plows through the SUV's he whips the wheel and his car spins through a reverse 180 as Paz and the other sedan race through the wreckage in Bourne's wake. Paz and the CRI sedan are all over Bourne as he slides a right hand turn onto South St. as Paz and the CRI sedan overwhelm Bourne's battered vehicle.",
"INT. BOURNE'S CAR -- DAY On his police radio, Bourne singles out an NYPD officer -LRB- call sign Alpha - 2503 -RRB- racing toward the intersection just ahead. Bourne slows, then speeds up quickly to time it right : The CRI car almost hits his bumper, then has to accelerate through the upcoming intersection. As he does, the cop car Bourne was listening to on the radio slams broadside into the CRI sedan drafting the bumper of the mangled cop car. Swerving wildly Paz avoids the pileup and slams his heavy SUV into the back of Bourne's car, pushing him into the oncoming traffic. Several cars swerve left and right as Paz pushes Bourne sideways onto the ramped end of a K - Rail dividing the street ahead. The nearly upended car grinds down the K - Rail until the rear of Bourne's car strikes an obstruction which punches it back into the lane as it slams against the front of Paz's SUV, knocking the SUV sideways, into a row of parked cars. Bourne's car hits parked cars on the other side of the road. SMOKE and STEAM - SIRENS - CHAOS BOURNE kicks the window out of the police car. Gun up. Ready - NEARBY PAZ in the car. Still. Bloody from the crash, really fucked up. He comes to. and Bourne is there. Gun pointed at his head. The two assassins look at each other. then Bourne lowers his gun. and disappears. ON PAZ - as the wheels start to turn.",
"INT. HUB WILLS The asset lost Bourne. We lost him. Vosen reacts -",
"EXT. UPPER EAST SIDE -- LATE AFTERNOON Bourne exits from the subway. Bourne walks north.",
"INT. HUB Wills pacing. Bourne's profile is up on Screen 2. It says `` David Webb -LRB- AKA Jason Bourne -RRB-'' on the profile. A tech comes to Wills. TECH Sir, this may be nothing but, look at Bourne's birthday. Wills looks at the profile. Bourne's birthdate is listed as 9/13/70. WILLS What about it? TECH Well, Landy told Bourne his birthday was 4/15/71 so. Wills gets it instantly. WILLS Everything stops. -LRB- to the room now. -RRB- EVERYTHING STOPS! LISTEN UP! -LRB- they're listening. -RRB- New assignment. Numbers. Four. Fifteen. Seventy - one. What do they mean? Wills grabs his headset -",
"EXT. CRASH SITE -- DAY A CRI agent approaches Vosen. CRI AGENT Landy gave Bourne a false birthday. Wills thinks it's a code. It sinks in for Vosen. oh. shit.",
"EXT. SEVENTH AVENUE -- DAY BOURNE emerges into the crowed street, headed uptown.",
"INT. HUB Wills watches the techs work. TECH #3 - if you plug them in as variants of latitude and longitude you get Cameroon - Peru - Colombia - TECH #2 - San Francisco's got a four - one - five area code - TECH #1 - 41571 is the zip code for Varney, Kentucky - TECH #4 - there's no 415 West 71st Street, but there is a 415 East 71st - TECH #1 - if it's a substitution code, we're way short on variables, which I -. -LRB- no chance to finish as -. -RRB- WILLS - hang on - wait - Seventy First Street? Like what? Like York and First? TECH #4 That's correct. Wills like he's been hit. Like hard. As we cut to -",
"INT. VOSEN'S SUV -- DAY They race uptown. WILLS She gave him the facility. She gave him - VOSEN -LRB- into cell phone. -RRB- I know. -LRB- to driver. -RRB- Go! Go! Drive! -LRB- into cell phone. -RRB- We're already on our way. Turn the teams around. Bring them in behind me.",
"INT. VOSEN'S SUV -- LATE AFTERNOON Vosen steely eyed as they race uptown. He dials a number -",
"EXT. UPPER EAST SIDE -- LATE AFTERNOON Bourne reaches 71st street and 2nd Ave. He looks up at the sign.",
"INT. HIRSCH'S OFFICE (NEW BUILDING OF HOSPITAL) -- LATE AFTERNOON Hirsch's office is located in the SRD's `` front office'', which is located covertly on a floor of the new building of the hospital. He is the longtime head of SRD and a powerful behind - the - scenes official at CIA. THE CAMERA FINDS DR. HIRSCH, 70, is, put simply, not a man to be trifled with. He's a 45 year CIA veteran. One of the great brains in the Agency's history, but also a man who knows how to wield power silently, invisibly, and to tremendous effect. His phone buzzes. DR. HIRSCH -LRB- INTO PHONE. -RRB- Hello.",
"INT. VOSEN'S SUV -- LATE AFTERNOON VOSEN at the other end of the line - VOSEN -LRB- INTO PHONE. -RRB- Bourne knows everything. I think he's heading for you right now. Dead pause.",
"INT. HIRSCH'S OFFICE (NEW BUILDING OF HOSPITAL)-- DAY HIRSCH -LRB- INTO PHONE. -RRB- He's coming home, Noah. There's a wistfulness in the way he says it. But also the sense that this was absolutely inevitable. And he's calm about it, does n't show any fear, does n't reach for a gun. HIRSCH -LRB- INTO PHONE. -RRB- How long do I have? VOSEN Not long. Get out of there. HIRSCH No. I'm going to stay. VOSEN Are you crazy, he'll - HIRSCH He'll come to the training wing. That's what he knows. I'll keep him in play until you arrive.",
"EXT. NEW YORK -- HOSPITAL -- LATE AFTERNOON Bourne arrives at the `` Johnston Medical Center.'' He looks up to see `` 415''. FLASHBACK The image of `` 415'' that has been haunting his dreams.",
"EXT. NEW YORK -- HOSPITAL -- LATE AFTERNOON This is the place. When he looks down Landy steps out of the lobby to meet him on the sidewalk. BOURNE They'll kill you for giving me this place. LANDY 4/15/71 is n't much of a code. My guess is Vosen's already on his way. BOURNE Why'd you do it? LANDY This is n't us, David. What they turned you into, what they're doing with Blackbriar. This has to stop. BOURNE Then stop it. Everything you need is in there. Bourne hands her the black bag and enters the hospital. LANDY David. Come in with me. It's better if we do this together. BOURNE -LRB- shakes head. -RRB- This is where it started for me, this is where it ends. She watches the doors close behind him. Landy lets him go.",
"EXT. NYC STREETS -- LATE AFTERNOON QUICK SHOTS of six different CRI sedans and SUVs rushing toward the hospital.",
"EXT. HOSPITAL -- LATE AFTERNOON Landy looks in the backpack. - She unzips the backpack and looks in at the the Blackbriar Operations File. - A cover page inside : `` utmost secrecy''. `` potentially explosive public reaction would jeopardize the program''. - Another page : `` Terminated'' stamped across the photos of victims. Next to the victim from the inciting incident, the words : `` US citizen''. LANDY Oh, my God. - A third page, more photos, no `` terminated'' on these. Future victims. `` US citizen'' stamped next to each one.",
"INT. HOSPITAL -- LATE AFERNOON Bourne uses the card reader he took from Vosen's safe to enter a `` restricted access elevator.'' A guard comes. Bourne aims his pistol at him as the elevator door closes.",
"EXT. FIRST AVENUE -- OUTSIDE HOSPITAL -- LATE AFTERNOON Landy walks down the street. She looks up to spot two black sedans speeding east on 71st, turns south - two SUVs coming up York. Shit -",
"INT. VOSEN'S SUV -- LATE AFTERNOON A block south of the hospital, stuck in traffic, Vosen points. VOSEN Landy! Right there! She's got Bourne's backpack!",
"INT. 8TH FLOOR ELEVATOR LOBBY -- LATE AFTERNOON Bourne flips up the elevator stop button and uses the access card to enter a secure corridor -",
"INT. LOBBY -- LATE AFTERNOON Landy runs across the lobby.",
"EXT. FIRST AVENUE -- LATE AFTERNOON Vosen's SUV careens to a stop behind a bunch of traffic. Still a half block from the entry door but it's close enough -",
"INT. CORRRIDOR Bourne rushes down a nondescript corridor -",
"INT. HOSPITAL LOBBY -- LATE AFTERNOON Vosen and CRI agents rush into the lobby. VOSEN -LRB- to a group of six agents. -RRB- I'll find Landy. You get to the training wing and get Bourne! A security guard comes over. VOSEN Do you know who I am? -LRB- the guard nods. -RRB- Where's your security room?",
"INT. HOSPITAL CORRIDOR Landy looks around. Finds an open office. She pushes open the door and runs to the fax machine. She starts faxing the Blackbriar documents Bourne took from Vosen's safe.",
"INT. SECURITY ROOM -- LATE AFTERNOON Vosen enters. VOSEN I want to see all your footage for the last three minutes.",
"INT. SRD TRAINING WING (OLD BUILDING OF HOSPITAL) -- LATE AFTERNOON Bourne stares down the corridor from his dreams, the corridor Daniels lead him down in his flashback. We see Bourne go into - FLASHBACK That first day, Bourne's POV being led down this corridor by Daniels. BACK TO SCENE Bourne moves down the corridor.",
"INT. SRD TRAINING WING (OLD BUILDING OF HOSPITAL) -- LATE AFTERNOON Bourne reaches the end of the hall. He looks around `` flashback style'' - FLASHBACK Bourne was standing at this door.",
"INT. OFFICE -- LATE AFTERNOON Vosen enters the room. The last pages have been faxed. LANDY You better get a good lawyer. She exits. BACK TO SCENE Then spins, gun up - Hirsch is there, halfway down the corridor behind him. HIRSCH Put the gun down. I would n't be here if I did n't want to talk. BOURNE I've spent three years running. Three years trying to find out who I was. Hirsch moves toward Bourne, completely unfazed by the gun. HIRSCH You still do n't have it all back, do you? You have n't filled in all the pieces? BOURNE Let's start with the moment you found out I would n't execute Wombosi. The amnesia was n't the issue, it was the fact that I did n't pull the trigger. HIRSCH One lapse meant your conditioning had failed. Bourne grabs Hirsch and slams him against the wall BOURNE It was always you, behind Conklin, behind Abbott. They were just following orders. Bourne grabs Hirsch and pushes him to the wall. Searches him for weapons. HIRSCH -LRB- completely calm. -RRB- I'm unarmed, Jason. BOURNE -LRB- shoving Hirsch hard against the wall. -RRB- `` David.'' I'm David Webb. CLOSE ON Bourne's face - HIRSCH You were David Webb, but not anymore.",
"INT. SRD TRAINING WING CORRIDOR -- LATE AFERNOON Bourne stands with Hirsch. BOURNE Why me? Why did you pick me? A beat. HIRSCH You really do n't remember, do you? -LRB- beat. -RRB- You picked us, Jason. BOURNE What does that mean? HIRSCH You volunteered. Hirsch uses his free hand to hit the keypad on the wall. The `` room in use'' sign lights up. Bourne looks up `` flashback style'' - FLASHBACK Bourne remembers that keypad, that `` room in use'' sign from the first day.",
"INT. ROOM WHERE BOURNE FIRST MET HIRSCH Bourne and Hirsch enter. HIRSCH You volunteered right here. You did n't even blink, Jason. You just handed me these. Hirsch removes a pair of dog tags from his jacket pocket. Holds them out to Bourne. Bourne takes the dog tags. Stares at them. INSERT of the dog tags : Webb, David 946610190 O Negative Catholic FLASHBACK Bourne hands over his dog tags. HIRSCH -LRB- CONT'D. -RRB- Has everything been explained to you. BOURNE Yes, sir. PRESENT DAY HIRSCH You were a soldier ready to serve his country. Just like thousands of others, except you were a prodigy with languages. and a perfect shot. FLASHBACK HIRSCH -LRB- CONT'D. -RRB- Your missions will save American lives. PRESENT DAY BOURNE You said I'd be saving American lives. Instead you just turned me into a killer. Bourne raises the gun to Hirsch. HIRSCH You could have left at any time. And you knew exactly what it meant for you if you chose to stay. FLASHBACK HIRSCH When we're finished with you, you'll no longer be David Webb. BOURNE I'll be whoever you need me to be, sir. PRESENT DAY HIRSCH Stop running from the truth, Jason. You chose to come here! You chose to stay! And no matter how much you want to forget it. eventually you're going to have to face how you chose, right there, to become Jason Bourne! Bourne sitting in a chair, looking terrible. Hirsch looks at him from behind the desk. HIRSCH -LRB- CONT'D. -RRB- You have n't slept for a long time have you David? Have you made a decision? This ca n't go on, you know. You have to decide. BOURNE Who is he? HIRSCH We've been through that. BOURNE What did he do? HIRSCH It does n't matter. -LRB- beat. -RRB- You came to us. You volunteered. You said you'd do anything it takes to save American lives. You're not a liar are you? Or too weak to see this through? This is it. Let go of David Webb. Will you give yourself to this program? Bourne looks down, a gun in his hand. He gets to his feet swiftly and fires the pistol several times into a hooded figure. The man slumps over. Bourne stares at what he's done. HIRSCH -LRB- CONT'D. -RRB- You're no longer David Webb. From now on you'll be known as Jason Bourne. Welcome to the program. Daniels pulls the hood off the figure to show that he is dead. Just then Kramer walks through the door. KRAMER He's ready. Send him to Operations. PRESENT And now, in real time, Bourne comes out of the flashback. He stares back at Hirsch. HIRSCH Do you remember now? Bourne lowers the gun. BOURNE I remember. I remember everything. HIRSCH You ca n't outrun what you did, Jason. You made yourself into who you are. BOURNE I'm done running. That's why I'm here. To end you, to shut this down. I'm no longer Jason Bourne. HIRSCH So now you're going to kill me? BOURNE No. You do n't deserve the star they give you on the wall at Langley. Just then Bourne spins - agents arrive at the door. It's locked.",
"INT. HALLWAY The agents fire at the door handle to get it open.",
"INT. ROOM WHERE BOURNE FIRST MET HIRSCH Bourne looks out a window. Sees the layout of a roof several stories below. Then he turns and shoots out the room's mirrored observation window. Bourne dives through it just as agents rush in and open fire at him. SERIES OF SHOTS Bourne races through corridors, loosing the CRI agents.",
"EXT. ROOF -- NIGHT Bourne runs out onto the roof. Rushes across it to look over the edge. It's a straight drop to the FDR - 12 stories down. He races to another ledge - the East River below him. But he has to clear a 10 foot supporting wall at the base of the building to hit the water. He backs up to get a running leap. As he does, he turns and sees Paz, who is holding a gun on him. PAZ Why did n't you take the shot? Bourne looks at him. BOURNE Do you even know why you're trying to kill me? Look at what they make you give. Bourne turns and runs off the roof. Paz fires into the air. FOLLOW Bourne as he drops fourteen stories into the freezing river - MULTIPLE ANGLES - Bourne goes into the river. UNDERWATER Bourne in a dead man's float. as his clothes soak through he begins to sink. PULL BACK. farther and farther from Bourne's dead still sinking. as OVERLAPPING, INTERWEAVING VOICE OVERS begin : ANCHOR 1 -LRB- V.O. -RRB- FBI agents arrested several senior CIA officials today in connection with the broadening scandal enveloping Washington today - ANCHOR 2 -LRB- V.O. -RRB- Assassination program code - named `` Blackbriar'' was exposed by a former assassin named David Webb - - ANCHOR 3 -LRB- V.O. -RRB- Program reportedly targeting US Citizens in some cases. ANCHOR 4 -LRB- V.O. -RRB- CIA Director Ezra Kramer produced explosive documents for the Senate Committee indicating `` Blackbriar'' was authorized at the highest levels of government.",
"INT. BAR -- URUGUAY -- SUNSET Nicky goes to the bar of at a low end tourist bar with several other customers. She stands there, eyes fixed on a TV behind the bar : ANCHOR 5 -LRB- V.O., CONT'D. -RRB- Webb, who was known inside the intelligence community, as `` Jason Bourne'' jumped from the fourteenth floor of the CIA facility where he was trained in New York into the East River below. While experts say it would be nearly impossible to survive the fall, despite two weeks of efforts, his body has still not been recovered. PUSH in on the smile that develops on Nicky's face. As we CUE the Moby `` Extreme Ways'' sting - UNDERWATER Bourne's body sinking toward the bottom. when all of a sudden it comes to life - arms together, legs kick powerfully - And Bourne swims away. THE END"
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] | Following his pursuit by Kirill, Jason Bourne (Matt Damon) eludes Moscow police while wounded through a train station and deals with more flashbacks of when he first joined Operation Treadstone. Six weeks later, CIA Deputy Director Pamela Landy (Joan Allen) divulges the audiotaped confession of Ward Abbott, the late former head of Treadstone, to Director Ezra Kramer (Scott Glenn). Meanwhile, in Turin, journalist Simon Ross (Paddy Considine) of The Guardian meets an informant to learn about Bourne and Operation Blackbriar, the program succeeding Treadstone. The CIA tracks Ross as he returns to London, after his mention of "Blackbriar" during a cell phone call to his editor is detected by the ECHELON system. Bourne reappears in Paris to inform Martin Kreutz (Daniel Brühl), the brother of his girlfriend Marie Helena Kreutz (Franka Potente), of her assassination in India, also in the previous film. Bourne reads Ross's articles and arranges a meeting with him at London Waterloo station. Bourne realizes that the CIA is following Ross and helps him evade capture for a while, but when he panics and ignores Bourne's instructions, Ross is shot and killed by Blackbriar assassin Paz (Édgar Ramírez) on orders of Deputy Director Noah Vosen (David Strathairn). Vosen's team, reluctantly assisted by Landy, analyzes Ross's notes and identifies his source as Neal Daniels (Colin Stinton), a CIA Station chief involved with Treadstone and Blackbriar. Bourne makes his way to Daniels' office in Madrid but finds it empty. He incapacitates gunmen sent by Vosen and Landy. Nicky Parsons (Julia Stiles), a former Treadstone operative who shares a history with Bourne, tells him that Daniels has fled to Tangier and aids his escape from an arriving CIA unit. Nicky learns that Blackbriar "asset" Desh Bouksani (Joey Ansah) has been tasked with killing Daniels. Vosen sees that Nicky accessed information about Daniels and sends Bouksani after Nicky and Bourne as well, a decision with which Landy fiercely disagrees. Bourne follows Bouksani to Daniels but fails to prevent Daniels's death by a planted bomb. However, Bourne manages to kill Bouksani before he can kill Nicky. After sending Nicky into hiding, Bourne examines the contents of Daniels' briefcase and finds the address of the deep-cover CIA bureau in New York City, where Vosen directs Blackbriar. Bourne travels to New York. Landy receives a phone call from Bourne, which is intercepted by Vosen. When Landy tells him that his real name is David Webb and gives him the birth date "4-15-71", Bourne tells Landy to "get some rest" because she looks tired, tipping off that he is in New York and watching her from an overlooking building. Vosen intercepts a text to Landy from Bourne of a location to meet up, and leaves his office with a tactical team. Bourne, however, waits for them all to leave, enters Vosen's office, and takes classified Blackbriar documents. When he realizes that he has been tricked, Vosen sends Paz after Bourne, but the resulting car chase ends with Bourne forcing Paz's car to crash into a concrete barrier. Bourne holds the injured Paz at gunpoint, but spares his life. Bourne arrives at a hospital at 415 East 71st Street, having figured out Landy's coded message. Outside, Bourne meets Landy and gives her the Blackbriar files before going inside. Vosen also figures out Landy's code and warns Dr. Albert Hirsch (Albert Finney), who ran Treadstone's behavior modification program, that Bourne is coming. He follows Landy inside the building but is too late to stop her from faxing the Blackbriar documents out. Meanwhile, Hirsch is confronted by Bourne on an upper floor, who now remembers that he volunteered for Treadstone. As Bourne flees to the roof, he is confronted by Paz, who asks, "Why didn't you take the shot?" Bourne asks Paz if he knows why he's supposed to kill him, and repeats the dying words of The Professor in The Bourne Identity: "Look at us. Look at what they make you give." Paz lowers his gun, but Vosen appears and shoots at Bourne as he jumps into the East River. Some time later, Nicky watches a news broadcast about the exposure of Operation Blackbriar, the arrests of Hirsch and Vosen, a criminal investigation against Kramer, and the whereabouts of David Webb, a.k.a. Jason Bourne. Upon hearing that his body has not been found after a three-day search of the river, Nicky smiles. Bourne is shown swimming away in the East River. | The_Bourne_Ultimatum_(film) |
[
"EXT. SUBURBAN HOUSING DEVELOPMENT - DAY A big, yellow SCHOOL BUS pulls up to a corner and discharges a group of TEENAGERS. It's one of those fantastic spring afternoons and the kids take to their freedom like they were just sprung from Leavenworth. KIDS G'night, Joe. Have a good weekend, etc.. The BUS DRIVER does n't answer but nods and smiles as they deboard. He is a pleasant looking elderly man, wearing a khaki work shirt, a matching cap and chewing on an unlit, twenty - five cent stogie. The DOORS fold shut, the GEARS GRIND and the bus continues along its route.",
"INT. SCHOOL BUS - DAY While there are only about a dozen kids on the bus, the noise level is deafening. GIRLS are yapping, GUYS are horsing around, someone is fiddling with a ghetto - blaster, trying to decide among several loud stations.",
"EXT. SUBURBAN STREET - DAY The bus turns a corner, taking them out of the development and past some older, less identical looking residences spaced more widely apart.",
"INT. SCHOOL BUS - DAY The Driver downshifts the old heap, pulls the wheel over to the curb and reaches over to push the door lever open. KIDS file out down he aisle, some of them wishing him well as they leave. ANOTHER ANGLE as the gears grind again and the bus pulls away. We see that there are only a few KIDS remaining : TWO GIRLS sit together toward the center and a lone, nerdy - looking BOY sits at the rear. The DRIVER is in front of an aluminum divider and, except for the top of his cap, can not be seen. END MAIN TITLE SEQUENCE ON THE THREE KIDS The two girls are pretty, teen - fashionable and just a little immature. One of them turns back to look over her shoulder. CLOSER ANGLE - THE BOY Poor kid. About 17, four - eyes, bad skin, lousy posture and an obvious inferiority complex. He's sweating profussely and he stands slightly to unlatch and lower the window. He pulls down on it with all his strength but it is hopelessly stuck. He sits back down and sighs. Suddenly, he feels the girl's stare. he does n't turn but sends his eyes over to see who's goggling at him. ON GIRLS - JESSE'S POV The first girl turns back to her friend to whisper something. The friend turns around to see for herself.",
"INT. BUS The boy stares forward now and catches her glance directly. The girls shift quickly in their seats to face forard and let out with an uncontrollable rush of mean giggles. The boy is clearly embarrassed now and looks down at the books in his lap. We hear the engine REVVING - the bus seems to be picking up speed. One of the girls stands, ready to get off. GIRL'S POV OUT WINDOW : EXT.. STREET A MOTHER, her PRE - SCHOOL CHILD on a TRICYCLE and their DOG wait for the bus to discharge the girl.",
"EXT. STREET The bus speeds past the waiting group, to their amazement.",
"INT. BUS The standind girl's jaw drops open as they shoot by a familiar looking intersection and continue to pick up speed. FIRST GIRL -LRB- to her friend. -RRB- Hey! -LRB- calling to driver. -RRB- Hey, that war our stop! The bus turns a sharp corner and the first girl almost falls. The second girl grips onto the seatback and lifts herself to her feet. SECOND GIRL -LRB- calling to the driver. -RRB- Hey, Joe! Our stop! HER POV - THE FRONT OF THE BUS The unseen driver ignores the calls and continues picking up speed. We might notice that his hat has changed ; in place of the cap, we can see the top of a BATTERED OLD FEDORA. SECOND GIRL -LRB- O.C. -RRB- Hey, let us off!",
"EXT. TWO-LANE STREET - DAY The sky has suddenly turned ; a wave of threatening clouds sweeps overhead and the WIND is churning a planting of roadside weeping willows into a tangled mess of yellow tendrils. The bus WHINES near the top end of third, all of its FLASHERS are going like the dashboard was having a major coronary. It passes the last house and heads into open terrain. IN THE BUS THE SECOND GIRL steps into the aisle and starts making her way toward the front of the coach. SECOND GIRL -LRB- under her breath. -RRB- Deaf old fart. She stops suddenly and GASPS as she watches THE DRIVER'S ARM emerge to throw the floorshift into fourth. His hand is clad in a strange GLOVE that tip his fingers with a menacing set of RAZOR - SHARP, STEEL TALONS. His sleeve is charred and smoking. The bus SWERVES WILDLY as it skids around a corner, throwing its few passengers into collision courses with the walls and each other. A FLASH OF LIGHTNING crashes through the air.",
"EXT. DESERT LANDSCAPE As the lightning subsides, the sky is dark. The BUS SCREAMS along, banging through rocks and ditches, CRASHING through a wall of overgrown brambles. Thick clouds of steam pour out from under he hood and stream back along toward the rear of the vehicle. ON THE BOY holding o to his seatback and watching out the window in terror as trees TEAR loose from the ground i the bus ` wake. We hear a LOUD RUMBLING and the bus begins to shake as if the planet itself is splitting in two. ON THE BUS Skidding across the desert landscape, being THROWN to and fro laterally, at the mercy of the shuddering landscape. ON A FRONT WHEEL as the tire smacks into a jagged boulder, SNAPPING the wheel from its axle. ON THE FRONT END BOUNCING to a violent halt, the bumer digging a long trench into the earth. IN THE BUS THE KIDS pick themselves up from the floor. It is very hot and smoky inside. They have moved closer together now, sweating, scared. Frantically, the boy tries to open a window, but it will not budge. He looks out the window and gasps.",
"EXT. POV FROM WINDOW THE GROUND below begins to SPLIT apart and tumble into a deep fissure that is encirling the bus. ON THE MOOR, THE BUS CENTER The land is IMPLODING all around it ; huge chunks of the earth's crust are shearing themselves loose from the edges of the fissure and tumbling into oblivion. In moments, the bus is stranded on the narrow tip of a towering ridge of crumbling stone. The bus teeters precariously, tasting the smoky abyss in every direction. INSIDE THE SECOND GIRL is on al fours in the aisle. She looks up toward the driver's seat. SECOND GIRL -LRB- seeing something hideous. -RRB- Jesus! She scrambles to her feet and begins backing off. The floor of the bus shifts dangerously, throwing the girl into the edge of one of the seats. ON THE DRIVER as he makes his way toward the back. We don' g see his face but he is dressed in a filthy green and red sweater. In the B.G., the dashboard instruments are sparking and sending thick black fumes toward the ceiling. SMOKE is rising off his body as if he just stepped out of some horrible fire. A small patch of skin on his hand sizzles and pops and drips a molten glob of flesh that burns a small hole in a seat cushion. His Razor - Talons sweep along the tops of the seat - backs CUTTING deep gashes into the green vinyl upholstery and SCRAPING horribly over the tubular steel support poles. ON THE BOY Terrified. Lookign first at the awful talons, then out the window at the DEADLY DROP and back at the bus driver. ON THE GIRLS Sweating, panicking. They back away, going from window to window, trying desperately to pull them down. They're all locked tight. One reaches for the emergence door leer at the rear of the bus. It comes off in her hand. The kids huddle together, petrified, screaming, as the driver is upon her. CU : DRIVER He lifts the awful, talonned glove in f.g. Behind, obscured by smoke, we see, for an instant, his fce - the face of FREDDY. he raises his weapon arm higher and STRIKES.",
"INT. WALSH HOUSE - KITCHEN - MORNING CLOSE on a steel blade cutting into red flesh. We PULL BACK and see that it is MOM, slicing a tomato at the kitchen counter. This is an all - American family ; along with a MOM, there's a DAD and a kid sister named NGELA and they ll are having breakfast together. A moment later, there is a muffled, OFF - CAMERA SCREAM. Mom looks up. We can also make out the RINGING of an alarm clock in another part of the house. ANGELA jumps slightly at the scream. She's a pretty little eleven - year old, genuinely cute, not precocious. ANGELA -LRB- to Mom. -RRB- Why ca n't Jesse wake up like every - body else? MOM -LRB- hushed. -RRB- Shhh. He must've had another night - mare.",
"INT. WALSH HOUSE - JESSE'S ROOM - MORNING ON JESSE'S BED. An alarm clock RINGS LOUDLY. JESSE WALSH -LRB- 17 -RRB- is sitting up in bed. He's sweaty and scared and disoriented as he slams his hand down on the alarm and tries to shake the nightmare out of his head. We see that he's the boy on the bus only he's not half - bad looking - far from nerdy. he has no skin problems and he does n't wear glasses and his body's in good shape. As he gets out of bed, still shaky from the dream, and we see that his bedroom is littered with cardboard cartons - most of them open and half - empty. He trips over a carton on his way to his jeans.",
"INT. WALSH HOUSE - KITCHEN - MORNING Mom is at the stove cooking eggs for her family. She looks up, worried, as Jesse comes in and heads for the refrigerator. JESSE -LRB- mumbles. -RRB- ` Morning. MOM -LRB- putting on a smile. -RRB- ` Morning, honey. Jesse pours himself a GLASS OF MILK from the fridge. He joins Dad and Angela family at the breakfast table. DAD You got your room straightened out yet? JESSE -LRB- yawns. -RRB- It's getting there. DAD We've only been living here six weeks now. I want that room unpacked by tonight. MOM comes over with some eggs for Dad. MOM -LRB- to Jesse. -RRB- Want some eggs. Angela, what are you doing? ON ANGELA She is struggling to put her hand deep into a box of FU - MAN CHEWS breakfast cereal. ANGELA -LRB- frustrated. -RRB- I'm trying to get the Fu - Man Fingers! Printed on the box is a cartoon caricature of the Oriental doctor pointing to a bowl of his product with one of his long, sharp fingernails. there's a burst above the product name that reads : `` FREE INSIDE - FU - MAN FINGERS'' and shows a drawing of a hand wearing several extra - long, red plastic fingernails on its fingertips. Mom lets Angela go o with her search and turns back to Jesse, waiting for his answer. MOM Jess? JESSE Huh? MOM Eggs? Jesse rubs his temples. He was away for a minute but he's back now. JESSE Oh. uh, no, just some milk, Mom. MOM You okay? Dad eyes him suspicously. JESSE Yeah, I'm fine. Just really hot upstairs. MOM -LRB- nods. -RRB- I know it's warm. -LRB- to Dad. -RRB- I wish you'd call someone to check out the air conditioning, Ken. DAD -LRB- defensively. -RRB- I know what's wrong with the air coditioning - just needs a shot of freon, is all. JESSE Dad's fixin' something again. Hit the deck! DAD Do n't be a smart ass. A short silence as they all look back to their plates. MOM -LRB- to Jesse. -RRB- So, school going alright? JESSE -LRB- shrugs. -RRB- Okay, I guess. MOM Making friends? Jesse is looking around for some escape - this interrogation is getting a little too personal. JESSE Yeah, you know how it is. ON ANGELA She grabs onto the prize at the botto of the box and gives a yank. A bagful of Fu Man Fingers come out in her hand along with half the box of cereal. SOUND OVER : DOORBELL RINGING Mom turns to answer the door, but Jesse immediately jumps up and cuts her off. JESSE That's Lisa - I got ta get to school. DAD -LRB- calling after him. -RRB- Who's Lisa? But Jesse is gone ; just a kitchen door, swinging in his wake.",
"INT. WALSH HOUSE - FOYER - DAY as JESSE opens the front door to LISA POLETTI -LRB- 17 -RRB-. She is facing the street and she turns around when she hears the door open. Not a knock - out but real pretty, with an intelligence and sweetness about her - she is truly lovely. LISA Hi. She smiles and Jesse's eyes light up.",
"EXT. WALSH HOUSE - DAY They walk to JESSE'S CAR - a beat - up, blue Falcon parked curbside. JESSE -LRB- gratefully. -RRB- your timing was perfect - I was getting the third degree in there. LISA How come? JESSE Ah, nothing. Jesse opens Lisa's car door for her. She steps in and sits down. IN THE CAR The interior is worse than the body. The upholstery is torn to shreds, the dashboard is cracked and peeling and there's a big hole where the radio used to be. A cheap, A.M. transistor radio hangs by its wrist strap from the rear - view mirror. Jesse hops in and shifts around to get comfortable, and reaches under the dash to pull out a couple of bare wires. Lisa watches him routinely twist the wires together, amused. LISA Are n't you afraid somebody could steal your car like that? JESSE -LRB- preposterously. -RRB- Look at this car. Are you kidding? He sits up again and reaches for a toggle switch that has been crudely drilled into the dash. He flicks the switch. Jesse moves his finger to another alien button in the dash and pushes it. The STARTER turns over slowly, the engine BACKFIRES and the car starts noisily. Jesse gives her the `` thumbs up'' as if he were a World War I Ace and puts the car into gear. It BUCKS and FARTS and rumbles up the street.",
"EXT. POOL - REAR, WALSH HOUSE - DAY DAD floats on a FOAM CHAIR in the middle of the rather run - down pool, sipping coffee from a MUG bearing the word `` DAD''. He looks over his domain with satisfaction and inhales a deep breath of fresh, suburban sir. MOM comes out the back door. She looks just a bit worried. MOM Ken, should n't you be getting to the office? It's almost nine. KEN As soon as i finish my coffee. I'm enjoying my pool right now. -LRB- sips his coffee. -RRB- I love our new house. Do n't you? MOM -LRB- sighs heavily. -RRB- Of course I do, Ken. KEN What's the problem, Shirl? MOM -LRB- pointing behind her. -RRB- It's just I'll be a lot happier when you finish taking down those bars. CAMERA PANS UP AND ZOOMS IN to reveal BARS ON THE UPPER WINDOWS - this is the old Thompson house, replete with the security paraphernalia that kept Nancy Thompson prisoner five years prior. MOM -LRB- O.C. -RRB- People that lived here before must have been truly paranoid.",
"EXT. HIGH SCHOOL - DAY Establishing shot of school, shot from parking lot with JESSE'S CAR in f.g. School is in session, so the only students we see are TWO CLASS - CUTTERS leaning against a car passing a JOINT.",
"EXT. HIGHT SCHOOL PRACTICE FIELD - DAY An intramural SOFTBALL GAME is in progress. COACH SCHNEIDER, a nasty looking ex - Marine, stands behind home plate as an umpire. JESSE is covering second base. RONNY GRADY, a tough - looking wise - ass type, steps up to the plate. He knocks the mud off his sneakers with his bat and takes his stance. ON JESSE He glances over to the adjacent field. HIS POV The GIRLS are in the middle of archery instruction. LISA is there, mighty tempting looking in her little, powder blue gym suit, a quiver strapped to her shoulder and a longbow in her hand. KERRY, a dizzy, Bloomingdale's - punk, steps up alongside Lisa as the latter catches Jesse's stare. SCHNEIDER -LRB- O.C. -RRB- Strike! KERRY -LRB- to Lisa, re Jesse. -RRB- He made any moves yet? Lisa smiles and waves to Jesse. LISA -LRB- aside to Kerry. -RRB- I only know him a few weeks, Kerry. ON JESSE He waves back. BACK TO LISA AND KERRY KERRY I think he needs a push start. Lisa turns to face the target, slides an arrow into the nocking point, draws back the bowstring and lets the arrow go. ON THE TARGET It's a bull's - eye. CRACK! GRADY gets hold of a perfect pitch and sends it flying over the head of the PITCHER. BACK TO JESSE BOOM! The ball skids off the side of his head and the kid collapses. HIS TEAMMATES rush to his side and help Jesse to his feet. He's more embarrassed than hurt and he waves away any over - attention. COACH SHNEIDER joins the circle of bodies around him. SCHNEIDER You okay? JESSE Yeah, I'm fine. SCHNEIDER -LRB- walking away. -RRB- Well, pay attention, next time! Jesse re - takes his position on the base. GRADY -LRB- O.C. -RRB- Maybe you oughta try something a little more your speed, Walsh. Like knitting. Jesse just now realizes that it was Grady who scored a double off his skull. He's standing just off the bag, harassing Jesse while waiting to be hit home. JESSE -LRB- flipping him the bird. -RRB- Knit this, Grady. GRADY sneers and gives him the `` JACK - OFF'' sign. JESSE tosses an `` ITALIAN SALUTE'', slapping one hand into the crook of his arm and throwing up `` THE FINGER'' for good measure. GRADY grabs his own crotch and points to it obscenely. ON THE PITCHER He sends one over the plate, the BATTER catches it dead - center and POUNDS it back to left field. GRADY makes a break for third, only to be forced back by teh LEFT FIELDER tossing the ball to the THIRD BASEMAN. ON JESSE His glove up to receive the throw as Grady STEAMS towards him. The ball snaps into Jesse's mitt and Grady turns on his ankles to shoot back to third. Jesse and the third baseman toss the ball between, each time moving closer in toward Grady. Grady switches directions with the ball, trapped between them. GRADY dives into a HEAD - FIRST SLIDE, trying to sneak past Jesse. JESSE swoops down and tags him out. Thorougly aggravated, Grady rises to his feet by reaching out and grabbing onto Jesse's gym shorts and yanking them down to his ankles, revealing jesse's bare buns - in - a - jockstrap to the world. JESSE lunges for Grady, trips over his shorts and the two of them begin rolling around in the dirt, duking it out. ON THE GIRLS IN THE NEXT FIELD watching the wrestling match with ausement. ON LISA AND KERRY Lisa tries like hell to repress some laughter. KERRY Cut ass. ON SCNEIDER pushing his way through a crowd of laughing, cheering SPECTATORS and jumping in to break up the scuffle. He lifts both boys up by their necks. SCHNEIDER Okay boys, assume the position!",
"INT. COACH'S OFFICE - DAY Schneider is at his desk. TWO BOYS carrying gym bags pass outside the Coach's office. They wave to him through the WIRE - GLASS WINDOWS. BOYS ` Night Coach. Schneider gives them a cold glance. He checks his watch, gets up and goes to a window to look outside. HIS POV - THE PRACTICE FIELD JESSE and GRADY, side by side in the center of the baseball diamond. They are in `` front - leaning rest'' position, the cruel and painful frozen pushup that ends halfway to the ground with elbows bent. We do n't know how long they've been out there but it's probably hours. It seems just a little darker out and a lonely wind is blowing around their arms and legs. In the B.G., KIDS are filing out of the building - some sop to look out at the two boys, point and snicker. We see LISA among the kids. She stops for a moment and views the scene with concern. ON JESSE AND GRADY They are dirty, their shirts are ripped and Jesse has a tiny bruise over his cheek. And they're tired too. The muscles in their arms are twitching convulsively and they talk to each other between groans and through teeth clenched with pain. We hear the OFF - CAMERA SOUND of several busses pulling out. JESSE How much longer you figure he'll keep us out here? GRADY Could be all night. -LRB- nodding in the Coach's direction. -RRB- Guy gets his rocks off like this. Hangs out in queer S & M joints downtown. Likes prettyboys like you. JESSE Get outa here. Grady does n't pursue it. Instead, he looks around and tries to think of some small - talk. GRADY -LRB- finally. -RRB- So, what about you and that Poletti girl? JESSE What about it? GRADY You two got a thing going, or what? JESSE She's a neighbor, I drive her to school. GRADY She giving you any carfare for the ride? JESSE You got a problem with me, Grady? GRADY -LRB- shrugs. -RRB- Naw. Just killing time. SOUND OVER : A WHISTLE BLOWING ON THE COACH Dressed in his street clothes, crossing the field toward the faculty parking lot. He pulls the whistle from his mouth. SCHNEIDER -LRB- to the boys. -RRB- Okay boys, hit the showers.",
"INT. BOYS LOCKER ROOM - DAY JESSE and GRADY stand at opposite ends of a row of lockers and change into their street clothes. Their movements are slow and cumbersome - like a pair of creaky old men. GRADY -LRB- finally. -RRB- So, you live around here. JESSE -LRB- sighs wearily. -RRB- Not too far. My folks bought a place over on Elm Street. Grady stops buttoning his shirt and looks up at Jesse. GRADY Elm Street? You telling me you moved in to that big white house with the bars on the windows? JESSE Yeah, why? Grady shakes his head and tucks his shirtails in. GRADY Shit, you can tell your old man he's a real chump. JESSE What the hell are you talking about? GRADY They've only been trying to unload that dump for five years. That place is bad news. Some chick was locked in there by her mother and she went crazy. She watched her boyfriend get butchered by some maniac in the house across the street. Her poor drunken momma took her own life right inside your front door. Jesse stares dubiously at Grady. JESSE -LRB- with a nervous laugh. -RRB- You're full of shit. Jesse pulls his knapsack from the locker shelf, slams the door shut and walks away. ON GRADY He smiles mischievously and shuts his own locker door.",
"EXT. SCHOOL PARKING LOT - DAY JESSE'S CAR is parked among a handful of others. LISA leans against the front fender, waithing patiently. HER POV JESSE steps out of the building and spots her. he hurries across the lot. ON LISA as Jesse approaches. JESSE -LRB- surprised to see her. -RRB- Hi! You did n't have to wait. LISA That's okay, I wanted to. He raises an eyebrow as he opens the door for her. He likes that. ANOTHER ANGLE as Jesse slides in beside her and STARTS the engine. She looks him over. He looks like he's been through the mill a couple of times. LISA You okay? JESSE Yeah, yeah, sure. LISA Let me look at your eye. Jesse lifts his chin to show off the tiny bruise over his cheekbone. He looks almost a little proud of it - like it's an old war wound. Lisa touches it tenderly. LISA You should n't be fighting with that jerk. JESSE Who, Grady? Grady's alright, he's just a hothead. LISA You mean a shithead. JESSE -LRB- laughs. -RRB- Yeah. He guns the engine and they pull away.",
"EXT. WALSH HOUSE - ESTABLISHING SHOT - NIGHT It's very late. The house is dark and even the crickets have hit the sack.",
"INT. JESSE'S BEDROOM - NIGHT JESSE's having trouble sleeping. He turns over on different sides and punches up his pillow a couple of times, stares into space and finally sits up. He gets out of bed, pulls on a pair of pants and exits. KITCHEN He enters. The room is lit only by the glow of a three quarter moon. He regains his composure and steps over to the sink to pull off an absurd length of paper toweling. We see it just when Jesse does ; a GROTESQUE FACE has been peering into the window all this time. It disappears from view on Jesse's DOUBLE TAKE. Jesse stops for a moment to slow down his heart. He takes a deep breath and steps up to the back door. He opens the door.",
"EXT. SIDE OF WALSH HOUSE - NIGHT Jesse opens the gate and enters. It is really quiet ; not even night - sounds. He strains to see past the shrubbery that surrounds the house. JESSE -LRB- hoarse whisper. -RRB- Grady? He looks around. JESSE It better be you, you son of a bitch! We hear an awful sound from somewhere - WOOD RIPPIGNG. Jesse makes his way cautiously along the side of the house. He notices a red - orange LIGHT is flickering from behind a cellar window. He gets down on his hands and knees to investigate. THE CELLAR - HIS POV An INTRUDER is bent over by the furnace, lit only by a raging fire in the fire - box. He puts his hand right into the flames and begins digging for something way in the back of the furnace. We ca n't see his face but he is dressed in a filthy green and red striped sweater and a battered hat. He pulls out a bundle of rags, sets it on top of the furnace and proceeds to unwrap it. ON JESSE JESSE -LRB- petrified. -RRB- Holy shit. He stands up and looks around frantically. He does n't know what to do. JESSE -LRB- near tears. -RRB- Holy shit. He hurries out the gate that leads to the front of the house.",
"INT. WALSH HOUSE - NIGHT Jesse enters the house and scans the foyer. He heads toward the cellar door. It is ajar - the LOCKHAS BEEN SPLINTERED AS IF BY A HUGE WRECKING BAR - and we can hear the ROAR of the furnace from below. He sticks his head inside the cellar door and peeks down. HIS POV The SHADOW OF A FIGURE ; movement on the cellar walls. ON JESSE Breathing heavily. Brain whirring. SLAM! He pulls the basement door closed and holds it shut tight, practically hyper - ventilating. JESSE -LRB- screaming. -RRB- Dad! He looks around frantically. JESSE DAD! Something inside starts to pull the cellar door open. Jesse tries to hold it shut, but the inexorable force continues to inch it open. Jesse lets go and bolts toward the foyer. FREDDY is standing in his path, a sick smile on his scarred face. He flashes his razor - knives at Jesse. FREDDY -LRB- sinisterly. -RRB- Daddy ca n't help you now. Jesse tries to make a break for it but Freddy is too fast. His un - taloned hand gets an iron grip on Jesse's shirt collar. FREDDY I've been waiting five years for you, Jesse. We got special work to do, you and me. Things are really gon na heat up. Jesse struggles to get free. Freddy tightens his iron grip and fans his talons threateningly. Jesse's head stretches back from the chocking pain. FREDDY We'll do real good together, you and me. Freddy hurls Jesse against the wall. FREDDY You got the body. -LRB- doffs his hat. -RRB- I got the brains. With that, Freddy removes his hat. There is no skull under there - just a pulsating mass of blody BRAIN MATTER. JESSE lets out an agonized SCREAM.",
"INT. JESSE'S BEDROOM - NIGHT ON JESSE, still in bed but his entire body arched backwards over the mattress. His scream continues until he collapses back down into the sheets. ON HIS DOOR It flies open and DAD crashes into the room, followed by MOM. They go to his bedside and stare at him as he pants and coughs his way back to consciousness. MOM -LRB- to Dad. -RRB- Maybe we should call a doctor. JESSE No. I'm okay. He sits up to prove it. JESSE Really. Just a bad dream.",
"INT. HIGH SCHOOL BIOLOGY CLASSROOM - DAY A rather bored looking group of STUDENTS is listening with little interest to the droning of their teacher, MR ABLE, who is lecturing them from the front of the room. MR. ABLE So, to review, the solid waste, those nutrients that are not absorbed in the lining of the stomach, the large intestine, the small intestine - the alimentary canal - are passed out through the colon. SOUND OVER : A FAKE FART LAUGHTER from the class. ABLE looks up crossly from his notes until the laughs trail off. MR. ABLE -LRB- O.C. -RRB- -LRB- continues. -RRB- The liquid nutrients are then carried through an elaborate system of filtering, aided by the pancreas, liver and gall bladder. TWO GIRLS at the back of the room look at each other. One puts her finger in her mouth and pretends to gag. As Able DRONES on in the B.G., we're ON JESSE He's having a hell of a time keeping his eyes open. His head bobs intermittently as he starts to nod out. ON GRADY He nudges a CLASSMATE at the next desk to look over toward Jesse. They snicker. ON JESSE, THEIR POV nodding out BACK TO ABLE MR. ABLE Or collected in the bladder to be expelled at a later time. And this entire process is kept moving through `` the circulatory system'', the center of which is. -LRB- a beat. -RRB-. the heart. On the beat, he reaches under his lab table and plunks a BLOODY CALF'S HEART down right in the center of it. We hear DISGUSTED GROANS from the class. MR. ABLE Four chambers, just like the human heart, really. Able describes the path by sticking his index finger into each orifice. MR ABLE From the body, through the right auricle, to the right ventricle and out the pulmonary artery to the lungs. BACK TO JESSE, ASLEEP A particularly ugly and ferocious looking SNAKE is wrapping itself around his arm, making its way toward Jesse's face. CLOSE ON JESSE As he wakes up slowly and looks down groggily toward his arm. THE SNAKE opens wide and emitsa long demonic hiss. Jesse screams and hastily begins pulling the reptile away from him. ON ABLE Standing next to Jesse, he pulls the snake off his arm and drops it into a nearby tank. MR. ABLE If you want to play with animals, Mr. Walsh, join the circus. GUFFAWS from the class. JESSE looks around, bewildered and embarrassed. He spots GRADY, grinning widely.",
"INT. THE WALSH HOUSE - LIVING ROOM - EARLY EVENING Comfortable and very suburban. A major color T.V. takes up the wall opposite a pair of His and Hers Barcaloungers. DAD is watching The Six O'clock News on the tube and fanning himself with a T.V. Guide. MOM sits on the couch with ANGELA, helping her with a jigsaw puzzle. TWO PARAKEETS are fluttering around inside a cage near the entry into the dining room. JESSE bounces down the stairway, a rolled towel tucked under his arm. DAD stares at him angrily then turns back to the game. JESSE CROSSES in front of the set on his way out of the room. DAD Where are you going? JESSE Just out for a while. DAD -LRB- shaking his head. -RRB- I told you I want that room unpacked. JESSE -LRB- begging. -RRB- Oh, come on Dad. DAD No. -LRB- pointing toward the stairway. -RRB- Upstairs. Jesse's about to protest but Dad cuts him off. DAD -LRB- firmly. -RRB- Now. Jesse turns around, mumbles something under his breath and stomps back upstairs.",
"EXT. LISA'S HOUSE - POOLSIDE -EARLY EVENING A pair of glass sliders lead from the house onto a stretch of patio that surrounds a gorgeous built - in swimming pool. The patio is dotted with all the amenities of backyard recreation : a gas bar - b - que grill, a wet - bar, plenty of pipe furniture and even a pair of free - standing cabanas. The entire set - up is contained by a six - foot, chain link security fence. LISA steps out of the cabana, wearing a swim suit. She tosses her towel onto a nearby chair and crosses to the diving board. ON THE BOARD She bounces lightly and jumps off, cutting gracefully through the water and coming up in the center of the pool. MRS. POLETTI, a pleasant looking woman in her late 40's, slides open the patio doors and pokes her head out. MRS. POLETTI -LRB- calling. -RRB- There's a Jesse on the phone. LISA -LRB- O.C. -RRB- Okay. thanks. LISA swims to the edge of the pool and hoists herself up. She throws the towel over her shoulders and picks up a wireless phone from a low table. LISA Jesse, hi. -LRB- a beat, diappointed. -RRB- Oh. that's okay. Sorry you ca n't make it. -LRB- a beat. -RRB- No, I understand. Parents can be real pains. I'll see you in the morning, then. She hangs up and frowns.",
"INT. WALSH HOUSE - JESSE'S ROOM - NIGHT JESSE stands at the foot of the bed, surveying the job unhappily and trying to figure out where to start. Finally, he pulls a SHOE BOX from inside a larger carton, places it on his desk and lifts the lid. It's full of cassette tapes. He rifles through them, selecting one and popping it inot a PORTABLE CASSETTE PLAYER on the desk. He pushes the `` play'' button. The tape is ROCK AND ROLL. The music gets him moving a bit. He surveys the room, then goes to A CARTON NEAR THE BOOKSHELVES. He reaches deep into the near - empty carton and pulls out a stack of books which he plops on the shelves next to other books already unpacked. He tosses the carton aside. He's getting into the music now as he spins around to face the bureau. He opens a SMALL POX on the bureau while be - bopping along and pulls out a PAIR OF SUNGLASSES which he puts on, practically dancing. He dumps the contents of the box haphazardly into a bureau drawer. JESSE opens a large bureau drawer. He grbs a nearby box and dumps it into the large drawer, smoothing it over perfunctorily with his hands. A Stetson cowboy hat is on top. He drops it on his head and pulls it down low over his eyes. ON A FULL LENGTH MIRROR Jesse steps into frame to get a look at himself. He likes what he sees as he mimes a guitar riff along with the music. In one smooth move, in rhythm with the music, he seings around and moves to the desk. He dumps a SMALL BOX OF PENCILS AND SUPPLIES into the desk drawer. As an afterthought, he grabs a couple of pencils out of the drawer and drums a few beats on the desk with them. He shoves the pencils up his nostrils, tucks his thumbs under his armpits and waves his elbows like he's doing the `` Funky Chicken''. Silly stuff that one owuld only do behind closed doors. He spins around, throwing his arms out and stopping ddead in his tracks. HIS POV LISA and MOM are standing in his doorway. Mom looks horrified. Lisa represses a giggle. Mom reaches over and knocks timidly on the open door. Jesse hastily pulls the pencils out of his nose and dives for the stereo to turn it off. Beet - red, he tosses the hat and sun glasses onto the bed and tries to look nonchalant. JESSE -LRB- embarrassed. -RRB- Hi. Jesse looks to Mom who takes the hint and turns to leave. Lisa takes a step into the room. LISA -LRB- when Mom is out of range. -RRB- I told her you invited me over. I guess I should have called, huh? Behind the embarrassment, he's glad to see her. He puts the pencils in the desk drawer and shuts it. JESSE No, that's okay. I was just. unpacking. LISA I know. Lisa casually steps over to a carton and peeks in. LISA I figured you might like some help. JESSE -LRB- pleasantly surprised. -RRB- Yeah? JESSE'S ROOM - LATER The room is shaping up nicely with only a few boxes remaining. Jesse pulls a bundle wrapped in newspapers from a carton. He tears away the paper, revealing a baseball trophy. He places it on a conspicuous corner of his dresser. Lisa reaches into the box, retrieves an aerosol can and looks at it. ON THE CAN A medicated spray for JOCK ITCH. LISA -LRB- O.C. -RRB- Where does this go? JESSE grabs the can from her hand and puts it down on the dresser behind the trophy. JESSE -LRB- mortified. -RRB- There's a box of sweaters over there if you want to put them up in the closet. Lisa is anxious to pitch in. She nods good - naturedly and steps over to her assignment. INSIDE THE CLOSET As Lisa opens the door and pulls an overhead chain to switch on the light. ANOTHER ANGLE as she drags a chair over, lifts a pile of sweaters from an open box, steps up on the chair and stacks them on a shelf. She starts to step back down when something catches her attention in the back corner of the shelf. She reaches in and pulls out a small, red leatherbound book. LISA What's this? Jesse steps over to look at it. ON THE BOOK about two - thirds the size of an average paperback, it has a matching leather thong that snaps into a small latch on the front and opens the book. LISA -LRB- reading. -RRB- `` Nancy Thompson, 1428 Elm.''. -LRB- looking up at him. -RRB- Hey, this thing is five years old. Jesse steps over and looks over her shoulder. JESSE You know her? LISA -LRB- shaking her head. -RRB- Uh - uh. Before my time. She turns a few pages. LISA -LRB- reading. -RRB- `` February 17th - My birtday. Daddy came by today with a big ol' stuffed bear for me. He took me to dinner and a movie and when we got back, he and Mother had another one of their fights. He left angry. I wish they would stop fighting.'' Jesse waves the diary away, uninterested. He crosses back to continue unpacking. LISA I think it's sad. JESSE -LRB- cynically. -RRB- Traumas of a ten - year old. Lisa leafs through a few more pages, stops and begins reading with widening eyes. She glances at Jesse and smiles impishly. LISA -LRB- reading. -RRB- `` March 7th - Glen asked me to sleep with him again. I ca n't yet - I like him, I want to make him happy but I'm not sure that I love him. I ca n't sleep with someone I do n't love.'' JESSE That's typical. I hope she did n't expect to make the best seller list with this thing. Lisa ignores him and scans the page. LISA -LRB- finding something. -RRB- Wow, listen to this! -LRB- reading. -RRB- `` Sometimes, when I'm lying here in bed, I can see Glen, in his window across the way, getting ready for bed. His body is slim and smooth and I know I should n't watch but that part of me that wants him forces me to. That's when I weaken. That's when I want to go to him.'' Jesse is suddenly interested. He walks over and Lisa hands him the diary with the page open to that entry. He reads it and quickly turns the page. He frowns and turns another, then another. JESSE That's it? -LRB- another couple of pages. -RRB- Wait, she skipped a week. -LRB- reading. -RRB- `` March 15 - he comes to me at night. Horrible. Ugly. Dirty. Under the sheets with me, tearing at my night - gown with his steel claw.'' Jesse's voice trails off on `` claw'' and a chill of vague recognition goes through him. He checks the cover of te book and flips back a few pages. Lisa moves closer to read over his shoulder. Jesse composes himself and looks back at the book. JESSE -LRB- reading. -RRB- `` His name is Fred and he keeps taking me to the boiler room. He wants to kill me.'' Jesse almost shivers. He turns the page, and he freezes. LISA What is it? ON THE DIARY Jesse shows her the page. There is one sentence scrawled across the next entry. Lisa reads it. LISA `` Tina is dead.'' ON JESSE AND LISA They look at each other, spooked. He turns the page. JESSE -LRB- reading. -RRB- `` Rod's been killed - he got Rod. Just Glen and me now. Ca n't fall asleep!'' LISA Wow. Jesse's face turns ashen as he looks up at Lisa. LISA Are you okay. JESSE -LRB- nodding ; covering. -RRB- Something Grady told me today about the people that lived here last. Girl went crazy - saw her boyfriend killed in the house across the street. He is interrupted by Mom, poking her head into the room. MOM -LRB- cheerfully. -RRB- How's it going? Jesse instinctively hides the diary behind his back. JESSE Okay. She looks over the room, impressed at the progress. MOM Looks great! Thought you might want to take a break - got some cold cider downstairs. Jesse looks at Lisa to see what she wants to do. Lisa looks over at Jese's alarm clock. THe time is 8 P.M. LISA -LRB- standing up. -RRB- No. thanks. I better get back. -LRB- to Jesse. -RRB- Got a major paper due the end of this week. MOM -LRB- ducking back out. -RRB- Well, it's there if you change your mind. Jesse waits for her to leave. JESSE -LRB- to Lisa. -RRB- Are you sure? LISA -LRB- nods sourly. -RRB- World History. -LRB- brightening. -RRB- But, I'll see you in the morning, right? Jesse nods. LISA -LRB- pointing to the diary. -RRB- Hot stuff. Let me know how it turns out. Jesse opens the door for her. JESSE I'll walk you downstairs.",
"INT. WALSH HOUSE - LIVING ROOM - NIGHT MOM wraps the night - cover over the BIRD CAGE. She steps past ANGELA on the couch and crosses in front of DAD, in his recliver, vegetating in front of the tube. SHe sits and loosens her collar a bit. ON DAD He shifts uncomfortably and wipes some beaded sweat from his upper lip. MOM -LRB- to Dad. -RRB- A little warm in here, huh? Dad gets up from his chair. His shirt is sticky with perspiration. Jesse steps in from the dining room, a glass of milk in his hand. ON ANGELA looking up at Jesse. She puts a finger to her lips. ANGELA Shhh. The birds are sleeping. Jesse notices the intense heat in the room immediately. His eyes widen portentiously. ON DAD at the thermostat. DAD -LRB- astounded. -RRB- It's 97 degrees in here! He pulls off the coverplate and starts fiddling with the coil. Suddenly, a LOUD SQUAWK from the other side of the room makes everyone look up. Jesse puts his milk down on he T.V. and hurries over to the cage, ripping the cover away. ON THE BIRD CAGE Another series of HORRIBLE CRIES as one of the budgies proceeds to rip up the neck of the other one with his sharp beak. Jesse throws open the door and tries to pull the attacking bird off his victim. the vicious one continues the rabid attacks on Jesse's hand, drawing blood. As Jesse pulls his arm out, the bird flies out into the living room, roaring a repetitive WAR - CRY that is eerie and unnatural for something that size. MOM and DAD jump to their feet. ANGELA starts screaming at the top of her lungs. ON THE BIRD It circles around the ceiling and then DIVES for Dad, cutting a deep gash under his eye. It seems much larger than it was before - maybe twice its original size. DAD -LRB- screaming. -RRB- Get a broom or something! ANGLE : LIVING ROOM Mom dashes out of the room. THE BIRD swoops down, heading for Angela but crashing into the shade of a table lamp, knocking it to the floor. It flutters to the ceiling and hovers near a light fixture. Its beak and most of its head is covered in blood and it opens its mouth to emit a gutteral growl. MOM returns with a broom and hands it to Dad. As Dad approaches and lifts the broom to his shoulder, the bird screams agai and dives for Jesse. Jesse throws his arm out to block the attack. The bird reverses direction and Dad swings in mid - air with the broom. He misses, demolishing the remaining table lamp instead. ON THE BIRD It hovers again in the air, seemingly without any means of support, PUFFING UP, GROWING ANGRIER, MORE DEMONIC. Then, just as it seems ready for a last lethal attack, there is a loud BANG and the bird literally EXPLODES into FLAMES in mid - air. The family looks at one another in horror and disbelief. The only sound in the room is ANGELA, attached to her mother's leg and whimpering quietly.",
"INT. WALSH HOUSE - KITCHEN - NIGHT CRASH! DAD dumps an odd assortment of home handyan tools on the kitchen table. He picks through them, selecting a pipe wrench and a screw driver. He crosses to the stove. We see Mom in the B.G., standing, not quite cowering, still in shock from the bird attack. Jesse is leaning on the counter, next to the range, watching his father's determined moves. Dad leans into the appliance and attempts to pull it away from the wall, probably tearing six or seven ligaments in the process. After several tries, he stops and looks up at his son. DAD Help me with this thing! JESSE It's not the gas, Dad! DAD -LRB- angrily. -RRB- Do n't tell me it's not the gas! He yanks on the stove with more vehemence. DAD Do n't tell me it's not the gas! Your mother thought she smelled gas. MOM -LRB- timidly. -RRB- I was n't sure, Ken. DAD -LRB- to Mom. -RRB- Alright then, what is it? Bird rabies? That cheap seed you've been buying? MOM -LRB- resenting that. -RRB- Oh, please. DAD What is it then? There's got to be an explanation. Animals just do n't burst into flames for no reason! JESSE Well it sure is n't leaky gas pipes. Dad stands up suddenly, CRACKING his head on the edge of the range hood. MOM -LRB- concerned. -RRB- Ken! As he groans in pain, he's suddenly hit with a revelation. He points an accusatory finger at Jesse. DAD You set this all up, did n't you? One of your sick jokes? JESSE What are you talking about? DAD You know what I'm talking about. What did you use, a fire cracker? A cherry bomb? Jesse is angry now. JESSE I do n't have to listen to this! He storms out of the kitchen. DAD Come back here! MOM -LRB- upset. -RRB- Ken! Dad looks blankly at the wrench in his trembling hand. DAD I do n't know. I do n't know, Shirl. He used to be a good kid.",
"EXT. JESSE'S HOUSE - NIGHT Dark again, sleeping soundly.",
"INT. WALSH HOME - SECOND FLOOR HALLWAY - NIGHT Jesse emerges from his room and eases the door shut as quietly as possible. He stops to listen for any signs of his parents being awake. SOUND OVER : SNORES FROM BEHIND THEIR BEDROOM DOOR He steps lightly past their room adn toward the head of the stairs. WE FOLLOW Jesse as he descends the stairs into the darkened foyer. THE CELLAR DOOR Jesse stops there, momentarily losing his nerve. He finally turns the knob and opens the door.",
"INT. WALSH HOME - CELLAR - NIGHT Jesse pulls an overhead chain, flooding the cellar with light. It's just as he saw it in his dream but devoid of any intruders. he steps up the the furnace, squats down and opens the firebox door. He reaches in. To his horror, he feels something and pulls out an object, wrapped in rags. ON THE OBJECT as he unwraps it. An old, beat leather glove with a row of rusty knife blades protruding from the fingers. Suddenly, the furnace switches on with a ROAR. FLAMES are leaping out of the firebox. FREDDY -LRB- O.C. -RRB- -LRB- laughingly. -RRB- Hot enough for you? JESSE reels around. FREDDY is just across the room. FREDDY -LRB- re : the glove. -RRB- Go ahead, Jesse. Try it on for size! Jesse looks at the glove. The blades are no longer rusted but gleaming and sharp. he throws the weapon to the floor. Freddy moves in closer. JESSE What do you want? FREDDY I need you to finish my work. Let me teach you, Jesse. We'll have fun. You like my little trick with the bird? Freddy advances. Jesse steps behind a stack of cartons. FREDDY Kill for me. -LRB- laughing. -RRB- c'mon Jesse. Come to Freddy. Jesse pushes over a stack of cartons in his path and dives for the steps. Halfway up he misses his footing and slips, tumbling back down. ANOTHER ANGLE As Jesse comes to at the foot of the cellar steps. The furnace has stopped and Freddy is gone. As he gets to his feet, he notices. THE GLOVE on te floor, where he dropped it as shiny and new as the day it was made.",
"INT. WALSH HOUSE - KITCHEN - MORNING MOM, DAD, and ANGELA are all at the breakfast table, picking at their food ; none of them is particularly hungry this morning. JESSE enters and heads wordlessly to a coffee pot on the stove. he pours himself a cup and turns abound to face his family. Jesse and Dad are making an extra effort to avoid each other's eye contact. ON ANGELA She's still feeling bad, drawing little circles in a puddle of maple syrup with a corner of her waffle. JESSE -LRB- to Dad, suddenly. -RRB- Why did it take them five years to sell this house, Dad? Dad shrugs his shoulders uncomfortably. DAD I do n't know. COuld n't get the right price, I suppose. JESSE And you do n't know anything about a murder across the street and a crazy girl who lived here - who saw the whole thing? Mom looks at Dad. This is all news to her. DAD -LRB- testily. -RRB- I do n't know. -LRB- a beat, coming clean. -RRB- They told me something about it, yeah. What difference does it make? He feels Mom's stare and finally turns to her. DAD Oh, come on, Shirl, how'd you think we got such a good deal? -LRB- to Jesse. -RRB- Listen - all old houses have stories. JESSE Did they tell you she went totally out of her mind - that they had to put her away? And that her mother killed herself in our living room? ON ANGELA She slides up to Mom. ANGELA Mommy, I'm scared. MOM -LRB- comforting her. -RRB- Shhhhh. Jesse and Daddy are just making believe, sweetheart. -LRB- to Jesse. -RRB- I do n't think we should be talking about this now. Dad turns back to Jesse. DAD -LRB- indicating Angela. -RRB- You see what you're doing? Now I do n't want to hear another word about it. There's nothing wrong with this house! ON MOM he looks up from Angela and sniffs the air. MOM Something burning? Mom and Dad oth look toward the counter - top. THE TOASTER, THEIR POV GLOWING RED - HOT and then, not just smokey toast but FLAMES leaping out of the bread slots. Mom gasps and Dad jumps to his feet, grabs a dish - towel and begins beating out the fire. JESSE turns white as he watches the scene. Dad turns white as he watches the scene. DAD turns away from the smoldering toaster, tosses the towel aside and heads back toward the table. DAD Craziest damn thing I ever saw - was n't even plugged in. Jesse puts his cut down hard on the counter and walks out. THe screen door slams behind him. Mom looks at Dad, horrified as Anglea clings to ehr side.",
"EXT. MC DONALD'S PARKING LOT - DAY IN JESSE'S CAR As JESSE unrolls the bundle of rags he found the night before and lets the finger knives drop with a CLATTER on the seat between himself and LISA. On Lisa's side of the dashboard we see the remnants of a big, fast - food breakfast ; Egg McMuffin, danish, orange juice and coffee. Jesse nurses a cup of joe as Lisa picks up the glove and examines it with interest. LISA This is amazing! Your dream told you where this was? JESSE -LRB- nods. -RRB- Only it was more like, you know, sleep - walking. All I know is I woke up on the cellar floor next to it. He reaches into his knapsack and pulls out the diary. JESSE Forget about going back to sleep after that. I was up all night. -LRB- more intense. -RRB- I finished reading this. It gets real crazy towards the end, after all the death stuff. But then she said some - thing really freaky - about her mother taking her down to the basement to show her the glove. ON LISA She's totally sucked in to the story, wide - eyes and waiting for more. She offers a french fry to Jesse. He shakes his head. She pops it into her mouth and nods for Jesse to go on. JESSE That's when she started talking about Fred Krueger. LISA Who? JESSE Fred Krueger. The guy in her dream who's coming to kill her. Seems he was a real guy, ten years before who went around kidnapping kids and killing them. ON LISA She emits a long, windy whistle.",
"INT. SCHOOL CORRIDOR - DAY KIDS are at their lockers, taking off their jackets and getting together everything they'll need for the day. ON JESSE AND LISA As they walk down the hall together. LISA Maybe you were having a premonition or something. You know, like those guys who help the police solve crimes and find missing people. You ever had anything like this happen before? Jesse thinks about it. JESSE -LRB- finally. -RRB- No. Never. -LRB- a beat. -RRB- You think that's what it is? LISA -LRB- thoughtfully. -RRB- I do n't know. They stop in the middle of the corridor. LISA Can I look at that diary for a little while? Jesse raises his eyebrows vaguely, reaches in his bag and hands over the book. LISA -LRB- taking it. -RRB- Thanks. Before she can go on, they are interrupted by a squeaky voice to their side. At the sound of it, Lisa displays annoyed recognition. KERRY -LRB- O.C. -RRB- Hi, guys. LISA Hi, Kerry. KERRY -LRB- to Lisa. -RRB- I got your invitation yesterday. Thanks. -LRB- a beat. -RRB- Any cute guys gon na be there? LISA -LRB- tired sigh. -RRB- All of them. KERRY Yor dad picking the music again? LISA -LRB- smiles. -RRB- Mom's trying to keep him upstairs. Jesse looks at Lisa quizzically. LISA -LRB- to Jesse. -RRB- Last party I had, Dad insisted on playing nothing but Benny Goodman records all night. The class bell RINGS. Lisa leans over and kisses Jesse. LISA I'll see you later, okay? The kiss takes him by surprise as she walks off with Kerry. JESSE -LRB- calling after her. -RRB- I may be late. Baseball practice!",
"EXT. HIGH SCHOOL PRACTICE FIELD - DAY The school TEAM has been split up into two sides. There's an air of excitement about - like it's a close game, drawing to an end. GRADY is on third, waiting to be hit home. The PITCHER winds and throws. ON THE BATTER A swing and a miss. SCHNEIDER calls him out. He tosses the bat aside, disgustedly. JESSE is on deck. As he approaches the plate : A TEAMATE -LRB- O.C. -RRB- Last out. Up to you, Walsh. ON GRADY He sneers like they might as well just concede the game now and go home early. The PITCHER sends one right down the middle. JESSE lets it go and Schneider calls a strike. He chokes up a bit on the bat and takes his stance. Another perfect pitch and Jesse lets it go again. SCHNEIDER Strike! Grady slaps himself in the face and shakes his head pitifully. The PITCHER throws another. This time, Jese catches it perfectly, SLAMMING it down the middle for a solid hit. GRADY scores amid cheers and slaps on the back. JESSE holds up at first.",
"INT. BOY'S LOCKER ROOM - DAY JESSE is at the end of a row of lockers. He pulls off his shirt and tosses it in the locker, takes down a towel and sets it down on the bench next to him. Several BOYS pass by on their way to their lockers or the showers, giving Jesse the thumbs - up. BOYS Good game, Walsh. Way to go, Walsh. etc.. GRADY approaches and goes to his own locker, down a few from Jesse's. Jesse plops down on the bench and slowly pulls off his sneakers. He stops to rub his aching shoulders. GRADY -LRB- finally. -RRB- You hit that ball pretty good, Walsh. JESSE It was okay. GRADY Who told you to choke up that way? JESSE My Dad. He played in the minors for a while, when he got out of college. GRADY -LRB- impressed. -RRB- No shit. They continue undressing in silence. As Jesse speaks, COACH SCHNEIDER steps up behind them. JESSE Schneider should n't have called you out on that double. GRADY Yeah, well, Schneider's got a stick up his ass today. JESSE -LRB- laughs. -RRB- Schneider's always got a stick up his ass. Schneider smiles wickedly as he places his hands on the two boys' shoulders.",
"EXT. ATHLETIC FIELD - DAY JESSE and GRADY trudge along at somewhere between a job and a stumble. They talk to each other with words that are punctuated by huffs, puffs and side - stitches. JESSE -LRB- cautiously. -RRB- You remember your dreams, Grady? GRADY Only the wet ones. Jesse shoots him a condescending sneer and decides not to pursue it.",
"EXT. SCHOOL PARKING LOT - DAY The lot is practically empty with most of the students on heir way home by now. Jesse's car is parked in the center. LISA is leaning on the car, waiting with a stack of books at her side. She looks up as Jesse approaches. JESSE Sorry. Schneider id it to me again. LISA I just got here myself. Went to the Public Library. -LRB- proudly. -RRB- Cut four classes! He opens the door for her. She picks up the books and climbs in. Jesse runs around to the other side and slides in beside her. JESSE -LRB- indicating the books. -RRB- What's all this. LISA Research. -LRB- she kisses him. -RRB- Hi. -LRB- an intriguing wink. -RRB- C'mon, let's go for a ride.",
"EXT. HIGHWAY - DAY The blue Falcon rolls down the highway. INSIDE JESSE is driving as LISA re - stacks some of the books on her lap and begins leafing through one. LISA I'm convinced you've had a genuine psychic vision. Jesse looks over at her inquisitively. LISA At first I was n't sure because you said that you never had anyting like last night happen before. But I found out that most people have the potential for tuning in to `` the other world'' and neve do. It has something to do with the environment - like they have to be in a place that's sending signals. JESSE Like a haunted house, right? I do n't believe in ghosts. LISA You do n't have to. You just have to believe in energy. She shifts in her seat to face him. LISA -LRB- intensely. -RRB- Look, you got electricity in your body, right? JESSE Yeah, I know. synapses neurong. LISA And heat and chemical reactions. Where does it all go when you die? JESSE I do n't know - into the air I suppose. LISA -LRB- pointing up ahead. -RRB- Make a left at this corner. Jesse turns at the intersection. LISA What about `` essential energy'' the soul. Does that go into the air too? You think there's a good energy and a bab energy? JESSE -LRB- confussed. -RRB- I do n't know. -LRB- a beat. -RRB- Where are we going? LISA -LRB- smiles mysteriously. -RRB- It's a surprise.",
"EXT. ABANDONED POWER PLANT - DAY An old generating plant, big enough to have served what was once a small town but rundown and obsolete now. the place is charred and the grounds are littered with rubble - as if there'd been a fire there long ago. The entrance to the plant is boarded up and plastered with `` NO TRESPASSING'' signs. Many of the boards are missing, providing easy access for the scores of vandals who had torn through there at one time or another. There are no windows at ground level but the top of the building is lined with many multi - paned frames ; all of them are either cracked or missing. JESSE'S CAR pulls into frame and he and LISA get out and look the place over. JESSE What is this place? LISA -LRB- excidedly. -RRB- Remember in the diary - Nancy said that she kept finding herself in a boiler room? Fred Krueger worked here. It's an old power - plant - a steam generator! She pulls out several papers and hands them to Jesse. LISA Here. JESSE What's this? ON THE PAPERS Xeroxes of newspaper articles. The HEADLINE reads : `` SPRINGWOOD SLASHER ARRESTED!'' LISA -LRB- O.C. -RRB- I did some reading up on our friend, Fred Krueger. Jesse leafs through the papers. Each one is a front page from a local newspaper. HEADLINE : `` KRUEGER FREED ON TECHNICALITY! D.A. RESIGNS'' HEADLINE : `` JUSTICE DONE - KRUEGER KILLED BY MOB! SPRINGWOOD SLASHER DIES IN HELLISH INFERNO'' Jesse sucks in his breath.",
"INT. ENTRANCEWAY, ABANDONED POWERPLANT - DAY Jesse and Lisa climb between a pair of boards and step inside. ON LISA She walks toward the center of the plant, fascinated.",
"INT. POWERPLANT We can see the remnants of a large boiler room. Big steel pipes jut out of the floor in a tangle of elbows and valves and a clutter of debris. A one - story holdig tank rises above a concrete pit and is met on top by a mze of catwalks, just under the windows. Although most of the ceiling has burned away, the interior is surprisingly intact for a derelict building and the overhead light distracts form any intrinsic creepiness the place would possess after dark. Jesse steps in behind her. LISA -LRB- solemnly. -RRB- He kidnapped twenty kids and brought them all here to die. She gives herself a chill but shakes it off and turns to Jesse. LISA So, you feeling anything? JESSE What do you mean? LISA I thought you might be able to make a connection. Jesse shrugs his shoulders and puts his hands to the side of his mouth. JESSE -LRB- calling. -RRB- Any ghosts in here? LISA C'mon, cut it out. JESSE Well, what am I supposed to do? LISA I do n't know. Concentrate or some - thing. Jesse shifts his legs and stares up at the ceiling. He closes his eyes. JESSE -LRB- still concentrating. -RRB- I feel like a jerk. LISA Shhh. Just concentrate. Jesse walks around in a small circle, keeping hsi head up and his eyes closed. LISA Anything? JESSE -LRB- shakes his head. -RRB- Uh - uh. -LRB- a beat. -RRB- Wait. He walks slowly across the room, almost in a trance, until he comes to a board leaning up against the foot of the mesh - iron stairway that leads up to the catwalks. ON THE BOARD As his hand reaches over to touch it. ON LISA stepping over next to Jesse. ANOTHER ANGLE He pulls the board away. A LARGE RAT, in her nest, WITH HER YOUNG, SNARLS at him. Jesse and Lisa jump into each other's arms.",
"EXT. ABANDONED POWERPLANT - LATE AFTERNOON JESSE and LISA walk along the outskirts of the building to a pretty cluster of shade trees nearby. Lisa hoists herself up on a boulder and looks at the building. JESSE Disappointed? LISA About what? JESSE About not finding any bogey men? LISA -LRB- smiles. -RRB- I'll get over it. She is disappointed - She wanted to find some bogey men. Jesse comes up close to her and they stare at each other. LISA -LRB- finally. -RRB- You are sensitive. I mean you sensed that the rat was there. And I can feel something about you. Sometimes I feel like I know what you're thinking. Jesse moves in closer an puts his arms on her shoulders. JESSE -LRB- suggestively. -RRB- Yeah? LISA -LRB- ignoring the suggestion. -RRB- Maybe it only happens when you're sleeping - that's the way it was with Nancy, was n't it? JESSE Now, there's an idea we can take off on. Maybe we should drive out to the beach tonight and lay out a couple of blankets and. -LRB- winks. -RRB- Until I fall asleep. LISA -LRB- slyly. -RRB- Maybe we can do that. Strictly scientific, of course. Jesse moves in until their lips are almost touching. JESSE Nancy went bonkers from this thing. You would n't be afraid of being out on the beach with a potential lunatic? LISA Ghostbusters are fearless. They kiss. Not little friendly pecks like before - this is the real thing. Jesse drops his arms to her waist and she opens her legs so that he can get in real close. Suddenly, Jesse groans in pain and stands upright, tearing from their embrace. For the briefest instant, we can see protrusions grow and subside on his forehead and the side of his face. LISA What is it - What's wrong? JESSE -LRB- holding his stomach. -RRB- Whoa! LISA What is it? JESSE I do n't know - a sharp pain. Lisa watches his helplessly. Finally, the agony lifts from Jesse's face. He straightens up. JESSE It's gone now. LISA Oh, Jesse. Lisa puts her arms around him. LISA Jesse, this is no good. You've got to get some sleep, Jesse. You've got to get some sleep.",
"INT. WALSH HOUSE - JESSE'S ROOM - NIGHT Jesse is in bed, tossing restlessly adn panting heavily. He is drenched with sweat and continues to perspire profusely as he sits up and turns on his bedside lamp. A thunderhead is RUMBLING somewhere nearby. The PLASTIC SHADE OF THE LAMP is melting. He scans the room picking out various indications of the intense heat that is surrounding him ; A CANDLE on his bookshelf collapses into a puddle of wax, the LAMINATED TOP OF THE NIGHT - TABLE is bubbling, an UNSHEATHED RECORD ALBUM hangs over the corner of the desk, his PORTABLE STEREO has caved in the center - a Daliesque tableau. SOUND OVER : SCRAPING Jesse gets out of bed, crossing to the desk. The scraping sound intensifes. CLOSE ON THE DRAWER as Jesse opens it. Inside, THE GLOVE, fingers moving, independently, unattached, scraping little cuts in the bottom of the drawer. ON JESSE slamming the drawer shut. SOUND OVER : A SWISHING SOUND, FOLLOWED BY A THUMP, AGAIN AND AGAIN UPSTAIRS HALLWAY JESSE, barefoot and wearing only a pair of jeans and an unbuttoned shirt, steps up to the door to Angela's room. The sound is coming from inside. He opens the door. ANGELA is standing in the middle of the floor, in her nightgown, seemingly oblivious to the heat. She is jumping rope and chanting : ANGELA One, two, Freddy's coming for you. ON JESSE, PETRIFIED ANGELA -LRB- O.C. -RRB- Three, four, better lock your door. ON ANGELA She sees her brother staring at her. She does n't stop jumping but smiles and continues her jingle : ANGELA Five, six, grab your crucifix. Jesse SLAMS the door shut. KITCHEN Jesse enters, looks out the windows. A huge bolt of LIGHTNING RIPS through the night sky ; a multiple flash f blue light strobes through the kitchen followed by a CRACK of intense THUNDER. ANOTHER FLASH OF LIGHTNING cuts across the kitchen itself, SHATTERING SOME DISHES on the counter - top, leaving a plume of BLACK SMOKE.",
"EXT. DOWNTOWN STREET - NIGHT The rain continues to come down in buckets. Jesse enters shot and walks, unprotected in his drenched jeans and shirt and seemingly without any knowledge of where he is going. The streets are totally empty.",
"EXT. DON'S PLACE - NIGHT A seedy tavern on a badly lit corner. JESSE steps into frame. He stares at the place before stepping up to he door.",
"INT. DON'S PLACE - NIGHT The toughest looking bar in the entire city. The place is packed with PROSTITUTES, PIMPS, TRAVELING SALESMEN, a couple of TRANSVESTITES and a generous delegation of the leather and chain contingency. Jesse enters and crosses to the bar amid a few stares. He sits on a stool. The bartender draws a cold beer and presents it to Jesse. As the bartender turns away, Jesse reaches for the glass. A HAND slaps down on his wrist and holds it tightly. He looks up. COACH SCHNEIDER is standing over him. He's wearing a muscle shirt, a gold chain around his neck and he has a sick grin on his face.",
"INT. GYMNASIUM - NIGHT JESSE is barefoot, jogging arund the outer edge of the gym floor and looking as if he's about to collapse from exhaustion. ON SCHNEIDER Leaning against a wall of the gym, watching Jesse run. As Jesse comes around for another lap, Schneider reaches out and grabs him, throwing him into a wall of folding wooden bleachers. Jesse is dazed, ready to drop. SCHNEIDER -LRB- barking. -RRB- Hit the showers.",
"INT. BOYS LOCKER ROOM - SHOWER ROOM - NIGHT Jesse turns on one of the faucets and lets the hot water hit him full on.",
"INT. COACH'S OFFICE - NIGHT SCNEIDER turns to a huge, padlocked cabinet on the wall. He unlocks it and opens the doors. It is filled with a variety of athletic equipment : dumbbells, jump - ropes and volley balls, etc.. Schneider selects a pair of jump - ropes from the cabinet and sets them down on his desk. A distinct PING makes him look up. He goes to the door and looks out into the hall. SHOWER ROOM Jesse continues showering.",
"INT. COACH'S OFFICE Schneider turns back to his office. There is ANOTHER PING. A TENNIS RACQUET hanging on the wall has two broken strings. TWO MORE STRINGS SMOKE, THEN SNAP with a ping. A BASKETBALL leaps off a shelf of the equipmnt cabinet and bounce on the floor at Schneider's feet. Schneider bends down to pick it up and TWO MORE BALLS jump out onto the floor. A FOURTH BALL flies out and knocks over a TROPHY on his desk. Schneider hits the deck when a DUMBBELL streaks across the office and SLAMS into the window, cracking the thick wired glass. ON SCHNEIDER he makes his way to the cabinet by crawling along the floor as BASKETBALLS, VOLLEYBALLS, even a MEDICINE BALL fly over his head. He reaches up to close the cabinet doors. ANOTHER ANGLE A JUMP - ROPE on the desk unravels like a harpoon line and wraps an end of itself around Schneider's wrist. The other end pulls hard and yanks Schneider off balance. He reaches up to close the cabinet doors. ANOTHER ANGLE A JUMP - ROPE on the desk unravels like a harpoon line and wraps an end of itself around Schneider's wrist. The other end pulls hard and yanks Schneider off balance. As he reaches with his free arm to unwrap his wrist, the SECOND ROPE rockets off the desk top and secures itself to his other wrist. hThe office door opens by itself. The ropes drag Schneider screaming from the room. SHOWER ROOM JESSE turns as the shower head next to the one he is using, gurgles and suddenly comes on full. And suddenly, all the showers are on, spewing water and steam. We hear Schneider's screams as he is dragged into the room, through great puddles of water and against the tiled wall opposite Jesse. The showers on this side are OFF. The boy watches in horror as the ropes shoot up to two adjacent shower nozzles and hoist the Coach into a helpless spread - eagle, facing the wall. His clothes shear from his body like sheets of tissue paper. A STACK OF TOWELS Comes to life, snapping in mid - air at Schneider's butt and back. As they hit him, they draw blood. ON JESSE as the room fills with great clouds of steam until he is nearly obscured ; just a dark human form in the corner of the shower room. ANOTHER ANGLE ON SCHNEIDER as a figure in a green and red sweater and a battered fedora, cuts through the clouds, CACKLING and throwing his weapon - arm back like a World Series pitcher about to lob a fast ball. Schneider screams painfully as the knives cut four long tears in him, starting at the top of his naked back, cutting through his flesh. The weapon arm STRIKES AGAIN. Schneider screams, goes limp. WIDE - ANGLE : SCHNEIDER BLOOD begins to flow out of all the shower heads on Schneider's side. Schneider hangs limply from the shower heads. ON THE MURDERER CAMERA DOLLIES IN FAST to reveal it is JESSE. He screams. Jesse lifts his hand into frame. He is wearing Freddy's bloodied glove. JESSE No. Oh God, no. He slowly drops to his knees, sloshing in a crimson puddle, and stares up to the heavens. JESSE -LRB- screaming. -RRB- No!",
"INT. WALSH HOUSE - FOYER - NIGHT We hear the DOORBELL RINGING repeatedly until the lights flick on and DAD hurries to the door, wrapping a robe over his pajamas. HIS POV AS HE OPENS THE DOOR TWO POLICEMEN in rain slickers stand on either side of Jesse. he is naked but is wrapped in a blanket. His hair is soaked and dripping over his face. 1st POLICEMAN This belong to you? Dad ca n't believe what he's looking at. He just nods his head. The 2nd Policeman gives Jesse a slight push across the threshold. He stumbles into the house. 1st POLICEMAN We found him wandering out on the Highway, naked. Keep a leash on him, will ya? KITCHEN - A TEA KETTLE WHISTLING MOM takes the kettle from the stove and pours it into a mug. She steeps the teabag as she crosses to the table and JESSE Wide awake, holding the blanket tightly around his neck, takes the cup from his mother. DAD paces the floor angrily. DAD Okay, we're gon na put our cards on the table, here and now. There's not going to be any retribution - no fire and brimstone. I only have two questions and you'll answer them and we'll all go to bed, okay? Jesse nods weakly. DAD Okay. What are you taking and who are you getting it from? Jesse snorts and shakes his head ironically. JESSE I'm not taking drugs, Dad. -LRB- to Mom. -RRB- Can I go to bed now? MOM -LRB- touches his cheek tenderly. -RRB- Sure. go ahead. Dad tries to burn a hole through him with his eyes as Jesse gets up from the table and leaves the room. As the double - hinged doors slap clsoed behind him, Dad turns to Mom without a change of expression. DAD -LRB- no question about it. -RRB- He's on something.",
"EXT. WALSH HOUSE - MORNING DAD is standing on a ladder, unbolting a set of security bars from the windows. He watches from above as JESSE runs out the door, followed by MOM. MOM Jesse, please, let's talk about this! JESSE -LRB- pleading. -RRB- I'm okay. Just leave me alone. Jesse walks over to his car and climbs in. Mom turns to Dad who is watching the scene curiously. MOM He needs professional help. I think we should take him to a psychiatrist. DAD -LRB- incensed. -RRB- Are you nuts or something? What the hell is that going to do? MOM I do n't know! I just know he needs help and we do n't know how to give it to him. Dad shifts on the ladder and begins to protest. MOM -LRB- squelching it. -RRB- Do n't fight me on this. She stomps back toward the house. DAD -LRB- calling after her. -RRB- He needs a kick in the but, is what he needs. He needs a methodone clinic! She throws back a dirty look. MOM Oh, blow it out your ass, Ken. With that, Dad loses his footing on the ladder and drops down several rungs.",
"EXT. ROAD - DAY Jesse's car travels slowly and turns onto a tree - lined street. INSIDE JESSE drives silently with LISA looking over at him, upset. LISA -LRB- upset. -RRB- Will you stop and tell me what's wrong? JESSE -LRB- staring straight ahead. -RRB- I'm fine. Nothing's wrong. LISA -LRB- undeterred. -RRB- you did n't say more than two words to me the whole way here. You had another nightmare, did n't you? JESSE yeah, I had a bad night. LISA You want to talk about it? JESSE My Dad thinks I'm on drugs, my Mom thinks I'm crazy and I'm not sure I do n't agree with her.",
"EXT. HIGH SCHOOL - DAY as Jesse's car pulls into the lot. ANOTHER ANGLE as they turn a corner. Jesse jams on the brakes. THEIR POV - THE GYMNASIUM WING in the distance. A crowd of STUDENTS is gathered in a ring about three - deep outside the doors leading to the practice fields. IN THE CAR JESSE Oh God. He throws open the door, jumps out and runs toward the crowd. Bewildered, Lisa does likewise, running after him. As they get closer, they can see that the entire area is cordoned of with red plastic ribbons. SEVERAL POLICEMEN and OFFICIALS are coming in and out of the building. A TEACHER is trying to disperse the students, clapping his hands together and pushing through the rubber - neckers. TEACHER Okay gang, let's move along. Jesse stops at the edge of the barricade cranes his neck to see what's going on. GRADY spots Jesse and runs over to his side. Jesse is turning white as he watches the scene and listens to Grady's recap : GRADY Holy shit, man. Where have you been? Fuckin' Schneider got wasted last night. Jesse swallows hard to regain his composure. Lisa arrives at his side. JESSE Oh Jesus. I'm gon na be sick. GRADY -LRB- ignores him. -RRB- He must've been working late and some fruitcake came in and sliced him up like a kielbasa. In the shower! Left bloody footprints all over the. Jesse clamps his hand over his mouth and breaks for some bushes against the building. Grady looks at a horrified Lisa and gives a puzzled shrug.",
"INT. SCHOOL CAFETERIA - DAY ON THE FOOD LINE LISA and KERRY are on the lunch line, sliding their trays along the rails. Kerry is wearing a walkman with the volume truned way up - we can almost make out the song. KERRY That was something this morning, huh? About Schneider, I mean. Lisa nods and takes a plate of macaroni and cheese from one of the KITCHEN STAFF. She does n't want to talk about it. KERRY Jesse sure took it bad, did n't he? Lisa shrugs and moves her tray away from Kerry's, toward the CASHIER. Kerry picks up a piece of cake from a shelf and slides ehr tray down until she's next to Lisa again. IN THE DINING ROOM JESSE is sitting at a table, a tray of food in front of him, untouched. He glances up at GRADY as he sits down next to him and starts digging in. GRADY -LRB- with his mouth full. -RRB- Look, I'm sorry about Schneider, man. I did n't know you were so close. Jesse does n't qualify that with a response. GRADY You want to go out to a movie or something tonight? Get your mind off things? Jesse shakes his head. Lisa comes over to the table with her tray and sits down next to Jesse. Kerry follows and sits next to Grady. KERRY Hi, guys. -LRB- to Grady, coquettishly. -RRB- Hi, Ronny. You going to Lisa's party tomorrow night? GRADY -LRB- without looking up from his food. -RRB- I ca n't. I'm grounded. KERRY How come? GRADY For throwin' my grandmother down a flight of stairs. Kerry, taking him seriously, nods gravely. Lisa looks at Jesse's tray of untouched food. LISA -LRB- to Jesse. -RRB- You should eat something - you'll feel better. JESSE I'm not hungry. LISA I wish you'd talk to me. We can figure it out, you know. We can figure it out together. JESSE There's nothing to figure out. GRADY -LRB- to Lisa, disgustedly. -RRB- You're wasting your time, the guy's a basket case. JESSE Shut up, Grady. Grady pushes his tray aside. GRADY You want me to shut up? Fine, I'll shut up, that's fine. See you around, buddy. Grady gets up and storms away from the table. Lisa, deeply pained, looks at Jesse. Jesse avoids her stare until he just drops his head into his hands and tries not to cry in front of his friends. He composes himself quickly and digs his fork into his lunch, choking down some macaroni.",
"INT. LISA'S HOUSE - KITCHEN - NIGHT LISA, her MOTHER and FATHER are sitting, eating dinner. Lisa's mind is not at the table with her. MRS. POLETTI -LRB- to Lisa. -RRB- Bought some nice strawberries at the farm today. We can have some short cake for your friends tomorrow. Lisa looks up an dsmiles blandly. MRS. POLETTI I also wangled a promise out of your father. ON MR. POLETTI He scowls slightly. LISA -LRB- politely. -RRB- What's that? MRS. POLETTI We're gon na stay out of your way tomorrow night. LISA You're going out? MRS. POLETTI We're going to bed. She looks at her husband. MRS. POLETTI Early.",
"EXT. WALSH HOUSE - NIGHT Quiet. The lights inside are all out.",
"INT. WALSH HOUSE - BASEMENT - NIGHT We hear FOOTSTEPS and we TRAVEL with the sound along the floor to the foot of the basement steps. INTRUDER'S POV as he climbs the steps and approaches the door to the main part of the house. THE CAMERA is moving faster now, leaping the top steps and CRASHING through the doorway and onto the foyer floor. It crosses the FOYER adn begins climbing the stairs to the bedroom level. It stops at Angela's room and opens the door. ANGELA sleeps soundly, peacefully. It crosses over to the bed, a menacing SHADOW creeps over her form. The taloned glove pulls down on the blankets and she shifts position in the center of the bed, innocent and vulnerable. We see the SHADOW of the intruder on the wall. it moves in close to the sleeping child and emits a guttural, inhuman VOICE : INTRUDER -LRB- O.C. -RRB- Wake up, little girl. Her eyes flutter open. She looks up at the intruder and smiles. ANGELA -LRB- sleepily. -RRB- What time is it? ANOTHER ANGLE We now see that it's JESSE standing over her. he's in his underpants, drenched with sweat and hunched over as if all the muscles in his body were twisted around each other. The sound of Angela's voice softens him. He slowly straghtens up and looks about the room as if wondering how he got there. JESSE -LRB- himself again. -RRB- It's late. go back to sleep. She nods and closes her eyes. Jesse starts to pull the covers back over her and stops suddenly. HIS POV His right hand is wearing the GLOVE.",
"INT. WALSH HOUSE - JESSE'S ROOM - NIGHT The desk lamp and a late movie on the T.V. are the only sources of light in the room. We see that the bed is rumpled and empty and we PAN across the room, to JESSE, sitting on the floor in front of the door, knees up against his chest, trying with all his strength to stay awake. He has a mug of black coffee in his hand and a pot of java at his side. He tops off his cup and reaches into the breast pocket of his shirt, withdrawing a small vial of pills. A BOTTLE OF NO - DOZ He rips the cap off with his teeth and dumps half the bottle into his coffee.",
"EXT. WALSH HOUSE - MORNING A dark, dreary day. There are no morning sounds except for the SQUEAKING of an old rattle - trap bicycle as an overweight PAPER BOY swings by and lobs the morning edition over the lawn. The paper skids off the front steps and into the garden.",
"INT. WALSH HOUSE - FOYER - MORNING JESSE walks down the steps. He looks ragged and exhausted and worse that ever. OUTSIDE THE KITCHEN He stops before going through the double - hinged door to push his hair back and forces a well rested, easy - going guise. IN THE KITCHEN DAD and ANGELA are sitting at the table. MOM is pouring some coffee into a couple of cups. JESSE enters. JESSE Morning. MOM How'd you sleep, honey, okay? JESSE Fine. Mom gives him a quick glance. MOM You're looking a little better today. DAD looks at Jesse's pale skin, the light stubble on his chin and his dark, bloodshot eyes and turns to Mom as if she's nuts.",
"EXT. LISA'S HOUSE - POOLSIDE - NIGHT The entire pool area has been done up to the max. Japanese lanterns have been strung up above the fence, a long table, covered with festively arranged salads and condiments, stretches across the patio in front of the sliders and a Benny Goodman dance tune is blaring through some outdoor speakers. An all - too - bright underwater light makes the blue water shimmer crystal - clear. A score of nubile GIRLS in scanty swimsuits and athletic GUYS in cut - offs and trunks, scamper around, eating, swimming and horsing around. ON MR. POLETTI Standing over the gas grill, wearing a `` Kiss the Cook'' chefs hat and apron, cooking up a mess of hanburgers and hot dogs. ON MRS. POLETTI AND LISA stepping out of the house through the sliders, carrying more plates of food outside. A BOY bounces once on the diving board and CANNONBALLS into the center of the pool, SPLASHING everything within a fifteen foot radius including, MR. POLETTI who spins around from the grill, annoyed. MR. POLETTI Hey, watch it there! LISA turns to her mother, mortified. Mrs. Poletti hands her the platter she is holding and gives Lisa a reassuring squeeze on the shoulder before leaving her side and crossing toward her husband. Lisa turns her attention to JESSE, at the far corner of the patio, sitting in a lounger, alone. He looks worried and detached. She looks back toward the grill. MRS. POLETTI is pulling her husband away, against his will. He finally relents and beckons a BOY over. He turns his spatula over to him, surrenders his chef's hat and allows Lisa's mom to escort him back toward the house. JESSE, LISA'S POV He finally gets up and crosses toward the cabanas, going inside and shutting the door. BACK TO LISA as her mother and father approach. MRS. POLETTI We're going up to bed now. LISA -LRB- gratefully. -RRB- Thanks, Mom. Mr. Poletti clearly does n't like this arrangement. He looks behind him at all the horny young boys and turns back to Lisa. MR. POLETTI -LRB- sternly. -RRB- Twelve - thiry, Miss.. No later. LISA -LRB- nods agreeably. -RRB- Twelve - thirty. I promise. Mrs. Poletti takes her husband by the arm again and leads him up to the sliders. He turns around before going through. MR. POLETTI And do n't forget to lock the gate. LISA -LRB- nods. -RRB- Goodnight, Daddy. Mr. Poletti is half - led, half - pushed through the doorway. mrs. Poletti pulls the slider closed behind them.",
"INT. CABANA - NIGHT A roomy dressing area with an open shower stall at the back. There's a wide, wooden bench along one wall, covered with clothing and towels. JESSE stands in the center of the room, putting his pants on. He is shirtless and shoeless. SOUND OVER : A KNOCK ON THE DOOR LISA -LRB- O.S. -RRB- Jesse? Jesse hesitates, uncomfortable. JESSE Be out in a minute.",
"EXT. CABANA Lisa waits for Jesse. Finally, he unlatches the door. his shirt is on, unbuttoned. Lisa steps into the cabana.",
"INT. CABANA Lisa shuts the door behind her. The two look at each other a moment. Then Jesse looks away and continues buttoning his shirt. JESSE I think I better go. I'm just not into it tonight. I'm sorry. LISA Why wo n't you talk to me? JESSE Will you leave me alone? Please. Jesse crosses to the bench and sits to put on his shoes. LISA You're not being fair to me. I'm worried about you and I want to help you get through this thing. JESSE What are you gon na do? How are you gon na help? I'm losing my mind. -LRB- breaking down. -RRB- I do n't want to have you watch me fall apart. Lisa goes to Jesse. She puts a comforting arm on his shoulder. LISA It's okay, Jesse. Jesse takes her hand and holds it tight. She sits beside him. JESSE -LRB- choked. -RRB- I'm afraid to go to sleep, I'm afraid to stay awake - I'm ruining your party. They're gon na put me away for sure. LISA We'll figure it out together. We'll stay up all night if we have to. I wo n't let anything happen to you. They look into each others eyes. Lisa kisses him ever so gently, then again. he kisses her. Their kisses grow hungrier. Love conquers fear and they embrace fully, kissing passionately. POOLSIDE THREE BOYS are huddled together, looking up at the Poletti's bedroom window. BOY ONE Any second, now. THE BEDROOM WINDOW, THEIR POV The lights FLICK OUT. BOY ONE -LRB- O.C. -RRB- -LRB- quietly. -RRB- Party time. ON THE WET BAR Someone reaches over to the stereo, pops out the Benny Goodman cassette and flicks the radio on. Van Halen BLASTS out of the speakers. ON KERRY In the pool, up to her neck with a HUNK. They both look up as the music changes. The top of her bathing suit floats up to the surface. KERRY Oh, wow, Van Halen.",
"INT. LISA'S HOUSE - THE POLETTI'S BEDROOM - NIGHT At the sound of the music, Mr. Poletti sits up in bed, angrily. Mrs. Poletti puts an arm on his shoulder. MRS. POLETTI -LRB- quietly. -RRB- Let them have their fun, Honey. Mrs. poletti pulls out a pair of earplugs and hands them to Mr. Poletti, who grumbles, sticks them in his ear and drops back down into his pillow.",
"EXT. LISA'S HOUSE - POOLSIDE - NIGHT Somebody switches off the lights to general applause. BACK TO KERRY AND THE HUNK They are in a steamy embrace when the underwater lights go out. The rest of her suit pops up out of the water. ON SOME BUSHES as a COUPLE pulls out a red wagon, stashed in the shrubbery and loaded with beer.",
"INT. CABANA - NIGHT JESSE and LISA rolling around on the floor, a lot of heavy petting ; not doing it but serious, heated stuff just the same. HIS HAND, wrapped around Lisa's wrist, pinning it gently to the floor. ON LISA Her eyes closed ; feeling him - definitely feeling him. CLOSE TWO - SHOT, JESSE Jesse is about to take down Lisa's swimsuit top when an ungodly long iridescent serpent - like TONGUE flicks a foot out of his mouth, wiggles and flicks back in. Jesse moans lasciviously, not his own voice. ANOTHER ANGLE Jesse pushes himself away from Lisa and scrambles to his feet. Lisa, unaware of what happened, is puzzled and upset. ON LISA sitting up on the floor. LISA What's wrong? Jesse tucks in his shirt and buttons his pants. he is visibly shaken. JESSE I'll see you. Lisa just looks at him, helplessly. He slips out the cabana door and shuts it. ON LISA she gets up slowly. She's profoundly worried.",
"INT. GRADY'S BEDROOM - NIGHT Grady is sleeping on his back, dead to the world. Suddenly, a hand clamps down over his mouth. A light flicks on. LONGER ANGLE : GRADY'S BEDROOM It's JESSE. A window is open in the B.G., teh curtains in disarray. He lifts his hand from Grady's mouth and Grady scrambles out of bed. GRADY -LRB- hoarsely. -RRB- Jesus Christ, you scared the shit out of me! JESSE I'm sorry. GRADY What are you doing here? JESSE You got ta let me stay here tonight, Grady. GRADY Are you nuts or something? JESSE Listen to me, Grady, this is serious. Something really weird is happening. It started out like just bad dreams but it's getting real bad. Grady is tired and cranky and he does n't want ot hear this. GRADY Aw, will you get out of here! Go and take a sleeping pill or something. He flops back down on his bed and puts his arm over his eyes. GRADY In fact, take a whole bottle and do the world a favor. Jesse sits on the edge of the bed. JESSE I killed Schneider, Grady. Grady lifts his arm from his eyes and stares at Jesse preposterously. JESSE -LRB- nods. -RRB- Only it was n't me - I was there but it was like something inside of me, moving me around. Then last night it made me go into my sister's room and tonight, with Lisa in the cabana. We were. on the floor - I felt it happening again. He grabs Grady's arm. JESSE It wanted me to kill them, Grady! Grady continues his dumbfounded stare. GRADY -LRB- finally. -RRB- You're fucked in the head. JESSE I'm scared, Grady. I know it sounds crazy. But, there's something trying to get into my body. GRADY -LRB- sneers. -RRB- The only thing trying to get into your body is female and waiting for you on a cabana floor. And you want to sleep with me. Go figure. JESSE Look, I do n't care if you believe me or not. GRADY I believe you. You had some scary dreams, okay? JESSE -LRB- frustrated. -RRB- No! -LRB- shakes his head. -RRB- I do n't know - everything's all mixed up. -LRB- suddenly angry. -RRB- What difference does it make? I'm in trouble here. I need your help. Grady lets that sink in. GRADY -LRB- softer. -RRB- Okay, schmuck. What do you want me to do? JESSE Just watch me. If anything weird happens - like if I start dreaming weird or try to walk out of here, you got ta try to bring me out of it. his me over the head if you have to. Just do n't let me leave. Grady looks down at the floor, sighs, and nods his head. JESSE And Grady. Grady looks up. JESSE Do n't fall asleep!",
"EXT. LISA'S HOUSE - POOLSIDE - NIGHT The underwater lights are still off, the music has calmed down a bit and most of the KIDS are more into necking than swimming. TWO BODIES are rolled up in a blanket together. From a short SQUEAL, we can deduce that it's KERRY and her HUNK. The BAR - B - QUE BOY has remained steadfast at his post although his GIRLFRIEND has joined him and he's paying more attention to her than the hotdogs on the grill. ON LISA She sitting on one of the lounges, her eyes are red from crying. She's being comforted by a girlfriend, PATTY. PATTY Why do n't you just call him? LISA -LRB- tearfully. -RRB- He wo n't talk to me. PATTY Well, you're not doing him or yourself any good sitting here and worrying. Lisa looks at her friend. LISA I shoud go see him, but. I do n't know, the party and all. PATTY -LRB- encouragingly. -RRB- Go ahead. I'll hold down the fort. LISA -LRB- getting up. -RRB- Thanks, Patty. You're a pal.",
"INT. GRADY'S BEDROOM - NIGHT Grady is sitting up in bed, staring at the T.V.. He turns to JESSE, slumped in a nearby chair, asleep. Grady switches off the TV with the remote. GRADY Sweet dreams, buddy. Grady turns off the READING LIGHT by the bed. He gives a final look at Jesse before he pushes the whole thing out of his mind with a disgusted wave of his arm and lays back down. ON JESSE Suddenly, his eyes open widely. JESSE Grady? Grady MUMBLES an obscenity and turns over on his side to face Jesse. GRADY What? JESSE It's happening again. Grady turns the reading light back on in time to see Jesse DOUBLE OVER and curl up in obviously incredible pain, falling to his knees. He flails out as if 1000 volts were going through his body and begins to choke on his tongue. Grady scrambles out of bed and dances around Jesse, not knowing what to do. ON JESSE'S HAND as he raises it and his fingers spread widely apart. Four steel RAZOR - KNIVES tear out from withing the tips of Jesse's fingers like long, bloody switchblades! GRADY stands by helplessly as Jesse WRITHES. And then it is like some crazed beast in Jesse's gut, tearing its way out of his skin like someone stepping through a thick, latex film. As his skin peels away, thousands of capillaries pull apart, spraying blood everywhere in a fine, almost powdery mist. The transformation is almost complete when FRED KRUEGER's body steps out of the red cloud. All that is left of Jesse is his SCREAMING FACE, plastered like a grisly ruber mask over Freddy's own disfigured features. Grady backs away toward the door. GRADY -LRB- screaming. -RRB- No! No! No! ON FREDDY He stands up with an evil smile, all there now, and puts on his battered hat. ANGLE : GRADY'S BEDROOM Grady tries desperately to get out, but the door wo n't open. Freddy cackles evilly as he cuts off Grady's screams by grabbing his throat with his unarmed hand. he pushes Grady up against the door and lifts him off the floor like he was hanging a picture. We hear MUFFLED CALLS from outside the door - the off - camera cries of concerned PARENTS. THE DOORKNOB RATTLES as they try to get in the room to check on their son. BOOM, BOOM, BOOM! a fist, hammering against the door behind Grady's head - his father trying to get in. MR. GRADY -LRB- O.C. -RRB- What's going on? Open the door, Ronny! FREDDY draws back his knife - hand and prepares to plunge it into Grady's stomach like he was spearing a pot roast. OUTSIDE THE DOOR MR. and MRS. GRADY, in their nightclothes. Mrs. Grady stands with her hands over her mouth as Mr. Grady grabs the know again and BANGS his fist repeatedly against teh door. ON FREDDY Throwing force into his cutting arm. We CUT before impact to : OUTSIDE THE DOOR We hear Grady SCREAM as the steel blades cut through his body and poke out through the door like it was made of balsa. They wiggle slightly to pull free and are retracted with an ungodly SQUEAK. Mrs. Grady screams. MR. GRADY My God. Mr. Grady throws his shoulder with all his might against the door. A second excruciating SCREAM inside, and the knives cut through the door, inches from Mr. Grady's head. When they pull out, blood is soaking through the knife holes - it looks as if the door itself is bleeding. ON GRADY breathing his last few gasps. ON GRADY'S PARENTS They watch in stunned horror. ON GRADY He sinks slowly to the floor, dead. Freddy watches as his victim slides into a heap on the floor. Only we see now that it is n't Freddy anymore but Jesse again, panting exhaustedly and dripping Grady's blood from just under his elbow to the sharp points of the razor - tipped glove he wears on his hand. THE DOOR is budging open against Grady's body - a little more with each crash of Mr. Grady's shoulder against the other side. Jesse is coming to - himself again, and he views what he has done to his best friend with terror crazed eyes. is eye catches his own reflection in a full length mirror on the wall. The image reflected is of FREDDY. JESSE No! -LRB- backing away from the body. -RRB- No! No! No! -LRB- screaming toward the mirror. -RRB- You son of a bitch! You killed him! Jesse hurls the glove at the mirror, cracking it. Freddy's mocking image, however, remains. The last SOUND we hear is a demonic mix of Jesse's own screams and Freddy's cackling laugh.",
"INT. LISA'S HOUSE - FOYER - NIGHT Lisa has changed into a white shirt and a pair of cut - offs. She hurries downstairs, buttoning up her shirt and crosses the foyer floor to the door. She opens the door and JESSE collapses in her arms. He is bloody, bruised and his clothes are torn and dirty. LISA -LRB- frenzied. -RRB- Jesse, God - what happened? JESSE -LRB- hyperventilating. -RRB- I killed him! I killed him! She draws him in close, trying to comfort him. She looks at his bloody arms. LISA Oh, Christ, you're hurt. JESSE -LRB- weeping now. -RRB- I killed Grady. I killed Grady, Lisa. I killed Schneider. Oh my God, he's inside me. Lisa looks around, frantically as she holds Jesse tightly against her body. LISA Who, Jesse? JESSE he's just waiting to take me. When I sleep. LISA Who? Who's doing this to you? He looks at her as if she should know. JESSE Fred Krueger. -LRB- psychotically. -RRB- He's been trying to get hold of me, to use me. He needs me to get out of his world into ours. He's gon na take me again. LISA No, Jesse. This is n't happening. It's got ta be everything you've taken in - Schneider and the diary and the glove - only it's all mixed up. He pushes away from her, frustrated. JESSE No! Christ, how can I make you understand? He tried to make me kill Angela last night! Look at the blood on my hands! He begins to sob. JESSE Oh, God. I did that to Grady. -LRB- suddenly coherent, realizing. -RRB- He owns me. Lisa puts her arms around him. SHe strokes his head, trying to calm him. LISA I'm not gon na let anyone take you from me. There's got to be a reason. We'll figure it out together. Suddenly, something makes Lisa stop. LISA Wait a minute! She leads Jesse toward the study entryway and opens the door. LISA Wait in here for me. I'll be right back. Jesse goes into the study. Lisa hurries off.",
"EXT. LISA'S HOUSE - POOLSIDE - NIGHT THE BAR - B - QUE BOY has left his post entirely. He is sitting on a nearby bench with his GIRLFRIEND on his lap and his chef's hat askew on the back of his head. Suddenly, the girl points toward the grill. GIRLFRIEND Hey, look! The kid looks over. HIS POV - THE GRILL A platter of hot dogs on an attached cutting board. The hot dogs are exploding, bursting into flames, one by one until the whole plate is engulfed. BAR-B-QUE Holy Shit! He jumps up, picks up the flaming platter with his hands and tosses it like a hot potato onto the cooking grid, slamming the lid down with a CRASH. Some of the WITNESSES hoot and laugh and there's a scattering of applause. Before Bar - b - que can take a bow for his bravery, his attention is drawn to the sound of rapid POPPING. HIS POV The WAGON OF BEER on the ground near some bushes. The pull tabs are popping off and geisers of brew are shooting up toward the sky.",
"INT. LISA'S HOUSE - STUDY - NIGHT LISA opens up the DIARY. JESSE looks over her shoulder. LISA Something Nancy said - her last entry. -LRB- reading. -RRB- `` He is evil itself. I know now that I brought him into my world. We all did, gave him all the energy he needed. Our screams were all he needed. Now I will take it back - Deny him.'' She looks up at Jesse. LISA She was n't crazy. -LRB- he holds up the book. -RRB- All this really happened. -LRB- a beat. -RRB- You can fight him. Jesse looks confussed. LISA Remember what I said? About good energy and bad energy? He thrives on bad energy. Hate, anger, fear. He is bad energy. -LRB- a beat. -RRB- You've been afraid of him. Jesse suddenly winces in painand puts his hand to his stomach. JESSE -LRB- panicking. -RRB- Oh, God, he's coming back! -LRB- to Lisa. -RRB- Get out of here, Lisa! The window SLAMS shut and LOCKS. LISA frightened, looks behind her and back to Jesse, frantically. LISA Fight it, Jesse! FRONT DOOR, FOYER The deadbolt turns with a loud SNAP.",
"INT. LISA'S HOUSE - THE POLETTI'S BEDROOM - NIGHT Their bedroom door LATCHES firmly. MR. POLETTI sits up with a start. MR. POLETTI What was that?",
"EXT. GATE - LISA'S HOUSE - POOLSIDE - NIGHT A large padlock swings around and SNAPS shut.",
"INT. LISA'S HOUSE - STUDY - NIGHT JESSE is doubled over in pain. Lisa has her hands on his shoulders, shaking him, trying to bring him out of it. The heat has become intense in teh room ; they are both sweating profusely and their clothes cling to their wet bodies. LISA You created him - you can destroy him. He lives off your fear. Fight him, Jesse! JESSE -LRB- painfully. -RRB- I ca n't! Tiny bubbles are rising to the top of the aquarium tank and the angelfish float on the surface of the water, poached.",
"INT. LISA'S HOUSE - THE POLETTI'S BEDROOM - NIGHT MR. POLETTI is standing inside the door in an open robe, tugging on the knob as MRS POLETTI joins him at his side. He, too is drenched with sweat and the heat has steamed up all the interior windows. MRS. POLETTI What is it? MR. POLETTI The lock's jammed! Suddenly, there is a BLAST OF MUSIC as a bedside CLOCK RADIO comes to life an immediatly begins melting in the center. The music GROANS to a stop after less than a bar and the amber dial - lamp dies.",
"EXT. LISA'S HOUSE - POOLSIDE - NIGHT KERRY and HUNK in the pool again. Steam is rising off the surface and the water seems a bit rough for a swimming pool. Kerry calls out to no one in particular. KERRY Hey, can somebody turn down the heater?",
"INT. LISA'S HOUSE - STUDY - NIGHT JESSE is writhing on the floor as LISA jumps around him, helplessly. LISA You're not afraid of him! He does n't even exist. ON THE T.V. as it, too, comes to life with a BLAST OF SOUND, SPARKS violently and dies. ON THE AQUARIUM as the water comes to a boil, the glass SHATTERS and the carpeting is flooded with a wave of steaming water and dead marine life.",
"EXT. LISA'S HOUSE - POOLSIDE - NIGHT as the Japanese lanterns begin to brighten considerably - as if there's a power surge in the line. Each of the bulbs begin to burst, scattering a group of screaming TEENAGERS from beneath them.",
"INT. STUDY ON LISA, JESSE'S POV Horrified. ON THE DESK FRONT as a hand comes up into frame - FREDDY'S hand. It scrapes up the wooden panel and grips the desktop, cutting four deep notches into the scrolled edge - molding. ON LISA She GASPS. FREDDY is standing in front of her. FREDDY -LRB- laughting hideously. -RRB- He ca n't fight me. -LRB- raising his eyebrows. -RRB- I'm him. Freddy approaches, flashing his razor - knives like a set of Tiffany rings. Lisa looks about the room for some escape. Freddy swings. Lisa counters by pulling an afghan from the back of one of the chairs and catching it in his blades. She reaches behind her for something to hit him with and comes up with a heavy brass lamp from the top of the desk. She SMASHES him over the head with it. The impact throws him back long enough for her to slip by him and run out of the study. She slams the door behind her. Freddy recovers quickly from the blow and, angry now, takes after her.",
"INT. LISA'S HOUSE - THE POLETTI BEDROOM - NIGHT Mr. Poletti is banging on the door and wrenching the knob. MR. POLETTI Lisa!",
"INT. LISA'S HOUSE - FOYER - NIGHT as LISA runs through the room, rounds the newel post of the stairway and skids across the parquet floor to the front door. She grabs the knob and pulls. Locked. LISA -LRB- screaming for help. -RRB- Jesse! Panic - stricken, she turns to run. FREDDY LEAPS across the room at LISA. She tries to run past him but collides with him instead. They both go down on the waxed floor. LISA tries to scramble away. FREDDY grabs her foot and sinks his teeth into her bare calf. She SCREAMS in pain. LISA kicks him in the head with her other foot. FREDDY strikes at her leg with his talons, but she twists away and he wedges the blades deep into the oak floor. She squirms free as Freddy pull s and pulls on his weapon to un - stick it from the floor. She runs toward the kitchen.",
"EXT. LISA'S HOUSE - POOLSIDE - NIGHT KERRY and HUNK in the middle of the pool. The surface is choked with steam and their bodies are lobster - red. They are trying to get to the stairway at the low end but the water has become even more turbulant and much hotter and randowm waves keep pushing them back, panting, toward the deep end. Kerry goes under and Hunk picks her up to hold her head up above the water. HUNK Help! ON THE PATIO several BOYS rush to the fence to pull down a life - hook hanging there on a bracket. Other TEENS stand around, wondering what's happening.",
"INT. LISA'S HOUSE - KITCHEN - NIGHT LISA is devastatingly frightened as she crashes through the doors and quickly scans the room. She runs to the sliding glass doors leading out to the pool area and hurls aside the draperies. ON the other side of the glass, FIVE KIDS tug frantically or the door and bang on the glass, trying to get in. BACK TO LISA She turns toward the counter and spots A WOODEN KNIFE - BLOCK a good selection of gourmet cutlery. FREDDY crashes into the room. ON LISA jumping toward the knives. She grabs for the thickest handle and unsheathes it from the block. This is one hell of a KNIFE - a fourteen inch long blade of carbon steel - all it needs is a blood - gutter to move it from the kitchen to the battlefield. THE SLIDERS The FIVE KIDS outside the glass doors stare, aghast. KITCHEN Freddy stops in the center of the room as she swings around, holding the knife in her fist defensively. LISA Jesse, help! FREDDY I'm Jesse now, Lisa. He chuckles as he raises his own weapon and rhythmically clicks the blades together. he's up for a feisty victim. Lisa tries to get up the courage to send the knife home. ON FREDDY His expression changes suddenly. FREDDY -LRB- Jesse's voice, pleading. -RRB- Kill me! Please kill me! ON LISA She is devastated by teh sound of Jesse's voice coming from within this monster. ON FREDDY himself again. FREDDY -LRB- mockingly. -RRB- Go agead, Lisa. Kill him! Kill him! He steps toward her and she swings with the knife. He jumps back, inches from the blade. He laughs and moves for her again. This time she swings and hits her mark, driving the knife deep into Freddy's shoulder. She PLUNGES the blade in, again and again, pushing him back across the room. The knife cuts long gashes but they do not bleed and with each puncture of the blade, Freddy lets out a horrible laugh : FREDDY -LRB- Jesse's voice. -RRB- Lisa. Lisa. I love you. I love you! Stunned, she steps back into the center of the room. She raises the knife again but she is crying hysterically and just does n't have it in her. Freddy catches her wrist with his bare hand and squeezes it with all his strength. Lisa begins quaking and her knees weaken. She closes her eyes. LISA -LRB- tearfully. -RRB- Please, God. She drops the knife : it sticks into the linoleum. ON FREDDY He starts to mouth a parting death - word but suddenly stops. TWO SHOT - LISA AND FREDDY Lisa opens her eyes. He is stell standing there, poised for the kill but he is staring at her with an odd expression - perhaps a glint of recognition. Lisa stares back, wondering why she is n't dead yet. CLOSE ON FREDDY A frown of confusion distorts his ugly face and his lower lip quivers slightly. Suddenly, he throws her aside like a fisherman tossing acks an undersized flounder. FREDDY -LRB- as Jesse. -RRB- Nooo. ON LISA SMASHING into the wall with force. She slides down to the floor, semi - conscious. BACK TO FREDDY he emits an agonized SCREAM and LUNGES, not at her but DIVING through the glass doors to the pool area.",
"EXT. LISA'S HOUSE - POOLSIDE - NIGHT REVERSE ANGLE as the glass shatters into a million shimmering pieces and Freddy is gone - vanishing before our eyes. The pool has stopped swirling although it continues to simmer. KERRY, HUNK and LIFEHOOK BOY cough and shake as they are helped out of the water and wrapped in towels by some FRIENDS. Many of the TEENS are huddled in little groups. Some are crying, others just look at the remnants of the party in disbelief. TEENS What happened? Where'd he go. Etc.. Several BRAVE BOYS approach the shattered sliders with cautious curiosity.",
"INT. LISA'S HOUSE - UPSTAIRS HALLWAY - NIGHT MR. and MRS. POLETTI listen to the uncomfortable silence. they look at the door as it UNLATCHES with a soft SNAP. Wary, they do n't move.",
"EXT. LISA'S HOUSE - POOLSIDE - NIGHT One BRAVE BOY in the group kneels down and touches his hand on the patio, looking or some explanation for the shattered glass. ON THE TAPE DECK as the cassette pops itself in and switches on GLENN MILLER. BACK TO PATIO Everyone looks around, spooked. Suddenly, there is a huge RIPPING sound and FREDDY violently CRASHES up through the concrete! ON THE KIDS Screaming at the sight of the monster. ON THE POOL as it begins to churn and boil. THE RAZOR - KNIVES fan open Brave Boy screams as Freddy swipes the knives toward his throat. Before contact, we",
"INT. LISA'S HOUSE - FOYER - NIGHT as Mr. Poletti scrambles down the stairs with Mrs. poletti close behind.",
"EXT. LISA'S HOUSE - POOLSIDE - NIGTH as FREDDY grabs another teen and throws him into the overheated pool. he SCREAMS as he hits the water.",
"INT. LISA'S HOUSE - KITCHEN - NIGHT ON THE DOOR as MR. POLETTI bursts through, followed by his wife. She screams when she sees LISA -LRB- groggily. -RRB- He could n't do it, Momma. MR. POLETTI looks up at the sound of the OFF - SCREEN SCREAMING. He rushes across the room to the sliders.",
"EXT. POOLSIDE Total CHAOS has taken over. KIDS are running in every direction, screaming as FREDDY lashes out indiscriminately. A SCREAMING GIRL is PUSHED INTO THE POOL by the stampeding kids and is SUCKED UNDER. TWO BOYS vault the WALL. One perches on top, holding a hand out to help HIS GIRL over. BOY Come on! FREDDY races at them and SLASHES THE GIRL. She drops. The BOY clambers over the wall. ON A FLEEING KID THE FLEEING KID runs toward camera -LRB- no othe rkids in shot -RRB-. As he runs, he BEGINS TO SLOW DOWN, as if being held back by an invisible force. Suddenly, FREDDY APPEARS AND, AT NORMAL SPEED, SLASHES THE KID.",
"EXT. CHAIN LINK FENCE - POOLSIDE SEVERAL KIDS breaks for the gate. The PADLOCK is secure. ONE KID grabs onto the chain - link fence to climb it. The links SMOKE AND SIZZLE, and the kid lets go with a scream. His HANDS are branded with the pattern of the steel links.",
"INT. LISA'S HOUSE - KITCHEN - NIGHT Mr. Poletti turns whit, not believing his eyes. He backs away from the sliders. MR. POLETTI My God! He backs off some more only taking his eyes off the scene to glance at his wife and daughter. MR. POLETTI Get her out of here! MRS. POLETTI looks back at her husband, questioningly. MR. POLETTI -LRB- urgently. -RRB- Get her out of here! She starts to help Lisa to her feet. MR. POLETTI turns on his heels and runs through the kitchen doors.",
"EXT. LISA'S HOUSE - POOLSIDE - NIGHT Freddy stands in the center of the patio, swinging with his claw as a few DO - GOODERS circle him and try to calm him down like he was just some ordinary homicidal maniac. At Freddy's feet, another hapless VICTIM. ONE DO - GOODER who's watched too many police dramas on T.V. jockeys around Freddy and throws out some hostage control lines. DO-GOODER Now calm down - we want to help you. Freddy displays his blades like a rabid cat, ready to strike. FREDDY Help yourself, fucker. Behind them, a row of shrubs suddenly combusts. Freddy grabs him by the wrist, laughs and, swinging him around like he were throwing the Hammer, sends him with a bone - splitting CRASH into THE GAS GRILL The force of the impact shears the grill from its pedestal and causes a huge column of FIRE to shoot up into the heavens.",
"INT. LISA'S HOUSE - STUDY - NIGHT MR. POLETTI swings one of the chairs into the gun case SHATTERING the glass door.",
"EXT. LISA'S HOUSE - POOLSIDE - NIGHT The KIDS are trapped inside the pool area, frozen with fear, hysterical. With the gas - fire raging to one side, he screams out like an evangelist on angel dust. FREDDY You are all my children! SOUND OVER : A SHOT RINGS OUT BLOWING AWAY a dish of potato salad on a table at Freddy's side. Several teens dive for cover. ON MR. POLETTI standing in the frame of the shattered sliders. he is holding a pump - action shotgun. as he brings the gun down to give it a second pump. MR. POLETTI Shit! He raises the weapon again, but LISA rushes out and pushes the barrel of the gun down. MR. POLETTI FIRES into the patio. MR. POLETTI -LRB- furious. -RRB- What are you doing? ON FREDDY he looks toward the doors and makes eye contact with Lisa. Suddenly, he turns on his hells and walks THROUGH THE BRICK WALL as if it were n't there. The very top of his head and his hat are higher than the top of the wall and remain solid as he moves through and out the other side. There is SMOKE AND SCORCH on the bricks where he passed. SILENCE and stunned faces. Frightened whimpers here and there. MR. POLETTI Where did he go? ON LISA She puts her hand to her mouth - she knows. MRS. POLETTI has come onto the patio now and joins her daughter and husband. Lisa turns and runs into the house. MRS. POLETTI Where are you going? Lisa is already gone. MR POLETTI -LRB- calling her back. -RRB- Lisa! JESSE'S CAR - EXT.. POLETTI HOUSE - NIGHT LISA opens the door and gets into the driver's seat. SOUND OVER : POLICE SIRENS APPROACHING",
"INT. JESSE'S CAR She looks at the make - shift switches and tries to remember how Jesse. She flicks the toggle and pushes the starter button. Nothing. She remembers the two wires under the dash and twists them together. She pushes the starter button. The starter GROANS. It does n't seem like it's going to start. ON LISA LISA -LRB- frantically. -RRB- Please work, please. The car back - fires and starts. She puts it into gear and pulls out.",
"EXT. DARK HIGHWAY - NIGHT as the old FALCON tears down the highway.",
"INT. JESSE'S CAR LISA is at the wheel, squinting through the darkness, trying to hold the road.",
"EXT. ABANDONED POWERHOUSE - NIGHT Lisa pulls up to the building and shuts the engine off. INSIDE She hastily tears a strip of cloth from her shirt and ties it around the wound on her leg. She gets out of the car. She steps up to the front of the building. HER POV The entrance is ringed by A PAIR OF MANGY WILD DOGS WITH EERIE, UNNATURAL FACES who growl threateningly as she approaches. She shows no fear as she steps right up to the enterance. THey snap at her hands but she does n't pull them out of the way. They part, allowing her to pass through.",
"INT. POWERHOUSE - NIGHT LISA walks in cautiously. The powerhouse looks fare different than it did in daylight - mysterious, dangerous, brewing, almost alive. Steam is leaking from between rusty rivets and torn gaskets and we hear the POUNDING of ancient expansion tanks belching out rancid air. The interior is bathed in an electric blue light that intermittently washes pale as hot white arcs flash in distant corners of the building. She walks in deeper, carelessly touching her fingers to a large steam pipe and retracting her hand quickly from its blistering sting. She stops at the center of the room. Suddenly, a twinge of pain on her face and she looks down at ehr leg. now, serious pain as she bends over and frenziedly pulls up on the make - shift bandage. ON HER WOUND It is SWARMING with big, black, carpenter ants. She screams and brushes them away with her hands, quaking with disgust. As abruptly as they appeared, they are gone ; the blood - soaked bandage is intact, covering the wound. She bhacks away from teh sump and begins climbing the rusted metal stairway up to the catwalk. SOUND OVER : SCRAPING METAL She stops midway and looks around, frightened. A few seconds to regain her courage and she steps onto the walkway. A RAT - the one she met before - scurries at her. It stops, stares at her evilly, hisses unnaturally. Lisa screams. Suddenly, a CAT pounces on the rat. The cat looks up at Lisa with ONLY THE TAIL OF THE RAT STICKING OUT OF ITS MOUTH. Its eyes are demonic, its teeth crooked yellow fangs. It growls like a beast five times its size. The cat takes another chomp on the rat, and the rat's tail disappears down its gullet. ANOTHER ANGLE LISA jumps down off the sairway onto the catwalk and starts to run. She CLANGS over the steel - mesh flooring. A section of the catwalk gives way beneath her feet and LISA plummets as if she were dropped through a trap door. Her arms flail over her head, but her hand manages to grab around a section of handrail that's still solid. ANOTHER ANGLE we see the catwalk is intact - it looks as if her knees just gave out but she continues to hold on to the railing for dear life. She tests the flooring by feeling it before attempting to rise ore release her grip. She rises and turns around. FREDDY is there. Lisa SCREAMS. FREDDY Had your chance. -LRB- raising his talons. -RRB- Die now! He slashes at her. She ducks and runs back toward the stairway. The STAIRWAY IS RED HOT, SMOKING. FREDDY closes in. FREDDY Come to me, Lisa - I'm waiting for you. Lisa stops short, looks around desperately. There is nowhere to go. LISA Oh, God, Jesse - I know you're there! Stop him! FREDDY Jesse's dead, Lisa. Freddy's here. Freddy strikes, cutting Lisa's shoulder. LISA -LRB- screams. -RRB- Jesse! Freddy closes in on her. She is trapped, finished. FREDDY -LRB- smiles perversely. -RRB- Wan na join your little friend? LISA Where's Jesse? FREDDY There is no Jesse. I'm Jesse now. LISA I want him back. Jesse, talk to me. Jesse! Freddy raises his talons for the kill. The sharp oints are within an inch of her eyes. Lisa, terrified, summons up all her energy, all her might, and looks Freddy in the eye. LISA I love you, Jesse! Freddy stares at ehr, talons frozen in mid - air. The horrible hand quivers, as if against an unseen force. And then - The wounds on Freddy's shoulder and chest rip open. He looks down at them, surprised. They bleed real, human blood. LONGER ANGLE Lisa breaks past him and starts to run but stops suddenly, a few paces from Freddy. She turns to look at him leaning weakly against the railing, with an expression of confusion on his face that is almost pathetic. he touches his wounds, surprised. Lisa is no longer afraid - she's angry now. She looks him straight in the eye. His razor - knives click together like they're running low on batteries. Freddy beckons her over with the knife on his index finger. FREDDY -LRB- Jesse's voice. -RRB- Come and get me, Lisa. Freddy laughs wickedly. LISA moves a step toward Freddy. LISA I'm not afraid of you. You could n't kill me. He's in there and I want him back. I'm gon na take him away from you and you're going straight back to hell, you son - of - a - bitch! FREDDY -LRB- getting angry. -RRB- Jesse's dead! I sliced ` im real good! Lisa moves closer to Freddy. LISA Come back to me, Jesse. She locks her gaze on Freddy's eyes and looks right through him. LISA I love you, Jesse. Come back to me. FREDDY He's dead, you bitch. Freddy seems to be in a good deal of pain. He drops to one knee. Lisa moves closer. He tries to move away from her. FREDDY -LRB- threateningly. -RRB- I'll kill you now. LISA -LRB- ignoring him. -RRB- He ca n't hold you Jesse. He's losing his grip - you can get out. FREDDY He'll die with me! She kneels beside Freddy, takes off his hat and begins to lovingly stroke his head. he seems to be writhing a bit and emits several frightened moans. FREDDY He'll die with both of us! She gathers all her nerve and moves in closer. He lifts his deadly hand and presses it into her chest. She flinches in pain but continues to come in close until her mouth is almost touching his. he moves his blades onto her back, trying to push them into her flesh, but he is too weak to do much damage. TIGHTER ANGLE Locked in this strange embrace, she presses her lips against his with as much passion as she can muster and KISSES HIM. LONGER ANGLE : FREDDY & LISA There is a moment of quiet. Then smoke starts to rise off of Freddy. He pushes her away with an excruciating SCREAM. The sound of the POUNDING machinery is becoming deafening. The electric FLASHES are firing more rapidly and arcing across the Power Plant. The room is RAPIDLY HEATING UP. A SMALL FLAME shoots along the railing. SMALL FIRES begin to break out on the catwalk around Freddy. ANGLE : PAINTED SURFACE The PAINT BEGINS TO SMOKE AND BUBBLE with the heat. As the heat increases it INTO FLAME. ON PIPES STEAM begins shooting up from every pipe joint. ANOTHER ANGLE : PIPES STEAM shoots out of the valves. heavy iron VALVE WHEELS SPIN OFF THEIR STEMS and roll down the FLAMING CATWALKS. ON LISA Surrounded by flames and smoke, she watches it all with fear and amazement. CLOSE ON FREDDY His flesh is starting to melt. LONGER ANGLE : FREDDY He bursts into DENSE, ALL - ENGULFING FLAME. The power plant is going crazy : the steaming, smoking, and flaming all reach their high peak. Pipes are bursting with steam : valve wheels flying off. Andthen everything begins to slow down, ease off. The flames are dying down around the charred corpse, and we can see it is no longer moving. The little fires around him are also dying down. And the smoke, the steam, and the deafening noise abate. ON FREDDY'S CORPSE The fires are out now. there is only some smoke. And the terrible heat has turned to COOL BLUE LIGHT. The still smoldering corpse, with its back to us, begins to stir. LONGER ANGLE : CATWALK Lisa backs away, terrified. The corpse turns to her - it is Jesse, his clothes smoldering, his body singed and blackened with soot. But alive, coming around as if it were all just a bad dream. LISA moves to him and cradles him in her arms. FADE OUT",
"EXT. WALSH HOUSE - DAY A SHINY NEW SCHOOL BUS rolls down the street. It pulls up by the curb near the Walsh House. JESSE, his RIGHT ARM IN A SLING but otherwise fresh and happy, kisses MOM goodbye at the FRONT DOOR. He hurries down to the bus, gets in. The DOORS fold shut, the GEARS GRIND and the bus continues along its route.",
"INT. SCHOOL BUS - DAY There are about a DOZEN KIDS in the bus, playing radios, having a good time, etc.. LISA, in the back, waves to Jesse and smiles. She wears a BANDAGE on her shoulder where Freddy slashed her. Jesse, in the front smiles and waves back. Jesse makes his way down the aisle to Lisa, greeting a few kids, slapping a hand or two. ON JESSE & LISA Jesse plops down next to her, gives her a quick kiss, puts his good arm around her. JESSE Hi. LISA Hi. Lisa chuckles. JESSE What's so funny? LISA We must look like a couple of escapees from a veterans' hospital. Jesse smiles and shakes his head. JESSE I ca n't believe we actually - Lisa puts a finger to her mouth to cut him off - no need to tell about unpleasant things. Jesse smiles again - she's right. he kisses her. Jesse moves his head away from hers for the big kiss. Lisa's eyes are closed, ready to receive it. She opens her eyes. They are pupil - less, blood - streaked, demonic. With an EVIL ROAR, a huge SERPENT TONGUE FLICKS OUT of her mouth and attacks Jesse who screams.",
"EXT. DESERT LANDSCAPE - DAY The bus WHINES near the top end of third, all of its FLASHERS firing wildly. It races away through the desert in a cloud of dust. FADE OUT"
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] | Five years after Freddy Krueger's apparent defeat, the Walshes have moved into the Thompsons' former home. Their teenage son, Jesse, has a nightmare about being stalked by a killer driving a school bus. He wakes up and attributes the dream to the unusual heat in the room. Jesse goes to school with his friend Lisa, whom he is interested in romantically, but is too shy to flirt with her. After getting into a fight with a boy named Grady during gym class, Coach Schneider has them stay after class and they become friends. Lisa comes to visit Jesse after school and they discover a diary from Nancy Thompson detailing her nightmares, which are strikingly similar to Jesse's. Small fires happen around the house, which culminates in the spontaneous combustion of their pet birds. Jesse's father accuses him of sabotage. The following night, Jesse has a nightmare where he encounters Freddy, who tells him to kill for him. The dreams grow more intense and Jesse unsuccessfully attempts different measures to keep himself awake. He eventually begins wandering the streets at night. One night, while dreaming, he is caught by Schneider ordering a drink in a gay bar and is made to run laps at school as punishment. After sending Jesse to the showers, Schneider is attacked by an unseen force that drags him to the showers. Jesse vanishes into the steam and Freddy emerges, killing Schneider by slashing his back. Later, Jesse is horrified to see the glove on his hand. He is escorted home by police after being found wandering the streets naked, and his parents begin to suspect that Jesse may be on drugs or mentally disturbed. Lisa takes Jesse to an abandoned factory where Freddy Krueger worked, but they find nothing there. The following night, Jesse goes to Lisa's pool party and kisses her in the cabana. Afterwards, his body begins to change and he leaves in a panic. He goes to Grady's house, confesses to killing Schneider, and instructs Grady to watch him as he sleeps and to stop him if he tries to leave. When Grady eventually falls asleep, Freddy emerges from Jesse's body and kills Grady. Freddy then changes back to Jesse, who finds himself looking at Freddy's laughing reflection in Grady's mirror. He flees before Grady's parents enter the room. Returning to Lisa's house, Jesse tells her what is going on. Lisa realizes that Jesse's terror is giving Freddy his strength, but he cannot stop fearing him and transforms again. He locks her parents in their bedroom and attacks Lisa, but realizes he cannot harm her due to Jesse's influence. He goes outside where he begins to slaughter the partygoers. Lisa's father emerges with a shotgun, but Lisa stops him from shooting Freddy, who escapes in a ball of flame. She drives to the factory, facing sudden nightmares and having to control her fear before confronting Freddy. She pleads with Jesse to fight Freddy, but Freddy's hold is too strong. When Lisa confesses her love for Jesse and kisses Freddy, Jesse begins to fight back. Freddy combusts and turns to ash, from which Jesse emerges. Later, as Jesse, Lisa, and Lisa's friend Kerry are taking the bus to school, Jesse begins to notice similarities to his original nightmare and panics. After Lisa calms Jesse down, Kerry says that it is all over just before Freddy's clawed arm bursts through her chest. Freddy laughs as the bus drives into the field, just as in Jesse's first nightmare. | A_Nightmare_on_Elm_Street_2:_Freddys_Revenge |
[
"THUNDERHEART A DRUM. Beating slow. And deep. Like a heart.",
"EXT. THE GREAT PLAINS SOUTH DAKOTA - DAWN Something is rising from the Black Hills. A sphere of light, too red to be the sun. A sphere of contained fire, undulating in crimson and ochre, and rising slowly, majestically, to the pulse. To the DRUM. It is the sun. But it is a Paha Sapa sunrise. A Black Hills sunrise. And it is spectacular. The DRUM, pounds deeper, bigger, as the sun gets higher. Stronger. Igniting a vast landscape of gentle slopes and foothills ; throwing shadows on the plains that look like, as the Indians say, an old man dancing. The grass is golden. And high. The wind moves through it, snakes through it. Slowly. BEGIN CREDITS. Voices ; a TRADITIONAL INDIAN SONG -LRB- Lakota -RRB-, summoning Wakan Tanka - The Great Mystery. And now, rising up over one of the small land waves, a head comes into view. Shoulders. A man, running in ghostly SLOW MOTION, his long black hair trailing in the wind. The INDIAN MAN wears only buckskin pants and a bone choker around his neck. Legs and arms churning, the man runs with antelope grace, backlit by the sunrise, bounding toward us. Running. his heart pounding. SONG RISING. DRUM POUNDING. FIVE MORE VOICES in high - pitched tremolo join the song. And then the runner soars, like an eagle from a bluff, airborne, flying over a small dip, arms outstretched, and it would be a wondrous thing if there were not a fine, crimson, mist all around him and if slow motion was not suddenly overtaken by LIVE SPEED, revealing the brutal force of gunfire which has slammed the Indian into the air, throwing him. Slamming him hard into the grass. And it is over as quickly and violently as a deer shot dead. LAKOTA SONG ends abruptly. LONG SHOT - THE GREAT PLAINS the sun burns like lava at the horizon. DRUM beats like a heart. And Somewhere off in a distant cottonwood, an OWL. Then Silence. Deep, disturbing stillness.",
"EXT. CAPITAL BELTWAY - WASHINGTON. D.C - DAY ROCK N'ROLL shatters the silence. Cars - a multicolored metallic criss - cross reflecting off a building made of mirrors - races past an electronic billboard that blinks in red skyhigh digital : PRUDENTIAL LIFE INSURANCE. 7:59. 73 degrees. The D.C. Superhighway. And off behind it, in the distance, Capital Hill holds imposing vigil, the massive cast iron dome of The Capital, catching the sun. But everything is soon smothered by a METRO BUS, hogging the far lane of the Beltway, leaning on its HORN. Good morning. And the rock n'roll is everybody's radio, everybody's tempo. CARBON MONOXIDE WAVE shimmers across the beltway hugging then releasing a solitary vehicle that we stay with. move with. A black Nissan 240 SX, hard - waxed.",
"INT. 240 SX - TRAVELING Behind the wheel - an intense young man with close - cropped black hair, eyes hidden by sunglasses. Whatever he does for a living, he does in a suit -LRB- not expensive but well - fit. But we might also note that any extra suit cash has gone instead into the silver - plated watch on his left wrist -RRB-. Lean as a rake, sallow in the cheeks, there is something insatiable about him - a hungry energy that wo n't let him go. RAY LEVOI, late 20's, early 30's, pulls out of a threatening traffic jam and races on the narrow right between thirty cars and a cement girder.",
"EXT. T STREET - OUTSIDE WEST-CENTRAL The black SX has jumped off an exit and has entered the light - industrial section of Washington. It pulls up near a loading dock behind an old gray building and several parked cars and vans. Ray steps out, smooths his jacket, locks and SETS HIS CAR ALARM. Another young man - chubby, clean - shaven ; in a nicer suit than Ray's - steps out from a parked Miata, and approaches Ray. CARL PODJWICK balances a coffee, a U.S.A. Today and a black eel - skin briefcase. CARL Hey. RAY Hey. Nice tie. CARL Do n't get too attached. They start walking briskly toward the loading dock. RAY Ya got the paper? They mount steps. CARL Yeah. RAY You're my hero, Carl. CARL Heroes ai n't supposed to shake. I'm shakin', man, look at me. RAY Breathe, Carl. Four, nice, deep ones. They stop at the door of a service elevator and Carl breathes. Expanding his chest, exhaling. Ray adjusts Carl's tie for him, his collar. He speaks quietly. Quickly. RAY Anyone stops us going in, we're with the Bowen - Hamilton Textile Company. We have rug samples. CARL Rug samples. RAY We are one - dimensional, boring peddlers of fine carpet, Carl. Carl nods. Ray hesitates, adjusts his own collar and enters the service elevator. Carl follows. Door closes. BEGIN CREDITS END.",
"INT. GRAY BUILDING - FENCING OPERATION Carl follows Ray into the big sparse room of unfinished sheetrock walls. There is nothing in here but cardboard boxes, and two people ; a bearded HISPANIC MAN standing behind a counter, writing on a clipboard. The other is a middle - aged BLACK MAN in a purple silk shirt sitting in a chair with a newspaper held open. He barely looks over the top of the Wall Street Journal. BLACK MAN Hey, look who's here. RAY Louis, my man, what's happenin'? Ray walks up to the counter. Carl lingers, fidgeting. Ray sets his briefcase on the counter and click - clicks it open. The Hispanic fence man looks inside, and begins pulling out stacks of treasury checks. FENCE MAN Clean ones? RAY Immaculate. Ray gestures to Carl and he nervously sets his briefcase on the counter, fumbles with the first latch. The second. He flips it open. The fence man casts his eyes down at a neat cache of Grade A Treasury. A lot of it. Then his eyes rise to Carl. FENCE MAN What ya got there, seventy - five thousand? CARL A hundred and ten. Count it. LOUIS -LRB- BLACK MAN. -RRB- Have the girl count it, we ca n't sit around here countin' bonds, we got things to do here. The fence man pushes an intercom button and yells into a speaker. FENCE MAN SALLLLY! Carl's eyes flit to Ray. Ray's eyes flit to Carl. Louis crushes his newspaper down and lifts a big Colt Python from his lap just as - A section of sheetrock kicks open and THREE FEDERAL OFFICERS bust out, each clutching a handgun, SHOUTING inaudibly. LOUIS F.B.I! Get your face on the fuckin' floor! MOVE! Carl startled, does an almost effeminate dip down to one knee, but that knee is swept out from under him, slapping him flat onto plywood where he is instantly frisked down by the fence man who is wielding a 9 mm handgun. But the white collar criminal is more stunned by the fact that - Ray is walking across the floor with his hands in his pockets over to the Mr. Coffee. He pours one, and adds some milk. Turns and watches the bust while opening a packet of Sweet n'Low. RAY Slam dunk. LOUIS Beauty. Beauty. Ray rests his weight against the coffee station, takes a careful sip. Carl is yanked to his feet by the fence man and he stands there, looking at Ray, baffled. Completely shocked. CARL Jesus Christ, Larry, what the fu - Larry. That's not even your name, is it? What's your real name, you fucking scumbag? RAY Do n't have one, Carl. I have a number, man. Just like the numbers on those treasury checks. You stole from your own country, Carl. Shame on you. Coffee in hand, Ray walks briskly toward the door. LOUIS Sugar Ray. Ray turns. Louis takes a few steps toward him, putting his gun back in his waistband. LOUIS They want ya Home. Upstairs wants to see ya. Ray stands frozen, holding the door knob, and digesting what are apparently influential words. LOUIS Make sure ya spell my name right. Ray just stares for a moment. Then hurries out the door. Carl, being arm - gripped by two agents and photographed like a trout, gazes bewildered at the door. CARL -LRB- incredulous. -RRB- We just spent four months together. I thought he was my friend. what the fuck, man? -LRB- even more incredulous. -RRB- He had dinner at my mother's. CAMERA FLASHES at him, an agent on either side, striking a natural pose.",
"EXT. J. EDGAR HOOVER BUILDING - ESTABLISHING - DAY The huge, imposing, mausoleum - like Hoover building, bordered by artificial turf, hemmed by cherry trees in blossom. Turning out to be a nice day on Pennsylvania Avenue.",
"INT. FBI DIRECTOR'S CONFERENCE ROOM - DAY 8x10 BLACK AND WHITE PHOTOS dealt like cards onto a table, one on top of another. 1 - an aerial shot of some wasteland. 2 - a closer bird's eye of the same, what looks like a NASA photo of Mars. 3 - a vast expanse of the Great Plains. ROBERT F. TULLY, Number - Two - in - Command, deals a fourth photo onto the table. He is an understated, fatherly man, well - manicured in cotton pencil - striped shirt, white - tab collar and tie. The photos and maps and files a foot deep on the huge table are neatly organized. INTERCOM SA Levoi, Sir. TULLY Please. Seated, at the far end of the table, engrossed in the deep spread of information, SA -LRB- Special Agent -RRB- FRANK COUTURE is about to break the record for longest single ash on the end of a cigarette and the smoke forces his eyes into tight, concentrating, slits. `` COOCH'' as they call him in the Bureau has seen thirty years in some rough `` provinces''. He has survived the Hoover era and is a legend in the Sessions era but survival has honed an edge. An edge with a touch of ironic cop humor. Ray enters, walks into a firm shake. TULLY Ray. RAY Mister Tully. TULLY Do you want a coffee? RAY No. No, no. Thank you. Ray sits nervously across from Cooch who looks up from the photos and studies the younger man through reading glasses and cigarette smoke, and he looks at him like he does n't know who the hell he is or why he's sitting there. TULLY Levoi, Cooch. Raymond Levoi, Criminal Division. COOCH Oh, yeah - right. Cooch sticks his cigarette in his left hand, shakes with his right. TULLY Ray this is - RAY / TULLY Frank Couture. TULLY That's right. COUTURE Hello, Ray. The handshake is still locked. Cooch is still squinting at the younger agent. Ray obviously knows something about Agent Couture. RAY It's an honor. Tully leans back in his chair, crosses his legs casually. TULLY Ray, we're taking you off the street. We need you out in South Dakota. Ray's enthusiasm suddenly deflates. RAY South Dakota. -LRB- confused. -RRB- Did I do something unsatisfactory, Sir? COOCH No, Ray. You're gon na have to blame that on your grandmother. Ray looks completely baffled now, swinging a look from Cooch to Tully. TULLY Interesting bloodline you have, Ray. -LRB- scanning file. -RRB- French, Scots - Irish, Italian,. and one - eighth American Indian. COOCH Sioux Indian, right? RAY I'm not that sure. Yeah, I think - TULLY - yes, Teton Sioux. Father's side. Ray nods, looks from Tully to Cooch. What's going on here? TULLY Ray, there's been a homicide out in an area known as The Badlands. Indian Reservation. COOCH It's not the first. There's been several. And our field office in Rapid City is getting a lot of heat. none of the investigations have turned up jack shit. TULLY The main problem is, Ray, these people are extremely distrustful of outsiders, non - Indians. Relations have not been amicable. COOCH Different culture. Hard to penetrate. The Indians do n't like white cops poking around. And that's why we're in a position where we have to bring in an American Indian agent. Tully straightens the edges of a bureau memorandum. TULLY With an Indian representative out there, we hope to keep hostilities dormant ; this is a COINTELPRO, Selective Operations Unit, and it'll be easier on Agent Couture if you can gain the people's trust and maybe - RAY Woh, excuse me, Sir. I see what you're saying. I've got a little Indian blood, that's true. But -. -LRB- laughing. -RRB- I am not an. an Indian. I ca n't just go in and - TULLY - your father was part Sioux. A beat. Ray lowers his eyes to the photos. RAY I did n't know him, Sir. He passed away when I was six. COOCH Seven. Ray looks up at Cooch. Another uneasy beat. Cooch lights a cigarette as if lighting a cigarette was a science. COOCH Do n't worry about it, Ray. As long as the people have proof that we sent them one of their own, no one's gon na ask you to weave baskets or make it rain. Ray sits before the files and photos, looking unsure. He has come to garner a promotion but has just been sent to The Graveyard. Or in the FBI argot, Indian Country. Tully pivots his leather chair in a full circle and slaps an assignment folder down in front of the young agent.",
"EXT. THE GREAT PLAINS - SOUTH DAKOTA - DAWN The very landscape from opening image. Gentle waves of land, rolling out to touch the Black Hills. The sun rises up out of the distant silhouette like a waking God. HEARTBEAT DRUM. Hypnotic. And then a car blows by, throwing up gravel and agate and gypsum. ZOOOOM! Right by us. Gone. When a dense screen of red dust clears, an old, bent, metal sign at roadside becomes visible. It reads, through punched and rusted bullet holes : `` Entering Bear Creek Indian Reservation.'' HEARTBEAT DRUM calls in the high - pitched, mournful voices of LAKOTA SINGERS. The same haunting song.",
"INT. LE BARON - MOVING Cooch is at the wheel. Ray, passenger. His lap is a desk for several folders, and he works through them as they drive. Both agents eat a sandwich as they travel. RAY Eight murders in less than a year. All of them Indian. All of them unsolved. Is the law a non - entity out here or what? Cooch opens a folder that sits between them, and taking his eyes off the road for a dangerous five seconds, locates some photos, and hands them to Ray. Ray's expression tells us they are not pretty. COOCH Those are two agents who went into a reservation a few years ago to serve a warrant. They were executed at close range. That one there is a police officer killed by the Mohawks up in Canada more recently. RAY Jesus. COOCH The agents who have worked out here say its like going into Nam. Unfamiliar terrain, foreign language, foreign customs. and you never know when you might walk into a few rounds. They hold a lot of old anger for the white man out here. Ray considers this as he looks out at the unfamiliar terrain while on the RADIO, a D.J. speaks in LAKOTA LANGUAGE. Ray. back at Cooch, studying his face. RAY Were you in Nam? COOCH Airborne. That's where they used to get us agents from. Now we get'em from Carnegie - Melon, Ivy League. Accountants and computer whiz - kids. Yuppies with guns. -LRB- lights a smoke. -RRB- That's scary shit. Ray smiles, sets the AC on high. RAY Not as scary as a Hoover man with a computer. Cooch throws a quick look Ray's way. And a smile. He appreciates the sting of a right off a left. COOCH Hey, hey, hey. J. Edgar would've loved you. He'd love anybody who joined the bureau to, what was it? `` To enforce the laws of my country and protect her interests''? RAY You crashed my file? COOCH No. I consulted it. We're going into Indian Country, I wan na know what kind of individual is covering my ass. Do n't you? Ray has finished his sandwich. He wipes his hands on a kerchief while taking in the sight of chalky buttes cramming roadside. RAY You've been in the bureau for thirty years. You survived The Hoov, the Black Panthers and Abscam. I do n't see any bullet holes. That's good enough for me. Cooch looks at Ray, amused. He likes this guy. And then he notices a look of growing consternation on his partner's face. RAY'S POV - MOVING as they drive through the first settlement, a little, broken and scattered community, littered with wrecked cars on blocks, and overpopulated with hungry dogs. HEARTBEAT DRUM softly under. SIX INDIAN CHILDREN with dirty but beautiful faces and long blue black hair run alongside the car, curious. One of them YELLS SOMETHING we do n't understand. PAST the trading post - a white man's store - where SIX OGLALA SIOUX - four men, two women sit like wax figures, only their eyes moving to light on the freshly waxed government car. A little house has a tipi erected beside it. And a satellite dish. The house beside that one has been half chopped away to feed the wood stove. Poverty.",
"EXT. BEAR CREEK COMMUNITY - RESERVATION - DAY The federal car drives out of the community and further into vast bluffs and strange rock formations where it is swallowed, leaving the ramshackle village in dust. A lone dog - all its ribs showing - chases, BARKING.",
"EXT. BADLANDS - SHORT TIME LATER We are on the Moon. Or Israel. But not America. Not any America we've ever seen. A thirty - mile eroded landscape of dunes and crevices, soft rock strata and fossils. Barren. And eerie. A LAKOTA DEATH SONG underscores the otherworldly ambiance of this place as - SHOES scuff through the gumbo and multi - colored stones. Two pair of black, spit - shined, lace - ups. Three. Tripping. Scuffing. And then a fourth pair. But they are not loafers. They are Georgio Brutini's and they belong to - Ray, as he and Cooch follow two Special Agents from the regional office. SA MILES is about Cooch's age, balding. SA SHERMAN is closer to Ray's age but instead of a suit like the rest, he favors an army - green jacket. Neither is a South Dakota shit - kicker but transplanted field agents. All four shield their eyes with dark glasses, and here in the Badlands it is wise because the sun makes dunes shimmy and craters become faces. It plays mischief on the eye, making Ray and Sherman nearly trip on - A DEAD BODY lying face down in the rainbow sand. Dried blood and horse flies cover his blown out torso. The agents stand over him, breathless from the rugged walk. COOCH Who found him? MILES Indian kids. Hunting fossils. Cooch studies the body from where he stands. Sherman hands a file over to Ray. COOCH Okay. I think Agent Levoi and I can proceed from here. What are your call signals? SHERMAN PX - 10 and 11. Anything we can do to help you out, just radio. COOCH Good. Thanks, Guys. The agents start back through the Badlands. Ray is already squatting a safe distance from the body, covering his nose with a kerchief while looking in the file. Cooch takes a bended knee on the other side of the body. Flies buzz on and around the corpse. RAY Leo Fast Elk. Thirty seven. single. Member of the Tribal Council. Cooch makes a note then slowly circles the body. He holds a hand out to Ray and the younger agent turns the file over. COOCH Looks like Fast Elk was n't fast enough to outrun that load. What do you make of the damage? Ray gets closer, swats at Flies with the folder. RAY Six rounds. 357. COOCH That's what it looks like, does n't it? But that's what a ten gauge, choke - bored, shotgun will look like when it hits your lower back from five feet away. Ray looks up impressed. Cooch rises and walks off gingerly, scanning the surroundings. RAY Somebody was serious about doing this guy, that's for sure. COOCH Ray. Cooch is standing ten feet away, staring at the ground. Ray walks over, carefully. He follows Cooch's frown down at the twisted layers of earth. ON THE GROUND a circle has been etched deep in the soft gumbo, and in the center of the circle, a white eagle plume sticks straight up, dancing in the wind. Cooch and Ray each lower themselves to their haunches to study the strange sight. Cooch puts his reading glasses on, stares at it. Then lights a cigarette. Ray hefts up a camera and begins CLICKING off shots. He starts moving around it, taking shots at different angles. And then the sound of a DISTANT MOTOR draws both agent's attention. way out in the bizarre moonscape of eroded rock and earth, a lone figure on a motorcycle bounces and grinds, born out of a silvery heat mirage. It's fifty yards off but heading straight for us. The HEARTBEAT DRUM. REVERSE - RAY AND COOCH try to make the figure out. IN THE BADLANDS the archaic mud - caked Harley chugs and stalls, spits and choices, and begins an incredible drive straight up the steep side of this natural wonder. At the throttle is an imposing figure. WALTER CROW HORSE is a portly Indian in his late - thirties with a black reservation hat worn low over a face that seems to have been cast from a bust of Sitting Bull. Sitting Bull with aviator shades. Denim jacket over checkered shirt. Faded jeans. Well broken duct - taped boots. His hair is worn long in tight duel braids. The rusted bike bajas up and down slopes, finally stalling out, twenty feet or so from the murder site. Crow Horse swings his bulk off the bike like dismounting a horse. He looks around suspiciously then pulls a rolled - up blanket from the carrier rack. LEO LITTLE SKY lies in death. Crow Horse's boots move in stealthily, creaking like saddle leather. He squats and looks at the corpse. then looks around with animal alertness. He reaches into the front pocket of his jacket and pulls out some Bull Durham tobacco. He pinches some and offers it to the four directions around the body. He then unrolls the blanket, begins to move the dead man. sense something and wheels to see Cooch standing behind him, one hand behind his back where his gun must be, and the other hand holding up open wallet. The sun hits his badge. COOCH Good morning. Crow Horse hawks his eyes onto a big rock, a full second before Ray steps out, his.45 drawn but held at ease. Crow Horse slowly raises his arms as Ray moves up to him, studying him. COOCH Taking ol' Leo somewhere? CROW HORSE Leo's been out here too long, man. I'm taking him to ceremonial burial. RAY This is a restricted area. COOCH Check him out, Ray. Ray frisks the Indian, finds an old leather wallet, and then a gun. A.38. COOCH Nice piece. You come back here to cover your tracks, Geronimo? What's your name? CROW HORSE It ai n't Geronimo. COOCH Who are you? CROW HORSE I think maybe you guys got off the wrong exit, yeah? This is the Bear Creek Indian Reservation. Cooch walks around to the front of Crow Horse, and studies him. COOCH I know where I am. I'm on federal land, doing a federal investigation, and if you do n't wan na cooperate you can take a ride in a federal car, and spend the rest of the day in a little room, answering federal questions. It's your call. Who are you? CROW HORSE I'm a full blood Oglala Sioux, born and raised on this reservation. COOCH You're a wise - ass. Ray check his wallet. RAY I did. COOCH Who the fuck is he? RAY - a fucking cop. A pause. A long, dead of South Dakota, Badlands pause. Cooch turns and looks at Ray who holds up the open wallet, revealing a badge. Like Cooch's it shines in the sun. RAY Walter Crow Horse. Tribal Police. Cooch stands staring at the Indian. then takes a few steps over to Ray and grabs the wallet. He examines it. Then looks at Crow Horse and laughs. COOCH He's a fucking cop. The Indian cop has plenty of time to get up on his own but he kneels there, tauntingly, waiting for Ray to help him. Ray walks over and offers a hand. Crow Horse takes it, and pulls himself up, looking square into Ray's sunglasses. Cooch walks over and hands the officer his wallet, and his.23. Crow Horse takes the items, eyeing the older agent. CROW HORSE We got the wire ya was comin'. You're the Indian official, yeah? COOCH No. No, that's Ray, here. Ray, uh. -LRB- searching his imagination. -RRB- Ray. Little Weasel. Ray does a take but quickly recovers, meeting Crow Horse's scrutinizing gaze. Crow Horse nods to Ray, and Ray nods back in case it's the Indian thing to do. Crow Horse nods again. Ray nods again. CROW HORSE Leo's got ta get to burial, Brother. He's got ta make the journey. COOCH What journey? CROW HORSE Tell him, Ray. Ray stares at Crow Horse, uneasy. The wind sings through the Badlands. RAY Leo has to take the journey, Cooch. COOCH We'll have to give Leo a refund. Because he's got ta go to the M.E.. In case you do n't know, Officer, violation of the Major Crimes Act on - CROW HORSE - an Indian Reservation is within the jurisdiction of the Federal Bureau of Intimidation. I know that. COOCH Good. Thank you. Crow Horse says something in Sioux to Ray. Ray just stares. CROW HORSE I said when can Leo be taken to ceremony? RAY After we've completed our investigation. Crow Horse is staring at Ray. CROW HORSE That's a nice suit. Ray looks offended. Cooch puts a hand on Crow Horse's shoulder and walks him toward his beat - up motorcycle. COOCH Somebody must be doing something somewhere in your jurisdiction, Officer Crow Foot. CROW HORSE You ai n't gon na cut his hands off and send'em to Washinton, are ya? They done that to one of our girls once. Leo did quillwork, he's gon na need his hands. Crow Horse turns and looks at Ray. Ray is quick this time. RAY Leo's gon na need his hands, Cooch. He does quillwork. COOCH I think Leo's retired from quillwork for the moment. CROW HORSE Respect the dead, Hoss. Because when - COOCH - did you understand me when I said that - CROW HORSE -LRB- walking away. -RRB- - violation of the Major Crimes Act on an Indian Reservation is within the jurisdiction of the Federal Bureau of Instigation. I know that. COOCH Goodbye. Crow Horse appears to be getting on his bike when suddenly he moves like a cat and lays his knife to the dead man's head. He cuts away a patch of hair. COOCH What the hell you doing?! CROW HORSE His mother needs a piece of his hair. It's for the Keeping of the Souls Ceremony. -LRB- wrapping lock of hair. -RRB- Has to be kept for four days. Cooch and Ray stand there, watching Crow Horse mount his bike and push off down a nasty slope back through the Badlands. He starts his motor. It dies. Then starts again. COOCH Keeping of the souls. Do they still burn their dead or something? RAY Beats the hell outta me. Ray and Cooch look off across the Badlands, as far out of their element as they can be. CLOSE ON - THE WHITE EAGLE PLUME in the circle in the sand, fluttering in the wind. The gold spit - shined Le Baron eases to a crawl, passing an old wooden sign. `` Leaving Bear Creak Indian Reservation.'' And immediately pulling in front of a squat old bar with a burned out neon Miller light. DWIGHT YOAKUM croons `` Youuuuuu - Got - Your Little - Ways'' on the jukebox from inside. The Buffalo Butte bar has several cracked and sun - bleached buffalo skulls hanging off the edge of its flat roof and big faded white letters painted across the front read : `` No Indians Allowed.'' -LRB- This sign actually exists today in the res - line border town of Scenic, South Dakota -RRB-. The car pulls up beside a pick - up and parks. Ray and Cooch step out, careful to walk wide around a PITBULL in the bed of the truck. A WHITE LOCAL walks out of the bar and looks askance at the suits. As the two feds approach the bar, Cooch looks up at the warning sign. Ray sees it too. COOCH Sorry, Ray. You're gon na have to wait in the car. I'll bring you out a cheeseburger. The young agent smiles, amused, starts to enter the bar but - VOICE -LRB- O.S. -RRB- Hey! Ray spins quickly, paranoid about entering. But the man calling to them is - An Indian himself. TRIBAL PRESIDENT OLIVER CLEAR MOON, a small man in his late fifties who peers out at the agents through fat bifocals. He wears a straw cowboy hat, red windbreaker and his hair is cut short, or `` bobtailed'' as the Indians say. Clear Moon is walking away from a parked pick - up truck, toward the white men, eyeing the two with deep curiosity. CLEAR MOON -LRB- heavy Indian accent. -RRB- You made it. Was - te. Cooch discreetly peeks into a folder as he walks toward the man COOCH You must be. President Clear Bone. CLEAR MOON Clear Moon. -LRB- pointing to the sky. -RRB- Moon. You must be the Sioux. He is pointing his long, skinny finger at Cooch. COOCH No. That's Ray here. Ray. RAY -LRB- quickly. -RRB- Ray Levoi, Sir. Pleasure. Clear Moon beholds the young agent with hopeful eyes, a smile breaking across his flaccid brown skin. He takes Ray's hand in a respectful double - clutch and grips him tightly. almost desperately. CLEAR MOON It's about time they sent us one of our own. Was - te. He keeps pumping Ray's hand, looking into his face with great admiration. Cooch looks on with amusement. CLEAR MOON Things are no good here. It is like war zone. We need an official who understands what is good for the Indian people. Who knows Indian way. Clear Moon has not released Ray's arm as he leads them to a string of seedy motel units across the street. RAY I thought we were staying on the reservation. CLEAR MOON Yes. Rooms thirteen and fourteen are on Indian land. RAY I see. CLEAR MOON Are you hungry? I have some nice raw kidney in the truck. RAY Oh, I'm set, Sir. I'm set. COOCH He's starving, Mr. Clear Moon. Get him some raw kidney. He has n't had any Indian food in days. And Clear Moon guides them through the front door of room 13. Ray looks over his shoulder threateningly at Cooch who winks and pats his back.",
"EXT. RESERVATION LINE - NIGHT A lone headlight appears out of the black. HEARTBEAT DRUM. But faster. Relentless. A `` res'' car, a dented, rusted, peeling old station wagon, drives slowly toward the reservation. Then suddenly, someone steps in front of the car. A BIG MAN in cowboy boots and blue jeans.",
"INT. MOTEL - ROOM 13 - NIGHT Ray lies in bed. Awake. He is hanging off the bed with a file open on the floor and using the moon to light photos and memorandums. And then he hears LAUGHTER outside. And GLASS BREAK. He gets out of bed quickly, snatching up his pants, putting their on, and going to the window. SEVERAL LOCALS out in front of the bar help a middle - aged INDIAN MAN out of the station wagon. WHITE LOCAL Where you goin'? Back to the res? A young local bends down behind the Indian while another shoves him, sending him tripping over the bent man and onto his back in the dirt. WHITE LOCAL What ya doin'? You drunk? MORE LOCALS come out from the bar, beers and drinks and interested in what's going on. REVERSE - RAY at the window, observes. Cooch enters from the connecting room, puffy - eyed but quickly buttoning his shirt. He shares Ray's view. COOCH Let's take a walk. Ray is transfixed.",
"EXT. BUFFALO BUTTE BAR - NIGHT The Indian man, is pushed into a stumble, and caught by another white man as a little game of catch takes place. Cooch, stepping into the circle, shirt half unbuttoned, hair a mess, looks on. Then steps in front of a big local and catches the Indian as he comes stumbling. He holds onto him, looking at the faces that turn his way. Ray steps up beside him, looking tense. COOCH What's goin' on here? -LRB- a beat. -RRB- I ca n't walk across the goddamn street without some breed - ass fallin' all over me? And then Cooch shoves the Indian with all his might back across the road. The locals resume their fun, and Cooch looks at a local man and shares a chattering laugh that makes Ray do a serious take. COOCH Watch out now, he wants a kiss, Ray, wants a kiss - The Indian ends up stumbling back toward Ray, and Ray catches him this time. The man maintains a perfect vacant expression and keeps acting as though nothing of the sort is happening. But he is dizzy, and exhausted, and Ray keeps him from falling. Cooch looks at Ray. Their eyes meet. Ray shoves the man forward. This time, instead of catching him, the local on the receiving end, hauls off and punches him in the face. The Indian drops. Cooch runs in, grabs the Indian under the arms and drags him back to his car. COOCH Go ahead, skin, get your ass back on your sacred land. Get outta here. He shoves him behind the wheel as the locals crowd around. They do n't see Cooch throw the wheel stick in drive, and lean into the man's ear. COOCH Get outta here. Drive. Cooch slams the door, and kicks it, and the vehicle lurches forward. A beer can clanks off the rear window, and rolls clanking into the middle of the road. Ray stands there with the locals as they all watch the car drive off across the reservation line. Cooch, belly sticking out of his unbuttoned shirt, and a breathless smile on his face, heads to the bar without breaking stride. This man has done `` underground'' before.",
"INT. BUFFALO BUTTE BAR - NIGHT - SHORT TIME LATER Cooch and Ray sit in a booth with DENNIS VAUGHN, a strapping local man, ranch - raised, and gentlemanly. In fact, downright likeable. DENNIS So what type of salesmen are you gentlemen anyway? RAY Liquor. We heard they like their drink on the reservation, and we were gon na see if we could n't unload some surplus on the way to Nebraska. COOCH Now keep that between us, Dennis, cuz I do n't know what kinda Johnny Law they got here. DENNIS Hey, Brooks, come over here. I want you to meet a coupla fellas from Denver. BROOKS, a small, older man with a feed store cap and a clean cowboy shirt, comes over with a beer and a pensive look on his face. He pulls up a chair and positions himself at the end of the booth. DENNIS Liquor salesmen. Be nice to them, maybe they'll give you a sample of some of that gin you like. -LRB- to Ray. -RRB- He likes that Russian shit that - BROOKS They ai n't liquor salesmen. They're FBI. Cooch and Ray do n't flinch. Dennis does. He looks between the two, cautiously. COOCH Brooks, what's a perceptive fellow like you, doing in a joint like this? Let me buy you a glass of some of that Russian shit you like. DENNIS FBI? What you investigatin'? COOCH A murder. On the reservation. DENNIS Again. Figures, man. BROOKS You'll never find out who did it. COOCH You underestimate me, Brooks. BROOKS No. You underestimate these grass niggers. They're killing each other. That's all they do. Get drunk and kill each other. Then cover for each other. Who gives a damn really as long as they stay on their reservation. You ask me, the government should n't care one particle. DENNIS You know how in your big cities, you got your niggers and you got your Puerto Ricans? Well out here we got Indians. That's just the way it is. COOCH The only good Indian is a dead Indian, does that old adage still hold true out here? Cooch laughs good - naturedly. Ray smiles. But Brooks looks offended. BROOKS That set - to you saw out front, was nothin' more than a message we were sendin' to the sonsabitches that are divertin' water from the river. DENNIS We got rights. We got a ranch just up here. Ray catches this. Glances a look off Cooch who works on a cold draught beer. RAY Did any of you gentlemen know Leo Fast Elk? Both men shake their heads. Get quiet. BROOKS You fellas are here to investigate a Indian crime, you should keep to Indian land, and talk to them, not us. But you wan na drink here and shoot stick here, that's your right, and we respect that. -LRB- to Dennis. -RRB- Come on, Son, we're up on the table. DENNIS You fellas wan na play doubles? Cooch shakes his head, distracted, and the two locals leave, enroute for the pool table. Ray watches them go, curious.",
"EXT. BUFFALO BUTTE BAR - NIGHT Ray and Cooch, cross the street back to the motel. It is black and chillingly still. RAY Water. Worth killing for out here, I'd think. COOCH Get the plate numbers off everyone of these cars. RAY I already did. Cooch looks at Ray, impressed. RAY Could n't sleep. COOCH Good. They stop in front of their rooms and Cooch pulls a small tape recorder from his waistband. A micro - cassette recorder that he examines in the dim door light. RECORDER -LRB- locals. -RRB- - out here we got our Indians. And that's the way it is. Cooch shuts it off. COOCH By the time you get to the main village, sun'll be up. I want you to fraternize. Socialize. Penetrate. Infiltrate. Eat some raw kidney, and get these Indians talking. I'm gon na Powwow with Big Chief Clear Moon and find out more about Leo. He hands Ray the recorder. RAY Done. Cooch starts for his room but in a long, exaggerated country step as he breaks into the HANK WILLIAMS tune that has all but driven him insane inside the joint. Ray watches him go, and cracks a laugh.",
"INT. LE BARON - TRAVELING - SUNRISE Ray's at the wheel, looks intense as he studies the vast expanse of slopes and rock formations and the rising sphere of flame that lights the road in strange color. He is reading a name list that he traps against the wheel. RAY Hobert Standing - Buffalo - That - Walks - Dreamer. -LRB- a dry run. -RRB- Hello, I'm looking for Hobert Standing - Buffalo - That - Walks. Dreamer. Ray pulls up a long dirt drive and parks.",
"EXT. OLD TRAILER - ACROSS FROM BADLANDS – SUNRISE Ray walks to the front door of a war - torn trailer that is halfway swallowed by weeds and plants. It is static out here. Dead still. Ray approaches the front door. There is a huge hole in it. He knocks above the hole. After a moment, the door opens a crack. A dark, weather - beaten face barely shows. RAY Good morning. I'm looking for Hobert - Buffalo - Dreaming. -LRB- cheat sheet. -RRB- Hobert Standing - Buffalo - That - Walks - The door closes. Locks. RAY - Dreamer. Ray stands there for a moment then lowers himself to look through the huge hole in the door. RAY Sir? A tattered chair is pushed against the door, covering the hole. Ray stands up, turns on the steps. And before he can let out a flustered sigh, he spots something across the dirt road. Something that makes him remove his shades, look again. Whatever it is, it does n't make him happy, and he is hurrying across the road.",
"EXT. BADLANDS - DAY A motorcycle, parked between the road and the badlands. We've seen the ancient bike before. Ray walks past it, looking at it. He pushes his shades up on the bridge of his nose and looks down into the moonscape. Walter Crow Horse is down there, on his haunches, `` feel tracking'', laying his fingers inside tracks and reading them. He does n't even look up at the sound of the FBI agent's footsteps. CROW HORSE Ray Little Weasel. FBI. I like the way ya sneaked up on me. Must be Indian. The wind whistles and moans through the Badlands as Crow Horse continues feel tracking. RAY What are you - CROW HORSE Watch out! Ray draws back. RAY What?! CROW HORSE You're steppin' on sign. Crow Horse lowers his face to the ground and blows some scattered dust out of a print. Lightly lays his fingers inside RAY Hey. -LRB- ignored. -RRB- Hey, you, listen up - CROW HORSE - Leo was n't killed here. He was dumped here. Out of a vehicle. Bald tread. Muffler held on with baling wire. Crow Horse checks out another track. CROW HORSE The man you want. stepped outta the car, dragged Leo out, laid him down. Then walked over here and made a circle in the earth with a stick. I ca n't find the stick. He stuck an eagle plume in the circle, got back in his car, dustin' his own prints with a pine bough for about six feet, but he missed a print, right here, see. He got in his car and went Hell - bent - for - Holy - Sunday outta here. He ditched that pine bough three miles across the flat, in the Little Bear River, it floated down to Thundershield Gap. The car hit paved road, and was outta here. Crow Horse rises, points down the road. CROW HORSE The killin' was done where Leo's mother lives. But he was driven here into these Badlands. Ray is frowning at the big Indian, trying to get a fix on this CROW HORSE Big sonuvabuck. Based on the depth of that print, pressure releases. I'd say he goes two - ten, two - fifteen - RAY Bullshit. CROW HORSE - Well, maybe two - seventeen. RAY You're trying to tell me you can read all that from a track? CROW HORSE No. Not just a track. You got ta listen to the trees, man. To the leaves. To this sand, you FBI's kicked all up. You got ta listen to the earth. RAY Is that right? Well, listen to this : drag your ass. This is a restricted area. CROW HORSE No, this is the home of the Oglala Sioux and I want the dog - fucker who killed Leo. Whether you get him or I get him, I just want him. Shit's been goin' on too long. RAY You've got no jurisdiction. CROW HORSE You got no know - how. About Indian Way. Or about Jack Shit for that matter. RAY Maybe you're not aware of this, Crow Horse, but I just flew in from a place called the Twentieth Century where we have such things as electrostatic tracking methods, psycholingusitics, DNA fingerprinting ; I do n't have to crawl around with the scorpions and talk to the fucking trees to get answers. Leo was killed right here. CROW HORSE Go back to the M.E., take a look inside Leo's exit wounds and tell me how chicken feed got in there. Trust me, there ai n't chickens in the Badlands. His mother's place is - RAY - his mother never lived here. She was from up in North Dakota. CROW HORSE I'm talkin' his spiritual mother. Maisy Blue Legs. RAY His spiritual mother. CROW HORSE To us Indians, our spiritual relatives are as close as family. I've got seven mothers on this reservation. Sisters. Brothers. You ai n't one of them. RAY Thank God. Now listen to me, asshole. I'm giving you a break. But if my partner finds out you're here, you're gon na be reading rat tracks in Sioux Falls Maximum Security. CROW HORSE Easy. Easy. I'm goin'. Crow Horse walks back up toward the road. Ray lets him leave then crouches where Crow Horse was, begins looking at tracks. CROW HORSE -LRB- O.S. -RRB- Hey, Little Weasel. Ray turns, and sees Crow Horse perched on a high bank - the one Ray came down - and he's in a tracking stance. CROW HORSE You weigh one sixty - three, yeah? Not a beer drinker. You're one of these tofu and pilaf characters. Pack your gun, under your coat - left shoulder. But you got backup ; a little.32,.38 maybe, in a ankle holster that gives you a right foot drag, Shoes are too tight at the toe but, man, they look cool. And that's what counts. Ray just stands frozen, blown away. Crow Horse rises, dusting off his hands, and heading to his vehicle. RAY Crow Horse. The Indian turns. The wind moans. Ray scrutinizes him, deliberating. RAY Fuck you. Crow Horse grins and waves, and ambles away. DOWN IN THE BADLANDS Ray stands, sweating under his suit jacket, and not sure if he's amazed or pissed off.",
"EXT MAISY BLUE LEGS HOUSE – BLACK TAIL DISTRICT - DAY A trailer sits off from the river in beaten solitude. There are two junked cars and one burned black. Wind blows across deep bald tire tracks. Ray walks slowly beside them, surveying, following them to a place where they become puckers and skids next to a dilapidated outhouse. There is a shotgun blast in the side of it. Ray studies it, enters the outhouse. Exits, and walks the rutted gumbo earth to where it meets rolling hills of golden grass. He stands here, mesmerized. CHICKENS scratch around in the dirt. Like so many far - off res homesteads, this is a haunting place. Made more so by a persistent SQUEAKING, a rusty, metallic squeal coming from - A WATER PUMP across the yard, where MAISY BLUE LEGS, a Sioux elder, works the handle. She wears thick bifocals and keeps her hair under a bandanna. No water comes forth from the pump, and she tries again and again until she breaks a sweat. And then she sees the waal ` cu standing out there. Urgently, she turns and starts back to her trailer with an empty coffee can. Ray starts after her. RAY Mrs. Blue Legs? Can I ask you a few questions - MAISY -LRB- 1/3 res speed. -RRB- - go away. Leave us alone. RAY Ma'am, Please - She mounts the metal steps. Ray is losing her. He gets a foot on the bottom step, and attempts something he does not want to do. RAY Mrs. Blue Legs. I'm Indian. Halfway through the screendoor, Maisy turns and looks at the young man in suit and shades. RAY I'm Sioux. Maisy lowers her bifocals, studies him. Then walks in, slaps the door shut, and locks it. A towel hung as a shade folds down. Ray lingers at the bottom of the steps. RAY Yeah, right. And he walks around the side of the trailer, looking at the ground. In the gaping space between the trailer blocks, and the grass, there is much junk stored, and Ray kneels to look. He is drawn to a pair of cowboy boots, caked with dried mud. He picks up a boot, looks at the sole, then touches the mud. His fingers break through the hardened crust and come back moist and blue. He looks at this sniffs it. There is a tense, water - torture like tempo coming from the old pump where water barely drips onto a hub cap in the dirt. Ray sets the boot down. Goes to grab the other boot and - a WESTERN DIAMOND BACK RATTLER coils out from the shade of the boot, RATTLING and HISSING from white mouth and three - inch fangs, and Ray has done a backflip and roll, slapping his shoulder holster and pulling lead and BLAM! BLAAAM! he unloads two, and the reptile is so dead, there's not even enough snake left to make a truck - stop key chain. He kneels there, flushed in the face, holding his breath and double - clutching his gun. The SHOTS ECHO through the Badlands like the aftermath of dynamite. From inside the trailer, he can hear CRYING. A low moaning. Praying softly. RAY Shit. Mrs. Blue Legs! It's okay! Then his RADIO CRACKS IN. RADIO -LRB- COOCH. -RRB- X21, give me a 20. RAY -LRB- yelling. -RRB- Black Tail District, X22. You ready for this? Leo was n't killed in the Badlands. I. I found the location. COOCH Maisy Blue Legs place? RAY How'd you know? COOCH I got one up on ya. RAY Go ahead. COOCH I've got the doer. I know who he is. Ray looks relieved. COOCH Meet me at base. Over. RAY Cooch. You're my hero. Ray looks down at the dead snake, still rushed from it, and he hurries out of there. IN THE SHADE OF THE TRAILER the snake's RATTLE moves spasmodically, still kicking with reflex.",
"EXT. LOOKS TWICE HOUSE - BEAR CREEK RES - NIGHT CLOSE ON an AMERICAN FLAG, flapping in the hot night wind. But something is wrong about the image. The flag is hung upside lit by - A full moon that also illuminates an overgrown field that fronts a small, one - level house where the flag hangs. Three old cars decorate the front yard. A busted screendoor creaks in the wind, and somewhere off in the hills, a DOG BARKS away his boredom. COOCH -LRB- O.S. -RRB- Jimmy Looks Twice.",
"INT. LE BARON SA Couture and SA Levoi sit inside the car, staking out this little place far down a dirt road on the outskirts of the settlement. Cooch has the suspect's file on his knee. RAY Who is he? COOCH One of the leaders of the Warriors of All Red Nations. Militant organization. He hands an open file over to Ray. CLOSE ON - FILE PHOTO : a raging fire and six long - haired, fist - raising Indians, yelling at the camera. COOCH -LRB- O.S. -RRB- The progressive Indians do n't like them because they want everybody to go back to the old Indian ways, and the old way Indians do n't like them because they use violence to get attention. RAY SHUFFLES TO PHOTO 2 - a big Indian in a wheel chair, holding a rifle. He is shirtless under a vest and on his muscular right shoulder there is a clearly defined tattoo of a circle with an eagle feather through it. PHOTO 3 - a Close Up of the tattoo. PHOTO 4 - a propaganda flyer with the letters W.A.R.N. and the same symbol - perfect circle, pierced by a white eagle feather. RAY White eagle feather through the circle. That's their symbol. COOCH That's right. Ray shuffles through more of the same with great interest. RAY They obviously wanted it to be known that they offed Leo. Some kind of statement. COOCH Jimmy Looks Twice put Leo's head through a glass door of the tribal offices three months ago. And threatened him several times since. President Clear Moon and the regional FBI feel he made good on that threat. Cooch takes a long, tight breath then turns around in his seat, coming up with an M - 16. Ray lifts one of his own. He looks out the car window. RAY I'd just like five minutes alone with the motherfucker who hung that flag upside down. COOCH Easy, Cowboy. No vendettas on my ship. Now : remember what I told you about Nam? Watch the grass, watch the trees, watch the shit house, be on your toes, and if we get committed, do n't hesitate to empty that sucker. RAY Alright. Alright. Cooch whacks a top clip into the M - 16. Ray slams a clip in his. COOCH It's show time. Car doors open in skillful silence. LOOKS TWICE HOUSE - CLOSER - NIGHT and Ray maneuver toward the house, rifles ready. Cooch gets under the picture window, sneaks a look. Nothing. He follows Ray around the side. off in a backfield, lit by a hot fire, a small round hut covered in patchwork quilts, canvas and buffalo hide. A strange mist floats around it, and from inside, voices are heard - A DRUMMING AND CHANTING in LAKOTA. And EAGLE SOUNDS. Dozens of shrill whistles. Are there birds inside this thing? REVERSE - RAY and Cooch, kneeling in the weeds, look dumbfounded. And more than a little unnerved. RAY -LRB- whispering. -RRB- What the hell is that? NEAR THE INIPI LODGE An INDIAN YOUTH DOOR TENDER with shoulder length hair falling over a T - shirt, steps out of the dark and walks to the fire. He prods it with a broken pitch fork. He turns to get some more wood and walks right into an M - 16, trained chest level. Ray stares him down. RAY On the ground. The boy drops boot camp fast. Cooch moves up on the sweat lodge, looking quizzically at it, trying to figure out how to open it. He grabs a canvas flap at the front and after a moment's hesitation and a look at Ray, he tears the flap away. A BLAST OF 200 DEGREE STEAM explodes forth and Cooch dances back, throwing up his rifle. VOICE -LRB- O.S. -RRB- -LRB- inside lodge. -RRB- Mitakue Oyasin! GRANDPA SAMUEL REACHES, a rail - thin Sioux elder, appears through the steam like a vision. Bent in the tiny doorway, he searches out the interruption. Cooch aims the M - 16 at the old man. COOCH This is the FBI! Come on out of there nice and slow. Let's move it! Hands on your head! Grandpa Reaches crawls out first, ignoring the `` Hands on your head'' order from Cooch. His eyes move back and forth between the two agents. FIVE MORE INDIANS, from 16 - 45 come out, looking confused. Cooch makes the towel - wrapped men spread out in a line. The old man is speaking to the others in LAKOTA, and Ray steps up to him, cuts him off. RAY Hands on your head, Sir. Come on, come on. The archaic figure just looks through him. Starts to walk away. Ray takes his thin arm. He locks eyes with the old man. Slowly, he obeys, raising his hands and laying them on his head. From the lodge, the last man emerges. It's Crazy Horse reborn out of the burning sage. JIMMY LOOKS TWICE is in his mid - thirties - big, well over two - hundred pounds. But lean. His braids fall nearly to his hips. His face is handsome but at the moment, twisted in a full - blood's scowl. LOOKS TWICE -LRB- outraged. -RRB- What are you doing? COOCH James Looks Twice? LOOKS TWICE That's right. What are you doing here? This is a religious ceremony you're desecrating. Looks Twice shoots hawk - like black eyes onto Ray. RAY We're FBI, James. We just need to ask you a few questions. LOOKS TWICE We are in the middle of a sweat lodge ceremony. Do you drag people out of your churches when they're in the middle of prayer? COOCH Let's take a walk, Jimmy. Come on. Cooch takes a careful step behind Jimmy and cuffs him. Looks Twice speaks to the others in LAKOTA, and they disband, heading to a shade arbor where their clothes hang. As Cooch starts marching Looks Twice toward the house, Ray keeps an eye on the departing. One of them stops halfway to the fence and turns. Grandpa Reaches looks at Ray with eyes that have seen one hundred and one hard years in Indian Country. RAY Go ahead. You can all go home. And he follows Cooch and the cuffed Jimmy to the house. COOCH We just wan na take a look around your place, Jimmy. We're not here to bust your balls. AT THE BACK OF THE HOUSE Cooch leads the half - naked suspect to the backdoor. Cooch show : a warrant, tries the door but it is locked. LOOKS TWICE What's this about? COOCH Your good friend Leo Fast Elk. LOOKS TWICE You think I killed him? Cuz he was an apple? Well, let me tell you something about Leo, Man - COOCH - do n't `` man'' me, Jimmy. Where's the key? Jimmy does n't answer. He glares with hatred into Cooch's eyes. COOCH Ray, use the federal master key. Ray steps up, gets ready to throw a frontkick at the door. LOOKS TWICE No. Do n't do that. Do n't deface the property, man. The key's in there. With his hands cuffed, he can only jerk his head toward a big hole in the wall down near the foundation. Cooch quickly drops to a knee and checks out the hole. LOOKS TWICE Inside. in the coffee can. Cooch reaches in, probes. COOCH There's no coffee can in - Something horrifying happens so fast, Cooch has no time to react. Whatever has taken his arm has done so with such force, his body jolts like he's touched raw voltage. The South Dakota BADGER rips through his leather jacket - we get a glimpse of its striped face and yellowed teeth - through his shirt. Through flesh, and deeper, GROWLING insanely while COOCH HOLLERS in shock tries to pull free and - Jimmy Looks Twice spins from the porch with a skillfully executed back kick, knocking Ray off the step and to the ground. The Indian bolts like a deer into the darkness. Ray rolls in the grass, throwing his M - 16 up. He hesitates. But only for a moment before FIRING and decimating the corner gutter, a junked car, several trees. But no sign of Jimmy. Cooch falls back in the grass badly mauled. His arm has been ripped open down to the bone. COOCH Jesus. Jesus. Ray starts toward Cooch. COOCH Get him. Ray takes off, crashing through weeds, into a stream, wading through mud. He throws his flashlight left and right. He crosses the river, shines the light in a field of wild sage. Nothing. He runs like a sprinter, looking everywhere. But as he enters an - OPEN FIELD all he finds is Jimmy's towel. He picks it up and looks around the area, breathing heavily. And then suddenly, something leaps up out of the grass. Ray swings his M - 16 up, ready to blast. But it is a DEER, taking off into a mystical blue night. THE DRUM. Beating fast. Heavy. TURTLESHELL RATTLE. EAGLE BONE WHISTLES. IN THE YARD Cooch traps his bleeding arm between his knees to stanch the blood. He speaks quietly but firm into his radio, trying to stay in control. COOCH -LRB- into radio. -RRB- Assault on federal officers. Suspect has left the area. One officer down. Issue a Fugitive Alert immediately. Over. RADIO Has the officer been shot, X - 22? COOCH No, the officer's been bitten by a fucking badger, okay? Get a Fugitive Alert fucking now! Over.",
"EXT. BEAR CREEK RESERVATION - LANDSCAPE - SUNRISE A mind - blowing Aurora. Living clouds. The incredible mesa. PULLING BACK slowly to the dirt road where a line of federal aerials high, enter Indian Country. HEARTBEAT DRUM. But a fast heartbeat. A relentless pulse throughout - AN FBI SATURATION SEARCH FOUR AGENTS surround a little tar - paper shack, rifles up and ready. Two go in, and flush out an OLD WOMAN, an OLD MAN, and some TEN CHILDREN. DOGS. A SMALL TRAILER that has thirty junked cars in its yard and serves as a reservation parts store is crawling with FEDERAL MARSHALS ; car doors are being opened, trunks. TRACKING DOGS run through the cars. WARPATH DRUMS. - A BELL UH 1 - B `` HUEY'' HELICOPTER chutters low over the grasslands, over the Badlands, flattening wheat. It swings down over the main settlement. CHILDREN gather in the street to look up at it but then run when - - SIX FEDERAL CARS come down the main road. They pass by - - THE FRONT PORCH OF THE TRADING POST where Ray stands, talking to the elders. A few of the same from earlier but several new ones. He is sweat - drenched, and has shed his jacket and tie. He is showing them photos of Jimmy but getting no response. And then, for a little iodine on top of that, a MOTORCYCLE ENGINE, spitting and choking and coughing comes around the corner, Walter Crow Horse, manning the handlebars. He pulls up to Ray and just looks at him. DRUMS FADE. CROW HORSE You're an easy man to track, Ray. Ya walk like a penguin with a hard - on. RAY Is that right? What are the trees saying today? CROW HORSE They're sayin' that nobody's gon na talk to you cuz they do n't give away one of their own. But they did say there's somebody way across the Little Walking River who wants to talk to you. Ray soaks sweat off his forehead as he eyes the Indian on this one. He sees himself in the polaroid shades. CROW HORSE He sent me to find ya. He says he's got information. RAY Let's go. Ray quickly leaves the porch.",
"EXT. GRANDPA SAM REACHES TRAILER - OUTSIDE SETTLEMENT - DAY Silent. The unnerving silence of the Great Plains filled only by FLYS, big horseflies, buzzing around drying sage that hangs from the rafters of a shade arbor. A GOAT stands under it, just gazing across - the vast spread of grass and dry land where an ancient Airstream trailer sits lop - sided. Sheets are hung as curtains. Six old cars - two from the early 50' a - sit stripped to the hubs on blocks in the overgrown grass. The air is dry and heavy and the only sound is - FLYS. Ray swats at them as he steps over a truck seat that lies in the grass, stuffing and springs hanging out. Crow Horse walk. a few steps ahead, toward the trailer. CROW HORSE -LRB- with reverence. -RRB- Grandpa Samuel Reaches. Heavy duty medicine. RAY Medicine. As in medicine man? Crow Horse nods slowly, looking at Ray in a very serious manner RAY Why does he wan na see me? CROW HORSE Good question. Hardly sees anybody anymore. Has n't left this place in twenty years. Did you bring some tobacco? Crow Horse stops walking, making Ray do the same. CROW HORSE When you go see an elder, you always bring some tobacco as a gift. Ray reaches into his shirt pocket and fishes out a pack of Marlboro. Crow Horse glances at it, and shrug - nods. They continue on toward the trailer.",
"INT. GRANDPA REACHES TRAILER Grandpa Samuel Reaches sits in a taped and tuckered easy chair, his alert black eyes moving from side to side. We recognize him from the sweat lodge ceremony at Looks Twice' although today he wears a straw cowboy hat giving him a more youthful look despite a face like a map of the Badlands. He wears a vest over a western shirt, baggy work slacks, old cowboy boots. His brown wrinkled hands run over the top of the Marlboro pack as if he's reading braille. Crow Horse sits across from him on a stool. Ray leans on one of the plain green walls, looking uncomfortable. A three foot adhesive fly strip hangs from the ceiling, thick with dead ones. There is a black and white TV with Sesame Street wailing, honking and guffawing through static. Grandpa fixes his eyes on Ray for only split seconds at a time but one gets the feeling he's doing an incredibly deep reading of the young man. Slowly, he sits up - focusing intensely on Ray. He begins to speak. A hoarse, strained, string of LAKOTA, spoken like it used to be, gesturing toward Ray. When he finishes, he sits back in his chair. Ray looks intrigued. RAY What did he say? CROW HORSE He wants to know if you ever watch the Cookie Monster. He says the Cookie Monster is not to be trusted - a trickster. Ray looks puzzled. Crow Horse laughs bull - wild as Grandpa takes up a fly swatter and takes out a big horsefly. The old man begins speaking Indian again. CROW HORSE He says there's something wrong with Big Bird - he's crazy. -LRB- stops laughing. -RRB- He says you stopped the Inipi ceremony last night? Crow Horse turns a questioning look at Ray. Ray does n't flinch. CROW HORSE But he is not unhappy with you because he knows you. RAY He knows me? CROW HORSE He says he saw you in a vision some time ago. Crow Horse stops translating suddenly even though the old man continues speaking. Crow Horse looks concerned, and ASKS A QUESTION IN LAKOTA. We do n't know what he's asking but the tone is absolute amazement. This question triggers an exchange between he and Grandpa, the old one getting angry. Grandpa wins. CROW HORSE I guess he had this vision some time ago, in the Moon of the Popping Trees - uh, back in the winter. He says you come from Wasi ` cu city in the East but that your people. way back. are of the Minniconjou Sioux. But you yourself do n't know that. Ray's brow is drawn tense as he stares at the old Indian, absorbing the translation. Grandpa speaks more fervently now, incorporating Indian sign. Each time Grandpa does the hard Sioux HAND SLAP, Ray blinks. CROW HORSE He says he knew you'd be coming to Bear Creek. He was told. It is the will of Tunkasilia - the grandfather that you come here. He says let's smoke the caanunpa the sacred pipe, symbol of truth. So that there will be no lies between us. The old man has taken a long wooden stem and a red stone bowl from a beaded pipe bag. He joins the two together then begins offering a pinch of tobacco to the Four Directions. While this goes on, Ray fidgets. RAY What's he smoke in that? CROW HORSE Sacred herbs. Tobacco. Do n't worry, we do n't smoke no Mexican agriculture in The Pipe. That's a white man's myth. This is a sacrament. The old man is offering the pipe to Ray. GRANDPA Mltaku Oyasin. Ray looks at Grandpa. The old man offers the pipe again. CROW HORSE You do n't smoke with him, it means you're hiding something. Ray takes the pipe, looks at it. then passes it to Crow Horse. The big Indian takes it from Ray, giving him a long eye, then offering the pipe to The Directions before smoking. Crow Horse puffs hard, eyes closed, then slowly releases some smoke upward. Ray watches it climb and fade. The old man then takes up an old turtle shell rattle. He speaks. CROW HORSE He says Wakan. Sacred. Five hundred year old turtleshell rattle, passed down from the Grandfathers. Heavy duty. He shakes the rattle very slightly, moving it in front of Ray. He speaks just above a whisper. CROW HORSE He says, it is good. The Spirits are here. The Spirits want to know what you're doing here? Ray smirks. RAY Tell him I'm trying to find the man who murdered Leo Fast Elk. Ask him if he knows where he is. Crow Horse asks the old man in Lakota. No answer. The pipe is back to grandpa, and he offers it to the Directions, to the Earth then upward before smoking himself. He begins to speak again. Passionately. In long glottal Sioux sentences, adding sign, fingers crossing, brushing an arm, a slap here and there, He is working himself into an excited state, and Ray keeps looking at Crow Horse, very interested in the old man's answer. Finally Grandpa's breath comes up short and wheezing, he ends his oratory with a solid hand slap. RAY What did he say? CROW HORSE He said he does n't know. RAY He just did the Gettysburg Address in Sioux. What did he say? Crow Horse ignores him. Grandpa speaks again. More hand language. The old man is staring at Ray while whispering to Crow Horse. He strokes his badger claw necklace. Crow Horse looks at Ray and seems hesitant to translate this new piece of information. CROW HORSE Uh. Grandpa likes to trade ; no one stops by here without gettin' stuck in the old Indian barter. He, uh. he likes your shades. Grandpa smiles toothlessly. Ray who has his driving glasses in hand, lifts them to say `` these?'' but Grandpa sees it as an accepted deal, and swiftly removes his necklace. He holds it out. Ray slowly, hesitantly surrenders his sunglasses, and takes the necklace. Crow Horse bursts into laughter and so does Grandpa, enjoying a good trade. He draws a hand through the air in a sort of horizontal karate chop, meaning done deal. Ray looks confused. Out of his element. And out of his shades. Another fly gets snagged on sticky tape.",
"EXT. GRANDPA REACHES TRAILER Crow Horse is hurrying toward his bike, Ray with him. RAY What was he saying? CROW HORSE Why should I tell you. RAY Because he was talking to me. Crow Horse keeps walking. RAY Does he know something? Crow Horse stops walking and eyes Ray, deliberating. CROW HORSE The old man saw an owl. Over there in the dry wash. Last week. RAY And. CROW HORSE He saw an owl. A silent moment. Ray tries to figure out what he's missing here. RAY So what? CROW HORSE The owl is a messenger. When one shows itself to a Sioux. it means someone's gon na die. The owl told him about Leo. Ray stares vacantly. RAY The owl told him about Leo. That's incredible. I guess we just broke the back of this investigation, did n't we? Evidence does n't get any harder than that - not for my money. Is there anyway we can seduce this owl into Federal Court? CROW HORSE He also said `` listen to the water.'' RAY Listen to the water. Listen to the owl. He also said, do n't trust the fucking Cookie Monster. CROW HORSE Go back to your DNA finger - printin'. Crow Horse KICK STARTS his bike and burns off down the drive Ray feels the presence of the old man, standing behind the busted screen door. Just watching. OVER THIS, A SCREAMING. A HIGH - PITCHED, CHILLING, SCREAM that takes us straight into - SLACK TAIL POWWOW GROUNDS - RES - LATER CLOSE ON A TERRIFYING FACE - painted in blazing red and yellow, black around the eyes. A ridge of feathers high along the hairline, and a mouth open, tongue trilling - SCREAMING. A WACIPI is going down. A Powow. Held in the center of a huge arbor. This DANCER, a traditional Kit Fox dancer, is dressed in authentic costume and is dancing with TEN OTHERS dressed in various traditional garb and paints. Under the arbor, TWO HUNDRED INDIANS in modern clothing sit on blankets or in lawn chairs, watching the dancing. A group of SINGERS sit around a big drum, beating on it, and wailing the song that keeps the dancers hopping. SIXTY CARS -LRB- res beaters -RRB- are parked off around the arbor, less interested kids sitting on them, smoking cigarettes. A few actually have MTV hair - cuts. Drifting through the cars and people are Special Agents Couture, Miles, Sherman and Levoi. They stroll through, incongruously, checking out faces. Vehicles. Ray slows his step and takes in - THE POWWOW CIRCLE as the dance ends. WEAK APPLAUSE. The POWWOW CALLER, a big Sioux with a crew - cut and cowboy shirt, speaks through a scratchy P.A. system. CALLER Was - te Yelo! Let's have five more veterans. Five more veterans. Hoka Hey! An OLD - INDIAN MAN sitting in a lawn chair, removes his cowboy hat and reaches down toward a blanket. He brings up his VFW hat, adorned with medals and puts it on. Slowly, he rises, and shuffles out to the center pole along with - FOUR OTHER VETERANS who have exchanged cowboy hats for veteran's caps. There is even a traditional dancer in there, wearing a veteran cap. As a mournful WAR SONG is banged out by the singers, a flag is unrolled by the veterans. An American Flag. Unrolled, and set on the mast. And together, all five Indian men, hoist - THE AMERICAN FLAG high. Slowly it climbs. Proudly. It blows in the hot South Dakota wind. OUTSIDE THE ARBOR Ray stands, watching this. And then the SONG ENDS. A loud, angry voice breaks across the P.A.. AT THE CROW'S NEST -LRB- CALLER'S BOOTH -RRB- ANDERSON CHASING HAWK, a young Indian in ribbon shirt and long hair has taken possession of the microphone. SIX W.A.R.N. MEMBERS stand behind him. He speaks loud, firm, with the sharp gestures of an old way Chief. CHASING HAWK What is that that you honor there, uncles? After all the Wasi ` cu country has done to you, after all he still does to you, you honor that flag?! That flag has been desecrated by the United States, because they have not honored what that flag represents! The veterans just stand under the flag, solemn, looking at Chasing Hawk. The flag undulates soundlessly. CHASING HAWK -LRB- O.S. -RRB- To them, we are the Bank of America. Whenever they get into a little difficulty, they go to The Bank, withdraw a little land, withdraw a little oil - OUTSIDE THE ARBOR the four FBI agents stand, watching. MILES Okay. Here we go. COOCH Who's this guy? SHERMAN Anderson Chasing Hawk. Second in command behind Jimmy. AT THE CROW'S NEST Chasing Hawk hands the mic over to another Warrior. MAGGIE EAGLE BEAR would be the most beautiful woman Ray has even seen if she was not the meanest - looking. Her thick black hair falls over a denim jacket down below her horse - hair belt. Her faded jeans are stuffed into worn cowboy boots. And she is full of fire. She begins speaking in LAKOTA. Fluently. And with hand sign, like the old man. OUTSIDE THE ARBOR the agents stand. Cooch is writing into a small notebook. SHERMAN Magedelana Eagle Bear. Eagle's claws and a bear's balls. MILES She keeps an AR - 15 assault rifle in her truck. And she'll use it. As Ray watches her, someone approaches in a less hostile manner. It is President Clear Moon, looking very upset. He holds the hand of a LITTLE GIRL, dressed in traditional dancing garb. He approaches Ray. RAY Mr. Clear Moon. CLEAR MOON Our police are afraid of them. Please get them out of here. Clear Moon gestures for the little girl to run off. He leans in close to Ray. CLEAR MOON They're going to kill me next. That's what I hear. These new Indians are destroying everything. Our people are a quiet people. RAY They can lead us to Jimmy. Just let them go. We're tightening the net on him. We know he's on the reservation. Clear Moon is looking past Ray at the Warriors. They are approaching the agents, and Clear Moon looks at Ray with great concern. CLEAR MOON Help us. And he slowly retreats to his lawn chair under the arbor. Chasing Hawk, Maggie and the other Warriors strut up to the agents. All but one who is bound to a wheelchair. We've seen RICHARD YELLOW BIRD, the big Cheyenne who wears a Red Power baseball cap, an earring, and thick bifocals - in one of the file photos. His arms are plastered with tattoos. AGENT SHERMAN Where's Jimmy? We thought he'd be dancing today. The warriors make a show of not acknowledging the FBI presence. They have walked over here just to walk by them. That is there statement. But Yellow Bird stops cranking the wheels of his chair and stop : long enough to look up at Ray. YELLOW BIRD Are you the Washington Redskin? Even the agents crack grins at this bit of Indian wit. All but Ray who just stands there, arms folded across his chest, considering the crippled activist. AGENT MILES Say hello to Richard Yellow Bird, Ray. Yellow Bird sits there, staring up at him through thick glasses But then Maggie Eagle Bear takes the handles of Yellow Bird's wheel chair. She looks at Ray with eyes that are choke - cherry black, eyes that look right through him. He returns the glare. And then she pushes Yellowbird forward and leaves the feds alone. Ray turns to Cooch who is lighting a cigarette, and concentrating on the movements of this group as they wander under the arbor, visiting people. LAKOTA SINGERS start up. COOCH Ray, get to Jimmy's place and keep it tight. I'm gon na get a tail on his Warriors. IN THE POWWOW CENTER the under ten year - old `` fancy dance'' - TWENTY - FIVE INDIAN CHILDREN, whirling and stomping and dancing. JIMMY LOOKS TWICE HOUSE - NIGHT The battered old house sits under a full moon. The upside down flag moves slightly in the cross winds. ACROSS THE ROAD several junked cars. Among them a black, rusted out VW van with a smashed windshield. A PACK OF RES DOGS sniff at its tires.",
"INT. JIMMY'S VAN In the dim light, a boot. A black cowboy boot. Up on the dash. Bluejeans. T - shirt. Second hand leather. And a black cowboy hat. Ray is staking out Jimmy's house. Across the passenger seat and console is an M - 16 rifle. On his belt, a.357 Red Hawk. He yawns. From outside, he hears a sound. POV : down below the van, a small, patchy RES DOG with a missing leg is looking up at him with his tongue long and salivating. RAY breaks off a piece of sandwich and drops it down to him just as - HEADLIGHTS catch his face. He slides down low, watching an old pick - up truck creak onto the dirt road, leading to Jimmy's. POV : the truck parks. Someone jumps out, gracefully. Indian. Long braid. Quick steps. Front door. Inside. RAY lifts his radio. RAY X22. Read. RADIO Go ahead, Ray. RAY I have a pick - up truck. No plates. Subject - Indian - entering suspect's house. Over. RADIO Okay, Ray. I'm coming in. If he starts to leave the area, move in. And hold him. Over. Ray sets his radio down, unclips the leather guard on his handgun. Picks up the Big Mac.",
"EXT. LOOKS TWICE HOUSE - NIGHT The front door creaks open, and the subject dashes back out. In the dark we can not latch onto features. Suddenly the junker van comes alive, guns onto the dirt road, racing toward the running Indian who gets the door of the truck open but freezes in the van's highbeams as - Ray leaps out, M - 16 in hand. RAY FBI, freeze, Motherfucker - drop it, drop it! Ray maneuvers in Quantico fashion, keeping the rifle on the Indian's back. The Indian drops what he's holding. And turns around. It's not a he. We've seen her before. At the Powwow. Maggie Eagle Bear. Her hair is pulled back tight, braided. Ray moves in toward her, surprised at first, but still cautious RAY Turn around, put your hands on the roof of the truck. She does what he tells her. As Ray moves in on her, he notices an INDIAN CHILD sitting in the passenger seat, looking out into the highbeams, frightened. Ray toes Maggie's legs out wider, frisks her one - handed, pats down her boots. MAGGIE You're the Indian FBI. RAY That's right. Turn around. Maggie turns around, looks Ray in the eye. He looks self - conscious in the cowboy hat. MAGGIE The people are glad they sent you. They usually send in guys who come at ya with highbeams, screamin' `` drop it, Motherfucker'', stick a gun in your face, frisk ya down. Even if ya got a child with ya. No, it's good to have ya. It's gon na be was - te times on the res. Ray is looking down at what she dropped. A bundle lying in the grass. He bends down, starts to untie it. MAGGIE I was gon na warn ya about messin' with somebody's medicine bundle but I forgot you know all about that stuff. IN THE BUNDLE - an eagle skull, tobacco strings, sage, sweet grass, and several white eagle feathers. RAY This Jimmy's? MAGGIE You're not gon na catch him. He can shape - shift into different animals. Bear. Elk. Porcupine. RAY Is that like an hereditary thing, Magdelana, or can one take classes? MAGGIE Jimmy did n't kill Leo. Why do you wan na do this? RAY He tried to kill him twice before. That's a good place to start do n't ya think? Leo was on the other side, was n't he? MAGGIE - Leo was an apple, that's right. Red on the outside, white on the inside. And Jimmy hated him. Kicked his ass a coupla times. But he did n't kill him. RAY Who did? MAGGIE You're the FBI. That's your job, is n't it? Ya know how many of our Warrior brothers got killed out here? I never saw any investigating then. Why now? What's going down here? RAY A Fugitive Alert for a murder suspect. Before somebody else gets a shotgun blast in the spine. MAGGIE Try the Fort Laramie Treaty. All over again. Ray does n't have a clue as to what this radical bullshit is about. RAY Look. You and I can stand here in a culture clash til the sun comes up, talking about what's right and what's wrong. You're from the reservation. It's a different world. MAGGIE I'm from Minneapolis. Fifth Street. I did four years at Dartmouth before I ever set foot on this res. So I know about the other world, Ray. If this information does n't throw Ray, the use of his first name does. MAGGIE Are you gon na keep that medicine bundle or are you gon na respect its power? Ray is holding the medicine bundle. He deliberates, then hands it over. She takes it with careful hands, casting a somewhat surprised look up at him. MAGGIE Thank you. RAY When you see Jimmy, tell him the sooner he turns himself back into a human being and gives himself in. the sooner we back off this reservation. Okay? Maggie gets in the truck, starts it up. She looks out at him, studying him. Trying to figure him out. HEADLIGHTS are coming fast from down the main road. MAGGIE Grandpa Reaches says you come from heavy Indian blood. I used to think Grandpa was gettin' senile. Now I know he is. RAY Move it, Magdelana. Maggie drives forward, turning down another little wagon road, and bumping into the black night only moments before, Cooch's Le Baron pulls in. SA Miles and Sherman's vehicle pull in behind it. The regional feds fall in behind Cooch, everyone, packing rifles. COOCH Ray, you alright? Ray turns, nodding. An FBI van pulls in from the other direction and FOUR AGENTS empty out, wearing FBI windbreakers and heavily - armed. AGENT SHERMAN What do we got, Ray? RAY It was just Eagle Bear. I questioned and released her. COOCH What'd she say? RAY She talks a lot of shit. We're not doing our job. Jimmy's innocent. `` What's the FBI really doing here.'' Some shit about the Fort Laramie Treaty. Cooch nods. The agents form a tight unit out below the upside down flag. RAY She took something from the house. What she called a medicine bundle. Most likely Jimmy's. COOCH Let's see it. RAY I gave it back to her. AGENT SHERMAN Why? RAY If it is Jimmy's, she's taking it to him. We'll have a runner. But I borrowed a little mojo. Ray reaches inside his pant leg, down around his boot and carefully removes a white eagle feather. He gingerly tucks it in a plastic bag. COOCH Way to go, Raymond. Miles, take that to lab. Sherman, I want you to go back to base and produce some written material. Something that indicates that our girl Maggie is leaking information to us. And make sure that material finds its way into the hands of the Warrior Movement. Sherman and Miles, take off. Cooch, an impressive master of COINTELPRO, now turns to the van squad. COOCH You gentlemen missed that medicine basket. Go back through the house, and make sure you missed nothing else. And lay some wire, too. Let's do it. The van squad moves toward the house, leaving Cooch and Ray alone in the highbeams that light the yard. COOCH That's good goddamn work, Ray. Let the salmon run. Let'em run Upriver. RAY Why we setting Eagle Bear up as an informant? COOCH Her own people start to suspect her, it creates discord from within. The Warriors do n't know who to trust, they start infighting, and Jimmy loses his support. Ray nods, impressed. Cooch bends down near the road, touches the dirt. COOCH Her oil pan is shot. RAY Cooch. What's the Fort Laramie Treaty? COOCH Jesus, I do n't know. You tell me. You're the Indian. Cooch wipes the oil on a handkerchief as he rises, smiling playfully at Ray. He starts back toward his car. Some sort of bird is COOING in the night. COOCH Get a tail on her, Ray. Ray looks up at the upside down flag. Then watches Cooch walking way. RAY Cooch. -LRB- a quiet, tired laugh. -RRB- Where the fuck did they send us? COOCH A long way from home. You be careful out there. Cooch, standing there with his glasses on and his right arm bandaged, looks tired, too. He gets in his car. In the yard, Ray starts for the van, the res dog, trying to follow. He chases it away. And then as he gets closer to the van, he looks up to investigate the COOING SOUND. AT THE TOP OF THE FLAG POLE there is a shadow. What looks to be a large bird. It just hovers. In the shadows. DOWN BELOW Ray looks up at the pole, watching. Then walking on.",
"EXT. BEAR CREEK RES - SUNRISE Mind - blowing sunrise of airbrush red. Clusters of lodge - pole pine. The spectacular mesa. PAINT HORSES graze in a field, a few out in the center of the road. AT GRANDPA REACHES TRAILER the old man comes down the front steps in a frail walk, carrying a paper plate. He steps down into the sage clusters that grow just off his trailer, and offers the plate up toward the sky. He then stoops, and scrapes a half - eaten English muffin, some potato chips and half a banana onto the Earth in a neat pile. He straightens his back the best he can, looks up again, and prays softly. THE BADLANDS possess an otherworldly beauty at this magic hour, a maze of shadows and rainbows. In the distance we can not mistake the frame of Walter Crow Horse. He's out there, long hair blowing against the white bluffs. Stalking. Tracking. ON THE VILLAGE ROAD a puppy chases a hen in a klutzy, innocent manner then bumps into the tire of a parked car. Taking a shot at doghood, he hikes his leg, squirts a hubcap belonging to - Cooch's Le Baron. Cooch leans on the hood, drinking a coffee from a foam - plastic cup, and supervising SIX G - MEN who have a map spread out over the hood and are discussing it. MAGGIE EAGLE BEAR'S HOUSE is way out in a remote corner of the res, a little home, trailer and tipi right on the river. The river is rushing hard this morning, catching the light of the sun. Maggie's truck is parked in front. Out at the river, Maggie, her hair long and unbrushed, and wearing an extra large T - shirt and nothing else is hauling water in buckets from the river. THREE INDIAN CHILDREN are with her, helping her. Near the house, an OLD WOMAN in bifocal glasses, feeds some chickens, and a cat that gathers with the chickens and eats feed.",
"INT. OLD VAN – NEAR MAGGIE'S Ray, still in his field clothes sits, training binoculars on the distant house. He opens a carton of milk, drinks some. Then hears a whimpering. In the passenger seat sits the three legged res dog. Ray has taken him with him. He drinks some milk, then opens the carton up fully and sticks it out so the dog can lap it up. Ray laughs in disbelief, shaking his head. RAY For all I know, you're Jimmy. And you're just waiting for a shot at my jugular. Drink, Jimmy. Milk is good for you - The dog is lapping the milk, desperately. And then a ROARING. A motorcycle. IN THE SIDE MIRROR : Crow Horse, racing up on the left of the van. Ray pulls his hat down low, and sits back. The motorcycle passes on the left, slowing enough so that Crow Horse can flip Ray the middle finger. Then he races on, far down the road. Ray sits there, shaking his head. He'll let it go. Bullshit. He starts the car.",
"EXT. TRIBAL POLICE SHOOTING RANGE - DAWN Crow Horse guns in, sliding in dirt up to the run - down, low budget shooting range - six plastic milk jugs on sticks, jammed in the mud. A moment later, the van hammers in. Parks. Ray gets out. He's removed his hat so as not to invite any crap from Crow Horse. CROW HORSE Do n't be mad. That was just an old traditional gesture that means hello, how are you. RAY I see. Forgive my cultural ignorance. Ray executes a hard, slapping, `` up your ass'' gesture. RAY Have a nice day. Crow Horse bursts into laughter in his raspy, staccato laugh. He walks off a few steps, picks up a spent shell and pitches it. His laughter simmers and he gets serious. CROW HORSE Jimmy did n't do it, Ray. I checked it out. You can stop taggin' my sister. RAY She's your sister? RAY AND CROW HORSE Spiritual sister. RAY Gotchya. We just nailed a genetic match between the eagle feather left at the murder site and one in Jimmy's medicine bundle. It came from a white eagle. Same bird. Crow Horse fingers an eagle feather that hangs from his hat band. CROW HORSE So did this one. Wambli is a rare and sacred creature. When someone finds a dead one, the feathers get around the res. We share everything. A lot of power in the eagle feathers. But you think that's bullshit too, do n't - RAY -LRB- ala Crow Horse. -RRB- - Leo Fast Elk was sitting in the outhouse at Maisy Blue Legs when a car pulled into the yard. He came out, approached the vehicle then saw that the man behind the wheel was Jimmy. He tried to get back into the trailer, but the car came highballing at him. He started running for the open grass. With the car moving, Jimmy hung his shotgun out the window, took aim - missed once, hitting the shitter - fired again, and severed Leo's spine. Leo fell, rolled, and came to a stop in the grass. And some chicken feed. Stale chicken feed with four days mold. -LRB- a beat. -RRB- Electromagnetic printing. Crow Horse stares, a little surprised. CROW HORSE Was - te. ` Cept for one thing. Jimmy Looks Twice was nowhere near there. Ya see, when Jimmy was twelve years old, his mother and father was killed in a car wreck right down there near Elk Mountain. RAY I do n't see the connection. CROW HORSE The connection is, it did a head number on him. He's petrified of cars. Wo n't drive. I've known him all my life, and he's never gotten behind the wheel of a vehicle. He rides passenger and he rides horses, and that's it. The man that shot Leo down was behind the wheel of a moving car. Ray absorbs this with great interest. RAY That's not solid. CROW HORSE You want solid? That one, single, print he left in the Badlands - the one the FBI missed and then stepped all over - it belongs to a man who walks heels first. Like a white man. Jimmy has a serious Ind'n walk - ball of the foot first. The man who murdered Leo walked like a Wasi ` cu. Ray lets a pent - up sigh escape. RAY You're saying a white guy did it. Crow Horse chews this over, unable to hide a nagging frustration. He shakes his head. CROW HORSE When Leo was dumped out there in the Badlands, he was dropped on his back. Our man made an effort to turn him over, onto his face. It's an old Ind'n belief that if a dead man is turned face down, his spirit wo n't leave. And in the killer's case, it wo n't come back and jump all over his shit. That's an Ind'n thing a white man would n't know. The two of them stand there, thinking this over. Ray takes out his notebook and starts writing. Crow Horse walks away, turns to face the propped up targets. CROW HORSE And that's the way it is. Write it down. To punctuate, Crow Horse slaps leather, draws his.38, and begins blasting at the milk bottles. He hits the bank. A tree. One of the posts. But not a single target. When he is done, he looks over his gun, disappointed. Starts reloading. Ray starts laughing, looking at the missed targets CROW HORSE You laugh all you want, Breed. Sunset tonight, I get my man. Ray looks at Crow Horse, sees that he's serious, and follows him toward his motorcycle. RAY Alright, Crow Horse. I'm listening. I'm listening to the trees, to the stones. Who is it? Crow Horse turns toward Ray, and creates a long dramatic pause. CROW HORSE Damned if I know. And he hauls his bulk onto his motorbike. CROW HORSE But the Old One. He did a Yuwipi ceremony last night. Crow Horse winks at Ray as he slams the kickstart. To no avail. RAY The old man? He's gon na tell you who killed Leo? CROW HORSE Go catch Jimmy, Ray. Really. He's gettin' away. Go ahead, go get him. I'm late. RAY Hey. Hey, those are my sunglasses you're wearing. CROW HORSE Grandpa traded with me. -LRB- flips the bird. -RRB- Goodbye. And Crow Horse nails his kick start. The BIKE ROARS alive and the Indian works the throttle hard, leaving gravel and black exhaust. Ray stands there, drifting between logic and instinct. He looks at his watch, then starts at a slow, thoughtful shuffle toward his car.",
"EXT. GRANDPA REACHES TRAILER - SHORT TIME LATER The dust - buzzard broncs and bounces down Grandpa's driveway, coming to a stop near the wrecked cars. Crow Horse dismounts and unhooks a carton of smokes from the back. A moment later, the junker van pulls in, bouncing and shaking. Crow Horse stares at the approaching vehicle, his eyes hidden behind Ray's former shades. He cracks a slow smile because - Ray is stepping quickly from the van, and carrying two packs of Marlboros.",
"INT. GRANDPA REACHES TRAILER Grandpa sits in his chair, his black eyes moving smoothly from side to side. Smoke enshrouds his ancient face, giving the sense of another time and place. He speaks LAKOTA. Crow Horse, sitting on a stool across from him, holds The Pipe. He passes it to Ray who sits in a busted lawn chair next to him. The room is dark as the sun sets out the window in red and purple. Ray looks at the pipe. Grandpa will not speak until Ray smokes. And so he does, drawing on the stem, awkwardly. HEARTBEAT DRUM as Grandpa speaks Indian. CROW HORSE He says, back behind Red Deer Table, where the Elk - People - used - to - live. there are strange creatures from another world who eat stones. and who will kill anyone who crosses into this place. Ray looks at Crow Horse, searching for a hint of lightness. But there is only great reverence as he watches Ray blow smoke upward. CROW HORSE He says, in the Yuwipi ceremony last night, he saw you. going back into the land beyond Red Deer Table. I was with you. But that was all the Spirits let him see so he does n't know if you were killed or not. But he thinks you probably were. Ray smirks as he passes the pipe to Grandpa. Crow Horse looks nervous. Grandpa offers the pipe to the directions and then disengages the bowl from the stem. He speaks again. Crow Horse translates. CROW HORSE Go to the land where the Elk - People - used - to - live and you will find the answers you came here looking for. But you must go as two. That is the vision. I have spoken. And this is so. Grandpa leans closer to Crow Horse and whispers some Lakota. CROW HORSE He wants to trade. -LRB- a beat. -RRB- He likes your watch. Ray looks at Crow Horse, nervous. RAY I ca n't do that. -LRB- explaining. -RRB- It's a Rolex. CROW HORSE A what? And Grandpa is already holding out something to offer. It is a cigarette. Grandpa offers it again. RAY I'm sorry, this is -. -LRB- loud to Grandpa. -RRB- - this is very, very expensive. It's -. -LRB- to Crow Horse. -RRB- Tell him this is an expensive watch. Crow Horse tells the Old Man. Grandpa speaks Indian. CROW HORSE He says, you need to go on Indian time. He says your watch is ruining your life anyway. Ray buries his hands in his jacket pocket. No way. Crow Horse signs to Grandpa `` no.'' Grandpa gets up, crosses between the two young men, up to the TV set. He turns it on. WHEEL OF FORTUNE explodes in PINGS AND PONGS and a WOMAN'S SHRILL SCREAM.",
"EXT. GRANDPA REACHES TRAILER - DAY Crow Horse and Ray walk down the steps. WHEEL OF FORTUNE is heard from within. CROW HORSE Red Deer Table, Ray. RAY Do n't tell me : heavy duty. CROW HORSE Heavy, heavy duty. Taku Wakan. Wanagi Spirits. It's one of those few places we'd never go to as kids. Still do n't. Some of the old people say Crazy Horse is buried back there. We have to go Ray. Together. Like his vision. They step into the yard and Ray stops, turning to Crow Horse RAY Walter. When I fill out my 302, do I say that evil spirits are killing everybody on the reservation? CROW HORSE Ray - RAY - no. No offense to the old man. I appreciate you trying to help. But I put my ass on the line coming out here, man. CROW HORSE What'd you expect to hear? RAY Not Native American myths and legends. I'm with the FBI, Walter, remember? Not National Geographic. CROW HORSE What you call myths, we call our history. RAY It's not real. CROW HORSE What's real to you? Wall Street? Capital Hill? Now they are myths. RAY I ca n't be dicking around here. That's all I'm saying. I do n't carry crystals, I do n't wan na come back in another life. I just wan na do my job, and do it right, and get the fuck outta here. CROW HORSE You ai n't no Indian. You're a Sal Mineo Indian. Crow Horse drives `` Indian'' home with a hard finger in Ray's chest. Ray knocks his hand away, explosively. Crow Horse is ready. GRANDPA -LRB- O.S. -RRB- Knock it off! The old man is standing at the top of the steps. Ray and Crow Horse are YELLING OVER EACH OTHER, and hands are up. GRANDPA Will ya knock it off? You're actin' like a couple of old women. Ray stands there, one hand up in defense, another poised to throw a punch. Bewildered, he stares at the old Indian holding onto the porch railing. GRANDPA For cryin' out loud. Knock it off. RAY He speaks English. CROW HORSE Only when he's really pissed off. GRANDPA Come inside. Watch TV. And Grandpa goes back in, screendoor slapping shut behind him. Ray is just staring, his jaw dropped. Crow Horse starts laughing. Harder than he has yet, and Ray starts walking toward his car in fuck - this steps. He gets into the car, closes the door and looks out the open window at Crow Horse. The Indian moves first. CROW HORSE Do n't accuse nothin' of not bein' real, Little Weasel. Cuz the only thing around here that ai n't real is you. Ray lifts his arm off the door, and springs his middle finger up at Crow Horse. He holds it there for a long moment just looking at the big Indian. RAY Take care of yourself, Walter. CROW HORSE Likewise. Ray checks the time on his watch then guns away. Crow Horse stands there, watching him go. Eventually he shuffles back toward the trailer.",
"EXT. BUFFALO BUTTE MOTEL - NIGHT Room 14 has been transformed into a major COINTELPRO base ; four computer terminals are set up, card tables spread with photos, boxes of files stacked on the bed, and SIX AGENTS, manning the computers, thumbing through files. THE CONNECTING ROOM -LRB- RAY'S ROOM -RRB- A meeting takes place around a table of paperwork and coffee cups, and a.45 laid atop a file. Cooch, SA Miles, SA Sherman, TWO OTHER REGIONAL AGENTS and Ray. SA SHERMAN We've gotten word that Jimmy has been trying to hook up with Maggie Eagle Bear. but some of the Warriors have been sending word to Jimmy that she may be an FBI operative. So he does n't know where to go. Cooch taps some ashes into an empty coffee cup. They sizzle in cold residue. COOCH Bingo. It's working. SHERMAN He's out of room. All the reservation exits have been watchdogged. We got him. I give it twelve hours. RAY Well we better use those twelve hours to apprehend the right man. The agents all look at Ray. A pin can be heard falling to the cheap carpet. COOCH The right man? Talk to me, Ray. RAY Whoever dusted Leo, dusted him from the driver's seat of a moving car then drove those eight miles to the Badlands. Jimmy Looks Twice has never been behind the wheel of a car. It's a known fact out here that he's petrified of driving. His parents were killed in a car wreck. Cooch nods, lights another smoke, intrigued. SHERMAN That's not very solid. RAY There was also a print found in the Badlands that indicated diagetic locomotion. Heels first. Jimmy's walking pattern does n't match. He has a distinct Indian walk. SA MILES Indian walk? You been smoking hooch in the peace pipe, Ray? LAUGHTER. Except for Cooch who just stares at Ray, digesting what he has said. RAY They do n't smoke hooch in The Pipe, Miles. They smoke something called kinickinick, it's like a tobacco. Sherman looks at Cooch. SA SHERMAN Well, you're right about X21 being a Washington Redskin, that's for sure. What else, Ray? COOCH You boys want a soda? SA MILES Oh, yeah, a Coke. You buying? COOCH No, Ray's buying. Sherman? Coke? SHERMAN Oh. no. No, Cooch, I'm working on a coffee here. Indian walk? Cooch nods to Ray and Ray follows, gathering up some paperwork He looks determined as a terrier.",
"EXT. BUFFALO BUTTE MOTEL - NIGHT Ray and Cooch throw long, slim shadows on their way to an archaic Coke machine. COOCH Genetic ditto on evidence found at the site with evidence you found in his belongings. An incontrovertible motive. And definite footprints on Jimmy Looks Twice at Maisy Blue Legs house. RAY When did we get that? COOCH Today. And now you - there's a dog in the van - RAY - I know. I fed it, and I ca n't get rid of - COOCH You were n't sent here to go off on your own detail, Ray. You were sent here to assist in a Selective Operations Unit. These regional agents are inept - that's why they were sent out here to The Graveyard, to Indian Country. I need you behind me, Ray. Not pulling against me. RAY I'm not trying to pull against you, Cooch. I've just been having nightmares about the way Leo was killed. COOCH Your first homicide, that's gon na happen, Ray. RAY I just wan na make sure no one else gets done in that way because we were in bed with the wrong doer. COOCH Ray. I never get into bed with somebody unless I know for sure. Just the way I was raised. Ray studies him with a smile building. Cooch shrugs, sips some soda. RAY Alright. Alright. COOCH -LRB- lightly. -RRB- Yeah, alright, alright - fuck you - give a yuppie a badge and he wants to take over the world. Go get a tail on Eagle Bear, and stay with her. Cuz Jimmy's gon na show. And I want you to make the collar. Ray nods, starting for the van. COOCH Ray. He turns. Cooch looks at him for a time. It is a warm look. COOCH I'll sleep around a little. RAY Thanks, Cooch. COOCH And get rid of the dog. Ray gets in and pulls the dog out. The dog sits at roadside, tilting its head at him, confused. And he pulls out. It runs after him.",
"EXT. DIRT ROAD NEAR EAGLE BEAR'S - RES - NIGHT The van sits parked down the road from Maggie's dimly - lit home. Ray sits behind the wheel, watching the house. LOCUSTS make a steady and unnerving sound. It is black. Black under big sky. Ray lets his head sag out the open window and he takes in the vastness. POV : stars. Millions of stars. And an incredible full moon. It hangs huge over distant fields, a perfect sphere. The top half of the moon is yellow, the bottom half a lava red. REVERSE - RAY stares at it, lost in thought. From Maggie's house, he hears someone SINGING. Singing a traditional SUNDANCE SONG while they haul water from the creek. A WOMAN'S VOICE, trilling out the beautiful but haunting `` hey - o - hey - o - hey - o - hey - ohhhhh.'' Ray just sits, listening. And then something draws his attention to his rearview mirror. The res dog, lying in the back seat is GROWLING. Lip curled back, growling low. Ray looks at him, looks out the window. Blackness. Nothing but the sound of locusts. And a slight crosswind in the wheat fields. The dog stops growling. And Ray fixes his gaze on the house again, lifting a pair of binoculars and - BOOOOOOM! The rear windshield is SHATTERED by an explosion. Ray throws himself low across the passenger seat - BOOOOOM! The driver's side window and part of the door explodes. RES ROAD NEAR EAGLE BEAR'S The federal van is HAMMERED BY GUNFIRE. All the windows, shattered, the metal doors splayed. Someone is going for the kill, THE PASSENGER DOOR is thrown open just as its window implodes, and Ray slides out belly first, gripping his M - 16 and crawling like a dog soldier into tall wheat at roadside as the car, the road, the wheat, the dirt, the night are slammed by gunfire. The res dog overtakes Ray and vanishes in the wheat. Ray vanishes, too. It is quiet for a moment, then Ray, pops up ten feet away, and UNLOADS THE M - 16, in a left to right, clean sweep before dropping again. He lies there, listening. The LOCUST HAVE GONE QUIET. His breath is heavy. His heart's got to be pounding through the dirt he lays in. RAY -LRB- whispering. -RRB- Motherfucker. LONG SHOT - THE ROAD the decimated van, aerial still high. The distant lights of Maggie's house. And the giant Moon, hovering over it all. HEARTBEAT DRUM into - SAME ROAD -- RES - DAWN TWENTY FEDS comb the dirt road, the wheat fields, picking up shells with gloved hands, scanning the vast distance. IN THE FRONT YARD of Maggie's, FOUR INDIAN CHILDREN stand with the Old Woman, watching.",
"INT. LE BARON – TRAVELING – ANOTHER DIRT ROAD Cooch, flushed in the face, mans the wheel. He wears only a T - shirt which indicates, a desperate rush to the scene. His eyes scan the surrounding homes and fields. In the passenger seat, Ray sits, drinking a coffee. He looks haggard. COOCH Bastards. RAY All I could think of was. not here. I do n't wan na eat it on an Indian Reservation, three thousand miles from home. COOCH He's out there. He's out there playing Sitting Bull with us. I want the motherfucker so bad I'm getting a bleeding ulcer. Ray turns around in his seat, looking off across dry land. RAY It may have been Maggie's way of saying `` get off my ass.'' COOCH She's that subtle? RAY Eagle's claws and a bear's balls that's what her profile says. COOCH Well, she's running now, too. These fucking people like to run, do n't - RAY - Cooch. Woh. Stop. He does. Ray is turned around in his seat, staring off into the distance.",
"EXT. DIRT ROAD The Le Baron whines backward, and off the road, into some grass Ray steps out, keeping his gaze fixed. Cooch bails from the driver's side, joins him. HEARTBEAT DRUM. RAY'S POV : Four - hundred feet across a flat area of sandstone and grass clusters, something shimmers in the undulations of the harsh morning sun. Something of pea green and rusty metal. glass catches sunlight and makes prisms. A car. An old res car, sitting in a long, chasm in barely a foot of green water.",
"EXT. DRY WASH - SHORT TIME LATER - PAY Ray and Cooch go through the car, around the car, with gloved hands and grease pencils and plastic bags, sweating in the hot sun. COOCH Tread matches. It's the car. RAY Yes. Excited, Ray walks off, scanning the area. COOCH But this does n't make any sense, Ray. If it's just been sitting in this dry wash for seven days. why the hell did n't we find it? Ray picks up a handful of stones, sifts them in his hands. RAY Because this is n't a dry wash. Cooch watches him slosh shoes first through a rut where the water shimmers a foot deep or less. RAY It's the Little Walking River. Ray turns, shucking up mud. RAY And it was full of water when I drove by here three days ago. Full. I mean. a river. COOCH The Little Walking River. You're right. This is part of it. So whoever sunk this car did n't compensate for drought. Goddamn. Ray does n't hear Cooch. He stares past the SAC at the long wide chasm, wet in some places, arid in others, and what he hears must be an echo in his head. RAY Listen to the water. Cooch is listening to a TRANSMISSION across his radio and he walks off a few feet, exchanging information with the REGIONALS. Ray stands, ankle deep in stagnant water, his face sweat - soaked, his eyes transfixed on heat undulations.",
"EXT. BUFFALO BUTTE MOTEL - ROOM 13 - DAY A flat - bed tow truck drives past the motel with the killer's car on it. Behind the truck is a fed car which stops at the motel, and the Le Baron which also pulls in. Miles and Sherman get out from the first car, Ray and Cooch bail from the Le Baron. With RADIOS TRANSMITTING, the agents walk, dusty and tired, into room 14. Ray hesitates, snagged by the sight of - A motorcycle parked in front of the Buffalo Butte Bar. Parked with pick - up trucks and station wagons. It's the mud - caked old Barley. Parked right under the NO INDIANS sign. He puzzles over this.",
"INT. BUFFALO BUTTE BAR - DAY Dark. Even during the day. Cigarette smoke. Sawdust. On the archaic juke box, RANDY TRAVIS sings `` Old 8x10'' while behind the bar, the BAR OWNER, an old man with long white hair and beard, busies himself with leather work. SEVERAL WHITE LOCALS sit on the old water drum bar stools. Heads lift, turn when Ray enters in his `` fraternizing'' clothes - jeans and boots, leather jacket. He scuffs up thick sawdust as he heads to the furthest booth back where - Crow Horse sits, alone over a bourbon and a beer. Ray approaches carefully, upset by the sight. He slides into the booth and point blanks the Indian. CROW HORSE Agent Little Weasel, Federal Bura of your Imagination. RAY Jesus Christ. You're hammered. What are you doing? CROW HORSE You're right about the old man. His power's long dried up. He's supposed to be a medicine man but he wo n't go see the people. He says we changed, and we do n't listen. Well, he do n't go out and talk no more. I have n't had a drink in three years but I just turned my sobriety chip into that man behind the bar, and this Hoss is gettin' watered. RAY Cut the shit. You should n't be in here, Man. CROW HORSE Cuz I'm a skin? RAY Cuz you're a cop. CROW HORSE Not no more. RAY What are you talking about? CROW HORSE You tell me. You tell me who went to the B.I.A. - Bureau of Indian Annihilation and said I was messin' with your case, man. I do n't give a goddamn about your case. RAY And I do n't give a goddamn about whether you wear a badge or not, Crow Horse, but I did n't cut you. Crow Horse shimmers his black eyes onto Ray. CROW HORSE Still after Jimmy? RAY They found prints at Blue Legs' place. CROW HORSE Yeah. Jimmy's prints are there. But they cross over Benjamin Black Star's prints. And he was n't there until six o'clock the mornin' after to get eggs from the chickens. So Jimmy was n't there til the next day. Follow? Ray just looks vacantly at Crow Horse. Crow Horse resents the vacancy. CROW HORSE Look, man. you better bust Jimmy and get out before somebody shoots up more than your car next time. Ray glares at him. RAY Next time I'll be ready. You get the word to who ever it is. CROW HORSE I ca n't, Hoss. I do n't talk to FBI's. Ray does n't blink. CROW HORSE You think you was sent here cuz you're a good cop? RAY No. I was sent here cuz I'm Indian. And a good cop. Crow Horse leans toward Ray and speaks more quietly. CROW HORSE You ever think that maybe you was sent here cuz the FBI's need one good reason to take out the entire Warrior Movement. And what better reason than one of their men, gettin' blown away on the res. A low - rent, expendable public servant sent in to take a bullet for his country. Ray is fuming. He ca n't believe what he's hearing, what's being insinuated, but he's giving it thought and it's getting him angry. He smashes a hand down on the table. RAY I'm sick of your shit - RANCHER -LRB- O.S. -RRB- I'm sick of the two of ya timber niggers spewin' off. Standing over the booth is a long, tall RANCHER'S SON. Rangey with red curly hair tucked under a BLACK HILLS CLASSIC cap, and arms built by tractor work. And behind him, TWO OLDER RANCHERS fall in. And ANOTHER YOUNG MAN, grinning with amusement. Ray and Crow Horse look up. CROW HORSE Sorry, we do n't speak United States. RANCHER'S SON Yeah, well I do. Get the Jesus up, and get the Jesus out or I'm gon na go out to my truck and come back with my hardware. RAY Woh, hold on there, Jack, you're - RANCHER'S SON - do n't `` jack'' me, Squanto. I'll bury your lazy ass right here. Ray realizes now that they think he's Indian, too. Crow Horse sees this revelation and complicates it by suddenly speaking LAKOTA to Ray. The rancher grabs Ray by the cheeks. RANCHER'S SON I'm talkin' to - Ray decks him. Backhands him in the solar plexus then, lays a burner of a Quantico roundhouse to his ear, knocking him across the bar, over a mop and bucket and into sawdust. The others start to fall at him but someone has jumped in, holding them back, and sticking himself in the way. It is Brooks. The old timer Ray met his first night here. BROOKS No! No, you butt holes! He ai n't skin! He AI N'T SKIN! CROW HORSE Yeah he's In ` dn. Miniconjou Sioux. The rancher's son who is coming back with a broken beer bottle, slows his step and shifts his eyes from Brooks to the young fed There is a lot of heavy breathing. But no talking just yet. The young rancher eyes Ray. RANCHER'S SON You ai n't Indian? Ray just stands tense, staring at him. And it's strange. Because he has n't really looked like he has any Indian blood up to this moment. But dressed the way he is, and his eyes glaring, face drawing tense, he might pass for a breed although that's probably the Italian. But Ray does n't answer the question. Crow Horse starts laughing. Drunkenly. OLDER RANCHER What's so damn funny? CROW HORSE Well, it's just that the cavalry used to always threaten the Lakota. The cavalry ai n't around anymore. The Lakota still are. RANCHER'S SON I got no trouble tellin' where you come from, Fat Red. Crow Horse rises and walks unsteadily across the floor, leaving the bar. Brooks is whispering to the others, apparently about who Ray is. The bar man comes up to Ray, holding a tray, on which sits a shot and a beer. Ray looks at it for a moment. BAR MAN Sorry. On the house. Ray knocks the tray out of his hand, spilling beer and whiskey all over the bar man and the locals around him. And he walks out, leaving the locals confused.",
"INT. LE BARON - TRAVELING - RES - DAY Ray looks strung - out as he drives. If it's not the conflict at the Butte, it's the dangerous seed Crow Horse planted, and it is playing with his mind. He is on his RADIO. RAY No plates. No registration. Serial numbers removed. And all prints washed off by the river. That's great. This is turning out to be a walk in the park, do you know that? RADIO -LRB- woman agent. -RRB- Come back? RAY Never mind. But before he hangs the radio. IT CUTS BACK IN. RADIO Ray. X22. RAY I read, Cooch. RADIO Remember that upside down flag back at Jimmy's house? Somebody took it down. RAY Good. RADIO They took it down, set fire to it, and threw it on the doorstep of room 13 at the Buffalo Butte Motel. Your room. Ray seethes quietly as he drives. RADIO We traced the number of the truck that dumped it, and it belongs to one Maggie Sanders, also known as Maggie Eagle Bear. She's been all over the res, riling up the traditionals, telling them not to break, and to keep Jimmy in hiding. She's a problem now. And she's yours. Get her off the reservation. Ray keeps driving.",
"EXT. WOUNDED KNEE MEMORIAL - DAY Maggie's old pick - up is parked near an arch gate of the tiny cemetery where a tall monument is fenced off from other graves There are tobacco offerings and other medicines hanging on the fence and on the monument. It is a quiet place. Still. Maggie stands before the unkempt monument in her denim jacket, her hair blowing across her face in the wind. She PRAYS IN LAKOTA. Behind her TEN CHILDREN from the Bear Creek School stand, heads bowed respectfully. Two of them sit on the lap of Richard Yellow Bird who looks on from his wheelchair, praying quietly with Maggie. When Maggie completes her prayer, she ties some tobacco to the monument then turns and faces the children. One of them, a LITTLE GIRL - heavy - set - raises a hand that we might note is deformed. As many of the children we have seen on the res, are. LITTLE GIRL Are they all right under here? MAGGIE Two - hundred and sixty - seven men, women, old people. And little ones like you. Many killed running along that road you see there. LITTLE BOY Where were they runnin' to? MAGGIE A place called The Stronghold. -LRB- a beat. -RRB- They died for a dream. But you live. You are their great - great grandchildren and you live. We have to honor their dream. Of protecting the Mother Earth. And being proud of being Indian. LITTLE BOY My mother told me that they call us Indians cuz Columbus was lookin' for India when he discovered our country. Maggie smiles at the boy. MAGGIE Yeah, well, let me tell you something, Henry : just be glad he was n't looking for Turkey. The CHILDREN LAUGH. All but one boy, who is n't paying attention. He is staring up at a hill, off in the distance. MAGGIE'S POV : on the hill, a figure stands, hands in his pockets, hair blowing in the wind. Ray. REVERSE - MAGGIE keeping her eyes on the Wasi ` cu, but addressing Yellow Bird. MAGGIE Richard. Sing the Honoring Song with them. I'll be right back. ON THE HILL Ray stands, watching Maggie walking into the wind, toward him. Behind her an HONORING SONG, sung by ten children haunts the still air. He does n't budge as she mounts the gentle bluff and joins him there. MAGGIE We're praying at the grave. Do you wan na join us? A long silence. The voices carry in the wind. RAY No, Maggie. But you're gon na have to join me for a ride. I'm taking you to Rapid City. Maggie looks at him. They lock eyes. MAGGIE So much power. I see it in your eyes. This. hunger for power. Or for what you think is power. As if exhausted by the thought, Maggie sits down on the bluff, looking out at the children who are still singing the song. As she speaks, she begins digging her fingers in the earth. Ray stands over her. RAY You burned an American flag today. And left it for me. MAGGIE - You desecrated it, it had to be burned. RAY I desecrated it? MAGGIE You forced an innocent man to run like an animal. You've tried to poison my people's hearts against me with your manipulation, with letters I never wrote. you've been watching me eat, work, raise my family. wash myself in the river. And now you're here, arresting me at a sacred place. -LRB- a beat. -RRB- In your eyes, that's power. Maggie lifts herself onto her knees and looks down into the small hole she's dug. She picks up a little pine cone. MAGGIE So I plant this tree for you. And I take all this stuff that you've laid on me and my people, and I put it in this hole with this pine cone. -LRB- she covers it. -RRB- And I bury it. Cuz ya know what it is, Ray? Bullshit. And shit is fertilizer. -LRB- she stands. -RRB- And The Mother will turn your lies into something that lives. Maggie rises, dusting off her hands. She looks him in the soul. MAGGIE That's what power is, in the Indian way. -LRB- holds her hands out to be cuffed. -RRB- Take me to Rapid, Ray. I'm the enemy. Ray just stares at her, struggling with what he's feeling, what he's hearing. What he's supposed to be feeling. Silence hangs between the two of them. RAY If I told you. that I think Jimmy's innocent. but I'm in over my head. would you believe me? Maggie looks at him, considering. Then toward the long dark silhouette of a mountain range across the plains. MAGGIE See those Black Hills out there, Ray? When the people lost the land in 1868, the government took everything but those hills. They allowed us to keep those Black Hills, to live there. Signed a treaty. Until they found gold. Then they told us we had to leave because of National interest. They broke that treaty. Anyone who fought or spoke out against it, wound up dead or in jail. And the people wound up here. On a reservation. While she looks off at Paha Sapa, Ray stares at her profile. MAGGIE While up there, in the Black Hills. they carved the faces of four presidents. She looks at Ray with an ironic smile, and she catches him transfixed. MAGGIE Your relatives must've taught you something. RAY NO. -LRB- after thought. -RRB- My father never told anybody he had Indian blood. But he still used a few Indian words around the house. He called me Washee. Said it meant. good boy. Maggie starts giggling. RAY What? MAGGIE Wa - shee is like. a dumpling. Like tallow we put in stew. I think he was calling you chubby boy. RAY Great. Maggie is laughing as she looks back at the children who are no longer singing. Ray reaches inside his jacket and takes out five polaroids. He shuffles them as he ponders. He hands one to Maggie who has caught herself opening up too much to the Wasi ` cu. RAY You ever see that car before? Maggie looks at the first photo and says nothing. She hands it back quickly. Ray wo n't take it. RAY Who's it belong to? Maggie ignores him. Ray studies her reaction. RAY Help me, Maggie. Maggie is looking away. She picks a long blade of grass and smoothes it in her hands. Ray looks at her a moment longer then rises, dusting off his jeans, and standing there. He thinks for a long moment, pinches the bridge of his nose, then looks out at the Black Hills, pensive. RAY I did n't see you today, Maggie. -LRB- a beat. -RRB- Goodbye. Maggie watches him go. Looks away. Then watches him again. MAGGIE Goodbye. Wa - shee. Ray stops. She stands on the bluff, her hair riding the wind and her eyes searing. And then her lips do something that might qualify as half a smile. A sense of humor rising up through anger. Survival humor. Ray looks at her for a long moment. And then he walks on, leaving her there.",
"INT. LE BARON - PARKED AT WOUNDED KNEE - DAY Ray sits behind the wheel, going through files on his lap, photographs of Indians. And thinking hard. RAY Anyone who fought or spoke out against it. wound up dead or in jail. Ray looks out the window toward the monument. RAY -LRB- to himself, flustered. -RRB- That was 1868, Maggie. Exhausted, Ray lays his head back on the seat, and lets a long, constricted breath free. THUNDER ROLLS like the slow, deep roar of some giant bear up in the hills. He opens his eyes, looks out the window. POV : rain is coming down, and Maggie is getting the children into the back of her truck. She helps them get a tarp over their heads. Then as Yellow Bird pulls himself into the cab of the truck, she hefts the wheelchair and two boys load it in. She gets in, starts up, and rolls off down the sloping road.",
"EXT. LE BARON - WOUNDED KNEE – STRANGE TWILIGHT Ray steps out of the car into the rain and closes the door. He stares at the burial grounds. Then slowly, he starts toward them as if magnetically drawn. HEARTBEAT DRUM. A shroud of mist lays over the cemetery, growing thicker as the rain falls harder. DRUM BEATS DEEPER. Ray is walking toward the memorial, getting drenched. Then he hears something strange. HOOFBEATS. RAY'S POV : coming down the dirt road, toward him, a HORSEMAN drives his mount at a fast trot. The rider is only a vague image in the mist, his face hidden. As he rides closer, we can make out a shotgun in his hand. And he throws it up, takes aim. REVERSE - RAY paralyzed for a moment. And then going for his gun. But it's not there. He's left it in the car. He breaks into a run. But there's a shorter distance now between the horseman and the car and Ray has no choice but to turn and flee. His boots slap wet pavement, and his breath draws heavy and desperate as he bounds off the road and races down a grassy slope, looking over his shoulder, panicking. His legs and arms churning, his face contorted. And then someone passes him out, running just as hard. AN INDIAN WOMAN in 1890 Winter rags, clutching a BABY to her breast and CRYING. SCREAMING. Ray looks at her, incredulous as he runs. But he keeps running. The rider is right behind him. He FIRES. The GUNSHOT CRACKS the sky like thunder. BOOOOM!",
"INT. LE BARON – TWILIGHT Ray jumps awake. Cooch is POUNDING on the window. And the three - legged dog inside is BARKING. Ray quickly rolls the window down, letting in THUNDER. Cooch starts to say something then takes note of Ray's peaked face. Sweat runs down his temples, beads at his nose. COOCH Jesus, you alright? RAY Yeah. I. I fell asleep. I ca n't believe it. I - COOCH Never turn your radio off! I thought I was gon na find you scalped! Damn it! RAY Sorry, Cooch. I lost Eagle Bear - COOCH - never mind Eagle Bear. We've got Jimmy nailed. Let's go! And Cooch runs to his car. Ray fires the car's big engine and takes off behind Cooch who is driving a fed Chevy. CRAZY HEARTBEAT DRUM INTO -",
"EXT. GRANDPA REACHES TRATLER - LATE DAY The rain pelts Grandpa's little Airstream trailer, wind snaps at sheet plastic in the windows. An ancient sewing wheel CREAKS RUSTY in the wind. Three clean, late - model fed cars pull down the muddy drive as two SWAT vehicles pull in from another road. The Le Baron pulls in, and Ray bails out with the others. When he sees where he is, he looks distraught. Agents are running behind junked cars, positioning themselves around the trailer.",
"INT. GRANDPA REACHES TRAILER – LATE DAY The holy man is sitting in his chair, smacking Flies with a swatter. Tonight he wears a black reservation hat and stares vacantly at the TV where RONALD MACDONALD swings a giant baseball bat, and falls on his face, bouncing back up. And then BOOM! The door is open and Cooch leads Miles, Sherman and Ray inside. Cooch has a gun on the old man. COOCH HANDS ON YOUR HEAD! The old man slowly removes his hat and hangs it on a knee. Carefully he places his wrinkled hands on his thinning white hair. His eyes seek out Ray who stands in the doorway, M - 16 in hand, looking concerned. He stares at Ray. Cooch storms into a back bedroom, Miles moves to a window. Sherman stands over the old man. SHERMAN Where is he, Sam? Where's Jimmy? Grandpa looks at Sherman, ignores him, looks back at Ray. SHERMAN He's a medicine man, Ray. The `` spiritual leader'' of the Warriors. That right, Sam? With RADIO TRANSMISSIONS crackling through the house, Cooch comes back down the hall, and heads to the door. COOCH Trailer's clean, let's go. Ray starts to follow but he sees Sherman pick something up from near Grandpa. The 500 year - old turtleshell rattle. Grandpa's eyes widen slightly. SHERMAN You been the one making it rain like that, out there, Sam? RAY Hey, put that down. SHERMAN Can you make Jimmy outrun an M - 16, Sam? RAY Sherman! Sherman drops the turtleshell rattle on the linoleum floor. Then drives his heel into it, CRUSHING the fragile turtleshell. Ray grabs him and slams him into the tin wall. Miles gets between them, grabbing Sherman. MILES EASY, MEN! HEY! - RADIO HE'S ON THE ROOF! HE'S ON THE FUCKING ROOF! COME ON GUYS, COME ON, GUYS! They're out the door, leaving the old man to sit looking down at the shattered rattle. He closes his eyes.",
"EXT. GRANDPA REACHES TRAILER In a blizzard of rain, Jimmy Looks Twice in a cowboy shirt, jeans and boots, leaps off the top of the Airstream, clutching his medicine bundle. FLOODLIGHTS HIT him from all directions. BULLHORNS screaming at him. He tries to turn a corner and runs right into a fed. Ray, having run out the back door has slammed right into him. He has his rifle on him, and they stare each other down for a split second before he is converged on. Guns at his back, at his head. He is swept off his feet, face down, and frisked. He looks up at Ray, desperately. LOOKS TWICE Brother, the old man told me about you. Listen to me : what was Leo trying to tell me? He wanted to meet me at Maisy - Another fed, pushes his face into the mud, cuffs him behind his back. FED Save your speeches for prison, Jimmy. With two FIVE MAN SWAT TEAMS swarming the area, and six agents pushing Jimmy toward a car, Cooch stands there in the pouring rain, looking relieved. Ray stands near him, looking abhorred. COOCH Damn. That's one hard running Indian. Ray watches Jimmy as he is shoved into the back of Miles and Sherman's car and driven away. He is twisting around in his seat to look at Ray. Desperately. The SWAT teams disband, return to their vehicles. COOCH It's over, Ray. I aged five years. But it's over. At least I'm gon na look like I'm ready for the advisory desk. Let's go get a beer. Cooch heads to his car and Ray starts shuffling toward his as if he is dared by it all. He is looking at the trailer and there on the rickety porch is Grandpa. He comes down the steps slowly, holding his hat on against the wind. He watches the cars pulling out. Ray walks over to him, looking sick. RAY Look. I'm not who you think I am. -LRB- a long beat. -RRB- I'm sorry. And after a moment of locking gazes, he starts for his car, GRANDPA Out back that way. is a placed called Wounded Knee. Ray turns. GRANDPA I was one years old there when our people were shot down. My mother hid me in the snow in a blanket. One of those killed was a Holy Man called Wakiyan Cante - Thunder Heart. They killed him while he was running for The Stronghold. It is his blood - the same blood that spilled on the grass and snow at Wounded Knee - that runs through your heart like a buffalo. Ray frowns, disturbed by this story. The old man is speaking with conviction. With power. GRANDPA Thunder Heart has come. Sent here to a troubled place to help his people. That's what I am told. Maybe you're right and I am mistaken. Your mind is young, mine is old. If so, so be it. Ho Hecetu Yelo. I'll speak no more. Ray stands, almost paralyzed, digesting this. He turns and looks into the old man's sharp eyes. Grandpa has closed his eyes, and as he is pulverized by the rain, he turns his face toward it and from way down in his belly, he begins to SING IN LAKOTA. And it is too much. Too weird. He wheels and hurries to the car. Gets in, and beats a fast path out of the old man's lonesome patch of land. BLUE HEAT LIGHTNING knifes the sky. THUNDER ROLLS, and rumbles into POOL BALLS -",
"EXT. BUFFALO BUTTE MOTEL AND BAR - LATE DAY The agents have taken over both sides of the streets, gathered in front of the bar and the motel, putting firearms into cases, removing flak jackets. POOL BALLS knock from inside the bar while outside, A DAKOTAN takes a piss near a truck while his GIRLFRIEND stands at his back, yelling at him. CHARLIE DANIELS sings country on the juke Ray heads to room 13, starts unlocking the door. Cooch comes up behind him. COOCH Buffalo burgers and cold beer, Raymond. Do n't worry about the sign out front. you do n't have to be Indian anymore. Cooch throws a mock punch at Ray and he mock blocks, tired. He musters a smile. But he is n't all there. COOCH You have a fever. You okay? Ray nods. Cooch lets a few agents walk past, LAUGHING. He speaks quietly. COOCH Listen : when we get back tomorrow, you're gon na find Tully laying a promotion on you. S.A.C.. He wants to prove that his yuppie agents are making good. He's offering you New York. Tell him you want Atlanta. RAY Why? COOCH Cuz I want New York. Ray tries to break a smile again. Cooch cups his arm. RAY Cooch. They sent us out here because the place was being neglected. Now, all of a sudden, there's two five man SWAT teams out there tonight. Bell Huey choppers flying all over the place. Federal occupation to catch one guy. Why, Cooch? What's going on? Cooch stares at Ray. The younger agent looks like he indeed has a fever. COOCH National security, Ray. Get some sleep. Tomorrow, we fly. Cooch hurries across the rain - swept street. Ray steps inside and closes the door.",
"INT. ROOM 13 - BUFFALO BUTTE MOTEL Ray closes the door, and stands there. He seems to be having trouble breathing. He looks down at his boots. There is something on the floor. Something that has been slipped under the door earlier. He just stares down at it. Then slowly stoops. CLOSE ON : the polaroid of the res car he gave to Maggie earlier. She has returned it. He turns it over. Written across the white backing of the photo, in dark black marker is the name - YELLOW BIRD. Ray stares at this for a moment then hurries over to boxes of files on the bed. He rummages like a nervous thief and comes up with a folder. He flips through it, casting off files and 302's and profiles and finally stopping on - The 8x10 BLACK AND WHITE of Richard Yellow Bird seen earlier. Sitting in his wheelchair, Red Power cap on, tattoos marring big arms. And under it a DOUBLE MUG SHOT stamped LEAVENWORTH PRISON. Under that ANOTHER PRISON MUG SHOT stamped SIOUX FALLS PRISON. And under that a - THIRD MUG SHOT stamped `` PAROLED.'' Ray, his eyes fixed on this one, takes a few steps and sits on the end of the bed. He then stuffs the file back in a box, and takes off toward the door.",
"EXT. RESERVATION ROAD - SUNSET The Le Baron throws up loose rock and red dust, driving toward a place where the sun begins a slow drop behind the Black Hills. HORSES run out of the road. HEARTBEAT DRUM.",
"EXT. MULE DEER DISTRICT – RES - SUNSET A tarpaper shack. Outhouse. Clothesline on which jerked meat hangs. No cars. A lonely, unnerving place. Le Baron pulls in. Ray gets out, adjusting the gun at the back of his waistband. He starts for the shack. Ray raps a fist on the splintered plywood door. Knocks again. He checks out a boarded - up window. The door finally opens. Just a crack. Tiny black eyes peer out into the fading light. RAY I'm looking for Richard Yellow Bird. Ray sticks his open badge, gold eagle wings, near the crack. The door closes. Then unlatches and opens. Yellow Bird sits there in his wheelchair, tiny tobacco bundles in his lap. He's been tying them. YELLOW BIRD The Washington Redskin. Thought you'd be gone by now. He pivots his chair to allow Ray room to enter.",
"INT. YELLOW BIRD SHACK Yellow Bird, in a T - shirt that reveals twenty different ink tattoos, rolls himself across the warped floorboards to a cheese crate where his eye glasses sit. He puts the thick bifocals on and focuses resentfully on Ray in the ochre flicker of the dirty room. YELLOW BIRD What ya want? RAY Must be a bitch getting around in that wheelchair. How long you been in it? YELLOW BIRD Since I got a iron pipe put across my knees, man. Fight with three wasi ` cus, ya know. RAY At Sioux Falls Pen? YELLOW BIRD No, that was Leavenworth. This -. -LRB- shows a scar. -RRB- was Sioux Falls. What ya want? RAY Leavenworth a tough joint? Ray walks across the room, his eyes on a covert mission. YELLOW BIRD You ever try solitary confinement? RAY No. Ca n't say that I have, Richard. Richard do you know why I'm here? YELLOW BIRD Washington sent ya. I know that. RAY Yes, Washington sent me, Richard. They sent me here because this whole thing has been fucked. Do you know what I mean when I say this whole thing has been fucked, Richard? Yellow Bird stares at Ray. RAY An arrangement was made between you. and us. Do you remember that arrangement? Yellow Bird looks at Ray, strangely, shaking his head. Ray starts to look like maybe the game's not working. Like maybe this does n't add up. But - YELLOW BIRD I'm here, ai n't I? Ray lets a tense breath out. RAY Not for long, Richard. You got early parole under the stipulation that you would help us in a situation, and you did n't deliver. YELLOW BIRD What the fuck you talkin' about? Ray sits in a busted chair, reaches down to his ankle holster and pulls out a.38. He holds it, resting it on the arm of the chair. He strains to look out through the boarded window. Yellow Bird fidgets in his chair. RAY Get up out of the chair, Richard. YELLOW BIRD What's with you people? Why do ya have to fuck with my head all the time? I came through, man. RAY Get up out of the chair, and walk toward the backdoor, Richard. YELLOW BIRD -LRB- not moving. -RRB- I get thrown in solitary until I do n't know my own fuckin' name, and then you people tell me I can beat nine years if I help you. I helped you! RAY Get up! Yellow Bird stands. He takes a step forward. Limping. He's got leg problems but he can walk. Heels first. And bowed. But he can walk. He is shaking. YELLOW BIRD They said I'd never see FBI again, and I'm livin' with you fuckers. I do n't feed ya information on the Warriors, it's back to the pen. I do n't do this, back to the pen. Your word against my word. Against a con Indian's word. I really got a chance, man, right? RAY They sent me here, Richard because they said you did n't hold up your end of the arrangement, and I have to transport you back to Leavenworth. YELLOW BIRD -LRB- crying. -RRB- What the fuck, man? What do you people want? I did what you wasi ` cu's told me to do. RAY Leo Fast Elk. is alive. Yellow Bird wheels. YELLOW BIRD No way. No fuckin' way. RAY How the hell do you know? YELLOW BIRD I blew his back out with a buffalo gun, that's how I know! Now you're gon na say I did n't, so you can throw me back in solitary? Ray is trying hard not to reveal his horror at this confession, at this understanding of the machinery. He sits there with his gun, blinking away sweat that beads at his brow. Yellow Bird is weeping in a highpitched voice that does n't match his great bulk. RAY The men who came to see you at Leavenworth. The one's who made the arrangement. who were they? Maybe I can talk to them. YELLOW BIRD Miles. Three other suits. That's all I know'em as - suits. Were you there? RAY You turned Leo over on his face. But the coyotes must've turned him back over, man, cuz his spirit is out. It's out, and it knows. YELLOW BIRD What do you know about spirits? You ai n't no In ` dn. RAY Leo knew something heavy and was trying to tell Jimmy. But you must not know how serious it was or you would have delivered. Do you realize what Leo could have told Jimmy?! Do you?! YELLOW BIRD I took him out before he got the chance. He did n't say nothin' about Tashka Sha. And now his spirit is in the dirt. Forever. RAY What's Tashka Sha, speak English, speak English! YELLOW BIRD Red Deer Table! What's with you, man? Ray grabs onto these words, rolls them silently on his lips And now Yellow Bird is getting suspicious of the fed. YELLOW BIRD Wait a minute. Wait - what are you doin'? You ai n't a FBI. You ai n't the law. Let me see your - Ray snaps out his gun, straight - armed. RAY I'm the fucking law! Yellow Bird jumps back, raising his hands. RAY Keep talking, Yellow Bird. YELLOW BIRD All I know. is I did what I did. and I ai n't in solitary, gettin' pumped up with downer, gettin' beat to shit. But I tell you what, Suit. Take me back. Cuz I ca n't take this shit no more. And then HEADLIGHTS pierce the gaps in the boarded windows. Yellow Bird collapses against the wall, bangs his head off it. He lets a long, pained, cry escape from under his breath and he begins a slow slide down the wall, to the floor. Ray peers out the cracks in the boards. YELLOW BIRD Man, I do n't know who the fuck I am no more. Ray gets up, putting his gun away and heading to the door. He stops and looks back at the Indian, sitting on the floor, clutching his knees, staring into the kerosene flicker. RAY You and me both. Yellow Bird looks at him, his glasses foggy, his face contorted And Ray leaves.",
"EXT. YELLOW BIRD'S SHACK - NIGHT Ray steps out into the falling night. There is a car parked there. With a high aerial. Ray raises a hand in a slight wave, walks on. At the fed car, A REGIONAL AGENT behind the wheel, waves a hand. Watches Ray get into the Le Baron. Ray gets in the car and takes off. LE BARON - TRAVELING Ray drives like a crazy man through the dark reservation. Through miles of open land and strange rock formations. And he looks trapped. HEADLIGHTS flicker in his rearview. He sees this. Slams the gas pedal.",
"EXT. RES ROADS - NIGHT The Le Baron races at 85 down the dirt stretch. A moment later a car rattles by at 90.",
"INT. LE BARON - TRAVELING Ray reaches over to the passenger seat and pulls up the M - 16. He lays it across his lap. Looks in the rearview again. Then makes a sudden sharp turn. He pulls off the road quickly, throwing up dust into the already foggy night, the car goes out of control.",
"EXT. WOUNDED KNEE MEMORIAL - NIGHT The car that was following drives right past the narrow layby, hidden by grassy slopes and keeps flying down the long stretch.",
"INT. LE BARON Ray skids through the dirt, trying to stop - he ca n't - and the Le Baron fishtails, smashing into a chain - link fence. And coming to a stop. Breathing as if he's been running not driving, Ray looks behind him to make sure he lost the car. He did. When he turns back to his wheel, he sees - THROUGH THE CHAINLINK FENCE lit by his headlights : THE WOUNDED KNEE gravesite. He is right up on the arch, and the tall stone marker beyond it.",
"EXT. WOUNDED KNEE MEMORIAL - NIGHT The Le Baron just sits parked, headlights making the night fog crawl up from the base of the old tomb, along the fence. The driver's door opens slowly. And Ray steps out. He walks through the arch. Into the small fenced area. Up to the stone which is overgrown with stubborn weeds, half - hidden in mist. Ray studies the tomb. POV : THE NAMES ON THE STONE ARE CHISELED VERTICALLY : CHIEF STANDING BEAR MR. HIGH HAWK AFRAID OF BEAR Weeds are grown up over the rest of the names. Ray's hands clear them, grab at them and rip them away from more names : PRETTY HAWK BLUE AMERICAN SHERMAN HORN CLOUD With frantic abandon, Ray is ripping weeds away. He drops to his knees, clearing weeds. STRONG FOX THUNDER HEART MOVING DOWN and then suddenly back up to the name : THUNDER HEART REVERSE ON - RAY kneeling in the weeds, the wind getting restless around him, screaming the way plains winds do but only these winds are filled with a whistling. What sounds like EAGLE BONE WHISTLES, piping shrill. Ray kneels before the marker, staring at the name on the stone, his hair thrown around by the wind that drives across the grass, whistling eagles, building to an unbearable, pitch. Ray stares at the name as if he is looking through a small hole into another world. A world that frightens him. He gets up and backs away from the stone, through the gate. And gets back in his car, quickly. He takes off.",
"EXT. MAGGIE EAGLE BEAR'S HOUSE - NIGHT The little home on the river. Dark. Empty. Ray runs up the steps, pounds at the door. No answer. Pounds again. RAY Maggie! He keeps knocking. Nothing. He hurries back down the steps, starts around the back of the house and something attacks him, leaps at him from the dark, knocking him off his feet, into the grass. Hits him again. But as quickly as he falls, he rolls, throwing up his hands and blocking a savage kick aimed for his face. He traps the boot, twists it and drops the attacker onto his back. In a matter of seconds, he is on top of the man, sticking his gun in his throat. He grabs a flashlight from his jacket and shines it in the man's face. Crow Horse. Breathing like a wild animal. CROW HORSE Five - hundred year old turtleshell rattle. RAY Crow Horse, listen - CROW HORSE Where's Maggie? Where'd ya take her. RAY Nowhere. I'm trying to find her. CROW HORSE You got Jimmy. Let her go. RAY Crow Horse, listen. You have to come with me. CROW HORSE Why? So you can get rid of me, too? RAY No. So we can do what the old man said. Red Deer Table, Walter. We have to go. Crow Horse lies there, breathing heavy. Ray on top of him, still clutching his gun.",
"INT. LE BARON - TRAVELING - NIGHT Ray and Crow Horse are quiet as they eat up the dirt roads. CROW HORSE Maybe the old man's visions are still strong. Ray nods, concentrating. After a time : RAY Do they come in dreams, these visions? CROW HORSE Oh yeah. Dreams. Sometimes durin' sickness. Vision quest. Sweat Lodge. Ya never know when. RAY Just before we caught Jimmy. I had a dream that I was being chased. And I was running with other people. Old - fashion Indian people. I got shot in the back. Like Leo. When Crow Horse does n't respond, Ray looks over and finds him staring. He looks back to the road. And when he looks back at Crow Horse, he is still staring at him. CROW HORSE Where was this? RAY At Wounded Knee. I mean, that's where I was, and that's where the dream was. Why? CROW HORSE You were running with the old ones. At The Knee. Heavy duty. RAY Well, it was just a dream, I - CROW HORSE Sonuvabuck! What's with you, Man? Who are you? RAY What do you mean? CROW HORSE Nothin'. Forget it. Crow Horse looks out the window as if to avoid Ray who is confused by the Indian's smoldering. After a moment, Crow Horse looks at him. CROW HORSE You had a vision. You had yourself a vision. A man waits a long time for a vision. Might go his whole lifetime and never get one. And along comes some instant Indian with a Mastercard and brand - new shoes, has himself a vision. RAY Sorry. CROW HORSE I'm a full - blood Oglala. RAY We've driven a long way. Where is this place? CROW HORSE Maybe it was just a dream. Ya know, just one of them, what do ya call'em, fitful dreams? RAY Yeah. Fitful dreams. Crow Horse feels better. He looks out the window, nodding. But it does n't last long. CROW HORSE Bullshit. You had a vision. You got sign from the old ones. RAY What the hell do you want me to do?! CROW HORSE Stop. Ray brakes. Crow Horse is looking past him. Ray turns. The spectacular mesa that we have admired with every sunrise, looms massive now that we are under it. Moonlight falls on it. And the HEARTBEAT DRUM pulses from it.",
"EXT. WHERE-THE-ELK-PEOPLE-USED-TO-LIVE - NIGHT The land behind Red Deer Table is Badlands. Badlands pierced by a few rutted old wagon roads. At a place between two grotesque buttes, Crow Horse stops, looking uneasy. He digs into his pocket, pulls out some loose tobacco and spills it on the ground. Then he walks on. Ray observes this, starting forward, then stopping long enough to fish a cigarette out from his pocket and drop it next to Crow Horse's offering. THROUGH THE BADLANDS Ray and Crow Horse walk, carefully under a full moon, scanning the area. Crow Horse stops, checks out some tracks. Ray walks on, looking up at the table. He shines his flashlight up and it illuminates - A RED RIBBON, tied on stakes on a ridge. Ten stakes. Twenty stakes. Ribbons blowing in the wind. RAY What's that? CROW HORSE Ai n't prayer flags, that's for sure. Ray sweeps the light along, walking faster, and then something frightening occurs. Something. some unseen thing snags him by the leg, sucking him into the Earth with a horrible GUSHING SOUND. Ray is drawn into a hole up to his hips, a bluish - black slime, oozing out around him. Crow Horse grabs him, struggling to pull him up. He does, stumbling back and stepping into a hole himself. The two men are wheeling, throwing flashlight beams around, slapping through a wet jelly, and finally getting their bearings. Ray touches the ground where a blue - black chemical solution oozes out with water from the aquifer below. His flashlight scans - TWENTY DRILLED HOLES IN THE EARTH. A uranium strip - mining grid laid out in a 50 x 60 pattern. The far side is fenced by flagged stakes. RAY Jesus. Oil? CROW HORSE Uranium. Test holes. Somebody came in from the Nebraska side, and did some shotgun testin'. They're gettin' ready to suck this baby dry. RAY 1868. CROW HORSE What? RAY That's what we're doing here. National interest. National security. Only this time it's not gold. It's uranium. CROW HORSE We're standin' on broken treaty ground, Ray. This ai n't supposed to be here. It'll poison the water. RAY Leo knew about it. Tried to tell Jimmy, get the Warriors involved. CROW HORSE So they took care of Leo. RAY Listen to the water. the river keeps goin' down then rising again. Ray goes to another hole and sticks his arm in up to the elbow, sniffs the solution. CROW HORSE They're drainin' our water table. That's our life, man. Ray is looking past Crow Horse at - Something strange in the moonlight. COYOTES. Some forty yards away, on a flat stretch of stoney ground. Six Coyotes, dancing in the shadows of rock formations. MOVING IN ON THEM as Ray walks forward, they circle. scatter. run back. circle again. Look straight at Ray, eyes glowing. And run. REVERSE - RAY and Crow Horse walk toward them. To the place they just left. A place in the dirt, they were digging up. When they reach it, they stare down into the dirt. A BODY lies there, face down. Denim jacket and a shock of black hair, thrown into tangles and dirt. It was buried. Until the coyote caught wind. Crow Horse bends down, touches the jacket. turns the body over And almost vomits when he sees Maggie Eagle Bear. RAY looks down in disbelief. RAY No. No. Ray steps back, his boots squishing in solution and sealant and soiled water. He covers his mouth, stopping himself from getting sick. And then he explodes, YELLING. LONG SHOT - RED DEER TABLE in the moonlight. And RAY'S YELLING ECHOING up out of the rocks",
"EXT. BEAR CREEK VILLAGE - NIGHT The sordid little village the feds first drove through sits sleepy on the rim of sunrise. A DOG BARKS hollow as the Crow Horse motorcycle chutters down and coasts up in front of one of the little homes - rundown but it has a satellite dish and a decent car like so many. The Le Baron pulls up behind it.",
"INT. LE BARON - NIGHT Crow Horse walks over to Ray's window, his jeans and boots muddy. No one speaks for a long moment, the night filled by crickets. And that one dog. RAY This Clear Moon's house? CROW HORSE Yeah. It's time to beat the drum. You better wait here. He do n't trust the white man. Crow Horse crosses the street. Ray sits there, and he looks almost hurt by this statement. But he is the white man. But he is Indian. He lets a long breath escape, rubs at a temple. He takes out a smoke. Tries to light it. His hands are shaking too badly. But he gets it lit, and sits tense, looking in his rearview.",
"INT. CLEAR MOON HOUSE - NIGHT Oliver Clear Moon sits in a chair, his strong Indian mouth, beginning to tighten at the jowls. Across from him, Crow Horse sits on the edge of a couch. MRS. CLEAR MOON, a rotund, gentle woman brings him a coffee. A TEENAGE GIRL in a men's extra - large T - shirt stands in the hall, looking at him. Clear Moon in pajamas, rises, and with a coffee in hand, starts walking in slow steps toward the kitchen. He loses control before he gets there and hurls the cup across the room into the sink, smashing it. He wheels and faces Crow Horse. He SPEAKS LAKOTA. Asking questions. Crow Horse SPEAKS LAKOTA. Answering him. Mrs. Clear Moon, understanding, shakes her head in disbelief and her eyes begin to well. Oliver, walking back to his chair, sits, and thinks for a moment. MORE LAKOTA. He gets up, goes to a drawer and rummages. He sits again, and tosses something onto the coffee table. It is a badge. A tribal police badge.",
"INT. LE BARON - PARKED - CLEAR MOON'S - DAWN Ray nervously awaits Crow Horse's words as he appears at the window again. The Indian shows hope in his tired eyes. CROW HORSE Alright. Shit's comin' down. He's callin' council fire. All the old chiefs and the warriors, too. I got ta be at Grandpa's place in two hours. We need to get the tribe together. We need to block this thing. RAY What we need. is Richard Yellow Bird. Crow Horse looks at Ray who stares dead ahead.",
"EXT. YELLOW BIRD'S SHACK - RES - DAWN The shack is just as Ray left it earlier, kerosene flickers dancing yellow through the gapped boards. Ray and Crow Horse with guns drawn, approach the front door. CROW HORSE I thought it was a rare case of a brother getting a break in the courts. We did an honorin' song for him and everything. RAY He's looking at a few hundred years in Leavenworth. He's not gon na come out without a fight. Crow Horse snakes around toward the rear of the shack. Ray knocks at the front door. It is unlatched and it creaks open a little. Ray pushes it open and sees -",
"INT. YELLOW BIRD SHACK An empty wheelchair.",
"EXT. YELLOW BIRD SHACK Ray steps away from the door, looking around the vast plains as the sun comes up out of the Black Hills. He is roadblocked, and it shows in his eyes. It's all getting too big. Crow Horse leans against the shack, watching Ray. And then RADIO STATIC from inside the Le Baron. Ray pivots and stares at it as if someone is inside the car. His call signal is being paged. But he just stands there, looking at it. RADIO X21. Read. X21. Ray reaches inside the car and lifts the handset. He takes a breath before pressing it to his lips. RAY X21. Come back. RADIO Ray. What's your 20? Ray looks at Crow Horse who looks equally spooked. The agent clears his throat. RAY Reservation. A long, unnerving pause. No response from the other side. RADIO What are you doing on the reservation? RAY I'm on my way back in. Over. Ray holds the handset down at his side, looking over the top of the car toward the Black Hills. CROW HORSE Ray. Ray, do n't let go now, Man. Ray. RAY You go to the council fire. I'm going back in. CROW HORSE Ray. Ray swings in behind the wheel, starts the car, and barrels off recklessly down the rutted road, leaving Crow Horse behind. CROW HORSE Ray! The Le Baron is already out to where sight reaches farther than sound and silent white dust mushrooms skyward.",
"EXT. BUFFALO BUTTE MOTEL - MORNING A RAVEN is sentinel on a telephone wire that crosses the road from the bar to motel. A few trucks remain parked in front of the joint. Ray approaches room 13, looking shell - shocked. His boots leave blue mud prints all the way to the door. He unlocks it.",
"INT. BUFFALO BUTTE MOTEL - ROOM Ray has cast off his field clothes and is halfway into one of his cleaner suits. He looks haggard but still buoyant, his eyes piercing. The connecting door creaks open and Cooch walks in. The SAC is freshly showered and he is fidgeting with a Windsor knot. He studies his number two man, says nothing for a moment but is obviously holding something down. His face is a red hue. COOCH -LRB- extra casual. -RRB- Could n't sleep, Ray? Ray looks at Cooch. When he speaks, his voice is dry. RAY No. Cooch crosses the room, and picks up Ray's jeans which look like they went through a sandlot tackle match in a mud hole. Ray tucks his clean shirt in ; watching Cooch. RAY I had to finish something with Crow Horse. Cooch walks up to Ray slowly and takes his face in his hand, turning it toward lamp light to study the bruise along his left eye, a residual from a Crow Horse hook. COOCH That's where you were. You had to go back and have it out with the Indian law. Ray nods, and Cooch slowly breaks a smile. An insecure smile but a smile just the same. He starts to laugh. COOCH You fucking hot head, we can get in trouble for that. Cooch laughs in amusement and Ray's face crinkles into a grin as he lowers his eyes, wiping a paper towel over his face. And then, suddenly, Ray lunges at Cooch. He slams the Agent in Charge against the hollow wall, and holds him there. His eyes wild. RAY Why did n't you tell me what we were doing here? Cooch is stunned. RAY We're running a cover - up and you did n't - Cooch suddenly explodes, throwing Ray off of him and sending him reeling back against the sink. He points a finger at his charge. COOCH You ever put your hands on me again and you'll be doing the books for a baitshop in the fucking Everglades, Mister. RAY You did n't tell me about Red Deer Table - COOCH - what the hell is Red Deer Table? RAY What is it? It's genocide, that's what it is. It's a Pay Zone for some U.S. corporation and a Dead Zone for the people here. Uranium, Cooch. Cooch's eyes go frighteningly cold. He ca n't believe what he's hearing. COOCH Jesus Christ. What are you doing? What the hell were you doing out there? Ray says nothing. He just stands there, against the sink, breathing like a fighter against the turnbuckle. COOCH This was a Selective Operations Unit, Agent Levoi. There is classified information pertaining to our national security. You do n't question that, you do n't go digging into that shit - that's insubordination. Jesus Christ - RAY - if they mine uranium there, these people will have no place left to go. COOCH We were sworn in on the Constitution to protect federal matters, Ray. I do n't know about uranium, I do n't know about Red Dog Table - all I know is we did our job. It's over. RAY We neutralized anybody with a voice. Leo, Jimmy. Eagle Bear. Anyone who was standing in the way of the land. Is that it? COOCH No. We neutralized enemies of the United States. Anti - American radicals who have killed federal officers out here! Ray turns to the sink, turns the faucet on to get some water on his face. The water only trickles into the basin. COOCH Jesus, Ray. You think I do n't like the Indians? Not true. These were noble people but their day is gone. They're a conquered nation. They want all of America back but they ca n't even keep the garbage out of their own front yards. It's sad, Ray. But it's just the way it is. We have to function as a colonial police force out here. Ray leans on the sink, watching the water start to spurt free. He shuts it off. Turns to look at Cooch. And it is then the door opens - some knocking after the door is already opened - and SA Miles enters. MILES You gentlemen ready - hi, Ray. COOCH Yeah, we're ready. Ray does n't turn from the sink.",
"EXT. RESERVATION ROAD - TOWARD GRANDPA REACHES - MORNING Crow Horse chugs along on his motorbike toward the council, his long hair and eagle feather trailing in the wind.",
"EXT. BUFFALO BUTTE MOTEL - MORNING Two federal vehicles are waiting in front of Cooch's Chevy and Ray's Le Baron. One is an FBI van where Sherman helps THREE AGENTS load file boxes and computers. Cooch walks with Ray toward the Le Baron, looking at him as the go. Ray looks better as he breathes the morning air. As they pass the second fed car, the back window power glides down, and someone looks out with a friendly smile. CLEAR MOON Ah, there you are. The Sioux. Ray stops dead. Beholds the Tribal President who wears a western cut jacket and a strained expression behind his smile. He hole a hand out to Ray. CLEAR MOON You got the troublemakers off our land. Good, Was - te. Ray stares at him, speechless. Horrified. What is he doing here? What about the council fire? Ray somehow nods. Then walks on to the Le Baron. Cooch gets behind the wheel of the car that Clear Moon sits in. Clear Moon's eyes follow Ray to the car.",
"EXT. RES ROAD - TO GRANDPA REACHES Crow Horse guns past a little shack. As he does, he looks in his side mirror then out across the grasslands. Then quickly IN HIS MIRROR : a car has pulled out from behind the shack. CROW HORSE observes this. Then twists the fuel throttle hard.",
"INT. LE BARON Ray gets behind the wheel, looks at his watch. He is panicking. He starts the car, reverses, slams into drive. RAY'S POV : swerving and reckless as he races forward. Sherman, walking around to one of the cars has to run out of the way. The other agents clear out, looking in confusion as Ray cuts a hard U - sweeps PAST THE BAR, SMASHES INTO AND THROUGH the old hitching post - and HEADS TOWARD the reservation which lies vast before him.",
"EXT. BUFFALO BUTTE MOTEL With agents scrambling about, looking after the car, Cooch gets out, looking into the dust Ray left behind. HEARTBEAT DRUM. COOCH RAY! Sherman appears beside Cooch aiming a questioning look. When Cooch quickly gets back behind the wheel, Sherman pulls his radio up and starts yelling into it. Cooch reaches out the window and grabs his radio arm. COOCH No, damn it. You call teams in and this is gon na be a fucking media event. Get me three cars, six agents, block all reservation exits. It's under control. And Cooch squeals out with a petrified Clear Moon in the backseat, inquiring nervously.",
"EXT. ROAD TO GRANDPA REACHES Crow Horse passes by an abandoned horse trailer. When he does, another car pulls out. And follows. The first car passes by. Crow Horse sees he's being followed. He cranks his throttle and the engine grinds then dies. He heels his kickstart on the fly, and keeps it alive. But his old horse is no match for the big engines coming up fast behind him.",
"INT. LE BARON - TRAVELING Ray is leaving little transitional developments and trailers behind. His eyes bore into the road before him, looking for a sign of Crow Horse, and in the rearview for a sign of his FBI mentor.",
"EXT. ROAD TO GRANDPA REACHES - BADLANDS Crow Horse has the throttle open. But the two cars are coming up on both sides, trying to sandwich him. To his right the Badlands loom deep, a drop into a caliche netherworld of jagged rock. He throws the bike right, trying to ride the thin ribbon of shoulder. THE FIRST CAR floors it, and swipes him, and the bike goes over the edge, launched into - THE BADLANDS where it does a violent triple flip, throwing Crow Horse then smashing into a tent shaped dune. A RIFLE sticks out from a window and punches the Badlands with THREE SHOTS.",
"EXT. ROAD TO GRANDPA REACHES The Le Baron rifles past the abandoned horse trailer. Black smoke drifts in a wind ahead. Ray veers onto the shoulder, barely gets the car in park before bailing and running wildly down into the Badlands.",
"EXT. BADLANDS Ray runs, stumbles through the rock and gypsum, searching the area. He runs around the burning motorcycle, looking left and right. RAY Crow Horse! CROW HORSE lies on his back in the Badlands, eyes open, fixed unmoving on the sky. Ray comes out of the flame - waves, running with his.45 held high. He throws himself to his knees beside the injured Indian. RAY Crow Horse! Crow Horse rolls his eyes toward the FBI agent. He has a gash behind his ear, and pink sand clings to the blood. He lifts his head, tries to form words. CROW HORSE Ai n't no Council Fire, Brother. Clear Moon. RAY I know. Come on. We got ta get off the reservation or we're dead. CROW HORSE Hoka Hey. It's a good day to die. RAY Bullshit, let's get outta here, Ray gets an arm under the big Indian, helps him up out of a jagged crevice. CROW HORSE Grandpa.",
"EXT. RESERVATION ROAD Cooch's car speeds down the stretch. Followed by Sherman's. The FBI van. All at one - hundred and five. Gravel and dirt flies.",
"INT. LE BARON - TRAVELING With Crow Horse half - passed out in the passenger seat, Ray keeps the wheel steady. And then his RADIO STATICS. RADIO X21, please read. Ray. Ray. X21, please read. This is Cooch. Please come in, Ray. Where are you? Ray just stares down at the radio, keeps the pedal floored. The throws the wheel left.",
"EXT. GRANDPA REACHES TRAILER The Le Baron fish - tails in a cloud of dust and Ray leaps out of the car, runs toward the little trailer, gun in hand. The windows are all busted, and the door is wide open. Ray runs in. Then straight back out, shaking his head to Crow Horse. Crow Horse hangs his head out the passenger window. RAY He's gone. CROW HORSE He has n't left this place in twenty years. They got him. Ray starts to get back in then hesitates. He looks out across the plains to see - THREE FED CARS in the distance, fast approaching, dust rising. Ray gets in quickly.",
"EXT. RESERVATION EXIT Cooch's car is parked in a roadblock. Clear Moon stands near him, and addresses UNIFORMED TRIBAL POLICE as they spill out from a van, carrying rifles and shotguns. COOCH -LRB- into radio. -RRB- X21. Ray. Ray, please come in. Cooch has torn his tie away, his shirt is open, and he is sweat soaked. Miles gets out of a car that pulls up. MILES We have a renegade agent, Cooch? He gets off the reservation. COOCH - he's not getting off the reservation. And Cooch gets back in the car, drives off.",
"INT. LE BARON - TRAVELING With Ray driving like a maniac, Crow Horse is turned around in his seat, watching the federal cars spreading out, the chopper moving in. CROW HORSE They got us sealed. What are we gon na do? RAY We're going for The Stronghold. Crow Horse looks at him. RADIO -LRB- Cooch. -RRB- Ray. Can you hear me? You are fucked. There's no way out of this. If you wo n't listen to your own laws, then listen to this :. -LRB- static : a new voice. -RRB- This is President Clear Moon. This nation does not want your sympathy. You can not use this reservation as a sanctuary. Stop where you are now. Ray and Crow Horse exchange a look. RADIO -LRB- Cooch. -RRB- Whatever you are trying to do is futile, Raymond. You have nothing. Nothing. Ray picks up the mic as he cranes to keep an eye on the rearview. RAY Yellow bird. is gon na sing. RADIO -LRB- Cooch. -RRB- Yellow Bird committed suicide at three o'clock this morning. Some gung - ho agent from D.C. pushed him into a corner. You're playing a losing game. Pull over. Ray takes the mic and for some reason, he's putting it inside his jacket near his shoulder where he keeps his leather. Crow Horse looks at him, puzzled. And then the sound comes forth, the static crackling of a micro - cassette recorder. RECORDER -LRB- Ray. -RRB- How the hell do you know? -LRB- Yellow Bird. -RRB- I blew his back out with a buffalo gun, that's how I know. And now you're gon na say I did n't and put me back in solitary?! Ray keeps the tape running into the radio as he drives through rugged Badlands. Crow Horse, stunned by the voice, eyes Ray as the tape rolls.",
"INT. CHEVY - TRAVELING Cooch and Clear Moon stare in horror at the radio. RADIO -LRB- Yellow Bird. -RRB- You people tol' me I could beat nine years if I helped you. I helped you! -LRB- rewinding. -RRB- I could beat nine years if I helped you. I helped you! Cooch is shaking his head in vitrified disbelief. He slams the pedal almost through the floor.",
"INT. LE BARON - TRAVELING The tape ends and Ray now lifts the mic to his mouth. RAY -LRB- into mic. -RRB- Fuck you. And he too, buries the accelerator.",
"EXT. BADLANDS ROAD – TO THE STRONGHOLD The Le Baron burns forward and we SWEEP UP TO A MIND - BLOWING AERIAL VIEW of the Badlands as four fed cars spread out in formation, following.",
"INT. LE BARON - TRAVELING Crow Horse is turned around, looking at the pursuit. RAY Walter. Crow Horse turns, sees what Ray is looking at. POV : The Stronghold - a narrow opening in hulking rock formations. Large enough for a car to get in, and keep followers out. CROW HORSE That's it. The Stronghold. Get us in there, we got a chance. RAY We're in there. We're in there - just ahead, the earth is gone. A wavering heat pond turns out to be a crevice and they nose down into it, burying the front end in sand and rock. WINDSHIELD SHATTERS.",
"EXT. THE STRONGHOLD The Le Baron is stuck, wheels spinning out. Ray and Cooch bail. Guns drawn, they start running for the Stronghold. AT THE EDGE OF THE ARROYO the caravan slides in recklessly, two of the fed cars coming dangerously close to going over the edge. The regional officers and six Clear Moon goons empty out, running down the dip, rifles and shotguns ready. Three more field agents come down from another direction, followed by Cooch. Sherman hands a bullhorn to him. COOCH -LRB- via bullhorn. -RRB- FREEZE! NOW! The sound of FIFTEEN PRIMING FIREARMS stops Ray and Crow Horse in their tracks. Just twenty feet from The Stronghold. Crow Horse, windless, stumbles to a knee. Ray turns slowly, facing the small army. COOCH DROP IT. Crow Horse, rises, sucking wind, and ditches his gun in the Badlands. Ray holds onto his.45 a moment longer. Then drops it. He stares at - THE WALL OF MEN Cooch, SA Miles, SA Sherman, Six regional officers, six Clear Moon goons. And now, coming out of the backseat of Cooch's Chevy, Oliver Clear Moon, walking tentatively, cautiously. Cooch lowers the bullhorn. He takes the opportunity to stare at Ray. To let Ray stare at him. The older agent looks broken. COOCH Crow Horse, get your face in the dirt. Ray. come forward. Let it go. Let's just let it go. AT THE STRONGHOLD ENTRANCE Crow Horse lowers himself to a knee then lies face down. Ray just stands there, the wind against him. COOCH -LRB- O.S. -RRB- Come on, Ray. Come forward. RAY No way, Cooch. Ray refuses to move. COOCH sweating, tries to keep control. All around him, hands are on guns. Cooch is walking toward Ray. COOCH Ray. I'm coming to talk to you. I'm gon na walk you out of here. And we're gon na get the hell outta this place. Cooch walks toward him, a gun hanging at one side, bullhorn at the other. The agents behind him, around him, all raise rifles, all take aim. Sherman, looking sick, gets to a knee and sets aim. The sound of clacking steel, all around. But Cooch seems disturbed by the sound. Because its coming from above. He raises an eye from the rifle sight to see - ALONG THE EDGE OF THE BUTTE FIFTEEN INDIANS, training rifles and shotguns down below. SHERMAN looks up from his rifle, bewildered. Then alarmed. ALONG THE EDGE OF THE BUTTE We PAN across fifteen Indians - old people, women, kids. Their weapons are weak but many. And at the end of the row, Maisy Blue Legs rises, clutching a rifle. And PAST HER, ANOTHER. TRADITIONAL PEOPLE, many from the trading post porch, rise to the edge, armed. Silent. Twenty, twenty - five, thirty traditionals, forming a line along the ridge, a line that runs in a circle, broken by the Stronghold entrance, then starting again on the next butte. Thirty - five, forty of them. And more, standing along the opposite craggy rock, some wearing tractor caps, some cowboy hats, some just long hair blowing in the wind. Fifty, sixty, SEVENTY - FIVE RESERVATION PEOPLE forming a circle on the rocks ; it's Little Big Horn revisited. A fourteen year - old boy struggles to keep a huge shotgun at his shoulder. DOWN BELOW Clear Moon's mouth is as dry as Badlands soil. Cooch is panicking, his eyes running along the high edge. RAY stands equally astonished, assessing the back - up. CROW HORSE lifts himself, stands, taking in the sight. AT THE EDGE OF THE BUTTE stepping stiffly but steadily through the line of armed locals, pushing his way to the very edge so as to look down, Grandpa Sam Reaches. The wind makes feathery tails out of his long thinning strips of white hair. DOWN BELOW Ray looks up at the old man, then turns to face Cooch. RAY You're right, Cooch. It's over. Cooch slowly, lets the bullhorn fall. Then the rifle. He looks back at Sherman who does the same, and all the way down the line, everyone dropping their arms under the threat of a lot more guns from above. And now Ray walks forward, collecting his gun. Anderson Chasing Hawk, one of the Warriors, runs down to Ray, breathless. CHASING HAWK All the exits are blocked. There's two more fed cars tryin' to get in. And some press. Ray notices that Cooch is staring at him, hard. He shakes his head slowly. Strongly. COOCH Ray. RAY Let the press through. Chasing Hawk takes off, running, and Cooch watches in consternation. Ray just stands eye to eye with him, holding his ground. UP TO ARIEL VIEW - OVER STRONGHOLD And along the ridge, Grandpa and the locals do n't budge, watching every move. CLIMBING HIGHER, we rise above the circle of proud Sioux to see, on the inside of the Stronghold, thirty old trucks and res cars. CLIMBING HIGHER into and through the fast - moving clouds that the Lakota call The Grandfathers as the HEARTBEAT DRUM and LAKOTA SINGERS takes over all sound.",
"EXT. BEAR CREEK RESERVATION - MAIN SETTLEMENT - LATER The HIGH WINDS of THREE MEDIA HELICOPTERS are delighting a storm of Indian children and BARKING DOGS, running through the streets past junked cars on blocks. Over on a little plot of grass and dirt, a pair of hands are digging a small hole. Ray lays a pine cone in the hole and looks down at it for a moment. before hand - plowing the dirt back over it and patting it flat. He rises, knocking dirt off his knees and hands. Crow Horse walks over, bandaged and favoring wounds, and Ray falls in with him, walking down the middle of the village road. His eyes are tired. But hopeful. CROW HORSE The people are already talkin' about their vote for a new tribal prez. They wan na vote for Jimmy. Ray nods, encouraged as they walk along. His eyes follow the helicopters. RAY What about the water. CROW HORSE You bought her some time, Kola. Ai n't never gon na be over. but you bought her some time. RAY Some Indian time? They reach the dusty, dented Le Baron and stand there, looking at each other. CROW HORSE Indian time. Crow Horse offers a hand to Ray. He takes it in a white man's shake then follows Walter's cue into the Indian `` allies'' grip and slap. They hold it there, looking into each other's eyes. CROW HORSE -LRB- concerned. -RRB- Where ya gon na go, Ray? Ray ponders for a moment. RAY I'll have to see what the visions say about that one. CROW HORSE You did n't have another vision. Ray shrugs. Crow Horse discreetly gestures below his belt. CROW HORSE Yeah, right here. Ray cracks a smile, a long time coming. RAY You take care. CROW HORSE If you ever need a place to come back to and listen to the trees a little. we'll be here. Ray stands looking at him, searching for words. CROW HORSE Ai n't no word in Sioux for goodbye. Ray goes to get in his car. But he sees someone sitting across the street on the trading post porch. The old man. Ray considers him for a moment then walks over. They lock eyes. Grandpa stares at Ray as if he's never seen him before, and then arcs a brow. He touches his sleeve at the wrist. Ray rolls his sleeve back to reveal his Rolex. Grandpa smiles and Ray strips it off. He hands it to the old man and his face crinkles into caliche earth. Grandpa holds the watch up in the light, admires it then puts it in his shirt pocket. He moves a flat hand through the air in the `` done deal'' sign language. Ray, a little surprised that he gets nothing in the trade, returns the smile and walks away. He gets to his car and wipes away two inches of dust from the broken windshield.",
"INT. LE BARON After THREE TRIES, he gets the engine started. He pulls his gun off his waistband, goes to lay it on the passenger seat and finds something there. Grandpa's sacred caanunpa. The Pipe. Symbol of truth. Ray looks out the window at the old man who is watching him with those sharp black eyes. Ray lifts his hand, holds it flat, and does the Sioux done deal sign.",
"EXT. BEAR CREEK RESERVATION - DAY The Le Baron eats up the dirt road at a moderate, gravel crunching pace. It slows as it passes Maggie Eagle Bear's quiet home on the river. Children walk with the old woman, carrying buckets from the river. The Le Baron slows to a crawl, then drives on. THE TRADING POST PORCH where the elders sit, watching the dust blow. CROW HORSE -LRB- V.O. -RRB- -LRB- voice lingering. -RRB- We will be here. CROW HORSE walking off down the road. He stops, and looks over his shoulder, trying to glimpse the distance. THE LE BARON driving off the res, under big sky as it ascends a rough hill, waddles through potholes, negotiates with some horses in the road and rolls on toward the reservation line where the sun throws shadows that look like an old man dancing. AT THE PLACE IN THE ROAD where West goes to Rapid City, and East back to Bear Creek, Ray stops like the bullet - punched sign orders. He does n't go West. Does n't go East. He sits there. Fishes a smoke out from a pocket, clicks a lighter, and fires up. He sits there, smoking. Deliberating. SUDDEN CUT TO BLACK. And after a long silent beat, A DRUM. Like a heart. END CREDITS. THE END"
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] | After Leo Fast Elk, a tribal council member of a Native American reservation in South Dakota, is murdered, FBI Agent William Dawes assigns Agent Ray Lavoi to help investigate. Lavoi is chosen for his mixed Sioux heritage, which might assist in the inquiry as they interview local townspeople. Ray is partnered with Agent Frank "Cooch" Coutelle, who has diligently worked with tribal council president Jack Milton to apprehend a prime suspect: Aboriginal Rights Movement radical Jimmy Looks Twice. Though he is mocked and ridiculed by the locals (being called a "Washington Redskin"), including tribal police officer Walter Crow Horse, Ray finds that he has an unaccountable standing with some of the tribal elders such as Grandpa Sam Reaches. The natives recognize Ray as "Thunderheart": a Native American hero slain at the Wounded Knee Massacre in the past, and now reincarnated to deliver them from their current troubles. While helping Cooch track down the suspect, Ray meets Maggie Eagle Bear, a Native American political activist and schoolteacher. After experiencing the harrowing conditions and violence from Milton's pro-government faction on the res, Ray gradually becomes sensitized to Indian issues. Much to Cooch's anger, Ray comes to suspect a conspiracy and cover-up involving the reservation and Leo's murder. After being told to find 'the source', Ray and Crow Horse come across a government-sponsored plan to strip mine uranium on the reservation. The mining is polluting the water supply and fueling the bloody conflict between the reservation's anti-government ruling council and Milton's pro-government natives. While the land is not owned by Milton, he receives kickbacks from the leases; Ray and Crow Horse discover Maggie's body at the site. Ray finds Leo's murderer, former convict Richard Yellow Hawk, who confesses Cooch's part in the scandal of having been sent to silence the opposition and help broker the land deal. Yellow Hawk is then murdered, but Ray recorded his confession, forcing a showdown between Cooch, Milton, and his pro-government collaborators, and Ray, Crow Horse, and the anti-government activists. Cooch is apprehended after being cornered and outnumbered by the armed resistance. Ray, disillusioned by the corruption, leaves the FBI. | Thunderheart |
[
"EXT. LATE AFTERNOON SKY Blue sky, a few puffs of cloud, pierced by slanting rays of sunlight. Late afternoon on a perfect day. SUPER TITLE : `` HOUSTON, TEXAS. JULY 4, 2020.'' As we hear, after a few more beats, an ASTRONAUT'S VOICE. PHIL T minus ten, nine, eight, start ignition sequence, five, four, three, two, one, ignition. Liftoff! A tiny red streak zips into the sky, then bursts with a faint, ludicrous POP. A bottle rocket. We hear CHILDREN'S LAUGHTER, excited SHOUTS.",
"EXT. LAWN PARTY. LUKE GRAHAM'S HOUSE. LATE AFTERNOON DESCENDING, we see PHIL OHLMYER, late 20's, kneeling, with a gaggle of eager CHILDREN around him. Phil, an astronaut, has got an impressive array of fireworks lined up, and is using an empty longneck as his launching tube. CHILDREN -LRB- all at once. -RRB- My turn! My turn! No, I was next! No, me! Uncle Phil, Uncle Phil, can I do one? I want to do one! PHIL Guys, guys, please! This is risky stuff here. And I'm a highly trained professional. Derisive GROANS from the kids, more SHOUTS. Phil grins. There's little danger NASA will ever use him on a recruiting poster : he's messy, very hyper. Phil waves his hands for silence. PHIL Okay, okay! Uncle Phil will launch another booster. Another astronaut, RENEE COTE, a tall, very fit French woman, is walking by with a fresh six - pack. She tosses a beer and Phil catches it. PHIL just as soon as he completes his fuel intake. ANGLE FOLLOWS COTE Who grins, walking away from Phil and the kids, as we begin to get a better sense of the scope of this party. We are in the big back yard of a middle - class home in a Houston suburb. DOZENS OF PEOPLE - astronauts, NASA personnel, and their families - are gathered around picnic tables or spread - out blankets. Lots of red, white and blue bunting, lots of balloons. We hear snatches of MUSIC, mostly country - flavored, from dueling boomboxes. Futuristic Frisbees are being tossed about. A banner, strung between trees, reads `` BON VOYAGE, MARS ONE!'' WILLIS It'll take us six months just to get to Mars. Another year on the surface, then six months back. That's two years. Passing the banner, Cote lobs a beer to another astronaut, NICHOLAS WILLIS, who snags it neatly. He's got his other arm around the waist of a PRETTY GIRL. As Cote moves OUT OF FRAME, ANGLE LINGERS on these two. Willis, a very young astronaut, early 20s, is recruiting poster material, and knows it all too well. WILLIS I guess what I'm trying to say is, since this is my last night on Earth, it's gon na be a very precious memory to me. Y' know? PRETTY GIRL Nice try, Nick. As the Pretty Girl slips out of his grasp, laughing, and walks away, Willis shrugs philosophically. He pops open his beer, swigs it. ANGLE FOLLOWS THE PRETTY GIRL As she swerves around an open - pit barbecue, where other ASTRONAUTS are gathered. Cote has paused here, too, distributing the last of her beers. SERGEI KIROV, a Russian cosmonaut, is watching some kids nearby as they play a game of wiffle ball. He turns, grinning beerily at the chef. KIROV Hey, Woody, our Mars One crew wo n't be heading back to Earth till ten days after you guys land at our base camp with Mars Two. That's a pretty good long rendezvous. WOODY BLAKE, late 30s, is a big, rangy guy in a cowboy hat over a Hawaiian shirt and a `` KISS THE CHEF'' apron. An entire pig is turning on a spit over the flames, and Woody is basting this as he smiles at Malik. WOODY What are you suggesting, Sergei? KIROV Maybe you should bring a baseball bat. Yes? American baseball? Our two crews could have ourselves a little Solar System Series. WOODY Please. Half you guys are foreigners. We'd crush you. KIROV No, no, we have equal crews. Three men, one woman. Same handicap. He grins teasingly at Cote, who makes a face at him. WOODY Easy now, you're talking about my wife. -LRB- seeing her approach. -RRB- And Terri just happens to be one helluva shortstop. DR. TERRI FISHER, early 30s, passes by with a platter of corn - on - the - cob. Short, sturdy body, a face made attractive by its alert, questing intelligence. She pauses to kiss Woody's cheek ; there's a wonderful, sexy spark between them. Then she glances at Kirov, all business now. TERRI Fast pitch, no steals, batter calls his own strikes. Thousand bucks make it interesting? He's a bit rattled by her cockiness, and looks at Cote, who smiles, nods her cool agreement. COTE Eh bien. Winner take all. TERRI Good. -LRB- smiles sweetly at Kirov. -RRB- Bring some balls. The other men ooooh at this, busting on Kirov and Cote, as Terri moves on. Woody, watching her go, has a thousand - watt grin. WOODY You wan na know the sad part? Technically I outrank her. But if we want any peace at all on Mars Two, I'm gon na be saying a lot of `` Yes, dears.'' The others laugh. ANGLE FOLLOWS TERRI as she dodges a PACK OF KIDS - they run by her, shrieking happily - before she finally reaches a picnic table, where ASTRONAUTS' WIVES are opening containers of baked beans, coleslaw, and potato salad. 1ST WIFE just not sure how I feel about NASA allowing couples to go on this type of mission together. One of the other women raises a warning eyebrow, and the 1st Wife turns, sees Terri setting down her platter. 1ST WIFE -LRB- embarrassed. -RRB- Nothing personal, Terri. It's just that, well, it's kind of a funny feeling for those of us staying behind. TERRI -LRB- carefully neutral. -RRB- All the research shows that marriage will provide stability on these long duration trips. 2ND WIFE Then they have n't studied some of the couples I've known. Laughter at this. Terri smiles politely - she does n't really have much in common with these women - before moving on. ANGLE LINGERS on the wives, who watch her go with a slight tinge of jealousy. One of them is looking around. 3RD WIFE Anybody seen Jim McConnell? 4TH WIFE I do n't think he's coming. 1ST WIFE God, that poor man. How's he doing? 2ND WIFE Totally losing it, from what I hear. Ca n't sleep, ca n't eat. Visits her grave almost every day. -LRB- lowers her voice. -RRB- They say he could lose mission status. 3RD WIFE Oh, that's so sad. That is just so tragic. You go to a routine physical one day, and wham. 4TH WIFE After all those years of training, too. It was their whole dream. 1ST WIFE Must be a pretty funny feeling for Luke Graham. Y' know? Now he's gon na be in the history books. First man on Mars. She shakes her head, awed by the thought. The others nod in agreement, following her glance. In the distance, a lone MALE FIGURE stands by the garage, his back to them, facing the parked cars, vans, and SUVs which stretch down the driveway and along the street. Another figure, a WOMAN, can be seen approaching him. CLOSER ANGLE FOLLOWS the moving woman - DEBRA GRAHAM, early 30s, very attractive - until she reaches her husband. LUKE GRAHAM, mid 30s, has the lean, fit body of an astronaut, the restless intellect of a scientist. He's unaware of her approach until she touches his shoulder. He looks at her with an apologetic smile. DEBRA He's not coming, Luke. LUKE Jim deserves this, too. All his friends are here. And it's my last night. DEBRA -LRB- gently. -RRB- Your last night with us, too. He looks at her, moved. She summons a smile. He slides his arms around her waist, kisses her forehead. LUKE I love you, Deb. DEBRA I love you too, baby. But maybe you should spend some time with Bobby. LUKE Yeah. I will. Where is he? DEBRA Up in his fort. He kisses her again, then goes. Debra's eyes follow him, with a mixture of pride and sadness. ANGLE FOLLOWS Luke away from the garage, into",
"EXT. THE BACK YARD. LATE AFTERNOON Luke moves through the crowd. Phil and the kids are still shooting off rockets. Red streaks arc high overhead. In the back corner of the yard, where it's quieter, he passes Willis, who's sitting on a blanket, murmuring soulfully to PRETTY GIRL # 2. WILLIS Deep space is so lonesome. So cold. But I guess I'll have my memories to keep me warm. Luke shakes his head. Willis is incorrigible. Finally he reaches a tall redwood playset. He looks up the ladder. A SMALL BOY sits on the platform of the tower, arms around his knees, staring up at the stars. A telescope rests nearby on a tripod. He looks lonely. Luke climbs up, sits down on the wooden deck next to him. BOBBY, 7, glances over at his dad, his idol, then back at the sky. BOBBY Who's gon na read to me now, at bedtime? Luke is surprised by the question. A pause. LUKE Mommy will. BOBBY I like when you do it. Now we're never gon na finish our book. His voice is unexpectedly fierce. He's fighting back tears. Luke is moved. Another brief silence. LUKE Well, I'll tell you what. I've been thinking about that. And what I thought was - how ` bout if I bring along my own copy? -LRB- Bobby looks at him. -RRB- Then every night, wherever I am, I'll read a little bit more of it. And I'll know that you and Mommy, wherever you are, you're reading it too. That way, it'll feel like we're still reading it together.'Cause I do n't know about you, but I'm pretty anxious to find out how ` ol Ben Gunn got marooned on that island. What d'you say? Bobby manages a smile. He nods, feeling a little better. Luke is proud of his son's courage. LUKE Good deal. Can I have a hug? Bobby's arms go around his father's neck. He hugs Luke fiercely, and Luke hugs him back. His eyes, over the thin young shoulders, are brimming with love and impending absence. Then, from the distance, the sound of an APPROACHING CAR. They both turn. An open Jeep is coming down the street. Its DRIVER is alone. Luke's expression changes. Recognition, then happiness.",
"EXT. LUKE'S STREET. LATE AFTERNOON The Jeep stops, its electric engine WHIRRING down. The Driver climbs out wearily, reaching into the back seat, and comes out with a champagne bottle, hastily decorated with ribbon. The PARTY SOUNDS are drifting this way, and he hesitates a moment, seeming to gather himself. He starts gamely towards the party, then pauses again. Debra Graham stands nearby on the front lawn, waiting. She smiles tentatively. JIM MCCONNELL, early 40s, manages a smile in return. He has dark circles under his eyes, and his clothes look slept in. Yet we sense, even through his sadness, a kind of quiet competence in this man, an unforced authority ; he's a natural leader. Debra hurries forward, into his arms, and he hugs her. They separate, looking at each other. Her eyes are shining. DEBRA We were afraid you would n't come. MCCONNELL I caught a whiff of your barbecue. After that I was helpless. DEBRA All the way out in Galveston? MCCONNELL Something like that. -LRB- she smiles. -RRB- It's his night, Deb. I did n't want to spoil it. DEBRA Spoil it? He's been going crazy looking for you. Over her shoulder he sees Luke approaching, his arm around Bobby. The two men look at each other, the bond between them so strong it needs no words. Finally Luke smiles. LUKE C'mon. A whole lot of folks here are gon na be mighty glad to see you. McConnell comes towards him, accompanied by Debra, and together the four of them move OUT OF FRAME, heading towards the party. ANGLE HOLDS on the parking area, as we.",
"EXT. SAME VIEW. NIGHT (HOURS LATER) All the parked cars and vans are gone now, except for two : McConnell's Jeep and Woody's classic ` Vette. Willis, one of the last to go, is just departing on his motorcycle. Perched behind him, arms around his waist, is PRETTY GIRL # 3. They zoom away, through the darkened neighborhood.",
"EXT. BACK YARD. NIGHT The yard is nearly deserted. The `` Bon Voyage'' banner has torn loose at one end and flutters limply. Here and there a napkin blows across the ground. In the distance, THREE FIGURES sit on the ground, by the waning fire of the barbecue pit, sipping beers. CLOSER ON THIS TRIO As Woody shoves another piece of wood into the flames. For a moment he, McConnell, and Luke are silent, staring at the sparks as they rise towards the stars - red and gold dots mingling with the silver ones. WOODY -LRB- abruptly. -RRB- I wish we were all going. Together. The intensity in his voice surprises the others, and even Woody himself. Luke glances at McConnell. An awkward beat. LUKE Then you've got a short memory. Think back to how we were by the second week of lunar training. WOODY Oh, you're not gon na bring that up again - LUKE -LRB- laughing. -RRB- I'm trying to remember, let's see, which one of us scored the lowest ranking up there? WOODY You just ca n't let that go - LUKE Oh, man, three commanders, on the same ship? If they sent us off to Mars together, there would n't be enough fuel to lift all those egos. WOODY -LRB- laughs. -RRB- Bullshit, we would've made a great crew. MCCONNELL That was never gon na happen. I was always teamed with Maggie, and we were mostly chalkboard jockies. You know? Systems. Payloads. LUKE Listen to him. Mr. Cover - of - Time Magazine! WOODY Yeah, who landed the crippled Block II Shuttle? LUKE Yeah, and who scored highest on the lunar rankings? WOODY Let it go, Luke. MCCONNELL -LRB- smiles. -RRB- Sure, I made a little noise. But putting the first footprints on Mars? Nah. That's for guys who. -LRB- looks at Luke. -RRB-. wrote their Ph.D. thesis on how to colonize the place. And guys who. -LRB- looks at Woody. -RRB-. read too much science fiction as a kid and still wear little Flash Gordon rocketships around their necks. He grabs playfully at Woody's neck. Woody smacks his hand away, laughing. WOODY You read the same damn science fiction books that I did! You're just not man enough to wear jewelry! He pulls from his shirt a little Flash Gordon rocketship emblem hanging on a chain, and waggles this tauntingly at McConnell, as Luke and McConnell laugh. WOODY You want Flash. You know you want him. Well you'll have to come through me! Luke grabs Woody's arm to give McConnell a better shot at the emblem, but Woody cuffs his hands away, laughing. McConnell, watching their horseplay, shakes his head. MCCONNELL God, she would've loved to see you two clowns. Just one more time. He tries to smile, but his face reddens. Then all at once his chest is heaving as he struggles to control his emotions. Woody sees this, reaches out a reassuring hand, but McConnell shakes him off, rises abruptly. He turns his back on them, walking away a few steps. Woody and Luke exchange a worried glance.",
"EXT. LUKE'S STREET. LATER THAT NIGHT McConnell and Luke watch as Woody starts up his Corvette. McConnell has regained his composure. LUKE Hey, Woodrow, is n't it about time you donated this thing to a museum? Woody revs the engine, which ROARS lustily. He grins. WOODY Internal combustion, boys. Accept no substitutes. Luke laughs. Woody looks at McConnell. WOODY Jim, if there's ever. if there's anything Terri and I can do - MCCONNELL I'm okay. Really. Thanks. Woody reaches out to shake Luke's hand. WOODY See you when I get to Mars, Luke. Do n't solve all the mysteries of the universe, okay? Leave a little something for the next guys. LUKE I'll see what I can do. Just make sure you bring some fresh beer. WOODY You got it. With a final glance at McConnell, Woody slips the car into gear. McConnell and Luke watch as he drives away. A silence. Luke glances at his old friend, growing more serious. We sense he's been waiting all night for a chance to say this. LUKE Should've been your mission, Jim. Yours and Maggie's. McConnell, looking after Woody's car, becomes very still. LUKE None of us ever wanted Mars the way you two did. Not even Woody. Twelve years of hoping for this assignment, training for it - MCCONNELL That's all over now. LUKE If Maggie had n't gotten sick - if you had n't pulled yourself out of the rotation to take care of her - McConnell turns to him, his eyes flashing danger. He will not tolerate pity. Luke sees this but presses on. LUKE No, I'm gon na say this. I have to say it. -LRB- pause. -RRB- I wanted Mars One. Hell, I battled you for it every step of the way. Never wanted to beat anybody so bad in my life. But not like this. Jim, I'd give this all up in a second, if it would bring Maggie back to us. McConnell is deeply moved, and for a moment does n't trust his own voice. MCCONNELL I know that, Luke. You do n't have to say it. Mars is yours now. Go get it. LUKE -LRB- pause. -RRB- Take care of yourself. MCCONNELL Yeah. You too. Luke nods. They grab hands for a second, then let go. Luke walks back towards his house. McConnell watches him for a moment, then turns, walks over to his Jeep. He opens his door, then pauses. He turns. Looks up at -",
"EXT. NIGHT SKY A tiny reddish dot hovers there, glowing steadily. Mars itself, a tantalizing prize. But for him now, more distant than ever. For him, perhaps, never to be attained. CLOSE ON MCCONNELL'S FACE As we see these thoughts going through him. After a moment he looks down at HIS SHOES And the sandy verge of the front yard. MCCONNELL'S EYES Are a map of complex emotions : regret, injured pride, infinite yearning. Gently, a bit self - consciously, HE LIFTS ONE SHOE And sets it down again, making a careful, deliberate footprint in the sandy soil.",
"EXT. MARS. CHRYSE PLANITIA. DAY Instantly we're hurled into an immense, stunning LANDSCAPE, mysterious and vivid as a fever dream. Dazzling sunlight. A vast plain of rust - orange soil. Countless craters. Boulders the size of houses, tossed about by the hands of gods. Twin moons hanging in a salmon - pink sky. On the horizon, towering, craggy peaks. And, at center - the only sign of life - a small, mysterious, moving puff of dust.",
"EXT. MARS. DAY CLOSER ANGLE as a small, Sojourner - like, multi - wheeled robotic vehicle ambles INTO FRAME, jouncing along the orange Martian soil, pausing to snuffle its sensors towards the occasionally interesting rock. Lettering on its side reads `` ARES - 8.'' SUPER TITLE : `` MARS. PLAINS OF CYDONIA. EIGHT MONTHS LATER.'' Suddenly Ares - 8 pauses. Its video lens WHIRRS out, fine - tuning focus, as it becomes intrigued by something OFFSCREEN - a higher, more distant target. The little fellow almost quivers with excitement.",
"EXT. MARS. TIU VALLIS. DAY A one - man ATV ROVER waits in the background, in a dry streambed, as Luke, in an EVA spacesuit, swings a clawed rock hammer against a multi - layered, sedimentary rock face. Reddish dust coats his bulky white suit. Despite that bulk, he moves easily in the light Martian gravity -LRB- 1/3 Earth's -RRB-. A hunk of rock breaks off, and Luke examines it more closely, holding it up to his clear faceplate. He's very happy, absorbed in this work, when his RADIO CRACKLES. COTE Luke, you read me? LUKE Yeah, Renee. COTE Luke, I just got ARES - 8 on line and. Well, we think you're gon na wan na see this for yourself. Luke, though reluctant to break off work, is intrigued. LUKE Copy that. As Luke turns away, headed for the rover WE PULL WIDE To REVEAL a STAGGERING PROSPECT, seen for the first time : Valles Marineris, that planet - creasing slash. So wide, so deep, it boggles the mind : on earth it would reach from New York to L.A.",
"INT. MARS ONE HAB. DAY The crew of Mars One - Kirov, Willis, and Cote - have joined Luke, gathered around some display monitors. They're in NASA jumpsuits ; the Hab has artificial atmosphere, enhanced gravity, and heat. All are captivated by what they see. ON A VIDEO SCREEN We see a low - angle image of an elongated, rubble and dirt - covered MOUNTAIN. Hard to tell scale, but it looks huge. What's most striking, however, is a WHITE PEAK barely protruding through the rubble two - thirds of the way along the mountain's ridgeline. Its whiteness is in clear contrast to the typical rust - orange of the surrounding rubble ; what's more, this strange little peak also displays an oddly - smooth, multi - planed symmetry. LUKE What the hell is that? COTE No idea, boss. LUKE Where is it? Cote glances at the others. They're all smirking, as if they share some secret joke Luke's not yet in on. WILLIS You do n't wan na know. LUKE C'mon, what's so funny? Gim me the coordinates. He leans over to read a digital gauge, but Cote covers it with her hand, enjoying the tease. COTE Latitude 41 degrees north, longitude 9 degrees west. LUKE The Plains of Cydonia. So? -LRB- pause. -RRB- Oh no. You're not telling me - They all laugh as the other shoe drops. Luke's expression is incredulous, exasperated. COTE Oui. Exactement! It's Kirov's fault, he picked today's sector. KIROV Hey, c'mon! We've got a scientific duty to check that thing out. Luke sits, taking over the Ares remote control from Cote. They all watch as he fine tunes the image, trying without success to coax more resolution. LUKE Great. That's great. The first anomaly we hit, and it's got ta be in the one place guaranteed to make NASA look ridiculous. You know how many books have been written about that damned mountain? COTE The Egyptians put it there. KIROV No, the Amazons. WILLIS No, it was little green men! LUKE And all because a couple of lousy impact craters happen to look like eye sockets. If this gets out, we'll have every UFO kook on Earth spouting off on the six o'clock news. C'mon, people, gim me a read here. Is that a cinder cone? KIROV Nah, too smooth. Too angular. Volcanic upwelling? COTE No fissures. No caldera. LUKE It's an upwelling, for sure. But maybe not volcanic. The others look at him, puzzled. Luke leans in closer, with growing excitement. He points to the screen. LUKE Look at the color. And see how shiny it is? I could swear that's ice. COTE This far south? WILLIS Impossible. You ca n't have ice at this latitude. Not unless. They look at each other, Luke's excitement now leaping from one to another of them. They're almost trembling. WILLIS Oh my God. LUKE How far away is it? KIROV Sixteen kilometers northeast. Take us twenty minutes to get there. LUKE -LRB- considers a moment. -RRB- Let's send a packet to Micker. Then we'll go check it out.",
"EXT. MARS ONE BASE CAMP. DAY AIRLOCK DOORS Slide back, REVEALING the crew in EVA suits, carrying gear. They walk over to. THE FOUR - MAN ROVER The astronauts climb in through the hatch. The last one in pulls it shut behind him and locks the latches. We see Cote and Luke check their screens and press some buttons. Luke puts the rover in drive. WIDER ANGLE, PULLING UP AND AWAY As the rover moves off across the rocky surface, dust kicking up from the wheels, we get our first exterior glimpse of the Mars One Base Camp. The main HAB UNIT looks like a huge tuna can with a conical top section ; it connects to a separate, inflated - bubble GREENHOUSE. There's also an OXYGEN STILL, PROPELLANT PLANT, and, on the other side, a couple hundred meters distant, the massive ERV -LRB- Earth Return Vehicle -RRB-, which arrived as a separate, unmanned flight. Rows of SOLAR PANELS, arrayed on the ground, and an AMERICAN FLAG on a thin pole, about man - height, complete the scene.",
"EXT. INTERNATIONAL SPACE STATION (ISP). EARTH ORBIT. DAY A vast, impressive, MULTI - SECTIONED SPACECRAFT is drifting majestically above Earth. The main hull displays both NASA and U.N. flag decals. SUPER TITLE : `` INTERNATIONAL SPACE STATION. MARS MISSION CONTROL ROOM -LRB- MMCR -RRB-. 20 MINUTE TIME LAG.'' We MOVE IN towards another of the station's segments, which is dedicated entirely -LRB- as we see from more labels and insignias -RRB- to the Mars Program : Control Room, Training and Living Quarters, and a Vehicle Docking and Launch Area, where Mars Two is already positioned for its eventual flight. We hear LUKE'S EXCITED VOICE, over speakers. LUKE This is a truly anomalous formation. Looks like nothing we've seen so far. The structure appears to be crystalline, at least from the angle displayed by ARES - 8.",
"INT. MMCR. DAY On a large CENTER DISPLAY SCREEN, we see Luke and the Mars One crew, sitting around their kitchen table in the Hab, finishing lunch while taping this VIDEO MESSAGE. LUKE -LRB- grins. -RRB- We're all trying not to go too nuts up here, but - we think there's a good chance this could be an extrusion from some subsurface, geothermal column of water. And if we're right. He looks at his crew. They beam like cats who ate canaries. LUKE then we've found the key to permanent human colonization. IN THE MMCR There's an EXCITED BUZZ among the assembled TECHNICIANS, FLIGHT ENGINEERS, and SCIENTISTS. This would be a fantastic, epochal discovery. MCCONNELL Sits at the center console, wearing a headset. He's now the Mars One CAPCOM -LRB- Capsule Communicator -RRB-, and his manner is brisk, efficient, all - business. A TECHNICIAN leans in for instructions. MCCONNELL Tell geology and hydrology we need to scramble on this. Full - court press. The technician nods, hurries away. McConnell, sharing the intense excitement of those around him, stares up at THE SCREEN Where Luke and his crew are still smiling, well knowing the excitement their bombshell will create. LUKE Anyway, we'are going out to take a closer look at it, try to get an idea of its composition. -LRB- checks his watch. -RRB- By the time you receive this, we should be just about on - site.",
"EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY The rover is a hundred meters away and moving fast TOWARDS CAMERA. We BOOM DOWN to REVEAL Ares - 8, still faithfully holding its point, like an Irish Setter, with its video snout WHIRRING OUT. The rover drives up and slows to a stop nearby. The hatch door cracks open and some dust vents out. The door opens all the way and the astronauts climb out. They all look up in awe. We hear their voices ON RADIOS. KIROV Jesus Christ. THE MYSTERIOUS PEAK Gleams in the sun, dazzling white, its facets as planed and smooth as if an architect had drawn them. It pierces through the topmost rubble at the near end of the big mountain - an isolated, butte - like giant, stretching two miles from left to right in front of them. THE ASTRONAUTS Walk towards the mountain. There's a very deep, very low, staccato tone intruding over their headsets. LUKE Anyone else hear that? COTE Yeah. What is it? WILLIS Sounds like our antenna's out of phase. LUKE Can you fix it? WILLIS Hey, skip, I can fix anything. LUKE Big talker. Renee, Sergei, let's break out the radar, see what this thing's made of. As they go to their jobs, the deep, barely audible rumbling tone continues.",
"INT. SPACE STATION. CORRIDOR OUTSIDE MMCR. DAY MULTINATIONAL CREWMEMBERS walk by, in the artificial gravity of the busy station, as RAY BECK, mid - 50s, approaches from the opposite direction. Beck is the tough, crewcut, PR - savvy head of the NASA Mars Program -LRB- ID'd by his name tag -RRB-, and just now he's leading a covey of U.N. AMBASSADORS on a tour. The ambassadors, of both sexes, many nations, and all races, look as excited as schoolkids. BECK and this is the Mars Mission Control Room, nicknamed `` Micker.'' I understand a comm packet is incoming from Mars One Base Camp, so you may find this interesting. He opens the doors, ushering his flock inside.",
"INT. MMCR. DAY The ambassadors enter, oohing and ahhing over the impressive array of gadgetry and personnel, and especially over the big screen. Some of them start taking souvenir snaphots. The NIGERIAN AMBASSADOR turns to Beck, whispering curiously. AMBASSADOR That man over there. He's in charge? BECK FOLLOWS HIS GLANCE TO MCCONNELL Who is surrounded by a KNOT OF TECHNICIANS, to whom he is giving quiet, precise instructions. They hover, then depart, like so many eager bees. BECK Smiles indulgently at the ambassador's misunderstanding. BECK No, actually, that's Jim McConnell, the CAPCOM. Our voice link to the astronauts? Jim's been with the manned Mars program since its inception. One of our real pioneers. AMBASSADOR Will he be going to Mars, too? BECK Ah, no. This is as close as he gets. ON THE SCREEN Luke and his crew have finished eating, and are clearing away their dishes and leftovers. LUKE anyway, that's about it. We'll send another packet when we get back. Cote clears her throat, gives Luke a look. The others can barely conceal their grins. LUKE Oh, right. One more thing. Today is a very special day for a good friend of ours, and I know he's there right now. McConnell looks at the screen, worried. What's Luke up to? LUKE Now, he hates it when any fuss is made, so I wo n't mention his name. A look of relief comes over McConnell. LUKE because the last thing in the world I'd ever want to do is embarrass someone like Jim McConnell. McConnell winces - Dear God, no - as, on the screen, Kirov appears from OFF CAMERA holding a cupcake with a burning candle stuck in it, and the Mars One crew starts SINGING `` Happy Birthday'' to him. Loudly. And very off - key. LUKE C'mon, you Micker weasels, sing! Soon most everyone in MMCR is singing along - even some of the jolly ambassadors - with the noticeable exception of Beck, who stiffens unhappily. McConnell is mortified. LUKE -LRB- sings a line, then, to CAMERA :. -RRB- Hey, Ray! Take a look at him! Is he all red with one of those fake `` I'm - a - good - sport'' grins? Beck looks over at McConnell, who indeed is red in the face with a fake `` I'm - a - good - sport'' grin. LUKE And hey, you guys, check out Ray! Does he have on one of his `` This - was n't - in - my - mission - plan'' faces? Indeed, Beck's smile is thin, sour, disapproving. LUKE Nothing you can do about it, Ray! We're a hundred million miles away! Luke and the crew finish singing the song. Luke raises the cupcake in a toast. LUKE Happy Birthday, Jimbo! Make a wish! He and his crew lean in, blow out the candle. They laugh and applaud, then wave goodbye. LUKE Catch you again soon. Take care, buddy. End of transmission. Luke reaches out, turns OFF the CAMERA, and the display screen GOES BLACK. Beck turns, his gaze locking with McConnell's. He's annoyed, as if this violation of protocol were somehow McConnell's fault. McConnell returns his stare coolly.",
"EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY Cote stands by a display screen mounted on the rover. Kirov has a big radar gun on a tripod, pointing at the mountain. Luke turns to Cote. LUKE Well? What's under there? COTE -LRB- puzzled. -RRB- Je ne sais pas. I. I think there's something wrong with the equipment. LUKE What? COTE I mean, it ca n't be right. It says. it says there's metal under there. Luke does n't understand. He walks up to look at the display screen. COTE -LRB- points. -RRB- There's ten, twelve meters of rubble and sand, and then. solid metal. LUKE That does n't make any sense. You're reading a vein of ore. COTE -LRB- shakes her head. -RRB- No. It's under the whole mountain. The deep pulsing tone continues. Luke frowns. LUKE Nick, could the problem with the antenna be interfering? WILLIS Could be. LUKE -LRB- to Cote and Kirov. -RRB- Try it closer and up the power. I'll watch the screen.",
"INT. MMCR. DAY McConnell is taping an audio message to be sent to Mars as the rest of MMCR looks on. Beck is gone. So are the U. N. ambassadors. MCCONNELL Ah, we're all pretty stoked about that formation you spotted, Mars One. The folks in the geology and hydrology back rooms are going over your images and comparing them to every photomap they've got.",
"EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY Cote and Kirov are close to the foot of the mountain, resetting the radar gun on its tripod. The deep vibrating tone continues. Luke is some distance away, by the rover. He looks at Willis, who's still working on the rover's antenna. LUKE Nick, how we coming on that antenna? WILLIS Goin' as fast as I can, boss. Cote and Kirov are having some trouble with the switches on the radar gun. They turn towards Luke and Willis. KIROV Hey, Nick. Come show me how stupid I am. I ca n't get this to work. Willis looks at Luke. Luke nods - Go help them. Willis starts towards the radar gun.",
"INT. MMCR. DAY McConnell is handed a slip of paper, glances at it. MCCONNELL Medical wants me to remind you that you're three days late on your blood tests. I know they're a bore, but you've got to get them done, or else. or else I do n't know what. Just do them, okay?",
"EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY Willis, Cote, and Kirov get the radar gun up and running. KIROV All set here, chief. Luke sidles over to the display screen on the rover. LUKE Okay. Crank up the juice and let's see what's in this sucker.",
"INT. MMCR. DAY McConnell checks over his clipboard list of updates. MCCONNELL I think that's about it for business. But on a personal note, be advised that, ah, none of you can sing worth a damn. LAUGHTER in the MMCR.",
"EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY Luke watches the screen on the rover, as, by the mound. KIROV Flips a switch on the radar gun, then swivels its muzzle slowly across the near slope of the mountain. We hear and feel the radar signal. The immediate result is that the pulsing tone we've been hearing suddenly stops. LUKE Looks up from the display screen. A puzzled expression. LUKE Why did that stop? A split - second later, he gets his answer. We hear a WHOOSH, a mighty rushing of wind, as A GIGANTIC, TRANSLUCENT CYLINDER Starts to swirl and rise, straight up from the top or the mountain, at its center. As it swirls, the cylinder picks up debris - pebbles, sand - from the sediment - encrusted surface of the slopes. THE FOUR ASTRONAUTS Stare up at this spectacle, awed. A cyclone? Some kind of energy wave? They have no idea. At the moment they're too fascinated to even be scared. TILTING UP - FROM THEIR POV We see the whirling cylinder rise, higher and higher, perfectly straight, until in just moments it's as tall as a skyscraper. As it rises, it gains speed and power, narrowing at its top into a conical vortex. It's sucking up so much dirt, so many rocks - even small boulders now - that the accumulating debris begins to darken its swirling, translucent outer `` skin''. THE ASTRONAUTS Exchange amazed glances. Ca n't believe their eyes.",
"INT. MMCR. DAY McConnell still hovers by the microphone. MCCONNELL Honestly, Luke, if you guys do n't have anything better to do with your time, I can make some suggestions to mission medical. There are worse things than blood tests. LAUGHTER and GROANS from the staff in MMCR.",
"EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY Luke, still staring in fascination, becomes aware of sand and pebbles flashing past his helmet. From behind. He turns. SAND PATTERS AGAINST HIS FACEPLATE As the nearby landscape BLURS. The vacuuming effect is becoming more general across the area. More violent. LUKE IS ALARMED And the spell is broken. He keys his throat mike, his lips moving, but no sound can be heard over the ROARING WIND. He waves his arms, motioning for the others to back away, towards the rover. Wind whips at their EVA suits as they obey him, retreating. Luke, backing away himself, is afraid to take his eyes off the cylinder. Then he sees that one man - Willis - has n't moved. In fact he's busily snapping photographs of the cylinder. Luke hurries over to him, tugs his sleeve. WILLIS LOWERS HIS CAMERA But still stares up, transfixed, like a man face to face with a cobra. Luke follows the young astronaut's frightened gaze, and his own eyes widen as he sees THE TOP OF THE VORTEX Beginning to tilt down, then coil sideways. Suddenly they're looking into the huge open `` mouth'' of it, as sand and rocks fly into the swirling darkness. The monstrous, gaping maw slithers down over the rim of the mountain, turning this way, then that. Seeking them. And then, with horrifying precision, it locks in on the little group of astronauts. And lunges towards them.",
"EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY Luke and Willis turn, running as hard as they can towards the rover. But the suction is so great, it's as if they're held back by wires. The ground itself is SHAKING, RUMBLING, as earthquakes begin to open fissures across the plain. The ROAR of the vortex, the GROANING of the earth, are like an onrushing freight train. AHEAD OF THEM In the maelstrom of flying debris, they can barely make out Cote and Kirov, still retreating, leaning back with all their strength against the suction, while staring up, aghast. Suddenly a hurtling rock, the size of a basketball, smashes into Cote's helmet from behind, crushing it and killing her instantly. Blood sprays into the wind, immediately crystallizing, in the sub - zero atmosphere, into red pellets. LUKE, HORRIFIED, FLINGS HIS ARM UP As bloody hail patters against his faceplate and forearm. An instant later he sees KIROV Snatched up by the wind, then swept past him, in a terrifying blur, arms and legs flailing, mouth open in a silent scream as he vanishes. THE GROUND AT LUKE'S FEET Abruptly opens, and he slides into a fissure. Scrabbling frantically with his gloved hands, he manages to momentarily arrest his fall, gripping the edge of the fault line, with his helmet and one elbow thrust over its lip. The air is almost solidly choked with debris, deadly boulders bound over him, and torrents of cascading sand are burying him alive. CLOSE ON LUKE Barely conscious, as he watches, for a horrifying final instant, as. HIS LAST CREWMAN, WILLIS Is sucked bodily into the black maw of the vortex, spinning and tumbling like a rag doll. CLOSE ON WILLIS'S FACE His features grotesquely distorted by the forces tearing at him, before suddenly his faceplate is sprayed with blood, and. DISTANT ANGLE - LUKE'S POV Willis's spacesuit explodes, his entire body disintegrating into a million bits, which instantly disappear into the hellish maelstrom. And then that maelstrom itself, just as abruptly. STOPS. Vanishes. There is an instant, ringing SILENCE, as awesome in its own way as the roaring storm itself had been. WIDE ANGLE On the plain, as the last pebbles, released from suction, pitter down, bouncing. Swirls of dust and sand drift away, settling gently. The harsh orange landscape is once again calm, peaceful. And then, from the direction of the nearby mountain, we hear another sound : the deep bass pulsing rumble returns.",
"INT. MMCR. DAY As McConnell finishes his message to Luke. MCCONNELL Oh, and I talked to Debra. She and Bobby are doing fine. Said to tell you, they're, ah, they're on their `` third time through the book, page -. -LRB- glances at a note. -RRB- - page 125.'' They send their love and say take care of yourself. Same from us here, buddy. Till next time, then. End of transmission.",
"EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY MOVING ANGLE, the CAMERA EXPLORING ground zero, as the bass, pulsing rumble continues. WE PASS the Rover, canted sideways into a little crater, with its canopy missing, one axle fractured, but miraculously still with all four wheels. WE PASS faithful little ARES - 8, lying on its side, partially crushed under a boulder. It gives a final, pitiful WHINE, its video snout slowly extending, then dies. And finally we come to the area where the fissure had been, and see THE FISSURE HAS BEEN FILLED IN Leaving only a slender crease of umber sand. No sign of Luke. The pulsing rumble continues, over, as we see",
"EXT. AERIAL VIEW. DAY An extraordinary sight, seen from high in the air, looking back down. Staring up at us from the bottom of a shallow crater, scoured clean of its aeons of accumulated silt and rubble, is a structure resembling a vast humanoid Face. The surface is gleaming white, apparently metallic. The features are suggested by intricately interlocking planes, slopes, ramps. The `` eyes'' - hatches of some kind? - are closed, and the overall expression is eerily calm, but terrible in its power, like some ancient tribal mask. We see the Face clearly for only a few beats before thick, scudding clouds OBSCURE it, but the deep, pulsing rumble continues, low and insistent.",
"INT. MARS TWO (DOCKED). COCKPIT. DAY We're inside the Mars Two spacecraft, which is still in its docked position alongside the Space Station. Woody Blake, wearing a NASA jumpsuit, floats up into the cockpit in Zero - G, studying a thick manual. WOODY -LRB- reads. -RRB- `` Problem : Hatch door malfunction, backup power fail, manual override fail. Solution : Replace circuit breaker 907B.'' He straps into the pilot's seat, staring at an electrical junction box at one end of the console. WOODY Okay. Piece of cake. He swings open the housing, revealing a bewildering tangle of fuses and wires. He sighs heavily, as Terri drifts up beside him, also in a jumpsuit, and straps into the co - pilot's seat. WOODY God, who dreams up these nightmares? TERRI Do n't try to change the subject. WOODY I'm not! We're talking about your sister's wedding, right? TERRI Very funny. We're talking about dancing lessons. Before my sister's wedding. WOODY Honey, do you mind? I've got a catastrophic power failure here. He peers into the housing with exaggerated concern. But Terri's not so easily sidetracked. TERRI Woody, we're a married couple. Would it kill you to invite me out on the floor once in awhile? WOODY I danced with you at our wedding. TERRI I'm not talking about shuffling your feet around while you grab my butt. I mean real dancing. Cha - cha, rhumba, jitterbug - WOODY Face it, honey, some couples dance, some go to Mars. That's life. TERRI I'm serious. We've got two more months in this training rotation, but just as soon as we get home, we're starting lessons. If we never dance, people will think there's something wrong. WOODY If they see me dance, they'll know there's something wrong. Reaching past him, she pulls out the required breaker. As he reacts, surprised, she smiles, despite her exasperation. TERRI You are such a lug. Overhead, an intercom CRACKLES. We hear PHIL. PHIL'S VOICE Cockpit, this is Control. TERRI Control, this is Cockpit. PHIL'S VOICE Uh, Terri, they want us all back in the Station. Report to Micker. TERRI Who says report to Micker? PHIL'S VOICE The little men who live in my head. WOODY Phil, c'mon! We just started this drill. PHIL Woody, it was Ray Beck. He told me to round up the team. Now. Woody and Terri exchange a worried look. What's wrong?",
"INT. SPACE STATION. MMCR. DAY A crisis atmosphere prevails. The big room is more crowded than we've ever seen it, with ENGINEERS and MANAGERS hurrying by, huddling in tense, conferring knots, or muttering feverishly into microphones. On the center screen, a giant image of Mars. A frantic flow of green numbers crawls above and below this, and the site of the Mars One Base Camp is marked in blinking red. WOODY AND HIS CREW Are staring up at this screen, appalled. McConnell and Beck stand nearby, briefing them. BECK Then, at 1417, the X - band continuous data stream from Mars went silent. All data - med, environmental, everything - suddenly stopped. While we were trying to figure out what the hell went wrong, we got a signal from the folks at the Large Array at Soccoro. MCCONNELL At the same moment we lost the data stream, they picked up an intense burst of energy from Mars. WOODY What do you mean, `` intense''? MCCONNELL -LRB- hesitates. -RRB- Catastrophic. Looks are exchanged among the Mars Two crew. TERRI What about the crew? BECK The level of energy in the pulse. did n't seem survivable. WOODY What about the REMO? It went into Mars orbit last week. Maybe that could give us some clue. MCCONNELL Good thinking, Woody. That's just what we tried next. He leans over, punches buttons on a keyboard. ON THE CENTER SCREEN An orange dot can be seen in its orbital ellipse around Mars, leaving a glowing electronic trail. This dot gets isolated in a viewing box, then enlarged and rotated into the computer - animated image of a small, ugly, industrial - looking unmanned cargo craft, labelled `` REMO.'' MCCONNELL The Resupply Module checked out fine. No instrument failures, no change in status. Orbit holding steady. But there was something else. The REMO'S computer contained an uplink message - a very faint, highly distorted transmission from Mars One Base Camp. TERRI Someone's alive. MCCONNELL Yes. PHIL How? BECK The message is almost indecipherable. Two teams are still working on it. You better see for yourselves.",
"INT. MMCR. DAY FINGERS press buttons on a console. McConnell, Woody, Terri, and Phil are crowded around a monitor with Beck and two weary TECHNICIANS. TECHNICIAN Still concentrating on the audio. We managed to bring out a couple more words, but we've got a long way to go. WOODY Show us whatever you've got. The technician nods, then gestures to his assistant who hits a play button. CLOSE ON A MONITOR Black for a moment, then static. Out of this static comes a faint image of Luke, sitting alone at the Hab kitchen table. He looks awful - dried blood on his face, bloodshot eyes. The image is blurry, heavily streaked, and most of what he says is lost in waves of static. LUKE make this quick. may be only ch -. -LRB- long section of static. -RRB-. to the site, when we. hit us just as we. - thers are all dead. Woody, Terri and Phil look at each other - Oh, God. LUKE -LRB- following more static. -RRB-. low sound that we could n't understand. Then all of a sudden there was this terrib. -LRB- another long burst of static. -RRB-. - stems are holding up for now, but I do n't know how long I can. The monitor screen GOES BLACK.",
"INT. MMCR. DAY TECHNICIAN That's it. Woody and his crew stare at the screen, stunned. This is a catastrophe almost too huge to grasp.",
"INT. SPACE STATION. DAY As Beck leads McConnell and the other shaken astronauts down a corridor, Phil pauses, seeing. A SOBBING TECHNICIAN At her desk. TWO CO - WORKERS are trying to comfort her. One of these women looks up, and her reddened eyes meet. PHIL'S EYES He looks back at her, haunted. TERRI What did Luke mean by a `` low sound?''",
"INT. SPACE STATION. DAY In an otherwise empty lounge, the astronauts clutch Styrofoam coffee cups. Beck stands nearby. Through a large viewport behind them, stars glitter against the inky blackness. BECK If this was a earthquake, as we're now assuming, there's usually an auditory component. WOODY But that energy pulse they picked up in New Mexico. PHIL Electromagnetic emission. Not uncommon with large - scale geophysical phenomena. WOODY -LRB- incredulous. -RRB- Causing this kind of damage? I do n't buy it. We're missing something here. McConnell and Woody exchange a glance. Woody's right. TERRI Luke must be in pretty bad shape if he has n't blasted out of there in the Earth Return Vehicle. That thing's designed so even one crew member could fly it back to Earth. MCCONNELL Even if Luke was in great shape, he could n't get home. That energy pulse would've fried the ERV'S computers. WOODY Other than the computers, how do we think the ERV fared? BECK Well, so far our modelling says it should be in pretty good shape. WOODY Which means it's gon na be up to us to get new motherboards, drives, and software to Mars. As fast as we can. McConnell looks at him, nods. They're on the same wavelength. But Beck is more cautious. BECK Whoa, slow down. It's gon na take us weeks just to analyze this data. MCCONNELL Right, but meanwhile, we've got ta be working up a mission plan. WOODY Luke needs us now. BECK Luke may already be dead. And even if he's not, it's doubtful he's going to be able to transmit again. So we would n't know whether it's safe to land until you were almost there. PHIL What about SIMA? Terri looks at Phil - SIMA? PHIL The Saturn Imaging Probe. It's going to slingshot around Mars on its way through the solar system. It could be retasked to take pictures, read radiation levels at Mars One Base Camp. WOODY Good idea Phil. If SIMA tells us Luke has n't survived and it's not safe to land, we swing around Mars and come right back home. MCCONNELL Yes. We can design the mission to have a free return capability. It's a long trip, but if you do n't land it's the best option. BECK We're getting ahead of ourselves. You're forgetting the bigger problem. -LRB- they look at him. -RRB- The orbits are all wrong. Our first decent launch window is almost eight months from now. MCCONNELL But we can go earlier and get there faster if we reconfigure the payload for extra fuel. We've modelled that, Ray. I've modelled it. BECK On paper, yeah. But those stresses have never been tested in space. MCCONNELL The ship can take it. BECK I was n't thinking of just the ship. A tense beat. Again we sense the test of wills between these two tough - minded men, once good friends. MCCONNELL I know the protocols for a Mars Recovery Mission better than anybody, because I helped design them. And I'm saying these guys can do it. WOODY He's right, Ray. We've got a real shot. A pause with beck weighing the odds. He looks at Woody. BECK Give me an updated mission plan by 0800 tomorrow. Then I'll put it in the works. MCCONNELL You'll have it by 0600. He looks at Woody, Phil and Terri, who are just as eager. MCCONNELL Let's get to work. McConnell exits followed by Terri and Phil, but as Beck starts out, too, Woody stops him. WOODY Chief, could I have a word? Beck looks at him a moment, nods.",
"INT. SPACE STATION. MMCR. DAY In a quiet corner, Woody and Beck are alone. WOODY I've no longer got the right crew. BECK -LRB- surprised. -RRB- What do you mean? Bjornstrom can be up here on the next shuttle. WOODY Bjornstrom is a geologist. He's good, but not for this. My people just lost eight months of training. This is a different mission, with a different objective. BECK I have n't been given authorization for a mission yet. WOODY But when you are, it ought to be given the best chance for success. I want McConnell to fly right seat. Beck's expression hardens. BECK He's no longer on mission status. WOODY Yeah. Because you washed him out. BECK He washed himself out. He only had to pass a few more psych evaluations, but he refused to take them. WOODY Ray, he's the best pilot I ever saw, and you've got him benched at a desk. BECK Everybody has to pass the psych prelims. No exceptions. Jim knew that. WOODY Maggie was his wife. He did n't want to lie on a couch and share her with strangers. BECK That was his call. But I had to make one too. It was tough as hell, but I'd do it again. WOODY His wife wasted away in front of his eyes. What was he supposed to do? Suck it up? Get with the program? What was his crime? That he was upset? That he cried? BECK I could n't trust him! Beck and Woody stare at each other. A long tense beat. BECK -LRB- his voice softer. -RRB- Not in a crisis. I'm sorry Woody, but Jim lost his edge. Are you gon na stand there and tell me Jim McConnell is the same man he was two years ago? You want me to bet four more lives on that? This stops Woody, just for a beat. Then makes him press on harder, with even greater intensity. WOODY When Maggie died, yeah, it knocked the shit out of him. It knocked the hell out of all of us. But you know and I know that he's still the best we've got. He and Maggie wrote the book on Mars. He's got more hours in the sims than the rest of us put together. Ray, we can do this. Give me McConnell as co - pilot, and we will bring Luke home. And that's a promise. Beck looks back at him, his features taunt.",
"INT. SPACE STATION. MMCR. DAY Woody, Terri, and Phil stand at the edge of the big control room, waiting and watching, in a tense silence, as IN THE DISTANCE, FROM THEIR POV Beck and McConnell are huddled together at the CAPCOM's console. Other personnel have moved away, giving them room. Both men are seated, leaning forward, with McConnell listening intently, while Beck does most of the talking, very quietly. After a moment McConnell looks up in surprise. His eyes search the room till they find WOODY'S FACE Woody looks back at him, nods : C'mon, man. Take it. MCCONNELL'S OWN FACE Is a study in conflicting emotions. But after a moment he masters his feelings, turns back toward Beck. A few more quiet words are exchanged, then Beck offers his hand. McConnell hesitates, then shakes it. Both men rise, and McConnell turns again to look towards WOODY, TERRI, AND PHIL Who react with relief, glad that he's now a part of their crew. Woody grins, giving him a thumb's up. CLOSE ON MCCONNELL'S FACE As he smiles. Then he starts towards them, with a new energy in his step, a new sense of confidence and purpose. And as he WALKS TOWARDS US, PASSING OUT OF FRAME.",
"EXT. DEEP SPACE. MARS RECOVERY. DAY An infinite canopy of stars. After a moment, some of them begin to be BLOTTED OUT as A SPACESHIP Glides INTO VIEW. `` MARS RECOVERY'' -LRB- formerly Mars Two -RRB- looks much like its sister craft on Mars : a conical cockpit mounted above a `` tuna can'' crew Hab module. SUPER TITLE : `` MARS RECOVERY. MISSION DAY 172.'' The entire lower deck forms a segmented section of the hull that rotates on bearings to provide artificial gravity ; we see window ports spinning past, then an American flag emblem. Behind this lower deck, in an extending network of struts, like the abdomen of a dragonfly, are the three huge round PROPELLANT TANKS. Then vast, delicate - looking rectangular SOLAR PANELS, which sweep out to either side of the ship ; these also bear the dish of the earth - pointing HI - GAIN ANTENNA. And finally comes the great mass of the ENGINE BELLS, housed within a curving AEROSHELL ; three hatches in the aeroshell can open to allow the main thrusters to fire through for a mid - course burn. CAMERA DRIFTS CLOSER To the forward section of the ship, APPROACHING a viewport in the EVA airlock chamber. Inside, we can see Phil leaning forward, concentrating on some task.",
"INT. EVA AIRLOCK. DAY. A BUNCH OF M&MS Are floating in mid - air, forming an intricate 3D pattern. In the EVA airlock, it's zero G. Phil, strapped into a chair by a galley counter, is just completing this weightless puzzle by placing a final blue M&M. He looks bored, sluggish. In the b.g., Terri is hunched over a microscope. McConnell emerges from the core tunnel, behind them, coming up from the lower Hab, then pushes off from the ladder, floating towards Phil. He grins, admiring Phil's obsessive handiwork. MCCONNELL What's that? PHIL That. is the exact chemical composition of my ideal woman. MCCONNELL Used to be. He plucks out a couple of the M&M s as he drifts by. PHIL Hey! McConnell grins, snacking on the M&M s. MCCONNELL Now what is it? Phil looks sadly at his floating model. PHIL A frog. McConnell and Terri laugh as Phil starts scarfing down the rest of the M&M s. Swooping at them with both hands. TERRI I guess now we have our answer to the effects of long - term interplanetary travel on the human mind. The answer is Phil. MCCONNELL -LRB- smiles. -RRB- I'm gon na get an update on SIMA. It should be just about close enough to start capturing some surface images. He's drifted to another short ladder, and now grabs it, starts up to the cockpit, atop the Hab.",
"INT. COCKPIT. DAY As McConnell appears in the cockpit, he sees Woody by the forward instrumentation panel, looking at a monitor. The cockpit is also zero G. MCCONNELL Hey, Skip. WOODY Take a look. McConnell pulls himself forward. ANGLE ON MONITOR MARS completely fills the screen. Surface details are clearly visible. Something is moving down there, an amorphous brown swirl.",
"INT. COCKPIT. DAY WOODY What do you make of that? MCCONNELL Dust storm. Southern hemisphere, coming from the east. Big fella, too. WOODY Headed for Chryse Planitia. MCCONNELL Yup. Could get a little hairy just about landing time. McConnell pulls back from the screen, looks at Woody. WOODY We'll have to be ready to move fast. Maybe even advance our ETA. Those things can cover the whole planet, and last up to a year. A beat. They both hope he's wrong. MCCONNELL When does SIMA do her fly - by? WOODY Tomorrow morning, about 0600. That's when we find out whether we came all this way for nothing. They exchange a glance. Woody's right, but the thought is too terrible to dwell on. McConnell looks back at Mars. MCCONNELL -LRB- softly. -RRB- My money's on Luke.",
"INT. MARS RECOVERY. EVA AIRLOCK. NEXT MORNING CLOSE ON A DIGITAL CLOCK Just turning over to read `` 0545.'' TERRI Pulls her gaze away from these numbers. Judging from her redrimmed eyes, it's been a long, anxious night. Restlessly, looking to distract herself, she reaches for a test tube of blood, straps it into a centrifuge, sets it spinning. Nearby is her electron microscope. MCCONNELL -LRB- LOWER HAB -RRB- Lies on his cot in his own cubicle, with the door closed. The lower hab has artificial gravity -LRB- AG -RRB- and McConnell can move normally. Hands behind his head, he stares at his bureau. PHOTO OF A WOMAN Rests there, in its leather travel frame. Beautiful, smiling, dark - haired : MAGGIE MCCONNELL. Her face glows with intelligence and energy. MCCONNELL Shifts his eyes. The clock on his bulkhead reads `` 0546.'' PHIL -LRB- LOWER HAB -RRB- Stands in the communal bathroom, still in his pajamas, a towel around his shoulders, brushing his teeth. He glances at another digital clock, which reads `` 0547.'' Shakes his head impatiently. He looks back into the mirror, then is surprised to hear MUSIC lilting incongruously over the loudspeakers : Elvis Presley's `` Blue Moon.''",
"INT. EVA AIRLOCK. DAY Phil floats in through the connecting tunnel, then stops himself at a handhold. He grins, charmed by the sight of WOODY AND TERRI DANCING Like a weightless Fred and Ginger. Woody is surprisingly good at this. Enthusiastic, unselfconscious. He sweeps Terri gallantly about the little cabin, pushing off from every handy surface, even guiding her into some passable twirls and dips. She laughs, shaking her head. PHIL What brought this on? WOODY Zero - G. My last chance to be graceful. Once we're in Mars gravity, it's back to shuffling my feet and grabbing her butt. TERRI I'll take what I can get. She grins, kisses his ear, as Phil turns, sees MCCONNELL Who has now arrived, is also watching the dancing couple. A twinge of sadness crosses his features. But when his eyes meet Phil's, he shakes off the feeling and manages a smile : Are n't they something? Over the music, they hear a CHIRP from the SHIP'S COMPUTER, then an announcement. COMPUTER Attention. Incoming packet. They all look at each other. This is it! Woody spins over to a console, shuts off the music. MCCONNELL It's SIMA.",
"INT. COCKPIT. DAY. MINUTES LATER The crew is gathered around a display screen. The lights are dim, reflecting up off their faces. By their expressions, we can tell the news is not good. CLOSE ON THE SCREEN It's a color, high - resolution satellite image of the Mars One Base Camp. Ghostly, dust - covered. No signs of life. WOODY Looks deserted. PHIL It's still standing, though. So is the ERV. And look, there's the greenhouse. MCCONNELL We know Luke survived for at least a few hours. Question is, are there any signs of recent activity? They all scan the screen. Phil spots something. PHIL There. He grabs a stylus and touches the screen. They all look. CLOSE ON THE SCREEN Using where the stylus touches the screen as the focal point, the image enlarges. THREE LONGISH DIRT PILES appear, some fifty meters from the hab. PHIL What the hell are those? McConnell gets it first. MCCONNELL Graves. They all realize he's right. They sit back, stunned. But then Phil has another thought. PHIL Hold on. There's only three. That means - TERRI Phil - PHIL It means Luke must still be - TERRI No. It just means there was nobody left to bury him. This quiets everyone for a long moment. WOODY Check the radiation levels. Phil keys in some commands and data pops up onscreen. PHIL Normal. WOODY Go to the disaster site. Phil uses the stylus to bring MORE IMAGES into view. The frame moves over the terrain in the direction of the Face, first in SWIFT BLURS, then slowing. Scattered rock debris come into view. The IMAGE ARRIVES where the mountain was, and they see. Debris in every direction, NEAT SPIRALS of it now, dropped uncannily into place, like some massive earth sculpture. As if - but this makes no sense - it had been swirled towards a LARGE CRATER. The crater itself is a perfect circle. They FOCUS on the CENTER OF THE CRATER, but the image gets distorted by STATIC. MCCONNELL What's wrong? PHIL I do n't know. Magnetic interference? Phil tweaks the stylus, but the image wo n't clear up. WOODY Go to infrared. Phil works the keyboard. THE SCREEN Goes to INFRARED, reading heat, The middle of the IMAGE, where the Face is, is still distorted, refusing focus. THE ASTRONAUTS Sit back, exasperated. PHIL Must be a problem with SIMA. I do n't see how an earthquake, six months ago, could give us this kind of distortion. MCCONNELL That was no quake. He leans closer, staring intently. WOODY Then what the hell was it? McConnell shakes his head. But his every sense is engaged ; he's like a predator just sighting his prey for the first time. We see in his eyes an utter determination to unlock this secret.",
"EXT. SPACE. DAY Mars Recovery is speeding ever closer to Mars, which now looms large, a dusty red mysterious sphere.",
"INT. MARS RECOVERY. LOWER HAB. DAY McConnell and crew are eating dinner while they watch a taped message from MMCR. CLOSE ON MONITOR SCREEN As Ray Beck addresses them. Other NASA STAFFERS, twenty or more, have crowded in behind him, and we sense their great hopefulness and high spirits ; the whole team's triumph is tantalizingly close now. BECK We're going to continue analyzing this data and try to determine what the problem is with those images. Frankly, we're just as stumped as you guys, but we'll keep on it. -LRB- glancing around. -RRB- We agree that the evidence of the graves is inconclusive and that a ground search is advisable. Be aware there are little sand storms kicking up near Mars One Base, but the big one you spotted is turning south. It should n't be a factor. Beck takes a breath, smiles. BECK We're all pretty excited here and we're sure you must be feeling the same. Enjoy your meal and get a good night's sleep. We anticipate that tomorrow morning you will be Go for Mars Orbital Insertion.",
"INT. MARS RECOVERY. LOWER HAB. DAY WHOOPS OF JOY from McConnell's crew. Woody and Terri high five each other. BECK God bless you and goodnight. End of transmission. The monitor screen GOES BLACK.",
"INT. MARS RECOVERY. LOWER HAB. NIGHT The lighting is subdued for a sleep period, but everyone's too restless. There's a low HUM of equipment.",
"INT. EVA AIRLOCK. NIGHT Terri and Phil are playing computer Monopoly under a single light. Terri is using touch - screen technology to move her piece. She glances at Phil. He has spread some M&M s out, letting them drift in mid - air as he performs his ritual weeding out of the red ones. She shakes her head. TERRI What if you opened up your meal packs and found that, instead of putting in everything but red ones, they'd made a mistake and put in only red ones? PHIL Hey, that's a funny notion. And what if in your meal packs, instead of brown rice, there were spring - loaded spikes that shot into your eyes? TERRI -LRB- pause. -RRB- How did you ever pass the psych evaluation? PHIL When you're schizophrenic, they take the higher score. He touches the screen to roll the dice.",
"INT. MARS RECOVERY. LOWER HAB. NIGHT McConnell, in his cubicle, looks away from the photo of Maggie. Haunted by memories. He rises, flips through the CDs in a storage case, pulls one out. He holds this carefully, hesitating, then feeds it into his computer. Immediately his screen saver vanishes and we see HOME VIDEO OF A PARTY An impromptu celebration, a bunch of friends gathered in a semi - darkened living room. The footage is HANDHELD, a bit jerky. People have paper plates of food, beers in hand, everyone is a little tipsy. Debra is there, Terri, Phil, Cote, Kirov, others. They're watching a STILL PHOTO SEQUENCE, shown on a large screen TV, with commentary by Luke and Woody. THE FIRST PHOTO Is of a small boy -LRB- YOUNG MCCONNELL -RRB- in his pajamas, kneeling in front of a Christmas tree. He's grinning ecstatically as he holds up a brand new model rocket. LUKE Jim's first ship was seriously underpowered. LAUGHTER at this. Some AD LIB CRACKS about the painfully bad haircut and the pajamas. THE SECOND PHOTO Is of a gawky - looking teenage girl -LRB- YOUNG MAGGIE -RRB-, standing on a porch at night, posing a bit self - consciously by a telescope on its tripod. WOODY Maggie was always starstruck. More LAUGHTER, plus some digs about the nerdy eyeglasses and braces. VIDEOCAMERA swings around the room, REVEALING the adult JIM and MAGGIE. They sit side by side on the hearth, leaning into each other, looking very happy. MAGGIE I'll get you guys for this. More LAUGHTER. Everyone's having a great time. The VIDEOCAMERA swings back towards the TV screen as THIRD PHOTO APPEARS Jim and Maggie, young adults, standing on the wing of a fighter jet. Both in Air Force flight suits, helmets in hand. Suntanned, cocky, flashing radiant smiles. LUKE When they met at the Air Force Academy, it was `` love at first flight.'' GROANS and LAUGHTER from the offscreen watchers. WOODY After that, NASA training was tough. All Jim could think about was exploring a heavenly body. More ribald LAUGHTER, as FOURTH PHOTO APPEARS Maggie and Jim, tethered together, floating weightlessly in space suits. LUKE But Maggie, as you can see, kept him on a short leash. Until. A FIFTH PHOTO Shows McConnell, in a dress uniform, leaning in to kiss Maggie, who wears a white bridal gown. WOODY Mission accomplished! ANGLE ON MCCONNELL, IN THE PRESENT As he smiles at this, hearing the renewed LAUGHTER and CHEERS, the AD - LIBBED DIGS from the video. He becomes aware he's not alone. He looks up. WOODY Stands in the doorway of his cubicle. Their eyes meet. They both smile, turning back to the video. Remembering. IN THE VIDEO Luke and Woody have stepped forward, INTO SHOT, standing at the sides of the TV, where the last photo lingers. Luke waves his hands, hushing everybody. LUKE Today we celebrate a new chapter in their story. And guys, it's a pretty historic one. Both men raise champagne flutes. WOODY Let's hear it for the newly - announced Captain and Co - Captain of Mars One. To Jim and Maggie! CHEERS at this, repeats of `` Jim and Maggie!'' Luke grins, giving a little signal, and we see A FINAL PHOTO Of Maggie in Jim's arms, both of them in goofy tropical vacation wear, smiling. Evidently a photo taken in the surf somewhere, but here it's been crudely superimposed onto a Martian landscape. Laughter greets this unlikely image. LUKE When you guys land, it'll prove once and for all there's no intelligent life on Mars. More hoots of LAUGHTER, CATCALLS, but Maggie jumps in to protest, as the VIDEOCAMERA SWINGS TO HER AND JIM. Terri sits nearby. MAGGIE Hey, c'mon, what if I'm right? ASSORTED VOICES Oh no, here we go! Do n't get her started! Somebody put on some music! MAGGIE It's our sister planet! PHIL Oh brother! LAUGHTER at this, and Maggie joins in. She's a good sport. TERRI Maggie, why does this have to be about us? Mars is a great opportunity for pure science. MAGGIE We'll do the science. And we'll do it very well. That's what we've trained for. But what if there's more? In all our myths, in every human culture, Mars has always held a special attraction. What if that means something? Only we do n't understand it yet. The mood of the party is changing, as everyone is caught up in Maggie's spell. She has a radiant simplicity. The VIDEO CAMERA DRIFTS IN ON HER ; we are caught up, too. MAGGIE The universe is not chaos. It's connection. Life reaches out for life. She looks at McConnell, smiles. He takes her hand. MAGGIE This is what we were born for, is n't it? To stand on a new world, and look beyond it to the next one. It's who we are. A silence ; the guests are enchanted by the purity of her passion. She smiles, suddenly self - conscious. She had n't meant to get so carried away. IN THE PRESENT - MCCONNELL Reaches out, gently taps the keyboard, FREEZING the screen. He and Woody, their eyes shining, stare at her image. A beat. WOODY You okay? MCCONNELL Yeah. I'm good to go. Woody glances at him. It's true. Rather than being saddened, McConnell seems to have taken on new strength. A renewed sense of wonder. MCCONNELL After all these years. Can you believe it? Tomorrow we'll be standing on Mars. Woody nods, smiles. WOODY You know what? She may have been right. McConnell looks at him. WOODY If that was n't a quake down there, then something else caused it. Or planned it. You're thinking the same thing. MCCONNELL It's never been out of my mind. WOODY Jesus. You realize what this means? McConnell nods. Looks again at Maggie's face on the screen. MCCONNELL She knew, Woody. She was the only one of us that ever thought there might be something down there. WOODY Yeah, and we're not leaving until we find out. Deal? McConnell nods. They clasp hands briefly. Deal. Then Woody turns. Before leaving, he hesitates just a moment, turning back. One last thought, and he does n't know he's going to say it until it comes out. WOODY Maggie was the best of us. McConnell looks at him, silent but grateful. Woody goes. McConnell turns back, looking at her smiling face, frozen on the screen.",
"INT. COCKPIT. NIGHT MARS LOOMS AHEAD OF US. As seen through the cockpit windows. Huge, beautiful, MUCH CLOSER now. We can make out swirling pink clouds, large surface features. It's just before Martian dawn, the next morning. MCCONNELL Range 6783 and closing. 35 minutes till Mars Orbital Capture. WOODY Okay, people let's look sharp. If we overshoot, there's no coming back. PHIL -LRB- O.S. -RRB- Yeah, and drifting through eternity will ruin your whole day. In the cockpit, Woody and McConnell are in the pilot and co - pilot's wearing space suits but not yet helmets. AS CAMERA PULLS BACK AND AWAY, we see them making instrument adjustments in preparation for MOI. TERRI -LRB- O.S. -RRB- Delta V systems initialized. WOODY Charge primary APU. TERRI -LRB- O.S. -RRB- Engaged. Charged. WOODY Select HPU fuel cells for run. TERRI -LRB- O.S. -RRB- Engaged. MCCONNELL Tie main bus to systems. PHIL -LRB- O.S. -RRB- Power ready. MCCONNELL Select H2/O2 HPU and fuel cells for open. PHIL -LRB- O.S. -RRB- H2/O2 control valves open. CAMERA TURNS, PUSHING DOWN INTO.",
"INT. EVA AIRLOCK. NIGHT Where Phil and Terri sit side by side at a pair of computers, relaying cockpit commands to the systems. WOODY -LRB- O.S. -RRB- Charge flow. TERRI Charged and on - line WOODY -LRB- O.S. -RRB- Reset PW. TERRI Set MCCONNELL Transfer protocol data from EVA station. PHIL Transferred. Awaiting track confirmation. There's a sudden LOUD, BRITTLE POP from somewhere overhead, and Phil's gloved hand, hovering over a computer screen, is punctured through and through. The screen itself is holed and spiderwebbed with a loud CRACK! PHIL Uhhh! PHIL HOLDS UP HIS HAND As he and Terri stare at it, dumbfounded. Thick droplets of blood leak out and begin to swirl away, sucked up towards the venting puncture in the hull over head. The astronauts' helmets dangle up there, awaiting use. TERRI What in God's - Suddenly we hear HIGH PITCHED ALARMS SOUNDING, then the PINGING OF MORE TINY MISSILES, slashing across the ship's outer skin. WOODY AND MCCONNELL Are staring back from the cockpit, reacting in astonishment to Phil's drifting blood and to the alarms. Then Woody suddenly understands. WOODY Micrometeoroids MCCONNELL -LRB- scanning sensors. -RRB- Breach hits in the hull! ANGLES ON TERRI AND PHIL As she seizes his wounded hand, tries to stop the bleeding. He's staring at a gauge. PHIL Outgassing! Losing pressure! TERRI Woody, seal the breech! ANGLE ON WOODY As he unbuckles, dives from the cockpit back down into the EVA, and floats quickly over to a storage hatch. He yanks this open pulling out a PATCH GUN Then spins around in zero - G, as his eyes track THE RISING DROPLETS OF BLOOD Which give a telltale hint of the puncture's location, somewhere up among the dangling helmets on the `` ceiling.'' WOODY PUSHES OFF Rising to this area, and shoves aside a helmet with a shattered faceplate - its label reads `` MCCONNELL'' - to REVEAL A BREECH IN THE HULL. Jagged metal edges, dangling insulation. The blood droplets are whirling out through here, going into the vacuum of space. Quickly Woody stuffs the muzzle of the patch gun into the puncture, firing a thick grey sealant. We hear MORE PINGS, ECHOING LOUDLY, but after a few seconds they DIMINISH, then abruptly STOP. The KLAXONS continue to wail. WOODY Kill those alarms! McConnell punches buttons, MUTING THE ALARMS, and they all strain to listen, faces tense and sweating. A long beat. But the meteor shower has passed by, as abruptly as it appeared. The astronauts turn, becoming aware of a strange phenomenon. PHIL'S BLOOD DROPLETS Have stopped in place, wobbling eerily as perfect spheres in the zero - G. Then suddenly they start moving again, faster and faster, in a new direction. Down through the open core tunnel that leads to the lower Hab. MCCONNELL Stares at a gauge that confirms what's happening. MCCONNELL Still outgassing in the lower Hab! There must be another hole down there, even bigger. PHIL Losing pressure fast! We're gon na decompress! WOODY Computer, how long until zero atmosphere? COMPUTER -LRB- after a beat. -RRB- Four minutes, nine seconds. PHIL If we get below 20 % atmosphere, the power will shut down! TERRI Are you sure? PHIL Positive! A vacuum inside the ship would cause a total electrical failure. The nav computers will fry! MCCONNELL -LRB- to Woody. -RRB- We'll lose all control. We wo n't be able to fire the engines to capture Mars orbit. Just then a computer screen flickers, freezes. Phil punches keys with his good hand. What he sees shocks him. PHIL It's already starting. The primary L - 1 hub has been smashed. The systems are crashing. Woody looks back at his crew, struggling to project more calm than he really feels. WOODY Everybody switch to suit oxygen. We beat this in the simulator, we can do it here. Jim, you've got the ship. I'm going EVA. They stare at him, stunned by their immense task. WOODY C'mon, people, let's go! Let's work the problem!",
"INT. EVA AIRLOCK. MOMENTS LATER Terri, now helmeted, is putting Woody's helmet on him, but something's in the way, chafing his neck. He reaches into his suit, pulls out. THE CHAIN From around his neck, with his little Flash Gordon rocketship dangling. WOODY HANDS THIS TO TERRI As they share a brief, loving glance, but there's no time for words. She tightens his helmet ring, and he brushes his gloved fingertips on her faceplate. Then he hurries towards the inner hatch door, where McConnell is throwing airlock switches. Woody and McConnell exchange a look. At the EVA computer panel, Phil is shutting down non - essential power drains, trying to get the main computer system back on line. His wounded hand makes this difficult and painful. PHIL Jesus, it's still bleeding. TERRI Keep the pressure on! COMPUTER Eighty percent atmosphere.",
"INT./EXT. AIRLOCK. NIGHT The outer airlock door is now open, revealing stars, as Woody drifts through it into space. He's now wearing the MMU, an oversized jet pack like the ones used by the shuttle astronauts.",
"INT. EVA ROOM. NIGHT MCCONNELL'S HELMET. With its shattered faceplate - now useless - drifts past Terri as she is wrapping med tape around gauze pads on Phil's glove. MCCONNELL Floats up to them, checking on Phil's work at the computer. TERRI Jim, you've got ta get your spare helmet from storage. MCCONNELL No time. Phil, can you keep the nav computers on - line? PHIL I ca n't get this damn machine to re - initialize! And the automated systems just went down. We ca n't shut down the hab rotation from here. MCCONNELL I'll do it from below. TERRI We're losing pressure. You could embolize. COMPUTER Seventy percent atmosphere. McConnell looks at her, knows she's right. But he starts off anyway. Phil reaches out his good hand. PHIL Jim, I've got an idea. If you guys can save enough atmosphere, I'll disconnect the power in the main computer bay, then jump start the systems. I'll do a hard boot. This is a radical, incredibly risky notion. McConnell stares hard at Phil. So does Terri. MCCONNELL Has that ever been tested? PHIL Are you kidding? These machines are much too valuable. McConnell looks from Terri to Phil. It's life and death. MCCONNELL Do it. Then he turns, and the CAMERA FOLLOWS MCCONNELL as he pushes away from the console and dives down into the core tunnel, heading towards the",
"INT. LOWER HAB where he emerges from the core into the rotating Hab deck, and pushes himself down a ladder toward the floor. He accelerates as he gets closer to the floor, then rights himself with a twist and lands on his feet - now in gravity.",
"EXT. MARS RECOVERY. NIGHT Woody, in the MMU, is hovering over the lower segment of the Hab hull, and right away we see his problem. He ca n't reach the damaged spot because it's spinning past him, spewing vapor. WOODY -LRB- over radio. -RRB- Jim, how we doin' on the AG?",
"INT. LOWER HAB. NIGHT McConnell runs to a computer terminal and starts clicking with the mouse. MCCONNELL Just one goddamn second. Come on, c'mon. COMPUTER Voice print identification. MCCONNELL McConnell! COMPUTER -LRB- a beat. -RRB- Accepted. Shutting down artificial gravitational rotation. McConnell hears a sound up at the core tunnel. He turns, it's Terri. She holds an small 0 - 2 cannister, marked with a red cross. MCCONNELL Hang on! McConnell grabs onto a counter edge as.",
"EXT. SPACE. NIGHT Attitude control thrusters on the hull begin firing in pulses. The rotation of the lower Hab deck immediately starts to slow down. The great red ball of Mars drifts by.",
"INT. CORE TUNNEL. NIGHT Terri, lurching, grabs a ladder strut, and watches from the tunnel as. MCCONNELL Is also jarred by the firing of the thrusters. The rotation slows until the Hab is still. Zero - G. McConnell floats. He and Terri can hear the terrifying sound of air whistling out into space through the breach hole. COMPUTER Sixty per cent atmosphere. WOODY -LRB- V.O. -RRB- Get some light on the hole so I can locate it. MCCONNELL I've got a better idea. -LRB- shouts to Terri. -RRB- Stay there! He starts rooting through Phil's storage area - bags of M&M s, comic books - looking for what he needs.",
"INT. COCKPIT. NIGHT Phil is now strapped into the pilot's seat. He's scared, sweating hard, but concentrating fiercely as his one good hand works a battery - powered screwdriver. He's removing the panel of the main computer bay. Over the intercom, he can hear the merciless struggle going on elsewhere. WOODY -LRB- V.O. -RRB- I'm topside, Jim, do you know which sector? MCCONNELL -LRB- V.O. -RRB- I'm workin' on it!",
"EXT. SPACE. NIGHT The lower Hab deck is no longer revolving. Woody pops his thrusters and drifts over the metallic skin. But there's such a vast area to search! WOODY Jesus, uh, OK, this is gon na be like searching for a needle in a haystack.",
"INT. LOWER HAB NIGHT McConnell locates a can of Dr. Pepper, shakes this violently, then tosses it up to Terri, who's still in the tunnel mouth. She catches the drifting can, confused. When McConnell speaks again, he's gasping for air. MCCONNELL Shake out the liquid. TERRI Jim, I do n't - MCCONNELL Shake it out near the hull! Terri shakes out soda from the open can. She and McConnell watch the brown stream of fluid swirl up into the air, caught by escaping oxygen. It rises towards the `` ceiling'' of the outer hull, like a miniature tornado.",
"EXT. SPACE. NIGHT Woody still drifts over the hull, searching intently as his frustration builds. WOODY C'mon, c'mon, where are you? COMPUTER -LRB- V.O. -RRB- Fifty per cent atmosphere.",
"INT. LOWER HAB. NIGHT Terri, staring at the ceiling, sees something remarkable. THE SODA STREAM Swirling ever tighter, has formed a whirlpool that's now being sucked out through the breach hole in the hull. She can now see the ugly puncture for the first time. MCCONNELL -LRB- gasping. -RRB- Woody, the breech is in sector four! Sector four, copy that? WOODY -LRB- V.O. -RRB- Copy, I' heading there now. Terri turns, excited by McConnell's triumph ; she's just in time to see him collapse to the floor below her, as he starts to lose consciousness. He's deathly pale.",
"EXT. SPACE. NIGHT Woody spots a tiny geyser of brownish ice crystals spouting out of the hull of the lower Hab. It's some distance away from him, but clearly visible. WOODY -LRB- to himself, marveling. -RRB- Sonofabitch. You never did that in the simulator.",
"INT. LOWER HAB. NIGHT Terri pushes off from the ladder, drifting weightlessly down to McConnell. She opens the valve of the oxygen cannister, pushing the plastic mask over McConnell's face. He sucks in air, color returning to his skin as he revives.",
"INT. COCKPIT. NIGHT CLOSE ON THE COMPUTER'S GUTS. An incredible tangle of tubes, wires, chips, as Phil's gloved fingers - both hands now - probe desperately through them. PHIL Where are you, you little bastard, where are you? PHIL WINCES WITH PAIN. As he moves his hands and forearms deep inside the computer bay. Around him, several of the smaller screens and gauges are starting to malfunction, the data streams breaking apart, streaking into electronic snow. He shoots a tense glance at THE NAVIGATIONAL MONITOR Which is flickering crazily. It shows the ship moving much closer to its critical MOI point, indicated by a flashing red triangle aimed down at the Martian surface. COMPUTER Forty percent atmosphere.",
"EXT. SPACE. NIGHT Woody, popping his thrusters, moves as fast as he can towards the protruding finger of crystal, but he's not there yet. All of a sudden Woody's thrusters cut out. The ship is moving by, a meter beneath him. Woody punches his arm controls. Nothing. Then just as the outer edge of the hab starts to pass him, the thrusters kick back in. Woody grabs the edge, starts to move to the hole. Woody lets out a breath. WOODY -LRB- to himself. -RRB- Whoa.",
"INT. LOWER HAB. NIGHT McConnell, holding his breath, grabs a patch gun from a storage locker. Terri's still got the 0 - 2 cannister. He nods to her, and together they push off from the floor, leaping weightlessly up to the other side of the Hab, the `` ceiling.'' They reach the gaping puncture, which they now see has been only partially dammed by the soda ice.",
"INT. COCKPIT. NIGHT VERY CLOSE ON THE COMPUTER'S INTERIOR As Phil's gloved fingers finally locate the plug he's been searching for. He hopes. And grip it firmly. PHIL Gotcha! PHIL TAKES A DEEP BREATH. Says a silent prayer. Then he yanks the plug. SHRILL WHINES, ELECTRONIC CRACKLES from all around him, as the systems are abruptly shut down, in a way they were never meant to be mishandled. Terrifyingly, a couple of the monitors arc to each other as they die. Dodging sparks, Phil stares at THE NAVIGATIONAL MONITOR As it also flickers and dies. Now they're flying blind. COMPUTER Thirty percent atmosphere.",
"EXT. SPACE. NIGHT Woody arrives at the ice finger, knocks away the big crystal, then pulls his patch equipment from a pouch.",
"INT. LOWER HAB. NIGHT In the Hab, Terri uses the base of the 0 - 2 cannister to smash away the interior ice chunk, then McConnell, who's getting wobbly again, blasts the hole with the epoxy gun. As he works, Terri gives him another hit of air. COMPUTER Twenty percent atmosphere. The lights flicker out in the Hab.",
"EXT. SPACE. NIGHT Outside, Woody slaps a big square patch over the hole, rips off the backing. CLOSE ON THE PATCH As it changes color and shrinks, drawing itself down into the metal of the hull.",
"INT. COCKPIT. NIGHT VERY CLOSE ON THE COMPUTER'S INTERIOR. As Phil's fingers re - connect the same plug. PHIL PULLS HIS HAND OUT From inside the computer bay. He's trembling, sweat - streaked inside his faceplate. Blood has soaked through his gauze pads. His good hand hovers over the red main power switch. The moment of truth. PHIL OK. OK now. With a dramatic click, he throws the switch, hard - booting the computer system back on. He stares at the screens. Nothing happens! PHIL Come on. Come on! Frightened, furious, Phil bangs on the switch with his cordless screwdriver. When all else fails, hit something.",
"INT. LOWER HAB. NIGHT Feeble starlight from the viewports. McConnell and Terri, drifting side by side, stare at one another, expecting to die within seconds. It feels like an agonizing eternity. COMPUTER Twenty percent atmosphere. McConnell's eyes widen, as he realizes this is the same as the last reading. COMPUTER Pressure stabilizing. Atmosphere level increasing. Terri and McConnell look at each other. Tears of relief in her eyes. He is exhausted, nearly spent, but manages a grin. She holds the 0 - 2 mask up to his face, and as he grips it, breathing deeply, they hug one another.",
"INT. COCKPIT. NIGHT The lights and computer screens are flickering back on. All of them! The cockpit lights up like a Christmas tree. Phil bounces up and down like a madman, babbling in triumph. PHIL Yes! Awriiiight! Had it all the way. Yes! Forgetting his injury, he pounds his gloved fist on the console in triumph. PHIL Shit! He wrings his injured hand, then his gaze is caught by THE NAVIGATIONAL MONITOR Which pops back on, showing the ship and the MOI point coming perilously close together. PHIL'S EYES WIDEN IN FEAR As he keys his mike urgently. PHIL Get back in here, guys!",
"EXT. SPACE. NIGHT Woody floats above the repaired hole, scanning the nearby surface of the hull. WOODY Jim, there's a lot of scarring. I'd better check for other punctures while I'm out here. MCCONNELL -LRB- V.O. -RRB- Negative, negative. Woody, get back inside. We've got ta start the checklist for orbital insertion. WOODY -LRB- a beat ; reluctantly. -RRB- Copy, I'm heading there now. Woody jets back towards the open EVA hatch. But as he reaches this, about to re - enter the ship, he's captured momentarily by a breathtakingly beautiful sight below him. SUNRISE OVER MARS As the huge planet is REVEALED in all its red, unearthly glory. It's so close now that individual features can be seen with the naked eye - the vast chasm of Valles Marineris, and then Olympus Mons, poking all the way up through the Martian atmosphere. A stunning, alluring spectacle. WOODY Stares down at Mars, enthralled, as sunlight floods the side of the spaceship, sparkles off his visor. Dawn, after a very long night indeed. He whispers lovingly, under his breath. WOODY Hey, Beautiful. Then he stirs himself out of his reverie and hurries through the EVA hatch. CAMERA DRIFTS QUICKLY BACK and down along the hull as stark sunlight flares off the big propellant tanks, three in a row, and the thick silver tubes that join them. There's a good deal of scarring and denting from the meteor shower. Then, as the ship begins to MOVE OUT OF FRAME. WE MOVE IN CLOSER On one of these tubes, a feeder line to the engine bells, we see a scatter of tiny, undetected holes, about the size of the eraser at the end of a pencil. So small, so apparently harmless.",
"INT. EVA AIRLOCK. DAY As Woody enters, stripped from the MMU, dripping with sweat, McConnell is waiting for him. For a moment the two men just look at each other, then they surge forward into a fierce hug. WOODY -LRB- whispers. -RRB- Know what? You've got enough left. McConnell looks at him, understands. Terri sits nearby, where she has just finished stitching up Phil's hand. As Woody goes to her, she rises from her seat and looks at him tears of relief and pride in her eyes. TERRI Piece of cake? WOODY Well. Easier than the cha - cha. He scoops her into his arms ; they kiss passionately. Phil is blinking ; something seems to be getting into his own eyes. His voice catches for a moment. PHIL I do n't know what you're getting so cocky about. We scored better times in the sim at least twice. MCCONNELL -LRB- grins. -RRB- How's his hand? Terri separates from Woody, looks down at Phil. TERRI Seems OK. Couple of the tendons are going to be a little tight for awhile. Try to close your fingers, Phil, nice and slowly. Phil starts curling up his fingers. The middle digit remains extended in the universal gesture. They all consider this for a moment. Then Phil looks up cheerfully. PHIL Well, at least I'll still be able to drive. After a split - second they get it, and the whole crew roars with LAUGHTER, which builds and builds ; they're almost giddy with the relief of the tension.",
"EXT. DEEP SPACE. DAY MARS RECOVERY Sails INTO VIEW, with small attitude thrusters firing as the great ship maneuvers into position for its orbital - capture burn. Mars looks very large, blood - red. The entire spectacle is majestic, awe - inspiring. WOODY OK, we're ready to light this candle. Go/No Go for braking burn and MOI. Engines?",
"INT. COCKPIT. DAY All four astronauts are strapped in, fully suited and helmeted. Mars looms through the cockpit windows. The atmosphere is electric with excitement. MCCONNELL Go. WOODY Systems. TERRI Go. WOODY Nav. PHIL Go. WOODY We are Go for the burn. I'm fueling the engines. He flips three switches, in rapid sequence, and.",
"EXT. MARS RECOVERY. DAY As we MOVE IN on the damaged fuel line, we see a tiny but steady spray of fuel venting from the hole caused by the meterorite. This freezes into eerie streamers and chunks, which slowly drift away from the ship. They're quite beautiful. PHIL -LRB- V.O. -RRB- Optimum angle of entry minus seven degrees. Six. Five.",
"INT. COCKPIT. DAY Woody looks at the others for moment - everyone is set, looking good - then reaches for a last switch. PHIL Four. Three. Woody hesitates, then glances at McConnell. WOODY Jim? McConnell, moved by this honor, nods. He reaches out to throw the switch himself. MCCONNELL Let's go to Mars. As the countdown indicator reaches `` 0000.00.00'', a final signal PINGS, and he flips the switch.",
"EXT. MARS RECOVERY. DAY In total silence, the engines ignite. The second they do, the streamers of frozen fuel explode in a white flash.",
"INT. COCKPIT. DAY With alarms sounding, the four astronauts are slammed violently forward, against their restraints. WOODY What the - MCCONNELL Shut down engines! He and Woody both reach out, straining against the incredible G - forces, and manage to grab a red emergency lever, yanking it down hard.",
"EXT. MARS RECOVERY. DAY Too late! IN SLOW MOTION, we see a terrifyingly violent chain reaction. The fuel tanks themselves explode, one after another. The supporting metal struts are vaporized. The solar panels are snapped off. Two of the huge engine bells are smashed sideways, out of alignment, while the third, trailing pieces of the cowling, goes hurtling off, PAST CAMERA, like a flaming cannon ball. The entire aft section of the ship, including much of the lower Hab, instantly becomes a shredded, charred tangle of metal, and even worse, the explosion causes what's left of the ship - mainly the EVA chamber and cockpit - to tumble end over end, cartwheeling down towards Mars.",
"INT. COCKPIT. DAY In the windows, Mars goes crazily in and out of view. The astronauts, flung this way, then that, are all fighting against unconsciousness. WOODY Engines negative! No response! I've got no attitude control! MCCONNELL Manual separation! Blow the bolts! WOODY Negative! The CM does n't have enough thrust to correct this rotation! PHIL We're too steep! Falling into the atmosphere!",
"EXT. MARS RECOVERY. DAY From further away, the charred remainder of the ship can be seen spinning down towards Mars, which now fills the screen, looming as large as Earth, when seen from the space shuttle. The ship's motion is mercifully slowing as it hits the outer atmosphere, but just as clearly this steep, unplanned angle of entry dooms it. PHIL Christ, at this angle we'll burn up!",
"INT. COCKPIT. DAY ON A COMPUTER. Their ANGLE OF ENTRY is shown - much too direct - with an indicated swerve into blinking red disaster. Warnings flash : CRITICAL ENTRY! PULL OUT! WOODY How much time've we got? PHIL I do n't know! Three minutes? I do n't know! McConnell's mind is racing furiously, desperately. MCCONNELL Where's the REMO? PHIL The Resupply Module? Why? That's not - MCCONNELL Where is it?! Phil punches buttons. ON THE SCREEN a second ellipse appears : a blinking orange dot labelled `` REMO.'' It appears to be soon intersecting with their own trajectory. PHIL Uh, it's close. MCCONNELL Damn it, how close?! PHIL -LRB- shaken. -RRB- I - I do n't know. It'll take time. MCCONNELL We do n't have time! Figure it out! Now! Phil frantically types in commands on the computer. WOODY Jim, we're dead stick, there's no way to maneuver this ship into a link - up! MCCONNELL Not the ship. Just us. We have to go EVA. They look at him, stunned. Leave the ship? PHIL You want us to transfer in suits? TERRI Jesus, Jim - if we do n't make it - if we miss the REMO. MCCONNELL There's no other choice! Phil, how close?! PHIL One kilometer, that's the best I can do! They stare at Woody. We feel the full, terrible weight of his responsibility. Four lives hang on his call. WOODY Prepare to abandon ship.",
"EXT. SPACE. DAY The astronauts are outside the ship, tethered to each other with long shock cords. Other cords, clipped to their suits, trail gear bags. Phil clutches a silver metallic case - his precious computer repair kit. Woody is in the MMU. They're all rotating at the same speed as the ship behind them. WOODY On my mark, seven percent left thruster. Three, two, one, fire. All four astronauts fire a brief, simultaneous burst from the tiny attitude control thrusters in their suits. This stops their rotation, bringing their travel under control. The ship continues spinning in the background. Woody takes a final look at the charred, doomed Mars Recovery. The only home they've known for six months. He exchanges a silent glance with the others. They all expect to be dead in the next few minutes. Woody takes a breath, nods. WOODY Okay. Let's go. He pops the big thrusters on the MMU and starts heading away from the ship. The cord between Woody and the others pulls taut and they start to follow. WIDE SHOT Of Woody leading them away from the crippled spaceship, against the magnificent backdrop of the blood - red planet below. Four tiny figures, all alone in space. ANGLE ON MCCONNELL AND THE OTHERS As Phil looks back, his eyes searching the stars. TERRI What're you looking for? PHIL -LRB- softly, sadly. -RRB- Earth. TERRI -LRB- beat. -RRB- Hey. When we get back? We really will have to try this in the sim. He tries to smile. So does she. MCCONNELL How we doin' on fuel, Woody? Woody eyes a small display screen on his forearm. WOODY I'm at fifty percent. -LRB- looking down. -RRB- But I do n't see the REMO. THEIR POV Everyone is looking back at the curve of Mars against black space, expecting to see the REMO coming up behind them. TERRI Happens to glance directly below. TERRI There she is! THEIR POV The black outline of the little cargo craft drifts against the red of Mars. WOODY Jesus. She's not where I thought she'd be. PHIL We're going to miss her. WOODY Looks again at his display screen, frustrated. MCCONNELL What do you think? WOODY We ca n't catch it. Not like this. MCCONNELL -LRB- thinking quickly. -RRB- Use the tether. From a compartment on the side of the MMU, Woody pulls out. THE TETHER GUN About the size of a large flare gun. There's a carabiner - like hook five inches in diameter on the front of the gun. MCCONNELL We'll only have one, maybe two shots before she's out of reach. WOODY It'll be better if I leave you the gun while I run out to the REMO. I've got enough fuel left for that. MCCONNELL You'll be going too fast. WOODY I'll aim to overshoot, then brake like hell ; arc it in. McConnell looks at him. They both know how risky this is, and they also know it's their only chance. Woody flips a switch on the gun and pulls on the hook. Off it comes, trailing wire. Woody clips the hook to the MMU, then hands McConnell the gun. WOODY Seeya in a few. McConnell nods. Woody and Terri exchange a look - tender, loving - then Woody turns around and fires the MMU jets at full throttle. As Woody pulls away, line unspools from the tether gun. WOODY AND THE REMO Woody is chasing the REMO from above. It's as if he were in an airplane, trying to land on a car racing along a freeway. Woody is picking up speed quickly. Maybe too quickly. He checks his armpad display screen. WOODY Okay. I'm on path to overshoot. I'm gon na take the edge off. Woody starts braking with the MMU thrusters as hard as he can. CLOSE ON THE THRUSTERS Glowing with orange flame. They suddenly cut off. WOODY'S EYES Show alarm. He checks his display. WOODY I'm out. Coming in hot. Still long. -LRB- beat. -RRB- Abandoning the unit. I'll brake with suit jets. Woody hits some buttons and the MMU's latches snap open. He grabs the hook connected to the tether line, then pushes himself free of the MMU, starts firing his small suit jets. WOODY'S POV He's still going very quickly. WITH MCCONNELL, TERRI AND PHIL Floating close together. The tether line is still unspooling from the gun. They watch Woody, below and ahead of them, as he races towards the REMO. Terri's heart is in her throat. TERRI Oh Jesus. Jesus. McConnell reaches a glove out, touching her arm. BACK ON WOODY Still speeding towards the REMO. His suit jets cut out. WOODY Suit jets gone. But I'm gon na make contact. MCCONNELL, TERRI AND PHIL Stare at Woody's distant figure. INTERCUT - MCCONNELL At what velocity? WOODY Impact's gon na be a little rough. MCCONNELL At what velocity? WOODY -LRB- beat. -RRB- Thirty - two. A look between McConnell and Terri ; her face is stricken. MCCONNELL I'm gon na use the gun to slow you. WOODY No! You slow me and I'll fall short. MCCONNELL It's too fast, Woody. WOODY No choice. I'll be okay. Here we go. WOODY AND THE REMO Woody's coming down on the module at over thirty kilometers an hour. He holds the hook out in front of him with one hand while grabbing the tether line with the other, and WHAM! - he crashes into the REMO. WOODY'S HAND Slams the hook against a receiver on the hull of the REMO. IT CONNECTS - WOODY Tries to hold onto the tether line but his momentum is too much. HIS GLOVED HANDS Are ripped from the line. WOODY Slides over the hull of the REMO. HIS HANDS Grasp in vain for something to grab onto. They drag and bump and then finally his fingers close on. empty space. WOODY Is past the REMO, freefalling toward Mars. BACK ON MCCONNELL, TERRI AND PHIL As Terri screams. TERRI Woody! McConnell hits a button on the tether gun and starts to reel them quickly in towards the REMO. WOODY Tries his suit jets again - they're empty. HIS POV Falling away from the REMO. MCCONNELL AND THE OTHERS Are being reeled towards the REMO by the tether line. Another couple hundred meters to go. MCCONNELL Woody, what's your status? INTERCUTTING - WOODY -LRB- after a beat. -RRB- Uh, well, no suit jets and I'm still carrying a good deal of velocity. MCCONNELL As soon as we get hooked up, I'll come get you. WOODY -LRB- after a beat. -RRB- Uh, I'd have to say negative on that, Jim. MCCONNELL Negative on the transmission? WOODY No, I heard you. Negative on the maneuver. I am not retrievable. McConnell and Terri share a quick, anguished look. TERRI Woody, that's not possible. You're not going that fast. WOODY It comes down to the amount of fuel, honey. The suit jets were designed for attitude control, not travel. Retrieval just wo n't work. PHIL It has to work! WOODY Hey, believe me, I do n't like it any more than you do. TERRI Woody - WOODY Run the numbers, Jim. MCCONNELL I am. McConnell finishes looking over the numbers on his display pad. Terri is staring at him. When McConnell's eyes meet hers, they are red - rimmed. Haunted. MCCONNELL Woody, you hang tight. We'll get into the REMO, fire her up, drop her into a lower orbit and come scoop you up. WOODY Sounds good, Jim. TERRI It's gon na take half an hour to get the REMO reoriented! Woody'll be. He'll be in the atmosphere by then! MCCONNELL Then we'll have to get her moving faster. TERRI We do n't have time! WOODY You listen to Jim, honey. It's a good plan. TERRI No! We are going to - PHIL Oh Jesus, look! The ship! Phil points. McConnell and Terri look. THE MARS RECOVERY COCKPIT Is now several kilometers below and behind them. It's glowing red. then orange. then white. Then it erupts into a giant fireball, devoured by friction with Mars' atmosphere. MCCONNELL, TERRI AND PHIL IN DEEP SPACE Are all staring at this, awed, when McConnell happens to look up again. He sees something alarming. MCCONNELL Look out! THEIR POV They are drifting quickly into the REMO. MCCONNELL Brakes! ALL THREE Fire their suit jets, slowing themselves down. They bang into the REMO at about one - tenth the speed Woody did. They find handholds and grab on. McConnell hits a button on the tether gun. THE HOOK Releases from the REMO's hull. McConnell hits another button and it is reeled all the way into the gun. Phil is already scrabbling at a latch on the REMO's outer airlock door. MCCONNELL Okay, let's get inside! Phil, start dumping the cargo, or there wo n't be room for us. PHIL But we need those supplies for - MCCONNELL Dump the cargo. Hang on, Woody! WOODY Is looking back at the REMO. Smiles with relief to see that Terri has reached it safely. WOODY Will do, Jim. He turns to look at. MARS Right below him, filling his field of view. A long beat. WOODY -LRB- softly. -RRB- Hey, Beautiful. BACK AT THE REMO Terri makes a snap decision. She grabs the tether gun from McConnell's surprised hands, then pushes off from the REMO. McConnell lunges after her, his gloved hand straining. MCCONNELL Terri, no! But it's too late. She's already out of reach, and now fires her suit jets, pulling quickly away from the REMO. MCCONNELL Is reaching to activate his own jets, when PHIL'S HAND Grabs at his wrist, restraining this suicidal courage. They stare at each other. McConnell wrenches his hand free, half - maddened, agonized, staring after Terri. MCCONNELL Goddammit, Terri, it wo n't work! But Terri keeps on going. WOODY Looks back at the REMO, as he continues to fall towards Mars. Sees the small figure of his wife heading towards him. WOODY Terri, what are you doing? INTERCUT - TERRI I'll tell you what I'm not doing, Woody. I'm not going to watch you die. WOODY Terri - TERRI You'd do the same for me. AT THE REMO Phil is watching as Terri drops towards the distant twinkle of Woody's suit lights. The airlock door hangs open. Phil looks at McConnell, anguished. MCCONNELL Get inside. Dump the cargo, then start the systems. -LRB- Phil hesitates. -RRB- Now. INTERCUTTING BETWEEN WOODY AND TERRI As Woody keys his mike. Tries to steady his voice. WOODY No. I would n't come for you. Not if it just was n't possible. TERRI I can do it! WOODY No, Terri, you ca n't! You do n't have enough fuel to get me, stop us both, and get us back. Hell, you come any farther and you wo n't have enough to get back yourself. No response from Terri. WOODY Listen to me, goddammit! You have to stop! You have to stop now! MCCONNELL He's right, Terri. It's no use. Terri looks at her armpad display. CLOSE ON DISPLAY SCREEN As her fuel indicator drops from 50 percent to 49 to. TERRI Releases her thumb from the toggle control. HER SUIT JETS Stop firing. TERRI Drifts, staring towards Woody. TERRI AND WOODY Are on the same trajectory, going the same speed, and only about a hundred meters apart. But it might as well be infinity. WOODY Okay, honey? You got ta go back now. TERRI The hell I do. Terri raises up the tether gun and pulls the trigger. THE HOOK Comes shooting out of the gun, wire spooling out behind it. WOODY Watches as it comes shooting down toward him. PLATE POV - MOVING - AS Woody gets larger and larger, the hook gets closer and closer, and then SNAP! - the hook stops. ANGLE ON THE TETHER GUN The wire has run all the way out. WOODY Looks at the drifting hook, ten agonizing meters away from him. His only life preserver. TERRI Hits the button and the wire starts winching fast back into the gun. WOODY What are you doing? TERRI I'm gon na jet a little closer and try again. WOODY Terri, you spend any fuel getting closer, you wo n't get back, and if anyone tries to get you, they'll die too. No response from Terri. THE HOOK Is whipping back toward Terri and the gun. Woody's voice cracks ; he's very close to tears. Pleading now. WOODY Honey, please go back. Go back and help everyone get down to the surface. The hook slams back against the muzzle of the gun. Terri resets the gun quickly, in an anguished fury. TERRI I am not losing you. WOODY I ca n't let you do it. I ca n't. I'm sorry. TERRI Looks at Woody, two hundred meters away, sensing something different in his voice now, a terrible resolve. TERRI Woody? WOODY Raises his hands to his helmet ring. His eyes shining. WOODY I love you, Terri. God how I love you. He unscrews the ring, pops the seal. The outrush of air pushes his helmet all the way off. Woody shuts his eyes and opens his mouth. TERRI Woody, nooooooo!! Ice crystals bloom with Woody's last breath. There's nothing to suck in. He does n't fight it. He lets death come. ANGLE ON TERRI Tears streaming, chest heaving, frantic. TERRI Woody, oh Woody, please God, no! HER THUMB Hovers over her suit jet toggle control. McConnell's voice, from the distance, sounds very tired. Like he's aged fifty years in the blink of an eye. MCCONNELL Come back, Terri. Terri's thumb is still poised. Death would be better. ANGLE ON MCCONNELL Outside the REMO. The hatch is still open. We see Phil inside, staring out anxiously towards Terri. MCCONNELL -LRB- quietly, simply. -RRB- He's gone. He sees no movement from the distant, small figure of Terri. MCCONNELL Please, Terri. -LRB- long beat. -RRB- We need you. TERRI'S THUMB Pushes the toggle control. to one side, not forward. TERRI'S FACE Inside her helmet, is streaming with tears. She turns herself around, reluctantly. Heads slowly back towards the REMO.",
"INT. INTERNATIONAL SPACE STATION. MMCR. DAY On the big screen at MMCR, a glowing green icon labelled `` MARS RECOVERY'' is shown in orbit, as a stream of computer figures crawls beside it. SUPER TITLE : `` SPACE STATION. MMCR. 20 MINUTE TIME LAG'' Beck stands by the NEW CAPCOM, as the latter repeats headset data. NEW CAPCOM Okay, they're Go for the burn and MOI. Should be initiating the burn just about. now. Suddenly the data stream goes crazy. It shivers, streaks, breaks up. then stops. The blinking green icon representing Mars Recovery glows brighter. then vanishes. A moment of stunned silence in the big room. Then a rising babble of scared, confused voices. RAY BECK Takes a step forward, staring helplessly at the screen. His face goes pale, stricken. His worst nightmare is taking place, right before his eyes - and for the second mission in a row.",
"EXT. REMO. MARS ORBIT. NIGHT The REMO is now on the night side of Mars. Cargo boxes, packing cases and assorted equipment containers float outside. The hatch is sealed.",
"INT. REMO. MARS ORBIT. NIGHT McConnell hovers by a bulkhead. He's anguished, haunted by the image of Woody's death. We see him struggling to overcome his grief and shock, trying to force himself to concentrate on the critical tasks at hand. In front of him, a panel has been opened ; he's facing SMALL UTILITY MONITOR Already glowing, surrounded by coded switches, indicator lights, com ports. MCCONNELL Stares at these, thinking hard, remembering. He's holding a palm - sized computer, already wired into this panel. He begins tapping the keys, but then stops himself. Reconsiders. He turns, looking back at TERRI AND PHIL Hunched on what would be the floor if the REMO were on land. They grip stowage straps to keep from drifting. Clearly this tiny, rude cargo craft was never designed for manned operation. It's claustrophobic, bitterly cold. PHIL'S FACE Is a map of torment. He is shivering, both from cold and fear, barely holding himself together. He hugs his computer supply case like a scared child would hug a teddy bear. TERRI Is worse. A thousand - yard stare. She's in shock. MCCONNELL Knows he has to occupy them. Speaks softly. MCCONNELL Phil? -LRB- no response. -RRB- Hey, Phil? Phil looks up at him dully. MCCONNELL We're going in blind. We'll deploy the chutes by laptop. I need to get on the data bus, put in a software patch, and try to soften this tin can's landing. I could use your help with the patch. After a moment Phil releases his strap, pushes towards McConnell. He stares numbly at the monitor for a few beats, then takes the little computer from McConnell. He begins to tap the keys, slowly at first, but then with more confidence. MCCONNELL That's great. Good job. -LRB- turning to Terri. -RRB- Hey, Terri, I was wondering. Think maybe we could rig some kind of seatbelts out of those cargo straps? Terri hesitates a moment, then looks at the strap in her hand, as if she's never seen it before. Dully she reaches for another one, begins looping them together. MCCONNELL Studies both of their faces intently. Knows that he ca n't push them too hard, too fast. They're moving like robots, but at least they're moving.",
"EXT. REMO. MARS ORBIT. NIGHT. (MINUTES LATER) Small thrusters are firing, getting the REMO into position for entry into the atmosphere. Then all the jets fire in unison, braking the REMO, as it falls away from us, towards Mars at night.",
"INT. REMO. HIGH ATMOSPHERE. NIGHT The astronauts, restrained on the floor by Terri's jury - rigged strap system, hold on for dear life. The buffeting through the atmosphere is shaking them violently. BEHIND THEIR FACEPLATES We see the effect of the incredible g - forces : faces distorted, unable to focus their eyes. Each of them thinking, once again : Now I'm going to die.",
"EXT. MARS ONE BASE CAMP. NIGHT The Mars One Base Camp looms in the foreground, like some desolate, otherwordly ghost town. And then, in the night sky beyond it, we see an eerie and beautiful sight : a bright streak of red as the REMO slashes down into the Martian atmosphere, like a shooting star, finally disappearing behind distant mountains. Then all is stillness again, deathly stillness and silence.",
"INT. INTERNATIONAL SPACE STATION. VIEWPORT. DAY Beck stands by a viewport, staring out into space. He's just lost four good friends, and also knows he is seeing, in this disaster, the probable end of the Mars Program, and the certain end of his own career. He does n't, at first, even hear the nearby VOICE. NEW CAPCOM Ray? We've got some new data, just coming in. Beck looks up, his eyes red - rimmed. The CapCom shifts uneasily. He's holding a computer printout. NEW CAPCOM We just - it does n't make any sense. We're not sure how to read this. BECK Data? NEW CAPCOM Yes sir. Telemetry reports the REMO has left its orbit and reached the Martian surface. BECK -LRB- pause. -RRB- Crashed? NEW CAPCOM No sir. Under power. Beck snatches the paper, staring at it. For the first time we see some life coming back into him. BECK When? NEW CAPCOM Sixty - three minutes after Mars Recovery went off - line. Sir, the graph reads like a controlled descent. But that does n't make any - Beck suddenly understands. And it's a joy to see his face, the tears of happiness that spring into his eyes. BECK They used the REMO as a lander. The CapCom stares back at him, feeling the same surge of hope. BECK It's McConnell, it's got to be! Nobody else could have pulled this off. Son of a bitch! They're alive.",
"EXT. MARTIAN SURFACE. MARS ONE BASE CAMP. DAY POV ANGLE - WIDE As we see the Mars One Base Camp : silent, very still. In the distance, the massive ERV still looms, perched for takeoff, the bottom rungs of its ladder buried. PANNING We see that sand has drifted high against the Hab, as well as the sides of the partially - deflated tunnel and greenhouse, and the four - man rover. The oxygen still and propellant plant are almost buried. Solar panels, some of them punctured by micrometeors, FLAP and CREAK eerily in the slight breeze. And finally, CLOSER TO CAMERA We see the camp's American flag, still on its toppled pole, but nearly obliterated by sand. ANGLE ON MCCONNELL, TERRI, AND PHIL Who are spooked by this desolation. They've paused at the edge of the camp. They have dragged along with them from their landing site a crude sledge, improvised from the REMO's hatch cover and some cargo straps. On this, their meager supplies. McConnell, glancing at the others, knows he's got to keep their spirits up. He kneels, digs out the flag pole. Brushing off the sand, he rights this and re - plants it firmly in the ground, packing the sand down with his boot. He stands for a moment looking at the flag, his eyes moist. Despite the cost, they have made it to Mars. When he turns, Terri and Phil are looking at him, moved. MCCONNELL Better? PHIL -LRB- pause. -RRB- Damn right. MCCONNELL Terri, let's see if that oxygen still is operational. Phil, you better check out the ERV. I'll take the Hab. If you find Luke's - He catches himself. Phil and Terri look at him. MCCONNELL Just keep in touch.",
"EXT. ERV. DAY Phil steps from the umber sand onto the ERV's ladder, begins to climb. The four - man rover is nearby, sand drifted high against its tires.",
"EXT. OXYGEN STILL. DAY Terri kneels by the oxygen still, begins to scoop away sand with her gloved hands. She still looks numb.",
"EXT. HAB. DAY MCCONNELL -LRB- on radio. -RRB- I'm at the main airlock door. He unlatches a panel, grips the emergency lever inside, tugs it. After a seeming eternity, the door groans and creaks open. Little puffs of dust and sand swirl about, settle. MCCONNELL Entering Hab.",
"EXT. ERV. DAY Perched atop the ERV's ladder, Phil, using a battery - powered drill, is just removing the final screw from the hatch cover. He lifts off the heavy cover, lets it tumble to the sand. PHIL I've got ERV access. I'm going in. Terri, you okay?",
"EXT. OXYGEN STILL. DAY Terri is still scooping sand. She's just cleared the first row of gauges. TERRI Yeah. This is gon na take awhile to get back to 100 % capacity.",
"INT. MARS ONE HAB. DAY McConnell walks through the kitchen, which we recognize. He pauses to look at the table from which Luke and his crew taped their final, fateful message. HIS BIRTHDAY CUPCAKE Still sits there, eerily, with its stub of burned - out candle. Half - finished, frozen cups of coffee. Suddenly, out of the corner of his eye, he catches a flash of white. He spins, startled, and sees HIS OWN REFLECTION. In his white pressure suit, staring back at him from the screen of a video monitor. Above this is perched the camera the Mars One astronauts used for their comm packets. MCCONNELL SHIVERS This place is filled with ghosts.",
"INT. ERV COCKPIT. DAY Phil, in the pilot's seat of the ERV, pushes a computer's power button. The screen flickers weakly to life, startling him a bit, but all he sees on it are white streaks, crazy static. PHIL ERV appears structurally intact. Computers are fried, just as we thought.",
"EXT. OXYGEN STILL. DAY Terri has cleared more gauges, valves. She sits back on her heels, studying the tangle of pipes. TERRI Copy that. I've got busted filters here, clogged intakes. Helluva cleanup job, but so far no major damage.",
"INT. GREENHOUSE. DAY AN INNER AIRLOCK DOOR WHOOSHES OPEN, AND MCCONNELL ENTERS. THEN STOPS, ASTONISHED. HIS POV On a fantastic, almost jungle - like atmosphere. The plants have been allowed - encouraged? - to grow wildly. Some are even pushing against the inflated roof. Water condenses on the leaves and the roof, then is captured and routed through pipes of every shape and size, dripping into a clever assortment of collection jars. Liquid water. MCCONNELL Reaches into a bucket, touches the water. His glove comes up before his wondering eyes, dripping. Grasping the implication, he looks down at his forearm instrument pad. Blinking red letters read `` 25 deg. C.'' And something else - the puffy white material of his suit is starting to slightly deflate, revealing his arm's shape. There's air pressure in here! MCCONNELL Punches in more numbers, and gets the readout : `` Nitr. 78 % / 02 20 % / C02 1 % / Trace gasses 1 %.'' MCCONNELL Slowly reaches up, unsealing the neck ring of his helmet. He hesitates, then lifts it off. Takes a deep, quenching lungful of pure air. Holds it in. Lets it slowly out. For a moment he does n't trust his own voice. Then speaks softly towards his helmet. MCCONNELL I'm in the greenhouse. You better. you better come see this for yourselves.",
"INT. ERV. DAY Phil, still sitting at the cockpit controls, turns. Through a side viewport he can just make out the greenhouse. PHIL What is it? There's no answer. He rises.",
"EXT. OXYGEN STILL. DAY Terri rises, concerned, and turns. Through the distant, translucent wall of the greenhouse, McConnell's shadowy figure can be seen, moving slowly. TERRI Jim?",
"INT. GREENHOUSE. DAY McConnell sets down his helmet, starts exploring, pushing through fronds as he makes his way down an aisle. The dripping foliage is so dense it almost chokes his path. Everywhere he looks, he has the sense of a scrounged - together, recycled, jury - rigged environment, where a great deal of ingenuity has come into play. He pauses, looking up. Overhead, a bellows, stitched together from pieces of plastic tarp, slowly inhales and exhales, pumping air into a vent in the upper deck of the Hab. Its power comes from a crude water wheel, a buckets - and - strut assemblage, tidily sutured with duct tape, like some giant Erector set. As McConnell turns away from this, still marvelling, a ragged figure leaps through the foliage! It smashes into him, with a HARSH SCREECH, knocking him to the ground. McConnell, on his back, straddled by his attacker, fights back as best he can. A blur of flailing arms and fists, as he tries to push the creature away. Staring up, he catches a glimpse of the almost unrecognizable LUKE GRAHAM Whose frightened eyes glare back at him through a swaying curtain of dreadlocks. His skin is creased, weathered, above a scraggly beard. His clothes are tattered, patched together. In one fist he grips a rock hammer, which he swings high overhead, about to drive the claw through McConnell's skull. McConnell grabs his arm desperately, trying to fend him off. MCCONNELL Luke, it's me! Jim McConnell! We see a flash of uncertainty in Luke's eyes. Then he yanks his arm free, and his hammer arcs up even higher, trembles in the air. LUKE You're not here! MCCONNELL Luke, it's Jim! LUKE No, no, you're not. you ca n't be here. MCCONNELL Your wife is Debra! Your son is Bobby! You were reading Treasure Island with him! As he stares down at McConnell, Luke's eyes finally light up with recognition. but before he can move, he is seized from behind and flung backwards to the ground, the hammer ripped from his grasp, as Terri and Phil pinion his arms. McConnell scrambles to his feet. MCCONNELL Do n't hurt him! McConnell kneels beside Luke, signalling to Terri and Phil that it's okay to let him go. They stand back, pulling off their helmets. Everyone is panting, out of breath. Luke sits up, slowly studying their features, one after another, as if still not quite certain whether they might vanish. His voice is hoarse, rusty from disuse. LUKE Phil. Terri. Luke looks with incomprehension at McConnell. LUKE Jim. I do n't understand. You're not supposed to be here. Why are you here? Where's Woody? MCCONNELL He did n't make it Luke. Luke stares at McConnell, trying to absorb everything. He looks to Terri, who looks down. LUKE Oh no. Luke shakes his head in dismay. He seems to shrink in on himself. It's all too much for him to take in. McConnell kneels and puts his arm around Luke, comforting him.",
"INT. ELSEWHERE IN THE GREENHOUSE. DAY (MINUTES LATER) Luke sits on the side of his cot, in the little tented sleeping area he's created in one corner of the greenhouse. Nearby, his hotplate, pots, and some freshly harvested vegetables and greens. The others crouch around him. MCCONNELL Luke, what happened here? A flash of fear in Luke's eyes. LUKE -LRB- whispers. -RRB- We fired the radar. It came. They all died. MCCONNELL What came? LUKE They all died, but I was spared. Why? Had to be for a reason. Then, all of a sudden, I knew why I was spared. His voice drops to a conspiratorial whisper. LUKE So somebody would be left to figure out the secret. He taps his forehead, significantly, then nods once or twice. The others exchange an uneasy glance. MCCONNELL Luke, we still do n't understand. LUKE Come. Comecomecome. He rises quickly and scuttles off, waving an impatient hand, without waiting to see if they'll follow. McConnell, Terri and Phil stare after him for a long moment. Phil breaks the silence. PHIL Is it just me? Or is he about two mealpacks short of a picnic? TERRI Long term exposure to low gravity can have an adverse impact on the brain. He could be suffering from a form of asphyxia. MCCONNELL Or maybe his whole crew died and he's been marooned alone on Mars. Let's give him time to adjust. McConnell and Terri follow in the direction Luke went. Phil, trailing, mutters to himself. PHIL Greatgreatgreat.",
"EXT. MARS ONE BASE CAMP. DAY Luke, now in a patched - up pressure suit and grubby - looking helmet, stands peering down unhappily at the improvised sledge, with its meager supplies. McConnell, Terri, and Phil walk up behind him, wearing their helmets again. They hear Luke over his RADIO. LUKE So. let me be sure I understand this. Your ship blew up, with all its supplies. Then you emptied the cargo out of the REMO, and it was totalled on landing. You've got no food, no water, no spare oxygen, nothing but what I see here? McConnell and the others are silent, embarrassed. Then McConnell nods. Luke looks at him, a cracked grin. LUKE What kinda rescue mission is this? MCCONNELL That kind. He points to the computer repair case, as Phil lifts it off a sledge. Luke turns, looks at the case, then Phil. PHIL Check it out. New nav boards for the ERV. I got four round - trip tickets, baby, right in here. LUKE -LRB- softly. -RRB- Four. In some mysterious way, this reminder of Woody's death seems to bring him fully back into himself. He takes Terri by the shoulders, deeply saddened. She meets his gaze. LUKE Terri. I'm so sorry. He was a good man. TERRI Thanks, Luke. LUKE When there's time, we'll talk. She nods, grateful. A beat. He looks at the others. LUKE This way. He starts off across the sand, and they follow.",
"EXT. GRAVE SITE. DAY They stand looking down at the three long mounds of dirt, as Luke completes his account of the disaster. LUKE When I came to and dug myself out of the sand, my faceplate was cracked. Leaking badly. I barely made it back to Base. It was weeks before I could work up the nerve to go back out there and look for their. He has to pause, collect himself. LUKE Renee was the only one I could find. But it did n't seem right, somehow, to dig just one grave. There is an emotional silence. Luke turns, takes a few steps. He stares into the distance, observing the swirling dust around them. McConnell hesitates, notices Luke's gaze. MCCONNELL Has it been blowing like this for a while? -LRB- Luke nods. -RRB- We saw a big storm from space. But Micker said it was turning south. Luke looks off into the distance, studies something only he seems to see. LUKE If it holds course. McConnell pulls his gaze away from the horizon, looks at Luke. MCCONNELL This - whatever it was - this force. You say it came directly out of the top of the mountain? LUKE You do n't believe me. That's okay. But I'm not crazy, Jim. McConnell is n't quite sure how to reply to this. MCCONNELL What did you mean by its `` secret?'' What secret? LUKE -LRB- pause. -RRB- You better see for yourselves.",
"INT. MARS ONE HAB. DAY McConnell, Terri, and Phil follow Luke into the Science Lab area of the Hab, then stop in their tracks. Their helmets are off. It's very cold in here ; their breath is frosty. THEIR POV - The Lab is crammed with rock and sand samples from many locations, all tagged and labelled. There are drawings and diagrams covering the walls : Martian landscapes, annotated maps, and over and over, obsessively repeated, drawings of the vortex that destroyed the Mars One crew. LUKE See, where they made their mistake was, they must've planned for it to be visible from Earth. The others turn, looking at him. Luke is aiming an electric space heater at his computer. As the coils glow red, he rubs his hands together, poised over the keyboard. MCCONNELL Who's `` they''? Luke reacts to their blank stares. He has a kind of jittery feverish intensity, a secret excitement. LUKE Do n't you understand? Hundreds of millions of years have gone by. You've got erosion, sand storms, lava flows, meteor impacts - hell, in that much time, the whole surface would've changed. So no wonder we never saw it before. Well, I mean, we saw it, but not like they meant us too. Too much dirt on it. The others exchange worried glances. Is he totally nuts? TERRI Saw what? LUKE This. On the computer screen they're looking at. CLOSE ON THE MONITOR Pictures of the Face after the disaster, seen from ground - level, in telephoto views. Rising out of a ring of rock and dirt rubble is the shiny - white profile of a gigantic face. The white is smooth, impenetrable. It has the scale of a mountain, but the planes and angles are clearly unnatural. MCCONNELL, PHIL AND TERRI -LRB- INT. MARS ONE HAB. -RRB- They are stunned. Can hardly believe their eyes. PHIL Jesus. TERRI What is that? LUKE I do n't know. But whatever it is, somebody built it. And not us. A few moments of silence while they try to absorb this. MCCONNELL What about the sound? That signal you heard before the explosion? LUKE Good, Jim, good. That's the key. A click of the mouse and they all HEAR, over speakers, the DEEP PULSING BASS TONE. LUKE Hear the pauses? That's what made me realize it's a pattern - a repeating pattern. MCCONNELL Mathematical? Luke is trembling with excitement. His words tumble out very quickly. He's been waiting so long to share this. LUKE That's what I thought. There are distinct blocks in the pattern, and within each block the tones come in groups of three. Threethreethree. For months I struggled to analyze it, trying different constructs. Then I thought about dimensions. MCCONNELL X - Y - Z coordinates. LUKE Right! Three groups equals three dimensions. So I tried assigning different graphic values to each block, group and tone. And finally I got. this. He types another command. They all look at the monitor, the glow reflecting on their faces. They are amazed again. CLOSE ON THE MONITOR Where we see the beautiful interlocking chain, the universally familiar double helix, of a DNA molecule - the elegant blueprint of life. BACK TO SCENE -LRB- INT. MARS ONE HAB. -RRB- PHIL My God. Is that what I think it is? TERRI DNA. that's a model of DNA! LUKE You see it, too. Thank God. I was afraid I was just suffering from a form of asphyxia. She glances at him, surprised that he overheard her earlier diagnosis. But he smiles, not offended. PHIL So, okay, so - somebody left this thing here, somebody - other than human. But what the hell is it? LUKE My guess is, it's a signature. A self - portrait of whatever species created the Face. MCCONNELL But that DNA looks human. TERRI No way. It's missing the last pair of chromosomes. See? MCCONNELL Yeah, but it's close. Damn close. TERRI The difference between a man and an ape is less than three percent of genetic material. But that three percent gives you Mozart. Einstein. PHIL Or Jack the Ripper. They look at him. Then all four turn, stare again at the slowly rotating DNA, pondering its awesome mystery. MCCONNELL When he finally speaks, never takes his eyes off the screen. We can read in them the almost overwhelming grip this mystery has on his imagination. MCCONNELL It's been a long day. Let's get a couple hours sleep, then tackle this thing when we're fresher. Phil, your first priority will be to get the motherboards over to the ERV. Concentrate on getting communications up first. -LRB- Phil nods. -RRB- Soon as we've got the juice, we'll send a packet to Micker, tell them Luke's OK, and that. everything else that's happened. The rest of us will take an inventory of supplies, see where we stand. Okay? The others nod in weary agreement. As they start out, towards the relative warmth of the greenhouse, Terri looks at Luke, at his scraggly beard and his long, lank hair. She smiles, brushing some locks off his forehead. TERRI C'mon. There's a pair of scissors in my medkit.",
"INT. MARS ONE HAB. ANOTHER SECTION. NEXT MORNING As in the Science Area, this space has enough thin oxygen for the astronauts to remain unhelmeted. McConnell and Luke are still going through what few supplies were salvaged from the REMO. Luke pauses, rubbing the unfamiliar smoothness of his cheek. His beard is gone, his hair neatly trimmed. McConnell enjoys Luke's own wonder at his transformation. MCCONNELL How do you feel? LUKE Like I just got back my other three percent. McConnell smiles. Terri enters through the hatch, removing her helmet. TERRI The backup generator is salvageable, and two of the solar panels. I'm pretty sure I can get the oxygen still back into production, too. So we're not in such bad shape, considering. LUKE Good work, Terri. McConnell, rummaging through Phil's backpack, drops an already - opened bag of M&M s. The CANDIES scatter and bounce all over the floor. MCCONNELL Look at that. Phil's idea of absolute essentials. Luke and Terri smile. McConnell scoops up the fallen M&M s. He slows down as he does it, looking at the scatter of little round CANDIES. Something tugging at the back of his mind.",
"INT. MARS RECOVERY. EVA AIRLOCK. DAY Phil's intricately designed M&M model of his `` ideal woman'', floating weightlessly, as McConnell drifts past it, plucking away a couple pieces of the candy. Phil reacting, in good - natured annoyance. The gap in the design left by McConnell's theft.",
"INT. MARS ONE HAB. ANOTHER SECTION. DAY CLOSE ON MCCONNELL As he trembles with excitement. With sudden comprehension. MCCONNELL It's not a signature. LUKE -LRB- puzzled. -RRB- What? MCCONNELL That noise from the Face. It's not a signature. It's a test. Luke and Terri stare at him.",
"INT. MARS ONE HAB. MOMENTS LATER McConnell sits in front of the computer back in the science lab area, staring once again at the mysterious DNA model. Luke and Terri stand behind him. McConnell's energy, his new certainty, is almost electrifying. MCCONNELL It's asking us for the right answer. It wants us to put in the missing pair of chromosomes. LUKE But why? MCCONNELL To prove that we're human. Terri and Luke look at each other, starting to understand. LUKE We fired radar into that thing. Concentrated sound waves. MCCONNELL Which it interpreted as a wrong answer. Yes! It's like a, a security alarm. When it gets an incorrect response, it defends itself.",
"INT. ERV COCKPIT. DAY Phil is listening in on radio. He's got panels open, wires dangling, as he works his ongoing repair. He keys his mike, uneasily. PHIL So what happens when it gets the right answer?",
"INT. MARS ONE HAB. DAY As McConnell looks at Luke and Terri. MCCONNELL -LRB- hesitates. -RRB- I do n't know. But we've got to find out. -LRB- to Luke, pointing. -RRB- Can you work this the other way? Figure out which tones would be equivalent to the missing chromosomes? Then dub them into your recording of the signal? LUKE I think so, yes. MCCONNELL What about the radar gun? Will it accept that input? Can we transmit a completed signal back to the Face? Luke stares at him, startled by what he's implying.",
"INT. ERV COCKPIT. DAY Phil is also growing increasingly nervous. PHIL Whoa, whoa, hold on, Jim. What if you're wrong? Whoever goes out there. I mean, what if you're wrong? Three people have already died over that thing.",
"INT. MARS ONE HAB. DAY As Luke and Terri look tensely at McConnell. TERRI Four. McConnell looks at her. MCCONNELL Terri, if we leave here without getting some answers, they all died in vain. Terri shakes her head. TERRI We just do n't know enough about that - that thing out there to take any more chances. MCCONNELL What are we here for, if not to take chances? His passion startles them ; they've never seen him so emotional. He points at the computer screen. MCCONNELL This means we're not alone. It means we're on the brink of the greatest discovery in mankind's history. But we've still got to prove it. Who knows when someone else will get back here? Or if they ever will? You know what Congress is like. They'll say it's too dangerous, too much loss of life, let's go back to unmanned flights. We could be the last explorers to come here for decades. We're it, guys. -LRB- pause. -RRB- We're it. LUKE -LRB- quietly. -RRB- We do n't have to go out there. There's a better way. They look at him, surprised.",
"EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY The familiar, plucky little figure of ARES - 8 wheels across ocher sand, with the radar gun jury - rigged onto its back. Ares' video snout WHIRRS out, extending. The familiar bass rumble of the Face is very loud from here. LUKE Checking video feed.",
"INT. MARS ONE HAB. LATE DAY McConnell, Terri, and Phil have gathered around Luke as he pushes buttons, and a monitor CRACKLES to life. White streaks, then a blurry image, which he tries to enhance. Finally the image starts to sharpen. LUKE There! ON THE MONITOR They see the familiar stark white profile of the FACE, shot from ground level, in a SLOWLY APPROACHING ANGLE. THE FOUR ASTRONAUTS Stare at the ominous sight. They're all more nervous than they want to show. Luke's fingers delicately work a joystick as he maneuvers the remote surveyor. MCCONNELL How close do we need to get? LUKE I'm not sure. Maybe we better stop by that boulder.",
"EXT. MARS. THE FACE. LATE DAY Ares - 8 whines to a stop by a large boulder, which partially shields it from the Face, looming beyond. The radar gun swivels, locating its target. Then stops, ready to fire.",
"INT. MARS ONE HAB. LATE DAY Luke looks at Terri, Phil, and McConnell. Phil shuts the lid of the box holding the new nav boards, snaps it protectively down. He nods. Terri takes a deep breath, then she nods. Luke's hand hovers over the red firing button ; a moment of awesome uncertainty and danger. He looks at McConnell, who finally gives a nod of command. Then Luke hits the button.",
"EXT. MARS. THE FACE. LATE DAY From the radar gun on Ares - 8's back, a sharp, high - pitched electronic burst is emitted, pulsating like a tuning fork as it's fired towards the Face. After a few seconds it stops. For a moment nothing happens. Then the deep bass rumbling stops as well. The only remaining sound is of WIND, stirring up dust on the Martian plains. ANGLE ON THE FACE As suddenly a huge, curved segment of the white surface begins to rise from the earth, like a gigantic hangar door, sliding out of sight into an upper sheath of some kind. The movement is measured, stately, utterly silent. As the segment rises, it reveals a blinding white light : the interior of the Face. No inside details can be seen.",
"INT. MARS ONE HAB. DAY McConnell, Luke, Terri and Phil stare at this phenomenon, awed. They're barely breathing. PHIL Oh my God. LUKE It worked. It worked! MCCONNELL Check for radiation. Luke punches buttons, waits anxiously for a readout. LUKE Normal. Seismic. normal. Anemometer steady. No sign of the vortex. PHIL I do n't know what we did, but guys - does that look to you like a hostile gesture? TERRI No. More like an invitation. LUKE Or another test. McConnell is staring at the mysterious opening. On his face, a growing look of determination. MCCONNELL Luke, the four - man rover. Does it still work? The others look at him, their expressions changing as they realize what he's implying.",
"EXT. MARS ONE BASE CAMP. LATE DAY McConnell, once again helmeted, emerges from the Hab airlock. Luke, Terri and Phil are coming out behind him. The wind has picked up, and fine dust is blowing. They stop, staring off in astonishment towards A FRIGHTENING SIGHT The entire sky has darkened from its customary salmon into purplish - black at the horizon, with bloody streaks above. The DUST STORM has turned their way ; it's now sixty kilometers away and closing. The main body of it reaches two thousand meters above the surface and stretches out along a thousand - kilometer front. THE ASTRONAUTS Stare at this unholy juggernaut, alarmed. McConnell turns to Luke, whose expression is grim. MCCONNELL How long before it hits? LUKE An hour? Maybe less. MCCONNELL How bad? LUKE A storm like that? It could go planetary. And last a year. McConnell stares at him. LUKE It'll sock us in, Jim. We wo n't be able to take off. If that happens, with what few supplies we've got left? We'll starve to death. McConnell turns, staring off towards the killer storm. The others look at him with questioning gazes. He turns again. There's the four - man rover, ready to go. Waiting. MCCONNELL Phil, how much longer to prep the ERV? PHIL Maybe forty - five minutes. It'll be tight, but we can make it. MCCONNELL Then there's still time for us to get out there and back. He looks a question at Luke and Terri, one after the other. Their eyes, tense but excited, signal agreement. MCCONNELL Stay here. Continue the repair. If something goes wrong, you get out of here before that storm hits. PHIL Go back. alone? MCCONNELL If we're not back in forty - five minutes, I want you to prep and launch. -LRB- looks at his armpad display. -RRB- That's 1950 hours. PHIL Jim - MCCONNELL It's not a suggestion, it's an order. You understand? PHIL -LRB- reluctantly. -RRB- I understand. But - MCCONNELL You understand what? PHIL If you're not back by 1950, I prep and launch. McConnell nods, satisfied. Looks at Terri and Luke. MCCONNELL Let's go. They start towards the four - man rover. Dust is swirling more thickly through the air, and the WIND IS LOUDER NOW. Phil stands watching them go, a lone, rather forlorn figure.",
"EXT. PLAINS OF CYDONIA. DUSK In a WIDE SHOT, we see the rover approaching the Face, across the plains. The sky beyond the Face is almost black, as the storm approaches from that direction. It's marching relentlessly across the planet, with flashes of lightning now rippling up and down its face, and even small tornadoes spinning off near its purple - black base.",
"INT. ERV COCKPIT. DUSK Phil has panels off. He's reaching into the guts of the main computer, working feverishly. His repair kit is beside him.",
"EXT. MARS. THE FACE. DUSK In a HIGH SHOT, we look down across the side of the Face and its vast, open doorway, out of which the bright white light is streaming. Into this corridor of light, we see the rover arrive, slewing to a stop, throwing sand from its wheels. GROUND LEVEL SHOT Looking at the cavernous vertical gap in the side of the Face. The opening towers to a dizzying height above us ; the white light strains our eyes. The three astronauts ENTER FRAME as we see them, from behind, staring up. ON THE ASTRONAUTS' AWED FACES As they are stunned by the immensity of the scene, the cosmic mystery before them. Luke and Terri look at McConnell. Another moment of critical decision. He keys his mike. MCCONNELL Phil, do you read me?",
"INT. ERV COCKPIT. DUSK Phil keys his own mike. PHIL Yeah, Jim. Your signal's breaking up a little in the storm, but I read you.",
"EXT. THE FACE. DUSK McConnell stares into the bright opening. Bathed in its light. MCCONNELL We're at the Face. We're gon na need a few minutes here. Same deadline, launch at 1950. With or without us. Do you copy? PHIL -LRB- pause. -RRB- Copy that. Terri and Luke exchange a tense glance. TERRI Jim, are you sure you want to do this? MCCONNELL I'm not sure of anything anymore. But I did n't come a hundred million miles just to turn back in the last ten feet. Luke smiles. The three of them stare into the portal. McConnell, between the others, reaches out and grips each of them by a gloved hand. They take a sort of collective breath. Then they walk forward together, into the light.",
"INT. THE FACE. DUSK The astronauts continue forward, each of them extending a free hand. The light is too dazzling for them to gauge distances, textures, colors - anything at all. They ca n't see walls, ceiling, even a floor. MCCONNELL Surface seems firm and level. LUKE Roger that. Texture is smooth. TERRI I've got good footing and no obstructions. Let's check our - Behind them, there is an abrupt WHOOOSH, like a giant airlock sealing shut. They turn, startled and nervous. Letting go of each other's hands, Luke and Terri run back the way they came, but almost immediately are stopped by a wall of some sort. The vast hangar - type door has closed behind them. TERRI It's solid again! We're trapped. MCCONNELL Do n't move! Keep this orientation. The three scared, helmeted faces seem to float in the brightness, some twenty feet apart. MCCONNELL -LRB- keys his mike. -RRB- Phil? Phil, can you still hear me?",
"INT. ERV COCKPIT. DUSK Phil, saying a silent prayer, reaches over and turns on the main computer. It works! He's immensely relieved. PHIL Computers are online! Ready to load software. But guys - we're losing visibility here. He glances out the cockpit window at the blowing dust. Then realizes that he's hearing only silence over his radio. PHIL Guys? Jim? Luke? Terri? Is anyone there? No answer. Phil stares at his radio in dread. PHIL Do n't leave me.",
"INT. FACE. DUSK McConnell is staring at his spacesuit's sleeve. He can see that the suit material is starting to deflate, revealing the shape of his arm, just as it did in Luke's greenhouse. He hesitates, then begins to unscrew the sealing ring on his right glove. Terri and Luke see this. TERRI -LRB- alarmed. -RRB- Jim, what're you doing? You'll depressurize! MCCONNELL I do n't think so. McConnell makes the final twist on his glove and there's the hiss of rushing air. LUKE Jim, seal it! MCCONNELL No. That was air going into my suit, not out. Look at your own suits - they're not rigid anymore. We've got pressure in here. Luke looks at his sleeve. McConnell's right. TERRI Above Mars atmospheric? That's impossible. MCCONNELL We're millions of miles from Earth and we're inside a gigantic white face. What's impossible? Terri types on her arm keypad. She's amazed. TERRI There's six psi in here. -LRB- taps more keys. -RRB- Nitrogen and oxygen. LUKE Otherwise known as air? Terri nods. McConnell starts unscrewing his helmet ring. Luke follows suit. TERRI Hey, there may be some lethal trace gasses I have n't picked up yet, or. or. oh, the hell with it. Terri starts taking off her helmet. In a few moments, all three helmets are off. They hold them, glowing softly, against their chests, as they breathe deeply and gratefully. Air. And then, at this very moment, as if they have just passed another kind of test. HIGH, STRIATED WALL Appears through the glare, soaring up before their startled eyes. White, metallic, composed of complexly - linked bands, plates, ramps. It's part of a STRUCTURE whose overall height and breadth keep us from understanding its purpose. But the hatch opening slowly in its side, at the top of an approach ramp, is unmistakable. Radiant white light streams out from within, forming a glowing tunnel, down towards the astronauts. THE ASTRONAUTS BLINK Raising their gloves against the dazzling glow. At the end of this tunnel of light, inside the hatch frame A SHAPE MATERIALIZES And slowly resolves itself into a glowing humanoid form, which we somehow sense is female. She appears benign, wondrous. This glowing MARTIAN - a holograph - regards the astronauts for a few moments, then beckons to them, as if to say `` Enter.'' All her motions are both calm and calming - precise, unhurried, gracious. MCCONNELL, LUKE AND TERRI Look at each other. They're awed into silence, and still tense, but now more out of excitement and anticipation than fear. Their eyes agree : Let's go. They walk forward slowly, carrying their helmets, up the ramp and into the tunnel of light, following the Martian, who retreats before them. They go through the hatch and disappear inside.",
"INT. MARTIAN STRUCTURE. DUSK Following the Martian, they find themselves in a round, open space, defined by light, with a smooth matte - metallic floor, but without apparent walls. The Martian stops, turns, facing them. The astronauts stop, too, uncertain what they're meant to do. Then the Martian gestures again. A cylindrical holographic column appears, rising from the floor in front of the astronauts. Inside it, a swirl of eerie lights, millions of them, like cosmic fireflies. MCCONNELL, LUKE, AND TERRI Set down their helmets, then cautiously converge around this column, forming a loose triangle. As they stare into it, the myriad lights are reflected off their own eyes and their spacesuits. IN THE HOLOGRAPHIC COLUMN The whirling lights resolve into images, which relate to them the story of ancient Mars : A BLUE PLANET we do not recognize. All is peaceful, beautiful. INTERCUT MCCONNELL -LRB- softly. -RRB- Is that what I think it is? LUKE Yeah. It's Mars. SUDDENLY A HUGE ASTEROID Tumbles through space towards the planet. TERRI Oh my God. ON THE PLANET - CLOSER VIEW As thousands of small rocketships lift away from the surface, heading in a stream out of the solar system. THE ASTEROID IMPACTS And a wall of fire and debris scours the planet. Oceans boil and vaporize. Two gigantic hunks are blasted out of the planet, spinning in flames. MCCONNELL, LUKE, AND TERRI Involuntarily flinch, bathed in the fiery images. THE PLANET IS NOW DEAD As dust storms roil across its cold, lifeless surface. The flaming hunks of molten rock cool into twin moons. THE ASTRONAUTS Stare at this devastation, deeply moved. IN DEEP SPACE The stream of Martian ships grows smaller and smaller as it continues on its epic voyage towards a new solar system. Then we zero in on ONE PARTICULAR ROCKETSHIP As it peels off and goes in another direction. Graphics show a model of what the ship contains : the familiar double helix of DNA. The ship heads towards another blue planet in our solar system. EARTH As it was then. More clouds than now, more ocean, and the landforms all wedged together. TERRI Her voice is soft. TERRI Earth, when it was still Pangaea. Before the continents separated. THE LONE MARTIAN SHIP Makes a fiery streak through Earth's atmosphere and plunges into the ocean. Instantly the image of the DNA double helix grows, filling the entire holographic column, then it begins to spin and pulse, disintegrating into a phantasmagoric whirl of new images. MCCONNELL, LUKE, AND TERRI Cry out, stunned by the strobelike power of the display as LIVING FORMS Flash into the holographic column, swimming, growing, crawling, leaping, flying : one - celled microscopic organisms, plankton, plants of all kinds, insects, then fish, dinosaurs, birds, small mammals, larger mammals - the entire stunning panorama of evolution, distilled into a single explosive sequence, as the images wash over the dazzled, awestruck FACES OF THE ASTRONAUTS Until finally the images whirl away, the holographic column dissolves, leaving only a circle of glowing, concentric, colored rings on the floor. The astronauts are left staring at each other across the open space where the column had been. THE MARTIAN Now comes forward with outstretched arms and completes their circle, taking the fourth position. McConnell is opposite her glowing form, and Terri and Luke are at either side. The Martian reaches her arms out, inviting them to link hands. As they do so, the Martian seems to be staring directly into McConnell's eyes. MCCONNELL Is in wondrous awe, his whole face radiant with joy. It's the first time we've ever seen him utterly without sadness or reserve. Staring at the Martian, he understands. MCCONNELL They're us. We're them. LUKE We're Martians? MCCONNELL That's what she means. TERRI Oh my God. The Cambrian explosion. McConnell and Luke look at her. TERRI Almost six hundred million years ago, there was a sudden expansion of life on Earth. The first multi - celled plants and animals appeared. No one has ever understood why. LUKE They seeded Earth. We hear a BELL - LIKE TONE, a single lingering high note, and simultaneously the outermost ring of the circle on the floor begins to glow brightly. It is an intense chromium yellow. THE ASTRONAUTS Step back, startled, unlinking their hands, and look at the circle of colored rings. These shade from yellow, on the outer rim, to a deeper yellow, then orange, then finally reds. Inside the final, deep red ring is a circle of indigo blue, about a meter across. Small points of light glitter here, like stars against a midnight sky. THE MARTIAN Steps closer to McConnell. She has picked him out in particular. Now she beckons for him to move inside the circle of colored rings, to stand on the indigo core. MCCONNELL Looks back at her, nods his understanding. For the first time she seems to smile. Benevolence, reassurance. Then as abruptly as she first appeared, she fades away. Vanishes. Luke and Terri look at McConnell, confused. There is a sudden, static - filled CRACKLE from their helmets, nearby on the floor. PHIL -LRB- over radio. -RRB-. in, please. Can you. me? Terri picks up her helmet, leans into its mike. TERRI Phil, we're here! We read you. Even through the scratchy interference, they can hear the relief in Phil's voice. And then the desperation. PHIL Thank God! Listen, this storm is really -. -LRB- loud static. -RRB- - few more minutes, I ca n't -. -LRB- more static. -RRB- You've got ta get back to the ship! And then they hear only STATIC. His signal is lost. TERRI Phil? Phil? Suddenly the BELL - LIKE TONE REPEATS, at a lower register, with a more sustained note, and simultaneously, the last of the yellow circles of light begins to fade, as THE FIRST ORANGE BAND Begins to glow brighter. McConnell turns, looking at this new color, then looks back at Luke and Terri. MCCONNELL We are in a ship. This is a ship. And the countdown has already started. Terri looks at Luke, alarmed. LUKE He's right. TERRI Then let's get the hell out of here! She scoops up Luke's helmet, tosses it to him. As he catches it, she's already starting back out, in the direction they came from, and Luke follows her. Until they both become aware that McConnell is n't with them. They turn back. He's still rooted to the spot, his gaze locked on the indigo core of the colored rings. LUKE Jim. McConnell does n't turn. LUKE Jim, we got ta go. MCCONNELL I'm not coming with you. TERRI -LRB- stunned. -RRB- What? Coming back, she sees how calm he is. How certain. TERRI What are you talking about? We've got to get home. MCCONNELL That's where I'm going. Do n't you see? That's what all this is for. -LRB- McConnell gestures at the ship around them. -RRB- You were right Terri. This is an invitation. To follow them. To follow them home. He looks into their faces. Terri is trying to grasp this idea, still incredulous. Luke has the beginning of a half smile. MCCONNELL I have to go. This is the mission now. To find out who we are. Is n't that why we came here? Like Maggie said, `` To stand on a new world and look beyond it to the next one.'' Luke nods at the memory of Maggie's words. Terri remembers too. McConnell's passionate conviction is affecting them both. MCCONNELL You know, when you think about it - I was n't even supposed to be here - all the accidents, everything that got us to this point, it's just. it's just. I just know it's right. Terri looks at Luke. Luke is smiling. He understands. MCCONNELL I'm okay. I know what I'm doing. But you're running out of time. You've got ta get back to the ERV and get off this planet. Now please go. Luke steps closer, looking at his old friend. LUKE I once felt like I was taking your turn. But now I think maybe you're taking mine. Guess I'm a little jealous. They clasp hands for a moment. But in this moment is a lifetime of camaraderie, an eternity of farewell. LUKE Thanks for saving my life. MCCONNELL My pleasure. Luke nods, deeply moved. He turns away, picking up his helmet, as Terri comes closer, looking at McConnell, a long unspoken beat. Her eyes are glistening. TERRI I wish Woody were here to see this. He would've wanted to go too, Jim. Terri smiles. She is starting on the road to recovery. She's going to be okay. MCCONNELL He's here, Terri. We would n't have made it without him. Terri nods. She digs into one of her suit's pockets, pulls something out. She hands it to McConnell, and his fist closes around it. TERRI Take care, Jim. McConnell smiles. Terri smiles back at him. Then she turns, picks up her helmet, and crosses to where Luke has paused, looking back. LUKE Hey, Jim? MCCONNELL Yeah? LUKE Have a great ride. MCCONNELL Always do. Luke and Terri exchange a final silent farewell with him, then hurry away, into the darkness. MCCONNELL Looks down at what Terri gave him. IT'S WOODY'S NECK CHAIN With the little Flash Gordon rocketship. MCCONNELL Grips this tightly as he looks up.",
"EXT. MARS. THE FACE. PLAINS OF CYDONIA. NIGHT The hanger - like hatch has reopened, and Luke and Terri, helmeted again, emerge from the Face. The leading edge of the dust storm is upon them. They ca n't see much more than a few meters. As they reach the rover, they hear, even in this chaos, that the deep pulsing tone of the Face has started again. They look at each other, uncertain what this means. But McConnell is now beyond their help. Luke keys his mike. LUKE Phil? Phil, do you read? -LRB- to Terri. -RRB- He's not reading. TERRI I can barely read you. Let's get the hell out of here!",
"INT. ERV COCKPIT. NIGHT PHIL Is anyone there? Can anyone read me? Phil gets no response. He is shaking, almost crying. He hesitates, then starts hitting some keys. CLOSE ON HIS COMPUTER DISPLAY Which reads : `` PRE - LAUNCH CHECKLIST.''",
"INT. MARTIAN SPACESHIP. NIGHT McConnell has shed his backpack, with its unneeded oxygen tank. He steps cautiously onto the colored rings. Nothing seems to happen. Moving further, he takes his place on the indigo circle at their core. He looks at THE GLOWING TAKE - OFF COUNTDOWN INDICATOR As it dips from orange into red ; the BELL TONES are continuous now, very deep and rapid.",
"EXT. PLAINS OF CYDONIA. NIGHT The rover, with Luke and Terri inside, races away towards the safety of the ERV, as the maelstrom boils over the Face behind them. The sky is purplish black, thick with flying debris and eerie lightning flashes. Towering billows of dust chase them over the plain, nearly enveloping them as they speed towards us, passing OUT OF FRAME.",
"INT. MARTIAN SPACESHIP. NIGHT McConnell reacts, surprised, as suddenly A TRANSPARENT, GLASS - LIKE CYLINDER Begins to rise around him, swiftly and smoothly, coming up from the circumference of the indigo circle. Then a second, identical cylinder - the top half - drops down from somewhere overhead. The two sections meet and fuse in a flash of light, containing McConnell inside them, as neatly as if he were in a giant, transparent mailing tube. MCCONNELL Fights against a stab of claustrophobia. Is he being imprisoned? Or somehow protected? Either way, he's virtually immobilized. In this tight space in his bulky suit, he ca n't even move his arms. Only his head and neck can still shift.",
"INT. ERV COCKPIT. NIGHT Phil is going over his final pre - launch checklist, flipping switches and pressing buttons. He looks at his DIGITAL CLOCK Which reads `` 1350.'' PHIL IS STRICKEN, TORMENTED His finger hovers over a `` Fire'' button. He licks his lips nervously, squeezes his eyes shut, and hits the button. CLOSE ON COMPUTER DISPLAY And the words : `` IGNITION SEQUENCE INITIATED''",
"INT. MARTIAN SPACESHIP. NIGHT McConnell is straining inside the cylinder that surrounds him, when something catches his attention. He arches his neck, looking down. A COBALT - BLUE TRANSPARENT LIQUID Is beginning to fill the cylinder! It swirls in, from some unknown source, rising rapidly ; already his lower boots are covered. MCCONNELL'S EYES Widen in alarm. He strains against the sides of the cylinder but HIS GLOVED HANDS Slide helplessly across the smooth surface. MCCONNELL Looks down again. THE COBALT LIQUID Is up to his knees. Now his thighs. MCCONNELL Cranes his neck, staring up. Can he wedge himself higher, can he somehow climb to safety? ABOVE HIM The entire `` ceiling'' of the Face is becoming translucent. He can see the dust storm, boiling overhead. And now, rising into this, are fiery coils of energy from the Face itself. These swirl and twist in every direction, like angry water snakes ; battered by the fierce winds. Two vast forces on a collision course.",
"INT. ROVER. NIGHT Luke drives the rover through the blinding storm, as Terri stares at a dashboard computer screen. They have to shout to be heard over the ROARING WIND. TERRI I've lost the Base Camp beacon! Luke looks over alarmed. CLOSE ON A DIAL As the needle spins freely, giving no direction whatsoever. TERRI No good! We're driving blind. LUKE I'll try to keep on a straight line! It's our only chance. TERRI Do n't worry! I've worked with Phil for four years! I know Jim gave him a direct order, but he wo n't leave without us.",
"EXT. PLAINS OF CYDONIA. NIGHT The Rover races towards us, the front of the storm chasing it from behind, then completely overtaking the Rover. It disappears from view!",
"INT. ERV COCKPIT. NIGHT Phil sits in the pilot's seat. He is looking at a computer graphic that shows the engines readying to launch. With resignation, he keys his mike. PHIL This is ERV, do you read? ERV to Rover, do you read? Phil waits a second, then reaches slowly for a blinking red switch that reads `` LAUNCH.'' He hesitates, then actually has his fingers on it, about to flip it, when he hears a crackle of static on the radio. Phil keys his mike. PHIL This is ERV, do you read? LUKE -LRB- very faint. -RRB- Save the fuel, Phil. We're coming in. And Phil chokes back a sob. Blinking back the tears, he tries to compose himself, then keys his mike. PHIL Uh, Phil's not here right now. He left for Earth five minutes ago. Please leave your message at the beep.",
"EXT. THE FACE. NIGHT FROM GROUND LEVEL we see that the coils of energy are rising from the forehead of the Face, from its `` third eye,'' spinning and looping faster and faster, starting to form a vortex. But unlike the wind vortex that killed the Mars One crew, this is a vortex of fire. As we watch, more fiery streaks begin to emerge from the sides of the Face, from the chin, cheeks and temples. These all rush upwards, like lava flowing uphill, gathering in intensity as they leap free of the Face itself and spiral into the atmosphere. The peak of the forming vortex is already piercing the lowest layer of storm clouds, causing a dark counter - swirl.",
"EXT. MARS ONE BASE CAMP. NIGHT Phil stands at the bottom of the ERV's ladder, gripping it to steady himself, staring into the swirling dust. THE ROVER appears out of the dust and sand, the immense storm seeming to chase it from behind. Luke and Terri climb out, struggle towards him through the wind. Phil grips their hands, helping them over to the ladder. He looks back, confused. PHIL Where's Jim? TERRI He got another ride. Phil stares at her, bewildered. LUKE Tell you on the way. Let's go!",
"INT. MARTIAN SHIP. NIGHT LOOKING DOWN INTO THE CYLINDER, we see that the cobalt - blue fluid has risen to McConnell's upper chest. Now it's at his shoulders! It pours into his suit through his neck ring. He strains on tiptoes, craning his head back, trying to keep his unhelmeted face above the rising liquid. He sucks in deep desperate gulps of air, his head thrashing from side to side. Then suddenly the fluid is over his mouth, his nose, his forehead. His whole body is submerged! The level of fluid continues to rise towards the unseen top of the cylinder. MCCONNELL Squeezes his eyes shut, holding his breath. Not so much fighting this anymore as simply floating in place, waiting for his inevitable death.",
"EXT. PLAINS OF CYDONIA. NIGHT WIDEVIEW FROM ABOVE, as the energy vortex bends from side to side, pushing back the swirling storm that surrounds the Face. As the vortex coalesces its energy into a cylindrical shape, we see through its center to a rising form - the Martian ship. It is a flattened convex circle whose matte - metallic angles replicate the `` Face'' imagery.",
"EXT. PLAINS OF CYDONIA. NIGHT. SIDEVIEW FROM INSIDE THE FACE As the Face burns away around us, the Martian ship begins to rise and spin.",
"EXT. PLAINS OF CYDONIA. NIGHT The vortex is now a tight, rapidly spinning cylinder. As it draws more and more power from the disintegrating Face, the Martian ship in its center spins faster and faster.",
"INT. MARTIAN SHIP. NIGHT MCCONNELL'S FACE Is spinning and shaking too, more and more violently, as the huge buildup of G - forces tears at his body. We're reminded of Nick Willis just before the vortex exploded him ; is the same thing about to happen to McConnell? His eyes remain tightly shut, bubbles are streaming from his lips. His last breath is nearly exhausted, it's being shaken from his lungs.",
"INT. MARTIAN SPACESHIP. NIGHT As we MOVE IN CLOSER ON HIS FACE, we suddenly see, with him, a SERIES of rapid - fire, almost subliminal IMAGES FROM THE PAST. We recognize each one. Previously, though, we saw them as still photos ; now they have movement, life, and we view them from new and slightly different angles. These images INTERCUT with glimpses of McConnell's pale, shaking, near - death face in the present. THE YOUNG MCCONNELL Under the Christmas tree, lifts his new model rocket from its box. He turns to us, smiling joyfully. A blinding white flash, and he disappears. THE TEENAGED MAGGIE Is on her porch, under a night sky, bending down to the eyepiece of a TELESCOPE. She looks up at us with a shy, proud smile. A blinding white flash and she's gone. MAGGIE AND MCCONNELL In flight suits, holding their helmets, stand on the wing of a fighter jet. The radiant young couple turn to each other, kissing. A blinding white flash and they vanish. MAGGIE MCCONNELL In an astronaut's pressure suit, drifts rapidly towards us, reeling in along a tether. A man's gloved hand is outstretched, reaching for her. As she grips the hand, we see her triumphant expression through her faceplate. A blinding flash ; she's gone. MCCONNELL'S FACE - IN THE PRESENT Is shaking savagely ; he is very near death. And then, all at once, the SHAKING STOPS. Time itself seems to stop. McConnell opens his eyes, staring STRAIGHT AT US. And then, fully accepting his fate, he throws his head back, opens his mouth and takes in a deep lungful of the fluid. He can breathe it. His eyes widen in surprise and understanding. He can breathe it! This fluid will keep him alive! His whole body relaxes, the tension draining from his head and shoulders, as he fully trusts this launch for the first time. And then, with his eyes wide open, he sees, from memory, one final image. BRIDAL VEIL IS LIFTED And REVEALS, in CLOSEUP, the beautiful face, the shining eyes of MAGGIE McCONNELL. Beatific, eternal. She gazes directly INTO CAMERA, then smiles. MCCONNELL Smiles back.",
"EXT. PLAINS OF CYDONIA. NIGHT WIDE VIEW, FROM ABOVE, as the energy vortex changes from red - orange to blue - white. It ROARS with terrifying power as its top starts to bend, angling like a telescope towards a specific point in the stars. Then the Martian ship - a rounded darker form, little more than a blip within the vast, blue - white column of energy - shoots away from the surface, leaving only a blacked crater where the Face had been.",
"EXT. MARS. HIGH ATMOSPHERE. NIGHT ANGLE FROM DEEP SPACE, LOOKING DOWN, as the Martian ship, riding its blue - white column of energy, streaks up into the vast blackness, like a narrowly focused spotlight piercing the night. Down below, we can see the dust storm in all its vastness still boiling orange and brown across the planet's surface, which it now completely covers. As the Martian ship flashes by us, it passes another ship, much smaller and slower, rising through the storm clouds on a different trajectory. We recognize the familiar, comfortable sight of the ERV. PUSHING IN QUICKLY ON THIS. We see three figures in the cockpit.",
"INT. ERV COCKPIT. NIGHT Luke, Terri and Phil are strapped in, with their acceleration just starting to level off, when suddenly their cockpit interior is starkly bathed in white light. They wince at the unearthly radiance, shielding their faceplates with gloved hands. TERRI Dear God. Look at that. Through their cockpit window, they watch the Martian ship hurtle by them at a hundred times their speed. PHIL Is that him? Luke nods. Their eyes are glistening. Luke's voice is a whisper, both of prayer and farewell. LUKE Godspeed Jim McConnell.",
"EXT. SPACE Looking through the cockpit window we see the Martian ship receding into the infinite distance of space - a long blue - white scratch that in moments begins to fade. Finally it is a tiny point of light, taking its place amongst the limitless expanse of the star - filled heavens. THE END"
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] | In 2020, the Mars I mission launches for planet Mars, commanded by Luke Graham (Don Cheadle). Upon arrival, the team discovers a bright white formation in the Cydonia region, which they suspect is an extrusion from a subsurface geothermal column of water, useful to future human colonization. After reporting this to the Earth-orbiting World Space Station, they go to investigate the formation and hear a low sound on their communications system. Radar initially reports that the formation is metal, but when they increase power to the radar, a large vortex appears and kills everyone except Luke. After the vortex subsides, the formation is revealed to be part of a large humanoid face. The space station observes an electromagnetic pulse from Mars and receives a distress message from Luke. Realizing that the pulse would've damaged the ERV ("Earth Return Vehicle") computers, they repurpose the Mars II mission into a rescue. Months later, Mars Rescue, consisting of Commander Woody Blake (Tim Robbins), his wife Terri Fisher (Connie Nielsen), recent widower Jim McConnell (Gary Sinise), and technician Phil Ohlmyer (Jerry O'Connell), enters Mars orbit. They discover that all satellite imagery of the formation is covered with static. Micrometeoroids breach the hull, and the crew are forced to abandon ship and take refuge in the REMO ("Resupply Module") orbiting Mars. Woody launches himself at the module and manages to attach a tether to it, but is knocked off into space. Terri tries to rescue Woody, but knowing that she would run out of fuel before reaching him, Woody removes his helmet, killing himself to save her. The survivors arrive on the surface of Mars, and begin repairing the ERV. They find Luke living in a greenhouse, who shows them pictures of the fac, and reveals that the pulses in the low sound they heard represented a 3D model of human-like DNA, but missing a pair of chromosomes. Jim determines they must complete the sequence to pass a test, and they send a rover to broadcast the completed signal via radar. Following the transmission, an opening appears in the side of the structure. With a massive dust storm approaching Jim, Terri, and Luke head to the formation, while Phil stays to repair the ERV. Phil is ordered to launch, with or without them, before the storm hits. The three astronauts enter the opening, which seals behind them. A three-dimensional projection of the solar system depicts the planet Mars, covered with water, being struck by a large asteroid and rendered uninhabitable. A projected humanoid alient reveals that the natives of Mars evacuated in spaceships, one in which was sent to seed Earth with DNA in the hopes that it would create lifeforms who could one day land on Mars and be recognized as descendants. An invitation is offered for one astronaut to follow the Martians to their new home. Jim accepts the invitation, bidding farewell to Terri and Luke, and is sealed inside a small capsule. Terri and Luke race back to the ERV arrive just as Phil is about to take off. They barely escape the dust storm into space as Jim's capsule is launched from the crumbling formation and past them toward the Martians' home. | Mission_to_Mars |
[
"INT. WAREHOUSE - EARLY MORNING CAMERA -LRB- STEADICAM -RRB- holds on a man in a suit, sitting behind a desk, on the phone : BARRY EGAN -LRB- Adam Sandler -RRB- BARRY yes I'm still on hold. OPERATOR And what was this? BARRY I'm looking at your advertisement for the airline promotion and giveaway? OPERATOR This is `` Fly With Us?'' BARRY It's hard to understand because it says in addition to but I ca n't exactly understand in addition to what because there's actually nothing to add it too. OPERATOR I think that's a type - o then, that would be a mistake. BARRY So, just to clarify, I'm sorry : Ten purchases of any of your Healthy Choice products equals five hundred miles and then with the coupon the same purchases would value one thousand miles - OPERATOR That's it. BARRY Do you realize that the monetary value of this promotion and the prize is potentially worth more than the purchases? OPERATOR I do n't know. I mean : I do n't know. OC DISTANT SOUND OF A CAR SKIDDING TO A STOP, SOME VAGUE, DISTANT SCREAMING IS HEARD. THEN SILENCE. Barry hears this, gets distracted, then back to the phone call ; BARRY Can I call you back if I have any further questions? Can I get your extension? OPERATOR It's extension 215 if you want to try me back. BARRY Ok. Thank you. He hangs up the phone and walks through his warehouse. It's fairly non - descript place, boxing materials, etc.. Products seem to be mainly silly novelties -LRB- pens that light up, key chains, novelty toilet plungers, etc -RRB- He lifts a LOADING DOOR and LIGHT POURS INSIDE, WASHES OUT THE FRAME. he's silhouette. CAMERA follows him out. stays overexposed and over his shoulder as he looks down towards the street. his business is situated at the end of a common driveway, shared with a few other nondescript places and an Auto mechanic. distant SOUND of a car SPEEDING and SKIDDING. hold, then :. a JEEP CHEROKEE comes FLIPPING into FRAME, far off at the mouth of the alley, on the street. The JEEP ends up landing RIGHT SIDE UP. HOLD. Barry flinches a little, stares. the JEEP sits idle for a moment. then it drives off. then : A speeding, small TOYOTA comes into view at the mouth of the alley, screeching to a halt. The passenger side door opens and a small, wooden HARMONIUM -LRB- like a portable organ -RRB- is placed on the ground. The TOYOTA speeds away. a moment or two later another NON - DESCRIPT CAR flies past very fast. BEAT. Barry squints, looks at the small HARMONIUM sitting alone in the middle of the street. He hesitates, looks around, holds, then walks back inside his warehouse.",
"INT. BARRY'S WAREHOUSE - THAT MOMENT Barry on the phone again ; BARRY I'm not exactly sure what that means. VOICE If they break or something. What is it, plastic? BARRY It's a plastic, yeah. VOICE Right. Alright, lem me call you first thing tomorrow, I'm gon na run the numbers, see what's what and I'll give you a call back - BARRY Did you have my home phone number? VOICE For what? BARRY If you wanted to call me back I could. VOICE I'm fine, I have your work number. BARRY Ok. because of the time difference if you needed to call me early? VOICE It's fine. I can just get you at your office. BARRY Ok. VOICE Ok, bye, bye. BARRY Bye. He hangs up the phone and walks outside, CAMERA follows him again, out to the alley, over his shoulder. he looks down the length of the alley at the Harmonium. HOLD, THEN : A small FORD ESCORT pulls into the driveway, around the Harmonium, parks. a young woman named LENA LEONARD -LRB- Emily Watson -RRB- exits the car and starts to walk down the length of the alley towards him. CAMERA stays over his shoulder and turns into a profile 2 - shot ; LENA Hi. Do you work at the mechanic? BARRY No. LENA They're not open yet? BARRY They do n't get opened until eight. BEAT. Barry gently steps back and out of the FRAME. LENA Is it ok if I leave my car you think? BARRY I do n't know. LENA I thought they opened at seven. -LRB- beat. -RRB- If I left my car would it be ok? BARRY I do n't know. LENA Do you know them. BARRY Not very well. LENA Can I ask you, can I trust to leave my keys with you and give them to you so that when they get here you could give them to them? BARRY Ok. LENA You think it's ok where I left it, right there? BARRY I think that'll be fine. Lena hands him her keys, he steps back into FRAME, THEN : LENA There's a piano in the street. BARRY Yeah. BEAT. LENA Ok. Maybe I'll see you later. Thank you for your help. BARRY Thank you. LENA Maybe I'll see you later, when I pick up my car? BARRY Ok. She walks away. he starts back inside the warehouse, hesitates, watches her go. right before she reaches the end of the alley, she glances back quickly, over her shoulder. he dodges inside real quick. HOLD THE EMPTY FRAME. then he steps back out. looks off at the Harmonium. and the empty street. he looks around some more. then he makes the long walk down the street. ON THE STREET. Barry stares at the Harmonium a little bit, looks around, both ways, then casually picks it up and walks back towards his business. He brings it into his office and places it on his desk. He tries a few keys. pressing down. there's no sound. He presses his hand on the foot pedal and presses a key and a small note is made. BEAT. he does it again. and holds the note. CUT TO BLACK.",
"INT. WAREHOUSE - OFFICE - EARLY MORNING Barry enters the warehouse with harmonium and runs into his office. He places it on the desk and hits a key : no sound. Barry goes to his knees and unlatched the bellows. He pumps the bellow, reaches up, presses a note, and another. then stands up into CU. and presses the 5 note melody. SUDDENLY : THE SOUND OF THE POD BAY DOOR SLIDING. Barry spins around, scared shitless, sees : LANCE, who enters the warehouse, Barry rushes out to greet him ; LANCE Hey, good morning, Barry. BARRY Hey. Lance. can I. LANCE You ok? BARRY Yes I'm fine. LANCE Why you wearin' a suit? BARRY Um. I bought one. I thought maybe it would be nice to get dressed for work, can I show you something? LANCE Yeah. you got here early huh? BARRY yes. They enter into the office, Lance sees the harmonium ; LANCE What is this? BARRY I do n't know. I think it's a piano. a small piano. LANCE That's not a piano. I have a piano at home. where'd you get it? Lance walks around behind the harmonium. leaving Barry alone. towards the warehouse. he starts to back up a little. BARRY Well. it was dropped on the street. Sal, Ernesto and Rico all start to come into work behind Barry. he sees them : CAMERA pushes in on Barry. LANCE -LRB- OC. -RRB- Why is it here? Barry. Barry? BARRY it just. I do n't know. I do n't know. LAND IN CU. ON BARRY. CUT TO BLACK. TITLE CARD Punch - drunk Love Movie -LRB- maybe color blooms/overture here -RRB-",
"INT. WAREHOUSE/MAIN AREA - DAY CAMERA pushes in slow as Barry and Lance talk to TWO CUSTOMERS about the plungers which are on display in front of them. They speak all over each other doing shop talk, etc ; CUSTOMER You do guaranteed sale? etc.. BARRY We back our plungers 100 % and we do ask for a 30 to 60 day display on the floor. In the b.g., RICO over the laud speaker says : RICO Barry, your sister's on line one. Barry does n't move. BARRY Yes. we do ask for. 30 to 60 days. CUSTOMER I think you have a call? Rico turns around, without loudspeaker ; RICO Barry, your sister is on line one. They look at him a moment. BARRY I'm just gon na grab this call real quick? ANGLE, REVERSE. Barry turns and heads for the phone nearby at Rico's station ; BARRY -LRB- into phone. -RRB-. This is Barry. RHONDA Hey it's me, it's Rhonda. Are you coming to the party tonight? BARRY Hi, Rhonda, yes I am. RHONDA Bye. She hangs up. BARRY Ok. Yes I'll see you tonight. Barry takes a few steps back to the Customers : BARRY Sorry about that : One thing I wanted to point out, Dave, is that we've just received a large order from the Rio Hotel and Casino in Las Vegas where we're going to be supplying their hotel rooms with the dice and money plunger, so these babies are really moving well right now. RICO -LRB- over loudspeaker. -RRB- Barry, your sister's on line two. Barry, your sister's on line two. Barry tries again to ignore it. BARRY With the Aqua Blast Whales and Speed Boats we're gon na ask for a display at eye level for the little kids. RICO Barry - BARRY - excuse me. Barry walks back to the phone ; BARRY This is Barry. KAREN Hey it's me, what are you doing? BARRY Hello, Karen. I'm just working. KAREN Yeah but what are you doing? BARRY I'm just working. I have some customers here. KAREN So you ca n't talk to me? BARRY I have a few people here, I ca n't really chat right now. KAREN `` chat?'' Did you just say `` chat?'' BARRY Well, I ca n't talk though - KAREN You just fucking said `` chat,'' that is so - what are you now? `` chat.'' I'm just calling to make sure you show up at this party tonight. BARRY Yes, I'll be there. KAREN Fine. You get back to chatting with your precious customers. BARRY Ok, bye - bye. Barry snaps out of this, turns, claps his hands in confidence and walks back to the customers and says : BARRY Sorry about that. CUSTOMER I did n't know you had a sister? BARRY Well yes I do. -LRB- beat. -RRB- But one more thing I wanted to tell you guys about the new plungers is that we're making the handles now in a non - breakable material called. He takes one of the plungers and to demonstrate smacks it on the table. it SMASHES and rice falls out everywhere. BARRY Ok. this is one of the old ones, I think. Lance do we have any new plungers around? Lance moves to get a new plunger. BARRY That was a little embarrassing and that was one of the old handles so let me get a new one to show you - RICO -LRB- loudspeaker. -RRB- Barry, your sister is on line one. Barry holds, then ; CUSTOMER How many sisters do you have? BARRY I have seven. CUSTOMER #2 Holy shit. You have seven sisters? BARRY They're calling because we're having a party tonight for my sister and the they're just calling. can you hang on for just two more minutes? Barry walks this time into his office. CAMERA tracks with Barry to his office, seeing him try and shake this off. He EXITS FRAME.",
"INT. WAREHOUSE - OFFICE - THAT MOMENT Barry enters, takes a quick moment to size up the harmonium. He picks up the phone and through the conversation gently moves the harmonium to a different spot on the desk ; BARRY This is Barry. KATHLEEN What are you doing? BARRY Hi, Kathleen, I'm just working. KATHLEEN Are you going to the party tonight? BARRY Yes I am. KATHLEEN What are you doing? BARRY Nothing. KATHLEEN Right now, you're doing nothing? BARRY I'm just talking on the phone to you and standing. KATHLEEN What time are you gon na be there? BARRY Seven o'clock. KATHLEEN You ca n't be late. BARRY I wo n't. KATHLEEN I'm serious. BARRY I know. KATHLEEN Seriously. BARRY Ok. KATHLEEN You ca n't be late though. BARRY I know. KATHLEEN You ca n't just not show up like you do, you have to go. BARRY I know. KATHLEEN Seriously. BARRY I know. KATHLEEN You ca n't just stay in your house. BARRY I know. KATHLEEN Yeah but I'm serious. BARRY Ok. KATHLEEN I'll see you there. BARRY I'll see you there. KATHLEEN Do n't puss out. BARRY I wo n't. Barry plays the 5 note melody on the Harmonium -LRB- carries over into next scene. -RRB-",
"INT./EXT. WAREHOUSE - LATER (BRIDGE/BREAK MUSIC WISE) Barry and his workers are having lunch. A LUNCH TRUCK is parked by the driveway. Barry sees the CAR that Lena brought by at the start of the movie. OC CALL from one of the workers ; WORKER Telephone Barry on line one. A mechanic passes by at this moment, keeps walking past ; BARRY What's wrong with her car? MECHANIC Wha? BARRY Is that car gon na be ok? MECHANIC It's fine. The mechanic keeps walking. Barry enters.",
"INT. WAREHOUSE/NEAR LANCE'S DESK - LATE AFTERNOON Barry and the boys are prepping some boxes for shipping. Ernesto walks over, says ; ERNESTO Barry, your sister's here. Barry stands up fast, stumbles back a bit over some boxes, recovers, ELIZABETH enters : ELIZABETH Hey, how are you? BARRY I'm fine, hi, how are you? ELIZABETH I'm just stopping by to say hello. BARRY Hello. ELIZABETH So you're coming tonight, right? BARRY Yes, indeed, yes I am. ELIZABETH There's this girl, this friend of mine from work that I think is really cute and really cool and I want you to meet her so I was thinking about bringing her to the party tonight. BARRY Oh yeah no I do n't want to do that. ELIZABETH Why? BARRY Well I do n't want to do something like that. ELIZABETH She's my friend and you should meet her. You'd like her. BARRY Yeah, but please do n't do that. ELIZABETH I'm not really asking you, I'm telling you. BARRY Yeah but please do n't do that : everyone would be looking at me. ELIZABETH It's a free country, we can look at you if we want to. BARRY Yes but I get tense and I feel like I ca n't be myself if that happens. ELIZABETH That's your fault not mine. BARRY I do n't think I'm going to the party. ELIZABETH So it's ok if I bring her. BARRY Please do n't. ELIZABETH She's really cute and she's really nice. BARRY please, I just do n't want it. ELIZABETH wait a minute : why is this about you now? Why is it always about you? BARRY Yeah, no, it's not, it's just - ELIZABETH I'm trying to be your friend. BARRY I know. ELIZABETH I'm trying to get you a girlfriend. BARRY Well, yeah, thank you, but - ELIZABETH - but since you're not going I guess none of this matters and I'll bring her anyway. BEAT. HOLD. She stares him down. ELIZABETH All I'm trying to do is be your friend. She leaves. HOLD ON BARRY. He air punches/twitch.",
"INT. WAREHOUSE - LATER/BLUE HOUR - NIGHT Barry is alone, closing up. He takes a look at the Harmonium and presses it, makes a sound. a little bit more. makes a few notes. END SCORE QUE as it blends and fades into the notes that Barry plays. BEAT. He closes its small cover, does something on his desk and then : His face gets bright red, he holds back tears, opens his mouth and has a serious but small burst of overwhelming emotion and then it's over.",
"INT. SUPERMARKET - NIGHT CU. BIRTHDAY CARD. Barry's hands reaches in and picks a birthday card. ANGLE, WIDER, THAT MOMENT. Barry grabs the card and starts to push his cart. but he pushes it straight into a SIX YEAR OLD KID who's pushing a cart around. they slam into each other. Barry apologizes. the KID just takes off. Barry's cart now has a slightly damaged wheel that wobbles like crazy. ANGLE, FROZEN FOOD AISLE. CAMERA tracks left to right with Barry as he heads for the Healthy Choice Frozen Dinner. He grabs one. CU. BARRY. LOW ANGLE. He looks at box. BARRY'S POV - THE BOX Slow zoom in. The sticker reads : `` Fly Away With Us! The More You Buy The More You Earn.'' ANGLE, SOUP SECTION. CAMERA tracks along right to left with Barry as he moves towards some SOUP. He grabs one, inspects it. then puts it back. CU. SOUP CAN. It's put back on the shelf : TILT down to price : 79 cents. Barry turns his cart around and SMACKS right into someone else again, screwing up another wheel on his cart. ANGLE, BARRY. CAMERA, tracks alongside him, left to right as he comes across : PUDDING. The price : 4 / $ 1.00. MED. BARRY in the middle of the aisle. He reacts. smiles. holds. thinks. looks around, then starts to load up on the pudding. ANGLE, BARRY. He pushes TWO SHOPPING CARTS FULL OF PUDDING over to the STORE MANAGER who's on his knees, stacking milk. Barry kneels down, CAMERA PUSHES INTO A CU. as he speaks sotto ; MANAGER Hello. BARRY Hello, sir. My name is Barry Egan and I'd like to ask if you have any more Healthy Choice pudding in the back?",
"INT. SUSAN'S HOUSE - NIGHT The door opens slowly and Barry peers his head around and into the house very cautiously, CAMERA PUSHES IN and PANS slightly LEFT to reveal : THE KITCHEN. Barry's SEVEN SISTERS are all there, preparing dinner and talking away. they turn and see him ; SUSAN There he is! Do you remember when we used to call you gay and you'd get all mad? KATHLEEN - we were calling you gay and you got so mad that you threw a hammer through the sliding glass door - do you remember? BARRY I do n't really remember that. KATHLEEN Yes you do. We were calling you Gay Boy and you got so mad. BARRY Yes, yes, right. SUSAN We're trying to remember why you had the hammer in the first place? BARRY um. KATHLEEN The hammer that you threw. why did you have it? SUSAN You do n't remember - you had the hammer and you threw it -? BARRY I remember, yes. SUSAN Why did you have it? Another sister, RHONDA, enters from behind, Barry jumps, says : RHONDA He was building a ramp for the dog. KATHLEEN He was making a ramp for the dog! That's right! SUSAN That's right. ramp for the dog. And you just threw the hammer. BARRY -LRB- to Rhonda. -RRB- Happy Birthday, Rhonda. RHONDA Thank you. Thank you so much, Barry. She gives him a very quick hug and kiss and sets the cake next to a bigger, cooler looking cake. Mia approaches holding a baby. Barry tries to say hello to the baby, but Mia slowly turns the baby out of Barry's grasp. making herself the center of his attention ; KITCHEN/DINING ROOM, THAT MOMENT Barry gets slightly turned around trying to reach the baby. and ends up in a doorway that leads to the dining room, revealing himself to : ELIZABETH, KAREN, NICOLE AND ANNA. There are also : THREE BROTHER IN LAW'S -LRB- WALTER, LARRY AND STEVE -RRB- ELIZABETH Hey. I was just telling everyone about how I was gon na bring this girl for you but you would n't let me do it. BARRY Hello everyone. KAREN steps up and greets him ; KAREN Did you think that we'd all be looking at you? BARRY No, no, no. KAREN Well it's just not true. We would n't be looking at you - why are you wearing this suit? Did you say hello to your brother in law's? STEVE/LARRY Hi, Barry. How ya doin? Good, good. KAREN Say hello to them, that's right, good, good. Ok. Come on, we're gon na eat now. let's go. Barry shakes hands and hello's with the brother in law's. He's left alone for a moment with Walter and Elizabeth ; WALTER How you doin' Barry? BARRY Hi Walter. WALTER How's business? BARRY Business is very food, thanks. ELIZABETH What's very food? BARRY What? ELIZABETH You just said very food. BARRY Did I say that? WALTER Yeah. BARRY That was weird. I meant good. WALTER Maybe you said that because you're hungry. Walter moves to help everyone. they're moving to set the table. CAMERA CLOSES IN ON BARRY AND ELIZABETH alone for a beat : ELIZABETH You're lucky. She could n't come anyway - BARRY Well I'm glad you did n't, thank you. ELIZABETH She could n't come I said. Are you nervous? BARRY No. ELIZABETH You look nervous. BARRY I'm not, I'm very happy. RHONDA passes ; RHONDA Come on homo - boy, we're eating now. Elizabeth leaves, HOLD ON BARRY. CAMERA PUSHES IN TOWARDS EVERYONE SETTING THE TABLE. CAMERA ROTATES AROUND. everyone is still chatting a bit about `` Barry gay boy,'' and `` the girl that was gon na be here that Barry would n't allow.'' ANGLE, REVERSE. Barry is standing in front of the floor to ceiling sliding glass doors. in an INSTANT, he TURNS AND THROWS HIS FIST STRAIGHT THROUGH THREE OF THEM, THEY SHATTER. he turns back, they are all staring straight at him in silence. HOLD, THEN : In unison they all go ape shit : GROUP WHAT THE FUCK IS YOUR PROBLEM. GODDAMNIT BARRY. YOU FUCKIN' MANIAC. ETC.. ETC..",
"INT. SUSAN'S HOUSE - HALLWAY - LATER It's later and WALTER and BARRY walk down a small hall and into a kids room. They're OC for a few moments as the CAMERA slowly pushes in and towards the room. Following sotto ; WALTER What's up? BARRY Well I'm sorry. Before. WALTER Mhm. BARRY And I'm sorry that I did that. WALTER It's alright. BARRY I wanted to ask you because you're a doctor, right? WALTER Yeah. BARRY I do n't like the way I am sometimes. -LRB- beat. -RRB- Can you help me? WALTER Barry, I'm a dentist, what kind of help do you think I can give you? BARRY I know that. Maybe you know other doctors? WALTER Like a psychiatrist? BARRY I do n't have anyone to talk to things about and I understand it's confidential with a doctor - I'm embarrassed about that and I do n't want my sisters to know? WALTER You want a number for a psychiatrist, I can get you one, that's not a problem. but what exactly is wrong? BARRY I do n't know if there's anything wrong with me because I do n't know how other people are. Sometimes I cry a lot. for no reason. Barry starts to cry. Walter just stares at his. HOLD. Barry stops, recuperates, then leaves. as he does ; BARRY Please do n't tell my sisters.",
"INT. BARRY'S APARTMENT - LATER CU. HEALTHY CHOICE COUPON. Barry's scissors cut out a coupon and reveal an image beneath in another section of the newspaper. it's the sexy LEG of a woman. BARRY very casually pushes some papers aside and looks at the ad. HOLD ON HIS FACE. He looks. then : MOMENTS LATER, BARRY ON THE PHONE. He listens ; OPERATOR GIRL -LRB- OC. -RRB- Hi, this is Janice The Operator, who's this? BARRY Hello, how are you? OPERATOR GIRL -LRB- OC. -RRB- Hi, is this your first time calling? BARRY Yes it is. OPERATOR GIRL -LRB- OC. -RRB- Can I have your credit card number, followed by the expiration date? BARRY Can I ask how much is this? OPERATOR GIRL -LRB- OC. -RRB- - it's $ 2.99 per minute for the first half hour and $ 1.99 per minute after that. BARRY and this is confidential? OPERATOR GIRL -LRB- OC. -RRB- What do you mean? BARRY It's. confidential, the call, my information is private. OPERATOR GIRL -LRB- OC. -RRB- Of course. Would you like to talk to a girl? I can connect you with a beautiful girl if I can just get your credit card number followed by the expiration date? BARRY 3407 2627 3444 8095 expiration 05/04. OPERATOR GIRL -LRB- OC. -RRB- And your billing address and the name as it appears on the card? BARRY 1274 Moorpark. Sherman Oaks, California. # 4. 91403. OPERATOR GIRL -LRB- OC. -RRB- And your name? BARRY Barry Egan. OPERATOR GIRL -LRB- OC. -RRB- And your Social Security number. BARRY What's that for? OPERATOR GIRL -LRB- OC. -RRB- It's just for verification through the credit card company. BARRY - and this is confidential? OPERATOR GIRL -LRB- OC. -RRB- Of course, it's just for us to verify your credit card information. It's completely confidential and it appears on your credit card billing statement as D&D Mattress Man. BARRY 337. I'm sorry. OPERATOR GIRL -LRB- OC. -RRB- It's ok, take your time. BARRY 337 - 09 - 9876. But I do n't want anyone to know my name. OPERATOR GIRL -LRB- OC. -RRB- No one will know your name. BARRY Can you say that my name is Jack? OPERATOR GIRL -LRB- OC. -RRB- You want her to call you Jack? BARRY I just do n't want anyone to know it's me. OPERATOR GIRL -LRB- OC. -RRB- That's fine. Can I have a telephone number, area code first on where we can call you back? BARRY No I just. I do n't want to, I just want to be connected to talk to a girl. OPERATOR GIRL -LRB- OC. -RRB- It's a call back service - a girl will call you back. BARRY I thought I was just gon na be connected to talk to a girl - that's fine, ok, I'm sorry, it's, um. 818.",
"INT. BARRY'S APARTMENT - MOMENTS LATER Barry waiting at his dining room table. HOLD. The PHONE RINGS. He picks it up ; BARRY Hello, this is Back. SEXY VOICE Hi, is this Jack? BARRY Yes. SEXY VOICE This is Georgia. BARRY Hi. This is Jack. SEXY VOICE So what are you doing tonight, Jack? BARRY Nothing. SEXY VOICE Nothing, huh, do you know what I'm doing? BARRY No. SEXY VOICE I'm just laying on my bed. BARRY Where are you? SEXY VOICE I'm in my bedroom. BARRY No, I mean, what city, what state are you in? SEXY VOICE Are you watching a porno movie? BARRY No. SEXY VOICE Do you like porno movies? BARRY Sure. SEXY VOICE Yeah? So. Jack. are you stroking that big fat fucking cock of yours? He walks into something. BARRY no. SEXY VOICE Yeah? So what are you doing, then? BARRY just talking to you. SEXY VOICE Are your pants off? BARRY No. SEXY VOICE I'm wearing a t - shirt and panties. BARRY Really? SEXY VOICE Yeah. And looking at myself in the mirror. Do you wan na know what I look like? BARRY It does n't matter. SEXY VOICE What do you mean it does n't matter? BARRY Well. I have no way of knowing. So it does n't matter. SEXY VOICE I do n't lie, Jack. I'm about 5' 8, blonde 34,28,34. Pretty thin, I work out. My pussy's shaved. My friends say I'm pretty cute, so. BARRY Really? SEXY VOICE What do you mean, `` really?'' Yeah. Really. What about you? BARRY It does n't matter. SEXY VOICE Yeah. you're married are n't you, Jack? BARRY No. SEXY VOICE You have a girlfriend? BARRY yes. SEXY VOICE Where is she? BARRY She's. not here. she went out. She went out of town, she travels a lot. Barry holds his head in his hands for minute, then stands out of it -",
"INT. BARRY'S APARTMENT - MOMENTS LATER SEXY VOICE I'm horny, Jack, what about you? BARRY yeah. SEXY VOICE Does Jack like to Jack Off? BARRY Sometimes when I'm lonely. SEXY VOICE yeah. well you have me now. BARRY You sound very cute, very nice. SEXY VOICE Thank you. What do you do, Barry? BARRY I have my own business. I work. I work hard at doing my business. SEXY VOICE Yeah. do you do well, do you make alotta money? BARRY I do pretty good, I think. I wish I was making more, doing a little bit better. I can, t get over a certain hump. I will. I will crack something soon I think and really do better. I'd like to diversify. but I'm doing great, I think, as a start. SEXY VOICE So. are you stroking it, yet, honey? BARRY No. SEXY VOICE Well why do n't you take your pants off and stroke it for me? BARRY Ok. SEXY VOICE Yeah. that's it. God I Am So Horny. I wish I was there to help you. I wish I was there for you, Barry.",
"INT. BARRY'S BATHROOM/BEDROOM - LATER It's a little bit later and Barry stands in his bathroom, washes his face. HOLD. then he dries his face, walks into his bedroom, gets into bed wearing T - shirt and underwear. he crawls in, curls up in fetal position.",
"INT. SAME EXACT ANGLE - MORNING Sun comes in now. Barry is somehow dressed in a FULL ADIDAS SWEAT SUIT complete with SNEAKERS. He wakes up, looks down and sees this, confused ; BARRY Whassis?",
"INT. KITCHEN - MOMENTS LATER Barry is dressed for work in another suit now. He grabs some stuff and heads for the door when the phone rings ; BARRY Hello? SEXY VOICE Hey. What are you doing? How are you? BARRY I'm fine. Who is this? SEXY VOICE Georgia. BEAT. BARRY Hi. what. what's up? SEXY VOICE It's ok that I'm calling, right, I mean? It's ok. BARRY Yeah. No. It's ok. What's goin' on? SEXY VOICE I just wanted to call and talk to you, thank you for last night, try and get you before you went to work and say, `` hey.'' BEAT. BARRY I'm going to work. SEXY VOICE Uhhh. I am sooo tired. I stayed up too late last night, what about you, when did you go to sleep? BARRY Not very late. SEXY VOICE You're going to work now? BARRY Yes. SEXY VOICE Can I ask you a question? BARRY Uh - huh. SEXY VOICE Remember last night I was talking to you and I was telling you about my apartment, my rent -? -LRB- beat. -RRB- Do you remember? BARRY Yes. SEXY VOICE This is really weird and really embarrassing for me but. uh. -LRB- beat. -RRB- I was wondering if you could help me out with a little bit of money. BARRY Me? SEXY VOICE Yeah. BARRY I ca n't really. Yeah, no. I mean. I ca n't afford it. SEXY VOICE You do n't even know how much it is. BARRY I know but I. how much is it? SEXY VOICE Like seven - fifty. Seven hundred fifty? BARRY Yes, no, yes. I ca n't. I ca n't afford that. I'm sorry. Sorry. SEXY VOICE Really? Please? BARRY You have trouble, financial trouble? SEXY VOICE Yeah. It's so hard these days and I really need it. BARRY Yes I ca n't. I do n't make enough money to be able to do that. SEXY VOICE I thought you had your own business. You said you were gon na diversify and all that stuff. BEAT. Barry steps back a little. SEXY VOICE So you think you can? BARRY No. I'm sorry. SEXY VOICE Should I call back and talk to your girlfriend? BARRY what? SEXY VOICE I was wondering if it's better to ask your girlfriend for the money? It could be really easy. I mean, I have all your information, credit card information and billing stuff - Barry hangs up the phone real fast. HOLD. He does n't move.",
"INT. BARRY'S WORK/WAREHOUSE - MORNING/LATER CAMERA -LRB- HAND HELD -RRB- behind Barry, as he walks through the warehouse, greets the boys, says hello to Lance, etc.. Lance, taking his cue from Barry, is a bit more dressed up today. LANCE Good morning, Barry. BARRY Hi, Lance. LANCE What's with all this pudding, what is this? CAMERA sees that all the pudding Barry bought has been stacked neatly in a corner. Barry stops dead in his tracks to explain ; BARRY That's part of a very interesting airline promotion giveaway that's really tremendous. I'm going to start a collection of pudding and coupons that can be redeemed for frequent flyer miles through Healthy Choice and American Airlines - LANCE You're goin' on a trip? BARRY No. but airline miles are just like a currency these days. LANCE You should go on a trip. BARRY No thanks. LANCE So what should I do with the pudding? BARRY Let's just leave it there for now. Barry goes into his office and looks at the Harmonium. BEAT. He presses some keys, makes a little more noise with it. -LRB- a quarter of some sort of melody starts here. -RRB- ANGLE, MOMENTS LATER. Barry is cutting up his CREDIT CARD with some scissors. He throws it away. ANGLE, MOMENTS LATER. Barry paces around a little bit. CAMERA stays inside and watches him as he walks outside for a moment, looks around. he sees something outside, hesitates, then dodges back inside the warehouse - - once inside, he takes a horrendous, hurtful fall over something. He stands up quick ; BARRY This is not supposed to be here. Seriously. Carlos, Carlos, this is really not supposed to be here. I do n't mean to be a dick ; but that's gon na hurt someone. It already did hurt someone : It hurt me, so please let's move that. He backs away, then steps OUT OF FRAME. a moment later ELIZABETH -LRB- his sister -RRB- and LENA -LRB- from the opening -RRB- enter the warehouse, walking towards Barry ; ELIZABETH -LRB- to Lena. -RRB- He's wearing a suit again, I do n't know why he's wearing a suit, he does n't usually dress like that - LENA It's fine. CAMERA pushes in towards LENA and blends to 30fps. she smiles, looks ahead, CAMERA slowly pans a 180 around to become her POV. Barry is standing near the harmonium, fiddling around. He looks up, sees Elizabeth and Lena walking towards him and tenses. they meet in the middle of the warehouse ; ELIZABETH Hey, what are you doing? Why are you wearing a suit again? BARRY I do n't know. LENA Hi. BARRY Hi. LENA Do you remember me, I left my car, yesterday. BARRY Yes I do. ELIZABETH This is Lena, she's a good friend of mine from work. We were in the neighborhood and she had to pick up her car and we're getting breakfast before we go in, so did you want to go? We're gon na go and eat, let's go. BARRY Yeah I ca n't. ELIZABETH Why? BARRY I have work, I ca n't leave. ELIZABETH Seriously, though : We're going to eat, I said. BARRY I'm sorry. LENA It's ok. That's alright. ELIZABETH Are you learning how to play the piano? What is that? BARRY It's not a piano. LANCE! LANCE! MAKE SURE THAT YOU CALL THAT GUY IN TOLEDO. LANCE -LRB- OC. -RRB- WHICH? BARRY I'll tell you later. ELIZABETH You do n't wan na come to eat with us? WORKER VOICE TELEPHONE BARRY ON LINE TWO! ELIZABETH What's all this pudding? BARRY I do n't know. Can you hang on a second? CAMERA follows Barry as he walks back to his little office, picks up the phone ; BARRY Hello? SEXY VOICE We got disconnected before. BARRY No. No. We got disconnect - why? you're calling me at work. how did you get this number -? SEXY VOICE See the thing is I could make it really easy on you - I already have your credit card number, your information, address and stuff. This is so awkward asking like this, I'm sorry - BARRY This makes me very uncomfortable. SEXY VOICE I need help. BEAT. SEXY VOICE Should I just ask your girlfriend? -LRB- beat. -RRB- Maybe I should call back and talk to your girlfriend? BARRY I do n't have a girlfriend - SEXY VOICE - you said you did. BARRY I know I did. But I do n't. SEXY VOICE You lied to me? BARRY I did n't lie. SEXY VOICE Why did you tell me you did, then? BARRY This is. illegal. I'll call the police. SEXY VOICE No you wo n't. ANGLE, ELIZABETH AND LENA LENA I'll go pay for my car. ELIZABETH Are you sure? LENA Yeah. ELIZABETH He's being weird, I'm sorry. I have no idea why he's being weird and dressed in a suit - LENA It's not bad, it's ok. ELIZABETH - he's so strange I do n't know if you really even would want to go out with him, someone like him, I said I'd try, but it's just - LENA It's ok, it's alright. I'll come right back, I'll just go pay for my car. ELIZABETH Sorry. She leaves. Elizabeth heads for Barry's office ; ANGLE, BARRY on the phone SEXY VOICE Come on, I thought we had fun, rich boy - BARRY This is not cool. SEXY VOICE It was cool last night. BARRY I have to go. SEXY VOICE Are you telling me no? BARRY No I'm sorry, now I have to get off the phone. SEXY VOICE this is your mistake. Elizabeth comes walking into his office, starts whispering to him as he's on the phone ; ELIZABETH Hey, hey, you should ask her out - what do you think, she's cute, right? BARRY -LRB- into phone. -RRB- I'm gon na call you back. He starts to hang up the phone, turns to Elizabeth as we hear ; SEXY VOICE -LRB- trailing off. -RRB-. MOTHERFUCKER, NO. BARRY She is. I think, why did you come here like this? ELIZABETH It's not cool? BARRY It's fine, but - ELIZABETH - do you think you'll ask her out? BARRY I feel really on the spot now. ELIZABETH Are you gon na do it? BARRY I do n't do that. I do n't - things like that. ELIZABETH You do n't do anything, why are you being scared? BARRY I'm not being scared, you're just going to rag me if I do this - ELIZABETH I'm not gon na rag you. Why would I do this just to rag you? BARRY I do n't know. ELIZABETH I'll leave then, I'll go to get something from my car, go away so you do n't feel pressure. Can I ask you a serious question : BARRY What? ELIZABETH Did you ask Walter to get you a shrink? -LRB- beat. -RRB- Barry, did you ask Walter to get you a shrink? What's wrong with you? Are you ok? BARRY I did n't ask him that. He's lying. ELIZABETH You're being weird again, see. Come on. Please do n't be weird. ANGLE, BARRY AND ELIZABETH, MOMENTS LATER They walk out and as they do, Lena comes back in with her keys in her hand, Elizabeth keeps walking past ; ELIZABETH I got ta grab something from my car. LENA We should be going - ELIZABETH -LRB- over her shoulder. -RRB- Yeah, no, I have to get something from my car, I said. Barry and Lena about to be alone as Lance walks up ; LANCE Which guy in Toledo are you talking about? BARRY I'll tell you. the guy. with. just talk to me later about it, ok? LANCE You talkin' to me about Ramada Inn? BARRY I have to talk to you in a second about that, Lance, ok? He walks away, Lena turns to him ; LENA I'm sorry I could n't come to your sister's birthday party last night, Elizabeth had invited me and I could n't make it - BARRY It's fine. It was fun, though. LENA It must be weird for you to have so many sisters? BARRY No. Not at all. It's nice. WORKER -LRB- OC. -RRB- Telephone, Barry Line One! Barry turns instantly and walks away. he turns back as he walks. TWO SHOT - track left with him. BARRY -LRB- turns back. -RRB- One second, sorry. IN THE OFFICE, THAT MOMENT He picks up the phone. BARRY Hello? SEXY VOICE Hang up again and see the trouble it's gon na make. Barry instantly hangs up the phone, turns around and walks back to Lena ; LENA Business is good, you're busy? BARRY Yeah, not really. LENA I saw a picture of you. BARRY Yes. LENA Elizabeth has a picture of you guys - your sisters and you, it's a lot of family, it must be nice. BARRY Do you have brothers or sisters? LENA No. I'm the exact opposite - BARRY That must be nice. That must be really, really, really great. LENA It's terrible, no. No response from Barry. -LRB- cut to reverse 2 - shot as they look -RRB- LENA What do you do with all this pudding? BARRY That's not mine it's one of the guys that works here. That pudding's not mine. BEAT. In the b.g., two WORKERS are dealing with getting a large crate on top of a large stack of crates, they're using a fork lift. in an instant the large CRATE tumbles to the ground and SMASHES. Barry attempts to not notice this ; LENA Oh My God. BARRY It's ok. That's ok. How long have you worked with Elizabeth? The workers start calling out and apologizing for this to Barry, who keeps looking straight ahead to Lena ; LENA Six months, maybe five, five or six months. do you wan na check that? BARRY -LRB- to the guys. -RRB- Are you guys hurt? WORKERS/LANCE No, no, we're ok. Barry, sorry - BARRY -LRB- back to Lena. -RRB- So you do what she does, the same work, the same job? LENA I do, but I do field consultations mainly too which is cool because I get to travel. I travel. A lot of the time. I'm going to Hawaii on Friday. BARRY That's great - Hawaii. I was thinking about going there. LENA Really? BARRY I was, yeah, I was thinking about going there for business - LENA - well, if you're gon na go - BARRY - I'm probably not gon na go though. LENA - oh that's too bad, it's so great over there and if you were there we could say hello to each other or something - BARRY - yeah that would be great, if I was gon na go but I'm not exactly sure, I have so much goin on here - A lot depends on this thing I might do here and if that happens I ca n't go and if it does n't happen then I probably will, but I doubt it. There's another LOUD CRASH as they try to reposition the box that's fallen, giving way to something else that FALLS. In other words, to correct the mistake they've already made, they have to sacrifice another CRATE that CRASHES. She looks, Barry just flinches, tries to stay looking straight ahead ; CAMERA -LRB- HAND HELD -RRB- with Elizabeth, comes walking back in. says to Barry : ELIZABETH I ca n't find that thing in my car, I ca n't find it so I'll just get it and give it to you later. So? LENA -LRB- to Elizabeth. -RRB- You ready? ELIZABETH Are you coming to eat with us? BARRY Yeah I ca n't. ELIZABETH -LRB- at the crates. -RRB- OH MY GOD. Look at that. LENA -LRB- to Barry. -RRB- It was great to meet you again. To see you again, thanks for helping me yesterday - BARRY Ok. ELIZABETH -LRB- to Barry. -RRB- What's all this pudding? BARRY It's not mine. ELIZABETH Why's it here? BARRY I have no idea. LENA -LRB- to Elizabeth. -RRB- Are you ready? ELIZABETH -LRB- to Barry. -RRB- Will you call me later to talk about asking Walter for the shrink? And we can talk about - he said you have this crying problem or something? LENA Bye, Barry. BARRY Goodbye. ELIZABETH Call me later. Lena and Elizabeth leave. CAMERA leads them as they walk ; Sound starts to drop out, we see Barry and the boys cleaning up the boxes in the back. move into a CU on Lena. Music Cue. Score. treated piano, small rhythm/melodic -LRB- notes of harmonium so far -RRB- / gentle. ELIZABETH So I'll meet you at the restaraunt? LENA Ok. Lena gets into her car. Elizabeth keeps walking. She waits until Elizabeth is out of sight at the mouth of the driveway and then she gets back out of her car and walks straight back into the warehouse.",
"INT. WAREHOUSE - THAT MOMENT She comes walking in and over to Barry ; LENA I'm going to go and eat tomorrow night do you want to go with me? BARRY Sure. LENA Do you want to pick me up? BARRY Sure. LENA Can I write down my address and phone number for you? BARRY Sure. They do a small search for a piece of paper, get it all written down and sorted out and then - as they do this there is even more CRASHING AND SMASHING in the b.g., by the boys - Barry and Lena settle up and say so long. BARRY This is funny. LENA Yeah. BARRY I did n't ask anyone for a shrink, that was someone else. Also : This pudding is not mine. Also : I'm wearing a suit because I had a very important business meeting this morning and I do n't have a crying problem. LENA Ok. BARRY Alright? LENA Hi. BARRY Hi. She walks off. CAMERA leads her out, holds a CU. as she smiles to herself - lead her a bit more until she's outside, and she gets in her car - CU. BARRY. He smiles, looks around, holds back his emotion so it looks like he'll explode. tenses, smiles, tears, looks around. HOLD. End Music Que. LANCE -LRB- OC. -RRB- Barry, Line One, Telephone! Barry walks in. HOLD. He picks up the phone. BARRY Hello? SEXY VOICE You've just made a war that you can not afford. She hangs up real quick. HOLD. Barry and his harmonium. CUT TO BLACK. Title Card : Provo, Utah",
"INT. STEVENS BROTHERS HOUSE - DAY CAMERA behind a BLONDE GIRLS HEAD -LRB- LATISHA -RRB-. She speaks to two blonde brothers, DAVID and JIM. In the b.g., walking around holding a BABY is NATE. -LRB- Maybe a girlfriend or wife or two -RRB-. DAVID I'll do it. JIM I'll do it too. DAVID But it's got ta wait until my knee is better. I ca n't risk it. LATISHA You have to do it now. JIM If we drive there it's a problem. LATISHA Dean will loan you one of his cars. JIM Which one? LATISHA You have to talk to him - DAVID How do you know he's rich? LATISHA Because I know, I just know. I mean, I talked to him, I know. Nate emerges a bit from the b.g. NATE Where are you guys going? DAVID California. Los Angeles. NATE When are you leaving? DAVID Right now. LATISHA Let's go talk to Dean.",
"INT. LOCAL BAR/PROVO - LATER LATISHA, DAVID, JIM and NATE enter and meet DEAN TRUMBELL, listening to AFTER EDEN play onstage, standing in the middle of the room. DEAN Hey guys. DAVID/JIM/NATE Hey, Dean. LATISHA So they'll go. DEAN I'm only paying two of you guys. DAVID That's cool. DEAN When can you leave? DAVID As soon as you want. DEAN I want you to go right away, I think that's best. I also need you to check out a car for me down there that this guy is selling. They walk towards a back room, as they do they pass a REGULAR JOE who bumps into Dean accidentally, Dean explodes ; DEAN You wan na fuck around, asshole? You wan na get tough, wan na see me kick some motherfuck around here? REGULAR JOE Take it easy, man, relax. Do n't - DEAN I'll relax your fucking head - this is my personal space, man, this is my personal fucking space, you do n't violate that, you do n't do that. REGULAR JOE I've got a glass in my hand why do n't you chill out? DEAN You've got a glass? Dean takes a BEER BOTTLE and SMASHES it in half on the bar, holds it up to the guy - DEAN YEAH. YOU'VE GOT A GLASS, NOW I'VE GOT A GLASS. I'VE GOT A GLASS TOO MOTHERFUCK.",
"INT. LOCAL BAR/PROVO - MOMENTS LATER They're all walking towards a back room of the bar, they walk past a COUPLE that is fighting. The WOMAN is screaming at the top of her lungs at the MAN ; WOMAN I WILL CRUSH YOU. I WILL FUCKING CRUSH YOU AND YOUR FRIENDS. Dean gets in the middle of it ; DEAN Take it easy, take it easy you guys in here, I need to talk to you later, Tommy - I wan na know if you wan na book the boys - He motions over his shoulder to Ashes to Ashes. MAN I'll talk to you later. WOMAN YOU WO N'T FUCKIN' TALK TO HIM LATER, I WILL CRUSH YOU. I WILL CRUSH YOU, ASSHOLE.",
"INT. DEAN'S OFFICE/UPSTAIRS/BACKROOM - MOMENTS LATER They enter into an upstairs office area. It has a couple desks and off to the side, in a small, partitioned off room is The Phone Sex Area ; a GIRL on the phone. -LRB- We hear bits of her call, e.g. `` Me? I'm in Florida. Laying on my bed.'' -RRB- There are posters for Ashes to Ashes, filing cabinets, posters of CARS, lots of various small business items like order forms and pamphlets, etc.. Dean collects a piece of paper and hands it to David/Nate/Jim ; DEAN Your expenses are your own. DAVID I thought Latisha said you would - DEAN - she did n't know what she was talking about - DAVID It's. whatever. that's not cool. DEAN David, Do n't. Just. Seriously. It does n't make sense if you think about it in a fair deal like sense. Ok? It's business. Seriously. One hundred dollars for two days work is a lot more than your family is making sitting around your house. I'm serious now. Ok. Please. Now. Just stop. He hands him a set of KEYS and goes through the info ; DEAN keys for the track. You have to gas it up and save the receipts on that. His address. We have a business address too if you need that - but hit him at his house first, see what this little bad boy is all about and shake him up - give him a little doe - see - doe - LATISHA Uch. Shut up, Dean. DEAN What's the problem? LATISHA You do n't need to talk all macho, `` shake him out, little bad boy.'' Whatever - you're not an action hero, tough guy, you're not a gangster - He makes a very SUDDEN AND QUICK MOVE towards her and she FLINCHES. DEAN Flinchy. That's what I thought. Shut up. -LRB- to Greg. -RRB- Call me when you see this guy - check him out see what's what. She asked him for seven fifty when she was on the phone with him, so - just call me when you get there. He hands him another piece of paper and a photo ; DEAN This is this place called Ace Vintage, you got ta find it, I do n't know exactly where this is and I do n't understand these maps so just go there and check it out. It's a'61 AC Cobra that this old guy says is fine, but I need to figure out why he's only asking 23 for it. So take a look, the whole thing, call me about that, if it seems alright then I'll head down there and check it out. DAVID Ok. DEAN That's it. DAVID Can we maybe ask for more money on this? LATISHA Why? DAVID because it's California? I mean it's like a nine or ten hour drive. It's not like going to Salt Lake and getting the Mormon's, it's different. After a long, long staring contest with David, Dean SUDDENLY AND VERY VIOLENTLY PUTS HIS FIST THROUGH THE WALL. then turns to David. Latisha rolls her eyes. David, Nate and Jim leave.",
"EXT. UTAH STREET/TRUCK/MOVING - DAY/MAGIC HOUR CAMERA behind the heads of Nate, Jim, Dave as they drive down the street. they call their brother `` Mike D'' on the phone and say, `` what's up, we're goin' to Los Angeles, you wan na go?''",
"EXT. UTAH STREET/TRUCK/MOVING - MOMENTS LATER CAMERA PANS left and picks up the fourth brother MIKE D as he walks from work and gets in the car. CAMERA HOLDS behind the heads of the four blonde brothers as they drive off.",
"EXT/INT. LENA'S APARTMENT COMPLEX - EVENING This is a SPLIT SCREEN SEQUENCE shot with TWO CAMERAS. THE LEFT SIDE OF THE SCREEN holds Lena. She waits in her small, nondescript apartment doing the things you do while waiting for someone else. She sits, stands, sits, stands. THE RIGHT SIDE OF THE THE SCREEN travels -LRB- STEADICAM -RRB- with Barry as he walks into the RECEPTION AREA. There is a SECURITY GUARD -LRB- black, female -RRB- who asks him his name, where he's going and to sign in. The Security Guard calls up to Lena's place. and we watch Lena answer the phone. The Security Guard gives Barry some very complicated directions. we follow/lead Barry as he makes his way through the maze/up elevators/down corridors looking for Lena's apartment. Finally, he arrives, knocks ; LENA Who is it? BARRY It's Barry. As she opens the door, THE SPLIT SCREEN SLIDES AWAY AND THE IMAGES GIVE WAY TO THE ONE OF LENA standing ; LENA Hi.",
"INT. RESTAURANT - NIGHT Lena and Barry at a table. They talk -LRB- see notes. -RRB- LENA So I want to tell you something, I got ta tell you : I saw a picture of you guys, your sisters and you and I saw your picture and I really wanted to meet you. -LRB- beat. -RRB- I came to drop my car off there on purpose, to try and meet you. Barry leans a little bit out of FRAME. BARRY really? That's nice. are you lying? LENA I thought I should tell you. I did n't want to get too far along on going out and be hiding something - BEAT. He leans slightly back in FRAME. BARRY That's very nice. Thank you. Thank you for saying that. -LRB- beat. -RRB- You're friends with my sister? LENA Yeah. BARRY How long have you known her? LENA About six months. BARRY You like her? LENA Yeah. Yeah we get along well. -LRB- beat. -RRB- You did n't get along with her very well? BARRY Did you really come to meet me on purpose or are you lying about that? LENA No, no. I did. BARRY That's nice. It's nice. -LRB- beat. -RRB- I've been looking around a lot lately at promotional giveaways, cross promotional work by some companies. Do you remember all that pudding? LENA Yeah. BARRY So that pudding was bought, I bought that pudding because of a pretty interesting promotion that's sponsored by Healthy Choice and American Airlines. It's designed to encourage airline travel and obviously designed to encourage buying Healthy Choice products. They make frozen meals, deli meats, pasta sauce, breads, soups and ice creams, this sort of thing. LENA Yeah? BARRY I'm sorry. I lost my thoughts, what I was saying. LENA You were talking about the promotion - BARRY - the promotion says : buy any 10 Healthy Choice products and get 500 miles of airline travel or 1,000 for purchases made with a special coupon. So in the supermarket, you notice their products, first you notice they have a Teriyaki Chicken Dinner at $ 1.79 - that's a pretty good deal. but then I noticed they had soup at 89 cents a can. and you start to do the math and you start to notice that it's a really amazing deal because I stumbled across the pudding at 25 cents a cup. Now the crucial thing is the bar codes on the label. That's those little bar codes, you know? The universal product codes? LENA Yeah. BARRY That's what's used to redeem the mileage, so in noticing the pudding, each cup had an individual bar code - in other words : Two dollars and fifty cents for ten cups of pudding is 500 miles. Add in the coupon : it's one thousand. You see? LENA Yeah. BARRY You see? LENA Yeah, no, I see - BARRY You see if you spent $ 3,000 dollars on pudding you could earn over one million frequent flyer miles. LENA That's insane. That is really, really crazy. That's just crazy if you spend three thousand dollars on pudding. BARRY yeah. LENA So that was your pudding? BARRY No. LENA I'm sorry. I thought you said - BARRY No I did n't say that. LENA I thought you said you bought all that pudding - BARRY My friend Carlos is doing it who works with me. It's his. It's his pudding, he's doing it. It's not mine. He's crazy. I told him not to do it. He's the one who's insane. He only spent about one hundred dollars so far though - LENA Your sister was telling me a pretty funny story about you, when you guys were kids and you were building a ramp for your dog and you threw a hammer through a window? Is that right? You threw a hammer through a sliding glass door? Barry starts to WELL WITH TEARS, which he hides very quickly, holds a hand up to his face as if he's touching his nose, and then he smiles ; BARRY I do n't remember that, she might be lying. I have to go the bathroom. He gets up and goes.",
"INT. BATHROOM - MOMENTS LATER Barry walks in and goes a little crazy. He's mad at himself and he HITS a stall. it seems loose already and falls straight to the floor. This makes him go crazier and he continues to BEAT and KICK the shit out of the bathroom/stall. HOLD. He collects himself and then he hesitates, looks around, tries to collect the bathroom but it's in ruins, he exits.",
"INT. RESTARAUNT - MOMENTS LATER Barry comes back and sits down, seems a little better. Tries to be a little flirtatious for half a moment before : the MANAGER comes over, leans in carefully ; MANAGER Hello. LENA & BARRY Hi. MANAGER Sir, can I talk to you? BARRY Why? MANAGER Just have you for one second, please. He looks to Lena, excuses himself. ANGLE, OFF TO THE SIDE. The Manager and Barry step away, in a quiet section of the restaraunt, 2 - shot, profile, in sotto ; SLOW ZOOM IN. MANAGER Sir, the bathroom was just torn apart. BARRY Yeah. MANAGER Did you do it? BARRY No. MANAGER You did n't just smash up the bathroom? BARRY No. MANAGER Well who did? BARRY I do n't know. MANAGER You're hand is bleeding. BARRY I cut myself. MANAGER How? BARRY On my knife. MANAGER Sir, a young man saw you coming out of the bathroom. BARRY I did n't do that. BEAT. BARRY Why? what? MANAGER Your hand is bleeding. BARRY I know. MANAGER I'm gon na have to ask you to leave. BARRY Why? MANAGER Sir, I have no way of proving that you demolished the bathroom - BARRY I did n't do it. MANAGER Alright, well you're gon na have to leave. You're gon na have to go. BARRY Yeah, but I did n't do anything. MANAGER I'm gon na call the police then, sir. BARRY Please do n't do this to me. MANAGER The police are on their way. BARRY Sorry. He starts to move back. BARRY Can I pay you here? Can I pay you for our drinks and salad? MANAGER That's fine. Barry takes out some money and hands it over. BARRY Keep the change, please. ANGLE, BACK AT THE TABLE. They walk back to the table and Barry whispers down to her, very close, STEADICAM -LRB- leads them out - continuous -RRB- BARRY We should go I think, I do n't like it here. LENA Ok. They head out of the restaraunt. LENA Is everything ok? BARRY Yes. LENA What happened? BARRY Nothing. LENA What did he want? BARRY Nothing. They walk a bit. BARRY I have a better idea of where we can go. LENA Ok. They walk some more. BARRY There's a better place for us to eat. LENA Did something happen ; are you alright? BARRY Yes I'm fine. Everything is ok. It's fine. Everything is fine. They walk some more and get in the car.",
"INT. BARRY'S CAR - DRIVING - NIGHT 75mm OVER ONTO BARRY. 75mm OVER ONTO LENA. Rear process or poor man's process. LENA So. how is your harmonium doing? Barry looks at her. LENA Your portable reed organ. the piano. BARRY Well, it's fine. Thank you. LENA Did you pick it up from the street? BARRY What? LENA Did you take it from the street in front of your work? BARRY yes I did? LENA Are you learning how to play it? BARRY Yes? I'm trying. LENA Oh that's great. BEAT. LENA So you must travel a lot with all that pudding you bought? BARRY Yes no not really.",
"INT. LENA'S APARTMENT - LATER Lena and Barry finishing up the date ; BARRY Ok. well. I'm gon na go. LENA yeah. BARRY It was nice to see you again, to see your face again, to go out with you - LENA I'll be around and back in town in a few days - BARRY Yeah. LENA If you come to Hawaii - BARRY Yeah, I do n't know, we'll see about that. LENA You do n't think you'll go - BARRY I do n't know. LENA Ok. Well call me when you get back, I mean, I'll call you when I get back. I'll be back for three weeks and then I go away for a month after that. So maybe in that time. BARRY Ok. Have a good trip. They do a shake hands/kiss on cheek goodbye. CAMERA IN THE HALLWAY with Barry as he walks away. CAMERA follows him as he swiftly walks away.",
"INT. RECEPTION AREA/LENA'S BUILDING Barry steps out of the elevator and walks to the exit, passing a RECEPTION DESK WOMAN. we hear the PHONE RINGING. she calls out ; RECEPTION WOMAN Are you Barry? BARRY Yes. RECEPTION WOMAN It's for you. Barry walks towards the phone ; BARRY This is Barry. LENA -LRB- OC. -RRB- This is Lena. BARRY Hi. LENA -LRB- OC. -RRB- I just wanted you to know, wherever you're going or whatever you're doing right now I want you to know that I wanted to kiss you just then. BARRY Really? LENA Yeah. BARRY So what do I do then?",
"INT. MAZE OF CORRIDORS - MOMENTS LATER Barry is walking up and around, looking for the spot. Two or three shots of various, him getting a little/slightly lost. running/walking.",
"INT. HALLWAY - THAT MOMENT CAMERA pushes down towards him as he walks towards the door. He knocks, she opens up, CAMERA SLIDES right in and lands as they KISS and then the kiss turns into a small hug and then they talk, real close. HOLD. BARRY That was good. LENA Yeah. BARRY I'll see you later. LENA Ok. BARRY I do n't freak out very often. LENA What do you mean? BARRY I do n't, no matter what my sisters say, ok? LENA I do n't know what you mean. BARRY I do n't freak out. LENA Ok. BARRY Have a good trip. LENA Thank you. CAMERA behind Barry as he walks away. HOLD BEHIND HIM FOR A BIT LONGER THEN EXPECTED ;",
"INT. BARRY'S APARTMENT/GARAGE CAMERA inside the garage. Barry pulls inside and parks his car. ANGLE, BEHIND THE CAR. Brake lights turned off, Barry steps out.",
"INT. BARRY'S APARTMENT/KITCHEN - THAT MOMENT CAMERA on Barry's trash can, the kitchen light comes on. SLOW PUSH IN. He enters FRAME and lifts the trash bag out.",
"EXT. BARRY'S APARTMENT - LATER CAMERA is behind Barry now in a new location. he's walking from his garage where he's just parked his car over to his garbage area as he throws something out. he looks up and sees. Jim and Nate driving the Toyota Pick Up Truck. he cruises past slowly. keeps going. then makes a u - turn. Barry turns around and DAVID and MIKE D are right there. DAVID Hey. BARRY Hi. DAVID I need to talk to you for a second. BARRY What? DAVID You got ta give me some money. Barry starts to walk away. David walks alongside him, casually. Barry looks over and sees the car has pulled up. DAVID You made a phone call and you said you'd help a girl out and then you did n't. I'm here to get the money. BARRY Wait a minute - DAVID No, no, no, no c'mon man, do n't make it a thing - BARRY Please do n't do this. DAVID It's just you need to give me the money. do you have it right now? MIKE D violently PUSHES BARRY STRAIGHT TO THE GROUND. BARRY Whoa. whoa. wait, wait - do n't please. DAVID How much money do you have in your pockets? BARRY Just take it, take the money in my pockets, take it, it's fine - They grab the money from his pockets as they hold him down on the ground ; BARRY It's three hundred and twenty dollars, just take it. DAVID What do you have in the house? BARRY Nothing. I mean, really. change, nothing. that's the cash I have. DAVID You have an ATM? BARRY Yes. DAVID Is this where you live? BARRY Yes. DAVID You have another house somewhere or something? BARRY No. MIKE D This is three hundred and twenty. Let's just go to your ATM and that'll be it - BARRY I did n't promise her money. She said that it was confidential, this is n't fair - Mike D pushes Barry's face. MIKE D Shut up, be quiet. Be quiet. BARRY - do n't - DAVID HEY. You made a fucking sex call and now you're gon na pay. It's not a big thing - just give us some money and then it's over - we'll just walk down to the ATM and get your money out - BARRY Alright, alright. They pick him up and then ; BARRY How do you want to do this? MIKE D Let's just go to the corner, we saw a place on the corner, you'll just get your max out and that's it - you get out what you can and that's it -",
"EXT. GROCERY STORE/BANK PARKING LOT - NIGHT CU. BARRY at the ATM. Various CU's as he puts his card in, presses his info, etc.. He looks over his shoulder ; ANGLE, THE BROTHERS. CAMERA SLOWLY PUSHES IN on the three of them watching Barry. CU. 's MONEY comes out of ATM. Card comes out. Receipt comes out. Barry grabs the money. DAVID Ok. This is what you get when you're a pervert - you said you'd help someone out and you did n't so we're just getting some money for her and that's that. BARRY You know, please, I just wan na say that I did n't say I would help her out ; I was very clear about it. I do n't think that this is fair. wait, wait, wait, ouch, ouch. MIKE D walks up out of nowhere and straight towards Barry - throws a PUNCH straight to his FACE. Barry stumbles a bit, goes down to the ground. he NOTICES IN A QUICK FLASH : Their UTAH license plate. MIKE D You do n't challenge what my brother's saying, you do n't say that - . Barry makes a mad run for it.",
"EXT. STREETS & ALLEYS - NIGHT ANGLE, BARRY. - VARIOUS ALLEY WAY/STREET SHOTS. He turns some corners. makes his way down a side street and through an alley or two. and then he's running like a mad man as fast as he can down the street.",
"EXT. STREET NEAR ATM - NIGHT CAMERA tracks profile with him. The Boys pull up along side him slowly. Barry looks over. Mike D calls out from the passenger window ; MIKE D Where the fuck are you going? Barry starts to slow down. CAMERA behind. as he slows, we push in. land. he turns into CU. and walks back the opposite direction.",
"INT. BARRY'S BEDROOM - NEXT MORNING CAMERA holds on Barry as he wakes up. He's dressed in a FULL BASKETBALL OUTFIT. Lakers shirt, shorts, high tops, etc.. Small bandage over his ARM. He looks down at the outfit ; BARRY what the hell?",
"INT. WAREHOUSE/BARRY'S OFFICE - MORNING CAMERA DOLLIES/ZOOM in real quick to Barry at the Harmonium. A few more notes are played, something starting to sort of sound like a melody. but still a little broken. HOLD. SCORE begins here -LRB- ref.notes -RRB-",
"INT. WAREHOUSE/BARRY'S OFFICE - MOMENTS LATER Barry brings Lance in and closes the door, speaks sotto, then ; LANCE What's up? BARRY I think I got in trouble. A little bit of trouble. LANCE What happened? BARRY I made a call. -LRB- beat. -RRB-. and, uh. BEAT. Barry looks over Lance's shoulder and sees THE PUDDING stacked up. He stares for a moment ; BARRY ok. ok. I got ta get some pudding to go somewhere. One of the WORKER'S pops his head in, says ; WORKER Telephone on Line One, Barry. He picks up the phone ; BARRY Hello? RHONDA -LRB- OC. -RRB- I need to talk to you about your behavior the other night - Barry hands up the phone real fast. BARRY -LRB- to Lance. -RRB- Ok. Well. I'm gon na go out of town. I'm going to go out of town just for two days. LANCE Where you goin? BARRY I'm going to go to Hawaii but you ca n't tell my sisters that. LANCE Wow, you're goin' to Hawaii, that's great - you're goin -? BARRY Yeah but you ca n't tell my sisters that. LANCE Ok. BARRY Alright : And I have to go and buy some more pudding for this trip to Hawaii and as I just said that out loud I'm realizing it sounds a little strange but it's not. So can you come and help me out? LANCE Ok.",
"EXT. WAREHOUSE - MOMENTS LATER Barry and Lance exit the warehouse and get into Barry's car -",
"INT. SMART AND FINAL - DAY Barry and Lance are filling up an EXTRA LARGE SHOPPING CART with PUDDING as Barry explains, CAMERA pushes in ; BARRY I saw the Teriyaki Chicken first and that was $ 1.79 and then the Soup which made a real deal but then to come across the pudding. it's just tremendous when you think about how most people just do n't look. they do n't. they're not looking at the fine print, Lance.",
"INT. SMART AND FINAL/CHECK OUT - MOMENTS LATER They're unloading the pudding which comes in packets of three, but Barry and Lance are taking them out of those packets and handing them to the CHECK OUT GIRL one by one. BARRY -LRB- to Girl. -RRB- They need to be scanned individually. They each have a bar code, so I need it scanned individually so that each and every cup appears on the receipt. CHECK OUT GIRL What is this, man? BARRY I'm sorry. CHECK OUT GIRL Are you serious with this? BARRY Yes. Sorry. CHECK OUT GIRL Well. what do you want, then? BARRY Each pudding cup has to be scanned individually so that. it's for a giveaway. a product giveaway by this company. CHECK OUT GIRL This is a bunch of bullshit. BARRY I'm sorry, I know. I know that it's. BEAT. She scans them over and over and over. then : BARRY I'm sorry, I'm really sorry. She scans and scans and scans and scans. BARRY Sorry. I'm sorry, ma'am.",
"EXT. SMART AND FINAL - DAY Barry and Lance pushing the shopping carts. Barry looks across the parking lot and sees : A TOYOTA PICK UP coming slowly towards him and Lance. Barry starts to move steady/swiftly towards his car. Lance tries to keep up. Barry gets nervous, looks left and right. The Toyota passes and it's nothing. Barry and Lance load the pudding in his car as Barry acts as if nothing happened. He turns and sees a BABY in a shopping cart and he reacts ; BARRY God Damn They're So Beautiful.",
"INT. SUPERMARKET - DAY Barry and Lance stack pudding in, Barry says ; BARRY You know you can get places in the world with pudding. That's funny. LANCE Yeah. BARRY That's funny.",
"EXT. PARKING LOT/ANOTHER SMART AND FINAL. Barry and Lance walk together towards another Smart and Final. they walk towards the SLIDING DOORS. that do not slide open. Barry walks face first into the doors and quickly turns around and heads back to the car. BARRY I guess they're not open today. CAMERA holds the long walk back to the car. Barry glances both directions. cautious and careful. sees nothing. BARRY That's fine. I think I have enough. He walks a little faster and gets in the car. HOLD. SLOW ZOOM IN. SOUND DROPS out. he just sits, then, to Lance ; BARRY I get really sick of myself sometimes.",
"INT. BARRY'S WAREHOUSE - DAY CAMERA pushes in quick, Barry on the phone ; BARRY No, no, no, no, no. What do you mean? It does n't state anywhere about six to eight weeks. OPERATOR VOICE It takes that much time to process the order and make sure it's valid - BARRY I had this whole thing in my head, I was gon na be able to get this to you today - I have to leave today - OPERATOR VOICE I'm sorry. BARRY How am I supposed to know what to do if you do n't say it - if it's not in your rules and regulations in your fine print how am I supposed to know how to be with this - OPERATOR VOICE It takes time to process - BARRY No, no, no, no, nO, NO, NO! Barry drops the phone to the ground, spins around and PUTS HIS FIST THROUGH THE WALL. then drops down, lower his head. CAMERA HOLD CU. as he stops himself, tries to breath ; BARRY Do n't do that. Do n't do that. That's not right. Calm down now, please. Please. Ok. Ok. Calm down now please. HOLD. `` He Needs Me,'' starts. He closes his eyes.",
"INT. WAREHOUSE AREA - MOMENTS LATER Barry walks over to Lance ; BARRY Ok : the pudding is gon na take six to eight weeks to process so that is n't gon na work for today, I'll just take a bath on that today. Ok. But here's the thing I got ta tell you : BEAT. He looks around at the pudding. BARRY now : this pudding? LANCE Yeah. BARRY Let's just figure that out later -. -LRB- beat. -RRB- Ok. I got ta go. I'm just gon na go now and I'll call you from there, you're in charge'till I get back. And do n't tell my sisters anything? He exits.",
"INT. LOADING AREA/PLANE - DAY CAMERA -LRB- STEADICAM -RRB- follows him from the ticket handoff down the corridor onto the plane.",
"INT. PLANE - DAY CAMERA holds 2 - shot on Barry and a BUSINESS GUY sitting together, just before take off. HOLD, THEN : BARRY I've never been on a plane before. BEAT. There's the SOUND of the plane starting to move. BARRY What's that sound?",
"INT. PLANE - IN FLIGHT - LATER Barry sits. BEAT. HOLD. We hear the sound of a BABY CRYING. He looks across the aisle and sees : A small, THREE YEAR OLD CHILD crying, behind held by its FATHER. The baby stops crying for a moment, calming down, breathing heavy, looks around with wide eyes. CU. BARRY. HE WELLS WITH TEARS AND A SMILE, CRINGES IN HIS FACE AND WE SEE THE BUILD UP OF EMOTION, HIS VEINS POP FROM HIS FACE AND THEN HE SMILES LIKE CRAZY, SMILING AND SMILING AND SMILING, BRIGHT RED AND PAINFUL.",
"INT. HAWAII AIRPORT - LATE AFTERNOON He walks along the airport, looking out onto planes and palm trees and people, etc..",
"EXT. AIRPORT/CURB - TAXI AREA - THAT MOMENT Barry hops into a TAXI. The CAB DRIVER asks : CAB DRIVER Where? Barry HOLDS a moment, then realizes he does n't know, SNAPS INTO A CONTORTION, STARTS TO TEAR and almost SNAP and then nothing.",
"INT. WAKIKI STREET/PHONE BOOTH - LATER Barry on the phone amid a crowd of people passing ; ELIZABETH Hey. What are you doing? BARRY Nothing. I'm just at work and I'm wondering, you know your friend Lena?",
"INT. ELIZABETH'S APARTMENT - THAT MOMENT CAMERA with Elizabeth ; ELIZABETH What about her? You did n't ask her out, you're such a pussy - BARRY she did n't, I did n't ask her out? ELIZABETH You're so scared. BARRY Do you know where she's staying in Hawaii? ELIZABETH Oh My God, yeah, I know exactly where she is, why? BARRY she forgot her purse at my work and I wanted to get it back to her. ELIZABETH No she did n't ; that's a lie. BARRY I. please do n't do this. ELIZABETH What? Tell me why you wan na know - BARRY I just want to know where she's staying. ELIZABETH Tell me why. BEAT. HOLD ON BARRY. BARRY There is no reason for you to treat me like you do - you're killing me, you are killing me with the way that you are towards me - ELIZABETH - what are you talking about, come on - BARRY - all I want is the number of where she's staying and that should be god damn good enough, now stop treating me this way, please - Just Give Me The Number Elizabeth Please Now I think I will kill you if you do n't.",
"INT. WAKIKI STREET/PHONE BOOTH - MOMENTS LATER Barry on the phone ; HOTEL OPERATOR Sheraton Wakiki, how may I direct your call? BARRY Lena Leonard's room please. HOTEL OPERATOR I'll connect you. BEAT. A MAN answers the phone ; MAN'S VOICE Hello? BARRY Hello. Is Lena there? MAN'S VOICE You have the wrong room. He hangs up. Barry dials the number again. HOTEL OPERATOR Sheraton Wakiki, how may I direct your call? BARRY I just called, I got connected to the wrong room. I'm looking for Lena Leonard and there should n't be a man in the room I'm calling. BEAT. He's put on hold a moment, then it rings, then : LENA Hello? BARRY Lena? LENA Yeah? BARRY It's Barry. LENA HI. WHERE ARE YOU? ARE YOU HERE? BARRY Yes. LENA OH WOW. YEAH. THAT'S GREAT. YOU CAME, YOU CAME. What are you doing? BARRY I'm calling you, I'm standing in my hotel room, I came because I have my business trip - LENA Well let's do something do you want to do something, can you meet me? BARRY You do n't have a boyfriend or anything do you? LENA No. What do you mean? BARRY I just wanted to know. When was the last time you had a boyfriend? LENA About six months ago. Why? BARRY I just wanted to make sure. LENA When was the last time you had a girlfriend? BARRY Where you married? LENA yeah. BARRY Ok. So you were married for how long? LENA Do you want to meet me and talk about this stuff? BARRY Ok. Where are you from originally?",
"INT. ROYAL HAWAIIAN/LOBBY - LATER Barry is standing, waiting. HOLD. he looks across the lobby and sees : Lena. she's walking towards him with a smile on her face. Barry smiles and walks towards her. she walks towards him. he extends his arm out for a handshake as they get closer. she opens her arms for a hug as they get closer. They shake/hug/kiss on the cheek. then on the mouth. They start making out in the lobby of the hotel.",
"EXT. ROYAL HAWAIIAN - PATIO/BAR AREA - MAGIC HOUR CAMERA roams through the Mai Tai bar on the beach and finds them ; -LRB- Ladies K playing here. -RRB- LENA You got me out of my hotel room. You came and got me out of my room. BARRY Yeah. yeah. LENA It's so nice. BARRY This really looks like Hawaii here. They look at each other. HOLD, THEN : ANGLE, MOMENTS LATER. They walk back towards the hotel. CAMERA -LRB- STEADICAM -RRB- behind them as they move -",
"INT. ROYAL HAWAIIAN/HALLWAY - MOMENTS LATER CAMERA follows behind them as they walk. IRIS into their hands. she reaches over and holds his hand.",
"INT. ROYAL HAWAIIAN HOTEL ROOM - MOMENTS LATER They're in bed making out with their clothes on and a light on. they hold a second. BARRY Do you wan na have sex? LENA Yeah. They take their shirts off. LENA Press together. It feels good. She cups his face with her hands and tenses ; LENA Oh my god, you are so adorable. I just. god dammit. BARRY What's that? What is that that you're doing? LENA I just. your face is so adorable and your cheek and your skin, I wan na bite it. I wan na bite your cheek and chew on it. god damn cute. fuck. BARRY I know what you mean, I know what you mean, I get this feeling - LENA what? BARRY IIIIIIIIIII do n't want to hurt anything ever, but what I'm talking about is - have you ever held a little puppy or a little kitten and it's just the cutest, softest, most precious thing in the world and out of the blue you get this feeling in your gut and all you wan na do is squeeze it. Just fuckin squeeze the shit out of it. To take a little puppy and smash its skull. just so precious, so beautiful. Just so god damn wonderful and cute you wan na smack it and kick it and love it. Fuck. I do n't know. I do n't know. And you, you. I'm looking at you and I just. your face is so beautiful I just wan na smash it, just smash it with a sledgehammer and squeeze it. you're so pretty. They kiss and kiss and kiss ; LENA I know. I know. I know. I just wan na chew your face and scoop out your beautiful, beautiful eyes with an ice cream scooper and eat'em and chew'em and suck on'em. Fuck. BARRY This is funny. LENA Yeah. BARRY This is nice. They kiss and make out some more, then : DRUM ROLL into SNARE",
"INT. TOYOTA - MOVING - DAWN CAMERA on Mike D and Nate driving. HOLD. Martin rumbles out of a half sleep and says ; NATE That guy had more money to give up. JIM and DAVE wake up a bit in the back seat and listen ; NATE Long way to drive just for seven hundred something bucks. Dean does n't have to know. HOLD. SILENCE for a moment. MIKE D We're not that far. I mean, if we're going to, we're not that far.",
"EXT. HIGHWAY - NIGHT (BLUE SKY - CRACK OF DAWN DEAL) The Toyota exits the freeway - CAMERA TRACKS right with it as it makes a turn at the base of the off ramp. goes under a bridge and then makes a turn getting back onto the freeway heading in the opposite direction.",
"INT. HAWAIIAN HOTEL ROOM - NIGHT/NEAR DAWN - LATER It's dark and Barry and Lena are asleep in bed together. Barry gets up, in a haze. Lena moves and opens her eyes. She watches him as he gets up and casually goes to the corner of the room and starts talking gently to the wall. BARRY -LRB- sotto, calm. -RRB- You know you're not supposed to do that. Because I told you. Seriously. Please. Not that day. Ok. LENA Barry? He does n't respond. He's asleep. He moves to the closet and gets one of the HOTEL ROBES and puts it on and then he looks right at her and says : BARRY I was talkin' to you last Thursday about that. He gets the robe tied tight around his waste and then gets the COMPLIMENTARY SLIPPERS and puts them on. Then he gets back into the bed and closes his eyes.",
"INT. KAHALA HOTEL - MORNING CAMERA pushes in slow towards Lena as she's on the phone. CAMERA pushes in on Barry as he sits across the room, listening in his robe. They stare at each other the whole time. ELIZABETH -LRB- OC. -RRB- They need to see the new 484's to make sure it works with their OC. LENA Ok. What should I do about Eric? ELIZABETH -LRB- OC. -RRB- Just tell him to call me. LENA Ok. ELIZABETH -LRB- OC. -RRB- So. did my brother call you? LENA No. ELIZABETH -LRB- OC. -RRB- I have no idea what he's doing then. I'm sorry that did n't work out. LENA It's fine. ELIZABETH -LRB- OC. -RRB- You would n't want to go out with him anyway, honestly, he's such a freak sometimes. LENA He did seem a little strange. ELIZABETH -LRB- OC. -RRB- Well. he's not that strange, do n't say that. LENA I'm sorry. You're right. ELIZABETH -LRB- OC. -RRB- I think he's weird, but that's me. LENA Should I call you later? ELIZABETH -LRB- OC. -RRB- I'll just see you when you get back here. LENA Ok. They hang up and Lena looks to Barry and smiles. LENA Where do you have to go? BARRY For what? LENA For work. BARRY I do n't have any business here. I came here for you, I did n't have any business.",
"EXT. TOYOTA - DRIVING - DAY (MELODY/SLIGHT) CAMERA follows behind The Stevens Brothers car, then gets up along side them as they drive back.",
"INT. KAHALA LOBBY - DAY (SCORE BACK TO RHYTHMIC) Barry and Lena walk out to the valet, leaving the hotel. -LRB- STEADICAM -RRB- behind them.",
"INT. HONOLULU AIRPORT/SECURITY - DAY (CONTD. UNTIL NOTED) Lena and Barry go through the x - ray thing. STEADICAM.",
"INT. AIRPORT/HONOLULU - AT THE GATE/WAITING AREA Side by side on the return flight sit Lena and Barry. BARRY How many times have you been on an airplane? LENA I think maybe over a hundred. BARRY That's right you travel so much. LENA Yeah. BEAT. The plane starts to move. BARRY How much do you travel? You travel all the time? She nods her head, looks at him. BEAT. HOLD. BARRY I forgot about that. LENA Can I come home with you when we get there? BARRY Yeah. LENA It's ok to ask that. BARRY I thought that you were anyway. CU. BARRY'S FACE. He looks to Lena. DRUM HIT LOUD. THEN AGAIN. THEN AGAIN. and we're in the score cue for. CUT TO BLACK. It's BLACK FOR A FEW MOMENTS.",
"INT. BARRY'S GARAGE - NIGHT It's dark. The garage door opens and we see Barry and Lena in his car. they're about to pull in. THE TOYOTA PICK UP carrying The Stevens Brothers pulls in real fast behind them and rear - ends them. CAMERA pushes in real fast. Barry turns and sees Lena's head has been injured. he looks behind and sees TWO OF THE BROTHERS EMERGING FROM THE CAR. he gets out quick, heads right for them. MIKE D Get on the ground, man - get on the fucking - Barry goes absolutely APE SHIT on MIKE D and NATE. it's a mess of VIOLENCE and BRAWLING and Barry seems to get the best of both NATE and MIKE D. the two other brothers half get involved/stay in the car. CAMERA pushes in on LENA -LRB- 30fps -RRB- as she notices Barry going pretty fucking crazy. ANGLE. BARRY. As he walks and gets back in the car. CAMERA is attached to the open door and closes as Barry closes the door. BARRY Are you ok? LENA I'm fine are you ok? BARRY Yes I'm sorry. LENA What is this? BARRY Let's go to the hospital. They drive off.",
"INT. HOSPITAL - LATER Lena is getting a bandage applied to her head by an intern. It's very calm and she's very matter - of - fact as it happens. Barry stands nearby. and OFFICER is asking her a few questions ; LENA people are just crazy in this world, I think. POLICE and he came up on the driver side. LENA The first man came on the driver side. POLICE right. the blonde one? LENA They were all blonde. CAMERA moves over with Barry as he starts to back away from the scene. CAMERA watches him as he walks off and away, down the hall. out of the hospital. HOLD on the back of Lena's head as she gets bandaged and questioned.",
"INT. BARRY'S WAREHOUSE - NIGHT CAMERA pushes in from outside, to inside. he's opened up and is using the phone. SEXY VOICE RECORDING - some of the horniest girls around - stay on the line and an operator will be right with you. remember, have your credit card ready and know that Mastercard is my favorite credit card. LATISHA picks up doing a fake voice as an `` Operator.'' LATISHA -LRB- OC. -RRB- This is Janice the operator, who's this? BARRY My name is Barry Egan and I spoke to you. you called me, you remember?",
"INT. PROVO - BAR - BACK ROOM AREA - THAT MOMENT CAMERA pushes in on Latisha as she looks for what to say : LATISHA no. I do n't. I do n't remember you. Who's this? BARRY That's not true. That's not true at all. You said that your name was Georgia and you said our conversation was confidential and I trusted you and you kept calling and asking me for money, c'mon now I want to talk to your owner, your supervisor, whoever runs this, you understand. Please connect me now. LATISHA Can you hang on a second? She puts him on hold and dials another number, she's real nervous, holding it in -",
"INT. DEAN'S MATTRESS/FURNITURE STORE - THAT MOMENT Dean also seems to own a mattress/furniture store in Provo. Somebody walks towards him, says : WORKER Dean, line one. Dean walks back to the phone and picks it up ; DEAN Hello? LATISHA Hey, it's me. This guy from L.A., Barry Egan is calling on the other line and saying all this stuff, he wants to talk to a supervisor or whatever - DEAN What did you say? LATISHA Nothing. DEAN Put him through. LATISHA No, no. This is bad, something might have happened, we should just - DEAN Shut up, just put him on the phone, it does n't matter, just shut up - INTERCUT NOW WITH BARRY/LATISHA/DEAN ; She clicks over to him ; LATISHA Ok, sir. I'm gon na put you through to my supervisor. BARRY Fine, thank you. LATISHA Ok. You're connected. DEAN Who is this? BARRY Hello, my name is Barry Egan and I called your service - DEAN Why do n't you shut the fuck up? BARRY What? DEAN I said calm down and shut the fuck up. What's your problem? BARRY I have n't even told you what's happened. Your girl that you have that works there for you threatened me and two men just chased me - extorted money - DEAN Go fuck yourself that shit does n't have anything to do with me - this is a legitimate bossiness. BARRY YOU GO FUCK YOURSELF. YOU GO FUCK YOURSELF. YOU GO FUCK YOURSELF. MY LOVE WAS HURT, SHE GOT HURT. I AM IN LOVE WITH HER AND YOU HURT YOU AND YOU ARE GON NA FUCKING GET HURT. YOU DO N'T TOUCH HER, I LOVE HER. DEAN CALM DOWN SHUT THE FUCK UP AND CALM DOWN SHUT SHUT SHUT UP SHUT UP - They stop screaming. Then : DEAN Now are you threatening me, dick? BARRY You are bad. You are a bad person. you are a bad person and you have no right to take people's confidence in your service - DEAN You better watch your mouth, cunt, you're gon na get hurt. BARRY NO. NO. DO N'T YOU SAY THAT. DEAN I'll say whatever I want - BARRY YOU FUCK OFF. YOU FUCK OFF AND DIE I WILL HURT YOU FOR HURTING HER. YOU HURT HER. DEAN You just told me to fuck off. That was n't good. You're dead. Dean hangs up the phone. ANGLE, BARRY. He turns away and walks quickly out of his office with the phone receiver to his ear. the base of the phone slides off the desk. and then the receiver RIPS from the base and he starts to run.",
"EXT. WAREHOUSE - NIGHT Barry runs down the alley way, much the same he ran down with the harmonium at the beginning of the movie. this time he has the phone in his hand. he runs.",
"INT. HOSPITAL/RECEPTION AREA - NIGHT Barry returns looking for Lena. She's not there. He looks around. does some math in his head. then :",
"INT. HOSPITAL/PAY PHONE CAMERA rounds a corner and discovers Barry on a pay phone. the other end is ringing. -LRB- Sound/Prop Dept.Note : This must be a working phone to call 801 - 555 - 1212 -RRB- OPERATOR What city? BARRY Somewhere in Utah. OPERATOR What's the listing? BARRY D&D Mattress Man.",
"EXT. STREET/MATTRESS STORE - DAY CU. on Barry. -LRB- UTAH CAB behind him -RRB- pan him around to reveal ; Dean's furniture store.",
"INT. MATTRESS STORE - DAY He enters. and EMPLOYEE approaches ; EMPLOYEE May I help you? BARRY I'm looking for the Mattress Man. EMPLOYEE Who? BARRY Whoever owns this. EMPLOYEE In the back. Barry walks towards the back. he rounds a corner. to reveal : DEAN is in a back room, he's getting his hair cut by LATISHA. he turns and looks at Barry, who stands there with the phone in his hand. They stare at each other. BARRY I'm a nice and reasonable man. I did n't do anything wrong. Please do n't make me hurt you. And I'm telling you : that if you ever hurt me or if you hurt someone that I love. I will hurt you many, many, many times over. because it's not right to take people's trust. DEAN You came all the way from Los Angeles to tell me that? BARRY Yes I did. Dean does n't respond. BARRY Can we agree that that is that? DEAN That's that. BARRY Thank you. Barry hands him the phone. Barry exits. as he's about to go out the doors, Dean screams ; DEAN NOW GET THE FUCK OUTTA HERE MAN. CAMERA, PUSHES IN VERY SLIGHTLY ON Barry as he exits the doors -LRB- 30fps -RRB-",
"INT. WAREHOUSE - DAY Barry comes running into the warehouse. Lance and all the workers are there. he runs past them. LANCE/WORKERS are you ok? What's goin' on? Barry? Barry? BARRY I'm fine. I'm fine. yes I'm fine. LANCE Where you been? BARRY Well I had to go to Utah. but now I'm here and I'll be right back.",
"INT. LENA'S APARTMENT - CORRIDOR/VARIOUS Various : Barry gets out of the elevators carrying the harmonium. he makes the left turn this time. Barry runs down the hallway with the harmonium. -LRB- long lens, steadicam from behind, in front, etc. -RRB-",
"INT. LENA'S APARTMENT/HALLWAY - THAT MOMENT He bursts through the door. He places the harmonium down on the ground. He rings the bell. she answers. he says : BARRY Lena I'm so sorry. I'm so sorry that I left you at the hospital. I called a phone sex line. I called a phone sex line before I met you and then these four blond brothers came after me and you got hurt and I'm sorry - and I had to leave because I do n't want you to get hurt again and now I'm here and I'm back and I have a lot of pudding that I can redeem in six to eight weeks and if you give me that much time I can get enough miles to fly with you wherever you have to go if you have to travel for your job because I do n't want to be anywhere without you. can you please let me redeem the mileage? LENA You left me at the hospital. BARRY I'm sorry. LENA You ca n't do that. BARRY Ok. BEAT. BARRY If you give me six to eight weeks I can redeem the mileage and then I can with you wherever you have to travel. LENA So here we go. CAMERA PUSHES IN AS MY KISS. REVERSE, BARRY. CAMERA slowly pushes in as he hugs Lena. LAND IN CU. FADE OUT."
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] | Barry Egan is a single man who owns a company that markets themed toilet plungers and other novelty items. He has seven overbearing sisters who ridicule and emotionally abuse him regularly and leads a lonely life punctuated by fits of rage and social anxiety. In the span of one morning, he witnesses an inexplicable car accident, picks up an abandoned harmonium from the street, and encounters Lena Leonard, a coworker of one of his sisters, Elizabeth. Lena had orchestrated this meeting after seeing him in a family picture belonging to Elizabeth. Barry goes to his sister's birthday party, where the rest of his sisters ridicule him. They bring up the times when they would call him "gay boy" until he got mad. They bring up an incident from when he was younger when he threw a hammer through their sliding glass window. He reacts angrily, shattering his sister's windows. He talks to his brother-in-law where he asks if he can give him the phone number to a therapist. Coping with his loneliness, Barry calls a phone-sex line, but the operator attempts to extort money and sends her four henchmen, who are brothers, to collect. This complicates his budding relationship with Lena, as well as his plan to exploit a loophole in a Healthy Choice promotion and amass a million frequent flyer miles by buying large quantities of pudding. After Lena leaves for Hawaii on a business trip, Barry decides to follow her. He arrives and calls Elizabeth to find out where Lena is staying. When his sister starts abusing him again, Barry snaps and demands she give him the information, which she does. Lena is overjoyed to see Barry. They spend time together and make love. At first, Barry explains that he is in Hawaii on a business trip by coincidence, but he soon admits that he came only for her. When Barry's sister calls Lena in Hawaii, Lena tells her that she hasn't had any contact with Barry, loyally preserving his and their privacy. The romance develops further, and Barry finally feels some relief from the emotional isolation he has endured. After they return home, the four brothers ram their car into Barry's, leaving Lena mildly injured. With his new-found freedom from loneliness in jeopardy, a surprisingly aggressive and poised Barry adeptly fights off all four of the goons in a matter of seconds, using a tire iron as a weapon. Wanting to make sure Lena is never hurt again, Barry leaves Lena at the hospital and tries to end the harassment by calling the phone-sex line back and speaking to the "supervisor", who turns out to be Dean Trumbell, who is also the owner of a mattress store. Barry travels to the mattress store in Provo, Utah, to confront Dean face to face. Dean, at first trying to intimidate Barry, finds Barry more intimidating after Barry tells him that he is in love and it makes him stronger than anyone else. An end to the harassment is implied once Dean learns that Barry has come all the way from LA to confront him instead of going to the police, though Dean tries to save face by getting in the last word. Barry returns to Lena's apartment, and tells her everything, about the phone-sex episode, and Dean's goons, and begs her for forgiveness, pledging his loyalty and to use his frequent-flier miles to accompany her on all future business trips in just six to eight weeks after his pudding miles are processed. She was upset he left the hospital but eventually agrees, and they embrace happily. Some time later, Lena approaches Barry in his office while he plays the harmonium. She puts her arms around him and says, "So, here we go." | Punch-Drunk_Love |
[
"The following is very loosely based on some shit that actually happened. OVER BLACK We hear the roar of a V8 engine, piped out through some throaty, fucked up muffler, as",
"EXT. HIGHWAY - DAY An'89 Mustang bursts like a shot over a rise in the highway. It's got a rusted two - tone paint job, Maryland plates, and bald tires that scream as it peels off an exit and into the",
"EXT. SUBURBS - DAY The car fast approaches a stop sign, dangerously blows through the intersection.",
"INT. MUSTANG - DAY - MOVING We do n't see the DRIVER, only the redlining RPMs, Vans slip - ons working the pedals, wristwatch being checked. The wheel cranks right as the car turns onto a - One way street. A minivan flies right at us. The Mustang hops up onto the curb to avoid it, clips a trash can and - Garbage explodes like confetti. The wipers engage, brushing the trash aside. The car whips another turn and",
"EXT. SUBURBS - DAY The Mustang fishtails around a corner and skids away. TIRES SCREECH Brake pads smoke. The Mustang stops outside",
"EXT. HOUSE - DAY The Driver jumps out of the car. As he rushes to the front door, we see the urgent package he is delivering. TWO LARGE PIZZAS Before he can ring the bell, the door opens and two smug 15 - YEAR - OLDS stare out. 15-YEAR-OLD That's 34 minutes. You're 4 minutes late. Pizza's free. REVEAL our guy staring back at the kids. This is WILL -LRB- 25 -RRB-, probably good looking in another life. Right now, he is tired and unamused, wearing a red `` Giorgio's Trattoria'' hat and a sweaty matching t - shirt. WILL Gim me a break. You guys live two towns away. It's pretty much fucking impossible to get here in 30 minutes. OTHER 15-YEAR-OLD Exactly. That's why we ordered from your shitty `` trattoria.'' WILL This is gon na come out of my paycheck. You sure you do n't want to take the moral high ground? OTHER 15-YEAR-OLD We'd rather take the pizzas. Will takes a calming breath. Hands over the pizzas. WILL Ok. You guys are pretty smart. You figured out a way to beat the system. -LRB- PEEKS INSIDE. -RRB- Got the house to yourselves? 15-YEAR-OLD That's right. WILL Not bad. Any jailbait in there? Little pizza and a rainbow party? The kids shakes their heads. WILL Seriously? Well, two hustlers like yourselves got ta have the place stocked with beer and whippits and shit, right? Just call the girls up and let them know the party's on. 15-YEAR-OLD Man, we do n't have any of that stuff. Will makes a show of mulling this over. WILL I really should n't do this. but you seem like a couple of good dudes. I'll tell you what, you give me the money that your mom left you for the pizzas, and I'll grab you some beers. -LRB- BEAT. -RRB- But I get to keep the change as a tip. Deal? The kids look at each other. One hesitantly pulls out some cash. Will snatches it and heads off. WILL I'll see you in like 20 minutes. The kids look uncertain. As if sensing this, Will stops before getting into his ride. WILL You boys like Budweiser, right? 15-YEAR-OLD Uh, yeah, totally. OTHER 15-YEAR-OLD Love that shit!",
"INT. MUSTANG - DAY - MOVING The sun sets. Will cruises back into his own middle - class town in suburban Maryland. A six pack of Budweiser rests in the passenger seat. Will stops at a light. Checks out a PRETTY YOUNG THING in the Jeep beside him. She catches him looking, rolls her eyes. The light turns and the Jeep skids away. Will self consciously removes his `` Giorgio's'' cap.",
"INT. GIORGIO'S TRATTORIA - NIGHT Will enters and nods at CHRISTOPHER -LRB- 40s -RRB-, the manager. His balding head is nearly translucent from absorbing a day's worth of pizza grease. WILL Yo, Chris. Let me cash the fuck out. Will hands over some cash to Christopher. CHRISTOPHER You have a pretty good shift? WILL For sure. I mean, the part where I had to drop off all those pizzas kinda sucked, but the rest was cool. CHRISTOPHER Oh, yeah?'Cause, I got some kids calling in saying you ripped them off. Promised to buy them beer or something. WILL I actually did buy the beer, but it would have been illegal to give it to them, right? So I'm gon na do the responsible thing and drink it myself. CHRISTOPHER That's real funny. But I'm trying to run a business here. WILL What kind of business promises to deliver anywhere in 30 minutes? It's ridiculous. CHRISTOPHER I do n't wan na hear another one of your bullshit excuses. You're fired. WILL Come on. If I did n't need this job, I would n't be doing this shitty job. Chris is unmoving. WILL Fuck! Whatever! Will storms off. As he gets to the door - CHRISTOPHER You know, you were an okay driver half the time. And you're not a Puerto Rican. Which means something to me. WILL That's poignant. CHRISTOPHER I guess I could rehire you, on a provisional basis. Of course, this would be at the slightly reduced `` new company rate.'' WILL Are you fucking serious? CHRISTOPHER I do n't know. Is there anyone else left in town for you to work for? Will shakes his head. Swallows what's left of his pride. WILL When do I start?",
"EXT. SMALL APARTMENT BUILDING - NIGHT Will sits on the darkened front stoop. He tosses an empty can into the bushes and gets to work on his fourth beer. He looks over at a parked Hyundai Elantra. A YOUNG MAN sits in the passenger seat with a pensive look on his face. He makes a sudden, surprised gasp. The homely YOUNG WOMAN who was just blowing him sits up from his lap and rearranges herself in the driver seat. She leans over for a goodbye kiss. The Young Man obliges with much fanfare. The Young Man gets out and the car pulls away. This is CHET -LRB- 25 -RRB-, a clean cut guy dressed in the Gap Premium Collection. He heads toward the building, high off his BJ, humming Outkast's `` Ms. Jackson.'' He stops when he notices Will in the shadows. CHET What the hell? Have you just been sitting there? WILL Yep. Caught the whole show. Really classy move at the end. You know, the kiss. Putting your tongue in her mouth right after you fucked it. CHET Hey, a nice girl decides to pleasure me on a weeknight, in her car no less. I'm not gon na make her feel like an untouchable. I'm gon na make her feel like a lady. WILL What manners. May I offer you some alcohol, sir. To wash the taste of yourself out of your mouth. Will offers his beer. Chet takes a slug, gurgles for effect. CHET By the way, she said she had a friend. Maybe we can go on our first double date since you tried to talk Jackie Fortunato and her cousin into having a four - way with us. WILL I misread their body language. It happens. Will picks up some rented movies sitting beside him. WILL Come on. Let's go inside, drink your beer and watch shit get crazy. -LRB- FANS MOVIES. -RRB- Old favorites. You choose. Lethal Weapon, Lethal Weapon 2. was gon na get the third Lethal Weapon, but decided on a porn. So it's really between the first two. CHET I choose sleep. I got ta teach a class at eight. WILL You're a sub. Just call in sick. Like the real teacher did. CHET Come on, man, you know I got promoted to full - time last month. You bought me a laser pointer. Will heaves a sigh. WILL Yeah, I know. I guess I'm just having a hard time accepting you as `` the man.'' You know, flunking kids, giving out spite detentions to girls you wan na fuck, laser pointing at shit. CHET I also get healthcare and my summers off. It's not perfect, but it's a career. Will grudgingly stands up. WILL I guess that's just the difference between you and me. He holds up the Lethal Weapon DVDs. WILL I'm like Riggs. Cruising the streets. No rules, no attachments. Every other day some asshole is trying to take my badge. You're fucking Murtaugh. Always worried about your pension. Well, guess what, it gets old after the first movie. CHET I just got head. I'm totally Riggs. Will shakes his head, turns and walks off.",
"INT. STUDIO APARTMENT - DAY Will wakes up, legs dangling over the edge of a tiny couch. His TV is still on, displaying the menu screen from a porn. Will looks down at his coffee table. Clears some magazines to reveal a file folder. Flips the cover - It's full of college applications, drafts of admissions essays, a junior college transcript. Will thumbs through one of the glossy applications. The kids look young. Very young. Will glances over at a picture on his wall : he and Chet at high school graduation, looking just as young. They have their arms around a pretty girl squeezed between them. Will and the girl look very high and very happy. Will shuts the folder, slides it back under the coffee table debris. He looks over at a clock : it is already 2:00 PM. WILL Fuck.",
"INT. MUSTANG - DAY Will jumps in and starts the engine. As he tucks his `` Giorgio's'' cap onto his head, he catches his reflection in the rear - view mirror. WILL You asshole. You titanic asshole. Come on down and get your prize. He makes his fingers into a gun, puts it to his head. pulls the trigger and BOOM! WE'RE IN",
"EXT. OPEN FIELD - DAY A watermelon explodes in a shower of red, juicy bits. Loud, dumb laughter echoes. Standing 20 yards away is DWAYNE -LRB- 32 -RRB-, an intense, meaty guy in a sleeveless Baltimore Ravens t - shirt. On his left bicep is a tattoo of the Tasmanian Devil flipping the bird. DWAYNE Fruit motherfuckin' salad! Crouched beside him is JAY -LRB- 27 -RRB-, tall and awkward, in a wool surplus cap. He carefully rigs homemade explosives to another watermelon, then looks up at Dwayne. His eyes are magnified into saucers by his thick glasses. There's a peculiar eagerness to please in them. JAY This one's gon na blow even bigger. DWAYNE Boy, if you were n't such a skinny little bitch you coulda been in the military or something. JAY Whatever. I do n't need the military. I taught myself how to do this shit. DWAYNE I hear that. I taught myself how to eat pussy. And cut my own hair. Jay jogs the watermelon a safe distance away. He returns and pulls out a detonator. Dwayne snatches it. DWAYNE This one's all me. -LRB- makes `` radio'' sounds. -RRB- Mr. President, we have enemies at the gate. Give me the order. -LRB- more `` radio'' sounds. -RRB- Fuck that, sir. I do n't negotiate with terrorists! Dwayne presses a button and BOOM! The explosion is so powerful that it sprinkles our guys' smiling faces with fruit juice.",
"INT. KITCHEN, NICE HOUSE - DAY Large and early - 90s chic. Dwayne and Jay have the fridge open, fixing themselves a cold cut plate. Dwayne is debating the amount of meat on the plate. adds some more. DWAYNE Wan na make sure I get enough calories. JAY I thought you wanted to get diesel for the summer. Bang that towel girl at the community pool. DWAYNE It's obvious you do n't know shit - all about physical fitness. You got ta bulk up first, then you slim down. I'm clearly in the bulk up phase. I told you to watch Pumping Iron like a month ago. If you'd listened to me, maybe you'd know what the fuck I'm talking about. -LRB- BEAT. -RRB- Grab some RC Cola.",
"INT. LIVING ROOM, NICE HOUSE - DAY The shades are drawn. We hear a girl scream bloody murder! The guys are watching FRIDAY THE 13TH PART 3. in 3D. They both wear cheap cardboard glasses. Jay jumps back as Jason wields a 3D ax. JAY Shit, man! It's so real! Dwayne reaches out, `` touching'' the 3D images. He stands and starts humping the air. DWAYNE Check it out. I ai n't afraid of Jason. I'm fucking him. -LRB- THRUSTING HARDER. -RRB- You like that, Jason!? In the mask! Jay cracks up. The lights flick on. GRIZZLED VOICE. -LRB- O.S. -RRB- Who are you two fags fucking? Standing by the switch is Dwayne's dad, JERRY -LRB- 70s -RRB-. Most people just call him `` THE MAJOR.'' The faded USMC tattoo on his thick forearm explains why. JAY Afternoon, Major. Dwayne flops back onto the couch. DWAYNE Dad, we're watching a flick. We got 45 minutes and a potential 3D sex scene left. You're sorta coming in at the worst possible moment. 10. MAJOR I bought that TV set so I could watch my programs, not so you and your friend could louse up my couch. DWAYNE You got ta learn how to share the common space. MAJOR The only thing common in this house is you. You remind me of your damn mother. Fat, dumb, and in my way. The Major grabs Dwayne and pulls him up off the couch. He gets right in his face. scary, intense. Dwayne turns to Jay. DWAYNE Let's get outta here. This movie sucks anyway. Jay gets up and files out the door. Dwayne goes to take the cold cut plate. The Major grabs his arm. MAJOR I paid for the damn cold cuts, too. Maybe if you had a job, or a fucking prospect, or a clue how to find any of the above, I'd let you eat'em. DWAYNE -LRB- QUIETLY. -RRB- You know, you can be a real sonofabitch, dad. MAJOR That's what it takes, boy. In the Corps, men like you wore dresses to keep us entertained. DWAYNE That's pretty fucking disturbing! Dwayne storms off.",
"EXT. NICE HOUSE - DAY Dwayne and Jay head out, passing a brand new pickup truck in the driveway. Dwayne spits on it. DWAYNE Fuck The Major! The guys get in a shitty Ford Aerostar minivan and peel out. 11.",
"INT. DIVE STRIP CLUB - DAY R. Kelly's `` Ignition -LRB- Remix -RRB-'' pumps. Large, fake breasts, sparkling with cheap body glitter and pierced at the nipples, shake before us. Their owner, JUICY -LRB- 27 -RRB-, a petite Latina, phones in a lap dance as Dwayne pours his heart out to her. Somewhere in the background, Jay hangs at the bar, all alone. DWAYNE - and he thinks he knows me. He do n't know shit. I got ideas he could never dream of. I got plans bigger than his fucking house. -LRB- BEAT. -RRB- He did n't even raise me. My mother did. That was a good woman. JUICY Oh yeah? What happened to her? Dwayne shifts, uncomfortably, at the sore subject. DWAYNE She passed on. JUICY I hope you're not one of those guys that comes here looking to get mothered. DWAYNE I would n't mind nursing on them titties, mamacita. JUICY Sure. Whatever you say. Maybe just keep quiet for a while, forget about your old man and let me do my thing. DWAYNE I wish I could forget about that asshole for good. I'm just waiting around for him to drop dead. Do n't wan na mess with my inheritance. This piques Juicy's interest. JUICY What kinda inheritance? 12. DWAYNE When my dad got outta the service, he started buying lotto tickets. He'd play his dog tag numbers. In' 91, the fucker won five million bucks. INSERT PHOTO : The Major holding a giant cardboard check. DWAYNE He had some health problems a few years back, and since then he's been burning through the money like an NBA draft pick. Probably only got a million or two left. But it's mine as soon as he kicks. Behind inch - long fake eyelashes, Juicy's shrewd eyes narrow, mind working. She straddles Dwayne, tightly. JUICY You know, with a million bucks, you could have anything. Be like a king. -LRB- almost a moan. -RRB- King Dwayne. DWAYNE That's right. And maybe I'll make you my queen. Let you polish my royal scepter. JUICY Practice makes perfect. Juicy pantomimes a long, slow chicken head. Dwayne is blissed out. She smiles at him, sticky sweet. JUICY Let me ask you a question. do you really hate your daddy? DWAYNE Hate him like the Steelers. JUICY Then maybe I can help you get that money now. Before he spends another penny. Dwayne looks confused. Juicy puts his hands on her breasts, emboldening him. JUICY I know a guy in Baltimore. He could help you out. Probably do it for. -LRB- sizing him up. -RRB-. 100Gs. 13. DWAYNE Do what? Juicy leans in, whispers softly in Dwayne's ear - JUICY Kill your mean old dad. On Dwayne's face as this new possibility pinballs around his mind, setting off a flood of different emotions. JUICY So, what do you think. you ready for your crown?",
"INT. MUSTANG - NIGHT - MOVING Will has one pizza left in the back of his car. He pulls over outside an office building.",
"INT. LAW FIRM, OFFICE BUILDING - NIGHT Rows of cubicles. Speckled with late night STRAGGLERS, bleary eyes, too busy generating detailed lists of places they'd rather be to notice the pizza boy walking along. Will stops before one such work station, looks on for a beat. WILL Rio? KATE -LRB- 25 -RRB- turns from the glow of her computer screen. She has short, messy hair and a sarcastic smile. This is the girl from the picture in Will's apartment. KATE That's the plan. Five days, six nights. Culture. Beaches. Acceptable probability of kidnapping. I leave in the morning. Kate looks back at her computer, logged onto an Expedia checkout page for a Rio vacation. She moves the mouse pointer from the `` proceed'' key. closes the window. KATE This morning I loaded up an African Safari and a cruise to Alaska. WILL Oh, the places you'll go. KATE Fuck Expedia. Travel Advisor. Making it seem so easy. 14. WILL It is. Just do it. Get away for a while. KATE Even if I could afford that. they fired two other paralegals last week. Now's not the time to be putting in for vacation days. WILL Ok. Done. I've got my dose of the actual working world. Can we eat? Will lays a pizza down on her desk. KATE How do you keep sneaking up here past the security guard? WILL He's there like half the time. The other half I smile at him. I'm relatively certain he's a homosexual. KATE Interesting theory. Kate opens the pizza box, grabs a slice. KATE Maybe I should set him up with Tom Small. He came out to me today on Facebook. WILL That kid beat the hell out of me and Chet in grammar school. Wow. KATE Tell me about it. He fingered me at junior prom while they were playing `` No Scrubs.'' WILL -LRB- WINCES. -RRB- Really? What a fucking scrub. Will grabs a slice. They eat quietly for a beat. KATE So, I've got some news. 15. WILL I thought the Tom Small stuff was enough of a headline, but go ahead. KATE I'm getting back together with Mark. Will's delicious pizza suddenly tastes like shit. He does his best to swallow it down. WILL But you. you broke up with him. ended the relationship. Finality was had. KATE Yeah, but we were talking and - WILL Forget it. I do n't want to know. KATE You sound like Chet. WILL Woah, do n't compare me to your brother. KATE Well, neither one of you seems to care that I do n't have a life. Mark's not perfect. but a relationship is better than working late every Friday because I have nowhere else to be. WILL Sure. I get it. Here we are. Friday night. Nowhere to be. Kate shoves Will, good - naturedly. KATE You know what I mean. Will shrugs, quietly devastated. Goes back to his pizza.",
"INT. SPORTS BAR - NIGHT Most of the PATRONS are fixated on an Orioles game blaring from a large flat - screen TV. At a booth in back, Dwayne and Jay are in deep conversation. 16. JAY I do n't wan na stick my nose into a family matter. but killing your old man? That's pretty messed up. I mean, unless you think it is n't. DWAYNE What we have here is a classic `` lesser of two evils'' debate. You got one evil : me shaving a few years off The Major's shitty life. Then you got the other evil : The Major ruining my entire awesome life by blowing through my inheritance. Maybe I'm biased, but mine sure as shit seems like the lesser. JAY I guess I. sorta see where you're coming from. And you have been waiting around forever for that money. You deserve it, Dwayne. Dwayne nods, seriously. DWAYNE You know, there's a reason I sleep'til noon everyday. And it ai n't'cause I'm lazy. It's on account of me having so many goddamn dreams. Big ones. And once that money's mine, they're all gon na come true. Dwayne takes a long sip of beer, contemplative. DWAYNE Like I had this one dream last night. I was cruising through town in a Lamborghini Diablo. The wind was blowing through my hair, ruffling my open shirt. There was a hot little piece of ass sitting next to me. And in the back seat, Jay. was you. Strapped. Wearing a pair of Oakleys. JAY Wow. I did n't know you dreamt about me, Dwayne. DWAYNE It was only this once, Jay. To be honest, I did n't know what to make of it. So I consulted my dream book, and found out it means this : you're my road dog. You got my back. That's why I want to make you my partner. JAY In what? DWAYNE In crime. And business. You see, it ai n't just about the inheritance money. It's about what I'm gon na do with it. Dwayne leans across the table. DWAYNE I'm about to clue you in on something. And then you'll understand the true magnitude of what's at stake here. Are you ready? JAY Yes. I'm totally ready. DWAYNE Then answer me this. what's this town missing? I'll give you a hint. It's a cash business, crawling with sexy bitches. JAY -LRB- BEAT. -RRB- A Chinese food restaurant? DWAYNE No. A tanning salon. -LRB- BEAT. -RRB- Think about it. All that green. All that brown flesh. Jay nods, thinking about. He smiles. DWAYNE It's also the perfect front for a prostitution ring. JAY Yeah, of course. Because of the booths. DWAYNE Yes. And because of the bitches. -LRB- BEAT. -RRB- It can all be ours. 30 percent for you, 70 percent for me. You just got ta help me out here. 18. Jay looks conflicted. Dwayne goes dark, like a spurned lover. DWAYNE I'm starting to wonder if my dream book was wrong about you. Maybe you sitting behind me does n't mean you're my road dog. Maybe it means you're plotting to stab me in the back, like some snake in the grass. JAY That's crazy. I'd never do something like that. The dream book was right! Jay looks Dwayne in the eyes, knows it's all or nothing. JAY Ok. I'll do it. But I'm not shooting him or anything. I'll hold him while you shoot him. That's it. Dwayne chuckles. DWAYNE Here's a fact : they do n't build prisons for criminals, they build them for idiots. Shit, they got three different types of CSI on TV, just laying out how the police do their business. and still, idiots like you think you can just go out and do a murder yourself. -LRB- BEAT. -RRB- If you wan na be a millionaire, you got ta think like one. And millionaires do n't kill people. They hire assassins. Which I did. We got ta pay him on Tuesday. JAY What? Why would you do that? DWAYNE I was presented with an opportunity. I took it. 100 thousand bucks for a highly trained assassin is a steal. JAY But we do n't have that kinda money. DWAYNE Now we're addressing the real problem : how do we get the 100 grand?'Cause once we get that, we get the million. And once we get the million, we will literally own this town and every single thing in it. JAY I guess we could just. rob a bank. One of these local banks with nothing but a dipshit security guard. DWAYNE Again, not quite thinking like a millionaire. JAY Okay, then let's hire someone to rob a bank. Dwayne thinks about this for a second. DWAYNE Fuck hiring them, we could just force someone to rob a bank for us. Like with blackmail, or death threats, or - JAY -LRB- ALMOST INVOLUNTARILY. -RRB- A bomb. Everyone's scared of a bomb. DWAYNE I was gon na say hypnotism. but I like that. It's out of the fucking box. We just strap one to some motherfucker's chest, like we did to those watermelons. Think you can you build some kinda bomb vest? JAY Yeah, I mean. camel jockeys do it in caves. I got a garage workshop. DWAYNE I'm pretty sure this is exactly how a millionaire would do it. And the beauty of it is : we do n't lose any sleep,'cause no one gets hurt. JAY Except The Major. DWAYNE Yeah. The Major dies. But no one gets hurt. Dwayne smiles. But a nagging thought interrupts him - 20. DWAYNE There's just one problem. Where do we get our guy?'Cause if we do a kidnapping, then we're right back where we started. doing shit that's gon na get us caught. -LRB- MIND WORKING. -RRB- What we need is someone to come to us. to a place where we can control the situation. Someone without any connection to us. The guys stare at each other, stumped. Until something catches Dwayne's attention. a local commercial playing on the flat - screen. A PIZZA CHEF slides a pizza into a box - PIZZA CHEF -LRB- ON TV. -RRB- We'll deliver anywhere in 30 minutes or less! Or your pizza is free! Giorgio's Trattoria, where the customer gets what they want. pronto! The guys look at each other. DWAYNE Sometimes fate just takes out its cock and slaps you in the face with it.",
"INT. CHET'S APARTMENT - DAY A hand grabs a beer from the fridge. VOICE. -LRB- O.S. -RRB- You're not trying to draw a psycho pension. you really are crazy! Will heads into the living room with the beer. The voice belongs to Danny Glover. The guys are watching Lethal Weapon. Murtaugh -LRB- Danny Glover -RRB- has just stopped Riggs -LRB- Mel Gibson -RRB- from killing himself. Riggs looks at him, crazily, before - RIGGS -LRB- ON TV. -RRB- I'm hungry. I'm gon na get something to eat. Chet looks over at Will. He is drunk, and in a dark mood. CHET Maybe you should pace yourself. It's noon on a Saturday. WILL Fridge is full, man. We're all good. 21. Will drains half his beer. WILL Let me ask you a question. You remember Tom Small? CHET Yeah, he used to kick our asses. WILL Turns out he was probably jerking off to it afterwards. He's gay. CHET I hope he chokes on a dick. I never liked him. WILL Your sister did. She let him finger blast her. Big time. Chet pauses the movie. CHET What the fuck are you talking about? I do n't want that shit in my head. WILL Sorry. Kate told me about it last night. I thought you should know. CHET You two were swapping stories about getting fingered? That's pretty cute. Chet chuckles. Will ignores him, sips his beer. WILL The point I'm trying to make is this : Tom Small was an asshole. He was totally wrong for your sister. Just like every other guy she's ever dated. Right through to that Mark dude she's gon na get back together with. Un - be - fuck - me - lievable. CHET Whatever. Why the fuck are we talking about who my sister goes out with? At a loss, Will shrugs. Chet turns back to the TV, presses play. Lethal Weapon resumes. Something blows up. Chet pauses the movie and stares at Will for a beat. 22. CHET You sneaky son of a bitch. you want to fuck my sister, do n't you? WILL Chet, I really do n't. CHET My twin sister! ? Which is basically like fucking me! WILL Hey, if you guys had that twin ESP shit this would be a completely different situation. There'd be logistical problems. CHET We look exactly alike! WILL You look like a lot of people. You're a normal looking dude. CHET This is so fucked up I ca n't even begin to process it. How long has this been going on? WILL If I had to put my finger on it. middle school - ish. CHET So all those sleepovers, they were just some kind of opportunity for you to peek in Kate's bedroom? WILL It might have happened a few times. Most of them were accidental. CHET You're a peeping Tom. You realize that, do n't you? You're a sexual fucking deviant. WILL Fuck you. I'm as normal as they come. Your sister is attractive. She excites me, in a sexual way. Fucking sue me. Ca n't we just be adults about it? 23. CHET You? An adult? Sort of stretching the term. WILL Hey, let's not say shit we ca n't take back. CHET Take back? Will, you got kicked out of junior college for punching a professor that made fun of some poem you wrote. WILL That poem was about your sister! CHET That is, literally, the saddest thing I have ever heard. Like retards playing freeze tag sad. No wonder you deliver pizzas for a living. WILL Fuck you! Maybe I was just hanging out with you for your sister. You were always a whiny little bitch. And you stuttered. All the kids used to call you `` Chutter.'' CHET Whatever. I only started hanging out with you because you had a Nintendo. WILL Did you see my Nintendo naked? Because I saw your sister changing into her swimsuit at your thirteenth birthday pool party. And it was the highlight of the whole shitty event. Chet bites his lip. CHET Okay. You wan na do this? WILL I think we already are. CHET Well, you know who I saw naked? Jenny Rifkin. While I was nailing her. The week after she dumped you. Why do you think every time you wan na bet on whose cock's bigger I'm always willing to go in?'Cause I know mine's bigger.'Cause she told me! WILL Wow. wow. You pulled a Judas on Jenny fucking Rifkin. That is messed up. Almost as messed up as how I sold your Cal Ripken signed ball for 200 bucks. CHET My grandpa left me that ball in his will! You helped me look for it for a month! WILL Now you know why we never found it. Will bows. WILL We done here? Chet's face is red with anger. CHET Not quite yet. There's actually a mystery I wan na solve for you. -LRB- BEAT. -RRB- I was the one who told John Tanner about how your mom fucked that lifeguard. And I always felt awful about it, because even though he swore secrecy, he told everyone else in town. And then your parents wound up getting divorced. But now. I do n't give a shit. WILL What!? You ruined. my fucking life! Will takes a swing at Chet. He dodges it and puts Will in some sort of choke hold. CHET Krav Maga, bitch. I bet your poetry professor did n't know this shit. WILL Get offa me! CHET You threw the first punch! 25. WILL I'm gon na break this hold and then kick your skinny ass! CHET Try it! Will flexes and tries to break the choke hold. no luck. He wrenches his back away from Chet and screams - WILL What the fuck is that!? CHET My knuckle in your spine! No holds barred you backstabbing fuck! WILL I'm gon na pass out. CHET Good! WILL -LRB- face bright red. -RRB- I love her, Chet. I love Kate. Chet lets Will go. He drops to the floor, panting. CHET Let me tell you something. And it's the truest thing you'll ever hear, from the person who knows you best in the world. you're not good enough for my sister. And you never will be. You're the lowest common denominator, Will. You're the square root of fucking zero. Will gets to his feet. WILL Fuck you. Chutter! -LRB- GRABS DICK. -RRB- Square this! CHET Get out of my house. You're a shitty friend. WILL Right back at you. Will storms out. 26.",
"EXT. CHET'S APARTMENT BUILDING - DAY Will screeches away in his car.",
"INT. STUDIO APARTMENT - NIGHT A day or so has passed. Will sits on his couch, an unshaven mess, watching Lethal Weapon 2. Murtaugh and Riggs laugh and joke around. Best buds. Will looks like he might cry. He goes for his beer, knocks it over. He stares at the growing puddle of beer. then grabs the folder with his college applications and uses them to sop it up.",
"INT. GIORGIO'S TRATTORIA - NIGHT Will sits at a table, looking out through the misty window. Christopher boxes a pizza and drops it in front of him. CHRISTOPHER Come on, wake up and get to work. Christopher hands him the order slip. Will checks the address. WILL Where the fuck is this? CHRISTOPHER How should I know? It's 30 minutes away or the pizza comes out of your paycheck. Tick tock.",
"EXT. HIGHWAY - NIGHT Will's Mustang travels down a dark, empty stretch of highway. The lone working taillight fades as the car disappears into the distance.",
"EXT. SIDE OF THE HIGHWAY - NIGHT The Mustang stops at the mouth of a driveway. Overgrown shrubbery blocks anything beyond it from view. All that Will can see is a red and white radio tower jutting into the sky, beacon light flashing atop it. Will checks the address, then drives through the open gate.",
"EXT. RADIO TOWER - NIGHT The Mustang parks at the end of the driveway. Will gets out. There is a large storage shed and, across a clearing, a radio tower built on top of a small office structure. 27. The office door is ajar. Florescent light glows from inside. WILL Hello? DWAYNE. -LRB- O.S. -RRB- -LRB- calling back from beyond door. -RRB- Hey, bud! Sorry for the hike! The county's got us doing repairs at the ass end of the night! This puts Will at ease. He heads toward the office. As he gets close, a figure appears in the doorway. It is Dwayne WEARING A SCARY FUCKING GORILLA MASK WILL What the - Will hears something behind him and whirls around - To find Jay, also in a gorilla mask, charging at him. WILL Holy fuck! Will makes a run for it. But the guys are on top of him in no time. He madly fights them off and dashes for his car. DWAYNE Stop! We got a gun, you asshole! Will breaks toward the cover of the shrubbery. DWAYNE Fuck! Get him! Jay is right on Will's tail. Without breaking stride, Jay picks up a large branch and wings it at him. Will is hit in the legs and stumbles over himself. Jay leaps on top of him and locks his skinny legs around Will's body. WILL What the hell!? -LRB- at a loss. -RRB- Rape! Jay wrestles something from his pocket. A chloroform soaked rag. He presses it hard against Will's mouth and nose. Will soon goes limp. Dwayne appears, looming above them. He pulls his gorilla mask back and smiles. 28. DWAYNE Step one. Blurry vision coming into focus. Two gorillas.",
"EXT. RADIO TOWER - DAY Whereas the masks looked scary at night, they look ridiculous now. Will is propped up on the hood of his car, staring at his captors. His mouth is duct taped, hands bound behind his back. He wears his `` Giorgio's'' cap and a buttoned up olive green Army jacket. DWAYNE You thought we were gon na rape you. -LRB- CHUCKLES. -RRB- Idiot. Will mumbles something through the duct tape. DWAYNE Just shut up. The tape is there for a reason.'Cause this next part is gon na take a measure of calm. Are you with me? Can you be calm? Will nods. Dwayne holds up his driver license. DWAYNE Will Dixon, of 112 North Whatever - The - Fuck Street, right now you are wearing an explosive vest. Will looks down at the jacket he is wearing, tries to get his hands loose so he can tear it open. DWAYNE Calm the fuck down! Will stiffens. For emphasis, Dwayne reveals the gun tucked down the front of his pants like a big metal cock. DWAYNE Now stay still and my associate will show you. Jay carefully unbuttons the Army jacket. Will is, in fact, wearing an explosive vest. It is a cobbled together but intimidating looking contraption, crisscrossed by multicolored wires. There is a thick lock at the hinge, with a digital display and a keypad. Will begins to hyperventilate. 29. JAY Take it easy, man. You're fine. I built this thing. It's pretty stable. DWAYNE For a fucking bomb. So do n't trip over your shoelaces or anything. That thing's full of C - 4. And the C is for chaos. JAY Actually, the C stands for `` composite.'' But, yeah, I'd try not to slam into stuff. DWAYNE Can I take that tape off now, pizza boy? Will nods. Dwayne rips the duct tape off his mouth. WILL Help! Dwayne chuckles. DWAYNE You know where you are? You might as well be in space, motherfucker. Nobody can hear you scream. WILL Why are you doing this to me? I do n't have any money. DWAYNE Not yet. But you're gon na go get us some. WILL Okay. Sure, man. Whatever you say. I'll go sell my car. I'll get you like a thousand bucks. DWAYNE I want 100 thousand. WILL Where the fuck am I supposed to get that much money? DWAYNE The Donner - Wells National Bank on Charles Road. 30. JAY Across the street from the Olive Garden. DWAYNE Yeah, the one across the street from the Olive Garden. WILL Do you guys have an account or something? Dwayne shakes his head like Will is an idiot. DWAYNE No, I do n't have an account! You're gon na rob it! WILL How the fuck am I supposed to rob a bank? DWAYNE Figure it out. You got a bomb strapped to your chest. That's a start. It'll scare the fuck outta people. Maybe use your brain and go get a gun. Borrow one from a friend for all I care. It ai n't rocket science. WILL Then do it yourself. DWAYNE I would, but I'm already wearing this gorilla mask and you're already wearing that bomb. -LRB- TO JAY. -RRB- Tell him about the vest. Jay turns to Will. JAY You seem like a pretty trustworthy guy. I mean, you got a job and all. But just in case you were gon na try to take the vest off, we booby trapped it to shit. There's also a remote detonator on the back, so we can trigger it by dialing a number. DWAYNE And it's on speed dial. So do what you got ta do, but we'll be watching. You go anywhere near a police station, and Fourth of July comes early this year. Dwayne nods at the timer on the side of the vest. DWAYNE It's 9:00 AM. You got 8 hours. He hands Will a slip of paper. DWAYNE Once you have the money, call this number and you'll be given instructions on where to drop it. You do good, we give you the six - digit combination that stops the timer and opens the lock. Tomorrow morning, you can go back to delivering pizza, the mail, whatever the fuck you want. -LRB- BEAT. -RRB- Now let me demonstrate what happens if you do n't get us the money. Dwayne looks over to where an oversized stuffed bear, rigged with its own bomb vest, sits on a tree stump 20 yards away. Dwayne mimes answering a phone - DWAYNE Hey, Teddy Ruxpin. what's that? You do n't have the money? It was too tough to rob the bank, so you just went back to your bear cave and cried like a bitch? Well, guess what my stuffed friend. time is up. Jay pushes a button on a detonator. Teddy Ruxpin explodes. All that remains is a cloud of stuffing. Will is frozen in fear. DWAYNE I liked that bear. I do n't even know you. Dwayne throws Will his car keys. DWAYNE Go on. Get outta here. WILL Guys, can we please just talk about this? 32. DWAYNE Yeah, of course we can. Dwayne pulls out the gun and fires two shots at Will's feet. Jay jumps backward, as does Will, who hits the hood of his car, slides across it and onto the ground by the driver side. DWAYNE Be careful! Will awkwardly gets to his feet and arranges himself in the car, adjusting to the weight of the bomb. As he starts the engine and backs away - DWAYNE That's right! Get the fuck out of here! You're wasting time! Once the car is gone, Jay yanks off his gorilla mask. Dwayne stays primate. JAY What the hell, Dwayne? You told me that was a replica gun. DWAYNE It was. Then I paid a Mexican 50 bucks to put a firing pin in it. Now it goes boom. JAY We did n't discuss a loaded gun! Especially not with the bomb around! Dwayne gets right in Jay's face. The plastic eyes of his mask betray no emotion. DWAYNE Do n't you ever question me. I'm fucking this bitch. You're just holding the camera. JAY -LRB- VOICE FALTERS. -RRB- Sure, Dwayne. whatever you say. DWAYNE Good.'Cause this ai n't the Marines. This is cash money. You hesitate, you fuck up. and I will leave you behind. A tense beat. Dwayne pulls his mask off. He looks oddly calm. DWAYNE Let's go get some breakfast. 33.",
"EXT. HIGHWAY - DAY Will's car flies down the road. It screeches to a stop, tires smoking. Will jumps out, stumbles to the shoulder and pukes. He drops to his knees. WILL Oh, god! Holy shit! Fuck me! Someone please fucking help me! Nothing but the wind. Will fights back tears. He gets to his feet, wipes his mouth. He takes out his cell phone, scrolls through the contacts. He pauses on Chet's name. presses send. The line goes to voicemail. Will looks at the bomb's timer : 7 hours, 47 minutes and counting. He hurries to his car.",
"INT. CLASSROOM, JUNIOR HIGH SCHOOL - DAY A laser dot dances around the middle of a United States map. Chet is teaching a history lesson to a bunch of SEVENTH GRADERS that look very mature and very bored. As he indicates with his laser pointer - CHET This whole region here, about 830 thousand square miles, was part of the initial Louisiana Purchase. SEVENTH GRADER -LRB- COUGHING. -RRB- Nice laser. The class giggles. Chet, embarrassed, puts away the pointer. There is a knock at the door. Chet turns to see Will's face in the door's window pane. He looks back to his class. CHET Take out your workbooks. Chapter 3. Chet opens the door. CHET What do you want? WILL We got ta talk. CHET I'm working here. Do not mess with me at work. 34. WILL Chet, for the love of god, just talk to me in private for one minute. Chet sighs.",
"INT. HALLWAY, JUNIOR HIGH SCHOOL - DAY Chet leads a jumpy Will into",
"INT. EMPTY CLASSROOM, JUNIOR HIGH SCHOOL - DAY Chet shuts the door behind them. Will paces. CHET You wan na apologize, do n't you? You look like shit. You've probably been up for days thinking about what an asshole you were. Well, it's gon na take a lot more than some pathetic groveling - WILL -LRB- SUDDENLY. -RRB- Chet! Shut up! I do n't wan na apologize to you! CHET Then what do you want? Because we do n't have anything left to say to each other. Will swallows hard. WILL Here goes. And this is gon na sound crazy. Because it is fucking crazy. But last night two guys in masks jumped me and strapped a bomb to my chest, and now I have less than eight hours to rob a bank. Chet just stares at Will, unimpressed. CHET You're hysterical. Got me. Great joke. I'm going back to work now. Will steps in Chet's way. He unbuttons his jacket, revealing the bomb. CHET What the fuck? Is that real? Will nods. 35. Chet jumps backward, stumbles over a desk and scurries on his ass to the other end of the classroom. He presses himself flat against the wall. CHET Stay away from me! What the fuck are you involved in!? Terrorism!? WILL Chet, do you really think I'm a terrorist? CHET Yes! One of the dumb ones! The ones they convince to wear the bombs! WILL I am not fucking around here. Two guys did this to me. And if I do n't rob that bank in time this thing is gon na blow. CHET Seriously? WILL Seriously. CHET And your first idea was to come to a school filled with young children? WILL I did n't - CHET Just back the fuck away from me with that thing. Will backs all the way up, so that the guys are on opposite ends of the classroom. WILL Listen, I think the vest is safe for now. These guys do n't want me to blow myself up on accident before I get their money. CHET Oh, so you figure the two psychopaths that rigged a bomb to your chest made sure it was safe? There's no margin for error in their fucking bomb vest design!? 36. WILL I do n't know! All I do know is that this is real. This is happening. And I'm sure you hate me as much as I hate you right now, but I have nowhere else to go. CHET For what? WILL For help, Chet. I need your help. Please. I ca n't do this alone. Chet looks Will over. His desperation is palpable. Chet bites his lip, weighing the situation. CHET Damn it! -LRB- takes a breath. -RRB- I'd like to tell you to get fucked, but you know what the problem is. I'm a better man than you. And someday, I might actually forgive you. So if I let you blow up, or whatever, that shit might come back and eat at my conscience, and totally affect my relationships with other people. Like my wife and kids and shit. WILL That's a. very rational way to look at the situation. -LRB- GENUINELY. -RRB- And you're right, about being a better guy than me. Chet takes a step toward Will. CHET Are you sure that thing is n't gon na blow at any second? Will just looks at Chet. unable to offer any assurance. After a beat - CHET Could you just walk a few feet in front of me for a while? WILL I can do that. Will opens the door, stops, looks back at Chet. 37. WILL Thank you. Will heads out. Chet takes a breath, bracing himself.",
"INT. HALLWAY, JUNIOR HIGH SCHOOL - DAY Will walks down the empty hallway. He glances back over his shoulder, where Chet walks several feet behind him. CHET Yes, I'm still here. I really am this stupid. Just pay attention to where you're going. WILL I think I can handle it. CHET These floors get waxed once a week. On Tuesday, which today is. You hit a slick patch, trip and fall, and I got a classroom full of kids wearing their skin inside out. WILL Chet, I'm fucking nervous enough as it is. Please. I do n't need you back seat driving me right now. CHET Obviously. Will stops, turns back toward Chet. WILL Just for the record, this is n't a nuclear weapon strapped to my chest. And there are metal lockers on either side of the hallway. If I fall, and if this thing goes off, I'm probably not taking out the whole school. CHET Do you really want to debate this? Will sighs, turns back around. A second later, the school bell rings and kids flood the hallway, changing classes. Will freezes. Multiple kids shove past him. Chet sweats bullets, gives Will a look of death. After a beat, the hallway empties again. 38. CHET You're an asshole. WILL Whatever. It's over. Will continues walking. He tries to lighten the mood - WILL Who was the chick in the white jeans? CHET Kristi Evans. Why? WILL You know why. CHET Oh, come on. Just keep walking. The guys' voices fade as they continue down the hallway. WILL Come on yourself. You knew exactly who I was talking about. CHET Fuck you. She's in the eighth grade. WILL I bet you love it when she calls you Mr. Chet. CHET She does n't call me `` Mr. Chet.'' She's not a foreigner.",
"EXT. JUNIOR HIGH SCHOOL - DAY The guys get to Will's car. Chet wraps up a call on his cell - CHET thanks so much, Mrs. Davis. I'll call you after I talk to the doctor. Chet hangs up. He is standing by the passenger door. He looks over the roof of the car at Will. CHET So, this is it? WILL This is what? 39. CHET Once I step inside this car, I'm basically in a steel coffin with you and. that thing. And if it goes off, all they're gon na find in there are two charred bodies and pieces of a bomb. They'll assume we were driving to a government building to blow it up. It'll be all over the news. Next thing you now, some militia or Islam group is claiming us as members. My family will be humiliated. WILL We'll also be dead, in that particular situation, so it wo n't really matter. CHET Exactly! Will sighs. WILL I get it. Take your time, man. Will gets in the car and shuts the door. He looks out at Chet, who stands uncertainly by the passenger side. CHET This is the world's biggest favor, you motherfucker. You did n't even help me move last winter. Chet reluctantly hops in.",
"INT. MUSTANG - DAY Will fires up the engine. CHET Given the situation, I think you should obey all traffic safety laws. WILL Fine. Will pulls out of the school parking lot. WILL Okay, so where are we going? CHET I have no idea. I just got in your car. I thought you had a plan. 40. WILL Well, I do n't! I've been sorta preoccupied with this crushing fear of death! CHET No plan. I ca n't say I'm surprised. WILL Your plan is probably better. Just condescend me until I explode. Will goes to turn on the radio. Chet grabs his hand. CHET Maybe we should turn on the radio. See if the signal sets the bomb off. That would be an interesting experiment. Will heaves a frustrated sigh. Chet eases up. CHET Listen, let's just go back to my place. Figure out our options. Maybe you can get the vest off or something. I just do n't want to do anything stupid. WILL Unless we have to. The car hits a rough pothole. Chet's heart skips a beat - CHET Holy fucking shit! - and he throws himself against the passenger side window, as far from Will as the confines of the car will allow. Will slams the brakes. WILL Stop it! You're scaring the fuck out of me! CHET Okay. Okay. Fuck! Chet makes the sign of the cross. CHET I'm cool now. Will continues driving. Chet discreetly unlocks the passenger side door. 41. WILL Why did you do that? CHET Do what? WILL I saw you. CHET It's in case I have to jump out. WILL If I survive the day, and you do n't because you jumped out of a moving car and broke your neck, I'm gon na laugh my ass off. CHET And if abandoning ship saves my life, then that laugh will be mine. The guys continue driving in silence. SUPER COUNTDOWN : 6 hours, 59 minutes.",
"INT. BATHROOM, CHET'S APARTMENT - DAY The door is shut. Will sits on the toilet lid. He has the jacket off and we get our first complete look at the vest. The actual structure is composed of hollow metal tubes. The wiring that runs throughout the vest is messy and complicated, purposely so, to scare anyone out of fucking with it. Will is in the process of trying to contort his arm so he can slide the vest off. no luck. WILL It's too tight! He is calling off toward the KITCHEN Where Chet is crouched in a corner, at the furthest point in the furthest room from the bathroom. He uses his laptop to look for websites on disarming a bomb. CHET What if we try to separate your shoulder? 42. WILL. -LRB- O.S. -RRB- Fuck you! CHET Well, all these sites say different shit. There's not a lot of consensus in the bomb disarming community. Will emerges from the bathroom, sliding the jacket back on. WILL This is pointless. Chet shuts his laptop. CHET I agree. We got ta call the cops, have them fly in the bomb squad or something. WILL We ca n't. These guys said they'd be following me. And I do n't have a clue what they look like. For all I know, they're outside right now. They see the cops show up, they blow the vest and cut their losses. Will stares at Chet, hopelessly overwhelmed. WILL What do I do, man? What do I do now? CHET I do n't know, Will. I guess you got ta rob the bank. WILL I have n't been inside a bank in three years! How the fuck am I supposed to rob one!? They would n't even give me a savings account! Will drops onto the couch and puts his head in his hands, fighting hysterics. Chet offers a stock reassurance - CHET It's gon na be okay. WILL No, it's not! I'm gon na blow up! That's way worse than getting stabbed or shot. At least some people survive that. No one survives being blown up. No one is ever like, `` Yeah, I heard Steve got blown up, tough break, but how's he doing now? Is he still in the Rec basketball league?'' No of course he is n't,'cause there's nothing left of Steve except a stain on the wall and a pair of fucking high tops! Chet looks on as his friend begins to sob. It's a crushing sight. Chet strides across the apartment - CHET Pull yourself together! - and attempts to give him one of those `` get a grip'' slaps. But Will flinches and Chet slaps him right on the ear. WILL Ow! Fuck! I think you popped my eardrum. CHET Sorry. Shit. I did n't mean to do that. But just listen to me now. You're not gon na die. You wan na know why? Because you know exactly how to rob a bank. WILL What are you talking about? CHET Point Break. WILL The movie? CHET Yes. That movie is like a how - to guide for bank robberies. You just bust in. Masks. Guns. Move fast. Stick to the tellers and do n't bother with the vault. WILL Yeah. I guess it's pretty simple, right? And it's just a local bank. The Donner - Wells on Charles Road. CHET Really? I applied for a job there like a year ago. 44. WILL You wanted to be a teller? CHET Yeah, so what? It's a good job. You get benefits. WILL Like what, a name tag? CHET What kind of benefits do you get? Free toppings? WILL That's really clever. No one ever said that shit to me before. Anyway, this is perfect. You know the whole layout of the bank. CHET Not exactly. They did n't hand me the security schematics with the application. But I sat in the waiting area for like 20 minutes. I know what the place looks like. WILL How many guards? CHET One. I think. WILL That's a start. CHET It's a great start. You can do it. Will pauses. WILL You're gon na do it with me, right? CHET I was actually gon na stick to giving tips, ideas. motivational speeches. More of a consultant or advisory role. WILL Jesus Christ, Chet. Please. I'm begging you here. I need you on this. If I do it alone, I'm dead. 45. CHET Are you gon na cry again? WILL That was a moment of weakness. -LRB- BEAT. -RRB- Yes. I'll fucking cry again if that's what it takes. CHET I should make you blow me. WILL Sure. Whip that shit out. I'm actually kinda curious. I wan na see if Jenny Rifkin lied to you. She obviously lied to me. Chet cracks a smile. WILL All these guys want is 100 grand. We can do this. CHET We're gon na rob a bank for 100 grand? Just leave the rest of the money sitting there? Why? WILL I do n't know. I guess they're very modest criminals. Who the fuck cares? Wait. you said `` we'' right? Chet heaves a sigh. CHET I'm putting my life on the line for 100 grand. what does 100 grand even buy these days? THE GRILLE OF A MURDERED OUT 1997 NISSAN SENTRA As the car pulls into",
"EXT. BACK PARKING LOT, DIVE STRIP CLUB - DAY Where Juicy waits by the service entrance, smoking a cigarette. She spots the car and runs over. It parks and the door opens. A glassy - eyed African - American man. -LRB- 30s -RRB- steps out. His muscled body is covered in calligraphic prison ink. This is VAUGHN. 46. Juicy throws her arms around him. JUICY I missed you so much, baby. VAUGHN You do n't got enough dicks to keep you warm in that place? JUICY You know it's not like that. Those guys get Juicy, but you get Marisol. VAUGHN Well, Marisol. what I want is to get my money, kill that old ass man, then get the fuck out of here. JUICY Then that's how it's gon na go. We're just waiting on a call. Vaughn stares at her. VAUGHN This is my impatient face. JUICY Well, I think I can keep you entertained. Juicy gets in the open driver side door and makes a show of crawling over into the passenger seat.",
"INT. WALMART - DAY Fluorescent lights and pop music. Will and Chet roam the aisles with a full shopping basket. They turn into the `` Sports & Fitness'' section, where they find a variety of air pistols. They are incredibly realistic, though clear and with orange nozzles. WILL Should we go with the handguns. or the Uzis? CHET Handguns. WILL That's such a Murtaugh choice. 47. A check out conveyor belt, as the guys' purchases drift past : air pistols, spray paint, ski masks, leather gloves, several 5 - Hour Energy drinks. The tough REGISTER WOMAN looks at the guys with abject disgust. REGISTER WOMAN You sure you do n't want to grab some condoms? WILL Uh, no. Why? REGISTER WOMAN Because this is usually what men buy before they rape someone, and I want to make sure you all use protection. WILL Lady, we're just. buying some stuff. REGISTER WOMAN Is that cash or credit for your rape kit? Will looks in his empty wallet, takes out a credit card. Chet grabs his hand. CHET We'll pay cash.",
"INT. MINIVAN - DAY The van is parked. Dwayne sits behind the wheel. Metallica's `` Ride the Lightning'' begins to play loudly. DWAYNE You really fucked up this mix tape. Dwayne ejects the tape, tosses it at Jay in the passenger seat. DWAYNE We're not speed freaks knocking off a 7 - Eleven. We're masterminding a heist here. JAY Sorry, Dwayne. That song just means a lot to me. Dwayne shakes his head. He turns and looks out the windshield : they're parked in the Walmart lot, watching the store entrance. DWAYNE I wish he would hurry his shit up. 48. JAY You worried about that other guy he's with? DWAYNE No, man. He picked him up at a school. So long as there ai n't any cops, he can take the whole town with him. I just want my money. Dwayne surveys the area. Something catches his attention : the bland strip mall across the street. There's a Blockbuster, Subway, and an empty space in between. Dwayne smiles. JAY What? You want me to run over to Subway, get us a couple sandwiches? DWAYNE If you had any vision, Jay, you'd know exactly what I'm thinking about right now. And it's not a sandwich. -LRB- BEAT. -RRB- Look how well trafficked that shopping mall is. It's the perfect place for the tanning salon. Jay checks it out, nods. JAY Oh, you're totally right. DWAYNE I've been thinking about it, and I want you to start off working the counter. Sounds like a demotion, I know, but it's an important position. Because we're gon na be using code words and shit. For example, if a customer walks in and says he wants a tan, that just means he wants a tan. But if he says he wants a `` deluxe tan,'' that means a blow job and you got ta get one of the girls in there to suck him off. You with me? JAY So far. But what if he wants a fuck? DWAYNE There's gon na be codes for everything : missionary, anal, black chicks. I got it all written down back home in my files. I'm not gon na bother getting into it with you right now, because you're supposed to be on lookout and you're no good at multitasking. JAY Okay.'Cause they're about to get away. Dwayne spots the Mustang pulling away. DWAYNE Fuck. He throws the van into gear.",
"INT. MUSTANG - DAY - MOVING Will navigates the streets. Chet is in the back seat, where he has newspaper spread out and is spray painting the air pistols, and much of the car, black. WILL Be careful, you're getting paint everywhere. CHET Are you really worried about your upholstery right now? WILL Yes, because if I survive this shit I'm quitting my job. That means I'll probably have to give up my place and I'll be sleeping in the back of my car, which you're covering in toxic paint. Chet touches up one of the guns, goes to flip it over. WILL That side is n't dry yet. You're about to ruin it. CHET It says it's fast drying. WILL Fast is n't the same as instant. You got ta let it sit for like 20 minutes. CHET How would you know? You do a lot of graffiti? 50. WILL No, but I spray painted my bike last year after I got my license suspended. I did n't let it dry properly and I fucked it up. CHET We do n't have time to sit around and literally watch paint dry. Are n't we going straight to the bank? WILL I was actually thinking we need to stop and steal a car first. Chet drops the spray paint, whirls on Will. CHET What? No way! We've got a car. WILL Yeah, my car. I'm not gon na use it as a getaway vehicle. They can trace the plates. Even if we do get away, we'll be arrested. CHET Well, I ca n't hotwire a fucking automobile, and neither can you. WILL That's why I was thinking we'd steal one from your parents' friends. The Fishers. Remember how they used to pay us to clean their garage? They leave the keys in there. And they have a Datsun. That's a fast car. CHET I'm not stealing the Fishers' Datsun. Let's steal a car from your parents' friends. Will seethes. He whips the car over to the side of the road and gets in Chet's face. WILL What friends? My parents do n't have any. My dad moved away after your big mouth ruined his marriage and humiliated him, and no one wanted to hang out with the mom who everyone knew fucked a lifeguard. 51. CHET You never should have told me! I was 13 years old. I could n't process that kind of information. I had to tell someone else. -LRB- shakes his head. -RRB- Fuck. I really am sorry about it. Okay? Despite what I said before. I was just a kid, but I messed up. WILL Okay. Chet looks at Will, expectantly. CHET That's it? You're not gon na apologize for selling my Cal Ripken ball? WILL Sure. I'm sorry. I'm sorry that my family was going through a rough patch and I was smoking a ton of weed and listening to the Wu Tang Clan all the time. And that I needed some extra dough to indulge my habit. Which, in hindsight, was probably just a cry for help. But you never even noticed. CHET Thanks. Now I feel even worse. Will sits there, stewing for a moment. Then he softens - WILL I should n't have stolen the ball. I knew it was wrong and I regretted it like the next day. I actually tried to buy it back but the guy wanted twice as much. I had to smoke even more weed just to get past the whole shitty incident. I guess that's why they call it a downward spiral. CHET I appreciate that you tried to buy it back. So, thanks. An awkward moment passes. CHET We should probably get going. Will turns back around, goes to pull out without looking and - 52. A horn blares as a speeding delivery truck barrels right at them. Will slams the brakes, barely avoiding a collision. CHET Fuck! Fuck! I just want this goddamn day to be over! As Chet continues to freak - SUPER COUNTDOWN : 5 hours, 15 minutes.",
"EXT. THE FISHERS' GARAGE - DAY Will keeps watch of the house. Chet squeezes through a garage window he has pried open.",
"INT. THE FISHERS' GARAGE - DAY Chet drops ungracefully to the floor, right beside a well maintained 1977 Datsun 240Z. Chet hurries over and unlocks the side door. Will enters, hauling the Walmart bag of supplies. He goes right for a set of hooks on the wall. WILL The keys are n't here. They always used to leave the keys out. CHET Yeah. When we were teenagers. This is fucked. WILL Let's just find them. The guys ransack the garage. Chet knocks over a shelf full of clutter. CHET Sorry. Will goes to the car and tries the handle. It's open. He scours the interior. CHET You hear that? WILL What? Chet peeks through the glass pane in the door. 53. CHET Mr. Fisher is coming! As he looks for an escape - CHET Oh shit, oh shit. Are the keys in there? WILL No! Will hops out of the car. He rifles through the Walmart bag. CHET What are you doing? Will pulls the ski masks out of the bag, along with one of the freshly painted air pistols. WILL I'm doing what I have to. Will puts a ski mask on, then throws one to Chet. The door opens and MR. FISHER. -LRB- 60s -RRB- enters. Chet quickly pulls down his mask. It's backwards. Will levels the pistol - MR. FISHER Oh, Jesus! Mr. Fisher braces himself against a wall. Chet fumbles to turn his mask around. Will affects a deep voice - WILL Where are the car keys? MR. FISHER They're in my pocket! I'm just reaching in my pocket for the keys! WILL Quiet down and do it already. Mr. Fisher reaches into his pocket and produces the keys. They jingle as he holds them out in his trembling hand. Will snatches them. WILL Now listen, I do n't want you to report this car stolen or anything until later tonight. Let's say 5 o'clock. 6 to be safe. 54. MR. FISHER Sure. Anything you say. Will seems unconvinced. He looks to Chet, who shrugs. Will turns back to Mr. Fisher and gestures violently with the gun - WILL If you fuck with us, I swear, I will. I will shoot your son. Taylor. I know where he works. At the fucking travel agency. He's the douchebag with the bangs. MR. FISHER. -LRB- STUNNED. -RRB- Please no. I wo n't do anything. I wo n't. Just leave Taylor alone. WILL I'm gon na trust you. But if you call the police, there's gon na be an undertaker styling his stupid fucking bangs! -LRB- BEAT. -RRB- Now open the garage door. Mr. Fisher hits a switch that raises the garage door. Chet grabs their stuff and gets in the passenger side. Will backs toward the driver side. WILL The car's insured, right? Mr. Fisher nods. WILL Okay. I feel better. Worse comes to worst, something happens to it, you can get a Honda. This thing does n't even have airbags. MR. FISHER Please, just go. Will slides into the car and starts it up.",
"EXT. THE FISHERS' GARAGE - DAY The car peels away.",
"INT. DATSUN - DAY - MOVING The guys yank off their ski masks. 55. CHET That old man's got a heart condition! You could have killed him! WILL My hand was forced! Chet tries to get comfortable in the seat. CHET Awesome. I'm stuck inside an even smaller car with you and a bomb. Will works the manual transmission. He steps on the gas. WILL This thing's got some pickup. CHET Could you just take it easy, we're doing fine on time. WILL I know. but there's one last stop we have to make. CHET Do you have to take a piss first? Because I do. Will nervously drums his fingers on the steering wheel, trying to figure out how to say - WILL I need to see your sister. CHET Are you for real? Did you really just ask me that? You salt - in - an - open - wound motherfucker! WILL Chet, as if it is n't apparent, I may die today. I'll probably die today. And if there's one small thing that's clear to me now, it's that I've wasted two and a half decades as a pussy, watching everything I want pass me by. I do n't wan na peace out of this world as a pussy. I need to tell her how I feel. CHET You're really gon na turn this into some sort of dying wish bullshit? 56. WILL Yes, I really am. It means that much to me. I am not fucking around here. CHET I do n't think you are. I mean, apparently, you love my sister so much that you're willing to put her life in danger by going to see her with a bomb strapped to your chest. WILL She wo n't be in danger. I promise. I got it all worked out. And you can even take a piss while I'm inside.",
"EXT. OFFICE BUILDING - DAY The Datsun pulls around and parks in back. PULL BACK TO REVEAL the minivan parking across the street.",
"INT. MINIVAN - DAY Dwayne and Jay watch Will hurry out of the Datsun. DWAYNE Where the fuck is he going? What's in there? Some sort of FBI headquarters? I told that guy not to fuck around! Dwayne pulls out his cell phone, punches in the speed dial code. His finger hovers above the send button. DWAYNE Maybe I should give that bomb a call. JAY No! Let me just go see what he's up to. Dwayne smirks. DWAYNE I was just fucking around. Are you gay for this guy or something? JAY I just wan na get the money, Dwayne. Same as you. DWAYNE All right. Then man up and go check it out. As Jay reaches for the door handle - 57. DWAYNE Do n't even tell me you're about to do a reconnaissance without a cover. What's you cover? JAY I do n't know. I'm from the telephone company? DWAYNE Yeah, nice fucking uniform. Dwayne rummages in the back of the car, produces a shopping bag and starts filling it with random clothes strewn across the car. He shoves the bag at Jay. DWAYNE You're a personal shopper. You're delivering the latest fashions to Mr. Quilby in marketing. Got it? Jay nods, hops out with the bag and slams the door. Dwayne looks down at the cell phone in his hand, twirls it as he hums a revival song. sings the lyrics, softly - DWAYNE `` He's got the whole world in his hands. He's got whole fucking world in his hands.''",
"INT. STAIRWELL, OFFICE BUILDING - DAY Will runs up the stairs, a phone pressed to his ear - WILL no, I'm here right now. KATE. -LRB- O.S. -RRB- -LRB- OVER PHONE. -RRB- Why are you acting so strange? WILL Because strange shit is going on. I'll explain everything. Just meet me where I texted you. KATE. -LRB- O.S. -RRB- WILL - WILL Please. Just do it. 58.",
"EXT. ROOF, OFFICE BUILDING - DAY You can see the entire shitty town from up here. The access door opens and Kate emerges, wind tousling her short hair. KATE -LRB- CALLING OUT. -RRB- Will? Will waves at her from where he is standing, way across on the other side of the roof. Kate starts toward him. WILL Stop! Will takes out his cell phone and dials. Kate's phone rings. She answers it, confused. KATE What are you doing? We STAY on Will. We can see Kate, standing 30 feet away, but her voice comes over Will's cell phone, with a delay that is slightly jarring. WILL Just do n't come any closer. KATE Why not? What's going on? WILL I'm gon na give you the short version of an incredibly complicated and fucked up situation, so please be cool. -LRB- BEAT. -RRB- Some very bad guys strapped a bomb to my chest and they are forcing me to commit a crime. KATE Will, I swear, if this is - WILL I wish I was joking, but I'm not. I know it's a lot to swallow, but you got ta take it on face value, because there's a timer attached to this thing and it's counting down. Kate's voice falters - KATE Oh my god, Will. we'll get help. I'll get you help. 59. WILL I did n't come here for help. I'm taking care of it. I came here because, should things not work out today as I would like them to, I want you to know why I was doing the things I did. KATE Please, just let me call someone. Let me do something. This is crazy! WILL I do n't disagree with you. It's fucking nuts. But that's not even what this is about. -LRB- STRUGGLING. -RRB- Do you remember when you found that picture in my car of you, me and Chet, with Chet cut out of it? KATE Will, I ca n't remember about some stupid picture while you're - WILL I need you to remember about the picture, and about how I stop by your office every Friday, and how I've always hated all your boyfriends, and how the two girls I've ever seriously dated have looked like less attractive versions of you. -LRB- BEAT. -RRB- Do you see where I'm going with this? I love you Kate. I have for a very long time. Kate is barely holding it together. KATE Will, this is a lot you're putting on me! You just told me people are trying to kill you or something, and now you say you love me. What the fuck is going on? WILL A whole lot of shit. I'm sorry to do this to you, but I was afraid I'd never get the chance to tell you. And I know you have feelings for me, too. Maybe you feel for me the way you feel for a good friend, or - if the world fucking hates me - a brother. But what I hope is that you do n't really know how you feel for me, and that maybe when you figure it out you'll realize it's the same way I feel for you. Does that make any sense? KATE Yes. I mean, I've known you forever. It's not an easy thing to figure out. WILL I do n't need an answer now. Just think about it. And no matter what you decide, you're too good for assholes like Mark and the rest of them. Kate manages a small, stifled laugh. KATE Okay. I will process all of this. It's just, the bomb - WILL It's distracting. I know. Anyway, I'd love to stay and talk some more, but I ca n't. I got ta ask you to leave now, because I'm running out of time. Kate nods. Will hangs up the phone. She turns back toward the access door, stops. She yells across the roof at Will - KATE If I had time to think about it. I'd probably tell you that I've always felt very strongly for you. And I've never thought of you as a brother. Will smiles, yells back - WILL That's a huge relief. Do n't say anything else. I just really do n't want to die now. KATE Try not to. Please. Kate turns and continues to the access door. 61.",
"INT. STAIRWELL, OFFICE BUILDING - DAY Jay paces about the landing that leads up to the roof. He hears the door opening and hurries down to the entrance for the nearest floor. He tries the door, but it's locked. Kate enters the stairwell from the roof access door and spots Jay trying to force the door open. She is holding back tears. He just looks incredibly confused. JAY I'm, uh. I'm a personal shopper. I'm looking for Mr. Quilby. KATE I'm sorry, I do n't know who that is. Kate continues down the stairs, tears coming now. Jay waits a beat, then hurries down and tries the door on the next level, which is open.",
"INT. MINIVAN - DAY Jay jumps in the van, huffing and puffing. DWAYNE So? JAY It was just his girlfriend or something. DWAYNE Getting one last blow job in case he do n't make it. I kinda like this guy.",
"INT. DATSUN - DAY Will, galvanized by the exchange, hops inside. CHET Did you tell her how you saw her naked when she was 13? That always works. WILL I said my piece. She's gon na think about it. CHET Shut up. She was freaked out. WILL Yes. By the bomb. CHET By you. 62. WILL Would it be so bad if we ended up together? You and I would be family. CHET I do n't want you in the family. You bring very little to the table. I want her to be with someone awesome. A pro quarterback. A war hero. At the very least, someone I've never watched porn with. WILL Well, now it's up to her. CHET Not if I set that bomb off myself. WILL Then you'd probably never get to rob a bank. Will throws the car into gear and pulls away. SUPER COUNTDOWN : 4 hours, 10 minutes.",
"EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY The Datsun is parked in the half - full lot. The guys lean against the driver side, with their backs to the bank and the car providing cover. They each have a spray painted air pistol tucked into their pants. WILL You go for the money. I'll cover the crowd. In and out. Chet clasps his hands around his stomach. CHET I'm not feeling so good. I drank like three of those 5 - Hour Energy drinks. WILL It's just nerves. Let's pull our shit together and do this thing. Chet reigns it in. The guys slide on the leather gloves and rolled up ski masks. They turn and stride toward the bank. The guys stop as they get to the door. They pull the ski masks down and take out their air pistols. 63. CHET What should I call you in there, like if I need to ask you to do something? WILL Call me Tivon. You'll be Darius. CHET I can tell you're not a black guy through the ski mask. WILL Fine. Then you'll be Luis and I'm Cruz. We're two loco motherfuckers and that's the way we got ta roll when we get in there.",
"INT. DONNER-WELLS NATIONAL BANK - DAY It's business as usual for a dozen CUSTOMERS and about as many EMPLOYEES. They all just want to get done with their shit and go home, when - Will and Chet burst through the bank doors, guns in hand. WILL Everybody put your hands in the air! CHET No, get on the ground! WILL Actually, listen to him and get on the fucking ground! Will and Chet are on an adrenaline high, waving their guns everywhere. People scream. WILL Shut up! Please! Will frantically scans the panicked crowd for - The SECURITY GUARD -LRB- 40s -RRB-, rail thin and jumpy. Will points his gun right at him. WILL You, just stand right there and do n't do shit! The rest of you get the fuck down! Spread your arms and legs! Why is no one listening to me!? SECURITY GUARD Just take it easy, man! 64. WILL Do n't be a hero, cowboy! SECURITY GUARD What the fuck does that mean? I'm not a hero! Or a cowboy! As people drop to the ground, whispering nervously to one ANOTHER - Chet rushes the TELLERS standing behind the bulletproof glass partition. CHET All of you, back away from the counter and get out here! Anyone pushes a button and one of these people gets totally shot! The Tellers hurry into the main area of the bank and get onto their stomachs. Will looks to the Guard. WILL Very slowly, take out your gun and toss it away. The Guard takes out his gun, lays it on the ground and shoves it away. The gun slides across the waxed floor and - Right into the outstretched hand of a sobbing MOM -LRB- 40s -RRB-, whose DAUGHTER -LRB- 11 -RRB- lies beside her in a soccer uniform. MOM Oh, god! I do n't want the gun! WILL -LRB- TO GUARD. -RRB- What the fuck!? Did you do that on purpose!? SECURITY GUARD It was an accident! CHET Are you guys working together? MOM No! Please take this gun away! WILL Just toss it, lady! 65. The Mom slides the gun away like it were on fire. It skids all the way across the floor, slams hard against a wall and BLAM! MAN'S VOICE. -LRB- O.S. -RRB- Ah! A FAT MAN has been shot. He clutches his thigh. FAT MAN I think she got the femoral artery! MOM I'm sorry! It was an accident! FAT MAN Fuck you! Who slides a gun like that!? DAUGHTER Mommy, what's happening!? MOM Christi, be quiet. These men are dangerous. Chet turns ashen. He moves close to Will, whispers urgently - CHET This is fucked. That dude is gon na bleed out and we're gon na go to prison. WILL Just calm down. FAT MAN Why is no one getting me help!? WILL Is anyone here a doctor? Nothing. Just the heavy breathing of many frightened people. Will hurries over to the Fat Man, who is bent over, hugging his leg. WILL Sir, let me see where you're hit. FAT MAN Just call me an ambulance! WILL Calm down, sir. 66. The Fat Man sits up, removes his hand from his leg. Will nervously takes a look. There is only a small amount of blood. WILL It's just a flesh wound. You're gon na be okay. FAT MAN But it hurts so bad. WILL You got shot, man. It's not supposed to feel good. But you're gon na be fine. And you'll have a great story to tell everyone. FAT MAN This is an awful story! This is n't a bank error in my favor! I got shot! WILL Point taken. Luis, how we doing on the money? Chet snaps back to attention - CHET Oh, shit. Sorry, Cruz. Chet picks out the most harmless looking teller, a mousy 20 - something girl, and helps her up off the ground. He checks her name tag : SANDRA. CHET Hey, Sandra. I know you're probably scared right now, but if you go grab us 100 grand in a bag, we'll get out of here. This will all be over and you'll be fine. You trust me? Sandra nods. Chet smiles, reassuringly. She hurries behind the counter, starts filling a bank bag with cash, as - FAT MAN My leg really hurts! WILL Can you please hurry up, Sandra!? Sandra emerges from behind the partition with the bank bag. Will grabs it. He takes a last look at the people spread across the floor. 67. WILL I'm really sorry, everyone. I know we probably fucked up your day. -LRB- looks to Fat Man. -RRB- I'm thinking of you in particular, sir. Actually, you know what. Will crosses to the Fat Man, offers the bank bag. WILL Quickly. Peel a few bills. On me. Anyone rats him to the cops and I'm coming for you. I remember faces. The Fat Man hesitantly reaches for the bag. Opens it - Red Dye explodes all over his face. He shrieks. Chet whirls on the teller. CHET What the fuck was that about, Sandra? I thought we had something going! What happened to trust? SANDRA I'm sorry! They make us do it! WILL Could you kindly fill another bag? Not a bank bag. A fucking garbage bag. And Luis, will you watch her this time? Sandra hurries back behind the partition with Chet. He dumps out the contents of a trash can, grabs the bag and watches closely as Sandra stuffs it with cash. CHET Okay. That should be enough. Chet grabs the bag and hustles out toward Will. They are home free, until - They hear the wail of approaching sirens outside. They stop cold, panicked. Will whirls on the Tellers. WILL Fuck! Which one of you assholes tripped the alarm!? Was it you, Sandra!? SANDRA No! It was Mark! He pushed the button when you guys came in! Another teller, MARK, looks up from the floor. 68. MARK Sandra, you bitch! Now they're gon na kill us both! SANDRA Fuck you, Mark! You're the manager! Will loses his shit - WILL Fuck both of you! Fuck all of you! I'm a regular guy! Just like you! I'm a regular guy and you fucked me! Thank you for fucking a regular guy! People are freaked out. Sandra is crying, thinking she will probably get shot now. Chet grabs Will and pulls him toward the door. CHET Let's just get the fuck out of here. The guys slam through the doors, out into",
"EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY Just as a lone police cruiser screeches into the lot. Will and Chet make a run for it, but the cruiser cuts them off. OFFICER ZURMAN -LRB- 21 -RRB-, a jittery rookie, jumps out of the cruiser and levels his gun. The guys reflexively level theirs. OFFICER ZURMAN Drop your weapons! CHET Do n't shoot us! OFFICER ZURMAN Drop the guns or I'll have to! Chet looks at Will with utter desperation. In the distance, they hear the sirens of more cops approaching. Will tosses his gun, rips open his jacket and grabs a cluster of wires. WILL Fuck you! You just brought a gun to a bomb fight, officer! I pull these wires out and we all go! You got ten seconds to drop your gun and - Zurman does n't stick around for the rest. He turns and sprints away. 69. As the guys make for the Datsun - CHET That was awesome. WILL He was tempting a desperate motherfucker. The guys jump in the Datsun and peel out as two more police cruisers race toward the bank. The cruisers change course and give chase. The Datsun blows right by the parked",
"INT. MINIVAN - DAY Dwayne watches as the cars speed off into the distance. DWAYNE Holy shit! Our boy is causing some serious mayhem! JAY He's gon na get caught or killed. Dwayne whirls on Jay, punches him hard in the shoulder. DWAYNE Shut the fuck up! If you jinx this with your negativity, I'm gon na strap a bomb to your chest next. Jay massages his shoulder, pissed. JAY Oh, yeah, who's gon na build it? DWAYNE You are!",
"EXT. STREET - DAY Whiplash blur as the three cars race by, one after the other. Airborne leaves flutter in their wake.",
"INT./EXT. DATSUN - DAY - MOVING Chet freaks out as they hurtle toward lunchtime traffic. Will weaves in and out of cars. CHET Shit! This is not cool! Will is wild eyed, punching the gas. Chet's head is on a swivel. Behind them : police cruisers in hot pursuit. Up ahead : the world rushing at them at 80 mph, populated by nothing but potential collisions that will result in a fiery death. 70. CHET Maybe we should pull over and surrender. WILL I can outrun these guys. They're not the FBI, they're local cops. Just shut up and let me concentrate. I do this for a living. As they clip the side - view mirror off a Kia - CHET You do n't do anything like this for a living! I am not a pizza, I am a man! The cruisers are gaining ground, throttles wide open. Will downshifts, spiking the RPMs into the red, as he banks a hard right and",
"EXT. TOWN CENTER - DAY The Datsun explodes onto a crowded street. PEDESTRIANS crossing an intersection jump out of its way. The cruisers take the turn into town. One makes it. The other slams into parked cars.",
"INT./EXT. DATSUN - DAY - MOVING Will jumps the curb to avoid slow - moving traffic, slams into a newspaper dispenser. It flips up onto the hood and crashes into the windshield, where it stays lodged. WILL Holy fuck! Will veers back into the street and blindly plows ahead as cars he can not see swerve to avoid him. He finally slams the brakes, the momentum knocking the dispenser loose and launching it onto the sidewalk, scattering Pedestrians. Chet whirls around to see the cruiser flying right at them. CHET Go! Go! Go! Will steps on the gas. The light ahead turns red. CHET Stop! Stop! Stop! 71. Will rolls the dice and blows through the intersection. He's lucky. The cruiser behind him is not. It's T - boned by traffic in a brutal, crunching collision.",
"INT./EXT. DATSUN - DAY - MOVING The cruiser wreckage disappears in the rear - view mirror as Will floors it toward a green light. WILL That guy got fucked up. In the rushing moment as they cross the intersection, Chet glimpses the other cruiser barreling toward his side of the car from the perpendicular street. He has a millisecond, maybe, to process their impending doom, and then - The cruiser smashes into the back passenger side of the car.",
"EXT. TOWN CENTER - DAY The Datsun is sent spinning like a fucking top. Its ruined back wheel catches, sending the car tumbling onto its roof.",
"INT./EXT. DATSUN - DAY - MOVING Madness. The guys scream as the car continues to slide, upside down, out of control. As it slams into a row of parking meters, the world goes BLACK Will blinks back to reality. He's hanging, inverted, by his seat belt. The car is a pool of shattered glass. It twinkles up at him. Hours could have passed, but it's only been seconds. He sucks in air. Satisfied that he is, in fact, still alive, he looks over at - A battered and bruised Chet, head drooping straight back. WILL Chet? Are you okay? Chet!? CHET -LRB- ROUSING. -RRB- Oh my god. WILL Talk to me. CHET I thought you were gon na blow up. Will's hands go to the bomb. still intact. 72. WILL No. Luckily your side took most of the impact. CHET Awesome. WILL We got ta keep moving. Will unclicks his seat belt and falls to the roof of the car. He moves to Chet, unclicks his belt and helps him down.",
"EXT. TOWN CENTER - DAY Will emerges from the overturned car. He drags Chet out, along with the bag of cash. He glances up to see the OFFICER who crashed into them stumbling out of his own ruined car, which has turned a fire hydrant into a geyser. Another cruiser races to the scene. WILL Oh, fuck, man. Come on. Will pulls Chet to his feet and they take off, rounding a CORNER INTO",
"EXT. ALLEY - DAY As Will huffs and puffs - WILL Chet. I do n't know how to tell you this. but you got a piece of the car in you. CHET What!? WILL In your back. Chet glances back to see a jagged piece of metal sticking out of his shoulder blade. CHET Ah! Get it out! WILL I will. CHET Do it now! 73. WILL All right. Without breaking stride, Will yanks the piece of metal out of Chet's back. He screams. CHET Is it rusty? Am I gon na get tetanus? Behind them, two Officers turn into the alley in full sprint. They are way faster than the guys and soon gain on them. Will can barely keep up with Chet. CHET Why are you moving so slowly? WILL It's a combination of cheap sneakers and this heavy fucking bomb on my chest! They burst out of the alley, onto",
"EXT. STREET - DAY The guys frantically search for an escape, spot - A bus pulling up to a stop down the street. They sprint for the the bus, peeling off their ski masks and waving as it lazily rolls away from the stop. WILL Hey! Over here! The bus slows and the guys trip over each other to board it.",
"INT. BUS - DAY - MOVING The guys fall into seats, gasping for air, a complete mess. Will looks out the window to see the Officers emerge from the alley and look around for them.",
"EXT. TOWN CENTER - DAY A crowd has grown around the crash sites. Fire trucks and ambulances are on the scene. Dwayne and Jay make their way through the crowd, trying to see what's what. Dwayne approaches a RANDOM LOCAL. DWAYNE You hear what happened to the guys they were after? 74. RANDOM LOCAL Sounds like they got away. Dwayne and Jay beam.",
"EXT. RESIDENTIAL STREET - DAY The guys are covered in sweat as they hike along, eyes on the lookout. They arrive at Will's parked Mustang. Will hugs the car. WILL I never thought I'd see you again. CHET I thought you hated this car. WILL It's actually not that bad. You know, as compared to that Datsun. The Mustang's got more comfortable seats. And it never would have flipped over.",
"INT. MUSTANG - DAY The guys get in. They sit there for a moment, silent except for their heavy breathing. Will's eyes go to the garbage bag sitting between them. WILL There's a 100 grand in there. 100 fucking grand. Which we stole. From a bank. CHET I told a bunch of people I was gon na shoot someone. I was like `` you fucking move, and I will kill you where you stand!'' WILL I threatened to blow up a cop. -LRB- BEAT. -RRB- And you never said `` I will kill you where you stand.'' CHET I know. But shit did get pretty crazy. WILL Yeah, it did. Will starts to get a little emotional. 75. WILL You know, there's no one I would have rather taken down a fucking bank with. I mean that. Chet smiles. CHET Me, neither. WILL And as for all that shit I said. and all that shit I did. I hope you can forgive me. We've been friends for so long, and I guess you hurt the people you're closest to the most. CHET I messed up, too. I'm a dude who slept with his best friend's ex - girlfriend, and destroyed his parents' marriage, and sat on the sidelines watching his downward spiral. I'm a shitty human being. But I'm glad you know that now, because you can accept me for who I am. WILL I do. I accept you. Because you accept me. Will goes in for a hug. Chet gets lost in the moment, before recoiling. CHET Woah! You still got a bomb on you. WILL You're right. Let's take care of that. But you owe me a hug. Will pulls the slip of paper Dwayne gave him from his pocket. WILL It's all gravy from here. Will takes out his cell and dials the number. INTERCUT WITH:",
"EXT. TOWN CENTER - DAY Dwayne and Jay cross toward a McDonald's. Dwayne stops and answers his vibrating cell phone. 76. DWAYNE This who I think it is? WILL. -LRB- O.S. -RRB- Ca n't you hear the ticking in the background? DWAYNE You know, you're a pretty funny guy. WILL. -LRB- O.S. -RRB- Thanks. I'm happy to entertain a complete psychopath. DWAYNE Now wait a second, you're the murderer. WILL. -LRB- O.S. -RRB- What's that supposed to mean? DWAYNE One of those cops who wrecked his car chasing you. he ai n't breathing no more. Will goes white, covers the phone and whispers to Chet - WILL We killed a cop. CHET You were driving! I'm just an accomplice! WILL They're gon na hunt us down and kill us. Cops do n't take this shit lightly. CHET I bet he had like eight kids. We have to find them and support his family forever. Dwayne is holding back laughter. Finally bursts out. WILL. -LRB- O.S. -RRB- What's so fucking funny! ? DWAYNE I'm just messin' with you. You did n't kill anyone. How'd a moron like you manage to rob a bank? WILL. -LRB- O.S. -RRB- Jesus! Can we just get this over with? Where do you want the money? 77. DWAYNE There's a boarded up gas station out on Commerce Avenue, past the highway. Be there in 30 minutes. WILL. -LRB- O.S. -RRB- I'll be there in ten. DWAYNE Then you'll be standing around with your dick in one hand, and my money in the other. Dwayne hangs up. He dials another number - DWAYNE Yo, Juicy, wrangle your boy. Money's on its way.",
"EXT. ROAD - DAY The Mustang shrieks past us. SUPER COUNTDOWN : 2 hours, 58 minutes.",
"INT. MCDONALD'S - DAY Dwayne and Jay sit at a table with a fast food feast spread out. Dwayne eats a Big Mac, a look of utter satisfaction on his face, a man whom the gods have finally smiled down upon. DWAYNE I remember the summer after my mother passed was the first year they had the Monopoly game at McDonald's. I musta come here three times a day trying to collect all the game pieces. Packed on 20 pounds, got acne from all the grease. The Major said I was the fattest, ugliest 13 - year - old he ever laid eyes on. But I did n't care, I just wanted to win the money and get the fuck out of there. So, one night, I followed this skinny register kid home, jumped him. I kept whaling on him, asking him where they were hiding the Park Place piece. The million dollar prize. But he did n't know shit. A year later, The Major won the lotto. I asked him for a Sega Genesis. He bought me one of those paddles with the ball attached. 78. Dwayne goes for a fry, sees his carton is empty and grabs a handful of Jay's. DWAYNE I'm not ashamed to admit that I've gone through some dark times since then. Depression. Addiction to a variety of shit, which I wo n't go into. I know you must think that's pretty silly, especially since you manage to get through the day and you do n't got shit going on as compared to me. But that's just the way it is. That's life. Jay looks pretty affected that Dwayne is opening up to him. JAY You know, I've been pretty low, too. if you ever want to talk about that kinda stuff. DWAYNE No. I do n't. My whole point I was trying to make before you interrupted me was that that shit is all in the past.'Cause I did it. I finally pulled it off. JAY We pulled it off, Dwayne. The two us. We're a good team. DWAYNE Are we? Would you do anything to protect me, my money, my empire? JAY Yeah, sure. -LRB- NERVOUS. -RRB- I mean, like what kinda stuff are we talking about? Dwayne takes out his cell, keys in the speed dial code and slides the cell across the table to Jay. DWAYNE Would you push the button? JAY Why would you want me to do that? DWAYNE It's just a question, Jay. Would you? If I asked you? I mean, it's no different than those watermelons. JAY Watermelons are n't alive. DWAYNE Yeah, they are. Not the ones you blew up, though. Dwayne stares hard at Jay. A tense beat. JAY No one gets hurt. right, Dwayne? DWAYNE Oh, yeah. I forgot about that part. Dwayne cracks a smile. DWAYNE Anyway, he has n't even made the drop yet. I'm gon na go take a shit. Stay away from the bathroom. Someone could get hurt. Dwayne heads off. Jay eyes the cell phone he has left behind.",
"EXT. BOARDED UP GAS STATION - DAY Weeds have overtaken the abandoned place. Will leans against his parked car, waiting. Chet is nowhere to be seen. Will spots Vaughn's Sentra approach. It pulls into the station and Vaughn steps. He could not look more menacing. Juicy hangs back in the passenger seat. WILL Where are the other guys? VAUGHN I'm the only guy. -LRB- BEAT. -RRB- You got it? Will picks up the garbage bag at his feet and walks it over to Vaughn. He opens it, looks in. VAUGHN What the fuck did you do. rob a bank? 80. WILL -LRB- INCREDULOUS. -RRB- Yes. Vaughn grins. WILL Now where's the code? VAUGHN I do n't have any code. Vaughn turns to leave. Will grabs his arm. Vaughn stops, looks purposefully down at Will's hand. Will draws back. WILL Listen, man, I just want the code. VAUGHN I do n't know what the fuck you're talking about. WILL The code for the fucking bomb! Will opens his jacket. Vaughn takes a sudden step back. VAUGHN What kind of stupid motherfucker wears a bomb to a drop? WILL Your boss put this on me. VAUGHN I am my boss. WILL Then give me the code! VAUGHN Motherfucker, I do n't know no goddamn code. Whoever told you I did, lied to you. Now step the fuck off, or I'll shoot you in the face so you do n't explode and mess up my boots. Vaughn goes to leave again. Will runs ahead of him and gets in his way. WILL If you do n't have the code, I want that money back. 81. VAUGHN The only way you're getting this money back is if you kill me. WILL You do n't know what I've gone through for that money! In an instant, Vaughn has his gun out, aimed at Will's head. VAUGHN Do I look sympathetic? Now step the fuck aside.",
"INT. SENTRA - DAY Juicy looks on with interest as Vaughn holds Will at gunpoint. Then she spots",
"EXT. BOARDED UP GAS STATION - DAY Chet creeping up behind Vaughn, from wherever he was hiding, clutching a large metal pipe. Juicy jumps out of the Sentra. JUICY Vaughn, look out! Vaughn whirls around toward Chet, just in time to have his gun arm smashed by the pipe. The weapon drops from his hand. Chet takes another swing, cracking Vaughn across the face. He howls, blood spraying, and topples over. Chet goes for another swing, when - Juicy jumps on him, wildly biting and clawing. Will grabs the back of Juicy's track jacket for leverage and flings her away. She hits the back of the Sentra and careens clear across the trunk. WILL Let's go! Will grabs the money. Chet kicks Vaughn's gun into the bushes. The guys break for the Mustang and get in. Juicy gets to her feet, runs right by a dazed Vaughn and after the car, which pulls out into the road and leaves her behind, screaming and cursing.",
"INT. MUSTANG - DAY - MOVING Will's mind is racing. 82. WILL What the fuck was that? CHET They tried to screw us. You're a liability. They were just gon na let you blow up. WILL Not with the money they wo n't.",
"INT. JAY'S GARAGE WORKSHOP - DAY A tidy space, filled with various half - finished devices, action figures and heavy metal posters. A low mechanical hum registers. Dwayne sits on a stool in the center of the garage, while Jay carefully trims his hair with an electric clipper. Dwayne holds up a mirror to check out his work. DWAYNE Never comes out this nice when I do it myself. You might wan na take some more off the top, though. I wan na look real professional when I go down to the morgue to identify the body. Dwayne's phone chimes from a nearby counter. He grabs it, looks at the incoming number, slightly concerned. He answers - DWAYNE You drop the money yet? INTERCUT WITH:",
"INT. MUSTANG - DAY - MOVING Will yells into the phone - WILL No! I've still got the money! And I cracked your friend's face open! DWAYNE. -LRB- O.S. -RRB- Why the fuck would you do that!? WILL You lied! You said I'd get the code! Dwayne is panicked, covers badly - DWAYNE I gave him the code. He told me he committed it to memory. He was probably just embarrassed that he forgot it. I'll call him up and - WILL. -LRB- O.S. -RRB- You did n't give him shit! I want the code now or you'll never see this money! DWAYNE Hold on there, big man. You got a bomb on you. I got a cell phone that detonates it. You're not exactly negotiating from a position of leverage. WILL. -LRB- O.S. -RRB- I'm holding the money. I blow up, and it blows up. Who has the leverage now? Go ahead and push the button, you idiot. Chet freaks out - CHET Do n't tell him to push the button! Pull over! Pull over! Dwayne is getting pissed off. DWAYNE Why do n't you watch what the fuck you say! I own you! I tell you to rob a bank, and you rob a bank. I tell you to give me the money, and you give me the goddamn money and hope I show you some mercy. WILL. -LRB- O.S. -RRB- I'm tired of this bullshit. I'm already dead, right? So fuck you. At least I'll die rich. I ca n't say the same for you. The line goes dead. Dwayne tears off his haircut smock. DWAYNE That piece of shit hung up on me!",
"INT. MUSTANG - DAY - MOVING Chet grabs the wheel and forces Will to pull over. CHET Get me out of this car! 84.",
"EXT. ROAD - DAY Chet jumps out while the Mustang is still slowing down. He runs 20 yards away. Will turns the car off and gets out. CHET That was colossally stupid! WILL It was a negotiation tactic. He'll call back and I wo n't answer. Then he'll call back and I will answer, and he'll realize the only way he gets the money is if he gives me the code. CHET Sure! That seems like a perfectly logical pattern of thought! I bet that's exactly what he'll do!",
"INT. JAY'S GARAGE WORKSHOP - DAY Dwayne tries Will's phone again. It goes to voicemail. He explodes like a pack of Mentos in a two - liter of Diet Coke. Throws his cell across the room. Overturns a work table. DWAYNE Does this guy know who the fuck I am!? Jay retreats into a corner. Dwayne's a big boy, and he soon tires himself out, hunches over, panting. JAY Dwayne. you never told me you were n't going to give him the code. DWAYNE We're not amateurs. He was a loose end. I let him live, someday I woulda been walking out of my mansion and. bam! FBI, CIA, NSA, all converging on my front lawn,'cause a loose end turned state's evidence and they got what they need to put me away. Dwayne shakes his head. Starts digging through the mess he's made. finds his phone. DWAYNE Fuck it, Jay. I'll just kill The Major myself. Dwayne keys in the speed dial code. 85. JAY Do n't do it. Dwayne looks down at the send button. DWAYNE You know what they say about a tree falling in the forest? Maybe the same thing applies to blowing up some motherfucker across town. Maybe it does n't even make a sound. Dwayne hits send. DWAYNE Boom. But Dwayne notices something. the phone in his hand is ringing. He puts it to his ear. The line connects - FEMALE VOICE. -LRB- O.S. -RRB- Hello. who is this. hello? Dwayne snaps the phone shut, looks to Jay, who tries to will the beads of sweat back into his pores. DWAYNE Who did I just call, Jay?'Cause she sounded cute for a bomb. JAY -LRB- SWALLOWS HARD. -RRB- Gina Kim. My seventh grade crush. Or whoever lives in Gina Kim's house now. DWAYNE Where's the number for the bomb? JAY In my head. I switched it out of your phone while you were taking a shit. You're out of control, Dwayne. DWAYNE I'm in perfect control! Dwayne charges Jay. Jay holds up the hair clippers like a weapon, flicks them on. Dwayne rips the cord out of the wall, uses it to yank the clippers from Jay's hand, then whips him with the cord. JAY Stop it! 86. Dwayne goes to whip Jay again, but Jay moves like a jack rabbit and delivers a fierce kidney shot. Dwayne stumbles backward, falls onto the couch, groans - DWAYNE You asshole. I make you my partner and you pull this shit. JAY I'm tired of you pushing me around all the time! What kinda partner does that!? DWAYNE Fuck you. I'm gon na piss blood, are n't I? JAY That's what it said on the internet. Dwayne's phone rings in his pocket. DWAYNE Go on. Get it out for me. I can barely move. Jay pulls the cell from Dwayne's pocket. opens it and puts it to his ear so he can answer - DWAYNE Glad you came to your senses. INTERCUT WITH:",
"EXT. BOARDED UP GAS STATION - DAY Vaughn has a rag pressed to his swollen, bloody face. Juicy is nearby, banged up and dirty. Vaughn yells into his cell - VAUGHN Who the fuck do you think you're talking to!? DWAYNE. -LRB- O.S. -RRB- I honestly do n't know. VAUGHN Let me give you a hint : your boy just jumped me, tossed my bitch like a rag doll and split with the cash. Dwayne realizes who's on the other line, recovers - DWAYNE That guy's not my boy. He's a dick. I'm sorry for all the, uh, confusion. 87. VAUGHN. -LRB- O.S. -RRB- Confusion? The only motherfucker that's confused is you. Apparently, you think you can fuck me and survive the day. DWAYNE I was n't fucking you, I was fucking him. You got ta understand, you're like a pawn in a much larger game I'm playing here. VAUGHN. -LRB- O.S. -RRB- Did you just call me a pawn, you stupid fuck!? DWAYNE I did n't mean it like that. I'm just juggling a whole lot of shit. VAUGHN. -LRB- O.S. -RRB- I want my money. Right now. DWAYNE That may not be possible. -LRB- DELICATELY. -RRB- I just want to put this out there, to keep you in the loop. but I may need to bump the hit. Vaughn paces, furious. VAUGHN This is n't a reservation at Sizzler! You do n't `` bump'' it! I want you to bring me my money right now, to where I am standing in this shit hole town, bleeding from the motherfucking face! DWAYNE. -LRB- O.S. -RRB- I do n't exactly have the money. give me some time and - VAUGHN The deal's off! You just became the hit! Vaughn hangs up, tosses the bloody rag to the ground and screams in frustration. JUICY He lives with his daddy. You already got the address. 88.",
"INT. JAY'S GARAGE WORKSHOP - DAY Dwayne looks down at his phone. DWAYNE That's it. The assassin's gon na kill me now. I'm gon na die. Game fucking over. Dwayne cradles his arms around his wounded kidney, rocks back and forth, wallowing in defeat. JAY We can still get him the money. Try the pizza guy back. DWAYNE Why? So he can fuck around again, and I wind up dead, anyway? No. I'd rather just sit here. I want to die right here on this couch. JAY No. We're gon na get that money. Just like we planned. All we got ta do is get the leverage back. DWAYNE How do we do that? Pizza boy's obviously got some kinda death wish. Jay gathers his resolve. JAY We take the girl. The one he went to see. Then he wo n't try shit. Dwayne looks up at Jay with something not unlike awe. DWAYNE That's actually. that's a great fucking idea, Jay. It's the best idea anyone's had all day. Dwayne lowers his head. He removes the gun from his belt. holds it out to Jay. Jay takes it. Feels its weight. Then offers it back. JAY I was just trying to figure out how you would do it, Dwayne. Dwayne takes the gun. Struggles to stand. Jay helps him. 89. DWAYNE Ok. Then let's do it right. We leave nothing to chance. Because if we go to prison for this, I wo n't be able to watch out for you. JAY Ok, Dwayne. Dwayne looks over at a frame backpack hanging from a hook on the wall. PVC piping bulges from it. DWAYNE You should probably bring the flamethrower, buddy. There's gon na be some evidence to dispose of.",
"EXT. SIDE OF THE ROAD - DAY Will and Chet sit on the ground, still 20 yards apart. Chet checks his watch. CHET It's been half an hour. WILL He'll call. CHET In another 30 minutes I'm calling the bomb squad. Chet gestures to the vast emptiness all around them. CHET These guys obviously are n't watching you anymore. WILL You know, even if they get the bomb squad here in time, and they can somehow get this thing off me, we still got ta answer for the robbery. CHET I'll take the heat with you, Will. WILL Nah. I'll tell them I forced you into it. That you did n't have a choice. CHET Thanks, man. 90. Will looks at Chet for a beat. WILL That's it? You're not gon na think about it a little longer? After all we went through. tear down the relationship, rebuild it. you're gon na let me go to prison alone? CHET You offered. WILL It was a test. Your grade : F minus. You know what the `` F'' is for? CHET To fuck myself? WILL You passed that test. Failed the important one. As the guys continue to argue - SUPER COUNTDOWN : 1 hour, 28 minutes.",
"INT. LAW FIRM, OFFICE BUILDING - DAY Kate walks down a hallway, turns into an office. Two figures rush past from the intersecting hallway and duck behind a corner. Kate emerges from the office and continues into",
"INT. WOMEN'S BATHROOM, OFFICE BUILDING - DAY Kate goes to the mirror, checks herself out. She's been crying. She splashes water on her face, then enters a stall. The bathroom door opens and Dwayne and Jay enter. Dwayne pulls something hairy from his pocket. Inside the stall, Kate reaches for some toilet paper. from underneath the barrier, she notices two pairs of dirty, masculine sneakers. Her breath goes shallow. She takes out her cell, quietly opens it. She presses the first 9 in `` 911,'' but her keypad volume is on and the phone makes a dull, electronic beep that echoes in the quiet bathroom. DWAYNE. -LRB- O.S. -RRB- Why do n't you just slide the phone under the door, so I do n't have to kick it open and see you with your panties down. 91. Kate slides the phone out. One of the sneakers crushes it. She gets off the toilet, arranges her clothing and steps out out of the stall. She gasps at - The two ominous men standing there in gorilla masks. Dwayne's gun is plainly visible, tucked into the front of his pants. DWAYNE What's the quietest way out of the building?'Cause I might get excited in a confrontation, and you might wind up shot in the face.",
"EXT. LIVING ROOM, NICE HOUSE - DAY The Major is watching reruns of Three's Company. He does n't laugh or remotely smile at any of it. The subtle click of a door opening does not escape his finely tuned senses. MAJOR Dwayne? Nothing. The Major gets up and goes to a desk, rifles through a drawer and pulls something out. A simple pen. He clutches it like a weapon.",
"INT. HALLWAY, NICE HOUSE - DAY The Major creeps along. VAUGHN. -LRB- O.S. -RRB- Just stay where you are, old man. The Major turns to find Vaughn pointing a gun at him. VAUGHN I'm looking for your son. MAJOR Even if I knew where he was, I would n't tell you nothing. VAUGHN Do n't be stupid. MAJOR You know, I saved a black man's life in the shit. So if I took yours I'd be even. VAUGHN I see where your son gets his common sense. But you might want to readjust your attitude, because I ai n't fucking around. I want Dwayne. I do n't know why you'd want to protect him, the motherfucker hired me to kill you. If this news has any effect at all on The Major, he does n't show it. VAUGHN Just tell me where he is! Vaughn pulls back the hammer of his gun. MAJOR You think I'm scared of death? There's a whole generation of gooks that think I'm the grim reaper. Vaughn shakes his head. Almost imperceptibly, The Major repositions the hand with the pen in it. Vaughn is about to squeeze the trigger - But The Major beats him to it, clicking the pen, which is actually a pen gun. It fires a.22 caliber round into Vaughn's neck. He drops the gun and clutches the geyser of blood. The Major charges Vaughn, jumps on him and wrestles him to the ground, trying to jam the pen into the wound in his neck. MAJOR I'll ride you all the way to hell! I know exactly how to get there! Vaughn reaches for his gun. His fingers curl around it and he whips it across The Major's face, knocking him backwards. Vaughn scrambles to his feet, gun pointed at the felled Major. VAUGHN What now, old man!? You ca n't kill me! None of y' all can kill me! The Major looks up at Vaughn, once again face to face with a loaded weapon. MAJOR Go on and - BANG! The Major goes limp, one searing hole in his chest. 93. Vaughn clasps a hand to his neck to staunch the flow of blood. He steps over the The Major's body and continues upstairs.",
"INT. BATHROOM, NICE HOUSE - DAY Vaughn rifles through the cabinets, dumps all of the first aid supplies into the sink. He gets to work on his wound.",
"INT. DWAYNE'S ROOM, NICE HOUSE - DAY The locked door is kicked open. Vaughn, neck crudely bandaged, flicks on the lights and looks around the childish room. Chinese Fighting Fish swim in a large tank, seem to stop and look out at him like guard dogs. Vaughn ransacks the place. He finds a desk drawer locked. Takes out his gun and blows it open. Vaughn pulls a stuffed file folder out of the drawer. Flips through it. It's full of details about Dwayne's plan, the tanning salon, etc.. VAUGHN Motherfucker has lost his mind. He finds a map of the town in the file. Three locations are highlighted : the bank, the boarded up gas station, and the radio tower. PUSH IN on the radio tower. Vaughn stuffs the map into his pocket. He stops before leaving the room, turns and shatters the fish tank with the butt of his gun. Water spills out and the Chinese Fighting Fish flop onto the floor. As Vaughn lifts a boot to stomp them -",
"EXT. ROAD - DAY Will and Chet are still arguing - CHET Look at the upshot, while you're behind bars you can finally finish your degree. If I was there, too, it would just be a distraction. WILL Great idea, Chet. Thanks a lot. I'll just sit here and figure out a fucking major. Will stews. After a beat, his hand goes to his pocket. It's vibrating. He pulls out his cell. WILL Hey, it's them. 94. Will answers - WILL You ready to talk now? INTERCUT WITH:",
"INT. MINIVAN - DAY - MOVING Dwayne drives with his cell pressed to his ear. Jay keeps watch on Kate in back. She is blindfolded, hands bound behind her back with duct tape. DWAYNE -LRB- INTO PHONE. -RRB- Yeah, I'm ready to talk. I want my money. Meet me back at the radio tower in 50 minutes. WILL. -LRB- O.S. -RRB- I've barely got an hour left! DWAYNE That's the point. I want you on a short leash. WILL. -LRB- O.S. -RRB- Fuck that. Give me the code first. Then you can have your money. You'll just have to trust me when I say that I do n't want it. DWAYNE Yeah, I'm sure. You just wan na go back to your fantastic life. Your great job. And that blonde bitch with the sexy voice. Will's mind jumps to the only logical conclusion. Roller coaster stomach drop. His voice cracks as he asks a useless QUESTION - WILL What the fuck is that supposed to mean? DWAYNE. -LRB- O.S. -RRB- It means that girl you paid a visit to today is sitting in the back of my van right now. And it ai n't exactly consensual. WILL Fuck you! You crossed a line! 95. Dwayne just laughs, maniacally. DWAYNE There are no lines! There's just me and you and 100 thousand dollars. Once we get that shit in order, you can have her back, and your life, too. So you're gon na show up where I say, when I say. Alone. And if you try anything stupid, the two of you will be delivering pizzas to Saint Peter. WILL Let me talk to her. DWAYNE You got ten seconds. Dwayne hands the phone back to Jay, who puts it to Kate's ear. She is trembling. KATE Will? WILL. -LRB- O.S. -RRB- Kate, I'm so sorry. KATE It's okay. I'm fine. I'm just really - Dwayne snatches the phone. DWAYNE She's just really gon na die if you fuck this up. Will absorbs this like a blow to the chest. The line disconnects. WILL Fuck! CHET What happened? WILL They have Kate. CHET What the fuck does that mean!? WILL They took her, man. They must have followed us to her office. 96. CHET Damn it! You had to go see her! WILL I'm sorry. I messed up. I finally messed up worse than I could have possibly imagined. CHET We got ta get her back, Will. These guys are crazy. WILL We still got the money. As long as we have that, she's alive. Come on. Chet grabs the bag of cash. They hustle into the car and it peels out, leaving behind a swirling cloud of dust. As the sun begins to set - SUPER COUNTDOWN : 58 minutes.",
"EXT. HIGHWAY - NIGHT Two menacing headlights come at us on the empty road. They BELONG TO",
"INT. SENTRA - NIGHT - MOVING Vaughn holds up Dwayne's map as he drives. He seems to be on the right road, headed for the radio tower. He crumples the map and throws it in back.",
"EXT. SIDE OF THE HIGHWAY - NIGHT The Mustang stops by the gate to the radio tower. Chet jumps out and disappears into the bushes.",
"EXT. RADIO TOWER - NIGHT The Mustang pulls up. Will gets out and looks around the deserted place. He holds up the money bag. WILL I'm here! In the shadow of the nearby shed, the minivan is revealed as its interior lights come on. The door opens and Dwayne emerges, in his mask. DWAYNE How much time you got left? 97. Will takes off the jacket and tosses it to the ground. He looks at the timer. WILL Ten minutes. DWAYNE Damn. Maybe we should just wait around for the money shot. The guys meet in a clearing. Dwayne nods at the bag. DWAYNE That the money? WILL Maybe. Where's the girl? Dwayne grins. DWAYNE In the van. Maybe. WILL Get her out here. You're wasting time. Will grips the bag close to him. Dwayne whistles. The minivan door opens and Jay steps out. Strapped to his back is the frame pack we saw at his workshop. A long tube connects the pack to the handle of a metal pipe - like device in his hand. Jay helps Kate, still bound and blindfolded, out of the van. They approach Dwayne and take up position behind him. KATE Will, are you there? WILL I'm here. It's gon na be okay. DWAYNE This is a fucking tearjerker. WILL Just let her come over here. DWAYNE I will. But you should know, my associate over there is packing a flamethrower. Jay aims the metal device he has been holding. He hits a button and a pilot light comes on. 98. JAY -LRB- FLAT. -RRB- Just do what we say. Do n't mess around or anything. DWAYNE Unless either of you can outrun a 25 - foot flame. -LRB- gestures to gun in his belt. -RRB- Or a bullet. Dwayne roughly pulls Kate away from Jay and shoves her forward. Will grabs her, pulls her blindfold off and pushes her behind him. WILL Get back. DWAYNE I gave you the girl. Now give me the money. WILL How about we get the code out of the way first, since this bomb happens to be ticking so close to all of us. DWAYNE Fair enough. Dwayne pulls a slip of paper from his pocket. DWAYNE -LRB- TAUNTING. -RRB- You ready to be a free man? WILL Just give it to me! DWAYNE 448921. Will keys in the numbers. The timer freezes and the lock at the hinge opens. Will carefully extricates himself from the vest. He lays it down on the ground and steps away from it. His shirt is drenched in sweat from where the bomb sat. Will takes a final look at the money bag, then throws it to Dwayne. He looks inside, smiles. Jay takes a peak. DWAYNE It's so fucking pretty, ai n't it? JAY Yeah. It's awesome. 99. Dwayne looks up at Will. DWAYNE Okay, you can get out of here now. WILL I actually have this sneaking suspicion that once we turn around, you're gon na put a bullet in both of our backs - and this is just a guess - burn our bodies. DWAYNE They say great minds think alike. And in this case, so do we. WILL I figured as much. That's why I got a gun pointed at you, too. -LRB- LOUDLY. -RRB- I got a sniper in the bushes locked on you right now. DWAYNE Do I look that dumb? WILL I ca n't tell, you're wearing a mask. Before Dwayne can react, he stops and blinks, something shining in his eyes. JAY Hey. on your forehead. Dwayne's eyes turn upward, just barely making out the red dot that dances on his forehead. DWAYNE Son of a bitch. Well played. In the bushes, hidden from sight, Chet carefully aims his laser pointer at Dwayne's forehead. Will grins at Dwayne. WILL We're gon na walk out of here now. If you shoot, my sniper shoots. I ca n't guarantee he'll get both of you. But he'll definitely get you. As Will turns away - 100. VAUGHN. -LRB- O.S. -RRB- Hold the fuck up. Vaughn emerges from the darkness. He looks at Will. VAUGHN Was n't expecting to see you here. Without warning, Vaughn cracks Will over the head with the butt of his gun. He goes down hard. Kate screams. Vaughn points the gun at her and she shuts up. Dwayne steps forward with the bag. DWAYNE It's all good. We got your money. VAUGHN Nice mask, Dwayne. Now throw the money over here. Dwayne complies. As soon as the bag lands, Vaughn aims the gun at him. DWAYNE Hold up. You do n't have to do this. I just paid you. Kate looks on, terrified, an unconscious Will at her side. Vaughn's eyes burn a hole through Dwayne. VAUGHN I've been hit with a pipe, shot with a pen, and wasted my whole motherfucking day. all because of you and this job. DWAYNE I do n't know what you're talking about. Just take the money. VAUGHN I will. And then I'm gon na tie up the two loose ends in the gorilla masks. DWAYNE I'm not a loose end! VAUGHN You're a fucking idiot. You are as loose as ends get. Panicked, Dwayne's eyes flash over to Jay, who tightens his grip on the flamethrower handle. Jay catches Dwayne's eye. Dwayne nods. Vaughn sees this. 101. VAUGHN What the - Jay rears up with the flamethrower. Vaughn could n't be more surprised to see the device Jay is holding spit a massive ball of fire at him. Vaughn dives to the ground, fires off two wild shots, one of WHICH - Nails Dwayne in the shoulder, spinning him backward and knocking him off his feet. Kate recoils in horror as : Vaughn scurries madly on the ground, intermittently firing, while Jay screams and tries to torch him with the 25 - foot flame. A hand touches Kate's shoulder and she whirls around to find - KATE Chet!? What are you doing here!? CHET Not now. We got ta take off. -LRB- LOOKS AROUND. -RRB- Where's Will? Kate looks to the empty spot beside her where Will just was. Flames inches from him, Vaughn lines up a desperate shot - Good news : the bullet only grazes Jay's side. Bad news : it keeps going and punches through the flamethrower backpack, which happens to be filled with gasoline, which happens to have an incredibly low flash point. So the spark from, say, a bullet, would cause AN ERUPTION OF FLAMES Meanwhile, Will pops up behind Chet and Kate, clutching the garbage bag. WILL I got the money. Let's get the fuck out of here. They take off toward Will's car. Dwayne groggily comes to. no SOUND, just a ringing. The first thing he sees : Vaughn storming toward him, god - knows - what spewing from his mouth. Vaughn levels his gun - It does n't make a sound for two reasons. The second being that it's out of bullets. Dwayne fumbles for his own hardware. Muzzle flash. 102. Vaughn drops to his knees. Pulse snatched from him. SOUND SLAMS BACK to the tune of Jay's screams. Dwayne looks over to see his friend in flames, flailing his arms and shrieking. Dwayne's head snaps to the other side, where he sees the Mustang's tires peel. He tears off his mask, frantically looks around. The money is gone. DWAYNE No! Jay disentangles himself from the backpack, the source of the flames, but his clothes are now ablaze. In his frenzy, he somehow manages to string together two coherent words - JAY Dwayne! Help! Dwayne gets to his feet as the Mustang roars down the driveway. He looks to Jay, then to his minivan. Dwayne's face : Two roads diverge in a wood. Which to take? DWAYNE Goddamn it, Jay! Dwayne sprints over to Jay, rips off his jacket and uses it to beat the flames down. DWAYNE Stop, drop and roll! Jay hits the deck. Dwayne continues fighting the flames, finally falls on top of Jay with the jacket spread and smothers the last of them out. Jay looks up at Dwayne with puppy dog eyes. JAY You came back for me. you said you never would. DWAYNE You did n't hesitate back there, Jay. You did good. Jay smiles. Flames overtake the field all around them. DWAYNE I'm gon na go put a bullet in that motherfucker and get our money. Think you can get outta here? JAY Yeah. Go get him. 103. Dwayne hurries toward the minivan. Jay stumbles up to his feet and limps off toward the woods.",
"EXT. HIGHWAY - NIGHT The Mustang travels away from the rising flames.",
"INT. MUSTANG - NIGHT - MOVING Will's face is a mess of dirt, sweat and dried blood. He and Chet stare ahead, completely shell - shocked. Kate looks from one of them to the other. KATE Uh. I just got kidnapped. CHET Yeah, that was totally Will's fault. In case you want to factor that in while you're mulling over the whole relationship thing. WILL I'm very sorry about the kidnapping. This is me, taking responsibility for it. Growing up. Like a viable life partner. CHET This man has spied on you in the nude before! WILL What? No, I did n't. CHET He's lying. He's trying to build a relationship on a foundation of lies. And it wo n't stand. KATE I just got kidnapped! Can we talk about that!? Something catches Will's attention : a set of headlights rapidly growing larger in the rear - view mirror.",
"INT. MINIVAN - NIGHT - MOVING Dwayne's speedometer is buried past 100 mph. His eyes burn with intensity. 104.",
"INT. MUSTANG - NIGHT - MOVING Will hits the gas. WILL Oh, shit. One of those dudes is definitely not dead! Chet and Kate look out the back window. Chet screams - CHET Hurry up! He's already on us!",
"EXT. HIGHWAY - NIGHT Dwayne's car pulls even with the Mustang.",
"INT. MUSTANG - NIGHT - MOVING Will looks over at Dwayne, who pulls out his gun and takes aim. He flashes a sick grin - DWAYNE I own this town. Before Dwayne can get a shot off -",
"EXT. HIGHWAY - NIGHT An explosion rocks the minivan from inside. The back end is lifted off the ground and the car tumbles over itself. It lands on its roof and skids into a ditch.",
"INT. MUSTANG - NIGHT - MOVING Chet and Kate watch the burning wreck disappear out the back window. They are equal parts confused and happy to be alive. KATE What the hell was that? WILL That was the bomb I carried around all day. I reactivated it and put it in the back of his van. I guess his time was up. CHET `` His time was up?'' Were you thinking that up the whole day? WILL I was prepared, yes. I ca n't help it if I'm the kind of guy who thinks about the future. 105. CHET -LRB- TO KATE. -RRB- He's not that kind of guy. He does n't think about the future. Ever. KATE What exactly happened since I saw you this afternoon? WILL Primarily, we robbed a bank. KATE What!? So you're, like, fugitives? What do we do now? CHET Yeah, Will. What does the future hold? WILL Nothing good if we stay in town and they pin this on us. Kate, I think you should put in for that vacation time. Right now. If anyone gives you a problem, tell them to fuck off. There's 100 grand in that trash bag by your feet. A third of it's yours. Kate opens the bag. smiles through the dirt and grime. KATE Will, that's - CHET Fucked up. Why does she get a share? WILL Why do you get a share? Chet stews. Will catches Kate's eyes in the rear - view. WILL Airport's 30 minutes away. Pick a destination. This time it's not a practice run.",
"EXT. HIGHWAY - DAY The car zooms off. SUPER COUNTDOWN : 0 hours, 0 minutes. 106.",
"EXT. DITCH - NIGHT Wind fans the flames of the burning minivan. The shattered windshield sprouts another crack. then another, as - Dwayne's foot kicks it out. He drags himself from the smoldering steel carcass. He is a charred, blood splattered mess, but he is alive.",
"EXT. HIGHWAY - NIGHT Dwayne is propped up against a sign, lingering on the edge of consciousness. The headlights of a lone pickup truck approach. Dwayne feebly waves the truck down for a ride.",
"INT. NICE HOUSE - NIGHT The door opens and Dwayne stumbles through. He has made it home. He drops like a puppet whose strings have been cut. From where his head has landed on the floor, Dwayne sees something odd. long red streaks. He crawls forward on all fours to investigate. It is a trail of sticky red blood. Dwayne follows it until he comes upon its source. the crumpled body of his father, lying face down. Dwayne's face : shock and confusion and joy. DWAYNE Dad? Dwayne inches closer, pokes the body. Nothing. DWAYNE Dad, are you - The body emits a low groan. Dwayne rolls it over. His father's face is white, he's lost a lot of blood, but he is n't totally spent yet. He struggles to speak - MAJOR Dwayne. DWAYNE What happened to you? MAJOR Some guy. said you hired him to kill me. DWAYNE Dad, I. I'd never. 107. MAJOR Look at you. lip quivering like you're getting fucked. be a man. DWAYNE I am a man! I killed you, did n't I? Now I'm gon na use your money to open a tanning salon where they let you fuck the chicks. This stirs something in The Major. MAJOR You mean. like those whorehouses. in ` Nam. I used to tell you about? Dwayne softens at the recollection. DWAYNE Those were great bedtime stories. The Major nods. Opens his hand. Reveals a cordless phone. Dwayne looks to the bloody streaks down the hall, leading to the phone table. The Major dragged himself the whole way. MAJOR Medics are late. probably a couple lazy spicks. you tell'em I said so. all right, son? DWAYNE Sure thing, pop. The Major looks up at Dwayne's bruised face, as if for the first time. MAJOR Hell of thing. I think I may. actually respect you now. Dwayne's eyes well up. He reaches out, cradles his father as he expires. It's like a very bloody, white trash version of the Pietà. Dwayne sobs uncontrollably, until - He drops his father and pound - pound - pounds his chest in some approximation of a life saving resuscitation. DWAYNE Get up, you pussy! Come on, soldier! PULL AWAY as Dwayne pounds the body and distant sirens grow nearer. FADE OUT: 108. BLACK. THE DARKNESS RIPPLES. Into waves. It's the ocean, long past sunset. PULL BACK to find a lone figure staring out at it, sitting on",
"EXT. BEACH - NIGHT Will. Shirtless. Could be anywhere. Chet approaches and sits beside him. CHET Fucking nine dollars to use the internet. WILL And? CHET Police think it was that black guy. They found some kind of map in his car. And I'm sure racial profiling played a part. WILL But nothing about us? CHET Nope. Guess it's time to head back. WILL I was thinking we'd stick around a little a longer. CHET Why? So you have more time to delude my sister? WILL Yes. And it'd be easier if you gave us five fucking minutes alone. Chet stares out at the ocean for a beat. CHET You really think she's into you? WILL -LRB- SWALLOWS HARD. -RRB- I kissed her last night. No tongue. Then you walked in. Chet just nods. Will gets up. 109. CHET You're gon na go fuck my sister now, are n't you? WILL I'll be thinking of you the whole time. CHET At the very least. be a considerate lover. Give pleasure, before taking pleasure. WILL I think I'm reading you. And I will try my best. Will heads up a trail that leads to a hotel bungalow. Kate opens the door, steps out onto the porch. Will stops, looks back at Chet. He whistles. Chet turns. WILL You're Riggs! You always have been! Chet smiles, shakes his head as - Will reaches the porch. He stands close to Kate. His nerves clock overtime. WILL I lied and told your brother I kissed you. I thought it would make this easier. KATE Here's an idea : pretend you have a bomb strapped to your chest. Tick, TICK - Will closes the gap and kisses her. After a beat - KATE Is Chet watching us? WILL Probably. We should go inside. I promised him I'd satisfy you. Kate laughs, leads him inside and the door shuts to - BLACK 110. CREDITS ROLL. But they are pushed to one side of the screen, as the other side is filled with - A lo - fi, 2001 - style light tunnel. It deposits us in the furthest reaches of the galaxy, where we find - A tanning bed. Rotating in orbit. Dwayne's voice booms and REVERBERATES - DWAYNE GRAND OPENING SPECTACULARRR! The tanning bed explodes, like a star gone supernova. From the light and fire and chaos. emerges a logo : MAJOR TAN A bad MATCH CUT takes us to the same logo. Camera ZOOMS OUT unsteadily to reveal it is a banner above a strip mall storefront. We are watching a local commercial with appropriately poor production value.",
"INT. MAJOR TAN - DAY (LOCAL COMMERCIAL) Dwayne walks backward down a hallway while addressing camera and trying not to trip - DWAYNE Here at Major Tan, our specially trained technicians are hard at work developing new technologies that harness the power of the sun, to ensure a cutting - edge tanning experience. Dwayne enters a tanning room. A man in a lab coat stares down at a clipboard, on which a complicated scientific equation is written. DWAYNE How's it looking? The man turns : it's Jay. His smiling face is speckled with healing burn wounds. JAY It's our most advanced tanning bed yet! He gestures to a very ordinary looking tanning bed. 111. DWAYNE Hey, do n't just take this scientist's word for it. The proof. Dwayne snaps his fingers. A BAD SPECIAL EFFECT makes him disappear, then reappear with a totally orange tan. DWAYNE is in the tan. We follow Dwayne back out into the hallway. DWAYNE But Major Tan is n't just about looking good. It's also about feeling good. Dwayne gestures to another room. The door opens and Juicy saunters out in a bikini. A beat later, a RANDOM GUY exits. RANDOM GUY That `` Deluxe Tan'' was fantastic!",
"EXT. MAJOR TAN - DAY (LOCAL COMMERCIAL) Dwayne stands outside the store. DWAYNE So come on down to Major Tan. where we're proud to be a family business. PULL BACK TO REVEAL. The Major beside Dwayne. He's only about four feet tall now, on account of the wheelchair. But he's grinning like a jackal, in a POW - MIA cap. A SUPERED LOGO appears : Military Discounts Available! As father and son smile and wave at us - END COMMERCIAL."
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] | Marijuana-smoking, Grand Rapids slacker pizza delivery driver Nick (Jesse Eisenberg) has trouble completing the "30 Minutes or Less" policy and is reprimanded by his boss Chris (Brett Gelman). Nick's school teacher friend Chet (Aziz Ansari) discovers that Nick slept with his twin sister, Kate (Dilshad Vadsaria), on the night of their high school graduation, causing Nick and Chet to end their friendship. Separately, Dwayne Mikowlski (Danny McBride) and Travis Cord (Nick Swardson) are miserable living under the shadow of Dwayne's domineering father, The Major (Fred Ward), who about 10 years prior won over $10 million in the lottery. Dwayne confides in lap-dancer Juicy (Bianca Kajlich) about his contempt for his father and Dwayne's presumed inheritance. At Travis's suggestion, he and Dwayne devise a plot to kidnap a complete stranger and strap a remote-controlled bomb to his chest. They order a pizza and wait for a driver to come to their hideout. When Nick arrives, Dwayne and Travis assault him and knock him unconscious. When Nick wakes up, he finds a vest rigged with explosives strapped and buckled onto his torso, with both a timer and a cellular phone-activated trigger. Dwayne and Travis tell him his situation: the bomb will detonate unless he robs a bank within ten hours. They also threaten to detonate the bomb if Nick notifies the police. He goes to Chet's school job and alerts him of the situation, to which he reluctantly accepts. En route to the bank, Nick manages to quit his job and then goes to see Kate for the last time. Nick and Chet hold up the bank and obtain money while the bank manager pulls the alarm, forcing Nick and Chet to flee quickly. Dwayne says he and Travis will meet Nick at an abandoned rail yard to make the exchange. Dwayne and Travis go to a restaurant instead as Dwayne calls up Juicy to get her hit-man ally and to head to the rail yard. Juicy and the hit man Chango (Michael Peña) arrive to pick up the money. Nick hands Chango the money and expects Chango to give him the code which will deactivate the bomb. However, Chet appears and strikes Chango with a metal bar while Nick incapacitates Juicy. The two grab the money and escape. Overly frustrated by the turn of events and when Nick refuses to answer the phone again, Dwayne activates the speed dial number on his phone for the bomb to explode, but Travis alters the numbers. Rethinking their plan, he and Dwayne head to Kate's apartment in their masks and kidnap her. Chango breaks into the Major's house to find information regarding Dwayne's location and finds a hand-drawn map to the scrapyard. While there, the Major attacks him with a pen gun. The Major is then shot by Chango after a struggle. Upon applying some peroxide, Chango uses the information he found in Dwayne's room to head to the scrapyard. Dwayne threatens to kill Kate unless Nick meets up with him at the scrapyard. At the scrapyard, Dwayne gives Nick the code 69 69 69 to deactivate and unbuckle the bomb with just minutes to spare. Dwayne has them at gunpoint but Nick has Chet fake having a sniper on them by pointing with his laser pointer. After believing him, Dwayne and Travis drop their weapons and leave with the money. However, Nick is knocked out by Chango who now has Dwayne at gunpoint, demanding the money. Dwayne gives him the money but Chango decides to still kill him and is torched with a flamethrower by Travis. While being burned on the ground, Chango wounds Dwayne and shoots the gas tank on Travis's back, causing it to explode. Nick takes the money and leaves with Kate and Chet. Dwayne chases after Nick and steals the money and when he has Nick at gunpoint as he’s about shoot at him the bomb hits 00:00:00 his van explodes, seemingly killing him. Nick reveals he reactivated the bomb and put it in Dwayne's van. While Chet looks at the money, it squirts blue dye on his face. In a post-credits scene, Dwayne (who survived the explosion), Travis, the Major recuperating in a wheelchair, and Juicy are seen in an advertisement for their new family business called "Major Tan: Tanning Salon". | 30_Minutes_or_Less |
[
"INT. CARGO PLANE. MILITARY AIRBASE. ISRAEL - DAY A strange ROARING sound. CLOSE ON A YOUNG WOMAN. in darkness. Light begins to spill on her from the right - revealing her face, lost in thought. This is RACHEL SINGER - pretty, painfully young looking. A surgical dressing covers half her face. As we pull back a little we see that two YOUNG MEN sit either side of her. They are STEPHAN GOLD -LRB- thirties -RRB- thick - set, capable, and DAVID PERETZ -LRB- late twenties -RRB-, dark - haired and pale - faced. The three faces in the darkness, each looking straight ahead - something from a Caravaggio painting. The roaring, which we realise is the sound of ENGINES, gradually runs down into silence. The light from the bay door which is opening off - screen begins to flood the scene with HARSH DAYLIGHT, revealing the inside of a CARGO PLANE. Stephan turns to look at the growing light. Then he turns to Rachel. STEPHAN Breathe. He stands. Rachel turns to look at David but he is standing too, his face a mask. Rachel gathers herself, then stands and turns to follow the other two, walking towards the light. As the three approach the opening and descend the ramp of the bay door, we hear a woman's voice : SARAH -LRB- V.O. -RRB- We should never forget how young they were.",
"EXT. AIRBASE RUNWAY. ISRAEL - DAY TRACKING THE THREE. as they walk across the tarmac - first Stephan. SARAH -LRB- V.O. ; CONT'D. -RRB- My father, Stephan Gold, was the youngest Unit Commander in Mossad. David is next. SARAH -LRB- V.O. ; CONT'D. -RRB- David Peretz had his twenty - ninth birthday while on the mission. Then Rachel. SARAH -LRB- V.O. ; CONT'D. -RRB- My mother was even younger. Only twenty - five. RACHEL'S P.O.V Silhouetted against the bright light is a group of waiting MILITARY and MOSSAD DIGNITARIES. Their hands are raised in applause. SARAH -LRB- V.O. ; CONT'D. -RRB- Despite their youth they'd had the courage to confront an unimaginable evil. The three walk towards their welcoming party. Rachel blinks against the sunlight, takes out a pair of sunglasses and slips them on.",
"INT. FUNCTION ROOM. HOTEL NEAR TEL AVIV - DAY CLOSE ON OLDER RACHEL. now 56. Handsome, impeccably groomed. A long crooked SCAR runs down one side of her face. SARAH -LRB- O.S. -RRB- a man whose sadistic experiments left thousands disfigured or dead, who became known by a name which defiles the annals of medicine : The Surgeon of Birkenau. She's wearing tinted glasses, staring at us, listening to Sarah speak. REVERSE Rachel's daughter - SARAH - stands at a podium, reading the Dedication to a rather large audience who have come for the launch of her first book. She's 31, and clearly her mother's daughter. The cover image from the book is projected on a screen behind Sarah - a black and white photograph of a young Rachel, David and Stephan. Above their faces, the title - In Our Hands. SARAH Their mission had been to return him to Israel to stand trial. Instead it ended with his death on the streets of East Berlin.",
"EXT. MILITARY AIRBASE. ISRAEL - DAY - THE PAST CLOSE ON YOUNG RACHEL. as she waits behind David and Stephan, face bleached out by the sunlight. She stares at the ground. SARAH -LRB- V.O. -RRB- But this was not what was celebrated. It was their youth itself that became a symbol. Here were the children who had faced Israel's greatest nightmare, her greatest pain. David and Stephan have moved out of shot and Rachel reaches the DIGNITARIES. Still looking down, she manages a smile, a bob of her head, reaches out to shake the first hand.",
"INT. FUNCTION ROOM. HOTEL NEAR TEL AVIV. DAY CLOSE ON OLDER RACHEL. lost in the memory. SARAH -LRB- O.S. -RRB- and in the simple act of facing the Monster, had helped to vanquish it. Sarah, has finished reading and looks for her mother in the audience. SARAH -LRB- O.S. ; CONT'D. -RRB- This book is dedicated to my inspiration. My mother, Rachel Singer. People around Rachel begin to applaud, the sound almost startling her. Automatically she gives the same bob of the head, acknowledging the applause. Sarah, cheeks burning with a mixture of embarrassment and emotion, has n't finished yet. She locks eyes with her mother. SARAH -LRB- CONT'D. -RRB- Mother, I'm so very proud to be your daughter. More applause. Rachel manages to smile.",
"INT. FUNCTION ROOM. HOTEL NEAR TEL AVIV - LATER The room is now alive with the excited chatter of the guests. Rachel moves against the tide of the audience with a fixed social smile, murmuring thanks to well - wishers, trying to get out, trying not to look like she's trying to get out.",
"EXT. TEL AVIV. HOTEL NEAR TEL AVIV. PATIO - CONTINUOUS She emerges onto the empty patio, slides the glass door shut behind her, muffling the chatter from the room beyond. She lights a cigarette, inhales greedily, trying to calm down. She stares at the sun blazing over the Mediterranean ahead of her. Her glasses darken against the reflected glare. As if sensing something she turns to see a SMALL BOY - her GRANDSON - watching her from behind the glass of the patio door, something UNNERVING in his direct gaze. Rachel stares back at him in silence. Sarah appears behind the boy, her son, and scoops him up into a hug. Still the boy stares at his grandmother, who gives a tight smile and turns back to the sea. Another guest walks up to Sarah and she nods, smiling, at what he is saying to her but her eyes slide back to her mother, standing on the other side of the glass.",
"INT./EXT. APARTMENT BLOCK. TEL AVIV SUBURB - DAY A shabby, dimly - lit stairwell in a run - down section of the city. A YOUNG MOSSAD AGENT knocks at one of the apartment doors. After a moment it is answered by OLDER DAVID, now 62. YOUNG AGENT David Peretz? DAVID Yes. YOUNG AGENT You were expecting me? David looks at this young version of himself. DAVID Yes. I was expecting you. YOUNG AGENT Would you come with me sir? David stares at him, then walks back into the apartment. The door almost swings shut and the Agent catches it, considering walking in after him. But before he can, David re - emerges carrying his jacket. DAVID Let's go. TITLES BEGIN - We TRACK with David, CLOSE on his face as the two men begin the long walk down the staircase. He does n't say anything to his companion, does n't look around him, and we HOLD on that face as his mind tries to catch up, tries to work something out, to decide.",
"EXT. STREET - CONTINUOUS The apartment block stands on stilts. Abandoned furniture is piled around the columns supporting the building. Still on David as the two men walk out from the darkness into the street that services the run - down estate. David follows as the agent moves ahead towards a larger road. They cross a busy carriageway, and wait for a moment on the central reservation for a break in the traffic. Parked on the far side of the road, two identical cars, their windows tinted. The Agent moves to the leading car, opens the driver's door and gets in. David stops in the road, opens the rear passenger door and throws his jacket inside. He pauses for a moment and turns to look back at the second car.",
"INT. CAR - CONTINUOUS A MAN sits in the back of the car, silhouetted against the brightness outside. This is OLDER Stephan, now 63. He watches as David straightens up, hands on hips, squinting up at the sun.",
"EXT. STREET. TEL AVIV SUBURB - CONTINUOUS DAVID -LRB- Indistinctly. -RRB- Sorry. The Agent turns. YOUNG AGENT What, sir? DAVID -LRB- Beat. -RRB- I - I think I. He stands like that for a moment and then suddenly STEPS OUT INTO THE ROAD in front of an on - coming TRUCK. The impact sweeps him out of the frame. The shocked Agent scrambles out of the vehicle as other cars screech to a halt in front of David's lifeless body. TITLES END.",
"EXT. TERRACE. HOTEL NEAR TEL AVIV - NIGHT A celebratory dinner for the book launch is in progress - publishers, journalists, local dignitaries. Rachel is re - joining the table, taking her place beside her daughter amidst the dinner party chatter. Sarah watches her. SARAH When are you going to stop? RACHEL Stop what? SARAH The smoking. RACHEL Soon. SARAH I hope so. Do it for your grandson. SARAH Are you sure you have to go back home tomorrow? RACHEL It's all arranged, I'm afraid. SARAH But we'll have breakfast before you go? I thought maybe we could take a walk on the beach? -LRB- Trying to sound casual. -RRB- I'd like you to see more of him. A WAITER leans over with WINE for Rachel. She covers her glass. RACHEL -LRB- To Sarah, ill - at - ease. -RRB- Well, I'll be back. We can. maybe in the holidays or. MIRIAM, a PUBLISHER appears at her shoulder with a copy of Sarah's book. MIRIAM I've marked the place. I thought perhaps from chapter eleven? RACHEL Yes, thank you. Rachel nods absently, flicking through the pages of the book. Sarah realizes, with a small stab of pain, that she has no idea what that means. SARAH If you'd rather read something else, mother. RACHEL No, that's fine. Rachel is barely listening. She is staring at a black and white photograph in the book. We see that the photograph is of a YOUNG MAN in NAZI UNIFORM. It's titled : DIETER VOGEL, `` The Surgeon of Birkenau.'' MIRIAM You must be very proud. Rachel looks up at her, realizes what Miriam is talking about. RACHEL -LRB- A little automatic. -RRB-. It's a wonderful achievement. I'm very proud of her. MIRIAM And I'm sure you were invaluable in the research. SARAH -LRB- Keeping it light. -RRB- Actually, my mother withstood all interrogation. My father was the talker. -LRB- Trying a joke. -RRB- I'm the only journalist in Israel she wo n't speak to. Miriam laughs obligingly but Sarah instantly regrets the remark. There is a sudden excited MURMUR from the table. The women look over to where Stephan approaches the table. He is in a motorised WHEELCHAIR. The Mossad Agent attends discreetly in the background. Rachel's face hardens. RACHEL I thought he could n't come. SARAH -LRB- Standing up, surprised. -RRB- So did I. Several of the local POLITICOS have stood up to greet Stephan, who is all smiles and handshakes. STEPHAN -LRB- To the politicos. -RRB- Please, sit, sit. My God, it must be election season. There's good - natured laughter from the table. Sarah joins her father, kissing his cheek. SARAH You came. STEPHAN I came. So you're the famous author I've heard so much about? Rachel watches as he takes a place at the table, picks up a copy of the book and examines the cover photograph, holding his glasses a little from his eyes to focus. STEPHAN -LRB- CONT'D. -RRB- -LRB- Without looking. -RRB- Rachel. RACHEL Stephan. STEPHAN -LRB- To Sarah. -RRB- Now you're the expert, maybe you could tell me something. -LRB- Pointing to himself. -RRB- Who's this handsome devil on the cover? More polite laughter from the table. STEPHAN -LRB- CONT'D. -RRB- It went well? SARAH'S HUSBAND She was wonderful. STEPHAN That's good. Good, good. That's very good. Rachel takes a sip of water and notices Stephen's hands, crumbling some bread - they're SHAKING. She looks up at his face, reads the hidden STRAIN there. He senses her gaze and meets it, and for a second his smile falters and SOMETHING LIKE PANIC flickers in his eyes. Rachel stares back at him, disturbed. Miriam stands, tapping her glass with her fork. MIRIAM I just want thank you all for coming to help us celebrate the launch of this wonderful book. I'm sure we're all particularly thrilled to have two of the heroes of this story at the table. And even more thrilled that one of them has agreed to read for us. Applause. She gestures to Rachel who stands, still looking at Stephan. The table quietens down. Rachel opens the book at the marked place and hesitates, only now realising what she is about to read. Then. RACHEL -LRB- reading. -RRB- `` On the evening of the 31st of December, it began to rain more heavily. So isolated had they become from the outside world that it was only when she looked out of the window that Rachel remembered it was New Year's Eve.",
"INT. KITCHEN. BERLIN SAFE HOUSE - NIGHT - THE PAST Young Rachel stands in the small kitchen. Rain lashes on the window. She stares out at some FIREWORKS exploding nearby, then turns away and begins to gather three METAL SAUCEPANS from the shelves. We TRACK with her as she walks into the. LIVING ROOM And begins to place the pots on the floor to catch the rainwater which is dripping through various points in the ceiling. As she positions the last pot we REVOLVE around her to get our first view of the far wall. And there, tied to a radiator, is DIETER VOGEL, now 50. He's bound, his mouth taped, apparently asleep. Rachel does n't, of course, react to this sight. Instead she begins to clear away some pieces of BROKEN GLASS BOWL from the floor. We TRACK with her as she walks back down the short hallway into the kitchen, drops the pieces of bowl into the bin. From the living room comes the three distinct PINGS of rainwater dripping in the pots. She stops suddenly, puzzled. It's a moment before she works out what she's noticed - something has changed in the sound of the rainwater next door. There are only two drips instead of three. She walks back towards the living room. RACHEL'S P.O.V - through the living room door we can see that one of the pots has been overturned. Rachel slows to a stop. A sudden wave of adrenalin causes her to turn but. it's too late. Vogel steps out of the alcove he's been standing in so that he is directly in front of her. Before she can even cry out he has slashed her face open with a SHARD OF GLASS. Instinctively she cups her hands to her ripped face. Vogel grabs her by the hair and stepping behind her, tries to worm his other hand underneath her raised arms to reach her throat with the glass. Her training kicking in, Rachel uses a krav magah move to grab and twist Vogel's forearm, breaking his hold on her and turning the arm until, with a yell of pain, Vogel drops the shard. He swings wildly at her, but Rachel ducks the fist and drives the palm of her hand up into his face. Vogel stumbles back, surprised by her speed and the sudden pain of the blow. Rachel is about to press home the attack but is blinded by blood from her wound washing into her eyes. As she wipes her eyes clear, Vogel grabs a LAMP from a small chest of drawers in the hall and smashes it into her face. She falls. Vogel begins to run, but, driven by adrenaline and desperation, Rachel scrambles onto all fours and lunges at him, catching hold of his trouser leg as he moves towards the front door. Vogel stumbles, manages to pull a leg free and stamps down on Rachel who lets go with a moan. He stamps again, steps free and kicks her hard in the head. Rachel rolls with the force of the kick and comes to a rest, losing consciousness. RACHEL'S P.O.V - LOW ANGLE - Fluttering in and out of darkness - Vogel's feet as he stands beside us, breathing hard. Then he turns and hurries to the front door. and out.",
"EXT. WALKWAY. BERLIN SAFE HOUSE - NIGHT. Vogel hurries along the walkway and sets off DOWN THE SPIRAL STAIRCASE of the apartment building.",
"INT. BERLIN SAFE HOUSE. NIGHT. Rachel lies motionless. Then a cough. And another. And finally she rolls over, holding her gaping cheek with one hand, and drags herself towards the CHEST OF DRAWERS.",
"EXT. STAIRWELL - NIGHT Vogel runs down the spiral staircase.",
"INT. HALLWAY - NIGHT With difficulty, Rachel pulls out a GUN fitted with a silencer. and pulls herself towards the door.",
"EXT. STAIRWELL - NIGHT Vogel's dwindling figure as he nears the bottom of the stairs.",
"EXT. WALKWAY - NIGHT Streaming blood from her face, Rachel heaves herself out of the apartment towards the railings guarding the walkway. We hear the clatter of Vogel's feet on the stairs below. She raises the gun to the railings, to take aim.",
"EXT. COURTYARD - NIGHT Bursting from the stairwell, Vogel starts to run across the courtyard towards the street.",
"EXT. WALKWAY/COURTYARD - NIGHT Rachel's aim follows Vogel's lunge for the gateway. RACHEL'S P.O.V There is a lurid flash of fireworks from nearby and for a moment we see Vogel lit, about to make it to the gate and disappear forever. Rachel FIRES. A single shot. And, improbably, incredibly, the tiny figure of Vogel drops. Rachel hangs over the banisters far above us, gun in hand, staring at us with disbelief.",
"EXT. TERRACE. HOTEL NEAR TEL AVIV - NIGHT Rachel finishes reading and puts the book down. Nobody moves. The air of bonhomie has been replaced by an uneasy silence. Not knowing what else to do, one of the guests begins to clap and the others hurriedly join in. Rachel does n't acknowledge the applause. Stephan is staring at her with a STRANGE INTENSITY.",
"INT./EXT. STEPHEN'S CAR. TEL AVIV - NIGHT Stephan and Rachel sit in the back of the car. Behind a screen the young Mossad Agent we saw earlier sits in the front next to the Driver. Tel Aviv races by in neon smears. The air is charged with tension. RACHEL -LRB- Of the driver. -RRB- He's driving too fast. Stephan ignores her. She turns to the window, watches as they streak past another car. RACHEL -LRB- CONT'D. -RRB- This is ridiculous. What's so important? Tell me where we're going? STEPHAN We're going to David's apartment. Rachel turns to him, startled. RACHEL David? STEPHAN I keep track of people Rachel. It's my job. -LRB- Beat. -RRB- I know he came to see you yesterday. RACHEL -LRB- contemptuous. -RRB- What's this? The jealous ex - husband or the intelligence officer? STEPHAN A little of both. What did he want? RACHEL Fuck you. STEPHAN What did he tell you? Something about his intensity unnerves her. RACHEL He did n't tell me anything. -LRB- Off his look. -RRB- He did n't! He told me where he'd been travelling, that he'd been teaching. We spoke for a few minutes and then I had to go. Stephan is still staring at her, reading her. RACHEL -LRB- CONT'D. -RRB- -LRB- Bristling. -RRB- If you do n't believe me ask him yourself. And then he ca n't keep it from his face - and she knows. Something terrible has happened.",
"INT. LIVING ROOM. DAVID'S APARTMENT - NIGHT Stephan sits in the middle of the squalid living room, lost in thought. BEDROOM Rachel walks slowly though the room, taking it all in - the little islands of occupation, the places where David sat, read, slept. Piles of newspapers. Used cups. A mound of laundry. ON Rachel as she looks about her, looking for something, some sign from the man she knew. But there's nothing personal here. These are the rooms of a man who had no real home. BATHROOM Rachel walks in and switches on the light. She stares around the dirty bathroom. CLOSE ON YOUNG DAVID. turning to face us, the beautiful smile. BACK ON OLDER RACHEL. as she begins to cry. LIVING ROOM - CONTINUOUS Stephan sits listening to her breaking down. LIVING ROOM - LATER Rachel sits on the couch. RACHEL Why did he do it? Stephan looks at her, considering. He takes out a sheet of PRINTED PAPER, hands it to her. She reads some of the first page, then looks up at him. And now we see it on her face too. Fear.",
"EXT. STAIRWELL OUTSIDE DAVID'S APARTMENT - NIGHT The Mossad Agent sits on the stairs, smoking. As the door behind him opens he stands aside and watches Rachel SWEEP past him down the stairs, without giving him a glance.",
"INT. RACHEL'S HOTEL - NIGHT Rachel is packing, folding clothes neatly, precisely, silently - all the time a terrible tension in her movements. She tries to close a drawer but it sticks, She keeps trying, then in a sudden rush of fury yanks the drawer free and hurls it across the room. She stands breathing hard.",
"EXT. PATIO TERRACE/BEACH. HOTEL NEAR TEL AVIV - DAY The next day. Tables under umbrellas are ranged along the terrace. Sarah and her husband are on the beach below, playing with their son, laughing. As if feeling our gaze, she looks up at us, shielding her eyes against the sun. REVERSE Rachel sits at a table with Stephan, watching her daughter. Stephan takes out an ENVELOPE and passes it to her. She opens it and examines the contents - an AIR - PLANE TICKET and TWO PASSPORTS. Stephan takes out a small BLACK CASE and slides it across the table towards her. She turns to look at it with disgust, KNOWING WHAT IT IS. Then she takes it and puts it in her handbag. STEPHAN My car's waiting outside. It can take you to the airport. Rachel turns back to stare at her daughter. ON THE BEACH Sarah, playing with her son, glances up once more at her mother on the patio. SARAH'S P.O.V Rachel stands, an elegant woman at breakfast, her dark glasses, her suit. She raises a hand and waves. Puzzled, Sarah waves back, then watches as her mother begins to walk away from her.",
"INT. LOBBY/STREET - DAY PULLING RACHEL. as she walks from the bright light of the patio into the relative darkness of the hotel lobby, suitcase in hand, face set, steely. We TRACK with her as she emerges from the shadow of the hotel back into the bright sunshine of the street and starts to walk along the sidewalk. After a moment a CAR purrs alongside. She ignores it for a moment, keeps on walking, the car cruising beside her. Finally, almost angrily, she stops and gets in. The YOUNG AGENT sits in the back seat next to her. The car pulls smoothly away.",
"EXT. TEL AVIV AIRPORT - DAY Rachel climbs from the car and walks towards the building, pulling her wheeled suitcase. The young agent has climbed out and moves swiftly ahead of her, waiting as she passes into the departure building.",
"INT. AIRPORT PASSPORT CONTROL - DAY Rachel looks down at her passport. We see her PHOTOGRAPH and name - RACHEL SINGER. She hardly reacts as the agent ushers her to the front of the queue. An Officer takes her passport, and as he checks it, we see.",
"INT. CHECK-POINT CONTROL BOOTH. EAST BERLIN - DAY - THE PAST the passport again. We're now looking at the black and white image of YOUNG RACHEL. The name beneath it is ELSA ROGET. The passport is slid back across the counter and we find ourselves in.",
"EXT. CHECK-POINT. EAST BERLIN - DAY Rachel takes her passport back from the BORDER GUARD and walks forward, past the barrier into EAST GERMANY. RACHEL'S P.O.V A CROWD of people are waiting beyond the check - point for their loved ones. They're all looking eagerly at us. Only one YOUNG MAN has his back to us, turning away to light a cigarette. Then he turns - Young David - a fine, sensitive face, darkly shadowed eyes. This is the SHOT we saw earlier. A moment when we see how anxious he is to play his part right. Then he smiles his beautiful smile. Supered TITLES read `` East Berlin, 1965.'' Rachel walks up to him and after a fractional hesitation they embrace. DAVID -LRB- In German. -RRB- How was your trip? RACHEL -LRB- German. -RRB- Fine. Everyone sends their love. DAVID You've cut your hair. HIGH ANGLE David takes her suitcase, and they begin to walk away, hand in hand, along the BERLIN WALL. Finally. DAVID I'm David. Rachel nods, embarrassed. RACHEL Rachel.",
"EXT. ANOTHER STREET - DAY They have turned into another, quieter street. David lets go of her hand, and they walk on.",
"EXT. COURTYARD/BALCONY. APARTMENT BUILDING - DAY A figure leans over the railing on the crumbling balcony at the top of the building, smoking a cigarette, watching. This is YOUNG STEPHAN. HIGH SHOT - POV David and Rachel are coming through the iron gate into the run - down looking courtyard. A MIDDLE - AGED WOMAN - the building's only other occupant - watches the couple as the pass, David murmuring a greeting.",
"INT./EXT. STAIRWELL - DAY A brief glimpse of the couple climbing the winding stairs - a view we have seen before.",
"INT. EAST BERLIN - SAFE HOUSE. DAY The place looks like a squat. YOUNG Stephan sits playing idly at a battered old upright piano, a cigarette in his mouth. He looks up as David and Rachel walk in and stand framed in the doorway, looking every inch the young married couple. Stephan looks at them for a beat, then starts to play the first few bars of Mendelssohn's wedding march. The other two blush furiously, not amused. Rachel takes her case from David. RACHEL Where do I sleep? STEPHAN You're in my room. He waits just long enough to enjoy her reaction. STEPHAN -LRB- CONT'D. -RRB- I'm moving in with him. -LRB- Beat. -RRB- You're at the end there. She nods and walks off.",
"INT. KITCHEN - LATER Stephan is smoking. David sits at the table. He is using a file to create a notch at the bottom of a thin strip of sprung steel. Both men can hear the BATH RUNNING in the bathroom, both very aware of this new female presence in the house they've been sharing together for the last month. STEPHAN What do you think of your new wife? David frowns at the steel strip, seeming preoccupied. DAVID Too young. Stephan watches him, amused. STEPHAN Pretty. David shrugs. STEPHAN -LRB- CONT'D. -RRB- You did n't notice. He begins to sort his possessions out. STEPHAN -LRB- CONT'D. -RRB- You know what I've noticed? You do n't notice women. I've noticed that. How long have I known you? DAVID -LRB- examining the steel. -RRB- I do n't know. STEPHAN Two years. All the places we've been to. You do n't look at women. Before I get into that bed, is there anything you have to tell me? David sighs, blows on the steel strip and holds it up for Stephan to examine. We hear the bathroom door open and there is a quick glimpse of Rachel wrapped in a towel as she slips past the door heading for her room. The two men watch her pass. Stephan turns and catches David's expression. STEPHAN Well, well. I think he just noticed.",
"INT. SAFE HOUSE - RACHEL'S ROOM - NIGHT Rachel sits on her bed drying her hair. She stops, listening to the indistinct murmur of the men's voices from the room next door. Rachel leans towards the wall, trying to hear more but the voices fall silent.",
"INT. SAFEHOUSE - MORNING David, holding a kitchen knife, MOVES TO STAB Stephan. Stephan uses a krav magah move to disarm him. The knife clatters to the floor as he twists David's arm behind his back. There's an element of showing off and Stephan uses a little more force than is necessary. David winces but does n't say anything. Stephan turns to Rachel who has been watching. STEPHAN Yes? Rachel nods and they change places. David picks up the knife and repeats the `` attack'' move on her. She disarms him easily. STEPHAN -LRB- CONT'D. -RRB- Now an attack from behind. David takes his position, grabbing Rachel from behind, but he's so awkward with her the attack seems a little tentative. Stephan talks as Rachel practises breaking free from the hold. STEPHAN -LRB- CONT'D. -RRB- Where have you come from? RACHEL Argentina. STEPHAN Really? Whereabouts? RACHEL Cordoba. STEPHAN What were you doing there? RACHEL My husband is an Industrial Chemist. Stephan glances at David, amused. STEPHAN He does look like a chemist. David grabs Rachel again, once more holding back a little. STEPHAN -LRB- CONT'D. -RRB- She's not going to fucking break, David. Move. He takes David's place. STEPHAN -LRB- CONT'D. -RRB- What were you doing before this? RACHEL Before Argentina we lived in Hungary where my husband studied. Stephan is smiling. She realizes he's talking about Mossad. RACHEL -LRB- CONT'D. -RRB- Oh. Liaison. STEPHAN And what did you do in Liaison? RACHEL -LRB- Beat. -RRB- Translator. Stephan looks even more amused. STEPHAN So, first time in the field. Rachel feels herself blush a little angrily. Stephan grabs her from behind and Rachel executes a perfect break, twisting Stephen's arm. Stephan winces, surprised. STEPHAN -LRB- CONT'D. -RRB- Good. That's. good. David gives the slightest of smiles. DAVID Welcome to Metsada.",
"INT. BERLIN SAFE HOUSE - RACHEL'S BEDROOM. NIGHT. Rachel lies in bed, restlessly playing with a locket around her neck. Giving up on trying to sleep, Rachel rises from the bed, throws on a robe and pads out of the room.",
"INT. BERLIN SAFE HOUSE - LIVING ROOM. CONTINUOUS. and into the living room. She sits down at the table, stares at a FILE before her. She hesitates then opens it, forces herself to look at the terrible PHOTOGRAPHS inside - a pile of severed legs, bodies covered in mustard gas wounds, phosphorus burns, a naked woman, barely a skeleton, held up by two Nazi nurses, a row of DEAD BABIES, rulers laid beside them to indicate dimensions. Rachel stares at this last image, overwhelmed. HALLWAY David stands watching her through the half open door. He makes a small move - perhaps to go to her - then stops himself and slips back into the darkness.",
"EXT. STREET - MORNING A tram trundles down the wide Berlin street. Rachel and David are walking to Vogel's surgery, holding hands. She's pale, very frightened. David walks, trying, and failing, to think of anything to say to her. He suddenly notices an odd sound. It's Rachel, humming tunelessly to herself, very low. Something about this pierces him. He gives her hand a squeeze.",
"EXT. CLINIC - DAY The two stand in the doorway, at the foot of the stairs leading into the clinic, their husband and wife routine. DAVID -LRB- In German. -RRB- I'll be waiting for you. She nods, trying to smile. RACHEL -LRB- her throat is tight. -RRB- I wo n't. be long. They kiss. She turns to go, looking so young and lost. David hesitates, staring after her, then walks quickly away. Rachel walks up the steps towards the entrance.",
"INT. WAITING ROOM. DAY. A large NOTICE BOARD covered with photographs of grateful smiling MOTHERS holding their NEWBORN BABIES - row upon row of new life. Rachel sits staring at the board. She turns her attention to the frosted glass door to the doctor's surgery. Indistinct shadows move on the other side. She turns to look at the other two women sitting looking through magazines, then back to the door. A shadow darkens as it approaches the glass, then the door opens and a NURSE leans out. -LRB- All dialogue at the clinic is in German, subtitled. -RRB- NURSE Frau Roget? With a smile, the Nurse gestures for Rachel to enter.",
"INT. EXAMINATION ROOM. DAY. Rachel stands behind a SCREEN, trying to control her nerves. All we can hear is the sound of RUNNING WATER and Rachel's tense breathing. Finally she takes off her skirt and unbuttons her blouse with trembling fingers. She puts on the gown, and slips out of her underpants, stumbling as she steps out of them. We TRACK with her as she walks out from behind the screen into the large brightly lit room. She walks towards the GYNAECOLOGICAL CHAIR at the centre of the room. On the far wall, behind a screen, someone stands washing their hands at a basin. As she walks, Rachel passes a tray of MEDICAL INSTRUMENTS, her glance lingering on it. She reaches the chair and climbs onto it. A pause and then, tentatively, she lifts her feet into the stirrups, tugging the gown to cover herself as best she can. She tries to steady her breathing, focussing on the ceiling. A bright LIGHT shines down on her. We hear footsteps approach. Rachel closes her eyes. VOGEL Good morning, Frau Roget. I'm Doctor Bernhardt. Rachel opens her eyes. Vogel is sitting on a small stool, taking a speculum from the tray of instruments, his back to us. RACHEL Good morning, doctor. He turns and smiles at us - and he has a wonderful, warm smile, the air of a gruff but kindly Uncle. VOGEL Alright now, just relax. We're going to do a little examination. If you feel at all uncomfortable, you just say. Alright? She manages to nod. VOGEL -LRB- CONT'D. -RRB- Alright, this is my hand. and this is the speculum. It's going to feel cold. Rachel reacts as Vogel pushes the speculum into place, opens it and begins the examination. She stares up into the light. VOGEL -LRB- CONT'D. -RRB- Can I ask how old you are? RACHEL Twenty five. VOGEL And how long have you and your husband been trying for a baby? RACHEL Nearly two years. VOGEL Uhuh. Well, the ovaries look fine. Alright, let's see. your cervix is slightly retroverted. Tilted backwards? Rachel raises her hand to her LOCKET NECKLACE and begins to fiddle with it. RACHEL Really? The angle from which we next see VOGEL, and the way the image of his face freezes in black and white, tells us clearly that this locket conceals a CAMERA DEVICE. VOGEL Mmm. But that generally should n't affect fertility. RACHEL Oh, good. VOGEL You have a slight accent, Frau Roget. Where are you from? RACHEL Argentina. We just moved here. A few months ago. VOGEL Whereabouts in Argentina? Buenos Aires? He looks up at her and Rachel instinctively moves her hand away from the locket. She finds herself nodding. Vogel looks away again. Rachel bites down on a wave of panic. VOGEL -LRB- CONT'D. -RRB- Oh, Buenos Aires. Beautiful. I went once, when I was young. We went to the Opera house I remember. What's it called again? Rachel stares at the light. Beat. RACHEL Teatro Colon. He turns back to her, holding a swab, the warm smile. VOGEL That's right. Beautiful. This might sting a little, dear. Rachel winces. VOGEL -LRB- CONT'D. -RRB- I'm sorry. Now, there's a couple of tests we need to run, make sure there are no problems. Is that alright? Rachel nods. He pats her hand. VOGEL -LRB- CONT'D. -RRB- Brave girl.",
"EXT. CLINIC - DAY Rachel walks out and finds David waiting, smoking. He takes her hand and they walk off without speaking.",
"EXT. QUIET STREET - DAY The two turn the corner, out of sight of the clinic. David glances at her. She looks pale, shaken. He feels a wave of sudden tenderness for her, opens his mouth to say something then catches himself. CLOSE on their hands. After a moment David LETS GO. They walk on.",
"INT. BAR - DAY Stephan sits at a table. Rachel and David appear beside him and join him. There is an awkward silence for a moment. Stephan sips his coffee. STEPHAN -LRB- in German. -RRB- So. Everything? RACHEL -LRB- in German, abruptly. -RRB- Next appointment is on Wednesday. She looks at David but he is staring at the table. Like Stephan he is uncomfortable with the thought of what Rachel has been through. She takes his hand. He looks up, surprised, searches her face. But then Rachel lets go and walks off towards the toilets. David looks down at the SILVER LOCKET lying in his palm.",
"EXT. STREET - DAY Stephan walks down the street. A SMARTLY DRESSED MAN walks towards him, absently jingling his CAR KEYS in his hand. As he nears Stephan, the man fumbles the keys and they drop. Stephan dips down to pick them up and hands them back to the man with a smile. SMARTLY DRESSED MAN Vielen dank! STEPHAN Bitte sehr. The two continue on their way, and we follow the smartly dressed man, closing in on his hand, in which he now holds his keys AND THE LOCKET. We see him tuck it into his jacket pocket as he walks on.",
"EXT. RAILWAY STATION - FOOTBRIDGE - EARLY EVENING The FOOTBRIDGE which crosses over a closed RAILWAY STATION below. On either side of the bridge runs a barbed wire topped FENCE. A few PEDESTRIANS cross the bridge in the early evening gloom, intent on getting home. David and Stephan appear, walking over the bridge towards us. David's eyes flick to the tracks ahead and below as a TRAIN begins to thunder by. Stephan begins to COUNT softly to himself as the train runs below his feet. STEPHAN One, two, three, four, five, six. DAVID -LRB- O.S. -RRB- It's a ghost station.",
"INT. KITCHEN. SAFE-HOUSE - EVENING A hand - drawn plan of a RAILWAY STATION is on the table. David indicates the tracks on the plan. DAVID West Berlin trains pass through East Berlin on this track, but do n't stop. STEPHAN Usually. He raises a lighter to the cigarette in his mouth.",
"EXT. RAILWAY BRIDGE - EVENING As the train disappears into the gloom and Stephan slows to light his cigarette. Beside him David's eyes flick to the STATION PLATFORM in between the tracks below, eerily lit in the gathering dusk. DAVID'S P.O.V - several BORDER GUARDS patrol the abandoned platform. DAVID -LRB- V.O. -RRB- The station's guarded at all times. We're TRACKING PAST the entrance to stairs leading down from the bridge onto the platform below. We see it's been sealed off with a locked gate. Another BORDER GUARD stands on the stairs below, staring up at us as we pass.",
"INT. KITCHEN. SAFEHOUSE - EVENING AT KITCHEN TABLE David indicates the point on the plan. DAVID and the stairs to the platform are sealed off.",
"EXT. RAILWAY BRIDGE - EVENING The two men have walked on past the mid - point of the bridge. David glances at the far track. DAVID'S P.O.V - the track runs along the far side of the platform. On the other side of the track is a barbed - wire topped WIRE FENCE. DAVID -LRB- V.O. -RRB- Our train driver makes an unscheduled stop on the near track. STEPHAN -LRB- V.O. -RRB- The last two carriages will be around.",
"INT. KITCHEN SAFEHOUSE - EVENING Stephan indicates a point on the track. STEPHAN here. And they will be empty. Once that train has stopped, the guards wo n't be able to see this fence. And on the other side of the fence is.",
"EXT. THE RAILWAY BRIDGE - EVENING The two men are at the top of the stairs on the other side of the bridge now. Stephan glances to his right. STEPHEN'S P.O.V - TRACKING as we descend the stairs. We can see that on the other side of that high wire fence is a CAR PARK and a long, low building. STEPHAN -LRB- V.O. -RRB- a postal depot. We see that car park is lined with the yellow VANS of Deutsche Post. Several FEMALE POSTAL WORKERS in dark skirts and white blouses stand around the car park on their breaks, smoking and chatting. As we watch one of the vans trundles out of the OPEN FACTORY GATE. STEPHAN -LRB- V.O. -RRB- The vans come and go all day long.",
"INT. KITCHEN. SAFEHOUSE - EVENING David rolls up the plan. DAVID We're just one more parcel. Once we're in West Berlin there'll be transport to Templehof airbase and a private charter. Stephan stubs out his cigarette. STEPHAN That's the wrapping. Now all we need is the present. Rachel realises both men are looking at her.",
"INT. LIVING ROOM. BERLIN SAFE HOUSE - EVENING Rachel runs the hem of a partially - made WHITE GARMENT through a SEWING MACHINE. She finishes and takes it over to where Stephan stands waiting. It's unfinished, but a fairly good approximation of a MEDIC'S WHITE COAT. RACHEL Try this on. Stephan puts it on. She tugs at the coat, straightens the unfinished collar, runs her hands down the front to smooth it out. RACHEL -LRB- CONT'D. -RRB- -LRB- re : the coat. -RRB- How does it feel? STEPHAN -LRB- Flirting. -RRB- Nice. Rachel ignores this, begins to pin the cuff of one of the sleeves. STEPHAN -LRB- CONT'D. -RRB- Here you are, Mossad agent, all those years of training, the highest levels of marksmanship and krav magah, first big mission. sewing. Rachel resists a smile, brandishes the pin. RACHEL Black belt in dressmaking. He holds up his hands in surrender. STEPHAN I never argue with an armed woman.",
"INT. KITCHEN. SAFEHOUSE - LATER Rachel and Stephan sit as David serves the dinner. Rachel examines her dish. RACHEL -LRB- Politely. -RRB- What is it? DAVID -LRB- Beat. -RRB- It does n't have a name. Stephan tastes his. STEPHAN -LRB- Grimacing. -RRB- Shit. David lifts his spoon, blows on it. DAVID -LRB- Solemn. -RRB- Now it does. They laugh a little, settle into eating. David stares at his bowl, deciding whether or not to say something. Finally. DAVID -LRB- CONT'D. -RRB- It's my birthday. They look up at him in surprise.",
"INT. BAR - LATER Tinny music plays. The place is almost empty. In the back of the bar the three sit in a corner drinking beer - just young people, laughing, a little drunk. They could be students. Rachel is reciting something from memory. RACHEL Uh, at ten - study the Mishnah, at fifteen - study the Talmud. By eighteen - stand under the wedding canopy. STEPHAN We're too late for all of those. They laugh. RACHEL Uh. twenty. In your twenties you are to `` pursue your life's goals.'' STEPHAN -LRB- Flirtatious. -RRB- What are you pursuing Rachel? Rachel thinks about it, shrugs. RACHEL I do n't know. I'm waiting to find out. STEPHAN -LRB- smiles to himself. -RRB- Youth. RACHEL What about you, grandfather? Have you got a goal? STEPHAN -LRB- Smiling. -RRB- Oh yes. We believe in goals in my family. We're very driven men. My father was Director of Collections by the time he was fifty. RACHEL So what's your goal? STEPHAN Director of Collections by forty. They laugh. RACHEL -LRB- To David. -RRB- What about you David. What `` life goal'' are you pursuing? David smiles, stares at his drink. DAVID This is it. Rachel laughs, looks around at their less than glamorous surroundings. RACHEL This is it? This is all you want? David laughs. He would obviously rather change the subject but Rachel is a little drunk, a little curious. RACHEL Seriously, what do you want out of life? DAVID -LRB- Beat, shrugs. -RRB- I want this. I want to get Vogel. I want him to be put on trial and I want the world to watch so everyone knows what he did. I want them all to know the truth. He looks up at their faces, embarrassed at having darkened the atmosphere. DAVID And. I want another drink. He gets up and walks off to the bar. Rachel stares after him. Stephan watches her. STEPHAN Forget about it. RACHEL Forget about what? STEPHAN I've spent two years with him, and I do n't know him. Nobody knows him. He's alone. Rachel thinks this over. RACHEL What about family? Stephan stares at her. She realises what this means. RACHEL -LRB- CONT'D. -RRB- All of them? STEPHAN -LRB- O.S. -RRB- All of them. He looks over at David standing at the bar. STEPHAN -LRB- CONT'D. -RRB- Maybe it's not always a blessing to survive.",
"EXT. STREET/PARK - DAY A tram passes, revealing Stephan walking across the scrubby, desolate park, jingling car keys in his hand. Suddenly he drops them. He's about to pick them up when a man dips down and hands them back to him. We recognize the moment. STEPHAN Vielen dank! SMARTLY DRESSED MAN Bitte sehr. Stephan walks on. In his hand he is now holding a small METAL TUBE.",
"INT. EXAMINATION ROOM. CLINIC - DAY. From Rachel's POV we are watching Vogel as he prepares his instruments. She has come for her second examination. VOGEL This is my hand. This is the speculum. Rachel flinches as she feels the speculum. VOGEL -LRB- CONT'D. -RRB- How did you find me? RACHEL -LRB- beat. -RRB- What? VOGEL Who told you about me? RACHEL Who. told us? VOGEL Were you referred by a doctor, or? RACHEL -LRB- trying to conceal her relief. -RRB- Oh, Doctor Eisenberg. VOGEL Ah - ha. How is the old Jew? RACHEL Very good. Vogel busies himself for a moment. VOGEL Any history of infertility in your family Frau Roget? RACHEL No. VOGEL Are your periods irregular? Rachel stares up at the light. RACHEL Yes. VOGEL Yes. I think we've found the problem. Rachel stares at him - she did n't know there was a problem. VOGEL -LRB- CONT'D. -RRB- It's very common. Your ovarian follicles. well, inside you're still immature. We need to help you with this. There's something we can use, a little injection. Do you want to proceed? Rachel nods, dumbly. Vogel nods, turns back to his tray of instruments, begins preparing an injection. Vogel turns back to her with the HYPODERMIC NEEDLE. Instinctively Rachel stiffens. He injects her. VOGEL -LRB- CONT'D. -RRB- -LRB- As he works. -RRB- How many brothers and sisters do you have? RACHEL -LRB- Stiff. -RRB- None. VOGEL An only child? Rachel nods. Vogel smiles, not unkindly. VOGEL -LRB- CONT'D. -RRB- And yet you say there's no family history of fertility problems? RACHEL -LRB- Beat. -RRB- I lost my mother in the war. Vogel stares at her. Then, to her dismay, he TAKES HER HAND, and pats it with such a sad, sympathetic look, that she feels her eyes prick with tears. Then he lets go and turns back to the examination.",
"EXT. CLINIC - DAY Rachel comes out to find David waiting for her again. Once more he takes her hand and they walk off.",
"EXT. QUIET STREET - DAY As they turn into the quiet street, David lets go of her hand. Rachel stops. She looks shaken. David watches her. DAVID Are you alright? She nods. Suddenly Rachel takes his hand again. David stares straight ahead but he DOES N'T PULL FREE and they walk on like that.",
"INT. SAFE HOUSE - LIVING ROOM - EVENING Rachel and David walk into the room and find Stephan waiting for them. STEPHAN Identity is confirmed. We have a green light. Rachel and David stare at him.",
"EXT. ANOTHER STREET - DAY We are looking at a yellow DEUTSCHE POST van. Stephan and David are walking towards it. Stephan stops by the van, shielding David as he drops the length of thin steel we saw him working on earlier, from his sleeve - an improvised SLIM JIM. With professional ease he slips the Jim between the window and the weather shield. In seconds he has the door open and the two climb in.",
"INT. KITCHEN. SAFE HOUSE - NIGHT Rachel comes out of the bathroom in her nightclothes, with her hair wet around her. She looks into the kitchen. David is sitting smoking. Rachel pauses in the doorway and then walks in. A small two bar electric fire provides the only light in the room. Rachel kneels down in front of it to dry her hair. David looks at her as Rachel spreads her hair around her shoulders. She looks very beautiful. She starts to comb her hair. On impulse, Rachel HOLDS OUT the comb to David. David takes it. He starts to comb, pulling it slowly through her hair. Then stops. The atmosphere is suddenly charged. DAVID It's a brave thing you're doing. RACHEL I'm not brave. I'm terrified. DAVID But you're doing it anyway. Because you know how important it is. Another stroke and then he stops again, stares at the comb in his hand. DAVID You're very brave. RACHEL -LRB- Beat. -RRB- David. Rachel turns round and stares at him, overcome with longing. She leans in to KISS HIM. For a moment David hesitates, but then it's as if something inside him closes and he pulls back from Rachel, his face cold. Without a word he gets up and walks out. Rachel sits, crushed.",
"INT. LIVING ROOM. BERLIN SAFE HOUSE - LATER. Rachel, sits at the piano in her robe, picking out notes. She's been crying. Stephan stands watching her from the doorway, holding a drink - something slightly predatory about him. He crosses to her, sits down beside her and starts to match her notes. They work out a nonsense tune between them.",
"INT. KITCHEN - CONTINUOUS David listens as they play.",
"INT. LIVING ROOM - CONTINUOUS Rachel picks up Stephen's drink and takes a sip. STEPHAN It's whiskey. Defiantly Rachel drains the glass, grimaces a little. Stephan watches her. He continues to play, moving the melody up in octaves until his hand is beside hers, then covering hers. Rachel brushes him away. He puts his hand back and starts to caress her wrist. STEPHAN -LRB- CONT'D. -RRB- You're so beautiful. He begins to kiss her neck. Rachel stares ahead, pretending it is n't happening. Then she gives in, turning to him.",
"INT. RACHEL'S BEDROOM - MORNING Rachel stands at the mirror, dressing in a DARK SKIRT and WHITE BLOUSE, trying to control all the emotions she is feeling. Behind her Stephan lies in the bed watching her. Neither speaks.",
"EXT. COURTYARD/STREET - LATE AFTERNOON Rachel and David cross the courtyard to the gate. David holds it open for Rachel. As they turn into the street, David takes her hand. Both stare fixedly ahead, only too aware of what happened the night before.",
"INT. EXAMINATION ROOM. LATER Rachel is in the chair for what she knows will - whatever happens - be the last time. VOGEL Alright, this is my hand. And this is the speculum. RACHEL Okay. Vogel begins the exam. From beneath her GOWN Rachel slips a HYPODERMIC NEEDLE. VOGEL You had intercourse last night? RACHEL -LRB- Tight. -RRB- Yes. VOGEL Good. You're at the most fertile stage of your cycle. This is very good timing. He turns to his tray of implements. VOGEL -LRB- CONT'D. -RRB- I think we are going to see results. All you have to do is have faith. Ask any of my patients. RACHEL What about your patients in Birkenau? Vogel looks up in shock. Rachel grabs a fistful of his hair and pulls his head to one side. With her other hand she jams the needle into the side of his neck, and begins to depress the syringe. Vogel gives a grunt of surprise, opens his mouth to speak but no sound comes. He grabs vaguely for Rachel's throat with one hand, struggles with the needle with his other, eyes dull with fury, fighting the drug racing through him. Rachel fights to hold him, bucking on the chair, pinned beneath his weight, struggling for breath. Weakening, VOGEL manages to pull the needle free and it drops to the floor. INSERT OF SYRINGE. which we see still contains some FLUID. A rope of spittle drools from Vogel's contorted mouth onto her face. Then his eyelids flutter and close and he collapses onto her. Rachel pulls his hand from her throat, gasps for air. Finally she pushes him to the ground. She leaps up and deliberately knocks the tray of medical instruments to the floor. RACHEL -LRB- CONT'D. -RRB- Help! The Nurse runs in, reacts at the sight of the prone VOGEL. RACHEL -LRB- CONT'D. -RRB- He collapsed! NURSE My God! What happened?! RACHEL -LRB- overlapping. -RRB- I do n't know! I do n't know! He just clutched his chest and collapsed! The Nurse grabs for the phone and dials. NURSE -LRB- into the phone. -RRB- I need an ambulance! Karl - Gustav - Strasse. The clinic. My husband has had a heart attack. Rachel reacts to this revelation. EMERGENCY OPERATOR -LRB- O.S. -RRB- -LRB- Over phone. -RRB- Your name please? NURSE It's Frau Bernhardt, please, please hurry!",
"EXT. REAR OF CLINIC - CONTINUOUS Stephan kneels in a recess of the building, by the open NETWORK JUNCTION BOX of the clinic. He's wearing HEADPHONES, alligator - clipped to two cables in the box. EMERGENCY OPERATOR -LRB- O.S. -RRB- -LRB- Over phones. -RRB- The ambulance is already on the way, madam. Stephan un - clips the phones and pockets them. He straightens up, closes the junction box and walks calmly away, through a gate in the wall, into the next courtyard. HIGH SHOT As Stephan races up some steps, along a balcony, and into the building.",
"INT./EXT. APARTMENT BUILDING - CONTINUOUS TRACKING with Stephan through the hallway, out of the door and onto the street.",
"EXT. AMBULANCE DISPATCH - CONTINUOUS An AMBULANCE, sirens wailing, starts out of the dispatch, and swings onto the street.",
"EXT. STREET OUTSIDE CLINIC - CONTINUOUS Stephan rounds the corner of the street and walks TOWARDS THE CLINIC. He checks his watch as he turns into an alley opposite the entrance.",
"INT. EXAMINATION ROOM. LATE AFTERNOON Rachel finishing dressing, looks anxiously at the nurse as she crouches by her unconscious husband, monitoring his breathing.",
"EXT. STREET - CONTINUOUS The AMBULANCE speeds on.",
"EXT. STREET NEAR CLINIC - CONTINUOUS Stephan pulls back some rusty doors. Parked in the small courtyard beyond is the van we saw before, now decorated with AMBULANCE DECALS and LIGHTS. David drives the car forward as Stephan climbs into the passenger side.",
"INT. EXAMINATION ROOM. LATE AFTERNOON Rachel paces outside the door, looking down the corridor. The nurse wipes away a tear, tense and frightened. NURSE -LRB- to no one in particular. -RRB- Oh god! Come on, come on! Hurry!",
"INT. THE CLINIC - CONTINUOUS A SIREN approaches and Rachel moves to the door. RACHEL They're here. Stay with him. I'll go and get them. The nurse nods gratefully.",
"EXT. CLINIC - CONTINUOUS a vehicle pulling up. Whether it's the real ambulance or the fake one, we're not sure.",
"INT. LOBBY. CLINIC - CONTINUOUS. Rachel runs past the concerned patients in the waiting area to see. David and Stephan, coming up the stairs, holding a stretcher.",
"INT. EXAMINATION ROOM. MOMENTS LATER Rachel leads them in. Stephan crouches down beside Vogel and takes his pulse. STEPHAN We need to take him to the hospital. He and David open up the stretcher and transfer Vogel to it with some efficiency. NURSE Oh God! STEPHAN He's going to be alright. Rachel and the nurse follow David and Stephan as they carry the stretcher out through the waiting room.",
"INT. LOBBY. CLINIC - CONTINUOUS We hear the siren of the real ambulance starting up not - so - very - far - away down the street as David and Stephan push the stretcher towards the doors. The nurse follows, but David stops her. DAVID I'm sorry, Madam, but you'll need to meet us at the hospital. NURSE But. I want to travel with him. DAVID Not possible I'm afraid. New regulations. We begin to register that the siren is growing louder with every second. As Stephan and David carry the stretcher down the stairs, Rachel takes the nurse's hand to detain her. RACHEL Do n't worry, he's in good hands now. He's going to be fine. NURSE Thank you. thank you. RACHEL You should get your things, go to the hospital to meet him. The Nurse nods tearfully, starts to back towards her office, watching as they disappear.",
"EXT. CLINIC - LATE AFTERNOON. David closes the rear door of the van and the two jump in and drive off as Rachel comes out of the building. She begins to walk briskly away. Behind her, the real ambulance is pulling up at the clinic. She does n't turn back.",
"EXT. COURTYARD/STREET NEAR CLINIC - LATE AFTERNOON The DEUTSCHE POST VAN that David and Stephan stole earlier pulls out into the street. Behind it we catch a glimpse of the now abandoned ambulance. David quickly closes the gate and climbs in.",
"EXT. STREET NEAR CLINIC - MOMENTS LATER Stephan draws up alongside Rachel and she climbs in as the door is opened for her.",
"INT. BACK OF VAN - MOMENTS LATER The winter evening is gathering outside. David and Rachel are in the back of the van. David has taken off the white coat. David checks his watch. STEPHAN -LRB- Tense. -RRB- I know, I know. He accelerates. Rachel grabs hold of the back of the seat to avoid falling. She looks down at the stretcher - Vogel lies unconscious. One of his hands jolts free and drops onto her foot. Gingerly she steps free.",
"EXT. DEUTSCHE POST DEPOT - NIGHT HIGH ANGLE The depot car park is dark - rows of postal vans parked up. An eerie silence. Through the high fence behind the vans we can make out the tracks and dimly lit STATION PLATFORM beyond - GUARDS patrolling in the little pools of light. As we watch a POSTAL WORKER comes out of the depot and walks through the carpark and out of the gate, his shift finished. INSIDE THE VAN P.O.V - THROUGH VAN WINDSCREEN We're watching the WORKER walk in front of us and leave the car park. In the dark of the back of the van, Rachel crouches, watching him leave. She turns back to where Stephan and David wait by the van doors, bolt cutters in their hands. On the floor of the van lies Vogel's unconscious form. They wait in absolute silence, listening to the fading footsteps of the worker. David checks his watch, holds up a single finger to Stephan. Moments later we hear the sound of an approaching TRAIN. Stephan raises a hand and counts them down - five, four, three, two, one. The two men open the van doors and run at a crouch to the base of the foot - bridge stanchion, as the train roars from the darkness and begins to pass them, screening the two men from the GUARDS ON THE PLATFORM. Rachel closes the rear door behind them and runs along the line of the fence to the other end of the yard and crouches down by a junction box, screened from the platform, standing watch. She looks over to Stephen and David in the shadows of the bridge stanchion. Again silence falls. Then faintly we hear another engine approach. Moments later another train begins to roar past. Instantly the two men rise from the shadows and begin to CUT through the wire fence, working with fierce concentration. STEPHAN -LRB- Softly. -RRB- One, two, three, four, five, six. AT THE JUNCTION BOX Rachel checks the car park behind for workers. AT THE FENCE The train is almost past. The two men work feverishly, snipping through the remaining links, working their way towards each other - forming a four foot long split in the fence. They sprint for the stanchion again. STEPHAN -LRB- As he runs. -RRB- Twenty, twenty one, twenty two. As they dive for cover the last carriages of the train pass. A guard on the platform glances over but sees nothing but darkness and the vague outline of the postal vans beyond the fence. He continues walking down the platform. AT THE VAN Rachel holds her breath, but nothing disturbs the new silence. Along the fence she can just make out the two men crouched in the shadows. Stephan raises his hand in an OK, signalling they're ready. Rachel suddenly hears FOOTSTEPS echoing in the car park. Through the window of a van, she can see a POSTAL WORKER emerging from the depot and crossing the car park. As she watches he takes out a cigarette, starts to light it but then stops. He is staring over at the footbridge, as if he can faintly make out those dark shapes at the base. He takes a few steps forward, puzzled. A little closer and he might really see something. Rachel looks to the PLATFORM - the two guards visible there are talking to each other, looking the other way. She takes her chance - moves up behind the parked vans. ON THE WORKER. as he takes a few steps closer to where Stephan and David are crouched. RACHEL -LRB- O.S. -RRB- -LRB- calling. -RRB- Do you have a light? The man turns and takes in this pretty postal worker, who has emerged BEHIND HIM. He smiles and walks back towards her. He lights her cigarette, studies her face. WORKER You new? RACHEL First shift. The girls said it was okay to come out for a smoke. AT THE FENCE David and Stephan lie listening to the murmured conversation. WORKER Yeah, it's okay. Are you working until midnight? RACHEL Yes. WORKER After the late shift most of us go to the Vetter. Do you know it? David checks his watch again, nods at Stephan. We hear another APPROACHING TRAIN. ON RACHEL. smiling, pretending to be listening to the Worker. WORKER it's just on the corner. You should come along. She glances through the fence and down the track to where the train's LIGHT can be seen approaching in the gloom. This is it. INSIDE THE VAN The inert body of Vogel, lying on the floor. His hands, bound at the wrist, suddenly twitch involuntarily. IN THE TRAIN - DRIVER'S CAB - CONTINUOUS POV - the Border Guards on the platform. The driver begins to BRAKE. ON THE PLATFORM The Border Guards watch in surprise as the train slows. AT THE FENCE As it passes them, the train screens Stephan and David from the platform. The two men rise and swiftly begin to cut the remaining section of fence. As the train comes to a halt the last carriages stop directly opposite them, empty and dark. They're almost there. ON THE PLATFORM In the distance, at the head of the train, the driver can be seen stepping down and gesturing to the guards, pointing up ahead. DRIVER There's something on the tracks up here! The Guards peer doubtfully into the gloom ahead. One sets off to investigate. ON RACHEL. getting rid of the Worker. RACHEL Well, maybe I'll see you there? I finish in half an hour. Why do n't you go and get me a drink ready? The Worker ca n't believe his luck. WORKER Half an hour then. He starts to move towards the gate. Suddenly the VAN HORN BLARES, shattering the silence of the car park. AT THE FENCE Stephan and David turn back to the van. ON RACHEL She turns, shocked. The Worker too turns back in surprise. IN THE VAN Vogel, hands still tied has wormed his way over the seats and is pressing frantically on the HORN. He claws at the tape over his mouth, manages to pull it free. Stephan leaps into the van and is upon him in seconds. Vogel manages to give a HOARSE YELL, then Stephan uses a krav magah move to silence him. ON THE PLATFORM The remaining Border Guard is staring over at the darkened car park, trying to work out what he just heard. ON RACHEL WORKER What was that? AT THE FENCE David watches in dismay as a Guard comes into view at the far end of the platform, entering a GUARD HUT. He lifts a TELEPHONE inside. DAVID -LRB- Softly. -RRB- Fuck. He heads for the van at a crouching run. ON RACHEL Rachel indicates the vans closest to them. RACHEL I think it came from over here? WORKER No, it was one of those. He steps past her, peering at the shadowy vans ahead. Rachel stares at him wondering if she can take him down silently. BORDER GUARD -LRB- O.S. -RRB- Stay where you are! She turns to see two BORDER GUARDS approaching the side gate of the car park. ON THE PLATFORM. as the Border Guard comes back from checking the lines ahead. BORDER GUARD There's nothing there. Get moving now! His part of the mission completed, the Driver climbs back into his cab. ON RACHEL. as one of the Guards approaches her, pistol drawn. The second guard fans past, walking slowly towards the bridge. The first guard SHINES A TORCH into Rachel's face. FIRST GUARD What are you doing here? RACHEL I work here. I'm on a break. FIRST GUARD Show me your papers, both of you. The Worker nervously fumbles for his papers, passes them to the Guard who inspects them. AT THE FENCE David watches Rachel offer her papers to the Guard as the train starts to rumble back into life. He moves back towards the van. AT THE VAN STEPHAN -LRB- hissing. -RRB- We have to go! David stares over at Rachel. Stephan grabs Vogel. STEPHAN We can make it. Help me with him. ON RACHEL FIRST GUARD -LRB- Handing them back. -RRB- You can go. The Worker gratefully hurries away. Rachel is watching tensely as the Second Guard closes on the van. AT THE VAN Stephan watches the train pulling away, THEIR LAST CHANCE. He has pulled Vogel's body to the door. STEPHAN -LRB- Hissing. -RRB- We're going! Now! David shakes his head. DAVID Not without her. He moves up the blind side of the van. IN FRONT OF THE VAN The Second Guard takes a few more steps and stops in surprise - the OPENING in the fence VISIBLE NOW. SECOND GUARD -LRB- Startled. -RRB- Hey! Over here! David appears behind him and downs him, fast. A Guard on the platform has turned to see the opening in the fence, and yells out. ON RACHEL As the Guard beside her turns his attention to his comrade, Rachel grabs the guard's gun hand, sweeping it away from her, at the same time stepping in close and punching the guard's throat with her other hand. As he staggers back choking, she twists the gun free. ON THE PLATFORM Another guard hits an ALARM. A SIREN begins to sound. ON RACHEL About to head back to the van. A shot rings out and a BULLET suddenly strikes the ground beside her. She looks up to see a GUARD has appeared up on the bridge, rifle aimed at her. Other Guards open FIRE, jumping down onto the tracks and advancing towards the cut fence. Acting on instinct, Rachel returns fire with the pistol, and takes cover behind the wall. AT THE VAN Stephan has jumped into the driver's seat and starts the engine. David scrambles into the back, barely making it before Stephan is peeling out, the back door hanging open. ON RACHEL. as more guards appear at the side - gate behind her - she's caught between them now. She watches in dismay as the van heads for the exit. Suddenly it brakes. IN THE VAN Stephan throws the gear into reverse. ON RACHEL and the van begins to reverse with a scream of tyres towards Rachel. The Guards at the side - gate open fire on the van hurtling towards them, bullets pocking the rear doors. The side door is flung open and Rachel dives in, just as Stephan roars forward again.",
"INT. VAN - CONTINUOUS P.O.V - THROUGH WINDSCREEN The Guard from the bridge has run down the stairs and is now between us and the exit. As we watch he raises his rifle. STEPHAN Down! The three duck as the Guard fires, punching a neat hole in the windscreen. Seconds later the van thuds into him, sending him flying.",
"EXT. VAN - CONTINUOUS as it roars out of the depot gates, bullets flying past it.",
"EXT. ROAD NEAR STATION - NIGHT STEPHAN'S P.O.V On the road ahead a Border Guard Jeep appears, driving directly towards them. Stephan has no choice - he floors it. At the last second the jeep tries to pull right but the van catches its rear side and barrels straight through, the jeep spinning off and smashing into the wall. IN THE VAN Stephan fights to keep the van under control, screeches into a turn and off down the road. STEPHAN Is he dead? -LRB- Beat. -RRB- Is he dead? RACHEL Who? STEPHAN The Guard! The one who saw your face! Is he dead? RACHEL No. Stephen's grim silence says everything. He glances back at the unconscious Vogel lying between the other two. STEPHAN How did he come round? How the fuck did he come round? You gave him the full injection? Rachel hesitates. STEPHAN Did you give him the. RACHEL I do n't know! I thought I. STEPHAN Jesus Christ! Stephan ca n't believe it's all fallen apart so quickly. STEPHAN We could have gone! DAVID It's not over. STEPHEN We could have fucking! DAVID WE STILL HAVE HIM! IT'S NOT OVER! We still have him. Stephan glares at David but does n't say anything. The van roars on.",
"INT. SAFE HOUSE. CORRIDOR - NIGHT Rachel sits on the floor looking towards the living room, staring at something. RACHEL'S P.O.V. three POTS have been placed under drips from the ceiling inside the room. We hear the three distinct notes of the water drops. Rachel stares dully at the water dripping, feeling exhausted and numb. A key scrapes and Rachel turns to the door as Stephan and David walk in, hair soaked from the rain. RACHEL -LRB- Standing up. -RRB- What did he say? Stephan stalks past, ignoring her. RACHEL You made contact? David nods. David looks after Stephan who's walked on into the living room in grim silence. RACHEL What did he say? DAVID It's going to take time. They need to open up a new route, they need to find political help. Maybe the Americans. Two weeks. maybe three. Rachel reacts with dismay. Rachel moves after David towards the living room. The camera continues after her. DAVID We work four shifts guarding him. We feed him at the end of each shift. We never leave him alone. STEPHAN -LRB- turns to Rachel, hard. -RRB- And you're compromised. You do n't leave the fucking house. DAVID We can do this. We just need to stay focussed. The three turn to stare at something off - screen. The camera continues into the room to find Vogel's body slumped on the floor, bound to the radiator, mouth taped, slumped, unconscious. We continue towards him. closing on his face. CLOSER. Then his eyes open and he looks at us.",
"INT. BEDROOM/LIVING ROOM. SAFE HOUSE. - DAY Rachel's EYES OPEN and she lies in bed listening to the muffled sound of Vogel CURSING and YELLING in German next door - a breakfast ritual that has been going on for days. IN THE LIVING ROOM VOGEL -LRB- In German. -RRB-. Fucking assholes! Fucking pig shit food! Fuck you! Fuck you! Fuck. David and Stephan are wrestling with an enraged Vogel, trying to feed him. A BOWL clatters to the floor. Vogel's shouts are muffled as his mouth is taped again. BEDROOM He continues to swear at his captors as best he can through his gag. Rachel tries to block out the sound with her blanket. KITCHEN Rachel walks in and finds a flushed David wiping oatmeal off his trousers, the empty bowl on the bench beside him. DAVID -LRB- Off her look. -RRB- At this rate he's going to starve himself to death before we can get him back. LIVING ROOM - LATER Rachel sits in the armchair near the end of her shift, watching Vogel who is slumped asleep. He looks dishevelled, the oatmeal he refused to eat smeared down his chin. She ca n't delay the moment anymore. She takes a bowl of prepared oatmeal from the table beside her and walks towards Vogel, stirring the bowl with an unsteady hand. She kneels down in front of him. In the silence, we hear rain falling heavily outside. Vogel wakes, stays slumped, staring at her with dull eyes. She takes the napkin that was covering the bowl and wipes the food from his chin. Finally she removes the tape from his mouth. Vogel watches her without moving. She offers him a spoon of oatmeal, waiting for the sudden yelling and abuse. He says nothing, just opens his mouth obediently. Rachel feeds him a spoonful of oatmeal. He speaks to Rachel in German, subtitled. VOGEL My wife. Rachel ignores him, feeds him another spoonful. VOGEL -LRB- CONT'D. -RRB- Is she hurt? Another spoonful, and another. VOGEL -LRB- CONT'D. -RRB- Is she alright? An ALARM CLOCK on the table, rings - the end of her shift. She wipes his mouth, tears some tape from the roll. Vogel closes his eyes, a look of such genuine suffering it stops Rachel. VOGEL -LRB- CONT'D. -RRB- Please? Tell me she's alright. Rachel puts the tape over his mouth and stands. David walks in and takes his place in the ARMCHAIR facing Vogel. Rachel begins to leave. She looks back at Vogel who is staring after her, eyes pleading. She hesitates then gives a small nod and turns to walk out of the room, passing Stephan who has been standing in the doorway, watching her. KITCHEN - CONTINUOUS Rachel starts to wash the oatmeal bowl. Stephan follows her in. STEPHAN You ca n't talk to him. RACHEL I did n't say anything. STEPHAN You ca n't listen to him. RACHEL I know. I just. STEPHAN -LRB- overlapping. -RRB- I'm not angry - He rubs her back. Rachel stiffens a little. STEPHAN -LRB- CONT'D. -RRB- - I'm just telling you - we do n't talk to him. We do n't listen to him. He is n't there. He is n't a human being. He. He stops himself. STEPHAN -LRB- CONT'D. -RRB- We have a date. Ten days time. The Americans are going to help. Rachel looks at him, relieved. RACHEL Good. He smiles, stares at her, moves a little closer but Rachel has already side - stepped him and walked away. MONTAGE LIVING ROOM - DAY Stephan sits on the armchair in front of Vogel, taking the GUN apart, cleaning it. LIVING ROOM - DAY Vogel thrashes around on the floor as best he can, David holding him down. Stephan tries to force oatmeal into him. He spits it back out. KITCHEN - DAY Rachel is cleaning, trying to keep busy, trying to keep the encroaching decay of the kitchen at bay, scrubbing and scrubbing. HALLWAY - MORNING An exhausted David, finishing his shift, walks out of the living room as Stephan walks out of his bedroom to take his place. Rachel walks out of the bathroom and into her bedroom, for a moment the three criss - crossing each other's paths. Rachel's bedroom door closes. Both men avoid looking at each other as they pass it. HALLWAY - MORNING Stephan and David are carrying a struggling, cursing Vogel towards the bathroom. Before they can get there Vogel pisses himself, the urine puddling on the floor at their feet. STEPHAN Fuck! Stephan drops Vogel in disgust jumping back out of the way. Vogel lies in the pool, staring up at him, eyes triumphant.",
"INT. SAFEHOUSE. LIVING ROOM - DAY Vogel leans against the wall, staring blankly at the window, sunk into a profound depression. He looks filthy, jaw dark with beard growth. Rachel watches him from the doorway. LATER Rachel is washing Vogel's face with a towel. He pays no attention, continuing to stare out of the window. Rachel picks up a bowl of shaving cream, strips the tape off VOGEL's mouth, and begins to brush the cream over his face. She produces a RAZOR and carefully begins to shave his cheeks. She stops suddenly, a TEAR is running down Vogel's cheek, cutting a line through the soap. He turns his eyes to her. VOGEL Why do n't you just kill me now? Rachel pauses for a moment. VOGEL -LRB- CONT'D. -RRB- How can you keep me waiting to die like this! Rachel keeps on shaving. VOGEL I know what you want. You want to hand me over to the others, let there be some fucking sham of a trial. Then, when they kill me, you can tell yourself that there was no blood on your hands. Rachel switches to the other cheek. Vogel's getting more animated, tears in his eyes, a kind of bizarre indignation. VOGEL -LRB- CONT'D. -RRB- But that is n't true. There will be blood on your hands. You will be my murderer! You fucking hypocrite. You fucking. Rachel tilts his chin up a little and puts the razor to his throat. He falls silent, tenses, waiting. Then. VOGEL -LRB- CONT'D. -RRB- -LRB- Softly. -RRB- Yes. Do it. You want to do it. Rachel finishes with a trembling hand. Vogel slumps back against the wall, the tension in his body easing away. He gives her a long, calculating look. And as we watch some CHANGE seems to come over him, some new fire beginning to kindle in him - a sense of cold contempt for Rachel and with it, perhaps, a fresh determination to survive this. VOGEL -LRB- CONT'D. -RRB- That's right. I'd forgotten. You Jews never knew how to kill. Only how to die. Rachel wipes the razor clean on the towel, SLAPS fresh tape onto Vogel's mouth and gets up.",
"INT. KITCHEN - MORNING Rachel is cleaning the kitchen again, clearing some of the mess of dishes into the sink. She moves a dirty pan which has been left overnight and stops, staring at the COCKROACH which is crawling inside. A sudden wave of NAUSEA hits her. BATHROOM - MOMENTS LATER Rachel crouches at the toilet, vomiting. She finishes, rinses her mouth, looks at her pale reflection. She opens the door and steps out. Vogel stands DIRECTLY IN FRONT OF HER. Rachel stands frozen - a split second of total panic. Then Stephan steps into sight behind Vogel, gun in hand - the morning bathroom visit. Rachel flattens herself against the hall wall, quickly wiping her mouth dry, as Stephan pushes Vogel past her towards the bathroom.",
"EXT. STREET - EVENING Stephan is walking back home. A POLICE CAR SIREN wails somewhere nearby and Stephan hurriedly cuts into an alley, waiting in the shadows until the siren has faded away. Then he hurries on his way. LIVING ROOM - EVENING Rachel uncovers the dish of prepared oatmeal and kneels down beside a sleeping Vogel. She removes the tape. Vogel wakes, breathes out, watches her. After a moment. VOGEL I was dreaming about my wife. She feeds him some more. VOGEL -LRB- CONT'D. -RRB- One of the great regrets of my life is that we were unable to have children. My wife would have made a wonderful mother. Vogel watches her, then suddenly SPEAKS IN ENGLISH. VOGEL -LRB- CONT'D. -RRB- It's a great blessing. Rachel stares at him. VOGEL -LRB- CONT'D. -RRB- You should try lemons. For the morning sickness. Rachel ca n't move. VOGEL -LRB- CONT'D. -RRB- They say it helps. Rachel struggles to hold it together, feeds him another spoonful. VOGEL -LRB- CONT'D. -RRB- What's your name? -LRB- Beat. -RRB- Sarah? Hannah? Rachel? Esther? -LRB- Beat. -RRB- You Jews stay close to your roots, do n't you? It's a good thing. Very good. Rachel spoons in another mouthful. VOGEL -LRB- CONT'D. -RRB- I loved the bible as a child. Retribution. Higher justice. Rachel shovels in another mouthful. He chews it thoughtfully, examines her face. VOGEL -LRB- CONT'D. -RRB- Yes. I understand you perfectly. -LRB- Beat. -RRB- You were n't lying at the clinic when you told me about your mother were you? About her death? Rachel loads the spoon with more oatmeal, determined not to show any emotion. VOGEL -LRB- CONT'D. -RRB- I'm very sorry for your loss. It almost takes her breath away. She tears the tape and puts it over his mouth, gets up and walks away, determined not to show him any emotion. Vogel watches her go. HALLWAY - MOMENTS LATER Rachel makes it out into the hallway before she feels the tears running down her face. She gives in to them, turns and finds David behind her. DAVID What happened? What's the matter? She ca n't speak at first. RACHEL Nothing. He. nothing. She wipes her face. RACHEL -LRB- CONT'D. -RRB- He can understand us. DAVID What? RACHEL He can understand every word we're saying. He just spoke to me. Her face contorts as she tries to compose herself. David reaches out to hold her. DAVID It's alright. It's alright. It's nearly over. He pulls her close, holds her, rests his forehead against hers. They stand like that, eyes closed. The moment hangs. RACHEL -LRB- Suddenly. -RRB- Why did n't you go? At the station. You could have got away. Why did n't you? She looks up at him. He stares into her eyes. Beat. Then, suddenly he kisses her. It's what she's waited so long for and she's stunned for a moment, then puts her arms around his neck, returning the kiss hungrily. They are helpless with desire for one another. There is a sudden scratch of a key at the front door and, instinctively, the two break apart. Stephan enters, hair wet from the rain. He stops, seeing them, sensing the atmosphere. They stare back at him. Rachel steps away a little, wiping her face. RACHEL -LRB- CONT'D. -RRB- What did they say? Stephan stares at them in silence. He unbuttons his coat. DAVID Stephan? STEPHAN It's not happening. They stare at him aghast - this is the last thing they wanted to hear. DAVID What the fuck does that mean? STEPHAN The Americans have pulled out. -LRB- To Rachel. -RRB- Has he been fed? DAVID So. so what does that mean? RACHEL Oh God. STEPHAN Did you feed him? DAVID What does that mean? What's the plan now? RACHEL -LRB- rising panic. -RRB- We just need to get him to the airfield, there must be some other way, some. Stephan starts down the hallway towards her, angry. STEPHAN I said has he? David instinctively steps in front of Rachel, raises a hand. DAVID -LRB- overlapping. -RRB- I'm asking you. STEPHAN -LRB- overlapping. -RRB- I'm talking to her! Supposedly it's her shift now, but instead of doing what she's supposed to be doing she's out here with you! -LRB- To Rachel. -RRB- Now answer the fucking question : Did you feed him? RACHEL YES! I fed him! Stephan stands glaring at her, then turns abruptly away. STEPHAN -LRB- Beat. -RRB- There's no plan. There's no fucking plan. They said the operation is being `` re - evaluated.'' He turns to David. STEPHAN You know what that means? They're going to cut us loose. They stare at him shocked. STEPHAN It's a fucking mess and they're backing away from it quickly as they can. RACHEL -LRB- CONT'D. -RRB- -LRB- Beat. -RRB- No. STEPHAN It's happening. I can feel it. RACHEL They ca n't just leave us! STEPHAN Yes they can! Because we fucked it all up! We fucked it all up and now we're on our own! Suddenly we hear someone KNOCKING on the front door. The three FREEZE, staring at each other. Silence. DAVID Were you followed? Stephan stares at the door, thrown. DAVID -LRB- CONT'D. -RRB- Could you have been? There is another KNOCK at the door. Stephan turns to the chest of drawers and takes out the GUN. RACHEL Stephan? Stephan is hurriedly screwing the SILENCER onto the GUN. There's another KNOCK at the door. RACHEL -LRB- CONT'D. -RRB- Stephan! Stephan walks into the living room and aims the gun at Vogel. Vogel instinctively squirms away, falling to one side, wriggling back as far as he can. RACHEL -LRB- CONT'D. -RRB- What are you doing? STEPHAN If it's them, he dies. Vogel lies, breathing hard through his nose, eyes on the gun aimed at him. David suddenly steps in between the two, the gun now pointing at his chest. STEPHAN -LRB- CONT'D. -RRB- Move. DAVID You're not doing this. STEPHAN He's not getting away from me. DAVID This is n't the mission. STEPHAN I decide what the mission is! If I say he dies, he dies. DAVID We're finishing this mission. We're taking him back. STEPHAN Get out of the way! There is another KNOCK at the door. David and Stephan stare at each other, the tension building. Abruptly Rachel turns and walks down the hallway towards the door. Stephan calls after her. STEPHAN Rachel. Rachel! From the hallway we hear the sound of the door being opened - the murmur of conversation. The two men stand frozen, listening. Vogel lies, breathing hard through his nose. We hear the door close. The three listen as footsteps approach down the hall. Rachel walks back in. A long beat. RACHEL -LRB- Dully. -RRB- It was the lady from the bottom apartment. She invited us to her New Year's Eve party. She turns and walks back out. The others stay where they are, frozen. We hear a PIANO PLAYING as we. KITCHEN - DAY As the piano music plays we see David and Stephan practise krav magah moves - careful, controlled, but under it all an edge of real tension between them. LIVING ROOM Vogel is tied in his usual place. Stephan sits in a dangerous mood. He's playing the piano. A lyrical rendering of Deutschland Uber Alles. Vogel is watching him. KITCHEN As the music continues the two men's workout grows more intense - the punches and blocks build in speed, faster and faster, both men breathing hard with the exertion, neither willing to stop, a real violence simmering under the surface.",
"INT. LIVING ROOM - DAY Stephan knows he's watched and avoids Vogel's gaze until he can stand it no longer and looks. KITCHEN David is the first to break through the blocks - his fist stopping inches from Stephen's face. The two men freeze, staring at each other, breathing hard. The music crashes to a halt. LIVING ROOM Stephan is staring at Vogel. He begins to play the anthem more discordantly, hitting the keys more violently, as if the music is possessing him. Then suddenly he stops, stands up and walks away from the keyboard. Stares at Vogel. Vogel is very aware of the sudden change in atmosphere, a sense of impending violence. Stephan does n't move. The moment hangs. LATER David is taking over the shift from Stephan. They pass each other in the doorway without a word. David stops, staring. Vogel lies in his usual place. A SACK has been placed over his head, hooding him. The effect is deeply sinister. KITCHEN - MOMENTS LATER Stephan sits eating with Rachel. David walks in and throws the SACK on the table. Stephan glances at it, continues eating. DAVID What are you doing? STEPHAN It's your shift. DAVID -LRB- To Rachel. -RRB- Did you know about this? RACHEL About what? DAVID -LRB- To Stephan. -RRB- His mouth's taped. You want him to suffocate? STEPHAN I was sick of seeing his face. Go back in. DAVID Do n't do that again. Stephan gets up and walks calmly towards David as if shooing him back out the room. STEPHAN You do n't give orders David. It's your shift now so you can go back in there. He has his hands on David's chest, gently pushing him back. David takes his hold of the hands, pulling them free and suddenly there's a flurry of violent movement as Stephan yanks his arms free of David and the two men shove at each other. RACHEL Stop it! They stop, breathing hard. DAVID We're not animals. Just remember what we are. Remember what we're not. He walks back out. Stephan sits back at the table, starts eating again. He glances at Rachel, but she wo n't look at him. After a moment she gets up and walks out.",
"INT. SITTING ROOM - CONTINUOUS David looks up from his chair to see in the hallway. Something purposeful in her manner alerts him. HALLWAY - CONTINUOUS David appears in time to see Rachel is putting on her overcoat. DAVID What are you doing? Rachel does n't look at him. RACHEL I have to get out. DAVID -LRB- Gently. -RRB- Rachel. Rachel tries to unbolt the door. David bars her. Rachel tries to talk calmly but she's fighting panic. RACHEL Get out of my way, please. I'm just going to go out for a few minutes. That's all I want to do. Stephan walks out of the kitchen, taking in the scene. DAVID She wants to go out. RACHEL -LRB- appealing. -RRB- No one will see me. Tell him, David. I just want to walk. I just want to get some. air. Please. Stephan shakes his head. Rachel tries to unlock the door, but David has hold of it. She struggles against him. STEPHAN Do n't be stupid. He takes her arm. Rachel jerks free. RACHEL GET OFF ME! Then she slumps against the door, her back to them. She's crying brokenly. A beat as the two men stand over her, not attempting to comfort her any further. Stephan turns and walks away. David leans his head against the door, waiting for her to stop.",
"INT. SAFEHOUSE - LIVING ROOM. EVENING. It's raining heavily outside and water is dripping through the cracks in the ceiling. David kneels next to VOGEL with a bowl of oatmeal and strips the tape from his mouth. VOGEL Thank you. David. David does n't react. Vogel hums a tune to himself in between spoonfuls, watching David, his mood strange. VOGEL -LRB- CONT'D. -RRB- David and Stephan and Rachel. He gives a soft laugh, finding something amusing in the sound of the names. VOGEL -LRB- CONT'D. -RRB- If I had a choice I'd prefer Rachel to feed me. So gentle. in another life, the makings of a Nurse, I think. in another life. David continues to feed, careful to appear immune to Vogel. VOGEL -LRB- CONT'D. -RRB- How is she today? VOGEL -LRB- CONT'D. -RRB- You should let her get more rest. It's a dangerous time, the first month or two of the pregnancy. David stares at him, unable to hide his shock. VOGEL -LRB- CONT'D. -RRB- -LRB- Beat. -RRB- You did n't know? Vogel absorbs this thoughtfully. VOGEL -LRB- CONT'D. -RRB- You're not the father then? -LRB- Beat. -RRB- I thought it would be you. I thought. I do n't know. The way you look at her. The way she looks at you. David stirs the oatmeal, trying to think about what he's just discovered. Vogel does n't take his eyes off him. VOGEL -LRB- CONT'D. -RRB- Women can be like that, they like to make you dance first, I remember. -LRB- As though to himself. -RRB- So, she chose the other one? He shakes his head, shrugs. VOGEL -LRB- CONT'D. -RRB- That must be hard, watching them together, right in front of you. And you not saying a word. Like the Poet says - `` Great souls suffer in silence.'' I would n't have taken Stephan as a family man. Too ambitious, too? Whereas you? David, I see you with children. DAVID -LRB- Quietly. -RRB- Shut up. Vogel stares at him. This is the first time someone has spoken to him in weeks. He's quick to hide his sense of triumph. VOGEL I am expressing my sympathy. For your suffering. DAVID What does a monster like you know about suffering? VOGEL I'm a doctor, David. David stares at him. DAVID A doctor. -LRB- beat. -RRB- You blind children trying to change the colour of their eyes. You inject people with petrol. You. you replace people's hands and legs and you watch as they. He stops himself. DAVID -LRB- CONT'D. -RRB- This is n't medicine. This is disease. This is sickness. Vogel seems to consider this. VOGEL So we were all insane? Is that the answer? DAVID -LRB- Beat. -RRB- There's no answer. I'm not looking for an answer. I'm not looking for. He forces himself to be silent, tries to regain control of himself. He offers Vogel another spoonful, but his hand trembles a little with the violence of his emotions. VOGEL You're trembling. David pushes the spoon into Vogel's mouth, starts to load another spoonful. VOGEL -LRB- CONT'D. -RRB- It's strange. Here I am - the victim, kidnapped, bound, soon to be murdered, but I think you are the one that is afraid, David. -LRB- Beat. -RRB- Afraid of the monster. He leans closer to David. VOGEL -LRB- CONT'D. -RRB- -LRB- Softly. -RRB- Boo. They stare at each other, eye to eye. Vogel senses a new brittleness in David. His tone becomes more assured. VOGEL -LRB- CONT'D. -RRB- Yes. Do you know why it was easy to exterminate you people? Your weakness. I saw it. Every day I saw it. Every one of them, thinking only of how to avoid being flogged, or kicked, or killed. Only thinking of themselves. David looks up at him with a strange, crooked smile, eyes glittering. VOGEL -LRB- CONT'D. -RRB- Why do you think it only took four soldiers to lead a thousand people to the gas chambers? Entire families? Because not one, out of thousands, had the courage to resist, the courage to be the first to fall. Not one would sacrifice himself. Even when we took their children from them. I knew then that you people had no right to live, no right to. He may have begun his speech hoping to get a reaction from David but he has lost himself in his rant and so rather than triumph we see only a moment of startled fear in his eyes as David suddenly swings the bowl violently at his head, SHATTERING IT on the pipe to which he is tied. He grabs Vogel by the collar and begins to punch him, hard, again and again. Vogel slides sideways, limp. And still David punches him in a murderous rage, possessed, wanting to break his skull open, to kill him. Rachel and Stephan run in, with Rachel reaching him first. She throws her arms around him, trying to stop him, but - instinctively - he throws a punch behind him. It connects, splitting her lip and sending her flying to the ground. Stephan runs at him, knocking him to the floor, and remains lying on him, the two of them breathing hard, the assault finally over. VOGEL slumps forward, held up only by the rope at his wrists binding him to the pipe on the wall. Stephan is still struggling with David, who's panting, adrenalised, staring wildly at Vogel's slumped body. STEPHAN Out. We're going out. He begins to drag him out. Stephan nods in the direction of VOGEL. STEPHAN -LRB- CONT'D. -RRB- -LRB- to Rachel. -RRB- Are you going to be alright? Rachel nods. As she hears the door close, she turns to stare at Vogel. He's barely conscious, his face smeared with blood.",
"INT. SAFEHOUSE - BATHROOM. NIGHT. Rachel drenches a cloth under the tap.",
"INT. SAFEHOUSE - LIVING ROOM. MOMENTS LATER Rachel cleans the blood from VOGEL's face. He has his eyes closed. VOGEL -LRB- Mumbling, in German. -RRB- Thank you. She tears off a new strip of tape and places it over VOGEL's mouth, gently. She notices the rain leaking in through the ceiling and walks off towards the kitchen. We hold on Vogel, apparently sleeping. Then his tied hand reaches out, straining and manages to reach one of the SHARDS of broken bowl. KITCHEN - CONTINUOUS Rachel gathers three METAL SAUCEPANS. She stops for a moment looking at FIREWORKS flashing in the sky. She remembers - it's New Years Eve. We TRACK with her as she walks into the living room and begins to place the pots on the floor to catch the rainwater which is dripping through various points in the ceiling. CLOSE ON VOGEL'S HANDS As he uses the shard to saw through his ropes. ON RACHEL. as she finishes with the pots and notices the pieces of shattered bowl scattered around Vogel. She kneels down in front of him and collects up the pieces. She glances up at Vogel, checking him. He is still slumped, eyes closed. We TRACK with her as she walks back into the kitchen. From the living room comes the three distinct PINGS of rainwater dripping in the pots. She drops the pieces of bowl into the bin and stops, puzzled. It's a moment before she works out what she's noticed - something has changed in the sound of the rainwater next door. There only two drips instead of three. She walks back towards the living room. RACHEL'S P.O.V - through the living room door we can see that one of the pots has been overturned. Rachel slows to a stop. A sudden wave of adrenalin causes her to turn but. it's too late. Vogel steps out of the alcove he's been standing in so that he is directly in front of her. Before she can even cry out he has slashed her face open with a SHARD OF GLASS. Instinctively she cups her hands to her ripped face. Vogel grabs her by the hair and stepping behind her, tries to worm his other hand underneath her raised arms to reach her throat with the glass. Her training kicking in, Rachel uses a krav magah move to grab and twist Vogel's forearm, breaking his hold on her and turning the arm until, with a yell of pain, Vogel drops the shard. He swings wildly at her, but Rachel ducks the fist and drives the palm of her hand up into his face. Vogel stumbles back, surprised by her speed and the sudden pain of the blow. Rachel is about to press home the attack but is blinded by blood from her wound washing into her eyes. As she wipes her eyes clear, Vogel grabs a LAMP from a small chest of drawers in the hall and smashes it into her face. She falls. Vogel begins to run, but, driven by adrenaline and desperation, Rachel scrambles onto all fours and lunges at him, catching hold of his trouser leg as he moves towards the front door. Vogel stumbles, manages to pull a leg free and stamps down on Rachel who lets go with a moan. He stamps again, steps free and kicks her hard in the head. Rachel rolls with the force of the kick and comes to a rest, losing consciousness. RACHEL'S P.O.V - LOW ANGLE - Fluttering in and out of darkness - Vogel's feet as he stands beside us, breathing hard. Then he turns and hurries to the front door. and out.",
"EXT. WALKWAY. BERLIN SAFE HOUSE - NIGHT. Vogel hurries along the walkway and sets off down the spiral staircase of the apartment building.",
"INT. HALLWAY - NIGHT. Rachel lies motionless. We wait for her to cough as we saw her do before. But she does n't. She just continues to lie still.",
"EXT. STAIRCASE - CONTINUOUS Below us Vogel clatters on down the stairs, flight after flight.",
"INT. HALLWAY - CONTINUOUS No movement from Rachel.",
"EXT. STAIRWELL/COURTYARD - CONTINUOUS Vogel clears the stairs and bursts into the courtyard. There is a lurid flash of fireworks from nearby and for a moment we see Vogel lit, as he passes the point where earlier we saw him drop to the ground. He reaches the gate and goes through, his shadow disappearing on the pavement. He's gone.",
"INT. BERLIN SAFEHOUSE - LIVING ROOM. NIGHT Rachel holds a blood - soaked tea towel to her cheek, trying to staunch the flow. David sits, staring ahead, in shock. Stephan bursts in, out of breath. STEPHAN Nothing. Not a trace. Nothing at all. He hurries to the drawers and takes out the gun, puts it into his waistband. STEPHAN -LRB- CONT'D. -RRB- He might go to the house, might try and get a message to the wife. DAVID -LRB- Without looking up. -RRB- He's not going back to the house. He's gone. Fifteen years, it took them to find him. And he's gone. And no - one's going to find him again. STEPHAN So we what? We. are you going to make the phone call? Are you going to tell them how he got a fucking piece of broken bowl? Wonderful. But do n't try and take me down with you. I've done nothing wrong. Remember that! Stephan kicks at the chair, at the drawers. STEPHAN -LRB- CONT'D. -RRB- -LRB- muttering tensely. -RRB- This ca n't happen! This is never going to go away. RACHEL I take responsibility. It was my shift. DAVID -LRB- Quietly. -RRB- This happened because of me. I let him go. And no - one's ever going to find him again. He closes his eyes, struggling with the enormity of his guilt. Stephan drops the gun onto the table, sits down. Outside we hear more fireworks. Suddenly. STEPHAN No - one's ever going to find him again. Something in his voice causes Rachel to look up at him. STEPHAN -LRB- CONT'D. -RRB- -LRB- Beat. -RRB- What if he did n't escape? RACHEL What are you talking about? STEPHAN Only four people know what happened in this room. Us, and him. And he's not talking. No one will ever hear from him again. RACHEL -LRB- Realizing what he means. -RRB- No. STEPHAN Nobody needs to know what happened here. RACHEL He escaped. STEPHAN That's the truth. But that does n't have to be the truth we take home. The truth can be anything we want it to be. The truth is Vogel tried to escape, you struggled with him and got hurt. The truth is, seconds before he got away, Rachel got the gun and shot him. The truth is we got rid of him. got rid of the body. got rid of every trace of the Surgeon of Birkenau. RACHEL We ca n't lie about this! STEPHAN No, you know what? We have to. We have to! This is. this is n't about us. This is about Israel. This is a national humiliation! We ca n't be seen to fail. And in the end, Vogel rots away his life in some jungle, looking over his shoulder, waiting for the bullet? Who's to say? He looks at them both, trying to convince them, trying to convince himself. STEPHAN -LRB- CONT'D. -RRB- Maybe that's a worse fate. Maybe that's. The important thing is justice. justice is seen to be done! Rachel turns to David, waiting, expecting him to say something. But David looks like he's been barely listening, lost in his own thoughts. He notices Rachel staring at him. DAVID He's gone. What does it matter? -LRB- Beat. -RRB- He's gone. Stephan seizes on this, sensing he's close to convincing them. STEPHAN -LRB- Seizing. -RRB- He's right. It makes no difference. No difference. All we have to agree is that we never talk about this. No matter what happens, we never tell anyone. The truth stays in this room. Between us. Agreed? Rachel looks at David again, wanting some kind of sign. STEPHAN -LRB- CONT'D. -RRB- -LRB- To Rachel. -RRB- Agreed? Say it. -LRB- Silence. -RRB- I need to hear you say it! She's still staring at David. He's still avoiding her gaze. STEPHAN -LRB- CONT'D. -RRB- -LRB- To Rachel. -RRB- Say it. Say. DAVID Agreed. Silence. Rachel closes her eyes. Instead of relief she feels a kind of immense disappointment. RACHEL David? STEPHAN Rachel? Say it. It's an oath. Say it. We CLOSE on Rachel. The moment that will change her life forever. From outside comes the sound of some REVELLERS on the street cheering, more fireworks. We hear some people chanting a countdown to the New Year. REVELLERS -LRB- O.S. -RRB- -LRB- From outside. -RRB-. vier, drei, zwei, ein! But just before the expected barrage of fireworks we.",
"EXT. DAVID'S APARTMENT - 1997 - NIGHT. The young Mossad Agent stands smoking outside David's door. This is the scene we saw earlier. From within we can hear indistinct shouting.",
"INT. DAVID'S APARTMENT - LIVING ROOM - CONTINUOUS. Rachel is holding the PRINTED SHEET - the point at which we left this scene earlier. RACHEL -LRB- crying out. -RRB- How could this happen? You said he would never speak! You said he'd never. STEPHAN We do n't know it's him. RACHEL Oh God! Oh God! STEPHAN If you read it. RACHEL He's alive! He's in the Ukraine! What else is there to read? STEPHAN This is a little internet story. -LRB- Grabbing the paper, reading. -RRB-. `` a psychiatric patient claiming to be the Surgeon of Birkenau.'' Some crazy old man. No - one is paying this any attention. Yet. RACHEL -LRB- as if her mind was elsewhere. -RRB- How did you find it? STEPHAN David comes back after all this time, I want to know why. I had his apartment searched. This was on his computer. Rachel stares at him. STEPHAN -LRB- CONT'D. -RRB- He did n't say anything to you last night? Rachel does n't answer. STEPHAN -LRB- CONT'D. -RRB- Rachel? RACHEL No! Beat. RACHEL -LRB- CONT'D. -RRB- -LRB- quietly. -RRB- Why would he do this? STEPHAN Because he could n't handle it. I told him we had to deal with it and he could n't handle it. He thought it was all going to come out and he panicked. He trails off, thinking about what happened down on the road. Rachel stares at him. His previous words have just sunk in. RACHEL -LRB- Suddenly. -RRB- Deal with it? -LRB- Beat. -RRB- What does that mean? Deal with it? Stephan stares at her. RACHEL -LRB- CONT'D. -RRB- What did you tell him to do? STEPHAN -LRB- Simply. -RRB- I told him to find Vogel. I told him to finish it. Rachel stares at him. She stands up, starts to walk away, comes back, slaps him hard across the face. RACHEL -LRB- quiet rage. -RRB- Did you know he'd been ill? Did you? You knew, did n't you? You killed him. YOU killed him! You knew he was n't strong enough. STEPHAN -LRB- overlapping. -RRB- FUCK DAVID! I do n't want to hear about David! David took the coward's way out! RACHEL You could have left it alone! It's an old man in a hospital! You said - nobody will believe it! No - one will notice! STEPHAN There's a journalist. This stops her. STEPHAN -LRB- CONT'D. -RRB- A Ukrainian. He's heard about it and he's going to interview Vogel. -LRB- Beat. -RRB- Then it all comes apart. -LRB- Beat. -RRB- We do n't have the name of the hospital. You have to find out where he is. Rachel stares at him. RACHEL What are you talking about? STEPHAN David's taken himself out of the equation. -LRB- Indicating his chair. -RRB- I ca n't do it. You're the only one left. RACHEL Are you insane? STEPHAN We ca n't. RACHEL I'm not. Look at me! I'm not capable of. This is insane. I ca n't do this. STEPHAN -LRB- Beat. Simply. -RRB- You have to, Rachel. Because for thirty years you've been taking the credit for it. -LRB- Beat, carefully. -RRB- And there's Sarah. It's as if he's struck her. Beat. RACHEL I wo n't do this. She walks out.",
"EXT. STAIRWELL OUTSIDE DAVID'S APARTMENT - NIGHT And into the stairwell. As before, the Mossad agent stands to let her pass, and watches as she sweeps down the stairs.",
"INT. RACHEL'S HOTEL - MORNING The scene we saw earlier. Rachel is packing, folding clothes neatly, precisely, silently - but all the time there's a terrible tension about her movements. She tries to close a drawer but it sticks, She keeps trying, then in a sudden rush of fury yanks the drawer free and hurls it across the room. She stands breathing hard. Then something we did n't see - her gaze settles on a photograph beside her table - SARAH holding her son, smiling at us. Rachel stares at the photograph, her breathing slowing.",
"EXT. PATIO TERRACE. HOTEL NEAR TEL AVIV - DAY Stephan sits amongst the remains of a meal. Sarah and her husband are on the beach below, playing with their son. Stephan watches them. He senses a presence and turns to find Rachel behind him. She sits down, stares down at the beach through her dark glasses. Stephan watches, almost holding his breath, working through lightning calculations of how to handle her. But Rachel is the first to speak. RACHEL -LRB- Beat. -RRB- I always knew this would happen. I knew we'd be punished. I knew we'd have to pay. STEPHAN -LRB- Quietly. -RRB- I thought I'd already been punished. RACHEL God does n't plant car bombs. STEPHAN I was n't referring to the wheelchair. They look at each other. STEPHAN -LRB- CONT'D. -RRB- If I could go back, Rachel, I'd change it all. If I could give you back a chance to be happy, to be. He stops. She is staring back at him coldly, unmoved. He shrugs, letting that go. STEPHAN -LRB- CONT'D. -RRB- But there's one thing I would never change. She looks over to where Sarah is playing with her son, laughing. RACHEL -LRB- Instantly. -RRB- She is n't going to find out. She shakes her head, as if the idea itself were impossible. RACHEL -LRB- CONT'D. -RRB- She can never find out. Stephan stares at her, KNOWING THAT HE HAS HER, that it's already decided. He takes out the envelope and slides it across the table towards her. She examines the ticket and passports inside. Then he slides her the BLACK CASE. We've seen this part of the scene before. She stares at it with disgust, knowing what it is. Then she takes it and puts it in her handbag. STEPHAN My car's waiting outside. It can take you to the airport. She stands up, an elegant woman at lunch, her dark glasses, her suit. She looks down to Sarah, raises a hand in farewell. Sarah, not understanding, waves a hand in response, calls something which is lost under the sound of the sea. STEPHAN -LRB- CONT'D. -RRB- Go down to her. Say goodbye to her. Rachel stands stock still, staring down at her daughter. RACHEL How can I? -LRB- Beat. -RRB- How can I? She turns and walks away. ON THE BEACH Sarah stands, shading her eyes, watching the small figure of her mother walking away from her.",
"EXT. CITY CENTRE. KIEV. UKRAINE - DAY. A tram wipes through the frame to reveal Rachel walking across a busy street towards the stark facade of an imposing 1960's building. A TITLE reads : Kiev, Ukraine",
"INT. OFFICE BUILDING - DAY The public area of the building - a main reception desk, a little cafe, a sweeping staircase leading up to the floor above. Rachel is at the reception desk. NEWSPAPER BUILDING - MEZZANINE LEVEL - CONTINUOUS Rachel crosses to a TABAC KIOSK, glancing back to some glass doors behind her. A sign indicates the offices of the UKRAINIAN EVENING NEWS. We can see a RECEPTIONIST at her desk. A young man walks through the entrance, and she throws a knowing glance up at him as he passes. Rachel takes in the ALARM PAD beside the receptionist. RACHEL -LRB- turning to the Kiosk Owner. -RRB- Cigarettes please. GROUND FLOOR CAFE. OFFICE BUILDING - DAY Rachel sits, silhouetted against the large window. Rachel opens her pack and lights a cigarette. A WAITER approaches. WAITER -LRB- In Russian. -RRB- What can I get you? RACHEL Just a coffee. She stares out at the stream of people passing in and out of the building.",
"INT. HANGAR - DAY - THE PAST Late sixties. Young Rachel, Stephan and David are giving a talk to a group of young Israeli soldiers. This is a well - rehearsed routine, something they have probably done many times. RACHEL At that moment, I do n't think I was thinking about myself at all. I was thinking about my mother. I was thinking about how she had suffered in Europe. The FACES of the soldiers, moved by this. One raises a hand. SOLDIER The same question to Mr. Peretz. The others look at David, waiting for him to make his usual response. But David does n't move. Stephan looks along the row. David sits staring straight ahead. The silence GROWS. And we realize he's NOT GOING TO ANSWER.",
"INT. RACHEL AND STEPHEN'S HOUSE - BEDROOM - EVENING The house is cold, white, aggressively modern. Rachel sits in her underwear, drunk, a bottle and glass of wine on her dressing table. Stephan is dressing behind her. STEPHAN -LRB- Calmly. -RRB- Fuck him. He examines his reflection in the mirror. STEPHAN Fuck him. A DOORBELL rings downstairs. He walks out to answer it, taking the wine bottle from her as he goes. STEPHAN -LRB- CONT'D. -RRB- Hurry up. Rachel finishes her glass, starts to apply some eye makeup. She senses something and turns to find YOUNG SARAH -LRB- four -RRB- watching her from the doorway. She stares back at her dully. RACHEL Go to bed, Sarah. LIVING ROOM - EVENING A cocktail party in progress - Stephan is mingling with the guests - Mossad high - fliers, Military, politicians. She watches him handle them - just the right mix of deference and charm. Rachel stands against a wall, drunk, watching him as he laughs sycophantically at something one of the politicians has said. He crosses over to an attractive BLONDE WOMAN and greets her. As Rachel watches he runs a hand down the woman's back - an unmistakably INTIMATE gesture. Rachel watches - depressed by how little this makes her feel. She begins to mix herself another drink, sees someone across the room, and her face changes. ON DAVID He's standing alone drinking, nervous. Rachel appears beside him. RACHEL My own party and you're the only friend I have. She turns, leans against the wall, scans the party, watches Stephan working the room. RACHEL -LRB- CONT'D. -RRB- all Stephen's friends. Stephen's girlfriends. She turns to see what David's reaction to this is, but he continues to watch Stephan. RACHEL -LRB- CONT'D. -RRB- And what kind of a friend are you? I call you last night and. RACHEL -LRB- CONT'D. -RRB- I thought the silence was for the audience, I did n't know you'd really lost your voice. David suddenly takes her hand and pulls her round the corner. AROUND THE CORNER He turns to her, his face alive with an energy that we have n't seen before - fear or excitement? DAVID Why do you call me? RACHEL What? DAVID You call me, at night, when you're drunk. Why do you call me? RACHEL What are you? DAVID Do you want us to fuck around behind his back? Like he fucks around behind yours? Is that what you want? Rachel stares at him, upset and angry. RACHEL I want a friend DAVID I do n't want to be your friend. -LRB- Beat. -RRB- I'm leaving. RACHEL Good. I do n't know why you bothered coming if your just going to. DAVID -LRB- interrupting. -RRB- Come with me. She realises he is n't talking about the party. Beat. RACHEL Where. whare are you going? DAVID It does n't matter. Away from Israel, away from this. poison. I ca n't stand what it is doing to us. Come with me. We'll go to Spain. Or Italy. We can save ourselves. WIFE -LRB- O.S. -RRB- This is such a beautiful photograph, Rachel. You look like a pair of Angels. A YOUNG ISRAELI and his WIFE are admiring a photograph the Wife has picked up from the table - a portrait of Rachel and Sarah. RACHEL -LRB- Mouth dry. -RRB- Thank you. WIFE -LRB- showing it to David. -RRB- Is n't it lovely? David does n't answer, is still staring at Rachel. The husband senses a scene, takes the photograph. HUSBAND -LRB- Smoothly. -RRB- You know you have to excuse us. -LRB- to his wife. -RRB-. we must catch Michael. His wife is confused. HUSBAND -LRB- CONT'D. -RRB- -LRB- leading her away. -RRB-. before he leaves, you remember? Rachel is staring at David, shaking her head, eyes glittering with tears. RACHEL You ca n't do this to me now. We had our chance. We said we would live with it. This is me living with it. David takes her hands. DAVID I'm in love with you, Rachel. I want my life back so I can live it with you. Come with me. RACHEL You can start again. You do n't have a child. You do n't have anyone. DAVID I thought I did. -LRB- beat. -RRB- Why ca n't we be happy? RACHEL -LRB- after a beat, quietly. -RRB- Because we did a terrible thing. He nods, finally, and lets go of her hand. Beat. Then he Beat. Then he says. turns and walks away from her through the crowd to the door, and is gone. She moves to follow him, then stops. says. Rachel turns and finds STEPHAN standing against the wall, waiting. They stare at each other. STEPHAN. -LRB- flat. -RRB- There you are. He leads her back towards the party. says.",
"INT. NEWSPAPER BUILDING - GROUND FL. CAFE - EARLY EVENING Rachel sits, still smoking, though it's dark outside now. There is a sound of chatter from above her and she looks up to see JOURNALISTS spilling out from the offices above, coming down the stairs towards her. Rachel eases a PHOTOCOPIED SHEET from her bag and examines it. INSERT SHEET A photocopy of a JOURNALIST'S BY - LINE - a long, rather mournful face, the name YURI TITOV. She checks the face, slips the sheet back in the bag, looks up, studying the men descending towards her. Moments later she has found him - chatting to a colleague. He reaches the ground floor and walking past her, goes to the bar for a coffee. Rachel finds herself staring at him - the man WHO COULD DESTROY HER LIFE. Yuri seems to sense someone watching him and looks to where Rachel was sitting. But there's no - one there.",
"INT. NEWSPAPER OFFICE LOBBY. CONTINUOUS. The PRETTY RECEPTIONIST stands chatting to her BOYFRIEND, a young journalist. He is holding her coat for. She starts to put it on and the Boyfriend gives a brief bark and play - bites at her neck. She laughs, pushing him away. Rachel hurries in. RACHEL -LRB- Russian. -RRB- Am I late? I'm sorry. Can I place an advertisement? RECEPTIONIST -LRB- gathering her things. -RRB- 100 grivna for twenty words. 5 grivna a word after that. Rachel proffers an envelope. RACHEL -LRB- CONT'D. -RRB- Here. The girl takes it. RECEPTIONIST Thanks. Rachel fishes in her bag and hands over a 100 GRIVNA NOTE. RACHEL This should cover it. The girl drops the envelope onto her desk, and slips the money into a small DESKTOP DRAWER UNIT, as Rachel leaves.",
"INT. NEWSPAPER OFFICE - MEZZANINE LEVEL. CONTINUOUS. Rachel pauses outside the doors, zipping her bag, watching the receptionist tap a code into the alarm key - pad before letting herself and the Boyfriend out. She locks the door after them and the two walk past Rachel who smiles a goodbye. She watches them go.",
"INT. NEWSPAPER BUILDING - GROUND FLOOR CAFE - NIGHT The place is dark now, eerily lit by the street lights outside. An ELDERLY SECURITY GUARD trudges past, whistling softly.",
"INT. NEWSPAPER OFFICE - LOBBY. CONTINUOUS. We're looking through the glass doors to the shadowy mezzanine level beyond. A DARK FIGURE stands silhouetted at the door. We hear the scrape of tools working on the lock. There is a click, the doors open and Rachel slips inside. The alarm begins to BEEP. Rachel takes out a TORCH. A quick twist and the beam becomes ULTRAVIOLET. As Rachel moves swiftly towards the alarm box, the beam from the torch sweeps across the girl's desk, and we see Rachel's envelope glowing a deep PURPLE. We may also notice that the desktop drawer unit where the girl placed the money is smudged with purple FINGERPRINTS. Rachel opens the alarm box and shines her beam onto the keypad. We see four PURPLE FINGERPRINTS, one deeply pigmented, the other three progressively less so. Rachel takes a deep breath and punches the four marked keys in what she hopes is the correct order. The alarm falls silent. She moves quickly out of the lobby, down the corridor.",
"INT. NEWSPAPER OFFICE - MAIN ROOM. CONTINUOUS. and into the main press room. Using her torch on its regular setting, Rachel scours the desks for information. On one desk is a photograph of the journalist we just met - YURI - HOLDING A LARGE FISH in triumph. Rachel dives into the desk's FILING UNIT and begins to rifle through the files. Presently, she finds an OLD PICTURE OF VOGEL. He wears SS uniform, the same shot we have seen before. Behind it, a stack of SCRIBBLED NOTES. She begins to scan them.",
"INT. NEWSPAPER BUILDING - MEZZANINE LEVEL - CONTINUOUS The Receptionist and her drunk BOYFRIEND stand at the doors to the newspaper office, trying to open them. It takes them a moment, as - unaware that it was unlocked - the girl has accidentally locked it. Her boyfriend tussles with her playfully, keen for her to let him try instead, but she swats him away, turns the key again and finally they're in.",
"INT. NEWSPAPER OFFICE - MAIN ROOM. NIGHT. Rachel, unaware, is still reading through the notes. She takes out paper and pen and copies down the information she needs.",
"INT. NEWSPAPER OFFICE - LOBBY. NIGHT. The receptionist stands by the alarm box, drunk and confused, as the Boyfriend, impatient and equally drunk, comes up close behind her and reaches round to clumsily unbutton her coat. RECEPTIONIST -LRB- Whispering. -RRB- That's weird. The coat undone, the Boyfriend reaches round and snakes his hands up inside her sweater. She ignores him. RECEPTIONIST -LRB- CONT'D. -RRB- I set the alarm. BOYFRIEND What? RECEPTIONIST The alarm's not on. BOYFRIEND Who gives a shit? He moves his hands from her breasts to grab her around the waist and pull her away from the alarm box.",
"INT. NEWSPAPER OFFICE - MAIN ROOM. CONTINUOUS. Rachel is still at the desk reading. Suddenly the main LIGHTS are switched on and the Receptionist and the Boyfriend stagger into sight. Rachel stands frozen, COMPLETELY VISIBLE. The girl and boyfriend stand kissing, too engrossed in each other to see the woman standing only ten feet from them. The Receptionist pulls free, laughing, makes it back to the entrance and switches the lights off, plunging the room into darkness. Rachel moves behind a column. Laughing softly, the Boyfriend leads the girl over to a desk. He opens a drawer, searches through it, triumphantly produces a PETTY CASH TIN. BOYFRIEND The loot! He starts to take some cash from the box. RECEPTIONIST -LRB- Laughing. -RRB- You ca n't! BOYFRIEND I'll put in an i - o - u. He scribbles on a piece of paper. BOYFRIEND -LRB- CONT'D. -RRB- `` Andrei borrowed money to take Katia to Club Oxygen.'' He drops the note in the tin. RECEPTIONIST You're going to get fired. He kisses her. BOYFRIEND You're worth it. RECEPTIONIST You're going to get me fired! BOYFRIEND -LRB- Kissing her. -RRB- I'm worth it. They kiss again, slowly backing up against the desk Rachel was searching. The two struggle with their clothes. BEHIND THE COLUMN Rachel has no way of reaching the door. She closes her eyes as the young couple begin to have sex on the desk. Then she opens her eyes and notices something. RACHEL'S P.O.V - CLOSE on her TORCH which is still on the desk. The Boyfriend seems to be staring RIGHT AT IT. Rachel watches, holding her breath. ON BOYFRIEND. as we realise he is staring STRAIGHT THROUGH the torch, lost in the moment. Next moment the couple change positions and some books and the torch are swept from the desk and clatter to the floor. The TORCH ROLLS across the carpet to the shadowy entrance of the cubicle. BEHIND THE COLUMN Rachel stares at the torch, wondering if she can reach it before they can see her. But at the moment the desktop tryst reaches its noisy conclusion. AT THE DESK The Boyfriend does up his trousers and pulls on his coat. The Receptionist adjusts her dress. She notices the fallen items and begins to pick them up, following the trail to the torch. BEHIND THE COLUMN Rachel stands frozen as the Receptionist stoops down directly IN FRONT OF HER and picks up the torch. The Boyfriend notices. BOYFRIEND What are you doing? RECEPTIONIST I'm tidying up. BOYFRIEND Are you working? Are you at work now? RECEPTIONIST -LRB- Laughing. -RRB- No, I'm not working. BOYFRIEND So leave them. She drops the objects and follows her Boyfriend out. Shaking, Rachel picks up her torch and replaces the items she is still holding from Yuri's file into the filing cabinet. From OS, we hear the BEEP BEEP BEEP of the alarm being reset. Rachel's heart sinks. OS, we hear office doors close, and the KEY TURNING in the lock. Rachel's eyes alight on A MOTION SENSOR, blinking in the corner of the room. She waits. And eventually - no choice - she runs for the door. The motion sensor lights up and the alarm strikes up loudly with a warning BEEP - BEEP - BEEP.",
"INT. NEWSPAPER OFFICE - LOBBY. CONTINUOUS. Frantic, Rachel dashes to the alarm box, the insistent beep - beep - beep even louder here. Rachel runs for the door, yanks it open and bolts out. Moments later, the alarm CLANGS into action.",
"EXT. BACK OF BUILDING - NIGHT Rachel bursts out of a fire exit, the siren blaring and disappears into the night.",
"EXT. RACHEL'S CAR. KIEV STREET - NIGHT Rachel's car drives off down the road.",
"INT. CAR. UKRAINIAN ROAD - NIGHT. Rachel has pulled over and is on her cell - phone to Stephan. RACHEL He's at the BABENKO Hospital.",
"INT. STEPHAN'S OFFICE - NIGHT Stephan is alone, working at his computer. He taps in the name, searches, clicks on the link to a map. STEPHAN -LRB- CONT'D. -RRB- It's outside Vinnycja. About a hundred and fifty miles south - west of you. What name is he going under? Rachel checks her notes. RACHEL -LRB- O.S. -RRB- Ivan Schevchuk. He's the right age. STEPHAN When is he supposed to interview him?",
"INT. CAR - NIGHT RACHEL Tomorrow. There's silence from the other end. Both know what this means. STEPHAN -LRB- O.S. -RRB- This will be over soon. And when it is. Rachel hangs up.",
"EXT. ROAD - MORNING A car drives through the wintry landscape.",
"INT./EXT. HIRE CAR. ROAD - MORNING A forest of fir trees pass as she drives. Rachel's mind is elsewhere. The car drifts to the wrong side, then swerves as she corrects. STUDENT -LRB- O.S. -RRB- What were you thinking at that moment?",
"INT. UNIVERSITY LECTURE HALL. TEL AVIV - EVENING The night before David's suicide. RACHEL is being interviewed by a FEMALE FACULTY MEMBER. Projected on a screen behind is an image of the young Rachel, Stephan and David. The audience consists of mainly female students, hands raised. STUDENT Did you think you were going to die? Rachel seems to consider this carefully, although we know by now that this is a question she's been asked thousands of times and has a carefully rehearsed answer to. RACHEL I'll tell you something. At that moment, when I was on the floor, I was n't thinking about myself at all. I was thinking about my mother. And what she had suffered in Europe. I think that was what gave me the strength to get up again. The audience listen, moved. Rachel looks out and then FREEZES - Older David sits near the back of the room. LECTURER Well, I'm sure you'll all join me in thanking Ms Singer. As the audience applaud enthusiastically Rachel smiles, trying to regain her composure but her eyes are drawn back to David, standing in the shadows, watching her intently.",
"INT. AUDITORIUM - LATER The place is empty now, only David and Rachel sitting in the seats. David looks like a man who's been up on speed for too long, eyes strangely bright in his exhausted face. Neither of them seems to be able to bridge the divide DAVID You look well. Rachel ignores this. She's waiting for an explanation. She's waiting for an explanation. says. RACHEL Does Stephan know you're here? DAVID I expect so. -LRB- Beat. -RRB- I read about him. How is he? RACHEL -LRB- shrugs. -RRB- The same. Different. Resigned to life at a desk. He likes to play the tragic hero. She stops herself, ashamed. RACHEL -LRB- CONT'D. -RRB- Things became. very bad between us. We try to stay civil for Sarah. DAVID Have you met anyone else? Rachel stares at him. How can he even ask this? RACHEL No. Thank you for asking. There was someone. but he left. And I never heard from him again. -LRB- beat, hard. -RRB- What are you doing here, David? DAVID I wrote you letters. RACHEL Pity you did n't send any of them DAVID Rachel. RACHEL -LRB- overlapping. -RRB- What is it? Thirty years? She's suddenly so angry, she starts to gather her things to go. DAVID I wanted to see you. RACHEL -LRB- overlapping. -RRB- All that time. Not a single word? DAVID Do n't go. She stops. DAVID I was ill for a while, Rachel. -LRB- A beat. -RRB- I spent some time in. in a kind of hospital RACHEL Where? DAVID Mexico RACHEL What were you doing in Mexico? DAVID Different jobs. Some teaching. Whatever I could get. Beat. DAVID I travelled a lot. The States. Most of South America. North Africa. I kept moving. -LRB- beat. -RRB- Looking for him RACHEL Who? He does n't answer and she looks up, suddenly realising who he means. She feels a sudden, instinctive rush of fear. RACHEL -LRB- CONT'D. -RRB- Why? -LRB- beat. -RRB- What would you have done if you had found him? He's watching her intently DAVID I would have told the truth. I would have gone to the newspaper, and said `` this is the Surgeon of Birkenau.'' I could have finally seen him face trial. Rachel listens to this, mesmerised. RACHEL And what would have happened to us? DAVID We'd be free. Whatever happened to us, it seemed to me we'd be free. Rachel stares at him without answering DAVID Do n't you agree? Are n't you tired of lying? Is n't that what you would have done - if you'd found him? RACHEL But it is n't just us. -LRB- Beat. -RRB- It's Sarah. Beat. Something changes in David's face, something fading away. He sits slowly back RACHEL -LRB- CONT'D. -RRB- She has n't done anything wrong. DAVID -LRB- Quietly. -RRB- No. RACHEL If the truth had come out she would be destroyed. -LRB- Beat. -RRB- So. no, I would n't have told the truth. -LRB- A long beat. -RRB- But you never found him She looks at him, waiting for him to contradict this. DAVID No I never did. The LECTURER appears at the doors to the auditorium. LECTURER Ms Singer? RACHEL -LRB- Relieved. -RRB- Yes. Thank you. She stands up again, the spell is broken. RACHEL -LRB- CONT'D. -RRB- There's a car for me. -LRB- Putting on her coat. -RRB- Did you hear about Sarah's book? After a moment, David nods. RACHEL The launch is tomorrow. Perhaps you could come? I do n't know if Stephan will be there or not, but. DAVID -LRB- suddenly. -RRB- If we could go back. if I'd waited for you. if you'd come. would it have been different? RACHEL We ca n't go back. A beat. DAVID I'm sorry. RACHEL Come tomorrow. We'll talk then? David gives a smile that might be an assent. Or might not. Rachel nods, walks quickly out of the auditorium. David sits as the light banks above switch off one at a time, watches the line of shadow moving towards him.",
"EXT. ROAD. UKRAINE - DAY - THE PRESENT A car roars past and is gone, revealing Rachel standing amongst the trees beside her car, a cigarette forgotten in her hand, absorbing what it was David was asking her. Finally she drops the cigarette and climbs back into her car.",
"INT. CAR - DAY CLOSE ON RACHEL. driving, lost in thought. She drives into some grounds. RACHEL'S P.O.V THROUGH WINDSCREEN The BABENKO HOSPITAL - a huge, imposing building stands in wintry grounds. A long drive leads up to the car park and the entrance. I/E. CAR - CONTINUOUS Rachel stares up at the building as she drives towards it.",
"INT. BABENKO HOSPITAL - RECEPTION. CONTINUOUS. The large lobby area, vast pillars. A few stairs lead up from this to a waiting area, separated from the corridors beyond by BARS AND LOCKED GATES. Rachel approaches a young male REGISTRAR at RECEPTION. RACHEL -LRB- Russian. -RRB- Good morning. I'm here to visit Mr. Schevchuk? The man squints at her, checks his register an squints at her again. REGISTRAR You're from the newspaper? Because I have a man's name here. RACHEL Oh, no, no. I'm Mr Schevchuk's niece. Anna Barova. I've been before, do you remember? A moment's scrutiny, then a shrug. REGISTRAR Well, our visiting hours have n't changed, I'm afraid. Eleven till one. He points to a PLAQUE that reads : VISITING HOURS : 11:00 am - 1:00 am, 5:00 pm - 8:00 pm Sarah glances at her watch. It's 10.25. REGISTRAR -LRB- CONT'D. -RRB- Take a seat? He points to a waiting area. Rachel walks up the few stairs past a large PILLAR and takes a seat, trying to think of her next step. She glances to her left, through the bars, and sees an OLD WOMAN in a patient's gown staring blankly at her from the far end of the corridor. A DOCTOR appears and leads the Old Woman away, still staring. Rachel looks away, unnerved. Someone has just walked in and is talking to the Receptionist. Rachel's view is obscured by the pillar and she leans slightly to see who it is. RACHEL'S P.O.V - YURI stands showing his press card to the Registrar. AT RECEPTION The Registrar passes the press card back. REGISTRAR Mr. Schevchuk is in room 414. Visiting time starts at eleven o'clock. You can take a seat over there. Yuri walks across the lobby, towards where Rachel is waiting, but as he clears the pillar we see her seat is EMPTY. ON THE OTHER SIDE OF THE PILLAR. Rachel waits for Yuri to pass and then slips back out of the lobby.",
"EXT. BABENKO HOSPITAL - CONTINUOUS. Rachel emerges - panicking. Time is almost up. What can she do?",
"EXT/INT. CAR. REAR OF HOSPITAL - MOMENTS LATER Rachel's car is speeding down a narrow road that runs behind the hospital. Two stone arches frame the road, where the building meets the hillside. RACHEL'S P.O.V - high fences - the forbidding facade of the hospital - rows of barred windows. Rachel is scanning the building, looking for some way in.",
"EXT/INT. CAR/REAR ENTRANCE - MOMENTS LATER Suddenly we pass a central arched entrance. A man is opening large double METAL DOORS for A LAUNDRY VAN to leave the hospital. It takes Rachel a few moments to register it. Then she BRAKES.",
"EXT. BACK OF HOSPITAL - MOMENTS LATER The LAUNDRY VAN is driving through the doors. It stops, engine idling, and the DRIVER begins to climb down to close the doors after him. Before he clears the side of the truck, Rachel slips into the darkness. The DRIVER, oblivious, reaches the doors and begins to swing them shut.",
"INT. BABENKO HOSPITAL - DAY Rachel runs up the staircase from the service area of the hospital.",
"INT. CORRIDOR. BABENKO HOSPITAL - DAY Long and bleak with rows of BARRED DOORS. Rachel runs on.",
"INT. WAITING AREA. BABENKO HOSPITAL -DAY. Yuri is writing in a notebook. The clock says : 10:50.",
"INT. ANOTHER CORRIDOR. BABENKO HOSPITAL - DAY Rachel reaches a junction - the vast, white corridors stretching away from her in different directions, like a nightmarish maze. She stares about her, picks a corridor and begins to run again.",
"INT. CORRIDOR/CENTRAL STAIRWELL - DAY Rachel reaches a MAP on the wall and scans it, frantically trying to locate the room she needs. She hurries on to an ancient looking ELEVATOR and gets in, jabs at the fourth floor button. With a groan of its motor the elevator begins to rise. CORRIDOR RACHEL'S P.O.V - TRACKING past rows of NUMBERED DOORS. Finally we reach it - ROOM 414. Rachel stares at the door.",
"INT. TOILETS. BABENKO HOSPITAL - DAY Rachel sits in a CUBICLE. She takes the BLACK CASE from her handbag and opens it. Inside is a pen. She lifts this and the false bottom of the case away to reveal a HYPODERMIC NEEDLE and an AMPULE of a clear liquid. With trembling hands she begins to prepare the injection. She ca n't quite believe what she is about to do.",
"INT. ROOM 414 - CONTINUOUS Rachel enters the room. The curtains are drawn and Rachel hesitates for a moment, her eyes adjusting to the gloom. A MAN sits in a chair, angled towards the window, his back to us. An IV drip hangs on a stand, its tube running into a cannula on the back of a withered hand which hangs from the chair. The only sound is the faint, rasping breath of the man. Rachel moves a little closer. On the bottom of the bed hangs a medical chart. The name reads Ivan Schevchuk. Rachel moves closer, carefully taking the HYPODERMIC NEEDLE from her pocket.",
"INT. BABENKO HOSPITAL - RECEPTION. DAY. A NURSE is unlocking the gate at the waiting area for Yuri. He walks through them and over to the ELEVATOR.",
"INT. ROOM 414 - DAY Rachel stands by the IV drip and tube. She can inject directly into the tube - and it will be over. She holds the tube, rests the tip of the needle against it. She struggles with herself. Just one tiny push. She ca n't do it. She stands frozen for a moment then slowly lowers the needle. Beside her, the steady breathing alters. The Man stirs and a cadaverous face half turns towards us. Rachel and Schevchuk stare at each other. The face is ancient, lined. but IT IS N'T THE FACE OF VOGEL. IVAN SCHEVCHUK -LRB- Weakly. -RRB- Are you the journalist? -LRB- Beat. -RRB- Do you know who I am? RACHEL -LRB- Beat, meaning it. -RRB- No. No, I do n't. IVAN SCHEVCHUK My name is Dieter Vogel. I am the Surgeon of Birkenau. -LRB- Beat. -RRB- Have you heard of me? RACHEL Yes. I've heard of you. Schevchuk looks at his withered hands. IVAN SCHEVCHUK -LRB- Simply. -RRB- I have killed thousands. You can take my photograph. The last photograph of the Surgeon of Birkenau? He struggles to raise his arm in the Nazi salute, a pathetic sick man. Rachel sits down at Schevchuk's desk, feeling suddenly exhausted.",
"INT. ELEVATOR - DAY Yuri stands in the elevator waiting for the doors to close. NURSE Hold the doors please. Yuri holds the doors, as the Nurse approaches, escorting an ELDERLY WOMAN with a walker - the two moving at a snails pace. Yuri watches, amused.",
"INT. ROOM 414 - DAY We CLOSE on Rachel, lost in thought. Beside her Schevchuk rambles on. IVAN SCHEVCHUK -LRB- O.S. -RRB- It comes down to blood. We were n't afraid of power. It was our destiny. The slave races had bred with apes. But we Aryans are descendants of the Theozoa who come from another planet. We were born to rule and to. He dissolves into a fit of weak coughing. Rachel stares at a NOTEPAD AND PEN on the desk beside her.",
"INT. CORRIDOR - DAY Yuri walks towards Schevchuk's room. He pays no attention to Rachel as he passes her, sitting on a bench, dialling her cell phone. She listens to the other end ring.",
"INT. TEL AVIV - STEPHAN'S OFFICE - CONTINUOUS Stephan is talking to a couple of OFFICIALS. His cell phone rings. STEPHAN -LRB- Answering. -RRB- Yes? RACHEL -LRB- O.S. -RRB- -LRB- Beat. -RRB- It is n't him. Stephan nods, a fixed smile on his face, covers the mouthpiece. STEPHAN -LRB- gesturing to Officials. -RRB- A family matter. Would you give me a moment? The two OFFICIALS leave the office, closing the door behind them. Stephan takes a a beat to calm his breathing. STEPHAN -LRB- CONT'D. -RRB- -LRB- Into phone. -RRB- You're sure?",
"INT. CORRIDOR. BABENKO HOSPITAL - DAY RACHEL It is n't him. It's over. STEPHAN -LRB- O.S. -RRB- Thank God. Thank God. This is wonderful. This is. and you're okay? Rachel? You're alright, yes? Rachel stares at the wall. Silence. STEPHAN -LRB- O.S. ; CONT'D. -RRB- Rachel? RACHEL You were wrong. STEPHAN -LRB- O.S. -RRB- Well, thank God I was, but. RACHEL About David. You were wrong about him. ON STEPHAN. smiling and gesturing `` one minute'' to the two officials on the other side of the glass partition. STEPHAN About David? RACHEL -LRB- O.S. -RRB- He did n't kill himself because he was afraid the story would come out. This gets Stephan's attention. ON RACHEL RACHEL When he came to see me, he was asking me for something. STEPHAN -LRB- O.S. -RRB- What? RACHEL My permission. And I did n't give it. I would n't let him tell the truth and he was tired of living with the lie. ON STEPHAN. mind whirring. He can sense something. STEPHAN Truth is a luxury, Rachel. Some people have to put other things first - their country, their people. their children. ON RACHEL Struggling not to cry. STEPHAN -LRB- O.S. -RRB- Sarah's so proud of you, Rachel. You have to think about her. RACHEL -LRB- Crying. -RRB- I want her to be proud of me. Stephan is desperate to talk her down from the ledge. STEPHAN -LRB- O.S. -RRB- -LRB- Soothing. -RRB- Of course you do. RACHEL I want to do something to make her proud of me. ON STEPHAN STEPHAN Rachel? Rachel? RACHEL -LRB- O.S. -RRB- People have to know the truth, Stephan. David was right. ON RACHEL STEPHAN -LRB- O.S. -RRB- Listen to me. RACHEL Goodbye. STEPHAN -LRB- O.S. -RRB- Rachel, listen to me! She hangs up. ON STEPHAN. listening to the dial tone, panic overwhelming him. There's a knock at the door and an ASSISTANT appears. ASSISTANT Sir? Stephan does n't move. ON RACHEL She sits for a moment, then stands up.",
"INT. CORRIDOR. HOSPITAL - CONTINUOUS LONG SHOT From the other end of the corridor, as the small figure of Rachel steps away from the bench. She straightens her scarf and wipes her eyes, then begins to walk towards us. REVERSE - ON RACHEL - OVER THE SHOULDER As she walks towards the end of the corridor.",
"INT. ANOTHER CORRIDOR. BABENKO HOSPITAL - DAY PULLING RACHEL As she moves down another corridor. She reaches an opening on her left, which reveals a STAIRCASE winding around a central lift shaft, caged in frosted glass panels. She glances through it as she passes. And just for a second we see an ELDERLY MAN walking down the stairs. Rachel has walked on a few steps before it registers, and she stops - VOGEL. She walks back to the opening. The figure seems to have retraced their steps, because they are now walking FURTHER UP the staircase, on the other side of the lift shaft - a shadowy figure through the frosted glass which quickly disappears from sight. Rachel stares after him, frozen. What did she just see?",
"INT. STAIRWELL. HOSPITAL - DAY She begins to climb the stairs.",
"INT. REC ROOM - DAY Rachel comes through double doors and finds herself in a long REC ROOM - PATIENTS and some STAFF grouped around the room. Rachel begins to walk through the room - elderly men all around her, playing cards, reading, some sitting staring vacantly. She walks through them, staring at faces. Is he here? Is he amongst this ordinary world? She feels her pace quicken as she's drawn on through the room. It's as if she's back at that terrible night. Vogel's ahead of her somewhere, escaping all over again. She FLASHES through DOUBLE DOORS into a junction area - a long, empty corridor leading away from her on the right, ahead another set of double doors. She bursts through these doors and finds herself in.",
"INT. LOCKER ROOM/BATHROOM - DAY A long, white tiled corridor of a room. A row of windows down the right, under which sit WASHBASINS. There's a row of LOCKERS and DOORS along the left. Rachel walks on, feeling increasingly as if she's in a dream. She's deep into the room before she realises it's a dead - end - there's no exit ahead of her. VOGEL -LRB- a dull rasp. -RRB- Why did you come? She turns and freezes. Vogel has emerged from one of the doorways on the left. Now he's between her and the doors on the far side of the room. VOGEL -LRB- CONT'D. -RRB- Why did you have to come? You did n't have to follow me. He begins to advance slowly towards her. VOGEL -LRB- CONT'D. -RRB- Was it Schevchuk? Did he talk? Rachel stands frozen as he creeps closer. He reaches out a hand as if to reassure her, a ghastly attempt at reasonableness. VOGEL I can stop him. I wo n't tell him anymore. -LRB- Almost pleading. -RRB- Nobody needs to know. As if the spell has broken Rachel makes a sudden dart for the doors. But before she can pass him, Vogel has moved with surprising speed and, almost before Rachel has seen the SCISSORS in his other hand, he has stabbed them into her shoulder. She reels over against the opposite wall, dislodging a GLASS SHELF which shatters into a WASHBASIN behind her. Vogel goes after her, pinning her against the basin, one hand on her throat, the other hand trying to stab her again. Rachel manages to grab the scissor hand and the two struggle frantically. The scissors inch closer to her FACE, to her EYE. Her other hand emerges from the basin behind her holding a piece of the broken glass shelf, which she whips across Vogel's face. He gives a horrible shriek and lets her go, clutching at his cheek. Rachel collapses gasping to the floor. Moaning, Vogel stumbles to a basin, blood dripping down onto the white porcelain from his slashed face. He suddenly notices Rachel has made it to her knees and is trying to crawl towards the door, He walks after her, pulls back her head, gets ready to stab the scissors into her throat. VOGEL You Jews never knew how to kill. Only how to die. Then he gives a gasp of pain, eyes closed, his whole body doubling with the pain, hands weakly scrabbling at the PIECE OF GLASS Rachel has stabbed into his thigh. He falls, almost on top of Rachel, and she finds herself pressed against his contorted face as he hisses and spits in agony. His hand searches blindly for the dropped scissors. Rachel grapples with him, almost embracing him, apparently trying to prevent him for reaching it. His searching hand locates the scissors and his eyes open in triumph, staring straight into Rachel's. He raises the scissors above his head. Then he stabs Rachel in the stomach. Rachel jack - knifes, as if she's been punched. Then. nothing. Both lie still. The only sound is Vogel's rasping breathing. Slowly Vogel gathers himself, drops the scissors, gets onto his knees - the victor. He climbs to his feet and begins to limp towards the door.",
"INT. CORRIDOR - DAY PULLING VOGEL. as he walks down the corridor, breathing hard, trying to make it back to his room, back to safety. Suddenly he staggers against the wall. Something's wrong, something in his back. He twists around trying to locate the source of the strange sensation. And there it is - the HYPODERMIC NEEDLE Rachel has stuck between his shoulders. He touches it with his fingertips, eyes wide with horror, feeling the rush of lethal chemicals through his blood. He twists again trying to pull the needle free but his legs are already giving way and he collapses to the floor. Moments later he's dead.",
"INT. WASHROOM - CONTINUOUS Rachel manages to turn over, starts to drag herself up. MUSIC begins.",
"INT. ROOM 414 - DAY As the music continues we see Yuri putting his coat on. He's evidently finished his fruitless interview with Schevchuk, who is sitting slumped by the window. Yuri turns, about to leave, when he suddenly notices a NOTE upon the desk, ADDRESSED TO HIM. Surprised, he picks up the note and begins to read it. INSERT We see the first line - `` My name is Rachel Singer.''",
"EXT. BABENKO HOSPITAL - CONTINUOUS The road at the back of the hospital. The music continues as we TRACK with Rachel, staring steadily ahead, walking slowly down the long road, her coat pulled around her. In the distance, framed between the arches, her abandoned car. Blood begins to spot the ground behind her. YOUNG RACHEL'S P.O.V - THE PAST We are in darkness. Then a DOOR opens ahead of us and slides to one side revealing an oval of brilliant white light. Slowly we TRACK FORWARD towards the harsh light. OLDER RACHEL. walking on towards her car. MILITARY AIRBASE. ISRAEL - THE PAST YOUNG RACHEL'S P.O.V - We're at the top of an AIRPLANE STAIRWAY, which leads down to the runway below, and two lines of waiting DIGNITARIES, applauding. OLDER RACHEL Walking on - a small lone figure against the white of the snow. MILITARY AIRBASE. ISRAEL - THE PAST The three YOUNG PEOPLE begin their descent down the stairs towards the WELCOME PARTY. OLDER RACHEL. tiny, framed within the two arches. Still moving towards the car. MILITARY AIRBASE. ISRAEL - THE PAST We CLOSE on Young Rachel as she blinks against the harsh sunlight, takes out a pair of sunglasses and slips them on. Then she steps forward to accept her reward. FADE OUT"
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] | In 1997, Rachel is honoured by her daughter Sarah during a release party in Tel Aviv for Sarah's book based on the account Rachel, Stefan and David gave of the events in 1965. Concurrently, David is escorted from his apartment by an Israeli government agent for a debriefing. David recognises Stefan waiting in another vehicle and unable to face their lie, he commits suicide by stepping in front of an oncoming truck. In 1965, a young Mossad agent Rachel Singer on her first field assignment arrives in East Berlin to meet with more experienced agents David Peretz and Stefan Gold. Their mission is to capture Nazi war criminal Dieter Vogel—infamously known as "The Surgeon of Birkenau" for his medical experiments on Jews during World War II—and bring him to Israel to face justice. Rachel and David present themselves as a married couple from Argentina and Rachel becomes a patient at Vogel's obstetrics and gynaecology clinic. At a doctor appointment, Rachel injects Vogel with a sedative during an examination and induces the nurse to believe that he has suffered a heart attack. Stefan and David arrive dressed as paramedics and make off with the unconscious Vogel in an ambulance. They attempt to leave by train, but Vogel awakens and sounds the horn of the van where he is being held, alerting guards to their presence. In the ensuing shootout, David sacrifices his chance to escape in order to save the compromised Rachel. The agents have no choice but to bring Vogel to their apartment and plan a new extraction. The agents take turns monitoring and feeding Vogel while leaving him chained to the wall heater. During his shift, David becomes violently enraged after Vogel explains his beliefs that Jews have many weaknesses, such as selfishness, making them easily subdued. David smashes a glass plate over Vogel's head and repeatedly beats him, only to be stopped and restrained by Stefan. Later on, Stefan and David go out, leaving Rachel home to monitor Vogel by herself. After managing to cut through his bonds using a shard of the broken plate, Vogel ambushes Rachel with the shard, leaving her with a permanent scar on her face and escapes. Panicking and hoping to avoid humiliation, Stefan convinces Rachel and David to go along with the fiction that Vogel was killed. They agree to lie and use the cover story that Rachel shot and killed Vogel as he attempted to flee. In the following years, the agents become venerated as national heroes for their roles in the mission. At a dinner after their daughter's book release party, Stefan takes Rachel aside to set a meeting to discuss new information he has obtained. Later, at David's flat, Stefan provides evidence that Vogel is in a Mental Hospital in Ukraine, and is soon scheduled to be interviewed by a local journalist. Stefan claims David killed himself because he was a coward. Rachel refutes Stefan's explanation, recalling an encounter with David a day before his suicide, in which he revealed his shame about the lie and disclosed that he had spent years unsuccessfully searching the world for Vogel so he could finally be brought to justice. He was further disheartened by Rachel's admission that she would continue propagating the lie to protect those closest to her, particularly her daughter. Nevertheless, Rachel finally feels compelled to travel to Kiev. She investigates the journalist's lead and is able to travel to the asylum. She reaches the room just minutes before the journalist and discovers the man claiming to be Vogel is not him. Describing the encounter to Stefan over the phone, Rachel declares she will not continue to lie about the 1965 mission. She leaves a note for the journalist and suddenly spots the real Vogel among the other patients and follows him to an isolated area of the hospital. After a confrontation in which Vogel stabs her twice with scissors, Rachel kills Vogel by plunging a poisoned syringe into his back. Later Rachel's note is discovered and read by the journalist. It describes the truth of the mission, ready to be relayed to the world. | The_Debt_(2011_film) |
[
"EXT. PARK - DAY Brief shot of duel. RODERICK -LRB- V.O. -RRB- My father, who was well - known to the best circles in this kingdom under the name of roaring Harry James, was killed in a duel, when I was fifteen years old.",
"EXT. GARDEN - DAY Mrs. James, talking with a suitor ; Roderick, at a distance. RODERICK -LRB- V.O. -RRB- My mother, after her husband's death, and her retirement, lived in such a way as to defy slander. She refused all offers of marriage, declaring that she lived now for her son only, and for the memory of her departed saint.",
"EXT. STREET - DAY Mother and son walking together. RODERICK -LRB- V.O. -RRB- My mother was the most beautiful women of her day. But if she was proud of her beauty, to do her justice, she was still more proud of her son, and has said a thousand times to me that I was the handsomest fellow in the world.",
"EXT. CHURCH - DAY Mother and son entering church. RODERICK -LRB- V.O. -RRB- The good soul's pleasure was to dress me ; and on Sundays and Holidays, I turned out in a velvet coat with a silver - hilted sword by my side, and a gold garter at my knee as fine as any lord in the land. As we walked to church on Sundays, even the most envious souls would allow that there was not a prettier pair in the kingdom.",
"EXT. FIELD - DAY A picnic. The Dugan family. Roderick. RODERICK -LRB- V.O. -RRB- My uncle's family consisted of ten children, and one of them was the cause of all my early troubles ; this was the belle of the family, my cousin, Miss Dorothy Dugan, by name.",
"EXT. DUGAN MANOR HOUSE - DAY A sprawling run - down Irish manor house with large garden, stables, barn and farm. Idealized images of Dorothy. RODERICK -LRB- V.O. -RRB- Ah! That first affair, how well one remembers it! What a noble discovery it is that the boy makes when he finds himself actually and truly in love with some one! A lady who is skilled in dancing or singing never can perfect herself without a deal of study in private. So it is with the dear creatures who are skilled in coquetting. Dorothy, for instance, was always practicing, and she would take poor me to rehearse her accomplishments upon. Dorothy talking with the exciseman. RODERICK -LRB- V.O. -RRB- or the exciseman, when he came his rounds. Dorothy talking to the steward. RODERICK -LRB- V.O. -RRB- or the steward. Dorothy sitting under a tree with the curate, reading a book. RODERICK -LRB- V.O. -RRB- or the poor curate. Dorothy talking to the apothecary's lad. RODERICK -LRB- V.O. -RRB- or the young apothecary's lad from Dugan's Town whom I recollect beating once for that very reason. Roderick, fighting with apothecary's lad. RODERICK -LRB- V.O. -RRB- The torments of jealousy she made me endure were horrible.",
"EXT. FIELD - DAY Dorothy, like a greyhound released from days of confinement, and given the freedom of the fields at last, runs at top - speed, left and right, back and forth, returning every moment to Roderick. She runs and runs until she is out of breath, and then laughs at the astonishment which keeps Roderick motionless and staring at her. After catching her breath, and wiping her forehead, she challenges Roderick to a race. RODERICK I accept, but I insist on a wager. The loser must do whatever the winner pleases. DOROTHY Agreed. RODERICK Do you see the gate at the end of the field? The first to touch it will be the winner. They line up together and start on a count of three. Dorothy uses all her strength, but Roderick holds back, and Dorothy touches the gate five or six paces ahead of him. RODERICK -LRB- V.O. -RRB- I was certain to win, but I meant to lose to see what she would order me to do. Dorothy catches her breath, thinking of the penalty. Then she goes behind the trees and, a few second later, comes out and says : DOROTHY Your penalty is to find a cherry - colored ribbon which I have hidden somewhere on my person. You are free to look for it anywhere you will, and I will think very little of you if you do not find it. They sit down on the grass. Roderick searches her pockets, the fold of her short bodice and her skirt, then her shoes ; then he turns up her skirt, slowly and circumspectly, as high as her garters, which she wears upon the knee. He unfastens them and finds nothing ; he draws down her skirt and gropes under her armpits. The tickling makes her laugh. RODERICK I feel the ribbon. DOROTHY Then you must get it. Roderick has to unlace her bodice and touch her pretty breasts, over which his hand must pass to reach it. DOROTHY Why are you shaking? RODERICK With pleasure at finding the ribbon.",
"EXT. FIELD - DAY Military review. One hundred English troops, a few mounted officers, a small military band, fifty local people. The Dugan family, Roderick and his mother, Captains Best and Grogan. Roderick admires the troops in their splendid uniforms. RODERICK -LRB- V.O. -RRB- About this time, the United Kingdom was in a state of great excitement from the threat generally credited of a French invasion. The noblemen and people of condition in that and all other parts of the kingdom showed their loyalty by raising regiments of horse and foot to resist the invaders. How I envied them. The whole country was alive with war's alarums ; the three kingdoms ringing with military music, while poor I was obliged to stay at home in my fustian jacket and sigh for fame in secret.",
"INT. BALLROOM AT FENCIBLES - NIGHT Dorothy and Roderick entering. RODERICK -LRB- V.O. -RRB- Once, the officers of the Kilwangen regiment gave a grand ball to which Dorothy persuaded my to take her. Several cuts depicting the evening. Dorothy ignores Roderick ; dances, chats, laughs, drinks punch, and finally, strolls outside with Captain Best. Roderick makes a half - hearted try at dancing with Miss Clancy. RODERICK -LRB- V.O. -RRB- I have endured torments in my life, but none like that. Some of the prettiest girls there offered to console me, for I was the best dancer in the room, but I was too wretched, and so remained alone all night in a state of agony. I did not care for drink, or know the dreadful comfort of it in those days ; but I thought of killing myself and Dorothy, and most certainly of making away with Captain Best.",
"EXT. FENCIBLES BALLROOM - DAWN The guests leaving and saying their goodbyes. RODERICK -LRB- V.O. -RRB- At last, and at morning, the ball was over.",
"EXT. ROAD - DAWN Dorothy and Roderick on horseback together. DOROTHY Sure it's a bitter night, Roderick dear, and you'll catch cold without a handkerchief to your neck. To this sympathetic remark, from the pillion, the saddle made no reply. DOROTHY Did you and Miss Clancy have a pleasant evening, Roderick? You were together, I saw, all night. To this, the saddle only replies by grinding his teeth, and giving a lash to Daisy. DOROTHY Oh! Mercy, you make Daisy rear and throw me, you careless creature, you. The pillion had by this got her arm around the saddle's waist, and gave it the gentlest squeeze in the world. RODERICK I hate Miss Clancy, you know I do! And I only danced with her because - because - the person with whom I intended to dance chose to be engaged the whole night. DOROTHY I had not been in the room five minutes before I was engaged for every single set. RODERICK Were you obliged to dance five times with Captain Best, and then stroll out with him into the garden? DOROTHY I do n't care a fig for Captain Best ; he dances prettily to be sure, and is a pleasant rattle of a man. He looks well in his regimentals, too ; and if he chose to ask me to dance, how could I refuse him? RODERICK But you refused me, Dorothy. DOROTHY Oh! I can dance with you any day, and to dance with your own cousin at a ball as if you could find no other partner. Besides, Roderick, Captain Best's a man, and you are only a boy, and you have n't a guinea in the world. RODERICK If ever I meet him again, you shall see which is the best man of the two. I'll fight him with sword or with pistol, captain as he is. DOROTHY But Captain Best is already known as a valiant soldier, and is famous as a man of fashion in London. It is mighty well of you to fight farmers' boys, but to fight an Englishman is a very different matter. Roderick falls silent.",
"EXT. SMALL BRIDGE OVER A STREAM - DAWN They come to an old, high bridge, over a stream, sufficiently deep and rocky. DOROTHY Suppose, now, Roderick, you, who are such a hero, was passing over the bridge and the enemy on the other side. RODERICK I'd draw my sword, and cut my way through them. DOROTHY What, with me on the pillion? Would you kill poor me? RODERICK Well, then, I'll tell you what I'd do. I'd jump Daisy into the river, and swim you both across, where no enemy could follow us. DOROTHY Jump twenty feet! You would n't dare to do any such thing on Daisy. There's the captain's horse, Black George, I've heard say that Captain Bes - She never finished the word for, maddened by the continual recurrence of that odious monosyllable, Roderick shouts : RODERICK Hold tight to my waist! And, giving Daisy the spur, springs with Dorothy over the parapet, into the deeper water below. The horse's head sinks under, the girl screams as she sinks, and screams as she rises. Roderick lands her, half - fainting, on the shore.",
"INT. MOTHER'S HOUSE - BEDROOM - DAY Various cuts showing illness and convalescence. Roderick feverish : the doctor taking his pulse. Mother brings a tray of food. RODERICK -LRB- V.O. -RRB- I went home, and was ill speedily of a fever, which kept me to my bed for a week. Dorothy visiting him. RODERICK -LRB- V.O. -RRB- Dorothy visited me only once, but I quitted my couch still more violently in love than I had been ever before.",
"EXT. DUGAN MANOR HOUSE - DAY The air is fresh and bright, and the birds sing loud amidst the green trees. Roderick is elated, and springs down the road, as brisk as a young fawn. He encounters an orderly whistling `` Roast Beef of Old England,'' as he cleans down a cavalry horse. RODERICK Whose horse, fellow, is that? ORDERLY Feller, indeed! The horse belongs to my captain, and he's a better fellow nor you any day. RODERICK -LRB- V.O. -RRB- I did not stop to break his bones, as I would on another occasion, for a horrible suspicion had come across me, and I made for the garden as quickly as I could. Roderick see Captain Best and Dorothy pacing the path together. Her arm is under his, and he is fondling and squeezing her little hand which lies closely nestling against his arm. Some distance beyond them is Captain Grogan, who is paying court to Dorothy's sister, Mysie. RODERICK -LRB- V.O. -RRB- The fact is that, during the week of my illness, no other than Captain Best was staying at Castle Dugan, and making love to Miss Dorothy in form. CAPTAIN BEST No, Dorothy, except for you and four others, I vow before all the gods, my heart had never felt the soft flame. DOROTHY Ah, you men, you men, John, your passion is not equal to ours. We are like - like some plant I've read of - we bear but one flower, and then we die! CAPTAIN BEST Do you mean you never felt an inclination for another? DOROTHY Never, my John, but for thee! How can you ask me such a question? Raising her hand to his lips. CAPTAIN BEST Darling Dorothea! Roderick rushes into view, drawing his little sword. RODERICK -LRB- V.O. -RRB- I pulled out a knot of cherry - colored ribbons, which she had given me out of her breast, and which somehow I always wore upon me, and flung them in Captain Best's face, and rushed out with my little sword drawn. RODERICK She's a liar - she's a liar, Captain Best! Draw, sir, and defend yourself, if you are a man! Roderick leaps at Captain Best, and collars him, while Dorothy makes the air echo with her screams. Captain Grogan and Mysie hasten up. Though Roderick is a full growth of six feet, he is small by the side of the enormous English captain. Best turns very red at the attack upon him, and slips back clutching at his sword. Dorothy, in an agony of terror, flings herself round him, screaming : DOROTHY Captain Best, for Heaven's sake, spare the child - he is but an infant. CAPTAIN BEST And ought to be whipped for his impudence, but never fear, Miss Dugan, I shall not touch him, your favorite is safe from me. So saying, he stoops down and picks up the bunch of ribbons, which Roderick had flung at Dorothy's feet, and handing it to her, says in a sarcastic tone : CAPTAIN BEST When ladies make presents to gentlemen, it is time for other gentlemen to retire. DOROTHY Good heavens, Best! He is but a boy and do n't signify any more than my parrot or lap - dog. May n't I give a bit of ribbon to my own cousin? RODERICK -LRB- roaring. -RRB- I'm a man, and will prove it. CAPTAIN BEST You are perfectly welcome, miss, as many yards as you like. DOROTHY Monster! Your father was a tailor, and you are always thinking of the shop. But I'll have my revenge, I will! Roddy, will you see me insulted? RODERICK Indeed, Miss Dorothy, I intend to have his blood as sure as my name's Roderick. CAPTAIN BEST I'll send for the usher to cane you, little boy, but as for you, miss, I have the honor to wish you a good day. Best takes off his hat with much ceremony, and makes a low bow, and is just walking off, when Michael, Roderick's cousin, comes up, whose ear has likewise been caught by the scream. MICHAEL Hoity - toity! John Best, what's the matter here? CAPTAIN BEST I'll tell you what it is, Mr. Dugan. I have had enough of Miss Dugan here and your Irish ways. I ai n't used to'em, sir. MICHAEL -LRB- good - humoredly. -RRB- Well, well! What is it? We'll make you used to our ways, or adopt English ones. CAPTAIN BEST It's not the English way, for ladies to have two lovers, and, so, Mr. Dugan, I'll thank you to pay me the sum you owe me, and I resign all claims to this young lady. If she has a fancy for school - boys, let her take'em, sir. MICHAEL Pooh! Pooh! Best, you are joking. CAPTAIN BEST I never was more in earnest. Best exits. MICHAEL -LRB- in a towering rage. -RRB- You - you! Hang you for a meddling brat, your hand is in everybody's pie. What business had you to come brawling and quarreling here, with a gentleman who has fifteen hundred a - year? Michael runs after Best. DOROTHY -LRB- gasps. -RRB- Oh, I shall die ; I know I shall. I shall never leave this spot. CAPTAIN GROGAN -LRB- whisper to Dorothy. -RRB- The Captain is gone. Dorothy, giving him an indignant look, jumps up and walks towards the house. CAPTAIN GROGAN -LRB- in a soothing tone to Roderick. -RRB- This is a pretty way to recommend yourself to the family. RODERICK -LRB- shouts after Michael. -RRB- The man that marries Dorothy Dugan must first kill me - do you mind that? MICHAEL -LRB- shouting back from a distance. -RRB- Pooh, sir. Kill you - flog you, you mean! I'll send for Nick the huntsman to do it. CAPTAIN GROGAN You are a gallant lad, and I like your spirit. But what Dugan says is true. It's a hard thing to give a lad counsel who is in such a far - gone state as you ; but, believe me, I know the world, and if you will but follow my advice, you wo n't regret having taken it. Dorothy Dugan has not a penny ; you are not a whit richer. And, my poor boy, do n't you see - though it's a hard matter to see - that she's a flirt, and does not care a pin for you or Best either? RODERICK Dorothy might love me or not, as she likes, but Best will have to fight me before he marries her! CAPTAIN GROGAN Faith, I think you are a lad that's likely to keep your word. He looks hard at Roderick for a second to two, then he walks away, humming a tune, looking back at Roderick as he goes through the old gate out of the garden. When Grogan is gone, Roderick is quite alone, and he flings himself down on the bench where Dorothy had made believe to faint, and had left her handkerchief and the ribbons and, taking them up, hides his face in them, and bursts into a passion of tears. RODERICK -LRB- V.O. -RRB- I must have sat for some hours bemoaning myself on the garden - bench, for the dinner - bell clanged as usual at three o'clock, which wakened me from my reverie.",
"EXT. DUGAN MANOR HOUSE - DAY As Roderick passes the courtyard, he sees the Captain's saddle still hanging up at the stable - door, and his odious red - coated brute of a servant, swaggering with the scullion - girls and kitchen people. MAID The Englishman's still there, Master Roderick. He's there in the parlor. Go in, and do n't let ` im browbeat you, Master Roderick.",
"INT. DUGAN MANOR HOUSE - DINING ROOM - DAY Roderick enters and takes his place at the bottom of the big table ; the butler speedily brings him a cover. UNCLE Hello, Roddy, my boy! Up and well? That's right. AUNT He'd better be home with his mother. UNCLE Do n't mind her. It's the cold goose she ate for breakfast - did n't agree with her. Take a glass of spirits, Mrs. Dugan, to Roderick's health. It is evident that his uncle does n't know of what happened, but Michael, who is at dinner too, and Harry, and almost all the girls, look exceedingly black and the captain foolish ; and Miss Dorothy, who is again by his side, ready to cry. Captain Grogan sits smiling, and Roderick looks on as cold as stone. His uncle is in high good - humor. UNCLE Dorothy, divide that merry thought with the captain! See who'll be married first. Jack Best, my dear boy, never mind a clean glass for the claret, we're short of crystal at Castle Dugan ; take Dorothy's and the wine will taste none the worse. Mrs. Dugan and ladies, if you please ; this is a sort of toast that is drunk a great deal too seldom in my family, and you'll please to receive it with all the honors. Here's to Captain and Mrs. John Best, and long life to them. Kiss her, Jack, you rogue ; for faith, you've got a treasure. RODERICK -LRB- spring up. -RRB- His already?! HARRY Hold your tongue, you fool - hold your tongue! RODERICK -LRB- shouting. -RRB- He has already been slapped in the face this morning, Captain John Best ; he's already been called a coward, Captain John Best ; and this is the way I'll drink his health. Here's your health, Captain John Best. Roderick flings a glass of claret into his face. The next moment, he is under the table, tripped up by Harry, who hits him a violent cuff on the head ; as he goes down, he hardly has time to hear the general screaming and scurrying that is taking place above him, being so fully occupied with kicks, and thumps and curses, with which Harry is belaboring him. HARRY You fool! You great blundering marplot - you silly beggarly brat -. -LRB- a thump at each. -RRB- Hold your tongue! When Roderick gets up from under the table, the ladies are all gone ; but he has the satisfaction of seeing the captain's nose is bleeding, as his is - Best is cut across the bridge, and his beauty spoiled forever. UNCLE In Heaven's name, what does all the row mean? Is the boy in fever again? HARRY -LRB- turning to his father. -RRB- The fact is, sir, that the young monkey has fallen in love with Dorothy, and finding her and the captain mighty sweet in the garden today, he was for murdering Jack Best. CAPTAIN BEST -LRB- bristling up. -RRB- And, I'll tell you what, Mr. Dugan, I've been insulted grossly in this house. I ai n't at all satisfied with these here ways of going on. I'm an Englishman, I am, and a man of property ; and I - I - HARRY If you're insulted, and not satisfied, remember there's two of us, Best. On which, the captain falls to washing his nose in water, and answering never a word. RODERICK -LRB- in dignified tone. -RRB- Mr. Best may also have satisfaction any time he pleases, by calling on Roderick James, Esquire, of Jamesville. His uncle bursts out laughing, and in this laugh, Captain Grogan joins. RODERICK Captain Grogan, I beg you to understand that, for my cousin Harry, who has been my best friend through life, I could put up with rough treatment from him ; yet, even that sort of treatment I will bear from him no longer ; and any other person who ventures on the like will not like the cost. Mr. Best knows that fact very well ; and, if he's man, he'll know where to find me. UNCLE It is getting late, and your mother will be anxious about you. One of you had better go home with him. -LRB- turning to his sons. -RRB- Or the lad may be playing more pranks. HARRY Both of us ride home with Best here. CAPTAIN BEST I'm not afraid of highwaymen. My man is armed, and so am I. HARRY You know the use of arms very well, Best, and no one can doubt your courage ; but Michael and I will see you home for all that. UNCLE Why, you'll not be home till morning, boys. Kilwangan's a good ten miles from here. HARRY We'll sleep in Best's quarters. We're going to stop a week there. And, in another week, my boy. And here, Harry whispers something in the Captain's ear. CAPTAIN GROGAN I'll go home with the boy.",
"EXT. ROAD - LATE DAY Grogan walks with Roderick. CAPTAIN GROGAN A pretty day's work of it you have made, Master Roderick. Knowing your uncle to be distressed for money, and try and break off a match which will bring fifteen hundred a - year into the family? Best has promised to pay off the four thousand pounds which is bothering your uncle so. He takes a girl without a penny - a girl that has been flinging herself at the head of every man in these parts these ten years past, and missing them all, and a boy who ought to be attached to your uncle as to your father. RODERICK And so I am. CAPTAIN GROGAN And this is the return you make for his kindness! Did n't he harbor you in his house when your father died, and has n't he given you and your mother, rent - free, your fine house of Jamesville yonder? RODERICK Mark this, come what will of it, I swear I will fight the man who pretends to the hand of Dorothy Dugan. I'll follow him if it's into the church, and meet him there. I'll have his blood, or he shall have mine. Will you take my message to him, and arrange the meeting? CAPTAIN GROGAN Well, if it must be, it must. For a young fellow, you are the most bloodthirsty I ever saw. No officer, bearing His Majesty's commission, can receive a glass of wine on his nose, without resenting it - fight you must, and Best is a huge, strong fellow. RODERICK He'll give the better mark. I am not afraid of him. CAPTAIN GROGAN In faith, I believe you are not ; for a lad I never saw more game in my life. Give me a kiss, my dear boy. You're after my own soul. As long as Jack Grogan lives, you shall never want a friend or a second. They embrace. RODERICK -LRB- V.O. -RRB- Poor fellow! He was shot six months afterwards, at Minden, and I lost thereby a kind friend. But we do n't know what is in store for us, and that's a blessing.",
"EXT. HOUSE - LATE DAY Mother greeting Roderick and Captain Grogan. RODERICK -LRB- V.O. -RRB- In spite of my precautions to secrecy, I half - suspected that my mother knew all from the manner in which she embraced me on my arrival, and received our guest, Captain Grogan. His mother looks a little anxious and flushed and, every now and then, gazes very hard into the Captain's face. RODERICK -LRB- V.O. -RRB- But she would not say a word about the quarrel, for she had a noble spirit, and would as lief have seen any one of her kindred hanged as shirking from the field of honor.",
"INT. MOTHER'S HOUSE - RODERICK'S BEDROOM - DAY Roderick waking up. RODERICK -LRB- V.O. -RRB- I never slept sounder in my life, though I woke a little earlier than usual, and you may be sure my first thought was of the event of the day, for which I was fully prepared. Roderick at table with paper and ink. RODERICK -LRB- V.O. -RRB- And now I sat down and wrote a couple of letters ; they might be the last, thought I, that I should ever write in my life. See him write : `` Dearest Mother.''",
"INT. MOTHER'S HOUSE - KITCHEN - DAY RODERICK -LRB- V.O. -RRB- Then I went down to breakfast, where my mother was waiting for me, you may be sure. We did not say a single word about what was taking place. Roderick eats his breakfast with a good appetite ; but in helping himself to salt, spills it, on which his mother starts up with a scream. MOTHER Thank God, it's fallen towards me! And then, her heart being too full, she leaves the room. RODERICK -LRB- V.O. -RRB- Ah! They have their faults, those mothers ; but are there any other women like them? There is an elegant, silver - mounted sword that hangs on the mantelpiece under the picture of Roderick's late father. A pair of pistols hang on each side of the picture. Roderick takes down the sword and pistols, which are bright and well - oiled, and collects flints, balls and gunpowder.",
"EXT. MOTHER'S HOUSE - DAY Captain Grogan and Orderly arrive. RODERICK Have you taken my message to him? CAPTAIN GROGAN The meeting is arranged. Captain Best is waiting for you now. RODERICK My mare is saddled and ready ; who's the captain's second? CAPTAIN GROGAN Your cousins go out with him. Roderick and Grogan, and the Orderly ride off. RODERICK -LRB- V.O. -RRB- I did n't take leave of Mrs. James. The curtains of her bedroom - windows were down, and they did n't move as we mounted and trotted off.",
"EXT. COUNTRY ROAD - DAY They ride their horses at a leisurely pace. CAPTAIN GROGAN That's a very handsome sword you have there. RODERICK It was with this sword that my late father, Harry James, God rest his soul, met Sir Huddelstone Fuddelstone, the Hampshire baronet, and was fatally run through the neck. He was quite in the wrong, having insulted Lady Fuddelstone, when in liquor, at the Brentford Assembly. But, like a gentleman, he scorned to apologize. CAPTAIN GROGAN And now you risk the same fate. If you are killed, your mother is all alone in the world. RODERICK I am Harry James' son, and will act as becomes my name and quality.",
"EXT. FOREST CLEARING - DAY Harry, Michael and the Captain are already there. Best, flaming in red regimentals, a big a monster as ever led a grenadier company. The party are laughing together. RODERICK -LRB- to Captain Grogan. -RRB- I hope to spoil this sport, and trust to see this sword of mine in that big bully's body. CAPTAIN GROGAN Oh, it's with pistols we fight. You are no match for Best with the sword. RODERICK I'll match any man with the sword. CAPTAIN GROGAN But swords are today impossible ; Captain Best is - is lame. He knocked his knee against the swinging park gate last night, as he was riding home, and can scarce move it now. RODERICK Not against Castle Dugan gate, that has been off the hinges these ten years. CAPTAIN GROGAN It must have been some other gate. They alight from their horses, and join and salute the other gentlemen. CAPTAIN GROGAN I have just explained to Mister James that Captain Best is lame, and that swords are impossible. HARRY Oh, yes! Dead lame. Harry comes up to shake Roderick by the hand, while Captain Best takes off his hat, and turns extremely red. HARRY And very lucky for you, Roderick, my boy. You were a dead man else, for he is a devil of a fellow - is n't he, Grogan? CAPTAIN GROGAN A regular Turk. I never yet knew the man who stood to Captain Best. HARRY Hang the business. I hate it. I'm ashamed of it. Say you're sorry, Roderick. You can easily say that. CAPTAIN BEST If the young feller will go to Dublin, as proposed. RODERICK I'm not sorry - I'll not apologize - and I'll as soon go to Dublin as to hell! Grogan takes him aside. CAPTAIN GROGAN Look here, Roderick, my boy ; this is silly business. The girl will marry Best, mark my words ; and as sure as she does, you'll forget her. You are but a boy. Best is willing to consider you as such. Dublin's a fine place, and if you have a mind to take a ride thither and see the town for a month, here are twenty guineas at your service. Make Best an apology, and be off. RODERICK A man of honor dies, but never apologizes. I'll see the captain hanged before I apologize. HARRY -LRB- with a laugh to Grogan. -RRB- There's nothing else for it. Take your ground, Grogan - twelve paces, I suppose? CAPTAIN BEST -LRB- in a big voice. -RRB- Ten, sir, and make them short ones, do you hear, Captain Grogan? HARRY Do n't bully, Mr. Best. Here are the pistols. -LRB- with some emotion to Roderick. -RRB- God bless you, my boy ; and when I count three, fire. RODERICK This is not one of my pistols. HARRY They are all right, never fear. It's one of mine. Yours will serve, if they are needed, for the next round. CAPTAIN GROGAN Roderick, fire at his neck - hit him there under the gorget ; see how the fool shows himself open. Michael, who has not spoken a word, Harry, and the Captain retire to one side, and Harry gives the signal. It is slowly given, and Roderick has the leisure to cover his man well. Captain Best changes color and trembles as the numbers are given. At `` three'' both pistols go off. Best gives a most horrible groan, staggers backwards and falls. THE SECONDS -LRB- crying out. -RRB- He's down! He's down! Running towards him, Harry lifts him up - Michael takes his head. MICHAEL He's hit here, in the neck. Laying open his coat, blood is seen gurgling from under his gorget. HARRY How is it with you? The unfortunate man does not answer, but when the support of Harry's arm is withdrawn from his back, groans once more and falls backwards. MICHAEL -LRB- with a scowl. -RRB- The young fellow has begun well. You had better ride off, young sir, before the police are up. They had wind of the business before we left Kilwangan. RODERICK Is he quite dead? MICHAEL Quite dead. CAPTAIN GROGAN Then the world's rid of a coward. It's all over with him, Roddy - he does n't stir. He gives the huge prostrate body a scornful kick with his foot. HARRY We are not cowards, Grogan, whatever he was! Let's get the boy off as quick as we may. Your man shall go for a cart, and take away the body of this unhappy gentleman. This has been a sad day's work for our family, Roderick James, and you have robbed us of fifteen - hundred a - year. RODERICK It was Dorothy did it. Roderick takes the ribbons she gave him out of his waistcoat, and the letter, and flings them down on the body of Captain Best. RODERICK There! Take her those ribbons. She'll know what they mean ; that's all that's left of her of two lovers she had and ruined. MICHAEL And now, in Heaven's name, get the youngster out of the way. HARRY I'll go with you. They mount up and gallop off.",
"EXT. MOTHER'S HOUSE - DAY Upon seeing Roderick and Harry ride up, his mother, who has been waiting outside, rushes to her son with wild screams of joy. He dismounts, and she kisses and embraces him. RODERICK -LRB- V.O. -RRB- I need not tell you how great was my mother's pride and exultation when she heard from Harry's lips the account of my behavior at the duel.",
"INT. MOTHER'S HOUSE - PARLOR - DAY Still much excitement and hustle and bustle. HARRY The boy must go into hiding, for a short time anyway. Dublin is the best place for him to go, and there wait until matters are blown over. MOTHER Dublin? But the poor lad has never been away from home. He will be as safe here as in Dublin. HARRY I wish that were true, Auntie dear, but I'm afraid the bailiffs may already be on their way from Kilwangan.",
"INT. RODERICK'S BEDROOM - DAY His mother is rushing about and packing a valise. Harry sits on the bed. RODERICK -LRB- V.O. -RRB- Harry persisted in the necessity of instant departure, in which argument, as I was anxious to see the world, I must confess, I sided with him ; and my mother was brought to see that, in our small house, in the midst of a village, escape would be impossible, and capture would be impossible to avoid.",
"INT. MOTHER'S BEDROOM - DAY His mother takes out a stocking from her escritoire, and gives Roderick twenty golden guineas. MOTHER -LRB- gravely. -RRB- Roderick, my darling, my wild boy, I have forebodings that our separation is to be a long one. I spent most of all night consulting the cards regarding your fate in the duel, and all signs betoke a separation. Here is twenty guineas - all that I have in the world - and I want you to keep your father's sword and pistols, which you have known to use so like a man.",
"EXT. MOTHER'S HOUSE - DAY Roderick's departure. RODERICK -LRB- V.O. -RRB- She hurried my departure now, though her heart, I know, was full, and almost in half - an - hour from my arrival at home, I was once more on the road again, with the wide world, as it were, before me. Roderick waves. His mother cries.",
"EXT. HIGH ROAD TO DUBLIN - DAY RODERICK -LRB- V.O. -RRB- No lad of seventeen is very sad who has liberty for the first time, and twenty guineas in his pocket ; and I rode away, thinking, I confess, not so much of the kind of mother left alone, and of the home behind me, as of tomorrow, and all the wonders it would bring. Roderick happily riding down the road. RODERICK -LRB- V.O. -RRB- I had no doubts of the future ; thinking that a man of my person, parts, and courage, could make his way anywhere. So I rode on, singing to myself, or chatting with the passersby ; and all the girls along the road said, `` God save me, for a clever gentleman.'' Farm girls in the fields flirting with him. RODERICK -LRB- V.O. -RRB- As for thoughts of Dorothy Dugan, there seemed to be a gap of a half - a - score of years.",
"EXT. ROAD TO DUBLIN - DAY A well - armed gentleman dressed in green, and a gold cord, with a patch on his eye, and riding a powerful mare, puts his horse alongside. ARMED GENTLEMAN Good day to you, young sir. RODERICK Good morning. ARMED GENTLEMAN Where are you bound for? RODERICK -LRB- after a long look at his companion. -RRB- That is none of your business. ARMED GENTLEMAN Is your mother not afraid on account of the highwayman to let one so young as you travel? RODERICK -LRB- pulling out a pistol. -RRB- Not at all, sir. I have a pair of good pistols that have already done execution, and are ready to do it again. At this, a pock - marked man coming up, the well - armed gentleman spurs into his bay mare, and leaves Roderick.",
"EXT. ROAD TO DUBLIN - DAY RODERICK -LRB- V.O. -RRB- A little later on, as I rode towards Kilcullen, I saw a crowd of peasant people assembled round a one - horse chair, and my friend in green, as I thought, making off half - a - mile up the hill. A footman howls, at the top of his voice. FOOTMAN Stop thief! But the country fellows only laugh at his distress, and make all sorts of jokes at the adventure which had just befallen. COUNTRY FELLOW #1 Sure, you might have kept him off with your blunderbush! COUNTRY FELLOW #2 O the coward! To let the Captain bate you, and he only one eye! COUNTRY FELLOW #3 The next time my lady travels, she'd better leave you at home! RODERICK What is this noise, fellows? Roderick rides up amongst them, and seeing the lady in the carriage, very pale and frightened, gives a slash of his whip, and bids the red - shanked ruffians keep off. Pulling off his hat, and bringing his mare up in a prance to the chair - window. RODERICK What has happened, madam, to annoy your ladyship? MRS. O'REILLY Oh, I am grateful to you, sir. I am the wife of Captain O'Reilly hastening to join him at Dublin. My chair was stopped by a highwayman ; this great oaf of a servant - man fell down on his knees, armed as he was, and though there were thirty people in the next field, working, when the ruffian attacked, not one of them would help but, on the contrary, wished him `` good luck.'' COUNTRY FELLOW #1 Sure, he's the friend of the poor, and good luck to him. COUNTRY FELLOW #2 Was it any business of ours? RODERICK -LRB- shouting. -RRB- Be off to your work, you pack of rascals, or you will have a good taste of my thong. -LRB- to Mrs. O'Reilly. -RRB- Have you lost much? MRS. O'REILLY Everything - my purse, containing upwards of a hundred guineas, my jewels, my snuff - boxes, watches. And all because this blundering coward fell to his knees. FOOTMAN Be fair, ma'am, them was n't so much. Did n't he return you the thirteen pence in copper, and the watch, saying it was only pinchbeck? MRS. O'REILLY Do n't be insolent, or I'll report you to the Captain. FOOTMAN Sorry, ma'am. He shuffles a few steps away and frowns in the direction that the Captain has vanished. MRS. O'REILLY That fool did n't know what was the meaning of a hundred - pound bill, which was in the pocket - book that the fellow took from me. RODERICK I am riding to Dublin myself, and if your ladyship will allow me the honor of riding with you, I shall do my best to protect you from further mishap. MRS. O'REILLY But I should n't like to put you to such trouble, Mister? RODERICK O'Higgins. Mohawk O'Higgins.",
"EXT. ROADSIDE INN - DAY They stop at the inn. RODERICK -LRB- very gallantly. -RRB- As you have been robbed of your purse, may I have permission to lend your ladyship a couple of pieces to pay any expenses which you might incur before reaching your home? MRS. O'REILLY -LRB- smiling. -RRB- That's very kind of you, Mr. O'Higgins. He gives her two gold pieces.",
"INT. INN - DAY Roderick and Mrs. O'Reilly finishing their meal. We will hear dialogue underneath Roderick's voice over. RODERICK -LRB- V.O. -RRB- How different was her lively rattle to the vulgar wenches at Kilwangan assemblies. In every sentence, she mentioned a lord or a person of quality. To the lady's question about my birth and parentage, I replied that I was a young gentleman of large fortune, that I was going to Dublin for my studies, and that my mother allowed me five hundred per annum. MRS. O'REILLY You must be very cautious with regard to the company you should meet in Dublin, where rogues and adventurers of all countries abound. I hope you will do me the honor of accepting lodgings in my own house, where Captain O'Reilly will welcome with delight, my gallant young preserver. Paying the bill. RODERICK -LRB- V.O. -RRB- Perhaps had I been a little older in the world's experience, I should have begun to see that Madame O'Reilly was not the person of fashion she pretended to be ; but, as it was, I took all her stories for truth, and, when the landlord brought the bill for dinner, paid it with the air of a lord. Indeed, she made no motion to produce the two pieces I had lent her.",
"EXT. DUBLIN - STREET - NIGHT They ride by. RODERICK -LRB- V.O. -RRB- And so we rode on slowly towards Dublin, into which city we made our entrance at nightfall. The rattle and splendor of the coaches, the flare of the linkboys, the number and magnificence of the houses, struck me with the greatest wonder ; though I was careful to disguise this feeling.",
"EXT. O'REILLY HOUSE - DUBLIN - NIGHT RODERICK -LRB- V.O. -RRB- We stopped at length at a house of rather mean appearance, and were let into a passage which had a great smell of supper and punch.",
"INT. O'REILLY HOUSE - DINING ROOM - NIGHT Captain O'Reilly, a stout red - faced man, without a periwig, and in a rather tattered nightgown and cap. Roderick and Mrs. O'Reilly. CAPTAIN O'REILLY Mr. O'Higgins, I can not say how grateful I am for your timely assistance to my wife. RODERICK I am only sorry that I was unable to prevent the villain from carrying off all her ladyship's money and pearls. CAPTAIN O'REILLY Mr. O'Higgins, we are in your debt, and rest assured, sir, you have friends in this house whenever you are in Dublin. -LRB- pours a glass. -RRB- Mister O'Higgins, I wonder if I know your good father? RODERICK Which O'Higgins do you know? For I have never heard your name mentioned in my family. CAPTAIN O'REILLY Oh, I am thinking of the O'Higgins of Redmondstown. General O'Higgins was a close friend of my wife's dear father, Colonel Granby Somerset. RODERICK Ah - I see. No, I'm afraid mine are the O'Higgins of Watertown. CAPTAIN O'REILLY I have heard of them. There are relics of some mutton - chops and onions on a cracked dish before them. CAPTAIN O'REILLY My love, I wish I had known of your coming, for Bob Moriaty and I just finished the most delicious venison pasty, which His Grace the Lord Lieutenant, sent us, with a flash of sillery from his own cellar. You know the wine, my dear? But as bygones are bygones, and no help for them, what say ye to a fine lobster and a bottle of as good claret as any in Ireland? Betty, clear these things from the table, and make the mistress and our young friend welcome to our home. Captain O'Reilly searches his pockets for some money to give to Betty. CAPTAIN O'REILLY I'm sorry, Mr. O'Higgins, but I do n't seem to have any small change. May I borrow a ten - penny piece to give to the girl? MRS. O'REILLY I have some money, my dear. Here, Betty, go to the fishmonger and bring back our supper, and mind you get the right change. She takes out one of the golden guineas Roderick gave to her.",
"INT. DINNING ROOM - LATER They are eating. RODERICK -LRB- V.O. -RRB- Our supper was seasoned, if not by any great elegance, at least by a plentiful store of anecdotes, concerning the highest personages of the city, with whom, according to himself, the captain lived on terms of the utmost intimacy. Not to be behind hand with him, I spoke of my own estates and property as if I was as rich as a duke.",
"INT. O'REILLY HOUSE - BEDROOM - NIGHT The couple wishing Roderick goodnight. RODERICK -LRB- V.O. -RRB- Had I been an English lad, the appearance of the chamber I occupied might, indeed, have aroused instantly my suspicion and distrust. But we are not particular in Ireland on the score of neatness, hence the disorder of my bed - chamber did not strike me so much. Broken door. RODERICK -LRB- V.O. -RRB- Was there a lock to the door, or a hasp to fasten it to? Dress lying over bed. RODERICK -LRB- V.O. -RRB- Though my counterpane was evidently a greased brocade dress of Mrs. O'Reilly. Cracked mirror. RODERICK -LRB- V.O. -RRB- And my cracked toilet - glass not much bigger than a half - crown, yet I was used to these sort of ways in Irish houses, and still thought myself to be in that of a man of fashion. Drawers, full of junk. RODERICK -LRB- V.O. -RRB- There was no lock to the drawers, which, when they did open, were full of my hostess' rouge - pots, shoes, stays, and rags.",
"INT. BEDROOM - O'REILLY HOUSE - NIGHT In the middle of the night, Mrs. O'Reilly comes to Roderick's room on a flimsy pretext, and in the course of events, he has his first woman.",
"INT. COACH - DAY Roderick, Captain and Mrs. O'Reilly. CAPTAIN O'REILLY I need n't ask whether you had a comfortable bed. Young Fred Pimpleton slept in it for seven months, during which he did me the honor to stay with me, and if he was satisfied, I do n't know who else would n't be.",
"EXT. PROMENADE - PHOENIX PARK - DAY Roderick, Captain and Mrs. O'Reilly, their friends. Various cuts. RODERICK -LRB- V.O. -RRB- After breakfast, we drove out to Phoenix Park, where numbers of the young gentry were known to Mrs. O'Reilly, to all of whom she presented me in such a complimentary way that, before half an hour, I had got to be considered as a gentleman of great expectations and large property.",
"INT. O'REILLY HOUSE - NIGHT RODERICK -LRB- V.O. -RRB- I had little notion then that I had got amongst a set of impostors - that Captain O'Reilly was only an adventurer, and his lady a person of no credit. The fact was, a young man could hardly have fallen into worse hands than those in which I now found myself. An evening of gambling. RODERICK -LRB- V.O. -RRB- Their friends were always welcome on payment of a certain moderate sum for their dinner after which, you may be sure, that cards were not wanting, and that the company who played did not play for love merely. Various cuts of the characters present. RODERICK -LRB- V.O. -RRB- What could happen to a man but misfortune from associating with such company? And in a very, very short time I became their prey. Roderick loses two hundred guineas to Captain O'Reilly in a single hand. We see Captain O'Reilly cheat, but Roderick does not. He pays him the 18 gold guineas, remaining from the sum his mother gave him. RODERICK I shall have to write out a note for the rest of it, Captain O'Reilly.",
"EXT. STREET - OUTSIDE O'REILLY HOUSE - DAWN Roderick exits to the street. The sound of the gambling can still be heard in the street. He is soon joined by Councillor Mulligan. COUNCILLOR MULLIGAN Master Roderick, you appear a young fellow of birth and fortune ; let me whisper in your ear that you have fallen into very bad hands - it's a regular gang of swindlers ; and a gentleman of your rank and quality should never be seen in such company. The captain has been a gentleman's gentleman, and his lady of no higher rank. Go home, pack your valise, pay the little trifle you owe me, mount your mare, and ride back again to your parents - it's the very best thing you can do. Roderick does not reply, and walks slowly away from him down the street.",
"INT. O'REILLY HOUSE - RODERICK'S BEDROOM - EARLY MORNING Roderick enters. RODERICK -LRB- V.O. -RRB- Into a pretty nest of villains, indeed, was I plunged! When I returned to my bed - chamber, a few hours later, it seemed as if all my misfortunes were to break on me at once. Valise open, wardrobe lying on the ground, and Roderick's keys in the possession of O'Reilly and his wife. CAPTAIN O'REILLY Whom have I been harboring in my house? Who are you, sirrah? RODERICK Sirrah! Sirrah, I am as good a gentleman as any in Ireland! CAPTAIN O'REILLY You're an impostor, young man, a schemer, a deceiver! RODERICK Repeat the words again, and I run you through the body. CAPTAIN O'REILLY Tut, tut! I can play at fencing as well as you, Mr. Roderick James. Ah! You change color, do you? Your secret is known, is it? You come like a viper into the bosom of innocent families ; you represent yourself as the heir to my friends the O'Higgins of Castle O'Higgins ; I introduce you to the nobility and gentry of this methropolis ; I take you to my tradesmen, who give you credit. I accept your note for near two hundred pounds, and what do I find? A fraud. He holds up the name, Roderick James, printed on the linen. CAPTAIN O'REILLY Not Master O'Higgins of Watertown, but Roderick James of the devil only knows where. Captain O'Reilly gathers up the linen clothes, silver toilet articles, and the rest of Roderick's gear. RODERICK Hark ye, Mr. O'Reilly, I will tell you why I was obliged to alter my name, which is James and the best name in Ireland. I changed it, sir, because, on the day before I came to Dublin, I killed a man in deadly combat - an Englishman, sir, and a Captain in His Majesty's service ; and if you offer to let or hinder me in the slightest way, the same arm which destroyed him is ready to punish you. So saying, Roderick draws his sword like lightning, and giving a `` ha, ha!'' and a stamp with his foot, lunges it within an inch of O'Reilly's heart, who starts back and turns deadly pale, while his wife, with a scream, flings herself between them. MRS. O'REILLY Dearest Roderick - be pacified. O'Reilly, you do n't want the poor child's blood. Let him escape - in Heaven's name, let him go. CAPTAIN O'REILLY -LRB- sulkily. -RRB- He may go hang for me, and he's better be off quickly, for I shall go to the magistrate if I see him again. O'Reilly exits. His wife sits down on the bed and begins to cry.",
"EXT. DUBLIN STREET - DAY Roderick riding down the street, with his valise. RODERICK -LRB- V.O. -RRB- Where was now a home for the descendant of the James? I was expelled from Dublin by a persecution occasioned, I must confess, by my own imprudence. I had no time to wait and choose. No place of refuge to fly to.",
"INT. ALE HOUSE - DAY RODERICK -LRB- V.O. -RRB- There was a score of recruiting parties in the town beating up for men to join our gallant armies in America and Germany. Roderick approaches a Captain and a Sergeant, who quickly make him welcome. RODERICK I will tell you frankly, sir. I am a young gentleman in difficulties ; I have killed an officer in a duel, and I am anxious to get out of the country. RODERICK -LRB- V.O. -RRB- But I need n't have troubled myself with any explanations ; King George was in too much want of men to heed from whence they came - and a fellow of my inches was always welcome. Indeed, I could not have chosen my time better. A transport was lying at Dunleary, waiting for a wind.",
"EXT. BRITISH WARSHIP AT SEA - DAY RODERICK -LRB- V.O. -RRB- I never had a taste for any thing but genteel company, and hate all descriptions of low life. Hence my account of the society in which I at present found myself must of necessity be short. The reminiscences of the horrid black - hole of a place in which we soldiers were confined, of the wretched creatures with whom I was now forced to keep company, of the plowmen, poachers, pickpockets, who had taken refuge from poverty, or the law, as, in truth, I had done myself, is enough to make me ashamed even now. Roderick sits very disconsolately over a platter of rancid bacon and moldy biscuit, which is served to him at mess. When it comes to his turn to be helped to drink, he is served, like the rest, with dirty tin noggin, containing somewhat more than half a pint of rum and water. The beaker is so greasy and filthy that he can not help turning round to the messman and saying : RODERICK Fellow, get me a glass! At which, all the wretches round him burst into a roar of laughter, the very loudest among them being Mr. Toole, a red - haired monster of a man. MR. TOOLE Get the gentleman a towel for his hands, and serve him a basin of turtle - soup. Roars the monster, who is sitting, or rather squatting, on the deck opposite him, and as he speaks, he suddenly seizes Roderick's beaker of grog and empties it in midst of another burst of applause. LINK-BOY -LRB- whispers. -RRB- If you want to vex him, ask him about his wife, the washerwoman, who bates him. RODERICK Is it a towel of your wife's washing, Mr. Toole? I'm told she wiped your face often with one. LINK-BOY -LRB- whispers. -RRB- Ask him why he would n't see her yesterday, when she came to the ship. RODERICK -LRB- V.O. -RRB- And so I put to him some other foolish jokes about soapsuds, hen - pecking, and flat - irons, which set the man into a fury, and succeeded in raising a quarrel between us. Roderick and Toole fight with cudgels. Roderick gives him a thump across his head which lays him lifeless on the floor. RODERICK -LRB- V.O. -RRB- This victory over the cock of the vile dunghill obtained me respect among the wretches among whom I formed part.",
"EXT. MILITARY DRILL FIELD - CUXHAVEN - DAY RODERICK -LRB- V.O. -RRB- Our passage was very favorable, and in two days we landed at Cuxhaven, and before I had been a month in the Electorate, I was transported into a tall and proper young soldier, and, having a natural aptitude for military exercise, was soon as accomplished at the drill as the oldest sergeant in the regiment. Various cuts. Roderick learning the soldierly arts, musket drill, manual of arms, bayonet, marching.",
"EXT. MILITARY COURTYARD - CUXHAVEN - DAY The Cuxhaven troops are drawn up to receive a new regiment, arrived from England. Roderick sees, marching at the head of his company, his old friend, Captain Grogan, who gives him a wink. RODERICK -LRB- V.O. -RRB- Six weeks after we arrived in Cuxhaven, we were reinforced by Gales regiment of foot from England, and I promise you the sight of Grogan's face was most welcome to me, for it assured me that a friend was near me.",
"INT. GROGAN'S QUARTERS - DAY Roderick and Grogan. RODERICK -LRB- V.O. -RRB- Grogan gave me a wink of recognition, but offered no public token of acquaintance and it was not until two days afterwards that he called me into his quarters, and then, shaking hands with me cordially, gave me news which I wanted, of my family. CAPTAIN GROGAN I had news of you in Dublin. Faith, you've begun early, like your father's son, but I think you could not do better than as you have done. But why did you not write home to your poor mother? She has sent half - a - dozen letters to you in Dublin. RODERICK I suppose she addressed them to me in my real name, by which I never thought to ask for them at the post office. CAPTAIN GROGAN We must write to her today, and you can tell her that you are safe and married to `` Brown Bess.'' Roderick sighs when Grogan says the word `` married,'' on which Grogan says with a laugh : CAPTAIN GROGAN I see you are thinking of a certain young lady at Duganstown. RODERICK Is Miss Dugan well? CAPTAIN GROGAN There's only six Miss Dugans now. poor Dorothy. RODERICK Good heavens! Whatever? Has she died of grief? CAPTAIN GROGAN She took on so at your going away that she was obliged to console herself with a husband. She is now Mrs. John Best. RODERICK Mrs. John Best! Was there another Mr. John Best?! CAPTAIN GROGAN No, the very same one, my boy. He recovered from his wound. The ball you hit him with was not likely to hurt him. It was only made of tow. Do you think the Dugans would let you kill fifteen hundred a - year out of the family? The plan of the duel was all arranged in order to get you out of the way, for the cowardly Englishman could never be brought to marry from fear of you. But hit him you certainly did, Roderick, and with a fine thick plugget of tow, and the fellow was so frightened that he was an hour in coming to. We told your mother the story afterwards, and a pretty scene she made. RODERICK The coward! CAPTAIN GROGAN He has paid off your uncle's mortgage. He gave Dorothy a coach - and - six. That coward of a fellow has been making of your uncle's family. Faith, the business was well done. Your cousins, Michael and Harry, never let him out of their sight, though he was for deserting to England, until the marriage was completed, and the happy couple off on their road to Dublin. Are you in want of cash, my boy? You may draw upon me, for I got a couple of hundred out of Master Best for my share and, while they last, you shall never want.",
"EXT. VARIOUS LOCATIONS - BRITISH ON THE MARCH - DAY Roderick on the march. RODERICK -LRB- V.O. -RRB- Our regiment, which was quartered about Stade and Luneberg, speedily had got orders to march southwards towards the Rhine, where we would fight the famous battle of Minden. It would require a greater philosopher and historian than I am to explain the causes of the famous Seven Years' War in which Europe was engaged, and, indeed, its origin has always appeared to me to be so complicated, and the books written about it so amazingly hard to understand, that I have seldom been much wiser at the end of a chapter than at the beginning, and so shall not trouble you with any personal disquisitions concerning the matter. Various cuts featuring Roderick ; marching, cooking at open fires, gambling, resting in a farm yard, officers riding by ; shivering in his blanket.",
"EXT. BATTLEFIELD OF MINDEN - BATTLE FRAGMENT - DAY Roderick and his company. RODERICK -LRB- V.O. -RRB- Were these memoirs not characterized by truth, I might easily make myself the hero of some strange and popular adventures.",
"EXT. MINDEN - BATTLE FRAGMENTS - DAY Officers ride by in smoke. Troops marching to the attack. RODERICK -LRB- V.O. -RRB- But I saw no one of the higher ranks that day than my colonel and a couple of orderly officers riding by in the smoke - no one on our side, that is. A poor corporal is not generally invited into the company of commanders and the great. Roderick advancing. RODERICK -LRB- V.O. -RRB- But, in revenge, I saw, I promise you, some very good company on the French part, for their regiments of Lorraine and Royal Cravate were charging us all day ; and in the sort of melee high and low are pretty equally received. I hate bragging, but I can not help saying that I made a very close acquaintance with the colonel of the Cravates. Roderick firing his musket. He bayonets a French colonel, amidst shouts and curses. RODERICK -LRB- V.O. -RRB- And finished off a poor little ensign, so young, slender, and small, that a blow from my pigtail would have dispatched him. Roderick kills a French ensign with a blows from the butt of his musket. RODERICK -LRB- V.O. -RRB- And in the poor ensign's pocket found a purse of fourteen louis d'or, and a silver box of sugar - plums, of which the former present was very agreeable to me. Roderick taking money and the box of sugar - plums from the ensign. RODERICK -LRB- V.O. -RRB- If people would tell their stories of battles in this simple way, I think the cause of truth would not suffer by it. All I know of this famous fight of Minden, except from books, is told here above. Captain Grogan is shot, cries out, and falls. A brother captain turns to Lieutenant Lakenham. CAPTAIN Grogan's down ; Lakenham, there's your company. RODERICK -LRB- V.O. -RRB- That was all the epitaph my brave patron got. Roderick kneels above Grogan. CAPTAIN GROGAN I should have left you a hundred guineas, Roderick, but for a cursed run of ill - luck last night at faro. He gives Roderick a faint squeeze of the hand ; and, as the word is given to advance, Roderick leaves him. RODERICK -LRB- V.O. -RRB- When we came back to our ground, which we presently did, he was lying still, but he was dead. Some of our people had already torn off his epaulets, and, no doubt, had rifled his purse.",
"EXT. VARIOUS ROUGH RURAL LOCATIONS - DAY Short cuts to voice over. Roderick and British troops rape, pillage and burn. RODERICK -LRB- V.O. -RRB- After the death of my protector, Captain Grogan, I am forced to confess that I fell into the very worst of courses and company. In a foreign country, with the enemy before us, and the people continually under contribution from one side or the other, numberless irregularities were permitted to the troops. It is well for gentlemen to talk of the age of chivalry ; but remember the starving brutes whom they lead - men nursed in poverty, entirely ignorant, made to take pride in deeds of blood - men who can have no amusement but in drunkenness, debauch, and plunder. It is with these shocking instruments that your great warriors and kings have been doing their murderous work in the world.",
"EXT. BATTLEFIELD - WARBURG - BATTLE FRAGMENTS - DAY RODERICK -LRB- V.O. -RRB- The year in which George II died, our regiment had the honor to be present at the Battle of Warburg, where Prince Ferdinand once more completely defeated the Frenchmen. Lieutenant Lakenham is shot, falls, and cries for help. RODERICK -LRB- V.O. -RRB- During the action, my lieutenant, Mr. Lakenham, of Lakenham, was struck by a musket - ball in the side. He had shown no want of courage in this or any other occasion where he had been called upon to act against the French ; but this was his first wound, and the young gentleman was exceedingly frightened by it. LAKENHAM Here, you, Roderick James. I will pay you five guineas if you will carry me into the town which is hard by those woods. Roderick and another man take him up in a cloak, and carry him towards the nearby town of Warburg.",
"EXT. A FARMHOUSE - GERMAN STREET - WARBURG - DAY In order to get into the house, Roderick and the other man are obliged to fire into the locks with their pieces, which summons brings the inhabitants of the house to the door ; a very pretty and black - eyed, young woman, and her old, half - blinded father. They are at first unwilling to accommodate the guest, but Mr. Lakenham, speaking to them in German, and taking a couple of guineas out of a very full purse, speedily convinces the people that they have only to deal with a person of honor.",
"INT. WARBURG FARMHOUSE - BEDROOM - DAY They carry Lieutenant Lakenham to bed and receive their five guineas. RODERICK -LRB- V.O. -RRB- We put the patient to bed, and he paid me the stipulated reward. A young surgeon, who desired nothing better than to take himself out of the fire of the musketry, came presently to dress the wound. In his German jargon, Roderick pays some deserved compliments to the black - eyed beauty of Warburg, thinking, with no small envy, how comfortable it would be to be billeted there.",
"EXT. STREET - WARBURG - OUTSIDE THE FARMHOUSE - DAY He starts back to the regiment, with his comrade, when the man interrupts his reverie by suggesting they divide the five guineas. PRIVATE I should get half. RODERICK Your share is one guinea. Roderick gives him one guinea. PRIVATE He gave you five guineas, and I bloody well expect half. RODERICK Go to the devil. The private lifting his musket, hits Roderick a blow with the butt - end of it, which sends him stunned to the ground, allowing his comrade to take the other four guineas from his pocket. Recovering his senses, Roderick bleeding, with a large wound in the head, has barely time to stagger back to the house where he had just left the lieutenant, when he falls fainting at the door, just as the surgeon exits.",
"INT. WARBURG FARMHOUSE - BEDROOM - DAY Roderick is carried by the surgeon and the black - eyed girl, into another bed in the room where the Lieutenant has been laid. LAKENHAM -LRB- languidly, in pain. -RRB- Who are you putting into that bed? LISCHEN We have the Corporal, wounded, to you bringing. LAKENHAM A corporal? Turn him out. Schicken sie Herrn Koporal weg!",
"INT. WARBURG FARMHOUSE - BEDROOM - NIGHT AND DAY Lischen brings Roderick a refreshing drink ; and, as he takes it, he presses the kind hand that gave it to him ; nor does this token of his gratitude seem unwelcome. RODERICK -LRB- V.O. -RRB- I found Lischen the tenderest of nurses. Whenever any delicacy was to be provided for the wounded lieutenant, a share was always sent to the bed opposite his, and to the avaricious man's no small annoyance. Lischen serving food. Various cuts, representing different days. Lakenham behaving as rottenly as Roderick describes : RODERICK -LRB- V.O. -RRB- Nor was I the only person in the house to whom the worthy gentleman was uncivil. He ordered the fair Lischen hither and thither, made impertinent love to her, abused her soups, quarreled with her omelettes, and grudged the money which was laid out for his maintenance, so that our hostess detested him as much as, I think, without vanity, as she regarded me. Roderick making lover to Lischen while Lieutenant Lakenham sulks in the next bed. RODERICK -LRB- V.O. -RRB- For if truth must be told, I had made very deep love to her during my stay under her roof, as is always my way with women, of whatever age or degree of beauty. Do not think me very cruel and heartless, ladies ; this heart of Lischen's was like many a town, which had been stormed and occupied several times before I came to invest it, Roderick sitting up in bed. Lischen has just served him his supper. Enter a British officer, an aide who carries a notebook, and a surgeon. In a brief scene to be written, we learn that a sudden movement on the part of the French requires the British army to follow them. The town is to be evacuated, except for some Prussian line - of - communication troops, whose surgeons are to visit the wounded in the place ; and, when they are well, they are to be drafted to their regiments. RODERICK -LRB- V.O. -RRB- I began to reflect how pleasant my quarters were to me, and that I was much better here than crawling under an odious tent with a parcel of tipsy soldiers, or going the night - rounds, or rising long before daybreak for drill. I determined that I never would join mine again.",
"EXT. VIEW OUT OF WARBURG FARMHOUSE WINDOW - DAY Roderick stands by the window, watching English troops and wagons leaving the town.",
"INT. WARBURG FARMHOUSE - BEDROOM - DAY Roderick walks into Lakenham's room attired in his full regimentals, and with his hat cocked over his left eye. RODERICK I'm promoted Lieutenant. I've come to take my leave of you. I intend to have your papers and purse. LAKENHAM You great scoundrel! You mutinous dog! What do you mean by dressing yourself in my regimentals? As sure as my name's Lakenham, when we get back to the regiment, I'll have your soul cut out of your body. With this, Roderick puts his hand under his pillow, at which Lakenham gives a scream that might have called the whole garrison about his ears. Roderick threatens him with a knife at his throat. RODERICK Hark ye, sir! No more noise, or you are a dead man! Roderick, taking his handkerchief, binds it tight round his mouth, and, pulling forward the sleeves of his shirt, ties them in a knot together, and so leaves him, removing the papers and the purse, and wishing him politely a good day.",
"EXT. WARBURG FARMHOUSE - STREET - DAY Lischen, waiting outside the house, with a saddled horse, throws her arms around him, and makes the tenderest adieu. Roderick mounts his newly - purchased animal, waves his hat gallantly, and, prances away down the street.",
"EXT. ROAD - DAY Roderick happily riding along a wooded country road, rounds a blind bend and sees suddenly before him, about two hundred yards away, a company of Prussian infantry resting along the sides of the road, together with a dozen mounted dragoons. A quick calculation tells him that is is better to proceed than to turn back, and he rides into their midst, approaching a group of officers. He presents himself as Lieutenant Lakenham and asks for directions to join his regiment. He is told that he is riding in the wrong direction, and is shown a map. During the explanation, Captain Galgenstein approaches with an open, smiling countenance, introduces himself, and says he, too, is bound for the same place, and asks if Roderick will honor him with his company. To avoid suspicion, Roderick readily accepts the offer, and the two men mount up, and ride off together.",
"EXT. ROAD - GERMANY - DAY Roderick and Galgenstein riding together. Dialogue under voice over. RODERICK -LRB- V.O. -RRB- My companion treated me with great civility, and asked me a thousand questions about England, which I answered as best I might. But this best, I am bound to say, was bad enough. I knew nothing about England, and I invented a thousand stories which I told him ; described the king and the ministers to him, said the British ambassador in Berlin was my uncle, and promised my acquaintance a letter of recommendation to him. CAPTAIN GALGENSTEIN What is your uncle's name? RODERICK -LRB- slowly. -RRB- O'Grady. CAPTAIN GALGENSTEIN -LRB- with a laugh. -RRB- Oh, yes, of course, Ambassador O'Grady.",
"EXT. DESOLATE GERMAN ROAD - DAY Roderick and Captain Galgenstein. Their horses' heads together, jogging on. They pass a party of recruits under the armed guard of a red - coated Hanoverian sergeant. He exchanges signs of recognition with Captain Galgenstein. CAPTAIN GALGENSTEIN It hurts my feelings to be obliged to commune with such wretches, but the stern necessities of war demand men continually, and hence these recruiters whom you see market in human flesh. They get five - and - twenty thaler a man from our government for every man they bring in. For fine men - for men like you. -LRB- he adds laughing. -RRB- They would go as high as hundred.",
"EXT. DESOLATE GERMAN INN - LATE AFTERNOON Roderick and Captain Galgenstein approach a very lonely - looking place. CAPTAIN GALGENSTEIN This is a very good inn. Shall we stop for dinner? RODERICK This may be a very good inn for Germany, but it would not pass in old Ireland. Corbach is only a league off, let us push on for Corbach. CAPTAIN GALGENSTEIN Do you want to see the loveliest woman in Europe? Roderick smiles. CAPTAIN GALGENSTEIN Ah! You sly rogue, I see that will influence you. RODERICK The place seems more a farm than an inn - yard. CAPTAIN GALGENSTEIN The people are great farmers, as well as inn - keepers. They enter by a great gate into a court, walled round, and at on end of which is the building, a dingy ruinous place. A couple of covered wagons are in the courtyard ; their horses are littered under a shed hard by. Lounging about the place are some men, and a pair of sergeants in the Prussian uniform, who both touch their hats to the captain. The inn has something foreboding about it, and the men shut the great yard - gates as soon as they enter. CAPTAIN GALGENSTEIN -LRB- explaining the gate. -RRB- Parties of French horsemen are about the country, and one can not take too many precautions against such villains. The two sergeant take charge of the horses ; the captain orders one of them to take Roderick's valise to his bedroom. Roderick promises the sergeant a glass of schnapps for his pains. They enter into supper.",
"INT. GERMAN INN - LATE AFTERNOON A dish of fried eggs and bacon is ordered from a hideous old wench that comes to serve them, in place of the lovely creature which had been expected ; and the captain, laughing, says : CAPTAIN GALGENSTEIN Well, our meal is a frugal one, but a soldier has many a time a worse. Taking off his hat, sword - belt, and gloves, with great ceremony, Galgenstein sits down to eat. Roderick puts his weapons securely on the old chest of drawers where the captain's is laid. The hideous old woman brings in a pot of very sour wine, at which, and at her ugliness, Roderick feels a considerable ill - humor. RODERICK -LRB- when she leaves. -RRB- Where's the beauty you promised me? CAPTAIN GALGENSTEIN -LRB- laughing and looking hard at Roderick. -RRB- It was my joke. I was tired, and did not care to go farther. There's not prettier woman here than that. If she wo n't suit your fancy, my friend, then you must wait awhile. This increases Roderick's ill - humor. RODERICK -LRB- sternly. -RRB- Upon my word, sir, I think you have acted very coolly. CAPTAIN GALGENSTEIN I have acted as I think fit. RODERICK Sir, I'm a British officer. CAPTAIN GALGENSTEIN It's a lie! You're a deserter! You're an impostor, sir ; Your lies and folly have confirmed this to me. You pretend to carry dispatches to a general who has been dead these ten months ; you have an uncle who is an ambassador and whose name you do n't know. Will you join and take the bounty, sir, or will you be given up? RODERICK Neither! Springing at him like a tiger. But, agile as he is, Galgenstein is equally on his guard. He takes two pistols out of his pockets, fires one off, and says, from the other end of the table where he stands dodging Roderick, as it were. CAPTAIN GALGENSTEIN Advance a step, and I send this bullet into your brains! The door is flung open, and the two sergeants enter, armed with musket and bayonet to aid their captain. The game is up. Roderick flings down a knife with which he had armed himself, for the old hag, on bringing in the wine, had removed his sword. RODERICK I volunteer.",
"EXT. A ROAD - DAY Prussian troops on the march. Roderick is now one of them. Captain Galgenstein rides by. RODERICK -LRB- V.O. -RRB- At the close of the Seven Years' War, the Prussian army, so renowned for its disciplined valor, was officered and under - officered by native Prussians, it is true, but was composed for the most part of men hired or stolen, like myself, from almost every nation in Europe. The deserting to and fro was prodigious.",
"EXT. A FIELD - DAY Prussian punishment gauntlet. RODERICK -LRB- V.O. -RRB- The life the private soldier led was a frightful one to any but the men of iron courage and endurance. The punishment was incessant.",
"EXT. VARIOUS RURAL LOCATIONS - DAY RODERICK -LRB- V.O. -RRB- I was not near so unhappy, in spite of all, as I had been on my first enlisting in Ireland. At least, there will be no one of my acquaintance who will witness my shame, and that is the point which I have always cared for most. Rape, pillage and burn. Brief thematic repeat of British army version. RODERICK -LRB- V.O. -RRB- I reasoned with myself thus : `` Now you are caught, there is no use in repining - make the best of your situation, and get all the pleasure you can out of it. There are a thousand opportunities of plunder, offered to the soldier in war time, out of which he can get both pleasure and profit ; make use of these, and be happy.''",
"EXT. BATTLEFIELD - FRAGMENT Prussians against Austrians, or French, or Saxons. Roderick fighting. RODERICK -LRB- V.O. -RRB- I do not intend to make a history of battles in the Prussian any more than in the English service. I did my duty in them as well as another, and there was not a braver, cleverer, handsomer, and, I must own, wickeder soldier in the Prussian army.",
"EXT. BATTLEFIELD - ACTION - DAY RODERICK I had formed myself to the condition of the proper fighting beast ; on a day of action, I was savage and happy. Roderick saves Captain Galgenstein's life.",
"EXT. FIELD - DAY Roderick is decorated by Colonel Bulow for his heroism in saving Captain Galgenstein. Colonel Bulow gives Roderick two Frederic d'or in front of the regiment. COLONEL BULOW You are a gallant soldier, and have evidently come of good stock ; but you are idle, dissolute, and unprincipled ; you have done a deal of harm to the men ; and, for all your talents and bravery, I am sure you will come to no good. RODERICK I hope Colonel Bulow is mistaken regarding my character. I have fallen into bad company, it is true ; but I have only done as other soldiers have done ; and, above all, I have never had a kind friend and protector before, to whom I might show that I was worthy of better things. The Colonel may say I am a ruined lad, and send me to the devil ; but be sure of this, I would go to the devil to serve the regiment. Captain Galgenstein looks pleased with Roderick's performance. BERLIN - 1763 RODERICK -LRB- V.O. -RRB- Soon after the war ended, our regiment was garrisoned in the capital, the least dull, perhaps, of all the towns of Prussia ; but that does not say much for its gaiety.",
"INT. ANTE-ROOM - CAPTAIN GALGENSTEIN'S OFFICE - DAY Roderick enters and approaches the Captain's sergeant. RODERICK Private Roderick James. First Hanoverian Guards. Captain Galgenstein sent for me. PRUSSIAN SERGEANT You may wait. RODERICK Thank you, sir. Roderick stands stiffly. We can make out the sound of loud talking behind the closed door. Enter a private huffing and puffing. PRIVATE Sergeant, the wagon has arrived with the Captain's furniture, but the driver says he is not supposed to unload it. Is it possible for you to talk to him? Exit the sergeant, muttering. Roderick, now alone in the office, walks closer to the door so that he can hear what is being said. MINISTER GALGENSTEIN -LRB- O.S. -RRB- Give him his discharge! Bon Dieu! You are a model of probity! You'll never succeed to my place, my dear nephew, if you are no wiser than you are just now. Make the fellow as useful to you as you please. You say he has a good manner and a frank countenance, that he can lie with assurance, and fight, you say, on a pinch. The scoundrel does not want for good qualities. As long as you have the regiment in terrorem over him, you can do as you like with him. Once let him loose, and the lad is likely to give you the slip. Keep on promising him ; promise to make him a general, if you like. What the deuce do I care? There are spies enough to be had in this town without him. Roderick hears the sergeant returning and walks back to the door. Then the office door opens, Captain Galgenstein looks out, sees Roderick, smiles and say : CAPTAIN GALGENSTEIN Good morning, Private James. Please come in. I should like you to meet my uncle, Herr Minister of Police Galgenstein. RODERICK How do you do, sir? The Minister nods. RODERICK -LRB- V.O. -RRB- The captain was the nephew and heir of the Minister of Police, Herr Galgenstein, a relationship which, no doubt, aided in the younger gentlemen's promotion. CAPTAIN GALGENSTEIN Your loyalty to me and your service to the regiment has pleased me very well - and now there is another occasion on which you may make yourself useful to us ; if you succeed, depend on it, your reward will be your discharge from the army, and a bounty of 100 guineas. RODERICK What is the service, sir? CAPTAIN GALGENSTEIN There is lately come to Berlin a gentleman in the service of the Empress Queen, who calls himself the Chevalier de Belle Fast, and wears the red riband and star of the pope's order of the Spur. He is made for good society, polished, obliging, a libertine, without prejudices, fond of women, of good food, of high play, prudent and discreet. The Captain smiles at Roderick. CAPTAIN GALGENSTEIN He speaks Italian and French indifferently ; but we have some reason to fancy this Monsieur de Belle Fast is a native of your country of Ireland, and that he has come here as a spy. The Captain rises and begins to pace back and forth. CAPTAIN GALGENSTEIN Naturally, your knowledge of English makes you an ideal choice to go into his service. Of course, you will not know a word of English ; and if the Chevalier asks as to the particularity of your accent, say you are Hungarian. The servant who came with him will be turned away today, and the person to whom he has applied for a faithful fellow will recommend you. Roderick nods. CAPTAIN GALGENSTEIN You are a Hungarian ; you served in the army, and left on account of weakness in the loins. He gambles a great deal, and wins. Do you know the cards well? RODERICK Only a very little, as soldiers do. CAPTAIN GALGENSTEIN I had thought you more expert. You must find out if the Chevalier cheats. He sees the English and Austrian envoys continually, and the young men of either ministry sup repeatedly at his house. Find out what they talk of, for how much each plays, especially if any of them play on parole. If you are able to, read his private letters, though about those which go to the post, you need not trouble yourself - we look at them there. But never see him write a note without finding out to whom it goes, and by what channel or messenger. He sleeps with the keys of his dispatch - box with a string around his neck - twenty frederics, if you get an impression of the keys. MINISTER GALGENSTEIN Does this assignment interest you? RODERICK Yes, Minister, I am interested in any work in which I can be of service to Captain Galgenstein. The Minister studies Roderick, coldly.",
"EXT. CHEVALIER DE BELLE FAST'S HOUSE - BERLIN - DAY Roderick, now dressed in civilian clothes, admires a beautiful carriage, waiting at the door. Then he enters.",
"INT. CHEVALIER DE BELLE FAST'S APARTMENT - DAY CHEVALIER You are the young man who M. de Seebach recommended? RODERICK Yes, sir. Here is my letter. Roderick bows, and hands him a letter from that gentleman, with which the Captain had taken care to provide him. As the Chevalier reads the letter, Roderick has the leisure to examine him. He is a man of sixty years of age, dressed superbly, wearing rings, diamonds and laces. One of his eyes is closed with a black patch, and he wears a little white and red paint, and a pair of moustachios, which fall over his lip. The Chevalier is seated at a table near the window to read the letter. CHEVALIER Your name is Lazlo Zilagyi? RODERICK Yes, sir. CHEVALIER You come highly recommended by Herr Seebach. RODERICK Herr Seebach was a very kind employer. CHEVALIER For whom else have you worked? RODERICK No one, sir. Before that I served in the army but had to leave due to weakness of the loins. CHEVALIER Who else can give me information about you? RODERICK Only the agency of servants. The Chevalier puts the letter down, looks at Roderick for a few seconds, and then smiles. CHEVALIER You will do. I will give you 30. a day. I do not provide your clothing ; you will sleep at home, and you will be at my orders every morning at seven o'clock. He notices Roderick begin to tremble and look peculiar. CHEVALIER Is there something wrong? He goes up to Roderick. RODERICK -LRB- V.O. -RRB- It was very imprudent of me ; but when I saw the splendor of his appearance, the nobleness of his manner, I felt it impossible to keep disguise with him. You, who have never been out of your country know little what it is to hear a friendly voice in captivity ; and there's a many a man that will understand the cause of the burst of feeling which was about to take place. The Chevalier takes Roderick by the shoulder. RODERICK -LRB- as he speaks, bursting into tears. -RRB- Sir, I have a confession to make. I am an Irishman, and my name is Roderick James. I was abducted into the Prussian army two years ago, and now I have been put into your service by my Captain and his uncle, the Minister of Police, to serve as a watch upon your actions, of which I am to give information to the same quarter. For this odious service, I have been promised my discharge, and a hundred guineas. Sobbing, Roderick falls into his arms. CHEVALIER The rascals! They think to catch me, do they? Why, young man, my chief conspiracy is a faro - bank. But the king is so jealous, that he will see a spy in every person who comes to his miserable capital, in the great sandy desert here.",
"EXT. BERLIN - PARK - DAY Roderick and the Chevalier walking. RODERICK -LRB- V.O. -RRB- And I think he was as much affected as I was at thus finding one of his kindred ; for he, too, was an exile from home, and a friendly voice, a look, brought the old country back to his memory again, and the old days of his boyhood. CHEVALIER I'd give five years of my life to see the old country again, the greenfields, and the river, and the old round tower, and the burying place.",
"EXT. BERLIN - STREET - DAY Roderick and the Chevalier walking. CHEVALIER My lad, I have been in every service ; and, between ourselves, owe money in every capital in Europe. I have been a rolling stone. Play - play has been my ruin! That and beauty. The women have made a fool of me, my dear boy. I am a soft - hearted creature, and this minute, at sixty - two, have no more command of myself than when Peggy O'Dwyer made a fool of me at sixteen.",
"EXT. BERLIN - LAKE WANNSEE - DAY Roderick and the Chevalier walking along the bank. CHEVALIER The cards are now my only livelihood. Sometimes I am in luck, and then I lay out my money in these trinkets you see. It's property, look you, and the only way I have found of keeping a little about me. When the luck goes against me, why, my dear, my diamonds go to the pawnbrokers and I wear paste. Do you understand the cards? RODERICK I can play as soldiers do, but have no great skill. CHEVALIER We will practice in the mornings, my boy, and I'll put you up to a thing or two worth knowing.",
"INT. CHEVALIER'S ROOMS - BERLIN - DAY Quick cuts - Roderick being taught the profession of cards and the dice - box.",
"EXT. GARDEN HOUSE - BERLIN - DAY Roderick, Minister Galgenstein, and Captain Galgenstein. RODERICK -LRB- V.O. -RRB- I carried my little reports to Captain Galgenstein at the Garden house outside the town where he gave me rendezvous. These reports, of course, were arranged between me and the Chevalier beforehand. I was instructed, and it is always the best way, to tell as much truth as my story would possible bear. Dialogue comes up from under voice over. RODERICK He goes to church regularly - he is very religious, and after hearing mass comes home to breakfast. Then he takes an airing in his chariot till dinner, which is served at noon. After dinner, he writes his letters, if he has any letters to write ; but he has very little to do in this way. His letters are to the Austrian envoy, with whom he corresponds, but who does not acknowledge him ; and being written in English, or course, I look over his shoulder. He generally writes for money. He makes his party with Calsabigi, the lottery contractor, the Russian attaches, two from the English embassy, my lords Deuceace and Punter, who play a jeu d'enfer, and a few more. He wins often, but not always. Lord Deuceace is a very fine player. The Chevalier Elliott, the English Minister, sometimes comes, on which occasion the secretaries do not play.",
"INT. CHEVALIER'S APARTMENTS - NIGHT The Chevalier is at play against several gentlemen, including the Prince of Turbingen, while Roderick signals the cards. RODERICK -LRB- V.O. -RRB- It was agreed that I should keep my character of valet, that in the presence of strangers I should not know a word of English, that I should keep good lookout on the trumps when I was serving the champagne and punch about ; and, having a remarkably fine eyesight, and a great natural aptitude, I was speedily able to give my dear benefactor much assistance against his opponents at the green table. Several cuts of playing and cheating to illustrate voice over. RODERICK -LRB- V.O. -RRB- Simplicity was our secret. Everything successful is simple. If, for instance, I wiped the dust off a chair with my napkin, it was to show that the enemy was strong in diamonds ; if I pushed it, he had an ace, king ; if I said, `` Punch or wine, my lord?'' hearts was meant. If `` Wine or punch?'' clubs. If I blew my nose, it was to indicate that there was another confederate employed by the adversary ; and then, I warrant you, some pretty trials of skill would take place. The Prince of Turbingen, although so young, had a very great skill and cleverness with the cards in every way ; and it was only from hearing Ritter von Brandenburg, who came with him, yawn three times when the Chevalier had the ace of trumps, that I knew we were Greek to Greek, as it were. The Prince loses a big hand, and, in a fury, throws down his cards. He stares at the table, then at the Chevalier. PRINCE Chevalier, though I can not say how, I believe you have cheated me. CHEVALIER I deny your Grace's accusations, and beg you to say how you have been cheated? PRINCE -LRB- glaring at Roderick. -RRB- I do n't know. CHEVALIER Your Grace owes me seventy thousand frederics, which I have honorably won. PRINCE Chevalier, if you will have your money now, you must fight for it. If you will be patient, maybe I will pay you something another time. CHEVALIER Your Grace, if I am so tame as to take this, then I must give up an honorable and lucrative occupation. PRINCE I have said all there is to be said. I am at your disposal for whatever purposes you wish. Good night. He exits.",
"EXT. GARDEN HOUSE - DAY Roderick, Captain Galgenstein and Minister Galgenstein. MINISTER GALGENSTEIN Was he cheated? RODERICK In so far as I can tell these things - no. I believe the Chevalier won the money fairly. MINISTER GALGENSTEIN Hmm - mmmm. CAPTAIN GALGENSTEIN What are the Chevalier's intentions? RODERICK I am not sure. The Prince told him quite clearly that if he wished to have the money, he would have to fight for it. MINISTER GALGENSTEIN A meeting with the Prince of Turbingen is impossible. RODERICK The Prince left him only that choice. The Captain and the Minister walk a few steps away and speak in whispers. Then they return to Roderick. MINISTER GALGENSTEIN Will you be able to return here tomorrow without arousing suspicion?",
"INT. CHEVALIER'S APARTMENTS - DAY CHEVALIER Tell them I intend to demand satisfaction from the Prince. RODERICK But they will prevent a meeting at whatever the cost. CHEVALIER Have no fear. It will come out well for me. RODERICK I believe they will deport you. CHEVALIER I have faced that problem before. RODERICK But, if they send you away, then what is to become of me? CHEVALIER -LRB- with a smile. -RRB- Make your mind easy, you shall not be left behind, I warrant you. Do take a last look at your barracks, make your mind easy, say a farewell to your friends in Berlin. The dear souls, how they will weep when they hear you are out of the country, and, out of it, you shall go. RODERICK But how, sir?",
"EXT. GARDEN HOUSE - BERLIN - DAY Roderick, Captain Galgenstein and Minister Galgenstein. MINISTER GALGENSTEIN The King has determined to send the Chevalier out of the country. RODERICK When is he to go? CAPTAIN GALGENSTEIN Has he sent the challenge yet? RODERICK Not yet, but I believe he intends to. MINISTER GALGENSTEIN Then this must be done tomorrow. RODERICK What is to be done? CAPTAIN GALGENSTEIN You say he drives after breakfast and before dinner. When he comes out to his carriage a couple of gendarmes will mount the box, and the coachman will get his orders to move on. RODERICK And his baggage? CAPTAIN GALGENSTEIN Oh! That will be sent after him. I have a fancy to look into that red box which contains his papers, you say ; and at noon, after parade, shall be at the inn. You will not say a word to any one there regarding the affair, and will wait for me at the Chevalier's rooms until my arrival. We must force that box. You are a clumsy hound, or you would have got the key long ago.",
"EXT. CHEVALIER'S APARTMENTS - DAY Action as per voice over. RODERICK -LRB- V.O. -RRB- At ten o'clock the next morning, the carriage of the Chevalier de Belle Fast drew up as usual at the door of his hotel, and the Chevalier came down the stairs in his usual stately manner. Looking around and not finding his servant to open the door. CHEVALIER Where is my rascal, Lazlo? PRUSSIAN OFFICER -LRB- standing by the carriage. -RRB- I will let down the steps for your honor. No sooner does the Chevalier enter than the officer jumps in after him, another mounts the box by the coachman, and the latter begins to drive. CHEVALIER Good gracious! What is this? PRUSSIAN OFFICER -LRB- touching his hat. -RRB- You are going to drive to the frontier. CHEVALIER It is shameful - infamous! I insist upon being put down at the Austrian ambassador's house. PRUSSIAN OFFICER I have orders to gag your honor if you cry out, and to give you this purse containing ten thousand frederics if you do not. CHEVALIER Ten thousand? But the scoundrel owes me seventy thousand. PRUSSIAN OFFICER Your honor must lower his voice. CHEVALIER -LRB- whispering. -RRB- All Europe shall hear of this! PRUSSIAN OFFICER As you please. Both lapse into silence.",
"EXT. ROAD - DAY The coach drives by. Suddenly - `` boom,'' the alarm cannon begins to roar.",
"INT. COACH - DAY PRUSSIAN OFFICER Do not be alarmed. The alarm cannon only signals a deserter. Chevalier nods.",
"EXT. ROAD - DAY The coach drives by and action as described. RODERICK -LRB- V.O. -RRB- Hearing the sound of the alarm cannon, the common people came out along the road, with fowling - pieces and pitch - forks, in hopes to catch the truant. The gendarmes looked very anxious to be on the lookout for him too. The price of a deserter was fifty crowns to those who brought him in.",
"EXT. SAXON CUSTOM-HOUSE - DAY The black and white barriers came in view at last hard by Bruck, and opposite them the green and yellow of Saxony. The Saxon custom - house officers came out. CHEVALIER I have no luggage. PRUSSIAN OFFICER The gentleman has nothing contraband. The Prussian officers, grinning, hand the Chevalier the purse and take their leave of their prisoner with much respect. The Chevalier de Belle Fast gives them three frederic a - piece. CHEVALIER Gentlemen, I wish you a good day. Will you please go to the house from whence we set out this morning, and tell my man there to send my baggage on to Three Kings at Dresden? RODERICK -LRB- V.O. -RRB- Then ordering fresh horses, the Chevalier set off on his journey for that capital. I need not tell you that I was the Chevalier.",
"INT. ROOM - HOTEL DES TROIS COURONNES - DAY Roderick reading a letter over his breakfast in bed. CHEVALIER -LRB- V.O. -RRB- From the Chevalier de Belle Fast to Roderick James, Esquire, Gentilhomme Anglais. At the Hotel des trois Couronnes, Dresden, Saxe. My dear Roderick - This comes to you by a sure hand, no other than Mr. Lumpit, of the English mission, who is acquainted, as all Berlin will be directly, with our wonderful story. They only know half as yet ; they only know that a deserter went off in my clothes, and all are in admiration of your cleverness and valor.",
"INT. CHEVALIER'S ROOM - DAY Action as per description in letter. CHEVALIER -LRB- V.O. -RRB- As I lay in my bed two and a half hours after your departure, in comes your ex - captain, Galgenstein. CAPTAIN GALGENSTEIN -LRB- in his imperious Dutch manner. -RRB- Roderick! Are you there? No answer. CAPTAIN GALGENSTEIN The rogue is gone out. Action as per voice over. CHEVALIER -LRB- V.O. -RRB- Straightaway he makes for the red box where I keep my love letters, my glass eye which I used to wear, my two sets of Paris teeth, and my other private matters that you know of. He first tries a bunch of keys, but none of them fit the English lock. Then he takes out of his pocket a chisel and hammer, and falls to work like a professional burglar, actually bursting open the little box! Now was my time to act! I advance towards him armed with an immense water - jug. I come noiselessly up to him just as he has broken the box, and, with all my might, I deal him such a blow over the head as smashes the water - jug to bits, and sends the captain with a snort lifeless to the ground. Then I ring all the bells in the house ; and shout, and swear, and scream, `` Thieves! - Thieves! - Landlord! - Murder! - Fire!'' until the whole household comes tumbling up the stairs. CHEVALIER Where is my servant? Who dares to rob me in open day? Look at the villain whom I find in the act of breaking my chest open! Send for the police, send for his Excellency the Austrian Minister! All Europe shall know of this insult! LANDLORD Dear heaven! We saw you go away three hours ago. CHEVALIER Me! Why, man, I have been in bed all morning. I am ill - I have taken physic - I have not left the house this morning! Where is that scoundrel, Lazlo? But, stop! Where are my clothes and wig? CHAMBERMAID I have it - I have it! Lazlo is off in your honor's dress. CHEVALIER And my money - my money! Where is my purse with forty - eight frederics in it? But we have one of the villains left, Officers, seize him. LANDLORD -LRB- more and more astonished. -RRB- It's the young Herr Galgenstein. CHEVALIER What! A gentleman breaking open my trunk with hammer and chisel - impossible! CHEVALIER -LRB- V.O. -RRB- Herr Galgenstein was returning to life by this time, with a swelling on his skull as big as a saucepan ; and the officers carried him off, and, to make a long story short, poor Galgenstein is now on his way to Spandau ; and his uncle, the Minister of Police Galgenstein, has brought me five hundred louis, with a humble request that I would leave Berlin forthwith, and hush up this painful matter.",
"INT. GERMAN PALACE - BALLROOM - NIGHT Roderick, the Chevalier and the Duke of Wurttemberg. RODERICK -LRB- V.O. -RRB- The Chevalier de Belle Fast was in particularly good order with the Duke of Wurttemberg, whose court was, at this period, the most brilliant in all Europe. The Duke of Wurttemberg chatting with ballet dancers, who will perform at the party. RODERICK -LRB- V.O. -RRB- He spent fabulous sums on the ballets and operas. All the ballerinas were pretty, and they all boasted that they had all at least once made their amorous sovereign happy. Roderick and the Chevalier kissing hands, hobnobbing with the nobility, and dancing minuets. RODERICK -LRB- V.O. -RRB- There was not a party of the nobility to which the two Irish gentlemen were not invited, and admired, nor where we did not make the brave, the high - born and the beautiful talk to us. There was no man in Europe more gay in spirits, more splendid in personal accomplishment, than young Roderick James.",
"EXT. GERMAN STREET - DAWN Roderick and the Chevalier in a comfortable coach, on their way home to bed, pass troops marching out on early parade.",
"INT. COACH - DAWN Roderick sinks back into the comfortable cushion and yawns. RODERICK -LRB- V.O. -RRB- What a delightful life did we now lead! I knew I was born a gentleman, from the kindly way in which I took to the business, as business certainly it is.",
"INT. BEDROOM - GERMANY - DAY Roderick in a tub, being washed by a servant. RODERICK -LRB- V.O. -RRB- For though it seems all pleasure, yet I assure any low - bred persons who may chance to read this, that we, their betters, have to work as well as they ; though I did not rise until noon, yet had I not been up at play until long past midnight?",
"INT. ANOTHER BEDROOM - GERMANY - DAY His hair being done. RODERICK -LRB- V.O. -RRB- I came into it at once, and as if I had never done anything else all my life. I had a gentleman to wait upon me, a French friseur to dress my hair of a morning.",
"INT. DINING ROOM - NIGHT A candle - lit supper. RODERICK -LRB- V.O. -RRB- I knew the taste of chocolate as by intuition almost, and could distinguish between the right Spanish and the French before I had been a week in my new position. INSERTS - JEWELRY Action and cuts as voice over. RODERICK -LRB- V.O. -RRB- I had rings on my fingers, watches in both my fobs, trinkets, and snuff - boxes, of all sorts, and each outvying the other in elegance.",
"INT. RECEPTION ROOM - GERMANY - DAY As described. RODERICK -LRB- V.O. -RRB- I had the finest natural taste for lace and china of any man I ever knew.",
"EXT. STABLES - GERMANY - DAY Buying horses. RODERICK -LRB- V.O. -RRB- I could judge a horse as well as any dealer in Germany. I could not spell, but I could speak German and French cleverly.",
"INT. DRESSING ROOM - GERMANY - DAY Roderick being fitted for clothes. RODERICK -LRB- V.O. -RRB- I had at least twelve suits of clothes ; three richly embroidered with gold, two laced with silver ; one of French grey, silver - laced and lined with chinchilla. I had damask morning robes, to which a peacock's tail is as sober as a Quaker's drab skirt.",
"INT. ORANGERY - DAY Action as voice over. RODERICK -LRB- V.O. -RRB- I took lessons on the guitar, and sang French catches exquisitely. Where, in fact, was there a more accomplished gentleman than Roderick James?",
"INT. GAMING ROOM - GERMANY - NIGHT Action as per voice over. RODERICK -LRB- V.O. -RRB- How have we had the best blood, and the brightest eyes, too, of Europe throbbing round the table as I and the Chevalier have held the cards and the bank against some terrible player, who was matching some thousands out of his millions against our all which was there on the baize!",
"INT. GAMING ROOM - GERMANY - NIGHT Roderick dealing a faro bank. RODERICK -LRB- V.O. -RRB- Our principles were : play grandly, honorably. Be not, of course, cast down at losing ; but, above all, be not eager at winning, as mean souls are.",
"INT. GAMING ROOM - GERMANY - NIGHT Action as voice over. RODERICK -LRB- V.O. -RRB- When the Duke of Courland brought fourteen lackeys each with bags of florins, and challenged our bank to play against the sealed bags, what did we ask? CHEVALIER Sir, we have but eighty thousand florins in bank, or two hundred thousand at three months ; if your highness' bags do not contain more than eight thousand, we will meet you. Playing. RODERICK -LRB- V.O. -RRB- And we did, and after eleven hours play, in which our bank was at one time reduced to two hundred and three ducats, we won seventeen thousand florins off him. Four crowned heads look on at the game, and an imperial princess, when Roderick turns up the ace of hearts, bursts into tears.",
"INT. MASQUERADE BALL - NIGHT Roderick and a girl. RODERICK -LRB- V.O. -RRB- Nor need I mention my successes among the fairer portion of the creation. One of the most accomplished, the tallest, the most athletic, and the handsomest gentleman in Europe, as I was then, a young fellow of my figure could not fail of having advantages, which a person of my spirit knew very well how to us.",
"INT. BOUDOIR - NIGHT Making love to a masked lady. RODERICK -LRB- V.O. -RRB- Charming Schuvaloff.",
"INT. COACH - NIGHT RODERICK -LRB- V.O. -RRB- Black - eyed Sczortarska.",
"INT. BOUDOIR - NIGHT RODERICK -LRB- V.O. -RRB- Dark Valdez. RODERICK Do you expect me to believe that your lover brought you here tonight? VALDEZ Yes. He brought me in his carriage, and he will call for me at midnight. RODERICK And he does n't care about me? VALDEZ He is only curious to know who you are. RODERICK If his love were like mine, he would not permit you to come here. VALDEZ He loves me, as I love you. RODERICK Will he wish to know the details of this night? VALDEZ He will believe that it will please me if he asks about it, and I shall tell him everything except some circumstances which might humiliate him.",
"EXT. GARDEN - NIGHT RODERICK -LRB- V.O. -RRB- Tender Hegenheim.",
"INT. BOUDOIR - NIGHT RODERICK -LRB- V.O. -RRB- Brilliant Langeac. Roderick takes from his portfolio a little jacket of very fine transparent skin, eight inches long and closed at one end, and which by way of a pouch string at its open end, has a narrow pink ribbon. He displays it to her, she looks at it, and laughs. LANGEAC I will put in on you myself. She puts it on, out of shot. LANGEAC There you are, dressed by my hand. It is nearly the same thing ; but despite the fineness and transparency of the skin, the little fellow pleases me less well in costume. It seems that this covering degrades him, or degrades me - one of the other. RODERICK Both, my angel. It was Love who invented these little jackets : for he had to ally himself with Precaution.",
"INT. ROOM OFF A BALLROOM - NIGHT Roderick making love to the Countess von Trotha. Enter the Count, in the uniform of a Colonel. COUNT I entered here, monsieur, at a bad moment for you ; it seems that you love this lady. RODERICK Certainly, monseigneur, does not Your Excellency consider her worthy of love? COUNT Perfectly so ; and what is more, I will tell you that I love her, and that I am not of a humor to put up with rivals. RODERICK Very well! Now that I know it, I will no longer love her. COUNT Then you yield to me. RODERICK On the instant. Everyone must yield to such a nobleman as you. COUNT Very well ; but a man who yields takes to his legs. RODERICK That is a trifle strong. COUNT Take to your legs, low Irish dog. Roderick smiles at him. RODERICK Your Excellency has wantonly insulted me. That being so, I conclude that you hate me, Monseigneur, and that hence you would be glad to remove me from the number of the living. In this wish, I can and will satisfy Your Excellency.",
"EXT. BEAUTIFUL GARDEN - EARLY MORNING Roderick's sword duel with the Count. Details to be worked out.",
"INT. BILLIARD ROOM - NIGHT Roderick watches the Chevalier play with a Prussian officer, Lieutenant Dascher. RODERICK -LRB- V.O. -RRB- It was my unrivaled skill with sword and pistol, and readiness to use them, that maintained the reputation of the firm. Towards the end of the game, Dascher, seeing that he is losing, makes an unfair stroke, so obvious that the marker tells him so to his face. Lieutenant Dascher, for whom the stroke wins the game, takes the money which is in the stake bag, and puts it in his pocket, paying no attention to the marker's adjurations, or to Roderick's. Roderick, who is without his sword, reaches for a billiard cue and swings it at Dascher's face. He wards off the blow with his arm, drawing his sword and runs at Roderick, who is unarmed. The marker, a sturdy young man, catches Dascher around the waist and prevents murder. DASCHER I see that you are without your sword, but I believe you are a man of mettle. Will you give me satisfaction? RODERICK I shall be delighted ; but you have lost and you must pay me the money before we meet, for, after all, you can not pay me when you are dead. ANOTHER OFFICER I will undertake to pay you the 20 louis, but only tomorrow morning at the meeting.",
"EXT. FIELD - DAY On the field, there are six people waiting with Dascher, and his seconds. Dascher takes 20 louis from his pocket and hands them to Roderick, saying : DASCHER I may have been mistaken, but I mean to make you pay deadly for your brutality. Roderick takes the money and puts it in his purse with the utmost calm, making no reply to the other's boasting. RODERICK -LRB- privately. -RRB- It is distasteful to kill a scoundrel - that should be work for a hangman. CHEVALIER To risk one's life against such people is an imposition. RODERICK -LRB- laughs. -RRB- I risk nothing, for I am certain to kill him. CHEVALIER Certain? RODERICK Perfectly certain, because I shall make him tremble. He takes his station between two trees, about four paces apart, and draws a pair of dueling pistols. RODERICK You have only to pace yourself at ten paces difference, and fire first. The space between these two trees is the place where I choose to walk back and forth. You may walk too, if you wish, when it is my turn to fire. No one could have explained his intentions more clearly or spoken more calmly. DASCHER But we must decide who is to have the first shot. RODERICK There is no need of that. I never fire first ; and, in any case, you have that right. Dascher places himself at the specified distance. Roderick walks slowly back and forth between the two trees without looking at him. Dascher takes aim and fires, missing. RODERICK -LRB- with the greatest composure. -RRB- You missed me, sir. I was sure you would. Try again. The others think he is mad, and had expected some kind of discussion between the parties, but not a bit of it. Dascher takes careful aim and fires a second shot, again missing Roderick. Without a word, but in a firm and confident manner, Roderick fires his first shot into the air. Dascher looks amazed. Then, aiming at Dascher with his second pistol, he hits him in the center of the forehead and stretches him out dead on the ground.",
"EXT. ROAD - DAY Roderick and Chevalier traveling in their coach. RODERICK -LRB- V.O. -RRB- Thus is will be seen that our life, for all its splendor was one of extreme difficulty and danger, requiring high talents and courage for success, and sudden and unexpected departures. They meet a four - wheel carriage, drawn by two horses, carrying a master and a servant. The driver of the four - wheel carriage wants Roderick's driver to make way for him. Roderick's driver protests that if he does, he will upset his master in the ditch, but the other insists. Roderick addresses the master, a handsome young man, and asks him to order his driver to make way for him. RODERICK I am posting, monsieur, and furthermore I am a foreigner. STRANGER Monsieur, here in Saxony, the post has no special right, and if you are a foreigner, you must admit that you have no greater claim than mine, since I am in my own country. At that, Roderick gets out and holding his drawn - sword tells the stranger to get out, or to make way for him. The stranger replies, with a smile, that he has no sword and that, in any case, he will not fight for such a silly reason. He tells Roderick to get back in his chaise, and he makes way for him.",
"INT. GAMING ROOM - NIGHT Roderick and the Chevalier running a faro bank when an important lady suffers a huge loss. RODERICK -LRB- V.O. -RRB- The ladies were passionately fond of play, and hence would often arise no small trouble to us ; for the truth most be told, that the ladies loved to play, but not to pay. The point of honor is not understood by the charming sex ; and it was with the greatest difficulty that we could keep them from the table, could get their money if they lost or, if they paid, prevent them from using the most furious and extraordinary means of revenge.",
"EXT. ROAD - DAWN RODERICK -LRB- V.O. -RRB- On this evening, the lady of high rank, after I had won a considerable sum in diamonds and pearls from her, sent her lover with a band of cut - throats to waylay me. Roderick and the Chevalier are sound asleep in their carriage when they are awakened by a violent jolt, upon which the carriage overturns in the middle of the road. The Chevalier is underneath, and screams from the pain in his right arm, which he thinks is broken. Their servant forces the door open to help them out, telling them that the two postilions have fled. Roderick easily gets out of the carriage through the door, which is above him, but the Chevalier, unable to move because of his disabled arm, has to be pulled out. His piercing shrieks make Roderick laugh, because of the strange oaths with which he interlards his prayers. From the carriage, Roderick takes his dueling pistols, and sword. Roderick tells his servant to mount and to looking for armed peasants in the vicinity ; money in hand, he leaves. The Chevalier has lain down on the hard ground, groaning and in no condition to resist robbers. Roderick makes his own preparations to sell his fortune and his life at the highest price. His carriage is close to the ditch, and he unhitches the horses, tieing them to the wheels and the pole in a circle, and stations himself behind them with weapons. In this predicament, Roderick can not help laughing at the poor Chevalier, who is writhing like a dying dolphin on a seashore, and uttering the most pitiful execrations, when a mare, whose back was turned to him, take it into her empty head to empty her bladder on him. There is nothing to be done ; he has to put up with the whole stinking rain, and to forgive Roderick's laughter, which he has not the strength to hold in. The chill wind and the silence are suddenly broken by an attack, which is half - hearted and uncertain, by the lady's lover, and his hesitant band of six cut - throats. Some falter and run away as soon as Roderick fires his pistol. The leader and two heartier followers engage Roderick. During the fight, they mortally wound the helpless Chevalier and two of them are killed. After they flee, Roderick kneels by the Chevalier, who utters some appropriate last words, then dies. His servant finally arrives at full gallop, shouting at the top of his voice, and followed by a band of peasants, each with his lantern, come to his rescue. There are ten or twelve of them, all armed with muskets, and all ready to obey his orders.",
"EXT. SPA - HOTEL - DAY Roderick's carriage arrives. RODERICK -LRB- V.O. -RRB- After making suitable arrangements for the Chevalier's burial, in proper accord with his church, I traveled to Spa, which was now in season, alone, to continue my profession which formerly had the support of my friend and mentor.",
"INT. GAMING ROOM - NIGHT Crowds surround Roderick. RODERICK -LRB- V.O. -RRB- I was by this time one of the best - known characters in Europe ; and the fame of my exploits, my duels, my courage at play, would bring crowds round me in any public society where I appeared.",
"INT. CASINO - NIGHT Attractive women alone, while men are at the gaming table. RODERICK -LRB- V.O. -RRB- The passion for play is stronger than the passion for gallantry ; the gamester at Spa has neither time to stop to consider the merits of a woman, nor the courage to make sacrifices for her.",
"EXT. GARDEN IN SPA - DAY The Countess of Cosgrove walks beside her husband, Sir William Cosgrove, who is in a wheelchair. They are accompanied by their young son, Lord Brookside, and two servants. RODERICK -LRB- V.O. -RRB- In evoking the recollections of these days, I have nothing but pleasure. I would if I could say as much of a lady who will henceforth play a considerable part in the drama of my life - I mean the Countess of Cosgrove, whose fatal acquaintance I made at Spa, very soon after the tragic events which caused me to quit Germany. Closer shot of the Countess. RODERICK -LRB- V.O. -RRB- Victoria, Countess of Cosgrove. A Countess and a Viscountess in her own right. Closer shot of Sir William Cosgrove. RODERICK -LRB- V.O. -RRB- She was the wife of her cousin, the Right Honorable Sir William Reginald Cosgrove, Knight of the Bath, and Minister to George II and George III of several of the smaller courts of Europe. Closer shot of young Lord Brookside, walking behind them in the care of his governor. RODERICK -LRB- V.O. -RRB- She was the mother to Viscount Brookside - a melancholy, deserted, little boy, about whom his father was more than indifferent, and whom his mother never saw.",
"INT. GAMING ROOM - NIGHT Shots of Sir William Cosgrove being wheeled in, and at play with Roderick, and some other gentlemen. RODERICK -LRB- V.O. -RRB- I made Sir William Cosgrove's acquaintance as usual at the play - table. One could not but admire the spirit and gallantry with which he pursued his favorite pastime ; for, though worn out with gout and a myriad of diseases, a cripple wheeled about in a chair, and suffering pangs of agony, yet you would see him every morning, and every evening at his post behind the delightful green cloth. SIR WILLIAM Hang it, Mr. Roderick James, you have no more manners than a barber, and I think my black footman has been better educated than you ; but you are a young fellow of originality and pluck, and I like you, sir. because you seem determined to go to the devil by a way of your own. Laughter at the table. RODERICK I am obliged to observe, Sir William Cosgrove, that since you are bound for the next world much sooner than I am, I will depend on you to get comfortable quarters arranged for me. Laughter. SIR WILLIAM Indeed, you are right, sir. Look at me. Marriage has added forty years to my life. I am dying, a worn - out cripple, at the age of fifty. When I took off Lady Cosgrove, there was no man of my years who looked so young as myself. Fool that I was! I had enough with my pensions, perfect freedom, the best society in Europe - and I gave up all these, and married and was miserable. Take a warning from me, Mr. Roderick, and stick to the trumps. Do anything, but marry. RODERICK Would you have me spend my life all alone? SIR WILLIAM In truth, sir, yes, but, if you must marry, then marry a virtuous drudge. RODERICK -LRB- laughing. -RRB- The milkmaid's daughter? SIR WILLIAM Well, why not a milkmaid's daughter? No man of sense need restrict himself or deny himself a single amusement for his wife's sake ; on the contrary, if he selects the animal properly, he will choose such a one as shall be no bar to his pleasure, but a comfort in his hours of annoyance. For instance, I have got the gout ; who tends me? A hired valet who robs me whenever he has the power. My wife never comes near me. What friend have I? None in the wide world. Men of the world, as you and I are, do n't make friends, and we are fools for our pains. Polite laughter at the table. SIR WILLIAM My lady is a weak woman, but she is my mistress. She is a fool, but she has got the better of one of the best heads in Christendom. She is enormously rich, but somehow I have never been so poor, as since I married her. I thought to better myself, and she has made me miserable and killed me, and she will do as much for my successor when I'm gone. There is a reflective silence at the table. RODERICK Has her ladyship a very large income? This question causes Sir William to burst out into a yelling laugh, joined by the rest of the table, and makes Roderick blush not a little at his gaucherie.",
"EXT. ORNAMENTAL GARDEN - SPA - NIGHT A beautiful scene, lit by the flambeaux, held by a dozen footmen. A small orchestra, playing in a Temple of Love, some dancers, people gambling and lounging along a line of trees. Roderick approaches the Countess. RODERICK -LRB- V.O. -RRB- Despite my friend's strong warning. I resolves to become acquainted with his lady. Sir William Cosgrove was dying. His widow would be a rich prize. Why should I not win her, and, with her, the means of making in the world that figure which my genius and inclination desired? When I determine, I look upon the thing as done. RODERICK Charming lady, tell me the truth and earn my gratitude. Have you a lover? The countess laughs. COUNTESS No. RODERICK Have you had one? COUNTESS Never. RODERICK But, for a time. a passing fancy? COUNTESS Not even that. RODERICK How can I believe that there is not a man who has inspired desires in you? COUNTESS Not one. RODERICK Have you not a man whom you value? COUNTESS That man has, perhaps, not yet been born. RODERICK What! You have not met a man worthy of your attention? COUNTESS Many worthy of attention ; but valuing is something more. I could value only someone whom I loved. RODERICK Then you have never loved? Your heart is empty. COUNTESS Your word `` empty'' makes me laugh. Is it fortunate, or unfortunate? If it is fortunate, I congratulate myself. If it is unfortunate, I do not care, for I am not aware of it. RODERICK It is nonetheless a misfortune, and you will know it when you love. COUNTESS But if, when I love, I am unhappy, I will know that my empty heart was my good fortune. RODERICK That is true, but it seems to me impossible that you should be unhappy in love. COUNTESS It is only too possible. Love requires a mutual harmony which is difficult, and it is even more difficult to make it last. RODERICK I agree ; but God put us on earth to take that risk. COUNTESS A man may need to do that, and find it amusing ; but a girl is bound by other laws. RODERICK I believe you, and I see I must hasten to leave, for otherwise I shall become the unhappiest of men. COUNTESS How so? RODERICK By loving you, with no hope of possessing you. She laughs. COUNTESS You want my heart? RODERICK It is my only object. COUNTESS To make me wretched in two weeks. RODERICK To love you until death. To subscribe to all your commands. COUNTESS The amusing thing is that you deceive me without knowing, if it is true that you love me. RODERICK Deceiving someone without knowing it is something new for me. If I do not know it, I am innocent. COUNTESS But you deceive me nonetheless if I believe you, for it will not be in your power to love me when you love me no longer. Roderick laughs and kisses her. COUNTESS Be so good as to tell me with whom you think you are? RODERICK With a woman who is completely charming, be she a princess or a woman of the lowest condition, and who, regardless of her rank, will show me some kindness, tonight. She laughs. COUNTESS And if she does not choose to show you some kindness? RODERICK Then I will respectfully take leave of her. COUNTESS You will do as you please. It seems to me that such a matter can hardly be discussed until after people know each other. Do you not agree? RODERICK Yes - but I am afraid of being deceived. COUNTESS Poor man. And, for that reason, you want to begin where people end? RODERICK I ask only a payment on account today - after that, you will find me undemanding, obedient and discreet. She laughs. He kisses her again. They exit.",
"EXT. ROAD - SPA - NIGHT Coach and four moves slowly along.",
"INT. COACH - NIGHT They kiss. She gently struggles as he tries to undo her dress. He stops. RODERICK Will we always leave it at this? COUNTESS Always, my dear one, never any further. Love is a child to be pacified with trifles. A full diet can only kill it. RODERICK I know better than you do. Love wants a more substantial fare, and if it is stubbornly withheld, it withers away. COUNTESS Our abstinence makes our love immortal. If I loved you a quarter of an hour ago, now I should love you even more. But I should love you less if you exhausted my joy by satisfying all my desires. RODERICK Let us give each other complete happiness, and let us be sure that as many times as we satisfy our desires, they will each time be born anew. COUNTESS My husband has convinced me of the contrary. RODERICK Sir William Cosgrove is a man who is dying, and yet I envy him more than any man in Christendom. He enjoys a privilege of which I am deprived. He may take you in his arms whenever he pleases, and no veil keeps his senses, his eyes, his soul from enjoying your beauty. She silences him with her fingertips. COUNTESS Shall I tell you something - I believed what was called love came after the union - and I was surprised when my husband, making me a woman, made me know it only by pain, unaccompanied by any pleasure. I saw that my imaginings had stood me in better stead. And so we became only friends, seldom sleeping together and arousing no curiosity in each other, yet on good terms for a while, as whenever he wanted me, I was at his service, but since the offering was not seasoned with love, he found it tasteless, and seldom demanded it. RODERICK O, my dearest love. Enough! I beg you. Stop believing in your experience. You have never known love. My very soul is leaving me! Catch it on your lips, and give me yours! They kiss ardently. RODERICK -LRB- V.O. -RRB- To make a long story short, her ladyship and I were in love six hours after we met ; and after I once got into her ladyship's good graces, I found innumerable occasions to improve my intimacy, and was scarcely ever out of her company.",
"EXT. COUNTESS' HOUSE - SPA - DUSK Action as per voice over. RODERICK -LRB- V.O. -RRB- I shall never forget the astonishment of Sir William Cosgrove when, on one summer evening, as he was issuing out to the play - table, in his sedan - chair, her ladyship's barouche and four came driving into the courtyard of the house which they inhabited and, in that carriage, by her ladyship's side, sat no other than `` the vulgar Irish adventurer,'' as she was pleased to call me. Sir William makes the most courtly of bows and grins, and waves his hat in as graceful a manner as his multiplicity of illness permits, and her ladyship and Roderick reply to the salutation with the utmost politeness and elegance on their part.",
"INT. RODERICK'S APARTMENT - SPA - NIGHT Making ardent love. COUNTESS Without you, my dearest, I might have died without ever knowing love. Inexpressible love! God of nature! Bitterness than which nothing is sweeter, sweetness than which nothing is more bitter. Divine monster which can only be defined by paradoxes. RODERICK Let me give a thousand kisses to that heavenly mouth which has told me that I am happy. COUNTESS As soon as I saw you loved me, I was pleased, and I gave you every opportunity to fall more in love with me, being certain that, for my part, I would never love you. But after our first kiss, I found that I had no power over myself. I did not know that one kiss could matter so much. RODERICK -LRB- V.O. -RRB- We then spent an hour in the most eloquent silence except that, from time to time, her ladyship cried out : `` Oh, my God. Is it true - I am not dreaming?''",
"INT. GAMING ROOM - NIGHT Roderick enters and approaches a table at which Sir William Cosgrove, who is drunk, is at play with several other jovial fellows. RODERICK -LRB- V.O. -RRB- Sir William Cosgrove, with his complication of ills, was dying before us by inches. He was continually tinkered up by doctors, and, what with my usual luck, he might be restored to health and live I do n't know how many years. If Cosgrove would not die, where was the use of my pursing his lady? But my fears were to prove groundless, for on that very night, patient nature would claim her account. SIR WILLIAM Good evening, Mr. James, have you done with my lady? RODERICK I beg your pardon? SIR WILLIAM Come, come, sir. I am a man who would rather be known as a cuckold than a fool. RODERICK I think, Sir William Cosgrove, you have had too much drink. Your chaplin, Mr. Hunt, has introduced me into the company of your lady to advise me on a religious matter, of which she is a considerable expert. Sir William Cosgrove greets this line with a yell of laughter. His laugh is not jovial or agreeable, but rather painful and sardonic, and ends in a violent fit of coughing. SIR WILLIAM Gentlemen, see this amiable youth! He has been troubled by religious scruples, and has flown for refuge to my chaplin, Mr. Hunt, who has asked for advise from my wife, Lady Cosgrove, and between them both, they are confirming my ingenious young friend in his faith. Did you ever hear of such doctors and such a disciple? RODERICK Faith, sir, if I want to learn good principles, it's surely better I should apply for them to your lady, and your chaplin than to you? SIR WILLIAM -LRB- laughing, but pretty red. -RRB- He wants to step into my shoes! He wants to step into my shoes! Roderick stares at him coldly. RODERICK Well, if my intentions are what you think they are - if I do wish to step into your shoes, what then? I have no other intentions than you had yourself. Lady Cosgrove's wealth may be great, but am I not of a generous nature enough to use it worthily? Her rank is lofty, but not so lofty as my ambition. I will be sworn to muster just as much regard for my Lady Cosgrove as you ever showed her ; and if I win her, and wear her when you are dead and gone, corbleu, knight, do you think that it will be the fear of your ghost will deter me? SIR WILLIAM Is it not a pleasure, gentlemen, for me, as I am drawing near the goal, to find my home such a happy one ; my wife so fond of me, that she is even now thinking of appointing a successor? Is n't it a comfort to see her ; like a prudent housewife, getting everything ready for her husband's departure? RODERICK I hope that you are not thinking of leaving us soon, knight? SIR WILLIAM Not so soon, my dear, as you may fancy perhaps. Why, man, I have been given over many times these four years, and there was always a candidate or two waiting to apply for the situation. Who knows how long I may keep you waiting. RODERICK Sir, let those laugh that win. SIR WILLIAM I am sorry for you Mr. James. I'm grieved to keep you or any gentleman waiting. Had you not better to arrange with my doctor or get the cook to flavor my omelette with arsenic? What are the odds, gentlemen, that I do n't live to see Mr. James hang yet? There is laughter around the table, and Sir William starts dealing the cards. VOICE Dies at Spa, in the Kingdom of Belgium, the Right Honorable Sir William Cosgrove, Knight of the Bath, Member of Parliament for Cosgrove and Devonshire and many years His Majesty's representative at various European courts. He hath left behind him a name which is endeared to all his friends for his manifold virtues and talents, a reputation justly acquired in the service of His Majesty, and an inconsolable widow to deplore his loss. Sir Williams keels over dead.",
"INT. CHURCH - DAY The wedding of Roderick and the Countess. The service is preformed by Reverend Hunt, her ladyship's chaplain. RODERICK -LRB- V.O. -RRB- A year from that day, on the fifteenth of May, in the year 1773, I had the honor and happiness to lead to the altar Victoria, Countess of Cosgrove, widow of the late Right Honorable Sir William Cosgrove, K.B. I had procured His Majesty's gracious permission to add the name of my lovely lady to my own, and, henceforward, assumed the title of James Cosgrove.",
"EXT. A GARDEN - LONDON - DAY The Wedding reception. Roderick and the Countess are approached by young Lord Brookside, aged 12. COUNTESS My Lord Brookside, come and embrace your papa! Brookside walks slowly towards them, and shakes his fist in Roderick's face. BROOKSIDE He, my father! I would as soon call one of your ladyship's footmen, papa! Roderick laughs, as the Countess unsuccessfully tries to get the boy to shake hands. COUNTESS Lord Brookside, you have offended your father. BROOKSIDE Mother, you have offended my father. RODERICK -LRB- V.O. -RRB- It was a declaration of war to me, as I saw at once ; though I declare I was willing enough to have lived with him on terms of friendliness. But as men serve me, I serve them. Who can blame me for my after - quarrels with this young reprobate, or lay upon my shoulders the evils which afterwards befell?",
"EXT. ROAD - DAY Three carriages, each with four horses, proceed along the picturesque track. RODERICK -LRB- V.O. -RRB- After we had received the congratulations of our friends in London - I and Victoria set off to visit our country estate, Castle Hackton, where I had never as yet set foot.",
"INT. CARRIAGE - DAY Roderick and his Lady. RODERICK -LRB- V.O. -RRB- The first days of a marriage are commonly very trying ; and I have known couples, who lived together like turtle - doves for the rest of their lives, peck each other's eyes out almost during the honeymoon. I did not escape the common lot. In our journey westwards, my Lady Cosgrove chose to quarrel with me because I had pulled out a pipe of tobacco. Lady Cosgrove was a haughty woman, and I hate pride, and I promise you that, in this instant, I overcame this vice in her. Roderick blows smoke into the Countess' face. She is shocked into an apprehensive silence.",
"INT. COACH - DAY Young Lord Brookside with his governor, glowering and petulant. A parrot, in a cage, on his lap.",
"EXT. ROAD - DAY As the carriages drive past, there is a band, floral arches, flags, church bells ringing. The parson and the farmers assemble in their best by the roadside, and the school - children and the laboring people are loud in their `` hurrahs'' for her ladyship. Roderick flings pennies among the cheering tenants, from two bags of coppers, stored in the carriage for the occasion.",
"EXT. CASTLE HACKTON - DAY Fifty, or so, servants have turned out to greet their mistress, and their new master. The land steward, who is the senior servant, introduces the others - the clerk of the kitchen, clerk of the stables, head gardener, ladies in waiting, butler, valet, chef, cook. RODERICK -LRB- V.O. -RRB- I had not arrived at the pitch of prosperity, and having, at thirty years of age, by my own merits and energy, raised myself to one of the highest social positions that any man in England could occupy, I determined to enjoy myself as becomes a man of quality for the remainder of my life.",
"INT. STABLES - DAY Roderick and his beautiful horses.",
"EXT. A STREAM - DAY Roderick and some companions fishing.",
"EXT. FIELDS - DAY Roderick and his friends riding.",
"EXT. FIELDS - DAY Roderick and friends shooting.",
"INT. CASTLE HACKTON - DAY Roderick having his portrait painted by a miniaturist. RODERICK -LRB- V.O. -RRB- But it was not meant for me to finish my life as a man of quality and position. Indeed, I am one of those born clever enough at gaining a fortune, but incapable of keeping one ; for the qualities and energy, which lead a man to accept the first, are often the very causes of his ruin in the latter case ; indeed, I know of no other reason for the misfortunes which finally befell me.",
"INT. CASTLE HACKTON - COUNTESS' BEDROOM - DAY RODERICK -LRB- V.O. -RRB- At the end of the year, Lady Cosgrove presented me with a son ; Patrick Cosgrove, I called him, in compliment to my royal ancestry, but what more had I to leave him than a noble name?",
"EXT. COSGROVE HOUSE - LONDON - DAY Two coaches pull up, and the Countess and Roderick exit. Servants remove their luggage and baby Patrick. RODERICK -LRB- V.O. -RRB- We spent the season in London at our house in Berkeley Square.",
"INT. COSGROVE HOUSE - BEDROOM - NIGHT The Countess alone and depressed. RODERICK -LRB- V.O. -RRB- Her ladyship and I lived, for a while, pretty separate when in London. She preferred quiet, or, to say the truth, I preferred it, being a great friend to a modest, tranquil behavior in woman and a taste for the domestic pleasures.",
"INT. COSGROVE HOUSE - LONDON - DAY Several cuts of the Countess, caring for the infant, Patrick. RODERICK -LRB- V.O. -RRB- Besides, she was a mother, and had great comfort in the dressing, educating, and dandling of our little Patrick for whose sake it was fit that she should give up the pleasures and frivolities of the world ; so she left that part of the duty of every family of distinction to be performed by me.",
"INT. THEATER LOBBY - NIGHT Roderick arriving with a party of friends, escorting a beautiful woman.",
"INT. COSGROVE HOUSE - LONDON - DAY Countess crying and having an argument with Roderick. Live dialogue under voice over. RODERICK -LRB- V.O. -RRB- Her ladyship's conversations with me were characterized by a stupid despair, or a silly blundering attempt at forced cheerfulness, still more disagreeable ; hence, our intercourse was but trifling, and my temptations to carry her into the world or to remain in her society of necessity exceedingly small.",
"INT. COSGROVE HOUSE - DRAWING ROOM - LONDON - NIGHT A drunken Roderick rudely demands his lady to entertain their guests. She rushes from the room in tears. Dialogue starts scene, goes under for voice over, then ends scene. RODERICK -LRB- V.O. -RRB- She would try my temper, at home, too, in a thousand ways. When requested by me to entertain the company with conversation, wit, and learning, of which she was a mistress ; or music, of which she was an accomplished performer, she would, as often as not, begin to cry, and leave the room. My company from this, of course, fancied I was a tyrant over her ; whereas, I was only a severe and careful guardian of a silly, bad - tempered and weak - minded lady.",
"EXT. PARK - DAY Roderick strolling arm - in - arm with his Countess. RODERICK -LRB- V.O. -RRB- Despite the utter distaste with which I now regarded Lady Cosgrove, and, although I took no particular pains to disguise my feelings in general, yet she was of such a mean spirit that she pursued me with her regard, and would kindle up at the smallest kind word I spoke to her.",
"INT. COSGROVE STUDY - DAY Roderick and accountant. Her ladyship is signing various documents, and orders for payment. RODERICK -LRB- V.O. -RRB- And, in these fits of love, she was the most easy creature in the world to be persuaded, and would have signed away her whole property, had it been possible. And, I must confess, it was with very little attention on my part that I could bring her into good humor, and, up to the very last day of our being together, would be reconciled to me, and fondle me, if I addressed her a single kind word. Such is female inconsistency.",
"INT. COSGROVE HOUSE - DAY Roderick and the Countess fighting about her refusal to sign some papers. Live dialogue under voice over. RODERICK -LRB- V.O. -RRB- She was luckily very fond of her youngest son, and through him I had a wholesome and effectual hold on her ; for if in any of her tantrums or fits of haughtiness, she pretended to have the upper - hand, to assert her authority against mine, to refuse to sign such papers as I might think necessary for the distribution of our large and complicated property. Roderick picks up baby Patrick. RODERICK -LRB- V.O. -RRB- I would have Master Patrick carried off to Chiswick for a couple of days ; and I warrant me his lady - mother could hold out no longer and would agree to anything I proposed. The Countess rushes to the window to see the child being put into a carriage.",
"INT. COSGROVE HOUSE - DAY Another quarrel. RODERICK -LRB- V.O. -RRB- Lady Cosgrove and I did not quarrel more than fashionable people do, and, for the first three years, I never struck my wife but when I was in liquor.",
"INT. COSGROVE HOUSE - DAY Roderick throws a knife at young Brookside. The knife digs into an expensive antique chest, just missing the young Brookside's head. RODERICK -LRB- V.O. -RRB- When I flung the carving - knife at Brookside, I was drunk, as everybody present can testify, but as for having any systematic scheme against the poor lad, I can declare solemnly that, beyond merely hating him, I am guilty of no evil towards him.",
"INT. COSGROVE HOUSE - DAY The Countess discovers Roderick making love to the child's nurse. RODERICK -LRB- V.O. -RRB- Do what one would to please her, my lady would never be happy or in good humor. And soon she added a mean, detestable jealousy to all her other faults, and would weep and wring her hands, and threaten to commit suicide, and I know not what. She screams and shouts something about suicide. Her son, Brookside, comes running in and consoles her. RODERICK -LRB- V.O. -RRB- Her death would have been no comfort to me, as I leave any person of common prudence to imagine ; for that scoundrel of a young Brookside who was about to become my greatest plague and annoyance, would have inherited every penny of the property.",
"INT. COSGROVE HOUSE - LONDON - RODERICK'S STUDY - DAY Roderick, bored and distracted, sits before a stack of bills and papers, with his accountant. RODERICK -LRB- V.O. -RRB- Humble people envy us great men, and fancy that our lives are all pleasure. But the troubles of poverty, the rascality of agents, the quibbles of lawyers are endless. My life at this period seemed to consist of nothing but drafts of letters and money - brokers relative to the raising of money, and the insuring of Lady Cosgrove's life, and innumerable correspondence with upholsterers, decorators, cooks, horsekeepers, bailiffs, and stewards.",
"EXT. CASTLE HACKTON - GARDENS - DAY Various cuts. Birthday fete for Patrick who is now five years old. Gaily colored tents, ponies, a puppet show, expensive presents. RODERICK -LRB- V.O. -RRB- My own dear boy, Patrick, was now five years old, and was the most polite and engaging child ever seen ; it was a pleasure to treat him with kindness and distinction ; the little fellow was the pink of fashion, beauty, and good breeding. In fact, he could not have been otherwise, with the care both his parents bestowed upon him, and the attentions which were lavished upon him in every way. Brookside and Roderick. RODERICK -LRB- V.O. -RRB- Whereas, young Brookside had grown to be a very nasty and disrespectful fellow indeed. In my company, he preserved the most rigid silence, and a haughty, scornful demeanor, which was so much the more disagreeable because there was nothing in his behavior I could actually take hold of to find fault with, although his whole conduct was insolent and supercilious to the highest degree.",
"INT. CASTLE HACKTON - LIBRARY - DAY Brookside sitting alone reading a book. RODERICK -LRB- V.O. -RRB- In addition to this, the lad was fond of spending the chief part of his time occupied with the musty old books, which he took out of the library, and which I hate to see a young man of spirit pouring over.",
"INT. CASTLE HACKTON - DAY Brookside and the Countess. RODERICK -LRB- V.O. -RRB- The insubordination of that boy was dreadful. He used to quote passages of `` Hamlet'' to his mother, which made her very angry. Brookside quoting `` Hamlet.'' The Countess begins to cry and leaves the room.",
"INT. CASTLE HACKTON - RODERICK'S STUDY Roderick caning young Brookside. RODERICK -LRB- V.O. -RRB- As it is best to nip vice in the bud, and for a master of a family to exercise his authority in such a manner as that there may be no question about it, I took every opportunity of coming to close quarters with Master Brookside.",
"INT. CASTLE HACKTON - DINING ROOM - NIGHT Many guests around the table. RODERICK -LRB- V.O. -RRB- He always chose the days when company, or the clergy, or gentry of the neighborhood were present, to make violent, sarcastic, and insolent speeches. Brookside begins to fondle and caress Patrick. BROOKSIDE Dear child, what a pity it is I am not dead for your sake! The Cosgroves would then have a worthy representative, and enjoy all the benefits of the illustrious blood of the James' of Duganstown, would they not, Mr. James Cosgrove?",
"INT. RODERICK'S STUDY - NIGHT Roderick caning Brookside again. The boy bears the punishment without crying.",
"EXT. CASTLE HACKTON - DAY Roderick's reunion with his mother. Present are the Countess, Patrick, Lord Brookside and others. Mrs. James flings herself into her son's arms with a scream, and with transports of joy, which can only be comprehended by women who have held, in their arms, an only child, after a twelve - year absence from him.",
"INT. CASTLE HACKTON - DAY Roderick and mother feeding Patrick.",
"EXT. CASTLE HACKTON - GARDEN - DAY Roderick and mother playing with Patrick in the garden.",
"INT. CASTLE HACKTON - DINING ROOM - NIGHT Mother at dinner with the family, in a strained atmosphere.",
"INT. PATRICK'S BEDROOM - NIGHT Roderick and his mother talk in whispers near the bed of the sleeping Patrick. MOTHER Ah, Roderick, it's a blessing to see that my darling boy has attained a position I always knew was his due, and for which I pinched myself to educate him. Little Patrick is a darling boy, and you live in great splendor, but how long will it last? Your lady - wife knows she has a treasure she could n't have had, had she taken a duke to marry her, but if, one day, she should tire of my wild Roderick and his old - fashioned Irish ways, or if she should die, what future would there be for my son and grandson?",
"INT. RODERICK'S STUDY - CASTLE HACKTON - NIGHT Roderick and his mother. MOTHER You have not a penny of your own, and can not transact any business without the Countess' signature. Upon her death, the entire estate would go to young Brookside, who bears you little affection. You could be penniless tomorrow, and darling Patrick at the mercy of his stepbrother.",
"INT. MOTHER'S ROOM - CASTLE HACKTON - NIGHT Roderick and his mother. MOTHER I shall tell you a secret - I shall not rest until I see you Earl of Duganstown, and my grandson, a Lord Viscount. She smooths down Roderick's hair. MOTHER This head would become a coronet.",
"EXT. CASTLE HACKTON - GARDEN - DAY Roderick and Mother slowly walking and talking. Young Patrick, ahead of them sitting in a small cart, pulled by a lamb. MOTHER These things entail considerable expense, and you will need your lady's blessing, but the young boy forms the great bond of union between you and her ladyship, and there is no plan of ambition you could propose in which she would not join for the poor lad's benefit, and no expense she will not eagerly incur, if it might be any means be shown to tend to his advancement. You have important friends, and they can tell you how these things are done.",
"INT. LONDON GAMING ROOM - NIGHT Standing away from the play tables, Roderick chats with Lord West, a fat giant of a man. RODERICK -LRB- V.O. -RRB- And, to be sure, I did know someone who knew precisely how these things were done, and this was the distinguished solicitor and former Government Minister, Lord West, whose acquaintance I made, as I had so many others, at the gaming table. LORD WEST Do you happen to know Gustavus Adolphus, the thirteenth Earl of Crabs? RODERICK By name only. LORD WEST Well, sir, this nobleman is one of the gentlemen of His Majesty's closet, and one with whom our revered monarch is on terms of considerable intimacy. I should say you would be wise to fix upon this nobleman your chief reliance for the advancement of your claim to the Viscounty which you propose to get.",
"INT. LONDON CLUB - DAY Roderick having lunch with Lord West and the Earl of Crabs. RODERICK -LRB- V.O. -RRB- And for a five - hundred guinea fee, paid to his City law - firm, Lord West kindly arranged a meeting with that old scamp and swindler, Gustavus Adolphus, the thirteenth Earl of Crabs. EARL OF CRABS Mr. Cosgrove, when I take up a person, he or she is safe. There is no question about them any more. My friends are the best people. I do n't mean the most virtuous, or, indeed, the least virtuous, or the cleverest, or the stupidest, or the richest, or the best born, but the `` best'' - in a word, people about whom there is no question. I can not promise you how long it will take. You can appreciate it is not an easy matter. But any gentlemen with an estate, and ten - thousand a - year should have a peerage.",
"INT. DRAWING ROOM - EARL OF CRABS - DAY Roderick being introduced to three noblemen, including the Duke of Rutland. RODERICK -LRB- V.O. -RRB- The striving after this peerage, I consider to have been one of the most unlucky dealings at this period. I made unheard of sacrifices to bring it about. I can tell you bribes were administered, and in high places too - so near the royal person of His Majesty that you would be astonished were I to mention what great personages condescended to receive our loans.",
"INT. DRAWING ROOM - NIGHT Roderick gives a beautiful diamond to a fat princess on her birthday. He is applauded by the other guests. RODERICK -LRB- V.O. -RRB- I lavished money here, and diamonds there.",
"EXT. FARMLAND - DAY Roderick and the seller, riding over a prospective property. A broker shows them a survey map of the property. RODERICK -LRB- V.O. -RRB- I bought lands at ten times there value.",
"INT. SALON - LONDON - NIGHT A musical evening. RODERICK -LRB- V.O. -RRB- I gave repeated entertainments to those friends to my claims who, being about the royal person, were likely to advance it.",
"INT. STATELY HOME - DAY Roderick buying pictures. RODERICK -LRB- V.O. -RRB- I purchased pictures and articles of vertu at ruinous prices.",
"EXT. RACES - DAY Roderick laughing and paying a bet. RODERICK -LRB- V.O. -RRB- I lost many a bet to the royal dukes, His Majesty's brothers.",
"EXT. FIELD - DAY Reviewing the company of troops. Roderick, the Earl of Crabs, the Countess, Patrick and Brookside, several princes and noblemen and the Duke of Rutland. RODERICK -LRB- V.O. -RRB- One of the main causes of expense which this ambition of mine entailed upon me was the fitting out and arming of a company of infantry from the Hackton estates, which I offered to my gracious sovereign for the campaign against the American rebels. These troops, superbly equipped and clothed, were embarked at Portsmouth in the year 1778.",
"INT. ST. JAMES - RECEPTION ROOM - DAY George III meeting people and stopping to talk to Roderick. Present also is the Duke of Rutland. RODERICK -LRB- V.O. -RRB- And the patriotism of the gentlemen who raised them was so acceptable at court that, on being presented by my Lord Crabs, His Majesty condescended to notice me particularly and said : GEORGE III That's right, Mr. Cosgrove, raise another company, and go with them, too!",
"INT. COFFEE HOUSE - NIGHT RODERICK -LRB- V.O. -RRB- Crabs was really one of the most entertaining fellows in the world, and I took a sincere pleasure in his company, besides the interest and desire I had in cultivating the society of the most important personages of the realm. Roderick clumsily tries to engage in conversation with the famed Dr. Johnson, on the subject of a book or play, of the day, and is rebuffed for his trouble. JOHNSON If I were you, Mr. Cosgrove, I should mind my horses and tailors and not trouble myself about letters. Laughter, Roderick bristles. RODERICK Dr. Johnson, I think you misbehave most grossly, treating my opinions with no more respect than those of a schoolboy. You fancy, sir, you know a great deal more than me, because you quote your `` Aristotle'' and `` Plato,'' but can you tell me which horse will win at Epsom Downs next week? Can you shoot the ace of spades ten times without missing? If so, talk about Aristotle and Plato with me. BOSWELL -LRB- roars. -RRB- Do you know who you're speaking to?! JOHNSON Hold your tongue, Mr. Boswell, I had no right to brag of my Greek, gentlemen, and he has answered me very well. RODERICK -LRB- pleased. -RRB- Do you know ever a rhyme for Aristotle? GOLDSMITH -LRB- laughing. -RRB- Port, if you please. JOHNSON Waiter, bring on of Captain James' rhymes for Aristotle. RODERICK -LRB- V.O. -RRB- And we had six rhymes for Aristotle before we left the coffee house that evening.",
"INT. LONDON CLUB - NIGHT EARL OF CRABS Henri, this is Mr. James Cosgrove, who wishes to arrange a dinner party next week for sixty guests. HENRI I am at your service, Mr. Cosgrove. How much do you wish to spend? RODERICK As much as possible. HENRI As much as possible? RODERICK Yes, for I wish to entertain splendidly. HENRI All the same, you must name an amount. RODERICK It is entirely up to you. I want the best. EARL OF CRABS May I suggest five hundred guineas? RODERICK Will that be enough? HENRI Last month, the Duke of Suffolk spent no more. RODERICK All right, five hundred guineas.",
"INT. CASTLE HACKTON - RODERICK'S STUDY - DAY Roderick is seated at a large table, stacked high with bills and letters ; his accountant is seated next to him, aided by a bookkeeper. Roderick looks at each bill and his accountant explains the charge. RODERICK -LRB- V.O. -RRB- The life I was leading was that of a happy man, but I was not happy.",
"INT. CASTLE HACKTON - LONG GALLERY - DAY Roderick, walking with big strides, leads Brookside by his ear. Little Patrick runs alongside, pleading for his brother. PATRICK Papa, please do n't flog Brookside today. It was n't his fault - really is was n't. Roderick ignores him. RODERICK -LRB- V.O. -RRB- By now, young Brookside was of so wild, savage, and insubordinate a nature that I never had the least regard for him. As he grew up to be a man, his hatred for me assumed an intensity quite wicked to think of and which, I promise you, I returned with interest. He drags Brookside into his study, slamming the door behind him.",
"INT. LIBRARY - DAY Roderick alone. Brookside enters with a pistol. BROOKSIDE -LRB- grinding his teeth. -RRB- Look you now, Mister Roderick James, from this moment on, I will submit to no further chastisement from you! Do you understand that? RODERICK Give me that pistol. BROOKSIDE Take heed, Mister James. I will shoot you if you lay hands on me now, or ever again. Is that entirely clear to you, sir? Roderick stares hard at him, then he laughs and sits down. RODERICK -LRB- V.O. -RRB- I decided, at once, to give up that necessary part of his education. In truth, he then became the most violent, daring, disobedient, scapegrace, that ever caused an affectionate parent pain ; he was certainly the most incorrigible.",
"INT. CASTLE HACKTON - BROOKSIDE'S ROOM - DAY Brookside smashing a chair over the head of his governor, Reverend Hunt. RODERICK -LRB- V.O. -RRB- Twice or thrice, Reverend Hunt attempted to punish my Lord Brookside ; but I promise you the rogue was too strong for him, and leveled the Oxford man to the ground with a chair, greatly to the delight of little Patrick, who cried out : `` Bravo, Brooksy! Thump him, thump him!''",
"EXT. CASTLE HACKTON - GARDEN - DAY Brookside and Patrick. RODERICK -LRB- V.O. -RRB- With the child, Brookside was, strange to say, pretty tractable. He took a liking to the little fellow - I like him the more, he said, because he was `` half a Cosgrove.''",
"INT. CASTLE HACKTON - BALLROOM - NIGHT RODERICK -LRB- V.O. -RRB- Another day, it was Patrick's birthday, we were giving a grand ball and gala at Hackton, and it was time for my Patrick to make his appearance among us. There is a great crowding and tittering as the child comes in, led by his half - brother, who walks into the dancing - room in his stockinged feet, leading little Patrick by the hand, paddling about in the great shoes of the older. BROOKSIDE -LRB- very loudly. -RRB- Do n't you think he fits my shoes very well, Sir Richard Wargrave? Upon which, the company begins to look at each other and to titter, and his mother comes up to Lord Brookside with great dignity, seizes the child to her breast, and says : COUNTESS From the manner in which I love this child, my lord, you ought to know how I would have loved his elder brother, had he proved worthy of any mother's affection. Brookside is stunned by his mother's words. BROOKSIDE Madam, I have borne as long as mortal could endure the ill - treatment of the insolent Irish upstart, whom you have taken into your bed. It is not only the lowness of his birth, and the general brutality of his manners which disgusts me, but the shameful nature of his conduct towards your ladyship, his brutal and ungentlemanlike behavior, his open infidelity, his habits of extravagance, intoxication, his shameless robberies and swindling of my property and yours. It is these insults to you which shock and annoy me more than the ruffian's infamous conduct to myself. I would have stood by your ladyship, as I promised, but you seem to have taken latterly your husband's part ; and, as I can not personally chastise this low - bred ruffian, who, to our shame be it spoken, is the husband of my mother, and as I can not bear to witness his treatment of you, and loathe his horrible society as if it were the plague, I am determined to quit my native country, at least during his detested life, or during my own. Bursting into tears, Lady Cosgrove leaves the room. Roderick loses control, and rushes at Brookside, knocking down Lords, Dukes and Generals, left and right, who try to interfere. The company is scandalizes by the entire incident.",
"INT. LONDON CLUB - NIGHT Action as per voice over. Roderick is shunned. RODERICK -LRB- V.O. -RRB- If I had murdered my lord, I could scarcely have been received with more shameful obloquy and slander than now followed me in town and country. My friends fell away from me, and a legend arose of my cruelty to my stepson.",
"INT. ST. JAMES - DAY RODERICK -LRB- V.O. -RRB- My reception at court was scarcely more cordial. On paying my respects to my sovereign at St. James, His Majesty pointedly asked me when I had news of Lord Brookside. On which I replied, with no ordinary presence of mind : RODERICK Sire, my Lord Brookside has set sail to fight the rebels against Your Majesty's crown in America. Does Your Majesty desire that I should send another company to aid him? The King stares at Roderick, turns on his heel and quickly leaves the presence - chamber. Roderick is approached by the Duke of Rutland, who takes him aside into an alcove. DUKE OF RUTLAND -LRB- speaking very quietly. -RRB- Let me tell you, sir, that your conduct has been very odiously represented to the King, and has formed the subject of royal comment. The King has said, influenced by these representations, that you are the most disreputable man in the three kingdoms, and a dishonor to your name and country. Roderick begins to sputter. DUKE OF RUTLAND Hear me out, please. It has been intimated to His Majesty that you had raised the American Company for the sole purpose of getting the young Viscount to command it, and so get rid of him. And, further, that you had paid the very man in the company, who was ordered to dispatch him in the first general action. RODERICK Thus it is that my loyalty is rewarded, and my sacrifices in favor of my country viewed! DUKE OF RUTLAND As for your ambitious hopes regarding the Irish peerages, His Majesty has also let it be known that you have been led astray by that Lord Crabs, who likes to take money, but who has no more influence to get a coronet than to procure a Pope's tiara. And, if you have it in mind to call upon Lord Crabs, you will be disappointed. He left for the continent on Tuesday, and may be away for several months.",
"INT. LORD WEST'S OFFICE - DAY Roderick and Lord West. RODERICK I insist upon being allowed to appear before His Majesty and clear myself of the imputations against me, to point out my services to the government, and to ask when the reward, that had been promised me, the title held by my ancestors, is again to be revived in my person. There is a sleepy coolness in the fat Lord West. He hears Roderick with half - shut eyes. When he finishes his violent speech, which he has made striding about the room, Lord West opens one eye, smiles, and says : LORD WEST -LRB- gently. -RRB- Have you done, Mr. Cosgrove? RODERICK Yes! LORD WEST Well, Mr. Cosgrove, I'll answer you point by point. The King is exceedingly averse to make peers, as you know. Your claim, as you call them, have been laid before him, and His Majesty's gracious reply was, that you were the most impudent man in his dominions, and merited a halter, rather than a coronet. As for withdrawing your support from us, you are perfectly welcome to carry yourself whithersoever you please. And, now, as I have a great deal of occupation, perhaps you will do me the favor to retire, or tell me if there is anything else in the world in which I can oblige you. So saying, Lord West raises his hand lazily to the bell, and bows Roderick out.",
"INT. CASTLE HACKTON - RODERICK'S STUDY - DAY Roderick and his accountant going over the bills which he has heaped on the table. RODERICK -LRB- V.O. -RRB- The news of His Majesty's disregard were not long in getting around, and, in a very short time, all the bills came down upon me together - all the bills I had been contracting for the years of my marriage. I wo n't cite their amount ; it was frightful. I was bound up in an inextricable toil of bills and debts, or mortgages and insurances, and all the horrible evils attendant upon them.",
"EXT. CASTLE HACKTON - GROUNDS - DAY Roderick walking alone. RODERICK -LRB- V.O. -RRB- Was it my own want of style, or my want of a fortune? I know not. Now I was arrived at the height of my ambition, but both my skill and my luck seemed to be deserting me. Everything I touched, crumbled in my hands ; every speculation I had, failed ; every agent I trusted, deceived me. My income was saddled with hundreds of annuities, and thousands of lawyers' charges, and I felt the net drawing closer and closer around me, and no means to extricate myself from its toils. All my schemes had turned out failures.",
"INT. LONDON GAMING CLUB - NIGHT Roderick at the gaming table. RODERICK -LRB- V.O. -RRB- My wife's moody despondency made my house and home not over - pleasant ; hence, I was driven a good deal abroad, where as play was the fashion in every club, tavern, and assembly, I, of course, was obliged to resume my old habit, and to commence as an amateur those games at which I was once unrivaled in Europe. Roderick loses a large amount of money. RODERICK -LRB- V.O. -RRB- I had a run of ill - luck at play, and was forced to meet my losses by the most shameful sacrifices to the money - lenders, and was compelled to borrow largely upon my wife's annuities, ensuring her ladyship's life, which was the condition for every loan against her property.",
"INT. LONDON OFFICE - INSURANCE BROKER - DAY Roderick and the broker. BROKER Your wife's life is as well known among the insurance societies in London, as any woman in Christendom, and, I'm sorry to say there is not one of them willing to place another policy against her ladyship's life. One of them even had the impudence to suggest that your treatment of the Countess did not render her life worth a year's purchase.",
"EXT. STUD FARM - DAY Roderick buying a horse. RODERICK -LRB- V.O. -RRB- In the midst of my difficulties, I promised to buy a little horse for my dear little Patrick, which was to be a present for his eighth birthday, that was now coming on. I may have had my faults, but no man shall dare to say of me that I was not a good and tender father. Roderick admires the horse. RODERICK -LRB- V.O. -RRB- It was a beautiful little animal, and stood me in a good sum. I never regarded money for that dear child.",
"EXT. ROAD - DAY The horse kicks off one of the horse - boys who tries to ride him. RODERICK -LRB- V.O. -RRB- But the horse was a bit wild, and he kicked off one of the horse - boys who rode him at first, and broke the lad's leg.",
"EXT. ROAD - DAY Roderick riding the horse. The horse - boy lies in the back of a wagon. RODERICK -LRB- V.O. -RRB- But he was a beautiful animal and would make a fine horse for Patrick after he had a bit of breaking - in.",
"EXT. ROAD - NEAR CASTLE HACKTON - DAY Roderick dismounts and gives the horse to one of the horse - boys. RODERICK Timmy, take the injured lad to see the doctor, and then bring the horse to Doolan's farm, and tell him to break him in thoroughly. Tell him it's for little Patrick, and that I'll be over to see him next week. HORSE-BOY Yes, sir. RODERICK One more thing, and listen well, I do n't want little Patrick to know where the horse is being kept. It's going to be surprise for his birthday.",
"EXT. CASTLE HACKTON - DAY Patrick rushes out to greet his father. PATRICK Hello, papa! Roderick picks him up in his arms, and kisses him. PATRICK Did you buy the horse, papa? RODERICK Now, just have a little patience, my boy. Your birthday is n't until next week. PATRICK But I will have it on my birthday, wo n't I? RODERICK Well, we'll just have to wait and see, wo n't we? He walks up the steps holding Patrick, who hugs and kisses him. RODERICK -LRB- V.O. -RRB- My son, little Patrick Cosgrove, was a prince ; his breeding and manners, even at his early age, showed him to be worthy of the two noble families from whom he was descended, and I do n't know what high hopes I had for the boy, and indulged in a thousand fond anticipations as to his future success and figure in the world, but stern Fate had determined that I should leave none of my race behind me.",
"INT. CASTLE HACKTON - DINING ROOM - NIGHT Roderick is drunk. Patrick is brought in by his governor, Hunt, to say good night. His kisses his mother first, then approaches Roderick. PATRICK -LRB- kissing him. -RRB- Good night, papa. RODERICK Good night, my little darling. PATRICK Papa? RODERICK Yes? PATRICK One of the boys in the stable told Nelly that you've already bought my horse, and that it's at Doolan's farm, where Mick the groom is breaking it in. Is that true, papa? RODERICK -LRB- angered. -RRB- What the devil? What kind of fools do we have here? Pottle, who told the lad this story? HUNT I do n't know, sir. PATRICK Then it's true! It's true! Oh, thank you, papa! Thank you! He hugs his father. COUNTESS Promise me, Patrick, that you will not ride the horse except in the company of your father. PATRICK -LRB- unconvincingly. -RRB- I promise, mama. RODERICK I promise your lordship a good flogging if you even so much as go to Doolan's farm to see him. PATRICK Yes, papa.",
"INT. RODERICK'S BEDROOM - DAY Roderick is awakened by his valet and Hunt, the governor. RODERICK Yes? VALET I'm sorry to disturb you, sir, but Mr. Hunt has something important to tell you. RODERICK Yes? HUNT I think Master Patrick has disobeyed your orders and stolen off to Doolan's farm. When I went to the lad's room this morning, his bed was empty. One of the cooks said she saw him go away before daybreak. He must have slipped through my room while I was asleep.",
"EXT. CASTLE HACKTON - STABLES - DAY Roderick, in a rage, taking a great horse - whip, gallops off after the child.",
"EXT. ROAD - CASTLE HACKTON - DAY Roderick comes upon a sad procession of farmers, moaning and howling, the black horse led by the hand, and, on a door that some of them carry, little Patrick. He lies in his little boots and spurs, and his little coat of scarlet and gold. His face is quite white, and he smiles as he holds a hand out to Roderick and says painfully : PATRICK You wo n't whip me, will you, papa? Roderick bursts out into tears in reply.",
"INT. PATRICK'S BEDROOM - NIGHT Some doctors around the bed, Roderick and the Countess anxiously waiting upon them. RODERICK -LRB- V.O. -RRB- The doctors were called, but what does a doctor avail in a contest with the grim, invincible enemy? Such as came could only confirm our despair by their account of the poor child's case. His spine was injured, the lower half of him was dead when they laid him in bed at home. The rest did not last long, God help me! He remained yet for two days with us, and a sad comfort it was to think he was in no pain.",
"INT. PATRICK'S BEDROOM - DAY Roderick, Countess and Patrick. PATRICK -LRB- weakly. -RRB- Papa, I beg you and mama to pardon me for any acts of disobedience I have been guilty of towards you. COUNTESS -LRB- weeping. -RRB- Oh, my little angel, you have done nothing for which you need pardon. PATRICK Where is Brooksy? I would like to see him. RODERICK Your bother is in America fighting the rebels. PATRICK Is he all right, papa? RODERICK Yes, he's fine. PATRICK Brooksy was better than you, papa, he used not to swear so, and he taught me many good things while you were away. Patrick takes a hand of his mother and of Roderick, in each of his little clammy ones. PATRICK I beg you not to quarrel so, but to love each other, so that we might meet again in heaven where Brooksy told me quarrelsome people never go. His mother is much affected by these admonitions, and Roderick is too. Patrick gives Roderick a ring from his finger, and a locket to his mother. He says that these gifts are so that they will not forget him. RODERICK -LRB- V.O. -RRB- At last, after two days, he died. There he lay, the hope of my family, the pride of my manhood, the link which kept me and my Lady Cosgrove together.",
"EXT. CHURCH - GRAVEYARD - DAY Funeral. RODERICK -LRB- V.O. -RRB- I wo n't tell you with what splendor we buried him, but what avail are undertakers' feathers and heralds' trumpery.",
"EXT. CASTLE HACKTON - STABLE - DAY Roderick enters the stable and, after a few seconds, we hear a pistol shot. He exits rapidly, the smoking pistol still in his hand.",
"INT. CASTLE HACKTON - VARIOUS - DAY AND NIGHT The Countess : Praying. Waking up screaming. Fits of crying. Severely depressed. RODERICK -LRB- V.O. -RRB- Lady Cosgrove, always vaporish and nervous, after our blessed boy's catastrophe, became more agitated than ever, and plunged into devotion with so much fervor that you would have fancied her almost distracted at times. Countess sees visions. RODERICK -LRB- V.O. -RRB- She imagined she saw visions. She said an angel from heaven told her that Patrick's death was a punishment to her for her neglect of her firstborn. Then she would declare that Brookside was dead.",
"INT. RODERICK'S STUDY - DAY Roderick and his accountant. Bills, bills, bills. RODERICK -LRB- V.O. -RRB- By now, my financial affairs were near to ruin. I could not get a guinea from any money - dealer in London. Our rents were in the hands of receivers by this time, and it was as much as I could do to get enough money from the rascals to pay my wine - merchants their bills. Our property was hampered, and often as I applied to my lawyers and agents for money, would come a reply demanding money of me for debts and pretended claims which the rapacious rascals said they had on me.",
"EXT. CASTLE HACKTON - DAY Mother arrives. Roderick greets her. Servants unload her bags. RODERICK -LRB- V.O. -RRB- My mother was the only person who, in my misfortune, remained faithful to me - indeed, she has always spoken of me in my true light, as a martyr to the rascality of others, and a victim of my own generous and confiding temper.",
"INT. CASTLE HACKTON - DAY Mother supervising kitchen staff. RODERICK -LRB- V.O. -RRB- She was an invaluable person to me in my house, which would have been at rack and ruin before, but for her spirit of order and management and her excellent economy in the government of my rapidly dwindling household staff.",
"EXT. CASTLE HACKTON - GARDEN - DAY Roderick and his mother. RODERICK -LRB- V.O. -RRB- If anything could have saved me from the consequences of villainy in others, it would have been the admirable prudence of that worthy creature.",
"INT. CASTLE HACKTON - DRAWING ROOM - NIGHT Action as per voice over. RODERICK -LRB- V.O. -RRB- She never went to bed until all the house was quiet and all the candles out ; you may fancy that this was a matter of some difficulty with a man of my habits who had commonly a dozen of jovial fellows to drink with me every night, and who seldom, for my part, went to bed sober.",
"INT. CASTLE HACKTON - RODERICK'S BEDROOM - NIGHT Actions as per voice over. RODERICK -LRB- V.O. -RRB- Many and many a night, when I was unconscious of her attention, has that good soul pulled my boots off, and seen me laid by my servants snug in bed, and carried off the candle herself.",
"INT. CASTLE HACKTON - RODERICK'S BEDROOM - DAY Action as per voice over. RODERICK -LRB- V.O. -RRB- and been the first in the morning, too, to bring me my drink of small beer. It was my mother's pride that I could drink more than any man in the country.",
"INT. RODERICK'S STUDY - NIGHT Roderick and his mother holding a letter before a fire, which slowly brings out the writing in lemon juice between the widely - spaced lines of directions to her milliner. RODERICK -LRB- V.O. -RRB- My mother discovered that always, before my lady - wife chose to write letters to her milliner, she had need of lemons to make her drink, as she said, and this fact, being mentioned to me, kind of set me a - thinking. RODERICK -LRB- reading letter aloud. -RRB- `` This day, three years ago, my last hope and pleasure in life was taken from me, and my dear child was called to Heaven. Where is his neglected brother, whom I suffered to grow up unheeded by my side, and whom the tyranny of the monster to whom I am united drove to exile, and, perhaps to death? I pray the child is still alive and safe. Charles Brookside! Come to the aide of a wretched mother, who acknowledges her crime, her coldness towards you, and now bitterly pays for her error! What sufferings, what humiliations have I had to endure! I am a prisoner in my own halls. I should fear poison, but then I know the wretch has a sordid interest in keeping me alive, and that my death would be the signal for his ruin. But I dare not stir without my odious, hideous, vulgar gaoler, the horrid Irish woman, who purses my every step. I am locked into my chamber at night, like a felon, and only suffered to leave it when ordered into the presence of my lord, to be present at his orgies with his boon - companions, and to hear his odious converse as he lapses into the disgusting madness of intoxication.''",
"INT. CASTLE HACKTON - DINING ROOM - NIGHT Roderick, and the Countess and mother, at a silent dinner. RODERICK -LRB- V.O. -RRB- It was not possible to recover the name for whom the note was intended, but it was clear that, to add to all my perplexities, three years after my poor child's death, my wife, whose vagaries of temper and wayward follies I had borne with for twelve years, wanted to leave me. I decided it best not to reveal to her ladyship our discovery, that we might still intercept and uncover further schemes with might be afoot.",
"INT. CASTLE HACKTON - VARIOUS - DAY AND NIGHT A few cuts showing Mother keeping an eye on the Countess. RODERICK -LRB- V.O. -RRB- Yet I was bound to be on my guard that she should not give me the slip. Had she left me, I was ruined the next day. I set my mother to keep sharp watch over the moods of her ladyship, and you may be sure that her assistance and surveillance were invaluable to me. If I had paid twenty spies to watch her lady, I should not have been half so well served as by the disinterested care and watchfulness of my excellent mother.",
"EXT. CASTLE HACKTON - GARDENS - DAY Roderick walking with the Countess. RODERICK -LRB- V.O. -RRB- My Lady Cosgrove's relationship with me was a singular one. Her life was passed in a series of crack - brained sort of alternation between love and hatred for me. We would quarrel for a fortnight, then we should be friends for a month together sometimes. One day, I was joking her, and asking her whether she would take the water again, whether she had found another lover, and so forth. She suddenly burst out into tears, and, after a while, said to me : COUNTESS Roderick, you know well enough that I have never loved but you! Was I ever so wretched that a kind word from you did not make me happy? Ever so angry, but the least offer of good - will on your part did not bring me to your side? Did I not give a sufficient proof of my affection for you in bestowing one of the finest fortunes of England upon you? Have I repined or rebuked you for the way you have wasted it? No, I loved you too much and too fondly ; I have always loved you. From the first moment I saw you, I saw your bad qualities, and trembled at your violence ; but I could not help loving you. I married you, though I knew I was sealing my own fate in doing so, and in spite of reason and duty. What sacrifice do you want from me? I am ready to make any, so you will but love me, or, if not, that at least, you will gently us me. Roderick kisses her. RODERICK -LRB- V.O. -RRB- I was in a particularly good humor that day, and we had a sort of reconciliation.",
"INT. CASTLE HACKTON - NIGHT Roderick and his mother. MOTHER Depend on it, artful hussy has some other scheme in her head now. RODERICK -LRB- V.O. -RRB- The old lady was right, and I swallowed the bait which her ladyship had prepared to entrap me as simply as any gudgeon takes a hook.",
"EXT. CASTLE HACKTON - DAY Arrival of Mr. Newcombe, the money - broker. RODERICK -LRB- V.O. -RRB- I had hired a money - broker especially to find some means of my making a loan. After several months without success, it was with some considerable interest that I received his visit.",
"INT. RODERICK'S STUDY - DAY Roderick and the money - broker, Mr. Newcombe. NEWCOMBE I have good news for you, Mr. Cosgrove. The firm of Bracegirdle and Chatwick, in the city of London, are prepared to lend you 20,000 pounds, pledged against your interest in the Edric mines. They will redeem the encumbrances against the property, which amount to some 10,000 pounds, and take a twenty - year working lease on the mines. They will lend you the 20,000 pounds against the lease income, which they will apply to the loan as it comes in, and they will make a charge of 18 % per annum interest on the outstanding loan balance. RODERICK Mr. Newcombe, I have made some difficult loans during the past few years, at very onerous terms, but 18 % a year interest seems very stiff indeed. NEWCOMBE Considering your financial circumstances, Mr. Cosgrove, it has been impossible to find anyone at all prepared to do any business with you. I think you may count yourself lucky to have this opportunity. But, obviously, if you would reject this offer, I shall keep trying to find a better one. RODERICK -LRB- after a pause. -RRB- I am prepared to accept the terms, Mr. Newcombe. NEWCOMBE There are a few other points we should discuss. The loan agreement can only be executed by her ladyship's signature, and provided that Bracegirdle and Chatwick can be assured of her ladyship's freewill in giving her signature. RODERICK Provided that they can be assured of her ladyship's freewill? Are you serious? NEWCOMBE May I be quite frank with you? RODERICK Yes, of course. NEWCOMBE Mister Bracegirdle said to me that he had heard her ladyship lives in some fear of her life, and meditated a separation, in which case, she might later repudiate any documents signed by herself while in durance, and subject them, at any rate, to a doubtful and expensive litigation. They were quite insistent on this point, and said they must have absolute assurance of her ladyship's perfect freewill in the transaction before they would advance a shilling of their capital. RODERICK I see. NEWCOMBE When I asked them in what form they would accept her ladyship's assurances, they said that they were only prepared to accept them if her ladyship confirms her written consent by word of mouth, in their presence, at their counting - house in Birchin Lane, London. I requested they come here, and save her ladyship and yourself the inconvenience of the trip to London, but they declined, saying that they did not wish to incur the risk of a visit to Castle Hackton to negotiate, as they were aware of how other respectable parties, such as Messrs. Sharp and Salomon had been treated here.",
"INT. CASTLE HACKTON - DAY Roderick and his mother. MOTHER Depend on it, there is some artifice. When once you get into that wicked town, you are not safe. There are scores of writs out against you for debt. If you are taken in London, and thrown into prison, your case is hopeless. RODERICK Mother dear, we are now living off our own beef and mutton. We have to watch Lady Cosgrove within and the bailiffs without. There are certain situations in which people can not dictate their own terms ; and faith, we are so pressed now for money, that I would sign a bond with old Nick himself, if he would provide a good round sum. With this money, we can settle our principal debts and make a fresh start. MOTHER Roderick, you must listen to me. As soon as they have you in London, they will get the better of my poor innocent lad ; and the first thing that I shall hear of you will be that you are in trouble. You will be a victim of your own generous and confiding nature.",
"INT. CASTLE HACKTON - COUNTESS' BEDROOM Roderick and the Countess. COUNTESS Why go, Roderick? I am happy here, as long as you are kind to me, as you now are. We ca n't appear in London as we ought ; the little money you will get will be spent, like all the rest has been. Let us stay here and be content. She takes his hand and kisses it.",
"INT. CASTLE HACKTON - DAY Mother and Roderick. MOTHER Humph! I believe she is at the bottom of it - the wicked schemer.",
"EXT. COUNTRY ROAD - DAY Roderick's carriage moving along. RODERICK -LRB- V.O. -RRB- We did not start in state, you may be sure. We did not let the country know we were going, or leave notice of adieu with our neighbors. The famous Mr. James Cosgrove and his noble wife traveled in a hack - chaise and pair.",
"INT. COACH - DAY The Countess lays her head on Roderick's shoulder and smiles. RODERICK -LRB- V.O. -RRB- When a man is going to the devil, how easy and pleasant a journey it is! The thought of the money quite put me in a good humor, and my wife, as she lay on my shoulder in the post - chaise, going to London, said it was the happiest ride she had taken since our marriage.",
"EXT. INN - DUSK The carriage stops and they disembark. RODERICK -LRB- V.O. -RRB- One night we stayed at Reading.",
"INT. INN - NIGHT Roderick and his wife at dinner. RODERICK -LRB- V.O. -RRB- My lady and I agreed that, with the money, we would go to France, and wait there for better times, and that night, over our supper, formed a score of plans both for pleasure and retrenchment. You would have thought it was Darby and Joan together over their supper.",
"INT. BEDROOM - NIGHT Roderick and his wife making love. RODERICK -LRB- V.O. -RRB- O woman! Woman! When I recollect Lady Cosgrove's smiles and blandishments, how happy she seemed to be on that night! What an air of innocent confidence appeared in her behavior, and what affectionate names she called me! I am lost in wonder at the depth of her hypocrisy. Who can be surprised that an unsuspecting person like myself should have been a victim to such a consummate deceiver?",
"EXT. GRAY'S INN OFFICE - DAY The coach drives up. RODERICK -LRB- V.O. -RRB- We were in London at three o'clock, an half - an - hour before the time appointed.",
"INT. STAIRCASE - DAY Roderick and the Countess looking for the office. RODERICK -LRB- V.O. -RRB- I easily found out Mr. Tapewell's apartment : a gloomy den it was, and in an unlucky hour, I entered it. They climb up dirty backstairs, lit by a feeble lamp, and the dim sky of a dismal London afternoon. The Countess seems agitated and faint. When they get to the door, she stops in front of it. COUNTESS Roderick - do n't go in. I am sure there is danger. There's time yet, let us go back - anywhere! The Countess has put herself before the door in a theatrical attitude and takes Roderick's hand. He pushes her away to one side. RODERICK Lady Cosgrove, you are an old fool. COUNTESS Old fool! She jumps at the bell, which is quickly answered by a moldy - looking gentleman in an unpowered wig. COUNTESS Say Lady Cosgrove is here! She stalks down the passage, muttering : `` Old Fool.''",
"INT. MR. TAPEWELL'S OFFICE - DAY Tapewell is in his musty room, surrounded by his parchments and tin boxes. He advances and bows, begs her ladyship to be seated, and points towards a chair for Roderick, which he takes, rather wondering at the lawyer's insolence. The lawyer retreats to a side - door, saying he will be back in a moment. In the next moment, he reenters, bringing with him another layer, six constables in red waist - coats, with bludgeons and pistols, and Lord Brookside. Lady Cosgrove flings herself into the arms of her son, crying and whimpering and calling him her savior, her preserver, her gallant knight. Then, turning to Roderick, she pours out a flood of invective which quite astonishes him. COUNTESS Oh fool as I am, I have outwitted the most crafty and treacherous monster under the sun. Yes, I was a fool when I married you, and gave up other and nobler hearts for your sake - yes, I was a fool when I forgot my name and lineage to unite myself with a base - born adventurer - a fool to bear, without repining, the most monstrous tyranny that ever woman suffered ; to allow my property to be squandered ; to see women as base and low - born as yourself. TAPEWELL For heaven's sake, be calm. Tapewell bounds back behind the constables, seeing a threatening look in Roderick's eye. The Countess continues in a strain of incoherent fury, screaming against Roderick, and against his mother, and always beginning and ending the sentence with the word `` fool.'' RODERICK You did n't tell all, my lady - I said `` old'' fool. BROOKSIDE I have no doubt that you said and did, sir, everything that a blackguard could say or do. This lady is now safe under the protection of her relations and the law, and need fear your infamous persecutions no longer. RODERICK But you are not safe, and as sure as I am a man of honor, I will have your heart's blood. TAPEWELL Take down his words, constables ; swear the peace against him. BROOKSIDE I would not sully my sword with the blood of such a ruffian. If the scoundrel remains in London another day, he will be seized as a common swindler. RODERICK Where's the man who will seize me? He draws his sword, placing his back to the door. RODERICK Let the scoundrel come! You - you cowardly braggart, come first, if you have the soul of a man! The Countess and the bailiffs move away. TAPEWELL We are not going to seize you! My dear sir, we do n't wish to seize you ; we will give you a handsome sum to leave the country, only leave her ladyship in peace. BROOKSIDE And the country will be rid of such a villain. As Brookside says this, he backs into the next room. The lawyer follows him, leaving Roderick alone in the company of the constables who are all armed to the teeth. RODERICK -LRB- V.O. -RRB- I was no longer the man I was at twenty, when I should have charged the ruffians, sword in hand, and sent at least one of them to his account. I was broken in spirit, regularly caught in the toils, utterly baffled and beaten by that woman. Was she relenting at the door, when she paused and begged me to turn back? Had she not a lingering love for me still? Her conduct showed it, as I came to reflect on it. It was my only chance now left in the world, so I put down my sword upon the lawyers desk. Roderick puts his sword down on the lawyer's desk. RODERICK Gentlemen, I shall have no violence ; you may tell Mr. Tapewell I am quite ready to speak with him when he is at leisure. Roderick sits down and folds his arms quite peaceably.",
"EXT. COFFEE HOUSE - NEAR GRAY'S INN - DAY",
"INT. RODERICK'S ROOM IN COFFEE HOUSE - DAY RODERICK -LRB- V.O. -RRB- I was instructed to take a lodging for the night in a coffee house near Gray's Inn, and anxiously expected a visit from Mr. Tapewell. Tapewell talking to Roderick. TAPEWELL I have been authorized by Lady Cosgrove and her advisors to pay you an annuity of 300 pounds a year, specifically on the condition of you remaining abroad out of the three kingdoms, and to be stopped on the instant of your return. I advise you to accept it without delay for you know, as well as I do, that your stay in London will infallibly plunge you in gaol, as there are innumerable writs taken out against you here and in the west of England, and that your credit is so blown upon that you could not hope to raise a shilling. I will leave you the night to consider this proposal, but if you refuse, the family will proceed against you in London, and have you arrested. If you accede, a quarter salary will be paid to you at any foreign port you should prefer. RODERICK Mr. Tapewell, I do not require a night to consider this proposal. What other choice has a poor, lonely and broken - hearted man? I shall take the annuity, and leave the country. MR. TAPEWELL I am very glad to hear that you have come to this decision, Mr. Cosgrove. I think you are very wise. There is a knock at the door and Roderick opens it. Brookside enters with four constables armed with pistols. The dialogue for this scene has to be written. Brookside has gone against the bargain, and has decided to have Roderick arrested upon one of the many writs out against him for debt. Mr. Tapewell is surprised and complains weakly that Brookside is acting in bad faith. Brookside brushes aside his objections. Roderick is defeated, and meekly sits down in a chair. The following lines are read over Roderick being shackled and led out of the room. NARRATOR Mr. James Cosgrove's personal narrative finishes here, for the hand of death interrupted the ingenious author soon after the period which this memoir was compiled, after he had lived nineteen years an inmate of the Fleet Prison, where the prison records state he died of delirium tremens.",
"EXT. FLEET PRISON - DAY His mother, now very old and hobbled with arthritis, enters the prison, carrying a basket on her arm. NARRATOR His faithful old mother joined him in his lonely exile, and had a bedroom in Fleet Market over the way. She would come and stay the whole day with him in prison working.",
"INT. CASTLE HACKTON - COUNTESS' STUDY Signing a payment draft, the Countess sighs and gazes out of the large window. NARRATOR The Countess was never out of love with her husband, and, as long as she lived, James enjoyed his income of 300 pounds per year and was, perhaps, as happy in prison, as at any period of his existence.",
"INT. CASTLE HACKTON - STUDY - DAY Brookside tearing up the payment draft presented to him by his accountant. NARRATOR When her ladyship died, her son sternly cut off the annuity, devoting the sum to charities, which, he said, would make a nobler use of it than the scoundrel who had enjoyed it hitherto.",
"INT. FLEET PRISON - DAY Roderick, now grey - haired, blacking boots. NARRATOR When the famous character lost his income, his spirit entirely failed. He was removed into the pauper's ward, where he was known to black boots for wealthier prisoners, and where he was detected in stealing a tobacco box.",
"INT. FLEET PRISON - DAY Roderick and his mother. Action as per voice over. NARRATOR His mother attained a prodigious old age, and the inhabitants of the place in her time can record, with accuracy, the daily disputes which used to take place between mother and son, until the latter, from habits of intoxication, falling into a state of almost imbecility, was tended by his tough old parent as a baby almost, and would cry if deprived of his necessary glass of brandy. TITLE CARD It was in the reign of George III that the above - named personages lived and quarreled ; good or bad, handsome or ugly, rich or poor, they are all equal now. FADE OUT. THE END"
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] | An omniscient (though unreliable[6]) narrator (voiced by Michael Hordern) informs us that in 1750s Ireland, the father of Redmond Barry (Ryan O'Neal) is killed in a duel over a disputed horse sale. The widow (Marie Kean), disdaining offers of marriage, devotes herself to her only son. As a teenager, Barry falls in love with his older cousin, Nora Brady (Gay Hamilton). Though she seduces him, she later drops Barry (who has no money) for the well-off English Captain John Quin (Leonard Rossiter). Nora and her family plan to relieve their poverty with an advantageous marriage, but Barry refuses to accept the situation and shoots Quin in a duel. Barry flees to Dublin, but en route is robbed of purse and equipment by Captain Feeney (Arthur O'Sullivan), a famous highwayman. Broke, Barry joins the British army, whereupon he reunites with Captain Grogan (Godfrey Quigley), a family friend, who informs him that, in fact, he did not kill Quin — Barry's dueling pistol was loaded with tow. The duel was staged by Nora's family to get rid of Barry so that their family finances would be secured through the marriage of Nora and Quin. Barry's regiment is sent to Germany to fight in the Seven Years' War, where Captain Grogan is fatally wounded by the French in a skirmish at the Battle of Minden. Barry deserts the army, stealing an officer courier's uniform, horse, and identification papers. En route to neutral Holland he encounters the Prussian Captain Potzdorf (Hardy Krüger), who, seeing through his disguise, offers him the choice of being turned back over to the British where he will be shot as a deserter, or enlisting in the Prussian army. Barry enlists in his second army and later receives a special commendation from Frederick the Great for saving Potzdorf's life in a battle. After the war ends in 1763, Barry is employed by Captain Potzdorf's uncle in the Prussian Ministry of Police to become the servant of the Chevalier de Balibari (Patrick Magee), a professional gambler. The Prussians suspect he is a spy and send Barry as an undercover agent to verify this. Barry reveals himself to the Chevalier right away and they become confederates cheating at cards. After he and the Chevalier cheat the Prince of Tübingen at the cardtable, the Prince accuses the Chevalier (without proof) and refuses to pay his debt unless the Chevalier demands satisfaction. When Barry relays this to his Prussian handlers, they (still suspecting that the Chevalier is a spy) are wary of allowing another meeting between the Chevalier and the Prince. So, the Prussians arrange for the Chevalier to be expelled from the country. Barry conveys this plan to the Chevalier, who flees in the night. The next morning, Barry, under disguise as the Chevalier, is escorted from Prussian territory by Prussian officers. For the next few years, Barry and the Chevalier travel the spas and parlors of Europe, profiting from their gambling with Barry enforcing reluctant debtors with a duel. Seeing that his life is going nowhere, Barry decides to marry into wealth. At a gambling table in Belgium, he encounters the beautiful and wealthy Countess of Lyndon (Marisa Berenson). He seduces and later marries her after the death of her elderly husband, Sir Charles Lyndon (Frank Middlemass). | Barry_Lyndon |
[
"JAWS 3-D AN UNDERWATER WONDERLAND Crystal green. Beautiful fish of all colors and faces swarm happily by. A spectacular undersea garden blooms like plants touched by springtime. A quick - silver surface of color mirrors lush reef growth. SURREALISTIC CREATURES Swim, creep, crawl, stalk, hide in their endless quest to survive. FISH A beautiful aquarium of peace and tranquility. TERROR The fish suddenly explode in panic, darting in all different directions, swimming instinctively for their threatened lives. GROUPER 300 pounds. Awesome and ugly, swimming away as fast as it can go. ANOTHER ANGLE - GROUPER As we come closer on it. Closer. It glances back, eyes wide with fear of impending death. It reverses course, ATTACKING CAMERA, and the grouper gets TORN IN HALF Shredded by some unseen monster. There's a violent THRASHING SOUND and clouding of the ocean, then quiet again as chunks of tissue float in the bloody brine. GROUPER'S HEAD Drifts along, torn from its body. Bug eyes open wide in death. CAMERA Swoops around, moving quickly again. On the surface, high above, something attracts its attention. It goes to investigate. UNDERWATER SHOT OF WATER SKIERS Speeding over the surface. CAMERA Let's now refer to it as SHARK, even though we do not see it. It starts after the skiers. WATER SKIERS Tanned, healthy, all - American boys and girls. They come SHOOTING across the water in formation. SHARK POV Follows after them, curious as to what's going on. SKIERS Start forming a PYRAMID, climbing up onto each other. One of the girls is KELLY. She's blonde and adorable and is climbing onto TOD's broad shoulders. TOD The space shuttle has landed! KELLY Hold still, damn it! TOD What're you doing later? KELLY Taking my boyfriend to the airport. TOD -LRB- smiling. -RRB- I thought I was your boyfriend. SHARK POV Following along, piqued. SKIERS The pyramid is formed. The COACH in one of the speed - boats speaks through his bullhorn. COACH Looking good, kids. Real good. That's the way. Keep it nice and tight. TOD Keep it nice and tight, Kelly. KELLY -LRB- giggling. -RRB- I do n't talk that way. TOD Remember, skiers stay up longer. KELLY Shut up, Tod! Be serious! TOD I am serious. SHARK POV As it follows the skiers' wake.",
"INT. PRESS TENT - ARNOLD CALVIN Slick corporate vice president. Sea Kingdom is his baby. He points to a large SCALE MODEL of the park as he talks to the crowd of press people and V.I.P.'s. CALVIN Two years in the making, at a cost of seven million dollars, our new Under the Sea Kingdom is an exploration of earth's inner space, capturing the excitement and adventure of man beneath the sea. No other amusement park offer exhibits like. -LRB- points. -RRB-. Monsters of the Deep fun tunnel, with giant squids, manta rays, and moray eels. -LRB- points. -RRB- We've added to the fantasy of lost underwater treasure ships for kiddies, sunk in. -LRB- points. -RRB-. a reproduction of incredible coral reefs and caves where we've imported thousands of rare beautiful tropical fish. -LRB- points. -RRB- And in this enclosed exhibit is Shark Encounter, where moving walkways take you safely through shark - infested waters. A pretty woman REPORTER has a question. REPORTER What kind of sharks, Mister Calvin? CALVIN Doctor Allen is our Marine Biologist and Mammalogist, formerly in charge of the state's Conservation Marine Laboratory. I think she can answer better than I. They all turn to KATHRYN Dark hair, mid - twenties. The brain matches the beauty. She is far more comfortable in the company of her dolphins. KATHRYN Domesticated sharks, mostly. Mako. Tiger. Nurse. Sand. REPORTER Do n't they attack each other? KATHRYN Contrary to popular belief, when sharks are well fed, they will not hunt. CALVIN -LRB- smiling. -RRB- And we keep them well fed, so be kind what you say about us, or. They all chuckle. Except Kathryn. REPORTER You do n't have a Great White. KATHRYN No. And I really do have to get back to my own mammals, so, if you'll excuse me, please. CALVIN Yes, of course. Thank you for stopping by, Doctor. Kathryn gets out of there. REPORTER It seems what you've created here is a combination Art Nouveau and Jules Verne. CALVIN Exactly. WATER SKIERS Up in their pyramid formation. The Coach gives them praise through his bullhorn. COACH Great, gang. Beautiful! Making me proud of you. KELLY Fighting for her balance, her legs are wobbly. KELLY Watch it, I'm gon na fall. I'm gon na go! TOD Balance, Kelly. Bal - lance! JILL No, Kelly. Not now! TOD Lean back! KELLY Ahhhhh! BILL You fall, I'll kill you. I swear I'll drown you. KELLY Oh, God. I ca n't. The Coach does n't know what's going on. COACH -LRB- V.O. -RRB- Now tomorrow, there's gon na be this great big banner that we break through here - so now is n't the time to fall, Kelly. That's all Kelly needed to hear. KELLY Ahh. ahhh. ohhhh. SKIERS NO! TIMBER! Kelly falls, sending the entire pyramid pitching into the water. TOD Aw. shit! SHARK POV Up ahead, shadows thrashing through the water. The shark rises to see what's going on. SKIERS IN WATER Start reassembling as the speedboat idles, Evinrude RUMBLING. The Coach barks at them through the bullhorn. COACH What the hell was that all about? Kelly! The skiers grab hold of their lines, looking at Kelly. KELLY -LRB- guiltily. -RRB- Sorry, guys. STEVE She did it again. COACH Concentrate out there! We ca n't have mistakes tomorrow! They're about ready to go again. The boat starts to pull away. SKIERS In their starting positions. They come RISING out of the water as SHARK Comes trailing in their wake, just seconds behind. We see the tip of a giant triangular FIN cutting through the water, following them. The fin is like a monstrous gray sail. Up ahead, we see a giant set of GATES Start closing, coming down. SHARK POV It swims under the closing, heavy wire mesh gates. Gon na be a tight squeeze. WHAM - THUMP There's a shuddering vibration as the gate hits on something BIG. The shark swims away as the gate CLANGS. DAISY AND BOBBY DOLPHIN Going through their `` paces.'' Kathryn is in the water with them. She blows a whistle and uses hand signals, giving affectionate rewards. KATHRYN -LRB- to dolphins. -RRB- What, Daisy? What do you want? Tell me. The dolphin `` talks'' back to her. KATHRYN -LRB- to other dolphin. -RRB- Come here, Bobby. Come on, give me a kiss. The dolphin gives her -LRB- and audience -RRB- a big wet kiss. KATHRYN Thank you. MIKE -LRB- O.S. -RRB- Want another one? She turns to him and smiles. KATHRYN Sure do. -LRB- to dolphin. -RRB- Kiss me again, Bobby. MIKE AND KATHRYN Laughing. Take each other in their arms. A soft, tender kiss, which the dolphins and penguin appreciate. MICHAEL BRODY is late twenties. Tan and fit. Head engineer. KATHRYN Well, not much longer to go. MIKE What is it, 97 days? KATHRYN -LRB- laughing. -RRB- Till this opens, not our wedding. MIKE Hope I make it through both. KATHRYN -LRB- kissing him. -RRB- You will. I'll see to it. Mike points to the nervous, chittering dolphins. MIKE Look, Kathryn. They're jealous. KATHRYN They're acting very strange suddenly. MIKE Pre - opening jitters. KATHRYN I guess. Mike's BEEPER goes off. He sighs and speaks into it. MIKE Brody here. VOICE Mike, we're having a problem with the gate.",
"INT. CONTROL ROOM This is Mission Control underwater. All the inner workings of Sea Kingdom are monitored down here. The two OPERATORS watch the dials and gauges and 20 TV screens. MIKE -LRB- V.O. -RRB- What kind of trouble? OPERATOR It's not closing, Mike. MIKE -LRB- V.O. -RRB- That's impossible. OPERATOR I know. But we show it's not closing. MIKE -LRB- V.O. -RRB- Okay, okay. We'll get someone on it. MIKE AND KATHRYN MIKE Damn it. I ca n't understand! -LRB- to her. -RRB- I got ta go, hon. KATHRYN Do n't forget you have your brother. MIKE Yeah. KATHRYN See you later. They kiss and Mike turns at a RUMBLING SOUND. CRANE Comes lumbering towards the water's edge. Seated high on the boom with a camera is PHILIP HUTTON A very refined, well - educated, aristocratic Englishman, 30. IKE directs the crane and SHELLY drives. If you did n't know better, you might suspect there's something between the three of them. PHILIP Bring the crane over. Come down. Easy down. MIKE Hey. Mike comes over to them. MIKE Hutton, how the hell did you get my crane? PHILIP Calvin said it was all right. MIKE Yeah, well I did n't! PHILIP Well, we're not going to hurt it, old boy. -LRB- to Kathryn. -RRB- I say, love, is Flipper ready to go? KATHRYN Go where? PHILIP On the telly. We're to film him for the evening news. KATHRYN Nobody told me. PHILIP I just did. Can you make them do tricks? KATHRYN They're not tricks. They're behavior patterns. PHILIP Fine. Have them do some. KATHRYN I do n't know. They're nervous and skittish right now. PHILIP Yes, are n't we all. Kathryn turns in disgust, looking at Michael. KATHRYN That macho pompous English - MIKE Do n't let him get you. Just continue your patterns and pretend he's not around. KATHRYN My imagination is n't that good. MIKE Honey, I got ta go. KATHRYN Okay, bye. Another soft kiss. As Mike passes Philip, he slaps the crane and calls up to Philip who's readying his camera. MIKE Make sure you put this back. PHILIP Aww, ca n't I keep it? Mike stares at him. Takes an angry beat. Philip still looking into the lens. Mike leaves. Philip calls to Kathryn. PHILIP Okay now. Have Flipper flip or something. KATHRYN Make this quick! She turns to her dolphins. WATER SKIERS They're up in the pyramid once again, riding smooth. All but Kelly. KELLY Ahhh, ahhh. TOD Now what? KELLY Got ta sneeze. TOD Do n't you dare. KELLY Ca n't help it. ahh. JILL No, Kelly! We're almost in! KELLY Ahhhh. UNDERWATER - SHARK POV Staying right below the skiers. It starts to rise.",
"EXT. PRESS TENT The media munch on hors d'oeuvres and champagne. From their vantage point, Calvin points out the skiers for them. CALVIN In addition to the aerobatics that our skiers are performing, they'll be doing the comedy ski show `` The Hatfields and McCoys,'' choreographed by world - famous skier Janet Turner. SKIERS Coming onto shore now. The Coach speaks to them through the horn. COACH Beautiful. Hold it, hold it. Kelly's hanging on, eyes tearing, mouth ready to explode in a sneeze. COACH Get ready. Here we go now. Make me proud of you. SKIER Release. They let go of their ropes and come out of the pyramid, gliding in to shore as Kelly lets out a huge SNEEZE and stumbles onto shore. TOD God bless you. UNDERWATER - SHARK Swoops in close, then turns and heads back out. No fun here. MIKE IN ZODIAC BOAT Comes speeding up to a WORKBOAT deck. Mike does a hot dog 180 - degree spin through the water and eases up to the workboat where SINGER holds a crackling walkie - talkie. MIKE What happened? SINGER I do n't know. It's off the track. MIKE Give me the walkie. Singer does. Mike talks into it. MIKE Overman! OVERMAN'S VOICE We get time and a half for this? MIKE No, Overman. OVERMAN'S VOICE Then we'll be done in a minute. Singer leans into the walkie - talkie. SINGER Let's go, guys. I got a date tonight. OVERMAN'S VOICE She have a friend? MIKE Yeah, but you do n't. Get to work. UNDERWATER - DIVERS OVERMAN and HARRIS. They are arc - welding on the GATE. The sparks flash brilliantly through the water. They replace a pin, HAMMERING it in place. MIKE IN HIS BOAT MIKE Stay on top of it. SINGER Right. KATHRYN POPPING OUT OF WATER She calls to Philip, who holds his camera but is n't filming the background. The dolphins dart about. KATHRYN It's no use. They wo n't come into the lagoon. PHILIP Well then, can you have them jump to the camera over here? KATHRYN Wait a minute. These are n't kangaroos, Mr. Hutton. They're dolphins. PHILIP I thought they were clever. KATHRYN I can have them walk backwards. PHILIP No, no. That wo n't do. KATHRYN I told you, something's upset them. PHILIP Well, I have to get this into the networks. If you ca n't do it, you ca n't do it, that's all. KATHRYN I'm sorry. PHILIP Well, we'll just try again, dear. Keep working on it. Maybe you'll get it one of these years. -LRB- to his men. -RRB- Pack up, boys. Flipper's a flop. KATHRYN Watches with scorn as the start the crane up and leave. Kathryn goes into the water, a look of determination. KATHRYN IN WATER Stands to her knees, BLOWING a whistle and SLAPPING the water hard. BOBBY and DAISY Look at her and respond in a cute but frustrating way. KATHRYN No! That is wrong! What is the matter with you? Again, she blows the whistle and slaps the water three times as MIKE PULLS UP In his Zodiac. MIKE -LRB- smiling. -RRB- You called, Doctor? KATHRYN Everything's going wrong. I'm having more trouble with Bobby than I ever have before. I ca n't get him to respond. MIKE How come? KATHRYN I do n't know. I ca n't understand it. Something's bothering them. MIKE And what else is bothering you? KATHRYN Hutton. He really pisses me off. MIKE Yeah, you really do n't like him. KATHRYN I do n't like what he does. MIKE It's his work. KATHRYN He does n't need the money. He inherited a fortune. He kills for kicks. TV battles between non - predator fish and divers. The diver always wins. MIKE Okay, forget him now. I'm going to pick up Sean. Take a ride? KATHRYN I ca n't leave now. We taking Sean out? MIKE Sure. Want to try that new Italian place? KATHRYN No, you do n't need all that starch. You're getting too fat. MIKE Not enough loving. KATHRYN Get out of here! She playfully splashes water at him. He yells and heads to shore. MIKE We'll have sushi. She smiles and shakes her head. WORKBOAT DECK As Overman and Harris pull themselves out of the water. They hand Singer the equipment and start getting out of their tanks. OVERMAN It's Miller time! HARRIS You buying? OVERMAN Sure am. HARRIS -LRB- to Singer. -RRB- Coming with us? Overman's buying. SINGER No, I'll take the money instead. Overman looks around the deck. OVERMAN You see the three - quarter socket? HARRIS Yeah. Down there. OVERMAN Shit. SINGER Way to go, guys. OVERMAN You two go ahead. I'll meet you at Captain Kidd's. SINGER Okay. Singer and Harris put the equipment into the boat as Overman puts his mask back on. OVERMAN Dives back into the water. UNDERWATER - OVERMAN The diver enjoys this freedom ; not encumbered with weights and tanks, he swipes at passing fish as he descends into the deep. But suddenly, all the fish that were curiously inspecting him turn and scatter. ANOTHER ANGLE - OVERMAN Looks about, apprehensive eyes peering through his mask. He looks again and continues diving. SHARK'S POV - OVERMAN As we come MOVING IN on him from behind. Overman turns. His face freezes in a horrifying SCREAM of terror. OVERMAN As a MONSTROUS unseen force plows into him, and there is a vicious thrashing and explosion of water. 727 ON APPROACH It comes in like a giant bird, flaps down out, gear down. It lands in our laps and continues past.",
"INT. AIRPORT Arriving passenger SEAN BRODY moves with the others. Sean is a junior in college. Athletic, good looking, he looks around and sees his brother rushing up to him. MIKE -LRB- O.S. -RRB- Sean! MIKE AND SEAN A warm, macho, brotherly hugging and punching exchange. MIKE Hey, what's goin' on, little brother! SEAN Damn! You sonuvabitch! Look at you! MIKE Look great, do n't I? SEAN Got a job for me? MIKE Yeah, we'll find something for you. Shoveling shark shit or something. SEAN -LRB- apprehensive. -RRB- Sharks? MIKE -LRB- reassuringly. -RRB- In a restaurant. You sit there and they swim around you. SEAN I'll go to McDonalds. WITH THEM ON THE TRAM MIKE How'd you do in school? SEAN Great. I got one B, two C's, and eight incompletes. MIKE Hey, I'm proud of you, kid. SEAN So was Dad. He shows Mike a INSERT - POLAROID PHOTOGRAPH OF SHERIFF BRODY Grimacing as usual, his hair G.I. crewcut. SEAN -LRB- V.O. -RRB- Took it this morning. MIKE -LRB- V.O. -RRB- He needs a haircut. SEAN -LRB- V.O. -RRB- Yeah, right. MIKE AND SEAN MIKE How is he? Still fighting crime? SEAN Last week he broke up a major counterfeiting ring. Gang of kids were using slugs in the Pac - Man games. MIKE -LRB- laughing. -RRB- Big bust! He confiscate their water pistols? SEAN Booked them all at Baskin - Robbins. MIKE -LRB- appreciating. -RRB- That's Dad. Mike throws an arm around Sean and hugs him. MIKE He taught us good, though, did n't he, Sean? We were lucky to grow up the way we did. SEAN Who's grown up? MIKE Gee, it's good to see you! SEAN I want to see Kathryn. MIKE Just find your own. Like Dad says, there's plenty of fish in the sea. They laugh.",
"INT. AIRPORT - KELLY Moving through the terminal, licking an ice cream cone, she sees Mike and Sean and comes running over. KELLY Mike! Mike and Sean stop. KELLY Give me a ride? MIKE Sure. KELLY ` Preciate it. Mike's BEEPER gives off a faint signal. MIKE -LRB- harassed. -RRB- What do they want now? He looks around for a phone. MIKE Kelly, this is my brother Sean. Do n't let him get lost. Mike heads for the phones in the b.g. as Sean and Kelly study each other, liking what they see. KELLY So, you just get here? SEAN Yeah, from Boston. KELLY I was seeing this guy off. He flew in from Dallas. Wants to marry me. He's okay, but Texans are so possessive. SEAN Massachussettans are n't. KELLY ` Course they're also so rich. SEAN Massachussettans are n't. KELLY How long you staying? SEAN I do n't know, it depends. KELLY You like Florida? Sean looks at her, in her shorts and tank top. SEAN I have n't seen that much, but so far it looks great. KELLY -LRB- suggestively. -RRB- Well, wait till you see the rest. They smile at each other. MIKE ON PHONE Whatever he's hearing is n't good. SEAN AND KELLY The romance continues to build. KELLY You gon na work at The Kingdom? SEAN Depends on big brother. KELLY I'm a water - skier. SEAN Are you really? KELLY Sure am. SEAN That's too bad. I do n't like water. I do n't like being around in. I never go in it. KELLY How come? SEAN Goes back to when I was a kid. Mike's okay, he's gotten over his fears, but I have n't. I ca n't even drink it. Mike comes over in a hurry. MIKE Come on, let's go. SEAN Something wrong? MIKE You know Overman? KELLY Musclehead? MIKE He's missing. KELLY Hope with none of my girl friends.",
"EXT. AIRPORT - DAY Mike and Sean and Kelly walk to the parking lot. MIKE Kelly, could you look after Sean for a while? Show him around for me? KELLY Sure. No problem. MIKE Thanks. SEAN Yeah, thanks. The brothers wink at each other. KATHRYN RIDING WHALE She takes it through a series of moves, not noticing Mike and Sean and Kelly pull up in the Blazer. SEAN Hi - yo - Silver! KATHRYN Sees them and leaps off the whale. KATHRYN Sean! She hops out of the tank and warmly embraces Sean. KATHRYN MMMM. It's good to see you again. SEAN -LRB- meaning Mike. -RRB- You really gon na marry this guy? KATHRYN Well, I ca n't wait for you forever. SEAN Why not? Younger guys are in. MIKE Okay, you two, have a good life without me. I got ta go. SEAN Do n't hurry back. Mike leaves. Kelly turns to Kathryn. KELLY Doctor Allen, you think I could ride the whale sometime? KATHRYN Sure, Kelly. KELLY That'd be great. I was a seal once, in another life, and whales were always my closest friends. They look at her. Uh - huh.",
"EXT. BREAKWATER - LATER Mike's there with Harris and Calvin. MIKE Why did n't you stay with him? You never let a diver go down alone! HARRIS We were done, Mike. He left a piece of equipment down there and went back for it. CALVIN And has n't been seen since. HARRIS I waited for him. When he did n't show, I went back. There's no sign of him. His gear's still on deck. I went in looking for him. All I found was this. We see the missing three - quarter socket wrench. MIKE I do n't understand. Overman's too good a diver to disappear. CALVIN Have you checked the bars? The guy's irresponsible ; he's done this before. HARRIS Yes, Mr. Calvin. We've called all over. Nobody's seen him and his truck's still here. CALVIN I want him found. He could be in the bars, he could be shacking up. He could be out to sea MIKE I'll need more men to look. CALVIN Ca n't help you, Mike. Do n't have the manpower. MIKE We're going to have to cover the entire lagoon. CALVIN I know, but you're just going to have to find another way. So you better start. Calvin leaves. SUBMARINE AT DOCK A small two - seater, bobbing on the surface near the dolphin pen. Kathryn turns to RUTH, one of her assistants. KATHRYN I think they'll come out now. RUTH They still seem nervous. KATHRYN I know. Mike turns to Kathryn. MIKE They're coming with us? KATHRYN We play hide and seek all the time. They find a lot of things. Mike looks at the tiny sub. MIKE -LRB- skeptically. -RRB- Where's the rubber band? KATHRYN Look, Michael. you do n't have to come. MIKE I do n't have a choice. She understands. KATHRYN Well, let's go then. They ease into the sub. MIKE How many coupons is this ride?",
"INT. SUB He squeezes into the front seat. She's behind him. MIKE What do I do now? KATHRYN Take a deep breath and hold it. MIKE That's cute, Kathryn. Real cute. KATHRYN -LRB- smiling. -RRB- Just put your mask on. He inserts his respirator while she starts the engine. She puts her mask on. KATHRYN Control, we're preparing to leave the dock now with the sub.",
"INT. CONTROL ROOM One of the CONTROLLERS responds. CONTROLLER Roger. We'll keep an eye out for you.",
"INT. SUB Kathryn pulls the canopy CLOSED. It shuts with a BANG. The sub starts filling with water. MIKE Watching through his mask as the water surrounds him. The claustrophobia sets in. SUB Eases away from the dock and starts its journey, sinking from view. UNDERWATER - SUB Drifts down into the lagoon, spotlight on, scanning the beautiful underwater garden. CAMERA - POV Something is FOLLOWING IT.",
"INT. SUB Mike looks very apprehensive, and Kathryn knows it. He holds on tight. KATHRYN Honey. you all right? MIKE No. KATHRYN Are you scared? MIKE Yes. They settle into the water. SUDDENLY, from NO PLACE BOBBY AND DAISY DOLPHIN Come SWOOPING INTO IT, their faces at the sub's window, scaring the shit out of Mike. MIKE -LRB- reacting. -RRB- Damn it! KATHRYN -LRB- smiling up. -RRB- Hi, baby. MIKE Baby goddamn scared me to death! KATHRYN They just wanted to say hello. MIKE -LRB- low, to himself. -RRB-. Friggin' fish. He takes a deep breath and holds on. MIKE Let's head to the gate and work our way back. KATHRYN That's a lot of ground to cover. MIKE I know, I built it. I've just never seen it this way. WALRUS EXHIBIT Sean and Kelly are peering into the tank. A big old, whiskery WALRUS shoots up, SPITTING water on them. The kids get a bath. SEAN AND KELLY Dripping wet, laughing. So is the walrus. SEAN Well, I needed a cold shower. KELLY Come on! Check this out! Kelly takes Sean's hand, and they skip away.",
"EXT. SUB - SERIES OF SHOTS Moves through an underwater coral forest with an unlit glass TUNNEL extending through it. The dolphins follow. SUB - HEAD - ON A slow - moving fish, sneaking past the fake cave openings. The spotlight searches, lighting the shades of pink, white, and lavender formations. MIKE AND KATHRYN Eyes searching as she turns the spotlight. KATHRYN It's romantic down here. MIKE Oh, yeah. Very. KATHRYN You know, on our honeymoon, we should go scuba diving. MIKE Let's not talk about that now, okay? SPANISH GALLEON Wrecked in 1982, it looks like it's been down here for centuries. Masts broken, cannons rusting, wood eaten away. The sub circles it. PANNING GALLEON The sub comes in low. Nothing there, other than `` priceless gold and treasure.'' The sub moves in close as DOLPHINS POP OUT Frightening both of them. KATHRYN Now I'm getting paranoid!",
"INT. CONTROL ROOM Underwater, with enormous windows overlooking the lagoon. On one entire wall is a schematic showing the electrical system of Sea Kingdom, lights flickering on it. There are also banks of instrument panels and TV monitor screens. In the b.g. is a lock which connects the lagoon with the control room. A crew of men and a woman are working in the room. Outside, the submarine appears. A man at one of the control panels throws a switch activating radio communication between the control room and the sub as a BUZZER sounds. WOMAN Any luck? MIKE'S VOICE Not yet. WOMAN We have n't seen anything either. Not a sign of him. MIKE'S VOICE Let us know. STADIUM STANDS Sean and Kelly sit in the top row now. They're the only ones there. SEAN This is where to be. High and dry. KELLY And alone. They kiss.",
"INT. SUB Kathryn works the controls, but the sub starts SINKING! MIKE -LRB- apprehensive. -RRB- What's wrong? KATHRYN Nothing. She's flicking all the switches. The sub hits the bottom hard. He watches her try the controls again. MIKE If nothing's wrong, why are we stopping here? KATHRYN Electrical connection malfunctioning. MIKE You sound like Houston Mission Control. What the hell does it mean? KATHRYN That we swim. MIKE -LRB- aghast. -RRB- Swim where? Out there? Oh, no, forget it, not me! You go, I'm staying. KATHRYN Michael, the sub's dead. MIKE Yeah, and so will I be if I start swimming in that blackass jungle. KATHRYN Okay, stay. We'll come back for you. She gets ready to leave. MIKE Where are you going? KATHRYN Up. MIKE And leave me down here? KATHRYN -LRB- getting impatient. -RRB- Make up your mind. MIKE What mind? If I had a mind, I'd never have let you talk me into this. KATHRYN I talked you into this? MIKE I'd have fallen in love with a pilot or a mountain climber. KATHRYN Are you coming? MIKE No, I do n't want to leave now. I'm having too good a time. Of course I'm coming! You'd think you're gon na leave me? They start to evacuate. MIKE -LRB- continuing. -RRB- You would, would n't you? I'd end up whale shit, you would n't care. KATHRYN Get your reserve bottle and let's go.",
"EXT. SUB Mike and Kathryn emerge and start swimming but the DOLPHINS Wo n't let them go into the direction they want. Bobby and Daisy keep bumping them, refusing to let them go. Mike is getting pissed. He pushes Bobby ; Kathryn PUNCHES Mike. KATHRYN Grabs Mike and points in the direction they were heading. GREAT WHITE SHARK Ten feet of killer, coming at them. MIKE Utter fear, his eyes terrified as he stares at the shark. FLASH CUT - JAWS I Young Michael Brody being yanked from the water an instant before the Great White can eat him up. MIKE, KATHRYN AND DOLPHINS Mike gaping at the o.s. shark as Kathryn grabs onto Daisy's fin and pulls her to Mike. She gestures for him to take the fin. He does n't respond, looks at the shark. THE WHITE Coming closer, a chilling monster. MIKE, KATHRYN AND DOLPHINS Kathryn grabs Mike's hand and forcibly puts it on Daisy's dorsal fin, taps Daisy. The dolphin and Mike are gone in a flash. Looking at the shark, Kathryn feels for Bobby's fin, taps his head. As quickly as Mike went, she is gone from view. RACE FOR SAFETY SEQUENCE Shots alternating between the dolphins, their speed reduced by the weight of pulling Mike and Kathryn, and the Great White in pursuit of them, getting closer and closer.",
"EXT. DOLPHIN PEN GATE The dolphins carry Mike and Kathryn through the narrow opening. The instant they are inside, the Great White hurtles into FRAME and BANGS against the gate sides, too big to get through. MIKE AND KATHRYN SURFACE Scramble for dear life out of the water, rolling onto the dock. They lie there, gasping, chests heaving. Mike slides over to Kathryn. KATHRYN You all right? MIKE I think so. I'm not sure. Are you? KATHRYN I'm okay. He holds her close. She's trembling. KATHRYN Michael. MIKE It's all right, baby. We're safe. DAISY AND BOBBY DOLPHIN Break the surface, chatting away. Mike and Kathryn look at them and smile. MIKE Thanks, guys. The dolphins almost answer `` that's okay, but watch it next time.'' Mike helps Kathryn to her feet, and they walk away, arms around each other. KATHRYN How the hell did it get in here? MIKE God, they're horrible. I hate them. Did you see its eyes? How black they are? The look in them? KATHRYN Do n't think about it. It's over. MIKE It's never over. Here comes another six years of bad dreams. DOLPHINS Watch them walk away, then DIVE back into the water. UNDERWATER The shark is looking for something to eat. Finds it. Gulp.",
"EXT. FLORIDA FESTIVAL TENT - SUNSET Calvin's called an emergency meeting. Mike, Kathryn, Philip. Calvin's eating his dinner through SCENE. Ike and Shelly stand in b.g. There's a heated discussion. CALVIN What you're saying is we have a Great White shark in the lagoon. MIKE And a missing man. PHILIP Unhappy combination. Most likely one's inside the other. KATHRYN Sharks are man - biters, Mister Hutton. Not man - eaters - PHILIP -LRB- cutting her off. -RRB- That's a load of codswopple. A Great White does n't fear man. It does n't fear beast. It's an orgy of food and blood. KATHRYN I think we can capture it. I'd like to try. PHILIP That's preposterous! CALVIN Go on, Doctor. KATHRYN No one's ever caught a Great White except indirectly in fishing nets. I want to dart it and keep it alive. CALVIN It would make a marvelous attraction ; the only Great White in captivity. KATHRYN -LRB- confidently. -RRB- I can get it. PHILIP You can get killed! KATHRYN I've handled sharks before. Bigger than this one. PHILIP Calvin, let me go down there and kill the bastard. KATHRYN No! PHILIP -LRB- continuing to Calvin. -RRB- It'll chop up half a million dollars of your tropical fish in two minutes. KATHRYN Calvin, I insist I be allowed to capture it! PHILIP Three hundred million years of evolution have created the greatest butcher the world's ever known. KATHRYN It's one of the world's greatest creatures. PHILIP A shark could have a hundred embryos in its sack. You know how many are born? Maybe five. They eat each other before birth! They're born killers! KATHRYN The only Great White in captivity, Calvin. All those people standing in line. CALVIN All right, Kathryn. Go ahead and get it. KATHRYN I will. PHILIP Well, then I'm going to film it. KATHRYN Like hell! PHILIP -LRB- to Calvin. -RRB- Make a lovely item for `` Good Morning, America'' CALVIN Absolutely. Good idea. KATHRYN -LRB- to Calvin. -RRB- With those camera lights and. CALVIN -LRB- interrupting. -RRB- He's going with you, Doctor. KATHRYN No, it will be too much distraction. I do n't want that many people in the water. I'll go in, give it a belly shot, and get out. CALVIN And Philip will be there to film it. Now that's the end of it! Kathryn bites her lip, realizing. She turns to Calvin. KATHRYN I want that shark alive. PHILIP So do I, love. CALVIN Well, you'd better get started! He walks away. Kathryn stares at Philip, who smiles and moves off with his men. Mike comes up to Kathryn. MIKE You're going down there again? KATHRYN Yes. MIKE After what happened to us? KATHRYN I know I can capture it. MIKE Kathryn, you're crazy. Really crazy. A suicidal maniac.",
"EXT. LAGOON The WORKBOAT comes through the darkening fog. It's very moody. Back lit, all that stuff. ON WORKBOAT RUTH AND BRIAN Are preparing a large syringe. RUTH Twelve cc's BRIAN That should do it. OVER TO PHILIP AND SHELLY Preparing their cameras. PHILIP We'll shoot this with an.18, boys. SHELLY That bugger moves fast. PHILIP Give me a 400 - foot magazine ; we may be down there for a while. SHELLY -LRB- smiling. -RRB- I would n't mind going down with her. PHILIP She is a lovely bit of crumpet at that. OVER TO MIKE Welding some kind of object. Ike comes up to him. Ike's in his diving suit. IKE Are n't you suiting up, mate? MIKE No. IKE Well, do n't worry about your fiancee. We'll watch over her. MIKE She can take care of herself. She does n't need you. IKE Never know down there. Helps to have a friend, sometimes. MIKE How many sharks have you killed? IKE Me? I do n't know. Twenty, thirty. I love them, think they're the greatest. He walks away. Mike looks out at the water, staring at it. FLASH - FROM JAWS I Young Mike Brody sees the lifeguard taken by the shark. BACK TO MIKE He comes out of it in a gasping sweat. KATHRYN -LRB- V.O. -RRB- Well, how do I look? He turns. MIKE What? KATHRYN Wears an iron CHAIN LINK SUIT over her diving suit. She has a light - hearted nervousness. KATHRYN Do you like it? She models it for him. MIKE Oh, yeah. Really nice. Who's your designer? Sassoon Shark? KATHRYN I got it on sale. -LRB- touches links. -RRB- A real steel. MIKE Here. KATHRYN What's that? MIKE Bracelets. It's what he's been welding. Forearm protectors which he places on her. KATHRYN Fine piece of engineering. MIKE Should protect you a little, from the compression. If that thing gets ahold of you. KATHRYN Thank you. She kisses him. He takes her in his arms. MIKE Kathryn. KATHRYN Yes? He looks at her. Wants to tell her to take that damn suit off. To get off this boat and forget the fucking shark. To go home with him, to bed. MIKE I love you. She smiles. KATHRYN Love you too. Mike nods and takes his beeper. MIKE Okay, hit it.",
"INT. CONTROL ROOM The team of OPERATORS are at the instrument panel, all the monitor screens are on. They flick some switches. MIKE -LRB- V.O. -RRB- Let us know as soon as you have anything. OPERATOR Right, Mike. LAGOON Like a flower of sunshine unfolding, lights pop on from beneath the water, illuminating the lagoon. WORKBOAT Mike and Kathryn watch the lights come on. MIKE Would n't this whole thing be a little safer in the daytime? KATHRYN It's easier to lure sharks at night. MIKE Why?'Cause they're hungrier? PHILIP -LRB- V.O. -RRB- They're always hungry. They eat anything. Philip enters. He's wearing a bright orange diving suit. PHILIP -LRB- continuing ; touches her suit. -RRB-. even steel. Mike looks again at her protective suit. She looks at Philip. KATHRYN You look like an orange worm. PHILIP Shark bait. Draws them over for closeups. KATHRYN What in hell is that? She points to a HAND GRENADE Strapped on his waist, right by his large knife. PHILIP Lunch for Whitey. Something to munch on in case things get dicey. KATHRYN We're taking that shark alive! PHILIP Let's hope he knows that. KATHRYN I know it and I will not go down into this lagoon as long as you carry that! PHILIP Why? KATHRYN Because I do n't trust you, that's why. MIKE You set that thing off down there, you do n't know what will happen. PHILIP Precisely. KATHRYN I insist you get rid of that bomb. PHILIP Afraid I ca n't do that. KATHRYN You're supposed to film it, not turn it to hash! PHILIP Look, Doctor, this is n't one of your pet porpoises we're after. It's a torpedo of muscle. Murderous expertise! I've seen bleeding sharks try to eat themselves! Do n't be so concerned about them. Worry about yourself. He turns to go. MIKE Hutton! He stops. Turns. MIKE You heard the lady. Take it off. Tense pause. Philip stares at Mike. At Kathryn. Then his hand moves to the grenade. He unclips it, holds it in his hand, and FLINGS IT TO MIKE Who catches it. Philip walks away, smirking. Mike makes a move after him, but Kathryn stops him.",
"INT. CONTROL ROOM One of the Operators sees something on a screen. He focuses in on it. TV SCREEN It's the shark. OPERATOR We see him, Mike. Between the stadium and the ski show island. MIKE -LRB- V.O. -RRB- All right, hit those lights too. MORE LIGHTS Start popping on. WORKBOAT Mike turns to Kathryn. Tightens her tank straps. She holds a large SPEAR GUN. MIKE Change your mind? KATHRYN No. MIKE You amaze me. I'm more scared than you. KATHRYN No, you're not. Mike pulls her face mask down and `` kisses'' her over it. She goes over the side. PHILIP AND IKE In their tanks and masks, ready to go. Mike comes over to Philip. Gives him back the grenade. MIKE Here. Do n't let anything happen to her. Philip smiles and nods, clips the grenade to his waist and dives, taking us UNDERWATER Kathryn and Philip and Ike all start kicking down. MIKE ON WORKBOAT Watches the bubbles break the surface. He turns to Shelly. MIKE This is ridiculous. We should blow the mother's head off. SHELLY Could n't agree more. UNDERWATER As the three kick downward. Philip and Ike prepare to film. Kathryn notices Philip checking his power - head and reacts sharply. He notices and gives her a mocking salute, making her angrier yet. Turning, she starts toward the circling shark. THE SHARK SEQUENCE Intercutting between Kathryn, Philip and Ike and, on the deck of the workboat, Mike and Shelly. Kathryn moves toward the shark until it starts to circle her, Philip and Ike beginning to film. Her expert maneuvering is not lost on Philip, and he watches with interest - Mike, on the boat deck, watches what he can with apprehension - as Kathryn slowly lures the shark toward her. Suddenly, it darts in at her and she jabs the spear at it -LRB- into the audience -RRB-, causing it to veer away. Kathryn seems surprised by this. The shark begins to circle her again, CAMERA PANNING with her as she keeps an eye on it. Philip and Ike keep filming, Mike keeps watching tensely on the deck as Kathryn positions herself, holding the spear extended, moving it back and forth. Abruptly, the shark darts in, moving so precipitously that it goes all the way to Kathryn. She ducks and the shark's jaws clamp shut on her air tanks. Philip reacts to this and starts forward to help her as the shark begins to shake her violently from side to side. Letting go of the spear, she tries to hit the shark in the eye but has no success. Philip shows up, and she waves him off. He can not believe her reaction but does n't draw his powerhead, only hitting the shark on the head with the camera. This makes it let go of Kathryn's tanks and back off fast. Philip shoving it aside as it passes him, drawing his powerhead just to be safe. The shark does not attack him though, but retreats. Philip looks at Kathryn. She is shaken up, but the chain - mail suit has protected her from injury. She waves him back irritably. Shaking his head either at her or her stupidity, he backs off to Ike, keeping a wary eye on the shark as Kathryn kicks up to the surface to get another spear. On deck, Mike tries to speak to her as she grabs the spear, but she is under again before he can say a word. Kathryn grimly sets herself again. Seeing this, Philip casts his eyes heavenward, as though thinking, `` Dear God, the woman's suicidal.'' She jabs the spear toward the still lingering shark. Finally, after making a few nervous passes, it goes for her. This time, she is able to shoot the sedating spearhead into its stomach, then kicks up toward the surface as fast as she can, the shark starting after her. SURFACE As she breaks through. KATHRYN Michael! Mike and Shelly rush there, reach down, and grab her hands to haul her up. As they do, the shark comes after her. They yank her over the railing an instant before it lunges out of the water and almost bites her feet off, jaws slamming shut in close shot as it misses, its body crashing back into the water. Kathryn looks at Mike, her face decidedly pale. She attempts to smile. KATHRYN -LRB- meekly. -RRB-. I told you I'd get it. The shark bellies up. MIKE I can use a shot of what he's got. KATHRYN Me, too. Her legs go watery, and she leans against the railing. Mike embraces her.",
"INT. TANK ROOM - UP ANGLE ON CEILING The roof has been opened, and the shark is being lowered into the room on the litter. CAMERA DOWNPANS with it to reveal Brian and Ruth preparing to get the shark into the tank, Philip, Shelly, and Ike filming it. MIKE AND KATHRYN He is drying her off with a large towel, rubbing her down good. She is cold and shivering. MIKE After this has opened, when everything's settled down, you and I are going away. Just the two of us. No dolphins, no sharks, no whales, no penguins. Just you and me. KATHRYN Sounds wonderful. MIKE We'll go to Palm Springs, Death Valley, Arizona desert, anyplace where there's no water. She kisses him and turns at a familiar SOUND. DOLPHINS In an adjoining tank, curiously watch the shark being lowered. The dolphins chatter away. Kathryn tells them : KATHRYN -LRB- V.O. -RRB- Do n't be afraid, it's okay now. The dolphins do n't believe her. They dive for safety. BACK TO MIKE AND KATHRYN Smiling. She shrugs off the towel as Brian calls her. BRIAN We're ready for you. KATHRYN I have to walk him till the drug wears off. MIKE You want me to stay? KATHRYN -LRB- kissing. -RRB- Get some sleep. And tell Sean I'm sorry. MIKE -LRB- remembering. -RRB- Sean, that's right. Mike turns to leave, accidentally crossing in front of Philip's shot. PHILIP Watch it, Brody. You're ruining the shot. MIKE Kind of dull in there for you, is n't it? Why do n't you throw in another shark? He walks out. Kathryn hurries into the tank with Brian and Ruth. They unfasten the shark from the litter and start to walk it. The litter is raised back up. RUTH He's a young one. KATHRYN And big for his age. They walk on. GRASSY KNOLL Sean and Kelly are lying on the ground making out as Mike's voice comes over the park P.A. system. MIKE -LRB- V.O. -RRB- Sean. Sean, where are you? KELLY Someone's looking for you. SEAN That's Mike. Let him look. He kisses her some more. MIKE -LRB- V.O. -RRB- Sean? You there? Kelly gets to her feet, pulling Sean up too. KELLY Come on, it's getting late, and I have an early call. They walk off, arms around each other.",
"INT. TANK ROOM - LATER Ruth sleeps on a floor mat. Kathryn and Brian are still walking the shark. Both look very tired. KATHRYN Why do n't you take a rest, Brian? BRIAN I'm only walking him. You caught him. You have to be exhausted. KATHRYN Go on, you're tired. BRIAN No, I'm fine, thanks. They stop talking, keep walking. PHILIP Comes in, wearing his jogging suit. PHILIP How's sleeping beauty? KATHRYN Still sleeping. PHILIP Kiss him, maybe he'll turn into a frog. KATHRYN -LRB- smiling. -RRB- Should be coming out of it soon. PHILIP Just watch it when he does. Philip lowers himself into the water and moves to Brian. Taps him on the shoulder. PHILIP May I cut in? Brian looks over at Kathryn, who's about to say no, then nods it's okay. BRIAN He's all yours. Philip takes his place alongside the shark. He smiles at Kathryn. PHILIP Could be a new dance. Walking the Shark. KATHRYN -LRB- smiling back. -RRB- Thanks for helping. PHILIP Not at all. KATHRYN Why are you? PHILIP I like it when they wake up. KATHRYN So do I. But for different reasons. PHILIP And I like you. They keep walking it. PHILIP You were quite daring in capturing him. Very skillful indeed. KATHRYN Skillful? I missed my first shot. PHILIP Some miss all their shots. KATHRYN Somebody could have gotten hurt. PHILIP That's what life is, Doctor. Full of chances to hurt yourself, or somebody else. KATHRYN You're a strange man, Mr. Hutton. PHILIP Philip. KATHRYN Before, you were ready to feed this shark a hand grenade. Now you're helping to nurse it back to life. PHILIP That's because I am the shark. KATHRYN We're all from the sea, Mr. Hutton. Our destiny is linked to the fate of the oceans. By continuing to destroy fish, man destroys himself. PHILIP The grenade's just to intimidate Whitey. He knows I have it, so he watches out. Same is true when I film lions, tigers, rhinos. She studies his smile. KATHRYN I think that you and I are natural enemies. PHILIP And here I thought I was charming you. The shark quivers, showing signs of waking. PHILIP Hello. I think his nap's over. KATHRYN Get ready to go. PHILIP Believe me, I am. KATHRYN -LRB- calls. -RRB- Brian, he's coming around! They walk it a little more and THE SHARK AWAKENS Comes INSTANTLY back to life with an EXPLOSIVE recovery. Kathryn and Philip leap aside to get out of there, but the shark SLAMS Kathryn against the side of the tank, knocking the breath out of her. PHILIP INTERVENES So does Brian, who comes jumping into the tank. Philip uses his feet to keep the shark away from Kathryn, but they both almost get CRUSHED by the body. Philip flips her out of the tank as the shark comes lunging around at him. ANOTHER ANGLE - PHILIP Gets out of there just in time, as the shark just misses chomping his evacuating ass. Brian's out of there safe. KATHRYN AND PHILIP Look down as the shark swims in rapid circles. PHILIP Well, Doctor. You've got your shark. KATHRYN Thanks to you. There's a near moment of tender contact between them. Philip smiles and nods at her and leaves, doing his best Bobby Darin. PHILIP -LRB- singing `` Mack the Knife''. -RRB- Oh when the shark bites, With his teeth, dear, Scarlet billows start to spread. She watches him with an intrigued smile.",
"INT. BEDROOM - NIGHT Kathryn comes quietly in. Starts undressing in the dark. Mike softly speaks to her from the bed. MIKE All well in the Kingdom of the Sea? She smiles and sits on the bed. KATHRYN Finally. MIKE How's your patient? KATHRYN Recovering nicely. MIKE Me, too. She falls into his arms, and they kiss. KATHRYN Mmmm. you smell good. MIKE -LRB- smiling. -RRB- You do n't. KATHRYN It's my new perfume. Great White, the Man - Eater. She nibbles his ear, neck. He pulls her down to him, they kiss passionately. LAGOON - NIGHT All is still and quiet. A NOISE is heard from beneath the water. A faint almost ROAR, and the water is shaken by a giant form that sends a wave rolling to the CAMERA. Then, whatever it was turns and returns to the deep. The surface of the water rocks and trembles. SHARK ATTACK They're in a feeding frenzy. They rip, tear, chewing on tuna, each other. Anything in the water. PHILIP -LRB- O.S. -RRB- Playful bastards, would n't you say? REVEALING Philip and Ike and Shelly watching the footage on a Moviola screen. They drink beer and watch. IKE Brings back such pleasant memories. PHILIP Was a rather enjoyable afternoon, was n't it? SHELLY You want to show this? PHILIP Absolutely. The audience will stain their drawers. -LRB- smiles. -RRB- I did. He walks for the door. Opens it. PHILIP Stands outside his EXHIBIT BOOTH, taking in the start of a new day. There's photos and signs : PHILIP HUTTON PRESENTS KILLERS OF THE DEEP. There's books and T - shirts and toys too. Ike joins him outside. IKE Gon na be a beautiful day. PHILIP And a profitable one. They smile at each other. PHILIP Come on, I'll buy you breakfast. OPENING DAY SHOTS As final last - minute preparations are made. A. Mini - buses being washed and decorated. B. Sea shows in final rehearsal. C. The Skiers getting dressed. D. The mini - sub being worked on at the dock. E. Food trucks delivering. F. The ushers and usherettes, looking good. G. Divers reaching the lagoon. H. Control Room Underwater - all is ready for lift - off. I. Maintenance crews washing, scrubbing, polishing. TWO DIVERS Come up. They shake their heads `` nothing.'' They dive again.",
"INT. TANK - DOLPHINS Activating one of the symbol controls again and again.",
"INT. CONTROL ROOM Mike and BOB talk. BOB We've been looking all night, Mike. I do n't think he's out there. If he drowned, I think he went down on the bay side of the gate and the current pulled him out. It was pretty strong when the men were working there. MIKE Did you look in the intake passage? BOB You ca n't even get in there, the incoming flow is so strong. It would wash the body out anyway. MIKE Well, I do n't know. Maybe he is n't down there. Keep checking with everyone who knows him. I'll be at my office. He leaves. ENTRANCE TO SHARK ENCOUNTER TUNNEL Mike's walking as Kathryn comes from the other side. KATHRYN Mike! He turns and she skips up to him. KATHRYN -LRB- continuing. -RRB- They said you'd be here. MIKE What's up? KATHRYN I need more pressure in the shark tank. MIKE Okay. KATHRYN I want to make sure the White is getting enough flow. Would you do that for me? MIKE Sure. Let's go. She stops him. KATHRYN No, we'll go through here. MIKE Mean through the tubes? KATHRYN Yes. It's faster. MIKE No, I'm not going through there. KATHRYN Michael, come on, do n't be silly. This is the quickest way. You're not going to walk all the way around? MIKE I'm not going to walk through that shark arcade. KATHRYN They're not going to hurt you. They're encased in plastic. MIKE I do n't want to see them, Kathryn. KATHRYN Michael, I do n't have time. Please! It's time you dealt with this and got over it. Now come on! She takes his hand and leads him into the tunnel. SHARK TUNNEL Mike is very apprehensive as the SHARKS encroach upon them from all angles. He ca n't look at them. KATHRYN Calvin wants me to move the White for tomorrow. MIKE He ought to put him in here. KATHRYN It's too soon to move him. MIKE So tell Calvin. KATHRYN I did. He wants it on exhibit. MIKE Well, that's why you got it. They walk on a bit, then Mike leans against the tunnel wall, eyes closed. KATHRYN Mike. you okay? He's taking deep breaths. He's very pale and perspiring. MIKE It's back. She goes to him. KATHRYN What's back? He's fighting some inner demon, and losing. The sharks come swimming by him. He stares them in the eye. There seems to be thousands of them. KATHRYN Honey, what is it? MIKE Hydrophobia. KATHRYN Michael, take deep breaths. MIKE I have to get out of here. KATHRYN Come on. MIKE I ca n't take water, Kathryn. KATHRYN Yes, you can. MIKE I ca n't! My dad had it, and I do n't know if you can inherit it or what, but I got it, and I hate it. I ca n't stand it! He RUNS out of there, running for his life, leaving her behind. She watches him go. MOVE FROM THEM THROUGH THE WINDOW Out into the water. A shark. We move in on its black eye, till the eye fills the SCREEN.",
"EXT. LAGOON - DAY - CLOSE ON CANNON MUZZLE The same size as the eye in the previous shot, ROARING as the cannon is fired. CAMERA PULLS BACK to reveal the cannon on the deck of a motorized pirate vessel which is carrying on its deck a gathering of politicians, press representatives, TV newsmen, and celebrities. It sails across the lagoon, flags whipping in the wind, cannons THUNDERING. CAMERA PANS UP and we see the words THE NEW SEA KINGDOM WELCOMES YOU moving across the sky, towed by a single - engine plane. CROWD ARRIVING The great American Tourist invasion. They come in cut - offs and sandals, Kodaks and sunglasses. They come in every size, shape, and colored getup. Old and young, they CHARGE. P.A. VOICE Welcome to Sea Kingdom, and the excitement and discovery of earth's inner space. For the whale and dolphin shows, please stay to the right. The underwater tunnels are straight ahead. THREE MERMAIDS Very pretty in their fishtail suits. They answer the tourists' questions. DOWN SHOT OF SEA KINGDOM As we come floating over the park. PHILIP Dangling out of the HOT AIR BALLOON, filming. Ike is the pilot. IKE Hardly like the Falklands. Philip calls over the bullhorn to the gaping tourists below : PHILIP If you'll all squeeze a bit closer, everybody, you can see yourself tonight on the evening news. FAT WOMAN TOURIST A 200 - pounder in shorts, hat, and sunglasses squeezes into the shot. She looks up, smiling and waving at the hot air balloon. She shoves in closer, loses her balance, and falls into the lagoon. PHILIP Watches woman splashing about. PHILIP Well, seems a new whale show has been added. They laugh. LITTLE GIRL CRYING She's scared of the performing WALRUS. Her mother comforts her. SIGN - FILLS THE SCREEN `` WELCOME TO SEA KINGDOM'' WATER SKIERS Come BURSTING through the sign like John Madden in the Lite Beer commercial. The skiers are in their pyramid formation. KELLY As usual, is fighting for balance. Teetering on the edge, she lets out a desperate warning cry. KELLY I'm gon na fall, I'm gon na fall! SKIERS No, Kelly! Jesus, you ca n't! KELLY Ahh - Ohhh - TOD Back, Kelly. Lean back! KELLY Ohhhhh shhhhiiiit. There she goes. No, she does n't. Yes, she does. Nope, still up there. Hang on, Kel. CROWD Applauding the skiers as they come zooming by in formation. SKIERS Make their sweeping turn and head in to shore. They come neatly out of the pyramid. KELLY Makes a graceful 3 - point landing, gliding onto the dock. She EXPLODES in joy, all bubbly and happy, thrilled at her accomplishment. KELLY I did it, I did it! She leaps on Tod, hugging him exuberantly. SKIERS Way to go, Kelly! You were great! KELLY I knew I could do it! They all slap palms and give high - fives and hugs. Kelly is the center of the adulation. MONSTERS OF THE DEEP FUN TUNNEL Everyone enjoying the scary walk. We see the giant squid tentacles reaching over the glass. Kids scream. Now it seems as if one tentacle has actually BROKEN THROUGH, but it's only an illusion. An EEL flies out of a cave and charges. THREE TEENAGE GIRLS Screaming, yelling, giggling as they react to the ravenous `` monster.'' The girls are LINDA, BECKY, and ALI. They love it. TOURISTS Moving happily along. They eat, take pictures, push strollers. Everybody's having fun. DAISY AND BOBBY Doing their act for the laughing, clapping crowd. Kathryn looks pleased. CONTROL ROOM UNDERWATER All the gauges and dials and monitors registering. OPERATOR Looks at one flashing gauge. He calls his partner over. They look a bit concerned as they check it. KATHRYN RUNNING THROUGH THE CROWD She forces her way through those in line to see the live `` Great White Shark.'' KATHRYN Excuse me, sorry. Let me through, please. I have to get through!",
"INT. EXHIBIT Brian and Ruth are walking the shark. The exhibit is PACKED with tourists, gaping down, watching. KATHRYN Bursts through onto the floor, kicking her shoes off on the run. She jumps into the tank. KATHRYN When did this happen? RUTH Ten minutes ago. BRIAN It has n't adjusted. KATHRYN Get the hose! We've got to force more water through the gills and oxygenate him! Brian scampers out of the tank for the hose. KATHRYN I knew it ; it's my fault. We moved it too soon. RUTH Do n't blame yourself. KATHRYN I should have never listened to Calvin. They walk the shark. RUTH Kathryn. KATHRYN Goddamn it. The shark is dead. It floats over, belly up. KATHRYN Takes a painful moment, looking at the shark. RUTH No one's ever done it before. It was a good try. KATHRYN Not good enough. RUTH We got it to live for ten hours. That's some kind of record. She turns from the shark and looks up at all the TOURISTS Gaping down, taking pictures, grumbling. TOURISTS Big deal. Let's get our money back. LITTLE GIRL Look, Mommy, the shark's dead. MOM Yes, dear. Come on. They start to leave with the others. Some still stare and wait. KATHRYN The disappointment and disgust is evident. Brian puts a comforting arm around her. BRIAN Do n't feel bad. KATHRYN -LRB- resigned. -RRB- Okay. Have them get it out of the tank. She climbs out of the tank. SEA LION SHOW The audience laughs. KILLER WHALE SHOW It leaps and dives, having as good a time as the tourists. SHOTS OF PARK The tourists going from one show to the next. BACKSTAGE SKI SHOW Mike and Sean stand to the side as the girls hurry past them, changing costumes. SEAN Mike, this is fantastic. I mean, you're responsible for building all this. What a job you've done! Maybe I'll quit school and come down here and work with you. Brody Brothers Construction. We've always wanted to do that together. Boat building. MIKE It's not that easy. Worked construction every summer to get through school. Three years apprentice in the park's engineering department, and two years to build all this. Finish school first, Sean. Then make up your mind. If you still want to work with me, we'll have plenty of time. SEAN You and Kathryn gon na stay here? MIKE This company's expanding. They got parks in Texas, Ohio, California. I think I'm gon na be going to Waco. SEAN Well, Dad asked me to ask you this, about the wedding. Is there any chance you and Kathryn will get married in Amity? MIKE Tell Dad we're getting married in Las Vegas. In one of those chapels. He can meet us there. SEAN -LRB- laughing. -RRB- Yeah, he'll really go for that. MIKE It's all up to Kathryn. Amity's fine with me if it's fine with her. KELLY -LRB- V.O. -RRB- Sean! Sean looks over as he hears his name called. Kelly's running over to them. MIKE She still talking to you? SEAN We're in love. MIKE Sure. SEAN No, really. I've never met anyone like her before. This is it. MIKE Yeah, right. That's what you said about Janet, and Beth, and Barbara - SEAN Puppy love. This time it's real! We can have a double wedding. Kelly is upon them. She's in her warm - up suit and looks adorable. Sean greets her with a hug and a kiss. SEAN You were great out there! KELLY Did you see me?! Was n't I terrific? SEAN As always. They kiss again. Kelly sees Mike. KELLY Hi, Mike. MIKE How you doing, Kelly? KELLY -LRB- sniffling. -RRB- I'm Neo - Senephrened out. Think I'm catching a cold. MIKE Better than catching Sean's herpes. An astounded glare. KELLY Herpes? SEAN Why you sonuvabitch. MIKE -LRB- leaving. -RRB- See you tonight. Mike smirks away as Kelly grabs Sean. KELLY Sean, do you have herpes? SEAN No. Of course not. Do n't listen to him. He's - he's. -LRB- laughing. -RRB-. my brother. They kiss. KELLY I'm not in the next show. What do you want to do? He looks at her and grins. KELLY Besides that. SEAN I do n't know, what else is there? KELLY -LRB- excitedly. -RRB- I know! We can take the gondola ride! SEAN The one that goes underwater? KELLY Yes, it's great! SEAN No, Kelly, I do n't want to. KELLY Come on, it's fun! SEAN Not for me. I do n't go in the water, remember? KELLY You're not in the water. You're in a gondola. SEAN No, think of something else. KELLY Sean, this is ridiculous. You're acting very immature. SEAN I'm not acting! I do n't want to go in it, okay? She's dragging him by the hand. KELLY Well, I do! Time you got over this wet dream. Nothing's gon na hurt you. Now c'mon, we're going on it! He very reluctantly goes with her.",
"INT. TUNNEL Kids and adults laughing and jumping at the creatures from the deep. OUR THREE TEENAGE GIRLS Linda, Becky, and Ali ask the ATTENDANT at the entrance. ALI Is this one scary? ATTENDANT No. This one's fun. You'll like it. BECKY Oh, good. Because the last one really scared us. They head into the tunnel.",
"INT. CONTROL ROOM The Woman Controller sees something on one of the monitors. WOMAN Did you see that? MAN What? WOMAN On monitor three. Was a glimpse of something. MAN That? WOMAN Yes, there is goes. MAN It's disappeared. They wait and watch. WOMAN I'll have the guard look. She picks up the phone. ATTENDANT AT TUNNEL He's on the phone to Control. ATTENDANT I'll go check on it. He hangs up and starts down the tunnel. OUR THREE TEENAGE GIRLS Having a good time as a giant, mad - eyed squid appears with all its tentacles reaching. BECKY Wow, look at that! LINDA Yeah. Reminds me of my date last night. ALI Hey, look at that thing over there. What's that supposed to be? They press to the glass for a closer look. We see some kind of FORM, floating. BECKY I do n't know. Some kind of crab? ALI It looks like a man. LINDA It is! THE FORM Rolls over as the girls SCREAM in horror. We see it is OVERMAN What's left of him. DAVEY JONES LOCKER Mike sits at the bar, on a stool. He's had a few, and it shows. There's a good crowd in the restaurant. PHILIP, IKE, AND SHELLY ENTER Move for a spot. Philip spots Mike. PHILIP See you later, mates. Philip moves over to Mike. MIKE AND PHILIP AT BAR Philip puts an arm around Mike. PHILIP Your friend Overman picked a hell of a time to come back. MIKE Yeah, poor bastard. PHILIP I lost a good cameraman in Australia last year. A Great White chopped him in half with one bite. MIKE Hey, I do n't want to hear. PHILIP That's how they do it, you know. Seizes its prey and shakes its body savagely. Teeth gnaw through a man like a buzz saw. MIKE Buzz off. PHILIP I will, old boy, tomorrow. Our work is done here. Just came to say goodbye, and good luck. MIKE Yeah? Well, in that case, have a drink. PHILIP Thanks. -LRB- to girl bartender. -RRB- Bullshot. MIKE So where you go off to, Hutton? Some expedition in New Guinea or Outer Mongolia? PHILIP No, South Georgia. MIKE What the hell's there? PHILIP Polar bears. MIKE Polar bears in Georgia? PHILIP South Georgia, Antarctica. MIKE Oh. PHILIP The world's southern most reaches. MIKE How come you're so brave with all this stuff? PHILIP Tradition. Royal sense of adventure that's been in my family for centuries. Dates back to the Crusades and King Richard. What I was born to do. MIKE Yeah, tradition's a bitch, ai n't it? PHILIP Reach for the limit I always say. MIKE I'll remember that, my Lordship. KATHRYN ENTERS She takes a beat, looks around, and moves quickly to the bar. KATHRYN Michael. They both look at her as she comes up to them. KATHRYN Michael, look at this. She shows us what's in her hand. A VERY BIG SHARP TOOTH Mike looks at it. MIKE Put it under your pillow and sleep on it and the tooth fairy will - KATHRYN It's a shark's tooth! MIKE So? KATHRYN It was removed from Charlie Overman's body. PHILIP May I? He takes the tooth. One look and he knows. PHILIP The bigger to eat you with. He and Kathryn exchange an understanding that Mike does n't. MIKE -LRB- confused. -RRB- What's the big deal? A shark got Overman, and we got the shark. KATHRYN That's just it, Michael. We do n't! MIKE What do you mean, we do n't? KATHRYN This tooth is from another shark. A shark that could be 30 feet long! MIKE Thirty feet? PHILIP Actually, thirty - five is probably more accurate. MIKE That's impossible. If it's that big, why has n't anybody seen it? Huh? Tell me that. It's like not seeing the Goodyear blimp in a swimming pool. KATHRYN That's what I've come to ask you. Is there any large place that has a strong current of water flowing? MIKE I do n't understand. His BEEPER starts signaling. He ignores it. KATHRYN Sharks have to keep moving. They can never stop or they'll suffocate. If water is n't always flowing through them, they'll die. PHILIP Is there such a place? A cave or something with such a flow? MIKE I do n't know. I ca n't think offhand of one. He reaches for his signaling beeper. MIKE Yeah, what is it?",
"INT. CONTROL ROOM The Woman Controller is watching one of the rising gauges. WOMAN Mike, we got a heat build - up in filter system number four. We're running high temperature. MIKE AT BAR MIKE Switch to intake three and keep it there. WOMAN -LRB- V.O. -RRB- Right, Mike. UNDERWATER INTAKE TUNNEL MOVING - CAMERA PANS across the gate. The bubbles stop. Through the grate, we SEE the GRAY FORM begin to move.",
"INT. BAR MIKE What did you just say before? About water flowing through them? KATHRYN That's why they're always moving. They have to have it. MIKE -LRB- to Philip. -RRB- You wanted to know about a cave? PHILIP Filter system number four. Is it large enough? MIKE -LRB- solemnly. -RRB- It's large enough.",
"INT. VIEWING TUNNEL - PEOPLE A dark cloud passing overhead, covering them in shadows. We see the underside of a massive white shark.",
"INT. BAR - MIKE, KATHRYN, AND PHILIP PHILIP How far away is filter number four? MIKE Five hundred yards. PHILIP You have a man near it? KATHRYN Somebody better get down there! MIKE It's all controlled from the Control Room. PHILIP I've heard of a White that big, in Australia. KATHRYN How'd it get in here?! MIKE Slumps on his stool, head in his hands, half - bagged, mumbling low. MIKE Oh, no. not again. A thirty - five - foot fuckin' shark. Goddamn. what's wrong with my family? First my father. now me. MIKE Sees something REFLECTED in his glass. He leans forward, curiously, watching whatever it is growing larger and larger. MIKE What the hell. He turns and SEES JAWS! In all it's full, awesome, HORRIFYING form. Mouth open, it tries to eat the viewing glass, then turns. Its body thunders against the window, shaking it as people SCREAM and panic for the door. KATHRYN -LRB- V.O. -RRB- Oh, my God! KATHRYN AND PHILIP Ca n't believe it themselves. They stare in awe. PHILIP He's big as a bloody bus! KATHRYN The water ski show! We have to get them out! MIKE Come on! KATHRYN You two go! I'll call Calvin!",
"EXT. RESTAURANT Mike and Philip come jumping into Mike's golf cart. MIKE Watch it! Out of the way! The tourists look at them. Who are these rude men? MIKE Coming through, please! Philip is standing and screaming. PHILIP Move your bloody asses! Mike tries to drive through - around the crowd. They yell back at him. Mike grabs his beeper and calls in. MIKE This is Brody, get the skiers out of the water! We got a shark loose! A Great White! THE SHARK Sweeping past one of the tunnels. People run in fear. Total PANIC. WATER SKIERS They are doing `` The Hatfields and McCoys.'' The skiers are in mountaineer costumes, and the MUSIC is loud bluegrass as the skiers do their twists and turns. SKI SHOW AUDIENCE Stomping and clapping and cheering for their side. AUDIENCE Hatfields! AUDIENCE McCoys! KATHRYN ON PHONE She's finally gotten Calvin. KATHRYN Yes, Calvin, yes! It's the biggest shark I've ever seen. A female. I think the other one was hers. You have to get the skiers out. SHARK POV Up ahead, the skiers' wake. The shark rises. MIKE AND PHILIP Now there are so many tourists in front of them, the cart is useless. They jump out of it and RUN for the ski show stadium. Those in their way get knocked aside. TOURISTS Hey, where the hell you going?! Why do n'tcha watch it?! Asshole.",
"EXT. LAGOON - DORSAL FIN Slicing through the water, CAMERA draws around, revealing that the shark is heading for the lighted stadium, the ROAR of the crowd. SHOT OF THE SKI SHOW The audience applauds. MOVING POINT OF VIEW SHOT - WHAT THE SHARK SEES Headed toward the stadium. MIKE AND PHILIP Come running in, in back of the stadium. They hurry to where the other skiers wait backstage. PHILIP Looking toward the lagoon, sees something. PHILIP Oh, Christ. WHAT HE SEES - THE FIN Heading toward the skiers. MIKE AND PHILIP Keep running, pointing, and yelling. MIKE Shark! Shark! But his warning is drowned out by the participating audience caught up in the show. AUDIENCE Hatfields! McCoys! Mike grabs one of the show's MANAGERS. MIKE Get them in! There's a shark out there! MANAGER You're kidding, are n't you? MIKE Get them out of the water! MANAGER Jesus. He runs off, while Mike sprints for the Master of Ceremonies. WATER SKIERS Doing their twists, turns. SKIER - TOD Does a fancy turnabout. Skiing backwards, he looks aghast as he spots something in the water coming after them. TOD Holy shit! He completes his turn - around and skis on, looking back over his shoulder. One of the GIRL SKIERS notices him looking. GIRL Hey, what'd you lose? TOD Huh. nothing. just do n't fall. Just do n't fall! He glances back again. The fin follows, then dives beneath the surface. SKI SHOW - MASTER OF CEREMONIES The M.C. is giving the audience a running play - by - play commentary as Mike comes bursting upon him, grabbing the microphone. The M.C. keeps pushing Mike back. M.C. What are you doing? I'm doing a show. Give me that. MIKE -LRB- into microphone. -RRB- All skiers in! There's a shark out there! Get out of the water! There's a shark! AUDIENCE Almost in unison, EVERYBODY in the entire stadium rises to their feet, looking. WATER SKIERS Having heard Mike's announcement, they're all looking about with great concern. SKIER Does a JUMP, coming off a ramp. Airborne, he glances down in disbelief as he FLIES over the monstrous form swimming beneath him. SKIER Holy shit! He lands and keeps going. SKIERS As the boat comes roaring in at top speed. The skiers make their sliding breakaway and clamber up onto the pad and safety. MIKE AND PHILIP Are amongst those helping them out. The skiers collapse thankfully. SKIER God, that was close! GIRL SKIERS All out of breath, looking out at the lagoon. GIRL SKIERS I do n't see it. Where is it? SHARK POV - UNDERWATER A GRINDING - SPLASHING NOISE has its attention. It heads in that direction. CALVIN ARRIVES Runs up and responds to SHARK FIN Speeding to one of the GONDOLA CARS as it glides along the water. CALVIN Good God! GONDOLA CARS One rises up from the water as the next one descends.",
"INT. GONDOLA CAR Sean and Kelly sit holding hands. KELLY Is n't this fun! SEAN -LRB- low, sarcastic. -RRB- Can hardly wait to do it again. She laughs and kisses him. KELLY Told you you'd like it. SEAN -LRB- apprehensively. -RRB- Now what's this do? KELLY Goes up. Sean looks out at the water and sees THE FIN Knifing through the water. SEAN -LRB- aghast. -RRB- No. It ca n't be. KELLY What, hon? Unable to speak, he can only point at the rapidly approaching dorsal fin. KELLY Oh, my God! SHARK POV The splashing Gondola Car. SEAN AND KELLY White - knuckled as the car starts to rise up. SEAN Let's go, let's go! KELLY It's okay, Sean. SEAN Take it up. KELLY He's diving! THE FIN Disappears. THE GONDOLA Slowly rises. Now ten feet above the water. KELLY -LRB- big sigh. -RRB- We made it. It ca n't get us. Sean still stares through the glass bottom at the water. SEAN Take it up! KELLY SEAN! Kelly has reason to scream, for THE SHARK Comes BURSTING out of the water at them. SEAN NO! SHARK Lunges high into the air, giant jaws open wide, rows of teeth bared. It clamps down on the rising gondola. SEAN AND KELLY As they look into the jaws of death. Kelly SCREAMS. SHARK AND GONDOLA As the car comes crashing back into the water, being torn apart by the giant. Kelly's SCREAM is still heard. AMBULANCE SCREAMING It's SIREN crying out as the ambulance RACES through the street, light flashing. AMBULANCE DRIVER AND HIS POV He's doing seventy and WEAVING in and out of traffic, barely avoiding head - ons and blind - sides by inches.",
"INT. HOSPITAL CORRIDOR MIKE Paces the hallway, nervously, outside a room. NURSE Comes out room door. Mike goes up to her. MIKE Can I see him now? NURSE He's very sedated. You ca n't talk to him. MIKE I just want to see him. NURSE Only for a minute. Mike nods appreciatively and enters.",
"INT. ROOM - SEAN Lies in bed with tubes sticking out of him. Mike stands looking at his still brother. KATHRYN Enters. Comes up to Mike, takes his hand. Mike looks at her. MIKE Kelly? Kathryn barely shakes her head `` no.'' Mike shows his pain. KATHRYN How is he? MIKE Couple of fractures, lacerations. They say he's gon na be all right. KATHRYN I have to go, honey. Phillip and I are going down together to kill the shark. MIKE Okay. She kisses his cheek and leaves. Mike just keeps looking at his brother.",
"INT. PRESS TENT - LATER Kathryn, Calvin, Philip, and staff execs seated around the table - top model of the Kingdom. PHILIP We can assume he's back in the water intake passage. KATHRYN She, Mister Hutton. PHILIP He. She. Let's blow the bitch up! CALVIN You ca n't do that. We're talking millions of dollars of filtering system. PHILIP We're talking a bloody dinosaur's down there! CALVIN You're not going to blow that equipment away. PHILIP Well, what else do you propose? MIKE -LRB- V.O. -RRB- We net it. They all look to see MIKE Coming through the door, joining them. MIKE -LRB- continuing. -RRB- After all, that's how you catch fish, is n't it? PHILIP You could also try a bamboo pole and a worm. CALVIN What's your plan, Brody? MIKE It's easy. Put a net on the derrick. Put the net in the water by the intake passage. Turn off the intake passage. Shark comes out into the net and is hauled up. PHILIP A piece of pie on Sunday. KATHRYN The net would have to be secured by the intake passage. MIKE That's right. KATHRYN Who's going to do it? MIKE Me. KATHRYN Michael, you're not going down there. MIKE I am. You're not. KATHRYN But you - MIKE -LRB- cutting her off. -RRB- It's a construction job. I'm the only one that can do it. PHILIP I'll go with you. MIKE No way. PHILIP I'll stay out of your way. I wo n't interfere. MIKE I'm sure you wo n't. But you're going to have to wait till we come up. Then you can film all you want. He starts for the door as Kathryn grabs him. KATHRYN Michael, you do n't have to go down there. MIKE I want that shark, Kathryn. KATHRYN You do n't have to prove anything. MIKE Only to myself. She watches as he leaves. DERRICK A giant heavy - duty CRANE sits beside the shore. It is strongly reinforced by supporting cables. Nothing could budge this baby. GIANT NET Is fastened to the derrick beam and guided over to the water's edge by workers. MIKE In diving suit, overseeing the operation. He moves about, hand signaling the crane operator to lower the net. NET Comes crashing into the lagoon, submerging to the deep. MIKE Is with Bob, ready to go in. He holds Kathryn. KATHRYN Be careful. Mikes smiles at her and repeats her own words. MIKE Do n't worry. I've handled sharks before. A quick kiss and he goes into the water. Kathryn watches. UNDERWATER Mike and Bob dive to the TUNNEL ENTRANCE Mike stops there, and Bob continues to the bottom. CLOSE ON MIKE Looking into tunnel. PULL BACK to include ominous tail of shark. It WIPES FRAME. MIKE Signals for them to send down the equipment. SHORE Men lower the gear to the divers below. UNDERWATER ANGLE As the gear comes down. BOB WITH JACK HAMMER Driving in anchor pins. PULL BACK AND UP to MIKE Welding hook eyes to tunnel mouth. REVERSE ANGLE Mike is intense and worried as he welds. ANGLE DOWN, the shark's tail is swishing, more agitated. BOB Glances up toward the shark, concerned about the JACK HAMMER NOISE. He suddenly startled by something touching him. REVERSE - IT'S MIKE He's finished with the welding and motions for them to get the net assembly. CAMERA MOVES PAST THEM The shark is STIRRING. WIDE ANGLE Mike and Bob move the assembly toward the tunnel mouth. CLOSER ANGLE They reach the tunnel mouth. CLOSE ON HAND Attaching a cinch ring hook. MIKE AND BOB They maneuver about the mouth, from hook to hook. ANGLE PAST RESTLESS TAIL To Bob swimming down to attach anchor pins to net. WIDE ANGLE Mike joins Bob. CLOSE on SHIVES Being attached. JOB IS FINISHED Mike signals return to surface. MIKE AND BOB Quickly get the hell out of there. SURFACE Mike breaks through, followed by Bob. They pull them - selves up onto shore. Clasp hands tightly. Machismo. MIKE Way to go, Bob. Way to go! KATHRYN Hurries over to Mike. She's greatly concerned. KATHRYN Are you okay? MIKE -LRB- smiling. -RRB- I'm fine. They hug. PHILIP It's his turn now. He grabs Ike. PHILIP Let's go. They start into the water. Mike comes over to Philip. MIKE -LRB- warning. -RRB- He's big, Hutton. You never saw anything so big. Watch yourself. PHILIP Always do. They submerge into the water. MIKE Grabs walkie - talkie. MIKE Okay, turn them on. CONTROL ROOM As the lagoon lights start to be turned on. We see them come on outside the windows. FULL SHOT - LAGOON As the lights come on, section by section. PHILIP AND IKE Reacting as the lights go on. Immediately, Philip switches on his head lantern and begins to check the camera. Ike looks uneasily toward the tunnel entrance. TUNNEL ENTRANCE The net across it, cables raising from each anchor pin. The shark can not be seen inside the tunnel. PHILIP AND IKE Philip flathands Ike on the shoulder, startling him. He points to Ike's lights, and Ike nods jerkily, turns them on, turns on his head lantern. Philip gestures for them to get closer to the center of the net. Ike hesitates. Again, Philip hits him on the shoulder, gestures impatiently. MIKE On the walkie - talkie. MIKE Turn off the water. CONTROL ROOM As they begin to turn off the water entering the tunnel. SHOTS As the water current slows down in the tunnel. The shark begins to stir. The principals on shore wait, looking toward the lagoon. PHILIP AND IKE Philip gestures for them to get closer yet to the center of the net. Ike holds back. Philip gestures angrily, and Ike has to go along but is most unhappy about it. SHOTS The water current getting weaker and weaker. The shark begins to move. Philip wants to be closer yet. Ike holds back, and Philip grabs his arm, pulling him. Ike looks toward the tunnel with mounting dread. REVERSE ANGLE Philip grabs Ike, pulling him closer. SHARK Slowly starts BACKING OUT. Philip stays close, photo - graphing. Ike drifts back. CONTROL ROOM The Operator watches the monitor closely. OPERATOR Shark's backing out. MIKE Turns to his crew. Speaks into the walkie - talkie. MIKE It's coming out. Get ready. UNDERWATER - PHILIP Stays right on top of it as the shark continues to back out. Philip looks over his shoulder and sees Ike taking off, terrified. CONTROL ROOM The shark's three - quarters out now. Ike is leaving FRAME. PHILIP Obsessed, he continues to film, despite incredible risk. The shark slowly, ominously backs up, backs up. SHARK Is now OUT of the tunnel. Philip keeps filming. SHARK Suddenly SWINGS AROUND, its incredible, massive head now turned to Philip and CAMERA. It is JAWS! PHILIP Stunned, backpedals frantically as the SHARK Thrashes forward into the NET. PHILIP Mesmerized. Unable to stop, Philip brings camera up to resume filming. CLOSE ON PINS They begin popping out. SHARK Comes HEAD ON, smashing into the net. CONTROL ROOM The Operator sees this chaos in the monitor and reports. OPERATOR The pins are going! MIKE Acts at once, speaking into the walkie - talkie. MIKE Pull up the rear net lines!",
"EXT. CRANE CAB The OPERATOR responds, pulling the levers hard. FULL SHOT - NET FLOATS Being hoisted out of the water. MIKE Gives a new order. MIKE Too much, ease off, ease off! REAR OF SHARK IN NET The mighty tail is tearing back and forth. Between the excessive pull - up and the thrashing tail, the strain on the anchor pins is too much. CLOSE ON PIN Violently being pulled out by an unseen force. CONTROL ROOM OPERATOR The tail's knocking out the bottom lines! MIKE MIKE -LRB- to Crane Operator. -RRB- Take up the cinch line on tunnel mouth! PHILIP Refuses to yield. He's still in from of the shark, filming. The shark's ENRAGED. ANCHOR PINS Start popping out in rapid order. PHILIP Realizes and starts retreating. MIKE MIKE Harder on the cinch lines! CRANE OPERATOR CRANE OPERATOR It's full bore now! SHARK - HEAD - ON Its assault on the net is more frenzied than ever. It plows into it. The seam starts to go! SIDE ANGLE - CRANE The derrick starts to TOPPLE, bracing cables snapping, the rear wheels starting to lift. Mike and everybody look around in SHOCK. CRANE ARM Comes toppling toward CAMERA. MIKE Sees and warns Bob. Look out! They LEAP into the water, barely avoiding the falling crane. UNDERWATER - MIKE CLOSE No mouthpiece, no mask up. He's gagging for air. MIKE His foot and leg tangled in net and cinch line. CLOSE ON TANGLED LEG/FOOT ANOTHER ANGLE Mike struggles to free himself. SHARK With tremendous thrust, the shark splits the seam of the net, coming right at us. Its vast JAWS fill the screen. ANGLE ON PHILIP Panic - stricken, total shock, he tries to escape. PHILIP SWIMMING The shark right behind. It wants Philip BAD. IKE Looks down in horror as he sees THE SHARK EAT PHILIP FRONT ANGLE As Philip is scooped into the massive mouth. ANGLE ON MOUTH Philip's airline is hooked over a shark's tooth as PHILIP slides into the shark's throat WHOLE. PHILIP INSIDE SHARK Panics as air is replaced by water, as he continues further into the shark. He is still alive, in one piece, at the edge of INSANITY. Then he remembers the GRENADE His hand gropes frantically for it. NEW ANGLE Philip, arm extended with grenade, fights to free his pinned arm to pull the grenade pin. PHILIP His mask now filled with water, struggles, bug - eyed, as his breath give out. ANGLE ON GRENADE In Philip's hand. A dead man's grasp on the grenade as the mouth of the shark closes into blackness. IKE Surfaces near platform, CAMERA moves in as BOB Surfaces unexpectedly in f.g., startling Ike. UNDERWATER - ANGLE ON MIKE He finds air. CLOSER ON MIKE He clears mask, puts in his respirator, looks. MIKE'S POV Through mask as water clears, the shark coming around the tunnel toward Mike. SHARK Heading for Mike. ON THE PLATFORM - BOB Climbs out, exclaiming : BOB Mike's caught in the net lines! ANGLE PAST SHARK Closing fast on Mike, still trapped. CLOSE ON KATHRYN With Bob in b.g. KATHRYN -LRB- to roustabouts. -RRB- Pull the cinch lines in! Hurry! MIKE Suddenly yanked upside - down and out of the tangled flipper. as the shark, on its kill run, lunges where Mike had been moments before. MIKE Is bumped hard by the passing shark. MIKE Swims down as the shark, overhead, turns. SURFACE Flipper, empty, is pulled from water. CAMERA moves in on Kathryn, grief - stricken. MIKE Perplexed, looks for way out. Begins to swim down. MIKE'S POV The cave. We move toward it. MIKE Looks over his shoulder at the pursuing shark. It's gaining fast. Mike's kicking as fast as he can. MIKE'S POV The shark, closing in once again. MIKE Swims frantically, the cave seeming so close yet so far. SHARK Alarmingly close, mouth open for the kill. ANGLE ON MIKE At mouth of cave, desperately reaching for the lip. He swings into the cave. and out of the shark's path as THE HUGE BEAST Immediately surges past, crashing into the cave's entrance. MIKE Reacts to the close call. MASSIVE TAIL Whips past, colliding with cave overhang, causing the overhang to fracture from the heavy blow. CLOSE ON MIKE His face reflecting concern as light changes and there is a CAVE - IN We see that Mike is blocked by fallen debris. KATHRYN - ON SHORE Grabs Bob as he is helped from the water. Shelly pulls ashore a traumatized Ike. KATHRYN AND BOB KATHRYN Where's Michael? What's happened to him? Bob shakes his head mutely. BOB I do n't know. The shark got him. Kathryn grabs a walkie - talkie. KATHRYN Can you see Michael? CONTROL ROOM Man looking at the monitor screens for the Fun Tunnel area. MAN We're not sure. KATHRYN -LRB- V.O. -RRB- Look! CAMERA moves in fast on the screen to show the cave entrance. ANGLE ON CAVE ENTRANCE - MIKE Trying to pull loose some of the fallen concrete to get out, looking for the shark. The concrete pieces are too heavy. KATHRYN AND BOB KATHRYN Well?! OPERATOR -LRB- V.O. -RRB- We think he's trapped inside a cave beside the glass tunnel. The shark broke up the entrance. KATHRYN Where is the shark? OPERATOR -LRB- V.O. -RRB- Near the bay gate. Kathryn hesitates, then runs out of FRAME, Bob and the others watching her go in surprise. SHOTS Kathryn running desperately toward her compound. Mike trying, in vain, to get out of the cave. SHARK COMPOUND DOCK - KATHRYN Running to the sub, untying it, jumping in, pulling the canopy shut, and turning on the engine. As the SUB moves into the lagoon, she puts on the scuba mask. BOBBY AND DAISY Seeing her leave, they begin to butt frantically at the still - unrepaired gate opening of their pen. SUB Moving through the lagoon. SUB - KATHRYN Looking around uneasily as she drives the sub. WHAT SHE SEES - THE LAGOON O.S., we hear the SOUND OF THE SUB. No sign of the shark. MIKE Trapped in the cave. He hears the O.S. SOUND of the sub and looks out, trying to see. THE SUB Emerging from the water, coming straight at CAMERA.",
"INT. SUB - KATHRYN Camera draws around to show the cave ahead. She looks around again for the shark. FULL SHOT - THE SUB Coming up to the cave. Kathryn starts to push the sub front against the fallen concrete. MIKE Pushing to one side to avoid the concrete piece the sub is pushing in. FULL SHOT - THE SUB Pushing at the concrete piece. KATHRYN Inside the sub, concentrating on the cave. Suddenly, a dark form flashes into FRAME just overhead, making her jump in shock. Then she sees - BOBBY AND DAISY Swimming around the sub. KATHRYN Returns to the concrete piece. FULL SHOT - THE SUB Pushing in the concrete piece. MIKE Pressed against the cave wall, is almost touched by the concrete piece. Now there is room enough for him to get out. FULL SHOT - MIKE Starts to push out through the cave opening. CAMERA ZOOMS IN on his face as he sees - THE SHARK In the distance, approaching again. KATHRYN AND DOLPHINS She reacts, seeing the dolphins dart out of FRAME. She looks after them. POINT OF VIEW SHOT - THE DOLPHINS Speeding toward the shark to intercept it. KATHRYN Her face reflecting her fear for the dolphins as she opens the canopy for Mike to get in. He closes the canopy, both looking apprehensively toward the shark. WHAT THEY SEE - THE SHARK Being butted by the two dolphins, deflecting its charge. MIKE AND KATHRYN Kathryn starting to drive the sub away. FULL SHOT - SUB As it starts away from the Fun Tunnel area.",
"INT. SUB - MIKE AND KATHRYN Kathryn looking back toward the shark. WHAT SHE SEES - THE DOLPHINS Still attacking the shark with some diversionary success. FULL SHOT - SUB Starting to rise as it passes over the Spanish Galleon.",
"INT. SUB - MIKE AND KATHRYN In the b.g., the shark suddenly comes toward them at high speed, its massive size blotting out everything in b.g. FULL SHOT As the giant shark hits the sub broadside.",
"INT. SUB Turning over in a complete circle, then righting itself, Kathryn trying to keep it moving forward. FULL SHOT - THE SHARK Attacking the submarine again, flinging it around like a cork, the attack by the dolphins only diverting it slightly.",
"INT. SUB The shark seen outside, trying to close its jaws around the sub. FULL SHOT - THE SHARK Grabs the sub from behind and starts to shake it.",
"INT. SUB - ANGLE PAST MIKE AND KATHRYN The shark seen in b.g., its enormous jaws closed around the back part of the submarine. Kathryn reaches for something. INSERT - CONTROL As Kathryn's hand in the violently shaking sub manages to increase the revolution of the propellers. FULL SHOT - THE PROPELLERS Spin faster, cutting the shark's maw. Bleeding, it backs off, wheeling away.",
"INT. SUB - KATHRYN Tries to drive it away, but the propellers will not turn now, they are jammed. The sub starts sinking toward the bottom. They both twist around. THEIR POV - THE SHARK Moving away.",
"INT. SUB - KATHRYN Points toward the galleon. Mike hesitates, then sees that they have no other chance and they slide back the canopy quickly, push out of the sinking sub, and swim toward the galleon. The dolphins suddenly appear in FRAME, and Mike and Kathryn grab their fins, looking around to see where the shark is, reacting as they see THE SHARK Rushing back toward them. MIKE, KATHRYN, AND DOLPHINS The dolphins speed them to the opening of the galleon hold where they let go of the fins and kick down fast into the hold as the dolphins wheel around to attack the shark again.",
"INT. HOLD OF GALLEON - UP ANGLE Mike and Kathryn swimming downward toward CAMERA. They kick into the dark hold, CAMERA pulling down from them, stopping. They swim past CAMERA and, in the next moment, the berserk shark appears, trying to follow them into the hold. It ca n't get through, the opening too small, but shatters part of the framing. MIKE AND KATHRYN Ducking away from and pushing aside large, falling pieces of lumber. They look up, reacting as they see THEIR POV - THE SHARK Lunging down into the opening again, breaking off more of the hold framing. MIKE AND KATHRYN Evading more falling wood, backing away as they look up at THE SHARK Trying once more, getting stuck in the hold opening which is now enlarged enough for it to wedge in part of its enormous form. FULL SHOT - THE SHARK Trying to get into the hold all the way, the two dolphins butting its side. MIKE AND KATHRYN Mike looks around, sees something and, grabbing Kathryn's arm, pulls her further into the body of the sunken hull, CAMERA PANNING to show them moving toward the hole in the ship's side.",
"EXT. HULL As Mike and Kathryn push out through the opening and kick up with extreme caution. ANGLE ON DECK EDGE As Mike and Kathryn appear, looking warily toward THE SHARK Still in the opening to the hold, trying to break through, the dolphins still butting its sides. MIKE AND KATHRYN Look at each other, then, abruptly, decide and kick upward, CAMERA with them. As they move toward the surface, they look down at THE SHARK Starting to back out of the opening it has battered into the hold entrance. MIKE AND KATHRYN Kicking upward as fast as they can go. SURFACE As they break through, looking down. WHAT THEY SEE - THE SHARK Coming up at them. MIKE AND KATHRYN Not knowing what to do. They start spasmodically as the two dolphins rush up from beneath the water and appear nearby. Without a word, Mike and Kathryn grab the dolphins' dorsal fins, and the dolphins start to rush them away. THE CHASE Shots alternating between Mike and Kathryn being pulled along by the dolphins and the giant shark pursuing them, getting closer and closer. When it becomes apparent that the shark is going to overtake them, the dolphins make a sharp turn and elude its heavier, straight - forward impetus. Seeing where they are, Mike points downward. Kathryn hits Bobby on the side and he dives abruptly. Daisy follows. UNDERWATER The dolphins diving with Mike and Kathryn as they put their mouthpieces back in. We see that they are outside the Control Room, the men inside looking out at them in shock. Mike lets go of the fin and swims to the lock, gesturing for Kathryn to do the same. She does and both take refuge in the concrete recess as the shark zooms into FRAME from behind CAMERA, rushing at them. INSIDE THE RECESS As the huge shark comes at them. Mike activates the outer door of the lock, and they are washed in just as the shark smashes its head against the concrete, jaws missing their feet by inches.",
"INT. LOCK The shark still trying to get at them. Mike shuts the outer door and starts to drain the water from the lock. As it comes below their heads, they pull out their mouthpieces and look at each other with dazed relief. He puts his arms around her, and they lean their fore - heads together, breathing hard. The water is out of the lock in seconds ; inside, men activate the inner door.",
"INT. CONTROL ROOM As Mike and Kathryn are helped in by the technicians. One of them looks toward the o.s. window suddenly. MAN Oh, my God! They whirl and look. THE SHARK Coming straight at the window as fast as it can. With a deafening CRASH, it hits the window and the glass is shattered, a wall of water roaring in. FULL SHOT - MIKE AND KATHRYN AND THE MEN Swept across the Control Room by the giant wave of water flung around. One man is smashed against a wall and killed. Several others make it to the door, getting out just before the water slams it shut. MIKE AND KATHRYN Putting their mouthpieces in again as the Control Room fills with water. They look toward THE SHARK With one of the technicians in its JAWS and is sub - dividing him. CONTROL ROOM Starts flooding. A tape bank topples, crushing female technician. IMPALED SHARK Thrashes violently, working its way in. It's caught on a huge section of thick glass piercing its side. MIKE AND KATHRYN Staring at the shark. Suddenly, the air in Mike's tank runs out and, reacting, he taps Kathryn's arm. She sees his problem, takes a deep breath, and gives him her mouthpiece. They look toward the window at a loud SOUND. THEIR POV - THE SHARK Still very much alive, throwing its gigantic weight forward, getting closer and closer to CAMERA, each violent lurch cutting its side open more, blood pouring from the jagged rent. ANGLE PAST SHARK ON MIKE AND KATHRYN As it gets closer and closer to them. They back away, are blocked by a console. ANGLE PAST MIKE AND KATHRYN Showing the shark closer yet. Despite the impaling blade of glass, despite the internal injuries, the shark - in seconds - will have them. CLOSE ON MIKE AND KATHRYN Sharing the mouthpiece, huddled together, helpless now. Then Kathryn's eyes widen, both react. THE SHARK Shaking its head as it inches forward, jaws open wide. MIKE AND KATHRYN Drawing back. Kathryn SCREAMS. THE SHARK Emerging from its maw is Philip's body. PHILIP'S BODY We see the GRENADE locked in his fist. MIKE Quickly grasps a metal strip from the tape bank and fashions a crude hook. MIKE Times his move perfectly and KNOCKS the grenade out of Philip's locked fist. The grenade comes to rest between the shark's TEETH. Kathryn gives Mike some air, then MIKE Leaps forward and SNATCHES the grenade out of the shark's mouth. MIKE Hurriedly wraps a metal strip around the grenade. KATHRYN Acts as a decoy and lures the shark's attention as MIKE PULLS the grenade pin and SHOVES GRENADE Into the distracted shark's mouth. MIKE GRABS KATHRYN And they roll behind a Control Room desk and computer terminal console. FULL SHOT SHARK As the shark is BLOWN OUT backward through the window opening, torn in half by the explosion, its massive remains starting to slide toward the lagoon bottom, turning the water crimson. MIKE AND KATHRYN Grabbing the stunned Kathryn, Mike pulls her to the window and out, starting upward through the bloody water. UNDERWATER - MIKE AND KATHRYN Sharing the air, they slowly float to the surface, buddy - buddy breathing. SURFACE Mike and Kathryn break through. Helping each other, they make their way over to a camera pylon. MIKE AND KATHRYN Cling to the pylon and each other. KATHRYN Suddenly looks alarmed as she remembers : KATHRYN Bobby and Daisy. Mike looks about, no sign of the dolphins. KATHRYN Slaps the water hard three times. No dolphins. She does it again. And again. KATHRYN And now, in total ANGER AND FRUSTRATION, she pounds the water like Rocky on the punching bag until she is drained, and Kathryn breaks down sobbing as Mike holds her, trying to comfort her. DOLPHINS Come shooting to the surface! They're banged and bruised, but are chirping excitedly and as HAPPY to see Kathryn and Mike as they are to see them. DOLPHINS Slowly swim around the hugging Mike and Kathryn as CAMERA PULLS UP to show the Sea Kingdom, in all its entirety, safe at last. FADE OUT. THE END"
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] | While following an unsuspecting team of water skiers, a great white shark enters SeaWorld Orlando through its closing gates. Meanwhile, Florida announces the opening of the park's new underwater tunnels. Kathryn "Kay" Morgan, the park's senior marine biologist, and her assistants notice that the resident dolphins are afraid of leaving their pen. Shelby Overman, a mechanic, dives into the water to repair and secure the gates. He is attacked by the shark and killed, leaving only his severed right arm. Later that night, two men sneak into the park and go underwater to steal coral they intend to sell, but both are killed by the shark in the process. The next day, Kay and Michael Brody are informed of Overman's disappearance. They go down in a submarine to look for his body, and during the search, they encounter a smaller shark. The dolphins rescue Kay and Mike, but the shark escapes back into the park. They inform Calvin Bouchard, the park manager, and it excites his hunter friend, Phillip FitzRoyce, who states his intention to kill the shark on network television. Kay protests and suggests capturing and keeping the shark alive in captivity, to guarantee more publicity for the park. The shark is successfully captured, and Kay and her staff nurse it to health. Calvin, desperate to start the money rolling in immediately, orders it moved to an exhibit, but the shark dies. Later, Overman's corpse is discovered. Reviewing the body, Kay realizes that the shark that killed him is the first shark's 35 foot (11 m) long mother and that it must also be inside the park. She is able to convince Calvin about this newest development when the shark herself shows up at the window of the underwater cafe. Flushed out from her refuge inside a filtration pipe, the shark begins to wreak havoc on the park, injures a water skier, and causes a leak that nearly drowns everyone in the underwater tunnel. FitzRoyce and his assistant, Jack, go down to the filtration pipe in an attempt to lure the shark back in as a trap. FitzRoyce leads the shark into the pipe, but his tether rope suddenly snaps and is then attacked and killed. Hearing that the shark has been lured into the pipe, Michael and Kay go down to repair the underwater tunnel, so the technicians can restore air pressure and drain the water. Calvin orders the pump to be shut down to suffocate the shark, but this act instead allows it to break free from the pipe and attack Michael and Kay, but they are again saved by the dolphins. They make their way back to the control room, but the shark appears in front of the window and smashes through the glass, flooding the room and killing a technician. Michael notices FitzRoyce's corpse still in the shark's throat with a grenade and uses a bent pole to pull its pin, triggering the grenade's explosion and killing the shark. In the aftermath, Mike and Kay celebrate with the dolphins, who survived their battle with the shark. | Jaws_3-D |
[
"Book of Shadows: Blair Witch 2 BLACK SCREEN And in that darkness, white words silently FADE UP : The following is based on actual events. Some dramatic re - creation was necessary for reasons that will become obvious. Beat. And then slowly swelling up is the sound of panicked hyperventilation - spasms of words and weeping : VOICE -LRB- HEATHER DONAHUE. -RRB- I'm. scared. to close my eyes - SMASH UP ON the teary and terrified EYES of HEATHER DONAHUE -LRB- the now ubiquitous scene from `` Blair Witch Project'' of her confessing to the camera -RRB- : HEATHER DONAHUE - I'm scared to open them. -LRB- beat. -RRB- We're going to die out here - - then, suddenly, this image of Heather FREEZE FRAMES. And we hear the incongruously perky Voice of ABC's DEBORAH ROBERTS : DEBORAH ROBERTS -LRB- V.O. -RRB- - she'd be a much happier camper if she'd lived to see this weekend's grosses - - abruptly, the freeze - framed image of Heather goes squeeze - boxing up into the upper left corner of the screen, revealing : That we're watching ABC WORLD NEWS SUNDAY - the date bannered at the bottom of the screen : August 1, 1999. Reporter Deborah Roberts sits behind the Anchor Desk reading TelePrompTer copy : DEBORAH ROBERTS In only its first week of wide release, `` The Blair Witch Project'' has taken in a whopping 36 million at the nation's box office. Not too bad for an independent film that was reportedly made for less than the cost of your average Buick - News Video - Day. The Angelika Theatre, New York City. Big and bold on the marquee : `` Blair Witch Project.'' Tracking shot away from the theatre and down the street, to see : NEWSCASTER -LRB- V.O. -RRB- - lines to see the new film stretching five blocks long down Houston Street - and this was for a 10 a.m. show - Close On the long line - Two YOUNG MEN in their late teens being interviewed on camera : YOUNG MAN #1 - to get the holy sh -. -LRB- BLEEP! -RRB- - scared outta me, man, what do you think? YOUNG MAN #2 I heard last night they had people runnin' screamin' out of the theatre - The last scene of BWP projected on a big screen - Heather Donahue running screaming down the stairs inside the house - and seeing Mike standing facing the wall - WHIP BACK to see that we're inside a theatre, and the audience watching this is collectively shrieking with surprise - - and then collectively shrieking even louder as Heather is hit from behind and goes down, camera with her. Another Theatre - Night - Video of an Audience exiting the film. One YOUNG WOMAN being interviewed is particularly shaken : YOUNG WOMAN the kid. Mike. he was turned around towards the wall'cause that's what that guy in 1940 made all the little kids do before he killed them - A gaggle of Male Teenagers pass by in b.g. of the shot. One of them shouts : TEENAGER Just a movie, baby! The Young Woman looks confused for a moment. Looks into the camera : YOUNG WOMAN no. it was real, what we saw. was n't it? - Telecast of MARY HART on the set of `` Entertainment Tonight.'' MARY HART - whatever you want to call it, `` Blair Watch'' is definitely the Cinderella story of the summer, if not the century, with now an 80 million dollar gross in just two weeks - News Video of a 30ish GUY railing at the People waiting to purchase tickets to BWP : 30ISH GUY - save your money, it's all bullshit hype! Blair Witch sucks! - Some STONER being interviewed on camera : STONER - all repeat business, dude - I know morons who've seen the stupid thing like three times in one day. INTERVIEWER -LRB- O.S. -RRB- How many times have you seen the film? STONER Like maybe five. But not in one. -LRB- BLEEP. -RRB- - ing day - Critic LEONARD MALTIN holding forth on - air : MALTIN - it taps into our universal primal fears : of the boogeyman, of the things that go bump in the night - there's something out there, you ca n't see it, and it's coming for you - Video of more audience exit interviews. Two YOUNG MEN in their 20s : YOUNG MAN #1 - I'll tell you what was scary : trying to keep my lunch down. If that stupid camera jiggled one more time - YOUNG MAN #2 - some guy the row in front of me actually did toss - WOMAN holding a baby. WOMAN - it was just so real - Solemn - looking GEEKY GUY : GEEKY GUY - it was real - Dubious - looking TEENAGE GIRL : TEENAGE GIRL - you got ta be kidding me - there's people out there think `` Blair Witch'' was real? - Bespectacled MAN IN SUIT : MAN IN SUIT - the story of the three students was fiction. The legend of the Blair Witch is, apparently, true, however - DIANE SAWYER on `` Good Morning America.'' DIANE SAWYER - the brass tacks of the matter is, love it or hate it, `` Blair Witch'' has escalated from being merely another cinema success story to a genuine nationwide phenomenon - if not obsession. Profits from merchandising tie - ins going through the roof - Montage of Blair Witch paraphernalia : - t - shirts and other apparel - keychains - posters - the books - The Blair Witch Project : A Dossier ; Heather's Journal - the CD `` Josh's Blair Witch Mix'' DIANE SAWYER -LRB- V.O. -RRB- - the official `` Blair Witch'' web - site now having received 75 million `` hits'' to date - - shot of computer screen, on - line : The Blair Witch Store DIANE SAWYER -LRB- V.O. -RRB- - with that web - site, in just a matter of a few weeks, begatting dozens more web - sites, with chat rooms so packed with fans and foes you're lucky to get a cyber - word in edge - wise - Computer Screen showing a Chat Room in progress - exchanges flying back and forth like lightning : GIRLGENIUS if story true, then how come end credits list `` written by''? WARLOX all docs are written by - somebody has to put all the pieces together like a story K-RATIONAL that's EDITING, idiot - they made whole thing up - those were actors CHERUBIM-BO then how come characters had same names as `` actors'' AK-47 you call that acting C.I.A-LIST Congrats any U bought into big lie that BWP phony have successfully been suckered by dis - info campaign waged by U.S. govt they do n't want us TO KNOW TRUTH Video interview with RONALD CRAVENS, Sheriff of Burkittsville. He's standing at the corner where the Union Cemetery abuts Route 17. SHERIFF - the truth is, this movie's probably been the best and worst thing ever happen to this town. The good thing - well, take a look down East Main there - CAMERA PANS past him towards a stretch of two - lane blacktop with stores on either side. SHERIF - we've got people pouring in here like it's Times Square, some of'em all the way from Europe, Japan. A whole lot of money being spent. The bad? He points to a white wooden post stuck in the shoulder of the road. SHERIFF There used to be a sign on it, `` Welcome to Burkittsville.'' They showed it in the movie. Somebody wan na show me where it is now? I swear to God, these people, they're coming in and making off with every - thing is n't nailed down. There's two other signs I had to take down myself, put away for safekeeping'til this whole damn thing's finally over. INTERVIEWER -LRB- O.S. -RRB- When did you think that'll be? SHERIFF Just pray we get to see it this lifetime. Video footage - Burkittsville Union Cemetery. Two KIDS wearing Ohio State jackets. Wandering around, confused, with gravestone - rubbing kits under their arms. KID #1 Ca n't seem to find'em. KID #2 Got ta be around here somewhere - right here's where Heather stood in the movie. Kid # 1 looks into the camera. KID #1 We're trying to find the graves of those seven kids Rustin Parr killed. KID #2 Lotta dead kids - just ca n't find any died later than like 1867. Kid # 1 stops, squints. The camera travels with his gaze : atop nearly every other grave marker is a black candle melted into the stone. KID #1 What do you think all these candles are for? KID #2 I would n't touch'em. Sheriff Cravens on Video. SHERIFF Nothing much we can do - just enforce the curfew. Which is dusk, for both the cemetery and the Black Hills Forest. Aerial shot of the Black Hills area : we see packs of people everywhere. The overgrown foundation of Rustin Parr's house in the middle of the woods. Manic - eyed Teenagers proudly display their souvenirs for the camera : rocks and cement slivers. TEEN #1 This is what you call `` striking gold.'' TEEN #2 Fifty bucks a pop minimum back in Philly. The Sheriff on tape. INTERVIEWER -LRB- O.S. -RRB- There seems to be some controversy whether or not any of this actually happened. SHERIFF That what actually happened. INTERVIEWER -LRB- O.S. -RRB- The three kids who disappeared, everything that was in the movie, the whole Blair Witch legend. The Sheriff just stares for a beat towards the Interviewer like he/she's completely insane. Then turns and walks away, rubbing his eyes with a thumb and forefinger like a headache the size of Manitoba just hit him. SHERIFF You'll excuse me - An office in L.A. Big `` Artisan Entertainment'' logo on the wall. A well - turned out Gentleman -LRB- or Woman -RRB- who exudes `` EXECUTIVE'' smiles gently for the camera. ARTISAN EXECUTIVE - the only statement we feel comfortable making at this time is : we're happy the film's been such a success ; we grieve with the families of Heather, Josh and Mike. Now, if you'll excuse me - Dusk. Sheriff Cravens leaning on his car on a road at the edge of the forest. SHERIFF - this is the only reality I know : we're averaging about four lost rubberneckers a week up in these woods. The Sheriff puts a bullhorn to his lips ; bellows into the woods : SHERIFF Get outta these damn woods and go home! There is nothing in there! SMASH TO BLACK And silence. White words again appear in the darkness : NINE MONTHS LATER Music begins to be heard under it - uber Goth : Type O Negative's `` Haunted.'' It suddenly swells - to ear - shatter proportions. SMASH UP ON",
"EXT. A VAN - IN MOTION - HIGHWAY - DAY Zipping fast down U.S. Route 70 - West. We see the mileage signs on both sides of the median indicating where they're coming from and where they're now going : from Baltimore, towards Frederick, Maryland. -LRB- NOTE : this is shot on 16 or 35mm film, which will be the medium of `` reality'' for the rest of the movie. -RRB- The music that's blaring is n't underscoring - it's coming from inside the Van. As is a WOMAN'S VOICE -LRB- ANNA -RRB- shouting over it : ANNA -LRB- O.S. -RRB- You want to turn that shit down just a hair?",
"INT. THE VAN - CONTINUOUS TIGHT ON the Driver of the Van, a grunged - out 25 year old with shoulder - length hair, a well - worn black `` Blair Witch Project'' t - shirt and cap : COTTER KALLER. He yells towards the backseat : COTTER Shit? This is from `` Josh's Blair Witch Mix,'' man! ANNA -LRB- O.S. -RRB- Down or off - you're giving me a migraine. COTTER -LRB- mutters. -RRB- Christ. He turns the volume down. COTTER -LRB- petulant. -RRB- Just trying to set the mood for the mission - get the `` feeling.'' ANNA -LRB- O.S. -RRB- Only thing I'm feeling is homicidal. Cotter grumbles. Then a wicked grin hits his lips. Turns to the unseen Man sitting next to him in the passenger seat : COTTER Hold this. NICK -LRB- O.S. -RRB- What? COTTER The wheel. He clamps Nick's hand on the steering wheel, picks up the 8mm Camcorder beside him, turns around, and starts shooting into the back seat. POV OF VIDEO CAMCORDER On a not - very - happy - at - the - moment - looking Blonde Woman. ANNA TASSIO - ON VIDEO age 20. She rolls her eyes as Cotter begins narrating : COTTER -LRB- O.S. -RRB- The bitched - out babe in back here is one Anna Tassio - we met one dark and stormy night in a Blair Witch chat room, we all did - ANNA - Christ almighty - COTTER -LRB- O.S. -RRB- - but she was nicer then - sweeter - she had n't vomited twice already like today - ANNA - it's called `` morning sickness,'' asshole - COTTER -LRB- O.S. -RRB- -LRB- editorial aside. -RRB- - a six week bun in the oven - NICK -LRB- O.S. -RRB- -LRB- wearily. -RRB- - Cotter, just turn the camera off? Cotter responds by panning the Camcorder towards the passenger seat. We see on video : NICK LEAVITT a lanky 21 year old wearing wire - rims. COTTER -LRB- O.S. -RRB- This is her equally on - the - rag boy - friend, Nick Leavitt - NICK - turn the camera off - COTTER -LRB- O.S. -RRB- - they're from UMass, doing some kind of fucking term paper - NICK - Graduate Thesis - COTTER -LRB- O.S. -RRB- - about the Witch - VOICE FROM BACK SEAT - she does n't exist - NICK - you got that right - THE CAMERA pans again into the back seat, showing HEATHER ARENDT, 19, with a huge mane of fire - engine red hair. HEATHER - and if she ever did - ANNA -LRB- O.S. -RRB- - which she may have - NICK -LRB- O.S. -RRB- - bullshit - HEATHER - she was n't a witch - we embrace nature, not evil - COTTER -LRB- O.S. -RRB- - thank you, Heather Arendt - and arend' t we glad you're here - a real witch - HEATHER - fuckin' A right - NICK - Cotter - COTTER - a Wiccan - NICK -LRB- O.S. -RRB- - turn the goddamn camera off! The Camcorder swings back to Nick. NICK We're not making Blair Witch II here. COTTER -LRB- O.S. -RRB- I am. One big blur of a pan - Cotter's turned the camcorder on himself. He issues his manifesto : COTTER And let it be known - before we even get to Burkittsville - it's gon na be an eighteen thousand times better movie - for half the cost - HEATHER -LRB- O.S. -RRB- - which'd be about ten bucks - COTTER - and unlike the first one, every second of it's gon na be true! `` Blair Witch : The Real Story!'' NICK -LRB- O.S. -RRB- Cotter? COTTER I'm not finished. NICK -LRB- O.S. -RRB- We're all going to be if you do n't hit the brakes. The Camcorder WHIP = PANS towards the windshield : The Van is about to plow into the rear of a HUGE COCA - COLA TRUCK COTTER -LRB- O.S. -RRB- Jee - zuz! Visual pandemonium as the Camcorder goes flying from his hands and down next to the BRAKE PEDAL We see both of COTTER'S FEET smash down on the pedal. Hear O.S. : screeching of the passengers - screeching of the brake shoes - screaming of the tires as the Van swerves into the next lane - and then an angry symphony of CAR HORNS. HEATHER -LRB- O.S. -RRB- You're a complete fucking idiot, are n't you? COTTER -LRB- O.S. -RRB- Hey, Mr. Graduate Fucking Thesis here was s ` posed to be driving! NICK -LRB- O.S. -RRB- You drive, I'll handle the video, okay? COTTER -LRB- O.S. -RRB- Fine. We see the view from the Camcorder as it's scooped up from the Van floor and brought back up to eye - level again. ON NICK'S FACE As he waves two fingers at the lens. NICK Bye - bye - - and the Video zaps to black. SMASH BACK TO - FILM Where Nick can be seen tossing the camcorder into the backseat. Anna catches it, puts it in a back pack and zips it. COTTER What're you doing? NICK This is n't about us. COTTER Right. And the check's in the mail.",
"EXT/INT. THE VAN - TWO HOURS LATER - DAY Doing a relaxed 35 down the narrow ribbon of Route 17. Rural farm country. The weather's turned grey - making all the 19th Century - vintage houses and barns they pass look dismal, if not a little foreboding. NICK Cheery little place. ANNA It's like traveling back in time. HEATHER The good old days : toasting marsh - mallows over a burning witch. NICK They never burned witches in this country, they hanged them. HEATHER Whatever - all I know is the persecution's going to start all over again, they keep pumping out inflammatory bullshit like this fucking movie - COTTER - hey : check that out! Ahead of them, at a crossroads, is a sign : Welcome to Burkittsville COTTER ` Thought those all got stolen. ANNA Guess they thought it was safe to put some up again. COTTER Think again. He starts to slow the Van alongside the sign. COTTER Somebody wan na hand me that claw hammer in back - - Nick pushes Cotter's leg back down on the accelerator. The Van jerks past the sign and down the road. NICK Get busted on your own time. We've got a schedule to keep. Cotter just glares at him. COTTER Was it every day or just semi - weekly you got your ass kicked as a kid? NICK -LRB- ignoring him. -RRB- Now you can bring the vehicle to a stop : there on the left.",
"EXT. BURKITTSVILLE UNION CEMETERY - JUST AFTER The four of them stand there by the sign to the graveyard. Anna searching the gray horizon. COTTER Why are we here? ANNA She e - mailed me yesterday this is where we should meet her. COTTER Who? NICK Whatzername - the `` psychic'' Anna hired. ANNA Domini. Domini Von Teer. COTTER What's she look like? ANNA No idea, just talked to her on the ` Net - she's very good. NICK So says her website. ANNA She is - she's helped solve a bunch of murders : Arizona, New Mexico - COTTER - how old? ANNA I dunno, probably right up there, based on her resume. COTTER Then there she blows. Cotter points to THE WOODS near the far edge of the cemetery. Standing there is an old, gaunt and particularly Unattractive Woman, staring at them. COTTER Terrific - and I was afraid I was n't going to get laid on this trip. The four of them start tromping towards her. NICK Jesus. ANNA What? NICK That's not whatzername - it's Mary Brown. COTTER From - the - movie - Mary - Brown, Trailer Park Bible Psycho? HEATHER Oh, for chrissake, she was an actor. ANNA No, the kids were actors, the townspeople were real. Her, the Sheriff, the Convenience Store guy - NICK - whatever ; that's her. FLASHBACK - B&W To the interview with Mary Brown from `` Blair Witch Project.'' The years have apparently not been kind : she looks a good two decades younger. CUT BACK TO - THE PRESENT They're less than 20 feet now from MARY BROWN. She speaks without expression : MARY BROWN What do you want? ANNA Just came over to say hello. MARY BROWN It's five bucks for signin' something ; ten for signin' a Bible ; twenty, you want to take a picture with me. Any kind've conversation, that's subject to negotiation. COTTER -LRB- sotto. -RRB- I do n't believe this. HEATHER -LRB- sotto. -RRB- I do. NICK Thanks just the same. I think we're fine. MARY BROWN Heather's not. Heather double - takes. HEATHER Me? MARY BROWN Heather. I saw her. Elly Kedward's hands were on her throat, and she was sucking out the girl's insides with her mouth. COTTER -LRB- to Heather. -RRB- Heather from the movie. Mary Brown shakes her head. MARY BROWN Heather. NICK Been a pleasure meeting you ; we need to go now. He hustles the other three back towards the cemetery. HEATHER I take it back - she was n't an actor. She's a nutjob. COTTER That's what Josh and Mike said. HEATHER Shut - up. The cemetery. Everyone spread out looking for : ANNA Domino? Domini Von Teer?? Beat. And then, out of nowhere, seemingly just plunging right out of the earth AN ARM extends into the air not far from them. Paper - pale and stick - thin, almost skeletal. DOMINI Present. They walk over. See, lying atop a cracked granite marker, a Young Woman who ca n't be more than 18. Heroin - chic skinny. All in black, including her make - up - uber Goth : DOMINI VON TEER. ANNA Domini? DOMINI Yes. ANNA What're you doing there? DOMINI Trying to find the energy. ANNA Inside the grave? DOMINI To stand up - I'm exhausted. Been on the road since yesterday. COTTER You want a hand? DOMINI I want amphetamines. Cotter helps her up. COTTER Beer and weed is what I've got. DOMINI Both. Now. Anna and Heather look at the faded marker Domini's been lying on. It says : BOY KURTH May 28'00 HEATHER Sweet place to take a nap. ANNA Strange girl. HEATHER You think so? As they walk away, Heather sees Mary Brown across the cemetery, staring at her.",
"EXT/INT. THE VAN - LATER - AFTERNOON Snaking its way down the road that wends through the Black Forest Hills. INSIDE Domini and her second beer have commandeered the shotgun seat, Nick relegated to a tight squeeze in the back seat. Dead silence. She's slightly unnerving. Finally : COTTER So, I hear you're from New Mexico! DOMINI Sometimes. ANNA Her father's Sheriff of Taos County. DOMINI Sometimes. Where are we going? NICK Ruins of the Rustin Parr house. DOMINI Guy who killed all the kids in the'40s. COTTER -LRB- `` Outer Limits'' tremolo. -RRB- `` The Voiiiiices made him do it.'' ANNA The Witch's voice. HEATHER She was n't a witch. NICK Whatever. DOMINI I hear voices all the time. That pretty much kills the rest of the conversation.",
"EXT. THE VAN - LATER - AFTERNOON Parked at the edge of the woods. Back - packs being hauled out of the rear, camping gear, video equipment. DOMINI What is all this shit? NICK We're doing dusk - till - dawn taping of all the places where there've been alleged Blair Witch `` sightings'' - the Parr House, Coffin Rock, Tappy Creek. DOMINI Why? NICK See what turns up - which I guarantee will be nothing. Some of the rest of the party are more hopeful - HEATHER - or incredibly fucking naive. ANNA Hey, folklore - NICK - myth - ANNA - does n't just pop out of thin air. It spins off of real events. At some point there was a Blair Witch - NICK - or one huge attack of group hysteria. COTTER -LRB- snide. -RRB- Either way, maybe there's a book in it, and they both make a ton of money. NICK -LRB- snapping. -RRB- It's a serious sociological study. DOMINI The four of you really have too much spare fucking time on your hands, do n't you? HEATHER And what's your excuse for being here? NICK She got paid. DOMINI -LRB- shrugs. -RRB- I thought the movie was bitchin'.",
"EXT. THE WOODS - SOON AFTER Mammoth backpacks strapped on, the five begin walks into the forest. COTTER Wait a sec! He spins and runs back towards the Van. NICK What? Through the trees, they see Cotter place a pint of bottled water on the roof of the Van. Starts video - ing it as he walks away. HEATHER He really is a fucking idiot.",
"EXT. DEEPER IN THE WOODS - LATER - AFTERNOON Slogging up a 45 - degree angled hill. This is not exactly Sir Edmund Hillary and Co. - the five of them already look exhausted. HEATHER Did n't we already do this hill? Nick is staring at three different maps at once as he walks. NICK No. ANNA You sure? NICK Yes. COTTER Terrific : an hour, we're already lost - - and then a look of trepidation crosses Cotter's face - Footage from `` Blair Witch Project'' - panic, as Heather, Josh and Mike realize they've spent all day walking in a circle. NICK -LRB- V.O. -RRB- Cotter? CUT BACK TO - PRESENT Nick's glaring at him. COTTER What? NICK Look over there. Cotter looks up : less than 500 yards ahead can be seen the ruins of an Old House. COTTER Okay, but - NICK - now there. - Nick is pointing behind him. Cotter looks. From the atop the hill he can see down to the road - and his Van with the water bottle on the roof. COTTER Oh. Cool.",
"EXT. THE PARR RUINS - SHORTLY AFTER All the backpacks and miscellaneous tonnage is already dumped on the ground. The five of them stretch their legs, massage sore shoulders and lower backs, while sightseeing the remnants of the old house and its environs. Cotter, not surprisingly, is taping everything. POV CAMCORDER a huge bite taken out of one of the walls of the foundation, stone, brick and soil strewn everywhere around it. COTTER -LRB- O.S. -RRB- Where they found the backpacks and all the film a year later. ANNA -LRB- O.S. -RRB- Buried deep under 200 years worth of soil, ash, and compost layers. DOMINI -LRB- O.S. -RRB- Yeah, that was a cluster - fuck for the mind. NICK/HEATHER -LRB- O.S. -RRB- If it happened at all. Suddenly, the camcorder image starts shaking wildly. CUT BACK TO - FILM Cotter seen running full - tilt towards Heather, who's facing one of the interior foundation walls. He's jiggling the camera like he's got St. Vitus dance. CUT BACK TO - VIDEO We hear Cotter doing a passable Heather Donahue impression - screeching as the shaking video image PUSHES IN right towards Heather Arendt's face. COTTER -LRB- O.S. -RRB- Mike! Miiiiiiike! Noooooo! Heather turns, scowling, and puts her hand over the lens. CUT BACK TO - FILM Heather pushing the camcorder out of her face. HEATHER You're not only an idiot, you're a goddamn child. COTTER Why does everyone here but me have have a gigantic stick up their ass? DOMINI Hey! Check this out! On one of the foundation's interior walls : a gobbledygook of tiny handprints and strange, angular glyphs. DOMINI -LRB- O.S. -RRB- Look at those marks - just like in the movie. NICK -LRB- O.S. -RRB- Ancient runes - COTTER -LRB- O.S. -RRB- - what the fuck's a `` rune''? - CUT BACK TO - FILM Nick erasing half the marks with one sweep of his palm. NICK - chalked just hours ago by ancient adolescents. It's called vandalism. ANNA What is this? All turn. She's pointing to the large, leafy tree with branches stretching everywhere above them. COTTER Oak? ANNA No. What's it doing here in the middle of the foundation? HEATHER Growing. This place burnt down 50 years ago. Trees happen. Nick flips through a voluminous loose - leaf notebook - points out a page to Anna. NICK Look it's right here - from the Blair Witch `` Dossier'' - the sketch the anthropology students made of their dig when they found the backpack. The sketch shows a spindly growth in the middle of the foundation, no more than six feet high. ANNA That's a sapling - this mother's got to be three hundred years old, minimum. NICK It's a sketch, Anna - it's not to - scale cartography ; the tree was not the kids' focus - ANNA - do you agree it's that old, Nick? NICK Okay, fine, whatever, yes - it's an old tree. HEATHER Why do n't you just cut it down and count the goddamn rings - who cares? ANNA Because it means the tree is older than the house. COTTER Yeah, so? ANNA So whoever built this - - Nick rustles through the loose - leaf - NICK - brother of Rustin Parr's maternal grandfather, somewhere after 1858 - ANNA - whoever - they built an entire house around a tree. Sticking up right through the living room. Somebody like to explain that to me? NICK The rest of the family was crazy as Rusty Parr. ANNA Oh, c'mon - even you have to admit this is weird. NICK No - this is weird. He reaches down and picks one of the now infamous wooden `` stick men'' off the ground. POV - COTTER'S CAMCORDER - CLOSE UP Sudden, stunned silence as the camera examines it fore and aft. And then Nick's hands are seen removing the material that secures the Stick Man's `` arms'' to his `` torso.'' Torso and legs fall to the ground, leaving Nick holding a piece of - CUT BACK TO - FILM NICK - sacred and occult Scotch Tape. DOMINI Rusty Parr had the right idea on child care.",
"EXT. THE PARR RUINS - DUSK By flashlight, Cotter's fiddling with five vid - cams on tripods that have already been set up. Domini lies within the foundation walls staring up at the sky. Finishes the last of Cotter's beer and discards the empty. Not far from there, Heather's already got her simple one - person tent erected. Adjacent, Nick and Anna are wrestling with the nightmare of trying to put up some Barnum & Bailey - size number. NICK Your parents did n't have a bigger one? ANNA It was free - I recall that was the chief selling point for you. NICK No offense, sweetheart : fuck you. ANNA You know, Nick, you've been something of a total asshole the past few days. NICK Pardon me, I've had a few things on my mind - like putting this safari together. ANNA Like how weirded - out you are with this pregnancy thing. NICK Let's just leave it at : it was one hell of a surprise. ANNA You do n't want it though. NICK Your body, your call. ANNA Why is there no `` our'' here? NICK Could we take this up later - like indoors, without half the world listening? ANNA You feel no need to get married or anything. NICK Anna - ANNA - fine, later, fine. COTTER -LRB- O.S. -RRB- Sonovabitch! All eyes turn : Cotter's standing 20 feet away with rotted wooden tentpoles and a piece of grommeted canvas that's literally mildew - disintegrating in his hands. HEATHER Nice tent. COTTER Had n't even opened the thing since Cub scouts. HEATHER Never would've guessed. COTTER So where the hell am I going to sleep? HEATHER If you're looking at me, look elsewhere. COTTER I've got the Panasonic Portable DVD player. Beat. She stares at him. HEATHER What movies? COTTER Ask me what I do n't have.",
"INT. HEATHER'S TENT - NIGHT Heather and Cotter jammed in there like Spam, sharing a joint, and watching `` Curse of the Blair Witch'' on DVD : The Interview Sequence with folklorist CHARLES MOOREHOUSE, explaining the `` origins'' of the Blair Witch story - Elly Kedward's banishment, etc.. HEATHER What I never could figure about the movie? COTTER What? HEATHER Three people : two guys, a girl - sleeping in the same motel room, the same tent night after night. COTTER Yeah? HEATHER No fucking. COTTER No. HEATHER Made no sense. Scared out of their minds, and the greatest stress reliever in creation right at their fingertips. Nada. COTTER No sense at all. -LRB- beat. -RRB- I'm a little stressed. HEATHER Try a long walk.",
"INT. NICK AND ANNA'S TENT - SIMULTANEOUS It ai n't the Ritz, but they did come prepared : air mattresses, big Coleman lanterns, a kerosene heater - and heaps of books and brimming file folders. They're sitting up in their respective mummy - style sleeping bags, studying documents, making notes - - when this high - pitched MOANING can be heard outside the tent. Nick and Anna looks at each other. Nick grabs one of the lanterns and dashes for the tent door.",
"EXT. THE TENT - CONTINUOUS He shines the light slowly out into the foundation ruins - - and there's Domini, still lying on her back, staring up, cooing : DOMINI Oooh. Oooh. NICK Ah, Domini? DOMINI What? NICK You planning on sleeping out there? DOMINI Not planning on sleeping at all. She points up into the big oak in the middle of the foundation. DOMINI Oooh. Oooh. The call comes back to her from the tree : `` oooh - oooh.'' Nick sees perched high up on one of the branches : A GREAT HORNED OWL. It's staring down at them. DOMINI I figure I lie here long enough, maybe he'll swoop down and carry me off in his talons. Nick rolls his eyes and goes back into his tent. COTTER AND HEATHER are also watching this from their tent. HEATHER We should be so lucky. COTTER Butt - ugly owl. They duck back into the tent. The Owl keeps watching. FADE TO BLACK. Several beats. And then in the darkness, a rustling sound is heard. A whisper that sounds like : VOICE see if it's alive - CLICK! Then Anna's hand seen - she's just turned on one of the lanterns. Sits up in her sleeping bag. Listens. The sounds have stopped. Beat. She gets out of her bag, grabs the lantern, and goes to the tent flap -",
"EXT. TENT - CONTINUOUS - and just as she steps outside - - something strikes her hand - ANNA - shit - - the lantern goes flying into the dirt - - and suddenly out of the darkness come flying - LITTLE HANDS wielding small sharpened sticks - or are they tent pegs? - - and they stab into Anna's belly again and again, accompanied by shrieks of delight. Anna screams - NICK -LRB- V.O. -RRB- Who's James? ANNA TURNS and finds she's inside the tent, wrapped tight in her sleeping bag. Staring at Nick, who's propped up on his air mattress with a book and a lantern, staring quizzically back at her. ANNA -LRB- disoriented. -RRB- What? NICK You said the name `` James.'' ANNA I do n't know. She pulls her sleeping bag down, looks at her belly - unmarked, unharmed, bloodless. NICK Baby names? ANNA I do n't know. Nightmare. NICK You want me to scooch over next to you? ANNA Yes.",
"EXT. THE RUINS - NIGHT Domini is still supine, staring upwards. DOMINI This place is like a regular K - mart of bad vibes, ai n't it, pal? The Owl does n't respond. MAN'S VOICE -LRB- distant. -RRB- Please, someone, help me - SMASH TO a static shot of dark, dark woods. The Voice continues to be heard from somewhere deep in there : MAN'S VOICE - somebody, please! PULL BACK It's coming from the DVD of `` Blair Witch Project.'' HEATHER DONAHUE'S VOICE Josh?!? PULL BACK FURTHER Cotter and Heather Arendt are fast asleep. Must have drifted off during the umpteenth viewing. MAN'S VOICE -LRB- much louder. -RRB- Heather? Heather Arendt is up like a shot. MAN'S VOICE Heather? Josh? Mild snort of amusement when she sees the movie's still playing on the DVD. She buttons it off. Starts to lay back down - MAN'S VOICE -LRB- loud. -RRB- Heather? - bolts right back up on the verge of a coronary. The Man's Voice screams : MAN'S VOICE They're pulling my teeth out! Heather literally punches Cotter awake. COTTER Wha' the - She clamps her hand over his mouth. Beat. They listen - - suddenly, SCURRYING FOOTSTEPS heard ; giggling - COTTER -LRB- through her hand. -RRB- - o - fug - me - MAN'S VOICE Heaaaaather? Cotter wrenches himself away, grabs his little 8mm camcorder - HEATHER -LRB- scared. -RRB- What're you, crazy? COTTER -LRB- exhilarated. -RRB- What're you, nuts? He lunges out of the tent, camera already whirring -",
"EXT. TENT - CONTINUOUS - and right into a blinding, light - up - the - night battery of halogen lamps. COTTER Jesus! Halo - ed in the glare of those lights stand FOUR LARGE TEENAGERS in various states of grunge. They all but scream of STONERS. One of them's got a huge running Beta - Cam on shoulder, another's hefting a DAT recorder and shotgun mic. We see Cotter from the POV of these guys camera : POV BETA - CAM - VIDEO Cotter shooting back at them with his puny - by - comparison camcorder, his thermal long - johns halfway down his legs. STONER #1 Check this out : Burkittsville's Funniest Home Videos. Cotter's still shaking. COTTER Jesus - Jesus - Jesus - A furious Heather can be seen scrambling out of the tent. Gets right in the lens : HEATHER -LRB- O.S. -RRB- What the fuck?!? CUT BACK TO - FILM The Stoner Cameraman snaps the Beta away from her. STONER CAMERAMAN Hey, that's 50K worth of hi - tech, chickee. HEATHER You gave me a fucking heart attack! STONER #2 Oh, and you boogied all the way up here to get a good night's sleep. STONER #3 We just made your every dream come true, darlin'. HEATHER Get out of here! COTTER What're you doing with all this shit? STONER #4 Shootin' `` Blair Witch II,'' man - what's your excuse? COTTER Shooting `` Blair Witch II.'' STONER #2 Oh, dude, I do n't think so - that is just not happening. STONER CAMERAMAN This is our gig. STONER #3 We got jurisdiction, man - we got fuckin' permits to be here. HEATHER Oh, yeah? Let's see'em. STONER #4 They're, uh, like, in the car. HEATHER Bullshit. STONER #2 Let's put it this way : one of us is going, and it's you. NICK -LRB- O.S. -RRB- What's the hassle here? Nick and Anna appear from their tent. STONER #2 You and the Brady Bunch, Mr. Scorsese. STONER CAMERAMAN You're interfering with the commerce of independent film! Cotter asides to Nick. COTTER They're making `` Blair Witch II,'' too. NICK No problem, just give us'til dawn and we're gone. COTTER What? NICK Look, guys, we're cold, we're tired we're shook - we just want to get out of here as soon as there's light. We saw something up at Coffin Rock today - ANNA -LRB- catching on. -RRB- - or someone - NICK - scared the living shit out of us. STONER #3 What? NICK I do n't know, I do n't know - HEATHER - yeah, a hand or something - COTTER - coming out of the water - Now even Domini joins the prevarication party, popping up from inside the foundation : DOMINI - stop it! Stop talking about it! I'm gon na freak! ANNA -LRB- tearing up. -RRB- I just wan na go home. STONER #3 -LRB- impressed. -RRB- Whoa. STONER CAMERAMAN You did n't get it on tape, didja? NICK Tried, but - Stoner # 2 starts barking orders to his crew : STONER #2 Strip it down and ship it out! Coffin Rock! They're packed up and ready to move in a flash. Stoner # 4 turns as they trot off : STONER #4 Any other voices or noises you hear tonight - it ai n't us. The Stoners make Josh Leonard - like cries as they disappear back into the darkness ; STONERS -LRB- O.S. -RRB- Heather? Mike? Somebody? Please? NICK They were never seen again. Their footage was found a year later - underexposed and useless. Tired laughter. NICK How're the cameras doing? COTTER Due for a re - load and battery check. I'll get on it. HEATHER ` Give you a hand. I think my sleep for the night just ended. ANNA Join the club. NICK Well, everybody grab a coat, and pull up a rock for a night of witch - watch. The four campers proceed to their respective tasks. Domini stays perched on the foundation, watching where the Stoners disappeared. To herself : DOMINI Something. really twisted. is going to happen. She looks up. The Owl's gone. FADE TO BLACK. Birds heard in the darkness. And snoring.",
"INT. NICK AND ANNA'S TENT - DAWN Cuddled together, fast asleep.",
"EXT. THE PARR FOUNDATION - SIMULTANEOUS - DAWN Domini conked out on the grass, curled in a fetal position.",
"INT. HEATHER'S TENT - SIMULTANEOUS - DAWN Ditto Heather, sprawled half - in/half - out of her sleeping bag. Only Cotter is awake - well, making an attempt at it, anyway. Squints at his digital watch : 5:45 am. COTTER Jesus. wha' happened. He groggily gets to his knees and dog - walks out of the tent. Several beats. And then we hear outside the tent : COTTER -LRB- O.S. -RRB- Oh, fuck me! Oh, Jesus! The cries wake Heather -",
"INT. NICK AND ANNA'S TENT - SIMULTANEOUS - as well as Nick and Anna -",
"EXT. THE PARR FOUNDATION - SIMULTANEOUS - even Domini, who pops her head up and starts to ask : DOMINI What happ - - and then she sees ; they all see - COTTER - they're all gone! - - five tripods, all minus the Video cameras they used to support - COTTER - and none of'em were mine! I - am - so - fucked, I - am - so - fucked - where the hell was everybody? NICK Asleep - COTTER - what happened to the goddamn `` Witch - watch?'' NICK - I dunno, I just woke up - DOMINI - last thing I remember were those four clowns shooting the movie - COTTER - yeah, the goddamn stoners! Who you think stole the stuff!? NICK Yeah. Got to Coffin Rock, found zip, and came back, ripped off the cameras. Domini looks at one of the mangled tripods. DOMINI Ripped? They look like they were bit off. NICK Smells Like Teenage Spirit. COTTER This is funny? This is tens of thousands of fucking dollars! -LRB- shouts into the woods. -RRB- You pricks! I'll see you in fucking court! ANNA -LRB- O.S. -RRB- Not the only things missing, Nick. Nick turns. Anna's at the tent door holding a pile of empty file folders and two looseleaf notebooks that have somehow been torn clean in half. Now Nick's incensed : NICK That's almost a year's worth of work! -LRB- into the woods. -RRB- Scumbags! Oh, Jesus, Jesus. DOMINI At least you still have the tapes. COTTER One set. Everything from midnight on - DOMINI - no, I think they're all in there. She's pointing to the collapsed section of the basement foundation where the original `` Blair Witch Project'' Tapes were found. The other four stop and stare at her. And then Cotter goes diving in the hole. Beat. COTTER -LRB- O.S. -RRB- Sonovabitch! And emerges with two grimy handfuls of VHS, Beta, and 8mm video tapes. HEATHER Those ours? Cotter brushes dirt from them ; holds them up for inspection. COTTER My handwriting on the face labels. And then his excitement switches to confusion. Turns to Domini : COTTER How'd you know they were - DOMINI -LRB- shrugs. -RRB- - hunch. Just sort've saw'em there. COTTER My ass - you saw those four fucking baboons put'em there! DOMINI No. NICK Cotter, I think she's right. Why would those guys go to all the trouble of stealing the camera and all this other stuff and leave the tapes? COTTER Spite. NICK They were making a movie - if they were going to steal anything it'd be just the tapes, to see if we had anything they did n't. DOMINI I do n't think it was them. COTTER Oh, who did then? Blair Witch? Snatching equipment to make her own sequel? DOMINI I do n't know yet. COTTER Well, please keep me fucking informed! HEATHER Those four guys - it's the only thing that makes sense. She looks over at Domini, who says nothing - just stares into the woods. NICK This is a goddamn disaster. Let's just pack it up and go. ANNA I want to see the tapes. NICK And what do you possibly think you're going to fucking see there? ANNA No idea. But if that's all we've got left - COTTER - nothing left to play'em on, honey. ANNA Oh, sorry, right. COTTER You can be goddamn sure, though, I'm going to be looking at every second of'em when I get back to Baltimore - I get proof who stole my shit and I call the cops! ANNA We're ticketed to fly back from Baltimore, anyway. HEATHER Me, too. COTTER Hey, I got a whole editing suite in my loft - more the fucking merrier. NICK Pointless. DOMINI No. I do n't think so.",
"EXT. STREET IN N. BALTIMORE - SEVERAL HOURS LATER - AFTERNOON The Van pulls up to the curb in a savagely decrepit and extremely desolate old industrial section of North Baltimore. COTTER 403 41st Street, kids : home. NICK I dunno it's safe to even get out of the car. COTTER By day? No sweat. HEATHER What about night? COTTER Not a great idea. Especially ` cross the street. All four look : a thickly wooded area that looks like mostly sumac. COTTER Druid Hill Park. ANNA That's a joke? COTTER That's its name. A pastoral glade gamboling with crackheads and homeless and averaging at least one homicide a week. NICK Let's get inside. COTTER First enormous brick warehouse on your right.",
"INT. COTTER'S BUILDING - JUST AFTER Four of the five of them ride nervously in a huge, ancient elevator that ascends in a series of jerks. Cotter's oblivious. COTTER Used to be a meat - packing plant. Slaughter on the ground floor - carcasses schlepped up on this thing for dissection and grinding and - HEATHER - Cotter : shut up. COTTER What?",
"INT. DOOR TO COTTER'S LOFT - JUST AFTER Cotter opens the elevator grates, revealing a metal door with a single lock. He fits a key into it NICK Just one lock in this neighbor - hood? COTTER All I need - - throws the door wide - - the LOUD BARKING of what sounds like a pack of pit - bulls greets them. COTTER Get inside quick, they'll stop. HEATHER Too busy eating us? COTTER Just go.",
"INT. COTTER'S LOFT - CONTINUOUS He shuts the door ; the BARKING stops. Everyone's eyes zapping all 360 degrees around them : no dogs. Cotter taps a small speaker above the door ; COTTER Baltimore's cheapest burglar alarm. He re - opens the door a crack - the BARKING starts anew. Closes it. Nothing. COTTER Had the door jimmied a few times. Nobody's yet made it inside. He ushers them into a huge DOUBLE - STORIED SPACE easily 30 feet high. Exposed brick walls - massive iron roof beams. And crammed to bursting with bizarre esoterica everywhere : - carousel horses, huge airplane propellers, a bowsp ` rit from an old clipper ship, lawn jockeys, a set of bunkbeds made entirely of wagon wheel parts, bowling balls, cannonballs, pinball machines. COTTER Mi casa y su casa! HEATHER Su casa y shit - o hole - o. COTTER Hey, hon' - this is what pays the rent and tuition. NICK Running a junk yard. COTTER A Cyber Entrepreneurialship. HEATHER English. COTTER I spend a lot of time on e - Bay. Buying, selling - sometimes buying then re - selling at substantial mark - up, sometimes just selling crap I find in the street. ANNA Looks like business is booming. COTTER There's some stuff that's hard to part with. Editing's stuff's up there - - he points to a loft overhanging the big room - a thin wooden railing separating the work space from a sheer 20 foot drop. COTTER - stairs are back through the kitchen - and a ton of bedrooms, you wan na dump your stuff or catch a nap -",
"INT. COTTER'S LOFT WORK SPACE - A WHILE LATER - DUSK Cotter's running tape through his new video iMac. The rest of them are gathered around the screen in various degrees of discomfort. They look like they've been there for some time. A lot of yawns. Nick's rubbing his temples like somebody's pounding a marimba inside his head. ON SCREEN : they're all watching minute after minute of nothing. Darkness. The outlines of the Parr Foundation. Trees in the back - ground. Silence. Several beats as they continue to watch this stasis. Then : NICK I think we get the gist. ANNA We've looked at half of one tape. COTTER There's four other angles, man, we have n't even - NICK - great : we can watch Domini sleep for hours - or, shit, maybe if we stay at it for a couple of days, maybe a deer'll dash by! ANNA For once could you just sit down, shut up, and give something a chance? NICK We're leaving - case dismissed for lack of evidence. Maybe on the ride home we can figure how the fuck we're going to graduate with no thesis. ANNA I'm not going anywhere,'til - NICK - bullshit! COTTER Hey, chill, man - DOMINI - there's something here, Nick - NICK - fuck you - all off you - - he grabs Anna by the wrist and yanks her up - NICK - now c'mon! ANNA Get your goddamn - - and suddenly Anna stops. Doubles over, clutching her abdomen. NICK What - COTTER - oh, Jesus - - blood can be seen soaking through her jeans. ANNA I need to go to a hospital.",
"INT. EMERGENCY ROOM - UNIVERSITY HOSPITAL, BALTIMORE - NIGHT Domini, Heather and Cotter standing grimly in the Waiting Area. Finally, they see Nick exiting a Trauma Room, looking even grimmer. DOMINI She lost it. Nick nods.",
"INT. TRAUMA ROOM - JUST AFTER Anna's lying on a OB/Gyn table in a johnnie, clearly sedated, but with a face and eyes still soaked with tears. An E.R. INTERN -LRB- Female -RRB- is cleaning her up. ANNA Why? INTERN Any number of reasons - pick one, it's as good as the other. ANNA I was out hiking, camping the past two days - that's what did it - I killed it - INTERN - doubtful, Mrs. Leavitt. The main thing to remember is, whatever the reason, it was for the best - it meant something was wrong. ANNA Something was wrong. INTERN Look, this is not my field of expertise. You seem stabilized, but why take any chances? Let's keep you overnight and have the Staff obstetrician do a follow - up tomorrow. ANNA I guess - - and then Anna sees what the Intern is writing on her chart : To see : Boyd Kurth, 5/26/00. Anna's eyes go wide. INSIDE HER HEAD she flashes on the grave marker that Domini laid on in the Burkittsville Cemetery : same name, same date. BACK IN THE TRAUMA ROOM Anna yells : ANNA No! INTERN Mrs. Leavitt - ANNA - I'm not staying here! INTERN Let's talk to your husband - ANNA - he's not my husband! She's flails at the Intern, trying to get up, tearing pages from her chart. ANNA Where are my clothes?",
"EXT/INT. COTTER'S VAN - LATER - NIGHT They all sit silently as Cotter drives. The now - fully clothed Anna just sits in back like a zombie. NICK -LRB- softly. -RRB- We'll stay overnight, get a hotel - ANNA - Cotter's - COTTER - whatever you want, no problem - NICK - still go see the OB in the morning - ANNA - no. Anna tosses a crumpled ball of paper into Domini's lap. She opens it. It's the top page of Anna's chart. Domini looks at the Intern's jotting `` see Boyd Kurth -'' - her head snaps up. Beat. DOMINI Nick. Do what she says.",
"INT. COTTER'S LOFT - BEDROOM - LATER - NIGHT Nick tucks her into an elderly four - poster bed. Colonial in style. Another one of Cotter's `` finds.'' NICK What can I get you? ANNA Sleep. She closes her eyes.",
"INT. COTTER'S WORK SPACE LOFT - SIMULTANEOUS Domini, Heather and Cotter gathered around his iMac, drinking beer. DOMINI Something happened to Anna in Burkittsville, in the woods, I do n't know. COTTER What? That made her lose the baby? DOMINI Something. Someone. HEATHER Who? What? Domini just shakes her head. HEATHER Women miscarry all the - DOMINI - no. COTTER This is a little nuts. DOMINI Turn the tapes back on. COTTER Fine. He goes to it. Without even looking, Domini pulls the shoulder of her shirt down, rubs something on her upper arm. Heather sees it : a good - sized burgundy - colored mark, oblong, vaguely spidery in shape. HEATHER What's that? DOMINI Hmm? I dunno. Chafing from the backpack, something. HEATHER That'd be up on your shoulder, maybe your lower back. DOMINI Then I have no idea. And now Cotter's staring at it. COTTER Does it hurt? DOMINI Like hell. Play the goddamn tape. The first image that pops up is Domini sprawled out on the grass of the Parr Foundation. Deep in REM sleep, her leg jerking like a dog's. Domini sees it - a snort of embarrassed laughter.",
"INT. NICK AND ANNA'S BEDROOM - CONTINUOUS Nick bolts awake to the sound of laughter. Looks next to him, Anna's fast asleep. He looks relieved - then clucks to himself when he sees that he's fallen asleep next to her on the big old four - poster with his clothes on. Starts to take off his shirt - - and then hears the laughter again. Louder. It seems to piss him off. He gets out of bed, opens the door. Hisses : NICK Hey, knock it off, willya? But there's nobody there. He walks down the hallway towards the kitchen.",
"INT. COTTER'S WORK SPACE - JUST AFTER Nick appears on the stairs leading into the work - loft. Sees the three of them huddled over the iMac. NICK You wan na keep it down, she's trying to sleep. COTTER Sorry, I did n't think we were making that much noise. NICK It's not a real `` funny'' time for us, okay? HEATHER -LRB- confused. -RRB- No. it's not. Nick just shakes his head, snorts with disgust. Goes back down the stairs -",
"INT. KITCHEN - JUST AFTER - when he hears the laughter again. NICK Christ almighty - - he starts to storm back up the stairs to the loft - - when he realizes he's walking away from the sound of the laughter. He stops. It's coming from the hallway -",
"INT. HALLWAY - CONTINUOUS - further down the hallway. Louder. He walks faster towards it. It's coming from the open door of his and Anna's bedroom. Starts to trot. Louder. Takes the corner into -",
"INT. THE BEDROOM - CONTINUOUS - the laughter stops - - as does Anna, who appeared for a moment to be twirling round and around in the middle of the room. NICK What's going on? Anna looks down at herself and lets loose a giggle of astonishment. ANNA Nothing. I dunno - NICK - you should get back into bed. ANNA I guess, yeah. She does so. Nick once again tucks her in. NICK Was that you laughing? ANNA What? NICK Just now? ANNA No. NICK Just. try and go back to sleep. ANNA I get dreams. I do n't like'em. NICK What'd you dream? ANNA Little boys. Looking up my skirt as I danced. Giggling. NICK Here. He pops out two Xanax from a hospital sample bubble pack. Hands them to Anna. NICK This'll help. She swallows them dry. ANNA Good. She closes her eyes. DOMINI -LRB- V.O. -RRB- There -",
"INT. COTTER'S WORK LOFT - LATER - NIGHT Domini's pointing to the iMac screen. COTTER There, what? I did n't see anything. DOMINI Back it up, rewind, whatever you call it. COTTER Fine. He does so. HEATHER What'd you see? DOMINI Motion. Stop there. Play it again. Cotter hits PLAY. They're watching tape from a camera that was placed almost to the ground, aimed upwards - DOMINI - there! In the tree. Cotter freezes the image. The tree is so dark and so far in the distance of the shot, he and Heather have to put their eyes right up to the screen to even see it. COTTER Whatta you got, telescopic vision? HEATHER Still do n't see it - DOMINI - that blur, right by that branch. She puts her finger right on the screen. Cotter quickly removes it - squints. COTTER Okay, a blur. DOMINI Can you zoom it or something, make it real close, real big? COTTER I'm the ebay Boy, remember? I ca n't exactly afford that kind of equipment. DOMINI Who do you know who can? Where do we go? HEATHER For a blur? DOMINI There is something there - do n't ask, just trust me. COTTER Ca n't you like just divine it? DOMINI If I could do that, I'd be at the goddamn racetrack, not here. COTTER -LRB- sighing. -RRB- I got a friend at a Lab. I could get the whole thing blown - up, enhanced - DOMINI - go! COTTER Four in the morning?",
"EXT. 41ST STREET - NIGHT Cotter wearily unlocks the door to his Van. He looks all around him - finally up : There's an Owl staring down at him from a tree in Druid Hill Park across the street.",
"INT. COTTER'S WORK LOFT - LATER - NIGHT Heather is bringing a cup of hot tea and 40 ounce bottle of Malt Liquor up the stairs. Sees Domini still in front of the iMac, trying to figure out how to work the thing. HEATHER Cotter'll kill you. DOMINI He'll never know. HEATHER Two - to - one he dusts the keyboard for fingerprints the second he gets back. She hands Domini the beer. Keeps the tea for herself. HEATHER At least go drink it somewhere spilling it wo n't drive him to suicide. DOMINI Okay. Domini gets up and slumps down on the broken - backed couch in the work - loft. HEATHER What is it you thought you saw on that tape? DOMINI Still working on it. HEATHER Elly Kedward? DOMINI No. Elly Kedward's not the problem here, I do n't think. She was just a good old - fashioned white witch - PAGE 62 IS MISSING FROM THE HARD COPY OF THIS SCRIPT! SID You're gon na owe me the rest of your life, bud. COTTER I know, I know. SID Beta Cam's still coming back tomorrow, right? Beat. Cotter flushes for a moment. COTTER Absolutely. SID Before 5:00 - COTTER - hours before - SID - Christ, they find out I let you have it for the weekend - COTTER - no one'll ever know. Sid pauses the tape. SID This is what you wanted enhanced? COTTER Yeah. SID You mind me asking : why the fuck? COTTER The, uh, blur there. SID Looks like a rope.",
"INT. COTTER'S WORK-LOFT - NIGHT Heather has apparently gained a tad enough mastery to run tape through the iMac. She's playing and replaying a short section of Cotter's camcorder tape where the bunch of them were interacting with the Stoner Film Crew. She keeps seeing a FLASH on the tape. Between two trees far in the background. But she ca n't seem to freeze the image inside the flash. It looks vaguely like a MIDDLE - AGED MAN. HEATHER Does this look like a person stand there to you? -LRB- no response. -RRB- Domini? She turns. Sitting on the couch where Domini was is now the very clear presence of A MIDDLE - AGED MAN in a topcoat. He says nothing, just stares straight ahead. There's a horrible wound in his forehead. Heather is mindboggled - and petrified. She manages to stammer out the word : HEATHER Dad? DOMINI -LRB- O.S. -RRB- What'd you say? Heather's neck snaps to her right. She's sitting on that same couch with Domini. Her eyes scan the entire loft. There's no one there but the two women. DOMINI Are you alright? HEATHER I do n't know. FADE TO BLACK. Beat. And then in the darkness, a pack of dogs heard BARKING. FADE UP ON",
"INT. COTTER'S ELEVATOR - DAWN He's having trouble getting the key out of the lock. The door is wide open. The recorded pit - bulls bark and bark and bark.",
"INT. COTTER'S WORK - LOFT - SIMULTANEOUS The barking bolts Heather and Domini up like a shot.",
"INT. NICK AND ANNA'S BEDROOM Likewise Nick. Anna does n't seem to hear it - fast asleep. As soon as Nick makes it to the door, the barking stops.",
"INT. COTTER'S WORK LOFT - JUST AFTER Nick, Domini and Heather are gathered around him like kids on Christmas. DOMINI So lem me see it. COTTER Just let me get my coat off - I had eight cups of coffee, I'm wired for sound here. HEATHER Where is it? COTTER I got the tape enhanced - and I managed to sleaze a photo blow - up. Jesus, he's gon na kill me when he finds out about the camera. HEATHER Gim me it! Cotter throws her the 8 `` x10'' blow - up of the frame. Heather looks at it, her face falls. HEATHER Still looks like a blur, only bigger. Domini grabs it. Stares at it, puzzled. COTTER My friend Sid said it looked like a rope. And now Domini's eyes go wide. DOMINI Jesus. HEATHER What? DOMINI That's the reason. NICK What? DOMINI Why she kills children. COTTER The witch? DOMINI It's not about witches, goddamnit! NICK Someone want to tell me what's going on - DOMINI - and we brought it back with us! HEATHER What? DOMINI It touched me, do n't you see it now? She yanks down the shoulder of her shirt : the burgundy - colored mark on her arm has grown larger and more distinct. It seems to have finger - like tendrils spreading out from it. DOMINI Its fingers! Here. And here - - she yanks down the front of her shirt : there's another burgundy mark there - DOMINI - and here and here and here! She pulls back her hair : there are two more growing on the back of her neck. DOMINI I do n't know how to stop it! I do n't know how to kill it! But it's here right now! Domini's head is in her hands. She's hyperventilating. Heather puts her arms around her. HEATHER Slow it down, slow it down, whatever it is, we'll figure it out. DOMINI That's why she kills children. HEATHER I know, I know - ANNA -LRB- O.S. -RRB- - you do n't. They all look up. Anna's standing in the doorway looking at Domini. ANNA They put their palms in the blood. And then they press them on your skin. And Anna walks out of the room.",
"INT. COTTER'S BEDROOM - JUST AFTER - DAY Domini's lying down, Heather beside her. She's drinking a beer, seems much calmer - though she's got an afghan cinched around her entire body, toes to chin. HEATHER You gon na be alright? DOMINI Sure. I'm sorry. HEATHER No big deal. I'm just trying to understand. DOMINI Get some more beer. HEATHER -LRB- laughs. -RRB- I think you closed the bar again. I'll have to go out. DOMINI Go to the store. When you get back, I'll try to make sense of it for you. Heather gets up, starts for the door. Stops. HEATHER What're you afraid's going to happen? DOMINI That they'll start touching us inside our heads.",
"INT. DELI - N. BALTIMORE - DAY Heather sticks two six packs inside a car. Double thinks. Goes back and grabs two more. AT THE REGISTER Heather waits in line. She sees that across the street is Druid Hill Park. Stares aimlessly into the woods, chewing on a thumb nail. She looks seriously worried. CHECK-OUT CLERK -LRB- O.S. -RRB- Sweetheart? Heather shifts her gaze to the Check - Out Clerk - and she shrieks : Standing behind the Clerk is THE MIDDLE - AGED MAN she saw in the loft, with the wound in his head. CLERK -LRB- O.S. -RRB- Miss? Heather's eyes dart back to the Clerk. CLERK Are you alright? Heather's eyes dance around the deli. The Man is gone. HEATHER You have a phone? CLERK Just outside -",
"EXT. 41ST STREET - JUST AFTER - DAY Heather stands at a payphone by the curb. We hear ringing on the other end. Finally a pick - up. But an OPERATOR'S VOICE is heard first : OPERATOR'S VOICE You have a collect call from Heather. Will you accept the charges? Long beat on the other end. Finally : WOMAN'S VOICE -LRB- MOM. -RRB- yes. The Operator clicks off. HEATHER Mom? MOM'S VOICE Yes. HEATHER I was just calling, I know it's been a long time - MOM'S VOICE - what do you need this time, Heather? HEATHER Nothing. It's nothing like that. I just wanted to know if Dad - - a sound on the other line of the phone dropping, banging on the floor or against a wall - HEATHER - Mom? Mom? - a Voice comes back on the line. But it's MALE now : MAN'S VOICE She wants me to talk to you, Heather. HEATHER Who is this? MAN'S VOICE Your mother's pastor. HEATHER What happened to my Dad? MAN'S VOICE There was an accident early this morning. Another car. Your father's injuries were fatal. HEATHER Yes. MAN'S VOICE I'll tell your mother not to expect you at the funeral. HEATHER No. The phone clicks dead on the other end. Heather lets the receiver just drop and begins walking, leaving her two bags of beer on the sidewalk, in a daze. And then she starts running.",
"INT. COTTER'S ELEVATOR - JUST AFTER - DAY Heather's banging like crazy on the door to the loft. Finally, she hears the sound of Cotter snapping open the deadbolt. He opens the door. The recorded dogs bark. Heather slams the door behind her. HEATHER Where's Domini? COTTER My room, asleep, last I checked. Heather barges past him and towards Cotter's bedroom.",
"INT. COTTER'S BEDROOM - CONTINUOUS Heather walks in. The bed's empty. The afghan's lying in a pile on the floor - - along with all of the clothing Domini last had on. HEATHER Domini? She does n't bother calling her name again, there's nobody in the room.",
"INT. KITCHEN - JUST AFTER Nick and Cotter look up at Heather, confused. NICK Well, she's got to be somewhere here. COTTER No one's been in or out since you left. Would've heard the dogs. Heather dashing up the stairs into the work - loft. HEATHER Domini? Empty. Cotter poking through the two hallway closets. Nothing. Nick looking in the closet and under the bed of his and Anna's bedroom. Nobody. Anna sleeps through it all. Heather really starting to lose it. Rampaging through the big main room, pushing aside all of Cotter's huge carousel animals, looking behind those things she ca n't move, dumping things willy - nilly on the floor. HEATHER Domini! Cotter helping Heather open one of the windows in the big room. Looking out on the ledge. Looking down to the sidewalk, five stories below. Nothing. HEATHER Fire escape? COTTER Do n't have one. Heather screams out the window : HEATHER Dominiiiiiiii!",
"INT. KITCHEN - SOON AFTER - DAY Heather, Anna and Cotter sit at the table nervously. Heather is literally shaking. COTTER She would've had to have a key, anyway, to lock the deadbolt behind her. HEATHER Well, she got out of here some - how because she's not here! NICK Parents. She might've called - Heather on the phone. HEATHER Taos, New Mexico. The Sheriff's Office, please. thank you. She hangs up. Picks back up. Punches in a number in a blur. Beat. Someone picks up on the other end : WOMAN'S VOICE Good morning, Sheriff's Office. HEATHER Yes! I need to speak to Sheriff Von Teer. WOMAN'S VOICE He's in a meeting. Could I have him - HEATHER - it's urgent! WOMAN'S VOICE Could I tell him what it's regarding? HEATHER His daughter, for God's sake - I need to know if he's heard from her this morning. Beat on the other line. WOMAN'S VOICE the Sheriff is a widower. They never had any children. Heather is struck dumb. WOMAN'S VOICE Ma'am? HEATHER I'm talking to Taos, New Mexico - WOMAN'S VOICE - yes - HEATHER - the Sheriff's Office - WOMAN'S VOICE - yes, Ma'am, can I help you with anything else? - HEATHER - his name's Von Teer! His daughter's named Domini! - WOMAN'S VOICE - thank you for calling - The line goes dead. The three of them just stand there, staring at each other, petrified. And then Anna walks in the room. ANNA I'm glad she's dead. She brought the thing that killed my child.",
"INT. KITCHEN - LATER - AFTERNOON Heather sits at the table alone, staring at the 8x10 that Cotter made for Domini. HEATHER What did you see here that I ca n't see, damnit! She runs a finger down the length of the blur in the branches. HEATHER What is it that scared you so much? Nick enters, heads for the blotched,'60s vintage Mr. Coffee maker. NICK Finally got her back to sleep. HEATHER Nick, what you should do is get her back up and get her to a goddamn doctor. NICK Jesus, you do n't think I know that? You do n't think I've tried? She wo n't fucking go - she wo n't leave this place. HEATHER She's off her fucking rocker - NICK - I know! HEATHER I'm sorry. NICK Yeah, I know. It's. alright. We're all a little - HEATHER - a lot. NICK Heather. HEATHER Yeah. NICK Okay. Hypothetically. HEATHER Shoot. NICK You think. there could've been something up in those woods that Anna - HEATHER - it's not a could've - there was, Nick. And it fucked up Anna, and did something to Domini, and it caused my father to die, and it's here with us in this place now. And I do n't have one single idea in hell what's going to happen next, just that it's going to happen to one of us. And then the other. And then the other. It's going to get into our brains. And Heather finally loses it and starts weeping - great wracking sobs. Nick's a little awkward at first how to comfort her. Finally just starts lightly massaging her neck. NICK There's explanations. Rational explanations for everything that's happened. We'll drive ourselves crazy if we keep obsessing on supernatural what - ifs. HEATHER That feels good. Lower - down into my neck. Nick moves his hands down - - and somehow the two of them are then guiding his hands down into her blouse, onto her breasts - - and she's moaning, and grabbing hard onto his hair - - and pulling his whole head down to hers. And their lips and tongues meet, and they're biting each other like animals - - and his hands are yanking and twisting hard on her breasts, between her legs - - and she's literally clawing him with her fingernails, drawing blood down the length of his chest - - until she reaches a burgundy - colored mark right at his belt line with tendrils like fingers - - SNAP! - it's like someone woke them from a dream. They both look at each other, baffled - what the hell just happened? But it was n't a dream. Nick's chest is streaming blood ; there's blood on Heather's lips - - matching the color of the mark on Nick's waist, and the one Heather now sees inside her elbow. They both move away from each other, uncomprehending - and scared.",
"INT. NICK AND ANNA'S BEDROOM - DUSK Nick pacing the floor as Anna lies in bed. NICK I do n't know what it is, but there is something happening here, and it's starting to scare the living shit out me, and look, I'm just not going to argue the point anymore - you want to stay here, stay, but I've got to get the fuck out of here, and I'm begging you to come with me. ANNA I ca n't. NICK Then I'm going - ANNA - no, you're not. You love me too much. You do n't want to see them kill me.",
"INT. COTTER'S WORK LOFT - NIGHT Cotter's behind the iMac, screening tape millimeter by millimeter, downing one Coke after another. He's so caffed - out, both his body and his voice is shaking. COTTER This could be something right here, do you think it's some - thing, Heather -? Heather does n't even look up. She's just sitting on the broken - backed couch staring at Domini's 8 `` x10''. COTTER - but that could be just a shadow, I think it's a shadow, it's nothing, Heather, do you think it's nothing - - and he just keeps prattling on oblivious, eyes fixed on the tape moving at a snail's pace in front of him. HEATHER It's about the tree, it's something about the tree. She puts it down on a cushion and snatches up the dog - eared copy of the `` Blair Witch Dossier.'' Easily flips to the page Domini showed her : Elly Kedward trussed in the wagon in the woods. Flips backwards in the book, looking for something - HEATHER - the goddamn tree, Domini, for chrissake, what? - and then she stops on the page that shows the anthropology students' sketch of the Parr foundation ; the skinny little sapling in the middle - - then back to the woodcut of Elly Kedward in the woods - - then back to Domini's photo of the foundation - the huge tree - HEATHER Same trees. They took Elly Kedward out to the same kind of trees. COTTER -LRB- still oblivious. -RRB- - I look and look in the tree, all I ever see, he's always there watching, that stupid owl, over and over - HEATHER - Cotter, where can I get on - line? COTTER - anywhere, anywhere, all up and live, all the time - fucking owl - Heather slips in front of one of Cotter's PC's. TIME CUT TO Heather on - line, in the middle of Blair Witch Chat Room, typing : WICCA GIRL anybody know where tree is they tied Elly Kedward? Beat. And then a response. COFFIN ROX Black Hills Heather responds, types : WICCA GIRL thanx - anybody know where? in Hills Beat. Response : TREACLE-TREACLE-LITTLE-EILEEN My two cts? By Rusty Parr's house hadda be that close how else could she whisper into his ear? Heather stops typing ; absorbs this. HEATHER Cotter? COTTER Fucking owl! HEATHER You think it's possible the tree in the Parr foundation is the same one they tied Elly Kedward to? COTTER No idea - goddamitt! And then suddenly another response appears in the Chat Room : COFFIN ROX Check BW Cult book, 1809 - they have full account Heather grunts. Types back : WICCA GIRL 1 copy in exist. you got it? COFFIN ROX no just seen it WICCA GIRL where COFFIN ROX one of us WICCA GIRL if you're out there and got it anybody, contact me this mailbx urgent COFFIN ROX location described pretty good in section bout first boys disappeared afer Elly dies - James Kurth & another kid Heather stops typing. To herself : HEATHER Boy Kurth. COTTER Heather, does that look like Domini there? Heather does n't look up from her screen. Impatient, trying to put pieces that do n't fit together. HEATHER Where? COTTER Down there in the Park. Heather looks up. Cotter is looking down through the big room's huge windows ; he's waving to someone. Heather gets up. Slowly peers over the loft railing. Squints. HEATHER'S POV A stark - naked Domini is standing in Druid Hill Park. Looking up at them.",
"EXT. DRUID HILL PARK - JUST AFTER - NIGHT Heather and Cotter's pace slows drastically as they try and navigate the overgrown pathways inside the Park. The flora is dense below and above - moonlight barely penetrates where they're walking. HEATHER Domini? Cotter puts a finger to her lip. Whispers : COTTER Not the place you want to announce your arrival. HEATHER How's she going to know where to - COTTER - things got a way of finding you here. They walk. HEATHER It's freezing. COTTER Next time try putting on shoes - - the two of them stop dead in their tracks. Through the thicket ahead of them they can see a clearing. Illuminated by the moon is what appears to be an old WOODEN OX CART with SNOW drifted up nearly to the hubs of its wheels. HEATHER AND COTTER are suddenly so cold they can see their breath in the air. HEATHER What the fuck -? COTTER - I do n't know. He grabs her hand and pulls her through the thicket. They enter THE CLEARING the snow is now gone. Where the cart was is now just a stack of rotting cut brush. A clean - up effort someone must have started, then abandoned. Heather and Cotter stare at each other, baffled - and not a little afraid. COTTER The moon trying to shoot down through all these trees - can make things funky - HEATHER - I saw what I saw. COTTER Yeah. Me too. HEATHER The cart they brought Elly Kedward into the woods with - COTTER - into the Black Hills with - 200 - something miles from here - HEATHER - Domini! They both see it at the same time : A NAKED WHITE BODY face down at the base of a tree. Heather races over, kneels down next to it. HEATHER Oh, Jesus, what happened, are you - - and Heather lets out a screech. The face of the body reveals an ELDERLY MALE. Filthy, tongue lolling black out of its mouth. He's been dead for some time. COTTER -LRB- O.S. -RRB- Be it still alive, James? HEATHER What - Heather turns - A PACK OF LITTLE BOYS wild - eyed and wielding sticks, RUSH AT HEATHER - BOY #1 - then finish the job, lads! - Heather screeches again, throws up her arms to protect herself - COTTER -LRB- O.S. -RRB- Jesus! Heather looks up : Cotter's lying on the ground, holding his bleeding forehead. COTTER What the fuck you do that for? Heather looks at her hand. She's clenching a sharp stick in it. The Little Boys are gone. The body of the Dead Man is not. HEATHER I did n't. She grabs his hand, pulls him up. They start running.",
"INT. COTTER'S KITCHEN - LATER THAT NIGHT Heather and Cotter at the table, still out of breath and shaking, as they tell Nick what happened. HEATHER - and one of the little boys, his name was James. As in the boy James Kurth - the first child to disappear from the town of Blair after they banished Elly Kedward. A look of alarm comes to Nick's face. But he says nothing. HEATHER What? NICK I dunno it's anything. It's a name Anna's mentioned - from her dreams. COTTER I ca n't handle this anymore. He produces a large, thick spliff and torches it up. Big hit, and passes it to Heather, who takes an even bigger one. NICK How much of that stuff you guys been smoking? COTTER Enough to keep sane. NICK Enough to make shapes and shadows in the dark into something else. HEATHER Spare me. NICK Hey, chemicals, fear, sleep - deprivation - and a round - the - clock obsession with the occult - hell've a recipe for a mind - fuck. COTTER Except we seem about 18 times more together than you. Heather spit - takes a lung - full of smoke. COTTER I'd strongly advise you to join us - HEATHER - before you lose your emotional lunch. NICK -LRB- shrugging. -RRB- Yeah, what the hell. He takes the joint, sucks in mightily - HEATHER Atta boy - - and then the whole kitchen seems to explode - - GLASS and MULLIONS from the big window in the room come hurtling in shards at them - - and then when the noise finally stops, and the flying debris has all hit the floor, they all look down and see : ON THE PEELING LINOLEUM A HORNED OWL broken and bleeding from its header through the window. Spasming, and then dying. Eyes wide, staring up at them. No one says a word. They just look at it.",
"INT. COTTER'S WORK-LOFT - LATER - NIGHT A lot of chairs, but nobody's sitting down. Cotter, Heather and Nick all look like their nerves are fraying down to bare wire. HEATHER We are being fucked with here, someone or something. NICK Domini. HEATHER Why in the world would she - NICK - why in the world would she just fly the coop in the first place? COTTER Chrissake : why any of this? NICK I think it's time to get out of here. HEATHER Nobody's going anywhere - COTTER - hell, I do n't think I'm ever leaving this place again - HEATHER - one of us, all of us - I have no idea - brought whatever this thing is back here. We're not going to go out there and spread it around like Typhoid Mary. We're gon na figure it out, we're gon na bring a goddamn end to it. NICK Domini's the only logical explanation. HEATHER We're not dealing with fucking logic here! COTTER It's Domini, it's not Domini, I do n't care - all I know is I'm not dealing with something - anything - snuffing me in my sleep. I want to do what we did in the woods - surveillance of this whole place 24/7, with somebody monitoring those cameras every second. There's something, somebody here, I want to see'em coming. NICK I thought all your equipment got stolen. COTTER All the shit that was worth anything, yes. You'd be amazed, though, what you can get free on the ` net. He opens a desk drawer - there must be a dozen little palm corders in there.",
"INT. THE LOFT - VARIOUS LOCATIONS - NIGHT What Cotter lacks in other equipment, he makes up for with cable : huge SPOOLS of it - and he's running it from the various tiny vid - cams to a motley bank of monitors he's set up on the kitchen table. HEATHER duct - tapes one of the little units on the top of a closet door - frame in the hallway. COTTER sees he has an excellent angle on the front door/elevator. ANNA watches half asleep and befuddled in their bedroom as Nick aims a camera on a jerry - rigged broom - handle tripod. COTTER connects the cables in the kitchen - sees Anna and a clear view of the bedroom door. NICK & HEATHER collaborate on installing a camera from Cotter's work - loft that provides a view of the dark area under the work - loft. Nick lowers the camera on a rope, while Heather guides and supports the cables attached. COTTER watches the camera descend on one of the monitors. Satisfied by the view it's giving him, he yells : COTTER That's good! Tie it off! BACK IN THE WORK - LOFT Nick does so. Ties the rope securely around the loft railing. Ties a slip knot in the loose end and lassoes it over one of the iron beams above to keep it from being a hazard. He has to jump to catch the rope as it comes down again from the beam - - stumbles backwards slightly as he catches it - - hitting the spindly loft railing - - which suddenly SNAPS! And Nick goes tumbling out into mid - air, the slip - knot in the rope in his hand the only thing keeping him from plummeting 20 feet to the floor below - NICK - Jee - zus! - COTTER sees it happen on the monitor. COTTER - Christ! He dashes out of the kitchen. BACK IN THE WORK - LOFT Heather is trying to lift Nick back up by the rope by sheer physical strength she does n't have - HEATHER I ca n't do it! NICK Do n't! You're making me lose my grip. COTTER -LRB- O.S. -RRB- I'm coming! I'm coming! And Cotter comes dashing in with a tall metal step ladder. COTTER Just hold on! NICK I ca n't! Cotter splays the ladder open, starts clambering up it. COTTER Just let it go, I've got you! NICK What're you nuts - COTTER - it's less than four feet, just - NICK - shit! Nick loses his grip - starts falling - - Cotter snatches hold of him as he falls, pinning Nick between the ladder and his torso. The ladder wobbles precariously - COTTER - do n't move, do n't even breathe - - and then the ladder finally comes to a stable rest. Nick is savagely shaken as he slowly climbs down. NICK Jesusjesusjesus. Ditto Cotter : COTTER Yeah - please do n't do that again. A giggle is heard from the doorway to the big room. They all look : ANNA is standing there, laughing with her hand against her mouth like a little child. She sing - songs : ANNA I could see up your dress.",
"INT. KITCHEN - LATER - NIGHT Cotter, Heather and Nick watch the monitors on the table in silence. Drinking coffee. They all look majorly exhausted - but none of them look in any immediate danger of falling asleep. Their eyes dart from monitor to monitor, relievedly seeing nothing - except Anna tossing restlessly in bed. Heather sees that Nick is massaging something on his forearm that's making him wince. Without a word, she rolls his sleeve up : A wine - colored mark that looks vaguely like a jagged J. HEATHER Gothic rune - the letter `` S.'' NICK Or a blood blister - or a bruise. COTTER Must be that blue collar life we all lead. Cotter pulls up his pant leg : two blurry burgundy marks - crescent shapes overlapping each other. HEATHER That's a `` j.'' COTTER For `` James?'' HEATHER Goes right along with these two. She pulls back her hair - where jaw meets neck : two smudgey marks that together look like badly - drawn lowercase `` n `` s. HEATHER Put'em together that's a `` k.'' James Kurth - NICK - or Lyme Disease or poison sumac, or God knows what - else we could have picked up in the woods. HEATHER You know what we picked up in the woods - - and then there's a sharp knock at the door. All three sets of eyes zoom towards the sound, but no one moves. The knocking grows louder, more insistent. Still, they remain frozen. Frightened. They look at the monitor giving an angle of the door/elevator. Nothing can be seen - just a dark blur in the door's peephole indicating someone's standing in the elevator. HEATHER Who? COTTER No one ever comes here. NICK Have to open the door to find out. The knocking increases, along with muffled shouts of : VOICE BEHIND THE DOOR Cotter? Cotter? COTTER I'll. go. Cotter gets up and slowly walks to the door. The rapping and shouting increasing in volume with each step. Finally, a deep breath. And then Cotter looks through the peep hole. He sees : SID his Techie friend from the Film Lab glowering back at him. SID I know you're in there, you piece of shit! COTTER -LRB- quietly. -RRB- You have to go. SID Not until I get that Beta Cam back! We're both in a world of shit here! COTTER -LRB- quietly. -RRB- I ca n't. SID It's my fucking job, man! COTTER I ca n't let you in. Sid starts knocking again. Cotter walks back to the kitchen. Sits down in front of the monitors. Watches as the knocking continues. Finally stops. The expression on Cotter's face never changes. TIME CUT TO - THE SAME - SEVERAL HOURS LATER So quiet, so tense, they can hear the clocks ticking all over the loft : 4:10 a.m. NICK I should check on Anna. HEATHER Check the monitor, she's fine. NICK She's far from `` fine.'' HEATHER You're needed here - keep watching - COTTER - f ` chrissake, Heather, it's not like the two of us are gon na doze off he leaves for two seconds - HEATHER - I do n't trust anybody, not even me, anymore - COTTER - shhhh! # 5, there's something up there! Their eyes all go to the Monitor with the view of Cotter's work loft. Beat. They freeze. A slight WHIRRING - then slow WHOOSHING heard. Movement seen in the darkness. NICK What? COTTER One of the printers. Cotter gets up. HEATHER No. We all go. NICK Anna - HEATHER - fuck Anna! COTTER -LRB- V.O. -RRB- No, you -",
"INT. THE WORK LOFT - JUST AFTER Cotter handing a sheaf of print - outs to Heather. COTTER - it's for you. Came through email. How it started printing without a command, though - Heather looks up at them in astonishment ; dithered : HEATHER - it's the `` Blair Witch Cult'' - a copy - some pages from - one of them on the site must've gotten my message - COTTER - who? HEATHER Does n't say - it's just these pages. She tries to make out the ancient, smeared scrawls of this nearly 200 year old book. HEATHER -LRB- reading. -RRB- `` taken by the witch as they were marked by her - first Jamie Kurth when the stain appeared on his brow that next summer - - the next page is illegible, Heather flips forward : HEATHER `` for t ` was said he and Jon Edmunds and other boys who found Elly Kedward still on her tree in the snow. Poking her with sticks finding her still living. Taking her bonds and noosing them to her neck, hanging her from her tree until she perished.'' Heather looks up at the others in wide - eyed. HEATHER That's the little boys. Elly Kedward did n't die from `` exposure'' out there : she was executed. -LRB- resumes reading. -RRB- `` Killing Elly Kedward, but not the witch herself, who floated from the mortal husk -'' Heather looks up ; she echoes Domini's words : HEATHER `` It's why the witch kills children.'' NICK I thought all witches were benign and good. HEATHER Not this one.",
"INT. NICK AND ANNA'S BEDROOM - LATER THAT NIGHT Heather tries to rouse Anna in bed. HEATHER I need you to talk to me, talk to me about the dreams - about James, the other boys. ANNA I do n't. I do n't understand them myself. HEATHER Try, please, Anna - ANNA - bad boys, mean boys, cowardly boys - just like Domini. HEATHER What do you mean? ANNA A coward too. That's why she had to go. HEATHER What happened to her, where did she go? ANNA Do n't know - just that she was afraid - HEATHER - Anna - Anna winces. HEATHER What, are you alright? ANNA My eye, is there something in my eye? Heather looks. HEATHER Not that I can see. ANNA Closer. Lift the lid and look - it hurts. Heather lifts Anna's eyelid, gets close to her face and looks. HEATHER No. ANNA Closer. And Anna gently guides Heather's face down. Begins stroking it. And the next thing Heather knows, her body is gravitating towards Anna's. She's kissing her, stroking and fondling her as Anna guides her fingers. Pulling down the covers, guiding Heather down the length of her body to - - a spot on the mattress between Anna's legs that's soaked solid with fresh, gleaming blood. Heather yanks herself away, now seeing that the entire mattress is blood - covered. Runs from the room.",
"INT. KITCHEN - NIGHT Heather stares at her face in the mirrored surface of a toaster. Blood blots on her cheek - vaguely in the shape of little palm prints. She's hyperventilating as she tells Cotter. HEATHER Remember. what Mary Brown said - she could see the witch's hands on my face, her mouth sucking on mine. COTTER Anna's the witch. Nick enters. NICK What the fuck's going on here? HEATHER Does she have marks, Nick - like the ones we have, that Domini had? NICK Why? HEATHER Does she, goddamnit? NICK Not that I've seen - but that has no meaning - that means nothing. COTTER Why was she exempted, Nick? NICK Maybe whatever they are, they just have n't appeared yet on her? HEATHER You really believe that? Beat. NICK It's possible for chrissake - HEATHER - the marks appear, then you disappear. Like the little Kurth boy, like Domini, as soon as they come to full bloom - and mine are! She pulls down her blouse - the marks on her neck have grown - they are the size of - and very clear image of - the palm - prints of a child, ringing around Heather's neck as if strangling her. COTTER Mine, too. And so are yours, pal. He points to Nick's exposed midriff - the stains have spread up from his waist into his abdomen - HEATHER Like a blueprint for disembowelment. NICK There are other explanations! She is not the goddamn witch, that's insane! HEATHER Then just give me one of your explanations that all three of us'll buy. NICK I do n't. - and then Nick hears giggling. His eyes and everyone's eyes go to one of the video monitors : THE BIG ROOM of the loft. Where they see Anna twirling round and round on her tip - toes, laughing, as though she were simultaneously being hanged and looking up the dress and giggling at the person being hanged. Now even Nick looks petrified.",
"INT. THE LOFT - VARIOUS LOCATIONS - JUST AFTER The Big Room. Nick enters on the run. NICK I want to see something! ANNA Whatever you want. NICK The clothes - take'em off - I want to see every square inch - ANNA - no, what's wrong with you? HEATHER & NICK Watch on the monitor : Nick showing the huge mark on his torso. NICK Are you marked like this? ANNA Why? NICK I see for proof positive you're the goddamn witch - Anna dashes from the room. AT THE ELEVATOR Heather grabs her, as Anna's trying to open the door to escape. The recorded dogs start barking madly. HEATHER You killed Domini, did n't you, witch? ANNA I'm not a witch, you're all crazy! Anna runs panicked into the kitchen - and right into Cotter. He grabs her by the arms. COTTER Just say you are - we wo n't hurt you - - Heather runs in behind her - HEATHER - we'll just make you go away, so you ca n't hurt anyone else - - Nick enters the kitchen - NICK - like you hurt the baby - ANNA - what're you saying? I did n't have anything to do with - COTTER - the witch kills children - ANNA I have n't killed any - HEATHER - Jamie Kurth, Jonathan Edmunds - ANNA -LRB- in terror. -RRB- - my God, Nick? NICK Just say the words, Anna. She tries to dodge Nick and get back to the elevator, he cuts her off. Ditto, the other direction and Heather - - Anna sprints up the stairs -",
"INT. COTTER'S WORK-LOFT - JUST AFTER - and finds she's got nowhere to go but down - 20 feet worth of down. And Nick, Heather and Cotter are closing in on her from the stairs. ANNA Please! Please? I have n't done anything. HEATHER Bullshit! Talk! ANNA Nick! NICK Out of my hands. Cotter barges past them all, grabs the tope that Nick dangled from the loft space with - ANNA What're you doing? - Cotter throws the slip - knot loop around her neck. COTTER Hang you like the witch you are, unless - ANNA - Nick! HEATHER Confess! Cotter tightens the rope. ANNA Alright! Fuck you, fuck all of you! I'm her. Heather grabs the vid - cam from the railing and starts recording her : NICK Oh, Jesus, no - ANNA - fuck your bullshit pieties! You were the next to die, asshole! PAGE 102 IS MISSING FROM THE HARD COPY OF THIS SCRIPT",
"INT/EXT. VARIOUS LOCATIONS - DAYS FOLLOWING A dizzying montage of video `` real'' footage much like the opening of the film. TV Reporters telling us that `` once again, like Columbine and `` Basketball Diaries,'' life has imitated violent art. In this case, the Blair Witch Project,'' where, yesterday obsessed fans of the film performed ritualistic murder -'' Nick, Heather and Cotter seen : in cuffs, being led into the Baltimore Police Station. Seen : grainy static - cam of them being interrogated. Seen : news - film of the inside of the Loft - where Anna was found `` murdered.'' And then a closet where an unidentified nude woman was found similarly `` executed.'' The News camera zooms in on the nude body of Domini crumpled in that closet, visible rope burns on her neck. Seen : Nick's confession. That Anna admitted to being The Evil. Seen : the footage Heather shot of Anna `` confessing.'' But all the police and we see is Anna with a rope around her neck, pleading to Nick, Heather and Cotter not to kill her : `` I have n't done anything! Why are you doing this? Please, God -'' END"
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] | In November 1999, tourists and fans of The Blair Witch Project descend on the small town of Burkittsville, Maryland, where the film was set. Local resident Jeff, a former psychiatric patient and obsessed fan, orchestrates a group tour of locations featured in the film. Among the group are graduate students Stephen and his pregnant girlfriend, Tristen, who are researching mythology and mass hysteria; Erica, the Wiccan daughter of an Episcopal minister; and Kim, a goth psychic. They camp for the night in the ruins of Rustin Parr's house, where Jeff has placed surveillance cameras, hoping to capture supernatural occurrences. Jeff becomes unnerved when he notices a large tree located in the center of the house's foundation, claiming it was not there before. That night, another tour group arrives to camp at the ruins, but are misdirected to Coffin Rock by Jeff and Stephen. After drinking and smoking marijuana all night, the group awaken in the morning to find Stephen and Tristen's research documents shredded and strewn through the woods, and Jeff's cameras destroyed; his damaged tapes are uncovered beneath the house's foundation. Tristen suffers a miscarriage, and they rush her to the Burkitsville hospital. In her hospital room, Tristen sees a young girl walking backward. After she is discharged, the group retreat to Jeff's home, an industrial building that was once a factory. While Tristen rests, the group review Jeff's tapes, which uncover an image of Erica circling around a tree, nude. Distraught, Erica claims she has no memory of such event, and goes to pray in another room. When Kim tries to console her, Erica reveals rash-like symbols covering her body, and proclaims the group has been marked for death. Kim borrows Jeff's van to pick up coffee and alcohol in town. At the country store, she gets into an argument with the cashier. While driving away, she swerves to avoid a group of children in the road, and crashes the van into a tree, denting the fender. The children disappear when she exits the van. Later, Kim finds a bloody nail file stuck among the bottles of beer she purchased. The following morning, Jeff looks outside and sees the front end of his van entirely caved in, to the point that it is undriveable; Kim insists that the accident was minor. The group realize Erica is absent, and search the house. They attempt to call her father at his office but are told by his secretary that he has no children. Meanwhile, Tristen's disposition grows increasingly bizarre. The county sheriff, Cravens, calls Jeff, informing him the other tour group was found disembowled on Coffin Rock, and threatens him. Later while searching through a drawer, Kim finds a set of surveillance dossiers on herself and the others. She confronts Jeff, but he denies knowing the source of them. Shortly after, the group discovers Erica's corpse in a closet. Tristen begins chanting about widdershins and speaking backwards; this leads Kim to suggest they play Jeff's tapes in reverse. Upon doing so, they find the footage shows the high and drunken group descending into a demonic ritual and frenzied orgy led by Tristen, culminating in the murder of the other tour group at Coffin Rock. When they confront Tristen, she alternately pleads and goads them; Jeff, convinced Tristen is possessed by the Blair Witch, begins filming the confrontation, attempting to elicit a confession in Erica's death. The three follow Tristen to the second floor, where she ties a rope around her neck and taunts Stephen, daring him to push her. In a fit of rage, he pushes her over the balcony, killing her. Later, Jeff, Stephen, and Kim are arrested and interrogated by police. Each claim that a possessed Tristen was responsible. Their accounts are contradicted by various video footage: Security cameras captured Kim murdering the store cashier with her own nail file, while Jeff's home monitors show him, nude, hiding Erica's body in the closet; the DV footage Jeff filmed during Tristen's confrontation shows her pleading for her life as they accuse her of being a witch, ending in Stephen pushing her to her death. Later, funeral mourners arrive up in the woods to remember the other tour group that was murdered. | Book_of_Shadows:_Blair_Witch_2 |